The Kura - Japanese Art Treasures
Robert Mangold has been working with Japanese antiques since 1995 with an emphasis on ceramics, Paintings, Armour and Buddhist furniture.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Pre 1950 item #1499837 (stock #K531)
The Kura
$2,000.00
Sale Pending
A set of five Ceramic Bowls decorated with maple leaves and waves paying homage to the Kenzan style by Imperial artist Miyagawa (Makuzu) Kozan I enclosed in the original signed wooden box. They are 12 cm (5 inches) diameter, 5.5 cm (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.
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1900 item #1498762 (stock #K482)
The Kura
$1,800.00
Sale Pending
Silver blossoms bloom in the golden foliage of weeping branches dangling from a checkered cloud design around the rim of this pumpkin shaped incense burner dating from the first half of the Edo period. Three folding fans in geometric designs are emblazoned about the lozenge form. It is 10 cm (4 inches) diameter, 8.5 cm (3-1/4 inches) tall and in overall excellent condition, with wear to the lacquer on the bottom typical of age.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1960 item #1498763 (stock #K480)
The Kura
sold
A boxed set of five elevated serving trays in red lacquer decorated with floral motifs in black by Urushi-legend Banura Shogo enclosed in the original tiered and signed wooden box titled Natsu no mi Kashiki (Serving Dishes with Summer Theme). Each is roughly 21.5 cm (8-1/2 inches) diameter, 4.5 cm (2 inches) tall and all are in excellent condition, retaining their original white silk lined blue cloth pouches.
Banura Shogo (1901-1982) was born in Nanao, Ishikawa prefecture, and studied lacquer in the Wajima tradtion. In 1925 he moved to Kyoto. It was a time of great interest in ancient things, forgotten styles, and revival of lost techniques. Together with Okumura Kyuka he established a research group dedicated to the study and revival of lacquer techniques. He exhibited with the Bunten (Teiten/Nitten) National Art Exhibition and was first awarded there in 1930 for a cabinet, and in 1936 for a screen at the same venue. The following year would see his work garner a prize at the Great Paris Exhibition. Post war he would establish the group Sojinsha which would evolve into Shugenkai in the 1950s. In 1963 e would be granted the Zosho prize from the Japan Art Academy. Ever promoting the field of lacquer, he served as chairman of the Kyoto Shitsugeika Kyokai (Kyoto Association of Lacquer Artists) and was named an Artist of Merit by Kyoto city for his contribution to the arts and crafts in 1972, nad by Kyoto prefecture in 1974. In 1981 this cumlminated wit hteh Order of the Rising Sun , one of the highest national honors for an artist in Japan. He died the following year. Works by him are held in the collections of: The Kyoto National Museum of Modern Art, The Kyoto Municipal Museum of Art, The Tokyo Museum of Modern Art, The Kyoto Shinkin Bank Musuem, Iwashimizu Hachimangu Shrine as well as numerous private collections.
All Items : Artists : Folk Art : Pre 1990 item #1498800 (stock #K388)
The Kura
$1,800.00
Sale Pending
A paradigmatic basket by Tanabe Chikuunsai II enclosed in the orginal signed wooden box. This square form of open vertical slats is a favorite of this artist. It is 9 x 18 x 35 cm (3-1/2 x 7 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.
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1837 VR item #1500137 (stock #K558)
The Kura
$1,800.00
Sale Pending
A heavily formed later Edo period plate decorated with green, yellow and red seaside imagery by Minpai Kashu bearing the artists seal impressed into the back. It is 37.5 x 25 x 5 cm (15 x 10 x 2 inches) and is in excellent original condition. A very rare work worthy of museum collection. It comes in an age darkened kiri-wood box. Awaji yaki was founded in the early 1830s by a scholar of classical literature and Tea Master, Minpei Kashu (1796–1871, last name also spelled Mimpei). From a wealthy trading family, he was concerned about the development of industrial resources in his province and devoted himself to the manufacture of ceramics, which he studied under Ogata Shuhei (1788-1839), a famous Kyoto potter. Returning to his village after his studies, he established kilns in the Tenpō era (1830s) and devoted his whole fortune to the enterprise. Lord Hachisuka of Awaji Province subsequently subsidized Minpei's manufactory and appointed him head of the workshops. His efforts were successful, and his production reached a prosperity which equaled in value the rice harvest of the eleven surrounding villages. After Minpei's death in 1862 his successors continued manufacturing ceramics, which became a source of wealth for the province. Known as Awaji ware, they are also known by the founders name as Minpei or Mimpei Yaki. The work is characterized by a white or cream-colored clay with blue or yellow glaze, sometimes also green, sharing similarities with Sansai-ware. The Metropolitan Museum of Art has nine pieces of Minpei ware in its permanent collection.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Tea Articles : Pre 1940 item #1500498 (stock #K634)
The Kura
sold, thank you
An incredibly rare set of five small tea cups by Tomioka Haruko enclosed in a wooden box signed by her husband the illustrious literati artist Tomioka Tessai titled Kone Chawan dated Taisho 8 (1919). They are hand formed, pinches and raised in the style of Otagaki Rengetsu (who was mentor to Tessai), and each uniquely decorated and each is uniquely signed Haruko saku. They are roughly 6 cm (2-1/2 inches) diameter, 4 cm (1-1/2 inches) tall and all are in excellent condition.
Tomioka Haruko (1847-1940) was born the third daughter in a samurai family (Sasaki-clan) of Iyo fief. She was married to Tomioka Tessai in the fifth year of the Meiji period (1872) and was a respected artist and poet, continuing to work throughout her long life, showing a distinct affinity for pottery.
All Items : Antiques : Regional Art : Asian : Japanese : Metalwork : Pre 1930 item #1495943 (stock #K154)
The Kura
sold
A very rare pair of Art-Deco era bronze candlesticks covered in polished nickel by Hata Zoroku enclosed in the original signed wooden box. Each is 12 x 7.5 x 35 cm (5 x 3 x 14 inches) and is in overall excellent condition, with some minor wear to the nickel. They come with teh original adapters for samller candles.
Hata Zoroku I (b. 1823) was especially famous for his iron kettles used in tea ceremonies, which often featured intricate designs and ornamentation. His work gained recognition not only in Japan but also internationally. He was instrumental in preserving traditional Japanese metalwork techniques during a time of great social and political change. His works often displayed a balance between functionality and artistry, which helped solidify the demand for high-quality, handcrafted kettles. His success led to the establishment of the Hata Zoroku lineage, setting a high standard for future generations. Later generations continued to uphold the Hata Zoroku name, producing highly sought-after metal objects that reflected the blending of traditional craftsmanship with modern influences. Zoroku II (1854–1932) was active during the late Edo period into the Meiji era, a time of major social and economic transformation in Japan. He continued his father’s legacy in crafting fine kettles, but also expanded the family’s craft into more decorative objects. With the growing export market during the Meiji era, Zoroku II’s works reached international audiences. His pieces often exhibited a fusion of traditional Japanese and Western influences, reflecting the cultural shifts of the time. Zoroku II began incorporating newer techniques and styles, blending modernity with tradition. He experimented more with motifs such as landscapes, animals, and symbolic patterns, and his work was highly regarded in both domestic and international markets. His works were showcased in international expositions, contributing to Japan’s recognition as a center for exquisite craftsmanship. Zoroku III worked hard to ensure that traditional metalworking techniques were preserved during a time of industrialization. He was especially known for creating limited edition pieces that were highly valued among collectors of traditional Japanese art.
All Items : Antiques : Regional Art : Asian : Japanese : Tea Articles : Pre 1900 item #1499988 (stock #K592)
The Kura
$1,700.00
Sale Pending
A fabulous deep red Raku Chawan with a barely discernable foot raising it slightly off the surface enclosed in a wooden box accrediting the bowl to Gengensai, 11th generation head of Urasenkei Tea School. The bowl is a masterpiece, with a prominent ridge inside and a slight well forming a perfect chazuri for whipping the tea with the whisk. The artists distinctive Ka-o signature is incised into the base along the Kodai (footring). It is 12 cm (5 inches) diameter, 9.5 cm (just less than 4 inche3s) tall and in excellent condition.
Gengensai Seichu Soshitsu (1810-1877) lived during the years leading into the Meiji Era (1868-1912), a time of dramatic political and cultural change in Japan. This turbulent period saw the collapse of the Tokugawa Shogunate, the move of the emperor from Kyoto to the new capital, Tokyo (until then called Edo), Japan’s all-out adoption of Western civilization, and the country’s development into a modern state. Amid these circumstances, his major achievements included his success in convincing the new Meiji Government that it should officially recognize chado as a serious cultural and spiritual pursuit. Gengensai is also credited as the originator of the ryurei style of chanoyu, which employs tables and stools. Because of his success in maintaining the vitality of chado in the new age, he is often referred to as the Father of the Restoration of Chado. Gengensai was the adopted heir of Nintokusai. His natural father was the 7th-generation head of the Ogyu Matsudaira family, a branch of one of the original Matsudaira lineages from which evolved the Tokugawa family. He was adopted by Nintokusai when he was nine years old and Nintokusai, whose only surviving offspring were girls, was already fifty. Nintokusai, taking into account the daimyo-family background of his new adopted son, saw to it that the boy was educated in the various fields of textbook learning of the time, as well as poetry, music, and other traditional cultural refinements. Nintokusai passed away seven years later, and thus Gengensai became the head of Urasenke when he was only sixteen.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1960 item #1500471 (stock #K627)
The Kura
sold, thank you
A lacquered document/paper storage box known as a Bunko by Yamazaki Ritsuzan decorated with firefly squid in a very modern style enclosed in the original signed wooden box titled Hotaru Ika Maki-e Bunko. The box itself is singed inside the lid. It is 25.5 x 36.5 x 12 cm 10 x 16 x 5 inches) and is in overall excellent condition.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Metalwork : Pre 1950 item #1498113 (stock #K479)
The Kura
sold
A Fabulous Bronze Serving Vessel with Rams-head handle lined with silver by Living National Treasure Katori Masahiko enclosed in the original signed wooden box titled Hitsuji-mimi Hissen. It is 19.5 x 14 x 7.5 cm (8 x 5-1/2 x 3 inches) and in overall excellent condition, signed on the base Masahiko.
Katori Masahiko (1899-1988) was born into the family of prominent Bronze Artist Katori Hozuma in Chiba. He was internationally awarded at the Paris Exposition in 1925, the year he graduated The Tokyo University of Fine Arts (a student of Tsuda Shinobu). Heavily involved with the Teiten/Nitten National Art Exhibition, following the destruction of the Second World War, he would spend years working to save Japanese Buddhist Treasures, and making Bells for Temples an
All Items : Antiques : Regional Art : Asian : Japanese : Tea Articles : Pre 1900 item #1498434 (stock #K554)
The Kura
$1,500.00
Sale Pending
An exquisite vessel covered in pale earth-toned glaze reavealing the clay along the edges from the Edo period kilns of Hagi covered with a two piece custom made black lacquered wooden lid and enclosed in a period wooden mox titled Ko-Hagi Teguchi Mizusashi. It is 20 x 15 x 21 cm (8 x 6 x 8-1/4 inches) and is in excellent condition.
Hagi pottery is known for its rustic and understated beauty, which resonates with the wabi-sabi aesthetic central to the Japanese tea ceremony. The tea ceremony during the Edo period emphasized natural beauty, simplicity, and humility, and Hagi ware embodied these principles. The soft, often uneven glaze and earthy tones of Hagi pottery highlight the handmade nature of the work, and any imperfections, such as cracks or asymmetry, were seen as adding to the piece's character and value. A key feature of Hagi ware is its ability to change over time, which made it particularly valued in the tea ceremony. The soft, porous clay and glaze of Hagi pottery gradually absorb tea, and over time, the ware develops unique stains and crackles, known as keshiki (scenery). This change symbolized the passage of time and the deepening of the relationship between the tea practitioner and the object, reflecting the fleeting nature of life—a concept deeply embedded in the practice of tea. Additionally, the neutral, soft tones of Hagi bowls provided a gentle contrast to the bright green of matcha tea, enhancing the visual appreciation of the ceremony.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1930 item #1498880 (stock #K451)
The Kura
$1,500.00
Sale Pending
A beautiful Shallow bowl with inverted rim decorated with delicate designs by Miyagawa Makuzu Kozan enclosed in the original signed wooden ox titled Ninsei Kameko Moyo Kashiki (Dish deocorated with Tortoise shell pattern). It is 19.5 cm (8 inches) diameter, 8.5 cm (3-1/2 inches) tall and in perfect 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.
All Items : Artists : Metalwork : Pre 1980 item #1499559 (stock #K513)
The Kura
$1,500.00
Sale Pending
A striking pose taken by this Art-deco influenced Shishi Lion by Hasuda Shugoro enclosed in the original signed wooden box titled Shishi-Koro. It is 10 x 7 x 13 cm (4 x 3 x 5 inches) and is in excellent condition, accompanied by a certificate of authenticity.
Hasuda Shugoro was born in Kanazawa City in 1915. After graduating the Ishikawa Prefectural Industrial School, he moved to the Tokyo School of Art. Much lauded his first award was at the 5th Nitten in 1949 and he received the Hokuto-sho there in 1953 among many further prizes. He participated in the founding of the Creative Crafts Association in 1961 and founded the Japan Metal Sculpture Institute in 1976. Decorated with the Order of Cultural Merit in 1991, Hasuda Shugoro stands as one of the leading modernist artists working in bronze during the Post-War Period. A vase by the artist sold at Christies in 2012 for 2,500 pounds (roughly 4,000 dollars). For more on this artist see Hasuda Shugoro Kinzoku Zokei (1981).
All Items : Antiques : Regional Art : Asian : Japanese : Devotional Objects : Pre 1920 item #1490875
The Kura
sold
Bonji Sanskrit characters pierce the lotus finialed lid of this large antique bronze incense burner. The vajra-like finial topped in the shape of a lotus flower is hollow, the lotus seed pod pierced with holes to allow the smoke to escape like a chimney. This is also removable, slotting in to the incense burner, and turned to lock it in place. Inside the lid is stained and shiny from years of incense soot built up. It is 35.5 cm (14 inches) tall, 18 cm (7 inches) diameter and in overall excellent condition (a bit dusty in the photos as found).
All Items : Antiques : Regional Art : Asian : Japanese : Paintings : Pre 1930 item #1491726 (stock #N11)
The Kura
sold
A peaceful cluster of homes blanketed in snow by Shirakura Niho enclosed in the original signed wooden box titled Kamo Sekkei (Kamo in Snow). This is likely an image from very close to the artists heart, he lived west of the Kamo River in Kyoto, and one can imagine this being one of the bridges spanning that river he has seen out on a winter day. Ink,Gofun & Light color on Silk bordered in light colored cloth. The scroll is 46.5 x 203.5 cm (18-1/4 x 80 inches) and is in overall excellent condition. Niho was from Niigata prefecture, where harsh winters are the norm, and he was well known for his winter imagery.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1920 item #1500472 (stock #K584)
The Kura
sold
A handled basin of raw sandy clay decorated with morning glories by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Masago Hada Asa-gao-no Zu Kabin (Sand textured Vase with Morning Glory Design). It is roughly 21 cm (8 inches) diameter, 18 cm (7-1/2 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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1900 item #1497884 (stock #K533)
The Kura
Sold
Dragons writhe over tempestuous waves on this large Kyoto Ninsei style pottery vase dating from the 19th century wrapped in a padded silk pouch and enclosed in a period wooden box. Meticulously crafted and decorated, it is a superb example of the late Edo to Meiji period aesthetic. The vase is 23 cm (9 inches) diameter, 31.5 cm (12-1/2 inches) tall and in overall excellent condition.
All Items : Antiques : Decorative Art : Metals : Bronze : Pre 1920 item #1498028 (stock #K527)
The Kura
sold
Two long eared Rabbits, one rising up on the back of the other, together form an adorable incense burner dating from the later 19th to early 20th centuries. Together they are roughly 22 x 14 x 16.5 cm (9 x 5-1/2 x 6-1/2 inches) and are in overall excellent condition, with some wear on the patina revealing the bright yellow bronze where they rest on the table evidencing age.