All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1493626
(stock #K019)
The Kura
sold, thank you
sold, thank you
An inviting poem for the 8th month is engraved among the leaves and grapes clinging to the vines forming the handle on this tall ewer covered in pale white glaze by Otagaki Rengetsu dating from the 19th century. It is 22 cm (9 inches) tall, 13.5 x 19 cm across the handle and is in excellent condition. The poem reads:
Okazaki no tsuki mi ni ki mase
Miyakobito
kado no hata imo nite matsura nan
Come see the moon in Okazaki
People of Kyoto
And I will serve you boiled garden potatoes
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.
Okazaki no tsuki mi ni ki mase
Miyakobito
kado no hata imo nite matsura nan
Come see the moon in Okazaki
People of Kyoto
And I will serve you boiled garden potatoes
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 : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1900
item #1492362
(stock #K057)
The Kura
sold, thank you
sold, thank you
Gargoyle or bat-like dragon-esque creatures spread their wings among tendrils of flame on the heavily decorated blue sides of this large pair of 19th century Sometsuke Japanese nesting bowls. Within boats ply the placid waters. The larger bowl is 24.5 cm (just less than 10 inches) diameter,10cm (4 inches) tall. The smaller is 21 cm diameter, 10cm tall and both are in excellent condition, dating from the 19th century.
The Kura
sold
sold
A fine pair of White Porcelain vases with raised designs by Miura Chikken (Chikuken) dating from the early 20th century each enclosed in the original signed wooden box. The are roughly 17.5 cm (7 inches) diameter, 28.5 cm (over 11 inches) tall and in excellent condition. Although the same diameter, one is slightly shorter than the other. Miura Chikken (Chikuken, 1900-1990) was born the third son of Miura Chikusen I. He was named the third head of the Chikusen family after the untimely death of his older brother in 1918, but returned the kiln to his brother’s son after his coming of age in 1934. That year he set out on his own path with the new name Chikken focusing on traditional Kenzan-Ninsei styles.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Stoneware : Pre 1980
item #1492876
(stock #K083)
The Kura
sold
sold
Pink, purple and red glazes mingle on the surface of this Mizusashi water jar by Matsuyama Gae enclosed in the original signed wooden box titled Kujaku-yu Mizusashi and signed inside the lid by the Urasenke Konnichi-an Grand Tea Master, Sen Genshitsu. It is 20.5 cm (8 inches) diameter, 12 cm (5 inches) tall and in excellent condition.
Gae I Returned from China in 1945, where he had been posted for eight years and had studied in depth ancient Chinese ceramics. In 1947 he opened his own kiln and immediately won acclaim, as well as the Mayors award for Kobe in 1948. Working together with his wife they developed this glaze through trial and error in 1951. Several pieces were collected by the Imperial Household agency in 1953 and 1954, and a vase was sent as a gift to then President Eisenhower in 1960. During this time they received many awards and presented at a great many exhibitions. Gae died in 1963 of cancer, and after one year of mourning, Tsutako continued the name and work. She continued to exhibit and was again accepted into the Imperial collection in 1964, and was also featured at the World Exposition in 1970 held in Osaka. When she passes away her daughter continued the family tradition, becoming the third and last Matsuyama Gae. Sen Genshitsu was born in Kyoto on April 19, 1923, as the first son of the 14th-generation Urasenke iemoto, Mugensai. His given name was Masaoki. He served as Urasenke Iemoto for thirty-eight years, up to the end of 2002, when he transferred the title and the hereditary name Soshitsu that goes with it to his eldest son, Zabosai. At that time, he changed his own name from Soshitsu to Genshitsu, and he became referred to by the title Daisosho, signifying his status as the once grand master. After serving as a pilot in the Airforce division of the Japanese navy during WWII, and then completing his temporarily interrupted university education at Doshisha University, Kyoto, graduating from the Faculty of Economics, he took Buddhist vows under Goto Zuigan, chief abbot of Daitokuji temple, and received the Buddhist names Hounsai Genshu Soko. In 1950, he was confirmed as heir apparent of Mugensai, and thus became referred to by the title Wakasosho. He made his first trip abroad that year, to Hawaii and the USA, and since then he has made more than three hundred trips abroad and been to more than sixty countries. He lived in Hawaii in 1952, during which time he lectured at and also took courses at the University of Hawaii at Manoa, beginning his long and dedicated association with that university. Upon Mugensai’s death in 1964, he succeeded as the 15th-generation Urasenke iemoto, Hounsai. He is widely known as a global-minded promoter both of the culture embraced by the Way of Tea and of World Peace. Among his many awards and recognitions, in 1997, he was awarded the Order of Culture by the Emperor of Japan.
Gae I Returned from China in 1945, where he had been posted for eight years and had studied in depth ancient Chinese ceramics. In 1947 he opened his own kiln and immediately won acclaim, as well as the Mayors award for Kobe in 1948. Working together with his wife they developed this glaze through trial and error in 1951. Several pieces were collected by the Imperial Household agency in 1953 and 1954, and a vase was sent as a gift to then President Eisenhower in 1960. During this time they received many awards and presented at a great many exhibitions. Gae died in 1963 of cancer, and after one year of mourning, Tsutako continued the name and work. She continued to exhibit and was again accepted into the Imperial collection in 1964, and was also featured at the World Exposition in 1970 held in Osaka. When she passes away her daughter continued the family tradition, becoming the third and last Matsuyama Gae. Sen Genshitsu was born in Kyoto on April 19, 1923, as the first son of the 14th-generation Urasenke iemoto, Mugensai. His given name was Masaoki. He served as Urasenke Iemoto for thirty-eight years, up to the end of 2002, when he transferred the title and the hereditary name Soshitsu that goes with it to his eldest son, Zabosai. At that time, he changed his own name from Soshitsu to Genshitsu, and he became referred to by the title Daisosho, signifying his status as the once grand master. After serving as a pilot in the Airforce division of the Japanese navy during WWII, and then completing his temporarily interrupted university education at Doshisha University, Kyoto, graduating from the Faculty of Economics, he took Buddhist vows under Goto Zuigan, chief abbot of Daitokuji temple, and received the Buddhist names Hounsai Genshu Soko. In 1950, he was confirmed as heir apparent of Mugensai, and thus became referred to by the title Wakasosho. He made his first trip abroad that year, to Hawaii and the USA, and since then he has made more than three hundred trips abroad and been to more than sixty countries. He lived in Hawaii in 1952, during which time he lectured at and also took courses at the University of Hawaii at Manoa, beginning his long and dedicated association with that university. Upon Mugensai’s death in 1964, he succeeded as the 15th-generation Urasenke iemoto, Hounsai. He is widely known as a global-minded promoter both of the culture embraced by the Way of Tea and of World Peace. Among his many awards and recognitions, in 1997, he was awarded the Order of Culture by the Emperor of Japan.
The Kura
sold
sold
A ripened Persimmon, symbol of the season changing from autumn to winter, sits like a fat Daruma in red robes surrounded by a poem by Nomura Seiroku enclosed in the original signed wooden box. The poem reads: Furusato Ha Itsumo Mandara, Fuyu no Kaki (In my hometown the eternal Mandala, winter Persimmons). Ink and light color on paper with green fabric border featuring wood rollers. It is 37.5 x 124.5 cm (15 x 48-3/4 inches) and is in excellent condition.
Nomura Seiroku was born in 1916 as the fourth son of a farming family in Yamanashi Prefecture. During his childhood, he was entrusted to relatives and spent his time drawing late into the night while working at a cotton mill. At the age of 17, he persuaded his parents and relatives to let him move to Tokyo, where he took on various jobs while attending the night school at Kawabata Art Academy where he formed lifelong friendships with other painteers such as Iwasaki Hajin, Komatsu Hitoshi, and Taniguchi Sango. He sought mastery of the Tsuketate technique. which involves using a rough brush held vertically to create a strong brushstroke that carves the framework of the painting without sketching.In 1943, Seiroku was drafted into the Yokosuka Navy. Around the same time, he married Tokiko Nomura, a daughter from an old family in Komatsu City, Ishikawa Prefecture, whom he had met during his art school days. As a result, he adopted the Nomura surname. In the early years of their marriage, Seiroku had little income, so in 1951, at the age of 35, he made a decisive move to focus on his artistic direction. He left his family and relocated to a cabin by Shibireko Lake in Yamanaka, Yamanashi Prefecture. There, he spent four ascetic years perfecting his "Tsuketate" technique. During this period, Nomura began creating cover illustrations for the haiku magazine "Kira" and held his first solo exhibition in Yamanashi Prefecture. He also showcased his works at various exhibitions, including the Shinseisaku Art Society Exhibition and the Japan Independent Exhibition. In 1955, after returning to his family in Komatsu City, he moved his studio to Kashiwa City, Chiba Prefecture, to facilitate exhibitions and negotiations with art dealers in Tokyo. In the 1960s, Nomura produced outstanding works using flat and thick painting techniques. From the 1970s onwards, his brushwork became more free and spontaneous, and he began incorporating his own haiku into his paintings, evolving towards a more literati painting style. Work by him is held in the Tokyo National Museum of Modern Art, the Wakayama Prefectural Museum of Art and the Yamanashi Prefectural Museum of Art where a major retrospective was held in 2000.
Nomura Seiroku was born in 1916 as the fourth son of a farming family in Yamanashi Prefecture. During his childhood, he was entrusted to relatives and spent his time drawing late into the night while working at a cotton mill. At the age of 17, he persuaded his parents and relatives to let him move to Tokyo, where he took on various jobs while attending the night school at Kawabata Art Academy where he formed lifelong friendships with other painteers such as Iwasaki Hajin, Komatsu Hitoshi, and Taniguchi Sango. He sought mastery of the Tsuketate technique. which involves using a rough brush held vertically to create a strong brushstroke that carves the framework of the painting without sketching.In 1943, Seiroku was drafted into the Yokosuka Navy. Around the same time, he married Tokiko Nomura, a daughter from an old family in Komatsu City, Ishikawa Prefecture, whom he had met during his art school days. As a result, he adopted the Nomura surname. In the early years of their marriage, Seiroku had little income, so in 1951, at the age of 35, he made a decisive move to focus on his artistic direction. He left his family and relocated to a cabin by Shibireko Lake in Yamanaka, Yamanashi Prefecture. There, he spent four ascetic years perfecting his "Tsuketate" technique. During this period, Nomura began creating cover illustrations for the haiku magazine "Kira" and held his first solo exhibition in Yamanashi Prefecture. He also showcased his works at various exhibitions, including the Shinseisaku Art Society Exhibition and the Japan Independent Exhibition. In 1955, after returning to his family in Komatsu City, he moved his studio to Kashiwa City, Chiba Prefecture, to facilitate exhibitions and negotiations with art dealers in Tokyo. In the 1960s, Nomura produced outstanding works using flat and thick painting techniques. From the 1970s onwards, his brushwork became more free and spontaneous, and he began incorporating his own haiku into his paintings, evolving towards a more literati painting style. Work by him is held in the Tokyo National Museum of Modern Art, the Wakayama Prefectural Museum of Art and the Yamanashi Prefectural Museum of Art where a major retrospective was held in 2000.
The Kura
sold, thank you
sold, thank you
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
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
The Kura
sold, thank you
sold, thank you
A porcelain bowl made by Mokusen of Kyoto decorated in blue with waterbirds taking flight from a reed-dotted shore followed by a four character verse by Oyabu Shunko enclosed in the original wooden box signed by both artists dating from the early 20th century. It is 18 cm (7 inches) diameter, 9 cm 3-1/2 inches) tall and in excellent condition.
Mokusen was a prolific porcelain artist in Kyoto well known for his tea ware. Oyabu Shunko was born in Kyoto in 1901 and studied Nihonga under Yamamoto Shunkyo, exhibiting with the Bunten where his work was awarded Yusen.
Mokusen was a prolific porcelain artist in Kyoto well known for his tea ware. Oyabu Shunko was born in Kyoto in 1901 and studied Nihonga under Yamamoto Shunkyo, exhibiting with the Bunten where his work was awarded Yusen.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1950
item #1499064
(stock #K583)
The Kura
sold
sold
A very unusual dish in the shape of a wide grape leaf with a cluster of celadon grapes growing off an iron red vine by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box. It is 16.5 cm (6-1/2 inches) across in both directions, 6.5 cm (2-1/2 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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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.
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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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.
The Kura
sold
sold
A bucolic landscape in blue spread across the various pieces of this boxed Sencha Tea Set from the Koransha studio decorated by the scholar artist Tanaka Hakuin enclosed in a compartmentalized and signed wooden box. The teapot is 13.5 x 9.5 x 8.5 cm. each cup 8 cm diameter, 5 cm tall, the Yuzamashi 14 x 8.5 x 5.5 cm and all is in excellent condition. Insect damage to the box has been repaired post photography.
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.
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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1930
item #1493594
(stock #K103)
The Kura
sold, thank you
sold, thank you
Peaches decorate this exquisite vessel in Kutani colors by Tei Shitsu Gigei-in Ito Tozan. It is 17 cm (6-1/2 inches) diameter, 31 cm (12-1/4 inches) tall and in excellent condition. It comes in an unmarked old kiri-wood box.
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.
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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1920
item #1493206
(stock #K099)
The Kura
sold, thank you
sold, thank you
Flowers blossom all about this soft pink vase by Miyagawa (Makuzu) Kozan I published in the book Miyagawa Kozan Yukasai (2018), page 32 figure 25. A copy of the book will be included. It comes in a modern wooden storage box. According to the book it was made circa 1902. The vase is 18.5 cm (7-1/4 inches) diameter, 22.5 cm (9 inches) tall and is 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.
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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1920
item #1498411
(stock #K523)
The Kura
sold
sold
A highly detailed spiraling double-gourd shaped pair of bottles, the flattened sides decorated with alternating designs o florals and intricate geometrics by the elusive Nakamura Shuto enclosed in the original signed wooden box. Each is 8 cm (3 inches) diameter, 18 cm (7 inches) tall and in excellent condition.
Nakamura Shuto I (1865-1928) was born the son of famous Kaga potter of Daishoji Temple Nakamura Shigeichiro from whom, along with Takeuchi Ginshu from the age of 12, he initially studied pottery and painting techniques. Delving into the past he researched and revived ancient kiln techniques. From 1906 he took the name Shuto, and became famous throughout Japan for superb quality ceramics rivaling the best wares produced in Kutani. Suddenly in Taisho 2 (1913) he switched to painting and design, and then in 1917 combined the two disciplines in a new approach using a kiln he created in his home. Works by him are held in the Ishikawa Prefectural Museum among others.
Nakamura Shuto I (1865-1928) was born the son of famous Kaga potter of Daishoji Temple Nakamura Shigeichiro from whom, along with Takeuchi Ginshu from the age of 12, he initially studied pottery and painting techniques. Delving into the past he researched and revived ancient kiln techniques. From 1906 he took the name Shuto, and became famous throughout Japan for superb quality ceramics rivaling the best wares produced in Kutani. Suddenly in Taisho 2 (1913) he switched to painting and design, and then in 1917 combined the two disciplines in a new approach using a kiln he created in his home. Works by him are held in the Ishikawa Prefectural Museum among others.
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1920
item #1498314
(stock #K552)
The Kura
sold
sold
Mother of pearl inlay forms a continental scene of sages wandering among pavilions before steep mountains on this writing box by Tei-shitsu Gigei-in (Imperial Artist) Suwa Sozan I complete with artist made celadon ink grinding stone, water dropper, brushes and a paper knife enclosed in the original signed wooden box. Inside the lid mandarin ducks swap glances under a blossoming plum tree, while cranes soar among clouds below. It is signed in red lacquer beneath. The piece is 23.5 x 27 x 5 cm (9-1/4 x 11 x 2 inches) and is in excellent condition, wrapped in the original padded silk cloth.
Suwa 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.
Suwa 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.
All Items : Antiques : Regional Art : Asian : Japanese : Lacquer : Pre 1700
item #1496710
(stock #K108)
The Kura
sold
sold
A Takatsuki stand of wood covered in black lacquer decorated with scrolling vines among which are randomly placed crests in the design of the Daruma Wheel on the stem, and the heraldic Mitsuba-aoi hollyhock crest within the tray. Slightly warped and worn with the centuries, finding a piece from this era in such good, original condition, is exceedingly rare. Early Muromachi, 14-15th century, it is 30 x 30 x 28.5 cm (12 x 12 x 11-1/2 inches).
The Mitsuba Aoi crest is associated in modern times with the Tokugawa clan, however many clans used the crest in the past, as it was the crest of the Kamo-jinja Shrine. Many local clans in Mikawa, such as the Matsudaira clan, the Sakai clan and the Honda clan, used the aoi-mon as their family crests. Gradually through the Edo period the use of the Mitsuba Aoi was severely restricted to only those associated with the Edo Bakufu (Shogunate).
The Mitsuba Aoi crest is associated in modern times with the Tokugawa clan, however many clans used the crest in the past, as it was the crest of the Kamo-jinja Shrine. Many local clans in Mikawa, such as the Matsudaira clan, the Sakai clan and the Honda clan, used the aoi-mon as their family crests. Gradually through the Edo period the use of the Mitsuba Aoi was severely restricted to only those associated with the Edo Bakufu (Shogunate).
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1920
item #1497256
(stock #K477)
The Kura
sold
sold
White blossoms cluster along the thin branches draped over the shoulder of this exquisite pink tinged vessel by Imperial artist Seifu Yohei III enclosed in the original signed wooden box titled Shiroyama no Sakura no Zu Kabin (Blossoms of Shiroyama Vase). This is the pinnacle of production for imperial artist Seifu Yohei III, a large Taihakuji porcelain vase with carved designs. Museum quality would be an understatement. Seifu III was known to have made few large works, so this is a very important piece, and Taihakuji was his most appreciated style. It is 19.5 cm (8 inches) diameter, 29.5 cm (12 inches) tall and in perfect condition and retains the original rosewood base and original stamped cloth wrapping.
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.
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 set of five Ceramic Bowls decorated with maple leaves and waves paying homage to the Kenzan style by Imperial artist Miyagawa (Makuzu) Kozan I enclosed in the original signed wooden box. They are 12 cm (5 inches) diameter, 5.5 cm (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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing.
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 (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1920
item #1494823
(stock #NA)
The Kura
sold
sold
5 low-fired plates in sundown-colors decorated with seasonal images by Nakagawa Wado (1880-1943) from the Jusanken Kiln of Osaka. Each is roughly 14 cm (5-1/2 inches) diameter and in excellent condition.
The Kikko Kiln was established in Osaka in the opening years of the 19th century by Iyo native Toda Jihe, who had learned the ceramic arts in Kyoto under all of the great names of the time, Kiyoizu Rokubei I, Ryonyu the 9th generation head of the Raku family, and Ninnami Dohachi among others. He would be known as Jusanken Shogetsu. After being noticed by then Daimyo of Osaka area Mizuno Tadakuni, he received the kiln name Kikko. His works were distributed as gifts among the Daimyo, and he was called to work in many fiefs creating “Niwa Yaki” kilns throughout Japan. During the Meiji the kiln would be split into two continuing lineages, one using the Jusanken stamp, the other Kikko Shogetsu.
The Kikko Kiln was established in Osaka in the opening years of the 19th century by Iyo native Toda Jihe, who had learned the ceramic arts in Kyoto under all of the great names of the time, Kiyoizu Rokubei I, Ryonyu the 9th generation head of the Raku family, and Ninnami Dohachi among others. He would be known as Jusanken Shogetsu. After being noticed by then Daimyo of Osaka area Mizuno Tadakuni, he received the kiln name Kikko. His works were distributed as gifts among the Daimyo, and he was called to work in many fiefs creating “Niwa Yaki” kilns throughout Japan. During the Meiji the kiln would be split into two continuing lineages, one using the Jusanken stamp, the other Kikko Shogetsu.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900
item #1493650
(stock #K093)
The Kura
sold, thank you
sold, thank you
A set of five sake cups, each engraved with a unique poem by the artist/nun Otagaki Rengetsu dating from her 83rd year enclosed in an antique Sarasa cloth pouch with silk pads between enclosed in an old wooden box. They are each 5 cm (2 inches) diameter and all are in excellent condition. The poems read:
1 Wakabae no yanagi no ito no mijikaku te furiwakegami no kokochi koso sure
The newborn willow fronds are short and feel to me just like bobbed hair
2 Umazake no miwa no sugi zu ba kore zo kono oi zu shina zu no kusuri nara mashi
Fine sake in balance becomes an elixir for perpetual youth and long life
3 Asakaze ni ubara kaori te hototogisu naku ya uzuki no shiga no yamasato
On the morning breeze the scent of rambler roses...a cuckoo cries crossing Uzuki over Shiga Mountain Villages
4 Kawazoi no yanagi no ito ni kakari keri nokoru koori no kataware no tsuki
In the willow fronds along the riverbank caught like lingering ice—a half moon
5 Tanazoko wo uke te matsu ma mo chiyo ya hen nome ba wakayu to kiku no shitatsuyu
In my palms waiting for eons to pass...I hear drinking this will make me younger—the chrysanthemums' hanging dew
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.
1 Wakabae no yanagi no ito no mijikaku te furiwakegami no kokochi koso sure
The newborn willow fronds are short and feel to me just like bobbed hair
2 Umazake no miwa no sugi zu ba kore zo kono oi zu shina zu no kusuri nara mashi
Fine sake in balance becomes an elixir for perpetual youth and long life
3 Asakaze ni ubara kaori te hototogisu naku ya uzuki no shiga no yamasato
On the morning breeze the scent of rambler roses...a cuckoo cries crossing Uzuki over Shiga Mountain Villages
4 Kawazoi no yanagi no ito ni kakari keri nokoru koori no kataware no tsuki
In the willow fronds along the riverbank caught like lingering ice—a half moon
5 Tanazoko wo uke te matsu ma mo chiyo ya hen nome ba wakayu to kiku no shitatsuyu
In my palms waiting for eons to pass...I hear drinking this will make me younger—the chrysanthemums' hanging dew
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.