Catalog (249)

Iron red covers this beautiful Tamba tsubo dating from the first half of the Edo period. The mouth is crushed and elongated creating a bold sense of drama. It is 23 x 20 x 23 cm (9 x 8 x 9 inches) and is in overall excellent condition, with some marks on the rim where it adhered to something else in the firing (It may have been fired upside down).

A spectacular Edo period Chatsubo Tea Leaf Container covered in green pine-ash glaze engraved about the shoulder with unusual designs of an Otsu-e style creature wearing a mino straw rain-coat and bearing a massive branch of blossoming wisteria over its shoulder between swirling sun spots. The vessel has a deep cleft in the foot from where it partially collapsed, which allows it to be displayed standing up or at an angle. There is a large Kutsuki kiln flaw on the down side where it adhered to whatever was next to it, supporting it in the kiln. Truly an amazing piece. Slight inclusions and the glistening green ash indicate Mino ware from the Iga area. The old wooden bung is still present, wrapped in layer upon layer as the wood dried and shrunk over the decades. It is 38 cm (15 inches) tall, 35 cm (14 inches) diameter and in excellent condition, enclosed in an ancient storage box made of thick slabs of age-darkened Kiri-wood.
Due to size the cost of shipping will be accrued separately. Japanese tea leaf storage jars, known as Chatsubo, are traditional stoneware vessels used to store tea leaves for Sencha steeped tea or before they are ground into powder for Maccha powdered tea ceremonies. These jars are appreciated for their functional design and aesthetic qualities, and many museums worldwide house notable examples in their collections. Here are some institutions that feature chatsubo: The National Museum of Asian Art, Metropolitan Museum of Art, Minneapolis Institute of Art and Philadelphia Museum of Art in the USA as well as the Montreal Museum of Fine Arts in Canada among many others.

The gold work on this antique bucket shaped pot is absolutely incredible, with eight gold staples holding together the cracks which have all been filled with lacquer and powdered gold. The original ceramic work is from the Ohii kilns in Kanazawa, stamped on the base with what appears to be the seal of the 5th generation head of the Ohii family Ohii Kanbei (1781-1856). There is a custom made black lacquered wooden lid. It comes enclosed in a wooden collector’s box titled Ohii Te-oke Mizusashi, O-ware. It is 17 cm (7 inches) diameter, 24.5 cm (10 inches) tall. There are minor chips to the lacquer edges of the lid.
When the founder of the Urasenke style of tea ceremony, Sen-so Soshitsu was invited to Kanazawa as the lord of the tea ceremony for the Kaga Clan in 1666, the first Chozaemon came with him and established Ohi in Kanazawa. Chōzaemon was the top disciple of Raku Ichinyū of Kyoto (4th generation master of the Raku family) and thoroughly understood the principles and techniques of Raku ware. The family has made tea ware for 10 generations, and the 11th generation is working at the family kiln even now.

Sea foam seems to wash into the smooth basin of this wide Karatsu pottery bowl enclosed in a period wooden collectors box titled Ko-Karatsu Chawan signed by 14th head of the Urasenke Tea School Tantansai. Outside the clefts remain from the artist fingers deeply grooving the surface and making for a tactile experience. It is 14 cm (5-1/2 inches) diameter, 7.5 cm (3 inches) tall and in perfect condition.
Tantansai (1893–1964) was the 14th-generation head (iemoto) of the Urasenke school of Japanese tea ceremony. His full name was Sen Sōshitsu XIV, and he is remembered for his significant contributions to adapting and modernizing the practice of tea ceremony in the 20th century, while preserving its core principles and values. Tantansai became the head of the Urasenke school in 1937, a time marked by great social and political upheaval, including World War II. Despite these challenges, he worked to keep the tea ceremony relevant in a rapidly changing world. He introduced innovations that allowed the practice to appeal to a broader audience, emphasizing tea as a way to promote peace and cultural exchange. He was instrumental in making the tea ceremony accessible internationally, hosting tea gatherings abroad and fostering cross-cultural understanding. Tantansai’s legacy is one of adaptability, ensuring the tea tradition remained vibrant and meaningful in modern times.

A fabulous deep red Raku Chawan with a barely discernable foot raising it slightly off the surface enclosed in a wooden box accrediting the bowl to Gengensai, 11th generation head of Urasenkei Tea School. The bowl is a masterpiece, with a prominent ridge inside and a slight well forming a perfect chazuri for whipping the tea with the whisk. The artists distinctive Ka-o signature is incised into the base along the Kodai (footring). It is 12 cm (5 inches) diameter, 9.5 cm (just less than 4 inche3s) tall and in excellent condition.
Gengensai Seichu Soshitsu (1810-1877) lived during the years leading into the Meiji Era (1868-1912), a time of dramatic political and cultural change in Japan. This turbulent period saw the collapse of the Tokugawa Shogunate, the move of the emperor from Kyoto to the new capital, Tokyo (until then called Edo), Japan’s all-out adoption of Western civilization, and the country’s development into a modern state. Amid these circumstances, his major achievements included his success in convincing the new Meiji Government that it should officially recognize chado as a serious cultural and spiritual pursuit. Gengensai is also credited as the originator of the ryurei style of chanoyu, which employs tables and stools. Because of his success in maintaining the vitality of chado in the new age, he is often referred to as the Father of the Restoration of Chado. Gengensai was the adopted heir of Nintokusai. His natural father was the 7th-generation head of the Ogyu Matsudaira family, a branch of one of the original Matsudaira lineages from which evolved the Tokugawa family. He was adopted by Nintokusai when he was nine years old and Nintokusai, whose only surviving offspring were girls, was already fifty. Nintokusai, taking into account the daimyo-family background of his new adopted son, saw to it that the boy was educated in the various fields of textbook learning of the time, as well as poetry, music, and other traditional cultural refinements. Nintokusai passed away seven years later, and thus Gengensai became the head of Urasenke when he was only sixteen.

A flaring bamboo basket with looping handle by Yamamoto Chikuryusai enclosed in the original signed wooden box titled simply Hanakago. It is 22.5 cm (9 inches) diameter, 40 cm (16 inches) tall and in excellent condition.
Yamamoto Chikuryusai I (1868-1945) was a bamboo artist of the early modern era in Osaka. Born in year one of the Meiji era to the Yanagi clan, his former Samurai family hailed from Yodo, a castle town between Osaka and Kyoto. He later was adopted by his Sister in Law to the Yamamoto family, changing his name to Yamamoto at the time, however it was with his older brother, Yanagi Takesada that he learned basketry in their shop in Osaka. Takesada moved to Korea; for the Japanese at the time it was the New West, but Chikuryusai remained in Japan. Unlike others, Chikuryusai did not attempt to insert himself into his baskets, but, allowed his baskets a traditional elegance. He was renowned for his calligraphy, sencha aesthetic, and his elegant and reserved artistic vision. His baskets received awards at several important international expositions, and, with his two sons, Chikuryusai II and Chikken, participated in the annual Teiten/Bunten National Art Exhibitions. He served as mentor to not only his two sons but also Hamano Chikkosai, Ikeda Seiryusai, and Suemura Shobun. In 1929, he gave the artist “Go” (name) to his son but continued working under the name Shoen until his death in 1945. Work by him is held in the Asian Art Museum San Francisco, The Minneapolis Institute of Art and The Met New York among many other public and private collections.

A hand-formed Bronze Mizusashi lined with cloisonne and decorated about the rim and hand formed waves with silver by Saito Ifu enclosed in the original signed wooden box. It feaures a mirror black polished lacquer wooden lid which juxtaposes beautifully with the matt finish and texture of the vessel. Signed on the base Ifu Saku, it is 15 cm (6 iches) diameter, the same height, and is in excellent condition.

An exquisite Mishima Pottery bowl with gold repair to a break in the rim dating from the mid-Edo period enclosed in an old wooden box. It is 12 x 13 x 8 cm (roughly 5 inches diameter, 3-1/4 inches tall) and is in overall great condition.
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.

An elegant seasonal wan-gata bowl decorated with scrolling vines changing color by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Ninsei Style Chawan Taea Bowl with Scrolling Vines. It is 12 cm (5 inches) diameter, 7.5 cm (3 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.

An elegant bowl decorated with bell-flowers from the Mizoro kilns in North Kyoto dating from the later 19th century enclosed in a period wooden box and bearing the Mizoro seal impressed into the base. Color has seeped into the finely crackled earthen glaze, adding a delicate sense of age. It is 13 cm (5 inches) diameter, 8 m (just more than 3 inches) tall and in excellent condition.
Many people think of Kiyomizu-yaki as the only type of pottery in Kyoto, but there are other types of pottery such as Awata-yaki, Otowa-yaki, Iwakura-yaki, Asahi-yaki, Raku-yaki, and Mizoro-yaki. Mizoro-yaki is a type of Kyo-yaki that was fired in Atago-gun, North of central Kyoto. There are many mysteries and rumors about the origins of the pottery. According to Tauchi Baiken's "Thoughts on Ceramics" written in the Ansei era, Ninsei Nonomura started Mizoro ware. Other documents, from the Enpo period, Taihei of Mizoro Village became an apprentice at Higashiyama Seikanji Yaki Ichimonjiya, and then returned to the village and opened a kiln. According to the "100 Year History of Kyo Yaki", it was established in 1554 AD by Yozo Unsonin. In any event, it is generally agreed to have begun by the mid 17th century, and lasted for about two hundred years.

A set of five Ceramic Bowls decorated with maple leaves and waves paying homage to the Kenzan style by Imperial artist Miyagawa (Makuzu) Kozan I enclosed in the original signed wooden box. They are 12 cm (5 inches) diameter, 5.5 cm (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.

A stately deep wan-gata tea bowl in the Awata tradition of Kyoto decorated with eggplants in an image reminiscent of the famous persimmons of Muchi. It is signed by Chief abbot of Daitokuji Temple Taiko Sogen and enclosed in a modern Kiri-wood collectors box. The bowl is 12.5 cm (5 inches) diameter, 7 cm (just less than 3 inches) tall and in excellent condition.
Taikō Sōgen (1772-1857) was a prominent Zen monk of the Rinzai school and served as the 435th head abbot of Daitokuji Temple. His given name was Sōhiko, and he also went by the names Kōka and Saku-mu. Originally from Kyoto he entered Kōbai-in temple at the age of six and was ordained as a monk. Known for his talent in poetry, calligraphy, and painting, he associated with prominent tea figures such as the 10th-generation Sen Sōsa and the 11th-generation Sen Sōshitsu.

A set of three dancing figurines by Teishitsu Gigei-in (Imperial Artist) Suwa Sozan I enclosed in their respective signed wooden boxes each bearing the Teishitsu Gigei-in stamp. They are respectively 15.8 x 8.5 x 26 cm, 25 x 10 x 24 cm and 23 x 9 x 23.5 cm (roughly 10 inches tall) each, and in excellent condition. They are published in the book Kirameku Kyo no Meiji Bijutsu (Shining Kyoto Artists of the Imperial Court) and were exhibited at the Kyoto Kyocera Museum in the summer of 2022.
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 flaring Edo period Hakeme bowl exquisitely repaired with vivid gold where the side has once been severely damaged. The sand-textured clay is revealed about the rim where the glaze has been worn away with time and use. The foot is masterfully crafted from a dark iron rich clay, likely from the Karatsu region. The workmanship is incredible. The bowl is 16.5 cm (6-1/2 inches) diameter and stands 7 cm (3 inches) tall.

A beautiful small tea bowl in classical Seto style covered with dark crawling glaze by Hirasawa Kuro enclosed in a box endorsed by Keiō Sōsa (Seisai, 1863-1937) the 12th generation head of Omotesenkei Tea School. The bowl is roughly 11.5 cm (4-1/2 inches) diameter, 8.5 cm (3-1/2 inches) tall and is in excellent condition. A note inside the box indicates the tea bowl was seen by Seisai in September of Taisho 9 (1920).
Hirasawa Kurō (1772–1840) was samurai and potter active during the late Edo period. He served as a retainer of the Owari Domain in Nagoya. A practitioner of the tea ceremony, he spent his leisure time crafting tea utensils inspired by traditional styles such as Old Seto (Ko-Seto) and Karatsu. His works were characterized by a distinctive charm and came to be known as "Kurō Ware" (Kurō-yaki).

A small waniguchi bronze bell used for awakening the gods suspended in a naturally hollowed wood ring. The outer wood frame is 32 x 9 x 27.5 cm (13 x 11 x 3-1/2 inches) and all is in excellent condition. The bell itself is suspended with deer leather and is 11.5 x 4 x 11 cm (4-1/2 inches diameter) and all is in excellent condition. Waniguchi are most commonly seen outside of Shrines, rung with a knot tied in a rope suspended from above. Striking the bell awakens the gods so that they may listen oy your request.

A very unusual vase Combining Art Deco aesthetics with Mishima pottery techniques by Uno Ninmatsu enclosed in the original signed wooden box titled Mishima-te Henko. It is 18 x 10.5 x 27 cm (7 x 4 x 11 inches) and is in excellent condition!
Uno Ninmatsu (1864-1937) was born in Kyoto son of potter Wada Sohei and studied under his father as well as from a young age Seifu Yohei II then future Imperial Art Academy artist Seifu Yohei III until setting up his own studio at the age of 21. Outgoing by comparison to the normal Kyoto ideal, he promoted Kyoto art and culture and actively sought to invigorate the export market (then dominated by Tokyo and Yokohama). He won a bronze medal at the Paris world exposition in 1901, and gold medal at the St. Louis Exposition in 1904, Belgium in 1905 and Milan the following year. Unlike other potters in Kyoto at this time, he did not overly decorate his works, but concentrated on matte glazes and form in austere glaze techniques. This proved very popular, and from the turn of the century his works were highly sought in the United States. He also worked closely with designers in France, where many of his works were exported. Following the first world war, he retired to the domestic market. He was deeply involved in silk road pottery research and mastered Shinsha (flambe glazes) as well as Turkish Blue and other styles not yet produced at that time in Kyoto. He was father and mentor to Uno Soyo and Uno Sango, and served as mentor to the young Isamu Noguchi.

Blue backed plovers soar over silver waves on the pierced sides of this large bowl by Kiyomizu Rokubei V enclosed in the original signed wooden box titled Nami Chidori Sukashi Hachi. It is 18.5 cm (7-1/4 inches) diameter , 11 cm (4-1/4 inches) tall and in perfect condition.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the The National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.