Anonymous

Meiji period, 19/20th century

1868-1912

Vase

An Exquisite large square rounded vase with two central panels depicting songbirds, pheasants, mandarin ducks, and heron. The birds are surrounded by numerous plants and flowers. Both panels are bordered by dragons and phoenix “Ho-o” birds on the edges. Fine silver wirework with solid silver rims. The mandarin duck is an emblem of conjugal fidelity in Japan.

It is particularly difficult to attribute this vase to one of two possible makers that of Hayashi Kodenji and Ando Jubei. There are similar works attributed to both artists but all known works are unsigned. Saying this there seems to be a stronger argument that this is the work of the Ando workshop, but to confuse the situation further Hayashi Kodenji is known to have regularly collaborated with Ando with designs and consignments. The likelihood is that this was made at least in the Ando workshop but the artist who designed the piece is certainly unknown.

Unsigned

Attributed to Ando Jubei workshop, Possibly Hayashi Kodenji.

210mm x 200mm

Anonymous

Meiji period, 19/20th century

1868-1912

Vase

A highly intricate silver wired vase with double rim and silver collar. An ancient Chinese style rim with shishi heads, body with many butterflies on a dark blue ground. A very wide range of enamels has been used on this vase having needed repeated firing in the kiln to accomplish this.

This vase is attributed to Hayashi Kodenji I or his son Hayashi Kodenji II. It is almost impossible to distinguish between both artists as they worked together from the 1870s until Hayashi Kodenji I death in 1915. They signed all pieces with the same signature and so subsequently they are seen as the same artist.

Hayashi Kodenji I was highly respected and won many international prizes such as the silver medal at Nuremberg 1885, silver at Chicago 1893, Paris 1889, and Gold at St. Louis 1904.

unsigned

Attributed to Hayashi Kodenji

187mm x 148mm

Anonymous

Meiji period 19thcentury

1870-80

Vase

A Chinese style cloisonne vase in polychrome enamels on a copper-brass base. Stylistically this vase is entirely Chinese, the floral patterns and tracery are that of the Qing dynasty cloisonne taste.

This vase is attributed to the maker Namikawa Yasuyuki due to two main factors. On the lower border is the use of a transparent orange enamel typical of his early work but the strongest association is the black enamel ground. Black enamels on early Japanese cloisonne were closer to blues and purples. Namikawa Yasuyuki became well known for creating a true black enamel. The depth of the black enamel on this vase mirrors his black enamel creations.

Size 120mm x 80mm

Unsigned Attributed to Namikawa Yasuyuki

Anonymous

Meiji period 19th/20th century

1868-1912

Pair of Dishes

A cloisonne pair of dishes. Polychrome enamels on a copper base with silver wire work. Beautifully depicting iris flowers on a blue ground with a small patterned border around the edge.

Japanese Iris is one of the most loved and used flowers in Japanese art. The iris plant known in Japan as kakitsubata represents strength and health and is said to ward off evil spirits.

Unsigned

Size 300mm x 300mm

Attributed to Namikawa Sosuke

Meiji period 19th/20th century

1868-1912

Cloisonne Vase pair

A pair of cloisonne vases in polychrome enamels depicting blossom on a pink ground. The cherry blossom has always been and has remained one of the iconic symbols of Japan. The term Hanami (flower viewing) is a well anticipated time of year when Japan is covered in a blanket of blossom is certain locations.

People travel from all over to view and bathe in the slender and beauty of the blossom. Blossom of all kinds are found on Japanese art representing the transitory beauty of life reminding people that we are here for only a fleeting moment.

Unsigned

Size 209mm x 85mm each

Inaba

Meiji period 19/20th century

1868-1912

Koro

A small delicate cloisonne koro (incense burner) in multi-coloured enamels with gilt copper wire. Designs of peony flowers surround the upper rim and lid with a shevron pattern around the middle. Stylized Dragon and Phoenix panels surround the lower body standing on three gilt copper feet. Signed by the well-known maker Inaba.

Signed Inaba

Size 86mm x 95mm

Anonymous

Meiji period, 19/20th century

1868-1912

Vase pair

A large pair of cloisonné vases. Two dragons coiling around each vase in opposition to each other. Dark black ground, silver wire, and patterned rims. Copper body and rims. An early example of good size and use of graduated enamel on the dragon’s body’s fading from green to white.

Unsigned

452mm x 205mm

Honda Yosaburo

Meiji period, 19/20th century

1880-1910

Small dish

A small kyotojippo-style enamelled dish in fine gilt wire and polychrome enamels on a copper base. Hair thickness wire scrolls are used in a spoked wheel design adorned with flowers and pomegranates. Reverse counter enamel in scrolls on a translucent amber-coloured enamel.

The use of pomegranate in Japanese art is rare. Introduced late in the far east the pomegranate in Japan and China came to represent a family blessed. With its many seeds, it represented a family with many children and is known as the happiness fruit. It is also a special attribute of Kishi-Bojin, the Buddhist divinity who protects children.

This piece is almost certainly by the master Honda Yosaburo, here is a photo of a large Cloisonne Koro with the exact same triangular design of pomegranates and flowers. This piece is signed by the makers mark of Honda.

Well known for the kyotojippo-style of densely wired areas in geometrical and shield designs. He enjoyed the highest reputation during the Meiji period. Honda Yosaburo opened his own shop in Nagoya in 1888 and won medals at the expositions in Nuremberg in 1885 (silver place), and gold in Paris 1889 and Chicago 1893.

Unsigned attributed in Honda Yasaburo.

118mm x 118mm x 15mm