Catalog: Archives: Regional Art: Asian (611)

A horrifying image of a ghostly apparition accompanied by a Buddhist verse engraved into this long bamboo incense container by Ishii Matetsu. It is expertly crafted. The verse reads:
Katsu!
Dokusei Dokushi Dokko Dokurai
The literal translation sounds quite cold, but in Buddhist teaching it means: We enter the world alone; we depart it alone. Do not depend upon others for your happiness, rely upon yourself and live your life in your way to the fullest. It is 48 cm (19 inches) long and in excellent condition.

This is the pinnacle of production for imperial artist Seifu Yohei III, a large Taihakuji porcelain vase with carved designs enclosed in the original signed wood box. Museum quality would be an understatement. Seifu III was known to have made few large works, so this is a very important piece, and Taihakuji was his most appreciated style. Here we see two pheasants in a blossoming tree overlooking a large crag, with clouds brimming about the rim, all in carved relief. It is signed on the base Dai-Nippon Seifu Zo and measures 39 cm (15-1/2 inches) tall, 28.5 cm (11-1/2 inches) diameter. The vase retains the original rosewood stand kept in a separate compartment in the box and all is in excellent condition.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

A pair of unique three part tokkuri by Taniguchi Chojiro consisting of a top, which turned upside down forms the cup, a central ring on which the cup rests, and the bottle, which, when assembled, make the form of a temple bell. These are made after the infamous bell of Hokoji Temple which provided (a rather lame) excuse for Tokugawa Ieyasu to crush the Toyotomi family and claim the country for his own, therefore beginning the Tokugawa Dynasty which ruled Japan for over 250 years. This is seen in both the name Toyotomi on the bell, and the date Keicho 19 (1614), which was the year the bell of Hokoji was completed, and the first battle of Osaka. The Tokkuri are roughly 5-1/2 inches (14 cm) tall, 3 inches (7 cm) diameter and in fine condition.
A bit complicated, the story goes like this: Toyotomi Hideyoshi, the first general of Nobunaga and the man who had completed the unification of Japan, died in 1598 leaving a child heir. Hideyori, this heir, was a mere five years old. Tokugawa Ieyasu was one of the strongest of the generals under Hideyoshi, and in order to maintain peace, was appointed the head of a council of elders who would rule until Hideyori came of age. Of course, this spelled disaster, and just five short years later was the battle of Sekigahara, in which Tokugawa troops defeated the Toyotomi Western allies (on the pretext of protecting Hideyori as the rightful heir). Already advanced in age, Tokugawa needed to claim the throne or lose the chance, perhaps forever. As Hideyori grew, living in residence with his mother at Osaka Castle, the most powerful castle in all the country, he was subordinated to Daimyo status under Tokugawa Ieyasu, however remained very wealthy and influential among lords still loyal to the Toyotomi faction. They also were avid builders, and Hideyori instituted the rebuilding and expansion of many great monuments, including Hokoji Temple. Here they made a bell, completed in 1614 upon which was the inscription Kokka Antai (Peace in the country as one family). Here the characters for Ieyasu (also read Ka and Tai respectively) were divided by the character for peace. Tokugawa took this as a curse of dismemberment on his family, and used this as a pretext to go to war against the Toyotomi, finally defeating him after the summer battle of 1615 in which Hideyori was killed. He also later had Hideyori’s 8 year old son beheaded, and wiped the Toyotomi clan from the face of the earth forever, establishing Tokugawa rue which would last for 250 years.

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.

Iron laced with tinges of blue decorates the rim, flowing into the bowl of these five abalone shaped dishes from 19th century Takatori in central Kyushu enclosed in a beautiful age darkened kiri-wood box titled Awabi Mukozuke Go Kyaku Takatori Yaki (Five Abalone Shaped Dishes from Takatori). Each is roughly 9.5 x 12.5 cm (4 x 5 inches) and each bears the “Taka” stamp beneath. No post-firing damage. One has a pre-firing chip in the rim, another a firing flaw visible in the bottom, it does not go through.

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 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.

A silver rabbit and large solid bronze figure of the young god O-kuninushi no Mikado by Oshima Joun on a black lacquered stand enclosed in the original signed and red lacquered wooden box with separate compartments for the table and figure. Here we see O-kuninushi seated beside his bundle of belongings, hand extended in benevolence to the meek creature. The box is titled O-kuninushi Go-Zo, Go Okimono, Tobu Oshimia Joun Sakku followed by a ka-o signature. Inside is written the characters SoNeKo(Shi)ShakuDen(Tono). The inscription infers some Imperial event at which this was given (The character Shaku is the same as the UjinoShaku Imperial visit held after New years when commoners who have excelled in the previous year are granted an audience with the Emperor). There are two patches of fresh lacquer inside the lid, indicating a name and possible date of the recipient have been erased. The bronze figure is 8-1/2 inches (22 cm) tall and weighs 4.5 kg (9-1/2 lbs). The rabbit is solid silver, 28 grams. Both are in fine condition.
I believe the story tells of a young god Onamuji (who would become O-kuninushi) and eight of his fellows who left Izumo seeking the hand of princess Yakami of Inaba. He being the youngest and kindest of the group, was left to carry the baggage. As the men reached the coast, they found a rabbit stripped of fur and bleeding. So as a prank they told him to wash in the sea and dry himself in the sun. Of course this caused the rabbit much pain, until Onamuji arrived (delayed with the heavy bags), and told the hare to wash himself in the clean rivers of the stream and roll in the billowing seeds of the cat-tails. The rabbit quickly recovered, and made a prediction to the lad that indeed Yakami would fall in love with him above all others despite his appearing as a servant.
Oddly the story does not end there, and one must pity the princess, for the other men kill Onamuji (several times and he is several times revived) and he is forced to flee to the underworld, where he falls in love with King Susano’s daughter and elopes with her. The grand Shrine at Izumo, one of the oldest and most important in Japan, is dedicated to Okuninushi, and he is believed to be the builder of nations.

Everything about this sencha tea implement storage cabinet is top quality; a most unusual box made up almost entirely of worm wood featuring a removable door with an inner panel of antique Chinese origin, possibly an image of a tea salesman with his baskets of leaves. A bronze handle surmounts the lightweight box, with a set of four jade rings attached through a pair of folding fans serving as a handle for the door. Climbing up the naturally gnarled sides of the door are two tiny frogs gazing across the smooth reflective burl-wood center panel like a pool. Inside red-orange (shu-iro lacquer covers the removable shelving, with a small drawer below opening with a solid ivory pull. The box is 7 x 11 x 14 inches 818 x 27 x 36 cm) and in fine condition. The box itself likely dates from the boom in Chinese style tea ushered in at the end of the Edo period, and in fact may be of Chinese origin which the polished wood of the door seems to indicate.

A celadon vase inlayed with Chrysanthemum designs by Teishitsu Gigei-In Suwa Sozan I enclosed in the original signed wooden box featuring the Imperial Art Academy Seal and titled Kiku-Zogan Hana-Ire. Tendrils of blossoming chrysanthemum climb up the sides in dark inlay on the slightly pitted celadon sueface, a perfect rendition of Korean style wares from an earlier era with the addition of the Japanese design motif. It is 10-1/4 inches (26 cm) tall and in excellent condition. Artists mark on base.
The box notes this as having come from “Rai-gamaâ€, a Korean style or perhaps Korean Kiln. It is possible that Sozan fired this on a study trip to Korea, as I have never seen another box bearing this kiln dedication. An extremely rare work certainly worthy of a museum collection.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A very unusual pale yellow-green (kiji) porcelain vase in the shape of a Chinese Gu by Seiji Celadon master Suwa Sozan enclosed in the original signed wooden box. Fretwork and a roiling dragon body have been softly engraved into the sides; the slightest variation in tone the only hint to the subtle design-work. The vase is 11-1/2 inches (29 cm) tall, 6 inches (15 cm) diameter and in fine condition. Sozan (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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others. General consensus seems to be this is the work of Sozan II, but likely by subject matter while still under the watchful eye of her father.

A young Maiko parts the curtains of an Okiya Tea-house entrance, perhaps on her way to training, or to begin a night of traditional entertainment through song and dance. Pigment and ink on silk in a fine brocade border with lacquered red wooden rollers. It is 25 x 78 inches (63.5 x 198 cm). There is some loss to the gofun in the center where it was obviously folded once before being mounted in its current state.

Jurojin getting an earful; a humorous image by Suzuki Shonen showing the elderly god having his ear cleaned by his companion, the long lived crane. It comes enclosed in a double wooden box annotated by Konishi Fukunen (1887-1959) and bears a label from the Daimaru Department Store. Fukunen was one of Shonens most famous pupils. The ink and light color on paper image is bordered in a superb brocade mounting with solid ivory rollers. It measures 64 x 149 cm (25 x 59 inches) and is in fine condition.
Suzuki Shonen (1849-1918) studied under his father Suzuki Hyakunen and served as a professor at the Kyoto Municipal School of Painting. Born in Kyoto, he lived through the tumultuous early years of change in the Meiji era, when Japan was opened to outside influence for the first time in 3 centuries. Reflecting the times, he established his own unique style of painting which blended aspects of Nanga and the Shijo School, with influences from Otsu-e and Western Perspective. Much lauded in his lifetime, he was awarded a silver medal at the Paris World Exhibition in 1900. He is well known as the teacher of Uemura Shoen, one of the most important artists of the era. Works by this artist are held in the collection of the Victoria Albert Museum, British Museum, Ashmolean, Kyoto Municipal Museum of Modern Art, Metropolitan Museum of Art, Seattle Art Museum among many many other important private and public collections.

A very unusual Meiji period Suzuri Bako with cherry blossoms in black on black outside, a crescent silver moon rising beyond crashing gold waves within. The box is so subtle outside, that until very close, and at the correct angle, it simply looks black. Then one sees the cherry blossoms covering the entire outside, in the slightest texture only. Inside the moon is a long crescent of inlayed silver rising like a sake cup waiting to be filled with Taka-maki-e waves spraying foam across its regal form. It is in excellent condition, wrapped in padded cloth and contained in an ancient and somewhat worm eaten kiri-wood box. The Suzuri-bako is 10 x 9-1/4 x 1-1/2 inches (25.5 x 24 x 4 cm) and is in fine condition. It has already been professionally polished.

A large and exceedingly rare work by Kiyomizu Rokubei V (Rokuwa, 1875-1959) enclosed in the original signed wooden box. In relief are scrolling vines and flowers in white and pale blue on a soft porous pink glaze. For a nearly identical work see the collection of the Kyoto Municipal Museum of Modern Art, or the book Kiyomizu Rokuwa (1977) figure 60 (dated 1923). The vessel is 42 cm tall, 28 cm diameter and in fine condition. The box is stained quite dark with age.
The Rokebei family is one of the most important in the Kyoto ceramic tradition. Rokuwa was born Kuritaro, son of Masataro in the house of the Rokubei family in the Gojo-saka area of Kyoto in 1875. Upon his grandfathers death, at the age of eight, his father (Rokuko, 1847-1920) took over the family business becoming the fourth Rokubei. From the age of twelve he became a pupil of the important painter Kono Bairei where he would remain studying until Bairei’s death in 1895. The following year the Kyoto Ceramics Research Facility was established, and Kuritaro entered as a first year member. Married at the age of 25 (1900), the following year his first son (the sixth Rokubei) was born. In 1902 he was forced to take over the daily workings of the family business due to his father’s illness, and would becomethe 5th generation Rokubei in 1913, working in that capacity until Rokuko’s passing in 1920. Throughout the late Meiji and Taisho era he would be heavily recognized and awarded in many exhibitions both local and national and become an integral part of the ceramic-arts scene throughout Japan. A vase almost identical to this was awarded in 1916 at the Noshomusho National Exhibition. He later submitted a vase with this same rare glaze to the first Shotoku Taishi Exhibition in 1926. He would act as a leader in promoting pottery until after the Second World War.

Variously colored momiji leaves in enamel blow past the under-glazed cobalt lattice of manjirushi on this large bowl by Takahashi Dohachi dating from the first half of the 20th century. The bowl is 21 cm (8-1/2 inches) diameter, 9.5 cm (4 inches) tall and in perfect condition, enclosed in a fine custom made kiri-wood box.
The Dohachi Kiln was established in Awataguchi by the retainer of Kameyama fief, Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain 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. He moved the kiln to the Gojo-zaka area (at the foot of Kiyomizu temple) in 1814 And was 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 worked to expand the family reputation within tea circles. The fifth generation took head of the family in 1897 and was one of the top rated potters of his time, heavily influencing following generation including one of his top students, Ito Tozan. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art.'

A long “Hengaku” framed painting meant to sit above the transom by Yoshimura Horyu featuring monkeys riding on the back of a deer. One has fallen and is being dragged along like a water-skier by vines tangled in the deers horns. A very humorous scene by this rare Osaka artist. Pigment and ink on silk mounted on gold with a carved rosewood frame. The frame is 154.5 x 50 cm (61 x 20 inches) and is in fine condition, with toning to the silk typical of age.
Yoshimura Horyu (1874-1936) was born in Osaka and studied under Mori Niho (1818-1891), excelling at paintings of animals in the Shijo style of observation from life. Due to size the cost of shipping will be accrued separately.

A massive museum quality Chinese style Pot by leading Kyoto artist Ito Tozan enclosed in the original signed wooden box. The bulb-form body is sculpted with 14 flutes, a pair of beast heads serve as handles. The glaze is olive covered in red, bleeding through in places, the combination of color quite striking. The vase is 18 inches (46 cm) tall, 14 inches (36 cm) diameter and in perfect condition and comes with the original rosewood stand. The box is simply titled Horo-Kama Kabin signed inside Tozan Kinsei and stamped Tozan. The Ito family, spanned three generations. Ito Tozan I (1846-1920) began his artistic career studying painting in the Shijo manner under Koizumi Togaku before moving to the plastic arts under a number of teachers, including Takahashi Dohachi. He began using the name Tozan in 1895, and later received a number of prizes from the Imperial family, as well as being internationally acclaimed in the Paris, Chicago and Amsterdam Exhibitions. He was named a member of the prestigious Imperial Art Academy in 1917, three years before his death. He worked very closely with his adopted son, Ito Tozan II (1871-1937). He too began life as a painter, but his talent was seen by Tozan I, who adopted him and converted him to pottery, where he both succeeded and excelled as a member of one of Kyotos most well known pottery families. The line unfortunately died with the third Tozan in 1970.

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.

An important Vase decorated with the imperial symbols of 16 petal chrysanthemum and Go-shichi Nobori Kiri among over-glaze bamboo and floral designs by Ito Tozan I enclosed in the original signed wooden box. It is 8-3/4 inches (22.5 cm) tall (excluding the base) and in superb condition and comes wrapped in a stamped silk bag.
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 voluminous ink landscape built around two scholars viewing the cascade dropping into the canyon on this huge scroll by Tanaka Hakuin enclosed in the original signed wooden box dated Meiji 45 (1912). Performed with rich black ink against the sheer white paper, the mountainous crags and leafy forms built up in layers of gray and black. The scene is mounted in patterned silk with white piping in the Mincho style popular among literati painters in the era, and features huge bone rollers. It is 104.5 x 238 cm (41 x 94 inches) and is in excellent condition.
Tanaka Hakuin (birth name Nakagawa Keizaburo, 1866-1934) was born in Suruga, Shizuoka prefecture in the last years of the Edo period and became a student of Tanomura Chokunyu in Kyoto, the cultural heartland of Japan, at the age of 17. This was a tumultuous period as Western ideas and Technology were flooding into Japan. He was the top pupil of Chokunyu, working in the style of both Chikuden and his mentor. At this time he used the name Tanomura Hakuin. In 1900 he married and moved to Hofu city in Yamaguchi prefecture taking his wifes family name Tanaka as his surname, and thereafter was known as Tanaka Hakuin. He established a school for painting where he worked for his remaining years. Work by him is held in the Mori Art Museum and Honolulu Museum of Art among others.

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.

The seven gods of fortune are depicted in rich gold, vibrant colors and textures on this exceptional set of Kutani Sake Cups from the Kaburagi Studio enclosed in the original compartmentalized wooden box. Each cup is unique, measuring roughly 5.5 cm (2 inches) diameter, 3 cm (1 inch) tall and all are in excellent condition. The Kaburagi studio produced some of the finest wares in Kutani. Founded in 1822, it survives to this day under the same family, now in the 8th generation. These date from the very early 20th century. The Seven Gods, or Shichifukujin as they are called in Japanese, are:
Benzaiten, Goddess of the arts, including music often seen with a lute.
Bishamonten, God of warriors.
Daikokuten, (or just Daikoku) God of wealth and commerce with his magic hammer pounding out gold.
Ebisu.God of Merchants and Fisherman, often depicted with a fishing pole and Tai (sea bream) whose name is a homonym for celebration.
Fukurokuju, God of Longevity associated with deer.
Hotei,God of Abundance and Health usually pictured with his large sack of treasure.
And Jurōjin, Also a god of Longevity usually seen with a crane

A large Ukibori vase covered in iron with yellow slip raised imagery of birds in a pomegranate tree by Ito Tozan I enclosed in the original signed wooden box dated 1917. It is 16 inches (40 cm) tall 10-1/2 inches (26 cm) diameter and in fine 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).

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 museum quality koro covered in soft pink glaze decorated with chickens in raised relief surmounted with a woven silver lid by Kiyomizu Rokubei enclosed in the original signed wooden box. It is 4-1/2 inches (11 cm) diameter and in excellent condition. For a piece decorated in the same style see the collection of the Museum of Modern Art, Kyoto.
Kiyomizu Rokubei V (1875-1959) began by studying painting from the age of 12 under the 19th century master Kono Bairei. Upon graduation from the Kyoto Municipal School of painting, he apprenticed under his father Rokubei IV. After the death of Bairei in 1895, he began taking painting lessons under Takeuchi Seiho. His first pottery piece was exhibited that same year at the National Industrial Exposition. The following year he was entered as a member of the newly founded Kyoto Ceramics research facility and was one of the founders of the Yutoen study group along with Miyanaga Tozan I, Kinkozan VII, and Ito Tozan I. He succeeded the name Rokubei in 1913. He was prized annually at any of a number of important National Exhibitions, and was honored as judge for the Teiten exhibition beginning in 1927, He was also granted one of Japans greatest honors when he was appointed a member of the Imperial Art Academy. Works by this very important artist are held in the National Museum of Modern Art, Tokyo and a great many in the National Museum of Modern Art, Kyoto

A scholar withers away an afternoon reading in a small cottage lost in a forest of Soft green willow; a brilliant Taisho style scroll by Hirai Baisen (1889-1969). The color of the willows intimates early summer, the leaves fresh and new, a darker haze beyond forms mountains, separating the scene from the rest of time. A quintessential effort typifying the literati ideal of life in seclusion. The entire scene has been brushed as if to insinuate a light shower, rain on a sunny day. The painting is bordered in green brocade and features bone rollers, and comes enclosed in a period wooden box. The scroll measures 21-1/2 by 77 inches (55 x 196 cm) and is in fine condition but for a long scratch in the upper border, likely where something hit the scroll while it was hung. 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.

Exquisitely formed Hakuji pale porcelain defines this fine vase by Suwa Sozan I enclosed in the original signed wooden box bearing the Teishitsu Gigei-In stamp. Two simple bands match in width the diameter of the large rings suspended from simplified animal head handles. Fretwork in the lower belt provides the only overt decoration. The vase is 12 inches (31 cm) tall, roughly 6 inches (15 cm) diameter and in excellent condition. Sozan (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. His name became synonymous with celadon and refined porcelain and was named a Teishitsu Gigei-in (member of the Imperial Art Academy), one of the highest honors in Japan. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

An intricate age darkened Keyaki (elm) carving of two dragons vying for dominance in a sea of clouds, glass eyes glowing softly in the rich red wood. Dating from the later 19th century, the carving is 49 inches (125 cm) long, 4 x 1-1/2 inches (9.5 x 3.5 cm). It is overall in fine condition with some inevitable abrasions due to time. The tennons on both ends indicate this was made to be inserted between two pillars, and was likely the transom over a Buddhist altar.

white lines defining this tea bowl defy the superlative rendition of a bird snapping up an insect from a hibiscus by Ogata Gekko within. The bowl is 4-1/2 inches (11.5 cm) diameter, 3 inches (7.5 cm) tall and in fine condition. It comes wrapped in a silk bag and enclosed in a superb kiri-wood box.
Ogata Gekko (1859-1920) of Edo (now Tokyo) was born the son of merchant Nakagami Seijiro and was heir to a small fortune. As is often the case with such stories, he was orphaned at a young age, and the family fortune was lost to him. Painting lanterns and designing rickshaws, he was discovered by Kawanabe Kyosai, and introduced to the Ogata family, where he was adopted. Initially he worked as a graphic and industrial designer for Newspapers, magazines and commercial enterprises, never attending art school, and was most unique in that respect. He worked as a war correspondent in the Sino Japanese war (1895) and this would come out in his woodblocks. He was a lifelong friend of Fenellosa and Tenshin, and his work was lauded abroad at such important events as 1893 Chicago Expo,1900 Paris Expo, and gold-prize at the 1904 Worlds Fair in St. Louis as well as London in 1910. F course his international acclaim was mirrored at home with prizes at the Kyoshinkai (1893 and 1894) 1896 Japanese Art Association and was acquired by the Meiji Emperor in 1898. His unschooled approach to printmaking however may be his greatest gift to Japan and the world, and he can be credited with founding the ideas and printing techniques of the 20th century Sosaku Hanga genre. There is a plethora of information available on this artist and his work is held in many great institutions including the British Museum and the Museum of Fine Arts Boston. Thanks to Rob Turley for his in depth research into this artist.

A worker makes his way through the autumn tinged hills, home just a few steps away in this brilliant Nanga work by Hashimoto Kansetsu enclosed in the original signed wooden box which is in turn enclosed in a red lacquered wooden box (Nijubako). Light color on silk mounted in a superb frame of blue silk with patterned with dragon dials and featuring large ivory rollers. The scroll measures 22 x 85-1/2 inches (58 x 217 cm) and is in excellent condition.
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.

A large baluster form Sumidagawa vase decorated in slips of green and black glaze over crackled red with a three-dimensional tokage (lizard) crawling down the side. The detail on the creature is superb, from the textured body to the white claws with which it seems to grip the sides of the slippery surface. On the backside is a raised gourd shaped stamp reading Ishiguro Koko (One of the most prominent Sumidagawa potters). Sumida ware was first produced around the beginning of the 19th century, coming into full fruition after the arrival of Perry in the 1850s. Sumida pottery was made almost entirely for export, and by the turn of the 19th century, the Mckinley Act had required that all foreign goods be so marked. The ware was then marked Nippon, and later Made in Japan or Foreign. This vase is unmarked, indicating, and datres from the period between 1890 and 1920. It stands over 11 inches (28 cm) tall and comes enclosed in an antique chirimen-silk bag and kiri-wood box. The right rear leg of the animal appears to have been repaired, and although well done there is a slight color variation. There are also several flakes missing in hte red paint. This helps to bring the piece into a more affordable price range.

A very unusual art nouveau style Kutani vase decorated with a jagged forest of pink trees on soft green carpet, butterflies circling the shoulder which breaks into a darkened cloud of moriage beads decorated with spiraling karakusa designs in slightly raised gold. Superb workmanship, it is simply signed Kutani-zo (made in Kutani). The vase is 10 inches (25.5 cm) tall and in excellent condition and dates from the first quarter of the 20th century.

Cranes rest in the boughs of a massive blue pine overlaying the white clouds billowing on the pink tinged body of this large vase by Seifu Yohei III enclosed in a signed wooden box annotated by Seifu IV. An identical vase held in the collection of the Ashmolean is visible on page 19 in the book Sandai Seifu Yohei (Seki Kazuo, 2012). Seifu III was known to have made few large works, so this is a very important piece. It is signed on the base Dai-Nippon Seifu Zo. It is 46 cm (18 inches) tall, 26 cm (10-1/2 inches) diameter, and retains the original rosewood stand kept in a separate compartment in the box. The box is titled Seikaji Pine-Crane Vase, Made by the Honorable Previous Yohei; Attested to by the 4th generation Seifu. He has employed the Teishitsu Gigei-in seal of the third generation top left of the inscription.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

Golden cranes soar among clouds etched into the surface of this solid silver Japanese hanging incense burner (Tsuri Koro) dating from the late 19th to early 20th century. Inside is an ash-cup suspended in a triple-hinged gimble which keeps the ash pot upright no matter the angle of the ball itself. On the side is impressed the official Kokuin which reads Jungin (pure silver). The cranes have a soft golden sheen and are likely gilded or damascened with gold. It hangs from three silk chords tied to ringlets on the lower half, and a similar ringlet on bottom holds a decorative tassel. Above is a second smaller orb of the same silver construction used to tighten the suspending ropes. The incense burner is 15 cm (6 inches) diameter weighing 1.4 kilograms (3.08 lbs) and is in overall excellent original condition of hammered and chiseled silver inlaid in gold. The silk chords have faded from purple to a dark tea colored brown.

A small round gourd: polished, cut and decorated inside with delicate fronds in gold on black maki-e. This is superb. It is 3 inches diameter (7.5 cm) and in perfect condition, enclosed in a quality old kiri-wood box. .

The time of Obon is upon us, the middle of August when the spirits of the dead return to visit their families. A lantern is hung so the wandering souls may find their way. And on the last day of Obon (August 16), in Kyoto, is held perhaps the most famous of all the festivals, commonly referred to as Daimonji-yaki, when 6 massive characters are lit on fire in the mountains surrounding the city to light the way home for the ancestors. Unlike the Gion festival or Aoi Festival, made for tourists, it is very local, personal, and an almost melancholy event. You will find the entire city celebrating with family, then, after dark, out in the streets, silently watching the inferno roar up on the mountains in a torrent of sparks making the shapes of Dai, Myo, ho, fune….orchestrated to start concentrically around the city beginning in the east. And after the crescendo, the flames wane, then flicker and disappear taking the summer with them. It is the most Japanese of festivals with its emphasis on the pathos and transience of life.
This lantern would have been hung outside the home to light the way for the returning ancestors. The lantern is made of a red lacquered wooden frame suspended by chains of antique glass beads. Stretched between the sides are four silk panels backed with paper. On three sides are painted abandoned skulls (two signed Ko-u, the third unknown) and on the fourth an epitaph dated the 8th month of Meiji 36 dedicated to appeasing the ghosts of honored ancestors signed Kokin. The lantern is 25.5 cm (10 inches) square, 46.5 cm (18-1/2 inches) tall and in overall excellent condition. It comes in the original wooden storage box.

A discreet masterpiece are words which could easily describe this gorgeous chunk of antique burled vine root carved and polished to a subtle sheen in the shape of a two tiered vase inset with bamboo pots. The piece rises from pebbly textured burl, abundant with character, like a clay pot which collapsed during firing. The second level appears to float above the first on tendrils of smoke. A startling effect. This piece truly captures the Japanese sense of respect for the natural world. It would be wonderful holding a sparse display of small flowers in a Tokonoma or tea room, or even in a collection of scholars desk items. The piece stands 11 inches (28 cm) tall, and is in excellent condition.

A sheer cascade of silver mist drops into the darkness beyond a golden outcrop harboring an ancient pine laden with blossoming wisteria vines. Togidashi, taka-maki-e and kirigane, this is a breathtaking box dating from the 19th to opening of the 20th century. Inside is elegantly decorated with drifting clouds of golden mist. Overall in excellent condition, enclosed in a period wooden box. It is 23 x 21.5 x 4.3 cm (9 x 8-1/2 x 1-3/4 inches).

A pair of six panel byobu by Abbot of Daitokuji, Priest Sohan Gempo (Murasakino Shoun) dating from the Meiji to Taisho period. The subject is an old song used to teach the basics of literacy as it is a panagram, containing every letter in the Japanese alphabet once; a popular subject for Zen artists for its simplicity and usefulness. The song itself seems to say, Keep it Simple, and the title I Ro Ha is used to mean basic. It can be translated according to Dr. Ryuichi Abe: Although its scent still lingers on the form of a flower has scattered away For whom will the glory of this world remain unchanged? Arriving today at the yonder side of the deep mountains of evanescent existence We shall never allow ourselves to drift away intoxicated, in the world of shallow dreams. Ink on paper, with a dark silk border and wooden frame. Some minor surface insect damage but overall presentable with a good sense of age. 67-1/2 x 143.5 inches (172 x 364 cm). Sohan Gempo, (1848-1922) was born into a Shinto family, however entered the Buddhist priesthood at the age of 12 at Kogen-ji, Kanazawa. After a brief period at Empukuji in Kyoto, he moved to Yokohama and received inka from Nakahara Nantenbo. It was in 1898 that he would be asked to take over the training facility at Empukuji. After a brief sojourn in China he came back to Japan and was appointed abbot of Daitokuji, one of Kyotos most important Zen temples, where he stayed until his death in 1922. An accomplished poet and calligrapher, for more information on this important priest see The Art of 20th Century Zen by Audrey Yoshiko Seio and Stephen Addiss (2000).

A long bamboo incense case with dark wood lid carved exquisitely with blossoming lotus and calligraphy. The deteriorating leaves rise from the bottom, blossoms spreading their petals to the sun. Above three lines of calligraphy descend to meet like the squirreling rays of late summer light. The piece is 20-1/2 inches (51.5 cm) long and in perfect condition, enclosed in a cloth sack and kiri-wood box. It is signed (Japanese reading) Fusui(lotus water)Sanjin Koku (carved by Fusui, man of the mountain). The carving is one of the best I have seen.

A genuine reishi cluster of mushrooms dried and preserved in perfect condition. This is an exquisite form, the dark trunks meandering up to wide blossoming heads. It is 13 inches (33 cm) long.

A very rare work by Suda Seika featuring a long armed monkey climbing over the rim in raw terracotta clay, contrasting brilliantly against the blue splashed white porcelain. It is 17.5 x 20 x 10.5 cm (7 x 8 x 4 inches) and comes enclosed in a period kiri-wood box. The first generation Suda Seika (1862-1927) was born the son of a merchant in Kanazawa, then part of the Kaga fief. He graduated the Ishikawa prefectural Industrial Ceramic Research Center in 1880 specializing in decoration, and moved to Kyoto the same year. In 1883 he entered the Kutani Ceramics Company, and was elevated to head of decoration two years later. In 1891, he established the Nishiki kiln in Yamashiro Onsen (Hotsprings) of Kaga city, and in 1906 opened a second climbing kiln which bore the name Seika. In 1915 he served as a mentor to the young upstart who would later become known as Kitaoji Rosanjin (1883-1959). The second generation took the reins in the mid 1920s, passing them onto the third generation around 1970.

The richest blue bamboo rises majestically against the bright yellow ground of this exceptional vessel by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Kiyu Seika Takenozu Kabin (Vase with Blue Bamboo Design on Yellow Ground). It is 33 cm tall (12-1/2 inches) tall, 23 cm (9 inches) diameter and in excellent condition, signed on the base.
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.

Golden eyes gaze at the full moon rising over dried autumn grass and wilted flowers on this fine scroll signed Shuso (Hotta Shuso). Pigment and light color on silk in a patterned silk mounting with bone rollers. The scroll measures 19 x 78 inches (47.5 x 192.5 cm) and is in overall fine condition.
Hotta Shuso (1894-1954) was born in Nagano prefecture and studied under Ikegami Shuho, settling in Tokyo. One of his best students, Shuso later became leader of Shuho's Denshindo atelier. He was displayed at the Teiten/Nitten National Exhibtions beginning in 1924. A specialist in images of animals and flowers, see item number 1111841 for another fox by Shuso.

A very fine early 20th century screen hand-painted simply and exquisitely with the mixing branches of a blossoming cherry and both fresh green and red maple. The painstaking detail in each individual leaf and flower is breathtaking. The awesome scene is triple bordered inside a frame of green brocade, red and black silk and gold. We have had the screen re-backed with original style forest green paper and replaced the black wooden frame. It measures 31-1/2 by 66-1/2 inches (80 by 169 cm).

A pair of brightly colored Mandarin ducks nestle down under cover of dried lotus in this

Gazing at the back of the traditional Maiko apprentice, pins and combs hold her coiffure perfect, our eyes travel down to the neck revealed as it joins the white painted shoulders, the luxurious kimono with its signature high and draping sash: She has the two of hearts! A very unusual painting reflecting the oddities of western influence at the opening of the 20th century by Matsumoto Ichiyo (1893-1952). It is truly a sketch, very possibly made from life while the young apprentice artist watched his teacher being entertained by the young apprentice geisha. It is performed with light color on silk, bordered in the Taisho manner with horizontal stripes of a softly charred blue, ivory and orange. The Ichimonji and integral Futai are streaked with true gold thread. It measures 40 x 195 cm (15-1/2 x 77 inches) and is in overall very nice condition, with yellowing of the silk to attest to age. There is some loss to the white Gofun clouds on the obi (sash), and it appears that red at the back of the collar may have been re-painted, possibly when it was mounted (which appears to be slightly later than it was painted).
Matsumoto Ichiyo was born in Kyoto, midway through the tumultuous Meiji period, and attended the city art primer before entering the Municipal School of Painting (Later Kyoto University of Art) where he jointly studied under the private tutelage of Yamamoto Shunkyo at his studio. While at school his first painting was accepted into the 9th Bunten (1915) National Exhibition. With a great emphasis on the revitalization of Yamoto-e tradition, he remained active on the National level, being consistently exhibited and prized, and later serving as professor at his Alma Matter. After the Second World War he served as a juror for the Nitten, and continued research and resurrection of Yamato-e until his death in 1952.

A full 7 piece Steeped Tea Sencha Tea Set by Kiyomizu Rokubei enclosed in the original age darkened wooden box titled Seika Sansui Chaki. There are five cups, a teapot with lid, and a cooling dish. Each piece is decorated with a unique scene and poem, no two are alike. They show the mastery of brushwork this important potter, originally trained as a painter, possessed. The cups are 8 cm (3-1/4 inches) diameter and all is in excellent condition.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the The National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

A superbly detailed story Ranma carving, likely from an altar, in which five figures reside among golden maple and cherry blossoms. On the left a colorful figure dips water from the cascading blue waters of a steep fall, a man in priests robes behind him. Three other gentlemen in white robes watch from close at hand, a bundle of sticks, perhaps for making tea, perched in the foreground. Each figure is meticulously carved and painted, the entire scene gilded in gold. The carving comes enclosed in a vintage wooden box, and dates from the Meiji period (1868-1912). The piece, which has been fully cleaned and restored to new condition, measures 21-1/2 inches (54

A large Kiji porcelain vase with florals (stylized millet?) in raised relief by Miyanaga Tozan enclosed in the original signed wooden box. The architecture and infinite care shown in the carving on the surface proves this to be a superb piece deserving of the name of one of Kyotos top porcelain artists. The vase is 10-1/2 inches (27 cm) tall, 11-1/2 inches (30 cm) diameter 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. He was succeeded by his adopted daughter who brought a refreshing variation of color and delicate touch to the porcelains they produced. The kiln is now in the third generation, run by his grandson.

A pair of Wooden doors dating from the later Meiji to Taisho period of fine clear grained panels hand-painted with butterflies, birds, and floral dials in brilliant color by Maruyama Oyo in red lacquered wooden frames retaining the original brass hardware. They are made for an opening 141.5 x 180 cm (55-3/4 x 71 inches). They are in overall fine condition. These were acquired from a large estate along the Kamiyagawa River in Kyoto’s posh Kinugasa district.
Maruyama Oyo (1868-1923) was the adopted son of Maruyama Obun and became the sixth generation head of the Maruyama School of painting in Kyoto. You will find works by this famous artist in the British Museum and the Brooklyn Museum among others.

A dragon wraps around the trumpeting form of this brilliant yellow vase by Makuzu Kozan II (Hanzan) enclosed in the original signed wooden box. A vibrant contrast between the yellow and blue is enhanced by the artists care and minute detail. The vase is 8-1/2 inches (21 cm) tall, 6-1/4 inches (16 cm) diameter and in perfect 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, as in the case of this piece, which is stamped Makuzu with the box signed Kozan. 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 set of five Porcelain Tea Cups decorated by 5 individual artists from the early 20th century; Tomioka Tessai, Tajika Chikuson, Kamisaka Sekka, Imao Keinen and another as yet unidentfied artist, stamped on the base by the kiln. Each cup is uniquely hand painted by the artist; all stamped on the base by the potter, and come enclosed in a quality custom-made period wooden box. Each is roughly 2 inches (5 cm) tall, 2-1/2 inches (6 cm) diameter and all are in fine condition. A similar set by these artists can be found in the Honolulu Museum of Art.
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 Nouveao 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.
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…
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. A 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.
Tajika Chikuson (Also Tachika, 1864-1922) was born in Takeda (modern Oita) and initially studied painting with Fuchino Keisen before moving to Kyoto where he apprenticed under another Kyushu born Nanga artist Tanomura Chokunyu, placing him in the direct lineage of the great 19th century literatus Chikuden. Along with Ikeda Keisen and Yamada Kaido, he helped to establish the Nihon Nanga-In. He was repeatedly awarded at the Bunten National Exhibition, and left a lasting impression on the world of Japanese Nanga with his many students.
…

The largest vase I have ever seen for sale by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Seika Sansui taki-ho-ga Kabin (Blue and White Vase decorated with waterfall Mountain Scene). It is 54 cm (21 inches) tall 36 cm (14 inches9 diameter and in excellent condition, signed on the base.
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 gentleman standing in courtly robes takes advantage of a warm spring night to get in some reading. Standing on the balcony he puts light to a hanging lantern, illuminating cherry blossoms wrapped in evenings misty veil beyond the rail. This is an excellent example of Meiji period Yamato-e signed Saiho which has been fully re-mounted in quality patterned brocade, and retaining the original bone rollers. The watercolor and pigment on silk scroll measures 18-1/4 by 76-1/2 inches (51.5 x 194 cm), and comes enclosed in a period kiri-wood box. The patterns in his kimono are produced using a stencil and gofun (powdered shell), and the straight lines of the sudare (reed curtains) partially obscuring the scene are a testament to the artists great skill. There are light scattered marks typical of age, but do not detract from this great work.

Perfectly formed characters eschew the virtues of the scholar life and way of tea through the Gyokusen Chaka (Song of Tea) decorating this masterpiece of calligraphy and design by Miura Chikusen enclosed in the original signed wooden box. Books have been written upon the subject of this poem centering on the experience of a Tang dynasty recluse reaching Daoist enlightenment through the drinking of seven cups of tea. The bowl is 17 cm (7 inches) diameter, 10 cm (4 inches) tall and in fine condition.
The Tang dynasty poet Lú Tóng, wrote " Thanks to Mèng Jiànyì for Sending New Tea." Which has come to be simply called The Tea Song (of Yuchuan). Much too long to offer fully here, I offer the first few lines (A full translation will be provided):
The sun already high in the sky,
An envoy wrapping on the door called me from sleep.
The imperial censor Meng had sent a letter,
wrapped in white silk with three seals.
Inside, it was as if I could see the face of Meng
In the 300 blocks of "round moon" tea…
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 large bronze vase on rosewood stand featuring a dragon rising into three dimensional form from the murky surface; signed on the base Shinsui. The fearsome creature appears like a wraith, points of its armored body writhing through the dark patina. The stand itself is a work of art, exquisitely carved with four cut through diapers, on each corner of which is a squat leg, a large floral dial carved through in the center. The vase is over 9 inches (23 cm) tall, 10 inches (25.5 cm) in diameter and in excellent condition. In Buddhism the dragon is considered as the guardian of faith and the protector of sacred places. Because one could never grasp its whole personality, the dragon is usually not shown in its entirety but half hidden in swirling clouds and stormy waves.

A large basin in striking cobalt designs by Miyagawa (Makuzu) Kozan enclosed in an unsigned wooden box. The central figure is a soaring phoenix spiral n elaborate plumage surrounded by clam shaped scallops in which leaping carp vie for the prize. About the rim 3 dragons battle for the flaming pearl. Outside serpentine vines intertwine about voluptuous flowers over phoenix. All together a sumptuous and royal aura. It is roughly 32 cm (12-1/2 inches) diameter and in excellent condition. A similar work is published in the catalog of the Miyagwa Kozan Makuzu Museum: Makuzu Ware (Yamamoto, 2010) pgs. 178-179 And an identical work is published in : Yokohama Makuzu Yaki Miyagawa Kozan Ten (1986) figure 66 as well as Miyagawa Kozan and the World of Makuzu Ware (2001) p. 138.
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 set of Nesting Shino Sake Cups with Dice. They are stamped on the base, and come in three sizes, the accompanying dice imprinted with the various sizes on each side, so a roll of the dice decides your fate in the drinking game. Very unusual and in excellent condition, they are (stacked) 2 x 2 x 1-1/4 inches (5 x 5 x 3 cm).