Edo Furniture

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...

A Japanese ink stone box (known as Suzuribako) with exquisite maki-e decoration from Edo period (circa mid-18th century). The box features a rectang...

This is an upper part of a an unusual 19th century Japanese cabinet using bamboo and burled wood as design accents on the two sliding do...

This is a ``Rising Sun and Pine Tree'' drawn by Kano Baisho. It is an item with a solemn taste and presence, and I think it would be a good idea to display it at New Year's, the fir...

Set of four 19th century stunning, intricate lattice panels from Japan. Wood with naturally worn patina; traces of crackled finish. Each panel measures 35.5 inches wide and placed to...

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...

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...

This is a rabbit-shaped teaaburi (hand warmer) made in the latter half of the Edo period, around the late 18th to early 19th century. A teaaburi is a traditional Japanese ceramic ha...

In ancient Japan fires are a constant occurrence and the Japanese built their furniture and houses with this in mind. Firemen were essential and revered, and their equipment was care...

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

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...

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...

Description A Japanese Aoki Mokubei Jar. Edo Period. The inside base has a fish between the figures with gilt. A very powerfull piece and in our opinion most likely authentic by Aoki Mokubei (????) Mokubei AOKI (1767- July 2, 1833) was a painter and Kyo ware potter during the Edo Period . He was born in Kyoto . His childhood name was Yasoya. His Azana (alias) was Sahei. His pseudonyms included Seibei, Hyakurokusanjin, Kokikan, Teiunro, Kukurin, and Shubei. Biography Mokubei was born in 1767, in Kyoto . He studied calligraphy under Fuyo KO at a young age, showing great talent; however, when he found pottery, he opened a studio in Awataguchi, Kyoto at the age of 30 and won fame for his pottery. Five years later, he was invited by the Maeda Family of the Kaga clan, and he made efforts to revive Kaga Kutani ware. As a potter, he mainly produced green-tea sets. His pottery work is varied, including white porcelain, celadon, Akae ware (ceramic with red paintings) and dyed ceramics. As a result of his commitment to Chinese ceramics, he created a world of his own in making copies of Chinese ware...

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

Birds & Flowers of the Seasons Pheasants & Plum in Snow Unframed painting. Ink, pigment and gofun on silk Kano Chikanobu 1819-1888 Signature...

Antique Japanese Suibokuga Landscape by Kano Tokinobu. 17th century. A sumi-e ink on paper painting illustrating an ethereal mountainous landscape at the seashore containing buildings, trees, birds and ship masts. 3 vermillion seals of the artist in the lower right hand corner. Japanese dry mount paper on a wood frame with thin brocade border silver leafed surround and lacquered wood outer frame. Condition: Minor signs of age, wear, otherwise fine condition. Age: Painting Edo Period, circa 1670. Mounting circa 1985. Image: 51-1/2 in. x 20-1/2 in. (131cm x 52cm) Frame: 59-1/4 in. x 25-1/4 in. (150cm x 64cm) Weight: 6 lbs. Provenance: with Honeychurch Antiques...

A Fine Black & Gold Lacquer Japanese Nagamochi Trunk With Family Crests of the Tokugawa and Minamoto Clans Of rectangular form, the storage trunk covered on all sides with hiramak...

Obata Tosho (1812-1886) Snail, Wasp & Hollyhock Late Edo period, mid 19th Century Framed Japanese Painting. Ink and color on paper. Individually framed 19th century bird and ...

Mori Tetsuzan (1775-1841) Pheasants and Cherry Blossoms Two-fold Japanese screen. Ink, color, gofun, gold and silver on paper. A two-fold Japanese bir...

Beautiful & Rare 17th Century Japanese Arita Porcelain Kendi This exquisite blue and white kendi (ewer or jug) was crafted in the Arita kilns of Japan during the late 17th century, ...

This is a tin vase made from the late Edo period to the early Taisho period (1800s-1920). It is made of cast iron and has detailed and beautiful expressions such as butterflies and ...

Description This is a beautiful piece of antique Japanese porcelain — it looks like Arita or Imari ware, decorated in classic blue and white cobalt underglaze. The central opening i...

Japanese Rosoku-tate or Shokudai (candle stand) a lathe turned wood in a slender baluster form with attached concave circular base and broad circular wood candle base tapering down ...

Antique Japanese Wood Miniature Mask Netsuke, an unsigned work depicting Hannya, the female horned demon popular in Noh performance plays, a solid hardwood piece carved in high relie...

Edo Period Kyoto Screen Period: Edo period Size: 343 x 176 cm (134.6 x 69 inches) SKU: RJ69 This stunning Edo period screen depicts typical scenes of d...

Nice & Beautiful Arita Japanese Porcelain Kendi. FLoral Scene This 17th Century Japanese Export Porcelain Jug or Ewer, Arita Kilns c.1670-1690 is painted in lovely blue and white. T...

A six-fold paper screen painted in ink and colour on a gold ground with grape vines hanging from a pergola and woven fence amongst golden clouds, the details in gin-sunago (cut silver leaf) and moriage (raised design). The metal mounts are decorated with cloisonné enamel, a special detail rarely seen on screen mounts. Japan, 17th/18th century, Edo period. Grapes represent the autumn season and have been regarded as an auspicious symbol of fertility and prosperity since ancient times. Also the Japanese word of grape ‘budō’ is the same word for martial arts. Often paired with squirrels (‘risu’ in Japanese meaning, to follow discipline), the subject was a favourite of the samurai class. Designs incorporating grape vines have been used for ceramic and lacquer works as well as paintings from early times and screens depicting this subject matter seem to have been particularly popular in the early Edo period, however only a few examples are known today. These known examples depicting grape vines are rendered in a similar manner using gold leaf and moriage (raised design): A pair of screens from the Kano School housed in the Tokyo Fuji Art Museum (17th century, Momoyama period) A pair in the Gardner collection (17th century, accession no. P14e3) There are another comparable pair of 17th-century screens housed in the Okura Museum of Art, Tokyo and there are a pair of sugido (cedar wood doors) with the same subject housed in the Nagoya Castle, Aichi prefecture. Paravent à six volets peint à l'encre et à la couleur sur fond doré, représentant des vignes suspendues à une pergola et une clôture tressée parmi des nuages dorés, avec des détails en gin-sunago (feuille d'argent découpée) et moriage (motifs en relief). Les montures métalliques sont décorées d'émail cloisonné...

Lovely and beautifully made piece with different kind of flowers and birds on a tree bark base. Cloisonné is an enamelling technique in which the pattern is formed by wires soldered...

Name: OBAKE UN Contemporary style Japanese Washi Japanese traditional paper shade floor lamp. Washi shade is famous as Isamu Noguchi Akari lightings. Base is made of brass. Limited pattern painted model. Edition of 3+1AP E26,27 light bulb. Available to work with 100-250V. Artist statement In Japan, there is an animist belief that the soul dwells in old tools that have passed a long time and turns into spirits such as "Youkai" or "OBAKE." Its existence lurks in the darkness of everyday life, sometimes causing fear and sometimes entertaining. This lantern is not an old tool, but it is made by the historic "Kojima Shoten", where the 10th generation are craftsmen in Kyoto. It's rare nowadays, and it's a style in which lanterns are made from bamboo bones to assembling papers and painting in one workshop and go. So, I decided to transform the polite crafted Japanese lanterns, which have been run through a traditional history, into a modern and pop style. It's not just OBAKE lurking in the darkness, but an existence who snuggles up to us as a more sophisticated being. These one-eyed OBAKE have a meaningful look that originated in ancient Sanskrit culture. The red-eye "A [a]" is the facial expression that is the first pronunciation to make a sound in Sanskrit, which means "truth" and "spirit of inquiry" at the same time. The blue-eyed "UN [hu?]" expresses the pronunciation to close the sound, and at the same time means "wisdom" and "nirvana." There is also the idea that describing the beginning and end of the universe is represented by considering the "A" and "UN" as a pair. In Asia, it is a common sight to see a pair of guardian statues...

This is a most unusually made antique Hirado porcelain cachepot with playing boys. Crisply modelled with cobalt blue glaze About Hirado 平戸 Ware The origins of Hirado ware (it's als...

This stone statue of Nyoirin Kannon was created between the end of the Edo period and the Taisho period (late 19th century to early 20th century). The Nyoirin Kannon is a Buddha imag...

Description Sharing with you this very nice edo period, 17th century, example. With a garden floral scene with a Crab. Quite unusual to see a crab on these kind of dihes. Arita ware...

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

Late 17th century Kano school peony landscape screens. Both screens signed: Hogan Josen Fujiwara Chikanobu Hitsu - Kano Chikanobu (Shushin) (1660 - 1728...

Very fine asymmetric handled Burl Dish stamped "Nippon" on the base. Artistic presentation has a wavy attached handle, very smooth to hold feel and having a desirable rich deep honey...

[Authentic work] ◆Tanomura Chokunyu ◆Ink painting landscape ◆Japanese painting ◆Handpainted ◆ Paper ◆ Hanging scroll ◆ Chokunyu Tanomura 1814 (Bunka 11) - 1907 (Meiji 40) [Art yearbook appraised value 8 million yen] "A child prodigy in painting, Tanomura Chokunyu originally modeled himself after the style of the famous Tanomura Chikuden (1777-1835), who had adopted him at the age of eight. After Chikuden's death, Chokunyu took up an intense study of imported Chinese paintings." Paul Berry in: Literati Modern, p.136.) - The certificate box was inscribed by Tajika Chikuson (1864-1922), one of Chokunyu's key disciples. Around 1840, he studied Confucianism under Kotake Shinozaki in Osaka, deepened his friendships with Heihachiro Oshio and Tessai Tomioka through sencha, and began to be recognized as a painter. Furthermore, in 1862, he founded and hosted the Seiwan Tea Ceremony (a sencha tea ceremony), which achieved great fame. In 1868, he moved to Kyoto and participated in the establishment of the Kyoto Prefectural Painting School (opened in 1880), serving as its principal and making efforts to foster the next generation.Furthermore, in 1996, he established the Japan Nanga Association with Tessai and others, and established the Japan Nanga Association, which was established in modern Japan. He made a great contribution to painting and the southern painting...

One of the finest Japanese Maki-e Suzuribakos (ink box) we have on offer, the roiro color box showcases an ambient nocturnal scene in which two shakudo inlaid crows perched on the ha...

A very special Japanese Rinpa style small lacquer box for incense accessories, kobako, by Santo Kyosui (1816 to 1867), late Edo period (1603 to 1868), mid 19th century, Kyoto, Japan....

This gorgeous Japanese red lacquer traveling shrine (zushi) protects a miniature statue of Bishamonten, the Buddhist God of Warfare here depicted as an armor-clad warrior. A fearsome protector, he is thought to defend sacred places, punish evil-doers, expel demons and bestow wealth. In this example, Bishamonten stands atop a crouching demon, dressed in finely painted armor...

Description Very happy with this new arrival. Arita/Kakiemon plate unusual and very nice design! Fuku mark at the base. Condition Perfect condition. Size: 15x2.5CM DiameterxHeight...

Superb embroidered silk Fukusa, wedding gift wrapping silk cloth decorated with auspicious motive. Condition : Fine original condition with only minor abrasions and very ...

A Japanese lacquer coffer of long rectangular form with hinged semi- circular lid. The lacquer decoration depicting a landscape with deer and geese among blossoming trees and rocks i...

A rare and historically significant brocade silk robe from 19th-century Japan, originally created for use in Noh theatre, one of the country’s oldest and most revered performing arts...

A ceramic chaire (Tea caddies) of Ko-Tanba ware type from Edo period Japan circa 18th to early 19th century. This type of small jar was made of stoneware in old Seto kilns in Gifu pr...

This is an antique desk drawer. A Japanese, ebonised pine desktop folio, dating to the early Victorian period, circa 1850. Attractive desk tidy with appealing hand-finished charm Displays a desirable aged patina and in good order Ebonised pine frame presents dark tonality Accentuated to the top with a saffron yellow hatched border Hand-painted Japanese motif adds a flourish to the front and sides Useful drawer dressed with a small brass pull for ease of opening Light crimson interior with remnants of a decorative lining Later faux crocodile dressing to the top surface and base This is a charming antique desk...

This is a rough sketch of a Japanese painting drawn around the late Edo period to the early Meiji period (1800-1900) in Japan. A picture is drawn by sticking and connecting short pi...

Nice & Beautiful Arita Japanese Porcelain Kendi. Floral and figural scene. This 17th Century Japanese Export Porcelain Jug or Ewer, Arita Kilns c.1670-1690 is painted in lovely blue...

Early 19th Century Rimpa School Floral Screen Period: Early 19th Century Dimensions: 367x171 cm (144.5x67.3 inches) SKU: RJ118/2 This 6-panel gold-leafed screen is a splendid repre...

From our recent Japanese Acquisitions Imagine this wonderful antique stone sculpture in your garden- a warm and lovely example seated in a quiet, relaxing pose- she may be seen In ...

A rare Japanese lacquered wood fubako decorated in Kodaiji maki-e style circa early 17th century the beginning of the Edo period, possibly early toward the end of the Azuchi-Momoyama period. The rectangular, long and slim box features a deep lipped lid with slightly rounded corners, a conforming lower box with two bronze medallion rings with tasseled...

A rare and finely cast Japanese Buddhist ritual ghanta handbell, featuring a five-pronged vajra handle, dating to the early to mid Edo period. Used in esoteric Buddhist ceremonies, ...

Description A very nice blue and white dish plate Edo period. Condition In general very good condition. A firing flaw close to the rim and a hole for hanging. Size: 31x4.7CM Diamet...

Description Nice & Beautiful Arita Japanese Porcelain Garniture consisting of 3 vases, 1 with a lid. The painting quality and shape are of really high quality. There is a similar gar...

Antique 19th Century Japanese Woodblock Print By Utagawa Kunisada C.1858 Edo period 1858 (Ansei 5), 3rd month Original Woodblock print of Snow (Yuki) actor Nakamura Fukusuke I as H...

A Japanese four-case inro stringed together with a silk cord of a carved wood Ojime and a carved ivory netsuke circa 19th century of Edo period. This fine piece was made in collabora...

Inrō with four gold lacquer compartments, decorated with a lake landscape. Accompanied by a bronze ryusa manju. Small boxes formed of compartments that fit one on top of the other, i...

Grand Japanese Edo period six panel folding byobu screen depicting a large gathering of a Chinese official. The painting is set in a lovely garden terrace with a high-ranking Chinese...

Antique Japanese Woodblock – Utagawa Toyokuni l – 1816 (Honjo, Edo Period 1786-1865 Edo), Diptych, Actors Bandô Mitsugorô (R) and Ichikawa Danjûrô (L) Date: Japanese, Edo period Pro...

A delightful Japanese six panel painted paper screen featuring the beloved figure Hotei, Edo Period, early 19th century. Hotei, called Budai in China, and known as the Laughing Buddha or Fat Buddha in the West, is considered to be an emanation of Maitreya, the Buddha of the Future. In Japan, he also holds a special place as one of the Seven Lucky Gods, being the god of fortune, and protector of children. He is always portrayed as a mirthful and corpulent man, dressed in loose robes that show off his round belly. He carries a sack with him, said to be filled with treasure. As the protector of children, he is often portrayed with them playing on or around him, as he is here. The children portrayed in this screen are dressed in Chinese style clothing...

Product Description This is a work drawn by Matsutoshi Suzuki on New Year's Day, 1903, as you can see. The figure of the zodiac ``Snake'' and a jewel are depicted, and a poem of praise is attached to the top. 《Suzuki Shoutoshi》 Separate issue is a hundred times at first. A painter from Kyoto and a child of 100 years. He learned painting techniques from his father and was good at landscapes, flowers, and birds. He was a teacher at Kyoto Prefectural Painting School and Uemura Shoen...