A lightly brushed ink image of a boatman under a poem signed Haritsu (poetry name of Fukuda Kodojin) reading: Natsu yanagi Tsuri dogu uru koya ari (Beneath the summer willows, there is a hut selling fishing gear supplies). Ink on handmade mulberry paper with green silk border, dark wood rollers. It is 12-1/2 x 63 inches (32 x 160 cm).
Fukuda Kodojin (1865-1944) an eccentric self taught artist, his status as a poet, calligrapher and literati artist has reached legendary status. Born at a t...

A set of five porcelain Sencha Tea Cups for use with steeped tea decorated by Fukuda Kodojin enclosed in the original signed wooden box titled Hanamasu Chasan. Each diminutive cup is uniquely decorated with an image and verse by the artist. They measure 6.5 cm (2-1/2 inches) diameter, 5 cm (2 inches) tall and are in excellent condition. Inside the box is written “made by Yamazaki of Kyoto, decorated by Kodojin.
Fukuda Kodojin (1865-1944) an eccentric self taught artist, his status as a ...

In this elegant pair of hanging scrolls, Fukuda Kodojin evokes a world where the grandeur of mountain and mist dwarfs the human realm into near-invisibility. Towering precipices rise in layered washes of ink, their precipitant slopes softened by drifting haze. Rounded dots and broken brush stippling suggest hardy stands of pine clinging to sheer stone, while passages of pale, wet ink dissolve upward into an atmosphere of timeless suspension. Tucked discreetly among these monumental forms, a smal...

In this expansive vertical landscape, Kodojin envisions the recluse wandering freely through the mountains, the world reduced to the rhythm of ink, breath, and inner stillness. Sheer fantastical peaks rise like columns of mist, conveyed through pared-down brushwork that prefers expressive texture over naturalistic detail. Nestled among the heights is a distant hermitage—difficult to reach, and more an ideal than a destination—while at the base of the cliff a lone figure moves along a winding...

A radical landscape by Fukuda Kodojin enclosed in a period wooden box dated 1935. “Stone caverns and layered crags steeply deepening, heaven’s light reaches down to illuminate the hidden earth. This sentiment aligns beautifully with the painting’s mood: a world of recesses and inwardness, where illumination does not come from human presence but from the permeating clarity of nature itself. In this densely brushed landscape, Kodōjin conjures a labyrinth of cliffs and ravines rising through...

A towering mountain gorge enveloped in mist, rendered in a distinctive blend of expressive brushwork and ethereal color by Fukuda Kodojin. The composition presents a narrow, vertiginous valley hemmed in by sheer cliffs, their peaks rising like ancient sentinels into drifting clouds. In the foreground, pines cling tenaciously to craggy ledges, their twisting forms echoed in the jagged brushlines that define the cliffs. A solitary figure—a hermit-scholar wearing a conical hat—wanders a zigzagg...

Japanese sashi netsuke depicting a dragonfly by Kurita Motomasa. He is known to exhibit in the Kyoto Seishu Netsuke Art Museum. 20th century. 3 ½ long. Provenance: Richard R. Silverman collection. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art ...

A large, heavy-thrown vase of Shigaraki ware in the characteristic raw-fired and brow mottled chamotte clay. It has been covered with splashes of running whitish and dark grey glaze, with drops and encrusted cinders to finish it off. On one side the lip and shoulder have been compressed to leave a rustic and highly attractive impression for the viewer. Signed on the bottom with an impressed seal and two, deep parallel lines which indicate the maker’s mark. Japan, Showa, 1926-1989. H 24 cm. C...

A Japanese six-panel screen depicting a pair of deer in a winter landscape. In the foreground, beneath large pine trees, two spotted deer are shown moving across the snow-covered ground. The background, rendered with delicate ink washes, opens onto a misty mountain landscape. In the lower left corner appears the signature Morikawa Sobun (1847–1902) with seal. Period: Meiji, late 19th century. Dimensions: 172 × 378 cm. Condition: The screen is in excellent condition. Minor wear, restorat...

A bronze okimono depicting a young samurai with his katana drawn, held with both hands above his head in an attacking stance, signed Yoshimitsu. The intense gaze and posture capture the tension of a warrior in the moment before the strike. The figure rests on a carved and openwork wooden base. Signature on the back of the robes. Period: Meiji, late 19th century. Dimensions: 37 × 20 × 17 cm. Condition: Excellent.

Japanese hand hammered copper vase by famous Gyokusendo

Gyokusendo Tsuiki Copperware is a traditional Japanese craft.
It originated in Tsubame City, Niigata Prefecture ,with a history of over 200 years. Tsuiki Is a metal working technique that is derived from the words ' Hammer ' and 'raise' A variety of tools are used to create hammered copperware, as well as dozens of types of toriguchi (iron rods).
Rather than stretching the copper by hitting it, it contracts whil...

Japanese hand hammered copper vase by famous Gyokusendo

Gyokusendo Tsuiki Copperware is a traditional Japanese craft.
It originated in Tsubame City, Niigata Prefecture ,with a history of over 200 years. Tsuiki Is a metal working technique that is derived from the words ' Hammer ' and 'raise' A variety of tools are used to create hammered copperware, as well as dozens of types of toriguchi (iron rods).
Rather than stretching the copper by hitting it, it contracts whil...

An exquisite architectural form by Matsumoto Isami enclosed in the original signed wooden box titled Hakuji Seiwa Shoki. It comes with both a white porcelain lid, as well as a silvered lid by metal artist Endo Choei. It is published in the catalog: Matsumoto Isami Togeiten from 1981. It is 13.5 cm (5-1/2 inches) diameter, 21 cm (8-1/2 inches) tall with the porcelain lid, 22.5 cm (9 inches) tall with the silver lid.
Matsumoto Isami was born in the Higashiyama district of Kyoto in 1931, and ...

Japanese 19thC stag horn netsuke depicting a skull. Beautiful patina, perfect condition. 1 ¼ ” x 1 ¼ ” x 1. Signed: Gyokuminsai Provenance: Konishi collection, Los Angeles, 1981 Richard Silverman Collection Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke a...

Japanese 19th C leather pouch imprinted with fine floral pattern and some gold lacquer. The clasp depicts an eagle made of gold with some shakudo. The inside of the clasp also gold is signed. Very good condition, leather with some wear, metal part are in perfect shape. Ojime looks like a pink coral. Attached metal bird serving as netsuke is not original to the piece, Signed. 4” x 3” x 1.

Tsuchiya Koitsu
Spring Snow, Kyoto Maruyama.
Date: 1936. Posthumous edition.
Size: Oban. 17.25 x 11.25 inches.
Publisher: Doi.
Reference: Koitsu catalog TK-DH-30.
Medium: Japanese woodblock print.
Condition: Very slight evidence of fading near bottom and right edges.

Southern Song dynasty 12th century longquan celadon large plate with bluish green glaze, good condition no damage no chip no crack no restoration there is original firing kiln ash adhesion good glaze high ping sound with finger tip, please see picture for detail, size 22 cm diameter.

1920's Chinese Solid Silver (tested silver with acid silver test kit) Dragon Candle Holder Wood Carved Stand Marked

It is 8.7 inches (22 cm) tall measured with stand by and 4.4 inches (11.3 cm) wide. It is 318 gram measured without stand.

Reference:北京故宮雜誌《紫禁城2008.7》之《清宫的洋蜡》

One arm has been reattached (resoldered). It is tarnished and has small chips at the wood carved stand and surface wears and scratches (as seen in the photos).

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