Catalog: Archives: Regional Art: Asian: Japanese (581)

This is a genuine theater puppet kashira representing the character Osome. It is not a souvenir. As you can see it is quite clean, however there are three faint vertical cracks in the gofun covering, beside the nose and up the right cheek. The gofun is stable. She wears her hair in an immaculate coiffure held with one unpretentious comb and a ribbon of chirimen silk. Two silver ornaments accent the very simple and attractive figure. The head comes with the bamboo stand shown, as well as the wooden tablet upon which is written Osome. There is a toggle on the neck for raising and lowering her chin. On the stand as pictured, the presentation is 18 inches (46 cm) high. The actual head is about 8 inches (22 cm) tall. Bunraku, or Japanese puppet theater, is probably the most highly developed form of puppetry in the world.

Autumn colors by Goto Shiro in thick pigment on silk in a superb patterned-silk frame with solid ivory rollers. It comes in the original signed wooden box with a Futo-maki rolling bar titled Yudonoyama Banshu (Late Autumn at Mt. Yudono). This is representational of Nihonga in the 1950s, a time when artists were seeking a new direction, breaking with the past and expanding the limits of the medium. It is 25-1/2 x 86 inches (65 x 218 cm) and in fine condition. Goto Shiro (1924－1992) was born in rugged Yamagata prefecture and studied under Maeda Seison, settling eventually in the mountainous region of Nagano. A member of the Nihon Bijutsu-in and much lauded at their exhibition, work by the artist is held in the Saku Municipal Museum of Modern Art.

A lobed form by Nakajima Yasumi enclosed in the original signed wooden box. It is 12 inches (30.5 cm) tall and in fine condition. The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1950) was awarded at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions and was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 where he was subsequently prized. His work is held in the collection of the Imperial Household Agency as well as the V&A and he served as mentor to a generation of young bronze artists. His son, Nakajima Yasumi II (1905-1988) took the family name in 1951. Yasumi II graduated from the National Craft Institute of Sendai and was first exhibited in 1933 at the Export Crafts exhibition organized by the Ministry of Industry and Commerce. He exhibited several times abroad including Paris and Buenos Aires. He was also consistently accepted in the Nitten exhibitions, garnering the Hokutosho there in 1952. In 1969 he received an honor as a person of merit in Crafts from Osaka prefecture.

Feminine figures dive upwards, forming the handles on this large art-deco vase by Nakajima Yasumi II enclosed in the original signed wooden box titled Jundo Eikan Kabin. The vase is 13 inches (32.5 cm) tall and in excellent condition. Inside the box lid is an inscription stating it was given to commemorate the first run of a three year old thoroughbred Arabian Stallion at the Amagasaki Race course in 1958.
The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1951) was awarded at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions and was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 where he was subsequently prized. His work is held in the collection of the Imperial Household Agency and he served as mentor to a generation of young bronze artists. His son, Nakajima Yasumi II (1905-1986) created this piece in 1958, and it was given as a memento for a horse race winning Arabian Stallion.

A very tall footed chawan by Kawai Kanjiro enclosed in a fine Kiri-wood box endorsed by his daughter Koha, head of the Kawai Kanjiro Museum. The piece is very much in this potters unique style. The pale rough clay is covered in ash colored glaze with a wide band of soft green, within which are two floral scribbles in red and blue. The bowl is 6 inches (15 cm) diameter, 3-3/4 inches (9 cm) tall and is in perfect condition. Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Hamada Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.

A spectacular orb hearkening to the Sputnick era created by Hasegawa Isamu and exhibited at the 11th Nitten in 1955, enclosed in the original signed wooden box. The circular form is cleft with two equal but opposite dimples, offering both a futuristic and archaic dimension. It is 38 cm (15 inches) Diameter and in excellent condition.
Due to size the cost of shipping will be accrued separately.
Hasegawa Isamu was born in 1925 in Kyoto, son of famed porcelain artist Hasegawa Hakuho. He studied under both his father and Kusube Yaichi from whom he may have received his propensity for form. He was first accepted into the Nitten in 1953, and exhibited there consistently garnering several awards. He received the Kyoto Shinbun Prize among others at the Kofukai Ten, and works were purchased by the Ministry of Foreign affairs as gifts to foreign dignitaries.

Fabulous carved florals rise in vibrant color off the surface of this yellow glazed vase by Kato Keizan II enclosed in the original signed wooden box. It is 31 cm (12-1/2 inches) tall, 24 cm (9-1/2 inches) diameter and in excellent condition.
Kato Keizan I (1886-1963) was born in Tajimi city, Gifu, a pottery center in its own right, however came to Kyoto to apprentice under Kiyomizu Rokubei IV. He established himself in the same neighborhood in Kyoto, where he became well known for celadon and Chinese based porcelain forms. Works by this artist are held in the National Museum of Modern Art, Kyoto among others. Kato Keizan II (1913-1995) Born the eldest son of Kato Keizan, he learned basic techniques for glazing and modeling at industrial school and later at the Kyoto National Ceramics Research Institute. In 1931, he began assisting his father at his ceramics workshop and in the same year became a member of the Shinko Kogei Association, which was presided over by Rokubei (5th Generation), from whom he sought guidance. Right from the beginning, he was repeatedly selected to exhibit his works at exhibitions such as the Imperial Exhibition, Kyoto Prefectural Exhibitions, and others, received praise from the Ministry of Commerce and Industry as a preserver of technology in 1940. After the war, he became a founding member of the Kyoto Ceramics Association in 1955, which demonstrated the sway he held in the Kyoto ceramics sphere. With the death of his father in 1963, he took over as 2nd generation Kato Keizan and moved the kiln to Oyamazaki. Pursuing a revival of Song dynasty-style celadon and Tenryuji celadon, he developed beautiful glazes such as tobiseiji celadon, kiba-hakuji porcelain, and purple celadon.

A fine ivory colored celadon by the first generation Kato Keizan enclosed in the original signed wooden box and containing the original exhibition pamphlet in which the vase is featured from the 1956 Takashimaya Department Store Exhibition marking his 50th year of working with clay. This vase was chosen by the artist for his exhibition pamphlet, making it, at least in the eyes of the artist, one of the more important pieces he had made at that time. The large vase is 12 inches (31 cm) tall, 7 inches (17 cm) diameter.
Kato Keizan (1886-1963) was born in Tajimi city, Gifu, a pottery center in its own right, however came to Kyoto to apprentice under Kiyomizu Rokubei IV. He established himself in the same neighborhood in Kyoto, where he became well known for celadon and Chinese based porcelain forms. Works by this artist are held in the National Museum of Modern Art, Kyoto among others.

Hand formed copper vase with waves in annealed silver signed on the side and enclosed in the original signed wooden box dating from the 1950s. It is 20 x 15 x 21 cm (8 x 6 x 8 inches) and in excellent condition.

A blossoming plum rises majestically on the simulated matt-metal finish of this cloisonné vase by the Ando studio marked on the base. The interior is a rich dark blue, the exterior flat orange peel textured metal gray with the flower laden branches rising up in moriage. It is 30.5 cm (12 inches) tall, 18.5 cm (7 inches) diameter and in fine condition, enclosed in a wooden box.

Autumn in the Mountains by Shirakura Niho Pigment on silk in a fine brocade border extended with beige and featuring ivory rollers enclosed in the original signed double wood box (nijubako). It is 26 x 56 inches (66 x 143 cm) and is in excellent condition. This is signed with his later art name Kanyu. We can see in the style as well, here he has adopted a very western watercolor approach, that this is one of his post-war works.
Shirakura Kinichiro (Niho or Jiho, Kanyu, 1896-1974) was born in Niigata, and initially was inducted into Nanga under Hatta Goro. Moving to Tokyo he began studies of Western oil painting following Ishii Hakutei. However, that was unfulfilling, and he soon moved to Kyoto, returning to the Nanga style under Tanabe Chikuson (also Tajika/Tachika Chikuson, 1864-1922). Following the death of Chikuson, he moved to Tokyo where he took up residence in the studio of Komura Suiun. He was consistently displayed at both the Teiten-Nitten National Exhibitions as well as the Nihon Nanga –In Ten. Like other individualistic artists of his generation, he was known for his very unique and easily discernible style and enjoyed immense popularity. He later changed his name to Kanyu. He was recognized in an English book published in 1958 as one of the most important artists to visit when in Japan.

An image of the sleeping Shojo (sake Sprite) by the 12th generation Sakaida Kakiemon enclosed in the original signed wooden box titled Taihaku Shojo Bori Okimono. The ordinarily playful figure is performed in pure white, a serene look upon his sleeping face creating an almost holy feeling, the ladle fallen at his knee, leaning against a barrel of sake, the empty jar the only color. The image is 31 x 21 x 16 cm (12 x 8 x 6 inches) and is in excellent condition. Sakaida Kakiemon (1878-1963) was born the first son of the 11th generation head of the Sakaida family, and learned from his father, succeeding the family name in 1917. Rediscovering the Nigoshide technique was his life’s research, and together with his son grasped the essentials in 1947, presenting the first piece for public viewing in 1953. The Nigoshide technique was subsequently named an important cultural property, and the Kakiemon family designated the carriers of the tradition. Held in the collection of The Tokyo National Museum of Modern Art, Seattle Art Museum among others.

Pastel rooftops march among the green foliage on this iconic mid-century painting by Miwa Chosei in the original frame bearing the artists “Tomo Seal” on back and in a box from Takashimaya Department Store dating from the 1950s titled Ieshima no Ienami (Rows of houses on Ieshima). A similar work was exhibited at the 11th Nitten. Pigment on silk it is in fine condition. The painting is 22 x 23 inches (56 x 58.5 cm). The frame is 30 x 28 x 2 inches (76 x 71 x 5 cm). The label of Takashimauya remains on both the frame and the box. Miwa Chosei (1901-1983) was born in Niigata prefecture, the son of a Western Style (oil) painter. He was sent to Kyoto to study at the age of fourteen, where he would graduate the Kyoto Municipal School of Arts (Mod Kyoto University of Fine Art). He entered the tutelage of Domoto Insho, a progressive and very talented young artist at that time. His work was first accepted into the Teiten (mod Nitten) in 1927, and he would subsequently be awarded there for the first time in 1934. He became the lead student at Insho’s school from its establishment. He was an important member of the progressive movement in the post war years.

A Nandina (Jap.Nanten) grows up in brilliant red hues over a dark garden stone on thie black panels of this unique painting by Ono Tosaburo. Heavy pigment on paper mounted as a two panel screen with light cloth border and hardwood frame. This was exhibited at the 12th Nitten in 1956, and is visible in the catalog for that year. It is 85 x 74 inches (188 x 216 cm) open. Ono Tosaburo was born in Osaka in 1917 and studied under Konoshima Keika, The war interrupted his career, and he was first accepted into the Nitten in 1947. He is fondly remembered for paintings of fish in his unique Nihonga style. For more see the book Ono Tosaburo Gashu (1988).

A superb elephant shaped incense burner by Miyanaga Tozan enclosed in the original signed wooden box titled Seiji Zo Koro. Extreme clarity in the fine details, I will let the photos speak for themselves. It is 6 x 4 x 6 inches (15 x 10 x 15 cm) and in excellent condition. It comes with a pamphlet dated Showa 16 (1941) the last year of the artists life.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. His kiln is now in the third generation, run by his grandson.

At first glance this appears to simply be a large image of a burning tree, however, look again and find the tree like figure is in the from of two entwined lovers, flames leaping from their impassioned bodies. This was likely made as an exhibition work, as it certainly would be difficult to fit into even a large Japanese home. The piece is signed Yoneda Mio, (Yoneda Mionosuke), and likely dates from the 1930s. The canvas measures 49 x 61-1/2 inches (124 x 156 cm) the frame 52-1/2 by 65 inches (133 x 165 cm). Overall the painting is in good condition, with minor abrasions typical of age, the frame has sustained a great deal of damage.

A set of 12 lacquered panels depicting scenes of the 12 months by 12 different and important artists including Living national Treasures Terai Naoji and Komo Kanzan as well as Pioneering female artist Tenno Bundo, all in the original wooden box signed individually by each artist and dated Showa 24 (1949) and stated to have been assembled under Honma Maika. A list of the artists by month follows: January-Katsuta Seisho, (1890-1975), February-Rokkaku Eiyu, March-Living National Treasure Terai Naoji (b. 1912), April-Living National Treasure Komo Kanzan, (b. 1882-1955), May-Murase Shunji (1911-1989) June-Shinmura Senkichi (1907-1983), July-Oguchi Masaji(1907-2000), August-Honma Maika, September-Tenno Bundo (the first female artist in Uwajima), October-Moriya Shotei (1890-1972), November-Yuki Tetsuo (1900-1970), and December-Omura Soho. Each piece is 9-1/2 by 10-3/4 inches (24.5 x 27.5 cm). The work for January has five stress cracks in the lacquer at the top of the panel, all others are in excellent condition. As they are shikishi (display plackard)-size, it is likely they were meant to be changed out of a frame, once every month. A very rare opportunity to own a representation of work from so many important modern lacquer artists.

An incredible ivory netsuke of a Hannya devil mask with inlayed eyes. The detail in the Faust like features is absolutely superb. In this case I will let the photographs speak for us. Although not contemporary, this Netsuke dates from the mid 20th century. Due to certain features, we believe it was made in China prior to or during World War II, during Japans occupation (1932-1945). The, inlay in the eyes is consistent with this interpretation and the ivory appears to be of Indian origin. It is 1-1/2 inches (4 cm) long.

A superb Sajigawa stone of deep olive patina, completely natural, on a carved rosewood base and enclosed in a fine old straight grain wood box. Notice the entirely natural arch growing between the two spires. This is incredibly rare and a fine prize. This would be considered a house shaped stone, reminiscent of a farm-house and its adjoining out-building, a covered passage between. Saji stones come from the Saji river in Tottori prefecture. This is 3 x 4-1/2 x 3-1/2 inches (8 x 12 x 9.5 cm) and is in excellent condition, the base signed by the carver.

A beautifully decorated lacquer box dating from the 1930s or 1940s enclosed in a signed wooden box. Inside silver flake on shiny black, outside what appears almost a matt finish, of dark soft orange-peel texture with brilliant designs in raised gold and silver maki-e wrapping around the edges. The artists signature can be discerned in the nashiji beneath. The storage box originally bore the title and signature in ink, which was later covered over with silver Maki-e (the original ink signature is still visible beneath). We have had it professionaly cleaned inside and out. It is roughly 8 x 10 x 5 inches (21 x 25 x 13 cm) and is in superb condition. Shimada Shunko (1910-1986) was active throughout the early to mid 20th century, and was displayed at the Nitten National Exhibition among others.

A massive celebratory image of Tai (sea bream) by important 20th century artist Imai Keiju in superb mounting enclosed in a wooden box signed Gorei. These fish have attitude! Sea Bream are an auspicious image in Japan due to their name (Tai) which is a homonym with medetai (celebration). The pigment on silk image is framed in patterned brocades and features bone rollers. The scroll is 51-1/2 x 78 inches (130 x 199 cm). There are two white points on the silk where it appears the silk was once bent, perhaps before mounting (see close-up photos). The box reads Onshi Keiju Sensei Kyoto Okazai Hoshoji-cho Jidai Kessaku (Earlier Work by the honorable Keiju of Hosho-ji-cho Kyoto) and is signed Gorei.
Imai Keiju (1891-1967) was born in Mie prefecture and lived his life in Kansai, cultural heart of Japan. After graduating the Kyoto School of Art, he studied Maruyama School technique under his to-be father in law, the great Imao Keinen (1845-1924), from whom he received his name. However he was later separated, and in 1953 moved his studio back to his birthplace of Mie.
Wakabe Gorei (1918-1987) was a landscape artist born in Mie prefecture who studied first under Nishimura Goun, then Imai Keiju.

A white pidgeon perches on a discarded or fallen roof tile decorated with calligraphy by Miyanaga Tozan enclosed in the original signed wooden box. It is 9 inches (23 cm) tall and in excellent condition. I believe this is likely by the second generation.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. He was succeeded by his adopted daughter who brought a refreshing variation of color and delicate touch to the porcelains they produced. The kiln is now in the third generation, run by his grandson.

A young woman in rare western dress gazes across this early to mid 20th century Bijinga scroll signed Ikko (Furutani Fujio, b. 1891) enclosed in a period wooden box. Her bright western dress and short hair must have made quite an impression in conservative Japan. The silk painting is bordered in green brocade embellished with flowering vines, extended with beige and features bone rollers. The scroll measures 21-1/2 x 52-1/2 inches (54.5 x 133 cm), and is in fine condition. Fujio was born in Kyoto, and developed hiw approach to Nihonga under the tutelage of the great Yamamoto Shunkyo, and later became a member of the Nitten.

An exquisitely formed sometsuke porcelain by important Seto porcelain artist Kawamoto Rekitei (1894-1975) with raised patterns of grapes forming on the vine. The delicate shades of the steadily browning grape leaves is easily conveyed by the masters touch, each leaf carefully bordered in a raised border, the dark grapes slowly growing plump in the shadows. The vase is 9 inches (23 cm) tall, over 7 inches (18 cm) diameter. 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).

A delicate image of a Zari-gani fresh water shrimp by Oishi Junkyo enclosed in a period wooden box. The poem reads:
nanigotomo
naseba naratefu
kotono wa wo
Mune ni Kizamite
Ikite Kishiware.
Whatever happens, no matter the hardships and pain, Set it in your heart to live with Spirit! This little fellow looks up to the challenge, a stern look on his face and his dukes up, ready to battle giants. What a fitting image for this artist. Ink on silk in a fine brocade border with pottery rollers. It is 14 x 63 inches (36 x 160 cm) and is in excellent condition.
Junkyo’s life is a triumph over tragedy. Born into a low family, she was sent to a tea house where she became an apprentice Geisha. In a famous incident, the Tea House owner in a drunken rage murdered 5 of the Geisha, and cut off both of Junkyo’s arms. She survived. Becoming then a teller of stories and singer, she one day saw a bird feeding her young, and realized she could paint if she used her mouth to hold the brush. She enrolled into a studio, and became an accomplished painter in the Nihonga tradition. She then married and had two children, but later divorced, raising the two children alone. She became a nun, and opened a counseling/self-help center for the disabled. This was the war years, and the midst of Japans industrial revolution. Both mishaps in the machinations of industry and battle kept her half-way house filled with people in need. After the war she established a temple, and continued her philanthropic work.

Flames of red flash form the bird resurrected on the side of this large Cloisonne vase by the Ando company of Nagoya; Japan’s premier cloisonne studio. The color is hard to describe, seeming to be lit from within. A combination of wire and wireless design using gold wire with silver rim. Ando mark on base, the vase measures 37 cm (14-1/2 inches) tall, 32 cm (12-1/2 inches) diameter and is in excellent condition. It comes enclosed in a fine, custom made kiri-wood box.

Ducks are the only life in this landscape of frozen rice paddies by Shirakura Niho enclosed in the original double wood box (Nijubako) signed Kanyu (the name he used later in his career). Teh composition is very minimalist, relying on the diagonal lines of paddy walls to define the foreground, only a haze of color to intimate the hills beyond. Judging by the style this likely dates from the 1940s and is an exceptional work by this innovative artist. Ink and pigment on silk in a superb border of patterned silk featuring solid ivory rollers. It is 26 x 56 inches (66.5 x 142 cm) and is in excellent condition.
Shirakura Kinichiro (Niho or Jiho, Kanyu, 1896-1974) was born in Niigata, and initially was inducted into Nanga under Hatta Goro. Moving to Tokyo he began studies of Western oil painting following Ishii Hakutei. However, that was unfulfilling, and he soon moved to Kyoto, returning to the Nanga style under Tanabe Chikuson (also Tajika/Tachika Chikuson, 1864-1922). Following the death of Chikuson, he moved to Tokyo where he took up residence in the studio of Komura Suiun. He was consistently displayed at both the Teiten-Nitten National Exhibitions as well as the Nihon Nanga –In Ten. Like other individualistic artists of his generation, he was known for his very unique and easily discernible style and enjoyed immense popularity. He later changed his name to Kanyu. He was recognized in an English book published in 1958 as one of the most important artists to visit when in Japan.

An exquisite lacquer box by Imai Seitaro dating circa 1959 featuring multiple layers of colored lacques carved through with a design of grapes on the vine enclosed in the original signed double wood box (Niju-bako) titled Choshitsu Budo Moyo Shikishi Bako (Carved Lacquer Grape Design Poem Card Box). It is roughly 11 x 12 x 2 inches (27.5 x 30 x 4 cm) and is in fine condition.
Imai Seitaro was born in Kagawa prefecture in 1893, and was first exhibited with the Nitten National Exhibition in 1948, and was often acceptedthere as well as with the Nihon Kogei-kai Ten. He may have been living in Taiwan before that time, as with many records from that time his history has been lost.

A halo surrounds the emaciated figure of a Rakan (Arhat or Arahat) seated atop a stone draped in billowing robes clutching a nyoi scepter in his bony left fist. The holy figure is chiseled and polished with extreme care and attention to detail. The detail in the carving is striking, as bamboo is notoriously hard and difficult to work. Setting it apart from most bamboo carving is a complex pattern of extremely fine chiseled texture throughout. It comes enclosed in a wooden box signed Raizan and dated Showa 16 (1941). It is 19.5 x 6.5 cm (7-1/2 x 2-1/2 inches) and in excellent condition.
The Sago is a decorative spoon used in preparation of Steeped tea. For more see the definitive book Tea of the Sages: The Art of Sencha, by Patricia J Graham (1998).
In Buddhist lore the Rakan is one who has broken the chain of re-birth and overcome the three poisons of desire, hatred and ignorance. It is a popular theme in both Chinese and Japanese art.

Oarsmen battle Tempestuous seas to carry safely home their cargo of courtly women in this vivid scene signed Hakushun dated 1932. The oars bend under the strain of the ferocious seas, the oarsmen pull with all their might. Behind bamboo curtains the young women huddle together, their courtly robes flowing about like the oceans mad waves. A very powerful scene supervised by a noble seated at the back of the small ship, witnessed by a gaggle of cormorants resting on a jagged rock cluster. The silk screen is bordered with an unobtrusive black lacquered wooden frame and measures 9 feet by 55 inches (275 x 140 cm). It is in excellent condition but for some minor marks in the upper portions. Due to the war, which started for Japan in 1932, records on artists for this and following years are scant. However the painting is very much in the style of the artist Matsumura Ichiyo, and Hakushun may have been one of his students.

An accordion album featuring calligraphy and paintings by various well known Zen priests of the first half of the 20th century. Including the opening there are 30 pages. The book is 22 x 31 cm and in overall fine condition. The opening pages are by Kutsu Deiryu (Izawa Kanshu 1895-1954, head priest of Kaiseiji), the famous protégé of Nakahara Nantenbo. It is followed by;
1. Daruma by Goto Zuigan, 1878-1965, Myoshinji, Daitokuji
2. Mineo Daikyu, 1860-1954, (head priest of Myoshinji)
3. Chawan, Takeda Eisen 1878-1945 (head priest of Kenninji)
4. Rozan Eko 1865-1944 (head priest of Myoshinji)
5 Takagi Dokuho, no dates, (head priest of Eigenji)
6. Obaku Hoshino Jikio (sp?) 1867-1937 head priest of Manpukuji
7. Seki Seisetsu 1877-1945 (head priest of Tenryuji)
8. Miura Shoten (Hekiun) 1870-1957 (head priest of Myoshinji)
10. Seigo Hogaku 1875-1942
11. Hamamura Seido 1869-1935
12. Yamazaki Taiko 1876-1966 (Head priest of Sokokuji)
13. Ozeki Honko (Horin) 1873-1944 (head priest of Tofukuji)
14. Hoshino Daigen (Saishoken)
15. Tokai Totatsu 1870-1945 (head priest of Myoshinji)
16. Ito Keishu (Seiko) 1881-1935 (Kinkakuji)
17. Maruyama Yoso (Denne) 1870-1940 (Daitokuji)
18. Takibuchi Kenko ?
19. Yokoi Gyokusen
20. Mamiya Eishu, 1871-1945 (Hokoji Temple)
21. Sugimoto Zenki, 1890-1949 (Myoshinji)
22. Hayashi Kaishu (Keikyo) 1890-1979 (Tofukuji)
23. Ota Josei, (Daikai) 1875-1946 (Daitokuji)
24. Konaka Hosu (Zuishoken), (Tokugenji)
25. Akai Giyu (Nanzenji)
27. Yamazaki Ekishu 1882-1961 (Buttsuji)
28. Kozuki Tesshu 1883～1941 (Empukuji)
For more on many of these famous figures see Zenmi, a Taste of Zen (2011, Veljko Dujin) or The Art of 20th Century Zen (Shambhala, 1998).

Gentlemen glide through the open “ma” staring up at the moon on this serene work signed Joun (One of many names used by the priest Hashimoto Dokuzan). Ink on paper in superb Shunpodo Silk mounting (THE preeminent scroll hangers in Kyoto) enclosed in a signed double wood box (niju-bako) dated 1935 with solid ivory rollers (They will be changed for export). The scroll is 28-1/2 x 53 inches (72 x 134 cm) in excellent condition but for scattered foxing.
Hashimoto Dokuzan (Gengi, 1869-1938) was born in Niigata, and was sent to Kyoto at the age of 16 to study painting and philosophy under Tomioka Tessai. At the age of 20 he entered Tenryuji under Gazan. He received Inka from Ryuen. In 1910 he moved to Shokokuji, and then was assigned the foundation of Nanonji Temple in Tottori Prefecture. He served as abbot of Tenryuji Temple and Shokokuji, both important Zen temples in Kyoto.

The tanuki rests, energy spent, among fallen bamboo leaves lit by the crescent moon, only those yellow eyes alert and watchful. A beautiful pigment on silk painting signed Seiei enclosed in the original signed wooden box. It is bordered in patterned green silk and features bone rollers. The scroll is 21-1/2 x 76-1/2 inches (55 x 194 cm) and in overall fine condition.

An interesting comment on the circle of life, the huge cicada, with only a three day (above ground) life, is dissected and carried away by a line of tiny ants, birth and death, the mighty and the tiny, and the cycle of life continues. This image is by Ishikawa Chikuson and comes enclosed in the original signed wooden box. It is performed with ink and light color on handmade paper, mounted in a field of soft-blue silk extended with beige. The scroll is 22 x 48-1/2 inches (55 x 123 cm) and is in overall fine condition. Ishikawa Chikuson (1884-1952) was born in Tokyoand was given his mothers name. At the age of 18 he apprenticed under Matsumoto Fuko and Suzuki Kason. Much lauded at the time, he moved to Nagoua after the Great Kanto Earthquake in 1923 destroyed his studio, establishing a studio and a following in his new home, but was again, later in life, displaced by war and the allied bombing of Nagoya. He took refuge in rural Mie prefecture. After the signing of peace terms, he returned to the barren Nagoya where he took a job as a postal worker while rebuilding his studio.

A set of figurines depicting a courtly Chinese couple by Miyanaga Tozan enlclosed in the original signed wooden box titled Choan no Haru from the Tang period tales. Each is expertly molded and painstakingly decorated in a Kyo-satsuma style signed in gold on the base of each. They stand roughly 13 inches (33 cm) tall each and are in excellent condition. The title calls to mind any number of ancient Chinese poems. The same title was also given to an important book by Ishida Kannosuke published in 1941, the same year as the death of the first-generation Tozan, so one might question if these are by the master or bear the feminine touch of the second-generation head of the family.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. He was succeeded by his adopted daughter who brought a refreshing variation of color and delicate touch to the porcelains they produced. The kiln is now in the third generation, run by his grandson.

A large glass vase of emerald green reflecting the ancient glass works found in the Shosoin Imperial repository by 20th century pioneering glass artist Iwata Toshichi enclosed in the original signed wooden box. Flecks of various colors and air permeate the glass, accentuating the fact he is duplicating the ancient glass works, long before techniques had been perfected and material purified. It is quite large at 15-/2 inches (40 cm) tall and in excellent condition. As the industrial revolution climaxed in Japan in the opening years of the 20th century, along with it came a renewed interest in ancient things, things lost, and the techniques by which they were made. The Shosoin, the great repository in Nara, opened its doors to certain craftsmen who were leaders in their fields, and the items they attempted to reproduce, often using the techniques imagined available at the original time of production, were highly collectable.
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 Emporer 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 lacquer box decorated with a Rimpa style thatched house under blossoming tree by Kamisaka Sekka dating from the late Taisho period. It is 12.5 x 12.5 x 6 cm (5 x 5 x 2 inches) and is in excellent condition. An identical box which was part of the permanent collection of the Ruth and Sherman Lee Institute along with the original design sketch is visible on page 154 of the book Kamisaka Sekka: Rimpa Master - Pioneer of Modern Design published by the Kyoto National Museum of Modern Art in 2003.
Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art (future University of Fine Art), and was widely exhibited and prized throughout his career, which ended in retirement in 1938.

A carved wooden box with removable lid revealing a container for matches and tobacco slotted in the side to carry a Kiseru pipe. Exquisitely crafted by a man who both understood design and wood grains, it is likely from the arts and crafts era. It is 5-1/2 x 3-1/2 x 5 inches (14 x 9 x 13 cm) and is in overall fine condition, with wear to the base attesting to age.

Water tumbles from steep dark hills into a roiling sea of clouds on this painting by Japanese artist Fukuda Kodojin (1865-1944) enclosed in the original signed wooden box. The erratic brushwork and radical form of this scroll typify work by the unusual self taught Nanga artist. Three tiny huts cluster on the edge of dark forest, a few paddies scratched from the rugged earth, their seeming insignificance a testament to the artists great love of nature. The scroll is 18-1/2 by 82 inches (47 x 208 cm) and in excellent condition. Bordered in green tea colored brocade, it features ivory rollers, and comes enclosed in the original signed box which is in turn enclosed in a lacquered wooden box (nijubako), wrapped in the original paper sleeve. Kodojin's status as a poet calligrapher and literati artist has reached legendary status. Born at a time of great change (4 years before the final fall of the Edo Government), he lived through the westernization of Meiji, Taisho Democracy, the rise of Imperialism and final defeat of the Showa eras. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. He moved to a village outside of Kyoto in 1901, where he supported himself and his family by privately tutoring those who wished to learn Chinese-style poetry. Kodojin's was simply a scholar. His poetry, painting, and calligraphy all stem from a life-long cultivation of the mind. He was known to have taken the time just before his death to destroy the large portion of his own remaining work, leaving only that which must have met some personal criteria. For more on his life see the book Old Taoist, or Unexplored Avenues of Japanese Painting. Twenty five paintings by the artist formed a private exhibition (from Gitter-Yelen) at the New Orleans Museum of Art in 2000, and he is part of the Hakutakuan collection among many others.

Bright colors decorate this life-like set of Porcelain Okimono in the style of Chinese fruit by Suwa Sozan (no box). This set dates to 1931 and is published in the book Suwa Sozan Sakuhin Shu (1971), p. 85. A bursting pomegranate, Persimmon, Bunch of Grapes and Buddhas Hand, with a fifth piece, a fig, missing from the set. Please note there are a few chips in the edges of the leaves of the fruit (circled in the photos). Each piece is roughly life-size the Buddhas hand is 15 cm (6 inches) long.
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. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako 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.

An exquisite landscape circles the body of this voluminous ballister form by Eiraku Zengoro XV (Shozen) enclosed in the original signed wooden box. It is 15 inches (38 cm) tall, 7-1/2 inches (19 cm) diameter and in excellent condition.
Eiraku Shozen (1879-1932) was the backbone of the family tradition after the passing of his father in 1909, and worked tirelessly to maintain the family reputation. His works were preferred by the 12th generation head of Omote Senkei Seisai, and were also a favorite for use by the Prince Sadaaki of the imperial family in the Omiya Gosho palace.

A hand forged antique iron water pot with bronze lid for use in the Japanese Zen Tea Ceremony; handles in the shape of dragonflies embedded in the side. The upper half is grooved with concentric rings; spread wings of the dragonflies conform to the shape of the bowl while jointed bodies project out in 3-D almost 1 inch from the surface. 2 antique iron ring handles (included) are run through the body between the wings. The heavy bronze lid features a 5 petal plum blossom finial. The piece measures 9 inches (23 cm) diameter, 6 inches (15.5 cm) tall and dates from the early 20th century.

A true part of Kyoto modern ceramic history, this robust vase reminiscent of Okinawan Kaki-otoshi ware was created at the Kyoto 2nd Industrial School circa 1925. It comes in the original wooden box titled Black Glazed Vase with Flower Motif, and signed inside Kyoto Shiritsu Dai Ni Kogyo Gakko followed by a large red seal. It is 27 cm tall, 23 cm diameter and in excellent condition. The roots of the mingei movement, ravaging the Japanese ceramic world at the time, are clearly evident.
The governmental Industrial schools were the proving grounds from a great many young potters before the second world war. The Kyoto 2nd industrial school in Fushimi was split away from the first industrial school in 1920, and remained active until 1963, when it was re-named the Fushimi Industrail High School (Fushimi Kogyo Koko). It is scheduled to close permanently after a century of activity in 2024.

A set of stacking brass coasters in the shape of a cannon shell complete with dial settings on the warhead made for the Shobido company in the 1930s or 40s and enclosed in the original signed wooden box. Stacked it is 10 inches (25 cm) tall, 3 inches (7.5 c) diameter and in excellent condition.
Shobido has been commissioning works with first rate artists and craftsmen for its own facilities and top Department stores since 1900. Founded by Eto Eikichiro at the height of the salon era, it served as a focal point for art, and they scoured the country for artists and craftsmen in all fields. During the strict war years their business suffered under the laws against excess, and finally the studio was completely destroyed in the bombing of Osaka in 1945. The second generation took over in 1946, working to re-establish the company and connecting with Hanshin Department Store, slowly growing while promoting the cultural heritage of Japan. They are now in the 113th year.

A large porcelain vase by Miyanaga Tozan decorated with a garden scene of young pine growing up around a large stone brushed by Yamamoto Shunkyo and enclosed in a double wooden box signed by both artists. It comes with the pictured rosewood stand in a separate section in the box. The vase is 12 inches (31cm) tall 8 inches (20 cm) diameter and in excellent condition.
Yamamoto Shunkyo (1871-1933) was born in Otsu, Shiga prefecture in 1871, and came to study traditional Shijo painting in Kyoto under Kono Bairei, Nomura Bunkyo and Mori Kansai from whom he acquired his dexterity with brush and draw from life ideals yet never left his roots in Otsu far behind, always happy to do a quick sketch with minimal effort in the abbreviated hybrid Otsu style. He was also an avid mountaineer, and observation on such outings give his landscapes a sense of depth lacking in traditional art of the era. Shunkyo also was heavily influenced by photography and Western perspective and light. Widely exhibited in his youth he was offered a professorship at the Kyoto Municipal School of Arts in 1899, where his semi-realistic style came to have a strong influence on the early 20th century Nihonga painters from Kyoto. He was appointed a member of the Imperial Art Academy, and was exhibited often both inside and outside Japan including the St. Louis World Exposition. He is held in the collections of numerous museums, including the Kyoto Municipal Museum of Art, Museum of Modern Art Tokyo and Boston Museum among others.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. His kiln is now in the third generation, run by his grandson.

A crow stands stark against a dark landscape, the last vestiges of autumn clinging to frozen branches as the landscape settles with snow. Below water surrenders to gravity as it drops into the unseen depths. Ink and light color on silk in a green silk border patterned with tangled vines and featuring stag antler rollers. It is 19 x 76-1/2 inches (48 x 194 cm) and in overall great condition.
Tanaka Raisho (1867-1940) was born in Shimane prefecture, into an important household which fell to ills after the Imperial restoration in 1867. So giving up his dreams to study in Kyoto, he became a traveling artist, painting for fees in the mountainous areas of Hiroshima and Shimane, going from village to village and sending his earnings home to help the family. With copies of the work of Mori Kansai, he was self taught; only making it to Kyoto at the age of 36. A very late start for an artist at that time. After moving to Tokyo, and despite his age, he was accepted into the circle of Kawabata Gyokusho (1842-1913) and flourished under his tutelage, garnering much acclaim at the Nihon Bijutsu Kyokai Exhibition, and Teiten/Bunten National Exhibitions. However after the great Kanto earthquake of 1923 destroyed the city, he returned to Hiroshima where he lived out his final years.

A superb Silk landscape by Akamatsu Unrei enclosed in the original signed double wooden box (niju-bako) titled ChikusoYusei-Ga. The title and style of the buildings indicate this is likely the Yusei retirement home of Iwakura Tomomi in Northern Kyoto, designated a National Historic Site in 1932. A narrow path hedged in soft greens leads to the rustic cluster of buildings with their thatched roofs lost in a sea of bamboo, the scene rising to precipitous mountains afar, a waterway in the distance perhaps Takaragaike pond. The scene is performed in a dream-like quality, inviting the viewer in for a moment of serenity. Warm in summer but a cool respite from the stifling city life a few miles to the south. Everything about this scroll speaks of quality, from the intensity of the painting itself, the silk canvas used, the border cloth, solid ivory rollers, and the kiri-wood box with hinged brass handle allowing it to be pulled easily from the red lacquered wooden outer case. It is 50 x 216 cm (19-1/2 x 85 inches) and is in overall fine condition, with some faint foxing.
Akamatsu Unrei (1893-1958) was born in Osaka, and apprenticed under Koyama Unsen and later the famous Nanga-ka Himejima Chikugai. At a relatively young age he exceeded the talents of his forbearers, finding a new way of looking at Nanga all his own. His paintings were often submitted at the Bunten/Teiten national exhibitions and he was a member of the Nihon Nanga-in. Held in the collection of the National Museum of Modern Art, Tokyo among others

A superb example of the mastery of Bizen Saiku-mono sculptures by Nishimura Shunko dating to the pre-war era. The musculature and bone structure of the creature is clearly visible, and it wears a cloak of ash glaze like fur, the tail actually covered in dry “goma” textured ash, and the lower extremities showing a fine assortment of Hi-iro flame colors on the raw clay. Stylistically there appears to be some influence of the pottery technique of Okinawan Shisa (lions). This is very likely, as the potteries of Kyushu and Okinawa held sway over the Mingei movement originating in the 1920s and 30s, when Shunko was at the peak of his abilities. The beast is roughly 10 inches (25 cm) tall and in excellent condition. It is signed Shunko Saku (Made by Shunko) inside the hollow body followed by the artists double mountain kiln symbol.
Nishimura Shunko (Yasujiro, 1886-1953) was, along with Kaneshige Toyo and Mimura Tokei one of the three pillars of Bizen pottery during the first half of the 20th century, and one credited with saving it from extinction. Born in Kyoto, he studied Japanese Painting before moving to study Awata Yaki pottery techniques under Aoyama Shunko (from whom he received his name) and then under the first Suwa Sozan. He moved to Inbe (Okayama Prefecture, home of Bizen) in 1909, where he established a kiln and became known for saiku-mono or ceramic sculptures. His genius was quickly recognized, and his works were collected by the Imperial family and given as gifts to foreign dignitaries. He served as a ceramics instructor for two years in Korea during the Taisho period. He also taught potters like Urakami Zenji (1914-2006). He was named a bearer of intangible cultural properties for his lifes work in 1942. Several works by him are held in the Okayama Prefectural Museum of Art.

A finely brushed image of a pheasant in the blossoming boughs of a cherry tree bearing a circular Rimpa School seal in the lower right. Pigment on paper with bokashi daubing of water on the tree trunk. Shadows dragged through the back appear to intimate bamboo. It is bordered in beige silk with a black lacquered wooden frame. The screen measures 71.5 x 68.5 inches (181 x 174 cm) and is in fine condition, dating from the early 20th century.

A square bottle vase by one of the most sought after and influential of all Japanese ceramic artists, Kawai Kanjiro (b. 1890), enclosed in the original kiri box signed by the master, which we have had authenticated at the Kawai Kanjiro Memorial Museum (now endorsed on the top by his daughter, Kyoha). The pale crackle glazed vase dates circa 1935, and is decorated with flower like dabs of rust and cobalt typical of this period, with dark iron fading out from the square mouth and base. As would be expected, the vase is expertly crafted from pale clay, and measures 7-1/2 inches (19cm) tall, 4-3/4 inches (12 cm) across the body. Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Rrefusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.

The comic-strip dog character Norakuro waves from the cockpit of this ceramic water-dropper (for grinding ink) in the shape of a war-plane. A waterdropper (suiteki) is filled with water and used to drip water onto a stone when grinding ink. This Suiteki has a wingspan of roughly 9.5 cm (just less than 4 inches). Norakuro is a black and white dog enlisted as a private in the “Mokenrentai” (Fierce Dog Brigade), an Imperial army of white dogs fighting in a war against the Monkey Army. In the West we might consider mortal enemies to be like cats and dogs, but in Japan it has always been monkeys and dogs (later the enemy would become pigs). This war-time comic first appeared in 1931 in Shonen Kurabu (Boy’s Club) magazine and was clearly based on the Japanese Imperial Army of the time. The creator, Tagawa Suiho, had served in the army and used his experience as a basis for the comic strip. The series, with its simple dialogue and poetic illustrations, was one of the most successful Japanese comics of the 1930s. Although it was highly successful the main character, blundering his way through the banalities and harrows of daily military life, was taken to be critical of the Imperial Army and was forcibly cancelled in 1941 by government censors.
Tagawa Suiho (Takamizawa Nakatarō, 1899-1989) was born in Tokyo, his mother died in birth, and he was raised by his father and an uncle, both of whom died while Tagawa was still young. He received a basic education, and grew up an orphan. He was conscripted into the Imperial Army in 1919, finishing in 1922. In 1925, he graduated from Nihon Bijutsu Gakkō Art School, and initially wrote Rakugo, then began producing manga comics in 1927. His character Norakuro was picked up by Shonen Kurabu in 1931, and was one of the magazines most popular features, with a ten year run before being cancelled by the authorities. He is recognized as one of the pioneers of the Japanese manga industry and was recipient of numerous awards including the Imperial Order of the Rising Sun. Post war Norakuro was reinvented in the 1980s briefly as a television series. His student Hasegawa Machiko, one of the first female manga artists, is the creator of Sazaesan. This series began in 1946, and ended publication in 1974. It was subsequently made into a television series and holds the World record as the longest running animated series on television.

An evocative image of a bear hunkered down and looking a bit befuddled, perhaps awaking from winter slumber, in un-glazed white porcelain from the Tatsuno kilns of Banko in Mie Prefecture. It is sealed on the base with two stamps, one reading Banko, the other Tatsuno. The image is 23 x 20 x 16.5 cm (9 x 8 x 6-1/2 inches) and in excellent condition, enclosed in a period collectors kiri-wood box. Imagery of animals such as this were very popular in the Taisho (1911-1925) to early Showa era. The expression of this creature is masterful, the execution superlative, and the texture happily left matte; a far cut above the ordinary.

A bronze vase of mountainous form by Nakajima Yasumi I patinated in his signature mottled red-brown and enclosed in the original signed wooden box. The vase is 9-1/2 inches (24 cm) tall, 8 inches (20.5 cm wide and in excellent condition. Nakajima Toyoji, (d. 1950) first came to notice in 1908, receiving an award at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions, He was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 and was subsequently prized there. His work is held in the collection of the Imperial Household Agency and he served as mentor to a generation of young bronze artists.

A fabulous baluster form vase by the first generation Kato Keizan enclosed in the original signed wooden box titled Gaoji Ryumimi Chokoku Kabin(Ivory Porcelain Dragon Ear Carved Vase). Low on the flaring neck two dragons form handles, and the body of the vessel as carved with archaic symbols reflecting continental taste popular from the Meiji through Taisho to early Showa period. It is 33 cm (13 inches) tall 19.5 cm (7-3/4 inches) diameter and in excellent condition. Attached to the base is a collection seal from the Kono Family Collection.
Kato Keizan I (1886-1963) was born in Tajimi city, Gifu, a pottery center in its own right, however came to Kyoto to apprentice under Kiyomizu Rokubei IV (1848-1920). He established himself in 1912 in the same neighborhood in Kyoto, where he became well known for celadon and Chinese based porcelain forms. He was especially rememberd for Tenryuji seiji (Chinese Longquan celadon porcelain). Works by this artist are held in the National Museum of Modern Art, Kyoto among others.

Kannon (Guanyin) the bodhisattva of compassion, is depicted by two of the most famous painters of the early Showa period on this pair of presentation cloths by Hashimoto Kansetsu and Tomita Keisen. Keisen’s loosely brushed image of a cherubic Kannon sits in the center of an Enso Zen circle. The calligraphy on the left reads "Entsu", a Buddhist term combining the kanji for circle and authority, loosely meaning knowledge of the circle of Buddhist Doctrine, the cycle of life and of all things eternal. Kansetsu, on the other hand, creates a more severe image of Kannon seated in a lotus petal floating in tumultuous seas. The back of this features a long inscription and is dated Showa 7 (1932). The date coincides with the peak of Tomita Keisens popularity, shortly before his untimely death. It is also the year Kansetsu lost his wife, and this may explain the difference in perception of the Compassionate figure. He subsequently created a temple (Gesshinji) in her honor. Both come wrapped around pillows in a red lacquered wooden box signed by Keisen. Each is 34.5 x 36.5 cm (13-1/2 x 14-1/2 inches) and both are in fine condition.
Hashimoto Kansetsu (1883–1945) was born in Kobe, son of painter Hashimoto Kaikan from whom he gained a love of Chinese culture. He studied at Chikujokai under Takeuchi Seiho (1864-1942), but eventually withdrew due to differences of opinion. He visited Europe in 1921 and after that spent part of almost every year in China. His early years were heavily influenced by ancient Chinese painting, a passion for which he made frequent trips to the continent. Many of his paintings were inspired by Chinese scenery or Chinese classical literature. His former residence in Kyoto is now a museum of his work called the Hakusasonso. He exhibited consistently at the Bunten, and was a member of the Imperial Art Academy. Works by him are held in the Kyoto National Museum, Tokyo National Museum, Metropolitan Museum of Art New York, and the Boston Museum of Fine Art, as well as almost every major collection.
Tomita Keisen (1879-1936) was born in Fukuoka on the southern Island of Kyushu into a family of restaurateurs, however fascinated with the arts, he began studying painting at the age of 12 in the Kano school tradition with Kinugasa Morimasa (1852-1912), the official painter for the Kuroda clan. In 1896, he went to Kyōto to continue his education in the Shijo manner with Tsuji Kako, and exhibited with the Japan Painting Association as well as with the Bunten/Teiten National Exhibitions among many others. Keisen also sought inspiration in Buddhist paintings from the Nara and Heian periods which he studied on frequent trips to Nara, the ancient capital. In the 1920s, he would delve into the concepts of the Nanga tradition of literati painting, and his unorthodox use of color and dramatic sense of proportion would propel him to great fame. Religion fascinated Keisen, and much of his work centers around these ideals. His works also show the influence of literati artists Tomioka Tessai and eccentric Buddhist Sengai Gibon. He developed a hybrid of these which has proven extremely popular, even with contemporary audiences and his work is still highly prized. In 1935 he was made a member of the Japan Art Academy. He died the following year at the age of 58. Works by him are held in Tokyo National Museum of Modern art and Kyoto Natioanl Museum of Modern Art, the Minneapolis Institute of Art, The Kyoto City (Kyocera) Museum, Museum of Fine Arts in Boston, Rijksmuseum, Fukuoka Art Museum, Tokyo Fuji Art Museum and many others. For more on this artist see Kyōto no Nihonga 1910–1930. National Museum of Modern Art, Kyoto, 1986

A complex landscape wraps around and climbs up this exquisite porcelain vase by Daimaru Hokuho dating from the early to mid 20th century. It is 13 inches (33 cm) tall and in excellent condition. There is no box.
Hokuho would have been rated in the top 10 porcelain artist of Kyoto, along with Suwa Sozan, Ito Suiko, Ito Tozan, Miyanaga Tozan, Takahashi Dohachi, Seifu Yohei, Kiyomizu Rokubei, Miura Chikusen and Kiyomizu Zoroku, all artists active from the Meiji through the early Showa eras. He is best remembered for his Chinese forms and Sencha thin tea ware. Born in Ishikawa in 1879, he was initially trained in the Kutani tradition before moving to Kyoto in 1899 to study porcelain throwing and decoration there. He also spent several years in China where he became adept at the aforementioned Sencha aesthetic. Daimaru Hokuho II (Tatsuo, b. 1926) studied under both his father and Kiyomizu Rokubei V and VI. He exhibited frequently with the Nitten National Exhibition, where he would serve as a judge.

A demure image of grace and youth; this is a fine full sized Bunraku theater puppet dating from the first half of the 20th century; one of two from a private collection we are currently offering. The eyes open and close, but are stiff, hands are flexible and fully operational. She wears a period red brocade kimono with kiku chrysanthemum patterns and a black obi featuring dragons and phoenix. A white silk lining and silver crown of flowers complete her outfit. The puppet dates from the first half of the 20th century, and stands roughly 40 inches (102 cm) tall. She is in excellent condition.

A delicate white flower blossoms on the pink surface of this exquisite vessel by Kiyomizu Rokubei V which comes wrapped in the original stamped cloth sack and enclosed in the original signed wooden box titled Taireiji Kabin. The vase is 22.5 cm (9 inches) tall and in excellent condition. Taireiji was the most important development by this innovative artist, and pieces are exceedingly rare.
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 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 lacquered wooden box decorated in built up Takamaki-e with Tsuba and Kozuka by Heian Zohiko dating from the first half of the 20th century. Inside is fine even nashiji. The decorations rise quite high off the surface, almost as if genuine tsuba were lying atop the box. One tsuba is in the shape of a Mokugyo, a Buddhist prayer drum of hollowed wood culminating in two dragons. The second is one of the seven lucky gods (shichi-fukujin) Daikoku seated in front of a rice bale, smoking a pipe and petting a puppy. The Kozuka handle is decorated with a traditional entertainer dancing with an umbrella. All the edges are protected by a silver rim. The Zohiko stamp is visible on the underside of the box; an elephant in a cartouche. The box measures 11 x 8-1/2 x 4-1/2 inches (28 x 22 x 12 cm) and is in excellent condition. Zohiko is one of the oldest and most prominent lacquer studios in Kyoto. This was likely produced under the visage of Zohiko VII or VIII.

Leaping green fish soar up the sides over tempestuous crackled celadon waves crashing over the matte blue of this exquisite Mizusashi fresh water container by Sawada Sozan enclosed in the original signed wooden box. It comes with a pottery lid as well as a black lacquered lid (Kaebuta). It is 18 cm (7 inches) tall, 13 cm (5 inches) diameter and in excellent condition.
Sawada Sozan (1881-1963) was born in Kyoto and graduated the Tokyo School of Fine Arts. He attended the Arts Department of Columbia College in the United States where he researched design, and after touring Europe, returned to Japan in 1907 where he established the Sawada Design Institute in Kyoto. He designed textiles, posters, sake labels alongside his exploration of the clay medium. In 1917 he established a kiln in the Momoyama district of Fushimi in Southern Kyoto (this box is signed Momoyama Sozan Saku). He exhibited with the Bunten-Teiten- National Exhibitions and eventually was selected to serve as a judge there. From the mid ‘30s, with the darkening of world affairs, he began to focus more on private exhibition. Several works are held in the permanent collection of the National Museum of Modern Art, Kyoto.