The Kura - Japanese Art Treasures
Robert Mangold has been working with Japanese antiques since 1995 with an emphasis on ceramics, Paintings, Armour and Buddhist furniture.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950 item #1500586 (stock #K601)
The Kura
$650.00
An exquisite set of lacquered bowls by Inami Tadashi of the Wajima lacquer tradition enclosed in the original compartmentalized signed wooden box. Inside and outside the lids, the mirror black polished surface is decorated in the maki-e tradition using genuine gold and silver powders with various seasonal flowers.
Tadashi Inami (real name: Tadashi Inami) was born in March 1923 in Kanazawa, Ishikawa Prefecture. His family has been known for generations as Kiritsusai, a lineage of lacquer artists, with the founder being renowned for his significant contributions to the development of Wajima lacquerware. At the age of 19, Tadashi entered the Ministry of Education's Craft Technology Training Institute affiliated with the Tokyo School of Fine Arts, where he deeply studied ancient Chinese and Korean ceramics. He learned pottery from Hajime Kato, who developed his unique style with colored porcelain and Kinrande. He studied lacquer art under Kakujiro Yamazaki, known for his colorful lacquer and innovative designs, and further honed his pottery skills with Kenkichi Tomimoto, who, like Hajime Kato, emphasized both artistic originality and mass production. These experiences deeply influenced Tadashi's direction and creativity as a craftsman. After graduating from the institute in 1944, Tadashi began studying Kaga maki-e from his father. In 1946 (Showa 21), he achieved his first acceptance at the 2nd Japan Art Exhibition with his piece "Summer Vine Grass Handbox," and continued to receive various awards. In 1953, he became the director of the Wajima Lacquerware Research Institute in Wajima City. His work has been exhibited in various countries, including the United States, Hawaii, Rome, Canada, Spain, and Belgium, as part of the Japan Contemporary Craft Art Exhibition. In 1975, he traveled to Europe as the Deputy Chief of the Ishikawa Art and Culture Mission, and in 1995, he was appointed as a director of the Japan Art Exhibition. In his mid-80s, he presented the flower vase "Yoyō" at the Hokuriku Craft and Modern Glass Craft Exhibition during the Rome Prize Festival. Sadly, Tadashi passed away in 2011 at the age of 87.
All Items : Artists : Lacquer : Pre 1990 item #1502277 (stock #K718)
The Kura
$9,500.00
An amazing carved lacquer box by Ishii Naotake enclosed in the original signed wooden box exhibited at the 31st National Traditional Crafts Exhibition (Nihon Dento Kogeiten) in 1984 published on page of the catalog (included). It is created using multiple layers of colored lacquer which have been meticulously carved through with an intricate design centered around a verde panel of blossoming water-lillies. The box is 27 x 30 x 5.5 cm (11 x 12 x 2 inches) and is in excellent original condition.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1940 item #1500641 (stock #K440)
The Kura
$1,800.00
A lacquer box decorated with a Rimpa style thatched house under golden boughs by Kamisaka Sekka dating from the late Taisho period. It is 15 x 12.5 x 6 cm (6 x 5 x 2 inches) and is in overall fine condition, with a few stress cracks gained over the last century.
Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art (future University of Fine Art), and was widely exhibited and prized throughout his career, which ended in retirement in 1938.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950 item #1500519 (stock #K617)
The Kura
$850.00
A blending of traditional motifs and modern design create this architectural lacquered box datong from the mid 20th century enclosed in the original wooden storage box titled Bunko (document container). The floral theme carved into the striped lid covered in powdered gold and silver is Myoga (Japanese ginger). It is 30.5 x 24.5 x 12 cm (12 x 10 x 5 inches) and is in overall excellent condition.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950 item #1500496 (stock #KN005)
The Kura
$250.00
A beautiful Natsume Tea Caddy for containing matcha powdered tea decorated with Nobori-kiri and chrysanthemum blossoms enclosed in the original wooden box signed Shunho. It is 7 cm diameter, 7.5 cm (roughly 3 inches) tall and in excellent condition.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1940 item #1501545 (stock #K661)
The Kura
sold
A voluminous vase by important Kyoto artist Miyanaga Tozan with raised floral motif covered in jade green celadon glaze. Exquisitely rendered, it is 30 cm (12 inches) diameter, roughly the same height, and weighs 5 kg (roughly 12 pounds), dating from the first half of the 20th century, 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.
All Items : Antiques : Regional Art : Asian : Japanese : Okimono : Pre 1900 item #1501457 (stock #K696)
The Kura
$6,500.00
A serene Edo period image of Amida seated in meditation lacquered and originally covered in gold which has much worn away with time and handling. He has glass eyes and a white jewel embedded in his forehead as well as a larger crystal set into the first tier of his snail covered head. It is roughly 28.5 x 26 x 37 cm (11-1/4 x 10-1/4 x 14-1/2 inches). Made in the Yosegi style of joined wood. there is a repaired crack across the thighs, where it was originally joined, and a dimple in the chin where it has been hit some long time ago.
Amida Buddha, also known as Amitābha, is one of the most revered figures in Japanese Buddhism, particularly in Pure Land Buddhism (Jōdo-shū and Jōdo Shinshū). He is the Buddha of Infinite Light and Infinite Life, representing compassion and wisdom. Amida Buddha is believed to have created a paradise known as the Pure Land (Jōdo), where all beings who sincerely call upon his name can be reborn. This paradise is free from the sufferings of the mortal world and is a place where enlightenment is easily attained. Amida Buddha's teachings emphasize universal salvation and offer hope and solace, making his worship one of the most accessible and beloved practices in Japanese Buddhism.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1900 item #1501424 (stock #K619)
The Kura
sold
A large Edo period pottery figure in the shape of a parade elephant carrying a massive Buddhist Prayer drum on its back signed and dated to 1841. Both the saddle and Drum are created separately to fit together, the saddle removable to reveal the hollow center which would have been filled with ash and held the burning incense. The saddle is dated inside Tenpo 12 and signed by the 73 year old man Ei-o followed by a seal reading Ei-O. The same stamp has been impressed into the elephants back left leg. It is (assembled) 42 x 19 x 60 cm (16-1/2 x 8 x 24 inches). There is a chip in two of the flames coming off the central drum disc, and there is an old repair along the bottom edge above where it fits into the saddle. Otherwise aside from typical firing cracks associated with this type of figure which formed naturally in the kiln, it is in surprisingly good condition.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Wood : Pre 1940 item #1502490 (stock #K705)
The Kura
$900.00
A large wooden basket hollowed out from rootwood with a natural meandering looping handle. It is 49 x 48 x 28 cm (19 x 19 x 11 inches) and is in excellent condition.
All Items : Antiques : Regional Art : Asian : Japanese : Earthenware : Pre 1900 item #1501671 (stock #K616)
The Kura
$950.00
A rare large earthenware jar from the kilns of Amakusa in Kumamoto prefecture, southern Japan. Amakusa is rarely decorated, but this jar is beautifully rendered with overlapping petals like lotus flowers about the shoulder which catches and diverts into streamlets what appears to be bamboo ash glaze running down from the neck. It is heavily potted, mad to withstand human usage. The jar is 34 cm (13-1/2 inches) diameter, 44 cm (17 inches) tall and in excellent condition.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1910 item #1502203 (stock #K783)
The Kura
$3,500.00
A very large Kutani Porcelain Vase richly decorated from the Kaburaki Studio dating from the later Meiji period, early 20th century. The design is both rich in tradition, yet strikingly modern. It is 21 x 14 x 41cm and in excellent condition, enclosed in a period wooden box bearing inside the Kaburaki label.

The Kaburaki Kutani Porcelain Shop was established in Kanazawa in 1822 as the very first Kutani merchant family business. Since then the Kaburaki family has handed down our family business from generation to generation until the present 8th. At the height of Kutani porcelain production during the Meiji and Taisho periods (1868~1926), the Kaburaki Kutani products were exhibited in various venues at home and abroad as well as at the world expositions. The Kaburaki family started our business in Kanazawa in 1822, the era of Ienari, the 11th Tokugawa shogun, as the very first commercial merchant of Kutani porcelain. Kutani porcelain was reactivated under the patronage of the Kaga clan and the old Wakasugi and Ono kilns were just founded. Two years later, the famous Yoshidaya kiln was set up by Mr. Den-emon Toyota. During the revival period, the Kaburaki family had played a very important role in not only selling stocks but also producing original porcelains painted by artisans in their own factory. Meiji to Taisho Period (1870's-1920's). The Fourth Owner, Jihei Kaburaki, had stepped up efforts to expand export around the world starting during the last phase of Edo Period and in the early Meiji Era the foreign business took off. In coincident with domestic demand expansion, our production capacity was in place in terms of both quality and quantity. In that period, Kutani was said to be completely revived as local representative industry and be set in prosperity by increasing export. The Kaburaki family had active presences in many exhibit occasions, both domestically and internationally. Thanks to acquired high reputations and fame with series of awards, Kutani by the Kaburaki were appreciated as topnotch products. It is mentioned in the history book “330years of Kutani” that, “Our Kaburaki emblem stamped on back of each and every product shows our pride and responsibility in our work. We believe in keeping our mind modest and wanting to have our customers the best products, and such an attitude might have led us in a position as a leading merchant.”
All Items : Artists : Lacquer : Pre 1980 item #1502202 (stock #K725)
The Kura
$3,500.00
An incense case of layered lacquer carved thorugh in the design of a flower by Living National Treasure Otomaru Kodo enclosed in the original signed wooden box titled Tsuishitsu Kogo Hitsuji Gusa (Water Lilly Carved Lacquer Incense Case). It is 6 x 6 x 2.5 cm (2-1/4 x 2-1/4 x 1 inches) and in excellent condition, carefuly preserved in a fine silk lined pouch, the original singed box in turn enclosed in a lacquered outer box (Niju-bako)..
Otomaru Kodo (1898–1987) was a distinguished Japanese lacquer artist renowned for his mastery of choshitsu (carved lacquer) techniques. Born in Takamatsu, Kagawa Prefecture, he began his apprenticeship under Ishii Keido in 1910 and, from 1914, independently studied the works of Tamakaji Zokoku, a pioneer of Sanuki lacquer art. In 1921, Otomaru co-founded the art group Kofukai with metalcraft artist Osuga Takashi and others, actively participating in exhibitions. His work gained significant recognition in 1932 when he was first accepted into the Imperial Art Exhibition (Teiten), leading to regular displays in subsequent exhibitions. In 1942, his carved-lacquer piece, "Cosmetic box with moon-flower design," received a special award at the 5th New Ministry of Education Art Exhibition; this work is now part of the Takamatsu Art Museum's collection. Otomaru's innovative use of rich colors set his work apart. While traditional lacquerware primarily utilized vermillion, black, yellow, green, and brown, he introduced new pigments to achieve a broader spectrum of hues, enhancing the expressiveness of his designs. In recognition of his contributions to Japanese crafts, Otomaru was designated an Important Intangible Cultural Property holder (Living National Treasure) in 1955, specifically in the carved-lacquer division. That same year, he played a pivotal role in establishing the Japan Kōgei Association, further influencing the development of traditional Japanese crafts.
All Items : Antiques : Regional Art : Asian : Japanese : Okimono : Pre 1930 item #1501283 (stock #K717)
The Kura
$525.00
Sale Pending
A Maiko (apprentice Geisha) holds up a large silver mirror for her sempai (senior), a beautifully sculpted pottery figurine of raw, unglazed red earth signed underneath by the artist. It is 11.5 x 11.5 x 18 cm (4-1/2 x 4-1/2 x 7-1/4 inches) and is in excellent condition. Late 19th to early 20th century.
All Items : Antiques : Regional Art : Asian : Japanese : Pre 1910 item #1500701 (stock #K657)
The Kura
$800.00
A large bowl fired in France decorated by Ueda Kochu based on imagery from the Shosoin collection of Imperial Art enclosed in an old wooden box titled Furansu Yaki Kacho E Hachi, Shosoin Gyomotsu Moyo, Ueda Kochu HakuHitsu. This type of dish, made in France, was imported as a blank, decorated in Japan and re-fired, thus giving it overlapping marks of the original French maker and the artist’s signature. A very rare combination offering an intriguing look into the ceramics trade in the 19th century. It is 21.5 cm (8-1/2 inches) diameter, 11 cm (4 inches) tall and in excellent condition.
Ueda Kôchû (1819~1911) was born in Kyoto, the son and pupil of Shijo School artist Ueda Kôfu. After his father's death in 1832, he moved to Osaka where came under the tutelage of Nagayama Kôin. Following the chaos of the Meiji Restoration, Kochu painted on umbrella. It is said he painted on umbrella for a living after the Meiji Restoration. After the Meiji restoration he painted umbrellas, worked as a writer, travelled extensively throughout Japan, and served as a professor at the Naniwa Art School. He was a prominent painter in Osaka art circles and shortly before his death, painted the screens in the Tenman-Shrine. Work by him is held in the British Museum, the Minneapolis Institute of Art among others.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950 item #1500374 (stock #K636)
The Kura
$400.00
A beautiful lacquered bowl decorated with Plum Pine and Bamboo, the 3 friends of winter. In the center appears to a giant sea turtle supporting a large rock formation referring to the mythical paradisical island home of the immortals. There, the three auspicious plants thrive and promise good fortune—bamboo stalks, pine leaves, and plum flowers. Inside the bowl is simple clack, and it is in excellent condition, measuring 24 cm (9-1/2 inches) diameter, 13 cm (5 inches) tall.
Shochikubai, which translates to "pine, bamboo, and plum," holds deep significance in Japanese literati culture, art, and aesthetics. It originates from Chinese traditions and has been adapted and enriched in Japan over centuries. Each plant in the trio symbolizes specific virtues and qualities, reflecting resilience, perseverance, and beauty: Pine trees remain green year-round, symbolizing unchanging integrity and strength even in the harshest winters. Bamboo bends but does not break, a metaphor for the ability to adapt to challenges without losing one's moral foundation while the hollow center symbolizes humility and openness, qualities valued in literati and spiritual life. Plum blossoms are among the first to bloom in late winter, heralding the arrival of spring. They are a reminder of perseverance and the promise of renewal even during difficult times. The three are often associated with the New Year and other celebratory occasions. They serve as a powerful visual and literary metaphor for enduring values and auspiciousness, making it an enduring theme in Japanese art, literature, and everyday life.
All Items : Antiques : Regional Art : Asian : Japanese : Earthenware : Pre 1900 item #1502011 (stock #K457)
The Kura
sold
A set of 5 unique small dishes incised with poems by Otagaki Rengetsu enclosed in a period wooden storage box. Each is roughly 10 cm (4 inches) diameter, 2 cm (slightly less than 1 inch) tall and in overall fine condition. The poems read: Yamazato no tsuki Gentlefolk of Miyako,
mi ni ki mase Miyakobito please come see the moon in my mountain village...
kado no hataimo ni te matsura nan. I'll serve you some potatoes from my garden
2.
Shiragiku no makura ni chikaku White chrysanthemums kaoru yo wa yume mo near my pillow scent the night... ikuyo no aki ka he nu ran. in my dream how many autumns did I pass through? 3.
Hi ni soi te medetaki fushi ya Day by day promising knots pile up―
kazou ran long life taking hold beside my hut
chiyo wo kome taru yado no wakatake in the young bamboo
4.
Irigata no migiri hidari ni From dusk the fragrance of plum
kaoru nari ume ya blooming everywhere— the sorrow of parting
nagori no ariake no tsuki the early morning moon
5.
Ori tachi te asana arae ba Coming down to wash my morning greens—
Kamogawa no kishi no yanagi ni from a willow at the Kamo riverbank
Uguisu no naku the song of a warbler.
Otagaki Rengetsu (1791-1875) 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.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1950 item #1502983 (stock #K759)
The Kura
$1,350.00
A stone pathway in lead, mother of pearl and eggshell pavers is fitted across the gilded cloth colored (Nunobari) surface of this lacquered storge box from the Zohiko studio dating from the mid 20th century enclosed in the original signed wooden box titled Te-Bunko. It is 22 x 29.5 x 6.5 cm (9 x 11-1/2 x 2-1/2 inches and is in excellent condition, bearing the Zohiko mark on the base. An excellent example of mid-century design.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Lacquer : Pre 1940 item #1500917 (stock #K673)
The Kura
$1,800.00
A large Bunko lacquered box by Shimada Shunko dating from the late 1930s to 1940s, enclosed in a signed wooden box. It features solid silver rims. It is 42 x 32 x 15 cm (16-1/2 x 12-1/2 x 6 inches) and is in overall fine condition. Shunko submitted a very similar design to the 6th Shinbunten in 1943.
Shunko Shimada is well-known as a lacquerware artist specializing in Wajima-nuri. His works are created using traditional Japanese lacquer techniques, particularly the maki-e method. Wajima-nuri, which developed around Wajima City in Ishikawa Prefecture, is highly regarded worldwide for its beauty and technical excellence.