Japanese Meiji Art Nouveau silver tea tray, ca 1890. Retailed by Arthur & Bond in Yokohama. Lobed oval. Well stippled and engraved with shaded interlaced monogram. Upturned c-scroll end handles. Blossoming prunus branches, iris flowers, and bamboo applied to handles and tapering shoulder. Exotic ornament and Western form. Marked “Arthur & Bond / Sterling / Yokohama”. Very good condition. One handle back has dent (not visible from front).

Overall dimensions: H 2 7/8 x W 28 1/2 x D 18 1/2 in...

Splashed across a beautifully textured backdrop of shimmering black, the willow leaves painted in silver bring with them a sense of calm and contemplation. Generously proportioned though not too heavy in the hand, the wide base ensures stability while the upward curvature of the sides breaks with convention and offers a unique and decidedly modern flair.

Born in Kyoto as the 4th son of a famous lacquer artist named Shogo, Banura Shiro (1941-2001) followed suit and went i...

Master of a very difficult technique from the Chinese Tang Dynasty (618 - 907) known in Japanese as Neriage, the potter who created this elegant vase uses extreme precision to combine sheets of differing types of clay, culminating in a unique visual effect. While many of his pieces are ringed with swirls of colors, this one is more modern and subdued. With quite a lot of character, this lovely vase will draw attention without being overpowering.

Born in Nagano, Kosei Matsui (1927-20...

If you are familiar with the work of Hiramatsu Ryoma you know that he creates very unconventional ceramics inspired by forms found in nature. Here we have a set of sake cups he describes as “Ou-tekko” (pyrite) and “Ammonite” (same in English - a kind of sea fossil). Part of a series he has been developing, the ancient Ammonite fossil has been the inspiration behind his latest creations. Pyrite, meanwhile refers to the metallic patterning on the outer surface of the clay body. Truly uniqu...

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...

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...

A truly unique work of Shino pottery developed among the company of some of Japan’s most respected and influential potters of the last century. Defying conventions of form and genre, this exceptional mizusashi looks like it could have emerged from the ground fully formed, the result of geological processes lasting millennia. The creator of this fine work is none other than Tsuboshima Dohei, a true master of the ceramic arts.

Born in 1929, at the age of 17 Tsuboshima took an appre...

If you are familiar with the work of Hiramatsu Ryoma you know that he creates very unconventional ceramics inspired by forms found in nature. Here we have a sake set he describes as “Ou-tekko” (pyrite) and “Ammonite” (same in English - a kind of sea fossil). Part of a series he has been developing, the ancient Ammonite fossil has been the inspiration behind his latest creations. Pyrite, meanwhile refers to the metallic patterning on the outer surface of the clay body. Truly unique pieces...

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...

In excellent condition, this bird-shaped, or “torigata” vase is a beautiful example of Iga pottery from last century. A master of form, material, and technique, the potter Furutani Michio (1946-2000) wrote several books later translated to English on the construction and use of the “anagama”—an earth-dug, wood-fired, small-batch kiln traditionally used in Japan—celebrated for the extraordinary results that often emerge from its fires. Winner of a number of awards during his lifetime ...

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...

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...

An often overlooked implement in tea ceremony, here we have the humble kogo (incense box) with an image of a sleek and flowing dragon. Commonly thought to represent strength, freedom, good luck, and magic, dragons are a popular theme in the artwork across Eastern cultures. Interesting to note, the dragon here is portrayed in the Korean style with four claws, with dragons in China typically having five claws and dragons in Japan typically having three. Fashioned by one of the few great female Jap...

Occasionally while browsing through the temple markets of Kyoto or perusing backstreets tea-ware shops, an attractive piece will catch my eye for no particular reason. When this happens, I typically buy it immediately without hesitation, trusting that I will be able to place it to a specific period or kiln given enough time and research. In some cases however, this proves to be a fruitless task and I am left only to appreciate the beauty and form of the object without having access to too many d...

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...

With a masterfully applied black Raku glaze and a noticeable aesthetic of austerity and stillness, this piece is what is refereed to in Japanese as an “utsushi” or what we might call in English a “tribute piece.” Such pieces are typically made by all Raku potters, regardless of the kiln and tradition, and seek to emulate famous works from the early masters over 400 years ago—in this case, a tea bowl created by the brother of the second Kichizaemon, Tanaka Somi, born sometim...

This elegant work of Karatsu pottery has an unglazed foot, showing the rich ferrous clay from which it is constructed, and displays splashes of ferrous pigment on a backdrop of ashen glaze with a milky white overglaze. The triangular shape and large proportions make for a very distinctive work of e-Karatsu or “painted” Karatsu.

Like many pottery traditions in Japan, Karatsu takes its name from the city where it originated. As early as the 15th century, Korean potters...

An example of some of the finest porcelain modern Japan has to offer. According to Wakao Kei, the artist who crafted this piece, it took him years of trial and error to perfect these stunning translucent glazes and associated techniques such as getting the right flowing consistency and pooling effect around the base. The unglazed portions at the foot of the bowl seen here in pictures was created by the artist's fingers as he plunged the vessel into the glaze while holding firmly to the porcelain...