KIHARA CHAWAN

Japanese semi-porcelain bowl with such calm iron-glazed picture as the transitional ware between Karatsu and Shoki-Imari ware, Kiwara kiln in Nagasaki area, Edo period (1603-1868), approx. D 12 x H 6.9cm (4.72 x 2.71in)...

Okuhara Seiko (1837-1918; female)
Cherry Blossoms Under the Full Moon
Date: 1900s-1910s
Publisher: Daikokuya.
Unsigned. Signed examples exist.
Size: Shikishiban. Approximately 9.75 x 9.5 inches.
Medium: Japanese woodblock print.
Condition: Slight toning. Left and right edges bumped.

1930's Japanese Sumida Gawa Porcelain Kannon Buddha

It is 15 inches (38.2 cm) tall by 4.6 inches (11.7 cm) wide. It is 2.9 Lb.

It has skip glaze, glaze cracks and surface wears and scratches (as seen in the photos).

Our Guarantee: We stand behind all of the items that we sell. That is to say, if you purchase an item from us and are unhappy with it for any reason, return it for a 100% refund of the amount you originally paid...

Inspired the works of Iizuka Rokansai, this open weave basket with richly toned dark red-brown split bamboo has a slightly tapering cylindrical body with an offset loop handle at the top. Signed with an incised signature on the bottom. Comes with a bamboo water container. Dates late 20th century. Measures 8” high including handle, 4.74” diameter. This basket had a very nice sheen to it that is not being captured by the photos. You will be pleased.

OKAME

Plaster mold for making *Okame mask, Showa period, 20th century, Japan, approx. 21 x 18 x 6cm (8.26 x 7.08 x 2.36in), in actually used condition as is. Not stands on its own...

A small porcelain teapot with molded chrysanthemum blossom decoration and arch-shaped handle. Thick greyish clay with craquelé. Condition: few tiny rim frits near the spout end, no repairs. Dimension: 12.4 cm high x 12.8 cm long.

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.

Born the second son of Ryônyû, the 10th Raku Kichizaemon Tannyû took over the family kiln in 1811 at the age of 16 and served until his retirement and subsequent handing on of the title of Kichizaemon to his son-in-law Keinyû some 34 years later. Retaining many of the unique stylistic innovations of his father including his clay trimming technique, Tannyû went on to establish several new family kilns and to produce wares for both 10th and 11th Tokugawa Lords...

Revered Chinese scholar and tea master, Lù Yǔ is known as the “Sage of Tea” and is credited with advancing the practice of tea through the writing of his life’s work,The Classic of Tea. Here we see a masterful rendition of this historic figure done by one of the most iconic Kyoto painters—and founder of the Maruyama school—Maruyama Ōkyo...

Over the years we have taken a special interest in Raku-ware and especially in works produced by the Tamamizu kiln, such as the 300+ year old ceremonial tea bowl seen here. The first in this line of potters was Yahē (1662 - 1722), an illegitimate son of Kichizaemon Ichinyu (1615 - 1768) who studied under his father and then left to open his own kiln in the village of Tamamizu (known today as Ide-cho)...

Japanese shin hanga woodblock print titled “Tasogare” (aka Dusk or Twilight) by Yamakawa Shuho (1898-1944) depicting a beauty in dressed summer kimono holding an uchiwa (non-folding fan) from the series “Four Images of Women” published by Bijutsusha in April 1928. This is the oban edition with gaufrage and mica highlights. The Shuho signature and red maple leaf seal are at the upper right...

Well defined bronze elephant koro incense burner, C.1920. 18cm tall by 15cm wide. Very good condition.

Japanese pencil-signed first edition shin hanga woodblock print titled "Kagurazaka Dori" (Kagurakaza Street after a Night Rain) from the series "Twelve Scenes of Tokyo" by Hiroshi Yoshida (1876-1950) dated Showa 4 (1929). The jizure (self-printed) seal is in the upper left margin. The artist's black ink brush signature and red seal is at the lower right corner of the image. The print is titled in English and pencil-signed in the bottom margin...

An unusually large vase by Seifu Yohei III with carved cloud designs covered in mottled red flambe glaze. The box is titled Dawn-cloud-glazed Vase, Made by the former Seizan (alternate name used by Seifu III) dated Late in the Year of the Earth-Horse in the Taisho era (1918), attested to by the 4th generation Seifu. He has employed the Teishitsu Gigei-in seal of the third generation on the lid...

Frills, filigrees and draperies gather pell-mell near the peak of this evocative vessel by Kawabata Kentaro enclosed in the original signed wooden box titled Loco. Consistent with this artists repertoire, the varying aspects are difficult to surmise in few words, raw clay, torn, cut, molded, squeezed and decorated with color in a variety of styles. It cocks its hip to one side, striking a sassy pose...

A 1920's Wakasa lacquer clam trinket box. Both sides match and the two pieces fit together perfectly. Dating from the 1920's, it measures 4.75" across, 2.25" high, 3.75" front to back. Wakasa craftsman developed the process of layering lacquer coats of different colors during the Edo period.

Biho Takahashi (Yoshikuni) (1873-)
Butterflies and Blooming Mustard
Date: 1900-1910.
Size: Shikishiban. Approximately 9.75 x 9.5 inches.
Signed and sealed by the artist.
Medium: Japanese woodblock print.
Condition: Left and right edges bumped and slightly toned.

First edition Japanese shin hanga woodblock print titled “Hawk on a Snow-covered Branch” by Ohara Koson (1878-1945), also known as Shoson, published by Watanabe in 1926. The Watanabe “A” seal (used 1924-1930) is located at the lower left margin. The artist's signature and seal are at the lower right section of the image. Paper: 15 1/8" x 10 1/8" (plate: 14 1/4" x 9 7/16"). Very good overall condition. There is a small archivally repaired tear at the upper left...