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Antiques Week in Philadelphia Starts Today

admin — Sat, 17 Apr 2010 00:04:33 +0000

By Karla Klein Albertson
Inquirer Antiques Columnist

The past is always with us in Philadelphia, but Antiques Week, beginning Friday, is an unmatched opportunity for collectors to examine the best furniture and decorative arts of previous centuries. So many experts on hand, so many specialties to explore - enjoy the feast.
The Philadelphia Antiques Show, now held at the Navy Yard, started it all 49 years ago. Antiques Week has been greatly enhanced by the ongoing 23d Street Armory Antiques Show and the excellent spring Americana sale at Freeman's. Museums display great things, but at these events, serious collectors can look over, under, and into museum-quality antiques. And ask questions to their heart's content.
Start shopping Friday morning at the historic 23d Street Armory, where show manager Frank Gaglio has assembled 45 well-known dealers who offer classic Americana, excellent folk art, and some eclectic surprises.

Exhibitors such as Chuck White, Mario Pollo, and Stephen-Douglas Antiques lay out beautifully integrated room settings of American furnishings and folk art. Gemini specializes in topline antique toys, Piccolo Art in dazzling miniatures.

New on board this year is John Chaski, a young dealer from Delaware. Also fresh to the show is New York jewelry dealer Sooky Goodfriend, whose wares include cocktail shakers and cuff links for modern Mad Men.

Gaglio tries to offer an eclectic selection that will appeal to new generations of collectors. He remembers that his daughter Ciara, now 22, came up with the slogan "Save Natural Resources, Buy Antiques."

"Young people are attracted by the visual impact of objects, by nostalgia, and by comfort and usability in a 21st-century lifestyle," he says. "The collecting bug is still there, but you have to present the right material."
Gaglio is a great believer in the Antiques Week concept. He runs a complementary shuttle on Saturday and Sunday between his show, 30th Street Station, and the Navy Yard. At www.barnstar.com, you can print out a coupon for $5 off the price of a ticket. Lunch is available at the on-site cafe.

The Philadelphia Antiques Show gets under way Friday night with the best preview gala of the year. The 2010 event, a mix of antiques, food, and fashion, benefits the new Penn Center for Ocular Imaging.

Party tickets are available at many levels at www.philaantiques.com. Basic tickets are $250, with a special deal for young collectors, 35 and under, at $125. The display of 50 distinguished exhibitors opens to the general public Saturday at 11 a.m.; tickets are $18 at the door, $15 online.

This year's special exhibit, "A Call to Arms: Chinese Armorial Porcelain for the British and American Markets, 1700-1850," is dedicated to the memory of longtime exhibitor Elinor Gordon (1918-2009). On Sunday, exhibit curator Ron Fuchs will present a lecture at 1:30 p.m.
Want to see this venerable show move a bit more firmly into the present century? Check out the new World Collectors Night at the Navy Yard on Saturday from 6 to 10 p.m., sponsored by Anthropologie. A $125 ticket includes cocktails, hors d'oeuvres, and access to exhibitors who will share expertise and some special finds. At 8 p.m., the crowd will move next door to Urban Outfitters for an after-party with dancing.

Connecticut folk-art exhibitor Allan Katz, whose offerings often sell in the first minutes of the show, will be one of the dealers on hand Saturday night. Happy to take part, he says: "I'm an educator. I love to spread the gospel. I'm not a hard-sell guy, I'm a passion guy."
"Young collectors have the opportunity to go to a show like this and ask questions. Pick up the objects, feel them, and there's a live person there to answer all your questions. They need to connect with the material visually, but also mentally."

Like so many of the exhibits at both weekend shows, Katz's folk art fits beautifully in classic or modern interiors. Why buy cheap new "design" that hits the trash pile five years later? Work out a payment plan to buy a worthwhile treasure that will last a lifetime.

It is real REAL OIL PAINTING 20

0 Bid

US $.99

BEAUTIFUL ANTIQUE NIPPON VASE asian art part c 3

0 Bid

US $122.00

11m

It is real REAL OIL PAINTING 7 western art part e 1

0 Bid

US $80.00

27m

Large Long Indian Asian Ethnic Boho Earrings X84 SALE

US $3.05

28m

NGANG NGUNG KANANG LOVE ATTRACTION THAI BUDDHA AMULET R

0 Bid

US $9.99

1h 57m

Antique Japanese H Colored Original Woodcuts EXCELLENT

1 Bid

US $45.26

2h 22m

KirihaZukuri Japanese Sword Kobuse Folded Steel 2396

0 Bid

US $298.74

2h 22m

PURSE RETICULE RARE CENTRAL ASIAN HANDMADE EMBROIDERY

0 Bid

US $46.97

2h 26m

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Antique Japanese Nabeshima and Hirado Porcelain

admin — Sat, 10 Apr 2010 15:23:57 +0000

NABESHIMA
The porcelain of Nabeshima (named after the ruling clan) was made at Okawachi, north of Arita, probably from the latter half of the 17th century until c.1870, exclusively for the ruling shogun and feudal lords. As this ware was the preserve of the aristocracy, little of it except “kiln wasters”, or seconds, would have reached the West before the late 19th century. A few examples have been sold at auction since World War II (including some of questionable date). Apart from a few pieces of hollow-ware – bottles, vases, boxes, and censers –most surviving items are dishes. In that category the majority are saucer dishes with exceptionally tall foot-rims (over 1.2cm high); the remainder are small pieces of various shapes.

Nabeshima ware is arguably the most refined of all pre-19th-century Japanese porcelain. The decoration is imaginative, timeless, and meticulously executed. The most popular themes are seasonal flowers or wintry trees, sometimes combined with underlying or juxtaposed patterns, which may be derived from waves, Chinese trelliswork, or basketry. This type of decoration could only have been achieved by using a stencil or some kind of transfer-printing technique. For example, the repetitive geometric pattern called “calm-water” (seigaha) shows no evidence whatsoever of individual strokes, with their inevitable variations in intensity. Designs are often entirely outlined in underglaze blue with enamel infilling of iron red, turquoise, yellow, pale manganese, and black detailing, in a technique that recalls the doucai porcelains dating from the early Ming period in China. The glaze is of a soft, pale, greyish-blue tone.

A feature of the characteristic Nabeshima saucer dishes is the underglaze-blue decoration on the
tall foot, which is found on most pieces. The decoration consists of a continuous band of elongated “teeth” resembling a comb, known as kusitakade. The underside of the rim is usually painted with beribbonec coins (known as “cash”), clump of formal flowers, or undulating foliage. Like much Nabeshima ware, saucer dishes tend to be decorated in colors, as this was
more desirable than the standard blue.

HIRADO
Some of the earliest Japanese blue-and-white porcelain was produced at Hirado, near Arita, toward the beginning of the 17th century. Production at the sites of Kihara and Nanko was made possible through the employment of immigrant Korean potters. The later wares, from another site at Mikawachi where production is thought to have begun c.1760, are the most familiar. These wares, either white or blue and white, were made from the very pure clay from the island of Amakusa, allowing the most intricate modelling and refined potting.

Production consisted of censers, brushpots, jars, vases, bottles, teawares, bowls, and dishes. From c.184( some of the larger pieces were applied with dragons or shi-shi (a depiction of the Buddhist lion) as either handles or knops. Other pieces were molded in shallow relief with isolated flower-heads, symbols, or trellis. Blue-and-white wares were sensitively painted in a slightly blurred underglaze blue of varying tone. The most popular themes are children at play or vertiginous landscapes, but birds and large botanical subjects were also used. Border embellishment is invariably small and includes pointed leaves and pendant tassels.

Nabeshima
• BODY virtually flawless
• POTTING thin and always very neatly executed
• GLAZE subtly grained; a soft, bluish appearance
• PALETTE usually polychrome – underglaze blue, iron red, yellow, turquoise green, pale manganese/tan, and, very rarely, black
• FORMS mainly flatwares; saucer dishes
• DECORATION natural subjects

Hirado
• BODY pure white with an “icing-sugar” texture
• GLAZE a soft, bluish hue
• PALPATE either white or blue and white
Marks
Nabeshima wares are never marked; Hirado wares are sometimes marked with the place of manufacture, occasionally with the potter’s or decorator’s name, or, most rarely, with a date.

Christies Fine Japanese Porcelain June 25 1973

US $19.95

17d 21h 8m

A NABESHIMA EDO PERIOD LIDDED BOWL CHAWAN

1 Bid

US $78.29

11h 30m

Antique Ko Imari Sansoku Dangasane Karakusa R315

0 Bid

US $299.99

19h 2m

Edo Antique Ko Imari Kakiemon Tokkuri Pot R317

0 Bid

US $980.00

19h 3m

Edo Antique RARE Ko Imari Inro KougoIncense Box R319

0 Bid

US $480.00

19h 3m

NEW Porcelain Blue whiteImari Dragon 22kt Fountain pen

US $35.00

10d 19h 49m

LOT x 4 JAPANESE KYOYAKI FU NABESHIMA MINATURE PLATES

US $16.97

29d 18h 13m

Japan Art Artists Painters ceramics Bronzes cm1166

US $11.99

28d 9h 33m

Japanese Satsuma Ceramics

admin — Mon, 01 Mar 2010 01:05:02 +0000

Satsuma is the name of a type of earthenware initially made in various kilns in Chosa, Ryumonji, Tateno and Naeshirogawa, in the Japanese prefecture of Kagoshima, on the island of Kyushu. All these places were under the control of the feudal lord of Satsuma.
In the late 1590s, Shimazu Yoshihiro — the lord of Satsuma — returned to Japan after fighting a war in Korea. He kidnapped a group of 22 Korean potters and their families, and put them to work in 1601, making ceramics from the white clay found at Naeshirogawa.
With strict race laws prohibiting intermarriage, these potters and their families were kept completely separate from the rest of the Japanese population. By the third quarter of the 19th century, there were more than 1,400 of these artisans, and all were engaged in pottery-making.

Classically, Satsuma is a light and porous earthenware covered with a cream-colored crackle glaze that offers ivory-brown tones. This glaze is good for enamel decoration, and even the color white looks good against it. All enamel colors adhere to this surface well and sink into the tiny cracks to the point that they seldom flake or peel.

Satsuma wares are most often found with floral decorations, but scenic designs were also made. The best Satsuma wares are elaborately and artistically decorated, while the lesser wares show much less care and artistic merit. Some pieces of Satsuma are indeed worthy of a museum, but most found in the United States are more commercial in nature and are not likely to find themselves displayed in institutions devoted to substantial works of art.

By the way, kilns in Kyoto, Yokohama, Tokyo and on the island of Awaji later manufactured Satsuma-style wares. This is an important distinction, because many of these made outside the original area are of commercial quality at best and are often considered to be lesser products.

JAPANESE H PT GILDED SATSUMA THREE IMMORTALS TRIO c1937

6 Bids

US $18.56

1h 59m

VINTAGE JAPANESE SATSUMA CABINET PLATE

1 Bid

US $15.65

2h 29m

VINTAGE SATSUMA PORCELAIN FIGURE OF BOY GIRL ON BENCH

0 Bid

US $9.04

2h 54m

Old Miniature Herend Hungary HP bird butterfly vase

3 Bids

US $13.49

3h 4m

Old Miniature Herend Hungary HP bird butterfly vase

1 Bid

US $9.99

3h 4m

Old Miniature Herend Hungary HP floral butterfly vase

0 Bid

US $9.99

3h 4m

Old Miniature Herend Hungary HP Chinese bouquet vase

0 Bid

US $9.99

3h 4m

Old Miniature Herend Hungary HP Chinese bouquet vase

1 Bid

US $9.99

3h 4m

Antique Japanese Kakiemon Porcelain

admin — Sat, 06 Feb 2010 17:37:17 +0000

A type of Arita ware, Kakiemon is delicate porcelain with a distinctive palette. The name is derived from a family of potters and enamellers working in Arita, who are traditionally believed to have introduced overglaze enameling on porcelain to Japan in the 1640s. The extremely fine, milky-white body (nigoshide) was believed to have been exclusive to the Kakiemon kiln, although this is now disputed. Wares include small dishes, bottles, bowls, and vases, many of which are of geometric form.

DECORATION AND FORMS
Although the Kakiemon kilns produced blue-and white porcelain, they are generally associated with wares expertly painted in a palette of iron-red, cerulean-blue, turquoise-green, yellow, aubergine, and gold. These delicate porcelains form a counterpoint to the heavier Imari wares.

Often asymmetrical, the designs enhance the milky-white body of the best Arita porcelain. Kakiemon wares are usually painted with natural themes: birds in branches, flying squirrels, the “quail and millet” design, the “Three Friends of Winter” (pine, prunus, and bamboo), trailing flowers, and banded hedges. Human subjects are rare; some have been given titles such as the “Woman and the Nightingale” and the “Hob in the Well”, the latter a design based on the story of a Chinese sage who saved his friend who had fallen into a large fishbowl.

The chrysanthemum, the national flower of Japan, is a very common form for Kakiemon wares, as is the pointed bracket-shape. Many Arita wares, especially the Kakiemon type, are hexagonal or octagonal in form. An iron-brown dressing (fuchi-beni) was applied to the edges of many Kakiemon porcelains to embellish them and to protect the rims from being chipped; this was probably introduced around the mid-17th century, following the example set by Chinese potters. Kakiemon porcelain was arguably the most influential Japanese porcelain in Europe; after it was exported to Europe at the end of the 17th century, the forms and decoration were copied by many major factories including Meissen, Saint Cloud, Chantilly, Chelsea, and Bow.

• BODY a pure milky-white (nigoshide)
• GLAZE almost colorless
• PALETTE iron red, cerulean blue, turquoise, brown, yellow, and gold; black is used for detailing; iron-
brown edges (fuchi-beni) are typical
• FORMS geometric; dishes are hexagonal, octagonal, or decagonal
• DECORATION mainly flower motifs and only rarely figures; asymmetrical and sparse; popular patterns include the “quail and millet”, the “Three Friends of Winter” (pine, bamboo, and prunus), banded hedges, flying squirrels, and the ho-ho bird (phoenix)
• COPIES made in many European factories from the end of the 18th century, including Meissen, Chantilly, Saint Cloud, Chelsea, and Bow

Christies Fine Japanese Porcelain June 25 1973

US $19.95

17d 21h 8m

Hirado bowl in Kakiemon style handpainted NR

0 Bid

US $26.00

11h 27m

Minton Cup Saucer Kakiemon Panels c1830s

2 Bids

US $10.27

11h 29m

Minton Dessert Plate 1 Kakiemon Panels c1830s

3 Bids

US $21.13

11h 33m

Minton Dessert Plate 2 Kakiemon Panels c1830s

2 Bids

US $10.18

11h 36m

Antique Ko Imari Sansoku Dangasane Karakusa R315

0 Bid

US $299.99

19h 2m

Antique Japanese Imari Porcelain

admin — Fri, 29 Jan 2010 02:52:01 +0000

When we think of ancient Japanese porcelain, Imari is often quite bright, but not all Japanese Imari was brilliant. A famous 19th century porcelain maker Seto, Aichi Prefecture in Japan, its porcelain decorated with blue sapphire very distinctive paint the typical naturalist, Zen influenced items such as herbs dominated forests pine, willow and rock formations of windblown trees.

"Seto" refers to the city and the style of pottery originated there. Seto is also one of Japan famous "six old kilns".
Seto Porcelain arrived late. His first appearance in the 19th century, when he returned Kato Seto Tamikichi to the island of Kyushu, and successfully fired porcelain decorated cobalt blue. Tamikichi is, in fact, considered the "father of porcelain in the area Seto.
But to see the big picture, we must look through the long history of Japanese art and design, to identify some of the many influences, both internal and external, have contributed to today's recognizable "Japanese design.

To Admiral Perry opened Japan to the West (1854), with positive and negative results, the Japanese art and design was almost unknown in the Western world. Perry met with Japan has opened the doors of flooding a sharing of east / west lines, rarely seen before. In a decade that Japanese design concepts came to the West.

Two trade names used to illustrate the influence on Western art. The first, James Whistler, the great American and British painter of the mid 19th century, was one of the first Westerners to be influenced by the artistic tradition of Japan.
Whistler has developed rather an aesthetic response to life and he particularly admired Japanese artistic attitude does not distinguish between art and decorative arts. Your assessment of what led to Whistler for a wide range of artistic activities, strongly influenced by his art new "Japan.

The second example is the master of French Impressionism, Claude Monet. We do not know the famous story of discovery Monet's Japanese art is real or anecdotal? But legend says that Monet had fled to Amsterdam to escape the Prussian siege of 1871 in Paris. There or, if ever, There were some Japanese block prints for use in a food shop for wrapping paper. I could not believe what he saw and was so impressed he bought all available. This purchase changed his life and the history of Western art!

Monet was not shy of his fascination with Japan and its art and in 1876, five years after the visit to the Dutch grocery He painted "The Japanese", showing his first wife Camille in a kimono on a background decorated uchiwa (Japanese paper fans).
At Giverny, where he settled in 1883 at age 42, he built a Japanese bridge over a pond in Japan Japanese garden, and spent the rest of his work Paradise's private life – especially water lilies.

Not only Western art has been influenced by Japan, but, interiors, fashion and all forms of art, style and design. This exchange of ideas was a double meaning, with Western design concepts used in Japan. Such time for this reason, impressionism soon spread to Japan, and remains very popular.

This exchange of ideas has been, especially in porcelain produced by large kilns Japanese, with its ancient tradition of thousand years.
Until the opening of Japan to the West, porcelain and ceramics Japan was both traditional and high aesthetics understood only by a Japanese company then very insular and conservative. The main concept was to stick rigidly to the ways prohibited.
The aesthetic style was not understood by Western audiences and it soon became clear that amendments be made to an export market of the West to succeed. For example, the western market is very familiar with the Japanese "Imari porcelain" with its bright color palette, mostly on Red iron based and cobalt blue underglaze. This remains the basic palette of Imari, which may have added additional color range.

This Japanese Imari porcelain people call "by reason of the fact that has been exported from its various leaders around the port of" Imari ". These patterns of light, mainly by to a market in the west were in fact based on models of traditional kimono embroidered textiles.