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Lot 1
TAKANO RYOICHI: A FINE BRONZE VASE WITH A FROG AND BAMBOOBy Takano Ryoichi (born 1907), signed ShizanJapan, Takaoka, Toyama prefecture, first half of 20th centuryThe tall and slender body rising from a short waisted foot to a short waisted neck with everted rim, the front boldly decorated in relief with a small frog perched on a bamboo stalk, with a second bamboo stalk and leaves, the recessed base signed SHIZAN.HEIGHT 27 cmWEIGHT 987.5 gCondition: Very good condition with minor wear, few minuscule nicks, occasional light scratches, the neck and rim with a small dent.Provenance: German private collection, acquired before 2007.Shizan was the go (art name) for Takano Ryoichi who lived in Takaoka, Toyama Prefecture. He started his career at the beginning of the Showa era and won several prizes in craft exhibitions.Auction comparison: Compare a related bronze baluster vase with a dragon by the same artist, but of larger size (34 cm high), at Bonhams, Fine Japanese Art, 12 May 2016, London, lot 522 (sold for 3,125 GBP).
Lot 10
A FINE BRONZE OKIMONO OF A HERONJapan, Meiji period (1868-1912)The naturalistically modelled bronze depicting a heron with characteristically long legs, a long s-shaped neck, a slightly curved beak, and a feathered crest. The eyes inlaid in shakudo and the plumage finely incised.HEIGHT 25 cmWEIGHT 1,461 gCondition: Good condition with some minor wear here and there including some small nicks and surface scratches. One leg is slightly loose.Provenance: Old Swiss private collection formed in the 1940s/50s.
Lot 109
KOSHINSAI HARUHIDE: A MAGNIFICENT GOLD LACQUER TEBAKO AND TRAY WITH SCENES FROM THE NIKKO TOSHO-GUBy Koshinsai Yoshikawa (art name Haruhide), signed Koshinsai Haruhide with seal YoshikawaJapan, 19th century, Edo period (1615-1868)The accessories box of typical rectangular shape with rounded corners, a flush fitting cover with silver rims, and a footed tray inside, each lavishly lacquered in rich gold with various techniques such as takamaki-e, hiramaki-e, kirikane, nashiji, and togidashi-e, depicting various scenes from the Tosho-gu shrine in Nikko.The cover shows the three sacred storage houses (Nikko Toshogu Sanjinko) nestled amongst tall cryptomeria trees, as well as the famous architectural elements depicting imaginary elephants (sozo-no-zo). The inside of the cover shows the five-story pagoda of the Nikko Tosho-gu from afar, amongst many trees and dense mist emulated by nashiji-lacquer, all below the silver-inlaid moon. The outside of the box shows various idyllic landscape scenes in Nikko. The tray shows the famous red Shinkyo bridge in Nikko below towering pine trees. The inside and underside of the box, as well as the underside of the tray of dense nashiji.The inside of the cover with the lacquered artist signature KOSHINSAI HARUHIDE and with red seal YOSHIKAWA. The artist is listed in the Index of Inro Artists by E.A Wrangham on page 150 as Koshinsai Yoshikawa.SIZE 22.7 x 17.7 x 10 cmCondition: Very good condition with only very minor wear to lacquer and minuscule losses, particularly around the edges.Provenance: Old Swiss private collection formed in the 1940s/50s.The Nikko Tosho-gu is a highly important Shinto shrine dedicated to Tokugawa Ieyasu, the founder of the Tokugawa shogunate, which ruled Japan from 1603 until the Meiji Restoration in 1868. Together with Futarasan Shrine and Rinno-ji, it forms the Shrines and Temples of Nikko UNESCO World Heritage Site, with 42 structures of the shrine included in the nomination. Five of them are designated as National Treasures of Japan, and three more as Important Cultural Properties. Hundreds of stone steps lead through the cryptomeria forest up to the grave of Tokugawa Ieyasu, where a bronze urn contains his remains.The subject matter and exceptionally fine quality of lacquer work may indicate this tebako was made by imperial decree.Auction comparison:For a lacquer Kodansu of similar quality and depicting the same subject matter, see Christie’s, The Joseph Collection of Japanese Art, 11 November 2015, London, lot 8 (sold for 37,500 GBP).
Lot 12
A MASSIVE BRONZE OKIMONO OF A SEA EAGLEJapan, c. 1900, Meiji period (1868-1912)Massively cast as a large sea eagle perched on a rocky outcrop engulfed in violently crashing waves with prominent spherical water droplets, the feet part of the separately cast base and each of the wings cast separately as well.HEIGHT 63 cmWEIGHT 14.8 kgCondition: Good condition with minor wear and casting irregularities, traces of gilt, few minuscule nicks, occasional light scratches, one leg has been reattached, still slightly loose.Provenance: German private collection.The underside incised with a lengthy inscription stating the okimono was commissioned by Inoue Ryonosuke of the Inoue Company, together with his business partners, including the successful businessman and founder of the historic Fujiya Hotel in Hakone, Yamaguchi Sennosuke (1851-1915). The Inoue company was founded in December 1897, retailing stationery, paper products, and printing materials.Auction comparison: Compare a related but larger (76 cm high) bronze okimono of an eagle, dated to the late 19th century, at Christie’s, Masterful Exuberance, Artistic Craftsmanship of Imperial Japan: The Property of a Lady, 18 May 2012, London, lot 150 (sold for 13,750 GBP).
Lot 124
A RARE GILT AND LACQUERED WOOD STATUE OF MONJU BOSATSU ON A KAMAKURA PERIOD BUDDHIST LIONJapan, the Bosatsu figure dating from the Edo period (17th to early 18th century), the lion dating from the late Kamakura to earlier Muromachi period (13th-15th century)Seated in vajrasana on a lotus throne, which itself rests on the back of a ferocious lion standing foursquare and with its mouth wide open. Bosatsu’s left holds a blossoming lotus. He wears a pleated skirt, a shawl on his shoulders, and an elegant scarf across his chest. His serene face with its half-closed eyes, the aquiline nose, the slender mouth, the dominant forehead adorned with an urna, and the hair combed into a high chignon overall show a distinct benevolent expression.Condition: Significant traces of use, old wear, touchups, age cracks and losses. Possibly minor old replacements. Generally in fine condition, overall commensurate with age.Provenance: Figure and base each with old collector inventory inscriptions "45010 Baelz" and "45010 Japan Baelz". According to these inscriptions from the ancient collection of Erwin Baelz (1849-1913). Collection of Dr. Erich Junkelmann (1890-1964), Lustheim Castle, Bavaria, by repute acquired from the above. Private collection, Southern Germany, by repute acquired from the above. Erwin Otto Eduard von Baelz (13 January 1849 – 31 August 1913) was a German internist, anthropologist, and the personal physician to the Japanese Imperial Family.HEIGHT 48.5 cmThe head adorned by a matching gilt-bronze openwork crown, neatly incised and inlaid in glass, all backed by a circular wood halo. Note the distinct ‘Ruyi’ shape of the lion's nose, typical for the period, as well as the original inside-painted glass eyes.Literature comparison:Compare the manner of the carving of the Buddhist lion with a closely related example from the Kamakura period in the Nara National Museum, accession no. 1311-0.Auction comparison: Compare with a similar Bodhisattva on a Buddhist lion, dated to the Kamakura period (13th-14th century), sold at Christie's, Japanese Art & Design, 16 May 2012, lot 299 (sold for 55,250 GBP). Note particularly the similarities to the Buddhist lion, which clearly dates to the same period as the present example.
Lot 126
AN IMPORTANT GILT AND LACQUERED WOOD FIGURE OF A RAKANJapan, 17th – early 18th century, early Edo period (1615-1868)The graceful, long-waisted figure is shown seated in padmasana, his richly decorated monastic robe worn around his torso, draped over both shoulders and falling in graceful folds below the legs as if draped over an edge, a kesa covering the left shoulder, the neck creased and the slender face well cast with crisp features set in a contemplative expression.HEIGHT 70 cmCondition: Traces of use and old wear as expected, some touchups, age cracks and losses. Generally in very good condition, commensurate with age, and better than most lacquered and gilt wood statues of this size and period. Provenance: Ancient French Private Collection “F”. Thence by descent within the same family. A copy of an image showing the living room of the family mansion, with the present figure as a centerpiece, dating from c. 1900, is accompanying this lot.Rakan, also known as Luohan in Chinese or Arhat in Sanskrit, is the 'Destroyer of the Passions'. They vary in numbers between 16 and 108 and were depicted in Japanese art from the 8th century onwards.As Buddha’s apostles, Arhats were first mentioned as sixteen in the Mahayanavataraka which was translated into Chinese in AD 437 and later also into Japanese. A full transcript of these sixteen names was given in AD 653 by the pilgrim monk Xuan Zang with the additional two that were probably adopted by the end of the 10th century, these being the Arhats who tamed the Dragon and the Tiger representing Eastern and Western directions respectively.There are only few surviving examples of gilt-lacquer figures of Arhats dating to the early Edo period, making the present statue exceptionally rare. The superb carving and imposing style is related to that of two gilt-bronze figures of Luohan dated to the Chinese Song dynasty and sold at Christie’s Hong Kong, 1 October 1991, lot 1668. Another related Chinese figure of a Luohan is illustrated by Hajek, Chinesische Kunst in Tschechoslowakischen Museen, Prague, 1954, no. 115. All of these figures - Japanese and Chinese - share a similarity in the fluid execution of the drapery and the almost portrait-like naturalism of the facial features.The discovery of some forty clay figures of Luohan at the Lingyan Temple in China, dated to the Song period, but of smaller size, is recorded by Wenwu 1994:3, pages 76-82. In their animated gestures, quality of portraiture and the treatment of the fluid folds of drapery at the front, they also bear resemblance to the present figure.Auction comparison:Compare with a closely related bronze figure of a Luohan from the Song Dynasty, sold at Christie's Hong Kong, Important Chinese Ceramics and Works of Art, 30 November 2016, lot 3233 (sold for 34,140,000 HKD - c. 3.5 million EUR). Also compare with a smaller wood head of an Arhat, Japan, Edo period, which has lost all of the lacquer and gilding, from the collection of Yves St. Laurent, sold at Sotheby’s Paris, Pierre Berge: From one Home to Another, October 30th 2018, lot 33 (sold for 20,000 EUR).
Lot 127
A MAGNIFICENT AND VERY LARGE FIGURE OF AMIDA, BUDDHA OF INFINITE LIGHTJapan, 17th - 18th century, earlier Edo period (1615-1868)Carved wood. Amida, the Buddha of Immeasurable Light and Life, standing on a lotus base, the right hand raised in the Semui or Vitarka gesture, the left lowered in the Yogan or Varada mudra, the drapery of his garment elegantly rendered in ‘endlessly’ flowing folds, all sumptuously gilt and decorated in fine lacquer.HEIGHT overall 135 cmCondition: Traces of use and old wear as expected, minor touchups, age cracks and losses, possibly some old replacements. Generally in good condition, commensurate with age, and better than most statues of this extremely rare size and period.Provenance: From an old French private collection. Galerie de Chartres, France, April 2016. A noted European collector, acquired from the above.The Byakugo, a white swirl of fine hair on the forehead of the Buddha, is represented here by a neatly inlaid pearl of crystal. It is also sometimes called the third eye and allows Amida to see past the mundane and into the divine world. The ushnisha above is embedded in finely sculpted, curly hair and neatly inlaid in glass.The massive, three-sectioned pedestal is composed from multiple layers of finely carved lotus petals and partially reticulated reliefs of Dharmachakra wheels and horizontal Vajras. The borders are fortified by bands of gilt bronze, all bearing fine incision and punching work. The backside shows a group of blazing flames.The gilt halo is carved in shallow relief to depict a seven-lobed lotus flower springing from a circular band of rays, all supported by a single vertical column.Amida is the principal Buddha in Pure Land Buddhism, also called the Buddha of Infinite Light. In Vajrayana tradition, he is known for his magnetizing discernment, pure perception and deep awareness of the emptiness of all phenomena. According to scriptures, he possesses infinite merit resulting from good deeds over countless past lives as a bodhisattva.Literature comparison: Compare with an earlier statue of a standing Amida Nyorai in the Tokyo National Museum, traditionally identified as Shaka Nyorai, inventory number C21, formerly owned by Sennyu-ji, Kyoto. Auction comparison:Compare with a closely related statue of Amida of near-identical size, but lacking most of the superb gilding of the present lot, sold at Christie's London, Japanese Art and Design, 16 November 2000, lot 191 (sold for 35,200 GBP - c. 42,000 EUR).
Lot 13
MASAMITSU: AN IMPRESSIVE SILVERED BRONZE OKIMONO OF AN EAGLEBy Masamitsu (Shoko), signed MasamitsuJapan, Meiji period (1868-1912)The majestic eagle with separately cast wings and feet, standing on a wood tree trunk, the wings almost fully extended, and one foot raised dynamically, as the eagle is about to take off. The plumage is naturalistically crafted with fine incision work. Signed underneath on the belly inside an oval reserve MASAMITSU (Shoko/Seiko).HEIGHT total 36.5 cm, HEIGHT eagle only 25 cm, WINGSPAN 45 cmWEIGHT 3,472 gCondition: The soldering of the two separately cast wings is somewhat unclean and one wing has become loose as a result and has been restored. The tip of one feather and the beak with old repairs. The wood base with some surface scratches. Some small dents and surface wear throughout.Provenance: German private collection.Auction comparison:A similar silvered bronze okimono of an eagle by Masatsune was sold by Bonhams, Fine Japanese Art, 5 November 2020, London, lot 288 (sold for 11,312 GBP).
Lot 130
A LARGE BRONZE OKIMONO OF A RAKAN SEATED ON A SHISHIJapan, 18th-19th century, Edo period (1615-1868)Heavily cast as a rakan (arhat) seated in a relaxed pose on a large shishi lying in a recumbent posture with flaming mane and tail, reishi-shaped nose, and sharp claws, the rakan wearing a long flowing robe secured with a hooked ring at the shoulder, the face showing a calm expression with thick eyebrows, downcast eyes, and slender lips forming a subtle smile.WIDTH 35 cmWEIGHT 5,204 gCondition: Very good condition with minor wear and casting irregularities, minuscule nicks, and light scratches.Provenance: French private collection.
Lot 14
A FINE SILVERED BRONZE OKIMONO OF A FULLY ARTICULATED CRABJapan, Meiji period (1868-1912)The naturalistically modelled and fully articulated crustacean with eight segmented legs, two large pincers in the front and two protruding eyes, which are also movable. The carapace is carefully finished and the surface with a very good patina.LENGTH 9.5 cmWEIGHT 61 gCondition: Very good condition with a fine patina and old wear.Provenance: European collection.
Lot 16
A ‘TENGU AND DRAGON’ BRONZE SPHERE, WAFTING ON A MONUMENTAL WAVEJapan, late 19th century, Meiji period (1868-1912)This is an exceptional bronze ensemble, reminiscent of one of the most iconic images of modern art, the Great Wave of Kanagawa, created by Katsushika Hokusai in 1831. The ingenuity of this composition is quite unique, as it depicts an enormous wave about to crash down upon frail crabs and octopuses beneath, while the cresting foam on top wraps around a bronze sphere, neatly incised with a dragon holding the magic pearl, and a crow-beaked karasu tengu about to take off from its peak. The waves altogether form a frame through which we observe the ‘floating’ sphere. The inevitable breaking, that we seem to await, creates a ‘magic’ tension in this artwork. Please note this bronze can also be used as a censer.HEIGHT 51 cmWEIGHT 6.8 kgCondition: Very good condition with minor traces of use, old wear and superficial scratches, some casting flaws and pitting, minuscule dents and nicks here and there, minimal warping, some corrosion to underside of base, overall exactly as expected for a bronze of this size and age. Fine, naturally grown deep-brown patina overall. Provenance: From a private collection Paris, France.The ‘Kanagawa’ wave has been influential on generations of artists both in the East and the West. The energy it conveys echoes similar approaches to render the sublime of nature in 19th century European artistic movements. In summer of 1888, Van Gogh had written passionately to his brother that “These waves are claws, you can feel it. Ah well, if we made the color very correct or the drawing very correct, we wouldn’t create those emotions”. (Letter 676 to Theo van Gogh)The dragon is associated with a wealth of legend and symbolism in old Japan, signifying both the holy nature of Shinto and the wisdom of Buddhism. Representations of the dragon are found from the earliest historical period, wall paintings in the stone tomb chambers of the Kofun era (4th - 7th centuries) together with tiger, phoenix, and gryphon. In Shinto mythology, the deity Ryujin is a dragon who lives under the sea and bears a jewel that controls the tides.The tengu, or Heavenly Sentinel, is a legendary creature found in Japanese folk religion. Buddhism long held that they were disruptive demons and harbingers of war. Their image gradually softened, however, into one of protective, if still dangerous, spirits of the mountains and forests. Literature comparison: For a silver ornament of a dragon and crystal sphere see Joe Earle, Splendors of Meiji, Treasures of Imperial Japan, Masterpieces from the Khalili, pl. 135.
Lot 17
A RARE TEMPLE LAMP OF BRONZE SHISHI SUPPORTING A BROCADE BALLJapan, 19th centuryWell cast and patinated bronze with neatly incised and chiseled decor, depicting six shishi in play, the larger three of them supporting a huge brocade ball pierced with shippo-hanabishi, while the smaller three seem to perform some sort of wild karashishi dance on top of the ball. Condition: Good overall condition with minor dents, losses, few old repairs, traces of wear and use, all exactly as expected from a bronze of this period and size. The ancient electricity fittings need professional maintenance. Provenance: The Ankarcrona Collection of Japanese Works of Art. Sten Ankarcrona (1861–1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century. HEIGHT 50 cmWEIGHT 10.1 kg On a massive hexagonal base, the sides carved and engraved with lobed panels alternately depicting flower sprays and further shishi. The inside of the ball with old silk lining. Auction comparison: Compare with a related Shishi temple lantern, sold at Christie's London, Asian Decorative Arts, 22 February 2001, lot 190 (sold for 9,165 GBP).
Lot 18
AN IMPRESSIVE BRONZE JAR AND COVER INLAID WITH MANY FINE MENUKIJapan, late 19th century, Meiji period (1868-1912)Of globular form, the domed cover with a knob handle, the bronze patinated to a dark caramel brown, the sides and cover finely inlaid with numerous menuki in gold, silver, shakudo, and shibuichi, the depictions running the full gamut of Japanese legends and mythology, including a tengu, Urashima Taro, Jurojin, Kan’U, frogs and toads, bats, chickens, and many others.HEIGHT 19.5 cm, max. DIAMETER 23 cmWEIGHT 3,100 gCondition: Good condition with minor wear, few small nicks, occasional light scratches, one of the menuki is lost, another menuki with two small losses.Provenance: Collection of Wivica Ankarcrona Borell (1935-2019). Her grandfather Sten Ankarcrona was a Swedish marine officer who came to Japan on a special mission in 1923, bringing back vast collections of Japanese art and decorating his summer house, creating first a Japanese garden and later a complete Japanese building as documented in Svenska Hem i ord och bild (Swedish Home in Words and Pictures) in 1928, providing a fascinating look at this golden age of European collecting. Their guest book contains the signature of the Swedish king Gustav VI Adolf as well as that of the Japanese crown prince, later Emperor Akihito.
Lot 2
NOGAWA: A METAL VASE DEPICTING A COCKERELBy the Nogawa company, signed Yushi and with the Nogawa company markJapan, Meiji period (1868-1912)The slender body rising to a concave shoulder with a waisted neck and lipped rim, one side decorated in gold, silver, copper, and shakudo takazogan with fine incision work depicting a long-tailed rooster perched on a branch of a blossoming cherry tree, the bronze patinated silverish black, the recessed base with the mark of the Nogawa company, the vase signed YUSHI to the reverse.HEIGHT 15.2 cmWEIGHT 257.2 gCondition: Excellent condition with minor wear.Provenance: Viennese private collection, acquired in the local trade before 2000.Auction comparison:Compare a related bronze vase by the same artist at Christie’s, Masterful Exuberance, Artistic Craftsmanship of Imperial Japan: The Property of a Lady, 18 May 2012, London, lot 150 (sold for 2,750 GBP).
Lot 265
MORI SOSEN: A LARGE AND IMPRESSIVE SCROLL PAINTING OF MONKEYS BY A WATERFALLBy Mori Sosen (1747-1821), signed Sosen with seal MorikataJapan, late 18th to early 19th century, Edo period (1615-1868)Finely painted in ink and watercolors on silk and mounted as a hanging scroll with silk brocade frame, the circular image within a rectangular field, depicting a tribe of monkeys in a rocky landscape with blossoming cherry trees and a waterfall, the monkeys engaged in various activities such as climbing, fighting, grooming, eating, and resting. Note the single white-haired monkey near the center of the image, which is almost hidden due to the similarly colored background. The rectangular field with the signature SOSEN and seal Morikata lower right.With an old wood hakogaki (storage box) with an attached label: 群猿之圖、森狙山筆 “Gun’en no zu, Mori Sosen hitsu” [A painting of a group of monkeys, painted by Mori Sosen]A further label to the side: 狙山筆、円相、郡猿圖 “Sosen hitsu, Enso, Gun’en-zu” [A painting of a group of monkeys, as the Enso (The Circle), painted by Sosen] With a large black lacquered wood box.SIZE 89 x 86.5 cm (image) and 190 x 103.5 cm (incl. mounting)Condition: Very good condition with minor wear, little soiling, few creases. The mounting with some wear, traces of use, tears, and few loose threads. The tomobako with extensive wear, cracks, and minor losses. The black-lacquered wood box with some wear, minor nicks, and light scratches.Provenance: Collection of Frieda and Milton Rosenthal, acquired from Shukodo, Kyoto. Sotheby’s Fine Chinese Ceramics & Works of Art Including Chinese and Japanese Art from the Collection of Frieda and Milton Rosenthal, 16 September 2008, lot 293. US private collection, acquired from the above.Auction comparison: Compare a related painting by Mori Sosen depicting two monkeys and their young, but of considerably smaller size, at Christie’s, Lacquer, Jade, Bronze, Ink: The Irving Collection Day Sale, 21 March 2019, New York, lot 1162 (sold for 15,000 USD).
Lot 3
NOGAWA: A FINE PATINATED BRONZE GU-FORM VASEBy the Nogawa company, signed Yushi koku and with the Nogawa company markJapan, late 19th century, Meiji period (1868-1912)The vase shaped like a Chinese gu vessel, with a slightly flared base tapering to a slender body widening to a trumpet-shaped mouth wider than the base, finely inlaid with various metals including gold and silver depicting tall bamboo and sprouting bamboo shoots, signed YUSHI koku, the base with the mark of the Nogawa company.HEIGHT 21.8 cmWEIGHT 489.3 gCondition: Very good condition with minor surface wear, some wear to metal inlays as well, few minuscule nicks, occasional light scratches.Provenance: Collection of Wivica Ankarcrona Borell (1935-2019). Her grandfather Sten Ankarcrona was a Swedish marine officer who came to Japan on a special mission in 1923, bringing back vast collections of Japanese art and decorating his summer house, creating first a Japanese garden and later a complete Japanese building as documented in Svenska Hem i ord och bild (Swedish Home in Words and Pictures) in 1928, providing a fascinating look at this golden age of European collecting. Their guest book contains the signature of the Swedish king Gustav VI Adolf as well as that of the Japanese crown prince, later Emperor Akihito.Auction comparison:Compare a related bronze vase, featuring a similar depiction of bamboo and also signed Yushi koku, at Christie’s, Masterful Exuberance, Artistic Craftsmanship of Imperial Japan: The Property of a Lady, 18 May 2012, London, lot 150 (sold for 2,750 GBP).
Lot 4
A SUPERB KAKUHA STUDIO INLAID GILT-BRONZE VASE WITH FLYING SPARROWSBy Tenmaru Isshi for the Kakuha studio, signed Tenmaru Isshi zo and Kakuha seiJapan, Takaoka, Toyama prefecture, Meiji period (1868-1912)The baluster body rising from a straight foot to a waisted neck with an everted rim, the shoulder applied with two fierce beast-mask handles with gilt eyes and fangs, the body with copper and shakudo takazogan depicting numerous sparrows in flight, some clustered together and others flying alone, amid finely gilt-splashed clouds, above a flat-inlaid band of archaistic designs with stylized phoenix heads in gold, copper, and silver, the neck flat-inlaid in gold with ‘Buddha’s hand’ fingered citron and stylized flowers, the underside signed TENMARU ISSHI zo and KAKUHA sei.HEIGHT 33.5 cmWEIGHT 4,882 gCondition: Very good condition with minor wear, few small nicks, and occasional light scratches.Provenance: German private collection, acquired before 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 export trade of bronze ware, also acting as a retailer for foreign clients in Japan.Auction comparison: For a fine bronze of a monkey and frog by the same studio see Christie’s, Peter Petrou: Tales of the Unexpected, 20 January 2019, London, lot 44 (sold for 10,625 GBP). For a bronze group depicting elephants from the same studio see Bonhams, Fine Japanese and Korean Art, 17 March 2021, New York, lot 602 (sold for 20,312 USD).
Lot 5
AN EXCEPTIONAL MIXED METAL ‘SHOKI AND ONI’ VASEJapan, Meiji period (1868-1912)The bulbous bronze vase with a slender neck and everted lip finely worked in gold, silver, copper, and shibuichi takazogan, as well as some kebori and katakiri, depicting the grim-faced demon queller Shoki with his sword drawn. A separately cast oni with gilt eyes and horns is holding a large silver cloth and quite amusingly polishing the vase with it. The vase is further embellished with a beautiful gold orchid, leafy vines, and a sparrow depicted in mid-flight. The central section and the rim with a concentric band showing minutely stippled ground finely worked in silver and gold takazogan depicting formal designs and leafy vines.HEIGHT 23.5 cmWEIGHT 1322 gCondition: Very good condition with associated surface wear, including some tiny surface nicks and minor casting irregularities. Small dent to the foot rim.Provenance: Old Swiss private collection formed in the 1940s/50s.The oni represented in this vase is likely a repentant oni looking to convert to Buddhism. The little devil is trying to make amends by polishing the vase, though the demon queller does not seem particularly impressed. The quality of workmanship is so fine, it appears as if Shoki is about to come out of the vase and strike the oni down.Literature comparison:The manner of the oni shows some similarities with the work of Sano Takachika. See for example The Nasser D. Khalili Collection of Japanese Art - Treasures of Imperial Japan, Metalwork Part II, p. 123.
Lot 6
MIYAO EISUKE: A MASSIVE, RARE AND VERY FINE PARCEL-GILT BRONZE TRIPOD KORO AND FIGURAL COVERBy Miyao Eisuke of Yokohama, signed Miyao with seal EiJapan, Meiji period (1868-1912)Of compressed globular form on tripod feet issuing from dragon heads, the body carved with sinuously coiled dragons amid reishi-shaped clouds as well as two gilt-rimmed roundels in high relief, one with a tiger in a rocky landscape in front of a pine tree, the other with a crane flanked by an immortal holding a fan and an oni carrying a double-gourd flask. The neck with two phoenix handles and carved with two phoenixes as well. The domed cover with a figural group on top depicting a young boy wearing an elaborately decorated robe and hat, trying to hold back a dog that has caught a small bird in its mouth, the boy watching the struggle with great curiosity in his eyes. Signed MIYAO with seal Ei on the boy’s back within a gilt rectangular reserve.Note the masterful craftsmanship, particularly evident in the many finely gilt details as well as the slight nuances in patination, creating a mesmerizing composition.HEIGHT 44.5 cmWEIGHT 9.6 kgCondition: Excellent condition with only few minor traces of wear.Provenance: British collection.Auction comparison:Compare with a related censer by the same artist sold by Bonhams, Fine Japanese Art, 8 November 2018, London, lot 242 (sold for 30,000 GBP).
Lot 94
OGAWA HARITSU (RITSUO): A LARGE AND IMPRESSIVE POLYCHROME GLAZED CERAMIC IREMONO (BOX) AND COVERAttributed to Ogawa Haritsu (Ritsuo, 1663-1747), signed on the original wood box Haritsu saku kaizukushiJapan, first half of 18th century, Edo period (1615-1868)Superbly modeled in the form of a cluster of shells, the largest an upturned awabi (abalone) and the other a sazae (horned turban) resting against a closed clam encrusted with barnacles, each with a separately fashioned lid decorated with different varieties of crustacea interspersed with seaweed.With the original wood awasebako (fitted box), with two paper labels, inscribed Haritsu saku kaizukushi (‘Made by Haritsu. Assortment of shells’).HEIGHT 13 cm, WIDTH 32 cm, DEPTH 27.5 cmCondition: Excellent condition with only minor surface wear. Provenance: British private collection, formerly with Gregg Baker.Ogawa Haritsu (formerly often referred to outside Japan by his alternative name of Ritsuo) was among the first Japanese lacquer artists to establish an independent reputation outside of the hereditary craft dynasties of Kyoto, Edo, and Kanazawa. Following an early career as a haiku poet, he is thought to have first turned his attention to lacquer design in middle age and soon attracted a wide following thanks to his novel choice of subject matter and pioneering and imaginative use of unusual materials; at some point after 1710 he was hired by Tsugaru Nobuhisa (1669-1747), lord of a domain in northern Japan, for whom he worked until 1731.In lacquer, he introduced a vocabulary of new materials not usually associated with lacquer artists such as glazed ceramic pieces, mother-of-pearl and lead. Haritsu also mastered the technique of making lacquer surfaces appear to resemble other materials such as bronze, tile, ink sticks and pottery, a style of decoration which became known as Haritsu saiku.Shells in combination with seaweed were a favored subject of Ogawa Haritsu and his followers, see for example a wood bunko decorated with very similar ceramic shells recently sold at Bonhams, Fine Japanese and Korean Art, 17 March 2021, New York, lot 594 (sold for 27,812 USD).The applied glazes in the present example are certainly emulative of lacquer, being a key feature of Ogawa Haritsu’s designs. The combination of elements flow over seamlessly into one another making it rather difficult to decide whether an individual decorative element is glazed or lacquered.
Lot 3076
FRANÇOIS ANDRÉ CLEMENCIN (FRENCH, 1878-1950), A BRONZE CHIVALRIC GROUP, "CELUI QUI FUT PRIS", bronze gilt with silver patina, signed Clemencin to the base with foundry mark for Unis, France. 37.5cm by 21.5cm The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Good overall condition with some light surface scratching noted to base and maiden's body, general tarnish to the silvered patina. Some very minor surface scratches and wear but generally in very good original condition.
Lot 118
WERNER STÖTZER1931 Sonneberg - 2010 SeelowGROSSES BRONZERELIEF (ENTWURF FÜR EIN DENKMAL IN NEUBRANDENBURG, 1967) Bronze, mit dunkelbrauner Patina. 43,5 x 46 x 3 cm. Das Bronzerelief entstand im Umfeld des Entwurfs für eine Bronzetür des Klosters 'Unser Lieben Frauen' in Magdeburg. Part. mit min. Oxidationsspuren. Literatur: Flügge: Werner Stötzer, Skulptur und Zeichnung, S. 21 (ganzseitig abgebildet). Provenienz: Privatsammlung Bergisches Land.
Lot 119
WERNER STÖTZER1931 Sonneberg - 2010 SeelowSCHWEBENDE (KLEINE KNIENDE) Bronze mit schwarzbrauner Patina. Auf rundem Marmorsockel montiert. Ges.-H. 27 cm, L. 16,5 cm. Auf der Unterseite monogrammiert 'WS'. Part. mit min. Oxidationsspuren. Aus einer Auflage von 10 Exemplaren. Provenienz: Privatsammlung Bergisches Land.
Lot 167
WIELAND FÖRSTER1930 DresdenNIKE Bronze mit brauner Patina. Marmorsockel. H. 43,5 cm, Ges.-H. 50 cm. Rückseitig monogrammiert 'fö' sowie nummeriert '2/12'. Unter dem Stand bezeichnet 'WFK' (Werkstatt für Kunstguss) sowie datiert '2001'. Part. mit min. Oxidationsspuren. Entwurf zur monumentalen 'Großen Nike 89' in Dresden und Potsdam, wo sie an der Glienicker Brücke für den Sieg der friedlichen Revolution steht.
Lot 186
EVERT DEN HARTOG1949 Groot-Ammers (Niederlande)ÄGYPTISCHE BASTET-KATZE Bronze, im Wachsausschmelzverfahren gegossen, mit dunkelbrauner Patina, part. poliert. H. 54,5 cm. Rückseitig mit Signaturstempel 'Hartog' sowie nummeriert '3'. Patina part. leicht ber. Provenienz: Düsseldorfer Privatsammlung.
Lot 204
BASILIUS KLEINHANS1968 Beckum, Westf.KONVOLUT AUS FÜNF BRONZE-ARBEITEN Jew. Bronze, part. mit grünlicher Patina, part. vergoldet. H. bis max. 20 cm, L. bis max. 50 cm. Jew. signiert und datiert 'Basilius Kleinhans 2008 bzw. 2011 bzw. 2012'. Part. min. ber. Provenienz: Privatsammlung Bergisches Land.
Lot 246
JOCHEN NIEDER-SCHABBEHARD1919 Köln - 2004PAAR BRONZEN: 'AUSSCHAUHALTENDE' UND 'LESESTUNDE' Jew. Bronze, mit hell- bzw. dunkelbrauner Patina, eine Bronze mit Steinsockel. H. 15,5 cm bzw. Ges.-H. 5,5 cm und Ges.-L. 20 cm. Eine Bronze auf der Plinthe mit Künstlersignet sowie datiert '(19)89'. Part. mit Oxidationsspuren.
Lot 26
SALVADOR DALÍ1904 Figueres, Girona - 1989 ebenda'MENORAH - LE CHANDELIER DE LA PAIX' Vergoldete Bronze, part. dunkelbraun patiniert. Sandfarbener Steinsockel. Ges.-H. 50,5 cm, L. ca. 30 cm. Frotseitig nummeriert '57/60' und signiert 'Salvador Dalí', rückseitig mit dem Copyrightstempel des Herstellers 'D.U. (Dalí Universal Ltd)' sowie datiert '1981'. Provenienz: Belgische Privatsammlung.
Lot 27
SALVADOR DALÍ1904 Figueres, Girona - 1989 ebenda'VENUS À TIROIR' (1973/93) Bronze mit oxydgrüner Patina. H. 39 cm. Auf der Plinthe signiert, datiert, mit Gießereivermerk sowie nummeriert 'Salvador Dalí. 1994 Valsani. 1973/93 Demart. 137/1000'. Expertise: Mit einem handnummerierten Auflagenzertifikat von Robert Descharnes (Demart Pro Arte B.V.) sowie einer notariellen Authentizitätsbeglaubigung.
Lot 279
ERWIN A. SCHINZEL1919 Jägerndorf (Sudetenland) - 2018 Karlsruhe'INNIGE UMARMUNG' (1990) Bronze mit brauner Patina. H. 23 cm. Mit Künstlersignet. Auf der Unterseite nummeriert '66/299' sowie mit Gießereistempel 'Giesserei Zimmer'. Part. mit min. Kratzspuren. Expertise: Erworben bei 'Kunsthaus Artes' (mit Original-Rechnung vom 19.07.1991).
Lot 391
WILLEM LESSINCK1947 Woerden (Niederlande)GROSSER WÄCHTER (1989) Bronze mit brauner Patina. Holzsockel. H. ca. 75 cm, L. 160 cm. Ges.-H. ca. 87,5 cm. Unter einem Fuß signiert, bezeichnet und datiert 'W. Lessinck; 1989'. Part. mit min. Oxidations- und Witterungsspuren, part. mit min. Verlusten der Patina. Provenienz: Unternehmenssammlung Rheinland-Pfalz.
Lot 63
GERHARD MARCKS1889 Berlin - 1981 Burgbrohl'HOCKENDER MIT VERSCHRÄNKTEN HÄNDEN' (1968) Bronze, mit brauner Patina. H. 43 cm, B. 41 cm. Rückseitig mit Künstlersignet und Gießereistempel 'Guss Barth Rinteln', mit Exemplarnummer '1/10'. Vollplastisch ausgeführte Aktdarstellung eines sitzenden Jünglings mit auf dem rechten Knie verschränkten Händen. Literatur: Busch, Günther/ Rudloff, Martina: Gerhard Marcks. Das plastische Werk, 2. Auflage, 1977, Nr. 926, S. 451 . Expertise: Kaufbeleg vom Kunsthandel 'Frye & Sohn' Münster ist beigefügt. Provenienz: Privatsammlung NRW.
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