Catalog (156)

A Taisho period Lacquer writing box of superb quality decorated with a design of a stone lantern under broad leaves enclosed in an age darkened kiri-wood box. The scene is performed with Thick slices of shell and lead inlay on black Ro-iro ground with Taka-maki-e and Hira-maki-e designs. Inside is finished in Kin-gin (gold and silver) Nashiji. It contains two ink stones, a solid silver water dropper and Silver lidded box, as well as the original brushes, hole punch and paper knife all in matching Nashiji finish. The box is 38.5 x 15 x 5.5 cm (15 x x 2 inches) and is in excellent condition.
The Rimpa revival of the early 20th century emphasized visual splendor, decorative patterns, and harmonious compositions reflecting nostalgia for the past. However, it was not a strict replication of the past. Artists involved in this movement integrated modern techniques and materials into their work, allowing for a fusion of traditional aesthetics with contemporary artistic practices. This approach enabled artists to create innovative interpretations of the Rimpa style that resonated with the changing times.

A set of six anonymous colored lacquer trays decorated with rock garden imagery in lead, mother of pearl and raised lacquer techniques. Each tray is roughly 48 x 27.5 cm (19 x 11 inches) and all are entirely unique, with different colors and designs and in overall excellent condition. Each comes wrapped in a faded blue cloth pouch.

A classic mid 20th century Dry-lacquer vase by Kawai Masazo enclosed in the original signed wooden box. Rankaku (crushed egg shell) on cream colored lacquer alternating with highly polished black. This work truly encapsulates the freedom for form which artists were seeking in the post war period. It is 45 cm long and in excellent condition. Kawai Masazo was born in Osaka in 1928, graduating the Osaka Municipal School of Art and Design. In 1948, at just 20 years old, he was awarded the Mayors Prize at the Osaka Art Exhibition. In 1950 he was first accepted into the Nitten. He would relocate to Tokyo and continue to exhibit and be often awarded at the Nitten, including the Hokutosho in 1963 and 64 and would eventually serve as a juror there. He would also exhibit with the Gendai Kogeiten National Modern Crafts Exhibition where he would also garner several prizes and serve on the committee.

A striking Yellow dry Lacquer (Kanshitsu) Vase by Izumi Atsuhiko enclosed in the original signed wooden box. Truly definitive of the mid-century art scene, it is 17.5 cm (7 inches) tall and in excellent condition. Izumi Atsuhiko (1915-2005) was born in Niigata prefecture and graduated the Nihon Bijutsu Daigaku University of Arts where he studied Lacquer technique under Rokkakuk Shisui (1867-1950), settling in Tokyo. He exhibited with the Nitten among other National exhibitions as well as abroad.

A Te-bako lacquered box by Izumi Atsuhiko enclosed in the original signed wooden box dated Autumn of Showa 39 (1964). Black and white Urushi with Iro-urushi floral imagery, mother of pearl inlay flowers and gold Ke-uchi embellishments. It is 22.5 x 30.5 x 13 cm (9 x 12 x 5 inches) and in excellent condition, with minor wear on the bottom typical of use.
Izumi Atsuhiko (1915-2005) was born in Niigata prefecture and graduated the Nihon Bijutsu Daigaku University of Arts where he studied Lacquer technique under Rokkakuk Shisui (1867-1950), settling in Tokyo. He exhibited with the Nitten among other National exhibitions as well as abroad.

Inlaid blossoms of polished white shell glow on the burnished gold branches of a winter plum swirling across the red tame-nuri surface of this small suzuri bako writing box dating from the early 20th century and enclosed in the original signed wooden box titled Hayaume-zu Maki-e Suzuri-bako (Writing box with Early Plum Blossom). Inside the lid is a Togidashi image of snow-covered Hiragi (Japanese Holly) bearing red berries. Inset into the floor of the box are a drip shaped suzuri ink stone and gold colored water dropper in matching tray. The box is 12.5 x 20 x 3 cm (5 x 8 x 1 inches) and in overall excellent condition. THer is wear on the underside consistent with use.
The Rimpa revival of the early 20th century emphasized visual splendor, decorative patterns, and harmonious compositions reflecting nostalgia for the past. However, it was not a strict replication of the past. Artists involved in this movement integrated modern techniques and materials into their work, allowing for a fusion of traditional aesthetics with contemporary artistic practices. This approach enabled artists to create innovative interpretations of the Rimpa style that resonated with the changing times.

An incredible play on the old adage, the pen is mightier than the sword, here is a phenomenal 19th century yatate brush case in the shape of a tanto knife with lavish maki-e designs in gold with mother of pearl blossoms and featuring a silver “Koszuka” insert on the side decorated with butterflies where it is likely an ink-soaked cotton tab or slab of red stamp ink would have been stored. It comes enclosed in a custom made and silk lined kiri-wood box. The piece is 24 cm (9-1/2 inches) long and in excellent condition.
During the Kamakura era (1185–1333), the idea of ink-saturated cotton was developed. By touching a calligraphy brush to the cotton, one could ink the bristles with reduced risk of dripping or spilling ink. By enclosing the cotton in a small lidded box, the writing set was made convenient and portable.

A fabulous covered bowl decorated with cobalt dragons and covered almost entirely in intricate lacquer designs from the Toyoraku (also read Horaku) tradition in Nagoya. The dragons swirl in both the foot ring, and center ring of the lid. As if to pair, gold dragons slither about in scalloped green cartouches overlaying the ornate Shippo pattern outside, inside completely lacquered black with a nashiji rim with a floral dial in centor of both bowl and lid. The bowl is 17 cm (6-3/4 inches) diameter and comes enclosed in a period wooden box. It is in outstanding condition, and one of the finest quality pieces I have seen.
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. However from the later Meiji he concentrated on Raku-ware, and the lacquer tradition mostly disappeared from the family ouvre.

An Inuyama style pottery dish covered in black lacquer; the two pinched areas of the rim decorated with slight gold designs of fortuitous symbols from the Toyoraku kiln of Nagoya. Inside the dish features crackled glaze decorated with young pine and bamboo shoots with splashes of Oribe green. The Toyoraku stamp is visible to the left of the design. The dish is roughly 17.5 cm (7 inches) diameter and in excellent condition.
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. The family lineage ended in the Taisho period.

An exquisite set of five porcelain bowls decorated inside with soaring cranes in Sometsuke, while all the visible outside is covered in black lacquer with delicate fern fronds in gold maki-e. These are suimono-wan, a bowl for thin soup made to be served between courses in a traditional Japanese Kaiseiki meal to cleanse the pallet. Each bowl is9.5 cm (3-3/4 inches) diameter and in perfect condition. Unmarked, they follow the Toyoraku lacquered pottery tradition of Nagoya, popular sine the Edo period. They come with an age-darkened kiri-wood storage box.

Plovers of carved mother of pearl shell and powdered gold soar over silver foam capped crashing waves surrounding a led rock inlayed into the surface of this spectacular lacquered box exhibited at the 3rd Aichi Prefectural Crafts Exhibition by Sakamoto Kakutaro wrapped in silk and enclosed in the original wooden box. Hira-maki-e, Taka-Maki-e, Kirigane, inlays of lead and shell on a nashiji ground, with silver fitted rims. It contains a black lacquered ink stone with gold edges and round water dropper which are set into a black lacquered “raft” sprinkled lightly with silver flakes. The box is 23.5 x 20.5 x 4 cm (9-1/4 x 8 x 2 inches) and is in excellent condition. The artist’s name card is affixed to the lid of the box, and contained within are a card reading: 3rd Aichi Prefectural Craft Exhibition (Dai San Kai Aichi Ken Kogeihin Tenrankai) as well as a stamp noting the item number from the exhibition. The same stamps are affixed to the bottom corner of the lacquer box.

A very unusual Muromachi to early Edo period (16th to early 17th century) lacquered box decorated outside with a wolf looking up at a crescent moon; inside with floral motif typical of the Muromachi to Momoyama period. The gaunt beast is made of worked lead or suzu (a lead alloy) inlaid into the surface. The moon is powdered silver with chunks of kirigane gold in the shrouding clouds. The box is 22 x 18 x 5 cm (9 x 7-1/2 x 2 inches) and overall, in quite good condition considering the elapse of time. Inside is housed a crescent moon water dropper. The inside of the lid was decorated with suzu-fun (powdered suzu) which has degraded over time leaving pock marks in the surface. There is crinkling of the lacquer and some losses typical of age. It comes in an ancient wooden box.

A classic Rinpa Revival box (also spelled Rimpa) in Tamenuri decorated with bamboo in lead, mother of pearl and gold taka-maki-e enclosed in the original wooden box from the exclusive Mitsukoshi Department store retaining the orignal wooden box signed and stamped inside Mitsukoshi, complete with the Mitsukoshi printed seal dating from the early 20th century It is 20 x 20 x 10 cm (8 x 8 x 4 inches) and is in excellent condition.

Porcelain cranes in a lead tree decorate the lacquered top of this gilded wooden box enclosed in the original wooden box titled Romatsu Sokaku Zu (Ancient Pine Two Cranes) and signed Sekka, with signatures of Tozan II (porcelain decoration) and Suzuki Hyoetsu (lacquer artist) inside. In this case, Kamisaka Sekka produced the design, enlisting two of Kyoto’s then top artisans to complete the work, lacquer artist Miki Hyoetsu I who applied the lead, gold and lacquer and Ito Tozan who created the ceramic cranes and pine boughs. The box is in unused condition, containing the original stone and water-dropper and two brushes still wrapped in paper. It is 25.5 x 10 x 3.5 cm (10 x 4 x 1-1/2 inches) and is in excellent condition. Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938. 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 and 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, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937). He too began life as a painter, but his talent was seen by Tozan I, who adopted him and converted him to pottery, where he both succeeded and excelled as a member of one of Kyotos most well known pottery families. Miki Hyoetsu I was born in 1877, establishing a line of craftsman which lasts to this day. He was exhibited at the Shotoku Taishi Ten and Paris World Exposition among others.

A splendid set of five Chataku Tea Cup Saucers of turned wood decorated in ridiculously thick lacquer floral decoration by Ikkokusai enclosed in a fine wooden box signed by the artist and dated Meiji 39 (1906). Accompanying is a note stating the set was received as a gift upon visiting the Naganuma Ryokan during a trip to Hiroshima in the fifth month of Meiji 43, accompanied by the name Kayanomiyasama. Kaya-no-miya were a collateral branch of the Japanese Imperial family. There is a photograph in the collection of the Hiroshima Peace Museum commemorating an Imperial visit (meeting school children) dated the fifth month of Meiji 43 taken in front of the Naganuma Ryokan. Each Chataku is 13.5 x 11 cm (5-1/4 x 4-1/4 inches) and all are in excellent condition, each uniquely signed on the base.
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.

A small circular table likely made as a stand for an incense burner or suiban basin dating from the Muromachi era (late 14th to 16th century ) covered in black lacquer over which has been applied vermillion in the style known as Negoro. About the center a ring of wood grain is typical of the era. It is supported by three curling feet extending from a billowing diaper. The lacquer, originally black, has oxidized to a mellow chocolate color beneath. It is 29 cm (11-1/2 inches) diameter, 14.5 cm (5-3/4 inches) tall. As one may imagine there are some losses and much wear to the edges typical of age. One leg has been broken and repaired. Surprisingly good condition for something over 500 years old.
According to the National Gallery of Victoria: Negoro refers to simple and elegant red lacquer objects that were produced during Japan’s medieval period, between the twelfth and seventeenth centuries. Embodying the ancient sense of Japanese beauty, the minimalistic forms of Negoro lacquer ware were primarily made to be functional objects and are void of elaborate decoration. The supple shapes and naturally worn patina of red and black lacquered layers give Negoro an ambience of antiquity and elegance which has made them treasured objects throughout the ages. Since the early twentieth century Negoro wares have become highly appreciated by connoisseurs as objects of outstanding design that pursue a certain utilitarian beauty. Negoro lacquer derived its name from the Buddhist temple of Negoro-ji, located in the mountains of present-day Wakayama Prefecture, just south of Osaka. Established in 1243 as a temple of esoteric Buddhist practice, Negoro-ji thrived during the Kamakura, Muromachi and Azuchi-Momoyama periods. In period depictions of monastery life and aristocratic villas Negoro utensils are clearly shown as favoured and cherished objects, alluding to demand for their production in large numbers. Square and circular trays, bowls of various sizes and large spouted ewers were used at daily meals. Lobed cup stands, offering trays and sake bottles with foliate lids featured in temple rituals and clearly display lotus flower–inspired motifs common to Buddhist art. Stem tables were frequently used as offering stands and placed in altars of Buddhist temples and Shinto shrines. Circular wash basins with legs were used in monastery ceremonies to catch water poured over the hands of monks in an act of purification. Large hot water pots or spouted ewers were often used as practical kitchen and serving utensils, and are still used to this day in Zen monastery dining halls. The true essence of Negoro is found in its antiquity and the generations of affectionate use that imbues these objects with the esoteric Japanese spirit wabi (the aesthetic of beauty found in imperfection), and sabi (an affection for the old and faded). With regular use the wearing and reduction of the outer red coating gradually reveals the black lacquer beneath, creating an ever-changing beauty that can only result from continual use and the passage of time. Cracks, wear, damage, splits, texturing and irregularities all enhance the harmonious sophistication of a Negoro object’s surface. This natural evolution of beauty, similar to the maturing of the human spirit with age, epitomises the Japanese spirit and stems from the belief that the respectful use of an object for its proper function enhances its appearance and status.

A crimson orb resonates from within the mirror black ground of this gorgeous footed tray enclosed in the original wooden box titled Akebono Moriki (Platter decorated with Dawn) and is signed from the Heian-do Lacquer Studio. The artist has fused the red and black together, the center of the sun-like circle opaque vermillion, the outer edge hazy as it diffuses into the black. The slightly curving basin is raised on a tall wide central foot all in highly polished ro-iro black. It is 36.5 cm (14-1/4 inches) square, 8 cm (3 inches) tall and in excellent condition.

A 19th Century food storage box of wiped on black lacquer featuring a striking tri-foil heraldic crest design in mother of pearl on the top, bands of mother of pearl flakes about the rim and foot. Inside is festive crimson. Overall it is in excellent condition, 36.5 cm (14-1/2 inches) diameter, 26 cm (10-1/4 inches) tall. It comes in the original lacquered wooden storage box.