Japanese Lacquer Sutra Box with Imperial Mon, Kyobako, Edo Period, 18th Century

A wonderful Japanese lacquer incense box, kogo, with a design of sparrows in flight, late Momoyama or early Edo Period, circa 1600, Japan. The small box, called a kogo, was used t...

An exceptionally fine and unusual Japanese lacquer writing implements box, suzuribako, in the form of a zither, koto, Edo Period, 18th century, Japan. With a modern wood storage box,...

A stunning Japanese Edo period lacquer tanzakubako, box for poem cards, late 18th-early 19th century, Edo Period, Japan. Attributed to the Igarashi School, this box is masterfully ...

A fine and unusual Japanese black lacquer and mother of pearl inlaid box, Momoyama Period, 16th century, Japan. The large box and cover featu...

A fine and elegant Japanese lacquer box for writing implements or stationery, suzuribako, with an image of a Shinto shrine, Edo Period, mid-19th century, circa 1840, Japan. The exqu...

A spectacular Japanese maki-e lacquer lidded box, possibly a writing box, suzuribako, decorated with images of folding fans, ogi, Edo Period, earl...

Late 18th century Inro by Kajikawa. Edo period Beautiful inro in gold lacquer representing a continuous landscape on both sides. The interior in Nashiji lacquer. Some small traces...

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 large lacquer Ryoshibako (Paper box in Japanese) finely decorated with Maki-e circa 17th century early Edo period. The box is of an impressive size and was used to store paper documents. Both sides of the lid were elaborately decorated with maki-e and the edge was befitted with lead rim, an early practice before the silver rim became common later. The interior and base were finished in Nashiji. The night scene on top surface of the lid depicts flocks of chidoris flying in formation from a sea shore swaying with reeds under a full moon, using hiramaki-e in both gold and silver. Ribbons of clouds were achieved with different densities of gold powder. The underside, in contrast, shows a crescent moon in takamakie-e above the sea with ferns and reeds. Chidoris, the plovers, are symbolic in Japanese culture as "thousands of blessings" and longevity. The Namichidori, the pattern in which the chidori flies in the nami (wave) represents the eternal love and safety of couples and families. For detailed references on the historical background and the use of chidoris on lacquerware, see the reference below. This very lacquer box was featured for sale as lot 339 in Christie's London Sale Japanese Art...

A three-case lacquered Inro by Yamada Family circa 18th-19th century Edo period. The inro with slight rounded form is of Kano style and vividly depicts a dragon slithering among the ink clouds on a gold background. Sumi-e togidashi (ink togidashi) technique, in combination with Hiramaki-e, were employed to create the dreamy ambience of this piece. The dragon has a painterly appearance inspired by Chinese ink painting that was often seen on the Japanese folding screens. The back of the Inro was sparsely decorated with the shifting patterns of the darkening clouds with an emphasis on the space intentionally left empty. Jokasai was signed to the base. On the front of the inro there is another miniature signature Hakugyoku Hogen, which is one of names used by Kano Michinobu (1730-1790). The dragon is evidently one of his designs (see reference below). Established by a member of Yamada family in the 17th century, the clan was one of the most prominent lacquer artisanal family for the next 200 years until the end of Edo period in the 19th century. Most members signed their work simply with Jokasai making the identification of the individual artists somewhat impossible. The current Inro on offer, compared to many other pieces by Jokasai, has an uncommon Kano style done in Sumi-e togidashi. Another unusual feature of this piece is that the interiors of the inro was decorated with an interesting gold mosaic inlays (kirigane) on a dark lacquer background, giving it a jewel like quality. For another Inro by Jokasai of a similar style using Sumi-e togidashi but depicts a tiger, see Wrangham collection, no.353, which was offered for sale as lot 256 in Bonham's London Auction: The Edward Wrangham Collection of Japanese Art Part I. 9 Nov 2010. For an ink scroll...

The highly decorated tray in the form of a table frames a series of three stacking boxes, a further three lidded boxes and a tray concealed within, raised on ogee bracket feet. This...

Japanese Samurai Abumi Stirrups lacquer Edo late 18th century, early 19th century. Measures: 12 inch length, 10 inch height, 5.5 inch width. AVANTIQUES is dedicated to providing an...