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A great wooden temple lantern 行灯 (andon) of kakuga A great wooden temple lantern 行灯 (andon) of kakugata 角形 (square) type, displaying a refined blend of traditional craftsmanship and early Art Nouveau influences.

The lantern is constructed with a dark brown wood frame, enriched with intricately carved corner brackets and decorative horizontal rails carved with floral motifs. The rectangular body is lined with antique paper panels made from pages of a book, covered in flowing cursive script.
The paper panels on all four sides are removable for access to the interior.

The upper section is supported by square pillars and fitted with a carrying handle on top. It rests on a square base raised by low bracket feet.

Complete with two ceramic oil saucers, one with a loss to the rim. When illuminated, the aged paper emits a soft, warm glow that beautifully enhances the atmosphere of a traditional Japanese interior.

Period:
Japan – Early 20th century (Taishô period)
Dimensions:
Height 80.2 cm, Width 25.7 cm, Depth 25.7 cm.

Considering its age, the lantern is in good condition. The fragile original paper panels show expected age-related wear, including a small hole along the upper edge of one panel. One carved corner bracket is missing. Please refer to the photographs for a clear condition reference.

When shipped, we will include a certificate of authenticity.

Ref. No. : E5364, link in Bio
An exceptionally large and imposing wooden temple An exceptionally large and imposing wooden temple guardian depicting Agyō 阿形, one of the pair of Niō 仁王, also known as Kongōrikishi 金剛力士, the powerful protectors of Buddhist temples in Japan.

Niō figures traditionally stand on either side of the Niōmon, the entrance gate to a Buddhist temple, where their fierce expressions and muscular appearance are intended to ward off evil spirits and protect the sacred grounds.

This guardian represents Agyō, recognizable by his open mouth, pronouncing the syllable “a” — the first sound and symbolic beginning of all things. Together with his closed-mouthed counterpart Ungyō, whose final syllable “un” represents the end, the pair embodies the beginning and completion of all existence.

Carved with a powerful, dynamic presence, the figure stands in a wide and alert pose. His bare torso is strongly modelled with pronounced musculature and adorned with a necklace and floral ornaments. A flowing mo skirt is wrapped around the hips, while his expressive face, wild hair and raised left hand reinforce his formidable character. In his right hand he holds a large twisted vajra (kongōsho 金剛杵), an important Buddhist symbol associated with spiritual power and indestructibility.

Estimated to date from the Meiji period (late 19th century), the sculpture has an extraordinary height of 242 cm, giving it a commanding architectural presence. It originates from an unidentified temple in Japan; no further provenance is known.
An exceptional tall six-panel byôbu 屏風 (folding sc An exceptional tall six-panel byôbu 屏風 (folding screen), featuring an elegant Rinpa School-style autumn landscape with a family of quail 鹑 (uzura) sheltering amongst luxuriant flowering plants against a richly mottled gold leaf ground with an attractive aged patina.

The composition is arranged across a gently rolling landscape enlivened by softly drifting gold leaf clouds. At the left, a flourishing stand of white peonies 牡丹 (botan) above clusters of Japanese dwarf bamboo 笹 (sasa), bellflowers 桔梗 (kikyô). Beneath the foliage, five quail forage and rest amongst the undergrowth, while two others take flight across the centre of the screen. To the right, a dark meandering stream winds through the landscape towards low distant hills dotted with young pine trees.

Executed in mineral pigments and ink on mulberry paper with gold leaf. The screen is mounted with a narrow gold silk border and a wider orange-gold silk brocade border, and enclosed within a black lacquered wooden frame fitted with gilt metal protective mounts. The painting dates to the 18th century (Edo period), while the frame was refurbished at a later date.

Period: Japan – 18th century (Edo period)

Dimensions: Height: 174.1 cm; Total width: 337.0 cm (2 x 57.5 cm, 4 x 55.5 cm)

Considering its age, the screen is in very good restored condition with age-appropriate wear on both sides. The gold leaf shows expected craquelure and minor losses, consistent with its age. Please study the photographs carefully for a detailed impression of its condition.

The folding screen is ideal for mounting flat on a wall and presenting as a single work of art, but can of course also be placed as a standalone piece.

When shipped, we will include a certificate of authenticity.

Ref. No. : E5302, link in Bio
A patinated bronze okimono 置物 ensemble in the form A patinated bronze okimono 置物 ensemble in the form of a crab 蟹 (kani), placed upon a long natural wooden display plank.

The crab is cast with finely articulated legs and claws, each individually modelled to create a lively, naturalistic appearance. It is finished with a deep brown patina with subtle greenish undertones, complementing the weathered surface of the accompanying wooden stand. The plank is formed from a single piece of naturally weathered wood, retaining its irregular tapering outline and beautifully eroded grain, creating an attractive display reminiscent of driftwood along a shoreline.

Period: Japan, Taishô period (1912-1926).
Dimensions:
Crab: Height: 9 cm; Width: 30 cm; Depth: 14.5 cm; Weight: 1,042 g.
Wooden plank: Length: 114.5 cm; Width: 40 cm; Height: 8.5 cm.

The bronze crab and wooden display plank are both in very good condition with minor traces of wear and patina consistent with age. Please refer to the photographs for a clear impression of the condition.

When shipped, a certificate of authenticity will be included.
A rare wooden figure of Shoriken 鐘離権 (Zhongli Quan A rare wooden figure of Shoriken 鐘離権 (Zhongli Quan), depicted on horseback holding his feather fan.

Finely carved in rich detail from solid wood with polychrome pigment details. The Daoist immortal and divine general is shown mounted on a horse in full trappings, standing on a rugged naturalistic base. Shoriken is portrayed wearing voluminous robes with a sword scabbard slung across his back. With his left hand, he holds the reins of his steed, while his right arm extends forward, presenting his distinctive feather fan, which is a symbol of his power to resurrect the dead and transform stones into silver or gold.
The facial features of both rider and horse are delicately tinted in soft red, and their eyes are inlaid with reverse-painted glass.

Period: Japan – Edo period (1615–1868)
Dimensions: Height 40.2 cm, Width 28.5 cm, Depth 19.5 cm.
Weight: 5.18 kg

Considering its age, in a very good condition with minor wear consistent with age, including a few small scattered chips. The piece was likely once part of a larger ensemble and originally displayed from a higher viewpoint. The sword may be missing. Please refer to the photos for a clear condition reference.

Shoriken (in Chinese Zhongli Quan 鐘離權), courtesy name Jidao, is one of the Eight Immortals 八仙 in the Daoist pantheon. Said to have lived during the Han dynasty, he is often depicted holding a feather fan: his emblem of divine power and transcendence.

When shipped, we will include a certificate of authenticity.

Ref. No. : D5780, link in Bio
A Japanese carved cinnabar lacquer pedestal table A Japanese carved cinnabar lacquer pedestal table of unusual form, covered in layers of vermilion red lacquer finely carved with continuous decorative motifs.

The surfaces are richly ornamented with medallions depicting figures at leisure in landscape settings, as well as panels with plum branches. These scenes are surrounded by scrolling floral designs and geometric diaper patterns, carved in deep relief throughout.

The small rectangular top is supported by slender, outward-curving legs, which connect to a larger rectangular base, giving the piece an elegant yet stable appearance.

Period:
Japan – Taisho period (1912-1926)

Dimensions:
Height 51.5 cm, Width 49.6 cm, Depth 33.8 cm

In very good original condition, with minor traces consistent with age. Please refer to the photographs for a clear impression of the condition.

When shipped, a certificate of authenticity will be included.

Ref. No. : E3393, Link in Bio
A superb and rare patinated bronze kakebotoke 懸仏 ( A superb and rare patinated bronze kakebotoke 懸仏 (hanging Buddhist votive plaque), also known as mishôtai 御正体. These sacred plaques were created in the context of shinbutsu shûgô 神仏習合 (the syncretism of Shintô and Buddhist deities), and offered to temples and shrines as objects of veneration. While depictions of Kannon are most common, this example featuring Fudô Myô-ô is exceptionally rare.

The circular plaque presents a high-relief image of Fudô Myô-ô 不動明王 (Acala), standing firmly on a jagged rock base. His left hand is raised in front of his chest, while his right rests on his hip, in a commanding pose. He is dressed in a loosely draped robe and displays a wrathful expression. He is flanked by two baluster-shaped vases.

The central motif is encircled by two concentric rings with evenly spaced domed rivets. At the top, a pair of temple lion 獅子(shishi) heads serve as fittings for suspension. The reverse is fitted with iron pins, suggesting it could also be mounted flat against a surface. The bronze surface has developed a deep, rich patina over the centuries.

Fudô Myô-ô is one of the Five Wisdom Kings Godai Myô-ô 五大明王—fierce manifestations in Esoteric (Shingon) Buddhism that represent the wrathful power of the Five Wisdom Buddhas. Fudô, the central figure among them, is known as the “Immovable One” who subdues obstacles and ignorance, frightens beings into awakening, and protects the teachings of Dainichi Nyorai (Mahāvairocana Buddha).

The plaque is accompanied by a black lacquered tomobako 供箱 (storage box).

Period: Japan – Muromachi period (1336–1573), 15th/16th century
Diameter: 32,2 cm, Depth circa 3 cm, Weight 2.5 kg

In a very good condition considering its age, with a well-developed patina and traces of historical use. Slight loss one shishi and rock. Please refer to the photos for a clear condition reference.

When shipped, a certificate of authenticity will be included.

Ref. No. : D5633, Link in Bio
An elegant dressing stand 鏡台 (kyôdai) executed in An elegant dressing stand 鏡台 (kyôdai) executed in lustrous black lacquer, holding an alloy hand mirror 柄鏡 (ekagami).

The stand is configured with two drawers at the front, each fitted with copper pull rings mounted on circular backplates finely engraved with the family crest 紋 (mon) depicting the ‘5–7–5 paulownia’ 五七桐 (go-shichi kiri). Surmounting the chest is a mirror frame shaped in the form of a Shintô shrine torii-gate, its twin-posted structure crowned with a triangular crossbar terminating in Chinese-style gable 唐破風 (karahafu) ends adorned with gilded metal fittings with scrolling vine design.

The surface of the stand coveed with golden hiramaki-e 平蒔絵 (low-relief lacquer design) of scrolling foliage surrounding paulownia crests adorned with golden nashiji 梨子地 (sprinkled gold lacquer) accents.

Resting on the frame is the traditional Japanese hand mirror, its back finely embossed with a design of a minogame 蓑亀 (tortoise with trailing algae) among lush blooming flora; an auspicious motif symbolising longevity and prosperity. To the left, an inscription reads: “Tsuda Satsuma-no-Kami” 津田薩摩守, an honorific signature employed by metalworkers of the late Edo period, denoting the maker Tsuda, bearer of the title “Governor of Satsuma.”

Period: Japan – Stand: Early Meiji period (second half 19th century); Mirror: Late Edo period (first half 19th century).

Dimensions:
Dressing stand:
Height 65.8 cm, Width 27.6 cm, and Depth 27.4 cm.
Mirror:
Length 30.4 cm, Width 20.8 cm, Weight 466 gram.

In very good condition considering its age, with light traces of wear consistent with use. The stand shows some minor lacquer losses, mainly along the rims, and a restored frame. The mirror displays superficial oxidation. Please refer to the photos for a clear condition reference.

When shipped, we will include a certificate of authenticity

Ref. No. : E3597+D5399, link in Bio
A tall six-panel byôbu 屏風 (folding screen) featuri A tall six-panel byôbu 屏風 (folding screen) featuring a bold Kanô School style painting depicting a pair of eagles 鷲 (washi) and a hawk 鷹 (taka) in a mountain landscape.

One of the large eagles is perched on a slanting dead tree trunk entwined with vines and leaves, ruffling its feathers with its beak. Nearby, another eagle stands on a protruding rock formation, lifting one clawed foot, while a hawk watches attentively from a smaller rock along the side. A rare feature of this screen is that the artist chose to depict eagles, whereas such scenes typically feature only smaller bird-of-prey, making this composition especially striking and unusual.

The scene unfolds near a river, surrounded by oxidized silver-leaf clouds that have developed an attractive patina, with mountain peaks emerging above the mist.

Executed in natural pigments and ink on mulberry paper with silver leaf, the screen is bordered by two silk bands: a slender golden inner border and a broad brown outer border. The panels are set within a black lacquered wooden frame fitted with protective metal hardware.

Period: Japan – 19th century (Late Edo period / Early Meiji period).
Dimensions:
Total width 380 cm (2 × 64.6 cm, 4 × 62.7 cm); Height 182.1 cm.

Considering its age, the screen is in very good condition, with traces of wear and restorations on both sides, such as areas of repapering on the reverse. Please refer to the photos for a clear condition reference.

The folding screen is ideal for mounting flat on a wall and presenting as a single work of art.

When shipped, we will add a certificate of authenticity.

Ref. No. : E1103, Link in Bio
A lovely pair of hourglass-shaped patinated bronze A lovely pair of hourglass-shaped patinated bronze vases each adorned with 11 large gilded wooden lotus flowers and -leaves with refined details. The vases are adorned wit gilded appliques formed like cherry blossom flower heads.

Such arrangements are known as Jyôka 常花 (“everlasting flowers”) and are traditionally placed on or beside a Buddhist altar as symbolic offerings. The lotus flowers are shown at varying stages of bloom, from tightly closed buds to fully unfurled petals and broad leaves, representing the stages of spiritual awakening on the path toward Buddhist enlightenment.

Period: Japan – 1912-1926 (Taishô period).

Dimensions:
Vase plus flowers: height 92 cm, width 45 cm, depth 30 cm.
Lengths of the flowers & leaves varies from 35 cm to 83 cm.

The flowers are in a very good original condition with minimal traces of wear conform age. The vases are in a good original condition with superficial oxidation. Please look at the photos for a condition reference.

When shipped we will add a certificate of authenticity.

Ref. No. : E2008
A superb and complete samurai armour 具足 (gusoku) c A superb and complete samurai armour 具足 (gusoku) comprising a gomai yokohagi okegawa-dô 五枚横矧桶側胴 (five-piece horizontal-plated cuirass), fitted with a signed helmet by Myôchin Munetae 明珍宗妙.

Provenance:
Bonhams, Arts of the Samurai, New York, 26 October 2022, lot 46 (estimate USD 40,000–50,000).

An old label preserved within the helmet identifies Munetae as the 27th master of the Myôchin lineage, one of the most celebrated armour-making families in Japanese history.

Period:
Japan – Edo period (18th century)

Dimensions:
Height 160 cm, Width 90 cm, Depth 45 cm.

Ref. No. : N2761, Link in Bio
A Rinpa School-style inlaid lacquer kôgô 香合 (incen A Rinpa School-style inlaid lacquer kôgô 香合 (incense box) and cover depicting three farmers along the Sumida river.

Of circular form with a domed flush-fitting lid 印籠蓋 (inrôbuta), set on a dense e-nashiji 地梨子地 (sprinkled gold lacquer) ground. The lid depicts three farmers, their robes inlaid with aogai 青貝 (mother-of-pearl) and pewter. They are shown pulling a boat with pewter inlay along a shoreline rendered in golden gyôbu-nashiji (large flakes), with rocks further enriched by delicate kirigane 切金 flakes.

The decoration is finely executed in gold hiramaki-e 平蒔絵 (low-relief lacquer design) and takamaki-e 高蒔絵 (high-relief lacquer design)

The interior is finished in reddish dense nashiji set with pewter rims.

Period:
Japan – Late Edo period (First half 19th century)
Dimensions:
Diameter 7 cm, Height 4.5 cm

In very good condition, with minor wear consistent with age, including a few tiny nicks and small losses to the gyôbu-nashiji and kirigane decoration. Please refer to the photographs for a clear impression of the condition.

Complete with a red lacquered wooden tomobako 共箱 (storage box) bearing an old inscribed label: ‘Sumida river maki-e incense box’ 隅田川蒔絵香合.

Rinpa refers to a distinctive style in Japanese art that developed in the early 17th century, associated with artists such as Ogata Kōrin (1658–1716). The style is characterised by bold, stylised compositions, the use of rich materials such as gold and silver, and refined decorative techniques, often inspired by classical literature and nature.

When shipped, a certificate of authenticity will be included.

Ref. No. : E3703, Link in Bio
A heavy and impressive bronze temple bell 梵鐘 (bons A heavy and impressive bronze temple bell 梵鐘 (bonshô) of traditional form, producing a deep and resonant sound when struck, and bearing a beautiful green aged patina.

At the top, the suspension handle 竜頭 (ryûzu) is cast in the form of two mirrored dragon heads. The upper section of the bell is decorated with pronounced bosses 乳 (chi), arranged in three rows of three and framed by embossed cartouches. The striking area features a lotus-shaped striking panel 撞座 (tsuki’za).

The broad central band is adorned in relief with a pair of heavenly beings 天人 (tennin) flying amid swirling cloud banks, alongside matching embossed bonji 梵字 (Sanskrit seed syllables). Another inscription records the date and commissioner(s), reading:
“15th year of Tenpō, in the year of Kōshin” 天保十五年歳在甲辰, Anno 1844.

Dimensions:
Height 59.5 cm, Diameter 31 cm.
Weight: 38.3 kg.

Considering its age, the bell is in very good original condition. The rich patina, oxidation, and subtle colour variations indicate that it hung outdoors for an extended period and was used in its intended temple setting. Please refer to the photographs for a clear condition reference.

When shipped, a certificate of authenticity will be included.

Ref. No. : E3014, Link in Bio

#buddhist #temple #bronze #bell
An exquisite lacquer kushi’bako 櫛箱 (comb box) full An exquisite lacquer kushi’bako 櫛箱 (comb box) fully adorned with golden chrysanthemums 菊 (kiku)

Of square form with rounded edges and a slightly domed overhanging lid (kabusebuta), and fitted with an interior tray.

The exterior and interior is richly decorated with dense chrysanthemum blossoms in gold takamaki-e 高蒔絵 (high-relief lacquer) and hiramaki-e 平蒔絵 (low-relief lacquer) on a sprinkled rôiro ground.
The sides are fitted with silver mounts in the form of flower baskets, from which purple silk cords are suspended. The rims are finished in pewter.

Period:
Japan – Late Edo period (First half 19th century)

Dimensions:
Height 8 cm, Width 9.5 cm, Depth 11.5 cm

In very good condition, with only minimal traces of wear to the edges. Please refer to the photographs for a clear condition reference.

Complete with a dark red lacquered wooden tomobako 共箱 (storage box).

When shipped, a certificate of authenticity will be included.

Ref. No. : D5240, link in Bio
A monumental life-size pair of large bronze okimon A monumental life-size pair of large bronze okimono 置物 formed like cranes 鶴 (tsuru).

Naturalistically cast and finely detailed, one crane is shown with its head raised skyward, while the other holds its beak slightly open in a gentle call. Both figures are carefully modelled, with layered, textured feathers and finely rendered facial features.
The surface is finished in a warm reddish-brown patina.

Period: Japan – Meiji period (1868–1912)
Dimensions:
Height 152 cm and 150 cm
Weight 29.8 kg and 27.4 kg

In very good condition, with expected surface wear and minor casting irregularities consistent with age, including a stress crack beneath the beak of one crane. Overall presenting with a fine, well-developed patina.

Ref. No. : E3314, link in bio.
Pair of large wooden ‘Baku’ 獏- temple ornaments A Pair of large wooden ‘Baku’ 獏- temple ornaments

A lovely pair of very detailed carved wooden temple ornaments 木鼻 (kibana) in the shape of elephant-like mythical creatures known as ‘Baku’.
Baku 獏 (also written 貘) are Japanese supernatural beings that are said to devour nightmares. These creatures have the trunk and tusks of an elephant, the eyes of a rhinoceros, the tail of a cow, and the paws of a tiger.

Kibana are ornaments placed at the top of pillars or at the corners of beams in a temple so they could serve as guardians of the temple. The last photo is an example of how similar kibana originate.

One baku has its mouth open while the other’s is shut. As a part of Buddhist symbolism the open mouth is meant to be forming the sound “a” あ, while the closed mouth is forming the sound “un” うん. Combined, they form the word a-un. “a” and “un” are symbolic of all beginnings and endings.

Dimensions:
Height 32 cm, Width 20.5 cm, Depth 49 cm.
Period: Japan – Edo Period (1600-1868).

Legend has it that a person who wakes up from a bad dream can call out to baku. A child having a nightmare in Japan will wake up and repeat three times, “Baku-san, come eat my dream.” Legends say that the baku will come into the child’s room and devour the bad dream, allowing the child to go back to sleep peacefully. However, calling to the baku must be done sparingly, because if he remains hungry after eating one’s nightmare, he may also devour their hopes and desires as well, leaving them to live an empty life. The baku can also be summoned for protection from bad dreams prior to falling asleep at night.

🛍 Available in our online catalogue. Link in bio.
Bronze parent and child temple lions A charming b Bronze parent and child temple lions

A charming bronze okimono 置物 depicting an oyako shishi 親子獅子 (parent and child temple lions) engaged in playful interaction with an openwork ball, called temari 手毬.

The two lions are shown in a lively and affectionate composition, the larger shishi playfully engaging with the smaller one, both interacting with the pierced ball.

Cast bronze patinated brown with intentional rust-coloured accents. In 3 parts.

Mother lion with 2-character name seal on the underside: ‘Shôun’ 祥雲

Period: Japan – Taishô period (1912-1926).

Dimension:
Height 19 cm, Width 28.5 cm, Depth 28.5 cm (all three items combined in square set up)
Weight 3.613 kg + 0.59 kg + 0.8535 kg

In a very good original condition with minimal signs of wear. Please look at the photos for a condition reference.

Complete with original signed & sealed wood storage box 供箱 (tomobako).

🛍 Available in our online catalogue. Link in bio.
A pair of dark brown patinated bronze Japanese tem A pair of dark brown patinated bronze Japanese temple lanterns 灯籠 (tôrô).

The removable pagoda-shaped tops are crowned with a hôju 宝珠 (sacred jewel) and feature lobed rims. The main bodies showcase an elegant openwork motif and are fitted with hinged doors.

The hourglass-shaped columns have a distinctive ‘knot’ at the center.

Originally designed to hold small dishes for oil lamps, now fitted with a Japanese bulb and electrical cord – to be replaced with a Western fitting. 

Period: Japan – Taishô Period (1912-1926).

Dimensions:
Height 48 cm, Diameter lamp shade 17 cm, diameter foot 16 cm.

🛍 Available in our online catalogue. Link in bio.
An Edo Period complete black- and russet-iron lacq An Edo Period complete black- and russet-iron lacquered Japanese suit of armour 鎧 (yoroi), laced with navy-blue cords, orange hems and composed with a 5-hinged cuirass (kuro’urushinuri kon’ito hi’suso gomai’dô tôsei gusoku).
 
Complete with two red lacquered yoroi’bako 鎧櫃 (armour storage boxes), protected by a black leather cover decorated in gold lacquer with family crests on each side:
– Mitsudomoe 三ツ巴 (three swirling commas), a powerful Shinto symbol of cyclical energy
– Maru ni mitsuboshi 丸に三つ星 (three stars in a circle)

🛍 Available in our online catalogue. Link in bio.

#yoroi #samurai #armor #antique #edoperiod
A gorgeous 3-step kaidan’dansu 階段箪笥 (staircase cab A gorgeous 3-step kaidan’dansu 階段箪笥 (staircase cabinet) in a single section, fully restored, cleaned, and waxed.

Crafted from solid precious Keyaki wood (Zelkova – “Japanese oak”) with hinoki (cypress) frame and sugi (cedar) wood panels. The entire piece is varnished in a rich, deep dark brown hue, showcasing a stunning aged patina.

The cabinet features three drawers fitted with iron hirute-shaped bail handles.

Step chests from the Edo and Meiji periods were custom-made for specific houses, making each piece unique and highly collectible.

Period: Japan – Second half 19th century (Early Meiji period).

Available in our online catalogue. Link in bio.

#JapaneseArt #CulturalHeritage #JapaneseAntiqueStore #Japan #AmsterdamAntiqueStore #InteriorDesign #JapaneseCulture #Tansu #JapandiStyle #JapaneseCraftmanship #japanesefurniture #kaidandansu
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