1. Based on resources, Toyosuke Itou was active from 1820 to 1875?,
and during the third quarter of the nineteenth century from 1850 to
1875, Toyosuke made his realistic eyed animal figures at Yokkaichi).
According to Rein (The Industries of Japan ©1889), Toyosuke-yaki
kiln of Nagoya was actively making earthenware in 1889 --
beautifully ornamented with lacquer painting -- Toyosuke-yaki in
Nagoya itself, which the Toyosuke family finishes on the inside with
coloured lead glaze, but on the outside with lacquer painting.
(Note: Toyosuke variation name spellings: Toyoske, Toyoski).
2. Sometime during the later part of his life, Toyosuke went to
Yokkaichi and made fine artistic animal figures and was noted for
their realistic eyes. His wares were signed - (YokkaichiShinko.com). |
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「豊助作」「晩成堂作」「萬古豊助作」 |
3. According to Stewart Dick (Arts and Crafts of Old Japan ©1905), in
1850 Toyosuke made Raku type ware in Nagoya.
4. In 1800, Toyosuke was the name of a principle factory producing
faience ware and their wares were described as brown with white raised
relief enamels (Japan in art and industry, Frederick Stokes, 1892).
5. Listed under Horaku Ware - The factory from which this ware emanated
was also erected on the Raku system, in 1820, by a man named Toyosuke,
and is situated near the town of Nagoya in the province of Owari.
Latterly, a production, the outside of which is covered with lacquer,
and decorated with lacquer-painting, has come into favour. It is
called Toyosuke, after the inventor, and eating and drinking utensils
are made of it for daily use, but are not used at the tea ceremonies
(Japanese Pottery - a Native Report, A. W. Franks, M. Shioda, and T.
Asami, 1880).
6. The mark Horaku is the name of maker, were as it is on the
numerous marks of the Toyosuke pottery (A Vindication of the Decorated
Pottery of Japan, James Lord Bowes, 1891).
7. According to 1881 Keramic Art of Japan written by George
Ashdown Audsley and James Lord Bowes: At Nagoya, Toyosuke ware is also
made; it takes its name from Hoki Toyosuke, the inventor, and is of
light buff faience, made in the form of dishes, vases, sweetmeat boxes,
and other articles for domestic use; the outward surface, partially in
some cases and wholly in others, is coated with black or dark green
lacquer, whilst the interior is covered with an opaque crackled glaze,
upon which are splashes of green enamel, or rude sketches of floral
sprays or pendant flower baskets; the lacquer coating is ornamented with
various designs traced in gold, silver, and colours. Toyosuke also
makes graphically modelled figures of the household gods, but lacquer is
not employed in the decoration of these works.
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8. Captain Frank Brinkley notes
on Toyosuke Raku-yaki: This is a
faience produced at the Horaku factory in Nagoya, the chief town of
Owari. It dates from the early part of the nineteenth century, and
owes its origin to an expert called Toyosuke. It is soft, crackled
faience of the Raku type, covered on one side with greenish white glaze,
embellished by bold sketches of floral subjects, and on the other with a
thin coat of lacquer, carefully applied, and bearing delicate designs of
considerable beauty. Lacquer thus employed on small pieces of
faience becomes an agent of considerable value in keramic decoration,
and is especially suited to the soft Raku ware of Toyosuke. Noted under
wares of Owari, mark #607 - Rikei = name of maker (Seto);
second half of the eighteenth [sic - misprint and should be nineteenth] century; first of the Toyosuke potters.
Fig. 607. |
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9. Catalogue of a Collection of Oriental Porcelain and Pottery, A. W.
Franks, 1876: The catalog provides a seal script stamp mark found on Toyosuke lacquer faience.
Plate XVII, fig. 248. |
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10. Catalogue of the Morse Collection
of Japanese Pottery, Edward Morse, Museum of Fine Arts,
Boston, 1900.
PROVINCE OF OWARI
TOYOSUKE (Case 26)
The potter who was working at the Toyosuke oven at Nagoya in
1882 claimed to be the sixth generation of the family. The
product of the kiln has been as various as the marks, of
which there are many. The pottery is usually soft, with
thick green and white glazes. Many pieces are lacquered
outside. The recent work is a cheap imitation of the older
forms. An earlier generation make red Raku bowls of
considerable merit. The first generation, in the early part
of the last
century, signed his pieces with the mark Rikei; the second
generation used the marks, Toyo and Toyohachi, and this mark
was used by subsequent generations. In 1840 the mark
Toyosuke was first used. Many other marks are seen, and the
old ones have been revived. |
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FIRST GENERATION
[Figure] 2979. Jar. H. 4 7/8 in. Small mouth. Four looped
handles. Light fawn clay, glistening greenish underglaze ;
around upper portion, lustrous golden-brown overglaze.
Panels, frets, and characters in relief moulded. Rikei
(imp.).[circa] 1760. Exceedingly rare mark.
SECOND GENERATION (Plate XIX. 2982)
[Figure] 2980*. Tea-cup, for offering. D. 2 5/8 in. Soft
light grayish clay, thick green glaze. Fret incised and
gilded. Toyohachi (imp.). [circa] 1780.
[Figure] 2981. Flower-vase. H. 10 7/8 in. Body square. Fine
yellowish clay,
dark green glaze clouded. Sanji in panels in high relief.
Toyo (imp.). [circa]
1800.
[Figure] 2982. Bowl, irregular rim. D. 5 in. Soft light fawn
clay, yellowish
Raku glaze finely crackled, splash of rich green over-glaze
running. Crest in
dark brown, inside and out. Toyohachi (imp.). [circa] 1800. |
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THIRD GENERATION
[Figure] 2983. Tea-jar. H. 2.50 in. Light gray-drab clay,
polished gray-drab
surface with black areas. Conventional flowers in white.
Koren-ri Horaku-ken
kore wo tsukuru (inc.). [circa] 1820.
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FOURTH
GENERATION
[Figure] 2984. Box, drum-shaped. D. 5.125 in. Soft clay,
yellowish-white glaze. Body light red Raku glaze. Cover
glazed light green and purplish-brown with Tokugawa badge.
Toyoraku (imp.). [circa] 1840.
FIFTH GENERATION
[Figure] 2985. Incense-burner. H. 2.75 in. Light fawn clay,
green glaze. Simple design, incised and gilded. Toyosuke
(imp.). [circa] 1850.
[Figure] 2986. Incense-box (bird). L. 2.50 in. Light fawn
clay, purple, green, yellow, and transparent glaze. Toyosuke
(imp.). [circa] 1850.
[Figure] 2987. Hand-warmer. D. 6.50 in. Top perforated.
Toyosuke (imp.). [circa] 1850.
[Figure] 2988*. Cup-rest. Toyohachi (imp.). [circa] 1850.
[Figure] 2989. Incense-box. L. 3 in. Light fawn clay.
Inside, white glaze with rich green splashes. Plum blossoms
in black. Outside, lacquered with pomegranate decoration.
[circa] 1850.
[Figure] 2990-2995. Forms of Toyosuke, lacquered and
otherwise, variously signed Bairaku (2990), Toyosuke (2991),
Keiraku (2992), Toyoraku and Kiyodo (2995).
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[Figure] 2996. Fire-vessel. D. 5.125 in. Fine pinkish-fawn
clay, reddish and black areas, unglazed. Kiyodo. [circa]
1860.
[Figure] 2997. Raku tea-bowl. D. 4.50 in. Soft clay, light
red Raku glaze with large areas of mottled green glaze.
Toyoraku (imp.). [circa] 1860.
SIXTH GENERATION
[Figure] 2998. Box, in exact form of bivalve shell. L. 4 in.
Outside, smooth surface unglazed, gray-drab in color with
white areas. Inside, grayish-white glaze. Decoration of
figures and clouds delicately drawn in blue. Unsigned.
[circa] 1878. A beautiful piece of work.
[Figure] 2999-3003. Forms of Toyosuke, variously signed
Toyosuke (2999*), Roku-ju-ku
(3000), Oki-uji sei Horaku
(3001), and Oki Horaku (3003). |
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SASASHIMA (Case 26 and Plate XIX. 3005)
A well marked soft pottery bearing the impressed mark
Sasashima was made in a village of that name near Nagoya, in
the middle of the last century. Ninagawa [Ninakawa?]
attributed this work to one of the Toyosuke potters. Careful
inquiries at the Toyosuke oven failed to bring out any
allusion to the use of this mark in
earlier
generations. As the work is quite different in character,
and possesses a merit distinct from that of Toyosuke
pottery, it will be considered under the name Sasashima. One
object, signed Bokusai, etc., may give some clue as to one
of the potters.
[Figure] 3004. Figure, vigorously modeled. H. 8 in. Dark
gray clay, unglazed. Cloth-mark impression outside.
Sasashima (imp.). [circa] 1750.
[Figure] 3005. Haisen, on three stout legs. Longest diameter
7 in. Irregular oval outline. Fine soft fawn clay, thick
yellowish-white glaze. Over-decoration of quaintly drawn
lion in yellow, outlined and dotted with brown, on a
background of floral scrolls in green outlined in black with
purple buds and flowers. Sasashima (imp.). [circa] 1750.
Gift of Denman W. Ross.
[Figure] 3006. Shallow bowl. D. 5 7/8 in. Light salmon clay,
transparent glaze, Inside, radiating zigzag lines, circles,
etc., in white slip. Sasashima (imp.). [circa] 1780.
[Figure] 3007. Square cake-tray. W. 7 in. Flaring sides.
Light fawn clay, greenish-white glaze coarsely crackled.
Over-decoration of shell, clouds, and castle in blue.
Unsigned. [circa] 1780.
[Figure] 3008. Shallow bowl. D. 6 7/8 in. Nearly white clay,
transparent
underglaze, greenish-white overglaze.
Overglaze decoration of maple leaves in salmon-brown.
Sasashima (imp.). [circa] 1800.
[Figure] 3009. Tray, in form of dust-pan. L. 8 in. Light
clay, yellow glaze. Sasashima (imp.). [circa] 1800.
[Figure] 3010. Tea-bowl. D. 4 3/8 in. Fawn clay, transparent
underglaze, red
Raku overglaze with greenish areas.
Sasashima (imp.). [circa] 1830.
[Figure] 3011. Cake-plate. D. 7.50 in. Soft yellowish-fawn
clay and glaze, strongly crackled. Rectangular panel in
greenish-white, inside, upon which is a devil in buff,
brown, yellow, purple, and green. Sasashima, in double gourd
(imp.). [circa] 1850.
[Figure] 3012. Cake-bowl. D. 6.75 in. Modeled by hand. Rim
crenulated. Soft fawn clay, thick greenish-white glaze.
Inside, over-decoration of gourds, leaves, and flower in
dark green and brownish-yellow, outlined in dark brown.
Shichi-ju-o Sasashima
Bokusai (imp.). [cira] 1870. |
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