Catalog (176)

Birds populate the branches of a plum tree burgeoning with blossoms on the blue void of this baluster form porcelain vase by important 20th century artist Kawamoto Rekitei enclosed in the original signed wooden box. It is 19 cm (7-1/2 inches) diameter, 24 cm (9-1/2 inches) tall and in excellent condition.
Kawamoto Rekitei was born in Aichi prefecture, home of Seto-yaki and a long standing important production center for Japanese Sometsuke porcelains. In 1914, at the very young age of 20, he received the top prize at then National Ceramics Exhibition (Tojiki Hin Hyou Kai and later (1922) received the gold prize at the Peace Exposition. His works were featured at the Paris, San Francisco and Chicago World Expositions. He was contracted by the Japanese government in 1948 to create a vase for presentation to President Truman, and his work graces the collection of the Imperial Household. In 1972 he was named an Important Cultural Property of Aichi Prefecture (Ken Shitei Mukei Bunkazai). He was survived by his son, Kawamoto Goro, and grandson, Kawamoto Taro

A collapsed bottle from the early years of the Tokoname Kilns dating from the Kamakura to Nanboku-cho periods (12th to 15th centuries) featured in the special Taiyo Art Magazine Close-up on the six ancient kilns. It is 18 cm (7 plus inches) diameter, 13 cm (more than 5 inches) tall and in fine original condition, enclosed in an old red-lacquered wooden box.
Tokoname pottery from modern day Aichi Prefecture, is one of Japan’s Six Ancient Kilns (Nihon Rokkoyō), with a history dating back to the Heian period (794–1185). Initially, Tokoname potters produced large, durable storage jars and water vessels, utilizing locally abundant iron-rich clay and high-temperature firing techniques. The region's extensive use of anagama (single-chamber) and later noborigama (climbing) kilns contributed to its flourishing as a major ceramics center. During the Kamakura (1185–1333) and Muromachi (1336–1573) periods, Tokoname ware was exported all over the Japanese archipelago, and served as the prototype for pottery from most of the other ancient kilns.

A beautiful textured black bowl decorated with impressed golden pine boughs by Raku Chonyu enclosed in an old wooden box. Impre3ssed into the foot is the artists well documented seal. It is 12 cm (5 inches) diameter, 8 cm (3 inches) tall and in excellent condition.
Raku Chōnyū (1714–1770) was the 7th-generation head of the Raku family, a lineage of potters in Kyoto renowned for their contributions to tea ceremony ceramics. Born as the eldest son of Sōnyū (6th-generation Raku master), Chōnyū inherited the family tradition and became the head of the Raku workshop in 1748. Chōnyū is remembered for his innovation and refinement of the Raku style, which emphasized simplicity, natural beauty, and wabi-sabi aesthetics. His works, primarily tea bowls (chawan), were characterized by bold yet subtle designs, and he demonstrated exceptional skill in using red and black glazes, which are hallmarks of the Raku tradition. Chōnyū continued the strong relationship between the Raku family and the Urasenke school of tea, creating tea wares that complemented the aesthetics and philosophy of the tea ceremony. His contributions further solidified the Raku family's reputation as masters of tea ceramics and set a standard for subsequent generations. After his death in 1770, the family tradition continued with his successor, Tannyū, the 8th-generation Raku master.

A rare blue and sea foam glazed dish from the Narushima kilns of Yamagata prefecture enclosed in an age darkened wooden box dating from the 19th century (Edo to Meiji periods). Beneath the undulating rim comb marks have been etched into the iron rich clay creating a pattern of leaping waves. The smooth red, fine clay is visible clearly inside the foot-ring. The dish is 24.5 cm (10 inches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition.
In the first year of Tenmei (1781), Uesugi Yōzan, lord of the Yonezawa Domain, established a kiln in Narushima as part of an industrial promotion initiative to support the domain's finances. Sagara Seizaemon, who was affiliated with the domain’s support system, studied Soma ware and passed on its techniques. The hallmark of Narushima ware is its "namako glaze," achieved by applying an iron glaze and then overlaying it with an ash glaze. The name "namako" (sea cucumber) derives from the marine creature, and the technique is believed to be an ancient method also associated with Karatsu ware from Saga Prefecture. Variants of this style are found in other regions, such as Aizu-Hongo ware in Fukushima and Naraoka ware in Akita, indicating its spread throughout the Tohoku region. Among these, Yonezawa's Narushima ware is notable for its strong bluish tones. The pottery primarily consisted of everyday household items like water jars, spouted bowls, flat dishes, and rice bowls, catering to the needs within the domain. The kiln operated until the late Meiji period.

A fierce Shishi lion roars, jaws wide and fierce eyes to the sky forming this large Raku-yaki incense burner bearing the seal of the 12th generation head of the Raku family Konyu enclosed in a period wood storage box. It is 26 x 14 x 21 cm (10-1/2 x 5-1/2 x 8-1/2 inches) and is in overall excellent condition.
Raku Konyu (1857-1932) was born the eldest son of Raku Keinyû, and succeeded as the 12th generation head of the Raku family in 1871 at the age of 15. He took the name of Kônyû at his retirement in 1919. Due to the decline in tea culture at the dawn of the modernization of the Meiji period in the 19th century, both Keinyu and subsequently Konyu were confronted with difficulties. However he was able to steer the Raku famkiluy concerns through this tumultuous time and maintain the family lineage. His work is characterized as rather reserved, though his red Raku glaze varied greatly in tone and shade allowing individuality to his sokeowhat more conservative works.

A rare Chaire tea container by Seifu Yohei enclosed in the original signed wooden box with Teishitsu Gigei-in seal. It is 11 cm tall, 6.5 cm diameter and in excellent condition.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei Shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

A boxed set of 10 black lacquered trays decorated with overlapping autumn grasses and imperial paulownia flowers with beautiful Nashiji gold powder on the bottoms enclosed in the original segmented red lacquered wooden box. They are roughly 27 x 27 x 3.5 cm (11 x 11 x 1-1/2 inches) and all are in overall excellent condition but for one with a chip in the rim and on one side.

10 Oribe plates by Kato Sakusuke enclosed in the original signed wooden box dating from the early 20th century. They are 13 cm (5 inches) square, and in excellent condition. The Katō Sakusuke family of the Akazu kiln traces its origins to Kageharu, the younger brother of Katō Riheiemon (the first-generation Tōzaburō), who returned to the village from Mino during the Keichō era in the early Edo period. The first-generation Sakusuke (Kagekiyo, born 1808), the seventh-generation descendant of Kageharu, took the artist name Jusai. As described in Owari no Hana (Flowers of Owari):"Naturally skilled in pottery, he succeeded his father’s house, adopting the name Sakusuke and greatly revitalizing the family’s work. He created vessels modeled after ancient methods, producing many tea utensils and sake vessels. His works were all refined and richly elegant." The Second Generation: Katō Kageyoshi (born in 1844) took the name Shunsen.bThe younger brother of the second generation branched off to establish a separate family line, using the name "Sakusuke" for his works, later adopting the name "Shun'itsu. The family tradition was upheld by the third generation (Seiichi, also known as Shunzan), and the fourth generation (Norihiko). It is now under the management of the fifth generation.

A set of five small Sencha Tea Cups decorated with a leaf inside, a verse of four archaic characters outside enclosed in the original signed wooden box dated Showa 3 (1928). They are 4.5 cm (just less than 2 inches) diameter, 2.5 cm (1 inch) tall and in excellent condition.
Irie Shikai was born in Fukuoka prefecture in 1862, the son of an upper level samurai retainer. He studied Nanga and Chinese style painting under Yoshitsugu Haizan and Daiju Ekizan among others. Eschewing the contemporary trend to exhibit and paint for the major National Juried exhibitions, he remained outside the mainstream. For more on this artist see Literati Modern, Bunjinga from late Edo to 20th century Japan, Honolulu, 2008.

A beautiful small tea bowl in classical Seto style covered with dark crawling glaze by Hirasawa Kuro enclosed in a box endorsed by Keiō Sōsa (Seisai, 1863-1937) the 12th generation head of Omotesenkei Tea School. The bowl is roughly 11.5 cm (4-1/2 inches) diameter, 8.5 cm (3-1/2 inches) tall and is in excellent condition. A note inside the box indicates the tea bowl was seen by Seisai in September of Taisho 9 (1920).
Hirasawa Kurō (1772–1840) was samurai and potter active during the late Edo period. He served as a retainer of the Owari Domain in Nagoya. A practitioner of the tea ceremony, he spent his leisure time crafting tea utensils inspired by traditional styles such as Old Seto (Ko-Seto) and Karatsu. His works were characterized by a distinctive charm and came to be known as "Kurō Ware" (Kurō-yaki).

A Taisho period carved image of a man play8ing the shakuhachi bamboo flute with apparent chisel marks creating a testure typical of the era signed on the base behind the players right knee. It is 26 x 18 x 29 cm (10-1/2 x 7-1/4 x 11-1/2 inches) and is in excellent condition.

A small silver 2 part orb hinged and pierced with smoke tendrils containing a container on a gimbal for burning incense. It is 9 cm (3-1/2 inches) diameter and in excellent condition, weighing 262 grams. It comes in an old wooden box titled Gin Tsuri Koro. The chain featured is a modern traditional chain we have added for ease.

An elegant set of six small cups and saucers by Teishitsu Gigei-in Ito Tozan enclosed in the original compartmentalized and signed wooden box. The cups are steep sided with creamy crackled glaze decorated with sparse bamboo. Each Cup is roughly 7 cm (3 inches) diameter, 5.5 cm (2 inches) tall, the plates 12.5 cm (5 inches) diameter and all are in excellent condition, with some color absorption due to time and use in the crackled glaze.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III nd Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title.
Ito Tozan II (1871-1937) was born the fourth son of one of the upper level samurai of the Zeze feudal domain in Otsu, just over the mountains from Kyoto and began his artistic career as a painter. He was picked up by Tozan I and introduced to the plastic arts, where he flourished, taking over the Tozan kiln in 1920, following the death of his mentor.

A breathtaking set of ten Imari bowls in a Nishiki pattern displaying the very best of that famous regions porcelain skills dating from the later half of the 19th century (Late Edo to Meiji period). Each is 12.5 cm (5 inches) diameter, 6.5 cm (2-1/2 iches tall and all are in excellent condition, signed with the character Fuku (luck) on the bottom in sometsuke blue.
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 Arita 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

A flaring Edo period Hakeme bowl exquisitely repaired with vivid gold where the side has once been severely damaged. The sand-textured clay is revealed about the rim where the glaze has been worn away with time and use. The foot is masterfully crafted from a dark iron rich clay, likely from the Karatsu region. The workmanship is incredible. The bowl is 16.5 cm (6-1/2 inches) diameter and stands 7 cm (3 inches) tall.

Intricate designs of chrysanthemum style blossoms among latticework adorned with a Paulownia crest dating from the Edo period enclosed in an old red-lacquered wooden storage box. It is 13 cm (5 inches) diameter, 10 cm (4 inches) tall and in excellent condition.

A fabulous 19th century round lacquer box covered in intricate textile designs outside, with various blossoming chrysanthemum on a fine Nashiji gold powder base within. It comes enclosed in an age darkened period wooden box protected in a disintegrating silk cloth. The box is 21.5 cm (8-1/2 inches) diameter, 8 cm (over 3 inches) tall and in excellent condition.

A breathtaking tray decorated with early morning Lotus with misty clouds of gold on highly polished ro-iro black signed Kunisada featuring a solid silver rim enclosed in a silk lined box wrapped in blue cloth pouch stamped Ogaki Kunisada. Early morning dew beads like pearls in the basin of the dilapidated leaf in the fore, while the flower bulb, not ready yet to open, glistens gold in the late summer sunlight. The tray is 27.5 x 27.5 x 3cm (11 x 11 x 1-1/4 inches) and is in perfect condition. The wooden box has a paper label simply titled Ogaki Kunisada Haibon (Sake Cup Tray).