Catalog: Archives: Regional Art: Asian (643)

A cascade of flora drapes from the neck of this gorgeous piece by Seifu Yohei IV. It is 31 cm (12 inches) tall and in perfect condition. Quite large for a work by Seifu, it is marked on the base with an incised signature.
Seifū Yohei IV (Seizan: 1872-1946) was born the second son of Seifū Yohei III (1851-1914). He studied literati-style painting under Tanomura Shōsai (1845-1909), a son of Tanomura Chokunyū, in Osaka for three years. In 1914, he succeeded to the head of the family and produced works mostly in his father’s style. He won a number of prizes including the Golden Prize at the Panama Pacific International Exposition, San Francisco in 1916 and the exhibitions of the Japan Art Association in 1916 and 1918. He produced several works for members of the Imperial family.

An antique Guardian mask used to ward off evil hand carved from a rough slab of hardwood. It is 14-1/2 inches (37 cm) tall and in fine condition. Usually hung under the eaves of a house, it shows weathering typical of age. Late 19th to early 20th century.

An incredible work of florals on gold signed on the base Kutani Kaburagi Sei showing the very best of that regions pottery dating from the Meiji to Taisho period, when quality and craftsmanship was at its peak. It is 9 inches (23 cm) diameter, 13 inches (33 c) tall and in overall fine condition. There is a small tori-ashi (birds foot) glaze crack in the bottom but does not leak, and is only visible on the outside bottom.

An exquisite vessel by Seifu Yohei IV decorated in slight relief under pale green glaze. It is 8-1/4 inches (21 cm) tall and in excellent condition.
Seifū Yohei IV (Seizan: 1872-1946), the second son of Seifū Yohei III (1851-1914). He studied literati-style painting under Tanomura Shōsai (1845-1909), a son of Tanomura Chokunyū, in Osaka for three years. In 1914, he succeeded to the head of the family and produced works mostly in his father’s style. He won a number of prizes including the Golden Prize at the Panama Pacific International Exposition, San Francisco in 1916 and the exhibitions of the Japan Art Association in 1916 and 1918. He produced several works for members of the Imperial family.

White wisteria (fuji in Japanese) drape from the gilded rim of this Kutani vase signed from the pre-eminent Kaburaki (Kaburagi) studio dating from the opening of the 20th century. The imagery is exquisitely performed with over-glaze enamels on a pastel gray ground. The vase is large at 13 inches (33.5 cm) tall, 8-1/2 inches (22 cm) diameter and is in excellent condition, with some wear to the gold rim.

A complex landscape wraps around and climbs up this exquisite porcelain vase by Daimaru Hokuho dating from the early to mid 20th century. It is 13 inches (33 cm) tall and in excellent condition. There is no box.
Hokuho would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. He also spent several years in China where he became adept at the aforementioned Sencha aesthetic. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father and Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

Autumn colors by Goto Shiro in thick pigment on silk in a superb patterned-silk frame with solid ivory rollers. It comes in the original signed wooden box with a Futo-maki rolling bar titled Yudonoyama Banshu (Late Autumn at Mt. Yudono). This is representational of Nihonga in the 1950s, a time when artists were seeking a new direction, breaking with the past and expanding the limits of the medium. It is 25-1/2 x 86 inches (65 x 218 cm) and in fine condition. Goto Shiro (1924－1992) was born in rugged Yamagata prefecture and studied under Maeda Seison, settling eventually in the mountainous region of Nagano. A member of the Nihon Bijutsu-in and much lauded at their exhibition, work by the artist is held in the Saku Municipal Museum of Modern Art.

Ame-yu graces the rough textured clay of this large Mingei platter from Aizu in the Northern reaches of Japan on the border between Fukushima and Yamagata. Often mistakenly identified as Tamba due to the similarity in the coloring of this particular glaze, the underlying granular white clay gives it away. About the rim is a ring of fire-colored tendrils trapped in a groove, an interesting added feature. It is 31.5 cm (12-1/2 inches) diameter and dates from the later 19th century. There are some old chips in the rim darkened with age, typical of use for a utilitarian piece like this, otherwise it is in fine condition.
The development of the Aizu Hongo pottery tradition dates back to the Sengoku period (1428-1573), when tiles were locally fired for the roof of Aizuwakamatsu castle. But it was during the Edo period when Lord of the Aizu clan Hoshina Masayuki oversaw the promote and patronize pottery production of what became Aizu Hongo Yaki ware, and it flourished under the supervision of the clan. This subsequently led to the making of everyday pieces of pottery for use by people at large by the closing years of the Shogunete. Fighting during the Meiji Restoration in 1868 and a devastating fire in the Taisho period (1912-1926) caused significant disruptions however; the industry recovered and is still thriving today. It has the distinction of being the oldest area where white porcelain is produced in the whole of northeastern Japan.

Vivid florals patterns decorate and pierce the surface of this exquisite bowl by Kiyomizu Rokubei VI. It is 12.5 cm (5 inches) diameter and in excellent condition, enclosed in a modern wooden box.
The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district throughout the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei IV. Rokubei V led the kiln into the 20th century, and his son, Rokubei VI (1901-1980), would assume lead in 1945, taking the kiln through the tumultuous years after the Second World War. He graduated the Kyoto Municipal School of Arts and Crafts, then the Kyoto Special School of Painting, before apprenticing under his father in 1925. He exhibited frequently and was often prized at the National Bunten, Teiten and Nitten Exhibits, where he later served as judge. He was also lauded abroad, in the USSR, France, Italy, Belgium and was appointed a member of the Japan Art Academy. In 1976 he was awarded the Order of Cultural Merit for his lifelong devotion to promoting Japanese pottery traditions. His works are held in numerous museums throughout the globe.

Young pines, a symbol of celebration, strength, fertility and longevity, decorate this large baluster form vessel by Kiyomizu Rokubei IV. It is 12 inches (31 cm) tall. There is a slight firing flaw in the rim. This is from the Kiyomizu Family Estate. There is no box.
Kiyomizu Rokubei IV (1848-1920) was born the first son of Rokubei III and headed the family kiln from 1883-1913.He studied painting in the Shijo manner under Shiiokawa Bunrin and had a brotherly relationship with his fellow student Kono Bairei (under whom his own son would study painting). He sought to revitalize the pottery tradition of Kyoto, bringing in new techniques and styles and together with artists like Asai Chu and Nakazawa Iwata took part in the Entoen group and with Kamizaka Sekka the Keitobi-kai. He also held a strong relationship with literati artists such as Tomioka Tessai and together with these artists produced many joint works. He fell ill in 1902, finally handing the reins over to the 5th generation in 1913. 　

An antique book bound in green kinrande silk decorated with the Tokugawa family crest (of the Shogun) woodblock printed with scripture wrapped in a hand painted silk cloth enclosed in a black lacquered wooden box decorated with the Tokugawa Crest and the Jodo-shu Symbol of Chion-in. The book is wrapped in a cloth hand painted with a prayer from Meiji 22 (1889). The box is lined with genuine gold gilding. It is enclosed in a rough outer wooden box annotated as having been gifted from Shinju-in in the main temple complex of Chion-in temple in Kyoto to Joanji Temple in Nagasaki in the 4th month of the 21st year of Meiji (1888). The book is 11-1/2 x 7 inches (29 x 18 cm). It is a copy of Enkodaishi Hogo (the scriptures of Honen). All is in very fine condition.

A trumpeting form decorated with bamboo adorned with a single cicada by Matsumoto Sahei (Sabin) enclosed in a wooden box annotated by the current head of the family Matsumoto Sakio. It is 31 cm (12 inches ) tall and in excellent condition.
Matsumoto Sahei (1851－1918)　was born into the family of Matsuya Kikusaburo, a first generation Kutani porcelain artist. He studied under both his father and Tokuda Kansho, mastering Aka-e, Ao-kutani and other decorating styles of the era and realizing his own techniques with Iro-e Kutani. He was also known as Shoundo or Sabin. He was succeeded by Matumoto Sakichi (first and second) then Matsumoto ,Sakio in modern times.

A lobed form by Nakajima Yasumi enclosed in the original signed wooden box. It is 12 inches (30.5 cm) tall and in fine condition. The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1950) was awarded at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions and was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 where he was subsequently prized. His work is held in the collection of the Imperial Household Agency as well as the V&A and he served as mentor to a generation of young bronze artists. His son, Nakajima Yasumi II (1905-1988) took the family name in 1951. Yasumi II graduated from the National Craft Institute of Sendai and was first exhibited in 1933 at the Export Crafts exhibition organized by the Ministry of Industry and Commerce. He exhibited several times abroad including Paris and Buenos Aires. He was also consistently accepted in the Nitten exhibitions, garnering the Hokutosho there in 1952. In 1969 he received an honor as a person of merit in Crafts from Osaka prefecture.

An exquisite lacquer box by Imai Seitaro dating circa 1959 featuring multiple layers of colored lacques carved through with a design of grapes on the vine enclosed in the original signed double wood box (Niju-bako) titled Choshitsu Budo Moyo Shikishi Bako (Carved Lacquer Grape Design Poem Card Box). It is roughly 11 x 12 x 2 inches (27.5 x 30 x 4 cm) and is in fine condition.
Imai Seitaro was born in Kagawa prefecture in 1893, and was first exhibited with the Nitten National Exhibition in 1948, and was often acceptedthere as well as with the Nihon Kogei-kai Ten. He may have been living in Taiwan before that time, as with many records from that time his history has been lost.

An unusal tri-legged bronze incense burner with finialed dome pierced top signed on the underside. It is 6 inches (14.5 cm) diameter, 7 inches (18 cm) tall and in fine condition, dating circa 1935. Hori Joshin was a student of Oshima Joun and was active from the early to mid 20th century.

A plum by Yumei Sosho of Sokokuji temple timidly opens its blossoms under a brief epithet by Taishitsu Sosho of Daitokuji temple. A rare gassaku work by these two priests. Ink on paper in original border, ivory rollers dated 1808. The ivory rollers will be replaced if shipping overseas. The scroll is 12 x 71 inches (31 x 180 cm). Overall it is in fine condition considering the age, however does cup some in the center and there are some marks mostly visible in the upper and lower borders. For copies of Taishitsu Seals see Daitokuji Rekidai Bokuseki Volume 3.
Taishitsu Sosho (1763-1847) served as head priest of Daitokuji Temple in Kyoto, the city of his birth. He entered the priesthood at the age of six when he studied under Unkei at Daitokuji, and studied calligraphy under Nagata Kansho. He was famous for his knowledge and sensibility in the Way of Tea, incense, I-go and the courtly sport known as Kemari.
Yumei Sosho (1731-1808) was born in Wakasa in Gifu prefecture, and wandered as a youth from temple to temple before settling at Sokokuji in Kyoto. There he studied painting under Ito Jakuchu and other studies under Baiso. Later in life he chose a dilapidated temple to rebuild and spend his waning years, but the same year was appointed the 115th head of Sokokuji. He was well remembered for his paintings of plums and birds.

An exquisite 17th-18th c. rendition of Suiten (vedic Varuna) rising over tempestuous waves. Pigment on silk, The scroll is 59.2 x 167.5 cm (23-1/2 x 66 inches). It has been fully remounted, in an antique silk retaining the original brass rollers. One of the oldest gods, Varuna is associated with a Serpent (Makara) as his vehicle and a noose as his weapon. Varuna is god of waters, the source of rains and the one who rules over the Nagas (divine sea serpent), myths important in Hinduism and Buddhism. In Shinto he is associated with the 12th century child emperor Antoku, and is considered a guardian deity for child birth as well as all things associated with water (fishing, sea faring, maritime freight, natural disasters such as floods and torrential rains, and interestingly “Mizushobai” (literally floating world trade), the business of pleasure.

A pair of Kinsai Tokkuri on red ground by Eiraku Zengoro from his Kutani kiln dating from the late 19th or early 20th centuries enclosed in the original signed wooden box. Complete with lids, they are 5 inches (13 cm) tall each and in excellent condition.