Catalog (176)

A basket of dark red bamboo woven by the 4th generation Hayakawa Shokosai IV enclosed in the original signed wooden box. It is 22.5 cm (9 inches) diameter, 48 cm (19 inches) tall and in excellent condition.
Hayakawa Shokosai IV (1902-1975) was the eldest son of Hayakawa Shokosai III (1864-1922). Shokosai IV succeeded as Shokosai aged 21, when his father Shokosai III passed away in 1922. After the war, the Shokosai family moved from Osaka to Kyoto where the family continues the basketmaking tradition to this day. Shokosai I (Togoro, 1815–1897) was born in Sabae City, Fukui Prefecture in 1815. Togorō, lost his father at the age of 19. He then moved to Kyoto and began apprenticing as a basket craftsman. In 1845 he relocated to Osaka and adopted the name Shokosai. He received numerous accolades, including awards at the First National Industrial Exhibition in 1877 (Meiji 10) and other domestic and international expositions. His work earned the distinction of being purchased by the Empress herself. Shokosai II (1860–1905) was the third son of the first-generation Shokosai, born with the name Takejirō, he succeeded to the title in 1897 (Meiji 30). He won second prize at the Fifth National Industrial Exhibition in 1903. His tenure as Shokosai was short, lasting only eight years until his death at 45, resulting in a limited body of work. Shokosai III (1864–1922) was born in Osaka as the fifth son of the first-generation Shokosai, his given name was Eisaburō. After studying under his father, he worked in Tokyo using the name Shōsai. Following his brother’s death in 1905, he returned to Osaka and succeeded as the third-generation Shokosai. He received the Phoenix Crest Award at the 1878 Paris Exposition and continued to garner honors at exhibitions worldwide. In 1887, he was honored by imperial purchase. In 1919, he co-founded the "Naniwa Basket Friends Association," leading Osaka’s bamboo craft scene and becoming a prominent figure in modern bamboo art. Shokosai III excelled in innovative coloring techniques and loose weaving styles, elevating bamboo basket craftsmanship into the realm of fine art. His bold and expressive style emphasized artistic harmony while maintaining an individualistic approach. He served as a member of the Osaka Crafts Association and passed away in 1922 at the age of 59. The Fourth Generation Hayakawa Shokosai IV (1902–1975) was born in 1902 as the son of the third-generation Shokosai, he became chairman of the Bamboo Art Association and was selected for the prestigious Nitten exhibitions. He passed away in 1975 at the age of 73. Hayakawa Sokosai V (1932–2011) was born in 1932 in Osaka as the eldest son of the fourth-generation, he continued the family’s legacy until his passing in 2011.

An exquisite lidded jar of turned wood covered in black lacquer and decorated with golden plum blossoms wrapped in a silk pouch and enclosed in an old kiri-wood box. 19th century, it is 6 cm (2-1/4 inches) diameter, 7 cm (just less than 3 inches) tall and in excellent condition.

A beautifully sculpted 19th Century image of a mischievous Tanuki dressed in priests robes by Ninnami Dohachi of Kyoto, hands overlapping in a meditative pose dating from the 19th century. Signed on the bottom it measures 24 x 24 x 27 cm (roughly 9-1/2 x 9-1/2 x 10-1/2 inches). There is a firing crack under the right jaw, and in the tail, otherwise is in great condition. It comes enclosed in an age darkened wooden display box.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I. Following the early death of his older brother he succeeded the family name, opening a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles. Along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. Ninnami Dohachi II and his son (the future Dohachi III) were invited by the local lord Matsudaira to produce pottery at the Sangama kiln in Sanuki Kuni on the island of Shikoku in 1832. He would return later, agan with his son as well as his apprentice Siefu Yohei, in 1852. The third generation (1811-1879) continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the annals of Kyoto ceramics well into the Meiji period. Takahashi Dohachi III began to use the title Kachutei Dohachi and was granted the title Hokyo by Ninaji-miya of the Imperial family. He retired to his grandfathers kiln in his later years, giving control to his son the fourth generation Dohachi (1845-1897) who also used the title Kachutei. The fifth generation (1869-1914) was adopted into the family and took head of the kiln in 1897 and was one of the top rated potters of his time, heavily influencing following generations including one of his top students, Ito Tozan. The kiln continues today with the 9th generation. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others.
The tanuki (Japanese raccoon dog) is a significant figure in Japanese folklore, celebrated for its mischievous, shape-shifting abilities and humorous antics. Known for their playful and sometimes morally ambiguous nature, tanuki are often depicted as masters of transformation and disguise, embodying themes of deception, adaptability, and humor. In some folk tales, tanuki disguise themselves as Buddhist nuns or priests, often with humorous or ironic undertones. This imagery blends the sacred with the absurd, highlighting the tanuki's cheeky nature. Disguising as religious figures underscores the tanuki's ability to deceive even in spiritual or solemn contexts. These tales serve as cautionary stories about gullibility and the need for discernment, even in sacred spaces.In tales like the Bunbuku Chagama, a tanuki transforms into a Buddhist priest or a sacred object (a tea kettle) to trick humans. Tanuki dressed as religious figures can be interpreted as subtle critiques of hypocrisy or the undue reverence given to appearances, reflecting a deeper layer of humor in Japanese storytelling.

A dragon encircles the center of this porcelain vase by Daimaru Hokuho (Hoppoo) enclosed in the original signed wooden box. The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The typical Gu form rises a lobe about which the dragon has been engraved in red. It is 26.5 cm (10-1/28 inches) tall and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

A large Bunko lacquered box by Shimada Shunko dating from the late 1930s to 1940s, enclosed in a signed wooden box. It features solid silver rims. It is 42 x 32 x 15 cm (16-1/2 x 12-1/2 x 6 inches) and is in overall fine condition. Shunko submitted a very similar design to the 6th Shinbunten in 1943.
Shunko Shimada is well-known as a lacquerware artist specializing in Wajima-nuri. His works are created using traditional Japanese lacquer techniques, particularly the maki-e method. Wajima-nuri, which developed around Wajima City in Ishikawa Prefecture, is highly regarded worldwide for its beauty and technical excellence.

A Momoyama to Early Edo period Karatsu Chawan enclosed in an ancient, age darkened quarter sawn cedar box with Kuro-gaki (Black persimmon) rim. Slightly misshapen, the bowl is 11-12 cm (4-1/2 to 4-3/4 inches) diameter, 5-6 cm (2 plus inches) tall and in surprisingly fine condition, with some ancient lacquer repairs about the rim attesting to the great age and care the piece has received
. Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

A collapsed bottle from the early years of the Tokoname Kilns dating from the Kamakura to Nanboku-cho periods (12th to 15th centuries) featured in the special Taiyo Art Magazine Close-up on the six ancient kilns. It is 18 cm (7 plus inches) diameter, 13 cm (more than 5 inches) tall and in fine original condition, enclosed in an old red-lacquered wooden box.
Tokoname pottery from modern day Aichi Prefecture, is one of Japan’s Six Ancient Kilns (Nihon Rokkoyō), with a history dating back to the Heian period (794–1185). Initially, Tokoname potters produced large, durable storage jars and water vessels, utilizing locally abundant iron-rich clay and high-temperature firing techniques. The region's extensive use of anagama (single-chamber) and later noborigama (climbing) kilns contributed to its flourishing as a major ceramics center. During the Kamakura (1185–1333) and Muromachi (1336–1573) periods, Tokoname ware was exported all over the Japanese archipelago, and served as the prototype for pottery from most of the other ancient kilns.

A basin pierced and covered in green lacquer with a feather like design in the center in charred red and mustard wrapped in bamboo basketry dating from the early 20th century, art-deco era enclosed in the original signed wooden box titled Kajutsu Moriki. The basket weave is a six-pointed star pattern and the outer bamboo in natural dried bamboo brown while the inside of the bamboo, visible through the pierced body of the basin, has been dyed red. It is 40 x 26 x 14 cm (16 x 10-1/4 x 5-1/2 inches) and is in overall excellent condition.

10 Oribe plates by Kato Sakusuke enclosed in the original signed wooden box dating from the early 20th century. They are 13 cm (5 inches) square, and in excellent condition. The Katō Sakusuke family of the Akazu kiln traces its origins to Kageharu, the younger brother of Katō Riheiemon (the first-generation Tōzaburō), who returned to the village from Mino during the Keichō era in the early Edo period. The first-generation Sakusuke (Kagekiyo, born 1808), the seventh-generation descendant of Kageharu, took the artist name Jusai. As described in Owari no Hana (Flowers of Owari):"Naturally skilled in pottery, he succeeded his father’s house, adopting the name Sakusuke and greatly revitalizing the family’s work. He created vessels modeled after ancient methods, producing many tea utensils and sake vessels. His works were all refined and richly elegant." The Second Generation: Katō Kageyoshi (born in 1844) took the name Shunsen.bThe younger brother of the second generation branched off to establish a separate family line, using the name "Sakusuke" for his works, later adopting the name "Shun'itsu. The family tradition was upheld by the third generation (Seiichi, also known as Shunzan), and the fourth generation (Norihiko). It is now under the management of the fifth generation.

A beautiful set of five porcelain bowls each uniquely decorated with a bird and seasonal flora enclosed in the original signed wooden box dating from the first half of the 20th century. They are 16 cm (6-1/4 inches) diameter and in excellent condition. Signed on the backs in a green cartouche they retain the original stamped wrapping cloth.

From a private collection, 4 unique covered porcelain bowls dating between the later 19th and early 20th centuries (Meiji to Taisho Periods) intricately patterned with various floral patterns. One is signed Kaburagi, another Kutani Takata, the other two simply Kutani. They vary slightly in size, 10 x 7 cm, 11 x 5.5 cm, 11.5 x 7.5 cm, 12 x 7 cm (roughly 4-5 cm diameter) and are all 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

A boat shaped hanging vase of hand forged iron hammered out of a single piece of metal using the uchidashi technique with waves rolling down the sides. It is lined with a dark metal, some blend of Shibuichi and copper, and suspended from a hand made chain. The vessel is 48 x 17.5 x 18.5 cm (19 x 7 x 7-1/2 inches) and is in excellent condition dating from the Edo period. It comes in a kiri-wood storage box titled Nanban Tetsu Uchidashi Tsuri Hanaike.
Uchidashi is a traditional Japanese metalworking technique used to create intricate raised designs on metal surfaces, commonly seen in samurai armor, sword fittings, and decorative objects. The term "uchidashi" translates to "hammered out," reflecting the method of working metal from the reverse side to achieve detailed relief on the front. The ultimate expression is three dimensional objects which stretch the limits of the material and showcase the extremities of the artisans skills.

A pair of matching large flaring bowls ornately decorated with intricate lattice patterns pierced with decorative dials featuring dragons and Buddhist Jewels surrounding a large colorful dragon. Each is signed beneath inside the footring. They are 24.5 cm (just less than 10 inches) diameter, 10 cm (4 inches) tall and in excellent condition.
Daishoji Imari is a type of Kutani ware that was mainly produced in Daishoji Town, formerly part of the old Enuma District, from the early Meiji period. There they produced porcelain based on Imari models decorated in sometsuke (blue-and-white porcelain) and kinrande (colored with gold).
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics

A set of five ancient Karatsu dishes repaired with lacquer and gold perfect for serving sweets in a tea room where Wabi-sabi is paramount, or featured in a Kaiseki meal. They are 10 -11 cm (4 plus inches) diameter each, dating from the 16th to 17th centuries, enclosed in an old kiri-wood box with wiped on lacquer finish.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.
Kintsugi lacquer gold repairs embody the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.

A set of five small Sencha Tea Cups decorated with a leaf inside, a verse of four archaic characters outside enclosed in the original signed wooden box dated Showa 3 (1928). They are 4.5 cm (just less than 2 inches) diameter, 2.5 cm (1 inch) tall and in excellent condition.
Irie Shikai was born in Fukuoka prefecture in 1862, the son of an upper level samurai retainer. He studied Nanga and Chinese style painting under Yoshitsugu Haizan and Daiju Ekizan among others. Eschewing the contemporary trend to exhibit and paint for the major National Juried exhibitions, he remained outside the mainstream. For more on this artist see Literati Modern, Bunjinga from late Edo to 20th century Japan, Honolulu, 2008.

A Momoyama to Early Edo period Karatsu Chawan enclosed in an ancient, age darkened wooden box with a single zen circle of gold inside surrounding the center. These types of early Karatsu bowls were fired stacked inside each other, and it is certain looking at this piece that the artist forgot the wadding between this and the bowl above, so it adhered to the bowl creating a space without air, which caused the center of the bowl to fire at a different color than the rest which was exposed to the heat and oxidation. The bowl above was likely broken to separate them, and where it had adhered was ground down to be repaired with a ring (or Zen circle) of thin gold. It is a beautiful piece which offers a peek into the history of this regional pottery, as well as telling a story of preservation and offers commentary on our modern throw away society. The bowl is 12 cm (just less than 5 inches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.

A 19th century six-sided Koro Incense Burner bearing impressed into the base the seal of the Wakayama branch of the Tokugawa families Kairaku-en Niwa-yaki kiln. It is 10 x 12.5 x 10.5 cm plus lid 4 x 5 x 4-1/4 inches) and is in fine condition. It features a pierced brass lid engraved with smoke tendrils and comes in a period wooden box.
The Kairakuen kiln was the "garden kiln" sponsored by the Kii branch of the Tokugawa house, in modern day Wakayama founded in 1819. It operated irregularly, drawing upon the services of potters from various Kyoto workshops including the 9th and 10th Omotesenkei Heads Ryoryosai (1775-1825) and Kyukosai (1818-1860), 10th Raku Master Raku Tanyu (1795-1854), and Eiraku Zengoro XI (Nishimura Hozen, 1795–1854) among others . Kairakuen products reflect a marked revival of interest in Chinese ceramics in the late 18th and early 19th centuries. This vase, with its restrained shape and overall turquoise enamel glaze, follows Qing [Ch'ing] dynasty ceramic models. The design of the four-character mark, "Made at Kairakuen," imitates enamel four-character seals appearing on Qing [Ch'ing] imperial wares.

A Funamushi-gata earthen vase (a Sea Slater-shaped Vase, an insect with a broad back found along the shoreline) from the Mushiake kilns of Okayama prefecture dating from tehr 19th to early 20th century. Engraved into the bottom are three number sevens, a symbol of good fortune and alternate character for Yorokobu (joy). It is 14.5 x 9 x 25 cm (5-1/2 x 3-1/2 x 10 inches) and is in excellent condition.
The origins of Mushiake-yaki pottery are uncertain, with various theories suggesting it began around 300 years ago. This pottery tradition emerged in the Mushiake area, which was part of the domain of the Iki family, the chief retainers of the Okayama clan, who were granted 33,000 koku of land. Mushiake-yaki developed as an oniwayaki (garden kiln) under the patronage of the Iki family. The pottery shared similarities with Bizen ware, but also made works similar to the glazed wares of Takatori and other famous tea-ware regions. During the tenure of the 14th lord, Iki Tadasumi (who used the tea name Sansensai), a prominent tea master, Mushiake-yaki underwent significant transformation. Tadasumi invited renowned artisans of the time, including Kyoto’s Seifu Yohei, Raku Chōzō, and Miyagawa Kōzan (Makuzu Kōzan), to contribute their expertise. Under their influence, the pottery adopted a Kyoto-inspired style resembling the delicate thinness of Awata-yaki.

A set of two intricately decorated covered porcelain bowls from the Kutani Kilns of Ishikawa prefecture with Moriage designs of chrysanthemums in raised texture and kinrande gold on red butterflies. They are signed Kutani inside the foot. The large bowl is 11 cm diameter, 8 cm tall, the smaller is 10 cm (4 inches) diameter, 7.5 cm (3 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 large bowl fired in France decorated by Ueda Kochu based on imagery from the Shosoin collection of Imperial Art enclosed in an old wooden box titled Furansu Yaki Kacho E Hachi, Shosoin Gyomotsu Moyo, Ueda Kochu HakuHitsu. This type of dish, made in France, was imported as a blank, decorated in Japan and re-fired, thus giving it overlapping marks of the original French maker and the artist’s signature. A very rare combination offering an intriguing look into the ceramics trade in the 19th century. It is 21.5 cm (8-1/2 inches) diameter, 11 cm (4 inches) tall and in excellent condition.
Ueda Kôchû (1819～1911) was born in Kyoto, the son and pupil of Shijo School artist Ueda Kôfu. After his father's death in 1832, he moved to Osaka where came under the tutelage of Nagayama Kôin. Following the chaos of the Meiji Restoration, Kochu painted on umbrella. It is said he painted on umbrella for a living after the Meiji Restoration. After the Meiji restoration he painted umbrellas, worked as a writer, travelled extensively throughout Japan, and served as a professor at the Naniwa Art School. He was a prominent painter in Osaka art circles and shortly before his death, painted the screens in the Tenman-Shrine. Work by him is held in the British Museum, the Minneapolis Institute of Art among others.

The shallow clay basin has been thrice dipped into earthy green glaze leaving the foot raw, an Edo period Karatsu Sake Cup enclosed in an age darkened kiri wood box titled Hai-iri. An Ishihaze stone inclusion bursts through the glaze on one side, and the glaze forms a ringlet on the pinched side where the artist thumb held it while dipping in the glaze. Writing abounds on the box, inside the lid, and on the bottom, from the various hands through whom it has passed over the centuries. Edo period, it is 8 zx 7 x 3.5 cm (roughly 3 inches diameter) and is in excellent condition.

A lacquer box decorated with a Rimpa style thatched house under golden boughs by Kamisaka Sekka dating from the late Taisho period. It is 15 x 12.5 x 6 cm (6 x 5 x 2 inches) and is in overall fine condition, with a few stress cracks gained over the last century.
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 (future University of Fine Art), and was widely exhibited and prized throughout his career, which ended in retirement in 1938.

Chrysanthemum in blue decorate the pale white porcelain of this tall vase by Miyagawa Kozan signed on the base in a square cartouche Makuzu Kozan. It is 32 cm (12-1/2 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 broad-leafed tree in iron sprawls on the side of this earthy tea bowl by Kiyomizu Rokubei VI enclosed in the original signed wooden box titeld E-Hakeme Chawan. Hakeme refers to the broad brush stroke of white slip which decorated the gray glaze both inside and out. The bowl is 12 cm (5 inches) diameter, (3-1/4 inches) tall and in excellent condition.
The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district throughout the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei IV. Rokubei V led the kiln into the 20th century, and his son, Rokubei VI (1901-1980), would assume lead in 1945, taking the kiln through the tumultuous years after the Second World War. He graduated the Kyoto Municipal School of Arts and Crafts, then the Kyoto Special School of Painting, before apprenticing under his father in 1925. He exhibited frequently and was often prized at the National Bunten, Teiten and Nitten Exhibits, where he later served as judge. He was also lauded abroad, in the USSR, France, Italy, Belgium and was appointed a member of the Japan Art Academy. In 1976 he was awarded the Order of Cultural Merit for his lifelong devotion to promoting Japanese pottery traditions. His works are held in numerous museums throughout the globe.

A striking original Bamboo art work by Koide Bunsei enclosed in the original signed wooden box titled Hanakago Sazanami. It is 22 cm (9 inches) diameter, 34 cm (13-1/2 inches) tall and in excellent condition.
Koide Bunsei was born in Nagano city in 1960, and trained in the art of basketry under Iwao Shotaro in Oita prefecture. He has been exhibited and awarded at the Nihon Dento Kogeiten (National Traditional Crafts Exhibition as well as the Nihon Dento Kogei Shinsaku Ten (National Traditional New Crafts Exhibition). He has risen to be a pivotal figure in bamboo art in Nagano.

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 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.

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 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 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.

A wide shallow bowl dating from the Kamakura to Nanboku-cho periods with a prominent ring circling the interior where other bowls had been stacked inside, and a number of lacquer repairs about the rim attesting to the age and reverence the piece has received over the centuries. It is 17 cm (7 inches) diameter, 5.5 cm (2 inches tall) and in overall excellent condition. It comes in a silk pouch with an old wooden storage box.
Yama-chawan is a generic term for various types of unglazed Japanese tableware produced in vast quantity from the late Heian (794–1185) to Muromachi period (1333–1568), mainly in the Tōkai region (Aichi and Gifu prefectures) of central Japan. At the beginning of the era ritual vessels and storage jars were the common pottery, but increased production made for greater availability resulting in demand from lower classes of society for pottery. This resulted in a shift away from jars to tableware. Production of Yama chawan began with the dissemination of wealth to military families and landowners at the end of the Heian period, and lasted through the early Muromachi era, reaching its peak in the Kamakura and Nanbokucho periods (1185-1392). By the mid-Kamakura era, great volumes of yama-chawan were being fired. Fused, broken or damaged works would have been discarded about the kiln. As well, the kilns, were unstable and unpredictable, and often collapsed. This made for a small volume of pottery coming available from excavations in the early 20th century, when there was a great deal of research into the revival of ancient techniques.

A tall flaring bamboo basket by Tanabe Chiuunsai II enclosed in the original signed wooden box titled Hosei. It retains the original bamboo inset, and is 31 x 20 x 35 cm (12-1/4 x 8 x 14 inches) and is in excellent condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.

A set of five covered square-Karatsu Bowls with iron designs under transparent glaze drizzled with foamy pale green dating from the later Edo period. One bowl and two lids have shiny black lacquer repairs which truly add to the beauty of the set. They are 9.5 x 9.5 x 11 cm (4 x 4 x 4-1/2 inches) and come in a dilapidated wooden box.