Catalog (262)

A beautiful Shallow bowl with inverted rim decorated with delicate designs by Miyagawa Makuzu Kozan enclosed in the original signed wooden ox titled Ninsei Kameko Moyo Kashiki (Dish deocorated with Tortoise shell pattern). It is 19.5 cm (8 inches) diameter, 8.5 cm (3-1/2 inches) tall and in perfect 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.

A boxed set of Binshi offering vases decorated with regal fowl enclosed in a period wooden box by Kiyomizu Rokubei. Each is roughly 12 cm 4-3/4 inches) tall and in perfect condition. Very difficult to tell with this signature, but I believe it is the work of the 4th Rokubei, possibly a very early work by the 5th.
Kiyomizu Rokubei IV (1848-1920) was born the first son of Rokubei III and headed the family kiln from 1883-1913.He studied painting in the Shijo manner under Shiiokawa Bunrin and had a brotherly relationship with his fellow student Kono Bairei (under whom his own son would study painting). He sought to revitalize the pottery tradition of Kyoto, bringing in new techniques and styles and together with artists like Asai Chu and Nakazawa Iwata took part in the Entoen group and with Kamisaka Sekka the Keitobi-kai. He also held a strong relationship with literati artists such as Tomioka Tessai and together with these artists produced many joint works. He fell ill in 1902, finally handing the reins over to the 5th generation in 1913.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maekawa Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the The National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

A Tsubo which slumped in the kiln adhering to a pair of sake cups, one of which remains clinging to the side. It appears to be Karatsu ware, green glaze sliding over rich red iron and forming beads around the foot ring. It is 23 x 17 x 22.5 cm (9 x 7 x 9 inches). There is a small chip in the rim but is otherwise in excellent conditiom.

A shishi lion bites into a tangle of ribbon on the pierced lid of this pottery koro by Ito Tozan enclosed in the original signed wooden box. The six sided bosy is decorated with alternating designs of gees and florals among lattice-work. It is 8.5 x 8.5 x 14.5㎝ and in excellent condition.
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 and 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, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937). He too began life as a painter, but his talent was seen by Tozan I, who adopted him and converted him to pottery, where he both succeeded and excelled as a member of one of Kyotos most well known pottery families.

A fantastic Meiji period tray used for serving sake featuring crows in a leafless tree under the full moon enclosed in an old wooden box signed Shunso. The tray is constructed of wood covered in a layer of cloth with dark red lacquer, the decoration fo crows in a tree performed in black under a moon of silver powder. It is 42.5 x42.5 x 4.5 cm and is in fine condition.

An oki-goro incense burner made up of a hollowed burl of wood set onto a beautiful exotic dark-wood stand in the manner much appreciated by scholars of the 19th and early 20th centuries. Incense burnt inside on a metal stand would have produced smoke which drifted out through holes in the high peak of the burl, and around the base, like a mountain visible in the mist. It is 17 x 10.5 x 9 cm (7 x 4 x 3-1/2 inches) and is in overall excellent condition.

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 pumpkin lobed vase with silver inlay by Naimen Shiho I (Katsuji) enclosed in the original signed wooden box. It is 19.5 cm (8 inches) diameter, 27 cm (11 inches) tall and in excellent condition. This is a great pair with the vase in the same form in simple Murashidao mottled olive tones by his son.
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 (-showa 62).

A paradigmatic basket by Tanabe Chikuunsai II enclosed in the orginal signed wooden box. This square form of open vertical slats is a favorite of this artist. It is 9 x 18 x 35 cm (3-1/2 x 7 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 striking large lacquer box decorated with orchids on pink by Banura Shogo enclosed in the original signed wooden box titled Kameko-gata Te-bako. Inside is simple polished black lacquer. The outside back ground is powdered dry lacquer mixed with silver. Overtop is applied the various colored lacquer leaves and mother of pearl inlay flowers. It is 28 x 46 x 11 cm (11 x 18 x 4-1/2 inches) and is in excellent condition.
Banura Shogo (1901-1982) was born in Nanao, Ishikawa prefecture, and studied lacquer in the Wajima tradtion. In 1925 he moved to Kyoto. It was a time of great interest in ancient things, forgotten styles, and revival of lost techniques. Together with Okumura Kyuka he established a research group dedicated to the study and revival of lacquer techniques. He exhibited with the Bunten (Teiten/Nitten) National Art Exhibition and was first awarded there in 1930 for a cabinet, and in 1936 for a screen at the same venue. The following year would see his work garner a prize at the Great Paris Exhibition. Post war he would establish the group Sojinsha which would evolve into Shugenkai in the 1950s. In 1963 e would be granted the Zosho prize from the Japan Art Academy. Ever promoting the field of lacquer, he served as chairman of the Kyoto Shitsugeika Kyokai (Kyoto Association of Lacquer Artists) and was named an Artist of Merit by Kyoto city for his contribution to the arts and crafts in 1972, nad by Kyoto prefecture in 1974. In 1981 this cumlminated wit hteh Order of the Rising Sun , one of the highest national honors for an artist in Japan. He died the following year. Works by him are held in the collections of: The Kyoto National Museum of Modern Art, The Kyoto Municipal Museum of Art, The Tokyo Museum of Modern Art, The Kyoto Shinkin Bank Musuem, Iwashimizu Hachimangu Shrine as well as numerous private collections.

A boxed set of five elevated serving trays in red lacquer decorated with floral motifs in black by Urushi-legend Banura Shogo enclosed in the original tiered and signed wooden box titled Natsu no mi Kashiki (Serving Dishes with Summer Theme). Each is roughly 21.5 cm (8-1/2 inches) diameter, 4.5 cm (2 inches) tall and all are in excellent condition, retaining their original white silk lined blue cloth pouches.
Banura Shogo (1901-1982) was born in Nanao, Ishikawa prefecture, and studied lacquer in the Wajima tradtion. In 1925 he moved to Kyoto. It was a time of great interest in ancient things, forgotten styles, and revival of lost techniques. Together with Okumura Kyuka he established a research group dedicated to the study and revival of lacquer techniques. He exhibited with the Bunten (Teiten/Nitten) National Art Exhibition and was first awarded there in 1930 for a cabinet, and in 1936 for a screen at the same venue. The following year would see his work garner a prize at the Great Paris Exhibition. Post war he would establish the group Sojinsha which would evolve into Shugenkai in the 1950s. In 1963 e would be granted the Zosho prize from the Japan Art Academy. Ever promoting the field of lacquer, he served as chairman of the Kyoto Shitsugeika Kyokai (Kyoto Association of Lacquer Artists) and was named an Artist of Merit by Kyoto city for his contribution to the arts and crafts in 1972, nad by Kyoto prefecture in 1974. In 1981 this cumlminated wit hteh Order of the Rising Sun , one of the highest national honors for an artist in Japan. He died the following year. Works by him are held in the collections of: The Kyoto National Museum of Modern Art, The Kyoto Municipal Museum of Art, The Tokyo Museum of Modern Art, The Kyoto Shinkin Bank Musuem, Iwashimizu Hachimangu Shrine as well as numerous private collections.

Silver blossoms bloom in the golden foliage of weeping branches dangling from a checkered cloud design around the rim of this pumpkin shaped incense burner dating from the first half of the Edo period. Three folding fans in geometric designs are emblazoned about the lozenge form. It is 10 cm (4 inches) diameter, 8.5 cm (3-1/4 inches) tall and in overall excellent condition, with wear to the lacquer on the bottom typical of age.

A large container on three scrolling feet covered in cinnabar lacquer decorated with islands dotted with pavilions off the shores of which ply sail boats on placid waters. It is 30 cm (12 inches) diameter, 31 cm (12-1/2 inches) tall and in overall fine condition. The distinctive red color often seen in Ryukyuan lacquer is of a more vibrant tone than that from China or Japan. It is obtained by mixing raw lacquer with red pigment in roughly equal amounts, a mixture which turns blood-red in the sunlight. This piece makes use of a technique known as tsuikin (lit. piled brocade) which is especially distinctive for Ryukyuan lacquers. Lacquer is mixed with pigments to create a sort of clay or putty, which is shaped and carved and then applied onto the object, in order to create textured three-dimensional effects.
As the lacquer tree is not native to Okinawa, the key material needed to produce lacquerware could only be obtained by the Ryukyuans through trade. Though the islands were involved with trade with Japan and the Asian mainland for many centuries, it is generally believed that the presence and production of lacquerware in Ryukyu only began to any significant extent in the late 14th or early 15th centuries. Ryukyu enjoyed a booming trade with Southeast Asia and Korea, and traded many goods from these countries with China, either as tributary gifts or as regular trade goods. Beginning in 1609, when Ryukyu was invaded by Japan's Satsuma Domain, its trade with Southeast Asia and Korea all but came to an end, replaced by commerce with Satsuma. Thus, given the changes in Ryukyu's relationships with foreign countries over its history, it is easy to see why Ryukyuan lacquer prior to the 17th century shows strong Chinese, Korean and Southeast Asian influences, while objects produced after the Japanese invasion evidence far stronger Japanese influences. A vast majority of Okinawan lacquer (and other cultural objects) were destroyed during the battle of Okinawa in the second world war, when the Islands were laid waste by both the victors and vanquished with scorched-earth/ take-no-prisoners policies, and finding impressive pieces like this today is decidedly uncommon.

A fabulous Antique Sake set featuring three sizes of sake cup in festive red decorated with garden scenes featuring young pine set on a black lacquered stand decorated with a spiral spray of blossoming plum inside a rim decorated with silver and gold “Shippo” designs; both cups and stand enclosed in black lacquered period wooden boxes. The underside of each cup also has been decorated with pines. The underside of the stand is exquisite Togidashi Nashiji gold. The trunk of the plum tree is inlaid with kirigane cut flakes of gold, the blossoms a combination of silver and gold. The stand is 15.5 x 15.5 x 11.5 cm (6 x 6 x 4-1/2 inches). The cups are roughly (large) 13 x 3.5 cm, (medium) 11 x 3 cm, (small) 10 x 3 cm (5-1/4, 4-1/2 and 4 inches diameter each).

A stunning small lacquered box decorated with the golden leaves of Rohdea Japonica bearing pearl white fruit enclosed in the original wooden box. Solid silver lines the edges, and the entire glistens with powdered gold. It is 13 x 10 x 5.5 cm (5-1/4 x 4 x 2 inches) and is in excellent condition, with minor wear to the bottom typical of age and use.

Two turned wood bowls covered in luscious gold, each decorated inside with celebratory themes of soaring cranes and fresh green bamboo. Each bowl is 12 cm (5 inches) diameter, 6 cm (just over 2 inches) tall and in excellent condition, dating from the early part of the 20th century.

A superb example of the Uma-no-me (Horse-eye) style platters of the Edo to Meiji period with five eyes surrounding a ring of spur marks centering on a dashed spray of grass. It is 32.5 cm (13 inches) diameter and in rare perfect condition, dating from the later Meiji period.
During the late Edo to Meiji period these plates were mass-produced as utilitarian wares in Seto City, Aichi Prefecture. Later, they gained popularity when they were introduced by Yanagi Sōetsu, the founder of the Mingei (Folk Crafts) movement which espoused objects made with simplicity and a focus on function, stripped of unnecessary elements. Their rustic charm came to be appreciated as the "beauty of utility" (yō no bi). Although these plates were mass-produced, the hand-painted designs ensured that each one had unique characteristics. Excavated examples suggest they were produced primarily in the Seto and Hō districts from around the Bunka era (circa 1810). The value of these plates is affected by the number of "eyes" (decorative spirals). Rare configurations are exceptionally priced, and plates with an odd number of eyes are particularly scarce and considered highly valuable.

A dog shaped Kogo incense caser by imperial potter Suwa Sozan I enclosed in a wooden box annotated by his daughter Suwa Sozan II (Torako). It is 6.6 x 3.7 x 4.5 cm and in excellent condition.
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. Sozan Torako (Suwa Sozan II 1890–1977) was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.