Japanese Satsuma Vase, Early 20th Century

A gorgeous hand-painted Japanese Satsuma vase, Meigi, circa 20th century, Japan. Beautiful hand-painted detail of colorful flowers and spider mum flowers around finished with gold de...

A beautiful, small Danish vase in white and orange porcelain, with a gold rim, fluted body and a 'cracked' design. Marked (Denmark) and numbered on bottom as shown in last image. Ver...

A very beautiful pair of polychromed Kutani porcelain Japanese vases, circa early 20th century, Meiji period, Japan. Vases are hand painted and designed with two different sides; one...

A beautiful pair of Japanese earthenware 'bisque' colored vases with a raised floral, butterfly and 'phoenix' bird relief, circa mid-20th century, Japan. Both vases signed on side as...

Quality large antique Japanese Satsuma vase, having a quality antique Japanese Satsuma vase decorated with figures bordered by patterns in wonderful brown, white, red and gold colour...

Lovely etailed piece. Marked on base with makers mark and mon crest Condition Overall condition perfect. Size: 294mm Period Meiji Periode (1867-1912).

From our Japanese Satsuma Collection, we are delighted to offer this Japanese Satsuma Vase by Ryokuzan 緑山. The Satsuma vase of ovoid shape with a tapered body, circular foot rim, wai...

An Satsuma ceramic stone ware vase, circa 19th century, around the end of the Edo and the beginning of Meiji period. In the form of a Classic garlic bottle whose prototype was from China, the white bodied piece is decorated with an early form of kin nishikide, the so called golden brocade, a palette of iron-red, blue, green, yellow, purple and black with golden highlight. The over glazed enamel paint shows a group of robed figures in a garden setting with a lion and three tigers. A transparent overall glaze shows very fine crackles. The design is relatively sparse with plenty of negative space in contrast to the Satsuma production from the late 19th century, when the trend became fussy and overly glitz, due to the influence by the perceived western taste for the export market. This piece may still be made for export but its pattern was more influenced by both Kyoto Pottery and the Kano school of painting compared to the export ware by the end of the 19th century onward to the early 20th century. It was believed by many that this was a result of Satsuma potters visiting Kyoto in the late seventeenth century to learn over glaze painting techniques. There are some age glaze crackles especially around the foot. The piece is not signed in keeping with the earlier production before Satsuma ceramics...