Catalog: Artists (88)

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 (-showa 62).

A paradigmatic basket by Tanabe Chikuunsai II enclosed in the orginal signed wooden box. This square form of open vertical slats is a favorite of this artist. It is 9 x 18 x 35 cm (3-1/2 x 7 x 14 inches) and is in excellent 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.

A handled basket of split bamboo woven into an open form by Tanabe Chikuunsai II enclosed in the original signed wooden box titled Tetsuki Morikago. It is 31.5 cm (12-1/2 inches) diameter, 23 cm (9 inches) tall and in excellent 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 Minneapolis among many others.

A school of fish crowd the black surface of this spectacular box by Goda Minoru enclosed in the original signed wooden box titled Nagare no Naka ni (Amid the Current). The rim is finished with powdered silver, and the interior is black flecked with silver flake Nashiji. It is 27.5 x 21.2 x 5 cm (11 x 8-1/2 x 2 inches) and is in excellent condition.
Goda Minoru (1933-1983) was born in Toyama, and trained under his father as well as Yamazaki Ritsuzan. He consistently exhibited with the Nitten National Exhibition (First time in 1969). He also won prizes at the Japan Contemporary Arts and Crafts Exhibition and the Japan New Crafts Exhibition. This piece dates from the last years of his short life when he was at his peak.

A pair of wriggling catfish slip past each other as they form this signed bronze sculpture by Kawai Toshihisa mounted on a stone base. They are together 22.5 x 12 x 15.5 cm (9 x 5 x 6 inches) and are in excellent condition.
Kawai Toshihisa was born in Chiba prefecture in 1935, and while still at university, his work was selected for display at the VOL exhibition held at the Kyoto City Museum of Art in 1962. He graduated the Kyoto Municipal University of Art and held his first Solo exhibition the following

The weeping branches of a gold willow cascade over this mirror black Tea Caddy lined with powdered silver by Suzutani Tetsugoro enclosed in the original signed wooden box titled Natsume-Me-yanagi (Tea Caddy, Willow in Spring Folliage). It is 7 cm (just less than 3 inches) diameter, 7.5 cm (3 inches) tall and in excellent condition, wrapped in the original artist signed and stamped silk cloth.

A striking black lacquered cabinet covered in maki-e vines by Living National Treasure Takano Shozan encloed in a black lacquered wooden storage box titled Takano Shozan Tsura Maki-e Hako. The top compartment is lined with silk. The hardware is all solid silver. It is 32.5 x 21.5 x 27 cm (13 x 8-1/2 x 11 inches) and is in excellent condition.
Takano Shozan (1889-1976) was born as the eldest son of an elementary school principal, and his grandfather was a Confucian scholar attached to the Hosokawa clan in Kumamoto prefecture. Interested in craftwork since childhood, he studied lacquer art at an industrial school in Kumamoto. He entered the Kyoto City School of Arts and Crafts (currently Kyoto City University of Arts), then transferred to the Tokyo School of Fine Arts (currently Tokyo University of the Arts), where he learned maki-e technique from Designated Imperial Artisan Matsuya Hakuzan. It was from Hakuzna that he received his art name Shozan upon graduating advanced studies in 1919. Later, with the support of Hosokawa Moritatsu, he moved into the Hosokawa mansion in Mejirodai and began working as the Lord's bodyguard during the day and producing artwork at night. He was first accepted into the Teiten National Exhibition in 1927, and was awarded there in 1932 and 1933. In 1955 (Showa 30), he was designated as a living national treasure in maki-e. In 1958 he helped to found the Shinsho Kogei Crafts Organization. He was awarded the order of cultural merit with purple ribbon in 1965, the Imperial Zuihosho Order of the Sacred treasure fourth rank in 1967 and third rank in 1976.

Birds populate the branches of a plum tree burgeoning with blossoms on the blue void of this baluster form porcelain vase by important 20th century artist Kawamoto Rekitei enclosed in the original signed wooden box. It is 19 cm (7-1/2 inches) diameter, 24 cm (9-1/2 inches) tall and in excellent condition.
Kawamoto Rekitei was born in Aichi prefecture, home of Seto-yaki and a long standing important production center for Japanese Sometsuke porcelains. In 1914, at the very young age of 20, he received the top prize at then National Ceramics Exhibition (Tojiki Hin Hyou Kai and later (1922) received the gold prize at the Peace Exposition. His works were featured at the Paris, San Francisco and Chicago World Expositions. He was contracted by the Japanese government in 1948 to create a vase for presentation to President Truman, and his work graces the collection of the Imperial Household. In 1972 he was named an Important Cultural Property of Aichi Prefecture (Ken Shitei Mukei Bunkazai). He was survived by his son, Kawamoto Goro, and grandson, Kawamoto Taro

A Noh mask representing a young angel, goddess or enlightened woman called Zouonna of carved wood covered with Gofun and mineral pigments, 20th century. It is 21 x 13.5 cm and in overall fine condition bearing the carvers seal in the back.
A cool reserve seen in the passive expression, flat cheeks, unsmiling lips, and intelligent high forehead lends this mask a stately dignity that contrasts with the open expression of koomote and other standard young women's masks. The downcast eyes, narrow features, and horizontal brush strokes heighten the effect of other worldliness. The hairlines are drawn in the same style as wakaonna, but the lips have a darker hue. Zouonna is used for celestial women, such as the angel in Hagoromo (Feather Robe), the mother goddess of the West in Seioubo and the sun goddess Amaterasu in Ema (The Votive Tablets). At times the severity of Zouonna's expression is deemed fit for roles of women who are really disguised demons, such as in Momijigari (Maple Viewing).

Literally Barely Twenty the Hatachi Amari Noh mask represents the resentful ghost of the young fisherman in Fujito who has been murdered by the general to whom he disclosed a secret water passage. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 15 cm and in overall fine condition.
The name derives from a passage in the play and the mask, like Kawazu, was created specifically for the role. Like Kawazu and Yaseotoko, the gaunt face has protruding bones, straggly wisps of hair over the forehead and downward looking eyes, and no lower teeth, giving a sense of passivity and inner torment. Unlike the other two masks, however, Hatachi Amari shows a more human aspect in the curve of his lips, the clarity of the facial hairs (moustache and eyebrows) and, most importantly, the absence of metal in the eyes.

A Noh mask representing the God of Thunder, the God of Heaven, protector of Buddhism, or a ghost known as Ootobide (also Otobide or just Tobide). Carved wood with mineral pigments and gold, it is 21.2 x 16.2 cm and in fine condition, dating from the 20th century.
As befits its august character, the Ootobide is unusually large for a Noh mask and painted in gold. The mask has protruding, metallic gold, circular eyeballs with crossed eyes which create an illusion that the eyes are rolling around. Crescent-shaped eyebrows are painted in black. A prominent, flattened nose, and big ears further emphasize the mask's imposing character. The mask's mouth gapes wide to show both the upper and lower teeth and the tip of a long, wide, red tongue. Apparently, ootobide was made for the play Raiden in which the ghost of an angry official returns as the God of Thunder and burns down the imperial palace.

A Noh mask representing either the deified spirit of the Sugawara no Michizane and or a god linked to agricultural rituals. Carved wood with mineral pigments and gold, it is 22 x 16 cm and in fine condition, dating from the 20th century.
The mask's unassuming nose, thin-lipped, open mouth exposing upper and lower teeth, and fleshy cheeks are simple and human-like. However, the reddish coloring, the hair around the lips, the eyebrows that sweep upward, and the gold metal eyes that peer downward give the mask an air of heightened emotions and movement. Used to portray Michizane in the plays such as Raiden and is also connected to agricultural rites and is used to portray heavenly gods.

A Noh mask representing a young woman with gracefully curved mouth forming a slight smile and eyebrows placed high on a broad forehead reminiscent of koomote named Magojirou. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 13.5 cm and in overall fine condition bearing the carvers seal in the back.
The longish face, somewhat lean cheeks and simple shape of the eyes with heavy lids give the mask an open, yet sad expression, which at times takes on a delicate, dream-like beauty. The black hair parted at the middle has two painted strands at the front, with two more curving out from just above ear-level. Tradition has it that the model for this mask type, now in the Tokyo National Museum, owned by the Mitsui family, and designated an Important Cultural Property, was carved by Kongou Magojirou Ukyou Hisatsugu (1538-64) in memory of his deceased wife.

A Noh mask representing a sprite who possesses the elixir of long life. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20 x 14 cm and in overall fine condition. The mouth and eyes curl into a smile accentuated by dimples in the full cheeks. Wispy eyebrows swerve up at the outer corners and strands of hair fall down over the forehead.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A Noh mask representing a young woman with gracefully curved mouth forming a slight smile and eyebrows placed high on a broad forehead reminiscent of koomote named Magojirou. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 13.5 cm and in overall fine condition bearing the carvers seal in the back. The longish face, somewhat lean cheeks and simple shape of the eyes with heavy lids give the mask an open, yet sad expression, which at times takes on a delicate, dream-like beauty. The black hair parted at the middle has two painted strands at the front, with two more curving out from just above ear-level. Tradition has it that the model for this mask type, now in the Tokyo National Museum, owned by the Mitsui family, and designated an Important Cultural Property, was carved by Kongou Magojirou Ukyou Hisatsugu (1538-64) in memory of his deceased wife.

Oobeshiomi, also called simply Beshimi (or Obeshimi), is a Noh mask representing a Deity or Tengu who protects others from evil spirits and demons. Carved wood covered with Gofun and gold, this dates from the 20th century. It is 22.3 x 17 cm and in overall fine condition bearing the carvers seal in the back. It appears to have been in the midst of re-working the colored covering, or had never received its final coat of color, which makes it in fact, quite unique. Oobeshimi's tense expression creates deep wrinkles on the forehead and forces both ends of the eyebrows to curl upward. Flattened nostrils enlarge the end of the nose. The mask has a rounded jaw and depth of modelling allows for ears. The eyebrows, beard, and moustache of the mask are painted in black. Vermillion outlines highlight the creases in the brown skin

A Noh mask representing a dignified old woman. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20.8 x 13.8 cm and in overall fine condition bearing the carvers seal in the back. There are many forms of this type of mask, however, all share the wrinkled and bony features of a woman grown old gracefully. The sunken eyes look down, being carved as a slightly curved slit. The serenity of the face reflects a divine nature that has only temporarily taken on the form of an old woman, such as the spirit of the old wife-goddess in Kuzu. Uba is used generally for non-dancing roles.

A Noh mask representing a middle-aged woman torn by separation from a loved one, either man or child. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20.8 x 13.5 cm and in overall fine condition bearing the carvers seal in the back. Gentle and mature, fukai's face is filled with a melancholy that comes from experience and feeling. The features are deep-cut, with crevices along the lower cheeks and deep-set eyes with heavy eyelids and drooping corners. The well-modulated lips neither smile nor frown. The fleshy face has a protruding forehead and chin, creating a slightly concave silhouette. Fukai masks come in a spectrum of ages, the oldest being labeled yuki no fukai (snow), the next tsuki no fukai　(moon), and the yougest hana no fukai (flower).