Page 92 - Sotheby's May 14, 2019 Fine Japanese Art. London

RE-INVENTING LACQUER ART IN MODERN JAPAN

Appointed as Teishitsu gigein [Imperial century, demand for these accessories was ceramic craftsmen and exhibit at interna-
Household Artist] in 1902 (Meiji 35), decreasing, and the new government of tional fairs. In 1890, he received a silver
Shirayama Shosai (1853-1923) was one of Meiji would issue the Sword Abolishment medal at the Universal Exposition in Paris
the most celebrated artists of his time. Edict (Haitorei) shortly thereafter in 1876. and was appointed as professor at the Tokyo
With contemporaries of him that included Consequently, Shosai quickly shifted his Art School (Tokyo bijutsu gakko).
Shiata Zeshin and Ikeda Taishin, Shosai career to lacquer at the age of seventeen The rarity and quality of Shosai’s works
co-founded the Japan Lacquer Society and received a nine-year training in the was the result of his perfection and deter-
(Nihon shikkokai) in 1890 and contrib- maki-e technique under Kobayashi Kozan. mined dedication of only using tools and
uted to the foundation of the Lacquer At the age of twenty-seven, Shosai materials of the highest standard that often
Department of the Tokyo Art School joined the Kiritsu Trading Company (Kiritsu times resulted in extravagant production
(Tokyo bijutsugakko) with the aim to kosho kaisha), which had been established cost. Within Japan, the official respect
both preserve and modernise traditional shortly after the 1873 Vienna World Fair due for Shosai and his works long transcend-
Japanese aesthetics. to the rising demand for Japanese art in the ed his death. For instance, The Emperor
As for all artists of that time, Shosai’s Western art market that also resulted in the Shows (Hirohito) presented a lacquer box
artistic career was profoundly affected by emergence of Japonisme. As a commercial by Shosai to Queen Elizabeth II on her
the political circumstances in Japan in enterprise, the company employed artisans Coronation on 2 June 1953. Today, Shosai’s
the wake of westernisation. In 1865, at the in all branches of the decorative arts to works are housed in the Bauer Collection,
age of twelve, Shosai started his career as cooperatively produce high-quality products Royal Collection Trust (RCIN 39503),
an apprentice in a workshop for sword for the Western market. The company gave Museum of Fine Arts, Boston (11.10305a-b)
accessories. However, due to the fall of him the opportunity to work with leading and Rijksmuseum (AK-RAK-2015-4) outside
the Tokugawa shogunate in the mid-19 th painters, woodcarvers, metal workers and of Japan.

112
AN IMPORTANT SUZURIBAKO a fundame ground with numerous different
[WRITING BOX] chrysanthemum flowers and leaves, almost
all an indivdual design the interior fitted as
SIGNED SHOSAI, MEIJI PERIOD,
EARLY 20 TH CENTURY a writing box with inner frame supporting
a slate, all on a ground of scrolling design
菊文蒔絵硯箱、銘 白山松哉、明治時代、20 waves in gold hiramaki-e and nashiji, fitted
世紀初期 inner and outer wood boxes, tomobako
signed and sealed shosai
the retangular writing box with flush fitting 23 cm., 9⅛ in.
cover and peuter rims decorated in gold,
silver, black and red hiramaki-e, takamaki-e, ‡ £ 150,000-180,000
kinpun, hirame, kirikane gold and silver foil on € 177,000-212,000 US$ 199,000-238,000

Signature as it appears on
the inside of the writing box

90 Buyers are liable to pay both the hammer price (as estimated above) and the buyer’s premium together with any applicable taxes and Artist’s Resale Right (which will depend on the individual circumstanc-
es). Refer to the Buying at Auction and VAT sections at the back of this catalogue for further information.