Japonisme Furniture

<< About this canvas >> This canvas is crafted from three different haori fabrics, each adorned with a shibori dyeing flower motif going through entire fabric. These fabrics tell a ...

Sumida Gawa pottery vase, Japan, early 20th century.

1920s Japanese Hand Painted and Gilded Demitasse Coffee Service This exceptional 1920s Japanese coffee service features 6 demitasse cups with accompanying, coffee pot, sugar bowl an...

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...

An exquisite Japanese embroidery piece circa end of 19th-early 20th century of Meiji period. The silk panel depicts an idyllic water scenery, in which three mandarin ducks swim in th...

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...

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...

Elephant Garden Plant Stand or Table. Originally discovered in the South of France, this vintage piece captivates with its exceptional detail and cultural richness. The trunk of the...

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 front cover likely depicts a scene from the Tale of Genji, showing a nobleman and his servant pays a visit to a lady in a fenced thatch-roof house under a high peak. The details of blossom trees and pines, as well as the characters, and scenery with a gradual color are astounding. It is telling that the Yuzen dying was used such an mastery. The piece has a red silk backing and still retains two red tassels on the lower corners as well as decorative stitches along the edges. There is a patched design on the back likely a Mon symbol (family crest). Fukusa is a traditional Japanese textile...

TEMPLE BELL (BONSHÔ) Japanese, from the second half of the 19th century. in bronze with relief decoration. Signs of use. Dim.: (bell) 70 x 37 cm total: 110cm good condition

Market-fresh Japonesque mixed metal and sterling silver water pitcher. Made by Tiffany & Co. in New York. Gently curved bowl and inset undulating rim with wide lip spout and integral...

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...

An antique Okimono (Japanese means artsy display ornament object) displayed on a small custom wood stand from Meiji Period circa early 2oth century. T...

A very impressive pair of Japanese Meiji (1868-1912) period Blue and white porcelain vases, each with wonderful classical motif decoration to the neck and base. Blossom trees to the ...

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...

A striking Japonist wall clock crafted in dark carved wood, adorned with inlaid panels of deep green hardstone. The radiating fan-shaped structure is enriched with fantastical and my...

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...

The art piece uses two sides - front and reverse - of the same kimono, to show beautiful sea surrounding Japan, in hues and in late sunset, as a timelapse. 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 create basis and frames for my works. It adds them even more authentic atmosphere of traditional wabisabi spirit. Can you feel it? << Period / Story >> The kimono used in this piece was originally crafted during Showa period (around 1960ies). << Explanation and meaning of pattern and colors >> Sea waves, depicted in two color variations here, are a symbol of transience and Impermanence in Japanese culture. The ebb and flow of the tides, the ever-changing currents, and the relentless motion of the waves serve as reminders of the fleeting nature of life. This artwork featuring the sea convey themes of impermanence, reminding viewers to cherish the present moment and appreciate the beauty of life's fleeting moments. The theme of impermanence is strengthen by two colors of the sea - the lighter in early hues and the darker when the sun is just about to set in the sea. << About the frame >> This artwork frame is crafted from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos, and it serves to convey the refined beauty of Japanese nature. 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. Paulownia wood is closely linked to kimono culture. During the Edo period (17th cent.~), it became customary to store cherished kimonos in paulownia chests...

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 ...

This work uses an antique tomesode (festive kind of kimono) with fern design to evoke feelings of tranquility, harmony, and appreciation for the beauty of the environment. Can be used both vertically and horizontally. 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 of colors and patterns >> In Japanese traditional culture, ferns, particularly the Japanese painted fern (Athyrium niponicum), hold several meanings and symbolisms: ・Elegance and Beauty: Ferns are admired for their graceful, delicate appearance and intricate leaf patterns. In Japanese aesthetics, they are appreciated for their natural beauty and are often used in gardens, landscapes, and floral arrangements to add a sense of refinement and elegance. ・Resilience and Perseverance: Ferns are known for their ability to thrive in diverse environments, including shady forests, rocky cliffs, and damp soil. Their resilience in the face of challenging conditions is seen as a symbol of endurance and perseverance. In Japanese culture, ferns may represent the ability to overcome adversity and flourish despite obstacles. ・Connection to Nature and Tranquility: Ferns are native to forested areas and are often associated with the natural world. In Japanese traditional culture, they symbolize a deep connection to nature and the importance of maintaining harmony with the environment. The lush green foliage of ferns evokes feelings of tranquility and peacefulness, making them popular motifs in Zen gardens and traditional landscape paintings. ・Purity and Simplicity: Ferns are emblematic of simplicity and purity in Japanese aesthetics. Their unassuming beauty and understated elegance reflect the principles of wabi-sabi, an aesthetic worldview that values imperfection, impermanence, and simplicity. Ferns may be used in tea ceremonies, Ikebana (flower arranging), and other traditional arts to evoke a sense of tranquility and appreciation for life's fleeting moments. Overall, ferns in Japanese traditional culture symbolize elegance, resilience, connection to nature, purity, and simplicity. Their presence in art, literature, and landscape design underscores their enduring significance as symbols of natural beauty and spiritual resonance. << Characteristics of the fabric >> This vintage textile is hand-painted with a traditional Japanese technique called "yuzen". << 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...

Vintage watercolor painting of two Geisha under an umbrella - watercolor over graphite with gold gilt border - signed upper right (unidentified artist/maker...

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...

Antique Awaji ceramic vase - grey crackle glaze - cold painted decoration with red and gilt enamel bird on a branch with flower and leaves - old faint inventory numbers to the base -...

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...

An ink painting on the fan surface by Japanese Zen artist Hidaka Tetsuo (1791-1871), now framed in a traditional Japanese carved wood frame with silk fabric mat and decorative hangin...

Pair of egg-shaped lamps in a fine Satsuma earthenware. Body presenting Japanese dignitaries speaking together inside cartouches on a white background as well as red, golden, brown and green decorative and geometric motifs. Mount in gilt bronze adorned with openwork and chiselled Japanese style motifs. Work realized circa 1880. New and functional electric system. !The price doesn’t include the lampshade price. However, our workshop can advise you with pleasure and realize it with your size and color choices! Satsuma earthenware appeared at the 16th century in Japan on Satsuma lands. This kind of ceramics is characterized by a wide range of shapes evolving through time and ovens used...

Japonesque mixed metal napkin ring. Made by Gorham in Providence in 1882. Hand-hammered sterling silver ring applied with cooper ornament: A man in pointy hat is seated on the ground...

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...

Name: On the line no.2 Wall sculpture made of Japanese paper named "Washi" and brass pole. Paper object has copied from flagstone installed in a Japanese garden. Stone shaped light p...

Handcrafted vintage pottery ceramic vase with a rounded body and a narrow neck. This piece seems to have been influenced by the Japanese wabi-sabi style pottery featuring simplicity...

This firescreen is attributed to the Maison Marnyhac because of the the quality of the bronze and its beautiful perforated decoration, as well as the style of it, and was realized ci...

A lovely Japanese bamboo basket by Hayakawa Shokosai IV, the fourth generation of the Shokosai lineage, one of the best known in the Japanese Bamboo art...

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 ...

Wonderful Quality French Aesthetic Period “Japonisme” Faux Bamboo Hall Stand of Grand Proportions with Central Mirror French Circa 1890 Of b...

Vintage ikebana flower baskets or hanakago, feature rounded barrel shapes with wide openings, surmounted by high arched handles. The bodies of the baskets are loosely woven with wide...

Rare aesthetic movement showcase, opening in its upper part by two beveled glass doors framed by brass moldings, in its lower part by two door panels in carved walnut decorated with blooming branches and gilded bronze ornaments representing dragons and birds. The sides are carved, like wicker woven. This showcase is topped by an important carved and gilded walnut cornice depicting a Fô Dog in its center, with a protective power, and rests on elephant head with overtuned trunk shaped feet. This type of elephant head with overtuned trunk shaped feet is a characteristic of the Maison Giroux, which can be found on many objects they produced. Aesthetic movement cabinet, signed Maison Alphonse Giroux...

Set of 3 Chrysanthemum sterling silver butter pats. Made by Tiffany & Co. in New York. Plain and round gilt well. Shoulder has rinceaux-sty...

This is a jacquard throw decorated with a stunning animal print and fringes. The animalistic theme is reminiscent of the jungle and the natural elements...

A very impressive large pair of Japanese carved softwood armchairs, each depicting carved exotic flowers and foliage.

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

A hanging ink (Sumi-e) silk scroll by Japanese Zen artist Hidaka Tetsuo (1791-1871). Well presented in brocade boarders and mounted on paperback, this scroll depicts "Three Noble Friends in Winter" in a poetic and novel way. One of the favorite subjects by Chinese painters, the three noble friends in winter consists of pine, bamboo and plum flowers. They were admired for their characters of strength in cold resistance to remain evergreen and even blossom in unfavorable condition. The artist, however, composited the subjects in a none-conventional way as Ikebana. Bamboo and flowering plum branches were presented in an oversized pot...

Beautiful fired handmade Raku vase by Michael Gwinup, signed with name and date. Diameter 21 cm, height 14 cm. Unique piece with pearl coloured copper b...

Rare pedestal table / revolving bookcase in Japanese / Chinese / Asian style, richly carved. With red marble top with white veins, openwork swivel shelves and tripod base carved with dragon / demon heads and clawed legs...

Japanese Lacquer Rhino Sculpture by Someya Satoshi (1983-). A hand-molded lacquer sculpture that depicts a fantasy beast "Rhino". The artist uses century-old traditional techniques and symbols but with an innovative contemporary energy that borders mysticism, shamanism and surrealism. Found objects were equally treated as part of the meticulous designs as the elaborate Maki-e and shell inlays. According to the press of Honolulu Museum of Art: "Someya Satoshi has been described as “one of the most significant contemporary lacquer artists working in Japan today.” (Japan Times, 12 Dec. 2013) His work combines objects of daily use, such as bathing buckets, serving trays, and soup bowls, with a wide array of natural materials, including animal bones, horns and antlers, sand, stones, leaves and branches. In the process, he implements a range of traditional lacquer methods passed down from pre-modern eras, such as the kanshitsu or “dry lacquer” technique, the origins of which date to Japan’s Nara period (710–784). After creating his forms, he embellishes them with designs inspired by calligraphy, traditional Japanese textile patterns, and even contemporary manga or comic books. His work defies ordinary definitions of lacquer art and successfully challenges the perceived limits of this extremely difficult and, in some ways, most conservative of traditional Japanese art forms". His work was exhibited in US such as Honolulu Museum of Art, Minneapolis Institute of Art, Morikami Museum etc. For a complete resume of the artist, see the artist's page in Imura Art Gallery. Reference: For a very similar Bull Sculpture see Hard Bodies Contemporary Japanese Lacquer...

A porcelain vase with dragon motif 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 elongated baluster form, the surface of the vase was decorated in an unusual pink mist on a white and aubergine background (called Morotai, the Hazy style), on which a flying dragon is showcased on the center. The dragon was outlined in iron red and filled with the aubergine color and was artistically emphasized on its bulging eyes, claws, scales and a long tail. It was the sole focus of the design circumventing the entire body of the vase. The imagery calls in mind the dragon decoration found in Korean...

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

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

A rare ceramic bowl with overglaze paint decoration by Japanese imperial potter Makuzu Kozan ((1842–1916). Unlike the better-known works Kozan made for the expositions in the west and export to the foreign market, this piece exemplifies his work for the domestic market and the tea ceremony. The bowl was made in the so called "Utusushi" Ogata Kenzan (1663-1743), a celebrated Edo painter and ceramicist. Utusushi is loosely translated as "in the spirit of". It is not at all a simple imitation of a master, but a Japanese concept of embracing the spiritual essence of a master while the creator is free to mix in his or her own unique artistic interpretation and flavor. The bowl was made to hold fruits during the tea ceremony. It has a very distinguished form with a circular lower body morphing into a square upper portion that further opening with flared rim. The surface has a grey glaze onto which Asagao flowers (Japanese morning glory) on the vines were painted in a free and poetic style. White was used for the petals, green for the leaves with touches of gold highlight. Asagao, the symbol of the summer was rendered in the spirit of Ogata Kenzan, and interestingly the shape of the blossom echoes the unique form the bowl. It was likely reserved for the tea ceremony during the summer months. Under the base, Kozan was signed in black on a white porcelain plaque inlay. For two similar examples of Kozan's work Utusushi Kenzan, see Page 168-169 of the book: Sekai ni Aisa Reta ya Kimono Miyagawa Kozan Makuzu...

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

Midcentury Oriental Hors d'oeuvres Dish Set in Presentation Lazy Susan A very attractive large blue and white set, there is one Octagonal dish at the centre of the set surrounded ...

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

19th Century English blue & white Pagoda Plate signed Staffordshire.

About This Panel This exceptional textile panel is crafted from a vintage obi, showcasing the rich tradition of Japanese weaving artistry. The design depicts a poetic waterside lands...

A Japonisme Dragon Motif Copper Clad Vase by Bretby Pottery England, Circa 1890s A large and unusual work by the famed British pottery works, Bretby. The tapering gourd shape vas...

On offer is a truly impressive blue and white porcelain plate of Hizen ware, from Arita in Japan, circa mid to late-19th century. The plate was made by Kajiwara Kikujiro (菊次郎, the second Kiku son) and/or Kajiwara Kikusaburo (菊三郎, the third Kiku son who died in 1883) of the Kajiware Family Kiln of in Arita. It was decorated in a superb design with blue under-glaze, clearly out of a hand of a master. In a Classic Japanese composition that was popular in the Meiji Period, the plate displays a riot of auspicious elements, arranged still in a surprisingly harmonious manner. Anchoring the center of the design is an eagle perched on the branch of a blooming cherry tree, its talons clenching the bark and its wings about to open. The motion of the its immediate taking off is palpable. The trunk and the branches of the old cherry tree provide a spacial frame for the arrangement of large peonies with foliage, bundles of chrysanthemums, Chinese bell...

A pair of Japanese Satsuma glazed earthenware vases with French dore bronze mounts originally as gas lamps, now electrified.

This armchair has a sumptuous design, upholstered with an eclectic combination of four distinct satin fabrics, making it a charming statement piece for modern living spaces. The soli...

Beautiful set of 2 vintage studio pottery covered bowls. These handcrafted dishes feature vented lids and shoulder handles. A hand painted abstract design accents the natural beige ...

Quadrangular kobako box decorated with flowers in gold and blue lacquer with aogai inlay. Lid and sides in fundame lacquer, underside and interio...

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...