The Kura - Japanese Art Treasures
Robert Mangold has been working with Japanese antiques since 1995 with an emphasis on ceramics, Paintings, Armour and Buddhist furniture.
In accordance with the requests of local authorities our Kyoto gallery will be closed to visitors from April 14th until further notice.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Stoneware : Pre 1930 item #1426885 (stock #TCR7890)
The Kura
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A set of delicately dimpled Tokkuri in simple, Hagi earth tones by the father of Hagi Revival Sakakura Shinbei XII enclosed in the original signed wooden box. Hagi is known for this simple, crackled glaze into which color infuses with use. In fact it is said a piece of Hagi is not complete until this process has occurred over the many years, creating that special feeling particular to Hagi. They are 5 inches (12.5 cm) tall and in excellent condition.
Sakakura Shinbei XII (1881-1960) was first born into an unbroken line of potters going back to the founding of the Hagi tradition in the Momoyama period. He learned, of course, at home as well as under the 9th generation Saka Koraizaemon. He was handed the reins of the family kiln in 1897. He worked tirelessly to maintain the heritage and history of Hagi. He cultivated his connection with the Urasenke Tea School, helping to preserve the position of Hagi in the tea world order which was so important to the continuation of the tradition in the impoverished post war era. (The old saying of tea utensil ranking goes; Ichi Raku, Ni Hagi, San Karatsu). He is credited with being one of the small group who revived Hagi ware in the 20th century, preserving the traditions and researching lost techniques, rescuing it from obscurity. In 1955 he was designated an Intangible Cultural Property of Yamaguchi (Prefectural level version of the Living National Treasure). Work by him is held in the National Museum of Modern Art in Tokyo as well as The Hagi Uragami Museum among others.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1900 item #1426876 (stock #TCR7889)
The Kura
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Pair of Tokkuri by Kiyomizu Rokubei III enclosed in an old period kiri-wood collectors’ box. Properly titled I suppose these would be Tetsu-kaburi Iro-e Gohon Tokkuri (Sake flasks of Gohon style with colorful overglaze decoration wearing iron from the top). 16.5 cm (6-1/2 inches) tall. There are very high-quality repairs in gold to the rims.
Kiyomizu Rokubei III (1820-1883) was born the second son of the second generation Rokubei, real name Kuritaro. He studied pottery under his father, and literati painting under the great Oda Kaisen. It was he who bought the Noborigama kiln on the Gojozaka in 1848. Entering into the new open era of the Meiji, Rokubei worked closely with the newly established prefectural government to develop the industries and arts of Kyoto. He began producing western style dishes, and his works were submitted to many public exhibitions, at which he was also often called to serve as judge. From the age of 18 he took the name Shoun, which he used until becoming the third Rokubei in He was known to have collaborated with various literati including the female poet Otagaki Rengetsu. A tea bowl by Rokubei III is held in the collection of the New York Metropolitan Museum of Art.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Stoneware : Pre 1930 item #1426875 (stock #TCR7888)
The Kura
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Gold reflects the shimmering light on the feathers of the Kawasemi (Kingfisher) perched attentive on a branch over the raw earth of this flower vessel by Miyagawa (Makuzu) Kozan II enclosed in the original signed wood box titled: Suhada Iro-e Medake ni Kawasemi Chokoku Kabin (Vase of un-glazed clay with Kingfisher on Bamboo). Interestingly he has chosen two separate characters, both of which can be read Kawasemi, but combined are the word for Jade, making a play on words and imagery in the title. Roughly 8 inches (20 cm) diameter, 9-1/2 inches (24 cm) tall and in excellent condition. It is accompanied by a Mokuroku certificate of authentication from the Bijutsu Club written in Showa 16 (1941).
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The unlucky third generation inherited the kiln at the height of the war years, it was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.
All Items : Artists : Mixed Media : Contemporary item #1426510 (stock #MOR7880)
The Kura
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Nagakura Kenichi's artwork is imbued with a primal energy and balance executed with a keen understanding of composition. Each piece combines classic Japanese bamboo basketry techniques with a contemporary artist's sensibility. He steps outside traditional limitations of form, function and material, challenging our concept of customary bamboo. The transition from container to sculpture is further explored in this piece, with expressive curves and a lack of any definable shape. This earth encrusted style is perhaps the most easily identifiable in his oeuvre; a technique pioneered and unique to him. The amorphic form is 36 x 30 x 26 cm (14 x 12 x 10 inches) and in excellent condition. Light intermingling from various angles through the organic sculpture creates a dramatic, contemplative atmosphere.
Nagakura Kenichi (1952-2018) treated bamboo as a purely sculptural medium. He creates unconventional, organic forms, sometimes accented with pieces of found wood and coated with finishes of his own creation. Nagakura spent years learning traditional bamboo techniques from his grandfather before innovating his own style. Bamboo, says the artist, is an ideal material to express nature: “Bamboo can be either delicate like a spider web or solid as stone, thus embodying the natural cycles of the world.”. Bamboo Sculptures and baskets are held the Asian Art Museum in San Francisco, the Herbert F Johnson Museum of Art at Cornell, the Metropolitan Museum of Art in New York, the Minneapolis Institute of Art, the Mint Museum of Craft in North Carolina, and in the National Gallery of Victoria, among others.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1920 item #1426422 (stock #TCR7879)
The Kura
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Gold gleams on the edges of the sasa bamboo leaves decorating this Ninsei style vessel by Miyagawa (Makuzu) Kozan II enclosed in the original signed wood box titled: Kenzan Utsushi Zen-Sasa-no-e Kabin (Kenzan style Vase decorated with Wild Bamboo Leaves). It is 23 cm (9 inches) diameter, 21.5 cm (8-1/2 inches) tall and in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The unlucky third generation inherited the kiln at the height of the war years, it was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1920 item #1425179 (stock #TCR7868)
The Kura
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The mastery of expression accomplished by Suwa Sozan I is evident in this pair of porcelain children enclosed in the original signed wooden box titled Gosai Doshi Okimono (Five Colored Figure of Children). This piece is published in the definitive book “Suwa Sozan Sakuhin Shu” (1971). In the book the photo title is more specific “Gosai Mimiakatori Karako Okimono” (Five Color Figure of Chinese Children Cleaning Ears) and the work is dated to 1913. The fellow doing the cleaning is absorbed in his work, an intense expression on his face, while the other fellow smiles with glee, leaning into his compatriots hands. It is 22 x 11 x 18 cm (9 x 4-1/2 x 7 inches). There are losses to the glazing, some of which are evident in the photograph in the book as well.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1950 item #1425093 (stock #TCR7867)
The Kura
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A white pidgeon perches on a discarded or fallen roof tile decorated with calligraphy by Miyanaga Tozan enclosed in the original signed wooden box. It is 9 inches (23 cm) tall and in excellent condition. I believe this is likely by the second generation.
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. He was succeeded by his adopted daughter who brought a refreshing variation of color and delicate touch to the porcelains they produced. The kiln is now in the third generation, run by his grandson.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Stoneware : Pre 1960 item #1425092 (stock #TCR7866)
The Kura
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A rare Izushi Yaki Pottery vase in typical textured white engraved with a dragon in roiling clouds. Unusual for Izushi, which is better known for small items, it is exceptionally large, at 11 inches (28 cm) tall and in excellent condition.
Izuya Yazaemon and Izumiya Jirobei began the Izushi tradition in 1764 when they established a kiln on borrowed land in the Tajima realm specializing in earthenware. The production of porcelain began some 25 years later, gaining official support from the domain warlord in 1799. In the late Edo it was privatized with several kilns in production at the time. Production increased through the Meiji, but fell into decline with the progress of industrialization, and in an effort to preserve the tradition it was recognized by Hyogo prefecture breaking ground on a communal facility and the foundation of the Izushi Ceramics Union in 1931.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1940 item #1424366 (stock #TCR7855)
The Kura
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A truly magnificent vase of pastel blue floral designs on yellow-green body by Miyanaga Tozan enclosed in the original signed wooden box. It is 8 inches (20 cm) tall and in excellent condition. It retains the original wooden base. I believe this is by the second generation.
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. He was succeeded by his adopted daughter who brought a refreshing variation of color and delicate touch to the porcelains they produced. The kiln is now in the third generation, run by his grandson.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Metalwork : Pre 1980 item #1424365 (stock #TCR7854)
The Kura
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A fabulous Koro covered in damascened gold by Ibuse Keisuke enclosed in the original signed wooden box titled Nunome Zogan Jungin Koro (Damascene Pure Silver Incense Burner). It is 11 cm (4-1/2 inches) tall, 9.5 cm (3-3/4 inches) diameter and in excellent condition.
Ibuse Keisuke was born in Tokyo in 1930, and began his studies of metal arts in 1950 under Unno Takeo. By the late fifties he was exhibiting with the Kofukai (where he would later be awarded) as well as the Nitten National Art Exhibition, and in the early sixties would begin exhibiting at the Gendai Kogeiten Modern Crafts Exhibition. In 1974 he would be awarded at the Dento Kogei Shinsaku Ten (New Traditional Crafts Exhibition), and in ’76 at the Dento Kogei Musashino Ten, followed by awards at the Dento Kogei Kinko Shinsaku Ten and Dento Kogei Ten with his work being collected by the Imperial Household Agency in 1981. The following years Hiroshima Prefectural Museum, Fukuyama Museum as well as again The Imperial Household Agency would purchase pieces for their permanent collections.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1920 item #1424187 (stock #TCR7853)
The Kura
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Deep in contemplation, the recumbent figure of Lao Tzu rests in quiet contemplation, the picture of serenity by Miyagawa (Makuzu) Kozan II enclosed in the original signed wooden box titled Haku-korai-I Roshi Okimono (Figure of Lao Tzu In White Korean Style). The robes are exquisitely renderedIt is 20 x 26.5 x 17 cm (8 x 10-1/2 x 7 inches) and is in excellent condition.
For an identical figure see the book Miyagawa Kozan Ten (1986) plates 175
Lao Tzu, also rendered as Laozi or Lao-Tze, was an an extraordinary thinker who flourished during the sixth century B.C.E., the founder of philosophical Taoism, and a deity in traditional Chinese religions. He is the reputed author of the Tao Te Ching commonly translated as the “Classic of the Way and Virtue.” Its influence on Chinese culture is pervasive, and it reaches beyond China. It is concerned with the Dao or “Way” and how it finds expression in “virtue”, especially through what the text calls “naturalness” and “nonaction”. Perhaps our own journey to meet him may come from one of his most famous quotes, “A journey of a thousand miles begins with a single step.”
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The unlucky third generation inherited the kiln at the height of the war years, it was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1920 item #1424159 (stock #TCR7852)
The Kura
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Young pine and bright flowers blossom among gilded hills on this Tea Leaf Jar (Chatsubo) shaped vase by Miyagawa (Makuzu) Kozan II enclosed in the original signed double wood box titled: Ninsei-I Kuro-yu Iro-e Komatsu-ga Kabin (Ninsei style Black Glazed Colorful Design Young Pine Vase). It is accompanied by a “Mokuroku” record as having been received as a gift in 1931. It is 29 cm (11-1/2 inches) tall, 21.5 cm (8-1/2 inches) diameter and in excellent condition.
For similar forms see the book Miyagawa Kozan Ten (1986) plates 35, 36 and 47, or Miyagawa Kozan the World of Makuzu Ware (2001) plates 128, 172 and 173
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The unlucky third generation inherited the kiln at the height of the war years, it was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1940 item #1423925 (stock #TCR7845)
The Kura
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Leaping green fish soar up the sides over tempestuous crackled celadon waves crashing over the matte blue of this exquisite Mizusashi fresh water container by Sawada Sozan enclosed in the original signed wooden box. It comes with a pottery lid as well as a black lacquered lid (Kaebuta). It is 18 cm (7 inches) tall, 13 cm (5 inches) diameter and in excellent condition.
Sawada Sozan (1881-1963) was born in Kyoto and graduated the Tokyo School of Fine Arts. He attended the Arts Department of Columbia College in the United States where he researched design, and after touring Europe, returned to Japan in 1907 where he established the Sawada Design Institute in Kyoto. He designed textiles, posters, sake labels alongside his exploration of the clay medium. In 1917 he established a kiln in the Momoyama district of Fushimi in Southern Kyoto (this box is signed Momoyama Sozan Saku). He exhibited with the Bunten-Teiten- National Exhibitions and eventually was selected to serve as a judge there. From the mid ‘30s, with the darkening of world affairs, he began to focus more on private exhibition. Several works are held in the permanent collection of the National Museum of Modern Art, Kyoto.
All Items : Antiques : Regional Art : Asian : Japanese : Devotional Objects : Pre 1910 item #1423412 (stock #MOR7839)
The Kura
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A Carved and Gilded Buddhist Reliquary containing a polished pink stone exhibited at the Shimane Prefectural Musuem Arakawa Kisai exhibition in 1974 enclosed in a custom-made wooden box and retaining the loan papers from the museum as well as the original pamphlet. The wood body has been carved in tempestuous waves, lacquered black and gilded, with a polished pink orb inside a flame shaped finial. It is 7 inches (18 cm) tall and in excellent condition.
Arakawa Kisai (dates disputed, roughly 1827-1906) was born the son of a carpenter in Shimane prefecture. He was considered a child prodigy by the age of five, and began sculpting around his tenth birthday. He received a proper education, and by the time he was twelve his clay sculptures were a popular collector’s item. At the age of fourteen his artistic training began in earnest, working as a netsuke carver, he studied shrine architecture while also taking painting lessons from Nabeshima Ungaku, his son Kagaku and Buddhist sculpture under Kato Saori (sp?). Successful in these endeavors, at the age of 28 he would also begin metal sculpting while keeping company with artisans of all trades, absorbing many skills. With the opening of the country in the Meiji era, he would begin studying Nanga painting under Nakanishi Koseki as well as Western style oil painting under pioneering artist Yokoyama Matsusaburo who would be considered a master at photography, lithography and painting. He submitted a piece to the first Naikoku Hakurankai (1877 National Industrial Exhibition) which was awarded and collected by the Imperial Household. He studied Physics, and developed a number of important inventions including weaving machines. His work was awarded at both the Chicago World’s Fair in 1893, and the Paris World Exposition in 1900. One work considered his masterpiece, a carving of the mythological Princess Inada, is held in the collection of Izumo Shrine, one of the most holy sites in Shintoism. The Arakawa Kisai Ten in which this was featured was held n 1974, and his work was again the focus of attention with the exhibit “The Japanese Aesthetic Hearn Loved, Sculptor Arakawa Kisai and Lafcadion Hearn held in 2018-2019. An excerpt from that show: In August of 1890, Lafcadio Hearn would be transferred to Matsue, and discover a certain stone statue while out for a walk. Hearn became mesmerized by the statue, a friendly Buddhist Jizo which overflowed with benevolence and belonged to the Ryusho-ji Temple in Teramachi. Hearn immediately asked after the sculptor, and this was how he came to know the name Arakawa Kisai. The very next day, Hearn visited Kisai’s workshop, where he became enamored with the skill and demeanor of the master sculptor. The two men discussed the arts and are said to have hit it off very well (San-in Shimbun Newspaper). Hearn would go on to commission pieces from Kisai in an effort to introduce the sculptor to the world, as a producer might promote an artist. The bond these two men shared can be glimpsed today in Hearn’s writings; the diaries of Nishida Sentaro, who was Deputy Head Teacher of Shimane Prefectural Common Middle School and Hearn’s good friend; letters to Nishida; contemporary newspaper articles (San-in Shimbun); and other sources.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1920 item #1423336 (stock #TCR7834)
The Kura
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An exceptional boxed set of sake cups made by Seifu Yohei III lined with silver by Nakagawa Joeki (IX or X) enclosed in the original compartmentalized kiri-wood box signed by both artists. Each cup is unique, silver on blue, gold on red, and green on yellow, each stamped by the artist and displaying the celebratory Plum, Pine and Bamboo (Shochikubai) motif. They are 2-12 inches (6.3 cm) diameter each and in excellent condition.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei II and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.
Likely by Nakagawa Joeki IX (1849-1911), he became the head of the Nakagawa family, a lineage of Kyoto artists who had specialized mainly in making utensils for the tea ceremony at a time when support for the Tea Ceremony reached unprecedented lows. This was due to the association of Tea with the former ruling class. Nakagawa Joeki received the support of the Mitsui family to compensate for the loss of traditional patronage during the Meiji era and is remembered for creating highly accomplished works. Nakagawa Junsaburo (Joeki X, 1880-1940) was the took the reins in 1911, He headed the line from1911-1940, covering the reign of 3 emperors, he was greatly favored by tea masters at the time.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1920 item #1422729 (stock #TCR7825)
The Kura
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Taking a break from Easter, a very unusual white Koro incense burner in the shape of a long-eared rabbit by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Koro and dated Taisho 4 (1915). It is 15 x 14 x 11 cm (6 x 5-1/2 x 4-1/4 inches) 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 father’s passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The 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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1920 item #1422519 (stock #TCR7823)
The Kura
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A classic Gu vase of exquisite white porcelain by Miura Chikusen enclosed in the original signed double-wood box. It is 13-1/4 inches) tall, 19 cm (7-1/2 inches) diameter at the rim and in excellent condition. This type of Sinophile work was very popular throughout the Meiji and Taisho periods, and Sencha steeped tea had a profound impact on Japanese culture at the time. For more on that see the book ‘Tea of the Sages: The Art of Sencha’ by Patricia Graham (1998).
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.
All Items : Antiques : Regional Art : Asian : Japanese : Porcelain : Pre 1920 item #1422430 (stock #TCR7822)
The Kura
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Not quite the Easter Bunny, but perhaps close to an Easter Egg, the design on this vase is both classical and modern, reminiscent of Kenzan and his use of patterns and colors, surmounted by a sometsuke underglaze blue dragon among roiling cobalt clouds. The pot dates from the late 19th to early 20th century, classic Meiji period but for the unusually bright and cheerful rows of yellow, blue and green florals on red. The dragon blends with the clouds, with a single gold line delineating his body, and red flame whirling off from his legs. It is 11 inches (28 cm) tall, 9 inches (23 cm) diameter and in excellent condition.