A beautifully crafted and remarkable example of an early Edo period (1603-1868) Raku Chawan. This bowl is strongly reminiscent of the Chōjirō tea bowls, the first head of the Raku family.

This exceptionally well-crafted tea bowl has a very meditative presence and reveals its highlights of a typically Momoyama Period classic black glaze. It comes with an old Japanese wooden box...

Over 100 years old, this exquisite lacquered box set was crafted in the fourth year of Taisho (1915). On the underside of the lid are painted butterflies and the sides and top of the box set feature Chrysanthemum flowers in gold, sumi, and mother-of-pearl. Long considered an auspicious symbol of longevity and rejuvenation in Japan, when first introduced to the island nation during the Nara period (710 – 793 AC), the Japanese Royal Family was fascinated with the Chrysanthemum...

This small vessel, similar in a shape to a tokkuri, is a fine example of Oni Shino (carbon trap and natural ash glazing) that Tsukigata is so well-known for. Coining the term in the mid-50’s after countless failed experiments—which ultimately culminated in the discovery of this unique style of pottery—“Oni” translates roughly to demon or ogre...

This small vessel, similar in a shape to a tokkuri, is a fine example of Oni Shino (carbon trap and natural ash glazing) that Tsukigata is so well-known for. Coining the term in the mid-50’s after countless failed experiments—which ultimately culminated in the discovery of this unique style of pottery—“Oni” translates roughly to demon or ogre...

This striking chawan is a fine example of Oni Shino (carbon trap and natural ash glazing) that Tsukigata is so well-known for. Coining the term in the mid-50’s after countless failed experiments—which ultimately culminated in the discovery of this unique style of pottery—“Oni” translates roughly to demon or ogre...

The creator of this lovely Hagi chawan, Hirose Tanga (b. 1939) is the master-potter of Tenpozan kiln in the city of Hagi. When I acquired my first tea bowl by this artist it reminded me of bowls produced by Yoshida Shuen (apprenticed under NLT Miwa Kyusetsu). As it turns out, Yoshida worked alongside Hirose in establishing Tenpozan and in training young potters in the art of “Oni” Hagi which utilizes a rough textured clay and a milky translucent glaze...

AN OLD JAPANESE PAINTING OF MONJU BOSATSU.

Monju Bosatsu - Manjushri Bodhisattva of Wisdom. The painting appears to have great age and even though not in the best of condition it still has a compelling presence. It is painted on a composite sheet of thin paper, the joins can be seen as angled lines across the sheet and mounted as a kakemono. The painting is signed with a single seal impression in gold.

The painted area is approximately 106cm by 40.5cm...

Surely an extraordinary confluence of circumstances must have come into alignment in order to bring this remarkable composition into existence. Done in the Korai style—referring to the heavy influence from Korean forms and glazing—this exquisite Edo period Karatsu-ware tea bowl features a white stripe running horizontally along the outer surface of the bowl known as Hakeme...

An okimono depicting a Japanese craftsman building a traditional Japanese helmet, the Kabuto. This Kabuto is a “kawari kabuto”, decorated with imaginative and distinctive elements. The combination of carved ivory, mother of pearl and coral offers a wealth of detail and color to the scene, creating a fascinating contrast between the different textures and materials. Signed under the Kyosai base. Origin: Japan Period: Meiji 19th century Dimensions: 10 x 10 x 7 cm. State of...

A beautiful Annan tea bowl with silver repair (gintsugi) and fine sense of "aji" bestowed by age. Ornately decorated with flowering chrysanthemum, the skillfully applied silver repair to the bowl implies that it was treasured by its previous owner.

Annan-Yaki, is a tradition of pottery brought to Japan from the Annan province of ancient Imperial China (now part of Vietnam) from the late Muromachi period (1392 - 1573)...

Ivory okimono with blind travelers defending themselves from the aggression of four scoundrels who try to rob them of their bags and food. The scene involves nine characters, three of whom receive sticks, umbrellas and punches. One of the most curious moments is the character at the top, who loses a geta during the battle...

Ivory okimono depicting Hotei, one of the seven Sages of Good Luck. He is depicted smiling and sitting on his sack, while he holds the stick. Next to him there is a child who hugs the end of the sack. Signed Tomihiro under the base. Origin: Japan Period: Meiji end of 19th century. Dimensions: 5.5 x 17 x 4 cm. State of conservation: Very good

Ivory okimono which portrays an affectionate scene of daily life: a father holding his child in his arms while holding the toy desired by the child. The okimono is signed Tomokata under the base. Origin: Japan Period: Meiji end of 19th century. Dimensions: 17.5 x 6.3 x 5.3 cm. State of conservation: Very good

An ivory okimono, carved from a single block, depicting a hunter accompanied by an onagadori rooster and a child with a net in his hand. Yukiharu 之晴 signature in relief seal under the base within a rectangular reserve in red lacquer. Origin: Japan Period: Meiji end of 19th century. Dimensions: 29 x 7.5 x 6 cm. State of conservation: Very good

Ivory okimono depicting a fisherman returning on his journey, carrying on his back a basket on which his child is resting and holding a large fish. The woven basket, the ropes, the engravings on the clothes and the hands were made with great precision and care. Origin: Japan Period: Meiji end of 19th century. Dimensions: 24.5 x 10 x 6.5 cm. State of conservation: Very good

Ivory okimono depicting a Japanese farmer tying three daikon turnips with a rope. The details of the farmer are finely engraved and sculpted, testifying to the artist's mastery. Origin: Japan Period: Meiji end of 19th century. Dimensions: 10 x 12.5 x 9.5 cm. Ivory dimensions: 7 x 8.5 x 5 cm. State of conservation: Very good

An ivory netsuke depicting the samurai warrior Sato Tadanobu, who saved the life of Minamoto no Yoshitsune. Tadanobu is depicted with the goban board under his feet and his right hand behind his head ready to throw the container of pieces, the goke. He signs engraved under the foot and himotoshi on the back. Origin: Japan Period: Edo 19th century. Dimensions: 4.5 x 2.5 x 1.8 cm. State of conservation: Very good

An ivory netsuke depicting Chinnan Sennin, an immortal hermit sage from Japanese mythology, with a serene smile as he controls the dragon Ryu. This representation is of important dimensions. Ivory, with its colour, shine and patina, enhances the engraving. Origin: Japan Period: Edo 19th century. Dimensions: 8.7 x 3.5 x 2.5 cm. State of conservation: Very good