Japonisme Furniture

This series of ceramics are unique work by Norihiko Terayama. He broke ceramic at first, and make it into a lot of fragment. He rasp some of fragmen...

A Royal Worcester porcelain “variety” vase, made in 1876 in the japonisme style. The forced opening of Japan to trade in 1854 led to a craze for E...

<< About this artwork >> This artwork has been upcycled from a stunning obi, which is adorned with calligraphy weaving saying "moon" and "moonlight". << Period / Story >> The obi...

A Japanese Woodblock print by Paul Jacoulet (French, 1896-1960) entitled "Les Perles Mandchoukuo" (The Pearls, Manchuria). Published in 1950, this fine print is considered the most technically complex piece among all Jacoulet's work. Over 300 individual impressions of nearly 60 double-sided carved woodblocks were used to create this image. It depicts a Chinese lady in full traditional Qing Dynasty clothing...

A heavy and finely cast Japanese bronze mirror decorated with pines , cranes wich are longevity symbols, The handle in the center is a a tutle which also symbolize longevity. Edo Period, 18th century, Japan. The small, round mirror with high walls has been intricately and exquisitely cast with symbols . The turtle has a domed shell pieced to allow a cord to be strung through for handling or hanging. A five charactesr mark is cast on the border. Mirror is 12 ,3 x 1,6 cm Box is 14,2 x 5 cm Surrounding the turtle and inscription is a densely cast landscape featuring pine trees with fantastic needles, two cranes with their 3 youngs, dense stalks of leafy bamboo. and a blooming prunus on the left side. All are symbols of longevity. Bamboo also symbolizes resilience and prosperity. Bamboo asociated with prunus and pine are called the 3 frinds of winter. The other side of the mirror is undecorated, and would originally have been highly polished, allowing the user to see their reflection in the polished surface. The bronze with a wonderful, warm silver patina. This mirror is presented in its original lacquer box , hand decorated in the Kodaiji style with gold lacquer flowers...

The frame for this work is made of paulownia wood taken from antique Kiritansu - chest-of-drawers for kimono. I use antique kiritansu that can’t be used as furniture anymore to crea...

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...

from the Vista Alegre Porcelain Factory (founded 1824) each rectilinear vase with flared neck above a tapering body ending in a splayed foot; hand decorated overall with vibrant flor...

This work is inspired by traditional Japanese nature motifs symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. In this artwork, the aim was to capture the the auspicious symbol of camellia used in antique kimono. Traditional Japanese culture, represented by the kimono, and wood, an integral element of Japanese craftsmanship, were used to bring this vision to life. 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 >> This delicate piece features hand-drawn camellia motifs flowing gracefully on a softly brightened grayish background. Camellias, native to Japan, bloom from winter to early spring. As an evergreen tree with green leaves throughout the year, it symbolizes the anticipation of spring and is considered an auspicious plant. Due to its seasonal significance and auspicious meanings, camellias have been used as motifs symbolizing good fortune. Additionally, they were highly valued for their use in oil, cosmetics, and medicine, representing nobility. Believed to possess the power to ward off misfortune, camellias also carry the meaning of "protection from calamity" and have strong ties to traditional ceremonies. In this artwork, camellias are delicately depicted alongside flowing branches, subtly representing good fortune with their pale pink and white hues. "Sora-iro nezumi 空色鼠" refers to a light grayish color with a hint of blue, reminiscent of the slightly brightened sky on a lightly cloudy day. Popular during the late Edo period (19th cent.), it elegantly captures the slightly brighter sky pattern seen on lightly overcast days. Notably, the term "nezumi-iro" (mouse gray), popular during the late Edo period, was paired with brown tones, collectively known as "Forty-eight Teas and a Hundred Mice 四十八茶百鼠." Colors within the "nezumi" (gray) spectrum, particularly "sora-iro nezumi," were favored by young people for their cool and sophisticated appeal. << Characteristics of the fabric >> The fabric features intricately woven patterns that reveal subtle gradations through dyeing, creating a grid pattern that transforms depending on the light conditions. Originally, this fabric was part of a formal kimono known as a "hōmongi 訪問着," featuring motifs along the hem, shoulders, and sleeves. These motifs have been carefully selected and combined to create a unified piece of artwork. << 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 'Japonsime' Gilt-Bronze-Mounted Powder-Blue Porcelain Vases, Mounted As Lamps. By Ferdinand Barbedienne, Paris. Each with a square shaped body. The sides decorated with ...

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...

An elegantly woven bamboo basket with handle as an ikenana container by Suzuki Gengensai (1891-1950) circa 1923-50. 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 this later variation, which helps to date the piece to post 1923. The basket is woven entirely in a free style irregular plating on the body and with a twisted bundled handle. The surface is lacquered in a deep reddish color. The seemingly less rigid technique renders the piece a more rustic and natural aesthetic that is more suitable for certain occasions. It is singed on the base with artist's signature in the variation post 1923. A very similar basket of the irregular weaving but without the handle is illustrated in plate 72 in "Baskets Masterpieces of Japanese Bamboo Art...

A beautiful organic woven cane chair with a frame made of Bamboo. Designed by Yuzuru Yamakawa for Yamkawa rattan. 1st version from the 80ties. The bamboo cane chair...

This enchanting pattern, recreated from a 1920s document in our archives, is an ode to Japanese natural motifs. Since Schumacher was founded in 1889, o...

A pair of Japanese lacquered lidded Hokai boxes with chased brass hardware and original ropes. Hokai boxes are traditionally used in Japan as the containers ...

Boxwood netsuke depicting a snake coiled around itself. Signature engraved under the base. Origin: Japan Period: Meiji late 19th century. Dimensions: 4 x 3.5 x 2 cm. State of co...

A beautiful artisanal handcrafted porcelain dragonware ashtray or trinket dish. This pretty catchall features a moriage dragon design. Created from slip...

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 stunning dessert plate from the "Kioto" collection by the renowned Creil et Montereau manufacturer, dating back to 1878-1884. This fine earthenware piece, typical of the japonisme ...

This work is inspired by traditional Japanese nature colors symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. It is filled with storytelling ...

A large and impressive Japanese basket in the form of a morikago by Maeda Chikubosai I (1872-1950) circa first half of the 20th century. Chikubosai I was from the Kansai Region and active in Sakai, Osaka prefecture. He was instructed by Wada Waichisai I, (1851-1901). Morikago is a shallow open basket with handle. It was traditionally used to display fruits, sometimes flowers, during Sencha tea ceremony. In contrast to Chanoyu, Sencha ceremony uses loose green tea leaves instead of tea powder. The placement of loose fruits in the basket meant that the pattern of the bottom, which is often elaborate, was meant to be visible. This morikago was beautifully constructed with bent bamboo frame and twill plaits for the body. The bottom of the basket features a double diamond pattern achieved with a variation of plover plait. The bifurcated handles was bundle-plated with a rather free spirit approach. They show a poetic suggestion of movement, as if the bamboos were still swaying in the wind. The basket has a copper insert that fits perfectly and it is quite possibly the original. The basket is signed on the base "Chikubosai". The style of the signature shows that it was made by Maeda Chikubosai I. For another Morikago basket by Maeda Chikubosai I, see page 79 of "Masters of Bamboo" by Rinne. For the study of the signature of Chikubosai I "Baskets Master Pieces of Japanese Bamboo Art...

A stunning dessert plate from the "Kioto" collection by the renowned Creil et Montereau manufacturer, dating back to 1878-1884. This fine earthenware piece, typical of the japonisme ...

Decorative large round dish 32,5 cm hand painted with very delicate colors by the artist in Japonism spirit with fan, flowers, manga, rodents, lizard, and birds... Stamped "MONTEREAU / B&Cie / 35" B&Cie added when Barluet become the new director of Creil & Montereau, a very well-known French manufacturer, in 1876. Artworks of the Japonisme style in France were first discovered at Paris Universal Exhibition in 1867 and then in 1878. Some of these french Japonism...

Elegant oval cut-crystal centerpiece decorated with stylized palmettes on a grid background, resting on a silver patina bronze mount representing blooming branches. Biography : The ...

Six canvases (Diameter approx. 30cm, 25cm, 20cm) use the fabric taken from antique kimono, its' various parts, to create one harmonious fluid image of a snowflake - a symbol of new b...

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 large Japanese style four lights sconce attributed to G. Viardot, in shape of a dragon made in carved tinted wood, holding in its mouth a Japanese blossoming cherry tree branch, fr...

A porcelain vase with dragon design by Japanese imperial potter Makuzu Kozan (1842-1916), circa 1900s. The vase is made in what is considered early phase of his underglaze period during late Meiji era. In a classic baluster form, the surface of the vase was decorated with a slithering dragon in underglaze iron red circulating the exterior among pink clouds. The animated rendering of the dragon is fine and detailed, with five claws, scales, long tails and highlighted eyes. The pink cloud is misty and called Morotai or the hazy style, created with a unique technique developed in Kozan's studio called fuki-e by blowing the pigment powders onto the surface. Kozan Studio experimented with newly available colors from the west starting in the 1880s, which resulted in the expansion of the palette and style that bridged the east and west aesthetic tradition. Marked in underglaze blue on the base. Known also as Miyagawa Kozan...

On offer is a Japanese summer kimono woven from indigo blue linen with ivory color fine stripes patterns with apparently darker weft additions. The elega...

A Japanese woven bamboo basket with handle from early 20th century, circa end of Meiji to Taisho period. The basket was constructed in the form o...

A striking blue and white vase from the studio of Japanese Potter Makuzu Kozan, also known as Miyagawa Kozan (1842–1916), one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama circa 1870s and later became one of the appointed artists to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. Of a relatively large size, this vase is decorated with underglaze cobalt blue using the novel technique developed by Kozan called Fuki-e (the blow painting). As a result, the bamboos appear took on a three-dimensional quality as if appearing in a mist. Known as one of the most creative ceramists, circa 1887, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze. New colors allowed him to create underglaze design that appeared bright, smooth and glossy. He even invented his own receipt of cobalt blue to achieve a much brighter yet softer shade, as evident on this vase. To create landscape that is realistic and dimensional, more common in the western paintings, he was inspired by the native Japanese ink painting technique developed around 1900 by Yokoyama Taikan...

Large antique Emile Gallé Japanism vase in clear frosted art glass. Carved with motifs in the form of flowers and leaves in yellow and red. Museum quality, 1890s. Measures: 34 x 12...

Pair of French marble mounted ormolu and bronze pedestals by Maison Marnyhac French, Late 19th Century Height 105cm, width 64cm, depth 58cm This magnificent pair of pedestals, craf...

A wonderfully stylized Japanned partners pedestal desk, having carved, inlaid and engraved classical decoration, an inset leather top, eleven drawers to one side, each with brass turtle handles, the reverse with engraved mother of Pearl inlaid doors, raised on carved cabriole legs. Attributed to; Gabriel Viardot (1830-1906) was a famous Parisian cabinetmaker specializing in the production of “Chinese-Japanese genre” furniture in the last third of the 19th century. He started his career as a wood sculptor in 1849, when he sent some naturalistic décor furniture...

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...

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...

An old Japanese lacquered small box likely used to contain incense powder called Kobako, circa Momoyama to early Edo period (16-17th century). The rectangular form box with a fitted ...

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...

A large Japanese silk embroidery tapestry circa 19th century, late Edo to early Meiji period. Meticulously handwork that densely depicts repea...

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 black lacquer box with mother of pearl inlays circa early 20th century, end of Meiji period. It was likely to be used to store inkstone or other scholarly items. The piece displays several interesting characteristics that appear puzzling initially. First, the form is not typical Japanese, but more Chinese and Korean, with its scalloped base. Second, the decoration of MOP inlays also suggests a Korean and Chinese affiliation, especially with the linear borders and the scrolling cloud patters on the sides of the box. These two observations suggest that the box may be from Ryukyu Island instead of Japanese mainland. Third, strikingly in the center of the cover, a bold quarterly floral pattern outlined with MOP was filled with a striking mottled red lacquer using tsugaru nuri...

A wonderfully decorative Japanese Kutani vase, Meiji period 1868-1912. Having the classical orange ground with scrolling foliate decoration, inset...

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 superb Kutani charger, signed to the back, in overall excellent condition. Kutani porcelain, or Kutaniyaki, originates from the Kutani village in the Kaga Province, which is now p...

A very dramatic late 19th century Japanese carved softwood armchair. Having mythical dragons entwined to the backrest and arms, raised on carved cab...

This work uses an antique furisode (festive kind of kimono with long sleeves) with peacock feathers - a symbol of royalty and prosperity. Can be used both vertically and horizontally...

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

Majestic and rare lacquered wooden screen with an elegant peacock in the center that stands out among golden and silver clouds. The peacock is depicted on a gnarled cherry blossom tr...

Pair of "Atchan" aka Sony Boy. Figure introduced by Sony in 1956 as a mascot for the launch of the first transistor device, appearing in advertisements for the TR-55. The pair consis...

Large scale Japanese "Tree Bark" style Cloisonne vase lamp. The vase itself is believed to be 19th century and was later mounted as a lamp in the 1...

Large coat rack / hall stand / cloakroom in faux bamboo and exotic wood. It consists of 6 coat hooks, a large central mirror (112 x 72 cm), an umbrella stand or cane holder with its zinc tray. Art Nouveau Japonism, France, around 1880-1890. Attributed to the Maison des Bambous...

A stunning dessert plate from the "Kioto" collection by the renowned Creil et Montereau manufacturer, dating back to 1878-1884. This fine earthenware piece, typical of the japonisme ...

A tri-pod ceramic incense burner (koro) by Japanese Imperial potter Makuzu Kozan (1842-1916) circa late Meiji to the start of Taisho period (1890-1910s). A fine example of the artist's work belonging to the late part of his underglaze paint phase (started around 1887 until his death), the surface of the koro was painted in beautiful shades of blue to depict a continuous landscape not unlike a traditional ink and watercolor hand scroll. The rise and fall mountains recede and fade into the horizon and are dotted with groves of pines. The sky is painted with a beautiful subtle shade of pink, suggesting a time of sunrise or sunset. The koro is fitted with an ensuite reticulated sterling silver hoya (incense cover), pierced with swirling cloud and marked with "pure silver' in Kanji. The base is signed in underglaze blue "Makuzu Kozan Sei" within a double ring. The piece is beautifully potted in form and the decoration was done with expertise using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking landscape known as "Mountain and Water" with sense of dimensions and gradient, the poetic effects normally conveyed only by sumi ink staining on paper. The piece comes with an unsigned tomobako (wood storage box) of a recent age. Also known as Miyagawa Kozan (1842–1916), Makuzu Kozan was one of the most established and collected ceramist from Meiji Period. Born as Miyagawa Toranosuke, Kozan established his pottery studio in Yokohama around 1870s and later became one of the appointed artists to the Japanese Imperial household. His work was exhibited in many international fairs that the Meiji government participated at the turn of the century and won many grand prizes. Being one of the most creative ceramists, Kozan started experimenting with new chemical colors from the West in the format of his porcelain glaze around 1880s. New colors allowed him to create underglaze designs that appeared bright, smooth and glossy. He even invented his own receipt of cobalt blue to achieve a much brighter yet softer shade, as evident on this vase. To create landscape that is realistic and dimensional, more common in the western paintings, he was inspired by the native Japanese ink painting technique developed around 1900 by Yokoyama...

Antique Japanese woven boat shape (funagata) Ikebana flower basket, with lacquer,975 rattan, root and smoked bamboo. Fine quality weaving with wonderful patina.

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 ...

Moss green floral Trompe L’Oeil hand printed Linen, Schumacher, Kent Gardens, 1971. English country through the lens of Japonisme chic and an intriguing 1970s moss green color way. T...

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

French Japonisme style gilt bronze and enamel mantel clock French, 19th Century Height 30cm, width 18cm, depth 14.5cm This fine mantel clock is of rectangular form, with a gilt bron...