Small, unique and very beautiful antiques for display in the
Tokonoma, with Bonsai as an accent or for display with a scroll

Scrolls Small size Antiques
Accent items for Bonsai Display or Tokonoma
 Accoutrements for Tea and Lacquer Trays Suiseki
Viewing Stones





A gorgeous 1930's Taisho period Fukagawa / Imari orchid vase signed underglazed on the base.
The condition is perfect and original with no damage. Height 17cm (6.25 inch) jab

Cricket Cage

Various woods Tea Caddy's
Burr Maple Tea Caddy's
Cherry Wood Tea Caddy
  Bud Vases  

These are  a very nice pair of Japanese 18th century Bizen Pottery terracotta  vases. Both have applied images of a dragon seen through clouds in the form of pitted areas of terracotta stained black, the dragon being gilded so it stands out, they both have oriental seal marks as seen. These are  heavy vases  and  the rim on one of the vases is slightly  damaged but can be turned to the back  and so hidden.  I can get that fixed of course if requested. I will get an estimate from a pottery restorer It is a most unusual pair.

 They measure  32cm high and both weigh about 2kg each

The perfect one is £120 and the imperfect one is £65 or £150 for the pair

Fukagawa porcelain

£85 ($135) Post at cost.

Size Diameter 6.5"(16.5cm) x Height 7.3"(18.5cm)
DESCRIPTION This is a vintage Japanese vase of the famous maker, Koransha, whose porcelain vase was made about 30 years ago. Yellow and pink Iris are painted on the vase.

On the bottom of the vase, the seal of the Koransha porcelain is stamped. Koransha is the designer and artist for this beautiful vase

Koransha porcelain is known in the world as a manufacturer of fine arts of ceramics known as Arita(Imari) Ware. The Koransha porcelain workshop was started by the 8th Eizaemon Fukagawa in 1875.


In Arita, the birthplace of Japanese porcelain, the pottery FUKAGAWA-SEIJI has approximate 120 years history, and has been sticking to hand techniques for all porcelain productions. "The almost transparent white porcelain" produced by only being baked at high temperature and "Unique design" fascinate porcelain lovers all over the world. FUKAGAWA-SEIJI was appointed as Japanese Imperial Household Agency with high evaluation, not only Japan but also Europe

The Fukagawa Family and Their Porcelain
Koransha was founded in 1875. Ezaiemon Fukagawa started to produce porcelain for export to Europe and America. He named his company "Koransha," which means "The Company of the Scented Orchid."

Sei Ji Kai Sha, which stands for
"The Company of Pure Water," was founded in 1879 by members of the Fukagawa and other families in Arita
who were at one time associated with Koransha. The company made dinner ware for the Western market. In 1894, the Fukagawa Porcelain Manufacturing Company was founded. This company still exists today and manufactures some of the finest contemporary Imari. It is still being operated by the Fukagawa family.

Vintage Japanese vases of the famous Fukagawa porcelain. Notes.

On the bottom of the vase, the trademark of Fukagawa porcelain, Mt. Fuji is painted, and "Kanyo Sometsuke (The official clan kiln, Blue and white ware)" is written.

Fukagawa porcelain is known in the world as a manufacturer of fine arts of ceramics known as Arita Ware. The art and craft of porcelain that was expressed through the philosophy and creations of Chuji Fukagawa, the founder of the Fukagawa Seiji Porcelain company.

The art of porcelain was produced for the first time in the small town of Arita in Saga Prefecture, Japan in 1616. In 1894, Fukagawa Porcelain was organized and founded by Chuji Fukagawa, adopting Mt.Fuji and river as the company logo.

Fukagawa Porcelain became Famous when the company won the gold prize at the World Exposition held in Paris in 1900. The designs of Chuji Fukagawa, the founder of the company, immediately fascinated porcelain lovers of the world.

In 1910, Fukagawa Porcelain was appointed purveyor to the Imperial Household which is the highest honor in Japan and so became the representative of Japan’s porcelain (ceramic) ware society.

The charm of the pottery of Fukagawa porcelain is in coloring of blue on the almost transparent white porcelain, which was made possible by high temperature (approx. 1350?) baking. This blue color is so unique that it is called "Fukagawa blue" and attracts many fans even today. The design the founder Chuji Fukagawa has left is of a special technique that can hardly be seen today. The company has inherited this valuable asset and treasured the mystique over the design of Fukagawa porcelain. The porcelain lovers in the world have respect for the design and call it as the Fukagawa Style.


A very rare and colourful Japanese Shobu, Ume and Koi (Iris, Plum blossom and carp) pattern on this
19th century Meiji period porcelain vase . This vase is entirely hand painted with a ground of white, green and gilded..
15.6x10cm in diameter . Small bit of damage at top but this is a very rare vase
as it depicts , essentially, how Art nouveau started in the west.. I will try to get this small damage restored
and that will be added to the price. Meantime the price is £65.


Small Japanese copper Ikebana or brush vase
Lozenge-shaped-With 4 sides, 2 per design:
The design is with traditional Japanese Cranes and Bamboo that mean a long and healthy life. On the other sides are images of an Egret or Heron
Copper and coppered finish
Taisho ( early 1920s)
3.5 inches tall by 2 inches at the widest point.

Slight wear with a little tarnish on copper. sx

This is a beautiful and unusual 19th century Meiji Suzuribako, a Japanese writing box with ink stone. It has been created in Urushi Lacquer with a sparrow raised on top. The box is in very good condition
Incised lid decoration; Negoro ware Urushi;
Red on Black Lacquer Writing box with brush-rests, ink-stone & water dropper
Traditional High-quality gloss Urushi Lacquer
For use with Shodo Calligraphy utensils

Suzuri Inkstone
Suiteki Water Dropper, Metal, with stand
Tray with fixed metal brush-rests
2-part box, scalloped edge to lid
Brush and piece of Sumi Ink Stick
Contents have been used but are otherwise in good condition
Meiji(1840- 1880)
Box 8.5 x 6.5 x 1.2 inches
Ink-stone 4.9 x 2.5 " j£210


Kamakura-bori is a form of lacquer ware from Kamakura, Japan. It is made by carving patterns in wood, then lacquering it with layers of red, blue, yellow or other colors. And then polished. The genre is said to date to the Kamakura period, when Koun began carving Buddhist implements in the manner that Chin Na-kei (or Chin Wa-kei) had introduced from Song Dynasty China

Link to the history:

Kamakura-bori” is a traditional art form handed down 700years ago from the Kamakura Period.

During the Kamakura Period many Buddhist temples were built. Kamakura-bori” is said to originate from the sculptors of the Buddha statues and the unique lacquering on the carved Buddhist objects. They were much influenced by Chinese traditional lacquer-carving ( Tsuishy, Tsuikoku, Benibanaryokuba etc.) .


Kamakura-bori is attractively hand carved usually from Magnolia, and Ginkgo trees and then coated with many layers of special bright colored lacquer . The most representative example of “Kamakura-bori” uses special ‘Shumakinuri’ lacquer in which a special powder of Makomo (wild rice) is sprinkled into a bright vermillion lacquer, producing a strong three dimensional impression of the sculpture. This special characteristic cannot be found in other lacquer wares.


When Kamakura was the seat of power for the ruling Shogunate in around 1200AD, monk sculptors copied the technique of carving and lacquering wood imported from China into Buddhist images. This way grew and developed into the art of Kamakura Bori.* The first feature is the technique displayed by the carving knife, a sculptor’s chisel, that breathes life and form into the wood. The second feature is the tone of the lacquer which brings out the depth of the carving.
The Katsura tree is used for the wood for the Kamakura Bori. The wood is cured after harvesting and prepared for decoration.
A wide variety of wood materials are lathed, joined, hollowed and other cutting techniques are applied to create this versatile art form.
Designs and patterns are sketched in ink onto translucent sheets of Japanese paper. Then the images are transferred onto dampened wood surfaces by rubbing.
In the preliminary carving the artist carves along the base lines of the pattern creating dimension, angle and perspective.
Then with special, flat-headed knives portions of the surface are chipped away to create a relief pattern.
A final carving is added to the design to produce the trademark gouging effect which gives a special texture to the work and is only known to Kamakura Bori art pieces.
The lacquering process starts by applying a raw sap from a special tree,
called “Urushi”, base lacquer coat to the freshly carved piece. It soaks into
the wood and forms a rich undercoating.
After multiple coatings of the base lacquer and polishing of the piece by using fine grained charcoal, a black lacquer is applied in two coats followed again by polishing with fine abrasives.
Then a vermillion lacquer is applied to create the outer layer, a reddish, highly translucent finish unique to Kamakuri Bori!
After some more polishing the final stage exists of applying a thin layer of lacquer. This is then wiped off, followed by a final polishing with powdered oatmeal material. This process is repeated until the perfect finish is achieved.
In total it will take 4 to 6 weeks to make a round tray (1ft in diameter).

Tray £180
Vintage Japanese Vase, Mino ware, Light green glaze which is extremely beautiful
It's very good condition. No chips, no cracks.
Dia. 3.5"(9.0cm)x H 3.7"(9.4cm)

This is a vintage Japanese vase of Mino ware, which was made around the 1960's. White pottery is coated with light green glaze. Similar to Celadon Green


Japanese porcelain bud Vase.
Decorated with a bird on a flowering tree.
3.5" Tall.
This has the  YAMAJI stamp on the base. This is one of the older ceramic makers in Japan and from the early 20th century specialised in Japanese themes with a western influence.

£14  $20



Unusual Japanese Pot on three legs.

Pattern of Fan, Ume and Môn crests)

I think that this looks late 18th century

8cm high with an 18cm circumference

£15 ($23)

Mino ware, Iron-based Reddish brown Japanese Vase, Mino ware, Iron-based Reddish brown glaze
It's very good condition. No chips, no cracks.
Dia. 2.8"(7.2cm)x H 4.6"(11.8cm)

This is a vintage Japanese vase of Mino ware, which was made about 30-40 years ago. White pottery is coated with Iron-based Reddish brown glaze. £34















Small 3.5 inch Japanese baluster bud vase dating from the late 19th century, An extremely pretty bright bud vase with stylised blossoms

£30 /  $50

This early 1900 late Meiji to early Showa Period Japanese blue and white porcelain spill vase, is hand thrown of cylindrical form with three applied lug feet. It is hand painted in Underglaze cobalt blue with two groups of bamboo stems and leaves. This lovely little piece is unmarked and is in excellent condition with no chips, cracks, damage or repair. Height 7.9cm, 3.1/8", diameter 4cm, 1.9/26". JA

Blue & White moon shaped Flask / Vase
Has markings to base - Chinese
It is in very good condition
8 inches high by 6 inches in diameter
Different designs on each side £120


Celadon Plate , butterflies and birds on raised enamels, Tongzhi mark to base. £120



This is an absolutely gorgeous Pair of 9 1/2" CHINESE FAMILE ROSE CELADON PLATES Hand painted and decorated on ground celadon with exotic birds, butterflies, insects, peonies and fruits in the later part of the 19th century. Made approx between 1862-1874, these unique plates have an exquisite crafted finish to the highest standard with a colour palette that is vivid and bright. These plates are in excellent condition and overall there is little damage to the plates, one plate has a couple of tiny nibbles on the underside of the rim and the 2nd plate has Y shaped hairline crack that is evident on both the upper and underside of the plate, there is a couple of flea bites to the rims of the plates, these are minor and are commensurate with age and do not detract from the simple beauty of the plates. The plates measure about 24.5cm (9 1/2") in diameter. The base rim measures approx 15.3cm in diameter. CJ

There is a blue back stamp on the base of both of the plates and I am unable to clarify exactly who this mark belongs to under the Da Qing period.

This is a magnificent example of Chinese craftsmanship at its best. These lovely plates would be a great addition to any collection and brighten up any room with its captivating beauty. A rare find for a collector of Asian arts.

£180 for pair




A beautiful pair of large Imari Cats that we think follow the manufacturing of the middle to late18th century
Probably early 20th Century. They look older and so may well be 19th Century. I find it hard to decide.
Wonderful expressions on each face. Fully hand signed in excellent condition

The cats Inscription reads: Gikendo Tatsudoshi nen sei or Gikendo,
'made during the year of the dragon'.

 I feel that these are in the  Imari tradition and made in the Arita Kilns....15 inches tall ( 38cms)

The pair £160 E190
I have a great fondness for Imari Cats and have a few examples in my collection. I will be adding to this page in due course.
The colours are vibrant and can only make one smile

Imari (Imari porcelain) is the name for Japanese porcelain wares made in the town of Arita, in the former Hizen Province, north-western Kyūshū. They were exported to Europe extensively from the port of Imari, Saga between latter half of 17th century and former half of 18 th century, Japanese as well as the Europeans called them Imari. In Japanese, these porcelains are also known as Arita-yaki (有田焼). Imari or Arita porcelain has been produced continuously until present date.

The history of Imari porcelain can be traced back to early 17th century. Imari was simply the trans-shipment port for Arita wares. The kilns at Arita formed the heart of the Japanese porcelain industry, which developed in the 17th century. Some of the initial pottery had white or celadon tones. These under-glazed articles were decorated with cobalt blue. After the 1640s, more colours such as red, green, blue, yellow, purple and gold were enamelled on the wares. The art soon started receiving acclaim from European elites and the demand gradually kept growing. European collectors have pseudonym Japanese porcelain art made in the town of Arita. Most art on the porcelain ware portrayed artistic and cultural trends that existed in Japan during that era. The objects were produced on both domestic and industrial level. Some of the domestic pieces of high-class quality and designs were reserved for feudal lords and high-ranking members of the European society. Even today, pieces of Imari hold a high value for enthusiasts and collectors. However, while purchasing an Imari one should remember that not all the Japanese porcelain produced during that era is referred to as Imari. To be able to distinguish Imari from other Japanese porcelain, it is important to remember certain points. First, Imari was only produced between the 17th and the 18th century. Second, it was produced only in Arita kilns. The porcelain itself is white in colour; however, Imari is often enamelled with blue. Therefore, the largest collection of Imari is in blue and white. Golden and other colours came much later. There is a distinction in design and style of Imari that can be seen evolving with the passage of time.

Though there are many types of Imari, Westerners conception of Imari in popular sense has association with only a type of Imari produced and exported in large quantity in mid-17th century. The type is called Kinrande. Kinrande Imari is coloured porcelain with underglaze cobalt blue and overglaze red and gold. The colour combination was not seen in China at that time. Traditional Ming dynasty colour porcelain used dominantly red and green, probably due to scarcity of gold in China, whereas gold was abundant in Japan those days. The subject matter of Imari is diverse ranging from of foliage and flowers, people scenery and abstraction. Some Imari design structures such as kraakstyle 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.

Some antique hallmarks are so popular that fakes proliferate, and how these fake hallmarks can be distinguished from the genuine is just as important. Some hallmarks have interesting stories, such as the evolution of Japanese Imari into Chinese Imari and how it impacted demand and value for Imari.




Notes on Shishi-Chinese Lions

Chinese guardian lions, known as Shishi (Chinese: 石獅; pinyin: shíshī; literally "stone lion") or Imperial guardian lion, and often incorrectly called "Foo Dogs" in the West, are a common representation of the lion in pre-modern China. They have traditionally stood in front of Chinese Imperial palaces, Imperial tombs, government offices, temples, and the homes of government officials and the wealthy, from the Han Dynasty (206 BC-AD 220), and were believed to have powerful mythic protective benefits. Pairs of guardian lions are still common decorative and symbolic elements at the entrances to restaurants, hotels, supermarkets and other structures, with one sitting on each side of the entrance, in China and in other places around the world where the Chinese people have immigrated and settled, especially in local Chinatowns.

The lions are always created in pairs, with the male resting his paw upon the world and the female restraining a playful cub that is on its back. They occur in many types of Chinese pottery and in Western imitations.
In Japan: the lion figures are known as Komainu (狛犬・高麗犬, lit Korea dogs) possibly due to their introduction to Japan through Korea.
In Myanmar: called Chinthe and gave their name to the World War II Chindit soldiers.
In Okinawa: similar lion formed statuettes are known as Shisa.
In Tibet: known as a Snow Lion
In English and several Western languages, the guardian lions are often referred in a multitude of name such as: "Fu Dogs","Foo Dogs", "Fu Lions", "Fo Lions", and "Lion Dogs". The term "Fo" or "Fu" may be transliterations to the words 佛 (pinyin: fó) or 福 (pinyin: fú), which means "Buddha" or "prosperity" in Chinese, respectively. However, Chinese reference to the guardians lion are seldom prefixed with 佛 or 福, and more importantly never referred to as "dogs".

Reference to guardian lions as dogs in Western cultures may be due to the Japanese reference to them as "Korean dogs" (狛犬・高麗犬) due to their transmission from China through Korea into Japan. It may also be due to the misidentification of the guardian lion figures as representing certain Chinese dog breeds such as the Chow Chow (鬆獅犬, Pinyin: sōngshī quǎn, lit. "puffy-lion dog") or Shih Tzu (獅子狗; Pinyin: Shīzi Gǒu, lit. "lion dog").


The lions are traditionally carved from decorative stone, such as marble and granite or cast in bronze or iron. Because of the high cost of these materials and the labour required to produce them, private use of guardian lions was traditionally reserved for wealthy or elite families. Indeed, a traditional symbol of a family's wealth or social status was the placement of guardian lions in front of the family home. However, in modern times less expensive lions, mass produced in concrete and resin, have become available and their use is therefore no longer restricted to the elite.

The lions are always presented in pairs, a manifestation of yin and yang, the female representing yin and the male yang. The male lion has its right front paw on an embroidered ball called a "xiù qiú" (绣球), which is sometimes carved with a geometric pattern known in the West as the "Flower of life" The female is essentially identical, but has a cub under the closer (left) paw to the male, representing the cycle of life. Symbolically, the female fu lion protects those dwelling inside, while the male guards the structure. Sometimes the female has her mouth closed, and the male open. This symbolizes the enunciation of the sacred word "om". However, Japanese adaptations state that the male is inhaling, representing life, while the female exhales, representing death. Other styles have both lions with a single large pearl in each of their partially opened mouths. The pearl is carved so that it can roll about in the lion's mouth but sized just large enough so that it can never be removed.

According to feng shui, correct placement of the lions is important to ensure their beneficial effect. When looking out of a building through the entrance to be guarded, looking in the same direction as the lions, the male is placed on the left and the female on the right. So when looking at the entrance from outside the building, facing the lions, the male lion with the ball is on the right, and the female with the cub is on the left.


The Asiatic lions were once quite common throughout its historic range in Southwest and Central Asia and are believed to be the ones depicted by the guardian lions in Chinese culture With increased trade during the Han dynasty and cultural exchanges through the Silk road, lions were introduced into China from the ancient states of Central Asia by peoples of Sogdiana, Samarkand, and the Yuezhi (月氏) in the form of pelts and live tribute, along with stories about them from Buddhist priests and travelers of the time.This exchange can be seen in that the Chinese word for lion is "Shi" (師, later 獅/狮), which shares the same etymological roots as "Shiar" (شیر), the Persian language name for the animal.

Several instances of lions as imperial tributes from Central Asia was recorded in the document Book of the Later Han (後漢書) written from 25-220CE. On one particular event, on the eleventh lunar month of 87 CE, "... an envoy from Parthia offered as tribute a lion and an ostrich to the Han court. Indeed the lion was associated by the Han Chinese to earlier venerated creatures of the ancient Chinese, most notably by the monk Huilin (琳说) who stated that "the mythic suanni (狻猊) is actually the lion, coming from the Western Regions" (狻猊即狮子也,出西域).

The Buddhist version of the Lion was originally introduced to Han China as the protector of dharma and these lions have been found in religious art as early as 208 BC. Gradually they were incorporated as guardians of the Chinese Imperial dharm. Lions seemed appropriately regal beasts to guard the emperor's gates and have been used as such since. There are various styles of guardian lions reflecting influences from different time periods, imperial dynasties, and regions of China. These styles vary in their artistic detail and adornment as well as in the depiction of the lions from fierce to serene.

Although the form of the Chinese guardian lion was quite varied during its early history in China, the appearance, pose, and accessories of the lions eventually became standardized and formalized during the Ming and Qing dynasties into more or less its present form.




This is a very unusual and extremely attractive Chinese BI (Disk) made from  Jade. Beautifully hand carved with detailed incising and chasing on both sides of the disk. There is a small hole at the top which I assume is to hang around your neck. The carving details two Phoenix and in the centre of the Bi surrounded by leaves. The carving is almost identical on both sides. The yellow jade colour is very rare and was used for imperial gifts..
It dates from the  19th century but could be earlier. The subject of Phoenix and Ox are lucky talismans and this is why the Bi would have been an object of great respect in a home

 Size 3 inches across by 1/4 inch thick:  £45

A bi is a flat jade disc with a circular hole in the centre. Neolithic bi are undecorated, while those of later periods of China, like the Zhou dynasty, bear increasingly ornate surface carving (particularly in a hexagonal pattern) whose motifs represented deities associated with the sky (four directions) as well as standing for qualities and powers the wearer wanted to invoke or embody.
As laboriously crafted objects, they testify to the concentration of power and resources in the hands of a small elite.
Later traditions associate the bi with heaven, and the cong with the earth. Bi disks are consistently found with heaven and earth-like imagery, suggesting that the disk's circular shape also bears symbolic significance as this description explains:
It is found that these objects testify to early stages of development of cosmological concepts that remained important in Chinese culture during the Warring States and Han periods: the notion of a covering sky (gaitian) that revolves around a central axis, the cycle of the Ten Suns, and the use of an early form of the carpenter's square. These objects were handled by shamans who were the religious leaders of Liangzhu (Lanzhou) society and the transmitters of cosmological knowledge.
The original function and significance of the bi are unknown, as the Neolithic cultures have left no written history. From these earliest times they were buried with the dead, as a sky symbol, accompanying the dead into the after world or "sky", with the cong which connected the body with the earth. They were placed ceremonially on the body in the grave of persons of high social status. Bi are sometimes found near the stomach and chest in Neolithic burials.
Jade, like bi disks, has been used throughout Chinese history to indicate an individual of moral quality, and has also served as an important symbol of rank. They were used in worship and ceremony – as ceremonial items they symbolised the ranks of emperor, king, duke, marquis, viscount, and baron with four different kweis and two different bi disks.
In war during the Zhou dynasty period (11th to 250 bc), bi disks belonging to the leaders of the defeated forces were handed over to the victor as a sign of submission.
We have two others in a similar yellow fat Jade.





Ancient Silk Iron. Chinese I believe to be circa Han Dynasty. An optional rosewood handle has being made to fit. £95.
This is a very nice Iron piece that can also be used as a censer.

Fu Dog Pair19th century Chinese £60


Antique Japanese Old Imari Incense stick stand, Incense burner, Hiire, 19C
As shown in the picture, it's good condition for the age. no crack, no chips.
There are some stains, because the Censer has been used.
Dia.max. 3.9"(10.0cm) x H 3.4"(8.7cm)
This is an antique Japanese incense stick stand or incense burner, which was made around the middle of 19 century.

This is used for incense sticks which are put into sand. When lit they stand vertically




Dehua County in central Fujian Province in southeast China is known as one of the Three Porcelain Capitals in China, together with Jingdezhen in Jiangxi Province and Liling in Hunan Province.

Dehua porcelain dates back to the Song Dynasty (960-1279). Solid and smooth, Dehua porcelain is resistant to both heat and cold. One type of "Jianbai" porcelain in particular has a sparkle and lustre even more stunning than white jade. Its ivory-white colour and superb workmanship make it a favourite of art lovers.

Dehua Kiln was a famous kiln specialized in white porcelain making. Its sites spread about within the scope of today's Dehua County, Fujian Province. Its white porcelain became a representative genre of Chinese porcelain industry. The body of its while porcelain was low in iron content and high in potassium content, the colour of the glazed surface was of bright, smooth lustre, and milky as frozen fat. It was thus often called as "lard white" or "ivory white". Dehua white porcelain used to be one of the major varieties for export in various dynasties. In the West it was named as "Chinese white porcelain" or "Marco Polo porcelain". Its common shapes were burner, cup, bottle, plate, tin, Zun (a kind of wine vessels), and Ding (an ancient cooking vessel), which are often decorated with appliqués and stamps, and the porcelain figurine was also remarkably exquisite. The masterpiece of Dehua porcelain is white porcelain figure of Buddha.

Dehua porcelain gradually developed its own techniques and styles and enjoyed big development during the Ming Dynasty (1368-1644). During the Song and Yuan dynasties (960-1368), Dehua porcelain had already been exported to other countries and regions. In modern times, quite a few Dehua porcelains of the Qing Dynasty (1644-1911) have won gold prizes in expositions held both at home and abroad, such as Shanghai, Taiwan, Japan and Britain, and Dehua porcelain is one of the main products of the national porcelain export, exporting to more than 80 countries and regions.


Fencai (famile rose)

It was a new variety of porcelain colour based on the five-colours, created under the influence of cloisonné, belonging to the variety of over glaze colours because of its colours added over the glaze. The characteristics was that it had changed the stiff relations between five colours since it was first of all filled with a layer of "glassy white" and then drawn patterns on the "glassy white" with the pigments in need, which made the bright and black distinctive, and the transition of the colours with the washing way made each colour rich in gradation, soft, pretty and charming, thus it was also called "soft colours". Fencai was a result of the further development of five-colours, and a new achievement in the porcelain production in Qing Dynasty. It was create in the Jingdezhen kiln in Kangxi Reign and prevailed in Yongzheng Reign, and still saw remarkable development in Qianlong Reign with more varieties and more sophistic patterns.



Bronze censer large size in the shape of a lotus, of globular form, the base cast in the form of a dragon and phoenix, 14cm diameter sold




Satsuma Vase

Rare Korean Crane Porcelain


19th Century Blue and White Bowl decorated with Reeds. Two small nibbles on rim and hardly noticeable. Diameter 6 inx3.5 /15.5cmx8.9cm with stand

18thC Ming Bud Vase

19th Century Japanese Blue and White bowl in god condition with makers mark on base. Diameter 7 inx3.25 /17.5cmx8.5cm with stand

Japanese Picture Bowl: This style of bowl is actually meant to be displayed on a stand. In this case with pretty finches amongst spring flowering blossom.

This is a beautiful 19th century Japanese Export Bowl in a raised, cloisonné style enamelled pattern. White background with a rich
green rim hand painted in blue, red and yellow
with an almost jewel like blue raised pattern.
Other areas in a similar jewel like pattern in colours and black.
Width 6.25 inches by 1.5 inches (with wood box)


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An Ando  Pigeon Blood Cloisonné Vase

An Emerald Ando Vase


  On the left are two vintage Japanese Shippo Cloisonné's vases in green, which were made about 40-50 years ago. The original wooden stands & wooden boxes are also included..
About shippo cloisonné craft The shippo cloisonné craft was centred around Tojima Village (now Shippo-cho), in Owari Province (now Aichi Prefecture). One of the oldest known piece of Owari cloisonné is a sake cup from 1833.
Early pioneers in Japanese Owari cloisonné techniques were Owari's craftsmen Kaji Tsunekichi (1808 to 1883), Hayashi Kodenji (1831 to 1915), Ando Jubei, and Kawade Shibataro. Both Ando and Kawade introduced the French art of Plique-a-jour cloisonné

Kutani Teacups in splashed gold with painting of Fujisan
Artists box

Click to go to Tea Page


Early 20th century Lid Vase floral design Famile Noir with seal. Japanese £80-5 inches- With Wood stand six inches
Ducks & Geese

Blue Ducks-Length 4.75 ins. Height 4 ins Width 3 ins Chinese mid 20th C

Brush Washer in the form of a pool 11.4x9.3x 5.6cm       Pewter and brass decorated Duck
Pot from China. A heavy pot 11cm
tall. Temporary image

Ceramic Duck: China 19th century. This is a deeper green than the picture shows which is much rarer than the blue.

The ducks mouth is slightly open with tongue showing and stands approximately 22cms / 8.6 inches tall

Although this is a vintage item there are no chips or cracks £75

Yifan Zhang
a Cat goddess who lead a legion of cats to uphold righteousness before the Shang Era. Descendant of Huang Di ,the Yellow Emperor a part-real, part-legendary personage who is credited with founding the Chinese nation around 4,000 BC

Chinese early 20th century Ceramic Brush Pot with tubed decoration 11 cms tall and has a diameter of 5.5 cms £22.50

Korean Jade Green vase with flying stork and cloud decoration 7.5cm high 7.5cm diameter
in very good condition, makers mark to base, which would date this to c 1930 so  at least 70
years old £75 includes wood base.

19th Century Chinese Spoon with Yellow Ground and Flowers ideal for collectors. In perfect condition measures 13.8cm long £30


Three teacups dating from 1700 Chinese.

Unusual colour Red Brown Soapstone Brush pot-Chinese dating from 19th century.
4.25 inches wide and 2.75 inches high

With box and Dark wood stand £120

A beautiful and elegant Chinese bud vase with Leaf Markings. Dating from around 1905 in an art nouveau style. Probably following the European fashion. It has been made in quite a thick porcelain and is quite heavy for its size.
This was collected in China from an antique store. It has a leaf mark on the base which refers to a pottery I assume so not a mass produced item by any means. Entirely hand painted.
5 inches tall and 3.5 inches wide. ob
Unusual hand painted Chinese censer approx 13cm across and 7.5cm high. There is no mark on the base

Each side has a different scene - one interior scene of a figure seated behind a table with two others moving away (shown) and the other showing a single figure in a country setting looking up at a kite and carrying a parasol across his shoulder.

Each end has a lion's head with a ring in its mouth.

The colours are fresh and bright and the figures painted with great detail
I have another one almost identical.
Perfect condition £35


Antique Chinese Bulb Pots
click above for page

Japanese porcelain marks See bottom of this page

This is a stand for Sake cups, called Kagetsudai to serve Sake to guests Width;7.1 in : Length 7.1 in : Height 7.1 in



Pure snow white Bowl Spun from  quartz crystal which makes a wonderful sound This amazing and one off  bowl is 8 inches tall and comes with a special beater and silk box £210
The above group of pictures are from our section on Tea accessories-A selection  of tea bowls, scrolls and teapots gathered from China and Japan- click this line to go there


The item is solid carved, beautifully coloured. Collected in China.


We recently found a what I think could be Moss Agate stone brush pot similar to the agate5 inches wide. £95

A selection of Dai-Display tables, will soon be shown here








Another gorgeous Korean Celadon Glaze ceramic vase,. This is a two handled vase.
Decorated in jade green with a white spot pattern, with baluster shaped vase. Handles have red glaze button tops.
Two character mark on the base.
It is in excellent condition with no damage or restoration.
While in a 19th century style this is early 20th century
Height: 4.1/8 inches, Width: 2.3/4 inches £35


















Chinese Blue & White 19th century Tea Caddy In perfect condition, this lovely piece is decorated With a Mountain and River scene, the lid has a stylised floral motif, in an oblong form , it stands 6" tall and 3.75" across. £45


Celadon Vases. These are 5 Korean Vases in a beautiful green. 3.5 to 4.5 inches tall

This is a brush pot /censer or bulb bowl which has been hand painted Prunus 'UME' blossom design. The unique thing about this marvellous pot is the beautiful shape of the  inner rim. Its signed with a three character mark on the base.

The item is in fine order. Although there is an expected amount of age associated wear , no chips, nor cracks , the under well foot does have a pictured spider hairline on the base glaze across the signature  but dos not affect the sides of the pot. Height at 4.5 inches, diameter is at 7 inches. This comes with a pot base in wood.  £90


Cicadas carved from Amber

5x3 inches

In Japan, the cicada is associated with the summer season. The songs of the cicada are often used in Japanese film and television to indicate the scene is taking place in the summer. The song of a particular cicada, called "tsuku-tsuku boshi", is said to indicate the end of summer, and it is called so because of its particular call. During the summer, it is a pastime for children to collect both cicadas and the shells left behind when moulting.

In Japan, the cicada carries further philosophical connotations of re-birth. Since the cicada emerges from the ground to sing every summer, it is a symbol of reincarnation. Of special importance is the fact that the cicada moults, leaving behind an empty shell. But furthermore, since the cicada only lives for the short period of time long enough to attract a mate with its song and complete the process of fertilization, they are seen as a symbol of evanescence.

In the Japanese novel The Tale of Genji, the title character poetically likens one of his many love interests to a cicada for the way she delicately sheds her scarf the way a cicada sheds its shell when moulting. A cicada shell also plays a role in the manga Winter Cicada. They are also a frequent subject of haiku, where, depending on type, they can indicate spring, summer, or fall. Also, in the series Higurashi no Naku Koro ni, cicadas (or higurashi) are a major subject.

In China, the phrase 'to shed off the golden cicada skin'(金蝉脱壳) is the poetic name of the tactic of using deception to escape danger, specifically of using decoys (leaving the old shell) to fool enemies. It became one of the 36 classic Chinese stratagems. In the Chinese classic Romance of the Three Kingdoms, Diaochan also got her name from the sable (diào) tails and jade decorations in the shape of cicadas (chán), which at the time adorned the hats of high-level officials. In the Chinese classic Journey to the West, the protagonist Priest of Tang was named the Golden Cicada; in this context the multiple shedding of shell of the cicada symbolizes the many stages of transformation required of a person before all illusions have been broken and one reaches enlightenment. This is also referred to in Japanese mythical ninja lore, as the technique of utsusemi (i.e., literally cicada), where ninjas would trick opponents into attacking a decoy.

This Japanese ceramic vase is from the 1930's and is made to resemble bamboo in shape if not colour. the colour is like celadon and very beautiful and delicate with the bamboo leafs in the same colour. Modelled in the same porcelain colour then fired. There are no maker's marks. It was probably used as a censer for burning incense as the inside is quite dark from what looks like burning. This is fine as the vase is small and teh right size It an also be used as a brush washer ,

This vase in good condition, with no cracks, chips, or other damage, and only a little wear, although there is quite a lot of stuck-on dust on the inside. 2 1/2" (6.3cm) x 4.3/4 (12cm). £30



Superb red porcelain globe pot

Height 9.0cm,lenght 9.0cm mid 20th century-kiln mark of blue leaf £60

This is a vintage Japanese incense stick stand (incense burner ) of celadon ware, which was made about 50 years ago.

A plum blossom branch has been painted on it. Dia. 4.6"(11.7cm) x H 3.6"(9.2cm)


Vintage Japanese Insence Case, Kogo, Kyo ware, Cow
It's very good condition. No cracks, No chips.

L 1.8"(4.6cm) x W 2.6"(6.5cm) x H1.5 (3.8cm)
This is a vintage Japanese Incense Case of Kyo ware. A cow is moulded.
The seal of the potter is put on the bottom. I can make out

Japanese incense case is called "Kogo". This was made about 70 years ago. £65

This is an antique Japanese Sake bottle of Old Imari ware, which was made in early Meiji Era (about 100-110 years ago).

This is originally a Sake bottle to offer Japanese Sake on altar in the time of Shinto-style wedding ceremony, etc.

Overglaze pictures are painted by the technique of "Inban". Inban is very intricated hand-finished stamp work. Inban was already used in early Imari.

Dia. 2.6"(6.5cm) x H 6.4"(16.3cm) £55


Japanese HANDPAINTED Sake bottle, Kutani ware,19c

it's excellent condition. No chips, no cracks.

Dia. max. 2.8"(7.2cm) x H 5.9"(14.9cm)

Age-around the end of 19C

This is an antique Japanese Kuwani ware's Sake bottle, on which a pair of cranes with pine trees are completely HANDPAINTED.

This Sake bottle was made around the end of 19C.

The signature of "Kutani" is written on the bottom. £95

About Kutani ware

Kutani ware is Japanese porcelain made in Kaga province (now in Ishikawa prefecture). The name “Old Kutani” refers to porcelain decorated with heavily applied overglaze enamels and produced in the Kaga mountain village of Kutani.
The powerful Maeda family had established a kiln there by 1656. The clay bodies used were gray and coarse-grained. On most pieces—dishes and bowls were especially common—a white or blue-white matte glaze was decorated in dark, restrained colours, initially greens, yellows, and some reds, and later purples and dark blues. Some items had cobalt blue decoration under a white glaze.

The most noted Old Kutani pieces are “Green Kutani,” in which most of the surface is covered in a green or blue-green glaze to which one or two colours have been added (or the glaze is applied evenly over a design executed in black).

The bold designs of Kutani ware drew freely from Chinese ceramics, paintings, and textiles. They are renowned for their rich pictorial ornament executed in lively, intense lines.


Handcrafted Japanese wooden Dry Tea bowl in contrasting woods. Beautifully crafted and patterned with several different textures and measuring 10cms across by 9cms tall . Excellent condition, no chips or cracks £35

Lovely vintage blue and white lotus blossom pottery vase.
No marks to the base . In excellent condition , no chips or cracks .

Measures 15cms tall by 8cms at widest.£85 including the  period mid
19th century hand carved stand



This is a vintage Japanese Insence Case of Kyo ware. Various patterns are hand painted on it.

Japanese incense case is called a "Kogo". This was made about 80 years ago. A Kogo is often used to burn a little incense during the tea ceremony
Good condition. No chips, no cracks.
Dia. 1.6-1.8"(4.0-4.5cm) x W 2.0"(5.0cm)


Small Japanese exquisitely made Satsuma Sensor-for incense. Circa 1920 £65

Character mark on base 6 x 10 cm £165

Chinese Snuff Bottle in the style of Qing dynasty. Temporary images-studio shots will be ready shortly

I do not sell snuff bottles generally because there are so many fakes that its sometimes hard to be sure of origin.
However this is quite a beautiful example of what I believe is a mid 18th century porcelain bottle
It is in blue and iron red to a crackle glaze ground. The bottle has a frog sitting on a lotus. On the base is a four character mark.
Possibly dating from the Qing Dynasty circa late 18C. I am still researching that. (reserved)

6.5cm high, 6 cm wide

Two small Imari blue under glaze vases. Not quite a pair as these are hand made. One is slightly wider than the other although both have the same design. These are offering sake bottles used in ceremonies for Buddhist festivals

Dating to the late 19th century. The design is of houses and farmers with a mountain scene in the background. Partially this may refer to the original way that Sake was fermented before the discovery of the enzyme that allowed fermentation. (see below)
6 inches tall £45 each or £75 for both. Including stands

Sake was used for many different purposes in the Shinto religion, including as an offering to the Gods and to purify the temple. The bride and groom each consume sake in a Shinto wedding ceremony in a process known as Sansankudo. There were many other uses for sake in Shinto, most of which are still in practice today. Because it is meant to be enjoyed with friends and family, tradition holds that a person must never pour their own sake; instead another person pours for you, and you do the same for them. Sake is served eiter cold or warm although there are specific sake types for cold and warm drinking. Generally warm sake is served around 92 degrees

The basic process of making sake involves "polishing" or milling the rice kernels, which were then cooked in good, clean water and made into a mash. The earliest "polishing" was done by a whole village: each person would chew rice and nuts and then spit the mixture into a communal tub – the sake produced was called "kuchikami no sake," which is Japanese for "chewing the mouth sake."

This is a Japanese mid Showa period bud vase. It is signed by Shunji who was a well known artist working in the Seto Area (Aichi Prefecture in Japan) Known as Celadon ware, this beautiful vase comes with the artists signed Kiri Box made for this superb example of Japanese pottery at the highest level. Created in 1960

Kato Shunji (1892-1979) was a celebrated potter in this prefecture. He was designated an Aichi Prefectural Intangible Cultural Property for his outstanding and beautiful Seto creations which included Ko Seto, Oribe and Shina ware. In perfect condition with the artists signed Kiri Box

Five inches tall and four inches wide


The box also includes the artists description sheet and information

Kiyoto Sakakibara(1940-alive)

Born in bizen city IBE.
Japan Glass Artcrafts Association, Bizen porcelain heart members.


A uniquely designed Japanese Bizen pottery flower vase by Kiyoto Sakakibara(1940-alive)
Sakakibara is one of the famous Bien artists living today. This was made about 30 years ago.
BIZEN is the pottery of Okayama Prefecture in Japan.
It is chosen as one of the oldest 6 pottery called ROKKOYO in Japan.
Not only has he made a Kiri Box for this and signed that but he has included a document that explains what he does and the awards that he has won.. It also explains that he won an award for this Vase.

CONDITION : Very good. ( No cracks and no chips. )

SIZE : Width 3.4 in : Length 3.4 in : Height 8.3 in : Weight 830 g + Signed box 330 g

£185 including post. If you would like this sent Fedex the additional post will cost £20

This an ideal accessory for both a Bonsai Display as the colours by Sakakibara are subtle and flow into each other in a natural state. Reflecting nature, earth trees and landscape the surface, similar to an oxide mix, tells a story. It is quite fascinating and the artsitry of this vase is at the very highest level of Bizen Ware. The vase is also good for Ikebana because of the subtleness of the colours. It acts like a perfect frame for a painting in that it does not overpower the mage surroundings or the subject which you would dosplay this. However, it tells its own story the longer that you study this

"Bizen Pottery is not glazed or painted. It is simply shaped and fired. Given the blunt appearance, where does its infinite appeal come from?
This special soil is dug up and refined, to become the raw material used to provide many beautiful creations. After the potter forms the clay into a shape, which is then fired at about 1,300oC. During the firing, it goes through various changes and turns into a piece of pottery. The pattern on its surface is an ensemble created by nature and the potter. Yes, Bizen Pottery is a collaboration of nature and man. That's the beauty of it. It has no ornate decoration. That's exactly why Bizen Pottery speaks volumes."Bizen City Home Page

Bizen ware (備前焼 Bizen-yaki) is a type of Japanese pottery most identifiable by its ironlike hardness, reddish brown color, absence of glaze, and markings resulting from wood-burning kiln firing.

Bizen is named after the village of Imbe in Okayama prefecture, formerly known as Bizen province. This artwork is Japan's oldest pottery making technique, introduced in the Heian period. Bizen is one of the six remaining kilns of medieval Japan.

Bizen clay bodies have a high iron content and, traditionally, much organic matter that is unreceptive to glazing. The clay can take many forms.

The surface treatments of Bizen wares are entirely dependent on yohen, or "kiln effects." Pine ash produces goma, or "sesame seed" glaze spotting. Rice straw wrapped around pieces creates red and brown scorch marks. The placement of pieces in a kiln causes them to be fired under different conditions, with a variety of different results. Considering that one clay body and type of firing is used, the variety of results is remarkable.

Because of the clay composition, Bizen wares are fired slowly over a long period of time. Firings take place only one or two times a year. They require the wood fire to be kept burning for 10-14 days involving long hours and tons of wood..



Width 3.4 in : Length 3.4 in : Height 8.3 in

Width 3.4 in : Length 3.4 in : Height 8.3 in

Width 3.4 in : Length 3.4 in : Height 8.3 in


A pair of unusual late 19th century Satsuma Vases 5.5 inches tall.
Either side is excellent for display but I prefer the plain side £70 including postage.


A stunning antique Red Globe Vase Chinese in a style that dates from the late 17th Century-I have two of these but they are a little different. One has a slightly bubble texture to the glaze and the other is smooth, However, they both work as a pair. The colours are the same.

6x6 cm 2.3 x 2.3 inches . £75

Porcelain in polychrome colours from the Qing dynasty were separated into categories and have labelled : famille verte (Yincai), famille rose (fencai). Monochrome porcelain is developed with « sang de bœuf » (langyao), « peach bloom» (jiangdou).

Porcelain with red under glaze is distinctively different from other Chinese ceramic styles, with very flamboyant, lively, and intense colours. In traditional Chinese culture, the colour red represents joy, happiness, and auspiciousness.

“If you want to go broke, make red glaze porcelain” is a popular saying among porcelain makers, because making this kind of porcelain is very complicated and costly. The expensive materials needed and the complicated technique used to glaze the base are the two major obstacles to making red under glaze porcelain. When the porcelain is fired, temperature and time control is also essential to prevent the glaze from changing colour or breaking.



The origins of red under glaze porcelain
Red-glazed porcelain was invented as the result of a happy accident. In the Tang Dynasty (618-907), bronze was widely used in Changsha kilns to make porcelain green, and it was discovered that different firing temperatures made some porcelain red.
The technique was improved in the Song Dynasty (960-1279), when large quantities of porcelain with red under glaze were produced in Jun kiln in Henan Province. However, the craftsmen’s skills were not yet very advanced and there were usually some other colors in the red under glaze.
In the Yuan Dynasty (1271-1368), craftsmen began to intentionally make porcelain with red under glaze in Jingdezhen, Jiangxi Province, known as the capital of ceramics. In the Yongle Reign of the Ming Dynasty (1368-1644), the craftsmanship was very much improved, and the red color became more brilliant.
Later, Jihong porcelain began to be produced for sacrificial ceremonies. Ji means to sacrifice and hong means red. Jihong porcelain produced in Jingdezhen surpassed previous porcelain both in luster and in color. Precious gems like coral, agate, jade, pearls, and gold were sometimes added.


It was extremely hard to produce this kind of porcelain, and the success rate was quite low. The successful production of red porcelain demonstrates the intelligence and dedication of the Jingdezhen people.

A popular local legend says even their blood was sacrificed for their craft. According to the story, Emperor Xuanzong in the Ming Dynasty (1368-1644) wanted to use red porcelain to worship the sun god, and issued an imperial decree ordering the Jingdezhen kiln to produce it. After many attempts, the craftsmen failed to produce satisfactory porcelain and were whipped, thrown into prison, and threatened with death if they didn’t produce what the emperor desired.

Cuilan, daughter of an elderly kiln worker, was very upset when her father was jailed. Enraged at the atrocity, she jumped into the fiery kiln. Two days later, when workers opened the kiln, they were surprised to find the porcelain inside was blood red.

People thought Cuilan’s blood dyed the porcelain red and this is how the porcelain came to be called Jihong.





Chinese Incense Case, (Japanese Kogo)

Production: China leads in production of peanuts having a share of about 41.5% of overall world production, Reverse the peanuts to hold the incense. The peanuts are removable.

If using in a Bonsai display this is best with a seed bearing tree, or tree in flower. £60 including Post


Peanut Senser with two removable ceramic Peanuts to be turned upside down and o hold inasense.10x5cm This unusual 18th century Chinese made ceramic box is also a very unusual accent object for the Tokonoma.

Cultivation in China

The peanut was introduced to China by Portuguese traders in the 17th century and another variety by American missionaries in the 19th century.

They became popular and are featured in many Chinese dishes, often being boiled. During the 1980s peanut production began to increase so greatly that as of 2006 China was the world's largest peanut producer. A major factor in this increase was the household-responsibility system, which moved financial control from the government to the farmers.


boshan xianglu, Wade-Giles romanization po-shan hsiang-lu, also called hill censer, Chinese bronze censer common in the Han dynasty (206 bcad 220). Censers (vessels made for burning incense) of this type were made to represent the form of the Bo Mountain (Bo Shan), a mythical land of immortality.

Typically, the censer has a round pedestal base with moulded patterns of the sea and sea animals, from which emerges a stem supporting the incense cup. This cup has a pierced cover in the form of the Bo Mountain. It contains several (up to 12) upward-projecting pieces designed to represent vegetation, animals, and immortals. The censer is sometimes ornamented further with inlays of jewels, silver, and gold.

With incense smoke emerging from the holes in the lid, the censer is an abundantly sensuous, fully animated representation of nature. Whether this was the specific meaning and function of the censer is uncertain.

  • description (in incense burner)

    In China during the Han dynasty (206 bce–220 ce), a type of vessel known as a hill censer was used. It consisted of a shallow circular pan, in the centre of which was an incense container with a pierced lid constructed as a three-dimensional representation of the Daoist Isles of the Blest. Incense burners of the Ming dynasty (1368–1644) were made in two basic forms: a square...

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Cricket cage 3.5x6.0cm. 18th c. While this is possibly also a
cricket cage it could also be used for a perfume stick or incense.
Made from Bone with ivory bead  Okimono  £65

a mid 20th century Japanese Brush Pot with crane pattern. Made in porcelain. £45


This is a very nicely made Bamboo Brush pot with hand carved Bone Panels. The size is 5.9x4.1 inches £65



Brush Pot 19th century with good patina

(6.2X4.4) inch bamboo £70




Highly carved Bamboo Brush pot late 18th century with deep patina.
5.1X3.6 inches £75

An ancient Chinese Jade Incense holder. However, because of the shape, This can also be used as a card holder for a description

This is a rare snow speckled Jade only found in small quarries and as pebbles and boulders in the rivers flowing from the Kuen-Lun mountain range northward into the Takla-Makan desert area. River jade collection was concentrated in the Yarkand -and worked by the ancient Chinese hongshan culture. This artefact is around 3 thousand years old

Hongshan burial artefacts include some of the earliest known examples of jade working. The Hongshan culture is known for its jade pig dragons and embryo dragons. Clay figurines, including figurines of pregnant women, are also found throughout Hongshan sites.

2.5 x 1.2 x 0.8 inch £65

This is a rare discovery. A small jade brush pot / censer around 1500 years old.

6.5cmx3.0cm £65

In Chinese, jade is pronounced as 'Yu', and most words related to moral include this word such as 'Unpolished jade never shines,' indicating that one cannot be a useful person if he is not educated. Jade also implied honor and conviction. Many girls in ancient times were also named with jade to reflect the love of their parents. One of the Four Beauties in Chinese history, Yang Yuhuan, the beloved concubine of Emperor Xuanzong in the Tang Dynasty (618 - 907), was their representative. Yang is her surname and her given name Yuhuan means simply 'jade ring'.

People believed that jade was the expression of the most beautiful stone. A beautiful piece can be more valuable than fifteen cities and a man's life. Historic records tell of a story about a stanch man named Bian He who had a piece of jade called 'Heshi Bi' which was said to be the most priceless treasure in history. However, when Bian He discovered the piece, it was hidden under the veil of the coarse stone in which it laid. He did not dare to carve it but instead dedicated it to the King of State Chu. He never knew that he would pay two legs for his dedication, for the king did not know the real value of the jade and cut Bian He's legs off. He cried for three days and nights. Afterwards, the new king heard of him and wanted to see whether his jade was as precious as he said. When the jade was cut, all were startled by the delicate quality. Very soon, it became a national treasure and was called 'Heshi Bi'. So precious was the stone that it even became a source of conflict between the Qin State and Zhao State.
Jade is an ornamental stone. The term jade is applied to two different metamorphic rocks that are made up of different silicate minerals:
  • Nephrite consists of a microcrystaline interlocking fibrous matrix of the calcium, magnesium-iron rich amphibole mineral series tremolite (calcium-magnesium)-ferroactinolite (calcium-magnesium-iron). The middle member of this series with an intermediate composition is called actinolite (the silky fibrous mineral form is one form of asbestos). The higher the iron content the greener the colour.
  • Jadeite is a sodium- and aluminium-rich pyroxene. The gem form of the mineral is a microcrystaline interlocking crystal matrix

Nephrite can be found in a creamy white form (known in China as "mutton fat" jade or fatsui jade) as well as in a variety of green colours, whereas jadeite shows more colour variations, including blue, lavender-mauve, pink, and emerald-green colours. Of the two, jadeite is rarer, documented in fewer than 12 places worldwide. Translucent emerald-green jadeite is the most prized variety, both historically and today.





A Jun Chinese porcelain Vase in a uniquely beautiful Jun glaze akin to a Sang le Boeuf (langyao) Glaze

Jun (Wade-Giles: chün) ware was a third style of porcelain used at the Northern Song court. Characterized by a thicker body than Ding or Ru ware, Jun is covered with a turquoise and purple glaze, so thick and viscous looking that it almost seems to be melting off its substantial golden-brown or white body. Not only fine Jun pieces were made but also heavier vessels were created for every day use., Yet both types were appreciated at court of Emperor Huizong. Jun production was cantered at Jun-tai in Yüxian county, Hunan Province.

This design is inspired by Yellow Mountain 'Huang Shan' with mountain Peaks coming through the clouds. The porcelain artiest has made a stunning creation and the mountains at dawn are perfectly captured in this little vase. I took the picture below at 6am on Huangshan Mountain

3.2 x 3.2 x 5.8 inch £75 inc post SOLD



Beautiful Turned wood bowl. six inches tall £45 in Post UK plus £15 outside UK. four inches tall

Kauri Wood bowl from New Zealand. This is 50 thousand year old Bogwood Kauri with a superb satin in the wood. £125 six inches wide

A selection of small turned wood boxes by artist Don McNeil £40 each.

A selection of Burr Rosewood  boxes £40 each

2 to 3 inches



I found this wonderful yew wood on a beach in Loch Lomond many years ago.It has amazing satin reflective textures all around the outside. Don McNeil made this into a box for me. 5 inches tall £125

A small Cherry Wood box £35
Needles cases in Birch and in figured walnut £30 each

A bud vase 8 inches tall and a goblet made from wonderfully patterned beech on Islay, Scotland

Vase £55 Goblet £40

A red Jade Bowl 4 inches wide £75


American Potter Roland Folse made this set of three superb tea bowls

A set of 12 18th century lacquer Bowls with the Tokugawa Iyeasu Mon (family crest) £180RESERVED
Natural wood is coated with high quality Japanese lacquer.

About Makie

To create different colours and textures, maki-e artists use a variety of metal powders including gold, silver, copper, brass, lead, aluminium, platinum, pewter, as well as their alloys. Bamboo tubes and soft brushes of various sizes are used for laying powders and drawing fine lines. As it requires highly-skilled craftsmanship to produce a maki-e painting, young artists usually go through many years of training to develop the skills and to ultimately become maki-e masters. Kouami Douchou (1410-1478) was the first lacquer master linked to specific works. His maki-e works used designs from various Japanese contemporary painters. Kouami and another maki-e master, Igarashi Shinsai, were originators of the two major schools of lacquer-making in the history of Japan.

Takamakie (or "raised maki-e") is one of the three major techniques in maki-e making. Developed in the Muromachi Period (1336-1573), the technique of takamakie involves building up design patterns above the surface through a mixture of metal powder, lacquer and charcoal or clay dust.


Deep bowl in Yellow Glaze £25

Celadon pale green Japanese tea bowl £65

Small Censer bowl by Carenza Heyhoe for Liberty's in 1978. Exhibited in Liberty's Oriental department in 1979. Heyhoe was born in Hankow on the Yangtze River, China. With this pot she has used a traditional double glaze technique to get a depth of colour and texture similar to ancient Chinese Glazes. £225 six inches tall. This is one of her earlier pots.Carenza Heyhoe lives in Portland

A Japanese 19th century Satsuma Vase. I prefer the side with the landscape 6 inches tall. £35

A wonderful and rare vase made by Vanessa Tuck. Swirling leaves around a winter blue base colour, Extremely finely painted and signed. £125 The 19th century carved wood stand is £45. Inc Post in UK. (Post outside UK £15)



A selction of Chinese Bud vases. The tall necked acid yellow vase dates from the 17th century and is 5 inches tall. A truly wonderful example £275

The small vase with handle is also 17th century and is 3 inches tall £125 Reserved

The dark maroon vase with black collar is 6 inches tall and was made in the 1920's. £40



A pair of hand painted 19th century Italian metal work cockerels. 10 inches tall, very brightly coloured and quite wonderful. £80. Perfect with a cockerel Scroll.




pic to come

A  small and very rare 15th century
Blanc do Chine statue of EBISU.

He is one of the Seven Lucky Gods in Japanese mythology.
He is the God of a fishing, agriculture, and commerce


Please go to our Cloisonné page -click this line

£295 / $365 EACH or £400/$600 for the pair.


A nice pigeon blood Japanese cloisonné vase with two birds and bamboo. The style is of the Ando company

Condition: Very good, no cracks or repairs. We had a lovely hand carved stand made for this beautiful vase.

Size: 5" tall X 4.5" wide.  This style and colour of cloisonné is
rare and very few items in this special colour come onto the market, £395

A special antique embroidered silk covered box has been made for this wonderful vase









0 / $365 including UK post. Post outside UK at cost-Est maximum £40 ($60)

Yi xing zisha  ceramic sculpture 'Peach and Ladybird'




Porcelain Tea Caddy early 20th Century with seal of maker.
In Yellow and flowers 10.0 cmx16.0cm £40 including Post



A beautiful hand painted late 19th century Japanese Satsuma pot with lid with no damage. Very good quality.
There is a  signature on the tree 6.5 inches tall  by 5 inches wide. With hand carved wooden stand £95



Kwan-yin standing on a lotus blossom, which is one of the main symbols of Buddhist purity, because a lotus is a beautiful flower that grows out of mud. The meaning is
that our hearts should be pure like the lotus flower, even
though our lives might be surrounded by unkind, bad, nasty (or impure)
people and created bad situations.


"Although I am Bodhisattva, I am energy. I am not a
person. Really, the Kwan Yin energy was never in
one single body. It has always been a great part of
the energy of ALL the Universe."

--Kwan Yin

More on Kwan-yin here-click line


Many of our vases and special pieces are in wooden boxes like this.



Temporary images

in very good condition, DARTING FROM THE LATE 19TH EARLY 20TH CENTURY
size 12.5 cms or 5 inches tall approx, width 10 cms or 4 inches
diameter approx, with original cork stopper, seal mark to base.