Catalog: Archives (600)

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

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 set of two gilded and lacquered wooden Imperial memorial tablets dating from the Taisho period (1911-1925) on elaborate 3 piece stands; one etched with the name of the Meiji Emperor, the other noting the current emperor (at that time). The mirror, one of the three Imperial signs, is represented floating in a sea of stylized clouds on the cornice cap, separated from the ornately carved plaque by a red and black lacquered slab. The scrolled center section is adorned with Imperial chrysanthemum dials in a field of blue, originally decorated with (now faded) vine tendrils. In the Gold center of one is written Meiji Tenno Songi, in memory of the Meiji Emperor. This tablet appears to have lost some of the gold lacquer, revealing a smooth, darkened silver underneath. On the other is Kon jo ko tei fuku ki ei koku bou ka mu kyu, A prayer to the present (at that time) emperor for long life, and to bring hope and prosperity to the country. The two epitaphs rest on square gilded slabs carved with folding flower petals, which in turn rest on a black and red lacquered, two-footed wooden base. This whole package is set on a sloping raw cedar stand, which is in turn on a small gold base, in turn set on a large gold stand. This lower section was so blackened with age I did not know it was gilded until we started cleaning it. Each piece in this puzzle features a panel of vertically striated wood set in to the front. The entire structure is 50 inches (127 cm) tall, with a base footprint of 10 by 15-1/2 inches (25.5 by 39.5 cm). The tablet itself measures 21 inches (53 cm) tall. On the black lacquered back of one are written the birth and death records of recent Emperors on two pieces of overlapping paper. It would seem the original paper was written at the beginning of the Taisho, and later amended with information on the Showa Emperor.

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

Four calligraphy works dating from the Edo period mounted on an antique two-panel Kama-byobu tearoom screen; the backing paper covered with minute gold flake. The centerpiece of the screen is a scene of Mt. Fuji next to the character Ryu (for Dragon). This piece is signed Ryukoubi (Soro Ryu 1714-1792) a well documented artist known for calligraphy and poetry who seemed to change names and addresses as often as humanly possible. The other three pieces are by a separate artist, one of which bears the artists stamp. Each character has been bordered in silver leaf, before being applied to the gold flecked backing. The screen measures 17-1/2 by 70 inches (45cm by 178cm) and dates to the early 20th century. It is typical for pieces and screens to be remounted periodically due to damage or age, or even simply fashion, as popular styles of border material and backing paper change. Due to typical wear, we have had the back paper of this screen replaced.

Spiraling lines and wispy trees rise up to the heavens in this convoluted landscape by Fujimoto Tesseki dated 1855. If one looks carefully, it is fun to see the artists playful choices of colors, not apparent at first, like the blue trunk on the central tree at the base of the painting. Dramatic and colorful landscape Ink and light color on silk, the scene is enveloped in a patterned white satin border with white piping in the Mincho style popular in the 19th century, and features absolutely massive rosewood rollers. The scroll is 21-3/4 x 78 inches (55.5 x 198 cm) and is in overall fine, original condition. The box is titled Keishi Giken no Hito Fujimoto Tesseki Okina Chakushoku Sansui (Colored Landscape by Noble Hero of the Old Capitol the Elder Fujimoto Tesseki) and is signed within Kozan.
Fujimoto Tesseki (1817-1863) was a samurai literatus from Okayama skilled in Martial arts as well as philosophy and Chinese History. A loyalist, he was killed in battle during the years leading up to the Meiji Restoration. A well known painter in the Nanga style, he left a small body of works for the world to remember him by. He was posthumously awarded by the Meiji government for his part in the restoration of the Emperor in 1892. He is held in the British Museum and Tokyo National Museum among others. Enclosed is a registry paper of the Mori family of Kyoto from whose collection this scroll came.

A pair of ceramic Cormorants by preeminent early 20th century Master Miyanaga Tozan enclosed in the original signed wooden box. The cormorant has a special place in Japanese art. Like the hawk is a bird used in hunting, the cormorant is a bird used in fishing. A rope would be tied around the long necks of any number of the birds, them then taken out into the water with huge torches burning on the prows of the fishing boats. When the birds dive for and down a fish, they cannot swallow it, and the fisherman pulls it from its mouth. This was a very popular scene in early 20th century painting as well. These birds are roughly 8 inches (21 cm) long each 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. His kiln is now in the third generation, run by his grandson.

First we hear the clang of the hammer striking the bell, then the steadily approaching clop of his wooden shoes before the horrifying creature dressed in the robes of an itinerant priest appears; a ledger in one hand noting our sins. Hanging from a chord around his shoulders is an umbrella, testifying to his constant state of movement. A spectacular carving of an Oni-no-Nenbutsu praying Demon taken from burled cedar. This is a powerful image, the face expertly carved to strike fear into the hearts of men and women. With base it is over 2 feet (64 cm) tall and is in fine condition but for the lower handle of the hammer, which appears to have been replaced.
The Oni no Nenbutsu is one of the more popular figures from Otsu-e; a folk painting tradition from the town on the outskirts of Kyoto; the first or last stop coming to or leaving the capitol on the old Tokaido road. A pantheon of almost 200 characters, one of the most popular was the goblin, which came into vogue in the 18th century. Although the western goblin is a symbol of evil in religious iconography, in the Otsu-e tradition the symbol was used to satirize human folly and to remind people of the consequences of their actions. Other goblin images present remonstrations against arrogance, hypocrisy and carelessness. Utagawa Kuniyoshi created a woodblock print depicting the Otsu-e figures coming to life.

A large Gohon pottery Sweets bowl by Kiyomizu Rokubei V with expertly rendered Sparrows ascending into the sky painted by Imao Keinen enclosed in the original wooden box signed by both artists. It is 8-1/2 inches (21 cm) diameter, 4 inches (10 cm) tall and in excellent condition.
Kiyomizu Rokubei V (1875-1959) began by studying painting from the age of 12 under the 19th century master Kono Bairei. Upon graduation from the Kyoto Municipal School of painting, he apprenticed under his father Rokubei IV. After the death of Bairei in 1895, he began taking painting lessons under Takeuchi Seiho. His first pottery piece was exhibited that same year at the National Industrial Exposition. The following year he was entered as a member of the newly founded Kyoto Ceramics research facility and was one of the founders of the Yutoen study group along with Miyanaga Tozan I, Kinkozan VII, and Ito Tozan I. He succeeded the name Rokubei in 1913. He was prized annually at any of a number of important National Exhibitions, and was honored as judge for the Teiten exhibition beginning in 1927, He was also granted one of Japans greatest honors when he was appointed a member of the Imperial Art Academy. Works by this very important artist are held in the National Museum of Modern Art, Tokyo and a great many in the National Museum of Modern Art, Kyoto
Imao Keinen (1845-1924) was one of the most respected artists of the turn of the century. He studied Ukiyo-e under Umegawa Tokyo before moving to the Shijo School under Suzuki Hyakunen. In 1868 he established his own studio, becoming a professor at the Kyoto School of Painting in 1880. In 1904 he was named a member of the prestigious Imperial Art Academy and served as a juror for the Bunten as well as representing Japan in exhibitions abroad. Most well known for Kacho-e Bird and flower paintings and landscapes. His work is held in the collections of The Metropolitan Museum of Art NY, Museum of Fine Arts, Boston and Tokyo National Museum among many others.

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.

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.

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

A 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.

An Art-Deco Revival vase by Nakajima Yasumi II enclosed in the original signed wooden box titled Jundo Homan Kabin dated 1959. It is 8-1/2 inches (22 cm) tall and in fine condition.
The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1951) was awarded at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions and was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 where he was subsequently prized. His work is held in the collection of the Imperial Household Agency and he served as mentor to a generation of young bronze artists. His son, Nakajima Yasumi II (1905-1986) created this piece in 1959.

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 worker makes his way through the autumn tinged hills, home just a few steps away in this brilliant Nanga work by Hashimoto Kansetsu enclosed in the original signed wooden box which is in turn enclosed in a red lacquered wooden box (Nijubako). Light color on silk mounted in a superb frame of blue silk with patterned with dragon dials and featuring large ivory rollers. The scroll measures 22 x 85-1/2 inches (58 x 217 cm) and is in excellent condition.
Born into the family of literatus and painter Hashimoto Kaikan in Hyogo, in the heart of central Japan, Hashimoto Kansetsu (1883-1945) was a sinophile and manic painter trained initially by his own eye and studies of Chinese classics, then under Takeuchi Seiho (1864-1942). Very opinionated (like his teacher) on the future of Japanese painting, he eventually left Seiho’s Chikujokai school and set out to establish his own painting style which came to be called Shin-Nanga (the New Sothern School). He travelled in Europe and extensively in China, and many of his scenes are inspired by that country. His former residence, which he designed entirely himself, is now a museum. Works by this artist are in so many important collections, including the Metropolitan Museum of Art New York, Museum of Fine Arts, Boston, MOMAT (Tokyo National Museum of Modern Art), Adachi Museum, Kyoto National Museum of Modern Art, Kyoto Municipal Museum of Art, and the Imperial Household collection among many others.

This baluster form vase is quite large by Japanese standards at 14 inches (35 cm) tall and in perfect condition. Chrysanthemums decorate the sides in rich, dark blue. There is a slight yellow tinge to the white glaze. It is signed on the base Makuzu Kozan Sei. 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 kiln as we know it 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 Makuzu Kiln to International Celebrity status, and send his wares throughout the globe. 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.

Item description:. The lead warrior charges headstrong into the frothing waves, a band of mounted warriors following across the six panels of this mid Edo period gilded screen. Cherry blossoms, symbol of impermanence and the life of the warrior, and pines, symbol of strength and long life, create teh back drop, with clouds of gold applied smoothly and over a pebble textured surface defining the characters. A well painted rendition of this famous scene from the epic Taiheiki . The screen has been restored at some point in the distant past. It is bordered in patterned blue silk with black lacquered wooden frame and features antique backing paper. Well painted and proportioned, in an easy to wall mount size. It measures 4 feet by 112-1/2 inches (122 x 286 cm) and is in fine condition, with only minor insect damage and fissures in the heavy pigment typical of age.