Dating from the 17th century, Kutani-ware is a type of fine porcelain that takes its name from the region from which it originates—the name literally means “nine valleys.” In sharp contrast to many other styles of Japanese ceramics which tend towards more modest color palettes, Kutani-ware are known for their vibrant red enameles, gold trimming, and complementary greens, yellows, and blues. This set of tokkuri is painted with a common hanging-lantern ornamental pattern known as youraku. Th...

Paul Jacoulet
Le Phare de Mikimoto, Shimoda Izu (Mikimoto Lighthouse, Shimoda Izu)
Date: February 1954.
Fewer than 80 impressions made. This example is stamped "PRESENT" on the verso.
Size: 17.75 x 13 inches.
Signed and sealed with peony seal. Carver: Maeda. Printer: Onodera
Reference: No. 134 in The Prints of Paul Jacoulet by Richard Miles
Medium: Japanese woodblock print.
Condition: Toning on verso. Please see additional photos showing partially trimmed...

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...

An excellent offering from Higaki Ryota of Katsura Kiln, this piece displays a classic and iconic shape coupled with a beautiful Kase-guro glaze said to be used over 400 years ago by Chojiro. The color of this tea bowl changes quite dramatically, taking on the characteristics of its environment; light and cheerful in direct and bright lighting, more austere, deep, and reflective in standard tea room lighting. Perfect for those venturing into the world of Raku tea-ware or for those lo...

A beautiful and very old Hagi tea bowl; showing signs of long use and appreciation. The gold repairs add to the overall composition and highlight the important role this piece played in someone’s tea practice. Though still functional to be used as a ceremonial implement, this would fit much better as a treasured display object.

In excellent condition this tea bowl is 5.1 inches in diameter at its widest point (13cm), and stands 3.1 inches tall (8cm). It comes with a pe...

Antique Kurdish chanteh bag (camel bag). Made of wool and woven in two connected panels. The front panel (facing out on the camel) is woven with star protection motifs and surrounded with a running hooked motif along the border. The back of the bag is woven in a stripe pattern. Circa 1900. Size: 40" high x 29" wide

During the Kamakura period in Japan (1185-1333), a remarkable form of Buddhist sculpture known as the votive Buddha emerged. Commonly referred to as kakebotoke (hanging Buddhas), pieces like this would have been mounted on spherical plaques made of bronze or copper and hung in a Buddhist temple or possibly even in a Shinto shrine. These small-scale sculptures were created to serve as objects of devotion and were often commissioned by wealthy individuals or temples. The Kurakama perio...

The style of this vase, known in Japanese as karakane (“kara” meaning Chinese and “kane” meaning copper), has been carried on by Japanese craftsmen since its theorized introduction during China’s Tang Dynasty. Falling in and out of fashion over the centuries as Japan alternated between preferences for Chinese style tea-ware and more homegrown versions, today it remains a common fixture in many tea rooms. With beautiful red accents on a dark background, this is surely one of this artist...

Crafted from locally sourced Bizen clay, this mid-Edo period vase embodies simplicity, beauty, and understated elegance. Originally crafted as a tokkuri, or sake flask, it was recovered from the estate of a tea-practitioner who reportedly cherished it as a vase that would hold colorful flowers and various grasses throughout the seasons.

Thanks to the dedication and passion of a researcher by the name of Katsura Matasaburo (1901-1986) we can be assured that this vase is a...

Crafted from locally sourced Bizen clay, this mid-Edo period vase embodies simplicity, beauty, and understated elegance. Its unassuming form showcases the natural beauty of the clay, enhanced by a delicate ash glaze. The texture and shape evoke a sense of rustic charm, reflecting the profound harmony between human creativity and the organic world. Now several centuries old, this piece continues to serves not only as a functional display piece, but also as a symbol of the enduring leg...

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...

Kohiki is a traditional Japanese pottery style known for its simple and rustic aesthetic. It involves applying a white slip onto the vessel's surface, followed by a transparent glaze, creating a contrast between the white and exposed clay areas. Kohiki ware is commonly used in tea ceremonies but it can also be found in various other forms. Its humble and understated style, with organic textures and subdued colors, continues to be appreciated by collectors worldwide. Here we see a koh...

Stylish Victorian sterling silver tray. Made by Tiffany & Co. in New York. Round and plain well. Wide rim with low-relief border in form of imbricated leaves or chevrons. A popular motif that is sometimes known as Wave Edge. Fully marked including maker’s stamp, pattern no. 5766, and director’s letter C (1902-07). Very good condition.

Dimensions: 1/2 x D 11 in. Weight: 20.8 troy ounces. #BY472

Painted lacquerware in Asia is thought to have more than 3,000 years of history; originating in China and then later spreading to South East Asia, Korea, and Japan. One reason this craft has taken centuries to perfect is that the sap of the tree used is highly toxic and irritating to the skin and to the lungs. Even minor contact with the raw materials can cause serious issues, making collecting and refining it quite labor intensive. Additionally, once collected it takes on average 3-5 years for ...

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 ...

Sometime around the year 1600 the first Takatori kiln was constructed at the foot of Mt Takatori in Fukuoka. This tradition was based on styles created by Korean potters brought to the shores of Japan during its colonial expansionism of the late 16th century. A favorite of the Kuroda lords of the time, its production and use was closely guarded until later in the 19th century when the domain system was abolished, freeing it up to be more widely used. Though Takatori-ware has been admired by many...

This lovely Shino tea bowl fashioned from coarse Mino clay is covered in feldspar glazing, has a classic ferrous abstract painting across the front, and shows nice age—most likely from early to middle Edo.

Shino-ware dates to the Momoyama period when potters were attempting to recreate white porcelain-wares that were being imported from China at the time. Originally they were made in a single-chamber anagama style kilns set into the hillsides. Later, with the advent of large-batc...

Stemming from the philosophy of wabi-sabi—often described as the beauty found in the imperfection and transience of the world—cracks and repairs in a work of pottery are often seen as highlighting the history and importance of a ceramic object. Practitioners of tea in particular are fond of reminding us that works repaired with lacquer and gold such as the one featured here become more resilient and beautiful for having been damaged. In this case, the gold repairs undoubtedly enhance the bea...