Suter Aplanat und 2 Reisekameras für 18 x 24 cm, um 19001) Suter, Basel. Nr. 21198 Aplanat C No. 4 12/30 cm, Irisblende bis 45, Glas unter Punktlicht sauber, gute Abbildungsqualität, mit Anschraubring, (3-/2) - Und: 2-3) Deutschland, beide Reisekameras vermutlich vom selben Hersteller, da fast identische Kassetten-Maße, Edelholz mit Messingbeschlägen, grüner Balgen mit schwarzen Lederecken, doppelter Auszug, umsetzbares Rückteil, an Mattscheiben-Rückteilen Mattscheiben mit Schäden, mit Segeltuchtornister. Eine wenig benutzte Kamera, deren Bodenplatten-Einrastung ausgebrochen ist, müßte repariert werden, mit 2 guten Doppelkassetten, die andere eine stark benutzte Kamera mit losem Rodenstock Apo Ronar 9/36 cm, innen mit Pilz, mit 3 guten Doppelkassetten. (4/-) Start Price: EUR 120 Zustand: (-/-)Suter Aplanat and 2 Field Cameras for 18 x 24 cm, c. 19001) Suter, Basel. No. 21198 Aplanat C, No. 4 12/30 cm, iris diaphragm up to 45, glass clean under point light, good image quality, with screw ring. (3-/2) - And: 2-3) Germany, both field cameras probably by the same maker since the cassette dimensions are almost identical, hardwood with brass fittings, green bellows with black leather corners, double extension, convertible backs and canvas cases, one with 2 good double cassettes and overall little sign of past use, however catch on baseplate broken off, the other heavily worn, with loosely attached Rodenstock Apo Ronar 9/36 cm (internal fungus) and 3 good double cassettes, both cameras with damaged ground glass. (4/-) Start Price: EUR 120 Condition: (-/-)
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Six Veteran motoring books, published pre-1918,comprising A B Filson Young: 'The Complete Motorist' (4th Edition 1905); John Henry Knight: 'Light Motor Cars and Voiturettes', 1902; M M Shoemaker: 'Winged Wheels in France', 1906; 'L H Baekeland: 'A Family Motor Tour Through Europe', published by The Horseless Age, New York, 1907; Charles L Freeston: 'The High-Roads of The Alps', 1910 and Henry J Hecht: 'The Motor Routes of Germany', 1914 (Ex Libris Montague Motor Museum); together with assorted Veteran & Vintage motoring reference books, four 1950s London-Brighton programmes and a re-print of the 1907 BARC Brooklands programme, (various conditions) . (14)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Two leather helmets and two pairs of driving goggles to suit Veteran motorists,the helmets in dark brown leather with light tan chamois linings, pop-stud chin-straps and one with pop-stud leather peak; the folding goggles both with tinted lenses, one pair with leather side shields and buckled strap in case; the other pair with foam surrounds and elasticated strap with link, contained in khaki tin. (6)For further information on this lot please visit Bonhams.com
Two full-length motoring coats and two pairs of gauntlets to suit veteran motorists,both single-breasted, button fastening, with lapels, collar and buckle belt, comprising one in light brown leather, with single left side, breast, and inside pockets, pop-stud cuffs, woven wool lining, (leather worn and torn to shoulders and sleeves); the other in light brown sheepskin, satin lining; offered together with two pairs of brown leather motoring gauntlets, one pair in horsehide leather with woollen lining and pop-stud buckled fastening; the other pair by Richard Millau with label numbered 'M.No.90-65', size 8½, with tan leather lining; and offered together with a brown Gladstone style bag (worn with some holes and handle broken). (7)For further information on this lot please visit Bonhams.com
A boxed 'Antique Car' battery-operated tin-plate toy by Toys Nomura (T.N) of Japan,1960s, lithographed tin-plate toy depicting a 1901 Vis-a-Vis motorcar, with 'head light mystery action' and rocking/shaking mechanism features, complete with moulded plastic well-attired gentleman driver figure, some minor wear to tin-plate in places but in otherwise seemingly good condition with bright colours, battery compartment in seemingly good clean order, 25cm long, contained in original box (some light wear) with interior card tray and lid with box art. (3)For further information on this lot please visit Bonhams.com
The Car Illustrated; bound Volumes VI to X, (1903 to 1904),subtitled 'A Journal of Travel by Land, Sea & Air', a run of issues from Volume VI, No.66 (26th August 1903), to Volume X, No.130 (16th November 1904), bound in five light-blue cloth bindings with gilt-embossed decorative hard covers, bound with indices but without covers, some scuffs and stains to bindings in places. (5)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
'La Voiturette Bedelia - Grand Prix de L'ACF 1913', a print after Gamy, 1913,hand-coloured pochoir print on paper, by Mabileau & Co. of Paris, depicting a cycle car race, damp spot to upper edge and some light staining and foxing to edges, 43.5 x 89cm, framed and glazed. For further information on this lot please visit Bonhams.com
Two framed reproduction motoring prints,comprising a Lucas Lamps 'We make Light of our Labour' reproduction adverting poster, 58 x 39cm, and an 'Automobiles De Dion Bouton' reproduction poster after Wilhio, 57 x 42cm, both wooden framed and glazed. (2)For further information on this lot please visit Bonhams.com
Corgi die-cast model No.492 Volkswagen (Beetle) European "Police" Car - finished in two-tone green/white with "Polizei" side and back decals, brown interior with two "Policeman" figures, blue roof light steering mechanism and spun hubs; in blue and yellow carded picture box with collectors club folded leaflet and steering ringCondition Report: Both model and box in very good condition.Two original pricing labels on box.
Mamod TE1a "Reversing Traction Engine" - light green boiler with red spoked wheels; meths burner; steering control rod and a used spare driving belt; in illustrated box with paperworkCondition Report: Has been used but in good condition just a little grubby from storage.Box also in reasonably good condition with minor opening and storage damage.
Two Chinese stoneware bowls,Song dynasty (960-1279), each sturdily potted with rounded sides rising from a circular foot, covered with a light blue or a pale aubergine glaze draining from the rim and falling short of the foot, revealing the brown body,15.7 and 16cm diameter (2)Provenance: From the Collection of the Nightingale family, Lea Hurst, Derbyshire, by repute;Collection of Mr William Gregory (d.1995) of Tansley House, Matlock, Derbyshire;purchased by the vendor’s father and thence by descent.宋 蓝釉碗 及 紫釉碗 一组两件Condition ReportBoth with foot rim chipped and cracks to glaze.
A collection of four Chinese stoneware bowls,Song dynasty (960-1279), each with rounded sides rising from a circular foot, with moulded, incised or plain decoration, covered with a beige or a light blue glaze,15 to 17.3cm diameter (4)Provenance: From the Collection of the Nightingale family, Lea Hurst, Derbyshire, by repute;Collection of Mr William Gregory (d.1995) of Tansley House, Matlock, Derbyshire;purchased by the vendor’s father and thence by descent.宋 青白釉碗 一组四件Condition ReportAll with chips or cracks in various locations.
Bùi Hữu Hùng (Vietnamese, b.1957)Untitledsigned and inscribed, mixed media on plywood panel122 x 122cmCondition ReportUnframed. Small chips to edges. Small dark speckles of light surface dirt. A small loss to the top left corner. Some very light surface scratches. The board is slightly bowed. Screw holes to the reverse.
Phạm Thanh Vân (Vietnamese, b.1977)'House by the River', 2010oil on canvas100 x 120cmProvenance: Purchased from Thanh Mai Gallery, Vietnam.Condition ReportFramed: 123 x 142cmSome very light dirty marks around the boat, please see images, but appears to be in otherwise good condition. The canvas is unlined. The work has been framed so that the edges are visible and the edges have been wrapped with black. Some brown oily marks to the reverse.
Utagawa Kunisada 'Toyokuni III' (Japanese, 1786-1865) and Utagawa Hiroshigi (Japanese, 1797-1858),'Azuma Genji yuki no Niwa' (Eastern Genji: The Garden in Snow), an oban triptych of woodblock prints,each sheet 32 x 23.5cm, framed and glazedProvenance: The Estate of John Graham (1927-2021), Harlow.Condition ReportDid not examine outside of the frame.Foxing and staining marks, paper cockled and creased. Light rubbing and mottled colours to the upper section of central and the right sheets. Colours faded.
Kamisaka Sekka (Japanese, 1866-1942),woodblock prints, depicting 'Rokkasen' and 'Nakaguni' from the series of 'Momoyo-gusa' (A World of Things), c.1909-10, 29 x 44cm, and woodblock print, 'Cranes, the first sunrise of the New Year' from the series 'Chiousa', 1899,23 x 34cm, framed and glazed (3)Condition ReportDid not examine outside of the frames. Small cracks, surface scratches and knocks to frame. Nakaguni - Creasing to the centre. Light rubbing and mottled colours to the lower right section. Rokkasen - Creasing to the centre. Paper cockled. Minor foxing marks. Cranes - some dirt marks. Paper cockled.
A Chinese pottery jar,Neolithic period (c.6500-1700 BC), the olive-shaped body with a wide everted neck and twin loop handles to the shoulder, painted in red and black pigments with cross-hatch pattern roundels within horizontal bands,39cm longCondition Report30cm high.Surface scratches and small chips in various locations. Signs of retouch, possibly fully restored. There are signs of patching and repaint, but difficult to see under UV light where exactly it has been restored or how much it has been restored.
ASSORTED GOLD JEWELLERY comprising 9ct gold cameo pendant brooch, 9kt gold spiral chain, 9ct gold carnelian and onyx revolving fob, and two pairs of 9ct gold earrings, 19.8gms gross (7)Provenance: deceased estate CarmarthenshireComments: good overall, light wear commensurate with age, one butterfly back missing
MILLENIUM DIAMOND PENDANT ON 10K WHITE GOLD CHAIN, the single round brilliant cut stone measuring 0.25ct approx., in box with International Gemmological Information card, 1.3gmsProvenance: deceased estate CarmarthenshireComments: good overall, light wear commensurate with age, some wear to interior of box
GEORGE V SILVER FOUR PIECE TEA SET J. Gloster Ltd, Birmingham 1921, of rectangular form, scroll engraved, ebonized handles and finials, comprising teapot, hot water jug, sucrier and jug, 58ozt approx (4)Provenance: private collection PembrokeshireComments: good overall, wear and light surface scratches overall, no significant damage
A TALL IVORY NETSUKE OF A SENNINUnsignedJapan, 18th century, Edo period (1615-1868)A powerful, tall ivory netsuke depicting a sennin-immortal holding an unravelling scroll before him and securing his large hat in the back. The balding immortal is depicted with long hair falling against his shoulders and with a long, pointed beard, his loosely fitted artemisia leaf robe opening at the chest, the himotoshi in the back formed by one hole above the waist, the cord channel running through an opening of the draping sleeve. The sennin's expression is boldly crafted, the mouth agape dramatically, the glaring eyes inlaid with dark horn pupils. The ivory bearing a superb, honey-yellow patina.HEIGHT 9.7 cmCondition: Excellent condition with minor wear and only very few light age cracks.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207512278-K). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
A FINE FOUR-CASE INRO DEPICTING BIRDS IN FLIGHT ABOVE NETS AND FISH TRAPSUnsignedJapan, late 17th to early 18th century, Edo period (1615-1868)Of rectangular and flattened form, finely lacquered in hiramaki-e on a roiro ground which is polished in sections to reveal the red lacquer base giving the piece a superbly rustic appearance. The front decorated with birds flying near a drying net, both inlaid with iridescent mother of pearl. The reverse with a fisher's trap made of mother-of-pearl on the shore next to swirling water. The layers of lacquer are highlighted by gold hiramaki-e, most visible in the design of the water. The edges with karakusa designs in hiramaki-e. The interior cases of roiro with gold fundame edges. With a reticulated antler ojime.HEIGHT 5.8 cm, LENGTH 5 cmCondition: Very good condition with minor wear, minuscule losses to the mother-of-pearl, light rubbing to the edges, and a small nick to one corner of the cord runner.Provenance: From a private collection in Switzerland. The interior with an old collector's number, '108.'Gulls and other seabirds typically follow fishing boats in order to pick up scraps left in their wake. This lot depicts a moment of stillness, when the fishermen have left and the birds are free to pick the scraps from the nets of the fishermen.Museum comparison:Compare a related inro with the same shape and with a similar motif of a heron next to a fish trap, unsigned, dated between the 17th and 18th century, in the Musée National des Arts Asiatiques-Guimet, accession number 16073.0016.
YOSHITOSHI: A SUPERB AND LARGE WOOD NETSUKE OF KAN'U STROKING HIS BEARDBy Yoshitoshi, signed Yoshitoshi 慶寿Japan, late 18th to early 19th century, Edo period (1615-1868)Published: Sagemonoya (2022) A Selection of Netsuke & Sagemono from the Collection of Georgina & Gabor Wilhelm, p. 12, no. 9.A powerfully sculpted and large netsuke of remarkable thickness depicting the God of War Kan'u (Guan Yu) standing proudly and stroking his long and elegantly flowing beard. The legendary general wears a cloud-patterned robe below a cuirass with beast-masked shoulder plates. Note the superbly carved facial features and fingers which curl around his beard and are placed against his hip. Two large himotoshi to the back and signed towards the hem of the robe YOSHITOSHI.HEIGHT 8.8 cmCondition: Good condition with minor wear and traces of use. Some light chipping with associated repairs to the edge of the robe in the back.Provenance: The Gabor Wilhelm Collection, Paris.Guan Yu (died 220) was a Chinese military general serving under the warlord Liu Bei during the late Eastern Han dynasty of China. Guan Yu's life was lionised and his achievements glorified to such an extent after his death that he was deified during the Sui dynasty. He is reported to have had a 'peerless beard'. In the present netsuke he is depicted in a portraitist manner with particular attention devoted to the long beard, which is central to the composition, the eyes of the viewer being immediately drawn to the curved, elegant fingers caressing this legendary figure's facial hair.Literature comparison:Only two works are recorded by this exceptionally rare artist in Fuld's Netsuke and Ojime Index. One depicting Gama Sennin is illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 992, and the other depicts a man tying his fundoshi illustrated in Barry Davies Oriental Art, The Netsuke Collection of W.G Bosshard Part 1, no. 92.
A SUPERB OSAKA SCHOOL IVORY NETSUKE OF A RABBIT WITH TREE BRANCHUnsignedJapan, Osaka, late 18th to early 19th century, Edo period (1615-1868)Finely carved, the recumbent hare (usagi) places its delicately carved feet on the side of a hollow log, which is finely detailed with splits and a bark that only partly covers the rotten tree branch. The full cheeks and delightful nose naturalistically depicted with incised hair and inlaid eyes of lustrous buffalo horn. The himotoshi pierces the base of the log and ends in the natural hollow of the log. The ivory has a deep yellow patina to the underside.LENGTH 5.6 cmCondition: Good condition with minor wear, some light chipping to the right ear, and natural expected age cracks.Provenance: Nagel Auction, 16 December 2019, Stuttgart, lot 4068. German private collection, acquired from the above.Auction comparison:Compare a related netsuke from the early Osaka school depicting a lunar hare, sold at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 63 (sold for 4,803 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0355).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
YOSEI: A FINE TSUISHU AND MITSUDA INLAID THREE-CASE LACQUER INRO WITH BUFFALO AND DRAGONFLIESBy Tsuishu Yosei, signed Yosei 楊成 zo 造 Japan, 17th-18th century, Edo period (1615-1868)Of upright rectangular form and oval section, bearing a lustrous roiro ground, lacquered in tsuishu (carved red lacquer) with frolicking dragonflies above grasses and leaves incised and filled with gold lacquer. The reverse similarly decorated and with a stumpy ox inlaid in mitsuda (pewter), sitting with his back facing the viewer, as he rests on the ground. The interior compartments of roiro with gold fundame edges. Incised to the bottom YOSEI zo [made by Yosei].HEIGHT 6.9 cm, LENGTH 5.3 cm Condition: Very good condition with minor wear and few light surface scratches.Provenance: From an old French private collection. Three old collector's labels to the first case, '58,' '58,' and 'Yosei, E/EG/B.' The Yosei family can be traced back to as early as the 14th century, however, the school was formally founded in the first half of the 17th century by Tsuishu Yosei VIII. He was succeeded by another twelve generations. The school mainly focused on the tsuishu technique, but also worked in tsuikoku, guri, and chinkinbori. A great variety of artifacts were produced including inro, netsuke, and ojime. Museum comparison: A closely related lacquered inro with tsuishu dragonflies over flowers by Yosei is in the Toledo Museum of Art, Ohio, object no. 1950.75C.Auction comparison: Compare a related lacquered inro of five formal characters by Yosei at Bonhams, Fine Japanese Art, 16 May 2013, lot 144 (sold for GBP 25,000).
A SUPERB AND LARGE OSAKA SCHOOL INLAID WOOD NETSUKE OF GAMA SENNIN, ATTRIBUTED TO KOKEISAI SANSHOAttributed to Kokeisai Sansho (1871-1926), unsignedJapan, Osaka, late 19th to early 20th centuryThe strikingly tall figure superbly carved as an amused Gama Sennin with his toad playfully clambering on his shoulder. The toad, with one arm under sennin's neck and the other on top of his head, seems to be unwilling to extricate itself from his master's shoulder. Gama is shown with his mouth agape in a humorous, wide-open grin, his face set with large eyes of inlaid bone with reddish horn pupils, as he holds one of the toad's legs, in an attempt to pull it down, while the toad embraces his master's head in impish resistance. The immortal is clothed in a loosely fitted robe with long draping sleeves, typical of hermits, the leaves inlaid with stained bone and horn. The amphibian's skin is finely textured, and the eyes are inlaid in gilt with reddish horn pupils. Two very large and asymmetrical himotoshi ringed in green-stained bone to the back. The light wood, typically used by the Osaka master Kokeisai Sansho (1871-1926), finely polished with a smooth grain.HEIGHT 14.8 cmCondition: One foot with a repair and possibly minor repairs to inlays. Generally very good condition and presenting beautifully.Provenance: Toledano, Arcachon, October 1988. Ex-collection Guy de Lasteyrie, acquired from the above. De Lasteyrie is a member of the Lasteyrie du Saillant family and is considered among the leading French collectors of netsuke.This superb carving of Gama Sennin is remarkable not only due to its size but also due to its irresistible charm and character imbued with a healthy sense of humor. The use of various inlays against the pale, polished wood creates a very appealing color contrast. This is all very typical of the work of Kokeisai Sansho (1871-1926).Museum comparison:Compare a related wood netsuke of Gama Sennin from an Osaka artist, signed Tsuji, in the British Museum, accession number 1912,1012.4.Auction comparison: Compare a related wood netsuke of a warrior with a closely related expression and pose, at Christie's, A Private Collection of Japanese Art, 20 October 2015, New York, lot 53 (sold for USD 37,500).Additional Note: There is a strong possibility this netsuke is more likely carved by Minko or Hasegawa Ikko, both residents of Tsu. For a closely related example of a Daruma with similar expression and with similar inlays see Bonhams, The Jamese A. Rose Collection of Netsuke and Sagemono, 17 September 2012, New York, lot 2069 (sold for USD 10,000).
A FINE MOTHER OF PEARL AND HARDSTONE INLAID FOUR-CASE LACQUER INRO WITH FRUITING PEACHESUnsignedJapan, late 19th century, Meiji period (1868-1912)Of upright rectangular form and oval section, bearing a lustrous roiro ground, finely decorated in gold takamaki-e with kirigane and inlays of mother-of-pearl and hardstone, to depict a verdant peach branch with blossoming flowers and buds, and some ripe fruits, all borne on leafy stems. The interior compartments of red lacquer with gold fundame edges. HEIGHT 8.3 cm, LENGTH 5.3 cm Condition: Good condition with minor wear, few light scratches, some tiny losses along the edges and some minor rubbing and losses to lacquer.Provenance: From the collection of Arend Louis Serné. An old Japanese label to the interior of the top case. Arend Louis Serné (1925-2021) was the fourth-generation owner of the firm A. Serné & Son, Costumiers, located on the Groenburgwal, Amsterdam, Netherlands, established in 1866. An avid piano player, he was also fond of modern literature, and a passionate collector of inro. He started his inro collection in the late 1970s. At that time, he entered the gallery Aalderink Oriental Art along the Spiegelgracht in Amsterdam and was immediately captivated by the beauty of inro. He began his collection with three simple specimens but hoped to own more. He remarked, “Oh that's nothing, a decent collection must be about a hundred pieces!” And collect he did. Arend was not concerned with the signature or the rarity, but with the intrinsic poetic beauty embodied in this very Japanese art form.
TOYOSAI: A SUPERB TWO-CASE LACQUER INRO DEPICTING ISE-EBE AND SALMONBy Kanshosai Toyosai, signed Toyosai 桃葉斎 with seal Kanshosai 観松斎 Japan, Edo (Tokyo), late 18th to early 19th century, Edo period (1615-1868)Of horizontal rectangular form and oval section, bearing a lustrous roiro ground, one side lacquered in thick red takamaki-e to depict an ise-ebi (spiny lobster) in front of a hiramaki-e ferns in gold, the other side with a gold and silver takamaki-e salmon attached to a cord, the fish partly scaled to reveal the lustrous reddish-silver insides. The interior compartments of nashiji with gold fundame edges. Signed to the bottom TOYOSAI in gold lacquer with a red-lacquered seal Kanshosai. HEIGHT 5.6 cm, LENGTH 7.4 cm Condition: A fine crack to the top case. Some light surface scratches. Generally in very good condition with minor typical wear to edges and presenting well. Provenance: Old French private collection. Three old collector's labels affixed to the exterior and interior of the top case, including an old Japanese label and two further collector's labels '55,'.Kanshosai Toyosai was a distinguished lacquerer and inro decorator who worked during the second half of the 18th century in Edo. Auction comparison: Compare a related five-case lacquer inro by the Kajikawa family depicting nine ise-ebi at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 297 (sold for GBP 21,250).
SARI: A SUPERB WOOD NETSUKE OF A RECLINING DOGBy Sari, signed Sari 左里Japan, Iwashiro Province, c. 1800-1820, Edo period (1615-1868)A large and remarkable wood netsuke, pleasingly tactile and compact, depicting a dog tightly coiled into a ball, its fur masterfully rendered with minute incision work. The slender, bushy tail sweeps around to the front, resting between the dog's face and its paw, as the hound stares forwards, its glaring, enigmatic eyes inlaid in bright, translucent orange glass. The underside shows the lanky curved legs forming a dense bundle, the 'natural' himotoshi running through underneath, and signed within an oval reserve in cursive script SARI.LENGTH 4.2 cmCondition: Very good condition with minor wear including some light surface scratches throughout.Literature comparison:Compare a closely related wood netsuke of a dog with puppy (note the similar reishi-shaped snout) illustrated in Coullery, Marie-Therese / Newstead, Martin S. (1977) The Baur Collection, pp. 342-343, no. C 1070.
TAKAHASHI HOUN: AN IMPORTANT WOOD NETSUKE OF A MYTHICAL ELEPHANTBy Takahashi Houn (Hogen Houn, 1810-1854), signed Houn 鳳雲Japan, c. 1850, Edo period (1615-1868)Published:Joly, Henri L. (1912) The W. L. Behrens Collection, Part 1, Netsuke, no. 5327 and illustrated on pl. LXIX.Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 211, no. 891.Bandini (1977) Values and Record prices, Part II in Journal of the International Netsuke Collectors' Society, 5 /3, p. 20, listed as joint 5th most expensive netsuke at auction in that year.Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 200.La Gazette Drouot, no. 21, 27 May 2011 p. 177.D. Wright's report of the Wrangham sale in International Netsuke Society Journal, 31/2, p. 35, discussed and illustrated.G. Wilhelm's report of the same in Bulletin Association Franco-Japonaise, no. 110, pages unnumbered, discussed and illustrated.Exhibited:Ashmolean Museum, Oxford, Inro. An exhibition of Japanese Inro from the collection of E.A. Wrangham, October-November 1972, no. 34.Finely carved, the elephant-like animal reclining with its head turned back, the movement producing folds throughout the body and neck, the mouth slightly opened smiling benevolently, with large wrinkly ears and trunk, the trunk curling around one of the long tusks which rest against the mythical animal's body, forming a compact composition. The underside with generously excavated himotoshi and the signature in Tensho characters HOUN.Takahashi Houn was a pupil of Kokei (lot no. 186) and worked in Edo (Tokyo), where he was awarded the title Hogen for his carving of Buddhist images. He was highly respected during his lifetime, carving the 500 Rakan (fig.1.) for the Kamakura temple. Furthermore, he was the master of Takamura Toun, a highly respected carver of Buddhist wood figures and master of the celebrated artist Takamura Koun (1852-1934), for an example of the latter's work see fig. 2.Only very few netsuke are recorded by Takahashi Houn and this is the only illustrated netsuke by the carver in literature. The reason is likely that he focused his attention on carving larger scale Buddhist images commissioned by various temples. The unique treatment of material and subject clearly show the roots of this celebrated carver, the present carving really being more a Buddhist sculpture rather than a netsuke, akin to the highest-level Kamakura carvings, though in miniature form.LENGTH 4.7 cmCondition: Very good condition, few light surface scratches.Provenance Ex-collection W. L. Behrens (1861-1913). Sold at Glendining's, London, 1-8 December 1913. Glendining's, London, November 1931. Anonymous sale, Sotheby's London, 11 January 1965, lot 93, purchased by Edward A. Wrangham. Sold at the latter's second sale, Bonhams London, 10 May 2011, lot 90 (sold for GBP 19,200). French private collection, acquired from the above reputedly in competition with Edward 'Ned' Johnson III.The elephant-like mythical being depicted in this netsuke is by no means an ordinary elephant, but rather a religious creature frequently depicted in early Buddhist art or a baku (nightmare-devouring creature). The wrinkly body and trunk, long tusks, and smiling attitude bear an uncanny resemblance to the famous imaginary elephants (sozo-no-zo) from the Nikko Tosho-gu. This type of elephant was also frequently depicted in Buddhist art as the familiar of Fugen Bosatsu or on various architectural elements depicting baku.Museum comparison:Compare a related wood figure of The Eleven-Headed Kannon, by Takahashi Houn, in the collection of the Ashmolean Museum.
KAN: A SUPERB CERAMIC-INLAID THREE-CASE LACQUER INRO DEPICTING A PARROT, WITH HAIKU POEM BY MATSUO BASHOBy Ogawa Haritsu (Ritsuo, 1663-1747), sealed Kan 観Japan, c. 1700, Edo period (1615-1868)The three-case inro of square shape and bearing a superbly polished roiro ground, lacquered in red and gold takamaki-e, with creamy-white ceramic inlay, depicting a parrot lowering its head towards a bird feeder. The verso fittingly inscribed with a famous poem by the haiku poet Matsuo Basho (1644-1694): mono ieba, kuchibiru samushi, aki no kaze [When you say something, your lips will feel the chill of an autumn wind]. It is a caution against idle talk. The two sides of the inro thus combining very well, as parrots (and some people) tend to repeat everything they hear. The interior cases lacquered in red with fundame rims. With two further characters inscribed Basho 芭蕉 and sealed Kan [for Ogawa Haritsu, Ritsuo].HEIGHT 7 cm, LENGTH 7 cmCondition: Very good condition with minor wear to lacquer and very light rubbing to the ground.Provenance: From the collection of Arend Louis Serné. Arend Louis Serné (1925-2021) was the fourth-generation owner of the firm A. Serné & Son, Costumiers, located on the Groenburgwal, Amsterdam, Netherlands, established in 1866. An avid piano player, he was also fond of modern literature, and a passionate collector of inro. He started his inro collection in the late 1970s. At that time, he entered the gallery Aalderink Oriental Art along the Spiegelgracht in Amsterdam and was immediately captivated by the beauty of inro. He began his collection with three simple specimens but hoped to own more. He remarked, “Oh that's nothing, a decent collection must be about a hundred pieces!” And collect he did. Arend was not concerned with the signature or the rarity, but with the intrinsic poetic beauty embodied in this very Japanese art form.Ogawa Haritsu, also known as Ritsuo, one of the great individualists in the history of lacquer, was a poet as well as a painter, potter and lacquerer. In the 1680s, he became a disciple of the haiku poet Matsuo Basho (1644-1694).Matsuo Basho was the most famous poet of the Edo period in Japan. During his lifetime, Basho was recognized for his works in the collaborative haikai no renga form; today, after centuries of commentary, he is recognized as the greatest master of haiku (then called hokku).
A SUPERB AND RARE FOUR-CASE LACQUER INRO WITH BUGAKU ACCESSORIESUnsignedJapan, 17th-18th century, Edo period (1615-1868)Of rectangular form and oval section, finely layered with two-toned nashiji on a roiro ground and takamaki-e with iridescent aogai (mother-of-pearl) and gold-leaf inlays depicting the various accessories needed to perform the Bugaku dance. A large fan lacquered to one side with dense decorations including a fierce oni mask surrounded by a sinuous dragon. The reverse with two torikabuto and a sho flute. The interior cases of nashiji with gold fundame rims. With a rock crystal ojime.HEIGHT 7.5 cm LENGTH 6.7 cmCondition: Very good condition with minor wear, expected losses to the kirigane flakes, and light rubbing to the edges. Presenting beautifully.Provenance: Glendining and Co. Auction, 17 June 1953. Private collection, acquired from the above, assembled by the previous owner's great-grandfather and thence by descent. The interior with an old collector's label, '678 g. 17/6/53. 1/-/-.'Bugaku is a Japanese traditional dance. The defining elements of this dance were introduced through Southeast Asia to the Chinese Tang court and its use in Japan dates back to the Heian period (794-1185) and is still performed today.
RITSUO: A MASTERFUL AND RARE INLAID TWO-CASE INRO DEPICTING THE YOKAI BOX FROM THE SHITAKIRI SUZUME, WITH EN SUITE NETSUKE AND OJIME, THE NETSUKE BY OHARA MITSUHIROBy Mochizuki Hanzan (1743-1790), signed Ritsuo 笠翁 and kakihanJapan, 18th century, Edo period (1615-1868)The remarkable two-case inro of box shape, acting as a trompe-l'œil optical illusion, with a 'hinged lid' opening to reveal several yokai creatures, inlaid in stained horn, antler, amber, ceramic, and various metals. A rokurokubi-esque snail creature with a single cycloptic eye is seen to the very left, poking its long neck through a hole in the box, next to a praying mantis with gilt eyes, and two anthropomorphic frog-creatures to the right. The ground is lacquered in an attractive reddish-brown, simulating a basketweave design, the front decorated with a gold sparrow crest, a metal-inlaid snail slithering through teared holes to either side of the inro and further with carved red lacquer flames emerging from within throughout the composition. A wasp and a butterfly are visible within the opening to the sides of the inro. With realistically modeled metal fittings posing as the hinges and closing mechanism of the box. Signed underneath in gold lacquer RITSUO with a red-lacquered kakihan, identifying the artist as Mochizuki Hanzan (Haritsu II, 1743-1790). The interior of dense nashiji with gold fundame rims.With an en suite bone ojime depicting a stylized sparrow and a beautifully matching, thick manju netsuke carved from walrus tusk and depicting a sparrow above bamboo, executed in sumi-stained kebori, signed MITSUHIRO (Ohara Mitsuhiro, 1810-1875) and with the artist's kakihan.HEIGHT 6.6 cm, LENGTH 7 cmDIAMETER (the netsuke) 4.5 cmCondition: Very good condition. Only minor wear and rubbing to lacquer, some typical minuscule losses along the edges, some light surface scratches to the underside.Mochizuki Hanzan, thought to have lived from 1743 to 1790, called himself Haritsu II and was a close follower of Ogawa Haritsu (1663-1747) though he was neither his son nor his pupil. The kakihan (artist's cursive monogram) on the present inro is a close match to a kakihan seen on an inro bearing his signature, the signature illustrated in Wrangham, E. A. (1995) The Index of Inro Artists, p. 67.The inro depicts the famous treasure box from the Tongue-Cut Sparrow (Shitakiri Suzume), which was opened by the story's culprit, Arababa, and contains a host of supernatural bakemono and yokai. The manju netsuke and ojime are matching as well, both depicting sparrows.
TAKEYAMA MASAHIKO: A SUPERB AND RARE GOLD AND MIXED METAL NETSUKE OF A SNAIL ON A LOGBy Takeyama Masahiko, signed Masahiko 真彦 saku 作Japan, c. 1880, Meiji period (1868-1912)Superbly modeled and chiseled as a snail slithering across a textured 14K gold log, the mollusc with a shibuichi shell and extending its feelers, both the log and snail achieved with remarkable naturalism. Himotoshi through a cleverly placed opening of the log and through the underside. Signed in cursive script MASAHIKO saku [made by Masahiko].LENGTH 4.6 cmWEIGHT 42.6 gCondition: Very good condition with minor rubbing to the snail's body and light surface scratches to the underside.For more information on the artist Takeyama Masahiko, see Robert Haynes, The Index of Sword Fittings and Associated Artists, Ellwangen, Germany, Nihon Art Publishers, 2001, no. H03766. “Masahiko was a pupil of Wada Isshin (1814-1882) and may also have studied under Goto Ichijo (1791-1876). “Literature comparison:This appears to be the only recorded netsuke by the artist, who also made gold ojime. For some examples of his work see Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 1, p. 702.
A FINE TOGIDASHI FIVE-CASE INRO DEPICTING PHEASANTS AND TURTLE DOVESUnsignedJapan, late 18th century, Edo period (1615-1868)Of rectangular form, finely decorated in togidashi and light nashiji clouding depicting a pheasant and hen beneath a tall bush clove with softly rounded leaves. The reverse with three turtle doves perched in a leafless tree with a gnarled trunk flanked by two taller trees, each trunk decorated with kirigane flakes. The interior with a dense nashiji ground and gold fundame edges.HEIGHT 8 cm LENGTH 5.1 cmCondition: Very good condition with minor wear and minuscule chips to the lower edge of the bottom case.Provenance: Lempertz, 30 November 1991, Cologne, lot 981. A private collection in Munich, Germany, acquired from the above. The interior with an old collector's label, 'INRO, 6tlg., abgesetzte Schnurfuehrung. Außen allseitig Schwarzlack mit locker gruppiertem jashiji. Darin, auf beide Seiten uebergreifend, Ausschnitt einer herbstliche Landschaft mit Fasanenpaar (eine Seite) und deren, auf einem Baumstamm hockenden Jungvoegel (andere Seite) in mit Rot und feinen Gold-togidashi. Innen heller, feinkoerniger jashiji. Ende 18. Jh. 7,9 x 5 cm. Geringfuegige Gebrauchsspuren. 981.'Togidashi is a variety of the 'maki-e' decorative technique in lacquer, first popular in the Heian period. After hardening, the low relief sprinkled design and ground is covered in transparent or black lacquer, then polished down with charcoal until the design is flush with the new ground.The bush clove blooms during the late summer, early fall, suggesting the motif depicts the changing seasons from fall to winter. The turtle dove (kame hato) which roost in the wintery landscape are a symbol of loyalty and fertility, while pheasant were a symbol of imperial elegance.
A RARE FOUR-CASE LACQUER INRO WITH DHARMA WHEELS, HORINUnsignedJapan, 17th century, Edo period (1615-1868)Of upright rectangular form and oval section, bearing a lustrous roiro ground, finely lacquered to both sides in gold takamaki-e with highlights of kirigane and aogai to depict the dharma wheels of Buddhism, horin, the composition spilling over the edge and continuing to the top of the case. Further with manji designs in hiramaki-e, which are partially worn away. The interior compartments of nashiji with gold fundame edges. With a silver lacquer ojime. HEIGHT 7.2 cm, LENGTH 5.4 cmCondition: Very good condition with minor wear along the edges, some wear to lacquer, light surface scratches, and some losses to kirigane and aogai. Presenting beautifully.Provenance: Sotheby's, 8 June 1950, London. Private collection, acquired from the above, assembled by the previous owner's great-grandfather and thence by descent. The interior with an old label reading, 'Buddhism Wheels of the Law in pearl and kirikane, on black ground, Old 17th century piece in excellent condition. S. 8/6/50. ph lot 40. Say C/Bx/-' and sticker '514, S. 8/6/50, C/Bx/-'.
HOYU: A FINE SHIBAYAMA INLAID GOLD LACQUER FOUR-CASE INRO WITH HAWKSBy Hoyu, signed Hoyu 豊遊 saku 作Japan, second half of 19th centuryPublished: E. A. Wrangham, The Index of Inro Artists, Harehope, Northumberland, 1995, p. 324, EW 981 (only the signature illustrated).Of lenticular form, bearing a lustrous gold kinji ground, lacquered and inlaid on either side with a hawk tethered to a perch, suspended with brocade cloths decorated with formal designs, in gold takamaki-e and hiramaki-e, the birds inlaid with raden (shell) in the Shibayama-style. Signed underneath in gold HOYU saku [made by Hoyu]. The interior cases of nashiji with gold fundame rims. With a matching mixed metal ojime worked in takazogan with a bird on a branch.HEIGHT 8.5 cm, LENGTH 5.5 cmCondition: Very good condition with some light chipping to the edges of the risers and some minor general wear. Provenance: Collection Edgar Franckel, sold at Sotheby's London in 1969. Ex-collection Edward A. Wrangham, collection no. 981, acquired from the above. Sold at the latter's fourth sale, Bonhams, London, 5 November 2014, lot 170 (sold for GBP 2,000). Edward A. 'Ted' Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book 'The Index of Inro Artists' (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.
KANSHOSAI TOYO: A SUPERB TWO-CASE LACQUER INRO WITH HORSES AND BLOSSOMING CHERRY TREEBy Kanshosai Toyo (Iizuka Toyo I) or a close follower, signed Kanshosai 觀松齋Japan, late 18th to early 19th century, Edo period (1615-1868)The wide-bodied two-case inro bearing a fine roiro ground and lacquered in gold hiramaki-e with calligraphically cut raden (shell) in the Somada-style, depicting a mare feeding its young, the raden shell of the mother purposely worn away and filled in with kinpun to give the appearance of an old Somada-style inro. The beautifully contrasting verso with an opulent, flowering cherry tree executed in thick gold takamaki-e against a stunning nashiji ground and with some sparse kirigane. Signed underneath in gold lacquer KANSHOSAI (Iizuka Toyo). The bottom case with a central divider and of nashiji, the top case of gold fundame. With a lacquered wood ojime.HEIGHT 5.6 cm, LENGTH 7.8 cmCondition: Very good condition with only very minor wear and few light scratches.Provenance: From the collection of Arend Louis Serné. Arend Louis Serné (1925-2021) was the fourth-generation owner of the firm A. Serné & Son, Costumiers, located on the Groenburgwal, Amsterdam, Netherlands, established in 1866. An avid piano player, he was also fond of modern literature, and a passionate collector of inro. He started his inro collection in the late 1970s. At that time, he entered the gallery Aalderink Oriental Art along the Spiegelgracht in Amsterdam and was immediately captivated by the beauty of inro. He began his collection with three simple specimens but hoped to own more. He remarked, “Oh that's nothing, a decent collection must be about a hundred pieces!” And collect he did. Arend was not concerned with the signature or the rarity, but with the intrinsic poetic beauty embodied in this very Japanese art form. Iizuka (Kanshosai) Toyo was a distinguished lacquerer and inro decorator during the second half of the 18th century in Edo. He had many followers and used a wide range of techniques. The boldness and originality of the design may indicate an original work by this artist. For more information on the artist see Wrangham, E. A. (1995) The Index of Inro Artists, pp. 312-313.Museum comparison:Compare a related lacquer inro with a similar design of horses, by Jokasai, in the collection of The Metropolitan Museum of Art (The MET), New York, Accession number 13.67.54.
RYUSAI: A SUPERB SINGLE-CASE LACQUER INRO DEPICTING THE SANSUKUMIBy Ryusai, signed Ryusai 柳哉Japan, 19th century, Edo period (1615-1868)The large single-case inro bearing a beautiful gyobu-nashiji ground, decorated in iro-e takamaki-e with an imposing snake coiling around the composition and around the large, warty toad to the other side, its skin masterfully emulated with light sprinkles of gold and silver. Signed underneath in gold lacquer RYUSAI. The interior of red lacquer. With a roiro-lacquered ojime.HEIGHT 9 cm, LENGTH 6.8 cmCondition. Very good condition with only very minor, typical wear to lacquer.The toad is depicted with its mouth full, presumably having half-swallowed a snail, thus completing the trinity of the sansukumi; the frog, snake, and snail. Sansukumi translates to 'the three who are afraid of one another'. The three animals are in a state of mutually assured destruction: the snake will consume the frog, however the frog has already eaten a poisonous snail, so the snake must perish as well. This motif is connected to sansukumi-ken, a category of Japanese hand games played by using three hand gestures. The oldest sansukumi-ken game is mushi-ken, a game originally from China. In mushi-ken, the 'frog' represented by the thumb wins against the 'slug' represented by the pinkie finger, which, in turn defeats the 'snake' represented by the index finger, which wins against the 'frog'. Although this game was imported from China, the Japanese version differs in the animals represented. In adopting the game, the original Chinese characters for centipede or millipede were apparently confused with the characters for the 'slug'. The centipede was chosen because of the Chinese belief that the centipede was capable of killing a snake by climbing and entering its head. One of the few surviving sansukumi-ken games is jan-ken, which was brought to the West in the 20th century as rock paper scissors.Literature comparison:For an inro with the same design by Kansai (presumably Koma Kansai), see Kurstin, Joe (1999) Miniature Masterpieces: The Storytelling Art of Japanese Inro, pp. 72-73.Auction comparison:Compare a related inro bearing a similar ground and with a similar design of snakes, at Christie's, Arts of Japan, 5 December 2017, London, lot 38 (sold for GBP 16,250).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
SEKIFU: A FINE TWO-CASE LACQUER INRO DEPICTING CRABS ON THE SHORESIDEBy Sekifu, signed Sekifu 石風 saku 作Japan, 19th century, Edo period (1615-1868)Of short, rectangular form, the dense nashiji ground decorated with takamaki bamboo sprouts and a single crab on the shore detailed with kirigane flakes, the current of the water highlighted with hiramaki-e. The reverse with a small and large crab on the shoreside with delicately detailed grass in hiramaki-e; each crab has one thick pincer clamped while the other is opened. Signed underneath in gold lacquer SEKIFU saku [made by Sekifu]. The interior cases of nashiji with gold fundame rims.HEIGHT 5.7 cm LENGTH 7.9 cmCondition: Very good condition with minor wear, typical losses to the kirigane, and light rubbing.Provenance: From the collection of Vice-Admiral Edgar Humann, and thence by descent in the same family. Edgar Eugene Humann (1838-1914) was a French naval officer who rose through the ranks to Admiral. In 1892, he was placed in command of the Far East naval division. From 1894 to 1895, he served as Chief of Staff of the French Navy, and in 1898, he was made Inspector General and Grand Officer of the Legion of Honor. He retired from active duty in May 1903.Literature comparison:Compare a related inro depicting fish jumping swimming near the shoreside, signed Sekifu, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 929.
A RARE TWO-CASE LACQUER INRO DEPICTING THE IMMORTAL ROKO RIDING A MINOGAMEUnsignedJapan, 18th century, Edo period (1615-1868)The unusual circular two-case inro bearing a stunning nashiji ground and lacquered in gold and silver takamaki-e and hiramaki-e, with some red lacquer and kirigane, depicting the Chinese immortal Roko riding on a minogame, amid swirling waves, and feeding a fish to the dragon-headed and seaweed-tailed mythical animal. The verso with a large kirigane-detailed, craggy rock amid further waves. The interior cases of nashiji with gold fundame rims.HEIGHT 6 cm, LENGTH 6.4 cmCondition: Very good condition with minor typical wear. Some light bruising to the top of the top case and to the bottom of the bottom case.Provenance: Lempertz, 25-26 November 1994, Cologne, lot 1073 (copy of the old invoice is available). A private collection in Munich, Germany, acquired from the above.
A FINE SILVER-INLAID FOUR-CASE LACQUER INRO DEPICTING A TIGER AND DRAGONUnsignedJapan, late 17th century, Edo period (1605-1868)Of rectangular form and oval section, bearing a fine roiro ground and decorated in takamaki-e and hiramaki-e with small gold and red lacquer kirigane flakes. One side decorated with a powerful dragon, inlaid in silver, surrounded by swirling clouds and gold whisps of wind. The reverse with a tiger, inlaid in shakudo, on a riverbank with rolling waves and bamboo shoots sprouting from the shore. Both frames set within a recessed floral panel. The base and top decorated with light nashiji clouding and the interior cases of dense nashjiji with fundame rims. HEIGHT 6.7 cm, LENGTH 5.8 cmCondition: Very good condition with minor wear, light rubbing, and typical losses to the kirigane flakes.Provenance: Sotheby's, 8 June 1950, London. Private collection, acquired from the above, assembled by the previous owner's great-grandfather and thence by descent. The interior with an old label reading, 'Silver dragon in clouds: on reverse tiger and bamboo. Old 17th century piece. S 8/6/50 W/BX/-.'The dragon and tiger are symbols of the two opposing and yet complimentary forces of yin and yang. The dragon, a mythical animal thought to reign over the heavens, stands for yang. The tiger, respected in ancient China as the mightiest of the wild beasts, stands for yin. They are often paired together in painting compositions but appear substantially less often in suzuribakos. Furthermore, the female tiger here is represented with spotted fur resembling a leopard. As the leopard is not native to Japan, artists had only seen leopard fur on occasion and had deduced it must belong to a female tiger.The tiger in bamboo motif is called take ni tora in Japanese and there are many different interpretations of this combination. The tiger has a strong nature, is flexible and resilient like bamboo, but it is also said to look for shelter underneath the bamboo since strength is inferior to the forces of nature. Moreover, the tiger and bamboo represent the power of faith in Buddhism.Museum comparison:Compare a closely related inro bearing a similar design of tiger and dragon in the Metropolitan Museum of Art (The MET), New York, accession no. 12.134.19
AN INLAID FOUR-CASE LACQUER INRO DEPICTING KYOYU AND SOFUUnsignedJapan, 17th century, Edo period (1615-1868)Of rectangular form and oval section, finely lacquered in gold and silver with details in hiramaki-e and with kirigane flakes. Inlaid in silvered metal, Kyoyu is depicted kneeling at the dark waterfall and washing his ears while looking back over his shoulder towards Sofu; the hermit surrounded by rockwork with foliage and an overhanging pine branch. On the reverse, Sofu, surrounded by similar fauna, stands next to his recumbent ox looking towards Kyoyu in realization he can no longer wash his ox in the waterfall. The base and top with gold fundame. The interior cases of nashiji with gold fundame edges. With a florally incised metal ojime.HEIGHT 6.1 cm, LENGTH 5.2 cmCondition: Good condition with wear, signs of use, light rubbing, and minor chips to the corners of the cord runners.Provenance: Galerie Pader, April 1943, Paris. Norton Gallery, 7 April 1959, Paris. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. The upper case with an old collector's label, 'L 574.' 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 Université 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 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 Privébezit ('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').Gyo was among of the most highly esteemed of the ancient Chinese emperors. He abdicated the throne upon hearing the plight of the poor hermit named Xu You (Jap. Kyoyu). Upon abdicating the throne, Gyo offered his throne to the hermit, but after hearing the emperor's offer, Xu You immediately traveled to Eisen River to wash his ears free of the temptation the emperor had filled them with. As he was washing out his ears the hermit Chao Fu (Jap. Sofu) met him, leading an ox he intended to bathe in the same waterfall. However, after speaking with Xu You, he realized he could not bathe the animal in such dirty waters, calmly moving on in search of cleaner water.This story is often recounted as an illustration of the Daoist ideal of nothingness, but it was also popular among members of the military class as an anecdote with a wry, cynical attitude toward worldly success or failure; this same story subsequently was made a frequent theme of paintings done in the Chinese style.
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