Brood Sculptures and Carvings

Rare Modern creative Kokeshi doll by Hideo Ishihara, Japan This rare whimsical sosaku kokeshi was created and signed by the award winning master, Hid...

Add a piece of African history to your home. This is large and evocative of ancient times and ceremonies. Weathered wood mask fragment, Bambara people, Mali, Africa, late 19th-early ...

Large Zitan Huanghuali hardwood brush pot bitong, Qing Dynasty, 18th century, China Measures: Height 12 diameter 12.75 in.

A rare Japanese Koto made from carved Paulownia wood and lavishly decorated with lacquer Maki-e circa late 19th century of Meiji Period (1868-1912). The ...

19th-century bronze currency bracelet / Manilla in horseshoe form with fixed opening. Intricate graphical swirl design and tips are shaped with large flat ends with 5 beads on each s...

A tri-pod ceramic incense burner (koro) by Japanese Imperial potter Makuzu Kozan (1842-1916) circa late Meiji to the start of Taisho period (1890-1910s). A fine example of the artist's work belonging to the late part of his underglaze paint phase (started around 1887 until his death), the surface of the koro was painted in beautiful shades of blue to depict a continuous landscape not unlike a traditional ink and watercolor hand scroll. The rise and fall mountains recede and fade into the horizon and are dotted with groves of pines. The sky is painted with a beautiful subtle shade of pink, suggesting a time of sunrise or sunset. The koro is fitted with an ensuite reticulated sterling silver hoya (incense cover), pierced with swirling cloud and marked with "pure silver' in Kanji. The base is signed in underglaze blue "Makuzu Kozan Sei" within a double ring. The piece is beautifully potted in form and the decoration was done with expertise using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking landscape known as "Mountain and Water" with sense of dimensions and gradient, the poetic effects normally conveyed only by sumi ink staining on paper. The piece comes with an unsigned tomobako (wood storage box) of a recent age. Also known as Miyagawa Kozan (1842–1916), Makuzu Kozan was one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama around 1870s and later became one of the appointed artists to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. Being one of the most creative ceramists, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze around 1880s. New colors allowed him to create underglaze designs that appeared bright, smooth and glossy. He even invented his own receipt of cobalt blue to achieve a much brighter yet softer shade, as evident on this vase. To create landscape that is realistic and dimensional, more common in the western paintings, he was inspired by the native Japanese ink painting technique developed around 1900 by Yokoyama...

A wonderful, gem of a piece. The piece has a beautiful feel and heft to it. The laughing or jolly Buddha is known in China as Budai or Putai, Bodai in Vie...

A lovely Japanese lacquer rectangular lacquer tray with a slightly scalloped corner and four L shape supporting feet by one of the most celebrated lacquer artist active in Edo period Hara Yoyusai (1772-1845). Yoyusai lived in Edo (Tokyo) and worked under the patronage of Lord Matsudaira. He operated a large workshop and had a very prolific output of lacquer objects. Most survived pieces being inro...

Striking Makonde animal helmet mask, dog or hyena, Tanzania. Early 20th century with dark patina from traditional tribal use, wear inside from being used. Finely carved features, wit...

Weight: 8 kg The Snaked Altar, situated atop a marble column at the entrance square of the Ancient City of Asclepion, holds the distinction of being recognized as the earliest symbol of medicine and pharmacy. The altar's prominent position within the Asclepion complex highlights its importance in the context of ancient medical practices. It served as a visual representation of the profound connection between spirituality and healing, as Asclepius, the Greek god of medicine, was often depicted alongside snakes, which were regarded as symbols of rebirth and rejuvenation. Today, the original Snaked Altar finds its rightful place of honor in the prestigious Bergama Museum. Visitors to the museum can marvel at its intricate details and appreciate the craftsmanship of the ancient artisans who sculpted it. The altar's preservation allows us to delve into the depths of history and gain insights into the ancient world's understanding and reverence for medicine. *Crafted from compressed marble powder. *Manufactured using molds...

An antique Okimono (Japanese means artsy display ornament object) displayed on a small custom wood stand from Meiji Period circa early 2oth century. T...

For sale is this wonderful vintage African hand-carved Kifwebe association Figure (or "N'kishi"), originating from the Songye people of the Democratic Republic of Congo (formerly the...