Two cloisonné-enamel vasesOne vase by Ota Toshiro (active ca. 1868-1940), both vases Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century The first a rectangular tomei jippo cloisonné-enamel vase, engraved on a silver substrate with a dragon emerging from crashing waves against a hammered stippled ground covered in transparent red enamel, the rims silvered metal, signed on the base Ota within a koro-shape reserve, 25.5cm (10in) high; the second a hexagonal tsuiki-jippo enamel vase decorated with overlapping open and closed fans enclosing different designs enamelled in transparent green, orange, pale blue, and purple on a midnight-blue ground, signed on the base with an unidentified mark, 25cm (9 7/8in) high; with an inscribed wood storage box. (3).For further information on this lot please visit Bonhams.com
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396323 Los(e)/Seite
A cloisonné-enamel oblong octagonal box and coverBy Namikawa Sosuke (1847-1910), Meiji era (1868-1912), late 19th centuryDelicately worked in musen ('wireless') and yusen (wired) enamels and decorated with two sprigs of flowering chrysanthemums on a slightly graduated blue ground, the veins of the leafy stems and the petals outlined in silver wire, the interior and underside of plain aubergine, applied with a shakudo rim, the base signed in thick silver wire with the Sakigake mark of Namikawa Sosuke; with a plain wood storage box. 3.2cm x 10.8cm x 8.8cm (1¼in x 4¼in x 3½in). (3).Footnotes:See also the footnote to the following lot 187.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A cloisonné-enamel rounded square trayBy Kinzan, Meiji era (1868-1912), late 19th/early 20th centuryConceived in the manner of Namikawa Sosuke, worked in copper wire with a cockerel, hen, and chick on a pale-grey blue ground, bordered by a band of half-chrysanthemum blossoms and stylised tendrils, the underside decorated with a large peony blossom and tendrils; signed Kinzan with a seal Kinzan; with a cloth-covered storage box. 27cm x 27cm (10 5/8in x 10 5/8in). (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A pair of cloisonné-enamel moriage slender baluster vasesBy Hattori Tadasaburo (died 1939), Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryEach vase decorated in relief with a complementary design of white and blue flowers on leafy stems, the silver wires of varying gauge delineating the veins on the petals, leaves and stalks, on a pale-green ground, applied with gilt rims; each vase signed on the base with incised signature Hattori on a leaf-shaped reserve. Each vase: 18cm (7 1/16in) high. (2).For further information on this lot please visit Bonhams.com
A cloisonné-enamel large oval jar and coverStyle of Honda Yosaburo of Kyoto, Meiji era (1868-1912), late 19th/early 20th centuryWorked in silver wire and polychrome enamels with a wide lappet band of phoenix alternating with dragon cartouches beneath geometric panels enclosing foliate motifs and lobed panels enclosing stylised dragons, the neck with a formal design of a Buddhist necklace, comprising tasselled jewels hanging from the rim and draping downwards, the cover designed with overlapping floral roundels and butterflies on a mulberry ground and a gilt oval finial surmounted by a large chrysanthemum bud; unsigned. 18.7cm x 23.5cm (7 3/8in x 9¼in). (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A cloisonné-enamel baluster vaseMeiji era (1868-1912), late 19th/early 20th centuryFinely worked in silver wire of varying gauge, decorated with an uguisu (bush-warbler) perched on a flowering branch of plum and another in flight, reserved on a grey ground, the shoulder with a wide brocade band of stylised chrysanthemums and scrolls on a mauve ground, the rim with cherry blossoms on a tight whorl-patterned ground; unsigned. 12.5cm (4 7/8in) high.For further information on this lot please visit Bonhams.com
A cloisonné-enamel koshira-e (mounting) with naginata-naoshi wakizashi (spear reforged into a short sword)The cloisonné-enamel mounts: Meiji era (1868-1912), the blade by Taira Shizukata/Shigemasa, Muromachi period (1333-1573), 16th centuryIn the form of a small cut-down naginata blade; the scabbard and hilt worked in silver wire with a white three-clawed dragon writhing among aventurine-flecked kiri-mon (paulownia crests) and aoi-mon (hollyhock crests) on a pale-aubergine ground, the top with a mythological creature; the cloisonné-enamel habaki decorated with twisting red three-clawed dragons on a goldenrod ground; the blade of naginata-naoshi form, gunome-ha, itame-hada, kaeri-fukashi boshi, each side carved with stylised kurikara and soe-hi, the tang suriage-nakago with two overlapping mekugi-ana and kiri-yasuri file marks, signed [...] junin seisho [...] Taira Shizukata/Shigemasa; with a silk embroidered storage bag. Total length: 65cm (25½in) long; the blade: 41.1cm (16 3/16in) long. (2).For further information on this lot please visit Bonhams.com
A cloisonné-enamel squat jar and coverBy Namikawa Yasuyuki (1845-1927), Meiji era (1868-1912), early 20th centuryWorked in musen and silver wire of varying gauge with contrasting shades of green and mushroom-coloured enamels with a tranquil scene depicting possibly Kodaiji Temple nestled among trees with its wooden-roofed corridor bridge spanning a pond, all reserved on a taupe ground, the domed-shaped en-suite cover surmounted by a silver knop-finial in the form of a chrysanthemum bud, the neck and foot encircled with a narrow band of shippo-tsunagi (linked cash); signed on the base with a silver tablet Kyoto Namikawa. 10.5cm (4¼in) high. (2).Footnotes:Born in 1845 to a rural samurai family, Namikawa Yasuyuki started his cloisonné business in Kyoto in 1873 and by the 1880s was successful enough to build, and then extend and upgrade, a large compound that eventually included workshops housing 20 or more employees, a showroom, a family residence and a garden with a fishpond. He used these facilities to create a carefully orchestrated private retail experience that was described in admiring detail by American and European travel writers, selling many of his finest wares directly to private clients, as well as carrying out imperial commissions and participating in international expositions. Between 1876 and 1904 he won 11 overseas awards and in 1896, along with his unrelated namesake the Tokyo enameler Namikawa Sosuke (the two family names are written with different characters), was among the first individuals to be appointed to the ranks of Teishitsu Gigeiin (Artist-Craftsmen to the Imperial Household). Such was his reputation that at the 1900 Paris Exposition Universelle his wares were snapped up the moment they were unpacked and sold for up to ten times the amount anticipated. For a detailed biography of Namikawa Yasuyuki, see Frederic T. Schneider, The Art of Japanese Cloisonné Enamel: History, Techniques and Artists, 1600 to the Present, Jefferson, N.C., McFarland, 2010, pp.86–87.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A cloisonné-enamel rectangular plaqueMeiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryWorked in gold and musen ('wireless') techniques with a swimming carp in cloudy waters, on a pale-green ground; unsigned. 12.1cm x 24.1cm (4¾in x 9½in).For further information on this lot please visit Bonhams.com
An imperial presentation large cloisonné-enamel jardinièreBy Hattori Tadasaburo (died 1939), Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryThe body finely decorated in silver wire with two sixteen-petalled white kikumon, one on either side, floating among a wide continuous band of entwined branches of leafy white flowers, the foot encircled with leaves, all reserved on a slate-grey ground; signed on the base with seal Hattori Tada sei. 32cm x 44cm (12½in x 17 5/16in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Two iron and cloisonné-enamel tsuba (sword guards)Edo period (1615-1868), 19th centuryBoth iron, circular, the first with bold nanako-style granulation, decorated in translucent cloisonné enamels with sea fish and shells, signed Yoshitoshi with a kao, the second with a strong mokume grain, decorated in translucent cloisonné enamels and copper with hats and stylised snowflakes, signed Shinto gotetsu ren (Forged five times in ritual purification or forged from an old begging bowl) Myochin Ki no Yoshiobu. Both approx., 7.7cm (3in). (2).Footnotes:Yoshitoshi appears from the kao to be the same artist as Eiyushi Yoshitoshi (Robert E., Haynes, The Index of Japanese Sword Fittings and Associated Artists, Ellwangen, Germany, Nihon Art Publishers, 2001, no.H12200.0), maker of a tsuba in the Museum of Fine Arts, Boston (correct inv. no. 11.12116), although the techniques used are very different. For an exhaustive discussion of the unusual signature on the second tsuba, see markussesko.com/2013/02/16/about-shinto-gotetsu-inscriptions-on-myochin-works/This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A cloisonné-enamel ovoid vaseBy the workshop of Ando Jubei (1876-1953), Meiji era (1868-1912), early 20th centuryWorked in partly musen and yusen enamels with a coastal view of a snow-capped Mount Fuji in the distance towering over pine trees on rocky islets in a slight mist rendered on a pale grey-blue ground, applied with a silver rim and foot, signed on the base in silver wire with the mark of Ando Jubei; with a wood tomobako storage box inscribed and signed on the lid Shippo Tokai Shokeizu kabin, Jubei tsukuru (Cloisonne vase with scenic view in the Tokai Region, made by Jubei) with seal. 18.7cm (7 3/8in) high. (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
The Nasser D. Khalili Collection of Japanese Art, Vols. 1-9: the complete setComprising all nine volumes of Meiji no Takara (Treasures of Imperial Japan); Vol.1, Selected Essays; Vol.II (Metalwork Part 1); Vol.II (Metalwork Part II); Vol.III (Enamel); Vol.IV (Lacquer Part I); Vol.IV (Lacquer Part II); Vol.V (Ceramics Part I); Vol.V (Ceramics Part II); and the additional volume on Shibata Zeshin. (9).For further information on this lot please visit Bonhams.com
An enamel and silver bowlBy Hiratsuka Mohei, Meiji era (1868-1912), late 19th/early 20th century The deep circular body with a reticulated frieze of tightly clustered chrysanthemum blossoms, daffodil, peony, and rose, brightly decorated in low relief with polychrome enamels, the neck worked in silver-wire translucent cloisonné-enamel with formal foliage, the interior fitted with a silver liner, signed on the base with a silver seal Hiratsuka. 9cm x 18.5cm (3½in x 7¼in). This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A cloisonné-enamel koshira-e (mounting) with tanto (dagger)The cloisonné-enamel mounts: Meiji era (1868-1912), the blade: Edo period (1615-1868), 19th centuryThe scabbard and hilt worked throughout in silver wire, and decorated with overlapping assorted crests and chrysanthemum blossoms floating on stylised rippled water, the tsuka (hilt) with other repeated stylised foliate crests on a ground of karakusa ('Chinese grasses'), the sides with a band of repeated geometric and hanabishi (flowery-diamond) motifs on a yellow ground, fitted with plain silver mounts, the blade of hira-zukuri form, with bo-hi to either side, indistinct ha, vague itame-hada; unsigned. Overall: 39.2cm (15 3/8in); the blade: 23.7cm (9 5/16in).For further information on this lot please visit Bonhams.com
A cloisonné-enamel moriage rounded rectangular box and coverAttributed to the Ando Jubei workshop, Meiji era (1868-1912), early 20th centuryWorked in coloured enamels in standard, moriage, and wireless cloisonné with two carp creating ripples as they rise to the surface of the water, reserved on a pale-blue ground, applied with silver rims, the interior of turquoise enamel; unsigned. 4.5cm x 10.6cm x 8.4cm (1¾in x 4 3/16in x 3¾in). (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A pair of cloisonné-enamel slender rectangular baluster vasesMeiji era (1868-1912), late 19th/early 20th centuryEach vase finely worked in silver wire of varying gauge, decorated in mirror image of of purple and white wisteria on the shoulder entwined among vine trailing above a profusion of flowering seasonal flowers including lilies, irises, and assorted chrysanthemums that continue over the reverse of each vase, all reserved on a midnight-blue ground, the neck and foot with a narrow band enclosing repeated geometric motifs, each vase unsigned; with a padded storage box. Each vase: 15.6cm (6 1/8in) high. (3).For further information on this lot please visit Bonhams.com
A fine cloisonné-enamel and musen ('wireless') rounded rectangular trayBy Namikawa Sosuke (1847-1910), Meiji era (1868-1912), late 19th centuryDecorated with an egret partially obscured among tall bearded irises growing in a pond, after a design by Watanabe Seitei, on a ground graduated in colour from yellow at the top to pale grey at the bottom, the egret worked with white musen ('wireless') enamel plumage, its beak, leg, and eye subtly highlighted in gold wire, the outlines of the blades of grass and the petals on the white iris also in gold wire, the reverse worked in gilt wire enamel with numerous densely patterned cherry blossoms in pale brown on a dark plum-coloured ground, applied with a shakudo rim, inscribed on the bottom right Seitei with a seal; signed on the reverse in silver wire with the Sakigake (seal of Namikawa Sosuke). 20cm x 14.5cm (7 7/8in x 5¾in).Footnotes:For a lobed tray by the artist depicting an egret perched on a willow branch, see Oliver Impey and Malcolm Fairley, The Nasser D. Khalili Collection of Japanese Art, vol.3, Enamel, London, Kibo Foundation, 1994, cat. no.91. A pair of yellow-ground vases by the artist also depicting egrets on willow branches is illustrated in ibid., cat. no.92.One of the greatest craft entrepreneurs of the later Meiji era, Namikawa Sosuke was until recently best known in Japan for a set of 32 decorative panels commissioned for Tokyo's Akasaka Rikyu Palace, completed in 1909. These date from the last years of his very productive life, nearly three decades after he began to experiment with the technique known as musen shippo ('wireless' enamelling), his most enduring contribution to an art form that developed at extraordinary speed in Japan between the mid nineteenth century and the early years of the twentieth century. In Chinese cloisonné enamelling, the wires separating the different areas of fused and polished enamels that made up a design also served to hold the enamels in place during the firing process, and the individual areas of colour were relatively small. Sosuke, followed shortly after by his rivals, managed to improve the chemistry of the enamels so that they adhered more securely to the metal bases of his wares, allowing him to introduce large areas of colour into his designs, although it is thought that wires between different colours still had to be painstakingly applied and removed at each stage of manufacture. Thanks to these and other technical breakthroughs, later Meiji-era enamellers were often able to emulate the effects of brush painting on paper or silk. In recognition of his achievements, in 1896 Sosuke was appointed to the order of Teishitsu Gigeiin (Artist-Craftsman to the Imperial Household).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A cloisonné-enamel miniature jar and coverBy the Shibata Workshop of Kyoto, Meiji era (1868-1912), late 19th/early 20th centuryFinely worked in silver wire and decorated with butterflies hovering over a flowering shrub of hydrangea and wisteria on one side and hakuchoge (Serissa japonica) on the other, all reserved on a midnight-blue ground, the domed cover embellished with three butterflies and surmounted by a gilt bud finial, applied with gilt brass rim and foot, signed on a silver tablet Kyoto Shibata; with a plain wood storage box. 13.3cm (5¼in) high. (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Two cloisonné-enamel vasesOne by Kumeno Teitaro (1861-1939), Meiji era (1868-1912), late 19th/early 20th century and one by a Nagoya workshop, Showa era (1926-1989), mid 20th centuryThe first a four-sided tomei jippo and moriage vase decorated with landscape and bird-and-flower scenes worked in polychrome enamels and silver wire on a hammered stippled ground, stamped on the base with the mark of the Kumeno workshop, 19.5cm (7 5/8in) high, with a cloth-covered storage box; the second vase worked in gilt wire with a large flowering orchid on a pale-yellow ground, applied with silver rims, unsigned; 16cm (6¼in) high. (3).For further information on this lot please visit Bonhams.com
VICTORIAN OAK WHEEL BAROMETER,with white enamel dials, the case carved with foliage, 83cm highCondition report: The glass dial cover has cracks running through it. Hairline running through upper part of enamel thermometer back. Light wear to frame as per age. Additional images now available.
19TH CENTURY EIGHT DAY LONGCASE CLOCK BY JOHN MURDOCH OF AYR,mahogany cased with inlaid detail, the broken swan neck pediment above circular dial set with Roman and Arabic numerals, with allegorical figural painted surround, the door with ivory escutcheon, with chamfered and fluted front corners, to plinth base on bracket feet, approximately 225cm highCondition report: Case generally good to fair, with light age related wear. No trunk key or weights so unable to test working order, though mechanism looks fine. Losses to enamel in lunette and spandrels.Upon removing the hood and dial, can see the pendulum is present within the trunk.
LATE 19TH CENTURY REPEATING CARRIAGE CLOCK,with two train eight day movement, the white enamel dial with Roman numerals, contained in a brass five glass case, with swing handle, 19cm highCondition report: Mechanism not ticking at present, though repeater (the button of which needs pushed down then pulled up) is functioning. Case is good to fair, with tarnish throughout. Nibbles to top right and bottom left of front glass and to top middle of back glass.
Regency brass inlaid mahogany bracket clock, Gothick arched case with brass finial, bezel, ring handles and grilles, convex white enamel Roman dial signed Lautier Bath, within ebonised cluster columns, twin fusee movement striking the half hours on bell, the stepped base with ball feet, H64cm
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396323 Los(e)/Seite