TISHU

A significant contemporary aboriginal painting by Kathleen Petyarre (1940-2018) in 2010. The painting was a rare oversize piece, exceptionally executed in earthy colors, showcasing m...

Artist: John Patrick Dugdale (New York, b. 1960) Title: Margie Medium: Cyanotype Year: 1996 Edition: number 2/10 Measurement: Sight H 9", W 7.5"; with artist fame H 14.5", W 12.5" Pr...

A lounge chair constructed in upholstered wood frame flanked by thick Lucite plank arm with exposed brass hardware, this bespoken model was a design attributed to Vladimir Kagan (192...

A Japanese stoneware tsubo (storage jar) circa 19th century (Meiji period), likely made in one of the Shigaraki or Echizen kilns. The jar has a thick robust body, and a short-neck ri...

A rare footed dish in the form of an open scroll painting with literati landscape from the studio of Japanese Potter Makuzu Kozan. Also known as Miyagawa Kozan (1842–1916), Makuzu wa...

A beautiful bamboo sculpture in an Ikebana basket form by contemporary Japanese bamboo artist Kawano Shoko (born 1957-). The piece was made in 2005 and purchased from Tai Modern in 2...

A fine pair of two-tier stacking cabinets, known as Nong in Korean, circa early 20th century (Korean Empire to Japanese Colonial Period). The square cabinet each is fitted with a pai...

A Korean black lacquered wood low table with elaborate inlay works circa late Joseon dynasty (late 19th century to turn of 20th century). The low table, supported by slightly curved ...

A stunning Japanese embroidery tapestry circa 1880s-1900s from late Meiji period, presented with an original wood frame with inner gold trim. The tour-de-force embroidered tapestry s...

A Kazaribako "Ornamented Box" made of glass by Japanese artist Kyohei Fujita (1921-2004) circa 1990s. The hand-blown glass box is substantial in size and weight. It features a hexago...

A brilliant Kazaribako "Ornamented Box" made of glass by Japanese artist Kyohei Fujita (1921-2004) circa 1990s. The hand-blown green glass box featur...

An editioned gelatin silver print by American photographer Duane Michals (1932-). "I could read it clearly in his palm. There would be a terrible tragedy. My love could not protect him" from Homage to Cavafy Series, published in 1978. Gelatin silver print, hand-written titled on the lower margin. Signed and numbered 8/25 in ink on the bottom of the sheet (as shown). 3 1/2 x 5" for the image size. Displayed in a brand-new black wood archive frame with museum glass. Michals created ten photographs in honor of Greek gay...

An editioned gelatin silver print by American photographer Duane Michals (1932-). "After his shower, he dried himself very carefully. and although he would never admit it, it had all been done for my benefit" from Homage to Cavafy Series, published in 1978. Gelatin silver print, hand-written titled on the lower margin. Signed and numbered 8/25 in ink on the bottom of the sheet (as shown). 3 1/2 x 5" for the image size. Displayed in a brand-new black wood archive frame with museum glass. Michals created ten photographs in honor of Greek gay...

An editioned gelatin silver print by American photographer Duane Michals (1932-). "Just to light his cigarette was a great pleasure" from Homage to Cavafy Series, published in 1978. Gelatin silver print, hand-written titled on the lower margin. Signed and numbered 8/25 in ink on the bottom of the sheet (as shown). 3 1/2 x 5" for the image size. Displayed in a brand-new black wood archive frame with museum glass. Michals created ten photographs in honor of Greek gay...

A rare Korean porcelain brush holder in Banana Leaves pattern from late Joseon dynasty circa 19th century. Cherished by the scholars, this brush...

A ceramic vase in tapered square form made by Japanese studio Seikozan circa 1890-1910s (late Meiji Period). One of the many artist studios that specialized in satsuma ware, Seikozan...

Tri-pod ceramic bowl likely used as an incense burner (koro) by Japanese Imperial potter Makuzu Kozan (1842-1916) circa late Meiji period. The signature indicates that it was produce...

A large Japanese ceramic vase from end of Meiji period circa 1880s- 1910s by Kinkozan (1645-1927). One of the largest studio manufacturers of the export ceramics at the time based in Kyoto. In the typical style of satsuma made at the turn of 20th century, the vase is of a moon jar shape and finely decorated with kinran-de (gold paint) on a cream white background with even fine crackles. What sets this particular vase apart from many lower quality and mass-produced pieces is the meticulously renditioned surface decoration. Lavishly gilded with a continuous design, the carefully composed imagery depicts an elaborately decorated float cart in a festival parade. A group of people are seated within the float with a woman and a child standing in the front. Surrounding the float are streams of marchers dressed...

A large stoneware glazed bowl in a rare leaf form by British studio potter John Ward (1938-2023) circa last quarter of the 20th century. The impressive, oversized bowl features a dis...

A large stoneware vessel with distinct form by British studio potter John Ward (1938-2023) circa last quarter of 20th century. The form of the vase as in the artist's repertoire may be known as a "Disc Pot" due to its unique shape. It features a round flattened body that organically morphs into a tapering neck with a slightly dipped neckline. It calls to mind the Chinese "moon flask", whose origin was likely attributed to the nomads of the Islamic Central Asia. The pot is covered with a mottled cream glaze specked with brown marks, mimicking the earth deposits on an archeological object...

A stoneware vessel with a distinct form and glaze by British studio potter John Ward (1938-2023) circa 1990s. This specific form in the artist's repertoire may be known as a "Spheric...

A striking abstract painting by Australian Aboriginal painter Walangkura Napanangka (1940-2014), one of the matching pair painted in 2007 in Alice Spring. Entitled "Kutungka", acrylic on Belgium linen, inscribed on reverse with gallery catalog no. "Kutungka" depicts the landscape of a country where an old woman named "Kutungka" travelled from Malparingya to Kaltarra in Western Desert during the Dreamtime creation. The highly abstract forms are the dreamtime memory of the land features, such as rock piles and waterholes. Provenance: Grasstree Gallery, Australia. It comes with a COA from the gallery as well as progressive photos taken during the creation of this painting by the artist in 2007. Brief biography From Australian Art Gallery artist...

A striking abstract painting by Australian Aboriginal painter Walangkura Napanangka (1940-2014), one of the matching pair painted in 2007 in Alice Spring. Entitled "Kutungka", acrylic on Belgium linen, inscribed on reverse with gallery catalog no. "Kutungka" depicts the landscape of a country where an old woman named "Kutungka" travelled from Malparingya to Kaltarra in Western Desert during the Dreamtime creation. The highly abstract forms are the dreamtime memory of the land features, such as rock piles and waterholes. Provenance: Grasstree Gallery, Australia. It comes with a COA from the gallery as well as progressive photos taken during the creation of this painting by the artist in 2007. Brief biography From Australian Art Gallery...

Artist: Liu Xiaofang (Chinese, b. 1980) Title: I Remember II-02, 2012 Medium: Digital pigment print mounted on Acrylic Measurement: 39.25" x 39.25" Edition: 2/8 PROVENANCE: Purchased...

Artist: Utagawa Hiroshige (1797 - 1858) Series: Pictures of Famous Places in the Sixty-odd Provinces Number: 44 Oki Province: Takuhi Shrine Medium: Woodblock Print Date: 1853 (Kaei 6), 12th month Number of Prints: 70/70 (inc. Title Page) Format: Vertical Oban Size (H x W): 14" x 9.25" print only. Publisher: Koshimuraya Heisuke (Koshihei) Blockcutter's mark: Hori Ko-Sen Signature: Hiroshige hitsu Additional marks: Censor's seals: aratame, Ox 12 Displayed with mat and gilt wood frame. Reference: For an identical print, see the collection of MIA (Minneapolis Institute of Art) Accession Number P.75.51.398; MFA...

A large ceramic lidded vessel with striking sculptural form by contemporary Japanese potter Shigemasa Higashida (1955-). Hand-built and with drasti...

A fine Kashkul carved from half of the giant nutshell of Coco-de-mer likely from Persian Qajar Dynasty circa 18-19th century. Kashkul is a container known as the beggar's bowl, carri...

A framed C-print photography by British artist Sam Taylor-Wood (1967-). Entitled "Self-Portrait in a Single-Breasted Suit with Hare", the print was made in 2001 and its unique in this size at 9" h x 6" w. Presented in a wood frame. Provenance: Matthew Marks Gallery, NYC (label verso). Artist Biography (courtesy of Guggenheim Musuem Collection) Sam Taylor-Wood B. 1967, LONDON Sam Taylor-Wood was born in London in 1967. At the age of sixteen, she enrolled in an art school in Hastings, later moving back to London to attend Goldsmiths College. After graduating in 1990, she worked as a bartender and as a dresser at the Royal Opera House; the latter experience would influence her work’s unabashed theatricality. Originally a sculptor, she began working in photography, film, and video in the early 1990s. Her first film, 16mm (1993), consists of an isolated female figure gyrating to a steady beat. She explored similar intersections between video, dance, theater, music, film, and video in subsequent works, including Killing Time (1994), in which seemingly bored actors wait their turn to lip-synch the lines of different characters from Richard Strauss’s Electra. Her photographic work also finds points of intersection with other mediums. The title of Five Revolutionary Seconds (1995–98), for example, refers to her creation of a panoramic image by rotating her camera around a room over that period of time; the resulting image has a narrative quality despite being a static image. In recent years, Taylor-Wood has engaged ideas of celebrity culture in her work. Third Party (1999–2000), a seven-screen video installation at the Hayward Gallery in London, featured pop singer Marianne Faithful and actor Ray Winstone in different one- and two-person scenes of flirtation and ennui, creating a party-like environment in the gallery where the viewer is privy to these personal exchanges. Equal parts pathos and humor, the two-minute film Pietà (2001), in which the artist attempts to suspend the Hollywood actor and hard-living icon Robert Downey, Jr. in her arms, also evokes the well-known art historical subject. Her video David (2004) evokes similar connotations and intimately unveils the much-photographed dynamic soccer icon David Beckham in deep sleep. Time and speed are often centerpieces of her videos, whether the rapid acceleration of a bowl of fruit’s decay process in Still Life (2001) or the illusion of frozen time in The Last Century (2006), for which the actors are in fact filmed in real time but remain impossibly still. Taylor-Wood’s first narrative film, Love You More (2008), borrows its title from a song by the 70s punk band Buzzcocks and chronicles the story of two teenagers who hear the recently released song together in a record store. Since her first show, Killing Time at the Showroom in London in 1994, Taylor-Wood has had solo exhibitions at White Cube in London (1995, 2001, 2004, and 2008), Kunsthalle Zürich (1997), Hirshhorn Museum and Sculpture Garden in Washington, D.C. (1999), Museo Nacional Centro de Arte Reina Sofía in Madrid (2000), Centre National de la Photographie in Paris (2001), Musée d’Art Contemporain de Montréal (2002), Russian Museum in St. Petersburg (2004), Museum of Contemporary Art in Sydney (2006), Museum of Contemporary Art in Cleveland (2007), and Museum of Contemporary Art in Houston...

A Japanese silk Suijaku hanging scroll beautifully presented in a custom wood shadow box frame from Edo period (circa 18-19th century). The scroll, surmounted on golden brocade was painted in fine details with gouache, ink and gold powder highlight, served as a Suijaku mandala for the worshippers. Honji Suijaku is a complicated religious concept uniquely developed in Japan. It mixed and hybrid the Buddism deities with native shinto spirits (known as Kami), which were seen as local manifestations (the suijaku, literally means a "trace") of Buddhist deities (the honji literally the original ground). The original idea may lie with the synergetic strategy to spread Buddism by making it more relatable to the local population who had already worshiped Shinto gods. The paradigm, adopted in the 10th century from an orignal Chinese concept, remained a defining feature of Japanese religious life up to the end of the Edo period (1868). Instead of being confined to deities, its application was often extended to historical figures as shown on this scroll. This long hanging scroll depicts an arrangement of 21 figures including Buddhism and Shinto deities as well as two historical figures on the bottom. Each figure was name-tagged in Kanji for easy identification by the worshippers. It was used in the temple or shrine so that when the worshipper prayed in front the mandala, they prayed simultaneously to all the deities. On the very top, sits Nyorai-Kojin, a hybrid deity of Nyorai Buddha and Kojin, the kaki for fire, stove and kitchen. From the top to bottom and left to right, here is the list of the deities: Kanon with Thousand Hands, Kanon with Willow Branch, Monju Bosatsu...

A large presentation plate with striking pictorial design from the studio of Japanese Potter Makuzu Kozan. Also known as Miyagawa Kozan (1842–1916),...

A large Japanese ceramic vase by the celebrated Meiji imperial potter Makuzu Kozan (1842-1916) circa 1880-1890s. Dated to his underglaze phase post 1887 after he successfully mastered the new colors available from the west and used them to the best advantage in his work deeply rooted in Japanese aesthetics. The vase has an impressive size and was potted in the classic baluster form with an elegant proportion. The surface is decorated using a combination of techniques of low relief sculpturing...

A Chinese wood altar table or console table circa late 19th to early 20th century (late Qing dynasty to the Republic era). The table was constructed with mixed wood types. The legs a...

A Japanese lacquered wood fubako (a box to store document or small scroll painting) circa late 18th century of Edo period. The rectangular box features a deep lid with rounded corners and recessed mid-edge and a lower box with two bronze medallion rings and tasseled silk ties. The surface of the fubako was elaborately decorated with hiramaki-e and a low takamaki-e on a mottled Mura-nashiji background. The motifs on the lid depict branches of Japanese pine with finely rendered needles on the lower part; on the upper part, it showcases fruited persimmon branches. Two different shades of gold fundame were used to contrast the design and augmented by scattered gold kirigane to highlight some of the leaves. The design continues and cascades down to all sides of the lid as well as the walls of the box. The two bronze medallions appear original to the box and the silk ties show significant fading from the age. This Fine fubako is signed on the lower wall "Kanshosai" in Kanji with a kao mark. All the trims were finished in gold fundame and the interiors a dense nashiji in gold. Kanshosai is the mark of the distinguished lacquer artist Lizuka Toyo I who also signed his work "Toyosai". He was active in the second half of the 18th century during Edo period, employed by Hachisuka Shigeyoshi (1738-1801), daimyo of Awa on Shikoku Island. Although most survived work bearing his marks are inros, he was also known to decorated trays and other larger objects...

A contemporary ink painting on paper by Chinese artist Li Jin (1958-) presented in a white shadowbox frame. Entitled in English "Morning Practice in California", this series of work was painted in 2017 when the artist resided in US. The Chinese title inscription is "Blossom Branch" with artist's name signed in both Chinese and English. The painting is considered "Expressionistic-abstract". Using only various shades of ink, the poetic work depicts a large lotus flower with the pistil in the center composed of clusters of mediating arhats, the beings who have gained nirvana through Buddhism practice (known as Luohans in Chinese). There is a strong association of lotus flower and purity in Buddhism. The wisdom one can possibly achieve may be considered omnipresent and morphogenetical quantum and be part of everything around us. The image size is 13.5" x 13.5". Provenance: Purchased in 2017 from the Ink Studio at West Bund Art and Design Fair, Shanghai, China. Li Jin (1958-, Tianjin, China) is an ink master who draws from the tradition of Chinese literati ink painting and creates contemporary works celebrating all aspects of everyday life. Having explored color washes for two decades, Li Jin has translated them into a masterful control of tonality-the "five colors of ink"-in a series of monochrome paintings in the expressionistic-abstract "Da Xie Yi" manner. Through the ink medium's inherent sensitivity and ambiguity, they evoke the nuances of human existence and raise profound questions about self-representation and subjectivity. Trained at Tianjin Academy of Fine Arts (graduated in 1983) and has been a leading figure in contemporary Chinese ink art...

A sculpted steel "zigzag" coffee table base by American Designer and studio craftsman Paul Evans (American, 1927-1993) circa 1960s for Directional. The table, Model PE-11, takes a geometrical ‘Zig Zag' form and is welded from the steel. Its surface is decorated with his iconic relief patterns such as stars, swirls, lines, gilt dots and grid web as well as red, yellow, green and gold polychrome colors with black strokes...

A satsuma ceramic dish made by Kinkozan studio circa 1980-1900s in the late Meiji Period. The dish with a thick robust wall is supported by a large ring base and features finely deta...

An early ceramic long-neck vase with a brilliant copper red glaze by Benedictine monk potter Brother Thomas Bezanson (1929-2007). The minimalistic an...

A fine Korean iron box that was traditionally used to store tobacco leaves dated to the late Joseon Dynasty circa 19th century. The box is made from iron and has a heavy weight, although the wears along the edges of the lid and base exposes a bronze metal color underneath, indicating the iron metal may contains a high level of copper. The surface was beautifully decorated with elaborate silver inlay that covers the entire surface except the base. The extraordinary workmanship depicts a pair of deer within the circled square (shape of heaven and earth) and a lined background on the long sides and a crane with spread wings on the shorter sides. Both animals were associated with longevity. Their eyes were highlighted with copper inlay, adding a lively touch to the animation. The lid is centered with a Chinese character "Xi" (Paired-Hui in Korean), which means double happiness. (In Chinese culture, it is often used in a wedding ceremony). The large symbol was set on geometrical background of tightly scrolling diamond pattern surrounded by stylized Ruyi mushroom heads, another floral longevity symbol. Archaic fret cloud band borders the entire perimeters of the lid and the container. Tobacco was introduced to Korean in the first half of the 17th century and gradually gained popularity. When the tobacco was started being smoked in shredded form instead of rolled leaves, there rose the production of the smoking accessories, with some in fine quality as luxury items for the elite. The accoutrement such as this box is a fine example made in late Joseon dynasty, using extensive silver inlay, a technique called "jjoeum-ipsa", in which the silver wires were hammered into the scorched iron surface to create the elaborate design. Similar boxes with variation of shape and motifs are in the collection of several major museums. Compare the box with item Gu 754 in the National Museum of Korea; item 22.78 in MET NYC and M.240:1, 2-1926 in V& A Museum in London. The most closely related example we found is item C232 in the collection of the Museum of East Asian Art...

A rare cast gilt bronze box "Pinocchio" by French Parisian art jeweler Line Vautrin (1913-1997). The elongated lidded box depicts a silouette portrait of the famous boy. The interior...

A visually arresting photograph by John Patrick Dugdale (American, born 1960-) titled "Stillness of Spirit". Relatively large in print size, the w...

A large ceramic center bowl by Japanese American artist Toshiko Takaezu (American, 1922 - 2011). Meant to be a bespoken center piece., the deep form bowl features a robust body of thick wall, supported by a short round foot ring. The surface showcases an expressive glaze pattern that is the signature style to the artist's work. Free-flowing abstract strokes...

A fine Japanese miniature kodansu constructed from Kaki wood (Persimmon) circa 19th century, late Meiji period. With its expressive exotic wood grains and exposed tenon construction,...

A white stoneware vase by American Ceramist Robert Chapman Turner (1913 - 2005). Made between 1970-80s, the group of white-colored vessels with such a funnel form were called either Beach or Shore, obviously inspired by the ocean. Hand sculptured in a simple form with a neck opens to mouth that also can serve as a handle, the surface was always marked with artistic imperfection intended by the artist, such as incision and kiln bubble and burst. On this vase, the artist made several incision lines randomly, and also sparsely applied some tiny sand-like granules, adding a very subtle texture and allude to the scheme of the ocean. Incised signature "Turner" on the base. The vessel is one of the classic forms with variations in Turner's repertoire since 1970s when he started to make non-functional abstract sculptural pieces. Incised signature "Turner" on the base. "In 1971–72, drawn by the power of African sculpture, and wishing to imbue his work with a greater sense of universality, Robert Turner traveled to Nigeria and Ghana. The trip proved transformational. In West Africa he was deeply moved by the way in which art was ingrained in daily experience, and by the beauty of traditional forms of architecture, pottery, ceremonial objects, and decoration. After his return, Turner began to produce series of distinctive vessel types named after African kingdoms and peoples—Ashanti, Ife, Oshogbo, Akan. The first is a squat, lidded pot; the others are cone and cylinder shapes." Smithsonian American Art Museum Robert Turner's work is in numerous museum collections including the Smithsonian Museum of American Art, Los Angeles County Museum of Art and the Nelson-Atkins Museum of Art, Kansas City. Several examples of this series are illustrated in the book "Robert Turner Shaping Silence A Life in Clay" by Marsha Miro and Tony Hepburn...

A Korean ceramic celadon bottle vase with inlay design from Goryeo Dynasty (918 to 1392AD) circa 12th century. With an elongated neck that continues dow...

A wonderful jewelry box in gilt cast bronze by Parisian art jeweler Line Vautrin (1913-1997). From a small special series, the designer created circa 1945-55. on which some French poems were cast in relief on the cover. This box features a well-known love poem "Sonnet" by Félix Arvers (1806 – 1850), widely considered as one of the most romantic French poems written about unrequited love and longing. Three out of four passages are shown on the lid except the third one. The box is lined with cork. There is a line on the back from casting, commonly seen in the boxes of the series. Mon âme a son secret, ma vie a son mystère, Un amour éternel en un moment conçu Le mal est sans espoir, aussi j'ai dû le taire, Et celle qui l'a fait n'en a jamais rien su. Hélas ! j'aurai passé près d'elle inaperçu, Toujours à ses côtés, et pourtant solitaire. Et j'aurai jusqu'au bout fait mon temps sur la terre, N'osant rien demander et n'ayant rien reçu. Pour elle, quoique Dieu l'ait faite douce et tendre, Elle suit son chemin, distraite et sans entendre Ce murmure d'amour élevé sur ses pas. À l'austère devoir, pieusement fidèle, Elle dira, lisant ces vers tout remplis d'elle " Quelle est donc cette femme ? " et ne comprendra pas. A secret fills my soul, and a mystery fills my life, An eternal love conceived in an instant. As the scourge was hopeless, it remained wordless, And the one responsible was unaware of it. Alas! I lived close to her but without notice, Always by her side yet so lonely. And I shall have lived my days on this Earth, Not daring to ask for anything, obtaining nothing. Even though God made her gentle and tender, She goes her way, careless and oblivious To the sough of love rising...

Pair of metal tulip table bases designed and manufactured by Karl Springer, Ltd circa 1970-80s. The bases are currently configured as a pair of conso...

An iconic black and white photography by Barbara Morgan (American, 1900-1992) of "Martha Graham, Letter to the World". The photo was originally tak...

An antique Korean Buncheong stoneware tea bowl (chawan) from early Joseon Dynasty circa late 15th to early 16th century. The bowl with a short ring base is nearly entirely covered in a white slip except the base (known as sougusuri in Japanese, total glaze). Iron-colored scrolling vines were painted on with quick and deft brush strokes, rendering the bowl a vital and spontaneous appeal. It appears that the bowl was dipped in the white slip instead of being brushed on, observing from the slip pattern left on the rim of the bowl. The bowl shows significant age and evident of use for tea drinking. There are losses of glaze flakes throughout, along the rim and inside the bowl. The flake off the glaze left a dark spot on the rim, exposing the deep colored clay underneath. Inside the bowl, many of the glaze flakes appear more superficial and retains a yellowing color from the tea stains (known as amamori, rain leak). There is a historical crack line on the exterior (surface only) that result in associated small losses of glaze. It appears that the crack line was the result from the kiln firing and gradually the glaze around it started to reduce. The bowl comes with a later wrapping cloth and a wood tomobako box, but they are not original to the piece. This particular type of Buncheong ware was associated with the Hakbong-ri kilns in the sacred Mount Gyeryong Mountains, west of Daejeon city in the Chungcheong province. During early Joseon Dynasty, the emperor decided to reject Buddhism to embrace the Confucianism. As a result, many monks were forced to abandon their religious life and returned to the secular society. The monks in Gyeryong mountains set up the kilns and started to produce this so called "Hakbong-ri" type of Buncheong ware. The production was shorted-lived for only a few decades from late 15th to early 16th century before it turned to porcelain, but the ware made during that period was noted for their fresh and enigmatic appeal with deft iron-paint decoration. Collectors cherish these rare pieces for their vitality and spontaneity often used them on important occasions of chado in Japan and passed down to generation. For a similar bowl, see Catalog 52 illustrated on page 87 of the book "Korean Buncheong Ceramics...

An antique Korean Buncheong stoneware vase from early Joseon Dynasty circa late 15th to early 16th century. The vase is of a classic pear form with a ...

On offer is a rare Ko-seto (old seto) stoneware ewer from Kamakura period (12-14th century) Japan. The exceptionally heavily potted ewer is made of stoneware. The main body was likely hand-coiled with individually built handle, sprout and wheel-made neck and mouth assembled. It takes the basic form from the contemporary Chinese ewer...

A Korean Hori-Mishima Chawan (tea bowl) circa 16th-17th century (Joseon Dynasty). The tea bowl is of an upright conical form supported by a high foot ring. It was decorated with incised brushwood fence patterns filled with white slip on both the interior and exterior surface. These dominant motifs were spaced by three encircling double lines. Seven chrysanthemum flowers (inka) were stamped on the lower interior surrounding a swirling tea well on the bottom. There are six spur marks known as Meato in Japanese on the interior bottom and a pointy spot in the center of the foot ring known as Tokin. Two crack lines were historically repaired by superb Kintsugi, adding a mysterious wabi-sabi appeal to the piece. The Hori-Mishima bowl was also known as Gohon Mishima. It was made in Bushan Kilns of the Southern Gyeongsang Province specifically for the Japanese market in the 16th-17th century, when the tea ceremonies in Japan demanded such ware. The bowl comes with a purple fabric pouch...

A stoneware vessel in an oval form with dipped rim with glazed by British studio ceramist John Ward (1938-2023) circa 1997. The form of this vessel is m...

A large ceramic plate as a wall hanging sculpture by Jun Kaneko (1942-) made in 1990. The Japanese-born American ceramic artist, based in Omaha, Nebraska is known for crating ceramic sculpture with abstract and expressive glaze pattern. Many of his large ceramic installation...

A Satsuma baluster form vase from the studio of Yabu Meizan (birth name Yabu Masashichi; 1853-1934), who is one of the most celebrated and collectible Satsuma artists from Meiji Peri...

A small Satsuma vase from the studio of Yabu Meizan (birth name Yabu Masashichi; 1853-1934), who is one of the most celebrated and collectible Satsu...

A very fine miniature ceramic vase in satsuma ware by Taizan Yohei IX (1864-1922) circa 1880-1890s of late Meiji period. The vase with a broad flat should...

A delicate and rare Japanese ceramic vase by the important Meiji imperial potter Makuzu Kozan (1842-1916) circa 1887-1910. Dated to his underglaze phase post 1887 after he successful...

A nice set of eight cityscape dining chairs by Paul Evans for Directional, circa 1974. The set consists of two armchairs model PE-241 and six side chairs model PE-240. Chromed steel ...

Entitled "Two Kuniya (Pythons) During Tingari Cycle", this mesmerizing painting was painted by Australian aboriginal artist Kenny Williams Tjampitjinpa...

A massive Americana bowl hand-carved from Elm wood (with some possible burl pattern in the wood) circa 18th century. The bowl was from Northeastern part or Eastern Woodlands of the U...