A Late 19th Century Satsuma Plate Hand Painted During The Meiji Period

Meiji-Era Satsuma at a Glance

Satsuma ware is a Japanese ceramic tradition prized for its warm, ivory earthenware body, dense crackle glaze, and richly layered overglaze enamels and gold. While the name originally referred to ceramics produced in the Satsuma domain (modern Kagoshima) from the 17th century, what most collectors mean by “Satsuma” today is the highly detailed, gold-laden export wares of the Meiji period (1868–1912). Among the most collectible forms are plates decorated with processional scenes, courtly ladies (bijin), deities and immortals, millefleurs, and brocade-like borders.

By the late 19th century, production had shifted largely to Kyoto and Osaka workshops. Master decorators there elevated Satsuma export ware into an art form, catering to European and American tastes with impeccable draftsmanship, microscopic detail, and astonishing gold work. At the same time, demand created a spectrum of quality: from top-tier, artist-signed pieces destined for international exhibitions to more commercial plates sold to tourists. Understanding where a plate sits on this spectrum is the foundation of good appraisal.

Key characteristics of late 19th-century Satsuma plates:

• Earthenware body in an ivory to creamy tone (not white porcelain), with intentional fine crackle (crazing) in the glaze.
• Overglaze enamels and copious gilding, often with raised gold beading (moriage) and lace-like motifs.
• A typically unglazed foot ring showing a buff or tan ceramic body.
• Common motifs include court and genre scenes, immortals (Seven Lucky Gods), chrysanthemums and phoenixes, millefleurs, “thousand butterflies,” and brocade borders.
• A painted or gilt mark, often with the Shimazu clan crest (a cross in a circle) above a red or gilt cartouche, and sometimes an artist’s seal.

Identifying a Late 19th-Century Satsuma Plate

Start with material and construction. Authentic Meiji Satsuma plates are earthenware, not porcelain. When lightly tapped, they produce a relatively soft, dull sound rather than a bright ring. The body is usually thin and well-potted; the underside foot ring is unglazed, showing clay ranging from buff to light tan, and sometimes slight turning marks.

The glaze is key. Satsuma’s hallmark is a creamy glaze with a tight, fine, and intentionally created crackle network. Under magnification, the crackle lines look irregular and naturally webbed. Crucially, overglaze enamels and gold sit atop the glaze; you should primarily see crackle in the unpainted background fields. Where the enamel is thick, the crackle will not run across it. Be cautious if you see dark “crackle” lines painted over gold and enamel—this is a red flag for imitation.

Decoration and palettes:

• Gold: Late 19th-century plates often feature dense gold outlining and diaper grounds, sometimes using raised beading. Wear typically appears on the highest points and plate rims first.
• Colors: Iron red, green, blue, aubergine, and black, with intricate shading. Very high-quality pieces show minute dotting, hair-thin linework, and consistent enameling with no blotchiness.
• Scenes: Processions, temple festivals, samurai and bijin, sages, or highly stylized florals. Borders can be a patchwork of brocade panels, chrysanthemum bursts, or millefleurs—tiny flowers covering the field.

Quality indicators:

• Draftsmanship: Crisp facial features with distinct pupils, eyelashes, and expressive hands. Cheeks show subtle shading; kimono patterns are sharply rendered.
• Gold work: Fine, even beading and lines; gold is applied with control and consistency, not slathered.
• Background patterns: Tight, regular, and deliberate. Random or sloppy diaper work suggests lower-tier production.
• Composition: Harmonious, with balanced negative space and layered depth rather than flat, crowded scenes.

Common tells of later or lower-quality pieces:

• Coarse crackle lines uniformly darkened across the plate.
• Clumsy faces, thick opaque enamels, and random dots suggesting speed over skill.
• A glazed foot ring or chalky white base with no unglazed clay showing.
• English text like “Hand Painted” stamped near the mark, or overly clean “Made in Japan” marks (usually post-1921).

Quick Inspection Checklist

• Body: Ivory-toned earthenware; unglazed buff/tan foot ring.
• Glaze: Fine, natural-looking crackle visible mainly in unpainted fields; not drawn over gold or thick enamel.
• Sound: Dull thud when tapped (earthenware), not a high porcelain ring.
• Gold: Even, controlled application; expected light rim wear; raised beading on better pieces.
• Draftsmanship: Sharp faces and fingers, neat borders, consistent diaper patterns.
• Mark: Often the Shimazu crest over a painted cartouche with kanji; avoid modern factory stamps.
• Subject: Cohesive composition; high detail in textiles and background.
• Size: Diameter and depth consistent with period (commonly 7–12 inches), with proportionate weight.

Reading Marks and Dating With Confidence

Satsuma marks are nuanced. While collectors often focus on the crest and cartouche, context matters as much as script. Most late 19th-century plates will show some combination of the following on the reverse:

• Shimazu mon: A small circle enclosing a cross, usually above the mark. Its presence alone does not guarantee Satsuma Province origin; Kyoto and Osaka workshops used it as a brand of Satsuma-style ware.
• Gilt or red cartouche: Painted kanji identifying an artist or workshop, sometimes with a seal.
• “Dai Nippon” (Great Japan): A patriotic phrase often found on Meiji-era export ceramics, most common before 1900. It is helpful but not definitive.

Renowned names to watch for include:

• Yabu Meizan: Among the finest Kyoto decorators; micro-detailed scenes; marks vary but often include “Yabu Meizan.”
• Kinkozan: A major Kyoto studio; a wide range of quality. Marks may read “Kinkozan zo” (made by Kinkozan) or “Kinkozan tsukuru.”
• Ryozan (for the Yasuda Company), Sozan, Taizan, and Keizan: Kyoto-area decorators with collectible output.
• Artist’s kaō (stylized signature/seal): Often appears below the cartouche.

Country-of-origin marks and dating:

• 1891–1921: Many exports from Japan adopted “Nippon” or “Japan” in English after tariff regulations. High-end Satsuma sometimes avoided English marks, relying on paper labels now long gone. If you see “Nippon,” it likely falls between 1891 and 1921.
• Post-1921: “Japan” or “Made in Japan” becomes standard. Pieces with these marks are usually Taisho or later and often of lesser quality than Meiji exemplars.
• Pre-1891: No English country mark is common. A “Dai Nippon” inscription and an artist/workshop mark can support a late 19th-century date.

Reading the mark:

• Use a loupe and good light. Gilt characters should have confident brushstrokes, not stenciled fills.
• Compare the quality of painting on the front with the prestige implied by the mark. A famous name with poor painting is a red flag.
• Be aware that workshop marks (e.g., Kinkozan) do not imply the master painted your plate; they signal studio origin. Artist signatures raise desirability when supported by quality and stylistic match.

Condition, Conservation, and Market Value

Condition is paramount. Assess the plate systematically:

• Gilding: Expect high-point wear and thin patchiness at the rim. Extensive gold loss, especially across the main scene, reduces value sharply.
• Enamel: Check for scratches, scuffs, and areas where enamel has flaked. Raised beading should be mostly intact on better examples.
• Glaze and body: Look for hairline cracks visible on both sides, star cracks, rim chips, or filled repairs. Use a bright flashlight to catch stress lines.
• Staining: Some natural age toning within crackle adds character; however, uniform dark brown staining is often artificial.
• Warping: Slight warping from firing can occur; severe warping suggests overheating or later damage.

Cleaning and care:

• Dust with a soft, dry brush. If necessary, use distilled water with a drop of neutral pH soap on a cotton swab, keeping water away from cracks and gilding.
• Never soak. Water can wick into the crackle and stain the body, and it can undermine gilding and enamel adhesion.
• Avoid abrasive cloths, chemical cleaners, silver dips, and ultrasonic baths.
• Display away from direct sunlight; UV fades enamels and heats gold. Maintain stable humidity to reduce stress on the crackled glaze.

Restoration:

• Professional conservation can stabilize hairlines and tidily infill chips, but visible restoration generally reduces value. Undisclosed overpainting is frowned upon in the market. Many collectors prefer honest wear over heavy restoration.

Valuation factors:

• Artist/studio: Yabu Meizan, top Kinkozan, and Ryozan works with exhibition-level detail can command substantial premiums.
• Subject and composition: Complex narrative scenes, beautifully rendered bijin, or temple processions are stronger than generic florals.
• Quality: Minute linework, balanced compositions, and refined gold work set the best apart.
• Size and form: Plates around 10–12 inches with exceptional painting are highly salable. Pairs or garnitures add value.
• Condition: Original, undamaged surfaces with light, honest wear perform best.
• Provenance: Old collection labels, catalog mentions, or exhibition history enhance confidence and price.

Indicative price ranges (always subject to market conditions):

• Commercial late Meiji plates with decent detail: roughly mid-hundreds.
• Better Kyoto-studio plates with refined painting and good condition: high hundreds to low thousands.
• Master decorators (e.g., Yabu Meizan) and exhibition-grade plates: mid four figures to significantly higher depending on pedigree.

Comparables matter. Matching your plate’s subject, palette, quality, and mark to documented sales with similar attributes yields the most reliable estimate. When in doubt, hedge toward conservative ranges and note uncertainties in marks or attributions.

FAQ

Q: How can I tell Satsuma from Kutani or Imari? A: Satsuma is earthenware with an ivory body and intentional fine crackle, decorated with overglaze enamels and gold. Kutani and Imari are typically porcelain with whiter bodies and a clear ring when tapped; their decoration traditions differ and usually lack Satsuma’s signature cream crackle ground. Heavy gold appears across all three, but Satsuma’s dense brocade grounds and creamy backgrounds are distinctive.

Q: Does the Shimazu crest guarantee authenticity? A: No. The Shimazu mon appears on original Satsuma Province wares and on Kyoto/Osaka Satsuma-style export pieces. It was widely adopted as a brand device and is frequently copied on later reproductions. Use it in conjunction with quality, glaze behavior, body, and the style/quality of the mark.

Q: What dates a plate to the late 19th century specifically? A: Indicators include the absence of “Made in Japan,” the presence of “Dai Nippon,” fine controlled crackle, sophisticated gold and enamel work, and artist/workshop marks associated with Kyoto studios active c. 1875–1900. High detail and micro-patterning often point to the 1880s–1890s.

Q: How should I clean a dirty Satsuma plate? A: Avoid soaking. Use a soft brush to remove dust, then gently dab with distilled water and a tiny amount of neutral pH soap on a cotton swab, keeping moisture away from crackle and gold. Dry immediately. If heavy grime persists, consult a conservator—harsh cleaners and abrasives will ruin gilding.

Q: Will restoration ruin the value? A: Sensitive, disclosed conservation to stabilize hairlines or tidy small chips is acceptable to many collectors, but it typically lowers value compared with untouched examples. Heavy overpainting, new gilt, or undisclosed repairs are major negatives. Document any treatments and keep invoices.

Bringing It All Together

A late 19th-century Meiji Satsuma plate rewards close looking. Start with the fundamentals: an ivory earthenware body, fine crackle confined to unpainted fields, and disciplined overglaze enamels and gold. Weigh the draftsmanship—faces, hands, kimono patterns, and borders—against the prestige suggested by the mark. Consider whether the scene and palette reflect the period’s taste for fine narrative or brocade exuberance, and examine condition with a conservator’s eye. With that framework, you’ll place your plate accurately on the quality spectrum, date it with confidence, and appraise it realistically within current market bands.

For the appraisal enthusiast, these plates offer an ideal case study: a defined period, a rich field of workshops and artists, and a market that clearly rewards quality and condition. Invest time in learning the hands of the great Kyoto decorators and the telltale signs of overzealous modern copies. Your diligence will pay off—on the shelf and at the auction block.