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A LACQUERED WOOD FIGURE OF AMIDA BUDDHA (AMITABHA):Edo period (1615-1868), 19th century
The figure shown dressed in flowing robes open at the chest, the byakugo (urna) and the nikkeishu (jewel of wisdom) inlaid in color stones, the hands held in the raigo-in (vitarka mudra) gesture used by Amida when descending from heaven to receive the souls of the deceased, the right hand raised and the left hand lowered, both with palm facing outward, standing on a multi-tiered lotus pedestal painted in green pigment with gilt highlights
31 1/4in (79.4cm) high (figure only); 41 1/4in (104.7cm) high overall

阿米达佛（阿弥陀佛）的漆木像 江户时代，19世纪

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A LARGE ZUSHI (PORTABLE SHRINE):Edo period (1615-1868) or Meiji era (1868-1912), 19th century
The red-lacquer case decorated with a hollyhock crests in gold hiramaki-e on each of the hinged double doors and applied with elaborate foliate-etched gilt-metal fittings opening to reveal a standing figure of Amida Buddha (Amitabha) flanked by the bodhisattvas Kannon (Avalokitesvara) and Seishi (Mahasthamaprapta) in a raigo-like configuration and accompanied by a figure of Jizo (Ksitigarbha) and Fudo Myo-o (Acala), all raised on lotus pedestals and supported on an ornate, stepped plinth, an additional pair of miniature guardian figures applied to the top of the balusters
33 3/8in (85cm) high overall

大型祖师庙 19世纪江户时代或五月时代

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HOSHIN:A gold lacquer four-case inro
Edo period (1615-1868) or Meiji era (1868-1912), 19th century
Of rounded rectangular profile with applied cord-runners, decorated in gold, silver, black, and red hiramaki-e and takamaki-e against a gold kinji and fine hirame ground, depicting a large stag beetle and other insects including a grasshopper, a mantis, and a dragonfly, signed Hoshin; fitted with a glass bead ojime
3 1/4in (8.2cm) high

霍辛[印度西南部城市] 19世纪江户时代或明治时代的金漆四箱

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KOMA KORYU LINEAGE:A black lacquer five-case inro
Edo period (1615-1868), 19th century
Of oval profile with applied cord-runners, decorated in gold, silver, colored hiramaki-e, takamaki-e, and togidashi-e against a gold hirame-dusted black lacquer ground, depicting Kantan no makura (The Kantan Pillow): Rosei, a poor young man briefly asleep at an inn, dreams of riding to the Chinese capital in a shining litter; Rosei\'s fan of translucent shell, a flowering tree above, grasses below, signed Koma Koryu saku (Made by Koma Koryu); hardstone ojime
3 3/4in (9.8cm) high

朝鲜血统 19世纪江户时期的黑漆五箱

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KOMA YASUTADA LINEAGE:A rogin lacquer three-case inro
Edo period (1615-1868), 19th century
Of lenticular profile with integral cord-runners, decorated in gold, silver, and colored hiramaki-e, takamaki-e, and togidashi maki-e against a rogin (shibuichi-nuri) ground, depicting two Chinese boys playing by a tsuitate screen with a grained wood frame and bearing an ink landscape with sailboats and mountains, signed Koma Yasutada saku (Made by Koma Yasutada); ojime stone; netsuke wood, carved as a crouching figure
2 5/8in (6.6cm) high

KOMA YASUTADA血统 19世纪江户时期的罗金漆三箱

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TWO LACQUER BOXES:Edo period (1615-1868) or Meiji era (1868-1912), 19th/early 20th century
Both boxes with domed overhanging kabusebuta covers, decorated in gold and silver hiramaki-e on a nashiji or hirame ground, the larger tebako (cosmetic box) with floral family crests and scrolling vines and flowers with inlays of shell, applied with gilt cord rings engraved with paulownia flowers, with a removable inner tray decorated in hirame on a dark brown ground; the smaller fushibako (pigment box) decorated with fruiting tachibana (mandarin) and pine trees, interiors nashiji
6in (15.2cm) high, the larger

两个漆盒 江户时代或明治时代，19世纪/20世纪初

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ARTIST UNKNOWN (INEN SEAL):Seasonal Flowers
Edo period (1615-1868), late 17th/early 18th century
A pair of six-panel mid-size screens, painted in ink, colors, and gofun (calcified crushed shell) on paper, the right-hand screen depicting two cats and peonies, poppies and a butterfly, irises, lotuses, thistles, and lilies; the left-hand screen depicting two deer, hagi (bush clover), asagao (morning glory), chrysanthemums, and other autumn plants, each bearing the Inen seal associated with followers of Tawaraya Sotatsu (1570-1643)
24 1/2 x 61in (62.2 x 155cm) each

艺术家未知 季节性花卉江户时期，17世纪末/18世纪初

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UTAGAWA HIROSHIGE I (1797–1858):Six oban tate-e prints
Edo period (1615-1868), 1857
The six prints of the Shokoku Mutamagawa (Six Jewel Rivers of Various Provinces) series, each print named for a river in different provinces of Japan and containing calligraphy of a poem from classic anthologies of Japanese poetry, the rivers depicted being: Omi Noji (Noji in Omi Province); Yamashiro Ide (Ide in Yamashiro Province); Kii Koya (Koya in Kii Province); Mutsu Noda (Noda in Mutsu Province); Settsu Kinuta (Kinuta in Settsu Province); and Musashi Chofu (Chofu in Musashi Province); each signed Hiroshige ga, all published by Maruya Kyushiro (6)
13 1/2 x 9 3/8in (34.4 x 23.8cm) each approximately

芥川广志一世（1797-1858） 江户时期，1857年

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KOAMI LINEAGE:A black lacquer four-case inro
Edo period (1615-1868), 19th century
Of rounded rectangular profile with applied cord-runners, decorated in gold and colored takamaki-e against a rich roiro black lacquer ground and decorated with Okame peering out from a circular window, one hand held to her face, looking at two oni fleeing from beans thrown at them in the mamemaki (bean scattering) ritual on the day before the beginning of spring, the interior gold nashiji, signed Koami with a kao (cursive monogram); ojime glass, with wood storage box
3 3/8in (8.5cm) high

社区谱系 19世纪江户时期的黑漆四箱

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TOYO (ACTIVE 19TH CENTURY):A black lacquer four-case inro
Edo period (1615-1868), 19th century
Of lenticular profile with applied cord-runners, decorated in iro-e togidashi maki-e and hiarme against a glossy black ground with a samurai and two women entertainers walking beneath autumn maples in the evening, interiors nashiji, signed Toyo and with a kao, coral bead ojime; wood manju netsuke decorated with a crab and grasses in gold and silver hiramaki-e, signed Toyo and with a kao
3in (7.6cm) high

东洋（活跃于19世纪） 19世纪江户时期的黑漆四箱