Catalog (86)

A wide flaring bowl of delicate celadon with raised floral motifs by Imperail Artist Suwa Sozan I enclosed in the original signed wooden box titled Seiji Chawan and bearing the Teishitsu Gigei-in seal of the Imperial Art Academy. It is 16 cm (6-1/4 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.

A beautifully sculpted wooden tray covered in black lacquer carved in the Kamakura Bori tradition from the Hakkodo Studio enclosed in the original signed wooden box titled Kamakura Bori Kashi Bachi Hana Karakusa (Kamakura Carved Vessel with Scrolling Flower Design). It is 36.5 x 26.5 x 5.5 cm (14-1/2 x 10-1/2 x 2 inches) and is in excellent condition.
In the 12th-13th centuries, when Kamakura prospered as the samurai capital, Zen Buddhism was introduced from China, and many Zen temples were built, including Kamakura Gozan. The architectural style of these temples was modeled after the Tang style of China and he interior decoration, furniture, and Buddhist altar fittings were similarly Tang style. Along with Zen. celadons, bronze vases, Tsuishu and other cultural objects were brought from China. Tsuishu is a vessel formed only with layers of lacquer, and a pattern is carved on the surface. A very time-consuming process, these usually small articles were highly valued. Wood-carved lacquered incense cases imitating this were made by carving a vessel of wood and applying lacquer to finish it. This is believed to be the beginning of Kamakura-bori, and it is accepted that it was made by a Buddhist sculptors for temples. In the Momoyama period, the design and carving became dynamic and deep moving away from imitation to an art form of its own. In the Edo period, we can see a growth in production, with even everyday items such as tea utensils and braziers being produced, as well as larger secular works such as trays and even small furnishings. Around this time, the name 'Kamakura-bori' began to appear in books dealing with tea utensils. The Goto family, the current head of Hakkodo, descended from the Kei school of Buddhist sculptors who came from Nara to create Buddhist statues for Zen Buddhist temples. Due to the Meiji government's edict to abolish Buddhism, they moved to revive and reinvent the Meiji Kamakura-bori. From the Meiji through the Taisho and into the Showa era, new techniques were developed and established as a field of crafts. After the war, Kamayama Mitsuhashi and Shuntaro Goto formed an association, and in 1977, Kamakura Bori was designated a traditional craft.

The Rooster sits comfortably atop a celadon ball forming this incense container by Suwa Sozan II enclosed in the original signed wooden box dating from 1933. It is 6.5 cm (2-1/2 inches) tall and in excellent condition. An example of this piece is published in the rare 1971 book Suwa Sozan Sakuhin Shu page 89.
Suwa Sozan (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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

An iron dragon decorates the hoju jewel shaped lid of this pottery incense box by Suwa Sozan II enclosed in the original signed wooden box. It is 5.5 cm (2 inches) diameter and in excellent condition.
Suwa Sozan (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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

Tiny fish swim in the distance upwards through celadon waters on this large vase by Suwa Sozan II enclosed in the original signed wooden box titled Seiji Kogyo Kabin (Celadon Vase with Red Fish). It is 36 cm (14 inches) tall and in excellent condition. It retains the original rosewood stand enclosed in a separate compartment in the box.
Suwa Sozan (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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

A solitary thatched hermitage rises on the top of this stony crag set onto a beautifully carved and signed rosewood stand. Together they are 7.5 x 11.5 x 13 cm (3 x 4-1/2 x 5 inches) and in excellent condition. The box is titled Yasegawa-ishi, inside signed Seicho and dated a fortunate day in the second month of 1936.

Toast the new years with this solid silver sake set made for celebrations. 3 solid silver cups, as well as a beautifully shaped silver sake kettle with lid, each piece bearing the jun-gin (Pure or 100 percent silver) mark. They come enclosed in a wooden box titled Jungin-sei Shuki (Solid Silver Sake Set). The kettle is 13 cm diameter, 18 cm wide at the spout. The largest cup is 12 cm (4-3/4 inches) diameter. In total the set weighs 757 grams, or 1.65 pounds of pure silver!

A dynamic early porcelain work in vivid color by Kiyomizu Rokubei VI enclosed in the original signed wooden box titled Futatsuki Kajutu Mon Kashiki (Sweets dish decorated with fruit) bearing his real name, indicating it predates his taking the name Rokubei in 1945. The box bears the seal of the Hattori Tokeiten, purveyors of fine art in Pre-war Japan. The porcelain is 19.7 cm (8 inches) diameter and in excellent condition, signed on the bottom.
The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district throughout the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei IV. Rokubei V led the kiln into the 20th century, and his son, Rokubei VI (1901-1980), would assume lead in 1945, taking the kiln through the tumultuous years after the Second World War. He graduated the Kyoto Municipal School of Arts and Crafts, then the Kyoto Special School of Painting, before apprenticing under his father in 1925. He exhibited frequently and was often prized at the National Bunten, Teiten and Nitten Exhibits, where he later served as judge. He was also lauded abroad, in the USSR, France, Italy, Belgium and was appointed a member of the Japan Art Academy. In 1976 he was awarded the Order of Cultural Merit for his lifelong devotion to promoting Japanese pottery traditions. His works are held in numerous museums throughout the globe.

A beautifully sculpted image of a pheasant by Ogawa Yuhei enclosed in the original signed wooden box. It is 37 cm long and in excellent condition.
Yuhei Ogawa (1885-1945) was born in Takamatsu, Okayama prefecture an came to pottery a bit later than most. In 1923, while working part time at the Naval Hydrographic Department, he was deeply moved by seeing the solo exhibition of ceramic sculptor Kazumasa Numata. This gave him impetus to begin sculpting in his free time. Although he started his career as an artist late at the age of 37, he was selected for the opening exhibition of the newly established arts and crafts department at the Teiten National Exhibition in 1927, and frequently thereafter. He participated in the activities of the Totokai, a group of potters living in the Kanto region, with Itaya Hazan, Numata Kazumasa and Miyagawa (Makuzu) Kozan II serving as advisors, and played an active role as a central artist. In 1934 he was invited to Iwaki Glass Factory as an advisor and created pottery sculptures and glass works for the rest of his life. A sculpture of a black panther is held in the collection of the Tokyo National Museum of Modern Art.

A tall Art Deco era bronze vase by important artist Nakajima Yasumi enclosed in the original signed wooden box dated Showa 7 (1932). It is 37.5 cm (15 inches) tall and in excellent condition signed on the base Yasumi. The inscription inside the box translates: This vase was created to commemorate the event his Imperial Majesty the Emperor purchased a vase identical to this upon his royal visit to Osaka Castle, dated Showa 7 (1932).
The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1951) was awarded at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions and was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 where he was subsequently prized. His work is held in the collection of the Imperial Household Agency and he served as mentor to a generation of young bronze artists.

A set of six porcelain Tokkuri Sake Flasks decorated with enclosed in the original signed wooden box titled Seika Keshi Sakabin (Poppy Decorated Sake Bottles, Set of Six).. Each is 14 cm (5-1/2 inches) tall and all are in excellent condition.
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 quintessential Art-Deco vase by innovative artist Ito Suikko enclosed in the original signed wooden box titled Hakuseiji Kabin (White-blue Porcelain Vase) dating from the 1930s-1940s. It is 30 cm (12 inches) tall and in excellent condition.
Ito Suiko (1894-1980) was born in Kyoto and studied under Imperial Art Academy artist Ito Tozan, establishing his own kiln in 1931. He was exhibited consistently at the prestigious Bunten/Teiten/Nitten exhibitions throughout his career, and later served as judge for the Nitten.

Deer prance about in abbreviated Art-Deco windows on this large vase by Okamoto Tameji enclosed in the original signed wooden box titled Hakuji Asobu-Shika-zu Kabin (Vase in pale porcelain decorated with playing Deer). It is 33.5 tall, 32.5 cm (roughly 13 inches) diameter and in excellent condition. Stylistically it is consistent with his works from the early 1930s.
Okamoto Tameji (1901-1958) was born in in the International Port city of Kobe and raised in Kyoto, the artistic and cultural heartland of Japan. He attended the Kyoto Municipal Tojiki Shikenjo Ceramic Research Facility, and apprenticed under Kawamura Seizan. He was first accepted into the Bunten/Teiten National Exhibition in 1927, and was selected for and awarded there consistently both pre and post war. His works were featured at the Chicago, San Francisco and New York Expositions.

A dragon dances around this jewel shaped incense container paying tribute to Korean heritage by Suwa Sozan II enclosed in the original signed wooden box. It is 4.7 cm (2 inches) diameter and in excellent condition. An example of this piece is published in the rare 1971 book Suwa Sozan Sakuhin Shu page 76.
Suwa Sozan (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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

An exquisite set of small petaled-plates, each wafer thin, with a floral spray of yagiku (wild chrysanthemum) in a blue dial in the center by Suwa Sozan II enclosed in the original signed wooden box titled Kiku-gata Kozara, Jukyaku (10 Chrysanthemum Shaped Small Dishes) dating from the 1920s. The design is Japanese, the decoration is strongly influenced by Korean wares. Each is 9 cm (3-1/2 inches) diameter and all are in excellent condition.
Suwa Sozan (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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

A waka poem in underglaze blue brushed by female artist/poet Tomioka Haruko decorates this porcelain Mizusashi by female potter Suwa Sozan II enclosed in the original signed wooden box. The porcelain container is 17.5 cm (7-1/2 inches) tall, 11.5 cm (4-1/2 inches) diameter and in excellent condition. On the base it bears the circular mark of Suwa Sozan II and on the side the verse is singed Haruko 80. From this we can surmise it dates from 1926 when Haruko was 80 by Japanese count.
Suwa Sozan (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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako (Suwa Sozan II 1890–1977) was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.
Tomioka Haruko (1847-1940) was born as the third daughter of Sasaki Yoshimitsu, a feudal lord of Ozu. She was taken in as the third wife of Tomioka Tessai—who later became known as a leading figure in modern Japanese painting—when she was 26 years old in 1872. She was well known for her poetry, calligraphy, and sparse paintings.

Additional photos of this fabulous Accordion book of 12 paintings by Kimura Seiun enclosed in a wooden box titled Atami Dan Ko-gasatsu and dated early Spring of Showa 4 (1929). The introductory page is written by Zen priest Hashimoto Dokuzan of Tenryuji Temple in Kyoto. The paintings are each signed with various names used by Kimura, mostly Seiun or Ren. The introductory and concluding pages are both dated 1929. It is 28 x 14 cm (5-1/2 x 11 inches) and in overall outstanding condition.
Atami is a place in Japan on the Izu peninsula South of Tokyo in Shizuoka prefecture.
　 Kimura Seiun (1885-1967) was born in Shimane prefecture, home of one of the oldest and most venerated shrines in Japan, Izumo Taisha Shrine. His given name was Hara Renzaburo however he was adopted into the Kimura family taking that name. In 1921 he moved to Kyoto where he studied painting under Miyazaki Chikuso, and them to Tokyo where he studied under Komura Suiun. Post war he returned to Shimane, devoting himself to painting and private exhibitions, leading the quiet life of a scholar.
Hashimoto Dokuzan (Gengi, 1869-1938) was born in Nîigata, and was sent to Kyoto at the age of 16 to study painting and philosophy under the important literatus Tomioka Tessai. At the age of 20 he entered Tenryuji Temple under Hashimoto Gazan, later receiving Inka (recognition of enlightenment) from Ryuen. In 1910 he moved to Sokokuji, and then was assigned the foundation of Nanonji Temple in Tottori Prefecture. He served as abbot of Tenryuji Temple and Sokokuji, both important Zen temples in Kyoto.

Billowing clouds are intricately pierced in the lid of this classical celadon koro by Suwa Sozan I enclosed in the original signed wooden box titled Seiji Hakama-goshi Koro and bearing the Teishitsu Gigei-In seal of the Imperial Art Academy. It is 12.5 cm (5 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.