Catalog (173)

A pale glazed deep Tsutsu-gata chawan tea bowl by the first generation Kuze Kyuho decorated with dried lotus leaves by famed painter Hirai Baisen enclosed in the original wooden box signed by both artists. It is 11.5 cm (4-1/2 inches) diameter, 10.5 cm (roughly 4 inches) tall and in excellent condition.
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts and was a regular exhibitor with the Bunten from 1907-1931. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston and a plethora of important public and private collections.

A fabulous Toyoraku-yaki pottery bowl covered in colorful lacquer dating from the Mieji period enclosed in an old wooden collectors box. Insed Oribe green flows down from the rim to garden scene of iris and ya-giku (wild chrysanthemum) growing along a rived on the white crackled glaze. Outside geometric patterns in alternating gold green and red supported on three black bamboo shaped feet. It is 13.4 cm (5-1/4 inches) diameter, 10 cm (4 inches) tall and in excellent condition but for a very small chip in hte glaze inside the wall of the bowl (see close-up for details).
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. The family lineage ended in the Taisho period.

5 low-fired plates in sundown-colors decorated with seasonal images by Nakagawa Wado (1880-1943) from the Jusanken Kiln of Osaka. Each is roughly 14 cm (5-1/2 inches) diameter and in excellent condition.
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, Kiyoizu 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 the Jusanken stamp, the other Kikko Shogetsu.

A small set of three nesting bowls with pouring lips by Asami Gorosuke of the Kyoto Pottery Tradition dating from the late 19th to early 20th century. The largest is 11.5 x 13.5 x 6 cm, and all are in perfect condition.

A set of five Kosobe-yaki pottery plates decorated with plum blossoms, harbinger of Spring. Each is 12 cm (5 inches) diameter and in excellent condition, dating from the century and stamped Kosobe on the base.
The potter who founded Kosobe ware, Shinpei Igarashi, is said to have trained in Kyoto. He opened a kiln in Kosobe Town, Takatsuki City, during the Kansei era (1779-1801), and the operation continued for about 120 years until the fourth generation, Nobuhira. During this period, a variety of products, ranging from tea utensils to everyday household items, were produced for the surrounding areas, and sometimes orders were fulfilled for restaurants in Osaka and Kyoto. The rustic design of Kosobe ware is still widely appreciated by ceramic researchers and collectors today

A meek mouse huddles between erratic designs on the crackled-cream colored surface of this lidded container dating from the later 19th century Awata Kilns of Kyoto. It is 17 cm diameter, 11 cm tall and in excellent condition.
Awata, or Awataguchi, was the end of the Tokaido road connecting Kyoto and the Edo period capital of Tokyo. Potteries began there in the opening years of the Edo period.

A carved wood guardian figure of a Koma-inu looking quite genki with his tongue lolling and wearing a sheepish grin. It is made from a piece of wood which has grown around a stone, visible in the belly of the creature. This type of item, called Ishikui or Ishigami, is a highly prized phenomenon in Japan. The much-weathered figure was likely in the semi-outdoors for several hundred years, becoming rounded and loosing bits here and there. The tail, carved from a separate piece of wood and inserted, is no longer extant. It is roughly 40 x 20 x 41 cm (16 x 8 x 16 inches) and solid, with no insect damage.
Komainu, also known as lion-dogs, are mythical creatures that hold significant religious importance in Japanese culture. They are often depicted as pairs of fierce-looking creatures resembling lions or dogs, with one open-mouthed and the other closed-mouthed. These statues are commonly found at the entrances of Shinto shrines and Buddhist temples in Japan. Komainu are considered protective guardians that ward off evil spirits and negative influences. The open-mouthed Komainu is believed to expel evil spirits, while the closed-mouthed one is thought to keep good spirits inside. By placing these statues at the entrances of sacred sites, it is believed that they protect the grounds and the people who visit them. The origin of Komainu can be traced back to ancient China, where similar guardian lion statues were prevalent and likely came to Japan during the 8th century, when cultural exchange between Japan and the continent was thriving. Over time, they became an integral part of Japanese religious and architectural practices.

A set of five covered bowls from the Akashi kilns of the 19th century decorated with cotton flowers on brown sandy clay. Each bowl is roughly 11.5 cm (4-1/2 inches) diameter, 6 cm (2-1/4 inches) deep. There are minor abrasions to the soft clay along the rims, but no cracks, and overall in rare fine used condition. Akashiyaki is a type of ceramic from Akashi, Hyogo Prefecture influenced by Mishima, Ko-Kiyomizu and Ninsei wares which reached its peak in the latter half of the Edo period. At the beginning of the Edo period, Tadazane Ogasawara from the Matsumoto domain of Shinano Province was granted the Akashi area with a value of 100,000 koku and founded the Akashi domain. Tadamasa strove to establish Akashi Castle and improve the castle town and economics of the province. According to one theory, Tadamasa initially invited Nonomura Ninsei from Kyoto, and had him develop a kiln to fire pottery which began the industry development. In the Genna era, a government kiln was built and Toda Oribenosuke began firing pottery in Akaura, Toba village. This is known today as Ko-akashiyaki. Bizen-style and Mishima-style tea pottery were produced and loved by tea masters. After that, the production of Akashiyaki was suspended for a period of time during the Tenmei period, but Tezuka Magoichiro, the group magistrate of Akashi Town, had Yamada Kikutaro reestablish the industry during the boom years of the Bunka/Bunsei eras in the early 19th century. Akashiyaki continued to be produced in this way into the Meiji era, however most of the production was for everyday items, and was rarely fired in large quantities, so as mass production took over it declined flourished from the end of the Meiji period to the beginning of the Taisho period

A celadon vase with beast head handles clasping ringlets decorated with a band of intense blue featuring civets frolicking among vines burgeoning with grapes enclosed in the original singed wooden box. It is18 cm (7 inches) diameter, 22 cm (9 inches) tall and in perfect condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A Poem card box of straight grained paulownia wood signed Tetsuro decorated with a rabbit in worked lead applied among long lacquered grasses dating from the mid 20th century enclosed in the original signed wooden box accompanied by a label from the Yamagata Museum dated Showa 34 (1959). It is 26.5 × 29.5 × 4.5 cm (10-1/2 x 12 x 2 inches) and is in excellent condition. The storage box is of cross-cut Jindai-sugi cedar, a highly prized grain. The box contains a shikishi poem card by the artist.

The thatch roofed studio of potter Mashimizu Zoroku by Shibata Banyo dating from the Taisho to early Showa period. Pigment on silk in a red lacquered wooden frame. It is 190 x 170 cm (74 1/2 x 67 inches) and is in overall fine condition with some light foxing and minor handling marks typical of age. For another example of this scene by Banyo see:Rokasensuiso to Yamamoto Shunkyo (2022, Otsu City Historical Museum) page 14.
Shibata Banyo (1885-1942) was an influential artist born in Otsu. After completing studies at the Kyoto Municipal School of Painting (mod. University of Art) he entered the salon of Yamamoto Shunkyo. For more on this artist see the book Shibata Banyo Koto no Modan Nihongaka (2011)

A dimpled bowl decorated with chrysanthemum blossoms floating past a dark shore by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Kenzan Utsushi Kikusui Ga Kashi-bachi. It is roughly 20 cm (8 inches) diameter, 8 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 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 rare lavender tinged pink porcelain vase decorated with a floral spray by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box and retaining a fine rosewood stand. It is 17.5 cm (7-1/2 inches) diameter, 14.5 cm (6 inches) tall, plus the stand, and is in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A cicada perches on the stalk of a broad leaf forming this small bowl by Miyagawa Kozan enclosed in the original signed wooden box titled Seiji-yu Cicada on Leaf. It is 13.5 x 14.5 x 5 cm (5-1/4 x 5-3/4 x 2 inches) and is in perfect condition.　
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A spectacular Meiji to Taisho period Golden box decorated with a spray of flowers under an imperial Chrysanthemum. The interior and bottom are elegant Nashiji, and the border between box and lid is protected by a solid silver rim. Kirigane cut gold flakes decorate the raised leaves. It comes enclosed in a custom made kiri-wood storage box. The gilded receptacle is 30 x 24.5 x 14 cm (12 x 9-3/4 x 5-1/2 inches) and it is in excellent condition.

A stylish table lamp made by Kinoshita Yuri and Craig Yamamoto consisting of a shade of woven Kozo paper on iron frame with walnut stand and brass fittings signed by both artists titled Haguregumo. It comes with a built in dimmer switch. The shade is 84 cm long, 40 cm diameter. The lamp stands 53 cm, tall and is in excellent condition, directly from the artist.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita was born In Kyoto and graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A free standing lamp of iron mounted on a solid Keyaki wood base with Bamboo Fiber Paper woven shade by Kinoshita Yuri titled Amakudari. It is lit with 3 100 W (15 w) LED Lights fitted with a black flat cord and foot switch complete with Remote Control. It is 195 cm ((76-1/2 inches) tall, the shade 30 cm (12 inches) diameter. In perfect condition, built in our gallery studio and completed just this month.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita was born In Kyoto and graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

An amazing Nebula of pale raw kozo paper impregnated with iron wire by Kinoshita Yuri titled Uchu (Universe) made in our gallery studio and completed just this month. The centerpiece of the show, it is made to hang from the ceiling, and comes with a Remote Control. It is roughly 130 x 110 x 85 cm (51 x 43 x 33-1/2 inches and is in excellent condition, directly from the artist.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita ーBorn In Kyoto, Japan, Yuri graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A sophisticated lamp of woven Linen Fiber Paper on iron frame by Kinoshita Yuri on a walnut base with brass hardware by Craig Yamamoto signed by both artists. The base is beautifully cut from a large chunk of dark walnut and contains a drawer. The shade is 16 cm (5-1/2 inches) diameter, 67 cm (26 inches) tall and is in excellent condition, directly from the artist.
Yuri Kinoshita was born In Kyoto and graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A stylish table lamp mady by Kinoshita Yuri and Craig Yamamoto consisting of a shade of woven bmboo fiber paper on iron frame with walnut stand and brass fittings signed by both artists. It comes with a Remote Control for dimming. The shade is 51 cm (20 inches) diameter, and it stands 61 cm (2 feet) tall and is in excellent condition, directly from the artist.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita was born in Kyoto and graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A belted cloud of Kozo Paper strips woven over an iron frame mounted on a walnut block with brass fittings by Kinoshita Yuri in collaboration with famed furniture maker Craig Yamamoto signed by both artists. It is lit with two 60 W (6W) LED Lighting Strips with black flat cord with Dimmer Switch. The paper shade is 85 x 40 x 40 cm and is in perfect condition.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita ーBorn In Kyoto, graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design.Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A long paper tube which could be mounted either vertically or horizontally (or even suspended from the ceiling) by Kinoshita Yuri made of woven Kozo Fiber on a stainless frame titeld Tenkugumo III. It is lit with 4 25 watt (2 W) LED Lighting Strips and features Transparent flat cord. It is 1 meter long, 15 x 20 cm (39 x 6 x 8 inches) and is in perfect condition, directly from the artist created for this exhibition during her sojourn on Awaji Island this Spring.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita ーBorn In Kyoto, graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design.Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.<
※Shipping fee is separate. Please contact us if you are considering purchasing.

A long wall mounted light of woven strips of Bamboo Fiber Paper on a Stainless frame by Kinoshita Yuri titled Tenkugumo II. It is 80 x 15 x 20 cm (x 6x 8 inches) and in perfect condition, directly from the artist made for this show during her sojourn on Awaji Island this Spring. It is lit by three 25 Watt (2 W) LED Lighting Strips featuring transparent flat cord.
Yuri Kinoshita ーBorn In Kyoto, Japan, Yuri graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A long wall mounted light of woven strips of Kozo, Linen Fiber, Bamboo Fiber, embossed Kozo and pasta impregnated Kozo Paper, with PP　Film on a stainless frame by Kinoshita Yuri titled Tenkugumo. It is lit with five 25 Watt (2 watt) LED Lighting Strips featuring a clear flat cord and plug. It is 148 x 18 x 20 cm (58 x 7 x 8 inches) and is in excellent condition, directly from the artist, created during her stay on Awaji Island in preparation for this show this Spring.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita ーBorn In Kyoto, graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design.Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

A sophisticated pair of lighting fixtures in the shape of overlapping leaves titled Happa by Kinoshita Yuri made of Kozo and Bamboo fiber papers draped over a Stainless Steel frames> It was created this Spring during her sojourn on Awaji Island. They Feature 60W (15w) LED Lighting with transparent flat cord. They are roughly 27 cm (11 inches) diameter and in excellent condition.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita ーBorn In Kyoto, graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design.Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’.Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.

Bird of Paradise, A bright playful wall mounted light of raw Kozo and linen fiber papers over an iron frame by Kinoshita Yuri made this Spring during her sojourn on Awaji Island. It is lit by a 60 W (6 W) LED Lighting Strip with transparent flat cord plug. The core is 60 cm (roughly 24 inches) diameter, 40 cm (16 inches) deep and in excellent condition, directly from the artist. With the tale is about 140 cm (55 inches) long.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita ーBorn In Kyoto, Japan, Yuri graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

Bird of Paradise, a colorful and playful wall mounted light of raw and colored Kozo and Linen Fiber papers by designer Kinoshita Yuri made this Spring during her sojourn on Awaji Island. It is lit by a 60 W (6 W) LED Lighting Strip with transparent flat cord plug. The core is 50 cm diameter, 35 cm (14 inches) deep and in excellent condition, directly from the artist. With the tale is about 140 cm (55 inches) long.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita ーBorn In Kyoto, Japan, Yuri graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design. Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate. Please contact us if you are considering purchasing.

An elegant woven paper cylinder made up of strips of Kozo paper over an iron frame with which glows softly, the color of an Autumn moon titled Amakudari (Falling Rain) It features 4 100 W (15 W) LED Lighting Strips with Remote Controller and Transparent flat cord plug. It is 30 cm (12 inches) diameter, 200 cm (78-3/4 inches) long and is in perfect condition, directly from the artist.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita ーBorn In Kyoto, graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design.Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate.

A rectangular wall-mounted “skyscape-light" of Kozo, Linen Fiber and Bamboo Fiber Papers with applied gold woven over an iron frame by lighting designer Kinoshita Yuri made this Spring during her soujourn on Awaji Island titled Koganegumo (yellow-gold clouds). It is 117 x 52 x 17 cm (46 x 20-1/2 x 6 inches) and is in perfect condition.
The cost of shipping is not included in the list price.
This work is equipped with a Japanese light bulb and an electrical outlet. Please use an LED light bulb and an outlet suitable for your country. Yuri Kinoshita ーBorn In Kyoto, graduated with honors from Osaka Fashion Institute, Department of Interior Design. After traveling throughout Africa, Europe, India, Asia and South America, she settled in the U.S. to expand her artistic skills and passion for lighting design.Now based in Seattle, Yuri works with organic materials to create small and large scale sculptures of ‘Interwoven Lights’. Her site specific installations continue to explore the interrelations of play between light and shadow within her medium.
※Shipping fee is separate.

A white vase adorned with an even whiter phoenix in slight relief by Teishitsu Gigei-in Ito Tozan enclosed in the original signed wooden box titled Hakuji Ho-o Mon Kabin. It is 22 cm (just less than 9 inches) tall, 10 cm (4 inches) diameter and in excellent condition. It comes wrapped in a cloth pouch with the original rosewood stand. Serving as buffer at the bottom of the box was a number of sheets of paper written in both English and French as well as Japanese, and we have kept them for posterity.
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.

A wild design of three small bean shaped boxes enclosed in a dynamic long bean pod decorated with colored lacquer and mother of pear inlay by Nagai Yasuo. The outer box is 43 × 12 × 7.8 cm (17 inches long), the beans themselves are 9.5 × 6.5 × 5 cm (roughly 4 x 2-1/2 x 2 inches) and all is in excellent condition. These are made in the Kanshitsu or dry lacquer technique, whereby cloth is covered in layers of lacquer allowing for free form shapes limited only by the imagination. Nagai Yasuo was born in Aichi prefecture in 1945, and graduated the Takamatsu School of Crafts lacquer department in 1964, receiving top prize for his work. He began exhibiting with the Nihon Craft Ten (National Crafts Exhibition) in 1981, and three years running from 1981-1983 his work was featured in solo exhibitions at the Aichi Prefectural Museum. From 1983 he expanded to exhibit with the progressive Asahi Craft Exhibition. He earned gold at the 1989Takaoka Craft Competition. Nagai states: I consider "items for and inspiration from daily life" as the premise for my creations. From there, I explore the freedom of form achievable through kanshitsu.

A stylish basket of woven bamboo laced with old arrows by Tanabe Chikuunsai II made for the preeminent Shiobido Gallery in Osaka enclosed in the original signed wooden box. It is 16 cm diameter, 37 cm tall and in perfect 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 Momoyama to early Edo period (16th-17th century) small Chawan , much worn inside, with old gold repairs gleaming softly on the iron ringed rim. Aside from this iron circle, and the wear earned over centuries on the slightly oblong shape, there is no decoration. It is 12.6 × 10.9 × 6.2 cm (5 x 4-1/4 x 2-1/2 inches) and comes wrapped in a crepe silk pouch enclosed in an old, fine quality kiri-wood box.
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 standing lion covered in running yellow bamboo ash glaze from the Edo period kilns of Takatori on the southern Isle of Kyushu. Head held high, the smoke would vent straight out of the creatures mouth, as if exhaling the fragrant tendrils. It is 14 x 10.5 x 20 cm and is in excellent condition, enclosed in a modern kiri-wood storage box.
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.
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.

By Naimen Shiho II enclosed in the original signed wooden box. It is 20 cm (8 inches) diameter, 27cm (11 inches) tall and in excellent condition. This is a great pair with the vase in the same form with silver inlay by his father.
Naimen Shiho I (Katsuji, (1904-1987) studied metalwork under Ichioka Shiun from the age of 15 establishing his own workshop in 1925. His work was first publicly exhibited at the 1930 National Shokoten. Two years later he would be awarded at the Belgium World Exposition. He remained active throughout the troubled years of the mid-century for which he would receive the order of cultural merit from Takaoka City in 1967. Work by him is held in the Takaoka City Museum. He remained an active promoter of traditional bronze ware until his death in 1987. His son, the second generation Shiho would study under his father from 1957. He too is much lauded beginning with top prize at the 1974 Takaoka Traditional Craft Exhibition

A pumpkin lobed vase with silver inlay by Naimen Shiho I (Katsuji) enclosed in the original signed wooden box. It is 19.5 cm (8 inches) diameter, 27 cm (11 inches) tall and in excellent condition. This is a great pair with the vase in the same form in simple Murashidao mottled olive tones by his son.
Naimen Shiho I (Katsuji, (1904-1987) studied metalwork under Ichioka Shiun from the age of 15 establishing his own workshop in 1925. His work was first publicly exhibited at the 1930 National Shokoten. Two years later he would be awarded at the Belgium World Exposition. He remained active throughout the troubled years of the mid-century for which he would receive the order of cultural merit from Takaoka City in 1967. Work by him is held in the Takaoka City Museum. He remained an active promoter of traditional bronze ware until his death in 1987. His son, the second generation Shiho would study under his father from 1957. He too is much lauded beginning with top prize at the 1974 Takaoka Traditional Craft Exhibition

A hand painted cloth banner decorated with imagery by various artists including the Nanga School literati artists Tanomura Chokunyu (1814-1907) and Nakanishi Koseki (1807-1884) as well as Tanaka Koha of the Kagetsuan School of Sencha and Confucian scholar Goto Shoin (1797-1864) and Hirose Kyokuso (1807-1863) who were two of the most important followers of Rai Sanyo. The date Konoe-saru (year of the monkey in metal) is visible in both the central leaf and the lower left gourd image. Judging then by the 60 year cyclical zodiac calendar it dates from the fifth month of 1860. The title, signed Shochiku-Rojin (the old man Shochiku), reads Betsu-yu-ten-chi-hi-jin-kan, a poetic phrase meaning there are other worlds aside from that of the human plane, specifically alluding to a world without human desire. Perhaps when these learned gentlemen gathered for tea beyond this curtain, they felt that they had experienced one of these other worlds. The cloth is 91 x 160 cm (36 x 63 inches) including a pouch through which a bamboo stave would have been run for hanging. Toned somewhat with age, the fibers are strong

A fabulous Edo period large Gohon Chawan from the Hagi region, a classical bowl wearing its history in a spider thread of gleaming gold. Broken once, the cracks have been repaired with softly gleaming thin wisps o gold in the highest quality. The bowl is 12.5 × 15 x 8 cm (5 x 6 x 3 inches) and comes enclosed in a period Kiri-wood box. 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 masterpiece white porcelain vase by Miura Chikusen III retaining the original richly carved rosewood stand enclosed in the original signed wooden box titled White Porcelain Vase Carved with Flowers, Vines and Sun Designs which is in turn enclosed in a protective outer box, a testament to the import placed on the piece. It is 41 cm (16 inches) tall plus the stand, and in excellent condition. The vase dates between 1921 and 1931.
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 fine pair of White Porcelain vases with raised designs by Miura Chikken (Chikuken) dating from the early 20th century each enclosed in the original signed wooden box. The are roughly 17.5 cm (7 inches) diameter, 28.5 cm (over 11 inches) tall and in excellent condition. Although the same diameter, one is slightly shorter than the other. Miura Chikken (Chikuken, 1900-1990) was born the third son of Miura Chikusen I. He was named the third head of the Chikusen family after the untimely death of his older brother in 1918, but returned the kiln to his brother’s son after his coming of age in 1934. That year he set out on his own path with the new name Chikken focusing on traditional Kenzan-Ninsei styles.

Something wild remains in the expression of this quiet little creature hiding away from human eyes. It is Bizen pottery, dating from the 19th to early 20th century, when Saikumono sculptural works were at their peak of production. It is 10.5 x 17.5 x 10.5 cm (4 x 7-1/2 x 4 inches) and is in excellent condition.
The Bizen pottery tradition in Japan dates back over a thousand years, tracing its roots to the Heian period (794-1185). Located in the Okayama Prefecture, the Bizen region has been renowned for its unique style of pottery, characterized by rustic simplicity, earthy textures, and natural aesthetics. The beauty of Bizen pottery lies in its adherence to wood-fired kilns. The firing process is crucial, as it allows for the spontaneous creation of unpredictable patterns and colors on the pottery's surface. These effects result from the interaction of flames, ash, and minerals present in the clay during the high-temperature firing, reaching up to 1300 degrees Celsius. Bizen ware typically features unglazed surfaces, showcasing the natural qualities of the clay itself. The pottery's reddish-brown coloration, derived from the iron-rich clay native to the Bizen region, is emblematic of its organic appeal. Saiku-mono or figurative pottery works were very popular in the 19th and early 20th centuries, and that tradition still exists today. Simplicity of form, often inspired by nature and everyday objects, enhances the pottery's charm. Its rustic elegance and understated sophistication resonate with collectors and enthusiasts worldwide.

A set of five sake cups, each engraved with a unique poem by the artist/nun Otagaki Rengetsu dating from her 83rd year enclosed in an antique Sarasa cloth pouch with silk pads between enclosed in an old wooden box. They are each 5 cm (2 inches) diameter and all are in excellent condition. The poems read:
1 Wakabae no yanagi no ito no mijikaku te furiwakegami no kokochi koso sure
The newborn willow fronds are short and feel to me just like bobbed hair
2 Umazake no miwa no sugi zu ba kore zo kono oi zu shina zu no kusuri nara mashi
Fine sake in balance becomes an elixir for perpetual youth and long life
3 Asakaze ni ubara kaori te hototogisu naku ya uzuki no shiga no yamasato
On the morning breeze the scent of rambler roses...a cuckoo cries crossing Uzuki over Shiga Mountain Villages
4 Kawazoi no yanagi no ito ni kakari keri nokoru koori no kataware no tsuki
In the willow fronds along the riverbank caught like lingering ice—a half moon
5 Tanazoko wo uke te matsu ma mo chiyo ya hen nome ba wakayu to kiku no shitatsuyu
In my palms waiting for eons to pass...I hear drinking this will make me younger—the chrysanthemums' hanging dew
Otagaki Rengetsu (1791-1875) was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However, this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

A cluster of Blue and White Edo period Imari bowls which melted together in the inferno and fused, three becoming one in a fortuitous accident. The Japanese have long held these flaws in high esteem, accentuating the ideas of Wabi-sabi and the ephemeral which permeate Japanese culture. Roughly 24 x 16 x 8 cm (9-1/2 x 6 x 3 inches), a very interesting addition to the table.

Golden Maple leaves and five petaled plum blossoms float on the golden pond pooling on this early Edo period Karatsu Chawan decorated with a single Zen circle. Superb quality repairs gleam about the rim, one large repair decorated over top of the gold with fine amages of leaves and blossoms. The base is small and shallow, indicative of the early era. It is 12 cm (just less than 5 inches) diameter, 7.5cm (3 inches) tall and comes enclosed in an old wooden box.
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 set of 4 exquisite lacquered wooden boxes with trays decorated with Tsuba (sword guards) in gold on a jet black mirror surface dating from the early 20th century enclosed in a four tier black lacquered wooden box. Inside is silver Nashiji with scattered cherry blossoms. The trays feature solid silver rims and are signed Ryoshin. Each box is 13.5 x 10.5 x 5.7 cm (5-1/4 x 4 x 2 inches) and each tray is 17.6 x 14.6 x 1.7 cm and all are in overall fine condition.

An inviting poem for the 8th month is engraved among the leaves and grapes clinging to the vines forming the handle on this tall ewer covered in pale white glaze by Otagaki Rengetsu dating from the 19th century. It is 22 cm (9 inches) tall, 13.5 x 19 cm across the handle and is in excellent condition. The poem reads:
Okazaki no tsuki mi ni ki mase
Miyakobito
kado no hata imo nite matsura nan
Come see the moon in Okazaki
People of Kyoto
And I will serve you boiled garden potatoes
Otagaki Rengetsu (1791-1875) was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however, her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However, this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

Peaches decorate this exquisite vessel in Kutani colors by Tei Shitsu Gigei-in Ito Tozan. It is 17 cm (6-1/2 inches) diameter, 31 cm (12-1/4 inches) tall and in excellent condition. It comes in an unmarked old kiri-wood box.
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 set of five covered pottery bowls by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Ninsei Suimono Wan. The basic setting in Japanese food is Ichiju-Sansai or one soup, three dishes. So instead of mixing everything on one plate, each part of the meal is given its own dish. Suimono Wan are bowls for clear soup served between parts of the meal to cleanse the palette. These bowls are 8.5 cm (3-1/4 inches) diameter, 8 cm tall. One bowl has a gold repair to the lid, otherwise they are all in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

Flowers blossom all about this soft pink vase by Miyagawa (Makuzu) Kozan I published in the book Miyagawa Kozan Yukasai (2018), page 32 figure 25. A copy of the book will be included. It comes in a modern wooden storage box. According to the book it was made circa 1902. The vase is 18.5 cm (7-1/4 inches) diameter, 22.5 cm (9 inches) tall and is in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A beautiful early footed bowl of colored glass with sweeping clear glass handles by Iwata Toshichi enclosed in the rare original signed wooden box titled Sango-Iro Garasu Hachi (Coral Colored Glass Bowl). It is 17.5 cm (7 inches) diameter, 14cm tall (5-1/2 inches) tall and in excellent condition, bearing the artist seal in gold on the base.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emperor for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.

A glass Bowl by Iwata Toshichi enclosed in the very rare original signed wooden box titled Ryomimitsuki Kajutsumori (Fruit Dish with Two Handles). Inside the box lid is written: For the 2nd Emerging Glass Solo Exhibition Held at Takashimaya in the Early Summer of 1936. It is 28×24 x 8 cm (11 x 9-3/4 x 3 inches) and is in excellent condition. Acquiring a piece by Toshichi with such detail about its past is a decidedly rare opportunity.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emperor for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.

A breathtaking box covered entirely in gold with geese taking flight beyond blossoming plum trees overhanging the waters edge. The flowers are in red and silver, the rest of the surface is powdered gold with kirigane inlay of cut squares of gold intimating lichen and shadow on the stones. The themes are repeated on all sides of the box. Inside fans emblazoned with seasonal flowers and pine boughs decorate the Nashiji surface. The box is 29 x 24 x 16 cm (just less than 12 x 10 x 6 inches) and is in excellent condition, enclosed in a lacquered wooden storage box, dating from the later Meiji to Taisho era.

Polished layered-lacquer lozenges are inlayed into the surface of this fabulous Art-Deco era vase by important Japanese Bronze artist Yamamoto Junmin. The lacquered pieces have been cut and polished from variously colored layered lacquer. The vase is signed on the base Junmin, and measures 27.5 cm (11 inches) diameter, 18.5 cm (7-1/4 inches) tall. It is in excellent condition.
Yamamoto Junmin (1882 – 1962) learned the metal arts under Katori Hotsuma (Hozuma) and Asakura Fumio at the Tokyo University of Art. Living in Nara, the ancient capital, he was one of the finest metal workers of his age, carrying on the Edo-doki tradition through the early Showa era while also incorporating many ideas and innovations from Art Deco into hos oeuvre. His work was exhibited with the Teiten/Bunten National Exhibitions many times before the second world war, and with the Nitten National Exhibition post-war. The National Museum of Modern Art in Kyoto holds two works by this important bronze artist, as well as the Metal Art Museum Hikarinotani.

A lacquered writing box in the shape of a kimono sleeve (sode) covered in soaring silver and gold geese among autumn reeds and Togidashi clouds with a secondary (inner) sleeve shape covered in Karakusa vine tendrils on black enclosed in an age darkened kiri wood box. The inside is covered entirely in nashiji gold powder, and contains a grinding stone, and a water dropper of copper inset into the tray. Also enclosed are a bamboo brush and gilded ink stick decorated with a squirrel on a grapevine made by Koundo. The box is 22 x 15 x 3.5cm (8-1/2 x 6 x 1-1/2 inches) and is in overall excellent condition.

A set of five lacquer lined covered bowls made from natural gourds enclosed in an age darkened wooden box titled Hyo Suimono Wan indicating they are for serving thin soup to cleanse the palate between courses. In Japanese cuisine, presentation is everything. Texture and color may in fact be more important than flavor. The dishes used as well, should be a feast for the eyes, and you will find every aspect of the traditional meal is presented in its own unique setting. These bowls are 7 to 8.5 cm (roughly 3 inches plus) diameter, 7 cm tall (roughly 3 inches) and all are in excellent condition. According to Arigatojapan, Suimono, literally meaning 'dish to sip,' is a refreshing type of clear soup that is meant to cleanse the palate in between dishes. Often very light and slightly umami in taste, it is one of the oldest and most traditional foods in Japanese cuisine.

Pink, purple and red glazes mingle on the surface of this Mizusashi water jar by Matsuyama Gae enclosed in the original signed wooden box titled Kujaku-yu Mizusashi and signed inside the lid by the Urasenke Konnichi-an Grand Tea Master, Sen Genshitsu. It is 20.5 cm (8 inches) diameter, 12 cm (5 inches) tall and in excellent condition.
Gae I Returned from China in 1945, where he had been posted for eight years and had studied in depth ancient Chinese ceramics. In 1947 he opened his own kiln and immediately won acclaim, as well as the Mayors award for Kobe in 1948. Working together with his wife they developed this glaze through trial and error in 1951. Several pieces were collected by the Imperial Household agency in 1953 and 1954, and a vase was sent as a gift to then President Eisenhower in 1960. During this time they received many awards and presented at a great many exhibitions. Gae died in 1963 of cancer, and after one year of mourning, Tsutako continued the name and work. She continued to exhibit and was again accepted into the Imperial collection in 1964, and was also featured at the World Exposition in 1970 held in Osaka. When she passes away her daughter continued the family tradition, becoming the third and last Matsuyama Gae. Sen Genshitsu was born in Kyoto on April 19, 1923, as the first son of the 14th-generation Urasenke iemoto, Mugensai. His given name was Masaoki. He served as Urasenke Iemoto for thirty-eight years, up to the end of 2002, when he transferred the title and the hereditary name Soshitsu that goes with it to his eldest son, Zabosai. At that time, he changed his own name from Soshitsu to Genshitsu, and he became referred to by the title Daisosho, signifying his status as the once grand master. After serving as a pilot in the Airforce division of the Japanese navy during WWII, and then completing his temporarily interrupted university education at Doshisha University, Kyoto, graduating from the Faculty of Economics, he took Buddhist vows under Goto Zuigan, chief abbot of Daitokuji temple, and received the Buddhist names Hounsai Genshu Soko. In 1950, he was confirmed as heir apparent of Mugensai, and thus became referred to by the title Wakasosho. He made his first trip abroad that year, to Hawaii and the USA, and since then he has made more than three hundred trips abroad and been to more than sixty countries. He lived in Hawaii in 1952, during which time he lectured at and also took courses at the University of Hawaii at Manoa, beginning his long and dedicated association with that university. Upon Mugensai’s death in 1964, he succeeded as the 15th-generation Urasenke iemoto, Hounsai. He is widely known as a global-minded promoter both of the culture embraced by the Way of Tea and of World Peace. Among his many awards and recognitions, in 1997, he was awarded the Order of Culture by the Emperor of Japan.

A fabulous large porcelain vase by Daimaru Hokuho (Hoppoo) complete with a rosewood base enclosed in the original signed and compartmentalized wooden box titled Konko-yu Semi Monkizami Kabin (Golden Yellow Glazed Vase inscribed with Cicada Patterns). The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The baluster form rises to frets in the shape of stylized cicada under a belt of archaic figures and yotsu-domoe (yin-yang) symbols. It is 21 cm (just more than 8 inches) diameter 36.5 cm (14-3/4 inches) tall plus the base and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

A pair of masks representing the two variations of Tengu, the long nosed Tengu and the Karasu (Crow) Tengu mounted on a wooden placard dating from the Meiji period. Each mask is of carved and lacquered wood with inset glass eyes. The placard is 38cm (15 inches) wide 22.5 cm (9 inches) tall and the masks are roughly 11 cm (4 inches plus) in depth. It looks as if the Karasu Tengu mask has had the eyes repaired, and they appear cloudy by comparison to those of the the long nosed partner.
The long-nosed and or Beaked Tengu is a mythical creature from Japanese folklore. Tengu are believed to be supernatural beings often depicted with human and bird-like features. They're known for their long noses, which can vary in length depending on the depiction. Tengu are often associated with mountain forests and are considered protectors of the mountains. They are known for their mischievous nature, martial arts prowess, and sometimes for teaching humans valuable lessons or skills. In Japanese culture, Tengu are a fascinating blend of reverence and fear, embodying both the spiritual and the natural worlds.

The bird-faced Kami (god) Doryo Daigongen strikes a powerful pose astride the back of a mischievous white fox. Doryo is purported to have been an ascetic monk who turned himself into a Tengu when he vowed on his deathbed to protect the Mountain Temple Complex of Daiyuzen in modern day Kanagawa prefecture. This legend inspired a cult which rose to great prominence in the Edo period. To this cult the figure was the ward of Budo (martial arts). Originally this figure would have had feathered wings, which have been lost to time, and it is likely the soot encrusted figure was also once adorned in color and the fox was white, but that too has been all buried beneath centuries of soot from incense smoke. It is 34 cm (13-1/2 inches) tall. There is some damage to his right hand, tip of the beak and foxes tail.
Tengu are mountain and forest goblins with both Shinto and Buddhist attributes. The patron of martial arts, the bird-like Tengu is a skilled warrior and mischief maker, especially prone to playing tricks on arrogant and vainglorious men, and to punishing those who willfully misuse knowledge and authority to gain fame or position. In Buddhist lore they came to be protectors of temples and defenders of the Dharma (Buddhist Law).

A skeleton sits among the dried grasses, alone and forgotten, perhaps reflecting on his life in this earie painting by Buddhist priest Higuchi Ryuon dated Meiji 6 (1873). Ink on paper, it is 41.5 x 179.5 cm (16-1/4 x 70-1/2 inches) and is in fine condition; completely remounted in a border of two subtle shades of black with colorful piping and features black lacquered rollers with mother of pearl flakes. It comes in a kiri-wood box.
Higuchi Ryuon (1800－1885) was a priest of the Jodo sect of Buddhism active from the later Edo through the Meiji periods. Born in Aizu (modern day Fukushima) he studied at the Higashi Honganji Takakura Gakuryo and served at Onjoji in Omi (modern day Shiga Prefecture) as well as Chishakkuin in Kyoto before becoming head priest of Enkoji Temple in Kyoto. He has recently come to attention when it was discovered he had a copy of the Bible in his personal effects.