Stoneware with celadon glaze and inlaid white slip. Height: 3.2" This is a very fine example of late KoryÃ´ period celadons.
Probably Canton export ware, 19th century Although the drawing of the design is casual and the glaze pitted, this plate is quite charming.
Indo-Islamic culture; Copper metal alloy, 9.5â€ x 7.5â€
Woodblock print in ink and colors on paper. Size: paper: 14.25" x 18.75"; image: 11.75" x 15.5". Image of Chinese woman leaning over a railing inhaling incense smoke. French, active in Japan,Jacoulet came to Japan from his native France with his parents when he was ten. He produced very fine Japanese-style prints and his work is widely appreciated by collectors and scholars of modern Japanese printmaking.
All are carved and stained ivory. Some are okimono (small sculptures made to look like netsuke but lacking the holes netsuke have for tying strings through them).
Stoneware with celadon glaze and inlaid black and white slip. Diameter: 7 1/2"
French, active in Japan. Woodblock print in ink and colors on paper. Size: 17.875" x 14.25"; image: 15.5" x 11.875".
Indo-Pakistan region. Excavated in the Old City at Lahore during the archaeological digs outside of Lahore Fort in circa 1960. Originally dented and encrusted; it has undergone extensive restoration. Copper metal alloy, 5.25â€ x 4â€.
Swat Region of Pakistan, cedar wood;16.5â€ x 37â€
In the upper rectangle: Kinoeneya Restaurant at Mukojima-mazaki. In the main section: Koshiro in the role of Soroku in the play Go-taiheiki Shiroishi-banashi Woodblock print in ink and colors on paper. Vertical ōban size. Signatures: Toyokuni ga, Hiroshige Publisher: Fujiokaya Keijiro These prints have a landscape and still-life by Hiroshige above, and below is an actor in a stage role by Kunisada.
From South India,teak wood. 26â€ x 3.5â€ x 9.5â€
# 18 from the series: Thirty-two Aspects of Customs and Manners (Fuzoku sanjuniso). Woodblock print in ink and colors on paper. Vertical ōban size. This image is a nice, but not great, later printing. Reference: John Stevenson, Yoshitoshi's Women: The Woodblock Print Series "Fuzoku Sanjuni so." Boulder, CO: Avery Press, 1986; reprinted in 1995 in association with the University of Washington Press.
image size: 11.75" x 5.25". Woodblock print in ink and colors on paper. Condition is very faded; framed behind glass. Vertical hosoban size. This print comes from a group of six prints of similar style and size, all acquired from T.Z. Shiota in San Francisco between 1961 and 1966. They all portray famous Kabuki actors in roles from Kabuki plays. This print is distinguished from the others because impressed on its surface is a round red seal reading "Hayashi Tada," which is the seal of one of the earliest Japanese Ukiyo-e print dealers to sell prints in Paris, Hayashi Tadamasa (1853-1906).
Made for export to England, 19th century. Porcelain with overglaze enamels and gold. 4.75â€ x 9.5â€ x 9.5â€ Possibly made for Sir Edward Vaughn Colt, Baronet, and his wife Martha, whom he married in 1804. With Arms of Baronet Colt of Westminster.
Tentatively identified as made by Tibetan Buddhist artists for the Imperial palaces of the Ming and Qing dynasties in China. Previously identified as the Buddha Amitabha surrounded by Bodhisattvas. Ink and colors on cloth. image: 27.5â€ x 21.5â€ brocade fabric mounting: 48â€ x 32.5â€
Punjabi school, made for export to the West; gouache on paper. 6.75â€ x 4.5â€
Single six-panel screen. Ink, colors, and gold leaf on paper. 68" x 132.5". Although the artist is unidentified, there is a single jar-shaped seal, with the characters effaced, impressed on the right side. This shape seal is typically used by artists of the Kano school. This attribution concurs with the style of the painting, which is typical of Kano-school artists. Normally screens are made in pairs, so this one is missing its mate. The presence of the seal on the right side, as well as the composition (with the pine tree on the right and body of water on the left) suggest this is the right side of a pair. One of the most interesting features of this painting is the appearance of black underdrawing outlines of flowers adjacent to the white flowers, composed of thickly applied pigment, on the second panel from the right. These flowers were never meant to be visible in the finished painting. Their outlines were preliminary design features created by the artist in the process of sketching out his composition and then covered over by the gold leaf. Over time, the ink has bled through the gold which once obscured them. Painting has undergone restoration twice, in the 1920s and again in 1974.
Silk embroidered cotton with applied border and metallic threads 42.5â€ x 78
Porcelain with yellow glaze. Kangxi reign period.
Rajasthani school; enamel on oil cloth or canvas. 12.25â€ x 12.75â€. Purchased in Jaipur, India.
Collagraph with etching and aquatint. 19.5" x 16.75". Information found on the internet notes that Fukazawa Yukio was born in Yamanashi Prefecture. In 1948 Fukazawa graduated from the Tokyo Art College. In the 50s and 60s the young artist gained the attention of the Japanese art community and later in the 70s of an International audience. The favorite medium of Yukio Fukazawa are copper engravings. The artist is the head of the Japan Print Association (JPA). Art critics describe his works as lyrical prints. His prints are in the collections of renowned museums like the New York Modern Art Museum and the Tokyo National Museum of Modern Art
Possibly a table runner, produced in the late 19th-early 20th century and purchased in the 1950s or 1960s. 23â€ x 86.5â€.