Catalog (79)

Chawan tea bowl, or perhaps a soup bowl or a mukozuke. Fairly thin stoneware modeled in the shape of a drum with 8 nails (protrusions) along the upper edge that would hold the drum skin in place. Deep green glaze. Eight vertical lines engraved and filled in with gold.

A triangular shape is cut out of the foot by way of a potter’s mark. In the center of the bottom a round Raku seal impressed.

Raku ware, Kyoto, Japan, first half 19th century

H 3.75 x Diam at widest point 4.5 in.

Frittings all along the top edge, darkened to make them less noticeable, frittings on the drum knobs, gold dulled and worn

From a private collection of Japanese ceramic in New Jersey

Large and rustic almost round platter, called ishizara in Japanese, used in kitchens and commoners’ households. Plain light greenish-yellow glaze that typically leaves the foot free. The many pinpoint spots where the glaze did not completely cover the stoneware has allowed dirt to penetrate, giving the surface a lively spotted face. Glaze has dulled over time from constant usage.
Five spurmarks in the center.
Mingei

Seto ware, Japan, Edo period, 1800-1850

H 2.75 x W 14.5 x D 14 in.

Repaired chip on rim, one old chip under rim, several smaller scrapings and damages all commensurate with age and heavy usage. Fissures in the glaze that have no impact on stability, usability or visual appeal.

From a private collection of mingei ceramics in New Jersey

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

Large octagonal bowl made of porcelain, decorated in underglaze cobalt blue. In the center of the bowl a prancing tiger before a roaring stream, looking up towards the sky. Behind him bamboo and rocks. Left of the tiger there is a three-line poem about the tiger and the third moon (May or June).

The sides are decorated with four peonies and leaves draped in arabesques; the rim decorated with a border of key-fret motif. On the outside each flat section of the octagonal decorated with a tachibana in a cartouche. Blue lines on the ribs of the octagonal, sectioning off each flat surface, in the way Kraak chargers were sectioned off.

Hizen, Arita kiln, Japan, 18th / 19th century

H 3 x W 10.5 x Diagonal 11 in.

One underglaze chip (not considered a damage), few scratches in bottom and mushikui on rims commensurate with age and usage, all in all excellent condition

The tiger represents autumn, is one of the four cardinal points in ancient astronomy, rules over the five constellations of the West, and is the personification of the wind.
Tiger in bamboo (take ni tora) in high wind is supposed to mean that even the strongest terrestrial force (tiger) is no match for the elements. However, as the tiger is a symbol of the wind, the image should evoke the sound of the rustling wind in the bamboo.

Tall slender vase, slightly narrowed in the waist, with a square shoulder and short wide neck and mouth.
The finely ribbed body of middle brown coarse clay is covered with two elongated patches of thin, translucent reddish-brown glaze. The lip with splashes of greenish glaze, on the inside gray glaze.

Karatsu ware. Japan, late Edo period, mid-19th century

Height: 12.25 inches (30.5 cm).

Firing crack in bottom, NOT through and through (does not leak), otherwise mint condition

A set of 5 mid-size dishes in the shape of half opened folding fans. On the bottom of each a decoration of two wheels, floating in a river in iron brown underneath thick cream-colored opaque glaze, and the right-side corner covered in thick green glaze typical for Oribe. The inside structured through the impression of a muslin-like cloth.

The back is engraved to indicate the spokes of the fan. Unsigned.

Seto region, Oribe style, Japan, 19th century

H 0.75 x L 6 x W 4 in.

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.

Small kogo, incense box, in the shape of a crab in rest. Grayish brown grainy earthenware, much like Raku, with red glaze and with patches of green and white glaze. The eyes are accentuated with gold, as is a small area on it’s back.

Potter’s mark on the belly.

Japan, late 1700s.

H ca 1.25 x W ca 3 in.

Some of the gold rubbed, split in clay caused by firing at the rim of the lower section, which does not impact the stability of the piece. All in all very good condition

From the collection of Sandra Saltzman, New York

Small, round covered box for keeping incense, kogo in Japanese, in the shape of a coiled snaked. It’s head is in the center of the cover, protruding. Gray, coarse stoneware with small inclusions, the outside turned brown from the heat in the kiln. Eyes are inlaid rings of clay, giving the snake a slightly goofy expression.

Potter’s mark on the bottom of the lower section. Unidentified.

Possibly Tokoname ware.

H ca 1.5 x Diam ca 2.25 in.

Japan, Showa era, 1980s?

Small chip on the outer edge of the lower section; small chip on the outer edge of the cover

From the collection of Sandra Saltzman, New York

Fairly large sake bottle of dark brown stoneware, with an angular hip, rounded shoulder and slightly everting neck. Its shoulder and neck covered in a yellow and greenish natural ash glaze.
Bizen ware. Impressed seal mark in bottom.

Japan, Showa era, ca. 1970s

H 8.1 in.; diam. 5.4 in.

Excellent condition

A sweetmeat dish consisting of 1 central hexagonal dish surrounded by 6 fan-shaped dishes. Each dish has a straight side and is decorated in the center with one of the seven gods of good fortune, shichifukujin in overglaze enamels and gold on cream colored stoneware. The central dish holds the image of the only female member of the shichifukujin: Benzaiten.

The central dish is signed on the back Gyokuzan in a red and gold cartouche. The other six dishes are marked Gyokuzan in red and each have a mark ‘tsu’ at the upper left side of their backs.

Japan, Meiji era, late 19th century.

The ensemble is held together by a Chinese wooden base. This is a marriage, but it happens to fit snugly.

H of each dish ca. 1 x diam. of circle 9.75 in.
Wooden base H 2.3 x diam. 11.5 in.
Fan-shaped dishes ca. 4.74 x 3 in.
Central dish 4.2 x 3.6 in.

Central dish broken and repaired. Out of the break run two hairline cracks. Other dishes fine condition.

Gyokuzan is related to a manufacture of Satsuma ware in Kagoshima (formerly called Satsuma). The founder Chin Jukan XII (1835-1906) used the name Gyokuzan from 1874-1897.
A noteworthy detail is that the manufacture also produced blank (undecorated) wares which would be decorated by decorators, such as Yabu Meizan and Gyokuzan.

Unusual porcelain bowl in the shape of a double gourd with two separate compartments. The large section is for washing brushes; the small section may be used as a brush holder.
The outside of the large bowl is decorated in underglaze blue with pavilions in a landscape with mountains and a river. The edge is faceted and painted with cloud-like shapes. The outside of the smaller extension is decorated with stylized flowers. Ribbed knob on top (19-petaled chrysanthemum).

Hizen ware, Arita style, Japan, 19th century

H 4 x L 10.5 x D 7 in.

Glaze crazing on outside and inside. Inside the crazing is better visible due to usage.
Few short and thin glaze cracks from the edge of the larger vessel running down, otherwise fine condition

Square dish with straight rims, with elegant indentation on each corner. In the center two cranes (or similar birds) walking on rocks underneath a pine tree near the sea. On the inside of the rims a continuous border of heart-shaped flowers, on the outside a border with diamond pattern, broken by one cartouche on each side, containing a house. The top of the rim decorated with a karakusa-border.

White porcelain with underglaze cobalt blue decoration. No mark on back, but 25 tiny spur marks in a grid.

Japan, 19th century.
Ca 1.5 x 8.5 x 8.5 in.

Rims a bit warped, glaze on top of the rim rubbed and dull, one foot repaired, some tiny scratches on the surface of the center, all consistent with usage. All in all good condition.

Cranes are auspicious birds

Kogo, container for storing incense during the tea ceremony, in the shape of the bud of a lotus flower.
The bottom half decorated on the outside with classic lotus sepals, as used to image a Buddhist lotus dais, in relief. The top half also decorated in low relief in a much more stylized manner. The closed lotus bud, crowned by a 16-petal chrysanthemum and topped by a knob, which is probably a stylized rendering of the chrysanthemum heart.

Alternatively the shape could refer to the sprout of a butterbur plant (fukinoto).

Thin earthenware that turns reddish brown in unglazed spots, covered in multiple colored glazes, such as dark brown, reddish brown, gray and soft pink; inside is glazed dark brown.

Kyoto/Kiyomizu ware. Kochi style, with impressed artist’s seal and signature inside the cover: Choraku.

Japan, Showa era, ca. mid-20th century.

H 2.25 x Diam 2.1 in.

Some glaze chafing on the inside rim of the cover.

A similar piece by Kiyomizu Rokubei I (1738-1799) is in the British Museum, inventory no. Franks.1311 (identified as lotus flower). Another piece by Eiraku Zengoro XI, Hozen (1795-1854) is in the Harn Museum of Art at the University of Florida, inventory no. 2012.8.44 (identified as butterbur sprout). Ohi Choraku (1902-1999) studied under Aoki Sotokichi. He received the name of Ohi when Ohi Chishin’s kiln was closed in 1924. Exhibited regularly.

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.

Mizusashi or kensui in the shape of a Chinese boy, or karako, holding Hotei’s large bag over his shoulder, as if dragging it.

Over brownish beige very fine stoneware a layer of mottled brown glaze has been applied, over which a blue-green finely crackled flambé dripping glaze. The inside covered with brown mottled glaze, the outside bottom left unglazed.
Impressed mark in the bottom: Kato Shuntai.
Japan, 19th century.
Height: 3.25 in.; diameter: 6 in. (8.3; 15.2 cm)
Excellent condition.

The jug comes with the original storage box. The inside of its cover is inscribed with authentication of the piece as a mizusashi in the shape of a karako in ao-Oribe, made by Kato Shuntai from Seto. Authentication written and signed by Matsumori An.....

Kato Shuntai (1802-1877) worked in many ceramic styles. The splashes of flambé crackled glaze are very typical for his works (Shuntai-yaki). His works and the works of his ancestors can be found in museums around Japan and the US.

Highly unusual ovoid flower vase with an art deco decoration of four pairs of Native Americans standing face to face in war dress. Above and below decorative bands of repeating plant motives. Inside cream colored glaze.

Light colored stoneware with pastel colored sgrafitto clay inly. Excellent craftsmanship. Kyoto ware.

Signed on the bottom Gyozan

Japan, late Meiji/Taisho era, 1910s-1920s

H ca 9.25 inches

The Gyozan studio and kiln were in Kyoto. The studio produced traditional Kyoto Satsuma ware for the export market. It also engaged in making bold, colorful designs that resemble works by Kenzan studios and others. This vase clearly shows the heavy influence of art deco, which was very much the taste in Japan during the greater Taisho era (1910s-1930s).