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全球拍卖首页 > Bonhams UK > 日本美术 > Lot 106
NAMIKAWA SOSUKE (1847-1910) OF TOKYO AFTER A DESIGN BY WATANABE SEITEI (1851-1918) A Cloisonné-Enamel Kidney-shaped Tray Meiji era (1868-1912), late 19th/early 20th century (2)
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05月16日 晚上6点 开拍 / 05月14日 下午3点 截止委托
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拍品描述 翻译
NAMIKAWA SOSUKE (1847-1910) OF TOKYO AFTER A DESIGN BY WATANABE SEITEI (1851-1918)
A Cloisonné-Enamel Kidney-shaped Tray
Meiji era (1868-1912), late 19th/early 20th century
Finely worked in coloured enamels and musen ('wireless') and standard cloisonné techniques with silver and gold wires with a pair of doves, on a greyish-brown ground gradually becoming lighter in shade towards the top, signed and sealed Seitei for the design, the rims of gilt, the reverse with a profusion of cherry blossoms in two shades of brown enamels and gold wires, signed with the Sakigake mark of Namikawa Sosuke; with a wooden display stand. 23.5cm x 30cm (9?in x 11?in). (2).
Published and Illustrated:
Gregory Irvine, Japanese Cloisonné Enamels: The Seven Treasures, London, Victoria and Albert Museum, 2006, p.72.

One of the greatest craft entrepreneurs of the later Meiji era, Namikawa Sosuke was until recently best known in Japan for a set of 32 decorative panels commissioned for Tokyo's Akasaka Rikyu Palace, completed in 1909. These date from the last years of his very productive life, nearly three decades after he began to experiment with the technique known as musen shippo ('wireless' enamelling), his most enduring contribution to an art form that developed at extraordinary speed in Japan between the mid-19th century and the early years of the 20th century. In Chinese cloisonné enamelling, the wires separating the different areas of fused and polished enamels that made up a design also served to hold the enamels in place during the firing process, and the individual areas of colour were relatively small. Sosuke, followed shortly after by his rivals, managed to improve the chemistry of the enamels so that they adhered more securely to the metal bases of his wares, allowing him to introduce large areas of colour into his designs, although it is thought that wires between different colours still had to be painstakingly applied and removed at each stage of manufacture. Thanks to these and other technical breakthroughs, later Meiji-era enamellers were often able to emulate the effects of brush painting on paper or silk. In recognition of his achievements, in 1896 Sosuke was appointed to the order of Teishitsu Gigeiin (Artist-Craftsman to the Imperial Household).

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