Catalog: Antiques: Regional Art: Asian: Japanese (170)

A beautifuly formed iron sake kettle known as a Choshi with a solid silver lid and featuring sliver inlay designs on the handle enclosed in an age darkened kiri-wood bos titled Tetsu Choshi Jungin-futa. It is 8 cm (just over 3 inches) diameter, 16 cm (6 inches) to the top of the handle, and is in excellent condition.

An incredible Mishima Chawan dating from the Edo period with a wide repair to the rim in dark lacquer decorated with golden grasses in gold maki-e lacquer designs. It comes in an ancient dilapidated silk pouch with cotton buffer enclosed in an age darkened kiri-wood box titled Mishima Chawan. The bowl is 5.5 cm (2 inches) tall, 12.5 -13.5 cm (5-1/2 -6 inches) diameter and in fine condition. Mishima ware refers to different types of imported and adopted Japanese pottery. Mishima originally refers to the shimamono pottery imported from the islands of Taiwan, Luzon, and "Amakawa" (Macau). They were characterized by being roughly-made and often uneven, thus epitomizing the Japanese aesthetic of wabi-sabi. HOwever the term overall came to refer to impressed and slip-inlayed ceramics in the Korean style like this bowl.

Gohon crackled pale glaze covers this Tenmoku shaped Chawan decorated with a blossoming plum harbinger of Spring, signed Sozan followed by a long verse in dramatic calligraphy. It is 12 cm (5 inches) diameter and in excellent condition, enclosed in the original signed wooden box.
Suwa Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy. Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However, unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

Autumnal favorites, a basket of Mattake mushrooms and spiny cluster of chestnuts have been carved into the surface of this pine-wood tray by Ichikawa Shudo dated on back to early summer, 1915 and signed Kochikusai Shudo-to (Carved by Kochikusai Shudo). It is 49 x 31 x 3 cm (roughly 19-1/2 x 15-1/2 x 1 inches) and is in excellent condition. Ichikawa Shudo (1868-1933), also known as Shochikusai, brought unique characteristics to Himeji's wood crafts, leaving behind many elegant Sencha-style trays with his outstanding technique.

A carved wooden bowl wrapped in floral motifs dating from the early 20th century signed beneath by the carver. The dimensional imagery depicts lotus leaves, lotus root and clusters of Biwa (loquat) fruit. It is 21 x 20 x 5 cm (roughly 8 inches diameter, 2 inches tall) and in overall excellent condition.

A carved lacquer box which pays homage to Chinese literary taste while presenting itself clearly in a modern, Japanese way (for turn of the century lacquerware at least) by 2nd generation lacquer artist Ishii Yusuke enclosed in the original signed wooden box. The tsuishu lacquer technique requires applying layer upon layer of lacquer which is then carved through and polished, a painstaking process. This piece is exquisitely crafted, carved and polished revealing the many layers of lacquer, it is 13.5 x 10.5 x 5.5 cm (5-1/2 x 4 x 2 inches) and is in excellent condition. On bottom in a bell-shaped gold cartouche are the characters Yusuke. According to the box it was held in the collection of the Kuriyama Sodo, home of Ishizaka Sennosuke who was a member of the governing assembly of Toyama prefecture.
Ishii Yusuke (1851-1925) was born the second son of the lacquer artist Ishii Yusuke (different characters, 1810-1886) in the waning years of the Edo period. After learning from his father, he became independent, establishing a second branch family in the Yusuke Lacquer Tradition. The first Yusuke Ishii Founded Yusuke lacquerware and created Chinese-style lacquerware in Takaoka, Toyama Prefecture. He pioneered rust painting and gold leaf techniques to express Chinese-style paintings of flowers, birds, and landscapes three-dimensionally on ancient vermilion or matte lacquer. Later, the eldest son succeeded as Yusuke II

The androgynous Kannon sits in meditation under climbing rocks and tumbling waves deeply carved into the side of this bamboo incense container dating from the early 20th century (late Meiji to Taisho period). It is 34 cm long (13-1/2 inches) long and in excellent condition, a superb example of the genre. This would have been used to hold incense sticks.

A white bronze sculpture of crashing waves supporting three glass orbs; an elegant form carrying good fortune from old Japan. It is 49 cm (19-1/4 inches) long and in overall excellent condition. Set it in the window and watch the orbs blow colorful prisms across the room.

An exquisite dark bronze image of the deity Benzaiten playing a four stringed lute known as a Biwa signed in a cartouche inset into the base and dating from the early 20th century (Later Meiji to taisho period). The figure is 20 x 16 x 18 cm (8 x 6 x 7 inches) and is in excellent condition.
Benzaiten (or Benten) is the Japanese embodiment of Saraswati, the hindu god of the arts. Benzaiten is depicted a number of ways in Japanese art. She is often depicted holding a biwa (a traditional Japanese lute) similar to how Saraswati is depicted with a veena in Indian art In medieval Japan, Benzaiten came to be associated with a number of Buddhist and local deities, which include the goddess Kisshōten (the Buddhist version of the Hindu Lakshmi), the snake god Ugajin (thus Benzaiten is sometimes depicted with a snake) and the kami Ichikishimahime. Apart from being a patron of music and the arts, she was also worshiped as one of the Seven Gods of Fortune (Shichifukujin).

An exquisite bronze image of an ancient sage, a gnarled staff supporting his crooked frame with a golden fan capped with silver feathers clutched in his right hand. The Detail is superb, from the evocative expression to the minute details on his robe and accoutrements. It is signed on the foot Seiun (Hara Souemon), a top quality bronze, expressive and detailed. The figure is 10 inches (25.5 cm) tall and in excellent condition.
The Seiun family began bronze casting by the lost wax method in the later Edo to Meiji period, receiving the technique directly from Hara Takusai. Each piece is unique, unlike many foundries which employ re-usable molds. They are currently in the 5th generation, and have been named an intangible cultural property of Niigata Prefecture.

A beautifully cast bronze dragon waterspout from an ancient Japanese garden in Nara prefecture made to rise over the edge of a water basin, the water trickling out through his mouth. It retains the original bronze pipe and connector, overall, in excellent original condition. The dragon itself is roughly 25 x 13 x 20 cm tall (10 x 5 x 8 inches) and weighs 3.9 kg (8.5 pounds). Including the pipe roughly 50 cm long.

Ring in the New Year with this beautifully cast bronze bell surmounted by a dragon embellished with Characters of good fortune enclosed in an ancient red-lacquered wooden storage box. It is 15 cm (6 inches) diameter, 21 cm (8 inches) tall and in excellent condition, dating from the Edo period.

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 beautifully crafted cast, carved, and parcel gilt bronze image of a samurai pulling back, arrow nocked, ready to let fly, signed in a metal cartouche on back Shunko-saku (made by Shunko). It is roughly 27.5 cm (11 inches) to the top of his hat, 25 cm (10 inches) from forefinger to elbow. The warrior is calm, determined, with a look of deep concentration in his inlaid eyes. He wears an eboshi, a formal type of hat, and is dressed in sumptuous, loose fitting robes with leggings and braces to protect his arms and legs. A short sword juts from his waist. The warrior's robes and pants feature large wagon wheel mon, known as genji guruma. The signed box identifies the figure as Minamoto no Tametomo (1139 - 1170) was a celebrated historical samurai of the Heian Period. Known for his impressive archery skills, he features as one of the epic warriors of the Hogen Rebellion, a precursor to the Genpei War. It is in excellent condition.

A crow at rest upon a rock raises its head in a gruff cry by Suwa Sozan I enclosed in the original signed wooden box titled Karasu Okimono. It is pierced in the back, allowing it to be an oki-koro incense burner. It is 34 cm (13-1/2 inches) tall and in excellent condition. A nearly identical piece was published in the 1923 book Sozan Toko, attributed to his late period.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A very unusual lacquered Jubako stacking box in the shape of a water cauldron made for serving food at events and celebrations. It is finshed with metallic textured silver-black lacquer simulating old iron. The lid and base are shiny black lacquer, the interior coated in festive red. Cranes and turtles, symbols of longevity, populate the inside in gold. It is 20.5 cm (8 inches) diameter and comes enclosed in an age darkened period wood box titled Kamagata Kashiki. There are two repairs to the red lacquer of the interior trays and marks consistent with use, but overall in fine condition.

A sage, strikes a forever pose as he stares into the distance, robes billowing in the wind, contemplating the troubles of lesser beings, a fan clutched behind. This is a beautiful bronze sculpture dating from early 20th century Japan paying homage to the literati and Confucian traditions which formed the basis of Japanese ideology at the time. It is signed Kiyoshi with an engraved signature on the hem of his robes. The figure stands 39 cm (15-1/2 inches) tall and is in excellent condition.

A lovely chawan made of three separate excavated shards connected by lines of gold dating from the Kamakura to early Muromachi periods (13th to 14th centuries). It is 15.7 cm diameter, 7 cm tall and in excellent condition, enclosed in an old wooden box.