Catalog (176)

A beautifully sculpted 19th Century image of a mischievous Tanuki dressed in priests robes by Ninnami Dohachi of Kyoto, hands overlapping in a meditative pose dating from the 19th century. Signed on the bottom it measures 24 x 24 x 27 cm (roughly 9-1/2 x 9-1/2 x 10-1/2 inches). There is a firing crack under the right jaw, and in the tail, otherwise is in great condition. It comes enclosed in an age darkened wooden display box.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I. Following the early death of his older brother he succeeded the family name, opening a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles. Along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. Ninnami Dohachi II and his son (the future Dohachi III) were invited by the local lord Matsudaira to produce pottery at the Sangama kiln in Sanuki Kuni on the island of Shikoku in 1832. He would return later, agan with his son as well as his apprentice Siefu Yohei, in 1852. The third generation (1811-1879) continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the annals of Kyoto ceramics well into the Meiji period. Takahashi Dohachi III began to use the title Kachutei Dohachi and was granted the title Hokyo by Ninaji-miya of the Imperial family. He retired to his grandfathers kiln in his later years, giving control to his son the fourth generation Dohachi (1845-1897) who also used the title Kachutei. The fifth generation (1869-1914) was adopted into the family and took head of the kiln in 1897 and was one of the top rated potters of his time, heavily influencing following generations including one of his top students, Ito Tozan. The kiln continues today with the 9th generation. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others.
The tanuki (Japanese raccoon dog) is a significant figure in Japanese folklore, celebrated for its mischievous, shape-shifting abilities and humorous antics. Known for their playful and sometimes morally ambiguous nature, tanuki are often depicted as masters of transformation and disguise, embodying themes of deception, adaptability, and humor. In some folk tales, tanuki disguise themselves as Buddhist nuns or priests, often with humorous or ironic undertones. This imagery blends the sacred with the absurd, highlighting the tanuki's cheeky nature. Disguising as religious figures underscores the tanuki's ability to deceive even in spiritual or solemn contexts. These tales serve as cautionary stories about gullibility and the need for discernment, even in sacred spaces.In tales like the Bunbuku Chagama, a tanuki transforms into a Buddhist priest or a sacred object (a tea kettle) to trick humans. Tanuki dressed as religious figures can be interpreted as subtle critiques of hypocrisy or the undue reverence given to appearances, reflecting a deeper layer of humor in Japanese storytelling.

A set of five covered square-Karatsu Bowls with iron designs under transparent glaze drizzled with foamy pale green dating from the later Edo period. One bowl and two lids have shiny black lacquer repairs which truly add to the beauty of the set. They are 9.5 x 9.5 x 11 cm (4 x 4 x 4-1/2 inches) and come in a dilapidated wooden box.

A broad-leafed tree in iron sprawls on the side of this earthy tea bowl by Kiyomizu Rokubei VI enclosed in the original signed wooden box titeld E-Hakeme Chawan. Hakeme refers to the broad brush stroke of white slip which decorated the gray glaze both inside and out. The bowl is 12 cm (5 inches) diameter, (3-1/4 inches) tall and in excellent condition.
The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district throughout the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei IV. Rokubei V led the kiln into the 20th century, and his son, Rokubei VI (1901-1980), would assume lead in 1945, taking the kiln through the tumultuous years after the Second World War. He graduated the Kyoto Municipal School of Arts and Crafts, then the Kyoto Special School of Painting, before apprenticing under his father in 1925. He exhibited frequently and was often prized at the National Bunten, Teiten and Nitten Exhibits, where he later served as judge. He was also lauded abroad, in the USSR, France, Italy, Belgium and was appointed a member of the Japan Art Academy. In 1976 he was awarded the Order of Cultural Merit for his lifelong devotion to promoting Japanese pottery traditions. His works are held in numerous museums throughout the globe.

An exquisite wooden box with collapsing handle affixed with Zogei pins made of split ebony inlayed with staghorn, mother of pearl and Zogei carved images of soaring birds and dried winter grasses. It is signed with a Zogei tablet what appears to be Houn. The egret, much of the bamoo and spray of grasses appear to be staghorn. One shiny leaf on the bamboo is mother of pearl. It is enclosed in an old wooden box with the inscription “Beloved Item inherited by the heir Tadasuke from Yui Heijiro dated the 8th month of Taisho 7 (1918) placing the item certainly at least as far back as the later Meiji period late 19th to early 20th century). It is 18.5 x 18.5 x 12 cm plus the collapsing handle and in excellent condition.

An exquisite Inbe (Bizen) pewter-edged carved-ceramic bun-shaped box with edges lined with pewter. It is 6.5 m (2-1/2 inches) diameter, and in perfect condition, enclosed in a somewhat dilapidated kiri-wood box.

An exquisite crackled celadon jar with a small mouth stoppered with a wooden bung over which is placed a worked brass lid engraved with srolling vines and flowers in the shape of a cloth cover, the entire enclosed in a fine kiri-wood box titled Korai Unkaku Seiji Furidashi (Shippo Fukuro Kuchi Futa yo). About the shoulder are impressed a belt of flower blossom shapes filled with white slip below which can be seen soaring birds and circles in the same technique over a double line separating it from the base. It is 10.5 cm (4 inches) diameter, 15.5 cm (6 inches) tall and in excellent condition.

A leaping Shachi Dragon-fish peaks this delicate porcelain censer by Miura Chikusen enclosed in the original signed wooden box. It is 10.5 cm (4 inches) diameter, 15 cm (6 inches) tall, signed on the base, and in excellent condition.
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The Eldest son took over after his father assuming the family name as Chikusen II, but died young in 1920 leaving a young child, whereupon his younger brother took over as Chikusen, III. However when Chikusen IIs eldest son was old enough, III relinquished the helm, appointing his nephew Chikusen IV and assuming the name Chikuken (Chikken). The kiln continues, currently under the management of the fifth generation.

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. They are signed Kutani inside the foot. Each is 10 (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

A sumptuous hexagonal box, each of the sides a different color decorated on top with Ranpaku (Eggshell) and slices of gold forming a Camelia flower enclosed in the original signed wooden box. The colorful sides are preformed in togidahi maki-e with gold clouds drifting through the layers of color. The inside is lined with velvet, for storing jewlery. It measures 16 x 14 x 6.5 cm (6-1/2 x 5-1/2 x 2-1/2 inches) and is in excellent condition, signed in gold on the base. The box is titled Botan-no-e Maki-e Rokkaku Hoseki Bako (six sided box with camelia design)

An exquisite vessel covered in pale earth-toned glaze reavealing the clay along the edges from the Edo period kilns of Hagi covered with a two piece custom made black lacquered wooden lid and enclosed in a period wooden mox titled Ko-Hagi Teguchi Mizusashi. It is 20 x 15 x 21 cm (8 x 6 x 8-1/4 inches) and is in excellent condition.
Hagi pottery is known for its rustic and understated beauty, which resonates with the wabi-sabi aesthetic central to the Japanese tea ceremony. The tea ceremony during the Edo period emphasized natural beauty, simplicity, and humility, and Hagi ware embodied these principles. The soft, often uneven glaze and earthy tones of Hagi pottery highlight the handmade nature of the work, and any imperfections, such as cracks or asymmetry, were seen as adding to the piece's character and value. A key feature of Hagi ware is its ability to change over time, which made it particularly valued in the tea ceremony. The soft, porous clay and glaze of Hagi pottery gradually absorb tea, and over time, the ware develops unique stains and crackles, known as keshiki (scenery). This change symbolized the passage of time and the deepening of the relationship between the tea practitioner and the object, reflecting the fleeting nature of life—a concept deeply embedded in the practice of tea. Additionally, the neutral, soft tones of Hagi bowls provided a gentle contrast to the bright green of matcha tea, enhancing the visual appreciation of the ceremony.

This is a superb Bunraku puppet of the historical figure Matsuomaru, one of the lead characters from the Tale of the Heikei and legendary fighter in Japan. The doll is incredibly mobile. Head moving up and down, his eyes open and close and move left to right. His eyebrows can be raised and lowered, and mouth opened or closed, all from toggles inside his kimono on the extended neck piece. The puppet is in perfect condition and stands 43 inches to the top of his topknot, complete with a bamboo display stand. As pictured it stands 1 meter, (roughly 3 feet) tall and is in excellent condition. It is signed on the neck, and comes with a small placard also signed and titled by the maker.
Matsuōmaru is a character in Japanese Bunraku and Kabuki theater, a central figure in the play "Yoshitsune Senbon Zakura" (The Thousand Cherry Trees of Yoshitsune), which is one of the most famous and beloved historical plays in the bunraku and kabuki repertoire. Matsuōmaru is portrayed as the younger brother of Minamoto no Yoshitsune, a legendary samurai warrior and military commander during the late Heian and early Kamakura periods of Japan's history. In "Yoshitsune Senbon Zakura," Matsuōmaru is depicted as a loyal and brave character who assists his brother Yoshitsune in various adventures and battles. The play centers around Yoshitsune's escape from the pursuit of his enemies, particularly his brother Yoritomo, who becomes suspicious of Yoshitsune's growing popularity and loyalty among their followers.

Bamboo ash glaze runs in yellow rivulets from the neck of this striated jar from the Meiji period kilns of Kumamoto prefecture. The jar is beautifully crafted, with sweeping waves arcing up from the foot under scores of sharp louvers. A trio of tie rings circle the neck, with stylized frets engraved in a tight band under the flaring rim. It maintains the custom made wooden bung which is annotated New the 6th month of the 37th year of Meiji (1904) for the Tsujimoto family. It is 27 cm (11 inches) diameter, 33.5 cm (13-1/4 inches) tall and in perfect condition. This is a spectacular version of this rare mingei pottery tradition.
Shodai ware is a type of pottery begun approximately 400 years ago in Kumamoto Prefecture named after the kilns that were built at the foot of Mount Shodai, and it is considered one of the region's representative ceramics. Technically and stylistically, Shodai ware draws influence from the Korean Peninsula, featuring a rustic and robust style created using clay rich in iron, which is covered with dark reddish-brown glazel, but its characteristic design is produced by pouring differently colored glazes like yellow and white. These are produced from the ash of straw or bamboo grass. Legend states the craft began when the Hosokawa family took control of Higo Province they brought Mekoji Genshichi and Katsuragi Hachizaemon, from Buzen and Agano ware to establish kilns at the foot of Mount Shodai around 1632. Around the same time, Takada ware was also created by others, who relocated from Buzen and Agano to Yatsushiro. The use of straw ash glaze as the fundamental glaze has remained largely unchanged to the present day. In the Edo period, most Shodai ware, with few exceptions, was consumed within the Higo domain and did not spread to other regions. The remains of the kiln sites used during that time, such as the Bin'yaki Kiln and the Segami Kiln, can still be seen in Nankan Town today.Currently, there are 11 kiln families in Kumamoto Prefecture.

This is a Rotsubo, a crucible in which pottery would have been contained during firing to protect it from flame and flying debris. Used for many years, the outside is coated in flowing green, yellow and olive glazes, indicating it is likely rom the Seto or Tokoname regions. A magnificent piece, it is 18 cm (7 inches) diameter, 25 cm (10 inches) tall and in excellent condition and comes enclosed in an old wooden box with the faded letters Rotsubo written on the lid.
The use of damaged or repurposed items in the Japanese matcha tea ceremony (chanoyu) reflects the profound aesthetic and philosophical principles of wabi-sabi, which values imperfection, impermanence, and the beauty of natural wear and age. Wabi-sabi originates from Zen Buddhism and emphasizes simplicity, humility, and acceptance of transience. In chanoyu, this philosophy is expressed through the use of objects that show signs of wear, repair, or age. It is a celebration of imperfection, Items with cracks, chips, or asymmetry embody the imperfection inherent in nature and life. This imperfection is not seen as a flaw but as a unique story carried by the object. In chanoyu, objects such as old roof tiles, bamboo remnants, or wooden fragments are often repurposed as utensils or decorations, reflecting the resourcefulness and mindfulness of the practitioner. Implements made from simple, everyday materials, such as an old basket repurposed as a flower vase or a rustic wooden ladle, align with the aesthetic of finding beauty in the mundane. Imperfect or aged items create an atmosphere of peace and contemplation, encouraging participants to focus on the moment. Each piece, especially if damaged and repaired, becomes unique, embodying the artisan’s or user’s story. The natural materials and their gradual transformation over time echo the seasonal and transient themes central to tea ceremony aesthetics. By using damaged or repurposed items, the host conveys humility and a respect for history and tradition. The practice teaches guests to value the essence of things over their outward perfection, encouraging mindfulness and gratitude and embodies the Japanese reverence for transience, turning objects that might be discarded in other contexts into cherished treasures. This practice serves as a poignant reminder to appreciate life's imperfections and to find beauty in the unexpected.

A dragon encircles the center of this porcelain vase by Daimaru Hokuho (Hoppoo) enclosed in the original signed wooden box. The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The typical Gu form rises a lobe about which the dragon has been engraved in red. It is 26.5 cm (10-1/28 inches) tall and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

A beautiful gilded bronze Buddhist Pagoda on wooden base with four sets of doors opening to reveal a compartment wrapped in a golden lattice cage. It is 18 x 18 x 28 cm and is in excellent condition, dating from the 20th century.

A Kiri-wood tray decorated with a delicate landscape and poem by Tanaka Hakuin enclosed in the original signed wooden box dated the Autumn of Taisho 8 ((1919). It is 44 x 30 x 3.5 cm roughly 17-1/2 x 12 x 1-1/2 inches) and is in excellent condition.
Tanaka Hakuin (birth name Nakagawa Keizaburo, 1866-1934) was born in Suruga, Shizuoka prefecture in the last years of the Edo period and became a student of Tanomura Chokunyu in Kyoto, the cultural heartland of Japan, at the age of 17. This was a tumultuous period as Western ideas and Technology were flooding into Japan. He was the top pupil of Chokunyu, working in the style of both Chikuden and his mentor. At this time he used the name Tanomura Hakuin. In 1900 he married and moved to Hofu city in Yamaguchi prefecture taking his wifes family name Tanaka as his surname, and thereafter was known as Tanaka Hakuin. He established a school for painting where he worked for his remaining years. Work by him is held in the Mori Art Museum and Honolulu.

A small Tsuri-koro hanging censer in the shape of a long armed monkey dating from the 19th century. It is roughly 30 cm (1 foot) long and in excellent original condition

3 large Tokoname area bowls stacked upon each other and fused likely when the kiln collapsed some nearly 1000 years ago. Fabulous ash glaze runs in rivulets on the side of the second inner bowl revealed where the outermost bowl on bottom has been shattered. On top a heavy collection of fused earth and kiln debris fills the basins. It is roughly 32 cm diameter, 19 cm tall.