$450.00
Inside of the cover signed with black lacquer seal: Tairei; bottom of box impressed seal of the wood worker who made the box: ‘To’ inside a double gourd.
Comes with the original wooden storage box. Outside of cover inscribed: Ko…, tabakohako (Small…, tobacco box). Signed inside of cover: A spring day in Showa 26 (1951), Tairei saku and red seal Tairei. Bottom inscribed, as well.
Japan, Showa era, 1951
H 1.25 x W 3.25 x D 2.75 in.
Excellent condition
From the collection of Ed and Julie Lewis, Chicago
Takai Tairei (1880-1971) was trained in the workshop of the Imperial Artist Ikeda Taishin. He lived in the Aoyama ward of Tokyo. In his young years he made inro and pipe cases in the Zeshin/Taishin style. Later on, he produced boxes and trays with lacquer decorations directly applied on the wooden objects (kiji makie), such as the one presented here. After World War II, Tairei made his living by manufacturing lacquered jewelry: obi pins, brooches and rings, while continuing making kiji makie objects. His brother-in-law was the famous lacquer artist Akatsuka Jitoku, who was married with his elder sister Takai Kei (1877-1946).
$550.00
Inside of the cover signed in gold lacquer: Tairei.
Comes with the original wooden storage box. Outside of cover inscribed: Hozuki, .. tabakohako (Lantern plant, small box in tobacco box). Signed inside of cover: Tairei saku and seal Tairei.
Japan, Showa era, 1950s
H 1.5 x W 3.8 x D 3.4 in.
Cover with crack (through fruit), traditionally restored with dove tails.
From the collection of Ed and Julie Lewis, Chicago
Takai Tairei (1880-1971) was trained in the workshop of the Imperial Artist Ikeda Taishin. He lived in the Aoyama ward of Tokyo. In his young years he made inro and pipe cases in the Zeshin/Taishin style. Later on, he produced boxes and trays with lacquer decorations directly applied on the wooden objects (kiji makie), such as the one presented here. After World War II, Tairei made his living by manufacturing lacquered jewelry: obi pins, brooches and rings, while continuing making kiji makie objects. His brother-in-law was the famous lacquer artist Akatsuka Jitoku, who was married with his elder sister Takai Kei (1877-1946).
$300.00
Inside the surface is covered in plain black lacquer, the cover signed in makie gold lacquer: Tairei.
Japan, Showa era, 1950s
1.25 x 4.3 x 2.7 in.
Few traces of usage on the inside of the box, overall in excellent condition
From the collection of Ed and Julie Lewis, Chicago
Takai Tairei (1880-1971) was trained in the workshop of the Imperial Artist Ikeda Taishin. He lived in the Aoyama ward of Tokyo. In his young years he made inro and pipe cases in the Zeshin/Taishin style. Later on, he produced boxes and trays with lacquer decorations directly applied on the wooden objects (kiji makie), such as the one presented here. After World War II, Tairei made his living by manufacturing lacquered jewelry: obi pins, brooches and rings, while continuing making kiji makie objects. His brother-in-law was the famous lacquer artist Akatsuka Jitoku, who was married with his elder sister Takai Kei (1877-1946).
$450.00
Inside of the cover signed with red lacquer seal: Tairei; bottom of box stamped seal of the wood worker who made the box: ‘To’ inside a double gourd.
Comes with the original wooden storage box. Outside of cover inscribed: Shijimi, kiri kobako (Clam shell, small box in Paulownia wood). Signed inside of cover: Tairei saku and seal Tairei.
Japan, Showa era, 1950s
H 1.25 x 3.3 x 2.75 in.
Excellent condition
From the collection of Ed and Julie Lewis, Chicago
Takai Tairei (1880-1971) was trained in the workshop of the Imperial Artist Ikeda Taishin. He lived in the Aoyama ward of Tokyo. In his young years he made inro and pipe cases in the Zeshin/Taishin style. Later on, he produced boxes and trays with lacquer decorations directly applied on the wooden objects (kiji makie), such as the one presented here. After World War II, Tairei made his living by manufacturing lacquered jewelry: obi pins, brooches and rings, while continuing making kiji makie objects. His brother-in-law was the famous lacquer artist Akatsuka Jitoku, who was married with his elder sister Takai Kei (1877-1946).
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Sculpted wood with dark staining, rubbed in places
Japan, Showa era, mid-20th century
H 7.25 x D 5.4 x W 3.25 in.
Very good condition
$500.00
Ink, mineral colors and gold wash on silk.
Signed Wakō, seal Wakō.
Mid-20th century or a little later.
Mounting: H 67 x W 23.5 in. (inc. scroll ends)
Painting: H 42 x W 16 in.
Very good condition. Scroll ends are plastic, imitating ivory.
Comes with the original wooden storage box. Inscription outside: Kyokojitsu (Rising sun). Inside signed Wako and with red seal Wako.
Wakō is the artist name of Kasai Toshiyuki (b. 1917 in Gifu Prefecture) who was active during the Showa era (1926-1989). He studied painting under Katō Eizō (Nihonga artist, 1906-1972 from Gifu Prefecture). He was chosen for the Nitten 20 times, 9 times for the Nisshunten. He won many awards.
$1,200.00
Signature in the bottom: Masahide.
Japan, first half of to mid-20th century.
H 3.25 x W 8.75 x D 2.1 in.
Short splinter on the base, otherwise very good condition
The monkeys are macaques, which are indigenous to Japan. The Three Wise Monkeys were probably introduced in Japan through Tendai-Buddhism, which came from China in the 8th century. They were popularized by the carving over a door of the Toshogu shrine in Nikko, constructed in the 17th century.
The name Masahide is connected to wood carving. Several carvers by that name have been identified. However, the signature cannot be assigned to anyone in particular.
$250.00
On the section that is underneath the obi, there are hand-painted crossing strips, decorated in bright colors blue, purple, red, orange, green, yellow, silver and gold sprinkle with geometric, auspicious motifs: Waves, shippo, diamonds, kikko hanabishi (hexagons with flowers). Each strip is bordered by a double stitched line of gold thread.
On the inside white silk lining in top half. The bottom half, the inside of the lower part of the lapels and along the inside edges of the sleeves, has been lined the same fabric as the outside.
Japan, Showa era, 1960s-1990s.
H (shoulder seam to bottom) 62 x W (side seam to side seam) 22 in.
This kimono has been worn, but rarely. It was shortened about 3 inches in the area that is covered by the obi. The collar can be shortened (half height) by use of snap fasteners. On the seam that thus forms, the fabric is discolored (red line). Generally in very good condition.
From the collection/ward robe of Reiko Sakagami, former mistress of the Man O' War horse farm in Lexington, KY.
Homongi kimono with family crests are worn at formal occasions.
$275.00
On the inside white silk or rayon lining in top half. The bottom half, the inside of the lower part of the lapels and along the inside edges of the sleeves, has been lined with reddish brown silk with a pattern of manji in jacquard weave, and sprinkled with small yellow dots.
Japan, Showa era, 1960s-1970s
H (shoulder seam to bottom) 63 x W (side seam to side seam) 23 in.
This kimono has been worn. It has been shortened about 2 inches at the level where it is covered by the obi; the collar can be shortened by use of snap fasteners. Generally in very good condition.
From the collection/ward robe of Reiko Sakagami, former mistress of the Man O' War horse farm in Lexington, KY.
This type of kimono would be worn at an informal occasion or outing.
$95.00
The back of the obi is plain cream-colored silk, as is about 1.5 meters on the front, which would be invisible when wrapped around the body. The last 16.5 inches of the obi seamlessly fit onto the rest of the design.
Japan, Showa era, ca. 1960s-1990s.
L 164 x W 12 in. (ca. 415.5 x 30.5 cm)
The obi has been worn and shows stains on the plain inside silk
From the collection/ward robe of Reiko Sakagami-Baum, former owner of the Man O' War horse farm in Lexington, KY.
Fukuro obi are made from one strip of decorated fabric, and are lined with a solid-colored strip. Si it is sewn in two parts. It is worn at formal occasions.
$120.00
Woven-in manufacture mark turned inside and obscured by the seam.
Japan, Showa era, ca. 1960s-1990s
L 169 x W 11.75 in. (ca. 429.5 x 29.5 cm)
The obi has been worn and shows wear on the gold thread background and broken gold and silk threads in the embroidery/brocade.
From the collection/ward robe of Reiko Sakagami-Baum, former owner of the Man O' War horse farm in Lexington, KY.
Fukuro obi are made from one strip of decorated fabric and are lined with a solid colored strip. It is sewn in two parts. It is worn at formal occasions.
$1,500.00
No potter’s mark, but the bowl has strong resemblances to works by Kawai Kanjiro (1890-1966). The foot, the underglaze slip-trail decoration, the clay and the glazes are all pointing to the master. No storage box.
Japan, first half 20th century
H 3.6 x Diam. 4.25 in.
Mint condition
$1,000.00
Cryptomeria (sugi) wood, red and white cotton, paper
Japan, 20th century
H 24.5 inches (62.2 cm)
Excellent condition
$1,200.00
Cast and patinated bronze.
Japan, Meiji/Taisho era, early 20th century
H 7.25 x W 14 x D 7.5 in.
Small casting flaw in cover, repaired (strictly speaking a casting flaw is not a damage), two larger casting flaws in bottom (not restored), a few scuffs, all in all very good condition.
$600.00
H ca 7 in., W at foot 4 ¼ in.
Mint condition. The piece does not come with a box.
Nakazato Muan (1895-1985) inherited the artist name Taroemon XII, in 1927, following his father who was Taroemon XI. In 1928 he reconstructed the Ochawan kiln that had been used since feudal times. He studied old Karatsu ware, which had died a long time ago, in an attempt to revive it.
1955: Acknowledges as an Intangible Cultural Asset for Karatsu ware
1967: Received the Medal with Purple Ribbon
1969: Received the Fourth Class Order of the Sacred Treasure
1970: Received the Western Japan Culture Award
1976: Acknowledged as an Important Intangible Cultural Property (Living National Treasure) for Karatsu ware
In 1959 Taroemon XII retired and entered priesthood in Daitokuji in Kyoto, carrying the name Muan henceforth. His son took over the business under the name Taroemon XIII. Muan dedicated himself from there on to creating his original pottery.
$3,500.00
Brown patinated bronze with roughened surface.
Each fox signed on the bottom ‘Kozan’ in archaic script.
Japan, mid 20th century.
Height 10 and 10.1 inches (25.2 and 25.8 cm).
Comes with the original tomobako storage box; the cover inscribed on the outside ‘tsuki miru kitsune’ (foxes looking at the moon) and stamped ‘seido sei’ (made of bronze); the cover signed on the inside ‘Kozan saku’, and sealed ‘Kozan’.
A few tiny dents at the bottom edge of one of the foxes, otherwise excellent condition.
The signature Kozan belongs to the artist Sakai Kozan, who was active in Takaoka during the Showa period, from the mid to late 20th century. The Sakai bronze manufacture is still active today.
$450.00
On the outside in a white rectangular reserve with black outlines the signature Kenzan. Japan, 1950s.
In the style of Ogata Kenzan or Ogata Kenzan studio.
H 4; w 12 inches.
Tiny chip on inner rim, otherwise excellent condition.
$200.00
On the back in light gray velvet against purple is a round family crest.
Green and brown braided tassels in the corners.
Japan, first half 20th century
H 22 x W 19.25 in.
Some of the velvet slightly worn, minimal traces of usage, folds from storage, all in all excellent condition. One tassel missing.
The turtle stands for longevity, bamboo for longevity and resilience. Auspicious image, excellent for gift giving. The fukusa would be put over a box or a tray holding a gift. The fukusa was just as important as the gift itself.