A magnificent silver and enamel dish in the form of a large chrysanthemum bloom


Attributed to the Ozeki Company, Meiji era (1868-1912), late 19th/early 20th centuryWorked in translucent repoussé enamel with gold and silver wire, the centre with a large solitary ho-o (phoenix) in flight with its train of feathers trailing in all their splendour around its body, surrounded by a silver-edged circular narrow band containing kiku-mon (chrysanthemum crests) interwoven among formalized foliage, each lobe of the outer rim decorated with a variety of chrysanthemum blossoms among paulownias joining to form a continuous design, supported on three bracket feet similarly decorated with a kiku-mon arrangement in coloured enamels, unsigned; with a wood storage box. 4.5cm x 30cm (1¾in x 11¾in). (2).
|Although unsigned, the extraordinarily high-quality execution and brilliant colours of the enamel decoration depicting the combination of the ho-o bird and leaves of the paulownia tree –two Imperial emblems that enjoyed a widespread revival during the later Meiji era– have all the characteristics of a piece destined for Imperial presentation. The workmanship is comparable with the work of Hiratsuka Mohei, originally a tsuba-maker who must have turned to making other products after the samurai privilege of wearing two swords was abolished by a government edict in 1876. Hiratsuka was renowned for his enamel decoration and was also commissioned by the Ozeki company. See a koro by Hiratsuka illustrated by Oliver Impey and Malcolm Fairley, The Nasser D. Khalili Collection of Japanese Art, Vol.II, Metalwork Part I, London, Kibo Foundation, 1995, cat. no.61; and a silver and enamel koro (incense burner) by the artist from the Michael Tomkinson Collection, sold in these rooms, 6 November 2012, lot 511. It is also interesting to compare the enamelling with that on other Ozeki pieces illlustrated in ibid., cat. nos.49 and 57.