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534297 Los(e)/Seite
Los 82
Estate Of John Challis - Only Fools & Horses - Challis' personally owned oversized promotional stamp board, as given to him during the 2021 release of the stamps. Various promotional photographs show Challis holding this very board. Autographed by Challis in black ink to a light area, dated 2021. Some light wear from use. Total size; 35cm x 55cm. A portion of the proceeds from the Estate Of John Challis will be donated to three charities that he supported: British Hedgehog Preservation Society (1164542), The Cuan Wildlife Rescue (1096812), and Tusk Trust (803118).
Los 168
SUKENOBU: A MASTERFUL WOOD OKIMONO OF A TOAD AND SNAKEBy Sukenobu, signed Sukenobu (Ryosho)Japan, Takayama, Hida province, late 19th century, Meiji period (1868-1912) Intricately and realistically carved as a toad attempting to fend off a snake which has encircled it threateningly, one of the toad's eyes squinting under the pressure of the snake's tail wrapped around its head, the serpent with the mouth wide open and split tongue stretched out, the scales neatly rendered, the toad detailed with masterful ukibori, both animals' eyes double-inlaid with dark and translucent horn, the toad's underbelly signed SUKENOBU within a rectangular reserve.LENGTH 17 cmCondition: Good condition with minor wear, few minor age cracks, occasional light scratches. Some repairs including one to the neck of the snake near the head. With an associated black and gold-lacquered wood stand supported on four feet and decorated with butterflies as well as floral and foliate designs, dating from the same period.The present okimono alludes to the story of Jiraiya (lit. 'Young Thunder'), the toad-riding protagonist of the Japanese folk tale Katakiuchi Kidan Jiraiya Monogatari. The tale was originally a Yomihon that was published in 1806-1807 and was adapted into a serialized novel that was written by different authors and published in 43 installments from 1839 to 1868; one of its illustrators was woodblock artist Kunisada. Jiraiya was a ninja who used shape-shifting magic to transform into a giant toad. His arch nemesis is Yasagoro, a master of serpent magic.Auction comparison: Compare a closely related wood okimono signed Sukekazu, also dated Meiji period, late 19th century, 14.5 cm wide, at Christie's, 5 December 2017, London, lot 20 (sold for 10,625 GBP). Compare a related wood okimono of a snake and skull by Sukeyuki at Zacke, 28 October 2020, Vienna, lot 188 (sold for 17,696 EUR).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Los 15
A FINE AND RARE LACQUER JU-KOBAKO (SMALL TIERED BOX), COVER AND STAND DEPICTING MOUNTAIN LANDSCAPESJapan, second half of 19th centuryOf rectangular form with canted edges decorated with an aogai-inlaid diapered border, bearing a roiro ground finely decorated in gold takamaki-e and togidashi with kirigane and e-nashiji to depict vast mountainous landscapes to the top and sides, with temples, a pagoda, a boat, trees, and birds, the base and interiors of nashiji, the interior edges of gold fundame, surmounted by an overlapping four-legged cover decorated in gold and colored takamaki-e and hiramaki-e, kirikane, and aogai inlays with various brocade designs including ho-o roundels and paulownia sprigs, supported on a rectangular gold-lacquered and nashiji stand raised on four short bracket feet.SIZE 7.1 x 7.2 x 6 cmCondition: Very good condition with only very minor wear, the stand with few tiny nicks and light scratches.Provenance: English private collection. Bonhams, Fine Japanese Art, 16 May 2013, London, lot 383 (sold for 2,500 GBP). English private collection, acquired from the above.Auction comparison: Compare a related lacquer three-tiered stacking set of lobed boxes with a similar overlapping cover, 10 x 14.2 x 12 cm, at Bonhams, 13 May 2021, London, lot 76 (sold for 6,120 GBP).
Los 106
A FINE SIX-PANEL BYOBU SCREEN DEPICTING CRANES AND PINESJapan, 19th century, Edo period (1615-1868)Finely decorated with ink, watercolors, and gold foil to depict a dense forest of neatly detailed gnarled pine trees divided by a stream in which four red-capped cranes are frolicking, one preening itself, another looking for fish in the water, a third with its head raised toward the sky, all within a silk brocade frame and mounted to a black-lacquered wood screen with gilt metal fittings with incised and ring-punched decorations. Note the fine gold foil technique used to depict both the ground and cloudy sky.SIZE (when opened) 171.8 x 367 cm Condition: Very good condition with minor wear, little soiling, occasional light scratches, and few minuscule losses. Provenance: Dutch collection.The crane is one of the most prominent symbols of longevity and good fortune in Asia. For at least two millennia, the Chinese have viewed them as living to a great age and as being able to navigate between heaven and earth. In turn, these attributes have made them logical companions of sennin, the Taoist Immortals. The red-crowned, or Japanese, crane depicted in this painting is said to live for 1,000 years.Pine is an auspicious symbol in Japan, representing longevity due to its long life, and endurance as it remains green throughout the winter months. The pine trees depicted in this painting introduce a freshness and liveliness which complements the spirited movements of the cranes.Auction comparison: Compare a related six-panel screen with cranes and pine, dated 18th century, 107 x 273 cm, at Christie's, 28 July 2015, London, lot 1 (sold for 12,500 GBP). Compare a related six-panel screen with cranes, dated 18th century, 178.8 x 373 cm, at Christie's, 8 December 2016, London, lot 111 (sold for 50,000 GBP).
Los 34
AN EXCEPTIONAL AND MONUMENTAL GILT WOOD FIGURE OF SEISHI BOSATSUJapan, 16th-17th century, late Muromachi (1336-1573) to early Edo period (1615-1868)Of yosegi-zukuri (joined-block) construction, the bodhisattva standing atop a lotus dais with finely carved petals raised on a compressed globular element with pierced foliate and floral dharmachakra designs supported on an elaborate tiered circular base decorated with scrolling vines, a wavy collar above lappets, and diapered chrysanthemums. His lowered left hand holding a small bouquet of lotus flowers, his raised right hand held in vitarka mudra (raigo-in). He is dressed in loose-fitting robes cascading in voluminous folds and billowing scarves, and richly adorned with an elaborate pierced necklace and head-ornament of applied copper alloy with pendent ornaments and ribbons. His serene face with finely painted downcast eyes below elegantly arched brows centered by an urna (byakugo) and full lips framed by a curled mustache, the hair piled up into a high chignon. The base inset with a flattened post surmounted by a large circular lotus aureole. The underside gives some further insight into the elaborate construction of this monumental figure.HEIGHT overall 175 cmCondition: Old wear, the gilt and applied metal elements remarkably well-preserved, minor flaking, small nicks and chips, light surface scratches, minuscule losses, expected minor age cracks. Possibly minor old repairs and touchups. Generally, in very good condition, commensurate with age, and better than most statues of this extremely rare size and period.Provenance: From the estate of Dorothy Robins Mowry (1921-2021), an American think tank executive and author who lived and worked in Tokyo between 1963-1971, where she held a position in the Cultural Programs Office for 8 years at the American Embassy. Among her most well-known books are The Hidden Sun: Women of Modern Japan and Experiment in Democracy: The Story of U.S. Citizen Organizations in Forging the Charter of the United Nations. Dorothy was a sought-after public speaker at national and international conferences, universities, community and non-governmental organizations, and radio and TV stations. She presented extensively throughout the U.S. and overseas in many countries including Japan, Korea, Thailand, Indonesia, Switzerland, and Iran.Seishi Bosatsu (Mahasthamaprapta), also known as the Bodhisattva of strength and wisdom, is recognized in Japan as one of the Thirteen Buddhas and associated with the Nio temple guardians. He is one of the oldest bodhisattvas and is regarded as powerful, especially in the Pure Land school, where he takes an important role in the Longer Sukhavativyuha Sutra. He is often depicted in a trinity with Amitabha (Amida) and Avalokiteshvara (Kannon), especially in Pure Land Buddhism. Seishi Bosatsu is rarely represented in Japanese sculpture outside of the Amida triad, where he is often depicted holding a lotus flower.Literature comparison: Compare a closely related gilt wood figure of Seishi Bosatsu, dated 18th century, 143.2 cm high, in the Museum für Asiatische Kunst, Humboldt Forum, Berlin, reference number DLG 134-1996. Compare a related gilt wood figure of Seishi Bosatsu, dated 17th or 18th century, 81.3 cm high, in the collection of the Metropolitan Museum of Art, accession number 2006.438a–e.Auction comparison: Compare a related gilt wood figure of Amida, dated to the early Edo period and measuring 180 cm, sold at Christie's, Art D' Asie, 10 December 2020, Paris, lot 65 (sold for 52,500 EUR).
Los 115
A SUPERB PLIQUE-À-JOUR 'FLOWERS' BOWLJapan, Meiji period (1868-1912)The deep rounded sides supported on a short, splayed foot, applied with silver rims, delicately worked in silver wire and translucent bright enamels in shades of red, violet, yellow, green, light blue, orange and brown against a bubble suffused ground, with numerous flowers borne on leafy vines, including chrysanthemum, peony, magnolia and plum.DIAMETER 11.1 cmWEIGHT 130 gCondition: Remarkably good condition, minor typical wear.Provenance: Norwegian private collection.Plique-à -jour, known as shotai-shippo in Japan, came to Japan via France around 1900.Auction comparison: Compare a closely related plique-à -jour bowl with floral design, late 19th century, at Christie's, Masterful Exuberance, Artistic Craftsmanship of Imperial Japan: The Property of a Lady, 18 May 2012, London, lot 241 (sold for 2,000 GBP). Compare a closely related plique-à -jour bowl with floral design, late 19th century, at Christie's, The Avo Krikorian Collection: Innovation and Inspiration of Meiji Period Design, Geneva, 19 February 2007, lot 114 (sold for 2,160 CHF).
Los 82
FUKUI KYORI & KIYOTOSHI: A LARGE BRONZE KORO IN THE FORM OF A SHACHIHOKO (DRAGON FISH)By Fukui Kyori and Kiyotoshi, signed Fukuri Kyori zo and Kiyotoshi with kakihanJapan, late 19th century, Meiji period (1868-1912)Superbly cast as a gigantic dragon fish, its head resting on the separately cast massive four-legged base with crashing waves both neatly incised to the top and cast in relief on the rim and feet, the sides with craggy rockwork in low relief, the shachihoko with a fierce expression marked by bulging eyes with gilt pupils, spiky brows and mane, and sharp fangs, the mouth agape in a roar, its head surmounted by the pierced cover with a standing Otohime, the daughter of Ryujin, wearing a long flowing robe blowing in the wind and a headdress. The dragon fish's underbelly with a square aperture for attachment to the base and signed FUKURI KYORI zo, the base signed KIYOTOSHI with a kakihan.HEIGHT 50.5 cm (incl. base) and 40.5 cm (excl. base) WEIGHT 8,814 g (the dragon fish) and 5,796 g (the base)Condition: Very good condition with minor wear and casting flaws, few minuscule nicks, occasional light scratches, few minor losses.Provenance: French trade.The given names Kiyotoshi (Seiri) and Kyori (Atsutoshi/Takatoshi) suggest that both artists were from the same family or worked at the same studio, as they share the second character ro/toshi. For a smaller bronze okimono of a rakan, signed Fukui Kiyotoshi, see Bonhams, Fine Japanese Art, 14 May 2015, London, lot 419. The Chinese character for shachi is composed of two radicals, that for 'fish' and that for 'tiger'. The creature is sometimes referred to as a 'tiger-fish', the face resembling a tiger or the mythical leonine shishi. However, the present example has a long face with the horns and whiskers of a dragon. It was believed that this animal could cause the rain to fall, and as such, temples and castles were often adorned with roof ornaments (crafted in the form of a shachihoko), in order to protect them from fire.Auction comparison: Compare a related smaller bronze koro in the form of a shachihoko, 31.1 cm high, lacking the base and figural cover, at Bonhams, Fine Japanese and Korean Art, 11 September 2019, New York, lot 915 (sold for 2,550 USD), and another by Kamejo, dated Meiji or Taisho period, 21 x 23 cm, at Bonhams, Fine Japanese Art, 8 November 2018, London, lot 231 (sold for 6,250 GBP).
Los 19
A FINE AND RARE GOLD LACQUER SUZURIBAKO DEPICTING A DRAGON, TIGERS, AND A LEOPARD (FEMALE TIGER)Japan, 18th century, Edo period (1615-1868)Of rectangular form, bearing a gold nashiji ground, the overhanging cover with canted gold fundame edges, finely decorated in predominantly gold as well as silver and black takamaki-e and kirigane with a central lobed panel enclosing a fierce dragon clutching a tama pearl and writhing around craggy rockwork amid crashing waves, its scales neatly picked out in matte gold and silver lacquer while the pearl, horns, eyes, spikes, and flames are lacquered a lustrous gold, all against a sparser nashiji on roiro ground, the panel surrounded by thick reishi clouds with gold kirigane flakes.The interior of the cover similarly decorated to depict a wildly roaring tiger seated on a rocky outcrop beside a mother tiger resembling a leopard and its young, the ground and swirling waves with nashiji and continuing onto the sides. The baseboard fitted with a rectangular tray similarly decorated with a craggy rock, blossoming plum, and bamboo leaves, as well as a panel holding the signed suzuri (inkstone) and metal suiteki (waterdropper) incised with flowers. Note the skillful use of different kinds of nashiji and shades of gold, adding a particularly rich quality to this fine lacquer suzuribako.SIZE 4 x 20.8 x 19.1 cmCondition: Very good condition with minor wear, few light surface scratches.Provenance: Dutch collection.With a wood storage box.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 the leopard's fur on occasion and had deduced it must belong to a female tiger.
Los 36
A LARGE GILT AND LACQUERED WOOD FIGURE OF AMIDA NYORAIJapan, 18th-19th century, Edo period (1615-1868)Seated in dhyanasana on a separately carved double lotus throne with beaded edge supported on an elaborate tiered hexagonal base lacquered in gold, red, and green and carved with lotus, clouds, and key-fret. His hands are held in raigo-in (vitarka mudra). He is wearing a loose-fitting robe draped over both shoulders, opening at the chest, and cascading in voluminous folds, his chest and face lacquered brown over gold, the serene face with downcast eyes below elegantly arched brows, his full lips framed by a finely painted mustache, his hair arranged in tight curls with a domed ushnisha, backed by a large halo carved in openwork with scrolling clouds around a central lotus design, the separately carved halo inset at the back of the lotus throne.HEIGHT 38 cm (the figure) and 90 cm (total)Condition: Very good condition with some wear to gilt and lacquer, expected minor age cracks, minuscule nicks, light scratches, few minor losses.Provenance: Dutch collection.The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. The downcast gaze directed towards the onlooker below is emblematic of the infinite compassion with which his name is synonymous. 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.Auction comparison: Compare a related gilt-lacquered wood figure of Amida Nyorai, dated to the 18th century, Edo period, 77 cm high overall, at Christie's, Art d'Asie, 14 December 2016, Paris, lot 87 (sold for 68,500 USD).
Los 231
HOGYOKU: AN IVORY MANJU NETSUKE OF A NOH ACTOR AS HANNYABy IkkeIsai Hogyoku, signed Ikkeisai Hogyoku一鶏齋 法玉with kakihanJapan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)The two-part manju of circular form, well carved in shishiaibori (sunken relief) to one side depicting an actor in the role of Hannya, standing in a dynamic pose, the arms spread outwards, wearing formal attire, the head turned to the right and with flowing hair, details in red and black sumi, the reverse incised and inked with two peonies and signed HOGYOKU IKKEISAI with kakihan.DIAMETER 4.4 cmCondition: Very good condition, minor wear, few minuscule nibbles to the rims, few light surface scratches. Fine honey-yellow patina.Provenance: Collection Gabor Orszagh, Budapest, Hungary.Literature comparison:Compare a related ivory manju netsuke depicting Tadamori by Ikkeisai Hogyoku, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 164.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0499).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.
Los 37
A PAIR OF MONUMENTAL BRONZE NIO GUARDIANS, DATED 1783 BY INSCRIPTIONJapan, dated 1783Each standing atop a naturalistically cast rockwork base raised on a finely carved lacquered wood stand supported on four stout cabriole legs. The open-mouthed Misshaku Kongo holds a vajra in his raised left hand, his other hand lowered with the fingers stretched out, while the close-mouthed Naraen Kongo thrusts his right hand forward with the palm facing forward, in a protective gesture akin to the abhaya mudra, while his left hand is clenched into a fist. Both guardians wearing short skirts and billowing scarves, their muscular bodies with prominent ribs, their faces with wrathful expressions, their hair and brows neatly incised, their topknots with foliate headdresses. Each statue is inscribed to the reverse, 'Tenmei san, mizunoto-u toshi, kichijitsu, kore wo osaku' ('This is donated on an auspicious day, in Tenmei 3 (corresponding to 1783), in the year of mizunoto-u').HEIGHT each 117 cm (excl. base) and 157.5 cm (incl. base) WEIGHT 92 & 96 kgCondition: Very good condition with old, attractive wear; casting flaws, minor nicks, light scratches, small dents. The wood stands with some wear, minor nicks and scratches, expected age cracks.Provenance: US private collection. The inscription on the present nio statues records that they were donated in Tenmei 3 (1783), a fateful year during which the devastating Tenmei eruption on Mount Asama in central Honshu occurred, exacerbating the Great Tenmei famine. It is plausible that an ardent patron commissioned and donated the pair to protect an important temple from further calamity during a particularly difficult time.Nio or Kongorikishi are two wrathful and muscular guardians of the Buddha standing today at the entrance of many Buddhist temples in East Asian Buddhism in the form of frightening wrestler-like statues. They are dharmapala manifestations of the bodhisattva Vajrapani, the oldest and most powerful deity of the Mahayana Buddhist pantheon. According to Japanese tradition, they traveled with Gautama Buddha to protect him. Within the generally pacifist tradition of Buddhism, stories of dharmapalas justified the use of physical force to protect cherished values and beliefs against evil. Nio are also seen as a manifestation of Mahasthamaprapta, the bodhisattva of power that flanks Amitabha in Pure Land Buddhism and as Vajrasattva in Tibetan Buddhism. They are usually a pair of figures that stand under a separate temple entrance gate, usually called Niomon in Japan.Guhyapada (Japanese: Misshaku Kongo) is a symbol of overt violence: he wields a vajra mallet and bares his teeth. His mouth is depicted as being in the shape necessary to form the 'ha' or 'ah' sound, wherefore he is also known as Agyo in Japan. Narayana (Naraen Kongo) is depicted either bare-handed or wielding a sword. He symbolizes latent strength, holding his mouth tightly shut. His mouth is rendered to form the sound 'huṃ', 'heng', or 'un'. He is also referred to as Ungyo in Japanese due to his closed mouth.Literature comparison: The two nio figures closely resemble a pair of wood guardian figures, dated to the late Kamakura period, early 14th century, each 86.4 cm high including the base, in the collection of the Metropolitan Museum of Art, accession numbers 64.292.1 and 64.292.2.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Los 79
KAZUTOSHI: A LARGE AND IMPRESSIVE INLAID BRONZE CHARGER DEPICTING DARUMA AS DAIDARABOTCHIBy Yanagi Kazutoshi, signed Kazutoshi/Ichiju with seal Ichiryu Japan, late 19th century, Meiji period (1868-1912)Finely decorated in gold, silver, shakudo, and copper takazogan to depict a parody of Daruma (Bodhidharma) posing as Daidarobotchi, detailed with bushy brows, reverse-painted glass eyes, and large thick earlobes, crouching over a snow-capped mountain above two cranes flying over clouds. The rim of silver. Signed to the right in gold takazogan KAZUTOSHI/ICHIJU and with a seal Ichiryu.DIAMETER 46 cmWEIGHT c. 7,900 gCondition: Very good condition with minor wear, the base with few minuscule nicks and light scratches.Yanagi Kazutoshi used the art name Ichiryuken and was also known as Ichiryu Kazutoshi. He was active during the late Edo period and is listed on page 16 in the Toso Kinko Jiten by Wakayama Takeshi, Yuzankaku Publishers.Daidarabotchi is a gigantic yokai in Japanese mythology, sometimes said to pose as a mountain range when sleeping. The size of a daidarabotchi was so great that his footprints were said to have created innumerable lakes and ponds. In one legend, a daidarabotchi weighed Mount Fuji and Mount Tsukuba to see which was heavier, but he accidentally split Tsukuba's peak after he was finished with it.Auction comparison: Compare a pair of inlaid iron panels depicting monkeys by the same artist at Sworder's, Asian Art, 13 May 2022, London, lot 209 (sold for 20,000 GBP).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Los 14
A GOLD LACQUER 'DOUBLE PEACH' KOBAKO (SMALL BOX) AND COVERJapan, 19th centuryWell modeled as two peaches, bearing a kinji ground and lacquered in gold and silver takamaki-e with several leaves attached to the stalk, the undersides of some leaves highlighted with minute gold flakes, two leaves finely rendered with insect nibbles, the interior of nashiji with gold fundame edges.LENGTH 16 cmCondition: Very good condition with minor wear, few tiny nibbles and minuscule chips to edges, occasional light surface scratches.Provenance: British private estate.Auction comparison: Compare a closely related gold lacquer kobako and cover, modeled as a single peach, 10.6 cm long, at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 396 (sold for 2,375 GBP).
Los 112
KINZAN: A CLOISONNÉ ENAMEL SQUARE TRAY WITH COCKEREL AND HENBy the Kinzan company, signed Kinzan and with seal KinzanJapan, late 19th - early 20th century, Meiji period (1868-1912)Of rounded square form, the design after a painting by Watanabe Seitei (1851-1918), worked in copper wire with a cockerel, hen, and chick against a pale-blue ground, bordered by a band of half-chrysanthemum blossoms and stylized tendrils on a brown ground, the underside decorated with a large peony blossom issuing tendrils above a blue ground, signed KINZAN with a two red seals KINZAN.SIZE 27.9 x 27.9 cmWEIGHT 1,302 gCondition: Good overall condition, some wear, manufacturing flaws including pitting, small hairlines, few minor losses to the enamels, light surface scratches.Provenance: From a private collection, Zagreb.Literature comparison:The design of the present object is inspired by a painting of rooster and hen with chicks by Watanabe Seitei, a famous artist of the Meiji period (1868-1912), who worked closely with Namikawa Sosuke. Compare a related painting of rooster and hen with chick by Watanabe Seitei, circa 1887, in the Metropolitan Museum of Art, accession number 14.76.61.54.Auction comparison: Compare a closely related square tray with near-identical motif by Kinzan, of closely related size (27.6 x 27.5 cm), at Bonhams, Polish and Poise Japanese Art Across the Centuries, 12 May 2022, London, lot 220 (sold for 2,805 GBP). Compare a related square tray with near-identical motif, attributed to Namikawa Sosuke, 19th century, at Christie's, Innovative Japanese Design: Art of the Meiji Period, 18 November 2015, New York, lot 10 (sold for 13,750 USD).
Los 230
KOGYOKU: A LARGE IVORY MANJU NETSUKE WITH PEONIESBy Kogyoku, signed Kogyoku 光玉Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)The large manju of circular form, well carved in relief featuring a blossoming peony flower and bud on a rock, likely an allusion to a shishi, the reverse with two himotoshi and signed KOGYOKU.DIAMETER 5.9 cmCondition: Good condition, light surface scratches, natural age cracks, later incisions to the back. Fine honey-yellow patina.Provenance: Collection Gabor Orszagh, Budapest, Hungary.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0498).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.
Los 9
A GOLD LACQUER BOX AND COVER AND FOUR KOGO (INCENSE CONTAINERS) FOR THE INCENSE MATCHING GAMEJapan, 19th centuryOf rounded rectangular form, the kinji ground finely decorated in gold and silver takamaki-e to depict two fish as well as an aogai-inlaid awabi and a smaller clam and conch, one fish with a glass-inlaid eye, the exterior and interior sides of the box and cover of dense nashiji, the base of sparse nashiji and with a circular aperture. The box contains four flush-fitting rectangular boxes and covers, each decorated in iro-e takamaki-e and hiramaki-e with nashiji to depict different views of Mount Fuji, the sides and interior with nashiji to match the larger box.SIZE 5.6 x 15.3 x 11.8 cmCondition: Good condition with some wear, few light surface scratches, expected age cracks, minor flaking to lacquer, few minuscule chips.Provenance: British private estate.This set was used in an incense game called jishu-ko (literally 'ten types of incense'). Before the competition begins, three different kinds of incense wood are burned and named for the guests. Then follow ten rounds in which the master of ceremonies burns small pieces while the guests try to identify each, recording their answers on paper slips. The rounds include three of each of the original types of incense, as well as one piece of a fourth kind, the 'guest incense' (kyaku-ko).
Los 165
AN UNUSUAL ROOTWOOD FIGURE OF A FUGU (PUFFER) FISHJapan, Edo period (1615-1868)The burled and knotted rootwood of attractive grain and color, left mostly untreated save for the front and back which have been carved to subtly render the fish's face with open mouth and bulging eyes, two small fins, as well as its long tail.LENGTH 21 cmCondition: Very good condition with old wear, minor age cracks, the underside with small losses which likely occurred before the piece was carved, occasional light scratches.Provenance: British collection.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Los 114
A FINE CLOISONNÉ FOUR-PANEL TABLE SCREEN DEPICTING BIRDS AND FLOWERSJapan, early 20th century, Meiji period (1868-1912)The hinged gilt-metal panels finely worked in silver wire and bright enamels to depict five birds, three in flight and two perched on branches of blossoming leafy trees growing from a rocky outcrop above crashing waves, all against a black ground, the silver backs engraved in katakiri with flying cranes and Mount FujI.SIZE 18.4 x 32.7 cmWEIGHT 977 gCondition: Very good condition with some wear, the backs with light surface scratches.Provenance: The Strong National Museum of Play, accession number 76.2396 (lacquered to reverse of one panel). Margaret Woodbury Strong (1897-1969) grew up in a prosperous family of collectors. Her interests ranged so widely that by 1960 she had amassed more than 27,000 collectible items and works of art. The vast majority of her collections related in some way to play and as her accumulation grew, Margaret planned a museum to house her collection. It eventually opened to the public in 1982, and grew dramatically over the following decades, expanding its collections, facilities, and resources, now spanning over 285,000 square feet. Today, the Strong National Museum of Play (known as just The Strong Museum or simply The Strong) is the only collections-based museum in the world devoted solely to the study of play.
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SHOKO SUGONOYA: A RARE AND FINE WOOD OKIMONO OF A CAT GEISHABy Shoko Sugonoya, signed ShokoJapan, Takayama, Hida province, late 19th century, Meiji period (1868-1912)The cat standing on two legs, striking a dancing pose and masquerading as a woman, wearing a fine kimono with well-carved folds, the belt neatly incised with cloud designs at the front and roundels at the back. The animal detailed with sharp claws and finely incised fur, the eyes of bone and glass with black-lacquered pupils. The underside signed SHOKO.HEIGHT 30.4 cmCondition: Very good condition with minor wear and few light surface scratches. Provenance: British collection.Auction comparison: Compare a related wood netsuke-okimono of a cat geisha and client, 6.2 cm high, at Zacke, 29 October 2021, Vienna, lot 201 (sold for 8,848 EUR). Compare a related wood netsuke by Ittan, 5.2 cm high, at Zacke, 16 April 2021, Vienna, lot 131 (sold for 11,376 EUR).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
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KINJO: A GOLD INLAID COPPER KISERUZUTSU WITH TIGER AND DRAGONBy Ikeda Kinjo, signed Kinjo 琴乘Japan, c. 1860The pipe case of otoshi-zutsu type with subtle curvature, the design finely executed in katakiri and kebori with a tiger resting under towering stalks of leafy bamboo to one side and a dragon amid swirling clouds and crashing waves to the reverse, their eyes inlaid in gold. The cord attachment in the form of a flower head, signed KINJO to the side.LENGTH 17.7 cmCondition: Good condition, minor wear, few small dents, light surface scratches, one gold inlay to the tiger's eye lost.Provenance: The Strong National Museum of Play. Margaret Woodbury Strong (1897-1969) grew up in a prosperous family of collectors. Her interests ranged so widely that by 1960 she had amassed more than 27,000 collectible items and works of art. The vast majority of her collections related in some way to play and as her accumulation grew, Margaret planned a museum to house her collection. It eventually opened to the public in 1982, and grew dramatically over the following decades, expanding its collections, facilities, and resources, now spanning over 285,000 square feet. Today, the Strong National Museum of Play (known as just The Strong Museum or simply The Strong) is the only collections-based museum in the world devoted solely to the study of play.Ikeda Kinjo, born in Tsuruoka, moved to Edo to study metal engraving from Ikkin Funada. He then returned to Tsuruoka and began making props for sword fittings, specializing in Ikkin style katakiri carvings.Both the tiger and dragon have important meanings in Buddhist and Taoist philosophy, together representing the yin and yang, the earth and sky, or the male and female. Furthermore, they represent strength, resilience, and courage.
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A POLYCHROME WOOD FIGURE OF SEITAKA DOJIJapan, 16th-17th century, Muromachi (1333-1573) to early Edo period (1615-1868)Finely painted in polychrome pigments and gilt over gesso, the guardian attendant standing, wearing a long flowing robe with deeply carved folds, foliate hems, and floral roundels, a scarf draped over his shoulders, adorned with armbands, bracelets, and anklets, his face with a stern expression, the eyes inlaid in reverse-painted crystal, the curled hair tied at the front.HEIGHT 30 cmCondition: Good condition with some wear and small losses to pigments and gilt, few minuscule nicks, occasional light scratches. Provenance: French private collection.Mounted on an associated metal base of square form.Seitaka Doji is one of the two boy attendants of Fudo Myo-o (the Immovable or Unshakable One). Sculptural triads of these figures exist from the late Heian period (794–1185). In these triads, Seitaka Doji has a troll-like appearance, which contrasts with the placid features of his fellow attendant, Kongara Doji.Museum comparison: Compare a related lacquered wood figure of Seitaka Doji, together with Kongara Doji, 34.3 cm high, dated ca. 1350, in the collection of the Metropolitan Museum of Art, accession number 2018.17.1, .2.Auction comparison: Compare a related lacquered wood figure of Seitaka Doji, dated 14th century, 17.1 cm high, at Christie's, 25 April 2017, New York, lot 6 (sold for 5,625 USD). Compare a closely related polychrome wood figure of Seitaka Doji, dated to the Muromachi period, 16th century, 30.8 cm high, at Bonhams, 22 July 2020, New York, lot 988 (bought-in at an estimate of 4,000-5,000 USD).
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KOKOKU: AN IVORY NETSUKE OF OKAME WITH MIRRORBy Kokoku, signed Kokoku光谷Japan, Tokyo, late 19th century, Meiji period (1868-1912)Okame seated with her legs tucked under her body, a mirror in her right hand, her robe and eboshi inlaid with dark buffalo horn, patinated metal, mother-of-pearl, red lacquer, and finely incised and painted in sumi-e with scrolls and foliate designs. The mirror inlaid in mother-of-pearl, which cleverly reflects light on Okame's face. Two asymmetrical himotoshi underneath and signed KOKOKU on a red-lacquered plaque.HEIGHT 4.5 cmCondition: Good condition, minor wear, the frame of the mirror with a repair.Provenance: Collection Gabor Orszagh, Budapest, Hungary.The present artist belonged to the Tokoku school and along with Egawa Sokoku excelled in the use of various different materials.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0471).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.
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A TALL AND IMPRESSIVE PARCEL GILT BRONZE KORO (INCENSE BURNER) AND COVER, ATTRIBUTED TO THE MIYAO COMPANYJapan, Meiji period (1868-1912) The koro of rounded square form, fitted with a metal inset, the sides with two shaped panels in gold, copper, and shakudo takazogan to depict a rakan and oni conversing, the arhat wearing loose robes and holding a small figure of Kannon while the demon holds a staff, the reverse panel depicting pheasants and peony, the body cast with raised floral diaper and foliate designs against an archaistic scroll ground and flanked by two scrolling cloud-form handles. The cover similarly cast and surmounted by a boy wearing a gold-inlaid robe decorated with clouds and flowers, standing in a dynamic pose beside a red-capped crane with silvered body and plumage. The vessel is supported on four long legs issuing from fierce dragon heads atop a tiered base which is crisply cast with stylized butterflies surrounding a ho-o bird against a diapered ground, a superbly patinated and gold-inlaid figure of Kannon wearing a long flowing robe with deeply incised folds standing atop the base which is raised on four short feet decorated with gold-inlaid ho-o birds. Unsigned, however confidently attributed to the Miyao company of Yokohama.HEIGHT 91 cm WEIGHT 14.6 kg Condition: Very good condition with minor wear, minimal casting flaws, few minuscule nicks, occasional light surface scratches. Provenance: British collection. Founded by Miyao Eisuke, the Miyao Company of Yokohama specialized in the manufacture of bronze sculptures, embellished with gold and silver as well as patinated copper alloys, that represent generic samurai warriors as well as more precisely identifiable characters from Japanese myth and legend. In addition, the company also made a smaller number of pieces in other formats such as incense burners, vases, and chargers.Auction comparison:Compare a related parcel gilt bronze censer, measuring 44.5 cm, also with rakan and oni motif and by the Miyao company, sold at Zacke, Fine Japanese Art, 4 June 2021, Vienna, lot 6 (sold for 17,696 EUR).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
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AN O-YOROI ('GREAT HARNESS') SUIT OF ARMORJapan, late Edo period (1615-1868)The components lacquered gold and laced in blue, yellow, and orange, and mounted with gilt chrysanthemum-form kanamono. The armor comprising an iron sujibachi kabuto (helmet) with a 62-plate hachi mounted at the top with a partly gilt tiered chrysanthemum-form tehen kanamono, a loose-ring fitting suspending a red silk cord, with a five-lame shikoro, the lacquered fukigaeshi with lozenge designs, the mabizashi with raised geometric design and mounted with a gilt-metal maedate in the form of a ghost; a roughly textured black-lacquered menpo (mask) with facial hair and a three-lame yodare-kake; a brown-lacquered do (cuirass) with roughly textured black-lacquered sections similar to the menpo; two sode (shoulder guards) divided into a three-lame above a seven-lame section; two kote (sleeves) and tekko (gloves) with kusari and floral iron fittings over black textile decorated with tama pearls; two suneate (shin guards) with dark-brown lacquer and kusari over similar textile; and seven sections of five-lame kusazuri.Condition: Very good condition with some wear, minor nicks, small losses, age cracks, flaking and small losses to lacquer, light scratches.Provenance: Dutch collection. With a wood storage box.
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JOSEN: AN INLAID AND LACQUERED WOOD SINGLE-CASE INRO DEPICTING LUNAR HARESBy Josen, signed Josen with kakihan Japan, 19th century, Edo period (1615-1868)Of stylized moon form, the dark wood ground finely inlaid with a rabbit to either side, one in metal seated in a recumbent pose with gilt eyes and the other inlaid in darker wood seated on its haunches and looking up toward the sky, and decorated in gold hiramaki-e with grasses, the base incised with the signature JOSEN with a kakihan.HEIGHT 5.5 cmCondition: Good condition with some wear, small nicks, occasional light scratches, minor rubbing to lacquer.Provenance: British collection.The design of the inro is very clever, its shape already hinting at the presence of the lunar hares depicted to either side. This popular motif originates in China, where the rabbit is often portrayed as a companion of the Moon goddess Chang'e, constantly pounding the elixir of life for her.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
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A MASSIVE BRONZE KORO AND COVER WITH TOKUGAWA MONJapan, 19th century, late Edo period (1615-1868)The sides of the vessel are finely worked in relief with two panels framed by ferocious dragons amid clouds, depicting to one side Lady Rokujo at the Nonomiya Shrine, with long hair and dressed in a long flowing court dress, standing in the sacred bamboo enclosure amid jars filled with water and reading a love-letter from Prince Hikaru Genji. The other panel depicts her as a vengeful spirit wearing a mask of Hannya, and clutching her long, finely incised hair with one hand.The ovoid vessel supported on a revolving foot cast with crashing waves above a compressed globular 'basketweave' segment raised on four elegantly curved legs on a tiered circular base. The pierced cover surmounted by a screeching eagle with fierce expression and outstretched wings. The vessel is flanked by two handles in the form of sinuous dragons with neatly incised scales and mouths wide open, with a third dragon writhing around the foot. The neck is cast to either side with the Tokugawa clan mon (aoi mon), while the cover and base are decorated with crests of six radiating aoi leaves. The base with a cho mon (butterfly crest).With a finely carved wood stand supported on four elegantly curved legs with scroll-form feet above an apron carved with clouds and foliage surmounted by a tiered square platform carved with decorative bands.HEIGHT 132 cm (censer only), HEIGHT (total) 180 cmWEIGHT 28 kg (excl. stand)Condition: Good overall condition with some wear, tiny nicks, light scratches, some repairs with traces of soldering, minor losses.Provenance: Belgian private collection.Lady Rokujo is a character in The Tale of Genji (Genji Monogatari). She is a mistress of the novel's protagonist, Hikaru Genji, with whom she becomes infatuated and jealous of his other lovers. Her jealousy subconsciously causes her ikiryo (wandering spirit) to become a Shiryo (also known as a Yurei) that attacks and murders multiple other mistresses and wives of Genji.The Tokugawa's clan symbol, known in Japanese as a mon, the "triple hollyhock" (although commonly, but mistakenly identified as "hollyhock", the aoi actually belongs to the birthwort family and translates as "wild ginger"—Asarum), has been a readily recognized icon in Japan, symbolizing in equal parts the Tokugawa clan and the last shogunate.The cho (butterfly) mon traditionally represents the Taira Clan, who prospered during the Heian era (AD 700 ~ 1200). They are recognized as the first to use this mon, and nearly all of the modern families who claim it are descendants of the Taira clan.Auction comparison: Compare a related bronze koro with eagle finial, dated to the late 19th century, measuring 149.8 cm, sold at Bonhams, Fine Japanese and Korean Art, 12 September 2012, New York, lot 3373 (sold for 15,000 USD).
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A PAIR OF FINE SIX-PANEL BYOBU SCREENS DEPICTING SPARROWS AND BAMBOOJapan, 19th century, Edo period (1615-1868)Each finely decorated with ink, watercolors, and gold foil to depict sparrows amid thickly growing bamboo and wispy clouds, further painted with flowers growing from craggy rocks and swirling streams and ponds, all within a silk brocade frame and mounted to a black-lacquered wood screen with partly gilt metal fittings with incised and ring-punched decorations. The many birds are meticulously painted, each neatly detailed and slightly different from the others. The bamboo stalks have also been given close attention by the artist, with many segments having turned yellow to brown. Note also the fine gold foil technique and clouds.SIZE (each when opened) 177 x 377 cmCondition: Very good condition with minor wear, little soiling, occasional light scratches, and few minuscule losses. Provenance: Dutch collection.
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SHOKAKEN: A LARGE AND EXCEPTIONAL BRONZE KORO (INCENSE BURNER) AND COVER WITH THE TWELVE ANIMALS OF THE ZODIAC (JUNISHI)By Oshima Yasutaro (Shokaken), signed Dai Nihon Kanda kawabe ju, Shokaken kore wo chu Japan, late 19th century, Meiji period (1868-1912) Finely cast, the compressed globular body supported on a tall, prominent foot and rising to a broad cylindrical neck with galleried rim, flanked by two handles in the form of baying kirin with exquisitely rendered curved horns, scrolling manes, and muscular bodies. The slightly domed cover is surmounted by two karako, one standing wearing a shishimai mask and the other seated beside a drum incised with a mitsudomo-e symbol and holding a stick, both showing cheerful expressions. The koro and cover are crisply cast with finely worked diapered patterns, the body is further cast in relief with the twelve animals of the zodiac, each dynamically rendered and neatly detailed to convey the mythical race that would determine their order in the zodiac. The foot is raised on five legs in the form of winged kirin with elongated bodies atop a circular base decorated with concentric diapered bands encircling a raised central medallion cast in relief with sparrows in flight amid swirling clouds. The underside of the foot is cast with the inscription and signature Dai-Nihon Kanda kawabe ju, SHOKAKEN kore wo chu ('This is cast by Shokaken, resident by the Kanda River, Great Japan'). HEIGHT 75 cm WEIGHT 19 kg Oshima Yasutaro (artist name: Shokaken) was born to a prominent family of metalworkers in 1849 and was the son of Oshima Takajiro. Together with his younger brother Oshima Joun (1858–1940), he successfully ran a studio called Sanseisha and produced bronzes of the finest quality. In Recollections of Oshima Joun, by Katori Hozuma published in 1941 by Tokyo Chukin-kai (Tokyo Cast Metalwork Association), he talked of his older brother who died young as being of the first rank of bronze metalwork artists in 1878, producing works of the very highest quality and commissioned for the world exhibitions. Shokaken indeed exhibited his works at numerous international expositions, including a metalwork incense burner at the Vienna World Exposition in 1873, which is now housed in the Austrian Museum of Applied Arts and Contemporary Art, Vienna (Illustrated in Arts of East and West from World Expositions 1855-1900: Paris, Vienna and Chicago (Commemorating the 2005 World Exposition, Aichi, Japan), (Osaka, 2004), p. 20, plate l-16).Condition: Very good condition with minor wear, minimal casting flaws, few minuscule nicks, occasional light surface scratches. Provenance: French private collection.Auction comparison: Compare a related bronze koro by Shokaken, 50 cm high, at Zacke, 3 December 2021, Vienna, lot 8 (sold for EUR 4,045).
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AN INLAID LACQUER BOX AND COVER WITH THE THIRD PRINCESS (ONNO SAN NO MIYA) AND HER CAT FROM THE TALE OF GENJIJapan, second half of 19th centuryWell modeled as two overlapping boxes of rectangular form, the larger section with indented corners and bearing a kinji ground and finely decorated in gold and iro-e takamaki-e as well as shibuichi, shakudo, and silver takazogan to depict the Third Princess (Onno San no Miya) looking toward her cat playing with the hem of her long flowing court robe, the sides with stenciled designs of paulownia mon, ho-o bird, lotus, and butterfly, the corners with foliate designs, the smaller section with canted corners and bearing a wood ground similarly decorated with a swallow flying below wisteria, continuing over to the sides with another swallow perched on a branch. The unusual, red-lacquered interior with leafy vines and butterflies.SIZE 7.2 x 23 x 19 cmCondition: Very good condition with minor wear, few minuscule nicks, occasional light scratches, a minor loss to silver inlay.Provenance: British private collection.The present lacquer box depicts a scene from Chapter 34, Wakana no jo of Genji Monogatari (The Tales of Genji). The focal point of one of the tragic romances in the second half of The Tale of Genji is the childlike Third Princess (Onna San no Miya), whom Genji takes to wed in his middle years. While pursuing her runaway cat, the young girl emerges from her living quarters and is seen by Kashiwagi, son of Genji's best friend, who falls in love with her. This results in a clandestine relationship, Kashiwagi's guilt-inspired illness and death, and an infant passed off – with Genji's unspoken knowledge of the truth – as Genji's offspring.
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TADASHIGE: A TAKADA SCHOOL WAKIZASHI IN SHIRASAYA WITH NBTHK KICHO TOKEN CERTIFICATEBy Tadashige, signed TadashigeJapan, 17th century, Edo period (1615-1868)The slender curved blade with shinogi-zukuri and iori mue. The hamon is notare with some midare in nie-deki, ending in a komaru boshi, the hada is itame. The gilt copper habaki with diagonal file marks and dew drops. The nakago with one mekugi-ana and kuri jiri. The mei reads TADASHIGE.With an NBTHK Kicho Token ('Precious Token') certificate, issued to a Mr. Yoshida on 5 September 1971 (Showa 46), no. 218354, noting a nagasa of 1-shaku 7-sun 2-bu, confirming the reading of the signature above and attributing the blade to the school of Fujiwara Takada, in the original envelope.NAGASA 52 cm, LENGTH 75.2 cm (total)Condition: Good condition with some wear, light scratches, and minor fukure and ware.Provenance: Hungarian private collection.
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19th century oversized drinking glass, the balloon shaped bowl upon a short thick stem and thick circular foot, H18.5cm bowl rim D12.5cmCondition Report:General light wear commensurate with age and use, including some surface scratches, and mossing to underside of foot.Some production flaws.
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Four automatic wristwatches including Lucien Piccard moonphase, Rotary moonphase, Ingersoll limited edition Ref. IN4502 and one other Rotary 21 jewels movement, all boxedCondition Report:All movements currently functioning, watches in good condition with some light wear, Ingersoll date only goes to 2018
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Arts & Crafts copper lantern with Vaseline glass shade, of cylindrical form with domed top and large circular suspension ring, overall H40.5cmCondition Report:General wear commensurate with age and use, including surface scratches, and some light knocks. Small split to edge of copper base. Glass appears to be free of damage, as far as can be inspected.
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Three 19th century plates, comprising two circular examples and one oblong, each with osier moulded sides, the centres decorated in underglaze blue with Gillyflower type pattern, circular examples D25cm oblong example W27cmCondition Report:General light wear commensurate with age and use, predominantly in the form of surface scratches and some discolouration.
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Collection of eight Disney Pooh and Friends figures, comprising limited edition What I like best is just being with you, with charm, My best friend's picture looks just like you, Think think think, A wishing star to brighten your day, Your ups and downs are looking up, Friendship is the sweetest kind of sharing, May friendship always light your way and Simple wisdoms from the wood, all with boxes
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A late nineteenth century Japanese Noritake porcelain hand-painted scenic jug, c. 1880. It is painted with a landscape scene that includes a castle, with surrounding raised gilding on a cobalt blue ground. Marked to the underside. 24 cm wide. (5)Condition: in good overall condition bar light gilding wear.
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JOHN CHARLES DOLLMAN (BRITISH 1851-1934) TWO TIGERS Watercolour Signed (lower right) 25 x 61.5cm (9¾ x 24 in.) Condition Report: Unexamined out of glazed frame. Light scattered foxing to the lower 1/3, two pin holes to the upper right corner and one pin hole to the lower right corner. Overall in good original condition. Condition Report Disclaimer
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GABRIELE CARELLI (ITALIAN 1820-1900) AN INTERIOR VIEW FROM THE CHAPEL OF ARAGON ACROSS THE CHOIR TO THE FRENCH CHAPEL, ST JOHN'S CO CATHEDRAL, VALLETTA (MALTA) Pencil, watercolour and sepia washes Signed (lower left underneath the mount) 31.5 x 23cm (12¼ x 9 in.) Dates from the artist's trip to Malta, Sicily and further East in 1839, which may have been sponsored by the Duke of Devonshire, Gabriele's first patron. Many of the sketches and watercolours from this trip of 1839 remain in the Devonshire Collection at Chatsworth, kept in "Album No.5, Carelli's Sketches, 1839, Sicily & the East". Condition Report: Unexamined out of glazed frame. There is a small gap between mount and sheet, it may benefit from remounting. Light scattered foxing to the lower left corner across the floor. The colours are slightly faded but in overall good original condition. Condition Report Disclaimer
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λ HERBERT F. ROYLE (BRITISH 1870-1956) GRAZING CATTLE IN THE EVENING LIGHT Oil on canvas Signed (lower right) 30 x 40cm (11¾ x 15½ in.) Condition Report: The canvas is unlined. Some surface dirt and discolouration of the varnish, would benefit from a clean. Otherwise in good condition. Condition Report Disclaimer
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JAMES KAY (SCOTTISH 1858-1942) BOULEVARD ALBERT LE HAVRE Oil on board Signed (lower left); further signed and inscribed to labels (verso) 54.5 x 80.5cm (21¼ x 31½ in.) Condition Report: Light surface dirt throughout. Very fine vertical craquelure to the white pigment to the lower 1/3 of the picture. Some surface scratches to the lower 1/3. Condition Report Disclaimer
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λ GLADYS MACCABE (IRISH 1918-2018) HORSE SALE, GALWAY FAIR Oil on paper laid to board Signed (lower right) 30.5 x 41cm (12 x 16 in.) Provenance: Phillips Fine Art, Leeds Purchased from the above in May 1988, thence by descent Condition Report: Light surface dirt throughout. Otherwise no obvious significant condition issues. Condition Report Disclaimer
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FOLLOWER OF SIR JOHN EVERETT MILLAIS PORTRAIT OF A GIRL Oil on canvas 51 x 41cm (20 x 16 in.) Condition Report: Light surface dirt throughout and an uneven varnish causing some discolouration. Craquelure, cupping and flaking to the lower edge, paint surface is unstable. Some small areas of craquelure scattered in patches across the canvas. Canvas slightly slack to the lower 1/3. Inspection under UV reveals retouching throughout and an uneven varnish. Condition Report Disclaimer
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