Catalog (176)

An austere Iga storage jar dating from the 16th century engraved about the shoulder with a crosshatch pattern and raised on two distinctive Geta underneath typical of early Iga ware enclosed in an old Kiri-wood storage box titled Iga Tsubo. There are two silver lacquer repairs to the rim and one on the side, all of which have tarnished to a dark patina with age. The vessel is 22 cm (9 inches) diameter, 28 cm (11 inches) tall and in excellent condition.
Iga pottery originated in the Iga region of Mie Prefecture in the late Heian period (12th century). Initially, it was known for producing utilitarian wares such as jars and mortars. However, during the Momoyama period (late 16th century), it gained prominence as tea practitioners valued its rustic, natural aesthetic for tea ceremony utensils. The nearby Iga and Shigaraki regions shared similarities in clay and techniques, but Iga-yaki developed its own unique style, especially under the influence of wabi-sabi aesthetics. Made from high-quality, coarse-grained clay rich in feldspar and silica, this gives the pieces durability and heat resistance. Fired in wood-fueled kilns, the interaction of ash and heat creates natural glazes, often with flowing textures and irregular patterns. Unique scorched effects appear due to the high-temperature firing and direct exposure to flame, adding depth and character to the pottery.Iga-yaki often features asymmetrical shapes and rough textures, embodying the wabi-sabi philosophy of imperfection and natural beauty. While historically utilitarian, Iga pottery is celebrated for its artistic expression, particularly in tea ceremony ware such as water jars (mizusashi) and tea bowls (chawan).

An incredible set of 3 sake cups and a small table dripping with gold on the red and black surfaces enclosed in a period wooden storage box which is in turn enclosed in a red lacquered nijubako storage case. The table is absolutely WOW, cranes soaring over rolling waves on a rocky canyon through which water flows under boughs of pine covered in sheets of kiri-gane gold, plum branches glistening with silver blossoms and golden bamboo. The three cups, held in a drawer inside the storage box, are masterpieces of Maki-e, the festive cinnabar covered in built up designs of a golden landscape with silver blossoming plums and soaring cranes mimicking the design of the stand. The stand itself is a 19 cm (7-1/2 inch) cube, while the cups vary concentrically from 10.5 to 13. Cm diameter (just over 34 to just over 5 inches diameter). All is in perfect condition.

An openwork basket of split and woven bamboo by Tanabe Chikuunsai II enclosed in the original signed wooden box. It is 31 x 27.5 x 13 cm (12-1/2 x 11 x 5 inches) and is in excellent condition.
Tanabe Chikuunsai II (Toshio, 1910-2000) was born the son of Tanabe Chikuunsai I in Osaka known for his Chinese-style (Karamono) baskets. He began working with bamboo craft from a young age under his father, and in 1915, when he turned 5 years of age, he gave demonstrations of the craft with his cousin Kōunsai at his father’s private exhibition at Mitsukoshi Department in Osaka, impressing everyone with his skilled weaving in hexagonal pattern. In 1919, when he was 9, his father made him study calligraphy under the Sinologist Tsuchida Kōnan to make him a man of letters. The drawings he made in his late years were the results of the Nanga painting and calligraphy he learnt during his childhood. He held his first private exhibition when he turned 15 in 1925 and was given the title Shōchiku’unsai by his father. At the age of 20 became a member of the Naniwa Ranyukai group and was accepted into the Teiten national art exhibition for the first time in 1931 where he would later receive numerous awards. Following the death of Chikuunsai I, he assumed the name of Chikuunsai II however, moved away from the tense karamono baskets of his predecessor developing his own style of more open and relaxed weaves and plating techniques. He was awarded the Order of Cultural Merit by the Japanese government in 1981. He transferred the family name to his eldest son in 1991, taking the new name Ichikusai however remained active to the end of his life. Work by him is held in the Metropolitan Museum of Art New York, the Minneapolis Institute of Arts, the Crafts Gallery of the National Museum of Modern Art Tokyo and Museum of Fine Arts in Boston among others.

An elegant set of six small cups and saucers by Teishitsu Gigei-in Ito Tozan enclosed in the original compartmentalized and signed wooden box. The cups are steep sided with creamy crackled glaze decorated with sparse bamboo. Each Cup is roughly 7 cm (3 inches) diameter, 5.5 cm (2 inches) tall, the plates 12.5 cm (5 inches) diameter and all are in excellent condition, with some color absorption due to time and use in the crackled glaze.
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.

Shiny glaze the color of burnt caramel covers this tactile pinch-formed small portable tea bowl (Tabi-chawan) from the 19th century Ohii Kilns of Kanazawa in the Kaga domain. Ohi ceramics are primarily made for use in the tea ceremony and they are all personally made by members of the Ohi family. The potters do not use a wheel, but shape the clay with their hands and special spatula-like tools that are handed down from generation to generation. The ceramics are made from soft clay and fired at unusually low temperatures. This bowl is no exception to these rules, it is pinch formed with a beautiful sculpted foot ring, on side which is the Ohii stamp impressed clearly into the clay. It is 9 cm (3-1/2 inches) diameter, 8 cm (just over 3 inches) tall and in excellent condition.
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.

A basket of Kameko Tortoise Shell design enclosed in the original signed wooden box made for the Shobido Art Purveyor of Osaka by by Tanabe Chikuunsai II. It is 45 cm (18 inches) tall and 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.
The Shobido Jewelry Co. was founded in 1900 at Yodoyabashi, in central Osaka City by Eikichiro Eto. They are purveyors of watches, Jewelry, art and crafts, silverware and precious metals from the Meiji era to the present day, and their products and artisans were considered elite among Japanese crafts. In fact many of Japans greatest craftsman created unique works for the Shobido label.

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.

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 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 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 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.

An image of a black bear covered in aubergine standing on a base of green from the pre-war kilns of Kutani in Ishikawa prefecture, one of Japan’s most famous porcelain production centers. It is 17.5 x 13 x 18 cm (7 x 5 x 7-1/4 inches) and is in excellent condition enclosed in the original wooden box bearing anKutani Shosuke Seal inside.

Intricate designs of chrysanthemum style blossoms among latticework adorned with a Paulownia crest dating from the Edo period enclosed in an old red-lacquered wooden storage box. It is 13 cm (5 inches) diameter, 10 cm (4 inches) tall and in excellent condition.

A classic early Tanabe Chikuunsai basket enclosed in the original signed wooden box signed with his early name. That this is signed Shochikusai indicates it was created before he took the family name in 1937. This square form of open vertical slats is a favorite of this artist. The basket is 10 x 17 x 33.5 cm (4 x 6-1/2 x 13 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 pair of very cool Tokkuri sake flasks with looping handles decorated in barber-pole fashion with a striking design of spiraling red on pale cream glaze. Each is signed on the base Seizan, and they come enclosed in a period wooden box titled Seizan-yaki Sake Tsubo. Each is roughly 5;.5 cm (2 inches) diameter, 12 cm (5 inches ) tall and both are in excellent condition.

Floral sprays in vivid color decorate this set of Tokkuri sake flasks by Kanzan Denshichi enclosed in the original signed wooden box. Each is 5.5 cm (2 inches) diameter, 16 cm 6-1/4 inches) tall and in excellent condition.
Kanzan Denshichi (1821-1890) was born in the ceramic-producing area of Seto. He worked at the Koto kiln of the Ii family in the Hikone domain, moving to Kyoto when the kiln closed in 1862. In Kyoto, he established his workshop at the base of Kiyomizu-zaka where he worked under the name Terao Denshichi and is thought to have been one of the first ceramicists in Kyoto to specialize specifically in porcelain. In the first year of the Meiji era (1868) he worked to supply the Kyoto Prefectural Office, following which he studied Western painting and pottery decoration under Gottfried Wagner. In the following three years, production was renamed Shountei and he worked under the name Kato Kanzan. Kanzan’s works include porcelain tableware, both Western and Japanese in style, often decorated with brightly colored polychrome and gold. Some of these wares were made for export, and Kanzan also exhibited at international exhibitions, securing a gold medal at Paris in 1878 In 1881 during their visit to Japan, Queen Victoria’s grandsons: Prince Albert Victor, Duke of Clarence and Avondale, and Prince George, Duke of York (George V), visited Kanzan’s workshop in Kyoto. The Imperial Household Ministry purchased Kanzan’s works, including some tableware for use in the Enriokan and other items in the style of the underglaze blue decorated Edo-period imperial porcelains known as kinri goyōtōki.
Pieces by Kanzan may be found in the collections of the Sannomaru Shōzōkan (Museum of the Imperial Collections) and Imperial Banqueting Department of Japan’s Imperial Household Agency, Tokyo National Museum and Kyoto Prefectural Library and Archives. The Victoria and Albert Museum has a pair of vases displayed at the Philadelphia Centennial Exhibition of 1876, a pair of ginger jars and four other small pieces. In 2014, the Sannomaru Shōzōkan devoted an exhibition to a Japanese-style polychrome dinner service made by Kanzan’s workshop for Prince Arisugawa Takehito: Beautiful Modern Kyoyaki (Kyoto-style ware) – Fine works by Kanzan Denshichi passed down within the Prince Arisugawa Family, 21 March – 22 June 2014.

A boxed set of Binshi offering vases decorated with regal fowl enclosed in a period wooden box by Kiyomizu Rokubei. Each is roughly 12 cm 4-3/4 inches) tall and in perfect condition. Very difficult to tell with this signature, but I believe it is the work of the 4th Rokubei, possibly a very early work by the 5th.
Kiyomizu Rokubei IV (1848-1920) was born the first son of Rokubei III and headed the family kiln from 1883-1913.He studied painting in the Shijo manner under Shiiokawa Bunrin and had a brotherly relationship with his fellow student Kono Bairei (under whom his own son would study painting). He sought to revitalize the pottery tradition of Kyoto, bringing in new techniques and styles and together with artists like Asai Chu and Nakazawa Iwata took part in the Entoen group and with Kamisaka Sekka the Keitobi-kai. He also held a strong relationship with literati artists such as Tomioka Tessai and together with these artists produced many joint works. He fell ill in 1902, finally handing the reins over to the 5th generation in 1913.
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 Maekawa 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.

A Tsubo which slumped in the kiln adhering to a pair of sake cups, one of which remains clinging to the side. It appears to be Karatsu ware, green glaze sliding over rich red iron and forming beads around the foot ring. It is 23 x 17 x 22.5 cm (9 x 7 x 9 inches). There is a small chip in the rim but is otherwise in excellent conditiom.

An oki-goro incense burner made up of a hollowed burl of wood set onto a beautiful exotic dark-wood stand in the manner much appreciated by scholars of the 19th and early 20th centuries. Incense burnt inside on a metal stand would have produced smoke which drifted out through holes in the high peak of the burl, and around the base, like a mountain visible in the mist. It is 17 x 10.5 x 9 cm (7 x 4 x 3-1/2 inches) and is in overall excellent condition.

A breathtaking tray decorated with early morning Lotus with misty clouds of gold on highly polished ro-iro black signed Kunisada featuring a solid silver rim enclosed in a silk lined box wrapped in blue cloth pouch stamped Ogaki Kunisada. Early morning dew beads like pearls in the basin of the dilapidated leaf in the fore, while the flower bulb, not ready yet to open, glistens gold in the late summer sunlight. The tray is 27.5 x 27.5 x 3cm (11 x 11 x 1-1/4 inches) and is in perfect condition. The wooden box has a paper label simply titled Ogaki Kunisada Haibon (Sake Cup Tray).

A paradigmatic basket by Tanabe Chikuunsai II enclosed in the orginal signed wooden box. This square form of open vertical slats is a favorite of this artist. It is 9 x 18 x 35 cm (3-1/2 x 7 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.

An exquisite vessel covered in pale earth-toned glaze reavealing the clay along the edges from the Edo period kilns of Hagi covered with a two piece custom made black lacquered wooden lid and enclosed in a period wooden mox titled Ko-Hagi Teguchi Mizusashi. It is 20 x 15 x 21 cm (8 x 6 x 8-1/4 inches) and is in excellent condition.
Hagi pottery is known for its rustic and understated beauty, which resonates with the wabi-sabi aesthetic central to the Japanese tea ceremony. The tea ceremony during the Edo period emphasized natural beauty, simplicity, and humility, and Hagi ware embodied these principles. The soft, often uneven glaze and earthy tones of Hagi pottery highlight the handmade nature of the work, and any imperfections, such as cracks or asymmetry, were seen as adding to the piece's character and value. A key feature of Hagi ware is its ability to change over time, which made it particularly valued in the tea ceremony. The soft, porous clay and glaze of Hagi pottery gradually absorb tea, and over time, the ware develops unique stains and crackles, known as keshiki (scenery). This change symbolized the passage of time and the deepening of the relationship between the tea practitioner and the object, reflecting the fleeting nature of life—a concept deeply embedded in the practice of tea. Additionally, the neutral, soft tones of Hagi bowls provided a gentle contrast to the bright green of matcha tea, enhancing the visual appreciation of the ceremony.

Birds populate the branches of a plum tree burgeoning with blossoms on the blue void of this baluster form porcelain vase by important 20th century artist Kawamoto Rekitei enclosed in the original signed wooden box. It is 19 cm (7-1/2 inches) diameter, 24 cm (9-1/2 inches) tall and in excellent condition.
Kawamoto Rekitei was born in Aichi prefecture, home of Seto-yaki and a long standing important production center for Japanese Sometsuke porcelains. In 1914, at the very young age of 20, he received the top prize at then National Ceramics Exhibition (Tojiki Hin Hyou Kai and later (1922) received the gold prize at the Peace Exposition. His works were featured at the Paris, San Francisco and Chicago World Expositions. He was contracted by the Japanese government in 1948 to create a vase for presentation to President Truman, and his work graces the collection of the Imperial Household. In 1972 he was named an Important Cultural Property of Aichi Prefecture (Ken Shitei Mukei Bunkazai). He was survived by his son, Kawamoto Goro, and grandson, Kawamoto Taro

A collapsed water jar covered in iron glaze and enclosed in an ancient wooden box heavily annotated inside the lid and named Ho-gyoku by the Head priest of Bukkoji Temple in Kyoto. There is a red lacquered Ka-o signature used by the elite on the side of the vessel. It is 32 x 23 x 27.5 cm (11-1/2 x 9 x 11 inches) and is in fine condition. The box lid claims it was the property of or named by the head of Bukkoji Temple in downtown Kyoto.
In 1212, following his expulsion to Echigo, the True-land Buddhist prophet Shinran Shonin returned to Kyoto and began to develop the teaching of Shin Buddhism at a hermitage in Yamashina (eastern part of Kyoto). This hermitage was the origin of the present-day Bukkoji Temple. It was named Koryu Shoboji Temple. Genran, the 8th Abbot, who succeeded, passed away in the 13th year of his reign. His wife, Ryomyo, was appointed the 9th Abbot. In an era more than 600 years ago, when women were severely discriminated against, a woman abbot was unheard of. But in establishing Bukkoji: "Amida's Primal Vow does not discriminate between the young and old, good and evil; true faith alone is essential." In 1586, under orders from the Shogun Toyotomi Hideyoshi, Bukkoji was moved from Shirutani to the present location.

A Poem card box of straight grained paulownia wood signed Tetsuro decorated with a rabbit in worked lead applied among long lacquered grasses dating from the mid 20th century enclosed in the original signed wooden box accompanied by a label from the Yamagata Museum dated Showa 34 (1959). It is 26.5 × 29.5 × 4.5 cm (10-1/2 x 12 x 2 inches) and is in excellent condition. The storage box is of cross-cut Jindai-sugi cedar, a highly prized grain. The box contains a shikishi poem card by the artist.