Japonisme Decorative Objects

Set of three Nippon porcelain pieces. Hand-painted in Japan.

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...

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 Meiji Period Cloisonné Vase w/ Samurai, Attendant, and Floral Motif, Ca. 1890 DIMENSIONS: Height: 12 inches Diameter: 5.5 inches ABOUT An elegant cloisonné enamel vase fr...

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

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...

Japanese Meiji Period Lacquered Wooden Box w/ Original Outer Case, Ca. 1880 Meiji Period: 1868-1912 DIMENSIONS Length: 16.5 inches Width: 3.5 inches Height: 2.5 inches

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 tall pair of Japanese carved wood candle holders circa early 19th century (late Edo Period). The pair is carved in the typical form with a block base in the shape of stylized chrysanthemums and long fluted stem with changes in diameter that supports a grooved holder fitted with metal pricket. These types of oversized candle holders were traditionally used in Buddhist temples or Samurai's resident where they were placed on the altar table for worshiping. What is extraordinary of these candle stickers is that they feature a wonderfully conserved surface with lacquered gold leaf. The sparkling gold on the well weathered surface is visually striking. The professional conservation was performed in 2007 and as a result, the pieces display a wonderful aged Wabi-Sabi patina. The piece retains an original invoice from Far Eastern Antiques...

A very nice quality French Japonisme Style inkwell Attributed to l'Escalier de Cristal, circa 1880 Resting on a diamond-shaped polychromed hand-painted porcelain tray representing l...

A dual-handled jardinière with black cloisonne ornamented with flowers, butterflies and foliage. Origin: France, Paris  Date: Last quarter of the 19th Century   Stamped F. BARBEDI...

Stylized fish standing upright on their crossed tails. The details are rendered in relief, allowing the silver-plated surfaces to alternate between strong reflections and deeper area...

An important piece of bamboo basketry art by Maeda Chikubosai I (1872-1950), circa 1920s-1930s. The body of the bamboo brazier was made with smoked bamboo (susudake) and rattan and with a built-in copper liner brazier. Mat plaiting, diagonal plaiting and twining were used to construct the robust body while hexagonal plaiting was used for the base. It is signed on the base Chikubosai Kore o tsukuru (Chikubosai made this). The copper brazier...

Karl Lindström and Nils Emil Lundström for Rörstrand. Lidded porcelain jar decorated with grape vines in gold on a beautiful dark blue base. Japan...

A beautiful and very large pair of Meiji period Japanese bronze vases with brown patina and caved design with applied gilt and silver bronze inserts representing birds and insects fl...

A Very Tall Oriental Ceramic Satsuma Vase This is a superb statement piece, the vase is 3ft 6” tall and has traditional hand decoration with paisley designs and characters, the va...

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...

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...

Vintage Asian Japanese style dish, ashtray, catchall. Large vintage ornamental hand painted Asian porcelain tray catchall with clipped edges. Hand painted octagonal porcelain dish di...

Antique Japanese Signed Imari Porcelain Figurine of a Cat Riding a Turtle, Ca. 1890 DIMENSIONS Length: 15 inches Width: 11 inches Height: 7 inches ABOUT...

Very fine pair of large baluster vases in cloisonné enamel with decoration on the belly of floral Arabist motifs on a blue and gilded geometric background. Rich gilt bronze mount o...

This skillful blend of Chinese art objects and French craftsmanship is attributed to the Escalier de Cristal after designs by Édouard Lièvre. Our cachepot displays a polychrome decor...

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...

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 circa 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. Of a relatively large size, this vase is decorated with underglaze cobalt blue using the novel technique developed by Kozan called Fuki-e (the blow painting). As a result, the bamboos appear took on a three-dimensional quality as if appearing in a mist. Known as one of the most creative ceramists, circa 1887, 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 Taikan...

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...

Pair of Japonism porcelain and ormolu-mounted Aesthethic Movement vase's.

A beautiful French patinated bronze figure of a standing Japanese geisha in a traditional kimono with an obi. This geisha is exceptionally cast with immense detail. Starting from the...

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...

Japanese (19th Century) orange and white round shaped porcelain vase with handle top.  

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...

Karl Lindström and Nils Emil Lundström for Rörstrand. Lidded porcelain jar decorated with grapevines in gold on the beautiful dark blue base. Japa...

A set of five stoneware sencha tea cups by Otagaki Rengetsu (1791-1875). These miniature cups were simply molded in the classic form, glazed in off white and incised with cursive waka poems, a signature decorative style by the artist. Accompanies the cups is a wood storage box and paper slip label inscribed "Rengetsu sencha, tea cups" Purportedly purchased from Tessai-do Co. Ltd., Japan in 1991. Otagaki Rengetsu was a famous Buddhist nun in Edo period who is widely regarded to have been one of the greatest Japanese poets...

A fine 2-section Japonisme dresser box. In gilt porcelain. With cobalt blue and white geometric circle devices throughout. Simply a wonderful porcelain dresser box! Date: 20th Ce...

With an Arabesque rim and decorated with lizards, dragonflies and vines. These unusual vases reflect the European fascination Japan at the turn of the century and delightfully inco...

Pair of glazed ceramic and gilt bronze vases, France, late 19th century.

Yamashita Kochikusai (1876-1947) was a Japanese bamboo artist from Osaka, Kansai region. He apprenticed under Wada Waichisai I (1851-1901), becoming independent in 1901. His students include Ezono Chikubisai, Suzuki Gengensai and Inose Kohosai. He won prizes for his work at numbers of exhibitions and was patronized by the Imperial Household. The basket on offer has a simple but elegant elongated shape and it was finely woven with smoked bamboo likely circa 1910s-1920s, late Meiji to early Taisho period. The body was constructed with Hexagonal Plaiting for the main body, reinforced with twining in the upper and lower portions. The special design was reserved for an mouth ring...

A handwoven bamboo basket by Japanese bamboo artist Higashi Takesonosai (1915-2003), in the form of a traditional rice container. It was woven with...

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 ...

Wilmington Nc estate sale find. An outstanding rare piece of hand thrown pottery. vase moriage decoration of swallows and flowers. There is a small loss...

A impressively large and unusual stoneware vase in an urn shape 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 circa 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. This vase is dated to the end of Makuzu's life circa 1910-1916 based on similar work created around that time. After achieving domestic and international fame, Makuzu retired and handed the business to his son Hanzan in 1912. He dedicated his time to other selected projects that were more in tune with Japanese sensibility than export aesthetic. He made a group of stoneware pottery pieces inspired by Edo master like Ninsei and Kenzan as well as his own poetic creation. This piece is attributed to that period. Standing of an impressive size, this vase is more like an urn, made with stoneware instead of porcelain. It was coated with a brown iron glaze with a slight translucent quality. Underglaze whit slips were used to draw low relief decoration of bamboo leaves that sparsely scatter on the surface. Slightly more elaborate scrolling vines and autumn flowers circles under the mouth rim. Same white slip inlay was used to sign the vase under the base. The whole effect of the piece is unusual. With its dark glaze in contrast with the sparse white decoration that is more abstract and geometric than realistic, it appears almost modern with an Art Deco flavor. For stoneware urn and vase in the similar genre by Makuzu Kozan: see figure 113 on page 182 of "Sekai ni Aisa Reta ya Kimono" MIYAGAWA KOZAN MAKUZU...

Exceptional pair of candlesticks with ovoid body and domed belly in chiseled bronze with brown patina on which a dragon coils, resting on tripod bases with 3 stylized elephant heads ...

This most unusual pair of original 18th century Japanese patinated bronze candelabras, uniquely designed as branches of mountain flowers entangled by a dragon, are mounted on the con...

A stoneware vase with white dripping glaze from Hagi by Kyusetsu Miwa X (1895-1981), Showa Period. The vase is in the shape of "Double Gourd" with a bulbous ...

A Japanese writing box with ink stone (known as Suzuribako) with exquisite maki-e decoration circa late Meiji to early Taisho period (1890s-1930s)...

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

Rare Japanese style diamond-shaped tray attributed to l'Escalier de Cristal, representing lake landscapes in cartouches, and adorned in its center with a lunch scene with a Japanese couple in traditional dress, all highlighted by a gilded decor of flowering branches on a pink porcelain background. The whole is framed by a gilded openwork bronze mount ending on the sides by two handles. “L’Escalier de Cristal”, an old and famous Parisian firm, specialized in glass products and ceramics but also suggested furniture and bronze sculptures. It was led from 1885 to 1923 by Emile Pannier’s sons, who gave the name of Pannier Frères to the society, located at the corner of Scribe street and Auber street, next to the new built Paris Opera house. Their Japanese style creations were among many others much appreciated by the critics and the public. They were awarded many medals at various exhibitions, such as the Gold medal at the 1900 Paris Universal Exhibition. Lots of artists participated in that world success, such as Emile Gallé, who gave to Pannier Frères the exclusive rights of some of his models, or François-Eugène Rousseau, who designed many vases and gave the model of his successful Japanese style dining-set as well. This set was made by the Creil et Montereau Manufacture. In the Japanese style furniture...

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...

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

An exceptional and wood statue of Buddhism Guardian Seitaka Doji from Japan circa Edo period (1603-1868), likely the earlier part of 17th century. One of two chief attendants of Fudou Myouou (the other being Kongara Doji), the name of Seitaka Doji is a transliteration of Sanskrit "Cetaka", meaning servant, slave, and he is said to personify expedient action. He is most commonly found on the right side of Fudou, together with Kongara Doji on the left, forming the Immovable triad, Fudou Sanzon, the terror of evil doers. Seitaka largely adheres to the iconography of a wrathful youth with fleshy body and face, skin in the color of a red lotus, has his hair tied in five knots, and holds a vajra in his left hand and a vajra-club in his right hand, but the actual artistic representations of him in Japan do...

Antique Japanese woven boat shape (funagata) Ikebana flower basket, with lacquer,975 rattan, root and smoked bamboo. Fine quality weaving with wonderful patina.

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''.

Vintage Japanese Satsuma Covered Ginger Jar This Japanese jar decorated with birds, flowers, and satsumas would be a beautiful gift for a vin...

Japanese Contemporary Grand Pottery Sculpture, Ca. 1980 ABOUT This absolutely unique late 20th Century pottery sculpture with bamboo-styled formed handles features a wonderful artis...

Candleholder designed by Ryosuke Harashima. This work is made of Japanese antique glass plate and brass. Artist create new style candleholder by ...

A set of four Japanese Ceramic Tokkuri Sake storage bottles circa early 20th century (Meiji to Taisho period). The bottles were made in Tanba (or Tamba) ...

A Japanese bamboo Ikebana hanging basket circa 1920s-1940s, made with "sooted" bamboo (susutake in Japanese). This bamboo material was collected from traditional thatched-roof houses...

A four-case lacquered inro by Koma Koryu circa 19th century late Edo period. The inro features a pair of Chinese mandarin duck resting under a bundle of blooming irises on the pond. ...

The long neck bottle of classic form was heavily potted with coarse clay with high iron content. The flask, circa 18th century Edo period, was purposed for sake storage but also substituted as a flower vase during tea ceremony. The surface is covered in glossy black glaze and contrasts strikingly with white ash glaze around the shoulder. The white, fired with straw, displays a splashing feather effect and fine crackles, blending in with the black artistically. This type of Karatsu ware...

Japanese Large Hand-Carved Boxwood Okimono – “Mino-Kame” Turtle, Ca. 1900 DIMENSIONS: Height: 4 inches Length: 19 inches Wide : 5 inches ABOUT An exceptional example of Meiji-era c...

Japanese Late Meiji Period Head of Buddha in Wood, Ca. 1910 DIMENSIONS: Height: 22 inches Width: 7 inches Depth: 7 inches ABOUT A serene and finely carved wooden Head of Buddha fro...