Japan Marks - Nagoya Shippo Kaisha, Nagoya Cloisonne Company

Japan Marks - Nagoya Shippo Kaisha

Nagoya Cloisonne Company

NAGOYA SHIPPO KAISHA [七寶會社] Est. 1871

name variations: SHIPPO GAISHA, SHIPPO KUWAISHA, SHIPPO KWAISHA, SHIPPO KUAISHA, KYOTO CLOISONNE CO., NAGOYA CLOISONNE CO., SHIPPO MANUFACTURING COMPANY

Circa 1871-1890s

The Shippo Kaisha located in Nagoya was also known as the Nagoya Shippo Company.
Professor Abe states Takeuchi Chiubei opened his shop in 1868 and the Shippo Kaisha was established in 1871.

The westernized name for Shippo Kaisha is Nagoya Cloisonne Company.
They were world reknown for their jiki shippo (porcelain cloisonne) ware with articulate cloisonne work and hand painting.

There were many famous artists employed by this company to create their fabulous cloisonne ware - Chiubei Takeuchi, Masukichi Kawamoto, Rikichi Kawamoto, Seiichiro Suzuki, and notably a descendant of the daimyo, Nagashige.

Another artist name was Matsuda Hanbiyoue (松田半兵工).

As stated by Lord James Bowes in his book Keramic Art of Japan in 1881, the Arita artists of Hichozan Shinpo also decorated cloisonne on porcelain. Based on signature mark below, Hichozan Shinpo decorated cloisonne porcelain for the Nagoya Shippo Company.

The name Kaiyosha (開洋社) appears in several signature marks found on cloisonne porcelain ware. Kaiyosha is sometimes written with Takeuchi (for Takeuchi Chiubei) and therefore it is noted on this webpage under Nagoya Shippo Kaisha.

Based on information found at the Kanagawa Prefectural Museum of Cultural History, their is a lacquer vase made by Kaiyosha (開洋社) dating from late Edo to Mid-Meiji period.

Based on information found at the Modern Ceramics Historical Museum and Study Group of Modern Ceramics, Matsumura Kusuke established the pottery wholesale company Kaiyosha (開洋社) in Nagoya with several other ceramic artists in the year 1878 for the purpose of exporting porcelain overseas. The Kaiyosha was dissolved in 1885.

Based on this information, cloisonne porcelain wares signed Kaiyosha date between 1878 to 1885 and were made by Matsumura Kusuke or under his supervision.

Some bits of information on Takeuchi Chiubei and Shippo Kaisha gathered from the website of Professor Sei Abe at Aichi University, Japanese Economic History Specialist, his writing on the Chronology of Regional Economic History, specifically in Aichi Ken or Aichi Prefecture -

明治1年（1868） May - 「竹内忠兵衛らが七宝焼を企業化三河県設置」
In May 1868, Takeuchi Chiubei (竹内忠兵衛) establishes the manufacture of cloisonne ware (七宝焼) in Mikawa Province (三河県).

明治4年（1871） Nov - 「小野組支配人村松彦七の勧めで七宝会社設立」
In Nov 1871, the Shippo Kaisha (Cloisonne Company) (七宝会社) is established on the recommendation of the manager Muramatsu Hikoshichi (村松彦七).

明治8年（1875） Aug - 「メルボルン万国博に磁器･七宝を出品」
In Aug 1875, at the Melbourne Intercolonial Exhibition held in Melbourne, Victoria, a porcelain cloisonne (磁器七宝) was displayed.

明治10年（1877） Mar - 「名古屋七宝会社に資金貸与名古屋米商会所（後の米穀取引所）創立」
In Mar 1877, the Nagoya Shippo Kaisha (名古屋七宝会社) loaned money to the U.S. Chamber of Commerce office (later U.S. Exchange) established.

明治11年（1878） Jan - 「七宝会社村松彦七、販路拡張のため渡欧旧豊橋藩士授産のため豊橋に座繰製糸所開設]」
In Jan 1878, in Nagoya, Aichi, relief work measures (vocational aid) for samurai descendants was established due to the market expansion of the Shippo Kaisha (七宝会社) Muramatsu Hikoshichi (村松彦七).

明治13年（1880） Jul - 「安藤七宝店創業」
In Jul 1880, the Ando (安藤) Shippo Ten (cloisonne shop) (七宝店) was founded.

My notes:
Mikawa an old province in Japan that forms the eastern half of Aichi Prefecture.

In the 1893 (data collected from 1887-1891) General View of Commerce and Trade in the Empire of Japan report, Takeuchi Chiubei commerical name is Konaya located in Shinmichi-cho, Nagoya City, Aichi Ken, and dealing and manufacturing shippo ware. In a 1895 advertisement by Takeuchi Chiubei, it states he was a porcelain manufacturer located at Factory No. 151, Shindomachi, Nagoya, Aichi Prefecture, and patented the following wares: shippo metal ware, ishinomaki porcelain, transparent porcelain, porcelain with elevated figures in gold brocade. He also made copper shippo and lacquer shippo.

In the book, A Souvenir of the Anglo-Japanese Exhibition Held in London 1910 written by Kotaro Mochizuki, he states under the section, Cloisonne Ware Mr. Yasuyuki Namikawa, a certain Mr. Muramatsu believing that cloisonne would grow to be one of the chief articles of export from Japan, urged wealthy men of Nagoya to establish the Nagoya Cloisonne Company where a large number of workmen were employed. A German expert, Mr. Wagner, employed by the Department of Agriculture and Commerce, made enamels which greatly improved the manufacture of the cloisonnes.

In Jul 1880, Ando Jubei established his cloisonne shop in Nagoya, Aichi.

Translation based on www.jdic.com, google translator and http://kanjidic.com/

Shippo Kaisha, Cloisonne Enamel Manufactory, Nagoya, Owari, Japan, participant for Kiriu Kosho Kuwaisha, Manufactoring & Trading Co., at Centennial International Exhibition of 1876, the first official World's Fair held in Philadelphia, Pennsylvania.


Exhibit #59	Exhibit #59	Exhibit #63	Exhibit #63	Exhibit #63	Exhibit #59

Signatures of Nagoya Shippo Kaisha
Found on Jiki Shippo (Cloisonne Porcelain)

NIHON SHIPPO - KAISHA SEI ZOU
(日本 - 七寶會社 - 製造)
Dating: 1868-1890s

NIHON SEI ZOU SHIPPO KAISHA
(日本製造 - 七寶會社)
Dating: 1868-1890s

Please note Takeuchi Chiubei was a principal maker of cloisonne and not the only artist at Shippo Kaisha.

SIGNATURES WITH DESIGN NUMBER

DAI NIHON SEI ZOU SHIPPO KAISHA YUJIN TAKEUCHI CHUBEI 994
GREAT JAPAN MANUFACTURER CLOISONNE COMPANY MASTER CHUBEI TAKEUCHI 994
(大日本製造 - 七寶會社 - ユ人 - 竹内忠兵衛 - 九九四)
Dating: 1868-1890s

DAI NIHON SHIPPO KAISHA SEI ZOU YUJIN TAKEUCHI CHUBEI 663
GREAT JAPAN CLOISONNE COMPANY MANUFACTURER MASTER CHUBEI TAKEUCHI 663
(大日本 - 七寶會社 - 製造 - ユ人 - 竹内忠兵衛 - 六六三)
Dating: 1868-1890s

DAI NIHON SEI ZOU SHIPPO KAISHA YUJIN TAKEUCHI CHUBEI 290
GREAT JAPAN MANUFACTURER CLOISONNE COMPANY MASTER CHUBEI TAKEUCHI 290
(大日本製造 - 七寶會社 - ユ人 - 竹内忠兵衛 - 二九〇)
Dating: 1868-1890s

SIGNATURES WITHOUT DESIGN NUMBER

DAI NIHON SEI ZOU SHIPPO KAISHA YUJIN TAKEUCHI CHUBEI
GREAT JAPAN MANUFACTURER CLOISONNE COMPANY MASTER CHUBEI TAKEUCHI
(大日本製造 - 七寶會社 - ユ人 - 竹内忠兵衛)
[SEAL] YAMAKIDO or SANKIDO (山木土)
MOUNTAIN (山) TREE (木) EARTH (土)
Dating: 1868-1890s

DAI NIHON AICHI-KEN
SHIPPO KAISHA SEI ZOU
YUJIN TAKEUCHI CHUBEI
GREAT JAPAN AICHI-KEN
CLOISONNE COMPANY MANUFACTURER
MASTER CHUBEI TAKEUCHI
(大日本愛知県 -七寶會社 - 製造 - ユ人 - 竹内忠兵衛)
Dating: 1868-1890s

DAI NIHON SEI ZOU SHIPPO KAISHA YUJIN TAKEUCHI CHUBEI
GREAT JAPAN MANUFACTURER CLOISONNE COMPANY MASTER CHUBEI TAKEUCHI
(大日本製造 - 七寶會社 - ユ人 - 竹内忠兵衛)
Dating: 1868-1890s

DAI NIHON SHIPPO KAISHA SEI ZOU YUJIN TAKEUCHI CHUBEI
GREAT JAPAN CLOISONNE COMPANY MANUFACTURER MASTER CHUBEI TAKEUCHI
(大日本 - 七寶會社 - 製造 - ユ人 - 竹内忠兵衛)
Dating: 1868-1890s

NIHON SHIPPO KAISHA SEI ZOU YUJIN TAKEUCHI CHUBEI
JAPAN CLOISONNE COMPANY MANUFACTURER MASTER CHUBEI TAKEUCHI
(日本 - 七寶會社 - 製造 - ユ人 - 竹内忠兵衛)
Dating: 1868-1890s

DAI NIHON SEI ZOU SHIPPO KAISHA YUJIN TAKEUCHI
GREAT JAPAN MANUFACTURER CLOISONNE COMPANY MASTER [CHUBEI] TAKEUCHI
(大日本製造 - 七寶會社 - ユ人 - 竹内)
Dating: 1868-1890s

[BLUE] DAI NIHON SEI ZOU SHIPPO KAISHA
GREAT JAPAN MANUFACTURER CLOISONNE COMPANY
(大日本製造 - 七宝会社)
[RED] YUJIN TAKEUCHI
MASTER [CHUBEI] TAKEUCHI
(ユ人 - 竹内)
Dating: 1868-1890s

GREAT JAPAN MASTER TAKEUCHI CHIUBEI
DAI NIHON YUJIN TAKEUCHI CHIUBEI
大日本 - ユ人 - 竹内忠兵衛
Dating: 1868-1890s
This mark was found on shippo porcelain and is the same signature writing found on sharkskin ware made by Takeuchi Chiubei (see webpage).

[RED] KAIYOSHA SEI ZO YUJIN TAKEUCHI (開洋社 - 製造 - ユ人 - 竹内)
KAIYO COMPANY MANUFACTURER MASTER TAKEUCHI
[BLUE] DAI NIHON HICHOZAN SHINPO ZO (大日本 - 肥蝶山 - 信甫 - 造)
GREAT JAPAN HICHOZAN SHINPO MADE
Two signature marks found on Nagoya Shippo ware.
Note: Kanagawa Prefectural Museum notes Kaiyosha dates from Pre-Meiji to Mid-Meiji.
Made under the company Kaiyosha established by Matsumura Kusuke.
Dating: 1878-1885

[RED SEAL] DAI NIHON SEI ZOU SHIPPO KAISHA (大日本製造 - 七寶會社)
GREAT JAPAN MANUFACTURER CLOISONNE COMPANY
[RED] DAI NIHON KAIYOSHA SEI ZOU (大日本 - 開洋社 - 製造)
GREAT JAPAN KAIYO COMPANY MANUFACTURER
Note: Kanagawa Prefectural Museum notes Kaiyosha dates from Pre-Meiji to Mid-Meiji.
Made under the company Kaiyosha established by Matsumura Kusuke.
Dating: 1878-1885

DAI NIHON KAIYOSHA YUJIN TAKEUCHI
GREAT JAPAN KAIYO COMPANY MASTER [CHUBEI] TAKEUCHI
(大日本 - 開洋社 - ユ人 - 竹内)
Note: Kanagawa Prefectural Museum notes Kaiyosha dates from Pre-Meiji to Mid-Meiji.
Made under the company Kaiyosha established by Matsumura Kusuke.
Dating: 1878-1885

[RED] DAI NIHON KAIYOSHA YUJIN TAKEUCHI
GREAT JAPAN KAIYO COMPANY MASTER [CHUBEI] TAKEUCHI
(大日本 - 開洋社 - ユ人 - 竹内)
[BLUE] SETO KAWAMOTO MASUKICHI SEI
MADE BY MASUKICHI KAWAMOTO IN SETO [AICHI]
(瀬戸 - 川本桝吉 - 製)
Note: Kanagawa Prefectural Museum notes Kaiyosha dates from Pre-Meiji to Mid-Meiji.
Made under the company Kaiyosha established by Matsumura Kusuke.
Dating: 1878-1885

[RED] DAI NIHON YUJIN TAKEUCHI
GREAT JAPAN MASTER [CHUBEI] TAKEUCHI
(大日本 - ユ人 - 竹内)
[BLUE] SETO KAWAMOTO MASUKICHI SEI
MADE BY MASUKICHI KAWAMOTO IN SETO [AICHI]
(瀬戸 - 川本桝吉 - 製)
Dating: 1868-1890s

[RED] [IGETA - DIAMOND] SO KO 33
宗 - IDEOGRAPH FOR MASTER
口 - IDEOGRAPH FOR OPENING, ENTRANCE, DOORWAY
DESIGN NUMBER 33
(宗 - 口 - 三三)
[BLUE] SETO KAWAMOTO MASUKICHI SEI
MADE BY MASUKICHI KAWAMOTO OF SETO AICHI
(瀬戸 - 川本桝吉 - 製)
Dating: 1868-1890s?

[RED] [IGETA - DIAMOND] SO
IDEOGRAPH FOR MASTER
(宗)
[BLUE] [DAI NIHON SHIPPO KAISHA KAWAMOTO RIKICHI SEI]
GREAT JAPAN CLOISONNE COMPANY - MADE BY RIKICHI KAWAMOTO
(大日本　- 七寶會社 - 川本利吉 - 製)
Dating: 1868-1890s?

[RED] [IGETA - DIAMOND] SO
IDEOGRAPH FOR MASTER
(宗)
忠 - IDEOGRAPH FOR LOYALTY TO MASTER
ユ人 - IDEOGRAPH IN KATAKANA FOR MASTER
NIHON SO CHU YUJIN
JAPAN - MASTER - LOYALTY TO MASTER - MASTER
(日本 - 宗 - 忠 - ユ人)
Dating: 1868-1890s?

IDEOGRAPH for "MASTER" and "LOYALTY" SYMBOL

In 1880, Lord James Bowes wrote about the Shiujin 'master' inscription and stated that 'Shiujin' might be the "name of the factory or workshop at which the wares were made or decorated." I disagree with this statement by Bowes. I have seen the 'SO' ideograph used only by certain very talented artists. It is my belief that this particular ideograph was only used by certain artists due to their status as master-teacher of their trade or art.

The [宗] SO character appears within a horizontal diamond (igeta). The [宗] SO character forms part of the word 'master'. But here on this ware, it is an ideograph for the word 'master'.

The 'SO' ideograph was found on Shippo Kaisha wares made by the Kawamoto family and another artist Matsuda.

The 'SO' ideograph was also found on Kyoto Satsuma ware made by Hodota Takichi in reference to his master-teacher, Masanobu. The Kyoto Satsuma artist Masanobu used the 'SO' ideograph in his signature marks.

I also found the 'SO' ideograph on Hirado, Mikawachi okimono ware made by Imamura Yajibei.

The character 宗 can be read as SHU or SO. There are two artist names, So Setsu (宗雪) and So Shiseki (宗紫石), in which the 宗 character is read by itself as SO and therefore I am noting the character 宗 as SO and correcting my previous entry on reading this character.

[宗]


[宗] 'MASTER' SYMBOL

The so [宗] 'master' symbol and meaning found on porcelain ware refers to the artist master teacher with disciple apprentice(s). The 'master' teacher is very proficient that he can instruct others in his knowledge and skills.

[ユ人]

Another interesting inscription yujin [ユ人] 'master' written in katakana and found on Shippo Kaisha wares, along with artists names: Takeuchi Chiubei, Kawamoto, Suzuki Seiichiro, and Matsuda.

[忠]


[忠] 'LOYALTY' SYMBOL

Another ideograph found on Shippo Kaisha ware along with the symbol for 'master' is the inscription [忠] chuu character means 'loyalty' to the master.

DAI NIHON SEI ZOU SHIPPO KAISHA YUJIN SUZUKI SEIICHIRO ? KU ?
GREAT JAPAN MANUFACTURER CLOISONNE COMPANY MASTER SUZUKI SEIICHIRO ? KU ?
(大日[本製]造 - 七寶[會]社 - ユ[人] - 鈴木 - 清一郎 - ?九?)
Dating: 1868-1890s

A very fine example of Suzuki Seiichiro Jitai (Cloisonne Porcelain) is on display at the
Museum of Florida History at http://main.americanheritage.com/content/cloisonne-vase-0
Another fine example is located at the New South Wales Art Gallery in Australia at
http://www.artgallery.nsw.gov.au/work/2462/

Written Variations in the Characters for the name SUZUKI [鈴]

DAI NIHON SHIRAOU KUNI AKATSUCHI SEI SHIPPO KAISHA

YU JIN HATSUMEI SHIZOKU YOSHIDA NAGASHIGE

(大日本 - 白王國 - 赭 - 製 - 七寶會社 - ユ人 -發明 - 士族 - 吉田 - 長重)

Dating: 1868-1890s

A notable signature mark by an artist who is a descendant of Nagashige Ogasawara [1650-1732] (Japanese Daimyo of the Edo period) of the Yoshida Domain in Mikawa Province. The artist was living in Shiraou Village in Shiga Prefecture when he made this jiki shippo (porcelain cloisonne) ware for the Nagoya Shippo Kaisha.

Akatsuchi (var. Sha) means Red Clay House.
Yu Jin means Master/Teacher.
Hatsumei means invented or invention.
Shizoku means family or person with samurai ancestors.

Note: Regarding the signature writing, the artist surname is Nagashige and not Naoshige. Yoshida is a surname or place name and is not a given name therefore the artist name is not Yoshida Nagashige. Yoshida in this signature mark refers to a place - the Yoshida domain or fiefdom.

Note: Regarding the signature writing ユ - 發明 - 人

I have seen and read many previous signatures for Yujin (ユ人) and sometimes the characters were written far apart, or at times, a character missing. I didn't think much about the way in which the artist signed Yujin with the word Hatsumei inbetween but after reading that there are some who consider Nagashige to be the first artist to make cloisonne on porcelain, I am making a notation here regarding this since the word Hatsumei means invented or invention and this signature mark substantiates the historical ethnology that Nagashige was an inventor. Since this mark was found on cloisonne porcelain ware, it is quite possible the word Hatsumei refers to the artist, Nagashige, as the inventor of cloisonne on porcelain. Also what gives more weight to this is the way in which the signature was written for Yujin Hatsumei (Master Invention or Master Inventor). This is a very notable signature mark, not only for being a descendant of the daimyo but also the signature states the artist is an inventor.

The following signature found on jiki shippo similar to Nagoya Shippo Kaisha but the signature does not contain the company name nor does it have Takeuchi Chiubei.

DAI NIHON
IDEOGRAPH FOR MASTER
(宗)
SEI ZOU
YU-(JIN)
MATSUDA HANBIYOUE
GREAT JAPAN MASTER MANUFACTURER MASTER MATSUDA HANBIYOUE
(大日本 - 宗 - 製造 - ユ人 - 松田半兵工)
Dating: 1868-1890s?

Note: Regarding the artist Matsuda of shippo ware, in 1895 James Bowes published a diagram on cloisonne makers of Owari and amongst the artist names was a person named Matsuda Hanbioye. Hanbioye is a westernized spelling for (半兵工) and based on Japanese dictionary translations the correct spelling is Hanbiyoue.

ETYMOLOGY OF KANJI CHARACTERS IN THE SIGNATURES FOR SHIPPO KAISHA

The signature name Shippo Kaisha (七寶會社) contains kanji characters that are written in an older form.
The characters 寶 - PO in the word Shippo and 會 - KAI in the word Kaisha are written in traditional form.
I have only seen so far one signature mark using the simplified kanji characters for 宝 - PO and 会 - KAI in the name Shippo Kaisha. It is in my opinion the cloisonne porcelain found with traditional kanji characters for the name Shippo Kaisha are older than the wares found with the simplified form.

Traditional		Simplified
	七寶會社	七宝会社

ETYMOLOGY OF KANJI CHARACTERS IN THE SIGNATURES FOR KAIYOSHA

Oh the first character in the name Kaiyosha stumped me. I thought it was 囘 translates as KAI but I could not find info on the name Kaiyosha (囘洋社) which gave me a clue that the first kanji character was wrong. Well after much searching, I found the correct kanji character. The Kaiyosha (開洋社) is noted by the Kanagawa Prefectural Museum of Cultural History and the Modern Ceramics Historical Museum and Study Group of Modern Ceramics. The kanji character 開 when written in certain styles of seal script calligraphy matches the signature marks. The kanji character 開 in traditional form has a simplified form as seen in the signature marks.
At this time, I was unable to find the type written kanji character in simplified form that matches the signature which is written in a style called ryakuji. The ryakuji style in the signature mark is a variation of an example shown below. Due to the various changes in kanji characters, this particular character in this style of writing may not exist in type form. The examples shown below are handwritten dating back to the late 19thc.

Character 開 in ryakuji style
From wiktionary at http://en.wiktionary.org/wiki/%E9%96%8B

Kaiyosha (開洋社)					Kai 開

References

Shippo Kaisha and Takeuchi Chiubei works of art are displayed at the Aichi Prefectural Ceramic Museum and at the Tokyo National Museum.

http://www.pref.aichi.jp/touji/004_collection/10/collection/06.html

Aichi Prefectural Ceramic museum, Signed [大日本製造七寶會社　工人　竹内忠兵衞　八二]

http://www.tnm.jp/modules/r_free_page/index.php?id=12

Tokyo National Museum

Table 2. 内国勧業博覧会と『温知図録』

#2. 磁胎七宝草花文花瓶, 竹内忠兵衛, 1対, 明治11年(1878)頃, オーストリア応用美術館蔵.
#14. ガラス胎七宝花唐草文脚付杯, 竹内忠兵衛, 1対, 明治14年(1881), 東京国立博物館蔵.

Table 4. 明治の輸出工芸

#3. 磁胎七宝草花文六角捻花瓶, 開洋社　竹内忠兵衛, 1口, 明治前期・19世紀, 愛知・名古屋市博物館蔵.
#25. 磁胎七宝花鳥図大花瓶, 七宝会社竹内忠兵衛, 1口, 明治前期・19世紀, 愛知県陶磁資料館蔵.

Table 7. 1893年シカゴ万国博覧会

#27. 七宝竹雀図花瓶, 竹内忠兵衛, 1口, 明治26年(1893), 東京国立博物館蔵.
#28. 七宝柳燕図花瓶, 竹内忠兵衛, 1口, 明治26年(1893), 京都国立博物館蔵.

Handbook of Marks on Pottery & Porcelain, William Burton, R.L. Hobson, 1909. (see mark below).

Shippo Kuwaisha, mark of the Shippo Company, Owari, late 19th cent.

Official Catalogue of the International Exhibition of 1876, Philadelphia, PA, 1876.

Ceramics, Furniture, Woven Goods - #59 Shippo- Kuwaisha, Cloisonne Enamel Manufactory, Nagoya, Province of Owari. - Enamel on porcelain.

Clothing, Jewelry, and Ornaments: Traveling Equipments - #153. Shippo- Kuwaisha, Nagoya, Province of Owari. - Fans.

Shippo Kaisha noted in the "Official Catalogue of the Japanese Section: and Descriptive Notes on the Industry and Agriculture of Japan" by the Japanese Commission in Philadelphia ©1876 page 21, "Shippo Kuwaisha, Nagoya, province of Owari".

Shippo Kaisha noted in the "International Exhibition. 1876. Official Catalogue" by the U.S. Centennial Commission ©1876 page 247, "Shippo Kuwaisha, Nagoya, province of Owari", and on page 262, awarded "Shippo-Kuwaisha, Nagoya, Japan. 117. Porcelain Coated with Cloisonne Enamel. Report--Commended for successful manufacture; some ingenious designs skillfully carried out, producing good decorative effect."

Shippo Kaisha noted in "Majolica and Fayence: Italian, Sicilian, Majorcan, Hispano-Moresque and Persian" by Arthur Beckwith ©1877 on page 182, "Shippo Kuwaisha, Nagoya, Owari: Cloisonne on porcelain, of rich effect and harmonious combinations."

The Official Catalogue of the Exhibits at Melbourne International Exhibition, 1880.

Listed under III. Furniture and Accessories. Class 20. - Pottery.

33. Shippogaisha, Nagoya. — Cloisonne enamel on porcelain tea-sets; Cloisonne enamel on bronze Jars and flower-vases.

Keramic Art of Japan, Bowes, Audsley, 1881.

The art of cloisonne enamelling upon porcelain is of recent origin, dating only from 1870, when it was commenced at Nagoya. Shortly before that year, and following upon the revolution in 1868, which led to the deposition of the Shogun, and the disorganization of society, the superb ancient examples of cloisonne enamelling upon copper, which had previously been preserved in the storehouses and palaces of the princes, were brought to light and fired the Owari workman with the desire to imitate them. The experiment was made at Nagoya, upon grounds of thin copper, as well as porcelain. Large vases and dishes, made upon the former plan, were produced in abundance and sent to Europe, but the impossibility of successfully imitating the marvellous works of the artists of the mediaeval ages was quickly recognised, and the manufacture has been discontinued at Nagoya.

It is still pursued to some extent at Tokio, under the direction of French artists, but the work there done is upon heavy cast copper and brass foundations after the Chinese method, and the colouring is European, no attempt being made to copy the ancient Japanese models in this or in any other respect.

On the other hand, the comparatively distinct process of enamelling upon porcelain has been carried on to a large extent, and at the Paris Exhibition, in 1878, vast numbers of vases, bowls, slabs, and other articles decorated in this fashion were shown. The enamel pastes used in this process are of a soft nature, vitrifying at a much lower temperature than those which were employed in the old work upon copper, and not susceptible of the fine polish which distinguishes the latter. The decoration consists chiefly of birds, foliage, and diaper patterns, outlined by brass or white metal cloisons, and rendered in very bright colours, generally upon a pale blue ground, differing in these respects from the earlier efforts, which were executed in dark green and other low-toned colours, after the manner of the ancient works. The principal maker is named Takeuchi Chiubei.

Another method of applying cloisonne decoration to porcelain is to use lacquer instead of vitreous pastes, for the purpose of filling in the patterns formed by the cloisons. We do not know whether this work is done at Nagoya or at Seto, but we have before us an excellent example in the form of a tray of considerable size, the decoration of which consists of a composition of birds, flowers and shrubs, very freely and correctly outlined by metal cloisons, the patterns being filled in with rich but low-toned green, brown, red, and silver lacquers. This tray is the work of Acano Zittei, and is in the Bowes collection.

Painted upon modern porcelain decorated in colours and partially covered with Cloisonne enamel.
Zo Hi-chio-zan Shin-po, Dai Nip-pon, meaning, made by Hichiozan Shinpo, Great Japan. (see mark below). Note: variation spelling for Shin-po = Shim-po.

A Handbook for travellers in central & northern Japan: being a guide to Tōkiō, Kiōto, Ōzaka, Hakodate, Nagasaki, and other cities, Sir Ernest Mason Satow, A. G. S. Hawes, 1884.

The principal manufactures are fans and enamels; in the latter, great improvements have been effected, and beautiful works of art are now turned out by the Shippo Kwaisha in the Hon-cho, 10th ward, whose factory is well worth visiting in order to see the various processes employed.

Japanese Marks & Seals, James Lord Bowes, 1884 - mark of Shippo Kaisha.

Signature mark noted by Bowes for Shippo Kaisha.
No. 389. Painted in blue upon a vase of porcelain covered with cloisonne decoration.
DAI NIPPON, SHIPPO KUWAI-SHA, SEI-ZO
(日本 - 七寶會社 - 製造)
The Shippo Company of Great Japan made this vase.

International Inventions Exhibition London, 1885, The Awards of the International Juries, Division I, Invention -

#23. Name of Exhibitor: Shippo Manufacturing Co., Subject of Award: Shippo ware, Award: B

The Official Directory of the World's Columbian Exposition, Moses Handy, 1893.

Listed under Group 92, Japan, Kawaguchi, Nagoya, Cloisonne ware, #646. Chyubei Takeuchi, Aichi. Cloisonne ware. 586.

Shippo Kaisha kiln noted in William Chafers book "The Collector's Hand-book of Marks and Monograms on Pottery & Porcelain (©1893) page 102, "Nagoya ware, by Shippo Kuwaisha 1876." This kiln is famous for making totai cloisonne on porcelain ware.

Japan As We Saw It, Mary Jane Bickersteth, 1893.

Nagoya

We spent the afternoon in a visit to some cloisonne enamel, china, and paper-lantern shops. The entrance of the first looked by no means promising, being a good deal like a stable door in a London back street, but it admitted us into a fairyland of art and beauty. We spent a long time in the various work-shops, watching the cloisonne in each stage. The articles to be decorated, whether plaque, vase, or incense-jar, were made in many different materials—bronze, china, pottery, etc. The pattern was then drawn on them in tiny pin-holes and lines, into which gold or silver wire was introduced, the wire rising a little above the general surface, and all interstices being filled in with oil painting. The whole was then covered with thick clay and " fired," after which it had to go through a lengthy process of rubbing in order to remove the clay. Fine specimens would require a year or more of this rubbing, but the result was beautiful. Beneath the highly-polished surface appeared the sketch of birds and flowers, most true to nature, and with every vein in the leaf, or feather in a bird's wing, delicately marked by the wire.

Some of the men were painting from nature, and each one seemed an artist. Others were not working at cloisonne, but were covering china tea-pots and vases with pale pink and blue dust*. Designs of birds, grasses, and flowers, would be afterwards added, and their work also would be "fired." The different specimens of both china and cloisonne that we bought have been greatly admired. Our purchases were not at all extensive, but the owner was so pleased that he asked us each to choose a present from his show-room, and afterwards sent Mrs. Robinson three tea-pots and two vases.

*Note: The description of covering porcelain with pale pink and blue dust and hand painting designs of nature upon this textured surface and then being fired in the kiln - can only be the process for transparent glazing, aka SHARKSKIN glaze, created and employed by Takeuchi Chiubei & his factory.

Japan - Its History Arts and Literature, Volume VIII, Keramic Art, Frank Brinkley, 1901.

Owari

Since 1868 the Owari potters have introduced an entirely novel method of decorating porcelain, by cloisonne enamelling. The art of enamelling upon copper had long been known and practised in Japan. A knowledge of the process is said to have been acquired at the close of the sixteenth century, when the patronage of the Talko imparted such a marked impulse to all the art-industries of the country. But although the Japanese manufactured cloisonne enamel which was not wanting in evidences of patient dexterity, their work was never really satisfactory. They were unable to produce the beautiful colours of the Chinese experts, and their artistic instinct consequently impressed a different character upon their pieces. The Chinese applied his full-bodied brilliant colours to vessels of solid construction; the Japanese laid his tracery of dull, impure blues, greens, and reds upon bowls and vases thin enough to consort with their weak-toned decoration. It may be briefly stated that before the opening of the country to foreign intercourse the art of cloisonne enamelling never attained much development in Japan. It was practised, indeed, with sufficient diligence to supply a considerable number of specimens; but the best of these were comparatively unattractive. No sooner, however, were foreign markets thrown open than enamellers, like all the other artist-artisans of Japan, responded to this new demand, and with the assistance of imported pigments and Western chemists began to produce pieces of great beauty and brilliancy. The use of cloisonne enamelling for porcelain decoration was among the earliest inspirations of the new school. The porcelain was treated as though it were metal. Its surface was covered with a network of copper cells, into which enamels were filled. There was only this difference between the methods pursued with copper and porcelain: the enamel pastes for the decoration of the latter were soft and easily verifiable, so that they refused to respond to the polishing processes subsequently employed. Thus the result was dull and unprepossessing. It would be difficult to conceive a wider departure from the canons of true art than this reckless association of hard metal and brittle porcelain. Such a vitiated industry could never have flourished under purely Japanese auspices. Its only patrons were Europeans and Americans whose tastes lay in the direction of curiosities rather than of works of art. Encouraged by these patrons, the industry is still continued, though on a reduced scale, in Nagoya, the chief town of Owari, by a company called the Shippd-gaisha. (The term Shippo literally signifies "the seven precious things." In Japan it is used also to designate cloisonne, or champleve", enamel.)

Not by any means on account of its merits, but solely for the information of inexperienced collectors, reference must be made to a faience of which large quantities have been manufactured during the last few years in Owari. It is a counterfeit Satsuma ware, and the perpetrators of the fraud have not hesitated to import materials from Tsuboya itself to make the deception more complete. Medicated and begrimed specimens of this Bishiui-yaki are still successfully palmed off on unsuspecting foreigners to an incredible extent, and will probably continue to find purchasers so long as men are sanguine enough to fancy that the long-since depleted curio market still contains treasures accessible to themselves alone, and so long as the disfigurements of age and the blemishes of wear find people who regard them as beauties. Vases made in Owari with clay from Kiushiu may, of course, be quite as good as anything produced in Satsuma itself, but in point of fact they are not. Besides, Owari materials are generally used in part, at any rate. No difficulty ought, then, to be experienced in distinguishing a specimen, for not only is the Owari clay darker and denser than that of Satsuma, but the ware and the glaze are both thicker, while the latter has a peculiarly dull, viscid appearance not easily mistaken. The crackle, too, is more strongly marked, and, though fine, is often irregular, being for the most part nearly imperceptible on the inner and under surfaces of the piece. Finally, the decoration is so coarse that it does not assort ill with patches of grime and stains of lye added to simulate antiquity.

Fifty Years of New Japan (Kiakoku gojūnen shi), Marcus Bourne Huish, 1903.

The making of cloisonne was undertaken in earnest only recently, but its progress is indeed surprising. The art was known to the ancients, but was given up for a long time. It was revived in later days, but never reached a state of artistic excellence, and its production was very small. In the period of Meiji, however, the art has been greatly cultivated in Nagoya, Kyoto, and Tokyo, and quickly reached its present state of development. Seishi Namikawa of Kyoto and Sosuke Namikawa of Tokyo, both Court artists, and Shibataro Kawade of Nagoya are distinguished in this branch. They all produce works of the finest technique and export abundantly. Especially Sosuke Namikawa is noted for his invention of cloisonless enamels (musen), and for the lightness and delicacy of his designs. Seishi Namikawa, on the other hand, is known for the fineness of his cloisonne pictures. The town of Nagoya excels all others in the amount of its production, and it not only turns out fine works in lined or lineless cloisonne, but has invented recently such wares as moriage, or cloisonne in relief, and mutaiban, or bodiless cloisonne.

Things Japanese: being notes on various subjects connected with Japan for the use of travellers and others, Basil Hall Chamberlain, J. Murray, 1905.

Kyoto, Tokyo, and Nagoya are the three great centres of the enameller's art, and each has developed a special style. The difference between the Tokyo and Kyoto styles consists in this, that whereas Namikawa at Kyoto makes no attempt to hide the metallic contours of his lovely floral and arabesque decorations, his namesake at Tokyo prides himself on rendering the cloisons invisible, thus producing either pictures that might be mistaken for paintings on porcelain, or else monochromatic effects also similar to those observed in certain kinds of old Chinese porcelain. The Tokyo school performs the greater tour de force. But persons of true artistic temperament, who recognise that each material has its natural limitations, to move gracefully within which beseems genius better than overstepping them, will surely prefer the productions of the Kyoto makers, whose cloisonne is honestly cloisonne, but cloisonne with a wealth of ornament, an accuracy of design, a harmony of colour, simply miraculous when one considers the character of the material employed and the risks to which it is subjected in the process of manufacture. These risks greatly enhance the price of cloisonne ware, especially of the larger monochromatic pieces. The purchaser of a vase or plaque must pay not only for it, but for all the others that have been inevitably spoilt in the endeavour to produce one flawless piece.

The best Nagoya cloisonne differs from both the above. The great local artist, Kumeno, takes silver as the basis of his vases, and this is beaten up into the desired design, with specially fine effect in water and wave pieces. Wires are also used. The enamel put on is for the most part transparent, so that very delicate results are obtained by the silver shining through the glaze.

Around the World and South America: letters written on the way for a home paper while traveling from New York to India, China and Japan in 1907, Johnson Sherrick, 1912.

LETTER XV. YOKOHAMA. NAGOYA, WHERE THE BEAUTIFUL CLOISONNE WARE IS MADE.

Yokohama, Japan, May 2nd, 1907.

We had a very delightful journey from Kyoto to this place by rail, stopping for one day at Nagoya, a nourishing commercial city. It is there where the beautiful cloisonne ware is so extensively made. It is exct edingly interesting to see the artisan at his delicate work. Through our guide, we secured permission to visit one of these factories, where we saw the men at work, and had the process kindly explained. All this work is done by hand. We saw the metal fusing in crucibles of intense heat and viewed with interest the many intricate devices required in the manufacture of this most celebrated ware. We purchased a tea-pot, which we expect to take home with us—not that it will improve the tea, but for its exquisite beauty. A pair of vases were just being finished for a family in New York City that is priced at $1200. This is as much as will buy a cottage home for many a family in America.

A very good website with Nagoya Shippo Kaisha Takeuchi Chiubei jiki shippo ware is located at http://members.chello.nl/artnv/Lichtgr.html

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