Catalog: Archives: Regional Art: Asian (588)

This baluster form vase is quite large by Japanese standards at 14 inches (35 cm) tall and in perfect condition. Chrysanthemums decorate the sides in rich, dark blue. There is a slight yellow tinge to the white glaze. It is signed on the base Makuzu Kozan Sei. 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 kiln as we know it 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 Makuzu Kiln to International Celebrity status, and send his wares throughout the globe. 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 Karatsu style shuhai sake cup with cream glaze decorated inside and out by the Zen Priest Nakahara Nantenbo, a priest who was instrumental in reviving the Zen tradition in the beginning of the 20th century. Circling the circumference is a seven character inscription, the first six reading Kaisei Fugetsu O Kan, the last we have not been able to read. Written inside is an image of the priests infamous staff from which he derived his name, and in large characters NANTENBO, written by a 65 Year Old Man Toju (rokujugo okina Toju). Toju was his official Zen name, but his wild nature and propensity for using his long staff earned him the name Nantenbo. The central character Ten (heavens) has been playfully abbreviated to a single line pointing up like an arrow. The priests name-sake staff was cut from a 200 year old Nandina tree the priest found in a garden. After beseeching the owner he was allowed to cut down the tree and fashion it into his walking staff. The Nandina in Japanese is Nanten, and a walking stick is called a Bo, thus the name Nantenbo. It is known Nantenbo, like many priests of his time, was fond of Sake, Japanese rice wine. The piece is 1-5/8 inches (4.3 cm) tall, 2-1/2 inches (6.5 cm) diameter; slightly large for a sake cup of the time. It is in perfect condition but for a small old chip in the Mikatsuki kodai (foot). We could say this piece is very rare; in fact I have never seen nor heard of another. It was purchased in Kobe, home of Kaiseiji, the long time residence of this notorious priest. It comes enclosed in a custom kiri-wood box.

A beautiful robins’-egg-blue gu-shaped vase with ring handles and engraved decoration by Ito Tozan with the original rosewood stand dating from the early 20th century (c. 1920). The pale blue bleeds to white over the high points of the decoration, the florals raised about the bulbous center and highlighting the rim and edges of the beast head handles. Meanwhile pools of dark shadow the fretwork emanating up and down the body. The vase is 12-1/2 inches (31 cm) tall plus the base and is in excellent condition. There is no box however one could be made if desired. Ito Tozan I (1846-1920) began his artistic career studying painting in the Shijo manner under Koizumi Togaku before moving to the plastic arts under a number of teachers, including Takahashi Dohachi. He began using the name Tozan in 1895, and later received a number of prizes from the Imperial family, as well as being internationally acclaimed in the Paris, Chicago and Amsterdam Exhibitions. He was named a member of the prestigious Imperial Art Academy in 1917, three years before his death. He worked very closely with his adopted son, Ito Tozan II (1871-1937). He too began life as a painter, but his talent was seen by Tozan I, who adopted him and converted him to pottery, where he both succeeded and excelled as a member of one of Kyotos most well known pottery families. The line unfortunately died with the third Tozan in 1970.

Pierce-work combined with over and under glaze decoration create the perfect picture of spring on this bowl by Takahashi Dohachi enclosed in the original wooden box signed Kachutei Dohachi and titled Kenzan Yo Tsubaki Bori Hachi (Kenzan style Camelia patterned Carved Bowl). It is 20 cm (8 inches) diameter and in excellent condition.
The Dohachi Kiln was established in Awataguchi by the retainer of Kameyama fief, Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. He moved the kiln to the Gojo-zaka area (at the foot of Kiyomizu temple) in 1814 And was well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time worked to expand the family reputation within tea circles. The fifth generation took head of the family in 1897 and was one of the top rated potters of his time, heavily influencing following generation including one of his top students, Ito Tozan. The importance of the Dohachi workshop may be determined by the pair of vases held by the V&A (London) purchased in the 1870s under the orders: that they should 'make an historical collection of porcelain and pottery from the earliest period until the present time, to be formed in such a way as to give fully the history of the art.

A lovely set of Taisho period studio pottery Tokkuri sake decanters; the very thin walls made of fine clay covered in earth-toned glassy glaze crackled along drip edges. A bundle of twigs alongside a kindling hearth are painted in iron on the side, with a grinding bowl and pestle of dark clay in raised relief. Along the base of one is the artists stamp reading Hozan. The base diameter is 2-1/4 inches (5.7 cm) and they stand 4-3/4 (12 cm) tall. Hozan was a popular ceramic artist active in the beginning of the 20th century.

A haunting vessel by Miyagawa Kozan enclosed in the original signed wooden box titled Haku Korai Bin, Yukan Tsuki (White Korean form with free handles). This piece is the epitome of the elegance which came from Japanese working with traditional forms. Devoid of decoration, the shape stands alone among works by this famous artist. It is 10-1/2 inches (27 cm) tall and is in perfect condition. I will enclose a rosewood stand for display purposes with this vase.
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. 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 large baluster form Sumidagawa vase decorated in slips of green and black glaze over crackled red with a three-dimensional tokage (lizard) crawling down the side. The detail on the creature is superb, from the textured body to the white claws with which it seems to grip the sides of the slippery surface. On the backside is a raised gourd shaped stamp reading Ishiguro Koko (One of the most prominent Sumidagawa potters). Sumida ware was first produced around the beginning of the 19th century, coming into full fruition after the arrival of Perry in the 1850s. Sumida pottery was made almost entirely for export, and by the turn of the 19th century, the Mckinley Act had required that all foreign goods be so marked. The ware was then marked Nippon, and later Made in Japan or Foreign. This vase is unmarked, indicating, and datres from the period between 1890 and 1920. It stands over 11 inches (28 cm) tall and comes enclosed in an antique chirimen-silk bag and kiri-wood box. The right rear leg of the animal appears to have been repaired, and although well done there is a slight color variation. There are also several flakes missing in hte red paint. This helps to bring the piece into a more affordable price range.

An ancient pine and youthful bamboo rise in gold against a striking red background on this scroll set by Hirai Chokusui dated Mid-summer of Taisho 2 (1913) an enclosed in the original signed double wood box titled Ro-matsu Fu-chiku (ancient Pine, Wind in the Bamboo) Kindega Kenpon Sofuku (Gold Painted Silk Pair). The elegant scene is painted with gold on the finest red silk with gold border extended above and below with a deep solid Ichionji of burgundy wine wrapped in a field of azure washed with the slightest hint of powdered silver, so they shimmer, like sunlight coming through the trees. They feature solid ivory rollers (these will be changed if exporting) denoting the importance given to the pair. Each measures 65 x 213 cm (25-1/2 x 83-1/2 inches) and is in excellent condition. This is a rare find!
Hirai Chokusui (1859-1918) was born in Osaka with the given name Yutaka. He began his studies in the Shijo school under Fukada Chokujo in 1889. He began to be exhibited in 1893 with the Nihon Young Artist Association (Nihon Seinen E-ga Kyokai) and with the National Painters Association (Nihon E-ga Kyokai) and he garnered a great many awards as the century turned. His painting the Voice of Autumn was awarded at the first National Exhibition (Bunten) in 1907, and Hills and River again awarded at the same venue in 1909. He served as mentor to a number of subsequently important artists such as Konoshima Keika, Ito Keisui and Tabatake Kasho. He passed away at the height of his popularity at the age of 58.

The benign figure of Monju Bosatsu bearing the sword of knowledge and a sutra astride a fierce Shishi lion exquisitely painted by Takagi Shunrin in 1920. The compassionate being appears in royal regalia and white robes seated on a lotus shaped saddle upon the fierce creatures back. Pigment on silk in the original silk mounting with large ivory rollers enclosed in the original signed wooden box dated Spring of Taisho 9 (1920). The Rollers will be changed if exporting. It is quite large at 87 x 265 cm (34-1/4 x 104-1/2 inches). A masterpiece of Taisho era Buddhist art in overall excellent condition, with some toning of the silk typical of age.
Monju Bosatsu is Wisest of the Boddhisattva, often seen to the left of Shakyamuni (the historical Buddha) with Fugen Bosatsu on the right. He is often depicted astride a Shishi which symbolizes the power of Buddhism to overcome all obstacles, or occasionally peacock. In his right hand the sword of wisdom to cut through illusion and in the a sutra representing the Hannyakyō (Prajnaparamita Sūtra). The Boddhisattva (Bosatsu) are those who have achieved the highest state of enlightenment yet renounce the Nirvana to remain on earth in various guises to help all living beings achieve salvation. Often seen Bosatsu are Kannon, Jizo, Miroku, Monju, and Fugen among others.

A turned kiri-wood kogo incense case decorated with painting of plums and camellia with a silver rim. Inside wide leaves in god outline underlie the artist’s signature and stamp. The piece is 4-1/2 inches (11.5 cm) diameter.
Sekka (1866-1942) is known as the last great Rimpa Master, an artist of many talents who worked in painting, wood and lacquer. Taken from Wikipedia (they say it so much better than I) In 1910, Sekka was sent to Glascow to study Western art and craftsmanship. He sought to learn more about the Western attraction to Japonisme and which elements or facets of Japanese art would be more attractive to the West. Returning to Japan, he taught at the newly opened Kyoto Municipal School of Arts and Crafts, experimented with Western tastes, styles, and methods, and incorporated them into his otherwise traditional Japanese-style works. It is easy to see this juxtaposition by looking at almost any of his paintings. While he sticks to traditional Japanese subject matter, and some elements of Rimpa painting, the overall effect is very Western and modern. He uses bright colors in large swaths, his images seeming on the verge of being patterns rather than proper pictures of a subject; the colors and patterns seem almost to 'pop', giving the paintings an almost three-dimensional quality.

Everything about this sencha tea implement storage cabinet is top quality; a most unusual box made up almost entirely of worm wood featuring a removable door with an inner panel of antique Chinese origin, possibly an image of a tea salesman with his baskets of leaves. A bronze handle surmounts the lightweight box, with a set of four jade rings attached through a pair of folding fans serving as a handle for the door. Climbing up the naturally gnarled sides of the door are two tiny frogs gazing across the smooth reflective burl-wood center panel like a pool. Inside red-orange (shu-iro lacquer covers the removable shelving, with a small drawer below opening with a solid ivory pull. The box is 7 x 11 x 14 inches 818 x 27 x 36 cm) and in fine condition. The box itself likely dates from the boom in Chinese style tea ushered in at the end of the Edo period, and in fact may be of Chinese origin which the polished wood of the door seems to indicate.

The great Tang Poet Du Fu (712-770) affectionately coddles a goose chick in his left hand, his bamboo staff low and seemingly forgotten as he ponders the beloved creature in his palm. Exquisitely rendered, it is roughly 16 inches (40 cm) tall and signed on back with an engraved signature. Du Fu's poetry has made a profound impact on Japanese literature, especially on the literature from the Muromachi period and on scholars and poets in the Edo period, including Matsuo Basho, the very greatest of all haiku poets. It is said that when Basho died, a copy of Du Fu's poetry was found among his few possessions.
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 set of two gilded and lacquered wooden Imperial memorial tablets dating from the Taisho period (1911-1925) on elaborate 3 piece stands; one etched with the name of the Meiji Emperor, the other noting the current emperor (at that time). The mirror, one of the three Imperial signs, is represented floating in a sea of stylized clouds on the cornice cap, separated from the ornately carved plaque by a red and black lacquered slab. The scrolled center section is adorned with Imperial chrysanthemum dials in a field of blue, originally decorated with (now faded) vine tendrils. In the Gold center of one is written Meiji Tenno Songi, in memory of the Meiji Emperor. This tablet appears to have lost some of the gold lacquer, revealing a smooth, darkened silver underneath. On the other is Kon jo ko tei fuku ki ei koku bou ka mu kyu, A prayer to the present (at that time) emperor for long life, and to bring hope and prosperity to the country. The two epitaphs rest on square gilded slabs carved with folding flower petals, which in turn rest on a black and red lacquered, two-footed wooden base. This whole package is set on a sloping raw cedar stand, which is in turn on a small gold base, in turn set on a large gold stand. This lower section was so blackened with age I did not know it was gilded until we started cleaning it. Each piece in this puzzle features a panel of vertically striated wood set in to the front. The entire structure is 50 inches (127 cm) tall, with a base footprint of 10 by 15-1/2 inches (25.5 by 39.5 cm). The tablet itself measures 21 inches (53 cm) tall. On the black lacquered back of one are written the birth and death records of recent Emperors on two pieces of overlapping paper. It would seem the original paper was written at the beginning of the Taisho, and later amended with information on the Showa Emperor.

An unusual chato (tea room sword) in the shape of an octopus, its 8 legs stretched out in uniform with one curled back exposing the suckers. Eyes are intimated on one side, with an old chip where the breathing hole is opposite. About the neck is wrapped a faded silk chord. It is 22 inches (56 cm) long. It is said that these wooden swords were produced from the mid to late Edo period, in lieu of swords for those not allowed to carry weapons (all but samurai). During the Edo it is true that commoners wore them to ward off evildoers at night, generally heavier versions which would double as a truncheon, and later as statements of fashion akin to other sagemono. We have found however that their production lasted through the opening years of the 20th century, as long accustomed ornaments of fashion in the tea room (where even samurai were not allowed bladed weapons). To the repertoire of bokuto and doctors sword, we thus add the name Chato, or tea sword, as they were commonly referred to in Kyoto. As with other members of the sagemono group, they were most often made by carvers of Netsuke. This is from a collection of scholar items we are currently offering from the estate of a Kyoto family involved in literati and art movements from the later Edo period on.

A set of five Porcelain Tea Cups decorated by 5 individual artists from the early 20th century; Tomioka Tessai, Tajika Chikuson, Kamisaka Sekka, Imao Keinen and another as yet unidentfied artist, stamped on the base by the kiln. Each cup is uniquely hand painted by the artist; all stamped on the base by the potter, and come enclosed in a quality custom-made period wooden box. Each is roughly 2 inches (5 cm) tall, 2-1/2 inches (6 cm) diameter and all are in fine condition. A similar set by these artists can be found in the Honolulu Museum of Art.
Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveao and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938.
Tomioka Tessai (1837-1924) was a scholar artist trained from age seven in the traditional Confucian manner. After the death of his father he was apprenticed to a Shinto shrine, and later was forced to escape the capitol to Kyushu to avoid arrest for anti-governmental actions he had taken on part of the Imperial cause. Here he began serious study of Literati painting and furthered his scholarly research. Upon returning to Kyoto he was befriended by and moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He helped to establish the Nihon Nanga-In and held a number of important positions, culminating in being appointed the official painter of the Emperor and a member of the Imperial Art Academy; the highest honor in Japanese Art circles. He is represented in innumerable important collections. Information on this important person is readily available, for more see Scholar Painters of Japan by Cahill (1972), Roberts Dictionary, or a quick internet search will find plenty of reading. He is held in the Tokyo National Museum, Museum of Fine Arts, Boston, Kyoto, V&A etc…
Imao Keinen (1845-1924) was born in Kyoto, and initially schooled in the Ukiyoe style before becoming a pupil of Suzuki Hyakunen, from whom he received his name. Master of many styles, he was a member of the Imperial Art Committee and Imperial Art Academy, and served as Juror for the Bunten as well as teaching at the Kyoto School of painting. A very influential painter known for his detailed Kacho-ga. He is held in the collections of the Ashmolean, Metropolitan Museum NY and Museum of Fine Arts, Boston among others.
Tajika Chikuson (Also Tachika, 1864-1922) was born in Takeda (modern Oita) and initially studied painting with Fuchino Keisen before moving to Kyoto where he apprenticed under another Kyushu born Nanga artist Tanomura Chokunyu, placing him in the direct lineage of the great 19th century literatus Chikuden. Along with Ikeda Keisen and Yamada Kaido, he helped to establish the Nihon Nanga-In. He was repeatedly awarded at the Bunten National Exhibition, and left a lasting impression on the world of Japanese Nanga with his many students.
…

A very rare pair of porcelain vases decorated with Plum Pine and Bamboo by Miyagawa (Makuzu) Kozan I enclosed in the original signed wooden box titled Makuzu Gama Seika Shochikubai no Shuku-ga Kabin (Makuzu Kiln Plum Pine and Bamboo Celebratory Image Vases). Bamboo rise up majestically, the blossoming plum branches wrapping opposite each other, with baby pines growing on the back. All traditional symbols of celebration. The vases are roughly 25 cm (10 inches) tall each and in excellent condition, retaining their original rosewood stands. An inscription inside the lid states they were received from Hanzan (Kozan II) as a gift commemorating the wedding of Arishima Takeo in 1910 and held in the Arishima family collection.
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 stunning delicate cup made from a hollowed egg-shell. Inside is matte-black with patches of gold gilding, while outside the silhouettes of pines and a soaring Hototogisu (cuckoo) are deftly brushed with shiny black lacquer. The imagery instantly calls to mind Japanese poetry, which extols the song of the cuckoo, a harbinger of Spring and warmer weather. There is also something melancholy about the cuckoo call, as they are always deep in the forest, out of sight and alone. This is simply a phenomenal piece, and comes in an old custom-made wooden box dating from the Meiji period. It is It is 4.5 cm (just under 2 inches) tall and in perfect condition.

A very elegant pair of Antique Andon lamps dating from the Meiji period in the original storage box from a Kyoto estate. The box is dated Meiji 36 (1904) and stylistically these fit perfectly into that era, with a fine transparent red lacquer finish. They are in excellent condition, each standing 31 inches (79 cm) tall, 8-1/2 inches (22 cm) square. Due to size these will require special shipping consideration, the cost to be accrued separately.

A set of five Meiji period dishes hand painted by Suzuki Hyakunen in commemoration of the Gosho-Nai Dai-Hakurankai (Exposition in the Imperial Palace, Kyoto) stamped on the underside with the event name and each individually signed by the artist. The literati scenes include a scholar contemplating a waterfall, Mountain retreat lost in rugged hills, sails on the lake, traveler in the hills and horses on the lakeshore under weeping willows. A beautiful and very rare set, each dish is roughly 4-1/2 inches (11 cm) diameter and in fine condition. They come in an older custom made kiri-wood box.

A Meiji scene of samurai preparing for battle, a noble women looking on with apprehension as a courier brings word from the battlefield. The lord fixes the knot on his helmet, preparing to rush into the fray. The scene is performed in pigment on silk, and we have had it completely re-mounted with a black frame reflecting the original style with sturdy cloth backing. Likely dating from the last decade of the 19th century, when the genre of Rekishiga was at its peak, it is stamped in the lower right corner (read right to left) Eisei. The extreme detail and delicate touch reinforce that dating, an era when the arts of the Meiji were peaking both within Japan and abroad. The screen measures 53-1/2 x 55 inches (136 x 140 cm) and is in excellent condition.

A very unusual vase by Teishitsu Gigei-In (Imperial Art Academy Member) Ito Tozan I enclosed in the original signed wooden box showing decidedly Art Nouveau styling. It is 20 x 8 x 32 cm (8 x 3 x 12-1/2 inches) and is in excellent condition.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III and Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937).

Two austere Bodhisattva play music and spread lotus petals before the benign countenance of Kannon while a fierce green God (god of thunder or wind) recoils, flame spouting from his mouth. This is a very unusual triptych enclosed in the original age darkened compartmentalized kiri wood box signed Urata Tenka titled Daiji Kannon no Zu (Image of the most merciful Kannon), Takahashi Koko Sho (Painted by Takahashi Koko). Urata Tenka was the first art-name (go) used by famed Meiji artist Takahashi Koko. The tension created by the movement and posture of the left figure juxtaposed against the serene silence of the celestial figures on the right is striking, with the central figure an island of calm and compassion in a tempestuous world. Pigment on silk in fine silk border with solid bone rollers. The scrolls are (Center) 96 x 223 cm (left & right) 52.5 x 222 (38 and 20-3/4 x 87-1/2 inches respectively). Overall they are in excellent condition, with toning of the silk typical of age. Beside the original Urata signature on the box has been added at a later date: By the deceased Takahashi Koko.
Takahashi Koko (1875-1912) was born the eldest son of Unkoku school painter Urata Chojiro (1846-1913)in Yamaga City Kumamoto Prefecture and was trained from an early age in the Unkoku style of his father as well as absorbing other styles. While working as a teacher in Kumamoto City at the age of 20 he met actress Takahashi Ko, who was visiting the area. Under the guidance of Takahashi, who was impressed by his artistic talent, he moved to Tokyo in 1890 and entered the painting school of Japanese-style painter Matsumoto Fuuko who honed his skills in historical genre painting. He exhibited with a number of different art organizations, and together with Yukihiko Yasuda and Shikō Imamura, he livened up the art world of the Meiji era. His ability was recognized by Okakura Tenshin, and was invited to the research institute in Izura. During this time, he exhibited at the Tatsugakai and Kojikai, and received many awards. In 1908, he was nominated as a judge by the chairman of the Kokuga Tamaseikai. In 1912 he was commissioned a work by the Minister of Korea Hanabusa Yoshitada, and visited Manchuria and Korea for research where he contracted scarlet fever. He died suddenly at the age of 37 after returning to Japan. A major figure in the art world, he left a solid mark on the Meiji painting stage. Work by him is held in the collection of the Sankei Kinenkan (Yokohama), Kumamoto Prefectural Museum of Art, Kumamoto Municipal Museum, Senoku Kokan Museum (Kyoto) and Adachi Kyodo Museum (Tokyo) among others.

A large screen depicting a samurai replete with the Jakumei crest of the Takeda Clan rearing his horse in a shout of battle, wand extended at arms length giving the order to charge. The horse appears to be fighting panic, possibly at the deafening sound of the guns of Oda Nobunaga, a sound which brought in the modern era of warfare to Japan in a pitched battle between Oda forces and those of Takeda Shingen. The scene is depicted in a typical Meiji Rekishiga-style, light pigments on silk, wrapped in a green silk border with black lacquered frame. Each panel is 77.5 x 193 cm (30-1/2 x 76 inches). Overall it is in fine condition, with some toning to the silk typical of age, and one light indentation on the far left panel about 1 cm (1/2 inch) long. The screen is signed Beizan Utsuru, followed by a stamp which appears to read Tanryo. Matsubara Beizan was an award winning Meiji era artist based in Tokyo.

A Carved and Gilded Buddhist Reliquary containing a polished pink stone exhibited at the Shimane Prefectural Musuem Arakawa Kisai exhibition in 1974 enclosed in a custom-made wooden box and retaining the loan papers from the museum as well as the original pamphlet. The wood body has been carved in tempestuous waves, lacquered black and gilded, with a polished pink orb inside a flame shaped finial. It is 7 inches (18 cm) tall and in excellent condition.
Arakawa Kisai (dates disputed, roughly 1827-1906) was born the son of a carpenter in Shimane prefecture. He was considered a child prodigy by the age of five, and began sculpting around his tenth birthday. He received a proper education, and by the time he was twelve his clay sculptures were a popular collector’s item. At the age of fourteen his artistic training began in earnest, working as a netsuke carver, he studied shrine architecture while also taking painting lessons from Nabeshima Ungaku, his son Kagaku and Buddhist sculpture under Kato Saori (sp?). Successful in these endeavors, at the age of 28 he would also begin metal sculpting while keeping company with artisans of all trades, absorbing many skills. With the opening of the country in the Meiji era, he would begin studying Nanga painting under Nakanishi Koseki as well as Western style oil painting under pioneering artist Yokoyama Matsusaburo who would be considered a master at photography, lithography and painting. He submitted a piece to the first Naikoku Hakurankai (1877 National Industrial Exhibition) which was awarded and collected by the Imperial Household. He studied Physics, and developed a number of important inventions including weaving machines. His work was awarded at both the Chicago World’s Fair in 1893, and the Paris World Exposition in 1900. One work considered his masterpiece, a carving of the mythological Princess Inada, is held in the collection of Izumo Shrine, one of the most holy sites in Shintoism. The Arakawa Kisai Ten in which this was featured was held n 1974, and his work was again the focus of attention with the exhibit “The Japanese Aesthetic Hearn Loved, Sculptor Arakawa Kisai and Lafcadion Hearn held in 2018-2019. An excerpt from that show: In August of 1890, Lafcadio Hearn would be transferred to Matsue, and discover a certain stone statue while out for a walk. Hearn became mesmerized by the statue, a friendly Buddhist Jizo which overflowed with benevolence and belonged to the Ryusho-ji Temple in Teramachi. Hearn immediately asked after the sculptor, and this was how he came to know the name Arakawa Kisai. The very next day, Hearn visited Kisai’s workshop, where he became enamored with the skill and demeanor of the master sculptor. The two men discussed the arts and are said to have hit it off very well (San-in Shimbun Newspaper). Hearn would go on to commission pieces from Kisai in an effort to introduce the sculptor to the world, as a producer might promote an artist. The bond these two men shared can be glimpsed today in Hearn’s writings; the diaries of Nishida Sentaro, who was Deputy Head Teacher of Shimane Prefectural Common Middle School and Hearn’s good friend; letters to Nishida; contemporary newspaper articles (San-in Shimbun); and other sources.

Jingu, guardian Empress of Japan, stands ready to defend her princely child Ojin held by General Takenouchi Sukune within a painted border of martial articles. Swords, armor, bows and quivers full of arrows, a horse-bit and court cap, tea bowl and other implements precious to the samurai tradition all hand-painted about the central image, laid scroll-like over top but actually all part of the same canvas. The composition has been freshly mounted in toffee colored brocade reflecting the original mounting and retains the original large bone rollers. It comes enclosed in a period wooden box. The scroll is 17-1/2 by 71 inches (44.5 x 181 cm). There is some toning and marks but nothing worthy of distraction. The stamp appears to read Shinsei

A massive evocative painting exhibited at the first Bunten National Exhibition in 1908 by Ito Koun enclosed in a large period wooden box and pblished in the Nitten-shi series volume I. It is performed with pigment on silk, and shows that soft, almost mystical touch typical of late Meiji Rekishi-ga historical imagery. The samurai crouches at the gate, letting fly arrows at his overwhelming opponents. Metal tipped shafts pierce the thick wood of the gate before him and broken arrows lay scattered among the fallen leaves at his feet; a poignant reminder of the fleeting life of the warrior. The scroll is 120 x 149 cm (47 x 98 inches) and is in overall fine condition; a museum class painting.
Ito Koun, (1879-1939) was born in Tokyo with the name Ito Tsunetatsu in July of 1879. He studied under Murata Tanryo, and exhibited with the Bunten National Exhibition to which he was named a committee member after 1925. He specialized in Rekishi-ga and historical scenes.

An ancient Japanese scroll featuring a blue eyed neko-tora (cat-tiger) prowling over a boulder peering out through sheets of pouring rain. This is a very unusual subject; I have never before seen a tiger depicted with blue eyes. Due to 250 years of isolation the Edo period Japanese artists had never seen real tigers and were forced to conjure up these feline images from their own imaginations. The painting has been remounted in green brocade embossed with vines, extended top and bottom in a soft brown. It is unsigned but bears two stamps and measures 24 by 74 inches (61 by 188cm). There is heavy creasing present.

A 19th century (Edo to Meiji periods) gilded bronze branch bearing three golden fruits, each of which opens to reveal a small compartment. It is 19 cm (7-1/2 inches) long, 6 cm (2-1/2 inches) tall and comes enclosed in an age darkened kiri-wood box. Certainly of Buddhist connotations, it likely held some small sweets or incense.

Villains and travelers, Goblins and Priests, Various tales play out in 3 dimensions around the trunk and among the leafy branches of a massive tree forming the core and backdrop of this amazing 19th century altar bell stand. The piece is 6 inches (15.5 cm) tall, the same diameter. It comes enclosed in an old wooden box. This matches the Maezukue Altar table previously listed. One of the most elaborate I have ever seen.

Nita A ring of skulls playfully sojourn on the front of this rather unusual deep Edo Karatsu Chawan. On back another pair tumble helplessly over the thick speckled glaze. The base is bare earth, dark and shiny with age and handling. The skulls are not just resist painted on, but are actually incised, the eyes and nostrils set deep into the southern clay. The bowl is 3-1/2 inches (8.5 cm) tall, roughly 4 inches (10.5 cm) diameter and is in excellent condition, enclosed in a wooden box.

A troop of Shishi lion dogs sewn with couched gold thread. frolic among the blossoms and crashing falls embroidered on the re-purposed rich blue patterned Edo period silk of this altar cloth. The original form was likely an uchikake kimono, assembled as an altar drape as a tribute to the owner at a Buddhist Temple. Embroidered up high is the Mitsuba-aoi crest of the Tokugawa Shogun, indicating this was from an aristocratic family as the quality of the embroidery presmes. The dimensions are roughly 150cm (59 inches) x 170 cm (67 inches) tall, and it is in remarkably fine condition. The kimono was re-fitted into its current form dated on back Meiji 13 (1880) followed by the name Okawa Yoshiuemon

A set of five porcelain tea cups by Ninnami Dohachi decorated with bamboo and poetry by Nukina Kaioku (Suo) enclosed in a superb custom period kiri-wood box with rosewood edges. Each cup is 2 inches (5 cm) tall, 2-1/2 inches (6 cm) diameter. There are old gold repairs to two of the cups, otherwise are in fine condition.
Nukina Kaioku (1778-1863) was born into a samurai family in Awa, on the island of Shikoku a patron of the Hachisuka clan. In frail health, he was excluded from the strict rigours of the martial arts, but was trained in the typical Confucian education based on Chinese classics, painting and calligraphy, at which he excelled. He went to Koyasan to study Buddhism, Literati arts in Nagasaki and advanced Confucian studies in Edo(Tokyo). He settled in Kyoto where he established the Shuseido Academy teaching Confucian studies, and his circle was extremely influential in the waning days of the Edo government, especially among loyalists. Works by this artist can be found in the British Museum, Brooklyn Museum, The Walters Art Museum, Honolulu Museum, as well as a plethora of domestic museums in cluding MOMAT, Homma, Imabari, Itabayashi etc.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto.
Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I in Kyoto. He opened a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles, along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. He is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among others.
The third generation (1811-1879) was known as Kachutei Dohachi and continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the anals of Kyoto ceramics well into the Meiji period.

A set of sake decanters in the shape of Split Bamboo Tea Whisks by the third generation Kiyomizu Rokubei enclosed in the original signed wooden box. The artists stamp is clearly impressed into the nunome cloth-textured base. They are 14 cm (5-1/2 inches) tall and in excellent condition dating from the mid 19th century.
Kiyomizu Rokubei III (1820-1883) was the second son of Rokubei II (1790-1860) and took over the family kiln at the age of 18 after his father retired in 1838. (His father subsequently went to Echigo to open the Oyama-yaki kiln at the bequest of the local Daimyo). Being at the head of the family business in the tumultuous era at the end of the Edo and beginning of the Meiji, he was a driving force behind the revival of the Kyoto industry after the transfer of the capitol to Tokyo in 1868. He produced a great deal of work in various styles, and was known for his painting skills, having studied under the great 19th century Literati Oda Kaisen. While preserving the techniques of his forebears, Rokubei III was also open to new, foreign influences. He accompanied Miyagwa Kozan to Yokohama to investigate newly imported western advancements in pottery and production (Kozan would subsequently move to Yokohama). He was greatly affected by Modernism, and produced western influenced dishes in addition to the staple Japanese fair. In 1879, he was one of the artists commissioned to make a tea service for use during the visit of former US president Ulysses S. Grant. He frequently served on juries and won medals at domestic exhibitions, including the Kyoto Exhibition (1875), the Domestic Industrial Exhibition (1877), and the Nagoya Exhibition (1878). His works also featured in exhibitions in Paris, Sydney and Amsterdam

A fine wakizashi in saya of crushed aogai shell in lacquer with engraved silver fittings adorned with a family crest wrapped with matching Kozuka. Kyoto license number 59007 Heisei 9.
blade length: 38.9 cm
sori:0.7 cm
motohaba:2.4 cm
motokasane: 0.6 cm It is in excellent condition.

A very unusual Toyoraku Usubata vase covered outside in black lacquer decorated with geometric gold maki-e designs, the inside nearly swamped by organic green flowing to the center. It comes enclosed in the original somewhat dilapidated wooden box signed: The 75 year old man Toyosuke. This appears to be the signature of the third generation, and so would date from 1854, only a few years prior to the death of the fourth generation who began the technique of lacquering pots. It is 25.5 cm (10 inches) diameter at the top, and stands21 cm (8-1/4 inches) tall, in overall excellent condition. Lacquer has been re-applied to the foot ring and there is a small loss in the bulbous center of the vase.
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. The family lineage ended in the Taisho period.

Ink on paper image of a skull befitting one of the most well known and outspoken Samurai/swordsmen of the 19th century, Yamaoka Tesshu, remounted in an olive grey border patterned with vines with wood rollers. The scroll measures 15 x 75 inches (37.5 x 190 cm) and is in fine condition but for some minor staining below the signature.
Yamaoka Tesshu (1836-1889) was a student of military arts and famous calligrapher. Born into a samurai family, Tesshu began studying swordsmanship from a very young age. He took the name Yamaoka upon marrying the daughter of a spear school, continuing the family name in their place. An avid devotee to Zen training, he attained enlightenment at 45. A compatriot of the infamous Zen priest Nakahara Nantenbo, the two established a Zen training center together. He was a bodyguard and teacher to the young Meiji emperor, Zen teacher, poet, swordsman and artist, a giant of a man containing all of these personalities (or perhaps none?) He died of stomach cancer at the age of 54, his last poem reading Tightening my stomach against the pain, The cry of a morning crow…