Catalog: Archives (589)

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.

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

A discreet masterpiece are words which could easily describe this gorgeous chunk of antique burled vine root carved and polished to a subtle sheen in the shape of a two tiered vase inset with bamboo pots. The piece rises from pebbly textured burl, abundant with character, like a clay pot which collapsed during firing. The second level appears to float above the first on tendrils of smoke. A startling effect. This piece truly captures the Japanese sense of respect for the natural world. It would be wonderful holding a sparse display of small flowers in a Tokonoma or tea room, or even in a collection of scholars desk items. The piece stands 11 inches (28 cm) tall, and is in excellent condition.

A set of two gilded and lacquered wooden Imperial memorial tablets dating from the Taisho period (1911-1925) on elaborate 3 piece stands; one etched with the name of the Meiji Emperor, the other noting the current emperor (at that time). The mirror, one of the three Imperial signs, is represented floating in a sea of stylized clouds on the cornice cap, separated from the ornately carved plaque by a red and black lacquered slab. The scrolled center section is adorned with Imperial chrysanthemum dials in a field of blue, originally decorated with (now faded) vine tendrils. In the Gold center of one is written Meiji Tenno Songi, in memory of the Meiji Emperor. This tablet appears to have lost some of the gold lacquer, revealing a smooth, darkened silver underneath. On the other is Kon jo ko tei fuku ki ei koku bou ka mu kyu, A prayer to the present (at that time) emperor for long life, and to bring hope and prosperity to the country. The two epitaphs rest on square gilded slabs carved with folding flower petals, which in turn rest on a black and red lacquered, two-footed wooden base. This whole package is set on a sloping raw cedar stand, which is in turn on a small gold base, in turn set on a large gold stand. This lower section was so blackened with age I did not know it was gilded until we started cleaning it. Each piece in this puzzle features a panel of vertically striated wood set in to the front. The entire structure is 50 inches (127 cm) tall, with a base footprint of 10 by 15-1/2 inches (25.5 by 39.5 cm). The tablet itself measures 21 inches (53 cm) tall. On the black lacquered back of one are written the birth and death records of recent Emperors on two pieces of overlapping paper. It would seem the original paper was written at the beginning of the Taisho, and later amended with information on the Showa Emperor.

A young Maiko parts the curtains of an Okiya Tea-house entrance, perhaps on her way to training, or to begin a night of traditional entertainment through song and dance. Pigment and ink on silk in a fine brocade border with lacquered red wooden rollers. It is 25 x 78 inches (63.5 x 198 cm). There is some loss to the gofun in the center where it was obviously folded once before being mounted in its current state.

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

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).

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 very rare painting of a skull and scattered bones lost to autumns dead grasses by important 20th century Zen priest Takeda Mokurai. Ink on paper bordered in brown cloth with gray extensions; dark wood rollers. The scroll is 16 by 68 cm (40.5 x 172.5 cm) in fine condition.
Mokurai began his journey down the Buddhist path at the age of 7 under the priest Ryodo. Developing under a number of masters, it was during a sojourn in Hakata he developed a love for poetry and calligraphy, something for which he would later be greatly remembered, for in later days his scholar script was highly prized. He finally settled under Yuzen Gentatsu, from whom he received Inka. A pious man he was sent to Kyoto to work at Kenninji temple in the heart of Gion, the pleasure district. His exemplary performance there, and a series of unfortunate deaths left the young priest in charge of the sprawling complex. As a scholar priest he had great influence on the art of early 20th century Kyoto, as Zen practice was almost seen as a given for painters and ceramic artists of the time including Tsuji kako, Kiyomizu Rokubei and Ito Tozan among many others. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addis and Audrey Yoshiko Seo.

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

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

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

A koro incense burner by Teishitsu Gigei-In Suwa Sozan I decorated by his friend the famous scholar artist Tomioka Tessai and enclosed in a signed double wood box. The silver lid is by Nakagawa Joeki. It is 3-1/2 inches (9 cm) tall (plus the lid), 5 inches (12 cm) diameter and in excellent condition. The box is titled Daibutsu Sozan zo Juhana Koro Tessai Dai and signed Sozan Yakisei.
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…
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.
Nakagawa Joeki X (Junsaburo, 1880-1940) was the 10th generation head of the Nakagawa family of metal workers, one of the Jusoku-Kei families supplying tea ware to the various tea schools, responsible for bronze ware, and is said to have peaked with the 9th and 10th generations. He headed the line from1911-1940, covering the reign of 3 emperors; he was greatly favored by tea masters at the time.

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. .

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

A 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.

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

Not quite the Easter Bunny, but perhaps close to an Easter Egg, the design on this vase is both classical and modern, reminiscent of Kenzan and his use of patterns and colors, surmounted by a sometsuke underglaze blue dragon among roiling cobalt clouds. The pot dates from the late 19th to early 20th century, classic Meiji period but for the unusually bright and cheerful rows of yellow, blue and green florals on red. The dragon blends with the clouds, with a single gold line delineating his body, and red flame whirling off from his legs. It is 11 inches (28 cm) tall, 9 inches (23 cm) diameter and in excellent condition.

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).

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

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 rare opportunity to pick up a perfect condition Mingei pot from the former Yonezawa Clan's Narushima-kiln of Imaizumi on the border between Yamagata and Fukushima prefectures, one of the Edo period Daimyo feudal kilns, dating from the later 19th to opening years of the 20th century. It is 7-1/2 inches (19 cm) diameter, 6-1/2 inches (16 cm) tall and in fine condition with no chips, cracks or repairs. Very similar in appearance to nearby Tsutsumi-yaki of Sendai, the lesser lip between the glaze lines is indicative of Narushima-ware, and the clay is less brick-like in appearance. It is rare to see a functional piece like this in perfect condition. Narushima-yaki was established under the orders of Uesugi Yozan, one of the great leaders of the Yonezawa Uesugi clan, when he sent Sagara Kiyosaemon to study the techniques of nearby Soma-yaki and open in kiln in the first year of Tenmei (1781). The kiln flourished throughout the second half of the Edo, but, like most provincial kilns, began to flounder in the Meiji period with new technology making the old ways obsolete, and it closed in the early 20th century. It has since been revived in the post-war era.

A cormorant cries out to the sea on the lid of this fantastic suzuri bako writing box enclosed in a red lacquered kiri-wood box. Inside the birds mate looks up from among gold flecked lotus leaves growing wild along the waters edge. The box contains the original tray with stone, the edges of which are flecked with gold. It is in excellent condition but for on ding to the inside of the base, lower left, and one in roughly the same position on the lid. A silk wrap and satin pillow protect the box both inside and out. Repair to both small nicks will be inclusive in this price.

An early snow covers the branches of a ragged pine, the clutches of autumn still evident in the red tinged leaves of ivy clinging tremulously to the limbs. This is a spectacular large Kyo-yaki work signed on the base Seifu and enclosed in a period wooden box. Dating from the late 19th to early 20th century, it is nearly 10 inches (25 cm) diameter, 5-1/2 inches (14 cm) to the top of the lid and in excellent condition. This is the work of Seifu Yohei I.

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

This baluster form vase is quite large by Japanese standards at 14 inches (35 cm) tall and in perfect condition. Chrysanthemums decorate the sides in rich, dark blue. There is a slight yellow tinge to the white glaze. It is signed on the base Makuzu Kozan Sei. The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan kiln as we know it was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Makuzu Kiln to International Celebrity status, and send his wares throughout the globe. The first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A 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.

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.

Jurojin getting an earful; a humorous image by Suzuki Shonen showing the elderly god having his ear cleaned by his companion, the long lived crane. It comes enclosed in a double wooden box annotated by Konishi Fukunen (1887-1959) and bears a label from the Daimaru Department Store. Fukunen was one of Shonens most famous pupils. The ink and light color on paper image is bordered in a superb brocade mounting with solid ivory rollers. It measures 64 x 149 cm (25 x 59 inches) and is in fine condition.
Suzuki Shonen (1849-1918) studied under his father Suzuki Hyakunen and served as a professor at the Kyoto Municipal School of Painting. Born in Kyoto, he lived through the tumultuous early years of change in the Meiji era, when Japan was opened to outside influence for the first time in 3 centuries. Reflecting the times, he established his own unique style of painting which blended aspects of Nanga and the Shijo School, with influences from Otsu-e and Western Perspective. Much lauded in his lifetime, he was awarded a silver medal at the Paris World Exhibition in 1900. He is well known as the teacher of Uemura Shoen, one of the most important artists of the era. Works by this artist are held in the collection of the Victoria Albert Museum, British Museum, Ashmolean, Kyoto Municipal Museum of Modern Art, Metropolitan Museum of Art, Seattle Art Museum among many many other important private and public collections.

A spectacular set of bira-bira-kanzashi hair pins in the form of cranes among blossoming plum and pine formed of silver which come enclosed in a custom made silk-lined wooden box. Two are 13 inches (33 cm) long, the other is 9 inches (23 cm) long and all are in fine condition. According to a label inside the box they are from Akita City in Northern Japan, sold by Takeyaso Hon-ten. The box is 15 x 17 x 5 inches (38 x 43 x 13 cm). I do have more images if someone is interested.

Golden eyes gaze at the full moon rising over dried autumn grass and wilted flowers on this fine scroll signed Shuso (Hotta Shuso). Pigment and light color on silk in a patterned silk mounting with bone rollers. The scroll measures 19 x 78 inches (47.5 x 192.5 cm) and is in overall fine condition.
Hotta Shuso (1894-1954) was born in Nagano prefecture and studied under Ikegami Shuho, settling in Tokyo. One of his best students, Shuso later became leader of Shuho's Denshindo atelier. He was displayed at the Teiten/Nitten National Exhibtions beginning in 1924. A specialist in images of animals and flowers, see item number 1111841 for another fox by Shuso.

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 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.