1920-1930
The slightly rounded walls of this small tea caddy rise almost vertically from the small, circular, countersunk base; they indent slightly near the top to form the vertical lip that receives and secures in place the cover, which has a flat top and vertical side walls. The exteriors of both cover and container are coated in roiro black lacquer; the cover and upper portion of the container's walls are emblazoned with a pattern of cherry blossoms and maple leaves in red and gold, which contrast with the black lacquer ground. Most of the leaves and blossoms--which are not connected and which lack any stems or scrolling foliage--are rendered in kirigane gold foil; a few leaves and blossoms are highlighted in red lacquer, while a few others are accentuated with bokashi kinpun gold dust. The lower portion of the container's exterior is embellished with nashiji gold flakes. The underside of the container and the interiors of both cover and container are enlivened with densely applied nashiji gold flakes, so that they superficially appear to have been rendered in a sparkling reddish gold lacquer. The overall impression is one of sumptuousness. The inclusion of both cherry blossoms and maple leaves in the decorative scheme makes this tea caddy appropriate for use in both spring and autumn.
maximum, including cover: H. 5.8 x Diam. 8.9 cm (2 5/16 x 3 1/2 in.) tea caddy only: H. 4.8 cm (1 7/8 in.)
Private Collection, Japan; sold [to Erik Thomsen LLC Asian Art, New York]; sold to Harvard University Art Museum
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17th centuryJapaneseLacquer on wood with decoration in zonsei-nuri (incised and painted lacquer) and gold utilizing the togidashi maki-e (sprinkled design revealed by polishing) technique; silk cord
18th centuryJapaneseWood
18th centuryAmericanSilver
17th centuryBritishMetal
19th centuryFrenchLacquer on wood with decoration in gold, silver, and sabi urushi (thick lacquer paste) utilizing the hiramaki-e (low-relief sprinkled design), takamaki-e (high-relief sprinkled design), nashiji ("pear-skinned" ground), and e-nashiji (pictorial "pear-skinned" ground) techniques and with glazed-ceramic and raden (mother-of-pearl) inlays; stone and lacquered-copper fittings
18th centuryJapaneseLacquer on wood with decoration in gold and sabi urushi (thick lacquer paste) utilizing the hiramaki-e (low-relief sprinkled design) and takamaki-e (high-relief sprinkled design) techniques, with applied kirigane (cut gold and silver) and with glazed-ceramic, ivory, mother-of-pearl, coral, and malachite inlays; stone and metal fittings
18th centuryJapaneseSilver, gilt
19th centuryBritishEnameled 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 circle on the base
16th-17th centuryChineseLacquer on wood with decoration in gold and silver utilizing the hiramaki-e (low-relief sprinkled design), togidashi maki-e (sprinkled design revealed by polishing), and nashiji ("pear-skinned" ground) techniques
18th centuryJapaneseLacquer
17th-19th centuryJapanese