Catalog (156)

A Te-bako lacquered box by Izumi Atsuhiko enclosed in the original signed wooden box dated Autumn of Showa 39 (1964). Black and white Urushi with Iro-urushi floral imagery, mother of pearl inlay flowers and gold Ke-uchi embellishments. It is 22.5 x 30.5 x 13 cm (9 x 12 x 5 inches) and in excellent condition, with minor wear on the bottom typical of use.
Izumi Atsuhiko (1915-2005) was born in Niigata prefecture and graduated the Nihon Bijutsu Daigaku University of Arts where he studied Lacquer technique under Rokkakuk Shisui (1867-1950), settling in Tokyo. He exhibited with the Nitten among other National exhibitions as well as abroad.

A rare large vase by Kanzan Denshichi decorated with a hermitage in the hills and a poem extolling the beauty of summers first rain by Kanzan Denshichi enclosed in the original signed wooden box bearing the Shountei seal, dating it between 1871 and 1890. It is 34 cm (13-1/2 inches) tall and in excellent condition.
Kanzan Denshichi (1821-1890) was born in the ceramic-producing area of Seto. He worked at the Koto kiln of the Ii family in the Hikone domain, moving to Kyoto when the kiln closed in 1862. In Kyoto, he established his workshop at the base of Kiyomizu-zaka where he worked under the name Terao Denshichi and is thought to have been one of the first ceramicists in Kyoto to specialize specifically in porcelain. In the first year of the Meiji era (1868) he worked to supply the Kyoto Prefectural Office, following which he studied Western painting and pottery decoration under Gottfried Wagner. In the following three years, production was renamed Shountei and he worked under the name Kato Kanzan. Kanzan’s works include porcelain tableware, both Western and Japanese in style, often decorated with brightly colored polychrome and gold. Some of these wares were made for export, and Kanzan also exhibited at international exhibitions, securing a gold medal at Paris in 1878 In 1881 during their visit to Japan, Queen Victoria’s grandsons: Prince Albert Victor, Duke of Clarence and Avondale, and Prince George, Duke of York (George V), visited Kanzan’s workshop in Kyoto. The Imperial Household Ministry purchased Kanzan’s works, including some tableware for use in the Enriokan and other items in the style of the underglaze blue decorated Edo-period imperial porcelains known as kinri goyōtōki.
Pieces by Kanzan may be found in the collections of the Sannomaru Shōzōkan (Museum of the Imperial Collections) and Imperial Banqueting Department of Japan’s Imperial Household Agency, Tokyo National Museum and Kyoto Prefectural Library and Archives. The Victoria and Albert Museum has a pair of vases displayed at the Philadelphia Centennial Exhibition of 1876, a pair of ginger jars and four other small pieces. In 2014, the Sannomaru Shōzōkan devoted an exhibition to a Japanese-style polychrome dinner service made by Kanzan’s workshop for Prince Arisugawa Takehito: Beautiful Modern Kyoyaki (Kyoto-style ware) – Fine works by Kanzan Denshichi passed down within the Prince Arisugawa Family, 21 March – 22 June 2014.

A haunting wooden mask, severely dilapidated by weather and time, the carving style consistent with the Kamakura to Muromachi eras (12th – 15th centuries). This is most evident in the shape of the eyes, which are cut shallow at a striking angle. It is 13 x 22 cm (5 x 8-1/2 inches), in stable condition. It comes with an incredible ancient wooden storage box.

A lovely tray in the shape of a split lotus leaf by Ito Tetsugai enclosed in a period wooden box titled Sencha Shiki Habon. It is roughly 53 x 25 cm (20-1/2 x 10 inches), expertly carved to be incredibly thin. Trays like these were used as decorative objects in the service of steeped green tea, and were very popular from the Meiji through early Showa eras.

Both archaic and modern, this beautiful deep square murashido mottled bronze brazier with lug handles raised on four legs enclosed in the original wooden box signed Kinjudo Amamiya Sohei (Amemiya Sobei). It is 19.5 x 17.5 x 33.5 cm (just less than 8 x 7 x 13 inches) and is in overall excellent condition, dating from the 19th century. Deeply engraved in the base are the characters Kinjudo.

A carved wooden mask dating from the later Edo period from Northern Japan representing the God of the hearth. It is 29 x 25 x 11 cm and is in excellent condition.
In the Tohoku area, including Miyagi Prefecture and Iwate Prefecture, Kamadogami (Kamado no Kami) is enshrined in a mask made of wood or clay called a Kamaotoko (cauldron male) or Kamajin (cauldron person) and hung on a pillar near the kamado hearth. Kamado no Kami translates to "God of the Hearth" or "Kitchen God." In traditional Japanese beliefs, the Kamado no Kami is a deity or spirit associated with the hearth, kitchen, and cooking. The hearth was a central and essential feature of traditional Japanese homes, serving as a source of warmth and a place for preparing meals. The Kamado no Kami was believed to reside within the kitchen's hearth and was revered as a household protector. The deity was thought to bring good fortune, prosperity, and health to the family. Properly appeasing and showing respect to the Kamado no Kami was seen as essential to ensure the well-being and happiness of the household. While the worship of the Kamado no Kami was a widespread practice in various regions of Japan, it's important to note that specific beliefs and customs could vary from one region to another. The Tohoku region, in the northeast of Japan's main island, is known for its rich folklore and unique cultural practices and reverence for the Kamado no Kami was especially strong. In the traditional Japanese context, the hearth and its deity held significant cultural importance, but with modernization and changes in household structures, many of these beliefs and practices have evolved or declined. Nevertheless, some elements of traditional culture and beliefs continue to be preserved and celebrated in various parts of Japan, especially in rural areas and during traditional festivals.

Precious fruit in silver hangs from golden vines on the sides of this 15 piece No-bento picnic set dating from the mid Edo period. It consists of a carrying case with handle and scrolling vines along the edges, a square bottle with fitted covered dish on top and set of four stacking boxes with lid decorated with grape vines burgeoning with fruit, a set of five small plates decorated with flowers, and a tray with fish. All are marked on bottom with the same stylized mark. There is damage to one corner of the tray. A striking design there are minor losses typical of age and use. 17 x 29.5 x 28 cm. It comes in an ancient red-lacquered kiri-wood storage box with hand forged iron hardware.

A large vase, the mouse-colored glaze inlaid with vertical lines of white slip reminiscent of traditional Kyoto Mugiwara design by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Ninsei Utsushi Nawa-Sudare Cho Kabin (Vase inlaid with Draped Rope design following Ninsei style). It is 20.5 cm (8 inches) diameter, 26 cm10 inches) tall and in excellent condition signed on the base Kozan alongside the impressed seal of the artist.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

An exquisite Edo period incense burner, the fine red clay covered in running bamboo glaze from the kilns of Takatori on the southern Island of Kyushu wrapped in a silk pouch and enclosed in a period Kiri-wood box. The lid is solid silver pierced with roiling fronds. It is 7.5 cm diameter, 7 cm tall excluding the silver lid, and in excellent condition.
Takatori-yaki, is a traditional style of Japanese pottery that originated in the early 17th century. It was developed in the town of Takatori (mod. Fukuoka Prefecture). Takatori-yaki is renowned for its unique and distinctive aesthetic, characterized by rustic simplicity, earthy tones and running glaze. The history of Takatori pottery dates back to the beginning of the Edo period (1603-1868) when a Korean potter named Yi Sam-pyeong, also known as Ri Sampei in Japanese, settled in the area. Yi Sam-pyeong had been brought to Japan by the powerful daimyo (feudal lord) Hosokawa Tadaoki, who ruled over the Higo Province (present-day Kumamoto Prefecture). Tadaoki was fascinated by Korean pottery and invited skilled potters from Korea to establish kilns in Japan, with Yi Sam-pyeong being one of them. Under the patronage of the Hosokawa family, Yi Sam-pyeong and his descendants established the Takatori kilns in the town of Takatori. Initially, the kilns produced pottery influenced by Korean styles, particularly the Buncheong and Ido wares. However, over time, they developed their own distinct style, blending Korean techniques with Japanese aesthetics. Takatori was highly prized by tea masters and samurai lords who appreciated its rustic charm and humble beauty. Takatori-yaki became an integral part of the tea ceremony culture, as its earthy tones and natural glazes were considered suitable for the serene and rustic atmosphere of tea houses.

A striking Yellow dry Lacquer (Kanshitsu) Vase by Izumi Atsuhiko enclosed in the original signed wooden box. Truly definitive of the mid-century art scene, it is 17.5 cm (7 inches) tall and in excellent condition. Izumi Atsuhiko (1915-2005) was born in Niigata prefecture and graduated the Nihon Bijutsu Daigaku University of Arts where he studied Lacquer technique under Rokkakuk Shisui (1867-1950), settling in Tokyo. He exhibited with the Nitten among other National exhibitions as well as abroad.

An exquisite incense container of multiple layers of lacquer carved by Ishii Yusuke enclosed in the original signed wooden box titled Guri Kogo. It is 8 cm (just over 3 inches) diameter and in perfect condition.
Ishii Yusuke (1851-1925) was born the second son of the lacquer artist Ishii Yusuke (different characters, 1810-1886) in the waning years of the Edo period. After learning from his father, he became independent, establishing a second branch family in the Yusuke Lacquer Tradition. The first Yusuke Ishii Founded Yusuke lacquerware and created Chinese-style lacquerware in Takaoka, Toyama Prefecture. He pioneered rust painting and gold leaf techniques to express Chinese-style paintings of flowers, birds, and landscapes three-dimensionally on ancient vermilion or matte lacquer. Later, the eldest son succeeded as Yusuke II

An antique gilt bronze Buddhist tower finial with three pierced flame flanges richly engraved with scrolling vines mounted on a hardwood pedestal It is 53 cm tall and in overall excellent condition.

A fabulous carved wooden tray in the sencha style of a ragged leaf, highly detailed on both sides, the underside carved with a poem and signed by the artist. It is 57 x 30 x 4 cm (22-1/2 x 12 x 1-1/2 inches) and is in perfect condition, dating from the early 20th century.
Sencha, as we know it today, started to gain popularity during the 18th century with the rise in Literati thought in Japan. This is partly due to the influx of Chinese at the fall of the Ming dynasty in the mid 17th century and how their culture was absorbed into the greater Japanese culture over the subsequent generations. Sencha is a non-powdered green tea, which distinguishes it from the powdered matcha commonly used in formal tea ceremonies. Along with the tea itself, came an appreciation of the accoutrements and aesthetic which were quite different from those used in powdered tea. Chinese literati culture emphasized simplicity, natural beauty, and a deep connection to the natural world. These values resonated with Japanese tea practitioners who incorporated them into their own tea culture. They overlapped with concepts like "wabi-sabi," which celebrates imperfection and transience, and "yūgen," which suggests a subtle, profound beauty. It manifested itself in many aspects of Japanese culture, including architecture, garden design, painitng and all related crafts. Overall, the influence of Chinese steeped tea practices and literati culture on Japanese tea culture has been a rich and multifaceted process. It has contributed to the unique blend of aesthetics, philosophy, and rituals that define Japanese tea culture, creating a distinct tradition that reflects both local innovations and cross-cultural interactions.

A striking design of five petaled plum blossoms between dual strips of mother of pearl inset into a rust-colored belt circling the black lacquered body of this art-deco influenced vase dating from the early to mid-20th century. The vessel is turned from a single piece of bamboo, the node still clearly visible inside. It is 31 cm (12 inches) tall, 14 cm (5-1/2 inches) diameter and in excellent condition. It comes in a contemporary wooden collectors box.
Art Deco arrived in Japan during the Taishō period (1912-1926), a time of increased freedom of expression as well as a tumultuous political era with which bread astounding variety in Japanese culture and design. As Japan sought to modernize and present itself as a global player, the country embraced foreign artistic trends, including Art Deco, which resonated with the aesthetic sensibilities of the era. Art Deco's impact extended to various decorative arts and design disciplines, including furniture, textiles, ceramics, and metalwork. Japanese artisans and designers incorporated Art Deco elements into their works, blending Western aesthetics with traditional Japanese 2-dimensional design and craftsmanship. They integrated geometric patterns, stylized motifs, and streamlined forms into various decorative objects. This blending of styles allowed for the creation of bronze pieces that appealed to both domestic and international audiences. The result was a unique fusion of styles, showcasing the adaptability and creativity of Japanese artists. This fusion of aesthetics resulted in a unique and captivating body of work that continues to be appreciated and admired for its craftsmanship and artistic expression.

A bee rests on leaves carved from wood and covered in green lacquer capping this natural gourd container intimating a large ripened sweet persimmon by Ueta Josen dating from the early 20th century. It is signed inside the lid, and measures roughly 12.5 cm (5 inches) diameter. It comes in the original signed wooden box, which has some water damage. There are some losses and lifting to the lacquer on the inside of the gourd, otherwise is in excellent condition. Ueta Josen was born in Kagawa prefecture I 1909, and was first accepted into the Teiten national art exhibition in 1934.

A family of deer in mother of pearl and lead adorn the burl grained wooden lid of this unusual Mo-ru metal suzuri bako writing box dating from the later half of the Edo period. The lid is a single slab of burled wood, with a wiped on lacquer finish. Inside the lid oversized mother of pearl, lead and gold maki-e leaves tinged with red, cling to the black lacquered trunk of a maple tree. The box itself is worked metal in a technique known today as Mo-ru, this wrapped around a wooden base, the interior lined with cloth and black lacquer. It contains an ink stone and a water-dropper decorated with cloisonne vines. The box is 17 x 22 x 4.5 cm (6-3/4 x 9 x 2 inches) and is in overall fine condition. It comes in an old wooden storage box titled Maki-e Suzuri-bako.

The moon rises small over the hermitage lost in dark washes of foliage covering the twilit hills, a fabulous calming scene by Hirai Baisen enclosed in the original signed wooden box titled Sanso ni Tsuki (Mountain Home and Moon). Ink on paper in beautiful cloth mounting with silver thread and solid ivory rollers (these will be changed if exporting). The scroll is 43.2 x 208 cm (17 x 82 Inches). There is one bend (not a hard wrinkle or crease) in the bottom across the signature. Otherwise, overall excellent condition. The box comes in a paper sleeve from Mitsukoshi Department Store.
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts in 1906 and was a regular exhibitor with the Bunten from 1907-1931. In 1910, aged just 22, to the Japan-British Exhibition held in London. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston, Seattle Art Museum, Honolulu, Portland Art Museum and a plethora of other important public and private collections.

A classic Rinpa Revival box (also spelled Rimpa) in Tamenuri decorated with bamboo in lead, mother of pearl and gold taka-maki-e enclosed in the original wooden box from the exclusive Mitsukoshi Department store retaining the orignal wooden box signed and stamped inside Mitsukoshi, complete with the Mitsukoshi printed seal dating from the early 20th century It is 20 x 20 x 10 cm (8 x 8 x 4 inches) and is in excellent condition.