All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1700
item #1495122
(stock #K408)
The Kura
$2,800.00
$2,800.00
A collapsed water jar covered in iron glaze and enclosed in an ancient wooden box heavily annotated inside the lid and named Ho-gyoku by the Head priest of Bukkoji Temple in Kyoto. There is a red lacquered Ka-o signature used by the elite on the side of the vessel. It is 32 x 23 x 27.5 cm (11-1/2 x 9 x 11 inches) and is in fine condition. The box lid claims it was the property of or named by the head of Bukkoji Temple in downtown Kyoto.
In 1212, following his expulsion to Echigo, the True-land Buddhist prophet Shinran Shonin returned to Kyoto and began to develop the teaching of Shin Buddhism at a hermitage in Yamashina (eastern part of Kyoto). This hermitage was the origin of the present-day Bukkoji Temple. It was named Koryu Shoboji Temple. Genran, the 8th Abbot, who succeeded, passed away in the 13th year of his reign. His wife, Ryomyo, was appointed the 9th Abbot. In an era more than 600 years ago, when women were severely discriminated against, a woman abbot was unheard of. But in establishing Bukkoji: "Amida's Primal Vow does not discriminate between the young and old, good and evil; true faith alone is essential." In 1586, under orders from the Shogun Toyotomi Hideyoshi, Bukkoji was moved from Shirutani to the present location.
In 1212, following his expulsion to Echigo, the True-land Buddhist prophet Shinran Shonin returned to Kyoto and began to develop the teaching of Shin Buddhism at a hermitage in Yamashina (eastern part of Kyoto). This hermitage was the origin of the present-day Bukkoji Temple. It was named Koryu Shoboji Temple. Genran, the 8th Abbot, who succeeded, passed away in the 13th year of his reign. His wife, Ryomyo, was appointed the 9th Abbot. In an era more than 600 years ago, when women were severely discriminated against, a woman abbot was unheard of. But in establishing Bukkoji: "Amida's Primal Vow does not discriminate between the young and old, good and evil; true faith alone is essential." In 1586, under orders from the Shogun Toyotomi Hideyoshi, Bukkoji was moved from Shirutani to the present location.
The Kura
$2,800.00
$2,800.00
A tall flaring bamboo basket by Tanabe Chiuunsai II enclosed in the original signed wooden box titled Hosei. It retains the original bamboo inset, and is 31 x 20 x 35 cm (12-1/4 x 8 x 14 inches) and is in excellent condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1700
item #1500406
(stock #KN020)
The Kura
$2,800.00
$2,800.00
A spectacular squat Seto-guro bowl dating from the early Edo period enclosed in an ancient heavy kiri wood box annotated within by soe long lost collector. This is a perfect example of the Momoyama aesthetic. It is 12 cm (5 inches) diameter, 8 cm (3-1/4 inches) tall and in excellent condition.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1900
item #1500640
(stock #K499)
The Kura
$2,800.00
$2,800.00
Chrysanthemum in blue decorate the pale white porcelain of this tall vase by Miyagawa Kozan signed on the base in a square cartouche Makuzu Kozan. It is 32 cm (12-1/2 inches) tall 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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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 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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Metalwork : Pre 1950
item #1500783
(stock #KN004)
The Kura
$2,800.00
$2,800.00
A boat shaped hanging vase of hand forged iron hammered out of a single piece of metal using the uchidashi technique with waves rolling down the sides. It is lined with a dark metal, some blend of Shibuichi and copper, and suspended from a hand made chain. The vessel is 48 x 17.5 x 18.5 cm (19 x 7 x 7-1/2 inches) and is in excellent condition dating from the Edo period. It comes in a kiri-wood storage box titled Nanban Tetsu Uchidashi Tsuri Hanaike.
Uchidashi is a traditional Japanese metalworking technique used to create intricate raised designs on metal surfaces, commonly seen in samurai armor, sword fittings, and decorative objects. The term "uchidashi" translates to "hammered out," reflecting the method of working metal from the reverse side to achieve detailed relief on the front. The ultimate expression is three dimensional objects which stretch the limits of the material and showcase the extremities of the artisans skills.
Uchidashi is a traditional Japanese metalworking technique used to create intricate raised designs on metal surfaces, commonly seen in samurai armor, sword fittings, and decorative objects. The term "uchidashi" translates to "hammered out," reflecting the method of working metal from the reverse side to achieve detailed relief on the front. The ultimate expression is three dimensional objects which stretch the limits of the material and showcase the extremities of the artisans skills.
The Kura
$2,500.00
$2,500.00
A fabulous Edo period image of a Nobori Koi (Ascending carp) made with mouth open as a hanging wall vase It comes enclosed in an old custom kiri-wood collectors box titled Owari Kogama Hai-yu Koi-gata Kake-Hanaike (Old Owari Feif Kiln Ash Glazed Carp Shaped Hanging Vase). One fin has been broken off and reattached with either pitch or lacquer, and there are ancient color filled minor chips to the brittle edges, otherwise is in surprisingly excellent condition.
In Japanese culture, Nobori Koi (ascending carp) is a powerful symbol of strength, perseverance, and success. The image of a koi carp swimming upstream or leaping up waterfalls is associated with the ancient Chinese legend of a carp that transformed into a dragon after successfully swimming up the Dragon Gate waterfall. This story represents overcoming obstacles and achieving great transformation. Nobori Koi is often featured during Children's Day (Kodomo no Hi) on May 5th, when colorful carp-shaped flags, called koinobori, are displayed outside homes to symbolize the hope for children's growth, strength, and the ability to overcome challenges in life. The flying carp also represents the wish for boys to grow up strong and successful, with the imagery of the fish reaching new heights as a metaphor for personal achievement and perseverance in the face of adversity. Thus, Nobori Koi reflects important values in Japanese culture, such as determination, ambition, and the aspiration for improvement and triumph.
In Japanese culture, Nobori Koi (ascending carp) is a powerful symbol of strength, perseverance, and success. The image of a koi carp swimming upstream or leaping up waterfalls is associated with the ancient Chinese legend of a carp that transformed into a dragon after successfully swimming up the Dragon Gate waterfall. This story represents overcoming obstacles and achieving great transformation. Nobori Koi is often featured during Children's Day (Kodomo no Hi) on May 5th, when colorful carp-shaped flags, called koinobori, are displayed outside homes to symbolize the hope for children's growth, strength, and the ability to overcome challenges in life. The flying carp also represents the wish for boys to grow up strong and successful, with the imagery of the fish reaching new heights as a metaphor for personal achievement and perseverance in the face of adversity. Thus, Nobori Koi reflects important values in Japanese culture, such as determination, ambition, and the aspiration for improvement and triumph.
All Items : Antiques : Regional Art : Asian : Japanese : Tea Articles : Pre 1900
item #1500030
(stock #K466)
The Kura
$2,400.00
$2,400.00
A spectacular Edo period Chatsubo Tea Leaf Container covered in green pine-ash glaze engraved about the shoulder with unusual designs of an Otsu-e style creature wearing a mino straw rain-coat and bearing a massive branch of blossoming wisteria over its shoulder between swirling sun spots. The vessel has a deep cleft in the foot from where it partially collapsed, which allows it to be displayed standing up or at an angle. There is a large Kutsuki kiln flaw on the down side where it adhered to whatever was next to it, supporting it in the kiln. Truly an amazing piece. Slight inclusions and the glistening green ash indicate Mino ware from the Iga area. The old wooden bung is still present, wrapped in layer upon layer as the wood dried and shrunk over the decades. It is 38 cm (15 inches) tall, 35 cm (14 inches) diameter and in excellent condition, enclosed in an ancient storage box made of thick slabs of age-darkened Kiri-wood.
Due to size the cost of shipping will be accrued separately. Japanese tea leaf storage jars, known as Chatsubo, are traditional stoneware vessels used to store tea leaves for Sencha steeped tea or before they are ground into powder for Maccha powdered tea ceremonies. These jars are appreciated for their functional design and aesthetic qualities, and many museums worldwide house notable examples in their collections. Here are some institutions that feature chatsubo: The National Museum of Asian Art, Metropolitan Museum of Art, Minneapolis Institute of Art and Philadelphia Museum of Art in the USA as well as the Montreal Museum of Fine Arts in Canada among many others.
Due to size the cost of shipping will be accrued separately. Japanese tea leaf storage jars, known as Chatsubo, are traditional stoneware vessels used to store tea leaves for Sencha steeped tea or before they are ground into powder for Maccha powdered tea ceremonies. These jars are appreciated for their functional design and aesthetic qualities, and many museums worldwide house notable examples in their collections. Here are some institutions that feature chatsubo: The National Museum of Asian Art, Metropolitan Museum of Art, Minneapolis Institute of Art and Philadelphia Museum of Art in the USA as well as the Montreal Museum of Fine Arts in Canada among many others.
The Kura
$2,300.00
$2,300.00
A basket of dark red bamboo woven by the 4th generation Hayakawa Shokosai IV enclosed in the original signed wooden box. It is 22.5 cm (9 inches) diameter, 48 cm (19 inches) tall and in excellent condition.
Hayakawa Shokosai IV (1902-1975) was the eldest son of Hayakawa Shokosai III (1864-1922). Shokosai IV succeeded as Shokosai aged 21, when his father Shokosai III passed away in 1922. After the war, the Shokosai family moved from Osaka to Kyoto where the family continues the basketmaking tradition to this day. Shokosai I (Togoro, 1815–1897) was born in Sabae City, Fukui Prefecture in 1815. Togorō, lost his father at the age of 19. He then moved to Kyoto and began apprenticing as a basket craftsman. In 1845 he relocated to Osaka and adopted the name Shokosai. He received numerous accolades, including awards at the First National Industrial Exhibition in 1877 (Meiji 10) and other domestic and international expositions. His work earned the distinction of being purchased by the Empress herself. Shokosai II (1860–1905) was the third son of the first-generation Shokosai, born with the name Takejirō, he succeeded to the title in 1897 (Meiji 30). He won second prize at the Fifth National Industrial Exhibition in 1903. His tenure as Shokosai was short, lasting only eight years until his death at 45, resulting in a limited body of work. Shokosai III (1864–1922) was born in Osaka as the fifth son of the first-generation Shokosai, his given name was Eisaburō. After studying under his father, he worked in Tokyo using the name Shōsai. Following his brother’s death in 1905, he returned to Osaka and succeeded as the third-generation Shokosai. He received the Phoenix Crest Award at the 1878 Paris Exposition and continued to garner honors at exhibitions worldwide. In 1887, he was honored by imperial purchase. In 1919, he co-founded the "Naniwa Basket Friends Association," leading Osaka’s bamboo craft scene and becoming a prominent figure in modern bamboo art. Shokosai III excelled in innovative coloring techniques and loose weaving styles, elevating bamboo basket craftsmanship into the realm of fine art. His bold and expressive style emphasized artistic harmony while maintaining an individualistic approach. He served as a member of the Osaka Crafts Association and passed away in 1922 at the age of 59. The Fourth Generation Hayakawa Shokosai IV (1902–1975) was born in 1902 as the son of the third-generation Shokosai, he became chairman of the Bamboo Art Association and was selected for the prestigious Nitten exhibitions. He passed away in 1975 at the age of 73. Hayakawa Sokosai V (1932–2011) was born in 1932 in Osaka as the eldest son of the fourth-generation, he continued the family’s legacy until his passing in 2011.
Hayakawa Shokosai IV (1902-1975) was the eldest son of Hayakawa Shokosai III (1864-1922). Shokosai IV succeeded as Shokosai aged 21, when his father Shokosai III passed away in 1922. After the war, the Shokosai family moved from Osaka to Kyoto where the family continues the basketmaking tradition to this day. Shokosai I (Togoro, 1815–1897) was born in Sabae City, Fukui Prefecture in 1815. Togorō, lost his father at the age of 19. He then moved to Kyoto and began apprenticing as a basket craftsman. In 1845 he relocated to Osaka and adopted the name Shokosai. He received numerous accolades, including awards at the First National Industrial Exhibition in 1877 (Meiji 10) and other domestic and international expositions. His work earned the distinction of being purchased by the Empress herself. Shokosai II (1860–1905) was the third son of the first-generation Shokosai, born with the name Takejirō, he succeeded to the title in 1897 (Meiji 30). He won second prize at the Fifth National Industrial Exhibition in 1903. His tenure as Shokosai was short, lasting only eight years until his death at 45, resulting in a limited body of work. Shokosai III (1864–1922) was born in Osaka as the fifth son of the first-generation Shokosai, his given name was Eisaburō. After studying under his father, he worked in Tokyo using the name Shōsai. Following his brother’s death in 1905, he returned to Osaka and succeeded as the third-generation Shokosai. He received the Phoenix Crest Award at the 1878 Paris Exposition and continued to garner honors at exhibitions worldwide. In 1887, he was honored by imperial purchase. In 1919, he co-founded the "Naniwa Basket Friends Association," leading Osaka’s bamboo craft scene and becoming a prominent figure in modern bamboo art. Shokosai III excelled in innovative coloring techniques and loose weaving styles, elevating bamboo basket craftsmanship into the realm of fine art. His bold and expressive style emphasized artistic harmony while maintaining an individualistic approach. He served as a member of the Osaka Crafts Association and passed away in 1922 at the age of 59. The Fourth Generation Hayakawa Shokosai IV (1902–1975) was born in 1902 as the son of the third-generation Shokosai, he became chairman of the Bamboo Art Association and was selected for the prestigious Nitten exhibitions. He passed away in 1975 at the age of 73. Hayakawa Sokosai V (1932–2011) was born in 1932 in Osaka as the eldest son of the fourth-generation, he continued the family’s legacy until his passing in 2011.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Baskets : Pre 1950
item #1499962
(stock #K507)
The Kura
$2,000.00
$2,000.00
A flaring bamboo basket with looping handle by Yamamoto Chikuryusai enclosed in the original signed wooden box titled simply Hanakago. It is 22.5 cm (9 inches) diameter, 40 cm (16 inches) tall and in excellent condition.
Yamamoto Chikuryusai I (1868-1945) was a bamboo artist of the early modern era in Osaka. Born in year one of the Meiji era to the Yanagi clan, his former Samurai family hailed from Yodo, a castle town between Osaka and Kyoto. He later was adopted by his Sister in Law to the Yamamoto family, changing his name to Yamamoto at the time, however it was with his older brother, Yanagi Takesada that he learned basketry in their shop in Osaka. Takesada moved to Korea; for the Japanese at the time it was the New West, but Chikuryusai remained in Japan. Unlike others, Chikuryusai did not attempt to insert himself into his baskets, but, allowed his baskets a traditional elegance. He was renowned for his calligraphy, sencha aesthetic, and his elegant and reserved artistic vision. His baskets received awards at several important international expositions, and, with his two sons, Chikuryusai II and Chikken, participated in the annual Teiten/Bunten National Art Exhibitions. He served as mentor to not only his two sons but also Hamano Chikkosai, Ikeda Seiryusai, and Suemura Shobun. In 1929, he gave the artist “Go” (name) to his son but continued working under the name Shoen until his death in 1945. Work by him is held in the Asian Art Museum San Francisco, The Minneapolis Institute of Art and The Met New York among many other public and private collections.
Yamamoto Chikuryusai I (1868-1945) was a bamboo artist of the early modern era in Osaka. Born in year one of the Meiji era to the Yanagi clan, his former Samurai family hailed from Yodo, a castle town between Osaka and Kyoto. He later was adopted by his Sister in Law to the Yamamoto family, changing his name to Yamamoto at the time, however it was with his older brother, Yanagi Takesada that he learned basketry in their shop in Osaka. Takesada moved to Korea; for the Japanese at the time it was the New West, but Chikuryusai remained in Japan. Unlike others, Chikuryusai did not attempt to insert himself into his baskets, but, allowed his baskets a traditional elegance. He was renowned for his calligraphy, sencha aesthetic, and his elegant and reserved artistic vision. His baskets received awards at several important international expositions, and, with his two sons, Chikuryusai II and Chikken, participated in the annual Teiten/Bunten National Art Exhibitions. He served as mentor to not only his two sons but also Hamano Chikkosai, Ikeda Seiryusai, and Suemura Shobun. In 1929, he gave the artist “Go” (name) to his son but continued working under the name Shoen until his death in 1945. Work by him is held in the Asian Art Museum San Francisco, The Minneapolis Institute of Art and The Met New York among many other public and private collections.
The Kura
$2,000.00
$2,000.00
An openwork basket of split and woven bamboo by Tanabe Chikuunsai II enclosed in the original signed wooden box. It is 31 x 27.5 x 13 cm (12-1/2 x 11 x 5 inches) and is in excellent condition.
Tanabe Chikuunsai II (Toshio, 1910-2000) was born the son of Tanabe Chikuunsai I in Osaka known for his Chinese-style (Karamono) baskets. He began working with bamboo craft from a young age under his father, and in 1915, when he turned 5 years of age, he gave demonstrations of the craft with his cousin Kōunsai at his father’s private exhibition at Mitsukoshi Department in Osaka, impressing everyone with his skilled weaving in hexagonal pattern. In 1919, when he was 9, his father made him study calligraphy under the Sinologist Tsuchida Kōnan to make him a man of letters. The drawings he made in his late years were the results of the Nanga painting and calligraphy he learnt during his childhood. He held his first private exhibition when he turned 15 in 1925 and was given the title Shōchiku’unsai by his father. At the age of 20 became a member of the Naniwa Ranyukai group and was accepted into the Teiten national art exhibition for the first time in 1931 where he would later receive numerous awards. Following the death of Chikuunsai I, he assumed the name of Chikuunsai II however, moved away from the tense karamono baskets of his predecessor developing his own style of more open and relaxed weaves and plating techniques. He was awarded the Order of Cultural Merit by the Japanese government in 1981. He transferred the family name to his eldest son in 1991, taking the new name Ichikusai however remained active to the end of his life. Work by him is held in the Metropolitan Museum of Art New York, the Minneapolis Institute of Arts, the Crafts Gallery of the National Museum of Modern Art Tokyo and Museum of Fine Arts in Boston among others.
Tanabe Chikuunsai II (Toshio, 1910-2000) was born the son of Tanabe Chikuunsai I in Osaka known for his Chinese-style (Karamono) baskets. He began working with bamboo craft from a young age under his father, and in 1915, when he turned 5 years of age, he gave demonstrations of the craft with his cousin Kōunsai at his father’s private exhibition at Mitsukoshi Department in Osaka, impressing everyone with his skilled weaving in hexagonal pattern. In 1919, when he was 9, his father made him study calligraphy under the Sinologist Tsuchida Kōnan to make him a man of letters. The drawings he made in his late years were the results of the Nanga painting and calligraphy he learnt during his childhood. He held his first private exhibition when he turned 15 in 1925 and was given the title Shōchiku’unsai by his father. At the age of 20 became a member of the Naniwa Ranyukai group and was accepted into the Teiten national art exhibition for the first time in 1931 where he would later receive numerous awards. Following the death of Chikuunsai I, he assumed the name of Chikuunsai II however, moved away from the tense karamono baskets of his predecessor developing his own style of more open and relaxed weaves and plating techniques. He was awarded the Order of Cultural Merit by the Japanese government in 1981. He transferred the family name to his eldest son in 1991, taking the new name Ichikusai however remained active to the end of his life. Work by him is held in the Metropolitan Museum of Art New York, the Minneapolis Institute of Arts, the Crafts Gallery of the National Museum of Modern Art Tokyo and Museum of Fine Arts in Boston among others.
The Kura
$1,800.00
$1,800.00
A classic early Tanabe Chikuunsai basket enclosed in the original signed wooden box signed with his early name. That this is signed Shochikusai indicates it was created before he took the family name in 1937. This square form of open vertical slats is a favorite of this artist. The basket is 10 x 17 x 33.5 cm (4 x 6-1/2 x 13 inches) and is in excellent condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1837 VR
item #1499705
(stock #K631)
The Kura
$1,800.00
$1,800.00
A beautiful small tea bowl in classical Seto style covered with dark crawling glaze by Hirasawa Kuro enclosed in a box endorsed by Keiō Sōsa (Seisai, 1863-1937) the 12th generation head of Omotesenkei Tea School.
The bowl is roughly 11.5 cm (4-1/2 inches) diameter, 8.5 cm (3-1/2 inches) tall and is in excellent condition. A note inside the box indicates the tea bowl was seen by Seisai in September of Taisho 9 (1920).
Hirasawa Kurō (1772–1840) was samurai and potter active during the late Edo period. He served as a retainer of the Owari Domain in Nagoya. A practitioner of the tea ceremony, he spent his leisure time crafting tea utensils inspired by traditional styles such as Old Seto (Ko-Seto) and Karatsu. His works were characterized by a distinctive charm and came to be known as "Kurō Ware" (Kurō-yaki).
Hirasawa Kurō (1772–1840) was samurai and potter active during the late Edo period. He served as a retainer of the Owari Domain in Nagoya. A practitioner of the tea ceremony, he spent his leisure time crafting tea utensils inspired by traditional styles such as Old Seto (Ko-Seto) and Karatsu. His works were characterized by a distinctive charm and came to be known as "Kurō Ware" (Kurō-yaki).
The Kura
$1,800.00
$1,800.00
An austere Iga storage jar dating from the 16th century engraved about the shoulder with a crosshatch pattern and raised on two distinctive Geta underneath typical of early Iga ware enclosed in an old Kiri-wood storage box titled Iga Tsubo. There are two silver lacquer repairs to the rim and one on the side, all of which have tarnished to a dark patina with age. The vessel is 22 cm (9 inches) diameter, 28 cm (11 inches) tall and in excellent condition.
Iga pottery originated in the Iga region of Mie Prefecture in the late Heian period (12th century). Initially, it was known for producing utilitarian wares such as jars and mortars. However, during the Momoyama period (late 16th century), it gained prominence as tea practitioners valued its rustic, natural aesthetic for tea ceremony utensils. The nearby Iga and Shigaraki regions shared similarities in clay and techniques, but Iga-yaki developed its own unique style, especially under the influence of wabi-sabi aesthetics. Made from high-quality, coarse-grained clay rich in feldspar and silica, this gives the pieces durability and heat resistance. Fired in wood-fueled kilns, the interaction of ash and heat creates natural glazes, often with flowing textures and irregular patterns. Unique scorched effects appear due to the high-temperature firing and direct exposure to flame, adding depth and character to the pottery.Iga-yaki often features asymmetrical shapes and rough textures, embodying the wabi-sabi philosophy of imperfection and natural beauty. While historically utilitarian, Iga pottery is celebrated for its artistic expression, particularly in tea ceremony ware such as water jars (mizusashi) and tea bowls (chawan).
Iga pottery originated in the Iga region of Mie Prefecture in the late Heian period (12th century). Initially, it was known for producing utilitarian wares such as jars and mortars. However, during the Momoyama period (late 16th century), it gained prominence as tea practitioners valued its rustic, natural aesthetic for tea ceremony utensils. The nearby Iga and Shigaraki regions shared similarities in clay and techniques, but Iga-yaki developed its own unique style, especially under the influence of wabi-sabi aesthetics. Made from high-quality, coarse-grained clay rich in feldspar and silica, this gives the pieces durability and heat resistance. Fired in wood-fueled kilns, the interaction of ash and heat creates natural glazes, often with flowing textures and irregular patterns. Unique scorched effects appear due to the high-temperature firing and direct exposure to flame, adding depth and character to the pottery.Iga-yaki often features asymmetrical shapes and rough textures, embodying the wabi-sabi philosophy of imperfection and natural beauty. While historically utilitarian, Iga pottery is celebrated for its artistic expression, particularly in tea ceremony ware such as water jars (mizusashi) and tea bowls (chawan).
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1940
item #1500641
(stock #K440)
The Kura
$1,800.00
$1,800.00
A lacquer box decorated with a Rimpa style thatched house under golden boughs by Kamisaka Sekka dating from the late Taisho period. It is 15 x 12.5 x 6 cm (6 x 5 x 2 inches) and is in overall fine condition, with a few stress cracks gained over the last century.
Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art (future University of Fine Art), and was widely exhibited and prized throughout his career, which ended in retirement in 1938.
Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art (future University of Fine Art), and was widely exhibited and prized throughout his career, which ended in retirement in 1938.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1940
item #1500917
(stock #K673)
The Kura
$1,800.00
$1,800.00
A large Bunko lacquered box by Shimada Shunko dating from the late 1930s to 1940s, enclosed in a signed wooden box. It features solid silver rims. It is 42 x 32 x 15 cm (16-1/2 x 12-1/2 x 6 inches) and is in overall fine condition. Shunko submitted a very similar design to the 6th Shinbunten in 1943.
Shunko Shimada is well-known as a lacquerware artist specializing in Wajima-nuri. His works are created using traditional Japanese lacquer techniques, particularly the maki-e method. Wajima-nuri, which developed around Wajima City in Ishikawa Prefecture, is highly regarded worldwide for its beauty and technical excellence.
Shunko Shimada is well-known as a lacquerware artist specializing in Wajima-nuri. His works are created using traditional Japanese lacquer techniques, particularly the maki-e method. Wajima-nuri, which developed around Wajima City in Ishikawa Prefecture, is highly regarded worldwide for its beauty and technical excellence.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950
item #1500968
(stock #K575)
The Kura
$1,800.00
$1,800.00
Gold, silver and other precious metals glimmer against the forested background as mounted warriors in all their fine armor pass through in the night. This is an amazing lacquered box, the outside decorated with samurai, the interior all Nashiji gold powder. It features solid silver rims on the edges of the box and lid. The box is 25 x 32 x 15 cm (10 x 12-1/2 x 6 inches) and is in overall fine condition. There are very minor blemishes if one looks carefully, but no major chips or cracks.
The Kura
$1,700.00
$1,700.00
A collapsed bottle from the early years of the Tokoname Kilns dating from the Kamakura to Nanboku-cho periods (12th to 15th centuries) featured in the special Taiyo Art Magazine Close-up on the six ancient kilns. It is 18 cm (7 plus inches) diameter, 13 cm (more than 5 inches) tall and in fine original condition, enclosed in an old red-lacquered wooden box.
Tokoname pottery from modern day Aichi Prefecture, is one of Japan’s Six Ancient Kilns (Nihon Rokkoyō), with a history dating back to the Heian period (794–1185). Initially, Tokoname potters produced large, durable storage jars and water vessels, utilizing locally abundant iron-rich clay and high-temperature firing techniques. The region's extensive use of anagama (single-chamber) and later noborigama (climbing) kilns contributed to its flourishing as a major ceramics center. During the Kamakura (1185–1333) and Muromachi (1336–1573) periods, Tokoname ware was exported all over the Japanese archipelago, and served as the prototype for pottery from most of the other ancient kilns.
Tokoname pottery from modern day Aichi Prefecture, is one of Japan’s Six Ancient Kilns (Nihon Rokkoyō), with a history dating back to the Heian period (794–1185). Initially, Tokoname potters produced large, durable storage jars and water vessels, utilizing locally abundant iron-rich clay and high-temperature firing techniques. The region's extensive use of anagama (single-chamber) and later noborigama (climbing) kilns contributed to its flourishing as a major ceramics center. During the Kamakura (1185–1333) and Muromachi (1336–1573) periods, Tokoname ware was exported all over the Japanese archipelago, and served as the prototype for pottery from most of the other ancient kilns.
All Items : Antiques : Regional Art : Asian : Japanese : Tea Articles : Pre 1800
item #1500473
(stock #KN026)
The Kura
$1,650.00
$1,650.00
A beautiful textured black bowl decorated with impressed golden pine boughs by Raku Chonyu enclosed in an old wooden box. Impre3ssed into the foot is the artists well documented seal. It is 12 cm (5 inches) diameter, 8 cm (3 inches) tall and in excellent condition.
Raku Chōnyū (1714–1770) was the 7th-generation head of the Raku family, a lineage of potters in Kyoto renowned for their contributions to tea ceremony ceramics. Born as the eldest son of Sōnyū (6th-generation Raku master), Chōnyū inherited the family tradition and became the head of the Raku workshop in 1748. Chōnyū is remembered for his innovation and refinement of the Raku style, which emphasized simplicity, natural beauty, and wabi-sabi aesthetics. His works, primarily tea bowls (chawan), were characterized by bold yet subtle designs, and he demonstrated exceptional skill in using red and black glazes, which are hallmarks of the Raku tradition. Chōnyū continued the strong relationship between the Raku family and the Urasenke school of tea, creating tea wares that complemented the aesthetics and philosophy of the tea ceremony. His contributions further solidified the Raku family's reputation as masters of tea ceramics and set a standard for subsequent generations. After his death in 1770, the family tradition continued with his successor, Tannyū, the 8th-generation Raku master.
Raku Chōnyū (1714–1770) was the 7th-generation head of the Raku family, a lineage of potters in Kyoto renowned for their contributions to tea ceremony ceramics. Born as the eldest son of Sōnyū (6th-generation Raku master), Chōnyū inherited the family tradition and became the head of the Raku workshop in 1748. Chōnyū is remembered for his innovation and refinement of the Raku style, which emphasized simplicity, natural beauty, and wabi-sabi aesthetics. His works, primarily tea bowls (chawan), were characterized by bold yet subtle designs, and he demonstrated exceptional skill in using red and black glazes, which are hallmarks of the Raku tradition. Chōnyū continued the strong relationship between the Raku family and the Urasenke school of tea, creating tea wares that complemented the aesthetics and philosophy of the tea ceremony. His contributions further solidified the Raku family's reputation as masters of tea ceramics and set a standard for subsequent generations. After his death in 1770, the family tradition continued with his successor, Tannyū, the 8th-generation Raku master.