Mahs Antiques Asian Art and Furniture

A richly enameled Chinese Export porcelain charger in the classic Famille Rose Medallion palette, dating to the mid-19th century, Qing Dynasty, circa 1850. This large dish exemplifie...

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.

Antique Asian and extremely detailed cast bronze fragment of the head of Buddha, dating from the 18 century and presumably having Thai or Tibetan origins. The sculpture fragment is s...

A heavy and solidly cast, richly gilt, bronze caryatid figure from Densatil Monastery, Central Tibet, early 15th century or earlier. Cast in the form of two four armed figures standing back to back in tribhanga (thrice bent position) on a lotus platform, this piece would originally have served as a pillar for a larger seated deity...

A Japanese Imari Plate, 19th Century Home decor, Interior design and collectibles. Provenance: Private Australian Collection. Dimension: Height: 4.5cm Diameter: 30cm

A gorgeous Chinese export famille rose enameled porcelain model of a pheasant mounted on an ormolu stand. The elegant bird is portrayed perched on a ...

Chinese Export Famille Rose Porcelain Plate, with hand-painted central landscape scene with a peacock and flowers encircled by a scrolling floral border. 9" Diameter x 1.25" H. P...

This is a good Chinese Export porcelain Plate which has been beautifully hand enamelled, over-glaze, in the Famille Rose palette with excellent detail, dating to Circa 1940. The mai...

A pair of porcelain vases in classic form, decorated with underglaze blue and copper red painting by Imperial potter Makuzu Kozan. Also known as Miyagawa Kozan (1842–1916), Makuzu was one of the most established and collected ceramist known to the west from Meiji Period. The vases are in a classic Chinese form called "Bang Chu Ping" (grain-mallet vase...

An antique Japanese, late Meiji era, covered enamel over brass jewelry or trinket box. The exterior of the ware is enameled with polychrome images of blossoming flowers surrounded by...

A Japanese Imari Vase, 19th Century Provenance: Private Australian Collection. Description: The body embellished with a repeating design of flowers and dragon cartouches united by ...

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...