Japanese ginbari cloisonné enamel vase, late Meiji period, circa 1890–1910, decorated with a coiling dragon emerging among dramatically cresting waves. The elongated body rises through broad, rounded shoulders to a slender, waisted neck and flared mouth. A luminous ground shades from pale green around the neck and shoulders to silvery blue across the body, complementing the deeper blues of the water below. The dragon winds around the vessel in dark emerald and teal enamels, with a segmented pink underside, yellow eyes, projecting horns, and long, curling whiskers. Fine metal outlines articulate the overlapping scales, claws, and facial details. Rust-red and golden-yellow accents enliven the mane and trailing appendages, while the raised head gives the composition a strong upward movement. Broad blue waves sweep around the lower body, their curved outlines contrasting with the irregular, branching shapes of the opaque white foam. The dragon’s body passes through and behind the water, creating a continuous composition that unfolds as the vase is turned. Open passages of pale enamel above the waves provide a quieter setting for the extended whiskers and sweeping contours. The shimmering surface incorporates ginbari, a technique employing textured silver foil beneath translucent enamel. The fine pattern of the underlying foil remains visible through the colored surface, enriching the dragon, water, and surrounding ground with reflected light. The vase’s substantial fifteen-inch height gives particular prominence to this interplay of texture, color, and detailed ornament. Narrow metal mounts frame the mouth and foot. The underside is finished with a darkly patinated metal base, with no legible maker’s mark visible in the supplied photographs. Condition includes visible hairline cracks in the enamel near the mouth and longer cracks across portions of the body, including the wave decoration. These appear shallow, with localized darkening along some of the cracks. Age-appropriate patination to the metal mounts and scattered surface marks are present. The vase measures approximately 5" in diameter at its widest point × 15" high. Auction Estimate: $600–$800.

A large Japanese Imari porcelain charger of the Meiji period, late nineteenth century, richly decorated with shishi, phoenixes, and flowering plants in underglaze cobalt blue, polychrome enamels, and extensive gilding. The broad, shallow body terminates in a deeply scalloped rim, its elaborate decoration arranged around an asymmetrical central composition. At left, a gilded shishi tumbles among peony blossoms and curling foliage against an iron-red ground. A second lion occupies the lower right, its forepaws resting on a low blue-topped support beside a woven basket overflowing with flowers. Above, a long-tailed phoenix descends through an open white-ground reserve beneath the spreading branches of a flowering tree. The contrast between the densely ornamented red field and the more spacious flowering-tree reserve gives the composition its distinctive movement and balance. A cobalt-blue geometric band surrounds the central scene. The broad rim contains shaped reserves of phoenixes, flowering branches, and garden ornament, interspersed with smaller floral medallions and densely patterned grounds. Gilding enriches the lions, foliage, feathers, and borders, exemplifying the kinran-de, or “gold brocade,” decoration associated with richly embellished Imari porcelain. The reverse is decorated with underglaze-blue scrolling foliage and pale flower reserves accented with gilt detailing. Concentric blue lines frame the recessed base, which bears the four-character inscription Fuki chōshun, meaning “wealth, honor, and enduring spring.” This auspicious inscription expresses a wish for prosperity and renewal rather than identifying a maker or reign. Minor wear and discoloration are recorded at the foot. Measures approximately 18.5" in diameter x 2.5" tall. Auction Estimate: $600–$800.

A diminutive Japanese cloisonné enamel vase of the Meiji period, late nineteenth to early twentieth century, decorated with birds, flowering plum, and bamboo against a lustrous sky-blue ground. The slender ovoid body tapers toward a narrow circular foot, rising through rounded shoulders to a short, waisted neck and gently flared mouth. A branching plum tree extends upward across the principal face, its dark trunk and angular shoots bearing white blossoms, rounded buds, and small accents of pink and red enamel. One bird perches among the flowering branches while another approaches in flight. Their green and cream plumage is articulated with fine wire outlines defining the wings, breasts, and tail feathers. Slender bamboo leaves emerge beside the lower trunk, contrasting with the rounded blossoms above. The composition extends around the sides while leaving much of the reverse in uninterrupted blue enamel. This restrained arrangement emphasizes the silhouettes of the birds and branches, giving the small vessel an airy, balanced appearance. Narrow geometric fret borders beneath the mouth and above the foot provide a formal frame for the freely arranged natural imagery. Fine metal wires divide the colored enamels into individual cells, delineating the blossoms, foliage, and feather details. The exposed metal rim and foot mounts provide a dark contrast to the polished blue surface. No maker’s signature is visible on the underside. The metal mounts show patination, with wear and discoloration to the underside. Measures approximately 3" in diameter at the widest point x 6.25" tall. Auction Estimate: $300–$500.

A cast-iron bust of Buddha, attributed to Southeast Asia and probably dating to the late nineteenth or early twentieth century, retaining gilding and remnants of red and green surface decoration. Broad, rounded shoulders support an upright head with arched brows, downcast eyes, a small smiling mouth, and elongated earlobes. Closely arranged spiral curls cover the head and continue over the raised ushnisha, which terminates in a rounded finial. The monastic robe passes over the left shoulder, leaving the right shoulder and upper chest exposed. Shallow folds articulate the garment, while a red border crosses the torso diagonally and continues over the shoulder onto the back. Areas of dark green remain on the robe. Fragmented gilding catches the light across the face, neck, and exposed chest, contrasting with the dark underlying surface. The elongated earlobes and raised ushnisha are traditional attributes of the Buddha, associated with his renunciation of princely life and attainment of enlightenment. The head-and-shoulders composition emphasizes the quiet expression and the contrast between the tightly patterned hair and softly modeled face. The open underside reveals the hollow construction, uneven casting surfaces, and substantial reddish-brown and pale encrustations. A circular raised feature is visible within the interior. The lower edge follows the contours of the chest and shoulders, suggesting that the sculpture was fashioned as a self-contained bust. Condition includes wear and losses to the gilding and colored surface decoration, scattered abrasions, and heavy interior corrosion and deposits. The bust measures approximately 7.25" wide × 3" deep × 8.5" high. Auction Estimate: $200–$400.

A fine Japanese cloisonné enamel vase of the late Meiji period, circa 1890–1910, decorated with three songbirds among flowering cherry branches, irises, and chrysanthemums against a lustrous black ground. The elongated body rises through broad, rounded shoulders to a slender neck and flared mouth, with narrow metal mounts framing the rim and foot. Two birds perch among the branches while a third approaches with raised wings, bringing movement to the carefully arranged garden scene. Their gray and brown plumage contrasts with clusters of pale pink and white cherry blossoms, pendant buds, and leaves shaded in green and reddish brown. Fine metal wires articulate the individual feathers, flower petals, and branching stems. Purple irises rise from the lower body on long, pointed leaves, their spreading petals accented with yellow. Nearby, small white chrysanthemums open around golden-yellow centers. The combination draws together flowers associated with different seasons, creating an idealized garden whose interest lies in the changing forms of blossoms and foliage. Open passages of black enamel give the delicate subjects room to stand out. A narrow band of multicolored scrolling floral ornament encircles the flared mouth, providing a decorative crown above the otherwise unadorned neck. The interior and underside are finished in yellow counter-enamel, while the exposed metal mounts have developed a warm brown patina. No maker’s mark is visible on the base. Scattered pale speckling and minor surface marks are visible in the dark ground. The metal mounts show patination and light wear. The vase measures approximately 12.5" high × 5" in diameter at its widest point. Auction Estimate: $600–$800.

An elaborate Chinese silver-gilt filigree tea caddy, first half of the twentieth century, adorned with brilliantly colored birds and flowering branches against a delicately worked wire ground. The slender, six-lobed body rises beneath a broad domed cover crowned by an openwork finial. Its intricate surface combines the delicacy of filigree with the sculptural presence of raised enamel flowers and polished cabochons. Across the rounded panels, gnarled branches carry birds nestled among open blossoms, pendant buds, and small leaves. Deep cobalt gives way to powder blue and soft mauve across the petals, while touches of green, cream, black, and warm brown distinguish the birds’ plumage. Orange-red and turquoise-blue cabochons introduce brighter accents among the flowers. Cool blue enamels stand out against the warm gilt branches and darkened silver. Fine wire mesh fills the spaces between the branches, individual feathers articulate the birds’ wings and tails, and overlapping petals lift the blossoms away from the ground. Each panel offers a variation on the flowering scene, inviting the viewer to turn the caddy and follow the decoration around its circumference. Narrow metal ribs divide the panels without interrupting the continuity of the design. The generously rounded cover carries matching flowering sprays across its six lobes, with a delicate scrolling border following the lower edge. A spreading foliate mount supports the pierced, bud-shaped finial, topped by a small red cabochon. Viewed from above, the cover’s flower-like outline echoes the blossoms decorating its surface. Beneath the ornamental cover, a separate circular inner cap closes a plain cylindrical metal liner. The underside is stamped “SILVER,” and acid scratch testing indicates a silver purity of .900 or better. The enamels retain vivid colors; condition includes surface patination, rubbing to the gilding and handling marks to the underside. Measures approximately 3.5" in diameter x 7.5" tall, including the cover and finial. Total gross weight: 544 grams. Auction Estimate: $1,000–$1,500.

A Russian Karelian birch cigarette case with an applied imperial eagle and an engraved silver presentation plaque dated 25 May 1940. The compact rectangular body has softly rounded edges, a closely fitted lid, and a warm honey-colored finish that brings out the wood’s swirling grain, dark flecks, and clustered knots. The lid is centered with a detailed double-headed eagle bearing three crowns, a scepter, and an orb. A shield depicting Saint George and the dragon occupies its breast, while smaller armorial shields appear across the wings. This is the imperial Russian state emblem, giving the restrained wooden case a richly detailed heraldic focal point. A curved triangular silver plaque occupies the lower corner. Its flowing Cyrillic inscription begins “Юбиляру,” meaning “To the jubilee honoree,” and includes personal names followed by the date 25 May 1940. The names are not sufficiently clear for a confident transcription. The plaque bears an “84” mark, denoting the Russian 84-zolotnik standard of 875/1000 silver, or 87.5% purity. The inscription records a commemorative presentation; the case itself may be earlier. The lid opens on an interlocking wooden hinge, with a curved lifting lip at the opposite end. Inside, the shallow compartment continues the richly figured wood. Karelian birch and silver were a distinctive combination in Russian personal accessories, allowing the natural pattern of the wood to share attention with the metalwork. Here, the dedication gives an everyday smoking accessory the character of a personal keepsake. Light wear consistent with age, with natural tarnishing to the silver. The closed case measures approximately 3.25" × 3.75" × 0.75" thick. Auction Estimate: $400–$600.

A cast copper-alloy axe head attributed to pre-Columbian Ecuador, circa AD 1100–1500, with a broad crescent-shaped blade and a substantial rectangular tang pierced by a roughly circular hole. The blade sweeps outward to pointed corners, while gently sloping shoulders connect it to the squared butt. Its thick upper section tapers toward the curved cutting edge, giving the compact form a sense of weight and purpose. Mottled green corrosion covers much of both faces, contrasting with dark brown and warmer copper-brown passages around the blade and butt. The irregular surface texture emphasizes the otherwise simple geometry, with the strong horizontal sweep of the blade balanced by the upright tang. The perforation appears intended to assist in securing the head to a handle, which is no longer present. The form relates to cast copper-alloy axes documented from Ecuador during the later pre-Columbian period. Such implements demonstrate a metalworking tradition that extended beyond personal ornament into objects shaped for practical use. Here, the broad blade and sturdy attachment section give the axe its distinctive sculptural character, without requiring an elaborate decorative program. The surface shows corrosion, pitting, scratches, and several localized dents and gouges on the blade face, together with small irregularities along the edges. Green verdigris and layered patination are consistent with significant age. The axe head measures approximately 6.25" wide × 4.75" high × 0.75" thick. Auction Estimate: $400–$600.

A large Chinese famille rose porcelain vase, Qing dynasty, nineteenth century, painted with flowering chrysanthemums and fruiting pomegranate branches rising beside ornamental rockwork. The elongated body narrows toward the foot and rises through rounded shoulders to a tall, waisted neck and flaring mouth. Two pierced handles, formed as angular interlocking scrolls, lend a formal accent to the freely arranged floral decoration. A large magenta chrysanthemum anchors the principal composition, its slender, curling petals shaded toward pale tips. Cream and yellow blooms accompany it among smaller flowers and deeply lobed leaves painted in contrasting shades of green. Above, a branching pomegranate tree extends across the shoulder and into the neck, bearing orange-red blossoms and rounded fruit, several opening to reveal clusters of seeds. Blue-grey garden rocks, pierced with irregular openings, provide a rugged foundation for the delicate stems and blossoms. Fine dark outlines define the petals, leaf veins, and textured bark, while the pale porcelain ground allows each flowering stem to remain distinct. The decoration continues around the sides, giving way on the reverse to isolated chrysanthemum sprays. A narrow gilt line follows the mouth, complementing traces of gilding on the pierced handles. Chrysanthemums traditionally convey wishes for longevity, while the many-seeded pomegranate expresses hopes for abundant descendants. Together, the flowers and fruit give the vase an auspicious domestic character as well as a varied floral composition. Accompanied by a Certificate of Antiquity issued by the Hong Kong Art Craft Merchants Association Limited, dated February 23, 1973, certificate number B 997006. The document includes a photograph matching the vase, identifies it as a 23-inch famille rose vase, and records the association’s opinion that it was then more than 100 years old. The recessed base is glazed and unmarked, enclosed by a broad, exposed foot ring. Condition includes scattered surface wear, rubbing to the gilding and discoloration at the foot. Small firing specks and variations in the glaze remain visible. Measures approximately 9" in diameter x 23" tall. Auction Estimate: $800–$1,200. Note Regarding Shipping Services: This item is exceptionally large and/or heavy, and may require custom boxing or crating depending on the intended destination and available carrier services. For more information prior to bidding, please email us at Shipping@AlaskaPremierAuctions.com or call/text us at 907.570.7050.

A substantial nineteenth-century Japanese Imari porcelain bowl, decorated with flowering plants, geometric borders, and leaf-shaped ornaments in cobalt blue, iron red, green, and gilt. The broad, rounded sides rise from a low circular foot, opening to an interior arranged around a central medallion of three orange-red flowers amid curling blue foliage. Three large panels around the inner wall depict pine, bamboo, and flowering plum, framed by lattice patterns and red scrollwork. These plants form the auspicious “Three Friends of Winter,” known in Japan as shōchikubai. Their ability to remain green or blossom in the colder months made them enduring symbols of perseverance, longevity, and renewal, giving the garden scenes a meaning beyond their decorative appeal. Deep cobalt bands separate the panels, carrying fine gilt scrolls and iron-red reserves filled with boldly veined leaves and ribbon-like ornaments. Smaller floral sprays alternate with angular blue fretwork around the central medallion. The contrast between the freely painted plants and carefully divided borders gives the interior the layered richness associated with brocade-pattern Imari decoration. The exterior is painted with sweeping blue foliate scrolls interrupted by iron-red leaf reserves. A repeating triangle-and-dot border encircles the lower body above the foot. The recessed underside is glazed and unmarked, with an exposed foot rim. Minor wear consistent with age. The bowl measures approximately 11.75" in diameter × 4.5" high. Auction Estimate: $300–$500.

A fine Japanese cloisonné enamel vase of the Meiji period (1868–1912), late nineteenth to early twentieth century, decorated with flowering chrysanthemums against a lustrous deep blue ground. The elongated ovoid body rises from a spreading foot to rounded shoulders, a slender neck, and a flared mouth, with exposed metal mounts framing the rim and base. Tall flowering stems carry large off-white chrysanthemums with delicately shaded pink petal tips and golden-yellow centers. Smaller blossoms in salmon pink, rust red, and white appear among unopened buds and overlapping foliage. The leaves range from olive and sage to deep green and reddish brown, lending the composition a rich autumnal character. Fine wirework traces the individual petals, branching stems, and lobed leaves, extending into the foliage to define its intricate network of veins. Flowers shown face-on alternate with side-facing blooms, revealing the upward sweep of their petals and giving the arrangement a natural variety of poses. The pale blossoms stand out against the blue enamel, while the subtler colors of the foliage reward closer examination. Additional flowering sprays continue around the sides and reverse, separated by generous passages of uninterrupted blue. The unornamented neck and foot emphasize the vase’s graceful proportions and allow the floral decoration to remain the focus. Known in Japan as kiku, chrysanthemums have longstanding associations with autumn and longevity. Their varied forms offered enamelers a particularly expressive subject, allowing broad, rounded blossoms and slender, upturned petals to be distinguished through carefully shaped wire outlines and subtle changes of color. The interior and underside are finished in pale yellow-green counter-enamel. No maker’s signature is visible on the base. Fine crazing is visible in the interior and underside enamel, together with discoloration beneath the base and patination to the metal mounts. The vase measures approximately 5" in diameter at the widest point × 12.5" high. Auction Estimate: $400–$600.

A finely painted Japanese Kutani porcelain charger of the Meiji period, late nineteenth to early twentieth century, decorated in polychrome enamels and extensive gilding with an elaborate interior gathering. The broad circular surface accommodates a richly detailed composition of figures, patterned robes, architectural elements, and landscape views. Four figures occupy the foreground. A reclining figure, apparently a man, gestures toward a seated woman, while a second woman leans forward behind him and a smaller attendant figure sits to the right. Their delicately drawn faces contrast with the dense ornament of their clothing. A low tray supports vessels and a tiered container depicted in black and gold, while a tall candle stand introduces a slender vertical accent at the left. The robes are particularly accomplished, with overlapping fields of hexagonal, checkered, floral, and lattice ornament following the folds of the garments. Fine gilded lines distinguish the individual patterns, while closely spaced gold dots enliven the pale ground beneath the figures. The treatment recalls the kinrande, or gold-brocade, tradition associated with richly decorated Kutani porcelain, translating the appearance of luxurious textiles into enamel and gold. An overhead ceiling grid establishes the interior perspective, while architectural posts and painted panels divide the background into smaller views of trees, flowering branches, water, and distant buildings. A large circular reserve at the upper right contains two additional figures beside a lantern amid pine branches. The layered arrangement invites close examination, with intimate figural details set against an expansive decorative setting. Alternating gilt and colored patterned sections articulate the rim. The glazed reverse is painted with three floral sprigs, while three small iron-red blossom devices surround a rectangular cartouche bearing a mark read as Kozan, in gold. A broad circular foot ring supports the shallow body. Minor surface wear is visible, including scattered rubbing to the gilding and wear and discoloration along the exposed foot. The charger measures approximately 16" in diameter × 2.5" high. Auction Estimate: $400–$600.

A Japanese ginbari cloisonné vase of the late Meiji to Taisho period, circa 1900–1925, decorated with flowering irises against a luminous ground shading from turquoise blue at the foot to pale, silvery blue at the shoulder. The elongated body narrows toward the base and rises through rounded shoulders to a short, flared neck. Slender copper-alloy mounts frame the mouth and foot. Purple and rose-pink blossoms extend across the front, their broad, drooping petals accented with yellow markings. Slender stems, unopened buds, and overlapping, sword-shaped leaves carry the composition upward around the vessel. Fine outlines articulate the flowers and foliage, while the largely undecorated reverse reveals the graduated color and delicate texture beneath the enamel. The shimmering surface is characteristic of ginbari, a technique employing embossed silver foil beneath translucent enamel. A finely patterned foil ground catches the light through the blue, lending depth and brilliance to the surface. Its repeating texture remains visible through the paler passages, providing a subtle ornamental setting for the more freely arranged flowers. Irises have a distinguished place in Japanese decorative painting, where their expansive petals and upright leaves offer a striking interplay of curved and linear forms. Here, that contrast is particularly effective against the softly graduated background, with the clustered blossoms balanced by open areas of luminous enamel. The underside has concentric rings and an indistinct central impression that does not permit a secure maker attribution. A few minor scattered dark spots are present in the enamel on the body, with other wear commensurate with age, including rubbing to the metal base. The vase measures approximately 7.5" high × 3" in diameter. Auction Estimate: $300–$500.

A Japanese Igezara porcelain charger, late Meiji to early Taishō period, circa 1900–1920, richly decorated in underglaze cobalt with paired phoenixes among flowering paulownia. The broad circular form provides a generous setting for the intricate composition, enclosed by a deeply notched, iron-brown rim whose warm color contrasts with the cool blue and white decoration. Two crested phoenixes, or hō-ō, turn in opposing directions within the central roundel, their curved necks and outspread wings balanced by long, extravagantly curling tail feathers. Fine lines distinguish the layered plumage, while broad paulownia leaves, branching flower clusters, and slender tendrils fill the surrounding spaces. Dark cobalt passages alternate with pale, finely detailed areas, maintaining definition within the densely interwoven design. The birds’ sweeping silhouettes give the composition a circular movement that follows the shape of the charger. A wide border of closely interlocking geometric fretwork surrounds the central scene, interrupted at regular intervals by white flowerheads reserved against the blue ground. Its ordered repetition sets off the freer movement of the phoenixes and foliage. Along the perimeter, the molded “piecrust” edge introduces a further rhythm of alternating projections and recesses beneath the glossy brown glaze. The substantial potting, notched rim, and transfer-printed ornament identify the charger with the Igezara tradition of Japanese domestic ceramics. Copperplate transfer printing allowed potters to reproduce elaborate designs with remarkable detail, including individual feathers, leaf veins, and miniature geometric patterns seen here. The technique helped bring richly ornamented tablewares into everyday households during Japan’s expanding industrial production of the late nineteenth and early twentieth centuries. The pairing of phoenix and paulownia draws upon an established East Asian decorative tradition. The mythical bird is associated with auspicious rule and peace, while paulownia is its legendary resting place, making the foliage an integral part of the subject. Three underglaze-blue foliate sprays decorate the reverse, with concentric blue rings framing the foot and recessed glazed base. Three kiln-support scars remain within the base as evidence of manufacture. The exposed foot ring shows light wear and discoloration. Measures approximately 14.5" in diameter x 2" high. Auction Estimate: $150–$250.

A fine Japanese ginbari cloisonné enamel vase from the Nagoya workshop of Hattori Tadasaburo (d. 1939), late Meiji to Taisho period, circa 1900–1925. White chrysanthemums and emerald-green foliage rise against a luminous cobalt-blue ground, their silvery petals catching the light across the gently rounded body. The tapering body rises through full shoulders to a short, slightly flared neck, with narrow silver-colored metal mounts framing the mouth and foot. Flowering stems sweep upward around the vessel, carrying open blossoms, smaller buds, and deeply lobed leaves. Fine outlines separate the overlapping petals around their yellow centers, while variations in green distinguish the foliage. Open passages of blue give the flowering branches room to unfold around the curved surface. The shimmering decoration employs ginbari, in which textured silver foil lies beneath translucent enamel. The foil reflects light through the colored surface, lending depth to the blue ground and a delicate, almost woven texture to the blossoms and leaves. Hattori established his independent workshop in 1888 and gained recognition at international exhibitions, including Chicago in 1893. The vase reflects the workshop’s interest in naturalistic floral decoration, expressed here through the brilliance of silver foil beneath enamel. Chrysanthemums carry longstanding associations with autumn and longevity in Japanese art, adding a seasonal and auspicious dimension to the subject. The blue-enameled underside carries a rectangular gold-colored plaque bearing the characters 服部, read as Hattori, within a leaf-shaped reserve. Light wear consistent with age. The vase measures approximately 6.25" high × 3" in diameter. Auction Estimate: $600–$800.

A finely carved Chinese “Doctor’s Lady,” early twentieth century, fashioned from tusk as a slender nude woman reclining upon a fitted, dark-polished wooden stand. Her right hand cradles her head, while her left rests across her torso, holding a flowering branch against her body. The slight turn of her waist and gently bent knees soften the elongated pose, with small, slippered feet raised just above the stand. Her expression is quiet and composed, with downcast eyes, delicately arched brows, and softly curved lips. Closely incised strands of hair sweep back into an elaborate, layered bun, gathered beneath an ornamental band with tiny colored inlays. Similar accents embellish her bracelets, introducing touches of red, green, blue, and pearly white against the creamy carving. The coiffure is carefully finished around the back, where overlapping coils and individually cut strands give substance to the sculpted hair. The flowering branch forms an intricate arrangement across her chest and midsection. Open blossoms and rounded buds emerge among pointed leaves, their petals curling away from slender stems. Undercut spaces beneath the flowers lend the spray a delicate, almost detached appearance, while the fingers close lightly around its lower branches. Red bead-like accents brighten the arrangement. These richly worked details contrast with the broad, smoothly polished contours of the body, where the material varies from pale cream to warm amber. Conventionally known as “Doctor’s Ladies” or diagnostic dolls, such figures are associated with accounts of Chinese women indicating ailments to male physicians through a carved model. The historical extent of that practice remains debated. Reclining female carvings also found an audience as decorative curios, their intimate subject matter and elaborate adornment appealing to collectors. Here, the carefully dressed hair, jewelry, slippers, and flowers give the nude figure a distinctly ornamental and sensual character. The accompanying reddish-brown wooden stand has a fitted recess and inward-scrolling feet at either end. Its dark finish provides a handsome setting for the pale carving. Light handling wear is visible on the stand. Measures approximately 17.75" long x 3.25" wide x 3.5" high, including the wooden stand. Auction Estimate: $800–$1,200.

A Japanese cloisonné enamel charger of the Meiji period (1868–1912), probably late nineteenth century, decorated with a crested eagle perched on a rocky outcrop. Rendered in white and graduated gray enamels against a rich chocolate-brown ground, the bird dominates the composition, its lowered head and extended talons conveying watchful intensity. Fine metal wires delineate the overlapping feathers, from the small, rounded scales across the shoulders to the long flight feathers descending along the body. Swept-back plumage accentuates the head and neck, while yellow accents sharpen the eye, hooked beak, and powerful feet. The finely flecked ground has a subdued metallic sparkle, suggesting aventurine, or goldstone, enamel. Its warm tones provide a striking contrast to the pale bird and the gray-green rockwork, where small flowering plants soften the rugged contours. The subject belongs to a longstanding tradition of depicting birds of prey in Japanese painting and decorative arts. Eagles and hawks carried associations with strength and endurance, making them favored subjects among Japan’s warrior elite. Here, the commanding pose and carefully differentiated plumage translate that pictorial tradition into enamel, with the wirework serving much the same purpose as an artist’s drawn line. The shallow circular dish rests on a low ring foot and is framed by a narrow metal rim with a delicate scalloped inner border. The reverse is finished in bright blue enamel, with a dense pattern of wire spirals surrounding a plain blue center. The exposed metal mounts have a warm brown patina. Light wear consistent with age. Presents very well, with bold decoration. The charger measures approximately 12" in diameter × 1.5" high. Auction Estimate: $400–$600.

A pair of Japanese cloisonné enamel vases of the late Meiji period, circa 1890–1910, with complementary bird-and-flower compositions against a glossy celadon-green ground. Each vase has broad, rounded shoulders, a short flaring neck, and an elongated body tapering toward a narrow foot. Slender metal mounts frame the mouths and bases. Dark, twisting trunks rise from the foot of each vase, branching into finely pointed maple leaves and sprays of cherry blossom. Pale pink and white flowers open around yellow centers, accompanied by pendant buds and leaves shaded in olive green and golden yellow. The nearly black maple foliage provides a strong contrast to the delicate blossoms and softly colored enamel ground. Small brown, sparrow-like birds occupy the upper branches, their contrasting poses bringing animation to the closely coordinated designs. Fine wire outlines distinguish the wing feathers, individual leaf veins, and separate petals of the blossoms. Brown and muted violet passages articulate the trunks, suggesting the irregular texture of bark. The decoration extends around the shoulders, leaving open areas of green between the flowering branches. The corresponding forms, colors, and subjects give the vases a balanced relationship while allowing differences in the arrangement of the foliage and birds. The compositions draw upon the Japanese bird-and-flower tradition known as kachō-ga. Here, the combination of fine wirework and open enamel grounds gives particular prominence to the small natural details, from the birds’ plumage to the notched petals and sharply divided maple leaves. Blue-green enamel finishes the interiors and the underside shown, with patinated metal mounts surrounding the mouths and feet. No maker’s mark is visible in the supplied photographs. Fine lines around the necks and within one mouth appear consistent with enamel hairlines or crazing. Other minor wear and imperfections are consistent with age, including patination or tarnishing to the metal mounts. Each vase measures approximately 4.75" in diameter at the widest point × 10" high. Auction Estimate: $400–$600.

A Japanese cloisonné enamel charger of the Meiji period, late nineteenth century, decorated with two wild geese in flight among lilies, peonies, and flowering foliage. The birds cross an expansive turquoise-blue ground, their outstretched wings forming a diagonal through the tall flowering stems. A white lily, its pointed petals flecked with reddish spots, opens above elongated buds and narrow leaves. Below, a large pink peony unfolds among smaller blossoms and dense green foliage. The contrasting forms give the arrangement its rhythm: slender stems rise through the open ground, while the fuller peony anchors the composition near the rim. The geese are worked in brown, gray, and cream enamels, with fine wire outlines distinguishing their overlapping feathers. The decoration draws on the Japanese bird-and-flower tradition known as kachō-ga, which carried closely observed natural subjects across painting, prints, and the decorative arts. Here, the asymmetrical arrangement and generous areas of uninterrupted blue allow the movement of the birds and the branching plants to remain the focus. Fine metal wires divide the colored enamels into individual compartments, preserving delicate details of plumage, petals, and leaf veins within the polished surface. A narrow ornamental border of scrolling and pointed motifs frames the shallow circular dish. The reverse is enameled in blue with an allover pattern of wire spirals surrounding a plain central field. A low circular foot supports the charger, and a suspension loop is fitted to the reverse for display. The exposed metal rim and foot have a warm brown patina. Scattered surface marks are visible, together with a small area of enamel loss within the foot ring on the reverse. The charger measures approximately 11.75" in diameter × 1.25" high. Auction Estimate: $250–$400.

A large Japanese Imari porcelain bowl, Meiji period, late nineteenth century, richly decorated with sweeping panels of floral ornament and geometric pattern beneath a scalloped, gilt-edged rim. The deep, rounded body rises from a short circular foot, its generous proportions accommodating an elaborate design repeated across both the interior and exterior. Broad cobalt-blue panels carry fine gilt crosshatching and large, radiating chrysanthemum roundels, alternating with iron-red reserves crowded with pale blossoms. Turquoise-green sections introduce scrolling flowers with finely striped petals and gilt-edged foliage against a delicately stippled ground. Between them, blue latticework encloses small iron-red flowerheads on white. The curved divisions sweep diagonally around the bowl, drawing the richly colored panels into a continuous spiral. Within the interior well, a white-ground medallion offers a quieter arrangement of pine, bamboo, and flowering plum. Green and iron-red clusters of pine needles, slender bamboo leaves, and rounded plum blossoms follow the circumference around an open center. Known in Japan as shōchikubai, this auspicious grouping celebrates endurance and renewal, the three plants traditionally admired for their resilience through winter. The combination of underglaze cobalt, colorful overglaze enamels, and extensive gilding belongs to the kinrande, or “gold brocade,” tradition associated with Imari porcelain. Here, the name is particularly apt: the interlaced gold lines, repeated flowerheads, and densely patterned reserves recall the richness of woven textiles. Decoration continues down the exterior to a narrow iron-red ornamental band above the foot, giving the bowl a finished appearance from every angle. The recessed glazed underside bears a small iron-red ornamental emblem within a single underglaze-blue circle. The broad, exposed foot ring retains later felt protectors. Light rubbing to the gilding and wear and discoloration beneath the foot are visible; the enamels retain strong color. Measures approximately 13.25" in diameter x 6.25" high. Auction Estimate: $400–$600.