Catalog: Archives (589)

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.

The gist of the script is Taoist, something to the effect of: This is my life, I am neither overtly talented nor gifted with genius, like a sail boat alone tossed among the waves I drink freely of sake untouched (unfettered) by others seen only from a distance. Ink on paper in a the rough silk border preferred by Literati artists with exquisite turned ivory rollers enclosed in a period wooden box (the rollers will be changed for something suitable if exporting). The scroll is 17-1/2 x 75-1/2 inches (44 x 192 cm) and is in overall very good condition, with minor wrinkles and handling marks typical of age.
Shibano Ritsuzan (1736-1807) was a Confucian Literati associated with the Edo government in the 18th to early 19th centuries. He was considered one of the three great scholars of the Kansei era. Born under the walls of Takamatsu castle in Kagawa on the Island of Shikoku, he was tutored first under Goto Shibayama. Recognizing his brilliance, along with Nakamura Bunrin, he was sent to the capitol of Edo in 1753 to study at the Yushima Seido academy established by the 5th Shogun. From 1765 he began studying history under Takahashi Zunan and in 1767 was appointed as an official scholar of the Tokushima Clan. In 1787 he was given an official appointment by the Shogunate, and he served them there, becoming the　op scholar at his alma mater of Yushima Seido in 1790.

A fine rendition of a plum by Tanaka (Zuitai) Ryurei (commonly known as Ryudojin, 1740-1804)). Ink on paper, it has been fully remounted in a silk frame with wooden rollers reflecting the original style. The scroll is 12-1/2 x 70 inches (31.5 x 178 cm).
Ryudojin was born in Owari, near modern day Nagoya. He is referred to also as Ryurei Zuitai and or Ryudo Reizui or simply Ryurei. Born into the Tanaka family, he was sent to the priesthood at Reigenji at the age of 11. Then he went to the capitol, Edo (modern day Tokyo) to study at Sengakuji. Returning to Owari he was put in charge of Heidenji. Proving his worth he was promoted to larger temples, eventually becoming the head of Manshoji. H was then put in charge of establishing temples, and worked to create three in the Owari area.

Cranes flock to the shore, greeted by their compatriots grazing among dry winter grasses on the wave lapped beach of this anonymous pair of Mid Edo period six panel screens. Performed with Ink and pigment on paper with scattered gold flake in a blue silk border with kuwa (mulberry) wood frame and sturdy blue cloth backing. Fully remounted, each screen is 65 x 142 inches (165 x 361 cm). A quintessential Kano style Edo period scene.

Golden mist shrouds the aged pines draped with wisteria growing about the crashing falls on this anonymous early Edo period gold screen. A rare scene to find, rigid lines and the lavish use of gold are typical of the first half of the Edo era. The screen features a colorful brocade border with vermilion lacquer frame and has been fully remounted without re-painting. It measures 68-1/2 x 63-1/2 inches (174 x 162 cm) and is in fine condition, showing some old repairs.

A very rare Nana-sun plate with swirling hake-me design from the kilns of Utsutsukawa dating from the early to mid Edo period wrapped in a ragged bit of sarasa dyed cotton cloth and enclosed in an age darkened wooden box titled Utsutsukawa-Yaki Kashibachi - Ikko (Sweets dish-1) It is 7-1/2 inches (19 cm) diameter. Thinly potted, there is a tiny chip in the rim, otherwise is in perfect condition; exceedingly rare for this type of pottery.
Utsutsukawa-yaki originated in Nagasaki in the late 17th century. It is said it began when Tanaka Gyobusaemon opened a kiln around 1690. It is characterized by brown orange clay with a heavy iron content and was most often decorated with Brush strokes in white slip. Although at one time it was called the Ninsei of the West, the manufacture lasted only about 50 years due to the financial aspect of the clan, and it disappeared until the Meiji period, when there was an attempted revival, but that too failed to last. In modern times the art was revived by Yokoishi Gagyu, and has been named an important cultural property of Nagasaki Prefecture.

A very rare find indeed, two early to mid Edo period matching Kashi-gusoku Yoroi from the same armory featuring Momonari Kabuto and Hotoke-Ni-Mai Do decorated with jagged bands of gold. A very impressive set. The sleeves are patterned blue and white hemp. The thumb on one sleeve is missing and the two hinge pins. There are broken strings and damage to the lacquer consistent with age and the fact this armor was handed out to soldiers, likely often for guard duties and escorts, and so did see a great deal of use. They are made to fit an adult and come in the pictured wood and bamboo case. The stands are not included. They are likely from the Kaga fief.

Item description:. The lead warrior charges headstrong into the frothing waves, a band of mounted warriors following across the six panels of this mid Edo period gilded screen. Cherry blossoms, symbol of impermanence and the life of the warrior, and pines, symbol of strength and long life, create teh back drop, with clouds of gold applied smoothly and over a pebble textured surface defining the characters. A well painted rendition of this famous scene from the epic Taiheiki . The screen has been restored at some point in the distant past. It is bordered in patterned blue silk with black lacquered wooden frame and features antique backing paper. Well painted and proportioned, in an easy to wall mount size. It measures 4 feet by 112-1/2 inches (122 x 286 cm) and is in fine condition, with only minor insect damage and fissures in the heavy pigment typical of age.

Exceptional Edo p. Japanese Screen, Demon War An exceedingly rare set of four dramatic paintings divided into segments depicting a variety of battle scenes and supernatural phenomena, each heavy pigment on paper canvas mounted on one of four panels of a gold screen bordered in mulberry. The scenes appear to comprise a fragment of the tale of Daikozan (Oeyama), a Kyoto tale where in a powerful demon was lured to drink, then cut to pieces in his stupor. The screen itself is 20th century; however the paintings would date from the mid Edo. On the far right sword bearing men, priests and women run from monsters with giant heads while a cloud roiling with demonic figures bears down on the scene. A tanuki with the head of a woman can also be found here. Below women perform dance on the balcony of a palace for a long nosed tengu attracting a crowd of onlookers. The second panel is divided into four scenes of women reading a hand scroll to the same tengu from the first panel hidden behind a bamboo fence. Below we see him again seated outside a room awaiting audience with divine figures. Below this he is throttling a sword bearing soldier, a ghostly lute player on the left, and a raucous battle on the steps. On panel three the battle rages. Men hack away at each other while a head is presented indoors, and a man and demon appear ready to draw swords over the decapitated corpse. Below gory warfare rages, samurai and demon fighting indiscriminately. In the last scene a flock of birds attack one fellow, while heads topple hither and yon. The paintings were likely originally part of a larger screen, which have been cut down over time from re-mounting. The fantastic screen measures 107 inches by five feet (272 x 153 cm). There is some loss of paint; and the paintings, due to great age, are somewhat delicate.

Veins of green Kai-yu meander over the body of this spectacular example of Edo period Tamba Pottery capping rich red clay rising from an abrupt base. A few bubbles in the clay reveal character about the torso, the lip powerfully rendered over the shoulder, which slumps to one side like some haggard but still proud old soldier. Four looping handles (mimi) would allow the lid to be tied down. Between two a drip from the roof of the kiln has adhered to the clay forming a point of interest. Retaining the character of Momoyama firing techniques, and easily classified as such, I believe this dates from the early Edo period, 17th century. The Tsubo is 18 inches (46 cm) tall, 13 inches (33 cm) diameter, and without cracks or repairs. Due to size the cost of shipping will be accrued separately.

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.

An exquisite wooden plate in cinnabar lacquer over black wrapped in a chord bound cloth bag end enclosed in an age blackened kiri-wood box dating from the Edo period. The surface of brilliant red has been worn through with handling revealing the black beneath about the rim and edges. It is 9 inches (23 cm) diameter and in excellent condition. The bottom is a brown tinged black (the brown is a product of oxidation, inherent only with age) upon which are written two characters in red. The box is titled Negoro Nuri Bon (Negoro lacquered Tray) and inside the box lid is written the name of the owner: ?hekitei Zo-gu (Collection of ?hekitei). The first character is too abbreviated to make a definitive reading.

A six panel gold screen decorated in a style harkening to the first half of the Edo featuring angular trees interspersed with blossoming cherries, a torrent splashing angrily through the right quarter topped with moriage gold clouds. Many repairs and losses to the heavy pigments attest to the great age of the painting. Excellent size for wall mounting, it is 62 x 138 inches (157.5 x 350 cm). The border is from a later mounting. Due to size the cost of shipping is to be accrued separately.

A comic scene in ink on paper of boys herding oxen by Nagasawa Rosetsu spreads across these two low screens. The central characters, one in the lead the second astride one of the behemoths crossing a bridge is distracted by a butterfly floating by above while the beast in front steps on its own rope, pulling his head back to the viewer with a quizzical expression. Other oxen and boys populate the background. All is performed in very soft gray tones with abbreviated detail as if viewed through summer haze, with the leads in dark, quick strokes, creating a dynamic juxtaposition and sense of immediacy. Originally either part of a larger scene, or, more likely, taken from Fusuma doors. They bear the artists seal on one edge. The screens are 188 x 97 cm (74 x 38 inches) and are in fine condition considering their age. A lay Zen practitioner, the motif of ox herding was likely very close to the artists heart, for it is often used metaphorically to describe the stages of a practitioner's progress toward enlightenment (reference the 10 ox herding pictures).
There are many unconfirmed stories of the origins of this artist, what we know is Nagasawa Rosetsu (1754-1799) was born somewhere in the Kansai region near the capitol and moved to Kyoto in 1781, where he became a student of Maruyama Ōkyo. He would later leave Okyo, developing a style unique to himself, and would come to be known as one of the Eccentrics of the Edo period, along with Ito Jakuchu and Soga Shohaku. He worked directly for the Lord of Yodo, a castle town between Kyoto and Osaka. His unorthodox style garnered him many fans, and his paintings decorate the doors and ceilings of a number of Temples throughout the region. According to Hillier in The Uninhibited Brush (1974) “Rosetsu's paintings fall into two very clearly defined categories, with no halfway stage in between. On the one hand, there are those of studied finish, and on the other, those--the great majority--that were clearly the work of a very few minutes of intense activity, whatever the preliminary thought and calculation. We are inclined to think of the first type as early and even untypical, but in fact Rosetsu seems to have executed carefully finished paintings at all stages of his career”. Much copied, genuine works by him are decidedly rare.

A large and rare mid Edo period Tamba Funa-dokkuri Ship Bottle made with flaring mouth and wide flat bottom for use on Ships. Down the side is inscribed the date Kyoho Gannen (First year of Kyoho, 1716). The Akadobe clay is covered in rich green glaze cascading in rivulets all about, with a few scattered windows of raw clay exposed. The base is slightly concave, impressed with a fern leaf. The Funa (ship) tokkuri shape was originally made for the use on ships, the side bottom keeping it from spilling in tempestuous seas. This one is 25.5 cm (10 inches) diameter, 21 cm (8 inches) tall and is in excellent condition, enclosed in an old wooden storage box titled Tamba-yaki Funa-dokkuri. An exceptional and rare example. Exceptional and rare, although I use the words sparingly, this would be a perfect Museum example.
The Kyoho era is important for two factors: first, the population of the city of Edo (Tokyo) suprassed 1.1 million, making it the most populous city on earth. Second was the introduction of the Kyoho Reforms by the eight Shogun which sought to strengthen the market economy and slacken the grip of Confucian principles which stymied the economic system and relieve political and social issues. They also encouraged the import of western technology by lifting the ban on (non-christian) western books.

A blossoming cherry occupied by two Birds of paradise spreads its arms over blue water flowing across the gold ground of this fine two panel screen by Kano Takanobu (d. 1794). The scene is depicted with mineral pigment on paper and gold foil. The artist has chosen a softer than traditional approach to the tree bark, almost boneless, all written with washes of dark color like that of the Rimpa school. The blossoms themselves are painted in slight moriage gofun, each heart shaped petal unique. It is quite spectacular. The screen has been fully restored at some point in the past, likely late 19th century, and touched up once more recently. There are two large areas of damage that were repaired, the first in the upper section along the border around the spine, where it appears the gold is much newer, and a 4 inch tear above the blossoming branch beside the birds. Also insect damage in the (must have been delicious) blue river has been repainted. Each panel is 34 by 69 inches (86.5 x 176 cm). There are faint water stains in rivulets running down the painting, however due to age and faint nature are not distracting. The screen is bordered in blue-green brocade separated from the painting by a white strip, and features a black lacquered wooden frame with high quality etched brass fittings. There are abrasions typical of age, but overall this is a very decorative screen in fine condition. Takanobu was the first born son of Kano Hidenobu, he achieved the rank of Hogan before his death in 1794.

This appears to be an incarnation of Shindara Daisho of the 12 guardian deities (Juni Shinsho). He has glass eyes and stands on the original Daiza.. The Deity is 21 inches (53.5 cm) tall, total height with stand is 33 inches (83 cm). Later Edo period (18th-19th century). The left hand has been replaced.

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.

Koi frolic, splashing gold and silver waves as they leap and battle for the top of this stacking food dish dating from the later 19th century. The design is striking! Outside is polished black loaded down with gold and silver maki-e with applied kirigane cut gold squares. Inside is festive red. The box (assembled) is 25 x 23 x 38 cm (10 x 9 x 15 inches). Some minor dings but overall, very nice condition for something which has seen use.

Wisteria vines in gold and silver Maki-e lacquer decorate the natural body of this beautiful sake flask cut from a section of vine, hollowed and capped with natural wood and black lacquer, a pouring spout of brass bunged with bamboo. It is 9 inches (22 cm) tall and in fine condition, dating from the 19th century.

A heavy hand forged iron candle-stand from a Buddhist temple in the shape of a burning jewel. It is 90 cm tall, 57 wide, base and legs 20 x 39 cm and dates from the 19th century. Very thick and heavy iron work.
Due to size the cost of shipping will be accrued separately for this item.

A loosely brushed image of a Kingfisher perched on dilapidated lotus stalk decorates the crackled gohon pale glaze of this gourd shaped Mizusashi fresh water jar by Takahashi (Ninnami) Dohachi. It features a black lacquered wooden lid. There are cracks in teh lacquer of the looping handle. The signature is consistent with works by Ninnami Dohachi (Dohachi II) from the mid 19th century. It is 5-3/4 inches (14.5 cm) tall, 6-1/2 inches (16.5 cm) diameter and in excellent condition, enclosed in a collector made wooden box. A Mizusashi in iron glaze of this same form is visible in the book Tensai Toko Ninami Dohachi (2014, Suntory Museum) page 164.
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 annals of Kyoto ceramics. He was followed by the fourth generation (1845-1897), and his sons Takahashi Dohachi V (1845-1897) who took control of the kiln in 1897 until 1915 when his younger brother Dohachi VI (Kachutei) (1881-1941) continued the business.

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.

Two fox representing Inari, one of the principal kami (gods) of Shinto, are depicted on this Edo period talisman made at a shrine and traditionally hung in the home for protection. The two creatures hold in their mouths a buddhist jewel, symbol of knowledge, and a key to the kura, a storehouse for treasures. Between them is written Inari Daimyou Jin. Inari is the Japanese god of fertility, agriculture and of general prosperity and worldly success. In Edo Japan, Inari was also the patron of swordsmiths and Warriors. This is a wood-block printed talisman purchased at a shrine and preserved for more hundreds of years. It has been recently mounted in blue patterned cloth extended with beige and features black lacquered wooden rollers. It comes in a fine kiri-wood storage box with a paper sleeve. The scroll is 46 x 116 cm (18 x 45-1/2 inches) and is in excellent condition.

A refined set of 5 later Edo Sake cups in a hybrid E-gorai style from the Kosobe kiln of Igarashi Shinbei decorated with pale blue designs (gnarled plum trees?) under thick cream colored glaze on very thinly potted clay blended with shiseki for great effect. This is likely the work of the second or third generation Shinbei, both known for their Korai-Utsushi (Korean style) wares. Each cup is 2-1/2 inches (6.5 cm) diameter. They are in surprisingly good condition, with no cracks. There are a few losses to glaze at the rims typical of sake cups (Kampai!) and one has a chip in the foot visible when the cup is upside down. Finding such a delicate set in such good condition from the Edo period is exceedingly rare.
The Kosobe kiln was established in Takatsuki, along the route between Osaka and Kyoto by Igarashi Shinbei sometime around 1790, The first generation (1750-1829) was known for Raku wares, Tea Utensils and Utsushi wares among more common household items. The second generations (Shinzo, 1791-1851) is remembered for Takatori, Karatsu, Korai and other continental styles. Shingoro, the third-generation head of the family (1833-1882) continued in that line, but secured a route to use Shigaraki clay and blended that with his local clays. He was known for Mishima and E-gorai styles. Into the Meiji period, the 4th generation head Yasojiro (1851-1918) saw the kiln close due to health problems of his successor Shinbei V, (Eitaro) in the late Meiji or early Taisho period.

An exquisite pair of gofun covered fox on black and gold lacquered stands protected by copper wire cages, dating from the second half of the Edo period. They wear a shrewd look, eyes narrowed to slits, enhancing their mischievous image. The mystical carvings are covered in white gofun, stained a soft gray from age with highlights still white from eons of careful cleaning. Around the pair of ethereal creatures are removable cages of copper wire to protect the sacred images, the gofun coating made from powdered shell a tasty source of calcium for foraging rodents. The fox alone are roughly 6-1/2 inches (17 cm) tall, with stand together roughly 8-1/2 inches (21 cm) tall. The back paw of one of the animals is missing, but the copper cages have born the brunt of damage and otherwise all is in fine condition. The fox is a magical being, believed a shape shifter and protector of Shinto Shrines. They are also the kami (a term meaning divinity) of business. Every January the Fox Shrine, Fushimi Inari in Kyoto, is inundated at New Year with entrepreneurs, business people and the self employed praying for a successful year.

A pair of superb Tokkuri by Raku Kichizaemon enclosed in the original signed wooden box, each stamped on the base, each unique with one in dark Raku glaze, the other swiped with ash leaving large areas of raw clay exposed. Each one is 16 cm (6 inches) tall and in fine condition. These are by the Kichizaemon X, according to the book Sado Bijutsu Teccho, it is the earliest of his four known stamps.
The Kichizaemon family of potters was established in Kyoto by Chojiro during the Momoyama period (16th century). The 10th generation head of the family (Tanyu, 1795-1854) was born the second son of the 9th generation Kichizaemon. Along with Yoyosai assisted in the establishment of a kiln for the Kishu branch of the Tokugawa family, and soon followed that up with others around the country. This gave him tremendous experience throughout the world of Japanese ceramics with different clays and glazes, expanding the family repertoire into Oribe, Iga and Seto ware in addition to the traditional Kyoto wares. Works by him are held in the Metropolitan Museum of Art among many others.

A framed calligraphy fan painting by important Edo period poet Kawano Tetsuto (1825-1867), published in the book Shijin Kano Tetsuto (1932). The ancient paper fan is mounted in a field of gold flake bordered with black lacquered wood, the frame measuring 11-1/2 by 23-1/2 inches (29 x 59.5 cm). There is one spot of damage to the flecked gold mounting in the lower right (see photos). Tetsuto was an influential poet and scholar of the late Edo period, trained in the arts under Yoshida Kakusen and Somekawa Seigan. Forced to read by his father, he began studying Confucian theory at the age of 6, and by 11 had mastered the 100 Sanyoshi poems, to be called a genius. Two years later he became a pupil of Shirotani Junji. He lived rather freely, loving wine, song and women. He wrote the poems Ho-no-Kai-ko and Shuengai-Nishu and was also a well known flute player. In 1862, five years before his death, he was elevated to the position of a guardian (hanshu Seiwako Oban Gashira) at Nijo castle in Kyoto. During his life he established a school in Osaka; his most famous disciples were Noguchi Shoyo and Yagi Tenkawa. In 1867 he died of complications from diabetes. 60 years after the passing of Tetsuto, his work remained so important; his rank was again elevated by the Showa Emperor in 1928. A copy of the book in which this piece was published is included with the sale.

A beautifully written tea room scroll by 19th century calligraphist and seer/soothsayer Yokoyama Marumitsu (1780-1854) bordered in pale green brocade and featuring bone rollers. The calligraphy is very expressive, dark lines varying dramatically in width as they curl down the wide sheet. The signature line reads A 72 year old man Kiosanjin Marumitsu making the scroll date to 1851 by Japanese age count(Kiosanjin was one of his many literary names). Aside from minor wrinkles (not hard creases) the scroll is in excellent condition, and measures 24-3/4 by 49 inches (63 x 124.5 cm). Born in Edo (present day Tokyo), Marumitsu was actually a bit of a forward thinking individual in his time who believed every person was born with a unique character that was buried over time by societal pressure, and the only way to live happily was to toss out ideas contrary to the inner self, thereby purifying ones true form. He was a proponent of the ancient Chinese art of Tengen-Jutsu, a fortune telling method he studied under Okuno Kiyojiro. My interpretation of the scroll: The middle lines are a bit sparse and difficult to read, however, overall the gist seems to be: Everyone has shame, The original heaven (self?) lies deep within, Gods willing (not in the western sense of god), Fortune will arise, A full life. My interpretation is: We have all a dubious past, but true heaven lies within, and gods be willing, through our own effort, the god within will shine, calling fortune. Allowing a full life. Given the context of the artist, this seems to be an apt work.

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.

Maki-e Cranes soar and a gilded tortoise takes refuge on a rock on this magnificent sake set made of wood covered in lacquer with elaborate maki-e and applied gold designs. About the edge of the stand is a solid silver rim. The scenes are depicted with powdered gold and applied gold kirigane on red and black grounds. This is of the highest quality. The largest cup is about 12.5 cm (5 inches) diameter. The cups come in a red lacquered kiri-woood box with a padded silk pillow between each cup, wrapped in a padded silk pouch. The Stand comes in a separate box, inside a custom made silk cover. The stand is roughly 17 cm square, 14 cm tall. Both are in excellent condition.

Three tough looking toads work together to support the base ring of this unusual leaf-shaped bronze Usubata flower basin enclosed in an antique wooden box. It is signed on the base simply “Oka”. Roughly 11 inches (27 cm) diameter, 8 inches (20 cm) tall.

A lovely late Edo to early Meiji period square footed dish decorated with autumn grass and crosshatching in underglaze iron with a charming lacquer repair in one corner featuring a crescent moon expertly rendered. The dish has been formed on a cloth covered pattern; impressions remain visible in the surface through blanks in the thick white glaze. It was made with fluted corners, with 4 pressed on loop feet. The dish was dipped in glaze from one side, then held on edge, allowing the glaze to run in several thick streamlets across the center, finger marks of the artist as he held the dish after dipping still visible as blanks in the white. A very attractive repair has been performed to one corner using three shades of lacquer, creating a golden moon partially obscured but still visible through silver clouds. The piece comes enclosed in an old wooden box, and measures 8 by 10 inches (21 x 25.5 cm).

A brush, ink stick letter knife and ink stone are set into a compartment inside this flattened bamboo shape carved from Zitan wood with a poem engraved into the lid signed on the back side Hokkyo Sessai and enclosed in a wooden box. Lifting out the lid by means of the strap, one finds the knife tucked into the handle, the brush, stone, and ink laid out and ready to use. It is 34 cm (13-1/2 inches) long. The ink stone, firmly embedded in the wood, has cracked, otherwise all is in excellent condition but for a slight nick in the edge just above the himotoshi chord loop. According to the International Netsuke Society Journal Volume 36, Number 1: Shima Sessai (1820-1879), was given title Hokkyo… Any carvings signed Hokkyo Sessai date between 1866 and 1879, Sessais last 13 years. A Netsuke by the artist is held in the collection of LACMA and a carving of two wrestlers by this artist sold at Christies London for 117,000 GBP in 2004.

Rivulets of green glaze descend all sides of this sublime storage jar, the bottom raw red Tamba clay dating from the Edo period. About the rim are four “mimi” ears for tying down the wooden bung. The base is slightly concave and burnt to a rock like texture. The vessel is 12 inches (30 cm) tall, 11-1/2 inches (29 cm) diameter and in excellent condition. Tamba is considered as one of Japan’s six famous ancient kilns, along with Seto, Tokoname, Echizen, Shigaraki and Bizen. It is known for a solemn, austere atmosphere, and for the beautiful green pine-ash glaze. The origins are purported to be in the late Heian period, when it was called Onohara ware. Traditionally it is coil formed, or turned counter clockwise on a wheel. Early pieces were fired in anagama, until the Momoyama period, when the advent of the climbing kiln offered increased production and possibilities and hire firing temperatures.

A pale glazed Kyo-yaki ceramic figurine of a rabbit by Takahashi Dohachi III decorated across the back with a poem by the poet-nun Otagaki Rengetsu. The poem reads:
Usagira ga Rabbits
gamanoho-iro no kegoromo wa Fur robes the color of cattails...
kamiyo nagara ni ki kae zaru ran. Remain un-changed since the age of Gods.
This was crafted by a professional potter, the brushwork by Rengetsu, much crisper than normal thanks to the smooth surface and higher grade materials at teh Dohachi Kiln. Signed on the rump: 77 year old Rengetsu, the figure bearing the stamp of Takahashi Dohachi III on the base. It is roughly 19 x 13 x 19 cm (7-1/2 x 5 x 7-1/2 inches). There is a chip in the tip of the right ear, otherwise is in excellent original condition.
Otagaki Rengetsu was born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.
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 annals of Kyoto ceramics. He was followed by the fourth generation (1845-1897), and his sons Takahashi Dohachi V (1845-1897) who took control of the kiln in 1897 until 1915 when his younger brother Dohachi VI (Kachutei) (1881-1941) continued the business.

As the enlightened man is a product of this world so too the Lotus grows in the mire, a symbol of the attainable state of Nirvana. Here is a breathtaking hand-made bronze Koro in the shape of a blossoming lotus in deep red patination dating from the late Edo to Meiji period (mid to late 19th century). Consisting of 30 individual pieces, each petal is uniquely incised with veins by the hammer and chisel of some long lost craftsman. The base is a large leaf turned upside down, rising on a roundel to the base of the many petaled flower, in the center of which lies the seedpod, into which the incense would have been placed. The outer most petals are highly polished from over a century of handling, and the base is worn, glowing soft gold where it rests on the table. Truly one of the most beautiful Koro we have owned. It stands 4 inches (11 cm) tall, 5-1/2 inches (14 cm) diameter.

A bronze dragon water spout dating from the late Edo or early Meiji period (mid to later 19th century) in an unusual full body configuration. Most spouts appear climbing over the edge of a basin, and thus only the front of the dragon need be cast. This however writhes across the edge of the basin, the entire body exposed. A pipe extending from the stomach allows the water to be attached. It is 29-1/2 x 11 x 10 inches (75 x 28 x 25 cm). One horn has been repaired and there is some damage where the belly would have touched the stone surface of the water pool typical of age. Dragons are not only the gods of water, therefore a protective deity, but also are considered guardians of Buddhist doctrine, and, like the Buddha mind, are rarely seen in full form.

A fabulous large Mingei Tokkuri from the Satsuma region in the shape of an eggplant, glazed in black with crystalline blue about the neck over iron rich glazed clay. Likely from the Hirasa kilns, one of the great Satsuma production centers on the southern Island of Kyushu, 18th to early 19th century. It is 24 cm (10 inches) tall and in overall excellent condition, enclosed in a kiri-wood collectors’ box.
The history of Satsuma ware goes back to the 16th century when Japan fought in the Imjin War, ( also known as the Porcelain War), in which Yoshihiro Shimazu, Lord of the Satsuma domain, brought back eighty Korean potters, giving birth to a new ceramic tradition on Japanese soil. There are four main historical lines of Satsuma ware: Tateno, Ryumonji, Naeshirogawa, Hirasa. They are roughly separated into white wares, black wares and porcelains. Kuro Satsuma (black ware) is made by using combinations of black or brown colored glaze. The body itself is dark brown since the clay contains iron from the local soil enriched by the volcanic ash of Sakurajima.

A rare yari-no-saya of course bristles blossoming tuft-like from a 7 inch black lacquered wooden sheath bound with strips of bamboo resting on a four legged hardwood stand. The Edo period piece is in excellent condition, with only minor damage to the wooden ring about the bottom of the tuft. It is made to take a spear head over 8 inches long.

A rare set of five tiny Gosu cups for drinking Gyokuro steaped tea from the Shidehara kiln of Sanda in Hyogo prefecture dating from mid to later 19th century (Late Edo to Meiji). Fish circle the cups as they swim among water plants. Each cup is 2 inches (5 cm) diameter and in great condition.
Shidehara was a kiln established in the Sanda district of Hyogo prefecture in the mid 18th century. They created works based on continental styles of Gosu, Sometsuke, aka-e and later celadon. It is from this kiln that Sanda-yaki was born, to become a major production area for celadons and other pottery styles starting in the late 18th century.

A fine Edo period portrait of a sinewy middle aged samurai proudly seated before a pair of swords, a table upon which rests an ink stone and book at his right elbow. Exquisite detail in the figures face and fine lines and shadows in the clothing are reminiscent of portraits by the great artist Watanabe Kazan. The portrait is signed Higashiyama Giryo and dated Tenpo 3 (1832) and the epitaph is signed Raijo. The portrait appears to be of a samurai named Kanda Hojo. The artist Giryo is likely a student or successor of the famous Kyoto artist Giryo I, who died in 1813. The ink and color on silk scene is bordered in complimentary blue cloth with bone rollers and comes in a fine kiriwood box. The scroll measures 11 by 70 inches (28 x 178 cm).

Gold clouds border a spectacular and rare scene of birds flying amid wisteria (fuji) on this fine 19th century gold screen. The screen is roughly 68 by 148 inches (172 x 376 cm). We are offering this screen as is, to allow the buyer to pursue restoration to a level they deem satisfactory. In need of restoration, there are scratches in the gold over the birds, three marks low in panel three and a number of thin tears along the lower portions of the 6 panels. For detailed photos please inquire.

A pair of gold screens with bold shishi on genuine gold leaf. It is signed Miyauchi Gohogan Shinsai Fujiwara Morimichi sei and stamped Hogan Morimitsu no In. Each panel is 37-1/4 x 68-1/2 inches (94.5 x 174 cm). The screens have been restored, with some old repairs visible. These appear to be remounted from what is likely a different composition, possibly a set of fusuma doors. This is possibly from the Kano Tanshin of the later Edo, who used the name Morimichi, although there are a number of Tanshin. He was the 7th head of the Kajibashi branch of the Kano family, and was an appointed painter for the Edo Shogunate, achieving the rank of Hogan. He died in 1835 at the age of 51.

An unusual Ryoku Odoshi Ni-Mai-Do Gusoku armor of pleated horizontal plates and Armadillo scale mae-ate reminiscent of the leather covers on the front of older O-yoroi with an inscription inside the box lid attesting the armor to the property of Prince Arisugawa Taruhito. It features a black lacquered 62 plate suji kabuto with simple brass Tehen Kanamono and 6 lame shikoro with arisugawa crest on the fukigaeshi and genuine armadillo tail maedate. The mask is a Me-No-Shita Ho with prominent moustache and removable nose piece and featuring a Kiritsuke Kozane Nodokake throat defense. The Do consists of rows of pleated iron bands riveted together, with upper and lower plates of smooth iron covered in black tataki-nuri lacquer. The Armadillo scale chest piece is removable. From the waist hang 6 rows of five iron scales. The Sangu are all matching in cloth and style to the armor, with 2 piece hinged Bishamon Kote attached to the Shino sleeves. The Arisugawa Crest is prominent in gold on the black field of the Kawara Haidate. The armor retains the original ukezutsu flag holder and comes in a simple red lacquered wooden box. Quite striking with the exotic animal scales, it must have made quite an impression. However the underling armor is very simple and might allow an Imperial Prince to escape in the milieu without scrutiny in the event of a failed uprising. There is a chip to the lowermost lame of the shikoro, as well as some chips to the lower rows of the nodokake and black lacquer about the arm and neck openings in the Do. The Tortoise shell toggles securing the sleeves have become dilapidated (although all of the chord is strong) and most of the original bear fur on the lowermost Kusazuri has fallen. As noticeable in the photographs it does present a powerful display.

A large pair of 19th c. (Edo p) votive Inari Fox images representing the god of fortune. They are 16.5 x 10 x 24 cm (6-1/2 x 4 x 9-1/2 inches). One holds the key to the treasure house in his mouth. One would have been standing over a Buddhist jewel, however that is now missing.
Inari Okami is the Japanese kami of foxes, of fertility, rice, tea and Sake, of agriculture and industry, of general prosperity and worldly success, and one of the principal kami of Shinto. In earlier Japan, Inari was also the patron of swordsmiths and merchants. Represented as male, female, or androgynous, Inari is sometimes seen as a collective of three or five individual kami. Inari appears to have been worshipped since the founding of a shrine at Inari Mountain in 711 AD, although some scholars believe that worship started in the late 5th century.
Worship of Inari spread across Japan in the Edo period, and by the 16th century Inari had become the patron of blacksmiths and the protector of warriors. Inari is a popular figure in both Shinto and Buddhist beliefs in Japan. More than one-third (32,000) of the Shinto shrines in Japan are dedicated to Inari. Modern corporations, such as cosmetic company Shiseido, continue to revere Inari as a patron kami, with shrines atop their corporate headquarters.

A pair of rare Koto-yaki sake flasks decorated with florals and dating from the 19th century. Written on the side is the kiln name Koto (East Lake). Each piece is roughly 6 inches (15 cm) tall and in fine condition but for a chip on the inside of the foot ring of one.
Koto ware is one of those rare and highly prized ceramics of low production, once the official kiln of the Ii clan in Hikone on the Eastern Shores of Lake Biwa, its production rand from the early to late 19th century. Under Ii Naosuke, the famous Bakumatsu Statesman, the kiln was expanded both in size and repertoire, and he brought in potters from all over Japan to teach the ways of various styles. With the assassination of Naosuke and the fall of the Shogunate in 1867 the kiln was privatized. It closed about 1895, and was known for superb quality and craftsmanship covering Sometsuke, Aka-e,Kinsai, Celadon and Ninsei.

Here is a fine hand formed tea pot of dark clay by Otagaki Rengetsu engraved with a poem and enclosed in the original signed and age darkened wooden box. It reads:
Oyamada no Hita no kakenawa, Uchi Haete, Keburi Nigiou, Miyo no aki Kana
In the hillside Paddies, Clappers with ropes as long as the smoke trails, the peaceful abundance of an Imperial Reign in Autumn…
It is 6 cm (2 inches) tall and in excellent condition.
Much has been written about the life and work of poet/artist Otagaki Rengetsu. Born into a samurai family, she was adopted into the Otagaki family soon after birth, and served as a lady in waiting in Kameoka Castle in her formative years, where she received an education worthy of a Lady of means. Reputed to be incredibly beautiful, she was married and bore three children; however her husband and all children died before she was twenty. Remarried she bore another daughter, however that child too perished and her husband died while she was just 32. Inconsolable, she cut off her hair to join the nunnery at Chion-in Temple, where she renounced the world and received the name Rengetsu (Lotus Moon). However this was not the end, but only the beginning of a career as artist and poet which would propel her to the top of the 19th century Japan literati art world.

A collection of six unique antique sake cups from various regions in Japan, each enclosed in an old wooden box.
1. A rice bale shaped Kosobe yaki bowl in thin bluish-white glaze stamped on the base, probably second or third generation (see below).
2. A Soma Yaki small bowl of pinched form with speckled green glaze from Fukushima. Soma Yaki has a four-hundred-year history.
3. A very rare Etchu Kosugi Yaki wangata cup in smooth blue green glaze with a hint of yellow at the rim.
4. Another very rare Garyuzan-yaki cup incised with white slip in basket style by Yokohagi Ikko (1850-1924) in a signed box.
5. A later Edo Korean style piece with gold repairs by Mizukoshi Yosobei bearing his five-sided seal impressed into the base (the kiln closed in 1860).
And last an anonymous celadon piece whose title I cannot read (appears to be Kyudai seiji).
The Kosobe kiln was established in Takatsuki, along the route between Osaka and Kyoto by Igarashi Shinbei sometime around 1790, The first generation (1750-1829) was known for Raku wares, Tea Utensils and Utsushi wares among more common household items. The second generation (Shinzo, 1791-1851) is remembered for Takatori, Karatsu, Korai and other continental styles. Shingoro, the third-generation head of the family (1833-1882) continued in that line, but secured a route to use Shigaraki clay and blended that with his local clays. He was known for Mishima and E-gorai styles. Into the Meiji period, the 4th generation head Yasojiro (1851-1918) saw the kiln close due to health problems of his successor Shinbei V, (Eitaro) in the late Meiji or early Taisho period.

A beautifully shaped miniature bell with simulated chord looping through the top, half lifting off to reveal a compartment for storing incense. A ball inside the lower section actually rattles around like a real suzu-bell. This is a very unusual and superbly crafted from from the Mino area of Edo Japan. The inside white clay is darkened with age, and the outside infused with color gathered with time. It is 1-1/4 inches (4 cm) diamater, 2 inches (5 cm) tall and in excellent condition, enclosed in an old wooden box.

A bakumatsu era (mid 19th century) Shishi Koro of dark red clay covered in a rich green glaze from the Banko kilns in Mie. It is 14 x 24 x 8 cm (9 x 5-1/2 x 3 inches) and is in fine condition but for one clawed toe which has been chipped. This squat style of facial expression was popular from the declining years of the Edo period into the early Meiji, and fits the date of this piece perfectly.

Pure elegance and simplicity of form by Komazawa Risai enclosed in the original signed wooden box titled Mage-Kensui (Round Spent Water Container). It is lacquered outside is tame-nuri opaque wine-red, inside is polished ro-iro black decorated with gold reeds overlapping from all directions. It is 16 cm (6-1/2 inches) diameter, 7 cm (2-3/4 inches) tall and in excellent condition. It is made by Komazawa Risai; head of one of the ten crafts families of the three Senke tea schools adhering to the way of tea as taught by Sen No Rikkyu in the 16th century. The bowl is made of two pieces, the base a thin flat plank cut round, then the vertical is bent around and secured together with binding, the whole then covered in lacquer. The shape is that of a simple Oke or shallow bucket, however the artist has made it so much more than that. This is the epitome of the Japanese Tea Aesthetic.
Taking tea has long spread from its original home of Asia to the rest of the world, spawning in the process distinct and varied customs that deeply mirror the values of the culture that creates them. Japan's history of tea drinking is no different, becoming a focal point for the arts and enlightenment to the point where it became the unique ceremony we now know as chanoyu or the Way of Tea. The name can actually be something of a misnomer to the uninitiated, as although there are similarities in form and structure, there is no singular tea ceremony, and ceremonies can be very varied dependent on season, setting and school, yielding in the process a vast culture that can take a lifetime to become truly aquatinted with. Sen no Rikyu, born in 1522 is largely credited with instilling the quintessentially Japanese values into the custom and codifying the practice into a “Way”. To this very day the three houses of Omotesenke, Urasenke, and Mushakojisenke continue his tradition and teachings every time they perform the tea ceremony, and yet this is no fixed form, but an enduring process of gradual evolution and innovation that continues to reflect Japan beyond the walls of the chashitsu, tea room. In the case of the three Senke houses under Sen no Rikyu's teachings, in their centuries of history we find that their ceremonial tools are all produced by the same ten families, and ever since Mitsukoshi held an exhibition of their works in 1915 the name "Senke Jushoku", or the "Ten Designated Craftsmen of Senke", has entered common usage to describe this small collection of artisans who hold within their lineage the very DNA of the aesthetics of the tea ceremony.
The ten families are: Nakagawa Joeki (metalworker), Okumura Kichibei (scroll mounting maker), Kuroda Shogen (bamboo craftsman and ladle maker), Tsuchida Yuko (pouch maker), Eiraku Zengoro (brazier maker and potter), Raku Kichizaemon (tea bowl maker), Nakamura Sotetsu (lacquerer), Onishi Seiuemon (kettle maker), Hiki Ikkan (papier mache style lacquerer) and Komazawa Risai (woodworker).
The lineage of the Komazawa family began with the first generation Sogen in the later 17th century. The second generation headmaster, Sokei, was recognized by the Sen Tea houses, however, it was after the fourth generation, Risai, that they became more deeply involved in the House of Sen. He established a warm friendship with Kakukakusai, the sixth generation of Omote, and was designated as a regular joiner for tea ceremony and given the name of 'Risai'. The seventh Risai, who worked vigorously in the late Edo period and was also an excellent lacquerer as well as a joiner, and brought great fortune with his innovation and re-visioning of the tea ceremony and its utensils in a modernizing world. After the seventh generation, however, one after another the heads of the family died young. The thirteenth Risai lived up to seventy, but suffered the misfortune of losing his son who was born in his later years. After the death of the thirteenth generation, his wife Namie deicided to become the fourteenth Risai and have her daughter Chiyoko succeed her in the future, but the daughter died young in 1961, and she also died in 1977, leaving the position vacant to this day.

A colorful and impressive scroll featuring a bushy tailed neko-tora, or cat tiger from the late Edo period. The neko-tora is a by-product of the Japanese closed border policy, rigorously enforced during the Edo period, which eliminated outside trade and influence. Therefore, Japanese artists were forced to come up with their own ideas of what a fearsome tiger looked like based upon older paintings and skins. This is one of the most imaginative and detailed I have yet seen, with each standing hair individually painted. The cat, stopping to drink from a stream, stands before a crooked pine, caught at the moment it sights an enemy, its bulbous green eyes staring past twitching whiskers, ears flattened against its head. The sinewy creature is well depicted as is the Kano style lines in the background plants trees and waterfall. The scene is framed in dark, purple silk embellished with fan shapes, and ebony rollers. Despite some creasing, the scroll is still very presentable and would be an eye-catching hanging. It measures 29-3/4 by 69-1/4 inches (75.5 by 176 cm)

A dry ink on paper image of mushrooms growing up along a garden stone dated 1874 by Tani Nyoi (1822-1905). The scene is signed Nyoisanjin, and dated the second month of 1874 hemmed in by origami cranes on cream satin in a field of rough pale green silk and features dark rosewood rollers. The style is very much in the literati tradition predominant during the early Meiji. The dry vigorous strokes evoke a sense of fleeting solidity, as if wind were about to blow the light paper away. And certainly it must have felt that way for a scholar/artist born in the late Edo who had experienced the unrest and upheaval of the Meiji restoration and ensuing battles, and the sudden influx of technology from the West. The artist Tani Ryutaro also went by the name Tani Tetsujin, Hyakuren and Taiko. He was a ranking figure from the Ii fief of Hikone, but studied philosophy and the scholar arts throughout Japan. In 1870 he was involved in problems of state but was promoted the following year, and later appointed the rank of minister of the left, finaly receiving appointment of Seigo-I by imperial decree. He left his post in 1874, for a period of reflection during which time he lived a quite life in Kyoto. It was during this period he was called Nyoisanjin, and it is from the first year of this period that this scroll hails. It measures 33-3/4 x 48-1/2 inches (85.5 x 123.5 cm) and is in fine condition. There is no box however we could have one made if desired.

Green or Blue, which will win this contest? Two shishi lions vie for our attention on this absolutely fabulous pair of 19th century screens. The images are performed with pigment on applied silver, not an easy medium from the start. One creature pounces, mouth open, teeth barred while the other crouches, mouth shut, ready to leap. Peony, a flower typically associated with the creatures, grows about them. Each screen is 68 x 137 inches (173 x 348 cm). They have been fully remounted at some time in the near past (latter 20th century, 1970-80s?) and are in fine condition. Some repairs were affected at that time. A most impressive set of images, incredibly rare. Open and Closed Mouths of Guardians: Japanese Shishi (Shisa in Okinawa) Fu-dogs or Pinyin in China, Inari (fox guardians in front of shrines) as well as the Buddhist Niomon images are almost always depicted one with mouth open (Agyo) the other mouth closed (Ungyo). As a pair, they complement each other. One represents latent power, mouth held tightly closed in wait, while the other represents overt power, baring his teeth in action. The most common explanation of this imagery is the open mouth figure (feminine in Japan) scares away evil with its cry, while the closed mouth figure (masculine) keeps inside fortune and good spirits. Most Japanese adaptations state that the male is inhaling, representing life, while the female exhales, representing death.

A lovely hand formed bowl in the shape of an inverted mushroom with brush strokes (Kushi-me) defining the gills and the bulbous stipe laying like a handle to one side. A speckled yellow glaze (typical of Maiko) covers the sandy clay, with a drape of green and white seeping like milk from one side. It is roughly 21 cm (8 inches) diameter and in excellent condition, stamped on the base Mahiko (In traditional writing the character for Hi is interchangeable with the character for I as is Fu and U). It comes enclosed in an age blackened wooden box annotated by Yasuda Kenji. Inside the lid is written:
Maiko-yaki, Wafuken Saku (Made by Wafuken), Mattake kashiki (Mushroom shaped Sweets Dish) Created during the Tenpo era by Wafuken Takata Tsuchinosuke of Akashi Yamada Mura. Attested by: Yasuda Kenji , Head of the Osaka Toji Bunka Kenkyu Kai Ceramic Culture Research Group, and Governor of the Nihon Toji Kyokai National Ceramics Society.
It is said that Maiko yaki was begun in Yamada Mura Akashi-gun (modern day Hyogo prefecture) around 1790 by Kinugasa Sohei and was sold along the Maiko Beach, from where it derives its name. Upon the death of Sohei, the kiln passed to his son, but went out of business. Nearby in Oguradani Mikuni Kyuhachi opened a kiln around 1820, creating a characteristic iron speckled wood ash glaze (as seen on this piece). Takata Tsuchinosuke revived the kiln of Sohei in the Tenpo era (c. 1830) and was instrumental in carrying Maiko-yaki forward in the late Edo period. It slowly fell into disuse with the rise of industrial production from the Meiji to Taisho periods, and disappeared in the early 20th century.

A skull lies ethereal, only a soft circle before the ghost-like apparition of a grave-marker rising from the boldly stroked dead grasses of some forgotten field. The epitaph above reads:
“Hana no toki mayouta mo” Wavering they did while in full blossom
“Kono Kareno kana” The neglected fields of winter
Here the artist has made a comment on our lives, we blow with the winds here in there, indecisive in our prim, bobbing joyously in the winds, but all come to the same as the flowers fall and winter approaches. Ink on paper in the original paper border with transparent red lacquered wooden rollers. It is 30.5 x 185.5 cm (12 x 73 inches) and is in overall fine, original condition with some discolorations in the upper border. It comes in an old wooden box.
Takeda Motsugai (Fusen, 1795-1867) was a Zen priest of the later Edo to Meiji period born in Iyo Matsuyama (modern Ehime) on the Island of Shikoku. He used a number of names in his lifetime, Fusen was his official Buddhist name, Motsugai may be that for which he is best known, but another common name was Genkotsu Osho (Priest of the bone fist) and Dobutsuan (Place of the mud Buddha). An unruly child, he was sent at the age of five to Ryutai-Ji temple, and at the age of 12 would go to take official position under Kanko Osho at Denpukuji Temple in Hiroshima. He would become an accomplished practitioner of the martial arts there, mastering many styles and weapons. His fame in this department would spread, along with his first nickname, Shio-kara Kozo (Too-salty Bonze), and he would be asked by the Asano Daimyo of Hiroshima to take a position at Kokutaiji temple where the Asano family studied Buddhism. After causing trouble he would leave Hiroshima for Osaka where he would study Confucianism and undergo mendicant training. At the age of 18 he would become an itinerant priest given to wandering the paths and begging for food. In 1819 he would make his debut in Edo (modern Tokyo) where he would enter Kichijo-Ji temple, and two years later be posted to Ruriko-Ji temple in Yamaguchi, and it was here he woud begin writing, returning to Denpuku=ji and his first teacher Kanko-osho the following year. In 1828 he was given the reins of Zaihoji in Onomichi (Hiroshima) and here his fame as a stern teacher would spread, and many would come to learn under his unique ways known as Fusen-ryu. He became a well known writer adept at both Waka and Haiku forms of poetry. He was also known for his skills in flower arranging, Tea Ceremony, and tactical skill in the game of Go. His reputation as both a learned priest, Confucian scholar and martial prowess saw him much traveled and called upon in the troubled period of the 1860s. In 1865 he would be asked to mediate the first Choshu uprising and his application was presented to the emperor showing here the high regard for which his writing had become known. He died enroute from one of his travels in Osaka in 1867.

A very unusual Katana held in a saya (scabbard) made to look like a gnarled branch cut into a poor man’s cane. When pulled a spring-loaded mechanism releases two iron flanges creating a very effective tsuba hand guard. The blade is unsigned, measuring Nishaku nissun nibu {26-1/2 inches (67.3 cm)}. The remnants of a piece of paper remain glued to the saya with the name Masaaki Noma (?) written in cursive Roman letters, followed by UZUMASA, an area in Kyoto city. The end is capped in metal, and in fact, the Koiguchi and Fuchi (at the mouth of the scabbard and handle) are also metal, which blend perfectly with the carved wood.

Ink on paper image of a skull befitting one of the most well known and outspoken Samurai/swordsmen of the 19th century, Yamaoka Tesshu, remounted in an olive grey border patterned with vines with wood rollers. The scroll measures 15 x 75 inches (37.5 x 190 cm) and is in fine condition but for some minor staining below the signature.
Yamaoka Tesshu (1836-1889) was a student of military arts and famous calligrapher. Born into a samurai family, Tesshu began studying swordsmanship from a very young age. He took the name Yamaoka upon marrying the daughter of a spear school, continuing the family name in their place. An avid devotee to Zen training, he attained enlightenment at 45. A compatriot of the infamous Zen priest Nakahara Nantenbo, the two established a Zen training center together. He was a bodyguard and teacher to the young Meiji emperor, Zen teacher, poet, swordsman and artist, a giant of a man containing all of these personalities (or perhaps none?) He died of stomach cancer at the age of 54, his last poem reading Tightening my stomach against the pain, The cry of a morning crow…

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.