Catalog (197)

Golden vines with silver fringed leaves envelope this striking Edo period lacquered storage box covered entirely in silver Nashiji lacquer. Two brass rings pierce the side for a tying chord. Inside it retains the original tray, black with Nashiji bottom and rim decorated with stylized vines. The box is 26 x 32 x 21 cm (10-1/4 x 13 x 8-1/4 inches) and in overall decidedly fine condition, with a couple of small dings (see close-up photos).

A pair of lacquered Braziers by Kamisaka Sekka enclosed in the original red-lacquered compartmentalized signed wooden box. They are decorated with Rimpa style gold and inlaid lead flora on tame-nuri red alternating with highly polished black lacquered panels with bronze handles. Each is 27 cm diameter (11 inches), 24 cm (9-1/2 inches) tall and they are in overall excellent condition, retaining their original blue cloth storage sleeves.
Kamisaka Sekka (1866–1942) was a pivotal figure in the Rimpa revival movement and made significant contributions to the development of lacquer design and innovation in Japan. He played a central role in revitalizing the traditional Rimpa aesthetic while also incorporating modern elements into his work. His influence extended beyond painting to various art forms, including lacquerware, textiles, ceramics, and even graphic design.

An abstract floral motif is carved through the multiple layers of lacquer forming the surface of this Kanshitsu Dry Lacquer Poem Card Box by 20th century artist Yamada Akio enclosed in the original signed wooden. It is 29.5 x 32.5 x 4 cm (12 x 13 x 2 inches) and is in excellent condition. Yamada Akio was a lacquer artist active throughout the mid 20th century. A student of Living National Treasure Otomaru Kodo he was well versed in the art of Sanuki lacquer carving, and exhibited with the Nihon Dento Kogei Ten and Shin Kogeiten where he was awarded in 1988. Kagawa Shiki lacquer from the Island of Shikoku stood largely ignored for much of the 20th century, but has recently received a good deal of attention in retrospect.

A fabulous modern vase tracing design patterns back into the art-deco era by Sanuki artist Hashimoto Kota exhibited in 1995 at the Kagawa Ken Shitsugei Kenkyusho Exhibition. Gold dusted snails crawl on overlapping leaves in various autumn tones carved through to reveal alternating layers of cream and dusky hazel colored lacquer beneath. The vase is 12.5 x 12.5 x 26.5 cm (5 x 5 x 10-1/2 inches) and is in perfect condition, enclosed in a wooden storage box.
Hashimoto Kota was born in Takamatsu City in 1974. At the age of fifteen he entered the Kosho lacquer studio at the same time as he entered the Kagawa Prefectural Crafts High School, graduating both in 1991. He then entered the Kagawa Lacquer Art Research Institute where he studied from 1992-1995. After years of study he obtained the qualification of a second-class architect. According to him the experience of learning about color, shape, and the role of tools and people in daily life through traditional crafts served served to help understand the importance of the "buildings" that envelop them. From 2012 he has also worked with lacquer art at Sanuki Urushi Shinra.

An exquisite carved lacquer cylindrical incense container enclosed in the original signed wooden storage box titled Nuri-ko-tsutsu and signed Chikusem. It is 12 inches (30 cm) long and in excellent condition, signed in a carved seal on the side. This comes from the Sanuki lacquer tradition of Kagawa prefecture on the Island of Shikoku. The production of lacquer-ware in Kagawa (Shikoku) was encouraged by the feudal lord Yorishige Matsudaira (1622-1695) and many artisans took up residence in the area. The patronage of feudal lords and wealthy individuals furthered the development of the Sanuki lacquer tradition. With the rise of the middle class in the Meiji period and import placed upon traditional crats the demand for high-quality lacquerware increased, leading to innovations in craftsmanship and artistic designs. Tamakaji Zokoku and others like him were important in the development of modern Kagawa lacquer art cementing the foundations of the three basic styles we know today.

Overlapping dragonflies in deep relief cover the black surface of this impressive Natsume by Okabe Keizo enclosed in the original signed wooden box titled Tsuikoku Natsume (Carved Black Natsume). This is performed in the carved lacquer technique of Kagawa prefecture, where multiple layers of lacquer are applied then carved through leaving the design in releif. A very time consuming process. It is 7.5 cm (3 inches) diameter, the same height and in excellent condition.
Okabe Keizo was born in 1912 in Kagawa prefecture on the island of Shikoku and studied the art of lacquer carving (Tsuishu Yozei) under the important artist Otomaru Kodo (later designated a Living National Treasure. He was awarded at the Japan Art Academy (Nihon Bijutsu-Kyokai) in 1938, and accepted into the Nitten in 1942, garnering several prizes there over the coming years. In 1956 he would be accepted into the National Traditional Crafts Exhibition.

An exquisite lacquer dish with black Tessen (Clematis) flowers over a mottling of pale layers by Ikeuchi Kaho enclosed in the original signed wooden box titled Choshitsu Tessen Hana Moyo Kazari-sara. The work is performed by applying layer upon layer of cream-colored lacquer, with a final layer of black, which is then carved through to reveal the lower layers of white, leaving only the one top layer of black as the design. A very labor-intensive process with little room for error. The dish is 30.5 cm (12 inches) diameter and in excellent condition. Ikeuchi Kaho (1903-1967) was an artist in the carved lacquer tradition of Sanuki, and his work is held in the collection of the Takamatsu City Museum.

A fabulous lidded bowl of deeply carved layered lacquer by Tamakaji Zokoku dating from the later Edo period. It is 17 cm diameter (roughly 7 inches) and comes in a period wooden box. It is signed with individual characters splayed between the frets around the base. A similar work, if not the same, is visible on page 118 (figure 69) of the book Hyakunensai Kinen Tamakaji Zokoku, produced in 1968 commemorating the 100th anniversary of his passing.
The production of lacquer-ware in Kagawa (Shikoku) was encouraged by the feudal lord Yorishige Matsudaira (1622-1695) and many artisans took up residence in the area. Tamakaji Zokoku was an important artist in the development of modern Kagawa lacquer art. Born in Takamatsu City, Kagawa, in 1806, at a young age he went to Kyoto where he studied painting as well as lacquer technique. Zokoku was granted access to many important collections of antique lacquer works including works from countries such as China, Thailand, and Myanmar in the possession of Higashi-Honganji Temple and Daitokuji Temple. After returning to Takamatsu his talent was recognized by Matsudaira Yorihiro (ninth lord of the Takamatsu Domain), and he was appointed to manage the items in the domain's treasury. He carefully researched each of these treasures to further develop his own skills. He established a distinctive style of lacquer-ware based on his interpretation of these traditional techniques. Today, these form the basis of the three major Kagawa Lacquer ware Techniques, Kinma, Zonsei, and Choshitsu.

An exquisite Choshitsu container carved from layered red lacquer by Tamakaji Zokoku signed on the base and enclosed in a custom wooden collectors box. It is 8 cm diameter, 6 cm tall (3 x 2-1/2 inches) and is in excellent condition. This piece is featured on page 109 of the book Hyakunensai Kinen Tamakaji Zokoku produced in 1968 on the 100th anniversary of his passing.
The production of lacquer-ware in Kagawa (Shikoku) was encouraged by the feudal lord Yorishige Matsudaira (1622-1695) and many artisans took up residence in the area. Tamakaji Zokoku was an important artist in the development of modern Kagawa lacquer art. Born in Takamatsu City, Kagawa, in 1806, at a young age he went to Kyoto where he studied painting as well as lacquer technique. Zokoku was granted access to many important collections of antique lacquer works including works from countries such as China, Thailand, and Myanmar in the possession of Higashi-Honganji Temple and Daitokuji Temple. After returning to Takamatsu his talent was recognized by Matsudaira Yorihiro (ninth lord of the Takamatsu Domain), and he was appointed to manage the items in the domain's treasury. He carefully researched each of these treasures to further develop his own skills. He established a distinctive style of lacquer-ware based on his interpretation of these traditional techniques. Today, these form the basis of the three major Kagawa Lacquer ware Techniques, Kinma, Zonsei, and Choshitsu.

A Taisho period Lacquer writing box of superb quality decorated with a design of a stone lantern under broad leaves enclosed in an age darkened kiri-wood box. The scene is performed with Thick slices of shell and lead inlay on black Ro-iro ground with Taka-maki-e and Hira-maki-e designs. Inside is finished in Kin-gin (gold and silver) Nashiji. It contains two ink stones, a solid silver water dropper and Silver lidded box, as well as the original brushes, hole punch and paper knife all in matching Nashiji finish. The box is 38.5 x 15 x 5.5 cm (15 x x 2 inches) and is in excellent condition.
The Rimpa revival of the early 20th century emphasized visual splendor, decorative patterns, and harmonious compositions reflecting nostalgia for the past. However, it was not a strict replication of the past. Artists involved in this movement integrated modern techniques and materials into their work, allowing for a fusion of traditional aesthetics with contemporary artistic practices. This approach enabled artists to create innovative interpretations of the Rimpa style that resonated with the changing times.

A set of six anonymous colored lacquer trays decorated with rock garden imagery in lead, mother of pearl and raised lacquer techniques. Each tray is roughly 48 x 27.5 cm (19 x 11 inches) and all are entirely unique, with different colors and designs and in overall excellent condition. Each comes wrapped in a faded blue cloth pouch.

A classic mid 20th century Dry-lacquer vase by Kawai Masazo enclosed in the original signed wooden box. Rankaku (crushed egg shell) on cream colored lacquer alternating with highly polished black. This work truly encapsulates the freedom for form which artists were seeking in the post war period. It is 45 cm long and in excellent condition. Kawai Masazo was born in Osaka in 1928, graduating the Osaka Municipal School of Art and Design. In 1948, at just 20 years old, he was awarded the Mayors Prize at the Osaka Art Exhibition. In 1950 he was first accepted into the Nitten. He would relocate to Tokyo and continue to exhibit and be often awarded at the Nitten, including the Hokutosho in 1963 and 64 and would eventually serve as a juror there. He would also exhibit with the Gendai Kogeiten National Modern Crafts Exhibition where he would also garner several prizes and serve on the committee.

A striking Yellow dry Lacquer (Kanshitsu) Vase by Izumi Atsuhiko enclosed in the original signed wooden box. Truly definitive of the mid-century art scene, it is 17.5 cm (7 inches) tall and in excellent condition. Izumi Atsuhiko (1915-2005) was born in Niigata prefecture and graduated the Nihon Bijutsu Daigaku University of Arts where he studied Lacquer technique under Rokkakuk Shisui (1867-1950), settling in Tokyo. He exhibited with the Nitten among other National exhibitions as well as abroad.

A Te-bako lacquered box by Izumi Atsuhiko enclosed in the original signed wooden box dated Autumn of Showa 39 (1964). Black and white Urushi with Iro-urushi floral imagery, mother of pearl inlay flowers and gold Ke-uchi embellishments. It is 22.5 x 30.5 x 13 cm (9 x 12 x 5 inches) and in excellent condition, with minor wear on the bottom typical of use.
Izumi Atsuhiko (1915-2005) was born in Niigata prefecture and graduated the Nihon Bijutsu Daigaku University of Arts where he studied Lacquer technique under Rokkakuk Shisui (1867-1950), settling in Tokyo. He exhibited with the Nitten among other National exhibitions as well as abroad.

Inlaid blossoms of polished white shell glow on the burnished gold branches of a winter plum swirling across the red tame-nuri surface of this small suzuri bako writing box dating from the early 20th century and enclosed in the original signed wooden box titled Hayaume-zu Maki-e Suzuri-bako (Writing box with Early Plum Blossom). Inside the lid is a Togidashi image of snow-covered Hiragi (Japanese Holly) bearing red berries. Inset into the floor of the box are a drip shaped suzuri ink stone and gold colored water dropper in matching tray. The box is 12.5 x 20 x 3 cm (5 x 8 x 1 inches) and in overall excellent condition. THer is wear on the underside consistent with use.
The Rimpa revival of the early 20th century emphasized visual splendor, decorative patterns, and harmonious compositions reflecting nostalgia for the past. However, it was not a strict replication of the past. Artists involved in this movement integrated modern techniques and materials into their work, allowing for a fusion of traditional aesthetics with contemporary artistic practices. This approach enabled artists to create innovative interpretations of the Rimpa style that resonated with the changing times.

An incredible play on the old adage, the pen is mightier than the sword, here is a phenomenal 19th century yatate brush case in the shape of a tanto knife with lavish maki-e designs in gold with mother of pearl blossoms and featuring a silver “Koszuka” insert on the side decorated with butterflies where it is likely an ink-soaked cotton tab or slab of red stamp ink would have been stored. It comes enclosed in a custom made and silk lined kiri-wood box. The piece is 24 cm (9-1/2 inches) long and in excellent condition.
During the Kamakura era (1185–1333), the idea of ink-saturated cotton was developed. By touching a calligraphy brush to the cotton, one could ink the bristles with reduced risk of dripping or spilling ink. By enclosing the cotton in a small lidded box, the writing set was made convenient and portable.

A fabulous covered bowl decorated with cobalt dragons and covered almost entirely in intricate lacquer designs from the Toyoraku (also read Horaku) tradition in Nagoya. The dragons swirl in both the foot ring, and center ring of the lid. As if to pair, gold dragons slither about in scalloped green cartouches overlaying the ornate Shippo pattern outside, inside completely lacquered black with a nashiji rim with a floral dial in centor of both bowl and lid. The bowl is 17 cm (6-3/4 inches) diameter and comes enclosed in a period wooden box. It is in outstanding condition, and one of the finest quality pieces I have seen.
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. However from the later Meiji he concentrated on Raku-ware, and the lacquer tradition mostly disappeared from the family ouvre.

An Inuyama style pottery dish covered in black lacquer; the two pinched areas of the rim decorated with slight gold designs of fortuitous symbols from the Toyoraku kiln of Nagoya. Inside the dish features crackled glaze decorated with young pine and bamboo shoots with splashes of Oribe green. The Toyoraku stamp is visible to the left of the design. The dish is roughly 17.5 cm (7 inches) diameter and in excellent condition.
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.