Japonisme Decorative Objects

Purple Japonist Art Pottery by Eugene lion vase A perfect piece of Japonist ceramic art. By French art potter Eugene Lion, in a very interesting a...

François-Eugène Rousseau (1827-1890) Chinoiserie Glass Vase Multilayers Craquelure Glass Vase. Decorated with polychromed stains in the glass, inclusions and « paillons d’or » Crac...

This mid-18th century First Period Worcester Porcelain bowl was made in England circa 1755. It is hand-painted in the beautiful Worcester Imari style ”Fan Pattern.” The pattern is al...

Aritaware porcelain vase, Fukagawa, Japan, 20th century. Octagonal shaped vase. Graphic wrapped tassel design in gold and deep red on white ground.

Important Japonisme Vase “Chat et Souris” – Christofle Orfèvres, circa 1880 Maker: Christofle Orfèvres Designer / Artistic Director: Émile Reiber (1826-1893) 8,3 Kgs An exceptional m...

Set of five vintage nesting Japanese tea caddy / canisters. Made of tin, cylindrical form painted black and embellished with a word in gold. Two sti...

Japanese Meiji Period Glazed Katan Ware Peacock, ca. 1890 DIMENSIONS: Height: 5.5 inches Depth: 9 inches Width: 3.5 inches ABOUT This finely craft...

A Pair of Japanese Meiji Period (1868-1912) Carved Wood Fishes, Ca. 1920 DIMENSIONS Width: 8.5 inches Depth: 4 inches Height: 3 inches

20th c., a pair of Japanese Kutani style porcelain lidded jars, stamped on Porcelaine de Paris underside of foot. The mark indicates the piece was produced in the 1970's. The jars are decorated in deep orange, tangerine and gold motifs on a white background. On one side, both jars have matching decoration depicting a scroll showing a pastoral scene. On the other side, each jar has a seperate floral depiction; one including bamboo. Both are highly decorative. Founded 1773 by Jean-Baptiste Locre, Porcelaine de Paris, was one of the first manufactures to use the Chinese secret of porcelain. It immediately aimed for the luxury trade, selling to the Royal Courts of Europe. After surviving the French Revolution, Porcelaine de Paris steadily produced tableware as well as purely decorative pieces, receiving orders from all over Europe. Productivity was astonishing, creating one new model every day over 30 years! Around 1830, Jean-Marx Clauss, a German-born potter bought a building at Rue de la Pierre-Levee, where he took over Locre's activity. M. Achille Bloch...

A large Japanese lacquer box with elaborate Maki-e design from Meiji period, (mid-late 19th century). The generous size of the box was reser...

A pair of porcelain vases in classic form, decorated with underglaze blue and copper red painting by Imperial potter Makuzu Kozan. Also known as Miyagawa Kozan (1842–1916), Makuzu was one of the most established and collected ceramist known to the west from Meiji Period. The vases are in a classic Chinese form called "Bang Chu Ping" (grain-mallet vase...

This is a small antique seamstress' button box. A Japanese, brass decorative tin, dating to the early Victorian period, circa 1850. Delicately crafted bo...

Beautiful Japonisme clock in openwork patinated bronze with gold and silver highlights in the shape of a pagoda, at the corners presenting stylized dragons above uprights imitating b...

Superb Japanese-style mantel / fireplace mirror in lacquered wood, carved with an imposing dragon and decorative motifs. Japonism, France, circa 1880. Attributed to Gabriel Viard...

A rare porcelain vase by Makuzu Kozan (1842-1916) circa 1870-81 (late Meiji period). The vase is dated to the earlier work from Kozan's studio during his early period (Takauki-ware p...

A Pair of French Japanism Signed CP & Co Pate Sur Pate and Gilt Porcelain Vases. This elegant pair of vases, crafted by CP & Co, exemplifies the aesthetic influences of Japanism in ...

Rare majolica pin tray with insect and branches signed Choisy Le Roi, circa 1890.

Antique broken ceramic Japanese sake bup repaired with glass. Broken chips are welded by glass. This work is study for relationship between object and decoration. Subject is Destru...

Sumida Gawa Pottery Vase, Japan, early 20th century.

Perhaps originally designed as a Bento Box, this is a one-of-a-kind piece for your home-office or study desk. It has iconic 1970s modern lines and beautifully exemplifies the elevat...

#350 Japanese Edo Period Bronze Jardinière w/ Birds & Cherry Blossom Tree, 19th C. DIMENSIONS: Height: 9 inches Diameter: 12 inches DETAILS Edo Period (1603-1868) Meiji Period (...

Contemporary Japanese style sculptural shelf. Made of steel, ceramic, and wood. Frame is rusted steel. White trays are ceramics. One brown colored circle tray...

Inro is an ancient traditional Japanese box used to carry and store small items such as tobacco, money, paintbrushes, and other objects. The...

An Antique 19th Century Japanism French Porcelain Jardinière with Gilt and Silvered-Bronze Tri-Footed Stand. This jardinière is in the Jap...

Japonesque sterling silver vase. Made by Tiffany & Co. in Union Square, New York. Lozenge pillar bowl on 4 scroll-mounted rectilinear volute-scroll supports. Engraved ornament: Flowe...

Bicone vase by U-Turn Ushiro. It is baked for several days in an anagama (a kiln that burns firewood). It is shaped vertically symmetrically. The copper contained in the clay blows out on the surface, and reddish-black spots can be seen partially. It is a work where you can see various reactions of various ingredients. U-Turn Ushiro While working at the fire station...

Chinese Art Deco Famille-Rose Vase with Flower and Dragon Motif, Ca. 1920 DIMENSIONS Height: 24 inches Diameter: 10 inches

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...

This series of ceramics are unique work by Norihiko Terayama. This is one of series of practicing relationships with function and decoration. Arti...

A Japanese four-case lacquer inro by a member of Kajikawa family circa 19th century (late Edo to early Meiji period). It depicts a nocturnal scenery of a meandering stream surrounded by bush clovers, where a full moon is reflected on the water. It was masterfully decorated in gold and silver maki-e using a combination of techniques including takamakie, togidashi and kirigane as well as aogai (abalone shell) inlays. The stream was set between the slightly elevated banks, adding to this piece a already strong three-dimensional composition. The interior was decorated in gold nashiji. It was signed on the bottom "Kajikawa Zou" (made by Kajikawa and a pot seal centered with "Ei" in Kanji. In one of the compartment, there is a katakana mark, appears to be a name, possibly the owner. Kajikawa clan was one of the most famous lacquer artisanal family established in the 17th century. Many well known members over the generations produced lacquer art in a wide range of formats, but two third were signed only with the family name such as this one. It is therefore not possible to pinpoint the exact author of this piece. Provenance: This inro was purchased as lot 349 in Christie's New York sale Japanese...

Numbered 574668 Height : 56 cm (22in.) ; Diameter base : 20 cm (7,8 in.) Large Japanese-inspired soliflore vase in crystal and silver and gilded bronze. Made of a flared cup topped ...

A polychrome earthenware mantel clock made by the Jules Vieillard & Cie manufactory in Bordeaux, circa 1880. An identical clock is held in the collections of the Museum of Decora...

Amusing bronze with double patina and porcelain clock in the shape of a covered jar. This clock, with a dial with Arabic numerals decorated in its center with a seated lute player, i...

An important woven bamboo ikebana basket circa first half of the 20th century (Taisho or Showa era) by Japanese bamboo master Maeda Chikubosai I (1872-1950). Chikubosai I was from th...

Raku fired Large Vessel by Fernande Beland of Canada Mutiple colors of gold, green, amber, charcoal. The iridescence of the glaze is breath taking as the colors change with differen...

A 19th Century French “Japonisme” Inkwell Patinated and gilt bronze, very finely chizeled Open-worked design in the Chinese Archaïc Taste of fighting dragoons The penholders simulati...

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 ...

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 ...

This is a vase made by the Japanese ceramic artist unit "Scarlet Pottery." It is a piece of pottery made using Amakusa pottery stone. Amakusa pottery stone is famous as the raw mater...

19th century blue and white Japanese porcelain dish Meiji period decorated with prunus on the cobalt blue ground, inscription to base, Ex Bonhams lot 268 diameter 12 inch.

Planter presented at the Universal Exhibition, Paris, 1878, along with several other works on this theme, an extremely rare piece. An identical model is held in the Baccarat Museum's...

Vintage lacquered red Japanese bowl, with some patina to the lacquer which makes the charm of this piece. This is a nice decorative object with personality.

19th century French bronze vase patinated and decorated with cherry blossoms along with branch form handles. The baluster form vase with a quad form pierced base surmounted on a roun...

A lacquer presentation box with mother-of-pearl inlays from Japanese Ryukyu Islands circa 17-18th century. The lidded box in rectangular form with rounded corner is a classic example...

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

The peoples of North America, the Japanese Americans. Discusses the history, culture, and religion of the Japanese, factors encouraging their emigra...

Sumida Gawa Pottery Vase, Japan, early 20th century.

Handcrafted vintage pottery ceramic vase with a rounded body and a narrow neck. This piece seems to have been influenced by the Japanese wabi-sabi style pottery featuring simplicity...

A fine quality large pair of Japanese Meiji period (1868-1912) Fukagawa porcelain vases. Each with wonderful bold Imari colours, the tapering bands of classical motifs from top to bo...

Japanese Bronze standing duck. Standing neck raised and mouth open with detailed feathers. 14.5 high.

A four-case lacquered Japanese inro by Yutokusai (Gyokkei), a lacquer artist active from 1845-1900 (end of Edo to Meiji period). The slightly round inro features a very intricate design with three unfolded fans on the front and two on the back: each reveals a vignette landscape scenery, likely real places in Japan. Using a combination of hiramaki-e and slight takamaki-e, the artist deftly created the pictures with fine details, rendering the inro as a miniature artwork...

An old Japanese lacquered small box likely used to contain incense powder called Kobako, circa Momoyama to early Edo period (16-17th century). The rectangular form box with a fitted ...

A delicate and rare Japanese ceramic vase by the important Meiji imperial potter Makuzu Kozan (1842-1916) circa 1890s. Dated to his underglaze phase post 1887 after he successfully m...

A porcelain vase with dragon design by Japanese imperial potter Makuzu Kozan (1842-1916), circa 1900s. The vase is made in what is considered early phase of his underglaze period during late Meiji era. In a classic baluster form, the surface of the vase was decorated with a slithering dragon in underglaze iron red circulating the exterior among pink clouds. The animated rendering of the dragon is fine and detailed, with five claws, scales, long tails and highlighted eyes. The pink cloud is misty and called Morotai or the hazy style, created with a unique technique developed in Kozan's studio called fuki-e by blowing the pigment powders onto the surface. Kozan Studio experimented with newly available colors from the west starting in the 1880s, which resulted in the expansion of the palette and style that bridged the east and west aesthetic tradition. Marked in underglaze blue on the base. Known also as Miyagawa Kozan...

Collection of ten Japanese bronze vases, Japan, 20th century. They all exhibit sculptural forms and have a wide range of patinas from deep browns to warty verdigris greens. The large...

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...

A striking Japonist wall clock crafted in dark walnut wood, adorned with inlaid panels of deep green hardstone. The radiating fan-shaped structure is enriched with fantastical and my...

A pair of Japanese lacquer lidded Hokai boxes with chased brass hardware and original ropes. Hokai boxes are traditionally used in Japan to store and carry s...

This stoneware vase of a jar form was finely decorated with low relief carving and delicate colored glazes depicting bundles of peony flowers. It was made by Ito Tozan I (1846-1920) circa 1890-1900s in the late Meiji Period. The color pallet was both bold and subtle, with dark green and rusty leaves with golden outlines and white and light yellow peony petals covering much of the surface. Impressed with potter's mark on the base. Examples of two pieces by Ito Tozan I were in the collection of MNAAG (Guimet) Paris. Inventory no. MG 13790 an 13792. A vase with similar shape and decoration techniques is featured as Lot 1340 Fine Japanese Art, 13 Sep 2017 Bonhams New York Tozan Ito I established his ceramic business in Kyoto 1867. His studio made both porcelain and stoneware in a style some considered Satsuma while they retained a sophistication of Kyoto ware...

ANDO CLOISONNÉ COMPANY - Extraordinary cloisonné vase with roses and transparent green enamel over raised bamboo decoration - green enamel to the interi...