Catalog (176)

A set of five small dishes and one larger bowl dating from the late Heian to Kamakura periods (12th -14th centuries) from the Seto region in central Japan. The bowl, called Yamajawan or Yama Chawan, is a soft grey color and measures roughly 16 cm (over six inches) diameter, 5.5 cm (2 inches) tall. The plates vary from pale white raw clay to ash spattered yellow and are 7.5~9.5 cm (3-less than 4 inches) diameter.
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 basket of dark red bamboo woven by the 4th generation Hayakawa Shokosai IV enclosed in the original signed wooden box. It is 22.5 cm (9 inches) diameter, 48 cm (19 inches) tall and in excellent condition.
Hayakawa Shokosai IV (1902-1975) was the eldest son of Hayakawa Shokosai III (1864-1922). Shokosai IV succeeded as Shokosai aged 21, when his father Shokosai III passed away in 1922. After the war, the Shokosai family moved from Osaka to Kyoto where the family continues the basketmaking tradition to this day. Shokosai I (Togoro, 1815–1897) was born in Sabae City, Fukui Prefecture in 1815. Togorō, lost his father at the age of 19. He then moved to Kyoto and began apprenticing as a basket craftsman. In 1845 he relocated to Osaka and adopted the name Shokosai. He received numerous accolades, including awards at the First National Industrial Exhibition in 1877 (Meiji 10) and other domestic and international expositions. His work earned the distinction of being purchased by the Empress herself. Shokosai II (1860–1905) was the third son of the first-generation Shokosai, born with the name Takejirō, he succeeded to the title in 1897 (Meiji 30). He won second prize at the Fifth National Industrial Exhibition in 1903. His tenure as Shokosai was short, lasting only eight years until his death at 45, resulting in a limited body of work. Shokosai III (1864–1922) was born in Osaka as the fifth son of the first-generation Shokosai, his given name was Eisaburō. After studying under his father, he worked in Tokyo using the name Shōsai. Following his brother’s death in 1905, he returned to Osaka and succeeded as the third-generation Shokosai. He received the Phoenix Crest Award at the 1878 Paris Exposition and continued to garner honors at exhibitions worldwide. In 1887, he was honored by imperial purchase. In 1919, he co-founded the "Naniwa Basket Friends Association," leading Osaka’s bamboo craft scene and becoming a prominent figure in modern bamboo art. Shokosai III excelled in innovative coloring techniques and loose weaving styles, elevating bamboo basket craftsmanship into the realm of fine art. His bold and expressive style emphasized artistic harmony while maintaining an individualistic approach. He served as a member of the Osaka Crafts Association and passed away in 1922 at the age of 59. The Fourth Generation Hayakawa Shokosai IV (1902–1975) was born in 1902 as the son of the third-generation Shokosai, he became chairman of the Bamboo Art Association and was selected for the prestigious Nitten exhibitions. He passed away in 1975 at the age of 73. Hayakawa Sokosai V (1932–2011) was born in 1932 in Osaka as the eldest son of the fourth-generation, he continued the family’s legacy until his passing in 2011.

A large and spectacular 5-lobed Imari Porcelain Bowl with a flaring rim covered in bold floral designs. outside and luxurious brocade designs inside dating from the 19th century, later Edo period. Very unusual, it is even decorated inside the foot ring. The bowl measures 36 cm (14 inches) diameter, 10.5 cm (4 inches) tall and is in excellent condition.
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 Arita 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

A very unusual vase Combining Art Deco aesthetics with Mishima pottery techniques by Uno Ninmatsu enclosed in the original signed wooden box titled Mishima-te Henko. It is 18 x 10.5 x 27 cm (7 x 4 x 11 inches) and is in excellent condition!
Uno Ninmatsu (1864-1937) was born in Kyoto son of potter Wada Sohei and studied under his father as well as from a young age Seifu Yohei II then future Imperial Art Academy artist Seifu Yohei III until setting up his own studio at the age of 21. Outgoing by comparison to the normal Kyoto ideal, he promoted Kyoto art and culture and actively sought to invigorate the export market (then dominated by Tokyo and Yokohama). He won a bronze medal at the Paris world exposition in 1901, and gold medal at the St. Louis Exposition in 1904, Belgium in 1905 and Milan the following year. Unlike other potters in Kyoto at this time, he did not overly decorate his works, but concentrated on matte glazes and form in austere glaze techniques. This proved very popular, and from the turn of the century his works were highly sought in the United States. He also worked closely with designers in France, where many of his works were exported. Following the first world war, he retired to the domestic market. He was deeply involved in silk road pottery research and mastered Shinsha (flambe glazes) as well as Turkish Blue and other styles not yet produced at that time in Kyoto. He was father and mentor to Uno Soyo and Uno Sango, and served as mentor to the young Isamu Noguchi.

A spectacular bell shaped bottle decorated in underglaze blue with scrolling verse and bearing the Tozan Mark of the Himeiji Potteries beneath. A very rare find, this is representing the bell of Onoe Shrine in Kakogawa City, Hyogo Prefecture. It is 16 cm (6-1/4 inches) diameter, 19 cm (7-1/2 inches) tall and in overall excellent condition, with a minor chip to the base soft raw porcelain around the foot ring typical of use.
Tozan-yaki was a type of porcelain produced from the mid-Edo period to the early Meiji period. Originating in Higashiyama Village, it was influenced by Arita-style porcelain. The first kiln was built east of Kōzen-ji Temple in Higashiyama Village, which is why it was also called Kōzenji-yaki. Later, when the kiln was relocated near Himeji Castle as the official pottery workshop (goyōgama) of the Himeji domain's ruling Sakai family, it became known as Himeji-yaki.
This Buddhist temple bell is located at Onoe Shrine, which enshrines Sumiyoshi Daimyōjin, a deity widely revered as the god of the sea. It has been mentioned in works such as the Senzai Wakashū (Collection of a Thousand Years) and the Noh play Takasago. It is said that Empress Jingū brought this bell back upon her triumphant return from the conquest of the Three Kingdoms of Korea. However, in reality, it was made during the Silla dynasty and is approximately 1,100 years old. According to the Harima Kagami and local tradition, this bell was stolen by pirates in 1468 (Ōnin 2) and thrown into the sea near Cape Ashizuri in present-day Kōchi Prefecture. Later, local fishermen retrieved it and dedicated it to Kōyasan. However, whenever the bell was struck, it was said to sound like "Onoe e, inō" ("Let’s go back to Onoe"), leading to its return to Onoe Shrine. The bell stands at a height of three shaku two sun (about 123.5 cm), with a circumference of seven shaku seven sun (about 297 cm), a mouth diameter of one shaku nine sun (about 73.5 cm), and a thickness of one sun nine bu (about 7 cm). It features wide bands at the top and bottom, with generously spaced nyūrō (protruding knobs), but lacks the traditional kesatatsu (diagonal sash pattern). Instead, a single figure of a seated Buddha is carved in relief upon a lotus pedestal, with a canopy and small musical instruments floating above its head. Celestial maidens are depicted gracefully fluttering their robes across the upper sides of the bell, creating an elegant scene. Surrounding the Buddha, two celestial beings descend from the sky, playing music in devotion. This exquisite relief is particularly striking in its depiction of six musical instruments appearing to float in midair, as if producing ethereal sounds.

Floral sprays in vivid color decorate this set of Tokkuri sake flasks by Kanzan Denshichi enclosed in the original signed wooden box. Each is 5.5 cm (2 inches) diameter, 16 cm 6-1/4 inches) tall and in excellent condition.
Kanzan Denshichi (1821-1890) was born in the ceramic-producing area of Seto. He worked at the Koto kiln of the Ii family in the Hikone domain, moving to Kyoto when the kiln closed in 1862. In Kyoto, he established his workshop at the base of Kiyomizu-zaka where he worked under the name Terao Denshichi and is thought to have been one of the first ceramicists in Kyoto to specialize specifically in porcelain. In the first year of the Meiji era (1868) he worked to supply the Kyoto Prefectural Office, following which he studied Western painting and pottery decoration under Gottfried Wagner. In the following three years, production was renamed Shountei and he worked under the name Kato Kanzan. Kanzan’s works include porcelain tableware, both Western and Japanese in style, often decorated with brightly colored polychrome and gold. Some of these wares were made for export, and Kanzan also exhibited at international exhibitions, securing a gold medal at Paris in 1878 In 1881 during their visit to Japan, Queen Victoria’s grandsons: Prince Albert Victor, Duke of Clarence and Avondale, and Prince George, Duke of York (George V), visited Kanzan’s workshop in Kyoto. The Imperial Household Ministry purchased Kanzan’s works, including some tableware for use in the Enriokan and other items in the style of the underglaze blue decorated Edo-period imperial porcelains known as kinri goyōtōki.
Pieces by Kanzan may be found in the collections of the Sannomaru Shōzōkan (Museum of the Imperial Collections) and Imperial Banqueting Department of Japan’s Imperial Household Agency, Tokyo National Museum and Kyoto Prefectural Library and Archives. The Victoria and Albert Museum has a pair of vases displayed at the Philadelphia Centennial Exhibition of 1876, a pair of ginger jars and four other small pieces. In 2014, the Sannomaru Shōzōkan devoted an exhibition to a Japanese-style polychrome dinner service made by Kanzan’s workshop for Prince Arisugawa Takehito: Beautiful Modern Kyoyaki (Kyoto-style ware) – Fine works by Kanzan Denshichi passed down within the Prince Arisugawa Family, 21 March – 22 June 2014.

A squirrel in Chinkin etched gold and silver looks back under the draped leaves of a maple, a crescent of mother of pearl moon shining through the branches. It is 39 x 9 x 6.5 cm (15-1/2 x 3-1/2 x 2-1/2 inches) and is in excellent condition.
Itaya Koji (1925-2006) was born in the lacquer center of Wajima and studied from 1945 under Morishita Kodo before apprenticing under future living national treasure Mae Taiho inheriting highly artistic techniques that express movement and a sense of three-dimensionality using the flat chinkin (gold-inlay carving) technique. In 1948, he was first selected for the 4th Nitten Exhibition. In 1966, he was first selected for the 13th Japan Traditional Art Crafts Exhibition. In 1988, he received the Minister of Education Award at the 35th Japan Traditional Art Crafts Exhibition.

A basket of Kameko Tortoise Shell design enclosed in the original signed wooden box made for the Shobido Art Purveyor of Osaka by by Tanabe Chikuunsai II. It is 45 cm (18 inches) tall and in excellent condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.
The Shobido Jewelry Co. was founded in 1900 at Yodoyabashi, in central Osaka City by Eikichiro Eto. They are purveyors of watches, Jewelry, art and crafts, silverware and precious metals from the Meiji era to the present day, and their products and artisans were considered elite among Japanese crafts. In fact many of Japans greatest craftsman created unique works for the Shobido label.

This work is an Itto-bori carving of a continental beauty with a fan staring up as if at the moon signed by the artist underneath and dating from the Taisho period (1911-1925). It is 39.5 cm tall and in overall excellent condition, with a crack in the base extending from the edge.

An early 20th century vase dating circa 1925 by Koun decorated with vivid peaches by Shunson enclosed in a signed wooden box. It is 25 cm (10 inches) diameter, 16 cm (6-1/4 inches) tall, and is in fine condition.

Winter fattened Sparrows soar through the sky on this ball shaped bronze vase by Naimen Shiho I (Katsuji) enclosed in the original wooden box signed 75 year old Shiho and dated the 7th month of Showa 53 (1978). The feathers of the birds performed in raised relief feature chisseled details in the feathres. The vase itself exhibits an orange peel surface preparation. It is 23 cm (9 inches) diameter, roughly the same height and in excellent condition weighing 3.5 kg (roughly 8 pounds).
Naimen Shiho I (Katsuji, (1904-1987) studied metalwork under Ichioka Shiun from the age of 15 establishing his own workshop in 1925. His work was first publicly exhibited at the 1930 National Shokoten. Two years later he would be awarded at the Belgium World Exposition. He remained active throughout the troubled years of the mid-century for which he would receive the order of cultural merit from Takaoka City in 1967. Work by him is held in the Takaoka City Museum. He remained an active promoter of traditional bronze ware until his death in 1987. His son, the second-generation Shiho would study under his father from 1957. He too is much lauded beginning with top prize at the 1974 Takaoka Traditional Craft Exhibition

An incredible pair of antique Japanese Kutani Porcelain sake flasks decorated with Buddhist imagery in vivid color signed on the base Kutani Kyokuzan (Asahiyama) Zo enclosed in the original signed wooden box titled Butsuga Tokkuri Ittsui. They are 16.5 cm (6-1/2 inches) tall each, and in excellent condition.
The name Kyokuzan Or Asahiyama came to fame through the hardwork and auspices of Tokuda Tokuji (1818-1877). He was the son of Tokudaya Tokuemon (1792–1873), a ceramic painter at the Kasugayama and Minzan kilns. He learned pottery techniques from his father and later became a craftsman at the Minzan kiln, excelling in the fine red and gold aka-e technique. He used the artist names Saiunrō Kyokuzan or Kutani Kyokuzan (Asahiyama). After the Minzan kiln in Kanazawa was closed around 1844 the last lord of the Kaga domain, Maeda Yoshiyasu, established the domain kiln Tōkisho-nami Tōkikama at the foot of Utatsuyama in 1867 as part of an industrial promotion effort. Tokuda Tokuji worked there and when this domain kiln was closed due to the Meiji Restoration, Tokuji took over the facility, renaming it the Mukoyama kiln and continuing operations independently. It is also known that he traveled to Tokyo to create ceramics. His notable students included his son-in-law, Suwa Sozan I, and Haruna Shigeharu, among others.

A squirrel prizes a walnut sitting on a rotted stump, a sculpture made entirely from one piece of wood dating from the first half of the 20th century. It is 40 cm (16 inches) tall and in overall fine condition. There is a small chip to the tip of the ear and tail (see close-up photos).

A tall flaring bamboo basket by Tanabe Chiuunsai II enclosed in the original signed wooden box titled Hosei. It retains the original bamboo inset, and is 31 x 20 x 35 cm (12-1/4 x 8 x 14 inches) and is in excellent condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.

A breathtaking tray decorated with early morning Lotus with misty clouds of gold on highly polished ro-iro black signed Kunisada featuring a solid silver rim enclosed in a silk lined box wrapped in blue cloth pouch stamped Ogaki Kunisada. Early morning dew beads like pearls in the basin of the dilapidated leaf in the fore, while the flower bulb, not ready yet to open, glistens gold in the late summer sunlight. The tray is 27.5 x 27.5 x 3cm (11 x 11 x 1-1/4 inches) and is in perfect condition. The wooden box has a paper label simply titled Ogaki Kunisada Haibon (Sake Cup Tray).

A fabulous 19th century round lacquer box covered in intricate textile designs outside, with various blossoming chrysanthemum on a fine Nashiji gold powder base within. It comes enclosed in an age darkened period wooden box protected in a disintegrating silk cloth. The box is 21.5 cm (8-1/2 inches) diameter, 8 cm (over 3 inches) tall and in excellent condition.

Intricate designs of chrysanthemum style blossoms among latticework adorned with a Paulownia crest dating from the Edo period enclosed in an old red-lacquered wooden storage box. It is 13 cm (5 inches) diameter, 10 cm (4 inches) tall and in excellent condition.

A flaring Edo period Hakeme bowl exquisitely repaired with vivid gold where the side has once been severely damaged. The sand-textured clay is revealed about the rim where the glaze has been worn away with time and use. The foot is masterfully crafted from a dark iron rich clay, likely from the Karatsu region. The workmanship is incredible. The bowl is 16.5 cm (6-1/2 inches) diameter and stands 7 cm (3 inches) tall.