Japonisme Decorative Objects

Large Japanese faux lacquer decorated storage box in the form of a chamfered cube with hinged lid, the black lacquered sides decorated with lotus leaves and other floral motifs. De...

Amazing early 20th century Japanese brass champleve vases features a vibrant colorful enamel design depicting dragons.  

Extremely rare pair of Gu-shaped turquoise enamelled ceramic vases, carried by elephants and resting on an openwork base ending in four flared feet. Some lack of enamel otherwise ver...

Pair of large Japanese Porcelain Cone Shape Vases with Imari decoration Important mounts in ormolu and gilded metal, the base decorated with a laurel wreath, the upper part of falling leaves and a frieze of knotted ribbon. The mounts signed Gagneau, 115 R. Lafayette. Circa 1860 With their original aluminium bulb cover and original gilding Vase it self Height 47 cm The Gagneau Company is one of the most famous lighting factories in Paris in the nine-teenth century, established in 1800 at 25 rue d'Enghien in Paris and later at 115 rue de Lafayette. She has participated in many exhibitions throughout this century. She began in 1819 with the Exposition des Produits de l'Industrie and later participated in the Universal Exhibitions where she was part of the jury in the category of art bronzes (class 25) at the Universal Exhibition in Paris in 1889. "Imari" was simply the trans-shipment port for Arita wares, from where they went to the for-eign trading outposts at Nagasaki. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, after kaolin was discovered in 1616. A popular legend attributes the discovery to an immigrant Korean potter, Yi Sam-Pyeong (1579–1655), although most historians consider this doubtful. After the discovery, some kilns began to produce revised Korean-style blue and white porcelains, known as Early Imari, or "Shoki-Imari". In the mid-17th century, there were also many Chinese refugees in northern Kyushu due to the turmoil in China, and it is said that one of them brought the overglaze enamel coloring technique to Arita. Thus Shoki-Imari developed into Ko-Kutani, Imari, and later Kakiemon, which are sometimes taken as a wider group of Imari wares. Ko-Kutani was produced around 1650 for both export and domestic market.Kutani Ware is characterized by vivid green, blue, purple, yellow and red colors in bold designs of landscapes and nature. Blue and white porcelain pieces continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are ac-cordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon-style Imari, which was produced for about 50 years around 1700. Kakiemon was characterized by crisp lines, and bright blue, red and green designs of dramatically stylized floral and bird scenes. Imari achieved its technical and aes-thetic peak in the Kakiemon style, and it dominated the European market. Blue and white Kakiemon is called Ai-Kakiemon. The Kakiemon style transformed into Kinrande in the 18th century, using underglaze blue and overglaze red and gold enamels, and later additional colors. Imari began to be exported to Europe when the Chinese kilns at Jingdezhen were damaged in the political chaos and the new Qing dynasty government halted trade in 1656–1684. Ex-ports to Europe were made through the Dutch East India Company, and in Europe the des-ignation "Imari porcelain" connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China resumed export to Europe, since Imari was not able to compete against Chinese products due to high labor costs. By that time, however, both Imari and Kakiemon styles were already so popular among Eu-ropeans that the Chinese export porcelain copied both, a type known as Chinese Imari. At the same time, European kilns, such as Meissen and English potteries such as Johnson Bros. and (Royal) Crown Derby, also imitated the Imari and Kakiemon styles. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe.Thus, in the western world today, two kinds of true Japanese Imari can...

Japanese hand-carved jade sculpture depicting a seated Buddha or bodhisattva figure holding a fruit in his hands, together with a hardwood stand ...

A set of four white and gold ceramic Foo Dog table bases. Made in Spain by Bondia in the Hollywood Regency style. Ornate ceramic sculptures with detailed faces, mouths, bodies, and p...

This is an antique decorative bowl. A Japanese, cloisonne bonbon or grape dish, dating to the early 20th century, circa 1920. Delightful cloisonne decor with vibrant colours Display...

Large bronze tiger with brown patina, with very subtle bronze work to bring out the stripes on the body of the tiger No mark or signature Japan wo...

This is an antique set of calligraphic ink blocks. A Japanese, boxed set of 8 soot ink shapes, dating to the late Victorian period, circa 1900. Ink bl...

Tiffany's clock case with enamel roman numbers and bronze snake dials. At the top, the clock is adorned with an Indian palace gallery and dome that has a crane finial over it and dra...

Offered here is a beautiful vintage Japanese style pottery vase made in Japan. Comes with abstract design black and white stripes on a earthy brown back...

Porcelain Studio Linie (Line) art vase produced by Rosenthal Germany in the 1970s. The cylinder-shaped vase has an abstract representation of a Japanese garden with a house and tr...

Cloisonné box, Japanese, circa 1860-80. Elegant, cartouche form; the exquisite butterfly with translucent green on silver ground flies through a traditio...

Vintage pair of cast iron 'Heron' garden sculptures - suitable for indoor/outdoor use - featuring a great aged patina with remnants of a polychrome painted finish in areas - articula...

1960's tin tea caddy covered in traditional Japanese woven gold fabric with floral motif. There are two lids, inner and outer to keep tea leaves fresh.

This a Lladro soft glow porcelain flower gourd vase. It is hand painted white in the background with a repousse of long light green branches with light blue leaves and flowers plus r...

Chrysanthemum sterling silver 5-light centerpiece candelabrum. Sizable baluster shaft on raised squarish foot with corner volute supports. Four scrolled arms, each terminating in sin...

Large Important Japanese Meiji Satsuma Covered Urn with Foo Dog. Large impressive Japanese Meiji period (1868-1912) Satsuma porcelain covered urn...

Unusual French Japonisme ormolu-mounted tole jardinière, circa 1870. Very nice and unusual rectangular jardinière / planter made from the best quality ormolu. Designed with flower...

Elegant sinizing "Buddha" pendulum in cloisonné enamel and gilded bronze, created for the Escalier de Cristal, most likely by Edouard Lièvre. This famous House called on the most pre...

4 Small Lacker boxes on a tray. Mother of Pearl inlay. Inside the boxes. Lots off Bone fiches. I think a game. Very good condition.

Japanese Double-cut (Niju-giri) Flower Container (Hanaire) for ikebana tea ceremony. 1st half of 20th century. Cut from a single piece of bamboo with root section and openings for two tier flower arrangement, Niju-ike, copper cups...

This is a good example of a traditional Japanese Hokai shell storage box for the Kai-awase game. This box is well-detailed in chased brass appliques and makie. The box is in overall ...

19th century Japanese Satsuma Vase ~ Jardiniere with Bronze Mounts is an amazing work of art with scenes hand-painted around the en...

Bronze with brown patina of a young Japanese girl in a kimono, carrying an umbrella wooden base Patina wear 19th century H39cm 20x18cm.

Exceptional early 20th century Japanese brass champleve. Features vibrant enameled decorative designs throughout the vase.

This is a cloisonné red foil metal vase depicting a bouquet of large pink roses and buds with green leaves. In the red foil, it is drawn a bird and a bamboo t...

Mid-20th century Bronze Japanese Buddha Sculpture on Plinth Offered for sale is a bronze early to mid 20th century Japanese figurative scu...

Japanese porcelain vase delicately hand painted on an craquelure oatmeal colored ground. The brightly colored design is of prunus blossoms, chrysanthemums and several roosters all ou...

This is a cloisonné foil metal vase depicting a continuous scenes around it of three large white cranes, a volcano and some green leaves in a turquoise background. Under the base the...

Exceptional vintage early 20th century champleve brass vase. Features a vibrant enamel design throughout the vase.  

Pair of 19th century Patinated and Gilt Bronze Standing Crane-Form Candlesticks. This pair of 19th century candlesticks are a stunning example of gilt bronze design, featuring two deeply patinated regal cranes standing erect, both with an oversized gilt-covered bronze flower surrounded by foliate and amusingly held in the beak. The candlesticks are both highly detailed, well-balanced and designed to hold a candle. Beautifully crafted, with the cranes standing elegantly on top of gilt bronze rocks...

Yasumi Nakajima II (1906-1988) Ikebana vase, circa 1960, Japan. Trumpet form, Tomoe model, with nice patinated brown-red (seido) bronze. Signed underneath. Dimensions: 26 cm H, 9 ...

Vintage Japanese Imari Porcelain 7.5" Bowl - Hand Decorated for Geary's Beverly Hills. Set of two Japanese Imari porcelain Bowls from the prestigious brand GEARYS BEVERLY HILLS, Vintage collectible large blue and white porcelain bowl. These beautiful Japanese bowls are hand painted. Perfect for display or using as catchall or vide poche. Vintage Japanese Porcelain...

Graceful hand decorated Japanese vase with traditional motifs and gold rimmed top., c. 1960's. Signed on bottom, Gold Imari.

1950's Japanese Monarch Butterfly Garden vintage outdoor Lantern. DIMENSIONS: Height: 8 in. Width: 11.25 in. Depth: 5.5 in. A beautifully des...

A 19th French century pair of Lacquered Bamboos Japonisme vases. An amazing pair of tall cylindrical bamboo vases decorated in Japanese Gold and Sil-ver Hiramaki-E Lacquer with Pavilions in The Mist and Weaving Figures, Flown Over by a Pair of Cranes. Enclosed in a Sino-Japanese Inspiration Golden and Brown Patina Bronze Mount Featuring Elephant Heads, Partially Openwork Branches and Salamanders Forming Side Handles. Circa 1870 Attributed to Édouard Lièvre (1828-1886) and Ferdinand Barbedienne (1810-1892) Édouard Lièvre (1828-1886) is one of the most talented and prolific designer and industrialist of the 19th Century, his repertoire is sometimes Sino-Japanese or Neo-Renaissance, whether in furniture or works of art, we can note in particular the parade bed of Valtesse de La Bigne, furniture commissioned by the painter Édouard Detaille or even Sarah Bernhardt, and the famous works in collaboration with Maison Christofle or those in gilded bronze and cloisonné enamel edited by Ferdinand Barbedienne, presented at the Universal Exhibitions in 1878, 1889 and 1900. He was both a draftsman, painter, illustrator, engraver, ornamentalist and cabinetmaker, first trained in the studio of the painter Thomas Couture, Lièvre was then fully immersed in the world of decoration, creation and ornamentation and provides designs for manufacturers and merchant-publishers. Often assisted by his brother Justin, he first produced works of art for his own apartment, seeking out the finest craftsmen to execute his designs for bronzes, ceramics, fabrics and luxury furniture from great virtuosity and great taste. He then collaborated with the cabinet-maker Paul Sormani, as well as haberdasher merchants such as the Escalier de Cristal, bronziers such as Maison Marnyhac and especially Ferdinand Barbedienne as on our vases with bronze mounts characteristics of Edouard Lièvre's work. Born in 1810, died in Paris in 1892, Ferdinand Barbedienne, the most important caster of bronze pieces of art during the second half of the 19th Century, created and directed in Par-is one of the major artistic foundries of his time. Barbedienne specialized in classical reproductions, whose models were exposed in famous European museums. Their illustrated catalogues included many diverse objects such as busts, ornemental sculpture (clocks, candelabras, cups) sometimes even life-sized and bronzes for furniture. Apart from his own produc-tion, Barbedienne worked for the most renowned sculptors such as Barrias, Clésinger and Carrier-Belleuse. All his works were highly esteemed and he, himself honored by contemporary critics. At the London exhibition in 1851 Barbedienne’s firm won two « Council medals ». At the 1855 Universal Exhibition, he won a medal of honor. The success of Barbedienne’s firm brought him many official commissions, such in about 1860, as Barbedienne supplied bronzes for furniture for the Pompeian Villa of Prince Napoléon-Joseph, located avenue Montaigne in Paris. At the London Universal Exhibition of 1862 Barbedienne won medals in three different categories: Furniture, Silversmith work and Artistic bronzes. Barbedienne was made an officer of the Légion d’Honneur in 1867 and Commander in 1878 when he was compared with « a prince of industry and the king of bronze casting ». His glory did not decline with the passage of the time for at the Universal Exhibition of 1889 the critics thanked Barbedienne for the example he set for other bronze-casters by the perfection of his bronzes. “Japonisme” in the second half of the 19th century, was a craze for everything that came from Japan or imitated its style. The word was first coined in a series of articles published by Philippe Burty, from May 1872 to February 1873, in the French magazine “la Renaissance Littéraire et Artistique”. Far from the Academic sphere, artists seeking for new ways of expression, appropriated this discovery. Manet and the impressionists led the way to half a century of enthusiasm for Japanese art, and largely contributed to the esthetical revolution Europe experienced between 1860 and the beginning of the twentieth century. From 1862, The World’s Fairs provoked massive arrivals of fans, kimonos, lacquers, bronzes, silks, prints and books that launched the real era of Japonisme. With those exhibitions, the demand was boosted, the number of merchants and collectors was multiplied, and artists became passionate about this new esthetic. For them, its “primitivism” was probably its most important quality: artists were fond of the Japanese art’s capacity to be close to nature and to reconcile art and society by representing, with a lot of care, the most trivial objects. In painting, Edouard Manet, Mary Cassatt, Degas, Van Gogh, Gauguin were among those who were deeply inspired by Japanese art, affected by the lack of perspective and shadow, the flat areas of strong color, the compositional freedom in placing the subject off-center, with mostly low diagonal axes to the background. The Japanese iris, peonies, bamboos, kimonos, calligraphy, fish, butterflies and other insects, the blackbirds, cranes and wading birds, the cats, tigers, and dragons were endless sources of inspiration, appropriation, and reinterpretation for European artists. The occidental productions were combining styles and artistic conceptions instead of copying Japanese art slavishly. That is what brings to light the comparison between the artworks of Kitagawa Utamaro and Degas, of Katsushika Hokusai and Van Gogh The World’s Fairs of 1851 and 1862 in London, those of 1867, 1878, 1889 and 1900 in Paris, of 1873 in Vienna and of 1904 in Saint Louis presented a number of “Japanese-Chinese” installations with earthenware, bronzes, screens and paintings and attracted the largest amounts of visitors In Vienna, the “Japanese village...

European silver fish-form spice box, 19th century. Hinged head and lower mouth, and faceted red eyes. Articulated and scalloped wide body, and hinged fins and tail. Loose-mounted rin...

Meissen bowl in hand-painted porcelain decorated with cherry tree branches, in Japanese style. Early 1900s. Measurements: 24.0 cm. x 3.5 cm. In good condition, with hairline crac...

A fine pair of French 19th century Japonisme Louis XV style Gilt-Bronze and Marble Figural Chenets (Andirons) by BOUHON FRES, each depicting a flaming dragon atop an "L" shaped base surmounted with an allegorical gilt-bronze and marble urns with floral garlands and paw-feet, the base with a draped ormolu design and raised on tapered feet. Stamped: "B&H". Circa: Paris, 1890-1900. The bronziers Bouhon et Cie. Bouhon Frers. specialized in bronze-decorated fire-places and fire-fittings. These large and fine chenets are supreme examples of their output. The firm participated in the 1878 and 1900 Paris Expositions Universelles. Japonisme[a] is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858. Japonisme was first described by French art critic and collector Philippe Burty in 1872.[3] While the effects of the trend were likely most pronounced in the visual arts, they extended to architecture, landscaping and gardening, and clothing.[4] Even the performing arts were affected; Gilbert & Sullivan's The Mikado is perhaps the best example. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.These prints were created for the commercial market in Japan. Although a percentage of prints were brought to the West through Dutch trade merchants, it was not until the 1860s that ukiyo-e prints gained popularity in Europe. Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions. Japanese decorative arts, including ceramics, enamels, metalwork, and lacquerware, were as influential in the West as the graphic arts. During the Meiji era (1868–1912), Japanese pottery was exported around the world. From a long history of making weapons for samurai, Japanese metalworkers had achieved an expressive range of colours by combining and finishing metal alloys. Japanese cloissoné...

Meissen porcelain vase with hand-painted branches, flowers and birds. Japanism, early 20th century. Measures: 10.7 x 6.5 cm. Stamped. 1st factory quality.

Stunning early 20th century Japanese brass champleve vase. Features a vibrant enamel design throughout the vase.  

A fine Pair of 19th century Japanese Imari Porcelain and French Gilt-Bronze Mounted Thirteen-Light Celadon Torchere Candelabra. The bottle-shaped Japonisme vases with a Royal red background, decorated with parcel-gilt and black soaring eagles in the hunt within a forestall scene. Each Vase fitted and surmounted with a French 19th century Louis XV Style 13-Light scrolled candelabrum and all raised on a circular pierced gilt-bronze plinth. circa: 1880. Imari Porcelain (????) is the name for Japanese porcelain wares made in the town of Arita, in the former Hizen Province, northwestern Kyushu. They were exported to Europe extensively from the port of Imari, Saga, between the second half of the 17th century and the first half of the 18th century. The Japanese as well as Europeans called them Imari. In Japanese, these porcelains are also known as Arita-yaki (???). Imari or Arita porcelain has been continously produced up through the present day. Characteristics Though there are many types of Imari, Westerners' conception of Imari in the popular sense is associated only with a type of Imari produced and exported in large quantity in mid-17th century. This type is called Kinrande. Kinrande Imari is colored porcelain with cobalt blue underglaze and red and gold overglaze. The color combination was not seen in China at that time. Traditional Ming dynasty color porcelain used dominantly red and green, probably due to scarcity of gold in China, whereas gold was abundant in Japan in those days. The subject matter of Imari is diverse, ranging from foliage and flowers to people, scenery and abstractions. Some Imari design structures such as kraak style were adopted from China, but most designs were uniquely Japanese owing to the rich Japanese tradition of paintings and costume design. The porcelain has a gritty texture on the bases, where it is not covered by glaze. There is also blue and white Imari. Kakiemon style Imari is another type of Imari, but it tends to be categorized separately in Europe. History "Imari" was simply the trans-shipment port for Arita wares. It was the kilns at Arita which formed the heart of the Japanese porcelain industry. Arita's kilns were set up in the 17th century, when kaolin was discovered in 1616 by the immigrant Korean potter, Yi Sam-pyeong (1579–1655). (He may also be known by the name, "Kanage Sambei".) Yi Sam-Pyeong, along with his extended family of 180 persons, left Korea on the offer of a privileged position in Japan. This decision was made after the occurrence of certain Japanese invasions of Korea. After Yi Sam-Pyeong's discovery, his kilns began to produce revised Korean-style blue and white porcelains, known as "Shoki-Imari". In the mid-17th century there were also a lot of Chinese refugees in Northern Kyushu due to the turmoil on Chinese continent, and it is said one of them brought coloring technique to Arita. Thus Shoki-Imari developed into Ko-KutaniImari. Ko-Kutani was produced around 1650 for both export and domestic market. Blue and white porcelain continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are accordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon style Imari, which was produced for about 50 years around 1700. Imari achieved its technical and aesthetic peak in Kakiemon style, and it dominated European market. Blue and white Kakiemon is called Ai-Kakiemon. Kakiemon style transformed into Kinrande in the 18th century. Kinrande used blue underglaze and red and gold overglaze, and later some other colors. Imari began to be exported to Europe because the Chinese kilns at Ching-te-Chen were damaged in the political chaos and the new Qing dynasty government stopped trade in 1656–1684. Exports to Europe were made through the Dutch East India Company, but the designation "Imari Porcelain" in Europe connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China began export to Europe again, since Imari was not able to compete against China due to high labor cost. By that time, however, both Imari and Kakiemon style were already so popular among Europeans, Chinese export porcelain copied both Imari and Kakiemon style, which is called Chinese Imari. At the same time, European kilns, such as Meisen also tried to copy Imari and Kakiemon. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe. Thus in western world today, two kinds of Imari can...

The bright translucent green glass vases with the spiral-fluted bellies. Enameled necks are embellished with a gilded image of the sun behind a blooming sakura tree in Japanese style...

Chrysanthemum gilt sterling silver box. Made by Tiffany & Co. in New York. Traditional lobed and ovoid bowl with short and inset neck and splayed volute scroll supports. Cover hinged...

A Famille Rose Painted Enamel inkwell set Qianlong Period (1736-1795) by l’Escalier de Cristal It consists of a fretworked tray with raised edges in blackened wood surrounded by a fine gilded bronze ring, on which rests two Famille Rose Qianlong Period (1736-1795) hexagonal inkwells with pierced tops, one with original glass container, decorated with polychrome stylised flower heads and foliate scrollwork. This inkwell is characteristic of the productions of the Maison de l'Escalier de Cristal, it shows a hybrid realization, using ancient Asian elements, used as a container for feathers and ink. Stamped «Escalier de Cristal Paris» Circa 1880 L’Escalier de Cristal, Parisian firm created about 1800 by Mme veuve Desarnaud, famous under the French « Restoration » for its decorative objects combining crystal and bronze. She was awarded a gold medal at the 1819 Paris Exposition des Produits de l’Industrie for an outstanding gilt-bronze mounted crystal dressing table. Located in Paris, at the Palais-Royal, Galerie de Valois, L’Escalier de Cristal was bought out around 1830 by Boin, and then by Lahoche in 1840. The company owed its rise to a position amongst the most im-portant Paris decorative wares shops to Lahoche, who expanded considerably the business and entered later in partnership with his son-in-law to set up in 1852 Lahoche et Pannier...

A stunning antique porcelain urn shaped twin handled vase and cover decorated in an Imari pattern by Copeland, England and dating from the early 20th...

Antique coppered Japonais Revival inkstand with two ink pots and a stamp holder. The border of the base is in relief and abounds with flowers and birds while the pen rest has a quain...

Decorative large round dish 32,5 cm hand painted with very delicate colors by the artist in Japonism spirit with fan, flowers, manga, rodents, lizard, and birds... Stamped "MONTEREAU / B&Cie / 35" B&Cie added when Barluet become the new director of Creil & Montereau, a very well-known French manufacturer, in 1876. Artworks of the Japonisme style in France were first discovered at Paris Universal Exhibition in 1867 and then in 1878. Some of these french Japonism...

Wilmington Nc estate sale find. An outstanding rare piece of hand thrown 19th century pottery. vase moriage decoration of swallows and flowers. There is ...

A pair of Japanese lacquered lidded Hokai boxes with chased brass hardware and original ropes. Hokai boxes are traditionally used in Japan as the containers ...

Incredible pair of Japanese hand cast gilt bronze Mandarin Duck screen holders with detailed plumage, Taisho period 1920. Each of these two sculptures is...

This antique engraved sterling silver cigarette or decorative box was made in Japan in approximately 1900 in the period Japonisme style. The box is composed of an ebonized hardwood c...

This large antique charger (18 inches in diameter) is a showpiece of Japanese decorative art. Made in the late 19th-century Meiji period, the intricat...

A large scale and very good quality late 19th century Japanese Imari vase with exotic birds, trees and flowers. Wonderful coloring in vibrant hues of blue, red and rust.

Very collectible, hand-made and hand-painted in England, retired Royal Crown Derby fine bone china parrot figurine or paperweight. This is a larger size ...

Japanese bronze geese koros, Late 19th century. The pair of goose koros or censors are in the form of geese with their long necks extended and their ...

Japanese masterpiece Ikebana basket, Intricately tightly woven fashioned from madake bamboo fine detail. An important collectors addition a masterwork i...