Japonisme Ceramics

Striking 19th century antique Imari staple charger featuring vibrant oranges, blues, and golds. While a broken plate or charger would be discarded in today's era, other generations f...

Otafuku is a popular figure in Japanese folk tales. Often depicted with large cheeks and a joyful smile, her name translates to “much good fortune” or “plenty of happiness”. She’s kn...

Morino Taimei (1934), also known as Taimei Hiroaki, draws from his traditional heritage and infuses it with a modern spirit. His father, a respected potter, sent him to study ceramic...

This large blue and white bowl Is covered with wonderful ornaments in the fashionable Japonism taste of the 1880's and 1890's. The earthenware bowl carries as makers mark an Impresse...

Kaneta Masanao, is certainly one of Hagi pottery's most well-known and easily identifiable. He's part of the eighth generation Hagi potter and has expand beyond his hefty heritage to...

19th century French ornithological ceramic charger by Montereau B et Cie, depicting two perched songbirds. In very good condition.

Tanoue Shinya, is a ceramic artist from Kyoto. His work is already placed in the Museum of Kyoto and the Hyogo Ceramic Art Museum as well as being shown at US museums (Cincinnati, P...

A Victorian Minton flow blue porcelain oyster plate, with six oyster wells, a center well and a large well for crackers. Decorated in the Japonisme...

A Théodore Deck (1823-1891) Faience Paneled Fourteen-Tile Rectangular Wall Plaque Polychromic Earthenware very finely hand-painted, designed with a couple of pheasants among vegetat...

A beautiful artisanal handcrafted porcelain Dragon ware teacup. This set features a moriage dragon design. Created from slip and applied around the body...

This very large Japanese hand painted blue and white charger is a testament to the skills of its potter, because to throw and successfully fire such a large item is rather unusual. I...

This Japanese hand painted blue and white charger features a plump, cheeky looking bird perched on a branch surrounded by foliage and flowers. ...

Théodore DECK (1823-1891) A polychromatic enamelled earthenware soliflore and quadrangular shape vase with Sino-Japanese inspiration design of flowers and geometrical friezes all around. Impressed uppercase mark "TH.DECK" under the base. Circa 1875 Born in Guebwiller in Alsace, Théodore Deck trained as a ceramist in his home region, then in Germany. He went into partnership with his brother, Xavier Deck, to create his own factory in Paris in 1858. At the Exhibition of Industrial Arts in 1864, he presented pieces covered with transparent enamels that were not cracked, and then made his first attempts at reliefs under transparent enamels. He developed a bright turquoise color, famously renowned as "Bleu Deck". It is this nuance that we find on the salamander represented on this vase. In 1887 he published a treatise entitled "La Faïence", in which he explained some of his discoveries. That same year, he became director of the Manufacture de Sèvres. Theodore Deck (1823-1891) is a French ceramist born in Guebwiller in Alsace. He is passionate about chemistry and the physical sciences. In 1841, he joined the master stove maker Hügelin father as an apprentice in Strasbourg. In two years, he learned of the methods inherited from the 16th century, such as the encrustation of colored pastes in the style of Saint-Porchaire. This apprenticeship did not prevent him from spending his free time draw-ing or modeling clay in the studio of sculptor André Friederich. Escaping military service, he made a tour of Germany as is the tradition with fellow Alsatian stove-makers. The quality of his work allows him to obtain important orders in Austria for the castles of the provinces and the imperial palaces, in particular for the palace of Schönbrunn. He continues his journey in Hungary to Pest, to Prague, then, going north through Dresden, Leipzig, Berlin and Hamburg. On the strength of his apprenticeship, he arrived in Paris in 1847. Recommended by Hügelin, he went to the stove factory of the Bavarian potter Vogt, located rue de la Roquette. The Revolution of 1848 interrupts production and Deck decides to return to his hometown. His family then advised him to set up a small terracotta workshop: he made a few busts, statuettes, vases, lamps and copies of famous antiques there. Aware that this situation would not allow him to provide for himself properly, he returned to Paris in 1851 where he was employed by the widow Dumas, daughter of the earthenware maker Vogt for whom he had worked. Hired as a foreman, he supplied the drawings and models to the workers, while working the land himself. The following year, he made the decision to settle not far from his former employer at 20, rue de la Fontaine-au-Roi, probably using his ovens. His brother, Xavier Deck, joins him. It was officially in 1858 that the Deck brothers created their business and settled in Paris at 46, boulevard Saint-Jacques. Initially, the brothers only carry out coatings for stoves. But the business is going so well that barely a year after their installation, they want to diversify their production and engage in ceramics for the cladding of buildings as well as in shaped parts. Deck is interested in politics. In 1870, he opted for French nationality and was elect-ed deputy mayor in the 15th arrondissement of Paris. In 1861, at the Salon des arts et industries de Paris, which was held on the Champs-Élysées, Théodore Deck exhibited his works for the first time: these were pieces with an inlay decoration called “Henri II” and others. pieces covered with turquoise blue enamel or decoration in the style of Iznik ceramics.If he wins a silver medal, reviews are mixed, however. The following year, on the occasion of the Universal Exhibition of 1862 in London, he won over English customers. He surprised by presenting, like the previous year, his Alhambra Vase...

Steve Friedlander (attr., American, active 1964 - 1985) Glazed ceramic footed sake cups, (three) with grey, taupe, and blue stoneware glazed, the under side o...

Decorative large round dish 32,5 cm hand painted with very delicate colors by the artist in Japonism spirit with fan, flowers, manga, rodents, lizard, and birds... Stamped "MONTEREAU / B&Cie / 35" B&Cie added when Barluet become the new director of Creil & Montereau, a very well-known French manufacturer, in 1876. Artworks of the Japonisme style in France were first discovered at Paris Universal Exhibition in 1867 and then in 1878. Some of these french Japonism...

Beautiful porcelain planter decorated with imari. On this flowerpot, the background is blue, there are reserves in which appear a dragon and a bird surrounded by red flowers. The upp...

"Japon" Imari service, produced in 1876 by the Creil & Montereau pottery, shows the great success of Japonism in tableware production, like the Bracquemo...

Large Imari Meiji period four panel charger entirely hand decorated. Two of the panels depict flying cranes amongst foliage. The remaining two panels are hand decorated with a floral...

Stoneware relief with a beautiful japan inspired decor of a skein of geese flying above the water Created by renowned danish artist Knud Kyhn and manufactured by Royal Copenhagen ...

A beautiful ceramic vessel in the form of Bo, the so-called monk's alms bowl 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 piece was made as a decorative center piece for display. It was brilliantly decorated with underglaze paint of a green-on-green bamboo motif, 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. To create design 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 porcelain teacup and saucer set. This pair would be fabulous if mixed in with a current collection, or on its own. On a maroon backg...

A pair of Japanese decorative ceramic plates, made in Arita for export market circa 17-18th century. The cabinet-display dishes feature lotus-petal gilt rim and a lavish tricolor ene...

An elegant French Louis XVI style Japonisme centerpiece comprised of a large 19th century Meiji Period Japanese Imari Porcelain bowl with French gilt metal ormolu mounts, late 19th-e...

This massive Japanese Arita plate was made in Hizen, circa 1890-1910s, at the end of Meiji period by a potter named Takeshige Yoshisuke who was active in A...

A Japanese Ao-Kutani stoneware dish with overglaze decoration in the shape of barbed quatrefoil shape from late Edo period, circa early mid-19th century. Around 1804, 100 years after Ko-Kutani (old-Kutani) ware disappeared abruptly after thriving from 1655-early 1700s, saiko-kutani (revived-kutani) was attempted by many kilns and several distinguished styles developed. Among them, Yoshidaya kiln attempted to revive the original style of Ko-Kutani known as Aote, which employed four dark colors: green, yellow, dark blue/black and aubergine to create bold and striking design. The Yoshidaya production was short-lived and lasted roughly from 1823-1831. This dish is likely dated from this period or shortly after. The overglaze design centered around a crouching tiger under a black bamboo grove in a deep green background, surrounded by luxuriant banana leaves in green and aubergine with black outlines. The base of a similar concentric barbed quatrefoil design is further decorated with black foliage outlines and marked with a square Fuku mark. For a Yoshidaya dish with identical shape but different landscape decoration, see lot 79 of sale 6547 Christie's London. Important Japanese and Chinese Art...

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 beautifully crafted large ceramic bowl as a centerpiece by Okumura Shozan (1842-1905) in the Kyo-yaki (kyoto ware) style. A Classic ovoid form with flatly...

This very large plate made in Japan during the Emperor Meiji time 1868-1912. Wonderful blue pattern on fine porcelain. There is a crack that’s shown thro...

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

Sumida Gawa pottery vase, Japan, early 20th century.

A milky white dish with slight scalloped rim and decorated with cobalt blue iron red and green enamel over glaze, this delicate piece in Kakiemon Style was dated at least to the earl...

Ceramic and gilt bronze vase by Sarreguemines, France, circa 1900.

A rare pair of decorative 19th century Royal Worcester porcelain vases decorated in the Japonesque taste, dated 1896-1897. Each vase is decorated with five white panels containing colorful red floral displays in turquoise urns...

An Japanese porcelain plate circa 1930s-1940s. Decorated with over glaze featuring three ladies in waiting. In the garden, the rock grottoes, a cherry tree in blossom, a half hidden banana tree and a few peeking peonies, suggest a subtropical scenery. The ladies were pictured as holding various item, a fly...

Elegant large Victorian Majolica pitcher inspired by the Japon decorated with flowers, a large fan, a flag on pastel tones, end of the 19th century / England.

Japanese style cup made of ceramic and wood. Wood is zelkova and ceramic with zelkova ash glaze.