Japonisme Furniture

Japanese Large Hand-Carved Boxwood Okimono – “Mino-Kame” Turtle, Ca. 1900 DIMENSIONS: Height: 4 inches Length: 19 inches Wide : 5 inches ABOUT An exceptional example of Meiji-era c...

Japanese Showa Period Karasu Tengu Mask, ca. 1920 DIMENSIONS: Height: 12 inches Width: 8 inches Depth: 7 inches ABOUT A Japanese...

On offer is the last one of the set of seven framed Japanese textile art called Oshi-E circa Meiji Period (1868-1912). This rare set consists ...

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 very rare lime green moriage dragonware plate. Created of porcelain, this piece is created with a raised enamel design of a dragon in pearly white...

A vintage Japanese formal silk Kimono in an "ink green" color with striking geometrical design. The garment is hand-stitched Meisen kimono from a crepe l...

Japanese porcelain vase delicately hand painted on an craquelure oatmeal colored ground. The brightly colored design is of prunus blossoms, chrysanthemums and several roosters all ou...

An amazing pair of matching antique Japanese folding screen predating 1812-1813, most likely from Kano School. Six panels each depict C...

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 smart looking pair of cast iron parcel gilt and verdi gris finish Samurai armor clad horse bookends. Both examples retain the oval Toyo, Japan label. Circa 1970-80. Good overall ...

A lacquered wood box with lid from Japan circa 19th century Meiji Period. The finely decorated box was used to store paper slips and small documents on the desk. It is overall finished with black lacquer (kuro) with sparse Mura-Nashiji effect outside and on the top surface of the lid, there are three Komainu, (sometimes known as Shishi or Japanese lions) frolicking and forming a circle in lively motion. Komainu are auspicious animals in Japanese cultures in both Shinto and Buddhism tradition. Originally from China, these animals symbolizes guardians to ward off evil spirits. Hiramaki-e was used in combination with carving and combing to render the lions with various surface textures. A gilt border with an slight angle was given to the lid and even the thin band is decorated with miniature floral scrolls. The interior of the box was finished in a dense nashiji. Underneath the lid, a cluster of peonies open lavishly by two gentle mounts. Takamaki-e (high relief) in both gold and silver were...

A bespoken Japanese historical hat known as Jinggasa (militant hat) that was worn by samurai in Edo period (1603-1868) circa 18-19th century. There were several subtypes of Jingasa a...

A Highly Important Pair of French Japonisme Ormolu, Patinated Bronze & Cloisonné Vases, by Christofle & Cie. Christofle & Cie is a renowned French silver and metalwork manufacturer f...

Vintage woven Morikago basket features shallow open basket shape with wide rim. The wider bamboo strips that form the complex pattern on the bottom of the basket and divide into 4 th...

A 19th century French Japonisme style corner cabinet with sturdy burnt bamboo frame and solid rosewood panels. Above the cabinet is an open shelf supp...

This is a good example of a traditional Japanese Hokai shell storage box for the Kai-awase game. This box is well-detailed in chased brass appliques and makie. The box is in overall ...

Japanese Meiji Period Two-Panel Embroidery Screen with Rooster and Chicken, Ca. 1890s Meiji Period (1868-1912) – Ca. 1890/1910 Signed DIMENSIONS Width: 60 inches Heigh...

Petite 12 x 12 diameter so it can work in alotvot places. Indoor or outdoor as a candleholder or a incense burner or just decorative. Hand cut and originally polished by hand this be...

Chic pair of mid century tables or stands designed by John Wisner for Ficks Reed in a Japanese form with tiles on top over bamboo bases with reed wrapped joints.

Very unique antique (late 19th to early 20th century) table or mantel clock in the Japonisme style, possibly of continental origin, in the form of a Japanese drum or barrel on stand,...

Watanabe Seitei, also known as Watanabe Shotei (1851–1918), was born in late Edo period. He was one of the earliest Japanese artists who visited and be...

An important Japanese bamboo Ikebana basket by Yamamoto Chikuryosai I (also known as Chikuryusai I, Shoen after 1929) (1868-1945). Active in Osaka, Kansai region, he was advised by Wada Waichisai I. After 1929, he signed his work as Shoen (Shoen made this), such as this one. This basket was made using "sooted" bamboo (susutake in Japanese). This bamboo materials was collected from traditional thatched-roof houses that had been exposed to decades of smoke from a hearth or cooking fire, therefore the basket displays a deep rich patina that is hard to attain by color-lacquering. The basket featured a large rounded barrel form with handle. The body was constructed with a twill plaiting variation of a more relaxed and loose weave. It allows the light coming through to render the piece a lighter sense. Parallel plaiting was used to reinforce the body with stripes of bamboo, while adding more visual constrict to a free spirited background. Twisted bamboo strips form rope-like handle and the top rim. It is signed "Shoen Made This" on the base. Two-piece water container made from bamboo trunk is retained with the piece as shown. For the artists other and similar work, see baskets masterpieces of Japanese Bamboo Art...

19th century Japanese Satsuma Vase ~ Jardiniere with Bronze Mounts is an amazing work of art with scenes hand-painted around the en...

A set of 2 rosewood chairs. Each chair has a delicate hummingbird and cherry blossom carving. Dimensions: Height – 37.5 inches from floor to the highest point and 36.5 inches from...

A 19th-Century French Japonisme Three-Piece Figural Garniture Clock Set Attributed to Eugène Cornu, in the Style of Édouard Lièvre. Consisting of a mantel clock and a pair of matchin...

Japanese Late Meiji Period Satsuma Three-Footed Vase, Ca. 1900 Late Meiji Period (1868-1912) DIMENSIONS: Height: 10.25 inches Di...

A beautiful French polychrome patinated dore bronze and silvered bronze with Algerian onyx mounted centerpiece, attributed to Eugene Cornu. This beautifu...

On offer is a set of five Japanese textile art panels called Oshi-E circa Meiji Period (1868-1912). This usual set of panels depict various aspects of daily life in Edo time with beautiful details. Some of these panels are snapshots of the buzzling commercial activities at the marketplace, providing insight into the signages, architecture, costumes and how people interacted within a historical and pictorial context. Other panels depict daily leisure activities such as lounging in the park or visiting friends. The realistic rendering and attention to details are not short of "photographic" quality. From the signage of the shops to the motions and attires of the individual characters, from the hairstyle, small ornaments, down to the facial expression, were all recorded in great details. Each panel was signed with the artist's name Yukihana in Kanji with a red seal. These panels are unframed and await your custom touch (framing with inner gilt spacer and mat costs about 250-500 depending on the material chosen, see a framed example in the last picture of a single framed panel we have for sale). We offer them for sale individually, but it will be great for a collector to consider the whole set so that they can stay together. The Oshi-E (also known as kiritori zaiku) is a type of ornamental textile art dated back to the Muromachi period (1392-1573). It started among the elite aristocratic women in Kyoto before spreading wider in the Japanese society. Throughout Edo and Meiji period, Oshi-E were sometimes used to make offerings to the altars in the temple and in the late 19th century, it was exported to the west along with the other embroidery textile art. Oshi-E was made by using silk wadding to create a relief design. Various silk fabric swaps and sometimes wires and tassels, often recycled from older kimonos...

Japanese Art Deco 4-Panel Screen with Riders Taming Horses, Ca. 1920 DIMENSIONS Width: 97 inches Height: 48 inches

Pair of Arthur & Bond sterling silver vases, made in Yokohama, Japan, from the late 19th century, showcasing exquisite, applied bamboo and natural motifs, standing on a 4-legged base...

A beautiful Japanese textile art panel with an embroidered dragon on a swirling cloud background, nicely framed with a linen matt in an antique-fi...

Sculptural Pair of Japanese Altar Candle Stickes converted to lamps, probably late 19th - early 20th century. Recently rewired with cloth cords. The shades are not included, but meas...

Collection of Eight Japanese Bronze Vases, Japan, at least circa 1950s, some much earlier. The largest vase measures 12.75"H x 4.25"W. The smallest vase measures 5.25"H x 3"W. They r...

Collection of Nine Japanese Bronze Vases, Japan, at least circa 1950s, some much earlier. The largest vase measures 11"H x 3.5"W. The smallest vase measures 5.25"H x 3"W. They retain...

A Pair of 19th Century French Ormolu Mounted Chinoiserie/Japanism Baccarat Hand-Diamond Cut Engraved and Copper-Wheel Cut Crystal Vases, Later Turned to Lamps, Never Drilled, Electri...

French Japanism Champlevé Enamel Ormolu Mounted Clock, Christofle & Cie. The clock consists of a spherical champlevé enamel body mounted in an ormolu structure. The enamel surface i...

A four-case lacquered Japanese inro by Yutokusai (Gyokkei), a lacquer artist active from 1845-1900 (end of Edo to Meiji period). The slightly round inro features a very intricate design with three unfolded fans on the front and two on the back: each reveals a vignette landscape scenery, likely real places in Japan. Using a combination of hiramaki-e and slight takamaki-e, the artist deftly created the pictures with fine details, rendering the inro as a miniature artwork...

Made from antique Japanese silk obis, this lumbar pillow is both elegant and sophisticated. It is fabricated from complimentary Asian brocade textiles in shades of grey and taupe. A ...

K. Uyeda shop (Uyeda Shoten, 植田商店) was founded in 1884 by Uyeda Kichigoro (植田吉五郎) and is one of the oldest established Japanese silversmiths that is still in business today. At first...

Japanese Two-Panel Screen with Chrysanthemums & Morning Glory Flowers, Ca. 1900 PERIOD Meiji/Taisho Period – ca. 1900/1920 DIMENSIONS Width: 54 inches Height: 53.5 inches

Bamboo and rosewood (19th Century) lacquered panel etagere with 3 doors with floral and figural decoration.

Japanese Meiji Period Gosho Ningyô of Jimmu, the First Emperor of Japan, Ca. 1900 DIMENSIONS: Height: 8.5 inches Widt...

French Japonisme two tiers pedestal designed by Gabriel Viardot (1830-1906). This is a gorgeous antique two-tiers pedestal created in Paris France by Gabriel-Frédéric Viardot, betwe...

An impressive 1879 decorative sterling silver tureen by the outstanding American maker Tiffany & Co. Designed beautifully in a blunt hand hammered and waved handles, standing on base...

Rare Chrysanthemum sterling silver soup tureen. Made by Tiffany & Co. in New York. Lobed and oval bowl with scalloped and turned down scalloped rim. Bracket end handles and four spla...

A set of four white and gold ceramic Foo Dog table bases. Made in Spain by Bondia in the Hollywood Regency style. Ornate ceramic sculptures with detailed faces, mouths, bodies, and p...

A Japanese four-case lacquer inro by a member of Kajikawa family circa 19th century (late Edo to early Meiji period). It depicts a nocturnal scenery of a meandering stream surrounded by bush clovers, where a full moon is reflected on the water. It was masterfully decorated in gold and silver maki-e using a combination of techniques including takamakie, togidashi and kirigane as well as aogai (abalone shell) inlays. The stream was set between the slightly elevated banks, adding to this piece a already strong three-dimensional composition. The interior was decorated in gold nashiji. It was signed on the bottom "Kajikawa Zou" (made by Kajikawa and a pot seal centered with "Ei" in Kanji. In one of the compartment, there is a katakana mark, appears to be a name, possibly the owner. Kajikawa clan was one of the most famous lacquer artisanal family established in the 17th century. Many well known members over the generations produced lacquer art in a wide range of formats, but two third were signed only with the family name such as this one. It is therefore not possible to pinpoint the exact author of this piece. Provenance: This inro was purchased as lot 349 in Christie's New York sale Japanese...

A rare Japanese Koto made from carved Paulownia wood and lavishly decorated with lacquer Maki-e circa late 19th century of Meiji Period (1868-1912). The ...

A Japanese Lacquer writing box Suzuribako Meiji Period (1868-1912), likely circa late 19th century. This suzuribako is one of the most unusual boxe...

Known as Jinabori during 16th century when warfare was common in feudal Japan, the sleeveless jacket was created to be worn outside of the armor by samurai warriors. In addition to s...

Japanese Contemporary Grand Pottery Sculpture, Ca. 1980 ABOUT This absolutely unique late 20th Century pottery sculpture with bamboo-styled formed handles features a wonderful artis...

Pair of 19th century Japanese Imari Porcelain vases with slender necks depicting floral and bird motifs in shade of red and cobalt.

A set of three paintings of ink and watercolor on silk mounted within brocade borders as scrolls by Watanabe Seitei (1851-1918). This is a very rare an...

A beautifully decorated cloisonné vase with silver rims by Ando Jubei (1876-1956), the celebrated Japanese Shippo studio. The piece is dated to late Meiji to early Showa period circa...

19th-Century Japanese Satsuma Vases Mounted as Lamps, Gilt Bronze Mounts, Pair Offered for sale is a rare and fine pair of 19th century Japanese Satsuma vases mounted as lamps. The...

This stoneware vase of a jar form was finely decorated with low relief carving and delicate colored glazes depicting bundles of peony flowers. It was made by Ito Tozan I (1846-1920) circa 1890-1900s in the late Meiji Period. The color pallet was both bold and subtle, with dark green and rusty leaves with golden outlines and white and light yellow peony petals covering much of the surface. Impressed with potter's mark on the base. Examples of two pieces by Ito Tozan I were in the collection of MNAAG (Guimet) Paris. Inventory no. MG 13790 an 13792. A vase with similar shape and decoration techniques is featured as Lot 1340 Fine Japanese Art, 13 Sep 2017 Bonhams New York Tozan Ito I established his ceramic business in Kyoto 1867. His studio made both porcelain and stoneware in a style some considered Satsuma while they retained a sophistication of Kyoto ware...

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...

This small elegant woven bamboo basket was meant to be a hand-hold bag with its brocade interior (which appears original). It was made by Suzuki Gengensai (1891-1950) circa 1910-20s. Suzuki Gengensai was from Kansai region and active in Osaka. He studied bamboo art under Yamashita Kochikusai (1876-1947) and became an independent artist in 1913. He received his artist name Gengensai in 1914 and in 1923 he changed the characters to Gen, a slight written variation of the character. This basket was signed in the former way, which helps to date the piece to the early part of the artist's career circa 1914-1923. The basket is tightly woven in variation of twill plating that creates contrasting bands on the surface. The base was constructed with short bamboo stripes on the corners and side with ornamental knots. A closely related piece (Object Number: 2006.3.651) with slight different surface twill patterns is in the collection of Asian Art Museum San Francisco. Comparing the two, they show almost identical form as well as the base construction. Both also have brocade interior and most likely were woven during the same period. Another documented example can be found on page 180 in "Baskets Masterpieces of Japanese Bamboo Art...

A pair of Japanese lacquer lidded Hokai boxes with chased brass hardware and original ropes. Hokai boxes are traditionally used in Japan to store and carry s...

Nicknamed Great White Fleet, the sailing of the United States Navy battleships around the globe from December 16, 1907 to February 22, 1909 by order of Uni...