Catalog: Archives: Regional Art: Asian (611)

A serving tray made of Kozai (Jap. old material) from Todaiji Temple in Nara branded with the marks of the 7 great temples of Nara and enclosed in the original wooden storage box dated 1925. It is turned from keyaki, a hardwood in the elm family famed for durability and beautiful wood grain. On the bottom of the tray is a seal which reads Daibutsuden Kozai (Old Material from the great Hall). The tray is 33 cm (13 inches) diameter and in excellent condition. In order to fund temple repairs, often wooden objects such as trays, Robuchi (hearth frames) Haidai (cup stands) among others were made from the original parts of a temple, and given as gifts to those who supported reconstruction or as a way to thank parishioners for donations. The Todaiji temple complex underwent extensive restorations in the early 20th century, and these trays were made at that time from the old posts or beams replaced in the repairs. They have been branded (yaki-in) with marks from the seven great temples of Nara (Nanto Shichi Daiji) Todaiji, Saidaiji, Daianji, Horyuji, Kofukuji Gangoji and Yakushiji temples respectively. On the box lid is written the title: Nanto Shichi Daiji Yaki-in Maru-bon (Round tray branded by the 7 great temples of the Southern Capitol). Inside the lid is written: Made from the old material of the Great Buddha Hall of Todaiji Temple, at the bequest of the Nihon Bijutsuin (Japan Art Institute). A handwritten epitaph inside the box states it was received as a gift from the politician and business magnate Oya Shichibei (1865-1929) of Osaka after completion of repairs to the great hall on an auspicious day in May of 1925 as attested to by Hirai Kinjiro (sp?) followed by five red seals.

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.

Antique Japanese Mingei Flat Pounding Board An exquisite patina covers this heavy pounding board from Northern Japan used for working rice into dough. It is 53.5 x 31 x 9 cm (21 x 12 x 3-1/2 inches) and is in excellent condition.

A pair of red and silver iron lotus flowers with long handles serving as Buddhist candle-stands, the light rising from within the sacred flower. Overall raw iron, the coloration of the flower petals is from silver and red lacquer. Each is 26.5 cm (10-1/2 inches) long and in excellent condition.

A rare set of five tiny Gosu cups for drinking Gyokuro steaped tea from the Shidehara kiln of Sanda in Hyogo prefecture dating from mid to later 19th century (Late Edo to Meiji). Fish circle the cups as they swim among water plants. Each cup is 2 inches (5 cm) diameter and in great condition.
Shidehara was a kiln established in the Sanda district of Hyogo prefecture in the mid 18th century. They created works based on continental styles of Gosu, Sometsuke, aka-e and later celadon. It is from this kiln that Sanda-yaki was born, to become a major production area for celadons and other pottery styles starting in the late 18th century.

A serene image of the Goddess of Mercy Kannon found in a natural black stone from the Seta River inset into a hand carved hard-wood base and enclosed in a kiri-wood collectors box titled simply Setagawa-ishi (Seta River Stone). 19.5 cm (7-3/4 inches) tall and in excellent condition.

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.

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.

A bronze vase dating from the mid Showa period by Ono Tsuneo of Takaoka enclosed in the original signed wooden box. It is 26 cm (10 inches) tall and in perfect condition.

An exquisite sake cup from the Asakiri kiln of Akashi decorated with a verse and spray of bamboo enclosed in a period wooden box signed by Yamada Takeshi (descendant of Yamada Kikutaro, Edo period founder of the kiln). It is 5 cm (2 inches) diameter and in excellent condition, likely dating from the Meiji period.

A bronze bell dated Kanbun 10 (1670) which would have been suspended in front of a Shinto shrine worship hall, and struck with a knotted rope to awaken the gods to listen to one’s prayers. Inscribed in the surface around dials of lotus flowers is: An auspicious day in the 7th month of Kanbun 10, followed by the names Honda Yasutoki Ko and Hiramoto Sukeyuki opposite a dedication to the god of water the Hachidairyu-jin followed by a place name near Awazu in modern day Shiga prefecture. The Hachidairyu-O or eight headed dragon king (god) is a creature who controls water and is enshrined in the sacred place of Takachiho, in Kyushu, with branch shrines throughout Japan. Roughly 26 cm (10-1/2 inches) diameter and weighs 3.4 kg (7.5 pounds). There is a scratch in the backside, (see close-up photos) otherwise it is in excellent original condition with two casting flaws which have become pin holes in the upper back. The combination of Buddhist and Shinto Iconography is certainly a point of interest with Japanese religious ideology.

Egrets in flight decorate the art-deco influenced shape of this faceted hanging vase by Nakamura Suiko enclosed in the original signed wooden box. According to the inside of the box, this was one of three made for submission to the 5th Nihon Bijutsu Tenrankai (Nitten, 1949). An entry in the catalog for that year states that Nakamura Suiko of Ishikawa prefecture exhibited a “Tri faceted Porcelain Hanging Vase Decorated with Egrets”. It is roughly 9 x 10 x 9 inches (23 x 25 x 23 cm) and is in excellent condition, retaining the original silk hanging chords.

A wooden sign of three golden characters carved into the surface of a solid slab of burled wood enclosed in a frame expertly carved with the four gentlemen, plum, bamboo, iris and chrysanthemum. It reads Yuraku-sai, A Place of Playful Enjoyment. The sign (with frame) is 11-1/4 x 21 inches (28.5 x 53 cm). It is signed Setsuyo (?) followed by two stamps. There is a chip into a hollow in the wooden plaque, lower left (see photos) otherwise is in excellent condition. This sign would have been hung at the entrance to a traditional Japanese tea room.

The 14 petal Imperial Chrysanthemum forms a triad emblazoned in gold on the lid of this exquisite mizusashi fresh water jar by Imperial Court Artist Ito Tozan I enclosed in the original signed wooden box dated as having been received in June 1911. The box is tied with a green silk chord. The piece is 6-1/2 inches (16.5 cm diameter, roughly 7 inches (18 cm) tall and is in perfect condition. The 16 petal seal with 16 petals between is used only by the emperor. Other branches of the imperial family use a 14 petal seal with petals between. This is from an estate associated with one of the branches of the Imperial Family, we were fortunate to be able to purchase a few pieces from.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III and Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title, and like his teacher Denshichi, created the dishes from which the Imperial family would eat.

Golden mist shrouds the aged pines draped with wisteria growing about the crashing falls on this anonymous early Edo period gold screen. A rare scene to find, rigid lines and the lavish use of gold are typical of the first half of the Edo era. The screen features a colorful brocade border with vermilion lacquer frame and has been fully remounted without re-painting. It measures 68-1/2 x 63-1/2 inches (174 x 162 cm) and is in fine condition, showing some old repairs.

A striking design rises up the pin-holed surface of this set of Tokkuri with genuine gold repairs about the rim dating from the late 18th to 19th century and enclosed in a period wooden box. They are 2 inches (5 cm) diameter, 6-1/2 inches (16.5 cm) tall.

A fine dark olive bronze by Living National Treasure Katori Masahiko enclosed in the original signed wooden box. It is 8 inches (20 cm) tall and in fine condition. Katori Masahiko (1899-1988) was born into the family of prominent Bronze Artist Katori Hozuma in Chiba. He was internationally awarded at the Paris Exposition in 1925, the year he graduated The Tokyo University of Fine Arts (a student of Tsuda Shinobu). Heavily involved with the Teiten/Nitten National Art Exhibition, following the destruction of the Second World War, he would spend years working to save Japanese Buddhist Treasures, and making Bells for Temples and Monuments. He was designated an Important Intangible Cultural Property of Japan (Living National Treasure) in 1977.

A set of five sencha steeped tea tea cups by the first Suwa Sozan decorated with three seasonal or auspidcious fruits and a poem by famed literatus Tomioka Tessai enclosed in the original signed wooden box. Each cup is 2-1/4 x 2 inches (5.7 x 5 cm) and is in fine condition.
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.
Tomioka Tessai (1837-1924) was a scholar artist trained from age seven in the traditional Confucian manner. After the death of his father he was apprenticed to a Shinto shrine, and later was forced to escape the capitol to Kyushu to avoid arrest for anti-governmental actions he had taken on part of the Imperial cause. Here he began serious study of Literati painting and furthered his scholarly research. Upon returning to Kyoto he was befriended by and moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He helped to establish the Nihon Nanga-In and held a number of important positions, culminating in being appointed the official painter of the Emperor and a member of the Imperial Art Academy; the highest honor in Japanese Art circles. He is represented in innumerable important collections. Information on this important person is readily available, for more see Scholar Painters of Japan by Cahill (1972), Roberts Dictionary, or a quick internet search will find plenty of reading. He is held in the Tokyo National Museum, Museum of Fine Arts, Boston, Kyoto, V&A etc…

Drinking dancing and shamisen playing, a skeleton crew doing donchan-sawagi on the back of a pale gray jiban crepe-silk kimono. The figures are performed in the painstaking shibori technique where each dot is hand knotted before dying, each laborious knot making up one dot in the matrix of the design. The piece likely dates from the Meiji to early Taisho era, late 19th to early 20th century. This is not one of the modern bleached versions of this theme, but an antique original. Very very rare.

A later Meiji period two panel screen, Pigment on silk, signed Hosen (Usui Hosen) dating 1900-1910. Shunkei lacquer frame with cloth backing. Quintessential for the era, the scene is brushed in an abbreviated style, allowing the viewer to participate by completing the details. Muted colors and the lack of hard lines lend the screen an ethereal quality, as if recalled from a distant memory. The screen is 56 inches x 5 feet (142 x 152 cm) and is in fine condition but for some stress in the silk in the lower portion of the womans garments. Usui Hosen (b 1881, Kyoto) graduated the Kyoto School of Art and apprenticed under Yamamoto Shunkyo before establishing himself as a known Nihonga artist in early 20th century Kyoto the cultural heart of Japan.

An oil on canvas by Ono Sue titled “Inaka no Kyokai, Paris” or Rustic Church in Paris set into a double wood frame. The canvas is 15-1/2 x 18 inches (40 x 45 cm), the frame 24 x 27 inches (61 x 69 cm) and all is in excellent condition.
Ono Sue (1910-1985) was born in Niigata prefecture, and after serving as a school teacher for one year, moved to Kyoto in 1934 to pursue a career in oil painting under Yasui Sotaro. He began exhibiting with the Issuikai in 1938, garnering a number of awards there over the next 15 years starting with the Issui-kai Prize in 1943. In 1955 he would go on the first of his travels, returning in 1958, and in 1959 he would help to found the Kokusai Gushoha Kyokai. The next year would find him abroad again for an extended journey. He travelled extensively, documenting his travels in oil and canvas, Egypt, Mexico, Europe, South East Asia, all of these would become subjects for his method. In 1963 he returned to Japan. He was purchased by the Imperial Household Agency that same year. He would be honored with several exhibitions in major Japanese museums, including the Tokyo Central Museum, Umeda Museum of Modern Art, and his home of Niigata with the Niigata Art Museum. In 1982 he would receive the Geijutsu Sensho Award for the arts from the Minister of Cultural Affairs. Work by him is held in the Museum of Modern Art in Niigata, Museum of Modern Art in Toyama, Okawa Museum, Sakuma Municipal Museum of Modern Art and Kita-Kyushu Municipal Museum of Art among others.

Kamikaze, the Divine Wind decimating the Chinese fleet as fearless warriors brave the tempest to drive off the attacking hordes. Uenaka Chokusai, enclosed in the original signed wooden box. Pigment on silk in a pale silk border with ivory rollers. 19-1/2 inches x 7 feet (49 x 214 cm) in fine condition.
Uenaka Chokusai was born in Nara (1885-1977), and was enthralled with the arts from a young age. He apprenticed under Fukada Chokujo, and later Hashimoto Gaho. At the age of 23 he was accepted into the Bunten (modern Nitten). Shortly thereafter he became a disciple of the Nichiren Buddhist Orator Tanaka Chigaku. He would then fall under the tutelage of Yamamoto Shunkyo, combining his varied skills into a genre of historical scenery. Along with Hayashi Bunto, Ikeda Keisen and Ueda Manshu would help t establish the Nihon Jiyu Gakkai, a non-jurried exhibition of Free Painters. Work by him is held in the National Museum of Modern Art Tokyo (MOMAT as well as the National Museum of Modern Art Kyoto (MOMAK) among many others.

An exotic white inko in a pine tree enclosed in the original red lacquered double signed wooden box (Niju bako). Pigment and ink on silk in a fine brown silk border patterned with Kiri leaves, extended with blue gray and featuring large ivory rollers. It measures 23-1/2 x 80-1/2 inches (60 x 204 cm). There is light foxing, mostly concentrated to the right of the tree. The seals are pubished in the large museum Anthology “Keinen” figures B and D.
Imao Keinen (1845-1924) was born in Kyoto, and initially schooled in the Ukiyoe style before becoming a pupil of Suzuki Hyakunen, from whom he received his name. Master of many styles, he was a member of the Imperial Art Committee and Imperial Art Academy, and served as Juror for the Bunten as well as teaching at the Kyoto School of painting. Very influential painter known for his detailed Kacho-ga. He is held in the collections of the Ashmolean, Metropolitan Museum NY and Museum of Fine Arts, Boston among others.

An intriguing lidded bowl patterned with soft blue red and white in the style of traditional hand made temari balls (multicolored silk thread balls) by modern ceramic artist Sato Kazuhiko (b. 1947). The piece is signed on the base and dated 1992, and comes enclosed in the original signed wooden box. Inside the dish is pebble textured stone gray, with a silver tablet fired into the top. A perfect jigsaw cut separates base and cover. Certainly a representative work by the artist, it measures 6-1/2 inches (16.5 cm) round. Kazuhiko is a widely displayed artist and author of any number of books on the ceramic arts.

Shishi prance across the mottled Kiri-wood surface of this Momoyama to early Edo period Koro in gold and silver maki-e and mother of pearl inlay. A copper insert contains the fragrant incense ash. There is a hand forged iron staple top and bottom of one ancient crack testament to age. It likely once had a silver hoya (cover) which has disappeared over the centuries. When we acquired this and another similar piece listed from a temple in Fukui prefecture, it was so covered in grime that the maki-e could not even be seen. Imagine our surprise when it surfaced during the slow cleaning process. This is a beautifully executed piece very much in the style of that long ago era. It measures 13-1/2 inches (34 cm) diameter, 7-1/4 inches (18.5 cm) tall.

A fox sits wrapped up like the Daruma, a humorous image by long time head priest of Kenninji Temple Takeda Mokurai (1854-1930) in light ink on paper. The scroll has been fully remounted in dark forest border extended with beige and features black lacquered wooden rollers. It is 18 by 47-1/2 inches (45.5 x 120.5 cm) and in excellent condition. Mokurai began his training as a priest at the age of 7. Developing under a number of masters, he finally settled under Yuzen. During his younger years he developed a love for poetry and calligraphy, something for which he would later be greatly remembered, and in later days, his scholar script was highly prized. As a scholar priest and head of Kyotos Kenninji, he had great influence on the art of early 20th century Kyoto, as Zen practice was almost seen as a given for painters and ceramic artists of the time. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addis and Audrey Yoshiko Seo.

Item description:. The lead warrior charges headstrong into the frothing waves, a band of mounted warriors following across the six panels of this mid Edo period gilded screen. Cherry blossoms, symbol of impermanence and the life of the warrior, and pines, symbol of strength and long life, create teh back drop, with clouds of gold applied smoothly and over a pebble textured surface defining the characters. A well painted rendition of this famous scene from the epic Taiheiki . The screen has been restored at some point in the distant past. It is bordered in patterned blue silk with black lacquered wooden frame and features antique backing paper. Well painted and proportioned, in an easy to wall mount size. It measures 4 feet by 112-1/2 inches (122 x 286 cm) and is in fine condition, with only minor insect damage and fissures in the heavy pigment typical of age.

This fine antique lacquer tray features a Gold lacquer rim surrounding a field of jet black dominated by two stylistic butterflies, the underside a sea of Nashiji. It is enclosed in the original signed wooden box inside of which is a paper seal reading Nai-gaikoku Hakurankai, Kyoshinkai, Hinpyokai, Kingindosho (National International exhibitions, Kyoshinkai, Industrial exhibitions, Gold silver bronze prizes) followed by the store name Higashimon shoten, Fujibo, Osaka It is in very good condition, yet does show some signs of use in some very minor abrasions on the black field inside. There are no chips or cracks, no loss to the lacquer. It is 12-3/4 by 18 by 2 inches (32.4 x 45.5 x 5 cm).

A spectacular set of bira-bira-kanzashi hair pins in the form of cranes among blossoming plum and pine formed of silver which come enclosed in a custom made silk-lined wooden box. Two are 13 inches (33 cm) long, the other is 9 inches (23 cm) long and all are in fine condition. According to a label inside the box they are from Akita City in Northern Japan, sold by Takeyaso Hon-ten. The box is 15 x 17 x 5 inches (38 x 43 x 13 cm). I do have more images if someone is interested.

The character Take (bamboo) is struck with six brisk strokes of dark ink on this Chagake tea scroll signed Mitsuhiro (Karasuma Mitsuhiro, 1578-1638) and dated 1631. The calligraphy is exquisite. Mitsuhiro was born the son of Karasuma Mitsunobu (1543-1606) and, like his auspicious father, was a well known poet and songwriter accomplished in calligraphy. The paper is, as might be expected, repaired in several places and has marks and yellowing consistent with age, however is still supple and easily displayed. It is bordered in crushed blue paper, dating to the Meiji period, and came from the same collection as the two scrolls by Genryu. The scroll measures 22-1/2 by 44 inches (57 x 112 cm). There is one crease penetrating from the left side through the first character of the signature. Otherwise the scroll is in surprisingly good condition.

A superb bronze vase with silver plate design enclosed in the original wooden box and stamped on the base by the artsit. The vessel is 11-1/2 inches (30 cm) tall and in excellent condition

A whimsical tiger exhales incense smoke, his body glimmering with gold on black ripples; an antique oki-koro incense burner enclosed in the original Kikko signed wooden box. The tiger bears the Kikko mark on his butt. The piece is 15 x 10 x 13 cm (6 x 4 x 5 inches) and is in excellent condition. The Kikko Kiln was established in Osaka in the opening years of the 19th century by Iyo native Toda Jihe, who had learned the ceramic arts in Kyoto under all of the great names of the time, Kiyomizu Rokubei I, Ryonyu the 9th generation head of the Raku family, and Ninnami Dohachi among others. He would be known as Jusanken Shogetsu. After being noticed by then Daimyo of Osaka area Mizuno Tadakuni, he received the kiln name Kikko. His works were distributed as gifts among the Daimyo, and he was called to work in many fiefs creating “Niwa Yaki” kilns throughout Japan. During the Meiji the kiln would be split into two continuing lineages, one using Jusanken stamp, the other Kikko Shogetsu.

A porcelain Koro by Mashimizu Zoroku II and decorated with a tiger by Tomita Keisen and enclosed in the original wooden box signed by both artists. It is 12 cm (5 inches) diameter, the same height with a solid silver hoya of woven net weave by signed by Koju.
Mashimizu Zoroku II (1861-1936) inherited the pottery tradition of his father, Zoroku I and grandfather Wake Kitei III in the Gojo zaka district of Kyoto. He was a well regarded member of the city’s literatus, and is remembered for both his pottery and paintings in the Nanga tradition.
Tomita Keisen (1879 - 1936) was born in Fukuoka on the southern Island of Kyushu, and went to Kyoto to study painting under Tsuji Kako as well as the Nanga Style and traditional Buddhist painting styles. He exhibited with the Bunten/Teiten National Exhibitions as well as many others. He developed a hybrid of these which has proven extremely popular, even with contemporary audiences and his work is still highly prized. 24 works by this artist are held in the National Mueums of Modern Art in Tokyo and Kyoto as well as any number of other public and private collections including the Museum of Fine Arts in Boston, Rijksmuseum, Minneapolis Institute of Art, Fukuoka Art Museum, Tokyo Fuji Art Museum and many others.

Like an aged boxer, the squat muscular crab takes a stance of readiness, one claw up prepared to defend against a coming attacker. This little fellow is unusual in that it is made of thick bronze, with each joint pinned in a way that allows for some mobility. Legs splayed the creature is 9 inches (23 cm) wide, standing it is 3-1/2 inches 89 cm) tall. There is a repair to the first joint of the 2nd left leg. It dates from the first part of the 20th century.

A mid Edo period carved woodn mask for Shishi-mai festival dance covered in red and black lacquer with gilded teath and eyes in rarely seen good condition. The mask is used with the hand, not worn over the head, the dancer usually hidden beneath a long flowing cape. It is 22 x 20 x 20 cm (8 x 8 x 9 inches) excluding the horn and ears. There is an old metal plate nailed over one hinged jaw inside (not visible from outside), where the wood had likely once given way. Overall it is in surprisingly good condition considering the age.

Three black rabbits huddle together to form this black-raku Shuro hand warmer enclosed in an old wooden box titled Kuro Mitsu Usuagi Shuro (Black 3 Rabbits Hand Warmer). They are 7 x 5-1/2 x 4 inches (18 x 14 x 10 cm) and in fine condition.

Cranes flock to the shore, greeted by their compatriots grazing among dry winter grasses on the wave lapped beach of this anonymous pair of Mid Edo period six panel screens. Performed with Ink and pigment on paper with scattered gold flake in a blue silk border with kuwa (mulberry) wood frame and sturdy blue cloth backing. Fully remounted, each screen is 65 x 142 inches (165 x 361 cm). A quintessential Kano style Edo period scene.

A conical Jingasa battle hat 6-1/2 inches (16.5 cm) high, 14-1/2 inches (37 cm) diameter entirely gilded outside with genuine gold. Inside is lacquered black and retains the tie holds for the liner. There is some writing within, and a maru-ichi crest. There is damage to the peak and edges, but is quite impressive looking, and was likely used by the immediate vanguard of the Daimyo. One of two variations we have, they are from Omi province, just outside of Kyoto in old Japan.

Four kiri panels are set into a rosewood framework, each uniquely painted by Osaka Literati paragon Mori Kinseki. It is 12 x 12 x 11-1/2 inches (30 x 30 x 29 cm) and is in fine condition. The brass insert too, looks almost unused. Included is a small folding fan in the original box by the artist as well. Mori Kinseki (1843-1921) was born the third son in a family of Inn owners in the hotsprings town of Arima, Hyogo prefecture, in 1843. At the age of three he was sent away to be raised by an inn owner in Osaka, Mori Ihei. By the age of 19 he was studying painting under Kanae Kinjo, and joined the circle of poets and scholars around Mega Yusho. After the opening of Japan with the fall of the Edo government, he traveled to Tokyo, where he studied western style perspective under Takahashi Koichi, and shortly thereafter the name of Mori Kinseki begins to appear in art annals, initially as a bronze plate lithographer (in 1881 one of his lithographs was exhibited at the 2nd Domestic Industrial Exhibition), and became associated with the Seikoku Bunjin group of literati artists. His bronze plate work was well known, and he illustrated more than 100 books, becoming the leading artist in that field in Kansai. At the age of 40, in 1883, he helps to found the Nihon Nanga-kai organization of literati painters, and the following year takes up a professorship at the new Naniwa School of Painting in Osaka. In 1890 he is named a designated artist to the Imperial Household Agency (and in 1913 would be named a member of the Imperial Art Academy or Teishitsu Gige-In). His works were not just submitted to many of the National Exhibitions of the Meiji and Taisho eras, but he he was in fact made a judge at many of these affairs.

A pimpled toad looks to the sky exhaling a clouded spirit, a truly superb version of this theme in deep caramel bronze dating from the Meiji period. It is an interesting theme, the ugly creature elevated to the status of saint. Judging by color and quality, we attribute this as the work of Kanaya Gorosaburo (1836-1890), a bronze artist of Kyoto fond of this color and known for his superb modeling and detail. Not always signed, Gorosabutro was often known to sign only the box. This piece is unsigned. It is 7-1/4 inches (18 cm) tall, with the basin 5 inches (12.5 cm) diameter.

At first glance this appears to simply be a large image of a burning tree, however, look again and find the tree like figure is in the from of two entwined lovers, flames leaping from their impassioned bodies. This was likely made as an exhibition work, as it certainly would be difficult to fit into even a large Japanese home. The piece is signed Yoneda Mio, (Yoneda Mionosuke), and likely dates from the 1930s. The canvas measures 49 x 61-1/2 inches (124 x 156 cm) the frame 52-1/2 by 65 inches (133 x 165 cm). Overall the painting is in good condition, with minor abrasions typical of age, the frame has sustained a great deal of damage.

Here is a rare Jizai mantis. It is by an artist named Tomiki Munenobu, one in a line of artists carrying on the Myochin style of metalwork. Teh piece likely dates from somewhere in the later Meiji, 1890-1910. Life-size, it is roughly 3 inches long, the same height and in fine condition. It is as found, not yet cleaned or tampered with. The head is mobile; the thorax with retractable arms and folding wings. Jizai is a term used to describe a variety of mobile or articulated crafts in Japan.

A furosaki tea room screen made of a very large hanga woodblock print in the fashion of Inui Tai mounted within a simple wooden frame and stamped in the lower left corner. An intriguing work, village roofs are visible over a sea of rice containing all manner of small country scenes. A cat glares at two frogs, boys pluck small fish from irrigation ditches, uniformed students ride on their way to school, a farmer carefully cares for his plants… The screen is entirely black and white, accentuating its primitive charm. Each panel is 16 by 35 inches (41.5 x 88.5 cm). The screen is backed in red patterned paper, with one scratch in the back, the front in perfect condition but for a shadow in the white paper reflecting the cloth from long exposure (see pictures).

An unusual Ryoku Odoshi Ni-Mai-Do Gusoku armor of pleated horizontal plates and Armadillo scale mae-ate reminiscent of the leather covers on the front of older O-yoroi with an inscription inside the box lid attesting the armor to the property of Prince Arisugawa Taruhito. It features a black lacquered 62 plate suji kabuto with simple brass Tehen Kanamono and 6 lame shikoro with arisugawa crest on the fukigaeshi and genuine armadillo tail maedate. The mask is a Me-No-Shita Ho with prominent moustache and removable nose piece and featuring a Kiritsuke Kozane Nodokake throat defense. The Do consists of rows of pleated iron bands riveted together, with upper and lower plates of smooth iron covered in black tataki-nuri lacquer. The Armadillo scale chest piece is removable. From the waist hang 6 rows of five iron scales. The Sangu are all matching in cloth and style to the armor, with 2 piece hinged Bishamon Kote attached to the Shino sleeves. The Arisugawa Crest is prominent in gold on the black field of the Kawara Haidate. The armor retains the original ukezutsu flag holder and comes in a simple red lacquered wooden box. Quite striking with the exotic animal scales, it must have made quite an impression. However the underling armor is very simple and might allow an Imperial Prince to escape in the milieu without scrutiny in the event of a failed uprising. There is a chip to the lowermost lame of the shikoro, as well as some chips to the lower rows of the nodokake and black lacquer about the arm and neck openings in the Do. The Tortoise shell toggles securing the sleeves have become dilapidated (although all of the chord is strong) and most of the original bear fur on the lowermost Kusazuri has fallen. As noticeable in the photographs it does present a powerful display.

A fetching scene of colored washes very　much in　the Taisho style by important artist Ono (Ohno) Bakufu. Pigment on silk in superb Kinrande mounting. It is roughly 21-1/2 x 79 inches (56 x 200 cm).
Born in Tokyo Ono Bakufu (1888-1976) relocated to central Japan after the great Kanto earthquake of 1923 where he became an honorary member of the Hyogo Prefectural Academy of Fine Arts. Often displayed at the Teiten National Exhibition, he is best known for paintings of fish, which were serialized in 72 woodblock prints from 1937-1942 (Dai Nihon gyorui gashu).

A latticework Hoya of solid silver caps this fine porcelain koro incense burner, a joint work by Miura Chikusen and Hashimoto Kansentsu, enclosed in the original shiho-kiri-wood box signed by both artists. It is 8.5 cm (3-1/2 inches) tall 11 x 16 cm across the handles (4-1/2 x 6-1/2 inches). Beast heads form the handles with a scholarly hut on one side, a poem in ancient script opposite. It is signed on the base by Chikusen and on the side by Kansetsu.
Born into the family of literatus and painter Hashimoto Kaikan in Hyogo, in the heart of central Japan, Hashimoto Kansetsu (1883-1945) was a sinophile and manic painter trained initially by his own eye and studies of Chinese classics, then under Takeuchi Seiho (1864-1942). Very opinionated (like his teacher) on the future of Japanese painting, he eventually left Seiho’s Chikujokai school and set out to establish his own painting style which came to be called Shin-Nanga (the New Sothern School). He travelled in Europe and extensively in China, and many of his scenes are inspired by that country. His former residence, which he designed entirely himself, is now a museum. Works by this artist are in so many important collections, including the Metropolitan Museum of Art New York, Museum of Fine Arts, Boston, MOMAT (Tokyo National Museum of Modern Art), Adachi Museum, Kyoto National Museum of Modern Art, Kyoto Municipal Museum of Art, and the Imperial Household collection among many others.
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The kiln continues, currently under the management of the fifth generation.

A monkey reaches toward the moon, arms outstretched from the gnarled trunk of an ancient blossoming plum on the side of this large pottery bowl by Kiyomizu Rokubei IV and decorated by a young Takeuchi Seiho. It is 23 cm (9 inches) diameter, 9.5 cm (4 inches) tall and is in excellent condition, and comes enclosed in a fine custom made kiri-wood box.
Kiyomizu Rokubei IV (1848-1920) was first born son of Rokubei III, and took over the family business in 1883 upon the death of his father. Not restricted to pottery, he studied painting with Shiokawa Bunrin and worked with many famous Kyoto painters. He also worked to promote Japanese pottery in the tumultuous Meiji period, when the capitol was moved to Tokyo, helping to establish the Yutoen Ceramics organization and Kamikai with Kamisaka Sekka. Held in many collections, a lantern by him stands in the garden of the Tokyo National Museum. Takeuchi Seiho (1864-1943) will be a subject of any discussion of 20th century Japanese art. He learned painting from the famous Shijo school artist Kono Bairei and traveled to Europe, where he solidified his own unique style. One of the most influential of early 20th century painters, he served as a teacher at the Kyoto Municipal School of Arts and Crafts, a member of the Imperial Art Academy and was a member of the Bunten from its establishment, serving on the selection committee. He is hailed as one of the founders of the modern Kyoto School, and received innumerable awards including the order of Cultural Merit.

A breathtaking Taisho period image of the Buddha in meditation by Takayama Shunryo. It is performed with gold appliqué and brilliant mineral pigments on silk, mounted in a fine mounting of blue cloth ending in bone rollers and enclosed in a kiri-wood box. The scroll is is 21 x 76.5 inches (53.5 x 194 cm) and is in fine condition.
Takayama Shunryo (1886-1921) born in Yamagata, studied under Yamamoto Shunkyo in Kyoto, Exhibited with the Bunten. Helped to establish the Nihon Jiyu Gakkai with Ikeda Keisen and Hayashi Bunto in 1919. Died unexpectedly in 1921 just 35 years old.

A sprawl of chrysanthemum are delicately painted growing beneath the elegant curves of a Kanshi poem on this fine silk scroll by Kamisaka Sekka enclosed in the original signed wooden box. Pigment and ink on silk with silk border and black lacquered rollers. The scroll measures 11-1/2 x 73-1/2 inches (30 x 186 cm) and in fine condition. For more on this artist see the current exhibition at the Clark Center. For a very similar painting see Kindai no Rimpa, Kamizaka Sekka by Yanagihara (1981) plate 69 and for images of the seal and signature p. 306 fig 21 and page 311.
Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nuevo and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938.

A wily fox stands, head cocked to one side wrapped in the robes of a nun, something to be wary of this ceramic Okimono by Takahashi Dohachi enclosed in the original wooden box titled outside Dohachi Zo Hakuzoso, and signed within Kachutei Dohachi Zo followed by the artists stamp. It is 8 inches (21 cm) tall and in fine condition. This dates from the later Edo or first half of the Meiji period (mid 19th century), a time spanning two generations of Dohachi when both ceramic sculptures and imagery of the supernatural were both popular.
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 in Kyoto. He opened 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. He is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among others.
The third generation (1811-1879) was known as Kachutei Dohachi and 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 anals of Kyoto ceramics well into the Meiji period.

Feminine figures dive upwards, forming the handles on this large art-deco vase by Nakajima Yasumi II enclosed in the original signed wooden box titled Jundo Eikan Kabin. The vase is 13 inches (32.5 cm) tall and in excellent condition. Inside the box lid is an inscription stating it was given to commemorate the first run of a three year old thoroughbred Arabian Stallion at the Amagasaki Race course in 1958.
The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1951) 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 and he served as mentor to a generation of young bronze artists. His son, Nakajima Yasumi II (1905-1986) created this piece in 1958, and it was given as a memento for a horse race winning Arabian Stallion.

An unusual modern art vase in robbins-egg-blue dating circa 1970 enclosed in the original signed wooden box by Kyoto artist Kumakura Junkichi (1920-1985).. The blue metallic glaze flows down the sides leaving a distinct pattern in the smooth surface, collecting in oil drop pools around the thickened base. Notches cut in the surface are turned out at various points to allow the insertion of flowers and twigs on all surfaces. One could make a variety of very interesting arrangements with this attractive piece. Signed on the base Jun, it is a little less than 5 inches (12 cm) square. The vase is in fine condition but the box appears to have been wrapped in a red cloth which was once wet, allowing the die to seep into the box surface. Junkichi began working in ceramics in the 1940s, his works submitted to innumerable National and International Exhibitions including the Japan Art Festival, New York and the international Arts and Crafts Exhibition in Florence Italy. He also submitted to the Brussels World Exposition and helped design murals for the World Exposition Osaka. At the International Ceramics Exhibition, Prague in 1962 he took a silver prize. He was also often exhibited and is in the permanent collection of the Japanese National Museum of Modern Art as well as the National Museum of Modern Art, Kyoto.

A heavy hand forged iron candle-stand from a Buddhist temple in the shape of a burning jewel. It is 90 cm tall, 57 wide, base and legs 20 x 39 cm and dates from the 19th century. Very thick and heavy iron work.
Due to size the cost of shipping will be accrued separately for this item.

The character Kotobuki followed by a playful verse crying Watashiya kyujukyu made (Longevity, I live to 99). Ink on paper enclosed in a subtle cloth border befitting Zen art. It is stamped Taishitsu (his art name) and enclosed in the original signed wooden box with the same inscription on the lid. The scroll measures 10 by 73 inches (26.5 x 185 cm). There is some cupping in the scroll, otherwise in fine condition. Mumon (1900-1988) studied law in his youth, but was converted to the life of Buddhism by a statement of Confucian theory which says, rather than become a lawyer, create a world where there is no need for courts. After taking the tonsure, he initially studied under Kawaguchi Ekai, the first Japanese Zen priest to visit Tibet. However after several years in isolation battling tuberculosis, he emerged to receive his certificate of enlightenment from Seisetsu Genjo, and went on to head a number of prominent Zen temples. Later in life Mumon traveled the world, working hard to spread to light of Rinzai Zen.

A Nandina (Jap.Nanten) grows up in brilliant red hues over a dark garden stone on thie black panels of this unique painting by Ono Tosaburo. Heavy pigment on paper mounted as a two panel screen with light cloth border and hardwood frame. This was exhibited at the 12th Nitten in 1956, and is visible in the catalog for that year. It is 85 x 74 inches (188 x 216 cm) open. Ono Tosaburo was born in Osaka in 1917 and studied under Konoshima Keika, The war interrupted his career, and he was first accepted into the Nitten in 1947. He is fondly remembered for paintings of fish in his unique Nihonga style. For more see the book Ono Tosaburo Gashu (1988).

Heavy pigment on thickly veined gold creates a powerful collection of scenes from the Taiheiki, the 11th century story of the fall of the courtiers and usurpation of power by two military families, the Taira and the Genji. The screen dates to the 18th century, or middle Edo period. Many old repairs attest to age. We have had it completely remounted, with no painting restoration performed. On the left the famous scene of shooting a fan from horseback from the battle of Yajima. Center two famous riders charge into the waves, on the right a group of warriors bristling with arms, possibly the tragic hero Yoshitsune and his group of roughnecks. The screen measures 104 x 40 inches (264 x 102.5 cm) and is ready to display.

A pair of superb Tokkuri by Raku Kichizaemon enclosed in the original signed wooden box, each stamped on the base, each unique with one in dark Raku glaze, the other swiped with ash leaving large areas of raw clay exposed. Each one is 16 cm (6 inches) tall and in fine condition. These are by the Kichizaemon X, according to the book Sado Bijutsu Teccho, it is the earliest of his four known stamps.
The Kichizaemon family of potters was established in Kyoto by Chojiro during the Momoyama period (16th century). The 10th generation head of the family (Tanyu, 1795-1854) was born the second son of the 9th generation Kichizaemon. Along with Yoyosai assisted in the establishment of a kiln for the Kishu branch of the Tokugawa family, and soon followed that up with others around the country. This gave him tremendous experience throughout the world of Japanese ceramics with different clays and glazes, expanding the family repertoire into Oribe, Iga and Seto ware in addition to the traditional Kyoto wares. Works by him are held in the Metropolitan Museum of Art among many others.

A very unusual hammer textured lotus shaped tray featuring an insect crawling down the side enclosed in a wooden box titled Textured Leaf Shape Fruit Dish and signed Tekisui Zo (made by Tekisui). The brass basin is supported by a withering round stem convoluting beneath. A bright portion of brass hammered out with holes show the leaf slowly deteriorating, returning to earth. The insect is like a red flying-beetle or lady-bug, very detailed. The dish is roughly 6 by 7 inches (15 x 17.5 cm) and stands about 1-1/2 inches (4 cm) tall, dating from the later 19th to early 20th century. The style is akin to many types of receptacles used in the service of Chinese tea, which was massively popular from the beginning of the 19th century. It appears the insect, which is held in place with a rivet, has come loose and been re-attached at some point, with file marks left from the work visible underneath. .

A large sweets dish decorated with blossoms by Eiraku Zengoro XII (Wazen) enclosed in a custom made wooden box. The bold pattern is fitting this bold artist. It is 9 inches (23 cm) diameter, 4-1/2 inches (11 cm) tall and in fine condition.
Eiraku Zengoro XII (Wazen, 1823-1896) was one of the most influential potters of his time, setting the stage for the revival of and modernization of Kyoyaki, based on models by Koetsu, Kenzan and Ninsei. Although named Sentaro, he was more commonly referred to by the name Zengoro, and used also the name Wazen after 1865. He was trained under his father, Hozen, who was a compatriot of Ninnami Dohachi and Aoki Mokubei, and rightfully one of the most famous potters of the later Edo. Zengoro was given the reins to the family business quite early, in 1843, and managed the day to day running of the kiln while his father sought to perfect porcelain products in Kyoto. From 1852 to 1865 the family worked from a kiln at Ninnaji temple. Attracting the attention of a Daimyo from Kaga, from 1866-1870 he worked to revitalize a porcelain kiln in that area, coming to produce classic wares which are prized to this day. During this time of working divided from the family kiln, two workers who had been trained by his father shared the title of the 13th generation leader in Kyoto, however Wazen outlived both by decades. He returned to Kyoto in 1870, and also established a kiln in Mikawa in the 1870s to produce more common tableware. From 1882 until his death, it seems he worked from a large kiln in the Eastern Hills of Kyoto. Under both the 11th and 12 generations of this family the name Zengoro took on a life of its own, and came to symbolize the highest in porcelain and tea wares. The family is one of the 10 artisan families producing tea articles for the Senkei tea schools.

Here is a very rare early Edo period Ni-mai-do Gusoku prominently displaying a Christian cross like symbol on the front and back of the chest plate in gold. It has a simple kabuto of 6 vertically joined iron plates falling from a circular peak, with a three lame Shikoro. Displayed on front is a wooden crescent moon maedate covered in textured gold (likely a later reproduction). The mask is an unusual Hanpo with a very small mouth in the Momoyama style. The Sode consist of five pieces, the lowermost trimmed and covered in gold, which has largely worn away. The two piece iron Okegawa-do is covered in black lacquer and bears the cross symbol on both front and back. From the waste hang 7 rows of fluted Gessan in red Odoshi. The sangu (Kote, Suneate, Haidate) are made of heavy iron splints connected by chain mail over indigo dyed hemp. It comes with the box pictured, a quality kiri box much worn and often repaired over the centuries (the stand is not included).