Yasokichi III is famed for his mastery of Kutani glazes, and the astonishing depth and color he has achieved with this vase are an excellent example of that skill. His works are mostly done in simple forms which do not compete with the spectacular colors and graduated glazes which so thoroughly dominate his ceramic art. Pieces made by this highly sought Japanese artist are consistently displayed at national and international exhibitions, and they are well represented in many museum and private collections as well.

Born Tokuda Masahiko in Komatsu, Japan, he started potting at the age of 18. He studied Kutani glazing with his grandfather, the first Yasokichi (1873-1957) and modern pottery with his father, Yasokichi II (1907-1997). Tokuda graduated from Kanazawa College of Art and won the NHK Chairman's Prize with his first entry in the Japan Traditional Crafts Exhibition in 1971. He won the highest award at the Japan Traditional Crafts Exhibition: the Japan Crafts Association's Chairman's Prize in 1977, the Hokkoku Shimbun Cultural Award in 1985, and the Japan Pottery Association Prize in 1986, when he was also designated an Intangible Cultural Asset of Ishikawa's kutani-yaki pottery. In 1988, he took the potter’s name Yasokichi. He won the Chichibunomiya Cup, the most prestigious prize at the Japan Pottery Exhibition in 1991. He was designated Important Intangible Cultural Asset (Living National Treasure) in 1997.

With its hinged lid and three drawers in various sizes, this diminutive chest was once used to store to store needles, threads, buttons, scissors, sewing paraphernalia and other small personal items, examples of which are still included inside the box. The top opens to reveal a shallow area with compartments for the storage of thread spools with a removable cover, next to a square wooden box (also removable) for a pin cushion. On the right edge there is an inset hole for the wooden lever with a string, which we have been told was used in hemming fabric. All the metal fittings are original to the piece and appear to be made of bronze. The craftsmanship is marvelous, with dovetailed construction, and the eye-catching dark turbulent swirl of the grain is striking and very attractive. These decorative little chests make wonderful jewelry boxes or desk accessories.

CONDITION: Overall good impressions and color. Several of the prints employ the use of metallic pigments and other deluxe printing. The prints are lightly toned from their original folders, and there is light foxing on some of the images and folders. The spine of the folio box is worn in places. Due to space limitations, we have only pictured a sampling of the doll prints. If interested, please e-mail us for close-up images of all 24 prints. These prints are seldom encountered, particularly in complete sets.

Known as “benki,” these attractive blue and white ceramic antique toilets had originally been set into the floors of Japanese inns, elaborate restaurants or wealthy homes. Since the standard Japanese bathroom fixture has always been unadorned, some suggest that these elaborately decorated pieces indicate European influence. Hand-painted ones are generally older than the stenciled designs. As a decorative item, they work best as planters or in the bathroom itself as a magazine holder. (See examples on page 150 in “Japanese Accents in Western Interiors” by Rao and Mahoney.)

Kutani (which means 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 1904, Yaguchi Iwakichi (1870-1952) began the Eiju kiln, which produced high quality porcelain wares. His son, Yaguchi Eiju II continued the kiln, and it is still in operation today.

The Nabeshima family kilns were founded in 1660. They produced wares to be used by the feudal lord Nabeshima as presentation pieces for the shogun or other feudal lords, and as a result, the wares were of extremely fine quality. Secrets of manufacture were closely guarded. During the Meiji period, Nabeshima wares were allowed to be sold outside the “family.” The Imaizumi family of decorators, who worked at the Nabeshima kilns from the beginning, has continued to carry on the Nabeshima tradition.

Imaizumi Imaemon gradated from Tokyo University of Art before becoming the thirteenth Imaemon in 1975, and he was designated a “Living National Treasure” in 1989. The iro Nabeshima (colored Nabeshima) style was registered as an important cultural property In 1971. Nabeshima wares produced to this day are of uniformly superior quality in materials, shape, painting and glazing. These wares are of the finest quality and are decorated in refined taste – technically, almost equal to the old specimens.

The woodblock prints of Sadanobu III (son of Sadanobu II) were primarily images of warriors, actors, and maiko. The overwhelming majority of his prints were published by the Uchida Print Co. of Kyoto, Japan, a print publisher catering to the tastes and demands of Western customers.