Japonisme Furniture

A Japanese lacquered box with lid in the shape of a miniature Hasami-Bako (traveling chest) circa late 18 to early 19th century of the Edo period....

Attributed to Ferdinand Duvinage, the shaped square hinged handkerchief top rotating open to reveal a felt top, the frieze with two drawers, the who...

Pair of bronze vases adorned with inlays, decorated with two Onagadori roosters, known for their elegant length of tail. The roosters are represented perched on a plum branch. Signe...

A large antique bronze two handled decorated planter.

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 exceptional Russian cloisonné and enamel tea set is the work of Pavel Akimovich Ovchinnikov. One of Russia’s most skilled enamel artisans, Ovchin...

Bulbous vase in bronze with a shiny patina and three elegant white egrets in inlaid silver with golden beaks and feet. Period: Meiji, late 19th century. Dimensions: 11 x 8.5 cm. Con...

A charming and high quality pair of French 19th century Japonisme st. Cloisonné and Ormolu vases. Each stunning vase is raised by a square pierced Ormolu base supporting the sumptuou...

A Japonisme gilt-bronze and brass three-piece clock set French, Late 19th Century Clock: height 52cm, width 31cm, depth 12cm Candelabra: height 55cm, width 32cm, depth 9cm Made in F...

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...

Presenting the "Grands Oiseaux" plates, an exquisite piece from the renowned Escalier de Cristal, the definitive tableware store of the 19th century. This hand-painted plate delicat...

<< About this canvas >> This kimono canvas set of three pieces portrays mountains surrounded by the sea. While each of the three pieces is crafted from different kimonos, they all s...

This is a pair of antique carved stone panels. A Japanese, lacquered decorative scene with female figures, dating to the late Victorian period, circ...

This lounge chair was introduced by Isamu Kenmochi Design Laboratory in 1960. It was designed for installation at the Otone Country Club in Japan. It is a rare piece among Isamu Kenm...

This artwork uses antique fabric from Taisho era (early 1920ies) kimono and paulownia wood taken from antique kiritansu - chest-of-drawers used initially to keep kimonos. It is eleg...

This Japanese pitcher is notable for its naturalistic style. The bronze work is of very fine craftsmanship, featuring an attractive patina and delicate chiseling. A frog in the round...

This is a complete dessert service for 12 that includes the matching coffee or teapot, creamer and sugar made by Copeland Spode, exclusively for Tiffany and Co. The butterscotch col...

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...

2 drawers. Drop down top. A Japanese black lacquer box Together with a blue and white Arita plate, 20th century Lacquer box of rectangular form with b...

A Japanese formal Kimono made with a very fine black linen gauze augmented with applied modern circle pattern. The garment was hand-stitched and dated to circa 1930-50s. The black ga...

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...

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 darling garniture set of three exotic peacocks mounted as a clock and a pair of two light candlesticks. In crisply cast bronze, the intricate details of the birds' feathers, the fl...

Bernard Moore, signed to the base. A small red Flambe vase decorated with a dragon in the Japanese style.

Japanese Emperor Shōwa Mashiko-Ware White Glazed Porcelain Vase, Ca. 1980 Emperor Shōwa Period - from 1926 to 1989 Signed box DIMENSIONS Height: 10 inches Width: 5.5 inches ABO...

An amazing hand painted example of the influence of the Japonesque influence on English wares ca. 1890's. This is a complete set of 8 footed cups and saucers and 8 matching dessert p...

Signed Hand Painted Vase Lamp, in the Japanese Style A Lovely piece a 6 sided ginger jar vase, hand painted with the artist’s monogram The lamp is in good condition, working and ...

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...

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,...

This "Japonesque" dessert service incorporates many decorative elements of both period and style. The shaped rims of the white plates are highlighted with gold trim and gadroon edges...

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...

This large turquoise pot holder in glazed earthenware was made by the reknowned ceramist Théodore Deck at the end of the 19th century. Its beautiful bl...

A four-case lacquered inro by Koma Koryu circa 19th century late Edo period. The inro features a pair of Chinese mandarin duck resting under a bundle of blooming irises on the pond. ...

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...

A Japanese silk Fukusa panel circa late 19th-early 20th century of Meiji Period. The front was beautifully decorated with Yuzen-zome, a labor intensive resist-dye technique invested by an artist monk Miyazaki Yuzensai (1654 -1736) of Edo period. The auspicious composition features a group of red-crown cranes, the symbol of longevity. Three of them perch on the rock by the ocean (East Sea) an two of them are in flight. Additionally, two egrets frolic in the wave. Yuzen dying was used extensively to showcase the amazing details such as the waves and the gradual coloring effect. Embroidery was used sparsely to highlight areas such as the legs of the crane to render it more dimensional details. The piece has a red silk backing and still retains four blue tassels on corners as well as decorative stitches along the edges. Fukusa is a traditional Japanese textile...

This is an amazing set of 12 rimmed soup bowls marked "Spode's New-Stone" dating to 1840 but in like new condition. The "Japonesque" transfer decoration is embellished with hand pain...

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...

Large baluster vase with copper leaf on a ceramic core, decorated in repoussé with two dragons passing through the clouds, the perimeter of the bas...

A pair of small but exquisite Plique-a-jour cloisonné bowls with nearly identical design from Nagoya area in Japan circa 1900-20s. Maker's unknown but possibly by Ando company. The t...

THREE FIGURES HINA MATSURI Japanese, Meiji period (1868-1912) in painted plaster, eggshell, silk and other materials. Height: (largest) 50 cm good condit...

Rare Japanese style cylinder desk in tinted and carved wood, richly engraved on all sides with foliage, cherry branches and geometric interlacing. Surmounted by two asymmetrical shelves, the cylinder is decorated with an engraved dragon. Opening this cylinder reveals many compartments with adjustable dimensions, a drawer with engraved decoration and letter storage. The cylinder sides can open laterally, allowing a larger area for working and writing. The lower part of the desk is formed on the left by five superimposed drawers decorated with geometric interlacing and carved branches, as well as Japanese characters, deer and mother-of-pearl foliage. On the right, there is a drawer and a door decorated with carved leaves and mother-of-pearl interlacing, revealing four drawers forming compartments. An ingenious mechanism makes it possible, when the cylinder is closed with a key, to completely lock the desk. Gabriel Viardot career began as a wood carver and he produced small furniture, sculpturally carved with naturalistic motifs and animals. In the 1855 Exposition Universelle in Paris, his finely sculpted objects were well received. However, with the increasing importation of similarly produced Swiss and German articles, he found less opportunity for these and decided to innovate. G. Viardot succeeded to his father’s business in 1861 installed rue Rambuteau in Paris. Around 1870 he turned to the idea of producing « Meubles genre Chinois et Japonais ». The taste in Europe for exotic furniture, incorporating sometimes authentic Chinese or Japanese objects...

Japonesque mixed metal on sterling silver bowl. Made by Gorham in Providence in 1883. Curved sides with allover spot hammering and gilt-washed interior overhung with apple branch...

A Japanese lacquered wood sake ewer with maki-e design, circa late 19th century, Meiji period. The nicely decorated lacquerware is of a Classic sake ewer for...

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...

This work uses a vintage kimono fabric with marble pattern, that makes it look like a real piece of marble. The line in the middle symbolizes “kintsugi” - concept of wabi-sabi, which values imperfection, impermanence, and the beauty of aging. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation and meaning of pattern and colors >> Kintsugi (金継ぎ), which translates to "golden joinery" or "golden repair," is a traditional Japanese art form of repairing broken pottery with lacquer mixed with powdered gold, silver, or platinum. I used this tecnique here to "repair" antique kimono by transforming it into art work. Beyond its literal meaning of mending broken ceramics, kintsugi carries profound philosophical and cultural significance in Japanese tradition: ・Embracing Imperfection: Kintsugi celebrates imperfection and impermanence. Rather than disguising or concealing flaws, it highlights them, treating the breakage as part of the object's history. This philosophy encourages acceptance of imperfection as an essential aspect of life, beauty, and human experience. ・Wabi-Sabi Aesthetic: Kintsugi embodies the principles of wabi-sabi, an aesthetic worldview centered on the acceptance of transience and imperfection. Wabi-sabi values simplicity, authenticity, and the beauty of things that are imperfect, impermanent, and incomplete. Kintsugi exemplifies these principles by turning what might be considered flaws into features that enhance the object's beauty and character. ・Resilience and Transformation: The act of repairing broken things with precious metals symbolizes resilience and transformation. Instead of discarding or replacing the broken object, kintsugi honors its history and transforms it into something new and valuable. This reflects broader philosophical themes of overcoming adversity, finding beauty in imperfection, and embracing change. ・Honoring the Past: Kintsugi preserves and honors the history of the object. Rather than erasing or ignoring its past, it acknowledges and celebrates it. This aspect of kintsugi can be seen as a metaphor for honoring our own personal histories, including the challenges and setbacks we have faced, and recognizing how they have shaped us into who we are today. ・Spiritual and Philosophical Symbolism: Kintsugi has spiritual and philosophical implications, reflecting concepts such as the interconnectedness of all things, the cycle of life and death, and the pursuit of harmony and balance. The process of repairing broken objects with precious metals is seen as a metaphor for spiritual growth, enlightenment, and the journey towards wholeness. Overall, kintsugi represents not only a practical technique for repairing ceramics but also a profound philosophical and cultural perspective on life, beauty, and the human experience. It embodies values such as resilience, acceptance, and the transformative power of embracing imperfection. << Characteristics of the fabric >> This vintage textile is hand-painted with a traditional painting technique where the colors are added on wet surface, which creates an effect of marble. << About the frame >> Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

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...

Large cylindrical Satsuma vase, decorated with polychrome enamels and pure gold, depicting a scene of daily life with three geishas and a samurai on a festive day. Signed ‘Seizan zō...

A ceramic vase with iridescent glaze in the shape of an elephant foot cache pot by the legendary French ceramist Pierre Clement Massier (1845-1917). Massier is widely considered as t...

Bamboo side table in Japanese style with 2 trays. The trays, in 2 sizes, are decorated in Japanese lacquer, with flowers and births.

A fine quality large pair of Japanese Meiji period (1868-1912) Fukagawa porcelain vases. Each with wonderful bold Imari colours, the tapering bands of classical motifs from top to bo...

This rare Chinese-style antique fire screen was created in the second half of the 19th century. Thanks to the quality of the gilded bronze, its finely pierced decoration, and its sty...

Superb Japanese-style mantel / fireplace mirror in lacquered wood, carved with an imposing dragon and decorative motifs. Japonism, France, circa 1880. Attributed to Gabriel Viard...

Satsuma ceramic lantern vase signed Matsumoto Hozan, decorated in polychrome enamels and gold within three rectangular reserves. The first reserve shows a peacock; the second shows ...

A lovely Japanese bamboo ikebana basket in the shape of gourd with an open mouth and a body circa 1920s-1940s. The piece was woven in great details and styles with mostly irregular a...

A Japanese lacquer water ewer without handle (known as hazo in Japanese) that was used to carry water, traditionally together with a large basin (known as tsunodarai) for domestic us...

Japanese Emperor Shōwa Period Classic Oval-Shaped Vase, Ca. 1960 Emperor Shōwa Period - from 1926 to 1989/1990) Featuring bamboo handles. Signed on the bottom. DIMENSIONS Height:...

A Japanese Kesa (Monk's Vestment) made from fourteen columns of patchworks of blue brocades with sumptuous woven pattern. The elaborate motifs feature re...

Japanese Emperor Shōwa Period Tamba-Ware Textured Glazed Vase, Ca. 1970 Emperor Shōwa Period - from 1926 to 1989/1990 Signed. DIMENSIONS Width: 8 inches Height: 5.5 inches ABOUT ...

Japanese Art Deco Showa Period Hakata Ningyô of a Boy Holding a Fish, Ca. 1920 Signed on the bottom. DIMENSIONS 8” high x 7.5” wide ...

Boxwood netsuke depicting a seated monkey stopping a turtle with its right paw. Period: Edo 19th century Dimensions: 4 x 3.2 x 3.8 cm. Condition: Excellent condition.