Catalog (249)

A set of five small dishes ideal for soy sauce with Sashimi or sushi from the Kutani kilns dating from the late 19th to early 20th centuries. A butterfly floats effortlessly over a blossoming camelia inside, with the character Fuku (Fortune) in a blue cartouche on the base. They are 7.5 cm (3 inches) diameter and in fine condition, enclosed in an old wooden collectors box.

A voluminous vase by important Kyoto artist Miyanaga Tozan with raised floral motif covered in jade green celadon glaze. Exquisitely rendered, it is 30 cm (12 inches) diameter, roughly the same height, and weighs 5 kg (roughly 12 pounds), dating from the first half of the 20th century, 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.

These little cuties appear at once both innocent and rather mischievous, one wonders what they will get up to when one is not looking. They are a pair of Kuro-Raku Shuro, (Black Raku Ceramic Hand Warmers) containers filled with ash made to hold a burning coal for warming your hands. 19th century, each is 23 x 21 x 18 cm (9 x 8 x 7 inches) and both are in overall fine condition. The character with a charred, matt finish has a scratch in the glaze on the left thigh. They come with the original wooden box lid titled Kuro Raku Usagi Shuro, Ji Saku (made by) and signed by tea master Ennosai Soshitsu, 13th generation head of Urasenkei Tea School (1872-1924).

A set of ten bowls with sukashi-pierce-work decorated with blossoming plum trees by Miyagawa (Makuzu) Kozan enclosed in the original pair of compartmentalized stacking and signed wooden boes titled Makuzu Gama Kenzan-i Ume-no-ga Mukozuke. They are12.5 cm (5 inches) diameter, 6.5 cm (2-1/2 inches) tall 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 set of five square footed bowls from the 19th century kilns of the Oribe region richly decorated in matte colors on rough sandy clay enclosed in the original and very dilapidated Edo period kiri-wood box. Each bowl is roughly 10 cm (4 inches) square, 5.5 cm (2 inches) tall and all are in excellent condition.

A rare blue and sea foam glazed dish from the Narushima kilns of Yamagata prefecture enclosed in an age darkened wooden box dating from the 19th century (Edo to Meiji periods). Beneath the undulating rim comb marks have been etched into the iron rich clay creating a pattern of leaping waves. The smooth red, fine clay is visible clearly inside the foot-ring. The dish is 24.5 cm (10 inches) diameter, 6.5 cm (2-1/2 inches) tall and in excellent condition.
In the first year of Tenmei (1781), Uesugi Yōzan, lord of the Yonezawa Domain, established a kiln in Narushima as part of an industrial promotion initiative to support the domain's finances. Sagara Seizaemon, who was affiliated with the domain’s support system, studied Soma ware and passed on its techniques. The hallmark of Narushima ware is its "namako glaze," achieved by applying an iron glaze and then overlaying it with an ash glaze. The name "namako" (sea cucumber) derives from the marine creature, and the technique is believed to be an ancient method also associated with Karatsu ware from Saga Prefecture. Variants of this style are found in other regions, such as Aizu-Hongo ware in Fukushima and Naraoka ware in Akita, indicating its spread throughout the Tohoku region. Among these, Yonezawa's Narushima ware is notable for its strong bluish tones. The pottery primarily consisted of everyday household items like water jars, spouted bowls, flat dishes, and rice bowls, catering to the needs within the domain. The kiln operated until the late Meiji period.

A fine bamboo basket by the first generation Tanabe Chikuunsai enclosed in the original signed wooden box titled Hanamori. It is 24.5 cm (roughly 10 inches) diameter, 40 cm (16 inches) to the top of the looping handle and retains the original bamboo otoshi (insert). Tanabe Chikuunsai I (1877–1937) was a pioneering Japanese bamboo basket artist renowned for elevating techniques in his youth and later merged them with influences from Chinese and Japanese aesthetics. Chikuunsai specialized in creating intricate, functional baskets for the tea ceremony, blending practicality with artistic sophistication. His work often reflected natural themes, showcasing refined forms and precise craftsmanship. Chikuunsai’s legacy established the Tanabe lineage of bamboo artists, with successive generations continuing to innovate within the tradition he founded.

A fabulous lacquered storage box covered in fine maki-e designs of gold and blue gold on jet black dating from the Meiji period. Designs in thick maki-e gold decorate the inside of the lid. It is 42.5 x 35.5 x 17 cm (16-1/2 x 14 x 7 inches) and is in overall excellent condition, fresh back from being professionally polished.

An Irabo colored Brown Glazed two-eared Hanbei Jar on a rosewood stand enclosed in an old wooden collectors box from the Yuan dynasty known in Japan as “Nanban-Chimaki.”. These types of bottles were highly regarded for their rustic simplicity and valued in the Japanese Matcha Tea Room. Production of these jars began in the Northern Song dynasty (10th century). They became popularized as liquor bottles and later, due to its portability, it was adopted as a military water bottle. They have been excavated across East Asia, having been carried overseas by the military. However, this piece is older, featuring a generous amount of glaze. The deep glaze color and natural kiln flaws imbue it with a profound atmosphere and rustic elegance. Having served as a flower vase over the years, the overall appearance of this vessel is deeply lustrous. It is 32 cm tall plus the rosewood base and is in good condition overall.

A serene Edo period image of Amida seated in meditation lacquered and originally covered in gold which has much worn away with time and handling. He has glass eyes and a white jewel embedded in his forehead as well as a larger crystal set into the first tier of his snail covered head. It is roughly 28.5 x 26 x 37 cm (11-1/4 x 10-1/4 x 14-1/2 inches). Made in the Yosegi style of joined wood. there is a repaired crack across the thighs, where it was originally joined, and a dimple in the chin where it has been hit some long time ago.
Amida Buddha, also known as Amitābha, is one of the most revered figures in Japanese Buddhism, particularly in Pure Land Buddhism (Jōdo-shū and Jōdo Shinshū). He is the Buddha of Infinite Light and Infinite Life, representing compassion and wisdom. Amida Buddha is believed to have created a paradise known as the Pure Land (Jōdo), where all beings who sincerely call upon his name can be reborn. This paradise is free from the sufferings of the mortal world and is a place where enlightenment is easily attained. Amida Buddha's teachings emphasize universal salvation and offer hope and solace, making his worship one of the most accessible and beloved practices in Japanese Buddhism.

A large Edo period pottery figure in the shape of a parade elephant carrying a massive Buddhist Prayer drum on its back signed and dated to 1841. Both the saddle and Drum are created separately to fit together, the saddle removable to reveal the hollow center which would have been filled with ash and held the burning incense. The saddle is dated inside Tenpo 12 and signed by the 73 year old man Ei-o followed by a seal reading Ei-O. The same stamp has been impressed into the elephants back left leg. It is (assembled) 42 x 19 x 60 cm (16-1/2 x 8 x 24 inches). There is a chip in two of the flames coming off the central drum disc, and there is an old repair along the bottom edge above where it fits into the saddle. Otherwise aside from typical firing cracks associated with this type of figure which formed naturally in the kiln, it is in surprisingly good condition.

An early 20th century vase dating circa 1925 by Koun decorated with vivid peaches by Shunson enclosed in a signed wooden box. It is 25 cm (10 inches) diameter, 16 cm (6-1/4 inches) tall, and is in fine condition.

A small Tsuri-koro hanging censer in the shape of a long armed monkey dating from the 19th century. It is roughly 30 cm (1 foot) long and in excellent original condition

Birds and flowers in various colors, red, yellow, purple blue and green rise up the fluted sides of this pair of porcelain sake bottles decorated in rich color by Tokuda Yasokichi II enclosed in the original signed wooden box. Each is signed on the base in a yellow seal Kutani Yasokichi. They are 15 cm tall and in perfect condition.
The Tokuda family kiln was established by the first Yasokichi (1873-1956)、born into the house of a textile dying family. As one might expect, he initially studied painting under the tutelage of the famous Araki studio. Returning to his home he became employed decorating Kutani ware under his Brother in Law, Matsumoto Sahei, at the Shoun-Do. However after a sojourn in ceramic production under Asakura Isokichi he broke away and established his own kiln where he chafed at the cheap export ware being produced and began a lifelong search for the roots of Ko-Kutani. A search for which he was honored as a Living National Treasure in 1953. Just three years later the kiln was succeeded by his son, Yasokichi II (1907-1997). Yasokichi II was adopted into the Tokuda family in 1923, and studied initially at the Kyoto National Ceramics Research Facility alongside Hamada Shoji and Kanjiro Kawai. He learned under the tutelage of Living National Treasure Tomimoto Kenkichi before devoting himself fully to the family business. He was awarded at the Brussels World Exposition, Nitten, received the Hokuto-sho prize along with many others, and was displayed in Europe and America. He took many opportunities to continue his life quest by study sabbaticals throughout Asia, North and South America and Europe and was awarded the title Ken Juyo Mukei Bunkazai (Living Prefectural Treasure). He passed the name Yasokichi on to his son in 1988. Works are held in the Imperial Household Collection and Ishikawa Prefectural Museum among many others.

A brightly colored porcelain bowl dating from the 19th century decorated with a large central golden dial dominated by a phoenix among florals surrounded by a diaper of bold reds and blacks featuring black Dutch ships and Nanbanjin (Dutchmen). The bowl is 27 cm (11 inches) diameter), 8.5 cm (3-1/2 inches Tall and in excellent condition.
During the sakoku (isolation) era of Japanese history (1639–1853), the Dutch ships that visited the port of Nagasaki were the only Westerners permitted to trade with Japan. Their trade was confined to a small artificial island in Nagasaki harbor called Dejima, which acted as a closely monitored trading post. The Dutch ships arrived typically once or twice a year, bringing goods such as textiles, sugar, medicines, glassware, and scientific instruments which they would trade for Japanese silver, porcelain, and other local products. The Dutch traders were under strict surveillance and had limited contact with the Japanese population. They were required to adhere to Japanese rules, including cultural prohibitions such as refraining from Christian missionary activities. The Dutch served as Japan's primary source of information about the outside world during this isolation period. Dutch studies were termed “Rangaku" or "Dutch learning," encompassing Western sciences, medicine, and technology.

A long woven architectural basket with bamboo insert by Suemura Shobun enclosed in the original signed wooden box titled Bunko Hanamori. The basket is 38 x 12 x 8 cm (15 x 5 x 3-1/2 inches) and is in excellent condition.
Suemura Shōbun (1917-2000) was born in Osaka in 1917 and studied under Yamamoto Chikuryusai I from the age of 19. He established his own studio in 1941, taking the name Shobun. He was accepted into the Nitten National Exhibition from 1951 where he exhibited consistently From 1962 he was accepted into the Japanese Contemporary Art and Crafts exhibition (Nihon Gendai Kōgei Ten). He is held in the collections of the Minneapolis Institute of Art and the Asian Art Museum of San Francisco among others.

An amazing amount of work (let along solid gold) has gone into this set of five 16th – 17th century Karatsu plates with lacquer repairs covered in gold, over which have been created designs of waves and other patterns. The largest dish is 12 cm (just less than 5 inches) diameter, the smallest 10.5 cm (just more than 4 inches) diameter.
Karatsu pottery (Karatsu-yaki) is a celebrated Japanese ceramic tradition that originated in the late 16th century in Karatsu, Saga Prefecture, on the island of Kyushu, heavily influenced by Korean pottery techniques brought over by artisans during the Azuchi-Momoyama period (1573–1603). Karatsu pottery is known for its understated, rustic aesthetic, often characterized by natural glazes, earthy tones, and minimal decoration. Its designs align with the Japanese concept of wabi-sabi, emphasizing simplicity, imperfection, and the beauty of natural forms. Popular styles include E-garatsu (painted Karatsu), Madara-garatsu (spotted Karatsu), and Chōsen-garatsu (Korean-style Karatsu). Initially, Karatsu ware was produced to serve the practical needs of daily life, including tableware, and storage jars. However, with the rise of the Japanese tea ceremony, it became highly sought after by tea masters for its organic beauty and suitability for the ritual.
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.

A set of four matching beautifully decorated Porcelain sake flasks from the Meiji era kilns of Ishikawa prefeture, each signed Kutani Setsuka. Each retains its original porcelain lid. They are roughly 7.5 cm (3 inches) diameter, 16.5 cm (6-1/2 inches) tall and 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