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These are  a very nice pair of Japanese 18^th 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
FUKAGAWA-SEIJI JAPAN

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.

Slight wear with a little tarnish on copper. sx

This is a Suzuribako, writers calligraphy or 'Shodou' box made in Kamakura Bori Lacquer. The design features a Noh Mask called Okina for Noh Drama.

Age from Late Meiji. The inscription is for a presentation written in honour of the owner of the box

Condition is generally very good with very light wear on the box surface. Good patina for age and use

Wonderful example of Kamakura Bori work.

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:
http://www.kamakuraborikaikan.jp/e_history.html

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).

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)

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.

This is a Cargo plate excavated from a wreck in the South China Seas.
The scratched mark is the owner of the plate. Ming dynasty

This is a late very large 18th early 19th Century Chinese Censer. A particularly large example. The base has been repaired in the past probably caused by the constant heat from the charcoal. However this was a very old repair probably around a century ago. It has a very nice patina (the flash has made the bronze lighter than it actually is) The image above on the red stand is truer to colour

This is a Peony setting. The scroll is a early 17th century Chinese scroll of a Peony. The two cats are Chinese painted in the Japanese Imari palette and are signed ( Gikendo Tatsudoshi nen sei or Gikendo year of the dragon) , although I believe that these are late 18th century they may have been made during the Meiji Period c 1870. The screen is a Byobi gold silk.

Incense has become a very popular art form. The various scents we all probably used joss sticks but
real incense is created from the resin of trees and are offered as granules or little pieces. You light charcoal and put a couple of 'drops' o the charcoal and the smoke rises and infuses the air with a wonderful scent. In Japan they gave incense circles where the different smells are (almost) tested in a competitive environment. Remember to use no more than a couple of 'drops' as too much can smell sour.

A beautiful pair of large Imari Cats that we think date from the middle to late18th century
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 £225 E250

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.

Japanese Imari Cat 18th century

£65

Base lenght-14cm
Base width-9cm
Height-25cm

Weight-around 1,8kg each

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  19^th 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

Description:
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.
Meaning:
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.
Function:
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.

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

£65

Beautiful large Chinese carved stone Jade Dragon with small lid. 13cm.
Censer for incense sticks. With a suitable base dating from the 19th century that
we have paired with this wonderful carving.

£245

Kutani Seal. Large model signed. Excellent condition
We think that this could date from the 18th Century

9 inches tall (22.5cms)
The seal inscription reads it is utilising
the styles found in ceramics of the
Yangcheng area. I am not too sure
if the Yangcheng region did any Fencai,
but that region (the Guangzhou region)
is known for the Dehua porcelains
during the 17th-18th centuries.

Reads: Youjou bou kosai ji.

£175

Notes:

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.

A beautiful pair of large Imari Cats that we think date from the middle to late18th century
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 £225

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.

 

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

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

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)

0b

Kutani Teacups in splashed gold with painting of Fujisan
Artists box

Click to go to Tea Page

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

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

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

ANTIQUE, GENUINE HAND CARVED BANDED AGE STONE, CHINESE SCHOLAR'S BRUSH INK POT .
The item is solid carved, beautifully coloured. Collected in China.

£120

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
Measurements:
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

5x3 inches

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

This is wonderful. 7 inches/ 16.8cm  tall. 18th century Chinese blue and white underglazed food pot. The lid serves as a cup and the main pot serves as a container for food

Superb red porcelain globe pot

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

£125

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.
 

This is a vintage metal work vase with Mt. Fuji carved onto the side in Silver.

It's very good condition, as shown in the pictures. No major damage.

Diameter 5.8"(14.8cm) x Height 8.3"(21.0cm)

Includes period stand.
 

This is a very beautiful art deco piece. £185

We had a special vintage silk covered box made for this vase

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

Reserved

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

A Chinese Famile Rose 18th century Tea Bowl with a very rare pink/red glaze with swirls and flower decoration

Character mark on base Condition: good but has one hairline glaze crack down the inside only which is
very difficult to see but as the bowl holds water it does not seem to be an issue. 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. £240

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

Five inches tall and four inches wide £125

Kiyoto Sakakibara(1940-alive)

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

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.

Brush Pot 19th century with good patina

(6.2X4.4) inch bamboo £70

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 £125

6.5cmx3.0cm £65

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

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 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) £180
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

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. £180. Perfect with a cockerel Scroll.

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

KOREAN MID SHOWA PERIOD CELADON CERAMIC FLOWER VASE "KABIN" WITH A CRANE "TSURU" MOTIF.
THESE VASES ARE KOREAN BUT  MADE FOR THE JAPANESE MARKET. THIS ITEM COMES WITH A SIGNED KIRI WOOD BOX. £95 each

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

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

An extremely rare Chinese famile noire bowl,
hand painted by a great master of a  plum pattern.
This is a stunning piece with a very deep, glossy
black glaze over painted with flowering blossom -
a traditional Chinese icon of Spring.

The bowl is a medium size - 3 inches high and 8.25
inches in diameter. It is very finely potted of superior
clay and is much heavier than it looks - it weighs 10 pounds.

This piece was acquired in the late 1940s by the previous seller's
grandmother from Dunt King during a Hong Kong trip. It dates from the 1900s.
It was displayed for many years in her Park Avenue apartment
in New York.

We will match a suitable stand for this unique bowl.
The shown examples are how a stand can make a difference.

£440 / $620 including post. We recently had a new box made for this wonderful bowl

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

Unusual wood from Madagascar. This rare wood grows in to these shapes naturally six inches wide £75

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

This beautifully Noritake style eggshell  painted dish of
Cherry Blossom in moonlight with two birds, was painted around 1920.
The dish was bought in Tokyo in 1930

£45 including post

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

CHINESE PORCELAIN MOON FLASK IN BLUE AND WHITE PRUNUS C1900

8" HIGH X 5" ACROSS TOP INCLUDING HANDLES 6" ACROSS MIDDLE X BASE 3" x 1.75"

DECORATED WITH BLUE AND WHITE PRUNUS FLOWERS. THERE ARE NO CRACKS OR CHIPS

NO MAKERS MARKS ON BASE BUT WHEN HELD UP TO THE LIGHT FROM THE INSIDE YOU CAN SEE 7 DOT MARKS

ARRANGED LIKE A SEVEN IN DOMINOES 
£39.95

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