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Vintage 1910s-1920s Nippon White Beaded and
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Vintage 1910s-1920s Nippon White Beaded and
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This Nippon covered sugar and creamer show the unique beauty of the handpainted clay-dotted decorative techniques often used in early Nippon porcelain.
The sugar and creamer are both painted in a rose design, with dark pink and lighter pink roses with spring green-colored leaves, on an aqua background. The white clay dots were then added on top of the aqua color, to create a textured, stippled effect and enhance the three (3)-dimensionality of the design. True gold accents, often in a fleur de lis shape, were applied. The sugar, which is covered and two-handled, is 5 3/4 inches from handle to handle, 3 inches tall, and has a 2 3/4-inch base. The creamer is 4 1/4 inches from lip to the farthest side of the handle, 2 1/2 to 3 inches tall (depending on what part of its shape is measured), and has a 2 1/2-inch base. Both the sugar, plus its lid, and the creamer are in excellent condition. There is minimal gold loss. This covered sugar and creamer set is unmarked as was much of this type of Nippon of this era. (A similar set and further detailed information on this type of Nippon sugar and creamer may be found in the "Collector's Encyclopedia of Nippon Porcelain, Identification and Values, Sixth Series" by Joan F. Van Patten, Collector Books, Paducah, Kentucky, Copyright 2001.) This sugar and creamer set will make a wonderful addition to a Nippon collection! (For a bit of history: Nippon means "Japan". Nippon china was produced for export to the United States from 1865 to 1921, when the McKinley Tariff act prohibited the import of items not "plainly marked, stamped, branded or labeled in legible English words" with the country of origin. Since Nippon was the Japanese word for Japan and "Japan" was its English equivalent, "Nippon" as a term could no longer be used, and the period of the Nippon mark on its porcelain ended. Now the term refers to the era of Nippon china manufacturing in that period of time. Before Nippon, Japan had produced porcelain over centuries along with China, which invented porcelain. Coming out of its isolation in trade, Japan produced Nippon porcelain strictly for Western consumers. Early on, its government brought in experts to train Japanese porcelain artists in European designs. Their success at imitation is borne out with the frequent resemblance of Nippon porcelain to European porcelain of the 19th century. As a result much Nippon porcelain was handpainted with lavish decoration to the extent that the Japanese populace of that time, used to more spare Asian interpretations and decor, disdained and de-valued it. In addition, it was considered cheap in quality as it was cheaply produced. During the Meiji period (1868-1912) many Nippon porcelain items were accented with gold, which sometimes wore off. So many manufacturers were producing Nippon at that time that there was a plethora of marks, adding to the confusion and devaluation. Many of the Nippon china marks existed because there were so many different porcelain manufacturers working in Japan at that time. The "M-wreath" backstamp is the predecessor of Noritake, in active production today. In the Nippon era, Americans could procure the lovely Nippon porcelain for very little compared to what European porcelain cost. The Europeans joined the Japanese in considering Nippon porcelain as a knockoff of the "real thing." Now, not only has Nippon porcelain assumed its true identity, it is among the most desirable of all antique china.) 
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