Koro or incense burner in a globe-form, ornamented with pierce-work designs of myriad chrysanthemum blossoms and clouds. Of hammered and assembled silver with gilt disk florets. With the original, carved rosewood stand, ornamented at the corners with flowering chrysanthemums in relief. Late Meiji era, circa 1900 – 1902.

With the original, period storage box, inscribed on the exterior of the lid: On-shi Hin or Gift Received from the Imperial Court, and with a paper kura or private art storage warehouse label: Dai Ichigo, Gin Koro or Number One, Silver Incense Burner; and bearing a long inscription on the reverse of the box: Meiji San-ju-go-nen, Ju-ni-gatsu, Okoku yori Shika Kicho. Ni-ju-ichi-nichi, Kogo Heika ni Haietsu no Koei o Jokusu. Kono Ginsei Koro Gozen ni Oite Hairyosu or In December of Meiji (era) 35th Year (1902), I was Granted Leave from Austria and Returned to Japan. On the 21st, I was Honored with an Audience with Her Majesty the Empress. This Silver Incense Burner was Given (to me) on that Occasion.

Japan had been renegotiating with the Austro-Hungarian Empire the treaty of 1 December 1871, the last and most far-reaching of the so-called Unequal Treaties between Japan and the Western powers. This treaty reflected the inexperience of the young Meiji government and was much disliked in Japan. The succeeding agreement was implemented in August of 1899. It is very likely that the person who received this splendid imperial gift headed the Japanese legation in Vienna during the treaty negotiations and the succeeding few years, Makino Nobuaki (1861 – 1949).

Born to a samurai family in the Satsuma domain (present-day Kagoshima Prefecture), Makino Nobuaki was the second son of Okubo Toshimichi (an important statesman of the early Meiji era). Adopted into the Makino family, he accompanied his birth-father in 1871 on the Iwakura Mission to the United States. There he spent three years as a student and after returning to Japan studied at the Tokyo Imperial University. Without graduating, Makino entered the Foreign Ministry in 1880 and was sent abroad to the London Embassy. He later served in a variety of posts, including Ambassador to Austria, Ambassador to Italy, Governor of Fukui Prefecture and then of Ibaraki Prefecture, Minister of Education under the 1st Saionji Kinmochi Cabinet (1906 – 1908), and Minister of Agriculture and Commerce under the 2nd Saionji Cabinet. He was Minister of Foreign Affairs under the Yamamoto Gonnohyoe Cabinet (1913 – 1914), before attending the Paris Peace Conference in 1919 as Ambassador Plenipotentiary of Japan. Makino was closely aligned with Ito Hirobumi and afterwards with Prince Saionji Kinmochi. He is considered one of the early leaders of the Liberalism movement in Japan. In 1921, he became Imperial Household Minister and elevated to the rank of baron (danshaku). Then in 1925, he was appointed Lord Keeper of the Privy Seal of Japan. In both these positions he assisted Prince Saionji to quietly improve relations with England and the United States. As well, he supported Saionji’s efforts to keep the Emperor above direct involvement in politics. After the rise of the military in the 1930s, his support for a non-expansionist foreign policy brought him under tremendous criticism from the right wing. The militarists forced him from office in 1935, at which time Makino retired from both his positions and was elevated in rank to count (hakushaku). During the February 26th Incident of 1936, an aborted coup by young officers, Makino was targeted and narrowly escaped assassination at his villa in Yugawara. His good relations with the Showa Emperor led to his continued, moderating influence until the advent of the Pacific War.

Prior to World War I, Vienna was among the most important courts and national capitals in the West. As the diplomat posted as envoy from the Chrysanthemum Throne to the court of Emperor Franz Joseph I, Makino Nobuaki stood very high in the eyes of Tokyo and this koro symbolized imperial gratitude for his service.

Assembled from fine, hammered loops of silver around chiseled, gilt florets, chrysanthemum blossoms float in a lacy cascade between framing clouds. This delicate pierce-work shimmers with movement, created by constant variation in the size of the flowers. As here, many imperial commissions were delivered unsigned by the artist. The beautiful craftsmanship speaks for whom it was made, as well as the superb skills of the honored metal artist.