Catalog (197)

A light raku chawan displaying a mitsuba-aoi family crest pressed into the side which has been shattered and repaired with black lacquer mellowed slightly brown, then broken again and repaired with gold. An amazing amount of work to save the fragments. The bowl is 12.5 cm (5 inches) diameter6.5 cm (2-1/2 inches) tall and comes enclosed in an old Kiri-wood collectors’ box.
Kintsugi is a traditional Japanese art form of repairing broken pottery or ceramics using lacquer and powdered precious metals. Instead of hiding the cracks and flaws, kintsugi embraces them and turns them into a beautiful and unique feature of the object. This practice holds several significant cultural and philosophical meanings in Japanese culture, particularly in relation to tea ceremonies: Kintsugi embodies 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 pair of Tokkuri in crackled Gohon style Kyoto glaze decorated with sprays of bamboo by Shichibei enclosed in a period kiri-wood collectors’ box. There are some ancient chips around the foot rim of one Tokkuri, otherwise they are in excellent condition, signed on the sides Shichibei. They are 14 cm (5-1/2 inches) tall and in excellent condition, dating from the Meiji period.
First Generation Shimizu Shichibei was born the eldest son of the second generation Shimizu (Kiyomizu) Rokubei in Kyoto. He passed the title of the third generation Shimizu Rokubei to his younger brother and received the family kiln, where he started pottery under the name "Ebiya Shichibei" in Gojo-hashi Higashi (present-day Higashiyama-ku). In 1843), under the orders of the 10th Lord of Nagaoka Domain, Makino Tadayoshi, he opened a kiln for "Gozan Ware" in Nagaoka. In 1844, Shichibei went there with his craftsmen to work as a supervisor. The Second Generation Shimizu Shichibei: (1845-1918) was born to the first generation Shichibei. He received commendations at the Domestic Industrial Exhibition and was awarded an honorary trophy at the 1878 Paris World Exposition.

A wood tray in the shape of a stylized Basho leaf (fruitless banana) carved of dark red wood and signed on the base. It is 27 x 47 cm (11 x 19 inches) and is in overall excellent condition.

This child with a pleasant face happily rides his toy horse, the horse looking just as pleased. The entirety is a porcelain sake server from the Saga region on the southern Island of Kyushu, home to Imari, Hirado and other porcelain ware. A bung of black persimmon wood has been added as a lid in the shape of a Chinese hat. It is 21 x 12 x 21 cm (8 x 4-3/4 x 8 inches) and in overall fine, original condition, dating from the 19th century.

The cutest elephant (piglet?) ever produced, this antique figure is made of thick pale clay, his open mouth and snout coated in black soot from eons of burning incense. On his back a heavy pottery lid, equally blackened inside. The inner rim on the underside of the lid has lost much of its edge, however the lid itself is still perfectly intact. The tip of the right ear has been broken off, and it is likely that there was once some form of tail insert, which is no longer extant. This is evidenced by the lack of smoke around the rump where a smooth, circular hole exists. It is 40 x 21 x 20 cm (16 x 8 x 8 inches), dating from the Edo period.
The elephant is the vehicle for Fugen Bosatsu, the Bodhisattva of Virtue.
Also, in Buddhism the elephant is a symbol of mental strength. At the beginning of one's practice the uncontrolled mind is symbolized by a gray elephant who can run wild and destroy everything on his way. Just as the rampaging elephant is controlled by unregulated passions, we often find ourselves ruled by our desires, fears, and resentments. We think that suffering arises from what others do to us, or what happens to us; as self-perceived victims, we suffer. However, after taming one's mind, the mind which has been brought under control is symbolized by a white elephant strong and powerful, who can be directed wherever one wishes and destroy all the obstacles on his way. The Buddha taught that suffering arises internally, from our responses to events. To free ourselves from suffering, we subdue our minds, and with that tamed mind, we answer difficult circumstances without fear, desire, or rage, transforming adversity into growth. As such, the degree to which we experience unhappiness and pain depends on our internal responses, not on external conditions.

A pair of covered ceremonial Sake-Tsubo called Heiji decorated with the three auspicious winter plants, Sho-chiku-bai (Pine, bamboo and plum) by Ito Tozan II enclosed in the original wooden box Plum pine and bamboo rise up in a riot of color on the thinly crackled pale glaze covering the surface. Inside the box is dated Showa 11 (1936) 8th month, 9th day. Each is roughly 22 cm (9 inches) tall and in excellent condition, each uniquely stamped on the base with the artist seal.
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 prizd 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.

Wide gold bands mend the broken walls of this unearthed pottery bowl dating from the Kamakura period covered in earthy green glaze from the Seto region from around modern day Nagoya. It is 16.3 (almost 6-1/2 inches) diameter and ready to use. It comes enclosed in a modern collectors wooden box titled Horinote Hirachawan (Excavated Wide Tea Bowl).
Kintsugi embodies 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 unusual coffer shaped vessel in classic 1930s art-deco style signed on the base Shokoku and enclosed in the original signed wooden box titled Nunome Zogan Sarasa Mon Hanaire (Cloth-textured Inlayed Chints Design Vase). It is 22.5 x 9.5 x 9.5 cm (9 x 4 x 4 inches) and is in overall fine condition. Originally the interior of the insert was tinned, and that has much changed color.
Art Deco arrived in Japan during the Taishō period (1912-1926), a time of increased freedom of expression as well as a tumultuous political era with which bread astounding variety in Japanese culture and design. As Japan sought to modernize and present itself as a global player, the country embraced foreign artistic trends, including Art Deco, which resonated with the aesthetic sensibilities of the era. Art Deco's impact extended to various decorative arts and design disciplines, including furniture, textiles, ceramics, and metalwork. Japanese artisans and designers incorporated Art Deco elements into their works, blending Western aesthetics with traditional Japanese 2-dimensional design and craftsmanship. They integrated geometric patterns, stylized motifs, and streamlined forms into bronze sculptures, vases, and other decorative objects. This blending of styles allowed for the creation of bronze pieces that appealed to both domestic and international audiences. The result was a unique fusion of styles, showcasing the adaptability and creativity of Japanese artists. One of the most iconic examples of Art Deco in Japan is the Shiseido Building in Tokyo. Completed in 1931, this structure housed the headquarters of Shiseido, a renowned Japanese cosmetics company. The building's striking facade with its geometric patterns and distinctive clock tower became a symbol of modernity in pre-war Tokyo. With the outbreak of World War II and Japan's focus on wartime production and propaganda, the popularity of Art Deco declined. After the war, Japan shifted towards rebuilding and reconstruction, and modern architectural styles took center stage. However, Art Deco's influence continued to inspire subsequent generations of Japanese designers and artists, leaving a lasting legacy in the country's design history. Art Deco bronze design in Japan exemplifies the nation's ability to embrace and reinterpret artistic influences from abroad while maintaining its cultural identity. This fusion of aesthetics resulted in a unique and captivating body of work that continues to be appreciated and admired for its craftsmanship and artistic expression.

A fabulous Edo period Bizen Chawan with a small gold repair glinting on the rim wrapped in a brocade pouch and enclosed in an age darkened wooden box. The sense of age is awe inspiring, with raw clay supplanted by burnt orange natural glaze, a fan of gray passing across the outside like moonlight falling across the floor from a door left slightly ajar. The ancient wooden box has a long verse and annotation by a tea master within, while outside it has been later signed by the great Bizen scholar Katsura Matasaburo and titled Bizen Chawan, Tenpogama-saku (Made in the Tenpo Kiln). The bowl is 14.3 cm (5-1/2 inches) diameter, 6.5 cm (2-1/2 inches) tall and is in excellent condition.
Due to the need for mass production of Bizen ware, Huge Tunnel kilns were built from the late Muromachi period. During the Edo period, Bizen ware was placed under the control of the Okayama clan. After the middle of the Edo period, ceramic competition spread throughout the country, and sales of Bizen ware gradually declined, eliminating the need for mass production. During the late Edo period, small and more efficient kilns were built in three locations. The earlier large communal kilns required about 35 days to fire, but the smaller kilns only needed 10 days significantly improving efficiency. One of these smaller kilns was the Tempo kiln established around 1823. When the kiln was first built, it had five chambers, but after repeated renovations and repairs, it eventually expanded to seven chambers, and was used until around 1940. It is the only surviving kiln from that era, and was designated a cultural property of Bizen City in 1971.

Brilliant red leaves seem to glow in the darkness over a band f silver on this vase by Miyagawa Kozan. It is 24 cm (9-1/2 inches) tall, 21 cm (8-1/4 inches) diameter and in excellent condition.　There is no box.
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 lotus forming the basin for an incense burner sprouts from the back of this carved wooden elephant dating from the later 18th to 19th centuries (mid to late Edo period) 36 x 16 x 17.5 cm (14 x 6 x 7 inches). It appears to be carved from a single block of wood, covered in gofun with some poluchrome color. The lotus was gilded in gold, now largely worn away. The nose of the elephant has a strip of cloth running across it. We have not removed it as it is glued on, but assume that the nose was once broken and this is a visible repair.
The elephant is the vehicle for Fugen Bosatsu, the Bodhisattva of Virtue.
Also, in Buddhism the elephant is a symbol of mental strength. At the beginning of one's practice the uncontrolled mind is symbolized by a gray elephant who can run wild and destroy everything on his way. Just as the rampaging elephant is controlled by unregulated passions, we often find ourselves ruled by our desires, fears, and resentments. We think that suffering arises from what others do to us, or what happens to us; as self-perceived victims, we suffer. However, after taming one's mind, the mind which has been brought under control is symbolized by a white elephant strong and powerful, who can be directed wherever one wishes and destroy all the obstacles on his way. The Buddha taught that suffering arises internally, from our responses to events. To free ourselves from suffering, we subdue our minds, and with that tamed mind, we answer difficult circumstances without fear, desire, or rage, transforming adversity into growth. As such, the degree to which we experience unhappiness and pain depends on our internal responses, not on external conditions.

An unusual antique writing box of raw wood painted with two courtly figures stepping from a veranda into a room along the garden of a traditional palace. Fine detailing in the clothing and architecture makes for a unique look into the past. There are old stains around a circular mark where a suzuri ink stone would have once been held inside, otherwise it is in overall fine condition, dating from the late 19th to early 20th centuries. It is 27.5 x 21 x 5.5 cm (11 x 8 x 2 inches).

A set of five fluted dishes decorated with draped branches dating from the mid to later Edo period enclosed in a period age-darkened wooden box. Several have had repairs made with lacquer nad powdered silver, enhancing the beauty and sense of age. They all bear on the base the Mizoro stamp impressed into the raw earth. Each is 16 x 10 x 4.5 cm (6 x 4 x 2 inches) and all are in overall fine condition, with the silver repairs blending with the finely crackled glaze and dark iron decoration.
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.

Two shishi roughhousing, one sinking his teeth into the others back a glass ball balanced on the furled tail signed on the base Taiho. The upper creatures head can be removd allowing the pair to be used as an incense burner. It is 17 x 12 x 17 cm (7 x 5 x 7 inches) and is in excellent condition.
Shishi guardians, also known as Komainu or "lion dogs," have a long history in Japanese art and culture; iconic figures often depicted in pairs and placed at the entrances of shrines, temples, and other important structures to ward off evil spirits and protect against negative energies. The origins of the Shishi can be found in ancient Chinese culture, specifically the mythical creature known as the "shi" or "foo dog" in English. These creatures were believed to have protective qualities and were commonly depicted in Chinese art and architecture. As Buddhism spread to Japan from China in the 6th century, so too did the imagery of the lion guardians. The artistic representation of Shishi lion guardians in Japan evolved into a unique style. The sculptures typically depict a pair of lion-like creatures with fierce expressions, large manes, and muscular bodies. One lion has an open mouth to represent the sound "ah," which is believed to expel negative energy, while the other has a closed mouth to represent the sound "um," which is believed to retain positive energy. This duality symbolizes the balance between yin and yang, and the harmony between opposing forces.

A small koro decorated with Mandarin Ducks on yellow waves marked on the bottom with the Fuku seal dating from the early 20th century. It is 6.5 cm (2-1/2 inches) diameter, the same height (excluding the lid) and in excellent condition, enclosed in a modern wooden box.
Kutani pottery is another renowned style of Japanese ceramics with a rich history. It originated in the Kutani village, located in modern Ishikawa Prefecture. The roots of Kutani pottery can be traced back to the mid-17th century when Lord Maeda Toshiharu established a kiln in Kutani village in 1655. The lord invited skilled porcelain craftsmen from the neighboring regions to develop the pottery industry in Kutani. These craftsmen brought their expertise and techniques, including the use of colored enamels, which became a distinctive feature of Kutani pottery. Initially, Kutani wares were heavily influenced by the colorful and decorative styles of Chinese and Korean ceramics, such as the Ming and Qing dynasties. However, as the local artisans developed their skills and styles, Kutani pottery evolved into a unique and recognizable form. During its early years, Kutani pottery production faced numerous challenges, including economic difficulties and political upheavals. As a result, the kilns in Kutani went through periods of both prosperity and decline. The first period of prosperity occurred in the late 17th century, known as the Ko-Kutani period, when the kilns produced high-quality, vibrant ceramics with distinctive motifs. However, the Ko-Kutani period was short-lived, and production declined in the early 18th century. It was not until the 19th century that Kutani pottery experienced a revival. Lord Maeda Naritatsu, supported the pottery industry and encouraged the production of Kutani ceramics once again. This period is known as the Saiko-Kutani period, marked by a resurgence of Kutani wares characterized by intricate designs and refined craftsmanship. One of the notable features of Kutani pottery is the use of the "Fuku" mark. The Fuku mark, meaning "good fortune" or "happiness” was traditionally applied to Kutani pieces, serving as a symbol of good luck and prosperity. The Fuku mark varies in design and placement, and its presence on Kutani pottery is highly sought after by collectors and enthusiasts.

An exquisite Edo period incense burner, the fine red clay covered in running bamboo glaze from the kilns of Takatori on the southern Island of Kyushu wrapped in a silk pouch and enclosed in a period Kiri-wood box. The lid is solid silver pierced with roiling fronds. It is 7.5 cm diameter, 7 cm tall excluding the silver lid, and in excellent condition.
Takatori-yaki, is a traditional style of Japanese pottery that originated in the early 17th century. It was developed in the town of Takatori (mod. Fukuoka Prefecture). Takatori-yaki is renowned for its unique and distinctive aesthetic, characterized by rustic simplicity, earthy tones and running glaze. The history of Takatori pottery dates back to the beginning of the Edo period (1603-1868) when a Korean potter named Yi Sam-pyeong, also known as Ri Sampei in Japanese, settled in the area. Yi Sam-pyeong had been brought to Japan by the powerful daimyo (feudal lord) Hosokawa Tadaoki, who ruled over the Higo Province (present-day Kumamoto Prefecture). Tadaoki was fascinated by Korean pottery and invited skilled potters from Korea to establish kilns in Japan, with Yi Sam-pyeong being one of them. Under the patronage of the Hosokawa family, Yi Sam-pyeong and his descendants established the Takatori kilns in the town of Takatori. Initially, the kilns produced pottery influenced by Korean styles, particularly the Buncheong and Ido wares. However, over time, they developed their own distinct style, blending Korean techniques with Japanese aesthetics. Takatori was highly prized by tea masters and samurai lords who appreciated its rustic charm and humble beauty. Takatori-yaki became an integral part of the tea ceremony culture, as its earthy tones and natural glazes were considered suitable for the serene and rustic atmosphere of tea houses.

A fabulous Luzon Tsubo named Omokage (Vestiges) used to import goods to Japan from time immemorial converted for use as a prized tea leaf storage jar complete with wooden bung, cloth cover, silk mesh pouch and a very thick age darkened Kiri-wood box. The box is signed Sosetsu and dated mid-Autumn of Kanei 2 (1625), titled Meibutsu Ruzon Tsubo and named Omokage. This likely refers to the loss of glaze on the side acquired over great time. A perfect example of the treasured wabi-sabi aesthetic. It is roughly 31 cm diameter and in excellent condition. There is a thin firing crack in one side which appears to have filled with glaze during its creation.
During the Muromachi period (1336-1573), the tea ceremony gained popularity among the samurai class and eventually spread to the upper classes of society. As the tea ceremony evolved, so did the need for specialized tea utensils and storage containers. Chatsubo emerged as an essential item for storing and preserving tea leaves. Chatsubo were not only practical containers but also highly valued as works of art. Imported tea leaf jars from Luzon offer a glimpse into the rich history of international trade, cultural exchange, and the appreciation for tea and pottery in both Japan and the Philippines during that time period. Not only were they a hard to find commodity, ut their rustic simplicity was highly sought by tea masters from the Momoyama period on, especially after the closing of ports to foreign trade and Edo edicts to restrict the movement of Japanese merchants. The presence of Luzon tea jars in Japan also had an impact on the development of Japanese pottery. The influence of Luzon ceramics can be seen in certain Japanese pottery styles, such as "Nanban ware" or "Southern Barbarian ware," which emerged during the Momoyama period (late 16th century to early 17th century). Nanban ware was inspired by imported ceramics from various regions, including Luzon, and incorporated their distinctive forms and decorative elements. Today, antique Luzon tea jars are sought after by collectors and enthusiasts of Asian ceramics. They serve as tangible artifacts that reflect the historical trade connections between Japan and Luzon, as well as the cross-cultural influences on pottery and tea culture in Japan.

A set of shishi guardian carvings from high up on the front of a Buddhist temple, each cut from a single block of wood with fore-paws extended in a leaping motion and vicious snarls. Each is roughly 30 x 30 x 24 cm (12 x 12 x 9-1/2 cm tall and in overall excellent condition. These date from the Edo period.
Shishi guardians, also known as Komainu or "lion dogs," have a long history in Japanese art and culture; iconic figures often depicted in pairs and placed at the entrances of shrines, temples, and other important structures to ward off evil spirits and protect against negative energies. The origins of the Shishi can be found in ancient Chinese culture, specifically the mythical creature known as the "shi" or "foo dog" in English. These creatures were believed to have protective qualities and were commonly depicted in Chinese art and architecture. As Buddhism spread to Japan from China in the 6th century, so too did the imagery of the lion guardians. The artistic representation of Shishi lion guardians in Japan evolved into a unique style. The sculptures typically depict a pair of lion-like creatures with fierce expressions, large manes, and muscular bodies. One lion has an open mouth to represent the sound "ah," which is believed to expel negative energy, while the other has a closed mouth to represent the sound "um," which is believed to retain positive energy. This duality symbolizes the balance between yin and yang, and the harmony between opposing forces.