Zuiun Collection

Sencha

The Triumph of Literati Aesthetics Introduction on this page. 1

Chinese carved & gilt iron scepter ornamented with dragons. Ming Dynasty.

19 ½” long x 3 ½”. 2

Scepter in the form of a stylized stem of reishi fungus. Of golden hued & twisting bamboo rhizome, the head curling into a knot. 17th century. Chinese.

With a Japanese collector’s wood storage box, inscribed on the reverse of the lid: Kochiku Nyoi or Old Bamboo Scepter; & on the reverse of the lid with an attestation by Chikuryūsai II, stating that Chikuryūsai I (Shōen) had possessed & loved the scepter. He notes that the shape is perfect, having a head & tail; & that though small, it is very rare; therefore inheriting it, he will always cherish it. He then signs the inscription Chikuryūsai (II) & seals it: Yama(moto) Takesada.

10 1/8” long. 3

Scepter in the form of a stylized reishi fungus with a gnarled & twisting form. Of natural bamboo rhizome, with extremely rich patina, the cord opening fitted with forged & chiseled iron hardware. 17th century. Chinese.

12 5/8” long. With a Japanese collector’s wood storage box, inscribed on the exterior of the lid: Takene Nyoi or Bamboo Root Scepter. 4

Scepter in the form of a stylized reishi fungus with a gnarled & twisted form. Of richly patinated, natural bamboo rhizome. 17th century. Chinese.

12 ½” long.

With a Japanese collector’s double wood storage box, inscribed on the exterior of the outer cypress wood box’s lid: Take Tennen Nyoi or Natural Bamboo Scepter, and with paper labels signed: Tessai and with his Kao and with his collection number: 58 (Tomioka Tessai, 1836 – 1924, noted Nanga painter), and sealed: Tessai. The reverse of the inner box lid also inscribed: Yuiga Dō Son An Jū Hō Take Nyoi wa Keijō Kiko Sukobaru Kiwamete Sōka no Myō Iwayuru Hito no Kō ni Oyobazu Tenkō wa Makoto ni Shikari, Makoto ni Shikari or The Treasure of Yuiga Dōkuson An (Studio), A Bamboo Scepter. The Shape is Mysterious, and It Is Said to Truly be an Extremely Unique Creation of Nature Unachievable by Mortal Hands. Indeed! Indeed! Signed: Tessai Kissō Yarō or The Old, Blessed Hermit Tessai, & sealed & signed with a Kao.

With copies from an Osaka Fine Art Club, June 1937 auction catalogue when the piece was sold. 5

Scepter in with a wrinkling, tightly twisted form suggestive of a dragon. Of natural bamboo rhizome with a warm yellow-brown patina, the cord aperture in the handle fitted with chiseled bronze hardware. 17th century. Chinese. With a Japanese collector’s 15 5/8” long. wood storage box. 6

Tea service for sencha, comprised of five cups & saucers, a kyusu teapot, the hot water ewer & a lid rest. Carved from bamboo root. Each signed on the reverse. Late 19th – early 20th century. Ewer: 1 ¾” high x 4 ¼” x 2 5/8”.

Kyusu teapot: 2 ¾” high x 3 ¼” x 3 ½”.

Cups: 1 ¾” high x 2 3/8” diameter, each approx. Saucers: ¾” high x 3 ½” x 3 ¾”, each approx. 7

Yixing Ware teapot with a relief landscape motif on one face & an inscription in relief characters on the reverse. 19th – early 20th century. Chinese.

3 3/8” high x 6 3/8” x 4 5/8”. 8

Yixing Ware teapot with a carved relief motif of Feng Kan leaning on his tiger under a pine tree, the lid knob in the form of two reishi fungi. Sealed on the reverse. 19th – early 20th century. Chinese.

4 3/8” high x 6 5/8” x 3 5/8”. 9

Senkōtate or incense stand in the form of a miniature, baluster vase. Of teadust glazed, Yongzheng porcelain. 18th – 19th century. Chinese.

With a Japanese collector’s box & storage bag; & a fitted, carved rosewood stand.

2 ¾” high x 1 5/8” diameter. 10

Chaire or tea caddy in an indented melon style with a double lid. Of cast tin with deep color. Sealed on the reverse. By Hata Zōroku II (1861 – 1936). Early Shōwa era, circa 1935 – 1936.

With a double tomobako, inscribed on the exterior of the outer box lid: Jun Suzu Chatsubo or Pure Tin Tea Jar; and on the exterior of the inner box lid: Jun Suzu Chatsubo & sealed; then on the reverse of the interior lid: Uri Shiki Chatsubo or Melon Form Tea Jar; & signed: Nana-jū- yon-sai Zōroku Zō or Made by Zōroku at the Age of Seventy Four.

2 5/8” high x 3 3/8” diameter. 11

Suiban or tray flower container, ornamented in relief with Chinese style geometrics & with dragon-form handles, the interior with an incised phoenix & kirin. Of cast, cold-chiseled bronze with gilding & an antique-green patination. Signed on the reverse with a chiseled signature: Zōroku (Hata Zōroku III, 1905 – 1971). Shōwa 13 or 1938.

4 ¾” high x 16 ¾” x 12 5/8”.

With a double tomobako or original box, inscribed & dated: Shōwa Tsuchinoe-Tora no Shotō, Oite Suikosai Chü or Shōwa (era), Year of the Tiger (1938), In Early Winter, Cast at Suikosai (Studio); & signed: Zōroku Sei Zō or Made by Zōroku; & sealed twice: Zōroku Sansei or Zōroku III and Suikosai Jin or Hermit of Suikosai Studio. 12

Tetsubin or iron teapot with a rough, sand-cast surface in a wabi-sabi tea style. Of cast iron. Late Edo – early Meiji era, circa 1850 – 1870.

8 ¼” high x 8” x 7 1/8”. 13

Tetsubin or iron teapot in a low, cylindrical with an irregular flange at the waist (a shape that quotes a matcha tea kettle form), decorated in relief on one side with the character for ‘tea’ & on the other for ‘rice’; the lid in the form of a bronze mirror encircled with the animals of the zodiac. Signed on the reverse of the lid with a chiseled signature: Kinjūdō Zō or Made by Kinjūdō (Amamiya Sōshichi working at the Kinjūdō Studio). Late Meiji – Taishō era, circa 1900 – 1920.

With the tomobako or original box, titled and sealed twice on the lid; then signed on the reverse of the lid: Kinjūdō Sō, and with a kakihan (Amamiya Sōshichi working at the Kinjūdō Studio); and sealed.

6 ½” high x 6 ½” x 5 7/8”. 14

Tetsubin or iron teapot in a globe form with a pine branch in relief on one face and reishi fungi on the other; the handle attachments in the form of rain dragons; the handle of bronze inlaid in gold and silver with cherry blossoms; & the knob inlaid with silver & fold feathers, & a silver cloud attachment. Of cast iron with a bronze handle and lid detailed in gold and silver inlays. By Hatano Shōhei of the Kibundō Studio (1812 – 1892). Meiji era, circa 1880.

With the tomobako or original box, inscribed on the exterior of the lid: Sansui …Tetsubin or Landscape …Teapot; then signed: Shōhei Kibundō Zō or Made by Shōhei Kibundō; and sealed.

8 ¾” high x 7 ½” x 6 ¾”. 15

Tetsubin or iron teapot in a sloping form ornamented in deep relief landscapes. Of cast iron with a cast bronze lid. Signed with a cast seal-form signature beneath the spout; and on the reverse of the lid with a chiseled signature: Ryūbundō Zō or Made by Ryūbundō. Meiji era, late 19th

7 ½” high x 7” x 6 5/8”. 16

Tetsubin or iron teapot in a cylindrical form decorated in relief with orchids and grass script calligraphy; the handle attachments in the form of butterflies; the handle with pinecones and pine needles. Of cast iron, the lid of cast bronze, & the iron handle with touches of gold and silver. Signed on the reverse of the lid with a chiseled signature: Ryūbundō Zō or Made by Ryūbundō. Meiji era, late 19th century.

9 ¼” high x 6 ¾” x 5 5/8”. 17

8 ¼” high x 7 3/8” x 6 ½”.

Tetsubin or iron teapot in a globe form decorated in relief on one face with flowering chrysanthemums & butterflies, & with sasa bamboo on the other; the handle with relief butterflies; the bronze lid with a silver chrysanthemum knob. Of cast iron, inlaid in gold and silver. Signed with a chiseled signature on the reverse of the lid: Unshokudō Zō or Made by Unshokudō. Meiji era, circa 1880 – 1900. 18

Set of five miniature kashiki or trays for tea sweets, each carved in a summer motif of insect eaten leaves: one a branch of beans & leaves, another a curling gourd leaf & gourd, a grape leaf with grapes, a cicada on a curcurbit gourd leaf, & the last with a flowering morning glory vines & a water pail. Carved with an inscription on the reverse of the water pail tray: Morai Mizu Chiyo, a phrase from Kaga no Chiyo-me’s famous haiku poem: Asagaoni Tsurube Toraete Morai Mizu or As My Well is Occupied by a Morning Glory This Morning, I Get Water from my Neighbor’s Well. Of carved bamboo. Meiji 35 or 1902.

1” high x 5” high x 4” wide, water pail tray (& others). With the tomobako or original box, inscribed on the exterior of the lid: Gotsuruyose Kashi-zara or A Gathering of Five Kinds of Vines Tea Sweet Trays; and on the reverse of the lid dated: Meiji Sanjū Gō Nen, Iga­ke Bihin or Meiji (Era) 35th Year, (Tea) Implements of the Iga Family, and signed: Okabe Saiken Tō or Carved by Okabe Saiken, and sealed. 19 Shide’s stylized broom. Made from branching, smoked bamboo. 19th century. 28 ½” long x 8 ½” x 5”.

The Cold Mountain hermit Hanshan is often depicted with his broom-wielding pal, the monk Shide. This wonderful bamboo sculpture suggests with abstract abbreviation the scholarly tradition of retirement, the Zen withdrawal from the world. 20 Scepter in the form of a branch of Buddha’s hand citron. Carved of bamboo rhizome. By Nakanishi Yōsetsu (Nakanishi Yōsetsu, the gō or art name of Nakanishi Taizen, 1841 – 1923). Late Meiji – Taishō era, circa 1890 – 1920.

13 ¼” long. With a Japanese collector’s wood storage box, inscribed on the interior of the lid: Yōsetsu Saku Nyoi or Scepter by Yōsetsu; & on the interior base of the box inscribed: Nakanishi Yōsetsu Saku Nyoi or Scepter by Nakanishi Yōsetsu. Inside of the box is an exhibition label for an exhibit sponsored by the Kumamoto Hinishi Shimbun-sha. Nakanishi Yōsetsu was a Kumamoto artist who specialized in bamboo carvings. He was famous for his sencha tea ceremony objects, scepters, & okimono of crabs. His work was often unsigned. 21

Scepter in the form of five stems of lotus, two with unfurling leaves, one with a lotus bud, and the two tallest each with lotus blossoms, all of the stems linked by a grass tie with a noshi form knot. Of carved bamboo. Unsigned, but likely the work of Nakanishi Yōsetsu (Nakanishi Yōsetsu, the gō or art name of Nakanishi Taizen, 1841 – 1923). Late Meiji – Taishō era, circa 1890 – 1920.

16” long.

With a period, Japanese collector’s wood storage box. Collected in Kumamoto. A masterpiece of bamboo carving for the scholar’s studio. 22

Tray in the form of a large curling lotus leaf sheltering a crab, of carved and lacquered wood. With the tomobako or original box, inscribed on the exterior of the lid: Hasu Kani Kōbon or Lotus and Crab Incense Tray, and on the reverse signed and sealed by the artist: Tetsudō (the Gō or art name of Murakami Kurosaku, 1867 ­ 1919). Late Meiji – early Taishō era, circa 1890 – 1910. Note: old lacquer repair to rim.

1 7/8" high x 23 ¾” long x 15 ½”.

Born in Komatsu, in Ishikawa Prefecture, Murakami Kurosaku was noted for his carving in wood. After traveling to the United States in 1893, he returned to Japan and accepted a position as director of the Toyama Ken Takaoka Kōgei Gakkō. 23

Tray in the form of a branch of loquat fruit with an inquisitive mouse. Of carved & lacquered wood. 19th century.

1 ½” high x 23 ¼” x 10 ½”. 24

Tray of keiyaki (zelkova) wood carved with five bats flying through clouds. Signed on the reverse with an incised signature: Shōchikusai Unkoku (Shōchikusai Unkoku, the gō or art name of Ōmura Unkoku, 1906 – 1985). Early Shōwa era, circa 1926 – 1940.

Shōchikusai Unkoku was born in Osaka. After the Great Kantō Earthquake he moved to Miki City in Hyōgo Prefecture. In 1921, apprenticed under Ichikawa Shūdō of Himeji. Like his teacher, he made elegant trays for sencha. Later he studied with Takamura Kōun in Tokyo. Shōchikusai exhibited at the Hyōgo Prefecture Craft Exhibition in 1932 & at the Shōkōshō Kōgeiten in 1933.

With the tomobako or original box, inscribed on the exterior of the lid: Gofuku Shō Shū Kōbon or Gathering of Five Auspicious (Bats) Incense Tray; & on the reverse of the lid signed: Shōchikusai Unkoku, & sealed.

12 ¾” high x 18 ¾” wide x 1” deep. 25 Scepter in the form of single stem of reishi fungus, the stem & head detailed & composed of 15” long. playing bats amid clouds. Carved of warm-toned boxwood. Late 17th – 18th century. Chinese.

With a Japanese collector’s wood storage box, inscribed on the exterior of the lid: Karamono Ōyō Henfuku Hori Nyoi or Chinese Boxwood Carved Bat Scepter.

26

Scepter in the form of a branch of reishi fungus, the hollowed stalk with several small stems and the head with swirling cloud-like detail. Carved of dark red- toned Chinese hardwood. 17th – 18th century. Chinese.

12 ¾” long.

With a Japanese collector’s wood storage box, the lid and sides ornamented with chrysanthemums of differing types in raised gofun or clam shell gesso & natural pigments, the sides of the box with chrysanthemum style copper hardware for the cording attachments. Sealed on the lower left corner of the box lid. 27

Scepter in a reishi fungus motif, with one small stem rising against a larger boldly carved one. Carved of Chinese sandalwood. 17th – 18th century. Chinese.

14 ¾” long.

With a Japanese collector’s wood storage box. 28 Scepter in the form of a branch of reishi fungus with a cloud-form head executed in deep whorls that curl up at each side, the stem twisting round with small curling branches. Carved of purple- brown Chinese hardwood. 18th century. Chinese.

With a Japanese collector’s 15 ¾” long. wood storage box. 29

Scepter in the form of a stylized stalk of reishi fungus, the main stem covered in a swirling cloud-like open-work of smaller stems & heads of reishi, & the main head in a deeply furrowed stylized bat motif. Carved of red-brown toned boxwood. The reverse of the scepter bearing an extensive inscription, first with a poem by the Chinese poet Li Shangyin (812 – 858); then with a line saying who made the scepter & carved the inscription. 17th – 18th century. Chinese.

13 ¾” long.

With a Japanese collector’s wood storage box, inscribed on the exterior of the lid: Jidai Ōyō Reishi Nyoi or Antique Boxwood Reishi (Fungus) Scepter.

30

Scepter in the form of a stalk of reishi fungus whose base curls around into a thinner branch that encircles the main stalk as it rises to curl over the cloud-like head. Carved of deep red-brown toned boxwood. 18th century. Chinese.

Half way up the front the small stem branches into a flat leaf bearing an inscription in Chinese. The reverse of the stem also bears a long inscription, ending at the base with a signature and seal.

With a Japanese collector’s wood storage box.

13 1/8” long.

31

Scepter in the form of a stylized reishi fungus, the hollowed & perforated stem of which is layered with two smaller branches; with cloud-like cavities in the heads & pebble-like seeds scattered over the surface. Carved of warm, yellow-brown boxwood. 18th century. Chinese. With a Japanese collector’s wood storage box.

12” long. 32

Scepter in the form of a delicate branching stem of reishi fungus. Carved of warmly toned boxwood. 18th century. Chinese.

9 7/8” long.

With a Japanese collector’s wood storage box, inscribed on the exterior of the lid: Ōyō Reishi Bori Nyoi or Carved Boxwood Reishi Fungus (Form) Scepter. 33

Scepter in the form of a stylized branch of fruiting pomegranate. Carved of heavy, red- toned hardwood. 17th – 18th century. Chinese.

With a Japanese collector’s wood storage box.

14 ½” long. 34

Scepter in the form of a delicate stalk of reishi fungus with multiple stylized cloud-like heads, and vine-like stems winding up the main branch. Carved of boxwood. 18th century. Chinese.

10 5/8” long.

With a Japanese collector’s wood storage box with a receipt from a Kyoto Bijutsu Club auction in April of 1924. 35

Carved red-toned hardwood display stand with cloud reishi supports. Signed on the reverse. 18th century. Chinese.

With a Japanese wood storage box, inscribed on the reverse of the lid.

2 ½” high x 12” x 9 ½”.

36

Stand for the display of an incense burner in the form of a curling & rooted tree trunk. Carved of boxwood. 18th century. Chinese.

4 ¾” high x 13 ½” x 10 3/8”.

With a Japanese collector’s storage box. 37

Scepter in the form of a long twisting stem of stylized reishi fungus with a small side stem below the main head. Carved of umimatsu or black coral. Meiji – Taishō era, circa 1880 – 1920. Japanese.

21 ¾” long. 38

Scepter in the form of a long stylized branch of reishi fungus, the stem with a long inscription. Carved of umimatsu or black coral. Titled on the stem: Fu Un _?_Sui or Wind Cloud_?_Water; & signed by the calligrapher: Chokunyū Koji Dai or Titled by Hermit Chokunyū (Tanomura Chokunyū, the Kyoto literati painter, 1814 – 1907). Signed below the inscription by the carver: Matetsu Zō or Made by Matetsu (Matetsu was a carver from Shikoku). Late 19th century. Japanese.

16 1/8” long. 39

Incense tray suggestive of an ink stone. Carved of ironwood. 18th – 19th century. Chinese.

1 ½” high x 14 5/8” x 11 ¾”. 40

Moribon or tray for displaying seasonal fruit and leaves, in an irregular, rippling form. Of dried reishi tree fungus with a black lacquered interior & lacquered areas on the reverse. Taishō – early Shōwa era, circa 1912 – 1944. Japanese.

3” high x 16 ½” wide x 15 ¾” deep.

With a period, collector’s storage box, inscribed on the exterior of the lid: Reishi Bon, Shimoda Hontaku or Reishi Tree Fungus Tray, (from) the Main Residence of the Shimoda Family; & on the reverse of the lid: Shōwa Jū-kyū-nen, Roku-gatsu, Kore wo Motomu or Shōwa (era) 19th Year (1944), in June, I Purchased This (Tray). 41

Kakehana or wall vase in an asymmetrical, ridged & twisting form. Of reishi tree fungus, the hanging rope of twisting hand-forged iron “rope” and the liner of copper. Edo period, early 19th century. Japanese.

10 3/8” high x 5” wide x 3 5/8” deep.

Reishi fungi were associated with the fabled mushroom of immortality in Chinese Daoism. Representations of reishi came to be found in painting, as motifs in scholars’ and Buddhist priests’ scepters, & in sencha tea related arts. Rarely were objects made from actual, dried reishi fungi. 42

Scepter in the form of a large branch of layered reishi fungus. Made of actual reishi fungus, the stem lacquered. 19th – early 20th century. Japanese.

14 ½” long.

With a Japanese collector’s wood storage box, inscribed with the title: Zuiun or Auspicious Clouds. The box with a painting of the piece on its side and a long inscription on the reverse of the lid (not translated).

43

Scepter in the form of summer fan. Of actual reishi fungus, the stem with a lacquered finish. Signed in red lacquer on the stem. 19th century. Japanese.

12” long.

With a Japanese collector’s wood storage box, inscribed on the exterior of the lid: Reishi Zu Ōgi or Reishi Fungus Motif Round Summer Fan; & on the reverse of the lid signed & sealed. 44

Scepter in the form of a twisting delicate stem of reishi fungus. Of actual reishi fungus with a lacquered surface. With an illegible signature or inscription of several characters on the reverse of the reishi head. 19th century. Japanese.

With a Japanese collector’s wood storage box, the exterior of the lid inscribed: Reishi Nyoi or Reishi (Fungus) Scepter; & with an illegible inscription below. 12” long. 45

Scepter in the form of a curving branch of reishi fungus with a double layered head surmounted by another fan-form head. Made of actual reishi 16” long. fungus, the stem lacquered. 19th century. Japanese.

With a Japanese collector’s wood storage box. 46

Scepter in the form of a long red-brown branching stem of reishi fungus, the heads detailed in tones of orange & yellow-brown. Of kanshitsu or dry lacquer. Signed on the reverse: Tesseki (Fuji Tesseki, active early 20th century). Taishō 9 or 1920. Japanese.

Fuji Tesseki was a student of Kanō Tessai (1845 – 1925), who worked in Nara. 17 7/8” long.

With the tomobako or original box, inscribed on the exterior of the lid: Sen Ka Sai Yo or One Who Seeks Immortality (Should) Take Me; & then dated: Kanoe Saru Shōshun, Taishō Kyū-nen or Year of the Monkey in Early Spring, Taishō (era) 9th Year (1920), and signed: Heian Zōroku (Sen)sei Dai or Titled by Master Zōruku of Kyoto, & sealed; & on the reverse of the lid dated: Kanoe no Aki no Hi or Year of the Monkey (1920), A Day in Fall, & inscribed: Tesseki Sanjin Fuji Gisaku or Hermit Tesseki Fuji’s Beautiful Artwork, & sealed twice: Fuji Shi & Tesseki.

With a white padded silk wrapping cloth painted & inscribed by a group of literati friends & artists, who each signed & sealed their work: a painting of a persimmon by Hayakawa Shōkosai III (1864 – 1922); a painting of several reishi fungi by Itō Tesseki; calligraphy for Yuri or Lily by Sakata Shūken (2nd generation master of the sencha school named Shūken-ryū in Osaka). The cloth is also inscribed: Hyakuji Nyoi, Kanoe Saru Shōshun, Kohaku-an Chu ni Oite Zōroku (Sen)sei Dai or The Scepter of Wish Fulfillment, Year of the Monkey in Early Spring, While at (the Studio of) Kohaku-an Titled by Master Zōroku (Hata Zōroku III, 1855 or 1856 – 1932).

This cloth records a sencha tea gathering of the artist who made this scepter, Itō Tesseki, along with his friends Hayakawa Shōkosai III, a prominent basket artist, the sencha tea master Sakata Shūken, and Hata Zōroku III (1855 or 1856 – 1932), a prominent Kyoto metal artist patronized by the Imperial Household & head of the Kyoto Metal Craft Honor Society (Kyoto Kinkō Meiyo Kai). 47

Tray in the form of a withered, curling lotus leaf. Of carved burl wood with natural openings. Signed on the reverse with a carved signature: Tesseki Sanjin Tō or Carved by Mountain Hermit Tesseki, and with a kao (Fuji Tesseki, active early 20th century). Late Meiji – Taishō era, circa 1900 – 1920. Japanese.

Tesseki carved trays for sencha tea ceremony. Often habon in the form of leaves, these were for displaying an incense burner or for seasonal fruit.

With the tomobako or original box, inscribed on the exterior of the lid: Kaiyō Shiki Kōbon or Lotus Leaf Form Incense Tray; & on the reverse of the lid signed: Fuji Tesseki Saku or Made by Fuji Tesseki, & sealed twice: Tōshi (upper seal), and Tesseki (lower seal).

1 ¼” high x 24” long x 15 ¼” wide. 48

Tray in the form of a withered lotus leaf. Carved of pine wood. Attributed to Ikeda Sakumi (the gō or art name of Ikeda Fumikichi, 1886 – 1955). Collected in Kanazawa. Early Shōwa era, circa 1930 – 1940. Japanese.

Born in Kaga, Ikeda Sakumi studied under Takemura Eiraku in Osaka. He specialized in wood carvings. In 1928, he exhibited at the Teiten & was afterwards a frequent exhibitor.

With a period storage box, inscribed on the exterior: Matsu Namabushi, Koren no Bon or Primeval Pine Wood, Dried Lotus (Leaf) Tray.

1 3/8” high x 17 ¾” x 12 ¼”. 49

Scepter in the form of a lotus root and stem with a single unfurling leaf. Carved of boxwood. 19th century. Japanese.

11 ½” long.

With a Japanese collector’s wood storage box, inscribed on the exterior of the lid: Ōyō Renkon Bori Okimono or Carved Boxwood Lotus Root (Form) Sculpture. 50

Scepter in the form of long curving segments of lotus root, the head in the form of a skull. Of carved keiyaki wood. With a long inscription running down one side, beginning with a poem: Stay On Your Guard! A Lotus Flower’s Root is a Muddy Stick; then: Yōren Oshō Ei, Tama…Sai Kore wo Tsukuru or Composed by Priest Yōren, Made by Tama…Sai. Late 18th – early 19th century. Japanese.

A homonym for “doro bō” or “thief,” a “muddy stick” suggests Buddhism might steal something of precious. The Buddha is often portrayed sitting on a lotus in paradise. The monk mocks us, as people only value only ends in death.

20 1/8” long.

Yōren was the gō of Eryō (1719 – 1774), a monk and waka poet of the late Edo period. He was the chief priest at the Shingon sect temple, Chōsenji, in Edo. Later he lived in the Saga district of Kyoto & studied waka poetry with Reizei Tamemura & Ozawa Roan. 51

Scepter in a massive, twisting form suggestive of reishi fungus. Carved from a heavy piece of striated burl wood. Meiji – Taishō era, circa 1880 – 1920. Japanese.

16 ½” long. 52

Scepter in the form of a gnarled stem of reishi fungus, with a small frog hidden beneath the back of the reishi head. Carved of burl wood. Meiji era, late 19th century. Japanese.

14 ¾” long. 53

Tray for incense in the form of a reishi fungus. From the collection of the literati painter Tomioka Tessai (1836 – 1924). Of naturally striated, carved & polished burl wood. Late 19th – early 20th century.

3 1/8” high x 14 7/8” x 7 3/8”.

Built in 1615, Saami in Kyoto’s Maruyama Park was a branch temple of Anyoji. It became famous as a salon for literati and artists.

With a Japanese collector’s storage box, inscribed on the exterior of the lid: Reishi or Mushroom of the Immortals (the Chinese character zhi); then: Reishi no Koji or Ancient Character for Mushroom of the Immortals; & on the reverse of the lid: Maruyama Saami Enchu Shoshou or Made in the Garden of Maruyama Saami; signed: Tessai, & sealed. 54

Moribon or tray for displaying seasonal fruit and leaves, carved of dense, honey-toned wood in a curling irregular form with two cicadas, a small land crab, & a salamander-like rain dragon. Late 19th century.

5 ½” high x 20” long x 17 ¼” wide. 55

Bunchin or paperweight in the form of a toad. Of warm, honey-toned burl­wood. Late Meiji – Taishō era, circa 1900 – 1920. Japanese.

With a period collector’s box, inscribed on the exterior of the box: Shizen­boku Gama Jyōchin or Natural Burl-wood Toad Paperweight; and on the reverse of the lid: Mikasa-An, Rai-sai Chinzō or A Rare Object Possessed by Rai-sai of Mikasa Hermitage (or Studio), and sealed.

1 ¼” high x 2 ½” x 2 1/8”. 56

Okimono or small sculpture in the form of a wasp nest with three articulated larvae. Of carved ebony, the larvae inlaid in carved bone. Late Meiji era, circa 1890 – 1912. Japanese.

2” high x 3 ½” x 2 7/8”.

With a period collector’s box, inscribed on the side: Hachi no Su Bunchin or Wasp’s Nest (form) Paperweight. 57

Exceptional hardwood tray carved in deep relief with a multitude of leaves, including gingko, zelkova, fern, pine needles, maple & thers. Signed on the reverse. Late Meiji era, circa 1900 – 1912.

1 ½” high x 13” x 18”. 58

Scepter in the form of an elongated double branch of reishi fungus, along the stem of which crawls a serpentine lizard. Carved of rosewood. Signed on an oval reserve below the lizard’s tail by the artist: Yoshitoki Tō or Carved by Yoshitoki. Taishō – early Shōwa era, circa 1912 – 1930. Japanese.

20” long.

With the tomobako or original box, inscribed on the exterior of the lid: Shitan Nyoi or Rosewood Scepter, and then signed: Yoshitoki Tō or Carved by Yoshitoki. 59

Scepter in the form of a group of three curving stems of reishi fungus. Carved of wood with a lacquer finish. Signed on the reverse in an oval reserve by the artist: Minshi Tō or Carved by Minshi. 19th century. Japanese.

12” long.

With a Japanese collector’s wood storage box. 60

Tray in the form of a curling banana leaf, carved of chestnut wood and ornamented with a snail crawling over the edge of the leaf. Inscribed & signed on the reverse. Late Meiji – Taishō era, circa 1900 – 1926.

1 ¾” high x 21” x 34 1/8”. 61

Tray for an incense burner shaped as a large gourd leaf with branching smaller leaves, curling vine stems & gourd. Of carved chestnut wood. By Ikeda Sakumi (Ikeda Sakumi, the gō or art name of Ikeda Fumikichi, 1886 – 1955). Late Taishō – early Shōwa era, circa 1920 – 1940.

1 ¼” high x 21 ¼” long x 15 3/8” wide.

With the tomobako or original box, inscribed on the exterior: Kuwa Hyō­mon Kōro­dai or Chestnut Wood Gourd Motif Incense Burner Stand; & on the reverse of the lid signed: Hishūdō Sakumi & sealed: Ikeda Sakumi. 62

Kazari-dana or ornamental display shelf, ornamented on the storage compartment’s drop-fit panel with rabbits running over waves; & along the lower back with repeating roundels in the form of ishi-uzu or grinding stones. Of lacquered mulberry wood burl, inlaid in silver, shibuichi, tortoiseshell, & raden or mother-of-pearl. All of the ornamental hardware applied to the edges, as well as the handle on the drop-fit panel is of shibuichi inlaid in silver. By Ikeda Sakumi I (the gō or art name of Ikeda Fumikichi, 1886 – 1955). Shōwa 17 or 1942.

Ikeda Sakumi I was born in Kaga. He studied under Takemura Eiraku in Osaka & specialized in wood carvings. In 1928, he first exhibited at the Teiten & was afterwards a frequent exhibitor. Sakumi created some of the most sensitive & stylized wood carvings of his time. A feeling for the materials, for the beauty of wood grain & a stylized naturalism inform much of his work. His leaf-form trays for sencha tea ceremony were among the finest ever made. With a wood storage box, inscribed: Kuwa-ne Ki Zōgan, Koma Tana or Ornamental Display Shelf of Mulberry Wood Inlaid in Precious Materials. On the reverse of the lid an inscription states that this kazari-dana was commissioned by Mr. Sugano Hideo of Nagoya in Shōwa 17 (1942). To create the piece, Ikeda Sakumi I worked with both Itō Isai (another artist of sashimono or decorative woodwork) & Yonezawa Hiroyasu (a metal artist who made the hardware & who was (later) a National Living Treasure). Attested by Ikeda Sakumi II, official member (seikaiin) of the Nihon Kōgei Kai (Japan Craft Art Association) and of the Mokkōkai (Association of Wood Craft); & sealed: Ikeda Sakumi (Ikeda Sakumi II, born 1916).

23 ¾” high x 36” wide x 14 ½” deep. The millwheels dance across the back of the shelf inlaid in watery tones of mother-of-pearl. The motif repeats on the drop-fit panel, the roundels inlaid this time in silver & tortoiseshell as they encircle the full moon glowing at the center. Around the edges run rabbits and waves. The association of rabbits running over waves beneath the moon refers to the belief that a hare can be seen in the full moon pounding the elixir of immortality in a wood uzu or rice mortar. The millwheels echo the form of the full moon, & may be an amusing suggestion that the rabbits can run over them as stepping stones (since they often served this purpose in gardens). As well, there is a pun on the mortar used by the rabbit in the moon & ishi-uzu or millwheels. The shibuichi hardware ornamenting the edges of the tana echoes the ridges on the millwheels, with abstract repetition of this geometry executed in silver inlay. 63

Flower arranging container in a small, tea room size, in the form of an old, tattered farm basket. Carved of chestnut wood, with a clear lacquer finish. Signed on the reverse with a carved signature by the artist: Yamazaki Choun Saku or Made by Yamazaki Choun (Yamazaki Choun, the gō or art name of Yamazaki Harukichi, 1867 – 1964). Shōwa 22 or 23, 1947 or 1948.

With the tomobako or original box, inscribed on the exterior of the lid: Hanakago, Mokucho or Flower Basket, (Made of) Wood; & on the reverse of the lid: Hachi-jū-issai, Yamazaki Choun Saku or At the Age of 81, Made by Yamazaki Choun; & sealed twice, above in black: Teishitsu Gigei-in or Imperial Court Artist, & below in red: Yamazaki. Born in Fukuoka, Yamazaki Choun studied wood sculpture & exhibited at the 4th Naikoku Hakurankai. His work was first purchased by the Imperial Family in 1894. He became a member of the Japan Art Associaton in 1900, & an Imperial Court Artist in 1934. His work is in the Imperial Collections & in the Tokyo National Museum of Modern Art. 64

Sake gourd elaborately carved in a mushi-kui or insect eaten motif; with a Chinese, celadon glazed, peach-form cup, & jade toggles. 19th century.

With a nijubako or double storage box, inscribed: This gourd once belonged to Mr. Yanagihara of Fukui. It was given the name Iku Senshu, meaning Many Thousands of Years, by Sanyo Sensei (possibly Rai Sanyo, 1780 – 1832). Last year (1902, a cyclical date) in March, Fukui experienced a large fire. The box turned to ashes, but miraculously the gourd survived. Indeed the gourd proved worthy of its name.

10 ½” long x 4" diameter (gourd). Tokkuri or sake flask for sencha tea ceremony made from a twisting section of root bamboo; the fittings of gold and rosewood. Signed on the back with an incised signature by the artist: Suikō (Kinoshita Suikō, active early 20th century). Late Meiji – Taishō era, early 20th century (not later than Taishō 6 or 1917).

65 With a double tomobako or original storage box, inscribed on the exterior of the outer lid: Take Tennen Hisago or Natural Bamboo Twisting Gourd; & Kakihara Chōshō-en Chinzō or Treasured Possession of Mr. Kakihara’s Chōshō- en Studio. The interior lid with an inscription that Kinoshita Suikō made the base & ordered the stopper for the flask of pure gold; & that the storage box was made in the late spring of Taishō 6 or 1917. Kinoshita Suikō worked in Nara, & was a bamboo basket weaver. 20 5/8” long x 3 ½” diameter. 66

Scepter with an elongated & twisting form suggestive of a water dragon. Of carved & naturally striated burl wood. Late Meiji – Taishō era, circa 1900 – 1920. 23” long.

Unsigned but very reminiscent of Imai Ōshin’s earlier work.

With a Japanese collector’s wood, double storage box.

67 Scepter in a long twisting form suggestive of a dragon. Of natural & carved, honey-toned burl wood. Signed towards the base of the handle with an incised signature: Ōshin Tō or Carved by Ōshin (Imai Ōshin, 1880 – 1951). Taishō – early Shōwa era, circa 1912 – 1930. Japanese.

19” long.

With the tomobako or original storage box, inscribed on the exterior of the lid: Tennen Boku Nyoi, Mei Sui Ryū or Natural Burl Wood Scepter, Titled Water Dragon, and signed: Ōshin Saku or Made by Ōshin. Ōshin worked in Kyoto & was one of the finest artists creating burl wood okimono, trays & scepters for sencha tea ceremony. His work generally reveals a subject hidden in a natural form, such as a piece of burl wood. His genius found a perfect harmony between the natural and the artificial. The world of sencha tea enjoyed a great flowering from the beginning of the Meiji era until the Pacific War. In this tradition, Ōshin’s work stands out as one of the most brilliant. He moved with his wife to Kita­Kyūshū in the 1940s, when the destruction of war took with it the world that had supported his work. His last years were spent living on the charity of friends in exchange for pieces of his art. 68 Okimono-Nyoi or sculptural scepter in the form of a large lotus root with two unfurling leaves, beneath one of which crawls a small frog. Carved of stag antler. Signed on the reverse with an incised signature: Nanajū­sai Ōkina, Ōshin Tō or Carved by Old Man Ōshin at the Age of Seventy (Imai Ōshin, 1880 – 1951). Shōwa 21 or 1946. Japanese.

With the tomobako or original box, inscribed on the exterior of the lid: Rokkaku Zai Renkon Okimono or Stag Antler Lotus Root Sculpture; & on the 23 ¼” long. lower left dated: Heijutsu Shunjitsu or A Day in Spring of 1946; & signed by the artist: Ōshin Saku, Toki Toshi Nanajūni Ō(kina) or Made by Ōshin, An Old Man At the Age of Seventy-two; & sealed.

69

Okimono in the form of a quirky & inquisitive bull. Of natural & carved burl wood. Signed on the reverse with an incised signature: Ōshin Katō or Carved by Ōshin (Imai Ōshin, 1880 – 1951). Taishō – early Shōwa era, circa 1915 – 1950.

7 ¼” high x 9" long x 5" deep. 70

Tray in the form of torn & curled sasa bamboo leaf. Carved of pine wood. Signed on the reverse with a carved signature: Nana (Jū) Nana Juō Ōshin Saku or Made by Old Man Ōshin (at the age of) 77 years (Imai Ōshin, 1874 or 1875 – 1951).

½” high x 21 ½” long x 6 ¼” wide.

With the tomobako or original storage box, inscribed on the exterior of the lid: Matsu Shiki, Take no Habon or Made of Pine (Wood), Bamboo Leaf (form) Tray; & on the reverse of the lid signed: Nana (Jū) Nana Kotobuki Ōshin Saku or Made by Ōshin at the Old Age of Seventy-seven; & sealed: Ōshin. 71

Scepter in the form of a section of an old bamboo broom folding over onto itself. Of carved boxwood, stained to resemble old, smoked rafter bamboo. Meiji – Taishō era, circa 1890 – 1926. Japanese.

Like Shide’s broom on Cold Mountain, only bent with age & use. A Zen parable, at once poignant & beautiful.

15 ¾” long x 2 ¾” x 2 7/8”. 72

Scepter in the form of a long blade of grass folded into a knot at the top for the head. Carved of warm, yellow-brown hued boxwood. Taishō era, circa 1912 – 1926. Japanese.

14 ¼” long. 73

Scepter in a natural grass motif. Carved of red-brown, Chinese hardwood. 18th – 19th century. Chinese.

Inscribed on the front with the characters for: Mui Shizen or Without Contrivance. On the 15 ½” long. reverse carved with a Chinese verse, followed by two seals, & lower on the stem sealed again.

With a Japanese collector’s wood storage box, inscribed on the exterior of the lid: Mokuchō Ashiba Nyoi …Ishiyamabō Shozō or Wood Carved Scepter in the Form of Reeds…(from the) Collection of Ishiyamabō. 74

Scepter in the form of a double stem of lotus, one with an unfurling leaf & the higher one with an opened blossom. Carved of hardwood with exceptionally deep patina. 17th – 18th century. Chinese. 14” long.

With a Japanese collector’s wood storage box.

75

Scepter in the form of a long branching stem of stylized reishi fungus. Of natural and carved red-brown hued burl wood with a glowing patina. 18th century. Chinese. 14 ¾” long. With a Japanese collector’s double wood storage box, the outer box inscribed: Tennen Boku Nyoi or Natural Wood Scepter; & then: Kono Nyoi Waga Tomo Chikken Rōjin Iai Ima Kore (wa) Mata Miru Oite Seihakuken Chu atakamo Gotoshi Au Kyū Yū Chinamite Shikisu Kono Soto Bako Oite Sakai Fu or This Scepter Was a Treasured Possession of My Deceased Friend Chikken the Elder; Seeing this Again at Seihakuken is Like Meeting an Old Friend; Therefore I Write this Inscription on the Outer Box; then signed: Shūken Dai or Titled by Shūken; & sealed: Seihakuken Zō.

Sakata Shūken was a 2nd generation tea master of a sencha school named Shūken­ryū in Osaka. Yokoi Chikken was born in Kyoto to a branch family of the Mitsui financial group. He became famous collector & lived in Osaka. His collection was part of a large sale in 1935 at the Osaka Fine Arts Club.

With a padded white Chinese silk storage bag the base embroidered in blue & green, painted in black sumi ink & brown pigment with a flying bat; then signed & sealed.

The inner box inscribed on the exterior of the lid: Tennen Boku Nyoi or Natural Wood Scepter; & then: Oite Manji- an Nansō Ka Shūken Gakujin Kan Awasete Daisu or From a Window Facing South at (the Studio) of Manji-an, Scholar Shūken Studied & Titled (This); sealed: Manji-an. The reverse of the inner box lid dated with a cyclical year equivalent to 1928, in June, & signed: Chikken Ai Zō or Treasured by Chikken, & sealed: Chikken.

Manji­an was the name of Shūken’s studio. 76

Kadai or stand for the display of a flower arrangement, an incense burner or piece of art. Carved from an extremely large section of burl wood, the edges suggesting the fluidity of a rocky beach. Late Meiji ­ Taishō Era, circa 1900 – 1920.

1 ¼” high x 56 ½” wide x 28” deep.