Japanese Satsuma Ceramic Ewer Yabu Meizan

A Satsuma baluster form vase from the studio of Yabu Meizan (birth name Yabu Masashichi; 1853-1934), who is one of the most celebrated and collectible Satsuma artists from Meiji Peri...

A small Satsuma vase from the studio of Yabu Meizan (birth name Yabu Masashichi; 1853-1934), who is one of the most celebrated and collectible Satsu...

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...

Tri-pod ceramic bowl likely used as an incense burner (koro) by Japanese Imperial potter Makuzu Kozan (1842-1916) circa late Meiji period. The signature indicates that it was produce...

An elegant vase made in Kyoto, Japan, circa 1920s. With a graceful elongated Mei-Ping form, it was likely used as a flower holder during the tea ceremony. The stoneware body has an incised and raised design of Irises in an over glazed indigo blue, an subject matter and composition found in the contemporary paintings and screens, cherished by the literati of the Kyoto society. The vase has a white glazed background sprinkled with dust for a rustic effect. The blue glaze displays some burst of bubbles upon close inspection, suggesting its age. Under the base, there is a small impressed mark of Ninsei (born Nonomura Seisuke) a famous potter from the 17th century, who was considered the founder the Kyoto ware...

On offer is a Japanese ceramic tea bowl (chawan) used in the traditional chado ceremony. The bowl was potted in clog form with a ring foot shaved extremely low. Its size and harmonious proportion make it perfect to be held in both hands during chado. Classified as shino ware...

A Satsuma Koro and cover by Yabu Meizan, Osaka, 1853-1934, delicately painted with various scenes of children playing, the top with lion finial, raised on...

A wonderful Japanese Kutani porcelain incense burner, koro, in the form of a treasure ship, Takarabune, Taisho Period (1912 - 1926), Japan. The censer boldly modeled as the legendary Takarabune, or Treasure Ship, a mythical ship said to carry the shichifukujin, the Seven Lucky Gods, around the heavens during the first days of the New Year, visiting lucky humans to bring blessings and prosperity. The black bodied, single mast ship sails on the water, its sail full of wind and decorated with the character "takara", meaning treasure. The pierced top of the ship serving as the cover for the censer. It is loaded with magical items and treasure, most prominently, a large coral branch...

Satsuma ceramic lobed bowl with curved corners and embellished with a refined scene of daily life along a watercourse on the outside. The interior is adorne...

A Satsuma tapering cylindrical square high-shouldered vase by Yabu Meizan, Osaka, 1853-1934, decorated in polychrome enamels and gilt over a clear, cr...

Koro Satsuma Japanese ceramic Japanese glazed ceramic in various colors Meiji Style Circa 1940 Origin Japan It has traditional images painted on its front and back. The purpose of th...

Mint condition From Japan, a hard to find and unusual hand-built, painted and glazed tea bowl featuring "flying bats" - signs of good fortune, created over thirty years ago. A stunn...