Catalog (231)

A wide shallow bowl dating from the Kamakura to Nanboku-cho periods with a prominent ring circling the interior where other bowls had been stacked inside, and a number of lacquer repairs about the rim attesting to the age and reverence the piece has received over the centuries. It is 17 cm (7 inches) diameter, 5.5 cm (2 inches tall) and in overall excellent condition. It comes in a silk pouch with an old wooden storage box.
Yama-chawan is a generic term for various types of unglazed Japanese tableware produced in vast quantity from the late Heian (794–1185) to Muromachi period (1333–1568), mainly in the Tōkai region (Aichi and Gifu prefectures) of central Japan. At the beginning of the era ritual vessels and storage jars were the common pottery, but increased production made for greater availability resulting in demand from lower classes of society for pottery. This resulted in a shift away from jars to tableware. Production of Yama chawan began with the dissemination of wealth to military families and landowners at the end of the Heian period, and lasted through the early Muromachi era, reaching its peak in the Kamakura and Nanbokucho periods (1185-1392). By the mid-Kamakura era, great volumes of yama-chawan were being fired. Fused, broken or damaged works would have been discarded about the kiln. As well, the kilns, were unstable and unpredictable, and often collapsed. This made for a small volume of pottery coming available from excavations in the early 20th century, when there was a great deal of research into the revival of ancient techniques.

A Momoyama to Early Edo period Karatsu Chawan enclosed in an ancient, age darkened wooden box with a single zen circle of gold inside surrounding the center. These types of early Karatsu bowls were fired stacked inside each other, and it is certain looking at this piece that the artist forgot the wadding between this and the bowl above, so it adhered to the bowl creating a space without air, which caused the center of the bowl to fire at a different color than the rest which was exposed to the heat and oxidation. The bowl above was likely broken to separate them, and where it had adhered was ground down to be repaired with a ring (or Zen circle) of thin gold. It is a beautiful piece which offers a peek into the history of this regional pottery, as well as telling a story of preservation and offers commentary on our modern throw away society. The bowl is 12 cm (just less than 5 inches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

A Momoyama to Early Edo period Karatsu Chawan enclosed in an ancient, age darkened quarter sawn cedar box with Kuro-gaki (Black persimmon) rim. Slightly misshapen, the bowl is 11-12 cm (4-1/2 to 4-3/4 inches) diameter, 5-6 cm (2 plus inches) tall and in surprisingly fine condition, with some ancient lacquer repairs about the rim attesting to the great age and care the piece has received
. Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

A sake flask dating from the Momoyama to early Edo period from the kilns of Karatsu on the southern island of Kyushu with gold repairs about the flaring rim and one to the side. The bottle has been dimpled to allow for ease of handling, and through one of the concave sides rushes a streak of blue and white like a misty waterfall over the russet brown glaze. The raw clay of the base is fired to a stone-like quality. It is roughly 11 cm (4-1/4 inches) diameter, 21 cm (8-1/2 inches) tall.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

A beautiful bowl covered in frothy Namako blue in the shape of an Abalone shell from the mid-Edo period kilns of Karatsu enclosed in a black lacquered magemono circular box titled Karatsu Awabi-gata Hachi. The basin is roughly 29 cm (11-1/2 inches) diameter, 7 cm (just less than 3 inches) tall and in excellent condition.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

An elegant bowl decorated with bell-flowers from the Mizoro kilns in North Kyoto dating from the later 19th century enclosed in a period wooden box and bearing the Mizoro seal impressed into the base. Color has seeped into the finely crackled earthen glaze, adding a delicate sense of age. It is 13 cm (5 inches) diameter, 8 m (just more than 3 inches) tall and in excellent condition.
Many people think of Kiyomizu-yaki as the only type of pottery in Kyoto, but there are other types of pottery such as Awata-yaki, Otowa-yaki, Iwakura-yaki, Asahi-yaki, Raku-yaki, and Mizoro-yaki. Mizoro-yaki is a type of Kyo-yaki that was fired in Atago-gun, North of central Kyoto. There are many mysteries and rumors about the origins of the pottery. According to Tauchi Baiken's "Thoughts on Ceramics" written in the Ansei era, Ninsei Nonomura started Mizoro ware. Other documents, from the Enpo period, Taihei of Mizoro Village became an apprentice at Higashiyama Seikanji Yaki Ichimonjiya, and then returned to the village and opened a kiln. According to the "100 Year History of Kyo Yaki", it was established in 1554 AD by Yozo Unsonin. In any event, it is generally agreed to have begun by the mid 17th century, and lasted for about two hundred years.

A rare and beautiful Binshi vase covered in tortoise-shell glaze (Bekko-yu) from the Hirasa kilns. Dating from the later Edo period, it is 11 cm (4-1/2 inchese) diameter, 17.5 cm (6-1/2 inches) tall and in excellent condition.
Following the Japanese invasion of Korea in the late 16th century Shimazu Yoshihiro brought to Japan with his returning army Korean potters who established a kiln in Uzumachi (Modern day Nagasaki prefecture). This was the origin of Kochosa-yaki. This rough texture is indicative of that style, however Kochosa was mostly dark glaze on a deep red clay. Genryuin works picked up where Kochosa leaves off, founded in 1663 by Ono Genryu. This kiln lasted a little less than a century, closing in the mid 1700s. Hirasa is said to have begun in 1786 as the personal kiln of the Hongo Clan, Lords of Satsuma, incorporating some of these earlier styles into a complex melee of wares from blue and white porcelain to rich iron glazes and sansai wares.

A beautiful small Sake set consisting of a Tokkuri in Irabo style glaze splashed with foamy white with a poem engraved into the clay of the side and two small Chokko sake cups in same-hada (sharkskin) iron glaze. The Tokkuri is 12.3 cm (5 inches) tall, the cups roughly 4.5 cm (2-3/4 inches) diameter, and all are in excellent condition, dating from the 19th century (Late Edo to Meiji period).

A fabulous Toyoraku-yaki pottery bowl covered in colorful lacquer dating from the Mieji period enclosed in an old wooden collectors box. Insed Oribe green flows down from the rim to garden scene of iris and ya-giku (wild chrysanthemum) growing along a rived on the white crackled glaze. Outside geometric patterns in alternating gold green and red supported on three black bamboo shaped feet. It is 13.4 cm (5-1/4 inches) diameter, 10 cm (4 inches) tall and in excellent condition but for a very small chip in hte glaze inside the wall of the bowl (see close-up for details).
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. The family lineage ended in the Taisho period.

A pair of matching large flaring bowls ornately decorated with intricate lattice patterns pierced with decorative dials featuring dragons and Buddhist Jewels surrounding a large colorful dragon. Each is signed beneath inside the footring. They are 24.5 cm (just less than 10 inches) diameter, 10 cm (4 inches) tall and in excellent condition.
Daishoji Imari is a type of Kutani ware that was mainly produced in Daishoji Town, formerly part of the old Enuma District, from the early Meiji period. There they produced porcelain based on Imari models decorated in sometsuke (blue-and-white porcelain) and kinrande (colored with gold).
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics

A set of three calligraphic poem cards by Buddhist Nun Murase Myodo reading Setsu-Getsu-Ka (Snow, Moon, Flower). “Setsugekka” is traditionally accepted as taken from a passage in the poem for Yan Xielu by Chinese poet Ban Juyi (772-846). Bai Juyi sent this poem to Yan Xielu from Chang’an. The phrase “Setsugekka no toki” (at times of snow, moon and flower) in the poem refers to the passing of the seasons: “when snow is beautiful, when the moon is beautiful, and when the flower is beautiful” at such times, Bai Juyi is thinking of Yan Xielu – a friend far away. So the phrase has come to indicate the various seasons, with some ubiquitous melancholy. The three works come with their original storage sleeves each sealed by Myodo, and are framed beautifully. The cards are 24 x 27 cm (9-1/2 x 10-3/4 inches) the frames 38 x 41 cm (15 x 16 inches). They are all in excellent condition.

3 large porcelain bowls vividly decorated with various themes in a powerful brocade style. Each is roughly 25 cm (10 inches) diameter, 10 cm (4 inches) tall and are in excellent condition. This work costs $300.00 each.
Due to the large size, additional shipping charges may apply.
Imari porcelain, also known as Arita ware, has its origins in the early 17th century and is one of Japan's most renowned ceramic traditions. Porcelain production in the Imari region began around 1616 when Korean potters, brought to Japan after Toyotomi Hideyoshi's invasions of Korea (1592–1598), discovered high-quality kaolin clay in the Ara area of Kyushu. This marked the birth of Japan's first porcelain industry. During the early Edo period, Arita became a thriving center for porcelain production. The nearby port of Imari served as the primary shipping hub, leading to the porcelain being known internationally as "Imari ware." Early Imari wares were heavily influenced by Chinese designs, especially those from the Ming dynasty. Techniques evolved to include underglaze blue decoration (similar to Chinese blue-and-white porcelain) and, later, polychrome overglaze enamels, which became hallmarks of Imari porcelain. Imari porcelain gained widespread popularity in Europe during the 17th and 18th centuries, facilitated by the Dutch East India Company. European aristocracy prized its vibrant designs, which often featured intricate floral patterns, birds, and mythical creatures.
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics

From a private collection, 4 unique covered porcelain bowls dating between the later 19th and early 20th centuries (Meiji to Taisho Periods) intricately patterned with various floral patterns. One is signed Kaburagi, another Kutani Takata, the other two simply Kutani. They vary slightly in size, 10 x 7 cm, 11 x 5.5 cm, 11.5 x 7.5 cm, 12 x 7 cm (roughly 4-5 cm diameter) and are all 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

A set of five small dishes ideal for soy sauce with Sashimi or sushi from the Kutani kilns dating from the late 19th to early 20th centuries. A butterfly floats effortlessly over a blossoming camelia inside, with the character Fuku (Fortune) in a blue cartouche on the base. They are 7.5 cm (3 inches) diameter and in fine condition, enclosed in an old wooden collectors box.

A set of five Fukagawa Yaki pottery plates in the shape of overlapping Hamaguri clam shells. Hamaguri are not only delicious but also hold cultural significance in Japan, often associated with special occasions like weddings and Hinamatsuri (Girls' Day). The large shells were used in a game called Kai-awase, a bit like the card game concentration, where one needed to find the matching shells (A brief explanation below). Each dish is 16 x 11 x 3.5 cm (6-1/4 x 4-1/4 x 1-1/4 inches) and all are in overall fine condition, enclosed in an old age darkened wooden box.
Fukagawa-yaki refers to white-based pottery that was produced in the Choshu Domain (modern day Yamaguchi prefecture). Its history dates back to 1653 when the potter Kurasaki Gorosaemon petitioned to establish an independent kiln in Sannose, Fukagawa Village (present-day Nagato City) and was granted permission. At the time, the production of tea ceramics was not permitted, and records indicate that the kilns mainly produced everyday household wares.
Kai Awase (the game) originated in the Heian period (794–1185) and was a pastime for nobles. It involves a set of Hamaguri clam shells with matching designs painted on the insides. Since the two halves of a clam's shell fit together perfectly, the game requires players to match the correct halves. The painted designs often depict scenes from classical literature, flowers, or other intricate artwork. One half of each clam shell is laid out face-down, while the other halves are kept aside. Players take turns selecting a shell and trying to find its matching half from the scattered pieces. However it was more than just a game; it symbolized harmony and completeness. It was often part of bridal trousseaus, representing the union of a couple.

A set of five Oribe Mukozuke dishes in rounded triangular form by Kato Sakuuke enclosed in an old wooden box. They are 9.5 x 9 x 9.5 cm (roughly 3-1/2 inches in all directions) and all are in excellent condition.
The Katō Sakusuke family of the Akazu kiln traces its origins to Kageharu, the younger brother of Katō Riheiemon (the first-generation Tōzaburō), who returned to the village from Mino during the Keichō era in the early Edo period. The first-generation Sakusuke (Kagekiyo, born 1808), the seventh-generation descendant of Kageharu, took the artist name Jusai. As described in Owari no Hana (Flowers of Owari):"Naturally skilled in pottery, he succeeded his father’s house, adopting the name Sakusuke and greatly revitalizing the family’s work. He created vessels modeled after ancient methods, producing many tea utensils and sake vessels. His works were all refined and richly elegant." The Second Generation: Katō Kageyoshi (born in 1844) took the name Shunsen.bThe younger brother of the second generation branched off to establish a separate family line, using the name "Sakusuke" for his works, later adopting the name "Shun'itsu. The family tradition was upheld by the third generation (Seiichi, also known as Shunzan), and the fourth generation (Norihiko). It is now under the management of the fifth generation.

An incredibly rare set of five small tea cups by Tomioka Haruko enclosed in a wooden box signed by her husband the illustrious literati artist Tomioka Tessai titled Kone Chawan dated Taisho 8 (1919). They are hand formed, pinches and raised in the style of Otagaki Rengetsu (who was mentor to Tessai), and each uniquely decorated and each is uniquely signed Haruko saku. They are roughly 6 cm (2-1/2 inches) diameter, 4 cm (1-1/2 inches) tall and all are in excellent condition.
Tomioka Haruko (1847-1940) was born the third daughter in a samurai family (Sasaki-clan) of Iyo fief. She was married to Tomioka Tessai in the fifth year of the Meiji period (1872) and was a respected artist and poet, continuing to work throughout her long life, showing a distinct affinity for pottery.

A set of five small dishes in earth tones decorated with natural scenery by Miyagawa Chozo enclosed in the original compartmentalized and signed wooden box. Each is roughly 12.5 cm (5 inches) diameter and in excellent condition.
Miyagawa Chozo (1797-1860), also known as Chobei was born a direct descendant of Chokansai and would be the father to Miyagawa (Makuzu) Kozan I (1842-1916). 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 this, the tenth-generation head of the Kyoto pottery family, In 1832 at the age of thirty-five, he became apprentice to Aoki Mokubei (1767-1833) and by 35 had established his reputation as a preeminent independent potter. Differing from his master Mokubei (who was most renowned for Sencha ware) Chozo produced almost exclusively ceramics for use with Maccha (Japanese powdered tea ceremony) ware.