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.
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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.
A Pair of George III Style Cut Glass Twin Light Wall Sconces, each ornamented with a central spire with a star finial and ornamented with lustre drops, 48cm (2)No major breaks / damage. Later converted to electricity and drilled. One sconce has been unbonded from the drip tray. Finial mount on one spire glued. The stars are made from glass. Some minor flakes.Stars 6cm not including the fitting.
A Gilt Metal Zoomorphic Three Branch Wall Light, formed as a crown swan with out swept wings, the back plate ribbon tide and with anthemia finial, 56cm high, together with a similar smaller pair of twin light sconces in the Adam taste and a further pair of gilt metal and cut glass pendants (5)
A Stainless Steel Automatic Diver's Seiko Wristwatch, circa 2020, ref: seiko 6R35-01E0, with Seiko box, booklet and spare Seiko rubber strapCase and bracelet with light surface scratches, glass is clean, hand setting correctly, date changing correctly, movement in going orderCase diameter -40mm wide
William Moorcroft (1872-1945) for James Macintyre: A Florian Ware Alhambra Pattern Vase, circa 1903, in salmon, blue and gilt, brown printed factory mark, red painted M2427,8cm high (restored rim)William Moorcroft (1872-1945) for James Macintyre: An Aurelian Ware Twin-Handled Vase, circa 1897, transfer printed patterns enriched with red enamel and gilding, brown printed factory mark, green painted M294.3/160 B,15cm high (restored) (2)The twin-handled vase has a restored rim, wear to the gilding, surface wear and light scratches. Alhambra vase is crazed, evidence of restoration to the top, wear to the gilding.
British School (18th Century)Portrait of a Gentleman, bust length, wearing a dark suit and white neck tie Oil on canvas, 67cm by 57cmIn fully restored condition. Very stiffly relined, cleaned and revarnished. Now with general surface dirt and discoloured varnish in evidence. Restoration process has flattened and slightly abraded the surface. Sporadic patches of finely spaced stable craquelure in evidence. Areas of thin paint and areas where canvas weave is apparent. Incongruous dark shadow along right side of sitter's face, possible retouching? Not examined under UV light.
William Langley Sheep on the move at sunsetSigned, oil on canvas, 39.5cm by 60cmCovered in a thick layer of dirt and discoloured varnish. Visible stretcher shadow. Sporadic areas of finely spaced stable craquelure throughout. Areas of thin/abraded paint. Slight frame rubbing to the edges. Surface score approximatley 4cm in length to upper left hand corner. Not examined under UV light.
English School (19th Century) Study of a dog in spectaclesOil on canvas laid down, 19cm by 19cmFrame in rather rough condition. Various chips, knocks, scuffs and losses. General surface dirt and discoloured varnish. Score through surface of dog's right ear extending almost to mount, approximately 5cm long. A couple of more minor scores to surface. Paint thin in places. Not examined under UV light. Not examined out of frame.
After William Hogarth (1697-1764)Marriage A-la-Mode:"The Marriage Settlement""The Tête-à-Tête""The Inspection""The Toilette""The Bagnio""The Lady's Death" Oil on panel, 17cm by 22cm (6)All works are framed. All works in broadly comparable condition. Covered in a thick layer of dirt and discoloured varnish. Finely spaced stable craquelure throughout. Shrinkage to paint surface in evidence. Frame rubbing to edges. Not examined under UV light.
A Regency Style Mahogany Twin Pedestal Dining Table, a similar serpentine sideboard, a carved oak blanket box, and three barley twist items comprising, an occasional table, a torchere and a tea trolley (6)Dining table overall good condition. Some minor superficial marks.Sideboard with some veneer losses.Old Charm blanket box, some light superficial marks.Barley twist items with general wear only.No reserve and so selling without estimate.
A Set of Late 19th century Benson Style Wall Lights and Shades; together with a similar chandelierThe shade holders are matching across all lights but the centre light appears to be made from componants, shades with minor flakes only, lacking some timber roses, metal with general wear and tarnishing, wiring not tested
PAIR OF CLOISONNÉ ENAMEL WALL VASES QING DYNASTY, 18TH-19TH CENTURY 清 銅胎掐絲琺瑯花卉紋壁瓶（一對） each bulbous body decorated with leafy branches of blossoming flowers against continuous key-fret pattern on turquoise ground, below ruyi-head clouds to the neck, the waisted neck with flower head against a light purple ground, the flat back has apertures for hanging Dimensions:15cm high each; 274g and 277g Provenance:Provenance: Private collection, London
CELADON-GLAZED EWER NORTHERN SONG DYNASTY 北宋 青釉執壺 raised on a ring foot to a globular body and a trumpet-form mouth, one side of the shoulder set with a curved spout and the reserve with a loop handle, covered in light celadon glaze stopped neatly above the foot revealing greyish buff body with brown hue Dimensions:11.8cm high Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.
CELADON-GLAZED BAMBOO-FORM BRUSHPOT QING DYNASTY, QIANLONG PERIOD 清乾隆 青釉節節高升竹節型花插 naturalistically modelled as a hollowed section of bamboo with a smaller section to the side, further moulded in high relief with leafy shoots curling up and around the front face of the vessel, covered overall in a light celadon glaze, leaving only the foot ring unglazed and covered in brown paint Dimensions:15cm high Provenance:Provenance: Private English collection, Southampton, Hampshire, has been collecting Chinese ceramics over the past 15 years Note: Note: A pair of highly comparable celadon-glazed bamboo-form brushpots, also dated to the Qianlong period, and later added with Louis XV ormolu mounts circa 1750, was sold at Christie's London, 8 July 2021, lot 6. Another similar example was sold at Christie's New York, 28 Sep 2021, lot 17.
CLOISONNÉ ENAMEL 'ARCHAISTIC' BALUSTER VASE TIANLI MARK, LATE QING DYNASTY TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 天利款 銅胎掐絲琺瑯仿古饕餮紋瓶 the body vividly decorated with a pink-ground band around the shoulder containing six archaistic taotie masks, the body and the neck further with six cicada lappets with stylised taotie heads against light- and dark-blue ground, the base cast with a two-character 'Tian Li' mark Dimensions:31.5cm high; 1580g Provenance:Provenance: Private Scottish collection, Paxton House. From the collection of H.W. Robertson, Taipan for Butterfield & Swire in Shanghai then Hong Kong 1906-1912, whose son married the heiress to Paxton House in Berwickshire; thence by descent.Paxton House is situated on the banks of the River Tweed, near Berwick-upon-Tweed. Designed by John and James Adam in 1758, it is perhaps the finest example of an eighteenth-century Palladian country house in Britain and contains a pre-eminent collection of Chippendale furniture. In 1811, the Edinburgh architect Robert Reid added the largest purpose-built picture gallery in a Scottish country house.
CELADON JADE TEA BOWL WITH COVER REPUBLIC PERIOD 民國 青玉茶盞帶蓋 carved with rounded sides rising to an upturned rim, the cover with a ring-shaped finial, the stone of even light celadon colour with cloudy inclusion Dimensions:9.5cm high Provenance:Provenance: Clayton, 1979 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: J.1. Note: Note: A highly comparable celadon jade bowl and cover, Qing dynasty 18th century, offered at Christie's London, 10 Dec 1990, lot 219, pg. 152.Please note this lot will be offered with no reserve. 本拍品不設底價
Marc Chagall, "Towards Another Light", Farblithographie von 1985Marc Chagall, 1887 - 1985, "Towards Another Light" ("Dem anderen Licht zu"/"Vers l'autre Clarté), Farblithographie/Arches, Blattgröße 62,5 x 47,8 cm, stempelsigniert, nummeriert 555/1000, Trockenstempel "Lithographie Originale Atelier Marc Chagall", verso bezeichnet "N°1050 Lithographie originale tirée à 1000 exemplaires numérotés sur velin d'Arches", am unteren Rand leicht fleckig, o. Rahmen
CHEN YIFEI (1946-2005)The young cellist, circa 1986Oil on canvas, framed. 153cm (60 1/4in) x 154cm (60 5/8in).Footnotes:This work is registered in the Hammer Gallery archives under no. C25282-1. 本拍品在the Hammer Gallery的檔案編號為no. C25282-1陳逸飛 (1946-2005) 年輕的大提琴手 布面油畫 有框 約作於1986年Provenance: Dr. Maury P. Leibovitz Collection, Connecticut, commissioned from the artist and acquired through Hammer Gallery in 1986, and thence by descent.來源：Maury P. Leibovitz 博士委託藝術家繪製並在1986年購於Hammer Gallery，美國康涅狄格州，並由後人保存迄今Chen Yifei was born in 1946 in Ningbo of the coastal Zhejiang Province. When he was a child, he moved with his family to Shanghai where he studied Russian art and Socialist Realism. He graduated from the Shanghai College of Art in 1965. During the Cultural Revolution, he was initially denounced for 'capitalist behaviour', but later gained recognition from the authorities for his mastery of oil painting. He was famous for portraying grand images of Chairman Mao and the People Liberation Army. After the Cultural Revolution, he fused realistic techniques with romanticism to depict Chinese subject matters. He later became one of the first artists from the PRC permitted to study in the United States and gained his master's degree at Hunter in 1983. After achieving great success for his solo exhibition, Chen became a contract artist for the Hammer Galleries. In 1990, Chen returned to China and settled in Shanghai. Chen Yifei's artistic creation successfully pushed Chinese realist oil painting in the West, bridging East and West with its powerful emotional content and refined technique.The present lot portrays a young cellist whose face is highlighted by a shaft of light from the upper right candles. The elegant facial expression and the graceful body lines grant the painting the solemnity and mystique of religious portraits. It is a classic example of his characteristic 'Romantic Realism' using dense and dark colours to create a sense of richness, refinement, and romantic atmosphere.Compare with a related painting of The Cellist, signed by Chen Yifei and dated 1983.6, which was sold at Sotheby's New York, 20 September 2007, lot 13.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A FINE AND RARE ARCHAIC BRONZE DAGGER, GEShang/early Western Zhou DynastyThe wide tapering blade entirely plain, the handle crisply and heavily cast with an elaborate grooved decoration on both sides probably for turquoise inlay, depicting a coiled mythical animal in profile facing the blade, the surface with light mottled incrustation principally on the plain blade, fitted box. 35.3cm (13 7/8in) long. (2).Footnotes:商/西周早期 獸紋青銅戈Daggers such the present lot served a ceremonial purpose during the Shang dynasty. Compare with a similar archaic bronze dagger, ge, Shang dynasty, in the collection of the Metropolitan Museum of Art, New York, acc.no.24.216.2.A related bronze dagger ge, late Shang dynasty, was sold at Sotheby's New York, 29 March 2022, lot 535.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A PAIR OF FINE LAVENDER-GLAZED BOWLSYongzheng six-character marks and of the periodEach superbly potted with deep rounded sides rising from a straight foot to a slightly flared rim, the exteriors applied with a lavender-blue glaze, the interior and base left white, the bases inscribed with the six-character reign marks within a double-circle. 11.8cm (4 7/8in) diam. (2).Footnotes:清雍正 天藍釉碗一對 青花「大清雍正年製」楷書款Provenance: a European private collection來源：歐洲私人收藏Exuding understated elegance through the elegant forms and the translucency of the 'moonlight' glaze, the present bowls are a superb example of wares produced during the reign of the Yongzheng Emperor. The glaze appears to have been inspired by the celebrated Ru wares of the Northern Song dynasty, had a cobalt content of about 1% and was first produced by the Imperial kilns in Jingdezhen during the latter years of the Kangxi Emperor's reign. The resulting colour was known in the West by the 19th-century French connoisseurs' term clair-de-lune (literally translating as 'moon light'), and in China as tianlan meaning 'sky blue'), and sometimes it varied to a slightly darker tone referred to as 'lavender'.Compare with a similar pair of lavender-glazed bowls, Yongzheng marks and period, illustrated in Rare and Beautiful Oriental Art Treasures of Supreme Quality, New York, 1915, no.29. Three further pairs of 'lavender-glazed' bowls, Yongzheng marks and period, are illustrated respectively in Chinese Porcelain in the S.C. Ko Tianminlou Collection, Hong Kong, 1987, no.148 and A Millennium of Monochromes, from the Great Tang to the High Qing, Geneva, 2018, nos. 87a-b. Compare with a similar pair of lavender-glazed bowls, Yonghzeng marks and of the period, which were sold at Sotheby's New York, 21 March 2023, lot 10. Another similar lavender-glazed bowl, Yongzheng mark and period, was sold at Christie's New York, 12 September 2019, lot 745.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE BROWN-ENAMELLED RECUMBENT 'CAT' NIGHT LIGHTKangxi Amusingly potted tightly crouching looking to its left with tail curled up to the side of its head, pierced with holes for both eyes and on top of the backbone to let out candlelight. 14.5 cm (5 1/2 in) wide.Footnotes:清康熙 褐釉貓形夜燈Provenance: Ralph M. Chait Galleries, New York, 27 October 2020A European Private Collection來源：Ralph M. Chait Galleries，紐約，2020年10月27日歐洲私人收藏Porcelain night lights modelled as cats date to at least the late Ming dynasty, as evidenced by their appearance in the famed circa 1643-46 shipwreck of the VOC vessel The Geldermalsen, sold as the Hatcher Cargo in 1983-1984. Their purpose was to ward off rats and mice, cats being known for both their hunting abilities and their superb night vision. See a related blue and white 'cat' night light, circa 1640, with original high oval base to hold oil, illustrated by C.Sheaf and R.Kilburn, The Hatcher Porcelain Cargoes, London, 1986, p.111, p.71. Compare also with a similar 'cat' night light, Kangxi, in the British Museum, London, (acc.no.1936,1012.109). See also a related cat-shaped night light, mid-Qing dynasty, which was sold at Bonhams London, on 3 November 2022, lot 190. See also a pair of blue and white cat night lights, Kangxi, which was sold at Christie's New York 18 June 2018, lot 3.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
ATTRIBUTED TO THE FUKUOKA ICHIMONJI SCHOOLA Juyo-ranked Wakizashi (Companion Sword) Kamakura period (1185-1333), circa 1270-80Sugata (configuration): shinogi-zukuri, iori-mune, narrow parallel mihaba, small sori, chu-gissakiKitae (forging pattern): itame-hada slightly mixed with mokume-hada, distinct midare-utsuri in the jiHamon (tempering pattern): choji-midare in nioi-deki with some gunome, ashi and yo with gyaku-yakibaBoshi (tip): midare-komi on the omote, sugu on the ura, both sides with ko-maruHorimono (carving): soe-hi on both sidesNakago (tang): o-suriage, kiri-jiri with kiri-yarisume file marks and one holeHabaki (collar): two-piece, goldNagasa (length from tip to beginning of tang): 59.8cm (23 9/16in)Motohaba (width at start of tempered edge): 2.7cm (1 1/16in)Sakihaba (width before tip): 2cm (13/16in)In shirasaya (wood storage scabbard) with two silk brocade storage bagsWith certificate designating this sword as a Juyo token (Important Sword) no.8464 as issued by the Nihon Bijutsu Token Hozon Kyokai (Society for the Preservation of the Japanese Art Sword) on 14 April 1989. (4).Footnotes:Exhibited and Published:Nippon Bijutsu Token Hozon Kyokai European Branch, Selected Fine Japanese Swords from European N.B.T.H.K. Collections, Solingen, Deutsches Klingenmuseum, 2002, pp.128-29.The present lot was included in a pioneering Heritage Science neutron imaging study of Japanese blades, using the Diamond Light Source at Harwell, to establish the age and composition of the blade.Martensite, the hardest state of sword steel, is not represented in nature, but is produced only by the craft of the swordsmith. Its distribution along the ha of this blade validates the antiquity of the sword, and the scientific study indicates that it was used as a weapon in the past. The distribution of martensite along the cutting edge indicates that the blade was subjected to one or more re-shaping and polishing. A copy of the aforementioned study is available on application to the Japanese Department in London.For further information on this lot please visit Bonhams.com
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