Asian Lacquer

Welcome to our antique lacquerware collection. We are excited to present this stunning Kanshitsu Oke mixing bowl, which dates back to the Showa period of the 20th century. Kanshitsu ...

A large Theravada Buddhism scripture book from Burma, circa late 19th century-early 20th century. The book opens to continuous folding pages that is accordion like. Ink scriptures in curvy Burmese language were handwritten on both sides of the pages. The papers are bind by two lacquered wood covers with elaborate design that features relief scrolls and mini mosaic...

Set of bundai, ryoshibako and fudebako in wakasa lacquer with an old rose background and black traditional Japanese patterns. The saya pattern (or sayagata) is composed by Chinese svastikas. This symbol linked to Buddhism, mean intelligence, power and peace. It is a good omen sign. The kanoko pattern reminds stains on fawn back. The sakura (cherry blossom) pattern is emblematic of Japan. The blossoming in a short time marks spring beginning and is a symbol of renewal and ephemeral beauty. There are also traces of calligraphy brush, in reference to the function of the objects. Bundai is a low table used to put books or scrolls and, later, to write. Rectangular ryoshibako (letter and document box) with a slightly domed Fudebako (pencil case) of rectangular format very narrow in its length with two rounded corners, flat cover. Wakasa lacquerware...

A Japanese lacquer water ewer without handle (known as hazo in Japanese) that was used to carry water, traditionally together with a large basin (known as tsunodarai) for domestic us...

Japanese Lacquer Rhino Sculpture by Someya Satoshi (1983-). A hand-molded lacquer sculpture that depicts a fantasy beast "Rhino". The artist uses century-old traditional techniques and symbols but with an innovative contemporary energy that borders mysticism, shamanism and surrealism. Found objects were equally treated as part of the meticulous designs as the elaborate Maki-e and shell inlays. According to the press of Honolulu Museum of Art: "Someya Satoshi has been described as “one of the most significant contemporary lacquer artists working in Japan today.” (Japan Times, 12 Dec. 2013) His work combines objects of daily use, such as bathing buckets, serving trays, and soup bowls, with a wide array of natural materials, including animal bones, horns and antlers, sand, stones, leaves and branches. In the process, he implements a range of traditional lacquer methods passed down from pre-modern eras, such as the kanshitsu or “dry lacquer” technique, the origins of which date to Japan’s Nara period (710–784). After creating his forms, he embellishes them with designs inspired by calligraphy, traditional Japanese textile patterns, and even contemporary manga or comic books. His work defies ordinary definitions of lacquer art and successfully challenges the perceived limits of this extremely difficult and, in some ways, most conservative of traditional Japanese art forms". His work was exhibited in US such as Honolulu Museum of Art, Minneapolis Institute of Art, Morikami Museum etc. For a complete resume of the artist, see the artist's page in Imura Art Gallery. Reference: For a very similar Bull Sculpture see Hard Bodies Contemporary Japanese Lacquer...

Nagasaki, Edo period, 1st half 19th century Of circular form decorated in gold hiramaki-e on a black-lacquered ground, the lid depicts the Muiderpoort, a city gate of Amsterdam, aft...

Splendid and vintage Burmese Box, red lacquered and engraved, unusual size. O/5307 -

Black and gold lacquer suzuribako (writing set) in takamaki-e on a nashi-ji background representing two tigers near rocks, bamboos and plum blossoms in a night landscape. Inside of the lid with a lake landscape. The interior of the suzuribako is composed with an inkstone, topped by a copper water bucket in the shape of a chrysanthemum on the left side, with a brush and a small knife. It includes in the right part a storage compartment. Inscription under the inkstone "Inkstone made by Nakamura Chobe". Although the tiger is not native to Japan, it has a high symbolic. The figure of courage was introduced by Buddhism from China. According to the Chinese tradition, the tiger is from one of the stars of the Great...

A Japanese export Nagasaki lacquer tobacco box with the portrait of Napoleon Bonaparte Edo-period, circa 1810 The box in black lacquer on copper, ...

Lacquer Potpourri box and cover with ormolu mountings from 18th century Directoire Japan/ France.

The highly decorated tray in the form of a table frames a series of three stacking boxes, a further three lidded boxes and a tray concealed within, raised on ogee bracket feet. This...

A pair of Edo period black and gold lacquer Samurai helmet boxes (Hakko Bako), each of ribbed cylindrical form with a lid, a black lacquer interior,...

The daimyo were the ruling class of land owners, subordinate to shogun, who formed around the 10th century and fell out of power in the 19th century. Daimyo families tended to be wealthy and could commission artwork or decorative pieces. This pair of 17th century hibachi are black and gold lacquer with designs of Uji Bridge...

A rare pair of Kyoto-Nagasaki style lacquer and mother-of-pearl inlaid knife urns Edo period, early 19th century Measures: Height 71 x diameter 30 cm ?Formed as urns with vertically lifting covers and elongated finials, revealing fitted green velvet lined interiors for knives, decorated overall with birds, flowering stems, faux-fluting and oval panels with landscapes. The square plinth is raised on four bracket feet. Inside the lifting cover of one of the urns are Japanese characters, supposedly indications of some code by the craftsman. A closely related knife urn, now in the collection of the Peabody Essex Museum, Salem (inv. E 73115), was acquired in Nagasaki by Captain Samuel Gardner Derby of the Margareth of Salem in 1801. Captain Gardner Derby traded in Nagasaki under charter from the VOC (Vereenigde Oostindische Compagnie), the Dutch East India Company. Between 1797 and 1814 Holland was occupied by the French and from 1811 until 1816 Java by the English. During these periods practically no Dutch shipping was possible between Holland and Batavia (Jakarta) or between Batavia (Jakarta) and Nagasaki. To maintain a minimum amount of shipping between Batavia (Jakarta) and Nagasaki, between 1797 and 1807, the VOC chartered mainly American ships. American captains and officers ordered and bought mainly lacquered furniture in an American-English style, completely different from what the Dutch up till then had ordered. The present knife urns were possibly also ordered and acquired by Captain Gardner Derby during his stay in Deshima/Nagasaki in 1801. Another similarly neoclassical shaped knife urn in the collection of the Ashmolean Museum Oxford (inv. 1996.17) appears to be signed by woodworker Kiyotomo koreo tsukuru (Kiyomoto made this). The same name, together with an address in the Sanjo-Teramachi District of Kyoto, has been found inside a fragmentary urn in a private collection. This is an indication that European-style furniture was not only lacquered in Japan but made there as well. This undoubtedly is not only true for knife-urns, but all European- style furniture lacquered in Japan after circa 1800 was made by Japanese furniture makers...

Meiji period, circa 1873-1887 The black lacquered box decorated in maki-e and hiramaki-e gold, with on the lid a European style building complex and several Japanese and European figures walking along a street in the foreground. The sides are finely decorated with several insects and the inside with several compartments and nashiji decoration. H. 7.4 x W. 29 x D. 25.7 cm After the Americans forced Japan to open their harbours to the outside world and take part in international treaty and trade around the mid 19th century, the formerly feudal society rapidly changed. Japan was now focussing on an industrial future. One of the major international ports was Yokohama with its foreign embassies and warehouses - which attracted a great number of visitors of all sorts. For the higher society visiting Japan for the first time a new and ‘Western’ hotel had to be realised; hence the construction of The Grand Hotel on Kaigandori. The hotel was opened on August 16, 1873 (Meiji 6) and was soon considered the height of Western culture and elegance in Japan. The building probably depicted on this box, designed by American architect Richard P. Bridgens (リチャード・ブリジェンス, 1819 -1891), is the original hotel...

Antique Chinese Black & Red Lacquered Chinoiserie Altar Storage Chest Decorate your space with this 19th century Chinese elmwood altar storage chest. Its 10 drawers make it perfect ...

Early 20th century Chinese Red Lacquer decorated box. Relief carved top panel of an attendant and scholar. Fine finger joints on the box and lid. Inside top of the lid having Chinese...

Japanese Lacquer Hibachi (Brazier), Meiji period (1868 - 1912) Box- shaped Japanese hibachi with mother of pearl inlay, handles on two sides, and a cop...

Kushibako (comb box) in black lacquer with gold lacquer decoration of arrows and my in the shape of three assembled commas " mitsudomoe " (Okabe; Itakura; Kuki; Hijikata; Arima famil...

Decorative handcrafted vase with mother-of-pearl inlay.

Meiji period lacquer box with nashiji ground interior with tray that has an opening for the tea whisk. Comes with silk period jacket with ties and sugi wood collector's box. Artist s...

Showa Period (1926 - 1989) sculpture of a duck resting with its head tucked into its wings. Dry lacquer, or kanshitsu, is a process of layering and manipulating lacquer soaked cloth ...

Japanese antique lacquer document box with elaborate hawk and faux oak grain, Late Meiji (1868 - 1912) / Early Taisho (1912 - 1926) period lac...

each decorated with a landscape motif and an inscription; wooden stands shown in pictures are not included with these dishes

Created by noted Japanese artist Tetsuya Yamada in 1998 this sculptural box/seat features fascinating combination of materials including antique wood, c...

Pair large antique 19th century Chinese Lacquer and carved wood figures.

Two Palembang Peranakan lacquerware bridal boxes and a tray South Sumatra, Palembang, lacquer work by Chinese Peranakan artisans, mid 20th century Woo...

This lacquered 18th century Edo period altar table was probably made for the private shrine of an aristocratic home. There, it would have been placed before an image of a deity, and ...

With chrysanthemum motif and a gilded bronze lid. Includes unsigned collector's box. Interior measurements: 7 1/2" opening, 5 1/4" deep.

An early 19th century red lacquer with gold accents Chinese fragment with gold courting scenes converted into a mirror. Brass holder for hanging.

As beautiful as it is practical, this Japanese Meiji-period lacquered tray is distinguished by its exceptional craftsmanship. It exhibits a phenomenal artistry as the entire tray is ...

The artist calls this vessel a flower basket in the calligraphy on the box. Showa period (1926-1989) black lacquer container in square form with notched c...

An important Japanese lacquer box with a view of The 'Nieuwe Stadsherberg Van Amsterdam Nagasaki, Edo-period, 1830-1840 The black lacquered wood box, decorated in gold and inla...

An extremely fine and important Japanese lacquer cabinet with gilt-copper mounts for the European market Edo period, late 17th century The pictorial style decorated rectangular...

An impressive and large Japanese 'Namban' transition-style lacquer coffer with fine gilt copper mounts on a French Re´gence base, possibly by André-Charles Boulle (1642-1732) Kyoto, 1640-1650, the base 18th century ?The coffer with shaped cartouches on a nashiji ground on the lid, front and sides, with fine decorations in various techniques: takimaki-e (high relief), tsuke-gaki (drawing with narrow lacquer lines and over sprinkling with gold and silver), usuniku-takamei-e (demi relief), kimekomi (pushed inside) and accents of kirigane (small geometrical metal mosaics). Inside the cartouche on the lid a landscape with volcanos...