Cylindrical vase

Vase

Tsuboya kilns

19th century

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with white slip and cobalt pigment under clear glaze

Tsuboya ware

HxW: 27.0 x 13.9 cm

F1899.8a-c

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2

215

West

Edo period

Naha city

Japan

United States

New York

New York

Bottle

Bottle

18th-19th century

Gift of Charles Lang Freer

American Art Association

Stoneware with slip glaze and ash speckles

Bizen ware, Imbe type

HxW: 14.9 x 10.7 cm

F1905.31

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2

211

West

Edo period

Imbe

Japan

United States

New York

New York

Sake bottle with landscape decoration

Bottle (tokkuri)

Hiyamizu kiln

Freer acquired this Satsuma ware sake flask in 1905. Its delicate landscape design, attributed to Kano Tangen, a member of the Kano professional school of painters, reminded him of the very first Asian ceramic to enter his collection (F1892.26), and he considered it to be "by the same workman." Although Freer avoided the commercial versions of decorated Satsuma ware, made for sale at international expositions, he probably appreciated the parallels between this jar's refined decoration and the Japanese and American paintings he collected.

Decoration attributed to Kano Tangen

18th century

Gift of Charles Lang Freer

American Art Association

Stoneware with cobalt pigment under clear colorless glaze

Satsuma ware, White Satsuma type

HxWxD: 23.2 x 18.7 x 13.5 cm

F1905.41

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2

175

West

Edo period

Kagoshima

Japan

United States

New York

New York

Tea ceremony water jar with design of pine and plum trees

Tea ceremony water jar (tomobuta mizusashi)

False signature of Hon'ami Koho (Kuchu)

19th century

Gift of Charles Lang Freer

Kano Oshima

Stoneware with white slip under lead glaze and natural wood-ash glaze

HxW: 18.0 x 19.4 cm

F1901.3a-b

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2

174

West

Edo period or Meiji era

Japan

United States

New York

New York

Tea ceremony water jar

Tea ceremony water jar (mizusashi)

Higashi Sarayama kiln

1850-1868

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with ash and iron glazes; lacquered wooden lid

Takatori ware

HxWxD: 15.8 x 14.8 x 14.8 cm

F1898.486a-b

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2

173

West

Edo period

Fukuoka

Japan

United States

New York

New York

Vase in the form of an archaic Chinese cong

Vase

1700-1800

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with rice-straw ash and copper-green glazes

Agano or Shodai ware

HxW: 23.7 x 8.3 cm

F1897.53

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168

West

Edo period

Japan

United States

New York

New York

Vase, with lacquer lid for use as tea ceremony water jar

Vase or tea-ceremony water jar (mizusashi)

1596-1615

Gift of Charles Lang Freer

Matsuki Bunkyo

Stoneware with rice-straw-ash and iron glazes

Karatsu ware, Chosen Karatsu type

HxW: 22.1 x 11.9 cm

F1905.274a-b

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2

167

West

Momoyama period

Imari city

Japan

United States

Boston

Massachusetts

Tea ceremony water jar

Tea ceremony water jar (mizusashi)

Mino kilns

first half of 17th century

Gift of Charles Lang Freer

Tozo Takayanagi

Stoneware with ash and iron glazes

Mino ware, Ofuke type

HxWxD: 18.4 x 18.6 x 18.6 cm

F1893.3a-b

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2

162

West

Edo period

Japan

United States

New York

New York

Bottle

Bottle

Hiyamizu kiln

Freer, who did not care for porcelain, admired the warmer appearance of white or cream stoneware from the Satsuma kilns in southern Japan. This hexagonal bottle was Freer's first acquisition of an Asian ceramic. The bottle bears scenes of fishermen along a river—a "Whistlerian landscape," as Freer described it in his inventory notes. Although Freer avoided the commercial versions of decorated Satsuma ware, made for sale at international expositions, he probably appreciated the parallels between this jar's refined decoration and the Japanese and American paintings he collected. In 1905, Freer acquired another sake flask of Satsuma ware (F1905.41), which was decorated so similarly to his first Japanese ceramic piece that Freer considered it to be "by the same workman."

Decoration attributed to Kano Tangen

18th century

Gift of Charles Lang Freer

Tozo Takayanagi

Stoneware with cobalt pigment under clear glaze

Satsuma ware, White Satsuma type

HxW: 21.8 x 17.8 cm

F1892.26

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2

162

West

Edo period

Kagoshima

Japan

United States

New York

New York

Vase

Vase

Ryumonji kilns

18th-19th century

Gift of Charles Lang Freer

Matsuki Bunkyo

Stoneware with iron and rice-straw-ash glazes; red lacquer repairs.

Satsuma ware, Ryumonji kilns

HxW: 24.0 x 10.9 cm

F1901.24

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161

West

Edo period

Kajiki town

Japan

United States

Boston

Massachusetts

Sake bottle

Bottle (tokkuri)

19th century

Gift of Charles Lang Freer

Matsuki Bunkyo

Stoneware with iron slip and rice-straw ash glaze

Seba ware

HxWxD: 21.8 x 13.2 x 13.2 cm

F1899.45

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2

144

West

Edo period

Japan

United States

Boston

Massachusetts

Sake bottle with design of floral sprays

Bottle

Hiyamizu kiln

1660-1700

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with cobalt decoration under clear glaze

Karatsu ware or Satsuma ware, White Satsuma type

HxW: 22.5 x 16.3 cm

F1903.78

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141

West

Edo period

Kagoshima

Japan

United States

New York

New York

Sake bottle

Bottle (tokkuri)

18th-19th century

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with ash glaze

Mino or Inuyama ware

HxWxD: 24.4 x 17.1 x 17.1 cm

F1898.484

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2

140

West

Edo period

Japan

United States

New York

New York

Bottle with inlaid design of orchids

Bottle

This Edo period bottle, which Freer purchased in New York from Yamanaka and Company, features a freehand spray of leaves along with a more formalized "rope-curtain" collar along the neck. In the Peacock Room in Detroit, it was exhibited with other dark, glossy ceramics, some of which were decorated with touches of gold pigment.

Agano Yaguma (1795-1871)

1830-1860

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with white slip inlaid under clear glaze

Yatsushiro ware

HxWxD: 22.8 x 15.2 x 15.2 cm

F1898.140

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139

South

Edo period

Yatsushiro

Japan

United States

New York

New York

Bottle

Bottle

Takeo Karatsu kilns

1640-1700

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with white slip under clear glaze

Karatsu ware, Takeo Karatsu type

HxW: 38.9 x 33.7 cm

F1898.17

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138

West

Edo period

Takeo

Japan

United States

New York

New York

Bottle

Bottle (heishi)

early 15th century

Gift of Charles Lang Freer

Matsuki Bunkyo

Stoneware with ash glaze; plaster repair to rim

Seto ware

HxW: 24.2 x 16.3 cm

F1900.64

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135

West

Muromachi period

Seto

Japan

United States

Boston

Massachusetts

Tea-leaf storage jar

Tea-leaf storage jar (chatsubo)

A pair of glazes applied to the stoneware of this late seventeenth-century Edo jar gives two unique and striking effects. A thick, mottled olive green ash glaze (called ameyu in Japan) produces purple splashes that flow randomly from the jar's shoulder on one side. An all-over coating of iron-slip glaze (called akadobe) creates a golden-dimpled appearance on another side of the tea-leaf storage jar, or chatsubo. In his object notes about the jar, which he purchased from Yamanaka and Company in 1899, Freer described the vessel as "Good. Not very fine."

late 17th century

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with slip glaze and ash glaze

Tamba ware

HxW: 29.1 x 24.2 cm

F1899.9

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133

West

Edo period

Tachiku

Japan

United States

New York

New York

Vase

Vase

Awata district

This Meiji era vase is attributed to the Japanese artist Kinkozan Sobei VI. The artist's mark is impressed on the base of the vessel. Ceramics coming out of the Kinkozan workshop are characterized by a style of overglaze enamel decoration, and on this vase, that method produces a blue lava-like effect flowing from the mouth of the flattened rim. The vessel's body is a dimpled copper brown. Freer bought this namban style vase from Yamanaka and Company in 1901.

Kinkozan Sobei VI (1824 - 1884)

circa 1870-1880

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with iron and cobalt glazes

Kinkozan ware

HxW: 19.0 x 10.9 cm

F1901.146a-b

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124

South

Meiji era

Kyoto

Japan

United States

New York

New York

Bottle

Bottle

"This jar," Freer commented in an undated inventory note, "was found in Corea [sic] and was originally supposed to have been made in that country; I believe it, however, to be Chinese made during the Sung dynasty." The piece was purchased from the Boston-based dealer Matsuki Bunkyo, and it is now believed to be an Edo-period piece from Japan. In the Peacock Room, Freer placed it alongside other similarly large vessels, on the tall shelves surrounding the gilded peacock shutters.

18th-19th century

Gift of Charles Lang Freer

Matsuki Bunkyo

Stoneware with white slip under clear glaze

HxW: 30.9 x 26.3 cm

F1900.63

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77

East

Edo period

Japan

United States

Boston

Massachusetts

Inkstone screen

Inkstone screen (kenbyo)

This desk screen is one of several ceramics that Freer acquired and believed to be by the renowned Kyoto ceramist Ogata Kenzan (1663-1743), but since have been reattributed to nineteenth-century imitators. In his 1885 book <i>Japanese Homes and Their Surroundings</i>, Edward Sylvester Morse commented on the format of works like this: "In the old-fashioned genkan, or hall-way, there stands a solid screen of wood with heavy frame, supported by two transverse feet. This screen is called <i>tsui-tate</i>, and is an article of furniture belonging to the hall....Diminutive models of the tsui-tate are made in pottery or porcelain, and these are for the purpose of standing in front of the ink-stone to prevent the mats from being spattered when the ink is rubbed." In the Peacock Room in Detroit, this desk screen was placed among ceramic vessels with similar landscape decorations.

Imitation of Ogata Kenzan

late 19th century

Gift of Charles Lang Freer

R. E. Moore

Buff clay; iron pigment, enamels under transparent lead glaze.

HxWxD: 27.6 x 38.2 x 2.6 cm

F1897.20

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74

East

Meiji era

Kyoto

Japan

United States

New York

New York

Vase in mimikuchi form

Vase

After Freer purchased this mottled, wine-red&#151;nearly black&#151;glazed vase from Matsuki Bunkyo, he described it as "rare and beautiful." He suspected that its form was influenced by Korean pottery, and therefore believed, erroneously, that the vase was an example of seventeenth-century Satsuma ware. Satsuma ware originated when skilled Korean potters were forcibly relocated following the Japanese Invasions of Korea between 1592 and 1598. Freer's vase, however, is now known to be of more recent date. It is a late nineteenth century example of Kyoto or Seto ware. The form of this vase, with its distinctive wing-shaped handles may be borrowed from prototypes worked in metal.

19th century

Gift of Charles Lang Freer

Matsuki Bunkyo

Stoneware with iron glaze; glass-powder repair on base

Kyoto or Seto ware

HxWxD: 33.2 x 37.2 x 19.7 cm

F1897.32

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2

73

East

Edo period or Meiji era

Kyoto or Seto

Japan

United States

Boston

Massachusetts

Vase with design of peonies

Vase

Grotesque head loop handles appear on either side of this grayish beaker-shaped flower vase of the Edo period (1700-1820). Freer purchased the stoneware vase, which bears a design of peonies, from a customary dealer, Matsuki Bunkyo, in 1900. The vase had previously belonged to Ikeda Seisuke, a noted Kyoto dealer. In his object notes, Freer referred to "the elder Ikeda of Kioto [sic], who showed me the jar during one of my early trips to Japan." This vase is decidedly less subtle in its form and decoration than most of the ceramics that Freer collected, suggesting that sentimental memories of his first visit to Japan in 1895 may have influenced his purchase of the piece when it was offered by Matsuki some five years later.

1700-1820

Gift of Charles Lang Freer

Matsuki Bunkyo

Stoneware with cobalt decoration under translucent glaze

Satsuma ware

HxW: 31.6 x 28.8 cm

F1900.66a-b

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70

East

Edo period

Japan

United States

Boston

Massachusetts

Kenzan-style water jar with crane and fishnet design

Tea ceremony water jar (tomobuta mizusashi)

Dealer Matsuki Bunkyo sold this water jar to Freer in 1898, describing it as a work by the renowned Kyoto ceramist Ogata Kenzan (1663-1743) or one of his earliest followers. Edward Sylvester Morse, a noted authority on Japanese art, bluntly informed Freer, "Don't believe Kenzan ever made that in the world"; the vessel is now attributed to a nineteenth-century imitator. In the Peacock Room in Detroit, Freer displayed this jar, with its design of cranes and fishnets, among other vessels featuring figurative surface decorations.

Imitation of Ogata Kenzan

late 19th century

Gift of Charles Lang Freer

Matsuki Bunkyo

Buff clay; white slip, iron pigment under transparent and ochre-colored lead glazes

Raku ware, unknown workshop

HxWxD: 18.8 x 21.4 x 21.4 cm

F1898.52a-b

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69

East

Meiji era

Kyoto

Japan

United States

Boston

Massachusetts

Vase

Vase

Although this vase is now thought to be from Edo period Japan, Freer, who described it as "very fine," believed it to be either Korean or thirteenth-century Chinese. He purchased it from the New York store of Yamanaka and Company, and likely compared its landscape design to Japanese ink paintings and to similarly abbreviated views of nature by James McNeill Whistler.

probably 19th century

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with white slip and iron decoration under clear glaze

HxW: 24.0 x 17.1 cm

F1903.234

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62

East

Edo period

Japan

United States

New York

New York

Bottle

Bottle

This Edo period stoneware bottle, with a lustrous brown glaze and crackled, grayish-white overflow, was one of a number of Japanese ceramics that Freer purchased from Yamanaka and Company in 1898. A decade later, he displayed it in the Peacock Room on one of the high shelves to the right of <i>La Princesse du pays de la porcelaine.</i>

1790-1850

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with iron and rice-straw-ash glazes

Agano or Takatori ware

HxW: 27.8 x 13.1 cm

F1898.453

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58

East

Edo period

Japan

United States

New York

New York

Tea ceremony water jar

Tea ceremony water jar (mizusashi)

Freer purchased this tea ceremony water jar, with a clear crackled glaze suffused with opalescent blue, in 1900 from the Fifth Avenue shop of Yamanka and Company. Although its origins were uncertain in Freer's day, it is now dated to the Momoyama period, in the early seventeenth. It shows a distinctly Korean influence: In the aftermath of Japan's two invasions of the Korean peninsula in the 1590s, sometimes known as the "Pottery Wars," hundreds of Korean potters were resettled within warrior domains in southern Japan. The kilns that they established became important sources of tea-ceremony ceramics and tablewares. Early southern wares like this reflect the shapes, glazes, and decorative techniques of their Korean prototypes.

1602-1615

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with wood-ash and rice-straw-ash glaze

Agano ware

HxWxD: 15.6 x 21.2 x 21.2 cm

F1900.4a-b

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2

54

North

Momoyama period

Japan

United States

New York

New York

Jar

Jar

This Japanese stoneware jar, with a mottled gray glaze and drips of purple overflow, was one of the earliest Asian ceramics acquired by Freer. He bought it in 1892 from the New York-based Japanese dealer Tozo Takayanagi, from whom he had also purchased, in the same year, a Japanese painted fan. Freer subsequently turned to Yamanka and Company, another purveyor of Japanese art located on Fifth Avenue, for many of his ceramics purchases. In 1892, however, Tozo seemed to be enjoying a particularly good year. The periodical <i>The Collector</i> noted in its August issue: "Mr. Tozo Takayanagi announces the removal of his Art Rooms to 160 Fifth Avenue. His collection is now especially rich in the finest possible specimens of Japanese bronze, shakudo, porcelain and the like, most of them of an especially valuable decorative character" (see "Forecasts of the Fall Season," <i>The Collector</i> 3:18 (Aug. 15, 1892): 275).

1750-1810

Gift of Charles Lang Freer

Tozo Takayanagi

Stoneware with rice-straw ash glaze and trails of wood-ash glaze

Agano ware

HxW: 24.3 x 19.6 cm

F1892.30

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40

North

Edo period

Japan

United States

New York

New York

Sake bottle

Bottle (tokkuri)

This long-necked sake bottle from the Edo period was purchased by Freer as part of a larger collection, the Waggaman Collection of 1905. Its previous owner, Thomas A. Waggaman, was among the founders of Catholic University in Washington, DC. On February 2, 1905, a <i>New York Times</i> article referred to sale of the Waggaman Collection and mentioned Freer as one of the purchasers, along with the author, O. Henry. This pear-shaped vessel is sometimes referred to as a "crane's neck bottle" because of its unique opening. Its coloration is dark brown, and the glaze of its clay body is flecked with an ochre yellow finish-almost as if it were sprinkled with pure gold.

1650-1710

Gift of Charles Lang Freer

American Art Association

Stoneware with iron glaze; silver rim

Karatsu ware

HxW: 23.5 x 13.4 cm

F1905.48

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35

North

Edo period

Taku

Japan

United States

New York

New York

Vase with crescent-moon and sun-shaped lugs

Vase

The sun and moon stand in relief as handles on this Edo-period Japanese stoneware vase. Freer purchased the vase from Tozo Takayanagi in 1902 and noted that the vessel was "very fine." He also noted his disagreement with Matsuki Bunkyo, one of his frequent art dealers and a sometime- adviser on purchases of Asian art and ceramics. "B. Matsuki says Tamba. I say Bizen," Freer wrote. Later scholars have agreed that it is not a Tamba piece, but have fallen short of verifying Freer's account. Its delicate proportions and workmanship, including its iron and ash glazes, suggest the Edo or Meiji period, likely from a kiln in the Fukuoka Prefecture of Japan, and associated with the historical region of the Buzen or Chikuzen Province. In the Peacock Room in Detroit, the vase stood on a shelf to the right of the room's focal point, <i>La Princesse du pays de la porcelaine.</i>

1800-1880

Gift of Charles Lang Freer

Tozo Takayanagi

Stoneware with iron and ash glazes

Possibly Agano or Takatori ware

HxW: 20.2 x 12.2 cm

F1902.96

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2

34

North

Edo period or Meiji era

Japan

United States

New York

New York

Incense container with Chinese lion-dog on lid

Incense box (kogo)

Freer purchased this Edo period incense container from the sale of the Samuel Colman collection just after the turn of the twentieth century. Colman (1832-1920) was an early collector of "Oriental art" in America: in 1880, a number of his pieces, including Chinese porcelain and a Japanese suit of armor, were displayed at the Ortgies Gallery in New York City. The open-mouthed lion may have been derived from a similar motif on a style of Ming dynasty Chinese bronze incense burner (with the lion's mouth serving as smoke vent). In the Peacock Room, this piece was on the far right end of the mantel; an earthenware cat (F1897.33) was placed on the far left. Between these two animal figures Freer arrayed a number of simple tea bowls in varying shade of brown.

19th century

Gift of Charles Lang Freer

American Art Association

Raku-type earthenware with red slip under clear lead glaze; partial gilding

Raku ware, unknown workshop

HxWxD: 5.2 x 5.2 x 4.3 cm

F1902.63a-b

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33.1

North

Edo period

Japan

United States

New York

New York

Tea bowl

Tea bowl (hirajawan)

This tea bowl, purchased in 1904 from Yamanaka and Company in New York, is made from fine-grained, buff clay with a pale greenish glaze. Its patina of brown stain on its bottom and lower sides&#151;the result of its use in the tea ceremony&#151;gives it a chromatic complexity that would have appealed to Freer, who displayed it with similar bowls on the mantel of the Peacock Room.

late 15th-early 16th century

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with ash glaze

Seto ware

HxWxD: 5.8 x 15.5 x 15.5 cm

F1904.327

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2

33

North

Muromachi period

Japan

United States

New York

New York

Figure of a cat

Figure

In nineteenth-century Japan, the cat was an occasional companion of courtesans and, in art, suggestive of willfulness, stealth, and eroticism. In the Peacock Room, Freer placed this figure on the mantel alongside a number of earth-toned tea bowls and beneath Whistler's <i>La Princesse du pays de la porcelain</i>, which depicts the Anglo-Greek beauty Christina Spartali in Japanese robes, surrounded by a variety of decorative objects from China and Japan.

19th century

Gift of Charles Lang Freer

Matsuki Bunkyo

Earthenware with iron pigment under clear lead glaze

Probably Kyoto ware

HxWxD: 2.9 x 5.5 x 3.4 cm

F1897.33

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2

28.1

North

Edo period or Meiji era

Probably Kyoto

Japan

United States

Boston

Massachusetts