Catalog (249)

A rare Chaire tea container by Seifu Yohei enclosed in the original signed wooden box with Teishitsu Gigei-in seal. It is 11 cm tall, 6.5 cm diameter and in excellent condition.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei Shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

A small nesting Skylark with long tail opens to reveal a storage compartment for incense, a Kogo by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Ninsei Utsushi Kogo Hibari. It is 11.3 x 3.9 x 5 cm (4-1/2 x 2-1/2 x 2 inches) and is 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 set of 5 unique small dishes incised with poems by Otagaki Rengetsu enclosed in a period wooden storage box. Each is roughly 10 cm (4 inches) diameter, 2 cm (slightly less than 1 inch) tall and in overall fine condition. The poems read: Yamazato no tsuki Gentlefolk of Miyako,
mi ni ki mase Miyakobito please come see the moon in my mountain village...
kado no hataimo ni te matsura nan. I'll serve you some potatoes from my garden
2.
Shiragiku no makura ni chikaku White chrysanthemums kaoru yo wa yume mo near my pillow scent the night... ikuyo no aki ka he nu ran. in my dream how many autumns did I pass through? 3.
Hi ni soi te medetaki fushi ya Day by day promising knots pile up―
kazou ran long life taking hold beside my hut
chiyo wo kome taru yado no wakatake in the young bamboo
4.
Irigata no migiri hidari ni From dusk the fragrance of plum
kaoru nari ume ya blooming everywhere— the sorrow of parting
nagori no ariake no tsuki the early morning moon
5.
Ori tachi te asana arae ba Coming down to wash my morning greens—
Kamogawa no kishi no yanagi ni from a willow at the Kamo riverbank
Uguisu no naku the song of a warbler.
Otagaki Rengetsu (1791-1875) was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However, this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

A beautiful old Shiho (Square) plate in dribbled feldspathic white glaze with a large gold repair in one corner decorated along the outside rim with plum blossom motif in iron under the crackled white Shino glaze. It is 22.5 x 4.5 cm (roughly 9 x 9 x 12 inches) and is in excellent condition, enclosed in an old red-lacquered wooden box.
Shino pottery is one of Japan's most renowned and distinct ceramic styles, originating in the late 16th century during the Momoyama period (1573–1600). It is particularly associated with the Mino region, located in present-day Gifu Prefecture. The style is celebrated for its rustic simplicity, irregular shapes, and earthy glazes, which reflect the aesthetic values of the Japanese tea ceremony. The production of Shino wares centered around the Mino kilns, which were among the most significant ceramic production centers in Japan during the Momoyama period. The potters in this region experimented with local clays and innovative glazing techniques, leading to the creation of Shino pottery which is credited as being the first “white” pottery in Japanese history. During the 17th century, the popularity of Shino pottery declined as other ceramic styles, such as Oribe and Seto wares, gained favor. It did not wholly disappear as is often stated, however Shino experienced a resurgence thanks to the efforts of potters and scholars who sought to revive traditional Japanese ceramics in the early 20th century.

A pair of exquisite large Meiji period Sake flasks intricately patterned with festive imagery signed on the base Dai Nippon Kutani Zo. Each is roughly 7.5 cm (3 inches) diameter, 16.5 cm (6-1/2 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 fierce Shishi lion roars, jaws wide and fierce eyes to the sky forming this large Raku-yaki incense burner bearing the seal of the 12th generation head of the Raku family Konyu enclosed in a period wood storage box. It is 26 x 14 x 21 cm (10-1/2 x 5-1/2 x 8-1/2 inches) and is in overall excellent condition.
Raku Konyu (1857-1932) was born the eldest son of Raku Keinyû, and succeeded as the 12th generation head of the Raku family in 1871 at the age of 15. He took the name of Kônyû at his retirement in 1919. Due to the decline in tea culture at the dawn of the modernization of the Meiji period in the 19th century, both Keinyu and subsequently Konyu were confronted with difficulties. However he was able to steer the Raku famkiluy concerns through this tumultuous time and maintain the family lineage. His work is characterized as rather reserved, though his red Raku glaze varied greatly in tone and shade allowing individuality to his sokeowhat more conservative works.

An exquisite wooden box with collapsing handle affixed with Zogei pins made of split ebony inlayed with staghorn, mother of pearl and Zogei carved images of soaring birds and dried winter grasses. It is signed with a Zogei tablet what appears to be Houn. The egret, much of the bamoo and spray of grasses appear to be staghorn. One shiny leaf on the bamboo is mother of pearl. It is enclosed in an old wooden box with the inscription “Beloved Item inherited by the heir Tadasuke from Yui Heijiro dated the 8th month of Taisho 7 (1918) placing the item certainly at least as far back as the later Meiji period late 19th to early 20th century). It is 18.5 x 18.5 x 12 cm plus the collapsing handle and in excellent condition.

A small silver 2 part orb hinged and pierced with smoke tendrils containing a container on a gimbal for burning incense. It is 9 cm (3-1/2 inches) diameter and in excellent condition, weighing 262 grams. It comes in an old wooden box titled Gin Tsuri Koro. The chain featured is a modern traditional chain we have added for ease.

A large Bronze Elephant Incense Burner dating from the Meiji period featuring a shrouded Buddhist pagoc\da covering the ash pit in its back. It is 29 x 17 x 29 cm (11-1/2 x 7 x 11-1/2 inches) (7 pounds) and is in overall fine condition, with a discoloration along the bronze of the ash pit to the front left corner of the pagoda.

A celadon vase in the Korean style decoratred with dials of stylized opposing birds enclosed in the original signed wooden box titled Unkaku Seiji Tori-moyo Kabin. It is 30 cm (12 inches) tall, 13 cm (5 imches) diameter 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 through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers 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 kiln 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 beautiful small Sake set consisting of a Tokkuri in Irabo style glaze splashed with foamy white with a poem engraved into the clay of the side and two small Chokko sake cups in same-hada (sharkskin) iron glaze. The Tokkuri is 12.3 cm (5 inches) tall, the cups roughly 4.5 cm (2-3/4 inches) diameter, and all are in excellent condition, dating from the 19th century (Late Edo to Meiji period).

A set of three calligraphic poem cards by Buddhist Nun Murase Myodo reading Setsu-Getsu-Ka (Snow, Moon, Flower). “Setsugekka” is traditionally accepted as taken from a passage in the poem for Yan Xielu by Chinese poet Ban Juyi (772-846). Bai Juyi sent this poem to Yan Xielu from Chang’an. The phrase “Setsugekka no toki” (at times of snow, moon and flower) in the poem refers to the passing of the seasons: “when snow is beautiful, when the moon is beautiful, and when the flower is beautiful” at such times, Bai Juyi is thinking of Yan Xielu – a friend far away. So the phrase has come to indicate the various seasons, with some ubiquitous melancholy. The three works come with their original storage sleeves each sealed by Myodo, and are framed beautifully. The cards are 24 x 27 cm (9-1/2 x 10-3/4 inches) the frames 38 x 41 cm (15 x 16 inches). They are all in excellent condition.

A fabulous 16th to early 17th century Karatsu dish decorated with sweeps of black about the rim with an everted lip supported on a small footring.A classic 16th nto early 17th shape, the rim has been repaired in three places with lacquer decorated with rolling golden waves. The vessel is 14 cm (5-1/2 inches) diameter, 4.5 cm (just under 2 inches) tall. It comes in an ancient wooden storage box titled E-Karatsu Kusamon Sara.

A large ceramic vase decorated with waves and vibrantly colored sea life over widely crackled white glaze. It is 29 cm (11-1/2 inches) diameter, 31 cm (12-1/4 inches) tall and in excellent condition, dating from the first half of the 20th century.

A rare large earthenware jar from the kilns of Amakusa in Kumamoto prefecture, southern Japan. Amakusa is rarely decorated, but this jar is beautifully rendered with overlapping petals like lotus flowers about the shoulder which catches and diverts into streamlets what appears to be bamboo ash glaze running down from the neck. It is heavily potted, mad to withstand human usage. The jar is 34 cm (13-1/2 inches) diameter, 44 cm (17 inches) tall and in excellent condition.

An exquisite Inbe (Bizen) pewter-edged carved-ceramic bun-shaped box with edges lined with pewter. It is 6.5 m (2-1/2 inches) diameter, and in perfect condition, enclosed in a somewhat dilapidated kiri-wood box.

3 large porcelain bowls vividly decorated with various themes in a powerful brocade style. Each is roughly 25 cm (10 inches) diameter, 10 cm (4 inches) tall and are in excellent condition. This work costs $300.00 each.
Due to the large size, additional shipping charges may apply.
Imari porcelain, also known as Arita ware, has its origins in the early 17th century and is one of Japan's most renowned ceramic traditions. Porcelain production in the Imari region began around 1616 when Korean potters, brought to Japan after Toyotomi Hideyoshi's invasions of Korea (1592–1598), discovered high-quality kaolin clay in the Ara area of Kyushu. This marked the birth of Japan's first porcelain industry. During the early Edo period, Arita became a thriving center for porcelain production. The nearby port of Imari served as the primary shipping hub, leading to the porcelain being known internationally as "Imari ware." Early Imari wares were heavily influenced by Chinese designs, especially those from the Ming dynasty. Techniques evolved to include underglaze blue decoration (similar to Chinese blue-and-white porcelain) and, later, polychrome overglaze enamels, which became hallmarks of Imari porcelain. Imari porcelain gained widespread popularity in Europe during the 17th and 18th centuries, facilitated by the Dutch East India Company. European aristocracy prized its vibrant designs, which often featured intricate floral patterns, birds, and mythical creatures.
Japanese Antiques, Japanese Porcelain, Japanese Pottery, Japanese Ceramics

It is 18.5 cm (7-1/2 inches) diameter, 30.5 cm (12 inches) tall and in excellent condition, signed on the base Kutani Kinzan sei.