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Ko-Kutani, Arita kiln c.1650

Measuring 14cm (5.51 inches) in diameter

Literature: see the exhibition catalogue of Ko-Kutani: Aote-to-kozara, Hankyu Hyakkaten, 1974 (Takigawa Hoseido, Catalogue of an exhibition organized by and held at Hanyu Hyakkaten, Nov.8-13, 1974, Hankyu Dentetsu Kabushiki Kaisha), monochrome plate no. 85 for an identical Ko-Kutani circular dish with wild geese and reeds.

 

With outstretched wings, a wild goose decends to the waters below, honking greeting at his mate who stands by another goose on a reedy sandbank. This theme of 'Goose Descending to Sandbar' is derived from the great Song cycle of painting - 'Eight Views of the Xiao and Xiang Rivers', the earliest known painted version by Song Di (c.1015 - c.1080). This theme was beloved in Japan. The composition on this piece is very similar to a silk painting by Lu Ji (c.1420 - c.1505) entitled 'Lu ding lai yan' ('Wild Geese Returning to Reedy Sandbank') illustrated in Gugong shuhua tulu (Palace Museum Catalogue of Calligraphy and Paintings), col.7, p.179. The theme of geese in late autumn on a lonely river bank heralds the coming of winter.

This very early Arita-kiln non-biscuit (namagake) porcelain of circular form with gently flared rim is covered with a very pale bluish-grey glaze, the interior superbly painted with the five overglaze enamels of pale yellow, brilliant blue, turquoise green, iron red and bold aubergine, with black outlining, depicting a wild goose in flight above two geese standing amongst reeds on a sandbank. The underside is decorated with black outlined turquoise-green symbolic objects and iron red tassels. This early enamelled dish was manufactured in Arita just before trade with Europe through the V.O.C. (Dutch East India Company) began.

SOLD

An Important and Exceptionally Fine Early Enamelled Arita Iroe Ko-Kutani non-biscuit (namagake) porcelain dish

depicting Wild Geese and Reed (Ashi Gan No Zu)
early Edo period, Joo era (1650-55)

circa 1650

Ai-Kakiemon, Nangawara kiln, Arita c.1660-1670

An Exceedingly Striking, Fine and Early Ai-Kakiemon

non-biscuit (namagake) porcelain dish

depicting Cranes and Bamboo

Nangawara kiln (Old Kakiemon kiln site)
early Edo period, Kanbun era (1660-1673)

circa 1660-1670

Measuring 21.3cm (8.38 inches) in diameter 

 

A simply superb and possibly unique example representing the transition between the Ko-Kutani style and the Kakiemon style manufactured in the Old Kakiemon kiln (Nangawara) in the late Kanbun period. Identical cobalt-blue seal marks within a double-square have been excavated at the Old Kakiemon kiln site. The interior is very asymmetrically and naturalistically painted in sharp, stunningly vivid strokes of cobalt blue - an exceptionally fine example of the Ai-Kakiemon (Blue Kakiemon) style.

This very early Kakiemon non-biscuit (namagake) porcelain of circular form with gently flared rim is covered with a very pale bluish-grey glaze, the interior superbly and sharply painted with the a pair of cranes among bamboo shoots. The reverse is finely encircled with a very neatly drawn scrolling karakusa, and a cobalt blue kaku-fuku seal mark within a double square to the base. The underside set with three spar marks, and the edge of the footrim burnt orange.

 

This early transitional dish is exceptionally rare in that it marks a period when both non-biscuit fired and biscuit-fired porcelains were manufactured at the same time and at the same place - on the cusp of when the so-called Ko-Kutani style would be superseded by that of the the Kakiemon.

Measuring 20.3 cm (7.99 in) in diameter

Literature:

An identical dish in the Shibata Collection at the Kyushu Ceramic Museum, illustrated in Catalogue VII, no.111.

Similar moulded porcelain dishes illustrated in Yamashita, Sakuro "Ai-Kutani to Ai-Kakiemon" (1983), and in Tsuchioka, K. "The Shibata Collection, vol.II, nos. 155-157.

Provenance:

A fine Private Collection, Kyushu, Japan

 

The exceptional finely potted white porcelain body of shallow circular form with a sharply moulded pie-crust rim dressed in iron brown fuchi-beni rim glaze with a superbly formed cavetto of undulating, spiralling form.

 

The interior is boldly painted with a large central circular medallion depicting flowering branches of peony issuing from rockwork on a steep ground, the reverse encircled with a finely drawn double-lined scrolling hana-karakusa.

A cobalt-blue Kaku-Fuku seal character on the reverse within a double square, the edge of the footring burnt red, thickly potted base.

Price: please enquire

Ai-Kutani, Chokichidani kiln, Arita c.1655

A Splendid and Exceedingly Rare Early Ai-Kutani moulded dish with pie-crust rim and sharply undulating cavetto, superbly painted with flowering branches of Peony issuing from Rockwork,

Chokichidani kiln

early Edo period, Joo era (1652-55)

circa 1655

Kakiemon, Arita kiln, c.1690-1710

A Fine and Rare Enamelled Arita (iroe) Kakiemon-type porcelain footed bowl featuring flowering Hydrangea, representative of Gratitude, with scattered flowerheads to the underside

Arita kiln

early Edo period, Genroku era (1688-1704)

circa 1690-1710

 

Measuring 13.5 cm (5.31 in) in diameter; 3.2 cm (1.25 in) in height

The finely potted shallow bowl of white porcelain with an everted and very unusually lobed rim dressed in iron-brown fuchi-beni glaze (lip rouge) and enamelled with a continuous band of scrolling foliage and stylized flowerheads, the interior painted in overglaze yellow, green, blue, black and iron red enamels with flowering branches of hydrangea and peony to the centre, the gently curved sides sparsely decorated with scattered enamelled flowerheads, and raised on a circular foot.

The Hydrangea was a motif rarely used by the Kakiemon, yet boldly featured on this small bowl. Being symbolic of Gratitude, it is likely that this bowl was intended as a presentation piece, or a 'Small Token of Gratitude'.

The enamels are in bright, remarkable and pristine condition, and the scattered flowerheads to the underside are particularly pleasing.

Ko-Imari, Arita kiln, c.1690-1710

Measuring 20.8 cm (8.18 inches) in diamter, 2.9 cm (1.14 inches) high

This very fine late 17th century Arita white porcelain dish of circular form with a flared rim, the interior asymmetrically painted in fine underglaze cobalt blue tones with three auspicious symbols, a crane in flight above a perpetually-lived turtle (Minogame) and a pine issuing by the partly snow-clad rockwork, the underside decorated with karakusa scrolling, a cobalt-blue circle to the base set with four spar marks, some kiln-grit adhering to the footring.

According ancient Japanese legend, gtsuru wa sennen, kame wa mannenh, the crane lives a thousand years, and the turtle ten thousand years. These auspicious symbols of longevity are seen as bearers of good fortune and long-lasting friendship or devotion; the crane having only one partner for life. The tortoise is also The Guardian of the North and represents winter; this dish bearing a snowy bank beneath a pine tree.

A Splendid Blue and White Arita porcelain dish boldly painted with a Crane and Turtle (Tsuru Kame),

representative of Friendship, Devotion & Longevity

Arita kiln

early Edo period, Genroku era (1688-1704)

circa 1690-1710

 

Ko-Imari, Arita kiln, c.1670-1690

Measuring 23.8 cm in diameter 

Mark:

Running fuku mark in underglaze cobalt blue on reverse

A very finely potted lobed dish painted in rich cobalt tones with a pair of large clams (hamaguri) and seaweeds (kaisou).

 

This dish - decorated strongly and boldly in the Japanese taste - was certainly made for the home market, and not for export to Europe through the V.O.C. (Dutch East India Company).

The famous Shibata collection at the Kyushu Museum shows several late 17th century Arita-kiln dishes depicting clam, marine algae and seaweeds, however the present dish with it's striking pair of clams shells - most likely representative of fidelity and marriage - appears to be unrecorded.

The reverse shows a large underglaze blue Running Fuku mark and three spar marks, encircled by finely painted karakusa scrolls.

A Previously Unrecorded blue and white Ko-Imari dish superbly and boldly painted with two large clams and seaweeds

Arita kiln

circa 1670-1690

 

Export Ewer, Chokichidani kiln, Arita c.1660

A Very Finely Painted and Potted Export Wine Ewer

of European form, made in Arita for export by the Dutch East India Company, painted in the Chinese Transitional Style

Chokichidani kiln

early Edo period, Kanbun era (1660-1673)

circa 1660

Measuring 21.3 cm 8.42 inches in height

Exhibited:

The Tonbodama Art Museum Exhibition (1996). Illustrated p.63 cat. 60.

Literature:

Impey, Oliver. Catalogue of the Collection of the Ashmolean Museum (2002) A nearly identical ewer in the Ashmolean Museum, Oxford, Story Fund EA2000.4, also attributed to workshops at the Chokichdani kiln.

Jorg, Christian. Fine & Curious: Japanese Export Porcelain in Dutch Collections, p.49, cat. 178.

This ovoid-shpaed export wine ewer - with its form based on German stoneware, its distinctively Japanese spreading takefushi (bamboo-noded) foot, its bold painting adopted directly from the Chinese Transitional style of the late Ming Dynasty, and pierced loop handle destined for European silver-mounts - stands as a testament to the highly active trade-routes of the 17th century. Created in Japan, of European shape, painted in the Chinese style and ordered by the Dutch East India company for shipment to Amsterdam; this piece is truly representative of historical trade and cross-cultural influence.

The straight neck painted with a band of foliage, the sides painted in fine underglaze cobalt blue tones with a continuous scene of scholars conversing in a terraced garden among willow, pine and a waterfall, flowering sprays of lotus to the neck, moulded circles around the foot, with some kiln-grit adhering to the outside and inside of the foot. The loop handle pierced, but unmounted.

Jorg describes the takefushi shape of the bulging foot as spreading and then turning sharply inwards - a uniquely Japanese feature known as 'bamboo-noded'.

Ko-Kutani, Arita kiln, c.1650

A very Fine and Early Enamelled Arita Iroe Ko-Kutani non-biscuit (namagake) porcelain footed bowl

depicting Ho-o birds encircling a spurious Chenghua reign mark

Arita kiln
early Edo period, Joo era (1650-55)

circa 1650

Measuring 13 cm (5.11 inches) in diameter, 4.2cm (1.65inches) in height

Provenance:

A fine Japanese Private Collection, Kyushu, Japan

Literature:

Ogi, I. Shoki Imari kara ko-Kutani yoshiki, page 187, colour plates 212 and 213.

This slightly thickly potted non-biscuit Arita-kiln porcelain of circular form with curved sides set on a typically small foot, covered with a blue-grey tinged glaze partly thickly pooled, the interior painted in underglaze cobalt blue, fine original iron red and overglaze enamels with a pair of ho-o birds in flight to the side walls, an underglaze-blue spurious Chenghua six-character mark within cobalt-blue and iron red circles, the underside encircled by folded pine needles (ori-matsuba), kiln-grit adhering to the unglazed footrim.

This early enamelled dish was manufactured in Arita just before trade with Europe through the V.O.C. (Dutch East India Company) began. It is excessively rare to find authentic early Ko-Kutani of this period and quality in the West.

Ko-Imari, Arita kiln, c.1690

A fine and boldly painted Ko-Imari porcelain dish with rinka rim

strikingly decorated with a Pair of Ayu Sweetfish

Arita kiln

Early Edo period

circa 1690

Measuring 20 cm (7.87 inches) in diameter

The finely potted biscuit-fired white porcelain of circular form with a fine lobed rinka rim, the interior very boldly painted with a strikingly contrasting and balanced pair of swimming sweetfish in fine underglaze cobalt blue showcasing strong tonal variations and expert brushwork.

The reverse decorated with a fine double-lined hana-karakusa scroll, a cobalt blue Chenghua apocryphal six-character mark with a circle to the base. Five spar marks and some kiln-grit adhering the the footring.

Kakiemon, Arita kiln, c.1690

A very fine Kakiemon enamelled deep dish of nigoshide porcelain

Genroku era (1688-1703)

delicatley enamelled in the Kakiemon style

with a frolicking shishi Lion and sprays of flowering Peony

circa 1690

 

Measuring 13.9 cm (5.47 in) in diameter; 4.4 cm (1.73 in) in height.

An exceptionally well enamelled and very finely potted foliate shallow bowl, the body of luminescent white nigoshide porcelain with milk-white glaze, painted in the Kakiemon palette of iron red, brilliant blue, turquise green and pale yellow with black outlining, depicting a frolicking shishi alongside classic Kakiemon flowering peonies.

The reverse is typically undecorated. A spar mark to the glazed base, some kiln-grit adhering to the interior of the unglazed footrim.

This bright white nigoshide body is a fine example of the white porcelain paste and pure glaze used for only the finest enamelled wares of this period. This body, composed of kaolin and petunste, achieved purity through a time consuming process in which the Arita potters repeatedly levigated and washed the clay.

An excessively rare and pleasing pattern.

SOLD

Ai-Kakiemon, Arita kiln, c.1690

A Highly Important Documentary blue & white Kakiemon dish

Genroku era (1688-1703)

from the Royal Collection of Augustus the Strong of Saxony

circa 1690

Marked on reverse with Wheel-Incised JOHANNEUM Japanese Palace Inventory number 'N:184~~~'

 

Measuring 23.8 cm in diameter

Provenance:

From the Royal Collections of AUGUSTUS THE STRONG (1670-1733), Elector of Saxony and King of Poland

This superby painted ai-Kakiemon (blue Kakiemon) dish displays the finest Kakiemon features, the floriform rim moulded in ten pointed lobes edged in fuchi-beni iron-rim dressing. Painted in exceptionally fine and rich graduated underglaze cobalt blue tones with a snarling tiger beneath a grinning dragon, the former representing The Earth, the latter allegorical of The Heavens.

Literature: An identical example (without the Johanneum inventory mark) is held in the collection of The Stichting Twickel, Delden, The Netherlands, JK 38, and is illustrated in The Oriental Ceramics Society publication 'Porcelain for Palaces: The Fashion for Japan in Europe, 1650-1750' (1990), plate 126.

Marks:

Bearing fuku mark for 'happiness' in underglaze blue, and incised with the Johanneum inventory number N:184 ~~~ from the Japanese Palace, Dresden.

SOLD

Meissen, The Four Seasons, c.1755

Measuring 26 cm in height.

 

Provenance:

Private Collection, Montreal, Canada

Two scantily clad putti are paired to depict 'Autumn & Summer' of 'The Four Seasons' by Meissen. The figure of Summer, reclining amidst wheat sheaves, raises her hand to the Autumn harvest, and props her elbow on the scrolled base. In her left hand she carries a sickle. Her hair is drawn into a knot.

Above her, Autumn is raised upon the high rockwork base, scattered with applied flowers and leaves, whilst endulging in a bunch of grapes falling from his upraised hand. His head is crowned with a garland of leaves and grapes, and a thick twisted vine bearing bunches of grapes issus from the mound.

In pristine condition, and of impressive height.

See associated figural group of Summer & Autumn below.

SOLD

An Exceedingly Rare & Large Meissen blanc-de-chine group

allegorical of Summer & Autumn from The Four Seasons

modelled by Johann Joachim Kändler (1706-1775)

circa 1755

Marked to the side of the flat-bottomed base with underglaze blue crossed swords

 

Meissen, The Four Seasons, c.1755

An Exceedingly Rare & Large Meissen blanc-de-chine group

allegorical of Summer & Autumn from The Four Seasons

modelled by Johann Joachim Kändler (1706-1775)

circa 1755

Marked to the side of the flat-bottomed base with underglaze blue crossed swords

 

Measuring 26 cm in height.

 

Provenance:

Private Collection, Montreal, Canada

Two scantily clad putti are paired as with a faun to depict 'Summer & Autumn' of 'The Four Seasons' by Meissen. The naked figure of Summer, seated on a goat's back amidst wheat sheaves, twists to her right, propping her elbow on the scrolled base. In her right hand she carries a sickle. Her hair is drawn into a knot, crowned with two small wheatsheaves held in place by a headband. Below her, in a small nest shielded by ferns sprouting from the base, a partridge protects her eggs.

Autumn kneels on the base feeding a bunch of grapes to the recumbent goat. His head is crowned with a garland of leaves and grapes, and a tendril bearing bunches of grapes issues from the high-scroll and foliate moulded base with applied flowers.

In pristine condition - firing cracks and filler original, and of impressive height.

See associated figural group of Summer & Autumn above.

Red wax collection seal to the base.

SOLD