Catalog (105)

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 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.

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.

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.

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.

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 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 smoke tendril rises from the mouth of a bloated toad forming an Usubata flower basin in heavy olive patinated yellow bronze. The basin is 19.7 cm (7-3/4 inches) diameter, The entire 24.5 cm (9-3/4 inches) tall and it is in excellent condition. In Japanese the word for Frog is Kaeru, a homonym for: To Return. Thus the symbol of a frog means money going out will come back, a child growing up or a daughter marrying will come back to visit etc. Gama Sennin is one of the most depicted Sennin (Saints), a Daoist sage based on Liu Hai of ancient China. He has great magical powers and carries around on his back a large toad. In Chinese legend he learned all the secrets of Magic and the universe from the toad. Frogs have been known as a symbol of prosperity in ancient Chinese culture since time immemorial. As per Feng Shui, keeping frog figurines at home or in the office area, offers protection to the space and brings prosperity to one's life.

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 collapsed water jar covered in iron glaze and enclosed in an ancient wooden box heavily annotated inside the lid and named Ho-gyoku by the Head priest of Bukkoji Temple in Kyoto. There is a red lacquered Ka-o signature used by the elite on the side of the vessel. It is 32 x 23 x 27.5 cm (11-1/2 x 9 x 11 inches) and is in fine condition. The box lid claims it was the property of or named by the head of Bukkoji Temple in downtown Kyoto.
In 1212, following his expulsion to Echigo, the True-land Buddhist prophet Shinran Shonin returned to Kyoto and began to develop the teaching of Shin Buddhism at a hermitage in Yamashina (eastern part of Kyoto). This hermitage was the origin of the present-day Bukkoji Temple. It was named Koryu Shoboji Temple. Genran, the 8th Abbot, who succeeded, passed away in the 13th year of his reign. His wife, Ryomyo, was appointed the 9th Abbot. In an era more than 600 years ago, when women were severely discriminated against, a woman abbot was unheard of. But in establishing Bukkoji: "Amida's Primal Vow does not discriminate between the young and old, good and evil; true faith alone is essential." In 1586, under orders from the Shogun Toyotomi Hideyoshi, Bukkoji was moved from Shirutani to the present location.

A set of five covered pottery bowls by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Ninsei Suimono Wan. The basic setting in Japanese food is Ichiju-Sansai or one soup, three dishes. So instead of mixing everything on one plate, each part of the meal is given its own dish. Suimono Wan are bowls for clear soup served between parts of the meal to cleanse the palette. These bowls are 8.5 cm (3-1/4 inches) diameter, 8 cm tall. One bowl has a gold repair to the lid, otherwise they are all 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 through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers 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 kiln 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.

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 sake cup stand (Haidai) in sometsuke blue and white pottery decorated with festive lobsters stamped on the base Momoen-zo and enclosed in an older wooden collectors box. It is 9 cm square, 6.8 cm tall and in perfect condition, dating from the later 19th century.

A 19th century fan shaped dish from Southern Kyoto decorated with sailboats passing the pines of Matsushima in front of Mt. Fuji enclosed in an old wooden collectors box. It is 23.5 x 16 x 2.5 cm (9-1/2 x 6-1/4 x 1 inches), with minor chips to the edges typical of the softer clay of Awata. It is stamped on the underside Rakunan, Junzan. Rakunan refers to the southern part of Kyoto city.

A small set of three nesting bowls with pouring lips by Asami Gorosuke of the Kyoto Pottery Tradition dating from the late 19th to early 20th century. The largest is 11.5 x 13.5 x 6 cm, and all are in perfect condition.

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.

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.

5 low-fired plates in sundown-colors decorated with seasonal images by Nakagawa Wado (1880-1943) from the Jusanken Kiln of Osaka. Each is roughly 14 cm (5-1/2 inches) diameter and in excellent condition.
The Kikko Kiln was established in Osaka in the opening years of the 19th century by Iyo native Toda Jihe, who had learned the ceramic arts in Kyoto under all of the great names of the time, Kiyoizu Rokubei I, Ryonyu the 9th generation head of the Raku family, and Ninnami Dohachi among others. He would be known as Jusanken Shogetsu. After being noticed by then Daimyo of Osaka area Mizuno Tadakuni, he received the kiln name Kikko. His works were distributed as gifts among the Daimyo, and he was called to work in many fiefs creating “Niwa Yaki” kilns throughout Japan. During the Meiji the kiln would be split into two continuing lineages, one using the Jusanken stamp, the other Kikko Shogetsu.