Catalog (176)

A set of five ancient Karatsu dishes repaired with lacquer and gold perfect for serving sweets in a tea room where Wabi-sabi is paramount, or featured in a Kaiseki meal. They are 10 -11 cm (4 plus inches) diameter each, dating from the 16th to 17th centuries, enclosed in an old kiri-wood box with wiped on lacquer finish.
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 pair of matching large flaring bowls ornately decorated with intricate lattice patterns pierced with decorative dials featuring dragons and Buddhist Jewels surrounding a large colorful dragon. Each is signed beneath inside the footring. They are 24.5 cm (just less than 10 inches) diameter, 10 cm (4 inches) tall and in excellent condition.
Daishoji Imari is a type of Kutani ware that was mainly produced in Daishoji Town, formerly part of the old Enuma District, from the early Meiji period. There they produced porcelain based on Imari models decorated in sometsuke (blue-and-white porcelain) and kinrande (colored with gold).
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics

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.

From a private collection, 4 unique covered porcelain bowls dating between the later 19th and early 20th centuries (Meiji to Taisho Periods) intricately patterned with various floral patterns. One is signed Kaburagi, another Kutani Takata, the other two simply Kutani. They vary slightly in size, 10 x 7 cm, 11 x 5.5 cm, 11.5 x 7.5 cm, 12 x 7 cm (roughly 4-5 cm diameter) and are all in excellent condition.
Kutani ware (Kutani-yaki) originated in 1655 when a local lord, Maeda Toshiharu, sent Goto Saijiro to study ceramic production in the Arita region of Kyushu. Upon his return, Saijiro established a kiln in Kutani village (modern-day Ishikawa Prefecture). The early works, known as Ko-Kutani ("Old Kutani"), were notable for their bold designs, vibrant colors, and overglaze enamels. This period ended mysteriously around 1730 due to financial difficulties or the depletion of local resources. After nearly a century of dormancy, Kutani production was revived in the early 19th century. New kilns were established, and techniques evolved under the influence of Chinese and Arita porcelain styles. This period introduced diverse substyles, including:
Saiko Kutani: A refined revival of Ko-Kutani designs.
Mokubei Style: Inspired by Chinese Ming and Qing ceramics.
Yoshidaya Style: Known for green, yellow, and blue color palettes.
By the Meiji era (1868–1912), Kutani ware gained international acclaim, partly due to Japan’s participation in world exhibitions. Artists adopted intricate and decorative techniques like Kinrande (gold decoration) and delicate overglaze painting

A beautiful set of five porcelain bowls each uniquely decorated with a bird and seasonal flora enclosed in the original signed wooden box dating from the first half of the 20th century. They are 16 cm (6-1/4 inches) diameter and in excellent condition. Signed on the backs in a green cartouche they retain the original stamped wrapping cloth.

10 Oribe plates by Kato Sakusuke enclosed in the original signed wooden box dating from the early 20th century. They are 13 cm (5 inches) square, and in excellent condition. The Katō Sakusuke family of the Akazu kiln traces its origins to Kageharu, the younger brother of Katō Riheiemon (the first-generation Tōzaburō), who returned to the village from Mino during the Keichō era in the early Edo period. The first-generation Sakusuke (Kagekiyo, born 1808), the seventh-generation descendant of Kageharu, took the artist name Jusai. As described in Owari no Hana (Flowers of Owari):"Naturally skilled in pottery, he succeeded his father’s house, adopting the name Sakusuke and greatly revitalizing the family’s work. He created vessels modeled after ancient methods, producing many tea utensils and sake vessels. His works were all refined and richly elegant." The Second Generation: Katō Kageyoshi (born in 1844) took the name Shunsen.bThe younger brother of the second generation branched off to establish a separate family line, using the name "Sakusuke" for his works, later adopting the name "Shun'itsu. The family tradition was upheld by the third generation (Seiichi, also known as Shunzan), and the fourth generation (Norihiko). It is now under the management of the fifth generation.

A basin pierced and covered in green lacquer with a feather like design in the center in charred red and mustard wrapped in bamboo basketry dating from the early 20th century, art-deco era enclosed in the original signed wooden box titled Kajutsu Moriki. The basket weave is a six-pointed star pattern and the outer bamboo in natural dried bamboo brown while the inside of the bamboo, visible through the pierced body of the basin, has been dyed red. It is 40 x 26 x 14 cm (16 x 10-1/4 x 5-1/2 inches) and is in overall excellent condition.

A collapsed bottle from the early years of the Tokoname Kilns dating from the Kamakura to Nanboku-cho periods (12th to 15th centuries) featured in the special Taiyo Art Magazine Close-up on the six ancient kilns. It is 18 cm (7 plus inches) diameter, 13 cm (more than 5 inches) tall and in fine original condition, enclosed in an old red-lacquered wooden box.
Tokoname pottery from modern day Aichi Prefecture, is one of Japan’s Six Ancient Kilns (Nihon Rokkoyō), with a history dating back to the Heian period (794–1185). Initially, Tokoname potters produced large, durable storage jars and water vessels, utilizing locally abundant iron-rich clay and high-temperature firing techniques. The region's extensive use of anagama (single-chamber) and later noborigama (climbing) kilns contributed to its flourishing as a major ceramics center. During the Kamakura (1185–1333) and Muromachi (1336–1573) periods, Tokoname ware was exported all over the Japanese archipelago, and served as the prototype for pottery from most of the other ancient kilns.

A Momoyama to Early Edo period Karatsu Chawan enclosed in an ancient, age darkened quarter sawn cedar box with Kuro-gaki (Black persimmon) rim. Slightly misshapen, the bowl is 11-12 cm (4-1/2 to 4-3/4 inches) diameter, 5-6 cm (2 plus inches) tall and in surprisingly fine condition, with some ancient lacquer repairs about the rim attesting to the great age and care the piece has received
. 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.

A large Bunko lacquered box by Shimada Shunko dating from the late 1930s to 1940s, enclosed in a signed wooden box. It features solid silver rims. It is 42 x 32 x 15 cm (16-1/2 x 12-1/2 x 6 inches) and is in overall fine condition. Shunko submitted a very similar design to the 6th Shinbunten in 1943.
Shunko Shimada is well-known as a lacquerware artist specializing in Wajima-nuri. His works are created using traditional Japanese lacquer techniques, particularly the maki-e method. Wajima-nuri, which developed around Wajima City in Ishikawa Prefecture, is highly regarded worldwide for its beauty and technical excellence.

A dragon encircles the center of this porcelain vase by Daimaru Hokuho (Hoppoo) enclosed in the original signed wooden box. The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The typical Gu form rises a lobe about which the dragon has been engraved in red. It is 26.5 cm (10-1/28 inches) tall and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

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.

An exquisite lidded jar of turned wood covered in black lacquer and decorated with golden plum blossoms wrapped in a silk pouch and enclosed in an old kiri-wood box. 19th century, it is 6 cm (2-1/4 inches) diameter, 7 cm (just less than 3 inches) tall and in excellent condition.

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 set of five small dishes and one larger bowl dating from the late Heian to Kamakura periods (12th -14th centuries) from the Seto region in central Japan. The bowl, called Yamajawan or Yama Chawan, is a soft grey color and measures roughly 16 cm (over six inches) diameter, 5.5 cm (2 inches) tall. The plates vary from pale white raw clay to ash spattered yellow and are 7.5~9.5 cm (3-less than 4 inches) diameter.
Yama-chawan is a generic term for various types of unglazed Japanese tableware produced in vast quantity from the late Heian (794–1185) to Muromachi period (1333–1568), mainly in the Tōkai region (Aichi and Gifu prefectures) of central Japan. At the beginning of the era ritual vessels and storage jars were the common pottery, but increased production made for greater availability resulting in demand from lower classes of society for pottery. This resulted in a shift away from jars to tableware. Production of Yama chawan began with the dissemination of wealth to military families and landowners at the end of the Heian period, and lasted through the early Muromachi era, reaching its peak in the Kamakura and Nanbokucho periods (1185-1392). By the mid-Kamakura era, great volumes of yama-chawan were being fired. Fused, broken or damaged works would have been discarded about the kiln. As well, the kilns, were unstable and unpredictable, and often collapsed. This made for a small volume of pottery coming available from excavations in the early 20th century, when there was a great deal of research into the revival of ancient techniques.

A lifelike turtle from the Kikko kilns of Osaka, the bottom stamped and covered in black glaze under gold leaf enclosed in the very rare original signed wooden box. Thanks to that the soft clay figure is in perfect condition. It is 16.5 x 11 x 6 cm (6-1/2 inches long), dating from the later Edo period.
The Kikko Kiln was established in Osaka in the opening years of the 19th century by Iyo native Toda Jihe, who had learned the ceramic arts in Kyoto under all of the great names of the time, Kiyomizu Rokubei I, Ryonyu the 9th generation head of the Raku family, and Ninnami Dohachi among others. He would be known as Jusanken Shogetsu. After being noticed by then Daimyo of Osaka area Mizuno Tadakuni, he received the kiln name Kikko. His works were distributed as gifts among the Daimyo, and he was called to work in many fiefs creating “Niwa Yaki” kilns throughout Japan. During the Meiji the kiln would be split into two continuing lineages, one using Jusanken stamp, the other Kikko Shogetsu.

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 set of five Oribe Mukozuke dishes in rounded triangular form by Kato Sakuuke enclosed in an old wooden box. They are 9.5 x 9 x 9.5 cm (roughly 3-1/2 inches in all directions) and all are in excellent condition.
The Katō Sakusuke family of the Akazu kiln traces its origins to Kageharu, the younger brother of Katō Riheiemon (the first-generation Tōzaburō), who returned to the village from Mino during the Keichō era in the early Edo period. The first-generation Sakusuke (Kagekiyo, born 1808), the seventh-generation descendant of Kageharu, took the artist name Jusai. As described in Owari no Hana (Flowers of Owari):"Naturally skilled in pottery, he succeeded his father’s house, adopting the name Sakusuke and greatly revitalizing the family’s work. He created vessels modeled after ancient methods, producing many tea utensils and sake vessels. His works were all refined and richly elegant." The Second Generation: Katō Kageyoshi (born in 1844) took the name Shunsen.bThe younger brother of the second generation branched off to establish a separate family line, using the name "Sakusuke" for his works, later adopting the name "Shun'itsu. The family tradition was upheld by the third generation (Seiichi, also known as Shunzan), and the fourth generation (Norihiko). It is now under the management of the fifth generation.