Catalog: Vintage Arts: Regional Art: Asian (67)

A folding album titled "Qi Baishi huaji" (Collected paintings of Qi Baishi) with 22 color prints. Rongbaozhai, Beijing 1952, 5th month, no. 507. In brocade covers.
Each print on the left hand page, measuring 31.5 x 22 cm (ca. 12 x 9 inches).

Fine impressions and colors, label on cover with gold speckles, some bleeding of the red pigment, water stains on the last 7 double pages, covers with some traces of usage (rubbing of brocade, upper corners dented, which has an effect on the pages).

Published during Qi Baishi's life time

Images show only a selection of the 22 prints

From a European private collection

Antique hanging scroll. A dragon dressed in kimono and apron stands on hind legs, and holds up high a jewel, as if offering to an invisible celestial divine creature. Above them is a swirl.

Signed: Shoto …utsutsu. Seal: Moroku sensei.

Black ink and mineral color on paper.

Japan, Taisho era, 1910s, perhaps 1920s.

Painted area: ca. 52 x 13.5 in. (132 x 34.5 cm).
Total length ca. 77 inches (195 cm).

Few light stains and tiny spots, some foxing in mounting, otherwise very good condition.

Kurata Shoto (1865-1928) was a painter from Akita. He worked in the nanga style. His paintings were often Buddhist in subject matter, but he also painted historical and mythological figures. His sense of humor is often visible in his work.

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.

Clog-shaped chawan, tea bowl to be used in the tea ceremony. Over a whitish fine clay a silky black glaze and crackled white slip over which a decoration of interlocked diamonds and rings in iron brown.

Seal impressed in bottom/underside: Juzan. Refers to the Oribe potter Mizuno Juzan.

Mino ware, Oribe style, Japan. Showa era, 1950s

H 3 x W 4.25 in.

Perfect condition

There are at least two generations of Mizuno potters going by the name Juzan. The seal most likely belongs to the second generation Juzan, who lived lived 1908-1978.

Small rectangular box and cover. The core of the box made of wood covered in brown textured lacquer on the outside and red lacquer on the inside. The top of the kiri-wood cover is decorated on the outside with the fruit of a hozuki (Chinese lantern plant) in kiji makie technique (applying makie lacquer decoration to natural wood). The fruit is bright red takamakie, while the husk of the fruit is done in gradating red and gold takamakie. The cover shows a thin crack that has been beautifully restored with three small dove-tails.

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).

Hanging scroll painting. Title: Kyokojitsu (Rising sun). A bright red sun rising above the clouds with a golden glow. Nihonga.
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.

Fun portrait of Daruma with googly eyes, in quick brush strokes. Above him an inscription that mentions the Buddha, the Bulguksa temple on Mount Toham in Gyeongju, South Korea, the name Seog’un, followed by the seals Lim-Chung…. And Seog’un. Other red seals in the lower left corner and to the right of the character ‘Bul’ (Buddha).

Black ink and some gray on paper. Mounted in brocade and framed in wooden Asian frame. Originally this was a hanging scroll but the mounting was cut and used as a decorative border inside the frame.

Korea, first half 20th century.

Frame: H 24.75 x W 18 in.
Painting: H 17 x W 12.75 in.

Paper yellowed and thin on the lines of the paper grid

Small rectangular box and cover. The box is made of wood covered in a thin layer of clear lacquer on outside and inside. The top of the cover is decorated on the outside with the two circles (mon). One is filled with a gohei (ceremonial wand with paper streamers), the other with an open and closed umbrella in kiji makie technique (applying makie lacquer decoration to natural wood). The flat makie work is executed in gold, silver and colored lacquers and gold sprinkle.

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).

Large peach-shaped bowl decorated on in- and outside with a bold Rinpa design of flowering red, white and blue camellias and leaves. Over a cream-colored coarse stoneware a thin layer of cream-colored slip has been applied, on top of which overglaze blue, black, green, red, white enamels and gold.

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.

Small box and cover. The base of the box made of kiri wood (Paulownia), the cover made of kiri and keyaki (Zelkova) wood, diagonally joined together. The outside of the cover is decorated with two black shijimi fresh-water clam shells in kiji makie technique (applying makie lacquer decoration to natural wood).

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).

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.

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).

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.

Tall vessel of square shape, cut out of a section of a Paulownia (kiri) tree showing knots on three sides, where side branches used to be. The wood is stained dark brown. One side of the vessel is decorated with inlays/appliques and lacquer paint. The appliques colored with gold sprinkle, silver flakes and green lacquer.
A sparrow is sitting on a bamboo stalk.
Red patinated copper liner.

Japan, Taisho era, 1920s

H 11.75 x W ca. 5 x D ca. 5 in.

On the bottom of the kiri wood and on the bottom of the copper liner is written in felt pen: M.E. Boone 821-0930.

Condition: Dent, scratches, scuffs in the wood, consistent with light usage. Liner bent and dented, green insultation? stuff along the bottom seam on the inside.

Stoneware receptacle, probably used as a kensui, or waste-water jug, in the tea ceremony. Relatively high, straight sides with a constriction under the edge, decorated with the typical green glaze patches and geometrical patterns and plant motives in iron brown on white slip. Bottom inside left unglazed. Impressed seal in bottom, in the shape of a flying plover. Seto ware, Oribe style, Japan, Taisho period or early Showa, 1920s-1930s.

H 4 ¼ inches, diam. circa 4 ¼ inches.

Inside with water stains (chalk), slightly calcified crackle of green glaze on outside, tiny glaze chip, all in all very good condition.

Incense box of irregular circular shape. Over a light gray clay thickly applied opaque, lightly crackled glaze with feldspar that leaves bare a few small areas uncovered, which colored orange red during firing. On the cover a few circular black-brown underglaze "brush strokes".
Although bottom and cover clearly match, they do not make an airtight close line, but leave a couple of gaps. Few very short firing cracks.
Shino ware, Japan. Showa era, mid-20th century.

H 1.25 in.; W 2.25 in.

One tiny chip on a rim, otherwise excellent condition

Daruma standing tall, wrapped tightly in his garment, the tips of his feet just peeping out. The bottom section of his garment is flapping in the wind. 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 (front and back) 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 some gomma. Details are beautifully worked.
Small seal impressed in the back: Bizen … [illegible].

H 10.25 inches

Japan, Bizen/Inbe, mid 20th century

Crack along the vertical joint in the right side, from which three very thin horizontal cracks spring (two towards the front, one towards the back). Despite that, stable and sturdy condition. Molding flaw in the ear that is not considered a damage.
Please ask for pictures for a detailed report on the damages

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 ash remains floating through the air.

Wall vase for ikebana flower arrangement, to be hung at one of the vertical beams of the tokonoma. Brown stoneware with white inclusions, splash of greenish glaze. Metal eyelet through hole in the back for hanging the vase up (new replacement).
Signature in bottom: Jinsai.

Shigaraki ware, Japan, mid-20th century, before 1977, when Jinsai changed his name.

H 5 - 5-1/4 inches, diam 3-1/4 inches

Fine condition

Ogawa Jinsai was born in 1914 as the eldest son of the Ogawa Tokusai III, a master of Shigaraki ware. The family was founded in the late Edo period. The founder was a master at replicating ancient Iga warea and was invited by the Todo clan in Iga to make such warea. In 1977 Jinsai took over the family business and became head of the family, changing his name to Tokusai IV. He made tea and sake wares, firing in a traditional cellar kiln. He passed away late Showa/early Heisei era.