Catalog (176)

A staggering amount of technical skill has been expended on this huge Meiji period lacquered sake cup dripping with gold over crimson red lacquer with mother of pearl inlay enclosed in a red lacquered wooden box. This is truly an amazing bit of Maki-e. The entire simply glimmers with mother of pearl, nashiji and kiri-gane applied gold over maki-e designs emenatng in a swirling fan from two mirror image cranes meeting in the central dial. The underside is covered in red with a staunch ancient pine spreading its branches across the bottom. It is 21 cm (over 8 inches) diameter, 7.5cm (3 inches) tall and in perfect condition.

A Celadon Koro by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box published in the book Ambient Green Flow, the Emergence and Rise of East Asian Celadon (New Taipei Yingge Ceramics Museum (2011, p. 144). It is 10.5 cm diamerter,12 cm 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 squirrel prizes a walnut sitting on a rotted stump, a sculpture made entirely from one piece of wood dating from the first half of the 20th century. It is 40 cm (16 inches) tall and in overall fine condition. There is a small chip to the tip of the ear and tail (see close-up photos).

This work is an Itto-bori carving of a continental beauty with a fan staring up as if at the moon signed by the artist underneath and dating from the Taisho period (1911-1925). It is 39.5 cm tall and in overall excellent condition, with a crack in the base extending from the edge.

A beautiful polished and hollowed bamboo root made into a serving tray. An insert of straight grained cedar has been placed inside for a flat surface. The root is worn, with natural holes and dilapidation acquired over its time exposed out of ground after cutting or being uprooted. This is a superb example of the pathos expressed in the Japanese Wabi Sabi aesthetic. An appreciation of the ephemeral and all that which is in decline. It is 27 x 17 x 10 cm (11 x 7 x 4 inches) and in excellent condition, in an old custom made wooden box. Newspaper, originally in the box when we bought it, is dated October 10 Showa 7 (1932)

A beautiful gilded bronze Buddhist Pagoda on wooden base with four sets of doors opening to reveal a compartment wrapped in a golden lattice cage. It is 18 x 18 x 28 cm and is in excellent condition, dating from the 20th century.

Winter fattened Sparrows soar through the sky on this ball shaped bronze vase by Naimen Shiho I (Katsuji) enclosed in the original wooden box signed 75 year old Shiho and dated the 7th month of Showa 53 (1978). The feathers of the birds performed in raised relief feature chisseled details in the feathres. The vase itself exhibits an orange peel surface preparation. It is 23 cm (9 inches) diameter, roughly the same height and in excellent condition weighing 3.5 kg (roughly 8 pounds).
Naimen Shiho I (Katsuji, (1904-1987) studied metalwork under Ichioka Shiun from the age of 15 establishing his own workshop in 1925. His work was first publicly exhibited at the 1930 National Shokoten. Two years later he would be awarded at the Belgium World Exposition. He remained active throughout the troubled years of the mid-century for which he would receive the order of cultural merit from Takaoka City in 1967. Work by him is held in the Takaoka City Museum. He remained an active promoter of traditional bronze ware until his death in 1987. His son, the second-generation Shiho would study under his father from 1957. He too is much lauded beginning with top prize at the 1974 Takaoka Traditional Craft Exhibition

A celadon koro of unusual six sided lozenge-shaped casket with a black lacquered wooden lid covered in applied gold much worn enclosed in a period wooden box titled (Tenryuji Jidai Gi Koro). It is 9.5 x 13.5 x 15.5 cm (roughly 4 x 5-1/2 x 6 inches). There are chips to the rim, and a firing crack inside the basin which would have been filled with ash. Most likely Chinese in origin, the Japanese government of the Muromachi period contracted mass import of celadon ware from Seikosho in China. These wares collectively came to be known as Tenryu-seiji.

An unusualy shaped early to mid-Edo period Tamba tsubo with cascading rivulets of green ash enclosed in a fine kiri-wood collectors box annotated inside. It is 24 cm (9-1/2 inches) diameter, 31 (12 inches) high and in excellent condition. About the rim are four “mimi” ears for tying down the wooden bung. The base is slightly concave and burnt to a rock like texture. Tamba is considered as one of Japan’s six famous ancient kilns, along with Seto, Tokoname, Echizen, Shigaraki and Bizen. It is known for a solemn, austere atmosphere, and for the beautiful green pine-ash glaze. The origins are purported to be in the late Heian period, when it was called Onohara ware. Traditionally it is coil formed, or turned counter clockwise on a wheel. Early pieces were fired in anagama, until the Momoyama period, when the advent of the climbing kiln offered increased production and possibilities and hire firing temperatures.

A Buddhist reliquary tower by Miyagawa (Makuzu) Kozan II signed on the base 83 year old Makuzu Kozan Saku enclosed in a wooden box annotated by the third generation Kozan dated the summer of 1940. It is 12.5 cm (5 inches) diameter, 26.2 cm (10-1/2 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 lid pierced with blossoms covers this brass container about which has been woven a bamboo basket, creating a most unique incense burner. It is 22 cm (8-1/2 inches) diameter, roughly the same height, and in overall fine condition, enclosed in an age darkened wooden box.

A buccoloic mountain scene of forested hills dotted with pavilions decorates this baluster form vase by Miyagawa Kozan enclosed in the original signed wooden box titled Sometsuke Tsubo Sanro-zu (Blue and White Vase, Mountain Path). It is 16 cm (6-1/4 inches) diameter, 18.5 cm (7-1/4 inches) tall and in excellent condition, retaining the original rosewood stand.
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 Taisho period carved image of a man play8ing the shakuhachi bamboo flute with apparent chisel marks creating a testure typical of the era signed on the base behind the players right knee. It is 26 x 18 x 29 cm (10-1/2 x 7-1/4 x 11-1/2 inches) and is in excellent condition.

A stone pathway in lead, mother of pearl and eggshell pavers is fitted across the gilded cloth colored (Nunobari) surface of this lacquered storge box from the Zohiko studio dating from the mid 20th century enclosed in the original signed wooden box titled Te-Bunko. It is 22 x 29.5 x 6.5 cm (9 x 11-1/2 x 2-1/2 inches and is in excellent condition, bearing the Zohiko mark on the base. An excellent example of mid-century design.

Bamboo ash glaze runs in yellow rivulets from the neck of this striated jar from the Meiji period kilns of Kumamoto prefecture. The jar is beautifully crafted, with sweeping waves arcing up from the foot under scores of sharp louvers. A trio of tie rings circle the neck, with stylized frets engraved in a tight band under the flaring rim. It maintains the custom made wooden bung which is annotated New the 6th month of the 37th year of Meiji (1904) for the Tsujimoto family. It is 27 cm (11 inches) diameter, 33.5 cm (13-1/4 inches) tall and in perfect condition. This is a spectacular version of this rare mingei pottery tradition.
Shodai ware is a type of pottery begun approximately 400 years ago in Kumamoto Prefecture named after the kilns that were built at the foot of Mount Shodai, and it is considered one of the region's representative ceramics. Technically and stylistically, Shodai ware draws influence from the Korean Peninsula, featuring a rustic and robust style created using clay rich in iron, which is covered with dark reddish-brown glazel, but its characteristic design is produced by pouring differently colored glazes like yellow and white. These are produced from the ash of straw or bamboo grass. Legend states the craft began when the Hosokawa family took control of Higo Province they brought Mekoji Genshichi and Katsuragi Hachizaemon, from Buzen and Agano ware to establish kilns at the foot of Mount Shodai around 1632. Around the same time, Takada ware was also created by others, who relocated from Buzen and Agano to Yatsushiro. The use of straw ash glaze as the fundamental glaze has remained largely unchanged to the present day. In the Edo period, most Shodai ware, with few exceptions, was consumed within the Higo domain and did not spread to other regions. The remains of the kiln sites used during that time, such as the Bin'yaki Kiln and the Segami Kiln, can still be seen in Nankan Town today.Currently, there are 11 kiln families in Kumamoto Prefecture.

An organic form like a flower or some under-sea creature in vibrant red by Sasai Fumie enclosed im tehorignal signed wooden box titled Mau (dervish) and dated Heisei 28 (2016). It is entirely hollow and light as a feather so easily hung on a wall. Hemp and layered lacquer, it is 54.5 x 45 x 8 cm (21 x 18 x 3-1/2 inches) and is in excellent condition. Fumie uses the technique called kanshitsu (lacquer applied on a fabric mould) to shape her works. Then the artist uses the nuritate shiage technique to smooth the surfaces of her subjects such as flowers, fruit and natural elements in order to obtain an extremely soft and delicate effect.
Sasai Fumie was born in 1973 in Yao city, Osaka prefecture. In 1992, she attended Kyoto City University of Arts specializing in lacquer technique with the renowned professors: Dr. Kurimoto Natsuki, Dr. Mochizuki Shigenobu as well as Dr. SHINKAI Gyokuho, an important representative of lacquer decorative arts of his time. Fumie has studied different traditional techniques, including dry lacquer on wood (monkushin kanshitsu) and dry hollow lacquer (dakkatsu kanshitsu) as is used in the piece for sale here. Public collections: Minneapolis Institute of Art, USA. Musée Guimet, Paris, Museum of Fine Art, Boston, USA. Philadelphia Museum of Art, USA, Takashimaya Historical Museum, Osaka, Japan, Victoria & Albert Museum, London among others.

A classical Japanese low display table in slightly crackled black lacquer by Suwa Sozan I Delicate gold designs of butterflies, soaring birds and floral sprays decorate the legs and edges, the top is simple black, allowing whatever is displayed to stand on its own. The table is 63 x 39 x 15.5 cm (25 x 15-1/2 x 6 inches). It is signed in red lacquer beneath Sozan and comes in the original signed wooden box.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A bronze rabbit koro signed Unkei enclosed in a fine kiri-wood storage box. It is 9 x 12 x 9 cm (3-1/2 x 5 x 3-1/2 inches) and is in fine condition.

A long tailed bird (Japanese Wagtail) in two parts opens to reveal a compartment for storing incense, a Kogo by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Ninsei Utsushi Kogo Sekirei. It is 12 x 3 x 3.5 cm (5 x 1-1/4 x 1-1/2 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 poem wraps the finger dimpled surface of this pale glazed hira-chawan decorated with a poem enclosed in a rare signed wooden box by Otagaki Rengetsu. It is 13.5 cm (5-1/2 inches) diameter, 5.2 cm (2 inches) tall. There is single gold lacquer line extending from the rim. The poem reads:
Aoyanagi no nabiku wo mire ba Seeing green willows sway gently
Sue nagaki miyo no hajime no at the beginning of a long imperial reign...
Haru no hatsukaze the first wind of spring
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 fabulous 19th century round lacquer box covered in intricate textile designs outside, with various blossoming chrysanthemum on a fine Nashiji gold powder base within. It comes enclosed in an age darkened period wooden box protected in a disintegrating silk cloth. The box is 21.5 cm (8-1/2 inches) diameter, 8 cm (over 3 inches) tall and in excellent condition.

A striking mingei Tokkuri dating from the first half of the Edo period enclosed in a wooden box titled Ko-Seto Yohen Tokkuri and endorsed by Kitaoji Rosanjin. It is 9.5 cm (just less than 4 inches) diameter, 21.5 cm (8-1/2 inches) tall. The rim is repaired with gold, and there are losses on the sides and around the base from centuries of use.
Kitaoji Rosanjin (1883-1959) They say adversity is the mother of invention, and Rosanjin can be said to epitomize that expression. Born during the tumultuous first half of the Meiji period in the cultural center of Kyoto, he was adopted at age six by a woodblock carver. He showed an early genius for calligraphy, and began his early manhood as a carver of seals and carver/painter of shop signs after a brief apprenticeship to a pharmacy. He also taught calligraphy and bought and sold antiques during these early years. In 1921 he founded what would become the impetus for his life’s work, his first restaurant, the Bishoku club, and followed in 1925 with a restaurant in Tokyo called the Hoshigaoka. Rosanjin began working in ceramics to replace the collection of dishes that was destroyed in the 1923 Kanto Earthquake. He was largely a self-taught artist with a diverse range, beginning with a kiln on his rented property .in Kamakura, and later paying visits for brief apprenticeships to many of the days top artists. He retired to work exclusively on the arts in 1936. Magazine editor, lacquer artist, metal-working and finally store owner in Tokyo’s Ginza, Rosanjin was everywhere at once. He was displayed at the museum of Modern Art in New York in 1954, a rare honor indeed for living artist. Like his contemporary, Kawai Kanjiro, Rosanjin was offered the title of Living National Treasure in 1955 for his work in Oribe pottery, but refused the offer.

Scrolling vines burst with flowers below feathered frets circling the rim of this large baluster form vase by Miyanaga Tozan enclosed in the original signed wooden box titeld Seiji Kodai-mon Kabin. It is 30 cm (12 inches) diameter, 36 cm (14 inches) tall and in excellent condition, complete with the original rosewood stand.
Due to size the cost of shipping will be accrued separately.
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.

A fragment of a devils mask dating from centuries back covered still bearing the remains of white gofun powder and gold around the eyes, This appears to have likely been a Hannya mask. The hannya is a mask that represents a female onryō (vengeful spirit). In Noh plays, the type of Hannya mask changes according to the degree of jealousy, resentment, and anger of the female characters.

A spectacular bell shaped bottle decorated in underglaze blue with scrolling verse and bearing the Tozan Mark of the Himeiji Potteries beneath. A very rare find, this is representing the bell of Onoe Shrine in Kakogawa City, Hyogo Prefecture. It is 16 cm (6-1/4 inches) diameter, 19 cm (7-1/2 inches) tall and in overall excellent condition, with a minor chip to the base soft raw porcelain around the foot ring typical of use.
Tozan-yaki was a type of porcelain produced from the mid-Edo period to the early Meiji period. Originating in Higashiyama Village, it was influenced by Arita-style porcelain. The first kiln was built east of Kōzen-ji Temple in Higashiyama Village, which is why it was also called Kōzenji-yaki. Later, when the kiln was relocated near Himeji Castle as the official pottery workshop (goyōgama) of the Himeji domain's ruling Sakai family, it became known as Himeji-yaki.
This Buddhist temple bell is located at Onoe Shrine, which enshrines Sumiyoshi Daimyōjin, a deity widely revered as the god of the sea. It has been mentioned in works such as the Senzai Wakashū (Collection of a Thousand Years) and the Noh play Takasago. It is said that Empress Jingū brought this bell back upon her triumphant return from the conquest of the Three Kingdoms of Korea. However, in reality, it was made during the Silla dynasty and is approximately 1,100 years old. According to the Harima Kagami and local tradition, this bell was stolen by pirates in 1468 (Ōnin 2) and thrown into the sea near Cape Ashizuri in present-day Kōchi Prefecture. Later, local fishermen retrieved it and dedicated it to Kōyasan. However, whenever the bell was struck, it was said to sound like "Onoe e, inō" ("Let’s go back to Onoe"), leading to its return to Onoe Shrine. The bell stands at a height of three shaku two sun (about 123.5 cm), with a circumference of seven shaku seven sun (about 297 cm), a mouth diameter of one shaku nine sun (about 73.5 cm), and a thickness of one sun nine bu (about 7 cm). It features wide bands at the top and bottom, with generously spaced nyūrō (protruding knobs), but lacks the traditional kesatatsu (diagonal sash pattern). Instead, a single figure of a seated Buddha is carved in relief upon a lotus pedestal, with a canopy and small musical instruments floating above its head. Celestial maidens are depicted gracefully fluttering their robes across the upper sides of the bell, creating an elegant scene. Surrounding the Buddha, two celestial beings descend from the sky, playing music in devotion. This exquisite relief is particularly striking in its depiction of six musical instruments appearing to float in midair, as if producing ethereal sounds.

An double sided accordion album of cloth pattern samples from the Yokohama Raw Silk Company enclosed in the original wooden storage box bearing the seal of the company both inside the lid and in the bottom of the box , as well as on the final gilded page of the sample book itself. .It comprises 39 pages of samples, several samples on each page. The book is in excellent condition dating from the earlier part of the 20th century.

One of the 36 poets, Kakimoto holds his handscroll as he stairs off into the distance, perhaps composing his next verse. This is Bizen Saikumono, 19th century, and is in excellent condition. It is 14.5 x 11.5 x 13 cm (5-3/4 x 4-1/2 x 5-1/4 inches) and is in excellent condition, enclosed in an old wooden storage box.
Kakinomoto no Hitomaro (c. 662–710) was a renowned Japanese waka poet and aristocrat of the late Asuka period. Kakinomoto lived during a time of significant cultural development in Japan influenced by Chinese Tang Dynasty culture. He served as a court poet for Emperor Temmu and his successors, including Emperor Jitō and Emperor Monmu. Hitomaro's work is marked by its emotional depth, vivid imagery, and refined language, his themes range over love, nature, impermanence, and the majesty of life and death. His chōka (long poems) and tanka (short poems) are particularly well-known for their sophistication and lyrical beauty. Hitomaro's elegies are considered masterpieces. His poem mourning the death of Prince Takechi expresses profound grief while reflecting on the transient nature of life. Another notable work is his lament for his wife, a deeply personal and touching expression of love and loss. He is one of the Thirty-Six Immortal Poets (Sanjūrokkasen). These poets were selected by the Heian-period poet and scholar Fujiwara no Kintō as exemplary masters of classical Japanese poetry, particularly in the waka form. Hitomaro is considered one of the greatest poets in Japanese history and is revered as the patron saint of Japanese poetry and remains a towering figure in the history of Japanese poetry, embodying the aesthetic and emotional depth that defines classical Japanese literature.

A beautiful Te-tsuki handled baxket hollowed out of a burl of wood dating from the early 20th century with a silken polished finish. It is 30 x 24 x 28 cm (roughly 12 x 10 x 11 inches) and is in excellent original condition.

A Shino Oribe Koro with heart shaped lid pierced with phoenix and flower motif dating from the early Edo period, 17th century. Flowering vines extend form a dangling gourd about the upper part of the body, over an indented belt below which the koro rests on a swelling foot. It is 10 cm (4 inches) diameter, 13 cm (5-1/4 inches) tall and in overall excellent condition, enclosed in a modern wooden collectors storage box.
Shino pottery is one of Japan's most revered traditional ceramic styles, originating during the late 16th century in the Momoyama period (1573–1600). Known for its unique glazes and rustic aesthetic, Shino pottery holds a special place in Japanese art and culture, particularly in the context of the tea ceremony (chanoyu). Shino pottery developed in the Mino region (present-day Gifu Prefecture), which was a prominent center for ceramic production during the Momoyama period. Shino is believed to be one of the first styles in Japan to use a white feldspathic glaze, a significant innovation at the time. Early Shino ware was inspired by Chinese ceramics but evolved into a uniquely Japanese form with its understated, organic beauty. Shino typically uses a coarse, iron-rich clay called Mino clay, which contributes to its earthy appearance. The hallmark of Shino pottery is its white glaze made from feldspar. Variations in firing conditions and glaze thickness result in rich textures and subtle color shifts, ranging from milky white to orange, red, or gray. Potters often decorate Shino pieces with simple brushwork designs, such as plants, grasses, or abstract motifs, applied using an iron-rich slip or underglaze. Shino reached its zenith during the Momoyama period when tea masters prized its rustic elegance. The style declined in the early Edo period (1603–1868) as other ceramic styles, such as Oribe and Kakiemon, gained popularity.In the 20th century, Shino pottery experienced a revival, thanks to the efforts of pioneering potters like Arakawa Toyozō (1894–1985). He rediscovered ancient techniques and contributed to its resurgence, earning the title of Living National Treasure.

A squirrel in Chinkin etched gold and silver looks back under the draped leaves of a maple, a crescent of mother of pearl moon shining through the branches. It is 39 x 9 x 6.5 cm (15-1/2 x 3-1/2 x 2-1/2 inches) and is in excellent condition.
Itaya Koji (1925-2006) was born in the lacquer center of Wajima and studied from 1945 under Morishita Kodo before apprenticing under future living national treasure Mae Taiho inheriting highly artistic techniques that express movement and a sense of three-dimensionality using the flat chinkin (gold-inlay carving) technique. In 1948, he was first selected for the 4th Nitten Exhibition. In 1966, he was first selected for the 13th Japan Traditional Art Crafts Exhibition. In 1988, he received the Minister of Education Award at the 35th Japan Traditional Art Crafts Exhibition.

A large vase decorated with crabs by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Suhada Kani-ga Kabin. It is 31 cm (12 inches) diameter, 25 cm (10 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.

An astounding carved wooden elephant heavily decorated with gold and inlays bearing the seal of Ogawa Haritsu dating from the mid Edo period. Into the creatures back has been carved a deep well for lined with silver rimmed copper to be filled with ash as an incense burner or Shuro censer. Over the well a broad bronze cover pierced with wild chrysanthemum protects and conceals the ash pit. The sculpture is 33 x 64 x 24 cm (13 x 25 x 9-1/2 inches). There is single missing jewel on the right hip,
Ogawa Haritsu (1663-1747), also known as Ritsuo, one of the great individualists in the history of lacquer, was a poet as well as a painter, potter and lacquerer. Born into the samurai class, he renounced arms for the brush. In the 1680s, he became a disciple of the haiku poet Matsuo Basho (1644-1694). Haritsu turned to lacquer after 1707, the year his friends Hattori Ransetsu and Takarai Kikaku, both disciples of Basho, died. He adopted the art name Ritsuo, or "Old man in a torn bamboo hat," in 1712. The name suggests a poet or artist wandering carefree. A revival of interest in Haritsu's style and techniques during the 19th century is best exemplified in the copies of his work by Shibata Zeshin (1807-1891), the foremost Japanese lacquerer of the 19th century.

An incredible kiln flaw from the early kilns of Shigaraki showing still a very Tokoname style rim entirely sunken into the center of the pot where it collapsed nearly straight down on itself. Looking like a stack of pancakes from the side. Kutsuki from another pot show where something else collapsed and adhered to it during the firing. A look at the bottom reveals this process, seeing how the base has been pushed and rolled to the side. The shape of this work is indicative of early Shigaraki ware, when the influence of Tokoname pottery permeated all of Japan. It is 39 x 35 10 cm (15-1/2 x 14 x 4 inches).
Shigaraki, one of Japan's Six Ancient Kilns, has a rich history that dates back to the 8th century. Its origins are often linked to the construction of tiles for Emperor Shōmu's Shigaraki-no-miya Palace around 742 AD. However, archaeological evidence indicates that significant pottery production in Shigaraki began during the Kamakura period (1185–1333), with kiln remains suggesting that potters from other regions, such as Bizen, may have influenced early Shigaraki ware. Tokoname, another of the Six Ancient Kilns, had established its ceramic production techniques earlier and, in turn, influenced emerging pottery centers like Shigaraki. The influence of Tokoname ware on early Shigaraki pottery is notable. This early cross-regional interaction contributed to the development of Shigaraki as a pottery center close to the ancient capital distinctive pottery styles. The natural resources of the Shigaraki region also played a crucial role in shaping its pottery. The area's unique clay, rich in feldspar and other minerals, was well-suited for ceramic production. This clay allowed Shigaraki potters to create a pottery tradition characterized by warm, earthy tones and natural ash glazes, which have become hallmarks of Shigaraki ware.

A fine Ni Mai Do Gusoku which features a 12 plate kabuto with Teppo-boshi rivets surrounding a finely worked Tehen kanamono. Prominent Fukigaeshi covered in printed leather with mimi-ito (both matching the leather, piping and lacing of the armor) curve back from the four broad plates in black lacquer forming the Manju-shikoro. The helmet is signed Nakahachiman Minamoto Yoshikazu Saku and dated the second month of Ansei Roku (1859) when the country was in the throes of revolution and war. It is crowned by a carved and gilded wood Dragon Maedate. The armor features a russet iron mask in the Ressei-ho style, also signed by the same Yoshikazu under the chin with matching black lacquered four-plated yodare kake throat defense. It has matching black lacquered Chu-sode in excellent condition. The Do is a fine black lacquered Mogami-do of iron with rows of Kusazuri hanging from the waist enriched with elements covered with Egawa, with blue, silk lacing and Mimi-ito matching the helmet. It retains the original sangu (Kote, Haidate and Suneate), covered in chestnut silk, which is delicate and has torn in several places. Otherwise minimal defects of time and slight loss of lacquer. It comes in an Edo period wooden storage case (Yoroi-hitsu).
Nakahachiman Yoshikazu was a armor maker of the later Edo period. An armor from the possessions of the Daimyo of Tokushima, Hachisuka Narihiro was made by Nakahachiman Yoshikazu.
Hachisuka Narihiro was a son of the eleventh shōgun Tokugawa Ienari, and Daimyo of the Tokushima Domain. He died during the Battle of Toba-Fushimi at the start of the Boshin War at the age of 48.

A large wooden basket hollowed out from rootwood with a natural meandering looping handle. It is 49 x 48 x 28 cm (19 x 19 x 11 inches) and is in excellent condition.

A White Bronze image of a mythical Shishi Lion striking a fierce pose by Yamamoto Junmin signed on the base. The artist has chosen white bronze, which was very popular in the late 1920s and 30s from when this likely dates. However, he has chosen as well a black finish, in a way very Japanese, to hide the more expensive display o wealth (that white bronze would have been at the time) making it only visible from the underside. The figure is 16 x 10 x 17 cm (6-1/2 x 4 x 6-3/4 inches) and is in excellent condition.
Yamamoto Junmin (1882 – 1962) learned the metal arts under Katori Hotsuma (Hozuma) and Asakura Fumio at the Tokyo University of Art. Living in Nara, the ancient capital, he was one of the finest metal workers of his age, carrying on the Edo-doki tradition through the early Showa era while also incorporating many ideas and innovations from Art Deco into hos oeuvre. His work was exhibited with the Teiten/Bunten National Exhibitions many times before the second world war, and with the Nitten National Exhibition post-war. The National Museum of Modern Art in Kyoto holds two works by this important bronze artist, as well as the Metal Art Museum Hikarinotani.

A celadon bowl inlaid with slip in the Korean style with the design of grapes on the vine by Teishitsu Gigei-in Suwa Sozan I enclosed in the original signed wooden box titled Seiji Zogan Hachi. It is 19.5 cm (roughly 8 inches) diameter, 7.5 cm (3 inches) tall and in perfect 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.

A pair of exquisite fluted porcelain bottles decorated in rich color by Tokuda Yasokichi II enclosed in the original signed wooden box. Birds and flowers in various colors, red, yellow, purple blue and green rise up between patterned undulating bands of green and blue. Each is signed on the base in a yellow seal Kutani Yasokichi. They are 15 cm tall and in perfect condition.
The Tokuda family kiln was established by the first Yasokichi (1873-1956)、born into the house of a textile dying family. As one might expect, he initially studied painting under the tutelage of the famous Araki studio. Returning to his home he became employed decorating Kutani ware under his Brother in Law, Matsumoto Sahei, at the Shoun-Do. However after a sojourn in ceramic production under Asakura Isokichi he broke away and established his own kiln where he chafed at the cheap export ware being produced and began a lifelong search for the roots of Ko-Kutani. A search for which he was honored as a Living National Treasure in 1953. Just three years later the kiln was succeeded by his son, Yasokichi II (1907-1997). Yasokichi II was adopted into the Tokuda family in 1923, and studied initially at the Kyoto National Ceramics Research Facility alongside Hamada Shoji and Kanjiro Kawai. He learned under the tutelage of Living National Treasure Tomimoto Kenkichi before devoting himself fully to the family business. He was awarded at the Brussels World Exposition, Nitten, received the Hokuto-sho prize along with many others, and was displayed in Europe and America. He took many opportunities to continue his life quest by study sabbaticals throughout Asia, North and South America and Europe and was awarded the title Ken Juyo Mukei Bunkazai (Living Prefectural Treasure). He passed the name Yasokichi on to his son in 1988. Works are held in the Imperial Household Collection and Ishikawa Prefectural Museum among many others.

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 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.

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.