Early 17th Century Edo Japanese Oribe Vase

A fine and rare Japanese ao-oribe glazed minoyaki stoneware dish, late Momoyama or early Edo period, 17th century, Japan. The circular dish of wheel thrown ...

A beautiful Japanese Satsuma vase, circa early-20th century, late 1930s-1940s, Japan. Colors include red, black, gold, yellow, white, burgundy, green, and flesh tones. Dimensions: 5"...

A rare Japanese late 17th-early 18th century Imari vase of beaker-type, porcelain of elongated ovoid shape with flaring neck, painted in the Im...

A contemporary studio ceramic vase made by Japanese potter Ken Matsuzaki (1950-). The vase showcases distinguished "moon flask" form with shoulder loops. The moon flask form was widely recorded first in Tang Dynasty China, most likely arrived from the Mideast countries via the silk road. It was originally used as drink vessel for the nomads and the loops were used to tie it to the horse-centered owner. The exotic form persisted in Chinese ceramic production through Ming to Qing dynasty. The form is unusual in Ken Matsuzaki's work. The artist covered the vase with a thick dripping Oribe green glaze partially revealing the unglazed part of the body, which is decorated with scrolling pattern in left by ash glaze. The work is rooted in both Yohen Shino glaze technique and Oribe tradition, but interestingly it also paid homage to Sancai pottery in Tang Dynasty when green glaze was prominently used to drip and splash onto the pottery. Viewing the vase, one can see in this harmonious piece, the innovative reinterpretation of ancient aesthetics that cross the cultures, geology and time. The base is marked with the artist's signature. The vase comes with an inscribed tomobako storage box with the artist's bio and wrapping cloth with seal. The vase measures 8.6"h x 7"w x 2"d. Ken Matsuzaki’s haptic ceramics bring a contemporary approach to traditional Japanese ceramicware, most notably 16th-century Oribe pottery...

This is a Chinese hand-thrown ceramic provincial jar with a light celadon glaze which we date to the Ming period of the early 17th century or possibly earlier. The jar is hand potted...

A very nice set of polychrome dishes with green and red overglaze colors. Interesting brown circle in the centre. Early Edo period.   Condition No real damages, just crackl...

A beautiful small Japanese Satsuma ginger jar vase, circa early-20th century, Japan. Colors include cream, copper, green, blue, white, black, orange...

Description Sharing with you a very nice example of the Edo period with a gentle scene of a bird in flight looking down on a garden scene with what seems to be a pot. Condition...

A glazed ceramic vessel by Japanese potter Ryoji Koie (1938-2020). Hand-built with intention to be seen as such, the tsubo has a primordial irregular form with a small opening and a swelled body resembling a beehive. The upper body was covered in a glassy green oribe glaze with fine crackles, highlighted with three incised geometrical symbols. The lower body is unglazed and exposed the white clay with marks of the hand-making pinches and kneading along the base. The base also shows highly irregular surface due to the seashell spur marks and clay pitting in the kiln during the firing process. All these occurrences honestly preserved and presented as part of the character of this wonderful modern piece. The jar comes with a plain wooden tomobako box. "One of Japan’s most versatile and forward-thinking contemporary artists, KOIE RYOJI...

An Satsuma ceramic stone ware vase, circa 19th century, around the end of the Edo and the beginning of Meiji period. In the form of a Classic garlic bottle whose prototype was from China, the white bodied piece is decorated with an early form of kin nishikide, the so called golden brocade, a palette of iron-red, blue, green, yellow, purple and black with golden highlight. The over glazed enamel paint shows a group of robed figures in a garden setting with a lion and three tigers. A transparent overall glaze shows very fine crackles. The design is relatively sparse with plenty of negative space in contrast to the Satsuma production from the late 19th century, when the trend became fussy and overly glitz, due to the influence by the perceived western taste for the export market. This piece may still be made for export but its pattern was more influenced by both Kyoto Pottery and the Kano school of painting compared to the export ware by the end of the 19th century onward to the early 20th century. It was believed by many that this was a result of Satsuma potters visiting Kyoto in the late seventeenth century to learn over glaze painting techniques. There are some age glaze crackles especially around the foot. The piece is not signed in keeping with the earlier production before Satsuma ceramics...