First born son to Living National Treasure Isezaki Jun, Koichiro (b. 1974) has quickly made a name for himself as an independent artist. Not content to rely solely on family reputation, he has set off on his own path, making innovations in clay and also in the ideas and principles surrounding his craft.

With its well-proportioned ridged design, natural ash glaze, and coarse grade of Bizen clay still containing visible stones; the vessel seen here would be a good choice for someone ...

Accents formed using iron pigment stand out across a backdrop of blue-green glaze. The base and a portion of the inside of this ceremonial tea bowl are unglazed displaying rich clay. Created by Shibayama Toshiya, this is an example of contemporary Japanese ceramics at its finest.

A native of Nagoya Shibayama (b. 1959) is exceptionally versatile, working in styles such as Seto, Shino, Karatsu, and Shigaraki among others. A practitioner of tea himself, Shibayama is known for crafting ...

With a base of dazzling red ochre clay, a technique known as “san-giri,” pioneered by the progenitor of this generational potting family and now widely used among Bizen potters, is employed here to bring out stunning mustard yellows, mossy greens, charcoal blacks, along with a range of subtler hues.

The potter, Konishi Tōko II (1927 -2018) was second daughter to Konishi the first. After graduating from women’s college she assisted her father at the family kiln, e...

The poem etched on the side of this exceptional piece reads: "As a pastime ― bringing clumsy, fragile things to sell ― at Uruma Market ― how lonely!"  A very significant poem as it conveys a bit of irony; for the Edo period nun who inscribed this poem would go on to create a legacy of art, beauty, and philosophy that endures even today. The poem also suggests that this is one of her earlier works that would have been produced before she became renowned throughout Japan for her...

This beautiful painting from late Edo portrays Mount Fuji as a sublime centerpiece, overlooking a serene landscape below. A lush pine forest embraces the foot of the sacred mountain, its deep greens contrasting against the pristine snow-capped peak. A tranquil lake reflects the ethereal beauty of the surroundings, mirroring the image of Fuji and the towering pines. The composition captures the harmonious coexistence of nature's grandeur, inviting viewers to immerse themselves in the ...

This piece is described on the box as a Hikidashi Kuro Chawan. In Japanese hikidashi means “a pull-out drawer” and the term first came into use at Mino kilns in the 16th century to describe individual pieces that were pulled out of the wood kiln at the peak of firing to gauge if the batch was ready. The rapid cooling of such pieces often creates dramatic effects, with the most noted being rich varieties of deep black. Today this practice has fallen out of use and and only a handful of master...

In the tranquil pond, a solitary turtle finds repose upon a weathered rock. With its ancient shell glistening under the gentle sunlight, it sits in serene contemplation. The stillness of the water mirrors the turtle's quiet presence, as it basks in the harmony of its surroundings. In this harmonious scene, time seems to slow, and the turtle becomes a symbol of patience and tranquility amidst the ever-changing world.

Deep in the water A serene heart resides Floating above it...

Several years ago we were invited by our very talented kintsugi craftsman to what is known as a “kura-ake” or storehouse opening. Many reading this may be familiar with the traditional storehouses in Japan (kura) with their thick plaster walls used to store valuable items—sometimes for hundreds of years—safe from humid air, insects, and the like. On occession, after the passing of a parent or relative, these storehouses are opened up and the art pieces and valuables inside ar...

The distinctive and easily recognizable style of Bizen pieces, such as the one featured here, originated in Okayama (south-western Japan) and has a long history that is closely intertwined with that of tea culture. Bizen-ware is known for employing a natural-ash glazing technique that is unique to this type of pottery and which requires extremely long firing times (7-14 days) at very high temperatures. This means that constant attention is required to ensure good results. The tea bowl shown here...

A mesmerizing piece of ceramic art, this exquisite tenmoku tea bowl embodies the rich traditions of Japanese craftsmanship that are inspired by over a millennia of Chinese artistry. With its distinctive deep red glaze, reminiscent of brilliant sunsets, red chili peppers, and festival colors; its presence creates an enchanting visual allure. The bowl's form is elegantly simple, with a gently flared rim that invites contemplation. Crafted with precision and care, this piece reflects th...

Born the second son of Ryônyû, the 10th Raku Kichizaemon Tannyû took over the family kiln in 1811 at the age of 16 and served until his retirement and subsequent handing on of the title of Kichizaemon to his son-in-law Keinyû some 34 years later. Retaining many of the unique stylistic innovations of his father including his clay trimming technique, Tannyû went on to establish several new family kilns and to produce wares for both 10th and 11th Tokugawa Lords. The piece seen here is a classi...

Decidedly masculine in character with straight sculpted edges, a rich palette of color, and a calm steadiness in the hand; this tea bowl was crafted by one of Japan’s great masters, a Mashiko potter by the name of Takauchi Shugo.

A native of Tokyo, Takauchi (b. 1937) took the well-established path of working for a company after graduating from university and it was not until a number of years later—upon visiting the town of Mashiko and being inspired by the works of artists such...

Takashi Nakazato is a celebrated Japanese ceramic artist whose family's mastery of pottery now spans 14 generations. Born in Karatsu, Saga Prefecture in 1937, Nakazato inherited a rich legacy of craftsmanship dating back over 400 years. He trained extensively in traditional ceramic techniques under his father, and later pursued further studies at the Kyoto City Arts and Crafts Institute. Nakazato's work is deeply rooted in the aesthetics of Karatsu-ware, known for its earthy tones an...

When the founder of the Urasenke style of tea ceremony, Sen-So Soshitsu (1622 -1697) was invited to Kanazawa as the master of tea ceremony for the powerful Kaga lords in 1666, the first Chōzaemon came with him and established Ōhi-yaki in Kanazawa. Chōzaemon had been the chief apprentice to the Raku family in Kyoto and took with him many of the principles and ideas associated with Raku-ware. Since those auspicious beginnings, Ōhi-ware has held a high place in the world of tea cere...

Unlike many of the pieces in the genre of Kyo-ware, this tea bowl is decidedly demure in appearance. Milky, flowing glaze pools in places along a backdrop of ivory and coral pink sides, contrasting nicely with the rough, unrefined clay of the base. In the center of the kodai is a decorative swirl pattern reminiscent of the yin and yang.

The potter, Kanpu Kawanabe (1873 - 1947) was born into a family of weavers but went on to be trained in many of the arts related to tea ceremony. A...

Japanese Jubako, traditional stacked lacquerware food boxes, represent not only culinary refinement but also an important aspect of Japanese food culture. These elegantly tiered containers, often adorned with intricate designs and vibrant colors, are integral to the presentation of special occasion meals such as New Year’s celebrations and formal picnics. Crafted with meticulous attention to detail, Jubako boxes like the one featured here showcase the artistry of Japanese lacquerwa...

A Zohiko covered rice bowl. Colorful leaf decoration sparsely applied on black ground with almost iridescent effect with gold and silver maki-e and red details. Zohiko mark in gold lacquer inside the bowl's foot rim. 20th century. Bowl diameter 5 1/16 inches (12.86 cm). The bowl has two small losses to the lacquer along the foot and one small loss to the rim. The cover is in good condition. The lacquer otherwise being in good condition with no distress or wear of note. Combine with other pieces ...

A beautiful example of Ohi inspired Raku-ware; the body of this stylish tea vessel is a mix of a dark black gradating to charcoal grey with undertones of reddish maroon. A hasami-no-ato mark can be seen where the tongs were used to remove this piece from the kiln, and the potters mark can be seen near the foot of the bowl. Simple and refined, perfect for collectors and practitioners of tea alike.

Born into a generational line of tea-ware potters from Kanazawa, Fumiaki Kaihatsu (b. 1...

This scroll contains a sutra written as [寿至蓬莱不老僊], pronounced in Japanese as “Jyu-Ita-Hōrai-Furō-Sen.” Originating from Chinese, the characters “蓬莱” refer to the mythical land of “Penglai,” home to the immortals. According to legend the trees that grow here cure all disease; there are rice bowls and flasks of wine that never go empty; and its great castles are built entirely out of gold and silver.

The brushwork is done by a Rinzai sect m...

Seto is a pottery tradition established in the 12th century with the aim of reproducing fine Chinese porcelain and tenmoku-style tea bowls—which were hard to come by in Japan at the time. Later, during the Muromachi period, Seto potters established kilns in Mino thus starting the period known as ko-Seto, or “old Seto.” These pieces were distinctive as they were produced in small batches and with great care. Later in Edo, the large-kiln style of production or “ogama” was introduced ushe...

Being based in Kyoto we occasionally come across fine Chinese and Korean tea-ware to mix in with our Japanese offerings. Here we have an example of a ceremonial tea bowl from the Shinragi kiln in Korea. Pieces like the one seen here are baked in a traditional wood-fired “climbing kiln” at a temperature of over 1,300 degrees for 5 days. Fashioned after classical works held in museum collections, the motifs are timeless and captivating.

In excellent condition, this piece is 5.5 in...

Simple yet classic styling—this tea bowl is perfect for anyone looking for the quintessential Ido-shaped chawan crafted by one of Japan’s premier Hagi potters.

Born in the famed pottery town of Karatsu in 1942, Zenzo Hatano spent a number of years learning the various styles particular to his region before taking up an apprenticeship under well-known Hagi potter Yoshiga Taibi. Winner of a number of awards including the Japan Crafts Exhibition Award in 1977, Hatano�...

This remarkable tea bowl is from the kilns of Yoshida Shuen (1940-1987)—an apprentice of Miwa Kyusetsu (1910-2012) who was awarded the status of Living National Treasure in 1983. It features a warm crackled glazing with a white translucent overcoat that beads in areas.

Hagi-yaki has a tradition stretching back over 400 years and is a high-fired stoneware type of pottery. Hagi-ware is prized for its subdued colors and classical features, especially the glazing, which is often clea...

Japanese Mugiwara pottery emerged in the Mino region of Japan during the Momoyama period in the late 16th century. It is renowned for its distinctive straw-rope patterns etched into or painted on its surfaces that typically contains hues of indigo, mustard, hazel, ochre, and sometimes greens. The creation of Mugiwara pottery involves a process of hand-building or wheel-throwing clay pieces—typically serving dishes, vases, and teaware items—and then meticulously applying a straw-r...

Not to be confused with the Olympic medalist, this Tomita Hiroyuki (b. 1977) is a talented potter pushing the bounds of an otherwise conservative field where many ceramic forms are carried forward for centuries and sometimes millennia. Beginning his artistic endeavors in the field of metal casting, he soon met and became a student to Ijuin Mariko who introduced him to the world of ceramics. In 2007 he opened his own workshop and since that time he has been actively creating and exhib...

A testament to the brilliance of traditional Japanese craftsmanship, this lacquered mizusashi—skillfully handcrafted from bamboo—showcases a deep crimson hue that radiates warmth and sophistication. Its seamless design and flawless finish reflect the skilled hands of the first generation artisan who crafted it, achieving a harmonious balance between form and function. Designed for use in Japanese tea ceremony, this indispensable implement would love to be put back into service o...

A technique most commonly seen in Tenmoku tea bowls, “konoha” is accomplished by applying a coating to an actual leaf and then attaching the leaf to the surface of an artwork before firing. The exact details of this process seem somewhat murky as it appears to be a well-guarded secret among potters. After some research we were unable to identify the potter; and, although there is a signature on the bottom that appears to read “Raishō,” we could find no potter by this name. R...

The pottery style know as “nerikomi” or sometimes “neriage” in Japan is a technique where various colors and consistencies of clay are stacked together and then cut through to reveal a unique pattern. Here we see a beautiful execution of this approach by potter Wakasugi Naomi (b. 1974) who spent many years perfecting the technique. Wakasugi typically uses Shigaraki clay and porcelain clay from Kyoto in her works and says that when she first started out very few people were ma...

The artist who produced this piece, Wataru Motomura, prides himself in living a traditional life in the eastern hills of Kyoto—long known for its rich clay and idyllic pastoral lands. Though the form of this vessel appears innovative and modern, the techniques and materials used to produce it have been around for many hundreds of years. Taking inspiration from the varied pottery traditions of his native Hyogo, Motomura is also known to use clay and methods from the Shigaraki region and many of...

Using local materials and traditional methods, the creator of this work Masahiko Imanishi, has brought a distinctively modern interpretation to the classical form of the tsutsu chawan. At the same time, he somehow manages to maintain the simple rusticity that Tanba-ware is renowned for. Stretching back over 800 years, Tanba is counted as one of Japan’s 6 ancient kiln sites and is known for making large pots with red ferrous clay and natural ash glazes with a distinctive greenish tinge. More re...

Exquisitely painted cherry blossoms (sakura) and willow branches (yanagi) on a background of jet-black traditional lacquer.

The craftsman, Wakashima Takao (b. 1935) was born in the north of Japan in the picturesque town of Wajima. The lacquer technique particular to this region (Wajima-nuri) is rather unique in its use of an undercoating incorporating special compounds that make it exceptionally durable over time. Wakashima perfected this demanding technique and, over the course of...

Pair of Neoclassical-style gilt sterling silver tea urns. Each: Ovoid bowl on raised foot mounted to round base. Cover domed with knopped top terminating in bud finial. Swags and acanthus leaves as well as beading and leaf and dart. Fluted spout with carved leaf twist tap (one in black and one in white). Traditional vessels revved up with scaly and entwined snake handles. One marked “Sterling Silver” and the other marked “Sterling”. Very good condition with rich color.

Dimensions: H ...

American Edwardian Classical sterling silver tea caddy, ca 1910. Ovoid ginger-jar bowl with short neck and bellied cover. Three chased leafing-scroll frames of which 2 vacant and 1 engraved with interlaced script monogram. Shoulder has flower heads on stippled ground. Cover top has central triangle on leaves. Fully marked including stamp for Theodore B. Starr, a New York maker and retailer, and no. 249. Very good condition.

Dimensions: H 4 1/2 x D 2 3/8 in. Weight: 3 troy ounces. #BZ577

George III sterling silver tea caddy. Made by Hester Bateman in London in 1782. Straight oval bowl; cover domed with cast vasiform finial. Engraved garland and swag and ornamental borders. Beading. Beautiful Neoclassicism for a special blend. Fully marked. Very good condition.

Dimensions: H 6 1/4 x W 5 1/4 x D 3 1/2 in. Weight: 12.3 troy ounces. #BZ711

A Zohiko covered soup bowl. Colorful leaf decoration sparsely applied on black ground with almost iridescent effect with gold and silver maki-e and red details. Zohiko mark in silver lacquer inside the bowl's foot rim. 20th century. Bowl diameter 4 9/16 inches (11.59 cm). Condition is relatively quite good with only a small abrasion to the lacquer on foot rim of the bowl. The lacquer otherwise is in good condition with no distress or wear of note. A quirk in the underlying wood (not an issue wit...

German silver tea scoop. Imported to England in 1892 by Thomas Glaser. Leaf-form bowl with veins and wispy, irregular tips. Woody stem with coiled tendril mounts. German maker's marks and English sterling-standard import marks including London assay stamp. Very good condition.

Dimensions: H 1 x L 4 1/8 x W 1 7/8 in. Weight: 1 troy ounce. #BZ286