Paul Jacoulet
Le Mandarin Aux Lunettes, Mandchoukuo (The Mandarin with Glasses, Manchuria).
Date: May 22, 1950.
Size: Dai-oban. Approximately 19 x 14 inches.
Edition: 231/250.
Carver: Maeda, Printer: Uchikawa.
"Note the mica of the lenses, made by using crushed pink pearls." - Richard Miles, The Prints of Paul Jacoulet.
Medium: Japanese woodblock print.
Condition: Slight fading. Toning on verso.

Paul Jacoulet
L'Attente, Celebes Menado
Size: Dai-oban.
Date: September 15, 1947.
Edition: 175/350.
Carver: Maeda, Printer: Fujii.
Condition: Excellent.
"The pink background is sprinkled with bits of silver leaf… The curl of smoke from the lady's cigarette is gauffrage." - Richard Miles, The Prints of Paul Jacoulet.

Paul Jacoulet
Jeune Fille de Saipan Et Fleurs D'Hibiscus. Marianes" (Young Girl of Saipan and Hibiscus Flowers. Marianas)
Date: June 30, 1934. First edition. This edition was issued without a title. The title label at the lower right was added by the original collector.
Size: Approximately 18.5 x 13.75 inches.
Jacoulet signature and watermark with fan seal.
Edition: 067/150...

Tall vessel of square shape, cut out of a section of a Paulownia (kiri) tree showing knots on three sides, where side branches used to be. The wood is stained dark brown. One side of the vessel is decorated with inlays/appliques and lacquer paint. The appliques colored with gold sprinkle, silver flakes and green lacquer.
A sparrow is sitting on a bamboo stalk.
Red patinated copper liner.

Japan, Taisho era, 1920s

H 11.75 x W ca. 5 x D ca...

Peacock in cast bronze and partially gilded shakudo in 2 shades of gold. Japanese work in the style of Miyao around 1900. No signature. Hardwood and boxwood plinth.Good condition, no welding and original patina. Very slight wear, insignificant for a century-old object. The body of the peacock is raven wing black which suggests that it is in shakudo which represented a significant additional cost, the shakudo alloy being obtained by adding gold to copper. Total height about 16cm.

Peerless Mount Fuji
Unsigned. Artist not identified.
Date: 1934.
Size: Oban. Approximately 13.75 x 10 inches.
Origin: Issued as a folded insert to an N.Y.K. Line publication called, "Glimpses of the East". The folds are vertical.
Medium: Japanese woodblock print.
Condition: A faint foxing spot at the upper left.
The composition of this print is reminiscent of the Fuji views of Tsuchiya Koitsu.

Japanese shin hanga woodblock print by Toshi Yoshida (1911-1995) titled "Heirinji Temple Bell" dated in the left margin 1951. The print is pencil-signed in the lower right margin with the artist's red seal above. Early edition likely dating from the 1950s/60s. Paper size: 15 5/8" x 10 5/8" (image: 14 1/2" x 9 1/2"). Very good overall condition. There are some tiny printing smudges in the lower left margin...

Japanese shin hanga woodblock print by Toshi Yoshida (1911-1995) titled "White Plum in the Farmyard" dated in the left margin 1951. The artists's red seal is at the lower left and the print is pencil-signed in the lower right margin. Early edition likely dating from the 1950s/60s. Paper size: 15 1/2" x 10 7/8" (image: 14 3/8" x 9 5/8"). Very good overall condition. The back margin edge is very lightly distressed. The original 14,000 yen price is in pencil on the back lower right edge.

Lifetime edition Japanese shin hanga chuban sized woodblock print titled in kanji and English "Supper Wagon" by Toshi Yoshida (1911-1995) dated Showa 13 (1938). Pencil-signed at the lower right margin and with the artist's black ink signature and red seal in the image above. Paper: 7 3/4" x 10 1/2" (image: 6 5/8” x 9 3/8”). Very good overall condition with full margins.

Lifetime edition Japanese shin hanga chuban sized woodblock print titled in kanji and English "Benkei Bridge" by Toshi Yoshida (1911-1995) dated Showa 16 (1941). Pencil-signed at the lower right margin and with the artist's black ink signature and red seal at the lower left corner of the image. Paper: 10 5/8" x 7 3/4" (image: 9 1/2” x 6 3/4”). Very good overall condition with full margins.

Beautiful peonies on a soft pure silk (sho-kinu, 100 percent silk) kimono roll. Hand dyed design (Yuzen zome) went through to the reverse side. The fabric (marked as Tango chirimen) is treated with some new chemical for easier maintenance, wrinkle free, washable (?), etc. Some designs are dyed to be matched for the wider width. Gentle, pale (smoky) purple color, 14 1/2 wide, full roll (enough to make a kimono).

A nice patina silver belt and gilt gold buckle worn by Peranakan straits Chinese during their wedding ceremony

Here we are proud to present another perfect early 17th. century chawan in museum quality.

Low cylinder shaped (hanzutsu) tea bowl made of light, fine but unrefined Mino clay with sone iron oxide content. The expertly thrown body is covered -with the exception of the bottom and the roughly cut foot ring - with the typical feldspatic Shino over an iron oxide based engobe...

A perfectly thrown and golden glazed contemporary Kutani Chawan made by one of the best Kutani-yaki artists, Hasegawa Suiko - please see! The beauty of the painted poetic motifs is simply breathtaking. Waves, a crescent moon and a toki, the Japanese crested ibis bird, so significant for Japan. The exceptional purity of the golden glaze is not found in any other work by Suiko as high class as in this tea bowl.

Hasegawa Suiko, born in 1958, lives in Ishigawa Prefecture...

An iconic bowl flaring out in pure celadon by Fukami Sueharu enclosed in the original signed wooden box titled simply Hachi (here he is using a play on sound, as he uses the Kanji character for eight pronounced Hachi in place of the character for bowl with the same reading). It is 22 cm (8-1/2 inches) diameter and in excellent condition.
Fukami Sueharu is synonymous with seihakuji celadon...

Perfectly shaped Kuro Kyo-Yaki Chawan from the Showa Period by great artist Rikobei Kiyomizu the 6th, made 50 years ago. It comes with his originally signed and sealed wooden box.

Rokubei VI (1901-1980) the eldest son of Rokubei V, graduated from the Kyoto City School of Art and Craft and Kyoto Municipal College of Painting before apprenticing with his father from 1925. That same year, he entered his first competition...

A true Mashiko Chawan by greatest Shoji Hamada with a real beautiful Ameyu glaze, double boxed and originally signed and sealed by the artist.

This treasure was part of the exhibition "The artists who searched for Mingei".

Hamada Shoji (1894-1978) was one of the leading potters of the Japanese Mingei (Folk Craft) movement...

Little distorted half cylinder shaped (hanzutzu) tea bowl made of light, coarse unrefinde Mino clay, with very nice, little and small ishihaze (exploding stones).

The mouth has been trimmed in a fashion frequently seen in black Oribe but rarely in Ki Seto (yellow Seto) bowls. The expertly thrown body is covered with the typical ash glaze inside and outside which has turned into yellow due to a slight iron oxide content in the clay...