Condition; Excellent, no chips cracks hairlines or repairs...

Little distorted half cylinder shaped (kutsugata) tea bowl made of light, coarse, unrefined Mino clay.

The expertly thrown body is covered with the typical, glossy black iron oxide glaze inside and outside. A 'window' on the side has been left unglazed for decoration in iron oxide engobe under a clear ash glaze in the form of plum blossoms (ume) and a geometric design. This is a typical Momoyama design...

Half cylinder shaped (Hanzutsu) tea bowl made of light, coarse unrefined Mino clay, with very little and small ishihaze (exploding stones).

The mouth has been trimmed in a fashion frequently seen in black oribe but rarely in yellow seto bowls. The expertly thrown body is covered with the typical ash glaze inside and outside which has turned into yellow, due to a slight iron oxide content in the clay; the thick and glossy glaze (guinomi-de) has a beautiful, fine crazing...

This vase is decorated in overglaze enamels over an imperial yellow enamel ground. The base has an apocryphal six-character Kangxi mark in underglaze blue. Two stylized handles glazed in coral enamel decorate the neck. The base and interior are glazed white. The footring is unglazed. It is in good condition. Acquired from the collection of Evangeline Johnson of the Robert Wood Johnson family.

Height: 14 ½ in., Width: 11 in.

Little distorted half cylinder shaped (kutsugata) tea bowl made of light, coarse, unrefined Mino clay.

The expertly thrown body is covered with the typical green copper oxide glaze inside and outside. A 'window' on the side has been left unglazed for decoration in iron oxide engobe under a clear ash glaze in a geometric pattern of squares and triangles and little circles. This is a typical late Momoyama design...

Real old Kihara-Karatsu Chawan from the well known Kiwara kiln in Sasebo. This type of tea bowl is called hanjiki, a transitional folk half porcelain bowl between Karatsu and Shoki-Imari ware.

Very nice cobalt decoration with mysterious charakters, crackle glaze and an antique gold restoration called kintsugi (gintsugi).

The Kihara-Karatsu Chawan comes with a high quality shifuku.

Size: 2,9'' height, 4,6'' width.

This brush pot displays shallow carving with incising utilizing the natural “skin” of the bamboo to depict a scene of tortoise, cranes, and pine as a wish for longevity. The carver's name is incised beneath the pine tree. It is in good condition and has a nice patina. There is some wear to the interior from use. Acquired in London in the mid 1980s.

Height: 5 1/8 in., Diameter: 3 1/8 in.

Absolutely rare flower shaped (Rinka-type) Ko-Karatsu tea bowl. It originates from the famous Yamase kiln in Kishitake, dating back to the Momoyama Period, late 16th century

It has a precious high-end Najishi Gold dust restoration with fragments from the same kiln like the missing pieces. The bowl is unglazed. A real stunning item in museum quality.

A good Japanese wood box and a shifuku are part of my offer.

Size: 6 cm height x 12,8 cm in diameter...

Little distorted half cylinder shaped tea bowl made of light, coarse, unrefined Mino clay. The expertly thrown body is covered with the typical shino glaze inside and outside with a fine dark greyish triangle design. This is a typical late Momoyama design...

This is an absolutely rare black Seto chawan ( setoguro chawan ) from the Edo Period.

Blackish-brown glaze amalgamates with a wild and roughly thrown body and a still vivid and strong Seto Glaze. It is very heavy for a tea bowl, 503g. Please note that there is also an interesting kiln mark.

Setoguro yaki is high-fired ware that originated in the late 16th century. Black glaze is achieved by removing the iron-glazed pots from the kiln when they are red-hot (a technique ca...

Rough unrefined Shigaraki clay, with little iron oxide, thrown into the shape of a small tsubo called 'uzukumaru'. The unglazed body was scorched by the fire to a beautiful red discolouration. The bottom plate shows two stripes called 'geta', which held the pot in place on the hand wheel. Some flying ash has created a natural glaze on the shoulder and the mouth. Inside some lacquer or other chemical has been applied to prevent the vase from leaking - a common practice with unglazed Shigaraki ...