Catalog (192)

A fabulous carved-lacquer incense box in the shape of a peach by Living National Treasure Otomaru Kodo enclosed in the original signed wooden box. It measures 7.5 cm x 7 cm x 4.3 cm (roughly 3 inches long, 2 inches high) and is in excellent condition.
Otomaru Kodo (1898–1987) was a distinguished Japanese lacquer artist renowned for his mastery of choshitsu (carved lacquer) techniques. Born in Takamatsu, Kagawa Prefecture, he began his apprenticeship under Ishii Keido in 1910 and, from 1914, independently studied the works of Tamakaji Zokoku, a pioneer of Sanuki lacquer art. In 1921, Otomaru co-founded the art group Kofukai with metalcraft artist Osuga Takashi and others, actively participating in exhibitions. His work gained significant recognition in 1932 when he was first accepted into the Imperial Art Exhibition (Teiten), leading to regular displays in subsequent exhibitions. In 1942, his carved-lacquer piece, "Cosmetic box with moon-flower design," received a special award at the 5th New Ministry of Education Art Exhibition; this work is now part of the Takamatsu Art Museum's collection. Otomaru's innovative use of rich colors set his work apart. While traditional lacquerware primarily utilized vermillion, black, yellow, green, and brown, he introduced new pigments to achieve a broader spectrum of hues, enhancing the expressiveness of his designs. In recognition of his contributions to Japanese crafts, Otomaru was designated an Important Intangible Cultural Property holder (Living National Treasure) in 1955, specifically in the carved-lacquer division. That same year, he played a pivotal role in establishing the Japan Kōgei Association, further influencing the development of traditional Japanese crafts.

A pair of Art-deco style bronze foxes enclosed in the original wooden box signed Kozan. They are 25.5 cm (10 inches) tall and in excellent condition, each signed by the tail.

An elegant set of six small cups and saucers by Teishitsu Gigei-in Ito Tozan enclosed in the original compartmentalized and signed wooden box. The cups are steep sided with creamy crackled glaze decorated with sparse bamboo. Each Cup is roughly 7 cm (3 inches) diameter, 5.5 cm (2 inches) tall, the plates 12.5 cm (5 inches) diameter and all are in excellent condition, with some color absorption due to time and use in the crackled glaze.
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 nd 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.
Ito Tozan II (1871-1937) was born the fourth son of one of the upper level samurai of the Zeze feudal domain in Otsu, just over the mountains from Kyoto and began his artistic career as a painter. He was picked up by Tozan I and introduced to the plastic arts, where he flourished, taking over the Tozan kiln in 1920, following the death of his mentor.

A Red Raku Chawan named Yama no Gotoshi by the chief Abbot of Kenninji Temple Takeda Ekishu enclosed in the original signed wooden box which is in turn enclosed in an outer protective box. It bears the artists Ka-o signature engraved into the clay beneath near the foot ring. The bowl is 13 cm (over 5 inches) diameter, 7 cm (just under 3 inches) tall and is in excellent condition.
Takeda Ekishu (1896-1989) was born in Oita prefecture. He studied under Takeda Mokurai and Takeda Eisen, then rose through the ranks to become superintendent of Kenninji Temple in downtown Kyoto. He was born in Oita prefecture, and In 1902 he was adopted by the Yano family, headed by Yano Yōhei. In 1904 when the head of his adoptive family was conscripted for service in the Russo-Japanese War, he left the Yano household. The following year, at the age of 9, he briefly became a novice monk at Chitose-ji, but left after only a few months. During his third year of elementary school, he stayed for 5–6 days at Shoon-ji, a nearby Zen temple. This experience planted the seeds for his monastic aspirations. At his mother's request, the abbot Emon of Shoon-ji took him under his care, and on February 16, 1906, he entered Shorai-ji, a temple of the Daitoku-ji branch of Rinzai Zen located in Otsu City, Shiga Prefecture. The following year, in 1907, he underwent tonsure under the guidance of Otomo Sotada at the age of 11, thus beginning a rigorous Zen monastic life. In May 1911, he enrolled in a monastic school located within the precincts of Daitoku-ji, and spent four years living in its dormitory. Among his classmates were Kajiura Itsugai (later chief abbot of the Myoshin-ji) and Hayashi Ekyō (later chief abbot of the Tofuku-ji). In 1915 he entered Kennin Monastery to continue his training under Takeda Mokurai. Takeda Eisen assumed the reins at Kenninji in 1928, and Ekishu moved to study under him. In 1933 he completing the reconstruction of Zuisho-ji, and in November of the same year, he received certification (inka) from Koto-an Takeda Eisen, under whom he had been training. Subsequently, he held various significant positions, including professor at the Zen Higher Academy, abbot of Daisen-in in the Daitoku-ji branch of Rinzai Zen, and administrative head of Daitoku-ji. Following the death of Takeda Eisen on September 9, 1945, he was appointed master of Kennin Monastery. On May 10, 1980 (Showa 55), he passed on his role as master of Kennin Monastery to his Dharma heir, Minato Sodō, dedicating himself fully to his responsibilities as chief abbot. In 1981 he visited China as the leader of the "Second Representative Delegation to China" dispatched by the Japan-China Zen Friendship Association. To celebrate his 88th birthday a service was held at the Kennin-ji abbot's quarters, during which his art collection, Takeda Ekishu Gachō: Rakusō Yoji ("Idle Musings of the Fallen Grass"), was published in commemoration.

A heavily formed later Edo period plate decorated with green, yellow and red seaside imagery by Minpai Kashu bearing the artists seal impressed into the back. It is 37.5 x 25 x 5 cm (15 x 10 x 2 inches) and is in excellent original condition. A very rare work worthy of museum collection. It comes in an age darkened kiri-wood box. Awaji yaki was founded in the early 1830s by a scholar of classical literature and Tea Master, Minpei Kashu (1796–1871, last name also spelled Mimpei). From a wealthy trading family, he was concerned about the development of industrial resources in his province and devoted himself to the manufacture of ceramics, which he studied under Ogata Shuhei (1788-1839), a famous Kyoto potter. Returning to his village after his studies, he established kilns in the Tenpō era (1830s) and devoted his whole fortune to the enterprise. Lord Hachisuka of Awaji Province subsequently subsidized Minpei's manufactory and appointed him head of the workshops. His efforts were successful, and his production reached a prosperity which equaled in value the rice harvest of the eleven surrounding villages. After Minpei's death in 1862 his successors continued manufacturing ceramics, which became a source of wealth for the province. Known as Awaji ware, they are also known by the founders name as Minpei or Mimpei Yaki. The work is characterized by a white or cream-colored clay with blue or yellow glaze, sometimes also green, sharing similarities with Sansai-ware. The Metropolitan Museum of Art has nine pieces of Minpei ware in its permanent collection.

Shiny glaze the color of burnt caramel covers this tactile pinch-formed small portable tea bowl (Tabi-chawan) from the 19th century Ohii Kilns of Kanazawa in the Kaga domain. Ohi ceramics are primarily made for use in the tea ceremony and they are all personally made by members of the Ohi family. The potters do not use a wheel, but shape the clay with their hands and special spatula-like tools that are handed down from generation to generation. The ceramics are made from soft clay and fired at unusually low temperatures. This bowl is no exception to these rules, it is pinch formed with a beautiful sculpted foot ring, on side which is the Ohii stamp impressed clearly into the clay. It is 9 cm (3-1/2 inches) diameter, 8 cm (just over 3 inches) tall and in excellent condition.
When the founder of the Urasenke style of tea ceremony, Sen-so Soshitsu was invited to Kanazawa as the lord of the tea ceremony for the Kaga Clan in 1666, the first Chozaemon came with him and established Ohi in Kanazawa. Chōzaemon was the top disciple of Raku Ichinyū of Kyoto (4th generation master of the Raku family) and thoroughly understood the principles and techniques of Raku ware. The family has made tea ware for 10 generations, and the 11th generation is working at the family kiln even now.

A basket of Kameko Tortoise Shell design enclosed in the original signed wooden box made for the Shobido Art Purveyor of Osaka by by Tanabe Chikuunsai II. It is 45 cm (18 inches) tall and in excellent condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.
The Shobido Jewelry Co. was founded in 1900 at Yodoyabashi, in central Osaka City by Eikichiro Eto. They are purveyors of watches, Jewelry, art and crafts, silverware and precious metals from the Meiji era to the present day, and their products and artisans were considered elite among Japanese crafts. In fact many of Japans greatest craftsman created unique works for the Shobido label.

A huge contemporary lacquered basin dating from the post-war era of multiple layers of colored lacquer polished through to reveal the various color in random patterns, the naturalistic form curls over revealing the smooth black of the outside. It comes in a period wooden box. The basin measures 81.5 x 23 x 6.5 cm (33 x 9 x 2-1/2 inches) and is in overall fine condition.

Iron red covers this beautiful Tamba tsubo dating from the first half of the Edo period. The mouth is crushed and elongated creating a bold sense of drama. It is 23 x 20 x 23 cm (9 x 8 x 9 inches) and is in overall excellent condition, with some marks on the rim where it adhered to something else in the firing (It may have been fired upside down).

A spectacular Edo period Chatsubo Tea Leaf Container covered in green pine-ash glaze engraved about the shoulder with unusual designs of an Otsu-e style creature wearing a mino straw rain-coat and bearing a massive branch of blossoming wisteria over its shoulder between swirling sun spots. The vessel has a deep cleft in the foot from where it partially collapsed, which allows it to be displayed standing up or at an angle. There is a large Kutsuki kiln flaw on the down side where it adhered to whatever was next to it, supporting it in the kiln. Truly an amazing piece. Slight inclusions and the glistening green ash indicate Mino ware from the Iga area. The old wooden bung is still present, wrapped in layer upon layer as the wood dried and shrunk over the decades. It is 38 cm (15 inches) tall, 35 cm (14 inches) diameter and in excellent condition, enclosed in an ancient storage box made of thick slabs of age-darkened Kiri-wood.
Due to size the cost of shipping will be accrued separately. Japanese tea leaf storage jars, known as Chatsubo, are traditional stoneware vessels used to store tea leaves for Sencha steeped tea or before they are ground into powder for Maccha powdered tea ceremonies. These jars are appreciated for their functional design and aesthetic qualities, and many museums worldwide house notable examples in their collections. Here are some institutions that feature chatsubo: The National Museum of Asian Art, Metropolitan Museum of Art, Minneapolis Institute of Art and Philadelphia Museum of Art in the USA as well as the Montreal Museum of Fine Arts in Canada among many others.

The gold work on this antique bucket shaped pot is absolutely incredible, with eight gold staples holding together the cracks which have all been filled with lacquer and powdered gold. The original ceramic work is from the Ohii kilns in Kanazawa, stamped on the base with what appears to be the seal of the 5th generation head of the Ohii family Ohii Kanbei (1781-1856). There is a custom made black lacquered wooden lid. It comes enclosed in a wooden collector’s box titled Ohii Te-oke Mizusashi, O-ware. It is 17 cm (7 inches) diameter, 24.5 cm (10 inches) tall. There are minor chips to the lacquer edges of the lid.
When the founder of the Urasenke style of tea ceremony, Sen-so Soshitsu was invited to Kanazawa as the lord of the tea ceremony for the Kaga Clan in 1666, the first Chozaemon came with him and established Ohi in Kanazawa. Chōzaemon was the top disciple of Raku Ichinyū of Kyoto (4th generation master of the Raku family) and thoroughly understood the principles and techniques of Raku ware. The family has made tea ware for 10 generations, and the 11th generation is working at the family kiln even now.

Sea foam seems to wash into the smooth basin of this wide Karatsu pottery bowl enclosed in a period wooden collectors box titled Ko-Karatsu Chawan signed by 14th head of the Urasenke Tea School Tantansai. Outside the clefts remain from the artist fingers deeply grooving the surface and making for a tactile experience. It is 14 cm (5-1/2 inches) diameter, 7.5 cm (3 inches) tall and in perfect condition.
Tantansai (1893–1964) was the 14th-generation head (iemoto) of the Urasenke school of Japanese tea ceremony. His full name was Sen Sōshitsu XIV, and he is remembered for his significant contributions to adapting and modernizing the practice of tea ceremony in the 20th century, while preserving its core principles and values. Tantansai became the head of the Urasenke school in 1937, a time marked by great social and political upheaval, including World War II. Despite these challenges, he worked to keep the tea ceremony relevant in a rapidly changing world. He introduced innovations that allowed the practice to appeal to a broader audience, emphasizing tea as a way to promote peace and cultural exchange. He was instrumental in making the tea ceremony accessible internationally, hosting tea gatherings abroad and fostering cross-cultural understanding. Tantansai’s legacy is one of adaptability, ensuring the tea tradition remained vibrant and meaningful in modern times.

A fabulous deep red Raku Chawan with a barely discernable foot raising it slightly off the surface enclosed in a wooden box accrediting the bowl to Gengensai, 11th generation head of Urasenkei Tea School. The bowl is a masterpiece, with a prominent ridge inside and a slight well forming a perfect chazuri for whipping the tea with the whisk. The artists distinctive Ka-o signature is incised into the base along the Kodai (footring). It is 12 cm (5 inches) diameter, 9.5 cm (just less than 4 inche3s) tall and in excellent condition.
Gengensai Seichu Soshitsu (1810-1877) lived during the years leading into the Meiji Era (1868-1912), a time of dramatic political and cultural change in Japan. This turbulent period saw the collapse of the Tokugawa Shogunate, the move of the emperor from Kyoto to the new capital, Tokyo (until then called Edo), Japan’s all-out adoption of Western civilization, and the country’s development into a modern state. Amid these circumstances, his major achievements included his success in convincing the new Meiji Government that it should officially recognize chado as a serious cultural and spiritual pursuit. Gengensai is also credited as the originator of the ryurei style of chanoyu, which employs tables and stools. Because of his success in maintaining the vitality of chado in the new age, he is often referred to as the Father of the Restoration of Chado. Gengensai was the adopted heir of Nintokusai. His natural father was the 7th-generation head of the Ogyu Matsudaira family, a branch of one of the original Matsudaira lineages from which evolved the Tokugawa family. He was adopted by Nintokusai when he was nine years old and Nintokusai, whose only surviving offspring were girls, was already fifty. Nintokusai, taking into account the daimyo-family background of his new adopted son, saw to it that the boy was educated in the various fields of textbook learning of the time, as well as poetry, music, and other traditional cultural refinements. Nintokusai passed away seven years later, and thus Gengensai became the head of Urasenke when he was only sixteen.

A flaring bamboo basket with looping handle by Yamamoto Chikuryusai enclosed in the original signed wooden box titled simply Hanakago. It is 22.5 cm (9 inches) diameter, 40 cm (16 inches) tall and in excellent condition.
Yamamoto Chikuryusai I (1868-1945) was a bamboo artist of the early modern era in Osaka. Born in year one of the Meiji era to the Yanagi clan, his former Samurai family hailed from Yodo, a castle town between Osaka and Kyoto. He later was adopted by his Sister in Law to the Yamamoto family, changing his name to Yamamoto at the time, however it was with his older brother, Yanagi Takesada that he learned basketry in their shop in Osaka. Takesada moved to Korea; for the Japanese at the time it was the New West, but Chikuryusai remained in Japan. Unlike others, Chikuryusai did not attempt to insert himself into his baskets, but, allowed his baskets a traditional elegance. He was renowned for his calligraphy, sencha aesthetic, and his elegant and reserved artistic vision. His baskets received awards at several important international expositions, and, with his two sons, Chikuryusai II and Chikken, participated in the annual Teiten/Bunten National Art Exhibitions. He served as mentor to not only his two sons but also Hamano Chikkosai, Ikeda Seiryusai, and Suemura Shobun. In 1929, he gave the artist “Go” (name) to his son but continued working under the name Shoen until his death in 1945. Work by him is held in the Asian Art Museum San Francisco, The Minneapolis Institute of Art and The Met New York among many other public and private collections.

A hand-formed Bronze Mizusashi lined with cloisonne and decorated about the rim and hand formed waves with silver by Saito Ifu enclosed in the original signed wooden box. It feaures a mirror black polished lacquer wooden lid which juxtaposes beautifully with the matt finish and texture of the vessel. Signed on the base Ifu Saku, it is 15 cm (6 iches) diameter, the same height, and is in excellent condition.

An exquisite Mishima Pottery bowl with gold repair to a break in the rim dating from the mid-Edo period enclosed in an old wooden box. It is 12 x 13 x 8 cm (roughly 5 inches diameter, 3-1/4 inches tall) and is in overall great condition.
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.

An elegant seasonal wan-gata bowl decorated with scrolling vines changing color by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Ninsei Style Chawan Taea Bowl with Scrolling Vines. It is 12 cm (5 inches) diameter, 7.5 cm (3 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 (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.

An elegant bowl decorated with bell-flowers from the Mizoro kilns in North Kyoto dating from the later 19th century enclosed in a period wooden box and bearing the Mizoro seal impressed into the base. Color has seeped into the finely crackled earthen glaze, adding a delicate sense of age. It is 13 cm (5 inches) diameter, 8 m (just more than 3 inches) tall and in excellent condition.
Many people think of Kiyomizu-yaki as the only type of pottery in Kyoto, but there are other types of pottery such as Awata-yaki, Otowa-yaki, Iwakura-yaki, Asahi-yaki, Raku-yaki, and Mizoro-yaki. Mizoro-yaki is a type of Kyo-yaki that was fired in Atago-gun, North of central Kyoto. There are many mysteries and rumors about the origins of the pottery. According to Tauchi Baiken's "Thoughts on Ceramics" written in the Ansei era, Ninsei Nonomura started Mizoro ware. Other documents, from the Enpo period, Taihei of Mizoro Village became an apprentice at Higashiyama Seikanji Yaki Ichimonjiya, and then returned to the village and opened a kiln. According to the "100 Year History of Kyo Yaki", it was established in 1554 AD by Yozo Unsonin. In any event, it is generally agreed to have begun by the mid 17th century, and lasted for about two hundred years.