TISHU Decorative Objects

A natural malachite rock specimen with striking green and black colors fitted on a wood stand for viewing and meditating. The front of the gemstone features tight and small polished ...

A contemporary studio ceramic tea pot with metal handle made by Japanese potter Ken Matsuzaki (1950-). The stoneware tea pot showcases a thick dripping Oribe green glaze partially revealing the unglazed part of the body, which is decorated with scrolling pattern of ash glaze. The work is rooted in both Yohen Shino glaze technique and Oribe tradition, but interestingly it also paid homage to Sancai pottery...

A three-part articulated gilt bronze brooch named "Le Travail Dominant le Mond" by French Parisian art jewelry and sculpture Line Vautrin (1913-1997...

A small gilt bronze brooch named "Chateau en Espagne" by French Parisian art jewelry and sculpture Line Vautrin (1913-1997) circa 1950s. It depicts ...

An Americana folk art copper weathervane circa early 20th century. The full-bodied piece depicts a Native American warrior in feather headdress and a wide belt shooting an arrow from...

A glazed ceramic vase in slender spindle form from the Chang Ware series by Royal Doulton (England, founded 1815) circa 1920-30s. The vase was decorated with thick and dripping glaze in rich mottled polychrome colors. The glaze shows overall irregular crackles, a signature characteristic of Chang Ware. The base is hand-marked "NOKE", Royal Doulton in rectangle and initial HN (for Harry Nixon). Developed by Charles J. Noke (1858-1941), Doulton's Art Director, as part of his experimentation into Chinese flambé glazes during the 1920s. Fired at very high temperatures, they were introduced commercially by Doulton in 1925 in response to popular demand for eastern style ceramics. They were applied primarily by Harry Nixon (1886-1955). The name Chang Ware was used by Doulton in reference to the possibly mythical Song potter, Chang the Elder, although it bears little relationship to Song ceramics.

An American Midwest collection of four small Chinese ceramic vases covered in peach-bloom glaze circa Qing Dynasty, 19th century, possibly earlier. The set consists of three vases of...

A large ceramic lusterware bowl by American artist and studio potter Beatrice Wood (1893-1998). The piece, circa 1980s, is of an upright deep form typical of a rice bowl, supported b...

A large ceramic bowl by Japanese American artist Toshiko Takaezu (American, 1922 - 2011). The deep form bowl features a robust body of thick wall, s...

A ceramic square plate with white-celadon glaze by Japanese potter Yoshikawa Masamichi (1946-). The sharp-edged plate features a concaved center an...

A richly glazed ceramic sculptural slab in the shape of a centerpiece plate by Japanese ceramic artist Yoshikawa Masamichi (1946-). The highly abst...

A pre-Columbian ceramic bottle in the shape of a bird from Northern Coast of Peru likely Sican Culture that flourished from 8th to 14th century. The avian vessel features a hollow bo...

A small black ceramic figural stirrup vessel from Moche culture circa. 100-500 AD, located in nowadays Northern Coast of Peru. The hollow pot with the stirrup handle was sensitively molded and the surface burnished. The seated figure has his arms folded in front of his chest. He has prominently protruding ears and an expressive face. Provenance Available to the buyer: From an American collection. For a black burnished stirrup bottle, see item 1976.287.8, 64.228.35 in the collection of Metropolitan Musuem of Art, NYC. Many black portrait stirrup bottles are in the collection of Larco Musuem, Lima...

A ceramic stoneware chawan tea bowl made in Korea circa 16-17th century. The chawan is identified as Ko-ido (small ido) due to its size and form. Ido bowls were made since 15th centu...

A pair of Satsuma ceramic plates made by Kinkozan studio circa 1880-1900s during the late Meiji Period. Each dish features miniature enamel decoration o...

A bespoken sterling silver chocker necklace very bold design by Graziella Laffi, Lima, Peru, circa 1970s. The chocker features six subtly hammered roundels radiating into a trio of Axe-shaped fixed pendants, with two smaller ones flanking a large central one. The shape of the axe was often found in the Pre-Columbian art. As a bronze age tool, it symbolizes power. The necklace is not chain link but cast and joined as a solid chocker with box clasp mechanism. The design radiates a sense of history with the primitive tribal geometry in form, yet the necklace appears beyond ethnic, it exuberates a confident and bold modernistic aesthetic. The drop of the necklace on the mannequin (not included) is 11". It has an approximate 16" circumference and weighs 320 grams (10.3 troy ounces). It was tested as 900 purity with XRF analyzer. There is a Peruvian Cultural Ministry label applied and a catalog sticker on verso as shown. Graziella Laffi was born in 1923 in Florence, Italy to Gino Laffi, a silversmith and artist. Following her family tradition, Graziella enrolled in master classes after elementary school, focusing on design and painting. She next attended Escuela de Bellas Artes de Puerta Romana for three years, where Gino taught, and then to the Accademia di Belle Arti di Firenze, where she concentrated in architecture until the start of World War II. In 1947, Graziella, then twenty-four, immigrated with her parents to Peru. Gino later created a silversmith studio and showroom called Fabrica Laffi on Avenue Mexico, where Graziella initially learned her Craft. The Pre-Columbian culture in her adopted country inspired Graziella to travel and collect, which ultimately influence her design in the silver pieces. Graziella learned the metalworking techniques of the ancient Peruvian civilizations and rejected the current technology. She mostly used hammering, rolling and creating joints as the ancients do. As an ambassador of Peruvian culture, her work promoted the indigenous Peruvian art and rekindled the interest in its ancient heritage throughout South America, the United States and Europe. She exhibited her growing collection of Peruvian artifacts...

A small gilt bronze pill box by French Parisian art jeweler Line Vautrin (1913-1997) circa 1940-50s. The rather rare round box features a relief-cast spider on the lid. The interior ...

A Japanese lacquered Sake Drinking set circa late 19th century (end of Meiji period), The assemble consists of a red lacquer stand open frame support and a lid that encloses a storage space with black lacquered interior. The lid features a and a cup holder in the center and four heart shape cutouts on the corners. There are three maki-e decorated sake cups with gradual sizes. The cups showcase on the red background elaborate gold hiramaki-e paintings...

A stoneware vessel with banded stripe glaze made by British studio potter John Ward (1938-2023) circa last quarter of 20th century. The vessel takes an interesting multi-faceted form...

A stoneware vessel by British studio ceramist John Ward (1938-2023) circa 1985. The flat shouldered vase is molded in a simple and elegant form with harmonious proportion. A small mo...

A miniature Japanese ceramic vase from the end of Meiji period circa 1880s- 1910s by Kinkozan (1645-1927). One of the largest studio manufacturers of the export ceramics at the time ...

An impressively large jade sculpture for table or desktop. In Māori style from New Zealand, the heavy jade Nephrite slab (also known as “pounamu”)...

A small antique Korean Buncheong stoneware vase from early Joseon Dynasty circa 16th century. The vase is of a classic pear form with a waisted neck, a flared mouth and a ringed base...

A large malachite rock specimen with intense green and black colors fitted on a wood stand and displayed as a Chinese scholar stone. The gemstone in the vertical botryoidal form was ...

An earthenware pottery bowl supported on a foot ring covered in white slip and decorated with dark brown and red slip paint. This type of bowl is identified as Nishapur ware circa 11...

A small elegant glazed ceramic tea bowl (chawan) by Japanese American artist Toshiko Takaezu (American, 1922 - 2011). The well-balanced form is hand built and shows just a slight irr...

An earthenware bowl supported on a foot ring decorated with elaborate slip paint. The bowl was made in Kashan (in nowadays Iran) during 12-14th century, under Seljuk empire or after ...

A large earthenware bowl with a deep and wide body supported on a foot ring decorated with incision and slip paint circa 11-12th from Iran when ...

A deep and wide earthenware bowl supported on a foot ring decorated with slip paint from Nishapur 11th century under the Seljuk Empire (in nowadays Iran). This bowl features a thinly...

An antique lacquered small box that was likely used to contain incense powder (it is called Kobako in Japanese), circa early to mid-19th century of the Edo...

Displayed on a black custom carved wood stand, this solid malachite rock specimen with intense green and black colors functions as a Chinese scholar stone. The gemstone showcases the...

A Japanese Ikebana basket woven by bamboo artist Abe Motoshi (Japanese, b. 1942). In an organic vase form with elegant, curved wall with reinfo...

A stoneware glazed bowl by British studio potter John Ward (1938-2023) circa 1980-1990s of the last quarter of the 20th century. The bowl features a distinct form with a wide flanged...

A striking blue and white vase 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 vase is decorated with underglaze cobalt blue 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. 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 Taikan...