Rare Antique Japanese Satsuma Vase with Scenes of Figures, Turtle Basin, Reading

Fabulous antique French Provincial faience Armorial snake handled bough pot vase with three Armorial shields depicting a Fleur-de-Lis, a Cross and a V shaped emblem topped by a large...

Rare peacocks and peonies antique Japanese Meiji period patinated bronze gold and silver inlaid signed Usubata vase for Ikebana, the Japanese art of flower arrangement Late 19th Cent...

A fine antique Japanese Meji Period lacquer box decorated with a fan and a stylized star shaped window in the maki-e technique. The fan at the top right corner, fully opened depictin...

Impressive signed Baccarat Empire style bronze and crystal vase. Beautifully complements the Classic 1841 Harcourt and Empire patterns, similar to the ...

Unusual rhombus shaped Japanese Meiji period bronze sea-life motif bonsai, bamboo planter, ikebana. The body in the form of a densely woven basket of fine detail, with a large lobster, clam shell, cockle, conch, crab, pearl oyster and whelk sculptural motifs on the sides, set upon bamboo form bronze feet. The base signed in Japanese within an ornate seal. Perfectly sized for an artistic bonzai tree...

Japanese Meiji period patinated bronze sculpture of a geisha waiving her hand in greeting signed Genryusai Seiya 19th Century The attractive young geisha is dressed in traditional Ja...

A mid-20th century Japanese Satsuma vase with figures. Satsuma ware is a style of Japanese earthenware originally from the Satsuma region of what is today southern Kyushu. There are two distinct categories of this ware: The original plain dark clay early Satsuma...

A fine diminutive, antique Japanese Satsuma pottery cabinet vase. Decorated throughout with gilding and raised enamel. There are...

A gorgeous pair of Japanese earthenware Satsuma vases, hand-painted, Meiji period, circa early-20th century, Japan. Vases' beautiful decoration is high-qu...

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...

A beautiful Japanese Satsuma pottery studio vase featuring multiple kesa-clad enlightened Buddhist monks on each side of the vase. The piece is finely detailed with rich raised gilt highlights throughout and beautifully decorated in gold and various hand painted other colors. From the Meiji period (1868-1912). This piece has the all-important Shimazu Family crest mark (red circle with a cross inside) on the base authenticating the work as an old and original Satsumaware work. The mark shows the pottery was made under the rule of the Shimazu clan. From a Los Angeles Collection...

A large Japanese ceramic vase from the end of Meiji period circa 1890-1910s by Kinkozan (1645-1927). One of the largest studio manufacturers of the export ceramics at the time based in Kyoto. In the typical style of satsuma made at the turn of 20th century, the vase is elaborately decorated with a rather unusual kinran-de (gold paint) and green enamel highlight on a mottled brown background. The painterly decoration depicts a large seasonal floral arrangement in a circular fashion. Besides the obviously superb craftsmanship, what sets this particular vase apart from many lower quality and mass-produced pieces is its tone-on-tone color pallet that is visually somber and the small and sensitive details that heralds the change of the seasons. When the viewer goes beyond the first casual glimpse of the blossom and foliage, one would notice that on the edges of certain leaves as well as along the stalks, there accumulates a very thin layer of the white dust that represents the frost. The flower in bloom are chrysanthemums. Despite of being splendid, they are the messengers of the autumn. The large lotus leaf was subtly rendered in a bended and slightly withered manner, just past its prime. Although the lotus is still in bloom, the prominent seed pod indicates it may be the last for the season. The sentimental capture of the change of the seasons is not unusual in Japanese art. This vase poetically represents such a subtle transition from summer to fall, perhaps depicting the very first frost. The neck of the vase is also slightly unusual with two rolled rings...