Catalog (257)

A set of five covered bowls from the Akashi kilns of the 19th century decorated with cotton flowers on brown sandy clay. Each bowl is roughly 11.5 cm (4-1/2 inches) diameter, 6 cm (2-1/4 inches) deep. There are minor abrasions to the soft clay along the rims, but no cracks, and overall in rare fine used condition. Akashiyaki is a type of ceramic from Akashi, Hyogo Prefecture influenced by Mishima, Ko-Kiyomizu and Ninsei wares which reached its peak in the latter half of the Edo period. At the beginning of the Edo period, Tadazane Ogasawara from the Matsumoto domain of Shinano Province was granted the Akashi area with a value of 100,000 koku and founded the Akashi domain. Tadamasa strove to establish Akashi Castle and improve the castle town and economics of the province. According to one theory, Tadamasa initially invited Nonomura Ninsei from Kyoto, and had him develop a kiln to fire pottery which began the industry development. In the Genna era, a government kiln was built and Toda Oribenosuke began firing pottery in Akaura, Toba village. This is known today as Ko-akashiyaki. Bizen-style and Mishima-style tea pottery were produced and loved by tea masters. After that, the production of Akashiyaki was suspended for a period of time during the Tenmei period, but Tezuka Magoichiro, the group magistrate of Akashi Town, had Yamada Kikutaro reestablish the industry during the boom years of the Bunka/Bunsei eras in the early 19th century. Akashiyaki continued to be produced in this way into the Meiji era, however most of the production was for everyday items, and was rarely fired in large quantities, so as mass production took over it declined flourished from the end of the Meiji period to the beginning of the Taisho period

A celadon vase with beast head handles clasping ringlets decorated with a band of intense blue featuring civets frolicking among vines burgeoning with grapes enclosed in the original singed wooden box. It is18 cm (7 inches) diameter, 22 cm (9 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 through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers 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 kiln 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 Poem card box of straight grained paulownia wood signed Tetsuro decorated with a rabbit in worked lead applied among long lacquered grasses dating from the mid 20th century enclosed in the original signed wooden box accompanied by a label from the Yamagata Museum dated Showa 34 (1959). It is 26.5 × 29.5 × 4.5 cm (10-1/2 x 12 x 2 inches) and is in excellent condition. The storage box is of cross-cut Jindai-sugi cedar, a highly prized grain. The box contains a shikishi poem card by the artist.

The thatch roofed studio of potter Mashimizu Zoroku by Shibata Banyo dating from the Taisho to early Showa period. Pigment on silk in a red lacquered wooden frame. It is 190 x 170 cm (74 1/2 x 67 inches) and is in overall fine condition with some light foxing and minor handling marks typical of age. For another example of this scene by Banyo see:Rokasensuiso to Yamamoto Shunkyo (2022, Otsu City Historical Museum) page 14.
Shibata Banyo (1885-1942) was an influential artist born in Otsu. After completing studies at the Kyoto Municipal School of Painting (mod. University of Art) he entered the salon of Yamamoto Shunkyo. For more on this artist see the book Shibata Banyo Koto no Modan Nihongaka (2011)

A dimpled bowl decorated with chrysanthemum blossoms floating past a dark shore by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Kenzan Utsushi Kikusui Ga Kashi-bachi. It is roughly 20 cm (8 inches) diameter, 8 cm (3 inches) tall and in excellent 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 through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers 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 kiln 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 rare lavender tinged pink porcelain vase decorated with a floral spray by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box and retaining a fine rosewood stand. It is 17.5 cm (7-1/2 inches) diameter, 14.5 cm (6 inches) tall, plus the stand, and is in excellent 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 through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers 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 kiln 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 sheer white porcelain image of Kannon, the goddess of mercy by Miyagawa Kozan enclosed in the original signed wooden box titled Haku-yu Kannon Zazo Okimono. It is 15 x 10 x 19.5 cm (6 x 4 x 8 inches) and is 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 through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers 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 kiln 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 cicada perches on the stalk of a broad leaf forming this small bowl by Miyagawa Kozan enclosed in the original signed wooden box titled Seiji-yu Cicada on Leaf. It is 13.5 x 14.5 x 5 cm (5-1/4 x 5-3/4 x 2 inches) and is 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 through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers 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 kiln 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 spectacular Meiji to Taisho period Golden box decorated with a spray of flowers under an imperial Chrysanthemum. The interior and bottom are elegant Nashiji, and the border between box and lid is protected by a solid silver rim. Kirigane cut gold flakes decorate the raised leaves. It comes enclosed in a custom made kiri-wood storage box. The gilded receptacle is 30 x 24.5 x 14 cm (12 x 9-3/4 x 5-1/2 inches) and it is in excellent condition.

A stylish table lamp made by Kinoshita Yuri and Craig Yamamoto consisting of a shade of woven Kozo paper on iron frame with walnut stand and brass fittings signed by both artists titled Haguregumo. It comes with a built in dimmer switch. The shade is 84 cm long, 40 cm diameter. The lamp stands 53 cm, tall and is in excellent condition, directly from the artist.
Yuri Kinoshita was born In Kyoto and graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A free standing lamp of iron mounted on a solid Keyaki wood base with Bamboo Fiber Paper woven shade by Kinoshita Yuri titled Amakudari. It is lit with 3 100 W (15 w) LED Lights fitted with a black flat cord and foot switch complete with Remote Control. It is 195 cm ((76-1/2 inches) tall, the shade 30 cm (12 inches) diameter. In perfect condition, built in our gallery studio and completed just this month.
Yuri Kinoshita was born In Kyoto and graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

An amazing Nebula of pale raw kozo paper impregnated with iron wire by Kinoshita Yuri titled Uchu (Universe) made in our gallery studio and completed just this month. The centerpiece of the show, it is made to hang from the ceiling, and comes with a Remote Control. It is roughly 130 x 110 x 85 cm (51 x 43 x 33-1/2 inches and is in excellent condition, directly from the artist.
Yuri Kinoshita ーBorn In Kyoto, Japan, Yuri graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A sophisticated lamp of woven Linen Fiber Paper on iron frame by Kinoshita Yuri on a walnut base with brass hardware by Craig Yamamoto signed by both artists. The base is beautifully cut from a large chunk of dark walnut and contains a drawer. The shade is 16 cm (5-1/2 inches) diameter, 67 cm (26 inches) tall and is in excellent condition, directly from the artist.
Yuri Kinoshita was born In Kyoto and graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A stylish table lamp mady by Kinoshita Yuri and Craig Yamamoto consisting of a shade of woven bmboo fiber paper on iron frame with walnut stand and brass fittings signed by both artists. It comes with a Remote Control for dimming. The shade is 51 cm (20 inches) diameter, and it stands 61 cm (2 feet) tall and is in excellent condition, directly from the artist.
Yuri Kinoshita was born in Kyoto and graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A belted cloud of Kozo Paper strips woven over an iron frame mounted on a walnut block with brass fittings by Kinoshita Yuri in collaboration with famed furniture maker Craig Yamamoto signed by both artists. It is lit with two 60 W (6W) LED Lighting Strips with black flat cord with Dimmer Switch. The paper shade is 85 x 40 x 40 cm and is in perfect condition.
Yuri Kinoshita ーBorn In Kyoto, graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design.Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A long paper tube which could be mounted either vertically or horizontally (or even suspended from the ceiling) by Kinoshita Yuri made of woven Kozo Fiber on a stainless frame titeld Tenkugumo III. It is lit with 4 25 watt (2 W) LED Lighting Strips and features Transparent flat cord. It is 1 meter long, 15 x 20 cm (39 x 6 x 8 inches) and is in perfect condition, directly from the artist created for this exhibition during her sojourn on Awaji Island this Spring.
Yuri Kinoshita ーBorn In Kyoto, graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design.Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.<
※Shipping fee is separate. Please contact us if you are considering purchasing.

A long wall mounted light of woven strips of Bamboo Fiber Paper on a Stainless frame by Kinoshita Yuri titled Tenkugumo II. It is 80 x 15 x 20 cm (x 6x 8 inches) and in perfect condition, directly from the artist made for this show during her sojourn on Awaji Island this Spring. It is lit by three 25 Watt (2 W) LED Lighting Strips featuring transparent flat cord.
Yuri Kinoshita ーBorn In Kyoto, Japan, Yuri graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A long wall mounted light of woven strips of Kozo, Linen Fiber, Bamboo Fiber, embossed Kozo and pasta impregnated Kozo Paper, with PP　Film on a stainless frame by Kinoshita Yuri titled Tenkugumo. It is lit with five 25 Watt (2 watt) LED Lighting Strips featuring a clear flat cord and plug. It is 148 x 18 x 20 cm (58 x 7 x 8 inches) and is in excellent condition, directly from the artist, created during her stay on Awaji Island in preparation for this show this Spring.
Yuri Kinoshita ーBorn In Kyoto, graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design.Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.