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Click here to subscribeJörg Immendorff (Bleckede/Elbe 1945 – 2007 Düsseldorf). Deutscher Adler. 2002Bronze, schwarz-grün patiniert. 182,5 × 28,5 × 26,8 cm (71 ⅞ × 11 ¼ × 10 ½ in.). Auf der Basis signiert (gestempelt) und mit dem Gießerstempel: Schmäke, Düsseldorf.Einer von 7 nummerierten Güssen. [3356] Wir berechnen auf den Hammerpreis 32% Aufgeld.
Ernesto de Fiori, AmerikanerinBronze. Höhe 118,5 cm. Auf der Plinthe eingeritzt bezeichnet, monogrammiert und datiert 'I E. d. F. 24'. Wohl Unikat. Lebzeitguss. - Mit schwarzer Patina.ProvenienzPrivatsammlung Norddeutschland; seitdem in FamilienbesitzAusstellungenBerlin 1925 (Akademie der Künste), Herbstausstellung mit Kollektiv-Ausstellung de Fiori; Düsseldorf 1925 (Kunstpalast), Große Kunstausstellung der Jubiläumsausstellungen; Berlin 1992 (Georg-Kolbe-Museum), Ernesto de Fiori. Das plastische Werk 1911 - 1936, Kat. Nr. 33 a.; Zürich 1931 (Kunsthaus), Internationale Ausstellung, PlastikLiteraturGustav Eugen Diehl (Hg.), Ernesto de Fiori, Berlin 1926, op. 31; Beatrice Vierneisel, 'Die Engländerin'. Eine Bronzeplastik von Ernesto de Fiori, Berlin 1989, mit Abb.; Mayra Laudanna, Ernesto de Fiori, São Paulo 2003, Abb. S. 188Hochgewachsen, schlank, knabenhafte Körperformen und nur mit High Heels bekleidet – so interpretierte der italienisch-österreichische Bildhauer Ernesto de Fiori das Bild der modernen Frau. Im Unterschied zu etwa Aristide Maillol entwarf er einen neuen Typus von Frau - sportlich, berufstätig und selbstbewusst. De Fioris große Plastik „Amerikanerin“ entstand 1924 im Zusammenhang mit den Skulpturen „Schlendernde“ und „Engländerin“. Alle drei Figuren sind hinsichtlich ihres Typs, ihrer Haltung, Frisur und Ausstattung verwandt und offenbaren den Einfluss der damaligen Modefotografie und amerikanischen Filmindustrie. Auf die Frage, nach welchen Prinzipien de Fiori seine Figuren gestalte, antwortete er: „Mein Prinzip ist griechisch, nicht meine Empfindung. […] Meine Empfindung ist modern und europäisch […].“ (zit. nach: Beatrice Vierneisel, Alfred Flechtheim und Ernesto de Fiori, in: Sprung in den Raum, Wädenswil 2017, S. 199).Die „Amerikanerin“ entstand zu einem Zeitpunkt in de Fioris Schaffen, als sich erste künstlerische Erfolge einstellten. Maßgeblichen Anteil daran hatte der Galerist Alfred Flechtheim, der den Bildhauer über das Ehepaar Carl und Thea Sternheim 1913 kennengelernt hatte. Für Flechtheims langjährigen Mitarbeiter Hermann von Wedderkop waren die „Engländerin“ und ihre beiden ‚Schwestern‘ die „Quintessenz seiner Kunst, seiner künstlerischen Überzeugung – sie ist der Typ, den dieser swell [großartige Typ] liebt - hart, dünn, herbe, fest, mit zartesten Linien umrissen […].“ (zit. nach Ernesto de Fiori, Ausst. Kat. 1992, S. 78). Bei dem vorliegenden Lebzeitguss handelt es sich aller Wahrscheinlichkeit nach um ein Unikat. Über die Bronzefassung hinaus existierte lediglich ein Steinguss, dessen Verbleib heute unbekannt ist.
Mehrteiliger Sofatisch von Lotar Klute (1946)4 z.T. übereinander schiebbare Tischelemente, farbloses Glas, Bronze, patiniert, im Guss monogrammiert und 91 datiert, halbrunde Tische jeweils 52 cm x 65 cm x 79 cm, quadratische Tische jeweils 43 cm x 69 cm x 69 cm, minimale Gebrauchsspuren, Bronze partiell mit minimalen Korrosionsspuren, Zustand sehr gutMulti-part sofa table by Lotar Klute (1946)4 table elements, some of them sliding on top of each other, colorless glass, bronze, patinated, monogrammed and dated 91 in the casting, semicircular tables each 52 cm x 65 cm x 79 cm, square tables each 43 cm x 69 cm x 69 cm, minimal signs of usage, bronze partially with minimal traces of corrosion, condition very good
Meissen Prunkservice-Teile7-tlg., Meissen, 2. Hälfte 20. Jh., weißes Porzellan, polychrom bemalt, gold staffiert, 1 kleine Vase in kobaltblau, H 10 cm, 2 Kuchenteller mit Goldbronze und gelbem Rand in der Fahne, Ø 20 cm, 4 Teile in weiß mit Streublümchen, Tasse und UT, H 9 cm, Kuchenteller und Zuckerdose, H 8,5 cm, jeweils unterseitig mit Manufaktur- und Malermarke sowie Modellnummer, 2 Teller mit 2 Schleifstrichen, Zustand A/BMeissen splendor service parts7-piece set, Meissen, 2nd half of 20th c., white porcelain, polychrome painted, gold painted, 1 small vase in cobalt blue, h 10 cm, 2 cake plates with gold bronze and yellow rim in the flag, Ø 20 cm, 4 pieces in white with scattered flowers, cup and UT, h 9 cm, cake plate and sugar bowl, h 8,5 cm, each with manufactory and painter's mark and model number on the bottom, 2 plates with 2 grinding marks, condition A/B
Große Prunkpendule mit Boulle-MarketerieFrankreich, Samuel Marti et Cie, gegr. 1832 für Balthazar Paris, mechanisches 8-Tagewerk mit Halbstundenschlag auf Glocke, Rückplatine bezeichnet Medaille d'Bronze S. Marti et Cie., hoher, seitlich gerader Aufbau auf zugehörigem geschweiftem Sockel, oben halbrund segmentbogig geschlossen, bekrönt mit einem sich nach oben verjüngenden Aufsatzsockel, darüber vergoldete Bronzefigur einer posauneblasenden Nike, Marketerie in Boulletechnik und Verwendung von geflecktem Schildpattgrund mit Messingeinlagen, die Sockelkanten mit Messing belegt, mit fein ziselierten Profilen und Eckapplikationen in Form von weiblichen Hermen, Treize pièces-Zifferblatt mit schwarzen römischen Ziffern für die Stunden und arabischen eingravierten Minutenziffern, bezeichnet Balthazar Paris, über dem Zifferblatt weiblicher Maskaron, Höhe ohne Sockel 74 cm, Sockel Höhe 24 cm, 1 Uhrenschlüssel anbei, Gebrauchs- und Altersspuren, ein Fuß loseA large grand pendulum with boulle marquetryFrance, Samuel Marti et Cie, founded 1832 for Balthazar Paris, mechanical 8-day movement with half-hour strike on bell, back plate marked Medaille d'Bronze S. Marti et Cie., tall, laterally straight construction on an associated curved base, semi-circular segmental arch closed at the top, crowned with an upward tapering attachment base, above gilded bronze figure of a trombone-blowing Nike, marquetry in boulle technique and use of spotted tortoiseshell ground with brass inlays, the base edges inlaid with brass, with finely chiselled profiles and corner appliqués in the form of female herms, three pièces dial with black Roman numerals for the hours and Arabic engraved minute numerals, inscribed Balthazar Paris, above the dial a female mascaron, height without base 74 cm, base height 24 cm, 1 clock key enclosed, traces of use and age, one foot loose
Max Kruse (1854 Berlin - 1942 ebenda)'Nenikhamen' (Der Siegesbote), Bronze, schwarz-braun patiniert, vollplastische Darstellung des Siegesboten von Marathon einen Lorbeerzweig haltend, Höhe 38,5 cm, Länge mit Sockel 21,5 cm, im Guss signiert, betitelt und Gießerei Bezeichnung Aktien-Gesellschaft vorm. H. Gladenbeck u. Sohn, am Kinn leicht berieben, Steinsockel partiell bestoßenMax Kruse (1854 Berlin - 1942 ibid.)'Nenikhamen' (The Messenger of Victory), bronze, black-brown patinated, full relief depiction of the Messenger of Victory of Marathon holding a laurel branch, height 38,5 cm, length with base 21,5 cm, signed, titled and foundry name 'Aktien-Gesellschaft vorm. H. Gladenbeck u. Sohn', slightly rubbed on the chin, stone base partially bumped
Konvolut Orden- und Ehrenzeichen (1. WK), bestehend aus: 1x ECE Kriegsehrenzeichen am Bandin Bronze, 1x blaue Verleihungstüte "Tapferkeits-Medaille", 1x Landwehr Dienstauszeichnung 2. Klasse am Band, 1x Medaille "Für treuen Dienst im Kriege" am Band, 1x "Der Kyffhäuserbund - Für treue im Weltkriege", 1x Brosche schw. emailliert mittig EK 1 m. Lorbeerkranz, 1x Ansteckknopf Kriegsweihnachten 1918, 1x Medaille "Eleonore Ernst Ludwig 24.XII.1916", 1x Brosche aus Granatring, 1x Ehrenzeichen.
Löwenkopfsäbel, Offiziersausführung, blanke Klinge m. Mittelspitze, in Damastausführung,auf Klinge bez. Eisenhauer-Damast, reliefiertes vergoldetes Bügelgefäß (wohl Messing oder Bronze), Griff m. Drahtwicklung (ein Glasauge am Löwenkopf fehlt), Scheide aus Eisen m. einer Ringhalterung (überarbeitet), L. gesamt ca. 100 cm.
Farkas, Adam (geb. 1944), Hirsch, Bronze, Darst. eines Hirsches in Suhle blickend,Anfertigung nach Kundenwunsch, Unikat, H. ca. 22 cm, B. ca. 42 cm. Adam Farkas ist einer von Ungarns berühmtesten zeitgenössischen Bildhauern, der in dem Ort Szentendre lebt und arbeitet. Ausgestellt hat er u.a. in Budapest, Paris und Tokio.
Oswald, Karlheinz (geb. 1958), "Vier Musiker" (2008), Bronze, kleinere Ausführung derGroßbronze im Mainzer Musikkonservatorium, Bronze, rs. sign. Oswald '08 E.A., Epreuve d'artiste-Exemplar, Gr. ca. H: 43,5 x B: 51 cm. D. Künstler studierte Bildhauerei in Mainz u. lebt u. arbeitet inzwischen in Zürich und Locarno.
Grzimek, Jana -- "Hector"Porzellan, farbig gefasst. 1992/93. 25 x 50 x 26 cm.Auflage 12 num. Ex.Unter dem Stand datiert und betitelt. Vermutlich entstanden in Zusammenhang mit der Bronze „Großer Höllenhund“ von 1987/88. Für die Dachterrasse des ehemaligen Postamts 5 in Bremen-Mitte schuf die Künstlerin zudem die Bronze "Höllenhund", die sich heute in der Filiale der Deutschen Post AG, Kurfürstenallee in Bremen befindet. Hergestellt und ausgestellt in der Werkstattgalerie Hermann Noack, Berlin. Prachtvoller Guss mit lebendiger Oberflächenstruktur und dezenter Kolorierung. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
AN AMUSING BRONZE OKIMONO OF A KAPPA WITH CUCUMBER, ATTRIBUTED TO SHOKAKENAttributed to Shokaken (Oshima Yasutaro), unsignedJapan, Meiji period (1868-1912)The bronze finely cast and bearing an attractive sentoku finish, set on an oval base with four lobed feet, depicting a kappa dancing on top of a large, leafy cucumber, and wearing a tattered lotus leaf hat, the details finely incised and chiseled.HEIGHT 19 cmWEIGHT 1,330 gCondition: Good condition with minor expected wear and few casting irregularities. Minor losses to the tips of the leaves.Oshima Yasutaro (artist name: Shokaken) was born to a prominent family of metalworkers in 1849 and was the son of Oshima Takajiro. Together with his younger brother Oshima Joun (1858–1940), he successfully ran a studio called Sanseisha and produced bronzes of the finest quality. In Recollections of Oshima Joun, by Katori Hozuma published in 1941 by Tokyo Chukin-kai (Tokyo Cast Metalwork Association), he talked of his older brother who died young as being of the first rank of bronze metalwork artists in 1878, producing works of the very highest quality and commissioned for the world exhibitions. Shokaken indeed exhibited his works at numerous international expositions, including a metalwork incense burner at the Vienna World Exposition in 1873, which is now housed in the Austrian Museum of Applied Arts and Contemporary Art, Vienna (Illustrated in Arts of East and West from World Expositions 1855-1900: Paris, Vienna and Chicago (Commemorating the 2005 World Exposition, Aichi, Japan), (Osaka, 2004), p. 20, plate l-16).Auction comparison: Compare a closely related bronze okimono of a kappa, by Shokaken and signed Shokaken, at Christie's, Japanese and Korean Art, 18 September 2002, New York, lot 341 (sold at USD 1,673).
MOTOHARU: A FINE BRONZE OKIMONO OF KANZAN AND JITTOKUBy Motoharu, sealed MotoharuJapan, Meiji period (1868-1912)The finely cast bronze superbly finished to a lustrous black polish, depicting the eccentric Zen-Buddhist hermits Kanzan (Hanshan) and Jittoku (Shide) depicted in typical pose, Hanzan holding a scroll incised with minute calligraphy, and Jittoku standing behind, pointing at the scroll and with a broom lodged under his arm. The details are finely chiseled and the expressions of the pair are crafted with humor. Sealed to the back of Kanzan's robe MOTOHARU.HEIGHT 24.5 cmWEIGHT 3,402 gCondition: Excellent condition with only minor typical wear, few light scratches, some expected casting irregularities. Auction comparison:Compare a closely related bronze signed Kiyoshi and depicting the same subject at Bonhams, Fine Japanese Art, 12 May 2016, London, lot 541 (Estimate GBP 3,500-4,000).
MASATOMO: A LARGE BRONZE FIGURE OF A YOUNG ACTOR PERFORMING THE TAIHEIRAKU DANCEBy Masatomo, signed MasatomoJapan, Taisho period (1912-1926)Beautifully cast, the warrior with one knee raised, one hand placed firmly on his waist, the other raising a sword, as he performs the Taiheiraku (Song and Dance of Great Peace), a court Gagaku dance. Dressed in decorative armor with particular attention paid to the swelling of the garments, and his young face surmounted by an elaborate dragon kabuto. Signed to the base MASATOMO.HEIGHT 46 cmWEIGHT 10.7 kgCondition: Very good condition with minor wear and casting irregularities, few minuscule nicks.
TAKAAKI: A FINE AND LARGE BRONZE OKIMONO OF DAIKOKU WITH HIS RATBy Takaaki, sealed TakaakiJapan, Meiji period (1868-1912)Superbly cast and finished to an attractive black tone, the lucky god Daikoku seated on his treasure bag and holding a charmingly cast rat before him, smiling affectionately at it, his facial features neatly crafted and framed by pendulous earlobes. The details are superbly chiseled. Sealed underneath within an oval reserve TAKAAKI.SIZE 32.5 x 33 cmWEIGHT 6.2 kgCondition: Excellent condition with only minor typical wear, few light scratches.Auction comparison:Compare a related bronze figure of a nude woman by the same artist, signed Takaaki, at Bonhams, Fine Japanese Art, 16 May 2019, London, lot 177 (sold for GBP 3,188).
A SUPERB BRONZE OKIMONO OF A SHOJO, A COLLABORATION BETWEEN THREE METALWORKERSBy Kondo Shoshin, Kato Tatsuo and Hoshino Mitsuyoshi, signed Shoshin saku, Tatsuo, and Mitsuyoshi and kakihanJapan, c. 1928Separately cast in three parts and each part signed by its maker. The drunken Shojo, superbly cast and polished, is depicted with a separately cast minogame crawling over its shoulder and looking into a sake saucer (sakazuki) made from suaka (refined copper) incised with a flying crane in kebori and katakiribori. The minogame signed TATSUO (Kato Tatsuo), the sake saucer signed Mitsuyoshi and kakihan (Hoshino Mitsuyoshi) and the Shojo singed underneath SHOSHIN (Kondo Shoshin) and further with an inscription 贈呈 水道部員一同 昭和三年九月一日Zotei suidobuin ichido, Showa san'nen kugatsu tsuitachi [Presented by all the members of the Waterworks Department, 1 September 1928].HEIGHT 16.5 cmWEIGHT 2,876 gCondition: Very good condition with minor wear and some light surface scratches. One of the pegs of the minogame lost.The present okimono is a rare collaboration between three talented artists. Both Kondo Shoshin and Kato Tatsuo were pupils of Oshima Joun (1858-1940) and Hoshino Mitsuyoshi was a pupil of the sword fittings maker Toyokawa Mitsunaga II (1850-1923). A Shojo is a Japanese sea spirit with similarities to a ghost but differing from the latter in the fact that Shojo are tangible. It enjoys drinking alcohol, especially sake. Legend has it that workers at breweries in Japan have seen Shojo lurking about after indulging in their products. Both the minogame and cranes are symbols for longevity, furthermore sake is revered by immortals for its immortality-granting powers.Auction comparison:For a related bronze okimono depicting minogame, by Kato Tatsuo, see Bonhams, Fine Japanese Art, 10 November 2011, London, lot 386 (sold for GBP 5,250).
A LARGE BRONZE VASE IN THE FORM OF A PRUNUS TREE WITH FIVE BATSJapan, Meiji period (1868-1912)Naturalistically cast and carved in high relief as a prunus stump with two pruned branches and another rising along the side with several prunus buds. Five separately cast bats encircle the stump, their wings brushing the finely detailed bark of the prunus tree.HEIGHT 35 cmWEIGHT 3,537 gCondition: Good condition with minor casting flaws, small cracks likely inherent to manufacturing, and the base lost.
A VERY RARE BRONZE JIZAI (ARTICULATED) OKIMONO OF A SPIDERJapan, late 19th century, Meiji period (1868-1912)Well cast and carved as a spider, the fully articulated legs each of three segments, the abdomen movable as well, the animal well detailed with pedipalps as well as neatly incised round eyes, the bronze of a warm copper-brown tone. LENGTH 15 cmWEIGHT 526 gCondition: Very good condition, minor wear, few tiny nicks, occasional light scratches. Provenance: From an old private collection in southern Germany, partly inherited in the 1950s and further supplemented between the 1960s and 1980s. The art of creating lifelike figures of animals in metal, known as jizai okimono, developed during the Edo period and is a fine example of outstanding Japanese craftsmanship. Meticulously constructed, 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. Most early examples are made of iron, but copper, bronze, wood, and silver became popular in later designs.Popular subjects for jizai okimono included insects, fish, crustaceans, and even dragons. The present model is an extremely rare example of an arachnid.Auction comparison: Compare a related articulated bronze incense burner in the form of a grasshopper, 14 cm long, signed Watanabe and dated to the Meiji period, late 19th century, at Bonhams, Fine Japanese Works of Art, 17 September 2013, New York, lot 3295 (sold for 6,250 USD).
OSHIMA JOUN: A BRONZE VASE DEPICTING MONKEYSBy Oshima Joun (1858-1940), sealed JounJapan, Meiji period (1868-1912) Of elongated bulbous form, the slender body tapering towards the rounded shoulder and short waisted neck with a flat everted rim, the body finely cast in relief with a group of monkeys on a gnarled barren tree growing from craggy rockwork with leafy vines twisting around the thin branches. Two young are hanging on to their mother's long arm, the lower of which attempts to reach for the reflected crescent moon in the subtly carved water below, a third is clambering over her back, and the fourth has the back turned to the others, the monkeys with small inlaid copper eyes, one of the young with gilt eyes. Sealed to the underside within an oval reserve JOUN.HEIGHT 23.3 cmWEIGHT 617 gCondition: Very good condition with minor surface wear and few light scratches to the foot, some areas of oxidation to surface. Fine, naturally grown patina. The present vase alludes to a Buddhist story in which a monkey attempts to seize the reflection of a moon in a well; it fails when the branch from which it is hanging breaks. The monkey stands for unenlightened people who cannot distinguish between reality and illusion.Oshima Joun (1858-1940) was a professor at Tokyo School of Art from 1887 until 1932 and is regarded as one of the most celebrated bronze-casters of the late nineteenth and early twentieth centuries. He exhibited at several of the great international expositions of the era, including Paris (1900), St. Louis (1904) and London (1910).Auction comparison:Compare a closely related bronze vase of different form with a very similar design by the same artist, 29 cm high, at Bonhams, Fine Japanese Art, 12 May 2016, London, lot 523 (sold for 3,750 GBP).
OSHIMA JOUN (1858-1940): A FINE BRONZE VASE WITH A DRAGONBy Oshima Joun (1858-1940), signed Ichijoken Joun saku and sealed Taishodo seiJapan, Taisho period (1912-1926)The tall cylindrical body rising from a flat foot ring, decorated in high relief with a dragon emerging from a turbulent sea and flying towards the clouds in the distant sky. Signed to the back ICHIJOKEN JOUN saku [made by Ichijoken Joun] and sealed to the recessed base Taishodo sei. Accompanied by the original silk Shifuku.HEIGHT 21.6 cmWEIGHT 958 gCondition: Very good condition with minor wear and few typical casting irregularities.With an inscribed and sealed wood tomobako storage box.Oshima Joun (1858-1940), also known as Yasutaro, was a highly skilled artist renowned for his expertise in bronze casting. He hailed from a family of metalworkers and began his career in the family business in 1877. It was during this year that he adopted the art name Joun. By 1879, he had expanded the family business significantly, employing 11 craftsmen in his Tokyo studio. In 1881, Oshima Joun exhibited his work at the 2nd National Industrial Exposition, marking the beginning of his illustrious career. He gained international recognition by showcasing his art at prestigious events such as the Paris Exposition in 1900 and the London Japan-British Exposition in 1910.
NOGAWA: A FINE BRONZE VASE WITH BIRDS AND FLOWERSBy the Nogawa company, sealed with the Nogawa company markJapan, late 19th century, Meiji period (1868-1912)Finely cast and supported on slender foot with tapering sides decorated in iro-e takazogan of rich gold, silver, suaka (copper), shibuichi and shakudo. The sides decorated with four separate motifs: two iris (shobu) plants in bloom and a small bud, an egret perched on a gnarled plum tree in bloom, three geese flying in a moon-lit sky above peony blossoms, and a sparrow perched on an autumnal maple tree. The base sealed with the company's mark.HEIGHT 24 cm (excl. stand), 27.1 cm (incl. stand)WEIGHT 581 g (excl. stand)Condition: Excellent condition with only minor wear. The wood stand in good condition with minor wear and minor old repairs.With an associated wood stand finely carved in openwork.
A SUPERB PAIR OF MIYAO-STYLE MIXED-METAL-INLAID AND PARCEL-GILT BRONZE VASES WITH SHOKI AND ONIJapan, late 19th century, Meiji period (1868-1912)Each vase with a baluster body supported on a spreading foot and rising to a gently waisted neck with flat everted rim, the shoulder with two long handles issued from baku heads, the exterior carved in high and sunken (shishiaibori) relief, inlaid in iro-e takazogan and hirazogan, and engraved in katakiri and kebori, with bamboo-framed panels surrounded by two snakes flanking a toad above and a snail below – an impressive example of the sansukumi motif. Each panel shows a different but complementary design, on one vase depicting a proudly standing Shoki holding his sword in one hand and extending the other, with a long-tailed pheasant amid chrysanthemums under a gnarled pine tree to the back; and on the other three oni depicted in different attitudes, one of them fighting back against the demon queller, the back with two long-tailed pheasants perched on a craggy rock. The body is further decorated with bamboo leaves, mushrooms, and leaves, the neck and foot with formalized bands.HEIGHT each 30.5 cmWEIGHT each 4.7 kgCondition: Very good condition with minor surface wear.Provenance: From the private collection of an intrepid and seasoned connoisseur who tirelessly travels the globe and acquires with passion, discernment and above all a sense of all-embracing eclecticism, bound by no rigid formula of what should constitute a worthy object save the admiration and wonder that it can produce in the viewer.The present pair of vases, impressively cast, finely carved in high and sunken relief, and masterfully inlaid in both hirazogan and takazogan, was clearly made by an extremely talented metalworker. The inspired use of inlays makes an attribution to the workshop of Miyao Eisuke reasonable. Although most often associated with large-scale bronze figures of samurai, the Miyao Company also manufactured or dealt in a wide range of craft goods including Shibayama-work panels and ivory figures. Apparently based first in Yokohama and then, after about 1890, in Nihonbashi-ku, Tokyo, the company is first recorded at the second Naikoku Kangyo Hakurankai (National Industrial Exposition) where Miyao Eisuke collaborated with the bronze caster Momose Sozaemon in the production of a bronze figure of seven drunken shojo.The combination of snake, frog, and snail (or slug) constitutes the sansukumi motif. Sansukumi translates to 'the three who are afraid of one another'. The three animals are in a state of mutually assured destruction: the snake will consume the frog, however the frog has already eaten a poisonous snail, so the snake must perish as well. This motif is connected to sansukumi-ken, a category of Japanese hand games played by using three hand gestures. The oldest sansukumi-ken game is mushi-ken, a game originally from China. In mushi-ken, the 'frog' represented by the thumb wins against the 'slug' represented by the pinkie finger, which, in turn defeats the 'snake' represented by the index finger, which wins against the 'frog'. Although this game was imported from China, the Japanese version differs in the animals represented. In adopting the game, the original Chinese characters for centipede or millipede were apparently confused with the characters for the 'slug'. The centipede was chosen because of the Chinese belief that the centipede was capable of killing a snake by climbing and entering its head. One of the few surviving sansukumi-ken games is jan-ken, which was brought to the West in the 20th century as rock paper scissors.
A SUPERB KOMAI-STYLE GOLD AND SILVER INLAID BRONZE VASE WITH MONKEYSJapan, Kyoto, Meiji period (1868-1912)Of baluster form, supported on a spreading foot with slightly concave base, the straight shoulder surmounted by the short-waisted neck and galleried rim. Finely decorated in gold and silver nunomezogan and takazogan with two shaped panels enclosing numerous monkeys huddled together in various poses, some constituting the sambiki saru motif, also referred to as the three wise monkeys, using their hands to cover their own or each other's ears, eyes, or mouth, the simians further well detailed with finely incised fur and gold eyes. The panels are reserved against a silver-inlaid ground of various brocade patterns, above stylized waves and dew drops at the foot, and below foliate scroll and chrysanthemum flowerheads to the shoulder, finely engraved clouds to the neck, and a silver-inlaid key-fret band around the rim. HEIGHT 16 cmWEIGHT 467 gCondition: Very good condition with minor wear and few tiny nicks.Provenance: From a private collection in southern Germany, acquired before 2007.The present vases are decorated in the manner of the famous Komai workshop of Kyoto. The Komai workshop is believed to have been founded in 1841, but it was only when Komai Otojiro I became its head, in 1865, that the company began to make the wares for which they were to become so famous. Under his leadership, the workshop specialized in intricate inlaid work of gold and silver into iron. In a promotional brochure from around 1915 his son, Komai Otojiro II (his father having retired in 1906) called his workshop the 'pioneer of damascene work' and describes the lacquering process of the characteristic black ground, which required kiln firing and burnishing. The Komai style developed with an increasingly pictorial central motif on a background of both geometric patterns and free illustrations of nature, life, and landscapes with elaborate repeating borders. Most of these central motifs illustrate stories from Japanese history or mythology, and the Komai family retains a number of design books in which can be found drawings for many of their works.
SHIBATA ZESHIN: SURIMONO OF A MAGNOLIA BRANCH, CENSER, AND INCENSE ENVELOPEBy Shibata Zeshin (1807-1891), signed Shibata Zeshin and sealed TairyukyoJapan, 19th centuryHaikai color woodblock print and blind stamping on paper. Obosho format. Signed Shibata Zeshin and sealed Tairyukyo to the lower right corner. Titled A Magnolia Branch, Censer, and Incense Envelope.The right register depicting a magnolia branch with purple blossoms and green leaves borne on a stem next to a bronze koro (censer) on a red tray next to an incense envelope with kirigane decorations. Three rows of vertical text stretch from the center to the left edge.SIZE of the sheet 44.5 x 58.2 cmCondition: Good impression and vivid colors, light creasing, folding lines, some foxing, and minimal staining, overall presenting very well.Provenance: Collection of Robert and Isabelle de Strycker. Inside the passepartout inscribed, 'Enveloppe contenant des pastilles de parfum. Koro (brule parfum) et branche Me Kulen (magnolia).' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shibata Zeshin (1807-1891) was a Japanese painter, lacquer artist, and printmaker of the late Edo period to early Meiji era. He has been called 'Japan's greatest lacquerer.' His work, unlike the oils being used by so many of his contemporaries, never need re-touching and never faded. He was a master of emulating oil or ink painting with lacquer and combined groundbreaking techniques with traditional subjects. His studio was situated on the bank of a river, providing him with ample opportunity to observe nature, and the creatures that inhabited the natural world. Like many painters of the 19th century, he was eclectic in his sources and would have been exposed to traditional styles. However, Zeshin's skill level was such that he could fluidly mix techniques, ideas, and stylistic options, thus painting part of a composition in one manner and including elements of another to add variety and dynamics unheard of at the time.Museum comparison:Compare a related surimono with two rows of vertical inscription and a hat and bundle printed on the lower right-hand corner, by Shibata Zeshin, in the Los Angeles County Museum of Art, accession number M.79.152.291. Compare a related surimono with three rows of vertical inscription with a monumental rock surrounded by foliage on the right-hand register, by Shibata Zeshin, in the British Museum, accession number 2021,3013.322.
MURATA SEIMIN: A RARE BRONZE HANDWARMERBy Murata Seimin I (1761-1837), sealed Seimin chuJapan, Edo (Tokyo), 18th-19th century, Edo period (1615-1868)Finely cast, the large bronze vessel covered with a lid cast in openwork depicting a sinuous, three-clawed dragon amid wispy clouds. A separately cast handle is mounted to its side, and the rim is cast with a band of rinzu above a beaded band and a band of pendulous tassels decorating the side with reishi heads. The base sealed Seimin chu [cast by Seimin].DIAMETER 25 cmWEIGHT 5,703 gCondition: Very good condition with minor wear and signs of use and some typical casting irregularities.Murata Seimin I (1761-1837) was the first of a long line of bronze craftsmen who specialized in bronze sculpting using the lost-wax method. Much of his work was of Buddhist subjects, such as the casting of 500 arhats for the Kenchoji Temple in Kamakura. His other work included vases and ornaments, and he was famed for his studies of tortoises. He took Kimura Toun as his adopted heir and made him the second-generation Seimin. Many of his works appear in the Walters Art Museum, National Tokyo Museum, and the British Museum among others.
A MASSIVE BRONZE KORO (CENSER) DEPICTING FUTEN AND RAIDENJapan, 19th century, late Edo (1615-1868) to early Meiji period (1986-1912)Finely cast, the tall censer supported on a round base with rounded obtrusions, with a bulbous top supporting the tall post surmounted by the censer bowl. The bowl is finely cast with a diaper ground and the Thunder God Raiden, surrounded by drums and fierce thunder, reaching downward with his clawed hand. The post is decorated with rolling winds above violent waves. The God of Wind, Futen, is cast falling into the crashing waves, reaching upward towards Raiden. The base is decorated with mitsutomo-e designs, foliate bands, oni kawara (demon-faced rooftiles), and archaistic rain dragons.HEIGHT 147 cmWEIGHT 19.2 kgCondition: Very good condition with minor wear and signs of use. The cover is lost.
A PAIR OF BRONZE CRANE-FORM KORO (CENSER) AND COVERSJapan, Edo period (1615-1868)Naturalistically cast in the form of a resting crane, each with its feet tucked delicately beneath, turning its head backwards over its body with finely cast feathers and gilt detailing. Two apertures appear along the back formed by slightly raised feathers for incense ventilation.LENGTH 15.9 cm (each)WEIGHT 900 g (each)Condition: Very good condition with minor wear and small casting irregularities.Provenance: Christie's, 5 February 1979, lot 106, with old auction labels pasted to the base. An old private collection in Germany, acquired from the above.
A PAIR OF BRONZE KORO (CENSER) AND COVERS WITH EAGLE AND DRAGONSJapan, Meiji period (1868-1912)Each finely cast in three separate parts, the globular body supported on three legs and rising to a broad cylindrical neck with a galleried rim, flanked by two handles in the form of sinuous rain dragons. The slightly domed covered is surmounted by a large eagle with its wings outspread, perched atop a rock above large clouds with apertures for ventilation. The body of the censers are decorated in relief with peony, roosters in mid-flight, kiku (chrysanthemum) blossoms, and a large magnolia branch with buds, all set on an elaborate diaper-patterned ground. The legs are in the form of stylized rain dragons and are mounted to a slightly raised, round base with rinzu band.HEIGHT 45.6 cm and 46.6 cmWEIGHT 3,111 g and 3,196 gCondition: Overall good condition with minor typical wear and signs of use, some casting flaws, small nicks, light scratches, minor dents, and the wings of one eagle reattached.
A LARGE BRONZE VASE APPLIED WITH A FROGJapan, Meiji period (1868-1912)Of spin-top form, the finely cast vase supported on a thick foot its flattened shoulder rising to a narrow neck which gently flares upward. A frog with large eyes, webbed feet, and smooth skin crawls hesitantly across the vase looking upward. The bronze is covered in a lustrous patina with deep red inclusions.HEIGHT 29.5 cmWEIGHT 2,230 gCondition: Very good condition with only minor wear.Provenance: From a private collection in Wiltshire, England.Auction comparison:Compare a closely related vase with applied toad, by Kato Tatsuo, at Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 2 (sold for EUR 2,022).
A PAIR OF BRONZE VASES WITH CICADASJapan, Meiji period (1615-1868)Of pear-shaped form, supported on a thick foot with the rounded body gradually rising to a narrow neck surmounted by a flared mouth. A small, naturalistically cast cicada (semi) ascends the neck of the vase, its legs, eyes, and wings finely detailed. The bronze has a lustrous patina with deep brown and red inclusions.HEIGHT 27.7 cm (each)WEIGHT 793 g (each)Condition: Very good condition with minor wear.Auction comparison:Compare a related pear-shaped vase with a cicada, consisting of only one vase, by Takeyoshi, dated to the Meiji period, at Bonhams, Fine Japanese Art, 6 November 2007, London, lot 403 (sold for GBP 1,560).
KANAYA GOROSABURO: A BRONZE FLOWER PRESENTATION VASEBy Kanaya Gorosaburo, signed Kanaya GorosaburoJapan, 20th centuryFinely cast, the vase supported by a subtly arched base with a slightly rounded body rising to a dramatically flared diamond-shaped mouth with a single band of rinzu along the rim. Each corner is cast with a bamboo stalk rising from the base to the neck with two ear-shaped handles in the form of rain dragons on either side. The base of the neck is decorated with a band of archaic geometric designs on a diaper ground, while each side of the body bears frames of crashing waves.Inscriptions: The base of the bronze vase inscribed, 'Kanaya Gorosaburo sei, Furomon, toke denrai, hato-mon ryumon-mimi kabin utsushi, kado iemoto, Ikenobo Sen'ei, with the seal Sen'ei' 金谷五良三郎製、不老門、当家相伝、波頭文龍文耳花瓶写、華道家元、池坊専永、印：専永 [Made by Kanaya Gorosaburo, the flower vessel entitled Furomon (The Gate to Immortality), copied from the original bronze flower vessel which has been handed down as a family heirloom at the Ikenobo School of Flower Arrangement, the design has dragons and waves with ear-shaped handles, commissioned by Ikenobo Sen'ei 45th, the Master of the Ikenobo School Flower Arrangement']HEIGHT 26 cmWEIGHT 6,762 gCondition: Excellent condition with only minor wear.Provenance: From the collection of Miyamoto Tanio, acquired from Sen'ei Ikenobo in November 1986 and thence by descent in the same family. A letter from 1986 which accompanies this lot reads, 'To Mr. Miyamoto Tanio. This is a replica based on the original bronze vessel which has been handed down through the Ikenobo family, a one flower vessel, titled Furomon (The Gate to Immortality). I, Ikenobo Sen'ei 45th, present this to you in recognition of your many years of work, dated an auspicious day in November, Showa 61 (1986), Ikenobo Sen'ei the head of the Ikenobo School of Flower Arrangement.' The letter is sealed 'Kado Iemono.' Miyamoto Tanio was an author and historian. He researched the history and tradition of Japanese floral arts, publishing his research in his 1977 book, Nageire kadensho, in the series Kado Koten Meisaku Senshu.With the original fitted tomobako box.Kanaya Gorosaburo is from the 14th generation of Kanaya bronze metallurgists based in Kyoto. The family's work has spread far and wide as their reputation for excellence and exquisite bronze has made them world renowned. Today, several pieces from the family are housed in the Rijksmuseum, National Victoria Museum in Melbourne, and Philadelphia Museum of Art.
MASATOSHI: A LARGE KOMAI-STYLE MIXED-METAL-INLAID BRONZE BOX AND COVERBy Masatoshi, signed Masatoshi sakuJapan, Meiji period (1868-1912)Of rectangular form, supported on four short bracket feet, the flush-fitting cover and the sides lacquered black and decorated in gold and silver hirazogan and nunome-zogan, the cover featuring a landscape with a shrine and temple surrounded by lush trees, with Mount Fuji in the background, the sides with two dragons, a seahawk causing crashing waves with its wings, two cranes amid bamboo, and huts in a river landscape, the silvered interior engraved with a sparrow and flowering prunus. SIZE 15.4 x 27.5 x 18.4 cmWEIGHT 3,391 gCondition: Good condition with some wear and minor rubbing to inlays, small dents and nicks here and there, light scratches, the base slightly loose.
KANEYOSHI: A PAIR OF GOLD AND SILVER INLAID BRONZE BALUSTER VASES WITH LONG-TAILED ROOSTERS (ONAGADORI)By Kaneyoshi, signed KaneyoshiJapan, Meiji period (1868-1912)Each finely cast, supported on a short round foot and rising to a rounded shoulder surmounted by a short neck with flared and rounded mouth. The shibuichi body is decorated with elaborate gold, silver, suaka (copper), and bronze inlays with a long-tailed rooster and hen standing beneath a large magnolia tree in bloom. Each is signed KANEYOSHI along the lower half of the body.HEIGHT 17.8 cm and 17.9 cmWEIGHT 789.1 g and 821.5 gCondition: Excellent condition with only minor wear.Auction comparison:Compare a near-identical pair of vases of slightly larger size, 24 cm high, at Christie's, The Avo Krikorian Collection: Innovation and Inspiration of Meiji Period Design, 19 February 2007, lot 87 (sold for CHF 5,040).
MIYAO: A PARCEL-GILT BRONZE FIGURE OF A SAMURAIBy the Miyao company of Yokohama, signed MiyaoJapan, late 19th century, Meiji period (1868-1912)The figure posed standing barefoot in a tense position gripping firmly his drawn sword pointing the blade downward. His face is set with a stern expression and his robes are elaborate, decorated with chidori and surrounded by hanabishi and floral medallions, his sheath hanging empty from his belt. The figure is mounted to a wood base decorated with gold-inlaid karakusa patterns. The back with a rectangular reserve incised with the signature MIYAO.HEIGHT 20.2 cmWEIGHT 690 gCondition: Good condition with wear, the blade of the sword lost, and the sheath slightly bent.Auction comparison:Compare a related gilt-bronze figure of a samurai, by the Miyao company, at Bonhams, Patient Detail, Perfect Design, 3 November 2022, London, lot 255 (sold for GBP 5,100).
MUNECHIKA: A CHARMING BRONZE OKIMONO OF A PUPPYBy Munechika, signed MunechikaJapan, Meiji period (1868-1912)Finely cast, the small puppy resting on its haunches, lifting its paw as it looks into the distance. Covered in finely detailed fur, the puppy's face set with a short snout, whiskers, and a large forehead above eyes of inlaid gold and shakudo. The bronze is covered in a lustrous patina. The base with the artist's signature MUNECHIKA.LENGTH 15.8 cmWEIGHT 1,401 gCondition: Very good condition with minor wear and small casting irregularities.Auction comparison:Compare a related bronze okimono of a Chin dog, by Suzuki Chokichi, at Bonhams, Fine Japanese Art, 7 November 2019, London, lot 229 (sold for GBP 2,550).
MASAHIKO KATORI: A BRONZE OKIMONO OF A RECUMBENT RAMBy Masahiko Katori (1899-1988), signed MasahikoJapan, Showa period (1926-1989)Finely cast, the okimono in the form of a recumbent ram with long horns and thick curls of wool. The relaxed beast has a narrow face, long ears set between its curling horns, and a heavy coat. The flat base is signed Masahiko. The bronze is covered in a rich, chocolate patina.LENGTH 13.3 cmWEIGHT 987.8 gCondition: Very good condition with minor wear and small manufacturing irregularities.Provenance: From a private collection in Somerset, England, acquired in Japan.With the original tomobako wood box inscribed with artists name and stamped.Masahiko Katori was born in Tokyo to Hotsuma and Tama Katori. He studied metalworking at the Department of Casting of the Tokyo School of Tokyo School of Fine Arts (today the Tokyo University of Arts) under the renowned Shinobu Tsuda. His works were displayed at the Paris World Exposition in 1925 where he won a bronze medal during the Art Deco Expo. His work was chosen and displayed in the Exhibition of the Imperial Fine Arts Academy for three consecutive years. He contributed a substantial amount of effort in repairing and protecting cultural relics during the post-war error. The bells in the Enryaku-ji and Shinsho-ji Temples were made and donated by the artist.
A DAISHO CONSISTING OF A KATANA AND A WAKIZASHIJapan, the blades second half of 14th century, early Muromachi period (1336-1573), the mounts Edo period (1615-1868)The blades:The katana of shinogi-zukuri with iori mune and chu-kissaki. The narrow hamon is suguha. The hada is itame. The nakago with one mekugi-ana and kiri jiri. The wakizashi of shinogi-zukuri with iori mune and chu-kissaki. The narrow hamon is suguha with little midare near the hamachi. The hada is masame. The nakago with one mekugi-ana and kiri jiri. The mountings: Each comprising a finely red-lacquered saya; rayskin tsuka with dark-blue tsuka-ito; parcel-gilt bronze menuki in the form of oxen; gilt-bronze fuchi-kashira with basket-weave designs; plain copper habaki; and iron tsuba of kaku-maru-gata with two hitsu and gold hirazogan decoration to the rims.NAGASA 69.8 cm and 51.8 cm, TOTAL LENGTH 87.8 cm and 64.7 (the blades), and 99 cm and 70.5 cm (the koshirae)Condition: Very good condition with minor wear, the blades with traces of use and minor blisters.
A RARE VOTIVE BRONZE OF AN AMIDA TRIAD, MAEDACHI HONZON, ZENKOJI STYLEJapan, 18th century, Edo period (1615-1868)Finely cast as a zushi (travelling shrine) and patinated to a silverish tone, superbly carved in relief with an Amida Triad with Kannon and Seishi, each standing on lotus pedestals and framed by images of seated Buddhas amidst foliate designs and clouds, and with two worshippers below presenting offerings. The reverse with a superb, naturally grown patina.HEIGHT 9.9 cmWEIGHT 150.7 gCondition: Very good condition with minimal wear and few casting irregularities. Provenance: From an Irish private collection. The present bronze zushi is superbly cast in the style of the 18th century, being more or less an exact copy, save for the addition of the two worshippers below, of the Amida Triad, Maedachi Honzon, in the Zenkoji temple. The Maedachi Honzon is a duplicate of the 6th century central image of the Zenkoji temple, which are the first images of Buddha brought to Japan from the Korean Kingdom of Kudara.
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