Catalog: Antiques: Regional Art: Asian: Japanese (168)

A rare iron hanging censer in the shape of a Mongolian Saddle Stirrup (Abumi) with silver mesh lid covering half the top. It comes in an age-darkened and worm-eaten kiri-wood box titled simply Tsuri Koro. The receptacle is 13.5 x 7 x 15 cm (5-1/2 x 3 x 6 inches) and is in excellent condition, dating from the Edo period.

An exquisite pair of 19th century Sometsuke porcelain bottles decorated with butterflies among seasonal flowers. The winged creatures float effortlessly among the bamboo, Chinese bell flower, wild chrysanthemum and other seasonal flora. Each bottle is peaked by a simple rounded wooden bung, and they come enclosed in an age darkened wooden carrying box with hand forged iron handle. They are roughly 15 cm (6 inches) tall each and in excellent condition. Although untitled, these are likely a very delicate set of tokkuri sake flasks.

A smoke tendril rises from the mouth of a bloated toad forming an Usubata flower basin in heavy olive patinated yellow bronze. The basin is 19.7 cm (7-3/4 inches) diameter, The entire 24.5 cm (9-3/4 inches) tall and it is in excellent condition. In Japanese the word for Frog is Kaeru, a homonym for: To Return. Thus the symbol of a frog means money going out will come back, a child growing up or a daughter marrying will come back to visit etc. Gama Sennin is one of the most depicted Sennin (Saints), a Daoist sage based on Liu Hai of ancient China. He has great magical powers and carries around on his back a large toad. In Chinese legend he learned all the secrets of Magic and the universe from the toad. Frogs have been known as a symbol of prosperity in ancient Chinese culture since time immemorial. As per Feng Shui, keeping frog figurines at home or in the office area, offers protection to the space and brings prosperity to one's life.

A rare large vase by Kanzan Denshichi decorated with a hermitage in the hills and a poem extolling the beauty of summers first rain by Kanzan Denshichi enclosed in the original signed wooden box bearing the Shountei seal, dating it between 1871 and 1890. It is 34 cm (13-1/2 inches) tall and in excellent condition.
Kanzan Denshichi (1821-1890) was born in the ceramic-producing area of Seto. He worked at the Koto kiln of the Ii family in the Hikone domain, moving to Kyoto when the kiln closed in 1862. In Kyoto, he established his workshop at the base of Kiyomizu-zaka where he worked under the name Terao Denshichi and is thought to have been one of the first ceramicists in Kyoto to specialize specifically in porcelain. In the first year of the Meiji era (1868) he worked to supply the Kyoto Prefectural Office, following which he studied Western painting and pottery decoration under Gottfried Wagner. In the following three years, production was renamed Shountei and he worked under the name Kato Kanzan. Kanzan’s works include porcelain tableware, both Western and Japanese in style, often decorated with brightly colored polychrome and gold. Some of these wares were made for export, and Kanzan also exhibited at international exhibitions, securing a gold medal at Paris in 1878 In 1881 during their visit to Japan, Queen Victoria’s grandsons: Prince Albert Victor, Duke of Clarence and Avondale, and Prince George, Duke of York (George V), visited Kanzan’s workshop in Kyoto. The Imperial Household Ministry purchased Kanzan’s works, including some tableware for use in the Enriokan and other items in the style of the underglaze blue decorated Edo-period imperial porcelains known as kinri goyōtōki.
Pieces by Kanzan may be found in the collections of the Sannomaru Shōzōkan (Museum of the Imperial Collections) and Imperial Banqueting Department of Japan’s Imperial Household Agency, Tokyo National Museum and Kyoto Prefectural Library and Archives. The Victoria and Albert Museum has a pair of vases displayed at the Philadelphia Centennial Exhibition of 1876, a pair of ginger jars and four other small pieces. In 2014, the Sannomaru Shōzōkan devoted an exhibition to a Japanese-style polychrome dinner service made by Kanzan’s workshop for Prince Arisugawa Takehito: Beautiful Modern Kyoyaki (Kyoto-style ware) – Fine works by Kanzan Denshichi passed down within the Prince Arisugawa Family, 21 March – 22 June 2014.

This child with a pleasant face happily rides his toy horse, the horse looking just as pleased. The entirety is a porcelain sake server from the Saga region on the southern Island of Kyushu, home to Imari, Hirado and other porcelain ware. A bung of black persimmon wood has been added as a lid in the shape of a Chinese hat. It is 21 x 12 x 21 cm (8 x 4-3/4 x 8 inches) and in overall fine, original condition, dating from the 19th century.

A Hikeshi-Banten Fireman Jacket decorated with protective images of waves and birds outside in various dyed colors and sashiko stitching, the inside emblazoned with a dragon and tiger; symbols respectively of wisdom and protection (the dragon is a water god) and ferocity and bravery as the tiger knows no fear. The handmade coats were fashioned from several layers of highly absorbent quilted cotton fabric. They were then resist-dyed using the tsutsugaki method, which involved drawing rice-paste designs on the cloth, dyeing the cloth multiple times and then washing off the paste to reveal the layering of colors. They were worn plain side out and before firefighters entered the scene of a blaze, the coats were thoroughly soaked in water (they could weigh more than 75 pounds) to protect the men from burns and blunt the impact of falling objects as they went about their dangerous work. If firefighters were successful in extinguishing the blaze, they would turn their coats inside out and parade victoriously by cheering onlookers. According to the Denver Art Museum:
Decoration was important to firefighters’ garments, which were far from purely utilitarian uniforms. Firefighters enjoyed respect and high status in urban Japan, especially in Edo, where wood architecture and crowded living conditions led to frequent outbreaks of fire. Commoners wore reversible coats (hikeshi-banten) made of thick, quilted cotton fabric, with a plain indigo-dyed exterior and an elaborately decorated interior.

A Fushina (Fujina) yaki image of the three monkeys made to support the Kettle lid in the Japanese Tea Ceremony dating from the Edo period. A warning to all, the little creatures hear nothing, see nothing and speak nothing. What happens in the tea room, stays in the tea room! The figure is 4.5 cm (roughly 2 inches) diameter the same height and in excellent condition. Impressed into the base is the Rakuzan seal. It comes in an antique woven thread pouch.
Rakuzan pottery falls under the umbrella of Fushina or Fujina Yaki, the Goyogama clan kiln of the Matsudaira of Matsue in modern day Izumo, sometimes simply called Izumo-yaki. The origin of Rakuzan ware lies in the early Edo period, when the second generation Matsudaira Tsunataka requested a Hagi ware potter from the neighboring Mori clan, which was eventually granted to the third generation Izumo leader Matsudaira Tsunachika around 1677. The founders of the kiln were Kurasaki Gonbei and Kada Hanroku. Although under continuous production, the kiln had its ups and downs until it was strongly revived by the 8th Lord of Matsue, Matsudaira Harusato (Fumaiko 1751-1818) Daimyo of the province. From then it fell strongly under his aesthetic taste. Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.

An Edo period coat (haubergeon) and “kote” (mitons) of linked chain over layers of indigo dyed blue cloth decorated with family crests in gold. The chain, Kikko collar, outer layers of cloth and leather piping are all in overall excellent condition, the original pale blue lining is much worn away. This is made for an adult.
In Japan, mail is called kusari which means chain. When the word kusari is used in conjunction with an armored item it usually means that mail makes up the majority of the armor composition. Kusari jackets, hoods, gloves, vests, shin guards, shoulder guards, thigh guards, and other armored clothing were produced, even kusari socks. Kusari gusoku or chain armor was commonly used during the Edo period 1603 to 1868 as a stand-alone defense. According to George Cameron Stone: Entire suits of mail kusari gusoku were worn on occasions, sometimes under the ordinary clothing. In his book Arms and Armor of the Samurai: The History of Weaponry in Ancient Japan, Ian Bottomley shows a picture of a kusari armor and mentions kusari katabira (chain jackets) with detachable arms being worn by samurai police officials during the Edo period. The end of the samurai era in the 1860s, along with the 1876 ban on wearing swords in public, marked the end of any practical use for mail and other armor in Japan. Japan turned to a conscription army and uniforms replaced armor.

A classic bun-shaped Koro incense burner by Miyagawa Chozo pierced with Incense-clock-patterns enclosed in the rare original signed wooden box. It is 8.8 cm diameter, 7.5cm tall and is in excellent condition. The box contains a hand written note in old Japanese describing the origins of Makuzu-ware.
Miyagawa Chozo (1797-1860), also known as Chobei was born a direct descendant of Chokansai and would be the father to Miyagawa (Makuzu) Kozan I (1842-1916). The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by this, the tenth-generation head of the Kyoto pottery family, In 1832 at the age of thirty-five, he became apprentice to Aoki Mokubei (1767-1833) and by 35 had established his reputation as a preeminent independent potter. Differing from his master Mokubei (who was most renowned for Sencha ware) Chozo produced almost exclusively ceramics for use with Maccha (Japanese powdered tea ceremony) wares. Many say his most representative works were his Ninsei items, incense containers being particularly renowned. For more on this artist see Master Potter of Meiji Japan, Makuzu Kozan. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. The kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

Rich green glaze covers this elongated delicate undulating bottle from the Kosugi-yaki tradition of the Kaga region near modern day Kanazawa city. This bottle is roughly 20 cm (8 inches) tall and in excellent condition.
Kosugi ware is a type of pottery that was produced in Kosugi Town over four generations for about 80 years, from around the early Bunka era (1810-1820) to the Meiji 20s (around 1890). In the hilly area south of Imizu City that connects Ikeda, Hirano, Ueno, and Hashimotojo, pottery was made in the Kofun period, Nara period, and Heian period, even before Kosugi ware began. This is probably because this area was rich in high-quality clay, which was the raw material for pottery, and red pine trees, which were used as fuel. From the first Yoemon to the fourth generation, pottery production was actively carried out in the former Kosugi Town (hereinafter referred to as Kosugi Town). The first generation Yoemon (given name Yoichiro) traveled throughout the land and mastered the technique of Soma ware (Fukushima prefecture), before returning to his hometown at the age of 30 to open a kiln. Kosugi ware rapidly spread its fame, and in the Tenpo era, it received a pottery license from the Kaga domain, and with the support of the county magistrate, reached its peak. The first Yoemon passed away in August 1838. The second generation Yoemon (young name Yojuro) took over at the age of 30. Many of the first-generation sake bottles were somewhat small, with a wonderful sculptural sense, and the green glaze had a beautiful color and luster that was slightly bright.

Plums blossom red on the dark surface of this traditionally shaped Mizusashi bearing the rare Ubagamochi Stamp impressed into the clay of the base. It is 18 cm diameter, 15 cm tall, and comes in an old custom made collectors kiri-wood box labeled Ubagamochi Mimitsuki Mizusashi. It retains the original ceramic lid, as well as two lacquered lids, one a tsukuibuta lid in austere black, the other redish brown outside, gold within, featuring a raised image of a dragon flying through billowing clouds circling mount Fuji.
Ubagamochi is a rice cake popular in Kusatsu in Omi Province (modern Kusatsu City, Shiga Prefecture) and Ubagamochiyaki is a pottery made there. Legend has it that the owner of the Ubagamochi Chaya in this area founded a kiln in the mid 18th century.. originally making plates upon which to serve the famous Ubagamochi cakes, it expanded to tea ware purportedly under the 8th head of the family Segawa Kuniyoshi, who was a dedicated tea practitioner and close with the lords of Omi and Zeze Castle (which had its own pottery). This lasted through the 10th head of the family Kanazawa Kocho, who was also a fervent follower of tea. Unique Carved Hand Wooden Sculpture by Makino Koen Yay or Nay, stop or go, all good or hang on a second… .an intriguing wooden sculpture by Makino Koen of Niigata prefecture, a two sided hand carved from Japanese hardwood, one side gesturing with all fingers extended, the other joining the thumb and forefinger in an OK sign. It is 37 x 23 x 38 cm and in excellent condition, signed beneath.

A hand painted cloth banner decorated with imagery by various artists including the Nanga School literati artists Tanomura Chokunyu (1814-1907) and Nakanishi Koseki (1807-1884) as well as Tanaka Koha of the Kagetsuan School of Sencha and Confucian scholar Goto Shoin (1797-1864) and Hirose Kyokuso (1807-1863) who were two of the most important followers of Rai Sanyo. The date Konoe-saru (year of the monkey in metal) is visible in both the central leaf and the lower left gourd image. Judging then by the 60 year cyclical zodiac calendar it dates from the fifth month of 1860. The title, signed Shochiku-Rojin (the old man Shochiku), reads Betsu-yu-ten-chi-hi-jin-kan, a poetic phrase meaning there are other worlds aside from that of the human plane, specifically alluding to a world without human desire. Perhaps when these learned gentlemen gathered for tea beyond this curtain, they felt that they had experienced one of these other worlds. The cloth is 91 x 160 cm (36 x 63 inches) including a pouch through which a bamboo stave would have been run for hanging. Toned somewhat with age, the fibers are strong.

A Bairin Yaki Suiteki water dropper in the shape of an eggplant and bowl covered in that quintessential Bairin purple and green glaze flowing into the water bowl. It is 10.5 x 6 x 4.5 cm (4 x 2-1/4 x 2 inches and is in overall nice condition, with miniscule chips repaired on the rim. Suiteki are used to provide water for grinding ink on an ink stone.
Bairin Yaki was a resurrection of the ancient Omi style of ceramic called Zeze favored by Kobori Enshu and Honami Koetsu. Zeze Yaki died out in the mid 1600s, but was reestablished by Odawara Ihe-e sometime during the Tenmei Era (1781-1789), with brighter colors. It was, however not long lived, and appears to have died out again sometime in the 1840s. It was again revitalized in the Late Edo and Meiji eras under the name Seta-yaki, and again the lineage died in the Taisho period. An unusual opportunity for the collector of Japanese ceramics.

A crane rises elegantly from a truncated tree, the legs intricately crafted and the body flowing in a liquid grace. This is Bizen Saikumono, a body of Bizen popular throughout the Edo, Meiji and early 20th centuries. Craftsman carved wild animals, mythical beasts, human figures and many other figures out of the smooth Bizen clay, relying on perfection of form, allowing the firing to add color without overt decoration. This figure is 34 cm (13-1/2 inches) tall and in excellent condition. It comes in a period wooden box dated the 8th month of Koka 3 (1846). As one might expect from something nearly two hundred years old, there is a well done invisible repair in the neck, otherwise is in excellent condition.
The Bizen pottery tradition in Japan dates back over a thousand years, tracing its roots to the Heian period (794-1185). Located in the Okayama Prefecture, the Bizen region has been renowned for its unique style of pottery, characterized by rustic simplicity, earthy textures, and natural aesthetics. The beauty of Bizen pottery lies in its adherence to wood-fired kilns. The firing process is crucial, as it allows for the spontaneous creation of unpredictable patterns and colors on the pottery's surface. These effects result from the interaction of flames, ash, and minerals present in the clay during the high-temperature firing, reaching up to 1300 degrees Celsius. Bizen ware typically features unglazed surfaces, showcasing the natural qualities of the clay itself. The pottery's reddish-brown coloration, derived from the iron-rich clay native to the Bizen region, is emblematic of its organic appeal. Saiku-mono or figurative pottery works have their roots much further back, but were very popular in the 19th and early 20th centuries. Simplicity of form, often inspired by nature and everyday objects, enhances the pottery's charm. Its rustic elegance and understated sophistication resonate with collectors and enthusiasts worldwide.

A light raku chawan displaying a mitsuba-aoi family crest pressed into the side which has been shattered and repaired with black lacquer mellowed slightly brown, then broken again and repaired with gold. An amazing amount of work to save the fragments. The bowl is 12.5 cm (5 inches) diameter6.5 cm (2-1/2 inches) tall and comes enclosed in an old Kiri-wood collectors’ box.
Kintsugi is a traditional Japanese art form of repairing broken pottery or ceramics using lacquer and powdered precious metals. Instead of hiding the cracks and flaws, kintsugi embraces them and turns them into a beautiful and unique feature of the object. This practice holds several significant cultural and philosophical meanings in Japanese culture, particularly in relation to tea ceremonies: Kintsugi embodies the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.

A diminutive image of Hotei (Putai) the lucky god of fortune from the Edo period kilns of the Matsudaira clan of Matsue in their distinct golden color. It is 4.5 x 3.3 x 4 cm tall and is in excellent condition. Fushina-yaki was the Goyogama clan kiln of the Matsudaira of Matsue Han in modern day Izumo, established around 1764. It fell strongly under the aesthetic taste of Matsudaira Harusato (1751-1818) Daimyo of the province and one of the most influential Tea Masters of the later Edo period. His style of ceremony continues to this day as the Fumai-ryu style of tea.
Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.

The surface of this black glazed bowl signed on the base Dohachi has been impressed all over with seals in a style known as In-chirashi. It comes in an ancient wooden box with ebony rim titled inside Dohachi Saku (Chirashi-in) Chawan, while outside a much-worn paper label reads In-chirashi Dohachi Saku Chawan. The original silk pouch, much deteriorated, is included, but no longer strong enough to hold the bowl. Without a box signed and sealed specifically by the artist, it is difficult to attribute to an individual Dohachi, but likely this is the second Ninnami Dohachi generation. The gourd shaped seal impressed into the side strongly resembles the gourd shaped Momoyama Seal of Ninnami Dohachi II. The bowl is 11 cm (4-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and is in excellent condition.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I. Following the early death of his older brother he succeeded the family name, opening a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles. Along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. Ninnami Dohachi II and his son (the future Dohachi III) were invited by the local lord Matsudaira to produce pottery at the Sangama kiln in Sanuki Kuni on the island of Shikoku in 1832. He would return later, agan with his son as well as his apprentice Siefu Yohei, in 1852. The third generation (1811-1879) continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the annals of Kyoto ceramics well into the Meiji period. Takahashi Dohachi III began to use the title Kachutei Dohachi and was granted the title Hokyo by Ninaji-miya of the Imperial family. He retired to his grandfathers kiln in his later years, giving control to his son the fourth generation Dohachi (1845-1897) who also used the title Kachutei. The fifth generation (1869-1914) was adopted into the family and took head of the kiln in 1897 and was one of the top rated potters of his time, heavily influencing following generations including one of his top students, Ito Tozan. The kiln continues today with the 9th generation. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others.

Tiny repairs of gold glint along the rim of this misshapen wan-gata bowl from the Utsutsukawa tradition of Nagasaki. The bowl comes with a silk pouch enclosed in an old wooden box. There is a kutsuki on one side, where it adhered to something else in the kiln. The bowl is 12 x 10.5 x 6.5 cm (4-3/4 x 4-1/8 x 2-1/2 inches) and is in overall fine condition, dating from the 19th century.
Utsutsukawa-yaki originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon opened a kiln around 1690. It is characterized by brown orange clay with a heavy iron content and was most often decorated with Brush strokes in white slip. Although at one time it was called the Ninsei of the West, the manufacture lasted only about 50 years due to the financial aspect of the clan, and it disappeared until the Meiji period, when there was an attempted revival, but that too failed to last. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.