Catalog: Archives: Regional Art: Asian: Japanese (581)

A full 7 piece Steeped Tea Sencha Tea Set by Kiyomizu Rokubei enclosed in the original age darkened wooden box titled Seika Sansui Chaki. There are five cups, a teapot with lid, and a cooling dish. Each piece is decorated with a unique scene and poem, no two are alike. They show the mastery of brushwork this important potter, originally trained as a painter, possessed. The cups are 8 cm (3-1/4 inches) diameter and all is in excellent condition.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the The National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

An unusual Meiji period bronze image of the jolly Daikoku-ten, one of the 7 gods of fortune, looking incredibly relaxed and content. His hat is removable to reveal a chamber for burning incense, and the smoke would be exhaled though his open mouth. It is 6-1/2 x 8 x 5-1/2 inches 16.5 x 20 x 14 cm) and is in overall fine, original condition. The artist chop is in a raised cartouche on the base and appears to read Yoshioka Minpo.

Here is a rare Jizai mantis. It is by an artist named Tomiki Munenobu, one in a line of artists carrying on the Myochin style of metalwork. Teh piece likely dates from somewhere in the later Meiji, 1890-1910. Life-size, it is roughly 3 inches long, the same height and in fine condition. It is as found, not yet cleaned or tampered with. The head is mobile; the thorax with retractable arms and folding wings. Jizai is a term used to describe a variety of mobile or articulated crafts in Japan.

An incredible work of florals on gold signed on the base Kutani Kaburagi Sei showing the very best of that regions pottery dating from the Meiji to Taisho period, when quality and craftsmanship was at its peak. It is 9 inches (23 cm) diameter, 13 inches (33 c) tall and in overall fine condition. There is a small tori-ashi (birds foot) glaze crack in the bottom but does not leak, and is only visible on the outside bottom.

A sheer cascade of silver mist drops into the darkness beyond a golden outcrop harboring an ancient pine laden with blossoming wisteria vines. Togidashi, taka-maki-e and kirigane, this is a breathtaking box dating from the 19th to opening of the 20th century. Inside is elegantly decorated with drifting clouds of golden mist. Overall in excellent condition, enclosed in a period wooden box. It is 23 x 21.5 x 4.3 cm (9 x 8-1/2 x 1-3/4 inches).

A worker makes his way through the autumn tinged hills, home just a few steps away in this brilliant Nanga work by Hashimoto Kansetsu enclosed in the original signed wooden box which is in turn enclosed in a red lacquered wooden box (Nijubako). Light color on silk mounted in a superb frame of blue silk with patterned with dragon dials and featuring large ivory rollers. The scroll measures 22 x 85-1/2 inches (58 x 217 cm) and is in excellent condition.
Born into the family of literatus and painter Hashimoto Kaikan in Hyogo, in the heart of central Japan, Hashimoto Kansetsu (1883-1945) was a sinophile and manic painter trained initially by his own eye and studies of Chinese classics, then under Takeuchi Seiho (1864-1942). Very opinionated (like his teacher) on the future of Japanese painting, he eventually left Seiho’s Chikujokai school and set out to establish his own painting style which came to be called Shin-Nanga (the New Sothern School). He travelled in Europe and extensively in China, and many of his scenes are inspired by that country. His former residence, which he designed entirely himself, is now a museum. Works by this artist are in so many important collections, including the Metropolitan Museum of Art New York, Museum of Fine Arts, Boston, MOMAT (Tokyo National Museum of Modern Art), Adachi Museum, Kyoto National Museum of Modern Art, Kyoto Municipal Museum of Art, and the Imperial Household collection among many others.

A small round gourd: polished, cut and decorated inside with delicate fronds in gold on black maki-e. This is superb. It is 3 inches diameter (7.5 cm) and in perfect condition, enclosed in a quality old kiri-wood box. .

A superb image by Hirai Baisen depicting the fire lit on the mountains surrounding Kyoto on the final day of Obon enclosed in the original signed wooden box titled “Okuribi”. It is performed with washes of ink and gold on silk, bordered in a fine frame of patterned brocade. It is 22 x 79 inches (56 x 200 cm). It features large ivory rollers, which will need to be changed if shipped outside Japan. There is a wrinkle in the scroll (not a hard crease) through the line of housing (see photo)
Hirai Baisen graduated the Kyoto Municipal School of Fine Arts and was a regular exhibitor with the Bunten from 1907-1931. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston and a plethora of important public and private collections.

A fetching scene of colored washes very　much in　the Taisho style by important artist Ono (Ohno) Bakufu. Pigment on silk in superb Kinrande mounting. It is roughly 21-1/2 x 79 inches (56 x 200 cm).
Born in Tokyo Ono Bakufu (1888-1976) relocated to central Japan after the great Kanto earthquake of 1923 where he became an honorary member of the Hyogo Prefectural Academy of Fine Arts. Often displayed at the Teiten National Exhibition, he is best known for paintings of fish, which were serialized in 72 woodblock prints from 1937-1942 (Dai Nihon gyorui gashu).

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 classic Gu vase of exquisite white porcelain by Miura Chikusen enclosed in the original signed double-wood box. It is 13-1/4 inches) tall, 19 cm (7-1/2 inches) diameter at the rim and in excellent condition. This type of Sinophile work was very popular throughout the Meiji and Taisho periods, and Sencha steeped tea had a profound impact on Japanese culture at the time. For more on that see the book ‘Tea of the Sages: The Art of Sencha’ by Patricia Graham (1998).
Miura Chikusen I (1854-1915) made a name for himself as a strict adherent to and supplier of Sencha tea wares in Kyoto; one of the most important artists in the country for that genre. He studied under Takahashi Dohachi from the age of 13, before establishing his own studio in 1883. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist. His porcelains were considered of the highest grade throughout the Meiji era, and are still highly collectable today. The Eldest son took over after his father assuming the family name as Chikusen II, but died young in 1920 leaving a young child, whereupon his younger brother took over as Chikusen, III. However when Chikusen IIs eldest son was old enough, III relinquished the helm, appointing his nephew Chikusen IV and assuming the name Chikuken (Chikken). The kiln continues, currently under the management of the fifth generation.

Gazing at the back of the traditional Maiko apprentice, pins and combs hold her coiffure perfect, our eyes travel down to the neck revealed as it joins the white painted shoulders, the luxurious kimono with its signature high and draping sash: She has the two of hearts! A very unusual painting reflecting the oddities of western influence at the opening of the 20th century by Matsumoto Ichiyo (1893-1952). It is truly a sketch, very possibly made from life while the young apprentice artist watched his teacher being entertained by the young apprentice geisha. It is performed with light color on silk, bordered in the Taisho manner with horizontal stripes of a softly charred blue, ivory and orange. The Ichimonji and integral Futai are streaked with true gold thread. It measures 40 x 195 cm (15-1/2 x 77 inches) and is in overall very nice condition, with yellowing of the silk to attest to age. There is some loss to the white Gofun clouds on the obi (sash), and it appears that red at the back of the collar may have been re-painted, possibly when it was mounted (which appears to be slightly later than it was painted).
Matsumoto Ichiyo was born in Kyoto, midway through the tumultuous Meiji period, and attended the city art primer before entering the Municipal School of Painting (Later Kyoto University of Art) where he jointly studied under the private tutelage of Yamamoto Shunkyo at his studio. While at school his first painting was accepted into the 9th Bunten (1915) National Exhibition. With a great emphasis on the revitalization of Yamoto-e tradition, he remained active on the National level, being consistently exhibited and prized, and later serving as professor at his Alma Matter. After the Second World War he served as a juror for the Nitten, and continued research and resurrection of Yamato-e until his death in 1952.

18 cm long set of Kanzashi with five Bira dangling from a branch to which is caught a court cap, possibly dragged from the wearers head during a horse race, or perhaps flung off in a passionate moment. For someone interested we have a museum quality collection of combs and hair pins which I would prefer to sell together in accordance with the previous owners wishes. Birakan (bira Bira Kanzashi) were hair pins used by all classes of society and were one of a woman’s most prized possessions. They are often made of precious metals, gold, silver shakudo and shibuichi, encrusted with bits of red or pink coral, prized for its youthful accent, jades and other precious stones.
The subtleties of Japanese design tend to center on the suggestive rather than the representative. Allowing the viewer to fill in or complete the story surrounding the object viewed. As in the tea room aesthetic, where the room is 95 percent completed but never fully finished, allowing the viewer to complete the room in their own mind, creating to each individual a unique and personal view.

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.
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A set of five sencha steeped tea tea cups by the first Suwa Sozan decorated with three seasonal or auspidcious fruits and a poem by famed literatus Tomioka Tessai enclosed in the original signed wooden box. Each cup is 2-1/4 x 2 inches (5.7 x 5 cm) and is in fine condition.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.
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…

Cranes rest in the boughs of a massive blue pine overlaying the white clouds billowing on the pink tinged body of this large vase by Seifu Yohei III enclosed in a signed wooden box annotated by Seifu IV. An identical vase held in the collection of the Ashmolean is visible on page 19 in the book Sandai Seifu Yohei (Seki Kazuo, 2012). Seifu III was known to have made few large works, so this is a very important piece. It is signed on the base Dai-Nippon Seifu Zo. It is 46 cm (18 inches) tall, 26 cm (10-1/2 inches) diameter, and retains the original rosewood stand kept in a separate compartment in the box. The box is titled Seikaji Pine-Crane Vase, Made by the Honorable Previous Yohei; Attested to by the 4th generation Seifu. He has employed the Teishitsu Gigei-in seal of the third generation top left of the inscription.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

A long bamboo incense case with dark wood lid carved exquisitely with blossoming lotus and calligraphy. The deteriorating leaves rise from the bottom, blossoms spreading their petals to the sun. Above three lines of calligraphy descend to meet like the squirreling rays of late summer light. The piece is 20-1/2 inches (51.5 cm) long and in perfect condition, enclosed in a cloth sack and kiri-wood box. It is signed (Japanese reading) Fusui(lotus water)Sanjin Koku (carved by Fusui, man of the mountain). The carving is one of the best I have seen.

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.