Catalog (197)

A fabulous Suiseki stone on carved rosewood base in the shape of a Limestone cave in which meditates a holy figure. It is 11 x 7 x 16 cm including the base and is in excellent condition.
In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.

A dramatic Suiseki stone set into a carved wood base retaining the chiseled marks (typical of the early 20th century) in the shape of a Limestone cave in which meditates a holly figure. It is 12 x 7 x 18 cm (5 x 3 x 7 inches) including the base and is in excellent condition.
In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.

An exquisite lacquer dish with black Tessen (Clematis) flowers over a mottling of pale layers by Ikeuchi Kaho enclosed in the original signed wooden box titled Choshitsu Tessen Hana Moyo Kazari-sara. The work is performed by applying layer upon layer of cream-colored lacquer, with a final layer of black, which is then carved through to reveal the lower layers of white, leaving only the one top layer of black as the design. A very labor-intensive process with little room for error. The dish is 30.5 cm (12 inches) diameter and in excellent condition. Ikeuchi Kaho (1903-1967) was an artist in the carved lacquer tradition of Sanuki, and his work is held in the collection of the Takamatsu City Museum.

A set of two Edo period iron kettles with raised chrysanthemum designs under a belt of ichimatsu (alternating box) designs surrounding a lid of lacquered wood embellished with unique scenes of birds and flowers of Autumn and Winter. The iron handle is inlayed with silver designs, and has a copper under-liner which protects the hand of the person serving from the hot metal. These guys thought of everything. The kettles are in perfect condition. The lids have some losses to the lacquer around the edge. 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. They are 16 cm (6-3/8 inches) diameter each, enclosed in a period age darkened kiri-wood box.

A fabulous covered bowl decorated with cobalt dragons and covered almost entirely in intricate lacquer designs from the Toyoraku (also read Horaku) tradition in Nagoya. The dragons swirl in both the foot ring, and center ring of the lid. As if to pair, gold dragons slither about in scalloped green cartouches overlaying the ornate Shippo pattern outside, inside completely lacquered black with a nashiji rim with a floral dial in centor of both bowl and lid. The bowl is 17 cm (6-3/4 inches) diameter and comes enclosed in a period wooden box. It is in outstanding condition, and one of the finest quality pieces I have seen.
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. However from the later Meiji he concentrated on Raku-ware, and the lacquer tradition mostly disappeared from the family ouvre.

A Japanese viewing stone set into a rosewood base dating from the early 20th century. It is17 x 8 x 9.5 cm (6 x 3 x 3 inches) and is in excellent condition. In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.

An exquisite set of five porcelain bowls decorated inside with soaring cranes in Sometsuke, while all the visible outside is covered in black lacquer with delicate fern fronds in gold maki-e. These are suimono-wan, a bowl for thin soup made to be served between courses in a traditional Japanese Kaiseiki meal to cleanse the pallet. Each bowl is9.5 cm (3-3/4 inches) diameter and in perfect condition. Unmarked, they follow the Toyoraku lacquered pottery tradition of Nagoya, popular sine the Edo period. They come with an age-darkened kiri-wood storage box.

A small koro decorated with Mandarin Ducks on yellow waves marked on the bottom with the Fuku seal dating from the early 20th century. It is 6.5 cm (2-1/2 inches) diameter, the same height (excluding the lid) and in excellent condition, enclosed in a modern wooden box.
Kutani pottery is another renowned style of Japanese ceramics with a rich history. It originated in the Kutani village, located in modern Ishikawa Prefecture. The roots of Kutani pottery can be traced back to the mid-17th century when Lord Maeda Toshiharu established a kiln in Kutani village in 1655. The lord invited skilled porcelain craftsmen from the neighboring regions to develop the pottery industry in Kutani. These craftsmen brought their expertise and techniques, including the use of colored enamels, which became a distinctive feature of Kutani pottery. Initially, Kutani wares were heavily influenced by the colorful and decorative styles of Chinese and Korean ceramics, such as the Ming and Qing dynasties. However, as the local artisans developed their skills and styles, Kutani pottery evolved into a unique and recognizable form. During its early years, Kutani pottery production faced numerous challenges, including economic difficulties and political upheavals. As a result, the kilns in Kutani went through periods of both prosperity and decline. The first period of prosperity occurred in the late 17th century, known as the Ko-Kutani period, when the kilns produced high-quality, vibrant ceramics with distinctive motifs. However, the Ko-Kutani period was short-lived, and production declined in the early 18th century. It was not until the 19th century that Kutani pottery experienced a revival. Lord Maeda Naritatsu, supported the pottery industry and encouraged the production of Kutani ceramics once again. This period is known as the Saiko-Kutani period, marked by a resurgence of Kutani wares characterized by intricate designs and refined craftsmanship. One of the notable features of Kutani pottery is the use of the "Fuku" mark. The Fuku mark, meaning "good fortune" or "happiness” was traditionally applied to Kutani pieces, serving as a symbol of good luck and prosperity. The Fuku mark varies in design and placement, and its presence on Kutani pottery is highly sought after by collectors and enthusiasts.

A pair of Tokkuri in crackled Gohon style Kyoto glaze decorated with sprays of bamboo by Shichibei enclosed in a period kiri-wood collectors’ box. There are some ancient chips around the foot rim of one Tokkuri, otherwise they are in excellent condition, signed on the sides Shichibei. They are 14 cm (5-1/2 inches) tall and in excellent condition, dating from the Meiji period.
First Generation Shimizu Shichibei was born the eldest son of the second generation Shimizu (Kiyomizu) Rokubei in Kyoto. He passed the title of the third generation Shimizu Rokubei to his younger brother and received the family kiln, where he started pottery under the name "Ebiya Shichibei" in Gojo-hashi Higashi (present-day Higashiyama-ku). In 1843), under the orders of the 10th Lord of Nagaoka Domain, Makino Tadayoshi, he opened a kiln for "Gozan Ware" in Nagaoka. In 1844, Shichibei went there with his craftsmen to work as a supervisor. The Second Generation Shimizu Shichibei: (1845-1918) was born to the first generation Shichibei. He received commendations at the Domestic Industrial Exhibition and was awarded an honorary trophy at the 1878 Paris World Exposition.

A crimson orb resonates from within the mirror black ground of this gorgeous footed tray enclosed in the original wooden box titled Akebono Moriki (Platter decorated with Dawn) and is signed from the Heian-do Lacquer Studio. The artist has fused the red and black together, the center of the sun-like circle opaque vermillion, the outer edge hazy as it diffuses into the black. The slightly curving basin is raised on a tall wide central foot all in highly polished ro-iro black. It is 36.5 cm (14-1/4 inches) square, 8 cm (3 inches) tall and in excellent condition.

Golden crests are emblazoned on the matt black surface of this small Hokai with chased brass hardware dating from the later Edo period. The container is made of wood covered with black lacquer decorated with gold powder hira-maki-e with brass hardware. Hokai were a standard accoutrement to any household of means, however this size is quite rare. It is 23 cm (9 inches) square, 26 cm (10-1/2 inches) tall and in fine overall condition, with minor blemishes consistent with use.

A Japanese viewing stone set into a hardwood base dating from the early 20th century. It is 12 x 8 x 11 cm (5 x 3 x 4 inches) and is in excellent condition. In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.

An Edo period lacquered Bashaku Water Scoop covered in mother of pearl flakes decorated with the Kikusui-mon Crest in gold, vermilion lacquer within. It is 59.5 cm (roughly 2 feet) long and in overall fine condition with minor losses typical of age and use. The name Bashaku literally means horse scoop, and indicates these were used for watering horses on the road.

First we hear the clang of the hammer striking the bell, then the steadily approaching clop of his wooden shoes before the horrifying creature dressed in the robes of an itinerant priest appears; a ledger in one hand noting our sins. This is a very rare ceramic figurine by Suwa Sozan I enclosed in the original signed wooden box titled Nenbutsu Oni and bearing the seal of the imperial Art Academy. It is 30 cm (12 inches) tall and in excellent condition. He would have originally held a hammer, no longer extant. This summer, among other works by this artist, one of these sculptures, a one-eyed goblin, was on display at the Kyoto Kyocera Museum; part of their Imperial Art Academy Exhibition.
The Oni no Nenbutsu is one of the more popular figures from Otsu-e; a folk painting tradition from the town on the outskirts of Kyoto; the first or last stop coming to or leaving the capitol on the old Tokaido road. A pantheon of almost 200 characters, one of the most popular was the goblin, which came into vogue in the 18th century. Although the western goblin is a symbol of evil in religious iconography, in the Otsu-e tradition the symbol was used to satirize human folly and to remind people of the consequences of their actions. Other goblin images present remonstrations against arrogance, hypocrisy and carelessness. Utagawa Kuniyoshi created a woodblock print depicting the Otsu-e figures coming to life.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

An exceedingly rare (in fact the only one I have ever seen) Tenmoku-Dai stand for a Tenmoku Chawan by Suwa Sozan I enclosed in the original signed wooden box titled Kuruwa Tenmoku Dai (Curved Circular Tea Bowl Stand). It is made of layer upon layer of lacquer, carved with scrolling designs revealing the depth of the lacquer in a style known as Guri. The artist has carved his seal into the inside of the base. It is 15 cm (6 inches) diameter7.5 cm (3 inches) tall and in excellent condition.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A quintessential example of the Japanese image of a classic Tenmoku bowl by Suwa Sozan I enclosed in a signed Wooden box. The box is titled and annotated on the side by the third generation Sozan, Inside the lid by eminent priest of Kenninji Temple Takeda Ekishu (1896 – 1989). The bowl is 12.7 cm (5 inches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

Suwa Sozan I enclosed in the original wooden box titled Kagyu-tsuki Take Kake-hana-ire (Bamboo Hanging Vase with Snail) bearing the Teishitsu Gigei-in Seal of the Imperial Art Academy signed inside “Sozan, with Amateur Skill” followed by the artists seal in red. It is 49 cm long and in excellent condition. The only other I have ever seen in this style is published in the rare 1971 book Suwa Sozan Sakuhin Shu page 59.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A crow at rest upon a rock raises its head in a gruff cry by Suwa Sozan I enclosed in the original signed wooden box titled Karasu Okimono. It is pierced in the back, allowing it to be an oki-koro incense burner. It is 34 cm (13-1/2 inches) tall and in excellent condition. A nearly identical piece was published in the 1923 book Sozan Toko, attributed to his late period.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.