Gongxian/Gongyi kilns, China

Tang Dynasty (618-907), c. 9th century

Precisely potted in generous baluster form with a double strap-handle and conical spout, the pure white body covered in a clear yellowish crackled glaze. 16.2cm high, 12.5cm wide.

Condition: hairline crack to the rim. Very small chip to the lower edge of the spout

Jian kilns, China

Song Dynasty (960-1279)

Of classic waisted conical form in thickly potted stoneware with a finely cut foot, covered in a persimmon hare’s fur glaze pooling black in the well on a slight angle, the mouth with an old metal collar. Together with an old inscribed Japanese wooden box. 6cm high, 12.8cm diameter.

Condition: small chip with old repair to the rim, partially concealed by the metal collar. One of the exterior drips above the foot broken off either in the firing or post-production.

Japan

Showa period (1926-1989), c. 1980

Of powerful angular modernist cylindrical form, decorated with Wada’s geometric saidosanmonki pattern (cedar design) in layered and incised coloured slips rising from a matt iron brown glaze around the base. Incised signature to the base. 36.4cm high, 15cm diameter. With the original signed wooden box (tomobako).

Osaka area, Japan

Kofun Period (250-538), early 6th century

Powerfully potted in globular form in grey-bodied stoneware with a high flaring neck and wide mouth, kushigaki-hajomon (wavy combed-line) decoration above the waist, the shoulder speckled with naturally fallen ash glaze. 14.3cm high, 11cm diameter.

Cat. 792

Bizen kilns, Japan

Edo Period (1603-1868), c. 17th century

This miniature jar (made for holding dry sweets for tea ceremony) is in squat baluster form and exhibits a beautiful shiny persimmon-orange blush to the surface interspersed with matt dark brown patches and grass-like firing marks, with a rich beauty that old Bizen is famous for. Together with an early Japanese wooden box with deerskin fasteners. 5.2cm high, 4.7cm diameter. Cat. 791

Kyoto, Japan

Meiji Period (1868-1912), c. 1900

Each heavily potted in classic Kyoyaki crackle-glazed stoneware in sculptural drum-form decorated with scattered stylised chrysanthemums reminiscent of the Imperial kiku-mon in raised-slip beneath the glaze, the surrounding leaves in underglaze pigments. Impressed circular seals to both bases. Each approximately 28.5cm high, 27cm diameter.

Cat. 653

Itō Tōzan I (伊藤陶山, 1846–1920)

Tozan I was a leading Kyoto ceramic artist of the Meiji period whose career closely paralleled Japan’s emergence on the international stage. He exhibited repeatedly at major domestic forums, most notably the Naikoku Kangyō Hakurankai (Domestic Industrial Exhibitions), where his works received official commendations, and he was also selected for display at important overseas expositions, including world’s fairs in Europe and the United States that introduced Meiji ceramics to a global audience. Tōzan distinguished himself through the sophisticated adoption of newly developed overglaze enamels, underglaze pigments and firing techniques, achieving refined colour effects which accentuated his striking art nouveau-influenced but quintessentially Japanese designs, making his work suitable for both exhibition and imperial standards. In recognition of his artistic achievement and his role in advancing Japanese ceramic design, he was appointed Teishitsu Gigei-in (Imperial Court Artist), affirming his status among the elite makers of his time.