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Los 369
Shakespeare (William) Tales from Shakspeare (sic) by Charles and Mary Lamb. Intro. by Andrew Lang. S.T. Freemantle, 1899, deluxe edition, plates after Robert Anning Bell as called for, top edge gilt, other edges uncut, original vellum gilt (hinges weak).[Sold on behalf of a local charity - Nidderdale Plus] One plate partially detached, hinges weak with tears to gutter of endpapers, light foxing to endpapers, preliminaries and final leaves, a little dust making to endpapers.
Los 327
A Large Pair of Modern Chinese Porcelain Bottle Vases, red ground, enamelled with lotus scrolls, having roundels containing calligraphy and with hexagonal landscape panels, later mounted as lamps, porcelain 53cm high (2)Both drilled, light fitting bonded to the tops, free from any cracks and repair
Los 762
Jugendstil Diamant-Collier, 950er Platin, Anfang 20.Jh. an feiner Ringgliederkette, ovaler Blattkranz an Schleifenornament mit zahlreichen Diamanten und Altschliffrosen, mittig eingehängtes Blattornament mit zentralem Diamanten im Altschliff von ca. 1,28ct., light Brown, VVSI, ca. 8,94g brutto, L ca. 47cm, TragespurenExpertise: Buchner Chr., Passau, dat. Nov. 2017 über 7840,- Euro liegt vor
Los 15
Damenring 'Stardust'750 Weißgold, punziert, 13 Diamanten im Brillantschliff, gesamt ca. 1,56 ct, H, vs1-vs2, Ringdurchmesser 17,5 mm, Gewicht ca. 22,4 g, Ringschiene mit leichten TragespurenLadies ring 'Stardust'750 white gold, hallmarked, 13 brilliant cut diamonds, total approx. 1,56 ct, H, vs1-vs2, ring diameter 17,5 mm, weight approx. 22,4 g, ring band with light wear marks
Los 186
Georg Jensen Nanna Ditzel Armreif und Ring Modellnr. 1111 und 1091, Nanna Ditzel (1923 - 2005) für Georg Jensen, Dänemark, Entwurf um 1956, 750 Gelbgold, punziert, dazu Marken- und Designerpunze, Ø Armreif innen 6,5 cm, Ringdurchmesser 18 mm, Gesamtgewicht ca. 89,2 g, partiell Tragespuren, Armreif mit zwei leichten DellenGeorg Jensen Nanna Ditzel bangle and ringModel Nos. 1111 and 1091, Nanna Ditzel (1923 - 2005) for Georg Jensen, Denmark, designed circa 1956, 750 yellow gold, hallmarked, with mark and designer mark, Ø bangle inside 6,5 cm, ring diameter 18 mm, total weight approx. 89,2 g, traces of wear in some areas, bangle with two light dents
Los 190
Chanel SchultertascheKollektion 2008/2009, taupefarbenes Lammleder, gesteppt, CC-Logo und Kettenhenkel in dunkelsilber, ohne Henkel 25 cm x 38,5 cm x 8 cm, mit Original-Staubbeutel leichte Tragespuren, Abrieb an den Kanten, Überschlag innen mit KugelschreiberstrichChanel shoulder bagCollection 2008/2009, taupe lambskin, quilted, CC-logo and chain handle in dark silver, without handle 25 cm x 38,5 cm x 8 cm, dust bag enclosed, light traces of wear, abrasion on the edges, flap inside with biros line
Los 329
Nymphenburg Paar Bedlington-TerrierNymphenburg, 1949-1975, Entwurf von Konrad Schmid (1904-1931), Porzellan, weiß, partiell hellblau staffiert, glasiert, Höhe 14 cm und 18,5 cm, beide unterseitig mit Manufakturmarke und Pressnummern, Zustand B, ein Terrier mit Bestoßung an der RuteNymphenburg pair of Bedlington terriersNymphenburg, 1949-1975, designed by Konrad Schmid (1904-1931), porcelain, white, partially painted light blue, glazed, heights 14 cm and 18.5 cm, both with maker's mark and press numbers on the underside, condition B, one terrier with a bump on the tail
Los 46
Victor Mayer Fabergé PerlencollierCollection Fabergé by Victor Mayer (1989-2009), Verschluss und Anhänger 750 Gelbgold, punziert, blaue Emaille, zentraler Diamant im Brillantschliff, ca. 0,172 ct, H, vvs, Süßwasser-Zuchtperlen in leicht creme-rosé, Ø ca. 6,5 mm - 6,8 mm, Ei signiert Fabergé und 60/200 nummeriert, Länge 43,5 cm, Gewicht ca. 43 g, Original-Etui anbeiFabergé pearl necklaceCollection Fabergé by Victor Mayer (1989-2009), clasp and pendant 750 yellow gold, hallmarked, blue enamel, central brilliant cut diamond, ca. 0,172 ct, H, vvs, freshwater cultured pearls in light cream-pink, Ø ca. 6,5 mm - 6,8 mm, egg signed Fabergé and numbered 60/200, length 43,5 cm, weight ca. 43 g, original case enclosed
Los 690
Garry Winogrand, Ohne Titel (aus der Serie: Women are beautiful)Gelatinesilberabzug 1981. 22,3 x 33,3 cm (28 x 35,3 cm). Rückseitig mit Bleistift signiert und nummeriert sowie von fremder Hand beziffert. Exemplar 50/80 (+ 20 A.P.). Aus dem Portfolio 'Women are beautiful'. Edition der RFG Publishing Inc., New York. - Unter Passepartout montiert.ProvenienzGalerie Thomas Zander, KölnLiteraturGarry Winogrand, Women are Beautiful, Ausst.kat. Light Gallery, New York, New York 1975, o.S. mit Abb.
Los 101
MOTOHARU: A FINE BRONZE OKIMONO OF KANZAN AND JITTOKUBy Motoharu, sealed MotoharuJapan, Meiji period (1868-1912)The finely cast bronze superbly finished to a lustrous black polish, depicting the eccentric Zen-Buddhist hermits Kanzan (Hanshan) and Jittoku (Shide) depicted in typical pose, Hanzan holding a scroll incised with minute calligraphy, and Jittoku standing behind, pointing at the scroll and with a broom lodged under his arm. The details are finely chiseled and the expressions of the pair are crafted with humor. Sealed to the back of Kanzan's robe MOTOHARU.HEIGHT 24.5 cmWEIGHT 3,402 gCondition: Excellent condition with only minor typical wear, few light scratches, some expected casting irregularities. Auction comparison:Compare a closely related bronze signed Kiyoshi and depicting the same subject at Bonhams, Fine Japanese Art, 12 May 2016, London, lot 541 (Estimate GBP 3,500-4,000).
Los 104
TAKAAKI: A FINE AND LARGE BRONZE OKIMONO OF DAIKOKU WITH HIS RATBy Takaaki, sealed TakaakiJapan, Meiji period (1868-1912)Superbly cast and finished to an attractive black tone, the lucky god Daikoku seated on his treasure bag and holding a charmingly cast rat before him, smiling affectionately at it, his facial features neatly crafted and framed by pendulous earlobes. The details are superbly chiseled. Sealed underneath within an oval reserve TAKAAKI.SIZE 32.5 x 33 cmWEIGHT 6.2 kgCondition: Excellent condition with only minor typical wear, few light scratches.Auction comparison:Compare a related bronze figure of a nude woman by the same artist, signed Takaaki, at Bonhams, Fine Japanese Art, 16 May 2019, London, lot 177 (sold for GBP 3,188).
Los 105
A SUPERB BRONZE OKIMONO OF A SHOJO, A COLLABORATION BETWEEN THREE METALWORKERSBy Kondo Shoshin, Kato Tatsuo and Hoshino Mitsuyoshi, signed Shoshin saku, Tatsuo, and Mitsuyoshi and kakihanJapan, c. 1928Separately cast in three parts and each part signed by its maker. The drunken Shojo, superbly cast and polished, is depicted with a separately cast minogame crawling over its shoulder and looking into a sake saucer (sakazuki) made from suaka (refined copper) incised with a flying crane in kebori and katakiribori. The minogame signed TATSUO (Kato Tatsuo), the sake saucer signed Mitsuyoshi and kakihan (Hoshino Mitsuyoshi) and the Shojo singed underneath SHOSHIN (Kondo Shoshin) and further with an inscription 贈呈 水道部員一同 昭和三年九月一日Zotei suidobuin ichido, Showa san'nen kugatsu tsuitachi [Presented by all the members of the Waterworks Department, 1 September 1928].HEIGHT 16.5 cmWEIGHT 2,876 gCondition: Very good condition with minor wear and some light surface scratches. One of the pegs of the minogame lost.The present okimono is a rare collaboration between three talented artists. Both Kondo Shoshin and Kato Tatsuo were pupils of Oshima Joun (1858-1940) and Hoshino Mitsuyoshi was a pupil of the sword fittings maker Toyokawa Mitsunaga II (1850-1923). A Shojo is a Japanese sea spirit with similarities to a ghost but differing from the latter in the fact that Shojo are tangible. It enjoys drinking alcohol, especially sake. Legend has it that workers at breweries in Japan have seen Shojo lurking about after indulging in their products. Both the minogame and cranes are symbols for longevity, furthermore sake is revered by immortals for its immortality-granting powers.Auction comparison:For a related bronze okimono depicting minogame, by Kato Tatsuo, see Bonhams, Fine Japanese Art, 10 November 2011, London, lot 386 (sold for GBP 5,250).
Los 107
A VERY RARE BRONZE JIZAI (ARTICULATED) OKIMONO OF A SPIDERJapan, late 19th century, Meiji period (1868-1912)Well cast and carved as a spider, the fully articulated legs each of three segments, the abdomen movable as well, the animal well detailed with pedipalps as well as neatly incised round eyes, the bronze of a warm copper-brown tone. LENGTH 15 cmWEIGHT 526 gCondition: Very good condition, minor wear, few tiny nicks, occasional light scratches. Provenance: From an old private collection in southern Germany, partly inherited in the 1950s and further supplemented between the 1960s and 1980s. The art of creating lifelike figures of animals in metal, known as jizai okimono, developed during the Edo period and is a fine example of outstanding Japanese craftsmanship. Meticulously constructed, these articulated figures were greatly sought after for decorative use. They were placed in alcoves alongside pieces of porcelain, pottery and hanging scrolls, and were the object of entertainment and discussion. Most early examples are made of iron, but copper, bronze, wood, and silver became popular in later designs.Popular subjects for jizai okimono included insects, fish, crustaceans, and even dragons. The present model is an extremely rare example of an arachnid.Auction comparison: Compare a related articulated bronze incense burner in the form of a grasshopper, 14 cm long, signed Watanabe and dated to the Meiji period, late 19th century, at Bonhams, Fine Japanese Works of Art, 17 September 2013, New York, lot 3295 (sold for 6,250 USD).
Los 108
OSHIMA JOUN: A BRONZE VASE DEPICTING MONKEYSBy Oshima Joun (1858-1940), sealed JounJapan, Meiji period (1868-1912) Of elongated bulbous form, the slender body tapering towards the rounded shoulder and short waisted neck with a flat everted rim, the body finely cast in relief with a group of monkeys on a gnarled barren tree growing from craggy rockwork with leafy vines twisting around the thin branches. Two young are hanging on to their mother's long arm, the lower of which attempts to reach for the reflected crescent moon in the subtly carved water below, a third is clambering over her back, and the fourth has the back turned to the others, the monkeys with small inlaid copper eyes, one of the young with gilt eyes. Sealed to the underside within an oval reserve JOUN.HEIGHT 23.3 cmWEIGHT 617 gCondition: Very good condition with minor surface wear and few light scratches to the foot, some areas of oxidation to surface. Fine, naturally grown patina. The present vase alludes to a Buddhist story in which a monkey attempts to seize the reflection of a moon in a well; it fails when the branch from which it is hanging breaks. The monkey stands for unenlightened people who cannot distinguish between reality and illusion.Oshima Joun (1858-1940) was a professor at Tokyo School of Art from 1887 until 1932 and is regarded as one of the most celebrated bronze-casters of the late nineteenth and early twentieth centuries. He exhibited at several of the great international expositions of the era, including Paris (1900), St. Louis (1904) and London (1910).Auction comparison:Compare a closely related bronze vase of different form with a very similar design by the same artist, 29 cm high, at Bonhams, Fine Japanese Art, 12 May 2016, London, lot 523 (sold for 3,750 GBP).
Los 11
A GOLD LACQUER BOX AND COVER DEPICTING TAKARAMONO (LUCKY OBJECTS)Japan, 19th centuryWell modeled as a large sack covered with various brocade patterns including hanabishi, shippo, and hexagonal floral diaper, decorated in gold, silver, and black hiramaki-e with e-nashiji, further with a ferocious sinuous dragon, a symbol of the female lucky god Benten, and thick swirling clouds in predominantly gold takamaki-e with e-nashiji and kirigane. Richly detailed with rope tied around the sack near the superbly carved opening with gold-lacquered interior. The oval cover surmounted by a handle in the form of Daikoku's mallet (kozuchi) with wood grain lacquered in different shades of gold as well as floral and foliate decorations in gold hiramaki-e. The interior and base of rich nashiji. LENGTH 8 cmCondition: Excellent condition with minor wear and a few very light scratchesProvenance: Lempertz, Cologne, Germany, 11-12 June 1993, lot 1115. A private collection in Munich, Germany, acquired from the above.
Los 111
A FINE MIXED METAL BOX AND COVER DEPICTING HANDAKA SONJAJapan, Meiji period (1868-1912)Of rectangular form with rounded corners, supported on an aproned foot, the rims and interior of silver, the exterior with a sentoku ground decorated to the sides in gold hirazogan with small circular and fan-shaped reserves engraved with various bird-and-flower motifs including an owl, sparrows and bamboo, chrysanthemums, and asters, the cover with a central shakudo-ground panel decorated in gold and silver takazogan with Handaka Sonja standing and holding aloft his alms bowl, his pet dragon writhing around him, the rakan's robe and dragon's scales finely carved, their faces well detailed, the clouds emanating from the bowl and surrounding the figures in silver hirazogan with subtly engraved swirls, all enclosed by a neatly incised rope-twist border encircled by flowerheads borne on scrolling vines. SIZE 4.5 x 9.5 x 7.8 cmWEIGHT 364 gCondition: Very good condition with minor wear, light scratches mostly to the base and interior, minor rubbing and wear to some inlays.Provenance: From an old German private collection, acquired before 2007. The rakan Handaka Sonja (Arhat Panthaka) is one of the sixteen disciples of Buddha often depicted together. In Japanese art he is usually shown accompanied by his pet dragon, which he keeps in a bowl (as here) or in a gourd.
Los 115
A KOMAI-STYLE GILT-DAMASCENED IRON HEXAGONAL BOX AND COVER, WITH FUKU MARKMarked FukuJapan, Kyoto, Meiji period (1868-1912)Finely decorated in predominantly gold nunome-zogan in the manner of the Komai company, the top of the hinged cover with a central medallion enclosing a landscape with a shrine and other buildings between towering trees, all below Mount Fuji in the background, surrounded by a dense design of maple leaves borne on twisting vines repeated on the sides below a band of flowerheads, the base finely engraved in katakiri-bori with three plovers perched on a flowering prunus branch, above a small fan-shaped reserve incised with a two-character mark reading Fuku ('luck'), the interior of the box similarly decorated with a duck on a rocky outcrop amid grasses and a chrysanthemum above another duck in the water below birds flying in the distance.WEIGHT 69.2 gSIZE 1.9 x 4 x 4.6 cmCondition: Good condition with minor wear, small nicks and tiny dents to edges, light scratches to base and interior. Provenance: From a private collection in southern England.Museum comparison: Compare a related hexagonal box signed by Komai of Kyoto in the Victoria & Albert Museum, accession number M.254:1-1928.Auction comparison:Compare a related small iron box, by the Komai company, at Christie's, Japanese Art: Meiji Period Magnificence, 24 June 2014, New York, lot 18 (sold for USD 3,500).
Los 118
SANSO: A SUPERB CLOISONNE ENAMEL DECORATED SILVER BOX AND COVERBy Sanso, signed SansoJapan, Meiji period (1868-1912)Of rectangular form, elaborately decorated in high relief with richly colored enamels, the hinged cover with flowering chrysanthemum, peony, lotus, and aster as well as leaves, the long sides each with wisteria hanging from leafy vines, the short sides with blossoming shobu (iris9 and grasses rising from a subtly engraved pond. Signed to one side SANSO.SIZE 6.3 x 10.2 x 7 cmWEIGHT 373 gCondition: Very good condition with minor wear, traces of use, few small dents and minuscule nicks, occasional light scratches, areas of minor tarnish mostly to interior.With a brocade silk storage box. Auction comparison:Compare a closely related larger enamel-decorated silver box dated to the Meiji period, 17 cm long, at Bonhams, Japanese Works of Art, 19 March 2009, New York, lot 393 (sold for 6,710 USD).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Los 119
A MASTERFUL SILVER AND CLOISONNE ENAMEL KORO (INCENSE BURNER AND COVER), ATTRIBUTED TO HIRATSUKA MOHEIAttributed to Hiratsuka Mohei (born 1836), unsignedJapan, late 19th century, Meiji period (1868-1912)The cup-form body set on a spreading foliate foot and rising to a tapered shoulder, flanked by two scroll-form handles, the interior fitted with a removable silver liner, surmounted by a domed cover with a floral finial. The body decorated with two shaped panels pierced and carved in high relief and worked in bright enamels and silver wire with a rooster and hen amid leafy chrysanthemums and peony to one side and two butterflies fluttering amid chrysanthemums and asters to the other, the cover similarly decorated with a single beetle amid chrysanthemum, prunus blossoms, and other flowers. The foot, handles, and shoulder worked in translucent enamels and silver wire with butterfly, floral, cloud, and geometric designs.HEIGHT 14.7 cmWEIGHT 516 gCondition: Very good condition with minor wear and manufacturing irregularities, few tiny dents, few light surface scratches.The enamel work on this piece is by Hiratsuka Mohei (b. 1836), who contributed similar decoration to several silver pieces in the Khalili and other collections (see Literature comparison).Literature comparison: For two similar examples of a metal koro and cover by Hiratsuka Mohei, see O. Impey, M. Fairley (eds.), Meiji No Takara: Treasures Of Imperial Japan: Metalwork Vol I, London 1995, nos. 61 and 62, in the Nasser D. Khalili Collection, and for two more examples of a similar koro and cover, see the Sano Museum (ed.), Kindai Shippo no Hana, Meiji no Shippo, p. 98, nos. 144 and 145.Auction comparison: Compare a related silver and cloisonne enamel incense burner by Hiratsuka Mohei, 12.1 cm high, at Bonhams, 12 September 2018, New York, lot 1214 (sold for 23,750 USD).
Los 122
GONDA HIROSUKE: A FINE CLOISONNE ENAMEL VASEBy Gonda Hirosuke (1865-1937), signed with the mark of Gonda HirosukeJapan, late 19th century, Meiji period (1868-1912)Of quadrangular form with an ovoid body, short spreading foot, waisted neck, and flat everted rim, the rims of silver. The exterior finely decorated with silver and gilt wire and polychrome enamels against a black ground with a maple tree and numerous blossoming flowers including chrysanthemum, bellflower, aster, iris, and lily. The base with a silver tablet with the impressed mark of Gonda Hirosuke in the shape of a flaming tama. HEIGHT 18.5 cmWEIGHT 268 gCondition: Very good condition, minor wear, minimal pitting, occasional light scratches, the mouth and foot rim each with few tiny nicks. Provenance: From a private collection in Northern Germany, assembled between 1985 and 2006.
Los 13
A GOLD LACQUER SHELL-FORM KOGO (INCENSE BOX) AND COVER WITH TEA CEREMONY UTENSILS (CHADOGU)Japan, 19th century, Edo period (1615-1868)Modeled in the form of a clam shell, bearing a richly gold-sprinkled ground finely decorated to the top of the cover in iro-e takamaki-e, with some details in hiramaki-e, e-nashiji, and aogai inlay, depicting tea ceremony utensils including a chaire inside a brocade bag, a circular tsuishu kogo and cover, a rectangular box, and a feather brush. The base and interior of rich nashiji, the interior of the cover with a freely painted design of gushing winds in gold takamaki-e. The rims lacquered dark brown. LENGTH 11.5 cmCondition: Good condition with minor wear, light scratches and tiny nicks here and there, the rims with few minuscule shallow chips.Provenance: From an old private collection in Romandy, Switzerland. Auction comparison:Compare a closely related lacquer kogo with the same motif at Sotheby's, Fine Japanese Art, 6 November 2018, London, lot 124 (sold for GBP 3,500).
Los 14
A RARE FIGURAL LACQUER INCENSE HOLDER OF A DRUNKEN SHOJOJapan, 19th centuryFinely formed and decorated in iro-e maki-e in the shape of a Shojo sitting atop a large raku-ware sake jar. The Shojo wearing a large kimono decorated in gold hiramaki-e with medallions and foliate designs, the billowing robes decorated with bamboo leaves, holding a vase decorated with lotus. The figure's face bearing an inebriated expression and with long red hair, falling in strands down the back and sides. The vase and top of the shojo's head have apertures for holding incense sticks.HEIGHT 18.3 cmCondition: Good condition with minor wear, small nicks, light scratches, a single dent to the Shojo's head, and some tiny chips to edges.
Los 15
HENMI TOYO: A SUPERB TSUISHU AND TSUIKOKU LACQUER KOGO (INCENSE BOX) AND COVERBy Henmi Toyo (1846-1920), signed Hen (Itsu) ToyoJapan, Meiji period (1868-1912)Of circular form, intricately carved in low relief to one side with Kannon leaning against a craggy rock and holding a rosary beside a sinuous dragon and to the other with Daruma standing on a reed, his head backed by a halo, surrounded by thick swirling clouds, all in tsuikoku against a tsuishu ground neatly incised with waves, the interior lacquered black. Signed within a raised rectangular reserve HEN TOYO.DIAMETER 9 cmCondition: Very good condition, minor wear, few minuscule nicks and tiny chips to edges, few light scratches.Henmi Toyo (1846-1920) went to Kyoto in 1862 to study swordsmithing techniques. In 1864 he returned to his hometown in Okayama Prefecture and became a swordsmith under the name of Chikukansai Yoshitaka. He possessed exceptional skills and was much admired but his business was discontinued when the Sword Law was abolished in 1872. After that, he became involved in a wide range of crafts, including wood carving, bamboo carving, and lacquerwork. In 1895, he won the first prize and a gold medal at the 4th National Industrial Exhibition for his boxwood crab figurine. He also presented a tsuishu food basket to the Emperor Meiji in 1910 and a sword, a joint work with his brother, to the Emperor Taisho in 1915. In addition to crafts, he was also skilled in jujutsu, archery, calligraphy, chanting, and tea ceremony.
Los 193
MIWA: A FINE EDO SCHOOL WOOD NETSUKE OF GAMA SENNIN AND HIS TOADBy Miwa, signed Miwa with sealJapan, Edo (Tokyo), late 18th century, Edo period (1615-1868)Gama sennin is depicted seated with his legs outstretched, his head raised high above as he smiles, his hands reaching out to hold the large toad who tries to crawl onto his lap as the sennin's foot gives it a boost. The sennin dressed in loose robes with an artemisia cloak wrapped around his shoulders. To the rear, a cavernous oval opening forms the entrance to the himotoshi, the exit a small hole to the base. Signed MIWA with a square seal. LENGTH 3.8 cmCondition: Very good condition, appealingly worn, with a few light surface scratches. Literature comparison:Compare a closely related wood netsuke of a seated Gama sennin and his toad by Miwa in Sotheby's, Fine Japanese Netsuke, Inro, Lacquer Wares and Ceramics, 1 June 1981, London, lot 43.
Los 200
MINKO: A SUPERB EBONY PUMPKIN-FORM TONKOTSU AND INLAID BAMBOO KISERUZUTSU WITH SNAIL AND BAMBOOBy Tanaka Juntoku Minko (1735-1816), the kiseruzutsu signed Tsuhan no naka no hito, Minko choko with seal, the tonkotsu signed Minko with seal Japan, Tsu, late 18th to early 19th century, Edo period (1615-1868)The tobacco box naturalistically carved as an oblong pumpkin, the stem slightly curled, the leaves finely detailed with 'worm holes', the surface finished to reveal the natural texture of the vegetable's skin. Himotoshi at the tip of the stem. The reverse with two rectangular reserves with the signature and seal MINKO. The bamboo pipecase of cylindrical form and fitted with a bone-inlaid cap, finely decorated to the exterior with a superbly inlaid antler snail slowly crawling inches closer to two leafy bamboo stalks inlaid in greenstained horn. Signed Tsuhan no naka no hito, MINKO choko [Carved by Minko, the retainer artist at the Tsu Domain] with seal Minko. With a globular agate ojime.HEIGHT 10.5 cm (the tobacco box), LENGTH (kiseruzutsu) 24.6 cm (the pipecase) and 21 cm (the pipe)Condition: Overall good condition with wear and traces of use, the pipecase with few minor age cracks, few minor losses to inlays, some inlays loose and two replaced, the tobacco box with few small chips, a repair to the cover, and occasional light scratches. Tanaka Juntoko Minko (1735-1816) was one of the few names mentioned in the Soken Kisho of 1781, the first publication mentioning netsuke. He was famous during his lifetime and is widely regarded as one of the greatest netsuke carvers.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Los 212
UTAGAWA HIROSHIGE: SEA BREAM AND SANSHO PEPPERBy Utagawa Hiroshige (1797-1858), signed Hiroshige gaJapan, c. 1832-1833Color woodblock print on paper. Oban yoko-e. Signed Ichiryusai Hiroshige ga with Nishimuraya Yohachi (Eijudo) publisher's seal. Titled Sea Bream and Sansho Pepper with two kyoka poems by Shizugaki Namiyasu and Toshigaki Maharu, from an untitled series known as Large Fish (Uozukushi), circa 1832-33.The impression retaining most of its bright colors, the sharp teeth of the sea bream sharply detailed with thorny sansho pepper prunings with a light blue ground fading to white then to dark blue in the upper part.SIZE of the sheet 25 x 35 cmCondition: Good condition and impression, very few small wormholes, colors slightly faded, and minor soiling. Firmly mounted at the upper margin to a paper mat.Provenance: From the collection of Adolphe Stoclet, and thence by descent in the Stoclet family. Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father's death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet's famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian painting and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Auction comparison:Compare a set of nine woodblock prints from the same series including an identical Sea Bream and Sansho Pepper, at Christie's, Japanese and Korean Art, 19 March 2019, New York, lot 226 (sold for USD 30,000).
Los 221
TENJUKAN GYOKEN: SURIMONO OF A SPHERICAL CENSER WITH PASSION FLOWERSBy Tenjukan Gyoken (active 1830-1869), signed Tenjukan Gyoken and sealedJapan, 19th century, late Edo period (1615-1868)Haikai color woodblock print and blind stamping on paper. Obosho format. Signed and sealed Tenjukan Gyoken. Titled A Spherical Censer with Passion Flowers.The lower right-hand register depicting a pomander, printed with gold and mica, tied with a tasseled cord next to a passionflower blossom and bud. The upper register inscribed with vertical lines of text continuing to the left edge.SIZE of the sheet 40.6 x 51.5 cmCondition: Great impression and vivid colors, light creasing, fold lines, minor trimming along the margin, and minuscule soiling.Provenance: Collection of Robert and Isabelle de Strycker. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Museum comparison:Compare a related haikai color woodblock print inscribed and decorated with a brocade cloth next to a teacup with trumpet blossoms, by Tenjukan Gyoken, in the Smart Museum of Art, University of Chicago, accession number 2003.63.
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OHARA KOSON: A CROW ON A SNOWY BRANCHBy Ohara Koson (1877-1945), signed KosonJapan, first half of 20th century, late Meiji (1868-1912) to early Showa period (1926-1989)Color woodblock print on paper. Vertical oban. Signed Koson. Titled A Crow on a Snowy Branch.A large black crow stands with its taloned feet on a snowy pine branch, his mouth wide open as it crows, exposing its pink mouth and tongue.Inscriptions: The reverse inscribed in English, 'All rights reserved, Y Nishinomiya Tokyo, Made in Japan.'SIZE of the sheet 24 x 41 cmCondition: Good condition and impression with slightly faded colors, very minor material loss and glue residue along the margins, light foxing, and staining. Mounted with tapes on a paper mat.Ohara Koson (1877-1945) was a Japanese painter and woodblock print designer of the late 19th and early 20th centuries, part of the shin-hanga (“new prints”) movement. He is famous as a master of kacho-e (bird-and-flower) designs. Throughout a prolific career, in which he created around 500 prints, he went by three different titles: Ohara Hoson, Ohara Shoson, and Ohara Koson.Museum comparison:Compare a closely related print by Koson of a crow on a snow-covered branch, in the Rijksmuseum, accession number RP 1999-515.Auction comparison:Compare a closely related print of a crow on a snow-covered branch, at Bonhams, Fine Japanese and Korean Art, including the Crawford Collection of Suimono, 22 September 2021, New York, lot 921 (sold for USD 2,040).
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KAN: A MASTERFUL RITSUO STYLE INLAID LACQUER BUNKO AND COVER REFERENCING SUGAWARA NO MICHIZANEBy a follower of Ogawa Haritsu (Ritsuo, 1663-1747), most likely by Mochizuki Hanzan (1743-1790), sealed KanJapan, second half of 18th century, Edo period (1615-1868)Published & Exhibited: Cornell University, Herbert F. Johnson Museum of Art, Scattered Gold and Midnight Gloss: Japanese Lacquer from the Anbinder Collection, 31 March – 8 July 2007, p. 11. Of rectangular form with lobed edges, the top and sides each with a shaped sunken panel bearing a beautiful gold kinji ground, the cover finely decorated with inlays of aogai, mitsuda, eggshell, coral, and glazed ceramic as well as gold, black, and red takamaki-e to depict three cranes in front of an entrance to the Dazaifu shrine with a blossoming plum tree in the courtyard, the gate tower with subtly inlaid glass windows, the gate and wall roughly textured imitating plaster, the edges and base finished in ishime, the sides gold-lacquered in low relief with Chinese poems (kanshi) by Sugaware no Michizane. The interior of roiro with gold fundame edges, the interior of the cover with gold, red, and black hiramaki-e and takamaki-e with kirigane and mura-nashiji as well as inlays of aogai and mitsuda (pewter) to depict an ox bucking before a meandering river, the lower right corner with an inlaid ceramic seal KAN. SIZE 10.6 x 37.6 x 28.8 cmCondition: Very good condition with minor wear, few tiny nicks, occasional light scratches, minor flaking to ceramic inlays, little rubbing to lacquer and mitsuda inlay. Provenance: Heian Art, Kyoto, Japan. The Paul and Helen Anbinder Collection, acquired from the above. Paul Anbinder (b. 1940) is a retired editor who was a director at important publishers, including Random House and Hudson Hills. Helen Anbinder (1942-2022) was an education administrator who ran the Inter-village Continuing Education Program for Ardsley, Dobbs Ferry, Hastings, and Irvington, New York. The couple were avid museumgoers and collectors of art. They donated many books and prints from their collection to their alma mater Cornell University and the Herbert F. Johnson Museum of Art.The style of the present bunko is clearly that of Ogawa Haritsu (Ritsuo, 1663-1747), but it is more likely to be by Mochizuki Hanzan (Haritsu II, 1743-1790) or a close follower.The design on the cover, depicting the Dazaifu shrine, a blossoming plum tree, and cranes, allegorizes the legends surrounding Sugaware no Michizane, who at the age of ten composed a Chinese poem praising the beauty of plum blossoms under the full moon. The inscriptions on the sides of the box and cover are Chinese poems by Michizane written during his exile. The inside of the cover also refers to Michizane, as after his death his body was carried in a cart by an ox, which suddenly stopped in front of a stream as if it could not be induced to go farther. Michizane's attendants interpreted this as a sign of where their master wanted to be buried and dug his grave at the exact spot the ox stopped. Later, the Shinto shrine of Dazaifu Tenmangu, visible to the front of this masterful lacquer box, was erected there in his honor. Sugawara no Michizane (845-903) was a scholar, poet, and politician of the Heian period. He is regarded as an excellent poet, particularly in waka and kanshi poetry. Although he reached the high rank of Dajo Daijin (Supreme Head of the Council of State), due to a political rivalry against Fijiwara no Tokihira, he was exiled and died in Dazaifo, Kyushu. After Michizane's death, plague and drought spread and sons of Emperor Daigo died in succession. The Imperial Palace's Great Audience Hall (shishinden) was struck repeatedly by lightning, and the city experienced weeks of rainstorms and floods. Attributing this to the angry spirit of the exiled Sugawara, the imperial court built a Shinto shrine called Kitano Tenman-gu in Kyoto, and dedicated it to him. They posthumously restored his title and office, and struck from the record any mention of his exile. Even this was not enough, and 70 years later Sugawara was deified as Tenjin-sama, a god of sky and storms. Eventually Tenjin evolved into a benign kami of scholarship. With a wood storage box. Auction comparison: Compare a related woven rattan suzuribako by Mochizuki Hanzan, with a similar shaped panel to the top of the cover, dated to the 18th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 361 (sold for 19,200 GBP). Also compare to a related suzuribako by Mochizuki Hanzan, sealed Hanzan, worked with similar bright inlays, at Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 165 (sold for EUR 50,560).
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HARADA KEIGAKU: SURIMONO OF FLOWER PARASOLS (HANAGASA)By Harada Keigaku (1803-1885), sealed Keigaku ga inJapan, 19th centuryHaikai color woodblock print and blind stamping on paper. Obosho format. Sealed Keigaku ga in and signed by the publisher Shoken rojin sho (Compilation written by the old man Shoken) with the seal Nishin.The lower right-hand register depicting five noblewomen at a hanami (Flower viewing) standing beneath grey parasols surrounded by flowering cherry blossoms. The upper-left corner depicting a twin peaked mountain. Three rows of vertical poems stretch across the print, consisting of Haiku's regarding spring, birds, and the celebration of flowers.SIZE of the sheet 40.4 x 56.6 cmCondition: Good condition and impression with slight fading to the colors, minor soiling, small creases, folding lines, light staining, and some foxing, otherwise presenting well.Provenance: Collection of Robert and Isabelle de Strycker. Inside the passepartout inscribed, 'Dame noble et ses suivantes allant regarder la floraison des ierisiers (Hanami).' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Museum comparison:Compare a related surimono depicting a festival at Koto Haichiman shrine, dated 1844, In the Minneapolis Institute of Art, accession number P.77.27.94.
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SHIBATA ZESHIN: SURIMONO OF A MAGNOLIA BRANCH, CENSER, AND INCENSE ENVELOPEBy Shibata Zeshin (1807-1891), signed Shibata Zeshin and sealed TairyukyoJapan, 19th centuryHaikai color woodblock print and blind stamping on paper. Obosho format. Signed Shibata Zeshin and sealed Tairyukyo to the lower right corner. Titled A Magnolia Branch, Censer, and Incense Envelope.The right register depicting a magnolia branch with purple blossoms and green leaves borne on a stem next to a bronze koro (censer) on a red tray next to an incense envelope with kirigane decorations. Three rows of vertical text stretch from the center to the left edge.SIZE of the sheet 44.5 x 58.2 cmCondition: Good impression and vivid colors, light creasing, folding lines, some foxing, and minimal staining, overall presenting very well.Provenance: Collection of Robert and Isabelle de Strycker. Inside the passepartout inscribed, 'Enveloppe contenant des pastilles de parfum. Koro (brule parfum) et branche Me Kulen (magnolia).' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shibata Zeshin (1807-1891) was a Japanese painter, lacquer artist, and printmaker of the late Edo period to early Meiji era. He has been called 'Japan's greatest lacquerer.' His work, unlike the oils being used by so many of his contemporaries, never need re-touching and never faded. He was a master of emulating oil or ink painting with lacquer and combined groundbreaking techniques with traditional subjects. His studio was situated on the bank of a river, providing him with ample opportunity to observe nature, and the creatures that inhabited the natural world. Like many painters of the 19th century, he was eclectic in his sources and would have been exposed to traditional styles. However, Zeshin's skill level was such that he could fluidly mix techniques, ideas, and stylistic options, thus painting part of a composition in one manner and including elements of another to add variety and dynamics unheard of at the time.Museum comparison:Compare a related surimono with two rows of vertical inscription and a hat and bundle printed on the lower right-hand corner, by Shibata Zeshin, in the Los Angeles County Museum of Art, accession number M.79.152.291. Compare a related surimono with three rows of vertical inscription with a monumental rock surrounded by foliage on the right-hand register, by Shibata Zeshin, in the British Museum, accession number 2021,3013.322.
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TSUCHIYA KOITSU: ASAKUSA KANNON TEMPLEBy Tsuchiya Koitsu (1870–1949), signed Koitsu with seal ShinJapan, dated 1933Color woodblock print on paper. Vertical oban. Signed Koitsu with seal Shin, publisher Doi Hangaten with watermark 'Doi' located on the top-left corner. Titled Asakusa Kannon-do (Asakusa Kannon Temple), number 5 in the series Tokyo fukei (Views of Tokyo).The Asakusa Kannon Temple in the evening, during a rainstorm, a woman walks in the foreground, holding an umbrella, while the ground around her shimmers as the rain hits the surface.SIZE of the sheet 39.2 x 26.6 cmCondition: Very good condition with minor wear and slight browning of paper.The enormously popular Asakusa Kannondo Temple (also known as Sensoji Temple) in Tokyo's Asakusa district figures prominently in the traditional annual calendar of events and festivals, especially during the temple visits at the New Year which attract large crowds.Tsuchiya Koitsu (1870-1949) was a renowned landscape artist and a student of the famous Meiji-era print designer Kobayashi Kiyochika (1847-1915). He gained prominence as a designer of shin hanga (Modern Prints) for major woodblock print publishers from the early 1930s to 1940. Tsuchiya Koitsu's prints were known for their dramatic use of light and interesting color effects, influenced by his teacher Kiyochika. While some critics praised his work, noting its quality on par with famous shin hanga landscape artists like Kawase Hasui, Kasamatsu Shiro, and Yoshida Hiroshi, others criticized his heavy-handed design and unconventional color sensibility.Museum comparison:An identical print is in the collection of the Art Institute Chicago, reference number 1990.607.269. An identical print is in the collection of the Syracuse University Art Museum, object number 1997.0304.Auction comparison:Compare a closely related woodblock print, sold at Sotheby's, Landscape to City: 20th Century Japanese Prints Part II, 10 May 2023, London, lot 102 (sold for GBP 3,302).
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TSUCHIYA KOITSU: SNOW ON THE UKIMIDO AT KATADABy Tsuchiya Koitsu (1870-1949), signed Koitsu with seal ShinJapan, dated 1934Color woodblock print on paper. Vertical oban. Signed Koitsu with seal Shin; publisher Watanabe. Titled Yuki no Katada Ukimido (Snow on the Ukimido at Katada).A beautiful winter waterfront with light snow falling, a snowy embankment in the foreground, and a stilted pavilion in the background with a single lamp post, faintly lit. A snow-covered pine branch in the left register blocks the view of the pavilion's walkway. Inscriptions: Along the left-hand margin, Hanken shoyu Watanabe Shozaburo [copyright ownership Watanabe Shozaburo].SIZE of the sheet 39 x 26.6 cmCondition: Good impression and great colors slightly faded, minor creasing to the margins. Tsuchiya Koitsu (1870-1949) was a renowned landscape artist and a student of the famous Meiji-era print designer Kobayashi Kiyochika (1847-1915). He gained prominence as a designer of shin hanga (New Prints) for major woodblock print publishers from the early 1930s to 1940. Tsuchiya Koitsu's prints were known for their dramatic use of light and interesting color effects, influenced by his teacher Kiyochika. While some critics praised his work, noting its quality on par with famous shin hanga landscape artists like Kawase Hasui, Kasamatsu Shiro, and Yoshida Hiroshi, others criticized his heavy-handed design and unconventional color sensibility.Auction comparison:Compare a related print by Tsuchiya Koitsu titled Suijin Shrine on the Sumida River, at Sotheby's, Landscape to City: 20th Century Japanese Prints Part II, 10 May 2023, London, lot 107 (sold for GBP 2,413).
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A MAGNIFICENT FOUR-PANEL BYOBU SCREEN OF AN EAGLE PERCHED ON PINE, ATTRIBUTED TO NISHIMURA SOZAEMON, THE DESIGN BY IMAO KEINENAttributed to Nishimura Sozaemon (1855-1935), after a design by Imao Keinen (1845-1924), sealed Keinen 景年Japan, late 19th to early 20th century, Meiji period (1868-1912)Embroidery on silk. Mounted on six panels within a silk brocade frame attached to a black-lacquer frame with wheels. The majestic bird perched on a pine branch, wings resplendent, seconds before swooping down to grab its prey in its sharp talons, the pine overgrown with hanging vines which appear to wither away as winter approaches.Inscriptions: One seal to the bottom-right, Keinen.Condition: Fair condition with wear commensurate with age, few loose threads, minor losses, some light soiling and few tears. Overall presenting well.Dimensions: Size 59.5 x 165 cm (each panel), 174 x 264 cm (total)The Nishimura Sozaemon family founded a family business in the middle of the 16th century. The family, in the Chikiriya clan, currently operates as a textile wholesaler under the name Chiso Co. Ltd., which is one of Japan's oldest businesses. According to the surviving genealogical records of the Nishimura family, the Chikiriya clan was founded during the Koji period (1555-1558) when Nishimura Yozaemon opened a shop selling clerical garments in the Sanjo-Muromachi district of Kyoto. The clan's shop flourished in the 17th century, operating in more than 100 housing units. However, the only remaining direct descendants of the Chikiriya clan are the Nishimura Sozaemon, Nishimura Jihei, and Nishimura Kichisaemon families.Imao Keinen (1845-1924) was born to a family in the textile business (Iseya for Inosuke Imao) and trained from age 11 as a picture master to provide imagery for yuzen textiles. He first studied ukiyo-e style with Umegawa Tokyo, then turned to Suzuki Hyakunen, who favored the Nanga school. He named himself for his father's most beloved artist, Matsumura Keibun. He was hired at age 30 by the Nishmura Sozaemon company (now Chiso) to design embroidered pictures. He also worked for Iida Shinshichi (Takashimaya), and would win prizes at the 1893 Columbian World's Fair in Chicago, followed by a silver medal for the 1900 Paris Exposition Unverselle, and a gold medal at the Saint Louis World Exposition. Beginning in 1888, he taught at Kyoto Prefectural School of Painting, and would become an Imperial Artist in 1904, following his gold medal in Saint Louis. He was elected as a member of the Imperial Art Academy in 1919. He specialized in bird and flower paintings and prints.
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YOSHIMASA: A VERY LARGE PAINTED AND EMBROIDERED 'ITSUKUSHIMA SHRINE' WALL HANGINGBy Yoshimasa, signed Yoshimasa saku 好雅作Japan, Meiji period (1868-1912)The large tapestry painted and embroidered on silk primarily in blue, brown, red, and cream, depicting the Itsukushima Shrine on Miyajima and its iconic 'floating' torii gate, which appears to float in the sea during high tide, large and small boats float nearby in the inlet, the verdant landscapes full of luscious pines peeking through the intricate shrine complex.Inscriptions: Signed to the bottom-left, 'Yoshimasa saku' [Made by Yoshimasa]. Inscribed to the plaque of the torii gate, 'Itsukushima Jinja' [The Itsukushima Shrine]. The tomobako box inscribed, 'Saito' 齋藤 and 'Hattori Yoshimasa saku' 服部好雅作 [Made by Hattori Yoshimasa].SIZE 306 x 185 cmCondition: Very good condition with some light soiling, few loose threads, minor traces of use and wear.With a fitted tomobako storage box. (2)The shrine complex is listed as a UNESCO World Heritage Site, and the Japanese government has designated several buildings and possessions as National Treasures. The shrine and its torii gate are unique for being built over water, with the complex itself consisting of multiple buildings, including a prayer hall, main hall, and Noh theater stage, which are connected by boardwalks and supported by pillars above the sea.
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A KO-KUTANI PORCELAIN TOKKURI (SAKE BOTTLE), WITH FUKU MARKMarked FukuJapan, Edo period (1615-1868)Thickly potted as a tokkuri (sake bottle), richly decorated in bright multi-colored enamels against a crackled beige ground, depicting two long-tailed birds perched on large, leafy peach tree. The shoulder is decorated with red karakusa and four reserves featuring Greek motifs and leafy peonies on a yellow ground. At the base, a band of triangular geometric decoration in yellow and green enamel. The underside with the green-enamelled FUKU mark.HEIGHT 27 cmCondition: Excellent condition with minor firing irregularities and light wear. Auction comparison:Compare a related Ko-Kutani tokkuri at Bonhams, Fine Japanese Art, 11 May 2010, London, lot 361 (sold for GBP 2,160).
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A PAIR OF BRONZE KORO (CENSER) AND COVERS WITH EAGLE AND DRAGONSJapan, Meiji period (1868-1912)Each finely cast in three separate parts, the globular body supported on three legs and rising to a broad cylindrical neck with a galleried rim, flanked by two handles in the form of sinuous rain dragons. The slightly domed covered is surmounted by a large eagle with its wings outspread, perched atop a rock above large clouds with apertures for ventilation. The body of the censers are decorated in relief with peony, roosters in mid-flight, kiku (chrysanthemum) blossoms, and a large magnolia branch with buds, all set on an elaborate diaper-patterned ground. The legs are in the form of stylized rain dragons and are mounted to a slightly raised, round base with rinzu band.HEIGHT 45.6 cm and 46.6 cmWEIGHT 3,111 g and 3,196 gCondition: Overall good condition with minor typical wear and signs of use, some casting flaws, small nicks, light scratches, minor dents, and the wings of one eagle reattached.
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A FINE GOLD AND SILVER INLAID IRON TRAY DEPICTING BUTTERFLIES AND PEONYJapan, Meiji period (1868-1912)Finely cast and elaborately decorated with gold, silver, and shibuichi inlays, the tray is of oval form with a straight rim. The interior inlaid with large peony blossom borne on a leafy stem growing from craggy rockwork with two butterflies flittering above, all framed within a double-line reserve surrounded by silver karakusa. The rim is decorated with a silver inlaid hanabishi pattern.LENGTH 35.6 cmWEIGHT 1,239.1 gCondition: Very good condition with minor wear, light scratches, and microscopic nicks.With a fitted wooden display stand.
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A FINE LACQUER SUZURIBAKO DEPICTING A SAMURAIJapan, Meiji period (1868-1912) to Taisho period (1912-1926)Of rectangular form with rounded corners, bearing a lustrous roiro ground finely decorated to the flush-fitting cover with gold and colored takamaki-e with hiramaki-e, kirikane, and mura-nashiji to depict a samurai riding his galloping horse and holding a long bamboo stick. The base and interior of rich nashiji, the interior further with gold fundame edges, the interior cover with gold and black hiramaki-e depicting a sho, flute, and hand drum, the removable ita (baseboard) fitted with a silver circular waterdropper (suiteki) decorated in relief with a man writing on a tree as well as an inkstone (suzuri), further with an inscribed brush. SIZE 7 x 25.5 x 22.3 cmCondition: Very good condition, minor wear, few tiny nicks, occasional light scratches, the interior with few minuscule flakes to edges, the cover with few minor age cracks.
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MASATOSHI: A LARGE KOMAI-STYLE MIXED-METAL-INLAID BRONZE BOX AND COVERBy Masatoshi, signed Masatoshi sakuJapan, Meiji period (1868-1912)Of rectangular form, supported on four short bracket feet, the flush-fitting cover and the sides lacquered black and decorated in gold and silver hirazogan and nunome-zogan, the cover featuring a landscape with a shrine and temple surrounded by lush trees, with Mount Fuji in the background, the sides with two dragons, a seahawk causing crashing waves with its wings, two cranes amid bamboo, and huts in a river landscape, the silvered interior engraved with a sparrow and flowering prunus. SIZE 15.4 x 27.5 x 18.4 cmWEIGHT 3,391 gCondition: Good condition with some wear and minor rubbing to inlays, small dents and nicks here and there, light scratches, the base slightly loose.
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TAKEYASU: AN IRON KARASU-TENGU MENPO (FACE MASK)By Naka Hachiman Minamoto Takeyasu, signed Naka Hachiman Minamoto Takeyasu, nanajukyu-sai tsukuru koreJapan, 19th century, Edo period (1615-1868)Finely cast and forged in 5 sections with a large and detachable nose plate above a stiff-bristle mustache, the lacquered Karasu-tengu applied with an inome design ase-nagashi and an odayori no kugi under the chin, the cheeks applied with bent anchoring posts below the cheek ridge and flanked by ear-shaped ear guards, all above the four-lame yodarekake lacquered red and laced blue. Signed under the chin, 'Naka Hachiman Minamoto Takeyasu, nanajukyu-sai tsukuru kore' 中八幡源武保, 七十九才造之 [This is made by Naka Hachiman Minamoto Takeyasu, at the age of 79].HEIGHT 21.5 cm WEIGHT 493 gCondition: Very good condition with minor wear, light surface scratches, the lacquer with expected age cracks as well as minor flaking and rubbing.Masks have long played an important role in Japanese culture: in religious ceremonies, dance, Noh theater, and military costume. For samurai, masks served as a principal face defense and helped secure the helmet to the head more firmly. The majority of masks were half-length (mempo), covering the nose and the face below the eyes. Their iron surfaces are either lacquered or a dark russet finish; the interiors are usually lacquered red.Auction comparison:Compare a closely related tengu mempo, dated 18th-19th century, at Christie's, Japanese Art & Design Including Arts of The Samurai, 9 November 2011, London, lot 390 (sold for GBP 5,000).
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A SHIHANBATA (MILITARY BANNER) WITH THE FUJIWARA CLAN MONJapan, mid-Edo period (1615-1868)The silk banner of shihanbata form, hemmed to one side, with a horizontal pale blue-green stripe against white ground with the character 内 containing the sagarifuji (“falling wisteria”) mon, associated with the Fujiwara clan, the top corner with the character 大.SIZE 69 x 40 cm, SIZE incl. frame 82 x 54 cmCondition: Good condition with some light soiling and few small tears, particularly along the edges.Accompanied by a certificate of authenticity from the Association for the Research and Preservation of Japanese Helmets and Armor (The Nihon Katchu Bugu Kenkyu Hozon Kai—NKBKHK) dated 10 October 2021, which certifies the present lot as a precious artifact.Battle flags were used by samurai to identify their troops when engaged in battle or during processions.The Fujiwara clan, associated with this banner, was a powerful family of imperial regents in Japan, descending from the Nakatomi clan and, as legend held, through them their ancestral god Ame-no-Koyane. The Fujiwara prospered since ancient times and dominated the imperial court until the Meiji Restoration in 1868. They held the title of Ason.Museum comparison:Compare a related military banner (jinmaku) with falling wisteria mon in the Art Gallery of South Australia, accession number 20167A29.
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A RARE LACQUERED PAULOWNIA WOOD KOTO WITH PEACOCKSJapan, late 19th century, Meiji period (1868-1912)Superbly decorated in gold and iro-e takamaki-e and aogai inlay against a wood grain ground with a dense and colorful composition of two peacocks above a gushing stream amid rocks and flowering peony below two fluttering butterflies, the ends with brocade as well as gold takamaki-e prunus blossoms with bone-inlaid centers, one end further lacquered in gold hiramaki-e with waterwheels.LENGTH 122 cmCondition: Overall good condition, minor wear, traces of use, small chips and nicks, light scratches, few small losses and holes due to worm or insect activity, flaking and minor losses to lacquer, one foot and some bridges (ji) lost, the underside with few minor old repairs. Provenance: From an old French private collection. The koto is a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is derived from the Chinese zheng and se, and similar to the Mongolian yatga, the Korean gayageum and ajaeng, the Vietnamese dan tranh, the Sundanese kacapi and the Kazakhstan jetigen. Koto are made from Paulownia wood (Paulownia tomentosa, known as kiri). Museum comparison: Compare a closely related koto, dated c. 1891, from the Wakamura workshop, similarly decorated in takamaki-e with roosters and flowers, in the collection of the Metropolitan Museum of Art, accession number 69.271.3.Auction comparison:Compare a closely related koto, similarly lacquered with roosters, chrysanthemum, and butterflies, 105 cm long, at Galerie Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 178 (sold for 10,112 EUR).
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HAMANO YASUYUKI: A FINE HAMANO SCHOOL SHIBUICHI KOZUKA DEPICTING KANZAN AND JITTOKU ON A MOONLIT NIGHT By Hamano Nara Yasuyuki (1736-1836), signed Yasuyuki and sealed YasuyukiJapan, Hamano school, late 18th to early 19th century, Edo period (1615-1868)The shibuichi kozuka very finely worked in iro-e takazogan of gold, silver, and copper depicting Kanzan and Jittoku holding a scroll and standing beneath a tall pine, etched with fine katakiribori, on a cloudy moonlit night. The reverse incised with wavy lines, signed YASUYUKI and sealed.HEIGHT 9.7 cmWEIGHT 27 gWith a fitted tomobako storage box inscribed on the reverse of the lid naming the artist, and signed by the collector Zaiya, a name used by Torigoe Kazutaro, dated 1967. Torigoe Kazutaro was an expert of Japanese swords, writing several books on swords and sword fittings in the 1960s and 1970s. Since his death, his large collection of swords and sword fittings have spread far and wide, easily recognizable by the inscribed tomobako boxes bearing his red-stamp seal.Condition: Very good condition with only minor wear and a few light nicks to edges.The artist is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on p. 2224 (H 11367.0). He was a student of Toyama Naoyuki. He later studied with Hamano Naoyuki and travelled in the Osaka and Akashi regions. After the age of 40 he settled in Tokushima and was retained by the Hachisuka family as master metalworker.
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A PAIR OF GILT BRONZE BUDDHIST RITUAL OBJECTS, KATSUMA AND RINPO, WITH MATCHING LOTUS TRAYS, KAMAKURAJapan, 13th century, Kamakura period (1185-1333)Each of typical form, with finely carved and engraved lotus decorations and skillfully gilded. Each supported on a similarly crafted tray in the form of a lotus blossom with a foliate rim and raised central section. DIAMETER 14.8 cm (the trays) and 15.1 cm (the rinpo), WIDTH 15 cm (the katsuma)WEIGHT (total) 2,800 gCondition: Each in very good condition with some wear, minor casting flaws, rubbing to gilt, light scratches, minuscule nicks. Provenance: From an old French private collection. The form of the katsuma, sometimes referred to as a cross-shaped vajra, is thought to have originated from a projectile weapon used in ancient India. This katsuma would have been placed at the four corners of a mandala during Buddhistic ceremony.The rinpo, a bronze ritual object connected with Esoteric Buddhism, symbolizes the Wheel of the Law (dharmachakra). In Buddhist texts and rituals, the phrase 'turning the wheel of the law' refers to the act of teaching by the Buddha Shakyamuni. Each of the eight spokes and eight corners represents one of the moral admonitions of the Noble Eightfold Path, and the central section depicts a lotus flower with eight petals.Museum comparison:Compare a closely related gilt bronze katsuma in the Tokyo National Museum. Compare a related gilt bronze rinpo in the Metropolitan Museum of Art, accession number 2015.300.296.Auction comparison:Compare a closely related katsuma, dated 14th-15th century, at Sotheby's, The Edith & Stuart Cray Welch Collection, 25 October 2023, London, lot 54 (estimate GBP 8,000-10,000).
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A GILT BRONZE FIGURE OF AMIDA NYORAIJapan, late Edo period (1615-1868) to early Meiji period (1868-1912)Finely cast in multiple sections, Amida seated on a lotus dais supported by an elaborate, multi-tiered pedestal and flanked by an openwork vine kohai (nimbus) with gilt lotus blossoms. Amida is seated in dhyanasana, hands resting in mida no jouin (dhyana mudra), wearing monastic robes falling elegantly in voluminous folds and open at the chest. His face bearing a serene expression with heavy-lidded eyes, butterfly lips, a central byakugo (urna) flanked by long pendulous lobes, his hair arranged in tight curls over the domed ushnisha.HEIGHT 26.6 cmWEIGHT 2,604 gCondition: Very good condition with minor wear, minor casting irregularities, small nicks, and light scratches, and drilled to the base for mounting. The bronze is covered in a rich, naturally grown dark patina with some malachite encrustations.The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living.
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A CYPRESS WOOD FIGURE OF AMIDA NYORAI, HEIAN TO EARLY KAMAKURAJapan, 11th-12th century, late Heian (794-1185) to early Kamakura period (1185-1333)Finely carved from a hollowed section of hinoki (cypress) wood in yosegi-zukuri with traces of lacquer and gilding in a classic Heian standing pose with his right arm raised and left arm lowered in what was likely raigo-in (vitarka mudra). Amida is wearing monastic robes, his fukuken'e descending from the shoulders and forming a series of folds over the abdomen, the kun with typical Y-shaped and vertical pleats. The soft features of his face bearing a serene expression, subtly smiling lips, elongated lobes, and hair arranged in spiral curls; his eyes were once decorated with inlays and now open to the hollow interior giving the piece a striking presence combined with the well-worn nature of the wood.HEIGHT 51.5 cmCondition: Extensive wear commensurate with age, the wood with natural imperfections including signs of insect activity, expected age cracks, losses, remnants of old repairs and resin residue, the hands and feet lost.Provenance: From a French private collection.The present figure has characteristics of both Heian and early Kamakura sculptures. Yosegi-zukuri was a technique adopted in Japan from Indian and Chinese artists and became popular during the 10th century. The elegant folds of the robes and the inlaid eyes come from techniques which became widely used during the Kamakura period. The combination of these two elements suggests a dating to a period of overlap between the two periods.The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living.Yosegi-zukuri, or the joined wood-block construction, is a sculpting method in which several rectangular blocks of wood are individually selected and carved into shapes. Yosegi-zukuri, together with ichiboku-zukuri (single block construction), are the two main techniques associated with wood sculpture in Japan. There were several advantages to a sculpture made from multiple blocks of wood. It was much lighter than one carved out of a single block of wood. The technique also helped to minimise the cracking of the wood caused by the outside layer drying faster than the core of the sculpture. In addition, it was faster, as it allowed the individual blocks to be carved simultaneously by several artisans specialising in particular kinds of carving, which in turn led to the development of an assembly-line production and a true studio.Museum comparison:Compare a closely related gilt and lacquer wood figure of amida with preserved inlaid eyes, 96 cm high, dated to the 13th century, in the British Museum, accession number 1945,0419.1Auction comparison:Compare a related gilt-lacquer wood figure of amida standing slightly taller on a lotus base, dated to the late Heian period, at Christie's, Japanese and Korean Art, 18 April 2018, New York, lot 5 (sold for USD 150,000).
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