Catalog (176)

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.

A poem wraps the finger dimpled surface of this pale glazed hira-chawan decorated with a poem enclosed in a rare signed wooden box by Otagaki Rengetsu. It is 13.5 cm (5-1/2 inches) diameter, 5.2 cm (2 inches) tall. There is single gold lacquer line extending from the rim. The poem reads:
Aoyanagi no nabiku wo mire ba Seeing green willows sway gently
Sue nagaki miyo no hajime no at the beginning of a long imperial reign...
Haru no hatsukaze the first wind of spring
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.

A paradigmatic basket by Tanabe Chikuunsai II enclosed in the orginal signed wooden box. This square form of open vertical slats is a favorite of this artist. It is 9 x 18 x 35 cm (3-1/2 x 7 x 14 inches) and is in excellent condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.

A classic early Tanabe Chikuunsai basket enclosed in the original signed wooden box signed with his early name. That this is signed Shochikusai indicates it was created before he took the family name in 1937. This square form of open vertical slats is a favorite of this artist. The basket is 10 x 17 x 33.5 cm (4 x 6-1/2 x 13 inches) and is in excellent condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.

An incredible kiln flaw from the early kilns of Shigaraki showing still a very Tokoname style rim entirely sunken into the center of the pot where it collapsed nearly straight down on itself. Looking like a stack of pancakes from the side. Kutsuki from another pot show where something else collapsed and adhered to it during the firing. A look at the bottom reveals this process, seeing how the base has been pushed and rolled to the side. The shape of this work is indicative of early Shigaraki ware, when the influence of Tokoname pottery permeated all of Japan. It is 39 x 35 10 cm (15-1/2 x 14 x 4 inches).
Shigaraki, one of Japan's Six Ancient Kilns, has a rich history that dates back to the 8th century. Its origins are often linked to the construction of tiles for Emperor Shōmu's Shigaraki-no-miya Palace around 742 AD. However, archaeological evidence indicates that significant pottery production in Shigaraki began during the Kamakura period (1185–1333), with kiln remains suggesting that potters from other regions, such as Bizen, may have influenced early Shigaraki ware. Tokoname, another of the Six Ancient Kilns, had established its ceramic production techniques earlier and, in turn, influenced emerging pottery centers like Shigaraki. The influence of Tokoname ware on early Shigaraki pottery is notable. This early cross-regional interaction contributed to the development of Shigaraki as a pottery center close to the ancient capital distinctive pottery styles. The natural resources of the Shigaraki region also played a crucial role in shaping its pottery. The area's unique clay, rich in feldspar and other minerals, was well-suited for ceramic production. This clay allowed Shigaraki potters to create a pottery tradition characterized by warm, earthy tones and natural ash glazes, which have become hallmarks of Shigaraki ware.

An organic form like a flower or some under-sea creature in vibrant red by Sasai Fumie enclosed im tehorignal signed wooden box titled Mau (dervish) and dated Heisei 28 (2016). It is entirely hollow and light as a feather so easily hung on a wall. Hemp and layered lacquer, it is 54.5 x 45 x 8 cm (21 x 18 x 3-1/2 inches) and is in excellent condition. Fumie uses the technique called kanshitsu (lacquer applied on a fabric mould) to shape her works. Then the artist uses the nuritate shiage technique to smooth the surfaces of her subjects such as flowers, fruit and natural elements in order to obtain an extremely soft and delicate effect.
Sasai Fumie was born in 1973 in Yao city, Osaka prefecture. In 1992, she attended Kyoto City University of Arts specializing in lacquer technique with the renowned professors: Dr. Kurimoto Natsuki, Dr. Mochizuki Shigenobu as well as Dr. SHINKAI Gyokuho, an important representative of lacquer decorative arts of his time. Fumie has studied different traditional techniques, including dry lacquer on wood (monkushin kanshitsu) and dry hollow lacquer (dakkatsu kanshitsu) as is used in the piece for sale here. Public collections: Minneapolis Institute of Art, USA. Musée Guimet, Paris, Museum of Fine Art, Boston, USA. Philadelphia Museum of Art, USA, Takashimaya Historical Museum, Osaka, Japan, Victoria & Albert Museum, London among others.

A large vase decorated with crabs by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Suhada Kani-ga Kabin. It is 31 cm (12 inches) diameter, 25 cm (10 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 Shino Oribe Koro with heart shaped lid pierced with phoenix and flower motif dating from the early Edo period, 17th century. Flowering vines extend form a dangling gourd about the upper part of the body, over an indented belt below which the koro rests on a swelling foot. It is 10 cm (4 inches) diameter, 13 cm (5-1/4 inches) tall and in overall excellent condition, enclosed in a modern wooden collectors storage box.
Shino pottery is one of Japan's most revered traditional ceramic styles, originating during the late 16th century in the Momoyama period (1573–1600). Known for its unique glazes and rustic aesthetic, Shino pottery holds a special place in Japanese art and culture, particularly in the context of the tea ceremony (chanoyu). Shino pottery developed in the Mino region (present-day Gifu Prefecture), which was a prominent center for ceramic production during the Momoyama period. Shino is believed to be one of the first styles in Japan to use a white feldspathic glaze, a significant innovation at the time. Early Shino ware was inspired by Chinese ceramics but evolved into a uniquely Japanese form with its understated, organic beauty. Shino typically uses a coarse, iron-rich clay called Mino clay, which contributes to its earthy appearance. The hallmark of Shino pottery is its white glaze made from feldspar. Variations in firing conditions and glaze thickness result in rich textures and subtle color shifts, ranging from milky white to orange, red, or gray. Potters often decorate Shino pieces with simple brushwork designs, such as plants, grasses, or abstract motifs, applied using an iron-rich slip or underglaze. Shino reached its zenith during the Momoyama period when tea masters prized its rustic elegance. The style declined in the early Edo period (1603–1868) as other ceramic styles, such as Oribe and Kakiemon, gained popularity.In the 20th century, Shino pottery experienced a revival, thanks to the efforts of pioneering potters like Arakawa Toyozō (1894–1985). He rediscovered ancient techniques and contributed to its resurgence, earning the title of Living National Treasure.

A stately deep wan-gata tea bowl in the Awata tradition of Kyoto decorated with eggplants in an image reminiscent of the famous persimmons of Muchi. It is signed by Chief abbot of Daitokuji Temple Taiko Sogen and enclosed in a modern Kiri-wood collectors box. The bowl is 12.5 cm (5 inches) diameter, 7 cm (just less than 3 inches) tall and in excellent condition.
Taikō Sōgen (1772-1857) was a prominent Zen monk of the Rinzai school and served as the 435th head abbot of Daitokuji Temple. His given name was Sōhiko, and he also went by the names Kōka and Saku-mu. Originally from Kyoto he entered Kōbai-in temple at the age of six and was ordained as a monk. Known for his talent in poetry, calligraphy, and painting, he associated with prominent tea figures such as the 10th-generation Sen Sōsa and the 11th-generation Sen Sōshitsu.

A beautiful image of a Buddhist saint seated in an ornate chair draped with tiger skins dating from the mid to later Edo period (18th-19th centuries). As it is seated, the sculpture, including the chair, is 32 x 18.5 x 37 cm (12-1/2 x 7-1/2 x 14-1/2 inches). There are age cracks along hois knee where the wood is joined, and over the right arm, as well as some losses to the polychrome color typical of age.

A fabulous Edo period image of a Nobori Koi (Ascending carp) made with mouth open as a hanging wall vase It comes enclosed in an old custom kiri-wood collectors box titled Owari Kogama Hai-yu Koi-gata Kake-Hanaike (Old Owari Feif Kiln Ash Glazed Carp Shaped Hanging Vase). One fin has been broken off and reattached with either pitch or lacquer, and there are ancient color filled minor chips to the brittle edges, otherwise is in surprisingly excellent condition.
In Japanese culture, Nobori Koi (ascending carp) is a powerful symbol of strength, perseverance, and success. The image of a koi carp swimming upstream or leaping up waterfalls is associated with the ancient Chinese legend of a carp that transformed into a dragon after successfully swimming up the Dragon Gate waterfall. This story represents overcoming obstacles and achieving great transformation. Nobori Koi is often featured during Children's Day (Kodomo no Hi) on May 5th, when colorful carp-shaped flags, called koinobori, are displayed outside homes to symbolize the hope for children's growth, strength, and the ability to overcome challenges in life. The flying carp also represents the wish for boys to grow up strong and successful, with the imagery of the fish reaching new heights as a metaphor for personal achievement and perseverance in the face of adversity. Thus, Nobori Koi reflects important values in Japanese culture, such as determination, ambition, and the aspiration for improvement and triumph.

A boat shaped hanging vase of hand forged iron hammered out of a single piece of metal using the uchidashi technique with waves rolling down the sides. It is lined with a dark metal, some blend of Shibuichi and copper, and suspended from a hand made chain. The vessel is 48 x 17.5 x 18.5 cm (19 x 7 x 7-1/2 inches) and is in excellent condition dating from the Edo period. It comes in a kiri-wood storage box titled Nanban Tetsu Uchidashi Tsuri Hanaike.
Uchidashi is a traditional Japanese metalworking technique used to create intricate raised designs on metal surfaces, commonly seen in samurai armor, sword fittings, and decorative objects. The term "uchidashi" translates to "hammered out," reflecting the method of working metal from the reverse side to achieve detailed relief on the front. The ultimate expression is three dimensional objects which stretch the limits of the material and showcase the extremities of the artisans skills.

A fine Ni Mai Do Gusoku which features a 12 plate kabuto with Teppo-boshi rivets surrounding a finely worked Tehen kanamono. Prominent Fukigaeshi covered in printed leather with mimi-ito (both matching the leather, piping and lacing of the armor) curve back from the four broad plates in black lacquer forming the Manju-shikoro. The helmet is signed Nakahachiman Minamoto Yoshikazu Saku and dated the second month of Ansei Roku (1859) when the country was in the throes of revolution and war. It is crowned by a carved and gilded wood Dragon Maedate. The armor features a russet iron mask in the Ressei-ho style, also signed by the same Yoshikazu under the chin with matching black lacquered four-plated yodare kake throat defense. It has matching black lacquered Chu-sode in excellent condition. The Do is a fine black lacquered Mogami-do of iron with rows of Kusazuri hanging from the waist enriched with elements covered with Egawa, with blue, silk lacing and Mimi-ito matching the helmet. It retains the original sangu (Kote, Haidate and Suneate), covered in chestnut silk, which is delicate and has torn in several places. Otherwise minimal defects of time and slight loss of lacquer. It comes in an Edo period wooden storage case (Yoroi-hitsu).
Nakahachiman Yoshikazu was a armor maker of the later Edo period. An armor from the possessions of the Daimyo of Tokushima, Hachisuka Narihiro was made by Nakahachiman Yoshikazu.
Hachisuka Narihiro was a son of the eleventh shōgun Tokugawa Ienari, and Daimyo of the Tokushima Domain. He died during the Battle of Toba-Fushimi at the start of the Boshin War at the age of 48.