Please see Trocadero#38274 for details.

Written on the box in Japanese script are the words “Awai Sakura Yu” translating to English as “Pale Cherry Blossom Glaze”—amply describing the appearance of this unique and frankly stunning work of Kutani pottery by artist Nakata Kazuo. Reminiscent of pieces by well-known artist Ōno Hakuko, there are striated lines of silver leaf running vertical below the surface of the glaze, interrupted in places, allowing the eye to wander across the entire surface...

Antique Japanese bronze figure of a puppy with front paws on ball with long tassle, very sweet, ball, tassle and puppy all separate pieces, late Meiji Period (1868-1912), signed: Kosan Size: 6" high x 12" wide x 4 1/4"deep.

An often overlooked implement in tea ceremony, here we have the humble kogo (incense box) with an image of a sleek and flowing dragon. Commonly thought to represent strength, freedom, good luck, and magic, dragons are a popular theme in the artwork across Eastern cultures. Interesting to note, the dragon here is portrayed in the Korean style with four claws, with dragons in China typically having five claws and dragons in Japan typically having three...

Oribe is a visual style named after the late-16th-century tea master Furuta Oribe (1544-1615). Typically, black or green glazes are applied to the bodies of these works and light-colored windows are created using feldspar. These high-contrast areas then acts as a canvas upon which abstract, minimalistic, and often naturalistic themes are painted.

Typical of Mino pieces of the time, this Oribe chawan is made of coarse, unrefined clay...

A refined and elegant work of Hagi-ware done by a master potter who is not only a direct descent of the Hagi forebears, but who also credited with having revive the tradition when it fell out of practice. This piece features a well-formed kodai (foot), an exceptionally nice Hagi glaze and several “ishi-haze” or marks from small stones that partially explode in the kiln...

A relatively new term, “Oni Tamba” is used to describe works of Tamba-ware fired using carbon trap and ash glazing techniques modeled after those pioneered by Tsukigata Nahiko in the 1950’s. This piece in particular displays a bold and innovative ceramic landscape that seems quite impressive for such a young artist as Onishi. One side of the bowl resembles charred igneous rock while the front shows a warm soft orangish glow—like an ember in a fireplace...

From our Japanese Collection, a fine and large mid-to-late 18th century blue and white porcelain dish, circa 1740-1780, painted in the Chinese style depicting a home with people on an embankment, a treed outcrop in the distance with geese flying overhead, and some unidentified structures in the foreground. The entire scene is surrounded by a border of characters, and all executed in a greyish blue on dense grey porcelain paste, typical of 18th century Japanese Arita ware...

A fine and large Arita export octagonal jar, 1680 ~ 1700. The jar has similar painting around the neck and shoulder as those produced at the Kakiemon kilns.

Approximately 40 cm high. In fine undamaged condition. I have shown some very shallow flakes on the inside of the neck, this appears to have occurred before the firing...

From our Japanese Collection, a fine and large eight-sided imari charger, Meiji Period 1868-1912, depicting a flower basket beautifully executed in traditional palette of iron red, orange, blue, and gilt on a white porcelain body, and as a lovely extra on this particular piece, the addition of Kakiemon-style greenish turquoise enamel highlights in the corners and tastefully interspersed throughout the design...

A fine Arita Export gourd-shaped bottle decorated in Chinese Transitional taste. Arita 1660 – 1680.

The enjoyment of nature.

The Catalogue of the Shibata Collection exhibits two similar bottles.

Another, a 39.8 cm tall example is illustrated in ‘Fine & Curious Japanese Export Porcelains in Dutch Collections’. Hotei Pub. 2003...

A Fine Bronze Seated Buddha Sakyamuni Figure, U'Thong Style, Early 16th Century. Seated in Sattvasana, his hands in Bhumisparsa and Dhyana mudra. Wearing a sanghati with long sash. His face with meditative expression, downcast eyes under incised arched eyebrows, broad triangular nose and outlined lips, elongated earlobes. His hair arranged in rows of small curls...

A work of perfection by one of Japan’s most admired ceramic artists. This piece by Nakajima Hiroshi demonstrates his mastery of the art of celadon pottery.

Born in 1941 in Hiroshima prefecture, at the age of 28 he established his own kiln and became an independent potter. 1n 1977 he received honorable mention in the Japan Tradional Applied Fine Arts Exhibition...

A fine gourd-shaped bottle decorated in Chinese Transitional style. Arita 1660 – 1680.

The bottle is decorated in late Ming style with the enjoyment of nature. These bottles are not uncommon but are seldom encountered with such fine painting.

The Catalogue of the Shibata Collection exhibits two similar bottles.

Approximately 20.4 cm high...

A fine Japanese porcelain plate, the centre painted with a pair of Ho-o birds perched on rocks amongst flowers...

A fine Japanese blue and white porcelain soba choko with decoration of prunus blossoms on branches rising above an active with breaking waves all over a comb pattern on double blue lines above the foot. A fret band decoration appears inside the foliate shaped rim and a flower head within double blue ring adorns the bottom inside. The clear glaze pools to a lovely pale celadon tone above the prunus and sea decoration and in a glazed recess centered inside the glazed foot ring and broad unglazed b...

A Finely Decorated Imari Dish. The centre with a basket of flowers on a floral ground. The base with a four character Fuki Chosun mark 'Riches, Honours and Everlasting Youth'. Japan 19thC. Diameter; 31.3 cm. Condition: slight wear to gilding.

From our Japanese Collection, a very fine ivory carving, Meiji Period (1868-1912), probably Tokyo School but we cannot confirm the artist, depicting an elder carrying a rabbit in a basket along with a young boy who excitedly holds up a frog. The scene is expertly rendered as evidenced in the animation and excitement of the young boy's face, the expressiveness of the elder, the detail to the basketry, as well as the flow and fold to the robing, and the realism of the rabbit, the frog, and the eld...