HATTORI TADASABURO OF NAGOYA (DIED 1939) A Fine and Large...
HATTORI TADASABURO OF NAGOYA (DIED 1939)
A Fine and Large Moriage Cloisonné-Enamel vase
Meiji (1868-1912) or Taisho era (1912-1926), early 20th century
The large squat vase with a thick cylindrical neck flaring out to the mouth, worked in standard and musen ('wireless) cloisonné techniques with an overall design of trailing morning glory, the silver wires of varying thickness delineating the stems and veins of the leaves, the enamels in contrasting shades of aubergine and white imitating the natural tones of the wild plant, all against a dull olive-green ground, applied with a silver rim and foot, the base with an incised signature Hattori in a leaf-shaped reserve, with a wooden stand pierced with a basketwork design and a wood storage box inscribed Do shippo asagao moriage kabin (Copper cloisonné moriage vase with morning glory design) and Meiji yonjunen Chokokai goyohin (Commissioned by the Carvers' Association, 1907). The vase: 27cm x 27cm (10 5/8in x 10 5/8in); the stand: 13cm x 22cm (5 1/8in x 8 5/8in). (3).
Published and Illustrated:
Gregory Irvine, Japanese Cloisonné Enamels: The Seven Treasures, London, Victoria and Albert Museum, 2006, p.127.
Hattori Tadasaburo of Nagoya was among the finest cloisonné-enameling masters of his day, excelling in a wide range of innovative techniques and styles. He opened his own studio in 1888 and won international honours at the 1893 Chicago World's Columbia Exposition; at the Louisiana Purchase Exposition, held at St. Louis in 1904, his enamels were, most unusually, shown in the Art Palace rather than the larger but less prestigious Palace of Varied Industries. It is not certain whether or not he invented the demanding moriage ("piled-up") technique seen here, but he was certainly among the first to exhibit it, starting at St. Louis, and is admired for the way that he succeeded in raising moriage designs to an unusually high level above the ground enamel; see Frederic T. Schneider, The Art of Japanese Cloisonné Enamel: History, Techniques and Artists: 1600 to the Present, Jefferson NC, McFarland & Company, Inc., 2010, p. 202. For a pair of vases by Hattori Tadasaburo, see lot 113.
Bid on this lot
HATTORI TADASABURO OF NAGOYA (DIED 1939)
A Fine and Large Moriage Cloisonné-Enamel vase
Meiji (1868-1912) or Taisho era (1912-1926), early 20th century
The large squat vase with a thick cylindrical neck flaring out to the mouth, worked in standard and musen ('wireless) cloisonné techniques with an overall design of trailing morning glory, the silver wires of varying thickness delineating the stems and veins of the leaves, the enamels in contrasting shades of aubergine and white imitating the natural tones of the wild plant, all against a dull olive-green ground, applied with a silver rim and foot, the base with an incised signature Hattori in a leaf-shaped reserve, with a wooden stand pierced with a basketwork design and a wood storage box inscribed Do shippo asagao moriage kabin (Copper cloisonné moriage vase with morning glory design) and Meiji yonjunen Chokokai goyohin (Commissioned by the Carvers' Association, 1907). The vase: 27cm x 27cm (10 5/8in x 10 5/8in); the stand: 13cm x 22cm (5 1/8in x 8 5/8in). (3).
Published and Illustrated:
Gregory Irvine, Japanese Cloisonné Enamels: The Seven Treasures, London, Victoria and Albert Museum, 2006, p.127.
Hattori Tadasaburo of Nagoya was among the finest cloisonné-enameling masters of his day, excelling in a wide range of innovative techniques and styles. He opened his own studio in 1888 and won international honours at the 1893 Chicago World's Columbia Exposition; at the Louisiana Purchase Exposition, held at St. Louis in 1904, his enamels were, most unusually, shown in the Art Palace rather than the larger but less prestigious Palace of Varied Industries. It is not certain whether or not he invented the demanding moriage ("piled-up") technique seen here, but he was certainly among the first to exhibit it, starting at St. Louis, and is admired for the way that he succeeded in raising moriage designs to an unusually high level above the ground enamel; see Frederic T. Schneider, The Art of Japanese Cloisonné Enamel: History, Techniques and Artists: 1600 to the Present, Jefferson NC, McFarland & Company, Inc., 2010, p. 202. For a pair of vases by Hattori Tadasaburo, see lot 113.
