Catalog (192)

A Funamushi-gata earthen vase (a Sea Slater-shaped Vase, an insect with a broad back found along the shoreline) from the Mushiake kilns of Okayama prefecture dating from tehr 19th to early 20th century. Engraved into the bottom are three number sevens, a symbol of good fortune and alternate character for Yorokobu (joy). It is 14.5 x 9 x 25 cm (5-1/2 x 3-1/2 x 10 inches) and is in excellent condition.
The origins of Mushiake-yaki pottery are uncertain, with various theories suggesting it began around 300 years ago. This pottery tradition emerged in the Mushiake area, which was part of the domain of the Iki family, the chief retainers of the Okayama clan, who were granted 33,000 koku of land. Mushiake-yaki developed as an oniwayaki (garden kiln) under the patronage of the Iki family. The pottery shared similarities with Bizen ware, but also made works similar to the glazed wares of Takatori and other famous tea-ware regions. During the tenure of the 14th lord, Iki Tadasumi (who used the tea name Sansensai), a prominent tea master, Mushiake-yaki underwent significant transformation. Tadasumi invited renowned artisans of the time, including Kyoto’s Seifu Yohei, Raku Chōzō, and Miyagawa Kōzan (Makuzu Kōzan), to contribute their expertise. Under their influence, the pottery adopted a Kyoto-inspired style resembling the delicate thinness of Awata-yaki.

A beautiful Natsume Tea Caddy for containing matcha powdered tea decorated with Nobori-kiri and chrysanthemum blossoms enclosed in the original wooden box signed Shunho. It is 7 cm diameter, 7.5 cm (roughly 3 inches) tall and in excellent condition.

A set of two intricately decorated covered porcelain bowls from the Kutani Kilns of Ishikawa prefecture with Moriage designs of chrysanthemums in raised texture and kinrande gold on red butterflies. They are signed Kutani inside the foot. The large bowl is 11 cm diameter, 8 cm tall, the smaller is 10 cm (4 inches) diameter, 7.5 cm (3 inches) tall and both are in excellent condition. Kutani ware (Kutani-yaki) originated in 1655 when a local lord, Maeda Toshiharu, sent Goto Saijiro to study ceramic production in the Arita region of Kyushu. Upon his return, Saijiro established a kiln in Kutani village (modern-day Ishikawa Prefecture). The early works, known as Ko-Kutani ("Old Kutani"), were notable for their bold designs, vibrant colors, and overglaze enamels. This period ended mysteriously around 1730 due to financial difficulties or the depletion of local resources. After nearly a century of dormancy, Kutani production was revived in the early 19th century. New kilns were established, and techniques evolved under the influence of Chinese and Arita porcelain styles. This period introduced diverse substyles, including:
Saiko Kutani: A refined revival of Ko-Kutani designs.
Mokubei Style: Inspired by Chinese Ming and Qing ceramics.
Yoshidaya Style: Known for green, yellow, and blue color palettes.
By the Meiji era (1868–1912), Kutani ware gained international acclaim, partly due to Japan’s participation in world exhibitions. Artists adopted intricate and decorative techniques like Kinrande (gold decoration) and delicate overglaze painting. .
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics

Dashes of black form overlapping autumn grasses outside while spots and streaks inside create a strong sens e of movement on this yellow tinged bowl by Uno Sango enclosed in the original signed wooden box titled simply Chawan. It is 13.5 cm (5-1/2 inches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition.
Uno Sango (1888–1973) was born in Kyoto as the eldest son of Uno Ninmatsu. In 1902, he entered the Painting Department of the Kyoto Municipal School of Arts and Crafts, transferring in 1905 to the Kyoto Municipal Ceramic Research Institute. By 1907, he won the Grand Prize Gold Cup at the Fine Arts Division of the World Exposition. In 1910, he constructed a large bisque kiln adjacent to the historic Kanza Denroku Kiln and began pioneering research into Chinese colored glazes in 1913. By 1919, he had developed innovative techniques, including "Ensei" (flame glaze) and "Suiseiji" (water celadon), while working with glazes like cinnabar red, Jun ware, celadon, and tenmoku. Uno's work was recognized internationally, with pieces entering the collection of the Tokyo National Museum in 1929 and later the Sèvres Museum (1951) and the Boston Museum of Fine Arts (1958, 1966). He was designated for preservation of techniques related to "Ensei" by the Ministry of Commerce and awarded for cinnabar and celadon techniques as Intangible Cultural Heritage assets in 1952 and 1957. In his later years, he received numerous accolades, including the Silver Prize at the Moscow Ceramics Exhibition (1960), the Order of the Purple Ribbon (1965), and the Order of the Sacred Treasure, Fourth Class (1967). His contributions to the ceramic arts culminated in receiving the Art Merit Award in 1972, solidifying his legacy as a master of Japanese pottery.

An unusual sake kettle in the shape of a wea turtle hailing from the 19th century (Meiji period) Imari Kilns on the southern island of Kyushu. It is 19 x 13.5 x 15 cm (roughly 8 x 5-1/32 x 6 inches) and is in excellent condition.
Imari porcelain, also known as Arita ware, has its origins in the early 17th century and is one of Japan's most renowned ceramic traditions. Porcelain production in the Imari region began around 1616 when Korean potters, brought to Japan after Toyotomi Hideyoshi's invasions of Korea (1592–1598), discovered high-quality kaolin clay in the Ara area of Kyushu. This marked the birth of Japan's first porcelain industry. During the early Edo period, Arita became a thriving center for porcelain production. The nearby port of Imari served as the primary shipping hub, leading to the porcelain being known internationally as "Imari ware." Early Imari wares were heavily influenced by Chinese designs, especially those from the Ming dynasty. Techniques evolved to include underglaze blue decoration (similar to Chinese blue-and-white porcelain) and, later, polychrome overglaze enamels, which became hallmarks of Imari porcelain. Imari porcelain gained widespread popularity in Europe during the 17th and 18th centuries, facilitated by the Dutch East India Company. European aristocracy prized its vibrant designs, which often featured intricate floral patterns, birds, and mythical creatures.

A set of five Fukagawa Yaki pottery plates in the shape of overlapping Hamaguri clam shells. Hamaguri are not only delicious but also hold cultural significance in Japan, often associated with special occasions like weddings and Hinamatsuri (Girls' Day). The large shells were used in a game called Kai-awase, a bit like the card game concentration, where one needed to find the matching shells (A brief explanation below). Each dish is 16 x 11 x 3.5 cm (6-1/4 x 4-1/4 x 1-1/4 inches) and all are in overall fine condition, enclosed in an old age darkened wooden box.
Fukagawa-yaki refers to white-based pottery that was produced in the Choshu Domain (modern day Yamaguchi prefecture). Its history dates back to 1653 when the potter Kurasaki Gorosaemon petitioned to establish an independent kiln in Sannose, Fukagawa Village (present-day Nagato City) and was granted permission. At the time, the production of tea ceramics was not permitted, and records indicate that the kilns mainly produced everyday household wares.
Kai Awase (the game) originated in the Heian period (794–1185) and was a pastime for nobles. It involves a set of Hamaguri clam shells with matching designs painted on the insides. Since the two halves of a clam's shell fit together perfectly, the game requires players to match the correct halves. The painted designs often depict scenes from classical literature, flowers, or other intricate artwork. One half of each clam shell is laid out face-down, while the other halves are kept aside. Players take turns selecting a shell and trying to find its matching half from the scattered pieces. However it was more than just a game; it symbolized harmony and completeness. It was often part of bridal trousseaus, representing the union of a couple.

A broad-leafed tree in iron sprawls on the side of this earthy tea bowl by Kiyomizu Rokubei VI enclosed in the original signed wooden box titeld E-Hakeme Chawan. Hakeme refers to the broad brush stroke of white slip which decorated the gray glaze both inside and out. The bowl is 12 cm (5 inches) diameter, (3-1/4 inches) tall and in excellent condition.
The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district throughout the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei IV. Rokubei V led the kiln into the 20th century, and his son, Rokubei VI (1901-1980), would assume lead in 1945, taking the kiln through the tumultuous years after the Second World War. He graduated the Kyoto Municipal School of Arts and Crafts, then the Kyoto Special School of Painting, before apprenticing under his father in 1925. He exhibited frequently and was often prized at the National Bunten, Teiten and Nitten Exhibits, where he later served as judge. He was also lauded abroad, in the USSR, France, Italy, Belgium and was appointed a member of the Japan Art Academy. In 1976 he was awarded the Order of Cultural Merit for his lifelong devotion to promoting Japanese pottery traditions. His works are held in numerous museums throughout the globe.

A beautiful set of five porcelain bowls each uniquely decorated with a bird and seasonal flora enclosed in the original signed wooden box dating from the first half of the 20th century. They are 16 cm (6-1/4 inches) diameter and in excellent condition. Signed on the backs in a green cartouche they retain the original stamped wrapping cloth.

10 Oribe plates by Kato Sakusuke enclosed in the original signed wooden box dating from the early 20th century. They are 13 cm (5 inches) square, and in excellent condition. The Katō Sakusuke family of the Akazu kiln traces its origins to Kageharu, the younger brother of Katō Riheiemon (the first-generation Tōzaburō), who returned to the village from Mino during the Keichō era in the early Edo period. The first-generation Sakusuke (Kagekiyo, born 1808), the seventh-generation descendant of Kageharu, took the artist name Jusai. As described in Owari no Hana (Flowers of Owari):"Naturally skilled in pottery, he succeeded his father’s house, adopting the name Sakusuke and greatly revitalizing the family’s work. He created vessels modeled after ancient methods, producing many tea utensils and sake vessels. His works were all refined and richly elegant." The Second Generation: Katō Kageyoshi (born in 1844) took the name Shunsen.bThe younger brother of the second generation branched off to establish a separate family line, using the name "Sakusuke" for his works, later adopting the name "Shun'itsu. The family tradition was upheld by the third generation (Seiichi, also known as Shunzan), and the fourth generation (Norihiko). It is now under the management of the fifth generation.

An image of a black bear covered in aubergine standing on a base of green from the pre-war kilns of Kutani in Ishikawa prefecture, one of Japan’s most famous porcelain production centers. It is 17.5 x 13 x 18 cm (7 x 5 x 7-1/4 inches) and is in excellent condition enclosed in the original wooden box bearing anKutani Shosuke Seal inside.

A beautiful lacquered bowl decorated with Plum Pine and Bamboo, the 3 friends of winter. In the center appears to a giant sea turtle supporting a large rock formation referring to the mythical paradisical island home of the immortals. There, the three auspicious plants thrive and promise good fortune—bamboo stalks, pine leaves, and plum flowers. Inside the bowl is simple clack, and it is in excellent condition, measuring 24 cm (9-1/2 inches) diameter, 13 cm (5 inches) tall.
Shochikubai, which translates to "pine, bamboo, and plum," holds deep significance in Japanese literati culture, art, and aesthetics. It originates from Chinese traditions and has been adapted and enriched in Japan over centuries. Each plant in the trio symbolizes specific virtues and qualities, reflecting resilience, perseverance, and beauty: Pine trees remain green year-round, symbolizing unchanging integrity and strength even in the harshest winters. Bamboo bends but does not break, a metaphor for the ability to adapt to challenges without losing one's moral foundation while the hollow center symbolizes humility and openness, qualities valued in literati and spiritual life. Plum blossoms are among the first to bloom in late winter, heralding the arrival of spring. They are a reminder of perseverance and the promise of renewal even during difficult times. The three are often associated with the New Year and other celebratory occasions. They serve as a powerful visual and literary metaphor for enduring values and auspiciousness, making it an enduring theme in Japanese art, literature, and everyday life.

A boxed set of Binshi offering vases decorated with regal fowl enclosed in a period wooden box by Kiyomizu Rokubei. Each is roughly 12 cm 4-3/4 inches) tall and in perfect condition. Very difficult to tell with this signature, but I believe it is the work of the 4th Rokubei, possibly a very early work by the 5th.
Kiyomizu Rokubei IV (1848-1920) was born the first son of Rokubei III and headed the family kiln from 1883-1913.He studied painting in the Shijo manner under Shiiokawa Bunrin and had a brotherly relationship with his fellow student Kono Bairei (under whom his own son would study painting). He sought to revitalize the pottery tradition of Kyoto, bringing in new techniques and styles and together with artists like Asai Chu and Nakazawa Iwata took part in the Entoen group and with Kamisaka Sekka the Keitobi-kai. He also held a strong relationship with literati artists such as Tomioka Tessai and together with these artists produced many joint works. He fell ill in 1902, finally handing the reins over to the 5th generation in 1913.
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 Maekawa 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 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 pair of very cool Tokkuri sake flasks with looping handles decorated in barber-pole fashion with a striking design of spiraling red on pale cream glaze. Each is signed on the base Seizan, and they come enclosed in a period wooden box titled Seizan-yaki Sake Tsubo. Each is roughly 5;.5 cm (2 inches) diameter, 12 cm (5 inches ) tall and both are in excellent condition.

Shiny glaze the color of burnt caramel covers this tactile pinch-formed small portable tea bowl (Tabi-chawan) from the 19th century Ohii Kilns of Kanazawa in the Kaga domain. Ohi ceramics are primarily made for use in the tea ceremony and they are all personally made by members of the Ohi family. The potters do not use a wheel, but shape the clay with their hands and special spatula-like tools that are handed down from generation to generation. The ceramics are made from soft clay and fired at unusually low temperatures. This bowl is no exception to these rules, it is pinch formed with a beautiful sculpted foot ring, on side which is the Ohii stamp impressed clearly into the clay. It is 9 cm (3-1/2 inches) diameter, 8 cm (just over 3 inches) tall and in excellent condition.
When the founder of the Urasenke style of tea ceremony, Sen-so Soshitsu was invited to Kanazawa as the lord of the tea ceremony for the Kaga Clan in 1666, the first Chozaemon came with him and established Ohi in Kanazawa. Chōzaemon was the top disciple of Raku Ichinyū of Kyoto (4th generation master of the Raku family) and thoroughly understood the principles and techniques of Raku ware. The family has made tea ware for 10 generations, and the 11th generation is working at the family kiln even now.

The shallow clay basin has been thrice dipped into earthy green glaze leaving the foot raw, an Edo period Karatsu Sake Cup enclosed in an age darkened kiri wood box titled Hai-iri. An Ishihaze stone inclusion bursts through the glaze on one side, and the glaze forms a ringlet on the pinched side where the artist thumb held it while dipping in the glaze. Writing abounds on the box, inside the lid, and on the bottom, from the various hands through whom it has passed over the centuries. Edo period, it is 8 zx 7 x 3.5 cm (roughly 3 inches diameter) and is in excellent condition.

A Tsubo which slumped in the kiln adhering to a pair of sake cups, one of which remains clinging to the side. It appears to be Karatsu ware, green glaze sliding over rich red iron and forming beads around the foot ring. It is 23 x 17 x 22.5 cm (9 x 7 x 9 inches). There is a small chip in the rim but is otherwise in excellent conditiom.

A spectacular bowl covered inside with a rich caramel color, outside in dark amber glaze outside with various white dots evenly distributed around the surface, and clearly stamped Zoroku on the base in the original signed wooden box titled Kosetsu Chawan. It is 13.5 cm (65-1/2 inches) diameter, 7.5 cm (3 inches tall) and in excellent condition.
The first-generation Mashimizu Zoroku (1822–1877) was born in Kuga Village, Yamashiro Province, as the third son of Shimizu Gen’emon. He began his pottery training in Kyoto’s Gojozaka district in 1834 and established his own kiln in 1843. Receiving the character "真" (Ma) from Prince Kogen Hoshinno, he changed his surname to Masamizu. Zoroku gained prominence for his celadon ware, earning the title "Zoroku of Celadon," and was a pioneer of celadon production in Gojozaka. He exhibited at international expositions in Vienna (1873) and Philadelphia (1876) and was known for his philanthropy, aiding disaster victims and the disadvantaged. Zoroku also crafted tea utensils for Emperor Komei in 1864, earning the "Sokan" seal from Gengensai Soshitsu of Urasenke.
The second-generation Mashimizu Zoroku (1861–1936), born in Kyoto as the eldest son of the first Zoroku, assumed the title in 1882 after his father’s passing. He excelled in celadon, white porcelain, underglaze blue, and Mishima styles, drawing inspiration from Chinese and Korean ceramics. He relocated his kiln to Yamashina in 1917 and later to Nishikyo in 1930, forging connections with prominent potters such as Arakawa Toyozo. An authority on antique ceramics, he authored several notable works and earned awards at exhibitions, including the Kyoto and Nanto Expositions. His seals evolved over time, beginning with "Hyakuju" and later adopting "Shunsen" and "Zoroku."

A beautiful Matcha Tea Container with gold lined Zogei lid in a silk pouch enclosed in a period wood box titled Karatsu Chaire. The yellow tinged green glaze runs down over the rough dark clay, a blossom of black across the shoulder over a dimple in the form. It is 6.5 cm (2-1/2 inches) diameter, 9.5 cm (just less than 4 inches) tall and in excellent condition.