Japonisme Decorative Objects

A magnificent collaboration between renowned glassmakers Ernest-Baptiste Leveillé and François-Eugène Rousseau, this exquisite pot-pourri urn is a testament to the Japonism period st...

A stunning pair of ceramic vases with gilt, paint and high-relief decoration by imperial artist Makuzu Kozan (1842-1916, also known as Miyagawa Kozan) circa 1876-81 (late Meiji period). These vases belong to early period (1876-1881) of Kozan's repertoire, during which time the high relief sculpturing (known as Takauki ware) was used as a distinguished technique on top of the traditional gilt and paint ornaments of satsuma ware. Due to the relatively limited production and the fragile nature of these wares, not a large quantity of the examples remained in the first place, not mentioning a fine matching signed pair in such impressive sizes. Not only a rarity, this pair of vases is also superb in workmanship, thus the fine example of the work from that short and unique period of the artist's career before he switched to the underglaze period. In a conceptually mirrored fashion, the surface is richly decorated with flying cranes among large lotus leaves and flower, like an idyllic aqua scenery of pure poetry on a circular scroll. The high-relief appliques were rendered and composed in realistic fashion but with a dramatic touch. They are literally about to break the surface free, alive and in motion. The dark colors of the glaze were used to set a moody tone. The approach to create this type of ornamentations is more akin to sculpturing an ink painting in three-dimension than ceramic making. It is not hard to imagine the demand of both the artistry and the technique. Both vases were signed as "Makuzu Kozan Kiln" and each further with another name and seal, which are most likely the individual artist involved in the making process. Similar signatures can be seen in the reference book below. For similarly Takauki vases, see Miyagawa Kozan Makuzu...

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...

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...

PRESENTING A LOVELY Vintage Japanese Temple Style Box. Made of rosewood, this box has a cover featuring ‘Buddhist Swastikas’ on the front. The cover lifts off to reveal a tabernacle with 2 carved dragons on wither side. Probably made in the first quarter of the 20th Century, circa 1920-30. Rectangular shaped for the storage of deities statues...

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

An antique jubako (stack boxes) with five tiers in an elongated octagon shape circa 19th century (end of Edo or beginning of Meiji period). jubako was traditionally used to store and...

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

A magnificent pair of Large French Japonisme porcelain vases in the style of Édouard Lièvre, dating to the final decades of the 19th century. These exceptional vases captivate with t...

Strikingly theatrical in silhouette and surface, this Belle Époque decorative vase is constructed around a tall, cylindrical crystal body enriched with multiple zones of decoration, ...

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 miniature bamboo basket woven by Hayakawa Shokosai I (1815-1897) circa 1885, an important example of the work by the artist who is considered as the founding father of Japanese modern bamboo art and the first ever signed his own work thus elevating bamboo weaving from a craft into an art form. The miniature basket was traditionally used during Sencha tea ceremony. It was woven from bamboo (madake) and rattan using...

Ikebana basket (hanakago) made of dark brown varnished bamboo wickerwork rounded shape with a twisted handle. Ikebana or Ka-do (the way of flowers) is a traditional Japanese art of...

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...

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...

A magnificent and finely cast palatial and very large French 19th century Japonisme three-piece ormolu garniture clock set in the style of Edouard Lievre. This striking and extremely...

Chinese Peking Cut Blue & White Cameo Glass Vase, Ca. ca.1900-1920 DIMENSIONS: Height: 12.5 inches Diameter: 5.5 inches ABOUT CHINESE PEKING GLASS Peking cut blue ...

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...

This is a pair of antique Satsuma vases. A Japanese, ceramic baluster urn, dating to the late Victorian period, circa 1900. Great proportion and accentuated with charming figural ar...

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

Théodore Deck (1823-1891) Exceptional Pair of Japonisme Faience Vases France, circa 1875 An exceptional museum quality and very rare pair of enamelled faience vases by Théodore Deck ...

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...

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...

A beautifully decorated cloisonné vase with silver rims by Ando Jubei (1876-1956), the celebrated Japanese Shippo studio. The piece is dated to late Meiji to early Showa period circa...

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 ...

An impressive and very rare 19th century French 'Japonisme' brass mounted turquoise fine earthenware jardinière by French ceramic artist Jules Vieillard & Co, dated between 1880-...

Japanese Tumulus Period Unglazed Aged Terracotta Haniwa of a Woman’s Head, 3rd/4th Century Tumulus Period (AD 250-552) Haniwa means “circle o...

A very fine miniature ceramic vase in satsuma ware by Taizan Yohei IX (1864-1922) circa 1880-1890s of late Meiji period. The vase with a broad flat should...

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...

Japonesque sterling silver ink stand. Made by Tiffany & Co. in New York, ca 1881. Square with concave sides and fluted corners on cast scroll and bead supports. Centrally mounted bal...

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 a relative large size, this vase is 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 misty winter landscape. The pine trees with upright trunks and down-sweeping branches appear receding into the depth of the mist, forming an visually unending forest. Known as one of the most creative ceramists, around 1880s, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze. New colors allowed him to create underglaze design 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...

Japonesque mixed metal cooper chamberstick. Made by Gorham in Providence in 1882. Round bowl socket, raised hand-hammered well, and bracket handle with scroll terminal. Scalloped rim...

A Japanese black lacquer box with mother of pearl inlays circa early 20th century, end of Meiji period. It was likely to be used to store inkstone or other scholarly items. The piece displays several interesting characteristics that appear puzzling initially. First, the form is not typical Japanese, but more Chinese and Korean, with its scalloped base. Second, the decoration of MOP inlays also suggests a Korean and Chinese affiliation, especially with the linear borders and the scrolling cloud patters on the sides of the box. These two observations suggest that the box may be from Ryukyu Island instead of Japanese mainland. Third, strikingly in the center of the cover, a bold quarterly floral pattern outlined with MOP was filled with a striking mottled red lacquer using tsugaru nuri...

Japanese Emperor Shōwa Period, Fine Ceramic Red Vase, Signed, Ca. 1980 Emperor Shōwa Period - from 1926 to 1990 ABOUT In the classic Japanese shape, this exquisite vase has a dram...

A fine and charming French 19th century Polychromed Japonisme life-size cast-metal figure of a standing Geisha, cast after a model by Charles Massé (French, 1855-1913). The standing ...

Contemporary Japanese style chair. Rather sculpture than chair. Made of rusted steel, ceramic, and wood. Base is steel. Seat is ceramic. Arm pane...

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...

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...

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...

Japanese Late Meiji Period (1868-1912) Woven Bamboo Basket, Early 20th Century DIMENSIONS Height: 14 inches Diameter: 8.5 inches ABOUT A finely hand-woven Japanese bamboo basket fr...

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...

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...

Antique Awaji ceramic vase - grey crackle glaze - cold painted decoration with red and gilt enamel bird on a branch with flower and leaves - old faint inventory numbers to the base -...

A wonderful pair of large Japanese late 19th century Fukagawa Imari lidded vases. Each with three stylised mythical birds as finials to the lids, bold o...

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

This Japanese-inspired ovoid vase, designed by the ceramist Ernest Carrière, was produced by the renowned silversmith Christofle. The base is adorned with a frieze of seashells, and ...

A rare ceramic bowl with overglaze paint 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), a 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 a 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...

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 elegantly woven bamboo basket with handle as an ikenana container by Suzuki Gengensai (1891-1950) circa 1923-50. Suzuki Gengensai was from Kansai region and active in Osaka. He studied bamboo art under Yamashita Kochikusai (1876-1947) and became an independent artist in 1913. He received his artist name Gengensai in 1914 and in 1923 he changed the characters to Gen, a slight written variation of the character. This basket was signed in this later variation, which helps to date the piece to post 1923. The basket is woven entirely in a free style irregular plating on the body and with a twisted bundled handle. The surface is lacquered in a deep reddish color. The seemingly less rigid technique renders the piece a more rustic and natural aesthetic that is more suitable for certain occasions. It is singed on the base with artist's signature in the variation post 1923. A very similar basket of the irregular weaving but without the handle is illustrated in plate 72 in "Baskets Masterpieces of Japanese Bamboo Art...

American applied sterling silver perfume vial, ca 1880. Clear glass cylinder with twisted fluting. Sterling silver collar and hinged cover with tendril, f...

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

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...

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

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.

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...

Japanese style English porcelain ewer by Royal Worcester English, c. 1880 Measures: Height 31cm, diameter 17cm This beautiful ewer is by the celebrated English porcelain makers ...

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

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...

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...