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

Pastel rooftops march among the green foliage on this iconic mid-century painting by Miwa Chosei in the original frame bearing the artists “Tomo Seal” on back and in a box from Takashimaya Department Store dating from the 1950s titled Ieshima no Ienami (Rows of houses on Ieshima). A similar work was exhibited at the 11th Nitten. Pigment on silk it is in fine condition. The painting is 22 x 23 inches (56 x 58.5 cm). The frame is 30 x 28 x 2 inches (76 x 71 x 5 cm). The label of Takashimauya remains on both the frame and the box. Miwa Chosei (1901-1983) was born in Niigata prefecture, the son of a Western Style (oil) painter. He was sent to Kyoto to study at the age of fourteen, where he would graduate the Kyoto Municipal School of Arts (Mod Kyoto University of Fine Art). He entered the tutelage of Domoto Insho, a progressive and very talented young artist at that time. His work was first accepted into the Teiten (mod Nitten) in 1927, and he would subsequently be awarded there for the first time in 1934. He became the lead student at Insho’s school from its establishment. He was an important member of the progressive movement in the post war years.

A rare bowl by Ninnami Dohachi from the Sangama kiln dating from the later Edo period wrapped in a silk pouch and enclosed in a fine custom made Kiri-wood collectors box. Deeply impressed into the base is the six sided Sangama kiln mark. It is 5-1/2 x 5 x 3 inches (13 x 12.5 x 9 cm) and is in excellent condition.
Ninnami Dohachi II and his son (the future Dohachi III) were invited by the local lord Matsudaira to produce pottery at the Sangama kiln in Sanuki Kuni on the island of Shikoku in 1832. He would return later, agan with his son as well as his apprentice Siefu Yohei, in 1852. This is part of a large collection of antique pottery from Kyushu gathered in the early to mid 20th century. A note inside the box states this was collected in June of 1938.
The Dohachi Kiln was established in Awataguchi by a retainer of Kameyama fief, Takahashi Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain and ceramic production by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. Ninnami Dohachi (1783-1855) was born the second son of Takahashi Dohachi I. Following the early death of his older brother he succeeded the family name, opening a kiln in the Gojo-zaka area of Kyoto (at the foot of Kiyomizu temple) in 1814. Well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time working to expand the family reputation within tea circles. Along with contemporaries Aoki Mokubei and Eiraku Hozen became well known as a master of porcelain as well as Kenzan and Ninsei ware. Over the following decades he would be called to Takamatsu, Satsuma, Kishu and other areas to consult and establish kilns for the Daimyo and Tokugawa families as well as Nishi-Honganji Temple. An exhibition was held at the Suntory Museum in 2014 centering on this artist, and he is also held in the Museum of Fine Arts, Boston and Kyoto National Museum among many, many others. The third generation (1811-1879) was known as Kachutei Dohachi and continued the work of his father, producing an abundance of Sencha tea ware and other porcelain forms, maintaining the highest of standards and ensuring the family place in the anals of Kyoto ceramics well into the Meiji period.

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

Cranes rest in the boughs of a massive blue pine overlaying the white clouds billowing on the pink tinged body of this large vase by Seifu Yohei III enclosed in a signed wooden box annotated by Seifu IV. An identical vase held in the collection of the Ashmolean is visible on page 19 in the book Sandai Seifu Yohei (Seki Kazuo, 2012). Seifu III was known to have made few large works, so this is a very important piece. It is signed on the base Dai-Nippon Seifu Zo. It is 46 cm (18 inches) tall, 26 cm (10-1/2 inches) diameter, and retains the original rosewood stand kept in a separate compartment in the box. The box is titled Seikaji Pine-Crane Vase, Made by the Honorable Previous Yohei; Attested to by the 4th generation Seifu. He has employed the Teishitsu Gigei-in seal of the third generation top left of the inscription.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

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

The 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.

A large and exceedingly rare work by Kiyomizu Rokubei V (Rokuwa, 1875-1959) enclosed in the original signed wooden box. In relief are scrolling vines and flowers in white and pale blue on a soft porous pink glaze. For a nearly identical work see the collection of the Kyoto Municipal Museum of Modern Art, or the book Kiyomizu Rokuwa (1977) figure 60 (dated 1923). The vessel is 42 cm tall, 28 cm diameter and in fine condition. The box is stained quite dark with age.
The Rokebei family is one of the most important in the Kyoto ceramic tradition. Rokuwa was born Kuritaro, son of Masataro in the house of the Rokubei family in the Gojo-saka area of Kyoto in 1875. Upon his grandfathers death, at the age of eight, his father (Rokuko, 1847-1920) took over the family business becoming the fourth Rokubei. From the age of twelve he became a pupil of the important painter Kono Bairei where he would remain studying until Bairei’s death in 1895. The following year the Kyoto Ceramics Research Facility was established, and Kuritaro entered as a first year member. Married at the age of 25 (1900), the following year his first son (the sixth Rokubei) was born. In 1902 he was forced to take over the daily workings of the family business due to his father’s illness, and would becomethe 5th generation Rokubei in 1913, working in that capacity until Rokuko’s passing in 1920. Throughout the late Meiji and Taisho era he would be heavily recognized and awarded in many exhibitions both local and national and become an integral part of the ceramic-arts scene throughout Japan. A vase almost identical to this was awarded in 1916 at the Noshomusho National Exhibition. He later submitted a vase with this same rare glaze to the first Shotoku Taishi Exhibition in 1926. He would act as a leader in promoting pottery until after the Second World War.

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

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.

A very rare 19th century elaborate head dress (Kanmuri or crown) of gilded parts inset with glass surmounted by a phoenix flanked by two dragons for use in the Japanese Noh Theater. A golden phoenix takes flight from the peak, surrounded by sun, moon and flaming jewel from which are suspended extravagant chains of glass and coral beads and gilded ornaments. Made of brass, paper, wood and thin wire, the entire is covered in gold with the sun and moon in enamel and burning jewels in glass. On the stand it is roughly 2 feet (58 cm) tall. Overall it is in very nice condition, enclosed in a beautiful 19th century wood box with brass hardware titled Tenkan (heavenly crown). This is the Tenkan which inspires the drama “Hagoromo” or The Feather Mantle.

A breathtaking pair of 19th century (Meiji period) sake cups decorated with hawks stored in silk pouches and enclosed in a red lacquered period wood box. In the basin two hawks, one perched in a pine accented with inlayed mother of pearl, the other soaring high overhead, are depicted in minute detail in raised gold designs. Opposite waves crash over rocks speckled with solid gold lichen. The cups are 10.5 cm (4-1/4 inches) diameter and in excellent condition.

A long bamboo incense case with dark wood lid carved exquisitely with blossoming lotus and calligraphy. The deteriorating leaves rise from the bottom, blossoms spreading their petals to the sun. Above three lines of calligraphy descend to meet like the squirreling rays of late summer light. The piece is 20-1/2 inches (51.5 cm) long and in perfect condition, enclosed in a cloth sack and kiri-wood box. It is signed (Japanese reading) Fusui(lotus water)Sanjin Koku (carved by Fusui, man of the mountain). The carving is one of the best I have seen.

An amazing pattern of gold and silver maki-e decorates this lidded Tea Cup and stand dating from the later Edo period decorated with a samurai clan crest in gold. Assembled it is 7 inches (17.5 cm) tall, 6 inches (15.5 cm) diameter and in excellent condition, enclosed in a custom- fitted Kiri-wood box.

A halo surrounds the emaciated figure of a Rakan (Arhat or Arahat) seated atop a stone draped in billowing robes clutching a nyoi scepter in his bony left fist. The holy figure is chiseled and polished with extreme care and attention to detail. The detail in the carving is striking, as bamboo is notoriously hard and difficult to work. Setting it apart from most bamboo carving is a complex pattern of extremely fine chiseled texture throughout. It comes enclosed in a wooden box signed Raizan and dated Showa 16 (1941). It is 19.5 x 6.5 cm (7-1/2 x 2-1/2 inches) and in excellent condition.
The Sago is a decorative spoon used in preparation of Steeped tea. For more see the definitive book Tea of the Sages: The Art of Sencha, by Patricia J Graham (1998).
In Buddhist lore the Rakan is one who has broken the chain of re-birth and overcome the three poisons of desire, hatred and ignorance. It is a popular theme in both Chinese and Japanese art.

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.

A fine ivory colored celadon by the first generation Kato Keizan enclosed in the original signed wooden box and containing the original exhibition pamphlet in which the vase is featured from the 1956 Takashimaya Department Store Exhibition marking his 50th year of working with clay. This vase was chosen by the artist for his exhibition pamphlet, making it, at least in the eyes of the artist, one of the more important pieces he had made at that time. The large vase is 12 inches (31 cm) tall, 7 inches (17 cm) diameter.
Kato Keizan (1886-1963) was born in Tajimi city, Gifu, a pottery center in its own right, however came to Kyoto to apprentice under Kiyomizu Rokubei IV. He established himself in the same neighborhood in Kyoto, where he became well known for celadon and Chinese based porcelain forms. Works by this artist are held in the National Museum of Modern Art, Kyoto among others.

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.

Bonji Buddhist characters in five rings of silver, gold and brass damascene decorate this Incense burner by Izumi Ryoichi enclosed in the original signed wooden box titled Kin-do Gorin-mon Koro. We see the number five in Buddhism and Bushido, With the elements Earth, Water, Fire, Wind and Air, as well the famous treatise on fighting by Miyamoto Musashi is called the Book of Five Rings, and the stone stupa seen all over Japan called the Gorinto (Five part tower). This is 3-1/2 inches (9 cm) diameter, roughly the same height and in excellent condition, signed Ryuichi on the base.
Just to make everything really confusing, the metal artist Izumi Ryuichi goes by a plethora of names, depending upon the genre he is creating for, Izumi Ryoichi, Ryusen, Koshiro. He was born in Iwate in 1946, apprenticing under metal craftsman Fujiwara Tomohiko at the age of 20. 10 years later he would study metal carving techniques under Katsura Moriyuki, and then under Living National Treasures Sekiya Shiro and Kashima Ikkoku at the age of 36, absorbing techniques and styles all along the way. Thanks to his dedication to the craft he was chosen to take part in the restoration and reproduction of the National Treasure 8 sided Buddhist stand of Chusonji Temple in 1990, the following year the production of a mirror for Ise Shrine, the most holy site in Japan. Throughout the Heisei era he has been on the restoration team of any number of important works of art in the Imperial Household Collection, various museums in Japan as well as the pair of Nanban Screens in the collection for the Cleveland Art Museum, His work has been awarded at the Nihon Dento Kogei Ten Traditional Crafts Exhibition and Nihon Kinko Ten National Metal Art Exhibition as well as the Dento Kogei Shinsaku Ten New Traditional Crafts Exhibition among others

An unusual modern art vase in robbins-egg-blue dating circa 1970 enclosed in the original signed wooden box by Kyoto artist Kumakura Junkichi (1920-1985).. The blue metallic glaze flows down the sides leaving a distinct pattern in the smooth surface, collecting in oil drop pools around the thickened base. Notches cut in the surface are turned out at various points to allow the insertion of flowers and twigs on all surfaces. One could make a variety of very interesting arrangements with this attractive piece. Signed on the base Jun, it is a little less than 5 inches (12 cm) square. The vase is in fine condition but the box appears to have been wrapped in a red cloth which was once wet, allowing the die to seep into the box surface. Junkichi began working in ceramics in the 1940s, his works submitted to innumerable National and International Exhibitions including the Japan Art Festival, New York and the international Arts and Crafts Exhibition in Florence Italy. He also submitted to the Brussels World Exposition and helped design murals for the World Exposition Osaka. At the International Ceramics Exhibition, Prague in 1962 he took a silver prize. He was also often exhibited and is in the permanent collection of the Japanese National Museum of Modern Art as well as the National Museum of Modern Art, Kyoto.

A Fine bronze by the modern master of the Japanese bronze tradition, world renowned Hasuda Shugoro, enclosed in the original signed wooden box. The modern form is belted in geometric patterns with a mottled olive and red patination, signed on the base Shu. It is 6 x 7 x 9-1/2 inches (17 x 15.5 x 23.5 cm) and weighs approximately 5.5 kg (12 lbs) in excellent condition.
Hasuda Shugoro was born in Kanazawa City in 1915. After graduating the Ishikawa Prefectural Industrial School he moved to the Tokyo School of Art. Much lauded his first award was at the 5th Nitten in 1949 and he received the Hokuto-sho there in 1953 among many further prizes. He participated in the founding of the Creative Crafts Association in 1961 and founded the Japan Metal Sculpture Institute in 1976. Decorated with the Order of Cultural Merit in 1991, Hasuda Shugoro stands as one of the leading modernist artists working in bronze during the Post-War Period. A vase by the artist sold at Christies in 2012 for 2,500 pounds (roughly 4,000 dollars). For more on this artist see Hasuda Shugoro Kinzoku Zokei (1981).

A pair of ancient iron tongs for working charcoal within the furo during the Japanese Tea Ceremony enclosed in an ancient wooden box titled HiBashi, Todaiji Kawara-Kugi, or charcoal tongs, Todaiji, Roof Tile Nails. One of the nails shows deterioration in the center where it rusted on the surface between the tile and the roof. The hand forged nails are just over 9 inches (23.5 cm) long, folded over on the flattened ends to form the head. The polished rusty surface, and the manner in which the heads have pitted is the essence of wabi! An excellent addition to the tea room.

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

A conical Jingasa battle hat 6-1/2 inches (16.5 cm) high, 14-1/2 inches (37 cm) diameter entirely gilded outside with genuine gold. Inside is lacquered black and retains the tie holds for the liner. There is some writing within, and a maru-ichi crest. There is damage to the peak and edges, but is quite impressive looking, and was likely used by the immediate vanguard of the Daimyo. One of two variations we have, they are from Omi province, just outside of Kyoto in old Japan.

A 17th – 18th century Neko-tora Tiger by Nagasaki school artist Watanabe Shuseki performed with ink and color on paper in yellow bronze silk border with bone rollers. The parchment is aged and gray, giving the sense of a wall painting in some ancient tomb. The scroll is 14 x 63 inches (36.5 x 160 cm). There is some damage to the lower extremities of the paper, and minor cupping. Watanabe Shuseki (1639-1707) lived in Nagasaki and was a proponent of that school trained under Itsunen. Works by the artist are held in the collection of the Kobe Municipal Museum of Nanban Art and Nagasaki Municipal Museum.

A radical Iga vase by unconventional artist Kishimoto Kennin (b. 1934) enclosed in the original signed and stamped wooden box. The free form Terracotta image is covered in lichen-like pale green ash glaze. The vase is 10 inches (25 cm) tall, 5 inches (12.5 cm) wide and in perfect condition. Possibly better known today for celadon, Kennin went through a radical period some 15 years ago working on pieces like this unusually formed Iga ware. An artist who has tried many styles, he has been working with clay since the 1950s, devouring styles along the way. Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Traditional Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections.

Here is a fine squat jar form vase, the deep red clay covered in fish-eyed tenmoku glaze by Living National Treasure (Ningen Kokuho) Shimizu Uichi (1926-2004), enclosed in the original signed wooden box. Iron red shows through with startling effect like meteorites in a dark night sky of blue and brown. It measures 6-1/2 inches (16.5 cm) tall, the same diameter. Shimizu is known for the soft persimmon red temmoku (iron oxide) glaze, as well as crackled white and celadon glazes. This is an excellent example piece by the artist. Uichi was born in Kyoto the son of a ceramic dealer. Discarding the family business he apprenticed in plastic arts under Ishiguro Munemaro. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art and the Freer Gallery among others.

Hand formed copper vase with waves in annealed silver signed on the side and enclosed in the original signed wooden box dating from the 1950s. It is 20 x 15 x 21 cm (8 x 6 x 8 inches) and in excellent condition.

A quaint hand-carved image of Minogame (a sea turtle) supports this antique bamboo pipe tap dating from the second half of the 19th century, the rich dark wood highly polished from a century of fond handling glows like satin. The turtle is a symbol of longevity in Japan, and often is depicted in celebratory situations. Here the creature has been chiseled out of a solid chunk of wood, head raised over the top of its shell. From a flattened are on its back rises the goma-kasu speckled bamboo tube which is capped with a turned piece of rosewood. It appears to have been treated with something (perhaps persimmon oil) leaving only the eyes a lighter color. A wonderfully decorative bit of Mingei, it measures7-1/2 inches (19 cm) long, 6-1/2 inches (16.5 cm) tall. Mingei is a term combining the character for people and craft, or folk craft.

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.

7 twisted gold pines shroud a seedling on the roiro ground of this fine togidashi suzuri bako writing box dated 1931 by Moriya Shotei enclosed in the original signed wooden box. The writing box contains the original suzuri ink stone and water-dropper. Inside the lid is the large character Kotobuki (fortune) followed by an inscription reading 88 year old man Bajo Kasho. The piece is signed Design by Hakuho and dated the fifth month of 1931, the box dated the following year, 1932, titled 8 pine trees and signed Shotei (Moriya Shotei) followed by a studio stamp reading Sansho-An no In. It is 8-1/2 by 6-1/2 inches (22.5 x 16.5 cm) and in fine condition, and will be professionally cleaned before shipping. There is a small chip in the gold on the edge of the ink stone. If desired this can be repaired with gold, at cost. Togidashi is one of the most difficult styles of lacquering; where the design is created, then entirely covered over with the background color and ground down to reveal it, leaving the surface mirror smooth. Moriya Shotei was born in 1890, a period defined by the revival of lacquer arts in the later Meiji. He apprenticed to Shirayama SHosai (1853-1923) and a joint work by these two artists is held in the MOA museum collection. His work was consistently exhibited at the Bunten, Teiten and Nitten National Exhibitions. He died in 1972.

A fox sits wrapped up like the Daruma, a humorous image by long time head priest of Kenninji Temple Takeda Mokurai (1854-1930) in light ink on paper. The scroll has been fully remounted in dark forest border extended with beige and features black lacquered wooden rollers. It is 18 by 47-1/2 inches (45.5 x 120.5 cm) and in excellent condition. Mokurai began his training as a priest at the age of 7. Developing under a number of masters, he finally settled under Yuzen. During his younger years he developed a love for poetry and calligraphy, something for which he would later be greatly remembered, and in later days, his scholar script was highly prized. As a scholar priest and head of Kyotos Kenninji, he had great influence on the art of early 20th century Kyoto, as Zen practice was almost seen as a given for painters and ceramic artists of the time. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addis and Audrey Yoshiko Seo.

A Chawan tea bowl by Goho with calligraphy work by Yamada Mumon enclosed in the original signed wooden box. The calligraphy reads Mi-Do, The Way of Taste, followed by Mumons artistic signature (Ka-o). The bowl is 4-1/2 inches (11 cm) diameter, 3 inches (8 cm) tall and in perfect condition. Mumon (1900-1988) studied law in his youth, but was converted to the life of Buddhism by a statement of Confucian theory which says, rather than become a lawyer, create a world where there is no need for courts. After taking the tonsure, he initially studied under Kawaguchi Ekai, the first Japanese Zen priest to visit Tibet. However after several years in isolation battling tuberculosis, he emerged to receive his certificate of enlightenment from Seisetsu Genjo, and went on to head a number of prominent Zen temples. Later in life Mumon traveled the world, working hard to spread to light of Rinzai Zen.

A published set of 10 Zen Scrolls by Jikihara Gyokusei and Shibayama Zenkei showing the 10 stages of enlightenment through the parable of the bull and the ox-herd. Ink on paper in blue silk border with wood rollers. Each scroll measures 44 x 188.5 cm and all are in fine condition but for a few tiny holes in the top of one border (see close-up). The scrolls were photographed in the order taken from the box, and are not necessarily in the correct order in the composite photos. This set of scrolls is the subject of the 1974 book Zen Oxherding Pictures by Zenkei and Gyokusei, and each is published in the text followed by a discussion of the imagery, in both English and Japanese.
The Ten Ox Herding Pictures are inspired from the Chinese Zen Master Kuan Shiyuan in the 12th century to illustrate the stages of enlightenment in Mahayana Buddhism as illustrated in the original Avatamsaka Sutra. The pictures tell the story of an Ox herder (an ordinary person) who must go in search of his lost charge (the true self, the Buddha Nature). Wandering through the wilderness he searches until finally finding its tracks, he follows, captures, then must tame the beast through discipline. Following is realization and the two become one and return home. Then transcend their own self-imposed boundaries and perceptions. All is overcome and the practitioner reaches enlightenment and can return to society where his image inspires others.
A similar pair by Gyokusei reside in the Zen Mountain Monastery of New York. Zenkei and Gyokusei also co-authored a book on the Zen Oxherding pictures in 1967. Another thing special about these is they show the friendship between Zenkei and Gyokusei, and it is through the chance meeting of Zenkei and Michael Hoffman, the prominent American ink painter, at the Zen center in Los Angeles, that Zenkei introduced him to Gyokusei, who would become Michaels life-long Mentor.
Shibayama Zenkei (1894¡ª1974), a former Abbot of Nanzenji and was a Rinzai master well-known for his commentary on the Mumonkan. One of his better-known students is Fukushima Keido former abbot of Tofukuji. Shibayama also taught at Otani University and was the head abbot of the entire Nanzenji Organization, overseeing the administration of over five hundred temples. Due to a number of lecture tours he undertook to the United States in the 1960s, and the translation of several of his books into English, Shibayama was a significant contributor to the establishment of Zen in America
Jikihara Gyokusei (1904-2005) was born in Okayama prefecture, and graduated the Osaka Municipal School of Art where he had studied under Yano Kyoson. He was accepted into the Nanga-In TenNational Nanga Exhibition in 1930. Subsequently his fame as an artist grew, exhibiting at the Teiten and subsequent Nitten National Exhibitions as well, however his yearning for something more grew as well.¡¹In 1956 he entered Nanzenji to study under Shibayama and a lifelong friendship was born. As an artist he received many awards throughout his career and was honored with the Hyogo Prefectural Cultural Citation. He also became the head of his own Zen Temple and helped to further the teaching of Zen in Japan and in America.

The character Kotobuki followed by a playful verse crying Watashiya kyujukyu made (Longevity, I live to 99). Ink on paper enclosed in a subtle cloth border befitting Zen art. It is stamped Taishitsu (his art name) and enclosed in the original signed wooden box with the same inscription on the lid. The scroll measures 10 by 73 inches (26.5 x 185 cm). There is some cupping in the scroll, otherwise in fine condition. Mumon (1900-1988) studied law in his youth, but was converted to the life of Buddhism by a statement of Confucian theory which says, rather than become a lawyer, create a world where there is no need for courts. After taking the tonsure, he initially studied under Kawaguchi Ekai, the first Japanese Zen priest to visit Tibet. However after several years in isolation battling tuberculosis, he emerged to receive his certificate of enlightenment from Seisetsu Genjo, and went on to head a number of prominent Zen temples. Later in life Mumon traveled the world, working hard to spread to light of Rinzai Zen.

Here is a rare Jizai mantis. It is by an artist named Tomiki Munenobu, one in a line of artists carrying on the Myochin style of metalwork. Teh piece likely dates from somewhere in the later Meiji, 1890-1910. Life-size, it is roughly 3 inches long, the same height and in fine condition. It is as found, not yet cleaned or tampered with. The head is mobile; the thorax with retractable arms and folding wings. Jizai is a term used to describe a variety of mobile or articulated crafts in Japan.

A rare okimono from the Kairakuen Kiln of the Tokugawa branch family dating from the early to mid 19th century. The box label attributes these to Eiraku (presumably Hozen, who was tasked with helping to further the ceramic production of the kiln). The rooster is roughly 7 inches tall the same in length (18 cm). Dating from the later Edo period, they come in an old wooden box with a cloth cover and are in excellent condition.
Eiraku Zengoro XI (Nishimura Hozen, 1795–1854) took the name Eiraku Hozen after Lord Tokugawa Naritsune had awarded him the eiraku seal (Eiraku, eternal joy). Hozen was familiar with all porcelain and stoneware techniques. For the most part, he produced tea ceramics: blue-and white porcelain in the style of the Shonzui ware from the Chinese Jingdezhen kilns in the Ming dynasty; blue-andwhite ware with overglaze decoration (gosu aka-e); celadons; stoneware with gohon-de glaze; and Kochiware.
The Kairakuen kiln was the "garden kiln" sponsored by the Kii branch of the Tokugawa house, in modern day Wakayama founded in 1819. It operated irregularly, drawing upon the services of potters from various Kyoto workshops including the 9th and 10th Omotesenkei Heads Ryoryosai (1775-1825) and Kyukosai (1818-1860), 10th Raku Master Raku Tanyu (1795-1854), and Hozen among others . Kairakuen products reflect a marked revival of interest in Chinese ceramics in the late 18th and early 19th centuries. This vase, with its restrained shape and overall turquoise enamel glaze, follows Qing [Ch'ing] dynasty ceramic models. The design of the four-character mark, "Made at Kairakuen," imitates enamel four-character seals appearing on Qing [Ch'ing] imperial wares.