The first Igarashi Doho moved, together with his adopted son Doho II, and pupil, Shimizu Kyubei, from Kyoto, his native city, to Kanazawa in Kaga at the behest of Maeda Toshitsune, daimyo of the province in around 1700. Doho was the son of Igarashi Hosai and a descendant of Shinsai (c.1407-90), the founder of the school. After the fame of Igarashi lacquer was established in Kanazawa (it became known in as Kaga-makie), Doho returned to Kyoto, where he died in 1678. Neither of the first two Doho masters signed their work.
The loss of lacquer lines from some of the gold petals of the chrysanthemums is due to the use of thick gold foil as a base for the blooms. The coefficient of expansion of gold being very different from that of lacquer, when a sudden change of temperature occurs the gold shrinks or contracts faster than the lacquer, breaking the adhesion between the two. The technique was, nevertheless, used in the making of some of the finest of Japanese lacquers.
For two further suzuribako by Doho I see Tokyo National Museum, Special Exhibition Oriental Lacquer Arts (Tokyo, 1977), nos. 301 and 302. Both have designs similar to this, of chrysanthemums and grasses, but over a gold ground.