Catalog (143)

The gaze is stern on this Edo period image of the divine general Shori Ken (Chinese: Zhongli Quan or Han Zhongli), god of war and one of the eight immortals in the Daoist pantheon. This character is most discernable by his feather fan which was said to be able to resurrect the dead and here he holds out prominently in front of himself. Astride a typical stocky Japanese horse in full trappings, he would have looked down on visitors from a gate or the eaves of a palace or shrine. The tassels on the horses trappings and a few facial highlights are done in soft color, the rest in natural wood. The figure is 19 x 20 x 40 cm (roughly 8 x 8 x 16 inches) tall, carved of hardwood, and is in overall excellent condition but for one chipped finger on his right hand.
Taoism is ever present in the background in Japan, its rituals, superstitions, and symbols. As well it is certain that Taoism and its symbolisms are prominent in Japanese art, much more so than Confucianism. However it has been here so long and become so intertwined with the culture it is difficult to distinguish. According to Jeffrey L. Richey: Though there is no dispute that Daoism is present in Japanese culture, the degree and importance of its influence has been the subject of ongoing scholarly debate. One problem has been dislodging its specificity from the broader mass of Chinese culture that has entered Japan over 15 centuries. This very span of time admits a complicating plurality: Daoism in China was multilayered and changed over time, while its products, which first arrived in Japan as part and parcel of the ritsuryō state (7th century), went on to appear piecemeal chiefly through textual sources over the centuries.

A very rare pair of Art-Deco era bronze candlesticks covered in polished nickel by Hata Zoroku enclosed in the original signed wooden box. Each is 12 x 7.5 x 35 cm (5 x 3 x 14 inches) and is in overall excellent condition, with some minor wear to the nickel. They come with teh original adapters for samller candles.
Hata Zoroku I (b. 1823) was especially famous for his iron kettles used in tea ceremonies, which often featured intricate designs and ornamentation. His work gained recognition not only in Japan but also internationally. He was instrumental in preserving traditional Japanese metalwork techniques during a time of great social and political change. His works often displayed a balance between functionality and artistry, which helped solidify the demand for high-quality, handcrafted kettles. His success led to the establishment of the Hata Zoroku lineage, setting a high standard for future generations. Later generations continued to uphold the Hata Zoroku name, producing highly sought-after metal objects that reflected the blending of traditional craftsmanship with modern influences. Zoroku II (1854–1932) was active during the late Edo period into the Meiji era, a time of major social and economic transformation in Japan. He continued his father’s legacy in crafting fine kettles, but also expanded the family’s craft into more decorative objects. With the growing export market during the Meiji era, Zoroku II’s works reached international audiences. His pieces often exhibited a fusion of traditional Japanese and Western influences, reflecting the cultural shifts of the time. Zoroku II began incorporating newer techniques and styles, blending modernity with tradition. He experimented more with motifs such as landscapes, animals, and symbolic patterns, and his work was highly regarded in both domestic and international markets. His works were showcased in international expositions, contributing to Japan’s recognition as a center for exquisite craftsmanship. Zoroku III worked hard to ensure that traditional metalworking techniques were preserved during a time of industrialization. He was especially known for creating limited edition pieces that were highly valued among collectors of traditional Japanese art.

A horse shaped koro from the kilns of Bizen dating from the later half of the Edo period enclosed in a period iron bound wooden storage box. The ears are removable, and the saddle lifts off to reveal a compartment for burning incense. It is 27 x 14 x 17 cm. One ear and one tassel along the saddle have been repaired.
Bizen ware, which enjoyed great popularity throughout Japan from the Middle Ages to the Momoyama period, lost its prominence to Seto, Mino, and Arita pottery during the Edo period. The Bizen kilns attempted to break through this situation by developing items such as saikumono (ornamental works) and saishiki Bizen (also called Iro-Bizen or colored Bizen ware). Under the guidance of official painters employed by the Okayama domain, they colored figures and animals, fired at low temperatures, using gofun (white pigment) and mineral pigments. These pieces were used as gifts to the shogunate and other domains.

A set of five fluted dishes decorated with draped branches dating from the mid to later Edo period enclosed in a period age-darkened wooden box. Several have had repairs made with lacquer nad powdered silver, enhancing the beauty and sense of age. They all bear on the base the Mizoro stamp impressed into the raw earth. Each is 16 x 10 x 4.5 cm (6 x 4 x 2 inches) and all are in overall fine condition, with the silver repairs blending with the finely crackled glaze and dark iron decoration.
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 set of 5 matching candle sticks in the shape of nets drying on a pole enclosed in the original antique wooden box. Dating from the 19th century (Late Edo to Meiji periods), they are 28 cm (11 inches) tall, 12 cm (5 inches) diameter and in overall excellent condition.

A wild Edo period figure of a devil bent over backwards in the bridge position, a Sharito Tower balanced on his abdomen, a bell dragging him down suspended from his back. What awful crimes did he commit to be punished so!?! The bronze bell is either from, or at the least pays homage to, Korean styles. Dating from the Edo period, the unusual image is 22 x 14 x 66 cm (9 x 5-1/2 x 26 inches). Some minor losses to the polychrome consistent with age. The crystal ball and brass fitting inside the tower are later additions.

A fabulous carved wood image of the fearsome Shishi Lion with glass eyes dating from the Meiji period signed Kazumoto-to (Carved by Kazumoto). It is 35.5 cm x 26 cm x 27 cm (14 x 10-1/2 x 11 inches). There are a few chips in the curly mane and tail and some cracks typical of age along the grain in the base.

A set of two large deep Imari fluted porcelain bowls dating from the later Edo to Meiji period (19th century) decorated with blossoming cherry trees over wave frets with a rabbit in blue in the center. Each is roughly 16.5 cm (6-1/2 inches) diameter, 11.5 cm ((4-1/2 inches) tall and both are in overall fine condition.

A set of Nesting Oribe bowls dating from the Momoyama to early Edo period from the Ohira-gama enclosed in an old collector’s box. Both They display a brownish color, typical of early works from the late Muromachi to Momoyama periods. The spur marks between are quite distinct “C” chapes. A simple tendril of iron has been poured over the sand textured surface, otherwise there is no decoration. Both slightly onched shapes feature kin-tsugi gold repairs. The large bowl is 23 x 24.5 x 6 cm (9 x 9-3/4 x 2-1/2 inches), the smaller 21 x 22.5 x 5 cm (8-1.2 x 9 x 2 inches).
The remnants of the Ohira kiln are located on Prefectural Road 84 just outside Toki-city. The Ohira old kiln group includes: several kilns, the Yamanokami Kiln, Yuemon Kiln, Seidayu Kiln and Ohira Kamagane Kiln. According to the overview in Shino, Volume 15 of the Encyclopedia of Japanese Ceramics (Chuo Koronsha), the Yamanokami Kiln fired Shino’s precursor, white glaze-gray Shino, during the Muromachi period. It is believed to have been active from the Tenbun era (1532–1554) to the Eiroku era (1558–1569), gradually progressing to higher-quality Shino. After that, Yuemon Kiln (which operated for a long time) produced quite high-quality Shino ware. Additionally, a climbing kiln called the Seidayu Kiln was established, where later-period Shino was fired during the Keicho era (1596–1614).

A hauntingly beautiful set of 6 Edo period dishes decorated with Sasa-grass in mellow beige color on a creamy white surface. Each is roughly 12 x 8 x 2.2 cm (4-3/4 x 3-1/4 x 1 inches) and are in overall fine condition, enclosed in an ancient wooden box. It is likely there were originally 10 dishes, 6 of which have survived the centuries.

A set of four “Mokume” wood-grained dishes in pale crackled glaze decorated with iron lattice from the Seto area enclosed in an ancient wooden box titled Seto Oribe naga-zara. Each dish rises slightly off the table on four pinched feet. They are roughly 19 x 10 x 3 cm (7-1/2 x 4 x 1-1/4 inches) and all are in overall fine condition.

Tile images on cracked pale glaze decorate this squared bowl stamped on the bottom Fuji from the Fujimiyaki Kiln of Nagoya enclosed in an old wooden box. There is one tiny gold repair on the rim, otherwise is in perfect condition. 13.5 cm (6-1/2 inches) square, 9 cm (3-1/2 inches) tall.
The founder of Fujimiyaki, Murase Hachiroemon I (Miki) was a samurai of the Owari Domain who served in various positions, regional magistrate and head of the domain school. He was also skilled in many arts, including seal carving, tea ceremony, poetry, and haikai (Japanese linked-verse poetry). His house was adjacent to a kiln belonging to the potter Keisuke (of Keiraku ware), and he married Shige, the daughter of Hozo Ichie, an Owari samurai. Because of these connections, he learned pottery techniques from Hozo and enjoyed making his favorite ceramics around Kaei 5 (1852). In 1879 (Meiji 12), they built a kiln in the garden of their villa in Kamimaezu (Fugetsuso Seisonsha) and began their pottery business with six people, including four technicians invited from Seto. Some of the works from Mika’s pottery hobby up until this time, including tea bowls, water jars, and flower vases, are part of the Morse Collection at the Museum of Fine Arts in Boston. They are also included in the Clemenceau Collection at the Montreal Museum of Fine Arts.

A beautiful Kuro-Raku Chawan decorated with the character Kotobuki (Great Fortune) in red by the 88 year old Hyakuhyaku-okina (Shibakawa Souemon, b. 1853). It is 11 cm (4-1/2 inches) diameter, 7.5 cm (3 inches) tall and in perfect condition, enclosed in an old wooden box.
The Shibakawa family was a prominent merchant family located in Fushimi-machi, Semba, Osaka, since the end of the Edo period. The Shibakawa family’s history dates back to around 1837 when Shinsuke Shibakawa, the grandfather, established a new business, "Mukade-ya," an importer of Western goods in Fushimi-machi, Osaka. During the era of Mataemon (the second generation) in the mid-Meiji period, the family evolved into modern entrepreneurs. In 1886, he closed the Western goods trading business but continued to manage the family’s affairs, focusing primarily on real estate. Around that time, they acquired land in Kotomura (now Kotoen, Nishinomiya City), which was still a cold, rural area with vast rice fields. In 1896, they developed an orchard there called Kotouen. In one corner of this orchard, in 1912, a unique villa with a blend of Japanese and Western architectural styles, designed by Goichi Takeda, was built. Yoshiro (the second Mataemon’s second son, 1883-1970), who inherited the family estate in 1923, reportedly requested that C.J.L. Bates, the president of Kwansei Gakuin, ensure the university was open and without fences around the campus, similar to the University of Washington in Seattle, which he saw during an inspection trip to America. Seeing the potential beyond cultivation at Kotouen, Yoshiro founded Dai Nippon Fruit Juice Co. (now Nikka Whisky) in 1934.

A fan shaped dish from the Gentaku Kiln dating from the first half of the 20th century decorated with a poem and autumn persimmon fruits. It comes enclosed in a wooden collectors box annotated inside with a description of the piece in delicate brush strokes. The dish is 25 x 28 x 5.5 cm (10 x 11 x 2 inches) and is in excellent condition, stamped Gen on the underside. A very intriguing bit of Japanese Ceramic history. In the early Showa period, the first generation, Kahei, built the Gentaku Mountain Villa and established the Gentaku Kiln to produce pottery for guests. However, the kiln naturally fell into disuse with the onset of the Second World War. Oshima Rakuan and various potters were invited to create work there.

A 19th century fan shaped dish from Southern Kyoto decorated with sailboats passing the pines of Matsushima in front of Mt. Fuji enclosed in an old wooden collectors box. It is 23.5 x 16 x 2.5 cm (9-1/2 x 6-1/4 x 1 inches), with minor chips to the edges typical of the softer clay of Awata. It is stamped on the underside Rakunan, Junzan. Rakunan refers to the southern part of Kyoto city.

Cranes soar inside this set of five dishes from the Tosa domain on Shikoku. Outside waves crash about over the fawn spotted Gohon glaze. Each is clearly stamped on the base Odo. They are roughly 15 x 10 x 5 cm (6 x 4 x 2 inches) and all are in fine condition, but for one hairline crack.
In 1653, under the order of Tosa Domain's lord at the time, Yamanouchi Tadayoshi, a potter named Kuno Seihaku was invited from Osaka to open a kiln in Odo (present-day Kozu Town), located north of Kochi Castle. This marked the beginning of the production of "Oniwayaki" (a general term for pottery made at kilns established by feudal lords or castle lords who had an interest in pottery). At that time, the clay used was transported from Nojiyama, where high-quality clay could be found. In 1820 (the 3rd year of the Bunsei era), the kiln was moved to Nojiyama, and for about 50 years, until the Meiji period, porcelain was also produced. After the Meiji period, the kilns were privatized, and several kilns were opened around the Nojiyama area.

A sake cup stand (Haidai) in sometsuke blue and white pottery decorated with festive lobsters stamped on the base Momoen-zo and enclosed in an older wooden collectors box. It is 9 cm square, 6.8 cm tall and in perfect condition, dating from the later 19th century.

A devil dressed in priest robes hunches down, prayer beads clutched in one gnarled claw, an incense burner held up to his sleepy visage, a humorous image carved from a single block of wood by Hirata Masaya (1900-1980) enclosed in the original signed wooden box dated Showa 35 (1960) and titled Sui-ko (Drunk on Incense). It is 25 x 20 x 26.5 cm and is in excellent condition.