This is a water pot called SUITEKI made of Japanese copper ware. SUITEKI is one kind of the tools for calligraphy. It is used to pour water into an ink stone.

A Suiteki of copper in this square pot form is doubtlessly very rare.

This small water pot Suiteki is a high class piece which was made about 200 years ago. It dates from the Japanese Edo period. This is an old original...

Takashi Nakazato is a celebrated Japanese ceramic artist whose family's mastery of pottery now spans 14 generations. Born in Karatsu, Saga Prefecture in 1937, Nakazato inherited a rich legacy of craftsmanship dating back over 400 years. He trained extensively in traditional ceramic techniques under his father, and later pursued further studies at the Kyoto City Arts and Crafts Institute...

A small Japanese Satsuma koro with a pierced metal cover by an unknown maker, late 19th century. The vase is decorated with the Imperial chrysanthemum crest and three family crests, including the Paulownia of the Toyotomi clan, the Hollyhock leaves of the Tokugawa shoguns and the cross of the Shimazu clan who ruled over Satsuma, Ōsumi and Hyūga.

At the top corners can be found quarter-flower heads delicately painted in red and gold. Each mon is finely detailed...

Like many pottery traditions in Japan, Karatsu takes its name from the city where it originated. As early as the 15th century, Korean potters heavily influenced the development of this form—helping to endow it with the earthy, simple, and natural qualities it is so appreciated for. This small dish fashioned from coarse clay and covered in a silky ash glaze. Slightly oblong with one edge gracefully arching upwards, both sides of the dish have been traditionally repaired using lacquer and gold...

This white porcelain statue depicts a small seated Bodhisattva deep in meditation. Bodhisattva, otherwise known as bosatsu in Japan, are enlightened beings who have postponed Buddha-hood in order to remain on earth and help others to break their cycles of karma. The base of this statue is unglazed showing the fine porcelain clay from which it is crafted...

A wonderful translucent blue celadon vase done in the classic style of Song Dynasty Chinese pottery. This piece was made by one of the few great female Japanese potters of the previous century, Suwa Sozan II, daughter of Meiji Imperial Court Artist Sozan I.

Suwa Sozan I (1852-1922) was born in an area of what is known today as Ishikawa prefecture. After a short stint in the military he took up pottery design and painting under Touda Tokuji in 1873...

The creator of this extraordinary work, Shibuya Deishi, is best known for his works of “Oni-hagi”—typically made with rough clay and heavy dripping glazes. This piece by contrast seems delicately crafted and has a very soft and warm quality to it. The outside is covered with overlapping molded flower petals done in an almond glaze with ivory accents at the tips of each petal...

Assorted group of Japanese black lacquer tea bowls and saucers for the export. Each decorated in gold with different designs. Four saucers, six small cups and one larger bowl. Condition: rims with little lacquer loss, one bowl with foot rim chip. Dimension: saucers: 11.2 cm diameter. Bowls: 5.9 cm and 6.6 cm diameter. Without wooden stands.

Molten glaze in volcanic plumes extending from a yellow blast wrap tendrils around this exquisite Bizen vessel by Baba Takashi enclosed in the original signed wooden box titled Bizen Yohen Tsubo. The kiln effects are spectacular, covering the blackened Bizen clay with yellows, charcoals and a myriad of natural tones. It is quite large at 15 x 13 x 9-1/2 inches (38 x 33 x 24 cm) and is in new condition. Depending upon destination, special shipping consideration may be required...

A captivating blend of traditional aesthetics and contemporary flair; with exquisite attention to detail, Goro masterfully combines the vibrant green Oribe glaze with bold geometric patterns, creating a dynamic and visually striking piece. The bowl's elegant form and balanced proportions enhance the tea-drinking experience, while the unique surface texture adds depth and tactile pleasure...

Stemming from the philosophy of wabi-sabi—often described as the beauty found in the imperfection and transience of the world—cracks and repairs in a work of pottery are often seen as highlighting the history and importance of a ceramic object. Practitioners of tea in particular are fond of reminding us that works repaired with lacquer and gold such as the one featured here become more resilient and beautiful for having been damaged...

From our Japanese Collection, a superb and large satsuma lidded jar / tea caddy by Ryozan, Meiji Period 1868-1912, stunningly executed with exceptional fineness depicting two cartouches of people gathering, alternating with two cartouches of ducks and birds in nature scenes, all separated and framed by intricate brocaded reserves of floral motifs using wonderful color variation and extensive gilt.

Size and Condition: A relatively large caddy at 7 1/4 inches tall, 6 1/8 inches wide.

From our Japanese Collection, a superb Kinkozan satsuma vase of tapered ovoid form, Meiji Period 1868-1912, most likely 1880-1890, depicting a finely painted bijin on one panel along with finely painted roosters and flying birds in a garden setting on the other panel. Both main panels are separated by reserves of elaborate gilt work set against a rich cobalt blue ground. Kinkozan signature and impressed mark on the bottom...

From our Japanese Collection, a truly superb satsuma vase, Meiji period (1868-1912), of tapered hexagonal form depicting a continuous procession of figures underneath a canopy of hanging wisteria. The vase is of the highest quality, as are all of our satsuma offerings. Note in particular the exceptional gold detailing to the robes of the figures, or look for example at the detailing of the two bijins standing with the open parasol: The work is extraordinary...

From our Japanese Collection, a truly superb satsuma vase, Meiji period (1868-1912), of robust globular form, depicting seven separate circular reserves of figures set against a most unusual and very appealing variegated ground that morphs from emerald green, to celadon, to cream, and finally to brown, all heavily overlaid with a rich brocade of chrysanthemum heads and other floral and geometric motifs executed in gilt. The neck has a heavily gilded deep red ground which sets it off very nicely...

Tamba-yaki, with its origins reaching back as far as the end of the Heian Era or early Kamakura Period (1180-1230), is one of the six ancient pottery centers of Japan along with Seto, Tokoname, Shigaraki, Bizen, and Echizen. The pottery of Tamba is said to have an elegant simplicity and an understated beauty that stems from its calm simple lines. The hues of Tambayaki are drawn forth from the iron-bearing clay by the flames of the traditional “anagama” and the “noborigama” (styles of kil...

A strikingly unusual charred vessel in the form of a kinuta fulling block by Atarashi Kanji enclosed in the original signed wooden box. It is made of lumped clay scorched dark from deep within the embers of the kiln. The unique texture has allowed liquified ash to fill the spaces between with dusky color. I bought this piece on a summer visit with the artist this year, the only one like it he had. It stood out from across the room among all the ash glazed pots as a masterpiece. It is 12 x 14...

The abraded and torn red-tinged Iga clay fills with green glaze in a climbing spiral pattern forming this Tokkuri by Atarashi Kanji enclosed in the original signed wooden box. It is 14 cm (5-1/2 inches) tall and in excellent condition.
Atarashi Kanji was born in Osaka in 1944, and graduated the Osaka College of Craft design. After 3 years in Kobe, and 4 in Kishiwada (Wakayama) he came to settle in Iga, where he was one of the driving forces behind the resurrection and preservation of...