Mahs Antiques Ceramics

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.

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 fine pair of antique Chinese export porcelain vases. In the Rose Canton or Famille Rose style. Decorated throughout with numerous cartouches of flowers and birds in a variety of ...

The Chinese Export porcelain dish in the famille rose palette is painted on the border with meandering vines and flowers which surrounds a central panel decorated with vases and pots of flowers...

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

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...

A nicely decorated Japanese Meiji Period Imari charger, late 19th century, Japan. The porcelain charger featuring a design of a hoho bird, or phoenix, per...

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 ...

A very fine small Chinese export porcelain bowl. With famille rose decoration, blue underglaze cells, and a scalloped edge. It was likely made for either the American or Europe...

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 Pair of Imari Vases, 19th Century Provenance: Private Australian Collection. Description: Each with an octagonal everted rim alternating between cobalt bands centred by two plu...

A Japanese Imari Charger, 19th Century Provenance: Private Australian Collection. Description: The central double hou-ou bird in cobalt surrounded by shaped cartouches within a cob...