KAWADE SHIBATARO (1856-1921) FOR THE ANDO JUBEIPANYAn Exceptionally Fine Silver-Mounted Cloisonné-EnamelMoriage Four-Legged BowlMeiji (1868-1912) or Taisho (1926-1989) era, late 19th/early 20th centuryThe foliate-rimmed, deep bowl worked in silver wire of varying gauge with a continuous flamboyant design of large peacock feathers rendered in translucent enamel entwined among large pink and white peony blossoms and buds, reserved on a ground gradually changing from pale grey to pale green, applied with a silver rim, and raised on four feet in the form of apple-greenmoriage leaves applied with chased and stippled silver mounts; signed on the base in silver wireKawade within a gourd-shaped reserve.21.5cm x 26.7cm (8½in x 10½in).Provenance: In an era characterized by entrepreneurial flair and technical innovation, the collaboration between factory owner Ando Jubei I (1876-1853) and cloisonné-enamel specialist Kawade Shibataro (1856-1921) stands out both for its relative brevity and for the brilliance of the works of art that it nurtured. Formally appointed head of the Ando factory in 1902, Kawade, who had already accumulated more than three decades of experience in the art of cloisonné enamelling and won international awards in Europe and America, lost no time in introducing a range of new techniques of which the most distinctive wasmoriage, relief enameling, premiered around 1903 at the fifth Naikoku Kangyo Hakurankai (Domestic Industrial Promotion Exposition); several examples were shown the following year at the Louisiana Purchase Exposition in St. Louis, where Kawade was awarded a medal.The relation between Kawade and the Ando factory came to an end in 1910 in circumstances which remain somewhat mysterious, but his reputation was already secure and in 1911 the critic Jiro Harada—in the sixth of a series of articles on Japanese art written forThe International Studio magazine—praised Kawade's ' . . . scientific knowledge and his indefatigable devotion to the work' and described him as ' . . . the greatest enamel expert in the manufacture ofpo at the present time.'¹The present magnificent bowl stands out for the richness of itsmoriage decoration, its unusually large size, and its lavish use of the peacock-feather motif that Kawade loved to depict in his enamels. Peacock feathers also dominate the decoration of a pair of vases by Kawade in the Khalili Collections that are themselves similar to an example illustrated in Harada's article.²1. Frederic T. Schneider,The Art of Japanese Cloisonné Enamel: History, Techniques and Artists: 1600 to the Present, Jefferson N.C.: McFarland &pany, Inc., 2010, pp.65-67, 78-86, 123-124; Jiro Harada, 'Japanese Art and Artists of Today, VI: Cloisonné Enamels',The International Studio, June 1911, pp.271-286.2. khalilicollections.org/all-collections/accession-print/?post_id=547