The decoration is in hira maki-e of gold and silver lacquer and kirikane, nashiji on a fundame lacquer background of a landscape, a stream in the middle of pines and cherry trees. flowers. The interior of the compartments is in nashiji lacquer. It bears the signatures of Kajikawa and Shunsho. Some slight marks of use. The ojimé is made of champlevé enameled metal decorated with flowers. The netsuke represents a monkey climbing on a chestnut. Height: 8.7 cm.

Flower arranging is one of the great arts that Japan has managed to take to ever greater heights of refinement over its long history. Here we have a classic example of a kake-hanaire (hanging flower vase) fashioned from bamboo by a lineage of craftsmen that started in 1578 with the first Kuroda Shogen...

Handwoven with delicate precision, this Japanese bamboo ikebana basket showcases the beauty of traditional bamboo weaving and the elegance of classic Chinese design that much of Japanese traditional art is based on. Its sturdy construction and balanced proportions make it perfect for ikebana arrangements, merging floral artistry with cultural aesthetics...

A beautiful 19th C. Japanese bronze suiteki water dropper for writing in the shape of sun burst. In excellent condition. W:13cm $485

The gray-blue celadon displays finely crackled glazing with areas slightly darkened by time. A faint pattern made of white inlay can be seen along the upper rim, complimented in several areas by antique kintsugi repairs. The maki-e gold repair at the base—with its design of half waves and half flowering vines—though quite old, seem not quite so old as the repairs along the rim...

This piece features a warm golden crackled glaze with several patches of lighter pigmentation and a number of gold and silver repairs. The inside of the bowl is especially inviting, showing a magnificent patina developed over many decades of use...

This lovely white Hagi chawan rests firmly on a wari kodai or “split foot.” The crackled milky glaze varies in consistency across the curves and contours of the bowl with some areas tending towards a faint brown, adding an interesting dimension to the landscape.

The creator of this piece Matsuura Mugen (1944 - ) has spent his life in the pursuit of perfecting the art of Hagi...

A beautiful example of a Hakeme style bowl, this one quite rare as it was made around 200 years ago by the son of the founder of the Dohachi line of potters. Traditionally decorated using a brush made from rice straw, a white slip is applied to the darker clay body with a wide sweeping stroke to achieve the effect seen here...

From our Japanese Collection, a large and beautiful imari charger, Meiji Period (1868-1912), one of two similar pieces we have, of scalloped-edge form with a basket of flowers in the center medallion, and panels of prunus and karakusa in the outer border, all vibrantly executed in traditional imari palette of iron-red, blue, orange, and gilt. This is a rich and gorgeous piece with great presence.

Size and Condition: A large piece at 17 1/2 inches in diameter, 2 1/2 inches deep...

From our Japanese Collection, a large and beautiful imari charger, Meiji Period (1868-1912), one of two similar pieces we have, of scalloped-edge form with a basket of flowering mums in the center medallion sitting upon a terrace enclosure, and with panels of prunus, chrysanthemums, and other flowering branches in the outer border, all vibrantly executed in traditional imari palette including iron-red, blue, orange, gilt and green...

An excellent example of Japanese rustic charm that transcends its humble origins to embody a refined artistic work, this mizusashi, or fresh water pot used in tea ceremony, displays a beautiful natural ash glaze that includes dazzling ochres, browns, grays, and yellows splashed across the intentionally rough and contoured ceramic landscape.

Iga-ware pottery dates back to 7th and 8th century and—like so many other pottery styles in Japan—takes its name from the region where it wa...

Oribe is a visual style named after the late-16th-century tea master Furuta Oribe (1544-1615). Kuro Oribe (as pictured here) with their jet-black glazes and feldspar ornamentation tend toward the minimalistic, abstract; and, some would say, Zen-like aesthetic...

With a sturdy foot firmly grounded, the upper rim of this piece rises and falls, somewhat reminiscent of a mountain path. Combined with the plum blossoms floating on the white background, these elements together suggest balance and harmony.

Oribe is a visual style named after the late-16th-century tea master Furuta Oribe (1544-1615)...

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...

A Beautiful Ode to Longevity by Watanabe Gashin, born 1944. Watanabe Gashin is a renowned calligrapher who has won many awards for his Japanese calligraphy. In this unique work, he spells out the joys of each decade, from the age of 60 to the age of 111. Frame: 36.5 x 18 inches, 93 x 46 cm; Calligraphy: 25 x 12 inches, 63.5 x 30.5 cm.

Fantastic execution of the Shino pottery style in the form of a bold and attractive Henko vase. The feldspar glazing and visually captivating red scorch marks serve as a backdrop for several attractive and well placed kiln effects—overall an exceptional piece by this artist.

Ando Hidetake was born the third generation of a Mino pottery family in Gifu prefecture in 1938. He began as an apprenticeship under Kato Tokuro in 1960...

Made from ferrous rich Bizen clay covered in an ashen feldspar glaze, this non-conventional Shino tea bowl is a variety known as “Beni” or crimson red. Distinctively modern yet emanating a primal vitality, the form harkens back to the very origins of ceramic exploration in Japan. The influence of Momoyama potters and greats such as Koetsu can be seen in the dynamic edges of the clay body...

A veteran of Bizen pottery, Mori Tōgaku has been perfecting his style for close to seven decades now with most of his important work having been done in the last 35 years. Using a self-built large climbing kiln measuring 53 meters—one of the largest of its kind—he utilizes a number of interesting techniques including mixing different types of clay into one work to produce pieces like the mizusashi (fresh water jar) shown here...