Japonisme Furniture

This series of ceramics are unique work by Norihiko Terayama. This is one of series of practicing relationships with function and decoration. Artis...

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

Meissen bowl in hand-painted porcelain decorated with cherry tree branches, in Japanese style. Early 1900s. Measurements: 24.0 cm. x 3.5 cm. In good condition, with hairline crac...

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,...

An important woven bamboo ikebana basket circa first half of the 20th century (Taisho or Showa era) by Japanese bamboo master Maeda Chikubosai I (1872-1950). Chikubosai I was from th...

Kokeshi "Mushin" or Innocence, tall size, made in 1969 by Masao Watanabe, one of the most famous Kokeshi masters, Mushin model being one of his most iconic designs. Adorable with its...

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 magnificent collaboration between renowned glassmakers Ernest-Baptiste Leveillé and François-Eugène Rousseau, this exquisite pot-pourri urn is a testament to the Japonism period st...

On offer is a rare ceramic bowl with overglazed design by the famed Japanese ceramic artist Makuzu Kozan (1842-1916), circa 1906-1916. The bowl is rather unusual from the potter's repertoire with its unique glaze colors and decoration, and it likely belonged to a small series that Kozan made in and after 1906. A bowl of similar glaze and nearly identical dragon motif was recorded as a diplomatic present to the British royalty Arthur Connaught (1883-1932) when he represented King Gorge V in Japan in 1906. Other pieces, such as this bowl, were likely made with similar materials and designs afterwards. Essentially round in form, the bowl has a generous volume with six harmonious lobes. The bottom of the interior showcases a coiled dragon in red, green and gold slithering on a cobalt blue background. The roundel shares an echoing lobed perimeter, which is further outlined by red and turquois bands and rising sun design. The exterior of the bowl features six stylized Japanese camellias...

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...

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

Pair of Japanese-style roll-shaped vases, made in “cloisonné” enamel and gilded bronze. The cylindrical body is decorated with polychrom floral branches, flowers and butterflies on a...

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 ...

Baluster shaped lamp with Imari decor in porcelain and gilt bronze. Body adorned with red flower motifs on a white and blue background. Chiseled and gilt bronze mount. Quadripod hexagonal base. 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! Imari is a place of production of Japanese ceramics, otherwise known as “Arita porcelain”. It is the port of an island. Imari porcelain was first exhibited by the Dutch, with their Compagnie Orientale des Provinces-Unies (the V.O.C). These are Europeanized decorations but remaining very inspired by the great traditions of Asian spirituality. The Imari style is characterized by three dominant colors: cobalt blue, red tending to saffron and the white background of porcelain. Imari porcelain had a notable influence on the East India Company (Chinese Imari is referred to as East India Company porcelain...

This is an impressive Okimo of a rabbit in a resting position. The bronze is very well cast in the form of a realistic rabbit. The bronze is signed on the bottom of one foot, as shown in photo. It is thought that having a rabbit in the house would bring good luck; meaning: we all need one! This guy would make the perfect desk accessory or book shelf eye-catcher. ***In Japanese culture rabbits are one of the signs of the Japanese zodiac. They are considered lucky as the Japanese kanji...

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...

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...

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...

This work is inspired by the sea and the sky, uses golden leafing as a creative point, framed in paulownia wood originally used for a kimono chest-of-drawers. In this artwork, the aim was to capture the splendor of Japanese nature, showing the sea, sky, and forests. 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 two pieces of kimono that could no longer be used as clothing and bark that would normally be discarded to create the ultimate upcycled piece. The marriage of Japanese natural materials - silk, paulownia (frame), and pine (branch slices for the center decoration) - and Japanese natural patterns - blue ocean waves and clouds - expresses the magnificent beauty of Japanese nature from various angles. The central golden leaf decoration stands out as a distinctive feature of this work. The piece uses the concept of "kintsugi" - it "unites" the pieces of antique kimono back together with golden leaf to give it a second wind as art work. << Period / Story >> The kimono used in this piece was originally crafted during the late Showa period (1960-80ies). << Explanation and meaning of pattern and colors >> The kimonos on this canvas have been creatively repurposed into interior artwork. The one on the left represents ocean wave pattern. Seigaiha waves is regarded as a pattern of good fortune, embodying wishes for eternal happiness and a tranquil life for future generations. The fabric on the right is embellished with cloud patterns woven in various techniques. Clouds, with their ever-shifting shapes and colors, have long intrigued people as signs of big events or omens. << Characteristics of the fabric >> The kimono used for a part on the left has a lustrous, ivory-colored ground that serves as a backdrop for the vibrant ocean wave pattern expressed through the ground pattern. On the right fabric, the cloud pattern is beautifully rendered by dyeing both the plain fabric and delicate patterns. This is achieved through the so-called "Yose-komon" technique, where each cloud is adorned with small patterns such as hail, sharks skin pattern, and other intricate details. Edo komon, created using a refined and advanced dyeing technique that appears as a solid color from a distance, originated during the Edo period (1603-1868) and remains highly popular as formal kimono attire to this day. << 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...

Contemporary Japanese style small shelf. This shelf is inspired by Japanese tradition teaware shelf. Made of steel and wood.

A Japanese style carved wood cabinet, with a painted decor imitating Japanese lacquer, ornamented with flowers, birds and butterflies. Opening onto two drawers and a paper filer, the upright-secretary door is also fitted with red velvet. Surmounted by a drawer and asymmetrical shelves, composed in the Japanese « zen » spirit, the cabinet stands on four legs joined by an engraved stretcher. The great influence of the Far-East, through China and Japan, in the second half of the 19th century French art could be found first in painting and soon after in decorative arts and furniture as well. Following the Franco-English military campaign led in 1860 against the Imperial army in China, the French troops of Napoleon III brought back from the Summer Palace, a part of the Chinese Imperial court treasure, which will make up the famous Chinese Museum of Empress Eugénie at the Fontainebleau Palace. The French artists won’t be long to take inspiration from those exotic and sumptuous objects for their creations, as they used to do in the 18th century, when the best French cabinet-makers adapted the Chinese lacquers on the luxurious royal chests. But the influence of Japan, at the Meiji period (1868-1912), came also very quickly to France, thanks to the opening of the country in the middle of the 19th century, as well as the development of traveling and the amazing Universal Exhibitions, in which Japan participated for the first time in 1867 in Paris. Then many Japanese objects and prints were imported to France and to all Europe, and for which some collectors spent already fortunes. With Manet and Impressionists generation, the passion for Japanese art, more than a simple taste for an exotic style, was still in fashion until the turn of the 19th century. It provoked not only a craze among the French aristocratic families as well as the wealthy Paris high society, wishing renew their mansion inner decoration, but turned also to a real revolutionary movement among the “avant-garde” artists. Those artists, whoever they were, painters, cabinet-makers or designers of ceramic, bronze and crystal objects, adapted then those techniques and naturalistic motifs unknown until this time. Christofle, very famous since 1867 as a silversmith, was also one of the leaders among the inventors of Japanism. He knew how to use Japanese elements to his own splendid works made in silver or “cloisonné” enameled bronze. During the 1878 Paris Universal Exhibition, Christofle presented with great success his life-sized bronze Japanese ladies torcheres, executed by the renowned sculptor Guillemin. Another famous company to be mentioned, is “L’Escalier de Cristal”, producing art objects and furniture, all of high standard quality and innovating much with their Japanese decor. Highly remarked during the Universal Exhibitions, “L’Escalier de Cristal” collaborated with the greatest artists, such Gallé and Rousseau for glass- and ceramic wares, and the cabinet-makers Lièvre and Viardot, whom made furniture including sometimes authentic Japanese elements. In 1872, Alfred Perret and Ernest Vibert opened in Paris, at 33 rue du Quatre-Septembre a store that offered “natural bamboo furniture and cane seats” and all kinds of textile fittings for furniture. This furniture used for winter gardens and terraces of mansions knew then a resounding success. They developed their business around 1884 with their Japanese style furniture, very close to that executed by Gabriel Viardot (1830-1906). In 1886, the company appearing in the category of “Chinoiserie and Japoneries” offered, in addition to furniture and seating creation, works of art and inlaid furniture directly imported from the Far East ; an activity that expanded rapidly. Their exotic fantasy furniture presented at the Universal Exhibition of Paris in 1889 and 1900, rewarded them two silver medals. In 1894, the company was listed under the name “Perret et Vibert”, headed by the son of Alfred Perret and Ernest Vibert. The same year, they redesigned their store on rue du Quatre-Septembre, creating ten new show-rooms, showing complete furniture sets of Japanese and Chinese style inspiration. It was not until 1895, that the company was finally named “La Maison des Bambous” and organized then in their shops an “exhibition of country furniture and seats for castles and villas”, which was visited by Empress Eugenie to furnish her villa Cyrnos at Cap Martin. She actually was a regular customer of the “Maison des Bambous” as she bought repeatedly furniture. In October of the same year, the king of Greece...

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 ...

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...

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

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...

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...

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 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...

Made from an antique Chrysanthemum motif Japanese silk obi and raw silk, this lumbar pillow is both elegant and sophisticated. Beautiful golden e...

This series of ceramics are unique work by Norihiko Terayama. This is one of series of practicing relationships with function and decoration. Artis...

Name: On the line no.1 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...

Traditional Philippine hand carved solid Mahogany 3-panel see-through screen.

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...

A Japanese Woodblock print by Paul Jacoulet (French, 1896-1960) entitled La Lettre Du Fils, Seoul, Coree (The Son's Letter). Created in 1938, this print was carved by Maeda and print...

Minimalist Kokeshi, attributed to Muhitsu Miyajima, made in the 1970s. With its simplistic design, and its moveable head, it is perfect to be paired with our "Old Man Kokeshi", featu...

Japanese Meiji Period Lacquered Wooden Box w/ Original Outer Case, Ca. 1880 Meiji Period: 1868-1912 DIMENSIONS Length: 16.5 inches Width: 3.5 inches Height: 2.5 inches

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...

Japanese Meiji Period Six-Panel Screen with Blue Lake and Flowers, Ca. 1900 Meiji Period (1868-1912) DIMENSIONS Length: 145 inches Height: 69.5 inches

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 ...

Japonesque sterling silver gravy boat on stand. Made by Alvin Corp. in Provence, ca 1890. Boat: Bellied bowl with helmet mouth, high-looping handle, and domed foot; gilt-washed inter...

Kokeshi à feuilles d'érables, des années 1970, fabriquée par Inosuke Kobayashi, prix du Premier Ministre en 1979. Réputé pour son talent à reproduire avec précision l'art des tissus...

Beautiful pair of Creative Kokeshi made in the 1990 by Usaburo. Colorful and creative designs, with this peculiar haircut that is almost Usaburo's signature. They have been each one ...

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...

Pair of Large Oriental Lacquered Wooden Vases, Late 19th Century Dimensions: cm H 142 x W 69 x D 69. Base cm 51 x 51 This monumental pair of vases was made in Europe towards the end...

This is truly a collector's item. Even though it was made in the 1970s, this lamp still has its original box. It was only taken out for taking pictures. Ceiling lamp designed by In...

A stunning set of four Japanese silk mounted vertical hanging scrolls. Dating from C.1920 Taisho Period. The watercolour and ink on silk depicts a larg...

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...

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 ...

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...

Signed E. LAURENT and Raingo Fres and numbered 375 and 321 on the base Charming pair of gilded bronze sculptures representing a Japanese couple in traditional clothing. The man pla...

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...

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 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...

Yasumi Nakajima II (1906-1988) Ikebana vase, circa 1960, Japan. Trumpet form, Tomoe model, with nice patinated brown-red (seido) bronze. Signed underneath. Dimensions: 26 cm H, 9 ...

This work is a glorious nod to buddhist temples circle windows, with beautiful Japanese garden scape seen outside. Golden leaf on the border of a frame is an expression of light goin...

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...

This is a pair of Japanese hand painted MCI Porcelain wall plates. They are octagonal shaped and painted in blue, red and pink colors in a white b...

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...

Japanese Modernist Beige Studio Ceramic Flower Vase, Circa 1950s DIMENSIONS: Height: 11 inches Diameter: 4 inches ABOUT JAPANESE MODERNIST BEIGE STUDIO CERAMICS Japanese Modernist...