Catalog (191)

A beautifully sculpted image of a pheasant by Ogawa Yuhei enclosed in the original signed wooden box. It is 37 cm long and in excellent condition.
Yuhei Ogawa (1885-1945) was born in Takamatsu, Okayama prefecture an came to pottery a bit later than most. In 1923, while working part time at the Naval Hydrographic Department, he was deeply moved by seeing the solo exhibition of ceramic sculptor Kazumasa Numata. This gave him impetus to begin sculpting in his free time. Although he started his career as an artist late at the age of 37, he was selected for the opening exhibition of the newly established arts and crafts department at the Teiten National Exhibition in 1927, and frequently thereafter. He participated in the activities of the Totokai, a group of potters living in the Kanto region, with Itaya Hazan, Numata Kazumasa and Miyagawa (Makuzu) Kozan II serving as advisors, and played an active role as a central artist. In 1934 he was invited to Iwaki Glass Factory as an advisor and created pottery sculptures and glass works for the rest of his life. A sculpture of a black panther is held in the collection of the Tokyo National Museum of Modern Art.

A very rare Mashiko platter by Living National Treasure Hamada Shoji decorated with a poem cradled in an offset ring forming the mika-tsuki or third day moon by poet Shimizu Hian. The poem reads: Akaki Mi no Omoto no Hotori Dainaru Maruki kono yo no ishi okitari, and is signed by the 76 year old man Hian meaning it was made either in 1958 or 59 (depending upon whether Hian was going by the Western or Japanese manner of counting age). It is 35.5 cm (14 inches) diameter and is in excellent condition, enclosed in a wooden box signed by Hamada’s son.
Hamada Shoji (1894-1978) was born in Tokyo, and enrolled in the Tokyo Technical University at the age of 19. In 1918 he met the important British potter Bernard Leach, and the history of ceramic arts was forever changed. One of the most influential and sought after of all Japanese Ceramic artists. He was a significant influence on studio pottery of the twentieth century, and a driving force of the mingei folk-art movement. In 1955 he was designated a "Living National Treasure". There is no shortage of reading material for those who would like to learn more about this potter.
Shimizu Hian (1883-1975) was a popular poet and painter of the early modern period born in Takahashi City, the grandson of the feudal lord a Bicchu-Matsuyama castle. He created his own unique form of expression combining three arts, poetry, calligraphy, and painting. He graduated law studies from the prestigious Kyoto University, and took a position in Kobe District Court. A social activist, from there he wandered through various positions, bank clerk, office worker, mayor of a small town. Shimizu followed the traditional style of literati calligraphy and painting, while at the same time creating a completely new way of expression. At the age of 84, he became a household name when he was chosen to be the master of ceremonies at the opening of the Imperial Poetry Reading Ceremony。His paintings were lauded by such greats as Kawai Gyokudo and Konoshima Keika, and he was a true literati in life style. Work by him is held in the Metropolitan Museum of Art New York, The National Museum of Asian Art (Freer Sackler Branch) of the Smithsonian in Washington DC, Okayama Prefectural Museum

A 19th Century food storage box of wiped on black lacquer featuring a striking tri-foil heraldic crest design in mother of pearl on the top, bands of mother of pearl flakes about the rim and foot. Inside is festive crimson. Overall it is in excellent condition, 36.5 cm (14-1/2 inches) diameter, 26 cm (10-1/4 inches) tall. It comes in the original lacquered wooden storage box.

An elongated netsuke of bamboo carved at the root to represent the heads of a Reishi (Ling Zhi or bracket mushroom). It is 23 cm (9 inches) long and in excellent condition. Contrary to the ordinary Netsuke which are attached to long cords passed through the sash, the Sashi Netsuke has a very short cord and the netsuke itself is thrust between the sash and the Kimono. Their shape is thus long and flat.
The Reishi (Chinese Lingzhi), is the ancient "mushroom of immortality", revered for over 2,000 years. In the poetry of Ban Gu of the 1st century CE is an ode dedicated to Lingzhi. Taoist temples were called "the abode of mushrooms" and according to their mystical teachings, the use of a concentrated decoction of spirits mushroom gave followers the opportunity to see spirits or become spirits themselves by receiving the magical energy of the immortals who lived in the heavenly "mushroom fields". The Divine Farmer's Classic of Pharmaceutics of the 3rd century CE classifies zhi into six categories, each of which is believed to benefit the qi, or "life force", in a different part of the body.
Nyoi (Chinese Ruyi) is a ceremonial scepter or talisman used by and seen in Buddhist and Daoist art an cultural references. It likely originated from Sanskrit anuruddha "a ceremonial scepter" used by Buddhist monks in India, who later brought the concept to China where it became a symbol of authority. There it blended with the back-scratcher, and there is an interesting story behind that. As a Buddhist monk was not meant to marry, he would forsake having children. The Back Scratcher (Mago-no-Te) literally translates as the “Hand of the Grandchild”. As a monk would have no grandchildren, thus no one to scratch his back or ease his old age, the spirits of those that were not born would be embodied in the scepter. It is one of the most precious objects to a priest. It is often seen also with literati and nobles who held Nyoi during social occasions, and there seems no doubt that the original function was that of a scepter qualifying the holder to "take the floor, similar to the fly whisk or fan. In art they often appear as attributes of Buddhist saints and Daoist immortals. Although Chinese Ruyi are often of precious materials such as jade, precious metals and or are jewel encrusted, the Japanese emphasis on frugality and self-effacement promotes an aesthetic of simple, unadorned natural objects, often of wood or bamboo.

A large lozenge shaped bowl of thick clay covered in fawn spotted glaze by Kiyomizu Rokubei V decorated with a poem by Hashimoto Kansetsu enclosed in the original wooden box signed by both artists titled Gohon Fuseikei Hachi (Bowl of irregular shape in Gohon glaze. It is quite large, 34×26.5㎝ x 15cm (13-1/2 x 10-1/2 x 6 inches) and is in excellent condition.
Hashimoto Kansetsu (1883–1945) was born in Kobe, son of painter Hashimoto Kaikan from whom he gained a love of Chinese culture. He studied at Chikujokai under Takeuchi Seiho (1864-1942), but eventually withdrew due to differences of opinion. He visited Europe in 1921 and after that spent part of almost every year in China. Many of his paintings were inspired by Chinese scenery or Chinese classical literature. His former residence in Kyoto is now a museum of his work called the Hakusasonso.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

A shop sign carved from a block of knotted wood in the shape of a tea leaf jar engraved on both sides with the character Cha (Tea) originally gilded which still reflects light from the correct angle. A large knot making up one shoulder has split apart in the center, while the outside edge remains intact. A perfect example of the Japanese aesthetic of wabisabi. It is 32 x 3 x 32.5 cm (roughly 13 x 1 x 13 inches). The sign has been restored at some time in the past, the green and black pigments freshened up at the time.

The androgynous Kannon sits in meditation under climbing rocks and tumbling waves deeply carved into the side of this bamboo incense container dating from the early 20th century (late Meiji to Taisho period). It is 34 cm long (13-1/2 inches) long and in excellent condition, a superb example of the genre. This would have been used to hold incense sticks.

3 robed figures appear decidedly relaxed on the edge of a rock-strewn river lost in dark mountains. Above a poem reads:
Furusato ha Arukiteyukeru Tokoro ni-te, Yama ari, Mizu ari, kataru yuujin ari (Walking through my home(town) I find mountains, water and friends for conversation).
Ink on paper bordered in patterned silk with bone rollers. It is 59 x 129 cm (23 x 51 inches) and is in overall fine condition, with some toning due to age. Shimizu Hian (1883-1975) was a popular poet and painter of the early modern period born in Takahashi City, the grandson of the feudal lord a Bicchu-Matsuyama castle. He created his own unique form of expression combining three arts, poetry, calligraphy, and painting. He graduated law studies from the prestigious Kyoto University, and took a position in Kobe District Court. A social activist, from there he wandered through various positions, bank clerk, office worker, mayor of a small town. Shimizu followed the traditional style of literati calligraphy and painting, while at the same time creating a completely new way of expression. At the age of 84, he became a household name when he was chosen to be the master of ceremonies at the opening of the Imperial Poetry Reading Ceremony。His paintings were lauded by such greats as Kawai Gyokudo and Konoshima Keika, and he was a true literati in life style. Work by him is held in the Metropolitan Museum of Art New York, The National Museum of Asian Art (Freer Sackler Branch) of the Smithsonian in Washington DC, Okayama Prefectural Museum

A beautiful set of ten small shallow dishes, each uniquely decorated with a poem and image from the Edo period Sasashima Kiln of central Nagoya. The box, titled Sasashima Yaki Teshio Jumai (10 Sasashima Salt Dishes) is dated inside to the Tenpo era, (1830-1844). Each dish is 9 cm (3-1/2 inches) diameter and all are in excellent condition. Salt dishes were small plates used to hold salt, pickles or other condiments in a traditional Japanese meal. Finding a complete set like this in good condition is exceedingly rare.
The kiln producing Sasashima ware was opened by Makibokusai in the Bunka era in central Nagoya. Sasashima ware is characterized by its bright colors, and it is said that Makibokusai was also good at carving. The kiln, which continued for three generations after Makibokusai, is said to have disappeared around 1923 (Taisho 12) due to the expansion work of Nagoya Station.

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

A fine pottery koro in typical milky white glaze supported by three figures in russet red by Okuda Mokuhaku dating from the mid 19th century. It is 13 cm (5 inches) diameter, 11.2 cm (4-1/4 inches) tall. There is a chip in the rim, otherwise is in excellent condition. It is stamped on the base AKahadayama followed by a circular seal reading Mokuhaku. t comes in a simple wooden box.
Akahada Pottery, starting around 1585, was created by several kilns in the area of Yamato-Koriyama, Nara. It is one of the Seven Kilns of Enshu so named because Kobori Enshu, a prominent tea master, favored them. There is no clear record as to the origin of the pottery, but reportedly it started at a kiln built on Akahada Mountain in Gojyou village by Toyotomi Hideyoshi during the Momoyama period. There was a serious decline due to the political changes in the mid 18th century, however in 1785 the feudal lord in Koriyama castle in Nara Yanagisawa Yasumitsu, asked two potters named Inosuke and Jihei to revitalize production. After 1785 the kilns had the patronage of the Daimyo feudal lord of Koriyama castle. Akahada pottery thrived under the protection of a succession of federal lords during the late Edo period and, by the very end of the period, Okuda Mokuhaku, (1800-1871) a noted master-craftsman, had succeeded in making the pottery well-known beyond that region.

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

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

A lovely work reflecting the simplicity of Art Deco predominant from the 1920s and 30s by master of the genre Ito Suito enclosed in the original signed wooden box The vase is 29 cm (11-1/2 inches) tall and in excellent condition.
Ito Suito (Yoshiharu, 1894-1980) was born in Kyoto and apprenticed under Ito Tozan in 1911. In 1918 he married his daughter, and took the family name and at the same time assumed the name Suito. In 1929 he was first exhibited at the Teiten National Exhibition, and opened his own kiln in 1931 in the Gojo-zaka pottery district of Kyoto. This was the beginning of a long career which would see him displayed and prized at such venues as the Nitten and Kyoten exhibitions. He would be awarded by Kyoto city for his lifes work in 1975 (Kyoto Bijutsu Kogei Koro-sho award) and again in 1979 granted the title Carrier of the Cultural Heritage of Kyoto City (Kyotoshi Bunka Korosha).

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

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

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

An exquisite pair of 19th century Sometsuke porcelain bottles decorated with butterflies among seasonal flowers. The winged creatures float effortlessly among the bamboo, Chinese bell flower, wild chrysanthemum and other seasonal flora. Each bottle is peaked by a simple rounded wooden bung, and they come enclosed in an age darkened wooden carrying box with hand forged iron handle. They are roughly 15 cm (6 inches) tall each and in excellent condition. Although untitled, these are likely a very delicate set of tokkuri sake flasks.