Goro Suzuki Furniture

This is a good quality, hand decorated Japanese porcelain charger, large plate or bowl with an Imari pattern, dating to the late 19th centur...

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

Yunomi is the taller tea cup, compared to the Chawan ( that has a usage during the tea ceremony ), which has a more formal everyday tea-drinking use. The Japanese design is elegant a...

Incenso set An extraordinary addition to a contemporary decor for a stunning visual allure, this set of two incense holders features a raw, porous shape deftly handcrafted following the Japanese technique of naked Raku ceramic firing...

A modern ceramic Chawan (Tea Bowl) by potter Kato Tokuro (1896-1985). The bowl was hand-molded in the classic Han-tsutsu-gata (half cylinder) form with slight irregularity. Technical...

A Japanese Kutsu-gata (clog-shaped) chawan (tea bowl) circa 19th century possibly older. The stoneware bowl potted from buff clay has a slight irregular shape and an unusual depth for a tea bowl. Of Mino ware...

A beautiful artisanal handcrafted porcelain Dragon ware teacup. This set features a moriage dragon design. Created from slip and applied around the body...

Japanese Meiji Period Satsuma large square bowl Antique early Meiji Period 15" square with scalloped rim Satsuma bowl. Highly unusual and finely painted. ...

A contemporary studio ceramic vase made by Japanese potter Ken Matsuzaki (1950-). The vase showcases distinguished "moon flask" form with shoulder loops. The moon flask form was widely recorded first in Tang Dynasty China, most likely arrived from the Mideast countries via the silk road. It was originally used as drink vessel for the nomads and the loops were used to tie it to the horse-centered owner. The exotic form persisted in Chinese ceramic production through Ming to Qing dynasty. The form is unusual in Ken Matsuzaki's work. The artist covered the vase with a thick dripping Oribe green glaze partially revealing the unglazed part of the body, which is decorated with scrolling pattern in left by ash glaze. The work is rooted in both Yohen Shino glaze technique and Oribe tradition, but interestingly it also paid homage to Sancai pottery in Tang Dynasty when green glaze was prominently used to drip and splash onto the pottery. Viewing the vase, one can see in this harmonious piece, the innovative reinterpretation of ancient aesthetics that cross the cultures, geology and time. The base is marked with the artist's signature. The vase comes with an inscribed tomobako storage box with the artist's bio and wrapping cloth with seal. The vase measures 8.6"h x 7"w x 2"d. Ken Matsuzaki’s haptic ceramics bring a contemporary approach to traditional Japanese ceramicware, most notably 16th-century Oribe pottery...

A large ceramic lidded vessel with striking sculptural form by contemporary Japanese potter Shigemasa Higashida (1955-). Hand-built and with drasti...

A beautiful ceramic vessel in the form of Bo, the so-called monk's alms bowl 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 piece was made as a decorative center piece for display. It was brilliantly decorated with underglaze paint of a green-on-green bamboo motif, 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. To create design 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...

Large vase made for holding tall, heavy flowers or blossoming branches.