Catalog (156)

The cormorant prepares to take flight, wings extended, captured in bronze in a moment of excitement, the shapr eyes focused ahead. Captivating realism with simple Art-deco overtones signed below the tail. It is 32 x 36.5 x 25 cm (14-1/2 x 13 x 10 inches) and is in excellent condition. The cormorant, known in Japanese simply as U, is a migratory bird native to the east Palearctic with a range from Taiwan to the Russian Far East. It has a black body with a white throat and cheeks and a partially yellow bill. It is one of the species of cormorant that has been domesticated by fishermen in a tradition known in Japan as ukai. This method of fishing is often depicted in art and is now a popular tourist attraction during the brief Ukai season.

An exquisite pair of 19th century Sometsuke porcelain bottles decorated with butterflies among seasonal flowers. The winged creatures float effortlessly among the bamboo, Chinese bell flower, wild chrysanthemum and other seasonal flora. Each bottle is peaked by a simple rounded wooden bung, and they come enclosed in an age darkened wooden carrying box with hand forged iron handle. They are roughly 15 cm (6 inches) tall each and in excellent condition. Although untitled, these are likely a very delicate set of tokkuri sake flasks.

A Ko-Seto-yu Chaire Tea Container by Teishitsu Gigei-in Suwa Sozan I wrapped in a chord bound silk pouch enclosed in the original signed wooden box tied with deer leather, the box bearing the seal of the Imperial Art Academy. It is 5 cm (2 inches) tall and is in perfect condition.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A set of nesting bowls in the highly sought Taireiji style by Kiyomizu Rokubei V decorated with wild chrysanthemum in white on soft pink. Each bears an unusual six sided stamp reading Yunen. Undeniably Taireiji was the most important development by this innovative artist, and pieces are exceedingly rare. The larger bowl is 21.5 cm (8-1/2 inches) diameter10 cm (4 inches) tall and both are in excellent condition. They come in a later box annotated by the 6th Rokubei.
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.

A spectacular lacquered box decorated with poppies in gold and mother of pearl on a ground of scattered nashiji gold flake dating from the early 20th century. It comes in the original Kiri-wood storage box. The Te-bako is 21 x 24.5 x 12.5 cm (8-1/2 x 10 x 5 inches) and is in perfect condition. A superb example of Japanese lacquer-ware supremacy.

A family of deer in mother of pearl and lead adorn the burl grained wooden lid of this unusual Mo-ru metal suzuri bako writing box dating from the later half of the Edo period. The lid is a single slab of burled wood, with a wiped on lacquer finish. Inside the lid oversized mother of pearl, lead and gold maki-e leaves tinged with red, cling to the black lacquered trunk of a maple tree. The box itself is worked metal in a technique known today as Mo-ru, this wrapped around a wooden base, the interior lined with cloth and black lacquer. It contains an ink stone and a water-dropper decorated with cloisonne vines. The box is 17 x 22 x 4.5 cm (6-3/4 x 9 x 2 inches) and is in overall fine condition. It comes in an old wooden storage box titled Maki-e Suzuri-bako.

A striking black lacquered cabinet covered in maki-e vines by Living National Treasure Takano Shozan enclosed in a black lacquered wooden storage box titled Takano Shozan Tsura Maki-e Hako. The top compartment is lined with silk. The hardware is all solid silver. It is 32.5 x 21.5 x 27 cm (13 x 8-1/2 x 11 inches) and is in excellent condition.
Takano Shozan (1889-1976) was born as the eldest son of an elementary school principal, and his grandfather was a Confucian scholar attached to the Hosokawa clan in Kumamoto prefecture. Interested in craftwork since childhood, he studied lacquer art at an industrial school in Kumamoto. He entered the Kyoto City School of Arts and Crafts (currently Kyoto City University of Arts), then transferred to the Tokyo School of Fine Arts (currently Tokyo University of the Arts), where he learned maki-e technique from Designated Imperial Artisan Matsuya Hakuzan. It was from Hakuzna that he received his art name Shozan upon graduating advanced studies in 1919. Later, with the support of Hosokawa Moritatsu, he moved into the Hosokawa mansion in Mejirodai and began working as the Lord's bodyguard during the day and producing artwork at night. He was first accepted into the Teiten National Exhibition in 1927, and was awarded there in 1932 and 1933. In 1955 (Showa 30), he was designated as a living national treasure in maki-e. In 1958 he helped to found the Shinsho Kogei Crafts Organization. He was awarded the order of cultural merit with purple ribbon in 1965, the Imperial Zuihosho Order of the Sacred treasure fourth rank in 1967 and third rank in 1976.

Crested Ibis are seen in the golden waters beyond red lotus blossoms in high relief on this round covered box by Kinjo Ikkokusai III enclosed in the original signed wooden box dated Meiji 31 (1898). This technique is called Takamori-e and is typified by extreme high relief. It is strongly associated with the city of Hiroshima. The circular box is 16.5 cm (6-1/2 inches) diameter and in excellent condition.
Ikkokusai I (1777-1852) was born in Ise, Mie prefecture, and was trained in the lacquer arts in Osaka. His talent was recognized and in 1811 he was taken as an official artist of the Tokugawa Clan, relatives of the Shogun and Feudal lords of Owari near present day Nagoya. All three of his sons would take the name Ikkokusai, His first son, (true name Nakamura Yoshiyuki), would settle in Osaka, and works he made were presented at the first National Industrial Art Exhibition (Naikoku Sangyo Hakurankai) in the early Meiji period. The third son (Sawagi Tsunesuke, 1822-1875) would remain and work in Nagoya until his death. The second son (Nakamura Issaku) would leave the Owari province to further his studies, traveling throughout Japan and developing the Takamorie technique of built up layers of lacquer creating nearly 3-dimensional works. He would become the carrier of the name, and after a sojourn in Hagi (Choshu), moved to Hiroshima in 1843 where he would pass on his techniques and experience to Kinoshita Kentaro (1829-1915). It was Kentaro who would officially become the third head of the family and who brought the name to the fore with his dedication to Takamorie lacquering. Kinjo Ikkokusai IV (1876-1961) continued to develop the method with new materials and designs. The family is currently under the 7th generation (b. 1965) who was named an important cultural property of Hiroshima Prefecture in 2011.

Coxcomb decorates the deeply carved surface of this box covered in green and red lacquer outside, gilded with gold inside in the Kamakura-bori carving tradition. It is 22 x 25 x 5 cm and comes enclosed in a period wooden box. Kamakura-bori is a type of lacquer ware made in the area around the ancient capital city of Kamakura in Kanagawa prefecture. The tradition is based on carved lacquer wares imported from China during the Kamakura era. However, many Japanese lacquer craftsmen did not adopt the Chinese method of layering lacquer and then carving it; instead, they created Kamakura-bori, a method of carving wood and then coating the already prepared surface with lacquer. Initially, sculptors of Buddhist ritual implements and temple carpenters that were influenced by Chinese art works started to carve items made of Japanese Judas tree or ginkgo and applied a lacquer finish to the pieces in order to mass-produce Buddhist altar fittings resembling carved Chinese lacquer without the extensive drying time. This style came to be known as Kamakura-bori, or literally Kamakura Carving, and the adoption of traditional Japanese patterns made the technique unique to the island nation. Kamakura-bori features chisel markings left intentionally to accentuate patterned areas. Another unique technique is to sprinkle black ink on a vermilion lacquered surface, then polish down the highlights in order for the patterns to stand out from the darkened background. The carving and lacquering techniques of Kamakura-bori have evolved for the past 800 years. Today, production has spread to include everyday goods as well.

A very unusual lacquered Jubako stacking box in the shape of a water cauldron made for serving food at events and celebrations. It is finshed with metallic textured silver-black lacquer simulating old iron. The lid and base are shiny black lacquer, the interior coated in festive red. Cranes and turtles, symbols of longevity, populate the inside in gold. It is 20.5 cm (8 inches) diameter and comes enclosed in an age darkened period wood box titled Kamagata Kashiki. There are two repairs to the red lacquer of the interior trays and marks consistent with use, but overall in fine condition.

A fabulous carved lacquer footed dish by Ishii Yukichi (Yusuke II) of carved cinnabar lacquer singed on the base Dainippon Toyama Ken Yukichi Zo (Made by Yukichi of Toyama Prefecture Greater Japan). Dating from the Meiji period, it is 24 cm (9-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and in perfect condition and comes enclosed in a wooden box.
Ishii Yukichi (1843-1891) was born in Toyama the first son of lacquer artist Ishii Yusuke (1810-1886) in the waning years of the Edo period. The first Yusuke Ishii Founded Yusuke lacquerware and created Chinese-style lacquerware in Takaoka, Toyama Prefecture. He pioneered rust painting and gold leaf techniques to express Chinese-style paintings of flowers, birds, and landscapes three-dimensionally on ancient vermilion or matte lacquer. Yukichi inherited the lacquer art technique created by his father and won prizes at national and international exhibitions, including the National Industrial Exhibition in 1891. His younger brother, Yusuke (different characters from the father), also continued in the family tradition, creating a branch family in the Yusuke Lacquer Tradition. Yusuke lacquerware became a specialty of Takaoka prefecture.

An exquisite incense container of multiple layers of lacquer carved by Ishii Yusuke enclosed in the original signed wooden box titled Guri Kogo. It is 8 cm (just over 3 inches) diameter and in perfect condition.
Ishii Yusuke (1851-1925) was born the second son of the lacquer artist Ishii Yusuke (different characters, 1810-1886) in the waning years of the Edo period. After learning from his father, he became independent, establishing a second branch family in the Yusuke Lacquer Tradition. The first Yusuke Ishii Founded Yusuke lacquerware and created Chinese-style lacquerware in Takaoka, Toyama Prefecture. He pioneered rust painting and gold leaf techniques to express Chinese-style paintings of flowers, birds, and landscapes three-dimensionally on ancient vermilion or matte lacquer. Later, the eldest son succeeded as Yusuke II

A bee rests on leaves carved from wood and covered in green lacquer capping this natural gourd container intimating a large ripened sweet persimmon by Ueta Josen dating from the early 20th century. It is signed inside the lid, and measures roughly 12.5 cm (5 inches) diameter. It comes in the original signed wooden box, which has some water damage. There are some losses and lifting to the lacquer on the inside of the gourd, otherwise is in excellent condition. Ueta Josen was born in Kagawa prefecture I 1909, and was first accepted into the Teiten national art exhibition in 1934.

A pair of 18th century Hibachi braziers made of Karaki and various sword scabbards enclosed in wooden storage boxes dated Tenmei 6 (1786). Each is 27 cm (11 inches) square, 23 cm (9 inches) tall and both are in overall excellent condition.

An abstract floral motif is carved through the multiple layers of lacquer forming the surface of this Kanshitsu Dry Lacquer Poem Card Box by 20th century artist Yamada Akio enclosed in the original signed wooden. It is 29.5 x 32.5 x 4 cm (12 x 13 x 2 inches) and is in excellent condition. Yamada Akio was a lacquer artist active throughout the mid 20th century. A student of Living National Treasure Otomaru Kodo he was well versed in the art of Sanuki lacquer carving, and exhibited with the Nihon Dento Kogei Ten and Shin Kogeiten where he was awarded in 1988. Kagawa Shiki lacquer from the Island of Shikoku stood largely ignored for much of the 20th century, but has recently received a good deal of attention in retrospect.

An exquisite carved lacquer cylindrical incense container enclosed in the original signed wooden storage box titled Nuri-ko-tsutsu and signed Chikusem. It is 12 inches (30 cm) long and in excellent condition, signed in a carved seal on the side. This comes from the Sanuki lacquer tradition of Kagawa prefecture on the Island of Shikoku. The production of lacquer-ware in Kagawa (Shikoku) was encouraged by the feudal lord Yorishige Matsudaira (1622-1695) and many artisans took up residence in the area. The patronage of feudal lords and wealthy individuals furthered the development of the Sanuki lacquer tradition. With the rise of the middle class in the Meiji period and import placed upon traditional crats the demand for high-quality lacquerware increased, leading to innovations in craftsmanship and artistic designs. Tamakaji Zokoku and others like him were important in the development of modern Kagawa lacquer art cementing the foundations of the three basic styles we know today.

Overlapping dragonflies in deep relief cover the black surface of this impressive Natsume by Okabe Keizo enclosed in the original signed wooden box titled Tsuikoku Natsume (Carved Black Natsume). This is performed in the carved lacquer technique of Kagawa prefecture, where multiple layers of lacquer are applied then carved through leaving the design in releif. A very time consuming process. It is 7.5 cm (3 inches) diameter, the same height and in excellent condition.
Okabe Keizo was born in 1912 in Kagawa prefecture on the island of Shikoku and studied the art of lacquer carving (Tsuishu Yozei) under the important artist Otomaru Kodo (later designated a Living National Treasure. He was awarded at the Japan Art Academy (Nihon Bijutsu-Kyokai) in 1938, and accepted into the Nitten in 1942, garnering several prizes there over the coming years. In 1956 he would be accepted into the National Traditional Crafts Exhibition.

An exquisite Choshitsu container carved from layered red lacquer by Tamakaji Zokoku signed on the base and enclosed in a custom wooden collectors box. It is 8 cm diameter, 6 cm tall (3 x 2-1/2 inches) and is in excellent condition. This piece is featured on page 109 of the book Hyakunensai Kinen Tamakaji Zokoku produced in 1968 on the 100th anniversary of his passing.
The production of lacquer-ware in Kagawa (Shikoku) was encouraged by the feudal lord Yorishige Matsudaira (1622-1695) and many artisans took up residence in the area. Tamakaji Zokoku was an important artist in the development of modern Kagawa lacquer art. Born in Takamatsu City, Kagawa, in 1806, at a young age he went to Kyoto where he studied painting as well as lacquer technique. Zokoku was granted access to many important collections of antique lacquer works including works from countries such as China, Thailand, and Myanmar in the possession of Higashi-Honganji Temple and Daitokuji Temple. After returning to Takamatsu his talent was recognized by Matsudaira Yorihiro (ninth lord of the Takamatsu Domain), and he was appointed to manage the items in the domain's treasury. He carefully researched each of these treasures to further develop his own skills. He established a distinctive style of lacquer-ware based on his interpretation of these traditional techniques. Today, these form the basis of the three major Kagawa Lacquer ware Techniques, Kinma, Zonsei, and Choshitsu.