After some search I think it might be white body satsuma. There are very few examples I found to compare with. Possibly an unused blanc. 

Perhaps have a look through the collections of these guys from the 19th century/20th century. 

James Lord Bowes

Edward Sylvester Morse

Charles Lang Freer (1854-1919)

Smithsonian Institution, 

Collecting Japanese ceramics was a central element of the movement known as Japonisme that was underway in Europe and the United States by the 1870s. Some American collectors went to Japan to shop, but Japanese dealers also opened galleries in major cities on both coasts. Although many of those early collections were dispersed, some found permanent homes in museums including the Boston Museum of Fine Arts, the Metropolitan Museum of Art in New York, the George Walter Vincent Smith Museum in Springfield, Massachusetts, the Walters Art Gallery in Baltimore, and the Freer Gallery of Art in Washington, D.C. A look at those museum collections reveals that collectors at the turn of the last century operated with very different assumptions about what constituted quality and value in Japanese ceramics.

This was also the time when some of the first self-defined potters emerged to take up the role by choice rather than acci­dent of birth. Some were out-of­-work samurai who saw an opportunity for a new occupa­tion; others, such as ltaya Hazan (whose father was a small-town soy-sauce manufacturer) en­tered the field through studies at newly-established Western­-style art schools.

In short, the late nineteenth century was a time when categories of Japanese ceramics were not fixed. Japanese potters were redefining their positions. American and European pa­trons were groping toward defi­nitions of quality and trying to sort out the differences among ethnographic specimens, pieces aimed at the foreign mar­ket, and objets d'art.

This confusion among con­sumers found its epitome in a fierce battle waged in print in the 1890s between two promi­nent collectors, James Lord Bowes and Edward Sylvester Morse, over who had the cor­rect perception of "true" Japa­nese taste in ceramics. The Englishman Bowes championed the technical and aesthetic progressiveness of the finely­ decorated products of Satsuma, Kutani, and Kyoto. Railing against the "rude and undeco­rated pottery of the middle ages” that had "exercised a strange and unaccountable fas­cination upon the native mind," he condemned the apprecia­tion of dark-glazed, asymmetri­cal ceramics within the context of tea drinking (chanoyu). The American Morse, who during his years of residence in Japan had formed the famous collec­tions now in the Boston Mu­seum of Fine Arts and the Peabody Museum in Salem, Massachusetts, and had gained familiarity with Japanese cul­ture, claimed that ordinary do­mestic pottery and tea ceramics most truly reflected Japanese taste.⁴

Although Bowes and Morse each spoke adamantly for a competing "true definition" of Japanese ceramics - and Morse was a powerful influence partic­ularly upon American collec­tors - most surviving American collections formed in that era actually contain an eclectic sam­pling of "the Undecorated, the Decorated, and the Modern," as Bowes defined the major types, and they include in the "Unde­corated" category both tea wares and popular domestic wares.

The collection formed by Charles Lang Freer (1854-1919) between 1892 and 1917 is representative of those types. Of the approximately nine hundred Ja­panese ceramics now in the Freer Gallery of Art collection at the Smithsonian Institution in Washington, D.C., over six hundred were acquired by Freer himself.⁵ He made his earliest purchases in New York, but by 1896 he had begun buying from Matsuki Bunkyo and from Yamanaka and Company, first from its New York branch and later from the parent company in Japan, and they became his major sources. Many pieces were secured during lengthy trips to Japan in 1895, 1907, and 1911. From then onward, al­though he continued to make sporadic purchases of Japanese pieces, his interest (partly di­rected by a sharp rise in the prices of Japanese antiques) shifted to Korean, Chinese and Near Eastern ceramics.

Freer considered himself to belong to Morse's side of the ar­gument about taste in Japanese ceramics. His meticulous notes on his collection, articulating his responses to pieces, show that he focused first and fore­most on color. The streaked and mottled coloration of Japanese stoneware glazes particularly delighted him. He enjoyed ar­ranging his ceramics in vi­gnettes in relation to American and East Asian paintings in his collection-creating color har­monies - and he made notes about possible groupings for display. He disdained porcelain and bought scarcely any; his purchases of stoneware deco­rated with overglaze enamels were also few. Although not particularly concerned about the age of objects, he appreci­ated the occasional opportunity to buy pieces said to have come from former daimyo collections. He prided himself on being a hard bargainer and avoided exorbitant prices except when he came under the spelI of Siegfried Bing, the famous mer­chandiser of Japanese art and art nouveau in Paris.⁶ Bing even persuaded Freer to buy one of his few examples of enameled Satsuma ware.

In 1907, having completed ne­gotiations to give his growing collection of Asian art to the United States and to establish the first art museum within the Smithsonian Institution, Freer invited Morse to examine and appraise his Japanese ceramics. (Subsequently, on the basis of Morse's advice and his own taste, he donated pieces to sev­eral university art museums, including those at Amherst College and Oberlin College.) Freer's notes show he accepted Morse's attributions for most pieces, even when they over­threw identifications supplied by Japanese dealers.

With hindsight it is possible to say that Freer was not unreason­able to trust Morse in many cases. Freer's collection in­cludes many pieces whose iden­tifications, supplied by the dealers who sold them, repre­sent sheer ignorance of a body of connoisseurship that had been built up during the Edo pe­riod (1615-1868) and then lost as social roles were reshuffled dur­ing the ensuing Meiji period (1868-1912). For example, tea leaf storage jars that would have been staples in daimyo collec­tions, and that any cultivated Edo-period Japanese would have been able to identify in­stantly as Chinese, were repre­sented to Freer as being Japanese

When looking at Freer's col­lection or other similar groups of Japanese ceramics - even Morse’s - with the benefit of al­most a century more of schol­arly research, archaeology, exhibitions, and publications, it is easy to feel smug about the lim­itations or failings of those early collectors. Yet they reflect a fascination with a new-found but ancient culture and an enthusiastic effort to make sense of it through attention to one particularly attractive aspect. Less knowledgeable than we are about Japanese ceramics (and culture), they were also in some senses less bound by stereotypes. They have left us col­lections rich in diversity and welcome surprises.

https://studiopotter.org/japanese-ceramics-america-early-years

Interesting Article, Thank you. I think I found more examples as well. It seems to match the piece that I saw today.

https://artsandculture.google.com/exhibit/ogISy-67-Q_LLA

                                                                                                                                       White satsuma ware tripod 18th to 19th centuries

Among the different types of white Satsuma ware, an elaborate white ware called shirayaki was exceptionally high in quality. This was a ceramic ware of high rank that could only be used by the feudal lords as a gift to a shogun family or a daimyo, so much so that no Satsuma nishikide ware was ever seen by the commoners during the Edo period (1603-1868).

@short-dong

The quality of the vase is not on par unfortunately but this cream-pink shade do match, also the crackled glaze. I think I better get that vase first thing tomorrow. BTW it seems to me that you are the only one able to copy-paste pictures on bidamount, you've got to tell people your secret.

Simple as that. 

Copying and Pasting an Image in a Word Application

Step

Click on the image you want to copy.

Step

Choose "Edit/Copy" (Ctrl+C or right-click and "Copy") from the menu.

Step

Open the application you'd like to paste the image into.

Step

Select "Edit/Paste" (Ctrl+V or right-click and "Paste") from the menu.

It may look less quality due to age related wear. I wouldn't pay vintage or antique  price until I could verify what it is. The balance of probabilities is always that it is modern or a manufactured item. It certainly would struggle to  be shirayaki which according to the above article was very high quality. However I have no experience with this ware so i am just guessing. 

If the price is reasonable it may be worth getting to investigate and compare to known examples. You have introduced me to this Shirayaki which i never knew existed until now. 

I think the term Shirayaki is reserved to the best quality white ware used by the noble man. The vase currently is around 7usd so I think even if it's wrong I'll have a chance to study it. So far the closest thing I found is this vase https://www.freersackler.si.edu/object/FSC-P-3718/

You could try haggle it down to $5 but yes it seems to be not too expensive, I know from western standards that is very cheap but $7 maybe slightly more in south east asia. So really it is what like $30. So Maybe $3.50 is a better price. 

Finally I purchased the vase, at around 5 usd as you suggested ))

It cleaned up well and the pleasant ivory tome with slight pink shading came through.

https://photos.app.goo.gl/8atd3QwPaQaFz2WQ7

What are your thoughts on the other vase? If it isn't a fake it has some age to it, don't know how to classify it it's a little odd.

Did not manage to upload photos, tried every way, creating an album link id the only way for me.

Best regards

Spartakos

Hi Sparkatos, It looks better with the new images, whether it got a clean. The other bulb vase i am  not sure about. Obvious signs of age but these are also seen on fakes. So not sure. Why anyone might fake such a vase. Perhaps it is just an old poorly maintained bulb vase. 

I am sorry i cannot help with the bulb vase. This is exciting you have the other vase and hopefully when you have time you might find something similar to compare. 

You are relatively safe at $5 as you have the chance to offload it if it is not as you had expected. 

Hi Spartakos,

I'm sorry, I thought I had replied but maybe I didn't hit the send button. 😊 

I haven't got much to say except that I actually like them both.  The base of the rounder one is interesting.  It almost looks as though the glaze went over the foot rim but has mostly worn or broken off.

Julia

Posted by: @short-dong

Hi Sparkatos, It looks better with the new images, whether it got a clean. The other bulb vase i am  not sure about. Obvious signs of age but these are also seen on fakes. So not sure. Why anyone might fake such a vase. Perhaps it is just an old poorly maintained bulb vase. 

I am sorry i cannot help with the bulb vase. This is exciting you have the other vase and hopefully when you have time you might find something similar to compare. 

You are relatively safe at $5 as you have the chance to offload it if it is not as you had expected. 

Hello SD

I will have to do more research, but it seems that white satsuma is an unused blank. 

I'll have to compare the bulb vase to other examples from Edo-Meiji period.

Finding items at low prices is very convenient for a novice like me, worst case scenario is I'll drill a hole and turn it into a flower pot.

Best regards

Spartakos