Japonisme Furniture

Tiffany's clock case with enamel roman numbers and bronze snake dials. At the top, the clock is adorned with an Indian palace gallery and dome that has a crane finial over it and dra...

A wonderful Japanese Meiji period (1868-1912) Bronze overlay vase. Having exquisite and amusing scenes in relief, patinated and overlay of a Dog of Foo, a Frog fishing in a Lotus lea...

A very good quality Meiji period (1868-1912) Japanese patinated bronze vase, depicting two seated dogs below a Bamboo plant.

Pair of cloisonné bronze vases, Japan, circa 1900, accident on one, slight depression Measures: H 19cm, D 10cm.

Pair of large Japanese Porcelain Cone Shape Vases with Imari decoration Important mounts in ormolu and gilded metal, the base decorated with a laurel wreath, the upper part of falling leaves and a frieze of knotted ribbon. The mounts signed Gagneau, 115 R. Lafayette. Circa 1860 With their original aluminium bulb cover and original gilding Vase it self Height 47 cm The Gagneau Company is one of the most famous lighting factories in Paris in the nine-teenth century, established in 1800 at 25 rue d'Enghien in Paris and later at 115 rue de Lafayette. She has participated in many exhibitions throughout this century. She began in 1819 with the Exposition des Produits de l'Industrie and later participated in the Universal Exhibitions where she was part of the jury in the category of art bronzes (class 25) at the Universal Exhibition in Paris in 1889. "Imari" was simply the trans-shipment port for Arita wares, from where they went to the for-eign trading outposts at Nagasaki. 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, after kaolin was discovered in 1616. A popular legend attributes the discovery to an immigrant Korean potter, Yi Sam-Pyeong (1579–1655), although most historians consider this doubtful. After the discovery, some kilns began to produce revised Korean-style blue and white porcelains, known as Early Imari, or "Shoki-Imari". In the mid-17th century, there were also many Chinese refugees in northern Kyushu due to the turmoil in China, and it is said that one of them brought the overglaze enamel coloring technique to Arita. Thus Shoki-Imari developed into Ko-Kutani, Imari, and later Kakiemon, which are sometimes taken as a wider group of Imari wares. Ko-Kutani was produced around 1650 for both export and domestic market.Kutani Ware is characterized by vivid green, blue, purple, yellow and red colors in bold designs of landscapes and nature. Blue and white porcelain pieces 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 ac-cordingly valued very much among collectors. Ko-Kutani style evolved into Kakiemon-style Imari, which was produced for about 50 years around 1700. Kakiemon was characterized by crisp lines, and bright blue, red and green designs of dramatically stylized floral and bird scenes. Imari achieved its technical and aes-thetic peak in the Kakiemon style, and it dominated the European market. Blue and white Kakiemon is called Ai-Kakiemon. The Kakiemon style transformed into Kinrande in the 18th century, using underglaze blue and overglaze red and gold enamels, and later additional colors. Imari began to be exported to Europe when the Chinese kilns at Jingdezhen were damaged in the political chaos and the new Qing dynasty government halted trade in 1656–1684. Ex-ports to Europe were made through the Dutch East India Company, and in Europe the des-ignation "Imari porcelain" connotes Arita wares of mostly Kinrande Imari. Export of Imari to Europe stopped in mid-18th century when China resumed export to Europe, since Imari was not able to compete against Chinese products due to high labor costs. By that time, however, both Imari and Kakiemon styles were already so popular among Eu-ropeans that the Chinese export porcelain copied both, a type known as Chinese Imari. At the same time, European kilns, such as Meissen and English potteries such as Johnson Bros. and (Royal) Crown Derby, also imitated the Imari and Kakiemon styles. Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe.Thus, in the western world today, two kinds of true Japanese Imari can...

Bronze with brown patina of a young Japanese girl in a kimono, carrying an umbrella wooden base Patina wear 19th century H39cm 20x18cm.

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...

A fine pair of French 19th century Japonisme Louis XV style Gilt-Bronze and Marble Figural Chenets (Andirons) by BOUHON FRES, each depicting a flaming dragon atop an "L" shaped base surmounted with an allegorical gilt-bronze and marble urns with floral garlands and paw-feet, the base with a draped ormolu design and raised on tapered feet. Stamped: "B&H". Circa: Paris, 1890-1900. The bronziers Bouhon et Cie. Bouhon Frers. specialized in bronze-decorated fire-places and fire-fittings. These large and fine chenets are supreme examples of their output. The firm participated in the 1878 and 1900 Paris Expositions Universelles. Japonisme[a] is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858. Japonisme was first described by French art critic and collector Philippe Burty in 1872.[3] While the effects of the trend were likely most pronounced in the visual arts, they extended to architecture, landscaping and gardening, and clothing.[4] Even the performing arts were affected; Gilbert & Sullivan's The Mikado is perhaps the best example. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.These prints were created for the commercial market in Japan. Although a percentage of prints were brought to the West through Dutch trade merchants, it was not until the 1860s that ukiyo-e prints gained popularity in Europe. Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions. Japanese decorative arts, including ceramics, enamels, metalwork, and lacquerware, were as influential in the West as the graphic arts. During the Meiji era (1868–1912), Japanese pottery was exported around the world. From a long history of making weapons for samurai, Japanese metalworkers had achieved an expressive range of colours by combining and finishing metal alloys. Japanese cloissoné...

Japonesque bronze cache pot by Berndorf, Austria, circa 1890. Nouveau with a Japanese decorative motif. Stamped Bergdorf over an E Decorated with thr...

Yasumi Nakajima II (1906-1988) Ikebana vase, circa 1960, Japan. Trumpet form, Tomoe model, with nice patinated brown-red (seido) bronze. Signed underneath. Dimensions: 26 cm H, 9 ...

Our mantel clock and candelabra with silvered, gilt and cloisonne enamel surfaces in the French Japonisme style dates from the 1870s and is in good condition. Attributed to the influ...

Incredible pair of Japanese hand cast gilt bronze Mandarin Duck screen holders with detailed plumage, Taisho period 1920. Each of these two sculptures is...

Escalier de Cristal 1808-1829 The beginnings: crystal and gilded bronze Marie Jeanne Rosalie Désarnaud (1775 -1842) opened her shop around 1808 in th...

A 19th French century pair of Lacquered Bamboos Japonisme vases. An amazing pair of tall cylindrical bamboo vases decorated in Japanese Gold and Sil-ver Hiramaki-E Lacquer with Pavilions in The Mist and Weaving Figures, Flown Over by a Pair of Cranes. Enclosed in a Sino-Japanese Inspiration Golden and Brown Patina Bronze Mount Featuring Elephant Heads, Partially Openwork Branches and Salamanders Forming Side Handles. Circa 1870 Attributed to Édouard Lièvre (1828-1886) and Ferdinand Barbedienne (1810-1892) Édouard Lièvre (1828-1886) is one of the most talented and prolific designer and industrialist of the 19th Century, his repertoire is sometimes Sino-Japanese or Neo-Renaissance, whether in furniture or works of art, we can note in particular the parade bed of Valtesse de La Bigne, furniture commissioned by the painter Édouard Detaille or even Sarah Bernhardt, and the famous works in collaboration with Maison Christofle or those in gilded bronze and cloisonné enamel edited by Ferdinand Barbedienne, presented at the Universal Exhibitions in 1878, 1889 and 1900. He was both a draftsman, painter, illustrator, engraver, ornamentalist and cabinetmaker, first trained in the studio of the painter Thomas Couture, Lièvre was then fully immersed in the world of decoration, creation and ornamentation and provides designs for manufacturers and merchant-publishers. Often assisted by his brother Justin, he first produced works of art for his own apartment, seeking out the finest craftsmen to execute his designs for bronzes, ceramics, fabrics and luxury furniture from great virtuosity and great taste. He then collaborated with the cabinet-maker Paul Sormani, as well as haberdasher merchants such as the Escalier de Cristal, bronziers such as Maison Marnyhac and especially Ferdinand Barbedienne as on our vases with bronze mounts characteristics of Edouard Lièvre's work. Born in 1810, died in Paris in 1892, Ferdinand Barbedienne, the most important caster of bronze pieces of art during the second half of the 19th Century, created and directed in Par-is one of the major artistic foundries of his time. Barbedienne specialized in classical reproductions, whose models were exposed in famous European museums. Their illustrated catalogues included many diverse objects such as busts, ornemental sculpture (clocks, candelabras, cups) sometimes even life-sized and bronzes for furniture. Apart from his own produc-tion, Barbedienne worked for the most renowned sculptors such as Barrias, Clésinger and Carrier-Belleuse. All his works were highly esteemed and he, himself honored by contemporary critics. At the London exhibition in 1851 Barbedienne’s firm won two « Council medals ». At the 1855 Universal Exhibition, he won a medal of honor. The success of Barbedienne’s firm brought him many official commissions, such in about 1860, as Barbedienne supplied bronzes for furniture for the Pompeian Villa of Prince Napoléon-Joseph, located avenue Montaigne in Paris. At the London Universal Exhibition of 1862 Barbedienne won medals in three different categories: Furniture, Silversmith work and Artistic bronzes. Barbedienne was made an officer of the Légion d’Honneur in 1867 and Commander in 1878 when he was compared with « a prince of industry and the king of bronze casting ». His glory did not decline with the passage of the time for at the Universal Exhibition of 1889 the critics thanked Barbedienne for the example he set for other bronze-casters by the perfection of his bronzes. “Japonisme” in the second half of the 19th century, was a craze for everything that came from Japan or imitated its style. The word was first coined in a series of articles published by Philippe Burty, from May 1872 to February 1873, in the French magazine “la Renaissance Littéraire et Artistique”. Far from the Academic sphere, artists seeking for new ways of expression, appropriated this discovery. Manet and the impressionists led the way to half a century of enthusiasm for Japanese art, and largely contributed to the esthetical revolution Europe experienced between 1860 and the beginning of the twentieth century. From 1862, The World’s Fairs provoked massive arrivals of fans, kimonos, lacquers, bronzes, silks, prints and books that launched the real era of Japonisme. With those exhibitions, the demand was boosted, the number of merchants and collectors was multiplied, and artists became passionate about this new esthetic. For them, its “primitivism” was probably its most important quality: artists were fond of the Japanese art’s capacity to be close to nature and to reconcile art and society by representing, with a lot of care, the most trivial objects. In painting, Edouard Manet, Mary Cassatt, Degas, Van Gogh, Gauguin were among those who were deeply inspired by Japanese art, affected by the lack of perspective and shadow, the flat areas of strong color, the compositional freedom in placing the subject off-center, with mostly low diagonal axes to the background. The Japanese iris, peonies, bamboos, kimonos, calligraphy, fish, butterflies and other insects, the blackbirds, cranes and wading birds, the cats, tigers, and dragons were endless sources of inspiration, appropriation, and reinterpretation for European artists. The occidental productions were combining styles and artistic conceptions instead of copying Japanese art slavishly. That is what brings to light the comparison between the artworks of Kitagawa Utamaro and Degas, of Katsushika Hokusai and Van Gogh The World’s Fairs of 1851 and 1862 in London, those of 1867, 1878, 1889 and 1900 in Paris, of 1873 in Vienna and of 1904 in Saint Louis presented a number of “Japanese-Chinese” installations with earthenware, bronzes, screens and paintings and attracted the largest amounts of visitors In Vienna, the “Japanese village...

Presenting a beautiful large vintage Japanese bronzed sculpture of Toba on his Mule. Some might say ‘Monumental’ .. being 34 inches tall ...

19th century the Lobster Japanese bronze Lobster Meiji Period.

The attenuated silhouette of this late 19th century bronze table lamp turns heads. It is an antique Asian archaic style bronze. The intricate carving and the oxidized bronze color sp...

An Art Nouveau Japonisme bronze Heron floor lamp French, Early 20th century Measures: 176cm high x 65cm wide x 70cm depth Combining Art Nouveau w...

Unique piece . this Bronze chandelier pierced dome ,comes with the original ceiling piece .and 4 hooks in different sizes . The Iron chain is new also the wiring , I think there us...

'Pendule Fleur d'Hélianthe' - A Rare 'Japonisme' Cut-Crystal Glass, Gilt and Patinated Bronze Clock by Baccarat, Paris. Stamped 'Baccarat', The clock movement signed 'Planchon à P...

Height with lampshade : 133 cm (52,3 in.) / without lampshade : 125 cm (49,2 in.) ; Lampshade - Height 74 cm (29,1 in.) ; Diameter : 86 cm (33,8 in.) Important Japanese style gourd-shaped lamp, made with a polychrome Kutani porcelain vase decorated with lake scene and flowers in cartouches, in the middle of flying waders on a red background. It is covered with its original beige pleated silk lampshade, embroided with flowers and waders. It rests on an « old gold » patinated bronze base with stylized openwork decoration, topped with a Fô dog on each foot. Related work : Japanese enamel porcelain...

Fine Bronze from Japan with great weight and strength. Large form for Bonsai presentation. Elegant style and beautiful patina. Incised decoration on the front and bronze elephant hea...

Signed F. Barbedienne on the mount. Charming pair of small curved-shaped vases in patinated and gilded bronze and polychrome cloisonné enamel decorated with flowers and birds. With ...

A magnificent Japanese Meiji period (1868-1912) patinated bronze overlay Koro on stand. The body of bellied rectangular section, the sides molded in low relief with various figural s...

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 wonderful Japanese Meiji period (1868-1912) Bronze overlay vase. Having exquisite and amusing scenes in relief, patinated and overlay of a Dog of Foo, a Frog fishing in a Lotus lea...

Handcrafted and rare, Asian style, opaline glass lantern pendant. With early 20th century lighting as one of our specialities we were very happy to have been given the opportunity...

A very fine antique 19th century French gilt bronze and hand painted porcelain 3-piece clock set in the Japonisme style. The clock finely decorated with porcelain plaques, painted in the Japanese style with Cherry blossom branches. The front plaque features a Sulphur-crested cockatoo with a red sun in the sky on the right. The clock’s rectangular body is crowned by an arched top which contains a circular porcelain dial. This dial features a painting of a pair of birds on a cherry branch at its center, encircled by black Roman Numerals within white cartouches. The shoulders of the clock are mounted with gilt bronze elephant...

Signed ThD on porcelain and Gagneau on the bronze mounts. A very fine pair of « blue Deck » earthenware lamps, ornated with a Persan decor. Mounted within pierced gilt-bronze bases....

A very stylish pair of Japanese Meiji period (1868-1912) patinated bronze overlay vases, having wonderful exotic flowers with gilded high lights.

A very large and impressive good quality Japanese Meiji period (1868-1912) patinated bronze Koro. Having wonderful mythical dragon handles, a Peacock finial, an Eagle in a tree top and a Sea God under the waves...

Collection of ten Japanese bronze vases, Japan, 20th century. They all exhibit sculptural forms and have a wide range of patinas from deep browns to warty verdigris greens. The large...

A French Japonisme Chinoiserie Ormolu, patinated bronze, and cloisonne enamel mantel clock, Attributed to Escalier De Cristal and Edouard...

A Gorgeous and extremely rare French Japonisme ormolu-mounted turtle footed Baccarat crystal vase designed with a gilt turtle design, Baccarat stamp on bottom. The quality and craftsmanship of this piece is second to none. Baccarat crystal is known to be the best crystal in the world and this piece appropriately demonstrates that. The crystal vase is seated on four beautifully cast and hand-chiseled ormolu turtles, representing the Japanese artistic movement in France at the time, known as 'Japonisme'. The body of the vase is a gorgeously hand painted with raised gold and enamel decoration of a turtle and various other decorations, making it seem as though the turtle is swimming in a lake. Underneath the turtle are painted rocks and mosses, while above the turtle are cherry trees, dropping their fruit into the water. On the reverse of the main panel are two turtles swimming...

Satsuma ware planter in octagonal jar shape. Decor of polychrome enamels on a white background and gilt highlights figuring two palace scenes in cartouche...

Antique 19th century Japanese Totai Shippo tree bark Cloissoné vase mounted as lamp on gilt bronze base. Meiji period. Rare type of cloisonné tha...

Jardinière Médicis vase shape in copper with gold lacquered decoration on a burgundy background of a Japanese landscape with a volcano and an eagle ...

Collection of eleven Japanese bronze vases, Japan, 20th century. They all exhibit sculptural forms and have a wide range of patinas from deep browns and golds to warty verdigris gree...

Signed H.P for Henri Pannier. Lovely hexagonal shaped planter in patinated bronze with gold highlights. Adorned on three sides with a dragon framed by a rhombus frieze on an openwor...

Baluster shaped lamp with Imari decor in porcelain and gilt bronze. Body adorned with red flower motifs on a white and blue background. Chiseled and gilt bronze mount. Quadripod hexa...

Pair of gilt bronze and enamel sconces in the Japonisme style French, late 19th century Measures: Height 48cm, width 38cm, depth 22cm The sconces, or wall lights, in this pair a...

19th century French Satsuma urn table Lamp features hand-painted artistry protected by a proprietary glaze that made such artifacts all the rage in 18th & ...

Antique French Japonisme mantel clock with floral Champlevé enamel French, late 19th century Dimensions: Height 51cm, width 27.5cm, depth 22cm Beautifully wrought from patinated bronze and champlevé enamel, this mantel clock is designed in the Japonisme style. The style was popular in 19th Century Europe following the opening of Japan to trade and cultural exchange. The clock stands on four cabriole feet, with a pierced Japanese style apron to the bottom. The central case is stepped, with the main section of rectangular profile, and mounted with pierced patinated bronze vines...

A good quality pair of Japanese bronze and enamel pagoda shaped garden lanterns. Each with a patinated bright bronze finish and multicolored classical enamel decoration, circa 1900.

A very impressive and striking pair of 19th century Japanese (Meiji period 1868-1912) patinated and embossed bronze vases / lamps. Each with inset panels of exotic birds and plants, ...

A wonderfully impressive late 19th century Meiji period (1868-1912) Japanese patinated bronze study of a reclining geisha girl. Signed to the reverse.

Pair of fine quality Japanese Meiji period (1868-1912) patinated bronze Miyao style gold and silver overlay two handled vases, each with twin handles, classical motif decoration with...

A fine quality pair of 19th century French patinated bronze vases / lamps in the Japanese style. Each with two handles on either side, embossed flower and bat decoration, supported b...

Pair of Asian Japanese style (19th Cent) large bronze figures of man and woman with guitars on shaped teak wood base.

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

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

Elegant pair of square section vases attributed to Baccarat, in enameled crystal with polychrome decoration of birds of paradise, resting on an openwork patinated and gilded bronze b...

Baluster-shaped lamp in Samson porcelain and gilt bronze. Shaft in porcelain adorned with two large cartouches in which are represented several Japanese style characters. Red backgro...

Large planter decorated on the belly with a rotating decoration of polychrome flowers and geometric patterns in cloisonné enamel on a red background. It is inserted in an important p...

A very amusing 19th century (Meiji period 1868-1912) Japanese bronze statue of an ox with a young boy sitting on its back. Signed.

A pair of elegant vases of solid oiled bronze from the Meiji era, Japan (1868-1912). In a Classic Meiping shape, the pair has a mirrored inlay with gold, silver and red enamel that d...

Rich landscape in cloisonné enamel on blue and brown background imitating Aventurine stone, attributed to L.C. Sevin and F. Barbedienne. The decor represents a river surrounded by wi...

A fine quality pair of Japanese Meiji period (1868-1912) green and red patinated bronze vases, each having pierced decoration, having wonderful raised carp swimming around the center...