Japonisme Furniture

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...

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 fine porcelain teacup and saucer set. This pair would be fabulous if mixed in with a current collection, or on its own. On a maroon backg...

Kokeshi à feuilles d'érables, des années 1970, fabriquée par Inosuke Kobayashi, prix du Premier Ministre en 1979. Réputé pour son talent à reproduire avec précision l'art des tissus...

A milky white dish with slight scalloped rim and decorated with cobalt blue iron red and green enamel over glaze, this delicate piece in Kakiemon Style was dated at least to the earl...

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

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...

Candleholder designed by Ryosuke Harashima. This work is made of Japanese antique glass plate and brass. Artist create new style candleholder by ...

Five-story Japanese pagoda "Gojūnotō" made of painted patinated metal.

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...

Beautiful set of 2 vintage studio pottery covered bowls. These handcrafted dishes feature vented lids and shoulder handles. A hand painted abstract design accents the natural beige ...

Beautiful porcelain planter decorated with imari. On this flowerpot, the background is blue, there are reserves in which appear a dragon and a bird surrounded by red flowers. The upp...

A striking blue and white vase 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 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. Of a relatively large size, this vase is decorated with underglaze cobalt blue using the novel technique developed by Kozan called Fuki-e (the blow painting). As a result, the bamboos appear took on a three-dimensional quality as if appearing in a mist. Known as one of the most creative ceramists, circa 1887, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze. New colors allowed him to create underglaze design 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 Taikan...

A rare ceramic bowl with overglaze paint decoration by Japanese imperial potter Makuzu Kozan ((1842–1916). Unlike the better-known works Kozan made for the expositions in the west and export to the foreign market, this piece exemplifies his work for the domestic market and the tea ceremony. The bowl was made in the so called "Utusushi" Ogata Kenzan (1663-1743), a celebrated Edo painter and ceramicist. Utusushi is loosely translated as "in the spirit of". It is not at all a simple imitation of a master, but a Japanese concept of embracing the spiritual essence of a master while the creator is free to mix in his or her own unique artistic interpretation and flavor. The bowl was made to hold fruits during the tea ceremony. It has a very distinguished form with a circular lower body morphing into a square upper portion that further opening with flared rim. The surface has a grey glaze onto which Asagao flowers (Japanese morning glory) on the vines were painted in a free and poetic style. White was used for the petals, green for the leaves with touches of gold highlight. Asagao, the symbol of the summer was rendered in the spirit of Ogata Kenzan, and interestingly the shape of the blossom echoes the unique form the bowl. It was likely reserved for the tea ceremony during the summer months. Under the base, Kozan was signed in black on a white porcelain plaque inlay. For two similar examples of Kozan's work Utusushi Kenzan, see Page 168-169 of the book: Sekai ni Aisa Reta ya Kimono Miyagawa Kozan Makuzu...

complete measurements with frame cm.52x40

Print Toyohara Chikanobu Japan Woodcut 1880

Frame Cushion Elliptical is a seating pad characterized by a simple geometric form. It presents a comfortable experience by creating a pouf-like feeling for those who sit on it. Thi...

A pair of elegant vases of solid oiled bronze from the Meiji era, Japan (1868-1912). In a Classic Meiping shape, the pair has a mirrored inlay with gold, silver and red enamel that d...

A Japanese Woodblock print by Paul Jacoulet (French, 1896-1960) entitled "Les Perles Mandchoukuo" (The Pearls, Manchuria). Published in 1950, this fine print is considered the most technically complex piece among all Jacoulet's work. Over 300 individual impressions of nearly 60 double-sided carved woodblocks were used to create this image. It depicts a Chinese lady in full traditional Qing Dynasty clothing...

Japan / 2021s Size : W1200 D25 H1600 mm Kuroya Washi artist Hatano Wataru's masterpiece "Stacked Things" series. Japanese paper, soil, pigments, etc. are layered on top of each other to express the beauty of what has been accumulated over the years. [Wataru Hatano...

Japanese Pair of Shibayama Panels, Ca. 1900 ABOUT Both panels have immensely rich detail articulated in shell, mother-of-pearl, and bone along with ca...

A black lacquer tebako (hand box) with maki-e decoration and silver trim, circa late 19th century, Meiji period. The surface of the lid features a Rinpa style maki-e paint depicting ...

Pair of cloisonné bronze vases, Japan, circa 1900, accident on one, slight depression Measures: H 19cm, D 10cm.

Antique Japanese Lacquer And Giltwood Zushi Shrine, or traveling altar, with hand-carved wooden standing Japanese figure. Intricately bronzed...

Japanese Two-Panel Phoenix Screen, Edo Period, Ca. 1850 Japanese Edo Period (1603-1868) DIMENSIONS Height: 24 inches Width: 28 inches

This great masterpiece is one of the most amazing screen paintings we have seen, each snow crane is painted with its own personality and attitude, using the finest pigments and Gofun...

1950s solid black lacquer wood and gold leaf accents low stool/table, stamped made in Japan solid construction with a polished finish that shows natural wear age soft scratches, a co...

Memoirs of a Geisha A Portrait of the film by Peggy Mulloy · 2005 hardcover book. By David James (Photographs by), Peggy Mulloy (Text by), Rob Marshall (Introduction by), Arthur Gol...

Japan / 2021s Size : W900 D25 H1150 mm Kuroya Washi artist Hatano Wataru's masterpiece "Stacked Things" series. Japanese paper, soil, pigments, etc. are layered on top of each other to express the beauty of what has been accumulated over the years. [Wataru Hatano...

Shreve & Co, San Francisco Sterling Rim Japansese Satsuma Plate. Hand hammered, sterling silver rim. Early 20th century Finely painted and gilt autumnal...

An antique Okimono (Japanese means artsy display ornament object) displayed on a small custom wood stand from Meiji Period circa early 2oth century. T...

Vintage Japanese Imari Porcelain 7.5" Bowl - Hand Decorated for Geary's Beverly Hills. Set of two Japanese Imari porcelain Bowls from the prestigious brand GEARYS BEVERLY HILLS, Vintage collectible large blue and white porcelain bowl. These beautiful Japanese bowls are hand painted. Perfect for display or using as catchall or vide poche. Vintage Japanese Porcelain...

Patinated bronze vase, characterized by a refined naturalistic decoration with a lizard sculpted in relief in the center. The lizard is placed on leaves overlapping each other creati...

Characterized by rectangular forms, Frame Chair is an expression of comfort and well-balanced geometry. The confident relationship between skeleton, seat and backrest figures its pre...

Vintage Japanese decorative porcelain plate beautifully decorated with gorgeous colors and peony design typical of Toyo of Japan, circa 1950s. It is absolut...

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...

An early 20th century exceptional Embroidered Japanese Ceremonial Kimono featuring marvelous handmade floral pattern in vivid colors including red, blue and green on gold. The interi...

A Japanese glazed ceramic footed dish made in the Ko-Kutani type of Edo period but likely during Kutani revival in the 19th century Meiji Period. The dish with delicate foliaged rim ...

Wooden netsuke of a standing Dutchman figure with his mouth open, leaning forward. He is wearing a long curly wig, a ruff and a long coat tied at the waist. In his right hand, the ma...

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 ...

Chinese Peking Cut Blue & White Cameo Glass Vase, Ca. ca.1900-1920 DIMENSIONS: Height: 12.5 inches Diameter: 5.5 inches ABOUT CHINESE PEKING GLASS Peking cut blue ...

A hanging ink (Sumi-e) silk scroll by Japanese Zen artist Hidaka Tetsuo (1791-1871). Well presented in brocade boarders and mounted on paperback, this scroll depicts "Three Noble Friends in Winter" in a poetic and novel way. One of the favorite subjects by Chinese painters, the three noble friends in winter consists of pine, bamboo and plum flowers. They were admired for their characters of strength in cold resistance to remain evergreen and even blossom in unfavorable condition. The artist, however, composited the subjects in a none-conventional way as Ikebana. Bamboo and flowering plum branches were presented in an oversized pot...

A Japanese silk embroidery landscape scenery panel depicting a Buddhist pagoda and a temple compound set in a forest with towering pines and...

A super quality Satsuma bowl, in overall excellent condtion. Satsuma china, or Satsuma ware, originates from the Satsuma Province in southern Kyūshū, Jap...

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

Bamboo side table in Japanese style with 2 trays. The trays, in 2 sizes, are decorated in Japanese lacquer, with flowers and births.

A fan shape black lacquer tray from Japan circa 1910-30s, late Meiji to early Showa era. Elaborated decorated with a bundle of yomogi blossom in a very fine Maki-e technique using both gold and silver powders. There is a Japanese symbol on the top left, which represents yomogiu, stemming from yomogi (蓬), a wild plant that belongs to the chrysanthemum family and widely grown in Japan. This name yomogui is from a scene in the Tale of Genji...

A vintage Japanese formal silk Kimono in an "ink green" color with striking geometrical design. The garment is hand-stitched Meisen kimono from a crepe l...

Japanese Tumulus Period Unglazed Aged Terracotta Haniwa of a Woman’s Head, 3rd/4th Century Tumulus Period (AD 250-552) Haniwa means “circle o...

Antique Japanese woven boat shape (funagata) Ikebana flower basket, with lacquer,975 rattan, root and smoked bamboo. Fine quality weaving with wonderful patina.

This antique silver and porcelain belt was made in Japan in approximately 1900 in the period Satsuma style. The belt is a series of hand painted medallions set in silver portraying J...

Japanese Meiji Period Two-Panel Embroidery Screen with Rooster and Chicken, Ca. 1890s Meiji Period (1868-1912) – Ca. 1890/1910 Signed DIMENSIONS Width: 60 inches Heigh...

19th-Century Japanese Satsuma Vases Mounted as Lamps, Gilt Bronze Mounts, Pair Offered for sale is a rare and fine pair of 19th century Japanese Satsuma vases mounted as lamps. The...

Japanese cloisonné enamels are known as shippo-yaki and the mid-19th century saw the production of very high quality wares in the early centers Nagoya. One of the most renowned works...

A Japanese Ao-Kutani stoneware dish with overglaze decoration in the shape of barbed quatrefoil shape from late Edo period, circa early mid-19th century. Around 1804, 100 years after Ko-Kutani (old-Kutani) ware disappeared abruptly after thriving from 1655-early 1700s, saiko-kutani (revived-kutani) was attempted by many kilns and several distinguished styles developed. Among them, Yoshidaya kiln attempted to revive the original style of Ko-Kutani known as Aote, which employed four dark colors: green, yellow, dark blue/black and aubergine to create bold and striking design. The Yoshidaya production was short-lived and lasted roughly from 1823-1831. This dish is likely dated from this period or shortly after. The overglaze design centered around a crouching tiger under a black bamboo grove in a deep green background, surrounded by luxuriant banana leaves in green and aubergine with black outlines. The base of a similar concentric barbed quatrefoil design is further decorated with black foliage outlines and marked with a square Fuku mark. For a Yoshidaya dish with identical shape but different landscape decoration, see lot 79 of sale 6547 Christie's London. Important Japanese and Chinese Art...

Japanese Late Meiji Period Woven Bamboo Tea Ceremony Basket, Early 20th Century PERIOD Meiji Period (1868-1912) DIMENSIONS Height: 11.5 INCHES Diameter: 5 inches ABOU...

An antique ink and color on paper hanging scroll (kakejiku) with brocade border. It appears to be a fragment of a larger hand scroll depicting a procession of a lord with his entoura...

A set of five stoneware sencha tea cups by Otagaki Rengetsu (1791-1875). These miniature cups were simply molded in the classic form, glazed in off white and incised with cursive waka poems, a signature decorative style by the artist. Accompanies the cups is a wood storage box and paper slip label inscribed "Rengetsu sencha, tea cups" Purportedly purchased from Tessai-do Co. Ltd., Japan in 1991. Otagaki Rengetsu was a famous Buddhist nun in Edo period who is widely regarded to have been one of the greatest Japanese poets...

Japanese Large Hand-Carved Boxwood Okimono – “Mino-Kame” Turtle, Ca. 1900 DIMENSIONS: Height: 4 inches Length: 19 inches Wide : 5 inches ABOUT An exceptional example of Meiji-era c...

Drop-shaped bronze vase, with peonies in relief, decorated to simulate a delicate and light fabric that ends with a bow near the top of the neck. Using mixed metals to create visual...