Catalog (247)

A set of five Fukagawa Yaki pottery plates in the shape of overlapping Hamaguri clam shells. Hamaguri are not only delicious but also hold cultural significance in Japan, often associated with special occasions like weddings and Hinamatsuri (Girls' Day). The large shells were used in a game called Kai-awase, a bit like the card game concentration, where one needed to find the matching shells (A brief explanation below). Each dish is 16 x 11 x 3.5 cm (6-1/4 x 4-1/4 x 1-1/4 inches) and all are in overall fine condition, enclosed in an old age darkened wooden box.
Fukagawa-yaki refers to white-based pottery that was produced in the Choshu Domain (modern day Yamaguchi prefecture). Its history dates back to 1653 when the potter Kurasaki Gorosaemon petitioned to establish an independent kiln in Sannose, Fukagawa Village (present-day Nagato City) and was granted permission. At the time, the production of tea ceramics was not permitted, and records indicate that the kilns mainly produced everyday household wares.
Kai Awase (the game) originated in the Heian period (794–1185) and was a pastime for nobles. It involves a set of Hamaguri clam shells with matching designs painted on the insides. Since the two halves of a clam's shell fit together perfectly, the game requires players to match the correct halves. The painted designs often depict scenes from classical literature, flowers, or other intricate artwork. One half of each clam shell is laid out face-down, while the other halves are kept aside. Players take turns selecting a shell and trying to find its matching half from the scattered pieces. However it was more than just a game; it symbolized harmony and completeness. It was often part of bridal trousseaus, representing the union of a couple.

An exquisite set of lacquered bowls by Inami Tadashi of the Wajima lacquer tradition enclosed in the original compartmentalized signed wooden box. Inside and outside the lids, the mirror black polished surface is decorated in the maki-e tradition using genuine gold and silver powders with various seasonal flowers.
Tadashi Inami (real name: Tadashi Inami) was born in March 1923 in Kanazawa, Ishikawa Prefecture. His family has been known for generations as Kiritsusai, a lineage of lacquer artists, with the founder being renowned for his significant contributions to the development of Wajima lacquerware. At the age of 19, Tadashi entered the Ministry of Education's Craft Technology Training Institute affiliated with the Tokyo School of Fine Arts, where he deeply studied ancient Chinese and Korean ceramics. He learned pottery from Hajime Kato, who developed his unique style with colored porcelain and Kinrande. He studied lacquer art under Kakujiro Yamazaki, known for his colorful lacquer and innovative designs, and further honed his pottery skills with Kenkichi Tomimoto, who, like Hajime Kato, emphasized both artistic originality and mass production. These experiences deeply influenced Tadashi's direction and creativity as a craftsman. After graduating from the institute in 1944, Tadashi began studying Kaga maki-e from his father. In 1946 (Showa 21), he achieved his first acceptance at the 2nd Japan Art Exhibition with his piece "Summer Vine Grass Handbox," and continued to receive various awards. In 1953, he became the director of the Wajima Lacquerware Research Institute in Wajima City. His work has been exhibited in various countries, including the United States, Hawaii, Rome, Canada, Spain, and Belgium, as part of the Japan Contemporary Craft Art Exhibition. In 1975, he traveled to Europe as the Deputy Chief of the Ishikawa Art and Culture Mission, and in 1995, he was appointed as a director of the Japan Art Exhibition. In his mid-80s, he presented the flower vase "Yoyō" at the Hokuriku Craft and Modern Glass Craft Exhibition during the Rome Prize Festival. Sadly, Tadashi passed away in 2011 at the age of 87.

A bronze vase draped in running ringlets of silver by Shibano Wasei (Kazuaki) enclosed in the original signed wooden box dated 26 (1940). This vase garnered the Mayors prize in the Rokudaitoshi Shinkyo Kogei Tenrankai (6 metropoli Progressive Art Exhibition) that year, and a photograph of the piece with the award is included. Inside the box lid is described the event stating the piece was completed in the autumn of 1940. The vase is 16 cm (6-1/4 inches) diameter, 35 cm (16 inches) tall and is in excellent condition. Shibano Wasei exhibited with the Nitten 1 & 10.

Birds soar across crackeld pale glaze within the confines of this exquisite bowl outside of which grows a pine along the shore, waves crashing in the distance signed on the base Satsuma Keida. It is 11.5 cm (4-1/2 iches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition. The Keida kiln of Kagoshima city took its name when Keida Narihira received the already established kiln of Seiujima Kumasuke in 1892. He passed way in 1924. Work is held in the Sannomaru Imperial Museum Collection and Miyake Museum of Art among others.

A spectacular bowl covered inside with a rich caramel color, outside in dark amber glaze outside with various white dots evenly distributed around the surface, and clearly stamped Zoroku on the base in the original signed wooden box titled Kosetsu Chawan. It is 13.5 cm (65-1/2 inches) diameter, 7.5 cm (3 inches tall) and in excellent condition.
The first-generation Mashimizu Zoroku (1822–1877) was born in Kuga Village, Yamashiro Province, as the third son of Shimizu Gen’emon. He began his pottery training in Kyoto’s Gojozaka district in 1834 and established his own kiln in 1843. Receiving the character "真" (Ma) from Prince Kogen Hoshinno, he changed his surname to Masamizu. Zoroku gained prominence for his celadon ware, earning the title "Zoroku of Celadon," and was a pioneer of celadon production in Gojozaka. He exhibited at international expositions in Vienna (1873) and Philadelphia (1876) and was known for his philanthropy, aiding disaster victims and the disadvantaged. Zoroku also crafted tea utensils for Emperor Komei in 1864, earning the "Sokan" seal from Gengensai Soshitsu of Urasenke.
The second-generation Mashimizu Zoroku (1861–1936), born in Kyoto as the eldest son of the first Zoroku, assumed the title in 1882 after his father’s passing. He excelled in celadon, white porcelain, underglaze blue, and Mishima styles, drawing inspiration from Chinese and Korean ceramics. He relocated his kiln to Yamashina in 1917 and later to Nishikyo in 1930, forging connections with prominent potters such as Arakawa Toyozo. An authority on antique ceramics, he authored several notable works and earned awards at exhibitions, including the Kyoto and Nanto Expositions. His seals evolved over time, beginning with "Hyakuju" and later adopting "Shunsen" and "Zoroku."

A set of six covered soup bowls decorated with a crescent moon rising up through autumn grasses in a traditional pattern named after the Musashino planes by Ito Tozan enclosed in the original singed wooden box titled Musashino Suimonowan. They are 8.5 cm (3-1/2 inches) diameter, 8 cm (roughly the same height) tall and are in fine condition. The basic setting in Japanese food is Ichiju-Sansai or one soup, three dishes. So instead of mixing everything on one plate, each part of the meal is given its own dish. Much Japanese food is still served fresh, and so the four seasons are an indispensable factor for the table. Suimono Wan are bowls for clear soup served between parts of the meal to clean the palette.
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 nd 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.
Ito Tozan II (1871-1937) was born the fourth son of one of the upper level samurai of the Zeze feudal domain in Otsu, just over the mountains from Kyoto and began his artistic career as a painter. He was picked up by Tozan I and introduced to the plastic arts, where he flourished, taking over the Tozan kiln in 1920, following the death of his mentor.

A blending of traditional motifs and modern design create this architectural lacquered box datong from the mid 20th century enclosed in the original wooden storage box titled Bunko (document container). The floral theme carved into the striped lid covered in powdered gold and silver is Myoga (Japanese ginger). It is 30.5 x 24.5 x 12 cm (12 x 10 x 5 inches) and is in overall excellent condition.

An incredibly rare set of five small tea cups by Tomioka Haruko enclosed in a wooden box signed by her husband the illustrious literati artist Tomioka Tessai titled Kone Chawan dated Taisho 8 (1919). They are hand formed, pinches and raised in the style of Otagaki Rengetsu (who was mentor to Tessai), and each uniquely decorated and each is uniquely signed Haruko saku. They are roughly 6 cm (2-1/2 inches) diameter, 4 cm (1-1/2 inches) tall and all are in excellent condition.
Tomioka Haruko (1847-1940) was born the third daughter in a samurai family (Sasaki-clan) of Iyo fief. She was married to Tomioka Tessai in the fifth year of the Meiji period (1872) and was a respected artist and poet, continuing to work throughout her long life, showing a distinct affinity for pottery.

A fabulous Edo period image of a Nobori Koi (Ascending carp) made with mouth open as a hanging wall vase It comes enclosed in an old custom kiri-wood collectors box titled Owari Kogama Hai-yu Koi-gata Kake-Hanaike (Old Owari Feif Kiln Ash Glazed Carp Shaped Hanging Vase). One fin has been broken off and reattached with either pitch or lacquer, and there are ancient color filled minor chips to the brittle edges, otherwise is in surprisingly excellent condition.
In Japanese culture, Nobori Koi (ascending carp) is a powerful symbol of strength, perseverance, and success. The image of a koi carp swimming upstream or leaping up waterfalls is associated with the ancient Chinese legend of a carp that transformed into a dragon after successfully swimming up the Dragon Gate waterfall. This story represents overcoming obstacles and achieving great transformation. Nobori Koi is often featured during Children's Day (Kodomo no Hi) on May 5th, when colorful carp-shaped flags, called koinobori, are displayed outside homes to symbolize the hope for children's growth, strength, and the ability to overcome challenges in life. The flying carp also represents the wish for boys to grow up strong and successful, with the imagery of the fish reaching new heights as a metaphor for personal achievement and perseverance in the face of adversity. Thus, Nobori Koi reflects important values in Japanese culture, such as determination, ambition, and the aspiration for improvement and triumph.

A beautiful Natsume Tea Caddy for containing matcha powdered tea decorated with Nobori-kiri and chrysanthemum blossoms enclosed in the original wooden box signed Shunho. It is 7 cm diameter, 7.5 cm (roughly 3 inches) tall and in excellent condition.

A beautiful textured black bowl decorated with impressed golden pine boughs by Raku Chonyu enclosed in an old wooden box. Impre3ssed into the foot is the artists well documented seal. It is 12 cm (5 inches) diameter, 8 cm (3 inches) tall and in excellent condition.
Raku Chōnyū (1714–1770) was the 7th-generation head of the Raku family, a lineage of potters in Kyoto renowned for their contributions to tea ceremony ceramics. Born as the eldest son of Sōnyū (6th-generation Raku master), Chōnyū inherited the family tradition and became the head of the Raku workshop in 1748. Chōnyū is remembered for his innovation and refinement of the Raku style, which emphasized simplicity, natural beauty, and wabi-sabi aesthetics. His works, primarily tea bowls (chawan), were characterized by bold yet subtle designs, and he demonstrated exceptional skill in using red and black glazes, which are hallmarks of the Raku tradition. Chōnyū continued the strong relationship between the Raku family and the Urasenke school of tea, creating tea wares that complemented the aesthetics and philosophy of the tea ceremony. His contributions further solidified the Raku family's reputation as masters of tea ceramics and set a standard for subsequent generations. After his death in 1770, the family tradition continued with his successor, Tannyū, the 8th-generation Raku master.

A handled basin of raw sandy clay decorated with morning glories by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Masago Hada Asa-gao-no Zu Kabin (Sand textured Vase with Morning Glory Design). It is roughly 21 cm (8 inches) diameter, 18 cm (7-1/2 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 (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 lacquered document/paper storage box known as a Bunko by Yamazaki Ritsuzan decorated with firefly squid in a very modern style enclosed in the original signed wooden box titled Hotaru Ika Maki-e Bunko. The box itself is singed inside the lid. It is 25.5 x 36.5 x 12 cm 10 x 16 x 5 inches) and is in overall excellent condition.

A spectacular squat Seto-guro bowl dating from the early Edo period enclosed in an ancient heavy kiri wood box annotated within by soe long lost collector. This is a perfect example of the Momoyama aesthetic. It is 12 cm (5 inches) diameter, 8 cm (3-1/4 inches) tall and in excellent condition.

A small bronze image of a temple dating from the 19th century likely used as an oki-goro (a cover put over burning incense). It is 15 x 12.5 x 15.5 cm (6 x 5 x 6 inches) and is in overall fine condition. It originally had ornaments hanging from the 4 corners, only one of which is present.

A paradigmatic example of this shape by important female artist Suwa Sozan II enclosed in the original signed wooden box titled Shokusha-yu Oi-mimi Hanaire. It is 15 x 13 x 25.5 cm (6 x 5 x 10 inches) and is 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.

A set of five small dishes in earth tones decorated with natural scenery by Miyagawa Chozo enclosed in the original compartmentalized and signed wooden box. Each is roughly 12.5 cm (5 inches) diameter and in excellent condition.
Miyagawa Chozo (1797-1860), also known as Chobei was born a direct descendant of Chokansai and would be the father to Miyagawa (Makuzu) Kozan I (1842-1916). 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 this, the tenth-generation head of the Kyoto pottery family, In 1832 at the age of thirty-five, he became apprentice to Aoki Mokubei (1767-1833) and by 35 had established his reputation as a preeminent independent potter. Differing from his master Mokubei (who was most renowned for Sencha ware) Chozo produced almost exclusively ceramics for use with Maccha (Japanese powdered tea ceremony) ware.

A beautiful lacquered bowl decorated with Plum Pine and Bamboo, the 3 friends of winter. In the center appears to a giant sea turtle supporting a large rock formation referring to the mythical paradisical island home of the immortals. There, the three auspicious plants thrive and promise good fortune—bamboo stalks, pine leaves, and plum flowers. Inside the bowl is simple clack, and it is in excellent condition, measuring 24 cm (9-1/2 inches) diameter, 13 cm (5 inches) tall.
Shochikubai, which translates to "pine, bamboo, and plum," holds deep significance in Japanese literati culture, art, and aesthetics. It originates from Chinese traditions and has been adapted and enriched in Japan over centuries. Each plant in the trio symbolizes specific virtues and qualities, reflecting resilience, perseverance, and beauty: Pine trees remain green year-round, symbolizing unchanging integrity and strength even in the harshest winters. Bamboo bends but does not break, a metaphor for the ability to adapt to challenges without losing one's moral foundation while the hollow center symbolizes humility and openness, qualities valued in literati and spiritual life. Plum blossoms are among the first to bloom in late winter, heralding the arrival of spring. They are a reminder of perseverance and the promise of renewal even during difficult times. The three are often associated with the New Year and other celebratory occasions. They serve as a powerful visual and literary metaphor for enduring values and auspiciousness, making it an enduring theme in Japanese art, literature, and everyday life.