Catalog: Archives: Regional Art: Asian (718)

Golden bamboo spreads its leaf laden branches about the rim of this aka-e Kinsai bowl by Kyoto potter Takahashi Seizan and decorated by the famous painter Hashimoto Kansetsu enclosed in the original signed wooden box. It is 6-1/2 inches (17 cm) square and in excellent condition. This is from the personal collection of painter Konoshima Keika (1892-1974). We will be offering more from his household in the near future.
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 Southern School). He traveled 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.

A looping handle sweeps above this fabulous bowl decorated with burgeoning gourds by Takahashi Dohachi VI enclosed in the original signed wooden box. It is 21 x 18 x 15 cm (8 x 7 x 6 inches) and is in excellent condition.
Takahashi Dohachi VI (1881-1941) was born the second son of the 4th generation Dohachi in Kyoto. He was too young to succeed the family name upon his fathers early demise, and a a potter named Ogawa Yunosuke steered the helm as the 5th Dohachi until he too passed away in 1914. Dohachi VI took over in 1915. A close compatriot of Kiyomizu Rokubei V and Miyagawa (Makuzu) Kozan II, his work was presented to the Showa Emperor at his coronation.

An extraordinary scene unravels in this raucous tumbling Literati scroll by Kyotos Shirakura Niho (b. 1896) enclosed in the original signed wooden box. An inscription in the box lid names the scene The Hermitage West of Kamo (River) called Taka-Ike-Kyo. A solitary man looks up from his reading toward open ground, his thatched hovel lost in a jumble of bamboo flanking the steep falls rushing white through the foliage. The vibrant work harkens to the radical Taisho period, when Nanga and Japanese art in general was at a peak of creativity. It is bordered in silvered-green silk and features large solid ivory rollers. The scroll is 22 by 85-1/2 inches (56 x 217 cm) and is in fine condition but for some light foxing which gets lost in the complexity of the scene. Niho was trained under Hatori Goro and Chikuson, and was often presented at the Teiten and Nihon Nanga Inten.

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.

An exquisite set of small petaled-plates, each wafer thin, with a floral spray of yagiku (wild chrysanthemum) in a blue dial in the center by Suwa Sozan II enclosed in the original signed wooden box titled Kiku-gata Kozara, Jukyaku (10 Chrysanthemum Shaped Small Dishes) dating from the 1920s. The design is Japanese, the decoration is strongly influenced by Korean wares. Each is 9 cm (3-1/2 inches) diameter and all are in excellent condition.
Suwa Sozan (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 small vase sculpted in the shape of a cluster of roses covered in cockscomb red by Kiyomizu Rokubei V enclosed in the original signed wooden box. The vase shows the influence of Art-Nouveau, and Rokubei was one of the leading proponents of blending Western and Eastern ideals in clay art. The vase is 6.5cm (2-1/2 inches) diameter, 18.5cm (7-1/2 inches) tall and in perfect condition. It comes wrapped in the original artist stamped cloth complete with the original black wood stand.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

Verdant foliage of the Imperial Paulownia (Kiri) tree in crisp cobalt rises majestically on this tall vase by Miyagawa (Makuzu) Kozan enclosed in the original signed wooden box titled Seika Kiri no Zu Kabin (Blue and White Vase with Paulownia Design). It is 30 cm (12 inches) tall and in excellent condition, signed on the base.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

An exquisite bronze image of an ancient sage, a gnarled staff supporting his crooked frame with a golden fan capped with silver feathers clutched in his right hand. The Detail is superb, from the evocative expression to the minute details on his robe and accoutrements. It is signed on the foot Seiun (Hara Souemon), a top quality bronze, expressive and detailed. The figure is 10 inches (25.5 cm) tall and in excellent condition.
The Seiun family began bronze casting by the lost wax method in the later Edo to Meiji period, receiving the technique directly from Hara Takusai. Each piece is unique, unlike many foundries which employ re-usable molds. They are currently in the 5th generation, and have been named an intangible cultural property of Niigata Prefecture.

A fabulous bold design of crashing waves wraps about this balluster form by Miyanaga Tozan enclosed in the original signed wooden box. It is 26 cm (10 inches) diameter, 28 cm (11 inches) tall and in excellent condition. An unusual design and superb execution by this important artist. Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. He was succeeded by his adopted daughter who brought a refreshing variation of color and delicate touch to the porcelains they produced. The kiln is now in the third generation, run by his grandson.

A glistening incense burner in the shape of a court cap by Eiraku Zengoro enclosed in the original signed wooden box dating from the 19th century. Gold designs gleam on the regal plum surface. It is 15cm×10.5cm,18cm (6 x 4 x 7-1/4 inches) and appears to be in perfect condition.
The Eiraku family is one of Japan’s most important and historically significant lines of pottery artists in Kyoto, tracing back to the 16th century. The skill of Eiraku potters earned the honorific title of Senke-Jissoku, reserved for 10 families of artisans who produce tea ceremony utensils for the san-Senke, or Japanese tea schools. Records and information on early generations of the Nishimura family were destroyed in the Tenmei fire (1788). The name Eiraku began being used by the 11th generation Hozen. Eiraku Zengoro XII (Wazen, 1823-1896) was one of the most influential potters of his time, setting the stage for the revival of and modernization of Kyoyaki, based on models by Koetsu, Kenzan and Ninsei. Although named Sentaro, he was more commonly referred to by the name Zengoro, and used also the name Wazen after 1865. He was trained under his father, Hozen, who was a compatriot of Ninnami Dohachi and Aoki Mokubei, and rightfully one of the most famous potters of the later Edo. Wazen was given the reins to the family business quite early, in 1843, and managed the day to day running of the kiln while his father sought to perfect porcelain products in Kyoto. From 1852 to 1865 the family worked from a kiln at Ninnaji temple. Attracting the attention of a Daimyo from Kaga, from 1866-1870 he worked to revitalize a porcelain kiln in that area, coming to produce classic wares which are prized to this day. During this time of working divided from the family kiln, two workers who had been trained by his father shared the title of the 13th generation leader in Kyoto, however Wazen outlived both by decades. He returned to Kyoto in 1870, and also established a kiln in Mikawa in the 1870s to produce more common tableware. From 1882 until his death, it seems he worked from a large kiln in the Eastern Hills of Kyoto. Under both the 11th and 12 generations of this family the name Zengoro took on a life of its own, and came to symbolize the highest in porcelain and tea wares. XIV (Tokuzaen) was born the first son of Eiraku Wazen, the 12th generation head of the family in 1853. Best known for Aka-e and Gosu, with a strong hand, he died in 1909. Eiraku Myozen (1852-1927) was the wife of Eiraku Tokuzen and was a rarely accepted female potter of the Meiji to Early Showa eras, protecting and propelling the name of Eiraku into a new generation. She guided the family through the volatile years of the late Meiji and Taisho eras, and added a delicate touch to the Eiraku oeuvre. Her work was especially favored by 12th generation head of Omote Senkei Seisai. Pieces by her are held in the Seattle Art Museum and Freer Sackler Gallery among others.

Red ivy clings to the pale crackled glaze of this tsubo by Miyagawa (Makuzu) Kozen enclosed in the original signed wooden box. Below glistening black glaze covers the bottom, in a style well known for this artist. It is 24.5 (just less than 10 inches) tall and in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A white bronze sculpture of crashing waves supporting three glass orbs; an elegant form carrying good fortune from old Japan. It is 49 cm (19-1/4 inches) long and in overall excellent condition. Set it in the window and watch the orbs blow colorful prisms across the room.

The dreamlike quality which gave Taisho period art its unique flavor is readily apparent in this sumptuous composition by Kido Soi featuring long tailed birds along a tumbling stream. Pigment on silk mounted on applied gold flake in a silk border with a red lacquer wooden frame consistent with the era. It is signed in gold, Shunyo, the name used by Kido Soi in his youth, placing the screen easily before 1930. The screen is 67.3 x 56-1/4 inches (171 x 143 cm) and is in fine condition.
Due to size the cost of shipping will be accrued separately.
Kido Soi (1899-1984) was born in Kyoto. He studied painting at the Kyoto Municipal School of Painting and under Yamamoto Shunkyo (1871-1933). His work was consistently accepted into the Teiten and Bunten National art exhibitions.

A vase by Kiyomizu Rokubei V featuring auspicious calligraphic characters opposite a boy staring at the moon from atop his ox decorated by Domoto Insho enclosed in the original signed wooden box. It is 22 x 15 x 37 cm (9 x 6 x 14-1/2 inches) and is in excellent condition.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.
Domoto 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.

Reaching for his hat, the boatman leans out arms extended toward the prow, protected from the elements under a woven reed roof. This beautiful incense burner comes enclosed in the original signed wooden box. It is 24 x 8 x 10 cm (9-1/2 x 3-1/4 x 4 inches) and is in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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 pair of covered ceremonial Sake-Tsubo called Heiji decorated with the three auspicious winter plants, Sho-chiku-bai (Pine, bamboo and plum) by Ito Tozan II enclosed in the original wooden box Plum pine and bamboo rise up in a riot of color on the thinly crackled pale glaze covering the surface. Inside the box is dated Showa 11 (1936) 8th month, 9th day. Each is roughly 22 cm (9 inches) tall and in excellent condition, each uniquely stamped on the base with the artist seal.
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 nd 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 prizd 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.
Ito Tozan II (1871-1937) was born the fourth son of one of the upper level samurai of the Zeze feudal domain in Otsu, just over the mountains from Kyoto and began his artistic career as a painter. He was picked up by Tozan I and introduced to the plastic arts, where he flourished, taking over the Tozan kiln in 1920, following the death of his mentor.

A Tamasudare-ami Hanakago Basket by Yamamoto Chikuryusai I of round bamboo strands enclosed in the original signed wooden box lacquered in translucent red. The basket exudes a deep respect for the tradition, every knot perfect, the proportions exquisite. It is 19 cm (7-1/2 inches) diameter, 37 cm (14-1/2 inches) tall and in excellent condition.
Yamamoto Chikuryusai I (1868-1945) was a bamboo artist of the early modern era in Osaka. Born in year one of the Meiji era to the Yanagi clan, his former Samurai family hailed from Yodo, a castle town between Osaka and Kyoto. He later was adopted by his Sister in Law to the Yamamoto family, changing his name to Yamamoto at the time, however it was with his older brother, Yanagi Takesada that he learned basketry in their shop in Osaka. Takesada moved to Korea; for the Japanese at the time it was the New West, but Chikuryusai remained in Japan. Unlike others, Chikuryusai did not attempt to insert himself into his baskets, but, allowed his baskets a traditional elegance. He was renowned for his calligraphy, sencha aesthetic, and his elegant and reserved artistic vision. His baskets received awards at several important international expositions, and, with his two sons, Chikuryusai II and Chikken, participated in the annual Teiten/Bunten National Art Exhibitions. He served as mentor to not only his two sons but also Hamano Chikkosai, Ikeda Seiryusai, and Suemura Shobun. In 1929, he gave the artist “Go” (name) to his son but continued working under the name Shoen until his death in 1945. Work by him is held in the Asian Art Museum San Francisco, The Minneapolis Institute of Art and The Met New York among many other public and private collections.

A porcelain Koro by Mashimizu Zoroku II and decorated with a tiger by Tomita Keisen and enclosed in the original wooden box signed by both artists. It is 12 cm (5 inches) diameter, the same height with a solid silver hoya of woven net weave by signed by Koju.
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.
Tomita Keisen (1879 - 1936) was born in Fukuoka on the southern Island of Kyushu, and went to Kyoto to study painting under Tsuji Kako as well as the Nanga Style and traditional Buddhist painting styles. He exhibited with the Bunten/Teiten National Exhibitions as well as many others. He developed a hybrid of these which has proven extremely popular, even with contemporary audiences and his work is still highly prized. 24 works by this artist are held in the National Mueums of Modern Art in Tokyo and Kyoto as well as any number of other public and private collections including the Museum of Fine Arts in Boston, Rijksmuseum, Minneapolis Institute of Art, Fukuoka Art Museum, Tokyo Fuji Art Museum and many others.

A mandala from the Main Kyoto Nichiren Sect Buddhist Temple Honnoji cut from a hardwood slab used in the rebuilding of the great hall in the Taisho period. Written on back is “Given in Taisho 14 (1925) to the temple supporter’s representative as a prayer for good fortune upon the occasion of the ceremonial raising of the roof beam of the main temple structure (Honden), the plackard cut from wood used in the rebuilding”. It is signed Nichijo-gan. Nichijo was the 62nd head of Honnoji Temple, and supervised the rebuilding of the temple in the first quarter of the 20th century. The temple was completed in 1928, the same year Nichijo passed the reins to the 63rd head of the temple Niccho Jojin. The disc, of prized Keyaki, is 12 inches (30 cm) diameter, and in perfect condition, slightly darkened with age.
Honnō-ji is most famous for the Honnō-ji incident. Oda Nobunaga lodged there before his invasion of the west. However, on the morning of June 21, 1582, the traitorous forces of Akechi Mitsuhide, one of his top generals, surrounded the temple and set it on fire. Knowing there was no way out for him, Nobunaga committed seppuku. After Nobunaga's death, Mitsuhide himself was killed by farmers following the Battle of Yamazaki, where his forces were defeated by Toyotomi Hideyoshi, who completed the unification of Japan started by Nobunaga. Subsequently Hideyoshi’s own son died in a similar fashion after the second battle of Osaka, and the Toyotomi line ended, paving the way for the take-over of the Tokugawa Shogunate and the beginning of the Edo period.

A hermitage lost in the early blossoms of the plum forest, ink and light color inside a wide gold border and mulberry frame typical of the Taisho era. Gold powder has been liberally applied intimating a shimmering mist throughout, creating an ethereal quality. Signed in the upper left corner, it is 68 x 149 inches (172.5 x 378 cm) and in overall fine condition. Akashi Shoun was born in Osaka on March 12, 1867, the first year of the Meiji era and a time of great change in Japan. He was fond of these hermetic scenes of rural seclusion, perhaps a reaction to the swift changes sweeping Japan at that time, and heavily influenced by the Sencha Literati scene which sought refuge from the world in the Literati ideal of ancient China. Shoun himself left the big city of Osaka to settle in the provincial castle town of Akashi on the Seto Inland Sea where he took the name.

A lurid landscape spreads across two two-panel screens by Shirakura Niho signed and dated 1929. Two colorful scholars share a quiet moment in the shelter of a thatched hut. On first examination it appears nonsensical, a chaotic collection of dashes and dots, however the closer one examines the painting the more one realizes the detail and planning that went into the imagery, It is performed with ink on paper framed in dark mulberry frame and has been recently re-backed with forest green paper. Each panel is 37 x 67-1/2 inches (94 x 172 cm). Shirakura Niho (b. 1896), originally of Niigata, Studied under Hatta Goro and Tanabe Chikuson settling in Kyoto. He was consistently displayed at both the Teiten-Nitten National Exhibitions as well as the Nihon Nanga –In Ten. Like Yamada Shuho and Fukuda Kodojin, other well known individualistic artists of his generation, he was known for his very unique and easily discernable style.

A waka poem in underglaze blue brushed by female artist/poet Tomioka Haruko decorates this porcelain Mizusashi by female potter Suwa Sozan II enclosed in the original signed wooden box. The porcelain container is 17.5 cm (7-1/2 inches) tall, 11.5 cm (4-1/2 inches) diameter and in excellent condition. On the base it bears the circular mark of Suwa Sozan II and on the side the verse is singed Haruko 80. From this we can surmise it dates from 1926 when Haruko was 80 by Japanese count.
Suwa Sozan (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 (Suwa Sozan II 1890–1977) 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.
Tomioka Haruko (1847-1940) was born as the third daughter of Sasaki Yoshimitsu, a feudal lord of Ozu. She was taken in as the third wife of Tomioka Tessai—who later became known as a leading figure in modern Japanese painting—when she was 26 years old in 1872. She was well known for her poetry, calligraphy, and sparse paintings.

A serving tray made of Kozai (Jap. old material) from Todaiji Temple in Nara branded with the marks of the 7 great temples of Nara and enclosed in the original wooden storage box dated 1925. It is turned from keyaki, a hardwood in the elm family famed for durability and beautiful wood grain. On the bottom of the tray is a seal which reads Daibutsuden Kozai (Old Material from the great Hall). The tray is 33 cm (13 inches) diameter and in excellent condition. In order to fund temple repairs, often wooden objects such as trays, Robuchi (hearth frames) Haidai (cup stands) among others were made from the original parts of a temple, and given as gifts to those who supported reconstruction or as a way to thank parishioners for donations. The Todaiji temple complex underwent extensive restorations in the early 20th century, and these trays were made at that time from the old posts or beams replaced in the repairs. They have been branded (yaki-in) with marks from the seven great temples of Nara (Nanto Shichi Daiji) Todaiji, Saidaiji, Daianji, Horyuji, Kofukuji Gangoji and Yakushiji temples respectively. On the box lid is written the title: Nanto Shichi Daiji Yaki-in Maru-bon (Round tray branded by the 7 great temples of the Southern Capitol). Inside the lid is written: Made from the old material of the Great Buddha Hall of Todaiji Temple, at the bequest of the Nihon Bijutsuin (Japan Art Institute). A handwritten epitaph inside the box states it was received as a gift from the politician and business magnate Oya Shichibei (1865-1929) of Osaka after completion of repairs to the great hall on an auspicious day in May of 1925 as attested to by Hirai Kinjiro (sp?) followed by five red seals.

Additional photos of this fabulous Accordion book of 12 paintings by Kimura Seiun enclosed in a wooden box titled Atami Dan Ko-gasatsu and dated early Spring of Showa 4 (1929). The introductory page is written by Zen priest Hashimoto Dokuzan of Tenryuji Temple in Kyoto. The paintings are each signed with various names used by Kimura, mostly Seiun or Ren. The introductory and concluding pages are both dated 1929. It is 28 x 14 cm (5-1/2 x 11 inches) and in overall outstanding condition.
Atami is a place in Japan on the Izu peninsula South of Tokyo in Shizuoka prefecture.
　 Kimura Seiun (1885-1967) was born in Shimane prefecture, home of one of the oldest and most venerated shrines in Japan, Izumo Taisha Shrine. His given name was Hara Renzaburo however he was adopted into the Kimura family taking that name. In 1921 he moved to Kyoto where he studied painting under Miyazaki Chikuso, and them to Tokyo where he studied under Komura Suiun. Post war he returned to Shimane, devoting himself to painting and private exhibitions, leading the quiet life of a scholar.
Hashimoto Dokuzan (Gengi, 1869-1938) was born in Nîigata, and was sent to Kyoto at the age of 16 to study painting and philosophy under the important literatus Tomioka Tessai. At the age of 20 he entered Tenryuji Temple under Hashimoto Gazan, later receiving Inka (recognition of enlightenment) from Ryuen. In 1910 he moved to Sokokuji, and then was assigned the foundation of Nanonji Temple in Tottori Prefecture. He served as abbot of Tenryuji Temple and Sokokuji, both important Zen temples in Kyoto.

Porcelain cranes in a lead tree decorate the lacquered top of this gilded wooden box enclosed in the original wooden box titled Romatsu Sokaku Zu (Ancient Pine Two Cranes) and signed Sekka, with signatures of Tozan II (porcelain decoration) and Suzuki Hyoetsu (lacquer artist) inside. In this case, Kamisaka Sekka produced the design, enlisting two of Kyoto’s then top artisans to complete the work, lacquer artist Miki Hyoetsu I who applied the lead, gold and lacquer and Ito Tozan who created the ceramic cranes and pine boughs. The box is in unused condition, containing the original stone and water-dropper and two brushes still wrapped in paper. It is 25.5 x 10 x 3.5 cm (10 x 4 x 1-1/2 inches) and is in excellent condition. Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938. 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). 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. Miki Hyoetsu I was born in 1877, establishing a line of craftsman which lasts to this day. He was exhibited at the Shotoku Taishi Ten and Paris World Exposition among others.

A diminutive image of the three monkeys made to support the Kettle lid in the Japanese Tea Ceremony dating from the later 19th to early 20th centuries by Nagaoka Kuumi enclosed in the original signed wooden box. A warning to all, the little creatures hear nothing, see nothing and speak nothing. What passes in the tea room stays in the tea room. The figure is 4.5 cm (roughly 2 inches) diameter the same height and in excellent condition. Impressed into the base is the artists seal.
Nagaoka Kuumi (1874-1960) was the son of Kunyu, and was the 9th generation successor to Rakuzan ware. He took the reins during a period of revival in the Tea world and was inspired by the famous tea ceremony equipment exhibited at the 100th anniversary of the death of Tea Master and Daimyo of Izumo Matsudaira Fumaiko (1751-1818).
Rakuzan pottery falls under the umbrella of Fushina or Fujina Yaki, the Goyogama clan kiln of the Matsudaira of Matsue in modern day Izumo, sometimes simply called Izumo-yaki. The origin of Rakuzan ware lies in the early Edo period, when the second generation Matsudaira Tsunataka requested a Hagi ware potter from the neighboring Mori clan, which was eventually granted to the third generation Izumo leader Matsudaira Tsunachika around 1677. The founders of the kiln were Kurasaki Gonbei and Kada Hanroku. Although under continuous production, the kiln had its ups and downs until it was strongly revived by the 8th Lord of Matsue, Matsudaira Harusato (Fumai 1751-1818) Daimyo of the province. From then it fell strongly under his aesthetic taste. Flagging in the late 19th century, artists such as the great scholar and Nanga artist Tanomura Chokunyu sought to revitalize it, and came to Shimane to decorate the works or to teach decoration and painting techniques. It became an important influence on the Mingei movement and was visited by Bernard Leach, Hamada Shoji and Kawai Kanjiro in the early 20th century.

An elegant tall vase in signature soft blue by Shinjo Tozan III of Yamagata enclosed in the original singed wooden box dating from the early half of the 20th century titled Yohen Kabin. It is 15cm (6 inches) diametr, 41cm (16 inches) tall and in excellent condition.
Higashiyama (alternatively read Tozan) is the common name for the hilly area in the eastern part of Shinjo City, Yamagata prefecture, and the geology of the village is covered with a thick layer of clay. Yahei Wakui, (1801-1872) the founder of Higashiyama ware, was a potter from Kosugi in Echigo, modern day Toyama prefecture. While traveling the country for training, he fell in love with the clay of Higashiyama, and in 1841 opened a pottery as the official kiln for the Shinjo Tozawa clan.
The third generation Yahei was born on January 29, 1896, as the second son of Yahei II. From an early age, he learned pottery skills from his father and helped the family business. The era in which the third generation Yahei was active was a time of great change, including the global recession after World War I, the Sino-Japanese and the Pacific War. Utilizing the characteristics of Higashiyama's clay, he produced earthenware pots, yukihira, suribachi, blanched pots, kataguchi, and other miscellaneous everyday utensils, and laid the foundation for the fame of today's "Higashiyama ware." The folk-ware researcher Yanagi Soetsu, who was exposed to the pottery of the third generation of Yabe, writes in his book ``Japan of Handicrafts'' that ``They used a beautiful bluish sea cucumber glaze to fire earthenware pots...'' (Omitted) As an earthenware pot, it is said to be the most beautiful in Japan. Yahei III passed away on October 23, 1945 at the age of 73. Currently the 7th generation works alongside his father

A dynamic floral pattern in pale blue and white on pink by Kiyomizu Rokubei V showing the developmental stage of his iconic Taireiji works. Undeniably Taireiji was the most important development by this innovative artist, and pieces are exceedingly rare. It is 19cm (7-1/2 inches) diameter, 27.5cm (11 inches) tall and in excellent condition.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

A fabulous bowl by the first-generation Kato Keizan enclosed in the original signed wooden box titled Tenranji Zuicho Moyo Hachi (Bowl with Blue Glaze Decorated with Auspicious Birds). Tenran is a blue glaze made by the official kiln of the Qing Dynasty in China. On this in raised white auspicious birds with long tails like dragons circle the rim over archaic symbols reflecting continental taste popular from the Meiji through Taisho to early Showa period. It is 24.5 cm (9-1/2 inches) diameter 13 cm (5 inches) tall and in excellent condition.
Kato Keizan I (1886-1963) was born in Tajimi city, Gifu, a pottery center in its own right, however came to Kyoto to apprentice under Kiyomizu Rokubei IV (1848-1920). He established himself in 1912 in the same neighborhood in Kyoto, where he became well known for celadon and Chinese based porcelain forms. He was especially remembered for Tenryuji seiji (Chinese Long Quan celadon porcelain). Works by this artist are held in the National Museum of Modern Art, Kyoto among others.

A very unusual set of three scrolls depicting the women of Shimabara looking down with trepidation at a Fumi-e (a Christian symbol) before lotus enclosed in a wooden box titled Shizan Shimabara-me Sanpuku Tsui (Shizan, Women of Shimabara Three Scroll Set). The Fumi-e was a bronze or wood placard embellished with a Christian symbol upon which people were forced to step to prove that they were not Christians during the ban on Christianity throughout most of the Edo period. Any who refused to step on the image would be tortured or executed, often in horrific manner. Here the two graceful figures appear dressed in kimono bearing a leaf pattern with white scarves on their heads denoting purity. Interestingly the artist has juxtaposed the central image with its symbol of Christ on the cross against a background of ghostly white lotus flowers, traditional symbols of Buddhism. Each scroll is 64.5 x 208 cm (25-1/2 x 82 inches). There is faint scattered foxing, a soft wrinkle in the lotus on the central scroll, and some water stains up the left edge of the painting on the right. Likely an early work by Saito Shizan. Saito Shizan (1902-1963) was born in Shiga prefecture in 1902, and initially studied under Yamamoto Shunkyo in the modern Shijo style before entering the Kyoto Municipal University of Arts. He was accepted into the Teiten, Bunten and Nitten national exhibitions both pre and post war.
The Shimabara rebellion (1637-1638) was the largest uprising against the Feudal government during the Edo period. In response to oppressive taxation and anti-Christian policies by feudal lords sent to replace the former Christian Daimyo, Ronin and peasants rose up, eventually forming an army of combatants and non-combatants of around 37,000. They nearly seized two main fortresses before the Shogun sent an army of over 125,000 samurai against them. They retreated to Hara Castle on Shimabara, where they held out until April of that year, withstanding many mass assaults and bombardment by cannon of the Dutch seeking favor with the Shogunate. Eventually the castle fell, and all rebels were beheaded or crucified, their bodies piled inside the castle and burnt en-masse. On the Shimabara peninsula, most towns experienced a severe to total loss of population as a result of the rebellion. Japan severed ties with Portugal and expelled all missionaries. An existing ban on Christianity was then stringently enforced, and Christianity in Japan survived only underground. Except for the Dutch and a small contingent of Chinese merchants in Nagasaki, Japan then closed itself to the outside world for over 200 years. The Fumi-e became the dominant symbol of religious oppression, the ban on Christianity not officially lifted until 1871 (although the shogunate stopped executing Christians around the turn of the 19th century).

A lacquered cabinet for storing Tea accoutrements by Koyama Kogetsu enclosed in the original signed wooden box dated 1931 and titled Tsukiyama Maki-e Kikkyoku (Mon and Hills Maki-e Tea Cabinet). On the door deer stand on the edge of a glade, gold, lead and Raden (mother of pearl) trees with branches of gold and silver maki-e above. The door lifts off to reveal the silver disc of a full moon rising over evening hills. It is signed in gold Kogetsu. The cabinet is 36 x 28 x 39 cm (11 x 14 x 15-1/2 inches) and is in excellent condition. Koyama Kogetsu (Rokuro, 1884-1937) was a Maki-e artist from Kashwaski City born the son of Koyama Kinpei (Tesse). He studied the art of Maki-e under Kawanobe Iccho and Uematsu Homin.　His work was exhibited at the Teiten National Art Exhibition and awarded at the Imperial Crafts Exhibition.

A superb Landscape by Yano Tetsuzan dated the second month of 1924 enclosed in the original signed wooden box. The arched rooves of Chinese style pavilions rise in the placed waters under th shelter of precipitous verdant cliffs, trees in fall colors in the foreground setting the stage. Above a long verse in Kanshi signed Tetsuzan. Ink and pigment on silk in a dark blue-green satin border with ivory rollers (the rollers will be changed for export). The scroll is 54 x 193 cm (21-1/2 76 inches) and in overall excellent condition.
Yano Tetsuzan (1894-1975) was an important Nanga artist born in Ehime, a nephew (although nearly the same age) of also important artist Yano Kyoson. He studied under Komura Suiun from 1912 in Tokyo before moving to Osaka in 1918 where he studied under Tomioka Tessai while enrolled at the Osaka Art School. In 1920 he was first accepted into the Teiten national exhibition where he would later be often awarded. In 1921 he helped in the foundation of the Nihon Nanga-in art society. In many ways throughout the pre-war years he worked to modernize the Nanga genre, culminating in 1939 when, along with the aforementioned Kyoson, he would found the Kankonsha Salon to showcase modern Nanga. He would serve as a juror for the Shin-bunten and Nitten (where he had accumulated an astonishing 10 awards). He was also awarded at the Nangain-ten (first prize n 1921). He received the Osaka Prefectural Geijutsu-sho Artisan Award in 1953, as well as the Shijuhosho (Order of Cultural Merit with Purple Ribbon) in 1971. In his final years he helped to establish the Nihon Suiboku-ga Kyokai (Japanese Ink Painters Society). His 1942 work “Waves” is held in the National Museum of Modern Art in Tokyo.

This fine antique lacquer tray features a Gold lacquer rim surrounding a field of jet black dominated by two stylistic butterflies, the underside a sea of Nashiji. It is enclosed in the original signed wooden box inside of which is a paper seal reading Nai-gaikoku Hakurankai, Kyoshinkai, Hinpyokai, Kingindosho (National International exhibitions, Kyoshinkai, Industrial exhibitions, Gold silver bronze prizes) followed by the store name Higashimon shoten, Fujibo, Osaka It is in very good condition, yet does show some signs of use in some very minor abrasions on the black field inside. There are no chips or cracks, no loss to the lacquer. It is 12-3/4 by 18 by 2 inches (32.4 x 45.5 x 5 cm).

The Shishimai dance tradition is common throughout east Asia. A single, or sometimes a pair of dancers, don the costume and parade through the street biting people, especially children, on the head. This is believed to ward off misfortune and evil spirits, and make a child overcome fear. An incense burner by Miyagawa (Makuzu) Kozan in the shape of a shrouded Lion Dancer in vibrant colors enclosed in the original signed wooden box titled Ninsei-I Shishimai Gata Koro. The koro is 14 cm (roughly 5-1/2 inches) tall and in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan through the early Showa era, he officially taking the name Kozan II in 1917, after one year mourning for his fathers passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The kiln was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A beautifully crafted image of a cormorant seeking fish by Ishida Rainosuke enclosed in the original signed wooden box dating from the early 20th century. The bird is 38 cm (15 inches) long and both bird and fish are in excellent condition. A very interesting treatment of the position of the back foot shows the bird kicking, as if speeding up, eye on the prize.
Ishida Rainosuke was born in Kyoto in the 36th year of Meiji (1903) and graduated from the Department of Sculpture at the (mod) Kyoto University of Arts where he had studied under Numata Ichiga (Kazumasa). His work was selected and awarded at Teiten, Bunten and Nitten,National exhibitions as well as various public and private venues.

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.

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.

A splendid set of five Chataku Tea Cup Saucers of turned wood decorated in ridiculously thick lacquer floral decoration by Ikkokusai enclosed in a fine wooden box signed by the artist and dated Meiji 39 (1906). Accompanying is a note stating the set was received as a gift upon visiting the Naganuma Ryokan during a trip to Hiroshima in the fifth month of Meiji 43, accompanied by the name Kayanomiyasama. Kaya-no-miya were a collateral branch of the Japanese Imperial family. There is a photograph in the collection of the Hiroshima Peace Museum commemorating an Imperial visit (meeting school children) dated the fifth month of Meiji 43 taken in front of the Naganuma Ryokan. Each Chataku is 13.5 x 11 cm (5-1/4 x 4-1/4 inches) and all are in excellent condition, each uniquely signed on the base.
Ikkokusai I (1777-1852) was born in Ise, Mie prefecture, and was trained in the lacquer arts in Osaka. His talent was recognized and in 1811 he was taken as an official artist of the Tokugawa Clan, relatives of the Shogun and Feudal lords of Owari near present day Nagoya. All three of his sons would take the name Ikkokusai, His first son, (true name Nakamura Yoshiyuki), would settle in Osaka, and works he made were presented at the first National Industrial Art Exhibition (Naikoku Sangyo Hakurankai) in the early Meiji period. The third son (Sawagi Tsunesuke, 1822-1875) would remain and work in Nagoya until his death. The second son (Nakamura Issaku) would leave the Owari province to further his studies, traveling throughout Japan and developing the Takamorie technique of built up layers of lacquer creating nearly 3-dimensional works. He would become the carrier of the name, and after a sojourn in Hagi (Choshu), moved to Hiroshima in 1843 where he would pass on his techniques and experience to Kinoshita Kentaro (1829-1915). It was Kentaro who would officially become the third head of the family and who brought the name to the fore with his dedication to Takamorie lacquering. Kinjo Ikkokusai IV (1876-1961) continued to develop the method with new materials and designs. The family is currently under the 7th generation (b. 1965) who was named an important cultural property of Hiroshima Prefecture in 2011.

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 pair of red and silver iron lotus flowers with long handles serving as Buddhist candle-stands, the light rising from within the sacred flower. Overall raw iron, the coloration of the flower petals is from silver and red lacquer. Each is 26.5 cm (10-1/2 inches) long and in excellent condition.

A shu-iro red lacquered sign in the shape of a tea jar dating from the late 19th to early 20th century. A long verse has been carved into the surface before lacquering. The back is bound with cloth and lacquered black. The sign is 16 x 20 inches (41 x 50 cm). There are minor chips typical of age, but is in overall very good condition. For an excellent delve into the distinctive fusion of art, design and commerce of antique Japanese signage see the book Kanban (2017, Mingei Museum, Alan Scott Pate). You will find in there a black lacquered Kanban of similar shape and style.

A shop sign carved from a block of knotted wood in the shape of a tea leaf jar engraved on both sides with the character Cha (Tea) originally gilded which still reflects light from the correct angle. A large knot making up one shoulder has split apart in the center, while the outside edge remains intact. A perfect example of the Japanese aesthetic of wabisabi. It is 32 x 3 x 32.5 cm (roughly 13 x 1 x 13 inches). The sign has been restored at some time in the past, the green and black pigments freshened up at the time.

A sage stands in deep contemplation of the sight of a sheer falls , his paige cautiously approaching behind on the rugged outcropping; a fine trumpeting ZeZe-Yaki sometsuke porcelain vase decorated by important Meiji artist Yamamoto Shunkyo. The decoration is performed with a very delicate hand. It is signed on the side Shunkyo followed by a Ka-O signature, and stamped on the base Zeze. The vase is 10-1/2 inches (27 cm) tall, 7-1/4 inches (18.5 cm) diameter and is in fine condition. Zeze yaki is the ceramic ware created in Otsu, (former home of Zeze castle) the artists home of many long years. Shunkyo (1871-1933) was a student of Kono Bairei and Mori Kansai, and taught at the Kyoto Municipal School of Art. He was also a member of the Imperial Art Committee and frequent exhibitor at the Bunten. His paintings are included in most important collections.

An iconic work with dynamic floral pattern in pale white on pink by Kiyomizu Rokubei V enclosed in the original signed wooden box titled Taireiji Ichirinsashi. It is 19.5 cm (7-3/4 inches) tall and in excellent condition. The vase retains the original wood stand and stamped cloth pouch. Undeniably Taireiji was the most important development by this innovative artist, and pieces are exceedingly rare.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the The National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.

A 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.

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

A dragon wraps around the trumpeting form of this brilliant yellow vase by Makuzu Kozan II (Hanzan) enclosed in the original signed wooden box. A vibrant contrast between the yellow and blue is enhanced by the artists care and minute detail. The vase is 8-1/2 inches (21 cm) tall, 6-1/4 inches (16 cm) diameter and in perfect condition. The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both, as in the case of this piece, which is stamped Makuzu with the box signed Kozan. 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.

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.

This is the pinnacle of production for imperial artist Seifu Yohei III, a large Taihakuji porcelain vase with carved designs enclosed in the original signed wood box. Museum quality would be an understatement. Seifu III was known to have made few large works, so this is a very important piece, and Taihakuji was his most appreciated style. Here we see two pheasants in a blossoming tree overlooking a large crag, with clouds brimming about the rim, all in carved relief. It is signed on the base Dai-Nippon Seifu Zo and measures 39 cm (15-1/2 inches) tall, 28.5 cm (11-1/2 inches) diameter. The vase retains the original rosewood stand kept in a separate compartment in the box and all is in excellent condition.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.

The androgynous Kannon sits in meditation under climbing rocks and tumbling waves deeply carved into the side of this bamboo incense container dating from the early 20th century (late Meiji to Taisho period). It is 34 cm long (13-1/2 inches) long and in excellent condition, a superb example of the genre. This would have been used to hold incense sticks.

A wooden sign of three golden characters carved into the surface of a solid slab of burled wood enclosed in a frame expertly carved with the four gentlemen, plum, bamboo, iris and chrysanthemum. It reads Yuraku-sai, A Place of Playful Enjoyment. The sign (with frame) is 11-1/4 x 21 inches (28.5 x 53 cm). It is signed Setsuyo (?) followed by two stamps. There is a chip into a hollow in the wooden plaque, lower left (see photos) otherwise is in excellent condition. This sign would have been hung at the entrance to a traditional Japanese tea room.

A pair of spectacular Mino Yaki Porcelain vases from the studio of famed artisan Kato Gosuke decorated with clusters of grapes under drying late summer leaves. It is 32.5 cm tall, 21 cm diameter and both are in excellent condition, enclosed in a wooden collectors box titled Mino Yaki Kabin Ittsui, Kato Gosuke Saku (Pair of Mino Yaki Vases by Kato Gosuke). Each bears a signature in overglaze on the base, along with two impressed seals. The square seal reads Kato Gosuke.
Kato Gosuke (1837－1915) was a master craftsman of Mino ware who was active in the Meiji period, fired elaborate and precise dyed porcelain, and his works were sold not only in Japan but also overseas, contributing to the improvement of the quality of Mino ware. Born in Tajimi into a traditional potting family, at a time when Mino ware was being produced on a large scale with low standards, and was considered a pottery for daily use. Gosuke was selected by Nishiura Enji III to manage production of his high quality porcelains, a task to which Gosuke excelled. Eventually, Gosuke became independent. His submission to the Philadelphia World Exposition is now housed in the Victoria and Albert Museum in London and in 1878 a vase depicting Mt.Fuji was awarded bronze at the Paris World Exposition solidifying his reputation.

A set of three Chin puppies by Miyagwa (Makuzu) Kozan II published in the book Miyagawa Kozan and the World of Makuzu Ware (Yokohama Museum of Art, 2001) page 144, figure 174. They are roughly 5 x 10 cm (2 x 4 inches) and in excellent condition. They come enclosed in the original signed wooden box.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s 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 unlucky third generation inherited the kiln at the height of the war years, it 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 scholar withers away an afternoon reading in a small cottage lost in a forest of Soft green willow; a brilliant Taisho style scroll by Hirai Baisen (1889-1969). The color of the willows intimates early summer, the leaves fresh and new, a darker haze beyond forms mountains, separating the scene from the rest of time. A quintessential effort typifying the literati ideal of life in seclusion. The entire scene has been brushed as if to insinuate a light shower, rain on a sunny day. The painting is bordered in green brocade and features bone rollers, and comes enclosed in a period wooden box. The scroll measures 21-1/2 by 77 inches (55 x 196 cm) and is in fine condition but for a long scratch in the upper border, likely where something hit the scroll while it was hung. Baisen graduated the Kyoto Municipal School of Fine Arts and was a regular exhibitor with the Bunten from 1907-1931. Having worked in any number of styles, he was a true Jiyu-gakka who excelled in the early years of his career. However he did slowly withdraw from the competitive world of Japanese art beginning in the war years. His works are held by the National Museum of Modern Art in Tokyo, and the Museum of Fine Arts, Boston.

A breathtaking Taisho period image of the Buddha in meditation by Takayama Shunryo. It is performed with gold appliqué and brilliant mineral pigments on silk, mounted in a fine mounting of blue cloth ending in bone rollers and enclosed in a kiri-wood box. The scroll is is 21 x 76.5 inches (53.5 x 194 cm) and is in fine condition.
Takayama Shunryo (1886-1921) born in Yamagata, studied under Yamamoto Shunkyo in Kyoto, Exhibited with the Bunten. Helped to establish the Nihon Jiyu Gakkai with Ikeda Keisen and Hayashi Bunto in 1919. Died unexpectedly in 1921 just 35 years old.

A bronze crane in dark almond colored patina of superb craftsmanship dating from the late 19th to early 20th century (Meiji period). It is quite large at 48.5 cm tall (19 inches) and is in excellent condition.

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 free-form watercolor on silk image of a dancer by Nishimura Goun inside a Kurogaki (black persimmon) frame with patterned brocade border. Who could not fall in love with this unusual expression of early twentieth century Japanese Art. She speaks of an era when a new freedom was growing in Japan, the growth of Democracy and rise of women’s rights. She dances free of care and self-consciousness, a blue ribbon tying her hair. Signed and stamped in the upper left corner, the painting is 42 x 37 cm (16-1/2 x 14-1/2 inches) The frame is 56.5 x 52 x 5 cm (22 x 20-1/2 x 2 inches). Both are in fine condition.
Nishimura Goun (1877-1938) was a prominent Pupil of Kishi Chikudo and Takeuchi Seiho. He showed at the Nihon Bijutsu Kyokai (Japan Art Association) and then with the Zenkoku Kaiga Kyoshinkai (National Competitive Painting Exhibition). He was awarded at the first Bunten National Exhibition (1907) and later served as a judge at that prestigious event. Later in life he would be named a member of the Imperial Art Academy. Works by him are held in many private collections as well as the Kyoto National Museum of Modern Art, Kyoto Municipal Museum of Art, Yamane Museum and the Gotoh Museum among many others.

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.

A giant mingei carved mask of an oni (demon) embodying the indefinable sense of madness particular to Japanese Demon images. The face has a mysterious mixture of sadness and evil not duplicated in any other culture, a truly pitiable character. The mask, carved from a single block of wood, is just over 2 feet (66 cm) tall and in fine condition.