Good late Joseon Dynasty, 19th century stoneware cup/bowl with high footrim and pale greenish gray glaze and gray stoneware , this is a simple regional folk ware but has a pleasing almost celadon feel to it that needs to be held to be appreciated. There is some kiln grit in the cavetto as well as three minor hairline stress cracks. H: 8.7cm/3.5in and D: 13.1cm//5.2in.

A well made and complex burl keyaki wood box of drawers and compartments. Compartments and drawers well suited to hold inkstone, colors, paper, brushes, works and accessories. Nice, handmade hinges and drawer hardware. Painted decoration of Shishi among peonies - nicely done in a charming, mingei (folk art) manner and likely by a previous owner of this kodansu. Late Edo period. There is expected wear from use, movement and checking of wood, and minor losses to the polychrome lacquer decoration. ...

A carved wood Noh-men Mask of a female demonic figure named Hannya. Carved wood covered with Gofun, gold and mineral pigments, 20th century. It is 25 x 19.2 cm and in overall fine condition bearing the carvers seal in the back. The Hannya is a mask that represents a female onryō (vengeful spirit). In Noh plays, the type of Hannya mask changes according to the degree of jealousy, resentment, and anger of the female characters.
Noh theater, often referred to as Nohgaku, is a traditional ...

A carved wood Noh-men Mask of a spirit named Deigan. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 13.3 cm and in overall fine condition bearing the carvers seal in the back. The Noh play Lady Aoi (Aoi no Ue) by Zeami is based on Chapter 9, “Leaves of Wild Ginger” (Aoi). Lady Aoi, Genji’s first wife, is possessed by a spirit during childbirth and becomes seriously ill. The culprit appears to be the vengeful spirit of Genji’s neglected former lover, La...

A carved wood Noh-men Mask of a young female figure named Zou Onna. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 13.5 cm and in overall fine condition.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, kn...

A carved wood Noh-men Mask of a warrior named Chujo. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20.8 x 13.3 cm and in overall fine condition bearing the carvers seal in the back.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn b...

Something paleolithic, like the excavated bone of some long extinct creature, covered in crystalline clear glaze by Kato Tsubusa enclosed in the original signed wooden box. It is 40 x 7.5 x 7.5 cm (16 x 3 x 3 inches) and is in perfect condition, directly from the artist this summer.
Kato Tsubusa was born in Tajimi city, the home of Shino, in 1962, graduating the municipal Pottery Design and Technical Center in 1979. From then to 1983 he worked as a decorator at the Otai Kiln moving out o...

A set of large Abalone Shell Shaped bowls covered in ash glaze with liquid pools of jade green by Murakoshi Takuma enclosed in the original signed wooden box titled Hai-yu Awabi Bachi. Perfect for winter food, Oden or even Niku-jaga. These are 16 x 13 x 6 cm and are in perfect condition.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in...

An elegant sliver of ice green porcelain supported on three pinched feet perfect for serving some small hors d’ouerves by Kato Tsubusa enclosed in the original signed wooden box titled Shizuku. It is 14.5 x 17.5 x 5.5 cm (5-3/4 x 7 x 2 inches) and is in perfect condition, directly from the artist this summer.
Kato Tsubusa was born in Tajimi city, the home of Shino, in 1962, graduating the municipal Pottery Design and Technical Center in 1979. From then to 1983 he worked as a decorator a...

Lavender tinges the fog-gray surface of this chilling torn form by Hagi legend Kaneta Masanao enclosed in the original signed wooden box titled Hagi Haku-yu Yohen Kurinuki Mizusashi. It appears to be torn and wrestled, or perhaps chiseled from the earth, the p@ale glaze running over the ragged surface, settling into the clefts and folds. It is 20.5 x 23 x 20.5 cm (8 x 9 x 8 cm) and is in excellent condition.
Kaneta Masanao is certainly one of Hagi’s most well-known and easily identifiabl...

Large Japanese natural hand formed ceramic sculpture by the artist Yamaguchi Mio. Looks as if it has grown out from a coral reef underwater. This example is one of only three that I know the artist created of this scale One is currently on display at the Chicago institute of Arts, the second is in a private European collection.
Her inspiration lies in the steady growth of natural objects, pine cones, the growth of life over season, years, and eons.

Age: Contemporar...

Daisho Bushu school iron tsuba. Sukashi decoration of basket weave panels and parcel gilt prunus blossoms. Each signed Bushu Ju Masanaga. A nice pair of tsuba having started life together. Edo period. Good condition. Larger, 2 7/8 by 2 3/4 inches. Smaller, 2 3/4 by 2 5/8 inches.

Pair of massive Chinese foliate form cloisonne chargers each decorated with two five-clawed dragons chasing a flaming pearl among clouds. The first is set against an egg-yolk yellow background with a blue band of flowers and scrolling foliage surrounding the foliate form edge. The second is set against a blue background with an egg-yolk yellow band around the edge. At the center base of each is a rectangular plaque holding an apocryphal six-character Qianlong mark. Early 20th century. 23 1/2”...

Arai Yoshimune
Arashi-Yama, Kyoto
Dated: Jan 6, 1914.
Size: Approximately 5.5 x 3.5 inches (14 x 8.8 cm)
Not signed.
Publisher: Hasegawa Takejiro.
Medium: Japanese woodblock print in postcard form.
Condition: Excellent.
Note: The postcard mentions a one-year old Helen Donaggho, whose obituary at 90 years old can be found online.

Kiyoshi Saito
Village in Aizu in Summer (aka Village Scene with Brown Hill)
Size: 17.125 by 11.625 inches.
Date: 1940-50.
Signed and sealed in the image at lower left.
Printer: Ikegami. Seal at back.
Medium: Japanese woodblock print.
Condition: Back margins have tape.

Takahashi Shotei (Hiroaki)
Sekiyado
Size: Mitsugiriban. 11.75 x 5.625 inches.
Date: pre-1932.
Publisher: Watanabe Shozaburo.
Sealed and titled in the image.
Reference: Shotei catalog M-33. Watanabe #222, Ota-ku #206
Medium: Crepe (chirimen) Japanese woodblock print.
Condition: Top back has two pieces of tape from previous mounting. One spot of foxing in sky between birds.
Note on chirimen prints: Creping of woodblock prints was popular in the late 19th...

Pair of Italian glass ghost lamps by Gino Vistosi. The Italian mid century murano white glass table lamps in a ghost / spirit shape with a translucent wedge segment slightly above a molded fulcrum point. Both are in original working condition.

Age: Mid century circa 1960's

Dimensions: 20" high x 8 1/2" wide

Hard porcelain vase. Cracked cream glaze. Enameled decoration representing a couple of Hô-Hô perched on a tree. Chinese work around 1900, but perhaps Japanese, imitating the Chinese famille rose. Amusing technical detail, if the whole vase is painted freehand, only the upper frieze representing the stylized clouds was executed with a stamp as for the Hixing, in order to obtain regularity, this is visible in a place where 2 clouds overlap. Good condition. Height 33cm