Condition: Excellent, Good
Ginbari-jippon pieces are one of the most appreciated of the different cloisonne’ enamel techniques. 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 appears to have been the most commonly produced motif. Ginbari-jippo work 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 enamels 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.
This turquoise shakudo rim vase is in a tapered ovoid form with an embossed background motif including pine, grasses, and clouds on the base foil. The outer enamel design is a branch of maple (momiji), and a beautiful perching bird. These animal scenes are quite rare and not frequently depicted on Ginbari-jippo vases. It is to be remembered that Ginbari-jippo pieces are extremely fragile due to their relatively thin enameled surface. The condition is very good with a small hairline crack on the back of the piece, and as noted, that is very typical of pieces from this time period. The hairline does not take away from the beauty of the piece for the crack fortunately appears as part of the maple branch. The piece is stamped–Kumeno Teitaro (Nagoya 1861-1939) on the bottom, and is from the Late Meijiperiod (1868-1912).
This piece has been priced with its’ condition in mind. Publications with current price listings note, that without the hairline, similar pieces have sold in the range of $600-$800US, with larger pieces valued at $1,000-$1,200US. Dimensions: 3-1/2”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