Satsuma Earthenware Cabinet Vase, Early 20th Century

Satsuma earthenware vase the baluster-shaped body painted in enamels and gilt with two panels, one depicting numerous immortals with raised gilt in terraced garden setting, the othe...

A Japanese Satsuma Earthenware Vase by Kinkozan, Meiji period (1868-1912) The body inset with two panels, one depicting figures seated around a table, the other painted with a joyful scene in a shrine, all reserved on a blue ground decorated with a gilt flower pattern, signed Nihon Kyoto Kinkozan zo...

Japanese Satsuma Earthenware Vase, Meiji Period, 1868-1912, of baluster form, the decorated in poly-chrome enamels and gilt on a clear crackle glaze with a Daimyo procession, the nec...

A Satsuma earthenware vase, by Kinkozan, Japanese, Meiji period (1868-1912) decorated in polychrome enamels and gilt over a clear, crackled glaz...

A lovely Satsuma vase. Marked base. Additional information: Material: Porcelain & Pottery Japanese Style: Satsuma Region of Origin: Japan Period: 19th century Meiji Periode (1867-19...

This exquisite miniature Satsuma porcelain cabinet vase, dating to the Meiji Era, is a masterful representation of Japanese artistry and craftsmanshi...

Large antique Japanese satsuma vase, having a quality large antique early 20th century Japanese satsuma vase, hand painted in stunning gold, orange, red, blue and brown colours decor...

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...