Catalog (176)

A wide shallow bowl dating from the Kamakura to Nanboku-cho periods with a prominent ring circling the interior where other bowls had been stacked inside, and a number of lacquer repairs about the rim attesting to the age and reverence the piece has received over the centuries. It is 17 cm (7 inches) diameter, 5.5 cm (2 inches tall) and in overall excellent condition. It comes in a silk pouch with an old wooden storage box.
Yama-chawan is a generic term for various types of unglazed Japanese tableware produced in vast quantity from the late Heian (794–1185) to Muromachi period (1333–1568), mainly in the Tōkai region (Aichi and Gifu prefectures) of central Japan. At the beginning of the era ritual vessels and storage jars were the common pottery, but increased production made for greater availability resulting in demand from lower classes of society for pottery. This resulted in a shift away from jars to tableware. Production of Yama chawan began with the dissemination of wealth to military families and landowners at the end of the Heian period, and lasted through the early Muromachi era, reaching its peak in the Kamakura and Nanbokucho periods (1185-1392). By the mid-Kamakura era, great volumes of yama-chawan were being fired. Fused, broken or damaged works would have been discarded about the kiln. As well, the kilns, were unstable and unpredictable, and often collapsed. This made for a small volume of pottery coming available from excavations in the early 20th century, when there was a great deal of research into the revival of ancient techniques.

A Momoyama to Early Edo period Karatsu Chawan enclosed in an ancient, age darkened wooden box with a single zen circle of gold inside surrounding the center. These types of early Karatsu bowls were fired stacked inside each other, and it is certain looking at this piece that the artist forgot the wadding between this and the bowl above, so it adhered to the bowl creating a space without air, which caused the center of the bowl to fire at a different color than the rest which was exposed to the heat and oxidation. The bowl above was likely broken to separate them, and where it had adhered was ground down to be repaired with a ring (or Zen circle) of thin gold. It is a beautiful piece which offers a peek into the history of this regional pottery, as well as telling a story of preservation and offers commentary on our modern throw away society. The bowl is 12 cm (just less than 5 inches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

A Momoyama to Early Edo period Karatsu Chawan enclosed in an ancient, age darkened quarter sawn cedar box with Kuro-gaki (Black persimmon) rim. Slightly misshapen, the bowl is 11-12 cm (4-1/2 to 4-3/4 inches) diameter, 5-6 cm (2 plus inches) tall and in surprisingly fine condition, with some ancient lacquer repairs about the rim attesting to the great age and care the piece has received
. Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

A sake flask dating from the Momoyama to early Edo period from the kilns of Karatsu on the southern island of Kyushu with gold repairs about the flaring rim and one to the side. The bottle has been dimpled to allow for ease of handling, and through one of the concave sides rushes a streak of blue and white like a misty waterfall over the russet brown glaze. The raw clay of the base is fired to a stone-like quality. It is roughly 11 cm (4-1/4 inches) diameter, 21 cm (8-1/2 inches) tall.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

One of the 36 poets, Kakimoto holds his handscroll as he stairs off into the distance, perhaps composing his next verse. This is Bizen Saikumono, 19th century, and is in excellent condition. It is 14.5 x 11.5 x 13 cm (5-3/4 x 4-1/2 x 5-1/4 inches) and is in excellent condition, enclosed in an old wooden storage box.
Kakinomoto no Hitomaro (c. 662–710) was a renowned Japanese waka poet and aristocrat of the late Asuka period. Kakinomoto lived during a time of significant cultural development in Japan influenced by Chinese Tang Dynasty culture. He served as a court poet for Emperor Temmu and his successors, including Emperor Jitō and Emperor Monmu. Hitomaro's work is marked by its emotional depth, vivid imagery, and refined language, his themes range over love, nature, impermanence, and the majesty of life and death. His chōka (long poems) and tanka (short poems) are particularly well-known for their sophistication and lyrical beauty. Hitomaro's elegies are considered masterpieces. His poem mourning the death of Prince Takechi expresses profound grief while reflecting on the transient nature of life. Another notable work is his lament for his wife, a deeply personal and touching expression of love and loss. He is one of the Thirty-Six Immortal Poets (Sanjūrokkasen). These poets were selected by the Heian-period poet and scholar Fujiwara no Kintō as exemplary masters of classical Japanese poetry, particularly in the waka form. Hitomaro is considered one of the greatest poets in Japanese history and is revered as the patron saint of Japanese poetry and remains a towering figure in the history of Japanese poetry, embodying the aesthetic and emotional depth that defines classical Japanese literature.

An elegant bowl decorated with bell-flowers from the Mizoro kilns in North Kyoto dating from the later 19th century enclosed in a period wooden box and bearing the Mizoro seal impressed into the base. Color has seeped into the finely crackled earthen glaze, adding a delicate sense of age. It is 13 cm (5 inches) diameter, 8 m (just more than 3 inches) tall and in excellent condition.
Many people think of Kiyomizu-yaki as the only type of pottery in Kyoto, but there are other types of pottery such as Awata-yaki, Otowa-yaki, Iwakura-yaki, Asahi-yaki, Raku-yaki, and Mizoro-yaki. Mizoro-yaki is a type of Kyo-yaki that was fired in Atago-gun, North of central Kyoto. There are many mysteries and rumors about the origins of the pottery. According to Tauchi Baiken's "Thoughts on Ceramics" written in the Ansei era, Ninsei Nonomura started Mizoro ware. Other documents, from the Enpo period, Taihei of Mizoro Village became an apprentice at Higashiyama Seikanji Yaki Ichimonjiya, and then returned to the village and opened a kiln. According to the "100 Year History of Kyo Yaki", it was established in 1554 AD by Yozo Unsonin. In any event, it is generally agreed to have begun by the mid 17th century, and lasted for about two hundred years.

A beautiful small Sake set consisting of a Tokkuri in Irabo style glaze splashed with foamy white with a poem engraved into the clay of the side and two small Chokko sake cups in same-hada (sharkskin) iron glaze. The Tokkuri is 12.3 cm (5 inches) tall, the cups roughly 4.5 cm (2-3/4 inches) diameter, and all are in excellent condition, dating from the 19th century (Late Edo to Meiji period).

A pair of matching large flaring bowls ornately decorated with intricate lattice patterns pierced with decorative dials featuring dragons and Buddhist Jewels surrounding a large colorful dragon. Each is signed beneath inside the footring. They are 24.5 cm (just less than 10 inches) diameter, 10 cm (4 inches) tall and in excellent condition.
Daishoji Imari is a type of Kutani ware that was mainly produced in Daishoji Town, formerly part of the old Enuma District, from the early Meiji period. There they produced porcelain based on Imari models decorated in sometsuke (blue-and-white porcelain) and kinrande (colored with gold).
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics

3 large porcelain bowls vividly decorated with various themes in a powerful brocade style. Each is roughly 25 cm (10 inches) diameter, 10 cm (4 inches) tall and are in excellent condition. This work costs $300.00 each.
Due to the large size, additional shipping charges may apply.
Imari porcelain, also known as Arita ware, has its origins in the early 17th century and is one of Japan's most renowned ceramic traditions. Porcelain production in the Imari region began around 1616 when Korean potters, brought to Japan after Toyotomi Hideyoshi's invasions of Korea (1592–1598), discovered high-quality kaolin clay in the Ara area of Kyushu. This marked the birth of Japan's first porcelain industry. During the early Edo period, Arita became a thriving center for porcelain production. The nearby port of Imari served as the primary shipping hub, leading to the porcelain being known internationally as "Imari ware." Early Imari wares were heavily influenced by Chinese designs, especially those from the Ming dynasty. Techniques evolved to include underglaze blue decoration (similar to Chinese blue-and-white porcelain) and, later, polychrome overglaze enamels, which became hallmarks of Imari porcelain. Imari porcelain gained widespread popularity in Europe during the 17th and 18th centuries, facilitated by the Dutch East India Company. European aristocracy prized its vibrant designs, which often featured intricate floral patterns, birds, and mythical creatures.
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics

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

A set of five small dishes ideal for soy sauce with Sashimi or sushi from the Kutani kilns dating from the late 19th to early 20th centuries. A butterfly floats effortlessly over a blossoming camelia inside, with the character Fuku (Fortune) in a blue cartouche on the base. They are 7.5 cm (3 inches) diameter and in fine condition, enclosed in an old wooden collectors box.

A set of five Fukagawa Yaki pottery plates in the shape of overlapping Hamaguri clam shells. Hamaguri are not only delicious but also hold cultural significance in Japan, often associated with special occasions like weddings and Hinamatsuri (Girls' Day). The large shells were used in a game called Kai-awase, a bit like the card game concentration, where one needed to find the matching shells (A brief explanation below). Each dish is 16 x 11 x 3.5 cm (6-1/4 x 4-1/4 x 1-1/4 inches) and all are in overall fine condition, enclosed in an old age darkened wooden box.
Fukagawa-yaki refers to white-based pottery that was produced in the Choshu Domain (modern day Yamaguchi prefecture). Its history dates back to 1653 when the potter Kurasaki Gorosaemon petitioned to establish an independent kiln in Sannose, Fukagawa Village (present-day Nagato City) and was granted permission. At the time, the production of tea ceramics was not permitted, and records indicate that the kilns mainly produced everyday household wares.
Kai Awase (the game) originated in the Heian period (794–1185) and was a pastime for nobles. It involves a set of Hamaguri clam shells with matching designs painted on the insides. Since the two halves of a clam's shell fit together perfectly, the game requires players to match the correct halves. The painted designs often depict scenes from classical literature, flowers, or other intricate artwork. One half of each clam shell is laid out face-down, while the other halves are kept aside. Players take turns selecting a shell and trying to find its matching half from the scattered pieces. However it was more than just a game; it symbolized harmony and completeness. It was often part of bridal trousseaus, representing the union of a couple.

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

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

A fragment of a devils mask dating from centuries back covered still bearing the remains of white gofun powder and gold around the eyes, This appears to have likely been a Hannya mask. The hannya is a mask that represents a female onryō (vengeful spirit). In Noh plays, the type of Hannya mask changes according to the degree of jealousy, resentment, and anger of the female characters.

An oki-goro incense burner made up of a hollowed burl of wood set onto a beautiful exotic dark-wood stand in the manner much appreciated by scholars of the 19th and early 20th centuries. Incense burnt inside on a metal stand would have produced smoke which drifted out through holes in the high peak of the burl, and around the base, like a mountain visible in the mist. It is 17 x 10.5 x 9 cm (7 x 4 x 3-1/2 inches) and is in overall excellent condition.

A set of five square footed bowls from the 19th century kilns of the Oribe region richly decorated in matte colors on rough sandy clay enclosed in the original and very dilapidated Edo period kiri-wood box. Each bowl is roughly 10 cm (4 inches) square, 5.5 cm (2 inches) tall and all are in excellent condition.

A beautiful polished and hollowed bamboo root made into a serving tray. An insert of straight grained cedar has been placed inside for a flat surface. The root is worn, with natural holes and dilapidation acquired over its time exposed out of ground after cutting or being uprooted. This is a superb example of the pathos expressed in the Japanese Wabi Sabi aesthetic. An appreciation of the ephemeral and all that which is in decline. It is 27 x 17 x 10 cm (11 x 7 x 4 inches) and in excellent condition, in an old custom made wooden box. Newspaper, originally in the box when we bought it, is dated October 10 Showa 7 (1932)

An intricately sculpted Bizen pottery okimono in the shape of a pair of grappling Shishi dating from the later 19th to early 20th centuries enclosed in a period wooden storage box. It is 25 x 20 x 24 cm (10 x 8 x 9-1/2 inches) and is in excellent condition.
Bizen pottery, one of Japan’s oldest ceramic traditions, originates from Bizen Province (modern-day Okayama Prefecture) and dates back over 1,000 years. Renowned for its unglazed, earthy textures and natural ash glazes, it emerged during the Heian period (794–1185) and flourished in the Momoyama period (1573–1600). Saikumono, small, intricate sculptural pieces, became a hallmark, showcasing artisans' creativity.

A large Bronze Elephant Incense Burner dating from the Meiji period featuring a shrouded Buddhist pagoc\da covering the ash pit in its back. It is 29 x 17 x 29 cm (11-1/2 x 7 x 11-1/2 inches) (7 pounds) and is in overall fine condition, with a discoloration along the bronze of the ash pit to the front left corner of the pagoda.

A 19th century six-sided Koro Incense Burner bearing impressed into the base the seal of the Wakayama branch of the Tokugawa families Kairaku-en Niwa-yaki kiln. It is 10 x 12.5 x 10.5 cm plus lid 4 x 5 x 4-1/4 inches) and is in fine condition. It features a pierced brass lid engraved with smoke tendrils and comes in a period wooden box.
The Kairakuen kiln was the "garden kiln" sponsored by the Kii branch of the Tokugawa house, in modern day Wakayama founded in 1819. It operated irregularly, drawing upon the services of potters from various Kyoto workshops including the 9th and 10th Omotesenkei Heads Ryoryosai (1775-1825) and Kyukosai (1818-1860), 10th Raku Master Raku Tanyu (1795-1854), and Eiraku Zengoro XI (Nishimura Hozen, 1795–1854) among others . Kairakuen products reflect a marked revival of interest in Chinese ceramics in the late 18th and early 19th centuries. This vase, with its restrained shape and overall turquoise enamel glaze, follows Qing [Ch'ing] dynasty ceramic models. The design of the four-character mark, "Made at Kairakuen," imitates enamel four-character seals appearing on Qing [Ch'ing] imperial wares.

The shallow clay basin has been thrice dipped into earthy green glaze leaving the foot raw, an Edo period Karatsu Sake Cup enclosed in an age darkened kiri wood box titled Hai-iri. An Ishihaze stone inclusion bursts through the glaze on one side, and the glaze forms a ringlet on the pinched side where the artist thumb held it while dipping in the glaze. Writing abounds on the box, inside the lid, and on the bottom, from the various hands through whom it has passed over the centuries. Edo period, it is 8 zx 7 x 3.5 cm (roughly 3 inches diameter) and is in excellent condition.

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

A set of two intricately decorated covered porcelain bowls from the Kutani Kilns of Ishikawa prefecture with Moriage designs of chrysanthemums in raised texture and kinrande gold on red butterflies. They are signed Kutani inside the foot. The large bowl is 11 cm diameter, 8 cm tall, the smaller is 10 cm (4 inches) diameter, 7.5 cm (3 inches) tall and both are in excellent condition. Kutani ware (Kutani-yaki) originated in 1655 when a local lord, Maeda Toshiharu, sent Goto Saijiro to study ceramic production in the Arita region of Kyushu. Upon his return, Saijiro established a kiln in Kutani village (modern-day Ishikawa Prefecture). The early works, known as Ko-Kutani ("Old Kutani"), were notable for their bold designs, vibrant colors, and overglaze enamels. This period ended mysteriously around 1730 due to financial difficulties or the depletion of local resources. After nearly a century of dormancy, Kutani production was revived in the early 19th century. New kilns were established, and techniques evolved under the influence of Chinese and Arita porcelain styles. This period introduced diverse substyles, including:
Saiko Kutani: A refined revival of Ko-Kutani designs.
Mokubei Style: Inspired by Chinese Ming and Qing ceramics.
Yoshidaya Style: Known for green, yellow, and blue color palettes.
By the Meiji era (1868–1912), Kutani ware gained international acclaim, partly due to Japan’s participation in world exhibitions. Artists adopted intricate and decorative techniques like Kinrande (gold decoration) and delicate overglaze painting. .
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics

An image of a black bear covered in aubergine standing on a base of green from the pre-war kilns of Kutani in Ishikawa prefecture, one of Japan’s most famous porcelain production centers. It is 17.5 x 13 x 18 cm (7 x 5 x 7-1/4 inches) and is in excellent condition enclosed in the original wooden box bearing anKutani Shosuke Seal inside.

A Tsubo which slumped in the kiln adhering to a pair of sake cups, one of which remains clinging to the side. It appears to be Karatsu ware, green glaze sliding over rich red iron and forming beads around the foot ring. It is 23 x 17 x 22.5 cm (9 x 7 x 9 inches). There is a small chip in the rim but is otherwise in excellent conditiom.

Gold blossoms on the polished black suface of this beautiful silver rimmed box resting on a matching tray and enclosed in the original signed wooden box dating from the first half of the 20th century. The lacquered box is 11.5 x 13.5 x 4.5 cm (4-1/2 x 5-1/2 x 2 inches), while the tray is 16.5 x 19.5 x 1.2 cm (6-1/2 x 8 x ½ inches). Both are in excellent condition.

A fabulous lacquered urn covered in black with soaring phoenix (Ho-o) with a lid lacquered around the edges but showing the raw, aged wood of the top enclosed in a wooden box dated 1924 stating it was made using Kozai (repurposed wood) from the Ho-o Do of Byodoin Temple in Uji. Inside is completely covered in Nashiji gold powder. It is 9 cm (3-1/2 inches) Diameter, 5 cm (2 inches) tall and in perfect condition.

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

A Funamushi-gata earthen vase (a Sea Slater-shaped Vase, an insect with a broad back found along the shoreline) from the Mushiake kilns of Okayama prefecture dating from tehr 19th to early 20th century. Engraved into the bottom are three number sevens, a symbol of good fortune and alternate character for Yorokobu (joy). It is 14.5 x 9 x 25 cm (5-1/2 x 3-1/2 x 10 inches) and is in excellent condition.
The origins of Mushiake-yaki pottery are uncertain, with various theories suggesting it began around 300 years ago. This pottery tradition emerged in the Mushiake area, which was part of the domain of the Iki family, the chief retainers of the Okayama clan, who were granted 33,000 koku of land. Mushiake-yaki developed as an oniwayaki (garden kiln) under the patronage of the Iki family. The pottery shared similarities with Bizen ware, but also made works similar to the glazed wares of Takatori and other famous tea-ware regions. During the tenure of the 14th lord, Iki Tadasumi (who used the tea name Sansensai), a prominent tea master, Mushiake-yaki underwent significant transformation. Tadasumi invited renowned artisans of the time, including Kyoto’s Seifu Yohei, Raku Chōzō, and Miyagawa Kōzan (Makuzu Kōzan), to contribute their expertise. Under their influence, the pottery adopted a Kyoto-inspired style resembling the delicate thinness of Awata-yaki.

A lovely small antique Chaire powdered tea container likely from the refined clay of Tamba with an ebony lid enclosed in an old kiri-wood box bound with deer hide chords. It is 5.5 cm diameter, 5 cm (roughly 2 inches) tall and in excellent condition.

Fans decorate in vivid colors the austere sides of this dark bowl from the kilns of Kyoto dating from the later 19th century enclosed in an age darkeneed wooden box titled Ninsei Chawan. It is 12 cm (5 inches) diameter, 7.5 cm (3 inches) tall and in excellent condition.
Ninsei ware (仁清焼), named after its founder Kōrin Ninsei (1648–1711), is a distinguished style of Japanese pottery that originated in Kyoto during the Edo period. Ninsei was an influential potter who is credited with developing a refined and elegant aesthetic that combined traditional Japanese techniques with innovative artistic expression. Ninsei ware is known for its fine, detailed decoration, typically featuring motifs from nature such as flowers, birds, and landscapes. The pottery is often characterized by a smooth, white porcelain body and delicate, intricate underglaze painting, often in blue and other subtle colors. Ninsei's use of sometsuke (underglaze blue) and overglaze enamels set it apart from other styles, creating a sophisticated, highly decorative style. Ninsei's work greatly influenced the ceramic industry in Kyoto, especially in the production of tea ceremony wares and everyday tableware. His legacy continued through his successors, further refining and promoting Ninsei ware’s elegant aesthetics. Today, Ninsei ware is considered a significant contribution to Japan's porcelain tradition, embodying a balance between utility and beauty.

A set of four matching beautifully decorated Porcelain sake flasks from the Meiji era kilns of Ishikawa prefeture, each signed Kutani Setsuka. Each retains its original porcelain lid. They are roughly 7.5 cm (3 inches) diameter, 16.5 cm (6-1/2 inches) tall and in excellent condition.
Kutani ware (Kutani-yaki) originated in 1655 when a local lord, Maeda Toshiharu, sent Goto Saijiro to study ceramic production in the Arita region of Kyushu. Upon his return, Saijiro established a kiln in Kutani village (modern-day Ishikawa Prefecture). The early works, known as Ko-Kutani ("Old Kutani"), were notable for their bold designs, vibrant colors, and overglaze enamels. This period ended mysteriously around 1730 due to financial difficulties or the depletion of local resources. After nearly a century of dormancy, Kutani production was revived in the early 19th century. New kilns were established, and techniques evolved under the influence of Chinese and Arita porcelain styles. This period introduced diverse substyles, including:
Saiko Kutani: A refined revival of Ko-Kutani designs.
Mokubei Style: Inspired by Chinese Ming and Qing ceramics.
Yoshidaya Style: Known for green, yellow, and blue color palettes.
By the Meiji era (1868–1912), Kutani ware gained international acclaim, partly due to Japan’s participation in world exhibitions. Artists adopted intricate and decorative techniques like Kinrande (gold decoration) and delicate overglaze painting. .
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics

A beautiful old Shiho (Square) plate in dribbled feldspathic white glaze with a large gold repair in one corner decorated along the outside rim with plum blossom motif in iron under the crackled white Shino glaze. It is 22.5 x 4.5 cm (roughly 9 x 9 x 12 inches) and is in excellent condition, enclosed in an old red-lacquered wooden box.
Shino pottery is one of Japan's most renowned and distinct ceramic styles, originating in the late 16th century during the Momoyama period (1573–1600). It is particularly associated with the Mino region, located in present-day Gifu Prefecture. The style is celebrated for its rustic simplicity, irregular shapes, and earthy glazes, which reflect the aesthetic values of the Japanese tea ceremony. The production of Shino wares centered around the Mino kilns, which were among the most significant ceramic production centers in Japan during the Momoyama period. The potters in this region experimented with local clays and innovative glazing techniques, leading to the creation of Shino pottery which is credited as being the first “white” pottery in Japanese history. During the 17th century, the popularity of Shino pottery declined as other ceramic styles, such as Oribe and Seto wares, gained favor. It did not wholly disappear as is often stated, however Shino experienced a resurgence thanks to the efforts of potters and scholars who sought to revive traditional Japanese ceramics in the early 20th century.

An unusualy shaped early to mid-Edo period Tamba tsubo with cascading rivulets of green ash enclosed in a fine kiri-wood collectors box annotated inside. It is 24 cm (9-1/2 inches) diameter, 31 (12 inches) high and in excellent condition. About the rim are four “mimi” ears for tying down the wooden bung. The base is slightly concave and burnt to a rock like texture. Tamba is considered as one of Japan’s six famous ancient kilns, along with Seto, Tokoname, Echizen, Shigaraki and Bizen. It is known for a solemn, austere atmosphere, and for the beautiful green pine-ash glaze. The origins are purported to be in the late Heian period, when it was called Onohara ware. Traditionally it is coil formed, or turned counter clockwise on a wheel. Early pieces were fired in anagama, until the Momoyama period, when the advent of the climbing kiln offered increased production and possibilities and hire firing temperatures.

An double sided accordion album of cloth pattern samples from the Yokohama Raw Silk Company enclosed in the original wooden storage box bearing the seal of the company both inside the lid and in the bottom of the box , as well as on the final gilded page of the sample book itself. .It comprises 39 pages of samples, several samples on each page. The book is in excellent condition dating from the earlier part of the 20th century.

A pair of very cool Tokkuri sake flasks with looping handles decorated in barber-pole fashion with a striking design of spiraling red on pale cream glaze. Each is signed on the base Seizan, and they come enclosed in a period wooden box titled Seizan-yaki Sake Tsubo. Each is roughly 5;.5 cm (2 inches) diameter, 12 cm (5 inches ) tall and both are in excellent condition.

A small waniguchi bronze bell used for awakening the gods suspended in a naturally hollowed wood ring. The outer wood frame is 32 x 9 x 27.5 cm (13 x 11 x 3-1/2 inches) and all is in excellent condition. The bell itself is suspended with deer leather and is 11.5 x 4 x 11 cm (4-1/2 inches diameter) and all is in excellent condition. Waniguchi are most commonly seen outside of Shrines, rung with a knot tied in a rope suspended from above. Striking the bell awakens the gods so that they may listen oy your request.

Shiny glaze the color of burnt caramel covers this tactile pinch-formed small portable tea bowl (Tabi-chawan) from the 19th century Ohii Kilns of Kanazawa in the Kaga domain. Ohi ceramics are primarily made for use in the tea ceremony and they are all personally made by members of the Ohi family. The potters do not use a wheel, but shape the clay with their hands and special spatula-like tools that are handed down from generation to generation. The ceramics are made from soft clay and fired at unusually low temperatures. This bowl is no exception to these rules, it is pinch formed with a beautiful sculpted foot ring, on side which is the Ohii stamp impressed clearly into the clay. It is 9 cm (3-1/2 inches) diameter, 8 cm (just over 3 inches) tall and in excellent condition.
When the founder of the Urasenke style of tea ceremony, Sen-so Soshitsu was invited to Kanazawa as the lord of the tea ceremony for the Kaga Clan in 1666, the first Chozaemon came with him and established Ohi in Kanazawa. Chōzaemon was the top disciple of Raku Ichinyū of Kyoto (4th generation master of the Raku family) and thoroughly understood the principles and techniques of Raku ware. The family has made tea ware for 10 generations, and the 11th generation is working at the family kiln even now.

A celadon koro of unusual six sided lozenge-shaped casket with a black lacquered wooden lid covered in applied gold much worn enclosed in a period wooden box titled (Tenryuji Jidai Gi Koro). It is 9.5 x 13.5 x 15.5 cm (roughly 4 x 5-1/2 x 6 inches). There are chips to the rim, and a firing crack inside the basin which would have been filled with ash. Most likely Chinese in origin, the Japanese government of the Muromachi period contracted mass import of celadon ware from Seikosho in China. These wares collectively came to be known as Tenryu-seiji.

A tall wooden vase-like container made from old water wheel paddles by Sashimono-shi Kikusai decorated with an inscription by Tomioka Tessai which has been carved into the wood enclosed in the original signed wooden box titled Tessai Sensei sho-koku Kabin. It is 17.5 cm (7 inches) square, 45.5 cm (18 inches) tall and in excellent condition.
Tomioka Tessai (1837-1924) was a scholar artist trained from age seven in the traditional Confucian manner. After the death of his father he was apprenticed to a Shinto shrine, and later was forced to escape the capitol to Kyushu to avoid arrest for anti-governmental actions he had taken on part of the Imperial cause. Here he began serious study of Literati painting and furthered his scholarly research. Upon returning to Kyoto he was befriended by and moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He helped to establish the Nihon Nanga-In and held a number of important positions, culminating in being appointed the official painter of the Emperor and a member of the Imperial Art Academy; the highest honor in Japanese Art circles. He is represented in innumerable important collections. Information on this important person is readily available, for more see Scholar Painters of Japan by Cahill (1972), Roberts Dictionary, or a quick internet search will find plenty of reading. He is held in the Tokyo National Museum, Museum of Fine Arts, Boston, Kyoto, V&A etc…

The gold work on this antique bucket shaped pot is absolutely incredible, with eight gold staples holding together the cracks which have all been filled with lacquer and powdered gold. The original ceramic work is from the Ohii kilns in Kanazawa, stamped on the base with what appears to be the seal of the 5th generation head of the Ohii family Ohii Kanbei (1781-1856). There is a custom made black lacquered wooden lid. It comes enclosed in a wooden collector’s box titled Ohii Te-oke Mizusashi, O-ware. It is 17 cm (7 inches) diameter, 24.5 cm (10 inches) tall. There are minor chips to the lacquer edges of the lid.
When the founder of the Urasenke style of tea ceremony, Sen-so Soshitsu was invited to Kanazawa as the lord of the tea ceremony for the Kaga Clan in 1666, the first Chozaemon came with him and established Ohi in Kanazawa. Chōzaemon was the top disciple of Raku Ichinyū of Kyoto (4th generation master of the Raku family) and thoroughly understood the principles and techniques of Raku ware. The family has made tea ware for 10 generations, and the 11th generation is working at the family kiln even now.

A striking original Bamboo art work by Koide Bunsei enclosed in the original signed wooden box titled Hanakago Sazanami. It is 22 cm (9 inches) diameter, 34 cm (13-1/2 inches) tall and in excellent condition.
Koide Bunsei was born in Nagano city in 1960, and trained in the art of basketry under Iwao Shotaro in Oita prefecture. He has been exhibited and awarded at the Nihon Dento Kogeiten (National Traditional Crafts Exhibition as well as the Nihon Dento Kogei Shinsaku Ten (National Traditional New Crafts Exhibition). He has risen to be a pivotal figure in bamboo art in Nagano.

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

A lid pierced with blossoms covers this brass container about which has been woven a bamboo basket, creating a most unique incense burner. It is 22 cm (8-1/2 inches) diameter, roughly the same height, and in overall fine condition, enclosed in an age darkened wooden box.

An openwork basket of split and woven bamboo by Tanabe Chikuunsai II enclosed in the original signed wooden box. It is 31 x 27.5 x 13 cm (12-1/2 x 11 x 5 inches) and is in excellent condition.
Tanabe Chikuunsai II (Toshio, 1910-2000) was born the son of Tanabe Chikuunsai I in Osaka known for his Chinese-style (Karamono) baskets. He began working with bamboo craft from a young age under his father, and in 1915, when he turned 5 years of age, he gave demonstrations of the craft with his cousin Kōunsai at his father’s private exhibition at Mitsukoshi Department in Osaka, impressing everyone with his skilled weaving in hexagonal pattern. In 1919, when he was 9, his father made him study calligraphy under the Sinologist Tsuchida Kōnan to make him a man of letters. The drawings he made in his late years were the results of the Nanga painting and calligraphy he learnt during his childhood. He held his first private exhibition when he turned 15 in 1925 and was given the title Shōchiku’unsai by his father. At the age of 20 became a member of the Naniwa Ranyukai group and was accepted into the Teiten national art exhibition for the first time in 1931 where he would later receive numerous awards. Following the death of Chikuunsai I, he assumed the name of Chikuunsai II however, moved away from the tense karamono baskets of his predecessor developing his own style of more open and relaxed weaves and plating techniques. He was awarded the Order of Cultural Merit by the Japanese government in 1981. He transferred the family name to his eldest son in 1991, taking the new name Ichikusai however remained active to the end of his life. Work by him is held in the Metropolitan Museum of Art New York, the Minneapolis Institute of Arts, the Crafts Gallery of the National Museum of Modern Art Tokyo and Museum of Fine Arts in Boston among others.

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

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

A beautiful Te-tsuki handled basket hollowed out of a burl of wood dating from the early 20th century with a silken polished finish. It is 43 x 30 x 27 cm (roughly 17 x 12 x 11 inches) and is in excellent original condition.

A beautiful Te-tsuki handled baxket hollowed out of a burl of wood dating from the early 20th century with a silken polished finish. It is 30 x 24 x 28 cm (roughly 12 x 10 x 11 inches) and is in excellent original condition.

A boxed set of Binshi offering vases decorated with regal fowl enclosed in a period wooden box by Kiyomizu Rokubei. Each is roughly 12 cm 4-3/4 inches) tall and in perfect condition. Very difficult to tell with this signature, but I believe it is the work of the 4th Rokubei, possibly a very early work by the 5th.
Kiyomizu Rokubei IV (1848-1920) was born the first son of Rokubei III and headed the family kiln from 1883-1913.He studied painting in the Shijo manner under Shiiokawa Bunrin and had a brotherly relationship with his fellow student Kono Bairei (under whom his own son would study painting). He sought to revitalize the pottery tradition of Kyoto, bringing in new techniques and styles and together with artists like Asai Chu and Nakazawa Iwata took part in the Entoen group and with Kamisaka Sekka the Keitobi-kai. He also held a strong relationship with literati artists such as Tomioka Tessai and together with these artists produced many joint works. He fell ill in 1902, finally handing the reins over to the 5th generation in 1913.
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 Maekawa 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 buccoloic mountain scene of forested hills dotted with pavilions decorates this baluster form vase by Miyagawa Kozan enclosed in the original signed wooden box titled Sometsuke Tsubo Sanro-zu (Blue and White Vase, Mountain Path). It is 16 cm (6-1/4 inches) diameter, 18.5 cm (7-1/4 inches) tall and in excellent condition, retaining the original rosewood stand.
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 spectacular squat Seto-guro bowl dating from the early Edo period enclosed in an ancient heavy kiri wood box annotated within by soe long lost collector. This is a perfect example of the Momoyama aesthetic. It is 12 cm (5 inches) diameter, 8 cm (3-1/4 inches) tall and in excellent condition.

An incredible set of 3 sake cups and a small table dripping with gold on the red and black surfaces enclosed in a period wooden storage box which is in turn enclosed in a red lacquered nijubako storage case. The table is absolutely WOW, cranes soaring over rolling waves on a rocky canyon through which water flows under boughs of pine covered in sheets of kiri-gane gold, plum branches glistening with silver blossoms and golden bamboo. The three cups, held in a drawer inside the storage box, are masterpieces of Maki-e, the festive cinnabar covered in built up designs of a golden landscape with silver blossoming plums and soaring cranes mimicking the design of the stand. The stand itself is a 19 cm (7-1/2 inch) cube, while the cups vary concentrically from 10.5 to 13. Cm diameter (just over 34 to just over 5 inches diameter). All is in perfect condition.

A hand-formed Bronze Mizusashi lined with cloisonne and decorated about the rim and hand formed waves with silver by Saito Ifu enclosed in the original signed wooden box. It feaures a mirror black polished lacquer wooden lid which juxtaposes beautifully with the matt finish and texture of the vessel. Signed on the base Ifu Saku, it is 15 cm (6 iches) diameter, the same height, and is in excellent condition.

A bronze rabbit koro signed Unkei enclosed in a fine kiri-wood storage box. It is 9 x 12 x 9 cm (3-1/2 x 5 x 3-1/2 inches) and is in fine condition.

A White Bronze image of a mythical Shishi Lion striking a fierce pose by Yamamoto Junmin signed on the base. The artist has chosen white bronze, which was very popular in the late 1920s and 30s from when this likely dates. However, he has chosen as well a black finish, in a way very Japanese, to hide the more expensive display o wealth (that white bronze would have been at the time) making it only visible from the underside. The figure is 16 x 10 x 17 cm (6-1/2 x 4 x 6-3/4 inches) and is in excellent condition.
Yamamoto Junmin (1882 – 1962) learned the metal arts under Katori Hotsuma (Hozuma) and Asakura Fumio at the Tokyo University of Art. Living in Nara, the ancient capital, he was one of the finest metal workers of his age, carrying on the Edo-doki tradition through the early Showa era while also incorporating many ideas and innovations from Art Deco into hos oeuvre. His work was exhibited with the Teiten/Bunten National Exhibitions many times before the second world war, and with the Nitten National Exhibition post-war. The National Museum of Modern Art in Kyoto holds two works by this important bronze artist, as well as the Metal Art Museum Hikarinotani.

A Buddhist reliquary tower by Miyagawa (Makuzu) Kozan II signed on the base 83 year old Makuzu Kozan Saku enclosed in a wooden box annotated by the third generation Kozan dated the summer of 1940. It is 12.5 cm (5 inches) diameter, 26.2 cm (10-1/2 inches) tall and in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan 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 Celadon Koro by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box published in the book Ambient Green Flow, the Emergence and Rise of East Asian Celadon (New Taipei Yingge Ceramics Museum (2011, p. 144). It is 10.5 cm diamerter,12 cm 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.

An unusually shaped porcelain vase with iron spots on celadon by important female artist Suwa Sozan II enclosed in the original signed wooden box titled Tobi-Seiji Hanaire. It is 13 cm (5 plus inches) diameter, 27.5 cm (11 inches) tall 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 II (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.