Catalog (197)

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 classical dreamy Taisho period scene in rich green by Hirai Baisen enclosed in the original signed wooden box. Pigment on silk wrapped in a Green kinrande gold laced silk border patterned with dragon dials among scrolling vines and terminating in solid ivory rollers (these will be changed if exporting). The scroll is 56.5 x 201 cm (22-1/4 x 79 inches) and in overall excellent condition, with a few minor marks typical of age.
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.

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.

The powerful gaze of a Kami (god) glares down over an archaic smile, giving nothing away, the eyes glittering with gold. This is a 19th century carved wood mask created in the life-like Iki-ningyo style covered in gofun and pigment complete with inlayed glass eyes and animal hair. It is 24 x 20 x 10 cm (9-1/2 x 8 x 4 inches) and is in overall fine condition, with minor losses to the pigments and hair typical of age.

A set of five fluted dishes decorated with draped branches dating from the mid to later Edo period enclosed in a period age-darkened wooden box. Several have had repairs made with lacquer nad powdered silver, enhancing the beauty and sense of age. They all bear on the base the Mizoro stamp impressed into the raw earth. Each is 16 x 10 x 4.5 cm (6 x 4 x 2 inches) and all are in overall fine condition, with the silver repairs blending with the finely crackled glaze and dark iron decoration.
Many people think of Kiyomizu-yaki as the only type of pottery in Kyoto, but there are other types of pottery such as Awata-yaki, Otowa-yaki, Iwakura-yaki, Asahi-yaki, Raku-yaki, and Mizoro-yaki. Mizoro-yaki is a type of Kyo-yaki that was fired in Atago-gun, North of central Kyoto. There are many mysteries and rumors about the origins of the pottery. According to Tauchi Baiken's "Thoughts on Ceramics" written in the Ansei era, Ninsei Nonomura started Mizoro ware. Other documents, from the Enpo period, Taihei of Mizoro Village became an apprentice at Higashiyama Seikanji Yaki Ichimonjiya, and then returned to the village and opened a kiln. According to the "100 Year History of Kyo Yaki", it was established in 1554 AD by Yozo Unsonin. In any event, it is generally agreed to have begun by the mid 17th century, and lasted for about two hundred years.

A cluster of Blue and White Edo period Imari bowls which melted together in the inferno and fused, three becoming one in a fortuitous accident. The Japanese have long held these coincidental imperfections in high esteem, accentuating the ideas of Wabi-sabi and the ephemeral which permeate Japanese culture. Roughly 24 x 16 x 8 cm (9-1/2 x 6 x 3 inches), a very interesting addition to the table.

A wooden basin covered in thick lacquer, red on the outside, mottled green within enclosed in the original wooden storage box darkened with age. All about dragonflies in black lacquer alternate with those inlayed with lead into the surface separated by golden spirals over wavering silver eddies. The basin is 45.5 x 30.5 x 5 cm (18 x 12 x 2 inches and is in overall excellent condition. One lead dragonfly wing is missing. It is signed on the base Heian Sesshin.
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 visually captivating design of three-leaf circular crests are scattered crests on a field of Mother-of-Pearl falkes covering entirely the outside of this set of four stacking lacquer boxes dating from the 19th century. Inside is festive red. They are 24.7 x 21.5 x 30 cm (10 x 8-3/4 x 12 inches). There are some old repairs in red lacquer, enhancing the obvious sense of age. Called a Jubako, stacking boxes such as this were used on festive occasions to contain food. Even today one can see them on tables across the island nation at New years.

A classic Tamba Tea leaf storage jar (Chatsubo) with interesting mukimimi or “turned ears”, the tie lugs swirling like a Domoe on the shoulder next to the neck, each leaning to the right, as if listening to the next. In my experience this is quite unusual. The jar is covered in rivulets of flowing green leading down to an undulating belt line between the glaze and the raw clay. A white shadow in the clay indicates where once a label, likely identifying the type of tea contained, had once been applied. The jar is 28 cm (11 inches) tall and in excellent condition.

Gold streaks up the narrow end of this oval Chrysanthemum shaped scalloped Mizusashi water jar from the kilns of the ancient capital of Kyoto. There is a lid of black lacquered wood, which has been broken in half and repaired once. The jar is 18.5 x 16 x 15 cm and is in overall excellent condition. A series of gold lines craze up the side where it has been once repaired. The piece comes enclosed in an age darkened kiri-wood box custom made to fit. It likely dates from the 19th to opening of the 20th century.

Inlaid blossoms of polished white shell glow on the burnished gold branches of a winter plum swirling across the red tame-nuri surface of this small suzuri bako writing box dating from the early 20th century and enclosed in the original signed wooden box titled Hayaume-zu Maki-e Suzuri-bako (Writing box with Early Plum Blossom). Inside the lid is a Togidashi image of snow-covered Hiragi (Japanese Holly) bearing red berries. Inset into the floor of the box are a drip shaped suzuri ink stone and gold colored water dropper in matching tray. The box is 12.5 x 20 x 3 cm (5 x 8 x 1 inches) and in overall excellent condition. THer is wear on the underside consistent with use.
The Rimpa revival of the early 20th century emphasized visual splendor, decorative patterns, and harmonious compositions reflecting nostalgia for the past. However, it was not a strict replication of the past. Artists involved in this movement integrated modern techniques and materials into their work, allowing for a fusion of traditional aesthetics with contemporary artistic practices. This approach enabled artists to create innovative interpretations of the Rimpa style that resonated with the changing times.

Two shishi roughhousing, one sinking his teeth into the others back a glass ball balanced on the furled tail signed on the base Taiho. The upper creatures head can be removd allowing the pair to be used as an incense burner. It is 17 x 12 x 17 cm (7 x 5 x 7 inches) and is in excellent condition.
Shishi guardians, also known as Komainu or "lion dogs," have a long history in Japanese art and culture; iconic figures often depicted in pairs and placed at the entrances of shrines, temples, and other important structures to ward off evil spirits and protect against negative energies. The origins of the Shishi can be found in ancient Chinese culture, specifically the mythical creature known as the "shi" or "foo dog" in English. These creatures were believed to have protective qualities and were commonly depicted in Chinese art and architecture. As Buddhism spread to Japan from China in the 6th century, so too did the imagery of the lion guardians. The artistic representation of Shishi lion guardians in Japan evolved into a unique style. The sculptures typically depict a pair of lion-like creatures with fierce expressions, large manes, and muscular bodies. One lion has an open mouth to represent the sound "ah," which is believed to expel negative energy, while the other has a closed mouth to represent the sound "um," which is believed to retain positive energy. This duality symbolizes the balance between yin and yang, and the harmony between opposing forces.

An unusual coffer shaped vessel in classic 1930s art-deco style signed on the base Shokoku and enclosed in the original signed wooden box titled Nunome Zogan Sarasa Mon Hanaire (Cloth-textured Inlayed Chints Design Vase). It is 22.5 x 9.5 x 9.5 cm (9 x 4 x 4 inches) and is in overall fine condition. Originally the interior of the insert was tinned, and that has much changed color.
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 bronze sculptures, vases, and other 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. One of the most iconic examples of Art Deco in Japan is the Shiseido Building in Tokyo. Completed in 1931, this structure housed the headquarters of Shiseido, a renowned Japanese cosmetics company. The building's striking facade with its geometric patterns and distinctive clock tower became a symbol of modernity in pre-war Tokyo. With the outbreak of World War II and Japan's focus on wartime production and propaganda, the popularity of Art Deco declined. After the war, Japan shifted towards rebuilding and reconstruction, and modern architectural styles took center stage. However, Art Deco's influence continued to inspire subsequent generations of Japanese designers and artists, leaving a lasting legacy in the country's design history. Art Deco bronze design in Japan exemplifies the nation's ability to embrace and reinterpret artistic influences from abroad while maintaining its cultural identity. 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 wood tray in the shape of a stylized Basho leaf (fruitless banana) carved of dark red wood and signed on the base. It is 27 x 47 cm (11 x 19 inches) and is in overall excellent condition.

An anonymous art-deco era Japanese bronze vase enclosed in a dilapidated kiri-wood box dating from the 1930s. It is 16 x 16 x 30 cm and in overall excellent condition. Quite solid, it weighs just less than five kilograms (11 pounds).
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 bronze sculptures, vases, and other 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. One of the most iconic examples of Art Deco in Japan is the Shiseido Building in Tokyo. Completed in 1931, this structure housed the headquarters of Shiseido, a renowned Japanese cosmetics company. The building's striking facade with its geometric patterns and distinctive clock tower became a symbol of modernity in pre-war Tokyo. With the outbreak of World War II and Japan's focus on wartime production and propaganda, the popularity of Art Deco declined. After the war, Japan shifted towards rebuilding and reconstruction, and modern architectural styles took center stage. However, Art Deco's influence continued to inspire subsequent generations of Japanese designers and artists, leaving a lasting legacy in the country's design history. Art Deco bronze design in Japan exemplifies the nation's ability to embrace and reinterpret artistic influences from abroad while maintaining its cultural identity. 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 panel covered in black lacquer decorated with blossoming plums forms the center of this stand made to display a set of Japanese swords. It is 44 x 21 x 44.5 cm, and in overall fine condition, with minor mars typical of use.

A set of two Edo period Iron Kettles for heated Sake with raised designs of Kiri (Paulownia) flowers and looping iron handles in the shape of a folding fan inlayed with silver filigree topped with a lacquered wooden lid with maki-e designs of gold cranes and clouds featuring a brass finial enclosed in the original signed wooden box by Shimotsuma Shobei. The open top on the pouring spout is indicator that these are choshi kettles, not tea kettles, and are made specifically for heating Japanese rice wine. Finding a set from the early 19th century in such good condition with the original signed box is almost unprecedented. They are roughly 16.5 cm (6-1/2 inches) diameter and in overall excellent condition. There is loss to the lacquer on the edge of one lid. Shimotsuma Shobei III (Jokyu d. 1838) is third generation head of the family of kettle makers whose first generation is Shobei Shimotsuma, a disciple of Jyomi, the 4th head of the Kyonagoe family.