Catalog (105)

A boxed set of five elevated serving trays in red lacquer decorated with floral motifs in black by Urushi-legend Banura Shogo enclosed in the original tiered and signed wooden box titled Natsu no mi Kashiki (Serving Dishes with Summer Theme). Each is roughly 21.5 cm (8-1/2 inches) diameter, 4.5 cm (2 inches) tall and all are in excellent condition, retaining their original white silk lined blue cloth pouches.
Banura Shogo (1901-1982) was born in Nanao, Ishikawa prefecture, and studied lacquer in the Wajima tradtion. In 1925 he moved to Kyoto. It was a time of great interest in ancient things, forgotten styles, and revival of lost techniques. Together with Okumura Kyuka he established a research group dedicated to the study and revival of lacquer techniques. He exhibited with the Bunten (Teiten/Nitten) National Art Exhibition and was first awarded there in 1930 for a cabinet, and in 1936 for a screen at the same venue. The following year would see his work garner a prize at the Great Paris Exhibition. Post war he would establish the group Sojinsha which would evolve into Shugenkai in the 1950s. In 1963 e would be granted the Zosho prize from the Japan Art Academy. Ever promoting the field of lacquer, he served as chairman of the Kyoto Shitsugeika Kyokai (Kyoto Association of Lacquer Artists) and was named an Artist of Merit by Kyoto city for his contribution to the arts and crafts in 1972, nad by Kyoto prefecture in 1974. In 1981 this cumlminated wit hteh Order of the Rising Sun , one of the highest national honors for an artist in Japan. He died the following year. Works by him are held in the collections of: The Kyoto National Museum of Modern Art, The Kyoto Municipal Museum of Art, The Tokyo Museum of Modern Art, The Kyoto Shinkin Bank Musuem, Iwashimizu Hachimangu Shrine as well as numerous private collections.

Silver blossoms bloom in the golden foliage of weeping branches dangling from a checkered cloud design around the rim of this pumpkin shaped incense burner dating from the first half of the Edo period. Three folding fans in geometric designs are emblazoned about the lozenge form. It is 10 cm (4 inches) diameter, 8.5 cm (3-1/4 inches) tall and in overall excellent condition, with wear to the lacquer on the bottom typical of age.

A stunning small lacquered box decorated with the golden leaves of Rohdea Japonica bearing pearl white fruit enclosed in the original wooden box. Solid silver lines the edges, and the entire glistens with powdered gold. It is 13 x 10 x 5.5 cm (5-1/4 x 4 x 2 inches) and is in excellent condition, with minor wear to the bottom typical of age and use.

A dog shaped Kogo incense caser by imperial potter Suwa Sozan I enclosed in a wooden box annotated by his daughter Suwa Sozan II (Torako). It is 6.6 x 3.7 x 4.5 cm and in excellent condition.
Suwa Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako (Suwa Sozan II 1890–1977) was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

A pale porcelain dish on a raised foot decorated with wild chrysanthemum (Ya-giku) from the kilns of Hirado on the Southern Island of Kyushu dating from the 19th century. It is 15.5 cm (6 inches) diameter, 4.5 cm (just less than 2 inches) tall and in excellent condition. It comes in a contemporary kiri-wood collectors box.
The story of Hirado porcelain begins with the Matsura clan, who ruled over the Hirado domain during the Edo period (1603-1868). The feudal lord Matsura Takanobu, played a pivotal role in the development of the industry. In the early 17th century, Takanobu, inspired by the burgeoning popularity of continental ceramics, sought to establish a local porcelain production center on the island. To realize his vision, he invited Korean potters, renowned for their expertise in ceramic artistry, to migrate to Hirado and share their knowledge. This influx of Korean artisans infused the local ceramic industry with new techniques, designs, and aesthetic sensibilities. Under the guidance of these Korean masters, Hirado kilns began producing exquisite porcelain wares that reflected both Korean influences and indigenous Japanese artistic elements. The early Hirado pieces often featured delicate forms, refined decoration, and a distinctive creamy white glaze that set them apart from other ceramic styles of the time. Hirado porcelain quickly gained favor among the Japanese aristocracy and became highly sought after for its exceptional craftsmanship and aesthetic appeal. Throughout the Edo era, Hirado porcelain flourished, enjoying patronage from feudal lords, samurai elites, and wealthy merchants. The Matsura clan's support and encouragement further fueled the growth of the local ceramic industry, leading to innovations in techniques and designs. In fact one of the defining characteristics of Hirado porcelain was its ability to adapt and incorporate various influences while maintaining its distinct identity. While initially inspired by Korean and Chinese ceramics, Hirado porcelain gradually evolved its own unique style, blending elements of traditional Japanese aesthetics with innovative approaches to form and decoration. This fusion of influences contributed to the allure and enduring appeal of Hirado porcelain both domestically and internationally.

A set of 10 brilliantly gleaming golden sake cups decorated with seasonal flowers dating from the early part of the 20th century enclosed in an age darkened kiri-wood box. Each is turned from wood, covered in lacquer mixed with powdered gold, and decorated with delicate Maki-e of florals denoting the various flowers of the seasons. They are 6.5 cm (2-1/2 inches) diameter, 3 cm tall and in excellent condition.

Three spiraling Tokkuri sake flasks in vibrant colors, all bearing the mark of Living National Treasure Tokuda Yasokichi I. They are 7.5 cm (3 inches) diameter, 15 cm (6 inches) tall and in excellent condition.
Tokuda Yasokichi I (1873-1956) was born into a family of textile dyers in Ishikawa prefecture, but entered the ceramics world under the tutelage of his Brother Matsumoto Sahei, specializing in the Yoshidaya decorative technique of Kutani ware in 1890. In 1922 he received Imperial patronage. He was named one of the first living National Treasures in 1953 (and his grandson, Yasokichi III would also be named such).

Two spiraling Tokkuri Sake Flasks in vibrant color by Living National Treasure Tokuda Yasokichi I enclosed in the original signed wooden bos. Each is 8 cm (3 inches) diameter, 15 cm (6 inches9 tall and both are in excellent condition.
Tokuda Yasokichi I (1873-1956) was born into a family of textile dyers in Ishikawa prefecture, but entered the ceramics world under the tutelage of his Brother Matsumoto Sahei, specializing in the Yoshidaya decorative technique of Kutani ware in 1890. In 1922 he received Imperial patronage. He was named one of the first living National Treasures in 1953 (and his grandson, Yasokichi III would also be named such).

A spectacular example of Japanese maki-e lacquer technique of a box in the shape of a ship loaded with rice bales and treasures, sails filled with wind moving quickly over the waves. It is 15.5 x 9.5 x 4.3 (6 x 4 x 2-3/4 inches) and is in excellent condition, enclosed in a period red-lacquered wooden box with minor wear on the bottom typical o9f age and use.

A pair of crane-necked vases decorated in red and gold on crackeld cream colored glaze dating from the first half of the 20th century. The are 32 cm (13 inches) tall each, and are in excellent condition.

An exquisite vessel covered in pale earth-toned glaze reavealing the clay along the edges from the Edo period kilns of Hagi covered with a two piece custom made black lacquered wooden lid and enclosed in a period wooden mox titled Ko-Hagi Teguchi Mizusashi. It is 20 x 15 x 21 cm (8 x 6 x 8-1/4 inches) and is in excellent condition.
Hagi pottery is known for its rustic and understated beauty, which resonates with the wabi-sabi aesthetic central to the Japanese tea ceremony. The tea ceremony during the Edo period emphasized natural beauty, simplicity, and humility, and Hagi ware embodied these principles. The soft, often uneven glaze and earthy tones of Hagi pottery highlight the handmade nature of the work, and any imperfections, such as cracks or asymmetry, were seen as adding to the piece's character and value. A key feature of Hagi ware is its ability to change over time, which made it particularly valued in the tea ceremony. The soft, porous clay and glaze of Hagi pottery gradually absorb tea, and over time, the ware develops unique stains and crackles, known as keshiki (scenery). This change symbolized the passage of time and the deepening of the relationship between the tea practitioner and the object, reflecting the fleeting nature of life—a concept deeply embedded in the practice of tea. Additionally, the neutral, soft tones of Hagi bowls provided a gentle contrast to the bright green of matcha tea, enhancing the visual appreciation of the ceremony.

A highly detailed spiraling double-gourd shaped pair of bottles, the flattened sides decorated with alternating designs o florals and intricate geometrics by the elusive Nakamura Shuto enclosed in the original signed wooden box. Each is 8 cm (3 inches) diameter, 18 cm (7 inches) tall and in excellent condition.
Nakamura Shuto I (1865-1928) was born the son of famous Kaga potter of Daishoji Temple Nakamura Shigeichiro from whom, along with Takeuchi Ginshu from the age of 12, he initially studied pottery and painting techniques. Delving into the past he researched and revived ancient kiln techniques. From 1906 he took the name Shuto, and became famous throughout Japan for superb quality ceramics rivaling the best wares produced in Kutani. Suddenly in Taisho 2 (1913) he switched to painting and design, and then in 1917 combined the two disciplines in a new approach using a kiln he created in his home. Works by him are held in the Ishikawa Prefectural Museum among others.

A set of two brightly colored porcelain bottles enclosed in a period wooden box titled Hisago-gata Tokkuri martked with the potters seal beneath reading Yasokichi. Each is 9 cm (3-1/2 inches) diameter, 11 cm (4-1/4 inches) tall and both are in excellent condition.
Tokuda Yasokichi I (1873-1956) was born into a family of textile dyers in Ishikawa prefecture, but entered the ceramics world under the tutelage of his Brother Matsumoto Sahei, specializing in the Yoshidaya decorative technique of Kutani ware in 1890. In 1922 he received Imperial patronage. He was named one of the first living National Treasures in 1953 (and his grandson, Yasokichi III would also be named such).

Mother of pearl inlay forms a continental scene of sages wandering among pavilions before steep mountains on this writing box by Tei-shitsu Gigei-in (Imperial Artist) Suwa Sozan I complete with artist made celadon ink grinding stone, water dropper, brushes and a paper knife enclosed in the original signed wooden box. Inside the lid mandarin ducks swap glances under a blossoming plum tree, while cranes soar among clouds below. It is signed in red lacquer beneath. The piece is 23.5 x 27 x 5 cm (9-1/4 x 11 x 2 inches) and is in excellent condition, wrapped in the original padded silk cloth.
Suwa Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

Silver inlay decorates the frets engraved into this lemon-peel textured bronze vase by Takano Shizan signed on the base in a rectangular cartouche. It is 25 cm (10 inches) diameter, 22 cm (9 inches) tall and in excellent condition.

A Shodai-yaki plate from early in the production of that ware, some several hundred years old now. It comes with a label and old monochrome photograph of the piece both stamped with the Kumamoto Museum (Hakubutsugkan) stamp. The plate is a kiln flaw, with a split in the rim in two places which ocured during the firing process, The plate is 27 cm (10-3/4 inches) diameter and is in overall fine condition, enclosed in a red ^-lacquered old Edo period wooden box.
Shodai ware is a type of pottery begun approximately 400 years ago in Kumamoto Prefecture named after the kilns that were built at the foot of Mount Shodai, and it is considered one of the region's representative ceramics. Technically and stylistically, Shodai ware draws influence from the Korean Peninsula, featuring a rustic and robust style created using clay rich in iron. Legend states the craft began when the Hosokawa family took control of Higo Province they brought Mekoji Genshichi and Katsuragi Hachizaemon, from Buzen and Agano ware to establish kilns at the foot of Mount Shodai. Around the same time, Takada ware was also created by others, who relocated from Buzen and Agano to Yatsushiro. The use of straw ash glaze as the fundamental glaze has remained largely unchanged to the present day. In the Edo period, most Shodai ware, with few exceptions, was consumed within the Higo domain and did not spread to other regions. The remains of the kiln sites used during that time, such as the Bin'yaki Kiln and the Segami Kiln, can still be seen in Nankan Town today.Currently, there are 11 kiln families in Kumamoto Prefecture.

A school of fish crowd the black surface of this spectacular box by Goda Minoru enclosed in the original signed wooden box titled Nagare no Naka ni (Amid the Current). The rim is finished with powdered silver, and the interior is black flecked with silver flake Nashiji. It is 27.5 x 21.2 x 5 cm (11 x 8-1/2 x 2 inches) and is in excellent condition.
Goda Minoru (1933-1983) was born in Toyama, and trained under his father as well as Yamazaki Ritsuzan. He consistently exhibited with the Nitten National Exhibition (First time in 1969). He also won prizes at the Japan Contemporary Arts and Crafts Exhibition and the Japan New Crafts Exhibition. This piece dates from the last years of his short life when he was at his peak.

A bucolic landscape in blue spread across the various pieces of this boxed Sencha Tea Set from the Koransha studio decorated by the scholar artist Tanaka Hakuin enclosed in a compartmentalized and signed wooden box. The teapot is 13.5 x 9.5 x 8.5 cm. each cup 8 cm diameter, 5 cm tall, the Yuzamashi 14 x 8.5 x 5.5 cm and all is in excellent condition. Insect damage to the box has been repaired post photography.
Tanaka Hakuin (birth name Nakagawa Keizaburo, 1866-1934) was born in Suruga, Shizuoka prefecture in the last years of the Edo period and became a student of Tanomura Chokunyu in Kyoto, the cultural heartland of Japan, at the age of 17. This was a tumultuous period as Western ideas and Technology were flooding into Japan. He was the top pupil of Chokunyu, working in the style of both Chikuden and his mentor. At this time he used the name Tanomura Hakuin. In 1900 he married and moved to Hofu city in Yamaguchi prefecture taking his wifes family name Tanaka as his surname, and thereafter was known as Tanaka Hakuin. He established a school for painting where he worked for his remaining years. Work by him is held in the Mori Art Museum and Honolulu.