Catalog (208)

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 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.

Crabs clamber through the tangled bamboo leaves decorating the rim of this crushed fluted pottery bowl from the kiln of Wake Kitei (also read Waki) dating from the 19th century. This piece shows a great influence from the southern Island of Kyushu and Korean ware, not only in the literati style depiction of crabs, but in the glaze itself which is very much in the vein of Karatsu and or Gohon ware, as well as in the swirling whirlpool inside the footring. The bowl is 28 x 18 x 12 cm (11 x 7 x 5 inches) and is in overall excellent condition, enclosed in an age darkened and somewhat dilapidated wooden box.
Kitei Yaki was begun in the mid 18th century in the environs of Kyoto by Kameya Kitei, a 3rd generation craftsman specializing in Dobin and Earthenware Braziers (Kama). He adopted the name Kitei. The second (some say 3rd) generation Kitei went to Kyushu to study Imari wares, developing the family line to include sencha and maccha tea ware as well as regular dishware. This is likely from the 4th generation (1826-1902), a potter representing Kyoto ware in the Meiji period. The 4th generation Kitei was born in Kyoto as the eldest son of the 3rd generation Kameya Heikichiro. In 1862, he inherited the family estate and called himself Kameya Heikichi. In the first year of the Meiji era, he took Wake as his surname. In 1873, he became a purveyor to the Kyoto Prefectural Government's industrial sector. After that, he participated in domestic expositions and exhibitions, where he was awarded including the Philadelphia World's Fair in 1876, the Paris World's Fair in 1878, and the Sydney World's Fair in 1879. Work by him is held in the British Museum

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.

An Edo period incense burner of wood cut in a squash shape known as an Akoda-koro covered in black lacquer with designs of aogai-shell laid onto the surface under a solid silver dome-lid. It is 11 cm (4-1/2 inches) diameter and enclosed in modern custom wooden storage box. There are losses to the raden design revealing the underlying tonoko on which it is laid.

Ring in the New Year with this beautifully cast bronze bell surmounted by a dragon embellished with Characters of good fortune enclosed in an ancient red-lacquered wooden storage box. It is 15 cm (6 inches) diameter, 21 cm (8 inches) tall and in excellent condition, dating from the Edo period.

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 Fushina (Fujina) yaki image of the three monkeys made to support the Kettle lid in the Japanese Tea Ceremony dating from the Edo period. A warning to all, the little creatures hear nothing, see nothing and speak nothing. What happens in the tea room, stays in the tea room! The figure is 4.5 cm (roughly 2 inches) diameter the same height and in excellent condition. Impressed into the base is the Rakuzan seal. It comes in an antique woven thread pouch.
Rakuzan pottery falls under the umbrella of Fushina or Fujina Yaki, the Goyogama clan kiln of the Matsudaira of Matsue in modern day Izumo, sometimes simply called Izumo-yaki. The origin of Rakuzan ware lies in the early Edo period, when the second generation Matsudaira Tsunataka requested a Hagi ware potter from the neighboring Mori clan, which was eventually granted to the third generation Izumo leader Matsudaira Tsunachika around 1677. The founders of the kiln were Kurasaki Gonbei and Kada Hanroku. Although under continuous production, the kiln had its ups and downs until it was strongly revived by the 8th Lord of Matsue, Matsudaira Harusato (Fumaiko 1751-1818) Daimyo of the province. From then it fell strongly under his aesthetic taste. Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.

A tiny tree frog rests safely on the edge of the broad leaf of a Basho tree, the leaf just beginning to curl in upon itself, a sign of the delicate transience of life. It is 50 cm long and in overall excellent condition signed beneath by the artist.

A rare small sized circular Hokai container with chased brass hardware decorated on the lid with a six layer 16 petal chrysanthemum, the floral symbol of the Imperial Household. The container is made of wood covered with black lacquer decorated with gold powder hira-maki-e with brass hardware. Hokai were a standard accoutrements to any household of means, however this size is quite rare. It is not the miniature version from a doll set. It is 18.5 cm (7 inches) diameter, 19 cm (7-1/2 inches) tall and in excellent overall condition.

A sagar or kiln shelf support covered in running green and iron glaze from the Edo period kilns of Tamba. The super-heated clay has sloughed off on one side, where it is likely the kiln shelf may have collapsed allowing it to cool in this unusual way. It stands on three legs of soft clay which are affixed to the bottom to keep it from sticking to the shelf below. The owners kiln mark is in the side, and it is very possible this was from an Edo period communal kiln firing, where each potter would have needed to identify their own tools and products. The vessel stands 28.5 cm (11-1/4 inches) tall and is an excellent example of the Japanese aesthetic of valuing the flaws and making good out of misfortune. In this case, a collapsed shelf would have meant loss of much work, however from the ashes one recovers something which speaks in effervescent tones of the ephemeral nature of our lives. A perfect compliment for the tea room.

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 black glazed bowl decorated with the Zen phrase Buji by Shimizu Hian enclosed in the original signed wooden box. It is 12.5 cm (5 inches) diameter, 8 cm (just more than 3 inches) tall and in excellent condition. It is signed on the side Hian followed by his age at 91 years old. Buji is a Japanese Zen Buddhist concept that can be translated as "nothing eventful" or "nothing lacking." It is often used to express a state of tranquility, contentment, or a sense of completeness. In the context of Zen philosophy, "Buji" suggests a state of being where one is free from desires, attachments, and the sense of lacking something. The idea behind "Buji" is rooted in mindfulness, meditation, and living in the present moment. It encourages individuals to let go of unnecessary worries, desires, and preoccupations, allowing them to fully embrace and appreciate the current moment without a sense of deficiency. In Zen practice, attaining a state of "Buji" is often associated with a deep understanding of the impermanence of life and the futility of clinging to material possessions or fleeting experiences. It promotes a more profound sense of inner peace and contentment by letting go of the constant pursuit of external validations and desires. While "Buji" is a term with specific relevance in the context of Zen Buddhism, its underlying message of finding contentment and peace in the present moment has broader applications and can be appreciated in various aspects of life.
Shimizu Hian (1883-1975) was a popular poet and painter of the early modern period. 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. His paintings were lauded by such greats as Kawai Gyokudo and Konoshima Keika, and he was a true literati in life style.

A beautifully turned bowl lacquered burnt orange-red over a black foot dating from the late 19th to early 20th century enclosed in an old kiri wood box titled Negoro-nuri Kashiki followed by a signature. The faintest brush strokes in perfect lines swirl around the outside, and cross the bowl inside. The bowl itself is also signed in red on the base. It is 18 cm (7 inches) diameter and in excellent condition.

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