TISHU Vases and Vessels

A stoneware jar of bulbous form with a long neck supported by open-work foot dated from Silla, Three Kingdoms period (57 BCE-668 AD). The grey color ves...

A ceramic vessel in the form of a footed bowl or chalice, studio crafted by Brother Thomas Bezanson (1929-2007) circa 1970s. Covered in a brill...

An antique Korean bronze bottle of bulbous pear form with a long neck and flared open mouth from Goryeo Dynasty (918 AD-1392 AD) circa 12-13th century I...

A stoneware vase by Paul Chaleff (1947-) made in 1984. Chaleff is known for his wood fired ceramic vessel without glaze or sometimes natural ash glaze. The vase on offer is of a highly geometrical form with handcut multifaceted lower body that rises and morphs into a rounded upper body with two hand-molded ears above the shoulder. The surface shows nice firing color variations due to the iron oxidation in the kiln and also carved lines left intentionally by the artist. It is marked with the artist's incised signature and date 84. This piece has a very strong Japanese wabi-sabi appeal which is the aesthetic influence of the artist's work and makes a visually arresting center piece for any interior. "Paul Chaleff is known for his large-scale wood fired ceramic sculptures and vessels. He also created a large body of wheel thrown functional vessels. His vessels are strongly influenced by Japanese pottery, especially the work of one of Japan’s National Living Treasures, Takeshi Nakazato. Chaleff was one of the first American potters using a Japanese style Anagama kiln and became a leader in the introduction of this form of wood-burning kiln. In 1989, he began a regular collaboration with the British sculptor Sir Anthony Caro. Over a period of thirteen years, they created nearly 50 works, both figurative and abstract. Caro’s sculpture has had direct influence on Chaleff’s work as has the sculpture of Isamu Noguchi, and the ceramics of John Mason...

A ceramic wide-mouthed bottle vase covered in green celadon glaze from Goryeo dynasty circa 11-12th century. The bottle vase with such a form (mouth with wide rim, long and slender neck, tall body with swelled shoulders that taper down toward the base) is known as "kwanggubyong" in Korean and developed from the prototype of bottles from united Silla kingdom. It was used for holding oil or liquid. Some of this type of vase take a plain form without much decoration other than glaze; Some feature basic geometrical lines, such as this one. Three concentric rings were featured along the neck and on the shoulder. Some with more carving on the body (see a vase in the collection of Brooklyn Musuem, 79.246.3) or a simple paint with iron glaze (See c.16-1930 in Fitzwilliam Musuem, Cambridge, UK). The vase on offer is covered in a lovely green celadon glaze which exhibits fine even crackles throughout the surface. It has a slightly uneven base with the foot ring shaved by the potter. The surface is original with a nice mellow patina. There is a historical kintsugi repair on the mouth rim, with its gold vain...

A pre-Columbian ceramic stirrup vessel in Cupisnique style circa 700-500BCE. This ancient vessel features a robust squatted body and a short thick stirr...

A ceramic stirrup vessel pot from late Moche culture circa 500-700AD in nowadays Northern Coast of Peru. The hollow vessel features a rounded body and...

A ceramic bowl by American artist and studio potter Beatrice Wood (1893-1998). The elegant bowl has a deep half-hemisphere form that is supported by a sho...

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 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 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 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 ...

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 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...