Catalog (247)

A detailed image of a pigeon perched on a fallen roof tile by the elusive Nakamura Shuto enclosed in the original signed wooden box titled Ko-gawara Ni Hato Okimono. It is 22 x 16 x 27 cm (9 x 6-1/2 x 11 inches) and is in excellent condition.
Nakamura Shuto I (1865-1928) was born the son of famous Kaga potter of Daishoji Temple Nakamura Shigeichiro from whom, along with Takeuchi Ginshu from the age of 12, he initially studied pottery and painting techniques. Delving into the past he researched and revived ancient kiln techniques. From 1906 he took the name Shuto, and became famous throughout Japan for superb quality ceramics rivaling the best wares produced in Kutani. Suddenly in Taisho 2 (1913) he switched to painting and design, and then in 1917 combined the two disciplines in a new approach using a kiln he created in his home. Works by him are held in the Ishikawa Prefectural Museum among others.

An exquisite and unusual fluted ceramic bun-shaped tripod censer by Miyagawa(Makuzu) Kozan in vividly colored intricate designs capped with a silvered lid pierced with dragons among scrolling vines. It is 12.7 cm (5 inches) diameter 7.5 cm (3 inches) tall excluding the solid silver lid. Enclosed in original signed wooden box titled Makuzu Kama Kinrande Koro, in turn enclosed in a black lacquered wooden box.
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.

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 spectacular set of small boxes stacking to create a continuous scene of carp swimming among waves bound in a silk lined pouch in a period Kiri-wood storage box. Two deep boxes nestle into each other, the upper box containing a gold rimmed tray. All are covered outside in designs of waves and koi in powdered gold and silver on gold flake Nashiji. Inside is simple black lacquer worn mellow with age. Assembled the boxes are 9 x 6.5 x 13.5 cm (3-1/2 x 2-1/2 x 5-1/2 inches) and are in excellent original condition.

A Kiri-wood tray decorated with a delicate landscape and poem by Tanaka Hakuin enclosed in the original signed wooden box dated the Autumn of Taisho 8 ((1919). It is 44 x 30 x 3.5 cm roughly 17-1/2 x 12 x 1-1/2 inches) and is in excellent condition.
Tanaka Hakuin (birth name Nakagawa Keizaburo, 1866-1934) was born in Suruga, Shizuoka prefecture in the last years of the Edo period and became a student of Tanomura Chokunyu in Kyoto, the cultural heartland of Japan, at the age of 17. This was a tumultuous period as Western ideas and Technology were flooding into Japan. He was the top pupil of Chokunyu, working in the style of both Chikuden and his mentor. At this time he used the name Tanomura Hakuin. In 1900 he married and moved to Hofu city in Yamaguchi prefecture taking his wifes family name Tanaka as his surname, and thereafter was known as Tanaka Hakuin. He established a school for painting where he worked for his remaining years. Work by him is held in the Mori Art Museum and Honolulu.

This is a superb Bunraku puppet of the historical figure Matsuomaru, one of the lead characters from the Tale of the Heikei and legendary fighter in Japan. The doll is incredibly mobile. Head moving up and down, his eyes open and close and move left to right. His eyebrows can be raised and lowered, and mouth opened or closed, all from toggles inside his kimono on the extended neck piece. The puppet is in perfect condition and stands 43 inches to the top of his topknot, complete with a bamboo display stand. As pictured it stands 1 meter, (roughly 3 feet) tall and is in excellent condition. It is signed on the neck, and comes with a small placard also signed and titled by the maker.
Matsuōmaru is a character in Japanese Bunraku and Kabuki theater, a central figure in the play "Yoshitsune Senbon Zakura" (The Thousand Cherry Trees of Yoshitsune), which is one of the most famous and beloved historical plays in the bunraku and kabuki repertoire. Matsuōmaru is portrayed as the younger brother of Minamoto no Yoshitsune, a legendary samurai warrior and military commander during the late Heian and early Kamakura periods of Japan's history. In "Yoshitsune Senbon Zakura," Matsuōmaru is depicted as a loyal and brave character who assists his brother Yoshitsune in various adventures and battles. The play centers around Yoshitsune's escape from the pursuit of his enemies, particularly his brother Yoritomo, who becomes suspicious of Yoshitsune's growing popularity and loyalty among their followers.

A stellar tray carved of heart-wood pine in the shape of a Tanuki inlaid with glass eyes and bone teeth enclosed in a period kiri-wood box dating from the Meiji period. It is 34.5 x 27.5 x 4.5 cm (roughly 14 x 11 x 2 inches) and is in excellent original condtion.
The tanuki (Japanese raccoon dog) is a significant figure in Japanese folklore, celebrated for its mischievous, shape-shifting abilities and humorous antics. Known for their playful and sometimes morally ambiguous nature, tanuki are often depicted as masters of transformation and disguise, embodying themes of deception, adaptability, and humor. In some folk tales, tanuki disguise themselves as Buddhist nuns or priests, often with humorous or ironic undertones. This imagery blends the sacred with the absurd, highlighting the tanuki's cheeky nature. Disguising as religious figures underscores the tanuki's ability to deceive even in spiritual or solemn contexts. These tales serve as cautionary stories about gullibility and the need for discernment, even in sacred spaces.In tales like the Bunbuku Chagama, a tanuki transforms into a Buddhist priest or a sacred object (a tea kettle) to trick humans. Tanuki dressed as religious figures can be interpreted as subtle critiques of hypocrisy or the undue reverence given to appearances, reflecting a deeper layer of humor in Japanese storytelling.

An intricately sculpted Bizen pottery okimono in the shape of a pair of grappling Shishi dating from the later 19th to early 20th centuries enclosed in a period wooden storage box. It is 25 x 20 x 24 cm (10 x 8 x 9-1/2 inches) and is in excellent condition.
Bizen pottery, one of Japan’s oldest ceramic traditions, originates from Bizen Province (modern-day Okayama Prefecture) and dates back over 1,000 years. Renowned for its unglazed, earthy textures and natural ash glazes, it emerged during the Heian period (794–1185) and flourished in the Momoyama period (1573–1600). Saikumono, small, intricate sculptural pieces, became a hallmark, showcasing artisans' creativity.

A beautiful Te-tsuki handled basket hollowed out of a burl of wood dating from the early 20th century with a silken polished finish. It is 43 x 30 x 27 cm (roughly 17 x 12 x 11 inches) and is in excellent original condition.

A fabulous lacquered urn covered in black with soaring phoenix (Ho-o) with a lid lacquered around the edges but showing the raw, aged wood of the top enclosed in a wooden box dated 1924 stating it was made using Kozai (repurposed wood) from the Ho-o Do of Byodoin Temple in Uji. Inside is completely covered in Nashiji gold powder. It is 9 cm (3-1/2 inches) Diameter, 5 cm (2 inches) tall and in perfect condition.

An amazing carved lacquer box by Ishii Naotake enclosed in the original signed wooden box exhibited at the 31st National Traditional Crafts Exhibition (Nihon Dento Kogeiten) in 1984 published on page of the catalog (included). It is created using multiple layers of colored lacquer which have been meticulously carved through with an intricate design centered around a verde panel of blossoming water-lillies. The box is 27 x 30 x 5.5 cm (11 x 12 x 2 inches) and is in excellent original condition.

An unusually shaped porcelain vase with iron spots on celadon by important female artist Suwa Sozan II enclosed in the original signed wooden box titled Tobi-Seiji Hanaire. It is 13 cm (5 plus inches) diameter, 27.5 cm (11 inches) tall and in excellent condition.
Suwa Sozan (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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan II (Torako) 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.

3 large Tokoname area bowls stacked upon each other and fused likely when the kiln collapsed some nearly 1000 years ago. Fabulous ash glaze runs in rivulets on the side of the second inner bowl revealed where the outermost bowl on bottom has been shattered. On top a heavy collection of fused earth and kiln debris fills the basins. It is roughly 32 cm diameter, 19 cm tall.

A very large Kutani Porcelain Vase richly decorated from the Kaburaki Studio dating from the later Meiji period, early 20th century. The design is both rich in tradition, yet strikingly modern. It is 21 x 14 x 41cm and in excellent condition, enclosed in a period wooden box bearing inside the Kaburaki label.

The Kaburaki Kutani Porcelain Shop was established in Kanazawa in 1822 as the very first Kutani merchant family business. Since then the Kaburaki family has handed down our family business from generation to generation until the present 8th. At the height of Kutani porcelain production during the Meiji and Taisho periods (1868～1926), the Kaburaki Kutani products were exhibited in various venues at home and abroad as well as at the world expositions. The Kaburaki family started our business in Kanazawa in 1822, the era of Ienari, the 11th Tokugawa shogun, as the very first commercial merchant of Kutani porcelain. Kutani porcelain was reactivated under the patronage of the Kaga clan and the old Wakasugi and Ono kilns were just founded. Two years later, the famous Yoshidaya kiln was set up by Mr. Den-emon Toyota. During the revival period, the Kaburaki family had played a very important role in not only selling stocks but also producing original porcelains painted by artisans in their own factory. Meiji to Taisho Period (1870's-1920's). The Fourth Owner, Jihei Kaburaki, had stepped up efforts to expand export around the world starting during the last phase of Edo Period and in the early Meiji Era the foreign business took off. In coincident with domestic demand expansion, our production capacity was in place in terms of both quality and quantity. In that period, Kutani was said to be completely revived as local representative industry and be set in prosperity by increasing export. The Kaburaki family had active presences in many exhibit occasions, both domestically and internationally. Thanks to acquired high reputations and fame with series of awards, Kutani by the Kaburaki were appreciated as topnotch products. It is mentioned in the history book “330years of Kutani” that, “Our Kaburaki emblem stamped on back of each and every product shows our pride and responsibility in our work. We believe in keeping our mind modest and wanting to have our customers the best products, and such an attitude might have led us in a position as a leading merchant.”

An incense case of layered lacquer carved thorugh in the design of a flower by Living National Treasure Otomaru Kodo enclosed in the original signed wooden box titled Tsuishitsu Kogo Hitsuji Gusa (Water Lilly Carved Lacquer Incense Case). It is 6 x 6 x 2.5 cm (2-1/4 x 2-1/4 x 1 inches) and in excellent condition, carefuly preserved in a fine silk lined pouch, the original singed box in turn enclosed in a lacquered outer box (Niju-bako)..
Otomaru Kodo (1898–1987) was a distinguished Japanese lacquer artist renowned for his mastery of choshitsu (carved lacquer) techniques. Born in Takamatsu, Kagawa Prefecture, he began his apprenticeship under Ishii Keido in 1910 and, from 1914, independently studied the works of Tamakaji Zokoku, a pioneer of Sanuki lacquer art. In 1921, Otomaru co-founded the art group Kofukai with metalcraft artist Osuga Takashi and others, actively participating in exhibitions. His work gained significant recognition in 1932 when he was first accepted into the Imperial Art Exhibition (Teiten), leading to regular displays in subsequent exhibitions. In 1942, his carved-lacquer piece, "Cosmetic box with moon-flower design," received a special award at the 5th New Ministry of Education Art Exhibition; this work is now part of the Takamatsu Art Museum's collection. Otomaru's innovative use of rich colors set his work apart. While traditional lacquerware primarily utilized vermillion, black, yellow, green, and brown, he introduced new pigments to achieve a broader spectrum of hues, enhancing the expressiveness of his designs. In recognition of his contributions to Japanese crafts, Otomaru was designated an Important Intangible Cultural Property holder (Living National Treasure) in 1955, specifically in the carved-lacquer division. That same year, he played a pivotal role in establishing the Japan Kōgei Association, further influencing the development of traditional Japanese crafts.

A two piece incense burner in the shape of a quail by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Ninsei Utsushi Uzura Koro. It is 12.5 x 7.5 x 12.5 cm (5 x 3 x 5 inches) 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 (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 rare Chaire tea container by Seifu Yohei enclosed in the original signed wooden box with Teishitsu Gigei-in seal. It is 11 cm tall, 6.5 cm diameter and in excellent condition.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei Shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

A small nesting Skylark with long tail opens to reveal a storage compartment for incense, a Kogo by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Ninsei Utsushi Kogo Hibari. It is 11.3 x 3.9 x 5 cm (4-1/2 x 2-1/2 x 2 inches) 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 (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 set of 5 unique small dishes incised with poems by Otagaki Rengetsu enclosed in a period wooden storage box. Each is roughly 10 cm (4 inches) diameter, 2 cm (slightly less than 1 inch) tall and in overall fine condition. The poems read: Yamazato no tsuki Gentlefolk of Miyako,
mi ni ki mase Miyakobito please come see the moon in my mountain village...
kado no hataimo ni te matsura nan. I'll serve you some potatoes from my garden
2.
Shiragiku no makura ni chikaku White chrysanthemums kaoru yo wa yume mo near my pillow scent the night... ikuyo no aki ka he nu ran. in my dream how many autumns did I pass through? 3.
Hi ni soi te medetaki fushi ya Day by day promising knots pile up―
kazou ran long life taking hold beside my hut
chiyo wo kome taru yado no wakatake in the young bamboo
4.
Irigata no migiri hidari ni From dusk the fragrance of plum
kaoru nari ume ya blooming everywhere— the sorrow of parting
nagori no ariake no tsuki the early morning moon
5.
Ori tachi te asana arae ba Coming down to wash my morning greens—
Kamogawa no kishi no yanagi ni from a willow at the Kamo riverbank
Uguisu no naku the song of a warbler.
Otagaki Rengetsu (1791-1875) was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However, this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

A beautiful old Shiho (Square) plate in dribbled feldspathic white glaze with a large gold repair in one corner decorated along the outside rim with plum blossom motif in iron under the crackled white Shino glaze. It is 22.5 x 4.5 cm (roughly 9 x 9 x 12 inches) and is in excellent condition, enclosed in an old red-lacquered wooden box.
Shino pottery is one of Japan's most renowned and distinct ceramic styles, originating in the late 16th century during the Momoyama period (1573–1600). It is particularly associated with the Mino region, located in present-day Gifu Prefecture. The style is celebrated for its rustic simplicity, irregular shapes, and earthy glazes, which reflect the aesthetic values of the Japanese tea ceremony. The production of Shino wares centered around the Mino kilns, which were among the most significant ceramic production centers in Japan during the Momoyama period. The potters in this region experimented with local clays and innovative glazing techniques, leading to the creation of Shino pottery which is credited as being the first “white” pottery in Japanese history. During the 17th century, the popularity of Shino pottery declined as other ceramic styles, such as Oribe and Seto wares, gained favor. It did not wholly disappear as is often stated, however Shino experienced a resurgence thanks to the efforts of potters and scholars who sought to revive traditional Japanese ceramics in the early 20th century.

A pair of exquisite large Meiji period Sake flasks intricately patterned with festive imagery signed on the base Dai Nippon Kutani Zo. Each is roughly 7.5 cm (3 inches) diameter, 16.5 cm (6-1/2 inches) tall and both are in excellent condition.
Kutani ware (Kutani-yaki) originated in 1655 when a local lord, Maeda Toshiharu, sent Goto Saijiro to study ceramic production in the Arita region of Kyushu. Upon his return, Saijiro established a kiln in Kutani village (modern-day Ishikawa Prefecture). The early works, known as Ko-Kutani ("Old Kutani"), were notable for their bold designs, vibrant colors, and overglaze enamels. This period ended mysteriously around 1730 due to financial difficulties or the depletion of local resources. After nearly a century of dormancy, Kutani production was revived in the early 19th century. New kilns were established, and techniques evolved under the influence of Chinese and Arita porcelain styles. This period introduced diverse substyles, including:
Saiko Kutani: A refined revival of Ko-Kutani designs.
Mokubei Style: Inspired by Chinese Ming and Qing ceramics.
Yoshidaya Style: Known for green, yellow, and blue color palettes.
By the Meiji era (1868–1912), Kutani ware gained international acclaim, partly due to Japan’s participation in world exhibitions. Artists adopted intricate and decorative techniques like Kinrande (gold decoration) and delicate overglaze painting. .
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics

A fierce Shishi lion roars, jaws wide and fierce eyes to the sky forming this large Raku-yaki incense burner bearing the seal of the 12th generation head of the Raku family Konyu enclosed in a period wood storage box. It is 26 x 14 x 21 cm (10-1/2 x 5-1/2 x 8-1/2 inches) and is in overall excellent condition.
Raku Konyu (1857-1932) was born the eldest son of Raku Keinyû, and succeeded as the 12th generation head of the Raku family in 1871 at the age of 15. He took the name of Kônyû at his retirement in 1919. Due to the decline in tea culture at the dawn of the modernization of the Meiji period in the 19th century, both Keinyu and subsequently Konyu were confronted with difficulties. However he was able to steer the Raku famkiluy concerns through this tumultuous time and maintain the family lineage. His work is characterized as rather reserved, though his red Raku glaze varied greatly in tone and shade allowing individuality to his sokeowhat more conservative works.

An exquisite wooden box with collapsing handle affixed with Zogei pins made of split ebony inlayed with staghorn, mother of pearl and Zogei carved images of soaring birds and dried winter grasses. It is signed with a Zogei tablet what appears to be Houn. The egret, much of the bamoo and spray of grasses appear to be staghorn. One shiny leaf on the bamboo is mother of pearl. It is enclosed in an old wooden box with the inscription “Beloved Item inherited by the heir Tadasuke from Yui Heijiro dated the 8th month of Taisho 7 (1918) placing the item certainly at least as far back as the later Meiji period late 19th to early 20th century). It is 18.5 x 18.5 x 12 cm plus the collapsing handle and in excellent condition.

A small silver 2 part orb hinged and pierced with smoke tendrils containing a container on a gimbal for burning incense. It is 9 cm (3-1/2 inches) diameter and in excellent condition, weighing 262 grams. It comes in an old wooden box titled Gin Tsuri Koro. The chain featured is a modern traditional chain we have added for ease.

A large Bronze Elephant Incense Burner dating from the Meiji period featuring a shrouded Buddhist pagoc\da covering the ash pit in its back. It is 29 x 17 x 29 cm (11-1/2 x 7 x 11-1/2 inches) (7 pounds) and is in overall fine condition, with a discoloration along the bronze of the ash pit to the front left corner of the pagoda.

A celadon vase in the Korean style decoratred with dials of stylized opposing birds enclosed in the original signed wooden box titled Unkaku Seiji Tori-moyo Kabin. It is 30 cm (12 inches) tall, 13 cm (5 imches) diameter 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 beautiful small Sake set consisting of a Tokkuri in Irabo style glaze splashed with foamy white with a poem engraved into the clay of the side and two small Chokko sake cups in same-hada (sharkskin) iron glaze. The Tokkuri is 12.3 cm (5 inches) tall, the cups roughly 4.5 cm (2-3/4 inches) diameter, and all are in excellent condition, dating from the 19th century (Late Edo to Meiji period).

A set of three calligraphic poem cards by Buddhist Nun Murase Myodo reading Setsu-Getsu-Ka (Snow, Moon, Flower). “Setsugekka” is traditionally accepted as taken from a passage in the poem for Yan Xielu by Chinese poet Ban Juyi (772-846). Bai Juyi sent this poem to Yan Xielu from Chang’an. The phrase “Setsugekka no toki” (at times of snow, moon and flower) in the poem refers to the passing of the seasons: “when snow is beautiful, when the moon is beautiful, and when the flower is beautiful” at such times, Bai Juyi is thinking of Yan Xielu – a friend far away. So the phrase has come to indicate the various seasons, with some ubiquitous melancholy. The three works come with their original storage sleeves each sealed by Myodo, and are framed beautifully. The cards are 24 x 27 cm (9-1/2 x 10-3/4 inches) the frames 38 x 41 cm (15 x 16 inches). They are all in excellent condition.

A fabulous 16th to early 17th century Karatsu dish decorated with sweeps of black about the rim with an everted lip supported on a small footring.A classic 16th nto early 17th shape, the rim has been repaired in three places with lacquer decorated with rolling golden waves. The vessel is 14 cm (5-1/2 inches) diameter, 4.5 cm (just under 2 inches) tall. It comes in an ancient wooden storage box titled E-Karatsu Kusamon Sara.

A large ceramic vase decorated with waves and vibrantly colored sea life over widely crackled white glaze. It is 29 cm (11-1/2 inches) diameter, 31 cm (12-1/4 inches) tall and in excellent condition, dating from the first half of the 20th century.

A rare large earthenware jar from the kilns of Amakusa in Kumamoto prefecture, southern Japan. Amakusa is rarely decorated, but this jar is beautifully rendered with overlapping petals like lotus flowers about the shoulder which catches and diverts into streamlets what appears to be bamboo ash glaze running down from the neck. It is heavily potted, mad to withstand human usage. The jar is 34 cm (13-1/2 inches) diameter, 44 cm (17 inches) tall and in excellent condition.

An exquisite Inbe (Bizen) pewter-edged carved-ceramic bun-shaped box with edges lined with pewter. It is 6.5 m (2-1/2 inches) diameter, and in perfect condition, enclosed in a somewhat dilapidated kiri-wood box.

3 large porcelain bowls vividly decorated with various themes in a powerful brocade style. Each is roughly 25 cm (10 inches) diameter, 10 cm (4 inches) tall and are in excellent condition. This work costs $300.00 each.
Due to the large size, additional shipping charges may apply.
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 Ara 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

It is 18.5 cm (7-1/2 inches) diameter, 30.5 cm (12 inches) tall and in excellent condition, signed on the base Kutani Kinzan sei.

A set of five small dishes ideal for soy sauce with Sashimi or sushi from the Kutani kilns dating from the late 19th to early 20th centuries. A butterfly floats effortlessly over a blossoming camelia inside, with the character Fuku (Fortune) in a blue cartouche on the base. They are 7.5 cm (3 inches) diameter and in fine condition, enclosed in an old wooden collectors box.

A voluminous vase by important Kyoto artist Miyanaga Tozan with raised floral motif covered in jade green celadon glaze. Exquisitely rendered, it is 30 cm (12 inches) diameter, roughly the same height, and weighs 5 kg (roughly 12 pounds), dating from the first half of the 20th century, in excellent condition.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo.