Japonisme Furniture

ncantevole Japanese tea set hand-painted in 24k gold, with Japanese garden landscape and geisha girls. 1940s. Japanese Eggshell Porcelain Tea Set with Lithophane “Geisha” Teapot wi...

Kameyama is one of only two snow scenes in the Fifty-three Stations of thevTōkaidō Road series, and is greatly admired. It portrays a bright, clear day following a snowfall. Blue sha...

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...

Okimono bronze sculpture of a large toad in a crouching position, possibly about to jump. The toad and the frog, referred to by the same term in Japanese (kaeru), are associated with...

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...

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...

Bronze okimono depicting the study of a powerful tiger in a furtive position. The animal is represented with its legs bent, its tail curled upwards and its body in a lowered positio...

The Form No. 9 of the Vrksa Series of works demonstrates the flow of wood; the emerging and the reduction of wood while retaining an organic form, creating a spectacle of shadows whe...

An English majolica plate, The Flying Crane, by Joseph Holdcroft, Circa 1870. Designed in the Aesthetic Japonisme taste, the crane is centered on a turquoise pebbled ground with a border of prunus, or pink Dogwood branches stemming from the brown branch form rim. Showing the unusual green glazing on the verso, distinctive to Holdcroft majolica. Book reference,’The Collectors Encyclopedia of Majolica’ by Mariann Katz-Marks, page 95. Joseph Holdcroft held several patents for the production of earthenware. He was employed by Minton where he became proficient in the manufacture of majolica. Holdcroft established the Sunderland Pottery...

A superb and rare pair of Japanese oil lamps dating from the second half of the 19th century. The bases are made from Satsuma faience vases, richly d...

A very good Mutant charger, signed to the back, in overall super condition. Kutani porcelain, a distinct style of Japanese porcelain, originates from the Kutani village, which is now...

Discover the elegance of this 72-piece tableware set, each piece featuring a refined brown edge. Presented at the 1878 Exposition Universelle, this collection highlights the beauty o...

Samurai menpo mask with the ressei (fierce) expression, belonging to the me-no-shita "half-face" type, which stands out for its leather surface to simulate ...

Characterized by elliptical forms, Frame Chair is an expression of comfort and well-balanced geometry. The confident relationship between skeleton, seat and backrest figures its pres...

A visually stunning Japanese fukusa panel with an embroidered dragon on a swirling cloud background, nicely displayed on a scarlet felt matt in a carve...

A charming Majolica serving tray with wood and metal handles circa 1890. A scene with a swallow and delicate flowers. Attributed to Sarreguemin...

A visually stunning Japanese embroidery tapestry circa 1890s-1900s late Meiji period, presented with a linen matt with gold trim in a gilt wood frame. The design showcases a flying p...

Japonesque sterling silver sake pot. Made by Tiffany & Co. in New York, circa 1880. Globular with short and tapering diagonal spout and stationary bracket han...

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 is a vase made by the Japanese ceramic artist unit "Scarlet Pottery." It is a piece of pottery made using Amakusa pottery stone. Amakusa pottery stone is famous as the raw mater...

A Gorgeous 19th Century KPM Hand-Painted Porcelain Plaque of a Japonism Beauty, Signed by the Artist Wagner Wien .n C. Kiesel. The beauty is seen in a beautiful orange and white kimono...

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...

Pair of black lacquer ebonized and inlaid wood organic end tables. Also great as nightstands.

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

Name: Utopia Stool made of Copper base and Ebony wood. Artist Statement Growing up, I was often taken to art museums. I did not dislike putting myself in an unusual space and stand...

This is a cloisonné foil metal vase depicting a continuous scenes around it of three large white cranes, a volcano and some green leaves in a turquoise background. Under the base the...

A fine and rare lidded and hinged Imari bowl with ormolu fittings, set atop three ornamented feet. Perfect for jewelry, trinkets, or sweets.

A Japanese Woodblock print by Paul Jacoulet (French, 1896-1960) entitled Le Tabouret de Porcelaine, Mandchoukuo (The Porcelain Garden Seat, Manchuria). Created in 1936, this is a rar...

A massive Japanese embordered tapestry professionally displayed in a custom acrylic shadow box. The fine work of textile art is dated to 1890-1920s, late Meiji (1868-1912) or possibl...

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...

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

Striking pair of 19th century shachikoko rood ornaments circa 1880. These appear to be 'shachikoko' sea monsters still retaining their bold colours, showing the head of a dragon wit...

Marvelous Japanese pedestal, this delightful object was made in Japan in the late 19th-century and imported into Italy by a famous merchant, Emportio Janetti Padre e Figli. They were the first in trading Japanese art in Florence in the second half of the 19th century. This spectacular piece of rare beauty was fully hand-crafted with perfect proportions. The complex structure is made in engraved and lacquered crossed bamboo with fantastic floreal details. The two round trays are in black lacquered wood with hand-painted decorations. The fine details and the beauty make this pedestal a masterpiece. An unique decorative pedestal of outstanding quality that can be mixed in a neoclassical or mid-century project or in a Japanese style project. Dimensions (cm): Diameter - 37 Height - 112 In the 1870s collecting Japanese art products started to be popular among a wider range of collectors, not only among circles of intellectuals, artists, and designers. This cultural phenomenon also reached Italy, and when a group of Japanese diplomats (Iwakura Mission) arrived in Florence in May 1873, it reported a very positive impression of a shop that sold Japanese...

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

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...

Five-story Japanese pagoda "Gojūnotō" made of painted patinated metal.

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...

81100 Modern Neutral Earth-Tone Kilim Rug, 08'05 x 12'00. Embrace a sense of serenity and tranquility with our handwoven modern neutral kilim rug. A ...

A mid-20th century Japanese Satsuma vase with figures. Satsuma ware is a style of Japanese earthenware originally from the Satsuma region of what is today southern Kyushu. There are two distinct categories of this ware: The original plain dark clay early Satsuma...

Pair of Geisha Bijin lithographs, one with a parasol, the other holding a fan, in convex glass oval giltwood frames with gold paper mounting.

A Pair of French Japonisme Three-Light Dragon Bronze Wall Appliques, Sconces Attributed to Edouard Lievre, circa 1870. Exuding the opulent allure of 19th-century Japonisme, this exq...

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

Raku fired Large Vessel by Fernande Beland of Canada Mutiple colors of gold, green, amber, charcoal. The iridescence of the glaze is breath taking as the colors change with differen...

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...

An exquisite Japanese folding screen painted and signed by Kano Tanshin (Morimasa) (1658-1719), circa early Edo Period. An important member of the Kano painter family, the son of Kano Tanyu...

Designed by Isamu Kenmochi and produced by Akita Mokko, this stool is considered one of the icons of Japanese modern design. Kenmochi is known for his works that blend traditional J...

Pair of black lacquer ebonized and inlaid wood organic end tables. Also great as nightstands.

Name: Two fo you Mirror designed by Ryosuke Harashima. This work is made of Ranma, antique Japanese transom, coper and mirror. Artist create new s...

Royal Crown Derby Old Imari 1128 oval covered vegetable dish. A timeless example of English bone china craftsmanship. Featuring the brand’s iconi...

This exquisite four-case lacquered inro was dated to the latter part of 18th century to early 19th century (Edo period) and made by Shigehide. The opposite sides of the inro together features a lavish flower arrangement in a bamboo basket (ikebana). The detailed craftmanship was a true pleasure to behold. Mostly Takamaki-e (high relief) were used to texturize the delicate petals of the chrysanthemums, on which different shades of gold were used to create contrast. Raden (mother of pearl) shells were also used to highlight some leaves, rendering the piece an interesting balance of color and material. The interior was completed in a mottled gold finish. It was signed Shigehide on the bottom with a Kao. There is a small carved rabbit ojime bead...

A small copper crab with articulated legs made by Myochin Hiroyoshi in the late Meiji Period circa 1890-1900s. One of the pair (the other one is listed separately LU945037876072, but...

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...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely stunning circa 1870 signed to the base solid bronze Japanese bronze vase depicting a large b...

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...

Antique Japanese watercolor drawings on the both sides of paper, by Shigeru Tsukamoto (1903-1983). 1922. approx. 25.3 × 35 cm (9.96 x 13.77in). Some stain and wrinkle due to age as is.

Traditional Japanese Inro Box with Five Compartments Traditional Japanese inro box with five compartments. Classic design with dark lacquer and gold ...

English Plate signed Mason's Patent Ironstone China 'Japan' Pattern 2150. 8.8 inches.

<< About this canvas >> This set is a depiction of a tall chrysanthemum stem, entirely dyed in a traditional shibori technique. << Period / Story >> The haori featured in this canvas was created and used during the late Showa period (1960-80ies). << Explanation and meaning of pattern and colors >> A charming chrysanthemum flowers all around a stem seem to reach the heavens. The chrysanthemum flower, which retains its vitality long after being cut, symbolizes longevity, purification from malevolent spirits, and good fortune. In ancient times, during the Kamakura period (1185-1333), emperors loved the chrysanthemum pattern, and it remains the most prestigious flower and the emblem of the Japanese imperial family...

Organic hand made Japanese wood coffee table, Japan, circa 1950s. Constructed of a wood slab top with a chip carved edge and an organic root...

An elegant woven bamboo basket from the late Meiji period, dating to the early 20th century. This tall, finely crafted piece exemplifies the artistry and technical mastery of Japanes...