HANEHIRO: A FINE SILVERED BRONZE OKIMONO OF A HAWKBy the Hanehiro workshop, signed Hanehiro Japan, late 19th century, Meiji period (1868-1912)The hawk perched on a naturalistically cast parcel-gilt bronze stand in the form of gnarled and twisted branches, its head lowered and wings outstretched in preparation for flight, the plumage neatly incised, the shibuichi beak with gilt cere and pierced nares, the eyes inlaid with amber glass, the gilt ring-punched feet with raised scales, the long curved claws with darker patination, the underbelly marked HANEHIRO.HEIGHT 62 cm (incl. stand), WIDTH 53 cm (the wing-span)WEIGHT 3,298 g (the hawk) and 5,897 g (the stand)Condition: Excellent condition with minor wear.The hawk is traditionally a symbol of nobility and wealth, due to the expense of training and caring for the birds. Auction comparison: Compare a silvered-bronze model of an eagle by Masatsune, 64 cm wide, at Bonhams, Fine Japanese Art, 5 November 2020, London, lot 288 (sold for GBP 11,312). Compare a silvered model of a hawk by Masatsune, also with a separately cast gilt-bronze tree-stump stand, 42.6 cm high, at Christie's, 20 October 2000, New York, lot 189 (sold for USD 10,575).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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ITSUMIN: A FINE WOOD NETSUKE OF A REPENTING ONI WITH MOKUGYOBy Hokyudo Itsumin, signed Itsumin 逸民 to刀Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)The repenting oni seated, dressed in a tiger skin loin cloth and wearing a headdress, drumming with a mallet on the mokugyo laying in front of him, his face with a grim expression, the open mouth revealing a set of sharp fangs, and the bulging eyes inlaid in pale translucent horn with dark pupils. Note the superbly carved underside of the mokugyo which also houses the signature ITSUMIN to [carved by Itsumin]. Natural himotoshi, the well-toned wood bearing a fine, warm patina.HEIGHT 4.7 cmCondition: Very good condition, minor wear, one finger with a tiny chip to the edge.Provenance: North German private collection, assembled before 1984.Literature comparison:Compare a closely related wood netsuke of an oni beating a mokugyo by Itsumin, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 247.Auction comparison: A related wood okimono of monkeys, by Hokyudo Itsumin, was sold at Bonhams, Fine Japanese Art, 10 November 2011, London, lot 121 (sold for 5,000 GBP).
KAKUHA: A FINE BRONZE OKIMONO OF A STRIDING BACTRIAN CAMELBy Kakuha, signed Kakuha seiJapan, late 19th century, Meiji period (1868-1912)Naturalistically modeled, walking forwards, the head raised, with shaggy fur and neatly detailed facial features. Signed within a square reserve underneath KAKUHA sei.HEIGHT 24.6 cmWEIGHT 3,532 gCondition: Very good condition, minor wear.Provenance: Old German private collection, acquired prior to 2007.Kakuha Kanzaemon IX, real name Kakuha Zenjiro, was a member of a lineage of metalworkers from Toyama. In 1869, he started a branch office in the port of Yokohama for the export trade of bronze ware, also acting as a retailer for foreign clients in Japan.Auction comparison:Compare a closely related bronze of a Bactrian camel, by Seiya, sold at Koller, Asian Art, 3 June 2015, Zurich, lot 379 (sold for 4,500 CHF). Another closely related bronze of a camel, by Yoshihara, was sold at Sotheby's, The Collection of Craig Wright, 30 September 2011, New York, lot 192 (sold for 5,938 USD).
YABU TSUNEO: A FINE AND RARE MINIATURE SATSUMA VASE DEPICTING HYAKKI YAGYO ('NIGHT PARADE OF ONE HUNDRED DEMONS')By Yabu Tsuneo (active after 1926), signed MeizanJapan, c. 1930The pear-shaped body supported on a slightly spreading foot and rising to a waisted neck and garlic-head mouth with short lipped rim, the neck flanked by two cloud-form handles, the exterior exquisitely enameled with a procession of oni and yokai, including a three-eyed bakemono with a small pet, an Okame-like demon riding a boar, and a toad holding a tall staff. The base with the finely gilt signature MEIZAN. HEIGHT 12 cmCondition: Good condition, little rubbing to gilt. One of the handles restored.Provenance: British private collection.Hyakki Yagyo ('Night Parade of One Hundred Demons'), also transliterated Hyakki Yako, is an idiom in Japanese folklore. Sometimes an orderly procession, other times a riot, it refers to a parade of thousands of supernatural creatures known as oni and yōkai that march through the streets of Japan at night. Kawanabe Kyosai (1831-1889), also known as 'The Demon of Painting' and a contemporary of Yabu Meizan, composed a book of paintings depicting a series of such demonic parades near the end of his life, which was first published after the artist's death in 1889. Meizan was clearly familiar with this work and decided to recreate it for one of his pieces, heightening Kyosai's designs with his painting and gilding techniques.Yabu Tsuneo was the son of Yabu Meizan (1853-1934). He worked in the style of his father after his retirement in 1926. Like his father, his designs were quirky and often inspired by the work of Kawanabe Kyosai (1831-1889).Auction comparison: Compare a related miniature Satsuma vase by Yabu Meizan, depicting a humorous procession of monkeys, 11.2 cm high, at Bonhams, Fine Japanese and Korean Art, 15 March 2017, New York, lot 6241 (sold for 12,500 USD).
SUKEYUKI: A FINE WOOD OKIMONO OF A SNAKE WINDING THROUGH A ROCKBy Sukeyuki, signed Sentei Sukeyuki zoJapan, Hida province, Takayama, late 19th century, Meiji period (1868-1912)Finely carved in openwork as a tall rock with scattered grasses, bamboo leaves, and reishi fungi, a sinuous serpent writhing through the holes in the rock, the eyes double inlaid with pale translucent and dark horn, the scaled body neatly incised, the rock's porous texture detailed with fine stippling. Signed underneath Sentei SUKEYUKI zo [made by Sentei Sukeyuki].HEIGHT 7.7 cmCondition: Good condition with minor wear, few minuscule age cracks, the base with few tiny nicks and light scratches, one inlaid eye is replaced.Provenance: British collection.Museum comparison: Compare a closely related wood okimono by Sukeyuki, 9.7 cm high, in the collection of the British Museum, purchased from Sydney Moss Ltd., registration number 1980,1016.2.Auction comparison: Compare a related wood netsuke of a snake and skull by Sukeyuki, 3.5 cm high, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 151 (sold for 17,696 EUR), and a related wood okimono of a snake and skull by Sukeyuki, 12 cm high, at Zacke, Fine Japanese Art, 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.
Only Fools & Horses - The Jolly Boys' Outing (1989) - a Big Chief Studios made Limited Edition 'The Jolly Boys' Outing Mini Bobble Figurine Box Set' from the Bobble Buddies series. Comprising of x5 vinyl Bobble Head action figures. Includes a signed art card by Sir David Jason (Del), signed in black ink. Limited to 1989 sets produced, this being No.7 in the edition (low number). As new. Supplied with a COA from the Only Fools and Horses Appreciation Society.
Estate Of John Challis - Fan Art - a collection of x3 assorted pieces of fan made artwork. Comprising of x2 digital artworks, one showing Boycie & Marlene from Only Fools & Horses, the other showing a montage of Only Fools scenes. The third item is a 'Boycie & Marlene' name sheet on card. All three autographed by Challis in black ink, undedicated. A4 largest. 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).
Estate Of John Challis - The Green Green Grass (BBC Sitcom 2005-2009) - a collection of Challis' personally owned production used Story Orders from Series Four of the sitcom. Includes orders for; Home Brew, Your Cheating Art, Animal Instincts, and The Departed. Various stages of completeness. Along with three pages of revised script from the episode Path Of True Love, as used by Challis and his lines being highlighted, and various pages of script from the episode Animal Instincts. All A4. The Green Green Grass was the spin-off sitcom from Only Fools & HorsesA 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).
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).
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).
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).
A PAIR OF PARCEL-GILT BRONZE FIGURES DEPICTING SAMURAI WARRIORSJapan, Meiji period (1868-1912) Each figure is finely cast and supported on a carved wood stand raised on four curved feet and decorated with pierced floral designs. The samurai is captured mid-leap with one foot raised, his body plunging forward with both hands clutching his sword above his head. The archer is preparing to shoot an arrow at his target, his body in a back-leaning stance with the front leg fully outstretched and the other slightly bent, a sword tucked into his belt. Both warriors with neatly detailed facial features and armor. Viewed as a pair, it is easy to imagine this samurai and archer embroiled in a vicious fight to the death that is about to reach its end, though the outcome is still unsure. HEIGHT 20.2 cm (the samurai excl. stand), 16.5 cm (the archer excl. bow and stand), and 22.7 cm (the archer excl. stand) WEIGHT 1,354 g (the samurai incl. stand), 1,092 g (the archer incl. stand)Condition: Excellent condition with minor wear.Auction comparison:Compare a closely related group of samurai warriors of similar size, by the Miyao company, sold at Bonhams, Fine Japanese Art, 8 November 2018, London, lot 246 (sold for 7,500 GBP). Also compare to a closely related gilt-bronze figure of a warrior by Miyao, measuring 27.5 cm, sold at Bonhams, Fine Japanese Art, 6 November 2012, London, lot 507 (sold for 16,250 GBP).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
AN IMPRESSIVE BRONZE OKIMONO OF RYUJIN PRESENTING A ROCK CRYSTAL SACRED JEWEL (YASAKANI NO NAGATAMA)Japan, late 19th century, Meiji period (1868-1912) The Dragon King of the Sea wearing dragon armor with finely incised scales and a powerfully cast head with fierce expression, tied to his waist over his loose-fitting robes with billowing sleeves, deep folds, and foliate incised hems, holding in both hands the stand supporting his rock crystal sphere which he uses to raise and lower the tides. His face with an intense expression marked by his shakudo-inlaid gilt-ringed eyes, furrowed brows, and spiky beard. His robes, hair and beard are blowing as if he is standing in the midst of a great storm. Mounted on a stepped square base.HEIGHT 43 cm (excl. stand) and 46 cm (incl. stand) WEIGHT 11.6 kg Condition: Very good condition with minor wear.The rock crystal sphere held by Ryujin represents the sacred jewel Yasakani no Nagatami, one of the Three Sacred Treasures, the imperial regalia of Japan. They represent the three primary virtues: valor (the sword), wisdom (the mirror), and benevolence (the jewel). This depiction of the Dragon King of the Sea presenting the jewel appears in woodblock prints of the 19th century as well as two celebrated sculptural groups (see Literature comparison).Literature comparison: Compare a bronze group in the Khalili collection depicting the sea-god Haneakarutama (essentially, the purely Japanese equivalent of Ryujin) presenting the jewel to Susanoo, illustrated in Meiji no Takara: Treasures of Imperial Japan - The Nasser D. Khalili Collection, The Kibo Foundation, 1995, Metalwork part II, no. 98. For a related version depicting Takenouchi no Sukune and Ryujin by Oshima Joun and others, made for the Second Naikoku Kangyo Hakurankai (Domestic Industrial Exposition) of 1881, see Oliver Impey and Malcolm Fairley, The Dragon of the Sea, Japanese Decorative Art of the Meiji Period from the John R. Young Collection, Oxford, Ashmolean Museum, 1991, cat. no. 11.Auction comparison: Compare a related bronze figure of Ryujin presenting the sacred jewel, 164.5 cm high, at Christie's, 20 June 2001, London, lot 101 (sold for 23,500 GBP).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
GOTO MITSUTAKA: A SUPERB SHAKUDO NANAKO KOZUKA WITH DRAGON AND TIGERBy Goto Mitsutaka (1722-1784) after a design by Goto Teijo (1603-1673), signed Teijo saku 程乘作 and Mitsutaka 光孝 with kakihanJapan, 18th century, Edo period (1615-1868)The front masterfully decorated in takazogan with a dragon and tiger above a superb shakudo-nanako ground, the reverse in gold with nekogaki ('cat scratch'), signed TEIJO saku and MITSUTAKA with kakihan. With a wood tomobako storage box with an attestation by Sato Kanzan (1907-1978), dated 1972. With an attestation origami [certificate] with the signature of Goto Mitsutada bearing a date of 1729.LENGTH 9.6 cmWEIGHT 27.7 gCondition: Excellent condition, minor expected surface wear.Provenance: British collection.The Goto School of sword-fittings makers was founded in the fifteenth century by Goto Yujo, who is said to have been patronized by the shogun Ashikaga Yoshimasa (1435–1490). The work of the Goto masters is characterized by painterly designs carved in high relief on a ground of shakudo (an alloy of copper and gold chemically treated to turn a rich blue-black), finished in nanako (tiny circles punched regularly over the surface to give it a granular appearance) with colorful accents in gold and silver.Museum comparison:Compare a related nanako ground kozuka inscribed by Goto Mitsutaka, 18th century, note the nekogaki decoration to the reverse, in the collection of the Metropolitan Museum, accession number 45.24.33.Auction comparison:Compare to a closely related mitokoromono (set of kozuka, kogai and menuki) by Goto Etsujo after Goto Kenjo sold at Bonhams, Fine Japanese and Korean Art, 17 March 2021, London, lot 659 (sold for 4,462 USD).
A BLACK AND GOLD LACQUER NATSUME (TEA CADDY) WITH A WEEPING WILLOW (YANAGI)Japan, Showa period (1926-1989)Of typical form with a flush-fitting cover, the exterior bearing a glossy roiro ground finely decorated in gold takamaki-e and kirikane to depict a willow tree growing from the base of the tea caddy to the top of the cover. The interior of roiro with gold fundame edges.HEIGHT 7.5 cmCondition: Excellent condition with minor wear.Provenance: Dutch collection.With a wood tomobako signed by Tada Keikan (1935-?) and a Japanese pamphlet describing the accomplishments of the artist.Auction comparison:Compare a related black and gold lacquer natsume with a weeping willow by Hirata Shoichi, also dated Showa period, at Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 123 (sold for 1,643 EUR).
A RARE TSUIKOKU (CARVED BLACK LACQUER) KOGO (INCENSE BOX) AND COVER WITH CHRYSANTHEMUMS AND POEMJapan, 18th century, Edo period (1615-1868)Of rounded square form, the cover neatly carved with two chrysanthemum blossoms amid craggy rockwork, reeds, and leaves, the chrysanthemum stigmas with fine nashiji, the upper right corner with raised characters reading 'Pure and proud in frosty weather, fragrant (white chrysanthemum) flowers in autumn dew', quoting a poem by the Qing-dynasty poet Xu Ting Heng, and with two raised seals, Kaan and U (Migi). The sides with foliage. The interior of both the box and cover with a roiro ground finely decorated in gold and colored takamaki-e with chrysanthemums amid dense grasses with dew drops and dragonflies.SIZE 2.7 x 9.1 x 9.1 cmCondition: Very good condition with minor wear, expected minor age cracks, few tiny nicks and nibbles.Provenance: The Strong National Museum of Play, accession number 78.9885.B (lacquered to the base and interior rim). 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.The full poem by Xu Ting Heng (active c. 1720) can be translated as follows:The western air can moldIn bloom the hedgeside flowers.Your pure heart stands the cold;You're spotless in late hours:Proud against frost and snow,Fragrant with autumn dew.Where will your white dress go?Wine is the poet's due.
TOKUDA YASOKICHI III: A FINE KUTANI GLAZED PORCELAIN VASEBy Tokuda Yasokichi III (1933-2009), signed Kutani MasahikoJapan, late 20th century, Showa period (1926-1989)The globular body supported on a short broad foot and rising to a slender cylindrical stem-form neck, covered overall in a rich, lustrous, finely crackled, blue-green streaked glaze, save for the white foot and base signed KUTANI MASAHIKO below an impressed foliate design.HEIGHT 25.5 cmCondition: Excellent condition.Provenance: Dutch collection.Tokuda Yasokichi III was designated a Bearer of Important Intangible Cultural Assets (a "Living National Treasure") in 1997 for his mastery of the innovative saiyu glaze technique, based on traditional Kutani colored glaze enamels as handed down from his grandfather and father, Tokuda Yasokichi I (1873–1956) and Tokuda Yasokichi II (1907–1997). Before he succeeded his father in 1988 as Tokuda Yasokichi III, the artist was known as Tokuda Masahiko.Literature comparison: Compare a related spherical vase by the same artist in the collection of the Metropolitan Museum of Art, accession number 2001.734. Compare a related vase by the same artist in the Minneapolis Institute of Art, accession number 2015.79.372.Auction comparison:Compare a related vase by the same artist, 27.7 cm high, at Bonhams, Fine Japanese and Korean Art, 12 September 2018, New York, lot 1279 (sold for 4,750 USD). Another closely related vase by the same artist was sold at Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 75 (sold for 5,688 EUR).
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).
A RARE AND IMPRESSIVE IRON JIZAI OKIMONO OF A HAWKJapan, late 19th century, Meiji period (1868-1912)Naturalistically rendered, the eyes inlaid in gilt with black pupils, the predatory bird perched in a portrait-like pose, the leg joints, wings, beak, and tail meticulously crafted from numerous movable segments.LENGTH 30 cm, HEIGHT 26 cmWEIGHT 1,234 gCondition: Very good condition with minor wear, some expected age-related stiffness to the joints.The art of creating lifelike figures of animals in metal, known as jizai okimono, which developed during the Edo period, is an example of outstanding Japanese craftsmanship. Meticulously constructed with hammered plates of iron, these articulated figures were greatly sought after for decorative use. They were placed in alcoves alongside pieces of porcelain, pottery and hanging scrolls, and were the object of entertainment and discussion. Popular subjects for jizai okimono included insects, fish, crustaceans, and even dragons. Jizai okimono depicting birds are extremely rare.Literature comparison: Compare with an articulated hawk by Myochin Kiyoharu in the collection of the Tokyo National Museum, illustrated by Ito Yoshiaki et al., in the NHK Exhibition Catalogue, Commemorating the 2005 World Exposition, Aichi, Japan Arts of the East and West from World Expositions, 1855-1900, Paris, Vienna and Chicago, 2004, p. 080, no. I-191; and another articulated iron hawk (unsigned), in a private collection in France, illustrated by Harada Kazutoshi, ibid., p. 058, no. 19.Auction comparison: Compare a related kusshin jizai okimono model of a hawk, attributed to Itao Shinjiro, dated circa 1894, 29 cm high, at Bonhams, Fine Japanese Art, 16 May 2013, London, lot 563 (sold for 121,250 GBP). Compare to a closely related iron jizai okimono of a hawk, measuring 23 cm, sold at Woolley & Wallis, Japanese Works of Art, 27 July 2021, Salisbury, lot 358 (sold for 43,000 GBP).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
SHOGAKU: A SUPERB LACQUER SUZURIBAKO DEPICTING AN AUTUMNAL SCENE WITH FALCON AND SPARROWSBy Shogaku, signed Shogaku with seal Shogaku Japan, 19th centuryOf rounded rectangular form with silver rims, bearing a lustrous chestnut-red ground, the flush-fitting cover superbly decorated in gold and colored takamaki-e with kirikane and aogai inlay to depict a falcon perched on a cragged rocky outpost with leafy floral blossoms above a meandering stream, continuing over to the sides of the box. The interior of the cover similarly decorated and with red hiramaki-e and e-nashiji to depict two sparrows flying amid swirling clouds under a blood-red moon. The baseboard with gnarled branches bearing finely veined leaves and chestnuts with roughly textured shells, some of which have fallen, fitted with a rectangular inkstone (suzuri) and a silver waterdropper (suiteki) in the form of a teakettle, and signed SHOGAKU with a seal Shogaku.SIZE 6.5 x 27.3 x 23.2 cmCondition: Excellent condition with minor wear. Provenance: An important Austrian private collection, acquired during the first half of the 20th century, and thence by descent within the same family. Austrian private collection, acquired from the above.Auction comparison:Compare a related suzuribako of similar quality and depicting an autumnal scene with falcon, sold at Christie's, Japanese and Korean Art, 18 September 2007, New York, lot 238 (sold for 18,750 USD).
A SUPERB RED LACQUER TEBAKO WITH SIMULATED-METAL SWORD FITTINGSJapan, late 19th century, Meiji period (1868-1912)Of rectangular form, the flush-fitting lid with curved edges in gold fundame, the exterior bearing a red ground finely decorated with simulated metal tsuba, kozuka, and arrowheads in gold and colored hiramaki-e and takamaki-e with polychrome lacquer imitating metal iroe techniques, the base and interior of rich nashiji with gold fundame edges.The simulated sword-fittings decorated with a variety of popular subjects, including the three sake testers Shaka (The historical Buddha), Koshi (Confucius), and Roshi (Laozi); Urashima Taro; the Chinese general Kan'u with his retainer, Chokaro and Chinnan sennin, and Shoki about to catch an oni under his banner. Some of the tsuba and kozuka with the signatures of famous metalworkers.SIZE 12.4 x 24.3 x 20 cmCondition: Very good condition with minor wear, expected minor age cracks, few tiny chips.Provenance: The Strong National Museum of Play, accession number 76.3309.a-b (lacquered to the interior of the cover and the base). 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.The practice of decorating lacquer boxes with faithful imitations of sword-fittings seems to have been initiated by Shibata Zeshin (1807-1891). According to Sawaguchi Goichi's monumental study of Japanese lacquer, Nihon shikko no kenkyu (1933), a negative mold of the sword-fitting motif was made in plaster and the design was built inside the mold by applying the various layers of lacquer in reverse order. The lacquer decoration was then released from the mold and applied to the box. This method would account for the existence of identical motifs on different cabinets, some signed and some unsigned.Literature comparison:Compare a related inro-dansu with simulated tsuba and kozuka and featuring identical designs, signed and by Shibata Zeshin, illustrated in Meiji no Takara: Treasures of Imperial Japan - The Nasser D. Khalili Collection, The Kibo Foundation, 1996, Shibata Zeshin, no. 72.Auction comparison:Compare a related inro-dansu, dated second half of 19th century, 30.5 x 35.2 x 22.8 cm, at Christie's, Netsuke & Lacquer from the Japanese Department of Eskenazi, 17 November 1999, London, lot 23 (sold for 25,300 GBP). Compare a related inro-dansu, dated Meiji period, 29 x 34.6 x 22.5 cm, at Bonhams, Fine Japanese Art, 11 May 2017, London, lot 229 (sold for 12,500 GBP). Compare a related tebako, also dated late 19th century, 11.2 x 20.1 x 23.5 cm, at Christie's, Japanese Art and Design, 13 November 2002, London, lot 81 (sold for 7,170 GBP).
ITTAN: A FINE NAGOYA SCHOOL WOOD NETSUKE OF AN ONI WITH MORTAR AND SKULLBy Ittan, signed Ittan 一旦 with kakihanJapan, Nagoya, first half of 19th century, Edo period (1615-1868)The oni seated, dressed in a tiger skin loincloth, holding a mortar with his feet while grinding a human skull and bones with a long pestle. The face with a strenuous expression, the mouth agape, his eyes inlaid in dark horn. Natural himotoshi through the legs and arms, signed underneath within a raised oval reserve ITTAN with kakihan.HEIGHT 3.8 cmCondition: Very good condition, one inlay to the left eye missing.Provenance: From the collection of Mike and Hiroko Dean, acquired at Sotheby's, London, 14 November 2000, lot 150.Neil Davey wrote on Ittan, “A fine artist, who worked entirely in wood, producing small models, chiefly of animals but occasionally of legendary figural subjects. His work is full of intricate details, the eyes being inlaid in dark horn and the himotoshi being formed by a natural gap in the form.” (Netsuke, 1974, p. 194).Auction comparison:Compare to a closely related wood netsuke of a fox stirring miso, by Ittan, sold at Bonhams, Fine Japanese Art, 12 May 2009, London, lot 138 (sold for 1,560 GBP).
A TANTO IN A SUPERBLY CARVED WOOD SAYA DEPICTING FROGS AND LOTUSJapan, likely Hida province, 19th century, Edo period (1615-1868)The saya and tsuka finely and naturalistically carved with two small frogs, the eyes inlaid with dark horn and the webbed feet superbly detailed, as well as furled lotus leaves and twisting vines. The end of the hilt formed as a lotus pod.LENGTH 43.7 cm (total) and 23.6 cm (the blade)Condition: Very good condition with minor wear, traces of use, few small losses to tsuka and saya.Provenance: Austrian private collection. Auction comparison:Compare the manner of the frogs to a wood inro sold at Bonhams, Japanese and Korean Art, 21 September 2022, New York, lot 538 (sold for 7,650 USD).
A RARE SILVERED YATATE IN THE FORM OF GAGAKU INSTRUMENTSJapan, 19th centuryOf ladle type, the fudezutsu (brush holder) in the form of a transverse flute with seven smaller and one larger hole divided by incised parallel lines, the sumitsubo (inkwell) in the form of a drum, tied with silver wire, both sharing the hinged lid with handle in the form of a drum beater.LENGTH 18.2 cmCondition: Very good condition with minor wear and little tarnish to silver.Provenance: The Strong National Museum of Play, accession number 75.5397 (lacquered to base of inkwell). 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.Gagaku (lit. 'elegant music') is a type of Japanese classical music that was historically used for imperial court music and dances. Gagaku was developed as court music of the Kyoto Imperial Palace, and its near-current form was established in the Heian period (794-1185) around the 10th century. Today, it is performed by the Board of Ceremonies in the Tokyo Imperial Palace.Auction comparison:Compare a related silver yatate set sold at Bonhams, Fine Japanese Art, 17 May 2018, London, lot 143 (sold for 3,750 GBP).
KANO TESSAI: A RARE WOOD NYOI SCEPTER WITH ONI HEADBy Kano Tessai (1845-1925), signed Tessai followed by the artist's idiosyncratic kakihanJapan, Nara, early 20th centuryFinely carved, the elegantly curved shaft with a plain scroll terminal and a fierce oni head detailed with bulging eyes, bushy brows, a wide mouth revealing tongue and teeth flanked by sharp fangs, and a broad nose, the sides and back of the shaft and some details lacquered red, the wood of attractive grain and color, purposely worn to simulated old age. The front of the scepter is inscribed Seija ('right and wrong'), referencing a moral precept known as Seija zen'aku ('right and wrong & good and evil'), while the back shows the signature TESSAI followed by the artist's characteristic kakihan.LENGTH 39.3 cmCondition: Excellent condition with attractive simulated wear, possibly few minuscule nicks.Provenance: French private collection.Kano Tessai (1845–1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example. Although only few scepters by Tessai are known, he clearly greatly enjoyed and found inspiration in this type of object, as evidenced by a Chinese Ming-dynasty bamboo scepter once owned by him, see Bonhams, The Zuiun Collection, 15 March 2017, New York, lot 5004.Auction comparison:Compare a bamboo scepter by Kano Tessai at Bonhams, 11 September 2019, New York, lot 546 (sold for 2,040 USD). Compare a dried-lacquer scepter by Ito Tesseki, a student of Kano Tessai, at Bonhams, 15 March 2017, New York, lot 5030 (sold for 10,000 USD).
A VERY RARE GOLD LACQUER TABLE-FORM ORNAMENT DEPICTING MINOGAMEJapan, 19th centuryOf square form with indented corners, supported on four elegantly curved gold-lacquered cabriole legs. Exquisitely decorated in gold, silver, and black takamaki-e and hiramaki-e to depict a minogame standing foursquare in the center with four smaller minogame of varying sizes clambering on top of it and each other, their bushy seaweed-tails superbly executed with countless gold lacquered 'threads' covering the entire tabletop over the silver and gold lacquered waves and clouds detailed with e-nashiji. The underside of nashiji.SIZE 8.8 x 19.1 x 19.1 cmCondition: Good condition with minor wear, expected age cracks to lacquer, little rubbing to lacquer. Provenance: The Strong National Museum of Play, accession number 76.3310 (lacquered to the underside). 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.
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.
UTAGAWA YOSHITSUYA: A COLOR WOODLOCK PRINT TRIPTYCH DEPICTING KOGAKURE NO KIRITARO, DATED 1861By Utagawa Yoshitsuya (1822-1866), signed Ichieisai Yoshitsuyaga gaJapan, dated 1861A fantastic scene of the warrior Kogakure no Kiritaro using witchcraft to hide himself from three men attacking his palanquin. An enormous snake emerges in a cloud of smoke from the palanquin window, with Kiritaro riding atop its back at left, his hands clasped in a magical gesture as he casts a spell. The serpent bares its fang as a line of rats comes scampering out of his mouth, running across the scene. In the center, Waniguchi Jinsuke falls back on one knee, flinging his hand out at his side as he glares up at the creature. At right, his companions Masakino Torazo and Kazama Hanjiro watch with alarmed grimaces. Pine trees frame the dark night sky and a swirl of leaves is swept through the air.OBAN 36 x 23.5 cm (each print)Condition: Excellent condition, very good impression, fresh colors.Provenance: French private collection.The present triptych is from the series Kyokyaku Suikoden no uchi (Shuihuzhan of the mirror) and is titled Kogakure no Kiritaro yojyutsu o motte tsugata o kakusu (Kogakure no Kiritaro hides himself using witchcraft). The series was published by Kameya Iwakichi between 1861 and 1863. This triptych is dated to the sixth month of 1861.Utagawa Yoshitsuya (1822-1866) was a Japanese designer of ukiyo-e woodblock prints. Yoshitsuya was a student of Utagawa Kuniyoshi and, like his teacher, is best known for his woodblock prints of warriors.Auction comparison: Compare another example of this triptych by Utagawa Yoshitsuya at Christie's, Japanese and Korean Art, 20 September 2022, New York, lot 258 (sold for 5,292 USD).
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.
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).
A FINE CLOISONNÉ KORO (INCENSE BURNER) AND COVER, STYLE OF HAYASHI KODENJIJapan, Nagoya, late 19th century, Meiji period (1868-1912)The compressed globular body supported on three short feet and rising to a short waisted neck with galleried rim, the shoulder flanked by two foliate handles with incised decoration. Finely worked in silver wire and bright enamels, the black ground decorated with two shaped panels enclosing garden scenes depicting birds and flowers, flanked by wide bands with stylized butterflies, flowerheads, and foliate scroll, further with diapered and tasseled bands, the feet with fierce beast heads, the en-suite cover with a lotus knop finial, the rims and interior gilt.HEIGHT 12.8 cm, WIDTH 17 cm (across handles)WEIGHT 598 gCondition: Excellent condition with minor wear. Provenance: British collection.Auction comparison:Compare to a closely related koro and cover, attributed to a Nagoya workshop, sold at Bonhams, Fine Japanese Art, 17 May 2018, London, lot 508 (sold for 6,250 GBP).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
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).
AN IMPORTANT IMPERIAL SILVER 'TANG MIRROR' BONBONNIERE WITH GOLD KIKUMONJapan, 1915, early Taisho period (1912-1926)The bonbonnière silver box in the shape of an eight lobed tang mirror, rising from an openworked foot, the lid centered by a gold kikumon flanked by two majestic ho-o birds (phoenixes) worked in masterful high relief and standing on swirling clouds and issuing bands. With a seal mark Gyokuya kinzo (respectfully made for the Imperial house).This bonbonnière was specifically made for the 1915 Tokyo Banquet, after the enthronement of Emperor Taisho. The eight-lobed mirror form with facing phoenixes, connotes an ancient tie to nobility. This harks back to the Tang dynasty (618–907) of China, which was a formative influence on the Japanese nation.LENGTH 6.4 cmWEIGHT 115.4 gCondition: Very good condition, minor surface wear.Provenance: From the Collection of Gustaf Wallenberg, thence by descent in the same family. Gustaf Wallenberg (1863-1939) was a Swedish businessman, diplomat, and active politician. His father André Oscar Wallenberg was the founder of Stockholm Enskilda Bank (today SEB, and grandfather of Raoul Wallenberg). After a career in the Swedish Navy, he turned to the business world and was active in improving the transoceanic shipping industry, which came in handy in 1908 when he successfully negotiated with the Qing court in Beijing about a friendship, trade, and navigation treaty. The collection was acquired between 1906 and 1918 when Wallenberg was the Swedish Envoyé in Tokyo. From 1907 Wallenberg was accredited for Beijing and came to spend time in both countries as the Swedish Ambassador. Wallenberg lived in China during a tumultuous period, when a lot of precious items entered the market and the golden era of collecting Chinese works of art started in Europe.For further information on Japanese imperial silver bonbonnières see Arts of Asia Journal, Susan Tosk and David Cole, Japanese Imperial Silver Bonboninières: Elegance in the Palm of Your Hand – The Nancy and Robin Markbreiter Collection, spring 2022, no. 9. Another bonbonniere from the same series as the present lot is illustrated in fig. 9. The full article can be read here: https://artsofasia.com/2022/02/24/japanese-imperial-silver-bonbonnieres-elegance-in-the-palm-of-your-hand-the-nancy-and-robin-markbreiter-collection/ Auction comparison:Compare to a closely related imperial silver bonbonnière sold at Hindman, Japanese and Korean Works of Art, 25 March 2022, Chicago, lot 13 (sold for 2,813 USD).
MICHAEL BIRCH: PORTRAIT OF MY FATHERBy Michael Henry Birch (1926-2008), signed with artist's initials 'MHB'England, 1994Published: Birch, JKL (2013) The Art & Life of Michael Birch, p. 41.Exhibited & Illustrated: The Carvings of Michael Henry Birch, N.K.C. New York, 1995. Michael Birch Netsuke Carver and Sculptor, National College of Art & Design, Dublin 1997. Tactiles by Michael Henry Birch, I.N.S.C Boston, 2001. The head of elongated pear shape, carved from hippopotamus incisor, the features finely detailed in an exaggerated manner with an aquiline nose, and smiling eyes below arched brows. The head inset in a wood stand of lobed form. Small himotoshi through the back and the signature 'MHB' within a gold-inlaid rectangular reserve.HEIGHT 9.2 cm Condition: Excellent condition with natural veining and age cracks.Provenance: From the collection of Jonathan Birch, son of Michael Henry Birch.Auction comparison:Compare a related netsuke of a samurai mask by Michael Birch, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 251 (sold for 1,138 EUR).
A FINE SILVER LACQUER KOGO (INCENSE BOX) AND COVER WITH A WATER STRIDER (HIMEAMENBO)Japan, 19th century, late Edo (1615-1868) to early Meiji period (1868-1912)Of circular domed form, the silver-lacquered ground finely decorated in black and gold takamaki-e with a water strider (himeamenbo), the neatly detailed wings drawn in, the interior lacquered black with gold fundame edges. Note the fine lacquer technique to the silver ground and black interior, both reminiscent of the Zeshin school.DIAMETER 5.4 cmCondition: Excellent condition with minor wear. Provenance: British private collection. Auction comparison:Compare to a related lacquer kogo with a similar ground, by Shibata Zeshin, offered at Bonhams, Fine Japanese Art, 10 November 2011, London, lot 247 (estimate 15,000-20,000 GBP).
A RARE AND SUPERB SHIBAYAMA-STYLE INLAID GOLD LACQUER TABLE SCREEN WITH KYOSAI'S ANIMAL CIRCUSJapan, Meiji period (1868-1912)The screen comprising two hinged panels opening both ways so either side can be presented as the front, each panel divided into two sections framed in gold nashiji, kirigane, and fundame, the kinji ground inlaid with mother-of-pearl, horn, coral, tortoiseshell, and bone, the top sections depicting to one side a multitude of anthropomorphic, frolicking animals engaged in various pursuits and acrobatic feats, including two mice destroying a game of go, a cat pounding mochi, a bat fanning a teakettle, a rabbit serving tea, another hare smoking a pipe, a dog being lifted into the air by a bat, a group of rats playing musical instruments, and another attempting to steal a puppy's brocade ball, the lower sections decorated with scholar's objects including scrolls, vases, a censer, a figure of Kannon, a scepter, a flywhisk, and a scholar's rock.The other side is similarly inlaid and further decorated in iro-e hiramaki-e and takamaki-e with a humorous and chaotic scene sparked by a hawk lifting a sarumawashi's helpless monkey as numerous bystanders, young and old, watch in shock and awe, surrounded by blossoming cherry trees and leafy chrysanthemums, above the two smaller sections similarly decorated with Mandarin ducks in a pond with various flowers.HEIGHT 25.5 cm, WIDTH 25.3 cmCondition: Good condition with minor wear, the side with the frolicking animals with a few losses to inlays, the other side with absolutely no losses to inlays whatsoever.Provenance: French private collection.This remarkably detailed and very amusing screen has certainly been inspired by Kawanabe Kyosai's animal circus, which in turn was inspired by the famous Choju-jinbutsu-giga scrolls (literally "Animal-person Caricatures"), dating to the 12th century and housed in the Toyo National Museum.Auction comparison: Compare a closely related Shibayama style gold lacquer two-panel screen by Masaaki, 23.7 x 21.5 cm, at Bonhams, Fine Japanese Art, 17 May 2018, London, lot 217 (sold for 11,250 GBP).
URAGAMI SHUNKIN: A 14-METER HANDSCROLL WITH BIRDS AND FLOWERS, DATED 1836 BY INSCRIPTIONBy Uragami Shunkin (1779-1846), signed Uragami ShunkinJapan, dated 3 August 1836Finely painted with ink on paper, depicting various birds and flowers, including sparrows below willow trees, paradise flycatchers, cherry blossoms, magnolias, magpies, starlings, a cuckoo on a pine branch, water chestnut trees and kingfisher, as well as wagtails and asters. Inscribed with a title, Kacho ga, dated 3 August 1836, sealed Kisennoin and Shunkin Koji, and signed URAGAMI SHUNKIN.LENGTH 14.1 m, WIDTH 27.4 cmCondition: Very good condition with minor wear, soiling, and creasing.Provenance: The collection of Teddy Hahn (1933-2012), thence by descent. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.”With a wood storage box inscribed Kacho Shunkin hitsu, Uragami Shunkin Kacho zu maki, Tenpo Heiko hitsu.Uragami Shunkin (1779-1846) was a Japanese nanga (literati) painter who lived during the late Edo period. He was born in Bizen Province (present-day Okayama Prefecture) as the first son of Uragami Gyokudo, who was a samurai for the Ikeda daimyo at the time. He learned painting and calligraphy from his father when he was a child. Around 1792, the art dealer Nyoi Dojin began buying Gyokudo's as well as Shunkin's works. Uragami Shunkin later settled in Kyoto, establishing himself as a Literati painter conversant in the related arts of poetry, calligraphy, and playing the koto, the musical instrument that had been one of his father's fortes. Shunkin, who was active in the intellectual and literary circle of Rai Sanyo (1780–1832) and others in Kyoto, also achieved a reputation as a connoisseur of antique paintings, calligraphies, inkstones, and metalwork, all of which he collected himself.Auction comparison: Compare a smaller handscroll attributed to Uragami Shunkin depicting scholar's rocks, 24.6 x 492.5 cm, at Bonhams, 25 June 2019, San Francisco, lot 311 (sold for 5,075 USD).
TAMAGAWA MITSUKIYO FOR THE KAKUHA COMPANY: A SUPERB SILVER AND GOLD-INLAID BRONZE USUBATA VASEBy Tamagawa Mitsukiyo for the Kakuha company, signed Dai-Nihon Etchu-koku, Kakuha sei, MitsukiyoJapan, c. 1880, Meiji period (1868-1912) The ovoid body flanked by two openworked handles depicting ho-o birds at flight amid scrolling clouds and decorated in gold, silver, copper, and shakudo takazogan within shaped panels depicting to one side a samurai carrying a noble lady on his shoulder amid pine and bamboo with finely incised crashing waves in the background, and to the other the hero Saginoike Heikuro fighting a giant python with neatly incised scales atop a craggy rock amid crashing waves and a waterfall. The separately cast trumpet mouth with a galleried rim inlaid in silver wire with a geometric and a foliate band, the base of the mouth with silver-inlaid leafy floral blossoms, the interior with katakiri and kebori as well as gold and copper takazogan to depict a ho-o bird beside a leafy branch and a kirin amid swirling clouds, the exterior similarly decorated with birds and butterflies amid leafy branches and peony. The separately cast, elaborately openworked, tiered stand is intricately decorated with gold and silver inlay, both flat and in high relief, as well as katakiri and kebori, depicting beast masks, birds in flight, blooming chrysanthemums, leafy bamboo, and implements for the shell-matching game (kai-awase), and further with geometric and foliate designs. HEIGHT 59 cm WEIGHT 13.9 kgCondition: Excellent condition with minor wear. Provenance: British collection. Kakuha Kanzaemon I, real name Kakuha Zenjiro, was a member of a lineage of metalworkers from Toyama. In 1869, he started a branch office in the port of Yokohama for the export trade of bronze ware and also acted as a retailer for foreign clients in Japan. Based on Chinese bronze forms but with exaggeratedly wide rims, usubata were first cast in Japan in the seventeenth century for formal flower arrangements; then, during the early Meiji era, elaborate multi-part usubata became one of the favored forms of bronze destined for international exhibitions and the global export market. Museum comparison:The artist Tamagawa Mitsukiyo appears to be rare, his output focused on producing exceptionally fine usubata. A single usubata is preserved in the Takaoka City Museum of Art and a pair of Usubata are located in the Portland Museum of Art, accession no. 2000.64A,B.Auction comparison: Compare a pair of related usubata vases by Tamagawa Mitsukiyo, dated Meiji period, circa 1880, each 48 cm high, at Bonhams, Fine Japanese Art, 7 November 2019, lot 219 (bought-in at an estimate of 25,000-30,000 GBP).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
A RARE 'DRAGON' YAMATO UTSUBO (QUIVER) WITH YA (ARROWS)Japan, 18th century, Edo period (1615-1868)The utsubo (quiver) of wood, lacquered in black, red, gold, and silver hiramaki-e with a three clawed dragon amid swirling clouds, the central waist portion with a band of red lacquered leather, and the removable cover at the bottom held in place by a red lacquered leather band. The quiver contains twelve bamboo ya (arrows) fletched with feathers and painted in gold lacquer.LENGTH 98.3 cmCondition: Very good condition commensurate with age, few small nicks, minor losses to the lacquer, minuscule cracks, and small repairs.Provenance: French private collection.The traditional open ebira type quiver was carried on the back with the arrowheads downwards and the arrows and flights clearly visible. The utsubo type is said to have been developed in order to conceal the number of arrows held from an enemy. They were carried on the back with the arrow flights resting on an internal bamboo raft. Lacquered examples, as opposed to leather-clad and woven rattan examples, were quite luxurious and are known as Yamato utsubo.Literature comparison:Compare a related utsubo with arrows, in the Victoria and Albert Museum, accession number CIRC.87-1950.Auction comparison: Compare a closely related utsubo with dragons, 18th century, at Christie's, Samurai Swords and Armour: A Refined Art, 4 December 2014, lot 56 (sold for 8,750 USD).
JOKA: A RARE LACQUERED METAL KOZUKA WITH ANTSBy the Joka family, signed Joshin zu 乗真図 Joka 常嘉 with kakihanJapan, 19th century, Edo period (1615-1868)Lacquered in kinji (gold) and in imitation of shibuichi, with five ants carrying dew drops, the reverse with inscription in gold lacquer Joshin zu (the design after Kano Joshin, active c. 1660) and signature JOKA with kakihan.LENGTH 9.6 cmWEIGHT 22.4 gCondition: Very good condition, minor wear to lacquer, particularly to the gold-lacquered inscription.Provenance: British collection.Joka is listed on page 451, H 02141.0 in THE INDEX OF JAPANESE SWORD FITTINGS AND ASSOCIATED ARTISTS by Robert E. Haynes. The signature Joka indicated a group of artists who were active during the last two hundred years of the Edo period and into the Meiji period. There are various signatures and most artists are known for their lacquered metalwork.Museum comparison:Compare a related iron tsuba by Joka, after Yasuchika, early 19th century, in the Metropolitan Museum of Art, accession number 1999.270.
IWAMOTO KANRI: A FINE SHIBUICHI ISHIMEJI FUCHI AND KASHIRA WITH SWALLOWSBy Iwamoto Kanri (died 1815), signed Iwamoto Kanri 岩本寛利 with kaoJapan, c. 1800, Edo period (1615-1868)Of shibuichi and bearing a beautifully finished ishimeji ground, the design worked in gold, silver, shibuichi, copper, and shakudo takazogan, the kashira with a swallow flying beneath the moon, the fuchi depicting an idyllic scene with a swallow perched on a tree overhanging a straw hut, signed IWAMOTO KANRI with kakihan.LENGTH 3.9 cmWEIGHT 37.7 gCondition: Very good condition, minor wear.Provenance: British collection.Iwatomo Kanri is listed on page 556, H 02659.0 in THE INDEX OF JAPANESE SWORD FITTINGS AND ASSOCIATED ARTISTS by Robert E. Haynes. Also known as Asai Kanri. The artist lived in Edo and adopted the style of Konkan in his earlier work, while later developing his own style.Auction comparison:Compare a related kashira and fuchi with sparrows by Asai Kanri, at Bonhams, Fine Japanese Works of Art, 19 March 2008, New York, lot 5174 (sold for 1,560 USD).
A LARGE FRAMED 'CRANES' SILK EMBROIDERYJapan, Meiji period (1868-1912)Finely embroidered in various shades of brown and cream, with black, red, and white accents, depicting five red-crested cranes wading through reeds near a river in a grove of leafy bamboo. With a brown brocade border, backed, and framed.SIZE 190 x 134 cm (total) and 181.5 x 126 cm (image only)Condition: Good condition, some wear, loose threads, and small tears.Provenance: British collection.Auction comparison:Compare a closely related large, embroidered silk wall hanging with cranes, Meiji to Taisho period (1868-1926), of related size (195-124 cm), at Bonhams, Asian Works of Art, 16 March 2010, San Francisco, lot 8442 (sold for 3,660 USD).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
AN UNUSUAL BRONZE AND WOOD GROUP DEPICTING A HAWK ON A BIRDHOUSEThe hawk by Nojiri Hidechika for the Genryusai Seiya workshop, signed Hidechika and sealed Seiya chuJapan, Meiji period (1868-1912)The majestic bird of prey naturalistically cast with finely incised plumage, ring-punched claws, elegantly curved beak, and gilt eyes with black pupils, perched on a gnarled branch atop the roof of a Japonisme hardwood lantern-form birdhouse, the roof decorated in gold and colored takamaki-e with aogai inlays to depict autumnal maple leaves borne on twisted vines, above the birdhouse with four intricately carved panels depicting phoenixes, framed by bands of key-fret, the stand and feet incised with stylized flowerheads and foliate scroll. Signed underneath the eagle HIDECHIKA and with seal mark SEIYA chu [by Hidechika, cast by the Seiya workshop].HEIGHT 22.5 cm (the bird), 104.5 cm (total)WEIGHT 3.92 kg (the bird), 9.32 kg (total)Condition: The Hawk's feet with restorations and replaced screws, a loss to one claw, and traces of soldering. The stand with losses to inlays and lacquer, minor chips and scratches, expected age cracks.Provenance: French private collection.Genryusai Seiya was a master craftsman in charge of a workshop specializing in export wares of the highest quality. Production included human genre figures, vases and exotic bronze models of animals probably influenced by the opening of Tokyo Zoological Gardens in 1882. The present piece is a brilliant example of Seiya's naturalistic bronzes.Auction comparison:Compare to a closely related bronze of an eagle, by Seiya, sold at Christie's, Japanese and Korean Art, 16 September 2003, New York, lot 344 (sold for 6,573 USD).
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.
ANDO: A CLOISONNÉ ENAMEL VASE DEPICTING PHEASANTS AND CHRYSANTHEMUMSBy the Ando company, signed with the Ando company markJapan, Nagoya, early 20th century, Meiji (1868-1912) to Taisho period (1912-1926)The broad baluster body supported on a short spreading foot and rising to a waisted neck with flared rim, the sides finely decorated in bright enamels with two pheasants on a rocky outcrop, a stream running between them, amid large leafy chrysanthemums, daisies, and other flowers, all against a deep-blue ground, with floral diapered bands below the rim and above the foot. The rims of silver, the foot rim with a two-character mark 'jungin' (pure silver), and the base with the Ando company mark.HEIGHT 24.2 cm (excl. stand)WEIGHT 1,100 g (excl. stand)Condition: Excellent condition with minor wear and minimal manufacturing irregularities. Provenance: From the collection of Vice-Admiral Reginald Vesey Holt, CB, DSO, MVO, and thence by descent. The vase was gifted to Vice-Admiral Holt by Admiral Koshiro Oikawa, the Japanese Naval Minister during World War II, as commemorated by the silver plaque on the wood stand. The wood stand further with remnants of an original Ando company label to the base. Koshiro Oikawa (1883-1958) was an admiral in the Imperial Japanese Navy and Naval Minister during World War II. Oikawa was appointed as Minister of the Navy in the second and third cabinets of Prime Minister Fumimaro Konoe between 5 September 1940 and 18 October 1941. While Navy Minister, he strove to maintain ties with the United States, and instructed his naval attachés in Washington DC to work together with the Japanese ambassador to prevent war from breaking out. He continued to serve as Naval Councilor until near the end of World War II and was Chief of the Navy General Staff in late 1944 but resigned in May 1945. Vice-Admiral Reginald Vesey Holt, CB, DSO, MVO, (1884-1957) was an officer in the Royal Navy. He commanded a considerable number of destroyers and torpedo craft during World War I. Holt was promoted to the rank of Vice-Admiral on 15 December, 1939. He was placed on the Retired List at his own request on 4 May, 1940.With a finely carved and openworked wood stand, fitted with a silver commemorative plaque inscribed, 'Vice-Admiral R.B. [sic] Holt. January 1940. From K. Oikawa, Admiral I. J. Navy', and incised with a symbol of an anchor and prunus blossom.Auction comparison: Compare a closely related cloisonné vase by the Ando workshop, dated Taisho period (1912-1926), 30.8 cm high, at Bonhams, Fine Japanese and Korean Works of Art, 18 March 2015, New York, lot 3166 (sold for 3,250 USD).
A RARE STONE STELE OF NYOIRIN KANNON, DATED 1708 BY INSCRIPTIONJapan, dated 1708Well carved seated in royal ease on a draped lotus throne, the right hand raised in Shiyui-so supporting the tilted head, the left hand resting on the left thigh, wearing loose-fitting robes opening at the chest, the face with a contemplative expression, the hair arranged in a high chignon, backed by a tall mandorla.The left side with a carved inscription: 寶永五戊子年霜月四日 “Hoei go tsuchinoe-ne toshi shimotsuki yokka” [The 4th day of the Eleventh month (the month of frost), in the Hoei 5th year (1708), in the year of tsuchinoe-ne]. The opposite side opposite with a female devotee's holy name 'Rishō Myotei Shinnyo 理照妙諦信女 “, center of the base further with 'Nakazawa Shi 中沢氏'HEIGHT 93 cmCondition: Good condition, commensurate with over 300 years of age. Extensive wear, minor losses, signs of weathering and erosion, few structural cracks.Provenance: From the collection of Sir Ernest Ridley Debenham, thence by descent in the same family. A letter from John G. Ayers of the Victoria & Albert Museum, addressed to “Miss M C Debenham” (Ernest Debenham's daughter Margaret), dated 14 August 1970, detailing his opinion of the present lot and translation of the inscriptions, with letterhead of the Victoria & Albert Museum, accompanies this lot. Sir Ernest Ridley Debenham, 1st Baronet (1865-1952), was an English businessman who owned the famous department store chain Debenhams. He was responsible for the considerable expansion of the family's retail and wholesale drapery firm between 1892 and 1927. He was also a pioneer in the dairy industry. John G. Ayers formed the Far Eastern Department at the Victoria & Albert Museum in 1970 and served as President of the Oriental Ceramics Society between 1984 and 1986. He authored countless books on Chinese and Japanese works of art, including the famous Baur Collection, and was widely recognized as one of the world's leading specialists in the field.This stele depicts Nyoirin Kannon (Skt: Cintamani Chakra Avalokiteshvara), a form of the bodhisattva Kannon whom Buddhists believe 'listens to the voices of the world' and to whom they look for the granting of wishes. Nyoirin Kannon is usually depicted with six hands holding various attributes, but in this rare stele is carved with two hands.The surname of the devotee was Nakazawa 中沢, whose holy Buddhist name was Risho Myotei shinnyo, which literally means “A Buddhist female lay believer Risho Myotei”. Risho Myotei 理照妙諦 literally means “Logic, Enlighten, Wondrous, Truth”.Museum comparison: Compare a closely related memorial stone depicting a two-armed Nyoirin Kannon, dated 1671 by inscription, in the Horniman Museum & Gardens, museum number nn19126. Compare a related stone stele of a six-armed Nyoirin Kannon, dated 1680 by inscription, in the Victoria & Albert Museum, accession number A.125-1920.
A RARE IVORY 'SILK SEAL' TYPE NETSUKE OF A FOREIGNERUnsignedJapan, late 17th to early 18th century, Edo period (1615-1868)Published: Sydney L. Moss Ltd. (2016) Kokusai the Genius: and Stag-antler Carving in Japan, vol. I, p. 119-120, no. 10.Carved as a foreigner, decorated with a finely incised collar and elaborate ruff, the face with a grotesque, grim expression. Three large himotoshi for the cord attachment.HEIGHT 3.8 cmCondition: Very good condition, minor wear, few natural age cracks. Deep honey-yellow patina.Provenance: German private collection, ex-collection June Schuerch (1930-2009).The preferred material for this type of netsuke was stag antler. Ivory silk-seal netsuke are very rare.Auction comparison:Compare a related stag antler silk seal netsuke, 17th-18th century, at Christie's, Japanese Art & Design, 4 November 2009, London, lot 102 (sold for 1,500 GBP).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 VERY RARE AND SUPERB INLAID LACQUER BOX AND COVER DEPICTING LUNAR HARESJapan, 19th centuryOf rounded rectangular form, the kinji ground finely decorated in gold, silver, and copper takamaki-e, hiramaki-e, and togidashi with kirigane as well as inlays of aogai (mother-of-pearl) to depict two hares amid leafy chrysanthemums, lilies, other flowers, and clovers as well as craggy rocks, the cover further with three silver-lacquered kana characters in cursive script (ashide) reading 'Tsuki no yo' ('The moon at night'). The hares' eyes are inlaid with coral and amber. The base and interior of nashiji, the interior with gold fundame edges, the rims of silver.SIZE 7 x 15.3 x 11.6 cmCondition: Excellent condition with minor wear.Provenance: The Strong National Museum of Play, accession number 75.1892 (lacquered to the base). Old collector's label '#16' to base. 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.The inscription on the present box, coupled with the two hares, is an allusion to the lunar hare, a mythical figure who lives on the moon in Far Eastern folklore, based on pareidolia interpretations that identify the dark markings on the near side of the moon as a rabbit or hare. 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. In the Japanese variation, the lunar hare is often seen pounding mochi.
UTAGAWA KUNIYOSHI: A COLOR WOODBLOCK PRINT OF BENKEI FIGHTING A GIANT CARPBy Utagawa Kuniyoshi (1797-1861), signed Ichiyusai Kuniyoshi gaJapan, early 19th century, Edo period (1615-1868)The young warrior-monk wrestling a giant carp that had eaten its mother, engulfed in a crashing wave, a stern expression on his face as he subdues the huge fish.OBAN 36 x 25 cmCondition: Good condition, color, and impression. Minor soiling. Small tears and losses around the edges.Provenance: Austrian private collection.Utagawa Kuniyoshi (1797-1861) was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. The range of Kuniyoshi's subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. Kuniyoshi's work is held in the permanent collections of many museums worldwide, including the Metropolitan Museum of Art, the Princeton University Art Museum, the Nasher Museum of Art, the Walters Art Museum, the Portland Art Museum, the Seattle Art Museum, the Brooklyn Museum, and the Van Gogh Museum.Auction comparison: Compare a closely related woodblock print by Utagawa Kuniyoshi at Bonhams, 12 May 2022, London, lot 382 (sold for 6,375 GBP).
BAISEN: A FINE PAIR OF KANO SCHOOL 'FALCON' SCROLL PAINTINGSBy Baisen (Umekawa), signed Baisen hitsu with sealJapan, 18th-19th century, Edo period (1615-1868)Painted in ink and watercolors on silk, with a silk brocade frame, and mounted as a hanging scroll, each scroll depicting a falcon, one grooming, the other perched on a gnarly pine branch, its steely glare focused on the far distance, their eyes and feet accentuated in vibrant yellow colors. Each signed BAISEN hitsu [made by Baisen] and with two red seals.SIZE 79.2 x 31.2 cm (image), 158 x 46 cm (incl. mounting)Condition: Good condition, the images with few stains and some creasing, the mounts with creasing, few minuscule holes, small stains, and loose threads.Provenance: French private collection.With a wooden box, inscribed: “Baisen hitsu, taka no e, nifuku tsui, shigatsu nanoka, Chosai no shozou” [Painting by Baisen, a pair of hanging scrolls of hawks, collection of Chosai, 7th day in the fourth month].Museum comparison:Compare a related scroll painting of an eagle by Kano Chikanobu, 17th-18th century, at the Metropolitan Museum of Art, accession number 36.100.7.
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.
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).
A FINE CLOISONNÉ ENAMEL TRAY DEPICTING MOUNT FUIJI IN THE STYLE OF NAMIKAWA SOSUKEJapan, Meiji period (1868-1912)Of oval form, the shallow rounded sides finely decorated to the interior in musen (wireless) enamels with a view of the snow-capped Mount Fuji in the mist and to the base in copper wire with bamboo leaves, chrysanthemum roundels, stylized flowerheads, and scrolling vines against a turquoise-blue ground.LENGTH 18.4 cmWEIGHT 266.3 gCondition: Excellent condition with minor wear and manufacturing irregularities. Provenance: The Strong National Museum of Play, accession number 76.2503 (lacquered to the base). 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.Auction comparison: Compare to a tray by Namikawa Sosuke sold at Bonhams, Fine Japanese Art, 12 May 2011, London, lot 179 (sold for 22,800 GBP).
A FINE SCROLL PAINTING OF A TIGER, SCHOOL OF MARUYAMA OKYOInscribed Kamei and sealed Anagura and KameisaiJapan, Kyoto, late 18th – early 19th century, Edo period (1615-1868)Finely painted in ink and watercolors on silk, with a silk brocade frame and mounted as a hanging scroll, depicting a tiger standing foursquare on a rocky slope, with brown leaves and twisted vines and roots in the background, as well as bamboo leaves below the tiger, calling to mind the popular motif take no tora (tiger in bamboo). The tiger's striped fur is neatly detailed and both its large side-glancing eyes and dynamic pose suggest a certain mischief to the mysterious animal. Inscribed and signed center right, 'KAMEI shujin, Heian shuchikuro chu ni oite utsutsu' ('Painted by Master Kamei, at the Shuchikuro Studio, Kyoto').SIZE 103 x 51 cm (image) and 178 x 67 cm (total)Condition: Very good condition with minor wear, creasing, little soiling, the brocade frame with few minuscule losses to edges.Provenance: From a private collection, Illinois.Although there is no information available about this artist, it is likely that he was a follower of Maruyama Okyo (1733-1795). The name Kamei literally means 'Turtle Abode'. Maruyama Okyo and his students painted numerous paintings for the Daijoji Temple, whose mountain name (sango) is Kamei Temple (also known as Okyo Temple); the commission was carried out at the Okyo's studio in Kyoto, though the Kamei Temple (Okyo Temple) is located in nearby Hyogo. Tiger imagery has a long history in East Asia. Tigers were frequently paired with dragons—the tiger representing the 'male' principle, the yin to the female 'yang' of the dragon, ancient cosmological symbols. Tigers are also commonly paired with bamboo, which is known as take no tora, or 'tiger in bamboo', and has many different interpretations; the tiger has a strong nature, is flexible and resilient like the bamboo, but it is also said that the strong tiger is looking for shelter underneath the bamboo, as any earthly power is inferior to the forces of nature. Moreover, the tiger and bamboo represent the power of faith in Buddhism.Auction comparison: Compare a closely related painting of a tiger, described as “School of Maruyama Okyo”, 104 x 15.5 cm, at Christie's, Japanese & Korean Art, 23 March 2011, New York, lot 879 (sold for 10,000 USD).
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.
A SUPERB INLAID LACQUER TEBAKO AND COVER DEPICTING A KABUTO WITH KUWAGATA AND DRAGON MAEDATEJapan, 19th centuryOf rectangular form, the roiro ground finely decorated in iro-e takamaki-e with a hoshi-bachi kabuto, the kuwagata maedate with inome ('boar's eyes') is inlaid with gilt metal, the helmet is centered by a well-carved dragon maedate with neatly incised mane, the exterior edges of gold nashiji, the interiors and base of nashiji, the interior edges of gold fundame.SIZE 13 x 24.4 x 19.8 cmCondition: Very good condition with minor wear, few tiny age cracks to lacquer only on the interior, few minuscule areas of lacquer flaking to edges. Minor wear to gilt-metal inlays. Provenance: The Strong National Museum of Play, accession number 74.185.86 (lacquered to the interior of the cover). 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.Auction comparison:Compare a closely related red-lacquered tebako and cover with a near-identical kabuto, dated Taisho to early Showa period, early 20th century, at Christie's, 21 March 2012, New York, lot 933 (sold for 6,875 USD).
TAKASE EIJU: A MASTERFUL TAKASE SCHOOL SHAKUDO KASHIRA AND FUCHI DEPICTING A FALCONS HUNTING EGRETSBy Takase Eiju (1775-1800), signed Takase Eiju 高瀬栄壽 with kakihanJapan, late 18th-early 19th century, Edo period (1615-1868)Bearing a superb shakudo-nanako ground, the kashira decorated with a descending falcon and bamboo in gold takazogan, the shitodome ringed in gold. The fuchi with three egrets in flight in gold and silver takazogan, signed TAKASE EIJU and with kakihan.LENGTH 3.8 cmWEIGHT 46.1 gCondition: Very good condition, minor wear.Provenance: British collection.Takase Eiju is listed on page 115, H 00436.0 in THE INDEX OF JAPANESE SWORD FITTINGS AND ASSOCIATED ARTISTS by Robert E. Haynes. The artist lived in Mito, Hitachi province, was a member of the Takase school and studied under the first Taizan Motozane.Falconry (takagari) was introduced to Japan from China in the 4th century. Hunting with hawks and falcons is mentioned in the Kojiki (712). In the Heian period (794-1185), the sport of falconry was practiced by emperors and their courtiers. By the Kamakura period (1185-1333), samurai clans had established various schools, methods and traditions of hunting with falcons and hawks. By the Edo period (1615-1868), falconry was officially patronized by the shogunate and the position of master of falconry was established in the shogunate bureaucracy. This sword fitting set was likely intended for a falconer.Literature comparison:Compare a related kashira with Horses by Takase Eiju, in the Walters Art Museum, accession number 51.906.
UTAGAWA KUNIYOSHI: A RARE COLOR WOODBLOCK PRINT TRIPTYCH DEPICTING TADATSUNE SLAYING A GIANT BOARBy Utagawa Kuniyoshi (1797-1861), signed Ichiyusai Kuniyoshi gaJapan, published 1847-1853Depicting Nitta Tadatsune slaying a giant boar, which has already been hit by several arrows, during the grand hunting event Fuji no Makigari arranged by shogun Minamoto no Yoritomo in 1193 at the foot of Mount Fuji. The scene is quite chaotic, with fleeing animals chased by mounted archers and the shogun's gokenin (retainers) with their beaters, all amid gnarled pine trees. Signed ICHIYUSAI KUNIYOSHI, with double nanushi censor seals. The print was published by Joshuya Kinzo between 1847 and 1853. Matted and framed.OBAN 36.2 x 24.6 cm (each print)Condition: Good condition, color, and impression. Minor soiling and creasing. Provenance: From a Canadian private collection. The reverse with a handwritten note.Nitta Tadatsune (1167-1203) was a samurai lord and retainer of the Kamakura shogunate in the late Heian and early Kamakura period. He served as a close retainer to shoguns Minamoto no Yoritomo and Yoriie. In June 1193, during the grand hunting event, Fuji no Makigari, held by shogun Minamoto no Yoritomo, Tadatsune acted as an archer for Yoritomo.Fuji no Makigari was held from June 8 to July 7, 1193, for about a month. Including the samurai's beaters, a total of 700,000 participated in the hunting event, and the historical chronicle of Azuma Kagami describes the scale of the event stating, "Such a crowd of archers that there is no point measuring." One of the processions in the Yokkaichi Festival, held in Yokkaichi, Mie Prefecture, is the Fuji no Makigari procession. It can be seen in the An'ei era (1772-1781), and it is also written about in the diary of the painter Shiba Kokan in 1788, as "see the procession of Fuji no Makigari." Children dressed as samurai wearing resplendent costumes shoot at a 4-meter-long papier-mâché wild boar, in reference to several legends surrounding Nitta Tadatsune slaying a giant wild boar, as depicted in the present triptych.Utagawa Kuniyoshi (1797-1861) was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. The range of Kuniyoshi's subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. Kuniyoshi's work is held in the permanent collections of many museums worldwide, including the Metropolitan Museum of Art, the Princeton University Art Museum, the Nasher Museum of Art, the Walters Art Museum, the Portland Art Museum, the Seattle Art Museum, the Brooklyn Museum, and the Van Gogh Museum.Auction comparison: Compare a closely related triptych woodblock print by Utagawa Kuniyoshi, depicting Doji Yoshiharu overthrowing a giant boar in the forest, at Christie's, 22 June 2017, London, lot 112 (sold for 2,000 GBP).
KINKOZAN: A RARE SATSUMA CERAMIC HU-FORM VASE WITH MAPLE AND SPARROWSBy the Kinkozan company, signed and sealed Kinkozan zoJapan, Kyoto, Meiji period (1868-1912)The vase of Chinese Hu-shape rising from a short straight foot to a long neck with straight rim, comprising four sides that are finely painted in polychrome enamels and with gilt depicting an autumnal scene with four sparrows in flight amid branches of maple, all above a cream craquelure glaze. The rim in gilt with a band of key-fret. The recessed base with the gilt signature KINKOZAN zo and with an impressed seal KINKOZAN zo.HEIGHT 18.8 cmCondition: Very good condition, minor wear, mostly to the gilt, and manufacturing flaws.Provenance: British trade.The design is quite unusual for the Kinkozan company and is much more reminiscent of the work of Yabvu Meizan (1853-1935)Auction comparison:For a closely related satsuma vase with maple design, by Yabu Meizan, see Bonhams, Fine Japanese and Korean Art, 24 September 2020, New York, lot 896 (sold for 3,187 USD).
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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