A pure celadon form in ice-green glaze by Fukami Sueharu measuring 21.5 cm (8-1/2 inches) tall, 17 cm (6-3/4 inches) diameter. It is in excellent condition; there is no box.
Fukami Sueharu is synonymous with seihakuji celadon. He has been displayed numerous times at the prestigious Nitten, Nihon Togei Ten (National Japanese Ceramic Exhibition) and Nihon Gendai Kogei Ten (National Japanese Modern Crafts Exhibition) among others. He is held in the Yale University Museum among others...

Japanese red ginbari cloisonné enamel incense burner or a box with floral design. It has a unique square shape with rounded corners and small feet on the bottom and an intricately carved wood lid and a very fine naturalistically carved turtles. Ginbari Technique: The red enamel is applied over a textured silver foil base, creating a shimmering, deep red appearance known as akasuke or "pigeon blood". Perfect condition Heigth 4” (9.5 sm), width 3” (8.5 sm)

Two-Panel Silver-Leaf Folding Screen

Size: W 174 × H 174 cm (approx. 68.5 × 68.5 inches)
Period:19th century

Price Range (B) $3000-5000

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Flat dish used underneath a lantern (andon) to catch dripping lamp oil. Round dish with low, straight rim, covered in a cream colored, finely crackled glaze decorated in iron brown with a landscape with pine trees, a fence and sail boat, geese flying over. Typical autumn landscape. The back simply covered with unevenly applied cream colored glaze.

Unsigned. Mingei, folk art.

Japan, Edo/Meiji era, 19th century

H 1 x diam 9.25 in...

Flat dish used underneath a lantern (andon) to catch dripping lamp oil. Round dish with short straight sides of beige stoneware, covered in a dark green copper-based glaze that left open three circles. Inside the circles chrysanthemums are drawn in iron brown and covered with a whitish glaze. The back simply covered with dark green glaze, leaving the foot free.

Unsigned. Mingei, folk art.

Japan, Meiji era, 19th century

H 0.8 x diam 7.75 in...

Flat dish used underneath a lantern (andon) to catch dripping lamp oil. Round dish with minimal, rounded rim, decorated with a circle of impressed hollyhock leaves (aoi), covered in a dark green, copper-based glaze with an oil sheen. The back simply covered with the dark green glaze.

Impressed potter’s or studio seal...

A striking vase in blue and white covered in gleaming white gold by Fuji Shumei enclosed in the original signed wooden box titled Gokujo Haku-kin-sai Ho-o. It is 31.5 cm (12-1/2 inches) diameter, 35cm (14 inches) tall and in perfect condition.
Fujii Shumei (1936-2017) was born in Arita in 1936 and began working in pottery at the age of 15...

This evocative ink painting presents a quiet temple gate set deep within a mountain landscape by Domoto Insho enclosed in the original signed wooden box dated summer 1923 and titled Hakuun-Ji (White Cloud Temple. Executed with Inshō’s characteristically fluid brushwork, the scene suggests a continental architectural setting, conveyed through the steeply pitched tiled roofs and the ornamental roof-ridge finials...

A complete set of implements made for performing the Japanese Maccha Tea Ceremony by Nakamura Soetsu created almost entirely of bamboo signed Soetsu and enclosed in a cloth lined woven bamboo basket containing an inner tray. The set consists of five plates cut from bamboo knurls and a persimmon shaped container made from a gourd wrapped in a silk pouch...

Japanese Edo period woodblock print Keisai Eisen (1790-1848) depicting a beauty walking along a riverbank under a pine tree viewing a bustling scene of boats on the waterway below. This print is the left panel of a triptych titled "Enjoying the Evening Cool of the Two Seasons" from the series "The Four Seasons" published by Sanoya Kihei circa 1830s. The artist's signature, "kiwame" censor's seal, and seal of the publisher all appear at the lower right. Paper: 15" x 10"...

Japanese Edo period woodblock print by Kikugawa Eizan (1787-1867) featuring a young salt-water gatherer from the series "Seiro Niwaka" depicting the Niwaka Festival among the Green Houses (brothels) of the Yoshiwara published by Yamaguchiya Tobei circa 1810s to 1820s. The "kiwame" censor seal and the seal of the publisher Yamaguchiya Tobei are at the lower right. The artist's signature is at the lower left. Paper: 13 5/8" x 9 1/8"...

Japanese Edo period woodblock print by Kitagawa Shikimaro (active ca...

A Japanese bronze 'dragon' flask, of good size and weight, cast in relief on each side with a sinuous Ming-style dragon, the sides with mask and lose ring handles. Late Edo period, 18th/19th century. Height 31cms. Provenance: Purchased from Maison Mosser Exposition, Nancy, 1909.

The vase features a signature green enamel with subtle, transparent bamboo designs created using the musen-jippo (wireless) technique. The vase is a baluster form, with sterling silver rims on both the top lip and the base. It is likely from the Japanese Meiji or Taisho period (early 20th century). The surface has a smooth, glass-like finish. 7 ” x 4” (18 x 10 sm).

A large rice bag made of fragments which are handspun cotton and vegetable indigo dye. They plain, katazome (stencil-resist dye), stripes and checks. Rice bag is used for dedicating rice or grains to a shrine or a temple. In excellent condition. Late 19th to early 20th century. W:52cm, H:27cm when it is flat

A Tokkuri and sake cup by Matsuda Yuriko in vivid colors enclosed respectively in their original signed wooden boxes. The Tokkuri is 8 cm (3-1/4 inches) diameter 13 cm (5 inches) tall, the cup is 7 cm (2-3/4 inches) diameter, 7.5 cm (3 inches) tall and both are in excellent condition.
Matsuda Yuriko was born in Ashiya, Hyogo Prefecture in 1943nd lives and works in Oshino, Yamanashi Prefecture. Yuriko is an avid exhibitor; it is a wonder she has time to do any work at all. Both within Japa...

A study of ceramic plate designs by female ceramicist Shigemori Yoko mounted as a hanging scroll. Ink and color on paper mounted in dark cloth with ceramic rollers, it is 47 x 194.5 cm (18-3/4 x 76-3/4 inches) and in excellent condition.
Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques und...

The view is that of a hawk circling over a lonely hut lost deep in the steep misty North, home of the powerful gentleman Warrior Satake Yoshimasa (1775-1815) —daimyo of Akita and celebrated bunjin tonosama (“cultured lord”)—by whose hand we meet this scene. Thius reveals the refined artistic sensibility for which he was renowned. Rendered in bold ink washes that cascade across the vertical composition, the scene unfolds from mist-cloaked peaks at the top to a torrent-cut ravine below. Y...