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Posts Tagged ‘Lusterware’


Smoking has been accepted into culture, in various art forms, and has developed many distinct, and often conflicting or mutually exclusive, meanings depending on time, place and the practitioners of smoking. Pipe smoking, until recently one of the most common forms of smoking, is today often associated with solemn contemplation, old age and is often considered quaint and archaic. Cigarette smoking, which did not begin to become widespread until the late 19th century, has more associations of modernity and the faster pace of the industrialized world. Cigars have been, and still are, associated with masculinity, power and is an iconic image associated with the stereotypical capitalist. Smoking in public during the Victorian age was something reserved for men and when done by women was associated with promiscuity. In Japan during the Edo period, prostitutes and their clients would often approach one another under the guise of offering a smoke and the same was true for 19th century EuropeArt.

The earliest depictions of smoking can be found on Classical Mayan pottery from around the 9th century. The art was primarily religious in nature and depicted deities or rulers smoking early forms of cigarettes.  Soon after smoking was introduced outside of the Americas it began appearing in painting in Europe and Asia. The painters of the Dutch Golden Age were among the first to paint portraits of people smoking and still lifes of pipes and tobacco. For southern European painters of the 17th century, a pipe was much too modern to include in the preferred motifs inspired by mythology from Greek and Roman antiquity. At first smoking was considered lowly and was associated with peasants.  Many early paintings were of scenes set in taverns or brothels. Later, as the Dutch Republic rose to considerable power and wealth, smoking became more common amongst the affluent and portraits of elegant gentlemen tastefully raising a pipe appeared. Smoking represented pleasure, transience and the briefness of earthly life as it, quite literally, went up in smoke. Smoking was also associated with representations of both the sense of smell and that of taste.

In the 18th century smoking became far more sparse in painting as the elegant practice of taking snuff became popular. Smoking a pipe was again relegated to portraits of lowly commoners and country folk and the refined sniffing of shredded tobacco followed by sneezing was rare in art. When smoking appeared it was often in the exotic portraits influenced by Orientalism. Many proponents of post-colonial theory controversially believe this portrayal was a means of projecting an image of European superiority over its colonies and a perception of the male dominance of a feminized Orient.  They believe the theme of the exotic and alien “Other” escalated in the 19th century, fueled by the rise in popularity of ethnology during the Enlightenment.

In the 19th century smoking was common as a symbol of simple pleasures; the pipe smoking “noble savage”, solemn contemplation by Classical Roman ruins, scenes of an artists becoming one with nature while slowly toking a pipe. The newly empowered middle class also found a new dimension of smoking as a harmless pleasure enjoyed in smoking saloons and libraries. Smoking a cigarette or a cigar would also become associated with the bohemian, someone who shunned the conservative middle class values and displayed his contempts for conservatism. But this was a pleasure that was to be confined to a male world; women smokers were associated with prostitution and was not considered an activity in which proper ladies should involve themselves.  It was not until the turn of the century that smoking women would appear in paintings and photos, giving a chic and charming impression. Impressionists like Vincent Van Gogh, who was a pipe smoker himself, would also begin to associate smoking with gloom and fin-du-siècle fatalism.

While the symbolism of the cigarette, pipe and cigar respectively were consolidated in the late 19th century, it was not until the 20th century that artists began to use it fully; a pipe would stand for thoughtfulness and calm; the cigarette symbolized modernity, strength and youth, but also nervous anxiety; the cigar was a sign of authority, wealth and power. The decades following World War II, during the apex of smoking when the practice had still not come under fire by the growing anti-smoking movement, a cigarette casually tucked between the lips represented the young rebel, epitomized in actors like Marlon Brando and James Dean or mainstays of advertising like the Marlboro Man. It was not until the 1970s when the negative aspects of smoking began to appear; the unhealthy lower-class loser, reeking of cigarette smoke and lack of motivation and drive, especially in art inspired or commissioned by anti-smoking campaigns.  This may have been due largely to the Aquarius generation where flower power and Peace culminated in smoking cannibus. A serious collector of tobacciana can build a tremendous collection around the 1970’s era drug culture.  It could be called the “Hippie” collection. Ha ha.

Here are some of the ash rescepticles that I have collected for their beautiful art form.  Most are Asian, Hand Painted, Nippon or Noritake.

                   

                   

              

Collection of Nippon ashtrays, all hand-painted prior to 1921.

 

                   

         

Hand Painted enamel Moriage ashtrays, made in Japan, ca. 1930s – 1940s.

 

                        

Collection of Lusreware ashtrays, Made in Japan, ca. 1940s – 1950s

              

Noritake, Hand painted and Made in Japan after 1921.

 

Glass and Brass, Roaring 20s ahstray and humidor.

 

No “butts” about it this is a good sized collection of Japanese ashtrays. All are being sold on eBay at my store “Kelekchens” or you can contact me through this post by entering your request under comments. Just leave your request and a way for me to contact you .  To see these items in my store and other collectibles put your cursor on my assistant “the duck” and press enter.  Until next time happy collecting and remember “the best is yet to come”.

 

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Noritake Lusterware


One of the most important contributions of Noritake china was the development of Lusterware.  This was a glazing technique using a bright, single color glaze (brown, blue, orange, green) covered in a thin metallic film.  The result was a polychromatic, iridescent look that grace these peices of Japanese porcelain in a bright rainbow-like sheen.  This technique became very popular with other manufacturers during the 20th century.  The major importer being the U.S.  This was a time after the depression and the beginning of the roaring 20’s and Art Nouveau was in vogue.  In fact, many of the peices of Lusterware from the Noritake family of china is very Art Nouveau. Their biggest production being small peices of giftware that was offered in many U.S. Five & Dime stores.  This is what makes it so collectible.  Although not as popular as “Nippon” and other works by Noritake, some peices of Lusterware command high prices. But there are still great bargains to be found:

    

An “Art Deco” ashtray marked “Hand Painted, TWNO, Made in Japan” ca. 1921 – 1930 (from my collection).

 

Years 1921 – 1941

In the first part of this series I discussed “Nippon” and the years 1894 – 1921 and now moving further along in the production calendar for the Noritake company I will explain why they stopped putting “Nippon” as part of their backstamp.

This period of 1921 – 1941 is clearly set apart by two major events, a change in U. S. law and the beginning of World War II in 1941. 

In 1921 American import laws changed to require the place of origin be marked on a product in English.  Since “Nippon” was more a description of an island and a native word to that island, the word “Nippon” was no longer acceptable for imports and the new law.  Backstamps after 1921 state “Japan” or “Made in Japan”.  Thus, it is easier to identify the earlier peices of china by those marked with “Nippon” and later peices by those marked with “Made in Japan”.

Here is an interest mark where the “Hand Painted Nippon” is  overstamped with “Made in Japan” ca. 1921 (from my collection)

 

   

Other Makers Marks you might see on Lusterware and a nice photo of a Lusterware cup and saucer (from my collection)

 

Collector’s can still find excellent purchases and colorful peices of lusterware and it is a wonderful subject of Japanese porcelain to collect at this time.  I believe that Lusterware will increase in value over the next few years and be hard to collect without significant money to invest.

In my next post I will discuss the war years and peices marked “Made in Occupied Japan” so until then Happy Collecting and always remember the best is yet to come.

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