Chinese Pair of Sancai Glazed Porcelain Dogs of Fu Incense Holders

A very fine pair antique Chinese Kangxi porcelain famille verte Buddhist Lion joss stick holders dating between 1662 and 1722. The dogs sit raised on...

A very fine pair Chinese Qing sancai glazed pottery dog of Foo incense holder figures dating from the 18/19th century. The figures stand raised on hollow rectangular pierced pedestal altar shaped bases with a draped cloth to the front and back. The figures are well detailed and are modeled, one resting a paw on a ball and the other with a puppy dog. The dogs have their customary open mouths revealing teeth with pierced nostrils and bulging black eyes. The figures support a tall column formed incense stick holder...

A stylish antique Chinese Qing sancai glazed porcelain joss stick holder formed as an oasis or pen with cows and palm tree dating from the early 19th century. The hand-crafted joss s...

An extremely rare and finely made Chinese Kangxi porcelain blanc de chine figure of a cockerel. The cockerel stands on a shaped base with good feather detailing and stands crowing wi...

Large Pair of Chinese Export Sancai Glazed Foo Dogs China, 20th Century An exquisite, large-scale Sancai glazed pair of Foo Dogs, featuring elaborately decorated Foo Dogs with rema...

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...

An antique Korean ritual incense burner circa 19th century, late Joseon dynasty. It was made in Bunwon Kiln in Gwangju, Gyeonggi Do, near Seoul. The ceramic container has a thickly b...

Pair #3: Chinese Export Porcelain Green Sancai Glazed Parrots China, Late 19th Century This fine pair of Chinese Export Porcelain Green Sancai Glazed Parrots, crafted in the late 1...