Catalog: Archives: Regional Art: Asian (643)

A beautiful robins’-egg-blue gu-shaped vase with ring handles and engraved decoration by Ito Tozan with the original rosewood stand dating from the early 20th century (c. 1920). The pale blue bleeds to white over the high points of the decoration, the florals raised about the bulbous center and highlighting the rim and edges of the beast head handles. Meanwhile pools of dark shadow the fretwork emanating up and down the body. The vase is 12-1/2 inches (31 cm) tall plus the base and is in excellent condition. There is no box however one could be made if desired. 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 set of 12 lacquered panels depicting scenes of the 12 months by 12 different and important artists including Living national Treasures Terai Naoji and Komo Kanzan as well as Pioneering female artist Tenno Bundo, all in the original wooden box signed individually by each artist and dated Showa 24 (1949) and stated to have been assembled under Honma Maika. A list of the artists by month follows: January-Katsuta Seisho, (1890-1975), February-Rokkaku Eiyu, March-Living National Treasure Terai Naoji (b. 1912), April-Living National Treasure Komo Kanzan, (b. 1882-1955), May-Murase Shunji (1911-1989) June-Shinmura Senkichi (1907-1983), July-Oguchi Masaji(1907-2000), August-Honma Maika, September-Tenno Bundo (the first female artist in Uwajima), October-Moriya Shotei (1890-1972), November-Yuki Tetsuo (1900-1970), and December-Omura Soho. Each piece is 9-1/2 by 10-3/4 inches (24.5 x 27.5 cm). The work for January has five stress cracks in the lacquer at the top of the panel, all others are in excellent condition. As they are shikishi (display plackard)-size, it is likely they were meant to be changed out of a frame, once every month. A very rare opportunity to own a representation of work from so many important modern lacquer artists.

A lucky ammer in red decorates the inside of this large bowl by Mamiya Eishu enclosed in a period wooden box. It appears to read Kishoho or Kishohon (the method to satisfaction or the root of satisfaction respectively). The bowl is 7-1/2 inches (19 cm) diameter and in excellent condition. Eishu (1871-1945)entered the priesthood at the age of nine at Ryutakuji Temple under the training of the priest Tengan. 13 years later he was sent to one of the main temples, Tenryu-ji, in Kyoto to study under Gasan Shotei. After serving at a number of temples he received his certificate of enlightenment from Shaku Soen (the first Zen monk to visit America) at Empukuji. He served as a battlefield chaplain for the Japanese troops during the Russo-Japanese War. Upon his return he became a prolific writer, publishing more than 20 books on Buddhism. He was once again called to comfort soldiers scarred by the tragedies of war in Shanghai, in 1945, where he died of illness. For more on this important figure see The Art of Twentieth Century Zen By Addis/Seo.

The red walls of a mountain monastery appear between the precipitous crags on this large scale painting by Komura Suiun enclosed in the original signed wooden box c. 1920. The composition escalates, guiding ones vision past the lone occupant of the mountain monastery to the quatrain in the top corner. The mature technique of a master painter; it is performed with ink and light color on silk in a fine silk border with large, solid ivory rollers. The scroll measures 26 x 79 inches (65 x 201 cm) and is in excellent condition. Suiun (1874-1945) was born in Gunma prefecture, and studied the Nanga style under Tazaki Soun. He exhibited with the Nihon Bijutsu Kyokai and Bunten, and served as a juror for the later. He was instrumental in the foundation of the Nihon Nanga-in and was appointed a member of the Imperial Art Academy. His works are held in the collection of the National Museum of Modern Art, Tokyo among many others.

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).

Perhaps the best dragon carving we have ever owned, here is a solid Keyaki carving taken from the interior of a temple with glass eyes glaring fiercely out at anyone who threatens the sanctity of Buddhism. Flames leap from the body blown by fierce winds as it rises from the Churning ocean. The carving practically roils out from the wood panel, fully in three dimensions. It is 78 x 26 x 10 cm (31 x 10 x 4 inches). Please notice the yellow arrows in the last photos, as the whisker of the creature has been cracked and broken off. It is otherwise in surprisingly good condition. The carving is from a Temple in Osaka which is currently being re-built.

Lidded crystal eyes gaze serenely down from the Rakans purchase high on the lofty temple walls. The face is expertly crafted, with a distinct Chinese air reflecting the fact the Rakan (Arahat) were all from the Continent. The robes of green, white and red are patterned with scrolling vines and dials. A dedication on back Appears to be Made for/by Konoike-mura Hachiuemon and is dated Ho-Ei 7 (1710). The new wooden base on which it stands states the piece was restored in 1993. One of likely 16 images which would have been set high in the interior of the temple, gazing down on the faithful as they pray and chant to the main deity. The figure is roughly 20 inches (50 cm) tall and in fine condition, with only minor losses to the colored robes to attest to its great age.
Rakan (Sanskrit Arhat also pronounced and written Arahat, Arhan, Rahat, etc.) is translated the worthy one"; one who has attained the highest level in the Theravada school; the fruition of arhatship is nirvana. He is thus a perfected Arya, one exempt from reincarnation; "deserving Divine honours." This was the name first given to the Jain, and subsequently to the Buddhist holy men initiated into the esoteric mysteries. The Arhat is one who has entered the last and highest path, and is thus emancipated from rebirth. The degrees of Arhatship, called respectively Srotapatti, Sakridagamin, Anagamin, and Arhat, or the four classes of Aryas, correspond to the four paths and truths.

An unusual chato (tea room sword) in the shape of an octopus, its 8 legs stretched out in uniform with one curled back exposing the suckers. Eyes are intimated on one side, with an old chip where the breathing hole is opposite. About the neck is wrapped a faded silk chord. It is 22 inches (56 cm) long. It is said that these wooden swords were produced from the mid to late Edo period, in lieu of swords for those not allowed to carry weapons (all but samurai). During the Edo it is true that commoners wore them to ward off evildoers at night, generally heavier versions which would double as a truncheon, and later as statements of fashion akin to other sagemono. We have found however that their production lasted through the opening years of the 20th century, as long accustomed ornaments of fashion in the tea room (where even samurai were not allowed bladed weapons). To the repertoire of bokuto and doctors sword, we thus add the name Chato, or tea sword, as they were commonly referred to in Kyoto. As with other members of the sagemono group, they were most often made by carvers of Netsuke. This is from a collection of scholar items we are currently offering from the estate of a Kyoto family involved in literati and art movements from the later Edo period on.

A variety of saya lacquer-style samples enclosed in a set of stacking boxes titled Nuri-Hon. Thirty samples covering inlays, various techniques such as nejiri, powdered shell, byakudan, wakasa, and tsugaru techniques. Each sample is roughly 3-1/2 inches (9 cm) lng, the boxes 7-1/2 x 4 x 1 inches (19 x 10 x 2 cm). Very rare and overall in fine condition, dating from the later Edo. This is from a collection of scholar items we are currently offering from the estate of a Kyoto family involved in literati and art movements from the later Edo period on.

A Flask shaped vase decorated with a Shishi (Mythical Lion Creature) in a rugged landscape by multi talented artist Domoto Insho enclosed in the original signed wooden box. The vase is 10 inches (25 cm) tall and in fine condition. Insho (b. 1891) was a Kyoto artist, trained in the traditional Shijo manner, but not one to be bound by its rigidity. He studied at the Kyoto Municipal School of Fine Arts, and under the important artist Nishiyama Suishi. Consistently exhibitied at the large National exhibitions (Nitten, Bunten) while fighting for greater acceptance of artworks. He traveled to Europe in 1952, and was appointed a member of the Japan Art Academy and winner of the Imperial Fine Arts Academy Prize, ultimately receiving the Order of Cultural Merit (highest prize allocated to a civilian in Japan). His works moved steadily toward the abstract, as we will see with the next listing. A true Jiyu-gakka, he refused to be defined by any school and was incredibly influential in his time and perhaps even more so after. His works are held in the collection of many internationally renowned institutions including the Museum of Fine Art, Boston, Tokyo National Museum and Kyoto Municipal Museum of Art. And in fact there is a museum dedicated to him in Kyoto, the Domoto Insho Museum.

The work on this superb Meiji p. Kutani vase would easily rival that of the greatest studios of the time (and surpass those of today!). Chrysanthemum and other flowers in overglaze enamels spread their brilliant foliage over the whit pebble textured moriage shoulder, Gold fading to white below the bamboo fence-like belt inlayed with kiri-kane gold and silver diamonds. Dew drops of gold moriage cling to the large leaves while plums blossom below. All of the work is both vibrant and meticulous, showing a great attention to detail. It is 11 inches (29 cm) tall, 6 inches (15 cm) diameter and in excellent condition enclosed in a box dated 1924 with a Kiwame on the lid by Tabushi Kyojiro attributing the vessel to the work of Hirao Gen. The base stamp reads Kutani Taniguchi.

A pair of dragons vye for the Buddhist jewel in the dark stormy sky of this pair of Edo period scrolls by Ishida Yutei enclosed in an old custom wooden box. Ink on silk, in a brown silk border patterned with clouds and featuring bone rollers. Some minor marks in the upper border area. The scrolls measure 19-1/2 x 77 inches (50 x 195 cm) and are in fine condition. Ishida Yutei (1756-1815) was born in Kyoto, the third son of Ishida Yutei (different first character). He was an artist emulating the Kano style, and achieved the rank of Hokyo.

The turret of a lonely outpost rises from the mountain peak formed by this small Japanese scholar rock set into a hand carved wooden base and enclosed in a wooden box titled Ko jinkaku (Small Armored Tower). The stone is 7 inches (18 cm) tall, 5 x 3 inches (13 x 8 cm). It likely was put together in the early 20th century.

A quintessential Taisho style painting of a boy in a mystical forest of flowers, pigment on silk by Hoson Reisui (b. 1897). The ethereal image seems not so much to be drawn on the silk, but to eminate from it. The boy too seems as if a sprite living in some fantastical reality. There is a minor water streak opposing on the bottom outside of both panels (near the signature) and some loss to the white gofun petals. Each panel is 34 x 59 inches (86.5 x 149.5 cm) and is in overall fine condition. Reisui studied in Tokyo under Hashimoto Seisui, placing him in the lineage of Gaho and Taikan. He later changed his name to Hoson Ryosaku.

Exceptional rendering of the character Moon by one of Zens most important 20th century leaders Yamada Mumon. The ink on paper image is framed in patterned copper silk and features black lacquer wooden rollers. Some faint staining, the scroll measures 17-1/2 x 59 inches (44 x 150 cm) and is in excellent condition, enclosed in a kiri-wood box. Mumon (1900-1988) studied law in his youth, but was converted to the life of Buddhism by a statement of Confucian theory which says, rather than become a lawyer, create a world where there is no need for courts. After taking the tonsure, he initially studied under Kawaguchi Ekai, the first Japanese Zen priest to visit Tibet. However after several years in isolation battling tuberculosis, he emerged to receive his certificate of enlightenment from Seisetsu Genjo, and went on to head a number of prominent Zen temples.

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

Edo period Kimono hang from a lacquered frame on this gorgeous two panel silver screen dating from the turn of the 19th century. Dyed on the shoulder of the Chirimen silk lavender mans kimono is the Mitsuba-Aoi, official crest of the Tokugawa Shognate indicating the original kimono was property of the family which ruled Japan for 250 years. Below is chrysanthemum flowers (symbols of Imperial Power) embroidered over patterned Rinzu Satin. The other is completely embroidered with flower carts over patterned silk. Both are magnificent over the age tarnished silver. Each panel measures 27 inches by 5 feet (68 x 152 cm). There is some wear to the cloth at the inside hinge. It is backed with faded blue cloth in a polished mulberry frame

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

Hotei bows deeply, showing an unusual moment of respect from the surly sage. An unusual bronze image by Oshima Joun enclosed in the signed wooden box. The face is at once relaxed and respectful, one hand wrapped around a gnarled walking stick supporting the heavy bag on his back. All facets are rounded, with a soft, tight orange-peel surface typical of Tokyo school bronzes. The image is roughly 5 inches (12.5 cm) in all directions, and in excellent condition. Oshima Joun was professor at the Tokyo Art School from 1887 to 1932. His works were selected to represent Japan at the World Exposition in Paris (1900). There is a dearth of information available, specifically, for more on this artist see Victor Harris, Japanese Imperial Craftsmen, Meiji Art from the Khalili Collection (London, 1994) and or Arts of the East and West from World Expositions (2004).

Wild roses blossom on the rich tea green sides of this cloisonné vase by the Ando studio enclosed in a custom silk lined padded wooden box with a separate compartment for the rose wood stand (included). The base color is that of maccha green tea, making it doubly Japanese. Each leaf, each thorn each petal is wrapped in a thin silver wire frame. The vase is roughly 10 inches (25 cm) tall and in excellent condition.

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.

Exquisite floral designs rise softly beneath the rich yellow glaze on this large porcelain vase by Seifu Yohei enclosed in the original signed wooden box. Crisp clarity defines the petaled blooms in slight relief blossoming on scrolling vines. A style both Seifu III and IV were well remembered for. It is signed simply on the base Seifu. The vase is 9 inches (23 cm) tall, the same diameter and in perfect condition. This is likely the work of the fourth generation Seifu, dating from the 1910s or 1920s. Seifu, unlike many potters of the time, was low production and tenacious in approach. The third generation head of the family (d. 1914) was honored as a member of the Imperial Art Academy (Teishitsu Gigei-In).

An exquisitely formed sometsuke porcelain by important Seto porcelain artist Kawamoto Rekitei (1894-1975) with raised patterns of grapes forming on the vine. The delicate shades of the steadily browning grape leaves is easily conveyed by the masters touch, each leaf carefully bordered in a raised border, the dark grapes slowly growing plump in the shadows. The vase is 9 inches (23 cm) tall, over 7 inches (18 cm) diameter. Rekitei was born in Aichi prefecture, home of Seto-yaki and a long standing important production center for Japanese Sometsuke porcelains. In 1914, at the very young age of 20, he received the top prize at then National Ceramics Exhibition (Tojiki Hin Hyou Kai and later (1922) received the gold prize at the Peace Exposition. His works were featured at the Paris, San Francisco and Chicago World Expositions. He was contracted by the Japanese government in 1948 to create a vase for presentation to President Truman, and his work graces the collection of the Imperial Household. In 1972 he was named an Important Cultural Property of Aichi Prefecture (Ken Shitei Mukei Bunkazai).

A sage stands in deep contemplation of the sight of a sheer falls , his paige cautiously approaching behind on the rugged outcropping; a fine trumpeting ZeZe-Yaki sometsuke porcelain vase decorated by important Meiji artist Yamamoto Shunkyo. The decoration is performed with a very delicate hand. It is signed on the side Shunkyo followed by a Ka-O signature, and stamped on the base Zeze. The vase is 10-1/2 inches (27 cm) tall, 7-1/4 inches (18.5 cm) diameter and is in fine condition. Zeze yaki is the ceramic ware created in Otsu, (former home of Zeze castle) the artists home of many long years. Shunkyo (1871-1933) was a student of Kono Bairei and Mori Kansai, and taught at the Kyoto Municipal School of Art. He was also a member of the Imperial Art Committee and frequent exhibitor at the Bunten. His paintings are included in most important collections.

A Chawan tea bowl by Goho with calligraphy work by Yamada Mumon enclosed in the original signed wooden box. The calligraphy reads Mi-Do, The Way of Taste, followed by Mumons artistic signature (Ka-o). The bowl is 4-1/2 inches (11 cm) diameter, 3 inches (8 cm) tall and in perfect condition. Mumon (1900-1988) studied law in his youth, but was converted to the life of Buddhism by a statement of Confucian theory which says, rather than become a lawyer, create a world where there is no need for courts. After taking the tonsure, he initially studied under Kawaguchi Ekai, the first Japanese Zen priest to visit Tibet. However after several years in isolation battling tuberculosis, he emerged to receive his certificate of enlightenment from Seisetsu Genjo, and went on to head a number of prominent Zen temples. Later in life Mumon traveled the world, working hard to spread to light of Rinzai Zen.

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

Flora in heavy pigment decorate the gold leaves of this two panel Rimpa screen dating from the late 18th to early 19th centuries. Tinges of red bring a brush of Autumn to the various grasses and flowers. Heavy veining on the gold as well, evidences the age and brings to vivid life the scene in the fore. The screen has been restored at some time in the distant past with some repairs performed then, and is bordered with patterned blue silk in a natural wood frame. Each panel measures 24-1/2 by 71-1/2 inches (63 x 181 cm) and is in very presentable condition.

A dilapidated shrine nestles deep in a forested mountain side with a cluster of stone Jizo and a fudomyo climbing the green hillside behind signed Koho and dating to the late Meiji. A quiet and contemplative scene reflecting the quality of the art of the time, the subject not overstated but resting silently awaiting our discovery. The scene is quite personal, inviting the viewer into its depths for a moment of silence where only the falling of the pine needles and call of a distant bird may disturb ones thoughts. Water falls into a misty vale in the upper right while trees cling tenuously to the shrub covered crags. The thatch covered wooden structure is decorated with various Ema votive placks and a strand of rain washed paper over the door. It is likely the work of Mizuno Koho (b. 1846), a Kyoto artist (Shijo School) active through the early Taisho period. ‚dEach panel measures 37 x 69 inches (93.5 x 175 cm) nd we have had the screen re-backed with sturdy green cloth. Due to regulations enacted last year permission for export must be applied for (a formality) and usually requires about 15 days before shipping.

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

An antique cast bronze waniguchi bell or gong, the type used to hang in front of places of prayer and under temple eaves dated 1710. Often these can be found hanging over saisen-bako where the bell is rung by clanging a dangling rope with wooden corbel against the bell to awaken the gods; coins are tossed and a prayer given. Anyone who has been to a Japanese Temple or Shrine may have noticed one. A much thinner cast than the later bell we are offering

A typical Muromachi style Sansui screen showing scholarly travelers in a ragged landscape of precipitous hills and temples dusted with clouds of gold flake likely dating from the late 16th century. It is bordered in fine antique patterned brocade with a black lacquered frame. The gold mist engulfs the scene, giving life to the unusually large figures, a Muromachi-Momoyama trait. In the area about the travelers’ path, gold has been rubbed into the paper, giving it a soft sheen. The screen measures 64-1/2 x 142 inches (164 x 361 cm) and is Completely Restored.

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 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.

An exquisite large vessel by Seifu Yohei III (1851-1914) enclosed in the original signed wooden box. The mirror smooth surface is lightly tinged pink, a delicate touch only Seifu could create. The Fretwork about the center is absolutely perfect. The vase stands just over 12 inches (31 cm) tall, 5-1/2 inches (13 cm) diameter and in excellent condition. It is signed on the base Dai-Nippon Seifu Zo. Seifu, unlike many potters of his time, was low production and tenacious in his approach to perfection. What makes this piece so exceptional is not just the artist associated with it, but that the artist rarely made such large works. For his accomplishments he was honored as a member of the Imperial Art Academy (Teishitsu Gigei-In).

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.

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.