Catalog (195)

An elegant tall vase in signature soft blue by Shinjo Tozan III of Yamagata enclosed in the original singed wooden box dating from the early half of the 20th century titled Yohen Kabin. It is 15cm (6 inches) diametr, 41cm (16 inches) tall and in excellent condition.
Higashiyama (alternatively read Tozan) is the common name for the hilly area in the eastern part of Shinjo City, Yamagata prefecture, and the geology of the village is covered with a thick layer of clay. Yahei Wakui, (1801-1872) the founder of Higashiyama ware, was a potter from Kosugi in Echigo, modern day Toyama prefecture. While traveling the country for training, he fell in love with the clay of Higashiyama, and in 1841 opened a pottery as the official kiln for the Shinjo Tozawa clan.
The third generation Yahei was born on January 29, 1896, as the second son of Yahei II. From an early age, he learned pottery skills from his father and helped the family business. The era in which the third generation Yahei was active was a time of great change, including the global recession after World War I, the Sino-Japanese and the Pacific War. Utilizing the characteristics of Higashiyama's clay, he produced earthenware pots, yukihira, suribachi, blanched pots, kataguchi, and other miscellaneous everyday utensils, and laid the foundation for the fame of today's "Higashiyama ware." The folk-ware researcher Yanagi Soetsu, who was exposed to the pottery of the third generation of Yabe, writes in his book ``Japan of Handicrafts'' that ``They used a beautiful bluish sea cucumber glaze to fire earthenware pots...'' (Omitted) As an earthenware pot, it is said to be the most beautiful in Japan. Yahei III passed away on October 23, 1945 at the age of 73. Currently the 7th generation works alongside his father

An exquisite pair of 19th century Sometsuke porcelain bottles decorated with butterflies among seasonal flowers. The winged creatures float effortlessly among the bamboo, Chinese bell flower, wild chrysanthemum and other seasonal flora. Each bottle is peaked by a simple rounded wooden bung, and they come enclosed in an age darkened wooden carrying box with hand forged iron handle. They are roughly 15 cm (6 inches) tall each and in excellent condition. Although untitled, these are likely a very delicate set of tokkuri sake flasks.

A fine pottery koro in typical milky white glaze supported by three figures in russet red by Okuda Mokuhaku dating from the mid 19th century. It is 13 cm (5 inches) diameter, 11.2 cm (4-1/4 inches) tall. There is a chip in the rim, otherwise is in excellent condition. It is stamped on the base AKahadayama followed by a circular seal reading Mokuhaku. t comes in a simple wooden box.
Akahada Pottery, starting around 1585, was created by several kilns in the area of Yamato-Koriyama, Nara. It is one of the Seven Kilns of Enshu so named because Kobori Enshu, a prominent tea master, favored them. There is no clear record as to the origin of the pottery, but reportedly it started at a kiln built on Akahada Mountain in Gojyou village by Toyotomi Hideyoshi during the Momoyama period. There was a serious decline due to the political changes in the mid 18th century, however in 1785 the feudal lord in Koriyama castle in Nara Yanagisawa Yasumitsu, asked two potters named Inosuke and Jihei to revitalize production. After 1785 the kilns had the patronage of the Daimyo feudal lord of Koriyama castle. Akahada pottery thrived under the protection of a succession of federal lords during the late Edo period and, by the very end of the period, Okuda Mokuhaku, (1800-1871) a noted master-craftsman, had succeeded in making the pottery well-known beyond that region.

A lovely work reflecting the simplicity of Art Deco predominant from the 1920s and 30s by master of the genre Ito Suito enclosed in the original signed wooden box The vase is 29 cm (11-1/2 inches) tall and in excellent condition.
Ito Suito (Yoshiharu, 1894-1980) was born in Kyoto and apprenticed under Ito Tozan in 1911. In 1918 he married his daughter, and took the family name and at the same time assumed the name Suito. In 1929 he was first exhibited at the Teiten National Exhibition, and opened his own kiln in 1931 in the Gojo-zaka pottery district of Kyoto. This was the beginning of a long career which would see him displayed and prized at such venues as the Nitten and Kyoten exhibitions. He would be awarded by Kyoto city for his lifes work in 1975 (Kyoto Bijutsu Kogei Koro-sho award) and again in 1979 granted the title Carrier of the Cultural Heritage of Kyoto City (Kyotoshi Bunka Korosha).

A shop sign carved from a block of knotted wood in the shape of a tea leaf jar engraved on both sides with the character Cha (Tea) originally gilded which still reflects light from the correct angle. A large knot making up one shoulder has split apart in the center, while the outside edge remains intact. A perfect example of the Japanese aesthetic of wabisabi. It is 32 x 3 x 32.5 cm (roughly 13 x 1 x 13 inches). The sign has been restored at some time in the past, the green and black pigments freshened up at the time.

The androgynous Kannon sits in meditation under climbing rocks and tumbling waves deeply carved into the side of this bamboo incense container dating from the early 20th century (late Meiji to Taisho period). It is 34 cm long (13-1/2 inches) long and in excellent condition, a superb example of the genre. This would have been used to hold incense sticks.

3 robed figures appear decidedly relaxed on the edge of a rock-strewn river lost in dark mountains. Above a poem reads:
Furusato ha Arukiteyukeru Tokoro ni-te, Yama ari, Mizu ari, kataru yuujin ari (Walking through my home(town) I find mountains, water and friends for conversation).
Ink on paper bordered in patterned silk with bone rollers. It is 59 x 129 cm (23 x 51 inches) and is in overall fine condition, with some toning due to age. Shimizu Hian (1883-1975) was a popular poet and painter of the early modern period born in Takahashi City, the grandson of the feudal lord a Bicchu-Matsuyama castle. He created his own unique form of expression combining three arts, poetry, calligraphy, and painting. He graduated law studies from the prestigious Kyoto University, and took a position in Kobe District Court. A social activist, from there he wandered through various positions, bank clerk, office worker, mayor of a small town. Shimizu followed the traditional style of literati calligraphy and painting, while at the same time creating a completely new way of expression. At the age of 84, he became a household name when he was chosen to be the master of ceremonies at the opening of the Imperial Poetry Reading Ceremony。His paintings were lauded by such greats as Kawai Gyokudo and Konoshima Keika, and he was a true literati in life style. Work by him is held in the Metropolitan Museum of Art New York, The National Museum of Asian Art (Freer Sackler Branch) of the Smithsonian in Washington DC, Okayama Prefectural Museum

A beautiful set of ten small shallow dishes, each uniquely decorated with a poem and image from the Edo period Sasashima Kiln of central Nagoya. The box, titled Sasashima Yaki Teshio Jumai (10 Sasashima Salt Dishes) is dated inside to the Tenpo era, (1830-1844). Each dish is 9 cm (3-1/2 inches) diameter and all are in excellent condition. Salt dishes were small plates used to hold salt, pickles or other condiments in a traditional Japanese meal. Finding a complete set like this in good condition is exceedingly rare.
The kiln producing Sasashima ware was opened by Makibokusai in the Bunka era in central Nagoya. Sasashima ware is characterized by its bright colors, and it is said that Makibokusai was also good at carving. The kiln, which continued for three generations after Makibokusai, is said to have disappeared around 1923 (Taisho 12) due to the expansion work of Nagoya Station.

A large lozenge shaped bowl of thick clay covered in fawn spotted glaze by Kiyomizu Rokubei V decorated with a poem by Hashimoto Kansetsu enclosed in the original wooden box signed by both artists titled Gohon Fuseikei Hachi (Bowl of irregular shape in Gohon glaze. It is quite large, 34×26.5㎝ x 15cm (13-1/2 x 10-1/2 x 6 inches) and is in excellent condition.
Hashimoto Kansetsu (1883–1945) was born in Kobe, son of painter Hashimoto Kaikan from whom he gained a love of Chinese culture. He studied at Chikujokai under Takeuchi Seiho (1864-1942), but eventually withdrew due to differences of opinion. He visited Europe in 1921 and after that spent part of almost every year in China. Many of his paintings were inspired by Chinese scenery or Chinese classical literature. His former residence in Kyoto is now a museum of his work called the Hakusasonso.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

A beautifully sculpted image of a pheasant by Ogawa Yuhei enclosed in the original signed wooden box. It is 37 cm long and in excellent condition.
Yuhei Ogawa (1885-1945) was born in Takamatsu, Okayama prefecture an came to pottery a bit later than most. In 1923, while working part time at the Naval Hydrographic Department, he was deeply moved by seeing the solo exhibition of ceramic sculptor Kazumasa Numata. This gave him impetus to begin sculpting in his free time. Although he started his career as an artist late at the age of 37, he was selected for the opening exhibition of the newly established arts and crafts department at the Teiten National Exhibition in 1927, and frequently thereafter. He participated in the activities of the Totokai, a group of potters living in the Kanto region, with Itaya Hazan, Numata Kazumasa and Miyagawa (Makuzu) Kozan II serving as advisors, and played an active role as a central artist. In 1934 he was invited to Iwaki Glass Factory as an advisor and created pottery sculptures and glass works for the rest of his life. A sculpture of a black panther is held in the collection of the Tokyo National Museum of Modern Art.

A very rare Mashiko platter by Living National Treasure Hamada Shoji decorated with a poem cradled in an offset ring forming the mika-tsuki or third day moon by poet Shimizu Hian. The poem reads: Akaki Mi no Omoto no Hotori Dainaru Maruki kono yo no ishi okitari, and is signed by the 76 year old man Hian meaning it was made either in 1958 or 59 (depending upon whether Hian was going by the Western or Japanese manner of counting age). It is 35.5 cm (14 inches) diameter and is in excellent condition, enclosed in a wooden box signed by Hamada’s son.
Hamada Shoji (1894-1978) was born in Tokyo, and enrolled in the Tokyo Technical University at the age of 19. In 1918 he met the important British potter Bernard Leach, and the history of ceramic arts was forever changed. One of the most influential and sought after of all Japanese Ceramic artists. He was a significant influence on studio pottery of the twentieth century, and a driving force of the mingei folk-art movement. In 1955 he was designated a "Living National Treasure". There is no shortage of reading material for those who would like to learn more about this potter.
Shimizu Hian (1883-1975) was a popular poet and painter of the early modern period born in Takahashi City, the grandson of the feudal lord a Bicchu-Matsuyama castle. He created his own unique form of expression combining three arts, poetry, calligraphy, and painting. He graduated law studies from the prestigious Kyoto University, and took a position in Kobe District Court. A social activist, from there he wandered through various positions, bank clerk, office worker, mayor of a small town. Shimizu followed the traditional style of literati calligraphy and painting, while at the same time creating a completely new way of expression. At the age of 84, he became a household name when he was chosen to be the master of ceremonies at the opening of the Imperial Poetry Reading Ceremony。His paintings were lauded by such greats as Kawai Gyokudo and Konoshima Keika, and he was a true literati in life style. Work by him is held in the Metropolitan Museum of Art New York, The National Museum of Asian Art (Freer Sackler Branch) of the Smithsonian in Washington DC, Okayama Prefectural Museum

A striking Peacock feather colored flambe glazed vase by Leading Kyoto Potter Uno Ninmatsu enclosed in a signed wooden box dated the 10th month of Showa 5 (October 1930). It is 28 cm tall and in excellent condition.
Uno Ninmatsu (1864-1937) was born in Kyoto son of potter Wada Sohei and studied under his father as well as from a young age Seifu Yohei II then future Imperial Art Academy artist Seifu Yohei III until setting up his own studio at the age of 21. Outgoing by comparison to the normal Kyoto ideal, he promoted Kyoto art and culture and actively sought to invigorate the export market (then dominated by Tokyo and Yokohama). He won a bronze medal at the Paris world exposition in 1901, and gold medal at the St. Louis Exposition in 1904, Belgium in 1905 and Milan the following year. Unlike other potters in Kyoto at this time, he did not overly decorate his works, but concentrated on matte glazes and form in austere glaze techniques. This proved very popular, and from the turn of the century his works were highly sought in the United States. He also worked closely with designers in France, where many of his works were exported. Following the first world war, he retired to the domestic market. He was deeply involved in silk road pottery research and mastered Shinsha (flambe glazes) as well as Turkish Blue and other styles not yet produced at that time in Kyoto. He was father and mentor to Uno Soyo and Uno Sango, and served as mentor to the young Isamu Noguchi.

Bats, symbol of good fortune, flit over the sunset surface of this Ki-seto vase by Kato Sakusuke enclosed in the original signed wooden box titled Kiseto Kabin. An inscription inside begins Fukuju ? Zu (Lucky ? Image) and appears to be dated 1919 in the 60 year cyclical Zodiac calendar (possibly 1859). This is followed by the signature of a painter who also signed and dated the vase, indicating Sakusuke made the vase, while another artist provided the decoration. It is 31 cm (12 inches) tall and in excellent condition, retaining the original cloth pouch.
Kato Sakusuke I (Sakube, 1808-1893) was born into a family of potters in Owari (mod. Aichi Prefecture). He took over the family business as Kato Kagekiyo and was known for producing both Japanese and Western ceramics for daily use such as sake sets and tea sets. He took the name Sakusuke in his later years. He was succeeded by his son. Kato Sakusuke II (Keizaburo, 1844-1923). He was an avid collector of ancient pottery and devoted himself to researching its shape and techniques. At first he fired porcelain, but later he turned to his main occupation and skillfully copied old pottery such as Furu-seto (old seto ware), Kizeto, Oribe, Shino, Ofukai, and Mishima. He became a master craftsman of the Meiji era with a technique as good as that of his father Kagekiyo.

An unusual woven basket of bamboo strips and roots in the shape of a cocoon or bird nest dating from the 20th century. It can be used flat on a table or even better suspended on the wall or pillar. It is 43 cm (17 inches) long and in excellent original condition.

This child with a pleasant face happily rides his toy horse, the horse looking just as pleased. The entirety is a porcelain sake server from the Saga region on the southern Island of Kyushu, home to Imari, Hirado and other porcelain ware. A bung of black persimmon wood has been added as a lid in the shape of a Chinese hat. It is 21 x 12 x 21 cm (8 x 4-3/4 x 8 inches) and in overall fine, original condition, dating from the 19th century.

Coxcomb decorates the deeply carved surface of this box covered in green and red lacquer outside, gilded with gold inside in the Kamakura-bori carving tradition. It is 22 x 25 x 5 cm and comes enclosed in a period wooden box. Kamakura-bori is a type of lacquer ware made in the area around the ancient capital city of Kamakura in Kanagawa prefecture. The tradition is based on carved lacquer wares imported from China during the Kamakura era. However, many Japanese lacquer craftsmen did not adopt the Chinese method of layering lacquer and then carving it; instead, they created Kamakura-bori, a method of carving wood and then coating the already prepared surface with lacquer. Initially, sculptors of Buddhist ritual implements and temple carpenters that were influenced by Chinese art works started to carve items made of Japanese Judas tree or ginkgo and applied a lacquer finish to the pieces in order to mass-produce Buddhist altar fittings resembling carved Chinese lacquer without the extensive drying time. This style came to be known as Kamakura-bori, or literally Kamakura Carving, and the adoption of traditional Japanese patterns made the technique unique to the island nation. Kamakura-bori features chisel markings left intentionally to accentuate patterned areas. Another unique technique is to sprinkle black ink on a vermilion lacquered surface, then polish down the highlights in order for the patterns to stand out from the darkened background. The carving and lacquering techniques of Kamakura-bori have evolved for the past 800 years. Today, production has spread to include everyday goods as well.

Tiny repairs of gold glint along the rim of this misshapen wan-gata bowl from the Utsutsukawa tradition of Nagasaki. The bowl comes with a silk pouch enclosed in an old wooden box. There is a kutsuki on one side, where it adhered to something else in the kiln. The bowl is 12 x 10.5 x 6.5 cm (4-3/4 x 4-1/8 x 2-1/2 inches) and is in overall fine condition, dating from the 19th century.
Utsutsukawa-yaki originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon opened a kiln around 1690. It is characterized by brown orange clay with a heavy iron content and was most often decorated with Brush strokes in white slip. Although at one time it was called the Ninsei of the West, the manufacture lasted only about 50 years due to the financial aspect of the clan, and it disappeared until the Meiji period, when there was an attempted revival, but that too failed to last. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

A rare iron hanging censer in the shape of a Mongolian Saddle Stirrup (Abumi) with silver mesh lid covering half the top. It comes in an age-darkened and worm-eaten kiri-wood box titled simply Tsuri Koro. The receptacle is 13.5 x 7 x 15 cm (5-1/2 x 3 x 6 inches) and is in excellent condition, dating from the Edo period.