Japonisme Vases and Vessels

Karl Lindström and Nils Emil Lundström for Rörstrand. Lidded porcelain jar decorated with grapevines in gold on the beautiful dark blue base. Japa...

This is a vase made by the Japanese ceramic artist unit "Scarlet Pottery." It is a piece of pottery made using Amakusa pottery stone. Amakusa pottery stone is famous as the raw mater...

#350 Japanese Edo Period Bronze Jardinière w/ Birds & Cherry Blossom Tree, 19th C. DIMENSIONS: Height: 9 inches Diameter: 12 inches DETAILS Edo Period (1603-1868) Meiji Period (...

Antique broken ceramic Japanese sake bup repaired with glass. Broken chips are welded by glass. This work is study for relationship between object and decoration. Subject is Destru...

Japanese Enameled Bronze Incense Burner – 19th Century Elegant and refined, this 19th-century Japanese incense burner perfectly embodies the exceptio...

This series of ceramics are unique work by Norihiko Terayama. This is one of series of practicing relationships with function and decoration. Artis...

Antique broken ceramic vase repaired with glass. Broken chips are welded by glass. This work is study for relationship between object and decoration. Subject is Destruction and coex...

A wonderful pair of large Japanese late 19th century Fukagawa Imari lidded vases. Each with three stylised mythical birds as finials to the lids, bold o...

Bicone vase by U-Turn Ushiro. It is baked for several days in an anagama (a kiln that burns firewood). It is shaped vertically symmetrically. The copper contained in the clay blows out on the surface, and reddish-black spots can be seen partially. It is a work where you can see various reactions of various ingredients. U-Turn Ushiro While working at the fire station...

This series of ceramics are unique work by Norihiko Terayama. This is one of series of practicing relationships with function and decoration. Artis...

A rare porcelain vase by Makuzu Kozan (1842-1916) circa 1870-81 (late Meiji period). The vase is dated to the earlier work from Kozan's studio during his early period (Takauki-ware p...

This series of ceramics are unique work by Norihiko Terayama. He broke ceramic at first, and make it into a lot of fragment. He rasp some of fragmen...

This turquoise blue Japanese export vase with a rosewood base is as refreshing as a breath of spring. It This item is an inspired mid 20th century Japanese export blue vase, showca...

This series of ceramics are unique work by Norihiko Terayama. He broke ceramic at first, and make it into a lot of fragment. He rasp some of fragmen...

19th century French bronze vase patinated and decorated with cherry blossoms along with branch form handles. The baluster form vase with a quad form pierced base surmounted on a roun...

A fine Pair of 19th century Japanese Imari Porcelain and French Gilt-Bronze Mounted Thirteen-Light Celadon Torchere Candelabra. The bottle-shaped Japonisme vases with a Royal red background, decorated with parcel-gilt and black soaring eagles in the hunt within a forestall scene. Each Vase fitted and surmounted with a French 19th century Louis XV Style 13-Light scrolled candelabrum and all raised on a circular pierced gilt-bronze plinth. circa: 1880. Imari Porcelain (????) is the name for Japanese porcelain wares made in the town of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe extensively from the port of Imari, Saga, between the second half of the 17th century and the first half of the 18th century. The Japanese as well as Europeans called them Imari. In Japanese, these porcelains are also known as Arita-yaki (???). Imari or Arita porcelain has been continously produced up through the present day. Characteristics Though there are many types of Imari, Westerners' conception of Imari in the popular sense is associated only with a type of Imari produced and exported in large quantity in mid-17th century. This type is called Kinrande. Kinrande Imari is colored porcelain with cobalt blue underglaze and red and gold overglaze. The color combination was not seen in China at that time. Traditional Ming dynasty color porcelain used dominantly red and green, probably due to scarcity of gold in China, whereas gold was abundant in Japan in those days. The subject matter of Imari is diverse, ranging from foliage and flowers to people, scenery and abstractions. Some Imari design structures such as kraak style were adopted from China, but most designs were uniquely Japanese owing to the rich Japanese tradition of paintings and costume design. The porcelain has a gritty texture on the bases, where it is not covered by glaze. There is also blue and white Imari. Kakiemon style Imari is another type of Imari, but it tends to be categorized separately in Europe. History "Imari" was simply the trans-shipment port for Arita wares. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, when kaolin was discovered in 1616 by the immigrant Korean potter, Yi Sam-pyeong (1579–1655). (He may also be known by the name, "Kanage Sambei".) Yi Sam-Pyeong, along with his extended family of 180 persons, left Korea on the offer of a privileged position in Japan. This decision was made after the occurrence of certain Japanese invasions of Korea. After Yi Sam-Pyeong's discovery, his kilns began to produce revised Korean-style blue and white porcelains, known as "Shoki-Imari". In the mid-17th century there were also a lot of Chinese refugees in Northern Kyushu due to the turmoil on Chinese continent, and it is said one of them brought coloring technique to Arita. Thus Shoki-Imari developed into Ko-KutaniImari. Ko-Kutani was produced around 1650 for both export and domestic market. Blue and white porcelain continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are accordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon style Imari, which was produced for about 50 years around 1700. Imari achieved its technical and aesthetic peak in Kakiemon style, and it dominated European market. Blue and white Kakiemon is called Ai-Kakiemon. Kakiemon style transformed into Kinrande in the 18th century. Kinrande used blue underglaze and red and gold overglaze, and later some other colors. Imari began to be exported to Europe because the Chinese kilns at Ching-te-Chen were damaged in the political chaos and the new Qing dynasty government stopped trade in 1656–1684. Exports to Europe were made through the Dutch East India Company, but the designation "Imari Porcelain" in Europe connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China began export to Europe again, since Imari was not able to compete against China due to high labor cost. By that time, however, both Imari and Kakiemon style were already so popular among Europeans, Chinese export porcelain copied both Imari and Kakiemon style, which is called Chinese Imari. At the same time, European kilns, such as Meisen also tried to copy Imari and Kakiemon. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe. Thus in western world today, two kinds of Imari can...

A tall vintage ceramic vase with handle from Japan (20th century) by Nanba Koyo. Made in the tradition of Bizen ware, the vase has a modern aesthetic with a...

Pair of Japanese-style roll-shaped vases, made in “cloisonné” enamel and gilded bronze. The cylindrical body is decorated with polychrom floral branches, flowers and butterflies on a...

Exceptional early 20th century Japanese brass champleve. Features vibrant enameled decorative designs throughout the vase.

A set of four Japanese Ceramic Tokkuri Sake storage bottles circa early 20th century (Meiji to Taisho period). The bottles were made in Tanba (or Tamba) ...

A trio of Modern Kintsugi-style skinny vases, each a unique embodiment of artistry and contemporary design. Crafted in three dimensions—tall, medium, and s...

Yasumi Nakajima II (1906-1988) Ikebana vase, circa 1960, Japan. Trumpet form, Tomoe model, with nice patinated brown-red (seido) bronze. Signed underneath. Dimensions: 26 cm H, 9 ...

This a Lladro soft glow porcelain flower gourd vase. It is hand painted white in the background with a repousse of long light green branches with light blue leaves and flowers plus r...

Japanese (19th Century) orange and white round shaped porcelain vase with handle top.  

Model n° 1567 Beautiful Japanese inspired baluster-shaped vase in tinted stoneware. The rich polychrome rotating decoration illustrates cranes in the moonlight, near a lake lined wi...

Two small nearly identical ceramic vases by Japanese Meiji imperial potter Makuzu Kozan (1842-1916), circa 1890-1900s. The vases were made in the form of jarlet with swelled shoulder...

An antique Japanese stoneware storage jar, known as tsubo from Shigaraki kiln, circa 17th-18th century (early Edo possibly Momoyama period)....

Set of three Nippon porcelain pieces. Hand-painted in Japan.

The long neck bottle of classic form was heavily potted with coarse clay with high iron content. The flask, circa 18th century Edo period, was purposed for sake storage but also substituted as a flower vase during tea ceremony. The surface is covered in glossy black glaze and contrasts strikingly with white ash glaze around the shoulder. The white, fired with straw, displays a splashing feather effect and fine crackles, blending in with the black artistically. This type of Karatsu ware...

An important woven bamboo ikebana basket circa first half of the 20th century (Taisho or Showa era) by Japanese bamboo master Maeda Chikubosai I (1872-1950). Chikubosai I was from th...

Japonesque bronze cache pot by Berndorf, Austria, circa 1890. Nouveau with a Japanese decorative motif. Stamped Bergdorf over an E Decorated with thr...

A fine quality pair of Japanese Meiji period (1868-1912) green and red patinated bronze vases, each having pierced decoration, having wonderful raised carp swimming around the center...

Japanese Late Meiji Period Satsuma Three-Footed Vase, Ca. 1900 Late Meiji Period (1868-1912) DIMENSIONS: Height: 10.25 inches Di...

Large Oblong White Porcelain Vase, by the Royal Berlin Manufacture, 1900s. In a 'Japonisme' style. Marked in blue underglaze with the Berlin scepter. Origin : Germany. Very good cond...

A delicate and rare Japanese ceramic vase by the important Meiji imperial potter Makuzu Kozan (1842-1916) circa 1887-1910. Dated to his underglaze phase post 1887 after he successful...

Japanese Emperor Shōwa Period Kiyomizu-Ware Vase, 18th Century Emperor Shōwa Period - from 1926 to 1989/1990 DIMENSIONS Height: 9 inches diame...

Japanese Emperor Shōwa Period Tamba-Ware Textured Glazed Vase, Ca. 1970 Emperor Shōwa Period - from 1926 to 1989/1990 Signed. DIMENSIONS Width: 8 inches Height: 5.5 inches ABOUT ...

Planter presented at the Universal Exhibition, Paris, 1878, along with several other works on this theme, an extremely rare piece. An identical model is held in the Baccarat Museum's...

Japanese Modernist Beige Studio Ceramic Flower Vase, Circa 1950s DIMENSIONS: Height: 11 inches Diameter: 4 inches ABOUT JAPANESE MODERNIST BEIGE STUDIO CERAMICS Japanese Modernist...

A ceramic vase with iridescent glaze in the shape of an elephant foot cache pot by the legendary French ceramist Pierre Clement Massier (1845-1917). Massier is widely considered as t...

A Rare and Quite Unusual Pair of Signed 19th Century French Japonisme/Chinoiserie/Orientalist Ormolu Mounted Champleve Enameled Onyx Urns by Eugène Cornu. Each is made from champlev...

A porcelain vase with dragon design by Japanese imperial potter Makuzu Kozan (1842-1916), circa 1900s. The vase is made in what is considered early phase of his underglaze period during late Meiji era. In a classic baluster form, the surface of the vase was decorated with a slithering dragon in underglaze iron red circulating the exterior among pink clouds. The animated rendering of the dragon is fine and detailed, with five claws, scales, long tails and highlighted eyes. The pink cloud is misty and called Morotai or the hazy style, created with a unique technique developed in Kozan's studio called fuki-e by blowing the pigment powders onto the surface. Kozan Studio experimented with newly available colors from the west starting in the 1880s, which resulted in the expansion of the palette and style that bridged the east and west aesthetic tradition. Marked in underglaze blue on the base. Known also as Miyagawa Kozan...

Pair of Samson porcelain vases, gilt bronze mounting, early 20th century. A pair of 1920's Samson porcelain vases with gilt bronze mounts, floral decoration in the Asian Arts style....

Pair of Japonism porcelain and ormolu-mounted Aesthethic Movement vase's.

Japanese Meiji Period Koransha Olive Green & Gold Glaze Porcelain Vase, Ca. 1880 DIMENSIONS Height: 4.5 inches Diameter: 5 inches ABOUT Meiji Period (1868–1912) Koransha Porcelain ...

This decoration with a Japanese landscape was made by the Baccarat crystal factory around 1880. Founded under Louis XV, the French crystal factory Baccarat demonstrated its excelle...

Pair of fine quality Japanese Meiji period (1868-1912) patinated bronze Miyao style gold and silver overlay two handled vases, each with twin handles, classical motif decoration with...

This elegant earthenware jar, an impressive 148 cm high, is based on one of the most famous vase shapes in Chinese art: the Meiping. This simple yet voluptuous silhouette dates back ...

A impressively large and unusual stoneware vase in an urn shape from the studio of Japanese Potter Makuzu Kozan, also known as Miyagawa Kozan (1842–1916), one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama circa 1870s and later became one of the appointed artist 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. This vase is dated to the end of Makuzu's life circa 1910-1916 based on similar work created around that time. After achieving domestic and international fame, Makuzu retired and handed the business to his son Hanzan in 1912. He dedicated his time to other selected projects that were more in tune with Japanese sensibility than export aesthetic. He made a group of stoneware pottery pieces inspired by Edo master like Ninsei and Kenzan as well as his own poetic creation. This piece is attributed to that period. Standing of an impressive size, this vase is more like an urn, made with stoneware instead of porcelain. It was coated with a brown iron glaze with a slight translucent quality. Underglaze whit slips were used to draw low relief decoration of bamboo leaves that sparsely scatter on the surface. Slightly more elaborate scrolling vines and autumn flowers circles under the mouth rim. Same white slip inlay was used to sign the vase under the base. The whole effect of the piece is unusual. With its dark glaze in contrast with the sparse white decoration that is more abstract and geometric than realistic, it appears almost modern with an Art Deco flavor. For stoneware urn and vase in the similar genre by Makuzu Kozan: see figure 113 on page 182 of "Sekai ni Aisa Reta ya Kimono" MIYAGAWA KOZAN MAKUZU...

American applied sterling silver perfume vial, ca 1880. Clear glass cylinder with twisted fluting. Sterling silver collar and hinged cover with tendril, f...

A garlic bottle vase in an archaic Chinese form, but likely Japanese in origin. Several circumventing grooves however, suggest a more modern age. It was done in a brilliant purple glaze over a robin egg blue background glaze. The bubbling and bursting effects during the firing renders the surface an artistic spotting effect. The color pallet recalls the Classic Jun Yao...

A stoneware vase with white dripping glaze from Hagi by Kyusetsu Miwa X (1895-1981), Showa Period. The vase is in the shape of "Double Gourd" with a bulbous ...

Atique Rootwood & Bamboo Ikebana Vase Japan, XIX Century DIMENSIONS Height: 19.25vinches Width: 10.13 inches Depth: 9.5 inches ABOUT This absolutely unique ikebana vase consists of...

This vase was created by Émile Gallé for the Escalier de Cristal at the end of the 19th century. A pioneering figure of Art Nouveau, Émile Gallé was particularly influenced by Far E...

Perignem, Japanese-inspired ceramic vase, not signed, circa 1950

Karl Lindström and Nils Emil Lundström for Rörstrand. Lidded porcelain jar decorated with grape vines in gold on a beautiful dark blue base. Japan...

A fine quality hand painted Japanese Meiji period (1868-1912) Fukagawa porcelain lidded vase. Depicting exotic Cranes among Reeds and Lillys, boa...

Japanese Emperor Shōwa Period Classic Oval-Shaped Vase, Ca. 1960 Emperor Shōwa Period - from 1926 to 1989/1990) Featuring bamboo handles. Signed on the bottom. DIMENSIONS Height:...

With an Arabesque rim and decorated with lizards, dragonflies and vines. These unusual vases reflect the European fascination Japan at the turn of the century and delightfully inco...

A Fine Pair of 19th-Century French Japonisme Gilt Bronze-Mounted Porcelain Vases with Double Handles, Resting on Black Marble Bases, by Louis Pierre Malpass. The vases have an elonga...