Monumental JAPANESE CLOISONNE ENAMEL VASE with FANTAIL GOLDFISH ginbari For Sale

Here\'s a MONUMENTAL JAPANESE GINBARI CLOISONNE VASE with FAN TAIL GOLDFISH and silver rims. The transparent green enamel ground and vibrant gold, red and orange wireless cloisonne gold fish, float over a hand carved reflective copper body with scenes of underwater plants and shimmering ripples of water. The effect is stunning, as if you were viewing the fish underwater. I have never seen a cloisonne vase with goldfish this large, and of such high quality. Each individual goldfish is about 9\" long. They shimmer and sparkle in the light and seem like they are alive. Measurements: 19\" tall and 11\" across (48.26cm x 27.94cm).Although I could find no signature, the vase was surely made by a master cloisonne artist from the Golden Age of cloisonne, around 1890. There is some damage, so please look closely at the photos to determine the extent. There is damage to the mouth, neck and foot, with cracks and missing enamel. The quality of this piece is incredible, and when displayed from the front, the damage is hard to see. It looks amazing and would make a great addition to any collection. The $20 bill is not included in the sale. It is displayed for size reference only. I have excellent response, and have been an seller since 1999 so please offer with confidence. This is the exact vase you will receive. Shipping will be a flat rate of $60 to the US due to it\'s size, weight and fragile nature. Good Luck and have fun. History of Goldfish
During the Tang dynasty (618–907), it was popular to raise carp in ornamental ponds and watergardens. A natural genetic mutation produced gold (actually yellowish orange) rather than silver coloration. People began to breed the gold variety instead of the silver variety, keeping them in ponds or other bodies of water. On special occasions at which guests were expected they would be moved to a much smaller container for display. During the Ming dynasty (1368-1644), goldfish also began to be raised indoors, which led to the selection for mutations that would not be able to survive in ponds.[5] The first occurrence of fancy-tailed goldfish was recorded in the Ming Dynasty. In 1603, goldfish were introduced to Japan. In 1611, goldfish were introduced to Portugal and from there to other parts of Europe.During the 1620s, goldfish were highly regarded in southern Europe because of their metallic scales, and symbolized good luck and fortune. It became tradition for married men to give their wives a goldfish on their one-year anniversary, as a symbol for the prosperous years to come. Goldfish were first introduced to North America around 1850 and quickly became popular in the United States.Additional information from the book The Art of Japanese Cloisonne by Fredric Schneider on pg 170
Basse-Taille techniques
With the introduction of basse-taille, masters began producing enamels whose underlying metal was enlivened with a dizzying variety of metal working techniques variously described as engraving, chasing, chiseling and punching, sometimes combined with repousse as well, in intricate and often pictorial patterns that showed quite clearly through the transparent enamels. This creates three dimensionality, a luminous reflective substrate surface, and subtle variations in color intensity achieved by the varying depth of tinted enamel over the engraved metal. To some extent, the focus of these pieces became the underlying metalwork, rather than the wirework and enamels. Basse-Taille masters
Although Namikawa Sosuke very likely initiated basse taille technique in Japan, he did not make it an important part of his output; pieces signed by him are rare. In fact, almost no basse taille work was produced outside Nagoya, where Kawaguchi concentrated on it, Kumeno made it a significant portion of his output, and many others produced fine examples.Additional information about Ginbari from page 176 in the book The Art of Japanese Cloisonne Enamel by Schneider.
Enamel over foil - Ginbari. Closely related to basse-taille is a technique known in Japan as ginbari [silver stamped], a term now fully adopted in the West. With ginbari, one does not carve a design into the metal substrate. Instead, heavy, stamped silver foil covers the entire substrate and it is this foil that one sees through the transparent enamels. A ginbari maker was free to use the same variations as in basse-taille, so we find ginbari pieces with and without wires, including monochromes.