Catalog (176)

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

A large and spectacular 5-lobed Imari Porcelain Bowl with a flaring rim covered in bold floral designs. outside and luxurious brocade designs inside dating from the 19th century, later Edo period. Very unusual, it is even decorated inside the foot ring. The bowl measures 36 cm (14 inches) diameter, 10.5 cm (4 inches) tall and is in excellent condition.
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 Arita 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

A Maiko (apprentice Geisha) holds up a large silver mirror for her sempai (senior), a beautifully sculpted pottery figurine of raw, unglazed red earth signed underneath by the artist. It is 11.5 x 11.5 x 18 cm (4-1/2 x 4-1/2 x 7-1/4 inches) and is in excellent condition. Late 19th to early 20th century.

A pair of intricately decorated colorful imari porcelain bowls dating from the 19th century. Phoenix alternate with Dragons between kinrande windows of gold on red scrolling vines under a vividly colored diaper of clouds and leafy tendrils. In the center, branches loaded with peaches, sustenance of sages and immortals. They are both 21 cm (8-1/2 inches) diameter, 10 cm (4 inches) tall and in excellent condition.
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 Arita 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

A set of two intricately decorated covered porcelain bowls from the Kutani Kilns of Ishikawa prefecture with Moriage designs of chrysanthemums in raised texture and kinrande gold on red. They are signed Kutani inside the foot. Each is 10 (4 inches) diameter 7.5 cm (3 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 leaping Shachi Dragon-fish peaks this delicate porcelain censer by Miura Chikusen enclosed in the original signed wooden box. It is 10.5 cm (4 inches) diameter, 15 cm (6 inches) tall, signed on the base, and in excellent condition.
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The Eldest son took over after his father assuming the family name as Chikusen II, but died young in 1920 leaving a young child, whereupon his younger brother took over as Chikusen, III. However when Chikusen IIs eldest son was old enough, III relinquished the helm, appointing his nephew Chikusen IV and assuming the name Chikuken (Chikken). The kiln continues, currently under the management of the fifth generation.

A breathtaking set of ten Imari bowls in a Nishiki pattern displaying the very best of that famous regions porcelain skills dating from the later half of the 19th century (Late Edo to Meiji period). Each is 12.5 cm (5 inches) diameter, 6.5 cm (2-1/2 iches tall and all are in excellent condition, signed with the character Fuku (luck) on the bottom in sometsuke blue.
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 Arita 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

A sake flask dating from the Momoyama to early Edo period from the kilns of Karatsu on the southern island of Kyushu with gold repairs about the flaring rim and one to the side. The bottle has been dimpled to allow for ease of handling, and through one of the concave sides rushes a streak of blue and white like a misty waterfall over the russet brown glaze. The raw clay of the base is fired to a stone-like quality. It is roughly 11 cm (4-1/4 inches) diameter, 21 cm (8-1/2 inches) tall.
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.

A boxed set of 10 black lacquered trays decorated with overlapping autumn grasses and imperial paulownia flowers with beautiful Nashiji gold powder on the bottoms enclosed in the original segmented red lacquered wooden box. They are roughly 27 x 27 x 3.5 cm (11 x 11 x 1-1/2 inches) and all are in overall excellent condition but for one with a chip in the rim and on one side.

A beautiful late Edo period tea bowl of deep, flaring form from the Hirasa kiolns of the Satsuma feudal territory on the Southern Island of Kyushu. It is 12.5 cm (5 inches) diameter, 8.5 cm (3-1/2 inches) tall and in fine condition. It comes enclosed wrapped in silk pouch enclosed in a fine Mori-buta Kiri-wood (paulownia) box.
Following the Japanese invasion of Korea in the late 16th century Shimazu Yoshihiro brought to Japan with his returning army Korean potters who established a kiln in Uzumachi (Modern day Nagasaki prefecture). This was the origin of Kochosa-yaki. This rough texture is indicative of that style, however Kochosa was mostly dark glaze on a deep red clay. Genryuin works picked up where Kochosa leaves off, founded in 1663 by Ono Genryu. This kiln lasted a little less than a century, closing in the mid 1700s. Hirasa is said to have begun in 1786 as the personal kiln of the Hongo Clan, Lords of Satsuma, incorporating some of these earlier styles into a complex melee of wares from blue and white porcelain to rich iron glazes and sansai wares.

Gold blossoms on the polished black suface of this beautiful silver rimmed box resting on a matching tray and enclosed in the original signed wooden box dating from the first half of the 20th century. The lacquered box is 11.5 x 13.5 x 4.5 cm (4-1/2 x 5-1/2 x 2 inches), while the tray is 16.5 x 19.5 x 1.2 cm (6-1/2 x 8 x ½ inches). Both are in excellent condition.

Fans decorate in vivid colors the austere sides of this dark bowl from the kilns of Kyoto dating from the later 19th century enclosed in an age darkeneed wooden box titled Ninsei Chawan. It is 12 cm (5 inches) diameter, 7.5 cm (3 inches) tall and in excellent condition.
Ninsei ware (仁清焼), named after its founder Kōrin Ninsei (1648–1711), is a distinguished style of Japanese pottery that originated in Kyoto during the Edo period. Ninsei was an influential potter who is credited with developing a refined and elegant aesthetic that combined traditional Japanese techniques with innovative artistic expression. Ninsei ware is known for its fine, detailed decoration, typically featuring motifs from nature such as flowers, birds, and landscapes. The pottery is often characterized by a smooth, white porcelain body and delicate, intricate underglaze painting, often in blue and other subtle colors. Ninsei's use of sometsuke (underglaze blue) and overglaze enamels set it apart from other styles, creating a sophisticated, highly decorative style. Ninsei's work greatly influenced the ceramic industry in Kyoto, especially in the production of tea ceremony wares and everyday tableware. His legacy continued through his successors, further refining and promoting Ninsei ware’s elegant aesthetics. Today, Ninsei ware is considered a significant contribution to Japan's porcelain tradition, embodying a balance between utility and beauty.

Interlaced gold lightning strikes all about the rim of this textured black tea bowl enclosed in an old Kiri-wood box titled Kuroraku Chawan and signed Hamaguchi Sosei. It is 10 cm (4 inches) diameter, 8 cm (3 inches) tall and in excellent condition.
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 white pigeon sits on the peak of a broken Kawara roof tile forming this peaceful okimono by Miyanaga Tozan enclosed in the original signed wooden box titled Shiro Hatto. It is 15.5 x 10.5 x 22.5 cm (6 x 4 x 9 inches) and 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.

A tall wooden vase-like container made from old water wheel paddles by Sashimono-shi Kikusai decorated with an inscription by Tomioka Tessai which has been carved into the wood enclosed in the original signed wooden box titled Tessai Sensei sho-koku Kabin. It is 17.5 cm (7 inches) square, 45.5 cm (18 inches) tall and in excellent condition.
Tomioka Tessai (1837-1924) was a scholar artist trained from age seven in the traditional Confucian manner. After the death of his father he was apprenticed to a Shinto shrine, and later was forced to escape the capitol to Kyushu to avoid arrest for anti-governmental actions he had taken on part of the Imperial cause. Here he began serious study of Literati painting and furthered his scholarly research. Upon returning to Kyoto he was befriended by and moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He helped to establish the Nihon Nanga-In and held a number of important positions, culminating in being appointed the official painter of the Emperor and a member of the Imperial Art Academy; the highest honor in Japanese Art circles. He is represented in innumerable important collections. Information on this important person is readily available, for more see Scholar Painters of Japan by Cahill (1972), Roberts Dictionary, or a quick internet search will find plenty of reading. He is held in the Tokyo National Museum, Museum of Fine Arts, Boston, Kyoto, V&A etc…

This is a Rotsubo, a crucible in which pottery would have been contained during firing to protect it from flame and flying debris. Used for many years, the outside is coated in flowing green, yellow and olive glazes, indicating it is likely rom the Seto or Tokoname regions. A magnificent piece, it is 18 cm (7 inches) diameter, 25 cm (10 inches) tall and in excellent condition and comes enclosed in an old wooden box with the faded letters Rotsubo written on the lid.
The use of damaged or repurposed items in the Japanese matcha tea ceremony (chanoyu) reflects the profound aesthetic and philosophical principles of wabi-sabi, which values imperfection, impermanence, and the beauty of natural wear and age. Wabi-sabi originates from Zen Buddhism and emphasizes simplicity, humility, and acceptance of transience. In chanoyu, this philosophy is expressed through the use of objects that show signs of wear, repair, or age. It is a celebration of imperfection, Items with cracks, chips, or asymmetry embody the imperfection inherent in nature and life. This imperfection is not seen as a flaw but as a unique story carried by the object. In chanoyu, objects such as old roof tiles, bamboo remnants, or wooden fragments are often repurposed as utensils or decorations, reflecting the resourcefulness and mindfulness of the practitioner. Implements made from simple, everyday materials, such as an old basket repurposed as a flower vase or a rustic wooden ladle, align with the aesthetic of finding beauty in the mundane. Imperfect or aged items create an atmosphere of peace and contemplation, encouraging participants to focus on the moment. Each piece, especially if damaged and repaired, becomes unique, embodying the artisan’s or user’s story. The natural materials and their gradual transformation over time echo the seasonal and transient themes central to tea ceremony aesthetics. By using damaged or repurposed items, the host conveys humility and a respect for history and tradition. The practice teaches guests to value the essence of things over their outward perfection, encouraging mindfulness and gratitude and embodies the Japanese reverence for transience, turning objects that might be discarded in other contexts into cherished treasures. This practice serves as a poignant reminder to appreciate life's imperfections and to find beauty in the unexpected.

A sumptuous hexagonal box, each of the sides a different color decorated on top with Ranpaku (Eggshell) and slices of gold forming a Camelia flower enclosed in the original signed wooden box. The colorful sides are preformed in togidahi maki-e with gold clouds drifting through the layers of color. The inside is lined with velvet, for storing jewlery. It measures 16 x 14 x 6.5 cm (6-1/2 x 5-1/2 x 2-1/2 inches) and is in excellent condition, signed in gold on the base. The box is titled Botan-no-e Maki-e Rokkaku Hoseki Bako (six sided box with camelia design)

A lovely small antique Chaire powdered tea container likely from the refined clay of Tamba with an ebony lid enclosed in an old kiri-wood box bound with deer hide chords. It is 5.5 cm diameter, 5 cm (roughly 2 inches) tall and in excellent condition.

A beautiful image of a Buddhist saint seated in an ornate chair draped with tiger skins dating from the mid to later Edo period (18th-19th centuries). As it is seated, the sculpture, including the chair, is 32 x 18.5 x 37 cm (12-1/2 x 7-1/2 x 14-1/2 inches). There are age cracks along hois knee where the wood is joined, and over the right arm, as well as some losses to the polychrome color typical of age.

A set of five Oribe Mukozuke dishes in rounded triangular form by Kato Sakuuke enclosed in an old wooden box. They are 9.5 x 9 x 9.5 cm (roughly 3-1/2 inches in all directions) and all are in excellent condition.
The Katō Sakusuke family of the Akazu kiln traces its origins to Kageharu, the younger brother of Katō Riheiemon (the first-generation Tōzaburō), who returned to the village from Mino during the Keichō era in the early Edo period. The first-generation Sakusuke (Kagekiyo, born 1808), the seventh-generation descendant of Kageharu, took the artist name Jusai. As described in Owari no Hana (Flowers of Owari):"Naturally skilled in pottery, he succeeded his father’s house, adopting the name Sakusuke and greatly revitalizing the family’s work. He created vessels modeled after ancient methods, producing many tea utensils and sake vessels. His works were all refined and richly elegant." The Second Generation: Katō Kageyoshi (born in 1844) took the name Shunsen.bThe younger brother of the second generation branched off to establish a separate family line, using the name "Sakusuke" for his works, later adopting the name "Shun'itsu. The family tradition was upheld by the third generation (Seiichi, also known as Shunzan), and the fourth generation (Norihiko). It is now under the management of the fifth generation.

An exquisite crackled celadon jar with a small mouth stoppered with a wooden bung over which is placed a worked brass lid engraved with srolling vines and flowers in the shape of a cloth cover, the entire enclosed in a fine kiri-wood box titled Korai Unkaku Seiji Furidashi (Shippo Fukuro Kuchi Futa yo). About the shoulder are impressed a belt of flower blossom shapes filled with white slip below which can be seen soaring birds and circles in the same technique over a double line separating it from the base. It is 10.5 cm (4 inches) diameter, 15.5 cm (6 inches) tall and in excellent condition.

A lifelike turtle from the Kikko kilns of Osaka, the bottom stamped and covered in black glaze under gold leaf enclosed in the very rare original signed wooden box. Thanks to that the soft clay figure is in perfect condition. It is 16.5 x 11 x 6 cm (6-1/2 inches long), dating from the later Edo period.
The Kikko Kiln was established in Osaka in the opening years of the 19th century by Iyo native Toda Jihe, who had learned the ceramic arts in Kyoto under all of the great names of the time, Kiyomizu Rokubei I, Ryonyu the 9th generation head of the Raku family, and Ninnami Dohachi among others. He would be known as Jusanken Shogetsu. After being noticed by then Daimyo of Osaka area Mizuno Tadakuni, he received the kiln name Kikko. His works were distributed as gifts among the Daimyo, and he was called to work in many fiefs creating “Niwa Yaki” kilns throughout Japan. During the Meiji the kiln would be split into two continuing lineages, one using Jusanken stamp, the other Kikko Shogetsu.

A set of five small dishes and one larger bowl dating from the late Heian to Kamakura periods (12th -14th centuries) from the Seto region in central Japan. The bowl, called Yamajawan or Yama Chawan, is a soft grey color and measures roughly 16 cm (over six inches) diameter, 5.5 cm (2 inches) tall. The plates vary from pale white raw clay to ash spattered yellow and are 7.5~9.5 cm (3-less than 4 inches) diameter.
Yama-chawan is a generic term for various types of unglazed Japanese tableware produced in vast quantity from the late Heian (794–1185) to Muromachi period (1333–1568), mainly in the Tōkai region (Aichi and Gifu prefectures) of central Japan. At the beginning of the era ritual vessels and storage jars were the common pottery, but increased production made for greater availability resulting in demand from lower classes of society for pottery. This resulted in a shift away from jars to tableware. Production of Yama chawan began with the dissemination of wealth to military families and landowners at the end of the Heian period, and lasted through the early Muromachi era, reaching its peak in the Kamakura and Nanbokucho periods (1185-1392). By the mid-Kamakura era, great volumes of yama-chawan were being fired. Fused, broken or damaged works would have been discarded about the kiln. As well, the kilns, were unstable and unpredictable, and often collapsed. This made for a small volume of pottery coming available from excavations in the early 20th century, when there was a great deal of research into the revival of ancient techniques.