Catalog: Archives: Regional Art: Asian (611)

Festive red paper lanterns parade in a sea of mist across this elegant 20th century scroll by Hayashi Bunto (1886-1966) enclosed in the original signed and stamped wooden box. A wonderful summer-time scene reminding one of all the matsuri-festivals dominating the nights of this season. The silk scene is bordered in blue ending with bone rollers trimmed with gold. The scroll is 22 by 52 inches (56 x 132 cm) and is in fine condition. Bunto studied painting under Yamamoto Shunkyo, and became a preeminent Shijo school artist of the early 20th Century. He is held in the collection of, among others, the Museum of Modern Art, Kyoto, as well as many private collections.

A superb elephant shaped incense burner by Miyanaga Tozan enclosed in the original signed wooden box titled Seiji Zo Koro. Extreme clarity in the fine details, I will let the photos speak for themselves. It is 6 x 4 x 6 inches (15 x 10 x 15 cm) and in excellent condition. It comes with a pamphlet dated Showa 16 (1941) the last year of the artists life.
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. His kiln is now in the third generation, run by his grandson.

An incredibly detailed mid to late 19th century Izushi-yaki Hakuji (white porcelain) image of a samurai and his lover enjoying a moment together; the robes, accessories and musculature being extremely well shaped. The pair are made of solid white clay, sculpted in the style and with the attention to detail typical of Hirado ware however the glaze is more textured than work expected of that region, indicative of Izushi. There are several chips: the mans left foot, tobacco pouch and right fingers and the womans hair, as well as a repair to the back fold in the womans loose kimono. The couple measure approximately 4 inches (10.5 cm) tall, 5-3/4 inches (15 cm) wide. They are enclosed in an ancient wooden box inscribed with the date 1930, and stating the piece was acquired or received in April by Sakuragawa Umetoshi. The sculpture pre-dates the box by many years.

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

Exceptional Edo p. Japanese Screen, Demon War An exceedingly rare set of four dramatic paintings divided into segments depicting a variety of battle scenes and supernatural phenomena, each heavy pigment on paper canvas mounted on one of four panels of a gold screen bordered in mulberry. The scenes appear to comprise a fragment of the tale of Daikozan (Oeyama), a Kyoto tale where in a powerful demon was lured to drink, then cut to pieces in his stupor. The screen itself is 20th century; however the paintings would date from the mid Edo. On the far right sword bearing men, priests and women run from monsters with giant heads while a cloud roiling with demonic figures bears down on the scene. A tanuki with the head of a woman can also be found here. Below women perform dance on the balcony of a palace for a long nosed tengu attracting a crowd of onlookers. The second panel is divided into four scenes of women reading a hand scroll to the same tengu from the first panel hidden behind a bamboo fence. Below we see him again seated outside a room awaiting audience with divine figures. Below this he is throttling a sword bearing soldier, a ghostly lute player on the left, and a raucous battle on the steps. On panel three the battle rages. Men hack away at each other while a head is presented indoors, and a man and demon appear ready to draw swords over the decapitated corpse. Below gory warfare rages, samurai and demon fighting indiscriminately. In the last scene a flock of birds attack one fellow, while heads topple hither and yon. The paintings were likely originally part of a larger screen, which have been cut down over time from re-mounting. The fantastic screen measures 107 inches by five feet (272 x 153 cm). There is some loss of paint; and the paintings, due to great age, are somewhat delicate.

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.

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.

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

White cranes soar from the black water of a lake tucked in the shadow of orange hills on this lovely mid 20th century scroll enclosed in the original signed and stamped wooden box by Takazaki Ko (b. 1910). Extremely delicate yellow trees reflect off the dark surface of the lake, contrasting with the thick ranks of orange marching up the hillside. Painted in the audacious style of Banka, the painting retains a quiet charm in the singular movement of the graceful birds. It measures 19-1/4 by 78-1/2 inches (49 x 199 cm) and is in excellent condition. Oki apprenticed twice, both under Nakamura gakuryo (1890-1969) and Maeda Seison

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.

A wispy bearded sage clutches his staff, robes draped loosely about his emaciated frame as he peers ahead in interest, a curious smile on his wizened visage. The figure is beautifully crafted with a slightly textured patina and signed on the base Seiko. Slight wear to the base reveals the pure gold of the underlying bronze. It is 36.5 cm (14-1/2 inches) tall and in excellent original condition.

As the enlightened man is a product of this world so too the Lotus grows in the mire, a symbol of the attainable state of Nirvana. Here is a breathtaking hand-made bronze Koro in the shape of a blossoming lotus in deep red patination dating from the late Edo to Meiji period (mid to late 19th century). Consisting of 30 individual pieces, each petal is uniquely incised with veins by the hammer and chisel of some long lost craftsman. The base is a large leaf turned upside down, rising on a roundel to the base of the many petaled flower, in the center of which lies the seedpod, into which the incense would have been placed. The outer most petals are highly polished from over a century of handling, and the base is worn, glowing soft gold where it rests on the table. Truly one of the most beautiful Koro we have owned. It stands 4 inches (11 cm) tall, 5-1/2 inches (14 cm) diameter.

A water-worn bowl of natural wood lacquered inside with black and gilded, leaving black lacquer on the rim, to create a startling contrast between the mirror like black, shining gold and ancient weathered wood. It is enclosed in a period wooden box titled Jidai Kihachi Sunabachi (antique Wooden Sunabachi Bowl). It measures 34.5 x 30 x 11 cm (14 x 12 x 4 inches). There are two hairline cracks in the gold (see photos).

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

Intricate, subtle, delicate, elegant; all words which could be applied to this set of ten dishes decorated with flowers in raised reliefby Takahashi Seizan enclosed in the original signed wooden box titled Gyokude Kusabana Kameko-gata Sara (Tortoise Shell Shaped Dishes decorated with Flowers and Grass in Pearl-slip) Pale white slip has been applied in thick, sculpted patterns to a cream surface, sweeping sides peaked with gold rims. Each plate is 22 cm (9 inches) wide, 5 cm (2 inches) tall. There are a few color infusions into the glaze, but no chips cracks or repairs. These date to the Taisho period, a time of great innovation. They are reminiscent of the works of other Kyoto artists at the time, in particular Seifu Yohei and his Taihakuji, and Kiyomizu Rokube and his Taireiji.
Due to size and weight, shipping fees will be construed separately.
Takahashi Seizan (b. 1871) was a potter active from the Meiji to early Showa era, associated with Kiyomizu Rokubei and Miyanaga Tozan and is known to have corroborated with the famed painter Hashimoto Kansetsu on ceramic works. He exhibited frequently with the Nomuten (the largest crafts exhibition before the Teiten opened a crafts division in 1927).

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.

A fabulous large porcelain vase by Daimaru Hoppo (Hokuho) enclosed in the original signed and compartmentalized wooden box complete with a rosewood base. The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The simplified form rises from to frets decorated with stylized cicada under a belt of archaic figures and yotsu-domoe (yin-yang) symbols. It is 14 inches (35 cm) tall plus the base and is in excellent condition.
Hoppo (also called Hokuho) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. He also spent several years in China where he became adept at the aforementioned Sencha aesthetic. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father and Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

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 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 beautiful Suiseki mounted on rich red carved wood base enclosed in a custom made kiri-wood display box. There is a sublime balance between the ragged peaks and deep clefts in the stone, and excellent example of the Renzan (Range) type of stone. The stone is 37 x 10 x 12 cm (15 x 4 x 5 inches) and is in excellent condition. There is one very small nick in the wooden base (1/8th of an inch or 3 mm in size). Together the stone and box weight 3.5 kilograms (roughly 8 pounds). The chip in the wooden base will be filled before shipping unless otherwise preferred.

An incredible hand painted Taisho period bijin scroll signed Hakuho; so lifelike it looks to be a photograph. An angelic, Kimono clad beauty pauses to gaze out the garden window. One arm resting on the sill, she tranquilly stares past the hanging lantern and bamboo close at hand, her beautiful almond eyes fixed on the distance, she appears to be looking not at the garden, but at her own world. A colorful comb decorates her full hair while a pendant dangles from a kanzashi above her ear. A colorful obi holds her black kimono over the flower patterned under kimono. This arresting scene is intricately detailed, down to the tarnish on the lantern and individual threads running through the reed blind. The scene is mounted in creamy brocade embossed with vines, extended top and bottom in beige and ending in lacquered wooden rollers. The scroll has been meticulously restored and remounted and measures 21-1/2 inches (54cm) by 79 inches (2 m) and comes in a wooden box.

A breathtaking cup made from an egg cut and lacquered inside, then gilded with genuine gold, enclosed in the original signed age darkened kiri-wood box. It is 2-1/4 inches (5.5 cm) diameter and in perfect condition, dating from the Meiji period.

Fabulous carved florals rise in vibrant color off the surface of this yellow glazed vase by Kato Keizan II enclosed in the original signed wooden box. It is 31 cm (12-1/2 inches) tall, 24 cm (9-1/2 inches) diameter and in excellent condition.
Kato Keizan I (1886-1963) was born in Tajimi city, Gifu, a pottery center in its own right, however came to Kyoto to apprentice under Kiyomizu Rokubei IV. He established himself in the same neighborhood in Kyoto, where he became well known for celadon and Chinese based porcelain forms. Works by this artist are held in the National Museum of Modern Art, Kyoto among others. Kato Keizan II (1913-1995) Born the eldest son of Kato Keizan, he learned basic techniques for glazing and modeling at industrial school and later at the Kyoto National Ceramics Research Institute. In 1931, he began assisting his father at his ceramics workshop and in the same year became a member of the Shinko Kogei Association, which was presided over by Rokubei (5th Generation), from whom he sought guidance. Right from the beginning, he was repeatedly selected to exhibit his works at exhibitions such as the Imperial Exhibition, Kyoto Prefectural Exhibitions, and others, received praise from the Ministry of Commerce and Industry as a preserver of technology in 1940. After the war, he became a founding member of the Kyoto Ceramics Association in 1955, which demonstrated the sway he held in the Kyoto ceramics sphere. With the death of his father in 1963, he took over as 2nd generation Kato Keizan and moved the kiln to Oyamazaki. Pursuing a revival of Song dynasty-style celadon and Tenryuji celadon, he developed beautiful glazes such as tobiseiji celadon, kiba-hakuji porcelain, and purple celadon.

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 stunning delicate cup made from a hollowed egg-shell. Inside is matte-black with patches of gold gilding, while outside the silhouettes of pines and a soaring Hototogisu (cuckoo) are deftly brushed with shiny black lacquer. The imagery instantly calls to mind Japanese poetry, which extols the song of the cuckoo, a harbinger of Spring and warmer weather. There is also something melancholy about the cuckoo call, as they are always deep in the forest, out of sight and alone. This is simply a phenomenal piece, and comes in an old custom-made wooden box dating from the Meiji period. It is It is 4.5 cm (just under 2 inches) tall and in perfect condition.

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.

Five matching boxes covered in black lacquer decorated with togidashi feathers in silver and gold enclosed in the original wooden box signed Shunji (active Meiji-Taisho period) and titled Hane-no-zu Maki-tabaco Shoshi (Feather decorated tabaco chest). Each faceted wood box has been covered in polished ink-black ro-iro lacquer, the diaphanous feathers then created on the surface with powdered gold and silver; then all is covered again in lacquer and polished through to reveal the design. An arduous process requiring much time and patience on the part of the artist. Each box features a gold rim and is lacquered with nashiji inside. They are 14.5 x 10.5 x 7 cm (5-3/4 x 4-1/8 x 2-3/4 inches) and in excellent condition, wrapped in cloth in separate compartments inside the fine kiri-wood storage box. Kanamori Shunji (Harutsugu) was a lacquer artist from Owari (modern day Aichi prefecture) in the lineage of the great 17th century artist Yamamoto Shunsho.
According to the Encyclopedia Britannica in the Togidashi Maki-e: technique, the design is painted in lacquer, and gold or silver powder is sprinkled over it; when the lacquer is dry, another coat is applied to the design to fix the powder. Rō-iro-urushi (black lacquer without oil) is then applied over the entire surface, and, after it has dried, it is burnished briefly with charcoal, applying a little water until the gold powder is faintly revealed. Following this process (called aratogi) comes the suri-urushi process, in which raw lacquer is applied with cotton and wiped with crumpled rice paper; a finishing burnish (shiage togi) is then done with charcoal. Next, granular charcoal is applied with water, using a soft cloth, and gently polished. Finally, suri-urushi and polishing is repeated three times.

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.

An anonymous basket of both red and white soot-stained bamboo (susu-dake) with a root-wood handle, the various textures and colors gleaming with sheer elegance. It is 18 inches (45 cm) tall and in excellent condition, containing a black lacquered bamboo otoshi container lined with copper.

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

This little guy is just about the cutest thing I have ever seen. A tiny mouse rests atop a bulging white radish, bristling blue leaves in full detail attached as if pulled fresh from the ground. Dating from the 19th century (later Edo to early Meiji period), it comes enclosed in an age darkened wooden box titled Daikon Nezumi Futamono (Radish/Mouse Lidded Receptacle). I confess in over 25 years dealing in Japanese art and antiques I have never seen one like it. It is in excellent condition. Unlike in the west, the mouse is viewed as a symbol of fortune, as mice only gather in homes where there is an abundance of food. The Daikon radish as well, is a symbol of fortune as it grows rapidly. If someone does not scream Kawaii I will not be able to take it!

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 black-tailed white crane braves tempestuous seas before the massive orb of a blood red rising sun in this sensational late Edo period Kano style scroll. From the right a sinewy tree loaded with exaggerated fruits hangs precariously from the green face of a sheer cliff, its wild branches running helter-skelter through the dark sphere. Mist retreats beyond the horizon, regrouping for another night. A very unorthodox scene, each wave scratched out with soft gray, foam flying from the bird and waking in troughs on the undulating surface of the sea. The powerful scene is bordered in tea green brocade patterned with vertical waves, and features massive ivory rollers. It is 2 feet (61 cm) wide, 76-1/2 inches (194.5 cm) long. There is some creasing in the heavy red paint of the sun, and although white underneath and not noticeable, there is loss to the thick gofun which originally covered the large peaches. These minor defects fail to mitigate the tyrannical presence of this extraordinary painting.

Majestic Black-tailed cranes soar over the crisp white-caps of Japans Northern waters on this expansive screen painted by 20th century artist Okada Renseki (1904-1995). The artist has given the mysterious creatures a dramatic sense of movement, rising ever upward across the expanse of shimmering sea. Very rarely seen, the magnificent birds have long held a special place of reverence in the hearts of the Japanese people, reflected in many centuries of art. The scene is bordered in gold brocade and features a red lacquered wooden frame, retaining the original green cloth backing. The screen is 5 feet (152 cm) tall, 149 inches (353 cm) long and is in overall fine condition, dating circa 1980. Renseki was born in Shinagawa prefecture and was raised during that unique period in Japanese art spanning from the later Meiji to early Showa collectively called Taisho Art. Throughout his long career he chose to stay true to the Nihonga ideal, choosing natural pigment paints and Japanese style mountings throughout. He studied under the prominent artist Tsutaya Ryuko of Aomori and was a longstanding member of the Shinko Bijutsu-in, eventually becoming the head of the group before his death. He received the Prime Ministers Prize, among many others.

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.

A very tall footed chawan by Kawai Kanjiro enclosed in a fine Kiri-wood box endorsed by his daughter Koha, head of the Kawai Kanjiro Museum. The piece is very much in this potters unique style. The pale rough clay is covered in ash colored glaze with a wide band of soft green, within which are two floral scribbles in red and blue. The bowl is 6 inches (15 cm) diameter, 3-3/4 inches (9 cm) tall and is in perfect condition. Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Hamada Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.