Attributing early Namikawa Yasuyuki

It is often the desire of a collector in any form of art to find pieces from a specific artist or workshop, but knowing whether the piece is by or from these artists is another matter entirely. If work is unsigned and there is no concrete evidence of the work being by the artist in hand then it can go no further than an attribution.  An attribution is an assessment of who was responsible for creating a particular work. These attributions can be made in a manner of different ways. Often the most likely reason for attribution is that a work of art resembles that of the artist in question. The design may be similar to other known works or the method and materials are similar.

In the collection, there are some cloisonné napkin rings all sharing attributes to the artist Namikawa Yasuyuki, one of which is almost certainly by the artist as an identical unpolished napkin ring of the same colour and design was found at the home and workshop of Namikawa himself. The most beautifully designed pieces on a base ground of mottled green enamel, three butterflies, and flowers surround the ring with a black border in a three-pronged design.

The second napkin in question resembles the known work in many ways. On a mottled green ground three butterflies and flower design circle the napkin with the same black three-pronged black border. Not only are there the three butterflies but they match in colour and position to the first. It is clear to say that the workmanship is by no means that of the first napkin but the similarities in the design are uncanny.

The differences that can be seen are the lack of an inner ring with counter enamel seen, but it must be stated that the unpolished napkin found in Namikawa’s workshop had the inner ring counter enamelled in the same green enamel ground as outside. when finished a ring would be placed inside to cover the counter enamel. The fine gilding on the second ring has long gone unlike the first giving it a dull finish and the leaves and flowers are not exactly the same as that of the first.

A third ring can now be examined that shares both attributes of the first and second rings. This ring has the same level of workmanship as the first and the design is almost the same. What it does not share with the first is that the body is on a flat plane with sharper edges to the outer ring that of the second ring. The first ring has the most delicate curve to the body typical of the standard Namikawa was known for. It also has fine gilding and an inner lining fitted to hide the counter enamel of which is essential for stopping the enamel on the outer surface from breaking away from the body.    

It is not always easy to make attribution even when there are many factors in favour of the artwork. It is highly likely that the third napkin ring is by Namikawa as it shows so many similarities to his work but that of the second ring remains unknown. It would be a wonderful thought to suggest that these three rings display an evolution of work by Namikawa from early to later works as his standards began to rise until becoming world-renowned for cloisonné manufacture.