Early Japanese Plique-a-jour Bowl from Nagoya

A pair of small but exquisite Plique-a-jour cloisonné bowls with nearly identical design from Nagoya area in Japan circa 1900-20s. Maker's unknown but possibly by Ando company. The t...

A small Chinese cloisonne enamel bowl made with the technique of Plique-a-jour (means "letting in daylight" in French), a challenging method similar to small scale stained windows...

A small Chinese cloisonné enamel bowl made with the technique of Plique-a-jour (means "letting in daylight" in French), a challenging method similar to small scale stained windows or...

A large pair of Chinese cloisonné enamel bowl made with the technique of plique-à-jour (means "letting in daylight" in French), a challenging method similar to small scale stained windows...

An exquisite Japanese presentation bowl in sterling silver by Hattori Kintaro (1860 - 1934), circa 1910-1920s, late Meiji era to early Taisho era. This rare and rather large piece wa...

A rare ceramic bowl with over glaze painted decoration by Japanese imperial potter Makuzu Kozan ((1842–1916). Unlike the better known works Kozan made for the expositions in the west and export to the foreign market, this piece exemplifies his work for the domestic market and the tea ceremony. The bowl was made in the so called "Utusushi" Ogata Kenzan (1663-1743), an celebrated Edo painter and ceramicist. Utusushi is loosely translated as "in the spirit of". It is not at all a simple imitation of a master, but a Japanese concept of embracing the spiritual essence of a master while the creator is free to mix in his or her own unique artistic interpretation and flavor. The bowl was made to hold fruits during the tea ceremony. It has a very distinguished form with a circular lower body morphing into a square upper portion that further opening with flared rim. The surface has a grey glaze onto which Asagao flowers (Japanese morning glory) on the vines were painted in a free and poetic style. White was used for the petals, green for the leaves with touches of gold highlight. Asagao, the symbol of the summer was rendered in the spirit of Ogata Kenzan, and interestingly the shape of the blossom echoes the unique form the bowl. It was likely reserved for the tea ceremony during the summer months. Under the base, Kozan was signed in black on an white porcelain plaque inlay. For two similar examples of Kozan's work Utusushi Kenzan, see Page 168-169 of the book: Sekai ni Aisa Reta ya Kimono Miyagawa Kozan Makuzu...

An antique Japanese Meiji era enamel bowl. The bowl is covered with polychrome enamel foliage and floral patterns made in the Plique a Jour technique. Mounted on three legs. Circa: e...

Japanese Meiji period cloisonne bowl.

An early 20th century singing bowl crafted from solid bronze captures the eye with its hand-hammered surface revealing intricate gold divots. Emitting the harmonious B4 note, it reso...

A medium sized antique cast brass measuring bowl from northern India. High relief casting, bundled rope maker's mark on the bottom. Bronze rice-mea...

Wabi Bowl, Large, in Polished Gold Cast Bronze from Elan Atelier Wabi bowl in solid cast bronze using the lost wax cast method. Shown in polished gold bronze. Available in three sta...

An exceptional fine and impressive antique Burmese silver bowl; an addition to our ornamental silverware collection This exceptional ant...