Catalog: Archives: Regional Art: Asian (721)

A male peacock struts proudly before a gorgeous plume of color on this mid 20th century hand painted screen signed and stamped Yushin. The colors are slightly muted, in a typical Japanese way, the background awash in mottled silver-gray, presenting the brilliant greens and blues of the birds fabulous attraction. It is bordered in a wooden frame covered in Negoro lacquer, unusual green over red, matching the painting perfectly. Each panel measures 32 inches by five feet (82 x 152.5 cm) and is in excellent condition, even retaining the original backing cloth.

A beautifully written tea room scroll by 19th century calligraphist and seer/soothsayer Yokoyama Marumitsu (1780-1854) bordered in pale green brocade and featuring bone rollers. The calligraphy is very expressive, dark lines varying dramatically in width as they curl down the wide sheet. The signature line reads A 72 year old man Kiosanjin Marumitsu making the scroll date to 1851 by Japanese age count(Kiosanjin was one of his many literary names). Aside from minor wrinkles (not hard creases) the scroll is in excellent condition, and measures 24-3/4 by 49 inches (63 x 124.5 cm). Born in Edo (present day Tokyo), Marumitsu was actually a bit of a forward thinking individual in his time who believed every person was born with a unique character that was buried over time by societal pressure, and the only way to live happily was to toss out ideas contrary to the inner self, thereby purifying ones true form. He was a proponent of the ancient Chinese art of Tengen-Jutsu, a fortune telling method he studied under Okuno Kiyojiro. My interpretation of the scroll: The middle lines are a bit sparse and difficult to read, however, overall the gist seems to be: Everyone has shame, The original heaven (self?) lies deep within, Gods willing (not in the western sense of god), Fortune will arise, A full life. My interpretation is: We have all a dubious past, but true heaven lies within, and gods be willing, through our own effort, the god within will shine, calling fortune. Allowing a full life. Given the context of the artist, this seems to be an apt work.

Dragons writhe across the face of this astounding free standing temple which was a long time display piece in a Butsudan Shoten, an example of the finest work available for Japanese altars. The piece is more than 60 years old, as the current owner of the store (third generation) mentions it has stood there for as long as he can remember. It is entirely hand made; each piece of wood finely shaped and lacquered, each bit of metal hand etched before assembly. It rises from a 9 stage base of red, black and gold lacquer, each stage separated by tiny carved and gilded waves, and centering on a pair of 3 dimensional dragons vying for the prized Buddhist jewel between red colonnaded bows, tumultuous waves crashing down the sides. There are almost 100 pieces of decorative brass on the base alone! Enclosed in a scrolled wall is the center section made up of 10 black lacquered pillars heavily embellished with golden trim separated by carved cornices supporting the roof, which I cannot even begin to describe in its complexity, and will have to let the pictures show the work. The temple breaks into four sections, the base, pillared center, middle and top of the roof. It stands 38-1/2 inches (98 cm) tall, 20 inches (51 cm) wide and 12 inches (31 cm) deep. As mentioned before, this was a display piece showing the best available for Butsudan interiors; Butsudan are altars enshrining ones ancestors. The three black lacquer panels in back were added some years ago, and there are a few small pieces which have broken off and gone missing over the years; however it is surprisingly intact for such a delicate item. Pictured both with and without, all of the golden balls on the roof are accounted for. In Japanese altar making, each step is performed by a separate craftsman, cutting the wood, shaping the wood, lacquering, gilding, painting and assembly. Numerous individuals have worked to show the highest quality work for this outstanding altar. Ordered new today, this would be over 20 thousand dollars.

A young woman in rare western dress gazes across this early to mid 20th century Bijinga scroll signed Ikko (Furutani Fujio, b. 1891) enclosed in a period wooden box. Her bright western dress and short hair must have made quite an impression in conservative Japan. The silk painting is bordered in green brocade embellished with flowering vines, extended with beige and features bone rollers. The scroll measures 21-1/2 x 52-1/2 inches (54.5 x 133 cm), and is in fine condition. Fujio was born in Kyoto, and developed hiw approach to Nihonga under the tutelage of the great Yamamoto Shunkyo, and later became a member of the Nitten.

One of the most interesting vases I have seen by this potter, quite striking in appearance, with brick colored dashes struck briskly through the dark molasses of the vase. Under the glaze we can see the artists signature Jomon rope impressions pressed into the clay. The Jomon pattern (the Jomon were ancient peoples of Japan whose pottery was typified by rope impressions) is what Tatsuzo is most famous for. The vase stands 10-3/4 inches (27.3 cm) tall, and is 4-1/4 inches (11 cm) across the shoulder and comes enclosed in the original signed wooden box. After serving in World War II, Tatsuzo apprenticed under world famous Mashiko Mingei potter Hamada Shoji, establishing his own kiln in 1954. Working with rope patterns, (his father was a rope maker) Tatsuzo set out to create a style unique to himself. In 1996 he was designated a Ningenkokuho (Living National Treasure). Quite often more subdued, this piece seems to bridge the gap between the shapes and textures of Tatsuzo, and the bold colors of his sensei Hamada Shoji.

Here is a fine squat jar form vase, the deep red clay covered in fish-eyed tenmoku glaze by Living National Treasure (Ningen Kokuho) Shimizu Uichi (1926-2004), enclosed in the original signed wooden box. Iron red shows through with startling effect like meteorites in a dark night sky of blue and brown. It measures 6-1/2 inches (16.5 cm) tall, the same diameter. Shimizu is known for the soft persimmon red temmoku (iron oxide) glaze, as well as crackled white and celadon glazes. This is an excellent example piece by the artist. Uichi was born in Kyoto the son of a ceramic dealer. Discarding the family business he apprenticed in plastic arts under Ishiguro Munemaro. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art and the Freer Gallery among others.

A black-tailed white crane braves tempestuous seas before the massive orb of a blood red rising sun in this sensational late Edo period Kano style scroll. From the right a sinewy tree loaded with exaggerated fruits hangs precariously from the green face of a sheer cliff, its wild branches running helter-skelter through the dark sphere. Mist retreats beyond the horizon, regrouping for another night. A very unorthodox scene, each wave scratched out with soft gray, foam flying from the bird and waking in troughs on the undulating surface of the sea. The powerful scene is bordered in tea green brocade patterned with vertical waves, and features massive ivory rollers. It is 2 feet (61 cm) wide, 76-1/2 inches (194.5 cm) long. There is some creasing in the heavy red paint of the sun, and although white underneath and not noticeable, there is loss to the thick gofun which originally covered the large peaches. These minor defects fail to mitigate the tyrannical presence of this extraordinary painting.

An extraordinary scene unravels in this raucous tumbling Literati scroll by Kyotos Shirakura Niho (b. 1896) enclosed in the original signed wooden box. An inscription in the box lid names the scene The Hermitage West of Kamo (River) called Taka-Ike-Kyo. A solitary man looks up from his reading toward open ground, his thatched hovel lost in a jumble of bamboo flanking the steep falls rushing white through the foliage. The vibrant work harkens to the radical Taisho period, when Nanga and Japanese art in general was at a peak of creativity. It is bordered in silvered-green silk and features large solid ivory rollers. The scroll is 22 by 85-1/2 inches (56 x 217 cm) and is in fine condition but for some light foxing which gets lost in the complexity of the scene. Niho was trained under Hatori Goro and Chikuson, and was often presented at the Teiten and Nihon Nanga Inten.

An unusual modern art vase in robbins-egg-blue dating circa 1970 enclosed in the original signed wooden box by Kyoto artist Kumakura Junkichi (1920-1985).. The blue metallic glaze flows down the sides leaving a distinct pattern in the smooth surface, collecting in oil drop pools around the thickened base. Notches cut in the surface are turned out at various points to allow the insertion of flowers and twigs on all surfaces. One could make a variety of very interesting arrangements with this attractive piece. Signed on the base Jun, it is a little less than 5 inches (12 cm) square. The vase is in fine condition but the box appears to have been wrapped in a red cloth which was once wet, allowing the die to seep into the box surface. Junkichi began working in ceramics in the 1940s, his works submitted to innumerable National and International Exhibitions including the Japan Art Festival, New York and the international Arts and Crafts Exhibition in Florence Italy. He also submitted to the Brussels World Exposition and helped design murals for the World Exposition Osaka. At the International Ceramics Exhibition, Prague in 1962 he took a silver prize. He was also often exhibited and is in the permanent collection of the Japanese National Museum of Modern Art as well as the National Museum of Modern Art, Kyoto.

Here is a rare and fabulous Muromachi to Momoyama period (16th century) 42 plate koshozan kabuto signed by Haruta Tokisada, a famous armor craftsman of Nara active during the later Muromachi. The shape is exquisite, slightly bulbous in back, with a relaxed center just lower than the front. Three clusters of silver clouds are incised in damascene in the Mabizashi (visor), above which are 12 large hoshi rivets fastening a decorative iron plate to the front of the hachi. The fukigaeshi bear a four-snake-eye crest (of the Takeda clan) on the leather covering. It features a 3 lame sugake laced Shikoro of nerikawa original to this particular helmet, the lowermost tier covered in gold gilded patterned leather. There is damage to the Shikoro on the right rear (see photos), some petals missing from the small hachimanza and the cloth liner is in poor condition. However the Hachi itself is fine and an excellent example of this style. Extremely collectible.

Smooth black lacquer covers the mirror like surface of this wooden boat inlayed with mother of pearl down the sides, hiding under the low roof a brass tray for flower arranging. The prow is flecked with gold and the roof decorated with karakusa maki-e designs in black on the flecked surface. The tiller is removable for cleaning. It is 28-1/2 inches (72 cm) long, the ship dating to the opening of the 20th century. There are some minor chips in the lacquered corners in the stern, however overall it is in fine condition.

A blossoming cherry occupied by two Birds of paradise spreads its arms over blue water flowing across the gold ground of this fine two panel screen by Kano Takanobu (d. 1794). The scene is depicted with mineral pigment on paper and gold foil. The artist has chosen a softer than traditional approach to the tree bark, almost boneless, all written with washes of dark color like that of the Rimpa school. The blossoms themselves are painted in slight moriage gofun, each heart shaped petal unique. It is quite spectacular. The screen has been fully restored at some point in the past, likely late 19th century, and touched up once more recently. There are two large areas of damage that were repaired, the first in the upper section along the border around the spine, where it appears the gold is much newer, and a 4 inch tear above the blossoming branch beside the birds. Also insect damage in the (must have been delicious) blue river has been repainted. Each panel is 34 by 69 inches (86.5 x 176 cm). There are faint water stains in rivulets running down the painting, however due to age and faint nature are not distracting. The screen is bordered in blue-green brocade separated from the painting by a white strip, and features a black lacquered wooden frame with high quality etched brass fittings. There are abrasions typical of age, but overall this is a very decorative screen in fine condition. Takanobu was the first born son of Kano Hidenobu, he achieved the rank of Hogan before his death in 1794.

A lovely late Edo to early Meiji period square footed dish decorated with autumn grass and crosshatching in underglaze iron with a charming lacquer repair in one corner featuring a crescent moon expertly rendered. The dish has been formed on a cloth covered pattern; impressions remain visible in the surface through blanks in the thick white glaze. It was made with fluted corners, with 4 pressed on loop feet. The dish was dipped in glaze from one side, then held on edge, allowing the glaze to run in several thick streamlets across the center, finger marks of the artist as he held the dish after dipping still visible as blanks in the white. A very attractive repair has been performed to one corner using three shades of lacquer, creating a golden moon partially obscured but still visible through silver clouds. The piece comes enclosed in an old wooden box, and measures 8 by 10 inches (21 x 25.5 cm).

A collection of huts glow softly huddled in the protection of towering rocks in this lovely winter landscape by Akamatsu Unrei (1893-1958) enclosed in the original signed wooden box dated 1928, which itself is in turn enclosed in a protective red lacquered wooden box (nijubako). A true master of the genre, Unrei was born in Osaka, and apprenticed under Koyama and later the famous Nanga-ka Himejima Chikugai. At a relatively young age he exceeded the talents of his forbearers, finding a new way of looking at Nanga all his own. His paintings were often submitted at the Bunten/Teiten national exhibitions. This is a truly wonderful painting, and my usual litany of words fails me. He has set the stage with a dark wash of gray across the horizon, the empty paddies, separated by snow covered paths, reflecting the dark sky. Brown leafless trees stretch out from the white ground interrupted by massive crags of stone, and tucked away in the shelter of all this is the soft pink warm walls of a village idling away the winter months in comfort. The delicate use of light color throughout the scene provides a much richer, deeper perspective than is normal. The scene is mounted in rich brocade embellished with vines, extended in beige brocade of similar pattern, and features solid ivory rollers. It measures 22 by 55 inches (56 x 140 cm) and is in perfect condition but for a small pale spot like a fingerprint in the mountain below the signature.

A pair of ancient iron tongs for working charcoal within the furo during the Japanese Tea Ceremony enclosed in an ancient wooden box titled HiBashi, Todaiji Kawara-Kugi, or charcoal tongs, Todaiji, Roof Tile Nails. One of the nails shows deterioration in the center where it rusted on the surface between the tile and the roof. The hand forged nails are just over 9 inches (23.5 cm) long, folded over on the flattened ends to form the head. The polished rusty surface, and the manner in which the heads have pitted is the essence of wabi! An excellent addition to the tea room.

A fine Edo period portrait of a sinewy middle aged samurai proudly seated before a pair of swords, a table upon which rests an ink stone and book at his right elbow. Exquisite detail in the figures face and fine lines and shadows in the clothing are reminiscent of portraits by the great artist Watanabe Kazan. The portrait is signed Higashiyama Giryo and dated Tenpo 3 (1832) and the epitaph is signed Raijo. The portrait appears to be of a samurai named Kanda Hojo. The artist Giryo is likely a student or successor of the famous Kyoto artist Giryo I, who died in 1813. The ink and color on silk scene is bordered in complimentary blue cloth with bone rollers and comes in a fine kiriwood box. The scroll measures 11 by 70 inches (28 x 178 cm).

A noborigama (multiple chamber climbing kiln) ascends the right side of this wildly brushed Autumnal Nihonga screen signed Takuji, which dates from the late 1920s or 1930s. Drastically contorted thatched buildings are shaded by a massive leafless tree which dominates the center of the scene. A few remaining leaves dangling after winters first frosts, shine with gold about the edges. The back ground is a milieu of rich blues and blacks, shaded with the ghosts of winter trees, the whole awash with mica, giving it an ethereal glow. In the foreground smoke drifts from where unglazed pots are being fired in a small subterranean kiln in the garden, and others are drying under the thatched annex on the left, while the craftsmen carry pots and wood to the kiln in preparation for firing. Nothing is within scale, yet the artist has managed to balance the extreme manga style work with the two dimensional charm which epitomizes traditional Japanese painting. The screen measures 68 by 74-1/2 inches (173 x 189 cm) and retains the original silk backing which is in fine condition. This is one of the most interesting screens we have ever owned. The eye is constantly pulled to a new aspect or view, and although it has been standing here in the office for almost two months (unprecedented) I have yet to tire of its interest. It is likely the screen is an early work by Koide Takuji (1904-1978) as, were one to take the radical brushwork of his Youga sketches and give them a Nihonga flair, the result would be something which looks very much like this. It was after all, in the 1930s, that the Japanese government took the ideology that Nihonga was the only true art in Japan, and a great many young artists practiced the genre.

A framed calligraphy fan painting by important Edo period poet Kawano Tetsuto (1825-1867), published in the book Shijin Kano Tetsuto (1932). The ancient paper fan is mounted in a field of gold flake bordered with black lacquered wood, the frame measuring 11-1/2 by 23-1/2 inches (29 x 59.5 cm). There is one spot of damage to the flecked gold mounting in the lower right (see photos). Tetsuto was an influential poet and scholar of the late Edo period, trained in the arts under Yoshida Kakusen and Somekawa Seigan. Forced to read by his father, he began studying Confucian theory at the age of 6, and by 11 had mastered the 100 Sanyoshi poems, to be called a genius. Two years later he became a pupil of Shirotani Junji. He lived rather freely, loving wine, song and women. He wrote the poems Ho-no-Kai-ko and Shuengai-Nishu and was also a well known flute player. In 1862, five years before his death, he was elevated to the position of a guardian (hanshu Seiwako Oban Gashira) at Nijo castle in Kyoto. During his life he established a school in Osaka; his most famous disciples were Noguchi Shoyo and Yagi Tenkawa. In 1867 he died of complications from diabetes. 60 years after the passing of Tetsuto, his work remained so important; his rank was again elevated by the Showa Emperor in 1928. A copy of the book in which this piece was published is included with the sale.

A square bottle vase by one of the most sought after and influential of all Japanese ceramic artists, Kawai Kanjiro (b. 1890), enclosed in the original kiri box signed by the master, which we have had authenticated at the Kawai Kanjiro Memorial Museum (now endorsed on the top by his daughter, Kyoha). The pale crackle glazed vase dates circa 1935, and is decorated with flower like dabs of rust and cobalt typical of this period, with dark iron fading out from the square mouth and base. As would be expected, the vase is expertly crafted from pale clay, and measures 7-1/2 inches (19cm) tall, 4-3/4 inches (12 cm) across the body. Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Rrefusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.

A gentleman standing in courtly robes takes advantage of a warm spring night to get in some reading. Standing on the balcony he puts light to a hanging lantern, illuminating cherry blossoms wrapped in evenings misty veil beyond the rail. This is an excellent example of Meiji period Yamato-e signed Saiho which has been fully re-mounted in quality patterned brocade, and retaining the original bone rollers. The watercolor and pigment on silk scroll measures 18-1/4 by 76-1/2 inches (51.5 x 194 cm), and comes enclosed in a period kiri-wood box. The patterns in his kimono are produced using a stencil and gofun (powdered shell), and the straight lines of the sudare (reed curtains) partially obscuring the scene are a testament to the artists great skill. There are light scattered marks typical of age, but do not detract from this great work.

Here is a very rare early Edo period Ni-mai-do Gusoku prominently displaying a Christian cross like symbol on the front and back of the chest plate in gold. It has a simple kabuto of 6 vertically joined iron plates falling from a circular peak, with a three lame Shikoro. Displayed on front is a wooden crescent moon maedate covered in textured gold (likely a later reproduction). The mask is an unusual Hanpo with a very small mouth in the Momoyama style. The Sode consist of five pieces, the lowermost trimmed and covered in gold, which has largely worn away. The two piece iron Okegawa-do is covered in black lacquer and bears the cross symbol on both front and back. From the waste hang 7 rows of fluted Gessan in red Odoshi. The sangu (Kote, Suneate, Haidate) are made of heavy iron splints connected by chain mail over indigo dyed hemp. It comes with the box pictured, a quality kiri box much worn and often repaired over the centuries (the stand is not included).

A very unusual unglazed small tea pot decorated with various nuts and seeds all in three dimensional relief, featuring a mushroom shaped lid dating from the later 19th to early 20th century. Known as Banko in Japan, the kilns which produced these items were also responsible for the Sumidagawa pottery so popular in the west. This piece has 8 seeds about the shoulder, including peanut, pumpkin and sunflower. The spout is in the shape of traditional Japanese sweets rolled in a leaf, and the body rests on six legs, one of which is a lotus pod with 7 individual seeds mobile inside. It is stamped inside the lid by the maker and measures 4-1/4 inches (11 cm) tall. It appears to have a very old chip in the spout (see photos), and the inside edge of the lid is rough.

There is incredible detail in all aspects of this huge bronze sculpture of a jacketed monkey and his elder handler resting on a bronze base signed Shojun (also read Katsunori), dating from the mid 20th century (1935-1965). Taking a break between performances, the aged man pulls out his pipe and tobacco pouch, his wizened countenance seeming as if speaking some soothing words to the creature, perhaps otsukare-sama. A chain runs from his wrist to a collar around the animals neck. It is signed on the back of the elder figure in a silver tablet. The massive display weighs 29 pounds (13.5 kg) and stands 14 inches (34 cm) tall, 15 inches (39 cm) across the base. Monkey handlers have been popular entertainers for centuries in Japan, and in fact I saw a pair performing in a park in Yamaguchi prefecture just two years ago. A superb piece of bronze! The cost of shipping to Western Europe, Australasia or North America is included in the item price.

This is a superb Bunraku puppet of the historical figure Minamoto Yoshitsune, one of the lead characters from the Tale of the Heikei and legendary fighter in Japan. The doll is incredibly mobile. Head moving up and down, his eyes open and close and move left to right. His eyebrows can be raised and lowered, and mouth opened or closed, all from toggles inside his kimono on the extended neck piece. The puppet is in perfect condition and stands 43 inches to the top of his topknot, complete with a bamboo display stand as pictured. Called Ushiwakamaru as a youth, Yoshitsune was the orphaned son of an enemy of the victorious Taira. He was raised on Kurama Mountain by monks, where he learned swordsmanship from the Tengu (crow-demons). His status as a fighter was sealed when he defeated the great warrior Benkei on the Gojo Bridge as a young man without drawing his weapon. The puppet dates circa 1970, at the height of resurgence in interest in traditional Japanese Theater. It comes with a wooden tablet upon which is written the characters name, the back signed by the artisan who created this fine doll.

One of two paintings currently offered by the highly sought after literati artist Fukuda Kodojin (1865-1944) featuring an erratic image of the full moon seen through bristling pine performed in thin ink on paper and enclosed in the original signed wooden box dated 1925. The brazen brushwork will rattle images of the subtleties of Japanese art, and yet the scene is at once calming. It is bordered in caramel cloth extended with soft brown, featuring bamboo knurl rollers and measures 13 by 59 inches (33 x 150 cm). Kodojins status as a poet, calligrapher and literati artist has reached legendary status. Born at a time of great change (4 years before the final fall of the Edo Government), he lived through the westernization of the Meiji, Taisho Democracy, and rise to Imperialism and defeat of the Showa era. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. He purposefully destroyed a large portion of his remaining work just before his death, leaving only that which must have met some personal criteria. For more on the life of this remarkable artist see the book Old Taoist (Addiss), or Unexplored Avenues of Japanese Painting. His work also was recently presented for exhibition at the New Orleans Museum of Art, and is part of the Hakutakuan collection among many others.

Offered here an ink landscape on paper by the eccentric and highly sought Japanese artist Fukuda Kodojin (1865-1944) dated 1919. Birds fly over the stubble of harvested rice fields, while odd thatch-roofed huts sprouting from wind beat grass focus our attention on the dark forested left of the scene. The vigorous brushwork and complexity of the scene belie the typical scenes of cold winter death, and seems to intimate a hidden energy busy at the task of Preparing for spring. It is set in an unusual border of olive brocade patterned with manjirushi (symbols of eternity) and flower dials. The scroll measures 14-1/4 x 61 inches (36 x 155 cm), and comes enclosed in a period wooden box. Kodojins status as a poet calligrapher and literati artist has reached legendary status. Born at a time of great change (4 years before the final fall of the Edo Government, he lived through the westernization of the Meiji, Taisho Democracy, and rise to Imperialism and defeat of the Showa era. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. Taking the time just before his death to destroy the large portion of his remaining own work, leaving only that which must have met some personal criteria. For more on his life see the book Old Taoist, or Unexplored Avenues of Japanese Painting. His work also was recently presented for exhibition at the New Orleans Museum of Art, and is part of the Hakutakuan collection among many others.

The character Take (bamboo) is struck with six brisk strokes of dark ink on this Chagake tea scroll signed Mitsuhiro (Karasuma Mitsuhiro, 1578-1638) and dated 1631. The calligraphy is exquisite. Mitsuhiro was born the son of Karasuma Mitsunobu (1543-1606) and, like his auspicious father, was a well known poet and songwriter accomplished in calligraphy. The paper is, as might be expected, repaired in several places and has marks and yellowing consistent with age, however is still supple and easily displayed. It is bordered in crushed blue paper, dating to the Meiji period, and came from the same collection as the two scrolls by Genryu. The scroll measures 22-1/2 by 44 inches (57 x 112 cm). There is one crease penetrating from the left side through the first character of the signature. Otherwise the scroll is in surprisingly good condition.

A surreal ink on cloth landscape by Kyoto artist Nakanishi Koseki (1807-1884) bordered in rich blue patterned silk and featuring radical flaring rosewood rollers. Soft ink tones and heavy washes of gray clash with the brisk strokes and jagged lines of the painting, creating a vivacious scene. The stamps on this match those on the next listing, a second scroll by Koseki. This scroll measures 19-3/4 by 76 inches (50.5 x 194 cm). There is one hard crease crossing the scroll above the large lower tree, and several minor wrinkles to be noted. Koseki was born in Osaka and studied under the great artist Oda Kaisen in Kyoto, where he established himself as a top rated artist. During the late Edo and early Meiji period he was considered one of the best landscape artists in Japan, alongside Taizan (Hine Taizan, 1813-1870). His works are in a number of private collections and museums, including the Ashmolean.

An absolutely stunning large Chinese carving of a Buddhist Rakan (Arhat or Arahat), the emaciated figure wrapped in billowing robes with a hand scroll clutched in his bony right fist. The detail in the hairs around his face is incredible. The holy figure is chiseled from Ryuganki (dragons eye wood) and comes enclosed in a box dated 1922, likely the year it came to Japan, and is signed by the then owner. The Rakan is one who has broken the chain of re-birth and overcome the three poisons of desire, hatred and ignorance. It is a popular theme in both Chinese and Japanese art. The figure stands 16 inches (41 cm) tall. There is an abrasion to the back of the head, a chip repaired in his robes at the back, and it appears the small toe on the left foot has been replaced. The Japanese have long esteemed crafts of China and Korea, and this would certainly have been a highly prized possession.

A pair of brightly colored Mandarin ducks nestle down under cover of dried lotus in this

An incredible amount of work went in to the burl-like lacquer finish of this early 20th century three-drawered calligraphy box. All surfaces excepting the bottom are covered in the unusual mottled finish known as wakasa, made by spattering on layers of various colored lacquers which are then rubbed down to a smooth, marbleized finish. Just when one thinks the artist has finished, the process is repeated. This small piece of furniture is the finest example of this technique we have come across. In testament to its high quality, the handles on the three small drawers are solid ivory. The top is removable to allow storage of an ink stone, paperweight and brushes, while the smaller drawers were made to hold stamps, brushes and paper. It measures 6-1/2 by 11-1/4 by 7-3/4 inches tall (29 x 17 x 20 cm tall), and is in excellent condition excepting a few small chips, one on the back left corner (see close-up photo), one on the front left corner bottom, and two on the lid edge.

Pine boughs laden with snow shelter a pair of foraging raven in a spectacular scene reminiscent of paintings of the Kyoto school masters which decorates this Meiji period cloisonn$B!&(Bvase. The unusually tall tapered form swells at a tight shoulder to close about the wide neck wrapped with a band of darkly patinated silver. Silver wire defining the color is so thin as to be almost invisible. On the copper colored base drift three blue and white snowflake dials, the color matching that inside the mouth of the vase. There is an old repair of the highest quality visible upon close inspection (to the trained eye) in the blank of the undecorated side, as well as a number of fine cracks which seem to blend into the erratic branches of the pine tree above the dark birds. The vase sits on a custom made rosewood base with five scrolled feet and comes with an unusual custom made lacquered lid decorated with a peony (botan) in gold maki-e. Total height with base 16 inches (40 cm), the height of the vase alone 14 inches (35.5 cm).

A superbly detailed story Ranma carving, likely from an altar, in which five figures reside among golden maple and cherry blossoms. On the left a colorful figure dips water from the cascading blue waters of a steep fall, a man in priests robes behind him. Three other gentlemen in white robes watch from close at hand, a bundle of sticks, perhaps for making tea, perched in the foreground. Each figure is meticulously carved and painted, the entire scene gilded in gold. The carving comes enclosed in a vintage wooden box, and dates from the Meiji period (1868-1912). The piece, which has been fully cleaned and restored to new condition, measures 21-1/2 inches (54

A large Korean Buncheong (Pun-Chong) pottery bottle from the Joseon period (16th-17th century) covered in a creamy white glaze decorated on the flat sides with exaggerated floral scrolls on a dark ground; carved ringlets filled with dark slip on the sides. Color built up over the centuries fills the crackled glaze. The foot ring is rough with sand and excess glaze, and occasional windows in the glaze about the foot reveal the dark clay beneath. The vase is 8-1/2 inches (21 cm) tall, and comes enclosed in a fine old Kiri-wood box. Although not a chip in the clay, there is a loss to the porcelain on the edge of the rim (see close up photo). The Japanese have long esteemed crafts from other Asian countries and over the centuries many of these items have made the journey to this land. For a brief change of pace we will be listing a few in our catalog. For similar pieces see the collection of the Koryo Museum.

An incredibly detailed mid to late 19th century Izushi-yaki Hakuji (white porcelain) image of a samurai and his lover enjoying a moment together; the robes, accessories and musculature being extremely well shaped. The pair are made of solid white clay, sculpted in the style and with the attention to detail typical of Hirado ware however the glaze is more textured than work expected of that region, indicative of Izushi. There are several chips: the mans left foot, tobacco pouch and right fingers and the womans hair, as well as a repair to the back fold in the womans loose kimono. The couple measure approximately 4 inches (10.5 cm) tall, 5-3/4 inches (15 cm) wide. They are enclosed in an ancient wooden box inscribed with the date 1930, and stating the piece was acquired or received in April by Sakuragawa Umetoshi. The sculpture pre-dates the box by many years.

A fantastic large tsubo vase by ceramic artist Teramoto Mamoru (1949-present) enclosed in the original signed wooden box. In spite of its size (almost 15 inches (37cm) tall), it is surprisingly light, and the colors are phenomenal. The slightly grooved surface is scored with primitive lines arching upward, filled with slip before firing. The artists signature is on the base of the piece, which is about 15 years old. Mamoru was a student of Matsumoto Saichi of Kutani, and has received numerous prizes throughout his career.

A superb later 19th century (Bakumatsu-Meiji period) celadon image of a Rakan enclosed in a high quality wooden display box. The rather brutish features harken back to older styles seen in Korea and early Edo Japan. A stand has been carved to fit the base of the deity and slides into the box, and the figure stands6-3/4 inches (17.5 cm) tall. It is in excellent condition. The Rakan (also Arhat Arahat, Arhant) is a perfected one, or a being which has overcome the three poisons of desire, hatred and ignorance, and at the end of his present life, will not be reborn, but will be freed from the cycle of death and rebirth and attain Nirvana.

The 1000th piece to be loaded in the catalog! Offered is an 2 18th century (Edo period) Japanese Kano School 6 panel seasonal screen of pigment and applied gold on paper. Egrets gather about a snow laden willow along a stream, flowers blossioming under the snow indicative of the strength and endurance of nature. Clouds of applied gold leaf fill the scene, with open areas covered in a sprinkling of powdered gold mixed with tiny gold squares. Truly fine detail. The painting is bordered in dark blue cloth woven with large dragon dials in silver thread and features a black lacquered wooden frame. The frame is fixed with decorative plates featuring 2 Mon (family crests) and the nail covers are in the shape of the crest of the Tokugawa Shogun. The backing paper dates to the early 20th century (Meiji/Taisho period) and is in good condition except for some abrasions on the outside two panels typical of age. The screen measures 146-1/2 by 68-1/4 inches (376 x 73 cm). Professional packaging and Express Shipping is included in the item price.

A magnificent and seldom found set of Ao or Blue-Bizen Tokkuri Sake decanters dating from the Edo period enclosed in an ancient kiri-wood box. The hand-turned pieces are in excellent condition, with no chips or cracks. The undecorated clay of each pinched vessel is an unusual shade of blue/gray, thus the name. Each piece measures roughly 6 inches (15 cm) tall. An exceptional and highly sought after addition to a collection of Japanese ceramics.

A brilliantly textured Oni-Hagi bowl dating from the early 20th century by Deika (Sakata Deika XII, died 1934), the radically fissured surface ruptured by exploding inclusions; the scars connected by cracks in the glaze giving the appearance of constellations written into a yellow sky. Outside the bowl is an earthy beige, mostly eclipsed by pale white. Inside the basin is the same earthy color, while all the walls are like salt foam. Surrounding all of the scars is a gray mist, accenting and drawing ones attention to each in turn. On the white side is a sketch of the married rocks at Ise in dark gray. The artists stamp is clearly visible impressed into the clay beside the notched foot ring and the base has been much worn. The bowl comes inside a wooden box labeled Hagi Wan and annotated (not by the artist). It measures 4-5/8 inches (11.5 cm) diameter, 3-1/2 inches (8.7 cm) tall. It has a very natural feel, and tucks firmly and comfortably into the palm. Mori Terumoto, Lord of Hagi brought two Korean potters to Japan and had them found this kiln, and the line has continued unbroken to today. The current Deika is the 14th generation.

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.

An incredible ivory netsuke of a Hannya devil mask with inlayed eyes. The detail in the Faust like features is absolutely superb. In this case I will let the photographs speak for us. Although not contemporary, this Netsuke dates from the mid 20th century. Due to certain features, we believe it was made in China prior to or during World War II, during Japans occupation (1932-1945). The, inlay in the eyes is consistent with this interpretation and the ivory appears to be of Indian origin. It is 1-1/2 inches (4 cm) long.

A hand forged antique iron water pot with bronze lid for use in the Japanese Zen Tea Ceremony; handles in the shape of dragonflies embedded in the side. The upper half is grooved with concentric rings; spread wings of the dragonflies conform to the shape of the bowl while jointed bodies project out in 3-D almost 1 inch from the surface. 2 antique iron ring handles (included) are run through the body between the wings. The heavy bronze lid features a 5 petal plum blossom finial. The piece measures 9 inches (23 cm) diameter, 6 inches (15.5 cm) tall and dates from the early 20th century.

An Kamakura period Enso-ga in cream-colored patterned brocade with maple brown extensions and featuring rosewood rollers signed Renshabo. Renshabo was a high ranking samurai named Jiro Naozane and confidant of 13th century General Minamoto no Yoritomo. After losing a son at the battle of Ichinotani, and killing the great Heike warrior Atsumori, he became saddened by Bushido (the way of the warrior) and became a disciple of the priest Honen Jonin in Kurodani, Kyoto, whereupon he was given the name Renshabo. The scroll measures 21-3/4 by 48 inches (55.5 x 122 cm). The ink work was already ancient when mounted in this cloth in the Edo period as evidenced by wormholes and damage in the painting repaired from the back.

A superb Bizen Yaki Okimono of an Okoze (stonefish) by ceramic artist Takahashi Satoshi (b. 1934) enclosed in the original signed wooden box. The features of the beastly creature are very well defined, with each spine accentuated by the natural color of the flame, giving the stonefish a realistic appearance. It is 12-1/2 inches (32 cm) long. Satoshi apprenticed to Kanashige Toshiuemon, has been the recipient of numerous awards and currently resides in Okayama prefecture. This piece dates from between 20 and 30 years old.

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.

A rare yari-no-saya of course bristles blossoming tuft-like from a 7 inch black lacquered wooden sheath bound with strips of bamboo resting on a four legged hardwood stand. The Edo period piece is in excellent condition, with only minor damage to the wooden ring about the bottom of the tuft. It is made to take a spear head over 8 inches long.

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.

A very fine early 20th century screen hand-painted simply and exquisitely with the mixing branches of a blossoming cherry and both fresh green and red maple. The painstaking detail in each individual leaf and flower is breathtaking. The awesome scene is triple bordered inside a frame of green brocade, red and black silk and gold. We have had the screen re-backed with original style forest green paper and replaced the black wooden frame. It measures 31-1/2 by 66-1/2 inches (80 by 169 cm).

A colorful and impressive scroll featuring a bushy tailed neko-tora, or cat tiger from the late Edo period. The neko-tora is a by-product of the Japanese closed border policy, rigorously enforced during the Edo period, which eliminated outside trade and influence. Therefore, Japanese artists were forced to come up with their own ideas of what a fearsome tiger looked like based upon older paintings and skins. This is one of the most imaginative and detailed I have yet seen, with each standing hair individually painted. The cat, stopping to drink from a stream, stands before a crooked pine, caught at the moment it sights an enemy, its bulbous green eyes staring past twitching whiskers, ears flattened against its head. The sinewy creature is well depicted as is the Kano style lines in the background plants trees and waterfall. The scene is framed in dark, purple silk embellished with fan shapes, and ebony rollers. Despite some creasing, the scroll is still very presentable and would be an eye-catching hanging. It measures 29-3/4 by 69-1/4 inches (75.5 by 176 cm)

Four calligraphy works dating from the Edo period mounted on an antique two-panel Kama-byobu tearoom screen; the backing paper covered with minute gold flake. The centerpiece of the screen is a scene of Mt. Fuji next to the character Ryu (for Dragon). This piece is signed Ryukoubi (Soro Ryu 1714-1792) a well documented artist known for calligraphy and poetry who seemed to change names and addresses as often as humanly possible. The other three pieces are by a separate artist, one of which bears the artists stamp. Each character has been bordered in silver leaf, before being applied to the gold flecked backing. The screen measures 17-1/2 by 70 inches (45cm by 178cm) and dates to the early 20th century. It is typical for pieces and screens to be remounted periodically due to damage or age, or even simply fashion, as popular styles of border material and backing paper change. Due to typical wear, we have had the back paper of this screen replaced.

A gorgeous female Bunraku doll with mobile head and hands in the original wooden box. She is 30 inches long from hemline to hair ornament. She has a very adult looking face and extremely ornate hair dress. The kimono is of silk with a shibori obi. This doll likely dates to the 1960s or early 1970s. A rare find for the collector of Bunraku items and Japanese dolls.

A Stunning combination of works by mother and son Koyama Kiyoko (1936-present) and Koyama Kenichi (1961-1992), both in the original signed wooden boxes. The Tokkuri, by Kiyoko, is of bulbous form decorated with slips of green glaze used sparingly around the neck. The terracotta body is fired to a deep amber on one side, the bright orange clay indicative of Shigaraki showing through on the other. It is 4-1/2 inches (11cm) tall, 3-1/2 inches (9cm) diameter and is signed by the artist on the base. The Iga style Tsubo is spectacular, with the slightly lopped body burnt to a glassy green on parts, showing the typical blue Iga glaze through running rivulets down one side and charred dark gray on the other. It appears to have been pulled from a thousand years on the bottom of the sea. It measures 6-1/2 inches (16.5 cm) tall, 5-1/2 inches (14cm) diameter. Kiyoko Koyama is one of the pillars of Shigaraki and is one of the most influential female artists in her field. Kenichi

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.

An awesome mid 19th century scroll depicting 2 highly detailed dragons battling in the clouds. The scene, signed Koun Teruhiro, is depicted in watercolor on 21 sheets of paper joined to form the canvas. Beside the signature is the words Hobun Utsushi, which means written in the style of Hobun. The huge scroll, measuring 45 by 90 inches (114 X 229 cm), has been fully restored and remounted in a border of green silk decorated with large flower mon (medallions) and ending in heavy, solid ivory rollers measuring 1-3/8 inches in diameter. The scroll dates to what the Japanese call BAKUMATSU, or end of the Edo government, roughly the 20 years preceding the Meiji Restoration. It comes in a large wooden box inscribed with the words Hontokuji Ihin (A gift to Hontoku temple).

An incredible hand painted Taisho period bijin scroll signed Hakuho; so lifelike it looks to be a photograph. An angelic, Kimono clad beauty pauses to gaze out the garden window. One arm resting on the sill, she tranquilly stares past the hanging lantern and bamboo close at hand, her beautiful almond eyes fixed on the distance, she appears to be looking not at the garden, but at her own world. A colorful comb decorates her full hair while a pendant dangles from a kanzashi above her ear. A colorful obi holds her black kimono over the flower patterned under kimono. This arresting scene is intricately detailed, down to the tarnish on the lantern and individual threads running through the reed blind. The scene is mounted in creamy brocade embossed with vines, extended top and bottom in beige and ending in lacquered wooden rollers. The scroll has been meticulously restored and remounted and measures 21-1/2 inches (54cm) by 79 inches (2 m) and comes in a wooden box.

A suit of Edo period armor featuring a Kebiki Ni Mai Do Gusoku, a 2 piece hinged armor of 8 closely knit rows of scale plates. 7 rows of 5 kusazuri hang from the do. It has a 32 plate Suji Kabuto with a tehen Kanamono vent in the shape of a stylized chrysanthemum and prominent Fukigaeshi, with 5 Hineno Jikoro cascading down the back. The helmet has typical chipping to the edges of the lacquer. The bowl retains 90 percent of the original liner and sweatband with the original ties. There is a me no shita no ho mask with 4 lame yodarekake, lacquered inside with red, outside in black and featuring a thick horsehair mustache, again, typical chipping. It also features Osode with brass ornaments and backed with leather; shino gote, haidate and suneate, and comes with an armor box. The armor is laced with orange and white thread, which is all in quite good condition except for the top row on the front of the do. The do and mail were also lacquered in gold. In an unusual note, the armor is still in the hemp bags designed to protect it during storage, marked with the date Ansei ni nen (1855), meaning it was probably repaired or restored at that time.

A stunning early 20th century ai-zome chirimen Kimono decorated top to bottom with dragonflies flitting through tall bamboo grass. The cloth is in excellent condition, with no stains and is over 4 feet long, and 4 feet wide at the shoulder. The collar has been lightly sewn with a protective piece of cloth that can be easily removed for display (see last picture), or left on to protect it from daily wear. The kimono is lined with white cotton. Now I will shut up and let the pictures talk for themselves.

An extremely fine bronze Koro in the form of a mythical Kirin by Living National Treasure Katori Masahiko (1899-1988). Masahiko, a graduate of Tokyo National University of Art, went on to an illustrious career. Unlike his colleagues, he produced very limited numbers of his pieces, often only one. As this piece is not numbered, I believe it also is a one of a kind. It has a rich, green patina that lends age to the work, actually most likely no more than 30 years old. It is 8 inches (20cm) long by 7 inches (18cm) tall. Price includes shipping.

A stunning painting of Mt Fuji viewed from a misty sea by Yukansai (Kano Arinobu, 1605-1677) painted in 1672 at the age of 67 on silk. The image of Fuji, broken by clouds, dominates the scene, with rolling hills and sailing vessels visible in the foreground. It is mounted in a field of copper brocade extended above and below in beige silk and measures 26 by 49 inches.