All Items : Vintage Arts : Regional Art : Asian : Japanese : Metalwork : Pre 1950
item #1498113
(stock #K479)
The Kura
sold
sold
A Fabulous Bronze Serving Vessel with Rams-head handle lined with silver by Living National Treasure Katori Masahiko enclosed in the original signed wooden box titled Hitsuji-mimi Hissen. It is 19.5 x 14 x 7.5 cm (8 x 5-1/2 x 3 inches) and in overall excellent condition, signed on the base Masahiko.
Katori Masahiko (1899-1988) was born into the family of prominent Bronze Artist Katori Hozuma in Chiba. He was internationally awarded at the Paris Exposition in 1925, the year he graduated The Tokyo University of Fine Arts (a student of Tsuda Shinobu). Heavily involved with the Teiten/Nitten National Art Exhibition, following the destruction of the Second World War, he would spend years working to save Japanese Buddhist Treasures, and making Bells for Temples an
Katori Masahiko (1899-1988) was born into the family of prominent Bronze Artist Katori Hozuma in Chiba. He was internationally awarded at the Paris Exposition in 1925, the year he graduated The Tokyo University of Fine Arts (a student of Tsuda Shinobu). Heavily involved with the Teiten/Nitten National Art Exhibition, following the destruction of the Second World War, he would spend years working to save Japanese Buddhist Treasures, and making Bells for Temples an
The Kura
sold
sold
Silver inlay decorates the frets engraved into this lemon-peel textured bronze vase by Takano Shizan signed on the base in a rectangular cartouche. It is 25 cm (10 inches) diameter, 22 cm (9 inches) tall and in excellent condition.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1950
item #1498410
(stock #K495A)
The Kura
sold
sold
A set of two brightly colored porcelain bottles enclosed in a period wooden box titled Hisago-gata Tokkuri martked with the potters seal beneath reading Yasokichi. Each is 9 cm (3-1/2 inches) diameter, 11 cm (4-1/4 inches) tall and both are in excellent condition.
Tokuda Yasokichi I (1873-1956) was born into a family of textile dyers in Ishikawa prefecture, but entered the ceramics world under the tutelage of his Brother Matsumoto Sahei, specializing in the Yoshidaya decorative technique of Kutani ware in 1890. In 1922 he received Imperial patronage. He was named one of the first living National Treasures in 1953 (and his grandson, Yasokichi III would also be named such).
Tokuda Yasokichi I (1873-1956) was born into a family of textile dyers in Ishikawa prefecture, but entered the ceramics world under the tutelage of his Brother Matsumoto Sahei, specializing in the Yoshidaya decorative technique of Kutani ware in 1890. In 1922 he received Imperial patronage. He was named one of the first living National Treasures in 1953 (and his grandson, Yasokichi III would also be named such).
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950
item #1498473
(stock #K539)
The Kura
sold
sold
A spectacular example of Japanese maki-e lacquer technique of a box in the shape of a ship loaded with rice bales and treasures, sails filled with wind moving quickly over the waves. It is 15.5 x 9.5 x 4.3 (6 x 4 x 2-3/4 inches) and is in excellent condition, enclosed in a period red-lacquered wooden box with minor wear on the bottom typical o9f age and use.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1950
item #1498585
(stock #K495C)
The Kura
sold
sold
Three spiraling Tokkuri sake flasks in vibrant colors, all bearing the mark of Living National Treasure Tokuda Yasokichi I. They are 7.5 cm (3 inches) diameter, 15 cm (6 inches) tall and in excellent condition.
Tokuda Yasokichi I (1873-1956) was born into a family of textile dyers in Ishikawa prefecture, but entered the ceramics world under the tutelage of his Brother Matsumoto Sahei, specializing in the Yoshidaya decorative technique of Kutani ware in 1890. In 1922 he received Imperial patronage. He was named one of the first living National Treasures in 1953 (and his grandson, Yasokichi III would also be named such).
Tokuda Yasokichi I (1873-1956) was born into a family of textile dyers in Ishikawa prefecture, but entered the ceramics world under the tutelage of his Brother Matsumoto Sahei, specializing in the Yoshidaya decorative technique of Kutani ware in 1890. In 1922 he received Imperial patronage. He was named one of the first living National Treasures in 1953 (and his grandson, Yasokichi III would also be named such).
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950
item #1498802
(stock #K390)
A breathtaking tray decorated with early morning Lotus with misty clouds of gold on highly polished ro-iro black signed Kunisada featuring a solid silver rim enclosed in a silk lined box wrapped in blue cloth pouch stamped Ogaki Kunisada. Early morning dew beads like pearls in the basin of the dilapidated leaf in the fore, while the flower bulb, not ready yet to open, glistens gold in the late summer sunlight. The tray is 27.5 x 27.5 x 3cm (11 x 11 x 1-1/4 inches) and is in perfect condition. The wooden box has a paper label simply titled Ogaki Kunisada Haibon (Sake Cup Tray).
The Kura
$495.00
$495.00
A Tsubo which slumped in the kiln adhering to a pair of sake cups, one of which remains clinging to the side. It appears to be Karatsu ware, green glaze sliding over rich red iron and forming beads around the foot ring. It is 23 x 17 x 22.5 cm (9 x 7 x 9 inches). There is a small chip in the rim but is otherwise in excellent conditiom.
The Kura
$450.00
$450.00
A pair of very cool Tokkuri sake flasks with looping handles decorated in barber-pole fashion with a striking design of spiraling red on pale cream glaze. Each is signed on the base Seizan, and they come enclosed in a period wooden box titled Seizan-yaki Sake Tsubo. Each is roughly 5;.5 cm (2 inches) diameter, 12 cm (5 inches ) tall and both are in excellent condition.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Earthenware : Pre 1950
item #1499063
(stock #K525)
The Kura
sold
sold
A set of 5 dishes in the shape of Tai (sea bream), a fish whose name is synonymous with celebration, dating from the fist half of the 20th century and enclosed in the original wooden box signed Ryokufu-gama. Each dish is 8.5 x 13.5 x 2.5 cm (3-1/2 x 5-1/2 x 1 inch) and all are in excellent condition.
Sea bream is not just a culinary ingredient but also a cultural symbol in Japan, embodying elegance, celebration, and respect for tradition. Sea bream is considered a premium fish, often reserved for special meals or high-end dining experiences. The fish's appearance, with its vibrant red color and elegant shape, makes it visually appealing and suitable for festive presentations. Historically, it was regarded as a fish for the nobility and samurai class. The word "tai" is associated with "medetai" which means auspicious or celebratory. Because of this, sea bream is often served at festive occasions like weddings, New Year celebrations, and other milestones.
Sea bream is not just a culinary ingredient but also a cultural symbol in Japan, embodying elegance, celebration, and respect for tradition. Sea bream is considered a premium fish, often reserved for special meals or high-end dining experiences. The fish's appearance, with its vibrant red color and elegant shape, makes it visually appealing and suitable for festive presentations. Historically, it was regarded as a fish for the nobility and samurai class. The word "tai" is associated with "medetai" which means auspicious or celebratory. Because of this, sea bream is often served at festive occasions like weddings, New Year celebrations, and other milestones.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1950
item #1499064
(stock #K583)
The Kura
sold
sold
A very unusual dish in the shape of a wide grape leaf with a cluster of celadon grapes growing off an iron red vine by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box. It is 16.5 cm (6-1/2 inches) across in both directions, 6.5 cm (2-1/2 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.
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.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950
item #1499584
(stock #K474)
The Kura
$950.00
$950.00
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.
The Kura
$1,200.00
$1,200.00
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 set of five Ceramic Bowls decorated with maple leaves and waves paying homage to the Kenzan style by Imperial artist Miyagawa (Makuzu) Kozan I enclosed in the original signed wooden box. They are 12 cm (5 inches) diameter, 5.5 cm (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.
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.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Baskets : Pre 1950
item #1499962
(stock #K507)
The Kura
$2,000.00
$2,000.00
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.
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.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950
item #1500071
(stock #K571)
The Kura
sold
sold
A huge contemporary lacquered basin dating from the post-war era of multiple layers of colored lacquer polished through to reveal the various color in random patterns, the naturalistic form curls over revealing the smooth black of the outside. It comes in a period wooden box. The basin measures 81.5 x 23 x 6.5 cm (33 x 9 x 2-1/2 inches) and is in overall fine condition.
The Kura
sold, thank you
sold, thank you
A pair of Art-deco style bronze foxes enclosed in the original wooden box signed Kozan. They are 25.5 cm (10 inches) tall and in excellent condition, each signed by the tail.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Tea Articles : Pre 1950
item #1500275
(stock #K156)
The Kura
sold
sold
A deformed Nanban vessel set om a custom carved wooden stand made specifically to fit the convex base of the bottle dating from Edo period Japan. The unglazed vessel is dark clay, in a style known as Nanban, named after the imported wares from the south. It is 31 cm (12 inches) tall plus the base, The history of Nanban ware in Japan is connected to the Nanban trade, which was a period of cultural and technological exchange between Japan and Europe. The Nanban trade began in the Sengoku period when Portuguese explorers, merchants, and missionaries established trade routes with Japan. The trade introduced Christianity, matchlock firearms, cannons, and galleon-style shipbuilding to Japan. Pottery was imported from the Philippines, South East Asia, Malaysia and Indonesia, and Taiwan. Lacquerware, Painting and pottery were all influenced by this trade. The term "Nanban art" refers to Japanese art influenced by contact with the Nanban, or "Southern barbarians". This art includes Pottery made in Japan that imitated Nanban containers in such places as Bizen and Ryukyuan Islands, as well as Naeshirogawa ware of Satsuma and Shodai-yaki ware of Kumamoto.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950
item #1500284
(stock #K622)
The Kura
$1,600.00
$1,600.00
An incredible set of 3 sake cups and a small table dripping with gold on the red and black surfaces enclosed in a period wooden storage box which is in turn enclosed in a red lacquered nijubako storage case. The table is absolutely WOW, cranes soaring over rolling waves on a rocky canyon through which water flows under boughs of pine covered in sheets of kiri-gane gold, plum branches glistening with silver blossoms and golden bamboo. The three cups, held in a drawer inside the storage box, are masterpieces of Maki-e, the festive cinnabar covered in built up designs of a golden landscape with silver blossoming plums and soaring cranes mimicking the design of the stand. The stand itself is a 19 cm (7-1/2 inch) cube, while the cups vary concentrically from 10.5 to 13. Cm diameter (just over 34 to just over 5 inches diameter). All is in perfect condition.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950
item #1500374
(stock #K636)
The Kura
$400.00
$400.00
A beautiful lacquered bowl decorated with Plum Pine and Bamboo, the 3 friends of winter. In the center appears to a giant sea turtle supporting a large rock formation referring to the mythical paradisical island home of the immortals. There, the three auspicious plants thrive and promise good fortune—bamboo stalks, pine leaves, and plum flowers. Inside the bowl is simple clack, and it is in excellent condition, measuring 24 cm (9-1/2 inches) diameter, 13 cm (5 inches) tall.
Shochikubai, which translates to "pine, bamboo, and plum," holds deep significance in Japanese literati culture, art, and aesthetics. It originates from Chinese traditions and has been adapted and enriched in Japan over centuries. Each plant in the trio symbolizes specific virtues and qualities, reflecting resilience, perseverance, and beauty: Pine trees remain green year-round, symbolizing unchanging integrity and strength even in the harshest winters. Bamboo bends but does not break, a metaphor for the ability to adapt to challenges without losing one's moral foundation while the hollow center symbolizes humility and openness, qualities valued in literati and spiritual life. Plum blossoms are among the first to bloom in late winter, heralding the arrival of spring. They are a reminder of perseverance and the promise of renewal even during difficult times. The three are often associated with the New Year and other celebratory occasions. They serve as a powerful visual and literary metaphor for enduring values and auspiciousness, making it an enduring theme in Japanese art, literature, and everyday life.
Shochikubai, which translates to "pine, bamboo, and plum," holds deep significance in Japanese literati culture, art, and aesthetics. It originates from Chinese traditions and has been adapted and enriched in Japan over centuries. Each plant in the trio symbolizes specific virtues and qualities, reflecting resilience, perseverance, and beauty: Pine trees remain green year-round, symbolizing unchanging integrity and strength even in the harshest winters. Bamboo bends but does not break, a metaphor for the ability to adapt to challenges without losing one's moral foundation while the hollow center symbolizes humility and openness, qualities valued in literati and spiritual life. Plum blossoms are among the first to bloom in late winter, heralding the arrival of spring. They are a reminder of perseverance and the promise of renewal even during difficult times. The three are often associated with the New Year and other celebratory occasions. They serve as a powerful visual and literary metaphor for enduring values and auspiciousness, making it an enduring theme in Japanese art, literature, and everyday life.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950
item #1500496
(stock #KN005)
The Kura
$250.00
$250.00
A beautiful Natsume Tea Caddy for containing matcha powdered tea decorated with Nobori-kiri and chrysanthemum blossoms enclosed in the original wooden box signed Shunho. It is 7 cm diameter, 7.5 cm (roughly 3 inches) tall and in excellent condition.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950
item #1500519
(stock #K617)
The Kura
$850.00
$850.00
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.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Tea Articles : Pre 1950
item #1500526
(stock #KN027)
The Kura
sold
sold
Birds soar across crackeld pale glaze within the confines of this exquisite bowl outside of which grows a pine along the shore, waves crashing in the distance signed on the base Satsuma Keida. It is 11.5 cm (4-1/2 iches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition. The Keida kiln of Kagoshima city took its name when Keida Narihira received the already established kiln of Seiujima Kumasuke in 1892. He passed way in 1924. Work is held in the Sannomaru Imperial Museum Collection and Miyake Museum of Art among others.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950
item #1500586
(stock #K601)
The Kura
$650.00
$650.00
An exquisite set of lacquered bowls by Inami Tadashi of the Wajima lacquer tradition enclosed in the original compartmentalized signed wooden box. Inside and outside the lids, the mirror black polished surface is decorated in the maki-e tradition using genuine gold and silver powders with various seasonal flowers.
Tadashi Inami (real name: Tadashi Inami) was born in March 1923 in Kanazawa, Ishikawa Prefecture. His family has been known for generations as Kiritsusai, a lineage of lacquer artists, with the founder being renowned for his significant contributions to the development of Wajima lacquerware. At the age of 19, Tadashi entered the Ministry of Education's Craft Technology Training Institute affiliated with the Tokyo School of Fine Arts, where he deeply studied ancient Chinese and Korean ceramics. He learned pottery from Hajime Kato, who developed his unique style with colored porcelain and Kinrande. He studied lacquer art under Kakujiro Yamazaki, known for his colorful lacquer and innovative designs, and further honed his pottery skills with Kenkichi Tomimoto, who, like Hajime Kato, emphasized both artistic originality and mass production. These experiences deeply influenced Tadashi's direction and creativity as a craftsman. After graduating from the institute in 1944, Tadashi began studying Kaga maki-e from his father. In 1946 (Showa 21), he achieved his first acceptance at the 2nd Japan Art Exhibition with his piece "Summer Vine Grass Handbox," and continued to receive various awards. In 1953, he became the director of the Wajima Lacquerware Research Institute in Wajima City. His work has been exhibited in various countries, including the United States, Hawaii, Rome, Canada, Spain, and Belgium, as part of the Japan Contemporary Craft Art Exhibition. In 1975, he traveled to Europe as the Deputy Chief of the Ishikawa Art and Culture Mission, and in 1995, he was appointed as a director of the Japan Art Exhibition. In his mid-80s, he presented the flower vase "Yoyō" at the Hokuriku Craft and Modern Glass Craft Exhibition during the Rome Prize Festival. Sadly, Tadashi passed away in 2011 at the age of 87.
Tadashi Inami (real name: Tadashi Inami) was born in March 1923 in Kanazawa, Ishikawa Prefecture. His family has been known for generations as Kiritsusai, a lineage of lacquer artists, with the founder being renowned for his significant contributions to the development of Wajima lacquerware. At the age of 19, Tadashi entered the Ministry of Education's Craft Technology Training Institute affiliated with the Tokyo School of Fine Arts, where he deeply studied ancient Chinese and Korean ceramics. He learned pottery from Hajime Kato, who developed his unique style with colored porcelain and Kinrande. He studied lacquer art under Kakujiro Yamazaki, known for his colorful lacquer and innovative designs, and further honed his pottery skills with Kenkichi Tomimoto, who, like Hajime Kato, emphasized both artistic originality and mass production. These experiences deeply influenced Tadashi's direction and creativity as a craftsman. After graduating from the institute in 1944, Tadashi began studying Kaga maki-e from his father. In 1946 (Showa 21), he achieved his first acceptance at the 2nd Japan Art Exhibition with his piece "Summer Vine Grass Handbox," and continued to receive various awards. In 1953, he became the director of the Wajima Lacquerware Research Institute in Wajima City. His work has been exhibited in various countries, including the United States, Hawaii, Rome, Canada, Spain, and Belgium, as part of the Japan Contemporary Craft Art Exhibition. In 1975, he traveled to Europe as the Deputy Chief of the Ishikawa Art and Culture Mission, and in 1995, he was appointed as a director of the Japan Art Exhibition. In his mid-80s, he presented the flower vase "Yoyō" at the Hokuriku Craft and Modern Glass Craft Exhibition during the Rome Prize Festival. Sadly, Tadashi passed away in 2011 at the age of 87.
The Kura
$380.00
$380.00
A set of five Fukagawa Yaki pottery plates in the shape of overlapping Hamaguri clam shells. Hamaguri are not only delicious but also hold cultural significance in Japan, often associated with special occasions like weddings and Hinamatsuri (Girls' Day). The large shells were used in a game called Kai-awase, a bit like the card game concentration, where one needed to find the matching shells (A brief explanation below). Each dish is 16 x 11 x 3.5 cm (6-1/4 x 4-1/4 x 1-1/4 inches) and all are in overall fine condition, enclosed in an old age darkened wooden box.
Fukagawa-yaki refers to white-based pottery that was produced in the Choshu Domain (modern day Yamaguchi prefecture). Its history dates back to 1653 when the potter Kurasaki Gorosaemon petitioned to establish an independent kiln in Sannose, Fukagawa Village (present-day Nagato City) and was granted permission. At the time, the production of tea ceramics was not permitted, and records indicate that the kilns mainly produced everyday household wares.
Kai Awase (the game) originated in the Heian period (794–1185) and was a pastime for nobles. It involves a set of Hamaguri clam shells with matching designs painted on the insides. Since the two halves of a clam's shell fit together perfectly, the game requires players to match the correct halves. The painted designs often depict scenes from classical literature, flowers, or other intricate artwork. One half of each clam shell is laid out face-down, while the other halves are kept aside. Players take turns selecting a shell and trying to find its matching half from the scattered pieces. However it was more than just a game; it symbolized harmony and completeness. It was often part of bridal trousseaus, representing the union of a couple.
Fukagawa-yaki refers to white-based pottery that was produced in the Choshu Domain (modern day Yamaguchi prefecture). Its history dates back to 1653 when the potter Kurasaki Gorosaemon petitioned to establish an independent kiln in Sannose, Fukagawa Village (present-day Nagato City) and was granted permission. At the time, the production of tea ceramics was not permitted, and records indicate that the kilns mainly produced everyday household wares.
Kai Awase (the game) originated in the Heian period (794–1185) and was a pastime for nobles. It involves a set of Hamaguri clam shells with matching designs painted on the insides. Since the two halves of a clam's shell fit together perfectly, the game requires players to match the correct halves. The painted designs often depict scenes from classical literature, flowers, or other intricate artwork. One half of each clam shell is laid out face-down, while the other halves are kept aside. Players take turns selecting a shell and trying to find its matching half from the scattered pieces. However it was more than just a game; it symbolized harmony and completeness. It was often part of bridal trousseaus, representing the union of a couple.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Tea Articles : Pre 1950
item #1500613
(stock #KN021)
A beautiful Matcha Tea Container with gold lined Zogei lid in a silk pouch enclosed in a period wood box titled Karatsu Chaire. The yellow tinged green glaze runs down over the rough dark clay, a blossom of black across the shoulder over a dimple in the form. It is 6.5 cm (2-1/2 inches) diameter, 9.5 cm (just less than 4 inches) tall and in excellent condition.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1950
item #1500702
(stock #K644A)
The Kura
$300.00
$300.00
A set of two intricately decorated covered porcelain bowls from the Kutani Kilns of Ishikawa prefecture with Moriage designs of chrysanthemums in raised texture and kinrande gold on red butterflies. They are signed Kutani inside the foot. The large bowl is 11 cm diameter, 8 cm tall, the smaller is 10 cm (4 inches) diameter, 7.5 cm (3 inches) tall and both are 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. .
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics
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. .
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics
A voluminous faceted tsubo covered in iron glaze by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Tetsu Kamekosai Kabin. It is 30 cm (12 inches) diameter, 32.5 cm (13 inches) tall and in excellent condition. This is one of the most unusual pieces I have ever seen by this illustrious potter.
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.
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.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1950
item #1500758
(stock #K643)
The Kura
$595.00
$595.00
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
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
All Items : Vintage Arts : Regional Art : Asian : Japanese : Metalwork : Pre 1950
item #1500783
(stock #KN004)
The Kura
$2,800.00
$2,800.00
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.
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.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1950
item #1500784
(stock #K654)
The Kura
$550.00
$550.00
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
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
The Kura
$395.00
$395.00
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.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950
item #1500820
(stock #K686)
The Kura
$550.00
$550.00
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.
The Kura
sold, thank you
sold, thank you
A glass Bowl by Iwata Toshichi enclosed in the very rare original signed wooden box titled Ryomimitsuki Kajutsumori (Fruit Dish with Two Handles). Inside the box lid is written: For the 2nd Emerging Glass Solo Exhibition Held at Takashimaya in the Early Summer of 1936. It is 28×24 x 8 cm (11 x 9-3/4 x 3 inches) and is in excellent condition. Acquiring a piece by Toshichi with such detail about its past is a decidedly rare opportunity.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emperor for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emperor for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.
The Kura
sold, thank you
sold, thank you
A beautiful early footed bowl of colored glass with sweeping clear glass handles by Iwata Toshichi enclosed in the rare original signed wooden box titled Sango-Iro Garasu Hachi (Coral Colored Glass Bowl). It is 17.5 cm (7 inches) diameter, 14cm tall (5-1/2 inches) tall and in excellent condition, bearing the artist seal in gold on the base.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emperor for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emperor for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Stoneware : Pre 1940
item #1495638
(stock #NA)
The Kura
sold, thank you
sold, thank you
A beautiful Kuro-Raku Chawan decorated with the character Kotobuki (Great Fortune) in red by the 88 year old Hyakuhyaku-okina (Shibakawa Souemon, b. 1853). It is 11 cm (4-1/2 inches) diameter, 7.5 cm (3 inches) tall and in perfect condition, enclosed in an old wooden box.
The Shibakawa family was a prominent merchant family located in Fushimi-machi, Semba, Osaka, since the end of the Edo period. The Shibakawa family’s history dates back to around 1837 when Shinsuke Shibakawa, the grandfather, established a new business, "Mukade-ya," an importer of Western goods in Fushimi-machi, Osaka. During the era of Mataemon (the second generation) in the mid-Meiji period, the family evolved into modern entrepreneurs. In 1886, he closed the Western goods trading business but continued to manage the family’s affairs, focusing primarily on real estate. Around that time, they acquired land in Kotomura (now Kotoen, Nishinomiya City), which was still a cold, rural area with vast rice fields. In 1896, they developed an orchard there called Kotouen. In one corner of this orchard, in 1912, a unique villa with a blend of Japanese and Western architectural styles, designed by Goichi Takeda, was built. Yoshiro (the second Mataemon’s second son, 1883-1970), who inherited the family estate in 1923, reportedly requested that C.J.L. Bates, the president of Kwansei Gakuin, ensure the university was open and without fences around the campus, similar to the University of Washington in Seattle, which he saw during an inspection trip to America. Seeing the potential beyond cultivation at Kotouen, Yoshiro founded Dai Nippon Fruit Juice Co. (now Nikka Whisky) in 1934.
The Shibakawa family was a prominent merchant family located in Fushimi-machi, Semba, Osaka, since the end of the Edo period. The Shibakawa family’s history dates back to around 1837 when Shinsuke Shibakawa, the grandfather, established a new business, "Mukade-ya," an importer of Western goods in Fushimi-machi, Osaka. During the era of Mataemon (the second generation) in the mid-Meiji period, the family evolved into modern entrepreneurs. In 1886, he closed the Western goods trading business but continued to manage the family’s affairs, focusing primarily on real estate. Around that time, they acquired land in Kotomura (now Kotoen, Nishinomiya City), which was still a cold, rural area with vast rice fields. In 1896, they developed an orchard there called Kotouen. In one corner of this orchard, in 1912, a unique villa with a blend of Japanese and Western architectural styles, designed by Goichi Takeda, was built. Yoshiro (the second Mataemon’s second son, 1883-1970), who inherited the family estate in 1923, reportedly requested that C.J.L. Bates, the president of Kwansei Gakuin, ensure the university was open and without fences around the campus, similar to the University of Washington in Seattle, which he saw during an inspection trip to America. Seeing the potential beyond cultivation at Kotouen, Yoshiro founded Dai Nippon Fruit Juice Co. (now Nikka Whisky) in 1934.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1940
item #1498536
(stock #K495B)
The Kura
sold
sold
Two spiraling Tokkuri Sake Flasks in vibrant color by Living National Treasure Tokuda Yasokichi I enclosed in the original signed wooden bos. Each is 8 cm (3 inches) diameter, 15 cm (6 inches9 tall and both are in excellent condition.
Tokuda Yasokichi I (1873-1956) was born into a family of textile dyers in Ishikawa prefecture, but entered the ceramics world under the tutelage of his Brother Matsumoto Sahei, specializing in the Yoshidaya decorative technique of Kutani ware in 1890. In 1922 he received Imperial patronage. He was named one of the first living National Treasures in 1953 (and his grandson, Yasokichi III would also be named such).
Tokuda Yasokichi I (1873-1956) was born into a family of textile dyers in Ishikawa prefecture, but entered the ceramics world under the tutelage of his Brother Matsumoto Sahei, specializing in the Yoshidaya decorative technique of Kutani ware in 1890. In 1922 he received Imperial patronage. He was named one of the first living National Treasures in 1953 (and his grandson, Yasokichi III would also be named such).