Ginbari-jippon pieces are one of the most appreciated of the different cloisonne’ enamel techniques and can be found at the beginning of the Edo period (1603-1868). The scope of designs and motifs incorporated by this cloisonne’ enamel is extremely wide. However, judging by the percentage of extant pieces with floral themes, they appear to have been the most commonly produced motif. Ginbari-jippowork is one of the most sought after types of shippo-yaki (cloisonne’), as most examples impart an attractive and festive or colorful (hade) appearance. A wide area of translucent enamel permits the silver foil to reflect, creating a brilliant radiance. Vitreous enamels in the different colors are ground to fine powders in an agate or porcelain mortar and pestle, then washed to remove the impurities that would discolor the fired enamel. Early cloisonné had a finely formed copper, sterling or brass base, which at the time was inexpensive, light and easily hammered and stretched.
As shown in this Bottle Shape turquoise vase, the silver foil is embossed or impressed with a repeating motif, which includes this overall textured surface and flora and fauna pattern design. This particular piece has all three designs incorporated, with an egret, (which is quite rare), beautifully rendered on the under layer base foil which is on a sterling base. The use of various colored opaque and translucent enamels over the silver foil or foundation enables the artist to create a dramatic effect here with the use of the iris (shobu) motif.
Ginbari-jippo pieces are extremely fragile due to their relatively thin enameled surface. This piece is from the Meiji period (1868-1912) and in excellent condition, with no dings or pinpoints (tiny bubbles in the outer enamel) with impressed mark – Kumeno Teitaro (Nagoya 1861-1939) on the bottom. Dimensions: 4-1/8”h x 2-0” dia.
Excellent Condition- In unused, or like-unused condition. No visual or structural or surface wear or damage shown. Pristine. As good as the day it was made.
Great Condition- Appears in slightly used condition but looks "Like New". Some minor wear, but retains the original craft/workmanship. May show minor wear, that does not affect the main design, or associated motif. No cracks, dents, chips or missing elements.
Good Condition- Minor wear which can be restored or repaired; may have surface flaws, like staining or soiling, confined to a small area. The flaw(s) are counterbalanced by another feature, like brilliant color or innovative design. Some fading or the piece may have been altered in some fashion.
Fair Condition- Main aesthetic/design showing damage. Excessive noticeable wear or damage. Worth buying if can be restored/repaired because of its aesthetic or design appeal or rarity. Note: wear/damage consistent with age/use can often enhance the 'Antique' qualities of a piece, giving it a desirable second chance in one's collection