Catalog: Archives: Regional Art: Asian (611)

A brush, ink stick letter knife and ink stone are set into a compartment inside this flattened bamboo shape carved from Zitan wood with a poem engraved into the lid signed on the back side Hokkyo Sessai and enclosed in a wooden box. Lifting out the lid by means of the strap, one finds the knife tucked into the handle, the brush, stone, and ink laid out and ready to use. It is 34 cm (13-1/2 inches) long. The ink stone, firmly embedded in the wood, has cracked, otherwise all is in excellent condition but for a slight nick in the edge just above the himotoshi chord loop. According to the International Netsuke Society Journal Volume 36, Number 1: Shima Sessai (1820-1879), was given title Hokkyo… Any carvings signed Hokkyo Sessai date between 1866 and 1879, Sessais last 13 years. A Netsuke by the artist is held in the collection of LACMA and a carving of two wrestlers by this artist sold at Christies London for 117,000 GBP in 2004.

A most exciting find, a scroll by five of the greatest scholar-painters of the Meiji period, Tanomura Chokunyu, Suzuki Hyakunen, Tomioka Tessai, Nyoi Sanjin and Yamanaka Shinten-o; all of whom resided in Kyoto during the Meiji period. Ink on paper in a brown cloth border befitting the Daoist figures. It comes in an annotated by by Tessai from 1911. The scroll is 29-1/4 x 75-1/2 inches (74 x 192 cm) and is in excellent condition.
Nyoi Sanjin (Tani Tetsuomi, 1822-1905) was born the son of a Doctor serving the powerful Ii clan of the Hikone fief on the Tokaido road between Kyoto and Tokyo. Trained as a samurai and a doctor (including Western medicine in Nagasaki), he sided with the imperialist cause during the troubled times of the 1850s and 60s while working as a Doctor in Hikone. He served in governmental posts after the restoration of the Emperor in 1867, retiring to Kyoto in the 1880s.
Suzuki Hyakunen (1825-1891) was born in Kyoto and studied under Yokoyama Kakei. He served as a professor at the Kyoto Prefectural School of Painting (modern University of Art) and thus mentor to many young artists of his day, including his own son Suzuki Shonen. Works by him are held in the V&A, Ashmolean, Museum of Fine Arts Boston, Philadelphia Museum of Art, University of Michigan as well as a host of Domestic institutions.
Tanomura Chokunyu (1814-1907) was born in Oita (the Oka Feif) and studied initially under Okamoto Baisetsu before moving to paint under the famous literatus Tanomura Chikuden (1777-1835), who adopted him as a son and had a very strong influence on the young artist. Upon Chikudens death he also studied briefly under Oshio Chusai (1792-1837) then finally ventured out on his own upon that teachers passing. He moved to Kyoto, where he helped found the Kyoto Municipal School of painting and eventually withdrew from the world, becoming an Obaku Zen Monk in 1902.
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…
Yamanaka Shinten-o (Seittsu 1822-1885) was born near Nagoya in the village of Higashiura, the second son of a wealthy farming family. After studying in Osaka with scholar Shinozaki Shochiku (1781-1851), he moved after to Kyoto where he became a member of the anti-governmental movement supporting restoration f the Emperor. Following the repression of 1858 when many opposition figures were arrested and executed, Shinten’o went to Ise and studied with Saito Setsudo (1791-1865) for three years before returning to Kyoto. He was an active supporter of imperial loyalists, providing food and money to the troops fighting to establish the new regime. In recognition of his support he was appointed to a series of governmental posts. In 1873 he quit the world of politics to begin a quiet life of scholarly pursuits in the Shimogamo area of Kyoto and established a sprawling villa in Arashiyama so well regarded was that the Meiji Emperor stayed there during his 1877 visit to Kyoto.

The great Tang Poet Du Fu (712-770) affectionately coddles a goose chick in his left hand, his bamboo staff low and seemingly forgotten as he ponders the beloved creature in his palm. Exquisitely rendered, it is roughly 16 inches (40 cm) tall and signed on back with an engraved signature. Du Fu's poetry has made a profound impact on Japanese literature, especially on the literature from the Muromachi period and on scholars and poets in the Edo period, including Matsuo Basho, the very greatest of all haiku poets. It is said that when Basho died, a copy of Du Fu's poetry was found among his few possessions.
Yamamoto Junmin (1882 – 1962) learned the metal arts under Katori Hotsuma (Hozuma) and Asakura Fumio at the Tokyo University of Art. Living in Nara, the ancient capital, he was one of the finest metal workers of his age, carrying on the Edo-doki tradition through the early Showa era while also incorporating many ideas and innovations from Art Deco into hos oeuvre. His work was exhibited with the Teiten/Bunten National Exhibitions many times before the second world war, and with the Nitten National Exhibition post-war. The National Museum of Modern Art in Kyoto holds two works by this important bronze artist, as well as the Metal Art Museum Hikarinotani.

Namiamidabutsu sho (Praise to the name of Amiddha Buddha) is scrawled in faint verse down the upper right, while on the left is a warning, kono tori, minasama goyojin goyojin (all those on this path, be wary be wary…) The two scripts are separated by a grave marker at the base of which lies a skull and scattered bones among the unkempt dried grasses. A very unusual seal in the shape of a Buddhist ewer hugs the right edge. Early to mid Edo period in the style of Hakuin Eikaku (1686-1768). Ink on paper, it has been fully restored with a thin black border in a field of dark brown and retains the original bone rollers. The scroll is 42.5 x 165 cm and in excellent condition

Birds in white plumage decorate the shadowed raw clay of this vase by Miyagawa Kozan enclosed in the original signed wooden box. It is 21.5 cm (8-1/2 inches) tall, 19 cm (7-1/2 inches) diameter and in excellent condition.　
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 the tenth generation head of the Kyoto pottery family Miyagawa Chozo. 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. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan 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 completely 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.

A spectacular pair of vases by Ito Tozan I decorated with the imperial chrysanthemum in gold between soaring phoenix; symbols of the Japanese imperial family. Both come in the original (tired) silk pouch in a compartmentalized wooden box signed by the artist. Each is roughly 6 inches tall and in excellent condition, dating from the late 19th to early 20th century (later Meiji to Taisho period).
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. He worked very closely with his adopted son, Ito Tozan II (1871-1937).

A very unusual set of three scrolls depicting the women of Shimabara looking down with trepidation at a Fumi-e (a Christian symbol) before lotus enclosed in a wooden box titled Shizan Shimabara-me Sanpuku Tsui (Shizan, Women of Shimabara Three Scroll Set). The Fumi-e was a bronze or wood placard embellished with a Christian symbol upon which people were forced to step to prove that they were not Christians during the ban on Christianity throughout most of the Edo period. Any who refused to step on the image would be tortured or executed, often in horrific manner. Here the two graceful figures appear dressed in kimono bearing a leaf pattern with white scarves on their heads denoting purity. Interestingly the artist has juxtaposed the central image with its symbol of Christ on the cross against a background of ghostly white lotus flowers, traditional symbols of Buddhism. Each scroll is 64.5 x 208 cm (25-1/2 x 82 inches). There is faint scattered foxing, a soft wrinkle in the lotus on the central scroll, and some water stains up the left edge of the painting on the right. Likely an early work by Saito Shizan. Saito Shizan (1902-1963) was born in Shiga prefecture in 1902, and initially studied under Yamamoto Shunkyo in the modern Shijo style before entering the Kyoto Municipal University of Arts. He was accepted into the Teiten, Bunten and Nitten national exhibitions both pre and post war.
The Shimabara rebellion (1637-1638) was the largest uprising against the Feudal government during the Edo period. In response to oppressive taxation and anti-Christian policies by feudal lords sent to replace the former Christian Daimyo, Ronin and peasants rose up, eventually forming an army of combatants and non-combatants of around 37,000. They nearly seized two main fortresses before the Shogun sent an army of over 125,000 samurai against them. They retreated to Hara Castle on Shimabara, where they held out until April of that year, withstanding many mass assaults and bombardment by cannon of the Dutch seeking favor with the Shogunate. Eventually the castle fell, and all rebels were beheaded or crucified, their bodies piled inside the castle and burnt en-masse. On the Shimabara peninsula, most towns experienced a severe to total loss of population as a result of the rebellion. Japan severed ties with Portugal and expelled all missionaries. An existing ban on Christianity was then stringently enforced, and Christianity in Japan survived only underground. Except for the Dutch and a small contingent of Chinese merchants in Nagasaki, Japan then closed itself to the outside world for over 200 years. The Fumi-e became the dominant symbol of religious oppression, the ban on Christianity not officially lifted until 1871 (although the shogunate stopped executing Christians around the turn of the 19th century).

The full moon glowing in shimmering gold illuminates the silver blossoms adorning the ragged plum tree growing along the river bank, a superb lacquer box dating from the 19th century enclosed in a period wooden box titled Plum & Moon Maki-e Suzuri Bako. Inside the lid the stream continues, running past golden rocks and young flora reaching for the moon. Contained within is a grinding stone with gilded edges and a blossom shaped suiteki water-dropper inset into a raft structure upon which the brushes could rest without touching the brilliant sparkling nashiji gold flake. It is in overall very fine condition, measuring 23 x 25 x 5 cm (10 x 9 x 2 inches) with no cracks or repairs.

A vermilion Negoro lacquered tray with fluted corners on an elongated stem with heavy round foot in black lacquer dating from the Muromachi period with the temple name Zentoku-in written in red on the base. It is 27 x 27.5 x 25 cm tall (10-1/2 x 10-3/4 x 10 inches). Originally undoubtedly square, the discrepancy in width is due to shrinkage against the grain over the centuries. It comes in a late custom made wooden storage box. There are chips along the edges and a repair visible on the underside of the tray on one side. A crack directly across the center of the tray, a crack in the lacquer at the joint with the base, and a vertical crack in the base. This is all consistent with age. For similar examples see: Negoro, Efflorescence of Medieval Japanese Lacquerware (Miho Museum, 2013). One tray on page 39 figure 022 dated 1535 is nearly identical including the joinery.

A pair of spectacular Mino Yaki Porcelain vases from the studio of famed artisan Kato Gosuke decorated with clusters of grapes under drying late summer leaves. It is 32.5 cm tall, 21 cm diameter and both are in excellent condition, enclosed in a wooden collectors box titled Mino Yaki Kabin Ittsui, Kato Gosuke Saku (Pair of Mino Yaki Vases by Kato Gosuke). Each bears a signature in overglaze on the base, along with two impressed seals. The square seal reads Kato Gosuke.
Kato Gosuke (1837－1915) was a master craftsman of Mino ware who was active in the Meiji period, fired elaborate and precise dyed porcelain, and his works were sold not only in Japan but also overseas, contributing to the improvement of the quality of Mino ware. Born in Tajimi into a traditional potting family, at a time when Mino ware was being produced on a large scale with low standards, and was considered a pottery for daily use. Gosuke was selected by Nishiura Enji III to manage production of his high quality porcelains, a task to which Gosuke excelled. Eventually, Gosuke became independent. His submission to the Philadelphia World Exposition is now housed in the Victoria and Albert Museum in London and in 1878 a vase depicting Mt.Fuji was awarded bronze at the Paris World Exposition solidifying his reputation.

A tripod koro with custom silver lid and rosewood stand by Miura Chikusen II enclosed in a wooden box dated early Autumn 1920 signed by Ume, the mother of the second generation head of the family who died young that year. The white porcelain is roughly 15 cm (6 inches) tall on the stand, 10 cm (4 inches) diameter. This type of Sinophile work was very popular throughout the Meiji and Taisho periods, and Sencha steeped tea had a profound impact on Japanese culture at the time. For more on that see the book ‘Tea of the Sages: The Art of Sencha’ by Patricia Graham (1998).
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 Eldest son took over after his father assuming the family name as Chikusen II, but died young in 1920 leaving a young child, whereupon his younger brother took over as Chikusen, III. However when Chikusen IIs eldest son was old enough, III relinquished the helm, appointing his nephew Chikusen IV and assuming the name Chikuken (Chikken). The kiln continues, currently under the management of the fifth generation.

A breathtaking Koro in the shape of a roaring lion by Miyanaga Tozan I enclosed in the original signed wooden box. This is one of the best pieces I have ever seen by this important artist. It is 25 cm (10 inches) tall and in excellent condition.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo.

A superb image by Hirai Baisen depicting the fire lit on the mountains surrounding Kyoto on the final day of Obon enclosed in the original signed wooden box titled “Okuribi”. It is performed with washes of ink and gold on silk, bordered in a fine frame of patterned brocade. It is 22 x 79 inches (56 x 200 cm). It features large ivory rollers, which will need to be changed if shipped outside Japan. There is a wrinkle in the scroll (not a hard crease) through the line of housing (see photo)
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts and was a regular exhibitor with the Bunten from 1907-1931. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston and a plethora of important public and private collections.

A large porcelain vase covered in olive green upon which grows a rush of white bamboo and a brief epitaph by Miura Chikusen I enclosed in the original signed wooden box dating to the late Meiji or early Taisho period. It is 15 inches (37.5 cm) tall and in excellent condition. The box has much darkened with age. Works of this size by Chikusen, who largely specialized in the minute world of Sencha ware are quite rare.
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 very unusual incense burner in the form of two servants holding up Hotei as he looks joyously toward the night sky. It is performed in crackled white glaze over pale clay with simple iron decoration. It comes enclosed in the original signed wooden box bearing the Teishitsu Gigei-in seal titled Ga-korai Hotei Koro indicating it was based on Korean decoration techniques. It is 18.5 x 10 x 14 cm (7-1/2 x 4 x 6 inches) and is in fine condition. He may have originally held a gumbai-fan, which is no longer present.
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 rare okimono from the Kairakuen Kiln of the Tokugawa branch family dating from the early to mid 19th century. The box label attributes these to Eiraku (presumably Hozen, who was tasked with helping to further the ceramic production of the kiln). The rooster is roughly 7 inches tall the same in length (18 cm). Dating from the later Edo period, they come in an old wooden box with a cloth cover and are in excellent condition.
Eiraku Zengoro XI (Nishimura Hozen, 1795–1854) took the name Eiraku Hozen after Lord Tokugawa Naritsune had awarded him the eiraku seal (Eiraku, eternal joy). Hozen was familiar with all porcelain and stoneware techniques. For the most part, he produced tea ceramics: blue-and white porcelain in the style of the Shonzui ware from the Chinese Jingdezhen kilns in the Ming dynasty; blue-andwhite ware with overglaze decoration (gosu aka-e); celadons; stoneware with gohon-de glaze; and Kochiware.
The Kairakuen kiln was the "garden kiln" sponsored by the Kii branch of the Tokugawa house, in modern day Wakayama founded in 1819. It operated irregularly, drawing upon the services of potters from various Kyoto workshops including the 9th and 10th Omotesenkei Heads Ryoryosai (1775-1825) and Kyukosai (1818-1860), 10th Raku Master Raku Tanyu (1795-1854), and Hozen among others . Kairakuen products reflect a marked revival of interest in Chinese ceramics in the late 18th and early 19th centuries. This vase, with its restrained shape and overall turquoise enamel glaze, follows Qing [Ch'ing] dynasty ceramic models. The design of the four-character mark, "Made at Kairakuen," imitates enamel four-character seals appearing on Qing [Ch'ing] imperial wares.

A young girl reaches up to steady herself on a branch laden with plum buds, not yet ready to open, as she presses down on the ice with her bright red shoes. This is an absolutely darling image by Chishima Kayo, which came to us as a silk makuri (never having been mounted) painting, which our restorer placed in this natural field allowing the painting to show itself.
Chishima Kayo (b. 1890) was a female artist of the Meiji to early Showa periods. She was born in Saitama and studied initially under Kawai Gyokudo then Kaburagi Kiyokata. She consistently exhibited with the Kyodo-kai (Kiyokata’s Salon exhibition) from 1916 as well as the Teiten National Exhibition from 1927, a rarity for a female artist. Nothing is known of her life post-war.

Nagakura Kenichi's artwork is imbued with a primal energy and balance executed with a keen understanding of composition. Each piece combines classic Japanese bamboo basketry techniques with a contemporary artist's sensibility. He steps outside traditional limitations of form, function and material, challenging our concept of customary bamboo. The transition from container to sculpture is further explored in this piece, with expressive curves and a lack of any definable shape. This earth encrusted style is perhaps the most easily identifiable in his oeuvre; a technique pioneered and unique to him. The amorphic form is 36 x 30 x 26 cm (14 x 12 x 10 inches) and in excellent condition. Light intermingling from various angles through the organic sculpture creates a dramatic, contemplative atmosphere.
Nagakura Kenichi (1952-2018) treated bamboo as a purely sculptural medium. He creates unconventional, organic forms, sometimes accented with pieces of found wood and coated with finishes of his own creation. Nagakura spent years learning traditional bamboo techniques from his grandfather before innovating his own style. Bamboo, says the artist, is an ideal material to express nature: “Bamboo can be either delicate like a spider web or solid as stone, thus embodying the natural cycles of the world.”. Bamboo Sculptures and baskets are held the Asian Art Museum in San Francisco, the Herbert F Johnson Museum of Art at Cornell, the Metropolitan Museum of Art in New York, the Minneapolis Institute of Art, the Mint Museum of Craft in North Carolina, and in the National Gallery of Victoria, among others.

An antique Japanese saddle pad covered with a Korean tapestry of two frolicking lion-dogs in green and white. It features gilded leather piping (which has come loose in some places, see photos), and typical Japanese backing cloth with deer-leather ties. The pad is roughly 116 x 56 cm (46 x 22 inches). Exceptionally rare,

Ivy in colored maki-e lacquer drapes over the ro-iro polished black of this museum quality Tankei oil lantern dating from the 19th century complete with oil container, with both ceramic and lacquered-brass oil dishes; enclosed in the original wooden storage box. It is 22 x 18 x 54 cm (8-1/2 x 7 x 21 inches) and is in overall fine condition, with minor wear typical of age and use.
Historically slow burning rapeseed or fish oil would have been used, the long wicks burning on the dish draped over the notch at the top of the back. The orange dish would have been set underneath on the compartment lid to catch soot and drippings.
On the box is written (inside) Suki-e Tankei, Togidashi Maki-e Iwata (name illegible)ei saku (Ivy Decorated Oil Lamp, Togidashi Maki-e made by Iwata (illegible)) followed by the signature Iwata Takumi at the bottom. Outside, is written the same thing (sans signature). The paper up top reads Jidai Maki-e Tankei (Antique Makie Lantern), below is an inventory number (Andon Niban) Koko Saku Tankei. Like all works of art in Japan, several people would have been involved in the production of this piece, a Sashimono-shi who built the wood parts, the lacquer artist, the metal artist and the potter. In this case the pottery bears the stamp of the Raku family, traditional potters in Kyoto.

This appears to be an incarnation of Shindara Daisho of the 12 guardian deities (Juni Shinsho). He has glass eyes and stands on the original Daiza.. The Deity is 21 inches (53.5 cm) tall, total height with stand is 33 inches (83 cm). Later Edo period (18th-19th century). The left hand has been replaced.

Birds take shelter for the coming of night as the mist rolls in on the bare branches of a stand of trees huddled along a stream, all dyed with the colors of late autumn in this exceptional work by Hashimoto Kansetsu enclosed in the original signed wooden box. Seen in silhouette against the moon, are these crows, the stalwart creatures which hunker down through winter, or are they Sagi (herons) harbingers of the cold to come? This painting is a superb example of his mature style. It is mounted in the finest brocades of the time, and features large ivory rollers (which would need to be changed if exporting). It comes enclosed in a double wood box, the inner Kiri, complete with a special silk and paper cover to protect the top, the outer covered in red lacquer. The scroll is 73 .5 x 163 cm (29 x 64 inches) and is in fine condition. Hashimoto Kansetsu (1883–1945) was born in Kobe, son of painter Hashimoto Kaikan from whom he gained a love of Chinese culture. He studied at Chikujokai under Takeuchi Seiho (1864-1942), but eventually withdrew due to differences of opinion. He visited Europe in 1921 and after that spent part of almost every year in China. Many of his paintings were inspired by Chinese scenery or Chinese classical literature. His former residence in Kyoto is now a museum of his work called the Hakusasonso

A spectacular orb hearkening to the Sputnick era created by Hasegawa Isamu and exhibited at the 11th Nitten in 1955, enclosed in the original signed wooden box. The circular form is cleft with two equal but opposite dimples, offering both a futuristic and archaic dimension. It is 38 cm (15 inches) Diameter and in excellent condition.
Due to size the cost of shipping will be accrued separately.
Hasegawa Isamu was born in 1925 in Kyoto, son of famed porcelain artist Hasegawa Hakuho. He studied under both his father and Kusube Yaichi from whom he may have received his propensity for form. He was first accepted into the Nitten in 1953, and exhibited there consistently garnering several awards. He received the Kyoto Shinbun Prize among others at the Kofukai Ten, and works were purchased by the Ministry of Foreign affairs as gifts to foreign dignitaries.

An ancient pine and youthful bamboo rise in gold against a striking red background on this scroll set by Hirai Chokusui dated Mid-summer of Taisho 2 (1913) an enclosed in the original signed double wood box titled Ro-matsu Fu-chiku (ancient Pine, Wind in the Bamboo) Kindega Kenpon Sofuku (Gold Painted Silk Pair). The elegant scene is painted with gold on the finest red silk with gold border extended above and below with a deep solid Ichionji of burgundy wine wrapped in a field of azure washed with the slightest hint of powdered silver, so they shimmer, like sunlight coming through the trees. They feature solid ivory rollers (these will be changed if exporting) denoting the importance given to the pair. Each measures 65 x 213 cm (25-1/2 x 83-1/2 inches) and is in excellent condition. This is a rare find!
Hirai Chokusui (1859-1918) was born in Osaka with the given name Yutaka. He began his studies in the Shijo school under Fukada Chokujo in 1889. He began to be exhibited in 1893 with the Nihon Young Artist Association (Nihon Seinen E-ga Kyokai) and with the National Painters Association (Nihon E-ga Kyokai) and he garnered a great many awards as the century turned. His painting the Voice of Autumn was awarded at the first National Exhibition (Bunten) in 1907, and Hills and River again awarded at the same venue in 1909. He served as mentor to a number of subsequently important artists such as Konoshima Keika, Ito Keisui and Tabatake Kasho. He passed away at the height of his popularity at the age of 58.

An iron vase intentional rust and damascened silver of a Flat-fish on one side, the other au-natural by Sano Hiroshi exhibited at the 48th Kofukai Tenrankai Exhibition in 1962 and enclosed in the original signed wooden box titled Karai (flat-fish). It is 53.5 cm (21 inches) wide, 37 cm (14-1/2 inches) tall and in fine condition.
Sano Hiroshi was born in Jūshiyama, Aichi prefecture in 1930, and graduated the Nagoya Municipal School of Crafts in 1950. That year he joined the Ando Shippo Cloisonné studio. Three years later he would begin expanding his knowledge of metal craft under Sekiya Shiro while remaining employed by Ando, where he would remain until 1967. He became a member of the Kofukai in 1961 and would consistently exhibit there and be recipient of many awards. Shortly thereafter he began also to exhibit with the Nitten National Exhibition, garnering several awards and mentions there. In 1967 he established a center for the study of crafts and his art became ever more eccentric, delving deeply into form over purpose. A master in both metal craft and cloisonné, he would also be awarded at the Nihon Shinkogeiten (New Crafts Exhibition). He has been the subject of several documentaries in Japan (1978, 1983, 1988). For his contribution to the art world he was granted the Order of Cultural Merit from Aichi prefecture in 1982 with the note: While learning the techniques of metal engraving and forging, while observing the sense of modeling, he won the special prize of the metalwork department for the first time in this region at the 10th Nitten. He also served as a guide for the younger generation, sending young artists to the world. He has contributed to the promotion and improvement of the arts and culture of this prefecture by establishing traditional metalworking techniques in this region, and is expected to continue to play an active role in the future.

Remnants of yellow glaze covers this Heishi (Heiji) bottle form from the Owari-Seto area engraved clearly about the neck with three lines. A quintessential Kamakura pot. There is much degradation to the glaze typical of Seto which has withstood a millennium of earthquake, fire, war and abuse. That anything survives so long in Japan is miraculous. It is 9-1/2 inches (24 cm) tall, 6-1/2 inches (16.5 cm) diameter and comes wrapped in old cloth in an old wooden box.

A seething dragon in white bronze by Mitsui Yoshio dating circa 1930 enclosed in the original signed wooden box. The very distinct character of the creature is similar to the famous dragons of Yakushiji temple in Nara. It is 32 cm (12-1/2 inches) long, 25 cm (10 inches) tall and in excellent condition.
Mitsui Yoshio (1899-1959) was born in Tokyo and initially studied metal craft under Tsuchida Katsue and then Unno Kiyoshi. While studying at the Tokyo University of Art (then Tokyo Bijutsu Gakko, he was first accepted into the Teiten in 1927; graduating school the following year. He was a member of the Kofukai Crafts Division, and a consistent exhibitor with the Bunten/Teiten.Nitten, National Exhibitions throughout his career. His 1955 work Namazu (Catfish) was awarded and purchased by the Monbusho, and his work from 1956 received the Nihon Geijitsuin Prize. He passed away at the peak of his career at the age of 59.

A rare large piece of Edo period Fushina Yaki pottery in the form of a parallelogram shaped box decorated on all sides with landscapes, including what is likely a view of Matsue castle, home of the Matsudaira clan. On hte lid cranes soar between garden rock formations. Inside a SEa Turtle, said to live 1000 years, occupies the center. Called a Jikiro, these types of large containers were used for serving and storing prepared foods. More commonly associated with tea, large works like this from Fushina are quite rare. It is 27 x 37 cm (10-3/4 x 15 inches) from point to point. There are two old hairline cracks visible in the glaze, to be expected from the soft, low fired clay. The old age-darkened wooden box is titled outside: Fushina Jikiro (Fushina Food Receptacle). Inside is the character Ga which means celebration followed by the Kao or stylized signature of Matsudaira Fumai (Harusato) placing the piece in the heyday of Fushina production and formerly officially in the possession of the Daimyo feudal lords of Matsue.
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.

An incredibly large vase showing a blend of art-nouveau and traditional design motifs by Miyanaga Tozan I enclosed in the original signed wooden box. It is 46 cm (18-1/4 inches) tall and in excellent condition. This is perhaps one of the great examples of this artists work, blending elements of traditional Chinese, Japanese and European concepts into one breathtaking work.
Due to size the cost of shipping will be accrued separately
Miyanaga Tozan I enclosed in the original signed wooden box. Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo.

Veins of green Kai-yu meander over the body of this spectacular example of Edo period Tamba Pottery capping rich red clay rising from an abrupt base. A few bubbles in the clay reveal character about the torso, the lip powerfully rendered over the shoulder, which slumps to one side like some haggard but still proud old soldier. Four looping handles (mimi) would allow the lid to be tied down. Between two a drip from the roof of the kiln has adhered to the clay forming a point of interest. Retaining the character of Momoyama firing techniques, and easily classified as such, I believe this dates from the early Edo period, 17th century. The Tsubo is 18 inches (46 cm) tall, 13 inches (33 cm) diameter, and without cracks or repairs. Due to size the cost of shipping will be accrued separately.

A classic Gu vase of exquisite white porcelain by Miura Chikusen enclosed in the original signed double-wood box. It is 13-1/4 inches) tall, 19 cm (7-1/2 inches) diameter at the rim and in excellent condition. This type of Sinophile work was very popular throughout the Meiji and Taisho periods, and Sencha steeped tea had a profound impact on Japanese culture at the time. For more on that see the book ‘Tea of the Sages: The Art of Sencha’ by Patricia Graham (1998).
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 Eldest son took over after his father assuming the family name as Chikusen II, but died young in 1920 leaving a young child, whereupon his younger brother took over as Chikusen, III. However when Chikusen IIs eldest son was old enough, III relinquished the helm, appointing his nephew Chikusen IV and assuming the name Chikuken (Chikken). The kiln continues, currently under the management of the fifth generation.

A boxed set of fifteen unique bowls with lids for clear soup made for the Lord of the Yanagisawa family enclosed in a wooden box dated the 7th month of 1730. What makes this set quite unique is that each bowl is singular, a different design, color, shape or technique. But throughout is the one continuous symbol, the four petaled crest of the Yanagisawa clan.　The box is titled Yakatasama, Go Suimono wan, Yangisawa Shimono and on the side Jugonin-mae. Yakatasama, means a nobleman's house such as a public house or a samurai house. Under the Shogunate it was a title or honorific granted to the head of a prestigious or meritorious samurai family or feudal lord of a Great Clan. Suimono Wan are bowls for clear soup served between parts of the meal to clean the palette. Yanagisawa Shimono is the name of a member of the Yanagisawa clan. On the side is written Jugonin-mae or service for 15. The box is divided into three compartments holding five bowls and lids in each compartment. Each bowl is roughly 12.5 cm (5 inches) diameter and they are in overall excellent condition with some browning of the lacquer inside due to heat from use.
Kawagoe-jo Castle in Musashi Kuni in modern Saitama Prefecture was given to the Yanagisawa clan by the fifth shogun in the 7th year of Genroku (1694). In 1724, in gratitude to the family’s service and recognition of their skill at administration, they were granted control over four domains (Yamato, Omi, Kawachi and Ise) totaling 150,000 Koku of rice. Undoubtedly at that time there would have been a sudden need for furnishings bearing the symbol of the family throughout their four domains, and this set of bowls is one of those furnishings. To this day the crest adorns the Yanagisawa Bunko library a designated cultural property in Yamato Koriyama city housing tens of thousands of antique texts from the era, a testament to the power of this important clan.

A fabulous Koro covered in damascened gold by Ibuse Keisuke enclosed in the original signed wooden box titled Nunome Zogan Jungin Koro (Damascene Pure Silver Incense Burner). It is 11 cm (4-1/2 inches) tall, 9.5 cm (3-3/4 inches) diameter and in excellent condition.
Ibuse Keisuke was born in Tokyo in 1930, and began his studies of metal arts in 1950 under Unno Takeo. By the late fifties he was exhibiting with the Kofukai (where he would later be awarded) as well as the Nitten National Art Exhibition, and in the early sixties would begin exhibiting at the Gendai Kogeiten Modern Crafts Exhibition. In 1974 he would be awarded at the Dento Kogei Shinsaku Ten (New Traditional Crafts Exhibition), and in ’76 at the Dento Kogei Musashino Ten, followed by awards at the Dento Kogei Kinko Shinsaku Ten and Dento Kogei Ten with his work being collected by the Imperial Household Agency in 1981. The following years Hiroshima Prefectural Museum, Fukuyama Museum as well as again The Imperial Household Agency would purchase pieces for their permanent collections.

A lacquer box decorated with a Rimpa style thatched house under blossoming tree by Kamisaka Sekka dating from the late Taisho period. It is 12.5 x 12.5 x 6 cm (5 x 5 x 2 inches) and is in excellent condition. An identical box which was part of the permanent collection of the Ruth and Sherman Lee Institute along with the original design sketch is visible on page 154 of the book Kamisaka Sekka: Rimpa Master - Pioneer of Modern Design published by the Kyoto National Museum of Modern Art in 2003.
Kamisaka 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 Nouveau 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 (future University of Fine Art), and was widely exhibited and prized throughout his career, which ended in retirement in 1938.

A large and rare mid Edo period Tamba Funa-dokkuri Ship Bottle made with flaring mouth and wide flat bottom for use on Ships. Down the side is inscribed the date Kyoho Gannen (First year of Kyoho, 1716). The Akadobe clay is covered in rich green glaze cascading in rivulets all about, with a few scattered windows of raw clay exposed. The base is slightly concave, impressed with a fern leaf. The Funa (ship) tokkuri shape was originally made for the use on ships, the side bottom keeping it from spilling in tempestuous seas. This one is 25.5 cm (10 inches) diameter, 21 cm (8 inches) tall and is in excellent condition, enclosed in an old wooden storage box titled Tamba-yaki Funa-dokkuri. An exceptional and rare example. Exceptional and rare, although I use the words sparingly, this would be a perfect Museum example.
The Kyoho era is important for two factors: first, the population of the city of Edo (Tokyo) suprassed 1.1 million, making it the most populous city on earth. Second was the introduction of the Kyoho Reforms by the eight Shogun which sought to strengthen the market economy and slacken the grip of Confucian principles which stymied the economic system and relieve political and social issues. They also encouraged the import of western technology by lifting the ban on (non-christian) western books.

A haunting Gohon Chawan repaired with a spiderweb of silver and gold enclosed in a box titled Gohon chawan annotated by the later Edo period tea master Kawakami Ihaku II (1789-1857). It is 14 x 12.5 x 8 cm (5-1/2 x 5 x 3-1/2 inches).

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.

The dreamlike quality which gave Taisho period art its unique flavor is readily apparent in this sumptuous composition by Kido Soi featuring long tailed birds along a tumbling stream. Pigment on silk mounted on applied gold flake in a silk border with a red lacquer wooden frame consistent with the era. It is signed in gold, Shunyo, the name used by Kido Soi in his youth, placing the screen easily before 1930. The screen is 67.3 x 56-1/4 inches (171 x 143 cm) and is in fine condition.
Due to size the cost of shipping will be accrued separately.
Kido Soi (1899-1984) was born in Kyoto. He studied painting at the Kyoto Municipal School of Painting and under Yamamoto Shunkyo (1871-1933). His work was consistently accepted into the Teiten and Bunten National art exhibitions.

A pair of large mixed metal birds on a custom black lacquered table by Iwase Seifu enclosed in the original signed wooden box titled So-Hato Okimono. Excellent detail, the birds are life sized, the strutting male figure signed on the posterior is roughly 9 inches long, 8 inches tall. Both are in good condition, with some wear to the silvering.

Exquisite repairs in overlapping gold wave designs on colored lacquer drape upon the rim of this 17th century chawan tea bowl. The white clay is covered with millet colored glaze upon which have been scrawled simple designs like the character for person (hito). The bowl is 10.5 x 10 x 6 cm (4-1/4 x 4 x 2-1/2 inches) and is in excellent condition, in a modern kiri-wood collectors’ box.

A fabulous mid Edo period bronze brazier with satin luster made up of a basin supported by four small rabbits with two small gourd shaped handles suspended from a belt of archaic designs. The top is a large dome pierced with geometric designs known as incense clock patterns and featuring a large hinged circular opening in front. It is 22 cm diameter, 34.5 cm tall (8-1/2 x 13-1/2 inches) and in excellent condition. It comes enclosed in a wooden box titled: Moku-o Fu-kun I-ai Natsume-Gata Ko-Do Shuro (Tea-Caddy-Shaped Old Bronze Brazier Loved by Moku-o). According to the box it was a beloved possession of Doi Moku-o, the Go or alternate name of Doi Seihei (1660～1726), a Confucian scholar and follower of Sakai Shosai of the mid-Edo period specializing in Shushigaku (Cheng-Zhu) Confucianism.

A set of shishi guardian carvings from high up on the front of a Buddhist temple, each cut from a single block of wood with fore-paws extended in a leaping motion and vicious snarls. Each is roughly 30 x 30 x 24 cm (12 x 12 x 9-1/2 cm tall and in overall excellent condition. These date from the Edo period.
Shishi guardians, also known as Komainu or "lion dogs," have a long history in Japanese art and culture; iconic figures often depicted in pairs and placed at the entrances of shrines, temples, and other important structures to ward off evil spirits and protect against negative energies. The origins of the Shishi can be found in ancient Chinese culture, specifically the mythical creature known as the "shi" or "foo dog" in English. These creatures were believed to have protective qualities and were commonly depicted in Chinese art and architecture. As Buddhism spread to Japan from China in the 6th century, so too did the imagery of the lion guardians. The artistic representation of Shishi lion guardians in Japan evolved into a unique style. The sculptures typically depict a pair of lion-like creatures with fierce expressions, large manes, and muscular bodies. One lion has an open mouth to represent the sound "ah," which is believed to expel negative energy, while the other has a closed mouth to represent the sound "um," which is believed to retain positive energy. This duality symbolizes the balance between yin and yang, and the harmony between opposing forces.

A pair of unorthodox Edo period guardian corbels in the shape of mythical lion-like creatures (Shishi) made to be notched into a corner under the eaves of Shinto and Buddhist temples to ward off evil spirits. Ordinarily just the heads are carved, these are unusual in that their fore-paws have also been depicted, granting a greater sense of movement than most. Carved Hinoki (cypress), they are 30 x 18 x 20 cm (12 x 7 x 8 inches) each and in overall fine condition.

A lightning shaped Narumi-Oribe Mukozuke dish decorated with geometrics and drying persimmons enclosed in a fine custom kiri-wood box titled “E-Oribe Mukozuke” and annotated “Mino Ko-gama” by Living National Treasure Kato Takuo, who was well known for his research into old kilns and firing techniques. One of the best preserved pieces I have seen in a long time dating from the Momoyama to early Edo period.; it originally had three looping feet which have been lost. The dish is 5 x 4-1/4 x 1-1/2 inches (13 x 11 x 4 cm) and is in overall very good condition.
Kato Takuo, I am sure, requires no introduction. He was trained in ceramics by both his father, Kato Kobei, and at the Kyoto School of ceramics. He was soon accepted and consistently displayed at any number of National and International Exhibitions, and was named an Intangible Cultural Asset (Living National Treasure) in 1995.

An image of the sleeping Shojo (sake Sprite) by the 12th generation Sakaida Kakiemon enclosed in the original signed wooden box titled Taihaku Shojo Bori Okimono. The ordinarily playful figure is performed in pure white, a serene look upon his sleeping face creating an almost holy feeling, the ladle fallen at his knee, leaning against a barrel of sake, the empty jar the only color. The image is 31 x 21 x 16 cm (12 x 8 x 6 inches) and is in excellent condition. Sakaida Kakiemon (1878-1963) was born the first son of the 11th generation head of the Sakaida family, and learned from his father, succeeding the family name in 1917. Rediscovering the Nigoshide technique was his life’s research, and together with his son grasped the essentials in 1947, presenting the first piece for public viewing in 1953. The Nigoshide technique was subsequently named an important cultural property, and the Kakiemon family designated the carriers of the tradition. Held in the collection of The Tokyo National Museum of Modern Art, Seattle Art Museum among others.

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.

A skull lies ethereal, only a soft circle before the ghost-like apparition of a grave-marker rising from the boldly stroked dead grasses of some forgotten field. The epitaph above reads:
“Hana no toki mayouta mo” Wavering they did while in full blossom
“Kono Kareno kana” The neglected fields of winter
Here the artist has made a comment on our lives, we blow with the winds here in there, indecisive in our prim, bobbing joyously in the winds, but all come to the same as the flowers fall and winter approaches. Ink on paper in the original paper border with transparent red lacquered wooden rollers. It is 30.5 x 185.5 cm (12 x 73 inches) and is in overall fine, original condition with some discolorations in the upper border. It comes in an old wooden box.
Takeda Motsugai (Fusen, 1795-1867) was a Zen priest of the later Edo to Meiji period born in Iyo Matsuyama (modern Ehime) on the Island of Shikoku. He used a number of names in his lifetime, Fusen was his official Buddhist name, Motsugai may be that for which he is best known, but another common name was Genkotsu Osho (Priest of the bone fist) and Dobutsuan (Place of the mud Buddha). An unruly child, he was sent at the age of five to Ryutai-Ji temple, and at the age of 12 would go to take official position under Kanko Osho at Denpukuji Temple in Hiroshima. He would become an accomplished practitioner of the martial arts there, mastering many styles and weapons. His fame in this department would spread, along with his first nickname, Shio-kara Kozo (Too-salty Bonze), and he would be asked by the Asano Daimyo of Hiroshima to take a position at Kokutaiji temple where the Asano family studied Buddhism. After causing trouble he would leave Hiroshima for Osaka where he would study Confucianism and undergo mendicant training. At the age of 18 he would become an itinerant priest given to wandering the paths and begging for food. In 1819 he would make his debut in Edo (modern Tokyo) where he would enter Kichijo-Ji temple, and two years later be posted to Ruriko-Ji temple in Yamaguchi, and it was here he woud begin writing, returning to Denpuku=ji and his first teacher Kanko-osho the following year. In 1828 he was given the reins of Zaihoji in Onomichi (Hiroshima) and here his fame as a stern teacher would spread, and many would come to learn under his unique ways known as Fusen-ryu. He became a well known writer adept at both Waka and Haiku forms of poetry. He was also known for his skills in flower arranging, Tea Ceremony, and tactical skill in the game of Go. His reputation as both a learned priest, Confucian scholar and martial prowess saw him much traveled and called upon in the troubled period of the 1860s. In 1865 he would be asked to mediate the first Choshu uprising and his application was presented to the emperor showing here the high regard for which his writing had become known. He died enroute from one of his travels in Osaka in 1867.

A rare bowl by Ninnami Dohachi from the Sangama kiln dating from the later Edo period wrapped in a silk pouch and enclosed in a fine custom made Kiri-wood collectors box. Deeply impressed into the base is the six sided Sangama kiln mark. It is 5-1/2 x 5 x 3 inches (13 x 12.5 x 9 cm) and is in excellent condition.
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. This is part of a large collection of antique pottery from Kyushu gathered in the early to mid 20th century. A note inside the box states this was collected in June of 1938.
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. 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. 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.

A very rare colored figurine of a egret standing, foot raised, by Miyanaga Tozan I enclosed in the original signed wooden box. Known best for his celadon and sometsuke porcelains and tea ware, this figurine is a scarce example of his talent with figuration. Beautifully rendered in life-like detail, it is 21 cm (8 inches) tall and in excellent condition.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo.

Gold willows drape over the highly unusual silver-tinged blue lacquer surface of this water container by Tonami Sosai II enclosed in the original signed wooden box titled Uwajima Nuri Seigin Yanagi Te-oke Mizusashi (Silver Blue Uwajima Lacquer, Willow, Bucket Shaped Mizusashi). The outside is a shimmering blue tinged with silver, while inside is black covered in powdered silver flake. A striking combination. The willow is delicately depicted in tendrils of gold about the circumference, on the lid and on the handle with highlights on the trunk of kirigane applied gold. It is 22.5 cm (8-3/4 inches) diameter and in excellent condition.
Tonami Sosai II (1918-2004) was born in Kanazawa city, , although raised in the world of lacquer ware, began his artistic career studying Nihonga (Japanese style painting) under Hatakeyama Kinsei. In 1950 he returned to the family business, studying under his father the first generation Sosai as well as his cousin Oba Shogyo who would later be named a living National Treasure for Maki-e. He exhibited with the National Traditional Crafts Exhibition among others, and received the Nihon Kogeikai Kaicho prize there in 1984.

A very unusual vase by Teishitsu Gigei-In (Imperial Art Academy Member) Ito Tozan I enclosed in the original signed wooden box showing decidedly Art Nouveau styling. It is 20 x 8 x 32 cm (8 x 3 x 12-1/2 inches) and is in excellent condition.
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. He worked very closely with his adopted son, Ito Tozan II (1871-1937).

An Annan pottery tea bowl for use in the Japanese tea ceremony from the kilns of 15th-16th century Vietnam enclosed in an age-blackened kiri-wood box. The crackled pale glaze is decorated with a band of blue frets about the rim inside, a decidedly modern design of droplets descending in beads down the outside typical of early Vietnamese decoration. The remnants of a kinran gold infused cloth bag remain for wrapping the piece, the outside layer is in tatters, but the inside brocade is still supple. Named “Full Moon” (man-getsu) the inside of the box lid is endorsed by a tea master. It is 5 inches (13.5 cm) diameter. There are three kin-tsugi gold repairs about the rim. The 14th/15th century Ming ban on export of Chinese ceramics provided the opportunity for the Thai, Khmer and Vietnamese to capture a substantial portion of the Asian consumer market for pottery, and trade flourished between the Kingdoms of Vietnam and Japan. In fact according to research by Guy Faure and Laurent Schwab of the 10 officially licensed ports of trade during the time of Hideyoshi (late 1500s) seven were in present day Vietnam. This would lead to the establishment of vast trading towns and large numbers of Japanese in South East Asia until the Sakoku era when Japan closed itself to outside contact. Those Japanese still outside the country at the time were never able to return, and eventually blended with the native populations of their adopted countries. This piece has likely been preserved and prized as a Chawan, handed down from generation to generation for four centuries.

A very rare Japanese Ballot Box of hinoki wood bound in decorative iron dating from the later 19th to early 20th century. This year the ballot is on everyone’s mind, and this is an exceptional example of both traditional Japanese decoration and cabinetry. It has locks on both sides of the lid, which can be removed to reveal an inner lid with hinged iron cover over a slot for dropping in the ballots. This inner lid as well is locked. Keys included, it is 35.5 x 21 x 27 cm (14 x 8 x 10-1/2 inches), in excellent condition and comes enclosed in a protective outer wood storage box. The prewar image of Japan as a democracy has been stained by the era of expansion, however a look into the democratic and labor movements of the Taisho era, known as “Taisho Democracy” will show that the same forces vied for power in Japan as vied for domination elsewhere during that time. The Japanese version of Democracy verses the anti-establishment, Universal Suffrage, Women’s Rights, Anarchists, Socialism, Communism, labor movements against the Zaibatsu, the push and pull of independence movements, the embracing of western philosophy and derision of Western empires in Asia (who it may be said treated their colonies no better than the Japanese did), Imperialists, Militarists, Conscientious objectors, Sinophiles, the Mingei movement, Arts and Crafts and those wishing to regain contact with nature in the vein of William Morris…all played their part in the social lattice of that tumultuous era. Interestingly, according to Ken Lonsinger: In 1861 the Arts and Crafts Movement got its biggest boost when Morris founded Morris, Marshall, Faulkner and Co., a furniture, design and decorative accessories company that stressed time-honored craftsmanship and natural materials. The timing was perfect for in 1862 the London International Exhibition showcased never-before-seen Japanese arts and Crafts, which had an immediate effect on design. England quickly became enamored with this new look and began shedding the layers of Victorian clutter from its homes. Also in the arts, much has been written about Japanese influence on the birth of impressionism and Art Nouveau, and will likely become more clear over time the Japanese influence on Art Deco, the Art-glass movement, the Beatnick culture, Minimalism, Bauhaus and other architectural trends of the 20th century. An article by Helena Capkova for Bauhaus insists: The impact of the Bauhaus teaching methods reached far beyond Germany. Conversely, throughout its existence, a Japanese sensibility permeated the Bauhaus, springing from the Japonisme of individual professors, until its closure in 1933.
That is a lot said about a ballot box, but perhaps a stimulus in these times of self isolation to expanding understanding of the true internationalization of art as influenced by various cultures over time. After all, no man is an Island unto himself.

Maki-e Cranes soar and a gilded tortoise takes refuge on a rock on this magnificent sake set made of wood covered in lacquer with elaborate maki-e and applied gold designs. About the edge of the stand is a solid silver rim. The scenes are depicted with powdered gold and applied gold kirigane on red and black grounds. This is of the highest quality. The largest cup is about 12.5 cm (5 inches) diameter. The cups come in a red lacquered kiri-woood box with a padded silk pillow between each cup, wrapped in a padded silk pouch. The Stand comes in a separate box, inside a custom made silk cover. The stand is roughly 17 cm square, 14 cm tall. Both are in excellent condition.

Copper green and dark iron decorate the pale glazed sides of this exquisite box dating from the early Edo period (17th century) wrapped in a silk lined sarasa bag and enclosed in a black lacquered wood box. It is 1-3/4 inches (4.5 cm) square, roughly 3 inches (7 cm) tall and in overall fine condition.

A fine rendition of a plum by Tanaka (Zuitai) Ryurei (commonly known as Ryudojin, 1740-1804)). Ink on paper, it has been fully remounted in a silk frame with wooden rollers reflecting the original style. The scroll is 12-1/2 x 70 inches (31.5 x 178 cm).
Ryudojin was born in Owari, near modern day Nagoya. He is referred to also as Ryurei Zuitai and or Ryudo Reizui or simply Ryurei. Born into the Tanaka family, he was sent to the priesthood at Reigenji at the age of 11. Then he went to the capitol, Edo (modern day Tokyo) to study at Sengakuji. Returning to Owari he was put in charge of Heidenji. Proving his worth he was promoted to larger temples, eventually becoming the head of Manshoji. H was then put in charge of establishing temples, and worked to create three in the Owari area.

A beautifully crafted image of a cormorant seeking fish by Ishida Rainosuke enclosed in the original signed wooden box dating from the early 20th century. The bird is 38 cm (15 inches) long and both bird and fish are in excellent condition. A very interesting treatment of the position of the back foot shows the bird kicking, as if speeding up, eye on the prize.
Ishida Rainosuke was born in Kyoto in the 36th year of Meiji (1903) and graduated from the Department of Sculpture at the (mod) Kyoto University of Arts where he had studied under Numata Ichiga (Kazumasa). His work was selected and awarded at Teiten, Bunten and Nitten,National exhibitions as well as various public and private venues.

Pine Tray with Kintsugi gold and silver lacquer repairs featuring an intricate depiction of a butterfly in silver and gold maki-e flying around a pool formed of the natural dark and light wood grain. Splits on both ends are perfectly joined with inset wood “Butterflies”. Cracks have been filled with gold and silver creating streaks of light on the aged wood surface. It is 34 x 24 x 2.5 cm (roughly 14 x 10 x 2 inches) and comes in a period wood box titled Jidai Matsu ki-ji (Old Pine Wood) Koban-gata Kobon (Coin Shaped Incense Tray). I must confess my heart skipped a beat the moment I saw this piece. It is so perfectly representative of the Japanese scholar aesthetic with its reverence of the natural world and sublime sense of beauty combined with the pathos of the intransient rooted in the ideas of wabi-sabi.

A Tamasudare-ami Hanakago Basket by Yamamoto Chikuryusai I of round bamboo strands enclosed in the original signed wooden box lacquered in translucent red. The basket exudes a deep respect for the tradition, every knot perfect, the proportions exquisite. It is 19 cm (7-1/2 inches) diameter, 37 cm (14-1/2 inches) tall and in excellent condition.
Yamamoto Chikuryusai I (1868-1945) was a bamboo artist of the early modern era in Osaka. Born in year one of the Meiji era to the Yanagi clan, his former Samurai family hailed from Yodo, a castle town between Osaka and Kyoto. He later was adopted by his Sister in Law to the Yamamoto family, changing his name to Yamamoto at the time, however it was with his older brother, Yanagi Takesada that he learned basketry in their shop in Osaka. Takesada moved to Korea; for the Japanese at the time it was the New West, but Chikuryusai remained in Japan. Unlike others, Chikuryusai did not attempt to insert himself into his baskets, but, allowed his baskets a traditional elegance. He was renowned for his calligraphy, sencha aesthetic, and his elegant and reserved artistic vision. His baskets received awards at several important international expositions, and, with his two sons, Chikuryusai II and Chikken, participated in the annual Teiten/Bunten National Art Exhibitions. He served as mentor to not only his two sons but also Hamano Chikkosai, Ikeda Seiryusai, and Suemura Shobun. In 1929, he gave the artist “Go” (name) to his son but continued working under the name Shoen until his death in 1945. Work by him is held in the Asian Art Museum San Francisco, The Minneapolis Institute of Art and The Met New York among many other public and private collections.

A set of five porcelain tea cups by Ninnami Dohachi decorated with bamboo and poetry by Nukina Kaioku (Suo) enclosed in a superb custom period kiri-wood box with rosewood edges. Each cup is 2 inches (5 cm) tall, 2-1/2 inches (6 cm) diameter. There are old gold repairs to two of the cups, otherwise are in fine condition.
Nukina Kaioku (1778-1863) was born into a samurai family in Awa, on the island of Shikoku a patron of the Hachisuka clan. In frail health, he was excluded from the strict rigours of the martial arts, but was trained in the typical Confucian education based on Chinese classics, painting and calligraphy, at which he excelled. He went to Koyasan to study Buddhism, Literati arts in Nagasaki and advanced Confucian studies in Edo(Tokyo). He settled in Kyoto where he established the Shuseido Academy teaching Confucian studies, and his circle was extremely influential in the waning days of the Edo government, especially among loyalists. Works by this artist can be found in the British Museum, Brooklyn Museum, The Walters Art Museum, Honolulu Museum, as well as a plethora of domestic museums in cluding MOMAT, Homma, Imabari, Itabayashi etc.
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.