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.

An exquisite set of five porcelain bowls decorated inside with soaring cranes in Sometsuke, while all the visible outside is covered in black lacquer with delicate fern fronds in gold maki-e. These are suimono-wan, a bowl for thin soup made to be served between courses in a traditional Japanese Kaiseiki meal to cleanse the pallet. Each bowl is9.5 cm (3-3/4 inches) diameter and in perfect condition. Unmarked, they follow the Toyoraku lacquered pottery tradition of Nagoya, popular sine the Edo period. They come with an age-darkened kiri-wood storage box.

Plovers of carved mother of pearl shell and powdered gold soar over silver foam capped crashing waves surrounding a led rock inlayed into the surface of this spectacular lacquered box exhibited at the 3rd Aichi Prefectural Crafts Exhibition by Sakamoto Kakutaro wrapped in silk and enclosed in the original wooden box. Hira-maki-e, Taka-Maki-e, Kirigane, inlays of lead and shell on a nashiji ground, with silver fitted rims. It contains a black lacquered ink stone with gold edges and round water dropper which are set into a black lacquered “raft” sprinkled lightly with silver flakes. The box is 23.5 x 20.5 x 4 cm (9-1/4 x 8 x 2 inches) and is in excellent condition. The artist’s name card is affixed to the lid of the box, and contained within are a card reading: 3rd Aichi Prefectural Craft Exhibition (Dai San Kai Aichi Ken Kogeihin Tenrankai) as well as a stamp noting the item number from the exhibition. The same stamps are affixed to the bottom corner of the lacquer box.

Maki-e of waves and flying birds adorns the hull of this incredible Lacquered food service set consisting of 11 trays, boxes and lids, each piece a part of the meal. Outside it is covered in glossy black with gold touches and flowering vines, while the inner chambers are all festive red. It is roughly 55 cm (21-1/2 inches) long and in overall excellent condition. An incredible work of craftsmanship, sure to start a conversation.
One of my suggestions when people ask: What should I collect? has always been Shuro (hand warming braziers) and Bento (food/picnic boxes). Both were meant to be viewed by guests and so were made to show the personality of the owner, and both come in a plethora of motifs, shapes, sizes and materials, and both are a world unto themselves with possibilities in a huge range of prices, making them an easy item to collect. I have seen Bento in the shape of a tea storage jar, a millstone, animals, fish, drums, and boats such as this among others. They can be made from lacquered wood, Kanshitsu (Dry Lacquer), bamboo, ceramic, a variety of metals or any combination of these.

A very unusual Muromachi to early Edo period (16th to early 17th century) lacquered box decorated outside with a wolf looking up at a crescent moon; inside with floral motif typical of the Muromachi to Momoyama period. The gaunt beast is made of worked lead or suzu (a lead alloy) inlaid into the surface. The moon is powdered silver with chunks of kirigane gold in the shrouding clouds. The box is 22 x 18 x 5 cm (9 x 7-1/2 x 2 inches) and overall, in quite good condition considering the elapse of time. Inside is housed a crescent moon water dropper. The inside of the lid was decorated with suzu-fun (powdered suzu) which has degraded over time leaving pock marks in the surface. There is crinkling of the lacquer and some losses typical of age. It comes in an ancient wooden box.

A classic Rinpa Revival box (also spelled Rimpa) in Tamenuri decorated with bamboo in lead, mother of pearl and gold taka-maki-e enclosed in the original wooden box from the exclusive Mitsukoshi Department store retaining the orignal wooden box signed and stamped inside Mitsukoshi, complete with the Mitsukoshi printed seal dating from the early 20th century It is 20 x 20 x 10 cm (8 x 8 x 4 inches) and is in excellent condition.

Porcelain cranes in a lead tree decorate the lacquered top of this gilded wooden box enclosed in the original wooden box titled Romatsu Sokaku Zu (Ancient Pine Two Cranes) and signed Sekka, with signatures of Tozan II (porcelain decoration) and Suzuki Hyoetsu (lacquer artist) inside. In this case, Kamisaka Sekka produced the design, enlisting two of Kyoto’s then top artisans to complete the work, lacquer artist Miki Hyoetsu I who applied the lead, gold and lacquer and Ito Tozan who created the ceramic cranes and pine boughs. The box is in unused condition, containing the original stone and water-dropper and two brushes still wrapped in paper. It is 25.5 x 10 x 3.5 cm (10 x 4 x 1-1/2 inches) and is in excellent condition. Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938. 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. Miki Hyoetsu I was born in 1877, establishing a line of craftsman which lasts to this day. He was exhibited at the Shotoku Taishi Ten and Paris World Exposition among others.

A splendid set of five Chataku Tea Cup Saucers of turned wood decorated in ridiculously thick lacquer floral decoration by Ikkokusai enclosed in a fine wooden box signed by the artist and dated Meiji 39 (1906). Accompanying is a note stating the set was received as a gift upon visiting the Naganuma Ryokan during a trip to Hiroshima in the fifth month of Meiji 43, accompanied by the name Kayanomiyasama. Kaya-no-miya were a collateral branch of the Japanese Imperial family. There is a photograph in the collection of the Hiroshima Peace Museum commemorating an Imperial visit (meeting school children) dated the fifth month of Meiji 43 taken in front of the Naganuma Ryokan. Each Chataku is 13.5 x 11 cm (5-1/4 x 4-1/4 inches) and all are in excellent condition, each uniquely signed on the base.
Ikkokusai I (1777-1852) was born in Ise, Mie prefecture, and was trained in the lacquer arts in Osaka. His talent was recognized and in 1811 he was taken as an official artist of the Tokugawa Clan, relatives of the Shogun and Feudal lords of Owari near present day Nagoya. All three of his sons would take the name Ikkokusai, His first son, (true name Nakamura Yoshiyuki), would settle in Osaka, and works he made were presented at the first National Industrial Art Exhibition (Naikoku Sangyo Hakurankai) in the early Meiji period. The third son (Sawagi Tsunesuke, 1822-1875) would remain and work in Nagoya until his death. The second son (Nakamura Issaku) would leave the Owari province to further his studies, traveling throughout Japan and developing the Takamorie technique of built up layers of lacquer creating nearly 3-dimensional works. He would become the carrier of the name, and after a sojourn in Hagi (Choshu), moved to Hiroshima in 1843 where he would pass on his techniques and experience to Kinoshita Kentaro (1829-1915). It was Kentaro who would officially become the third head of the family and who brought the name to the fore with his dedication to Takamorie lacquering. Kinjo Ikkokusai IV (1876-1961) continued to develop the method with new materials and designs. The family is currently under the 7th generation (b. 1965) who was named an important cultural property of Hiroshima Prefecture in 2011.

A small circular table likely made as a stand for an incense burner or suiban basin dating from the Muromachi era (late 14th to 16th century ) covered in black lacquer over which has been applied vermillion in the style known as Negoro. About the center a ring of wood grain is typical of the era. It is supported by three curling feet extending from a billowing diaper. The lacquer, originally black, has oxidized to a mellow chocolate color beneath. It is 29 cm (11-1/2 inches) diameter, 14.5 cm (5-3/4 inches) tall. As one may imagine there are some losses and much wear to the edges typical of age. One leg has been broken and repaired. Surprisingly good condition for something over 500 years old.
According to the National Gallery of Victoria: Negoro refers to simple and elegant red lacquer objects that were produced during Japan’s medieval period, between the twelfth and seventeenth centuries. Embodying the ancient sense of Japanese beauty, the minimalistic forms of Negoro lacquer ware were primarily made to be functional objects and are void of elaborate decoration. The supple shapes and naturally worn patina of red and black lacquered layers give Negoro an ambience of antiquity and elegance which has made them treasured objects throughout the ages. Since the early twentieth century Negoro wares have become highly appreciated by connoisseurs as objects of outstanding design that pursue a certain utilitarian beauty. Negoro lacquer derived its name from the Buddhist temple of Negoro-ji, located in the mountains of present-day Wakayama Prefecture, just south of Osaka. Established in 1243 as a temple of esoteric Buddhist practice, Negoro-ji thrived during the Kamakura, Muromachi and Azuchi-Momoyama periods. In period depictions of monastery life and aristocratic villas Negoro utensils are clearly shown as favoured and cherished objects, alluding to demand for their production in large numbers. Square and circular trays, bowls of various sizes and large spouted ewers were used at daily meals. Lobed cup stands, offering trays and sake bottles with foliate lids featured in temple rituals and clearly display lotus flower–inspired motifs common to Buddhist art. Stem tables were frequently used as offering stands and placed in altars of Buddhist temples and Shinto shrines. Circular wash basins with legs were used in monastery ceremonies to catch water poured over the hands of monks in an act of purification. Large hot water pots or spouted ewers were often used as practical kitchen and serving utensils, and are still used to this day in Zen monastery dining halls. The true essence of Negoro is found in its antiquity and the generations of affectionate use that imbues these objects with the esoteric Japanese spirit wabi (the aesthetic of beauty found in imperfection), and sabi (an affection for the old and faded). With regular use the wearing and reduction of the outer red coating gradually reveals the black lacquer beneath, creating an ever-changing beauty that can only result from continual use and the passage of time. Cracks, wear, damage, splits, texturing and irregularities all enhance the harmonious sophistication of a Negoro object’s surface. This natural evolution of beauty, similar to the maturing of the human spirit with age, epitomises the Japanese spirit and stems from the belief that the respectful use of an object for its proper function enhances its appearance and status.

A crimson orb resonates from within the mirror black ground of this gorgeous footed tray enclosed in the original wooden box titled Akebono Moriki (Platter decorated with Dawn) and is signed from the Heian-do Lacquer Studio. The artist has fused the red and black together, the center of the sun-like circle opaque vermillion, the outer edge hazy as it diffuses into the black. The slightly curving basin is raised on a tall wide central foot all in highly polished ro-iro black. It is 36.5 cm (14-1/4 inches) square, 8 cm (3 inches) tall and in excellent condition.

A 19th Century food storage box of wiped on black lacquer featuring a striking tri-foil heraldic crest design in mother of pearl on the top, bands of mother of pearl flakes about the rim and foot. Inside is festive crimson. Overall it is in excellent condition, 36.5 cm (14-1/2 inches) diameter, 26 cm (10-1/4 inches) tall. It comes in the original lacquered wooden storage box.

A lacquered cabinet for storing Tea accoutrements by Koyama Kogetsu enclosed in the original signed wooden box dated 1931 and titled Tsukiyama Maki-e Kikkyoku (Mon and Hills Maki-e Tea Cabinet). On the door deer stand on the edge of a glade, gold, lead and Raden (mother of pearl) trees with branches of gold and silver maki-e above. The door lifts off to reveal the silver disc of a full moon rising over evening hills. It is signed in gold Kogetsu. The cabinet is 36 x 28 x 39 cm (11 x 14 x 15-1/2 inches) and is in excellent condition. Koyama Kogetsu (Rokuro, 1884-1937) was a Maki-e artist from Kashwaski City born the son of Koyama Kinpei (Tesse). He studied the art of Maki-e under Kawanobe Iccho and Uematsu Homin.　His work was exhibited at the Teiten National Art Exhibition and awarded at the Imperial Crafts Exhibition.

A visually captivating design of three-leaf circular crests are scattered crests on a field of Mother-of-Pearl falkes covering entirely the outside of this set of four stacking lacquer boxes dating from the 19th century. Inside is festive red. They are 24.7 x 21.5 x 30 cm (10 x 8-3/4 x 12 inches). There are some old repairs in red lacquer, enhancing the obvious sense of age. Called a Jubako, stacking boxes such as this were used on festive occasions to contain food. Even today one can see them on tables across the island nation at New years.

An exceptional tray of Golden Plum Flowers on black dating from the later 19th century, something incredibly modern, like a work by Kaws in the overall flower design. Hira Maki-e on Ro-iro with Ke-uchi details. It is 27.5 x 32 14 cm (11 x 12-1/2 x 5-1/2 inches) and is in excellent condition.

A superlative writing box (Suzuri bako) by the 8th generation Nishimura Hikobei (Zohiko) enclosed in the original signed wooden box. The wooden structure is covered in black lacquer and decorated with Hira Maki-e and Togidashi Maki-e using powdered gold, silver and Kanshitsu-ko with iro-nashiji and Raden (Mother of Pearl) inlays. The rim is solid silver. Inside is perhaps even more sumptuous that outside, with fans on clouds of gold nashiji. It contains the original circular Suzuri (stone) covered in nashiji lacquer, as well as a solid silver water-dropper set in to a wooden tray lacquered exactly the same as the box. Two fude brushes covered also in Nahiji as well as a perfect ink stink cast with dragon motif are contained within, and all are protected by a padded silk pillow. The box is 23.5 x 28 x 5.5 cm (9-1/2 x 11 x 2 inches) and in perfect condition. It appears to have never been used.
The Zohiko family dates back to 1661 when they opened as a shop specializing in lacquer tools. Nishimura Hikobei III received the title of Master of Maki-e from the Imperial Court after creating a makie plaque depicting `a White Elephant and Fugen Bosatsu. It was from this scene of an elephant (Zo) and the Hiko in Hikobei, that the modern name was born. The 4th generation Hikobei served as a purveyor to the Sento Imperial Palace, and the 6th generation Hikobei was well-versed in the art of elegance and produced many masterpieces, including works called Konomi-mono, utensils specifically for the masters of the various tea schools. Hikobei VII established the Kyoto Maki-e Art School and worked hard to train the next generation. Theendeavored to spread the fame of Japanese lacquer and concentrated on promoting lacquer exports. The inside of the imperial carriage was decorated with maki-e on the occasion of the Taisho Emperor's Grand Enthronement, and he Provided lacquer work for the Omiya Imperial Palace, Nijo Castle, and banquet halls. Re-decoration of the Kyoto Imperial Palace was carried out on the occasion of Emperor Showa's enthronement. In addition, he produced many gifts for and from the imperial family and for state guests.

An Edo period incense burner of wood cut in a squash shape known as an Akoda-koro covered in black lacquer with designs of aogai-shell laid onto the surface under a solid silver dome-lid. It is 11 cm (4-1/2 inches) diameter and enclosed in modern custom wooden storage box. There are losses to the raden design revealing the underlying tonoko on which it is laid.

Precious fruit in silver hangs from golden vines on the sides of this 15 piece No-bento picnic set dating from the mid Edo period. It consists of a carrying case with handle and scrolling vines along the edges, a square bottle with fitted covered dish on top and set of four stacking boxes with lid decorated with grape vines burgeoning with fruit, a set of five small plates decorated with flowers, and a tray with fish. All are marked on bottom with the same stylized mark. There is damage to one corner of the tray. A striking design there are minor losses typical of age and use. 17 x 29.5 x 28 cm. It comes in an ancient red-lacquered kiri-wood storage box with hand forged iron hardware.

A striking, seemingly contemporary design, covers all surfaces of this eye-catching stacking box set dating from the later Edo to early Meiji period (early to mid 19th century). Called a Jubako, stacking boxes such as this were used on festive occasions to contain food. Even today one can see them on tables across the island nation at New years. Here a brazen design of variously colored precious gold lines stagger in lightning streaks across the rectangular forms. On top is a crest reading Konotori (the character for the Oriental White Stork) and a family crest of Myoga (Japanese Ginger). The entire design is performed in Togidashi, Nashiji and Hira-Maki-e with the crests in Hira Maki-e further adorned with and Keuchi golden details. It is 24.3 x 23 x 47 cm (9-3/4 x 9-1/4 x 19 inches) and in overall fine condition with minor losses typical of age and use.

A Takatsuki stand of wood covered in black lacquer decorated with scrolling vines among which are randomly placed crests in the design of the Daruma Wheel on the stem, and the heraldic Mitsuba-aoi hollyhock crest within the tray. Slightly warped and worn with the centuries, finding a piece from this era in such good, original condition, is exceedingly rare. Early Muromachi, 14-15th century, it is 30 x 30 x 28.5 cm (12 x 12 x 11-1/2 inches).
The Mitsuba-aoi crest is associated in modern times with the Tokugawa clan, however many clans used the crest in the past, as it was the crest of the Kamo-jinja Shrine. THe Aoi is a two leafed plant, so a three leafed Aoi is somewhat equivalent to a four leaf clover, although perhaps far more rare or strictly mythical. Many local clans in Mikawa, such as the Matsudaira clan, the Sakai clan and the Honda clan, used the aoi-mon as their family crests. Gradually through the Edo period the use of the Mitsuba Aoi was severely restricted to only those associated with the Edo Bakufu (Shogunate).