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

The seven gods of fortune are depicted in rich gold, vibrant colors and textures on this exceptional set of Kutani Sake Cups from the Kaburagi Studio enclosed in the original compartmentalized wooden box. Each cup is unique, measuring roughly 5.5 cm (2 inches) diameter, 3 cm (1 inch) tall and all are in excellent condition. The Kaburagi studio produced some of the finest wares in Kutani. Founded in 1822, it survives to this day under the same family, now in the 8th generation. These date from the very early 20th century. The Seven Gods, or Shichifukujin as they are called in Japanese, are:
Benzaiten, Goddess of the arts, including music often seen with a lute.
Bishamonten, God of warriors.
Daikokuten, (or just Daikoku) God of wealth and commerce with his magic hammer pounding out gold.
Ebisu.God of Merchants and Fisherman, often depicted with a fishing pole and Tai (sea bream) whose name is a homonym for celebration.
Fukurokuju, God of Longevity associated with deer.
Hotei,God of Abundance and Health usually pictured with his large sack of treasure.
And Jurōjin, Also a god of Longevity usually seen with a crane

Heavy pigment forms a spectral scene of a dark stone lantern viewed through the spring laden branches of maples, a dove taking flight in the fore. Anyone who has visited Japan will know the haunting sense these monoliths produce. The painting is performed in thick pigment on applied silver-leaf, signed Taisho (Okada Taisho, b. 1888). The screen is signed in the lower right corner, and measures150 x 151 cm (59 inches by 5 feet). It is in fine condition, with only minor abrasions from handling.
Taisho was a Kyoto artist trained under Yamamoto Shunkyo. He was displayed at the Bunten National Exhibition. He was well travelled, Living in Europe for three years, and travelled very unusual places for his time such as India, Siberia, and South America as well as the South Pacific.

Jingu, guardian Empress of Japan, stands ready to defend her princely child Ojin held by General Takenouchi Sukune within a painted border of martial articles. Swords, armor, bows and quivers full of arrows, a horse-bit and court cap, tea bowl and other implements precious to the samurai tradition all hand-painted about the central image, laid scroll-like over top but actually all part of the same canvas. The composition has been freshly mounted in toffee colored brocade reflecting the original mounting and retains the original large bone rollers. It comes enclosed in a period wooden box. The scroll is 17-1/2 by 71 inches (44.5 x 181 cm). There is some toning and marks but nothing worthy of distraction. The stamp appears to read Shinsei

A pleasure craft of solid burled wood covered in clear, black and red lacquer with inlayed mother of pearl designs which opens up to be a picnic box. The fore-peak is removable and opens to hold chopsticks. The upper cabin is a sake bottle, the roof a large plate, the the lower cabin food and rice storage. The aft holds 6 small plates, and the structure all can be removed to reveal the food storage in the hold. It is roughly 20 x 8-1/2 x 11 inches (50 x 21 x 28 cm). There is a repair to the winglet on the stern, and a fracture in the upper bottle near the spout, otherwise is in quite good (used) condition.

A sprawl of chrysanthemum are delicately painted growing beneath the elegant curves of a Kanshi poem on this fine silk scroll by Kamisaka Sekka enclosed in the original signed wooden box. Pigment and ink on silk with silk border and black lacquered rollers. The scroll measures 11-1/2 x 73-1/2 inches (30 x 186 cm) and in fine condition. For more on this artist see the current exhibition at the Clark Center. For a very similar painting see Kindai no Rimpa, Kamizaka Sekka by Yanagihara (1981) plate 69 and for images of the seal and signature p. 306 fig 21 and page 311.
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 Nuevo 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, and was widely exhibited and prized throughout his career, which ended in retirement in 1938.

Pine boughs laden with snow shelter a pair of foraging raven in a spectacular scene reminiscent of paintings of the Kyoto school masters which decorates this Meiji period cloisonn$B!&(Bvase. The unusually tall tapered form swells at a tight shoulder to close about the wide neck wrapped with a band of darkly patinated silver. Silver wire defining the color is so thin as to be almost invisible. On the copper colored base drift three blue and white snowflake dials, the color matching that inside the mouth of the vase. There is an old repair of the highest quality visible upon close inspection (to the trained eye) in the blank of the undecorated side, as well as a number of fine cracks which seem to blend into the erratic branches of the pine tree above the dark birds. The vase sits on a custom made rosewood base with five scrolled feet and comes with an unusual custom made lacquered lid decorated with a peony (botan) in gold maki-e. Total height with base 16 inches (40 cm), the height of the vase alone 14 inches (35.5 cm).

A small round gourd: polished, cut and decorated inside with delicate fronds in gold on black maki-e. This is superb. It is 3 inches diameter (7.5 cm) and in perfect condition, enclosed in a quality old kiri-wood box. .

A man-headed snake coils atop this incredible mid Edo period (18th century) image of Benzaiten (Saraswati) inside a mountain shaped reliquary of dark wood. Inside the gilded cave she sits on a gilded lotus base. The figure holds a variety of sacred implements in her 8 hands. Riding on the benevolent figures head is the snake seated behind a Torii-shaped Crown settled between two Buddhist jewels. The image is 8 inches (19.5 cm) tall, the mountain shaped receptacle 19 x 14 x 23 inches (48 x 35 x 58 cm). There are broken fingers on the right hand, and missing tama on the left hand lotus base, but overall it is in surprisingly good condition. Benzaiten is a Japanese Buddhist and Shinto Goddess from the Hindu goddess Saraswati, and has been worshiped in Japan since at least the 6th century. One of the central figures in the Sutra of Golden Light, she is the god of all that flows, including water, music and language. In Japan she has become the protector deity of the state, and therefore the Japanese people. In Shinto she is known as Ichikishima-hime, and in Tendai beliefs represents Ugaijin represented by a Shinto Torii and there (as in this figure) is known as Uga Benzaiten. This piece is from Shiga prefecture, home of one of the three great Benzai Shrines on Chikubu-shima Island in Lake Biwa.

A set of Nesting Shino Sake Cups with Dice. They are stamped on the base, and come in three sizes, the accompanying dice imprinted with the various sizes on each side, so a roll of the dice decides your fate in the drinking game. Very unusual and in excellent condition, they are (stacked) 2 x 2 x 1-1/4 inches (5 x 5 x 3 cm).

A discreet masterpiece are words which could easily describe this gorgeous chunk of antique burled vine root carved and polished to a subtle sheen in the shape of a two tiered vase inset with bamboo pots. The piece rises from pebbly textured burl, abundant with character, like a clay pot which collapsed during firing. The second level appears to float above the first on tendrils of smoke. A startling effect. This piece truly captures the Japanese sense of respect for the natural world. It would be wonderful holding a sparse display of small flowers in a Tokonoma or tea room, or even in a collection of scholars desk items. The piece stands 11 inches (28 cm) tall, and is in excellent condition.

Ink on paper image of a skull befitting one of the most well known and outspoken Samurai/swordsmen of the 19th century, Yamaoka Tesshu, remounted in an olive grey border patterned with vines with wood rollers. The scroll measures 15 x 75 inches (37.5 x 190 cm) and is in fine condition but for some minor staining below the signature.
Yamaoka Tesshu (1836-1889) was a student of military arts and famous calligrapher. Born into a samurai family, Tesshu began studying swordsmanship from a very young age. He took the name Yamaoka upon marrying the daughter of a spear school, continuing the family name in their place. An avid devotee to Zen training, he attained enlightenment at 45. A compatriot of the infamous Zen priest Nakahara Nantenbo, the two established a Zen training center together. He was a bodyguard and teacher to the young Meiji emperor, Zen teacher, poet, swordsman and artist, a giant of a man containing all of these personalities (or perhaps none?) He died of stomach cancer at the age of 54, his last poem reading Tightening my stomach against the pain, The cry of a morning crow…

What a fantastic expression worn by this Edo p. Seto Hand warmer (hibachi or properly Shuro/ Te-abure). The dark shiny Seto glaze suits well the beast portrayed. Coals would have been burned inside, heating the surrounding pottery walls, and the piece would have been placed on a step leading into the house for guests to warm their hands on or used within the house in a more formal room. It is 13 inches (33 cm) long and is in fine condition overall. It appears as if when potted the craftsman had allowed for a hole near the top of the opening for storing the hibachi tongs, however had second thoughts and filled that hole with a biscuit before glazing. A hairline stress crack has formed along the left side of that patch of clay; otherwise it is in excellent condition. Rabbits and Daruma are often seen, but the bull is an uncommon theme for this particular implement.

Incredible attention to detail defines this large Pagoda entirely gilded in gold. It is 32 inches (81.5 cm) tall, 16 inches (41.5 cm) square at the base and in excellent condition. This would have been displayed in a Butsuma as a reliquary container. Both upper and lower doors open to reveal gold lined chambers in which the Buddhist objects could be stored. A couple of the small bells dangling from the eaves have been replaced or re-hung with wire. Due to size the cost of shipping will be accrued separately.

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.

A museum quality koro covered in soft pink glaze decorated with chickens in raised relief surmounted with a woven silver lid by Kiyomizu Rokubei enclosed in the original signed wooden box. It is 4-1/2 inches (11 cm) diameter and in excellent condition. For a piece decorated in the same style see the collection of the Museum of Modern Art, Kyoto.
Kiyomizu Rokubei V (1875-1959) began by studying painting from the age of 12 under the 19th century master Kono Bairei. Upon graduation from the Kyoto Municipal School of painting, he apprenticed under his father Rokubei IV. After the death of Bairei in 1895, he began taking painting lessons under Takeuchi Seiho. His first pottery piece was exhibited that same year at the National Industrial Exposition. The following year he was entered as a member of the newly founded Kyoto Ceramics research facility and was one of the founders of the Yutoen study group along with Miyanaga Tozan I, Kinkozan VII, and Ito Tozan I. He succeeded the name Rokubei in 1913. He was prized annually at any of a number of important National Exhibitions, and was honored as judge for the Teiten exhibition beginning in 1927, He was also granted one of Japans greatest honors when he was appointed a member of the Imperial Art Academy. Works by this very important artist are held in the National Museum of Modern Art, Tokyo and a great many in the National Museum of Modern Art, Kyoto

A pimpled toad looks to the sky exhaling a clouded spirit, a truly superb version of this theme in deep caramel bronze dating from the Meiji period. It is an interesting theme, the ugly creature elevated to the status of saint. Judging by color and quality, we attribute this as the work of Kanaya Gorosaburo (1836-1890), a bronze artist of Kyoto fond of this color and known for his superb modeling and detail. Not always signed, Gorosabutro was often known to sign only the box. This piece is unsigned. It is 7-1/4 inches (18 cm) tall, with the basin 5 inches (12.5 cm) diameter.

A beautifully shaped miniature bell with simulated chord looping through the top, half lifting off to reveal a compartment for storing incense. A ball inside the lower section actually rattles around like a real suzu-bell. This is a very unusual and superbly crafted from from the Mino area of Edo Japan. The inside white clay is darkened with age, and the outside infused with color gathered with time. It is 1-1/4 inches (4 cm) diamater, 2 inches (5 cm) tall and in excellent condition, enclosed in an old wooden box.

An incredible hand painted Taisho period bijin scroll signed Hakuho; so lifelike it looks to be a photograph. An angelic, Kimono clad beauty pauses to gaze out the garden window. One arm resting on the sill, she tranquilly stares past the hanging lantern and bamboo close at hand, her beautiful almond eyes fixed on the distance, she appears to be looking not at the garden, but at her own world. A colorful comb decorates her full hair while a pendant dangles from a kanzashi above her ear. A colorful obi holds her black kimono over the flower patterned under kimono. This arresting scene is intricately detailed, down to the tarnish on the lantern and individual threads running through the reed blind. The scene is mounted in creamy brocade embossed with vines, extended top and bottom in beige and ending in lacquered wooden rollers. The scroll has been meticulously restored and remounted and measures 21-1/2 inches (54cm) by 79 inches (2 m) and comes in a wooden box.

The character Kotobuki followed by a playful verse crying Watashiya kyujukyu made (Longevity, I live to 99). Ink on paper enclosed in a subtle cloth border befitting Zen art. It is stamped Taishitsu (his art name) and enclosed in the original signed wooden box with the same inscription on the lid. The scroll measures 10 by 73 inches (26.5 x 185 cm). There is some cupping in the scroll, otherwise in fine condition. Mumon (1900-1988) studied law in his youth, but was converted to the life of Buddhism by a statement of Confucian theory which says, rather than become a lawyer, create a world where there is no need for courts. After taking the tonsure, he initially studied under Kawaguchi Ekai, the first Japanese Zen priest to visit Tibet. However after several years in isolation battling tuberculosis, he emerged to receive his certificate of enlightenment from Seisetsu Genjo, and went on to head a number of prominent Zen temples. Later in life Mumon traveled the world, working hard to spread to light of Rinzai Zen.

An incredible amount of work went in to the burl-like lacquer finish of this early 20th century three-drawered calligraphy box. All surfaces excepting the bottom are covered in the unusual mottled finish known as wakasa, made by spattering on layers of various colored lacquers which are then rubbed down to a smooth, marbleized finish. Just when one thinks the artist has finished, the process is repeated. This small piece of furniture is the finest example of this technique we have come across. In testament to its high quality, the handles on the three small drawers are solid ivory. The top is removable to allow storage of an ink stone, paperweight and brushes, while the smaller drawers were made to hold stamps, brushes and paper. It measures 6-1/2 by 11-1/4 by 7-3/4 inches tall (29 x 17 x 20 cm tall), and is in excellent condition excepting a few small chips, one on the back left corner (see close-up photo), one on the front left corner bottom, and two on the lid edge.

A small house shaped incense burner by Mashimizu Zoroku enclosed in the original signed wooden box titled Kuzuya Koro. Inside the roof is visible cloth patterns where it was formed over wet sack-cloth. The outside has been scraped with a comb to resemble thatch. Inside a window a scholar gazes out, perhaps expecting a guest, or just contemplating the seasonal changes from the warmth of his abode. It is roughly 10.5 x 9 x 10.5 cm (4 x 3-1/2 x 4 inches) and is in excellent condition.
Mashimizu Zoroku II (1861-1936) inherited the pottery tradition of his father, Zoroku I and grandfather Wake Kitei III in the Gojo zaka district of Kyoto. He was a well regarded member of the city’s literatus, and is remembered for both his pottery and paintings in the Nanga tradition.

A conical Jingasa battle hat 6-1/2 inches (16.5 cm) high, 14-1/2 inches (37 cm) diameter entirely gilded outside with genuine gold. Inside is lacquered black and retains the tie holds for the liner. There is some writing within, and a maru-ichi crest. There is damage to the peak and edges, but is quite impressive looking, and was likely used by the immediate vanguard of the Daimyo. One of two variations we have, they are from Omi province, just outside of Kyoto in old Japan.

A cormorant cries out to the sea on the lid of this fantastic suzuri bako writing box enclosed in a red lacquered kiri-wood box. Inside the birds mate looks up from among gold flecked lotus leaves growing wild along the waters edge. The box contains the original tray with stone, the edges of which are flecked with gold. It is in excellent condition but for on ding to the inside of the base, lower left, and one in roughly the same position on the lid. A silk wrap and satin pillow protect the box both inside and out. Repair to both small nicks will be inclusive in this price.

Everything about this sencha tea implement storage cabinet is top quality; a most unusual box made up almost entirely of worm wood featuring a removable door with an inner panel of antique Chinese origin, possibly an image of a tea salesman with his baskets of leaves. A bronze handle surmounts the lightweight box, with a set of four jade rings attached through a pair of folding fans serving as a handle for the door. Climbing up the naturally gnarled sides of the door are two tiny frogs gazing across the smooth reflective burl-wood center panel like a pool. Inside red-orange (shu-iro lacquer covers the removable shelving, with a small drawer below opening with a solid ivory pull. The box is 7 x 11 x 14 inches 818 x 27 x 36 cm) and in fine condition. The box itself likely dates from the boom in Chinese style tea ushered in at the end of the Edo period, and in fact may be of Chinese origin which the polished wood of the door seems to indicate.

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.

This is a superb Bunraku puppet of the historical figure Minamoto Yoshitsune, one of the lead characters from the Tale of the Heikei and legendary fighter in Japan. The doll is incredibly mobile. Head moving up and down, his eyes open and close and move left to right. His eyebrows can be raised and lowered, and mouth opened or closed, all from toggles inside his kimono on the extended neck piece. The puppet is in perfect condition and stands 43 inches to the top of his topknot, complete with a bamboo display stand as pictured. Called Ushiwakamaru as a youth, Yoshitsune was the orphaned son of an enemy of the victorious Taira. He was raised on Kurama Mountain by monks, where he learned swordsmanship from the Tengu (crow-demons). His status as a fighter was sealed when he defeated the great warrior Benkei on the Gojo Bridge as a young man without drawing his weapon. The puppet dates circa 1970, at the height of resurgence in interest in traditional Japanese Theater. It comes with a wooden tablet upon which is written the characters name, the back signed by the artisan who created this fine doll.

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 lighting shaped dish decorated with karakusa and burning motifs by Seifu Yohei I (signed with his art name Baihin) enclosed in the rare original signed wooden box. It is 5 inches (13.5 cm) square, 4 inches (10 cm) tall and in fine condition.
Seifu Yohei I (1803-1861) founded the Seifu dynasty in Kyoto. He was born in powerful Kaga-kuni, modern day Kanazwa prefecture. After apprenticing with the second generation Ninnami Dohachi, he established his own kiln in the Gojo-zaka pottery district of Kyoto Specializing in Sometsuke, Seiji and Aka-e Kinsai/Kinran styles. He was succeeded by his son the second generation Seifu.

A fine Edo period portrait of a sinewy middle aged samurai proudly seated before a pair of swords, a table upon which rests an ink stone and book at his right elbow. Exquisite detail in the figures face and fine lines and shadows in the clothing are reminiscent of portraits by the great artist Watanabe Kazan. The portrait is signed Higashiyama Giryo and dated Tenpo 3 (1832) and the epitaph is signed Raijo. The portrait appears to be of a samurai named Kanda Hojo. The artist Giryo is likely a student or successor of the famous Kyoto artist Giryo I, who died in 1813. The ink and color on silk scene is bordered in complimentary blue cloth with bone rollers and comes in a fine kiriwood box. The scroll measures 11 by 70 inches (28 x 178 cm).

A pair of gold screens with bold shishi on genuine gold leaf. It is signed Miyauchi Gohogan Shinsai Fujiwara Morimichi sei and stamped Hogan Morimitsu no In. Each panel is 37-1/4 x 68-1/2 inches (94.5 x 174 cm). The screens have been restored, with some old repairs visible. These appear to be remounted from what is likely a different composition, possibly a set of fusuma doors. This is possibly from the Kano Tanshin of the later Edo, who used the name Morimichi, although there are a number of Tanshin. He was the 7th head of the Kajibashi branch of the Kano family, and was an appointed painter for the Edo Shogunate, achieving the rank of Hogan. He died in 1835 at the age of 51.

An unusual Ryoku Odoshi Ni-Mai-Do Gusoku armor of pleated horizontal plates and Armadillo scale mae-ate reminiscent of the leather covers on the front of older O-yoroi with an inscription inside the box lid attesting the armor to the property of Prince Arisugawa Taruhito. It features a black lacquered 62 plate suji kabuto with simple brass Tehen Kanamono and 6 lame shikoro with arisugawa crest on the fukigaeshi and genuine armadillo tail maedate. The mask is a Me-No-Shita Ho with prominent moustache and removable nose piece and featuring a Kiritsuke Kozane Nodokake throat defense. The Do consists of rows of pleated iron bands riveted together, with upper and lower plates of smooth iron covered in black tataki-nuri lacquer. The Armadillo scale chest piece is removable. From the waist hang 6 rows of five iron scales. The Sangu are all matching in cloth and style to the armor, with 2 piece hinged Bishamon Kote attached to the Shino sleeves. The Arisugawa Crest is prominent in gold on the black field of the Kawara Haidate. The armor retains the original ukezutsu flag holder and comes in a simple red lacquered wooden box. Quite striking with the exotic animal scales, it must have made quite an impression. However the underling armor is very simple and might allow an Imperial Prince to escape in the milieu without scrutiny in the event of a failed uprising. There is a chip to the lowermost lame of the shikoro, as well as some chips to the lower rows of the nodokake and black lacquer about the arm and neck openings in the Do. The Tortoise shell toggles securing the sleeves have become dilapidated (although all of the chord is strong) and most of the original bear fur on the lowermost Kusazuri has fallen. As noticeable in the photographs it does present a powerful display.

Lidded crystal eyes gaze serenely down from the Rakans purchase high on the lofty temple walls. The face is expertly crafted, with a distinct Chinese air reflecting the fact the Rakan (Arahat) were all from the Continent. The robes of green, white and red are patterned with scrolling vines and dials. A dedication on back Appears to be Made for/by Konoike-mura Hachiuemon and is dated Ho-Ei 7 (1710). The new wooden base on which it stands states the piece was restored in 1993. One of likely 16 images which would have been set high in the interior of the temple, gazing down on the faithful as they pray and chant to the main deity. The figure is roughly 20 inches (50 cm) tall and in fine condition, with only minor losses to the colored robes to attest to its great age.
Rakan (Sanskrit Arhat also pronounced and written Arahat, Arhan, Rahat, etc.) is translated the worthy one"; one who has attained the highest level in the Theravada school; the fruition of arhatship is nirvana. He is thus a perfected Arya, one exempt from reincarnation; "deserving Divine honours." This was the name first given to the Jain, and subsequently to the Buddhist holy men initiated into the esoteric mysteries. The Arhat is one who has entered the last and highest path, and is thus emancipated from rebirth. The degrees of Arhatship, called respectively Srotapatti, Sakridagamin, Anagamin, and Arhat, or the four classes of Aryas, correspond to the four paths and truths.

Swirling eddies decorate the rim of this gorgeous vase of huge dark hollowed vine, golden minnows swimming up the sides of the natural current made by the winding wood. A very unusual piece which exemplifies the Japanese awe and care for nature. Minor burls and burs in the wood act like rocks under the swift moving water, the pattern rolling over them in a raucous rush. This special piece of wood, extremely large for a vine, appears to have been naturally hollowed out over time, the twisting pattern outside duplicated roughly within, as if the wood had slowly hollowed out over the centuries. Taking this natural form, the artist has inscribed on its sides a theme which both matches the unusual pattern of the wood and depicts another aspect of the natural world. A one of a kind piece to decorate the Tokonoma of a tea room. The vase is 11-1/4 inches (29 cm) tall, 6 inches (15 cm) in diameter, and comes enclosed in an ancient wooden box. In Shintoism it is believed that gods inhabit the ancient growths. Perhaps when this piece fell, the artist sought to preserve some portion of that ancient being with this amazing work. Unfortunately my photographs fail entirely to capture the true beauty of this amazing piece.

A massive museum quality Chinese style Pot by leading Kyoto artist Ito Tozan enclosed in the original signed wooden box. The bulb-form body is sculpted with 14 flutes, a pair of beast heads serve as handles. The glaze is olive covered in red, bleeding through in places, the combination of color quite striking. The vase is 18 inches (46 cm) tall, 14 inches (36 cm) diameter and in perfect condition and comes with the original rosewood stand. The box is simply titled Horo-Kama Kabin signed inside Tozan Kinsei and stamped Tozan. The Ito family, spanned three generations. Ito Tozan I (1846-1920) began his artistic career studying painting in the Shijo manner under Koizumi Togaku before moving to the plastic arts under a number of teachers, including Takahashi Dohachi. He began using the name Tozan in 1895, and later received a number of prizes from the Imperial family, as well as being internationally acclaimed in the Paris, Chicago and Amsterdam Exhibitions. He was named a member of the prestigious Imperial Art Academy in 1917, three years before his death. He worked very closely with his adopted son, Ito Tozan II (1871-1937). He too began life as a painter, but his talent was seen by Tozan I, who adopted him and converted him to pottery, where he both succeeded and excelled as a member of one of Kyotos most well known pottery families. The line unfortunately died with the third Tozan in 1970.

A blossoming cherry occupied by two Birds of paradise spreads its arms over blue water flowing across the gold ground of this fine two panel screen by Kano Takanobu (d. 1794). The scene is depicted with mineral pigment on paper and gold foil. The artist has chosen a softer than traditional approach to the tree bark, almost boneless, all written with washes of dark color like that of the Rimpa school. The blossoms themselves are painted in slight moriage gofun, each heart shaped petal unique. It is quite spectacular. The screen has been fully restored at some point in the past, likely late 19th century, and touched up once more recently. There are two large areas of damage that were repaired, the first in the upper section along the border around the spine, where it appears the gold is much newer, and a 4 inch tear above the blossoming branch beside the birds. Also insect damage in the (must have been delicious) blue river has been repainted. Each panel is 34 by 69 inches (86.5 x 176 cm). There are faint water stains in rivulets running down the painting, however due to age and faint nature are not distracting. The screen is bordered in blue-green brocade separated from the painting by a white strip, and features a black lacquered wooden frame with high quality etched brass fittings. There are abrasions typical of age, but overall this is a very decorative screen in fine condition. Takanobu was the first born son of Kano Hidenobu, he achieved the rank of Hogan before his death in 1794.

A matching Edo period Myochin signed Go-mai-do Gusoku yoroi lacquered black and threaded with blue chord emblazoned with a seven star crest. It features a 24 plate suji kabuto with elaborate tehen kanamomo signed Myochin Ki Munemasa saku. The blossoming Shikoro features large back-turned Fukigaeshi and mabizashi covered in leather and also emblazoned with the seven star crest. Inserted in front is a sharp kuwa-gata maedate. The mask is a reisei ho with prominent flanges matching the design of the helmet and sode. Large five plate sode protect the shoulders, and the Do, made up of five hinged parts, supports 9 rows of gessan to protect the waist. The raw iron sangu is on all matching cloth dyed with the 7 star crest. The Haidate is of the Kawara style with leather plates lacquered black, and the suneate are signed, as is the helmet, Myochin Munemasa. It is in oveall fine condition. There are a few chips onteh mask typical of use, and the base of the maedate uke has been repaired. For more photographs please contact me.
Myochin Munemasa (Shahei) was a descendant (24th generation) of Myochin Munesuke active in Edo during the Tenwa era (later 17th century).

Gazing at the back of the traditional Maiko apprentice, pins and combs hold her coiffure perfect, our eyes travel down to the neck revealed as it joins the white painted shoulders, the luxurious kimono with its signature high and draping sash: She has the two of hearts! A very unusual painting reflecting the oddities of western influence at the opening of the 20th century by Matsumoto Ichiyo (1893-1952). It is truly a sketch, very possibly made from life while the young apprentice artist watched his teacher being entertained by the young apprentice geisha. It is performed with light color on silk, bordered in the Taisho manner with horizontal stripes of a softly charred blue, ivory and orange. The Ichimonji and integral Futai are streaked with true gold thread. It measures 40 x 195 cm (15-1/2 x 77 inches) and is in overall very nice condition, with yellowing of the silk to attest to age. There is some loss to the white Gofun clouds on the obi (sash), and it appears that red at the back of the collar may have been re-painted, possibly when it was mounted (which appears to be slightly later than it was painted).
Matsumoto Ichiyo was born in Kyoto, midway through the tumultuous Meiji period, and attended the city art primer before entering the Municipal School of Painting (Later Kyoto University of Art) where he jointly studied under the private tutelage of Yamamoto Shunkyo at his studio. While at school his first painting was accepted into the 9th Bunten (1915) National Exhibition. With a great emphasis on the revitalization of Yamoto-e tradition, he remained active on the National level, being consistently exhibited and prized, and later serving as professor at his Alma Matter. After the Second World War he served as a juror for the Nitten, and continued research and resurrection of Yamato-e until his death in 1952.

Green or Blue, which will win this contest? Two shishi lions vie for our attention on this absolutely fabulous pair of 19th century screens. The images are performed with pigment on applied silver, not an easy medium from the start. One creature pounces, mouth open, teeth barred while the other crouches, mouth shut, ready to leap. Peony, a flower typically associated with the creatures, grows about them. Each screen is 68 x 137 inches (173 x 348 cm). They have been fully remounted at some time in the near past (latter 20th century, 1970-80s?) and are in fine condition. Some repairs were affected at that time. A most impressive set of images, incredibly rare. Open and Closed Mouths of Guardians: Japanese Shishi (Shisa in Okinawa) Fu-dogs or Pinyin in China, Inari (fox guardians in front of shrines) as well as the Buddhist Niomon images are almost always depicted one with mouth open (Agyo) the other mouth closed (Ungyo). As a pair, they complement each other. One represents latent power, mouth held tightly closed in wait, while the other represents overt power, baring his teeth in action. The most common explanation of this imagery is the open mouth figure (feminine in Japan) scares away evil with its cry, while the closed mouth figure (masculine) keeps inside fortune and good spirits. Most Japanese adaptations state that the male is inhaling, representing life, while the female exhales, representing death.

A dry ink on paper image of mushrooms growing up along a garden stone dated 1874 by Tani Nyoi (1822-1905). The scene is signed Nyoisanjin, and dated the second month of 1874 hemmed in by origami cranes on cream satin in a field of rough pale green silk and features dark rosewood rollers. The style is very much in the literati tradition predominant during the early Meiji. The dry vigorous strokes evoke a sense of fleeting solidity, as if wind were about to blow the light paper away. And certainly it must have felt that way for a scholar/artist born in the late Edo who had experienced the unrest and upheaval of the Meiji restoration and ensuing battles, and the sudden influx of technology from the West. The artist Tani Ryutaro also went by the name Tani Tetsujin, Hyakuren and Taiko. He was a ranking figure from the Ii fief of Hikone, but studied philosophy and the scholar arts throughout Japan. In 1870 he was involved in problems of state but was promoted the following year, and later appointed the rank of minister of the left, finaly receiving appointment of Seigo-I by imperial decree. He left his post in 1874, for a period of reflection during which time he lived a quite life in Kyoto. It was during this period he was called Nyoisanjin, and it is from the first year of this period that this scroll hails. It measures 33-3/4 x 48-1/2 inches (85.5 x 123.5 cm) and is in fine condition. There is no box however we could have one made if desired.

A furosaki tea room screen made of a very large hanga woodblock print in the fashion of Inui Tai mounted within a simple wooden frame and stamped in the lower left corner. An intriguing work, village roofs are visible over a sea of rice containing all manner of small country scenes. A cat glares at two frogs, boys pluck small fish from irrigation ditches, uniformed students ride on their way to school, a farmer carefully cares for his plants… The screen is entirely black and white, accentuating its primitive charm. Each panel is 16 by 35 inches (41.5 x 88.5 cm). The screen is backed in red patterned paper, with one scratch in the back, the front in perfect condition but for a shadow in the white paper reflecting the cloth from long exposure (see pictures).

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 large baluster form Sumidagawa vase decorated in slips of green and black glaze over crackled red with a three-dimensional tokage (lizard) crawling down the side. The detail on the creature is superb, from the textured body to the white claws with which it seems to grip the sides of the slippery surface. On the backside is a raised gourd shaped stamp reading Ishiguro Koko (One of the most prominent Sumidagawa potters). Sumida ware was first produced around the beginning of the 19th century, coming into full fruition after the arrival of Perry in the 1850s. Sumida pottery was made almost entirely for export, and by the turn of the 19th century, the Mckinley Act had required that all foreign goods be so marked. The ware was then marked Nippon, and later Made in Japan or Foreign. This vase is unmarked, indicating, and datres from the period between 1890 and 1920. It stands over 11 inches (28 cm) tall and comes enclosed in an antique chirimen-silk bag and kiri-wood box. The right rear leg of the animal appears to have been repaired, and although well done there is a slight color variation. There are also several flakes missing in hte red paint. This helps to bring the piece into a more affordable price range.

An unusual modern art vase in robbins-egg-blue dating circa 1970 enclosed in the original signed wooden box by Kyoto artist Kumakura Junkichi (1920-1985).. The blue metallic glaze flows down the sides leaving a distinct pattern in the smooth surface, collecting in oil drop pools around the thickened base. Notches cut in the surface are turned out at various points to allow the insertion of flowers and twigs on all surfaces. One could make a variety of very interesting arrangements with this attractive piece. Signed on the base Jun, it is a little less than 5 inches (12 cm) square. The vase is in fine condition but the box appears to have been wrapped in a red cloth which was once wet, allowing the die to seep into the box surface. Junkichi began working in ceramics in the 1940s, his works submitted to innumerable National and International Exhibitions including the Japan Art Festival, New York and the international Arts and Crafts Exhibition in Florence Italy. He also submitted to the Brussels World Exposition and helped design murals for the World Exposition Osaka. At the International Ceramics Exhibition, Prague in 1962 he took a silver prize. He was also often exhibited and is in the permanent collection of the Japanese National Museum of Modern Art as well as the National Museum of Modern Art, Kyoto.

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.

A Stunning combination of works by mother and son Koyama Kiyoko (1936-present) and Koyama Kenichi (1961-1992), both in the original signed wooden boxes. The Tokkuri, by Kiyoko, is of bulbous form decorated with slips of green glaze used sparingly around the neck. The terracotta body is fired to a deep amber on one side, the bright orange clay indicative of Shigaraki showing through on the other. It is 4-1/2 inches (11cm) tall, 3-1/2 inches (9cm) diameter and is signed by the artist on the base. The Iga style Tsubo is spectacular, with the slightly lopped body burnt to a glassy green on parts, showing the typical blue Iga glaze through running rivulets down one side and charred dark gray on the other. It appears to have been pulled from a thousand years on the bottom of the sea. It measures 6-1/2 inches (16.5 cm) tall, 5-1/2 inches (14cm) diameter. Kiyoko Koyama is one of the pillars of Shigaraki and is one of the most influential female artists in her field. Kenichi

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.

An important Vase decorated with the imperial symbols of 16 petal chrysanthemum and Go-shichi Nobori Kiri among over-glaze bamboo and floral designs by Ito Tozan I enclosed in the original signed wooden box. It is 8-3/4 inches (22.5 cm) tall (excluding the base) and in superb condition and comes wrapped in a stamped silk bag.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III and Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937).

A large and stunning vase by Nakamura Shuto made for the Shobido Art Company enclosed in the original signed wooden box. It is 12 inches (30 cm) tall, 5-1/2 inches (14 cm) across the base and in excellent condition.
Nakamura Shuto I (1865-1928) was born the son of famous Kaga potter of Daishoji Temple Nakamura Shigeichiro from whom, along with Takeuchi Ginshu from the age of 12, he initially studied pottery and painting techniques. Delving into the past he researched and revived ancient kiln techniques. From 1906 he took the name Shuto, and became famous throughout Japan for superb quality ceramics. Suddenly in Taisho 2 (1913) he switched to painting and design, and then in 1917 combined the two disciplines in a new approach using a kiln he created in his home. Works by him are held in the Ishikawa Prefectural Museum among others. 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 deep and mournful sound emanates from this ancient Temple bell from Zennoji temple dated the 20th day, fourth month of 1686. One panel is inscribed Humbly presented, Shokakuzan Zenno Zen-Temple treasure, For the Nyodendoshi-Mujo Bosatsu Buddha. It is further inscribed Donated by Harada Shitaro of Saijo Village for the priest Jusanzoshu. We have been told by the previous owner this and another bell are from Zennoji Temple in Kanazawa prefecture. The striker plate, in the form of a petaled flower, has worn over time to be almost indistinguishable in form. The bell measures 21 inches (53 cm) tall, 12-1/2 inches (32 cm) in diameter. There is a casting flaw beneath one of the studs, with a dent below, otherwise is in fine condition, especially considering its age. Originally a small Zen temple founded in 1566 on Shokakuzan Mountain, Zennoji was moved down to the base of the mountain later, and is recorded in the book ShinpenKamakuraShi published in 1685. The temples records state it was moved after being heavily damaged from a typhoon caused landslide. This is believed to have taken place over time between 1688 and 1731. Currently the temple bears a different first character (Sennoji), however is still read Zennoji in the local district. Now the temple houses a standing Kanon, but was originally said to have been dedicated to AizenMyo-O, destroyed by fire in the later Edo, and it was after this last rebuilding the temple name was changed.

An exquisite and rare tiny O-ko-date incense burner for stick incense from the Minpei kilns enclosed in a wooden box attributed to Sato Sekizen by Shohei Hozan. It is 2 inches (5 cm) tall and in fine condition, stamped on the base Sekizen.
Mimpei-yaki, is a type of pottery established in the late Edo era (circa 1830) by Mimpei Kasyu, the village headman of Igano mura, a small town in the southernmost part of Awaji island west of Osaka. The son of a powerfull Soy trader his talent led Mimpei to leave the family business to become a potter at the age of 33. After inviting Ogata Shuhei to his kiln to introduce the techniques of Kyoyaki (Kyoto ware), he soon developed his own style which was influenced by contemporary potters of the day such as Eiraku Hozen and Shuhei’s older brother, Ninnami Dohachi. As well as classic Chinese pottery. Borrowed from Savory Japan: He created delicate porcelain ware decorated in exquisite and intricate three-dimensional designs that included animals, human forms, floral and geometric motifs. These were overglazed with polychrome enamels in classic Chinese colors (blue, celadon, bright green, yellow and gold) so that the design was highlighted and enhanced, pooling randomly in varying levels of intensity. Mimpei was quite successful and his pottery was popular and widely traded in its time.

A Flask shaped vase decorated with a Shishi (Mythical Lion Creature) in a rugged landscape by multi talented artist Domoto Insho enclosed in the original signed wooden box. The vase is 10 inches (25 cm) tall and in fine condition. Insho (b. 1891) was a Kyoto artist, trained in the traditional Shijo manner, but not one to be bound by its rigidity. He studied at the Kyoto Municipal School of Fine Arts, and under the important artist Nishiyama Suishi. Consistently exhibitied at the large National exhibitions (Nitten, Bunten) while fighting for greater acceptance of artworks. He traveled to Europe in 1952, and was appointed a member of the Japan Art Academy and winner of the Imperial Fine Arts Academy Prize, ultimately receiving the Order of Cultural Merit (highest prize allocated to a civilian in Japan). His works moved steadily toward the abstract, as we will see with the next listing. A true Jiyu-gakka, he refused to be defined by any school and was incredibly influential in his time and perhaps even more so after. His works are held in the collection of many internationally renowned institutions including the Museum of Fine Art, Boston, Tokyo National Museum and Kyoto Municipal Museum of Art. And in fact there is a museum dedicated to him in Kyoto, the Domoto Insho Museum.

Spiraling lines and wispy trees rise up to the heavens in this convoluted landscape by Fujimoto Tesseki dated 1855. If one looks carefully, it is fun to see the artists playful choices of colors, not apparent at first, like the blue trunk on the central tree at the base of the painting. Dramatic and colorful landscape Ink and light color on silk, the scene is enveloped in a patterned white satin border with white piping in the Mincho style popular in the 19th century, and features absolutely massive rosewood rollers. The scroll is 21-3/4 x 78 inches (55.5 x 198 cm) and is in overall fine, original condition. The box is titled Keishi Giken no Hito Fujimoto Tesseki Okina Chakushoku Sansui (Colored Landscape by Noble Hero of the Old Capitol the Elder Fujimoto Tesseki) and is signed within Kozan.
Fujimoto Tesseki (1817-1863) was a samurai literatus from Okayama skilled in Martial arts as well as philosophy and Chinese History. A loyalist, he was killed in battle during the years leading up to the Meiji Restoration. A well known painter in the Nanga style, he left a small body of works for the world to remember him by. He was posthumously awarded by the Meiji government for his part in the restoration of the Emperor in 1892. He is held in the British Museum and Tokyo National Museum among others. Enclosed is a registry paper of the Mori family of Kyoto from whose collection this scroll came.

A Gasaku joint effort by Kyoto porcelain master Takahashi Dohachi V and Scholar artist Tomioka Tessai (1837-1924) dating from the late Meiji to Taisho period. Enigmatic Characters in cobalt strike firmly from the smooth alabaster surface. The bowl is 4-3/4 inches (12 cm) diameter, 3-1/2 inches (9 cm) tall and in perfect condition. Written on the side is Sho-Do Ki? Sue, Nyu Chyu? Ho-nari followed by the signature Tessai Gai-shi. It is signed on the base Kachu-tei Dohachi-Sei (Made by Dohachi of the Kachu Pavilion). Takahashi Dohachi was one in the line of great porcelain masters of Kyoto. The family began potting in the 18th century, and was brought to the forefront of porcelain by the second generation head of the family. From then it was known as one of the top three families in Kyoto for porcelain production. The fifth generation took control of the kiln in 1897. Tomioka Tessai was a scholar artist trained from age seven in the traditional Confucian manner. After the death of his father he was apprenticed to a Shinto shrine, and later moved to work under Otagaki Rengetsu, from whom he was heavily influenced. He held a number of important positions, culminating in being appointed the official painter of the Emperor and a member of the Imperial Art Academy; the highest honor in Japanese Art circles. He was known to have worked with Dohachi in porcelains, as well as Eiraku Zengoro. This piece comes in a wooden box simply titled Hai.

A superbly detailed story Ranma carving, likely from an altar, in which five figures reside among golden maple and cherry blossoms. On the left a colorful figure dips water from the cascading blue waters of a steep fall, a man in priests robes behind him. Three other gentlemen in white robes watch from close at hand, a bundle of sticks, perhaps for making tea, perched in the foreground. Each figure is meticulously carved and painted, the entire scene gilded in gold. The carving comes enclosed in a vintage wooden box, and dates from the Meiji period (1868-1912). The piece, which has been fully cleaned and restored to new condition, measures 21-1/2 inches (54

A Fine bronze by the modern master of the Japanese bronze tradition, world renowned Hasuda Shugoro, enclosed in the original signed wooden box. The modern form is belted in geometric patterns with a mottled olive and red patination, signed on the base Shu. It is 6 x 7 x 9-1/2 inches (17 x 15.5 x 23.5 cm) and weighs approximately 5.5 kg (12 lbs) in excellent condition.
Hasuda Shugoro was born in Kanazawa City in 1915. After graduating the Ishikawa Prefectural Industrial School he moved to the Tokyo School of Art. Much lauded his first award was at the 5th Nitten in 1949 and he received the Hokuto-sho there in 1953 among many further prizes. He participated in the founding of the Creative Crafts Association in 1961 and founded the Japan Metal Sculpture Institute in 1976. Decorated with the Order of Cultural Merit in 1991, Hasuda Shugoro stands as one of the leading modernist artists working in bronze during the Post-War Period. A vase by the artist sold at Christies in 2012 for 2,500 pounds (roughly 4,000 dollars). For more on this artist see Hasuda Shugoro Kinzoku Zokei (1981).

A pair of ceramic Cormorants by preeminent early 20th century Master Miyanaga Tozan enclosed in the original signed wooden box. The cormorant has a special place in Japanese art. Like the hawk is a bird used in hunting, the cormorant is a bird used in fishing. A rope would be tied around the long necks of any number of the birds, them then taken out into the water with huge torches burning on the prows of the fishing boats. When the birds dive for and down a fish, they cannot swallow it, and the fisherman pulls it from its mouth. This was a very popular scene in early 20th century painting as well. These birds are roughly 8 inches (21 cm) long each and in excellent condition. 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.

This baluster form vase is quite large by Japanese standards at 14 inches (35 cm) tall and in perfect condition. Chrysanthemums decorate the sides in rich, dark blue. There is a slight yellow tinge to the white glaze. It is signed on the base Makuzu Kozan Sei. 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 kiln as we know it 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 Makuzu Kiln to International Celebrity status, and send his wares throughout the globe. 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.

A beautiful robins’-egg-blue gu-shaped vase with ring handles and engraved decoration by Ito Tozan with the original rosewood stand dating from the early 20th century (c. 1920). The pale blue bleeds to white over the high points of the decoration, the florals raised about the bulbous center and highlighting the rim and edges of the beast head handles. Meanwhile pools of dark shadow the fretwork emanating up and down the body. The vase is 12-1/2 inches (31 cm) tall plus the base and is in excellent condition. There is no box however one could be made if desired. Ito Tozan I (1846-1920) began his artistic career studying painting in the Shijo manner under Koizumi Togaku before moving to the plastic arts under a number of teachers, including Takahashi Dohachi. He began using the name Tozan in 1895, and later received a number of prizes from the Imperial family, as well as being internationally acclaimed in the Paris, Chicago and Amsterdam Exhibitions. He was named a member of the prestigious Imperial Art Academy in 1917, three years before his death. He worked very closely with his adopted son, Ito Tozan II (1871-1937). He too began life as a painter, but his talent was seen by Tozan I, who adopted him and converted him to pottery, where he both succeeded and excelled as a member of one of Kyotos most well known pottery families. The line unfortunately died with the third Tozan in 1970.

A colorful and impressive scroll featuring a bushy tailed neko-tora, or cat tiger from the late Edo period. The neko-tora is a by-product of the Japanese closed border policy, rigorously enforced during the Edo period, which eliminated outside trade and influence. Therefore, Japanese artists were forced to come up with their own ideas of what a fearsome tiger looked like based upon older paintings and skins. This is one of the most imaginative and detailed I have yet seen, with each standing hair individually painted. The cat, stopping to drink from a stream, stands before a crooked pine, caught at the moment it sights an enemy, its bulbous green eyes staring past twitching whiskers, ears flattened against its head. The sinewy creature is well depicted as is the Kano style lines in the background plants trees and waterfall. The scene is framed in dark, purple silk embellished with fan shapes, and ebony rollers. Despite some creasing, the scroll is still very presentable and would be an eye-catching hanging. It measures 29-3/4 by 69-1/4 inches (75.5 by 176 cm)

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.