These unique “feet” made to hold a Japanese floor screen were called “byobu osae” or “byobu hasami.” The manner in which these foot-weights were used was described by Edward S. Morse in his book “Japanese Homes and Their Surroundings,” originally published in 1885: “When a Japanese screen is unfolded and placed on the floor, various devices are provided to prevent the end panels being swayed by the wind. These devices may be in the shape of some metal figure which acts as a check, or a heavy weight of pottery made in the shape shown in fig. 158, the end of the screen fitting into the slot in the weight.” Foot weights for screens are more typically found in the form of metal mandarin ducks – to find a pair of antique ceramic byobu osae in the shape of rabbits is exceedingly rare.

For centuries, Bizen has been highly regarded for its dark red-brown stoneware made from iron-rich clay with a natural ash glaze. Bizen is unglazed but fired at such a high a temperature that a natural glaze is formed on the surface. Also upon firing, wood ash flies up in the kiln and is deposited randomly on the pottery, giving each piece its own individuality and vitality. The beauty inherent in the unglazed, red-brown clay forms was often left untouched, giving the vessels the luster of burnished bronze. The height Bizen pottery was attained in the 18th century, and specimens from that period are much finer than subsequent works.

This important tokkuri is ex. collection R. B. Caldwell of Dallas, TX, a collector well known for his knowledge and understanding of Japanese culture, particularly in the area of tea ceremony ceramics.

Oribe ware, a folk pottery produced in kilns located in Mino and Seto, is particularly Japanese in taste and was never made for export. Its bold and spontaneous designs and contours were generally asymmetrically executed in styles that were distinct, imaginative and vigorous. Oribe pottery derives its name from Furuta Oribe, a famous 16th century tea master. His influence over the pottery production of his day led to the development of a certain type of ware that was later named after him, nearly all relating in some way to the tea ceremony. Folk-craft products or “mingei,” of which this tokkuri is representative, are objects used by common people. These commonplace, functional artifacts are endowed with a beauty directly connected with their utility – a beauty that is simple, humble and unassuming.

Oribe ware, a folk pottery produced in kilns located in Mino and Seto, is particularly Japanese in taste and was never made for export. Its bold and spontaneous designs and contours were generally asymmetrically executed in styles that were distinct, imaginative and vigorous. Oribe pottery derives its name from Furuta Oribe, a famous 16th century tea master. His influence over the pottery production of his day led to the development of a certain type of ware that was later named after him, nearly all relating in some way to the tea ceremony.

Kutani (“nine valleys”) is a small village in Kaga Province on the northwest coast of the main island of Japan with a long history of porcelain production. In 1823 the Yoshidaya Kilns were established at the site of an earlier Kutani kiln which had long since ceased production. Wares produced at this kiln were patterned after the Old Kutani wares and are known as Revival Kutani (“Saiko Kutani”) or as Yoshidaya wares (“Yoshidaya Yaki”). Many pieces produced by this kiln are very well potted with beautiful coloring, clearly showing a Chinese influence.