Catalog (105)

A lovely tray in the shape of a split lotus leaf by Ito Tetsugai enclosed in a period wooden box titled Sencha Shiki Habon. It is roughly 53 x 25 cm (20-1/2 x 10 inches), expertly carved to be incredibly thin. Trays like these were used as decorative objects in the service of steeped green tea, and were very popular from the Meiji through early Showa eras.

A shard has been grafted into the side of this large misshapen Shino bottle dating from the Momoyama to early Edo period, the repair lined with gold. Gold also circle the neck where the discarded misfire was repaired, and gleams on the lip. It is 22 cm (9 inches) tall and in excellent condition. It comes in an age darkened wooden box titled Ko-Shino Tokkuri, Shoki no Kama (Old Shino Tokkuri, early Kiln era)
This method of using pieces from multiple works with lacquer repair is called Yobitsugi. Yobitsugi is a form of kintsugi that entails combining pieces of different objects together in order to create a completely new vessel. The newly created vessel is typically made of 60% – 70% of the first vessel and 30%-40% of the second vessel. It is said that this technique was used as a sign of reconciliation between two warring factions during the Sengoku Period, the era of warfare surrounding the 1500s. It was common for the leaders of these factions to hold tea ceremonies with each other to negotiate peace. It is said that, when the negotiations were successful, yobitsugi was used to combine the tea sets used at the meeting where peace was decided.

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.

Bonji Sanskrit characters pierce the lotus finialed lid of this large antique bronze incense burner. The vajra-like finial topped in the shape of a lotus flower is hollow, the lotus seed pod pierced with holes to allow the smoke to escape like a chimney. This is also removable, slotting in to the incense burner, and turned to lock it in place. Inside the lid is stained and shiny from years of incense soot built up. It is 35.5 cm (14 inches) tall, 18 cm (7 inches) diameter and in overall excellent condition (a bit dusty in the photos as found).

A porcelain bowl made by Mokusen of Kyoto decorated in blue with waterbirds taking flight from a reed-dotted shore followed by a four character verse by Oyabu Shunko enclosed in the original wooden box signed by both artists dating from the early 20th century. It is 18 cm (7 inches) diameter, 9 cm 3-1/2 inches) tall and in excellent condition.
Mokusen was a prolific porcelain artist in Kyoto well known for his tea ware. Oyabu Shunko was born in Kyoto in 1901 and studied Nihonga under Yamamoto Shunkyo, exhibiting with the Bunten where his work was awarded Yusen.

This is a fabulous painting dated 1930 by Shirakura Niho enclosed in the original signed wooden box titled Ko-Ten-Bo-Setsu (Twilight Snow in the Bay). Viewing it one can hear the silence, the soft pattering of snow and the flap of wings as geese take flight in the distance. Shirakura Niho was from Niigata prefecture, so was a man who not only knew snow well, but was well known for his snowy landscapes. The scene is performed in ink and light color with white gofun on silk in a patterned cloth border extended with beige and features rosewood rollers. The scroll measures 64.5 x 136.5 cm (25-1/4 x 54 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Niîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A stellar modernist form with of cast bronze by Yamamuro Hyakusei in the form of a droplet splashing up as it hits the liquid surface. It is 25 cm (10 inches) diameter, 34.5cm (13-3/4 inches) tall and in excellent condition, enclosed in a custom kiri-wood collector’s box and is signed on the base Hyakusei.
Yamamuro Hyakusei (1900-1990) was a bronze casting artist born in Toyama prefecture. After graduating from Toyama Prefectural Takaoka Crafts School in 1919, he entered Hattori Watch Shop, working his way up to head of the arts and crafts department. In 1958, he won the Art Academy Award for his Bronze Flat Footed Vase. After retiring in 1961, he devoted himself to casting metal. He exhibited with and later also served as a Nitten Juror. He died on October 31, 1990. 89 years old. Work by him is held in the Museum of Contemporary Art Tokyo and Chiba Prefectural Museum among others.

A peaceful cluster of homes blanketed in snow by Shirakura Niho enclosed in the original signed wooden box titled Kamo Sekkei (Kamo in Snow). This is likely an image from very close to the artists heart, he lived west of the Kamo River in Kyoto, and one can imagine this being one of the bridges spanning that river he has seen out on a winter day. Ink,Gofun & Light color on Silk bordered in light colored cloth. The scroll is 46.5 x 203.5 cm (18-1/4 x 80 inches) and is in overall excellent condition. Niho was from Niigata prefecture, where harsh winters are the norm, and he was well known for his winter imagery.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

Gargoyle or bat-like dragon-esque creatures spread their wings among tendrils of flame on the heavily decorated blue sides of this large pair of 19th century Sometsuke Japanese nesting bowls. Within boats ply the placid waters. The larger bowl is 24.5 cm (just less than 10 inches) diameter,10cm (4 inches) tall. The smaller is 21 cm diameter, 10cm tall and both are in excellent condition, dating from the 19th century.

A wildly crafted bronze image of a shishi lion breathing out a cloud forming the basin for a flower arrangement (known as an usubata). The curly hair has been somehow flaked off and maintained during the casting process, quite an exceptional example. The basin can be removed from the mouth of the creature. Assembled it is 32 x 28 x 33 cm tall (12-3/4 x 11-1/4 x 13 inches) and weighs 4390 grams (9.5 pounds). It is in fine original condition.

A ghost rises from the darkness pulling on her hair, a wry grin as she looks sideways at the viewer on this antique painting by Moriwaki Unkei. Ink on paper completely cleaned and remounted in vine patterned blue silk with dark wood rollers. There are old age stains on the paper, which appear much stronger in the photos than in life. It is 40 x 200 cm (15-3/4 x 78-3/4 inches) and in excellent condition.
Moriwaki Unkei (1858-1946) was born in Tanakura-cho, Kawaetsu-han (Fukushima prefecture), in the final years of the Edo period. He studied Nanga, literati painting, then moved to Tokyo in 1899 where he helped found the Nihon Nansoga-kai painting organization. His works were shown at the Naikoku Hakurankai and Bunten National Exhibitions among others.

A set of three spouted nesting bowls decorated in the traditional Mugiwara pattern of alternating stripes of russet red, pale blue and orange emanating like rays from the center. The larger bowl is 9.5 cm (just under 4 inches) diameter, 5.5 cm (2 inches) tall. The smallest is roughly 7.5 diameter, 4.5 cm tall and all 3 are in excellent condition, enclosed in an old kiri-wood box.
This traditional pattern is called ``Mugiwarade'' because its vertical stripes resemble ears of wheat. It has three colored lines: green, red, and indigo and can be used regardless of the season. This pattern of regularly drawn lines was often used on utensils for daily use such as tea bowls, choko cups, and katakuchi cups. It is believed that they were made throughout Seto, including Shinano and Akatsu, from the late Edo period. Onita, which produces a brown color, is alternately painted with a paint called ``Akaraku,'' which produces a red or orange color, and Gosu, which produces an indigo color. You can see thick lines of red or indigo drawn with not just one, but two or even three thin brown lines between them. Drawing these lines at equal intervals and overlapping the lines thinly at the center (orientation) of the inside of the bowl or plate is one of the highlights of the craftsman's skill.

A pair of masks representing the two variations of Tengu, the long nosed Tengu and the Karasu (Crow) Tengu mounted on a wooden placard dating from the Meiji period. Each mask is of carved and lacquered wood with inset glass eyes. The placard is 38cm (15 inches) wide 22.5 cm (9 inches) tall and the masks are roughly 11 cm (4 inches plus) in depth. It looks as if the Karasu Tengu mask has had the eyes repaired, and they appear cloudy by comparison to those of the the long nosed partner.
The long-nosed and or Beaked Tengu is a mythical creature from Japanese folklore. Tengu are believed to be supernatural beings often depicted with human and bird-like features. They're known for their long noses, which can vary in length depending on the depiction. Tengu are often associated with mountain forests and are considered protectors of the mountains. They are known for their mischievous nature, martial arts prowess, and sometimes for teaching humans valuable lessons or skills. In Japanese culture, Tengu are a fascinating blend of reverence and fear, embodying both the spiritual and the natural worlds.

Pink, purple and red glazes mingle on the surface of this Mizusashi water jar by Matsuyama Gae enclosed in the original signed wooden box titled Kujaku-yu Mizusashi and signed inside the lid by the Urasenke Konnichi-an Grand Tea Master, Sen Genshitsu. It is 20.5 cm (8 inches) diameter, 12 cm (5 inches) tall and in excellent condition.
Gae I Returned from China in 1945, where he had been posted for eight years and had studied in depth ancient Chinese ceramics. In 1947 he opened his own kiln and immediately won acclaim, as well as the Mayors award for Kobe in 1948. Working together with his wife they developed this glaze through trial and error in 1951. Several pieces were collected by the Imperial Household agency in 1953 and 1954, and a vase was sent as a gift to then President Eisenhower in 1960. During this time they received many awards and presented at a great many exhibitions. Gae died in 1963 of cancer, and after one year of mourning, Tsutako continued the name and work. She continued to exhibit and was again accepted into the Imperial collection in 1964, and was also featured at the World Exposition in 1970 held in Osaka. When she passes away her daughter continued the family tradition, becoming the third and last Matsuyama Gae. Sen Genshitsu was born in Kyoto on April 19, 1923, as the first son of the 14th-generation Urasenke iemoto, Mugensai. His given name was Masaoki. He served as Urasenke Iemoto for thirty-eight years, up to the end of 2002, when he transferred the title and the hereditary name Soshitsu that goes with it to his eldest son, Zabosai. At that time, he changed his own name from Soshitsu to Genshitsu, and he became referred to by the title Daisosho, signifying his status as the once grand master. After serving as a pilot in the Airforce division of the Japanese navy during WWII, and then completing his temporarily interrupted university education at Doshisha University, Kyoto, graduating from the Faculty of Economics, he took Buddhist vows under Goto Zuigan, chief abbot of Daitokuji temple, and received the Buddhist names Hounsai Genshu Soko. In 1950, he was confirmed as heir apparent of Mugensai, and thus became referred to by the title Wakasosho. He made his first trip abroad that year, to Hawaii and the USA, and since then he has made more than three hundred trips abroad and been to more than sixty countries. He lived in Hawaii in 1952, during which time he lectured at and also took courses at the University of Hawaii at Manoa, beginning his long and dedicated association with that university. Upon Mugensai’s death in 1964, he succeeded as the 15th-generation Urasenke iemoto, Hounsai. He is widely known as a global-minded promoter both of the culture embraced by the Way of Tea and of World Peace. Among his many awards and recognitions, in 1997, he was awarded the Order of Culture by the Emperor of Japan.

A lacquered writing box in the shape of a kimono sleeve (sode) covered in soaring silver and gold geese among autumn reeds and Togidashi clouds with a secondary (inner) sleeve shape covered in Karakusa vine tendrils on black enclosed in an age darkened kiri wood box. The inside is covered entirely in nashiji gold powder, and contains a grinding stone, and a water dropper of copper inset into the tray. Also enclosed are a bamboo brush and gilded ink stick decorated with a squirrel on a grapevine made by Koundo. The box is 22 x 15 x 3.5cm (8-1/2 x 6 x 1-1/2 inches) and is in overall excellent condition.

A breathtaking box covered entirely in gold with geese taking flight beyond blossoming plum trees overhanging the waters edge. The flowers are in red and silver, the rest of the surface is powdered gold with kirigane inlay of cut squares of gold intimating lichen and shadow on the stones. The themes are repeated on all sides of the box. Inside fans emblazoned with seasonal flowers and pine boughs decorate the Nashiji surface. The box is 29 x 24 x 16 cm (just less than 12 x 10 x 6 inches) and is in excellent condition, enclosed in a lacquered wooden storage box, dating from the later Meiji to Taisho era.

A glass Bowl by Iwata Toshichi enclosed in the very rare original signed wooden box titled Ryomimitsuki Kajutsumori (Fruit Dish with Two Handles). Inside the box lid is written: For the 2nd Emerging Glass Solo Exhibition Held at Takashimaya in the Early Summer of 1936. It is 28×24 x 8 cm (11 x 9-3/4 x 3 inches) and is in excellent condition. Acquiring a piece by Toshichi with such detail about its past is a decidedly rare opportunity.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emperor for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.

A beautiful early footed bowl of colored glass with sweeping clear glass handles by Iwata Toshichi enclosed in the rare original signed wooden box titled Sango-Iro Garasu Hachi (Coral Colored Glass Bowl). It is 17.5 cm (7 inches) diameter, 14cm tall (5-1/2 inches) tall and in excellent condition, bearing the artist seal in gold on the base.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emperor for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.