Catalog: Antiques: Regional Art (164)

A classic Rinpa Revival box (also spelled Rimpa) in Tamenuri decorated with bamboo in lead, mother of pearl and gold taka-maki-e enclosed in the original wooden box from the exclusive Mitsukoshi Department store retaining the orignal wooden box signed and stamped inside Mitsukoshi, complete with the Mitsukoshi printed seal dating from the early 20th century It is 20 x 20 x 10 cm (8 x 8 x 4 inches) and is in excellent condition.

Porcelain cranes in a lead tree decorate the lacquered top of this gilded wooden box enclosed in the original wooden box titled Romatsu Sokaku Zu (Ancient Pine Two Cranes) and signed Sekka, with signatures of Tozan II (porcelain decoration) and Suzuki Hyoetsu (lacquer artist) inside. In this case, Kamisaka Sekka produced the design, enlisting two of Kyoto’s then top artisans to complete the work, lacquer artist Miki Hyoetsu I who applied the lead, gold and lacquer and Ito Tozan who created the ceramic cranes and pine boughs. The box is in unused condition, containing the original stone and water-dropper and two brushes still wrapped in paper. It is 25.5 x 10 x 3.5 cm (10 x 4 x 1-1/2 inches) and is in excellent condition. Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938. 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 and 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, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937). He too began life as a painter, but his talent was seen by Tozan I, who adopted him and converted him to pottery, where he both succeeded and excelled as a member of one of Kyotos most well known pottery families. Miki Hyoetsu I was born in 1877, establishing a line of craftsman which lasts to this day. He was exhibited at the Shotoku Taishi Ten and Paris World Exposition among others.

A pair of covered ceremonial Sake-Tsubo called Heiji decorated with the three auspicious winter plants, Sho-chiku-bai (Pine, bamboo and plum) by Ito Tozan II enclosed in the original wooden box Plum pine and bamboo rise up in a riot of color on the thinly crackled pale glaze covering the surface. Inside the box is dated Showa 11 (1936) 8th month, 9th day. Each is roughly 22 cm (9 inches) tall and in excellent condition, each uniquely stamped on the base with the artist seal.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III nd Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prizd at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title.
Ito Tozan II (1871-1937) was born the fourth son of one of the upper level samurai of the Zeze feudal domain in Otsu, just over the mountains from Kyoto and began his artistic career as a painter. He was picked up by Tozan I and introduced to the plastic arts, where he flourished, taking over the Tozan kiln in 1920, following the death of his mentor.

A fabulous carved wooden tray in the sencha style of a ragged leaf, highly detailed on both sides, the underside carved with a poem and signed by the artist. It is 57 x 30 x 4 cm (22-1/2 x 12 x 1-1/2 inches) and is in perfect condition, dating from the early 20th century.
Sencha, as we know it today, started to gain popularity during the 18th century with the rise in Literati thought in Japan. This is partly due to the influx of Chinese at the fall of the Ming dynasty in the mid 17th century and how their culture was absorbed into the greater Japanese culture over the subsequent generations. Sencha is a non-powdered green tea, which distinguishes it from the powdered matcha commonly used in formal tea ceremonies. Along with the tea itself, came an appreciation of the accoutrements and aesthetic which were quite different from those used in powdered tea. Chinese literati culture emphasized simplicity, natural beauty, and a deep connection to the natural world. These values resonated with Japanese tea practitioners who incorporated them into their own tea culture. They overlapped with concepts like "wabi-sabi," which celebrates imperfection and transience, and "yūgen," which suggests a subtle, profound beauty. It manifested itself in many aspects of Japanese culture, including architecture, garden design, painitng and all related crafts. Overall, the influence of Chinese steeped tea practices and literati culture on Japanese tea culture has been a rich and multifaceted process. It has contributed to the unique blend of aesthetics, philosophy, and rituals that define Japanese tea culture, creating a distinct tradition that reflects both local innovations and cross-cultural interactions.

A wooden basin covered in thick lacquer, red on the outside, mottled green within enclosed in the original wooden storage box darkened with age. All about dragonflies in black lacquer alternate with those inlayed with lead into the surface separated by golden spirals over wavering silver eddies. The basin is 45.5 x 30.5 x 5 cm (18 x 12 x 2 inches and is in overall excellent condition. One lead dragonfly wing is missing. It is signed on the base Heian Sesshin.
Art Deco arrived in Japan during the Taishō period (1912-1926), a time of increased freedom of expression as well as a tumultuous political era with which bread astounding variety in Japanese culture and design. As Japan sought to modernize and present itself as a global player, the country embraced foreign artistic trends, including Art Deco, which resonated with the aesthetic sensibilities of the era. Art Deco's impact extended to various decorative arts and design disciplines, including furniture, textiles, ceramics, and metalwork. Japanese artisans and designers incorporated Art Deco elements into their works, blending Western aesthetics with traditional Japanese 2-dimensional design and craftsmanship. They integrated geometric patterns, stylized motifs, and streamlined forms into various decorative objects. This blending of styles allowed for the creation of bronze pieces that appealed to both domestic and international audiences. The result was a unique fusion of styles, showcasing the adaptability and creativity of Japanese artists. This fusion of aesthetics resulted in a unique and captivating body of work that continues to be appreciated and admired for its craftsmanship and artistic expression.

A Japanese viewing stone set into a hardwood base dating from the early 20th century. It is 12 x 8 x 11 cm (5 x 3 x 4 inches) and is in excellent condition. In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.

A looping handle sweeps above this fabulous bowl decorated with burgeoning gourds by Takahashi Dohachi VI enclosed in the original signed wooden box. It is 21 x 18 x 15 cm (8 x 7 x 6 inches) and is in excellent condition.
Takahashi Dohachi VI (1881-1941) was born the second son of the 4th generation Dohachi in Kyoto. He was too young to succeed the family name upon his fathers early demise, and a a potter named Ogawa Yunosuke steered the helm as the 5th Dohachi until he too passed away in 1914. Dohachi VI took over in 1915. A close compatriot of Kiyomizu Rokubei V and Miyagawa (Makuzu) Kozan II, his work was presented to the Showa Emperor at his coronation.

A dramatic Suiseki stone set into a carved wood base retaining the chiseled marks (typical of the early 20th century) in the shape of a Limestone cave in which meditates a holly figure. It is 12 x 7 x 18 cm (5 x 3 x 7 inches) including the base and is in excellent condition.
In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.

A fabulous Suiseki stone on carved rosewood base in the shape of a Limestone cave in which meditates a holy figure. It is 11 x 7 x 16 cm including the base and is in excellent condition.
In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.

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

A classical dreamy Taisho period scene in rich green by Hirai Baisen enclosed in the original signed wooden box. Pigment on silk wrapped in a Green kinrande gold laced silk border patterned with dragon dials among scrolling vines and terminating in solid ivory rollers (these will be changed if exporting). The scroll is 56.5 x 201 cm (22-1/4 x 79 inches) and in overall excellent condition, with a few minor marks typical of age.
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts in 1906 and was a regular exhibitor with the Bunten from 1907-1931. In 1910, aged just 22, to the Japan-British Exhibition held in London. 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, Seattle Art Museum, Honolulu, Portland Art Museum and a plethora of other important public and private collections.

Brilliant red leaves seem to glow in the darkness over a band f silver on this vase by Miyagawa Kozan. It is 24 cm (9-1/2 inches) tall, 21 cm (8-1/4 inches) diameter and in excellent condition.　There is no box.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A Japanese viewing stone set into a rosewood base dating from the early 20th century. It is17 x 8 x 9.5 cm (6 x 3 x 3 inches) and is in excellent condition. In Japanese homes, suiseki is often placed in tokonoma (alcove) areas, a space reserved for displaying treasured items. The presence of suiseki in these spaces symbolizes a pursuit of tranquility and a deeper connection to the natural world. Viewing the stone provides a moment of contemplation and calmness, allowing individuals to escape the complexities of daily life and find peace through nature's simplicity. The artist doesn't shape or carve the stone but rather selects it from nature and enhances its presentation. The art lies in finding the right stone, considering its shape, texture, color, and the landscape it evokes. The artistry is also evident in how the stone is displayed, often using complementary elements like a wooden stand and accent plants to enhance the viewing experience.
Suiseki, also known as "viewing stones," is a traditional Japanese art form that involves the appreciation and display of naturally formed stones. The appreciation of Suiseki has deep significance in Japanese art and culture and is closely intertwined with principles of Zen Buddhism and animistic thought in indigenous religion. Suiseki originated in China over a thousand years ago, where it was known as "gongshi" or "spirit stones." These stones were revered for their resemblance to landscapes, animals, or other natural forms. The Chinese art of suiseki eventually found its way to Japan during the 6th and 7th centuries, along with other aspects of Chinese culture. Over time, suiseki evolved in Japan and took on unique characteristics, reflecting Japanese aesthetics and sensibilities. The appreciation of suiseki is closely connected to the principles of Zen Buddhism, which emerged as a significant cultural and philosophical influence in Japan. Zen emphasizes the importance of meditation, mindfulness, and finding enlightenment through a direct experience of nature. Suiseki provided a medium for Zen practitioners to contemplate nature's beauty and connect with the essence of the natural world. Japanese culture has always held a profound reverence for nature, and suiseki reflects this sentiment. The viewing stones are considered a microcosm of nature's grandeur, encapsulating the beauty of mountains, rivers, and other landscapes in miniature form. By appreciating suiseki, the viewer gains a heightened sense of harmony with nature and develops a deeper understanding of its ever-changing aspects.

An anonymous art-deco era Japanese bronze vase enclosed in a dilapidated kiri-wood box dating from the 1930s. It is 16 x 16 x 30 cm and in overall excellent condition. Quite solid, it weighs just less than five kilograms (11 pounds).
Art Deco arrived in Japan during the Taishō period (1912-1926), a time of increased freedom of expression as well as a tumultuous political era with which bread astounding variety in Japanese culture and design. As Japan sought to modernize and present itself as a global player, the country embraced foreign artistic trends, including Art Deco, which resonated with the aesthetic sensibilities of the era. Art Deco's impact extended to various decorative arts and design disciplines, including furniture, textiles, ceramics, and metalwork. Japanese artisans and designers incorporated Art Deco elements into their works, blending Western aesthetics with traditional Japanese 2-dimensional design and craftsmanship. They integrated geometric patterns, stylized motifs, and streamlined forms into bronze sculptures, vases, and other decorative objects. This blending of styles allowed for the creation of bronze pieces that appealed to both domestic and international audiences. The result was a unique fusion of styles, showcasing the adaptability and creativity of Japanese artists. One of the most iconic examples of Art Deco in Japan is the Shiseido Building in Tokyo. Completed in 1931, this structure housed the headquarters of Shiseido, a renowned Japanese cosmetics company. The building's striking facade with its geometric patterns and distinctive clock tower became a symbol of modernity in pre-war Tokyo. With the outbreak of World War II and Japan's focus on wartime production and propaganda, the popularity of Art Deco declined. After the war, Japan shifted towards rebuilding and reconstruction, and modern architectural styles took center stage. However, Art Deco's influence continued to inspire subsequent generations of Japanese designers and artists, leaving a lasting legacy in the country's design history. Art Deco bronze design in Japan exemplifies the nation's ability to embrace and reinterpret artistic influences from abroad while maintaining its cultural identity. This fusion of aesthetics resulted in a unique and captivating body of work that continues to be appreciated and admired for its craftsmanship and artistic expression.

A double walled Ten-moku shaped Chawan Tea Bowl of solid silver (100 percent silver) enclosed in the original signed wooden box by Hasegawa Ichibosai titled Matsuo Konomi Nanryo Tenmoku Chawan. It is breathtaking! The interior is a parabolic mirror, while outside has been slightly tarnished with a vintage feel, like worn denim. The interior, prefeclty smooth, contrasts with the outside, which has been made to intimate the tactile qualities of a glazed Tenmoku bowl, even to the sandy texture around the foot. It is 13.6 cm (5-1/4 inches) diameter, 6.5 cm (2-1/2 inches) tall and weighs 234 grams. The bowl is in perfect condition.

The moon rises small over the hermitage lost in dark washes of foliage covering the twilit hills, a fabulous calming scene by Hirai Baisen enclosed in the original signed wooden box titled Sanso ni Tsuki (Mountain Home and Moon). Ink on paper in beautiful cloth mounting with silver thread and solid ivory rollers (these will be changed if exporting). The scroll is 43.2 x 208 cm (17 x 82 Inches). There is one bend (not a hard wrinkle or crease) in the bottom across the signature. Otherwise, overall excellent condition. The box comes in a paper sleeve from Mitsukoshi Department Store.
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts in 1906 and was a regular exhibitor with the Bunten from 1907-1931. In 1910, aged just 22, to the Japan-British Exhibition held in London. 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, Seattle Art Museum, Honolulu, Portland Art Museum and a plethora of other important public and private collections.

A lacquered cabinet for storing Tea accoutrements by Koyama Kogetsu enclosed in the original signed wooden box dated 1931 and titled Tsukiyama Maki-e Kikkyoku (Mon and Hills Maki-e Tea Cabinet). On the door deer stand on the edge of a glade, gold, lead and Raden (mother of pearl) trees with branches of gold and silver maki-e above. The door lifts off to reveal the silver disc of a full moon rising over evening hills. It is signed in gold Kogetsu. The cabinet is 36 x 28 x 39 cm (11 x 14 x 15-1/2 inches) and is in excellent condition. Koyama Kogetsu (Rokuro, 1884-1937) was a Maki-e artist from Kashwaski City born the son of Koyama Kinpei (Tesse). He studied the art of Maki-e under Kawanobe Iccho and Uematsu Homin.　His work was exhibited at the Teiten National Art Exhibition and awarded at the Imperial Crafts Exhibition.

A superlative writing box (Suzuri bako) by the 8th generation Nishimura Hikobei (Zohiko) enclosed in the original signed wooden box. The wooden structure is covered in black lacquer and decorated with Hira Maki-e and Togidashi Maki-e using powdered gold, silver and Kanshitsu-ko with iro-nashiji and Raden (Mother of Pearl) inlays. The rim is solid silver. Inside is perhaps even more sumptuous that outside, with fans on clouds of gold nashiji. It contains the original circular Suzuri (stone) covered in nashiji lacquer, as well as a solid silver water-dropper set in to a wooden tray lacquered exactly the same as the box. Two fude brushes covered also in Nahiji as well as a perfect ink stink cast with dragon motif are contained within, and all are protected by a padded silk pillow. The box is 23.5 x 28 x 5.5 cm (9-1/2 x 11 x 2 inches) and in perfect condition. It appears to have never been used.
The Zohiko family dates back to 1661 when they opened as a shop specializing in lacquer tools. Nishimura Hikobei III received the title of Master of Maki-e from the Imperial Court after creating a makie plaque depicting `a White Elephant and Fugen Bosatsu. It was from this scene of an elephant (Zo) and the Hiko in Hikobei, that the modern name was born. The 4th generation Hikobei served as a purveyor to the Sento Imperial Palace, and the 6th generation Hikobei was well-versed in the art of elegance and produced many masterpieces, including works called Konomi-mono, utensils specifically for the masters of the various tea schools. Hikobei VII established the Kyoto Maki-e Art School and worked hard to train the next generation. Theendeavored to spread the fame of Japanese lacquer and concentrated on promoting lacquer exports. The inside of the imperial carriage was decorated with maki-e on the occasion of the Taisho Emperor's Grand Enthronement, and he Provided lacquer work for the Omiya Imperial Palace, Nijo Castle, and banquet halls. Re-decoration of the Kyoto Imperial Palace was carried out on the occasion of Emperor Showa's enthronement. In addition, he produced many gifts for and from the imperial family and for state guests.