Catalog (106)

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

A fabulous example exploring the various traits of traditional Shigaraki pottery with a thick swath of glaze covering one side, telltale feldspathic inclusions bursting from the raw clay opposite. This is a classic example of 16th century Shigaraki pottery. It is 29 x 31 x 35 cm (11-1/2 x 12 x 14 inches) and in overall excellent condition.

A large storage jar in austere dark clay with a thick smattering of amber glaze on the shoulder dating from the early 17th century. This is the highly sought Shigaraki ware, and finding pieces of this brittle clay in such fine condition is rare. It is 39 cm tall and in overall excellent condition. There is one very old chip to the rim.

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

Gold gleams on the dragon shaped prow of this boat shaped object in the style of Kyoto’s Ninsei ware. The house on top is meant to be filled with ash and serves as an incense burner. Removed it reveals a glazed compartment in which flowers can be placed, allowing the versatile object to be not only a display on its own, but also to act as a vase and or incense burner. It is 41 x 16 x 25 cm (16-1/2 x 6 x 10 inches) and is in excellent condition, enclosed in an ancient wooden storage box dating from the 19th to opening years of the 20th century.

An anonymous hyper realistic version of a skull in ceramic, late Meiji to taisho period. It is 21 x 14 x 13 cm. I would guess that originally the snake head was coming out the eye socket, and has been broken off, repaired to the state seen in the photos. This type of object was popular in the later 19th to early 20th centuries.

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

Fish and water plants in blue with a crab in black decorate this vase by master of the subject Ono Bakufu enclosed in the original Tomobako wooden box from the Sosen Gama titled Sometsuke Kabin signed and sealed inside by Bakufu. The vase is 27 cm (roughly 11 inches) tall, 16.5 cm (6-1/2 inches) diameter and in excellent condition. Born in Tokyo, Ono Bakufu (1888-1976) relocated to central Japan after the great Kanto earthquake of 1923 where he became an honorary member of the Hyogo Prefectural Academy of Fine Arts. Often displayed at the Teiten National Exhibition, he is best known for paintings of fish, which were serialized in 72 woodblock prints from 1937-1942 (Dai Nihon gyorui gashu).

An exquisite set of small petaled-plates, each wafer thin, with a floral spray of yagiku (wild chrysanthemum) in a blue dial in the center by Suwa Sozan II enclosed in the original signed wooden box titled Kiku-gata Kozara, Jukyaku (10 Chrysanthemum Shaped Small Dishes) dating from the 1920s. The design is Japanese, the decoration is strongly influenced by Korean wares. Each is 9 cm (3-1/2 inches) diameter and all are in excellent condition.
Suwa Sozan (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

Rustic Irabo style glaze covers this Edo period Hidaka-yaki Mizusashi covered in a black lacquered tsukuibuta sculpted wood lid. It is 15.5 cm (6 inches) diameter, 16cm (6-1/2 inches) tall and in excellent condition. The piece is published in the book Kishu Zenmyoji yaki (1986) figure 46. A copy of the book is included. It comes enclosed in an old wooden storage box with separate compartment for the lid.
This type of earthenware is from one of the commissioned kilns of the Kishu Domain. Also known as Zenmyoji-yaki, the kiln was established by Genryo, the 6th generation chief priest of Zenmyoji in Shima Village in Hidaka Country, during the Kyoho era (1716 – 1735).

A small Raku style Chawan by Suwa Sozan I decorated with a mountain by Daitokuji priest Sohan Gempo (Murasakino Shoun) enclosed in the original signed wooden box. The mountain image in a single dark stroke is accented by fluctuating knife marks in the clay surface like a blowing breeze. The bowl is 12 cm (4-3/4 inches) diameter and in excellent condition. Close in age and having come to the old capitol from other provinces at roughly the same time, these two were long term compatriots in Kyoto. both passed away in the same year.
Sohan Gempo, (1848-1922) was born into a Shinto family, however entered the Buddhist priesthood at the age of 12 at Kogen-ji, Kanazawa. After a brief period at Empukuji in Kyoto, he moved to Yokohama and received inka from Nakahara Nantenbo. It was in 1898 that he would be asked to take over the training facility at Empukuji. After a brief sojourn in China he came back to Japan and was appointed abbot of Daitokuji, one of Kyotos most important Zen temples, where he stayed until his death in 1922. He often signed his works (Murasakino) Shoun. An accomplished poet and calligrapher, for more information on this important priest see The Art of 20th Century Zen by Audrey Yoshiko Seio and Stephen Addiss (2000) or recently published Zenmi—a Taste of Zen: Paintings, Calligraphy, and Ceramics from the Riva Lee Asbell Collection.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A rare stacking Bento (picnic) box in the shape of a tea leaf storage jar decorated in a realistic fashion with black, silver and gold maki-e lacquer. It consists of four pieces, stacked they are 28 cm (11 inches) tall, and all are in excellent condition.

A striking soft-glazed six-sided incense burner by Maki Hokusai decorated with white flower blossoms on soft flesh colored glaze surmounted by a silver lid pierced with the character Kotobuki (Fortune) by Hata Zoroku. The pot itself is 10 cm tall, plus the sliver lid. It comes in an ancient wooden box signed by Zoroku.
Hata Zoroku I (1823-1890) learned metalwork techniques in the studio of Ryubundo in Kyoto. Hata produced works for the Imperial Household and it is known that he made the gold Imperial seal and national seal by order of the Imperial Household in 1873. He was under consideration as Artist to the Imperial Household (Teishitsu Gigeiin). He died several days before the announcement of these designations in 1890. For bronze works by Zoroku in the collection of the Imperial Household, see The Era of Meiji Bijutsu-kai and Nihon Kinko Kyokai, in Meiji bijutsu saiken I (Reappraisal of Meiji Art I) (Tokyo: Museum of the Imperial Collections, Sannomaru Shozokan, 1995), pp. 40-41.
Maki Hokusai (Bunshichi, 1782-1857) established a pottery workshop in the West district of Nagoya city during the Bunka era (1804-18). Hokusai was a master at sculpture and studied painting technique under Gekkoku. He decorated with bright colors and vivid detailed landscapes. Known as a master craftsman for making tea utensils, sake utensils, ornaments, etc., he worked for the 12th lord of the Owari clan, Tokugawa Naritaka, and produced works in the Hagiyama Niwa-yaki kiln of the Feudal lord. The kiln continued for three generations, but due to the expansion of Nagoya Station, the kiln was abandoned around 1923.

A rare hand formed iron koro signed Munehiro created in the Uchidashi manner considered the pinnacle of metal-craft, where a single lump of iron is slowly hammered and worked into a complex shape. This one is made like a tri-legged jar with glaze drips all around. The lid is pierced with a ladle and what appears to be a sake cup. The artists signature is engraved between the legs. It comes enclosed in the original signed wooden box titled Tetsu Uchidashi Koro. It is 10 cm (4 inches) diameter and in overall excellent condition.

A vibrant landscape separated by crimson clouds surrounds this koro signed in gold Seifu-zo surmounted by a fabulous solid silver lid. It is 9 cm (3-1/2 inches) diameter and in excellent condition.
Seifū Yohei I (1801-1861) was born the son of a Samurai in Kanazawa however aspired to be a potter. In 1815, he moved to Kyoto where he apprenticed under Nin'nami Dōhachi (1783-1855). He opened a studio in Fushimi before establishing another studio in the Gojōzaka pottery district. In 1847 the lord of Bizen invited him to assist at the Mushiage kiln. After returning to Kyoto he established another kiln, eventually passing this on to the second generation Seifu. He was a known literatus, and many works decorated by painters and scholars were made by him. He is held in the collection of The Met New York and the British Museum among many others.

A Tea Canister of ice colored celadon covered in thick layers of lacquer carved with scrolling designs revealing the depth of the lacquer in a style known as Guri by Suwa Sozan I enclosed in the original signed wooden box titled Guri Kogo and bearing the Teishitsu Gigei-in stamp of the imperial art academy. It is 7 cm (2-3/4 inches) diameter, roughly the same height, and in overall excellent condition. THere are two short fine hairline cracks I have found, one extending slightly up from the base, one near the rim. Both are visible in the close-up photos.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

Ragged brushstrokes, dashes of ink and jagged sweeps define this sumi-e painting by important literati artist Fukuda Kodojin. Ink on paper in a patterned satin border with ivory rollers. It is 18-1/2 x 79-1/2 inches (47 x 202 cm) and in fine condition.
Fukuda Kodojin (1865-1944) an eccentric self taught artist, his status as a poet, calligrapher and literati artist has reached legendary status. Born at a time of great change (4 years before the final fall of the Edo Government), he lived through the westernization of Meiji, Taisho Democracy, the rise of Imperialism and final defeat of the Showa eras. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. He moved to a village outside of Kyoto in 1901, where he supported himself and his family by privately tutoring those who wished to learn Chinese-style poetry. Kodojin was simply a scholar. His poetry, painting, and calligraphy all stem from a life-long cultivation of the mind. He was known to have taken the time just before his death to destroy the large portion of his own remaining work, leaving only that which must have met some personal criteria. For more on his life see the book Old Taoist, or Unexplored Avenues of Japanese Painting. Twenty five paintings by the artist formed a private exhibition (from Gitter-Yelen) at the New Orleans Museum of Art in 2000, and he is part of the Hakutakuan collection among many others. For more see the current exhibition at the Minneapolis Institute of Art and the catalog The Art and Life of Fukuda Kodojin (2023) by Andreas Marks.

A bird puffs up at rest on the peach-blossom laden branch decorating this set of five dishes by Suwa Sozan I enclosed in the original signed wooden box titled Go-sai Momo-hana Ko-e Mukozuke, Gokyaku. (Five small plates decorated with Peach Blossoms in Five Colors). The outside is decorated with peaches on the branch, and each is signed in a green handwritten seal Sozan. The box bears the seal of the Imperial Art Academy (Tei Shitsu Gigei-in). They are 15.3 cm (6 inches) diameter an in excellent condition.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.