Catalog (247)

An amazing carved lacquer box by Ishii Naotake enclosed in the original signed wooden box exhibited at the 31st National Traditional Crafts Exhibition (Nihon Dento Kogeiten) in 1984 published on page of the catalog (included). It is created using multiple layers of colored lacquer which have been meticulously carved through with an intricate design centered around a verde panel of blossoming water-lillies. The box is 27 x 30 x 5.5 cm (11 x 12 x 2 inches) and is in excellent original condition.

A serene Edo period image of Amida seated in meditation lacquered and originally covered in gold which has much worn away with time and handling. He has glass eyes and a white jewel embedded in his forehead as well as a larger crystal set into the first tier of his snail covered head. It is roughly 28.5 x 26 x 37 cm (11-1/4 x 10-1/4 x 14-1/2 inches). Made in the Yosegi style of joined wood. there is a repaired crack across the thighs, where it was originally joined, and a dimple in the chin where it has been hit some long time ago.
Amida Buddha, also known as Amitābha, is one of the most revered figures in Japanese Buddhism, particularly in Pure Land Buddhism (Jōdo-shū and Jōdo Shinshū). He is the Buddha of Infinite Light and Infinite Life, representing compassion and wisdom. Amida Buddha is believed to have created a paradise known as the Pure Land (Jōdo), where all beings who sincerely call upon his name can be reborn. This paradise is free from the sufferings of the mortal world and is a place where enlightenment is easily attained. Amida Buddha's teachings emphasize universal salvation and offer hope and solace, making his worship one of the most accessible and beloved practices in Japanese Buddhism.

An incense case of layered lacquer carved thorugh in the design of a flower by Living National Treasure Otomaru Kodo enclosed in the original signed wooden box titled Tsuishitsu Kogo Hitsuji Gusa (Water Lilly Carved Lacquer Incense Case). It is 6 x 6 x 2.5 cm (2-1/4 x 2-1/4 x 1 inches) and in excellent condition, carefuly preserved in a fine silk lined pouch, the original singed box in turn enclosed in a lacquered outer box (Niju-bako)..
Otomaru Kodo (1898–1987) was a distinguished Japanese lacquer artist renowned for his mastery of choshitsu (carved lacquer) techniques. Born in Takamatsu, Kagawa Prefecture, he began his apprenticeship under Ishii Keido in 1910 and, from 1914, independently studied the works of Tamakaji Zokoku, a pioneer of Sanuki lacquer art. In 1921, Otomaru co-founded the art group Kofukai with metalcraft artist Osuga Takashi and others, actively participating in exhibitions. His work gained significant recognition in 1932 when he was first accepted into the Imperial Art Exhibition (Teiten), leading to regular displays in subsequent exhibitions. In 1942, his carved-lacquer piece, "Cosmetic box with moon-flower design," received a special award at the 5th New Ministry of Education Art Exhibition; this work is now part of the Takamatsu Art Museum's collection. Otomaru's innovative use of rich colors set his work apart. While traditional lacquerware primarily utilized vermillion, black, yellow, green, and brown, he introduced new pigments to achieve a broader spectrum of hues, enhancing the expressiveness of his designs. In recognition of his contributions to Japanese crafts, Otomaru was designated an Important Intangible Cultural Property holder (Living National Treasure) in 1955, specifically in the carved-lacquer division. That same year, he played a pivotal role in establishing the Japan Kōgei Association, further influencing the development of traditional Japanese crafts.

A very large Kutani Porcelain Vase richly decorated from the Kaburaki Studio dating from the later Meiji period, early 20th century. The design is both rich in tradition, yet strikingly modern. It is 21 x 14 x 41cm and in excellent condition, enclosed in a period wooden box bearing inside the Kaburaki label.

The Kaburaki Kutani Porcelain Shop was established in Kanazawa in 1822 as the very first Kutani merchant family business. Since then the Kaburaki family has handed down our family business from generation to generation until the present 8th. At the height of Kutani porcelain production during the Meiji and Taisho periods (1868～1926), the Kaburaki Kutani products were exhibited in various venues at home and abroad as well as at the world expositions. The Kaburaki family started our business in Kanazawa in 1822, the era of Ienari, the 11th Tokugawa shogun, as the very first commercial merchant of Kutani porcelain. Kutani porcelain was reactivated under the patronage of the Kaga clan and the old Wakasugi and Ono kilns were just founded. Two years later, the famous Yoshidaya kiln was set up by Mr. Den-emon Toyota. During the revival period, the Kaburaki family had played a very important role in not only selling stocks but also producing original porcelains painted by artisans in their own factory. Meiji to Taisho Period (1870's-1920's). The Fourth Owner, Jihei Kaburaki, had stepped up efforts to expand export around the world starting during the last phase of Edo Period and in the early Meiji Era the foreign business took off. In coincident with domestic demand expansion, our production capacity was in place in terms of both quality and quantity. In that period, Kutani was said to be completely revived as local representative industry and be set in prosperity by increasing export. The Kaburaki family had active presences in many exhibit occasions, both domestically and internationally. Thanks to acquired high reputations and fame with series of awards, Kutani by the Kaburaki were appreciated as topnotch products. It is mentioned in the history book “330years of Kutani” that, “Our Kaburaki emblem stamped on back of each and every product shows our pride and responsibility in our work. We believe in keeping our mind modest and wanting to have our customers the best products, and such an attitude might have led us in a position as a leading merchant.”

A collapsed water jar covered in iron glaze and enclosed in an ancient wooden box heavily annotated inside the lid and named Ho-gyoku by the Head priest of Bukkoji Temple in Kyoto. There is a red lacquered Ka-o signature used by the elite on the side of the vessel. It is 32 x 23 x 27.5 cm (11-1/2 x 9 x 11 inches) and is in fine condition. The box lid claims it was the property of or named by the head of Bukkoji Temple in downtown Kyoto.
In 1212, following his expulsion to Echigo, the True-land Buddhist prophet Shinran Shonin returned to Kyoto and began to develop the teaching of Shin Buddhism at a hermitage in Yamashina (eastern part of Kyoto). This hermitage was the origin of the present-day Bukkoji Temple. It was named Koryu Shoboji Temple. Genran, the 8th Abbot, who succeeded, passed away in the 13th year of his reign. His wife, Ryomyo, was appointed the 9th Abbot. In an era more than 600 years ago, when women were severely discriminated against, a woman abbot was unheard of. But in establishing Bukkoji: "Amida's Primal Vow does not discriminate between the young and old, good and evil; true faith alone is essential." In 1586, under orders from the Shogun Toyotomi Hideyoshi, Bukkoji was moved from Shirutani to the present location.

A tall flaring bamboo basket by Tanabe Chiuunsai II enclosed in the original signed wooden box titled Hosei. It retains the original bamboo inset, and is 31 x 20 x 35 cm (12-1/4 x 8 x 14 inches) and is 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.

A spectacular squat Seto-guro bowl dating from the early Edo period enclosed in an ancient heavy kiri wood box annotated within by soe long lost collector. This is a perfect example of the Momoyama aesthetic. It is 12 cm (5 inches) diameter, 8 cm (3-1/4 inches) tall and in excellent condition.

Chrysanthemum in blue decorate the pale white porcelain of this tall vase by Miyagawa Kozan signed on the base in a square cartouche Makuzu Kozan. It is 32 cm (12-1/2 inches) tall and 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 boat shaped hanging vase of hand forged iron hammered out of a single piece of metal using the uchidashi technique with waves rolling down the sides. It is lined with a dark metal, some blend of Shibuichi and copper, and suspended from a hand made chain. The vessel is 48 x 17.5 x 18.5 cm (19 x 7 x 7-1/2 inches) and is in excellent condition dating from the Edo period. It comes in a kiri-wood storage box titled Nanban Tetsu Uchidashi Tsuri Hanaike.
Uchidashi is a traditional Japanese metalworking technique used to create intricate raised designs on metal surfaces, commonly seen in samurai armor, sword fittings, and decorative objects. The term "uchidashi" translates to "hammered out," reflecting the method of working metal from the reverse side to achieve detailed relief on the front. The ultimate expression is three dimensional objects which stretch the limits of the material and showcase the extremities of the artisans skills.

An amazing amount of work (let along solid gold) has gone into this set of five 16th – 17th century Karatsu plates with lacquer repairs covered in gold, over which have been created designs of waves and other patterns. The largest dish is 12 cm (just less than 5 inches) diameter, the smallest 10.5 cm (just more than 4 inches) diameter.
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.
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 fabulous Edo period image of a Nobori Koi (Ascending carp) made with mouth open as a hanging wall vase It comes enclosed in an old custom kiri-wood collectors box titled Owari Kogama Hai-yu Koi-gata Kake-Hanaike (Old Owari Feif Kiln Ash Glazed Carp Shaped Hanging Vase). One fin has been broken off and reattached with either pitch or lacquer, and there are ancient color filled minor chips to the brittle edges, otherwise is in surprisingly excellent condition.
In Japanese culture, Nobori Koi (ascending carp) is a powerful symbol of strength, perseverance, and success. The image of a koi carp swimming upstream or leaping up waterfalls is associated with the ancient Chinese legend of a carp that transformed into a dragon after successfully swimming up the Dragon Gate waterfall. This story represents overcoming obstacles and achieving great transformation. Nobori Koi is often featured during Children's Day (Kodomo no Hi) on May 5th, when colorful carp-shaped flags, called koinobori, are displayed outside homes to symbolize the hope for children's growth, strength, and the ability to overcome challenges in life. The flying carp also represents the wish for boys to grow up strong and successful, with the imagery of the fish reaching new heights as a metaphor for personal achievement and perseverance in the face of adversity. Thus, Nobori Koi reflects important values in Japanese culture, such as determination, ambition, and the aspiration for improvement and triumph.

A beautiful image of a Buddhist saint seated in an ornate chair draped with tiger skins dating from the mid to later Edo period (18th-19th centuries). As it is seated, the sculpture, including the chair, is 32 x 18.5 x 37 cm (12-1/2 x 7-1/2 x 14-1/2 inches). There are age cracks along hois knee where the wood is joined, and over the right arm, as well as some losses to the polychrome color typical of age.

A fine bamboo basket by the first generation Tanabe Chikuunsai enclosed in the original signed wooden box titled Hanamori. It is 24.5 cm (roughly 10 inches) diameter, 40 cm (16 inches) to the top of the looping handle and retains the original bamboo otoshi (insert). Tanabe Chikuunsai I (1877–1937) was a pioneering Japanese bamboo basket artist renowned for elevating techniques in his youth and later merged them with influences from Chinese and Japanese aesthetics. Chikuunsai specialized in creating intricate, functional baskets for the tea ceremony, blending practicality with artistic sophistication. His work often reflected natural themes, showcasing refined forms and precise craftsmanship. Chikuunsai’s legacy established the Tanabe lineage of bamboo artists, with successive generations continuing to innovate within the tradition he founded.

A spectacular Edo period Chatsubo Tea Leaf Container covered in green pine-ash glaze engraved about the shoulder with unusual designs of an Otsu-e style creature wearing a mino straw rain-coat and bearing a massive branch of blossoming wisteria over its shoulder between swirling sun spots. The vessel has a deep cleft in the foot from where it partially collapsed, which allows it to be displayed standing up or at an angle. There is a large Kutsuki kiln flaw on the down side where it adhered to whatever was next to it, supporting it in the kiln. Truly an amazing piece. Slight inclusions and the glistening green ash indicate Mino ware from the Iga area. The old wooden bung is still present, wrapped in layer upon layer as the wood dried and shrunk over the decades. It is 38 cm (15 inches) tall, 35 cm (14 inches) diameter and in excellent condition, enclosed in an ancient storage box made of thick slabs of age-darkened Kiri-wood.
Due to size the cost of shipping will be accrued separately. Japanese tea leaf storage jars, known as Chatsubo, are traditional stoneware vessels used to store tea leaves for Sencha steeped tea or before they are ground into powder for Maccha powdered tea ceremonies. These jars are appreciated for their functional design and aesthetic qualities, and many museums worldwide house notable examples in their collections. Here are some institutions that feature chatsubo: The National Museum of Asian Art, Metropolitan Museum of Art, Minneapolis Institute of Art and Philadelphia Museum of Art in the USA as well as the Montreal Museum of Fine Arts in Canada among many others.

This is a superb Bunraku puppet of the historical figure Matsuomaru, one of the lead characters from the Tale of the Heikei and legendary fighter in Japan. The doll is incredibly mobile. Head moving up and down, his eyes open and close and move left to right. His eyebrows can be raised and lowered, and mouth opened or closed, all from toggles inside his kimono on the extended neck piece. The puppet is in perfect condition and stands 43 inches to the top of his topknot, complete with a bamboo display stand. As pictured it stands 1 meter, (roughly 3 feet) tall and is in excellent condition. It is signed on the neck, and comes with a small placard also signed and titled by the maker.
Matsuōmaru is a character in Japanese Bunraku and Kabuki theater, a central figure in the play "Yoshitsune Senbon Zakura" (The Thousand Cherry Trees of Yoshitsune), which is one of the most famous and beloved historical plays in the bunraku and kabuki repertoire. Matsuōmaru is portrayed as the younger brother of Minamoto no Yoshitsune, a legendary samurai warrior and military commander during the late Heian and early Kamakura periods of Japan's history. In "Yoshitsune Senbon Zakura," Matsuōmaru is depicted as a loyal and brave character who assists his brother Yoshitsune in various adventures and battles. The play centers around Yoshitsune's escape from the pursuit of his enemies, particularly his brother Yoritomo, who becomes suspicious of Yoshitsune's growing popularity and loyalty among their followers.

A basket of dark red bamboo woven by the 4th generation Hayakawa Shokosai IV enclosed in the original signed wooden box. It is 22.5 cm (9 inches) diameter, 48 cm (19 inches) tall and in excellent condition.
Hayakawa Shokosai IV (1902-1975) was the eldest son of Hayakawa Shokosai III (1864-1922). Shokosai IV succeeded as Shokosai aged 21, when his father Shokosai III passed away in 1922. After the war, the Shokosai family moved from Osaka to Kyoto where the family continues the basketmaking tradition to this day. Shokosai I (Togoro, 1815–1897) was born in Sabae City, Fukui Prefecture in 1815. Togorō, lost his father at the age of 19. He then moved to Kyoto and began apprenticing as a basket craftsman. In 1845 he relocated to Osaka and adopted the name Shokosai. He received numerous accolades, including awards at the First National Industrial Exhibition in 1877 (Meiji 10) and other domestic and international expositions. His work earned the distinction of being purchased by the Empress herself. Shokosai II (1860–1905) was the third son of the first-generation Shokosai, born with the name Takejirō, he succeeded to the title in 1897 (Meiji 30). He won second prize at the Fifth National Industrial Exhibition in 1903. His tenure as Shokosai was short, lasting only eight years until his death at 45, resulting in a limited body of work. Shokosai III (1864–1922) was born in Osaka as the fifth son of the first-generation Shokosai, his given name was Eisaburō. After studying under his father, he worked in Tokyo using the name Shōsai. Following his brother’s death in 1905, he returned to Osaka and succeeded as the third-generation Shokosai. He received the Phoenix Crest Award at the 1878 Paris Exposition and continued to garner honors at exhibitions worldwide. In 1887, he was honored by imperial purchase. In 1919, he co-founded the "Naniwa Basket Friends Association," leading Osaka’s bamboo craft scene and becoming a prominent figure in modern bamboo art. Shokosai III excelled in innovative coloring techniques and loose weaving styles, elevating bamboo basket craftsmanship into the realm of fine art. His bold and expressive style emphasized artistic harmony while maintaining an individualistic approach. He served as a member of the Osaka Crafts Association and passed away in 1922 at the age of 59. The Fourth Generation Hayakawa Shokosai IV (1902–1975) was born in 1902 as the son of the third-generation Shokosai, he became chairman of the Bamboo Art Association and was selected for the prestigious Nitten exhibitions. He passed away in 1975 at the age of 73. Hayakawa Sokosai V (1932–2011) was born in 1932 in Osaka as the eldest son of the fourth-generation, he continued the family’s legacy until his passing in 2011.

A celadon vase in the Korean style decoratred with dials of stylized opposing birds enclosed in the original signed wooden box titled Unkaku Seiji Tori-moyo Kabin. It is 30 cm (12 inches) tall, 13 cm (5 imches) diameter and 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 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.

A flaring bamboo basket with looping handle by Yamamoto Chikuryusai enclosed in the original signed wooden box titled simply Hanakago. It is 22.5 cm (9 inches) diameter, 40 cm (16 inches) tall and in excellent condition.
Yamamoto Chikuryusai I (1868-1945) was a bamboo artist of the early modern era in Osaka. Born in year one of the Meiji era to the Yanagi clan, his former Samurai family hailed from Yodo, a castle town between Osaka and Kyoto. He later was adopted by his Sister in Law to the Yamamoto family, changing his name to Yamamoto at the time, however it was with his older brother, Yanagi Takesada that he learned basketry in their shop in Osaka. Takesada moved to Korea; for the Japanese at the time it was the New West, but Chikuryusai remained in Japan. Unlike others, Chikuryusai did not attempt to insert himself into his baskets, but, allowed his baskets a traditional elegance. He was renowned for his calligraphy, sencha aesthetic, and his elegant and reserved artistic vision. His baskets received awards at several important international expositions, and, with his two sons, Chikuryusai II and Chikken, participated in the annual Teiten/Bunten National Art Exhibitions. He served as mentor to not only his two sons but also Hamano Chikkosai, Ikeda Seiryusai, and Suemura Shobun. In 1929, he gave the artist “Go” (name) to his son but continued working under the name Shoen until his death in 1945. Work by him is held in the Asian Art Museum San Francisco, The Minneapolis Institute of Art and The Met New York among many other public and private collections.