Japonisme Decorative Objects

Sagejubako is a portable picnic set that became popular in the early Edo period when an additional meal was added between breakfast and dinner. It normally consists of a carry case w...

19th century 3 pieces Japanese porcelain dishes Meiji period decorated, largest 15.25'' x 2'', medium 13.25'' x 2'', smallest 12'' x 1.5''.

A striking blue and white vase from the studio of Japanese Potter Makuzu Kozan, also known as Miyagawa Kozan (1842–1916), 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 artist 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. With an impressively large size, this vase was likely made and reserved as a presentation piece for one of the many expositions the studio participated in the early 20th century. It was decorated with underglaze cobalt blue using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking dimensional literary landscape known as "Mountain and Water". 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 Taikan...

Japanese Edo Period Dragon God Ningyô, Ca. 1820 DIMENSIONS Height: 26 inches over all Minor wear in textiles. Fine antique condition ABOUT Musha-Ningyô (warr...

Japonesque sterling silver inkwell. Made by Tiffany & Co. in New York, ca 1882. Drum form with curved shoulder, short neck, and hinged and cork-lined bayonet cover. Leaves and tendri...

Jardinière Médicis vase shape in copper with gold lacquered decoration on a burgundy background of a Japanese landscape with a volcano and an eagle ...

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.

19th Century Japan Tiger Bronze Sculpture Circa 1860s DIMENSIONS Tiger with base is 33" L x 21" H x 21" D The bronze tiger is 28" L x 15" H ABOUT A finely cast bronze sculpture of a...

A Pair of Art Deco Chinese Cloisonné Horses Incense Holders, Ca. 1920 DIMENSIONS (each) Height: 10.75 inches Length: 9 inches Depth: 5 inches

Japanese Edo Period Saga Ningyo, Ca. 1850 DIMENSIONS Height: 9.5 inches Width: 6 inches Depth: 5 inches

Stunning French ceramic decorative object inspired by Japanese pottery designs with wonderful prominent blue and green hues. The shape and colors makes this piece exceptionally inter...

A lovely Japanese bamboo basket by Hayakawa Shokosai IV, the fourth generation of the Shokosai lineage, one of the best known in the Japanese Bamboo art...

Ikebana basket (hanakago) in wickerwork of polished bamboo with twisted handle. Features a sheet metal and varnished bamboo vase for the floral arrangement. Mark under the vase Nana...

This is a beautiful sculpture of a Geisha girl. She is dressed in a beautiful kimono. She walks with the lovely bird on her arm and flower in her hair. Her right hand has a bangle br...

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...

#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 (...

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 dragon head legs. The rectangular clock...

A Japanese lacquered box with lid in the shape of a miniature Hasami-Bako (traveling chest) circa late 18 to early 19th century of the Edo period....

Beautiful pair of blue-tinted crystal “rouleau” vases decorated with Japanese-style enameled decoration representing a gilded full moon reflecting a tree with flowering branches, sur...

A woven bamboo flower Ikebana basket by Tanabe Chikuunsai II (1921-2000) from Showa era (1926-1989), circa 1950-1960s. The ikebana basket takes a vertical square form, the body was e...

Japonesque mixed metal on sterling silver bowl. Made by Gorham in Providence in 1883. Curved sides with allover spot hammering and gilt-washed interior overhung with apple branch...

A delicate and rare Japanese ceramic vase by the important Meiji imperial potter Makuzu Kozan (1842-1916) circa 1887-1910. Dated to his underglaze phase post 1887 after he successful...

Beautiful square-shaped bowl in engraved crystal decorated with bamboo and birds. It rests on a gilded bronze dragon turtle, a legendary Chinese creature with the body of a dragon an...

A Pair of Japanese Mid Edo Period Carved Stone Sculptures of Female Buddha Sattva, ca. 1750 PERIOD Mid Edo Period (1603-1868) DIMENSIONS Height: 10.5 ...

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...

Japonisme stoneware and bronze jardinière attributed to Édouard-Alexandre Dammouse for Haviland & Co, with bronze mounts attributed to the F . Barbedienne foundry. Based on the...

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...

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

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 wonderfully decorative Japanese Kutani vase, Meiji period 1868-1912. Having the classical orange ground with scrolling foliate decoration, inset...

This pair of large candlesticks was made by the highly renowned Royal Crown Derby factory of England in approximately 1920 in their traditional 2451 Imari pattern. The candlesticks a...

A lacquered wood box with lid from Japan circa 19th century Meiji Period. The finely decorated box was used to store paper slips and small documents on the desk. It is overall finished with black lacquer (kuro) with sparse Mura-Nashiji effect outside and on the top surface of the lid, there are three Komainu, (sometimes known as Shishi or Japanese lions) frolicking and forming a circle in lively motion. Komainu are auspicious animals in Japanese cultures in both Shinto and Buddhism tradition. Originally from China, these animals symbolizes guardians to ward off evil spirits. Hiramaki-e was used in combination with carving and combing to render the lions with various surface textures. A gilt border with an slight angle was given to the lid and even the thin band is decorated with miniature floral scrolls. The interior of the box was finished in a dense nashiji. Underneath the lid, a cluster of peonies open lavishly by two gentle mounts. Takamaki-e (high relief) in both gold and silver were...

A large and very impressive 19th Century Japanese lidded Imari vase. Measures: 45". Having a wonderful Foo dog finial to the lid, classical bold blue and orange ground. Scrolling fo...

Japanese Late Edo Period Life-Size Imperial Bunraku Head, Hands and Legs by Nagoshi Kenji, Ca. 1850 DIMENSIONS Head: 13” High Hands: 11” High Legs: 9” High ...

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 wonderful Japanese Meiji period (1868-1912) Bronze overlay vase. Having exquisite and amusing scenes in relief, patinated and overlay of a Dog of Foo, a Frog fishing in a Lotus lea...

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

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...

A Japanese lacquered wood sake ewer with maki-e design, circa late 19th century, Meiji period. The nicely decorated lacquerware is of a Classic sake ewer for...

Figure standing wearing kimono with arms out front. On an iron base. Signed Ch Masse , Sculp, Paris. Provenance , Estate Of William Hodgins. Interior d...

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

An elegant woven bamboo basket from the late Meiji period, dating to the early 20th century. This tall, finely crafted piece exemplifies the artistry and technical mastery of Japanes...

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 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 small copper crab with articulated legs made by Myochin Hiroyoshi in the late Meiji Period circa 1890-1900s. One of the pair (the other one is listed separately LU945037876072, but...

A darling garniture set of three exotic peacocks mounted as a clock and a pair of two light candlesticks. In crisply cast bronze, the intricate details of the birds' feathers, the fl...

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...

An important Japanese bamboo Ikebana basket by Yamamoto Chikuryosai I (also known as Chikuryusai I, Shoen after 1929) (1868-1945). Active in Osaka, Kansai region, he was advised by Wada Waichisai I. After 1929, he signed his work as Shoen (Shoen made this), such as this one. This basket was made using "sooted" bamboo (susutake in Japanese). This bamboo materials was collected from traditional thatched-roof houses that had been exposed to decades of smoke from a hearth or cooking fire, therefore the basket displays a deep rich patina that is hard to attain by color-lacquering. The basket featured a large rounded barrel form with handle. The body was constructed with a twill plaiting variation of a more relaxed and loose weave. It allows the light coming through to render the piece a lighter sense. Parallel plaiting was used to reinforce the body with stripes of bamboo, while adding more visual constrict to a free spirited background. Twisted bamboo strips form rope-like handle and the top rim. It is signed "Shoen Made This" on the base. Two-piece water container made from bamboo trunk is retained with the piece as shown. For the artists other and similar work, see baskets masterpieces of Japanese Bamboo Art...

Our lovely portico style mantel clock, retailed by Yamanaka & Company Ltd. in New York in the early 20th century, features a silverplate frame flanked by two finely carved foo lions ...

Japanese Modernist Beige Studio Ceramic Flower Vase, Circa 1950s DIMENSIONS: Height: 11 inches Diameter: 4 inches ABOUT JAPANESE MODERNIST BEIGE STUDIO CERAMICS Japanese Modernist...

Large planter decorated on the belly with a rotating decoration of polychrome flowers and geometric patterns in cloisonné enamel on a red background. It is inserted in an important p...

Japanese Meiji Period Koransha Olive Green & Gold Glaze Porcelain Vase, Ca. 1880 DIMENSIONS Height: 4.5 inches Diameter: 5 inches ABOUT Meiji Period (1868–1912) Koransha Porcelain ...

Yamashita Kochikusai (1876-1947) was a bamboo artist from Osaka, Kansai region. He apprenticed under Wada Waichisai I (1851-1901), becoming independent in 1901. His students include ...

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

A charming and high quality pair of French 19th century Japonisme st. Cloisonné and Ormolu vases. Each stunning vase is raised by a square pierced Ormolu base supporting the sumptuou...

Pair of Large Oriental Lacquered Wooden Vases, Late 19th Century Dimensions: cm H 142 x W 69 x D 69. Base cm 51 x 51 This monumental pair of vases was made in Europe towards the end...

A Japonisme gilt-bronze and brass three-piece clock set French, Late 19th Century Clock: height 52cm, width 31cm, depth 12cm Candelabra: height 55cm, width 32cm, depth 9cm Made in F...

A 19th-Century French Japonisme Three-Piece Figural Garniture Clock Set Attributed to Eugène Cornu, in the Style of Édouard Lièvre. Consisting of a mantel clock and a pair of matchin...

A very impressive pair of Japanese Meiji (1868-1912) period Blue and white porcelain vases, each with wonderful classical motif decoration to the neck and base. Blossom trees to the ...

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