Japanese Kyô’yaki Porcelain Gosho’guruma 御所車 Kôro 香炉 'Incense Burner'

Tall and exceptionally made Kyo-ware porcelain jar (tsubo) with a naturalistically relief design of a coral-coloured net stretched around the body. On the shoulder hangs a beautifully draped red...

A charming gosho’ningyô (palace doll) of plump, seated child with a brilliant white skin and a small delicately elegant face, reminiscent of a young noble. The doll is playfully rais...

Very large rotund-shaped porcelain vase with horizontal ribs and a covering underglaze design of overlapping swirls with a canvas pattern on a white ground. Heightened by gold lustre...

Magnificent Kutani-ware porcelain vase of broad bluster shape by the famous artist Tokuda Yasokichi III (Masahiko) (1933-2009). Its body decorated wit...

Very large ovoid shaped porcelain vase with a beautiful blue and white mountainscape design accentuated by a low relief details. The top of the vase ends in an elegant small neck. Y...

Pair of high quality cast iron chôshi (sake ewers) with a detailed lacquered lid. Its body with a refined embossed design of a bird of prey (môchô) perched o...

Stunning contemporary Japanese Ko-Imari style porcelain koro or incense burner or jewelry box, hand painted on a beautifully shaped round body in cobalt blue, red and green and gener...

This incense burner presents the characteristics of a typical Yi Dynasty Joseon Dynasty incense burner with a body that rises smoothly from the base, openworked ears and a semi-circu...

Nicely made and large incense burner or Okimono of a turtle. In earthenware with nice patina. Shimane Prefecture Iwayaki (Nagahama Yaki) Turtle figurine. The head and part of the bac...

Description: Fabulous Japanese Satsuma koros. Small red marks on both lid and koro, 19th century. Condition: Overall condition perfect. Size: 85 x 80mm H x D Period: Meiji P...

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 fine and elegant Japanese Satsuma tripod incense burner, koro, with pierced metal lid, signed Eizan (?) Meiji Period, late 19th century, Japan. The koro, or censer, features a stoneware body of slightly compressed globular form, supported on three short and squat legs. The wide mouth with a recessed metal rim, and topped by an openwork metal lid topped with overlapping chrysanthemum blossoms of silver repousse. The body of the koro finely painted with fan shaped cartouches. The fans in the foreground with sprays of blossoming chrysanthemum. The fans in the background with intricate geometric brocade designs. The shoulder of the incense burner decorated with cartouches formed as stylized chrysanthemum petals, and intricately decorated with geometric and floral brocade designs. The painting finely done in raised gilt and polychrome enamels, including the highly desirable gosu blue...