Catalog: Archives (589)

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

Pines in the Rimpa style grow on the folded surface of this fan painted by Kamisaka Sekka and enclosed in the original signed wooden box, retaining the original paper binding on the fan itself. It is 12 inches (30 cm) long folded, and in excellent condition.
Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art (future University of Fine Art as I have abbreviated in the above description), and was widely exhibited and prized throughout his career, which ended in retirement in 1938.

Birds chatter, perhaps excited by the promise of Spring from the plum blossoms peeking out of a bamboo grove, winters snow melts and trickles through the stones in the stream belwo. A two panel screen, ink and light color on gold by Mizuta Chikuho (1883-1958). An excellent example of this artists Nanga style, the subject and rich wet lines of the bamboo crisp and direct, fading to washes of gray in the shadows. The screen measures 68 x 68 inches (172 x 173 cm) and is in fine condition.
Mizuta Chikuho was an Osaka Nanga artist trained under Himejima Chikugai, a Nihon Nangain member often displayed at the Nitten and, in fact, bestowed with the honor of judge for the prestigious event in his later years. Works by the artist are held in the National Museum of Modern Art, Tokyo and Kyoto Municipal Art Museum among many others.

An unusual image of a towering stone among pines by Yasuda Hanpo enclosed in the original signed wooden box dated 1935. It is titled Sosui Manken (In the shade of Towering Trees. Light pigment and ink on paper in a cloud-patterned satin border with large bone rollers. 46.5 x 207 cm (18-1/2 x 82 inches) and is in exceptional condition.
Yasuda Hanpo (1889-1947) was a Nanga artist studied under Mizuta Chikuho and Himejima Chikugai. He was first accepted into the Bunten in Taisho 6 (1918) and was steadily accepted throughout his life. From 1922 he also participated in the Nihon Nanga-In Exhibition. Held in the National Museum of Modern Art Tokyo among others.

A Nihonga Scene mounted on a two panel screen of a thatched house in the winter forest, blossoms just opening on the garden trees by Takahashi Shiko (1897-1970). The scene has been created over a complete wash of white, making the crisp early spring morning real and sharp. The screen measures 74-1/2 x 67-1/2 inches (189 x 172 cm) and is in excellent condition bordered in a red lacquer frame typical of the 1920s and 30s and retains the original backing paper. A superb example of the early Showa style.
Shiko, born in Kyoto, studied under Kikuchi Keigetsu. He was active from the Taisho period during which time was exhibited at the Teiten National Exhibition 6 times. A pair of screens by the artist created in 1922 are held in the National Museum of Modern Art, Kyoto. He is best remembered for these whimsical and architectural landscapes.

Koma Inu Shrine guardians decorate this unusually vivid Ako carpet dating from the early 20th century. The color combination is quite striking, especially when held up to the more standard subdued works typical of Ako. It is 95 x 195 cm (37-1/2 x 77 inches) and is in stunning condition. We found this wrapped in paper in the attic of a Kyoto home which had been sealed off during renovations in the 1950s. With a relatively small quantity produced within the rather short history of Japanese carpet making, this is a great collector piece as well as functional antique carpet with very soft texture and attractive design.
Called ‘dantsu’ in Japanese, hand knotted rugs are works of art requiring several months to complete. Inspired in her travels by Chinese benrekisen rugs, Naka Kojima spent years developing the looms and began weaving carpets in Ako in 1874 using high quality cotton, traditional designs and her own innovative weaving techniques. It became a cottage industry in Ako, handed down for decades among the local women while men worked the salt fields. At the peak of its popularity, they adorned the Imperial House of Japan and other governmental buildings and were exported to Australia, the UK, and the US. However, challenges in the world market during the great depression the prohibition of cotton trade leading up to World War II forced not simply a decline, but a near closure of the industry. Some resumed weaving after the war, but found it difficult to compete with machine-manufacturing. In 1991, with the support of Ako City, weaving classes for younger women taught by Kirie Sakaguchi,the only Ako Dantsu weaver left in the city, were begun and since there has been some revival albeit on a very small scale.

A lucky ammer in red decorates the inside of this large bowl by Mamiya Eishu enclosed in a period wooden box. It appears to read Kishoho or Kishohon (the method to satisfaction or the root of satisfaction respectively). The bowl is 7-1/2 inches (19 cm) diameter and in excellent condition. Eishu (1871-1945)entered the priesthood at the age of nine at Ryutakuji Temple under the training of the priest Tengan. 13 years later he was sent to one of the main temples, Tenryu-ji, in Kyoto to study under Gasan Shotei. After serving at a number of temples he received his certificate of enlightenment from Shaku Soen (the first Zen monk to visit America) at Empukuji. He served as a battlefield chaplain for the Japanese troops during the Russo-Japanese War. Upon his return he became a prolific writer, publishing more than 20 books on Buddhism. He was once again called to comfort soldiers scarred by the tragedies of war in Shanghai, in 1945, where he died of illness. For more on this important figure see The Art of Twentieth Century Zen By Addis/Seo.

The tanuki rests, energy spent, among fallen bamboo leaves lit by the crescent moon, only those yellow eyes alert and watchful. A beautiful pigment on silk painting signed Seiei enclosed in the original signed wooden box. It is bordered in patterned green silk and features bone rollers. The scroll is 21-1/2 x 76-1/2 inches (55 x 194 cm) and in overall fine condition.

A true part of Kyoto modern ceramic history, this robust vase reminiscent of Okinawan Kaki-otoshi ware was created at the Kyoto 2nd Industrial School circa 1925. It comes in the original wooden box titled Black Glazed Vase with Flower Motif, and signed inside Kyoto Shiritsu Dai Ni Kogyo Gakko followed by a large red seal. It is 27 cm tall, 23 cm diameter and in excellent condition. The roots of the mingei movement, ravaging the Japanese ceramic world at the time, are clearly evident.
The governmental Industrial schools were the proving grounds from a great many young potters before the second world war. The Kyoto 2nd industrial school in Fushimi was split away from the first industrial school in 1920, and remained active until 1963, when it was re-named the Fushimi Industrail High School (Fushimi Kogyo Koko). It is scheduled to close permanently after a century of activity in 2024.

An interesting comment on the circle of life, the huge cicada, with only a three day (above ground) life, is dissected and carried away by a line of tiny ants, birth and death, the mighty and the tiny, and the cycle of life continues. This image is by Ishikawa Chikuson and comes enclosed in the original signed wooden box. It is performed with ink and light color on handmade paper, mounted in a field of soft-blue silk extended with beige. The scroll is 22 x 48-1/2 inches (55 x 123 cm) and is in overall fine condition. Ishikawa Chikuson (1884-1952) was born in Tokyoand was given his mothers name. At the age of 18 he apprenticed under Matsumoto Fuko and Suzuki Kason. Much lauded at the time, he moved to Nagoua after the Great Kanto Earthquake in 1923 destroyed his studio, establishing a studio and a following in his new home, but was again, later in life, displaced by war and the allied bombing of Nagoya. He took refuge in rural Mie prefecture. After the signing of peace terms, he returned to the barren Nagoya where he took a job as a postal worker while rebuilding his studio.

An accordion album featuring calligraphy and paintings by various well known Zen priests of the first half of the 20th century. Including the opening there are 30 pages. The book is 22 x 31 cm and in overall fine condition. The opening pages are by Kutsu Deiryu (Izawa Kanshu 1895-1954, head priest of Kaiseiji), the famous protégé of Nakahara Nantenbo. It is followed by;
1. Daruma by Goto Zuigan, 1878-1965, Myoshinji, Daitokuji
2. Mineo Daikyu, 1860-1954, (head priest of Myoshinji)
3. Chawan, Takeda Eisen 1878-1945 (head priest of Kenninji)
4. Rozan Eko 1865-1944 (head priest of Myoshinji)
5 Takagi Dokuho, no dates, (head priest of Eigenji)
6. Obaku Hoshino Jikio (sp?) 1867-1937 head priest of Manpukuji
7. Seki Seisetsu 1877-1945 (head priest of Tenryuji)
8. Miura Shoten (Hekiun) 1870-1957 (head priest of Myoshinji)
10. Seigo Hogaku 1875-1942
11. Hamamura Seido 1869-1935
12. Yamazaki Taiko 1876-1966 (Head priest of Sokokuji)
13. Ozeki Honko (Horin) 1873-1944 (head priest of Tofukuji)
14. Hoshino Daigen (Saishoken)
15. Tokai Totatsu 1870-1945 (head priest of Myoshinji)
16. Ito Keishu (Seiko) 1881-1935 (Kinkakuji)
17. Maruyama Yoso (Denne) 1870-1940 (Daitokuji)
18. Takibuchi Kenko ?
19. Yokoi Gyokusen
20. Mamiya Eishu, 1871-1945 (Hokoji Temple)
21. Sugimoto Zenki, 1890-1949 (Myoshinji)
22. Hayashi Kaishu (Keikyo) 1890-1979 (Tofukuji)
23. Ota Josei, (Daikai) 1875-1946 (Daitokuji)
24. Konaka Hosu (Zuishoken), (Tokugenji)
25. Akai Giyu (Nanzenji)
27. Yamazaki Ekishu 1882-1961 (Buttsuji)
28. Kozuki Tesshu 1883～1941 (Empukuji)
For more on many of these famous figures see Zenmi, a Taste of Zen (2011, Veljko Dujin) or The Art of 20th Century Zen (Shambhala, 1998).

A superb Silk landscape by Akamatsu Unrei enclosed in the original signed double wooden box (niju-bako) titled ChikusoYusei-Ga. The title and style of the buildings indicate this is likely the Yusei retirement home of Iwakura Tomomi in Northern Kyoto, designated a National Historic Site in 1932. A narrow path hedged in soft greens leads to the rustic cluster of buildings with their thatched roofs lost in a sea of bamboo, the scene rising to precipitous mountains afar, a waterway in the distance perhaps Takaragaike pond. The scene is performed in a dream-like quality, inviting the viewer in for a moment of serenity. Warm in summer but a cool respite from the stifling city life a few miles to the south. Everything about this scroll speaks of quality, from the intensity of the painting itself, the silk canvas used, the border cloth, solid ivory rollers, and the kiri-wood box with hinged brass handle allowing it to be pulled easily from the red lacquered wooden outer case. It is 50 x 216 cm (19-1/2 x 85 inches) and is in overall fine condition, with some faint foxing.
Akamatsu Unrei (1893-1958) was born in Osaka, and apprenticed under Koyama Unsen and later the famous Nanga-ka Himejima Chikugai. At a relatively young age he exceeded the talents of his forbearers, finding a new way of looking at Nanga all his own. His paintings were often submitted at the Bunten/Teiten national exhibitions and he was a member of the Nihon Nanga-in. Held in the collection of the National Museum of Modern Art, Tokyo among others

A carved wooden box with removable lid revealing a container for matches and tobacco slotted in the side to carry a Kiseru pipe. Exquisitely crafted by a man who both understood design and wood grains, it is likely from the arts and crafts era. It is 5-1/2 x 3-1/2 x 5 inches (14 x 9 x 13 cm) and is in overall fine condition, with wear to the base attesting to age.

Oarsmen battle Tempestuous seas to carry safely home their cargo of courtly women in this vivid scene signed Hakushun dated 1932. The oars bend under the strain of the ferocious seas, the oarsmen pull with all their might. Behind bamboo curtains the young women huddle together, their courtly robes flowing about like the oceans mad waves. A very powerful scene supervised by a noble seated at the back of the small ship, witnessed by a gaggle of cormorants resting on a jagged rock cluster. The silk screen is bordered with an unobtrusive black lacquered wooden frame and measures 9 feet by 55 inches (275 x 140 cm). It is in excellent condition but for some minor marks in the upper portions. Due to the war, which started for Japan in 1932, records on artists for this and following years are scant. However the painting is very much in the style of the artist Matsumura Ichiyo, and Hakushun may have been one of his students.

Gentlemen glide through the open “ma” staring up at the moon on this serene work signed Joun (One of many names used by the priest Hashimoto Dokuzan). Ink on paper in superb Shunpodo Silk mounting (THE preeminent scroll hangers in Kyoto) enclosed in a signed double wood box (niju-bako) dated 1935 with solid ivory rollers (They will be changed for export). The scroll is 28-1/2 x 53 inches (72 x 134 cm) in excellent condition but for scattered foxing.
Hashimoto Dokuzan (Gengi, 1869-1938) was born in Niigata, 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.

A rush of water descends into mist between the rocky crags tinted with autumns color on this superb silk scroll by Ochi Shokan enclosed in the original signed double wooden box (niju bako) titled Shusei (Voice of Autumn). Top quality, it is mounted in striped silk extended with green and has large solid ivory rollers. The scroll measures 55 x 213 cm (21-1/2 inches x 7 feet). It is in fine condition. Ochi Shokan (1882-1958) was born in Ehime prefecture on the island of Shikoku and studied painting at the Tokyo Universtiy of Fine Arts, graduating in 1902. His carrer was interrupted soon after when he was inducted into the army, and was injured in fighting during the Russo Japanese war. He returned to Tokyo to continue painting, and was accepted and awarded at the Bunten National Exhibition in 1913. The following ear he would be accepted into the first newly reorganized Inten. He would exhibit there consistently throughout his lifetime, and again with the Nitten in the post-war era. In 1922 his paintings would be selected for exhibition in the United States. He was selected as an artist to represent Japan, along with Yokoyama Taikan, Matsuoka Eigaku, Hirafuku Hyakusui and Hayami Goshun in Italy in 1930, showing how highly thought of he was at the time. A book titled Sketches in Italy published by Asahi Shinbunsha featured the works of Taikan and Shokan in Italy together. Works by him are held in the Museum of Modern Art in Tokyo and Tokyo National Museum among others.

Water tumbles from steep dark hills into a roiling sea of clouds on this painting by Japanese artist Fukuda Kodojin (1865-1944) enclosed in the original signed wooden box. The erratic brushwork and radical form of this scroll typify work by the unusual self taught Nanga artist. Three tiny huts cluster on the edge of dark forest, a few paddies scratched from the rugged earth, their seeming insignificance a testament to the artists great love of nature. The scroll is 18-1/2 by 82 inches (47 x 208 cm) and in excellent condition. Bordered in green tea colored brocade, it features ivory rollers, and comes enclosed in the original signed box which is in turn enclosed in a lacquered wooden box (nijubako), wrapped in the original paper sleeve. Kodojin's status as a poet calligrapher and literati artist has reached legendary status. Born at a time of great change (4 years before the final fall of the Edo Government), he lived through the westernization of Meiji, Taisho Democracy, the rise of Imperialism and final defeat of the Showa eras. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. He moved to a village outside of Kyoto in 1901, where he supported himself and his family by privately tutoring those who wished to learn Chinese-style poetry. Kodojin's was simply a scholar. His poetry, painting, and calligraphy all stem from a life-long cultivation of the mind. He was known to have taken the time just before his death to destroy the large portion of his own remaining work, leaving only that which must have met some personal criteria. For more on his life see the book Old Taoist, or Unexplored Avenues of Japanese Painting. Twenty five paintings by the artist formed a private exhibition (from Gitter-Yelen) at the New Orleans Museum of Art in 2000, and he is part of the Hakutakuan collection among many others.

Bright colors decorate this life-like set of Porcelain Okimono in the style of Chinese fruit by Suwa Sozan (no box). This set dates to 1931 and is published in the book Suwa Sozan Sakuhin Shu (1971), p. 85. A bursting pomegranate, Persimmon, Bunch of Grapes and Buddhas Hand, with a fifth piece, a fig, missing from the set. Please note there are a few chips in the edges of the leaves of the fruit (circled in the photos). Each piece is roughly life-size the Buddhas hand is 15 cm (6 inches) long.
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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

The village headman aims his arrows at the moon to dispel the evil brought on by a solar eclipse, the village women in the background standing in prayer. This scene was painted by Higuchi Tomimaro for show at the Seikosha Exhibition held in Osaka in 1938. It is an excellent look into the world of the Ainu, a native culture to Northern Japan now lost to history. He has done a wonderful job conveying the texture of the clothing, and hidden behind the grayish background is textures of floral life, only visible by shadow, an interesting and unusual technique. Pigment on paper in a simple black lacquered wooden frame with elegant metal hardware. Each screen is 186 x 169.5 cm (73 x 67 inches). They have been completely remounted without any over-painting, and are ready for the next hundred years.
Higuchi Tomimaro (1898-1981) was born in Osaka and studied under Kitano Tsunetomi from around 1910. He began exhibiting with the Bunten National Exhibition in 1915, with his painting Tsuyasan, followed by works in 1917,18 and 19. He would then switch to the Inten, exhibiting there from 1923 to 1930. At this time, he began producing Hanga woodblock prints along with Takehisa Yumeji for the Senryu magazine. In 1925 he would be accepted into the Shotoku Taishi Exhibition. In the later 20s he fell into the circle of Nishiyama Suisho and switched to the Seikosha Salon as well as moving back to exhibiting with the reorganized Teiten National Exhibition. Much lauded in his lifetime, he is remembered for Bijin-ga images of beauties and genre scenes in his youth, and Buddhist imagery in his later years. Work is held in the Kyoto Municipal Museum of Art, the Osaka Nakanoshima Musuem among others.

The comic-strip dog character Norakuro waves from the cockpit of this ceramic water-dropper (for grinding ink) in the shape of a war-plane. A waterdropper (suiteki) is filled with water and used to drip water onto a stone when grinding ink. This Suiteki has a wingspan of roughly 9.5 cm (just less than 4 inches). Norakuro is a black and white dog enlisted as a private in the “Mokenrentai” (Fierce Dog Brigade), an Imperial army of white dogs fighting in a war against the Monkey Army. In the West we might consider mortal enemies to be like cats and dogs, but in Japan it has always been monkeys and dogs (later the enemy would become pigs). This war-time comic first appeared in 1931 in Shonen Kurabu (Boy’s Club) magazine and was clearly based on the Japanese Imperial Army of the time. The creator, Tagawa Suiho, had served in the army and used his experience as a basis for the comic strip. The series, with its simple dialogue and poetic illustrations, was one of the most successful Japanese comics of the 1930s. Although it was highly successful the main character, blundering his way through the banalities and harrows of daily military life, was taken to be critical of the Imperial Army and was forcibly cancelled in 1941 by government censors.
Tagawa Suiho (Takamizawa Nakatarō, 1899-1989) was born in Tokyo, his mother died in birth, and he was raised by his father and an uncle, both of whom died while Tagawa was still young. He received a basic education, and grew up an orphan. He was conscripted into the Imperial Army in 1919, finishing in 1922. In 1925, he graduated from Nihon Bijutsu Gakkō Art School, and initially wrote Rakugo, then began producing manga comics in 1927. His character Norakuro was picked up by Shonen Kurabu in 1931, and was one of the magazines most popular features, with a ten year run before being cancelled by the authorities. He is recognized as one of the pioneers of the Japanese manga industry and was recipient of numerous awards including the Imperial Order of the Rising Sun. Post war Norakuro was reinvented in the 1980s briefly as a television series. His student Hasegawa Machiko, one of the first female manga artists, is the creator of Sazaesan. This series began in 1946, and ended publication in 1974. It was subsequently made into a television series and holds the World record as the longest running animated series on television.

An exquisite Japanese koro incense burner carved from a piece of plum blossom colored agate and enclosed in a period wooden box. It is 3-1/2 x 5 x 4-1/2 inches (9 x 12.5 x 11.5 cm) and is in excellent condition, dating from the early 20th century.

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

An important work in the oeuvre of 20th century avant-garde oil painter Nakamura Yoshitane, his first exhibited work at the 1938 Dokuritsu Tenrankai (Independent Painters Exhibition) titled Canna and Cypress retaining the original gilt frame and published in Nakamura Yoshitane Gendai no Ningen Fukei (page 81). Thick application of pigment and very heavy texturing are key features to the work giving it a three dimensional quality. A copy of the book is included with the sale. According to the essay by Otsuro Sakazaki at the beginning of the book, "Canna and Cypress was selected as his first exhibit, but more significant than the fact of this selection is its position as a monument commemorating a turning point in Nakamura's life, from which proceed his later pictures with their new concept of space". The canvas is 57 x 44 inches ((145 x 112 cm). The frame is 65 x 52-1/2 inches (165 x 135 cm). There is some damage typical of age to the frame in the way of chips and losses to the gilding. There are also some very old repairs to the painting, where it appears to have been folded or deeply scratched near the bottom in two places, and a light blue chip more recently filled in the upper blue background about the size of a coin. Due to size the cost of shipping will be accrued separately.
Nakamura Yoshitane (1914-1995) was born in Wakayama city where he took a job as a teacher. Although he began painting much earlier, he first exhibited with an abstract image at the Dokuritsu Tenrankai (Independent Exhibition) in 1938, and shortly thereafter left his teaching position to devote himself full time to painting. In 1942 he was awarded the Grand prize at the Dokuritsu Tenrankai. His paintings were largely abstract until 1972, when he suddenly made a change to human imagery and mannequins. He later served as a professor at Kyoto University of Art and Otemae Women’s Univrsity. For his contributions to the Art World he was granted the Cultural Merrit Award from Kyoto Prefecture in 1984, from Kyoto city in 1986, and the same from Wakayama in 1987. Work by him is held in the Tokyo National Museum of Modern Art (MOMAT) as well as the National Museum of Modern Art Kyoto (MOMAK), and Shiga Prefectural Museum of Art among many others. Not yet well explored in the west, a chance to purchase a Post-war Japanese Abstract Painter for a reasonable price

An exquisite vessel by Seifu Yohei IV decorated in slight relief under pale green glaze. It is 8-1/4 inches (21 cm) tall and in excellent condition.
Seifū Yohei IV (Seizan: 1872-1946), the second son of Seifū Yohei III (1851-1914). He studied literati-style painting under Tanomura Shōsai (1845-1909), a son of Tanomura Chokunyū, in Osaka for three years. In 1914, he succeeded to the head of the family and produced works mostly in his father’s style. He won a number of prizes including the Golden Prize at the Panama Pacific International Exposition, San Francisco in 1916 and the exhibitions of the Japan Art Association in 1916 and 1918. He produced several works for members of the Imperial family.

The soft blur of blossoming plum, as if viewed in a dream, by Murashiam Yuichi. The evocative form, rising up in an arc to dominate the paper, seems powerful in comparison to the delicate petals clinging to new branches rising from the gnarled limbs. Ink on paper in green silk border, the scroll is 216 × 45cm (85 x 18 inches) and in overall excellent condition.
Murashima Yuichi (1897-1983 born Yuichiro) also known as Ho-o, was born in Toyama and graduated the Tokyo Bijutsu Gakko (Mod University of Art) under Yuki Somei. He exhibited with and was awarded several times at the Teiten/Bunten Nitten National Exhibitions. His Painting Horses in Pasture from 1942 is held in the collection of the Tokyo National Museum of Modern Art

An exquisite landscape circles the body of this voluminous ballister form by Eiraku Zengoro XV (Shozen) enclosed in the original signed wooden box. It is 15 inches (38 cm) tall, 7-1/2 inches (19 cm) diameter and in excellent condition.
Eiraku Shozen (1879-1932) was the backbone of the family tradition after the passing of his father in 1909, and worked tirelessly to maintain the family reputation. His works were preferred by the 12th generation head of Omote Senkei Seisai, and were also a favorite for use by the Prince Sadaaki of the imperial family in the Omiya Gosho palace.

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

A lacquered wooden box decorated in built up Takamaki-e with Tsuba and Kozuka by Heian Zohiko dating from the first half of the 20th century. Inside is fine even nashiji. The decorations rise quite high off the surface, almost as if genuine tsuba were lying atop the box. One tsuba is in the shape of a Mokugyo, a Buddhist prayer drum of hollowed wood culminating in two dragons. The second is one of the seven lucky gods (shichi-fukujin) Daikoku seated in front of a rice bale, smoking a pipe and petting a puppy. The Kozuka handle is decorated with a traditional entertainer dancing with an umbrella. All the edges are protected by a silver rim. The Zohiko stamp is visible on the underside of the box; an elephant in a cartouche. The box measures 11 x 8-1/2 x 4-1/2 inches (28 x 22 x 12 cm) and is in excellent condition. Zohiko is one of the oldest and most prominent lacquer studios in Kyoto. This was likely produced under the visage of Zohiko VII or VIII.

Leaping green fish soar up the sides over tempestuous crackled celadon waves crashing over the matte blue of this exquisite Mizusashi fresh water container by Sawada Sozan enclosed in the original signed wooden box. It comes with a pottery lid as well as a black lacquered lid (Kaebuta). It is 18 cm (7 inches) tall, 13 cm (5 inches) diameter and in excellent condition.
Sawada Sozan (1881-1963) was born in Kyoto and graduated the Tokyo School of Fine Arts. He attended the Arts Department of Columbia College in the United States where he researched design, and after touring Europe, returned to Japan in 1907 where he established the Sawada Design Institute in Kyoto. He designed textiles, posters, sake labels alongside his exploration of the clay medium. In 1917 he established a kiln in the Momoyama district of Fushimi in Southern Kyoto (this box is signed Momoyama Sozan Saku). He exhibited with the Bunten-Teiten- National Exhibitions and eventually was selected to serve as a judge there. From the mid ‘30s, with the darkening of world affairs, he began to focus more on private exhibition. Several works are held in the permanent collection of the National Museum of Modern Art, Kyoto.

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

A large glass vase of emerald green reflecting the ancient glass works found in the Shosoin Imperial repository by 20th century pioneering glass artist Iwata Toshichi enclosed in the original signed wooden box. Flecks of various colors and air permeate the glass, accentuating the fact he is duplicating the ancient glass works, long before techniques had been perfected and material purified. It is quite large at 15-/2 inches (40 cm) tall and in excellent condition. As the industrial revolution climaxed in Japan in the opening years of the 20th century, along with it came a renewed interest in ancient things, things lost, and the techniques by which they were made. The Shosoin, the great repository in Nara, opened its doors to certain craftsmen who were leaders in their fields, and the items they attempted to reproduce, often using the techniques imagined available at the original time of production, were highly collectable.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emporer for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.

An exquisite lacquer box by Imai Seitaro dating circa 1959 featuring multiple layers of colored lacques carved through with a design of grapes on the vine enclosed in the original signed double wood box (Niju-bako) titled Choshitsu Budo Moyo Shikishi Bako (Carved Lacquer Grape Design Poem Card Box). It is roughly 11 x 12 x 2 inches (27.5 x 30 x 4 cm) and is in fine condition.
Imai Seitaro was born in Kagawa prefecture in 1893, and was first exhibited with the Nitten National Exhibition in 1948, and was often acceptedthere as well as with the Nihon Kogei-kai Ten. He may have been living in Taiwan before that time, as with many records from that time his history has been lost.

Ducks are the only life in this landscape of frozen rice paddies by Shirakura Niho enclosed in the original double wood box (Nijubako) signed Kanyu (the name he used later in his career). Teh composition is very minimalist, relying on the diagonal lines of paddy walls to define the foreground, only a haze of color to intimate the hills beyond. Judging by the style this likely dates from the 1940s and is an exceptional work by this innovative artist. Ink and pigment on silk in a superb border of patterned silk featuring solid ivory rollers. It is 26 x 56 inches (66.5 x 142 cm) and is in excellent condition.
Shirakura Kinichiro (Niho or Jiho, Kanyu, 1896-1974) was born in Niigata, and initially was inducted into Nanga under Hatta Goro. Moving to Tokyo he began studies of Western oil painting following Ishii Hakutei. However, that was unfulfilling, and he soon moved to Kyoto, returning to the Nanga style under Tanabe Chikuson (also Tajika/Tachika Chikuson, 1864-1922). Following the death of Chikuson, he moved to Tokyo where he took up residence in the studio of Komura Suiun. He was consistently displayed at both the Teiten-Nitten National Exhibitions as well as the Nihon Nanga –In Ten. Like other individualistic artists of his generation, he was known for his very unique and easily discernible style and enjoyed immense popularity. He later changed his name to Kanyu. He was recognized in an English book published in 1958 as one of the most important artists to visit when in Japan.

A set of 12 lacquered panels depicting scenes of the 12 months by 12 different and important artists including Living national Treasures Terai Naoji and Komo Kanzan as well as Pioneering female artist Tenno Bundo, all in the original wooden box signed individually by each artist and dated Showa 24 (1949) and stated to have been assembled under Honma Maika. A list of the artists by month follows: January-Katsuta Seisho, (1890-1975), February-Rokkaku Eiyu, March-Living National Treasure Terai Naoji (b. 1912), April-Living National Treasure Komo Kanzan, (b. 1882-1955), May-Murase Shunji (1911-1989) June-Shinmura Senkichi (1907-1983), July-Oguchi Masaji(1907-2000), August-Honma Maika, September-Tenno Bundo (the first female artist in Uwajima), October-Moriya Shotei (1890-1972), November-Yuki Tetsuo (1900-1970), and December-Omura Soho. Each piece is 9-1/2 by 10-3/4 inches (24.5 x 27.5 cm). The work for January has five stress cracks in the lacquer at the top of the panel, all others are in excellent condition. As they are shikishi (display plackard)-size, it is likely they were meant to be changed out of a frame, once every month. A very rare opportunity to own a representation of work from so many important modern lacquer artists.

A white pidgeon perches on a discarded or fallen roof tile decorated with calligraphy by Miyanaga Tozan enclosed in the original signed wooden box. It is 9 inches (23 cm) tall and in excellent condition. I believe this is likely by the second generation.
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. He was succeeded by his adopted daughter who brought a refreshing variation of color and delicate touch to the porcelains they produced. The kiln is now in the third generation, run by his grandson.