A Japanese cloisonné enamel charger, Meiji period, late nineteenth century, decorated with three birds among flowering plum branches against a lustrous black ground. The broad, shallow dish rests on a circular foot, with a narrow metal rim enclosing a richly colored border of stylized flowers and foliage. Two large birds occupy the center, their overlapping bodies and spread tails forming a striking arrangement above the branches. The foremost bird inclines its head toward the viewer, its white and gray plumage defined by closely set wire cells and a boldly striped, fan-shaped tail. Behind it, a golden-ochre companion turns to the left, with a dark brown head, rose-colored bill, and individual feathers outlined in fine wire. A smaller bird descends from the lower left with wings extended, bringing movement into the open space beneath the central pair. Gnarled brown branches rise from the right and reach across the black field, carrying white blossoms, coral-pink flowers, and tightly closed buds. Slender green shoots thread between the heavier limbs, their bright color setting off the softer tones of the petals. The dark enamel gives particular brilliance to the white feathers and blossoms, while leaving the branching composition clearly defined. Around the edge, an ornamental border combines deep green leaves, ochre scrolls, rust-red flowerheads, and small pale-blue accents. Its closely repeated pattern frames the more freely arranged birds and branches. Fine wirework follows the contours of the feathers, flower petals, and buds, demonstrating the detailed control that gives the decoration its character. The reverse is fully enameled, with a blue ground covered in curling wire spirals and bordered by a dark scalloped band. Within the foot ring, a brighter blue recess encloses a large floral roundel in black, green, ochre, and rust red. This is decorative ornament rather than an identifiable maker’s signature. Measures approximately 14.25" in diameter x 1.75" high. Auction Estimate: $400–$600.

A Japanese cloisonné enamel vase, Meiji period, late nineteenth century, with a richly colored bird-and-flower composition set against a lustrous black ground. The rounded shoulders narrow into a short, flared neck, while the body tapers toward a small circular foot, giving the abundant floral decoration a graceful, continuous surface. A long-tailed bird perches among branching white plum blossoms, its lowered head directing attention toward the pink roses below. Chestnut-brown plumage, deep cobalt wing markings, and a cream-colored breast distinguish the bird against the surrounding foliage. Fine wire outlines articulate the overlapping feathers, slender claws, and divided tail, bringing definition to the softly colored enamel. The roses open in layers of blush pink and creamy white around pale yellow centers, accompanied by pointed buds and clusters of green leaves. Gray flowering branches sweep across the shoulders, while smaller chrysanthemums and violet blossoms continue around the reverse. The arrangement balances passages of intricate detail with open black enamel, allowing the pale flowers and blue plumage to stand out with particular clarity. An ornamental collar of turquoise flowerheads and curling foliage encircles the reddish-brown neck beneath a narrow scalloped border. Overlapping maroon and pale green lappets finish the lower body. These patterned bands frame the freer garden composition, combining the decorative richness and naturalistic subjects associated with Meiji cloisonné. Exposed metal mounts finish the mouth and foot; mottled blue counter-enamel covers the interior and unmarked underside. Scattered small pits are visible in the enamel, together with light surface wear and patination to the metal mounts. Measures approximately 6" in diameter at the widest point x 10" tall. Auction Estimate: $250–$400.

A fine Japanese letter opener of the Meiji period (1868–1912), combining a decorated copper blade with a sculptural handle of clustered toads. Probably dating to the late nineteenth century, the piece reflects the period’s flourishing market for ornamental metalwork, when Japanese craftsmanship attracted collectors at home and abroad. Its elaborate handle rewards the same close attention as a small sculpture, bringing an element of artistry and humor to the rituals of reading and correspondence. The handle is modeled in high relief on both sides, with toads clambering over one another around a broken tree trunk. Their prominent eyes, broad mouths, and outstretched limbs give the group a lively, almost humorous character. Smooth, rounded bellies contrast with the stippled texture of their flanks and folded legs, while smaller creatures reach upward among the branches. Gilt details accent selected bodies and limbs against the deep brown patination. The copper blade is decorated on both faces with slender engraved stems, leaves, and small buds, picked out with contrasting metallic accents. It widens toward an upswept tip, with a shallow decorative notch along the upper edge near the point. The delicate foliate decoration complements the more elaborate modeling of the handle. Used as a paper knife, the blade could separate the folded, uncut leaves of books as well as open correspondence. The animal subject carries associations familiar in Japanese art and folklore. The word kaeru, meaning “frog,” shares its pronunciation with the verb “to return,” linking frogs with wishes for safe journeys and the return of good fortune. Toads also appear as companions to Gama Sennin, the “Toad Immortal,” a figure of Chinese Daoist origin adopted into Japanese painting and decorative arts. These associations provide a cultural setting for the subject, although the handle does not establish a particular legendary narrative. The handle has a slight internal rattle, suggesting some looseness in the connection. The letter opener measures approximately 11.75" long × 1.25" wide, with a 7.5" blade. Auction Estimate: $200–$300.

A Japanese cloisonné enamel vase, Meiji period, late nineteenth century, decorated with a flowering garden and two sparrows in flight against a glossy black ground. The full, rounded body rises from a spreading foot to sloping shoulders and a slender, flared neck, its elegant proportions complemented by the upward sweep of the foliage. A large, pale iris crowns the principal composition, its ruffled petals shaded in cream and soft lavender and delicately divided by branching wire veins. Long, blade-shaped leaves rise through clusters of white and blush-pink chrysanthemums, their yellow and pale turquoise centers adding small, bright accents among the layered greens. Rust-red blossoms, unopened buds, and curling leaves enrich the lower decoration, where closely arranged wirework captures the tangled growth of a garden border. Around the reverse, the flowers give way to an open expanse of black enamel beneath two flying sparrows. Their rounded wings, pale cheeks and chestnut facial markings distinguish the small birds. Fine wire separates the wing feathers and gives definition to the small birds as they descend toward the flowering stems below. Narrow borders of reddish-brown and cream chevrons, interspersed with pendant teardrop motifs, encircle the mouth and foot. The restrained ornament at either end frames the more elaborate floral work, while exposed metal rims complete the silhouette. The underside is finished in pale green counter-enamel and bears no visible maker’s mark. Surface wear and scattered small pits are visible in the enamel, with rubbing and patination to the metal rims. Measures approximately 4.5" in diameter at the widest point x 8.5" tall. Auction Estimate: $200–$300.

Expressive cobalt brushwork animates the continuous landscape surrounding this Chinese porcelain ginger jar, attributed to the early Qing dynasty, late seventeenth to early eighteenth century. The broad, rounded shoulder descends into gently tapering sides, giving the vessel a substantial, balanced profile. A short upright neck rises above the shoulder, its exposed upper rim consistent with a form originally fitted with a cover. Two robed figures face one another beside a low, angular railing. One extends his hands toward his companion, while an isolated mountain peak rises beyond them. Their faces and garments are articulated with economical strokes, contrasting with the broader washes that establish the surrounding terrain. As the composition continues around the jar, branching trees and elongated rock formations give way to sweeping curved bands suggesting water. The gathering evokes the Chinese pictorial tradition of scholars seeking companionship and contemplation within a natural retreat. Landscapes of this kind became prominent in seventeenth-century porcelain decoration, drawing on the imagery of scroll paintings and illustrated books. Mountains, water, and secluded meeting places could suggest an ideal life removed from official responsibilities and worldly distractions. The present scene can be understood within that broader tradition, although its figures cannot be securely connected to a particular literary episode. The decoration moves between smoky gray-blue passages and concentrated indigo accents. Dark outlines sharpen the figures and rocky contours, while lighter washes soften the landscape. Open areas of pale glaze separate the motifs, allowing the composition to unfold around the vessel in a manner reminiscent of viewing successive passages of a handscroll. Large blossoms and leafy stems encircle the shoulder between concentric blue lines. A narrow, undulating border with pendant accents defines the lower body above the foot. The glossy glaze has a subtle gray-green cast, with fine crackling and scattered dark specks visible across the surface. The substantial potting and freely handled decoration suggest commercial kiln production. Such workshops supplied both practical vessels and decorative wares, bringing established artistic subjects to a broad audience. The recessed underside is glazed within an exposed foot ring of reddish-brown ceramic fabric. The jar is accompanied by a fitted storage box covered in dark woven fabric, with a pale padded lining and cream-colored toggle fasteners. The cover is absent. The storage box measures approximately 7.5" × 7.5" × 7.25" tall. Auction Estimate: $300–$500.

A Chinese porcelain covered jar, attributed to the late Ming or early Qing period of the seventeenth century, distinguished by a softly lustrous blue-gray glaze and restrained cobalt decoration. The body rises from a low circular foot to a full, rounded shoulder, then narrows to a short upright neck. A subtle greenish cast lends depth to the pale glaze, through which faint horizontal throwing lines remain visible across the shoulder. The painted decoration follows the contours of the vessel. Slender blue lines encircle the neck and shoulder, while a single band defines the lower body above the foot. The broad expanse between these borders remains unpainted, emphasizing the rounded profile and reflective surface. Variations in the strength and width of the cobalt lines preserve the character of the brushwork. The shallow domed cover has a gently projecting rim and rounded button finial. Two concentric blue lines enclose sparse painted accents, with darker pigment gathering around the base of the finial. The cover complements the jar’s understated decoration and softly colored glaze. The recessed underside is glazed within an exposed foot ring, whose irregularly finished edge reveals pale ceramic fabric, brownish coloration, and granular adherences. Scattered dark specks are visible in the glaze, together with a small brown blemish on the cover. The accompanying presentation box is covered in dark woven fabric and fitted with a pale padded lining. Two cream-colored toggle fasteners engage dark cloth loops across the front. The presentation box measures approximately 5.5" × 5.5" × 4.25" high. Auction Estimate: $300–$500.

A Japanese cloisonné enamel vase, Meiji period, late nineteenth to early twentieth century, decorated with a golden pheasant perched among flowering plum branches above a colorful garden of chrysanthemums, roses, and irises. The slender, gently tapering body has broad, rounded shoulders and a short neck opening to a flared mouth. Its lustrous black ground gives the delicate blossoms and richly colored bird a striking clarity. The pheasant forms the center of the composition, with a sweeping yellow crest, russet throat and breast, and overlapping green and gray wing feathers individually defined in fine wire. Its long, patterned tail descends between the branches, echoing the vertical lines of the vase. Yellow feet clasp the slender perch, while the turned head and carefully outlined eye lend the bird an alert expression. White plum blossoms and rounded buds spread across a network of brown branches and green shoots. Below, rust-red chrysanthemums with bright yellow centers mingle with cream and apricot roses, pale violet irises, and small blue flowers. The decoration moves from the closely gathered foliage near the foot to increasingly airy branches above, creating a graceful progression along the tall body. Subtle changes of color within the petals and leaves soften the precise wire outlines. Narrow wire borders of repeating loops finish the decoration beneath the mouth and above the foot, leaving the floral scene largely uninterrupted. Plain metal mounts frame the upper and lower edges, and the recessed underside is finished in dark enamel without a visible maker’s mark. Minor wear commensurate with age, including light surface pitting to the enamel. Measures approximately 4" in diameter at the widest point x 9.75" tall. Auction Estimate: $300–$500.

A Japanese cloisonné enamel vase, late Meiji period, circa 1890–1910, decorated with two long-tailed birds among maple branches and flowering chrysanthemums against a glossy black ground. The elongated body rises through broad, rounded shoulders to a short neck and flared mouth, with narrow metal mounts framing the rim and foot. A slender maple trunk branches across the upper body, carrying finely pointed leaves in green, teal, golden yellow, orange, and rust red. Two stylized birds occupy the branches in contrasting poses, one leaning downward and the other perched upright with its head raised. Their brown wings, pale breasts, golden cheek patches, and exceptionally long tail feathers are articulated with delicate metal outlines. Clusters of chrysanthemums fill the lower portion of the composition, with white, pale lavender, yellow, and orange blossoms opening among overlapping foliage. Fine wirework defines the individual petals, branching stems, and leaf veins. Additional flowering sprays decorate the reverse, separated by broad passages of uninterrupted black enamel. A narrow ornamental border of pointed scallops encircles the foot above the metal mount. The mouth and foot mounts are silver-colored; their metal composition has not been confirmed. The interior is finished in blue enamel, and the underside is darkly enameled. No maker’s mark is visible in the supplied photographs. Light wear consistent with age, with possible light speckling to the enamel. Presents very well, with bold color and sharply defined decoration. The vase measures approximately 4.5" in diameter at the widest point × 9.5" high. Auction Estimate: $400–$600.

A pair of Japanese mixed-metal vases, Meiji period, late nineteenth century, decorated with birds and flowering plants against dark brown and black patinated bodies. Each elongated vase tapers toward a narrow base beneath rounded shoulders and a short neck. Thickened mouth rims are modeled with segmented details resembling bamboo. A large bird dominates the front of each vase, one descending with its wings spread and the other rising with its head lifted. Raised relief and finely incised lines distinguish the overlapping feathers, while contrasting dark, copper-colored, and gilt surfaces emphasize the wings, breasts, and smaller anatomical details. The differing attitudes create a complementary arrangement across the pair. Flowering stems and curling vines extend around the bodies, carrying broad, lobed leaves, open blossoms, and tightly formed buds. The foliage combines raised elements with engraved stems and veins, allowing the decoration to move between pronounced relief and shallow surface detail. Additional sprays on the reverses include rose-like flowers and smaller leaves. Scrolling ornament encircles the necks beneath the bamboo-form rims. Broad bands of stylized leaves and curling stems decorate the lower bodies, their warm metallic highlights standing out against the dark patination. The undersides are plain metal, with no legible maker’s signature visible in the photographs. The specific alloys and composition of the contrasting metallic accents have not been confirmed. Wear to the gilt and other surface finishes, with additional wear and patination commensurate with age. Each vase measures approximately 7" in diameter at the widest point × 14.25" high. Auction Estimate: $2,000–$3,000.

Two Japanese cloisonné enamel vases, Meiji period, late nineteenth century, decorated with flowers, butterflies, and ornamental panels against dark grounds densely filled with fine wire spirals. The vases differ in size and shape, sharing a colorful palette and contrasting areas of opaque and translucent enamel. The smaller vase has an elongated body, sloping shoulders, and a slender neck opening to a flared mouth. Chains of small green circular motifs descend along the neck and frame pendant blue panels around the shoulders. Scattered butterflies, pale blossoms, and green floral rosettes enliven the dark ground. Reflective, foil-like inclusions give selected blue and green passages a sparkling appearance. Overlapping semicircular outlines form a band above the narrow foot. The larger vase has broad, rounded shoulders, a short flared neck, and a tapering body. Overlapping fan-shaped, rectangular, and lobed panels contain irises, flowering branches, butterflies, and stylized ornament. Two panels bear the auspicious characters 福 and 寿, expressing good fortune and longevity. Small colored roundels and floral devices punctuate the surrounding spiral wirework. A broad ornamental band encircles the shoulders, while alternating colored lappets rise above the foot. Warm yellow-metal mounts frame the mouths and bases. The smaller vase has a dark underside; the larger has an exposed metal underside bearing a small oval stamped mark, presently unidentified. General wear and minor surface imperfections consistent with age. The larger vase measures approximately 4" in diameter at the widest point × 7.5" high. Auction Estimate: $300–$500.

Two Japanese cloisonné enamel chargers, Meiji period, late nineteenth century, decorated with swallows and foliage against bright blue grounds. Each shallow circular dish rests on a low ring foot, with a narrow metal rim enclosing an ornamental enamel border. One charger depicts a swallow perched on an arching stem among broad lotus leaves, pink buds, and slender, curving blades of foliage. The bird’s dark head and folded wings contrast with its white breast, while fine wire outlines distinguish the feathers and long, forked tail. The lotus leaves display radiating veins and areas of darker green shading. Pale blue fan-shaped floral motifs, brown scrolls, and a black scalloped band dotted in white frame the scene. The second charger features a swallow in flight beside a grapevine. Pointed wings and extended tail streamers carry the bird across an open expanse of blue, balancing the large, lobed green leaves and hanging cluster of dark and pale green grapes. Curling tendrils extend around the lower field. Its border combines stylized floral and scrolling forms in black, pale blue, brown, white, and muted red. The reverses are enameled in blue with repeated wire spirals surrounding deeper blue centers within the foot rings. The exposed metal rims and foot rings have a warm brown and golden-toned patina. No maker’s marks are visible in the supplied photographs. Surfaces show light imperfections consistent with age. Each charger measures approximately 11.75" in diameter × 1.25" high. Auction Estimate: $400–$600.

A finely worked Chinese export silver presentation casket, late nineteenth to early twentieth century, housed within a fitted, gold-decorated black lacquer case. The rectangular silver box combines closely spaced, diamond-shaped piercing with raised flowering prunus and bamboo decoration. Its substantial construction and sculptural ornament contrast with the delicacy of the open lattice. Gnarled prunus branches spread across the hinged lid around a polished rectangular plaque. Individually defined petals surround finely chased flower centers, with rounded buds emerging along textured stems. Related flowering branches decorate the short sides, while bamboo extends across the long panels in overlapping clusters of pointed leaves and jointed stalks. The raised ornament stands prominently above the pierced ground, allowing light and shadow to emphasize the depth of the silverwork. The central plaque bears the inscription “With Best Wishes From Fok Hon Fui” in shaded ornamental lettering. The underside is stamped “CANTON,” “HC,” a Chinese character mark, and “90,” indicating a stated silver fineness of 900/1000. The accompanying lacquer case has a fitted olive-green velvet interior and an inner lid decorated with five gold winged insects. An extensive landscape fills the exterior lid: figures gather beside a spreading tree, a boat crosses the water, and buildings stand among trees along the opposite shore. Birds fly above the scene, which is enclosed by finely patterned borders. Flowering branches, foliage, birds, and insects continue around the exterior sides. Brass hinges and lock fittings complete the case; a separate key is included. The silver casket shows light wear commensurate with age. The lacquer has localized chips and losses, including a patch below the front keyhole and losses along the lid edges, together with apparent fine cracking to the interior lid’s lacquer. The silver casket measures approximately 6.25" long × 4.25" wide × 3" high and weighs 614 grams (19.74 ozt.). The lacquer case measures approximately 10" long × 7.5" wide × 4.25" high. Auction Estimate: $1,500–$2,500.

A sculptural fragment of the Sikhote-Alin iron meteorite, a remnant of the dramatic meteorite shower that fell over the Russian Far East on February 12, 1947. Broad and relatively flat, the specimen has an irregular outline with raised ridges, shallow hollows, and overlapping, torn-looking edges. Silver-gray highlights catch its projecting contours, while darker recesses and small areas of brown coloration give depth to the rugged metallic surface. Its flattened profile and sharply textured features are consistent with the shrapnel-type fragments associated with this fall. These pieces bear the marks of violent fragmentation, their crumpled forms preserving something of the force with which a visitor from space arrived on Earth. The Sikhote-Alin event scattered iron meteorites across the forested mountains of Russia’s Maritime Territory, now Primorsky Krai. This fragment, small enough to rest in the hand, connects that witnessed moment in 1947 with the much longer history of its extraterrestrial material. Sikhote-Alin is classified as a Group IIAB iron meteorite, composed principally of iron and nickel, and structurally as a coarsest octahedrite. The latter term refers to its broad internal metallic crystal structure, which is not exposed on this unsectioned specimen. Accompanied by a printed identification label reading “SIKHOTE-ALIN – IRON / Coarsest Octahedrite / Fell February 1947 / Maritime Territory, USSR.” Measures approximately 3" × 2.25". Auction Estimate: $250–$350.

A Japanese cicada netsuke, Meiji or Edo period. The elongated form has a rounded head with protruding, applied black eyes, a banded thorax, and closely folded wings that taper to paired, rounded tips. Warm cream and amber tones vary across the polished surface. Deeply incised lines trace the branching veins of the overlapping wings, with dark staining emphasizing their angular patterns. Smooth passages across the head and thorax contrast with the densely worked wings, while the prominent, rounded eyes lend the insect an expressive appearance. The underside is detailed with folded legs, a long central mouthpart, and a segmented abdomen. An incised signature near the lower end possibly reads Yoshikawa (吉川); the maker has not been securely identified. Measures approximately 4" long × 1" wide. Auction Estimate: $250–$350.

A richly detailed European oil on hammered copper depicting Susanna and the Elders, following the celebrated composition of Jacob Jordaens (Flemish, 1593–1678). Luminous figure painting, sumptuous crimson drapery and an elaborate garden setting bring the theatrical richness of the Flemish Baroque to this substantial copper, whose intricate passages invite close and sustained looking. Light falls across Susanna’s face and bare shoulders as she turns toward the elders crowding behind her, gathering her clothing against their intrusion. Her softly modeled flesh emerges from the surrounding darkness, set against the ruddy complexions and deeply worked beards of the men. Expressive fingers, curling strands of hair and carefully placed highlights animate the encounter. The central drama commands attention, while the smaller passages—feathers, folded cloth and ornate vessels—reward a closer view. The story, recounted in Daniel 13, concerns Susanna, the virtuous wife of Joachim, a wealthy resident of Babylon. Two elders secretly observe her bathing and threaten to accuse her of adultery unless she submits to their advances. She refuses, risking condemnation until Daniel exposes their contradictory testimony and secures her vindication. The subject captivated Renaissance and Baroque painters, bringing together steadfast virtue, threatened innocence and the sensual beauty of the human figure within the cultivated luxury of a private garden. Here, that garden is filled with telling details. A magnificent peacock stands beside a fountain surmounted by a winged Cupid, its long plumage sweeping down the left side of the composition. Cupid introduces erotic desire; the peacock, associated with Juno, protector of marriage, has been interpreted as an emblem of marital fidelity. A pale cloth held by an elder catches the light above Susanna’s crimson mantle, while an alert little dog and richly ornamented bathing vessels complete the foreground. These elements give the scene its distinctive blend of opulence, intimacy and unease. Jordaens returned repeatedly to this narrative. The present painting follows his late-1630s composition in the Royal Museums of Fine Arts of Belgium, Brussels, itself informed by Rubens’s treatments of the subject, including the 1614 painting now in Stockholm. A related canvas measuring 171 × 149 cm, cataloged as Jordaens and workshop and accompanied by an opinion from Hans Vlieghe, realized €663,000 including buyer’s premium at Coronari Auctions in March 2023. The present copper preserves the same distinctive arrangement, with certain details corresponding more closely to the Brussels version—notably the bareheaded upper elder, who wears a red cap in the Coronari canvas. Vlieghe’s opinion applies to that larger canvas. Examination in person has confirmed the plate’s hammered construction. Shallow working impressions remain visible beneath a richly mottled brown patina on the reverse, where scattered abrasions reveal warmer copper tones. Such supports belong to the established tradition of European copper painting before rolled sheet became more prevalent in the later eighteenth century. The construction is consistent with a seventeenth- or eighteenth-century origin, without establishing a precise date. The circle designation is the auction house’s attribution and remains unverified; the painter’s identity and direct association with Jordaens have not been established. An indistinct cursive inscription and a separately scratched number, apparently “8340,” survive on the reverse. Neither has been securely connected to an artist or collection. A substantial gilt frame with scrolling foliate ornament complements the painting’s warm palette and gives the ensemble a commanding decorative presence. Visible condition includes scattered paint losses, fine cracking, scratches and uneven surface sheen, with localized raised or disrupted paint around the dog and adjoining dark passages. Examined under black light, the painting appears very original, with a few possible areas of historic inpainting. Copper plate approximately 24" × 18"; overall framed dimensions approximately 29" × 23.5". Auction Estimate: $6,000–$8,000.

An original oil on canvas by Alaska artist Ernest E. Robertson (b. 1939), signed and dated 1991, depicting Denali (Mount McKinley) as summer gives way to autumn in the foothills below. The mountain’s illuminated snowfields preside over a landscape in the midst of changing color, with the season’s warmth spreading across the ground beneath a cool, clouded sky. In the foreground, lingering summer greens mingle with vivid patches of burnt orange and russet. Robertson builds the foliage with small, broken strokes, weaving the colors around gray rocks and the bases of slender spruce trees. Their dark branches rise above the bright ground cover, silhouetted against a golden opening in the valley. Farther back, the rolling foothills carry the transition upward: green lower slopes begin to yellow along the rising mountainsides. Successive ridges recede through blue and violet, their softened outlines opening a considerable distance between the nearby vegetation and the summit. Denali holds the clearest light. A narrow edge of gold traces the peak, while broad faces of snow fall into cool blue shadow. The orange at ground level finds a quieter echo in these pale, sunlit expanses. That relationship gives the painting its particular seasonal character: autumn is advancing through the low country, while snow still commands the heights. The work continues the Alaskan landscape tradition associated with Sydney Laurence and Eustace Ziegler, whose mountain paintings helped establish Denali as an image of Alaska itself. Robertson brings that expansive subject into an intimate vertical composition, allowing the summit to dominate without losing the small details underfoot. Signed “Ernest Robertson” with a copyright symbol and the date “’91” at lower left. Presented in a gilt wooden frame with a linen liner and narrow gold-toned inner slip. Sight dimensions approximately 12" high × 9" wide; overall framed dimensions approximately 16.5" high × 13.5" wide. Auction Estimate: $1,000–$1,500.

An original watercolor by Byron Birdsall (1937–2016), signed and dated 1978, titled Mountain Fog. An empty highway sweeps into a mountain pass, its broad, pale surface narrowing toward a bend between dark timber and yellow-green brush. The road brings the viewer into the scene at ground level, offering a route through country that grows increasingly remote as it rises. Birdsall builds the landscape from distinctly shaped passages of color. Rounded masses of roadside foliage gather along the pavement, their ochre and olive tones set against the nearly black silhouettes of the evergreens. A tall stand of trees climbs the right-hand slope, while successive mountain faces recede through gray washes toward snowfields and faintly drawn summits. Fog takes form through the gradual loss of contrast, until the most distant peaks nearly share the color of the sky. The crisp edges and controlled washes give this early work a particularly graphic character. The broad sweep of the highway establishes the direction of travel; the broken outlines of brush, trees and ridgelines keep the surrounding landscape varied. There is a quiet anticipation in the bend of the road, with the journey continuing beyond what the painting reveals. Born in Arizona, Birdsall settled in Alaska in 1975, placing this watercolor within the first few years of his Alaska career. His admiration for the Japanese printmakers Hokusai and Hiroshige informed his approach to composition and graduated color. That interest offers a useful context for the clearly bounded shapes and measured tonal transitions seen here. Signed and dated “BYRON BIRDSALL 1978” at lower right. A label on the reverse reads “MOUNTAIN FOG,” and the backing bears the stamp of The Gallery, Anchorage. Presented with broad brown matting, a narrow light inner border and a slim silver-tone metal frame. Sight dimensions approximately 7.75" high × 16" wide; overall framed dimensions approximately 14.25" high × 22.5" wide. Auction Estimate: $800–$1,200.

A Japanese shunga painting in ink and color on silk, its intimate interior enlivened by richly patterned fabrics. Two lovers recline within a screened interior, surrounded by fabrics that fill the small composition with color: ochre stripes, pale green scrolls, white blossoms against rust orange, and large roundels across a rose-red coverlet. Fine outlines describe the figures, while broad passages of black in the hair and clothing give the scene its strongest accents. The painter sets the curved forms of the couple and gathered bedding against the measured geometry of sliding screens. Individual flowers, curling motifs and narrow garment borders remain carefully articulated, even where the fabrics overlap. The close grouping of faces and hands holds the eye at the center, while the surrounding patterns extend the scene’s intimate domestic setting to every edge. Executed in ink and color on silk. Unsigned, with an accompanying handwritten label assigning the date 1890. The subject and richly patterned garments follow the Japanese shunga tradition. Presented in an oversized cream mat under protective shrink-wrap. Scattered spotting and toning are visible, together with discoloration and handling wear to the mat. Sight dimensions approximately 8" × 11.5". Auction Estimate: $200–$300.

A golden full moon presides over a sheltered waterway in this original 1977 watercolor by Alaska artist Byron Birdsall (1937–2016). Suspended above a distant, snow-streaked ridge, its sharply defined disc casts a broad column of pale light across the blue water. Along the nearer shore, dark spruce rise above broken rock faces and lingering snow, while ochre passages bring a muted warmth to the cool evening palette. Birdsall builds the landscape through a deliberate balance of hard edges and softly diffused light. The foreground rocks fit together in angular planes of charcoal, slate gray and gold, with deep shadows gathering beneath their overhanging edges. A long sweep of snow descends from the wooded bank toward the water, carrying the eye into the distance. Across the inlet, a densely forested point answers the taller trees at left, enclosing the moonlit opening between them. The water gives the composition its stillness. Narrow, calligraphic ripples cross the surface, but much of the foreground remains an uninterrupted wash of blue through which the reflection gradually spreads and fades. The moon’s warm yellow finds an echo in the rocky shoreline, connecting sky and earth across the darker middle distance. Within the square format, the descending shore, upright trees and horizontal water each hold a distinct place; the open foreground gives the viewer the feeling of standing at the water’s edge. Born in Buckeye, Arizona, in 1937 and raised in California, Birdsall came to painting through a life of teaching and travel. He began selling his work professionally while living in Uganda, and an encounter with Japanese prints in Hong Kong deepened his admiration for Hokusai and Hiroshige. Their crisp silhouettes, selective detail and subtle gradations of color offered a visual language that would find a lasting place in his own landscapes. Birdsall settled in Alaska in 1975 and became one of the state’s best-known watercolorists, painting mountains, coastal communities, fishing boats, wildlife and scenes of historic Alaska. His work reached audiences through original paintings, illustrated books and widely collected limited-edition prints; he also designed the 1992 U.S. postage stamp commemorating the Alaska Highway. Dating just two years after his arrival, this watercolor belongs to the opening years of his Alaska career. The Japanese influence is especially apparent in the moon’s unbroken circle, the silhouetted branches and the graduated band of reflected light. Signed and dated “BYRON BIRDSALL · 1977” at lower right. Presented behind a broad slate-gray mat with a narrow cream inner border, in a slim, dark metal frame. Sight dimensions approximately 14" × 14"; overall framed dimensions approximately 20.5" × 20.5". Auction Estimate: $1,000–$1,500.

An original watercolor by Byron Birdsall (1937–2016), “Matanuska Isawa” presents a sweeping interpretation of Alaska’s Matanuska landscape, combining rugged terrain with the clarity and compositional elegance of Japanese woodblock prints. Viewed from an elevated perspective, fractured foreground rock opens onto a luminous expanse of water, its pale blue-green and golden washes framed by dark, overlapping ridges. Snow-covered peaks stretch across the distance beneath a narrow band of deep indigo sky. The vertical composition creates a striking progression from the immediate foreground to the distant mountains. Angular rock formations draw the eye inward, while successive bands of olive, brown and nearly black terrain establish depth through sharply defined silhouettes. Across the broad central passage, delicate transitions of color suggest reflected light and lend the scene a remarkable stillness. Pale blue shadows articulate the distant snowfields, balancing the warmth of the water with the coolness of the mountain skyline. The painting offers a particularly clear expression of Birdsall’s documented admiration for Japanese printmaking. During his travels in Hong Kong, he encountered the work of Hiroshige and Hokusai and began studying their techniques. Here, the elevated viewpoint, simplified contours and broad areas of color show how effectively he adapted that visual language to Alaskan scenery. The small red seal beside his signature further complements the composition’s Japanese character. The landscape suggests the upper Matanuska River valley, with an elevated perspective comparable to views around Glacier View and Lion’s Head. The precise vantage point has not been established. Born in Arizona and raised in California, Birdsall moved to Alaska in 1975 and became one of the state’s best-known watercolorists. His subjects ranged from dramatic mountain and coastal landscapes to wildlife, flowers and nostalgic views of Alaska’s communities. A largely self-taught painter, he developed a distinctive command of light and simplified form, while his widely distributed limited-edition prints introduced his work to a broad audience. Dated 1977, this painting belongs to the early years of his Alaska residence. Signed and dated “Byron Birdsall 1977” at lower left, beside a red seal. Presented in a silver-tone metal frame with a broad charcoal-gray mat and a narrow light inner border. Sight dimensions approximately 19" × 13.5"; overall framed dimensions approximately 26.25" × 20.25". Auction Estimate: $1,200–$1,800.