Chinese Blue and White Porcelain Vase from Modern Official Kiln

An elegant vase made in Kyoto, Japan, circa 1920s. With a graceful elongated Mei-Ping form, it was likely used as a flower holder during the tea ceremony. The stoneware body has an incised and raised design of Irises in an over glazed indigo blue, an subject matter and composition found in the contemporary paintings and screens, cherished by the literati of the Kyoto society. The vase has a white glazed background sprinkled with dust for a rustic effect. The blue glaze displays some burst of bubbles upon close inspection, suggesting its age. Under the base, there is a small impressed mark of Ninsei (born Nonomura Seisuke) a famous potter from the 17th century, who was considered the founder the Kyoto ware...

A set of three ki-seto (yellow-seto) ceramic altar pieces made in the period of Korean Empire (1897-1910), a short independent period after Joseon dynasty before the invasion and occupation by Japan. The set consists of a candle holder with a metal pricket, an incense burner with lid and a vase. Traditionally, there were used during ritual ceremony as the accoutrement for a small altar table...

A ceramic dish with high cylindrical foot in white glaze from Korea, circa 19th century Joseon Dynasty. By shape, this piece is most likely a ceremonial vessel that was used to make offerings on the altar. Although without inscription, we can't rule out that it could be a household item for occasions that were less formal. Such as a private shrine in the household. During Joseon dynasty, the social morals were largely centered on the principles of Confucianism that originated from China. Many ritual ceramic wares were produced for rituals and worships on all level of the society. The ware were often modeled after the archaic bronze ware that elevated them from the aesthetic of daily use pieces. High foot dish like this were made in both round and square shape to suite different use but they were all distinguished with the inscription for their exclusive ceremonial purpose. Of elegant form and harmonious proportion, this stem dish...

A tri-pod ceramic incense burner (koro) by Japanese Imperial potter Makuzu Kozan (1842-1916) circa late Meiji to the start of Taisho period (1890-1910s). A fine example of the artist's work belonging to the late part of his underglaze paint phase (started around 1887 until his death), the surface of the koro was painted in beautiful shades of blue to depict a continuous landscape not unlike a traditional ink and watercolor hand scroll. The rise and fall mountains recede and fade into the horizon and are dotted with groves of pines. The sky is painted with a beautiful subtle shade of pink, suggesting a time of sunrise or sunset. The koro is fitted with an ensuite reticulated sterling silver hoya (incense cover), pierced with swirling cloud and marked with "pure silver' in Kanji. The base is signed in underglaze blue "Makuzu Kozan Sei" within a double ring. The piece is beautifully potted in form and the decoration was done with expertise using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking landscape known as "Mountain and Water" with sense of dimensions and gradient, the poetic effects normally conveyed only by sumi ink staining on paper. The piece comes with an unsigned tomobako (wood storage box) of a recent age. Also known as Miyagawa Kozan (1842–1916), Makuzu Kozan was one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama around 1870s and later became one of the appointed artists to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. Being one of the most creative ceramists, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze around 1880s. New colors allowed him to create underglaze designs that appeared bright, smooth and glossy. He even invented his own receipt of cobalt blue to achieve a much brighter yet softer shade, as evident on this vase. To create landscape that is realistic and dimensional, more common in the western paintings, he was inspired by the native Japanese ink painting technique developed around 1900 by Yokoyama...

A modern Japanese ceramic tea bowl (chawan) made by potter Toyoda Katsuhiko (1945-). The bowl was potted in clog form with a short ring foot in the tradition of Shino ware...

A Korean blue and white porcelain water dropper in a rare hallowed out doughnut shape from Joseon Dynasty circa 1800s. The octagonal water dropper is covered in a brilliant white gla...

A fine antique Chinese coral glazed porcelain brush washer or inkwell decorated with a bamboo sprig and dating from the early Guangxu reign 1875-...

A very fine and attractive pair of graduated Chinese turquoise glazed dogs of foo figures dating from the first half of the 20th century. The hollow biscui...

A very fine pair antique Chinese Kangxi porcelain famille verte Buddhist Lion joss stick holders dating between 1662 and 1722. The dogs sit raised on...

An extremely rare and finely made Chinese Kangxi porcelain blanc de chine figure of a cockerel. The cockerel stands on a shaped base with good feather detailing and stands crowing wi...

Chinese blue and white porcelain vase hand-painted with double happiness symbols upon a scrolling foliate ground, with two figural animal...

A rare and attractive pair Chinese Qing Jun-ware Foo dogs decorated in liver red glazes and dating from around 1850. The porcelain dogs are heavily made and stand raised on rectangul...