Catalog: Archives: Regional Art: Asian (643)

A murder of crows stand gaunt and sinister in the leafless winter's tree, their dark iron bodies mere shadows against the crackled pale glaze of this bowl signed Hobun Hitsu and stamped beneath with the six sided seal of Kiyomizu Rokubei V enclosed in the original signed wooden box. It is 8 inches (20.5 cm) diameter and in fine condition. The box is darkened with age, and was unfortunately taped shut for an unknown number of years, the tape tearing the wood from the center of the lid when it was opened.
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
Kikuchi Hobun (1862-1918) was born into a family of Hyogu-shi (professional mounter of paper and paintings) in Osaka during the waning years of the Tokugawa government. He was adopted into the Kikuchi family and moved to Kyoto where he studied under Kanō Hōen, and later with the Shijo master Kōno Bairei along with Takeuchi Seihō, Taniguchi Kōkyō and Tsuji Kakō. He frequently exhibited at and was much lauded with the Bunten/Teiten National Exhibitions. He taught at the Kyoto Municipal School of Fine Arts and Crafts where his influence on following generations was much felt. Works by the artist are held in the V&A, Museum of Fine Arts, Boston, National Museums of Modern Art, Tokyo and Kyoto and British Museum among others. For more see Modern Masters of Kyoto (Paul Berry and Michiyo Morioka)

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.

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

A 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.

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.

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 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

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

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

A Gasaku joint effort by Kyoto porcelain master Takahashi Dohachi V and Scholar artist Tomioka Tessai (1837-1924) dating from the late Meiji to Taisho period. Enigmatic Characters in cobalt strike firmly from the smooth alabaster surface. The bowl is 4-3/4 inches (12 cm) diameter, 3-1/2 inches (9 cm) tall and in perfect condition. Written on the side is Sho-Do Ki? Sue, Nyu Chyu? Ho-nari followed by the signature Tessai Gai-shi. It is signed on the base Kachu-tei Dohachi-Sei (Made by Dohachi of the Kachu Pavilion). Takahashi Dohachi was one in the line of great porcelain masters of Kyoto. The family began potting in the 18th century, and was brought to the forefront of porcelain by the second generation head of the family. From then it was known as one of the top three families in Kyoto for porcelain production. The fifth generation took control of the kiln in 1897. Tomioka Tessai 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 moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He 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 was known to have worked with Dohachi in porcelains, as well as Eiraku Zengoro. This piece comes in a wooden box simply titled Hai.

Smooth black lacquer covers the mirror like surface of this wooden boat inlayed with mother of pearl down the sides, hiding under the low roof a brass tray for flower arranging. The prow is flecked with gold and the roof decorated with karakusa maki-e designs in black on the flecked surface. The tiller is removable for cleaning. It is 28-1/2 inches (72 cm) long, the ship dating to the opening of the 20th century. There are some minor chips in the lacquered corners in the stern, however overall it is in fine condition.

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

A large screen depicting a samurai replete with the Jakumei crest of the Takeda Clan rearing his horse in a shout of battle, wand extended at arms length giving the order to charge. The horse appears to be fighting panic, possibly at the deafening sound of the guns of Oda Nobunaga, a sound which brought in the modern era of warfare to Japan in a pitched battle between Oda forces and those of Takeda Shingen. The scene is depicted in a typical Meiji Rekishiga-style, light pigments on silk, wrapped in a green silk border with black lacquered frame. Each panel is 77.5 x 193 cm (30-1/2 x 76 inches). Overall it is in fine condition, with some toning to the silk typical of age, and one light indentation on the far left panel about 1 cm (1/2 inch) long. The screen is signed Beizan Utsuru, followed by a stamp which appears to read Tanryo. Matsubara Beizan was an award winning Meiji era artist based in Tokyo.

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).

Two austere Bodhisattva play music and spread lotus petals before the benign countenance of Kannon while a fierce green God (god of thunder or wind) recoils, flame spouting from his mouth. This is a very unusual triptych enclosed in the original age darkened compartmentalized kiri wood box signed Urata Tenka titled Daiji Kannon no Zu (Image of the most merciful Kannon), Takahashi Koko Sho (Painted by Takahashi Koko). Urata Tenka was the first art-name (go) used by famed Meiji artist Takahashi Koko. The tension created by the movement and posture of the left figure juxtaposed against the serene silence of the celestial figures on the right is striking, with the central figure an island of calm and compassion in a tempestuous world. Pigment on silk in fine silk border with solid bone rollers. The scrolls are (Center) 96 x 223 cm (left & right) 52.5 x 222 (38 and 20-3/4 x 87-1/2 inches respectively). Overall they are in excellent condition, with toning of the silk typical of age. Beside the original Urata signature on the box has been added at a later date: By the deceased Takahashi Koko.
Takahashi Koko (1875-1912) was born the eldest son of Unkoku school painter Urata Chojiro (1846-1913)in Yamaga City Kumamoto Prefecture and was trained from an early age in the Unkoku style of his father as well as absorbing other styles. While working as a teacher in Kumamoto City at the age of 20 he met actress Takahashi Ko, who was visiting the area. Under the guidance of Takahashi, who was impressed by his artistic talent, he moved to Tokyo in 1890 and entered the painting school of Japanese-style painter Matsumoto Fuuko who honed his skills in historical genre painting. He exhibited with a number of different art organizations, and together with Yukihiko Yasuda and Shikō Imamura, he livened up the art world of the Meiji era. His ability was recognized by Okakura Tenshin, and was invited to the research institute in Izura. During this time, he exhibited at the Tatsugakai and Kojikai, and received many awards. In 1908, he was nominated as a judge by the chairman of the Kokuga Tamaseikai. In 1912 he was commissioned a work by the Minister of Korea Hanabusa Yoshitada, and visited Manchuria and Korea for research where he contracted scarlet fever. He died suddenly at the age of 37 after returning to Japan. A major figure in the art world, he left a solid mark on the Meiji painting stage. Work by him is held in the collection of the Sankei Kinenkan (Yokohama), Kumamoto Prefectural Museum of Art, Kumamoto Municipal Museum, Senoku Kokan Museum (Kyoto) and Adachi Kyodo Museum (Tokyo) among others.

A very elegant pair of Antique Andon lamps dating from the Meiji period in the original storage box from a Kyoto estate. The box is dated Meiji 36 (1904) and stylistically these fit perfectly into that era, with a fine transparent red lacquer finish. They are in excellent condition, each standing 31 inches (79 cm) tall, 8-1/2 inches (22 cm) square. Due to size these will require special shipping consideration, the cost to be accrued separately.

A massive evocative painting exhibited at the first Bunten National Exhibition in 1908 by Ito Koun enclosed in a large period wooden box and pblished in the Nitten-shi series volume I. It is performed with pigment on silk, and shows that soft, almost mystical touch typical of late Meiji Rekishi-ga historical imagery. The samurai crouches at the gate, letting fly arrows at his overwhelming opponents. Metal tipped shafts pierce the thick wood of the gate before him and broken arrows lay scattered among the fallen leaves at his feet; a poignant reminder of the fleeting life of the warrior. The scroll is 120 x 149 cm (47 x 98 inches) and is in overall fine condition; a museum class painting.
Ito Koun, (1879-1939) was born in Tokyo with the name Ito Tsunetatsu in July of 1879. He studied under Murata Tanryo, and exhibited with the Bunten National Exhibition to which he was named a committee member after 1925. He specialized in Rekishi-ga and historical scenes.

A Meiji scene of samurai preparing for battle, a noble women looking on with apprehension as a courier brings word from the battlefield. The lord fixes the knot on his helmet, preparing to rush into the fray. The scene is performed in pigment on silk, and we have had it completely re-mounted with a black frame reflecting the original style with sturdy cloth backing. Likely dating from the last decade of the 19th century, when the genre of Rekishiga was at its peak, it is stamped in the lower right corner (read right to left) Eisei. The extreme detail and delicate touch reinforce that dating, an era when the arts of the Meiji were peaking both within Japan and abroad. The screen measures 53-1/2 x 55 inches (136 x 140 cm) and is in excellent condition.