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

Here is a very rare early Edo period Ni-mai-do Gusoku prominently displaying a Christian cross like symbol on the front and back of the chest plate in gold. It has a simple kabuto of 6 vertically joined iron plates falling from a circular peak, with a three lame Shikoro. Displayed on front is a wooden crescent moon maedate covered in textured gold (likely a later reproduction). The mask is an unusual Hanpo with a very small mouth in the Momoyama style. The Sode consist of five pieces, the lowermost trimmed and covered in gold, which has largely worn away. The two piece iron Okegawa-do is covered in black lacquer and bears the cross symbol on both front and back. From the waste hang 7 rows of fluted Gessan in red Odoshi. The sangu (Kote, Suneate, Haidate) are made of heavy iron splints connected by chain mail over indigo dyed hemp. It comes with the box pictured, a quality kiri box much worn and often repaired over the centuries (the stand is not included).

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.

A turned kiri-wood kogo incense case decorated with painting of plums and camellia with a silver rim. Inside wide leaves in god outline underlie the artist’s signature and stamp. The piece is 4-1/2 inches (11.5 cm) diameter.
Sekka (1866-1942) is known as the last great Rimpa Master, an artist of many talents who worked in painting, wood and lacquer. Taken from Wikipedia (they say it so much better than I) In 1910, Sekka was sent to Glascow to study Western art and craftsmanship. He sought to learn more about the Western attraction to Japonisme and which elements or facets of Japanese art would be more attractive to the West. Returning to Japan, he taught at the newly opened Kyoto Municipal School of Arts and Crafts, experimented with Western tastes, styles, and methods, and incorporated them into his otherwise traditional Japanese-style works. It is easy to see this juxtaposition by looking at almost any of his paintings. While he sticks to traditional Japanese subject matter, and some elements of Rimpa painting, the overall effect is very Western and modern. He uses bright colors in large swaths, his images seeming on the verge of being patterns rather than proper pictures of a subject; the colors and patterns seem almost to 'pop', giving the paintings an almost three-dimensional quality.

Sitting demurely, legs folded with her back to the viewer, an oil painting by Yoshii Kosaburo dated 1937 and encased in the original period wooden frame. Oil on canvas, the painting is 15 x 18 inches (38 x 46 cm), the frame 21 x 23-1/2 inches (53 x 60 cm) and is in fine condition. The frame has marks and wear typical of age. It comes with some period documents (Japanese) on the artist. Yoshii Kosaburo was born in 1899, and initially studied under Imperial Art Academy Member Nakagawa Hachiro. In 1922 he moved to France, where he spent three years under the tutelage of Pablo Picasso, exhibiting with the Salon De Toneu and Salon De Plantan. Domesticaly he exhibited with the Bunten and Teiten National Exhibitions.

Exceptional rendering of the character Moon by one of Zens most important 20th century leaders Yamada Mumon. The ink on paper image is framed in patterned copper silk and features black lacquer wooden rollers. Some faint staining, the scroll measures 17-1/2 x 59 inches (44 x 150 cm) and is in excellent condition, enclosed in a kiri-wood box. 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.

A set of two gilded and lacquered wooden Imperial memorial tablets dating from the Taisho period (1911-1925) on elaborate 3 piece stands; one etched with the name of the Meiji Emperor, the other noting the current emperor (at that time). The mirror, one of the three Imperial signs, is represented floating in a sea of stylized clouds on the cornice cap, separated from the ornately carved plaque by a red and black lacquered slab. The scrolled center section is adorned with Imperial chrysanthemum dials in a field of blue, originally decorated with (now faded) vine tendrils. In the Gold center of one is written Meiji Tenno Songi, in memory of the Meiji Emperor. This tablet appears to have lost some of the gold lacquer, revealing a smooth, darkened silver underneath. On the other is Kon jo ko tei fuku ki ei koku bou ka mu kyu, A prayer to the present (at that time) emperor for long life, and to bring hope and prosperity to the country. The two epitaphs rest on square gilded slabs carved with folding flower petals, which in turn rest on a black and red lacquered, two-footed wooden base. This whole package is set on a sloping raw cedar stand, which is in turn on a small gold base, in turn set on a large gold stand. This lower section was so blackened with age I did not know it was gilded until we started cleaning it. Each piece in this puzzle features a panel of vertically striated wood set in to the front. The entire structure is 50 inches (127 cm) tall, with a base footprint of 10 by 15-1/2 inches (25.5 by 39.5 cm). The tablet itself measures 21 inches (53 cm) tall. On the black lacquered back of one are written the birth and death records of recent Emperors on two pieces of overlapping paper. It would seem the original paper was written at the beginning of the Taisho, and later amended with information on the Showa Emperor.

An unusual chato (tea room sword) in the shape of an octopus, its 8 legs stretched out in uniform with one curled back exposing the suckers. Eyes are intimated on one side, with an old chip where the breathing hole is opposite. About the neck is wrapped a faded silk chord. It is 22 inches (56 cm) long. It is said that these wooden swords were produced from the mid to late Edo period, in lieu of swords for those not allowed to carry weapons (all but samurai). During the Edo it is true that commoners wore them to ward off evildoers at night, generally heavier versions which would double as a truncheon, and later as statements of fashion akin to other sagemono. We have found however that their production lasted through the opening years of the 20th century, as long accustomed ornaments of fashion in the tea room (where even samurai were not allowed bladed weapons). To the repertoire of bokuto and doctors sword, we thus add the name Chato, or tea sword, as they were commonly referred to in Kyoto. As with other members of the sagemono group, they were most often made by carvers of Netsuke. This is from a collection of scholar items we are currently offering from the estate of a Kyoto family involved in literati and art movements from the later Edo period on.

One of two paintings currently offered by the highly sought after literati artist Fukuda Kodojin (1865-1944) featuring an erratic image of the full moon seen through bristling pine performed in thin ink on paper and enclosed in the original signed wooden box dated 1925. The brazen brushwork will rattle images of the subtleties of Japanese art, and yet the scene is at once calming. It is bordered in caramel cloth extended with soft brown, featuring bamboo knurl rollers and measures 13 by 59 inches (33 x 150 cm). Kodojins 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 the Meiji, Taisho Democracy, and rise to Imperialism and defeat of the Showa era. He was self taught, part of a small group of artists existing outside conventional circles in pre-war Japan. He purposefully destroyed a large portion of his remaining work just before his death, leaving only that which must have met some personal criteria. For more on the life of this remarkable artist see the book Old Taoist (Addiss), or Unexplored Avenues of Japanese Painting. His work also was recently presented for exhibition at the New Orleans Museum of Art, and is part of the Hakutakuan collection among many others.

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.

Sennin, Daoist immortals, relax, Gamma with his three legged toad looking shocked upon his shoulder, Tekkai sending his spirit forth, the essential equipment of the Daoist life scattered about them. The painting is dated 1912 and signed Kodo. The artist has chosen a very humorous stance from which to depict his subjects. The silk image is mounted on a panel of applied gold flake and framed in striped Ebony,. The frame is 142 x 48 cm (58 x 19 inches). There are some minor abrasions to the surrounding gold paper. As the traditional Japanese home was made with earthen walls, which could not support weight, hengaku frames of this manner were made to be suspended from the edge of the ceiling, and supported over the transom (Kamui) which ran the entire way around a traditional Japanese room at door height.
According to the MIA, The Daoist immortals, Gama Sennin (Chin. Liu Hai) and Tekkai Sennin (Chin. Li Tieguai) “were often paired in Japanese and Chinese art because of their corresponding supernatural powers. Depicted on the right is Gama Sennin, known literally as the ‘toad hermit,’ a character based on the historical civil servant and alchemist Liu Hai of 10th century China. Various accounts associate Gama with a large, three-legged toad by which he can be identified. Gama was thought to be able to release his spirit from his body, metamorphose, and fly with the aid of his magical companion. Tekkai Sennin is the Japanese adaptation of one of the Eight Immortals (Baxian), an assemblage of Daoist and/or folk deities. He was thought to be capable of leaving his body, sometimes traveling for extended periods. On one occasion, he asked a disciple to watch over his body and instructed him to burn it if his spirit did not return in seven days. On the sixth day, however, the disciple’s mother died, so he burned his master’s body and went home. Returning on the seventh day, Tekkai’s spirit found his body gone, leaving him no choice but to adopt the corpse of an emaciated beggar that he found beside the road. Like Gama Sennin, he is associated with medicine, and is traditionally represented with a gourd that signifies his ability to transcend the body and to offer healing.”
Due to size the cost of shipping will be accrued separately.

A pair of superb Tokkuri by Raku Kichizaemon enclosed in the original signed wooden box, each stamped on the base, each unique with one in dark Raku glaze, the other swiped with ash leaving large areas of raw clay exposed. Each one is 16 cm (6 inches) tall and in fine condition. These are by the Kichizaemon X, according to the book Sado Bijutsu Teccho, it is the earliest of his four known stamps.
The Kichizaemon family of potters was established in Kyoto by Chojiro during the Momoyama period (16th century). The 10th generation head of the family (Tanyu, 1795-1854) was born the second son of the 9th generation Kichizaemon. Along with Yoyosai assisted in the establishment of a kiln for the Kishu branch of the Tokugawa family, and soon followed that up with others around the country. This gave him tremendous experience throughout the world of Japanese ceramics with different clays and glazes, expanding the family repertoire into Oribe, Iga and Seto ware in addition to the traditional Kyoto wares. Works by him are held in the Metropolitan Museum of Art among many others.

Smooth black lacquer covers the mirror like surface of this wooden boat inlayed with mother of pearl down the sides, hiding under the low roof a brass tray for flower arranging. The prow is flecked with gold and the roof decorated with karakusa maki-e designs in black on the flecked surface. The tiller is removable for cleaning. It is 28-1/2 inches (72 cm) long, the ship dating to the opening of the 20th century. There are some minor chips in the lacquered corners in the stern, however overall it is in fine condition.

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.

On the 9th day of the 6th month of 1775, 3 artists, Reisen Uno (Motoaki/Gensho, a songwriter, poet and calligrapher), Keiho Takada (Kano Chikuin, a Kano trained painter of budhist images and calligrapher) and the master of the Chikudo, Teiun held a songwriting party. This scroll is a recording of the scene, with the subsequent song written along the top, followed by a poem by Chikuin and Reisen, recorded by Teiun. This is a truly fine scroll, recently restored from its worn Edo mountings. It is set in a quiet olive brocade with dark wooden rollers and measures 27 1/2 by 77 inches. This is truly a phenomenal work in both scale and condition.

White cranes soar from the black water of a lake tucked in the shadow of orange hills on this lovely mid 20th century scroll enclosed in the original signed and stamped wooden box by Takazaki Ko (b. 1910). Extremely delicate yellow trees reflect off the dark surface of the lake, contrasting with the thick ranks of orange marching up the hillside. Painted in the audacious style of Banka, the painting retains a quiet charm in the singular movement of the graceful birds. It measures 19-1/4 by 78-1/2 inches (49 x 199 cm) and is in excellent condition. Oki apprenticed twice, both under Nakamura gakuryo (1890-1969) and Maeda Seison

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 collection of huts glow softly huddled in the protection of towering rocks in this lovely winter landscape by Akamatsu Unrei (1893-1958) enclosed in the original signed wooden box dated 1928, which itself is in turn enclosed in a protective red lacquered wooden box (nijubako). A true master of the genre, Unrei was born in Osaka, and apprenticed under Koyama 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. This is a truly wonderful painting, and my usual litany of words fails me. He has set the stage with a dark wash of gray across the horizon, the empty paddies, separated by snow covered paths, reflecting the dark sky. Brown leafless trees stretch out from the white ground interrupted by massive crags of stone, and tucked away in the shelter of all this is the soft pink warm walls of a village idling away the winter months in comfort. The delicate use of light color throughout the scene provides a much richer, deeper perspective than is normal. The scene is mounted in rich brocade embellished with vines, extended in beige brocade of similar pattern, and features solid ivory rollers. It measures 22 by 55 inches (56 x 140 cm) and is in perfect condition but for a small pale spot like a fingerprint in the mountain below the signature.

An incredibly detailed mid to late 19th century Izushi-yaki Hakuji (white porcelain) image of a samurai and his lover enjoying a moment together; the robes, accessories and musculature being extremely well shaped. The pair are made of solid white clay, sculpted in the style and with the attention to detail typical of Hirado ware however the glaze is more textured than work expected of that region, indicative of Izushi. There are several chips: the mans left foot, tobacco pouch and right fingers and the womans hair, as well as a repair to the back fold in the womans loose kimono. The couple measure approximately 4 inches (10.5 cm) tall, 5-3/4 inches (15 cm) wide. They are enclosed in an ancient wooden box inscribed with the date 1930, and stating the piece was acquired or received in April by Sakuragawa Umetoshi. The sculpture pre-dates the box by many years.

A large Ukibori vase covered in iron with yellow slip raised imagery of birds in a pomegranate tree by Ito Tozan I enclosed in the original signed wooden box dated 1917. It is 16 inches (40 cm) tall 10-1/2 inches (26 cm) diameter and in fine condition.
Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III and Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937).

A bronze dragon water spout dating from the late Edo or early Meiji period (mid to later 19th century) in an unusual full body configuration. Most spouts appear climbing over the edge of a basin, and thus only the front of the dragon need be cast. This however writhes across the edge of the basin, the entire body exposed. A pipe extending from the stomach allows the water to be attached. It is 29-1/2 x 11 x 10 inches (75 x 28 x 25 cm). One horn has been repaired and there is some damage where the belly would have touched the stone surface of the water pool typical of age. Dragons are not only the gods of water, therefore a protective deity, but also are considered guardians of Buddhist doctrine, and, like the Buddha mind, are rarely seen in full form.

A bakumatsu era (mid 19th century) Shishi Koro of dark red clay covered in a rich green glaze from the Banko kilns in Mie. It is 14 x 24 x 8 cm (9 x 5-1/2 x 3 inches) and is in fine condition but for one clawed toe which has been chipped. This squat style of facial expression was popular from the declining years of the Edo period into the early Meiji, and fits the date of this piece perfectly.

A pair of ancient iron tongs for working charcoal within the furo during the Japanese Tea Ceremony enclosed in an ancient wooden box titled HiBashi, Todaiji Kawara-Kugi, or charcoal tongs, Todaiji, Roof Tile Nails. One of the nails shows deterioration in the center where it rusted on the surface between the tile and the roof. The hand forged nails are just over 9 inches (23.5 cm) long, folded over on the flattened ends to form the head. The polished rusty surface, and the manner in which the heads have pitted is the essence of wabi! An excellent addition to the tea room.

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.

An early work featuring white walls in Autumn foliage by Kitamura Seigyu enclosed in the original signed double wooden box. The box appears to be titled HakuryuJi no yu (evening around Hakuryuji). There are many places named Hakuryuji in Japan, so it is difficult ot be specific, but near his home of Hokkaido, and a place he would have passed through is a Hakuryuji in mountainous and rural Akita prefecture. This work is performed with pigment and powdered silver on silk, and dates from very early in his career, likely around 1920. The scroll is 26 x 86 inches (66 x 218 cm). There is some minor foxing consistent throughout. The scene is mounted in lavender tinged bronze brocade of superb quality and features large ivory rollers (they will need to be changed if shipped outside Japan).
Kitagami Seigyu (1891-1970) was born in Hakodate, Hokaido. He came to Kyoto to study under his uncle Kitamura Shunzan, then under Takeuchi Seiho. He Exhibited and was prized with the Bunten/Teiten National Exhibitions.

Lacquer covers the natural curves of this wood tray for use in the service of Sencha leaf Green Tea. It is 10 x 14-1/2 x 1 inches (25.5 x 37 x 2.5 cm). The bottom shows wear typical of use.
The importance of Sencha in the late Edo and Meiji periods cannot be overlooked, and has been studied in depth in the book Tea of the Sages, the Art of Sencha by Patricia Jane Graham.

A pair of Wooden doors dating from the later Meiji to Taisho period of fine clear grained panels hand-painted with butterflies, birds, and floral dials in brilliant color by Maruyama Oyo in red lacquered wooden frames retaining the original brass hardware. They are made for an opening 141.5 x 180 cm (55-3/4 x 71 inches). They are in overall fine condition. These were acquired from a large estate along the Kamiyagawa River in Kyoto’s posh Kinugasa district.
Maruyama Oyo (1868-1923) was the adopted son of Maruyama Obun and became the sixth generation head of the Maruyama School of painting in Kyoto. You will find works by this famous artist in the British Museum and the Brooklyn Museum among others.

A framed calligraphy fan painting by important Edo period poet Kawano Tetsuto (1825-1867), published in the book Shijin Kano Tetsuto (1932). The ancient paper fan is mounted in a field of gold flake bordered with black lacquered wood, the frame measuring 11-1/2 by 23-1/2 inches (29 x 59.5 cm). There is one spot of damage to the flecked gold mounting in the lower right (see photos). Tetsuto was an influential poet and scholar of the late Edo period, trained in the arts under Yoshida Kakusen and Somekawa Seigan. Forced to read by his father, he began studying Confucian theory at the age of 6, and by 11 had mastered the 100 Sanyoshi poems, to be called a genius. Two years later he became a pupil of Shirotani Junji. He lived rather freely, loving wine, song and women. He wrote the poems Ho-no-Kai-ko and Shuengai-Nishu and was also a well known flute player. In 1862, five years before his death, he was elevated to the position of a guardian (hanshu Seiwako Oban Gashira) at Nijo castle in Kyoto. During his life he established a school in Osaka; his most famous disciples were Noguchi Shoyo and Yagi Tenkawa. In 1867 he died of complications from diabetes. 60 years after the passing of Tetsuto, his work remained so important; his rank was again elevated by the Showa Emperor in 1928. A copy of the book in which this piece was published is included with the sale.

Heavy pigment on thickly veined gold creates a powerful collection of scenes from the Taiheiki, the 11th century story of the fall of the courtiers and usurpation of power by two military families, the Taira and the Genji. The screen dates to the 18th century, or middle Edo period. Many old repairs attest to age. We have had it completely remounted, with no painting restoration performed. On the left the famous scene of shooting a fan from horseback from the battle of Yajima. Center two famous riders charge into the waves, on the right a group of warriors bristling with arms, possibly the tragic hero Yoshitsune and his group of roughnecks. The screen measures 104 x 40 inches (264 x 102.5 cm) and is ready to display.

A daunting image by radical Nihon Nanga-In member and founder of the Osaka Art College Yano Kyoson (1890-1965) dating from earlier in this influential artists career. Crisp white walls of a strangely elongated house perch on the edge of a dark forest reaching up to the rain washed sky. A single tree ripe with yellow leaves guards the entrance. The light color on silk image is bordered in lavender silk matching the leaden sky, extended with green cloth and features shimmering silvered-yellow ceramic rollers well suited to the color of the autumn leaves. The scroll is 13 x 56 inches (33 x 142.5 cm) and is in excellent condition, enclosed in a fine Kiri-wood box. Yano Kyoson was born in Ehime prefecture, on the Island of Shikoku, and studied under Nakamatsu Shunyo. He exhibited consistently with the Nihon Nanga-in, of which he was a founding member. He also was consistently presented at the Bunten and Teiten National Exhibition, where he served as a Juror, and later at the Nitten. His work is held in the collection of the National Museum of Modern Art Tokyo, as well as any number of important private collections.

Steam coils about the petit young woman at the public bath, a fine Taisho era painting signed Ikuho. The color blends into the silk, leaving a soft edge enhancing the sense she is being viewed through the steam and heat of the bath. Pigment on silk, mounted later in green patterned cloth extended with grey and featuring wooden rollers. As pictures of nudes were forbidden, Ikuho is likely a pen-name, possibly taken from Ikuho Street in Northern Kyoto city where the artist may have resided. The scroll is 19 x 78-1/2 inches (47.5 x 199 cm) and is in fine condition but for a faint water stain in the upper right corner and some minor marks.

Exquisite floral designs rise softly beneath the rich yellow glaze on this large porcelain vase by Seifu Yohei enclosed in the original signed wooden box. Crisp clarity defines the petaled blooms in slight relief blossoming on scrolling vines. A style both Seifu III and IV were well remembered for. It is signed simply on the base Seifu. The vase is 9 inches (23 cm) tall, the same diameter and in perfect condition. This is likely the work of the fourth generation Seifu, dating from the 1910s or 1920s. Seifu, unlike many potters of the time, was low production and tenacious in approach. The third generation head of the family (d. 1914) was honored as a member of the Imperial Art Academy (Teishitsu Gigei-In).

A 19th century (early Meiji) period Buddhist image we believe to be a thousand armed version of Yakushi Nyorai accompanied by two sages carved entirely of fragrant sandalwood on a gilded wooden base. The group is in total 15-1/2 inches (39 cm) tall, the image alone 5-1/2 inches (14 cm) tall. Both sages are missing an arm, as well as one lotus blossom rising from the wave patterned base. The holy figure itself also once had a greater number of arms, which have been lost over the last 150 years.

Gold clouds border a spectacular and rare scene of birds flying amid wisteria (fuji) on this fine 19th century gold screen. The screen is roughly 68 by 148 inches (172 x 376 cm). We are offering this screen as is, to allow the buyer to pursue restoration to a level they deem satisfactory. In need of restoration, there are scratches in the gold over the birds, three marks low in panel three and a number of thin tears along the lower portions of the 6 panels. For detailed photos please inquire.

Dragons writhe across the face of this astounding free standing temple which was a long time display piece in a Butsudan Shoten, an example of the finest work available for Japanese altars. The piece is more than 60 years old, as the current owner of the store (third generation) mentions it has stood there for as long as he can remember. It is entirely hand made; each piece of wood finely shaped and lacquered, each bit of metal hand etched before assembly. It rises from a 9 stage base of red, black and gold lacquer, each stage separated by tiny carved and gilded waves, and centering on a pair of 3 dimensional dragons vying for the prized Buddhist jewel between red colonnaded bows, tumultuous waves crashing down the sides. There are almost 100 pieces of decorative brass on the base alone! Enclosed in a scrolled wall is the center section made up of 10 black lacquered pillars heavily embellished with golden trim separated by carved cornices supporting the roof, which I cannot even begin to describe in its complexity, and will have to let the pictures show the work. The temple breaks into four sections, the base, pillared center, middle and top of the roof. It stands 38-1/2 inches (98 cm) tall, 20 inches (51 cm) wide and 12 inches (31 cm) deep. As mentioned before, this was a display piece showing the best available for Butsudan interiors; Butsudan are altars enshrining ones ancestors. The three black lacquer panels in back were added some years ago, and there are a few small pieces which have broken off and gone missing over the years; however it is surprisingly intact for such a delicate item. Pictured both with and without, all of the golden balls on the roof are accounted for. In Japanese altar making, each step is performed by a separate craftsman, cutting the wood, shaping the wood, lacquering, gilding, painting and assembly. Numerous individuals have worked to show the highest quality work for this outstanding altar. Ordered new today, this would be over 20 thousand dollars.

A long bamboo incense case with dark wood lid carved exquisitely with blossoming lotus and calligraphy. The deteriorating leaves rise from the bottom, blossoms spreading their petals to the sun. Above three lines of calligraphy descend to meet like the squirreling rays of late summer light. The piece is 20-1/2 inches (51.5 cm) long and in perfect condition, enclosed in a cloth sack and kiri-wood box. It is signed (Japanese reading) Fusui(lotus water)Sanjin Koku (carved by Fusui, man of the mountain). The carving is one of the best I have seen.

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.

A lovely late Edo to early Meiji period square footed dish decorated with autumn grass and crosshatching in underglaze iron with a charming lacquer repair in one corner featuring a crescent moon expertly rendered. The dish has been formed on a cloth covered pattern; impressions remain visible in the surface through blanks in the thick white glaze. It was made with fluted corners, with 4 pressed on loop feet. The dish was dipped in glaze from one side, then held on edge, allowing the glaze to run in several thick streamlets across the center, finger marks of the artist as he held the dish after dipping still visible as blanks in the white. A very attractive repair has been performed to one corner using three shades of lacquer, creating a golden moon partially obscured but still visible through silver clouds. The piece comes enclosed in an old wooden box, and measures 8 by 10 inches (21 x 25.5 cm).

Festive red paper lanterns parade in a sea of mist across this elegant 20th century scroll by Hayashi Bunto (1886-1966) enclosed in the original signed and stamped wooden box. A wonderful summer-time scene reminding one of all the matsuri-festivals dominating the nights of this season. The silk scene is bordered in blue ending with bone rollers trimmed with gold. The scroll is 22 by 52 inches (56 x 132 cm) and is in fine condition. Bunto studied painting under Yamamoto Shunkyo, and became a preeminent Shijo school artist of the early 20th Century. He is held in the collection of, among others, the Museum of Modern Art, Kyoto, as well as many private collections.

A massive evocative painting exhibited at the first Bunten National Exhibition in 1908 by Ito Koun enclosed in a large period wooden box and pblished in the Nitten-shi series volume I. It is performed with pigment on silk, and shows that soft, almost mystical touch typical of late Meiji Rekishi-ga historical imagery. The samurai crouches at the gate, letting fly arrows at his overwhelming opponents. Metal tipped shafts pierce the thick wood of the gate before him and broken arrows lay scattered among the fallen leaves at his feet; a poignant reminder of the fleeting life of the warrior. The scroll is 120 x 149 cm (47 x 98 inches) and is in overall fine condition; a museum class painting.
Ito Koun, (1879-1939) was born in Tokyo with the name Ito Tsunetatsu in July of 1879. He studied under Murata Tanryo, and exhibited with the Bunten National Exhibition to which he was named a committee member after 1925. He specialized in Rekishi-ga and historical scenes.

A worker makes his way through the autumn tinged hills, home just a few steps away in this brilliant Nanga work by Hashimoto Kansetsu enclosed in the original signed wooden box which is in turn enclosed in a red lacquered wooden box (Nijubako). Light color on silk mounted in a superb frame of blue silk with patterned with dragon dials and featuring large ivory rollers. The scroll measures 22 x 85-1/2 inches (58 x 217 cm) and is in excellent condition.
Born into the family of literatus and painter Hashimoto Kaikan in Hyogo, in the heart of central Japan, Hashimoto Kansetsu (1883-1945) was a sinophile and manic painter trained initially by his own eye and studies of Chinese classics, then under Takeuchi Seiho (1864-1942). Very opinionated (like his teacher) on the future of Japanese painting, he eventually left Seiho’s Chikujokai school and set out to establish his own painting style which came to be called Shin-Nanga (the New Sothern School). He travelled in Europe and extensively in China, and many of his scenes are inspired by that country. His former residence, which he designed entirely himself, is now a museum. Works by this artist are in so many important collections, including the Metropolitan Museum of Art New York, Museum of Fine Arts, Boston, MOMAT (Tokyo National Museum of Modern Art), Adachi Museum, Kyoto National Museum of Modern Art, Kyoto Municipal Museum of Art, and the Imperial Household collection among many others.

Here is a rare Jizai mantis. It is by an artist named Tomiki Munenobu, one in a line of artists carrying on the Myochin style of metalwork. Teh piece likely dates from somewhere in the later Meiji, 1890-1910. Life-size, it is roughly 3 inches long, the same height and in fine condition. It is as found, not yet cleaned or tampered with. The head is mobile; the thorax with retractable arms and folding wings. Jizai is a term used to describe a variety of mobile or articulated crafts in Japan.

An unusual Meiji period bronze image of the jolly Daikoku-ten, one of the 7 gods of fortune, looking incredibly relaxed and content. His hat is removable to reveal a chamber for burning incense, and the smoke would be exhaled though his open mouth. It is 6-1/2 x 8 x 5-1/2 inches 16.5 x 20 x 14 cm) and is in overall fine, original condition. The artist chop is in a raised cartouche on the base and appears to read Yoshioka Minpo.

A stunning box covered entirely in mother of pearl upon which is the crescent moon in lead under maki-e gold florals. Inside Rimpa style dear rest in lead and gold maki-e on a ground of red-tinted Nashiji. The box is in excellent condition, likely dating from the mid 19th century. It measures 22 x 24.5 x 5 cm (8-1/2 x 9-1/2 x 2 inches).

Drinking dancing and shamisen playing, a skeleton crew doing donchan-sawagi on the back of a pale gray jiban crepe-silk kimono. The figures are performed in the painstaking shibori technique where each dot is hand knotted before dying, each laborious knot making up one dot in the matrix of the design. The piece likely dates from the Meiji to early Taisho era, late 19th to early 20th century. This is not one of the modern bleached versions of this theme, but an antique original. Very very rare.

A Momoyama-early Edo period gold screen depicting a happy god of fortune drinking while being pulled by deer in his elaborate wagon through a rocky landscape. The paper is wrinkled and creased with age, and the color worn, exuding a great sense of antiquity. The bold patterns and rich texture of the Edo period brocade border amplifies that feeling. The screen is 22-1/2 x 56 inches (57 x 142 cm) and has a shaped lacquered wood frame retaining antique paper backing with some repairs.

A large vase by Takahashi Dohachi and decorated by Hashimoto Dokuzan enclosed in the original wooden box signed by both artists. Also, stored in a separate compartment is a wooden stand which appears to have once been part of a temple or altar. The vase is covered in a typical crackled Kyo-yaki glaze, and decorated in cobalt with two figures in a watery landscape, one fishing, the other on top of a stone playing the flute. Judging by the style it is likely an allusion to the famous friends Kanzan and Jitoku. The vase is 12 inches (31 cm) tall, 9 inches (23 cm) diameter and in fine condition.
Hashimoto Dokuzan (Gengi, 1869-1938) was born in Nigata, 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 Dohachi Kiln was established in Awataguchi by the retainer of Kameyama fief, Dohachi I around 1760, and the name Dohachi was brought to the forefront of porcelain by the second generation head of the family who attained an imperial following, and grew to be one of the most famous potters of the Later Edo period to come from Kyoto. He moved the kiln to the Gojo-zaka area (at the foot of Kiyomizu temple) in 1814 And was well known for research into and perfection of ancient Chinese and Korean forms long held in high esteem in Japan, and at the same time worked to expand the family reputation within tea circles.

Three tough looking toads work together to support the base ring of this unusual leaf-shaped bronze Usubata flower basin enclosed in an antique wooden box. It is signed on the base simply “Oka”. Roughly 11 inches (27 cm) diameter, 8 inches (20 cm) tall.

A pair of six panel byobu by Abbot of Daitokuji, Priest Sohan Gempo (Murasakino Shoun) dating from the Meiji to Taisho period. The subject is an old song used to teach the basics of literacy as it is a panagram, containing every letter in the Japanese alphabet once; a popular subject for Zen artists for its simplicity and usefulness. The song itself seems to say, Keep it Simple, and the title I Ro Ha is used to mean basic. It can be translated according to Dr. Ryuichi Abe: Although its scent still lingers on the form of a flower has scattered away For whom will the glory of this world remain unchanged? Arriving today at the yonder side of the deep mountains of evanescent existence We shall never allow ourselves to drift away intoxicated, in the world of shallow dreams. Ink on paper, with a dark silk border and wooden frame. Some minor surface insect damage but overall presentable with a good sense of age. 67-1/2 x 143.5 inches (172 x 364 cm). Sohan Gempo, (1848-1922) was born into a Shinto family, however entered the Buddhist priesthood at the age of 12 at Kogen-ji, Kanazawa. After a brief period at Empukuji in Kyoto, he moved to Yokohama and received inka from Nakahara Nantenbo. It was in 1898 that he would be asked to take over the training facility at Empukuji. After a brief sojourn in China he came back to Japan and was appointed abbot of Daitokuji, one of Kyotos most important Zen temples, where he stayed until his death in 1922. An accomplished poet and calligrapher, for more information on this important priest see The Art of 20th Century Zen by Audrey Yoshiko Seio and Stephen Addiss (2000).

A very rare painting of a skull and scattered bones lost to autumns dead grasses by important 20th century Zen priest Takeda Mokurai. Ink on paper bordered in brown cloth with gray extensions; dark wood rollers. The scroll is 16 by 68 cm (40.5 x 172.5 cm) in fine condition.
Mokurai began his journey down the Buddhist path at the age of 7 under the priest Ryodo. Developing under a number of masters, it was during a sojourn in Hakata he developed a love for poetry and calligraphy, something for which he would later be greatly remembered, for in later days his scholar script was highly prized. He finally settled under Yuzen Gentatsu, from whom he received Inka. A pious man he was sent to Kyoto to work at Kenninji temple in the heart of Gion, the pleasure district. His exemplary performance there, and a series of unfortunate deaths left the young priest in charge of the sprawling complex. As a scholar priest he had great influence on the art of early 20th century Kyoto, as Zen practice was almost seen as a given for painters and ceramic artists of the time including Tsuji kako, Kiyomizu Rokubei and Ito Tozan among many others. For more information on this important Zen Master, see the art of 20th Century Zen by Stephen Addis and Audrey Yoshiko Seo.

A quintessential Taisho style painting of a boy in a mystical forest of flowers, pigment on silk by Hoson Reisui (b. 1897). The ethereal image seems not so much to be drawn on the silk, but to eminate from it. The boy too seems as if a sprite living in some fantastical reality. There is a minor water streak opposing on the bottom outside of both panels (near the signature) and some loss to the white gofun petals. Each panel is 34 x 59 inches (86.5 x 149.5 cm) and is in overall fine condition. Reisui studied in Tokyo under Hashimoto Seisui, placing him in the lineage of Gaho and Taikan. He later changed his name to Hoson Ryosaku.

A suit of Edo period armor featuring a Kebiki Ni Mai Do Gusoku, a 2 piece hinged armor of 8 closely knit rows of scale plates. 7 rows of 5 kusazuri hang from the do. It has a 32 plate Suji Kabuto with a tehen Kanamono vent in the shape of a stylized chrysanthemum and prominent Fukigaeshi, with 5 Hineno Jikoro cascading down the back. The helmet has typical chipping to the edges of the lacquer. The bowl retains 90 percent of the original liner and sweatband with the original ties. There is a me no shita no ho mask with 4 lame yodarekake, lacquered inside with red, outside in black and featuring a thick horsehair mustache, again, typical chipping. It also features Osode with brass ornaments and backed with leather; shino gote, haidate and suneate, and comes with an armor box. The armor is laced with orange and white thread, which is all in quite good condition except for the top row on the front of the do. The do and mail were also lacquered in gold. In an unusual note, the armor is still in the hemp bags designed to protect it during storage, marked with the date Ansei ni nen (1855), meaning it was probably repaired or restored at that time.

An exquisite pair of gofun covered fox on black and gold lacquered stands protected by copper wire cages, dating from the second half of the Edo period. They wear a shrewd look, eyes narrowed to slits, enhancing their mischievous image. The mystical carvings are covered in white gofun, stained a soft gray from age with highlights still white from eons of careful cleaning. Around the pair of ethereal creatures are removable cages of copper wire to protect the sacred images, the gofun coating made from powdered shell a tasty source of calcium for foraging rodents. The fox alone are roughly 6-1/2 inches (17 cm) tall, with stand together roughly 8-1/2 inches (21 cm) tall. The back paw of one of the animals is missing, but the copper cages have born the brunt of damage and otherwise all is in fine condition. The fox is a magical being, believed a shape shifter and protector of Shinto Shrines. They are also the kami (a term meaning divinity) of business. Every January the Fox Shrine, Fushimi Inari in Kyoto, is inundated at New Year with entrepreneurs, business people and the self employed praying for a successful year.

First we hear the clang of the hammer striking the bell, then the steadily approaching clop of his wooden shoes before the horrifying creature dressed in the robes of an itinerant priest appears; a ledger in one hand noting our sins. Hanging from a chord around his shoulders is an umbrella, testifying to his constant state of movement. A spectacular carving of an Oni-no-Nenbutsu praying Demon taken from burled cedar. This is a powerful image, the face expertly carved to strike fear into the hearts of men and women. With base it is over 2 feet (64 cm) tall and is in fine condition but for the lower handle of the hammer, which appears to have been replaced.
The Oni no Nenbutsu is one of the more popular figures from Otsu-e; a folk painting tradition from the town on the outskirts of Kyoto; the first or last stop coming to or leaving the capitol on the old Tokaido road. A pantheon of almost 200 characters, one of the most popular was the goblin, which came into vogue in the 18th century. Although the western goblin is a symbol of evil in religious iconography, in the Otsu-e tradition the symbol was used to satirize human folly and to remind people of the consequences of their actions. Other goblin images present remonstrations against arrogance, hypocrisy and carelessness. Utagawa Kuniyoshi created a woodblock print depicting the Otsu-e figures coming to life.

A set of 12 uniquely crafted masks of devils dating from the Meiji period enclosed in a period custom made kiri-wood box titled Kodai-men Hina-gata Juni-ko (12 miniature ancient masks). They are created from clay covered in gofun and mineral pigments with inset eyes of glass and ivory teeth and horns. Each mask is roughly 9 x 8 x 5 cm (3-1/2 x 3-1/4 x 2 inches). There are some minor losses to the coloration but otherwise all are in fine condition. The box has served its purpose well, protecting the collection from obvious ravages of time.

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.

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.

Something I have never seen before, a set of pillows for one couple from Shimabara, one of the oldest pleasure districts of Kyoto, enclosed in the original Kiri-wood storage box. The man’s pillow is a simple roundel of soft leather. The woman’s, made for a geisha and her elaborate coiffure, is a small tapering black lacquered box with a drawer for a hair pin, to the top of which is secured a brocade pillow with a silk chord. The box itself is a work of art, with copper handles on the sides, and an inlaid tab in the sliding lid made of ebony. The pillows are housed within on a sliding stand. The prestige placed upon these specific pillows shows them to be much more than ordinary. actually ceremonial. The box is 50.5 x 27.5 x 25.5 cm (20 x 11 x 10 inches). The man’s pillow is 14 cm (5-1/2 inches) diameter, the woman’s 21.5 x 11 x 18 cm (8-1/2 x 4-1/2 x 7 inches). They are in an excellent state of preservation.

A pair of brightly colored Mandarin ducks nestle down under cover of dried lotus in this

An 18th-early 19th century Literati landscape featuring a scholars gathering in a forest of pines on one side, a pair of boats pulling up to a hermitage on the other. These are published in the book Jidai Byobu Shuei (pre-restoration, pages 76 and 77). They have been completely restored maintaining the original cloth border and are in superb condition. Each screen measures 70-1/2 x 150-1/2 inches (179 x 382 cm).
So Gessen (1741-1809) was an artist initially trained in Edo under Sakurai Sekkan, and later in Kyoto under Maruyama Okyo. A known associate of Yosa Buson, he was a prominent figure in the literati scene of that time. He lived a quiet life in his later years at Jakushoji Temple in Ise and his style was helped to shape the Literati style of the 19th century. The second stamp bears the temple name, Jakusho shuujin A similar composition is held in the Mie Prefectural Museum.

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.