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

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.

An early work featuring white walls in Autumn foliage by Kitamura Seigyu enclosed in the original signed double wooden box. The box appears to be titled HakuryuJi no yu (evening around Hakuryuji). There are many places named Hakuryuji in Japan, so it is difficult ot be specific, but near his home of Hokkaido, and a place he would have passed through is a Hakuryuji in mountainous and rural Akita prefecture. This work is performed with pigment and powdered silver on silk, and dates from very early in his career, likely around 1920. The scroll is 26 x 86 inches (66 x 218 cm). There is some minor foxing consistent throughout. The scene is mounted in lavender tinged bronze brocade of superb quality and features large ivory rollers (they will need to be changed if shipped outside Japan).
Kitagami Seigyu (1891-1970) was born in Hakodate, Hokaido. He came to Kyoto to study under his uncle Kitamura Shunzan, then under Takeuchi Seiho. He Exhibited and was prized with the Bunten/Teiten National Exhibitions.

A Gasaku joint effort by Kyoto porcelain master Takahashi Dohachi V and Scholar artist Tomioka Tessai (1837-1924) dating from the late Meiji to Taisho period. Enigmatic Characters in cobalt strike firmly from the smooth alabaster surface. The bowl is 4-3/4 inches (12 cm) diameter, 3-1/2 inches (9 cm) tall and in perfect condition. Written on the side is Sho-Do Ki? Sue, Nyu Chyu? Ho-nari followed by the signature Tessai Gai-shi. It is signed on the base Kachu-tei Dohachi-Sei (Made by Dohachi of the Kachu Pavilion). Takahashi Dohachi was one in the line of great porcelain masters of Kyoto. The family began potting in the 18th century, and was brought to the forefront of porcelain by the second generation head of the family. From then it was known as one of the top three families in Kyoto for porcelain production. The fifth generation took control of the kiln in 1897. Tomioka Tessai 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 moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He 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 was known to have worked with Dohachi in porcelains, as well as Eiraku Zengoro. This piece comes in a wooden box simply titled Hai.

A dilapidated shrine nestles deep in a forested mountain side with a cluster of stone Jizo and a fudomyo climbing the green hillside behind signed Koho and dating to the late Meiji. A quiet and contemplative scene reflecting the quality of the art of the time, the subject not overstated but resting silently awaiting our discovery. The scene is quite personal, inviting the viewer into its depths for a moment of silence where only the falling of the pine needles and call of a distant bird may disturb ones thoughts. Water falls into a misty vale in the upper right while trees cling tenuously to the shrub covered crags. The thatch covered wooden structure is decorated with various Ema votive placks and a strand of rain washed paper over the door. It is likely the work of Mizuno Koho (b. 1846), a Kyoto artist (Shijo School) active through the early Taisho period. ‚dEach panel measures 37 x 69 inches (93.5 x 175 cm) nd we have had the screen re-backed with sturdy green cloth. Due to regulations enacted last year permission for export must be applied for (a formality) and usually requires about 15 days before shipping.

A bronze Tanuki dressed in robes and holding a Nyoi (priest scepter) sits yelping into the air, as if surprised at being discovered for his true nature. Dating from the Meiji or possibly Taisho period, it is 10 x 8 x 9-1/2 inches (25 x 21 x 23 cm) and on the base has written in red “4th year” followed by a series of letters to which I have yet to discern a meaning. Likely Meiji 4 (1871).

Hotei bows deeply, showing an unusual moment of respect from the surly sage. An unusual bronze image by Oshima Joun enclosed in the signed wooden box. The face is at once relaxed and respectful, one hand wrapped around a gnarled walking stick supporting the heavy bag on his back. All facets are rounded, with a soft, tight orange-peel surface typical of Tokyo school bronzes. The image is roughly 5 inches (12.5 cm) in all directions, and in excellent condition. Oshima Joun was professor at the Tokyo Art School from 1887 to 1932. His works were selected to represent Japan at the World Exposition in Paris (1900). There is a dearth of information available, specifically, for more on this artist see Victor Harris, Japanese Imperial Craftsmen, Meiji Art from the Khalili Collection (London, 1994) and or Arts of the East and West from World Expositions (2004).

A pair of ceramic Cormorants by preeminent early 20th century Master Miyanaga Tozan enclosed in the original signed wooden box. The cormorant has a special place in Japanese art. Like the hawk is a bird used in hunting, the cormorant is a bird used in fishing. A rope would be tied around the long necks of any number of the birds, them then taken out into the water with huge torches burning on the prows of the fishing boats. When the birds dive for and down a fish, they cannot swallow it, and the fisherman pulls it from its mouth. This was a very popular scene in early 20th century painting as well. These birds are roughly 8 inches (21 cm) long each and in excellent condition. Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. His kiln is now in the third generation, run by his grandson.

A Flask shaped vase decorated with a Shishi (Mythical Lion Creature) in a rugged landscape by multi talented artist Domoto Insho enclosed in the original signed wooden box. The vase is 10 inches (25 cm) tall and in fine condition. Insho (b. 1891) was a Kyoto artist, trained in the traditional Shijo manner, but not one to be bound by its rigidity. He studied at the Kyoto Municipal School of Fine Arts, and under the important artist Nishiyama Suishi. Consistently exhibitied at the large National exhibitions (Nitten, Bunten) while fighting for greater acceptance of artworks. He traveled to Europe in 1952, and was appointed a member of the Japan Art Academy and winner of the Imperial Fine Arts Academy Prize, ultimately receiving the Order of Cultural Merit (highest prize allocated to a civilian in Japan). His works moved steadily toward the abstract, as we will see with the next listing. A true Jiyu-gakka, he refused to be defined by any school and was incredibly influential in his time and perhaps even more so after. His works are held in the collection of many internationally renowned institutions including the Museum of Fine Art, Boston, Tokyo National Museum and Kyoto Municipal Museum of Art. And in fact there is a museum dedicated to him in Kyoto, the Domoto Insho Museum.

An exquisite and rare tiny O-ko-date incense burner for stick incense from the Minpei kilns enclosed in a wooden box attributed to Sato Sekizen by Shohei Hozan. It is 2 inches (5 cm) tall and in fine condition, stamped on the base Sekizen.
Mimpei-yaki, is a type of pottery established in the late Edo era (circa 1830) by Mimpei Kasyu, the village headman of Igano mura, a small town in the southernmost part of Awaji island west of Osaka. The son of a powerfull Soy trader his talent led Mimpei to leave the family business to become a potter at the age of 33. After inviting Ogata Shuhei to his kiln to introduce the techniques of Kyoyaki (Kyoto ware), he soon developed his own style which was influenced by contemporary potters of the day such as Eiraku Hozen and Shuhei’s older brother, Ninnami Dohachi. As well as classic Chinese pottery. Borrowed from Savory Japan: He created delicate porcelain ware decorated in exquisite and intricate three-dimensional designs that included animals, human forms, floral and geometric motifs. These were overglazed with polychrome enamels in classic Chinese colors (blue, celadon, bright green, yellow and gold) so that the design was highlighted and enhanced, pooling randomly in varying levels of intensity. Mimpei was quite successful and his pottery was popular and widely traded in its time.

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.

A spectacular black lacquered wooden sign carved with bold characters over a gold gilded carp swimming through a torrent of waves dating from the late 19th to early 20th century. It is in fine condition, with only minor marks typical of age. It measures 4 feet (121 cm) long, 14 inches (35 cm) wide and is 1-1/2 inches (3.5 cm) thick at the frame edge.
Due to size the cost of shipping will be accrued separately for this item.

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 latticework Hoya of solid silver caps this fine porcelain koro incense burner, a joint work by Miura Chikusen and Hashimoto Kansentsu, enclosed in the original shiho-kiri-wood box signed by both artists. It is 8.5 cm (3-1/2 inches) tall 11 x 16 cm across the handles (4-1/2 x 6-1/2 inches). Beast heads form the handles with a scholarly hut on one side, a poem in ancient script opposite. It is signed on the base by Chikusen and on the side by Kansetsu.
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.
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 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.

A wooden sign of three golden characters carved into the surface of a solid slab of burled wood enclosed in a frame expertly carved with the four gentlemen, plum, bamboo, iris and chrysanthemum. It reads Yuraku-sai, A Place of Playful Enjoyment. The sign (with frame) is 11-1/4 x 21 inches (28.5 x 53 cm). It is signed Setsuyo (?) followed by two stamps. There is a chip into a hollow in the wooden plaque, lower left (see photos) otherwise is in excellent condition. This sign would have been hung at the entrance to a traditional Japanese tea room.

An exquisite sake cup from the Asakiri kiln of Akashi decorated with a verse and spray of bamboo enclosed in a period wooden box signed by Yamada Takeshi (descendant of Yamada Kikutaro, Edo period founder of the kiln). It is 5 cm (2 inches) diameter and in excellent condition, likely dating from the Meiji period.

Swirling eddies decorate the rim of this gorgeous vase of huge dark hollowed vine, golden minnows swimming up the sides of the natural current made by the winding wood. A very unusual piece which exemplifies the Japanese awe and care for nature. Minor burls and burs in the wood act like rocks under the swift moving water, the pattern rolling over them in a raucous rush. This special piece of wood, extremely large for a vine, appears to have been naturally hollowed out over time, the twisting pattern outside duplicated roughly within, as if the wood had slowly hollowed out over the centuries. Taking this natural form, the artist has inscribed on its sides a theme which both matches the unusual pattern of the wood and depicts another aspect of the natural world. A one of a kind piece to decorate the Tokonoma of a tea room. The vase is 11-1/4 inches (29 cm) tall, 6 inches (15 cm) in diameter, and comes enclosed in an ancient wooden box. In Shintoism it is believed that gods inhabit the ancient growths. Perhaps when this piece fell, the artist sought to preserve some portion of that ancient being with this amazing work. Unfortunately my photographs fail entirely to capture the true beauty of this amazing piece.

The turret of a lonely outpost rises from the mountain peak formed by this small Japanese scholar rock set into a hand carved wooden base and enclosed in a wooden box titled Ko jinkaku (Small Armored Tower). The stone is 7 inches (18 cm) tall, 5 x 3 inches (13 x 8 cm). It likely was put together in the early 20th century.

white lines defining this tea bowl defy the superlative rendition of a bird snapping up an insect from a hibiscus by Ogata Gekko within. The bowl is 4-1/2 inches (11.5 cm) diameter, 3 inches (7.5 cm) tall and in fine condition. It comes wrapped in a silk bag and enclosed in a superb kiri-wood box.
Ogata Gekko (1859-1920) of Edo (now Tokyo) was born the son of merchant Nakagami Seijiro and was heir to a small fortune. As is often the case with such stories, he was orphaned at a young age, and the family fortune was lost to him. Painting lanterns and designing rickshaws, he was discovered by Kawanabe Kyosai, and introduced to the Ogata family, where he was adopted. Initially he worked as a graphic and industrial designer for Newspapers, magazines and commercial enterprises, never attending art school, and was most unique in that respect. He worked as a war correspondent in the Sino Japanese war (1895) and this would come out in his woodblocks. He was a lifelong friend of Fenellosa and Tenshin, and his work was lauded abroad at such important events as 1893 Chicago Expo,1900 Paris Expo, and gold-prize at the 1904 Worlds Fair in St. Louis as well as London in 1910. F course his international acclaim was mirrored at home with prizes at the Kyoshinkai (1893 and 1894) 1896 Japanese Art Association and was acquired by the Meiji Emperor in 1898. His unschooled approach to printmaking however may be his greatest gift to Japan and the world, and he can be credited with founding the ideas and printing techniques of the 20th century Sosaku Hanga genre. There is a plethora of information available on this artist and his work is held in many great institutions including the British Museum and the Museum of Fine Arts Boston. Thanks to Rob Turley for his in depth research into this artist.

A giant mingei carved mask of an oni (demon) embodying the indefinable sense of madness particular to Japanese Demon images. The face has a mysterious mixture of sadness and evil not duplicated in any other culture, a truly pitiable character. The mask, carved from a single block of wood, is just over 2 feet (66 cm) tall and in fine condition.

A wispy bearded sage clutches his staff, robes draped loosely about his emaciated frame as he peers ahead in interest, a curious smile on his wizened visage. The figure is beautifully crafted with a slightly textured patina and signed on the base Seiko. Slight wear to the base reveals the pure gold of the underlying bronze. It is 36.5 cm (14-1/2 inches) tall and in excellent original condition.

The time of Obon is upon us, the middle of August when the spirits of the dead return to visit their families. A lantern is hung so the wandering souls may find their way. And on the last day of Obon (August 16), in Kyoto, is held perhaps the most famous of all the festivals, commonly referred to as Daimonji-yaki, when 6 massive characters are lit on fire in the mountains surrounding the city to light the way home for the ancestors. Unlike the Gion festival or Aoi Festival, made for tourists, it is very local, personal, and an almost melancholy event. You will find the entire city celebrating with family, then, after dark, out in the streets, silently watching the inferno roar up on the mountains in a torrent of sparks making the shapes of Dai, Myo, ho, fune….orchestrated to start concentrically around the city beginning in the east. And after the crescendo, the flames wane, then flicker and disappear taking the summer with them. It is the most Japanese of festivals with its emphasis on the pathos and transience of life.
This lantern would have been hung outside the home to light the way for the returning ancestors. The lantern is made of a red lacquered wooden frame suspended by chains of antique glass beads. Stretched between the sides are four silk panels backed with paper. On three sides are painted abandoned skulls (two signed Ko-u, the third unknown) and on the fourth an epitaph dated the 8th month of Meiji 36 dedicated to appeasing the ghosts of honored ancestors signed Kokin. The lantern is 25.5 cm (10 inches) square, 46.5 cm (18-1/2 inches) tall and in overall excellent condition. It comes in the original wooden storage box.

A pimpled toad looks to the sky exhaling a clouded spirit, a truly superb version of this theme in deep caramel bronze dating from the Meiji period. It is an interesting theme, the ugly creature elevated to the status of saint. Judging by color and quality, we attribute this as the work of Kanaya Gorosaburo (1836-1890), a bronze artist of Kyoto fond of this color and known for his superb modeling and detail. Not always signed, Gorosabutro was often known to sign only the box. This piece is unsigned. It is 7-1/4 inches (18 cm) tall, with the basin 5 inches (12.5 cm) diameter.

A set of five small porcelain tea cups made by Takahashi Dohachi with decoration design by famous literati artist Tomioka Tessai. Each cup is 5.5 cm diameter, 4 cm tall and all are in excellent condition. They come in an age darkened wooden box titled Dohachi Saku Sometsuke Sencha Chawan.
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…
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. Following the early death of his older brother he succeeded the family name, opening 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. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many 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. 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.

An exquisite minimalist set of Ten Porcelain tea cups with lacquered wooden covers and saucers made by the Zohiko studio of Kyoto and enclosed in the original compartmentalized signed wooden box. The cups are of simplistic form small round white orvs between the brush textured lacquer lids and saucers. The cups are 3 inches (7 cm) diameter, the saucers 5 inches (12 cm) diameter. Overall in excellent condition with no chips or cracks.

A massive museum quality Chinese style Pot by leading Kyoto artist Ito Tozan enclosed in the original signed wooden box. The bulb-form body is sculpted with 14 flutes, a pair of beast heads serve as handles. The glaze is olive covered in red, bleeding through in places, the combination of color quite striking. The vase is 18 inches (46 cm) tall, 14 inches (36 cm) diameter and in perfect condition and comes with the original rosewood stand. The box is simply titled Horo-Kama Kabin signed inside Tozan Kinsei and stamped Tozan. The Ito family, spanned three generations. 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.

Heavy pigment forms a spectral scene of a dark stone lantern viewed through the spring laden branches of maples, a dove taking flight in the fore. Anyone who has visited Japan will know the haunting sense these monoliths produce. The painting is performed in thick pigment on applied silver-leaf, signed Taisho (Okada Taisho, b. 1888). The screen is signed in the lower right corner, and measures150 x 151 cm (59 inches by 5 feet). It is in fine condition, with only minor abrasions from handling.
Taisho was a Kyoto artist trained under Yamamoto Shunkyo. He was displayed at the Bunten National Exhibition. He was well travelled, Living in Europe for three years, and travelled very unusual places for his time such as India, Siberia, and South America as well as the South Pacific.

The seven gods of fortune are depicted in rich gold, vibrant colors and textures on this exceptional set of Kutani Sake Cups from the Kaburagi Studio enclosed in the original compartmentalized wooden box. Each cup is unique, measuring roughly 5.5 cm (2 inches) diameter, 3 cm (1 inch) tall and all are in excellent condition. The Kaburagi studio produced some of the finest wares in Kutani. Founded in 1822, it survives to this day under the same family, now in the 8th generation. These date from the very early 20th century. The Seven Gods, or Shichifukujin as they are called in Japanese, are:
Benzaiten, Goddess of the arts, including music often seen with a lute.
Bishamonten, God of warriors.
Daikokuten, (or just Daikoku) God of wealth and commerce with his magic hammer pounding out gold.
Ebisu.God of Merchants and Fisherman, often depicted with a fishing pole and Tai (sea bream) whose name is a homonym for celebration.
Fukurokuju, God of Longevity associated with deer.
Hotei,God of Abundance and Health usually pictured with his large sack of treasure.
And Jurōjin, Also a god of Longevity usually seen with a crane

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 small house shaped incense burner by Mashimizu Zoroku enclosed in the original signed wooden box titled Kuzuya Koro. Inside the roof is visible cloth patterns where it was formed over wet sack-cloth. The outside has been scraped with a comb to resemble thatch. Inside a window a scholar gazes out, perhaps expecting a guest, or just contemplating the seasonal changes from the warmth of his abode. It is roughly 10.5 x 9 x 10.5 cm (4 x 3-1/2 x 4 inches) and is in excellent condition.
Mashimizu Zoroku II (1861-1936) inherited the pottery tradition of his father, Zoroku I and grandfather Wake Kitei III in the Gojo zaka district of Kyoto. He was a well regarded member of the city’s literatus, and is remembered for both his pottery and paintings in the Nanga tradition.

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).

Iron laced with tinges of blue decorates the rim, flowing into the bowl of these five abalone shaped dishes from 19th century Takatori in central Kyushu enclosed in a beautiful age darkened kiri-wood box titled Awabi Mukozuke Go Kyaku Takatori Yaki (Five Abalone Shaped Dishes from Takatori). Each is roughly 9.5 x 12.5 cm (4 x 5 inches) and each bears the “Taka” stamp beneath. No post-firing damage. One has a pre-firing chip in the rim, another a firing flaw visible in the bottom, it does not go through.

A small round heavily lacquered box made to contain incense carved with Peonies by Imperial Artist Suwa Sozan I enclosed in the original signed wooden box. Layer upon layer of lacquer has been applied over time, each subsequent layer allowing for drying, then the entire is carved through with the floral motif. This would likely have been years in the making. This kogo is 3 inches (7.5 cm) diameter and in perfect condition signed underneath Sozan. Sozan was known best for his impeccable celadons, and was one of only five potters ever recognized with the status of Teishitsu Gigei-In (Member of the Imperial Art Academy). Lesser known is his predilection for lacquerware. An ardent Literatus and Sinophile, Sozan would try his hand at various art forms, including painting, calligraphy, carved lacquer, inlayed lacquer, porcelain and pottery.
Suwa Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A celadon vase inlayed with Chrysanthemum designs by Teishitsu Gigei-In Suwa Sozan I enclosed in the original signed wooden box featuring the Imperial Art Academy Seal and titled Kiku-Zogan Hana-Ire. Tendrils of blossoming chrysanthemum climb up the sides in dark inlay on the slightly pitted celadon sueface, a perfect rendition of Korean style wares from an earlier era with the addition of the Japanese design motif. It is 10-1/4 inches (26 cm) tall and in excellent condition. Artists mark on base.
The box notes this as having come from “Rai-gamaâ€, a Korean style or perhaps Korean Kiln. It is possible that Sozan fired this on a study trip to Korea, as I have never seen another box bearing this kiln dedication. An extremely rare work certainly worthy of a museum collection.
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.

Mountains crowned with white snow rise majestically over the misty waters of a winter lake surrounded in dark pine and cedar on this Superb landscape by Nomura Bunkyo. Ink and light color on silk with powdered gold mist. The mounting is all original and top quality, brilliant blue silk border on front in black lacquer frame with fine bronze hardware and entirely backed in patterned blue satin. The screen is 68 x 149 inches (173 x 373 cm )in excellent condition but for handling marks at the edges of the hinged panels.
Nomura Bunkyo (1854-1911) was born in Kyoto. He initially studied Ukiyo-e under Umekawa Tokyo, and was enrolled in the Kyoto Prefectural Special School of painting. Upon graduating he moved under the tutelage of Shiokawa Bunrin (1801-1877) and, following the death of Bunrin, Mori Kansai (1814-1894). He first garnered national attention at the 1877 Naikoku Hakurankai, where he received honourable mention, and from then on was consistently awarded at the Kyoto Hakurankai among others. The Imperial Household acquired one of his works in 1884, and in 1887 he moved to Tokyo. Without a break he was awarded in 1888 at the Nihon Bijutsu Kyokai Ten, and after the founding of the Nihon E-ga Kyokai received many awards. In 1898 he, along with Araki Kanbo, Taki Katei and Kawabata Gyokusho, established the Nihon Ga-kai. He was awarded at the first Bunten in 1908. But an overburdened schedule and many travels led to illness, and he died in 1911, only 58 years old. A two panel screen in poor condition sold at Bonnhams (London, 2011) for more than 3,000 USD

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).

A gorgeous Jubako stacking box of lacquered wood decorated with burgeoning grape vines in powdered gold maki-e dating from the 19th century enclosed in the original wooden storage box. Inside oxidized vermilion grants a sense of celebration, while the outside covered in polished black is the perfect back drop to the shimmering gold decoration. Assembled it is 24 x 26 x 31 cm (9-1/2 x 10-1/4 x 12 inches). Overall it is in very good condition, with some minor dings in the edges typical of use. Jubako were used to contain various types of foods during festive occasions, and can still be seen in use at New Years for O-sechi in modern Japan.

A set of Nesting Shino Sake Cups with Dice. They are stamped on the base, and come in three sizes, the accompanying dice imprinted with the various sizes on each side, so a roll of the dice decides your fate in the drinking game. Very unusual and in excellent condition, they are (stacked) 2 x 2 x 1-1/4 inches (5 x 5 x 3 cm).

Four kiri panels are set into a rosewood framework, each uniquely painted by Osaka Literati paragon Mori Kinseki. It is 12 x 12 x 11-1/2 inches (30 x 30 x 29 cm) and is in fine condition. The brass insert too, looks almost unused. Included is a small folding fan in the original box by the artist as well. Mori Kinseki (1843-1921) was born the third son in a family of Inn owners in the hotsprings town of Arima, Hyogo prefecture, in 1843. At the age of three he was sent away to be raised by an inn owner in Osaka, Mori Ihei. By the age of 19 he was studying painting under Kanae Kinjo, and joined the circle of poets and scholars around Mega Yusho. After the opening of Japan with the fall of the Edo government, he traveled to Tokyo, where he studied western style perspective under Takahashi Koichi, and shortly thereafter the name of Mori Kinseki begins to appear in art annals, initially as a bronze plate lithographer (in 1881 one of his lithographs was exhibited at the 2nd Domestic Industrial Exhibition), and became associated with the Seikoku Bunjin group of literati artists. His bronze plate work was well known, and he illustrated more than 100 books, becoming the leading artist in that field in Kansai. At the age of 40, in 1883, he helps to found the Nihon Nanga-kai organization of literati painters, and the following year takes up a professorship at the new Naniwa School of Painting in Osaka. In 1890 he is named a designated artist to the Imperial Household Agency (and in 1913 would be named a member of the Imperial Art Academy or Teishitsu Gige-In). His works were not just submitted to many of the National Exhibitions of the Meiji and Taisho eras, but he he was in fact made a judge at many of these affairs.

Pine Tray with Kintsugi gold and silver lacquer repairs featuring an intricate depiction of a butterfly in silver and gold maki-e flying around a pool formed of the natural dark and light wood grain. Splits on both ends are perfectly joined with inset wood “Butterflies”. Cracks have been filled with gold and silver creating streaks of light on the aged wood surface. It is 34 x 24 x 2.5 cm (roughly 14 x 10 x 2 inches) and comes in a period wood box titled Jidai Matsu ki-ji (Old Pine Wood) Koban-gata Kobon (Coin Shaped Incense Tray). I must confess my heart skipped a beat the moment I saw this piece. It is so perfectly representative of the Japanese scholar aesthetic with its reverence of the natural world and sublime sense of beauty combined with the pathos of the intransient rooted in the ideas of wabi-sabi.

A fine dark olive bronze by Living National Treasure Katori Masahiko enclosed in the original signed wooden box. It is 8 inches (20 cm) tall and in fine condition. Katori Masahiko (1899-1988) was born into the family of prominent Bronze Artist Katori Hozuma in Chiba. He was internationally awarded at the Paris Exposition in 1925, the year he graduated The Tokyo University of Fine Arts (a student of Tsuda Shinobu). Heavily involved with the Teiten/Nitten National Art Exhibition, following the destruction of the Second World War, he would spend years working to save Japanese Buddhist Treasures, and making Bells for Temples and Monuments. He was designated an Important Intangible Cultural Property of Japan (Living National Treasure) in 1977.

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 scholar withers away an afternoon reading in a small cottage lost in a forest of Soft green willow; a brilliant Taisho style scroll by Hirai Baisen (1889-1969). The color of the willows intimates early summer, the leaves fresh and new, a darker haze beyond forms mountains, separating the scene from the rest of time. A quintessential effort typifying the literati ideal of life in seclusion. The entire scene has been brushed as if to insinuate a light shower, rain on a sunny day. The painting is bordered in green brocade and features bone rollers, and comes enclosed in a period wooden box. The scroll measures 21-1/2 by 77 inches (55 x 196 cm) and is in fine condition but for a long scratch in the upper border, likely where something hit the scroll while it was hung. 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.

A very unusual art nouveau style Kutani vase decorated with a jagged forest of pink trees on soft green carpet, butterflies circling the shoulder which breaks into a darkened cloud of moriage beads decorated with spiraling karakusa designs in slightly raised gold. Superb workmanship, it is simply signed Kutani-zo (made in Kutani). The vase is 10 inches (25.5 cm) tall and in excellent condition and dates from the first quarter of the 20th century.

A young girl, her hair loosely bound, drifts off into a fond memory with a smile as she brushes a letter, the reem of paper draped from her left hand, the bamboo brush idle in her right. Incredible detail from the Kinkozan Kiln in Kyoto stamped on the pale clay of the base. It is 18 cm (7 inches) long, roughly the same height and in excellent condition. Better known for Kyo-satsuma style pottery works, this is a rarity.

The Heron Maiden coquettishly covers her face, the intimation of snow in the vacant background with large occasional flakes falling in the fore on this large work by important 20th century artist Kitano Tsunetomi. Pigment on silk in the original silk border with solid ivory rollers (these will be changed if exporting). It comes in a later collector’s double wood box. The scroll is 46 x 206 cm (18 x 81 inches) and in overall fine, original condition. There are faint scattered foxing marks typical of the era.
In the Japanese folk- tale of The Heron Maiden (Sagi Musume), a young man comes across a wounded heron, and he takes it in and nurses it back to health. When the heron has regained the use of its wings, he releases it, and the heron flies away. Time passes and the young man meets a beautiful young woman with whom he falls in love. They get married and begin living happily together. The young wife weaves a particular kind of silk brocade in which the designs appear in relief. The young man sells the fabric, and the two are able to support themselves in this way. But the young woman places a constraint upon the man: He must never observe her while she is weaving her fabric. Of course the young man cannot resist the temptation to look, and when he does he sees a heron at the loom. Before his eyes the heron is transformed into a beautiful woman. Now that the secret has been exposed, the heron Maiden’s happy life with the young man must come to an end. She bids her husband a sad goodbye, and flies off to her heron companions.
According to the Nakanoshima Museum in Osaka: Kitano Tsunetomi (1880–1947) was born in Ishikawa Prefecture in 1880. His real name was Kitano Tomitaro. He subsequently moved to Osaka, where he studied under Inano Toshitsune, before working for the Osaka Shimpo newspaper illustrating novels serialized in the paper. In 1910, Sudaku-mushi (Chirping Insects) became his first work to be selected to appear in the 4th Bunten National Exhibition, and he gained a reputation as one of Osaka’s foremost bijinga artists. In 1912, he formed the Taisho Bijutsu-kai (Taisho Art Association.) In 1914, he set up the painting school Hakuyosha, and successfully submitted his work Negai-o-ito (Thread of Hope) to the 1st Inten Exhibition. After the 9th Bunten he became active in the Nihon Bijutsuin, an artistic association dedicated to promoting painting and sculpture in Japan, particularly nihonga, and became a judge of the Inten Exhibition. He played a key role in the Osaka art world, participating in the creation of the Osaka Art Exhibition in 1915 and the formation of the Osaka Sawakai in 1918. … He passed away in 1947 at the age of 67..

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

A breathtaking Taireiji pottery vase by Kiyomizu Rokubei V enclosed in the original signed wooden box. Chrysantheum in raised relief grow ghosly white on the soft pink surface. It is 32 cm 12-1/2 inches) tall and in excellent condition. Taireiji was the most important development by this innovative artist, and pieces are exceedingly rare.
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.

Birds take shelter for the coming of night as the mist rolls in on the bare branches of a stand of trees huddled along a stream, all dyed with the colors of late autumn in this exceptional work by Hashimoto Kansetsu enclosed in the original signed wooden box. Seen in silhouette against the moon, are these crows, the stalwart creatures which hunker down through winter, or are they Sagi (herons) harbingers of the cold to come? This painting is a superb example of his mature style. It is mounted in the finest brocades of the time, and features large ivory rollers (which would need to be changed if exporting). It comes enclosed in a double wood box, the inner Kiri, complete with a special silk and paper cover to protect the top, the outer covered in red lacquer. The scroll is 73 .5 x 163 cm (29 x 64 inches) and is in fine condition. Hashimoto Kansetsu (1883–1945) was born in Kobe, son of painter Hashimoto Kaikan from whom he gained a love of Chinese culture. He studied at Chikujokai under Takeuchi Seiho (1864-1942), but eventually withdrew due to differences of opinion. He visited Europe in 1921 and after that spent part of almost every year in China. Many of his paintings were inspired by Chinese scenery or Chinese classical literature. His former residence in Kyoto is now a museum of his work called the Hakusasonso

White wisteria (fuji in Japanese) drape from the gilded rim of this Kutani vase signed from the pre-eminent Kaburaki (Kaburagi) studio dating from the opening of the 20th century. The imagery is exquisitely performed with over-glaze enamels on a pastel gray ground. The vase is large at 13 inches (33.5 cm) tall, 8-1/2 inches (22 cm) diameter and is in excellent condition, with some wear to the gold rim.

A superb 19th century hanging moon Vase of caramel bronze gilded inside entrrely with gold and enclosed in a custom kiri-wood period box titled Kara-kin Gekkei Hanaire (gilded Chinese-Bronze Vase). In this case the word Chinese does not indicate it being manufactured in China, but using a mixture of bronze based on Chinese origins. It is quite large at 14 inches (36 cm) diameter and comes with the original chain and insert for hanging and display of flowers. Although I do see this shape often enough, this quality is rarely if ever found. The box is a bit worse for wear from the last century or more of use, but the piece inside is fine.

A young girl reaches up to steady herself on a branch laden with plum buds, not yet ready to open, as she presses down on the ice with her bright red shoes. This is an absolutely darling image by Chishima Kayo, which came to us as a silk makuri (never having been mounted) painting, which our restorer placed in this natural field allowing the painting to show itself.
Chishima Kayo (b. 1890) was a female artist of the Meiji to early Showa periods. She was born in Saitama and studied initially under Kawai Gyokudo then Kaburagi Kiyokata. She consistently exhibited with the Kyodo-kai (Kiyokata’s Salon exhibition) from 1916 as well as the Teiten National Exhibition from 1927, a rarity for a female artist. Nothing is known of her life post-war.

A later Meiji period two panel screen, Pigment on silk, signed Hosen (Usui Hosen) dating 1900-1910. Shunkei lacquer frame with cloth backing. Quintessential for the era, the scene is brushed in an abbreviated style, allowing the viewer to participate by completing the details. Muted colors and the lack of hard lines lend the screen an ethereal quality, as if recalled from a distant memory. The screen is 56 inches x 5 feet (142 x 152 cm) and is in fine condition but for some stress in the silk in the lower portion of the womans garments. Usui Hosen (b 1881, Kyoto) graduated the Kyoto School of Art and apprenticed under Yamamoto Shunkyo before establishing himself as a known Nihonga artist in early 20th century Kyoto the cultural heart of Japan.

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.

A museum quality koro covered in soft pink glaze decorated with chickens in raised relief surmounted with a woven silver lid by Kiyomizu Rokubei enclosed in the original signed wooden box. It is 4-1/2 inches (11 cm) diameter and in excellent condition. For a piece decorated in the same style see the collection of the Museum of Modern Art, Kyoto.
Kiyomizu Rokubei V (1875-1959) began by studying painting from the age of 12 under the 19th century master Kono Bairei. Upon graduation from the Kyoto Municipal School of painting, he apprenticed under his father Rokubei IV. After the death of Bairei in 1895, he began taking painting lessons under Takeuchi Seiho. His first pottery piece was exhibited that same year at the National Industrial Exposition. The following year he was entered as a member of the newly founded Kyoto Ceramics research facility and was one of the founders of the Yutoen study group along with Miyanaga Tozan I, Kinkozan VII, and Ito Tozan I. He succeeded the name Rokubei in 1913. He was prized annually at any of a number of important National Exhibitions, and was honored as judge for the Teiten exhibition beginning in 1927, He was also granted one of Japans greatest honors when he was appointed a member of the Imperial Art Academy. Works by this very important artist are held in the National Museum of Modern Art, Tokyo and a great many in the National Museum of Modern Art, Kyoto

An antique Guardian mask used to ward off evil hand carved from a rough slab of hardwood. It is 14-1/2 inches (37 cm) tall and in fine condition. Usually hung under the eaves of a house, it shows weathering typical of age. Late 19th to early 20th century.

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

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.

Sennin, Daoist immortals, relax, Gamma with his three legged toad looking shocked upon his shoulder, Tekkai sending his spirit forth, the essential equipment of the Daoist life scattered about them. The painting is dated 1912 and signed Kodo. The artist has chosen a very humorous stance from which to depict his subjects. The silk image is mounted on a panel of applied gold flake and framed in striped Ebony,. The frame is 142 x 48 cm (58 x 19 inches). There are some minor abrasions to the surrounding gold paper. As the traditional Japanese home was made with earthen walls, which could not support weight, hengaku frames of this manner were made to be suspended from the edge of the ceiling, and supported over the transom (Kamui) which ran the entire way around a traditional Japanese room at door height.
According to the MIA, The Daoist immortals, Gama Sennin (Chin. Liu Hai) and Tekkai Sennin (Chin. Li Tieguai) “were often paired in Japanese and Chinese art because of their corresponding supernatural powers. Depicted on the right is Gama Sennin, known literally as the ‘toad hermit,’ a character based on the historical civil servant and alchemist Liu Hai of 10th century China. Various accounts associate Gama with a large, three-legged toad by which he can be identified. Gama was thought to be able to release his spirit from his body, metamorphose, and fly with the aid of his magical companion. Tekkai Sennin is the Japanese adaptation of one of the Eight Immortals (Baxian), an assemblage of Daoist and/or folk deities. He was thought to be capable of leaving his body, sometimes traveling for extended periods. On one occasion, he asked a disciple to watch over his body and instructed him to burn it if his spirit did not return in seven days. On the sixth day, however, the disciple’s mother died, so he burned his master’s body and went home. Returning on the seventh day, Tekkai’s spirit found his body gone, leaving him no choice but to adopt the corpse of an emaciated beggar that he found beside the road. Like Gama Sennin, he is associated with medicine, and is traditionally represented with a gourd that signifies his ability to transcend the body and to offer healing.”
Due to size the cost of shipping will be accrued separately.

A shu-iro red lacquered sign in the shape of a tea jar dating from the late 19th to early 20th century. A long verse has been carved into the surface before lacquering. The back is bound with cloth and lacquered black. The sign is 16 x 20 inches (41 x 50 cm). There are minor chips typical of age, but is in overall very good condition. For an excellent delve into the distinctive fusion of art, design and commerce of antique Japanese signage see the book Kanban (2017, Mingei Museum, Alan Scott Pate). You will find in there a black lacquered Kanban of similar shape and style.