Kinkozan of Kyoto

Meiji period, 19/20th century

1868-1912

Koro

A satsuma incense burner with phoenix handles and finial, on one face, is a bamboo framed panel of two people walking on a bridge, the bridge is situated in a valley of pine trees and a building in the distance. On the reverse side are two panels, one of pigeons and poppies and on the other two birds in flight below wisteria. The phoenix or “Ho-o” in Japan is one of the Chinese mythical beasts, it is used to represent the female element whereas the male is represented as the dragon.

The painting of this koro is very reminiscent of the artist Sozan. Sozan was an artist that painted or Kinkozan and specialised in highly detailed landscapes often painted in panels on satsuma wear. This could easily be a work by him or possibly a student of his.

Signed Kinkozan

150mm x 150mm

Anonymous

Meiji period, 19th century

1868-1912

Koro

A Gosu Satsuma Koro “incense burner” painted in enamel paints, crackle glaze and silver lid. The koro stands on three small curled feet with panels of peonies and matching silver lid. The silver lid and be beautifully hand worked from the inside beating out the patterns of leaves and flowers.

Unsigned

110mm x 100mm

Kaiyosha Takeouchi

Meiji period, 19th century

1870-1885

Vase Pair

A rare pair of jitai jippo vases. These vases are made of porcelain with wire and enamel overlay. Closely wired borders and floral design that seems to be of a pomegranate flower pattern on a dark green ground.

Very few artists worked cloisonné on ceramics due to it being in many respects more costly, needing days to fire pieces because the ceramic bodies would need to be slowly heated and cooled to reduce damage. Enamels on ceramics tend to be dull in colour compared to enamels on a metal substrate. It is believed that ceramic pieces were made at an earlier date around 1870- 1890 and the European market wanting the enamels on metal bodies more than ceramic leading to less investment and development in its technique.

One of the most well-known makers of cloisonné on ceramics was Takeuchi Chubei who was known to work with the maker of these vases. Takeuchi was famous for using yellow, brown, and olive-green enamels such as on these vases. The artist Kaiyosha Takeouchi whose name is on these vases worked with Takeuchi Chubei but went out of business in 1885. It's possible these vases were wired and enameled by Takeuchi Chubei early in his currier for the Kaiyosha company.  

295mm x 120mm

Signed Dai Nippon, Nagoya, Kaiyosha

Kinzan

Meiji period 19/20th century

1868-1912

Satsuma Plate

A finely detailed Satsuma plate in hand-painted polychrome paints and finished in gilt highlights. The scene depicts a temple within the mountains surrounded by pine trees. A large temple building on the right-hand side and a five-tire pagoda behind. Women, men and children are walking between rocks and Japanese maple trees.

The temple on this plate is Shitennō-ji in Osaka. A photo from the same perspective was taken by the stereo-view maker Underwood & Underwood in 1904. Known as the Temple of the Four Heavenly Kings, often regarded as the first Buddhist and oldest officially-administered temple in Japan.

Signed Kinzan

Size 187mm x 33mm

Signed unknown maker

Meiji period, 19/20th century

1868-1912

Koro

An satsuma koro incense burner, beautifully raised decoration in enamel depicting two dragons in clouds above turbulent water. It has highly intricate border work with the imperial crest of the chrysanthemum. The use of Gosu or cobalt blue paint is used for the water, borders, and shishi “guardian beast”. Surrounding the shishi is the myriad of treasures such as the cape of invisibility, amulet, and horn cup motifs.

Signed unknown maker

177mm x 145mm

Anonymous

Meiji period, 19th century

1868-1912

Vase

A large six-sided Satsuma vase in enamel paint and crackle glaze. The vase depicts three panels of peonies, chrysanthemums and blossom and three panels of Chinese figures two of which are warriors and one sage or learned man. These figures are likely from Chinese mythology or history and the Japanese were fascinated by Chinese culture at the time.

Around the neck is the symbol of the emperor. The Imperial Seal of Japan or National Seal of Japan, also called the Chrysanthemum Seal (菊紋, kikumon).

Signed Satsuma

365mm x 180mm