Antique Japanese Cloisonne Enamel Work Peony and Cascading Decor Copper Trinket Box

This exquisitely intricate Totai Shippo piece is dated to c.1880 from the Japanese Meiji era (1868-1912 ).

Totai Shippo is the technique of applying Cloisonné enamel to ceramic believed to have been discovered by Sukamoto Kaisuke (b.1828 - d.1887) some time around 1868. Traditional Cloisonné of using thin wire or metal to contain different coloured enamels applied to a metal vessel itself is already a revered technique. Totai Shippo elevates the technique to another level when you consider the detailed wired sections of this piece is as small as 1-2mm in width.

This particular piece bears two 'faces', a panel on each side that displays the detailed design of butterflies, Chrysanthemums and Anemones in tones of Dusted Powder and Cobalt Blue, Oxblood Red and Apple Green. Encircling the panels are features of Sakura buds and blossom interwoven with the Teal patterned background. 

This excellent work of art makes for a superbly decorative and highly collectable art feature.

CONDITION
Very Good. There is age-related wear to the enamel and crazing on the non-enamelled sections that is commensurable with the age of the piece, please see photos as they form part of the condition report.

MEASUREMENTS
Height: c. 3.9" / 10 cm by c. 3.4" / 8.6 cm diameter (across widest point). Base diameter: c. 1.9" /  4.7 cm. Rim diameter: c. 1.6" / 4.1 cm. Unpackaged weight: c. 0.2 kg / 220 g

NOTES
Jar will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Japanese Cloisonne enamelware is a technique introduced to Japan around the Tokugawa period during the 16th century.

Cloisonne or 'Cloisonné' are metalwork objects with decoration that is applied by creating separating sections using wire or thin metal. The sections are filled with different coloured enamels to create a visual image or pattern and the whole piece be fired multiple times to realise the colours.

This exquisitely intricate piece is a work of Famille Rose, Fencai '粉彩' design. Famille Rose was first introduced into Western classification in the 18th century and actually referred to Chinese porcelain decorated with the presence of pink enamel. There were multiple sub-categories of Famille Rose by colour palette and pattern, this particular piece is of the Fencai [tr. 'powdery colours' or 'pale colours'].

The design of this piece is a handpainted and delicate pattern of sophisticated detail comprising of stylised Peonies surrounded by accents of abstract Ruyi clouds. The pattern colour palette is of Soft pinks, turquoise, Azure blue and Jade greens; all of which rests upon a base of vibrant Sunbeam yellow. The combination of these colours mimics the colour palette that once would have been reserved for Imperial use only. The piece is finished with binding accents of brass and a fully functioning hinge.

This fantastic work of art makes an excellent decorative as well as collectable art feature.

CONDITION
Excellent. No chips, cracks or repairs to the porcelain. There is mild and negligible use wear on the interior and the exterior glaze, as well as light oxidation to the brass binding. The hinge that is commensurate with the age of the piece. Please refer to photos as they form part of the condition report.

MEASUREMENTS
Height: c. 2.4" / 6 cm tall by c. 4.6" / 11.6 cm length by 3.5" / 8.8 cm width (across widest point). Unpackaged weight: c. 0.5 kg / 500 g

NOTES
Porcelain box will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.

A BIT OF HISTORY
Famille rose (French for "pink family") is a type of Chinese porcelain first introduced in the 18th century and defined by the presence of pink colour overglaze enamel. It is a Western classification for Qing dynasty porcelain known in Chinese by various terms: fencai, ruancai, yangcai, and falangcai. The colour palette was introduced in China during the reign of Kangxi (1654–1722) by but perfected only in the Yongzheng era when the finest pieces were made.

Falangcai (珐琅彩, 'enamel colours') refers to overglaze enamel porcelain produced at the workshops within the Forbidden City in Beijing. The word falang meaning "enamel" may have come from the word for the "Franks" or "France". Falangcai originated as an attempt to apply the enamel colours used in metal wares such as Cloisonné onto porcelain. Falangcai pieces were produced at the palace workshops using glazed white porcelain from Jingdezhen, which were then painted with enamels and fired at a relatively low temperature in kilns. As these wares were produced in small workshops at the Imperial Palace and intended only for exclusive use, they are much rarer than other types of famille rose porcelain. The term falangcai, however, may apply to other enamel colours and need not refer exclusively to famille rose.

Yangcai (洋彩 'foreign colours') is a type of porcelain produced at the Imperial kilns in Jingdezhen. According to Tang Ying who supervised the production of porcelain at the Imperial kilns in Jingdezhen, it was initially created in imitation of falangcai.

Fencai (粉彩 'powdery colours' or 'pale colours') references pastel shades and is the term commonly used in Chinese to describe famille rose porcelain. Fencai is the more modern term used by Chen Liu (陈浏) in the early 20th century and it is often used in place of yangcai in Chinese.

Ruancai (軟彩 / 软彩 'soft colours') is a term from the Yongzheng era as the colours used are softer in contrast to the 'hard colours' (硬彩, yingcai) used to refer to famille verte or wucai.

THE ITEM
This charming handmade piece is a beautiful example of vintage upcycling.

Significant popularity of porcelain shard trinket boxes during the 20th-century comes from the turbulent period of the Chinese Revolution (1966 - 1976) where there was a cultural shunning of excess and rejection of old customs. Keeping antique or fine porcelain at home was considered illegal and many collectors would destroy and throw away their pieces.

However, there were those who felt the distress from the cultural destruction and sought to salvage the broken porcelain at the end of the period. The salvagers wanted to bring new life to the collected shards and one new lease of life was transforming the shards into these trinket boxes.

The porcelain shard of this particular piece bears a stylised cloud pattern that is embedded into the silver-plated alloy. The body of the box is decorated with rings of dots and stylised plum-blossoms.

CONDITION
Excellent. No chips, cracks, dents or repairs. There is mild wear to the silver-plating, particularly on the underside of the base, which is commensurate with the age of the piece. Please refer to the photos as they form part of the condition report.

MEASUREMENTS
Height: c. 1.2" / 3 cm and c. 1.5" / 3.8 cm width (across bodys widest point) x c. 1.6" / 4 cm. Unpackaged weight: c. 920 g / 0.9 kg.

NOTES
Trinket box will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

THE ITEM

A stunning work of late 18th century European Japonist design with Sakura Cherry blossom relief decor. 

The body is made of copper, decorated with blossom and stem relief decor throughout, supported at the base by a stylised foot at each corner and complimented with a hinged handle on the top.

The decor on the front face of the unit is framed by a scroll trim and the whole piece is finished with a silver plating overlay, which has aged with a naturally worn patina. Inlays of wood form the drawer section, each drawer is finished with a hinged handle and can be locked/unlocked using the accompanying key.  

A BIT OF HISTORY

"From the 1860s through to the 1890s, the rise of Japonisme and the Art Nouveau movement meant few could resist the obsession with all things Japanese. Superbly crafted and often highly decorated Japanese objects – lacquer, metalwork, ceramics, enamels and other decorative items rich in new and exotic subject matter – stimulated and inspired Western artists and craftsmen to produce their own works. Arts of the Meiji period (1868–1912) were displayed at international exhibitions, in the galleries of influential dealers and at fashionable stores in London, Paris and Vienna.

CONDITION

Excellent, only light use and age wear (wear commensurable with age of the piece). 

MEASUREMENTS
c. 6.3" / 16 cm tall x c. " /  cm in length x c. " /  cm in width

Unpackaged weight:  1.3 kg / 1,293 g

NOTES
Drawers will be securely packaged and shipping will be insured.
Shipping will be combined for multiple items.

THE ITEM

This superb work of Japanese design and craftsmanship carries it's own special piece of cultural significance and history. 

It is called a Takamakura, 高枕 [Literal translation 'high pillow'], known for its unusual design and association to geisha culture. The sole intended purpose would have been to safeguard elaborate coiffures. 

This piece is of a more complex design, with the woven bamboo top, wood-stained rattan body and gently exaggerated curves and feet at the base being accompanied by an inbuilt drawer compartment at the centre of the unit. Presumably, it was thought that beneath the head was an ideal place to keep valuables safe as you slept. 

Today, this work finds its purpose as an art object offering a gateway into it's own special place in cultural history. 

A BIT OF HISTORY

The role of the Takamakura in history is strongly associated to the geisha and was designed to meet those needs that might come with maintaining the signature geisha updo of the 17th century. The complicated chignon-like style of the geisha, called the Shimada (島田), could take hours or even up to a day to craft.  

Today, most modern geisha wear painstakingly maintained wigs that are easier to manage. However, their apprentices—called maiko (舞妓)—often have their real hair coiffed. Some even have it done the traditional way: pressed, set, teased, tied, and waxed into place by a professional once a week.

The term Takamakura 'high pillow' is at times used interchangeably with Bachimakura 罰枕 [Literal translation 'punishment pillow'], understandably, as the 'pillow' was more of a neck cradle to keep the coiffure maintained until the next hair appointment. 

CONDITION

Good to excellent. There is mild age wear (such as the small spot discolouration of the rattan wood at the back of the headrest) commensurable with the age of the piece - please refer to the photos as part of the condition report.

MEASUREMENTS

Unit: c. 10" /  25.5 cm tall x c. 18.5" /  47 cm in width x c. 8" / 20.5 cm depth.

Drawer: c. 2" / 5 cm tall x c. 7.7" / 19.5 cm in width x c. 7.7" / 19.5 cm depth.

Unpackaged weight: c. 1.8 kg / 1,767 g

NOTES

Headrest will be securely packaged and shipping will be insured. Shipping will be combined for multiple items.