This category of metalwork was thought for many years to be Chinese in origin and was known as Tonkin Ware. Numerous examples of this easily recognizable group are well-represented in the collections of the Rijksmuseum in Amsterdam, the Victoria & Albert in London and the Metropolitan Museum of Art in New York. Although the records of the Dutch East India Company have not yet revealed specific descriptions of these wares in shipping manifests, it seems probable that they left Japan through Deshima. One known example bears a late 17th century date and a cup and saucer in the Metropolitan Museum of Art is dated 1735; it would appear that the manufacture of this ware did not continue past the middle of the 18th century.

The view generally held today is that Nagasaki was most probably the place of manufacture, but whether the craftsmen were Chinese or native Japanese remains an unresolved point. The markedly Chinese character of the spouts, stopcocks and feet on this present example could be taken as support of the argument for alien craftsmen.

The majority of the extant pieces take the form of Dutch originals, such as tobacco boxes, tea sets, cups & saucers, tea kettles and coffee urns, such as this present example. This would point to the Low Countries as the principal source of demand. Although the dominant subject matter was Chinese scenery with trees, pagodas, pavilions, etc., some examples exist depicting Asian versions of Europeans at various pursuits. This same style of zeitmotif appears in late 17th century English and European silver with chinoiserie designs and the earliest hausmaler painting on Meissen porcelains.

In almost all cases, the decorations are executed in shakudo, sometimes in the round, against a gilded ground, frequently in nanako; gilt incised lines against a shakudo ground were also used. The gilding on mounts and interiors was of good quality and with a strong, bright color.