Japonisme Furniture

781 Japanese Mashiko-ware White porcelain Glaze vase. Emperor Showa from 1926 to 1989 Period, Ca. 1980. 10” high x 5 ½” wide. Signed box. Mashiko is a...

European silver fish-form spice box, 19th century. Hinged head and lower mouth, and faceted red eyes. Articulated and scalloped wide body, and hinged fins and tail. Loose-mounted rin...

A fine pair of French 19th century Japonisme Louis XV style Gilt-Bronze and Marble Figural Chenets (Andirons) by BOUHON FRES, each depicting a flaming dragon atop an "L" shaped base surmounted with an allegorical gilt-bronze and marble urns with floral garlands and paw-feet, the base with a draped ormolu design and raised on tapered feet. Stamped: "B&H". Circa: Paris, 1890-1900. The bronziers Bouhon et Cie. Bouhon Frers. specialized in bronze-decorated fire-places and fire-fittings. These large and fine chenets are supreme examples of their output. The firm participated in the 1878 and 1900 Paris Expositions Universelles. Japonisme[a] is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858. Japonisme was first described by French art critic and collector Philippe Burty in 1872.[3] While the effects of the trend were likely most pronounced in the visual arts, they extended to architecture, landscaping and gardening, and clothing.[4] Even the performing arts were affected; Gilbert & Sullivan's The Mikado is perhaps the best example. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.These prints were created for the commercial market in Japan. Although a percentage of prints were brought to the West through Dutch trade merchants, it was not until the 1860s that ukiyo-e prints gained popularity in Europe. Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions. Japanese decorative arts, including ceramics, enamels, metalwork, and lacquerware, were as influential in the West as the graphic arts. During the Meiji era (1868–1912), Japanese pottery was exported around the world. From a long history of making weapons for samurai, Japanese metalworkers had achieved an expressive range of colours by combining and finishing metal alloys. Japanese cloissoné...

Graceful hand decorated Japanese vase with traditional motifs and gold rimmed top., c. 1960's. Signed on bottom, Gold Imari.

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

Incredible pair of Japanese hand cast bronze Mandarin Duck screen holders with detailed plumage, Taisho period 1920. Each of these two sculptures is in g...

Japanese large bronze sculpture in two parts depicting an attendant standing atop a rocky base and holding a chamara fly-whisk or -swish used to sweep ignorance and fan deities, the ...

A Famille Rose Painted Enamel inkwell set Qianlong Period (1736-1795) by l’Escalier de Cristal It consists of a fretworked tray with raised edges in blackened wood surrounded by a fine gilded bronze ring, on which rests two Famille Rose Qianlong Period (1736-1795) hexagonal inkwells with pierced tops, one with original glass container, decorated with polychrome stylised flower heads and foliate scrollwork. This inkwell is characteristic of the productions of the Maison de l'Escalier de Cristal, it shows a hybrid realization, using ancient Asian elements, used as a container for feathers and ink. Stamped «Escalier de Cristal Paris» Circa 1880 L’Escalier de Cristal, Parisian firm created about 1800 by Mme veuve Desarnaud, famous under the French « Restoration » for its decorative objects combining crystal and bronze. She was awarded a gold medal at the 1819 Paris Exposition des Produits de l’Industrie for an outstanding gilt-bronze mounted crystal dressing table. Located in Paris, at the Palais-Royal, Galerie de Valois, L’Escalier de Cristal was bought out around 1830 by Boin, and then by Lahoche in 1840. The company owed its rise to a position amongst the most im-portant Paris decorative wares shops to Lahoche, who expanded considerably the business and entered later in partnership with his son-in-law to set up in 1852 Lahoche et Pannier...

A beautiful artisanal handcrafted porcelain Dragon ware teacup. This set features a moriage dragon design. Created from slip and applied around the body...

Daruma is a traditional Japanese figurine that means to get up again and again even after falling down. It has been loved as a decoration to ward of...

Pair of French antique Japonisme glazed ceramic and ormolu mounted lamps French, Late 19th Century Lamps: height 104cm, width 36cm, depth 26cm Shades: height 33cm, diameter 50cm In the Japonisme style, these superb, exceptionally large lamps (converted from vases) are made from glazed ceramics and fitted with ormolu mounts. The beautiful vases are parcel gilt and decorated with exquisite images of, to the front, a Japanese male figure on one and a female figure on the other; complemented by images of Japanese landscapes including trees, birds (ducks), shrubbery, flowers, and insects, including stick insects and butterflies. Each piece is fitted with superb ormolu elephant...

4 Small Lacker boxes on a tray. Mother of Pearl inlay. Inside the boxes. Lots off Bone fiches. I think a game. Very good condition.

A fine quality hand painted Japanese Meiji period (1868-1912) Fukagawa porcelain lidded vase. Depicting exotic Cranes among Reeds and Lillys, boa...

Beautiful white porcelain living room lamp. Far Eastern inspiration / Japonism, France, circa 1970-1980. Stamped "Pillivuyt France Porcelain since 1818" "E 86 3" "34" In very good...

786 Japanese Kiyomizu-ware. Emperor Showa from 1926 to 1989 – 1990. Ca. 1970. 9” high x 6 ½” wide. Fine condition. Signed, features a fine gray glaze with flex of black glaze ,vase o...

An antique jubako (stack boxes) with five tiers in an elongated octagon shape circa 19th century (end of Edo or beginning of Meiji period). jubako was traditionally used to store and...

Chrysanthemum gilt sterling silver box. Made by Tiffany & Co. in New York. Traditional lobed and ovoid bowl with short and inset neck and splayed volute scroll supports. Cover hinged...

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...

The bright translucent green glass vases with the spiral-fluted bellies. Enameled necks are embellished with a gilded image of the sun behind a blooming sakura tree in Japanese style...

A striking Japanese carved wood mask with polychrome paint and lacquer surface. This rare mask is dated to the Edo period (first half of 19th century and possibly earlier). The mask ...

Stunning early 20th century Japanese brass champleve vase. Features a vibrant enamel design throughout the vase.  

A lacquered wood box with lid from Japan circa 19th century Meiji Period. The finely decorated box was used to store paper slips and small documents on the desk. It is overall finished with black lacquer (kuro) with sparse Mura-Nashiji effect outside and on the top surface of the lid, there are three Komainu, (sometimes known as Shishi or Japanese lions) frolicking and forming a circle in lively motion. Komainu are auspicious animals in Japanese cultures in both Shinto and Buddhism tradition. Originally from China, these animals symbolizes guardians to ward off evil spirits. Hiramaki-e was used in combination with carving and combing to render the lions with various surface textures. A gilt border with an slight angle was given to the lid and even the thin band is decorated with miniature floral scrolls. The interior of the box was finished in a dense nashiji. Underneath the lid, a cluster of peonies open lavishly by two gentle mounts. Takamaki-e (high relief) in both gold and silver were...

784 Japanese Tamba-ware White with Faint Colors Textured Glaze Vase, Emperor Showa from 1926 to 1989 – 1990,Ca. 1970. 8” wide x 5 ½” high. Signed. Featuring Japanese classic form, ve...

Daruma is a traditional Japanese figurine that means to get up again and again even after falling down. It has been loved as a decoration to ward of...

A beautiful Japanese textile art panel with an embroidered dragon on a swirling cloud background, nicely framed with a linen matt in an antique-fi...

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 Kiyomizu-ware singed ,features a fine gray glaze with flex of black glaze ,vase of dramatic oval form with mon accents, signed box. Kiyomizu ware (???, Kiyomizu-yaki) is a t...

Japanese porcelain vase delicately hand painted on an craquelure oatmeal colored ground. The brightly colored design is of prunus blossoms, chrysanthemums and several roosters all ou...

Rare Japanese style cylinder desk in tinted and carved wood, richly engraved on all sides with foliage, cherry branches and geometric interlacing. Surmounted by two asymmetrical shelves, the cylinder is decorated with an engraved dragon. Opening this cylinder reveals many compartments with adjustable dimensions, a drawer with engraved decoration and letter storage. The cylinder sides can open laterally, allowing a larger area for working and writing. The lower part of the desk is formed on the left by five superimposed drawers decorated with geometric interlacing and carved branches, as well as Japanese characters, deer and mother-of-pearl foliage. On the right, there is a drawer and a door decorated with carved leaves and mother-of-pearl interlacing, revealing four drawers forming compartments. An ingenious mechanism makes it possible, when the cylinder is closed with a key, to completely lock the desk. Gabriel Viardot career began as a wood carver and he produced small furniture, sculpturally carved with naturalistic motifs and animals. In the 1855 Exposition Universelle in Paris, his finely sculpted objects were well received. However, with the increasing importation of similarly produced Swiss and German articles, he found less opportunity for these and decided to innovate. G. Viardot succeeded to his father’s business in 1861 installed rue Rambuteau in Paris. Around 1870 he turned to the idea of producing « Meubles genre Chinois et Japonais ». The taste in Europe for exotic furniture, incorporating sometimes authentic Chinese or Japanese objects...

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...

This Japanese hand painted blue and white charger features a plump, cheeky looking bird perched on a branch surrounded by foliage and flowers. ...

Art Deco pottery vase signed Auguste Delaherche, Circa 1930. Number 4732.

This is a very fine Ikebana basket from the late 19th century / early 20th century . The Japanese art of flower arranging is a highly ritualised process and this basket would have be...

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...

Wilmington Nc estate sale find. An outstanding rare piece of hand thrown 19th century pottery. vase moriage decoration of swallows and flowers. There is ...

These stylish decorative Asian style wall art collages have been mounted in black lacquered wood and lucite frames. Each panel is ready to hang. These unique works of art are visibly inspired by both 19th century Chinese carved gold gilt and painted wood wall panel or plaques with scholar and warrior figures. As well as, Japanese Shunga. Shunga is a style that was painted by some of the best ukiyo-e artists of the day. This work features figurative art, daggers, gilding, textiles, natural bamboo and a musical harp...

Meissen porcelain vase with hand-painted branches, flowers and birds. Japanism, early 20th century. Measures: 10.7 x 6.5 cm. Stamped. 1st factory quality.

This is a beautiful Arita charger that has the most appealing color palette in salmon, blue and white. It is 13 inches wide and deep. It has a fluted rather...

Bicone vase by U-Turn Ushiro. It is baked for several days in an anagama (a kiln that burns firewood). It is shaped vertically symmetrically. The copper contained in the clay blows out on the surface, and reddish-black spots can be seen partially. It is a work where you can see various reactions of various ingredients. U-Turn Ushiro While working at the fire station...

A very fine miniature ceramic vase in satsuma ware by Taizan Yohei (1864-1922) circa 1880-1890s of late Meiji period. The vase with a broad flat shoulder ...

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 ...

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

An exquisite Japanese sterling silver ornamental bonbon dish, circa 1890-1900. The piece was rendered in the shape of a stemmed branch of chrysanthemum blossom and was made for export market. Both botanically realistic and stylish, the piece showcases a high degree of artisanal sensitivity and technical ability of the silversmith who created this lovely piece. The petals that form the exteriors were outlined with deep and fluid relief lines of sculptural quality. The branches and leaves were rendered with attentions to the smallest details, with molding and surface texturizing using chasing in contrast with hammering. The interior of the dish is equipped with a conforming inner dish and when it is taken out, revealing the chased lines. The piece, although practical, is basically an okimono in sculptural form, a work of art on its own. It weighs about 22 ounces. Under the dish, it is marked "Pure Silver" in Kanji and SM in a rectangular cartouche. The research (carried out by Adrien Von Ferscht, an expert and author on Asian Export Silver) identified it to be Sadajiro Musashiya...

'Pendule Fleur d'Hélianthe' - A Rare 'Japonisme' Cut-Crystal Glass, Gilt and Patinated Bronze Clock by Baccarat, Paris. Stamped 'Baccarat', The clock movement signed 'Planchon à P...

Emperor Showa from 1926 to 1989-1990. Measure: 13 ½” high. Singed Tsuyoshi with signed box. Features a fine white glaze with green leaves and blue berries glaze. Tall classic shape a dynamic masterpiece Seto ware...

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 ...

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 ...

This large antique charger (18 inches in diameter) is a showpiece of Japanese decorative art. Made in the late 19th-century Meiji period, the intricat...

A vintage Japanese Fireman's Jacket (known as hikeshi-banten in Japanese) woven with heavy cotton and decorated with stencil resist dye circa 1920s Sh...

A large scale and very good quality late 19th century Japanese Imari vase with exotic birds, trees and flowers. Wonderful coloring in vibrant hues of blue, red and rust.

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...

Pair of antique Japanese Satsuma vases. Each with opposing Scenes of figures and raised elephants. The pair in good condition.

This is a pair of antique carved stone panels. A Japanese, lacquered decorative scene with female figures, dating to the late Victorian period, circ...

A rare pair of early nineteenth century faience pottery vases and covers, decorated in the Imari taste, with gilded lion finials, the bodies profusely decorated with figures, exotic ...

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 bespoken Japanese historical hat known as Jinggasa (militant hat) that was worn by samurai in Edo period (1603-1868) circa 18-19th century. There were several subtypes of Jingasa a...

Japanese Celadon classic oval shaped vase. Emperor Showa from 1926 to 1989– 1990) – Ca. 1960. 11 ¾” high. Featuring bamboo handles. Signed, no origina...

Our mantel clock and candelabra with silvered, gilt and cloisonne enamel surfaces in the French Japonisme style dates from the 1870s and is in good condition. Attributed to the influ...