Catalog (105)

A very unusual dish in the shape of a wide grape leaf with a cluster of celadon grapes growing off an iron red vine by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box. It is 16.5 cm (6-1/2 inches) across in both directions, 6.5 cm (2-1/2 inches) tall and in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The unlucky third generation inherited the kiln at the height of the war years, it was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A set of 5 dishes in the shape of Tai (sea bream), a fish whose name is synonymous with celebration, dating from the fist half of the 20th century and enclosed in the original wooden box signed Ryokufu-gama. Each dish is 8.5 x 13.5 x 2.5 cm (3-1/2 x 5-1/2 x 1 inch) and all are in excellent condition.
Sea bream is not just a culinary ingredient but also a cultural symbol in Japan, embodying elegance, celebration, and respect for tradition. Sea bream is considered a premium fish, often reserved for special meals or high-end dining experiences. The fish's appearance, with its vibrant red color and elegant shape, makes it visually appealing and suitable for festive presentations. Historically, it was regarded as a fish for the nobility and samurai class. The word "tai" is associated with "medetai" which means auspicious or celebratory. Because of this, sea bream is often served at festive occasions like weddings, New Year celebrations, and other milestones.

A bun-shaped incense case by Teishitsu Gigei-in Suwa Sozan I enclosed in the original signed wooden box titled Seiji Kogo decorated with a mythical Kirin. It is 6 cm (2-1/23 inches) diameter and in excellent condition. The box bears the Imperial artist seal.
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.

A classic early Tanabe Chikuunsai basket enclosed in the original signed wooden box signed with his early name. That this is signed Shochikusai indicates it was created before he took the family name in 1937. This square form of open vertical slats is a favorite of this artist. The basket is 10 x 17 x 33.5 cm (4 x 6-1/2 x 13 inches) and is in excellent condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.

A wooden tray carved in the shape of a lotus leaf which seems to be almost as thin as the real thing, and amazing feat for the artist. It is 31 x 30 x 1 cm (roughly 12 inches diameter) and in excellent condition dating from the early 20th century and enclosed in a period wooden storage box titled Hasunoha-gata Kashibon.

A pair of very cool Tokkuri sake flasks with looping handles decorated in barber-pole fashion with a striking design of spiraling red on pale cream glaze. Each is signed on the base Seizan, and they come enclosed in a period wooden box titled Seizan-yaki Sake Tsubo. Each is roughly 5;.5 cm (2 inches) diameter, 12 cm (5 inches ) tall and both are in excellent condition.

Floral sprays in vivid color decorate this set of Tokkuri sake flasks by Kanzan Denshichi enclosed in the original signed wooden box. Each is 5.5 cm (2 inches) diameter, 16 cm 6-1/4 inches) tall and in excellent condition.
Kanzan Denshichi (1821-1890) was born in the ceramic-producing area of Seto. He worked at the Koto kiln of the Ii family in the Hikone domain, moving to Kyoto when the kiln closed in 1862. In Kyoto, he established his workshop at the base of Kiyomizu-zaka where he worked under the name Terao Denshichi and is thought to have been one of the first ceramicists in Kyoto to specialize specifically in porcelain. In the first year of the Meiji era (1868) he worked to supply the Kyoto Prefectural Office, following which he studied Western painting and pottery decoration under Gottfried Wagner. In the following three years, production was renamed Shountei and he worked under the name Kato Kanzan. Kanzan’s works include porcelain tableware, both Western and Japanese in style, often decorated with brightly colored polychrome and gold. Some of these wares were made for export, and Kanzan also exhibited at international exhibitions, securing a gold medal at Paris in 1878 In 1881 during their visit to Japan, Queen Victoria’s grandsons: Prince Albert Victor, Duke of Clarence and Avondale, and Prince George, Duke of York (George V), visited Kanzan’s workshop in Kyoto. The Imperial Household Ministry purchased Kanzan’s works, including some tableware for use in the Enriokan and other items in the style of the underglaze blue decorated Edo-period imperial porcelains known as kinri goyōtōki.
Pieces by Kanzan may be found in the collections of the Sannomaru Shōzōkan (Museum of the Imperial Collections) and Imperial Banqueting Department of Japan’s Imperial Household Agency, Tokyo National Museum and Kyoto Prefectural Library and Archives. The Victoria and Albert Museum has a pair of vases displayed at the Philadelphia Centennial Exhibition of 1876, a pair of ginger jars and four other small pieces. In 2014, the Sannomaru Shōzōkan devoted an exhibition to a Japanese-style polychrome dinner service made by Kanzan’s workshop for Prince Arisugawa Takehito: Beautiful Modern Kyoyaki (Kyoto-style ware) – Fine works by Kanzan Denshichi passed down within the Prince Arisugawa Family, 21 March – 22 June 2014.

An exemplary Bizen Tsubo typifying the late Momoyama style in rough dark clay with smoothed finger grooves spiraling up the body, and a smattering of flying ash typical of the 16th century with a kiln mark (kamajirushi) in the shape of a cross at the base opposite a hash mark. Occasional Shiseki and Ishihaze break the surface, testament to the less refined ‘yamadzuchi’ mountain clay which was used. The base is baked to a stone-like texture and sheen. This is a perfect example of the pottery produced in Bizen during the Momoyama period. It is 24 cm (9-1/2 inches) diameter, 28.5 cm (11-1/4 inches) tall and in excellent condition.
Bizen is one of the Rokkoyo or six ancient kilns of Japan. It is considered by many to be the quintessential Japanese pottery. It was traditionally produced in and around the village of Imbe in Bizen province, from where it received its name. It is therefore also known as Imbe or Inbe ware. As we know it today it made its appearance during the Kamakura period of the 14th century. It experienced its first peak during the Momoyama period of the 16th to early 17th centuries when the unadorned aesthetic was found to blend well with the rustic confines of the tea room. It remained strong throughout the Edo period, but fell into decline after the Meiji restoration, and owes much thanks to Kaneshige Toyo for helping to revive it in the second quarter of the 20th century, a task for which he was granted the status of living National Treasure, and has enjoyed great popularity since.

A Rooster stands proudly in slight relief, his tail plumage draping down like a cape, on the lid of this celadon incense container by Suwa Sozan I enclosed in the original signed wooden box bearing the Teishitsu Gigei-in stamp. This would be the last Zodiac animal created by the artist, as he passed away the following year. It is 6 cm (2-1/2 inches) diameter and in excellent condition. An example of this piece is published in the rare 1971 book Suwa Sozan Sakuhin Shu page 44.
Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A beautiful Shallow bowl with inverted rim decorated with delicate designs by Miyagawa Makuzu Kozan enclosed in the original signed wooden ox titled Ninsei Kameko Moyo Kashiki (Dish deocorated with Tortoise shell pattern). It is 19.5 cm (8 inches) diameter, 8.5 cm (3-1/2 inches) tall and in perfect condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The unlucky third generation inherited the kiln at the height of the war years, it was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A boxed set of Binshi offering vases decorated with regal fowl enclosed in a period wooden box by Kiyomizu Rokubei. Each is roughly 12 cm 4-3/4 inches) tall and in perfect condition. Very difficult to tell with this signature, but I believe it is the work of the 4th Rokubei, possibly a very early work by the 5th.
Kiyomizu Rokubei IV (1848-1920) was born the first son of Rokubei III and headed the family kiln from 1883-1913.He studied painting in the Shijo manner under Shiiokawa Bunrin and had a brotherly relationship with his fellow student Kono Bairei (under whom his own son would study painting). He sought to revitalize the pottery tradition of Kyoto, bringing in new techniques and styles and together with artists like Asai Chu and Nakazawa Iwata took part in the Entoen group and with Kamisaka Sekka the Keitobi-kai. He also held a strong relationship with literati artists such as Tomioka Tessai and together with these artists produced many joint works. He fell ill in 1902, finally handing the reins over to the 5th generation in 1913.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maekawa Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the The National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

A Tsubo which slumped in the kiln adhering to a pair of sake cups, one of which remains clinging to the side. It appears to be Karatsu ware, green glaze sliding over rich red iron and forming beads around the foot ring. It is 23 x 17 x 22.5 cm (9 x 7 x 9 inches). There is a small chip in the rim but is otherwise in excellent conditiom.

A shishi lion bites into a tangle of ribbon on the pierced lid of this pottery koro by Ito Tozan enclosed in the original signed wooden box. The six sided bosy is decorated with alternating designs of gees and florals among lattice-work. It is 8.5 x 8.5 x 14.5㎝ and in excellent condition.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III and Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937). He too began life as a painter, but his talent was seen by Tozan I, who adopted him and converted him to pottery, where he both succeeded and excelled as a member of one of Kyotos most well known pottery families.

A fantastic Meiji period tray used for serving sake featuring crows in a leafless tree under the full moon enclosed in an old wooden box signed Shunso. The tray is constructed of wood covered in a layer of cloth with dark red lacquer, the decoration fo crows in a tree performed in black under a moon of silver powder. It is 42.5 x42.5 x 4.5 cm and is in fine condition.

An oki-goro incense burner made up of a hollowed burl of wood set onto a beautiful exotic dark-wood stand in the manner much appreciated by scholars of the 19th and early 20th centuries. Incense burnt inside on a metal stand would have produced smoke which drifted out through holes in the high peak of the burl, and around the base, like a mountain visible in the mist. It is 17 x 10.5 x 9 cm (7 x 4 x 3-1/2 inches) and is in overall excellent condition.

A breathtaking tray decorated with early morning Lotus with misty clouds of gold on highly polished ro-iro black signed Kunisada featuring a solid silver rim enclosed in a silk lined box wrapped in blue cloth pouch stamped Ogaki Kunisada. Early morning dew beads like pearls in the basin of the dilapidated leaf in the fore, while the flower bulb, not ready yet to open, glistens gold in the late summer sunlight. The tray is 27.5 x 27.5 x 3cm (11 x 11 x 1-1/4 inches) and is in perfect condition. The wooden box has a paper label simply titled Ogaki Kunisada Haibon (Sake Cup Tray).

A pumpkin lobed vase with silver inlay by Naimen Shiho I (Katsuji) enclosed in the original signed wooden box. It is 19.5 cm (8 inches) diameter, 27 cm (11 inches) tall and in excellent condition. This is a great pair with the vase in the same form in simple Murashidao mottled olive tones by his son.
Naimen Shiho I (Katsuji, (1904-1987) studied metalwork under Ichioka Shiun from the age of 15 establishing his own workshop in 1925. His work was first publicly exhibited at the 1930 National Shokoten. Two years later he would be awarded at the Belgium World Exposition. He remained active throughout the troubled years of the mid-century for which he would receive the order of cultural merit from Takaoka City in 1967. Work by him is held in the Takaoka City Museum. He remained an active promoter of traditional bronze ware until his death in 1987. His son, the second generation Shiho would study under his father from 1957. He too is much lauded beginning with top prize at the 1974 Takaoka Traditional Craft Exhibition (-showa 62).

A paradigmatic basket by Tanabe Chikuunsai II enclosed in the orginal signed wooden box. This square form of open vertical slats is a favorite of this artist. It is 9 x 18 x 35 cm (3-1/2 x 7 x 14 inches) and is in excellent condition.
Tanabe Chikuunsai II (1910-2000) was born in Osaka the son of Tanabe Chikuunsai I and trained under his father. In 1930 he became a member of the Naniwa Ranyukai and exhibited was first accepted into the Teiten (Modern Nitten) National Art Exhibition in 1931, and exhibited there both prior to and following the second world war. He assumed the name of Chikuunsai II on the death of his father in 1937. In 1991 he transferred his studio name to his eldest son, who became Chikuunsai III and took the retirement name Ichikusai. Work by him is held in museums throughout the world including the Metropolitan Museum in New York, Museum of Fine Art in Boston, San Francisco Asian Art Museum and aforementioned Minneapolis among many others.

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.

A Phoenix in Blue and White with highlights in red by Miyagawa (Makuzu) Kozan decorated overall in Sometsuke Blue and White with highlights of green and red signed on the underside Makuzu. It is 11.5 x 9.5 x 10.5 cm (roughly 4-1/2 x 4 x 4 inches) and is in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The unlucky third generation inherited the kiln at the height of the war years, it was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A Fabulous Bronze Serving Vessel with Rams-head handle lined with silver by Living National Treasure Katori Masahiko enclosed in the original signed wooden box titled Hitsuji-mimi Hissen. It is 19.5 x 14 x 7.5 cm (8 x 5-1/2 x 3 inches) and in overall excellent condition, signed on the base Masahiko.
Katori Masahiko (1899-1988) was born into the family of prominent Bronze Artist Katori Hozuma in Chiba. He was internationally awarded at the Paris Exposition in 1925, the year he graduated The Tokyo University of Fine Arts (a student of Tsuda Shinobu). Heavily involved with the Teiten/Nitten National Art Exhibition, following the destruction of the Second World War, he would spend years working to save Japanese Buddhist Treasures, and making Bells for Temples an

A fabulously sculpted Ao-Bizen Koro Incense Burner in the shape of a thatch roofed boat dating from the Edo period enclosed in a wooden box titled and annotated by the artist Mashimizu Zoroku titled Bizen Ao-yaki Funa Gata Koro. It is 24 x 8.5 x 9.5 cm (9-1/2 x 3-1/2 x 4 inches) and is in excellent condition.
Mashimizu Zoroku I ((Shimizu Tasaburo, 1822-1877) studied under his uncle Wake Kite and established his independent studio in 1843, taking the name Mashimizu Zoroku. He became independent in 1843 working along with Sen Soshitsu XI. His work was exhibited at the Vienna international exposition in 1873 and Philadelphia in 1876. Zoroku II (Jutaro,1861-1936) was born in the Gojo-zaka Pottery district of Kyoto and inherited the pottery tradition of his father, and, after his early death, continued under the guidance of his mother Chika, taking the name Zoroku in 1882. He was awarded at the Kyoto Kangyo Hakurankai Exposition. He colluded with some of the greatest artist of the day in reviving lost Japanese traditions such as Koyama Fujio and Arakawa Toyozo as well as being heavily involved in research into continental styles. He was a well regarded member of the city’s literatus, and is remembered for both his pottery and paintings in the Nanga tradition,

The weeping branches of a gold willow cascade over this mirror black Tea Caddy lined with powdered silver by Suzutani Tetsugoro enclosed in the original signed wooden box titled Natsume-Me-yanagi (Tea Caddy, Willow in Spring Folliage). It is 7 cm (just less than 3 inches) diameter, 7.5 cm (3 inches) tall and in excellent condition, wrapped in the original artist signed and stamped silk cloth.

Two long eared Rabbits, one rising up on the back of the other, together form an adorable incense burner dating from the later 19th to early 20th centuries. Together they are roughly 22 x 14 x 16.5 cm (9 x 5-1/2 x 6-1/2 inches) and are in overall excellent condition, with some wear on the patina revealing the bright yellow bronze where they rest on the table evidencing age.

A ceramic container sculpted with Buddhist figures by Saito Kairaku enclosed in the original signed wooden box titled Ao-Kochi Koro (Blue Kochin Style Incense Burner). Kochi pottery is made in the style of Kochin ware from China, in this case Ao refers to the green visible under the gold. The entire piece has been glazed in green, which is in turn covered in gold. It is 10 x 10 x 13 cm (4 x 4 x 5 inches) and in excellent condition.
Sagano ware is one of the types of pottery that originated from a kiln located in front of Daikaku-ji Temple in Sagano led by the potter Saito Kairaku from the Meiji to Taisho periods. Kairaku was born at the end of the Edo period and worked as an assistant to Eiraku Wazen. After Wazen's death, Kairaku became independent. Mitsui Takanao, who was the most enthusiastic about pottery among the Mitsui family—a clan of tea ceremony enthusiasts during the Meiji era—collaborated with and received guidance from Kairaku for the kiln at his residence, as recorded in the Mitsui family archives. Though now forgotten, Kairaku was highly regarded in Kyoto as a skilled potter, and he is said to have received many orders from temples and shrines.

Birds populate the branches of a plum tree burgeoning with blossoms on the blue void of this baluster form porcelain vase by important 20th century artist Kawamoto Rekitei enclosed in the original signed wooden box. It is 19 cm (7-1/2 inches) diameter, 24 cm (9-1/2 inches) tall and in excellent condition.
Kawamoto Rekitei was born in Aichi prefecture, home of Seto-yaki and a long standing important production center for Japanese Sometsuke porcelains. In 1914, at the very young age of 20, he received the top prize at then National Ceramics Exhibition (Tojiki Hin Hyou Kai and later (1922) received the gold prize at the Peace Exposition. His works were featured at the Paris, San Francisco and Chicago World Expositions. He was contracted by the Japanese government in 1948 to create a vase for presentation to President Truman, and his work graces the collection of the Imperial Household. In 1972 he was named an Important Cultural Property of Aichi Prefecture (Ken Shitei Mukei Bunkazai). He was survived by his son, Kawamoto Goro, and grandson, Kawamoto Taro

A beautiful antique Shino plate in gray and white with designs of soaring birds dating from the first half of the 20th century. It is 27 cm (11 inches) square, 6 cm (2 inches) tall and in excellent condition, supported on 4 small scrolling feet.

Dragons writhe over tempestuous waves on this large Kyoto Ninsei style pottery vase dating from the 19th century wrapped in a padded silk pouch and enclosed in a period wooden box. Meticulously crafted and decorated, it is a superb example of the late Edo to Meiji period aesthetic. The vase is 23 cm (9 inches) diameter, 31.5 cm (12-1/2 inches) tall and in overall excellent condition.

A Noh mask representing either the deified spirit of the Sugawara no Michizane and or a god linked to agricultural rituals. Carved wood with mineral pigments and gold, it is 22 x 16 cm and in fine condition, dating from the 20th century.
The mask's unassuming nose, thin-lipped, open mouth exposing upper and lower teeth, and fleshy cheeks are simple and human-like. However, the reddish coloring, the hair around the lips, the eyebrows that sweep upward, and the gold metal eyes that peer downward give the mask an air of heightened emotions and movement. Used to portray Michizane in the plays such as Raiden and is also connected to agricultural rites and is used to portray heavenly gods.

A Noh mask representing a middle-aged woman torn by separation from a loved one, either man or child. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20.8 x 13.5 cm and in overall fine condition bearing the carvers seal in the back. Gentle and mature, fukai's face is filled with a melancholy that comes from experience and feeling. The features are deep-cut, with crevices along the lower cheeks and deep-set eyes with heavy eyelids and drooping corners. The well-modulated lips neither smile nor frown. The fleshy face has a protruding forehead and chin, creating a slightly concave silhouette. Fukai masks come in a spectrum of ages, the oldest being labeled yuki no fukai (snow), the next tsuki no fukai　(moon), and the yougest hana no fukai (flower).

A carved wood Noh-men Mask of an aged male figure called Okina. Carved wood covered with Gofun and mineral pigments with horse-hair and chord, 20th century. It is 18.5 x 15.2 cm and in overall fine condition bearing the carvers seal in the back.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

White blossoms cluster along the thin branches draped over the shoulder of this exquisite pink tinged vessel by Imperial artist Seifu Yohei III enclosed in the original signed wooden box titled Shiroyama no Sakura no Zu Kabin (Blossoms of Shiroyama Vase). This is the pinnacle of production for imperial artist Seifu Yohei III, a large Taihakuji porcelain vase with carved designs. Museum quality would be an understatement. Seifu III was known to have made few large works, so this is a very important piece, and Taihakuji was his most appreciated style. It is 19.5 cm (8 inches) diameter, 29.5 cm (12 inches) tall and in perfect condition and retains the original rosewood base and original stamped cloth wrapping.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei Shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

A ripened Persimmon, symbol of the season changing from autumn to winter, sits like a fat Daruma in red robes surrounded by a poem by Nomura Seiroku enclosed in the original signed wooden box. The poem reads: Furusato Ha Itsumo Mandara, Fuyu no Kaki (In my hometown the eternal Mandala, winter Persimmons). Ink and light color on paper with green fabric border featuring wood rollers. It is 37.5 x 124.5 cm (15 x 48-3/4 inches) and is in excellent condition.
Nomura Seiroku was born in 1916 as the fourth son of a farming family in Yamanashi Prefecture. During his childhood, he was entrusted to relatives and spent his time drawing late into the night while working at a cotton mill. At the age of 17, he persuaded his parents and relatives to let him move to Tokyo, where he took on various jobs while attending the night school at Kawabata Art Academy where he formed lifelong friendships with other painteers such as Iwasaki Hajin, Komatsu Hitoshi, and Taniguchi Sango. He sought mastery of the Tsuketate technique. which involves using a rough brush held vertically to create a strong brushstroke that carves the framework of the painting without sketching.In 1943, Seiroku was drafted into the Yokosuka Navy. Around the same time, he married Tokiko Nomura, a daughter from an old family in Komatsu City, Ishikawa Prefecture, whom he had met during his art school days. As a result, he adopted the Nomura surname. In the early years of their marriage, Seiroku had little income, so in 1951, at the age of 35, he made a decisive move to focus on his artistic direction. He left his family and relocated to a cabin by Shibireko Lake in Yamanaka, Yamanashi Prefecture. There, he spent four ascetic years perfecting his "Tsuketate" technique. During this period, Nomura began creating cover illustrations for the haiku magazine "Kira" and held his first solo exhibition in Yamanashi Prefecture. He also showcased his works at various exhibitions, including the Shinseisaku Art Society Exhibition and the Japan Independent Exhibition. In 1955, after returning to his family in Komatsu City, he moved his studio to Kashiwa City, Chiba Prefecture, to facilitate exhibitions and negotiations with art dealers in Tokyo. In the 1960s, Nomura produced outstanding works using flat and thick painting techniques. From the 1970s onwards, his brushwork became more free and spontaneous, and he began incorporating his own haiku into his paintings, evolving towards a more literati painting style. Work by him is held in the Tokyo National Museum of Modern Art, the Wakayama Prefectural Museum of Art and the Yamanashi Prefectural Museum of Art where a major retrospective was held in 2000.

A fabulous scroll featuring a poem in rich, dark ink raining down upon a fog bank rising to meet the erratic verse by Nomura Seiroku. The poem reads Mokomokomokomoko kage mo mihezu aki no tsuta. Ink and light color on paper in a cool toned cloth border with turned wood rollers. It is 43 x 147.5 cm (16-1/2 x 58 inches) and is in excellent condition.
Nomura Seiroku was born in 1916 as the fourth son of a farming family in Yamanashi Prefecture. During his childhood, he was entrusted to relatives and spent his time drawing late into the night while working at a cotton mill. At the age of 17, he persuaded his parents and relatives to let him move to Tokyo, where he took on various jobs while attending the night school at Kawabata Art Academy where he formed lifelong friendships with other painters such as Iwasaki Hajin, Komatsu Hitoshi, and Taniguchi Sango. He sought mastery of the Tsuketate technique. which involves using a rough brush held vertically to create a strong brushstroke that carves the framework of the painting without sketching. In 1943, Seiroku was drafted into the Yokosuka Navy. Around the same time, he married Tokiko Nomura, a daughter from an old family in Komatsu City, Ishikawa Prefecture, whom he had met during his art school days. As a result, he adopted the Nomura surname. In the early years of their marriage, Seiroku had little income, so in 1951, at the age of 35, he made a decisive move to focus on his artistic direction. He left his family and relocated to a cabin by Shibireko Lake in Yamanaka, Yamanashi Prefecture. There, he spent four ascetic years perfecting his "Tsuketate" technique. During this period, Nomura began creating cover illustrations for the haiku magazine "Kira" and held his first solo exhibition in Yamanashi Prefecture. He also showcased his works at various exhibitions, including the Shinseisaku Art Society Exhibition and the Japan Independent Exhibition. In 1955, after returning to his family in Komatsu City, he moved his studio to Kashiwa City, Chiba Prefecture, to facilitate exhibitions and negotiations with art dealers in Tokyo. In the 1960s, Nomura produced outstanding works using flat and thick painting techniques. From the 1970s onwards, his brushwork became more free and spontaneous, and he began incorporating his own haiku into his paintings, evolving towards a more literati painting style. Work by him is held in the Tokyo National Museum of Modern Art, the Wakayama Prefectural Museum of Art and the Yamanashi Prefectural Museum of Art where a major retrospective was held in 2000.

A devil plays the shamisen, a cup and bottle of sake at his knee, on this wide low bowl by Kiyomizu Rokubei V decorated by Nakajima Kaho with a poem scrawled about the outside enclosed in the original signed wooden box titled Kaho-gajin hitsu Kashi-zara. It is 21.5 cm (8-1/2 inches) diameter 6 cm (2-1/4 inches) tall and in perfect condition. The box retains the original wrapping cloth stamped by Rokubei.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.
Nakajima Kaho (1866 - 1939) studied painting under Mori Kansai (1814-1892) and calligraphy under famed artist Tomioka Tessai (1836-1924), later marrying his eldest daughter and this family relationship is believed to have been the basis of Kahô's lifelong friendship with the famous painter, who was 30 years his senior. In his early years Kahô was a competent painter in the Maruyama-Shijô tradition, but at the end of the 1910s he started studying 18th century painters from the Kansai district, e.g. Nagasawa Rosetsu, Itô Jakuchû and especially Yosa Buson, whose style served as his model from then on. Apart from making paintings, Kahô also made prints, lacquer paintings and pottery.

A classic Tamba Tea leaf storage jar (Chatsubo) with interesting mukimimi or “turned ears”, the tie lugs swirling like a Domoe on the shoulder next to the neck, each leaning to the right, as if listening to the next. In my experience this is quite unusual. The jar is covered in rivulets of flowing green leading down to an undulating belt line between the glaze and the raw clay. A white shadow in the clay indicates where once a label, likely identifying the type of tea contained, had once been applied. The jar is 28 cm (11 inches) tall and in excellent condition.

A Takatsuki stand of wood covered in black lacquer decorated with scrolling vines among which are randomly placed crests in the design of the Daruma Wheel on the stem, and the heraldic Mitsuba-aoi hollyhock crest within the tray. Slightly warped and worn with the centuries, finding a piece from this era in such good, original condition, is exceedingly rare. Early Muromachi, 14-15th century, it is 30 x 30 x 28.5 cm (12 x 12 x 11-1/2 inches).
The Mitsuba Aoi crest is associated in modern times with the Tokugawa clan, however many clans used the crest in the past, as it was the crest of the Kamo-jinja Shrine. Many local clans in Mikawa, such as the Matsudaira clan, the Sakai clan and the Honda clan, used the aoi-mon as their family crests. Gradually through the Edo period the use of the Mitsuba Aoi was severely restricted to only those associated with the Edo Bakufu (Shogunate).

A very thin cast bronze image of a hunched female crow in dark olive patina with an incised signature on the underbelly Takayo dated Bunan 2 (1445). The image is made in several parts, the upper and lower halves of the body joined along the neck and under the wings, the feet separately cast and attached where they join the body. There is some form of plug, or possibly spur mark, on the breast above the signature. It is 23 x 16 x 10 cm (9 x 6 x 4 inches) and weighs 616 grams (1.3 pounds), in overall excellent condition.

The gaze is stern on this Edo period image of the divine general Shori Ken (Chinese: Zhongli Quan or Han Zhongli), god of war and one of the eight immortals in the Daoist pantheon. This character is most discernable by his feather fan which was said to be able to resurrect the dead and here he holds out prominently in front of himself. Astride a typical stocky Japanese horse in full trappings, he would have looked down on visitors from a gate or the eaves of a palace or shrine. The tassels on the horses trappings and a few facial highlights are done in soft color, the rest in natural wood. The figure is 19 x 20 x 40 cm (roughly 8 x 8 x 16 inches) tall, carved of hardwood, and is in overall excellent condition but for one chipped finger on his right hand.
Taoism is ever present in the background in Japan, its rituals, superstitions, and symbols. As well it is certain that Taoism and its symbolisms are prominent in Japanese art, much more so than Confucianism. However it has been here so long and become so intertwined with the culture it is difficult to distinguish. According to Jeffrey L. Richey: Though there is no dispute that Daoism is present in Japanese culture, the degree and importance of its influence has been the subject of ongoing scholarly debate. One problem has been dislodging its specificity from the broader mass of Chinese culture that has entered Japan over 15 centuries. This very span of time admits a complicating plurality: Daoism in China was multilayered and changed over time, while its products, which first arrived in Japan as part and parcel of the ritsuryō state (7th century), went on to appear piecemeal chiefly through textual sources over the centuries.

A very rare pair of Art-Deco era bronze candlesticks covered in polished nickel by Hata Zoroku enclosed in the original signed wooden box. Each is 12 x 7.5 x 35 cm (5 x 3 x 14 inches) and is in overall excellent condition, with some minor wear to the nickel. They come with teh original adapters for samller candles.
Hata Zoroku I (b. 1823) was especially famous for his iron kettles used in tea ceremonies, which often featured intricate designs and ornamentation. His work gained recognition not only in Japan but also internationally. He was instrumental in preserving traditional Japanese metalwork techniques during a time of great social and political change. His works often displayed a balance between functionality and artistry, which helped solidify the demand for high-quality, handcrafted kettles. His success led to the establishment of the Hata Zoroku lineage, setting a high standard for future generations. Later generations continued to uphold the Hata Zoroku name, producing highly sought-after metal objects that reflected the blending of traditional craftsmanship with modern influences. Zoroku II (1854–1932) was active during the late Edo period into the Meiji era, a time of major social and economic transformation in Japan. He continued his father’s legacy in crafting fine kettles, but also expanded the family’s craft into more decorative objects. With the growing export market during the Meiji era, Zoroku II’s works reached international audiences. His pieces often exhibited a fusion of traditional Japanese and Western influences, reflecting the cultural shifts of the time. Zoroku II began incorporating newer techniques and styles, blending modernity with tradition. He experimented more with motifs such as landscapes, animals, and symbolic patterns, and his work was highly regarded in both domestic and international markets. His works were showcased in international expositions, contributing to Japan’s recognition as a center for exquisite craftsmanship. Zoroku III worked hard to ensure that traditional metalworking techniques were preserved during a time of industrialization. He was especially known for creating limited edition pieces that were highly valued among collectors of traditional Japanese art.

A wild Edo period figure of a devil bent over backwards in the bridge position, a Sharito Tower balanced on his abdomen, a bell dragging him down suspended from his back. What awful crimes did he commit to be punished so!?! The bronze bell is either from, or at the least pays homage to, Korean styles. Dating from the Edo period, the unusual image is 22 x 14 x 66 cm (9 x 5-1/2 x 26 inches). Some minor losses to the polychrome consistent with age. The crystal ball and brass fitting inside the tower are later additions.

A hauntingly beautiful set of 6 Edo period dishes decorated with Sasa-grass in mellow beige color on a creamy white surface. Each is roughly 12 x 8 x 2.2 cm (4-3/4 x 3-1/4 x 1 inches) and are in overall fine condition, enclosed in an ancient wooden box. It is likely there were originally 10 dishes, 6 of which have survived the centuries.

Tile images on cracked pale glaze decorate this squared bowl stamped on the bottom Fuji from the Fujimiyaki Kiln of Nagoya enclosed in an old wooden box. There is one tiny gold repair on the rim, otherwise is in perfect condition. 13.5 cm (6-1/2 inches) square, 9 cm (3-1/2 inches) tall.
The founder of Fujimiyaki, Murase Hachiroemon I (Miki) was a samurai of the Owari Domain who served in various positions, regional magistrate and head of the domain school. He was also skilled in many arts, including seal carving, tea ceremony, poetry, and haikai (Japanese linked-verse poetry). His house was adjacent to a kiln belonging to the potter Keisuke (of Keiraku ware), and he married Shige, the daughter of Hozo Ichie, an Owari samurai. Because of these connections, he learned pottery techniques from Hozo and enjoyed making his favorite ceramics around Kaei 5 (1852). In 1879 (Meiji 12), they built a kiln in the garden of their villa in Kamimaezu (Fugetsuso Seisonsha) and began their pottery business with six people, including four technicians invited from Seto. Some of the works from Mika’s pottery hobby up until this time, including tea bowls, water jars, and flower vases, are part of the Morse Collection at the Museum of Fine Arts in Boston. They are also included in the Clemenceau Collection at the Montreal Museum of Fine Arts.