An Early Arita “Snowflake” plate. Circa 1680. The thickly potted porcelain dish decorated with snowflakes and flowering prunus. The back with a lozenge mark.

Provenance: R&G McPherson Antiques, London W8.

Approximately 18.7 cm diameter. A tiny piece of kiln dross on the front, otherwise perfect.

Please study the photographs.

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Composed by one of the most well-regarded and important figures within the Kanō tradition of painting, here we see a whimsical rendition of tiger and cub prancing through the forest. With its beautiful and well-preserved silk brocade to highlight the scene, the overall composition radiates a feeling of lightness and playful curiosity.

Oldest son to Kanō Takanobu, Tanyu was appointed as the first designated painter to the Tokugawa Shogunate. An enthusiast for Chinese style painting...

This lovely Shino tea bowl fashioned from coarse Mino clay is covered in feldspar glazing, has a classic ferrous abstract painting across the front, and shows nice age—most likely from early Edo.

Shino-ware dates to the Momoyama period when potters were attempting to recreate white porcelain-wares that were being imported from China at the time. Originally they were made in a single-chamber anagama style kilns set into the hillsides. Later, with the advent of large-batch noboriga...

An Early Japanese Bronze Mirror, Kagami, Circa 1600. (No.1) This bronze mirror (kagami) was almost certainly made in the Momoyama period. It has a turtle (minogame) as a central boss, pierced for a cord. It also features a pair of cranes, their beaks touching the head of the turtle as in the act of kissing. This beneath a splendid pine tree. Under the turtle is found the inscription 'Tenjō' (?) possibly meaning Heaven.

Approximately 10.4cm diameter. Many signs of wear and polishi...

An early and rare Japanese copper plaque showing a bird on a prunus mume twig, worked in dull colored cloisonné enamels, the reverse with green contre-émail. The former owner attributed this artwork to an artist of the "Japonisme Movement". Condition: bubble bursts, a hairline (see photo No. 5). Dimension: 20.3 cm x 20.3 cm x 0.3 cm.

It is the quite nice blue-green color of the glaze, suffused with discreet golden crackle, that makes this dish to an desirable collectible item. Stoutly potted, the flaring fluted sides rising to a flat bracket-lobed rim, supported on a short tapering foot. Longquan ware, Zhejiang, late 14th to early 15th centuries. Diameter: 23,8 cm. Condition: The glaze slightly degraded, probably by saltwater, and there is an insignificant firing crack which is visible on the last enlargement. IMPORTANT ...

Excellently potted grayish-black body, covered by a grayish blue-green glaze suffused with golden crackle. Longquan ware, Southern Song Dynasty ( 1127 - 1279 ). Diameter: 11,8 cm. Condition: Perfect. IMPORTANT AND HIGHLY UP-TO-DATE INFORMATION REGARDING ALL OUR ANNOUNCED PRICES FOR CHINESE CERAMIC ITEMS : SINCE I`M NOW ENJOYING MY RETIREMENT PENSION NOW IT IS A MATTER OF SELLING OFF MY STOCK OF CHINESE CERAMICS. FROM NOW ON A DISCOUNT OF 50% APPLIES TO ANY OF MY PRICES FOR ANY OF MY HERE OF...

A early Ming dish with a very nice garden setting scene. Ming Zhengtong periode ( 1436 - 1449 ) Condition : A nearly not visible short hairline and one single chip. Very nice blue ! Diameter : 19,8 cm.

Looking as though it were cast from molten rock, this chawan has a very earthy and primal feel to it. The rich clay shows through in places hinting of ochre, yellow, and even a subtle metallic blue—cleverly mimicking the way mineral formations appear in nature. The uneven texture and pitting of the glaze serve to enhance this effect.

The artist, Asao Sosen (1897 - 1978), was known for making chagama furo (Japanese ornamental brazier used in tea ceremony) as well as “Unge” ston...

A Beautiful necklace was from an elegant lady now retired from collection field.

Width:3.5cm(main item)

Crafted from locally sourced Bizen clay, this mid-Edo period vase embodies simplicity, beauty, and understated elegance. Its unassuming form showcases the natural beauty of the clay, enhanced by a delicate ash glaze. The texture and shape evoke a sense of rustic charm, reflecting the profound harmony between human creativity and the organic world. Now several centuries old, this piece continues to serves not only as a functional display piece, but also as a symbol of the enduring leg...

An eye-catching combination of red lacquer and gold repairs on a classic Karatsu tea bowl dating from Edo. Like many pottery traditions in Japan, Karatsu takes its name from the city where it originated. As early as the 15th century Korean potters heavily influenced the development of this form—helping to endow it with the earthy, simple, and natural qualities it is so appreciated for. Signed with an endorsement from the 14th Head Tea Master of Urasenke (the largest school of tea in Japan); Ta...

This Madara-garatsu tea bowl (Madara Karatsu-ware) uses a technique known as yobitsugi—using pottery shards from other works to complete the gold repair—thereby adding a special character to the piece. It is also worth noting that although many kilns currently exist which specialize in Madara-garatsu ware, this piece comes from the original Kishidake family kiln where the tradition began.

Madara-garatsu is one type of Karatsu-ware which takes its name from its spotted or speckle...

Oribe is a visual style named after the late-16th-century tea master Furuta Oribe (1544-1615). Typically, black or green glazes are applied to the bodies of these works and light-colored windows are created using feldspar. These high-contrast areas then act as a canvas upon which abstract, minimalistic, and often naturalistic themes are painted.

As can be seen here, this piece is of the green variety and looks to be from the mid-to-early Edo period as can be determined ...

The jet-black glaze of this cha-ire (tea caddy) nicely highlights the Chrysanthemum flowers (Kiku) adorning the upper surface—long considered auspicious symbols of longevity and rejuvenation in Japan. When first introduced to the island nation during the Nara period (710 – 793 AC), the Japanese Royal Family was fascinated with the Chrysanthemum. Over time, it became the Imperial Family Emblem and during certain eras was generally forbidden to be used by the general public.

In f...

Living in Kyoto it is not uncommon to come across beautiful antique tea bowls, however, finding pieces that are in good condition, aesthetically compelling, and with all of the trappings that let you know they were cared for by a devoted cha-jin can be quite challenging. Here we see all three. The shape of this tea bowl is exquisite and something I have not seen before in a Mino piece. The lacquer box, while not the original was undoubtedly custom made for this tea bowl and looks to be 100 - 200...

Stemming from the philosophy of wabi-sabi—often described as the beauty found in the imperfection and transience of the world—cracks and repairs in a work of pottery are often seen as highlighting the history and importance of a ceramic object. Practitioners of tea in particular are fond of reminding us that works repaired with lacquer and gold such as the one featured here become more resilient and beautiful for having been damaged. In this case, the gold repairs undoubtedly enhance the bea...

This lovely Shino tea bowl from the Edo period is fashioned from coarse Mino clay and is covered in feldspar glazing. As with many pieces of this period and style, it has classic abstract painting across the sides created using ferrous pigment—contrasting nicely with the ivory background. Not only does this piece have a lovely wabi feel to it bestowed by age; it also has several exquisite gold repairs that contrast nicely with the soft patina and the crackled glazing.

Shino-ware d...