Catalog (79)

Very rare. Simple wooden zushi with a figure of Fudo Myoo sitting on a high rock before a flaming halo. In his right hand he holds a sword, in his left a rope.
On lower levels of the rock formation sits Seitaka doji, holding his scarf in his left hand and a (now missing) club in his right, and stands Kongara doji, holding a lotus flower in his hands.

Light brown CLAY, hand modeled (not molded!), fired at low temperature, painted dark brown. Back of halo engraved with name of temple and donors? The rope in Fudo’s hand is twisted metal wire, the sword is made of clay and wood.
Country style, folk art. Probably late 19th century.

Height figure group 8 in. (20.8 cm), height box 11.25 in. (29 cm).
Paint is flaking here and there, pieces of the halo broken off and put back (best seen in photo of the back, where they show up as purple), some larger chips at bottom of base repaired. All in all good and stable condition.

Flower vase with angular shoulder and angular hip, slightly curving in on the sides and standing on a bamboo node foot. Heavy but fine gray stoneware that turned reddish brown upon firing, covered with a celadon green glaze with curved striations made by tracing with his finger. The places where the glaze is scraped back to the stoneware, the clay turned red-brown during firing. Neck covered in cream-colored glaze, inside brown speckled glaze, all typical for Mashiko.

Mingei

Mashiko ware, Japan, late Showa or Heisei era

Vase unsigned

H 8 x diam ca. 4.25 in.

Mint condition

Comes with the original tomobako storage box. Cover inscribed on inside: Flower vase with design of finger-drawing in 2 colors and signed Kazuo with red seal Aki (in mirror image). Cover somewhat damaged.

Akiyama Kazuo (b. 1933) is an artist who started as a painter and changed to ceramic arts in 1960. Worked in the Mashiko tradition and has/had his own kiln.

1) Stoneware incense box or kogo in the shape of an onna daruma (female daruma). She sits in the typical way, all rolled up in her garment, indicating that arms and legs may have fallen off. Her face shows striking similarity to Okame. Cream colored and reddish brown glaze over whitish soft clay, the face left partially free, fine crackle in the glaze. Japan, Meiji period.
2) Stoneware incense box or kogo in the shape of Daruma, wrapped in his reddish garment, his face peeing out of the garment, looking up. Cream colored and red glaze with some black accents over a whitish soft clay, the face left partially free, strong, but very fine crackle in the glaze. Raku stamp on the inside. Japan, Meiji period.
Height: ca. 1 ½ inches each.
Condition:
1) Outer edge of lower part with tiny frittings and chips, two tiny glaze chips along the lines of the crackle (hardly visible). Generally very good condition. 2) On the back tiny pieces of glaze missing between the crackle lines, otherwise excellent condition.

Tall, ovoid shaped vase with broad rounded shoulder and a very short neck, decorated with an abundance of frolicking karashishi (Chinese lions) between blue and pink peonies. Three large shishi in green, white and yellow command the overall space. The in-between space is filled with small shishi in different colors and peonies. Shishi and peony together symbolize princely power.

The vase is heavy Imari porcelain, decorated on shoulder/neck and above the foot with flower motifs and treasures (shippo) in underglaze cobalt blue, overglaze iron red and gold. The shishi decoration on the body of the vase is completely done in strong colored overglaze enamels.

Possibly an older Imari vase was painted over in the Meiji period with this bold design. Re-enameling does not require high kiln temperatures, so it is easily accomplished. However, even at low temperatures, the Imari gilding would have burnt. Most likely, the bold shishi design was done at the same time as the iron red and gold decoration that is so typical for Imari.

H 12.25 in.

Few green paint stains, gold somewhat rubbed, few irregularities in the red enamel, which are not considered damages. Overall excellent condition.

Tall and slender, almost cylindrical chaire. Brown fine stoneware with spiraling engraving on top, covered with olive green translucent glaze with fine crackle, and with a white and blue triangular patch dripping down. Seto region, Japan, 18th century.
Comes with wooden storage box.

H 6-1/8 inches

Fine condition

Provenance: Private collection of chaire (collection no. 17); purchased at Sotheby’s New York Important Japanese Works of Art, Sale 4599Y, May 6, 1981, Lot #314; collection c.m.s.p (oval handwritten label with no. 150)

Small jar. Slender body with short, cylindrical neck and wide mouth. On the shoulder four lugs. Upper two third of the body covered in a dull brown speckled glaze. Thailand, Sukhothai, 14-16th century.
Height 11½ inches.
One small chip underneath rim, missing areas (mouth and shoulder) in glaze, generally in very good condition.

Large stoneware jar with multi-color dripping glaze over a creamy white crackled glaze. The green is the traditional green of earlier Shigaraki ware, the blue as well, but a variety of brown, red, pink and black have been added to the palette. Inside and bottom covered in brown glaze with yellow spots. Japan, early Showa, 1920-1930s.
Height 17 inches (43.2 cm), diameter at shoulder ca. 17 inches (43.2 cm).
Mint condition.

Mid-size stoneware jar for storing tea leaves or other.
Brown stoneware with white inclusions and a green splash of natural ash glaze. Slightly widening from bottom to shoulder, with a short more or less straight neck with everting lip.

Japan, Momoyama – Edo period, 16/17th century.

Height 12 ½ inches.

Excellent condition.

Storage jar with tapering body, broad shoulder and slightly everted lip. Used for storing tea leaves.
Stoneware with some inclusions, pitted surface and natural ash glaze patches.

Iga ware, Mie Prefecture, Japan, Edo period, 17th or possibly a little later (early 18th century).

Comes with wooden storage box of a later date.

H 10-1/2 inches

Excellent condition

From the Collection of Osborne and Victor Hauge and their wives

Wall vase of irregular cylindrical shape. Middle brown stoneware with irregular natural ash glaze dripping decoration. Metal eye at the back for hanging. Marked with 3 dots at bottom, which is the mark of the Karatsu potter Nakazato Toraemon XII Muan. Japan, around 1960s/1970s.

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.

Tall and slender jug in the shape of a storage jar for pickles or in the shape of an actual octopus pot (trap).
Grayish brown stoneware built up from coils of clay; the inside covered with green glaze, the outside left unglazed. On the outside sits a dark brown, three-dimensional octopus, the way an octopus would sit on an octopus trap under water, on its way to inspect the inside of the jug.

Black ink inscription, almost washed away completely.

Unsigned. Seto ware, probably Meiji era (ca. 1900).

H 10.25 x W at widest point ca. 6 in.

Small and old chip at edge of foot, few minor frittings along the bottom edge. All in all in very good condition

Sturdy storage jar for tea leaves or other goods with horizontally ribbed surface, sloping shoulder with very short neck. Coarse but dense clay with small inclusions. Outside middle brown with cream-colored and yellow natural ash glaze. Mingei.
Japan, 18th/19th century.

Height 7.5 inches, width 6 inches at the neck. Ash glaze partially rubbed off at upper edge and at the body commensurate with holding and using, otherwise very good condition.

Midsize storage jar, tsubo. Greyish brown stoneware, with the typical white stone inclusions, partially bursting out through the surface. The ashes in the wood burning kiln settled during the firing onto the surface of the pot and melted, creating the beautiful brownish yellow ash glaze. This is a natural process that cannot be controlled by the potter beyond the decision of placement within the kiln.

Japan, Edo period, 19th century or a bit earlier

H 11.25 inches

Very good condition

Daruma standing tall, wrapped tightly in his garment, the tips of his feet just peeping out. This pose is associated with the episode in which Daruma travels to China, crossing the river Yangzi, while standing on a reed.
The figure was molded in a cast in two halves and joined before firing. A hole in the back functions as a vent and prevents the statue from exploding while fired in the kiln.
Stoneware with gomma. Details are beautifully worked out, showing best in the expression on his face.
Two small characters impressed in the back, forming the name Bizen.

H 7.75 inches

Japan, Bizen/Inbe, early 20th century

Excellent condition

Gomma (sesame seed) is created by the ash of the pinewood with which the kiln is fired. It lands on the object and melts due to the high temperature. Gomma cannot be steered, it occurs spontaneously. It occurs more profusely near where the fire is. The ashes blow into the kiln flowing on the flames. The further away from the fire, the less ashes remain flowing through the air.

Small, sturdy platter, called ishizara, used as kitchen ware. Gray stoneware decorated with underglaze iron black and cobalt blue tama (sacred jewels) and characters, covered by a creamy, yellowish translucent and finely crackled glaze. Five spurmarks. Mingei.

Seto region, Japan, Edo period, 1800-1850

H 2 x Diam 10.5 in.

Several knicks and chips esp. on the rim edges and a short, old crack commensurate with age and heavy usage. All in all very good condition

From a private collection of mingei ceramics in NJ

Serving plate. Over a grayish brown stoneware a geometrical design in blue, brown and green glazes, partly with fine crackle. Unsigned, but clay, color and design remind one of Mashiko ware. Diameter 10 ¼ inches, height 2 inches. Japan, 2nd half 20th century. Slight traces of usage (tiny scratches and water stains), otherwise very good condition.

Large, relatively tall chawan, as used in the tea ceremony. Light brown coarse stoneware covered with a celadon colored translucent glaze with brown speckles and with a purple and blue-green splash on the front. Unsigned. Japan, Aizu, Fukushima prefecture, Japan, Showa era, circa 1973.
Comes with the original fitted wooden tomobako, inscribed on the outside … chawan; on the inside signed ‘made by Ryoichi, 7th generation of the Munakata kiln’ and with the seal Munakata-gama (Munakata kiln).

H 3-1/8 x Dia 4-1/2 inches

Perfect condition.

Munakata Ryoichi (b. 1933). For more information on the artist (in Japanese), see www.munakatagama.net

Chaire with high, flat shoulder. Whitish gray stoneware with dark brown, partially transparent glaze with ochre colored splashes on shoulder, dripping down the body in thin clouds. Perhaps Seto region. Japan, 18th century.

H 3¾ inches

Some scraping of glaze on lip and body, consistent with age, all in all fine condition

Private collection of chaire (collection no. 54); bought from ‘private dealer’ (according to label inside piece); collection number in black lacquer written on bottom: 0-Ja-2-TOK-31-G