Catalog (198)

A quintessential image of a tiny bean-shaped figure lost in thought, perhaps staring out to sea on a sunny hillock before cascading water in lush Spring-green washes by Shirakura Niho enclosed in the original signed wooden box titled Enpokihan (Distant Sails Returning). Ink & Light color on Silk in fresh green extended with beige featuring bone rollers. It is 64 x 143.5 cm (25 x 56-1/2 inches) and is in overall excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A tiny figure sails on the placid lake depicted among exaggerated precipices of this early landscape by Shirakura Niho enclosed in the original signed wooden box titled Shunpu Taito. Ink & Light color on Silk, it is 59 x 130 cm (23-1/4 x 51 inches) and is in overall excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

The ultimate in tranquility, a sage aloft his peak gazing out at the fresh green landscape, one can hear the rush of the falls in the distance, and occasional birdsong on the spring breeze. The painting is by Shirakura Niho and comes enclosed in the original signed wooden box titled Kankyo Chosen (Leisure Life at the Quiet Spring). Ink & Pigment on Silk, it is 54.5 x 134.5 cm (21-1/2 x 53 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A fascinating Jar-shaped set of stacking food boxes known as a Jubako in multi-color dating from the early 20th century. Jubako were used to serve food to groups or family on festive occasions, where the food was presented in the box, and each person would take what they wanted, rather than have the meal served on individual dishes as in more formal Kaiseki meals. Assembled it is 20 cm (8 inches) diameter 32.5 cm (13 inches) tall and is in overall excellent condition.

A glistening incense burner in the shape of a court cap by Eiraku Zengoro enclosed in the original signed wooden box dating from the 19th century. Gold designs gleam on the regal plum surface. It is 15cm×10.5cm,18cm (6 x 4 x 7-1/4 inches) and appears to be in perfect condition.
The Eiraku family is one of Japan’s most important and historically significant lines of pottery artists in Kyoto, tracing back to the 16th century. The skill of Eiraku potters earned the honorific title of Senke-Jissoku, reserved for 10 families of artisans who produce tea ceremony utensils for the san-Senke, or Japanese tea schools. Records and information on early generations of the Nishimura family were destroyed in the Tenmei fire (1788). The name Eiraku began being used by the 11th generation Hozen. Eiraku Zengoro XII (Wazen, 1823-1896) was one of the most influential potters of his time, setting the stage for the revival of and modernization of Kyoyaki, based on models by Koetsu, Kenzan and Ninsei. Although named Sentaro, he was more commonly referred to by the name Zengoro, and used also the name Wazen after 1865. He was trained under his father, Hozen, who was a compatriot of Ninnami Dohachi and Aoki Mokubei, and rightfully one of the most famous potters of the later Edo. Wazen was given the reins to the family business quite early, in 1843, and managed the day to day running of the kiln while his father sought to perfect porcelain products in Kyoto. From 1852 to 1865 the family worked from a kiln at Ninnaji temple. Attracting the attention of a Daimyo from Kaga, from 1866-1870 he worked to revitalize a porcelain kiln in that area, coming to produce classic wares which are prized to this day. During this time of working divided from the family kiln, two workers who had been trained by his father shared the title of the 13th generation leader in Kyoto, however Wazen outlived both by decades. He returned to Kyoto in 1870, and also established a kiln in Mikawa in the 1870s to produce more common tableware. From 1882 until his death, it seems he worked from a large kiln in the Eastern Hills of Kyoto. Under both the 11th and 12 generations of this family the name Zengoro took on a life of its own, and came to symbolize the highest in porcelain and tea wares. XIV (Tokuzaen) was born the first son of Eiraku Wazen, the 12th generation head of the family in 1853. Best known for Aka-e and Gosu, with a strong hand, he died in 1909. Eiraku Myozen (1852-1927) was the wife of Eiraku Tokuzen and was a rarely accepted female potter of the Meiji to Early Showa eras, protecting and propelling the name of Eiraku into a new generation. She guided the family through the volatile years of the late Meiji and Taisho eras, and added a delicate touch to the Eiraku oeuvre. Her work was especially favored by 12th generation head of Omote Senkei Seisai. Pieces by her are held in the Seattle Art Museum and Freer Sackler Gallery among others.

A work so compositionally striking we chose it for the cover of the exhibition catalog by Shirakura Niho titled Baika Shoin Zu (The Plum Blossom Retreat). Pigment on silk in a silk border enclosed in the original signed wooden box. It is 55.5 x 127.5㎝ (21-3/4 x 50 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

This scroll is an excellent example of the early Showa era style of Shirakura Niho centering around 1930 enclosed in the original signed wooden box titled Teishu Sotai. The painting features two persons in a boat contemplating a precipitous waterfall which extends up through the clouds. The phrase Teishu Sotai in old Japanese translates to "meeting of moored boats" in English. It is often used metaphorically to describe a chance encounter or a meeting between two people who happen to be in the same place at the same time, similar to how two boats might meet while anchored or moored. It is 39.5 x 196 cm (15-1/2 x 77 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A peaceful cluster of homes blanketed in snow by Shirakura Niho enclosed in the original signed wooden box titled Kamo Sekkei (Kamo in Snow). This is likely an image from very close to the artists heart, he lived west of the Kamo River in Kyoto, and one can imagine this being one of the bridges spanning that river he has seen out on a winter day. Ink,Gofun & Light color on Silk bordered in light colored cloth. The scroll is 46.5 x 203.5 cm (18-1/4 x 80 inches) and is in overall excellent condition. Niho was from Niigata prefecture, where harsh winters are the norm, and he was well known for his winter imagery.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

Layer upon layer of lacquer has been carved with scrolling designs revealing the depth of the surface in a style known as Guri by Suwa Sozan I enclosed in a wooden box titled Guri Kobon. It is 23 x 33 cm (9 x 13 inches) and in excellent condition, the artist seal inlayed in mother of pearl beneath. The box is annotated by his adopted daughter and heir Torako (Suwa Sozan II).
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A small Raku style Chawan by Suwa Sozan I decorated with a mountain by Daitokuji priest Sohan Gempo (Murasakino Shoun) enclosed in the original signed wooden box. The mountain image in a single dark stroke is accented by fluctuating knife marks in the clay surface like a blowing breeze. The bowl is 12 cm (4-3/4 inches) diameter and in excellent condition. Close in age and having come to the old capitol from other provinces at roughly the same time, these two were long term compatriots in Kyoto. both passed away in the same year.
Sohan Gempo, (1848-1922) was born into a Shinto family, however entered the Buddhist priesthood at the age of 12 at Kogen-ji, Kanazawa. After a brief period at Empukuji in Kyoto, he moved to Yokohama and received inka from Nakahara Nantenbo. It was in 1898 that he would be asked to take over the training facility at Empukuji. After a brief sojourn in China he came back to Japan and was appointed abbot of Daitokuji, one of Kyotos most important Zen temples, where he stayed until his death in 1922. He often signed his works (Murasakino) Shoun. An accomplished poet and calligrapher, for more information on this important priest see The Art of 20th Century Zen by Audrey Yoshiko Seio and Stephen Addiss (2000) or recently published Zenmi—a Taste of Zen: Paintings, Calligraphy, and Ceramics from the Riva Lee Asbell Collection.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

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

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

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

A large table made of layers of lacquer carved through to reveal the various colors by Suwa Sozan I enclosed in the original signed wooden box titled Guri Joku and bearing the Teishitsu Gigei-in Seal of the Imperial Art Academy. It is 65 x 40.5 x 20 cm (25-1/2 x 16 x 8 inches) and is in excellent condition. The artists seal is expertly incised into the back of one ball shaped foot.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

Were one to describe THE piece which epitomizes the vase aesthetic of Suwa Sozan I, it would be this epochal Red Fish design flaring celadon bottle. This is a superlative example, exquisite detail and come enclosed in the original signed wooden box. It is 29.5 cm (11-1/2 inches) tall and in excellent condition.
Suwa Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

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

An exceptional Oki-goro Incense Burner in the shape of a dark glazed Catfish by Suwa Sozan I enclosed in the original signed wooden box titled Namazu Koro dated the 6th month of Taisho 10 (1921). This would have been placed over a dish in which a burning incense cone would have been placed. It is 48 cm (18-1/2 inches) long, 23 cm (9 inches) tall and appears in excellent condition. A blacklight reveals a color repair at the base of the tail and at the position where the dorsal fin rises from the back. A similar figure can be seen in the rare 1923 book Sozan no Toki.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

An exquisite porcelain vase decorated with a delicate depiction in over-glaze enamel of plum and bamboo by Suwa Sozan I enclosed in the original signed wooden box titled Gosai Bichiku-e Kabin (Vase with Plum and Bamboo in Five-Color Glaze). A rare work reflecting his roots in Kutani ware. It is 29.5 cm (11-1/2 inches) tall and in excellent condition.
Suwa Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

One of the most unusual pieces I have ever seen from this innovative artist, an octopus shaped Koro by Suwa Sozan I enclosed in the original signed wooden box bearing the Teishitsu Gigei-in seal of the Imperial Art Academy. The bulbous top of the head is removable along a line as if the creature were wearing a hachimaki head band, revealing the incense chamber within. It is 26.5 cm (10-1/2 inches) tall, 19.5 cm (roughly 8 inches) diameter and in excellent condition.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

An exquisite dark bronze image of the deity Benzaiten playing a four stringed lute known as a Biwa signed in a cartouche inset into the base and dating from the early 20th century (Later Meiji to taisho period). The figure is 20 x 16 x 18 cm (8 x 6 x 7 inches) and is in excellent condition.
Benzaiten (or Benten) is the Japanese embodiment of Saraswati, the hindu god of the arts. Benzaiten is depicted a number of ways in Japanese art. She is often depicted holding a biwa (a traditional Japanese lute) similar to how Saraswati is depicted with a veena in Indian art In medieval Japan, Benzaiten came to be associated with a number of Buddhist and local deities, which include the goddess Kisshōten (the Buddhist version of the Hindu Lakshmi), the snake god Ugajin (thus Benzaiten is sometimes depicted with a snake) and the kami Ichikishimahime. Apart from being a patron of music and the arts, she was also worshiped as one of the Seven Gods of Fortune (Shichifukujin).

A beautifuly formed iron sake kettle known as a Choshi with a solid silver lid and featuring sliver inlay designs on the handle enclosed in an age darkened kiri-wood bos titled Tetsu Choshi Jungin-futa. It is 8 cm (just over 3 inches) diameter, 16 cm (6 inches) to the top of the handle, and is in excellent condition.

An iconic work with dynamic floral pattern in pale white on pink by Kiyomizu Rokubei V enclosed in the original signed wooden box titled Taireiji Ichirinsashi. It is 19.5 cm (7-3/4 inches) tall and in excellent condition. The vase retains the original wood stand and stamped cloth pouch. Undeniably Taireiji was the most important development by this innovative artist, and pieces are exceedingly rare.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the The National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

A shop sign carved from a block of knotted wood in the shape of a tea leaf jar engraved on both sides with the character Cha (Tea) originally gilded which still reflects light from the correct angle. A large knot making up one shoulder has split apart in the center, while the outside edge remains intact. A perfect example of the Japanese aesthetic of wabisabi. It is 32 x 3 x 32.5 cm (roughly 13 x 1 x 13 inches). The sign has been restored at some time in the past, the green and black pigments freshened up at the time.

A bronze crane in dark almond colored patina of superb craftsmanship dating from the late 19th to early 20th century (Meiji period). It is quite large at 48.5 cm tall (19 inches) and is in excellent condition.

A striking Peacock feather colored flambe glazed vase by Leading Kyoto Potter Uno Ninmatsu enclosed in a signed wooden box dated the 10th month of Showa 5 (October 1930). It is 28 cm tall and in excellent condition.
Uno Ninmatsu (1864-1937) was born in Kyoto son of potter Wada Sohei and studied under his father as well as from a young age Seifu Yohei II then future Imperial Art Academy artist Seifu Yohei III until setting up his own studio at the age of 21. Outgoing by comparison to the normal Kyoto ideal, he promoted Kyoto art and culture and actively sought to invigorate the export market (then dominated by Tokyo and Yokohama). He won a bronze medal at the Paris world exposition in 1901, and gold medal at the St. Louis Exposition in 1904, Belgium in 1905 and Milan the following year. Unlike other potters in Kyoto at this time, he did not overly decorate his works, but concentrated on matte glazes and form in austere glaze techniques. This proved very popular, and from the turn of the century his works were highly sought in the United States. He also worked closely with designers in France, where many of his works were exported. Following the first world war, he retired to the domestic market. He was deeply involved in silk road pottery research and mastered Shinsha (flambe glazes) as well as Turkish Blue and other styles not yet produced at that time in Kyoto. He was father and mentor to Uno Soyo and Uno Sango, and served as mentor to the young Isamu Noguchi.

The androgynous Kannon sits in meditation under climbing rocks and tumbling waves deeply carved into the side of this bamboo incense container dating from the early 20th century (late Meiji to Taisho period). It is 34 cm long (13-1/2 inches) long and in excellent condition, a superb example of the genre. This would have been used to hold incense sticks.

An ornate porcelain image of a horse draped in full regalia by Miyanaga Tozan I enclosed in the original signed wooden box. The detail about the head is fabulous, and the artist has done an excellent job capturing the musculature of the creature while allowing something ethereal. In Japan horses (and cows and foxes and deer and lots of other creatures) are often enshrined as messengers or embodiments of the gods in Shinto. This is 21 x 9 x 23.5 cm (9-1/4 inches) tall and in excellent condition.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo.

A black bird sporting a tufted beak shelters among the thick foliage of fresh bamboo by the easily identifiable and quite rare artist Sakakibara Shiho performed with pigment on silk in the original signed double wood box titled Mosochiku Hakkacho (Crested Myna Bird in Moso Bamboo), a favorite motif by the artist dating from the Taisho period. It is bordered in fine pattered silk threaded with gold and is appointed with solid ivory rollers (these will be changed if exporting). A major work, the scroll is 55.5 x 222.5 cm (inches) and in overall fine condition.
Sakakibara Shiho (1887 – 1971) was born in Kyoto and studied traditional Japanese painting at the Kyoto City School of Arts and Crafts, graduating in 1907, then moved on to the Kyoto Municipal School of Painting (mod University of Art). While at the school, his works were accepted (1909) and awarded (1911) into the Bunten National Exhibition. He graduated there in 1913. With his radical style garnering disapproval in official circles, in 1918, along with Tsuchida Bakusen, Irie Hakko, Ono Chikkyo and Murakami Kagaku founded the Kokuga Sosaku Kyokai. The organization changed its name to the Kokugakai in 1928, the same year Shiho took a position at his alma mater where he was awarded a professorship in 1937. He was awarded for his life’s work by the Nihon Geijutsu-in (Japan Art Academy) in 1962. Happily, the Kokuga-kai has outlived its founders, and is still exhibiting annually to this day. Works are held in the collections of the Seattle Art Museum, The Kyoto National Museum of Modern Art, the Adachi Museum as well as the Otani memorial Art Museum among others.

A magnificent set of five wooden bowls lacquered red with a net design enclosed in the original wooden box titled Shu-nuri Amime Hashiaraiwan dating from the first half of the 20th century. Excluding the lid each is 7.5 cm (3 inches) tall, roughly the same diameter at the rim, and all are in excellent condition. Repeated use of lacquer tends to see the black acquire a brown tinge. These remain jet black, and it is likely they have been virtually unused for the better part of a century.
Hashiaraiwan (also called Hitokuchiwan) are used after the first four courses in Kaiseki food to clear the pallet, ordinarily a thin soup or something light. The literal meaning is washing the chopsticks bowl.

An amazing small wooden figure covered in with glass eyes made in the hyper-real likeness of a Rakugo-shi Comic storyteller, dressed I traditional Hakama trousers and seated on a large cushion clutching a fan in his right hand. It is 19 cm (7-1/2 inches) tall, while the cushion upon which he sits is 19.5 x 15.5 cm (just under 8 x 6 inches) and the figure is in excellent condition. There is what appears to be a signature on the bottom; Ta?Saku. This caring is very much in the audacious style of early works by artist Hirakushi Denchu, (b. 1872) and likely dates from the first quarter of the 20th century, although could go back into the final years of the 19th.
According to Wikipedia: Rakugo (literally 'story with a fall) is a form of Japanese verbal entertainment, traditionally performed in small theatres. The lone storyteller sits on a raised platform, a kōza using only a paper fan and a small cloth as props, and without standing up from the seiza sitting position, the rakugo artist depicts a long and complicated comical (or sometimes sentimental) story. The story always involves the dialogue of two or more characters. The difference between the characters is depicted only through change in pitch, tone, and a slight turn of the head.

A carved lacquer box which pays homage to Chinese literary taste while presenting itself clearly in a modern, Japanese way (for turn of the century lacquerware at least) by 2nd generation lacquer artist Ishii Yusuke enclosed in the original signed wooden box. The tsuishu lacquer technique requires applying layer upon layer of lacquer which is then carved through and polished, a painstaking process. This piece is exquisitely crafted, carved and polished revealing the many layers of lacquer, it is 13.5 x 10.5 x 5.5 cm (5-1/2 x 4 x 2 inches) and is in excellent condition. On bottom in a bell-shaped gold cartouche are the characters Yusuke. According to the box it was held in the collection of the Kuriyama Sodo, home of Ishizaka Sennosuke who was a member of the governing assembly of Toyama prefecture.
Ishii Yusuke (1851-1925) was born the second son of the lacquer artist Ishii Yusuke (different characters, 1810-1886) in the waning years of the Edo period. After learning from his father, he became independent, establishing a second branch family in the Yusuke Lacquer Tradition. The first Yusuke Ishii Founded Yusuke lacquerware and created Chinese-style lacquerware in Takaoka, Toyama Prefecture. He pioneered rust painting and gold leaf techniques to express Chinese-style paintings of flowers, birds, and landscapes three-dimensionally on ancient vermilion or matte lacquer. Later, the eldest son succeeded as Yusuke II

A sage, strikes a forever pose as he stares into the distance, robes billowing in the wind, contemplating the troubles of lesser beings, a fan clutched behind. This is a beautiful bronze sculpture dating from early 20th century Japan paying homage to the literati and Confucian traditions which formed the basis of Japanese ideology at the time. It is signed Kiyoshi with an engraved signature on the hem of his robes. The figure stands 39 cm (15-1/2 inches) tall and is in excellent condition.

A beautifully turned bowl lacquered burnt orange-red over a black foot dating from the late 19th to early 20th century enclosed in an old kiri wood box titled Negoro-nuri Kashiki followed by a signature. The faintest brush strokes in perfect lines swirl around the outside, and cross the bowl inside. The bowl itself is also signed in red on the base. It is 18 cm (7 inches) diameter and in excellent condition.

A beautiful black Raku bowl with golden lightning splitting across the surface like an eruption of light in the night sky. It is roughly 12 cm (4-3/4 inches) diameter and in excellent condition. An exquisite repair.
Kintsugi embodies 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.

The title does not lie, this is one against which all others might be measured. A celebratory sake set consisting of three cups and a stand enclosed in their original lacquered wooden boxes. The cups are over the top, decorated with plum pine and bamboo in taka-maki-e gold over red replete with bits of kirigane gold and ke-uchi details. The cups are equally gorgeous on top and bottom, the design extending even inside the foot ring. Roundels of the same designs are built up in gold and lacquer maki-e on the black lacquered stand, the inside of which is covered in Togidashi Nashiji. Along the edge of the stand are carefully placed bits of gold in a technique known as oki-hirame. The stand is 17 x 17 x 14.2 cm (6-3/4 x 6-3/4 x 5-1/2 inches). The cups are 9.8 cm (4 inches) 11.2 cm (4-1/2 inches) and 12.7 cm (5 inches) diameter respectively, and all are in excellent condition.

A splendid set of five Chataku Tea Cup Saucers of turned wood decorated in ridiculously thick lacquer floral decoration by Ikkokusai enclosed in a fine wooden box signed by the artist and dated Meiji 39 (1906). Accompanying is a note stating the set was received as a gift upon visiting the Naganuma Ryokan during a trip to Hiroshima in the fifth month of Meiji 43, accompanied by the name Kayanomiyasama. Kaya-no-miya were a collateral branch of the Japanese Imperial family. There is a photograph in the collection of the Hiroshima Peace Museum commemorating an Imperial visit (meeting school children) dated the fifth month of Meiji 43 taken in front of the Naganuma Ryokan. Each Chataku is 13.5 x 11 cm (5-1/4 x 4-1/4 inches) and all are in excellent condition, each uniquely signed on the base.
Ikkokusai I (1777-1852) was born in Ise, Mie prefecture, and was trained in the lacquer arts in Osaka. His talent was recognized and in 1811 he was taken as an official artist of the Tokugawa Clan, relatives of the Shogun and Feudal lords of Owari near present day Nagoya. All three of his sons would take the name Ikkokusai, His first son, (true name Nakamura Yoshiyuki), would settle in Osaka, and works he made were presented at the first National Industrial Art Exhibition (Naikoku Sangyo Hakurankai) in the early Meiji period. The third son (Sawagi Tsunesuke, 1822-1875) would remain and work in Nagoya until his death. The second son (Nakamura Issaku) would leave the Owari province to further his studies, traveling throughout Japan and developing the Takamorie technique of built up layers of lacquer creating nearly 3-dimensional works. He would become the carrier of the name, and after a sojourn in Hagi (Choshu), moved to Hiroshima in 1843 where he would pass on his techniques and experience to Kinoshita Kentaro (1829-1915). It was Kentaro who would officially become the third head of the family and who brought the name to the fore with his dedication to Takamorie lacquering. Kinjo Ikkokusai IV (1876-1961) continued to develop the method with new materials and designs. The family is currently under the 7th generation (b. 1965) who was named an important cultural property of Hiroshima Prefecture in 2011.

A Taisho period Lacquer writing box of superb quality decorated with a design of a stone lantern under broad leaves enclosed in an age darkened kiri-wood box. The scene is performed with Thick slices of shell and lead inlay on black Ro-iro ground with Taka-maki-e and Hira-maki-e designs. Inside is finished in Kin-gin (gold and silver) Nashiji. It contains two ink stones, a solid silver water dropper and Silver lidded box, as well as the original brushes, hole punch and paper knife all in matching Nashiji finish. The box is 38.5 x 15 x 5.5 cm (15 x x 2 inches) and is in excellent condition.
The Rimpa revival of the early 20th century emphasized visual splendor, decorative patterns, and harmonious compositions reflecting nostalgia for the past. However, it was not a strict replication of the past. Artists involved in this movement integrated modern techniques and materials into their work, allowing for a fusion of traditional aesthetics with contemporary artistic practices. This approach enabled artists to create innovative interpretations of the Rimpa style that resonated with the changing times.

A Ko-Seto-yu Chaire Tea Container by Teishitsu Gigei-in Suwa Sozan I wrapped in a chord bound silk pouch enclosed in the original signed wooden box tied with deer leather, the box bearing the seal of the Imperial Art Academy. It is 5 cm (2 inches) tall and is in perfect condition.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A fabulous set of five wooden Kashizra sweets dishes cut from worm eaten hardwood, enclosed in an age darkened wooden box titled Keyaki Meme Chinmoku Kashiki. The title identifies the wood as Keyaki, or Zelkova, a member of the elm family. It is a highly prized hardwood in Japan and has a beautiful undulating grain.. Each dish is 13.5 cm (5-1\4 inches) diameter and all are in excellent condition. One plate has a water ring, as they were likely used as tea cup saucers for sencha steeped tea.

Bats, symbol of good fortune, flit over the sunset surface of this Ki-seto vase by Kato Sakusuke enclosed in the original signed wooden box titled Kiseto Kabin. An inscription inside begins Fukuju ? Zu (Lucky ? Image) and appears to be dated 1919 in the 60 year cyclical Zodiac calendar (possibly 1859). This is followed by the signature of a painter who also signed and dated the vase, indicating Sakusuke made the vase, while another artist provided the decoration. It is 31 cm (12 inches) tall and in excellent condition, retaining the original cloth pouch.
Kato Sakusuke I (Sakube, 1808-1893) was born into a family of potters in Owari (mod. Aichi Prefecture). He took over the family business as Kato Kagekiyo and was known for producing both Japanese and Western ceramics for daily use such as sake sets and tea sets. He took the name Sakusuke in his later years. He was succeeded by his son. Kato Sakusuke II (Keizaburo, 1844-1923). He was an avid collector of ancient pottery and devoted himself to researching its shape and techniques. At first he fired porcelain, but later he turned to his main occupation and skillfully copied old pottery such as Furu-seto (old seto ware), Kizeto, Oribe, Shino, Ofukai, and Mishima. He became a master craftsman of the Meiji era with a technique as good as that of his father Kagekiyo.

An exquisite lacquered box covered in gold powder prominently bearing the imperial crest given as a gift to Baron Nakamura Satoru in Meiji 44 (1911). According to the inside of the lid this box was created for the Meiji emperor and given in gratitude to the Baron for his support in creating the Keanfu memorial for fallen soldiers of the Russo-Japanese war. The box is an exquisite example of Imperial splendor featuring leaves tinged with kiri-gane gold inlay over powdered gold on a surface dusted with gold and blue-gold powder. It is 20.5 x 24.5 x 13.5 cm (10 x 8 x 5-1/2 inches) and in perfect condition.
Baron Nakamura Satoru (18 March 1854 – 29 January 1925) was a career soldier in the early Imperial Japanese Army, serving during the Russo-Japanese War, and was an aide-de-camp to Emperor Taishō. He was born the second son of a samurai of Hikone (present-day Shiga Prefecture). Joining the fledgling Imperial Japanese Army in July 1871, he was promoted to corporal in November 1873. After attending the Imperial Army Academy, he was commissioned second lieutenant in November 1874. He fought as an officer in the 2nd Brigade during the Satsuma Rebellion of 1877 then was assigned to the Imperial Army General Staff Office from March 1879. After promotion to Major he became a battalion commander with the 10th Infantry Regiment. He served as an instructor at the Army Staff College from December 1889. Nakamura was appointed aide-de-camp to the Crown Prince (the future Emperor Taishō) in December 1891, and promoted to lieutenant colonel in September 1892. During the First Sino-Japanese War, he served as Aide-de-camp to the Emperor of Japan from the end of October 1894 and was promoted to colonel in December of the same year. In April 1897, he was given command of the 46th Infantry Regiment, which served as a garrison force in Taiwan. He was promoted to major general in September 1899. From April 1900, he was chief-of-staff of the military bureau of the Governor-General of Taiwan. In March 1902, Nakamura was assigned command of the 2nd Brigade, which deployed to Manchuria in March 1904 as part of the Japanese Third Army at the start of the Russo-Japanese War. The unit served with distinction during the Battle of Nanshan. During the Siege of Port Arthur Nakamura led a force named the Shirodasukitai, after the distinctive white tasuki used for visibility and identification in the darkness of a pre-dawn attack. The Shirodasukitai assaulted the Russian fortifications three times, taking great casualties. Nakamura was himself wounded during the assault on the night of 26 November 1904, during which most of his 4,500 man unit was annihilated with no significant result.
He continued in command positions and in September 1907, he was made a baron (danshaku) in the kazoku peerage system. At the end of December 1908, he was once again Aide-de-camp to the Emperor of Japan. In September 1914, he served as resident-general of the Kwantung Leased Territory.　In January 1915, he was promoted to full general. During World War I he was appointed to sit the Supreme War Council in 1917. On his death, he was posthumously awarded the Grand Cordon of the Order of the Rising Sun, Gold Rays.

A spectacular Meiji to Taisho period Golden box decorated with a spray of flowers under an imperial Chrysanthemum. The interior and bottom are elegant Nashiji, and the border between box and lid is protected by a solid silver rim. Kirigane cut gold flakes decorate the raised leaves. It comes enclosed in a custom made kiri-wood storage box. The gilded receptacle is 30 x 24.5 x 14 cm (12 x 9-3/4 x 5-1/2 inches) and it is in excellent condition.

A beautifully cast bronze dragon waterspout from an ancient Japanese garden in Nara prefecture made to rise over the edge of a water basin, the water trickling out through his mouth. It retains the original bronze pipe and connector, overall, in excellent original condition. The dragon itself is roughly 25 x 13 x 20 cm tall (10 x 5 x 8 inches) and weighs 3.9 kg (8.5 pounds). Including the pipe roughly 50 cm long.

A set of five Mokko-gata (elongated-lobed) kashi-zara wood dishes, each uniquely decorated with seasonal flora in raised lacquer with mother of pearl and lead inlay enclosed in an older wooden storage box. The artist has made excellent use of the natural wood grain, allowing it to fomr a backdrop like bushes and garden stones for the subdued tones of gold, silver and shimmering mother of pearl. Each dish is 18.5 x 14 cm (7-1/4 x 5-3/4 inches) and all are in excellent condition, dating from the early 20th century.

Gohon crackled pale glaze covers this Tenmoku shaped Chawan decorated with a blossoming plum harbinger of Spring, signed Sozan followed by a long verse in dramatic calligraphy. It is 12 cm (5 inches) diameter and in excellent condition, enclosed in the original signed wooden box.
Suwa Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy. Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However, unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A handle surmounts the peak of this beautifully rendered vase by Myagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Seiji-yu Sometsuke Te-oke-gata Kabin (Celadon Handled Bucket Shaped Vase with Blue and White Design). It is 16 cm (6 inches) diameter, 32.5 cm (13 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 set of three Chin puppies by Miyagwa (Makuzu) Kozan II published in the book Miyagawa Kozan and the World of Makuzu Ware (Yokohama Museum of Art, 2001) page 144, figure 174. They are roughly 5 x 10 cm (2 x 4 inches) and in excellent condition. They come enclosed in the original signed wooden box.
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 very large porcelain basin decorated with gold and red fish among green, gold and red flora by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Gosu-Aka-e Sakana no Zu Hira Bachi. Inside the box bears the Teishitsu Gigein seal, followed by an annotation denoting the artist age at 75 years old. After a long verse which also appears to be by the hand of Kozan it is dated 5th day, 5th month of Taisho 6 (1917). It is 38 cm (15 inches) 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 (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 magnificent stand of root wood writhing upward to a flattened cluster, a perfect example of the Japanese esteem for things natural enclosed in a period custom made wooden storage box. It is 48 cm (19 inches) tall and in overall excellent condition. Perfect for elevating a koro incense burner or tiny bonsai.
The aesthetic of the scholar studio is embodied in an acute appreciation for representations of the natural world in any form; from the subject of a painting in the alcove to the texture of the wood on the desk and the colors or deformities in the bamboo brush hanging from a piece of natural wood.
A profound influence from China, through the practice of Chinese style steeped tea (Sencha) and glorification of the Literati ideal of the Ming is part of the dual basis of Japans Scholar tradition. Equally important is an understanding and appreciation of natural degradation and the fleeting nature of existence espoused in the ideal of wabi-sabi and the world of Japanese Powdered Tea (Maccha). Behind both these concepts lies a basis in Zen (Chan) Buddhist precepts and Taoist/Confucianist Philosophy.
Stone. Wood. Earth. Grain. Texture. Form. All natural, imperfect, transient and unique.

A beautiful ivory white vase in the shape of a handled-wooden-bucket, the outside wrapped with woven bamboo forming an outer bamboo basket shell, with the handle wrapped in bamboo rope. It is 42 cm (16 inches) tall and in excellent condition, enclosed in an age darkened wooden box titled Tobe-yaki Kabin signed by the maker. Inside the lid is an inscription stating the vase was received as a gift on the 6th day of the 11th month of Taisho 8 (1919).
Tobe-yaki originated in 1777 when Katō Yasutoki, 9th lord of the Ōzu Domain (1769–1787), started hiring potters from Hizen for production of white porcelain (hakuji). The area was long known for production of fine whetstones, and as the amount of whetstone deposits dried up, the waste was powdered for the making of pottery. During the Edo period (1603-1868), Tobe ware developed independently since there was limited information from other competing domains. After the abolition of the feudal system and the establishment of prefectures in 1871 it became possible to import technology from famous production areas such as Karatsu and Seto which led Tobe ware to expand rapidly. As technology started to make mass production possible, Tobe ware expanded its market into Southeast Asia. Then during the Taisho period (1912-1926) and Showa period (1926-1988), porcelain producing areas such as Seto increased their production volume by adopting modern technology like mechanical potter's wheels, leading the handicraft Tobe ware to stagnate. However, Yanagi Soetsu (1889-1961), one of the founders of the Mingei movement lauded its high quality technique, ensuring the tradition continue.

Bonji Sanskrit characters pierce the lotus finialed lid of this large antique bronze incense burner. The vajra-like finial topped in the shape of a lotus flower is hollow, the lotus seed pod pierced with holes to allow the smoke to escape like a chimney. This is also removable, slotting in to the incense burner, and turned to lock it in place. Inside the lid is stained and shiny from years of incense soot built up. It is 35.5 cm (14 inches) tall, 18 cm (7 inches) diameter and in overall excellent condition (a bit dusty in the photos as found).

Pink and blue iris blossom among the green promise of Spring promised on this elegant vase by Miyagawa (Makuzu) Kozan enclosed in a wooden box annotated by the current head of the Makuzu Family in Kyoto, Makuzu Kosai. It is titled Yukasai Shobu no zu Kabin. It is 30.7 cm (12 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 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 very rare early work by Shirakura Niho dating from the mid Taisho period clearly showing his early watercolor training under Ishii Hakutei signed with his first art name, Kinro. Light color on silk framed in patterned silk extended with classic beige and terminating in red lacquered wooden rollers. It is 45.5 x 107.5 cm (18 x 42-1/2 inches) and is in overall excellent original condition, enclosed in a modern wooden storage box.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

Gold dragons prance about the vermillion surface of this exquisite vessel by important Meiji potter Eiraku Zengoro XIV (Tokuzen) enclosed in the original signed wooden box which is in turn enclosed in an outer box also annotated by a later generation Eiraku. Remembered specifically for his mastery of Aka-e Kinsai ware, this is a museum worthy example of this important potters work. It is 43 cm (17 inches) tall and in excellent condition.
Eiraku Tokuzen (Eiraku Zengoro XIV, 1853-1909) was born the first son of the 12th generation Eiraku Wazen He was named the 14th Zengoro at the age of 18 in 1871. This was only a couple years after the Fall of the Shogunate and restoration of the Meiji emperor, a hard time for potters specializing in Tea ware, which was experiencing a backlash as did many things associated with what had been traditional societal ranking and privilege. However Tokuzen worked hard to both maintain ties with the tea world, while making efforts to embrace a global audience. In 1873 Eiraku wares were exhibited at the Vienna World Exposition, and in 1876, Philadelphia, then Paris in 1878. At the same time new approaches to pottery pioneered by Eiraku were exhibited at the 1875 Kyoto Hakurankai in the cultural heartland of Japan. In 1882 he opened in a new Kiln in the Eastern hills called the Kikutani Kiln (Valley of Chrysanthemum) specializing in high end tea ware for both Maccha and Sencha teas, while expanding into daily wares for the growing middle class.

Gold gleams on the dragon shaped prow of this boat shaped object in the style of Kyoto’s Ninsei ware. The house on top is meant to be filled with ash and serves as an incense burner. Removed it reveals a glazed compartment in which flowers can be placed, allowing the versatile object to be not only a display on its own, but also to act as a vase and or incense burner. It is 41 x 16 x 25 cm (16-1/2 x 6 x 10 inches) and is in excellent condition, enclosed in an ancient wooden storage box dating from the 19th to opening years of the 20th century.

A beautifully sculpted incense burner in the shape of a nesting crane dating from the 19th to opening of the 20th century, Late Edo to Meiji period). It comes enclosed in an age darkened kiri-wood collectors box. It is 12.5 x 24 x 16 cm (5 x 9-1/2 x 6 inches). Although not altogether clear there appears to be a possible old repair to the back of the head.

Scrolling characters are inscribed into the side of this hand formed elongated basin by Otagaki Rengetsu enclosed in the original signed wooden box titled Hissen Chawan (Brush washer shaped Tea bowl). The poem reads:
Shigayama ya On Mount Shiga...
hana no shirayuki flowers like white snow
harahara to flutter down
furuki miyako no in the ancient capital
haru zo kure yuku. Spring is fading
The bowl is 17 x 12 x 7 cm (6-1/2 x 4-3/4 x 2-3/4 inches) and is in excellent condition.
Otagaki Rengetsu was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However, this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

A long verse is incised into the side of this tea bowl by Otagaki Rengetsu. The poem reads:
Yorozuyo mo 10,000 ages
tae nu nagare to enduring the surge
shimetsu ran so well
sono kame no o no From Turtle Tail Mountain
yama no shitamizu. The water flows
The bowl is 12.2 cm (5 inches) diameter and in perfect condition. It comes wrapped in a silk cloth pouch, enclosed in an old box with original lid inside of which is a long verse. It has been appraised by the head priest of Jinkoin Tokuda Koen on a separate newer lid titled Rengetsu Ro-ni saku Chawan.
Otagaki Rengetsu was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However, this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

Tiny repairs of gold glint along the rim of this misshapen wan-gata bowl from the Utsutsukawa tradition of Nagasaki. The bowl comes with a silk pouch enclosed in an old wooden box. There is a kutsuki on one side, where it adhered to something else in the kiln. The bowl is 12 x 10.5 x 6.5 cm (4-3/4 x 4-1/8 x 2-1/2 inches) and is in overall fine condition, dating from the 19th century.
Utsutsukawa-yaki originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon opened a kiln around 1690. It is characterized by brown orange clay with a heavy iron content and was most often decorated with Brush strokes in white slip. Although at one time it was called the Ninsei of the West, the manufacture lasted only about 50 years due to the financial aspect of the clan, and it disappeared until the Meiji period, when there was an attempted revival, but that too failed to last. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

A rare stacking Bento (picnic) box in the shape of a tea leaf storage jar decorated in a realistic fashion with black, silver and gold maki-e lacquer. It consists of four pieces, stacked they are 28 cm (11 inches) tall, and all are in excellent condition.