Catalog: Archives (589)

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

A superb pair of Tokkuri sake flasks by LNT Tokuda Yasokichi III (Masahiko, b. 1933) enclosed in the original signed and stamped wooden box. The slightly belted form seems to imitate a gourd, with glaze fading up from rich purple to green to deeply crackled white. Each piece is 6-3/4 inches (17 cm) tall, signed on the base in a traditional Kutani cartouche Masahiko. Masahiko was trained under both his grandfather and father, succeeding the family name in 1988. He has been awarded at the Nitten National Exhibition and National Traditional Craft Exhibition among many others. In 1997 he was named Living National Treasure for his work with Polychrome glazing. His work is very different from the Kutani ware produced up to this point. Relying on simple, elegant shapes and Saiyu graduated glazing, retaining in general colors of traditional Kutani ware. As the box is signed Masahiko, we would date this to the era preceding his succession of the family name.

A bridge and weeping-cherry (shidare sakura) draped over swirling eddies on this silver lidded Meiji period Koro incense burner on its original matching table. On the table a waterwheel is visible downstream from the same scene, tiny silver beads floating on the crests of the ripples. The incense burner has a silver lid and removable liner, with a nashiji gold-flaked bottom. It is 4-1/2 inches (11.5 cm) diameter and in fine condition. The table is 14-1/2 x 7 x 2-1/2 inches (37 x 17.5 x 6 cm) and is also in overall fine condition. There were originally many more silver flecks on the waves, which have been lost to time. Both come inclosed in period Kiri-wood boxes.

A 19th century (early Meiji) period Buddhist image we believe to be a thousand armed version of Yakushi Nyorai accompanied by two sages carved entirely of fragrant sandalwood on a gilded wooden base. The group is in total 15-1/2 inches (39 cm) tall, the image alone 5-1/2 inches (14 cm) tall. Both sages are missing an arm, as well as one lotus blossom rising from the wave patterned base. The holy figure itself also once had a greater number of arms, which have been lost over the last 150 years.

A ceramic cover for a tea room brazier in the shape of a devil dressed in priests robes dated and annotated within. Dating from the Ansei era, inside it is annotated by Daiko Sogen (1772-1860), 435th head of Daitokuji. Well known for his poetry and mastery of the Tea Ceremony, he taught Zen to Eiraku Hozen, and was compatriot to Gengensai. It is 34.5 x 34.5 x 30 cm (13-1/2 x 13-1/2 x 12 inches) and is in fine condition.

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

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 blossoming plum rises majestically on the simulated matt-metal finish of this cloisonné vase by the Ando studio marked on the base. The interior is a rich dark blue, the exterior flat orange peel textured metal gray with the flower laden branches rising up in moriage. It is 30.5 cm (12 inches) tall, 18.5 cm (7 inches) diameter and in fine condition, enclosed in a wooden box.

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.

Silver canines gleam menacingly in the corners of the mouth of this terrifying Edo period sabiji-nuri iron Menpo face mask. It has a three lame nodokake also with sabiji-nuri, laced with tight blue chord. The mustache is a bit ragged and there are typical chips around the edges from use.

Heavy pigment on thickly veined gold creates a powerful collection of scenes from the Taiheiki, the 11th century story of the fall of the courtiers and usurpation of power by two military families, the Taira and the Genji. The screen dates to the 18th century, or middle Edo period. Many old repairs attest to age. We have had it completely remounted, with no painting restoration performed. On the left the famous scene of shooting a fan from horseback from the battle of Yajima. Center two famous riders charge into the waves, on the right a group of warriors bristling with arms, possibly the tragic hero Yoshitsune and his group of roughnecks. The screen measures 104 x 40 inches (264 x 102.5 cm) and is ready to display.

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

A porcelain Koro by Mashimizu Zoroku II and decorated with a tiger by Tomita Keisen and enclosed in the original wooden box signed by both artists. It is 12 cm (5 inches) diameter, the same height with a solid silver hoya of woven net weave by signed by Koju.
Mashimizu Zoroku II (1861-1936) inherited the pottery tradition of his father, Zoroku I and grandfather Wake Kitei III in the Gojo zaka district of Kyoto. He was a well regarded member of the city’s literatus, and is remembered for both his pottery and paintings in the Nanga tradition.
Tomita Keisen (1879 - 1936) was born in Fukuoka on the southern Island of Kyushu, and went to Kyoto to study painting under Tsuji Kako as well as the Nanga Style and traditional Buddhist painting styles. He exhibited with the Bunten/Teiten National Exhibitions as well as many others. He developed a hybrid of these which has proven extremely popular, even with contemporary audiences and his work is still highly prized. 24 works by this artist are held in the National Mueums of Modern Art in Tokyo and Kyoto as well as any number of other public and private collections including the Museum of Fine Arts in Boston, Rijksmuseum, Minneapolis Institute of Art, Fukuoka Art Museum, Tokyo Fuji Art Museum and many others.

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

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.

An ancient Japanese scroll featuring a blue eyed neko-tora (cat-tiger) prowling over a boulder peering out through sheets of pouring rain. This is a very unusual subject; I have never before seen a tiger depicted with blue eyes. Due to 250 years of isolation the Edo period Japanese artists had never seen real tigers and were forced to conjure up these feline images from their own imaginations. The painting has been remounted in green brocade embossed with vines, extended top and bottom in a soft brown. It is unsigned but bears two stamps and measures 24 by 74 inches (61 by 188cm). There is heavy creasing present.

A pair of Wooden doors dating from the later Meiji to Taisho period of fine clear grained panels hand-painted with butterflies, birds, and floral dials in brilliant color by Maruyama Oyo in red lacquered wooden frames retaining the original brass hardware. They are made for an opening 141.5 x 180 cm (55-3/4 x 71 inches). They are in overall fine condition. These were acquired from a large estate along the Kamiyagawa River in Kyoto’s posh Kinugasa district.
Maruyama Oyo (1868-1923) was the adopted son of Maruyama Obun and became the sixth generation head of the Maruyama School of painting in Kyoto. You will find works by this famous artist in the British Museum and the Brooklyn Museum among others.

A surreal ink on cloth landscape by Kyoto artist Nakanishi Koseki (1807-1884) bordered in rich blue patterned silk and featuring radical flaring rosewood rollers. Soft ink tones and heavy washes of gray clash with the brisk strokes and jagged lines of the painting, creating a vivacious scene. The stamps on this match those on the next listing, a second scroll by Koseki. This scroll measures 19-3/4 by 76 inches (50.5 x 194 cm). There is one hard crease crossing the scroll above the large lower tree, and several minor wrinkles to be noted. Koseki was born in Osaka and studied under the great artist Oda Kaisen in Kyoto, where he established himself as a top rated artist. During the late Edo and early Meiji period he was considered one of the best landscape artists in Japan, alongside Taizan (Hine Taizan, 1813-1870). His works are in a number of private collections and museums, including the Ashmolean.

An awesome mid 19th century scroll depicting 2 highly detailed dragons battling in the clouds. The scene, signed Koun Teruhiro, is depicted in watercolor on 21 sheets of paper joined to form the canvas. Beside the signature is the words Hobun Utsushi, which means written in the style of Hobun. The huge scroll, measuring 45 by 90 inches (114 X 229 cm), has been fully restored and remounted in a border of green silk decorated with large flower mon (medallions) and ending in heavy, solid ivory rollers measuring 1-3/8 inches in diameter. The scroll dates to what the Japanese call BAKUMATSU, or end of the Edo government, roughly the 20 years preceding the Meiji Restoration. It comes in a large wooden box inscribed with the words Hontokuji Ihin (A gift to Hontoku temple).

An early work featuring white walls in Autumn foliage by Kitamura Seigyu enclosed in the original signed double wooden box. The box appears to be titled HakuryuJi no yu (evening around Hakuryuji). There are many places named Hakuryuji in Japan, so it is difficult ot be specific, but near his home of Hokkaido, and a place he would have passed through is a Hakuryuji in mountainous and rural Akita prefecture. This work is performed with pigment and powdered silver on silk, and dates from very early in his career, likely around 1920. The scroll is 26 x 86 inches (66 x 218 cm). There is some minor foxing consistent throughout. The scene is mounted in lavender tinged bronze brocade of superb quality and features large ivory rollers (they will need to be changed if shipped outside Japan).
Kitagami Seigyu (1891-1970) was born in Hakodate, Hokaido. He came to Kyoto to study under his uncle Kitamura Shunzan, then under Takeuchi Seiho. He Exhibited and was prized with the Bunten/Teiten National Exhibitions.

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.

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 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.

An haunting 17th century sumi-e image of a goose at twilight by Kano Toun (1624-1694) in the original Edo silver threaded brocade border patterned with clouds, upper and lower extensions of heavy coffee colored cloth ending in ivory rollers. The almost complete dominance of white seems to convey a passage through space, from clarity into obscurity, leaving the viewer with a slight sense of loss echoing in ones memory. Kano Toun, (born Masanobu, 3rd son of Goto Mitsuyori) first learned painting under Hogan, then became the pupil of Kano Tanyu (1602-1675). The influence of Tanyu on the painter is obvious. This is one of the finest scrolls we have owned. It measures 10 1/2 inches by 56 inches and is in fine condition.

A latticework Hoya of solid silver caps this fine porcelain koro incense burner, a joint work by Miura Chikusen and Hashimoto Kansentsu, enclosed in the original shiho-kiri-wood box signed by both artists. It is 8.5 cm (3-1/2 inches) tall 11 x 16 cm across the handles (4-1/2 x 6-1/2 inches). Beast heads form the handles with a scholarly hut on one side, a poem in ancient script opposite. It is signed on the base by Chikusen and on the side by Kansetsu.
Born into the family of literatus and painter Hashimoto Kaikan in Hyogo, in the heart of central Japan, Hashimoto Kansetsu (1883-1945) was a sinophile and manic painter trained initially by his own eye and studies of Chinese classics, then under Takeuchi Seiho (1864-1942). Very opinionated (like his teacher) on the future of Japanese painting, he eventually left Seiho’s Chikujokai school and set out to establish his own painting style which came to be called Shin-Nanga (the New Sothern School). He travelled in Europe and extensively in China, and many of his scenes are inspired by that country. His former residence, which he designed entirely himself, is now a museum. Works by this artist are in so many important collections, including the Metropolitan Museum of Art New York, Museum of Fine Arts, Boston, MOMAT (Tokyo National Museum of Modern Art), Adachi Museum, Kyoto National Museum of Modern Art, Kyoto Municipal Museum of Art, and the Imperial Household collection among many others.
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 kiln continues, currently under the management of the fifth generation.

A stunning Suzuri bako covered in gold lacquer and minutely detailed with scenes of the 53 stations of the Tokaido. Mountains and ocean views, famous temples and castles are all populated by travelers in various shades and degrees of gold. It is decorated inside entirely with fronds over gold nashiji. A superb work of art that would have taken months or perhaps even years to complete. The box measures 33 x 25 x 14 cm (13 x 10 x 6 inches) and is in overall fine condition. There is a small repair to the lip inside the box (see close-up) and some abrasions beneath typical of use.
The Tôkaidô (The Eastern Sea Route) was the most heavily travelled road in old Japan, running along the eastern coast of the main Island of Honshu and connecting the cultural capitol of Kyoto with the Military and Governmental Capitol of Edo (Modern Tokyo). Along this road were 53 different stations which provided stables, food, and lodging for travelers. It was an immensely popular subject in various media of art, the most famous of which may be the woodblock print series designed by Hiroshige.

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.

A stunning painting of Mt Fuji viewed from a misty sea by Yukansai (Kano Arinobu, 1605-1677) painted in 1672 at the age of 67 on silk. The image of Fuji, broken by clouds, dominates the scene, with rolling hills and sailing vessels visible in the foreground. It is mounted in a field of copper brocade extended above and below in beige silk and measures 26 by 49 inches.

A delicate image of a Zari-gani fresh water shrimp by Oishi Junkyo enclosed in a period wooden box. The poem reads:
nanigotomo
naseba naratefu
kotono wa wo
Mune ni Kizamite
Ikite Kishiware.
Whatever happens, no matter the hardships and pain, Set it in your heart to live with Spirit! This little fellow looks up to the challenge, a stern look on his face and his dukes up, ready to battle giants. What a fitting image for this artist. Ink on silk in a fine brocade border with pottery rollers. It is 14 x 63 inches (36 x 160 cm) and is in excellent condition.
Junkyo’s life is a triumph over tragedy. Born into a low family, she was sent to a tea house where she became an apprentice Geisha. In a famous incident, the Tea House owner in a drunken rage murdered 5 of the Geisha, and cut off both of Junkyo’s arms. She survived. Becoming then a teller of stories and singer, she one day saw a bird feeding her young, and realized she could paint if she used her mouth to hold the brush. She enrolled into a studio, and became an accomplished painter in the Nihonga tradition. She then married and had two children, but later divorced, raising the two children alone. She became a nun, and opened a counseling/self-help center for the disabled. This was the war years, and the midst of Japans industrial revolution. Both mishaps in the machinations of industry and battle kept her half-way house filled with people in need. After the war she established a temple, and continued her philanthropic work.

A very unusual Kutani vase showing strong Art Deco influence, signed on the base and likely dating from the revival of that style seen in the 1950s. The white porcelain ground is decorated with four stylized tree trunks in overglaze enamels of white, black and various browns, with scattered gold flake between. The vase is 10 inches (25 cm) tall, 5 inches (12 cm) diameter and in excellent condition. Truly a rare find!

Flames of red flash form the bird resurrected on the side of this large Cloisonne vase by the Ando company of Nagoya; Japan’s premier cloisonne studio. The color is hard to describe, seeming to be lit from within. A combination of wire and wireless design using gold wire with silver rim. Ando mark on base, the vase measures 37 cm (14-1/2 inches) tall, 32 cm (12-1/2 inches) diameter and is in excellent condition. It comes enclosed in a fine, custom made kiri-wood box.

A wooden sign of three golden characters carved into the surface of a solid slab of burled wood enclosed in a frame expertly carved with the four gentlemen, plum, bamboo, iris and chrysanthemum. It reads Yuraku-sai, A Place of Playful Enjoyment. The sign (with frame) is 11-1/4 x 21 inches (28.5 x 53 cm). It is signed Setsuyo (?) followed by two stamps. There is a chip into a hollow in the wooden plaque, lower left (see photos) otherwise is in excellent condition. This sign would have been hung at the entrance to a traditional Japanese tea room.

A double sided accordion album bound in iridescent cloth from the Meiji period containing 57 total pages covered in ancient cloth samples. 18th -19th centuries. The album is 19 x 24 cm (7-1/2 x 10 inches). Generally in good condition but the covers have some wear and damage