A cloisonné-enamel squat jar and cover By Namikawa Yasuyuki (1845-1927), Meiji era (1868-1912), early 20th century Worked in musen and silver wire of varying gauge with contrasting shades of green and mushroom-coloured enamels with a tranquil scene depicting possibly Kodaiji Temple nestled among trees with its wooden-roofed corridor bridge spanning a pond, all reserved on a taupe ground, the domed-shaped en-suite cover surmounted by a silver knop-finial in the form of a chrysanthemum bud, the neck and foot encircled with a narrow band of shippo-tsunagi (linked cash); signed on the base with a silver tablet Kyoto Namikawa. 10.5cm (4¼in) high. (2). 注脚 Born in 1845 to a rural samurai family, Namikawa Yasuyuki started his cloisonné business in Kyoto in 1873 and by the 1880s was successful enough to build, and then extend and upgrade, a large compound that eventually included workshops housing 20 or more employees, a showroom, a family residence and a garden with a fishpond. He used these facilities to create a carefully orchestrated private retail experience that was described in admiring detail by American and European travel writers, selling many of his finest wares directly to private clients, as well as carrying out imperial commissions and participating in international expositions. Between 1876 and 1904 he won 11 overseas awards and in 1896, along with his unrelated namesake the Tokyo enameler Namikawa Sosuke (the two family names are written with different characters), was among the first individuals to be appointed to the ranks of Teishitsu Gigeiin (Artist-Craftsmen to the Imperial Household). Such was his reputation that at the 1900 Paris Exposition Universelle his wares were snapped up the moment they were unpacked and sold for up to ten times the amount anticipated. For a detailed biography of Namikawa Yasuyuki, see Frederic T. Schneider, The Art of Japanese Cloisonné Enamel: History, Techniques and Artists, 1600 to the Present, Jefferson, N.C., McFarland, 2010, pp.86–87.