Edo Furniture

An exceptionally fine and unusual Japanese lacquer writing implements box, suzuribako, in the form of a zither, koto, Edo Period, 18th century, Japan. With a modern wood storage box,...

This is a Seto ware tea bowl made in Japan from the late Edo period to the Meiji period (late 19th to early 20th century). Seto is a kiln with a long history in Aichi Prefecture, Jap...

Monumental pair of late 18th century Japanese Edo/Tokugawa period byobu screens depicting the battles between Taira and Minamoto. The screens have six panels each with individual sce...

This is a pottery called Seto-yaki, which was fired in Seto, Aichi Prefecture, Japan. Seto is a kiln with a long history in Aichi Prefecture, Japan. (Seto kilns are marked with red c...

Beautiful set of 6 large kakemonos from 19th century Japanese mythology. Paper support with a canvas pasted on the paper Wonderful set that is part of Japan's history and beliefs When not hung, the Kakemonos are rolled up. circa 1800 - Japan - Edo Period A kakemono translates as "object to hang". In Japan this refers to a painting or calligraphy, most often done on silk or paper framed in a scroll that was intended to be hung on walls or in public lighting. This particular form, which allows them to be in a roll, dates back to the Tang dynasty in China (this would be related to the copying and preservation of ancient Buddhist texts). A Kami is a deity or spirit worshipped in the Shinto religion. A Yokai is a spirit, ghost, demon, or strange apparition from the creatures of Japanese folklore. Each of these kakemonos represents a unique story: - A kami, a Japanese deity, is shown painting a rainbow. Indeed, he performs the action with his right hand while his left hand holds a kind of basket with three pots of paint. This kami has a rather closed attitude. He is standing in a dark and tormented sky. Below this figure, 8 villagers are dressed in traditional Japanese clothes. Their faces are softened. They are not afraid of the elements made by the kami above their heads. - A character with an unreal look is holding a kind of jar with his two hands, which he spills on human figures above. This being is floating in the air, probably a character from mythology, perhaps Susanoo. Underneath, villagers on umbrellas. They are trying to protect themselves as best they can from what is falling on them. One of them is carrying baskets with fish on her shoulders. A character in the background is thrown forward and falls. - On this kakemono, the god Raijin, dressed in a white and blue outfit, strikes the sky with his two drum hammers to create lightning and its thunderous sound. Surrounded by Tomoe and a long red scarf, Raijin, enraged and with dishevelled hair, creates a dark and violent storm. The villagers seem frightened by this meteorological phenomenon. One of the villagers can be seen fainting in the arms of a man. This scene may seem chaotic, but Japanese legend tells us that once a field is struck by lightning, the harvest is good. - On this kakemono, we see an unreal-looking figure holding a fan, as if he were sweeping away the bad weather, or simply producing gusts of wind. He is probably the kami of wind and air, Shina tsu-hiko. The figures below him seem surprised by so much wind. An umbrella flies away on the left, the women hold their hair and scarf, the clothes are caught in the power of the wind, there is even a woman on the ground on the bottom left. - This Kakemono represents a short moment. This Raiju is a yokai (ghost spirit...

Kano Osanobu (狩野養信) Osanobu Kano (born August 18, 1796; died June 12, 1846) was the ninth painter of the Kobikicho Kano School in the Edo period. His common name was Shozaburo. His father was Naganobu KANO, and Tadanobu KANO was his son. His Go (pen name) was Osanobu Seisenin, Kaishinsai, and Gyokusen. Brief Personal History He was born the eldest son of Naganobu ISENIN during the Edo period. He was first sent to serve at Edo Castle at the age of 15, and it appears that he was apparently pushed by his father to perform various public tasks for the Kanon School. He kept a diary for 36 years, starting from the day before he first went into service at Edo Castle until the day before he died. The diary is entitles "Official Service Diary" (it consists of 52 volumes that are maintained at the Tokyo National Museum, and 4 volumes that are separately maintained at the different families), and have become the focus of a lot of attention in recent years for the detailed information they present on the daily life and work of a prestigious official painter. The reading of the characters of his name was originally "Takenobu"; however, with the birth of the first son of the Shongun Ieyoshi TOKUGAWA in 1813, whose name was Takechiyo, having a sylable with the same pronunciation of "Take"was deemed to be inappropriate, and was therefore changed to "Osanobu". Because Takenobu died the following year, after which he was referred to as Gyokujuin, Osanobu changed his pen name Gyokusen he had used until that point to Seisenin, in order to avoid using the same Chinese charcter pronounced alike. In 1819, he attained the second highest rank for a Buddhist priest, Hogen, and assumed the role of head of the family after his father passed away in 1828. In 1834 he attained the highest rank for a Buddhist priest, Hoin. He oversaw the rennovation of the wall paintings of Nishinomaru Palace of Edo Castle from 1838 to 1839, and Honmaru Palace of it from 1844 to 1846. It is thought that Osanobu later died due to the fatigue...

A beautiful and exceptionally 18 inches tall Sosaku Kindai Kokeshi doll from Japan. Handcrafted of wood and hand-painted in the the early 20th century. In good condition with charmin...

Fantastic 19th century Japanese Edo/Tokugawa period two-panel byobu screen featuring Chinese children frolicking on a garden terrace with a pavilion and large pine tree. Made in the ...

A pair of antique Edo period (1603–1867) Japanese Samurai Abumis (stirrups for horseback-riding) expertly crafted out of cast iron with brass or bronze inlay in the form of a stylize...

This Tsubo, pottery Jar is a product of, at least late Edo era (estimate 1840s-1860) estimate from the style & condition. Especially, The lid is made from wood, has a good amount...

For samurai warriors, the functionality of their armor was as vital as its striking beauty—both elements held equal importance. This orange-laced armor is one of the rarest and most stunning complete Edo-period samurai suits ever crafted, designed for a military leader to convey the gravity of his power and warrior spirit at a single glance. This particularly rare armor...

A lovely piece Condition Hairline in the base and Kintsugi repair to lid. Size. 20.5x13x13 Period 19th century Meiji Periode (1867-1912)

This Japanese Negoro-style lacquered table dates to the 17th–18th century and exemplifies the restrained beauty and layered surface aesthetic characteristic of Negoro lacquerware. Tr...

A beautiful and exceptionally 18 inches tall Classic traditional Kokeshi doll from Northern Japan. Handcrafted of wood and hand-painted in the the early 20th century. In good conditi...

A beautiful collection of 6 vintage Korean bobble head wedding dolls of the 1960s Handmade from wood, these beautifully decorated Kokeshi style dolls are bobble heads and very old. D...

Dimensions (Each screen): H. 176 cm x W. 378 cm (69’’ x 149’’) This pair of Japanese folding screens depict blossoming plum trees amongst young pines. They are designed to capture t...

Description A very nice blue and white dish with unusual design. Edo period, 17th century. Condition crackle lines in body, of which one at the back is a bit dirty. Size: 18.5x3CM ...

A rare and evocative pair of antique Japanese samurai abumi (horse-riding stirrups) dating to the Edo period (1603–1868). Expertly forged in iron, with a silver inlay decorative desi...

Japanese antique mid size Tansu (chest of drawers), product of circa 1870s - 1900s, late Edo to Meiji era, estimate from the style & conditions. Remaining original paint gives a ...

This is a very interesting old copper vase, believed to have been made in Japan or China. Its distinctive shape and high level of decoration make it a gem that stands out among the many copper vessels I have seen. The body is cylindrical, with a tightened shape at the top and bottom. The legs are slender and tapered, giving the overall design a beautiful sense of tension. This “tapered hem” design lends a special elegance to the vase's appearance. In terms of decoration, the intricate patterns encircling the upper and lower bands are particularly striking. These patterns are geometric abstractions of clouds and dragons. On both sides, small designs resembling animal or dragon faces are attached, adding to the elegant decorative beauty of the design. The copper surface has a deep amber luster from years of use, and the patina from aging captivates the viewer's heart. There are some dents and signs of use on the surface, but these are also charming elements that testify to the fact that this vase has been cherished and used for a long time. When half-filled with water and left for 24 hours, no leaks were detected. It is practical and can be used as a flower vase. Whether filled with fresh flowers, branches, or dried flowers, it will add a sense of sophistication to any space and make a statement wherever it is placed. The accompanying paulownia box is inscribed with “Tang Dynasty Ming Dynasty Antique Copper Vase...

This is an old drawer for storing Japanese swords originally called "Katanatansu". It is thought to be from around the Edo period. Cedar is used for the material, and a large numbe...

This rare samurai hishaku (water dipper) dates to the mid Edo period, circa 17th–18th century, and represents an unusual and highly refined example of mounted samurai equipment. Such...

Kokuho Shimei (1789–1859) Tigers Pair of framed paintings; ink on paper Kokuho Shimei was active during the late Edo period as a Nagasaki School artist, working at a cultural cross...

A rare and finely crafted Japanese temple nail cover (nageshikazari), dating to the Edo period (18th–19th century). Executed in gilded copper, this architectural ornament was design...

Edo Period Kyoto Screen Period: Edo period Size: 343 x 176 cm (134.6 x 69 inches) This stunning Edo period screen depicts typical scenes of daily life...

A very nice blockprint 30-5-18-pm-3341 Condition / Overall Condition Perfect. Size frame: 242x 274mm. Period 19th century Meiji Periode (1867-1912)

Late 18th-early 19th century lobed Arita plate, Japan. Decorated with grape clusters, vines & a butterfly. 8.25" dia. x 1 1/8". We are a family business that has been a major source...

Vintage Japanese Shigaraki jar in shimmering metallic black glaze, circa early/mid 20th century. Measures: 16" high. 13" diameter. Small chip at inner ri...

Suzuribako (writing box) in black lacquer, rectangular in shape, with a gold lacquer (maki-e) decoration of a pavilion by the edge of a waterfall and a mountain river surrounded by v...

Description Nice & Beautiful Arita Japanese Porcelain. This antique Japanese Imari porcelain sake bottle features a sleek and elegant design, with hand-painted floral patterns cr...

Kaiho Yusetsu (1598-1677) Tiger and Dragon Early Edo Period, Circa 1650 A Pair of Six-fold Japanese Screens. Ink and slight color on paper. Dimensions: Each screen: H. 171 cm x W. 380 cm (67.5’’ x 149.5’’) In this pair of early Edo period Japanese screens a group of tigers prowl in a bamboo grove whipped with fierce wind, while a dragon claws through clouds and mist. The dragon embodies elemental qualities - looming out of the mist, the coils of its body disappearing in the clouds. The dragon is calling for rain, symbolizing spring which is considered the fountain of life. On the other side, the tigers calls for the wind, symbolizing autumn which is considered the end of life. Tigers were familiar motifs within Japanese art from ancient times though the animals were imaginary to the people in the 17th century. While dragons and tigers are usually associated as sacred and ferocious, in this painting, both animals have rather amusing expressions. The tigers appear to glare at the dragon with cat-like eyes, and the look on the swirling dragon’s face appears almost affectionate - lending a playful flair to an otherwise magnificent theme. The tiger and dragon are cosmological symbols of the balancing forces in the world. Screens such as this were originally meant to express the fluctuating nature of the world. For Japanese in the early Edo period, they likely suggested the powers of the cosmos. In Japan the tiger and dragon motif was originally absorbed into the circles of Zen monasteries before spreading into the secular world. The theme especially appealed to the military classes with the Kano school, the official painters to the Shogun and the samurai, being the leading contributors. The painter of this pair of screens, Kaiho Yusetsu (1598-1677), was closely patronized by the third Shogun Tokugawa Iemitsu. In his later years he worked with Kano school artists...

Description A very nicely decorated large charger in Imari palette with landscape scene. Condition report: 1 chip with hairline and crackle lines in body. Size: 34.5x6CM Diameter ...

The simple exterior of black lacquer encasing this 19th-century Japanese traveling shrine (zushi) belies the splendor within. The hinged doors open to reveal a lustrous gold interior...

Artist: Utagawa Hiroshige (1797 - 1858) Series: Pictures of Famous Places in the Sixty-odd Provinces Number: 5: Settsu Province: Sumiyoshi, Idemi Beach Medium: Woodblock Print Date: 1853 (Kaei 6), 7th month Number of Prints: 70/70 (inc. Title Page) Format: Vertical Oban Size (H x W): 14" x 9.25" print only. Publisher: Koshimuraya Heisuke (Koshihei) Block Cutter: Yokokawa Takejirô (Hori Take) Signature: Hiroshige hitsu Additional marks: Censors' seals: Mera, Watanabe, Ox 7 Displayed with mat and gilt wood frame. Reference: For an identical print, see the collection of MFA Boston...

from Tohoku area, Japan. Japanese antique small box tansu chest of drawers, Kohikidashi, made of Sugi Cedar. Product of circa 1850s-1870s (late Edo to early Meiji era), estimate from...

Fantastic Asian four panel folding byobu screen painting depicting the popular theme "One Hundred Children, or Boys". This theme was often painted by Kano School painters in the Edo ...

Description Sharing with you this very nice edo period, 1660-1680, example. With a central scene of flowers. The rim beautifully painted. Unmarked at base Arita ware, also known a...

This rare pair of samurai kote (arm guards) dates to the mid Edo period, circa 17th–18th century, and represents an authentic element of Japanese armor. Crafted from patinated iron a...

On offer is a Japanese ceramic tea bowl (chawan) used in the traditional chado ceremony. The bowl was potted in clog form with a ring foot shaved extremely low. Its size and harmonious proportion make it perfect to be held in both hands during chado. Classified as shino ware...

Available from Shogun's Gallery in Portland, Oregon for over 40 years specializing in Asian Arts & Antiques. Japanese Kiri and Sugi Chobadansu Merchant Chest Late Edo Period Tan...

Description Sharing with you this very nicely decorated dish of beautiful shape. Condition 1 hairline from the rim. Size: 22x3.3CM DiameterxHeight Period 19th century

Description Sharing with you this very nice edo period, 1680-1700, example. With a garden floral bird scene in the style of Chinese Wanli period pieces. Marked at the base with a fl...

A Japanese solid bronze Mimikuchi handled vase with crisply detailed spiral design on a beautifully rounded body. This rare piece dates from the early to mid 1800's. A very fine example of Japanese Edo period...

Antique Japanese miniature model of a suit of armor made for the Boy’s day display. Constructed of a lacquered paper cuirass, upper arm guar...

A wonderfully designed and beautifully hand painted tea ceremony tray/plate by esteemed Japanese artist and master potter Ogata Kenzan (1663-1743). Kenzan is widely considered to be...

A rare and beautiful nearly 300 year old Japanese pottery Mishima Karatsu (三島唐津) sake bottle tokkuri (徳利) circa 1750 Japan, Edo period (1603-1868), Saga prefecture, Karatsu kilns, M...

From our recent Japanese acquisitions, a rare find Antique Original Japanese temple "blossoming lotus" flower bud stem including its original red lacquer display base. This finely hand carved wood and lacquered gold flower stem was made for a Buddhist 19th century temple altar. Its flower blossoms and leaves symbolize the stages of the path toward enlightenment. The individual parts of each lotus is carved separately then joined in an arrangement and inserted in altar vessels. Also called "Jyôka" , it is placed on or next to an altar in a Buddhist temple. Made with meticulous techniques. In Buddhism, the lotus is an important symbol of divine enlightenment because it blooms into beautiful flowers while growing in mud. Tsunehana means "a flower that continues to bloom forever" and "a flower that does not wither." For this reason, the flowers represented are in different stages of their life, unfolded lotus leaves, buds and full flowers, thus symbolizing the journey towards Buddhist enlightenment. This lovely Japanese antique gilt Lotus flower is an early survivor, circa 1840, and a hard to find treasure that was originally placed on or around a temple altar. This ensemble consists of a single stem, the top most flower, and the bottom leaf- all mounted in the original square red lacquer display base. A gold gilt 3.5 inch long tortoise "minogame" is affixed to the base as seen in the photo. Its attractive original old patina coupled with much of the original gilding remaining present is just the way we like to find them. Dimensions: With original red lacquer display stand Height, 17 inches height and 9 inches in width. The lotus flower stem alone measures 16 inches in height. Provenance: acquired from a Kyoto Japanse monk and collector History of the Japanese turtle "minogame" One of the most famous is the mythological giant turtle...

A tall and impressive Japanese carved and black lacquered figure of Sho Kannon Bosatsu, Momoyama or Edo Period, mid 17th century, on a later mid 19th century carved, painted, and gilt wood lotus...

This mid 19th century Japanese Meiji Period Kyo Satsuma Vase Lamp is a truly phenomenal piece of art. With multiple scenes that include Japanese figures in ceremonial costumes in var...

17th to 18th century Iga ware from Fushinan, Kyoto. Iga embodies the essence of tea ceremony's requirements for wabi-sabi, which appreciates the beauty in imp...

An extremely fine, elegant and rare late 17th Century Japanese lacquer cabinet, from the Eco period, on later lacquered black stand. Japanese circa 1690 Provenance A private Scottish collection This outstanding cabinet is a fascinating fusion of east and west. The cabinet itself would have been made in Japan, c.1690, and is decorated to the outside with hiramaki-e lacquer. This technique involves the use of sprinkled gold powder which adheres to the lacquer surface. On the best pieces, as with this example, many layers are added in order to create areas of high relief and give depth to the surface decoration. The taste of the Japanese workshops in this period was often for quite restrained pieces with plenty of the black background visible, unlike some of the busier Chinese lacquer or European japanned examples produced around the same time. The Japanese makers seemed content to rely on the outstanding quality of the lacquer itself, regarded by most experts as the finest lacquer ever produced, and did not see the need to cover every surface believing that less was more in this respect. The lacquer here is used to produce a mountainous scene with buildings on the bank of a river, the other side of the river with more buildings and a contrasting flatter and forested landscape. The fine perspective achieved is the result of the clever use of raised and flatter areas in the lacquer itself in combination with the drawing of the design itself. Another remarkable aspect of this piece is the fine metalware throughout, but particularly the lockplate / hasp, hinges and foot mounts to the front. This is all beautifully cast and engraved contrasting against the black background. Interestingly another cabinet on stand with near identical metalwork was advertised in the Burlington Magazine, November 1913, with the dealer W. Williamson and Sons of Guildford. The lacquer on that piece is similarly refined and it seems likely that both pieces came from the same workshop. The European influence in our piece can be seen in both the later ebonised stand and in the japanned decoration which has been applied to the inside of the doors and is also very fine indeed. This consists of two panels with birds of prey perched on branches in colours set against a golden background. The cabinet has a recent Scottish provenance and so it is likely that the ebonised stand was made in Britain though such pieces were made throughout Europe as a way of quite literally elevating these imported pieces of eastern lacquer as in Japan these would have been used on the floor. Inside the cabinet there is a combination of more Japanese lacquer and lock plates and European drawer handles. Most of the lacquer drawer fronts incorporate mountainous scenes and birds in combination, with a few purely one or the other of the two subjects. Again the lacquer is in excellent condition and is of exceptional quality with multiple layers of relief used in one single scene in many cases. As mentioned above, Japanese lacquer is the most technically brilliant of the eastern lacquers and, as such, was highly prized by collectors and connoisseurs throughout Europe when this piece was made. The acquisition of such pieces would only have been possible for a small group of incredibly wealthy individuals, largely royal or high ranking courtiers or merchants connected with the East India trade...

This is an antique Edo period decorative planter. A Japanese, bronze jardiniere bowl, dating to the Victorian era, circa 1850. Graced with dashing relief and great tonality Displays...

Japanese six-panel screen: Chrysanthemums, Edo period (circa 1800) painting of a variety of chrysanthemums in a garden landscape, with sparrows. Mineral p...

Unkoku Toyo (1612-1668) View of West Lake Pair of eight-panel Japanese Screens. Ink and gold wash on paper. Dimensions: Each screen: H. 110 cm x W. 372 cm (43” x 147”) This pair ...

Late Edo Period Rinpa School Chrysanthemum Blossom Screen Period: late Edo, early 19th century Size: 364 x 172 cm (143 x 67 inches) This exquisite late Edo period Rinpa school scr...

Utagawa Ando Hiroshige, Japanese, 1797 to 1858, woodblock prints on paper, Flowers and Bird signed and inscribed in Hieroglyphs and red ink stam...

[Authentic Artwork] ◆ Nagamachi Chikuseki ◆ Landscape ◆ Edo Period ◆ Mitsuishi Origin ◆ Kagawa Prefecture ◆ Handwritten ◆ Paperback ◆ Hanging Scroll ◆ k891 ◆ Nagamachi Chikuseki Explore the artistry of Chikuseki Nagamachi...

A set of five Japanese ceramic dishes in an inscribed tomobako box. These dishes were made in the types of Ko-Oribe (Old-Oribe) and dated in the early to middle 19th century (end of Edo period) serving as Mukozuke dished for multiple-course kaiseki cuisine. Ko-Oribe ware were made during Momoyama period (15-16th century) as a subtype of Mino ware and favored by tea master for their irregular and organic spirit. In slightly irregular oval shape and average 7.5" by 6.5", one edge of these dishes is covered in a pleasant irregular sliver of deep green glaze (therefore these are also known as Ao-Oribe, Green-Oribe). The main surface is covered in a white glaze with fine crackles and decorated in the center with a motif of fern branch in a grey-black glaze. The glaze has a sheen indicating a high concentration of magnesium. The five dishes vary subtly in shape, color and hand-applied glazing and paint pattern, The foot supports were cut short and remain unglazed revealing a whitish buff-ware like clay underneath. The set of Mukozuke dishes retains its original tomobako. On the lid, ink kanji inscription reads: Ko (old)-Seto, Mukozuke for Five, Shotoken (presumably the name of a high-end dining or tea house establishment where the dishes were collected and belonged). For a comparable Mukuzuke Oribe dish...

A wonderful, beautifully aged Tsuba - Japanese sword hand guard often circular, sometimes square, which emerged as an essential part of Japanese sword craftsmanship during the Heian ...

Sharing with you this very nice edo period example with carved fish design. Storage Box included Unmarked at base Arita ware, also known as Arita-yaki, has its origins in 1616, whe...