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...

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...

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 key figure in the Japanese folk craft movement of the 20th century, Fujita Kyohei is credited with helping to develop a thriving glass-working community within Japan. Best known for his “dream” or “Liuli” boxes—very colorful and skillfully crafted boxes that often incorporated gold and silver leaf into their designs. Here we see a piece that would likely have been crafted earlier in his career but that demonstrates his masterful technique even then. In 1972 Fujita, along ...

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...

Currently in its 5th generation, the Miura Chikusen line of potters has continued to produce high-quality Kiyomizu-yaki and Kyo-yaki porcelains used in sencha for well over 150 years. The piece seen here is by the third generation potter and has the rare distinction of being endorsed by Sokuchusai, a former Head Tea Master of Omotesenke in Kyoto. Simple and elegant, a section of bamboo stands out in contrast to the white crackled porcelain glaze. If you are looking for a representative work by o...

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...

Yuzo Kondo is one of the more recognized names in the world of modern Japanese pottery of the 20th century. Though known mainly for his sometsuke creations (blue and white porcelain), he did not settle on this style until well into his potting career that lasted over seven decades. The piece shown here then would be from an earlier period and is evidence of his competency with varied styles and glazes—not just the one he is most well-known for. As any experienced potter will tell you, tenmoku ...

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...

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...

Enryakuji Temple, Hiyeizan (Hieizan), Kyoto.
Artist not identified.
Dated August 21st, 1937.
Size: 7.5 x 5375 inches (19 x 13.6 cm).
Medium: Japanese woodblock print as the cover of a dinner menu of the Nippon Yusen Line passenger ship, Chichibu Maru.
Publisher: Likely Nippon Mokuhan Co. Tokio (Japan Woodblock Co. Tokyo), who produced another of our ship menu woodblock prints.
Medium: Japanese woodblock print made from a carved wood block. Mechanization was added to...

Swedish Neoclassical 830 silver serving bowl, 1932. Ovoid bowl with high-looping end handles and raised foot. Engraved leaf-and-dart mouth rim. Pierced colonnade foot rim. Fully marked including maker’s stamp (G. Graumann) and date code. Very good condition.

Overall dimensions: H 3 3/4 x L 11 x W 4 3/4 in. Weight: 8.7 troy ounces. #BZ125

Shoda Koho
Ueno Park
From the Hasegawa Night Scenes series.
Size: Chuban. Approximately 10.25 x 7.75 inches.
Date: 1910-38. A rare, early edition on card-like paper.
Publisher: Hasegawa. #1248 in Hasegawa catalog.
"Made in Japan" stamp and #427 tag on verso.
Not sealed by the artist.
Medium: Japanese woodblock print.
Condition: Excellent.

Hans Frank, Austrian (1884-1948)
Venice II, 1925 (Venedig II, 1925)
Date: 1925.
Paper size: 17.5 X 13.25 inches (44.5 x 33.9 cm).
Window size: 16 x 12 inches (40.5 x 30.5 cm).
Signed and dated at lower right.
Medium: Color woodcut on laid Japanese paper.
Condition: Small crease at upper right corner. The odd small mark in image.
Attached with archival tape to top of a 24 x 20-inch matte).

Hiroshige Ando
Fuchu, Nichomachi (Titled in image)
Size: Approximately 8.625 x 3.625 inches.
Date: Late 19th/Early 20th century.
Publisher: Kobayashi Bunshichi (black seal).
Medium: Japanese woodblock print.
Condition: Light toning

Beautiful Art Nouveau Classical glass perfume with silver overlay, ca 1900. Globular bottle with short neck and ball stopper. Classical flowering and leafing rinceaux overlay with round frame (vacant). Glass is red. Silver has maker’s stamp (Gorham) and no. D941. Very good condition.

Dimensions: H 5 3/8 x D 3 1/4 in. #BZ501

Hiroshige Ando
Fuchu, Nichomachi (Titled in image)
Size: Approximately 8.5 x 3.5 inches.
Date: ca 1910.
Publisher: Matsumoto Print Works. No. 40 publisher's tag on back.
Medium: Japanese woodblock print.
Condition: Bend lower right corner. Chip upper left corner.

Ohara Koson
Bullfinch on the branch of a blossoming plum tree
Date: Saturday, April 27th, 1940.
Size: 7.5 x 5.375 inches (19 x 13.6 centimeters).
Note: Cover of a dinner menu for the passenger liner Nitta Maru of the Trans-Pacific Line.
Publisher: Likely Nippon Mokuhan Co. Tokio (Japan Woodblock Co. Tokyo), who produced another of our ship menu woodblock prints.
Medium: Japanese woodblock print made from a carved wood block. Mechanization was added to the printing...