Catalog (231)

A beautiful bowl covered in frothy Namako blue in the shape of an Abalone shell from the mid-Edo period kilns of Karatsu enclosed in a black lacquered magemono circular box titled Karatsu Awabi-gata Hachi. The basin is roughly 29 cm (11-1/2 inches) diameter, 7 cm (just less than 3 inches) tall and in excellent condition.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

The gold work on this antique bucket shaped pot is absolutely incredible, with eight gold staples holding together the cracks which have all been filled with lacquer and powdered gold. The original ceramic work is from the Ohii kilns in Kanazawa, stamped on the base with what appears to be the seal of the 5th generation head of the Ohii family Ohii Kanbei (1781-1856). There is a custom made black lacquered wooden lid. It comes enclosed in a wooden collector’s box titled Ohii Te-oke Mizusashi, O-ware. It is 17 cm (7 inches) diameter, 24.5 cm (10 inches) tall. There are minor chips to the lacquer edges of the lid.
When the founder of the Urasenke style of tea ceremony, Sen-so Soshitsu was invited to Kanazawa as the lord of the tea ceremony for the Kaga Clan in 1666, the first Chozaemon came with him and established Ohi in Kanazawa. Chōzaemon was the top disciple of Raku Ichinyū of Kyoto (4th generation master of the Raku family) and thoroughly understood the principles and techniques of Raku ware. The family has made tea ware for 10 generations, and the 11th generation is working at the family kiln even now.

A basket of Kameko Tortoise Shell design enclosed in the original signed wooden box made for the Shobido Art Purveyor of Osaka by by Tanabe Chikuunsai II. It is 45 cm (18 inches) tall and 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.
The Shobido Jewelry Co. was founded in 1900 at Yodoyabashi, in central Osaka City by Eikichiro Eto. They are purveyors of watches, Jewelry, art and crafts, silverware and precious metals from the Meiji era to the present day, and their products and artisans were considered elite among Japanese crafts. In fact many of Japans greatest craftsman created unique works for the Shobido label.

A sake flask dating from the Momoyama to early Edo period from the kilns of Karatsu on the southern island of Kyushu with gold repairs about the flaring rim and one to the side. The bottle has been dimpled to allow for ease of handling, and through one of the concave sides rushes a streak of blue and white like a misty waterfall over the russet brown glaze. The raw clay of the base is fired to a stone-like quality. It is roughly 11 cm (4-1/4 inches) diameter, 21 cm (8-1/2 inches) tall.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

An exquisite Mishima Pottery bowl with gold repair to a break in the rim dating from the mid-Edo period enclosed in an old wooden box. It is 12 x 13 x 8 cm (roughly 5 inches diameter, 3-1/4 inches tall) and is in overall great condition.
Kintsugi lacquer gold repairs embody the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.

A beautifully sculpted 19th Century image of a mischievous Tanuki dressed in priests robes by Ninnami Dohachi of Kyoto, hands overlapping in a meditative pose dating from the 19th century. Signed on the bottom it measures 24 x 24 x 27 cm (roughly 9-1/2 x 9-1/2 x 10-1/2 inches). There is a firing crack under the right jaw, and in the tail, otherwise is in great condition. It comes enclosed in an age darkened wooden display box.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I. Following the early death of his older brother he succeeded the family name, opening a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles. Along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. Ninnami Dohachi II and his son (the future Dohachi III) were invited by the local lord Matsudaira to produce pottery at the Sangama kiln in Sanuki Kuni on the island of Shikoku in 1832. He would return later, agan with his son as well as his apprentice Siefu Yohei, in 1852. The third generation (1811-1879) continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the annals of Kyoto ceramics well into the Meiji period. Takahashi Dohachi III began to use the title Kachutei Dohachi and was granted the title Hokyo by Ninaji-miya of the Imperial family. He retired to his grandfathers kiln in his later years, giving control to his son the fourth generation Dohachi (1845-1897) who also used the title Kachutei. The fifth generation (1869-1914) was adopted into the family and took head of the kiln in 1897 and was one of the top rated potters of his time, heavily influencing following generations including one of his top students, Ito Tozan. The kiln continues today with the 9th generation. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others.
The tanuki (Japanese raccoon dog) is a significant figure in Japanese folklore, celebrated for its mischievous, shape-shifting abilities and humorous antics. Known for their playful and sometimes morally ambiguous nature, tanuki are often depicted as masters of transformation and disguise, embodying themes of deception, adaptability, and humor. In some folk tales, tanuki disguise themselves as Buddhist nuns or priests, often with humorous or ironic undertones. This imagery blends the sacred with the absurd, highlighting the tanuki's cheeky nature. Disguising as religious figures underscores the tanuki's ability to deceive even in spiritual or solemn contexts. These tales serve as cautionary stories about gullibility and the need for discernment, even in sacred spaces.In tales like the Bunbuku Chagama, a tanuki transforms into a Buddhist priest or a sacred object (a tea kettle) to trick humans. Tanuki dressed as religious figures can be interpreted as subtle critiques of hypocrisy or the undue reverence given to appearances, reflecting a deeper layer of humor in Japanese storytelling.

A small waniguchi bronze bell used for awakening the gods suspended in a naturally hollowed wood ring. The outer wood frame is 32 x 9 x 27.5 cm (13 x 11 x 3-1/2 inches) and all is in excellent condition. The bell itself is suspended with deer leather and is 11.5 x 4 x 11 cm (4-1/2 inches diameter) and all is in excellent condition. Waniguchi are most commonly seen outside of Shrines, rung with a knot tied in a rope suspended from above. Striking the bell awakens the gods so that they may listen oy your request.

A Momoyama to Early Edo period Karatsu Chawan enclosed in an ancient, age darkened wooden box with a single zen circle of gold inside surrounding the center. These types of early Karatsu bowls were fired stacked inside each other, and it is certain looking at this piece that the artist forgot the wadding between this and the bowl above, so it adhered to the bowl creating a space without air, which caused the center of the bowl to fire at a different color than the rest which was exposed to the heat and oxidation. The bowl above was likely broken to separate them, and where it had adhered was ground down to be repaired with a ring (or Zen circle) of thin gold. It is a beautiful piece which offers a peek into the history of this regional pottery, as well as telling a story of preservation and offers commentary on our modern throw away society. The bowl is 12 cm (just less than 5 inches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

An exquisite crackled celadon jar with a small mouth stoppered with a wooden bung over which is placed a worked brass lid engraved with srolling vines and flowers in the shape of a cloth cover, the entire enclosed in a fine kiri-wood box titled Korai Unkaku Seiji Furidashi (Shippo Fukuro Kuchi Futa yo). About the shoulder are impressed a belt of flower blossom shapes filled with white slip below which can be seen soaring birds and circles in the same technique over a double line separating it from the base. It is 10.5 cm (4 inches) diameter, 15.5 cm (6 inches) tall and in excellent condition.

A beautiful old Shiho (Square) plate in dribbled feldspathic white glaze with a large gold repair in one corner decorated along the outside rim with plum blossom motif in iron under the crackled white Shino glaze. It is 22.5 x 4.5 cm (roughly 9 x 9 x 12 inches) and is in excellent condition, enclosed in an old red-lacquered wooden box.
Shino pottery is one of Japan's most renowned and distinct ceramic styles, originating in the late 16th century during the Momoyama period (1573–1600). It is particularly associated with the Mino region, located in present-day Gifu Prefecture. The style is celebrated for its rustic simplicity, irregular shapes, and earthy glazes, which reflect the aesthetic values of the Japanese tea ceremony. The production of Shino wares centered around the Mino kilns, which were among the most significant ceramic production centers in Japan during the Momoyama period. The potters in this region experimented with local clays and innovative glazing techniques, leading to the creation of Shino pottery which is credited as being the first “white” pottery in Japanese history. During the 17th century, the popularity of Shino pottery declined as other ceramic styles, such as Oribe and Seto wares, gained favor. It did not wholly disappear as is often stated, however Shino experienced a resurgence thanks to the efforts of potters and scholars who sought to revive traditional Japanese ceramics in the early 20th century.

A very unusual vase Combining Art Deco aesthetics with Mishima pottery techniques by Uno Ninmatsu enclosed in the original signed wooden box titled Mishima-te Henko. It is 18 x 10.5 x 27 cm (7 x 4 x 11 inches) and is in excellent condition!
Uno Ninmatsu (1864-1937) was born in Kyoto son of potter Wada Sohei and studied under his father as well as from a young age Seifu Yohei II then future Imperial Art Academy artist Seifu Yohei III until setting up his own studio at the age of 21. Outgoing by comparison to the normal Kyoto ideal, he promoted Kyoto art and culture and actively sought to invigorate the export market (then dominated by Tokyo and Yokohama). He won a bronze medal at the Paris world exposition in 1901, and gold medal at the St. Louis Exposition in 1904, Belgium in 1905 and Milan the following year. Unlike other potters in Kyoto at this time, he did not overly decorate his works, but concentrated on matte glazes and form in austere glaze techniques. This proved very popular, and from the turn of the century his works were highly sought in the United States. He also worked closely with designers in France, where many of his works were exported. Following the first world war, he retired to the domestic market. He was deeply involved in silk road pottery research and mastered Shinsha (flambe glazes) as well as Turkish Blue and other styles not yet produced at that time in Kyoto. He was father and mentor to Uno Soyo and Uno Sango, and served as mentor to the young Isamu Noguchi.

Intricate designs of chrysanthemum style blossoms among latticework adorned with a Paulownia crest dating from the Edo period enclosed in an old red-lacquered wooden storage box. It is 13 cm (5 inches) diameter, 10 cm (4 inches) tall and in excellent condition.

A rare large earthenware jar from the kilns of Amakusa in Kumamoto prefecture, southern Japan. Amakusa is rarely decorated, but this jar is beautifully rendered with overlapping petals like lotus flowers about the shoulder which catches and diverts into streamlets what appears to be bamboo ash glaze running down from the neck. It is heavily potted, mad to withstand human usage. The jar is 34 cm (13-1/2 inches) diameter, 44 cm (17 inches) tall and in excellent condition.

A small nesting Skylark with long tail opens to reveal a storage compartment for incense, a Kogo by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Ninsei Utsushi Kogo Hibari. It is 11.3 x 3.9 x 5 cm (4-1/2 x 2-1/2 x 2 inches) and is 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.

A stately deep wan-gata tea bowl in the Awata tradition of Kyoto decorated with eggplants in an image reminiscent of the famous persimmons of Muchi. It is signed by Chief abbot of Daitokuji Temple Taiko Sogen and enclosed in a modern Kiri-wood collectors box. The bowl is 12.5 cm (5 inches) diameter, 7 cm (just less than 3 inches) tall and in excellent condition.
Taikō Sōgen (1772-1857) was a prominent Zen monk of the Rinzai school and served as the 435th head abbot of Daitokuji Temple. His given name was Sōhiko, and he also went by the names Kōka and Saku-mu. Originally from Kyoto he entered Kōbai-in temple at the age of six and was ordained as a monk. Known for his talent in poetry, calligraphy, and painting, he associated with prominent tea figures such as the 10th-generation Sen Sōsa and the 11th-generation Sen Sōshitsu.

An elegant set of six small cups and saucers by Teishitsu Gigei-in Ito Tozan enclosed in the original compartmentalized and signed wooden box. The cups are steep sided with creamy crackled glaze decorated with sparse bamboo. Each Cup is roughly 7 cm (3 inches) diameter, 5.5 cm (2 inches) tall, the plates 12.5 cm (5 inches) diameter and all are in excellent condition, with some color absorption due to time and use in the crackled glaze.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III nd Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title.
Ito Tozan II (1871-1937) was born the fourth son of one of the upper level samurai of the Zeze feudal domain in Otsu, just over the mountains from Kyoto and began his artistic career as a painter. He was picked up by Tozan I and introduced to the plastic arts, where he flourished, taking over the Tozan kiln in 1920, following the death of his mentor.

A blending of traditional motifs and modern design create this architectural lacquered box datong from the mid 20th century enclosed in the original wooden storage box titled Bunko (document container). The floral theme carved into the striped lid covered in powdered gold and silver is Myoga (Japanese ginger). It is 30.5 x 24.5 x 12 cm (12 x 10 x 5 inches) and is in overall excellent condition.

A 19th century six-sided Koro Incense Burner bearing impressed into the base the seal of the Wakayama branch of the Tokugawa families Kairaku-en Niwa-yaki kiln. It is 10 x 12.5 x 10.5 cm plus lid 4 x 5 x 4-1/4 inches) and is in fine condition. It features a pierced brass lid engraved with smoke tendrils and comes in a period wooden box.
The Kairakuen kiln was the "garden kiln" sponsored by the Kii branch of the Tokugawa house, in modern day Wakayama founded in 1819. It operated irregularly, drawing upon the services of potters from various Kyoto workshops including the 9th and 10th Omotesenkei Heads Ryoryosai (1775-1825) and Kyukosai (1818-1860), 10th Raku Master Raku Tanyu (1795-1854), and Eiraku Zengoro XI (Nishimura Hozen, 1795–1854) among others . Kairakuen products reflect a marked revival of interest in Chinese ceramics in the late 18th and early 19th centuries. This vase, with its restrained shape and overall turquoise enamel glaze, follows Qing [Ch'ing] dynasty ceramic models. The design of the four-character mark, "Made at Kairakuen," imitates enamel four-character seals appearing on Qing [Ch'ing] imperial wares.