A large plate decorated in the three colour sancai palette with a central Peony motif with three reserves one with Peonies, emblematic of Spring, a pair of Quails beneath Millet and another with Chrysanthemums, emblematic of the months of Autumn. The partially ogee form reserves set against a blue brocade ground with stylised Chrysanthemums. The reverse decorated with three Peony sprigs. A three spur marks in a triangular arrangement to the base...

A large plate decorated in the three colour sancai palette with a central Peony motif with three reserves one with Peonies, emblematic of Spring, a pair of Quails beneath Millet and another with Chrysanthemums, emblematic of the months of Autumn. The partially ogee form reserves set against a blue brocade ground with stylised Chrysanthemums. The reverse decorated with three Peony sprigs. A three spur marks in a triangular arrangement to the base...

A large plate decorated in the three colour sancai palette with a central Peony motif with three reserves one with Peonies, emblematic of Spring, a pair of Quails beneath Millet and another with Chrysanthemums, emblematic of the months of Autumn. The partially ogee form reserves set against a blue brocade ground with stylised Chrysanthemums. The reverse decorated with three Peony sprigs. A single spur to the base...

This captivating bin-kake, or traditional brazier for tea ceremony, is crafted from fine celadon porcelain using methods first perfected in the southern Song Dynasty. The outside is decorated with low-relief Peony flowers which display a vivid sheen, owing mainly to the expert craftsmanship of the Meiji period Imperial Court artist Suwa Sozan who created this wonderful masterpiece...

A tall beaker of bell form decorated in underglaze blue with a pair of auspicious Dragons each clasping a “tama” pearl above its head set against a lightening field with auspicious ruyi form clouds supporting respectively artemesin leaves on which are a pair of scrolls bound by ribbons and a flaming pearl. The design has been adapted from a Chinese precedent of the sixteenth century but with a Japanese twist to the design...

A tall beaker of bell form decorated in underglaze blue with a pair of auspicious Dragons each clasping a “tama” pearl above its head set against a lightening field with auspicious ruyi form clouds supporting respectively artemesin leaves on which are a pair of scrolls bound by ribbons and a flaming pearl. The design has been adapted from a Chinese precedent of the sixteenth century but with a Japanese twist to the design...

A similar pair of dishes to EW 3037 but without the additional gilding and iron red decoration. Designs featuring Karako were popular both in China and Japan at this period they were both symbolic of joy and a wish for children, kodakara; the treasure that is children...

A pair of Arita dishes moulded in so-called suhama form; a stylised interpretation of a wave washed beach often associated with the Isles of the Immortals. Painted in underglaze blue with a group of five auspicious karako, Chinese Boys, bound together with a ribbon or rope; symbols of joy and a wish for offspring. In addition a Chinese style Fan and a Double gourd are painted in iron red and gilt to complete the design...

A pair of a very well painted Kutani porcelain sake bottles painted in “Kenjo Imari” style painted with gilt karakusa to the neck with various marumon, a band of diaper to the shoulder, and further aka-e dama, and stylised karahasna-mon. to the body of the bottle. The vases are thinly potted and wreathing to the interior of the neck suggests that they were originally thrown in two parts...

Used for ceremonial purposes by the Xia, Shang, and Zhou dynasties. Traditionally, the jue vessel was made of bronze with a pouring spout on either end and a pair of capped posts rising from the rim. This ceramic jue cup is done in fine porcelain with underglaze enamel and is described on the tomobako as being a jue-shaped incense burner (korou)...

This peach-shaped kogo (incense box) is made of fine kinuta celadon from one of the great masters of the Meiji era—Suwa Sozan. A classic design, the peach is said to represent long-life for mortals and immortality for the gods in asian folklore. According to legend, the moon goddess—a powerful alchemist—can make an elixir from peaches that grow in the garden of the western paradise with miraculous revitalizing properties...

An Arita blue & white porcelain dish decorated with a pavilion and poetry, an equestrian and servant in the foreground. The dish is moulded with a shallow ‘rinka’ edge. The back is plain and has three spur marks within the foot-rim.

An identical dish is illustrated in the Shibata Collection Vol.4, #303 where it is dated to 1770~1800.

Approximately 17.8 cm diameter. The dish has some light wear from normal use but is otherwise in fine condition...

An Arita blue & white porcelain dish decorated with a pavilion and poetry, an equestrian and servant in the foreground. The dish is moulded with a shallow ‘rinka’ edge. The back is plain and has three spur marks within the foot-rim.

An identical dish is illustrated in the Shibata Collection Vol.4, #303 where it is dated to 1770~1800.

Approximately 18 cm diameter. The dish has some light wear from normal use, plate stacking for example, but is otherwise in fine condition. ...

A JAPANESE ARITA PORCELAIN SQUARE DISH, EDO PERIOD.

An attractive Japanese Arita porcelain square dish with canted corners, decorated with an oversized sage lost in reverie by a lake. The unusual borders completely painted with figures in a landscape. Late 18th ~ early 19th century.

By repute once part of the Bigelow Collection and disposed by auction in New England a few years ago.

Approximately 15.5cm square. The dish has a small edge chip, otherwise in perfect condition...

The inside of the bowl is painted with cherry tree boughs laden with blossoms—done in a dazzling underglaze blue-and-white porcelain distinctive of Imari-wares. Below, the trunks of the trees can be seen grounded in a grassy field resting on an abstract ring of karakusa (arabesque). The center of the bowl displays a fashioned wreath of cherry blossoms strung together with field grasses. The outside of the bowl shows darkly pigmented cherry blossoms and berries running around the circumference ...

With meticulously sculpted vines and fantastic Peony blossoms in low relief on the kinuta celadon powdery blue background, this extraordinary vase is a truly Japanese expression of classical Chinese motifs. Reminiscent of floral designs produced by legendary pottery Itaya Hazan and other Imperial Court Artists of the time such as Seifu Yohei and Ito Tozan, this vase was potted at the very beginning of an era when such works came into fashion towards the end of the Meiji period.

Suwa...

A finely enamelled Japanese export bowl decorated with Chrysanthemums and Peonies between a pair of Fan Shaped reserves of Kiku form. The petals alternating between a gilt leaf and tendril blue brocade and an unusual iron red shaded wash. The veins of the gilt leaves created by the use of a scraffito technique. The interior with a band of peony and prunus sprigs. The central well of the bowl decorated with an iron red and gilt kiku mon. A single ring to the interior of the foot-rim of the bowl. ...

This Hirado-yaki brush-rest—fashioned for the scholars desk of a bygone era—features meticulously sculpted plum blossoms set in a porcelain reproduction of a knotted plum branch. Hirado wares—alternately known as Mikawachi wares in some contexts—are known throughout Japan and also abroad for their high quality and fine craftsmanship and date back at least as far as the mid-18th century when they were produced exclusively for powerful lords and their families. In the 19th century, Hirado ...