Solomon Treasure Ceramics

Old Japanese porcelain lidded incense burner in the original box The lid with the lion, two pierced handles on each side, and four feet at the four corners to stand. This is an old...

Pair of large Canton style famille rose Chinese porcelain vases. Qing Dynasty, late 19th century Measures: height 65cm, diameter 25cm Crafted from porcelain and executed in the so called 'famille rose' style, these large Canton vases...

An extraordinary addition to a contemporary decor for a stunning visual allure, this incense holder features a raw, porous shape deftly handcrafted and fire with the Raku Japanese...

A fine pair of Monumental antique Chinese late Qing dynasty period Famille Rose Porcelain vases. The vases of baluster form with applied handles modeled as dragons, each vase is very finely a hand-painted with polychrome scenes of immortal figures in a garden setting. Each vase having a red Qianlong six character mark to the base. Excellent condition, no damage or retoration. This monumental pair of antique...

Pair of large Canton style famille rose porcelain vases. Chinese, Late 19th century. Measures: Height 64cm, diameter 25cm. Crafted in Qing dynasty China in the late nineteenth century for the export market, these fine porcelain vases...

The globular body finely decorated with hand applied enamels depicting nobles taking tea surrounded by attendants and small children. The slender neck rising to a bulbous mouth (seemingly ground), the underside of the base showing small firing cracks and blue under-glaze double ring Kangxi marks...

Stunning contemporary Japanese Ko-Imari style porcelain koro or incense burner or jewelry box, hand painted on a beautifully shaped round body in cobalt blue, red and green and gener...

This late 19th century covered jar takes its rounded shape from serving tureens used to serve soups and stews. Contrasted by a crisp white field, the lid and sides are decorated with a lively scene of children at play in a courtyard garden. Accompanied by a man and woman, the children are each playing with a different toy, including a kite, a reed organ...

Blue and white ceramic or porcelain planter. The piece features scrollwork detail on rim, and flora and fauna depictions throughout. The bottom is signed with a "7" at the bottom. ...

This is a good Chinese Export snuff bottle, made from porcelain and hand painted in cobalt blue, dating to the mid 20th century, circa 1940. This piece is well potted with a balus...

Stunning pair of famille rose, Chinese vases, trumpet style rims with gold finished foo lion handles, horizontally double mount facing lizards on front and back, floral and figural b...

A tri-pod ceramic incense burner (koro) by Japanese Imperial potter Makuzu Kozan (1842-1916) circa late Meiji to the start of Taisho period (1890-1910s). A fine example of the artist's work belonging to the late part of his underglaze paint phase (started around 1887 until his death), the surface of the koro was painted in beautiful shades of blue to depict a continuous landscape not unlike a traditional ink and watercolor hand scroll. The rise and fall mountains recede and fade into the horizon and are dotted with groves of pines. The sky is painted with a beautiful subtle shade of pink, suggesting a time of sunrise or sunset. The koro is fitted with an ensuite reticulated sterling silver hoya (incense cover), pierced with swirling cloud and marked with "pure silver' in Kanji. The base is signed in underglaze blue "Makuzu Kozan Sei" within a double ring. The piece is beautifully potted in form and the decoration was done with expertise using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking landscape known as "Mountain and Water" with sense of dimensions and gradient, the poetic effects normally conveyed only by sumi ink staining on paper. The piece comes with an unsigned tomobako (wood storage box) of a recent age. Also known as Miyagawa Kozan (1842–1916), Makuzu Kozan was one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama around 1870s and later became one of the appointed artists to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. Being one of the most creative ceramists, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze around 1880s. New colors allowed him to create underglaze designs that appeared bright, smooth and glossy. He even invented his own receipt of cobalt blue to achieve a much brighter yet softer shade, as evident on this vase. To create landscape that is realistic and dimensional, more common in the western paintings, he was inspired by the native Japanese ink painting technique developed around 1900 by Yokoyama...