Catalog: Archives: Regional Art: Asian (643)

Forty sections of various antique katana scabbards have been set about the circumference of this antique suiban basin for use in Kado and Keido (flower arranging or bonseki sand gardens). Striped, mottled, textured, engraved and polished; covered in sharkskin, snakeskin or lacquered cloth. All lie between belts of tiger striped ebony-like hardwood around a removable copper basin. The handles (on each end) are the actual tie points of the scabbard. One bronze button decorated with shells in silver and brass can be seen on one of the scabbard sections, and another is cut to receive the Kozuka (small knife) used by Samurai. The basin is 22-3/4 x 13 x 3-1/4 inches (57.5 x 33 x 9.5 cm) and is in excellent condition. Very rare!

An intriguing lidded bowl patterned with soft blue red and white in the style of traditional hand made temari balls (multicolored silk thread balls) by modern ceramic artist Sato Kazuhiko (b. 1947). The piece is signed on the base and dated 1992, and comes enclosed in the original signed wooden box. Inside the dish is pebble textured stone gray, with a silver tablet fired into the top. A perfect jigsaw cut separates base and cover. Certainly a representative work by the artist, it measures 6-1/2 inches (16.5 cm) round. Kazuhiko is a widely displayed artist and author of any number of books on the ceramic arts.

A well detailed frog sends its spirit up in a mass of swirling clouds forming the basin of this unusual 19th century bronze Usubata signed underneath. The signature appears to read Togyokumu-zo, although the third character Mu is fairly illegible. Great face! The total height is 10 inches (25 cm). Width of basin roughly 8 inches (21 cm). Length of frog roughly 7 inches (17 cm) and weighs 2.3 kilograms (about 5 lbs). It is in fine condition.

A very unusual Kutani vase showing strong Art Deco influence, signed on the base and likely dating from the revival of that style seen in the 1950s. The white porcelain ground is decorated with four stylized tree trunks in overglaze enamels of white, black and various browns, with scattered gold flake between. The vase is 10 inches (25 cm) tall, 5 inches (12 cm) diameter and in excellent condition. Truly a rare find!

An exquisite Murashi-Do Bronze vase signed Shuho and enclosed in the original wooden box. The baluster form is interrupted by three ribs starting at the shoulder and running partially down the sides. The vase is otherwise entirely undecorated, leaving all impression to shape alone. A fantastic piece, it is 12 inches (30 cm) tall, 7-1/2 inches (19 cm) diameter and in fine condition. It dates circa the first quarter of the 20th century.

A radical Iga vase by unconventional artist Kishimoto Kennin (b. 1934) enclosed in the original signed and stamped wooden box. The free form Terracotta image is covered in lichen-like pale green ash glaze. The vase is 10 inches (25 cm) tall, 5 inches (12.5 cm) wide and in perfect condition. Possibly better known today for celadon, Kennin went through a radical period some 15 years ago working on pieces like this unusually formed Iga ware. An artist who has tried many styles, he has been working with clay since the 1950s, devouring styles along the way. Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Traditional Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections.

Jingu, guardian Empress of Japan, stands ready to defend her princely child Ojin held by General Takenouchi Sukune within a painted border of martial articles. Swords, armor, bows and quivers full of arrows, a horse-bit and court cap, tea bowl and other implements precious to the samurai tradition all hand-painted about the central image, laid scroll-like over top but actually all part of the same canvas. The composition has been freshly mounted in toffee colored brocade reflecting the original mounting and retains the original large bone rollers. It comes enclosed in a period wooden box. The scroll is 17-1/2 by 71 inches (44.5 x 181 cm). There is some toning and marks but nothing worthy of distraction. The stamp appears to read Shinsei

A powerful Kon-odoshi Go-Mai-Do Gusoku embellished throughout with matching crests of bound wheat. The helmet is a tetsuji raw iron 32 plate kabuto with brass piping surrounding the Mabizashi and fukigaeshi. The Bound-wheat mon is figured on the fukigaeshi and it features a five lame wide banded Shikoro. The mask is an unusual Saru-Men (monkey faced hanpo) also of raw iron with matching wide banded throat defense. Tapered Sode hand in five wide layers down the shoulder, the top bordered with leather and brass piping. The Do is a typical Hotoke-style Go-Mai-Do (smooth five piece chest plate) bordered in leather with crest in maki-e on the front as well as a small brass version on top of the front, and seven rows of wide Gessan protecting the waist. It retains the original leather liner. The crest is visible on all of the cloth and the upper portion of the sleeves and inner portion of the leggings feature thick gilded leather. The original papered rattan box is included, but due to severe damage, is enclosed in a later wooden case covered with paper. The tab on the back of the maedate is missing, and there are a number of chips on the Gessan and Sode typical of extended use. I believe judging by style this is an 18th century suit of armor refitted in the later Edo (with the wide banded Shikoro, Gessan, nodokake and sode) to meet changed battlefield conditions, making the armor both lighter for greater mobility, and more heavily defended against bullets.

A very rare find indeed, two early to mid Edo period matching Kashi-gusoku Yoroi from the same armory featuring Momonari Kabuto and Hotoke-Ni-Mai Do decorated with jagged bands of gold. A very impressive set. The sleeves are patterned blue and white hemp. The thumb on one sleeve is missing and the two hinge pins. There are broken strings and damage to the lacquer consistent with age and the fact this armor was handed out to soldiers, likely often for guard duties and escorts, and so did see a great deal of use. They are made to fit an adult and come in the pictured wood and bamboo case. The stands are not included. They are likely from the Kaga fief.

A large Amber glass Mizusashi enclosed in the original signed wooden box titled Mizu Utsuwa by Japans top-rated female glass artists, Iwata Itoko. It has a black lacquered wooden lid typical of mizusashi, but a tremendous convoluted form in rich amber which defies simple description. Itoko is one of the top rated glass artists in Japan, and heir to the legacy of Iwata Hisatoshi. The piece is roughly 1 foot (39 cm) in diameter. Work by this artist is in the New York Metropolitan Museum of Art and Corning Glass Museum among others.

This is a genuine theater puppet kashira representing the character Osome. It is not a souvenir. As you can see it is quite clean, however there are three faint vertical cracks in the gofun covering, beside the nose and up the right cheek. The gofun is stable. She wears her hair in an immaculate coiffure held with one unpretentious comb and a ribbon of chirimen silk. Two silver ornaments accent the very simple and attractive figure. The head comes with the bamboo stand shown, as well as the wooden tablet upon which is written Osome. There is a toggle on the neck for raising and lowering her chin. On the stand as pictured, the presentation is 18 inches (46 cm) high. The actual head is about 8 inches (22 cm) tall. Bunraku, or Japanese puppet theater, is probably the most highly developed form of puppetry in the world.

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.

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 deep and mournful sound emanates from this ancient Temple bell from Zennoji temple dated the 20th day, fourth month of 1686. One panel is inscribed Humbly presented, Shokakuzan Zenno Zen-Temple treasure, For the Nyodendoshi-Mujo Bosatsu Buddha. It is further inscribed Donated by Harada Shitaro of Saijo Village for the priest Jusanzoshu. We have been told by the previous owner this and another bell are from Zennoji Temple in Kanazawa prefecture. The striker plate, in the form of a petaled flower, has worn over time to be almost indistinguishable in form. The bell measures 21 inches (53 cm) tall, 12-1/2 inches (32 cm) in diameter. There is a casting flaw beneath one of the studs, with a dent below, otherwise is in fine condition, especially considering its age. Originally a small Zen temple founded in 1566 on Shokakuzan Mountain, Zennoji was moved down to the base of the mountain later, and is recorded in the book ShinpenKamakuraShi published in 1685. The temples records state it was moved after being heavily damaged from a typhoon caused landslide. This is believed to have taken place over time between 1688 and 1731. Currently the temple bears a different first character (Sennoji), however is still read Zennoji in the local district. Now the temple houses a standing Kanon, but was originally said to have been dedicated to AizenMyo-O, destroyed by fire in the later Edo, and it was after this last rebuilding the temple name was changed.

Oarsmen battle Tempestuous seas to carry safely home their cargo of courtly women in this vivid scene signed Hakushun dated 1932. The oars bend under the strain of the ferocious seas, the oarsmen pull with all their might. Behind bamboo curtains the young women huddle together, their courtly robes flowing about like the oceans mad waves. A very powerful scene supervised by a noble seated at the back of the small ship, witnessed by a gaggle of cormorants resting on a jagged rock cluster. The silk screen is bordered with an unobtrusive black lacquered wooden frame and measures 9 feet by 55 inches (275 x 140 cm). It is in excellent condition but for some minor marks in the upper portions. Due to the war, which started for Japan in 1932, records on artists for this and following years are scant. However the painting is very much in the style of the artist Matsumura Ichiyo, and Hakushun may have been one of his students.

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.

A very unusual hammer textured lotus shaped tray featuring an insect crawling down the side enclosed in a wooden box titled Textured Leaf Shape Fruit Dish and signed Tekisui Zo (made by Tekisui). The brass basin is supported by a withering round stem convoluting beneath. A bright portion of brass hammered out with holes show the leaf slowly deteriorating, returning to earth. The insect is like a red flying-beetle or lady-bug, very detailed. The dish is roughly 6 by 7 inches (15 x 17.5 cm) and stands about 1-1/2 inches (4 cm) tall, dating from the later 19th to early 20th century. The style is akin to many types of receptacles used in the service of Chinese tea, which was massively popular from the beginning of the 19th century. It appears the insect, which is held in place with a rivet, has come loose and been re-attached at some point, with file marks left from the work visible underneath. .

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.

A furosaki tea room screen made of a very large hanga woodblock print in the fashion of Inui Tai mounted within a simple wooden frame and stamped in the lower left corner. An intriguing work, village roofs are visible over a sea of rice containing all manner of small country scenes. A cat glares at two frogs, boys pluck small fish from irrigation ditches, uniformed students ride on their way to school, a farmer carefully cares for his plants… The screen is entirely black and white, accentuating its primitive charm. Each panel is 16 by 35 inches (41.5 x 88.5 cm). The screen is backed in red patterned paper, with one scratch in the back, the front in perfect condition but for a shadow in the white paper reflecting the cloth from long exposure (see pictures).

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.

An haunting 17th century sumi-e image of a goose at twilight by Kano Toun (1624-1694) in the original Edo silver threaded brocade border patterned with clouds, upper and lower extensions of heavy coffee colored cloth ending in ivory rollers. The almost complete dominance of white seems to convey a passage through space, from clarity into obscurity, leaving the viewer with a slight sense of loss echoing in ones memory. Kano Toun, (born Masanobu, 3rd son of Goto Mitsuyori) first learned painting under Hogan, then became the pupil of Kano Tanyu (1602-1675). The influence of Tanyu on the painter is obvious. This is one of the finest scrolls we have owned. It measures 10 1/2 inches by 56 inches and is in fine condition.

A skeleton sits in meditation, dried autumn grasses rustling in the wind the only sound on this unusual Edo period scroll. Above is an epitaph reading: Impermanence takes life like wind strips the petals from a flower, Neither Gods nor Saints can evade, Evil within mars the spirit, Lofty stature or humble servitude, All fall prey, Yet all can be forgiven. To the right of the seated figure is a tablet covered in Sanskrit characters. The age darkened paper is bordered in sumptuous copper brocade with an inner frame of gold laced plum and features black lacquered wooden rollers. The scroll has been completely remounted, reflecting the original design. It is 18-1/2 by 53 inches (47 by 134 cm) and is in good condition for the age, with some minor insect damage to the paper surface, and loss to the white gofun powder forming the seated figure.

This fine antique lacquer tray features a Gold lacquer rim surrounding a field of jet black dominated by two stylistic butterflies, the underside a sea of Nashiji. It is enclosed in the original signed wooden box inside of which is a paper seal reading Nai-gaikoku Hakurankai, Kyoshinkai, Hinpyokai, Kingindosho (National International exhibitions, Kyoshinkai, Industrial exhibitions, Gold silver bronze prizes) followed by the store name Higashimon shoten, Fujibo, Osaka It is in very good condition, yet does show some signs of use in some very minor abrasions on the black field inside. There are no chips or cracks, no loss to the lacquer. It is 12-3/4 by 18 by 2 inches (32.4 x 45.5 x 5 cm).

Sculptured black pines rise from the misty forest floor, yellow sky fading beyond; a brilliant modernist rendition of this traditional theme by Yamauchi Issei (b. 1929). The entire scene is performed with colored paper, applied directly or wetted and applied as pulp. Fantastical shapes seem to dance across the two panel canvas. Gold strips applied in the upper branches are sunlight’s last rays reflecting off the needles, the yellow sky implicating late summer dusk. Saved from the harshness of day, the forest floor is cool, and gray waves seem to lap at the shore beyond. The screen features a rare shunkei-nuri red lacquer wooden frame, and is backed with handmade paper. It is 61 by 61 inches open (155 x 155 cm), and in fine condition. The paper artist Issei works from his studio in Aichi prefecture, his works have been presented at any number of exhibitions, both domestically and nationally, including the Nitten.

Peach bands of silk arranged in vertical columns stagger across six feet of Kesa interspersed with colorful patches featuring flowers and geometrics. The Kesa is backed with sumptuous orange silk. It is accompanied by a smaller piece of the same design called Ohi, a sash worn along with the Kesa. The Kesa is 78 x 45-1/2 inches (198 x 115.5 cm), the smaller Ohi 12 x 57 inches (30 x 142 cm). A fabulous wall hanging, they likely date from the early 20th century and are overall in very good condition. The unusual pattern of Kesa (Kasaya in Sanskrit) is based on the garment worn by the Buddha, purportedly made by him from scraps of funerary cloths picked up along the banks of the sacred Ganges. It is said the Buddhas Kesa was 10 feet long. The design of kesa is a symbol of the Mandala, the four corners protected by patches representing the four Guardians of the Cardinal points of the universe. At the top of the third and fifth columns are patches representing the Buddhas of benevolence and wisdom. The oldest examples of Kesa in Japan date from the 8th century.

Waves thrash about in a playful frenzy below the calm watchful eye of a full moon partly blanketed by dark clouds in this extraordinary painting signed Kagyo dating from the later 19th century. It is bordered in ivory colored brocade embellished with clouds extended in golden brown silk and features ivory rollers. The scroll is 21-1/2 by 79 inches 855 x 200 cm) and, aside from minor bands of yellowing of the silk expected of age, is in fine condition. It comes enclosed in a period wooden box.

An amazing bit of weaving has been performed on this modern bamboo basket made in the shape of a gardener’s vegetable collecting basket. The long body has tall sides, open at one end, and is signed underneath Tosho. It has been formed of two shades of thinly cut bamboo, susutake and aged yellow take. Susutake is taken from the roofs of traditional houses, highly prized as it takes many years to color, being stained slowely by smoke and soot from the hearth fire. The basket is 10-1/2 by 26 by 9 inches (66 x 26.5 x 23 cm) and is in perfect condition.

A representative large Yuteki tsubo vase by Tenmoku specialist Kimura Morikazu (b. 1922) enclosed in the original signed and stamped wooden box. The vase is 9-1/4 inches (23.5 cm) diameter, the same height and in perfect condition. Born to the house of a Kyo-yaki potter, he established his first kiln in the Gojo Zaka area of Kyoto in 1947, moving to Fukui in 1976. He was awarded the Japan Society Award in 1967, as well as being awarded at the Japan National Traditional Craft Exhibition, and is held in the collection of both the Kyoto National Museum of Modern Art and the Imperial Household Agency. Included in this sale is an exhibition catalog by the artist from 1973.

A superb pair of Tokkuri sake flasks by LNT Tokuda Yasokichi III (Masahiko, b. 1933) enclosed in the original signed and stamped wooden box. The slightly belted form seems to imitate a gourd, with glaze fading up from rich purple to green to deeply crackled white. Each piece is 6-3/4 inches (17 cm) tall, signed on the base in a traditional Kutani cartouche Masahiko. Masahiko was trained under both his grandfather and father, succeeding the family name in 1988. He has been awarded at the Nitten National Exhibition and National Traditional Craft Exhibition among many others. In 1997 he was named Living National Treasure for his work with Polychrome glazing. His work is very different from the Kutani ware produced up to this point. Relying on simple, elegant shapes and Saiyu graduated glazing, retaining in general colors of traditional Kutani ware. As the box is signed Masahiko, we would date this to the era preceding his succession of the family name.

A giant mingei carved mask of an oni (demon) embodying the indefinable sense of madness particular to Japanese Demon images. The face has a mysterious mixture of sadness and evil not duplicated in any other culture, a truly pitiable character. The mask, carved from a single block of wood, is just over 2 feet (66 cm) tall and in fine condition.

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.

At first glance this appears to simply be a large image of a burning tree, however, look again and find the tree like figure is in the from of two entwined lovers, flames leaping from their impassioned bodies. This was likely made as an exhibition work, as it certainly would be difficult to fit into even a large Japanese home. The piece is signed Yoneda Mio, (Yoneda Mionosuke), and likely dates from the 1930s. The canvas measures 49 x 61-1/2 inches (124 x 156 cm) the frame 52-1/2 by 65 inches (133 x 165 cm). Overall the painting is in good condition, with minor abrasions typical of age, the frame has sustained a great deal of damage.

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

Water tumbles from steep dark hills into a roiling sea of clouds on this painting by Japanese artist Fukuda Kodojin (1865-1944) enclosed in the original signed wooden box. The erratic brushwork and radical form of this scroll typify work by the unusual self taught Nanga artist. Three tiny huts cluster on the edge of dark forest, a few paddies scratched from the rugged earth, their seeming insignificance a testament to the artists great love of nature. The scroll is 18-1/2 by 82 inches (47 x 208 cm) and in excellent condition. Bordered in green tea colored brocade, it features ivory rollers, and comes enclosed in the original signed box which is in turn enclosed in a lacquered wooden box (nijubako), wrapped in the original paper sleeve. Kodojin's status as a poet calligrapher and literati artist has reached legendary status. Born at a time of great change (4 years before the final fall of the Edo Government), he lived through the westernization of Meiji, Taisho Democracy, the rise of Imperialism and final defeat of the Showa eras. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. He moved to a village outside of Kyoto in 1901, where he supported himself and his family by privately tutoring those who wished to learn Chinese-style poetry. Kodojin's was simply a scholar. His poetry, painting, and calligraphy all stem from a life-long cultivation of the mind. He was known to have taken the time just before his death to destroy the large portion of his own remaining work, leaving only that which must have met some personal criteria. For more on his life see the book Old Taoist, or Unexplored Avenues of Japanese Painting. Twenty five paintings by the artist formed a private exhibition (from Gitter-Yelen) at the New Orleans Museum of Art in 2000, and he is part of the Hakutakuan collection among many others.

A quaint hand-carved image of Minogame (a sea turtle) supports this antique bamboo pipe tap dating from the second half of the 19th century, the rich dark wood highly polished from a century of fond handling glows like satin. The turtle is a symbol of longevity in Japan, and often is depicted in celebratory situations. Here the creature has been chiseled out of a solid chunk of wood, head raised over the top of its shell. From a flattened are on its back rises the goma-kasu speckled bamboo tube which is capped with a turned piece of rosewood. It appears to have been treated with something (perhaps persimmon oil) leaving only the eyes a lighter color. A wonderfully decorative bit of Mingei, it measures7-1/2 inches (19 cm) long, 6-1/2 inches (16.5 cm) tall. Mingei is a term combining the character for people and craft, or folk craft.

Swirling eddies decorate the rim of this gorgeous vase of huge dark hollowed vine, golden minnows swimming up the sides of the natural current made by the winding wood. A very unusual piece which exemplifies the Japanese awe and care for nature. Minor burls and burs in the wood act like rocks under the swift moving water, the pattern rolling over them in a raucous rush. This special piece of wood, extremely large for a vine, appears to have been naturally hollowed out over time, the twisting pattern outside duplicated roughly within, as if the wood had slowly hollowed out over the centuries. Taking this natural form, the artist has inscribed on its sides a theme which both matches the unusual pattern of the wood and depicts another aspect of the natural world. A one of a kind piece to decorate the Tokonoma of a tea room. The vase is 11-1/4 inches (29 cm) tall, 6 inches (15 cm) in diameter, and comes enclosed in an ancient wooden box. In Shintoism it is believed that gods inhabit the ancient growths. Perhaps when this piece fell, the artist sought to preserve some portion of that ancient being with this amazing work. Unfortunately my photographs fail entirely to capture the true beauty of this amazing piece.

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 male peacock struts proudly before a gorgeous plume of color on this mid 20th century hand painted screen signed and stamped Yushin. The colors are slightly muted, in a typical Japanese way, the background awash in mottled silver-gray, presenting the brilliant greens and blues of the birds fabulous attraction. It is bordered in a wooden frame covered in Negoro lacquer, unusual green over red, matching the painting perfectly. Each panel measures 32 inches by five feet (82 x 152.5 cm) and is in excellent condition, even retaining the original backing cloth.

A beautifully written tea room scroll by 19th century calligraphist and seer/soothsayer Yokoyama Marumitsu (1780-1854) bordered in pale green brocade and featuring bone rollers. The calligraphy is very expressive, dark lines varying dramatically in width as they curl down the wide sheet. The signature line reads A 72 year old man Kiosanjin Marumitsu making the scroll date to 1851 by Japanese age count(Kiosanjin was one of his many literary names). Aside from minor wrinkles (not hard creases) the scroll is in excellent condition, and measures 24-3/4 by 49 inches (63 x 124.5 cm). Born in Edo (present day Tokyo), Marumitsu was actually a bit of a forward thinking individual in his time who believed every person was born with a unique character that was buried over time by societal pressure, and the only way to live happily was to toss out ideas contrary to the inner self, thereby purifying ones true form. He was a proponent of the ancient Chinese art of Tengen-Jutsu, a fortune telling method he studied under Okuno Kiyojiro. My interpretation of the scroll: The middle lines are a bit sparse and difficult to read, however, overall the gist seems to be: Everyone has shame, The original heaven (self?) lies deep within, Gods willing (not in the western sense of god), Fortune will arise, A full life. My interpretation is: We have all a dubious past, but true heaven lies within, and gods be willing, through our own effort, the god within will shine, calling fortune. Allowing a full life. Given the context of the artist, this seems to be an apt work.

Dragons writhe across the face of this astounding free standing temple which was a long time display piece in a Butsudan Shoten, an example of the finest work available for Japanese altars. The piece is more than 60 years old, as the current owner of the store (third generation) mentions it has stood there for as long as he can remember. It is entirely hand made; each piece of wood finely shaped and lacquered, each bit of metal hand etched before assembly. It rises from a 9 stage base of red, black and gold lacquer, each stage separated by tiny carved and gilded waves, and centering on a pair of 3 dimensional dragons vying for the prized Buddhist jewel between red colonnaded bows, tumultuous waves crashing down the sides. There are almost 100 pieces of decorative brass on the base alone! Enclosed in a scrolled wall is the center section made up of 10 black lacquered pillars heavily embellished with golden trim separated by carved cornices supporting the roof, which I cannot even begin to describe in its complexity, and will have to let the pictures show the work. The temple breaks into four sections, the base, pillared center, middle and top of the roof. It stands 38-1/2 inches (98 cm) tall, 20 inches (51 cm) wide and 12 inches (31 cm) deep. As mentioned before, this was a display piece showing the best available for Butsudan interiors; Butsudan are altars enshrining ones ancestors. The three black lacquer panels in back were added some years ago, and there are a few small pieces which have broken off and gone missing over the years; however it is surprisingly intact for such a delicate item. Pictured both with and without, all of the golden balls on the roof are accounted for. In Japanese altar making, each step is performed by a separate craftsman, cutting the wood, shaping the wood, lacquering, gilding, painting and assembly. Numerous individuals have worked to show the highest quality work for this outstanding altar. Ordered new today, this would be over 20 thousand dollars.

A young woman in rare western dress gazes across this early to mid 20th century Bijinga scroll signed Ikko (Furutani Fujio, b. 1891) enclosed in a period wooden box. Her bright western dress and short hair must have made quite an impression in conservative Japan. The silk painting is bordered in green brocade embellished with flowering vines, extended with beige and features bone rollers. The scroll measures 21-1/2 x 52-1/2 inches (54.5 x 133 cm), and is in fine condition. Fujio was born in Kyoto, and developed hiw approach to Nihonga under the tutelage of the great Yamamoto Shunkyo, and later became a member of the Nitten.

One of the most interesting vases I have seen by this potter, quite striking in appearance, with brick colored dashes struck briskly through the dark molasses of the vase. Under the glaze we can see the artists signature Jomon rope impressions pressed into the clay. The Jomon pattern (the Jomon were ancient peoples of Japan whose pottery was typified by rope impressions) is what Tatsuzo is most famous for. The vase stands 10-3/4 inches (27.3 cm) tall, and is 4-1/4 inches (11 cm) across the shoulder and comes enclosed in the original signed wooden box. After serving in World War II, Tatsuzo apprenticed under world famous Mashiko Mingei potter Hamada Shoji, establishing his own kiln in 1954. Working with rope patterns, (his father was a rope maker) Tatsuzo set out to create a style unique to himself. In 1996 he was designated a Ningenkokuho (Living National Treasure). Quite often more subdued, this piece seems to bridge the gap between the shapes and textures of Tatsuzo, and the bold colors of his sensei Hamada Shoji.

An absolutely brilliant winter landscape by Edo period artist Sumie Buzen (1734-1806) dominated by impossible crags and radical trees, a single pagoda the only evidence of man in the artists mad world. Ice glimmers white on the limbs of scattered brush across the barren winter scene of tumbling cliffs, the white roofs of the tower cupped in a hand like jumble of stone. However all serves as backstage props for the twisted tree clinging precariously to the edge of the precipice at bottom right. Performed in heavy outline, the painting is a quintessential example of Kano landscape art. The scroll measures 22-1/2 by 75 inches (57 x 190 cm). Originally a sailor from the merchant city of Osaka, Buzen took up sculpting, then painting, studying the later under Kano school master Tsukioka Settei (1709-1786). In landscapes he was later heavily influenced by the work of Ike-no-Taiga, however painted in a wide range of styles, clinging to no certain school. A free style artist (jiyu gakka) from long before the term was coined.

Here is a fine squat jar form vase, the deep red clay covered in fish-eyed tenmoku glaze by Living National Treasure (Ningen Kokuho) Shimizu Uichi (1926-2004), enclosed in the original signed wooden box. Iron red shows through with startling effect like meteorites in a dark night sky of blue and brown. It measures 6-1/2 inches (16.5 cm) tall, the same diameter. Shimizu is known for the soft persimmon red temmoku (iron oxide) glaze, as well as crackled white and celadon glazes. This is an excellent example piece by the artist. Uichi was born in Kyoto the son of a ceramic dealer. Discarding the family business he apprenticed in plastic arts under Ishiguro Munemaro. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art and the Freer Gallery among others.

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.

An extraordinary scene unravels in this raucous tumbling Literati scroll by Kyotos Shirakura Niho (b. 1896) enclosed in the original signed wooden box. An inscription in the box lid names the scene The Hermitage West of Kamo (River) called Taka-Ike-Kyo. A solitary man looks up from his reading toward open ground, his thatched hovel lost in a jumble of bamboo flanking the steep falls rushing white through the foliage. The vibrant work harkens to the radical Taisho period, when Nanga and Japanese art in general was at a peak of creativity. It is bordered in silvered-green silk and features large solid ivory rollers. The scroll is 22 by 85-1/2 inches (56 x 217 cm) and is in fine condition but for some light foxing which gets lost in the complexity of the scene. Niho was trained under Hatori Goro and Chikuson, and was often presented at the Teiten and Nihon Nanga Inten.

An unusual modern art vase in robbins-egg-blue dating circa 1970 enclosed in the original signed wooden box by Kyoto artist Kumakura Junkichi (1920-1985).. The blue metallic glaze flows down the sides leaving a distinct pattern in the smooth surface, collecting in oil drop pools around the thickened base. Notches cut in the surface are turned out at various points to allow the insertion of flowers and twigs on all surfaces. One could make a variety of very interesting arrangements with this attractive piece. Signed on the base Jun, it is a little less than 5 inches (12 cm) square. The vase is in fine condition but the box appears to have been wrapped in a red cloth which was once wet, allowing the die to seep into the box surface. Junkichi began working in ceramics in the 1940s, his works submitted to innumerable National and International Exhibitions including the Japan Art Festival, New York and the international Arts and Crafts Exhibition in Florence Italy. He also submitted to the Brussels World Exposition and helped design murals for the World Exposition Osaka. At the International Ceramics Exhibition, Prague in 1962 he took a silver prize. He was also often exhibited and is in the permanent collection of the Japanese National Museum of Modern Art as well as the National Museum of Modern Art, Kyoto.

Here is a rare and fabulous Muromachi to Momoyama period (16th century) 42 plate koshozan kabuto signed by Haruta Tokisada, a famous armor craftsman of Nara active during the later Muromachi. The shape is exquisite, slightly bulbous in back, with a relaxed center just lower than the front. Three clusters of silver clouds are incised in damascene in the Mabizashi (visor), above which are 12 large hoshi rivets fastening a decorative iron plate to the front of the hachi. The fukigaeshi bear a four-snake-eye crest (of the Takeda clan) on the leather covering. It features a 3 lame sugake laced Shikoro of nerikawa original to this particular helmet, the lowermost tier covered in gold gilded patterned leather. There is damage to the Shikoro on the right rear (see photos), some petals missing from the small hachimanza and the cloth liner is in poor condition. However the Hachi itself is fine and an excellent example of this style. Extremely collectible.

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 blossoming cherry occupied by two Birds of paradise spreads its arms over blue water flowing across the gold ground of this fine two panel screen by Kano Takanobu (d. 1794). The scene is depicted with mineral pigment on paper and gold foil. The artist has chosen a softer than traditional approach to the tree bark, almost boneless, all written with washes of dark color like that of the Rimpa school. The blossoms themselves are painted in slight moriage gofun, each heart shaped petal unique. It is quite spectacular. The screen has been fully restored at some point in the past, likely late 19th century, and touched up once more recently. There are two large areas of damage that were repaired, the first in the upper section along the border around the spine, where it appears the gold is much newer, and a 4 inch tear above the blossoming branch beside the birds. Also insect damage in the (must have been delicious) blue river has been repainted. Each panel is 34 by 69 inches (86.5 x 176 cm). There are faint water stains in rivulets running down the painting, however due to age and faint nature are not distracting. The screen is bordered in blue-green brocade separated from the painting by a white strip, and features a black lacquered wooden frame with high quality etched brass fittings. There are abrasions typical of age, but overall this is a very decorative screen in fine condition. Takanobu was the first born son of Kano Hidenobu, he achieved the rank of Hogan before his death in 1794.

A lovely late Edo to early Meiji period square footed dish decorated with autumn grass and crosshatching in underglaze iron with a charming lacquer repair in one corner featuring a crescent moon expertly rendered. The dish has been formed on a cloth covered pattern; impressions remain visible in the surface through blanks in the thick white glaze. It was made with fluted corners, with 4 pressed on loop feet. The dish was dipped in glaze from one side, then held on edge, allowing the glaze to run in several thick streamlets across the center, finger marks of the artist as he held the dish after dipping still visible as blanks in the white. A very attractive repair has been performed to one corner using three shades of lacquer, creating a golden moon partially obscured but still visible through silver clouds. The piece comes enclosed in an old wooden box, and measures 8 by 10 inches (21 x 25.5 cm).

A collection of huts glow softly huddled in the protection of towering rocks in this lovely winter landscape by Akamatsu Unrei (1893-1958) enclosed in the original signed wooden box dated 1928, which itself is in turn enclosed in a protective red lacquered wooden box (nijubako). A true master of the genre, Unrei was born in Osaka, and apprenticed under Koyama and later the famous Nanga-ka Himejima Chikugai. At a relatively young age he exceeded the talents of his forbearers, finding a new way of looking at Nanga all his own. His paintings were often submitted at the Bunten/Teiten national exhibitions. This is a truly wonderful painting, and my usual litany of words fails me. He has set the stage with a dark wash of gray across the horizon, the empty paddies, separated by snow covered paths, reflecting the dark sky. Brown leafless trees stretch out from the white ground interrupted by massive crags of stone, and tucked away in the shelter of all this is the soft pink warm walls of a village idling away the winter months in comfort. The delicate use of light color throughout the scene provides a much richer, deeper perspective than is normal. The scene is mounted in rich brocade embellished with vines, extended in beige brocade of similar pattern, and features solid ivory rollers. It measures 22 by 55 inches (56 x 140 cm) and is in perfect condition but for a small pale spot like a fingerprint in the mountain below the signature.

A pair of ancient iron tongs for working charcoal within the furo during the Japanese Tea Ceremony enclosed in an ancient wooden box titled HiBashi, Todaiji Kawara-Kugi, or charcoal tongs, Todaiji, Roof Tile Nails. One of the nails shows deterioration in the center where it rusted on the surface between the tile and the roof. The hand forged nails are just over 9 inches (23.5 cm) long, folded over on the flattened ends to form the head. The polished rusty surface, and the manner in which the heads have pitted is the essence of wabi! An excellent addition to the tea room.

A fine Edo period portrait of a sinewy middle aged samurai proudly seated before a pair of swords, a table upon which rests an ink stone and book at his right elbow. Exquisite detail in the figures face and fine lines and shadows in the clothing are reminiscent of portraits by the great artist Watanabe Kazan. The portrait is signed Higashiyama Giryo and dated Tenpo 3 (1832) and the epitaph is signed Raijo. The portrait appears to be of a samurai named Kanda Hojo. The artist Giryo is likely a student or successor of the famous Kyoto artist Giryo I, who died in 1813. The ink and color on silk scene is bordered in complimentary blue cloth with bone rollers and comes in a fine kiriwood box. The scroll measures 11 by 70 inches (28 x 178 cm).

A noborigama (multiple chamber climbing kiln) ascends the right side of this wildly brushed Autumnal Nihonga screen signed Takuji, which dates from the late 1920s or 1930s. Drastically contorted thatched buildings are shaded by a massive leafless tree which dominates the center of the scene. A few remaining leaves dangling after winters first frosts, shine with gold about the edges. The back ground is a milieu of rich blues and blacks, shaded with the ghosts of winter trees, the whole awash with mica, giving it an ethereal glow. In the foreground smoke drifts from where unglazed pots are being fired in a small subterranean kiln in the garden, and others are drying under the thatched annex on the left, while the craftsmen carry pots and wood to the kiln in preparation for firing. Nothing is within scale, yet the artist has managed to balance the extreme manga style work with the two dimensional charm which epitomizes traditional Japanese painting. The screen measures 68 by 74-1/2 inches (173 x 189 cm) and retains the original silk backing which is in fine condition. This is one of the most interesting screens we have ever owned. The eye is constantly pulled to a new aspect or view, and although it has been standing here in the office for almost two months (unprecedented) I have yet to tire of its interest. It is likely the screen is an early work by Koide Takuji (1904-1978) as, were one to take the radical brushwork of his Youga sketches and give them a Nihonga flair, the result would be something which looks very much like this. It was after all, in the 1930s, that the Japanese government took the ideology that Nihonga was the only true art in Japan, and a great many young artists practiced the genre.

A framed calligraphy fan painting by important Edo period poet Kawano Tetsuto (1825-1867), published in the book Shijin Kano Tetsuto (1932). The ancient paper fan is mounted in a field of gold flake bordered with black lacquered wood, the frame measuring 11-1/2 by 23-1/2 inches (29 x 59.5 cm). There is one spot of damage to the flecked gold mounting in the lower right (see photos). Tetsuto was an influential poet and scholar of the late Edo period, trained in the arts under Yoshida Kakusen and Somekawa Seigan. Forced to read by his father, he began studying Confucian theory at the age of 6, and by 11 had mastered the 100 Sanyoshi poems, to be called a genius. Two years later he became a pupil of Shirotani Junji. He lived rather freely, loving wine, song and women. He wrote the poems Ho-no-Kai-ko and Shuengai-Nishu and was also a well known flute player. In 1862, five years before his death, he was elevated to the position of a guardian (hanshu Seiwako Oban Gashira) at Nijo castle in Kyoto. During his life he established a school in Osaka; his most famous disciples were Noguchi Shoyo and Yagi Tenkawa. In 1867 he died of complications from diabetes. 60 years after the passing of Tetsuto, his work remained so important; his rank was again elevated by the Showa Emperor in 1928. A copy of the book in which this piece was published is included with the sale.

A square bottle vase by one of the most sought after and influential of all Japanese ceramic artists, Kawai Kanjiro (b. 1890), enclosed in the original kiri box signed by the master, which we have had authenticated at the Kawai Kanjiro Memorial Museum (now endorsed on the top by his daughter, Kyoha). The pale crackle glazed vase dates circa 1935, and is decorated with flower like dabs of rust and cobalt typical of this period, with dark iron fading out from the square mouth and base. As would be expected, the vase is expertly crafted from pale clay, and measures 7-1/2 inches (19cm) tall, 4-3/4 inches (12 cm) across the body. 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 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. Rrefusing 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.

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.

Here is a very rare early Edo period Ni-mai-do Gusoku prominently displaying a Christian cross like symbol on the front and back of the chest plate in gold. It has a simple kabuto of 6 vertically joined iron plates falling from a circular peak, with a three lame Shikoro. Displayed on front is a wooden crescent moon maedate covered in textured gold (likely a later reproduction). The mask is an unusual Hanpo with a very small mouth in the Momoyama style. The Sode consist of five pieces, the lowermost trimmed and covered in gold, which has largely worn away. The two piece iron Okegawa-do is covered in black lacquer and bears the cross symbol on both front and back. From the waste hang 7 rows of fluted Gessan in red Odoshi. The sangu (Kote, Suneate, Haidate) are made of heavy iron splints connected by chain mail over indigo dyed hemp. It comes with the box pictured, a quality kiri box much worn and often repaired over the centuries (the stand is not included).

A very unusual unglazed small tea pot decorated with various nuts and seeds all in three dimensional relief, featuring a mushroom shaped lid dating from the later 19th to early 20th century. Known as Banko in Japan, the kilns which produced these items were also responsible for the Sumidagawa pottery so popular in the west. This piece has 8 seeds about the shoulder, including peanut, pumpkin and sunflower. The spout is in the shape of traditional Japanese sweets rolled in a leaf, and the body rests on six legs, one of which is a lotus pod with 7 individual seeds mobile inside. It is stamped inside the lid by the maker and measures 4-1/4 inches (11 cm) tall. It appears to have a very old chip in the spout (see photos), and the inside edge of the lid is rough.