Pair of Antique Japanese Kutani Vases

An impressive and very decorative pair of Meiji period (1868-1912) Japanese Kutani porcelain vases, each with wonderful exotic floral d...

A magnificent pair of Japanese Meiji period (1868-1912) Kutani porcelain vases. Having wonderful hand painted images of attendants gathering in morning, having classical motif decora...

A very impressive pair of Japanese Meiji period (1868-1912) Satsuma lidded Koros (Vases) Each with a bold turquoise ground, classical gilded decoration,...

A wonderfully decorative Japanese Kutani vase, Meiji period 1868-1912. Having the classical orange ground with scrolling foliate decoration, inset...

A large and impressive pair of Japanese Meiji period (1868-1912) Katani porcelain vases, each with wonderful hand painted scenes of tribes of Samurai warriors inset among boarders of...

A very decorative and impressive Meiji period (1868-1912) Japanese Kutani flare necked twin handle vases. Each with orange ground feather decoration, inset painted panels with blosso...

Pair of late 19th century Japanese hand-painted and gilded porcelain kutani vases. These vases are signed.

A pair of Chinese vintage Japanese Kutani style vases from the mid-20th century, with floral and butterfly decor. Created in China during the m...

Pair of antique Japanese porcelain vases Japanese, early 20th Century Height 86.5cm, diameter 36cm The beautiful Imari porcelain vases...

Japanese Meiji porcelain Kutani vase hand painted with decorative and a figural panel dating between 1868 and 1912. The elegantly shaped tall ...

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...

"Late Meiji era Kutani vase, circa 1903. A beautiful porcelain blue ground centered by an intricate Geisha flanked by gold figural Foo Dog handles. Features a floral and foliat motif throughout. Signed along the base. Kutani ware, Japanese porcelain made in Kaga province (now in Ishikawa prefecture). The name “Old Kutani” refers to porcelain decorated with heavily applied overglaze enamels and produced in the Kaga mountain village of Kutani. The powerful Maeda family had established a kiln there by 1656. The clay bodies used were gray and coarse-grained. On most pieces—dishes and bowls were especially common—a white or blue-white matte glaze was decorated in dark, restrained colours, initially greens, yellows, and some reds, and later purples and dark blues. Some items had cobalt blue decoration under a white glaze. The most noted Old Kutani pieces are “Green Kutani,” in which most of the surface is covered in a green or blue-green glaze to which one or two colours have been added (or the glaze is applied evenly over a design executed in black). The bold designs of Kutani ware drew freely from Chinese ceramics, paintings, and textiles. They are renowned for their rich pictorial ornament executed in lively, intense lines. Owing to local financial problems and difficulties in obtaining the necessary pigments, the Kutani kiln was abandoned some time in the Genroku period (1688–1704). Ceramics production in Kaga enjoyed a renaissance early in the 19th century, however, including the establishment of another kiln at Kutani in the 1820s. In addition to a revival of the styles of Old Kutani ware, there arose a style using gold on a coral-red ground, which was perfected during another spate of activity that began in the 1860s. Technical advances were made and Western-style pigments were adopted, and by the 1890s modern Kutani...