Susan Silver Antiques

Susan Silver Antiques
755 North Main Street, Route 7
PO Box 621
Sheffield, Massachusetts 01257
Phone: (413) 229-8169
Fax: (413) 229-9069


Please take a few minutes and read this interesting article that highlights some of my Japanese Imari vases featured on this new Invaluable Blog-

Invaluable Guide to Buying Japanese Art & Antiques

March 17, 2017
Invaluable Guide to Buying Japanese Art & Antiques
Pair of Japanese Imari vases with lids, c. 1890, Susan Silver Antiques


Japan’s long, rich history of fine and decorative art dates back thousands of years. Japanese art and antiques that have survived from centuries past include samurai swords, scrolls, prints, painting, netsuke figures, and earthenware vases. Today, these items are prized for their historical significance and unique aesthetic.Prices for Japanese art and artifacts are driven by a niche but loyal market. Collectors choose pieces for their cultural relevance, evidenced by the inclusion of Japanese works in most major museums. In recent years, the popularity of contemporary Japanese cultural trends like anime have generated a more widespread audience for the country’s rich art history and a competitive market for contemporary Japanese artists.

A Brief History of Japanese Art

The earliest known art objects in Japan date back to the first human habitation in the area by the Jomon and Yayoi settlers, around 1100 B.C. Objects from this period include miniature figurines known as dogu, which are elaborately decorated clay storage vessels, bronze bells, and copper weapons shaped in humanoid forms.

During the Asuka and Nara periods, which lasted from roughly 500 to 700 A.D., continental Asia began to influence the art and culture of Japan. As a result of cultural cross-pollination between China, Korea, and Japan, the first Japanese Buddhist sculptures appeared during this time period. Subject matter and formal qualities of works produced also saw a shift in focus. Japanese painters began to depict landscapes, court scenes, and battles, which were directly influenced by Chinese society. Japanese artists also transitioned to black and white compositions from the bright color palettes used before the introduction of other Asiatic cultures.

“Moon Viewing in Edo Period” by Kin-u Takeshita, 1950, woodblock print, 10.25 x 15.25 in.,
Ronin Gallery

Art in Japan flourished during the Edo period, which lasted from the early 17th century to the mid-19th century. It was during this time that Ukiyo-e and woodblock prints emerged. These colorful, layered images often depict beautiful women, kabuki actors, and natural landscapes. The most famous practitioners of these printmaking styles were Katsushika Hokusai and Utagawa Hiroshige. As European trade with Japanese ports expanded in the mid-19th century, artists’ experimentation with flat planes, asymmetry, stylization, and vibrant color greatly influenced the work of European artists in the 19th century and 20th centuries.

Original woodblock print of a Summer wedding by Takahashi Shotei, 1923,
woodblock print, 6.5 x 14.5 in., Things Japanese Gallery

Japonisme, a French term for the study of Japanese art and artists, is apparent in the works of many European Impressionist and Modern artists. Japanese artifacts, including kimonos, painted scrolls, and woodcuts, appear in the paintings of William Merritt Chase and Edouard Manet. Japanese prints also inspired the paintings of many Post-Impressionist masters, including Edgar Degas and Vincent Van Gogh. Though widely lauded for its impact on modern art, this movement has also been met with criticism for promoting cultural theft.

Detail of Jellyfish Eyes wallpaper by Takashi Murakami, paper, 44.5 x 34.25 in., Objects20c

Throughout the 20th century, Japan produced many notable artists. These include photographers such as Kansuke Yamamoto and Hiroshi Sugimoto, painters Leonard Tsuguharu Foujita, Yayoi Kusama, and Takashi Murakami, and sculptors like Ruth Asawa and Shio Kusaka. The movies of Japanese filmmaker Akira Kurosawa enabled the world to understand the powerful aesthetic of Samurai culture.

Post-war and contemporary Japanese art is especially sought after in the current art market. The artworks of Takashi Murakami and Yayoi Kusama, in particular, continue to increase in value as institutions around the world recognize their bodies of work. Both have solo retrospectives in 2017 at the MCA Chicago and the Hirshhorn Museum and Sculpture Garden, respectively.

Types of Japanese Art & Antiquities

Pair of antique Japanese champlevé urns, 1890, bronze with wood base,
25.5 x 16 in., Philosophy Antiques & Design

Buyers and collectors seek a number of unique pieces in styles that fall within the following broad categories, ranging from antiquities to contemporary art:

Visual Art

  • Scrolls and calligraphy
  • Ink paintings and drawings
  • Paintings on silk, canvas, and paper
  • Woodblock prints
  • Lithographs
  • Sculpture


  • Funerary statues
  • Buddhist figures


  • Vessels
  • Porcelain wares
  • Bronze and enamel serving dishes, plates, and bowls


  • Hardwood pieces
  • Softwood specimens
  • Lacquered and carved tables
  • Painted screens
  • Altar tables


  • Samurai swords and armor
  • Fuchi kashira: ornamental fittings for Samurai swords
  • Tsuba: hand guards on Samurai swords
  • Hibachis, or small cooking stoves
  • Okimono figurines, or ornamental and decorative pottery or bronze dolls
  • Tessens, or traditional fans
  • Kimonos, or loose robes worn as formal garments in Japan
  • Netsuke, or miniature sculptures typically made of wood or ivory used to store money and tobacco

Building Your Collection

Left: Japanese scroll, 20th century, paper and ink on light blue background, 16 x64 in., Right:
Japanese scroll, 19th century, paper and ink on dark blue background, 9.9 x 43.5 in., Primitive

If you want to begin collecting Japanese art and antiques, the following types of works are a perfect place to start:

  • Netsuke: generally carved of wood or ivory, these small, intricate objects were both ornamental and utilitarian, commonly worn from the 17th to the 19th century. These decorative objects would hang from the sash of a man’s kimono, which did not contain pockets for storage, and were often sculpted to depict gourds, animals, mythological creatures, and other beings.
  • Paintings and drawings: this broad category spans several centuries of Japanese history. Works on paper from the 19th and 20th centuries can be found at surprisingly modest prices.
  • Imari: Japanese porcelains like Imari, a style of porcelain characterized by a palette of blue, white and orange, are amazingly intricate and can still be purchased at affordable price points.
  • Modern and contemporary prints: Prints from Ukiyoe woodblocks to contemporary lithographs are available in a style to suit every sensibility and budget. Their authenticity can often be easily confirmed and their accessible price points provide a great way to begin collecting Japanese art.

Experienced Collectors

For established collectors and those whose budgets allow, , consider exploring the following areas of Japanese art:

  • Rare Samurai swords
  • Tsuba, Fuchi kashira, and other sword accessories
  • Gilded artworks and objects forged from precious metals
  • Older Buddhist bronzes and cloisonné
  • Hardwood furniture

Tips for Buying Japanese Art

1. Buy What You Like

As no market is 100% certain, the greatest piece of advice for new collectors is to buy what you are drawn to aesthetically. Purchasing objects first and foremost because you enjoy their beauty ensures they will always retain their inherent value in your home.

2. Prioritize Quality

Like any investment, buying art involves some degree of risk. One smart strategy to mitigate this risk is to buy the highest quality objects available. In any market, there will always be collectors and buyers seeking out the best examples of any given object. Thus, iconic objects in perfect (or near perfect) will be more likely to retain, and possibly increase in value over time. Request a condition report or any other existing documentation prior to purchase.

3. Carefully Read Descriptions

When acquiring work through an online gallery or auction marketplace like Invaluable, the descriptions will often explain preexisting condition issues that inform the value of the work. If a description uses vague language or the word “-style” as a qualifier (“in the style of Hokusai”), the seller will not be obligated to refund your money if doubts arise surrounding its authenticity. Furthermore, unless you are familiar with the seller’s reputation, avoid buying without a refund policy in place.

4. Know What You Are Buying

Familiarize yourself with artworks of interest and develop expertise. In order to ensure that you are getting a good deal on a work of art, it is important to understand what comparable artworks have sold for, as well as any market trends and condition issues that may affect its value. If you have questions or do not feel that you have all of the relevant information required to make an informed purchase, seek out the expertise of a specialist.

Determining Value

There are a number of additional factors that can affect the value of Japanese art. These factors include materials, condition, provenance, and authenticity.

1. Materials

Collectors of Japanese art should be aware of the import laws and regulations surrounding commonly used materials in artifacts from antiquity. Such materials include:

  • Ivory
  • Certain hardwoods
  • Bronze
  • Jade
  • Era-specific ceramics

Ivory has been used for centuries as a surface upon which to carve; however, increasing criticism surrounding the poaching of elephants and illegal importation of ivory over the past century has resulted in the disappearance of ivory from major auction sales. It is important to ensure that any antique ivory present in items is in compliance with legal regulations. The factors that go into this consideration include the age and type of the ivory, and the date that it was imported to the U.S.

Similar regulations exist for other rare materials like Jade and certain kinds of endangered hardwood, including mahogany. These restrictions have helped to bolster the market for other objects carved from non-restricted wood species and other materials, as artists and consumers alike look for alternatives.

2. Condition and Display of Quality

The better the condition of an artwork, the more value it possesses. Condition issues vary depending on the material of the object in question. In some cases, these condition issues arise from “inherent vice”- flaws that are related to the constitution materials themselves, like paint loss and craqueleur or hairline “cracking” in the case of paintings.

Other times, these issues arise from conditions related to the environment in which they have been housed. These include UV damage from sustained exposure to sunlight as well as water, fire, and smoke damage. While a good conservator can often minimize the impact or visibility of condition issues, some antiques are often more highly prized in their original condition. Furthermore, “invisible” repairs or any kind of restorative work could also compromise an item’s worth.

3. Provenance

Provenance is a written record of the history of an object that tells who has owned it in the past, where it was purchased, and when it has been sold. Provenance often significantly increases the value of an object as it offers the most concrete and valid proof of its authenticity. This means that detailed record-keeping and documentation are important aspects of maintaining any collection. By confirming the chain of ownership of an object, one can confirm that the artwork is genuine.

4. Dating and Authenticity

Determining the authenticity of antique objects, especially Japanese paintings, drawings and scrolls can be problematic with objects that date back hundreds or thousands of years. With objects of this age, it is rare to have any record of provenance, let alone a complete one, which makes the presence of artist’s signatures and mark and period engravings (indicating the date of creation). These kinds of insignia also generally serve to make the pieces more valuable, as they give the potential collector greater faith in their legitimacy.

End of article






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Berkshire Byways

Arthur Dunnam Finds Folk Art and More in the Massachusetts Countryside

Text by Amanda Vaill/Photography by Billy Cinningham

The Massachusetts Berkshires are blessed with a landscape not unlike that of England’s Cotswolds: a country of rolling hills, patched with tilled fields and pastures and crisscrossed by stone walls, that tempt travelers to linger and visitors to stay. There are picturesque villages to look at, full of white clapboard houses clustered around church steeples, and summertime, in particular, offers a progressive fete champetre of diversions. Choices range from the established festivals of Tanglewood (music), Jacob’s Pillow (dance) and Williamstown (theatre), to museums like MASS MoCA and the Clark Art Institute, to historic sites such as Edith Wharton’s estate The Mount and the Hancock Shaker Village. Add to that the two-and-a half hour driving from either New York City or Boston, and you have a nearly irresistible weekend destination – as Arthur Dunnam, design director of Jed Johnson Associates, can attest.

With good friends living on the edges of the Berkshires, Dunnam is a frequent visitor to the area; and he’s living proof that, while you can take the boy out of the showroom, you can’t take the showroom out of the boy. The designer, who has built a reputation for the sensitive handling of period furnishings, often mingled with art or crafts, finds his trips to the Berkshires are all the more enjoyable when he can prowl through the region’s remarkably eclectic collection of antiques shops and decorative dealers. “The unexpected thing about shopping in the Berkshires is that the range of objects is so diverse,” he says. “It’s not just folk art or American antiques.”

On Route 7, south of Great Barrington, just outside the village of Sheffield, is where, he says, Susan Silver Antiques carries “unexpected things in high style.” The charming clapboard house is “literally packed to the rafters,” as Dunnam describes it, with 18th and 19th-century furniture, objects and light fixtures. Finds include giltwood Regency bull’s-eye mirrors, Imari jars (They’d make beautiful lamps,” he says), French botanical and bird prints, chairs, chests and armoires. Dunnam’s favorite item is a spectacular Swedish Empire mirror with a Garden of Eden motif carved into its over-panel, but he also likes the English slate obelisk, with its faux-porphyry panels, on the table beneath it. “I’ve bought some wonderful chinoiserie lacquered tables here, and beautiful porcelain lamps,” says the designer.

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