Catalog: Antiques: Regional Art: Asian: Japanese (193)

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.

An exceedingly rare (in fact the only one I have ever seen) Tenmoku-Dai stand for a Tenmoku Chawan by Suwa Sozan I enclosed in the original signed wooden box titled Kuruwa Tenmoku Dai (Curved Circular Tea Bowl Stand). It is made of layer upon layer of lacquer, carved with scrolling designs revealing the depth of the lacquer in a style known as Guri. The artist has carved his seal into the inside of the base. It is 15 cm (6 inches) diameter7.5 cm (3 inches) tall and in excellent condition.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A large table made of layers of lacquer carved through to reveal the various colors by Suwa Sozan I enclosed in the original signed wooden box titled Guri Joku and bearing the Teishitsu Gigei-in Seal of the Imperial Art Academy. It is 65 x 40.5 x 20 cm (25-1/2 x 16 x 8 inches) and is in excellent condition. The artists seal is expertly incised into the back of one ball shaped foot.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

Layer upon layer of lacquer has been carved with scrolling designs revealing the depth of the surface in a style known as Guri by Suwa Sozan I enclosed in a wooden box titled Guri Kobon. It is 23 x 33 cm (9 x 13 inches) and in excellent condition, the artist seal inlayed in mother of pearl beneath. The box is annotated by his adopted daughter and heir Torako (Suwa Sozan II).
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

The title does not lie, this is one against which all others might be measured. A celebratory sake set consisting of three cups and a stand enclosed in their original lacquered wooden boxes. The cups are over the top, decorated with plum pine and bamboo in taka-maki-e gold over red replete with bits of kirigane gold and ke-uchi details. The cups are equally gorgeous on top and bottom, the design extending even inside the foot ring. Roundels of the same designs are built up in gold and lacquer maki-e on the black lacquered stand, the inside of which is covered in Togidashi Nashiji. Along the edge of the stand are carefully placed bits of gold in a technique known as oki-hirame. The stand is 17 x 17 x 14.2 cm (6-3/4 x 6-3/4 x 5-1/2 inches). The cups are 9.8 cm (4 inches) 11.2 cm (4-1/2 inches) and 12.7 cm (5 inches) diameter respectively, and all are in excellent condition.

A Taisho period Lacquer writing box of superb quality decorated with a design of a stone lantern under broad leaves enclosed in an age darkened kiri-wood box. The scene is performed with Thick slices of shell and lead inlay on black Ro-iro ground with Taka-maki-e and Hira-maki-e designs. Inside is finished in Kin-gin (gold and silver) Nashiji. It contains two ink stones, a solid silver water dropper and Silver lidded box, as well as the original brushes, hole punch and paper knife all in matching Nashiji finish. The box is 38.5 x 15 x 5.5 cm (15 x x 2 inches) and is in excellent condition.
The Rimpa revival of the early 20th century emphasized visual splendor, decorative patterns, and harmonious compositions reflecting nostalgia for the past. However, it was not a strict replication of the past. Artists involved in this movement integrated modern techniques and materials into their work, allowing for a fusion of traditional aesthetics with contemporary artistic practices. This approach enabled artists to create innovative interpretations of the Rimpa style that resonated with the changing times.

A fabulous cabinet covered in polished black lacquer inlayed with mother of pearl designs in the style of Nagasaki containing various boxes, trays and dishes for an outing. To allow any steam to escape, it has windows which were once lined with silk. Brass hardware secures the hinged doors which swing out with small boxes and trays in one side, a square sake bottle with brass spout encased in a wooden stand on the other. The interior works are performed in clear lacquered hardwood grains and red lacquer with gold edging. Beneath a drawer slides out from either end, for chopsticks, napkins and other serving implements. The cabinet is 26.5 x 26.5 x 30 cm (10-1/2 x 10-1/2 x 12 inches) and is in overall surprisingly good condition. There are a few minor marks and indentations in the lacquer typical of use and although it originally contained five small red octagonal trays, only four remain.

A magnificent set of five wooden bowls lacquered red with a net design enclosed in the original wooden box titled Shu-nuri Amime Hashiaraiwan dating from the first half of the 20th century. Excluding the lid each is 7.5 cm (3 inches) tall, roughly the same diameter at the rim, and all are in excellent condition. Repeated use of lacquer tends to see the black acquire a brown tinge. These remain jet black, and it is likely they have been virtually unused for the better part of a century.
Hashiaraiwan (also called Hitokuchiwan) are used after the first four courses in Kaiseki food to clear the pallet, ordinarily a thin soup or something light. The literal meaning is washing the chopsticks bowl.

An exquisite lacquered box covered in gold powder prominently bearing the imperial crest given as a gift to Baron Nakamura Satoru in Meiji 44 (1911). According to the inside of the lid this box was created for the Meiji emperor and given in gratitude to the Baron for his support in creating the Keanfu memorial for fallen soldiers of the Russo-Japanese war. The box is an exquisite example of Imperial splendor featuring leaves tinged with kiri-gane gold inlay over powdered gold on a surface dusted with gold and blue-gold powder. It is 20.5 x 24.5 x 13.5 cm (10 x 8 x 5-1/2 inches) and in perfect condition.
Baron Nakamura Satoru (18 March 1854 – 29 January 1925) was a career soldier in the early Imperial Japanese Army, serving during the Russo-Japanese War, and was an aide-de-camp to Emperor Taishō. He was born the second son of a samurai of Hikone (present-day Shiga Prefecture). Joining the fledgling Imperial Japanese Army in July 1871, he was promoted to corporal in November 1873. After attending the Imperial Army Academy, he was commissioned second lieutenant in November 1874. He fought as an officer in the 2nd Brigade during the Satsuma Rebellion of 1877 then was assigned to the Imperial Army General Staff Office from March 1879. After promotion to Major he became a battalion commander with the 10th Infantry Regiment. He served as an instructor at the Army Staff College from December 1889. Nakamura was appointed aide-de-camp to the Crown Prince (the future Emperor Taishō) in December 1891, and promoted to lieutenant colonel in September 1892. During the First Sino-Japanese War, he served as Aide-de-camp to the Emperor of Japan from the end of October 1894 and was promoted to colonel in December of the same year. In April 1897, he was given command of the 46th Infantry Regiment, which served as a garrison force in Taiwan. He was promoted to major general in September 1899. From April 1900, he was chief-of-staff of the military bureau of the Governor-General of Taiwan. In March 1902, Nakamura was assigned command of the 2nd Brigade, which deployed to Manchuria in March 1904 as part of the Japanese Third Army at the start of the Russo-Japanese War. The unit served with distinction during the Battle of Nanshan. During the Siege of Port Arthur Nakamura led a force named the Shirodasukitai, after the distinctive white tasuki used for visibility and identification in the darkness of a pre-dawn attack. The Shirodasukitai assaulted the Russian fortifications three times, taking great casualties. Nakamura was himself wounded during the assault on the night of 26 November 1904, during which most of his 4,500 man unit was annihilated with no significant result.
He continued in command positions and in September 1907, he was made a baron (danshaku) in the kazoku peerage system. At the end of December 1908, he was once again Aide-de-camp to the Emperor of Japan. In September 1914, he served as resident-general of the Kwantung Leased Territory.　In January 1915, he was promoted to full general. During World War I he was appointed to sit the Supreme War Council in 1917. On his death, he was posthumously awarded the Grand Cordon of the Order of the Rising Sun, Gold Rays.

A bronze crane in dark almond colored patina of superb craftsmanship dating from the late 19th to early 20th century (Meiji period). It is quite large at 48.5 cm tall (19 inches) and is in excellent condition.

An exquisite dark bronze image of the deity Benzaiten playing a four stringed lute known as a Biwa signed in a cartouche inset into the base and dating from the early 20th century (Later Meiji to taisho period). The figure is 20 x 16 x 18 cm (8 x 6 x 7 inches) and is in excellent condition.
Benzaiten (or Benten) is the Japanese embodiment of Saraswati, the hindu god of the arts. Benzaiten is depicted a number of ways in Japanese art. She is often depicted holding a biwa (a traditional Japanese lute) similar to how Saraswati is depicted with a veena in Indian art In medieval Japan, Benzaiten came to be associated with a number of Buddhist and local deities, which include the goddess Kisshōten (the Buddhist version of the Hindu Lakshmi), the snake god Ugajin (thus Benzaiten is sometimes depicted with a snake) and the kami Ichikishimahime. Apart from being a patron of music and the arts, she was also worshiped as one of the Seven Gods of Fortune (Shichifukujin).

A beautifuly formed iron sake kettle known as a Choshi with a solid silver lid and featuring sliver inlay designs on the handle enclosed in an age darkened kiri-wood bos titled Tetsu Choshi Jungin-futa. It is 8 cm (just over 3 inches) diameter, 16 cm (6 inches) to the top of the handle, and is in excellent condition.

A beautifully cast bronze dragon waterspout from an ancient Japanese garden in Nara prefecture made to rise over the edge of a water basin, the water trickling out through his mouth. It retains the original bronze pipe and connector, overall, in excellent original condition. The dragon itself is roughly 25 x 13 x 20 cm tall (10 x 5 x 8 inches) and weighs 3.9 kg (8.5 pounds). Including the pipe roughly 50 cm long.

A sage, strikes a forever pose as he stares into the distance, robes billowing in the wind, contemplating the troubles of lesser beings, a fan clutched behind. This is a beautiful bronze sculpture dating from early 20th century Japan paying homage to the literati and Confucian traditions which formed the basis of Japanese ideology at the time. It is signed Kiyoshi with an engraved signature on the hem of his robes. The figure stands 39 cm (15-1/2 inches) tall and is in excellent condition.

A shop sign carved from a block of knotted wood in the shape of a tea leaf jar engraved on both sides with the character Cha (Tea) originally gilded which still reflects light from the correct angle. A large knot making up one shoulder has split apart in the center, while the outside edge remains intact. A perfect example of the Japanese aesthetic of wabisabi. It is 32 x 3 x 32.5 cm (roughly 13 x 1 x 13 inches). The sign has been restored at some time in the past, the green and black pigments freshened up at the time.

A very rare early work by Shirakura Niho dating from the mid Taisho period clearly showing his early watercolor training under Ishii Hakutei signed with his first art name, Kinro. Light color on silk framed in patterned silk extended with classic beige and terminating in red lacquered wooden rollers. It is 45.5 x 107.5 cm (18 x 42-1/2 inches) and is in overall excellent original condition, enclosed in a modern wooden storage box.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

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.

A black bird sporting a tufted beak shelters among the thick foliage of fresh bamboo by the easily identifiable and quite rare artist Sakakibara Shiho performed with pigment on silk in the original signed double wood box titled Mosochiku Hakkacho (Crested Myna Bird in Moso Bamboo), a favorite motif by the artist dating from the Taisho period. It is bordered in fine pattered silk threaded with gold and is appointed with solid ivory rollers (these will be changed if exporting). A major work, the scroll is 55.5 x 222.5 cm (inches) and in overall fine condition.
Sakakibara Shiho (1887 – 1971) was born in Kyoto and studied traditional Japanese painting at the Kyoto City School of Arts and Crafts, graduating in 1907, then moved on to the Kyoto Municipal School of Painting (mod University of Art). While at the school, his works were accepted (1909) and awarded (1911) into the Bunten National Exhibition. He graduated there in 1913. With his radical style garnering disapproval in official circles, in 1918, along with Tsuchida Bakusen, Irie Hakko, Ono Chikkyo and Murakami Kagaku founded the Kokuga Sosaku Kyokai. The organization changed its name to the Kokugakai in 1928, the same year Shiho took a position at his alma mater where he was awarded a professorship in 1937. He was awarded for his life’s work by the Nihon Geijutsu-in (Japan Art Academy) in 1962. Happily, the Kokuga-kai has outlived its founders, and is still exhibiting annually to this day. Works are held in the collections of the Seattle Art Museum, The Kyoto National Museum of Modern Art, the Adachi Museum as well as the Otani memorial Art Museum among others.

Bonji Sanskrit characters pierce the lotus finialed lid of this large antique bronze incense burner. The vajra-like finial topped in the shape of a lotus flower is hollow, the lotus seed pod pierced with holes to allow the smoke to escape like a chimney. This is also removable, slotting in to the incense burner, and turned to lock it in place. Inside the lid is stained and shiny from years of incense soot built up. It is 35.5 cm (14 inches) tall, 18 cm (7 inches) diameter and in overall excellent condition (a bit dusty in the photos as found).

An amazing small wooden figure covered in with glass eyes made in the hyper-real likeness of a Rakugo-shi Comic storyteller, dressed I traditional Hakama trousers and seated on a large cushion clutching a fan in his right hand. It is 19 cm (7-1/2 inches) tall, while the cushion upon which he sits is 19.5 x 15.5 cm (just under 8 x 6 inches) and the figure is in excellent condition. There is what appears to be a signature on the bottom; Ta?Saku. This caring is very much in the audacious style of early works by artist Hirakushi Denchu, (b. 1872) and likely dates from the first quarter of the 20th century, although could go back into the final years of the 19th.
According to Wikipedia: Rakugo (literally 'story with a fall) is a form of Japanese verbal entertainment, traditionally performed in small theatres. The lone storyteller sits on a raised platform, a kōza using only a paper fan and a small cloth as props, and without standing up from the seiza sitting position, the rakugo artist depicts a long and complicated comical (or sometimes sentimental) story. The story always involves the dialogue of two or more characters. The difference between the characters is depicted only through change in pitch, tone, and a slight turn of the head.

A hardwood carving of a gnarled pine bristling with needles over clouds in what appears to be some type of dark rosewood. Beautifully crafted, it is 19 x 15 x 5.5 cm (7-1/2 x 6 x 2 inches) and is in excellent condition, dating from the later 19th to early 20th centuries at the height of the Sencha tea movement.
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 magnificent stand of root wood writhing upward to a flattened cluster, a perfect example of the Japanese esteem for things natural enclosed in a period custom made wooden storage box. It is 48 cm (19 inches) tall and in overall excellent condition. Perfect for elevating a koro incense burner or tiny bonsai.
The aesthetic of the scholar studio is embodied in an acute appreciation for representations of the natural world in any form; from the subject of a painting in the alcove to the texture of the wood on the desk and the colors or deformities in the bamboo brush hanging from a piece of natural wood.
A profound influence from China, through the practice of Chinese style steeped tea (Sencha) and glorification of the Literati ideal of the Ming is part of the dual basis of Japans Scholar tradition. Equally important is an understanding and appreciation of natural degradation and the fleeting nature of existence espoused in the ideal of wabi-sabi and the world of Japanese Powdered Tea (Maccha). Behind both these concepts lies a basis in Zen (Chan) Buddhist precepts and Taoist/Confucianist Philosophy.
Stone. Wood. Earth. Grain. Texture. Form. All natural, imperfect, transient and unique.

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 beautifully crafted cast, carved, and parcel gilt bronze image of a samurai pulling back, arrow nocked, ready to let fly, signed in a metal cartouche on back Shunko-saku (made by Shunko). It is roughly 27.5 cm (11 inches) to the top of his hat, 25 cm (10 inches) from forefinger to elbow. The warrior is calm, determined, with a look of deep concentration in his inlaid eyes. He wears an eboshi, a formal type of hat, and is dressed in sumptuous, loose fitting robes with leggings and braces to protect his arms and legs. A short sword juts from his waist. The warrior's robes and pants feature large wagon wheel mon, known as genji guruma. The signed box identifies the figure as Minamoto no Tametomo (1139 - 1170) was a celebrated historical samurai of the Heian Period. Known for his impressive archery skills, he features as one of the epic warriors of the Hogen Rebellion, a precursor to the Genpei War. It is in excellent condition.

A beautifully carved tray of overlapping leaves interspersed with clustered grapes by Ichikawa Shudo signed on back in a circular cartouche. In one corner an odd round tail leads us to a squirrel head popping through the leaves, as if one were looking up through the vines toward the sky. It is 46 x 35 x 3 cm (roughly 18 x 14 x 1 inches) and is in overall fine condition, There is a slight warp to the bottom of the tray, but it is still bery usable and there is no damage to the carving. Ichikawa Shudo (1868-1933), also known as Shochikusai, brought unique characteristics to Himeji's wood crafts, leaving behind many elegant Sencha-style trays with his outstanding technique.

A lovely tray in the shape of a split lotus leaf by Ito Tetsugai enclosed in a period wooden box titled Sencha Shiki Habon. It is roughly 53 x 25 cm (20-1/2 x 10 inches), expertly carved to be incredibly thin. Trays like these were used as decorative objects in the service of steeped green tea, and were very popular from the Meiji through early Showa eras.

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.

Reaching for his hat, the boatman leans out arms extended toward the prow, protected from the elements under a woven reed roof. This beautiful incense burner comes enclosed in the original signed wooden box. It is 24 x 8 x 10 cm (9-1/2 x 3-1/4 x 4 inches) and is in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The unlucky third generation inherited the kiln at the height of the war years, it was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A lovely work reflecting the simplicity of Art Deco predominant from the 1920s and 30s by master of the genre Ito Suito enclosed in the original signed wooden box The vase is 29 cm (11-1/2 inches) tall and in excellent condition.
Ito Suito (Yoshiharu, 1894-1980) was born in Kyoto and apprenticed under Ito Tozan in 1911. In 1918 he married his daughter, and took the family name and at the same time assumed the name Suito. In 1929 he was first exhibited at the Teiten National Exhibition, and opened his own kiln in 1931 in the Gojo-zaka pottery district of Kyoto. This was the beginning of a long career which would see him displayed and prized at such venues as the Nitten and Kyoten exhibitions. He would be awarded by Kyoto city for his lifes work in 1975 (Kyoto Bijutsu Kogei Koro-sho award) and again in 1979 granted the title Carrier of the Cultural Heritage of Kyoto City (Kyotoshi Bunka Korosha).

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.

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 hand formed silver vase with lacquered insert attached to a wooden base dating from the Art-deco era. It is 23 cm (9 inches) diameter, 21.5 cm (8-1/2 inches) tall and in overall excellent condition. There is a small impression in the wood base, roughly 1 cm long, on one side. An accompanying card from the Nakano Zenkuro shop of Osaka has a simple 4 digit telephone number. Japan's influence on Art Deco was profound, shaping the movement's aesthetic vocabulary and contributing to its evolution as a global design phenomenon. Conversely, Art Deco left its mark on Japan, inspiring Japanese artists and designers to create innovative works that blended Western modernity with traditional Japanese craftsmanship, resulting in the distinctive style of Japanese Art Deco. The Japonisme movement of the late 19th century had already sparked Western fascination with Japanese art, culture, and design, paving the way for Japanese motifs and aesthetics to permeate international artistic trends, including Art Deco. One of the key influences on Art Deco was the emphasis on simplicity, asymmetry, and geometric patterns. Japanese woodblock prints, showcased bold graphic compositions and stylized representations of nature, which resonated with Art Deco's penchant for streamlined forms and dynamic imagery. Furthermore, the Japanese concept of "ma" or negative space, which emphasizes the importance of empty space in composition, had an impact on Art Deco's approach to spatial arrangement and balance.
Conversely, Art Deco also influenced Japanese art and design, particularly during the Taisho period (1912-1926) and the early Showa period (1926-1945). As Japan embraced modernization and Westernization, Art Deco became fashionable among Japanese artists, architects, and designers who sought to merge Western aesthetics with traditional Japanese sensibilities. Architects like Sakakura Yasui and designers like Shima Seien embraced Art Deco principles in their works, incorporating sleek lines, geometric patterns, and luxurious materials into their designs for buildings, furniture, textiles, and decorative objects. Moreover, the international exhibitions of the Art Deco era provided Japanese artists and designers with opportunities to showcase their work on the global stage, further disseminating Japanese Art Deco influences worldwide. Japanese lacquer-ware, ceramics, textiles, and metalwork adorned with Art Deco motifs became highly sought after by collectors and aficionados around the world.

A small vase sculpted in the shape of a cluster of roses covered in cockscomb red by Kiyomizu Rokubei V enclosed in the original signed wooden box. The vase shows the influence of Art-Nouveau, and Rokubei was one of the leading proponents of blending Western and Eastern ideals in clay art. The vase is 6.5cm (2-1/2 inches) diameter, 18.5cm (7-1/2 inches) tall and in perfect condition. It comes wrapped in the original artist stamped cloth complete with the original black wood stand.
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 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.

A porcelain bowl made by Mokusen of Kyoto decorated in blue with waterbirds taking flight from a reed-dotted shore followed by a four character verse by Oyabu Shunko enclosed in the original wooden box signed by both artists dating from the early 20th century. It is 18 cm (7 inches) diameter, 9 cm 3-1/2 inches) tall and in excellent condition.
Mokusen was a prolific porcelain artist in Kyoto well known for his tea ware. Oyabu Shunko was born in Kyoto in 1901 and studied Nihonga under Yamamoto Shunkyo, exhibiting with the Bunten where his work was awarded Yusen.

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 Kenzan style Chawan Tea Bowl decorated with blossoming plum bending over a golden rim by Miyagawa (Makuzu) Kozan enclosed in the original wooden box signed inside on the box floor by the aritst with an annotation inside the lid by Omotosenkei Iemoto Tea Master Seisai (1863-1937) reading Makuzu Yaki Chawan Ume-no-ga Ari (Makuzu Pottery Tea Bowl Decorated with Plum). It is 12.5 cm (5 inches) diameter, 7cm (3 inches) tall and in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan 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 striking image of an itinerant monk carrying his few earthly possessions though the cedar forest in draped in a mino straw-raincoat and hat, all performed with colored thread in silk embroidery. Behind glass, it has been well protected over the last 100 plus years. The wide dark frame is stained Nara (a form of oak) emulating the arts and crafts style. The inner joints have shrunk, a testament to age. The silk panel is 21.5 x 29 cm (8-1/2 x 11-1/2 inches), the frame 38.5 x 46 x 4.5 cm (15 x 18 x 2 inches) and all are in great condition. An in scription on back states it was created under the guidance of Hattori in commemoration of the opening of the Omi (modern day Shiga prefecture) Womens Technical Training School. The work itself is signed Kimura Umeko of the training department.

Red ivy clings to the pale crackled glaze of this tsubo by Miyagawa (Makuzu) Kozen enclosed in the original signed wooden box. Below glistening black glaze covers the bottom, in a style well known for this artist. It is 24.5 (just less than 10 inches) tall and in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan 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.

The sage gazes out from his hermitage clinging to the hillside upon a sparse scene of falling water and precipitous climbing peaks dominating this painting by Shirakura Niho dating from the prime of his career. Ink and light color on silk mounted in blue cloth with thin piping terminating in white ceramic rollers. It is 40.5 x 187.5 (16 x 74 inches) and is in excellent condition; enclosed in a modern wooden storage box. A published version of the Niho Catalog will accompany the work.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

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.

A dynamic floral pattern in pale blue and white on pink by Kiyomizu Rokubei V showing the developmental stage of his iconic Taireiji works. Undeniably Taireiji was the most important development by this innovative artist, and pieces are exceedingly rare. It is 19cm (7-1/2 inches) diameter, 27.5cm (11 inches) tall and 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 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.

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 work so compositionally striking we chose it for the cover of the exhibition catalog by Shirakura Niho titled Baika Shoin Zu (The Plum Blossom Retreat). Pigment on silk in a silk border enclosed in the original signed wooden box. It is 55.5 x 127.5㎝ (21-3/4 x 50 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A fabulous bowl by the first-generation Kato Keizan enclosed in the original signed wooden box titled Tenranji Zuicho Moyo Hachi (Bowl with Blue Glaze Decorated with Auspicious Birds). Tenran is a blue glaze made by the official kiln of the Qing Dynasty in China. On this in raised white auspicious birds with long tails like dragons circle the rim over archaic symbols reflecting continental taste popular from the Meiji through Taisho to early Showa period. It is 24.5 cm (9-1/2 inches) diameter 13 cm (5 inches) tall and in excellent condition.
Kato Keizan I (1886-1963) was born in Tajimi city, Gifu, a pottery center in its own right, however came to Kyoto to apprentice under Kiyomizu Rokubei IV (1848-1920). He established himself in 1912 in the same neighborhood in Kyoto, where he became well known for celadon and Chinese based porcelain forms. He was especially remembered for Tenryuji seiji (Chinese Long Quan celadon porcelain). Works by this artist are held in the National Museum of Modern Art, Kyoto among others.

A peaceful cluster of homes blanketed in snow by Shirakura Niho enclosed in the original signed wooden box titled Kamo Sekkei (Kamo in Snow). This is likely an image from very close to the artists heart, he lived west of the Kamo River in Kyoto, and one can imagine this being one of the bridges spanning that river he has seen out on a winter day. Ink,Gofun & Light color on Silk bordered in light colored cloth. The scroll is 46.5 x 203.5 cm (18-1/4 x 80 inches) and is in overall excellent condition. Niho was from Niigata prefecture, where harsh winters are the norm, and he was well known for his winter imagery.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A diminutive image of the three monkeys made to support the Kettle lid in the Japanese Tea Ceremony dating from the later 19th to early 20th centuries by Nagaoka Kuumi enclosed in the original signed wooden box. A warning to all, the little creatures hear nothing, see nothing and speak nothing. What passes in the tea room stays in the tea room. The figure is 4.5 cm (roughly 2 inches) diameter the same height and in excellent condition. Impressed into the base is the artists seal.
Nagaoka Kuumi (1874-1960) was the son of Kunyu, and was the 9th generation successor to Rakuzan ware. He took the reins during a period of revival in the Tea world and was inspired by the famous tea ceremony equipment exhibited at the 100th anniversary of the death of Tea Master and Daimyo of Izumo Matsudaira Fumaiko (1751-1818).
Rakuzan pottery falls under the umbrella of Fushina or Fujina Yaki, the Goyogama clan kiln of the Matsudaira of Matsue in modern day Izumo, sometimes simply called Izumo-yaki. The origin of Rakuzan ware lies in the early Edo period, when the second generation Matsudaira Tsunataka requested a Hagi ware potter from the neighboring Mori clan, which was eventually granted to the third generation Izumo leader Matsudaira Tsunachika around 1677. The founders of the kiln were Kurasaki Gonbei and Kada Hanroku. Although under continuous production, the kiln had its ups and downs until it was strongly revived by the 8th Lord of Matsue, Matsudaira Harusato (Fumai 1751-1818) Daimyo of the province. From then it fell strongly under his aesthetic taste. Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.

An elegant tall vase in signature soft blue by Shinjo Tozan III of Yamagata enclosed in the original singed wooden box dating from the early half of the 20th century titled Yohen Kabin. It is 15cm (6 inches) diametr, 41cm (16 inches) tall and in excellent condition.
Higashiyama (alternatively read Tozan) is the common name for the hilly area in the eastern part of Shinjo City, Yamagata prefecture, and the geology of the village is covered with a thick layer of clay. Yahei Wakui, (1801-1872) the founder of Higashiyama ware, was a potter from Kosugi in Echigo, modern day Toyama prefecture. While traveling the country for training, he fell in love with the clay of Higashiyama, and in 1841 opened a pottery as the official kiln for the Shinjo Tozawa clan.
The third generation Yahei was born on January 29, 1896, as the second son of Yahei II. From an early age, he learned pottery skills from his father and helped the family business. The era in which the third generation Yahei was active was a time of great change, including the global recession after World War I, the Sino-Japanese and the Pacific War. Utilizing the characteristics of Higashiyama's clay, he produced earthenware pots, yukihira, suribachi, blanched pots, kataguchi, and other miscellaneous everyday utensils, and laid the foundation for the fame of today's "Higashiyama ware." The folk-ware researcher Yanagi Soetsu, who was exposed to the pottery of the third generation of Yabe, writes in his book ``Japan of Handicrafts'' that ``They used a beautiful bluish sea cucumber glaze to fire earthenware pots...'' (Omitted) As an earthenware pot, it is said to be the most beautiful in Japan. Yahei III passed away on October 23, 1945 at the age of 73. Currently the 7th generation works alongside his father

Fish and water plants in blue with a crab in black decorate this vase by master of the subject Ono Bakufu enclosed in the original Tomobako wooden box from the Sosen Gama titled Sometsuke Kabin signed and sealed inside by Bakufu. The vase is 27 cm (roughly 11 inches) tall, 16.5 cm (6-1/2 inches) diameter and in excellent condition. Born in Tokyo, Ono Bakufu (1888-1976) relocated to central Japan after the great Kanto earthquake of 1923 where he became an honorary member of the Hyogo Prefectural Academy of Fine Arts. Often displayed at the Teiten National Exhibition, he is best known for paintings of fish, which were serialized in 72 woodblock prints from 1937-1942 (Dai Nihon gyorui gashu).

A river runs past deeply forested hills populated by rooftops in this naïve ink painting reflecting the charm of rural Japan by Shirakura Niho. Ink on paper mounted in a green cloth border extended with beige featuring Shunkei nuri lacquered wooden rollers which would instantly call to mind the mountain village of Takayama, home of the Shunkei style. It is 52.5 x 116.5 cm (20-1/2 x 46 inches) and comes in the original signed wooden box titled Satoyama Fukei (Mountain Village Scenery).
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A tiny figure sails on the placid lake depicted among exaggerated precipices of this early landscape by Shirakura Niho enclosed in the original signed wooden box titled Shunpu Taito. Ink & Light color on Silk, it is 59 x 130 cm (23-1/4 x 51 inches) and is in overall excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A quintessential image of a tiny bean-shaped figure lost in thought, perhaps staring out to sea on a sunny hillock before cascading water in lush Spring-green washes by Shirakura Niho enclosed in the original signed wooden box titled Enpokihan (Distant Sails Returning). Ink & Light color on Silk in fresh green extended with beige featuring bone rollers. It is 64 x 143.5 cm (25 x 56-1/2 inches) and is in overall excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A sparse image of tiny boats, sails stretched with wind floating out off the coast by Shirakura Niho enclosed in the original signed wooden box titled Enko Hobari (Sails Stretched in the Distant Harbor). Pigment on silk bordered in patterned cloth extended in beige. The scroll is 65.5 x 132.5 cm (25-3/4 x 52 inches). There is some toning to the silk typical of age, but is in overall fine condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

This scroll is an excellent example of the early Showa era style of Shirakura Niho centering around 1930 enclosed in the original signed wooden box titled Teishu Sotai. The painting features two persons in a boat contemplating a precipitous waterfall which extends up through the clouds. The phrase Teishu Sotai in old Japanese translates to "meeting of moored boats" in English. It is often used metaphorically to describe a chance encounter or a meeting between two people who happen to be in the same place at the same time, similar to how two boats might meet while anchored or moored. It is 39.5 x 196 cm (15-1/2 x 77 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

This is a fabulous painting dated 1930 by Shirakura Niho enclosed in the original signed wooden box titled Ko-Ten-Bo-Setsu (Twilight Snow in the Bay). Viewing it one can hear the silence, the soft pattering of snow and the flap of wings as geese take flight in the distance. Shirakura Niho was from Niigata prefecture, so was a man who not only knew snow well, but was well known for his snowy landscapes. The scene is performed in ink and light color with white gofun on silk in a patterned cloth border extended with beige and features rosewood rollers. The scroll measures 64.5 x 136.5 cm (25-1/4 x 54 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Niîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A masterpiece painting by Shirakura Niho showing every aspect of his pre-war fame, lurid washes of color, wispy figures, a dreamlike allure, and hints at continental scenery. Here the foreground is dominated by a thatched hut, beyond which we see a single hazy figure twisting up in a narrow doorway beside twisting trees all like smoke rising to the sky. It is performed with ink and pigment on silk bordered in brass colored satin with rosewood rollers. It is 49.5 x 200 cm (19-1/2 x 79 inches) and is in excellent condition, enclosed in a modern wooden collectors box.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

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.

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.

The ultimate in tranquility, a sage aloft his peak gazing out at the fresh green landscape, one can hear the rush of the falls in the distance, and occasional birdsong on the spring breeze. The painting is by Shirakura Niho and comes enclosed in the original signed wooden box titled Kankyo Chosen (Leisure Life at the Quiet Spring). Ink & Pigment on Silk, it is 54.5 x 134.5 cm (21-1/2 x 53 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A large lozenge shaped bowl of thick clay covered in fawn spotted glaze by Kiyomizu Rokubei V decorated with a poem by Hashimoto Kansetsu enclosed in the original wooden box signed by both artists titled Gohon Fuseikei Hachi (Bowl of irregular shape in Gohon glaze. It is quite large, 34×26.5㎝ x 15cm (13-1/2 x 10-1/2 x 6 inches) and is in excellent condition.
Hashimoto Kansetsu (1883–1945) was born in Kobe, son of painter Hashimoto Kaikan from whom he gained a love of Chinese culture. He studied at Chikujokai under Takeuchi Seiho (1864-1942), but eventually withdrew due to differences of opinion. He visited Europe in 1921 and after that spent part of almost every year in China. Many of his paintings were inspired by Chinese scenery or Chinese classical literature. His former residence in Kyoto is now a museum of his work called the Hakusasonso.
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 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.

A fascinating Jar-shaped set of stacking food boxes known as a Jubako in multi-color dating from the early 20th century. Jubako were used to serve food to groups or family on festive occasions, where the food was presented in the box, and each person would take what they wanted, rather than have the meal served on individual dishes as in more formal Kaiseki meals. Assembled it is 20 cm (8 inches) diameter 32.5 cm (13 inches) tall and is in overall excellent condition.