Japonisme Vases

Ancient solid bronze vase with Chinese or Japanese elephants

Monumental Japanese Satsuma Vases Artist Signed, An Impressive Pair Estate Fresh Offered for sale is a pair of monumental Japanese hand-painted and artist signed Satsuma vases which...

A pair of Japanese Satsuma vases with parcel gilt and enameled decorations from the early 20th century are available for sale. The vases feature gilt mouths, waisted necks, and spira...

Pair of antique, late 19th century French ceramic vases by Gustave Asch (1856-1911), founder ofAtelier de Sainte-Radegonde, in the French Japonsime style depicting gilt standing cran...

Studio ceramic Ikebana vase with four upturned spouts on a rectangular body with a footed base. The vase consists of a textural clay with sgarffito designs and earth tones glazes. I...

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 wonderful Japanese Meiji period (1868-1912) Bronze overlay vase. Having exquisite and amusing scenes in relief, patinated and overlay of a Dog of Foo, a Frog fishing in a Lotus lea...

19th-Century Japanese Imari porcelain vase. This fine vase have a lovely shape and hand painted floral designs in the traditional Imari colors.

A gorgeous turquoise blue Majolica jardiniere made by the French manufactory Sarreguemines circa 1880-1890. The jardiniere is decorated in the eclectic Japonisme-style with beautiful...

This a Noritake, Okura porcelain flower vase hand painted white in the background with a large gold and silver etching rose in the front and rose bud b...

Beautiful fired handmade Raku vase by Michael Gwinup, signed with name and date. Diameter 21 cm, height 14 cm. Unique piece with pearl coloured copper b...

A very good quality Meiji period (1868-1912) Japanese patinated bronze vase, depicting two seated dogs below a Bamboo plant.

19th-Century Japanese Imari porcelain vase/brush pot. This fine vase have a lovely shape and hand painted floral designs in the traditional Imari colors.

Attributed to the centuries-old Japanese art of arranging flowers, Ikebana Vase is created with İlayda Ergün, a ceramic artist based in Istanbul, yet one of our studio designers. Gui...

A piece evokes memories or calms emotions through scent, the Incense Holder is created with İlayda Ergün, a ceramic artist based in Istanbul, yet one of our studio designers. Charact...

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

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...

Japanese, Meiji Period. An antique bronze vase constructed in bronze. The vase features several traditional designs including lotus blossoms, birds in flight and other floral detail...

Large antique Emile Gallé Japanism vase in clear frosted art glass. Carved with motifs in the form of flowers and leaves in yellow and red. Museum quality, 1890s. Measures: 34 x 12...

Rare crystal aquarium with a neck decorated with a garland of alternating vine leaves and stylized flowers. The body is engraved with a lakeside landscape of flowers and plants. The...

Vintage Japanese inspired decorative raku vase designed and handmade by Danish ceramic artist in the late 20th century. Graphic decor in shiny red and white crackle glaze on both sid...

Vase by Alain Gaudebert, Puisaye - Era Joulia Debril Deblander - La Borne A superb blood-red vase, scarified on the outside, with a serrated neck and a smooth matt black glaze on th...

JAPANESE SATSUMA ART DECO PHOENIX VASE BY KINKOZAN Circa 1920 Bold, striking and unusual frontal image of a stylized phoenix painted in bright colours against a black ground. 8 1/4...

Extremely rare pair of Gu-shaped turquoise enamelled ceramic vases, carried by elephants and resting on an openwork base ending in four flared feet. Some lack of enamel otherwise ver...

Pair of large Japanese Porcelain Cone Shape Vases with Imari decoration Important mounts in ormolu and gilded metal, the base decorated with a laurel wreath, the upper part of falling leaves and a frieze of knotted ribbon. The mounts signed Gagneau, 115 R. Lafayette. Circa 1860 With their original aluminium bulb cover and original gilding Vase it self Height 47 cm The Gagneau Company is one of the most famous lighting factories in Paris in the nine-teenth century, established in 1800 at 25 rue d'Enghien in Paris and later at 115 rue de Lafayette. She has participated in many exhibitions throughout this century. She began in 1819 with the Exposition des Produits de l'Industrie and later participated in the Universal Exhibitions where she was part of the jury in the category of art bronzes (class 25) at the Universal Exhibition in Paris in 1889. "Imari" was simply the trans-shipment port for Arita wares, from where they went to the for-eign trading outposts at Nagasaki. 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, after kaolin was discovered in 1616. A popular legend attributes the discovery to an immigrant Korean potter, Yi Sam-Pyeong (1579–1655), although most historians consider this doubtful. After the discovery, some kilns began to produce revised Korean-style blue and white porcelains, known as Early Imari, or "Shoki-Imari". In the mid-17th century, there were also many Chinese refugees in northern Kyushu due to the turmoil in China, and it is said that one of them brought the overglaze enamel coloring technique to Arita. Thus Shoki-Imari developed into Ko-Kutani, Imari, and later Kakiemon, which are sometimes taken as a wider group of Imari wares. Ko-Kutani was produced around 1650 for both export and domestic market.Kutani Ware is characterized by vivid green, blue, purple, yellow and red colors in bold designs of landscapes and nature. Blue and white porcelain pieces 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 ac-cordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon-style Imari, which was produced for about 50 years around 1700. Kakiemon was characterized by crisp lines, and bright blue, red and green designs of dramatically stylized floral and bird scenes. Imari achieved its technical and aes-thetic peak in the Kakiemon style, and it dominated the European market. Blue and white Kakiemon is called Ai-Kakiemon. The Kakiemon style transformed into Kinrande in the 18th century, using underglaze blue and overglaze red and gold enamels, and later additional colors. Imari began to be exported to Europe when the Chinese kilns at Jingdezhen were damaged in the political chaos and the new Qing dynasty government halted trade in 1656–1684. Ex-ports to Europe were made through the Dutch East India Company, and in Europe the des-ignation "Imari porcelain" connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China resumed export to Europe, since Imari was not able to compete against Chinese products due to high labor costs. By that time, however, both Imari and Kakiemon styles were already so popular among Eu-ropeans that the Chinese export porcelain copied both, a type known as Chinese Imari. At the same time, European kilns, such as Meissen and English potteries such as Johnson Bros. and (Royal) Crown Derby, also imitated the Imari and Kakiemon styles. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe.Thus, in the western world today, two kinds of true Japanese Imari can...

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...

Unusual French Japonisme ormolu-mounted tole jardinière, circa 1870. Very nice and unusual rectangular jardinière / planter made from the best quality ormolu. Designed with flower...

Amazing early 20th century Japanese brass champleve vases features a vibrant colorful enamel design depicting dragons.  

A stunning pair of ceramic vases with gilt, paint and high-relief decoration by imperial artist Makuzu Kozan (1842-1916, also known as Miyagawa Kozan) circa 1876-81 (late Meiji period). These vases belong to early period (1876-1881) of Kozan's repertoire, during which time the high relief sculpturing (known as Takauki ware) was used as a distinguished technique on top of the traditional gilt and paint ornaments of satsuma ware. Due to the relatively limited production and the fragile nature of these wares, not a large quantity of the examples remained in the first place, not mentioning a fine matching signed pair in such impressive sizes. Not only a rarity, this pair of vases is also superb in workmanship, thus the fine example of the work from that short and unique period of the artist's career before he switched to the underglaze period. In a conceptually mirrored fashion, the surface is richly decorated with flying cranes among large lotus leaves and flower, like an idyllic aqua scenery of pure poetry on a circular scroll. The high-relief appliques were rendered and composed in realistic fashion but with a dramatic touch. They are literally about to break the surface free, alive and in motion. The dark colors of the glaze were used to set a moody tone. The approach to create this type of ornamentations is more akin to sculpturing an ink painting in three-dimension than ceramic making. It is not hard to imagine the demand of both the artistry and the technique. Both vases were signed as "Makuzu Kozan Kiln" and each further with another name and seal, which are most likely the individual artist involved in the making process. Similar signatures can be seen in the reference book below. For similarly Takauki vases, see Miyagawa Kozan Makuzu...

Offered here is a beautiful vintage Japanese style pottery vase made in Japan. Comes with abstract design black and white stripes on a earthy brown back...

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...

Porcelain Studio Linie (Line) art vase produced by Rosenthal Germany in the 1970s. The cylinder-shaped vase has an abstract representation of a Japanese garden with a house and tr...

A stunning antique porcelain urn shaped twin handled vase and cover decorated in an Imari pattern by Copeland, England and dating from the early 20th...

The bright translucent green glass vases with the spiral-fluted bellies. Enameled necks are embellished with a gilded image of the sun behind a blooming sakura tree in Japanese style...

Meissen porcelain vase with hand-painted branches, flowers and birds. Japanism, early 20th century. Measures: 10.7 x 6.5 cm. Stamped. 1st factory quality.

Exceptional vintage early 20th century champleve brass vase. Features a vibrant enamel design throughout the vase.  

Antique Awaji ceramic vase - grey crackle glaze - cold painted decoration with red and gilt enamel bird on a branch with flower and leaves - old faint inventory numbers to the base -...

19th century Japanese Satsuma Vase ~ Jardiniere with Bronze Mounts is an amazing work of art with scenes hand-painted around the en...

Graceful hand decorated Japanese vase with traditional motifs and gold rimmed top., c. 1960's. Signed on bottom, Gold Imari.

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...

Stunning early 20th century Japanese brass champleve vase. Features a vibrant enamel design throughout the vase.  

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

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 ...

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...

A rare pair of early nineteenth century faience pottery vases and covers, decorated in the Imari taste, with gilded lion finials, the bodies profusely decorated with figures, exotic ...

Escalier de Cristal 1808-1829 The beginnings: crystal and gilded bronze Marie Jeanne Rosalie Désarnaud (1775 -1842) opened her shop around 1808 in th...

785 Japanese Fine Ceramic Signed Red vase. Emperor Showa from 1926 to 1989 – 1990, Ca. 1980. 7” high x 7” wide. Fine condition, no original box. Feature...

Pair of bamboo painted bitong or artists brush pots A very stylish pair of Bitong, carved out of giant bamboo and painted in the traditional style of t...

781 Japanese Mashiko-ware White porcelain Glaze vase. Emperor Showa from 1926 to 1989 Period, Ca. 1980. 10” high x 5 ½” wide. Signed box. Mashiko is a...

Art Deco pottery vase signed Auguste Delaherche, Circa 1930. Number 4732.

A 19th French century pair of Lacquered Bamboos Japonisme vases. An amazing pair of tall cylindrical bamboo vases decorated in Japanese Gold and Sil-ver Hiramaki-E Lacquer with Pavilions in The Mist and Weaving Figures, Flown Over by a Pair of Cranes. Enclosed in a Sino-Japanese Inspiration Golden and Brown Patina Bronze Mount Featuring Elephant Heads, Partially Openwork Branches and Salamanders Forming Side Handles. Circa 1870 Attributed to Édouard Lièvre (1828-1886) and Ferdinand Barbedienne (1810-1892) Édouard Lièvre (1828-1886) is one of the most talented and prolific designer and industrialist of the 19th Century, his repertoire is sometimes Sino-Japanese or Neo-Renaissance, whether in furniture or works of art, we can note in particular the parade bed of Valtesse de La Bigne, furniture commissioned by the painter Édouard Detaille or even Sarah Bernhardt, and the famous works in collaboration with Maison Christofle or those in gilded bronze and cloisonné enamel edited by Ferdinand Barbedienne, presented at the Universal Exhibitions in 1878, 1889 and 1900. He was both a draftsman, painter, illustrator, engraver, ornamentalist and cabinetmaker, first trained in the studio of the painter Thomas Couture, Lièvre was then fully immersed in the world of decoration, creation and ornamentation and provides designs for manufacturers and merchant-publishers. Often assisted by his brother Justin, he first produced works of art for his own apartment, seeking out the finest craftsmen to execute his designs for bronzes, ceramics, fabrics and luxury furniture from great virtuosity and great taste. He then collaborated with the cabinet-maker Paul Sormani, as well as haberdasher merchants such as the Escalier de Cristal, bronziers such as Maison Marnyhac and especially Ferdinand Barbedienne as on our vases with bronze mounts characteristics of Edouard Lièvre's work. Born in 1810, died in Paris in 1892, Ferdinand Barbedienne, the most important caster of bronze pieces of art during the second half of the 19th Century, created and directed in Par-is one of the major artistic foundries of his time. Barbedienne specialized in classical reproductions, whose models were exposed in famous European museums. Their illustrated catalogues included many diverse objects such as busts, ornemental sculpture (clocks, candelabras, cups) sometimes even life-sized and bronzes for furniture. Apart from his own produc-tion, Barbedienne worked for the most renowned sculptors such as Barrias, Clésinger and Carrier-Belleuse. All his works were highly esteemed and he, himself honored by contemporary critics. At the London exhibition in 1851 Barbedienne’s firm won two « Council medals ». At the 1855 Universal Exhibition, he won a medal of honor. The success of Barbedienne’s firm brought him many official commissions, such in about 1860, as Barbedienne supplied bronzes for furniture for the Pompeian Villa of Prince Napoléon-Joseph, located avenue Montaigne in Paris. At the London Universal Exhibition of 1862 Barbedienne won medals in three different categories: Furniture, Silversmith work and Artistic bronzes. Barbedienne was made an officer of the Légion d’Honneur in 1867 and Commander in 1878 when he was compared with « a prince of industry and the king of bronze casting ». His glory did not decline with the passage of the time for at the Universal Exhibition of 1889 the critics thanked Barbedienne for the example he set for other bronze-casters by the perfection of his bronzes. “Japonisme” in the second half of the 19th century, was a craze for everything that came from Japan or imitated its style. The word was first coined in a series of articles published by Philippe Burty, from May 1872 to February 1873, in the French magazine “la Renaissance Littéraire et Artistique”. Far from the Academic sphere, artists seeking for new ways of expression, appropriated this discovery. Manet and the impressionists led the way to half a century of enthusiasm for Japanese art, and largely contributed to the esthetical revolution Europe experienced between 1860 and the beginning of the twentieth century. From 1862, The World’s Fairs provoked massive arrivals of fans, kimonos, lacquers, bronzes, silks, prints and books that launched the real era of Japonisme. With those exhibitions, the demand was boosted, the number of merchants and collectors was multiplied, and artists became passionate about this new esthetic. For them, its “primitivism” was probably its most important quality: artists were fond of the Japanese art’s capacity to be close to nature and to reconcile art and society by representing, with a lot of care, the most trivial objects. In painting, Edouard Manet, Mary Cassatt, Degas, Van Gogh, Gauguin were among those who were deeply inspired by Japanese art, affected by the lack of perspective and shadow, the flat areas of strong color, the compositional freedom in placing the subject off-center, with mostly low diagonal axes to the background. The Japanese iris, peonies, bamboos, kimonos, calligraphy, fish, butterflies and other insects, the blackbirds, cranes and wading birds, the cats, tigers, and dragons were endless sources of inspiration, appropriation, and reinterpretation for European artists. The occidental productions were combining styles and artistic conceptions instead of copying Japanese art slavishly. That is what brings to light the comparison between the artworks of Kitagawa Utamaro and Degas, of Katsushika Hokusai and Van Gogh The World’s Fairs of 1851 and 1862 in London, those of 1867, 1878, 1889 and 1900 in Paris, of 1873 in Vienna and of 1904 in Saint Louis presented a number of “Japanese-Chinese” installations with earthenware, bronzes, screens and paintings and attracted the largest amounts of visitors In Vienna, the “Japanese village...

786 Japanese Kiyomizu-ware. Emperor Showa from 1926 to 1989 – 1990. Ca. 1970. 9” high x 6 ½” wide. Fine condition. Signed, features a fine gray glaze with flex of black glaze ,vase o...

784 Japanese Tamba-ware White with Faint Colors Textured Glaze Vase, Emperor Showa from 1926 to 1989 – 1990,Ca. 1970. 8” wide x 5 ½” high. Signed. Featuring Japanese classic form, ve...

Japanese Celadon classic oval shaped vase. Emperor Showa from 1926 to 1989– 1990) – Ca. 1960. 11 ¾” high. Featuring bamboo handles. Signed, no origina...

A large scale and very good quality late 19th century Japanese Imari vase with exotic birds, trees and flowers. Wonderful coloring in vibrant hues of blue, red and rust.

Emperor Showa from 1926 to 1989-1990. Measure: 13 ½” high. Singed Tsuyoshi with signed box. Features a fine white glaze with green leaves and blue berries glaze. Tall classic shape a dynamic masterpiece Seto ware...

Japanese Kiyomizu-ware singed ,features a fine gray glaze with flex of black glaze ,vase of dramatic oval form with mon accents, signed box. Kiyomizu ware (???, Kiyomizu-yaki) is a t...

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