Catalog (86)

A black bird sporting a tufted beak shelters among the thick foliage of fresh bamboo by the easily identifiable and quite rare artist Sakakibara Shiho performed with pigment on silk in the original signed double wood box titled Mosochiku Hakkacho (Crested Myna Bird in Moso Bamboo), a favorite motif by the artist dating from the Taisho period. It is bordered in fine pattered silk threaded with gold and is appointed with solid ivory rollers (these will be changed if exporting). A major work, the scroll is 55.5 x 222.5 cm (inches) and in overall fine condition.
Sakakibara Shiho (1887 – 1971) was born in Kyoto and studied traditional Japanese painting at the Kyoto City School of Arts and Crafts, graduating in 1907, then moved on to the Kyoto Municipal School of Painting (mod University of Art). While at the school, his works were accepted (1909) and awarded (1911) into the Bunten National Exhibition. He graduated there in 1913. With his radical style garnering disapproval in official circles, in 1918, along with Tsuchida Bakusen, Irie Hakko, Ono Chikkyo and Murakami Kagaku founded the Kokuga Sosaku Kyokai. The organization changed its name to the Kokugakai in 1928, the same year Shiho took a position at his alma mater where he was awarded a professorship in 1937. He was awarded for his life’s work by the Nihon Geijutsu-in (Japan Art Academy) in 1962. Happily, the Kokuga-kai has outlived its founders, and is still exhibiting annually to this day. Works are held in the collections of the Seattle Art Museum, The Kyoto National Museum of Modern Art, the Adachi Museum as well as the Otani memorial Art Museum among others.

A tall Art Deco era bronze vase by important artist Nakajima Yasumi enclosed in the original signed wooden box dated Showa 7 (1932). It is 37.5 cm (15 inches) tall and in excellent condition signed on the base Yasumi. The inscription inside the box translates: This vase was created to commemorate the event his Imperial Majesty the Emperor purchased a vase identical to this upon his royal visit to Osaka Castle, dated Showa 7 (1932).
The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1951) was awarded at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions and was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 where he was subsequently prized. His work is held in the collection of the Imperial Household Agency and he served as mentor to a generation of young bronze artists.

An ornate porcelain image of a horse draped in full regalia by Miyanaga Tozan I enclosed in the original signed wooden box. The detail about the head is fabulous, and the artist has done an excellent job capturing the musculature of the creature while allowing something ethereal. In Japan horses (and cows and foxes and deer and lots of other creatures) are often enshrined as messengers or embodiments of the gods in Shinto. This is 21 x 9 x 23.5 cm (9-1/4 inches) tall and in excellent condition.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo.

A fabulous example exploring the various traits of traditional Shigaraki pottery with a thick swath of glaze covering one side, telltale feldspathic inclusions bursting from the raw clay opposite. This is a classic example of 16th century Shigaraki pottery. It is 29 x 31 x 35 cm (11-1/2 x 12 x 14 inches) and in overall excellent condition.

A sage with his deer companion wanders the wilderness wrapping around this bamboo incense container dating from the ealy 20th century (late Meiji to Taisho period). It is 33.5 cm long (13-1/2 inches) long and in excellent condition, a superb example of the genre. This would have been used to hold incense sticks.

The androgynous Kannon sits in meditation under climbing rocks and tumbling waves deeply carved into the side of this bamboo incense container dating from the early 20th century (late Meiji to Taisho period). It is 34 cm long (13-1/2 inches) long and in excellent condition, a superb example of the genre. This would have been used to hold incense sticks.

A Kintsugi gold repair provides a flash of gold on the much-used richly color-stained glaze of this Early Edo Takahara Yaki Chawan Tea bowl enclosed in an age darkened kiri-wood box titled Takahara Yaki Hira Chawan. The box is annotated inside followed by a Ka-o stylized signature. There is also a separate Kiwame letter enclosed. The bowl is 15.3 cm (6 inches) diameter and in excellent condition. Takahara Yaki began with Takahara Tobei (Fujihei) who hailed from Higo in modern day Kumamoto prefecture, and later Takahara Heizaburo. Tobei established a kiln near Shitennoji in Osaka specializing in tea ware during the Keicho era (1596-1615) especially known for Korai Korean and Raku wares. Later a second kiln was opened in Omi (modern day Shiga) which specialized in pottery of the Awata tradition. In 1653, On the recommendation of Katagiri Sekishu, the family split, and under orders of the Edo shogunate Heizaburo opened a kiln in front of Asakusa in Tokyo. So in fact there are three lines of Takahara Yaki, Osaka, Shiga and Tokyo. This is likely from the original Osaka kiln and dates from the 17th century.

A striking Peacock feather colored flambe glazed vase by Leading Kyoto Potter Uno Ninmatsu enclosed in a signed wooden box dated the 10th month of Showa 5 (October 1930). It is 28 cm tall and 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.

A rare iron hanging censer in the shape of a Mongolian Saddle Stirrup (Abumi) with silver mesh lid covering half the top. It comes in an age-darkened and worm-eaten kiri-wood box titled simply Tsuri Koro. The receptacle is 13.5 x 7 x 15 cm (5-1/2 x 3 x 6 inches) and is in excellent condition, dating from the Edo period.

A quintessential Iga vase dating from the Edo period, the rough clay covered in thick ash glaze. It is viciously charred, testament to the tempest in the kiln, with molten ash flowing freely over the surface. This is a perfect complement to a Japanese chashitsu tea room or traditional flower display. It is 24.5 cm (9-1/2 inches) tall and in excellent condition. In a Japanese tea ceremony room, historically vases were made to match the ambiance of the humble setting. Although I did not write it: Starting in the Momoyama period (16th century), Mimitsuki Iga ware vases with characteristic "ear" lugs appeared. and thus became the popular norm. Since then the ears have become a mark of not only Iga flower vessels but also Mizusashi water jars. They were used as Japanese tea utensils under master Sen no Rikkyu and others. Old Iga ware, which is known as Ko-Iga, generally reflects Wabi-Sabi aesthetics with a rustic appearance and purposefully deformed shapes, given extra character by the addition of "ear" lugs and intentional gouges and dents.

An early Edo period Ki-Seto sake cup repurposed with a silver lid pierced with a chrysanthemum to function as an incense burner enclosed in a custom made silk pouch and bamboo case dating the transformation to New Years of Kae-7 (1854). Without the lid it is 5.5 cm (roughly 2 inches) diameter and in excellent condition.

A rare stacking Bento (picnic) box in the shape of a tea leaf storage jar decorated in a realistic fashion with black, silver and gold maki-e lacquer. It consists of four pieces, stacked they are 28 cm (11 inches) tall, and all are in excellent condition.

A lifelike turtle from the Kikko kilns of Osaka, the bottom stamped and covered in brown lacquer, the top traditional kikko ocher tinged colors. There are chips around the edges, without which it would be tough to define this hyper realistic piece as pottery. It is 16.5 x 11 x 6 cm (6-1/2 inches long), dating from the later Edo period. The Kikko Kiln was established in Osaka in the opening years of the 19th century by Iyo native Toda Jihe, who had learned the ceramic arts in Kyoto under all of the great names of the time, Kiyomizu Rokubei I, Ryonyu the 9th generation head of the Raku family, and Ninnami Dohachi among others. He would be known as Jusanken Shogetsu. After being noticed by then Daimyo of Osaka area Mizuno Tadakuni, he received the kiln name Kikko. His works were distributed as gifts among the Daimyo, and he was called to work in many fiefs creating “Niwa Yaki” kilns throughout Japan. During the Meiji the kiln would be split into two continuing lineages, one using Jusanken stamp, the other Kikko Shogetsu.

A bronze crane in dark almond colored patina of superb craftsmanship dating from the late 19th to early 20th century (Meiji period). It is quite large at 48.5 cm tall (19 inches) and is in excellent condition.

An Edo period lacquered Bashaku Water Scoop covered in mother of pearl flakes decorated with the Kikusui-mon Crest in gold, vermilion lacquer within. It is 59.5 cm (roughly 2 feet) long and in overall fine condition with minor losses typical of age and use. The name Bashaku literally means horse scoop, and indicates these were used for watering horses on the road.

Rustic Irabo style glaze covers this Edo period Hidaka-yaki Mizusashi covered in a black lacquered tsukuibuta sculpted wood lid. It is 15.5 cm (6 inches) diameter, 16cm (6-1/2 inches) tall and in excellent condition. The piece is published in the book Kishu Zenmyoji yaki (1986) figure 46. A copy of the book is included. It comes enclosed in an old wooden storage box with separate compartment for the lid.
This type of earthenware is from one of the commissioned kilns of the Kishu Domain. Also known as Zenmyoji-yaki, the kiln was established by Genryo, the 6th generation chief priest of Zenmyoji in Shima Village in Hidaka Country, during the Kyoho era (1716 – 1735).

A beautifully sculpted wooden tray covered in black lacquer carved in the Kamakura Bori tradition from the Hakkodo Studio enclosed in the original signed wooden box titled Kamakura Bori Kashi Bachi Hana Karakusa (Kamakura Carved Vessel with Scrolling Flower Design). It is 36.5 x 26.5 x 5.5 cm (14-1/2 x 10-1/2 x 2 inches) and is in excellent condition.
In the 12th-13th centuries, when Kamakura prospered as the samurai capital, Zen Buddhism was introduced from China, and many Zen temples were built, including Kamakura Gozan. The architectural style of these temples was modeled after the Tang style of China and he interior decoration, furniture, and Buddhist altar fittings were similarly Tang style. Along with Zen. celadons, bronze vases, Tsuishu and other cultural objects were brought from China. Tsuishu is a vessel formed only with layers of lacquer, and a pattern is carved on the surface. A very time-consuming process, these usually small articles were highly valued. Wood-carved lacquered incense cases imitating this were made by carving a vessel of wood and applying lacquer to finish it. This is believed to be the beginning of Kamakura-bori, and it is accepted that it was made by a Buddhist sculptors for temples. In the Momoyama period, the design and carving became dynamic and deep moving away from imitation to an art form of its own. In the Edo period, we can see a growth in production, with even everyday items such as tea utensils and braziers being produced, as well as larger secular works such as trays and even small furnishings. Around this time, the name 'Kamakura-bori' began to appear in books dealing with tea utensils. The Goto family, the current head of Hakkodo, descended from the Kei school of Buddhist sculptors who came from Nara to create Buddhist statues for Zen Buddhist temples. Due to the Meiji government's edict to abolish Buddhism, they moved to revive and reinvent the Meiji Kamakura-bori. From the Meiji through the Taisho and into the Showa era, new techniques were developed and established as a field of crafts. After the war, Kamayama Mitsuhashi and Shuntaro Goto formed an association, and in 1977, Kamakura Bori was designated a traditional craft.

A ceramic box decorated with red and white camellia blossoms on vivid green dating from the early 20th century and bearing the artist seal on the base. It is glazed with pale earthen white inside, bearing a design of interlocked rings on the lid, and a huge flower inside the basin. It is 18.5 x 18.5 x 11 cm (7-1/4 x 7-1/4 x 4-1/2 inches) and is in excellent condition.