A Beautiful unusual Japanese display cha dana tansu, with 3 sets of sliding Keyaki burl front panels with copper handle pulls, 11 drawers with iron warabite handles, and an open compartment with shelves for the display of tea ceremony articles. This piece features a secret compartment hidden underneath one of the top panels.

Meiji period (1868-1912) 19th century.

Size: 69.25" L x 14.5" D x 36" H

Reminiscent of the wildly popular avant-garde works of Suzuki Goro, this striking modern interpretation of the classic tokkuri (sake flask) was done by budding artist Ikeda Shogo.

Born in 1976 in the southern port city of Kagoshima on the island of Kyushu, from a young age Ikeda would have been exposed to a great variety of ceramic-wares from the numerous historical kilns native to the region including Satsuma, Arita, Imari, and Karatsu...

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...

Ohara Koson (Shoson)
Cockatoo and Pomegranate at Night
Size: Chuban. Approximately 10.5 x 7.25 inches.
Date: ca. 1930.
Publisher: Watanabe Shozaburo.
Shoson signature and seal.
Medium: Japanese woodblock print.
Reference: AS.27 in Crows, Cranes and Camellias: The Natural World of Ohara Koson (Reigle Newland).
Condition: Excellent.

Using local materials and traditional methods, the creator of this work Masahiko Imanishi, has brought a distinctively modern interpretation to the classical form of the tsutsu chawan. At the same time, he somehow manages to maintain the simple rusticity that Tanba-ware is renowned for. Stretching back over 800 years, Tanba is counted as one of Japan’s 6 ancient kiln sites and is known for making large pots with red ferrous clay and natural ash glazes with a distinctive greenish tinge...

The image of the brush-drawn circle, known most commonly as the “enso” of Japanese Buddhism, has long been a symbol of strength, elegance, and the simultaneous being and nonbeing (mu) of the universe. A closed enso is associated with the idea of perfection while an open enso represents movement, fluidity, and attainment in the corporeal world...

Japanese limited-edition copperplate etching titled "Big Tree No. 2" by Tanaka Ryohei (1933-2019). Pencil-signed, dated '83, and numbered 33/130 in the lower margin. Paper size 13 1/4" x 12” (image: 9 x 8 1/4"). Never framed. Very good overall condition. There are a few pinhead sized light brown spots in the margin.

Japanese Meiji period Sendai style zelkova (keyaki) wood single-section tansu with characteristic rectangular carved lockplate on the upper drawer, Mokko-style (melon) drawer handles, and hinged door on the right side opening to two drawers. Two side carrying handles. Late 19th century (circa 1880). 46 3/4” wide x 18” deep x 34 1/2” high. Very good overall condition with typical wear, some separations in the wood, and shrinkage to the drawers...

Large Japanese Meiji period kuruma (wheeled) tansu configured with seven drawers and a locking bar. The top drawer has embossed rectangular iron hardware in the form of a peacock. Warabite handles. 19th century. 47 3/4" long x 19 1/4" deep x 44 1/2" high. Very solid and in good, sturdy overall condition. The wheels are a bit stiff, but functional, and the original finish has only minor wear. There is a short cigarette burn on the edge of the top...

Japanese kanto style Kannon Biraki double-stacking personal clothing chest (isho-dansu). Often referred to as a "wedding chest," this tansu would have been used to store a bride's formal wedding kimono. Hinged doors on the upper section open to reveal four drawers. The layout of the drawers is characteristic of the earliest form of kanto style chests. The doors exhibit the traditional configuration of five iron hinges and iron strapping surrounding a round foliate lockplate at the center...

Graceful, sensitive, and with a distinctively feminine aura—this subtle work of ceramic art has an air of quiet days spent in the garden or of spending an afternoon brightening up an interior space. Using a technique known as 灰釉 (kai-yu) Terai uses the natural ash of various hardwoods to achieve a subtle textured matte glow which is unique to each piece.

Yoko Terai (b...

Japanese 20th century black metal flower holder. This contemporary designed flower holder was made by Living National Treasure artist, SEKIYA SHIRO. The holder is marked 63,2,3 on the bottom. It measures 14" wide, 8 1/2" deep and 7" tall. The holder comes with TOMOBAKO or original artist signed wooden storage box.

Japanese late 19th or early 20th century bronze OKIMONO of a ram done in the style of Imperial Court artist, ISHIKAWA KOUMEI or MITSUAKI. The ram is done in fine detail. The OKIMONO is signed on the bottom by the artist, KOUMEI. The OKIMONO measures 10 1/4" wide, 7" deep and 7 1/8" tall.

A very interesting chawan (tea bowl) dating from the Korean Joseon period (Richo in Japanese; 1392-1897). This particular piece appears to date from the 16th/ 17th century and comes with a very old box which appears to have been furnished sometime in Edo. The light creamy crackled glaze is smooth in the hand and fine hairline fractures radiate along the sides of the bowl contrasting nicely with the gold repairs...

With a design reminiscent of mineral deposits on Martian rock, this bold and visually captivating tea bowl is the creation of one of Japan's more controversial and revolutionary-minded potters. 

Nakamura Kimpei (b. 1935) was born in Kanazawa but later—after a period of residency abroad— made his way to Tokyo where he established a kiln...

Fabulous Kyoto ceramic Taisho Period C.1930 sencha tea set. Signed. Delicate flowers adorn the cups and tea pot. Great conditon. Ask for shipping quote.

Like most Shigaraki-wares, this piece has a somewhat primal feeling to it, as though it belongs to a previous geological era in time. Rivulets of vitrified green, grey, and yellow ash stand against a background gradient of soft to intense ochres of the clay body. The intense firing process of this type of pottery for days in an anagama kiln results in a beautiful ashen glaze with a warm, soft, yet vibrant glow when set in the light...

One of the more innovative and international minded ceramicists on the Japanese pottery scene, Ryoji Koie’s interests and expertise are barely confined by this genre—as he often integrates non-traditional methods and materials. Born in the town of Tokonmae in 1938, from a young age he studied potting—a staple of the local economy—and later went on to do independent research, open his own kiln, travel widely participating in international conferences and workshops, and finally to become a...