Chikubushima Moon - Tsunemasa (Chikubushima no Tsuki - Tsunemasa). Printed: 3.1886. Engraver: Yamamoto. Signature: Yoshitoshi. Seal: Taiso. Publisher: Akiyama Buemon. Format: Oban tate-e. H. 12.75 x W. 8.75". Condition: Very Good impression and colors. Retains albimbacking. No condition issues to note. This print is also set in the battle between the Taira and the Minamoto clans...

The Moon of Yamaki Mansion - Kagekado (Yamaki Yakata no Tsuki - Kagekado). Printed: 3.1886. Engraver: Enkatsu. Signature: Yoshitoshi. Seal: Taiso. Publisher: Akiyama Buemon. Format: Oban tate-e. H.12.75 x W. 8.75". Condition: Good Impression and colors. Some soiling, including an ink spot (from original printing?) on the lower portion of print. Slight margin trimming. "Karazuri" embossing on Kagekado's clothing and cartouche...

Gravemarker Moon (Sotouba no tsuki). Printed: 3.1886 Engraver: Yamamoto Signature & Seal: Yositoshi Publisher: Akiyama Buemon. Condition: Very Good colors and impression, full margins. "karazuri" embossing on Ono no Komachi's robes. Format: Oban tate-e: H.13 x W. 8.75". Ono no Komachi was a famous beauty and poetess of the 9th century...

Suzaku Gate Moon - Hakuga Sammi (Suzakumon no tsuki - Hakuga Sammi). Printed: 1st day. 2nd month. 1886 Engraver: Yamamoto Signature: Yoshitoshi. Seal: Yoshitoshi no in. Publisher: Akiyama Buemon Condition: Very Good colors & impression, full margins, "karazuri" embossing on cartouche & Hakuga's hakama (pantaloons). H. 13 x W. 8.75". Minamoto no Hiromasa (918-980,) was also known as Hakuga Sammi...

Artist: Tsukioka Yoshitoshi (1839-1892). Subject: “Kyoudou Risshiki” (Instructive Models of Lofty Ambition)*, The Young Wife, Ukita, Guarding her husband, Lord Tomita Nobutaka Anozu no Shiru who is mounted on horseback. Signature: “taiso Yoshitoshi”. Artist’s Seal: Taiso. Publisher: Matsuki Heikichi. Date: Meiji 35* (1902), 8th month (August,) 5th day. Format: oban tate-e, H.12.5 x W.8.25". Condition: Very good colors and impression, album backing retained, no holes or tears, o...

Artist: Tsukioka Yoshitoshi (1839-1892). Subject: “Kyoudou Risshiki” (Instructive Models of Lofty Ambition), Toyotomi Hideyoshi seated on a tiger skin listening to a priest speaking on behalf of the Mouri clan. Text by Housai. No...

Artist: Tsukioka Yoshitoshi (1839-1892). Subject: Musha-e (Warrior print); “Yoshitoshi Musha Burui” (Yoshitoshi’s Courageous Warriors): kurou [9th son] hangan Minamoto Yoshitsune and Musashibou Benkei under a cherry tree )#15 in this series of 33. Signature: “Yoshitoshi hitsu” (from the brush of Yoshitoshi). Artist’s Seal: Taiso. Engraver: Horikou Muneoka. Publisher: Tsunajima Kanekichi. Date: 1886. Format: oban tate-e, H.13 x W. 8.75". Condition: Very good colors with good i...

A storehouse (kura) lantern(andon) from late 19th century Japan, made of wooden base, and metal wire body, and hanging hook. Interior paper is a later addition. I have found a long Japanese medicine bottle that fits perfectly inside the lantern, making it suitable for flower arranging. H.17cm(6.7") x Dia.8cm(3").

Early 20th C. back pad from North Eastern Japan (Tohoku region, most likely Yamagata Prefecture.) In the local dialect, of the Echigo & Shonai Regions (current day Niigata & southern Yamagata Prefectures), these are referred to as "Bandori." Other areas call these back cushions "se-na-ate." This particular example is a "Koro [round[ Bandori" and is made from woven straw and encased in a marvelous webbing of "yamabudo" (mountain grape vine.) Coarse hemp rope also creates a striking design in fron...

A Japanese Samurai doll (ningyo) with the look of a Daimyo: feudal lord in the Edo period (1603-1868). The Kamishimo with long hakama trousers were only worn for special occasions in the Edo castle. The samurai's blue top kimono is made out of a wash paper (a liner to his original kimono). There is a beautiful patina on his face which is covered with a gofun mixture from the time. In the old time, doll makers used to let oyster shells sit outside for years before they could ground th...

Roof tile with a "tomoe-mon", a crest of circular repeating commas in a whirlpool pattern. Fired clay, 19th century. Diameter: 4", Width: 3/4". The round tiles such as this line the bottom roof line, above the eaves. Commonly, the crest of the family or temple was depicted on these tiles. Historically, a center of roof tile production was the town of Ogi, in west-central Japan.

Japanese samurai dolls, Yoroi and Kabuto (armor and helmet), swords, nobori and carps banner are all a part of the display used for the Boy's Day in Japan. The quality set like this will give a wonderful, rich flavor as a decoration to your home all year around. There is no Maruhei label label on the box but we are pretty sure that this was made by the Maruhei in Kyoto. The similar set that we had seen had the Maruhei label that indicates the set was made in early Taisho period (1912-1926)...

Waraji (straw sandal) Gata (mold). This mold was used to make the straw sandals worn by farmers. It is of solid carved wood. L. 50cm(19.75") x H.9cm(3.5") x W.9cm(3.5"). Acquired in Yamagata Prefecture in NE Japan (Tohoku), this piece exhibits the wonderful folk qualities of the region. Hung vertically, the "shelf" portion of the mold can hold a small flower vase, creating a lovely "wabi" arrangement for the tokonoma.

Large Itomaki, spool, for weaving. Wood with 6 arms. Late Meiji Era (1868-1912.) H.39cm(15.5") x Square Base of 37cm(14.5"). Good condition, has been cleaned and oiled.

Wooden saddle, "kura" made of wood and iron fittings. Meiji Era (1868-1912,) but the top board is a later addition. This flat board makes it ideal for display items, especially for flowers. H. 44cm(17.25") x W.68cm(26.75") x D. 32cm(12.5").

Jizo is one of the most beloved Buddhist Boddhisatva in Japan as a guardian of children and travellers. Sado Island in Niigata Prefecture was once ringed with Jizo statues, and its granite quarries made it a center of religious statue production and sales. This Jizo holds his hands in front of his chest in prayer, or in the traditional Indian greeting of "namaste." His face is well worn from the elements and time, but a faint smile seems to grace his lips. H.25cm(10") x W.13cm(5").

Jizo is of one of the most beloved of Buddhist Boddhisatvas in Japan as a guardian of children and travellers. Sado Island in Niigata Prefecture was once ringed with Jizo statues, and the granite there made it a center of religious sculpture production and sales. This Jizo hails from Sado and holds a lotus leaf in his right hand and a "tama" or Buddhist ball of wisdom in his left. His face is well worn from the elements and time. H.24cm(10") x W.17cm(6.75").

Onigawara, Roof Tile End Caps, of fired clay with motifs of Daikoku's Hammer and Tama, the Buddhist Jewel of Wisdom. H. 37cm(14.5") x W.56cm(22"0 x D.11cm(4.5"). Excellent condition from Meiji Era. The region of Ogi in west-central Japan was a well-known center of roof tile prodcution, and continues this trade today.

Sakiori, or "rag weave", was a necessity of many common people in old Japan, especially those of the NE Japan (Tohoku region) which was known for its harsh climate and living conditions. This item is a late Meiji piece from the region showing wonderful color combination, and sporting a few repair patches from its long life. L.144cm(56.5") x W.34cm(13.5").

Indigo dyed (aizome) cotton "yutan", or covering cloth, stencil dyed with family crest of pine boughs flanking a "koto bashira", the bridge of a koto musical instrument. L.150cm (59") x W.129cm (50"). Such textiles were commissioned for use as bridal dowry pieces and covered the items taken to the new bride's home. The family crest may have been that of the bride's or groom's family, or possibly a combination of the two, depending on the rank or status of the families. Textile dyers in South...

Meiji Era futon-ji; indigo dyed cotton with tsutsugaki (free-hand drawn resist) image of the Three Friends of Winter: Pine, Bamboo, and Plum. L.150cm(59") x W.128cm(50"). Such bedding covers were given as part of a bride's dowry, commissioned with auspicious images or a family crest by the bride's family. This theme of Pine, Bamboo, and Plum was especially auspicous for a newly married couple, with each element having its own characteristic way of overcoming hardship (the cold winter.) The free-...

Imari ware bowls for serving small amounts of food were known as "kurowanka." These bowls feature a "sansui" land & sea scape scene in underglaze cobalt blue on a porcelain body. Each piece is in god condition with individual measurements of H.4cm X Dia.15cm.

Imari ware soba choko from the mid-Edo Period (1600-1868). Porcelain with underglaze cobalt blue painting of "houzuki" (Chinese lantern plant), a very unusual and delightful pattern among soba choko.H.5.5cm, Dia.8cm.

Sake flask from Tamba kilns in Hyogo Prefecture, early-mid Meiji Era. Characteristic reddish-brown glaze with black ladle drips around the neck. H. 24cm, Dia. 13cm.

Seto ware kneading bowl, or "konebachi" used in most Japanese households of the period. Characteristic warm yellow seto glaze with seiji (green) ladle drips to add accent to the rim. Height 15cm x Dia. 26.5cm. Minor glaze cracking inside the bowl.

Porcelain with underglaze cobalt blue Soba Choko, featuring a lovely land/seascape scene of mountains, willow tree, a hut, and the sea with boat sails and birds flying overhead. Average height 6cm, average diameter 7cm. Although soba choko are generally attributed to Arita kilns, by the late Edo-Early Meiji Period, they were also being made in Seto, as well as at kilns further north in Tohoku. These 5 cups all feature the same pattern and are all in good condition.

Early Meiji Era Soba Choko with landscape design painted in underglaze cobalt blue on porcelain. Average height of 6cm and average diameter of 7 cm. Though widely attributed to Arita kilns; by the late Edo and Early Meiji Periods, porcelain soba choko were also being made in Seto, as well as at kilns further north in Tohoku. This set of 5 features a typical land/seascape scene of a hut and the sea with a boat and birds flying overhead. All cups are in good condition featuring the same pattern.

A hanging scroll (kakejiku) attributed to Kano Masunobu (1823-1880) entitled "take suzume" (Bamboo and Sparrow) with Kiri (paulownia wood) box. Kano Masunobu, also known as Toun, was a member of the Kano School of painters who excelled in ink paintings (occasionally with the addition of pale tints) of landscapes and birds. The school's founder, Kano Masunobu (1423-1530,) was attached to the court of Shogun Yoshimasa. Scroll dimensions: H.90cm(35.25") x W.43cm(17"). Silk-bordered area: H.37c...

This quilt is made out of an old Japanese nobori banner probably from the Meiji period (1868-1912). The upper part of the banner, where the family crest (Mon) is dyed, was used for the border and two figures were sewn together side by side. The brown fabrics on each side of the design are the reverse side of an old obi sash. All hand-sewn except for the straight line where the panels were put together.

The design is of two lucky gods from the The Seven Lucky Gods of Japan (SH...

Imari ware porcelain soba choko (soba noodle dipping cups) from the mid-Edo Period (1600-1868.) H.5.5cm(2.2") Dia.7cm(2.6".) This pair features underglaze cobalt blue pattern with two of the three friends of winter; pine and plum (the other being bamboo,) front and back of each cup. Abbreviated brushstrokes give these cups an aesthetic of simple beauty. Soba choko were initially used for small morsels of food, much like mukozuke or ko-zara are used in today's presentation of Japanese cuisine. No...

Toushin (wick) zara (plate) held a small amount of oil with a coiled wick, and was usually set in some sort of lamp arrangement. These were used until the advent of glass and other lamps. This example of fine folk pottery is from central Japan, likely Mino ware, produced during the Edo (1600-1868) Era. The top side has a warm yellow glaze, and the underside is unglazed. H. 1.5cm (0.6") Dia.10cm (4".)

Tea leaf storage jars used in Japan like this were produced in and out of Japan from about the 15th century onwards. I wish I could say that this is one of the famous Muromachi Era "nanban" wares from the Phillipines or Southern China that are so prized by Japanese tea ware collectors, but it is one of the replica items made up through the Meiji Era in Seto, Japan. Still, the Japanese kept the traditional shape and produced many fine chatsubo in their own right. H.38cm (15") Body Dia.35cm(13.75"...

A rich black glaze covers this Kasama-yaki jar from the late 19th C. It is in the shape of a "natsume," a tea powder caddy used in the tea ceremony. H.21.5cm (8.5") Body Dia.16cm (6.25".) Kasama wares currently do not enjoy the fame of pots from nearby Mashiko. But Kasama, in neighboring Ibaraki Prefecture about 30 minutes away by car, preceeded Mashiko in being a ceramic production center by nearly a century, and had a hand in training the early Mashiko potters. Though most Kasama wares were, ...

An antique flask much like a tokkuri used for transporting sake, the "abura" (oil) "dokkuri" (flask) was used to transport oil products. H.27cm (10.5"), Body Dia.16cm (6.25".) This one is from the old Echigo (present-day Niigata Prefecture) which had stores of oil used for heating and lighting that were shipped up the Japan Sea coast north to Hokkaido. This example is wonderfully pitted with oil over a white glaze, produced at one of the no longer existent folk kilns of the Echigo region. It's u...

A late Edo - early Meiji tokkuri (sake flask) from the Hokuriku (central west coast) of Japan. H.24cm (9.5",) Body Dia. 16cm (6.25".) Probably fired in one of the no longer existent kilns of what is now Niigata Prefecture, this tokkuri has a rich yellowish-brown glaze which has experienced a nice crazing over time. Although from central Japan, the glaze and somewhat refined shape are reminiscent of Yatsushiro ware from Kumamoto in Kyushu. It is a folk piece, but at the same time has a wonderful ...

Sake Flask, "tokkuri," Meiji Era (1868-1912) from Mashiko, Tochigi Prefecture. H.10", Body Dia.6". This early Mashiko ware shows the "tobi kanna" technique of chatter marking around the body. In Meiji-era Mashiko, this patterned flask was called a "matsu-kawa-tokkuri" (pine-skin-tokkuri.) A rich, dark brown glaze decorates the neck. Similar wares were also produced around the same time in Fukushima Prefecture. Today, chatter marked wares, such as plates from Onta (Oita Prefecture) are the proba...