Japonisme Furniture

A delicate and rare Japanese ceramic vase by the important Meiji imperial potter Makuzu Kozan (1842-1916) circa 1887-1910. Dated to his underglaze phase post 1887 after he successful...

Subtil and refined construction for this Japanese Style laquer. Full of peace and action as well Measure: 15" X 15’’ with the frame.

An important Japanese bamboo Ikebana basket by Yamamoto Chikuryosai I (also known as Chikuryusai I, Shoen after 1929) (1868-1945). Active in Osaka, Kansai region, he was advised by Wada Waichisai I. After 1929, he signed his work as Shoen (Shoen made this), such as this one. This basket was made using "sooted" bamboo (susutake in Japanese). This bamboo materials was collected from traditional thatched-roof houses that had been exposed to decades of smoke from a hearth or cooking fire, therefore the basket displays a deep rich patina that is hard to attain by color-lacquering. The basket featured a large rounded barrel form with handle. The body was constructed with a twill plaiting variation of a more relaxed and loose weave. It allows the light coming through to render the piece a lighter sense. Parallel plaiting was used to reinforce the body with stripes of bamboo, while adding more visual constrict to a free spirited background. Twisted bamboo strips form rope-like handle and the top rim. It is signed "Shoen Made This" on the base. Two-piece water container made from bamboo trunk is retained with the piece as shown. For the artists other and similar work, see baskets masterpieces of Japanese Bamboo Art...

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...

Sumida Gawa pottery garniture. Japan, circa 1890-1900.

Japanese bronze geese koros, Late 19th century. The pair of goose koros or censors are in the form of geese with their long necks extended and their ...

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

A Pair of Large Japanese Satsuma Lamps A pair of large Japanese Moriage Satsuma Handpainted Lamps dating from the Early 20th The lamps are ...

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...

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...

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

Large and unusual Japanese Satsuma vase with Samurai figures to front and back Purple ground with gilt and traditional colors throughout. Carved and molded ring & bow shoulders with ...

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...

Huge Imari vase with email painted with birds and kiku flowers.

A Japanese bamboo Ikebana hanging basket circa 1920s-1940s, made with "sooted" bamboo (susutake in Japanese). This bamboo material was collected from traditional thatched-roof houses...

Indian ink on old Japanese paper, 62 x 92 cm. Some creases.

A fine matching pair of hanging scrolls ink on paper mounted in green brocade borders circa Edo period (17-18th century). The Kano school painting depicts wild geese in the reeds by the margin of water, a popular subject borrowed from the Chinese tradition. Both painting were signed as Tanyu with a red seal of Morinobu, his birth name. The storage box is also present and was inscribed with the title Painting of Geese and Reeds and Kano Tanyu...

A Japanese style carved wood cabinet attributed to G. Viardot. A painted decor imitating Japanese lacquer, ornamented with flowers, birds and butterflies. Opening onto two drawers an...

Contemporary Japanese style floor light. Rather sculpture than lighting. Made of rusted steel, ceramic, and wood. Base is metal. Ivory part is ceramic in Japanese traditional style. Top twin panels...

A beautifully decorated cloisonné vase with silver rims by Ando Jubei (1876-1956), the celebrated Japanese Shippo studio. The piece is dated to late Meiji to early Showa period circa...

A Pair of Japanese Meiji Period (1868-1912) Carved Wood Fishes, Ca. 1920 DIMENSIONS Width: 8.5 inches Depth: 4 inches Height: 3 inches

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...

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...

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

Collection of 4 Bonsai miniatures in solid silver handmade, gilded, enamelled and burnished 1. Japanese apricot bonsai gr. 220 cm. 6 x 10.5 H. 8.5 wooden base 5 x 9 H.2 cm. 2. J...

Émile Gallé (1846-1904) Extremely Rare Baguier shaped tree trunk blue “light blue moon” (Clair de Lune) glass enameled designed with two grasshoppers, an ant and a fly. Signed E.Gall...

19th century blue and white Japanese porcelain dish Meiji period decorated with prunus on the cobalt blue ground, inscription to base, Ex Bonhams lot 268 diameter 12 inch.

Japonesque mixed metal copper tray. Made by Gorham in Providence in 1882. Lobed and rectangular with curved sides. Applied copper and silver ornament: Tree with blossoming branches a...

Chic pair of mid century tables or stands designed by John Wisner for Ficks Reed in a Japanese form with tiles on top over bamboo bases with reed wrapped joints.

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...

A Large Chinoiserie Marriage Chest on Stand This Marriage Chest is a bright and colourful piece, the chest is in Fire Red and painted with large stylised chrysanthemum flowers The...

This female bust, sculpted in a brilliant white porcelain, evokes the grace and nobility of antique statues. Coiffed with an elegant high chignon, this 38 cm tall figure captivates w...

A large square lacquer presentation tray (likely for kimono) predated 1950 of the Showa period. Elaborately decorated with Maki-e that depicts the prunus blossom, bamboo and needle p...

Japonesque sterling silver ink stand. Made by Tiffany & Co. in New York, ca 1881. Square with concave sides and fluted corners on cast scroll and bead supports. Centrally mounted bal...

Japanese Edo Period Ko-jo Mask of an Old Man, ca. 1820 Edo Period (1603-1868) DIMENSIONS: Length: 15” (with beard) Length: 8” (without beard) Height: 4” Width: 5.5” ABOUT A Japane...

An unique set of Japanese figurines of 9. Very decorative. 3 figurines are 25 cm high 5 are 22 cm high And the sitting is 18 cm

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...

20th c., a pair of Japanese Kutani style porcelain lidded jars, stamped on Porcelaine de Paris underside of foot. The mark indicates the piece was produced in the 1970's. The jars are decorated in deep orange, tangerine and gold motifs on a white background. On one side, both jars have matching decoration depicting a scroll showing a pastoral scene. On the other side, each jar has a seperate floral depiction; one including bamboo. Both are highly decorative. Founded 1773 by Jean-Baptiste Locre, Porcelaine de Paris, was one of the first manufactures to use the Chinese secret of porcelain. It immediately aimed for the luxury trade, selling to the Royal Courts of Europe. After surviving the French Revolution, Porcelaine de Paris steadily produced tableware as well as purely decorative pieces, receiving orders from all over Europe. Productivity was astonishing, creating one new model every day over 30 years! Around 1830, Jean-Marx Clauss, a German-born potter bought a building at Rue de la Pierre-Levee, where he took over Locre's activity. M. Achille Bloch...

Contemporary Japanese style sculptural shelf. Made of steel, ceramic, and wood. Frame is rusted steel. White trays are ceramics. One brown colored circle tray...

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

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 around 1870s and later became one of the appointed artist 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. With a relative large size, this vase is decorated with underglaze cobalt blue using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking dimensional misty winter landscape. The pine trees with upright trunks and down-sweeping branches appear receding into the depth of the mist, forming an visually unending forest. Known as one of the most creative ceramists, around 1880s, 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...

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...

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 around 1870s and later became one of the appointed artist 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. With an impressively large size, this vase was likely made and reserved as a presentation piece for one of the many expositions the studio participated in the early 20th century. It was decorated with underglaze cobalt blue using the novel technique developed by Kozan called Fuki-e (the blow painting), in order to achieve the striking dimensional literary landscape known as "Mountain and Water". 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 Taikan...

Large handcrafted floor lamp. Made from bamboo, metal, wood and fiberglass. The base is made from wood with a layer of concrete that gives it the appearance of solid concrete. The ba...

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...

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

Japanese Edo Period Grand-Scale Yoshitsune and Bannerman Warrior Musha Ningyô, Ca. 1800 DIMENSIONS Warrior - Height: 31 inches with platform. Bannerman - Height: 28 inches with b...

This a Lladro soft glow porcelain flower gourd vase. It is hand painted white in the background with a repousse of long light green branches with light blue leaves and flowers plus r...

This is a yarn-dyed jacquard throw decorated with blue, green, and brown stripes, with a pattern of peony flowers and finished with short fringes. The blue tones are characteristic o...

Yamashita Kochikusai (1876-1947) was a Japanese bamboo artist from Osaka, Kansai region. He apprenticed under Wada Waichisai I (1851-1901), becoming independent in 1901. His students include Ezono Chikubisai, Suzuki Gengensai and Inose Kohosai. He won prizes for his work at numbers of exhibitions and was patronized by the Imperial Household. The basket on offer has a simple but elegant elongated shape and it was finely woven with smoked bamboo likely circa 1910s-1920s, late Meiji to early Taisho period. The body was constructed with Hexagonal Plaiting for the main body, reinforced with twining in the upper and lower portions. The special design was reserved for an mouth ring...

Pair of Samson porcelain vases, gilt bronze mounting, early 20th century. A pair of 1920's Samson porcelain vases with gilt bronze mounts, floral decoration in the Asian Arts style....

A pair of Japanese lacquer lidded Hokai boxes with chased brass hardware and original ropes. Hokai boxes are traditionally used in Japan to store and carry s...

Striking 19th century antique Imari staple charger featuring vibrant oranges, blues, and golds. While a broken plate or charger would be discarded in today's era, other generations f...

Antique coppered Japonais Revival inkstand with two ink pots and a stamp holder. The border of the base is in relief and abounds with flowers and birds while the pen rest has a quain...

Vintage set of 2 square bowls features a traditional Arita style blue and white decor with Mino Yaki motifs of lush, exotic flowers and leaves in Sometsuke decoration technique. The ...

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

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...

Dimensions of Pelmets : Height : 50 cm (19,7 in.) ; Width : 177 cm (69,7 in.) ; Depth : 21 cm (8,2 in.) Height : 50 cm (19,7 in.) ; Depth : 172 cm (67,7 in.) ; Depth : 20,5 cm (8 in.) Dimensions of Tieback holders : Height : 29 cm (11,4 in.) ; Width : 24 cm (9,4 in.) ; Depth : 21,5 cm (8,5 in.) Amusing pair of "Chinoiserie" painted wood pelmets...