Japonisme Furniture

THREE FIGURES HINA MATSURI Japanese, Meiji period (1868-1912) in painted plaster, eggshell, silk and other materials. Height: (largest) 50 cm good condit...

This work is inspired by traditional Japanese nature motifs symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. It is elegantly framed with pau...

Six canvases (Diameter approx. 30cm, 25cm, 20cm) use the fabric taken from antique kimono, its' various parts, to create one harmonious fluid image of a snowflake - a symbol of new b...

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...

< This artwork creatively uses tree bark to evoke the imagery of woods and mountains during both the morning and nighttime on left and right. It is elegantly framed with paulownia wood, a tree closely connected to kimono culture, and is filled with storytelling and sense of luxury. By incorporating both the front and back sides of the same obi fabric woven in different colors, the play of light and shadow on the mountains is depicted through the contrasting appearances of these surfaces. The intention behind this piece is to convey the exquisite beauty of Japanese mountains and the lush forests that inhabit them. To achieve this, traditional elements of Japanese culture, such as obi textiles and craftsmanship involving wood, were used. The outer side and inner linings of the same obi, no longer suitable for clothing, along with bark material that would normally be discarded, have been repurposed to create this exceptional upcycle artwork. The fusion of Japanese natural materials – silk, paulownia wood, and pine bark for the central decoration – along with the so-called "Tozan" pattern, a unique Japanese natural design showing mountains from far-away point, captures the magnificent beauty of Japanese nature from various perspectives. The central bark decoration stands out as a distinctive feature of this work. Pine, oak, and other tree barks are interwoven among the mountains woven into the obi, creating a tangible and authentic natural atmosphere. << Period / Story The obi used in this piece was originally crafted during the late Showa period (1960-80ies). << Explanation and meaning of pattern and colors This upcycle artwork uses an obi with a tozan pattern woven in two colors. The design is inspired by a distant mountain range, a motif that has been used in paintings and crafts since ancient times. However, in this particular design, the mountains are depicted not as distant peaks but as graceful semicircles giving it a mild atmosphere. << Characteristics of the fabric This upcycled Fukuro-obi (two-side obi) showcases a festive color pattern of mountains intricately woven with gold threads against a beige front and red on the back. The way this obi interacts with light allows it to shift in expression, much like a mountain revealing different facets over time. It can transform from deep shades of color to the appearance of gold shimmering against bright hues, depending on the lighting and viewing angle. << About the frame Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

Sagejubako is a portable lunch or picnic set that became popular in the early Edo period when an additional meal was added between breakfast and dinner. It normally consists of a han...

Two Japanese mother of pearl wood dishes, very beautiful pieces. Measures: Large one H 2” x L 13.5” x W 10”.

This artwork uses antique fabric from Taisho era (early 1920ies) kimono and paulownia wood taken from antique kiritansu - chest-of-drawers used initially to keep kimonos. It is el...

A tall pair of Japanese carved wood candle holders circa early 19th century (late Edo Period). The pair is carved in the typical form with a block base in the shape of stylized chrysanthemums and long fluted stem with changes in diameter that supports a grooved holder fitted with metal pricket. These types of oversized candle holders were traditionally used in Buddhist temples or Samurai's resident where they were placed on the altar table for worshiping. What is extraordinary of these candle stickers is that they feature a wonderfully conserved surface with lacquered gold leaf. The sparkling gold on the well weathered surface is visually striking. The professional conservation was performed in 2007 and as a result, the pieces display a wonderful aged Wabi-Sabi patina. The piece retains an original invoice from Far Eastern Antiques...

< This textile artwork uses a vintage obi dated around 1980ies, with a feather motif, and arranges it so that it looks like a vase. Antique obi, just as it is a broken vase, is united back again with black obijime - a string used to tie up obi when it’s worn. Framed in kiritansu (antique chest) paulownia wood. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation and meaning of pattern and colors Feathers hold various meanings and symbolism in Japanese traditional culture, often reflecting themes of spirituality, symbolism, and folklore. Here are some of the meanings associated with feathers in Japanese tradition: ・Divine Protection: Feathers are often seen as symbols of divine protection and spiritual guidance. Feathers, especially those from birds, are considered to be imbued with the protective energy, offering spiritual guardianship and safeguarding against negative forces. ・Connection to the Spirit World: Feathers are sometimes associated with the spirit world and the realm of the divine. In folklore and mythology, feathers are depicted as messengers between the earthly realm and the celestial realms. ・Symbol of Beauty and Elegance: Feathers are admired for their natural beauty, grace, and elegance. In traditional Japanese arts such as Noh theater, Kabuki, and dance performances like Kagura, actors and performers often use feathered costumes or accessories to enhance their appearance and convey a sense of refinement and sophistication. ・Sign of Good Luck and Prosperity: In Japanese folklore, certain birds like cranes and pheasants are considered symbols of good fortune, longevity, and prosperity. Feathers from these birds are often depicted in art and craftwork as auspicious symbols believed to bring blessings and positive energy to the bearer. < Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

A handwoven bamboo basket by Japanese bamboo artist Higashi Takesonosai (1915-2003), in the form of a traditional rice container. It was woven with...

Rare perfect antique collection Japanese Indigo Boro Futon cover : also to use. The rare antique boros are now valued as pieces of art, therefore they are...

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...

< This work is inspired by traditional Japanese natural symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. It is elegantly framed with...

19th century Japanese inro with 4 boxes in gold lacquer with kinji mat background decorated in taka makiyé of gold of different tones. Lacquered wood siz...

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...

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 ...

A pair of Japanese decorative ceramic plates, made in Arita for export market circa 17-18th century. The cabinet-display dishes feature lotus-petal gilt rim and a lavish tricolor ene...

< This work uses a vintage kimono fabric with marble pattern, that makes it look like a real piece of marble. The line in the middle symbolizes “kintsugi” - concept of wabi-sabi, which values imperfection, impermanence, and the beauty of aging. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation and meaning of pattern and colors Kintsugi (金継ぎ), which translates to "golden joinery" or "golden repair," is a traditional Japanese art form of repairing broken pottery with lacquer mixed with powdered gold, silver, or platinum. I used this tecnique here to "repair" antique kimono by transforming it into art work. Beyond its literal meaning of mending broken ceramics, kintsugi carries profound philosophical and cultural significance in Japanese tradition: ・Embracing Imperfection: Kintsugi celebrates imperfection and impermanence. Rather than disguising or concealing flaws, it highlights them, treating the breakage as part of the object's history. This philosophy encourages acceptance of imperfection as an essential aspect of life, beauty, and human experience. ・Wabi-Sabi Aesthetic: Kintsugi embodies the principles of wabi-sabi, an aesthetic worldview centered on the acceptance of transience and imperfection. Wabi-sabi values simplicity, authenticity, and the beauty of things that are imperfect, impermanent, and incomplete. Kintsugi exemplifies these principles by turning what might be considered flaws into features that enhance the object's beauty and character. ・Resilience and Transformation: The act of repairing broken things with precious metals symbolizes resilience and transformation. Instead of discarding or replacing the broken object, kintsugi honors its history and transforms it into something new and valuable. This reflects broader philosophical themes of overcoming adversity, finding beauty in imperfection, and embracing change. ・Honoring the Past: Kintsugi preserves and honors the history of the object. Rather than erasing or ignoring its past, it acknowledges and celebrates it. This aspect of kintsugi can be seen as a metaphor for honoring our own personal histories, including the challenges and setbacks we have faced, and recognizing how they have shaped us into who we are today. ・Spiritual and Philosophical Symbolism: Kintsugi has spiritual and philosophical implications, reflecting concepts such as the interconnectedness of all things, the cycle of life and death, and the pursuit of harmony and balance. The process of repairing broken objects with precious metals is seen as a metaphor for spiritual growth, enlightenment, and the journey towards wholeness. Overall, kintsugi represents not only a practical technique for repairing ceramics but also a profound philosophical and cultural perspective on life, beauty, and the human experience. It embodies values such as resilience, acceptance, and the transformative power of embracing imperfection. << Characteristics of the fabric This vintage textile is hand-painted with a traditional painting technique where the colors are added on wet surface, which creates an effect of marble. << About the frame Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

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...

A near pair Hizen pottery jars from Artia Japan, circa mid-19th century of the Meiji Era. Heavy stoneware construction with overglaze enamels that was inspired by Chinese WuCai from ...

A Japanese bamboo Ikebana hanging basket circa 1920s-1940s, made with "sooted" bamboo (susutake in Japanese). This bamboo material was collected from traditional thatched-roof houses...

This small elegant woven bamboo basket was meant to be a hand-hold bag with its brocade interior (which appears original). It was made by Suzuki Gengensai (1891-1950) circa 1910-20s. Suzuki Gengensai was from Kansai region and active in Osaka. He studied bamboo art under Yamashita Kochikusai (1876-1947) and became an independent artist in 1913. He received his artist name Gengensai in 1914 and in 1923 he changed the characters to Gen, a slight written variation of the character. This basket was signed in the former way, which helps to date the piece to the early part of the artist's career circa 1914-1923. The basket is tightly woven in variation of twill plating that creates contrasting bands on the surface. The base was constructed with short bamboo stripes on the corners and side with ornamental knots. A closely related piece (Object Number: 2006.3.651) with slight different surface twill patterns is in the collection of Asian Art Museum San Francisco. Comparing the two, they show almost identical form as well as the base construction. Both also have brocade interior and most likely were woven during the same period. Another documented example can be found on page 180 in "Baskets Masterpieces of Japanese Bamboo Art...

A Japanese woven bamboo basket in the shape of crescent with open top and a wrapped handle circa 1920s-1940s. The basket was woven with "sooted" bamboo (susutake in Japanese). This b...

Fabrics featuring iconic Japanese plants like chrysanthemum, maple, and bamboo were gathered from various long underwear and kimono pieces to create a set of canvases (diameter 30, 25 and 20cm) showcasing exquisite gradations. The top canvas, in pristine white, originates from long under-kimono, while the middle and bottom canvases are skillfully upcycled from kimono fabrics. << Period / Story The long under-kimono and kimono fabrics used in these canvases were originally crafted and worn during the late Showa period (1960-80ies). << Explanation and meaning of pattern and colors The pattern on the top canvas features a chrysanthemum, an auspicious emblem symbolizing longevity. It is affectionately referred to as the "raccoon dog chrysanthemum" due to the large, overlapping petals resembling the fur of a muzina, a creature similar to a raccoon dog or badger. This motif is highly popular in various plant-inspired designs and frequently seen in Edo komon, katazome, and jimon textiles. The top canvas naga-juban under-kimono, being entirely white and devoid of any additional dyes, suggests its use as formal wear. Its pristine white hue accentuates the silk's luster when exposed to light and highlights the beauty of the woven patterns. The fabric used here is rinzu, a type of fabric thinner than crepe de chine, characterized by its soft, smooth texture and subtle sheen. This particular lintel distinguishes itself with the way its ground pattern emerges and also incorporates a woven chrysanthemum pattern. The central canvas showcases a maple tree, symbolizing longevity, which changes its colors with the seasons, bringing joy and happiness to people's lives. The bamboo featured on the lower canvas has been regarded as a symbol of good fortune since ancient times, given its straight and vigorous growth, along with the Chinese legend that a phoenix consumes its fruit. It embodies concepts such as "immortality," "longevity," and "strength" because it remains green even in winter. The hollow stem also signifies "innocence," suggesting that there are no hidden agendas. All three canvases are adorned with ground patterns that, when viewed from a distance, appear as modern works of art, yet upon closer inspection, they reveal a distinct Japanese ambiance. << Characteristics of the fabric All three canvases are made of fabrics with jimon. The unique and high level of Japanese weaving...

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 work uses an antique tomesode (festive kind of kimono) with fern design to evoke feelings of tranquility, harmony, and appreciation for the beauty of the environment. Can be used both vertically and horizontally. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation of colors and patterns In Japanese traditional culture, ferns, particularly the Japanese painted fern (Athyrium niponicum), hold several meanings and symbolisms: ・Elegance and Beauty: Ferns are admired for their graceful, delicate appearance and intricate leaf patterns. In Japanese aesthetics, they are appreciated for their natural beauty and are often used in gardens, landscapes, and floral arrangements to add a sense of refinement and elegance. ・Resilience and Perseverance: Ferns are known for their ability to thrive in diverse environments, including shady forests, rocky cliffs, and damp soil. Their resilience in the face of challenging conditions is seen as a symbol of endurance and perseverance. In Japanese culture, ferns may represent the ability to overcome adversity and flourish despite obstacles. ・Connection to Nature and Tranquility: Ferns are native to forested areas and are often associated with the natural world. In Japanese traditional culture, they symbolize a deep connection to nature and the importance of maintaining harmony with the environment. The lush green foliage of ferns evokes feelings of tranquility and peacefulness, making them popular motifs in Zen gardens and traditional landscape paintings. ・Purity and Simplicity: Ferns are emblematic of simplicity and purity in Japanese aesthetics. Their unassuming beauty and understated elegance reflect the principles of wabi-sabi, an aesthetic worldview that values imperfection, impermanence, and simplicity. Ferns may be used in tea ceremonies, Ikebana (flower arranging), and other traditional arts to evoke a sense of tranquility and appreciation for life's fleeting moments. Overall, ferns in Japanese traditional culture symbolize elegance, resilience, connection to nature, purity, and simplicity. Their presence in art, literature, and landscape design underscores their enduring significance as symbols of natural beauty and spiritual resonance. << Characteristics of the fabric This vintage textile is hand-painted with a traditional Japanese technique called "yuzen". << About the frame Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

[Story behind the work] This work is inspired by traditional Japanese nature motifs symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. In this artwork, the aim was to capture the the auspicious symbol of camellia used in antique kimono. Traditional Japanese culture, represented by the kimono, and wood, an integral element of Japanese craftsmanship, were used to bring this vision to life. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. [Explanation and meaning of pattern and colors] This delicate piece features hand-drawn camellia motifs flowing gracefully on a softly brightened grayish background. Camellias, native to Japan, bloom from winter to early spring. As an evergreen tree with green leaves throughout the year, it symbolizes the anticipation of spring and is considered an auspicious plant. Due to its seasonal significance and auspicious meanings, camellias have been used as motifs symbolizing good fortune. Additionally, they were highly valued for their use in oil, cosmetics, and medicine, representing nobility. Believed to possess the power to ward off misfortune, camellias also carry the meaning of "protection from calamity" and have strong ties to traditional ceremonies. In this artwork, camellias are delicately depicted alongside flowing branches, subtly representing good fortune with their pale pink and white hues. "Sora-iro nezumi 空色鼠" refers to a light grayish color with a hint of blue, reminiscent of the slightly brightened sky on a lightly cloudy day. Popular during the late Edo period (19th cent.), it elegantly captures the slightly brighter sky pattern seen on lightly overcast days. Notably, the term "nezumi-iro" (mouse gray), popular during the late Edo period, was paired with brown tones, collectively known as "Forty-eight Teas and a Hundred Mice 四十八茶百鼠." Colors within the "nezumi" (gray) spectrum, particularly "sora-iro nezumi," were favored by young people for their cool and sophisticated appeal. [Characteristics of the fabric] The fabric features intricately woven patterns that reveal subtle gradations through dyeing, creating a grid pattern that transforms depending on the light conditions. Originally, this fabric was part of a formal kimono known as a "hōmongi 訪問着," featuring motifs along the hem, shoulders, and sleeves. These motifs have been carefully selected and combined to create a unified piece of artwork. [About the frame] Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

Large cylindrical Satsuma vase, decorated with polychrome enamels and pure gold, depicting a scene of daily life with three geishas and a samurai on a festive day. Signed ‘Seizan zō...

A Japanese black lacquer box with mother of pearl inlays circa early 20th century, end of Meiji period. It was likely to be used to store inkstone or other scholarly items. The piece displays several interesting characteristics that appear puzzling initially. First, the form is not typical Japanese, but more Chinese and Korean, with its scalloped base. Second, the decoration of MOP inlays also suggests a Korean and Chinese affiliation, especially with the linear borders and the scrolling cloud patters on the sides of the box. These two observations suggest that the box may be from Ryukyu Island instead of Japanese mainland. Third, strikingly in the center of the cover, a bold quarterly floral pattern outlined with MOP was filled with a striking mottled red lacquer using tsugaru nuri...

< The art piece uses two sides - front and reverse - of the same kimono, to show beautiful sea surrounding Japan, in hues and in late sunset, as a timelapse. The frame for this work is made of paulownia wood taken from antique Kiritansu - chest-of-drawers for kimono. I use antique kiritansu that can’t be used as furniture anymore to create basis and frames for my works. It adds them even more authentic atmosphere of traditional wabisabi spirit. Can you feel it? << Period / Story The kimono used in this piece was originally crafted during Showa period (around 1960ies). << Explanation and meaning of pattern and colors Sea waves, depicted in two color variations here, are a symbol of transience and Impermanence in Japanese culture. The ebb and flow of the tides, the ever-changing currents, and the relentless motion of the waves serve as reminders of the fleeting nature of life. This artwork featuring the sea convey themes of impermanence, reminding viewers to cherish the present moment and appreciate the beauty of life's fleeting moments. The theme of impermanence is strengthen by two colors of the sea - the lighter in early hues and the darker when the sun is just about to set in the sea. << About the frame This artwork frame is crafted from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos, and it serves to convey the refined beauty of Japanese nature. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. Paulownia wood is closely linked to kimono culture. During the Edo period (17th cent.~), it became customary to store cherished kimonos in paulownia chests...

An ink painting on the fan surface by Japanese Zen artist Hidaka Tetsuo (1791-1871), now framed in a traditional Japanese carved wood frame with silk fabric mat and decorative hangin...

Large circular Japanese porcelain plate, painted with a basket filled of cherry branches, peonies, dahlias, daisies and three little birds. Blue, re...

Pair of bronze vases adorned with inlays, decorated with two Onagadori roosters, known for their elegant length of tail. The roosters are represented perched on a plum branch. Signe...

Inro is an ancient traditional Japanese box used to carry and store small items such as tobacco, money, paintbrushes, and other objects. The...

Beautiful unique low Japanese rope and bamboo sofa, sold at Conran shop in the 1980s, with the back even more beautiful then the front. Conran is a high end shop. About themselves t...

Cloisonné potiche with a hexagonal shape, embellished with delicate floral decorations on reserves held by silver threads with geometric motifs. The lid features a spherical socket. ...

An impressive and very decorative pair of Meiji period (1868-1912) Japanese Kutani porcelain vases, each with wonderful exotic floral d...

Japanese rosewood hand carved pedestal. Japan, circa 1920 Measures: Height 24", width 19".

Japanese bronzewith brown patina representing two mice. One is pulling pulling a treasure bag. crouching down with its head turned to the left. While the other mouse is standing on i...

This most unusual pair of original 18th century Japanese patinated bronze candelabras, uniquely designed as branches of mountain flowers entangled by a dragon, are mounted on the con...

A superb Kutani charger, signed to the back, in overall excellent condition. Kutani porcelain, or Kutaniyaki, originates from the Kutani village in the...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning Antique Japanese Woodblock Triptych watercolour print of Ge...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning Antique Japanese Woodblock Triptych watercolour print of Ri...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning Antique Japanese Woodblock Triptych watercolour print of Ge...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning Antique Japanese Woodblock Triptych watercolour print of a ...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning Antique Japanese Woodblock Triptych watercolour print of Ge...

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

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...

JAPANESE IMARI PORCELAIN AND ORMOLU MOUNTED MANTEL CLOCK, 19TH CENTURY urn shaped with three ormolu mounted cherubs with Roman Numeral and Arabic dial. Dimensions Height: 22" Width: ...

We are delighted to offer for sale this super rare and highly decorative, Japanese floor standing lamp which is an antique printing scroll fixed to a solid two piece marble base This is a very impressive lamp, I personally purchased this from Nice France of my antiques tour...

We are delighted to offer for sale this stunning Antique Japanese Shibayyama inlaid coffee table depicting Elephant trainers in a compound This table is sublime, absolutely exquisite from every angle, circa 1900-1920, hand made in Japan, the Elephants and trainers have an Indian look...

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:...

A very stylish pair of late 19th century Japanese side chairs, each with wonderful carved leaves and orchids to the backs and legs.

A wonderful fine quality Japanese Meiji period (1868-1912) water color on silk of seven monkeys climbing and playing on a rock face with trailing foliage...

A realistic oil on canvas of a person with umbrella bowing to a monk standing on steps by artist Francis Neydhart, (1860-1948). Fronted by a sun-dappled street in front of a large bu...