Catalog: Antiques: Regional Art (108)

A white vase adorned with an even whiter phoenix in slight relief by Teishitsu Gigei-in Ito Tozan enclosed in the original signed wooden box titled Hakuji Ho-o Mon Kabin. It is 22 cm (just less than 9 inches) tall, 10 cm (4 inches) diameter and in excellent condition. It comes wrapped in a cloth pouch with the original rosewood stand. Serving as buffer at the bottom of the box was a number of sheets of paper written in both English and French as well as Japanese, and we have kept them for posterity.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III nd Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prizd at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title.
Ito Tozan II (1871-1937) was born the fourth son of one of the upper level samurai of the Zeze feudal domain in Otsu, just over the mountains from Kyoto and began his artistic career as a painter. He was picked up by Tozan I and introduced to the plastic arts, where he flourished, taking over the Tozan kiln in 1920, following the death of his mentor.

A stylish basket of woven bamboo laced with old arrows by Tanabe Chikuunsai II made for the preeminent Shiobido Gallery in Osaka enclosed in the original signed wooden box. It is 16 cm diameter, 37 cm tall and in perfect condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.
The Shobido Jewelry Co. was founded in 1900 at Yodoyabashi, in central Osaka City by Eikichiro Eto. They are purveyors of watches, Jewelry, art and crafts, silverware and precious metals from the Meiji era to the present day, and their products and artisans were considered elite among Japanese crafts. In fact many of Japans greatest craftsman created unique works for the Shobido label.

A Momoyama to early Edo period (16th-17th century) small Chawan , much worn inside, with old gold repairs gleaming softly on the iron ringed rim. Aside from this iron circle, and the wear earned over centuries on the slightly oblong shape, there is no decoration. It is 12.6 × 10.9 × 6.2 cm (5 x 4-1/4 x 2-1/2 inches) and comes wrapped in a crepe silk pouch enclosed in an old, fine quality kiri-wood box.
Kintsugi embodies the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.

A standing lion covered in running yellow bamboo ash glaze from the Edo period kilns of Takatori on the southern Isle of Kyushu. Head held high, the smoke would vent straight out of the creatures mouth, as if exhaling the fragrant tendrils. It is 14 x 10.5 x 20 cm and is in excellent condition, enclosed in a modern kiri-wood storage box.
Takatori-yaki, is a traditional style of Japanese pottery that originated in the early 17th century. It was developed in the town of Takatori (mod. Fukuoka Prefecture). Takatori-yaki is renowned for its unique and distinctive aesthetic, characterized by rustic simplicity, earthy tones and running glaze. The history of Takatori pottery dates back to the beginning of the Edo period (1603-1868) when a Korean potter named Yi Sam-pyeong, also known as Ri Sampei in Japanese, settled in the area. Yi Sam-pyeong had been brought to Japan by the powerful daimyo (feudal lord) Hosokawa Tadaoki, who ruled over the Higo Province (present-day Kumamoto Prefecture). Tadaoki was fascinated by Korean pottery and invited skilled potters from Korea to establish kilns in Japan, with Yi Sam-pyeong being one of them. Under the patronage of the Hosokawa family, Yi Sam-pyeong and his descendants established the Takatori kilns in the town of Takatori. Initially, the kilns produced pottery influenced by Korean styles, particularly the Buncheong and Ido wares. However, over time, they developed their own distinct style, blending Korean techniques with Japanese aesthetics. Takatori was highly prized by tea masters and samurai lords who appreciated its rustic charm and humble beauty. Takatori-yaki became an integral part of the tea ceremony culture, as its earthy tones and natural glazes were considered suitable for the serene and rustic atmosphere of tea houses.
Shishi guardians, also known as Komainu or "lion dogs," have a long history in Japanese art and culture; iconic figures often depicted in pairs and placed at the entrances of shrines, temples, and other important structures to ward off evil spirits and protect against negative energies. The origins of the Shishi can be found in ancient Chinese culture, specifically the mythical creature known as the "shi" or "foo dog" in English. These creatures were believed to have protective qualities and were commonly depicted in Chinese art and architecture. As Buddhism spread to Japan from China in the 6th century, so too did the imagery of the lion guardians. The artistic representation of Shishi lion guardians in Japan evolved into a unique style. The sculptures typically depict a pair of lion-like creatures with fierce expressions, large manes, and muscular bodies. One lion has an open mouth to represent the sound "ah," which is believed to expel negative energy, while the other has a closed mouth to represent the sound "um," which is believed to retain positive energy. This duality symbolizes the balance between yin and yang, and the harmony between opposing forces.

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

A fabulous Edo period large Gohon Chawan from the Hagi region, a classical bowl wearing its history in a spider thread of gleaming gold. Broken once, the cracks have been repaired with softly gleaming thin wisps o gold in the highest quality. The bowl is 12.5 × 15 x 8 cm (5 x 6 x 3 inches) and comes enclosed in a period Kiri-wood box. Kintsugi lacquer gold repairs embody the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.

A masterpiece white porcelain vase by Miura Chikusen III retaining the original richly carved rosewood stand enclosed in the original signed wooden box titled White Porcelain Vase Carved with Flowers, Vines and Sun Designs which is in turn enclosed in a protective outer box, a testament to the import placed on the piece. It is 41 cm (16 inches) tall plus the stand, and in excellent condition. The vase dates between 1921 and 1931.
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The Eldest son took over after his father assuming the family name as Chikusen II, but died young in 1920 leaving a young child, whereupon his younger brother took over as Chikusen, III. However when Chikusen IIs eldest son was old enough, III relinquished the helm, appointing his nephew Chikusen IV and assuming the name Chikuken (Chikken). The kiln continues, currently under the management of the fifth generation.

A fine pair of White Porcelain vases with raised designs by Miura Chikken (Chikuken) dating from the early 20th century each enclosed in the original signed wooden box. The are roughly 17.5 cm (7 inches) diameter, 28.5 cm (over 11 inches) tall and in excellent condition. Although the same diameter, one is slightly shorter than the other. Miura Chikken (Chikuken, 1900-1990) was born the third son of Miura Chikusen I. He was named the third head of the Chikusen family after the untimely death of his older brother in 1918, but returned the kiln to his brother’s son after his coming of age in 1934. That year he set out on his own path with the new name Chikken focusing on traditional Kenzan-Ninsei styles.

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

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

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

Golden Maple leaves and five petaled plum blossoms float on the golden pond pooling on this early Edo period Karatsu Chawan decorated with a single Zen circle. Superb quality repairs gleam about the rim, one large repair decorated over top of the gold with fine amages of leaves and blossoms. The base is small and shallow, indicative of the early era. It is 12 cm (just less than 5 inches) diameter, 7.5cm (3 inches) tall and comes enclosed in an old wooden box.
Kintsugi embodies the spirit of wabi-sabi, a Japanese aesthetic worldview centered around imperfection, transience, and the beauty of the natural cycle of growth and decay. Embracing the flawed and broken aspects of an object through kintsugi is a way to appreciate the passage of time and the history of the object, recognizing that it gains value and character through its journey. Kintsugi aligns with traditional Japanese values of frugality and resourcefulness. Instead of discarding broken items, kintsugi repairs them, extending their lifespan and reducing waste. This approach reflects a profound respect for resources and a desire to cherish and honor the objects used in daily life. This is also a way to avoid offending the spirit of the object, as all items are embodied with a soul of some sort. The act of repairing broken pottery with gold-laced lacquer carries a symbolic message of resilience and overcoming adversity. The restored object becomes a metaphor for the human experience, highlighting that even after suffering damage or hardship, one can find beauty and strength through healing and renewal. In the context of the Japanese tea ceremony kintsugi plays a vital role in enhancing the overall aesthetic experience, especially during the tenth month. The practice of kintsugi encourages contemplation and introspection during the tea ceremony. Guests may be reminded of the impermanence of all things and the beauty that can arise from embracing life's scars and vulnerabilities. Overall, kintsugi holds a deep cultural and philosophical significance in Japanese culture, symbolizing beauty in imperfection, respect for resources, and the resilience of both objects and individuals. In the context of the tea ceremony, it enriches the aesthetics and fosters a sense of mindfulness and appreciation for the present moment.

A set of 4 exquisite lacquered wooden boxes with trays decorated with Tsuba (sword guards) in gold on a jet black mirror surface dating from the early 20th century enclosed in a four tier black lacquered wooden box. Inside is silver Nashiji with scattered cherry blossoms. The trays feature solid silver rims and are signed Ryoshin. Each box is 13.5 x 10.5 x 5.7 cm (5-1/4 x 4 x 2 inches) and each tray is 17.6 x 14.6 x 1.7 cm and all are in overall fine condition.

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

Peaches decorate this exquisite vessel in Kutani colors by Tei Shitsu Gigei-in Ito Tozan. It is 17 cm (6-1/2 inches) diameter, 31 cm (12-1/4 inches) tall and in excellent condition. It comes in an unmarked old kiri-wood box.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III nd Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title.
Ito Tozan II (1871-1937) was born the fourth son of one of the upper level samurai of the Zeze feudal domain in Otsu, just over the mountains from Kyoto and began his artistic career as a painter. He was picked up by Tozan I and introduced to the plastic arts, where he flourished, taking over the Tozan kiln in 1920, following the death of his mentor.

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

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

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

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

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

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

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

A large porcelain vase by) Daimaru Hokuho (Hoppo) enclosed in the original signed wooden box titled Yellow Porcelain Lightning Pattern Vase. The vase is a perfect example of the Sinophile aesthetic that permeated Japanese art in the early 20th century. The simplified form rises to a row of alternating concentric lines known as Lightning pattern. It is 21 cm (8-1/2 inches) diameter 25 cm (10 inches) tall and is in excellent condition.
Daimaru Hokuho (also called Hoppo, 1879-1959 ) would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in ceramic painting by Seishichi Okura at the Kutani Ceramic Company of the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. In 1906, he was invited to teach at the Hunan Ceramics Department in Hunan Province, China, and devoted himself to research on Chinese ceramics, returning to Japan where he took up residence again in Kyoto in 1909 and began making ceramics, mainly tea utensils and sencha utensils. He exhibited many works at exhibitions, receiving numerous accolades, and his works were purchased by the Imperial Household Agency. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father as well as both Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

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

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

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

A set of three spouted nesting bowls decorated in the traditional Mugiwara pattern of alternating stripes of russet red, pale blue and orange emanating like rays from the center. The larger bowl is 9.5 cm (just under 4 inches) diameter, 5.5 cm (2 inches) tall. The smallest is roughly 7.5 diameter, 4.5 cm tall and all 3 are in excellent condition, enclosed in an old kiri-wood box.
This traditional pattern is called ``Mugiwarade'' because its vertical stripes resemble ears of wheat. It has three colored lines: green, red, and indigo and can be used regardless of the season. This pattern of regularly drawn lines was often used on utensils for daily use such as tea bowls, choko cups, and katakuchi cups. It is believed that they were made throughout Seto, including Shinano and Akatsu, from the late Edo period. Onita, which produces a brown color, is alternately painted with a paint called ``Akaraku,'' which produces a red or orange color, and Gosu, which produces an indigo color. You can see thick lines of red or indigo drawn with not just one, but two or even three thin brown lines between them. Drawing these lines at equal intervals and overlapping the lines thinly at the center (orientation) of the inside of the bowl or plate is one of the highlights of the craftsman's skill.

A Dojin licking Dango-treats dances in erratic dashes of soft wet lines and swift dark strokes of flying white on this vertical presentation by Edo period eccentric Doi Goga. Ink on paper it is 43 x 184.5 cm (17 x 72-1/2 inches) and has been completely remounted in dark silk with bone rollers. The creature clutches the raku-in stamp in his upper hand, the other stamps seem to follow his feet like footsteps. It comes enclosed in an age darkened wooden box. Known as the “Mad monk” Goga had a unique spontaneity to his work which was fresh and yet hearkened back to art of the great Zen masters. Of Doga Rhiannon Paget wrote “Characteristic of Goga's works are blunt, velvety black brushstrokes bleeding into the surrounding paper, exaggerated incidences of “flying white” (the streaking effect caused by a dry brush), paler strokes conveying depth, and perhaps most curiously, the incorporation of his seals into the pictorial space. This playful device was used sometimes in Japanese woodblock prints, but is rarely seen in painting”. Doi Goga (1818-1880) was a Confucian scholar of the late Edo to Meiji periods. He was born the son of a doctor serving the lords of Ise (modern Mie prefecture), home of the gods and Ise Shrine. A child prodigy, he studied under Ishikawa Chikugai and Saito Setsudo. The early death of his father saw him succeed the family head at the age of 12. He would serve later as a teacher in the official government school. He held strong opinions and was very critical of the hypocrisy and corruption he saw in military government and in Confucianism itself. His works began to see the light of day in the early Meiji period, however due to their inflammatory nature, much was left unpublished until after his death. Known for paintings of bamboo and landscapes, his Dojin figures are rare and highly sought.

A ghost rises from the darkness pulling on her hair, a wry grin as she looks sideways at the viewer on this antique painting by Moriwaki Unkei. Ink on paper completely cleaned and remounted in vine patterned blue silk with dark wood rollers. There are old age stains on the paper, which appear much stronger in the photos than in life. It is 40 x 200 cm (15-3/4 x 78-3/4 inches) and in excellent condition.
Moriwaki Unkei (1858-1946) was born in Tanakura-cho, Kawaetsu-han (Fukushima prefecture), in the final years of the Edo period. He studied Nanga, literati painting, then moved to Tokyo in 1899 where he helped found the Nihon Nansoga-kai painting organization. His works were shown at the Naikoku Hakurankai and Bunten National Exhibitions among others.

Long verses fall like rain upon the sinister figure of an Oni (type of devil) dressed in the habit of a priest who glares as he walks through the village, banging out a warning to all evil-doers. Around his neck hangs a bell which he clangs loudly with the hammer held high in one hand. The stern figure carries in the other hand a booklet titled Hogacho. A Hogacho is a record of the name and quantity of persons who donated (hoga) for projects such as the construction and repair of temples or shrines and the publication of scriptures. In the case of the Oni, his Hogacho records the sins and misdeeds of humans for payment in the after world. On his back is an umbrella. Ink on paper in a simple brown cloth border with highlights of Kinran gold in the Ichimonji above and below with dark lacquered wooden rollers like the shift of a priest moving to reveal the regal robes beneath. It is 39.7 x 179 cm (15-1/2 x 70-1/2 inches) and has been completely cleaned and remounted.
The Oni, often depicted as hulking, fearsome creatures with horns, sharp claws, and a menacing appearance, are a prominent feature in Japanese folklore, Buddhist lore, and broader Japanese culture. Their role and representation have evolved over time, encompassing a range of meanings and functions across different contexts.
In folklore, Oni are typically portrayed as malevolent spirits or demons representing chaos, destruction, and malevolence. They are often depicted as ogre-like beings with red or blue skin, wild hair, and tusks. They are known to cause mischief, bring calamities, and even consume human flesh. Oni are common antagonists in folktales, serving as the embodiment of evil and chaos. However, Oni can also have more nuanced roles. In some stories, they are not purely evil but rather more complex characters with a potential for redemption. Thus in Buddhist tradition, Oni take on additional layers of symbolism. They are often seen as the enforcers in hell (Jigoku), punishing the wicked for their sins. In this context, Oni are agents of karmic retribution, ensuring that sinners face the consequences of their actions. This role reinforces the moral lessons of Buddhism, emphasizing the importance of virtuous behavior to avoid suffering in the afterlife. Sometimes the concept of Oni in Buddhism is more metaphorical, representing inner demons or the obstacles one must overcome on the path to enlightenment. They symbolize inner struggles with the vices and negative emotions such as anger, greed, and ignorance that hinder spiritual progress.
In contemporary Japanese culture, Oni have become more multifaceted. They appear in various media, including literature, art, film, and video games, often with different interpretations. While they still retain their traditional fearsome attributes, they are sometimes depicted in a more humorous or sympathetic light. For example, the Oni character in the popular manga and anime "Dragon Ball" is portrayed as a bureaucratic worker in the afterlife, adding a humorous twist to their traditional role. They also feature prominently in cultural festivals such as Setsubun, celebrated on February 3rd during which people perform rituals to drive away evil spirits. One common practice is the throwing of roasted soybeans (mamemaki) while chanting "Oni wa soto, fuku wa uchi" ("Oni out, good fortune in"), which is meant to cleanse the home and welcome good luck.
The enduring presence and adaptability of the Oni in Japanese culture underscore their significance as both a reflection of societal values and a versatile symbol in the collective imagination.

A deliciously horrifying painting of a ghost rising from the empty field dating from the 19th century completely remounted and ready to go for another century of leering from the shadows. Ink on paper with highlights of gofun and red pigment separated from a field of blue by a single narrow strand of red and gold Kinran silk terminating in dark wood rollers. The artist has sealed the panting with two crimson chops in the lower corner. The scroll is 42.7 x 196 cm (16-3/4 x 77 inches) and is in overall excellent condition, completely remounted.
For the Japanese Kaidan-banashi, or ghost stories, are a summer tradition. It is said that the telling of a ghost tale at night will cause the temperature in the room to fall, a great necessity during those boiling summer evenings. The ghosts and their associated skeletons have also long been subject in Buddhist art, with the emphasis on the brief nature of our lives in comparison to the cosmic void.

Love lasts beyond the grave, here a skeleton walks, her pate decorated with flowers and a bundle of daisies in her hand as she strolls grinning under the shade of a dilapidated umbrella held by an attendant, a poignant painting signed Shoken dating from the Taisho period (1922). The four character verse above is taken from the Lotus sutra (Hanya-Shingyo) and reads shikisokuzeku, meaning (loosely) all color is void, the void is all color. Completely restored in a chic Tsumugi cloth border with black lacquered wooden rollers, the scroll is 59 x 192 cm (23-1/2 x 75-1/2 inches) and is in excellent condition.

A wildly crafted bronze image of a shishi lion breathing out a cloud forming the basin for a flower arrangement (known as an usubata). The curly hair has been somehow flaked off and maintained during the casting process, quite an exceptional example. The basin can be removed from the mouth of the creature. Assembled it is 32 x 28 x 33 cm tall (12-3/4 x 11-1/4 x 13 inches) and weighs 4390 grams (9.5 pounds). It is in fine original condition.

A masterpiece basket made from used split bamboo arrows by Maeda Chikubosai enclosed in the original signed wooden box titled Jidai Yadake-sei Hanamori (Basket made of Old Arrows) dated Showa 5 (1930). Hints of red and gold lacquer give clues to the origin of the bamboo shafts, making this an example of one of the most sought of all types of baskets by this elusive artist. It is roughly 19 cm (7-1/2 inches) diameter, 49 cm (19 inches) tall and in excellent, original condition. Maeda Chikubosai I (1872-1950) was one of the most important bamboo artists working in the first half of the 20th century and was pivotal in promoting individual expression in the bamboo arts. Chikubosai I was from the Kansai Region and active in Sakai, Osaka prefecture. He was instructed by Wada Waichisai I (1851-1901). From 1912, he worked alongside Tanabe Chikuunsai I (1877-1937). Late in the Taisho era (1912-1926), he made presentation baskets on behalf of the Imperial Household. Chikubosai's bamboo flower baskets, in particular, gained widespread acclaim for their exquisite craftsmanship and elegant designs. He experimented with various weaving techniques, incorporating intricate patterns and textures to create visually stunning pieces that were both functional and decorative.

Gargoyle or bat-like dragon-esque creatures spread their wings among tendrils of flame on the heavily decorated blue sides of this large pair of 19th century Sometsuke Japanese nesting bowls. Within boats ply the placid waters. The larger bowl is 24.5 cm (just less than 10 inches) diameter,10cm (4 inches) tall. The smaller is 21 cm diameter, 10cm tall and both are in excellent condition, dating from the 19th century.

The outside of this elegantly understated container is simply semitransparent red lacquer over cloth in the Tame-nuri style opening to reveal an interior glowing with large patches of applied gold and silver. It is 20.5 cm (8 inches) square, 10 cm (4 inches) tall and in overall excellent condition, with minor marks from use on the bottom. Inside the box is contained a number of papers as well as a receipt from the late Meiji period, circa 1910.