Catalog: Archives (589)

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.

A large Ukibori vase covered in iron with yellow slip raised imagery of birds in a pomegranate tree by Ito Tozan I enclosed in the original signed wooden box dated 1917. It is 16 inches (40 cm) tall 10-1/2 inches (26 cm) diameter and in fine condition.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III and Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937).

A pair of gold screens with bold shishi on genuine gold leaf. It is signed Miyauchi Gohogan Shinsai Fujiwara Morimichi sei and stamped Hogan Morimitsu no In. Each panel is 37-1/4 x 68-1/2 inches (94.5 x 174 cm). The screens have been restored, with some old repairs visible. These appear to be remounted from what is likely a different composition, possibly a set of fusuma doors. This is possibly from the Kano Tanshin of the later Edo, who used the name Morimichi, although there are a number of Tanshin. He was the 7th head of the Kajibashi branch of the Kano family, and was an appointed painter for the Edo Shogunate, achieving the rank of Hogan. He died in 1835 at the age of 51.

A large vase by Takahashi Dohachi and decorated by Hashimoto Dokuzan enclosed in the original wooden box signed by both artists. Also, stored in a separate compartment is a wooden stand which appears to have once been part of a temple or altar. The vase is covered in a typical crackled Kyo-yaki glaze, and decorated in cobalt with two figures in a watery landscape, one fishing, the other on top of a stone playing the flute. Judging by the style it is likely an allusion to the famous friends Kanzan and Jitoku. The vase is 12 inches (31 cm) tall, 9 inches (23 cm) diameter and in fine condition.
Hashimoto Dokuzan (Gengi, 1869-1938) was born in Nigata, and was sent to Kyoto at the age of 16 to study painting and philosophy under Tomioka Tessai. At the age of 20 he entered Tenryuji under　Gazan. He received Inka from　Ryuen. In 1910 he moved to Shokokuji, and then was assigned the foundation of Nanonji Temple in Tottori Prefecture. He served as abbot of Tenryuji Temple and Shokokuji, both important Zen temples in Kyoto.
The Dohachi Kiln was established in Awataguchi by the retainer of Kameyama fief, Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. He moved the kiln to the Gojo-zaka area (at the foot of Kiyomizu temple) in 1814 And was well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time worked to expand the family reputation within tea circles.

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 superbly rendered image of a golden-eyed monkey with prehensile tail curling upward in a fine mounting of golden striped brocade by Ota Issai. The scroll is 34 x 59 inches (86 x 150 cm) and is in excellent condition, completely remounted using quality materials without overpainting. Ota Issai (1892-1979) was born in Nishio city, Aichi prefecture near modern day Nagoya. He graduated the Kyoto E-ga Senmon Gakko (future Kyoto U of A) where he studied under Kawai Gyokudo, specializing in animal imagery.

An important Vase decorated with the imperial symbols of 16 petal chrysanthemum and Go-shichi Nobori Kiri among over-glaze bamboo and floral designs by Ito Tozan I enclosed in the original signed wooden box. It is 8-3/4 inches (22.5 cm) tall (excluding the base) and in superb condition and comes wrapped in a stamped silk bag.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III and Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937).

Incredible attention to detail defines this large Pagoda entirely gilded in gold. It is 32 inches (81.5 cm) tall, 16 inches (41.5 cm) square at the base and in excellent condition. This would have been displayed in a Butsuma as a reliquary container. Both upper and lower doors open to reveal gold lined chambers in which the Buddhist objects could be stored. A couple of the small bells dangling from the eaves have been replaced or re-hung with wire. Due to size the cost of shipping will be accrued separately.

A pleasure craft of solid burled wood covered in clear, black and red lacquer with inlayed mother of pearl designs which opens up to be a picnic box. The fore-peak is removable and opens to hold chopsticks. The upper cabin is a sake bottle, the roof a large plate, the the lower cabin food and rice storage. The aft holds 6 small plates, and the structure all can be removed to reveal the food storage in the hold. It is roughly 20 x 8-1/2 x 11 inches (50 x 21 x 28 cm). There is a repair to the winglet on the stern, and a fracture in the upper bottle near the spout, otherwise is in quite good (used) condition.

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.

Gnarled plums cover the unusual rich blue ground of this antique tsubo vase from the Arita kilns dating from the early 20th century. It is 14-1/2 inches (37 cm) tall and in fine condition, signed on the base. The decoration is performed entirely in overglaze enamels with a gold rim,and is both vivid and fresh. One of the more unusual pieces I have seen from this region. It is signed on the base in Red Arita sei Miyuki Gama

A genuine reishi cluster of mushrooms dried and preserved in perfect condition. This is an exquisite form, the dark trunks meandering up to wide blossoming heads. It is 13 inches (33 cm) long.

A heavy hand forged iron candle-stand from a Buddhist temple in the shape of a burning jewel. It is 90 cm tall, 57 wide, base and legs 20 x 39 cm and dates from the 19th century. Very thick and heavy iron work.
Due to size the cost of shipping will be accrued separately for this item.

A gold tree laden with peaches accompanied by a poem drapes over the sides of this large porcelain bowl made by Miura Chikusen and decorated by Hashimoto Kansetsu enclosed in the original signed wooden box. It is 7-1/2 inches (19 cm) diameter, 3-3/4 inches (9.5 cm) tall and in fine 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 Southern School). He traveled 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.
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, establishing the name on a grand scale. He was a feature in the literati community of Kyoto and was well known also as a painter, poet and calligraphist.

A pair of unique three part tokkuri by Taniguchi Chojiro consisting of a top, which turned upside down forms the cup, a central ring on which the cup rests, and the bottle, which, when assembled, make the form of a temple bell. These are made after the infamous bell of Hokoji Temple which provided (a rather lame) excuse for Tokugawa Ieyasu to crush the Toyotomi family and claim the country for his own, therefore beginning the Tokugawa Dynasty which ruled Japan for over 250 years. This is seen in both the name Toyotomi on the bell, and the date Keicho 19 (1614), which was the year the bell of Hokoji was completed, and the first battle of Osaka. The Tokkuri are roughly 5-1/2 inches (14 cm) tall, 3 inches (7 cm) diameter and in fine condition.
A bit complicated, the story goes like this: Toyotomi Hideyoshi, the first general of Nobunaga and the man who had completed the unification of Japan, died in 1598 leaving a child heir. Hideyori, this heir, was a mere five years old. Tokugawa Ieyasu was one of the strongest of the generals under Hideyoshi, and in order to maintain peace, was appointed the head of a council of elders who would rule until Hideyori came of age. Of course, this spelled disaster, and just five short years later was the battle of Sekigahara, in which Tokugawa troops defeated the Toyotomi Western allies (on the pretext of protecting Hideyori as the rightful heir). Already advanced in age, Tokugawa needed to claim the throne or lose the chance, perhaps forever. As Hideyori grew, living in residence with his mother at Osaka Castle, the most powerful castle in all the country, he was subordinated to Daimyo status under Tokugawa Ieyasu, however remained very wealthy and influential among lords still loyal to the Toyotomi faction. They also were avid builders, and Hideyori instituted the rebuilding and expansion of many great monuments, including Hokoji Temple. Here they made a bell, completed in 1614 upon which was the inscription Kokka Antai (Peace in the country as one family). Here the characters for Ieyasu (also read Ka and Tai respectively) were divided by the character for peace. Tokugawa took this as a curse of dismemberment on his family, and used this as a pretext to go to war against the Toyotomi, finally defeating him after the summer battle of 1615 in which Hideyori was killed. He also later had Hideyori’s 8 year old son beheaded, and wiped the Toyotomi clan from the face of the earth forever, establishing Tokugawa rue which would last for 250 years.

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 set of 12 Kogo incense containers representing the 12 animals of the zodiac by Suwa Sozan I enclosed in the original signed wooden stacking-box. Each is roughly between 2 and 4 inches (5-10 cm). The Inoshishi (wild boar) has a small chip, otherwise all are in superb condition. In twenty years I have never seen a set like this and it certainly belongs in a museum.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

The 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