A finely painted Japanese Kutani porcelain charger of the Meiji period, late nineteenth to early twentieth century, decorated in polychrome enamels and extensive gilding with an elaborate interior gathering. The broad circular surface accommodates a richly detailed composition of figures, patterned robes, architectural elements, and landscape views. Four figures occupy the foreground. A reclining figure, apparently a man, gestures toward a seated woman, while a second woman leans forward behind him and a smaller attendant figure sits to the right. Their delicately drawn faces contrast with the dense ornament of their clothing. A low tray supports vessels and a tiered container depicted in black and gold, while a tall candle stand introduces a slender vertical accent at the left. The robes are particularly accomplished, with overlapping fields of hexagonal, checkered, floral, and lattice ornament following the folds of the garments. Fine gilded lines distinguish the individual patterns, while closely spaced gold dots enliven the pale ground beneath the figures. The treatment recalls the kinrande, or gold-brocade, tradition associated with richly decorated Kutani porcelain, translating the appearance of luxurious textiles into enamel and gold. An overhead ceiling grid establishes the interior perspective, while architectural posts and painted panels divide the background into smaller views of trees, flowering branches, water, and distant buildings. A large circular reserve at the upper right contains two additional figures beside a lantern amid pine branches. The layered arrangement invites close examination, with intimate figural details set against an expansive decorative setting. Alternating gilt and colored patterned sections articulate the rim. The glazed reverse is painted with three floral sprigs, while three small iron-red blossom devices surround a rectangular cartouche bearing a mark read as Kozan, in gold. A broad circular foot ring supports the shallow body. Minor surface wear is visible, including scattered rubbing to the gilding and wear and discoloration along the exposed foot. The charger measures approximately 16" in diameter × 2.5" high. Auction Estimate: $400–$600.

A Japanese ginbari cloisonné vase of the late Meiji to Taisho period, circa 1900–1925, decorated with flowering irises against a luminous ground shading from turquoise blue at the foot to pale, silvery blue at the shoulder. The elongated body narrows toward the base and rises through rounded shoulders to a short, flared neck. Slender copper-alloy mounts frame the mouth and foot. Purple and rose-pink blossoms extend across the front, their broad, drooping petals accented with yellow markings. Slender stems, unopened buds, and overlapping, sword-shaped leaves carry the composition upward around the vessel. Fine outlines articulate the flowers and foliage, while the largely undecorated reverse reveals the graduated color and delicate texture beneath the enamel. The shimmering surface is characteristic of ginbari, a technique employing embossed silver foil beneath translucent enamel. A finely patterned foil ground catches the light through the blue, lending depth and brilliance to the surface. Its repeating texture remains visible through the paler passages, providing a subtle ornamental setting for the more freely arranged flowers. Irises have a distinguished place in Japanese decorative painting, where their expansive petals and upright leaves offer a striking interplay of curved and linear forms. Here, that contrast is particularly effective against the softly graduated background, with the clustered blossoms balanced by open areas of luminous enamel. The underside has concentric rings and an indistinct central impression that does not permit a secure maker attribution. A few minor scattered dark spots are present in the enamel on the body, with other wear commensurate with age, including rubbing to the metal base. The vase measures approximately 7.5" high × 3" in diameter. Auction Estimate: $300–$500.

A Japanese Igezara porcelain charger, late Meiji to early Taishō period, circa 1900–1920, richly decorated in underglaze cobalt with paired phoenixes among flowering paulownia. The broad circular form provides a generous setting for the intricate composition, enclosed by a deeply notched, iron-brown rim whose warm color contrasts with the cool blue and white decoration. Two crested phoenixes, or hō-ō, turn in opposing directions within the central roundel, their curved necks and outspread wings balanced by long, extravagantly curling tail feathers. Fine lines distinguish the layered plumage, while broad paulownia leaves, branching flower clusters, and slender tendrils fill the surrounding spaces. Dark cobalt passages alternate with pale, finely detailed areas, maintaining definition within the densely interwoven design. The birds’ sweeping silhouettes give the composition a circular movement that follows the shape of the charger. A wide border of closely interlocking geometric fretwork surrounds the central scene, interrupted at regular intervals by white flowerheads reserved against the blue ground. Its ordered repetition sets off the freer movement of the phoenixes and foliage. Along the perimeter, the molded “piecrust” edge introduces a further rhythm of alternating projections and recesses beneath the glossy brown glaze. The substantial potting, notched rim, and transfer-printed ornament identify the charger with the Igezara tradition of Japanese domestic ceramics. Copperplate transfer printing allowed potters to reproduce elaborate designs with remarkable detail, including individual feathers, leaf veins, and miniature geometric patterns seen here. The technique helped bring richly ornamented tablewares into everyday households during Japan’s expanding industrial production of the late nineteenth and early twentieth centuries. The pairing of phoenix and paulownia draws upon an established East Asian decorative tradition. The mythical bird is associated with auspicious rule and peace, while paulownia is its legendary resting place, making the foliage an integral part of the subject. Three underglaze-blue foliate sprays decorate the reverse, with concentric blue rings framing the foot and recessed glazed base. Three kiln-support scars remain within the base as evidence of manufacture. The exposed foot ring shows light wear and discoloration. Measures approximately 14.5" in diameter x 2" high. Auction Estimate: $150–$250.

A fine Japanese ginbari cloisonné enamel vase from the Nagoya workshop of Hattori Tadasaburo (d. 1939), late Meiji to Taisho period, circa 1900–1925. White chrysanthemums and emerald-green foliage rise against a luminous cobalt-blue ground, their silvery petals catching the light across the gently rounded body. The tapering body rises through full shoulders to a short, slightly flared neck, with narrow silver-colored metal mounts framing the mouth and foot. Flowering stems sweep upward around the vessel, carrying open blossoms, smaller buds, and deeply lobed leaves. Fine outlines separate the overlapping petals around their yellow centers, while variations in green distinguish the foliage. Open passages of blue give the flowering branches room to unfold around the curved surface. The shimmering decoration employs ginbari, in which textured silver foil lies beneath translucent enamel. The foil reflects light through the colored surface, lending depth to the blue ground and a delicate, almost woven texture to the blossoms and leaves. Hattori established his independent workshop in 1888 and gained recognition at international exhibitions, including Chicago in 1893. The vase reflects the workshop’s interest in naturalistic floral decoration, expressed here through the brilliance of silver foil beneath enamel. Chrysanthemums carry longstanding associations with autumn and longevity in Japanese art, adding a seasonal and auspicious dimension to the subject. The blue-enameled underside carries a rectangular gold-colored plaque bearing the characters 服部, read as Hattori, within a leaf-shaped reserve. Light wear consistent with age. The vase measures approximately 6.25" high × 3" in diameter. Auction Estimate: $600–$800.

A finely carved Chinese “Doctor’s Lady,” early twentieth century, fashioned from tusk as a slender nude woman reclining upon a fitted, dark-polished wooden stand. Her right hand cradles her head, while her left rests across her torso, holding a flowering branch against her body. The slight turn of her waist and gently bent knees soften the elongated pose, with small, slippered feet raised just above the stand. Her expression is quiet and composed, with downcast eyes, delicately arched brows, and softly curved lips. Closely incised strands of hair sweep back into an elaborate, layered bun, gathered beneath an ornamental band with tiny colored inlays. Similar accents embellish her bracelets, introducing touches of red, green, blue, and pearly white against the creamy carving. The coiffure is carefully finished around the back, where overlapping coils and individually cut strands give substance to the sculpted hair. The flowering branch forms an intricate arrangement across her chest and midsection. Open blossoms and rounded buds emerge among pointed leaves, their petals curling away from slender stems. Undercut spaces beneath the flowers lend the spray a delicate, almost detached appearance, while the fingers close lightly around its lower branches. Red bead-like accents brighten the arrangement. These richly worked details contrast with the broad, smoothly polished contours of the body, where the material varies from pale cream to warm amber. Conventionally known as “Doctor’s Ladies” or diagnostic dolls, such figures are associated with accounts of Chinese women indicating ailments to male physicians through a carved model. The historical extent of that practice remains debated. Reclining female carvings also found an audience as decorative curios, their intimate subject matter and elaborate adornment appealing to collectors. Here, the carefully dressed hair, jewelry, slippers, and flowers give the nude figure a distinctly ornamental and sensual character. The accompanying reddish-brown wooden stand has a fitted recess and inward-scrolling feet at either end. Its dark finish provides a handsome setting for the pale carving. Light handling wear is visible on the stand. Measures approximately 17.75" long x 3.25" wide x 3.5" high, including the wooden stand. Auction Estimate: $800–$1,200.

A Japanese cloisonné enamel charger of the Meiji period (1868–1912), probably late nineteenth century, decorated with a crested eagle perched on a rocky outcrop. Rendered in white and graduated gray enamels against a rich chocolate-brown ground, the bird dominates the composition, its lowered head and extended talons conveying watchful intensity. Fine metal wires delineate the overlapping feathers, from the small, rounded scales across the shoulders to the long flight feathers descending along the body. Swept-back plumage accentuates the head and neck, while yellow accents sharpen the eye, hooked beak, and powerful feet. The finely flecked ground has a subdued metallic sparkle, suggesting aventurine, or goldstone, enamel. Its warm tones provide a striking contrast to the pale bird and the gray-green rockwork, where small flowering plants soften the rugged contours. The subject belongs to a longstanding tradition of depicting birds of prey in Japanese painting and decorative arts. Eagles and hawks carried associations with strength and endurance, making them favored subjects among Japan’s warrior elite. Here, the commanding pose and carefully differentiated plumage translate that pictorial tradition into enamel, with the wirework serving much the same purpose as an artist’s drawn line. The shallow circular dish rests on a low ring foot and is framed by a narrow metal rim with a delicate scalloped inner border. The reverse is finished in bright blue enamel, with a dense pattern of wire spirals surrounding a plain blue center. The exposed metal mounts have a warm brown patina. Light wear consistent with age. Presents very well, with bold decoration. The charger measures approximately 12" in diameter × 1.5" high. Auction Estimate: $400–$600.

A pair of Japanese cloisonné enamel vases of the late Meiji period, circa 1890–1910, with complementary bird-and-flower compositions against a glossy celadon-green ground. Each vase has broad, rounded shoulders, a short flaring neck, and an elongated body tapering toward a narrow foot. Slender metal mounts frame the mouths and bases. Dark, twisting trunks rise from the foot of each vase, branching into finely pointed maple leaves and sprays of cherry blossom. Pale pink and white flowers open around yellow centers, accompanied by pendant buds and leaves shaded in olive green and golden yellow. The nearly black maple foliage provides a strong contrast to the delicate blossoms and softly colored enamel ground. Small brown, sparrow-like birds occupy the upper branches, their contrasting poses bringing animation to the closely coordinated designs. Fine wire outlines distinguish the wing feathers, individual leaf veins, and separate petals of the blossoms. Brown and muted violet passages articulate the trunks, suggesting the irregular texture of bark. The decoration extends around the shoulders, leaving open areas of green between the flowering branches. The corresponding forms, colors, and subjects give the vases a balanced relationship while allowing differences in the arrangement of the foliage and birds. The compositions draw upon the Japanese bird-and-flower tradition known as kachō-ga. Here, the combination of fine wirework and open enamel grounds gives particular prominence to the small natural details, from the birds’ plumage to the notched petals and sharply divided maple leaves. Blue-green enamel finishes the interiors and the underside shown, with patinated metal mounts surrounding the mouths and feet. No maker’s mark is visible in the supplied photographs. Fine lines around the necks and within one mouth appear consistent with enamel hairlines or crazing. Other minor wear and imperfections are consistent with age, including patination or tarnishing to the metal mounts. Each vase measures approximately 4.75" in diameter at the widest point × 10" high. Auction Estimate: $400–$600.

A Japanese cloisonné enamel charger of the Meiji period, late nineteenth century, decorated with two wild geese in flight among lilies, peonies, and flowering foliage. The birds cross an expansive turquoise-blue ground, their outstretched wings forming a diagonal through the tall flowering stems. A white lily, its pointed petals flecked with reddish spots, opens above elongated buds and narrow leaves. Below, a large pink peony unfolds among smaller blossoms and dense green foliage. The contrasting forms give the arrangement its rhythm: slender stems rise through the open ground, while the fuller peony anchors the composition near the rim. The geese are worked in brown, gray, and cream enamels, with fine wire outlines distinguishing their overlapping feathers. The decoration draws on the Japanese bird-and-flower tradition known as kachō-ga, which carried closely observed natural subjects across painting, prints, and the decorative arts. Here, the asymmetrical arrangement and generous areas of uninterrupted blue allow the movement of the birds and the branching plants to remain the focus. Fine metal wires divide the colored enamels into individual compartments, preserving delicate details of plumage, petals, and leaf veins within the polished surface. A narrow ornamental border of scrolling and pointed motifs frames the shallow circular dish. The reverse is enameled in blue with an allover pattern of wire spirals surrounding a plain central field. A low circular foot supports the charger, and a suspension loop is fitted to the reverse for display. The exposed metal rim and foot have a warm brown patina. Scattered surface marks are visible, together with a small area of enamel loss within the foot ring on the reverse. The charger measures approximately 11.75" in diameter × 1.25" high. Auction Estimate: $250–$400.

A large Japanese Imari porcelain bowl, Meiji period, late nineteenth century, richly decorated with sweeping panels of floral ornament and geometric pattern beneath a scalloped, gilt-edged rim. The deep, rounded body rises from a short circular foot, its generous proportions accommodating an elaborate design repeated across both the interior and exterior. Broad cobalt-blue panels carry fine gilt crosshatching and large, radiating chrysanthemum roundels, alternating with iron-red reserves crowded with pale blossoms. Turquoise-green sections introduce scrolling flowers with finely striped petals and gilt-edged foliage against a delicately stippled ground. Between them, blue latticework encloses small iron-red flowerheads on white. The curved divisions sweep diagonally around the bowl, drawing the richly colored panels into a continuous spiral. Within the interior well, a white-ground medallion offers a quieter arrangement of pine, bamboo, and flowering plum. Green and iron-red clusters of pine needles, slender bamboo leaves, and rounded plum blossoms follow the circumference around an open center. Known in Japan as shōchikubai, this auspicious grouping celebrates endurance and renewal, the three plants traditionally admired for their resilience through winter. The combination of underglaze cobalt, colorful overglaze enamels, and extensive gilding belongs to the kinrande, or “gold brocade,” tradition associated with Imari porcelain. Here, the name is particularly apt: the interlaced gold lines, repeated flowerheads, and densely patterned reserves recall the richness of woven textiles. Decoration continues down the exterior to a narrow iron-red ornamental band above the foot, giving the bowl a finished appearance from every angle. The recessed glazed underside bears a small iron-red ornamental emblem within a single underglaze-blue circle. The broad, exposed foot ring retains later felt protectors. Light rubbing to the gilding and wear and discoloration beneath the foot are visible; the enamels retain strong color. Measures approximately 13.25" in diameter x 6.25" high. Auction Estimate: $400–$600.

A Japanese cloisonné enamel charger, Meiji period, late nineteenth century, decorated with three birds among flowering plum branches against a lustrous black ground. The broad, shallow dish rests on a circular foot, with a narrow metal rim enclosing a richly colored border of stylized flowers and foliage. Two large birds occupy the center, their overlapping bodies and spread tails forming a striking arrangement above the branches. The foremost bird inclines its head toward the viewer, its white and gray plumage defined by closely set wire cells and a boldly striped, fan-shaped tail. Behind it, a golden-ochre companion turns to the left, with a dark brown head, rose-colored bill, and individual feathers outlined in fine wire. A smaller bird descends from the lower left with wings extended, bringing movement into the open space beneath the central pair. Gnarled brown branches rise from the right and reach across the black field, carrying white blossoms, coral-pink flowers, and tightly closed buds. Slender green shoots thread between the heavier limbs, their bright color setting off the softer tones of the petals. The dark enamel gives particular brilliance to the white feathers and blossoms, while leaving the branching composition clearly defined. Around the edge, an ornamental border combines deep green leaves, ochre scrolls, rust-red flowerheads, and small pale-blue accents. Its closely repeated pattern frames the more freely arranged birds and branches. Fine wirework follows the contours of the feathers, flower petals, and buds, demonstrating the detailed control that gives the decoration its character. The reverse is fully enameled, with a blue ground covered in curling wire spirals and bordered by a dark scalloped band. Within the foot ring, a brighter blue recess encloses a large floral roundel in black, green, ochre, and rust red. This is decorative ornament rather than an identifiable maker’s signature. Measures approximately 14.25" in diameter x 1.75" high. Auction Estimate: $400–$600.

A Japanese cloisonné enamel vase, Meiji period, late nineteenth century, with a richly colored bird-and-flower composition set against a lustrous black ground. The rounded shoulders narrow into a short, flared neck, while the body tapers toward a small circular foot, giving the abundant floral decoration a graceful, continuous surface. A long-tailed bird perches among branching white plum blossoms, its lowered head directing attention toward the pink roses below. Chestnut-brown plumage, deep cobalt wing markings, and a cream-colored breast distinguish the bird against the surrounding foliage. Fine wire outlines articulate the overlapping feathers, slender claws, and divided tail, bringing definition to the softly colored enamel. The roses open in layers of blush pink and creamy white around pale yellow centers, accompanied by pointed buds and clusters of green leaves. Gray flowering branches sweep across the shoulders, while smaller chrysanthemums and violet blossoms continue around the reverse. The arrangement balances passages of intricate detail with open black enamel, allowing the pale flowers and blue plumage to stand out with particular clarity. An ornamental collar of turquoise flowerheads and curling foliage encircles the reddish-brown neck beneath a narrow scalloped border. Overlapping maroon and pale green lappets finish the lower body. These patterned bands frame the freer garden composition, combining the decorative richness and naturalistic subjects associated with Meiji cloisonné. Exposed metal mounts finish the mouth and foot; mottled blue counter-enamel covers the interior and unmarked underside. Scattered small pits are visible in the enamel, together with light surface wear and patination to the metal mounts. Measures approximately 6" in diameter at the widest point x 10" tall. Auction Estimate: $250–$400.

A fine Japanese letter opener of the Meiji period (1868–1912), combining a decorated copper blade with a sculptural handle of clustered toads. Probably dating to the late nineteenth century, the piece reflects the period’s flourishing market for ornamental metalwork, when Japanese craftsmanship attracted collectors at home and abroad. Its elaborate handle rewards the same close attention as a small sculpture, bringing an element of artistry and humor to the rituals of reading and correspondence. The handle is modeled in high relief on both sides, with toads clambering over one another around a broken tree trunk. Their prominent eyes, broad mouths, and outstretched limbs give the group a lively, almost humorous character. Smooth, rounded bellies contrast with the stippled texture of their flanks and folded legs, while smaller creatures reach upward among the branches. Gilt details accent selected bodies and limbs against the deep brown patination. The copper blade is decorated on both faces with slender engraved stems, leaves, and small buds, picked out with contrasting metallic accents. It widens toward an upswept tip, with a shallow decorative notch along the upper edge near the point. The delicate foliate decoration complements the more elaborate modeling of the handle. Used as a paper knife, the blade could separate the folded, uncut leaves of books as well as open correspondence. The animal subject carries associations familiar in Japanese art and folklore. The word kaeru, meaning “frog,” shares its pronunciation with the verb “to return,” linking frogs with wishes for safe journeys and the return of good fortune. Toads also appear as companions to Gama Sennin, the “Toad Immortal,” a figure of Chinese Daoist origin adopted into Japanese painting and decorative arts. These associations provide a cultural setting for the subject, although the handle does not establish a particular legendary narrative. The handle has a slight internal rattle, suggesting some looseness in the connection. The letter opener measures approximately 11.75" long × 1.25" wide, with a 7.5" blade. Auction Estimate: $200–$300.

A Japanese cloisonné enamel vase, Meiji period, late nineteenth century, decorated with a flowering garden and two sparrows in flight against a glossy black ground. The full, rounded body rises from a spreading foot to sloping shoulders and a slender, flared neck, its elegant proportions complemented by the upward sweep of the foliage. A large, pale iris crowns the principal composition, its ruffled petals shaded in cream and soft lavender and delicately divided by branching wire veins. Long, blade-shaped leaves rise through clusters of white and blush-pink chrysanthemums, their yellow and pale turquoise centers adding small, bright accents among the layered greens. Rust-red blossoms, unopened buds, and curling leaves enrich the lower decoration, where closely arranged wirework captures the tangled growth of a garden border. Around the reverse, the flowers give way to an open expanse of black enamel beneath two flying sparrows. Their rounded wings, pale cheeks and chestnut facial markings distinguish the small birds. Fine wire separates the wing feathers and gives definition to the small birds as they descend toward the flowering stems below. Narrow borders of reddish-brown and cream chevrons, interspersed with pendant teardrop motifs, encircle the mouth and foot. The restrained ornament at either end frames the more elaborate floral work, while exposed metal rims complete the silhouette. The underside is finished in pale green counter-enamel and bears no visible maker’s mark. Surface wear and scattered small pits are visible in the enamel, with rubbing and patination to the metal rims. Measures approximately 4.5" in diameter at the widest point x 8.5" tall. Auction Estimate: $200–$300.

Expressive cobalt brushwork animates the continuous landscape surrounding this Chinese porcelain ginger jar, attributed to the early Qing dynasty, late seventeenth to early eighteenth century. The broad, rounded shoulder descends into gently tapering sides, giving the vessel a substantial, balanced profile. A short upright neck rises above the shoulder, its exposed upper rim consistent with a form originally fitted with a cover. Two robed figures face one another beside a low, angular railing. One extends his hands toward his companion, while an isolated mountain peak rises beyond them. Their faces and garments are articulated with economical strokes, contrasting with the broader washes that establish the surrounding terrain. As the composition continues around the jar, branching trees and elongated rock formations give way to sweeping curved bands suggesting water. The gathering evokes the Chinese pictorial tradition of scholars seeking companionship and contemplation within a natural retreat. Landscapes of this kind became prominent in seventeenth-century porcelain decoration, drawing on the imagery of scroll paintings and illustrated books. Mountains, water, and secluded meeting places could suggest an ideal life removed from official responsibilities and worldly distractions. The present scene can be understood within that broader tradition, although its figures cannot be securely connected to a particular literary episode. The decoration moves between smoky gray-blue passages and concentrated indigo accents. Dark outlines sharpen the figures and rocky contours, while lighter washes soften the landscape. Open areas of pale glaze separate the motifs, allowing the composition to unfold around the vessel in a manner reminiscent of viewing successive passages of a handscroll. Large blossoms and leafy stems encircle the shoulder between concentric blue lines. A narrow, undulating border with pendant accents defines the lower body above the foot. The glossy glaze has a subtle gray-green cast, with fine crackling and scattered dark specks visible across the surface. The substantial potting and freely handled decoration suggest commercial kiln production. Such workshops supplied both practical vessels and decorative wares, bringing established artistic subjects to a broad audience. The recessed underside is glazed within an exposed foot ring of reddish-brown ceramic fabric. The jar is accompanied by a fitted storage box covered in dark woven fabric, with a pale padded lining and cream-colored toggle fasteners. The cover is absent. The storage box measures approximately 7.5" × 7.5" × 7.25" tall. Auction Estimate: $300–$500.

A Chinese porcelain covered jar, attributed to the late Ming or early Qing period of the seventeenth century, distinguished by a softly lustrous blue-gray glaze and restrained cobalt decoration. The body rises from a low circular foot to a full, rounded shoulder, then narrows to a short upright neck. A subtle greenish cast lends depth to the pale glaze, through which faint horizontal throwing lines remain visible across the shoulder. The painted decoration follows the contours of the vessel. Slender blue lines encircle the neck and shoulder, while a single band defines the lower body above the foot. The broad expanse between these borders remains unpainted, emphasizing the rounded profile and reflective surface. Variations in the strength and width of the cobalt lines preserve the character of the brushwork. The shallow domed cover has a gently projecting rim and rounded button finial. Two concentric blue lines enclose sparse painted accents, with darker pigment gathering around the base of the finial. The cover complements the jar’s understated decoration and softly colored glaze. The recessed underside is glazed within an exposed foot ring, whose irregularly finished edge reveals pale ceramic fabric, brownish coloration, and granular adherences. Scattered dark specks are visible in the glaze, together with a small brown blemish on the cover. The accompanying presentation box is covered in dark woven fabric and fitted with a pale padded lining. Two cream-colored toggle fasteners engage dark cloth loops across the front. The presentation box measures approximately 5.5" × 5.5" × 4.25" high. Auction Estimate: $300–$500.

A Japanese cloisonné enamel vase, Meiji period, late nineteenth to early twentieth century, decorated with a golden pheasant perched among flowering plum branches above a colorful garden of chrysanthemums, roses, and irises. The slender, gently tapering body has broad, rounded shoulders and a short neck opening to a flared mouth. Its lustrous black ground gives the delicate blossoms and richly colored bird a striking clarity. The pheasant forms the center of the composition, with a sweeping yellow crest, russet throat and breast, and overlapping green and gray wing feathers individually defined in fine wire. Its long, patterned tail descends between the branches, echoing the vertical lines of the vase. Yellow feet clasp the slender perch, while the turned head and carefully outlined eye lend the bird an alert expression. White plum blossoms and rounded buds spread across a network of brown branches and green shoots. Below, rust-red chrysanthemums with bright yellow centers mingle with cream and apricot roses, pale violet irises, and small blue flowers. The decoration moves from the closely gathered foliage near the foot to increasingly airy branches above, creating a graceful progression along the tall body. Subtle changes of color within the petals and leaves soften the precise wire outlines. Narrow wire borders of repeating loops finish the decoration beneath the mouth and above the foot, leaving the floral scene largely uninterrupted. Plain metal mounts frame the upper and lower edges, and the recessed underside is finished in dark enamel without a visible maker’s mark. Minor wear commensurate with age, including light surface pitting to the enamel. Measures approximately 4" in diameter at the widest point x 9.75" tall. Auction Estimate: $300–$500.

A Japanese cloisonné enamel vase, late Meiji period, circa 1890–1910, decorated with two long-tailed birds among maple branches and flowering chrysanthemums against a glossy black ground. The elongated body rises through broad, rounded shoulders to a short neck and flared mouth, with narrow metal mounts framing the rim and foot. A slender maple trunk branches across the upper body, carrying finely pointed leaves in green, teal, golden yellow, orange, and rust red. Two stylized birds occupy the branches in contrasting poses, one leaning downward and the other perched upright with its head raised. Their brown wings, pale breasts, golden cheek patches, and exceptionally long tail feathers are articulated with delicate metal outlines. Clusters of chrysanthemums fill the lower portion of the composition, with white, pale lavender, yellow, and orange blossoms opening among overlapping foliage. Fine wirework defines the individual petals, branching stems, and leaf veins. Additional flowering sprays decorate the reverse, separated by broad passages of uninterrupted black enamel. A narrow ornamental border of pointed scallops encircles the foot above the metal mount. The mouth and foot mounts are silver-colored; their metal composition has not been confirmed. The interior is finished in blue enamel, and the underside is darkly enameled. No maker’s mark is visible in the supplied photographs. Light wear consistent with age, with possible light speckling to the enamel. Presents very well, with bold color and sharply defined decoration. The vase measures approximately 4.5" in diameter at the widest point × 9.5" high. Auction Estimate: $400–$600.

A pair of Japanese mixed-metal vases, Meiji period, late nineteenth century, decorated with birds and flowering plants against dark brown and black patinated bodies. Each elongated vase tapers toward a narrow base beneath rounded shoulders and a short neck. Thickened mouth rims are modeled with segmented details resembling bamboo. A large bird dominates the front of each vase, one descending with its wings spread and the other rising with its head lifted. Raised relief and finely incised lines distinguish the overlapping feathers, while contrasting dark, copper-colored, and gilt surfaces emphasize the wings, breasts, and smaller anatomical details. The differing attitudes create a complementary arrangement across the pair. Flowering stems and curling vines extend around the bodies, carrying broad, lobed leaves, open blossoms, and tightly formed buds. The foliage combines raised elements with engraved stems and veins, allowing the decoration to move between pronounced relief and shallow surface detail. Additional sprays on the reverses include rose-like flowers and smaller leaves. Scrolling ornament encircles the necks beneath the bamboo-form rims. Broad bands of stylized leaves and curling stems decorate the lower bodies, their warm metallic highlights standing out against the dark patination. The undersides are plain metal, with no legible maker’s signature visible in the photographs. The specific alloys and composition of the contrasting metallic accents have not been confirmed. Wear to the gilt and other surface finishes, with additional wear and patination commensurate with age. Each vase measures approximately 7" in diameter at the widest point × 14.25" high. Auction Estimate: $2,000–$3,000.

Two Japanese cloisonné enamel vases, Meiji period, late nineteenth century, decorated with flowers, butterflies, and ornamental panels against dark grounds densely filled with fine wire spirals. The vases differ in size and shape, sharing a colorful palette and contrasting areas of opaque and translucent enamel. The smaller vase has an elongated body, sloping shoulders, and a slender neck opening to a flared mouth. Chains of small green circular motifs descend along the neck and frame pendant blue panels around the shoulders. Scattered butterflies, pale blossoms, and green floral rosettes enliven the dark ground. Reflective, foil-like inclusions give selected blue and green passages a sparkling appearance. Overlapping semicircular outlines form a band above the narrow foot. The larger vase has broad, rounded shoulders, a short flared neck, and a tapering body. Overlapping fan-shaped, rectangular, and lobed panels contain irises, flowering branches, butterflies, and stylized ornament. Two panels bear the auspicious characters 福 and 寿, expressing good fortune and longevity. Small colored roundels and floral devices punctuate the surrounding spiral wirework. A broad ornamental band encircles the shoulders, while alternating colored lappets rise above the foot. Warm yellow-metal mounts frame the mouths and bases. The smaller vase has a dark underside; the larger has an exposed metal underside bearing a small oval stamped mark, presently unidentified. General wear and minor surface imperfections consistent with age. The larger vase measures approximately 4" in diameter at the widest point × 7.5" high. Auction Estimate: $300–$500.

Two Japanese cloisonné enamel chargers, Meiji period, late nineteenth century, decorated with swallows and foliage against bright blue grounds. Each shallow circular dish rests on a low ring foot, with a narrow metal rim enclosing an ornamental enamel border. One charger depicts a swallow perched on an arching stem among broad lotus leaves, pink buds, and slender, curving blades of foliage. The bird’s dark head and folded wings contrast with its white breast, while fine wire outlines distinguish the feathers and long, forked tail. The lotus leaves display radiating veins and areas of darker green shading. Pale blue fan-shaped floral motifs, brown scrolls, and a black scalloped band dotted in white frame the scene. The second charger features a swallow in flight beside a grapevine. Pointed wings and extended tail streamers carry the bird across an open expanse of blue, balancing the large, lobed green leaves and hanging cluster of dark and pale green grapes. Curling tendrils extend around the lower field. Its border combines stylized floral and scrolling forms in black, pale blue, brown, white, and muted red. The reverses are enameled in blue with repeated wire spirals surrounding deeper blue centers within the foot rings. The exposed metal rims and foot rings have a warm brown and golden-toned patina. No maker’s marks are visible in the supplied photographs. Surfaces show light imperfections consistent with age. Each charger measures approximately 11.75" in diameter × 1.25" high. Auction Estimate: $400–$600.