Japanese Kesa, Buddhist priests' robe, "ro" summer silk. 44 1/2" x 77", the color changed evenly to a tannned tone. There are some stains in the front and back, and the handle and the folding lines in the back are soiled.

Japanese Kesa, Buddhist Priests' Robe, soft brocades with silk liner. The liner has some discoloration and is soiled. 46" x 77 1/2"

Two waterfowl in a marsh, issued ca. 1910

Signed Koson with seal, published by Daikokuya ca. 1910, fine impression, color and condition

Overall size: 14 3/8 x 7 1/8 in.

Bird in willow tree, issued ca. 1910

Signed Koson with seal, published by Daikokuya ca. 1910, fine impression, color and condition

Kakuban: 9 3/8 x 10 in.

Ink and mineral pigments on silk

Interior of a fan maker’s shop with craftsmen at work, ca. late 1800s

Unsigned, very good color, good condition, small repair to backing on upper right margin, retaining a portion of its original silver mounting paper probably from being mounted as a framed panel.

Overall size: 13 x 17 ½ in.; image size: 10 ¾ x 16 ½ in.

Portrait of Kabuki actor, Nakamura Utaemon, issued ca. 1830

Signed Gototei Kunisada on lower left, partial loss of signature, Kiwame seal and publisher’s seal (Heikichi) on lower right, moderate impression and good color

Oban tate-e: 9 5/8 x 14 in.

Noh drama performer, dated ca. 1900

Underdrawing for a woodblock print or a study for a painting

Ink on mulberry paper portraying an actor wearing a mask, painting details are noted in Kanji and Katakana characters, description of painting is written in Kanji characters on reverse and showing through on front, backed with old mulberry paper, centerfold, good condition

Shita-e: 10 ½ x 15 in.

Scene of a takara bune treasure ship with corresponding New Year’s related poem, no. 29 from a series illustrating various treasure ship designs, issued ca. 1900

Good impression and color, light mica dust in paper, minor wear, some paper thinning, light soiling on verso

Overall size: 7 x 9 ¾ in.

Various designs for textiles, issued ca. 1900

Good impression and color, very minor soiling, center fold

Album leaf: 9 x 13 ¾ in.

Design of a kite with a takara bune (treasureship) design with a poem, probably designed as a New Year’s greeting, issued ca. early 1900s

Printer’s information on lower left (no. 41), good condition

Shikishiban: 9 ¼ x 9 ¼ in.

Portrait of Kawarazaki Gonjuro as a wandering monk (Komuso) issued ca. 1860

Signed Kunisada Ga, good impression, color skip on grey robe, thumbnail size paper loss mended on upper right corner.

Oban tate-e: 10 x 14 ½ in.

Portrait of a courtesan with her young attendant, issued 1830s

Signed Gofukutei Sadatora on lower left, fair impression and color, some thinning and wear, small nicks to edges reinforced, not backed.

Oban tate-e: 8 7/8 x 13 in.

Three figures with bonsai and other vendors, issued 1855

Signed Toyokuni (III) on lower left, good impression and color, lower margin trimmed into publisher’s seal, some wear and light soiling, not backed.

Oban tate-e: 9 ¾ x 14 ¼ in.

Portrait of a Kabuki actor, no. 7 from the series “Juni ka getsu hana awase” issued 1880

Signed Toyohara Kunichika in upper right and titled in cartouche in upper left, dated Meiji (1880), good impression and very strong color, very light soiling on upper margin, slight creasing to upper right corner, very light soiling on upper corners on verso, not backed.

Oban tate-e: 10 x 14 5/8 in.

Portrait of a Kabuki actor, no. 6 from the series “Juni ka getsu hana awase” issued 1880

Signed Toyohara Kunichika and titled in cartouche in upper left, dated Meiji (1880), very good impression and color, very light soiling near bottom, upper corners lightly creased, very minor wear, not backed.

Oban tate-e: 10 x 14 ½ in.

Scene from a Noh play, issued ca. 1920

Signed Kogyo with red artist’s seal, fan shaped publisher’s seal, very good impression and color, small areas of faint soiling.

Oban yoko-e: 10 x 14 ¾ in.

Scene from a Noh play, issued ca. 1920

Signed Kogyo with artist’s seal, fan-shaped publisher’s seal, very good impression, color and condition, remnants of attachment paper on back of four corners.

Oban yoko-e: 10 x 14 ½ in.

Diptych—two chuban prints originally joined in an album depicting a scene from the Osaka Kabuki stage, issued ca. 1865

Yoshitaki was one of the best known designers of Osaka actor prints from the 1860s to 1880s.

Both signed Yoshitaki Ga in red cartouches, very good impression, color and overall condition, old album backing paper intact.

Each print size: 9 ¾ x 7 in.

Album leaf illustrating “antique” textile designs for Tang Dynasty China and later, printed ca. 1900

The characters beside each design describe the motif and type of fabric.

Very good impression and color, vertical center crease, minor wear, remnants of old backing.

Overall Size: 9 ¾ x 14 in.

Scene for “Tokyo Daily Newspaper” with “Tokyo Nichi-Nichi Shinbun” inscribed in the banner at top, issued ca. 1890

Yoshiiku was noted for his prints included in the popular illustrated newspapers at the time.

Signed Ikkeisai Yoshiiku on lower left with artist’s seal ca. 1890, very good impression and strong color, vertical center crease, various areas of moderate soiling, slight backing tape residue on upper left corner, not backed.

Oban tate-e: 9 ¼ x 14 in.

Kunisada (1786-1864) collaborating with Hiroshige (1797-1858)

From the series: “Kannon Reigen Ki” (Account of the miracles of Kannon) issued 1859.The larger image by Kunisada depicts a miracle performed by Kannon...

Shini-e (memorial portrait) of three individuals, including their names and dates of death, issued ca. 1860.

Very good impression and color, light soiling and wear, small loss to upper-right corner, upper corners reinforced, two very small holes in right side, not backed.

Oban tate-e: 9 ½ x 13 ½ in.

Two young women caring for silkworm cocoons

Signed Kunitoshi Ga in a red cartouche with date: 1881 and publisher’s information in yellow cartouche, good impression, excellent color, very light soiling, upper corners thin with remnants of paper attachments, not backed, margins trimmed right and bottom.

Oban tate-e: 9 ½ x 14 in.

From the Birds and Flowers series: “Sho-utsushi shiju-hattaka” issued 1858.

Signed Sugakudo, with two seals beneath the signature, censor’s seal and publisher’s seal, left margin; good impression, evenly toned, thin corners, light staining, two upper corners with glue remains from attachment, not backed.

Oban tate-e: 10 x 14 ¼ in.

This doll is modeled after Kanpei, a samurai from the “Chushingura (Kanadehon).”, the story of 47 samurai who took revenge for their lord was shamed in public and forced to commit seppuku (suicide). It is based on the true story that occurred in 1701. Kanpei is portrayed as a handsome playboy who was deeply occupied with his girlfriend, Okaru, at the time of emergency for his lord...

Sessho was a student of the legendary Tani Buncho. His paintings were collected and much appreciated by Emperor Meiji. He painted this gorgeous flower painting in a deliberately straightforward manner in order to take focus away from his superior technique and have you consider only the beauty of the subject. Silk Canvas and Mount. Mount: 72 x 25 inches, 182.5 x 63 cm. Painting: 44 x 20 inches, 112 x 50.5 cm. cf. C.H...

Yoshitoshi Tsukioka's Very Scarce (only about a dozen known copies) Book with Six Full Oban Size Prints, The Flowers of Japan and the Art of Floral Arrangement (First Edition). This is the best known existing copy of this book. Because the prints are in a book, they have been exposed to almost no light, so the colors are more vivid than anything you will ever see...

This striking black and gold Japanese antique shop sign is from a Meiji Era (1868 - 1912) headquarters for a drug store chain. It dramatically declares that this shop carries the best elixirs for vitality, the best remedies for high blood pressure, and the most expedient cures for fever. 17.5 x 41 inches (44.5 x 104 cm). Excellent Condition.

A warm grained Meiji Period (1868 - 1912) two piece Yonezawa Isho Tansu (clothing chest from Yonezawa) finely constructed of pine (matsu) and highly desirable paulownia (kiri). 42 x 34 x 16 inches (107 x 86 x 41 cm). Very Good Condition. This chest is from Shonai, a region of Yonezawa that makes chests that are highly prized for their combination of understated Japanese design with a sense of tradition.

In keeping with our tradition of bringing you Rare and Fine Japanese Antiques that you can't find elsewhere, we present this 19th Century Elm Wood Japanese Rice Mill, a striking conversation piece for any home or office. 51.5 x 70 x 29 inches (131 x 178 x 74 cm). Excellent Condition.

An especially fine Meiji Period (1868 - 1912) Gilded and Red and Black Lacquered Butsudan (Japanese Buddhist Altar) with an endless variety of luxuriously designed details, hidden drawers within secret compartments behind hidden panels, marvelously rendered images and elaborately carved sculpture. All other butsudan pale in comparison with this rare, museum quality showcase piece. This piece would have taken the maker close to 2 years to complete. 65 x 44 x 27 inches (166 x 112 x 69 cm)...

Large Makuzu Kozan Studio Vase with Relief Fans, Rings, & Garden Scenes, Meiji Period (1868-1912)

It is 15 inches (38 cm) tall, and 7.5 inches (19 cm) wide.

It is in good condition with no cracks, except manufacture defect of firing cracks that has been repaired by the manufacture, missing the small rings, and chips at the fan holder (as seen in the photos).

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Okutani Shuseki (1871-1936) was born in Osaka and lived in Kyoto for most of his life. His artistic lineage is among the very best. He, along with Yamamoto Shunkyo and others, studied under Mori Kansai, who was the pupil and adopted son-in-law of Mori Tetsuzan, who was one of Maruyama Okyo's best pupils. Like all painters of the Mori family school, Shuseki's nature paintings are remarkable for their unsentimental naturalism, showing his keen interest in the essence of nature...

Okutani Shuseki (1871-1936) was born in Osaka and lived in Kyoto for most of his life. His artistic lineage is among the very best. He, along with Yamamoto Shunkyo and others, studied under Mori Kansai, who was the pupil and adopted son-in-law of Mori Tetsuzan, who was one of Maruyama Okyo's best pupils. Like all painters of the Mori family school, Shuseki's nature paintings are remarkable for their unsentimental naturalism, showing his keen interest in the essence of nature...

Okutani Shuseki (1871-1936) was born in Osaka and lived in Kyoto for most of his life. His artistic lineage is among the very best. He, along with Yamamoto Shunkyo and others, studied under Mori Kansai, who was the pupil and adopted son-in-law of Mori Tetsuzan, who was one of Maruyama Okyo's best pupils. Like all painters of the Mori family school, Shuseki's nature paintings are remarkable for their unsentimental naturalism, showing his keen interest in the essence of nature...

Okutani Shuseki (1871-1936) was born in Osaka and lived in Kyoto for most of his life. His artistic lineage is among the very best. He, along with Yamamoto Shunkyo and others, studied under Mori Kansai, who was the pupil and adopted son-in-law of Mori Tetsuzan, who was one of Maruyama Okyo's best pupils...