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So we have all been there you come across a cloisonné that is damaged. It’s not uncommon. Most of the time that’s all I see. So you find a special piece do you buy it or leave it. We all know it’s not going to probably gain any real value it’s about the artistry. Does rarity change this or skill. I have been working on fine tuning my searching should I have left this cloisonné?
I think it's a beautiful and unique vase and the imperfections seem minimal so I think I would have bought it too.
A picture in natural lighting I forgot to mention the wire is silver and the some of the scales and eyes are gold inlay
It's a very pretty piece depicting a dragon, but I'm not sure if I'd go as far to say it was 'rare' - enough to overcome the damage if you plan to resell.
Did you buy to resell?
Namikawa did some dragon pieces...not too unlike your vase, and if it was Namikawa, even with the damage it would be worth thousands of dollars.
But your vase is not (sorry) - Namikawa used silver wire, the mouth and foot were more finely made, and there is always a mark. Pieces sold 'In the manner of Namikawa' do not carry a lot of weight with Namikawa buyers, and sales results often reflect this.
I sold this spectacular vase (lamped) with Lark Mason....huge and fantastic and no damage other than the drill hole ...$500 ...should have never sold it.
https://bid.igavelauctions.com/Bidding.taf?_function=detail&Auction_uid1=5391549
@lotusblack I like orange and I like dragons, so yes I would have bought and enjoyed it. Sharon
Brian, I like it. I think the colour is lovely. I haven't seen the red base/interior before but that is something new for me to look into, always fun!
I think it is a different kind of piece to the picture Tim has posted and for 60 $ I think I may have bought it, too. Not sure if there is much in it resale-wise but I have not seen anything quite like that so I am not best placed to comment.
@greeno107 As I am not saying this vase is Namikawa Yasuyuki. But It can not be ruled out. In his early pieces many are not signed or plated. As you are probably aware he was found of the gold glitter orange background. Which in my opinion is a more rare background used at the time. Julia you are correct I have also never seen the red enamel that is a great clue. The shape is also different I don’t believe this was a mass produced vase.
@lotusblack This auction sold two small unmarked vases, one with damage, and got 14,000 British pounds!
https://www.olympiaauctions.com/sales/european-asian-art/mb211118/view-lot/110/
Let's keep digging!
Brian, I agree it can't be ruled out, I too have seen something with a similar colour. When I said it wasn't the same type, I was meaning that the vase Tim posted was of a typically Meiji type with the patterns & colours on the borders around the neck and between the panels.
Tim, those got amazing prices! I think Brian's is really nice and the more I look the more I like it. The only jarring element is the red, especially on the base. There appears to be a line across it, is that a slight break in the enamel?
That auction result is impressive. Since I am just building a cloisonne collection and therefore observing the market I can tell that this happens rarely. Most pieces "attributed to namikawa" are just in the style of him and someone tries to make more money because of the attribution.
Even marked Namikawa Yasuyuki pieces drop dramatically in price with only slight damage to the enamel since they can´t be restored properly.
That is the reason why I and other collectors I know made the decision to only buy flawless pieces.
Brian:
Your vase is of good quality and would in my opinion be worth that 60$ you paid for it. But resale value of damaged pieces is limited. Regarding Namikawa Yasuyuki: I would not attribute your piece to him. You must notice that most namikawa pieces are quite small and have extremely fine wirework. Yours is a fine example, but I think that it could have been made by any other of the good studios as well.
Regards
Robin
- @asiarob Yasuyuki: I would not attribute your piece to him. You must notice that most namikawa pieces are quite small and have extremely fine wirework.
I would have to debate this opinion. Namikawa had a studio with many artist at many different levels. As you can see in the photograph the sizes of the vases are inline with my 7.5inch vase. I believe this photo explains the large quantities being produced. The wire in my vase is about the thickness of a strain of hair.
@greeno107 There is no mark on these, but then it just says attributed to Nawikawa, maybe not all marked? Do you think any damaged seconds made it out of the shop without a mark?
Well worth the $60. If i recall the only damaged item Greeno/Tim saw at Christies was a cloisonne and that says alot. Also the vases that sold for £14,000 were also damaged. The vase strikes me as one done by an artist but I am puzzled by the base and lack of mark.
I would not get too hung up on the damage if it we a genuine Namikawa.Tims vase the sold for $500 was absolutely stunning. The material used on Brians vase was very carefully chosen and i wonder if the enamel might be a clue to the history of the vase as it is unusual enamel.
@short-dong we have to dig deeper and dissect the vases techniques and compare. Is the enamel colors used the same palette. Are the cloisonné beads the same size and pattern. Does the scale and the form of the wire compare. Is the time period correct. The enamel is the key this would be company recipe every studio would have done it a little different. The shape is also important this was all intentional. I still think the red enamel is the key.
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