datable to 2008
Of hexagonal form, this dry lacquer tea caddy is made entirely of lacquer applied over a cloth core, the surface imitating the color and texture of an old bronze vessel. The top and sides have minutely executed décor in takamakie high relief gold and brown lacquer representing two flowers and twelve pine needles. The inside and the bottom are decorated with nashiji gold flakes; the bottom bears the artist's signature reading Mushū and written in black lacquer. The tea caddy comes with its original kiri-wood tomobako box which is inscribed on the side: Kanshitsu chaki "Sōshun", or "Dry Lacquer Tea Caddy 'Early Spring'"; the box bears the artist's signature reading Mushū; a square, black intaglio seal reading Mu Shū immediately follows the signature.
tea caddy and cover: H. 6.2 x Diam. 8.4 cm (2 7/16 x 3 5/16 in.)
Yamazaki Mushū (artist), Kyoto, Japan; through Erik Thomsen LLC Asian Art, New York; to Harvard Art Museum
Lacquer on wood with decoration in gold
JapaneseEnameled blue-and-white ware, "wucai" type: porcelain with decoration painted in underglaze cobalt blue and overglaze polychrome enamels; with underglaze cobalt blue mark reading "Da Ming Wanli nian zhi" within a double-square set within a "ruyi" cloud-scroll border on the base
16th-17th centuryChinesePainted celadon ware: molded light gray stoneware with celadon glaze over decoration painted in copper-red and in black and white slips. Reportedly recovered in Changhŭng, South Chŏlla province, in 1963.
13th centuryKoreanLacquer on wood with decoration in gold and silver utilizing the hiramaki-e (low-relief sprinkled design) and togidashi maki-e (sprinkled design revealed by polishing) techniques, and with applied kirigane (cut gold and silver); metal fittings and silk cord
17th-18th centuryJapaneseLacquered wood: wooden core with light brown lacquer (possibly over a leather substrate) and inlays of mother-of-pearl, sharkskin or ray skin, wire, twisted wire, and metal fillings
18th-19th centuryKoreanLacquer on wood with decoration in gold utilizing the togidashi maki-e (sprinkled design revealed by polishing) technique; stone and gilt-copper fittings
17th centuryJapaneseLacquer
JapaneseWhite stoneware with ivory hued glaze
8th-9th centuryChineseSilver
19th centuryBritishYaozhou ware: light gray stoneware with celadon glaze over carved decoration. From the Yaozhou kilns at Tongchuan, Shaanxi province.
11th-12th centuryChineseLacquer on wood with decoration in gold and seisei urushi (cooked lacquer) utilizing the hiramaki-e (low-relief sprinkled design), takamaki-e (high-relief sprinkled design), and nashiji ("pear-skinned" ground) techniques; gold and shakudo (copper-gold alloy) fittings
18th centuryJapaneseMaki-e designs in gold and silver on nashi-ji lacquer ground
19th centuryJapanese