Catalog: Archives (589)

A large Gohon pottery Sweets bowl by Kiyomizu Rokubei V with expertly rendered Sparrows ascending into the sky painted by Imao Keinen enclosed in the original wooden box signed by both artists. It is 8-1/2 inches (21 cm) diameter, 4 inches (10 cm) tall and in excellent condition.
Kiyomizu Rokubei V (1875-1959) began by studying painting from the age of 12 under the 19th century master Kono Bairei. Upon graduation from the Kyoto Municipal School of painting, he apprenticed under his father Rokubei IV. After the death of Bairei in 1895, he began taking painting lessons under Takeuchi Seiho. His first pottery piece was exhibited that same year at the National Industrial Exposition. The following year he was entered as a member of the newly founded Kyoto Ceramics research facility and was one of the founders of the Yutoen study group along with Miyanaga Tozan I, Kinkozan VII, and Ito Tozan I. He succeeded the name Rokubei in 1913. He was prized annually at any of a number of important National Exhibitions, and was honored as judge for the Teiten exhibition beginning in 1927, He was also granted one of Japans greatest honors when he was appointed a member of the Imperial Art Academy. Works by this very important artist are held in the National Museum of Modern Art, Tokyo and a great many in the National Museum of Modern Art, Kyoto
Imao Keinen (1845-1924) was one of the most respected artists of the turn of the century. He studied Ukiyo-e under Umegawa Tokyo before moving to the Shijo School under Suzuki Hyakunen. In 1868 he established his own studio, becoming a professor at the Kyoto School of Painting in 1880. In 1904 he was named a member of the prestigious Imperial Art Academy and served as a juror for the Bunten as well as representing Japan in exhibitions abroad. Most well known for Kacho-e Bird and flower paintings and landscapes. His work is held in the collections of The Metropolitan Museum of Art NY, Museum of Fine Arts, Boston and Tokyo National Museum among many others.

A very unusual unglazed small tea pot decorated with various nuts and seeds all in three dimensional relief, featuring a mushroom shaped lid dating from the later 19th to early 20th century. Known as Banko in Japan, the kilns which produced these items were also responsible for the Sumidagawa pottery so popular in the west. This piece has 8 seeds about the shoulder, including peanut, pumpkin and sunflower. The spout is in the shape of traditional Japanese sweets rolled in a leaf, and the body rests on six legs, one of which is a lotus pod with 7 individual seeds mobile inside. It is stamped inside the lid by the maker and measures 4-1/4 inches (11 cm) tall. It appears to have a very old chip in the spout (see photos), and the inside edge of the lid is rough.

Like an aged boxer, the squat muscular crab takes a stance of readiness, one claw up prepared to defend against a coming attacker. This little fellow is unusual in that it is made of thick bronze, with each joint pinned in a way that allows for some mobility. Legs splayed the creature is 9 inches (23 cm) wide, standing it is 3-1/2 inches 89 cm) tall. There is a repair to the first joint of the 2nd left leg. It dates from the first part of the 20th century.

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 horrifying image of a ghostly apparition accompanied by a Buddhist verse engraved into this long bamboo incense container by Ishii Matetsu. It is expertly crafted. The verse reads:
Katsu!
Dokusei Dokushi Dokko Dokurai
The literal translation sounds quite cold, but in Buddhist teaching it means: We enter the world alone; we depart it alone. Do not depend upon others for your happiness, rely upon yourself and live your life in your way to the fullest. It is 48 cm (19 inches) long and in excellent condition.

A silver rabbit and large solid bronze figure of the young god O-kuninushi no Mikado by Oshima Joun on a black lacquered stand enclosed in the original signed and red lacquered wooden box with separate compartments for the table and figure. Here we see O-kuninushi seated beside his bundle of belongings, hand extended in benevolence to the meek creature. The box is titled O-kuninushi Go-Zo, Go Okimono, Tobu Oshimia Joun Sakku followed by a ka-o signature. Inside is written the characters SoNeKo(Shi)ShakuDen(Tono). The inscription infers some Imperial event at which this was given (The character Shaku is the same as the UjinoShaku Imperial visit held after New years when commoners who have excelled in the previous year are granted an audience with the Emperor). There are two patches of fresh lacquer inside the lid, indicating a name and possible date of the recipient have been erased. The bronze figure is 8-1/2 inches (22 cm) tall and weighs 4.5 kg (9-1/2 lbs). The rabbit is solid silver, 28 grams. Both are in fine condition.
I believe the story tells of a young god Onamuji (who would become O-kuninushi) and eight of his fellows who left Izumo seeking the hand of princess Yakami of Inaba. He being the youngest and kindest of the group, was left to carry the baggage. As the men reached the coast, they found a rabbit stripped of fur and bleeding. So as a prank they told him to wash in the sea and dry himself in the sun. Of course this caused the rabbit much pain, until Onamuji arrived (delayed with the heavy bags), and told the hare to wash himself in the clean rivers of the stream and roll in the billowing seeds of the cat-tails. The rabbit quickly recovered, and made a prediction to the lad that indeed Yakami would fall in love with him above all others despite his appearing as a servant.
Oddly the story does not end there, and one must pity the princess, for the other men kill Onamuji (several times and he is several times revived) and he is forced to flee to the underworld, where he falls in love with King Susano’s daughter and elopes with her. The grand Shrine at Izumo, one of the oldest and most important in Japan, is dedicated to Okuninushi, and he is believed to be the builder of nations.

A very unusual hammer textured lotus shaped tray featuring an insect crawling down the side enclosed in a wooden box titled Textured Leaf Shape Fruit Dish and signed Tekisui Zo (made by Tekisui). The brass basin is supported by a withering round stem convoluting beneath. A bright portion of brass hammered out with holes show the leaf slowly deteriorating, returning to earth. The insect is like a red flying-beetle or lady-bug, very detailed. The dish is roughly 6 by 7 inches (15 x 17.5 cm) and stands about 1-1/2 inches (4 cm) tall, dating from the later 19th to early 20th century. The style is akin to many types of receptacles used in the service of Chinese tea, which was massively popular from the beginning of the 19th century. It appears the insect, which is held in place with a rivet, has come loose and been re-attached at some point, with file marks left from the work visible underneath. .

A very unusual Meiji period Suzuri Bako with cherry blossoms in black on black outside, a crescent silver moon rising beyond crashing gold waves within. The box is so subtle outside, that until very close, and at the correct angle, it simply looks black. Then one sees the cherry blossoms covering the entire outside, in the slightest texture only. Inside the moon is a long crescent of inlayed silver rising like a sake cup waiting to be filled with Taka-maki-e waves spraying foam across its regal form. It is in excellent condition, wrapped in padded cloth and contained in an ancient and somewhat worm eaten kiri-wood box. The Suzuri-bako is 10 x 9-1/4 x 1-1/2 inches (25.5 x 24 x 4 cm) and is in fine condition. It has already been professionally polished.

Intricate, subtle, delicate, elegant; all words which could be applied to this set of ten dishes decorated with flowers in raised reliefby Takahashi Seizan enclosed in the original signed wooden box titled Gyokude Kusabana Kameko-gata Sara (Tortoise Shell Shaped Dishes decorated with Flowers and Grass in Pearl-slip) Pale white slip has been applied in thick, sculpted patterns to a cream surface, sweeping sides peaked with gold rims. Each plate is 22 cm (9 inches) wide, 5 cm (2 inches) tall. There are a few color infusions into the glaze, but no chips cracks or repairs. These date to the Taisho period, a time of great innovation. They are reminiscent of the works of other Kyoto artists at the time, in particular Seifu Yohei and his Taihakuji, and Kiyomizu Rokube and his Taireiji.
Due to size and weight, shipping fees will be construed separately.
Takahashi Seizan (b. 1871) was a potter active from the Meiji to early Showa era, associated with Kiyomizu Rokubei and Miyanaga Tozan and is known to have corroborated with the famed painter Hashimoto Kansetsu on ceramic works. He exhibited frequently with the Nomuten (the largest crafts exhibition before the Teiten opened a crafts division in 1927).

A gentleman standing in courtly robes takes advantage of a warm spring night to get in some reading. Standing on the balcony he puts light to a hanging lantern, illuminating cherry blossoms wrapped in evenings misty veil beyond the rail. This is an excellent example of Meiji period Yamato-e signed Saiho which has been fully re-mounted in quality patterned brocade, and retaining the original bone rollers. The watercolor and pigment on silk scroll measures 18-1/4 by 76-1/2 inches (51.5 x 194 cm), and comes enclosed in a period kiri-wood box. The patterns in his kimono are produced using a stencil and gofun (powdered shell), and the straight lines of the sudare (reed curtains) partially obscuring the scene are a testament to the artists great skill. There are light scattered marks typical of age, but do not detract from this great work.

A very unusual incense burner in the form of two servants holding up Hotei as he looks joyously toward the night sky. It is performed in crackled white glaze over pale clay with simple iron decoration. It comes enclosed in the original signed wooden box bearing the Teishitsu Gigei-in seal titled Ga-korai Hotei Koro indicating it was based on Korean decoration techniques. It is 18.5 x 10 x 14 cm (7-1/2 x 4 x 6 inches) and is in fine condition. He may have originally held a gumbai-fan, which is no longer present.
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 great Tang Poet Du Fu (712-770) affectionately coddles a goose chick in his left hand, his bamboo staff low and seemingly forgotten as he ponders the beloved creature in his palm. Exquisitely rendered, it is roughly 16 inches (40 cm) tall and signed on back with an engraved signature. Du Fu's poetry has made a profound impact on Japanese literature, especially on the literature from the Muromachi period and on scholars and poets in the Edo period, including Matsuo Basho, the very greatest of all haiku poets. It is said that when Basho died, a copy of Du Fu's poetry was found among his few possessions.
Yamamoto Junmin (1882 – 1962) learned the metal arts under Katori Hotsuma (Hozuma) and Asakura Fumio at the Tokyo University of Art. Living in Nara, the ancient capital, he was one of the finest metal workers of his age, carrying on the Edo-doki tradition through the early Showa era while also incorporating many ideas and innovations from Art Deco into hos oeuvre. His work was exhibited with the Teiten/Bunten National Exhibitions many times before the second world war, and with the Nitten National Exhibition post-war. The National Museum of Modern Art in Kyoto holds two works by this important bronze artist, as well as the Metal Art Museum Hikarinotani.

Pierce-work combined with over and under glaze decoration create the perfect picture of spring on this bowl by Takahashi Dohachi enclosed in the original wooden box signed Kachutei Dohachi and titled Kenzan Yo Tsubaki Bori Hachi (Kenzan style Camelia patterned Carved Bowl). It is 20 cm (8 inches) diameter and in excellent condition.
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. 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.

Children gathering Sansai mountain vegetables, a stunning Taisho period silk painting by Nishikubo Kunko. Three young girls wear indigo dyed country kimono, their forearms and shins protected from the grass and brush and heads covered in white scarves, straw sandals on their feet. They carry voluminous bamboo baskets as they move along the reed covered water’s edge, perhaps in search of fuki (Butterbur). The scene is performed with heavy pigment on silk, in completely original condition. It retains the original backing paper upon which is an exhibition label bearing the character Miyako (the Kyo in Kyoto) in a circle. Each screen is 69-1/2 x 150-1/2 inches (382 x 176 cm) and in very fine condition. Nishikubo Kunko is known to have been a painter of bijin beauties, and exhibited at the first National Painting Exhibition among others.

The work on this superb Meiji p. Kutani vase would easily rival that of the greatest studios of the time (and surpass those of today!). Chrysanthemum and other flowers in overglaze enamels spread their brilliant foliage over the whit pebble textured moriage shoulder, Gold fading to white below the bamboo fence-like belt inlayed with kiri-kane gold and silver diamonds. Dew drops of gold moriage cling to the large leaves while plums blossom below. All of the work is both vibrant and meticulous, showing a great attention to detail. It is 11 inches (29 cm) tall, 6 inches (15 cm) diameter and in excellent condition enclosed in a box dated 1924 with a Kiwame on the lid by Tabushi Kyojiro attributing the vessel to the work of Hirao Gen. The base stamp reads Kutani Taniguchi.

Exquisitely formed Hakuji pale porcelain defines this fine vase by Suwa Sozan I enclosed in the original signed wooden box bearing the Teishitsu Gigei-In stamp. Two simple bands match in width the diameter of the large rings suspended from simplified animal head handles. Fretwork in the lower belt provides the only overt decoration. The vase is 12 inches (31 cm) tall, roughly 6 inches (15 cm) diameter and in excellent condition. Sozan (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 and was named a Teishitsu Gigei-in (member of the Imperial Art Academy), one of the highest honors in Japan. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A voluminous ink landscape built around two scholars viewing the cascade dropping into the canyon on this huge scroll by Tanaka Hakuin enclosed in the original signed wooden box dated Meiji 45 (1912). Performed with rich black ink against the sheer white paper, the mountainous crags and leafy forms built up in layers of gray and black. The scene is mounted in patterned silk with white piping in the Mincho style popular among literati painters in the era, and features huge bone rollers. It is 104.5 x 238 cm (41 x 94 inches) and is in excellent condition.
Tanaka Hakuin (birth name Nakagawa Keizaburo, 1866-1934) was born in Suruga, Shizuoka prefecture in the last years of the Edo period and became a student of Tanomura Chokunyu in Kyoto, the cultural heartland of Japan, at the age of 17. This was a tumultuous period as Western ideas and Technology were flooding into Japan. He was the top pupil of Chokunyu, working in the style of both Chikuden and his mentor. At this time he used the name Tanomura Hakuin. In 1900 he married and moved to Hofu city in Yamaguchi prefecture taking his wifes family name Tanaka as his surname, and thereafter was known as Tanaka Hakuin. He established a school for painting where he worked for his remaining years. Work by him is held in the Mori Art Museum and Honolulu Museum of Art among others.

A lovely set of Taisho period studio pottery Tokkuri sake decanters; the very thin walls made of fine clay covered in earth-toned glassy glaze crackled along drip edges. A bundle of twigs alongside a kindling hearth are painted in iron on the side, with a grinding bowl and pestle of dark clay in raised relief. Along the base of one is the artists stamp reading Hozan. The base diameter is 2-1/4 inches (5.7 cm) and they stand 4-3/4 (12 cm) tall. Hozan was a popular ceramic artist active in the beginning of the 20th century.

The mastery of expression accomplished by Suwa Sozan I is evident in this pair of porcelain children enclosed in the original signed wooden box titled Gosai Doshi Okimono (Five Colored Figure of Children). This piece is published in the definitive book “Suwa Sozan Sakuhin Shu” (1971). In the book the photo title is more specific “Gosai Mimiakatori Karako Okimono” (Five Color Figure of Chinese Children Cleaning Ears) and the work is dated to 1913. The fellow doing the cleaning is absorbed in his work, an intense expression on his face, while the other fellow smiles with glee, leaning into his compatriots hands. It is 22 x 11 x 18 cm (9 x 4-1/2 x 7 inches). There are losses to the glazing, some of which are evident in the photograph in the book as well.
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.

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

Cranes soar before the red orb of the sun over festive young pines on these five ceramic bowls covered outside in red and black lacquer from the Nagoya studio of Toyoraku (also Horaku) dating from the mid to later 19th century, late Edo to Meiji eras. This set is exceptional! It is enclosed in a fine compartmentalized collectors kiri-wood box titled Owari Toyoraku Yaki Nuri Asahi-Tsuru-Matsu Suimono Chawan Go Kyaku (Five Owari Toyoraku Pottery Lacquered Soup Bowls Decorated with Pines, Cranes and Rising Sun). The red circle created by the lid is the rising sun, the golden crane sailing before it, and on the black bowl are young pines, symbolizing strength fortune.
The Toyoraku tradition began in the mid 1700s, however it was the fourth generation head of the household (Toyosuke IV 1813~1858) who moved the kiln to Kamimaezu in Nagoya and began applying lacquer and Maki-e to the works. He was succeeded by his son, Toyosuke V (d. 1885) who passed the kiln to his own son Toyosuke VI, (d. 1917), who was highly lauded in his lifetime and made pottery on order of the Meiji emperor, his pieces being selected for international exhibition. However from the later Meiji he concentrated on Raku-ware, and the lacquer tradition mostly disappeared from the family ouvre.

Plums blossom across 24 panels, harbinger of Spring and a cue to the scholars it is time to end the winter isolation and set out on journeys to old acquaintances. Ink and light color on paper dated 1913 with applied gold flake in a silk border decorated with gold designs enclosed in a black lacquer wooden frame. It retains the original backing paper. The screens are 149 x 68 inches (379 x 172 cm) and in excellent condition.
Ikeda Keisen (1863-1931) worked initially under his father Ikeda Unsho. He graduated the Kyoto Prefectural School of painting and was an important artist in the initial stages of the Bunten National Exhibition.

An ominous row of black crows in silhouette cry in unison from the stormy insides of this gassaku bowl made by Kiyomizu Rokubei IV and decorated by Kikuchi Hobun, enclosed in the original signed wooden box. Color has infused the glaze, evidence of age and use and lending to the malefic atmosphere. It is 20.5 cm (8 inches) diameter and in fine condition, stamped on the base Rokubei and signed on the side Hobun.
Kiyomizu Rokubei IV (1848-1920) was first born son of Rokubei III, and took over the family business in 1883 upon the death of his father. Not restricted to pottery, he studied painting with Shiokawa Bunrin and worked with many famous Kyoto painters. He also worked to promote Japanese pottery in the tumultuous Meiji period, when the capitol was moved to Tokyo, helping to establish the Yutoen Ceramics organization and Kamikai with Kamisaka Sekka. Held in many collections, a lantern by him stands in the garden of the Tokyo National Museum.
Kikuchi Hobun (1862-1918) was born into a family of Hyogu-shi (professional mounter of paper and paintings) in Osaka during the waning years of the Tokugawa government. He was adopted into the Kikuchi family and moved to Kyoto where he studied under Kanō Hōen, and later with the Shijo master Kōno Bairei along with Takeuchi Seihō, Taniguchi Kōkyō and Tsuji Kakō. He frequently exhibited at and was much lauded with the Bunten/Teiten National Exhibitions. He taught at the Kyoto Municipal School of Fine Arts and Crafts where his influence on following generations was much felt. Works by the artist are held in the V&A, Museum of Fine Arts, Boston, National Museums of Modern Art, Tokyo and Kyoto and British Museum among others. For more see Modern Masters of Kyoto (Paul Berry and Michiyo Morioka)

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 rare and stunning set of Kinrande sake cups by the elusive Nakamura Shuto I enclosed in the original compartmentalized signed wooden box dating from the late Meiji to Taisho period. Crisp designs of shishi lions frolicking among peonies in genuine gold are expertly applied to the brilliant red outside, while inside landscapes of plum, pine and bamboo blossom in minute detail in Sometsuke blue on white. The artists seal is deeply impressed inside the foot ring. Each cup is 5.5 cm (2-1/4 inches) diameter and in excellent condition. Phenomenal! It has been a long time since I have found a piece by Shuto.
Nakamura Shuto I (1865-1928) was born the son of famous Kaga potter of Daishoji Temple Nakamura Shigeichiro from whom, along with Takeuchi Ginshu from the age of 12, he initially studied pottery and painting techniques. Delving into the past he researched and revived ancient kiln techniques. From 1906 he took the name Shuto, and became famous throughout Japan for superb quality ceramics rivaling the best wares produced in Kutani. Suddenly in Taisho 2 (1913) he switched to painting and design, and then in 1917 combined the two disciplines in a new approach using a kiln he created in his home. Works by him are held in the Ishikawa Prefectural Museum among others.

Five matching boxes covered in black lacquer decorated with togidashi feathers in silver and gold enclosed in the original wooden box signed Shunji (active Meiji-Taisho period) and titled Hane-no-zu Maki-tabaco Shoshi (Feather decorated tabaco chest). Each faceted wood box has been covered in polished ink-black ro-iro lacquer, the diaphanous feathers then created on the surface with powdered gold and silver; then all is covered again in lacquer and polished through to reveal the design. An arduous process requiring much time and patience on the part of the artist. Each box features a gold rim and is lacquered with nashiji inside. They are 14.5 x 10.5 x 7 cm (5-3/4 x 4-1/8 x 2-3/4 inches) and in excellent condition, wrapped in cloth in separate compartments inside the fine kiri-wood storage box. Kanamori Shunji (Harutsugu) was a lacquer artist from Owari (modern day Aichi prefecture) in the lineage of the great 17th century artist Yamamoto Shunsho.
According to the Encyclopedia Britannica in the Togidashi Maki-e: technique, the design is painted in lacquer, and gold or silver powder is sprinkled over it; when the lacquer is dry, another coat is applied to the design to fix the powder. Rō-iro-urushi (black lacquer without oil) is then applied over the entire surface, and, after it has dried, it is burnished briefly with charcoal, applying a little water until the gold powder is faintly revealed. Following this process (called aratogi) comes the suri-urushi process, in which raw lacquer is applied with cotton and wiped with crumpled rice paper; a finishing burnish (shiage togi) is then done with charcoal. Next, granular charcoal is applied with water, using a soft cloth, and gently polished. Finally, suri-urushi and polishing is repeated three times.

A pair of root-wood geese carvings 10 x 4 x 3 inches (24 x 10 x 9 cm) and 6 x 3 x 8 inches (14 x 6.5 x 20 cm) respectively. There are some minor losses around where the feet are attached to the natural form polished wood bodies, otherwise are in fine condition.

An intricate age darkened Keyaki (elm) carving of two dragons vying for dominance in a sea of clouds, glass eyes glowing softly in the rich red wood. Dating from the later 19th century, the carving is 49 inches (125 cm) long, 4 x 1-1/2 inches (9.5 x 3.5 cm). It is overall in fine condition with some inevitable abrasions due to time. The tennons on both ends indicate this was made to be inserted between two pillars, and was likely the transom over a Buddhist altar.

A very unusual Shino-yaki ceramic Tsuri-doro hanging lantern with bronze handle and chain dating from the early 20th century, Meiji to Taisho period. Made in the shape of a thatched house, four ragged posts support the roof and delineate the rounded sides. A different opening is seen on all four sides, a square door, grated circular window, The character Hisa, and a latticed circular window. The white glaze is scorched red on the edge of the roof. It is roughly 1 foot (30 cm) tall and fine condition. It can be hung or set to stand on the four legs.

A very rare work by Suda Seika featuring a long armed monkey climbing over the rim in raw terracotta clay, contrasting brilliantly against the blue splashed white porcelain. It is 17.5 x 20 x 10.5 cm (7 x 8 x 4 inches) and comes enclosed in a period kiri-wood box. The first generation Suda Seika (1862-1927) was born the son of a merchant in Kanazawa, then part of the Kaga fief. He graduated the Ishikawa prefectural Industrial Ceramic Research Center in 1880 specializing in decoration, and moved to Kyoto the same year. In 1883 he entered the Kutani Ceramics Company, and was elevated to head of decoration two years later. In 1891, he established the Nishiki kiln in Yamashiro Onsen (Hotsprings) of Kaga city, and in 1906 opened a second climbing kiln which bore the name Seika. In 1915 he served as a mentor to the young upstart who would later become known as Kitaoji Rosanjin (1883-1959). The second generation took the reins in the mid 1920s, passing them onto the third generation around 1970.

A hand carved antique wooden mask of Tenko or the nine-tailed Kuuko, heavenly White Fox (kitsune) which do good, wrapped in a modern silk bag and enclosed in an antique black lacquered wooden box. The mask is roughly 21-1/2 x 17 x 20 cm (8-1/2 x 7 x 8 inches) and in excellent condition. A cartouche bearing the artists signature can be seen inside the black lacquer within. The Fox has many roles in Japanese Folklore. First it is a symbol of fortune and bounty, and guards Shinto Shrines as Inari-san. That is all good but it also has a devious side, with the ability to shape-shift, turning itself into a woman in order to lure victims to their doom. The Kitsune mask is used for the old fox in Fox Trapping (Tsurigitsune), the highest-ranking Kyogen play in which an old fox who has lost all of his relatives to a hunter's trap assumes human form to try to convince the hunter to stop killing.

A saintly recluse dozes restfully, his pole dipping to the waves below the rocky outcrop upon which he sits; a fine bronze figure dating to the Meiji period and signed on the reverse. The figure with the rock is 32 x 22 x 30.5 cm (11 x 9 x 12 inches) and is in fine condition.

An exquisite vase decorated with crashing waves and plovers in blue by Seifu Yohei dating from the Taisho era. It is 12 inches (31 cm) tall and in excellent condition. Quite large for a work by Seifu, it is marked on the base with an incised signature. Either the work of the third or fourth generation, according to the definitive book "Kyoto Ceramist Seifu Yohei III", pieces from this era with this signature are impossible to differentiate between the two generations, as they worked side by side.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei II and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914. Seifū Yohei IV (Seizan: 1872-1946) was born 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.

A Boro Futon cover textile of sewn together bits of worn out indigo dyed fabric 160 x 204 cm (63 x 80 inches ). Go-haba (five widths)

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.

Honda Tenjo enclosed in the original signed wooden box titled Seven Great Men. Ink on paper in a superlative silk mounting with ivory rollers (they will be changed if exporting). It is 26 x 85-1/2 inches (66.5 x 217 cm) and is in excellent condition. Honda Tenjo (1867-1946), born in Tokyo, initially studied western painting for five years under Kondo Katsumi before moving to Nihonga under Kano Hogai. Along with Okakura Shusui and Oka Fuho was to be called the four pillars of the Hogai Studio. He worked in the circle called the Kangakai established by Fenelossa and Tenshin, and lived for a while at Tenshin’s house. The belief at the time was to imbue oneself in Japonisme and so he also studied swordsmanship under Sakakibara Kenkichi. In 1888 he became one of the first students of the newly established Tokyo School of Art. He was exhibited and awarded at the Nihon E-ga Kyokai from its inception, and later with the Bunten after its establishment.

An exquisite large vessel by Seifu Yohei III (1851-1914) enclosed in the original signed wooden box. The mirror smooth surface is lightly tinged pink, a delicate touch only Seifu could create. The Fretwork about the center is absolutely perfect. The vase stands just over 12 inches (31 cm) tall, 5-1/2 inches (13 cm) diameter and in excellent condition. It is signed on the base Dai-Nippon Seifu Zo. Seifu, unlike many potters of his time, was low production and tenacious in his approach to perfection. What makes this piece so exceptional is not just the artist associated with it, but that the artist rarely made such large works. For his accomplishments he was honored as a member of the Imperial Art Academy (Teishitsu Gigei-In).

Forty sections of various antique katana scabbards have been set about the circumference of this antique suiban basin for use in Kado and Keido (flower arranging or bonseki sand gardens). Striped, mottled, textured, engraved and polished; covered in sharkskin, snakeskin or lacquered cloth. All lie between belts of tiger striped ebony-like hardwood around a removable copper basin. The handles (on each end) are the actual tie points of the scabbard. One bronze button decorated with shells in silver and brass can be seen on one of the scabbard sections, and another is cut to receive the Kozuka (small knife) used by Samurai. The basin is 22-3/4 x 13 x 3-1/4 inches (57.5 x 33 x 9.5 cm) and is in excellent condition. Very rare!

A set of scholars desk items, including a Chinese Qing dynasty crystal brush rest in the form of two mountains, Chinese crystal stamp carved with four characters between dragons, and an unusual obelisk written with the Nichiren Buddhist epitaph Na-mu Myoho-ren-ge-kyo in radical script over textured surface, glass or crystal. We have been unable to find a single inclusion in the obelisk, making it either a perfect crystal, suiting a religious object, or glass. The stamp is four immaculately cut characters between two scrollwork dragons (I am not versed in Chinese, but the Japanese reading seems to be Min Zan Chu In). The obelisk is 3 inches tall, the stamp 1-3/4 inches (4 cm) tall and the brush rest roughly 2-1/2 inches (6 cm) long. All pieces are in perfect condition.

A very rare Japanese Ballot Box of hinoki wood bound in decorative iron dating from the later 19th to early 20th century. This year the ballot is on everyone’s mind, and this is an exceptional example of both traditional Japanese decoration and cabinetry. It has locks on both sides of the lid, which can be removed to reveal an inner lid with hinged iron cover over a slot for dropping in the ballots. This inner lid as well is locked. Keys included, it is 35.5 x 21 x 27 cm (14 x 8 x 10-1/2 inches), in excellent condition and comes enclosed in a protective outer wood storage box. The prewar image of Japan as a democracy has been stained by the era of expansion, however a look into the democratic and labor movements of the Taisho era, known as “Taisho Democracy” will show that the same forces vied for power in Japan as vied for domination elsewhere during that time. The Japanese version of Democracy verses the anti-establishment, Universal Suffrage, Women’s Rights, Anarchists, Socialism, Communism, labor movements against the Zaibatsu, the push and pull of independence movements, the embracing of western philosophy and derision of Western empires in Asia (who it may be said treated their colonies no better than the Japanese did), Imperialists, Militarists, Conscientious objectors, Sinophiles, the Mingei movement, Arts and Crafts and those wishing to regain contact with nature in the vein of William Morris…all played their part in the social lattice of that tumultuous era. Interestingly, according to Ken Lonsinger: In 1861 the Arts and Crafts Movement got its biggest boost when Morris founded Morris, Marshall, Faulkner and Co., a furniture, design and decorative accessories company that stressed time-honored craftsmanship and natural materials. The timing was perfect for in 1862 the London International Exhibition showcased never-before-seen Japanese arts and Crafts, which had an immediate effect on design. England quickly became enamored with this new look and began shedding the layers of Victorian clutter from its homes. Also in the arts, much has been written about Japanese influence on the birth of impressionism and Art Nouveau, and will likely become more clear over time the Japanese influence on Art Deco, the Art-glass movement, the Beatnick culture, Minimalism, Bauhaus and other architectural trends of the 20th century. An article by Helena Capkova for Bauhaus insists: The impact of the Bauhaus teaching methods reached far beyond Germany. Conversely, throughout its existence, a Japanese sensibility permeated the Bauhaus, springing from the Japonisme of individual professors, until its closure in 1933.
That is a lot said about a ballot box, but perhaps a stimulus in these times of self isolation to expanding understanding of the true internationalization of art as influenced by various cultures over time. After all, no man is an Island unto himself.

An elegant rendition of the famous Rimpa Crane standing alongside a swirling river of silver created by Shoun for the Shobido Art Studio enclosed in the original wooden box. Extremely well crafted, the creature stands 11 inches (25 cm) tall and is signed Shoun Saku. The black lacquered table is 18 x 13 inches (45 x 33 cm) and is in fine condition.
Shobido has been commissioning works with first rate artists and craftsmen for its own facilities and top Department stores since 1900. Founded by Eto Eikichiro at the height of the salon era, it served as a focal point for art, and they scoured the country for artists and craftsmen in all fields. During the strict war years their business suffered under the laws against excess, and finally the studio was completely destroyed in the bombing of Osaka in 1945. The second generation took over in 1946, working to re-establish the company and connecting with Hanshin Department Store, slowly growing while promoting the cultural heritage of Japan. They are now in the 113th year.

A fox and cubs under the crescent moon and falling leaves by Hotta Shuso (b. 1894) in a style representative of the Taisho era. Light color on silk in a pale green silk border with bone rollers. The scroll is 21-1/2 x 86 inches (55 x 219 cm) and in fine condition but for a faint discoloration in border top and bottom.
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. He was most remembered for his detailed images of animals and flowers..

A humorous looking dragon twists up the paper canvas, eyes on the prize, a tama or Buddhist jewel underlying a dramatically written inscription. What is extraordinary is that the dragons scaled body is performed with a single stroke of the brush! Over this has been added a shadow for the back, and embellishment of the head. It is signed Fujiki Shuchokusai, and comes enclosed in the original signed and age darkened wooden box. Bordered with patterned green silk extended with beige and featuring black lacquered wooden rollers, the scroll is 17-1/2 by 72-1/2 inches (44 x 185 cm) and is in fine condition.

A haunting vessel by Miyagawa Kozan enclosed in the original signed wooden box titled Haku Korai Bin, Yukan Tsuki (White Korean form with free handles). This piece is the epitome of the elegance which came from Japanese working with traditional forms. Devoid of decoration, the shape stands alone among works by this famous artist. It is 10-1/2 inches (27 cm) tall and is in perfect condition. I will enclose a rosewood stand for display purposes with this vase.
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 (Makuzu) kiln as we know it today 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 Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln-name, or both. 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 tripod koro with custom silver lid and rosewood stand by Miura Chikusen II enclosed in a wooden box dated early Autumn 1920 signed by Ume, the mother of the second generation head of the family who died young that year. The white porcelain is roughly 15 cm (6 inches) tall on the stand, 10 cm (4 inches) diameter. 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.

A raw-clay-bodied globular vase decorated with comic deer in overglaze enamels by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Akebononoiro-do Shika no zu Kabin (Vase of Sunrise-colored Clay decorated with Deer). The farcical creatures are punctuated by the fellow caught in the act of chewing his hoof (or was he having a scratch?) He looks back at the viewer with wide eyed and sheepish. The vase is 24 cm (9-1/2 inches) diameter and in excellent condition.
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 (Makuzu) kiln as we know it today 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 Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

An incredible Flambe glazed vase by Kiyomizu Rokubei V on a black-wood stand enclosed in a massive red lacquered storage box heavily inscribed and signed by the artist. I rarely use the term, but this is Museum Quality, or perhaps I should more rightly say this unprecedented piece should be in a Museum! It is 55 cm tall (22 inches), 41 cm (16 inches) diameter. There is a firing flaw in one side (see close-up pictures). Less a box than a cabinet, inside the door is a long inscription which describes the conditions and methods of production of the vase dated 1918.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the The National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

A Teapot 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. A custom pad between the pot and lid protect it during storage from chipping, and it has a silk bag in which it is wrapped. . It is 4-1/2 x 7-1/2 x 6 inches (11 x 19 x 15 cm) and in excellent condition. The box is titled Daibutsu Sozan – Chossen – Suichu and signed Hachiju Okina Kyuso Tessai Dai, Sozan Yakisei.
A strikingly similar work was featured in the 1928 Kyoto Bijutsu Club Catalog Beloved Works Remaining of Tomioka Tessai Okina (Tessai Okina Iaihin).
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.

An exceptional boxed set of sake cups made by Seifu Yohei III lined with silver by Nakagawa Joeki (IX or X) enclosed in the original compartmentalized kiri-wood box signed by both artists. Each cup is unique, silver on blue, gold on red, and green on yellow, each stamped by the artist and displaying the celebratory Plum, Pine and Bamboo (Shochikubai) motif. They are 2-12 inches (6.3 cm) diameter each and in excellent condition.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei II and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.
Likely by Nakagawa Joeki IX (1849-1911), he became the head of the Nakagawa family, a lineage of Kyoto artists who had specialized mainly in making utensils for the tea ceremony at a time when support for the Tea Ceremony reached unprecedented lows. This was due to the association of Tea with the former ruling class. Nakagawa Joeki received the support of the Mitsui family to compensate for the loss of traditional patronage during the Meiji era and is remembered for creating highly accomplished works. Nakagawa Junsaburo (Joeki X, 1880-1940) was the took the reins in 1911, He headed the line from1911-1940, covering the reign of 3 emperors, he was greatly favored by tea masters at the time.

An antique oke-bound wooden bucket has been lacquered mirror smooth black inside with a natural bark handle added to create a superb sumi-tori charcoal basket for use in the Japanese tea ceremony. The original cask-like body is worn at the rim to an incredible degree, and yet remains structurally sound. It may have indeed been a lacquer-workers bucket, or perhaps used by a paper-hanger, decades of being bumped by the brush naturally wearing down the edges. It is 11 inches (27 cm) diameter and in fine condition. It would also make for a great ikebana flower display.

A group of three clambering turtles in fine detail dating from the opening of the 20th century (later Meiji) stamped on the base Keishin and enclosed in a period wooden box. The group is roughly 8 inches (20 cm) long, 3 inches (7.5 cm) tall and in fine condition but for one old chipped toe on the back foot of the largest turtle (see close-up).

An unusually large vase by Seifu Yohei III with carved cloud designs covered in mottled red flambe glaze. The box is titled Dawn-cloud-glazed Vase, Made by the former Seizan (alternate name used by Seifu III) dated Late in the Year of the Earth-Horse in the Taisho era (1918), attested to by the 4th generation Seifu. He has employed the Teishitsu Gigei-in seal of the third generation on the lid. There is a large, broad repair to the foot in colored lacquer, so it is likely the vase was never offered for sale, but perhaps given to someone or held in the family collection. The expanse of the repair to the base indicates the running glaze likely adhered to the kiln floor or tiles and broke when being removed. Seifu III was known to have made few large works, so this is a very important piece. It is signed on the base Dai-Nippon Seifu Zo. It is 29 cm (11-1/2 inches) diameter, 41 cm (16 inches) tall.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei II and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

A trumpeting form decorated with bamboo adorned with a single cicada by Matsumoto Sahei (Sabin) enclosed in a wooden box annotated by the current head of the family Matsumoto Sakio. It is 31 cm (12 inches ) tall and in excellent condition.
Matsumoto Sahei (1851－1918)　was born into the family of Matsuya Kikusaburo, a first generation Kutani porcelain artist. He studied under both his father and Tokuda Kansho, mastering Aka-e, Ao-kutani and other decorating styles of the era and realizing his own techniques with Iro-e Kutani. He was also known as Shoundo or Sabin. He was succeeded by Matumoto Sakichi (first and second) then Matsumoto ,Sakio in modern times.

A hermitage lost in the early blossoms of the plum forest, ink and light color inside a wide gold border and mulberry frame typical of the Taisho era. Gold powder has been liberally applied intimating a shimmering mist throughout, creating an ethereal quality. Signed in the upper left corner, it is 68 x 149 inches (172.5 x 378 cm) and in overall fine condition. Akashi Shoun was born in Osaka on March 12, 1867, the first year of the Meiji era and a time of great change in Japan. He was fond of these hermetic scenes of rural seclusion, perhaps a reaction to the swift changes sweeping Japan at that time, and heavily influenced by the Sencha Literati scene which sought refuge from the world in the Literati ideal of ancient China. Shoun himself left the big city of Osaka to settle in the provincial castle town of Akashi on the Seto Inland Sea where he took the name.

A fabulous bold design of crashing waves wraps about this balluster form by Miyanaga Tozan enclosed in the original signed wooden box. It is 26 cm (10 inches) diameter, 28 cm (11 inches) tall and in excellent condition. An unusual design and superb execution by this important artist. 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.

A mandala from the Main Kyoto Nichiren Sect Buddhist Temple Honnoji cut from a hardwood slab used in the rebuilding of the great hall in the Taisho period. Written on back is “Given in Taisho 14 (1925) to the temple supporter’s representative as a prayer for good fortune upon the occasion of the ceremonial raising of the roof beam of the main temple structure (Honden), the plackard cut from wood used in the rebuilding”. It is signed Nichijo-gan. Nichijo was the 62nd head of Honnoji Temple, and supervised the rebuilding of the temple in the first quarter of the 20th century. The temple was completed in 1928, the same year Nichijo passed the reins to the 63rd head of the temple Niccho Jojin. The disc, of prized Keyaki, is 12 inches (30 cm) diameter, and in perfect condition, slightly darkened with age.
Honnō-ji is most famous for the Honnō-ji incident. Oda Nobunaga lodged there before his invasion of the west. However, on the morning of June 21, 1582, the traitorous forces of Akechi Mitsuhide, one of his top generals, surrounded the temple and set it on fire. Knowing there was no way out for him, Nobunaga committed seppuku. After Nobunaga's death, Mitsuhide himself was killed by farmers following the Battle of Yamazaki, where his forces were defeated by Toyotomi Hideyoshi, who completed the unification of Japan started by Nobunaga. Subsequently Hideyoshi’s own son died in a similar fashion after the second battle of Osaka, and the Toyotomi line ended, paving the way for the take-over of the Tokugawa Shogunate and the beginning of the Edo period.

A very unusual set of three scrolls depicting the women of Shimabara looking down with trepidation at a Fumi-e (a Christian symbol) before lotus enclosed in a wooden box titled Shizan Shimabara-me Sanpuku Tsui (Shizan, Women of Shimabara Three Scroll Set). The Fumi-e was a bronze or wood placard embellished with a Christian symbol upon which people were forced to step to prove that they were not Christians during the ban on Christianity throughout most of the Edo period. Any who refused to step on the image would be tortured or executed, often in horrific manner. Here the two graceful figures appear dressed in kimono bearing a leaf pattern with white scarves on their heads denoting purity. Interestingly the artist has juxtaposed the central image with its symbol of Christ on the cross against a background of ghostly white lotus flowers, traditional symbols of Buddhism. Each scroll is 64.5 x 208 cm (25-1/2 x 82 inches). There is faint scattered foxing, a soft wrinkle in the lotus on the central scroll, and some water stains up the left edge of the painting on the right. Likely an early work by Saito Shizan. Saito Shizan (1902-1963) was born in Shiga prefecture in 1902, and initially studied under Yamamoto Shunkyo in the modern Shijo style before entering the Kyoto Municipal University of Arts. He was accepted into the Teiten, Bunten and Nitten national exhibitions both pre and post war.
The Shimabara rebellion (1637-1638) was the largest uprising against the Feudal government during the Edo period. In response to oppressive taxation and anti-Christian policies by feudal lords sent to replace the former Christian Daimyo, Ronin and peasants rose up, eventually forming an army of combatants and non-combatants of around 37,000. They nearly seized two main fortresses before the Shogun sent an army of over 125,000 samurai against them. They retreated to Hara Castle on Shimabara, where they held out until April of that year, withstanding many mass assaults and bombardment by cannon of the Dutch seeking favor with the Shogunate. Eventually the castle fell, and all rebels were beheaded or crucified, their bodies piled inside the castle and burnt en-masse. On the Shimabara peninsula, most towns experienced a severe to total loss of population as a result of the rebellion. Japan severed ties with Portugal and expelled all missionaries. An existing ban on Christianity was then stringently enforced, and Christianity in Japan survived only underground. Except for the Dutch and a small contingent of Chinese merchants in Nagasaki, Japan then closed itself to the outside world for over 200 years. The Fumi-e became the dominant symbol of religious oppression, the ban on Christianity not officially lifted until 1871 (although the shogunate stopped executing Christians around the turn of the 19th century).

One of two paintings currently offered by the highly sought after literati artist Fukuda Kodojin (1865-1944) featuring an erratic image of the full moon seen through bristling pine performed in thin ink on paper and enclosed in the original signed wooden box dated 1925. The brazen brushwork will rattle images of the subtleties of Japanese art, and yet the scene is at once calming. It is bordered in caramel cloth extended with soft brown, featuring bamboo knurl rollers and measures 13 by 59 inches (33 x 150 cm). Kodojins 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 the Meiji, Taisho Democracy, and rise to Imperialism and defeat of the Showa era. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. He purposefully destroyed a large portion of his remaining work just before his death, leaving only that which must have met some personal criteria. For more on the life of this remarkable artist see the book Old Taoist (Addiss), or Unexplored Avenues of Japanese Painting. His work also was recently presented for exhibition at the New Orleans Museum of Art, and is part of the Hakutakuan collection among many others.

A collection of huts glow softly huddled in the protection of towering rocks in this lovely winter landscape by Akamatsu Unrei (1893-1958) enclosed in the original signed wooden box dated 1928, which itself is in turn enclosed in a protective red lacquered wooden box (nijubako). A true master of the genre, Unrei was born in Osaka, and apprenticed under Koyama 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. This is a truly wonderful painting, and my usual litany of words fails me. He has set the stage with a dark wash of gray across the horizon, the empty paddies, separated by snow covered paths, reflecting the dark sky. Brown leafless trees stretch out from the white ground interrupted by massive crags of stone, and tucked away in the shelter of all this is the soft pink warm walls of a village idling away the winter months in comfort. The delicate use of light color throughout the scene provides a much richer, deeper perspective than is normal. The scene is mounted in rich brocade embellished with vines, extended in beige brocade of similar pattern, and features solid ivory rollers. It measures 22 by 55 inches (56 x 140 cm) and is in perfect condition but for a small pale spot like a fingerprint in the mountain below the signature.

A daunting image by radical Nihon Nanga-In member and founder of the Osaka Art College Yano Kyoson (1890-1965) dating from earlier in this influential artists career. Crisp white walls of a strangely elongated house perch on the edge of a dark forest reaching up to the rain washed sky. A single tree ripe with yellow leaves guards the entrance. The light color on silk image is bordered in lavender silk matching the leaden sky, extended with green cloth and features shimmering silvered-yellow ceramic rollers well suited to the color of the autumn leaves. The scroll is 13 x 56 inches (33 x 142.5 cm) and is in excellent condition, enclosed in a fine Kiri-wood box. Yano Kyoson was born in Ehime prefecture, on the Island of Shikoku, and studied under Nakamatsu Shunyo. He exhibited consistently with the Nihon Nanga-in, of which he was a founding member. He also was consistently presented at the Bunten and Teiten National Exhibition, where he served as a Juror, and later at the Nitten. His work is held in the collection of the National Museum of Modern Art Tokyo, as well as any number of important private collections.