Catalog: Archives: Regional Art: Asian (611)

A carved wooden box with removable lid revealing a container for matches and tobacco slotted in the side to carry a Kiseru pipe. Exquisitely crafted by a man who both understood design and wood grains, it is likely from the arts and crafts era. It is 5-1/2 x 3-1/2 x 5 inches (14 x 9 x 13 cm) and is in overall fine condition, with wear to the base attesting to age.

An exquisite vase decorated with crashing waves and plovers in blue by Seifu Yohei dating from the Taisho era. It is 12 inches (31 cm) tall and in excellent condition. Quite large for a work by Seifu, it is marked on the base with an incised signature. Either the work of the third or fourth generation, according to the definitive book "Kyoto Ceramist Seifu Yohei III", pieces from this era with this signature are impossible to differentiate between the two generations, as they worked side by side.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei II and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914. Seifū Yohei IV (Seizan: 1872-1946) was born the second son of Seifū Yohei III (1851-1914). He studied literati-style painting under Tanomura Shōsai (1845-1909), a son of Tanomura Chokunyū, in Osaka for three years. In 1914, he succeeded to the head of the family and produced works mostly in his father’s style. He won a number of prizes including the Golden Prize at the Panama Pacific International Exposition, San Francisco in 1916 and the exhibitions of the Japan Art Association in 1916 and 1918. He produced several works for members of the Imperial family.

This appears to be an incarnation of Shindara Daisho of the 12 guardian deities (Juni Shinsho). He has glass eyes and stands on the original Daiza.. The Deity is 21 inches (53.5 cm) tall, total height with stand is 33 inches (83 cm). Later Edo period (18th-19th century). The left hand has been replaced.

A large glass vase of emerald green reflecting the ancient glass works found in the Shosoin Imperial repository by 20th century pioneering glass artist Iwata Toshichi enclosed in the original signed wooden box. Flecks of various colors and air permeate the glass, accentuating the fact he is duplicating the ancient glass works, long before techniques had been perfected and material purified. It is quite large at 15-/2 inches (40 cm) tall and in excellent condition. As the industrial revolution climaxed in Japan in the opening years of the 20th century, along with it came a renewed interest in ancient things, things lost, and the techniques by which they were made. The Shosoin, the great repository in Nara, opened its doors to certain craftsmen who were leaders in their fields, and the items they attempted to reproduce, often using the techniques imagined available at the original time of production, were highly collectable.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emporer for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.

Iyashiku mo tsune areba
hisashi hisashikereba onozu kara yoi kaori wo harau
If you perservere (with proper living), the years will grant you success. This was a famous last line from a treatise written by revered Han Dynasty scholar Cui Yuan (Cui Ziyu, 78–143). These same words were famously written by Kukai (Kobodaishi 774-835) the founder of Shingon escoteric Buddhism in Japan. The calligraphic style appears to be taken directly from the Saishigyoku Zayumei, written by Kukai, owned by the Masuda clan (now with Mt. Koya). Red over black lacquer on wood it is 11 x 69 x 3/4 inches (28 x 176 x 2 cm) and is in overall fine condition, with wear to the lacquer accenting the age. This is called a hashira-kake among other terms. It would have been possibly hung on a post in a temple or in an entrance hall (perhaps a Terakoya or Juku (School) or Confucian or Taoist institution or a public building, a reminder to people entering of some famous verse which would bring them into the correct frame of mind. Much like a scroll in a tea room, or a calligraphy screen in a zen monastery. It is in very good condition for something which has been exposed for centuries. There is enough wear to the lacquer to allow the black through in some places, accentuating the Negoro process, but not too much to be called damage.
The poem, written in 100 characters can be roughly translated to: Don't talk about the shortcomings of others, don't boast about your strengths. Do not gloat your goodnesses and don't forget the grace of others. Praise of the world is not worthy of envy, Choose benevolence as your code of conduct. Act after due consideration. Pay no attention to the ill spoken of you and speak no ill of others. Don't overrate your accomplishments, but consider yourself a fool as the saints did. Do not allow yourself to be sullied by the world. Although the outer surface is dull, maintain your inner light. Lao Tzu once warned that weakness is a manifestation of strength. Strength lies in humility, live simple and your possibilities will grow. The sage must be cautious in diet, drink and desire. Follow Faithfully These Tenets and you will Reap Sweet Scents Throughout your Years.
Due to size the cost of shipping will be accrued separately.
For a complete translation with original script please contact me.

A pair of powerful Shishi guardian carvings dating from the later Edo period, 18th-19th century, in the Ah-Un expression (Exhaling and inhaling). Ah-Un has many allusions, it is the beginning and end of the alphabet, summarizing all in between, and is said to be inhaling good fortune, and exhaling bad. Glass eyes inset into very human faces. They are 10-1/2 inches (26.5 cm) tall, 9-1/2 x 5-1/2 inches (24 x 14 cm). Ah has a chip in the foot and tip of the tail whereas the end of the tail has been broken off of Un.

Gentlemen glide through the open “ma” staring up at the moon on this serene work signed Joun (One of many names used by the priest Hashimoto Dokuzan). Ink on paper in superb Shunpodo Silk mounting (THE preeminent scroll hangers in Kyoto) enclosed in a signed double wood box (niju-bako) dated 1935 with solid ivory rollers (They will be changed for export). The scroll is 28-1/2 x 53 inches (72 x 134 cm) in excellent condition but for scattered foxing.
Hashimoto Dokuzan (Gengi, 1869-1938) was born in Niigata, and was sent to Kyoto at the age of 16 to study painting and philosophy under Tomioka Tessai. At the age of 20 he entered Tenryuji under Gazan. He received Inka from Ryuen. In 1910 he moved to Shokokuji, and then was assigned the foundation of Nanonji Temple in Tottori Prefecture. He served as abbot of Tenryuji Temple and Shokokuji, both important Zen temples in Kyoto.

A cascade of flora drapes from the neck of this gorgeous piece by Seifu Yohei IV. It is 31 cm (12 inches) tall and in perfect condition. Quite large for a work by Seifu, it is marked on the base with an incised signature.
Seifū Yohei IV (Seizan: 1872-1946) was born the second son of Seifū Yohei III (1851-1914). He studied literati-style painting under Tanomura Shōsai (1845-1909), a son of Tanomura Chokunyū, in Osaka for three years. In 1914, he succeeded to the head of the family and produced works mostly in his father’s style. He won a number of prizes including the Golden Prize at the Panama Pacific International Exposition, San Francisco in 1916 and the exhibitions of the Japan Art Association in 1916 and 1918. He produced several works for members of the Imperial family.

An antique Guardian mask used to ward off evil hand carved from a rough slab of hardwood. It is 14-1/2 inches (37 cm) tall and in fine condition. Usually hung under the eaves of a house, it shows weathering typical of age. Late 19th to early 20th century.

An incredible work of florals on gold signed on the base Kutani Kaburagi Sei showing the very best of that regions pottery dating from the Meiji to Taisho period, when quality and craftsmanship was at its peak. It is 9 inches (23 cm) diameter, 13 inches (33 c) tall and in overall fine condition. There is a small tori-ashi (birds foot) glaze crack in the bottom but does not leak, and is only visible on the outside bottom.

An exquisite vessel by Seifu Yohei IV decorated in slight relief under pale green glaze. It is 8-1/4 inches (21 cm) tall and in excellent condition.
Seifū Yohei IV (Seizan: 1872-1946), the second son of Seifū Yohei III (1851-1914). He studied literati-style painting under Tanomura Shōsai (1845-1909), a son of Tanomura Chokunyū, in Osaka for three years. In 1914, he succeeded to the head of the family and produced works mostly in his father’s style. He won a number of prizes including the Golden Prize at the Panama Pacific International Exposition, San Francisco in 1916 and the exhibitions of the Japan Art Association in 1916 and 1918. He produced several works for members of the Imperial family.

White wisteria (fuji in Japanese) drape from the gilded rim of this Kutani vase signed from the pre-eminent Kaburaki (Kaburagi) studio dating from the opening of the 20th century. The imagery is exquisitely performed with over-glaze enamels on a pastel gray ground. The vase is large at 13 inches (33.5 cm) tall, 8-1/2 inches (22 cm) diameter and is in excellent condition, with some wear to the gold rim.

A complex landscape wraps around and climbs up this exquisite porcelain vase by Daimaru Hokuho dating from the early to mid 20th century. It is 13 inches (33 cm) tall and in excellent condition. There is no box.
Hokuho would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. He also spent several years in China where he became adept at the aforementioned Sencha aesthetic. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father and Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

Autumn colors by Goto Shiro in thick pigment on silk in a superb patterned-silk frame with solid ivory rollers. It comes in the original signed wooden box with a Futo-maki rolling bar titled Yudonoyama Banshu (Late Autumn at Mt. Yudono). This is representational of Nihonga in the 1950s, a time when artists were seeking a new direction, breaking with the past and expanding the limits of the medium. It is 25-1/2 x 86 inches (65 x 218 cm) and in fine condition. Goto Shiro (1924－1992) was born in rugged Yamagata prefecture and studied under Maeda Seison, settling eventually in the mountainous region of Nagano. A member of the Nihon Bijutsu-in and much lauded at their exhibition, work by the artist is held in the Saku Municipal Museum of Modern Art.

Ame-yu graces the rough textured clay of this large Mingei platter from Aizu in the Northern reaches of Japan on the border between Fukushima and Yamagata. Often mistakenly identified as Tamba due to the similarity in the coloring of this particular glaze, the underlying granular white clay gives it away. About the rim is a ring of fire-colored tendrils trapped in a groove, an interesting added feature. It is 31.5 cm (12-1/2 inches) diameter and dates from the later 19th century. There are some old chips in the rim darkened with age, typical of use for a utilitarian piece like this, otherwise it is in fine condition.
The development of the Aizu Hongo pottery tradition dates back to the Sengoku period (1428-1573), when tiles were locally fired for the roof of Aizuwakamatsu castle. But it was during the Edo period when Lord of the Aizu clan Hoshina Masayuki oversaw the promote and patronize pottery production of what became Aizu Hongo Yaki ware, and it flourished under the supervision of the clan. This subsequently led to the making of everyday pieces of pottery for use by people at large by the closing years of the Shogunete. Fighting during the Meiji Restoration in 1868 and a devastating fire in the Taisho period (1912-1926) caused significant disruptions however; the industry recovered and is still thriving today. It has the distinction of being the oldest area where white porcelain is produced in the whole of northeastern Japan.

A trumpeting form decorated with bamboo adorned with a single cicada by Matsumoto Sahei (Sabin) enclosed in a wooden box annotated by the current head of the family Matsumoto Sakio. It is 31 cm (12 inches ) tall and in excellent condition.
Matsumoto Sahei (1851－1918)　was born into the family of Matsuya Kikusaburo, a first generation Kutani porcelain artist. He studied under both his father and Tokuda Kansho, mastering Aka-e, Ao-kutani and other decorating styles of the era and realizing his own techniques with Iro-e Kutani. He was also known as Shoundo or Sabin. He was succeeded by Matumoto Sakichi (first and second) then Matsumoto ,Sakio in modern times.

A lobed form by Nakajima Yasumi enclosed in the original signed wooden box. It is 12 inches (30.5 cm) tall and in fine condition. The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1950) 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 as well as the V&A and he served as mentor to a generation of young bronze artists. His son, Nakajima Yasumi II (1905-1988) took the family name in 1951. Yasumi II graduated from the National Craft Institute of Sendai and was first exhibited in 1933 at the Export Crafts exhibition organized by the Ministry of Industry and Commerce. He exhibited several times abroad including Paris and Buenos Aires. He was also consistently accepted in the Nitten exhibitions, garnering the Hokutosho there in 1952. In 1969 he received an honor as a person of merit in Crafts from Osaka prefecture.

An exquisite lacquer box by Imai Seitaro dating circa 1959 featuring multiple layers of colored lacques carved through with a design of grapes on the vine enclosed in the original signed double wood box (Niju-bako) titled Choshitsu Budo Moyo Shikishi Bako (Carved Lacquer Grape Design Poem Card Box). It is roughly 11 x 12 x 2 inches (27.5 x 30 x 4 cm) and is in fine condition.
Imai Seitaro was born in Kagawa prefecture in 1893, and was first exhibited with the Nitten National Exhibition in 1948, and was often acceptedthere as well as with the Nihon Kogei-kai Ten. He may have been living in Taiwan before that time, as with many records from that time his history has been lost.

An unusal tri-legged bronze incense burner with finialed dome pierced top signed on the underside. It is 6 inches (14.5 cm) diameter, 7 inches (18 cm) tall and in fine condition, dating circa 1935. Hori Joshin was a student of Oshima Joun and was active from the early to mid 20th century.

A plum by Yumei Sosho of Sokokuji temple timidly opens its blossoms under a brief epithet by Taishitsu Sosho of Daitokuji temple. A rare gassaku work by these two priests. Ink on paper in original border, ivory rollers dated 1808. The ivory rollers will be replaced if shipping overseas. The scroll is 12 x 71 inches (31 x 180 cm). Overall it is in fine condition considering the age, however does cup some in the center and there are some marks mostly visible in the upper and lower borders. For copies of Taishitsu Seals see Daitokuji Rekidai Bokuseki Volume 3.
Taishitsu Sosho (1763-1847) served as head priest of Daitokuji Temple in Kyoto, the city of his birth. He entered the priesthood at the age of six when he studied under Unkei at Daitokuji, and studied calligraphy under Nagata Kansho. He was famous for his knowledge and sensibility in the Way of Tea, incense, I-go and the courtly sport known as Kemari.
Yumei Sosho (1731-1808) was born in Wakasa in Gifu prefecture, and wandered as a youth from temple to temple before settling at Sokokuji in Kyoto. There he studied painting under Ito Jakuchu and other studies under Baiso. Later in life he chose a dilapidated temple to rebuild and spend his waning years, but the same year was appointed the 115th head of Sokokuji. He was well remembered for his paintings of plums and birds.

An exquisite 17th-18th c. rendition of Suiten (vedic Varuna) rising over tempestuous waves. Pigment on silk, The scroll is 59.2 x 167.5 cm (23-1/2 x 66 inches). It has been fully remounted, in an antique silk retaining the original brass rollers. One of the oldest gods, Varuna is associated with a Serpent (Makara) as his vehicle and a noose as his weapon. Varuna is god of waters, the source of rains and the one who rules over the Nagas (divine sea serpent), myths important in Hinduism and Buddhism. In Shinto he is associated with the 12th century child emperor Antoku, and is considered a guardian deity for child birth as well as all things associated with water (fishing, sea faring, maritime freight, natural disasters such as floods and torrential rains, and interestingly “Mizushobai” (literally floating world trade), the business of pleasure.

A pair of Kinsai Tokkuri on red ground by Eiraku Zengoro from his Kutani kiln dating from the late 19th or early 20th centuries enclosed in the original signed wooden box. Complete with lids, they are 5 inches (13 cm) tall each and in excellent condition.

Birds in white plumage decorate the shadowed raw clay of this vase by Miyagawa Kozan enclosed in the original signed wooden box. It is 21.5 cm (8-1/2 inches) tall, 19 cm (7-1/2 inches) diameter and in excellent condition.　
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 (Makuzu) kiln as we know it today 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 Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, 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.

The dreamlike quality which gave Taisho period art its unique flavor is readily apparent in this sumptuous composition by Kido Soi featuring long tailed birds along a tumbling stream. Pigment on silk mounted on applied gold flake in a silk border with a red lacquer wooden frame consistent with the era. It is signed in gold, Shunyo, the name used by Kido Soi in his youth, placing the screen easily before 1930. The screen is 67.3 x 56-1/4 inches (171 x 143 cm) and is in fine condition.
Due to size the cost of shipping will be accrued separately.
Kido Soi (1899-1984) was born in Kyoto. He studied painting at the Kyoto Municipal School of Painting and under Yamamoto Shunkyo (1871-1933). His work was consistently accepted into the Teiten and Bunten National art exhibitions.

A misshapen bowl excavated and assembled from several pieces using the kintsugi gold technique. Originally a kiln flaw, it was likely destroyed after creation, later to be excavated and assembled as was popular in the later Edo period. Misshapen,and with a large kutsuki on one side, it is 4 x 5 x 3 inches (10 x 12.5 x 8 cm) and comes in a wooden box.

A bizarre pottery mass of two tea bowls and a stand fused together after collapsing in the kiln some four hundred years ago. It is 17 x 13 x 11 cm (6-1/2 x 5 x 4-1/2 inches). There is something to be said here about best laid plans. All the potters craft and experience and yet nature intervenes, creating this vitrified sculpture for later generations to contemplate.

A rare okimono from the Kairakuen Kiln of the Tokugawa branch family dating from the early to mid 19th century. The box label attributes these to Eiraku (presumably Hozen, who was tasked with helping to further the ceramic production of the kiln). The rooster is roughly 7 inches tall the same in length (18 cm). Dating from the later Edo period, they come in an old wooden box with a cloth cover and are in excellent condition.
Eiraku Zengoro XI (Nishimura Hozen, 1795–1854) took the name Eiraku Hozen after Lord Tokugawa Naritsune had awarded him the eiraku seal (Eiraku, eternal joy). Hozen was familiar with all porcelain and stoneware techniques. For the most part, he produced tea ceramics: blue-and white porcelain in the style of the Shonzui ware from the Chinese Jingdezhen kilns in the Ming dynasty; blue-andwhite ware with overglaze decoration (gosu aka-e); celadons; stoneware with gohon-de glaze; and Kochiware.
The Kairakuen kiln was the "garden kiln" sponsored by the Kii branch of the Tokugawa house, in modern day Wakayama founded in 1819. It operated irregularly, drawing upon the services of potters from various Kyoto workshops including the 9th and 10th Omotesenkei Heads Ryoryosai (1775-1825) and Kyukosai (1818-1860), 10th Raku Master Raku Tanyu (1795-1854), and Hozen among others . Kairakuen products reflect a marked revival of interest in Chinese ceramics in the late 18th and early 19th centuries. This vase, with its restrained shape and overall turquoise enamel glaze, follows Qing [Ch'ing] dynasty ceramic models. The design of the four-character mark, "Made at Kairakuen," imitates enamel four-character seals appearing on Qing [Ch'ing] imperial wares.

Veins of green Kai-yu meander over the body of this spectacular example of Edo period Tamba Pottery capping rich red clay rising from an abrupt base. A few bubbles in the clay reveal character about the torso, the lip powerfully rendered over the shoulder, which slumps to one side like some haggard but still proud old soldier. Four looping handles (mimi) would allow the lid to be tied down. Between two a drip from the roof of the kiln has adhered to the clay forming a point of interest. Retaining the character of Momoyama firing techniques, and easily classified as such, I believe this dates from the early Edo period, 17th century. The Tsubo is 18 inches (46 cm) tall, 13 inches (33 cm) diameter, and without cracks or repairs. Due to size the cost of shipping will be accrued separately.

A radical ink landscape by legendary artist Fukuda Kodojin. Ink on paper in a green silk patterned border set in beige with wood rollers. It is 13 x 70 inches (33 x 178 cm) and is in excellent condition.
Fukuda Kodojin (1865-1944) an eccentric self taught artist, his 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 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

Honda Tenjo enclosed in the original signed wooden box titled Seven Great Men. Ink on paper in a superlative silk mounting with ivory rollers (they will be changed if exporting). It is 26 x 85-1/2 inches (66.5 x 217 cm) and is in excellent condition. Honda Tenjo (1867-1946), born in Tokyo, initially studied western painting for five years under Kondo Katsumi before moving to Nihonga under Kano Hogai. Along with Okakura Shusui and Oka Fuho was to be called the four pillars of the Hogai Studio. He worked in the circle called the Kangakai established by Fenelossa and Tenshin, and lived for a while at Tenshin’s house. The belief at the time was to imbue oneself in Japonisme and so he also studied swordsmanship under Sakakibara Kenkichi. In 1888 he became one of the first students of the newly established Tokyo School of Art. He was exhibited and awarded at the Nihon E-ga Kyokai from its inception, and later with the Bunten after its establishment.

A most exciting find, a scroll by five of the greatest scholar-painters of the Meiji period, Tanomura Chokunyu, Suzuki Hyakunen, Tomioka Tessai, Nyoi Sanjin and Yamanaka Shinten-o; all of whom resided in Kyoto during the Meiji period. Ink on paper in a brown cloth border befitting the Daoist figures. It comes in an annotated by by Tessai from 1911. The scroll is 29-1/4 x 75-1/2 inches (74 x 192 cm) and is in excellent condition.
Nyoi Sanjin (Tani Tetsuomi, 1822-1905) was born the son of a Doctor serving the powerful Ii clan of the Hikone fief on the Tokaido road between Kyoto and Tokyo. Trained as a samurai and a doctor (including Western medicine in Nagasaki), he sided with the imperialist cause during the troubled times of the 1850s and 60s while working as a Doctor in Hikone. He served in governmental posts after the restoration of the Emperor in 1867, retiring to Kyoto in the 1880s.
Suzuki Hyakunen (1825-1891) was born in Kyoto and studied under Yokoyama Kakei. He served as a professor at the Kyoto Prefectural School of Painting (modern University of Art) and thus mentor to many young artists of his day, including his own son Suzuki Shonen. Works by him are held in the V&A, Ashmolean, Museum of Fine Arts Boston, Philadelphia Museum of Art, University of Michigan as well as a host of Domestic institutions.
Tanomura Chokunyu (1814-1907) was born in Oita (the Oka Feif) and studied initially under Okamoto Baisetsu before moving to paint under the famous literatus Tanomura Chikuden (1777-1835), who adopted him as a son and had a very strong influence on the young artist. Upon Chikudens death he also studied briefly under Oshio Chusai (1792-1837) then finally ventured out on his own upon that teachers passing. He moved to Kyoto, where he helped found the Kyoto Municipal School of painting and eventually withdrew from the world, becoming an Obaku Zen Monk in 1902.
Tomioka Tessai (1837-1924)was a scholar artist trained from age seven in the traditional Confucian manner. After the death of his father he was apprenticed to a Shinto shrine, and later was forced to escape the capitol to Kyushu to avoid arrest for anti-governmental actions he had taken on part of the Imperial cause. Here he began serious study of Literati painting and furthered his scholarly research. Upon returning to Kyoto he was befriended by and moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He helped to establish the Nihon Nanga-In and held a number of important positions, culminating in being appointed the official painter of the Emperor and a member of the Imperial Art Academy; the highest honor in Japanese Art circles. He is represented in innumerable important collections. Information on this important person is readily available, for more see Scholar Painters of Japan by Cahill (1972), Roberts Dictionary, or a quick internet search will find plenty of reading. He is held in the Tokyo National Museum, Museum of Fine Arts, Boston, Kyoto, V&A etc…
Yamanaka Shinten-o (Seittsu 1822-1885) was born near Nagoya in the village of Higashiura, the second son of a wealthy farming family. After studying in Osaka with scholar Shinozaki Shochiku (1781-1851), he moved after to Kyoto where he became a member of the anti-governmental movement supporting restoration f the Emperor. Following the repression of 1858 when many opposition figures were arrested and executed, Shinten’o went to Ise and studied with Saito Setsudo (1791-1865) for three years before returning to Kyoto. He was an active supporter of imperial loyalists, providing food and money to the troops fighting to establish the new regime. In recognition of his support he was appointed to a series of governmental posts. In 1873 he quit the world of politics to begin a quiet life of scholarly pursuits in the Shimogamo area of Kyoto and established a sprawling villa in Arashiyama so well regarded was that the Meiji Emperor stayed there during his 1877 visit to Kyoto.

A museum quality work by 19th century great Oda Kaisen featuring vines burgeoning with ripe fruit under the epitaph “Painted on a muggy date (possibly “by moonlight” as the term keigetsu refers) in 1840”. Ink on silk in brass colored Satin patterned with tendrils of mist and featuring white piping in the Mincho style and ivory rollers typical of literati painting of the 19th century. It is 18-3/4 x 72-3/4 inches (47.5 x 184.5 cm) and is in excellent condition.
Oda Kaisen (1785-1862) was born into a family of in the textile industry in Shimonoseki, Yamaguchi on the extreme western end of Honshu, the Japanese main island. He went to the cultural capitol of Kyoto in 1806, where he was initially trained in the Shijo style of painting under Matsumura Goshun (1752–1811). After Goshun died, he moved to study nanga literati painting with Rai San'yō (1780–1832) and through extensive study of treasured Chinese paintings in various collections. It is during this period he began using the name on this scroll, O-in. He worked as a compatriot of the great masters Uragami Shinkin and Tanomura Chikuden. Work by this artist is held in the collections of the Metropolitan Museum of Art New York, Museum of Fine Arts in Boston, the British Museum, Ashmolean, and in Japan the Osaka Municipal Art Museum and Chofu museum among others.

A trumpeting Chinese form by Miyanaga Tozan I enclosed in the original signed wooden box titled Kiji Kodo Gata Kabin (Yellow Porcelain Vase in the Shape of Ancient bronze) and retaining the original Rosewood base. It is 12-1/2 inches (31 cm) tall plus the base, 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.

A lovely roku-yu glazed form from the kilns of Korea mounted on a tri-pronged rosewood stand and enclosed in a period kiri-wood box. It is 12 inches (30 cm) tall plus the stand. There are minor chips about the rim. An excellent piece for use in the tea room. Likely 15th to early 17th centuries (Possibly later Goryeo likely early Joseon).

An antique Japanese saddle pad covered with a Korean tapestry of two frolicking lion-dogs in green and white. It features gilded leather piping (which has come loose in some places, see photos), and typical Japanese backing cloth with deer-leather ties. The pad is roughly 116 x 56 cm (46 x 22 inches). Exceptionally rare,

A large porcelain vase covered in olive green upon which grows a rush of white bamboo and a brief epitaph by Miura Chikusen I enclosed in the original signed wooden box dating to the late Meiji or early Taisho period. It is 15 inches (37.5 cm) tall and in excellent condition. The box has much darkened with age. Works of this size by Chikusen, who largely specialized in the minute world of Sencha ware are quite rare.
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The kiln continues, currently under the management of the fifth generation.