Catalog: Vintage Arts: Regional Art: Asian: Japanese (29)

A bee rests on leaves carved from wood and covered in green lacquer capping this natural gourd container intimating a large ripened sweet persimmon by Ueta Josen dating from the early 20th century. It is signed inside the lid, and measures roughly 12.5 cm (5 inches) diameter. It comes in the original signed wooden box, which has some water damage. There are some losses and lifting to the lacquer on the inside of the gourd, otherwise is in excellent condition. Ueta Josen was born in Kagawa prefecture I 1909, and was first accepted into the Teiten national art exhibition in 1934.

An abstract floral motif is carved through the multiple layers of lacquer forming the surface of this Kanshitsu Dry Lacquer Poem Card Box by 20th century artist Yamada Akio enclosed in the original signed wooden. It is 29.5 x 32.5 x 4 cm (12 x 13 x 2 inches) and is in excellent condition. Yamada Akio was a lacquer artist active throughout the mid 20th century. A student of Living National Treasure Otomaru Kodo he was well versed in the art of Sanuki lacquer carving, and exhibited with the Nihon Dento Kogei Ten and Shin Kogeiten where he was awarded in 1988. Kagawa Shiki lacquer from the Island of Shikoku stood largely ignored for much of the 20th century, but has recently received a good deal of attention in retrospect.

Overlapping dragonflies in deep relief cover the black surface of this impressive Natsume by Okabe Keizo enclosed in the original signed wooden box titled Tsuikoku Natsume (Carved Black Natsume). This is performed in the carved lacquer technique of Kagawa prefecture, where multiple layers of lacquer are applied then carved through leaving the design in releif. A very time consuming process. It is 7.5 cm (3 inches) diameter, the same height and in excellent condition.
Okabe Keizo was born in 1912 in Kagawa prefecture on the island of Shikoku and studied the art of lacquer carving (Tsuishu Yozei) under the important artist Otomaru Kodo (later designated a Living National Treasure. He was awarded at the Japan Art Academy (Nihon Bijutsu-Kyokai) in 1938, and accepted into the Nitten in 1942, garnering several prizes there over the coming years. In 1956 he would be accepted into the National Traditional Crafts Exhibition.

An exquisite lacquer dish with black Tessen (Clematis) flowers over a mottling of pale layers by Ikeuchi Kaho enclosed in the original signed wooden box titled Choshitsu Tessen Hana Moyo Kazari-sara. The work is performed by applying layer upon layer of cream-colored lacquer, with a final layer of black, which is then carved through to reveal the lower layers of white, leaving only the one top layer of black as the design. A very labor-intensive process with little room for error. The dish is 30.5 cm (12 inches) diameter and in excellent condition. Ikeuchi Kaho (1903-1967) was an artist in the carved lacquer tradition of Sanuki, and his work is held in the collection of the Takamatsu City Museum.

A set of six anonymous colored lacquer trays decorated with rock garden imagery in lead, mother of pearl and raised lacquer techniques. Each tray is roughly 48 x 27.5 cm (19 x 11 inches) and all are entirely unique, with different colors and designs and in overall excellent condition. Each comes wrapped in a faded blue cloth pouch.

A classic mid 20th century Dry-lacquer vase by Kawai Masazo enclosed in the original signed wooden box. Rankaku (crushed egg shell) on cream colored lacquer alternating with highly polished black. This work truly encapsulates the freedom for form which artists were seeking in the post war period. It is 45 cm long and in excellent condition. Kawai Masazo was born in Osaka in 1928, graduating the Osaka Municipal School of Art and Design. In 1948, at just 20 years old, he was awarded the Mayors Prize at the Osaka Art Exhibition. In 1950 he was first accepted into the Nitten. He would relocate to Tokyo and continue to exhibit and be often awarded at the Nitten, including the Hokutosho in 1963 and 64 and would eventually serve as a juror there. He would also exhibit with the Gendai Kogeiten National Modern Crafts Exhibition where he would also garner several prizes and serve on the committee.

A striking Yellow dry Lacquer (Kanshitsu) Vase by Izumi Atsuhiko enclosed in the original signed wooden box. Truly definitive of the mid-century art scene, it is 17.5 cm (7 inches) tall and in excellent condition. Izumi Atsuhiko (1915-2005) was born in Niigata prefecture and graduated the Nihon Bijutsu Daigaku University of Arts where he studied Lacquer technique under Rokkakuk Shisui (1867-1950), settling in Tokyo. He exhibited with the Nitten among other National exhibitions as well as abroad.

A Te-bako lacquered box by Izumi Atsuhiko enclosed in the original signed wooden box dated Autumn of Showa 39 (1964). Black and white Urushi with Iro-urushi floral imagery, mother of pearl inlay flowers and gold Ke-uchi embellishments. It is 22.5 x 30.5 x 13 cm (9 x 12 x 5 inches) and in excellent condition, with minor wear on the bottom typical of use.
Izumi Atsuhiko (1915-2005) was born in Niigata prefecture and graduated the Nihon Bijutsu Daigaku University of Arts where he studied Lacquer technique under Rokkakuk Shisui (1867-1950), settling in Tokyo. He exhibited with the Nitten among other National exhibitions as well as abroad.

A crimson orb resonates from within the mirror black ground of this gorgeous footed tray enclosed in the original wooden box titled Akebono Moriki (Platter decorated with Dawn) and is signed from the Heian-do Lacquer Studio. The artist has fused the red and black together, the center of the sun-like circle opaque vermillion, the outer edge hazy as it diffuses into the black. The slightly curving basin is raised on a tall wide central foot all in highly polished ro-iro black. It is 36.5 cm (14-1/4 inches) square, 8 cm (3 inches) tall and in excellent condition.

An exquisite image of an emaciated man, the prominent bones about the eyes softly glowing pale white over the hollow cheeks. The mask is of the Yase-otoko type, and is signed on the back by the maker Iwasaki Hisahito in a carved seal above the eye. Superb craftsmanship!
Iwasaki Hisahito is a well known Mask carver currently 78 years old and still going. He was born in Oita prefecture, but moved to Nagoya then Yokohama at a youthful age. All processes are done by hand, from carving the wood and creating the shape, applying the gofun coating and drawing the hair with a brush then applying lacquer. “What I rely on is the memory of seeing many performances and the feeling of being struck by the many faces." He has created about 500 masks over his more than fifty year career. Having studied under a Noh actor himself, he has tried to create something that makes him think, ``I want to dance in this aspect,'' but no matter how much I try, I am never satisfied. "The more I do it, the more difficult it is. I want to make something that I don't want to give to anyone, even if it's just one aspect of my life."

A striking design of five petaled plum blossoms between dual strips of mother of pearl inset into a rust-colored belt circling the black lacquered body of this art-deco influenced vase dating from the early to mid-20th century. The vessel is turned from a single piece of bamboo, the node still clearly visible inside. It is 31 cm (12 inches) tall, 14 cm (5-1/2 inches) diameter and in excellent condition. It comes in a contemporary wooden collectors box.
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 wood tray in the shape of a stylized Basho leaf (fruitless banana) carved of dark red wood and signed on the base. It is 27 x 47 cm (11 x 19 inches) and is in overall excellent condition.

Two shishi roughhousing, one sinking his teeth into the others back a glass ball balanced on the furled tail signed on the base Taiho. The upper creatures head can be removd allowing the pair to be used as an incense burner. It is 17 x 12 x 17 cm (7 x 5 x 7 inches) and is in excellent condition.
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.

A bronze vase dating from the mid Showa period by Ono Tsuneo of Takaoka enclosed in the original signed wooden box. It is 26 cm (10 inches) tall and in perfect condition.

A modernist form decorated with rich red by Yamazaki Koyo enclosed in the original singed wooden box titled Shinsha Kabin. It is 29 cm (11-1/2 inches) tall and in excellent condition.
Yamazaki Koyo (1890-1979) was born in Ishikawa prefecture and began in the plastic arts decorating Kutani ware. However, became a pupil of Yamamoto Shunkyo from Kyoto to become a Japanese painter through painting ceramics. He then studied under Kiyomizu Rokubei VI and began creating ceramics in Kyoto in earnest. He was displayed consistently in many National and Local Exhibitions. He has been awarded four times at the Nitten, twice at the Nihon Shin Kogei Ten (Japanese National New Craft Exhibition) as well as the Kofukai and is held in the collections of the Museum of Modern Art Boston and Bern Museum of Art Switzerland among others He is remembered for researching traditional Chinese techniques, Sansai, cinnabar and flambe among others.

Deer prance about in abbreviated Art-Deco windows on this large vase by Okamoto Tameji enclosed in the original signed wooden box titled Hakuji Asobu-Shika-zu Kabin (Vase in pale porcelain decorated with playing Deer). It is 33.5 tall, 32.5 cm (roughly 13 inches) diameter and in excellent condition. Stylistically it is consistent with his works from the early 1930s.
Okamoto Tameji (1901-1958) was born in in the International Port city of Kobe and raised in Kyoto, the artistic and cultural heartland of Japan. He attended the Kyoto Municipal Tojiki Shikenjo Ceramic Research Facility, and apprenticed under Kawamura Seizan. He was first accepted into the Bunten/Teiten National Exhibition in 1927, and was selected for and awarded there consistently both pre and post war. His works were featured at the Chicago, San Francisco and New York Expositions.

A quintessential Art-Deco vase by innovative artist Ito Suikko enclosed in the original signed wooden box titled Hakuseiji Kabin (White-blue Porcelain Vase) dating from the 1930s-1940s. It is 30 cm (12 inches) tall and in excellent condition.
Ito Suiko (1894-1980) was born in Kyoto and studied under Imperial Art Academy artist Ito Tozan, establishing his own kiln in 1931. He was exhibited consistently at the prestigious Bunten/Teiten/Nitten exhibitions throughout his career, and later served as judge for the Nitten.

A set of six porcelain Tokkuri Sake Flasks decorated with enclosed in the original signed wooden box titled Seika Keshi Sakabin (Poppy Decorated Sake Bottles, Set of Six).. Each is 14 cm (5-1/2 inches) tall and all are in excellent condition.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the The National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.