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Lot 196
Lego - Four boxed Star Wars Lego sets to include 75105 Millennium Falcon (previously built, missing mini figures), 75147 StarScavenger (part built, missing mini figures), 75100 First Order Snowspeeder (previously built, missing mini figures) & 75135 Obi-Wan's Jedi Interceptor (previously built, missing mini figures), sets appearing complete but unchecked with instructions, boxes showing wear
Lot 198
Lego - 13 Boxed to Buildable Star Wars Lego Figures 75524 Chirrut Imwe, 755 Baze Malbus, 75117 Kylo Wren, 75109 Obi-Wan Kenobi, 75114 First Order Stormtrooper, 75113 Rey, 75121 Imperial Death Trooper, etc (appearing complete but uncheacked), along with 12 x Lego Star Wars Planet sets, (missing figures) 1 x sealed Lego Star Wars Brick Heads & a carded Chewbacca LED Lite (2 boxes)
Lot 151
A LOT WITH TWO GREEN GLAZED CERAMIC BOWLSJapan, 20th century, Showa period (1926-1989) The first molded with an undulating cylindrical body rising from a ring foot, covered overall with a finely crackled glaze of even celadon tone, showcasing a white design of two cranes, the base left unglazed to reveal the buff ware and with a pottery mark. The second with deep walls rising from a ring foot, covered overall with a glaze of deep celadon tone suffused with brown markings, stopping above the foot to reveal the reddish ware. Condition: Excellent condition with hardly any wear. Provenance: Austrian private collection. Weight: 815 g (total) Dimensions: Diameter 12 cm and 16 cm, height 7.5 cm and 9.5 cm
Lot 157
HASHIMOTO TOMONARI (BORN 1990): A CERAMIC OBJECTHashimoto Tomonari, signed Tomonari and sealed (at the accompanying wooden plaque) Japan, 21st centuryThe ceramic sculpture is of tapering cylindrical form and displays an iridescent, polychrome surface. The artist achieves this effect through a meticulous firing process consisting of three stages, first, a high-temperature bisque firing takes place, followed by a lower temperature glost firing at 1050°C. Finally, the sculpture undergoes a third firing in an improvised outdoor gas kiln. During this final firing, a unique technique is employed where the burners are switched off at 500°C, and the kiln is filled with cereal chaff before being sealed. As the chaff burns, it impregnates the clay body with irregular carbon markings while also inducing an uneven reduction and oxidation of the metal oxides present in the glaze.With a wooden plaque signed and inscribed 'Untitled' by the artist.Condition: Very good condition. Provenance: Dutch collection. Dimensions: Height 90 cmLiterature comparison: See another sculpture by Hashimoto Tomonari at the Victoria and Albert Museum, accession number FE.65:1 to :2-2021Hashimoto Tomonari is an innovative Japanese artist who has made significant contributions to contemporary ceramics. His artworks showcase a captivating fusion of oxidized metal and ceramic, with burnt orange, black, and chrome variations that defy traditional identification. Through a unique firing process involving buckwheat shells, he achieves a distinctive tsuchi effect in his large-scale works. Hashimoto, part of a new generation of ceramic artists, challenges conventions and explores diverse techniques, forms, and aesthetics. With meticulous craftsmanship qualities and influences from notable artists like Richard Serra and Isamu Noguchi, Hashimoto's thought-provoking pieces, including "Red Moon" and "Introspection," inspire introspection and reflection on existence. His talent has garnered international recognition, including being a finalist for the LOEWE Craft Prize in 2019.
Lot 162
A GILT AND LACQUERED WOOD FIGURE OF KANNON BOSATSU HOLDING LOTUS BLOSSOMS Japan, c. 1600, late Momoyama (1573-1600) to early Edo period (1615-1868)Carved from cypress wood and assembled in yosegi-zukuri technique, the bodhisattva standing on a lotus dais supported on an elaborate tiered hexagonal pedestal carved with foliate, diapered, prunus, and cloud designs. The bodhisattva is wearing long flowing robes draped over both shoulders and with deeply carved folds. The right hand is held in semui-in (abhaya mudra) while the left holds two gilt-metal lotus blossoms borne on long stems. The serene face with heavy-lidded eyes below gently arched brows, centered by a glass or rock crystal byakugo (urna), further with full lips forming a subtle smile, flanked by long pierced pendulous earlobes. The hair piled in a topknot and adorned with a hokan (jeweled crown) and munakazari (ornamental necklace). The base inset with a flattened post surmounted by a circular halo.HEIGHT 89 cmCondition: Good condition with some wear, minor age cracks, small losses, minor flaking to lacquer, small chips. Rich, dark patina.Provenance: Kyoto Gallery, Brussels, 21 March 2009. Liliane and Michel Durand-Dessert, Paris, acquired from the above. Liliane and Michel Durand-Dessert were luminous gallery owners who worked in Paris from 1975 to 2004, and were both informed and avant-garde collectors. They are significant not only because of the analytical and original approach the couple applied in each acquisition, but also because of their visionary take on exhibiting the most radical 20th-century art in their gallery, which was the subject of a 2004 retrospective organized by the Museum of Grenoble. According to Michel Durand-Dessert, who was inspired to open the couple's first gallery by a visit to Documenta in 1968, “it is certain that a collection is a portrait, and that the objects we buy are those in which we sometimes recognize ourselves, sometimes we project ourselves. One way or another, acquiring them means adopting them, in every sense of the word.” An expertise from Kyoto Gallery, dated 21 March 2009, written and signed by Tony Cammaert, confirming the dating above, and stating a value for the present lot of 10,500 EUR, accompanies this lot. Yosegi-zukuri, or joined wood-block construction, is a sculpting method in which several rectangular blocks of wood are individually selected and carved into shapes. Yosegi-zukuri, together with ichiboku-zukuri (single block construction), are the two main techniques associated with wood sculpture in Japan. There were several advantages of a sculpture made from multiple blocks of wood. It was much lighter than one carved out of a single block of wood. The technique also helped to minimize the cracking of the wood caused by the outside layer drying faster than the core of the sculpture.Auction comparison: Compare a related wood figure of Kannon, dated to the Nanbokucho period, 14th century (with an amendment stating that the dating “could be as late as early Muromachi period (15th century)”, at Bonhams, 18 March 2015, New York, lot 3107 (sold for 27,500 USD).
Lot 191
A GROUP OF LACQUER PICNIC ITEMSJapan, Meiji period (1868-1912) and later. Comprising a two-tiered lidded jubako (picnic box) dating to the first half of the 20thcentury, with a fitted stand and a four-legged tray, all covered in roiro-nuri lacquer, the interiors lacquered red except for the tray. Together with a Meiji period two-tiered lidded jubako and handled stand, finely lacquered in red and black with leafy blooms. Condition: With surface wear. The lacquer with cracks and flakes around the edges. One of the tray's legs reattached. Overall, still good condition.Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Height of the boxes 10.5-15.5 cm, height of the tray 12.5 cm
Lot 193
A LOT WITH A DRUM SHAPED LACQUERED SAKE SET AND A LACQUER BOX, 19th CENTURYJapan, 19th century The sake set in shape of a drum, with a silvered metal fitting on top, the interior finely decorated with a lacquered nashiji ground, the top depicting a string formation in red takamaki-e (high relief), three-clawed dragons with kirigane on the side, and the bottom with a gold sprinkled ground. Comes together with a lacquered box, displaying leafy chrysanthemums and butterflies, and a nashiji ground interior. SIZE 19.3 x 13.7 cm The lacquered box comes with a wooden storage box. (2) Condition: The sake set in good condition with minor wear, surface scratches, nicks, and small age cracks. The box in worn condition, losses to the lacquer, notches, cracks, and surface scratches. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.
Lot 209
A SUPERB RITSUO-SCHOOL LACQUER AND CERAMIC-INLAID SUZURIBAKO DEPICTING AN ELEPHANTSchool of Ogawa Haritsu (Ritsuo, 1663-1747), unsigned Japan, 18th-19th century, Edo period (1615-1868)Of rounded rectangular form with an overhanging cover. The exterior bearing a lustrous roiro ground, the cover superbly decorated with inlays of shell and lacquer to depict an elephant standing foursquare above a hoe, the animal well detailed with wrinkly skin, narrowed eyes, gently curved tusks, and sinuous tail and trunk.The interior of the cover similarly decorated and with further inlays of glazed ceramic to depict a circular fan behind a Chinese campaign curtain on a halberd. The interior of the box fitted with a nine-section ita (board) and removable tray cut with recesses for the rectangular inkstone (suzuri) and circular brass suiteki (waterdropper). The interior edges of gold fundame.SIZE 4.5 x 23 x 25 cmCondition: Very good condition with minor wear, few small nicks, light surface scratches, few tiny losses to inlays.Provenance: The Paul and Helen Anbinder Collection. Paul Anbinder (b. 1940) is a retired editor who was a director at important publishers including Random House and Hudson Hills. Helen Anbinder (1942-2022) was an education administrator who ran the Inter-village Continuing Education Program for Ardsley, Dobbs Ferry, Hastings, and Irvington, New York. The couple were avid museumgoers and collectors of art. They donated many books and prints from their collection to their alma mater Cornell University and the Herbert F. Johnson Museum of Art.With a wood storage box (tomobako).The elephant and hoe depicted on the present suzuribako allude to the story of Shun the Great (Tai Shun), one of the Twenty-four Paragons of Filial Piety, and the last of the legendary Five Emperors of ancient China. Although terribly mistreated by his parents and half-brother, Shun's filial piety was such that he never bore a grudge. In one legend, as he labored at farm work, his noble character attracted elephants and birds to come and help him. The Emperor Yao, hearing of his virtue, chose Shun to succeed him.The elephant frequently appeared as the main subject in works by Ogawa Haritsu (Ritsuo, 1663-1747) and his followers. Although the elephant was not native to Japan, it was nevertheless known from an early date through paintings and sculptures as part of Buddhist iconography. The first living elephant to reach Japan was brought by Koreans in 1408, and again in 1597 and 1724 by Europeans. This last occasion was well documented and included the symbolic gift of a white elephant from the king of Siam to the Japanese emperor Nakamikado (r. 1710-35). This event, as well as the supply of another animal by the Dutch in 1813, not only made a lasting impression on the Japanese, but also did much to raise the profile of the elephant in public consciousness, resulting in an outpouring of paintings, woodblock prints and book illustrations on the subject.Auction comparison: Compare a lacquer four-case inro by Ogawa Haritsu depicting an elephant at Bonhams, The Edward Wrangham Collection of Japanese Art Part I, 9 November 2010, London, lot 209 (sold for 22,800 GBP).
Lot 226
A LOT WITH FOUR SMALL LACQUER ITEMS, MEIJIJapan, Meiji period (1868-1912) The first a miniature kobako in the form of a cabinet, fitted with three drawers and decorated with a blooming tree above a tent in gold and red hiramaki-e. The second a small, lidded tea bowl, decorated in gold hiramaki-e on a roiro ground with scrolling foliage, the interiors lacquered red. The third and fourth being two dishes executed in gold hiramaki-e over a roiro ground, the show sides depicting a central family scene surrounded by reserves of animals and flowers. Condition: Very good condition with some surface wears and shallow surface scratches. Provenance: Estate of an Austrian collector, the collection was assembled in the 1980s - 1990s through purchases at Galerie Zacke and other specialized galleries in Vienna. Weight: 108 g (total) Dimensions: Height of the cabinet 7.4 cm, Height of the bowl 5 cm, Diameter of each dish 10.3 cm
Lot 229
A RED LACQUER NIMONO WAN (BOWL WITH COVER) AND A SMALL KOBACHI (DISH)Japan, first half of 20th century, Taisho (1912-1926) or Showa period (1926-1989)The covered bowl with straight sides rising from a spreading foot, decorated in gold hiramaki-e on a red lacquer ground with a small bird beside a stylized flower and leaves, the interior lacquered black, the small dish similarly decorated with a flying bird.DIAMETER 14.5 cm (the bowl) and 10.5 cm (the dish)Condition: Excellent condition with only minor surface wear.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 234
A WOODEN TANSU CHEST WITH 5 DRAWERS, EDOJapan, 19th century, Edo period (1615-1868)The chest made of wood, with a drawer below the hinged cupboard doors, both set with iron locks, the latter opens to reveal four further drawers. Applied with iron handles and iron fittings.Condition: With extensive wear, scratches, nicks, few age cracks and small losses, in any case, still in stable condition. The locks not functioning properly. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.Weight: 7.3 KGDimensions: 49 x 29.5 x 43 cmTansu are traditional portable storage chests, in Japanese traditional houses, there were no fixed chairs, tables, or pieces of furniture in the living space. Tansu were intended as mobile cabinetry, and used to keep objects of daily use, clothes, and personal items. They were also frequently employed by shopkeepers to store inventory, records, or valuables, as well as in warehouses, and even on ships for the personal use of the captain or owner.
Lot 236
A CARVED WOODBLOCK WITH GRAPES, MEIJIJapan, Meiji period (1868-1912)Of rectangular form, carved in high relief depicting grapes and an inscription. With two metal fittings on top and an orange cord tassel attached to it. SIZE 38.3 x 23.5 cmCondition: Good condition with minor surface wear, age cracks and surface scratches. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.
Lot 246
A COMPLETE DECK OF HANAFUDA NINTENDO CARDS, TAISHOJapan, Taisho period (1912-1926) Comprising 48 hand-printed cards. The technique, called kappa-zuri, uses a round brush through stenciling. Condition: Good age-related condition with expected traces of wear and use. Minor material loss along the margins. Only one card with a crease. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands, acquired from the above. J.W.N. van Achterbergh was an important collector, expert, and patron of Dutch post-war ceramics. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: 5.5 x 3.5 cm each In the late 19th century, Nintendo began as a playing card manufacturer, a tradition it still continues today, showcasing Japan's beauty through its decks. Hanafuda is a floral-covered card game representing different seasons with suites like plum blossoms, cherry blossoms, peonies, chrysanthemums, and maple leaves. Nature holds great significance in Japanese art, textiles, and tattooing. Hand-stenciled Nintendo cards like this one are rare, dating between 1900 and 1930. The cards were printed using the kappa-zuri technique, combining hand-stenciling and woodblock or copper plate printing. Hanafuda was once associated with illicit gambling but is now played during the Japanese New Year.
Lot 248
A LARGE WOOD HIBACHI (BRAZIER), EDOJapan, 19th century, Edo period (1615-1868)The large wood hibachi bearing its natural form and its surface bearing a rich patina. The hollowed interior fitted with a copper liner. DIAMETER 41 cm WEIGHT 5423 g Condition: Good condition with traces of wear and age, old repairs, age cracks, and small holes. The copper liner with some malachite encrustations. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.
Lot 252
MAEDA CHIKUBOSAI II: A WOVEN BAMBOO AND RATTAN HANAKAGO (FLOWER BASKET)By Maeda Chikubosai II (1917-2003), signed Chikubosai kore saku Japan, 20th centuryThe beautiful flower basket of traditional shape with a large, curved handle, finely worked in woven bamboo and rattan, signed to one side of the handle CHIKUBOSAI kore saku [this is made by Chikubosai].Condition: Excellent condition with minor wear. Provenance: Dutch collection. Dimensions: Height 58 cmMaeda Chikubosai II was born in the Hirai section of Sakai, where all of the Maeda clan lives. A late child, he was considered too young to be trained by his father and learned plaiting techniques from his father's students instead. He began to receive some recognition for his work during the mid-1930s. After World War II, he showed in Osaka-area exhibitions and aspired to show creative work in Nitten. In 1953 he had his first piece accepted in Nitten, and he exhibited in 1959 at Japan Traditional Crafts Exhibition. He was honored by the Japanese government in 1992 and named 'Living National Treasure' in bamboo craft in 1995.Auction result comparison: Compare another hanakago by the artist, in these rooms, in Fine Japanese Art on 16th June 2023, lot 169, sold for €3,640.
Lot 259
AN EMBROIDERED SILK PANEL, EDOJapan, Edo period (1615-1868)Finely woven with silk in earthy colors, blue and gilt threads to depict what appears to be many unfurled sails or flags amid floral bouquets, creating a dense composition. In a gold lacquered vintage wooden frame, behind glass.Condition: Very good condition, minor wear, few tiny losses, minimal soiling. The frame with some cracks to one short side. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.Dimensions: Size of the image 143 x 40 cm, Size incl. frame 145 x 43 cm
Lot 269
A SCROLL PAINTING OF AN AWABI SHELL, 19th CENTURYJapan, 19th century, Edo period (1615-1868). Ink and watercolor on paper, with a fabric coated paper border and mounted as a hanging scroll with wooden handles. Depicting an awabi shell amid seaweed and a bloom.Condition: Some creases, minor soiling, and small losses to the edges, overall, in good condition. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Image size 27.2 x 48.2 cm, Size incl. mounting 117 x 52 cm
Lot 270
'DARUMA AND A BEAUTY', AFTER HANABUSA ITCHOJapan, 19th century, late Edo period (1615-1868). Ink and watercolor on silk, with a fabric coated paper frame and mounted as a hanging scroll with Bakelite handles. Depicting daruma seated and enveloped in a red robe, a beauty seated next to him and offering him a pipe. Signature/inscription and seal at the right side. With a carton box.Condition: Good condition with minor wear and minimal soiling. The painting with a small restoration to the lower side. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Image size 29 x 35 cm, Size incl. mounting 111.5 x 50.5 cmHanabusa Itchō (1652-1724) was a Japanese painter, calligrapher, and haiku poet. He originally trained in the Kanō style, under Kanō Yasunobu, but ultimately rejected that style and became a literati (bunjin). He was also known as Hishikawa Waō and by several other names.Auction result comparison: For another painting after Hanabusa Itcho see Bonhams New York, in Fine Japanese Works of Art, including selections from the collection of Ruth and Carl Barron on 16 September 2014, lot 2029, sold for USD 3,750.
Lot 277
A SCROLL PAINTING OF CARPS, MEIJIJapan, Meiji period (1868-1912). Ink and watercolor on paper, with a fabric coated paper border and mounted as a hanging scroll with stag antler handles. The painting consisting of two sheets, with a dynamic depiction of two carps trying not to get caught by the nets in a rough sea.Condition: Good condition with some wear. The painting with minor soiling and wormholes.Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Image size 28 x 40.5 cm, Size incl. mounting 90 x 57 cm
Lot 282
AN EMAKI HANDSCROLL DEPICTING FOOD, MEIJIJapan, Meiji period (1868-1912). Ink and watercolor on paper, with a paper frame and mounted as a hanging scroll with stag antler handles. Depicting various food such as a pumpkin, a crab, an octopus, some fruit, and a blowfish, with calligraphy next to each food and to the top, with two seals. The right side of the scroll with calligraphy within a separated sheet. The backside with two further inscriptions.Condition: Very good condition with minor creases and minimal soiling.Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Image size 176 x 22 cm and 27 x 17.5 cm, Size incl. mounting 249 x 26 cm
Lot 289
A RARE SET OF EIGHT EMAKI HANDSCROLLS, MEIJIJapan, Meiji period (1868-1912) Finely painted with ink on various sheets of paper and mounted together. Depicting mountainous and river landscapes, with sailboats, bridges, trees, and pavilions. With calligraphy. Condition: Overall good condition with expected wear, browning and staining. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Approximate size 16 x 114 cm each
Lot 291
A SCROLL PAINTING OF THE SIXTEEN DIVINE GENERALS OF THE TOKUGAWA IEYASUJapan, 19th century Ink, gouache, and watercolors on silk, with a brocade fabric coated paper frame and mounted as a hanging scroll with wood handles. Depicting the Sixteen Divine Generals serving Tokugawa Ieyasu (1543-1616), founder and first shogun of the Tokugawa shogunate of Japan, which ruled Japan until the Meiji Restoration in 1867. In this painting, Tokugawa Ieyasu is depicted at the top center, below him are the sixteen "divine generals", the men look at each other sternly, wearing armors, and swords tucked into the sashes. In a wood storage box and a carboard box.Condition: With extensive wear, few tears, creasing, soiling, stains, and tiny losses. Overall, still displaying well. Provenance: Dutch collection. Dimensions: Image size 118 x 62 cm, size incl. mounting 175.5 x 79.5 cm
Lot 299
'RISING SUN OVER THE OCEAN', AFTER HASHIMOTO GAHOJapan, Meiji period (1868-1912). Ink and watercolor on silk, attached to a paper hanging scroll with wooden handles. Depicting turbulent waters and the red rising sun in the background. Inscribed 'Gaho zu' and sealed in the lower right corner.Condition: The painting in very good condition with minor wear, the mounting with soiling, minor creases and two short tears. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Image size 116.5 x 41.5 cm, Size incl. mounting 172.5 x 53 cmHashimoto Gahō (1835-1908) was a Japanese painter, one of the last to paint in the style of the Kanō school. He was one of the first five painters to be appointed as an Imperial Household Artist and was one of the most influential painters in Japan at that time.Auction result comparison: Compare with a related painting by the same artist at Christie's New York, in JAPANESE AND KOREAN ART on 29 March 2005, lot 357, sold for EUR 3,259.
Lot 302
A SCROLL PAINTING OF THE SIXTEEN DIVINE GENERALS OF THE TOKUGAWA IEYASU, MEIJIJapan, 19th century, Meiji period (1868-1912)Ink, gouache, and gold on silk, with a fine brocade fabric coated paper frame and mounted as a hanging scroll with engraved metal handles. Depicting the Sixteen Divine Generals serving Tokugawa Ieyasu (1543-1616), founder and first shogun of the Tokugawa shogunate of Japan, which ruled Japan until the Meiji Restoration in 1867. In this painting, Tokugawa Ieyasu is depicted at the top center, seated on a folding stool, below him are the sixteen "divine generals", the men look at each other sternly, wearing armors, and swords tucked into the sashes, each samurai identified by name. The reverse with an inscribed label. Condition: Overall good condition with expected wear, minor creasing, soiling, stains, and some losses to the mounting. Dimensions: Image size 118 x 55 cm, size incl. mounting 185 x 70 cm
Lot 307
A SCROLL PAINTING DEPICTING A FARMER'S VILLAGE AND MOUNT FUJIJapan, first half of the 20th century.Painted on silk, with a silk brocade frame and mounted as a hanging scroll with stag antler handles, depicting a farmer's village by the lake, in the center a solitary farmer with an ox, with tiny boats and Mount Fuji in the distance. Signed and sealed to the lower right. With a wooden storage box.Condition: Good condition with minor wear.Provenance: Austrian private collection.Dimensions: Image size 123.5 x 42 cm, Size incl. mounting 207 x 60.5 cm
Lot 323
HASEGAWA MITSUNOBU (active between 1730-1760): TOBA-E STYLE WOODBLOCK PRINTBy Hasegawa Mitsunobu (active between 1730-1760), signed Hasegawa Mitsunobu Japan, 18th centuryMonochrome woodblock print on paper. From the series Ehon Yodo no Naagare: a collection of black and white, woodblock prints with humorous and lively depictions of everyday life in the Toba-e style of painting. The style Toba-e is named after the monk Toba-sojo (1053-1140) of the Tendai sect, who first painted humorous, secular depictions instead of sacred themes. Mounted with three small paper strips inside a paper passepartout, behind a clear sheet.SIZE of the sheet 24 x 16.4 cmCondition: Good condition with crisp impression. Backed with paper. Four very small binding holes on the left.Provenance: Austrian private collection, acquired in the 1990s at Galerie Asboth, Vienna. (Accompanied by original certificate of authenticity signed by Ute Asboth.)Hasegawa Mitsunobu Hasegawa Mitsunobu was an Edo period Japanese woodblock print artist active between 1730-1760. Not much is known about his life, but he is recognized for his elegant and refined depictions of actors, beauties, and landscapes. Hasegawa's works showcase a masterful use of color and delicate lines, capturing the subtle nuances of his subjects with great skill.
Lot 330
KATSUSHIKA HOKUSAI (1760-1849): KIZAMI NO FUJIBy Katsushika Hokusai (1760-1849), signed Japan, published 1876Monochrome woodblock print on paper. From the series Fugaku Hyakkei (one hundred Views of Mount Fuji), volume 2, first published 1834/35 by Nishimuraya Yohachi. In a passepartout. Condition: Very good condition with fading and minor soiling. Provenance: German private collection. Dimensions: Image size 23 x 14 cm, Size incl. passepartout 49.5 x 34.5 cmKatsushika Hokusai (1760 - 1849) Katsushika Hokusai was a Japanese artist, ukiyo-e painter and printmaker. Born in Edo (now Tokyo), Hokusai is best-known as the creator of the woodblock print series 'Thirty-six Views of Mount Fuji' which includes the iconic and internationally recognized print 'The Great Wave off Kanagawa', created during the 1820s. Hokusai created the 'Thirty-Six Views' both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically 'The Great Wave' print and 'Fuji in Clear Weather', that secured Hokusai's fame both within Japan and overseas. While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition and left a lasting impact on the art world.
Lot 347
ANDO HIROSHIGE II (1826-1869): TAKANAWABy Ando Hiroshige II (1826-1869)Japan, 1864Color woodblock print on paper. Vertical Oban. Published by Fujikeo. Titled Takanawa, from the series Edo Meisho Zue (Views of Edo). The woodblock print series Edo Meisho Zue by Hiroshige II was designed and published between 1862 and 1864. It shows famous places of Edo, the Eastern Capital, in the old ukiyo-e tradition of Utagawa Hiroshige (1797 - 1858). It is like a nostalgic view back in history, shortly before the new era of modernization and westernization would change Japan's capital rapidly. Mounted at the upper margin to a passepartout.Condition: Good, detailed impression with vivid colors. Trimmed margins and creasing along the centerfold. Reinforced with paper tape along top-right corner for stability.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label inside the passepartout.Ando Hiroshige II (1826 - 1869)Ando Hiroshige II was the chief pupil of the great master Hiroshige. He first used the name Shigenobu, but when Hiroshige died in 1858, he married his daughter and took the name Hiroshige II. Around 1865 the marriage was dissolved, and he retired to Yokohama and reverted to the name Shigenobu. Today, he is more usually referred to as 'Hiroshige II'.Dimensions: Image size 33.5 x 22 cm
Lot 350
UTAGAWA HIROSHIGE (1797 - 1858): ISE-EBI AND SHIBA-EBIBy Utagawa Hiroshige (1797 - 1858), signed Hiroshige ga Japan, 19th century Color woodblock print on paper. Horizontal Oban. Lobster (Ise ebi) and prawn (shiba ebi), from the series Uozukushi (Every Variety of Fish). Published by Nishimuraya Yohachi (Eijudô). Censor's seal: kiwame. Inscriptions: poems by Shimotsuke Edozaki Ryokujuen Motoari (Ryokujuen Motoari from Edozaki in Shimotsuke Province) and Nen'an Machikado. Inscribed to the backside. Mounted at the upper margin to a passepartout. Condition: Slightly faded colors, and good impression. With browning and staining as well as few wormholes. The upper margin with tears. Provenance: German private collection. Dimensions: Image size 24.5 x 37.5 cm, Size incl. passepartout 38.5 x 52.5 cmThe series initially appeared as a privately printed kyōka poetry album in the orihon format, containing ten illustrated sheets and four text-only sheets. The blocks were later reused for commercial prints, with added publisher's marks, censor's kiwame seals, and occasionally different poems. Additional designs, including one with a trout, were included in the commercial series. Another publisher later added nine more designs. For a complete reproduction and detailed discussion of the first edition, consult Mann 2021, pages 290-311. Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of The Metropolitan Museum of Art, accession number JP3597. Another is in the Museum of Fine Arts in Boston, accession number 21.9605.
Lot 352
UTAGAWA HIROSHIGE (1797 - 1858): SHONO DRIVING RAINBy Utagawa Hiroshige (1797 - 1858), Signed Hiroshige ga Japan, originally issued 1834 - 19th century edition Color woodblock print on paper. No. 46 from the series Fifty-three Stations of the Tôkaidô Road (Tôkaidô gojûsan tsugi no uchi), also known as the First Tôkaidô or Great Tôkaidô. Published by Takenouchi Magohachi (Hoeidô). Censor's seal: kiwame. Condition: Good condition, good impression, colors somewhat faded, and browning. Provenance: German private collection. Dimensions: Image size 35.5 x 38.5 cm, Size incl. passepartout 36 x 48.5 cmLiterature comparison: A near identical but earlier print, is in the collection of The Metropolitan Museum of Art, accession number 11.26227. Another is in the Museum of Fine Arts in Boston, accession number 11.25063. Auction result comparison: Compare to a near identical bur earlier print at Christie´s New York, in Japanese and Korean Art on 22 September 2020, lot 128, sold for USD 30,000.Sudden Shower at Shōno is one of the best-known scenes from Hiroshige's series. It showcases his skill in capturing the intensity of a rainstorm, with palanquin bearers and villagers rushing through the rain. The design is purely imaginative, as Shōno doesn't match the depicted scenery. The umbrella bears inscriptions related to the publisher and series titles. Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.
Lot 366
UTAGAWA HIROSHIGE II (1829 - 1869): RIVER CROSSING AT KANBARABy Utagawa Hiroshige II (1829-1869), signed Japan, 19th century Color woodblock print on paper. Vertical Oban. From the series 'Tokaido Meisho no Uchi' (The Scenic Places of Tokaido). This large series by different artists and publishers was made for the commemoration of shogun Tokugawa Iemochi's historic travel from Edo to Kyoto to pay respect to the emperor. Mounted at the upper margin to a passepartout. Condition: Very good condition, well preserved colors, and good impression. Minor browning and creasing to the upper area. Provenance: German private collection. Dimensions: Image size 35.5 x 24.5 cm, Size incl. passepartout 47 x 36 cm Hiroshige II was born in 1829 with the original name of Chinpei Suzuki. According to tradition, his master Ando Hiroshige, gave him an artist name - usually derived from the first or last part of the master's name. Hiroshige I first gave his gifted pupil the name Shigenobu. Shigenobu was then integrated into the family and was adopted by the great ukiyo-e master when his own son had died in 1845. Hiroshige I (Ando) died in 1858 and Shigenobu took his master's go calling himself Hiroshige Ichiryusai, generally referred to as Utagawa Hiroshige II.
Lot 37
AN IMPERIAL SILVER PRESENTATION VASE WITH KIKUMON, MEIJIJapan, Meiji period (1868-1912), early 20th century Of slender baluster form, rising from a recessed foot to a waisted neck with lipped rim, the silver with an iridescent shine, bearing a silver takazogan sixteen-petaled kikumon (Chrysanthemum Seal), the Imperial Seal of Japan. The base with a 100% pure silver hallmark. Condition: Good condition with minor surface wear and minimal surface scratches. With a dent to the body and another to the mouth rim. Provenance: German private collection, by repute a former state gift to a German minister. Weight: 1,230 g Dimensions: Height 30 cmThe Chrysanthemum Seal (kikumon) found on the present vase indicates it was commissioned by the Emperor of Japan or a member of the Imperial Family. The Imperial Seal of Japan or National Seal of Japan, also called the Chrysanthemum Seal (kikumon), Chrysanthemum Flower Seal (kikukamon, kikukamonsho) or Imperial chrysanthemum emblem (kikunogomon) is the crest (mon) used by the Emperor of Japan and members of the Imperial Family. It is one of the national seals of Japan and is used in a manner similar to the national coat of arms of Japan. During the Meiji period, no one was permitted to use the Imperial Seal except the Emperor of Japan, who used a 16-petaled chrysanthemum with sixteen tips of another row of petals showing behind the first row. Therefore, each member of the Imperial family used a slightly modified version of the seal. Shinto shrines either displayed the imperial seal or incorporated elements of the seal into their own tag.
Lot 375
A FINE GROUP OF FOUR WOODBLOCK PRINT BOOKS, EDO - MEIJIJapan, 19th century, Edo period (1615-1868) to Meiji period (1868-1912)The first a sewn, intricate ehon (picture book) of color woodblock prints. The album features a broad range of simplified illustrations of samurai preparing for combat, horses, mythological creatures, plants, and various bonsai trees in intricate pots.Dimensions: 17.4 x 11.6 x 0.7 cm Condition: Detailed and intricate depictions in color commensurate with age. Creasing on the edges, soiling, spotting, fading, pilling and minor material loss. Accompanied by label from the collector, 'Sammlung Goncourt No 1572 Cataloges' on the front.The second by Hokusai Katsushika (1760 - 1849), fugaku hyakkei, vol. 1. Sewn. Entitled Fugaku hyakkei (100 Views of Mount Fuji). The yellow cover indicates a Meiji-era reprint of the Edo-period book. The volume features splendid prints and inspiring landscapes.100 Views of Mount Fuji was originally published as a three volume ehon (picture book) starting in 1834 and into the 1840s. Devoid of any meaningful color, the 102 designs contained in the monochrome woodblock printed books are considered by many to be amongst Hokusai's masterpieces.Dimensions: 22.6 x 15.8 x 0.8 cm Condition: Intricate design and detail commensurate with age. Creasing on the edges, soiling, spotting, fading, pilling, and minor material loss. Illegible handwriting in pencil on the back.Hokusai Katsushika (1760 - 1849) is one of the most renowned and influential artists in Japanese history. Born in Edo (now Tokyo), Hokusai began his career as an apprentice in a woodblock print shop before venturing out on his own to pursue his passion for art. Over the course of his career, Hokusai created a vast body of work that included not only woodblock prints but also paintings, sketches, and illustrated books. His work is characterized by a relentless experimentation with style and technique, as well as a deep appreciation for the natural world and the beauty of everyday life.Hokusai is perhaps best known for his iconic series, "Thirty-Six Views of Mount Fuji," which includes the famous print "The Great Wave off Kanagawa." He followed this in the next few years with the spectacular Fugaku hyakkei (100 Views of Mount Fuji).The third a sewn black and white manga album, featuring a broad range of subjects ranging from landscapes to flora, fauna, and human figures.Dimensions: 22 x 15.5 x 0.7 cm Condition: Detailed and intricate depictions on slightly browned paper commensurate with age. Creasing, soiling, spotting, fading, pilling and minor material loss. Hints of water stains. Accompanied by labels of the collector, 'Hokusai Baishoku dzu-ko' on the front cover and collector's remark in pencil on the verso of the front-cover, 'Hokusai: Baishoku dzu-ko (Shrinta) 1835'.The fourth by Koikawa Shozan (1821-1907), a shunga erotica color woodblock print book, sewn. From Koikawa Shozan's six volume series, “Shaka hassho zoku yamato bunko” which was published around 1870. There are a total of 18 color pages of shunga woodblock prints, and another 8 black and white pages of shunga artwork. The remaining 15 pages are kanji text pages. Shozan initially produced this series in the Edo Period (1854), but because it proved to be so popular amongst the masses, he made it again in the Meiji Period, with a few subtle differences. Most notably, the Meiji Period artwork has elaborate bordering, whereas the Edo version does not.Dimensions: 22 x 14.6 x 1 cm Condition: Very vivid colors and elaborate details. Commensurate with age, creasing, soiling, fading and very minor material loss.The art of erotic print was practiced by many artists, including Hokusai. It was a relatively easy way to monetize art. Its figuration, like anything in Japan is codified: coupling servants and lords, monstrous size of the sexes, voyeurism, and sadism.
Lot 383
SHIRO KASAMATSU (1898-1991), MT. FUJI FROM YOSHIDABy Shiro Kasamatsu (1898-1991), signed Shiro KasamatsuJapan, dated 1951Color woodblock print on paper. Vertical Oban. Signed Shiro Kasamatsu along with Unsodo publisher seal on the left margin (first seal). Entitled Mount Fuji from Yoshida. Vertical inscription along the left margin (top).Handsome view of Mt. Fuji from Yoshida against a pale-yellow sky, behind the snow-capped peak of the mountain. Below, a parent and child in silhouette walk along an empty road, warm light glowing from the windows of the buildings along the edge of the street.SIZE of the sheet 40.5 x 27.6 cmCondition: Great impression, and vivid colors. Very minor material loss on the lower right corner with some ink stains along the right margin.Shiro Kasamatsu (1898-1991) was a renowned Japanese print artist known for his contributions to the shin-hanga movement. He began his artistic training at the age of 13 under Kaburaki Kiyokata (1878-1973), studying painting and printmaking. In 1919, he caught the attention of publisher Watanabe Shozaburo (1885-1962) who commissioned him to design woodblock prints. In the 1950s, Kasamatsu changed his publishing partner to Unsōdō in Kyoto, creating over 100 prints for them, mostly in shin-hanga style featuring traditional subjects. This partnership provided him with a stable income and enabled him to explore other artistic endeavors.
Lot 384
SHIRO KASAMATSU (1898-1991), WATERS AT KIBABy Shiro Kasamatsu (1898-1991), signed Shiro KasamatsuJapan, dated 1958Color woodblock print on paper. Vertical Oban. Signed Shiro Kasamatsu along with Unsodo publisher seal on the left margin (first seal). Entitled Waters at Kiba. Vertical inscription along the left margin (top).The print depicts the Kiba area in Tokyo, Japan. Kiba is a waterfront district located in the eastern part of Tokyo, known for its historical importance as a hub of transportation and trade during the Edo period (1603-1868). It was a bustling area with canals, rivers, and warehouses, and it has been a popular subject for artists and printmakers.SIZE of the sheet 41 x 27.2 cmCondition: Great impression, and vivid colors. Very minor material loss on the lower right corner with some ink stains along the right margin.Shiro Kasamatsu (1898-1991) was a renowned Japanese print artist known for his contributions to the shin-hanga movement. He began his artistic training at the age of 13 under Kaburaki Kiyokata (1878-1973), studying painting and printmaking. In 1919, he caught the attention of publisher Watanabe Shozaburo (1885-1962) who commissioned him to design woodblock prints. In the 1950s, Kasamatsu changed his publishing partner to Unsōdō in Kyoto, creating over 100 prints for them, mostly in shin-hanga style featuring traditional subjects. This partnership provided him with a stable income and enabled him to explore other artistic endeavors.
Lot 39
HATA ZOROKU III: AN IKEBANA BRONZE VASE, TAISHOBy Hata Zoroku (1882-1944), signed Zoroku Japan, Taisho period (1912-1926) Of tsurukubi form, the ovoid body rising from a short foot to a long slender neck, with fine light brown and iron-red patination. The recessed base singed ZOROKU.With an original wood storage box with calligraphy ´Bronze vase for displaying a single blossom´ (2).Condition: Very good condition with minor wear. Provenance: Dutch collection. Weight: 419 g Dimensions: Height 30.5 cmThe Zoroku name spans 6 generations of Kyoto bronze artists. The line began in the late Edo period, the first Zoroku (died in 1890) achieved fame through modified Ryubundo and Ko-do techniques, serving the Edo Shogun and the Emperor. The details of the second Zoroku (born 1820) are unknown, while the third lived from 1882 to 1944. The fourth generation introduced greener patinas and splashed gold techniques, influenced by China, from the 1950s to the 1980s. The Hata family, known for their exceptional lost wax casting, received patronage from the Imperial Household Agency.Auction result comparison: Compare to a closely related vase by Hate Zoroku III at Bonhams New York, in fine Japanese and Korean art, including the Crawford collection of Surimono, on 22 September 2021, lot 1156, sold for USD 1,912.
Lot 40
A FINE INLAID SENTOKU VASE WITH PEONIES AND BIRD, MEIJIJapan, Meiji period (1868-1912)Of baluster shape supported by a spreading foot and rising to a short neck set with coiled handles, the body finely incised and inlaid with silver, gold and copper, depicting blooming peonies, with a bird perched on a stem. The neck and foot decorated with leafy borders. Incised inscription to the underside. HEIGHT 31 cm WEIGHT 2,945 g Condition: Good condition with minor wear, surface scratches, and nicks. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.
Lot 41
A LOT WITH TWO BRONZE VASES, MEIJI PERIODJapan, Meiji period (1868-1912)The first being a gilt bronze vase with a pear-shaped body raised on a short, flared foot and rising to a trumpet neck decorated in high relief depicting two lotus flowers, one already blooming and the other still a bud. The second bronze vase of baluster shape with a short neck, crafted in silvered takazogan and Katakiri incision work depicting a flying goose amongst water reeds. HEIGHT 28 cm (gilt bronze vase), 29.9 cm WEIGHT 1,008 g (gilt bronze vase), 2,184 g Condition: Good condition with traces of wear and age, light surface scratches, nicks, and dents to the gilt bronze vase. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.
Lot 44
A PAIR OF INLAID BRONZE VASES WITH EGRETS, MEIJIJapan, Meiji period (1868-1912)The vases with elongated ovoid bodies on flat recessed feet, with rounded shoulders and broad mouths. Decorated with egrets in shishiabori (sunken relief), the birds standing in a stream amongst water reeds, with fine incision work and gilt as well as silvered details.Condition: Good condition with minor surface wear, tiny nicks, and surface scratches. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.Weight: 1031 g in totalDimensions: Height 15.5 cm each
Lot 444
A GROUP OF THREE IRON TSUBA, EDOJapan, Edo period (1615-1868) The first of tate-maru-gata (oval) form with two hitsu, cast in openwork with scrolling vines intertwined among Japanese bamboo blinds (misu), further decorated with geometric designs in gold overlay. The second of mokko-gata form with one hitsu, worken in sunken relief with leaves and sentoku inlays. The third of tate-maru-gata (oval) form, cast in openwork to depict a writhing dragon amongst dense clouds and above crashing waves. Condition: Very good condition with minor wear and oxidation. The first with losses to the overlays. Provenance: Czech private collection. Weight: 250,1 g Dimensions: c. 5.5 cm, 7 cm, and 7.5 cm
Lot 45
A LOT WITH FOUR METAL BOXES, MEIJIJapan, Meiji period (1868-1912)The first a rectangular sentoku box with hinged lid inlaid with fruity branches, blooms, birds, and figures. The second a silver finished copper box with hinged lid worked in repousse and embossed with a sinuous dragon and two characters 'long life' and 'good luck' on the cover, with dragon skin and stylized floral décor on the sides and underside, the interior fitted in wood. The third a quadrangular sentoku box with hinged lid incised with lobed and fan shaped reserves and inlaid with copper and sentoku birds and flowers. The last a small parcel-gilt bronze chest-shaped box with hinged lid and clasp, cast with animals, roundels, and flames.Condition: Overall good condition with wear, dents, and minor nicks here and there. The hinged lid mechanisms damaged. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.Weight: 1174 g in totalDimensions: Height 2.8 - 4.5 cm, length 7.3 - 11 cm
Lot 463
A GROUP OF TWO KASHIRA AND ONE FUCHI, 19th CENTURYJapan, 19th centuryThe first an iron kashira decorated in gilt takazogan with a depiction of a scarecrow. The second an iron fuchi crafted as well in gilt, copper, and shibuich iro-e tagazogan, showing a scarecrow, birds, and flowers. The third a shibuichi kashira crafted in gilt, copper, and silver iro-e tagazogan, depicting a sage, holding a cup of sake in his hand. LENGTH 3.8 cm (each kashira), 3.3 cm (the fuchi) WEIGHT (total) 36 g Condition: Each in good condition with minor surface wear, and slight surface scratches. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.
Lot 464
A SET OF TWO FUCHI AND TWO KASHIRAJapan, 18th - 19th century, Edo period (1615-1868)Comprising two fuchi with takazogan decorations and signed, one kashira with a shakudo nanako ground depicting three birds, the other bearing a shibuichi ground and decorated with a rat next to a scroll.LENGTH 3.5 cm and 3.8 cm (the fuchi), 3.4 cm and 3.8 cm (the kashira)WEIGHT 66.3 g (total)Condition: Good condition, some wear.Provenance: Ex-collection Doctor Karl Florenz (1865-1939). Born in Erfurt, Karl Adolf Florenz was the founder of German Japanese studies and a translator of important Japanese classics. He became known for his work on Japanese history of literature. Florenz lived in Japan from 1888 until the outbreak of World War I. In 1889 he became a lecturer in German language and literature at the Imperial University of Tokyo, and in 1891 a full professor of German literature and comparative linguistics. In 1899, he became the first foreigner to be awarded the highest Japanese scholarly degree (Bungaku-Hakushi) for his translation of the Nihon shoki.
Lot 47
A SIGNED IRO-E TAKAZOGAN INLAID BRONZE VASE WITH FLOWERS, MEIJIJapan, Meiji period (1868-1912) The vase with a pear-shaped body supported on a straight foot and rising to a slender neck with flared rim, the body finely inlaid in iro-e takazogan technique with silver, gold, and copper with leafy flower blooms. Signed to the base within a rectangular reserve with an artist seal. Condition: Very good condition with some wear and minimal casting flaws. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands, acquired from the above. J.W.N. van Achterbergh was an important collector, expert, and patron of Dutch post-war ceramics. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Weight: 266 g Dimensions: Height 14 cm
Lot 48
A LOT WITH THREE MIXED METAL VASES AND A CANDLESTICK, MEIJIJapan, Meiji period (1868-1912)Comprising three bronze baluster-shaped vases raising to waisted necks and everted rims, worked in mixed metal takazogan depicting peonies and sparrows as well as stalks and leaves incised in kebori and katakiri. With a tiered bronze candlestick rising from three beast mask feet set into a circular foot, the middle piece cast with elephant handles and two reserves enclosing birds perched in branches. Condition: Good condition with minor surface wear, tiny nicks, and light surface scratches. One vase with few dents. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.Weight: 985 g in totalDimensions: Height 15.5 - 12 cm
Lot 50
A LOT WITH THREE METAL LOCKS AND KEYS, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912) The lot comprising three locks and five keys. The larger lock cast from bronze and etched with leafy scroll, the medium cast from iron and damascened and gilt with diaper patterns and flowers, the smaller flanked by a pair of dragon heads. Together with a Chinese cash coin. Condition: Overall good condition with traces of age and use. The small lock fully functional. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Weight: 390 g Dimensions: Length 5.5 cm, 6 cm, and 11.2 cm
Lot 514
A LOT WITH FIVE WOOD SAGEMONO SETS, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912) The first a one-case wood inro with a simplistic stag antler netsuke and a wooden miniature tonkotsu. The second a wood tonkotsu of oval shape, with a coral ojime and an elongated stag antler netsuke carved as a longish rock with two cambering turtles and surmounted by a minogame. The third a wood tonkotsu carved in imitation of a leather pouch, the hinged lid inlaid in shell with a hatching tengu, together with an ojime of Daruma, a bamboo and metal kiseru, and a lacquered kiseruzutsu imitating wood, with several ghost eyes and peaks. The fifth and last, an earthy wood sagemono with a stag antler netsuke. Condition: Overall good condition with wear and traces of use. Some with chips, small cracks, flakes, or losses. Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture. Dimensions: Height 6.5 cm to 15 cm
Lot 515
A LOT WITH THREE LACQUER INRO AND TWO NETSUKE, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912) The first a four-case inro, lacquered in dark brown and deeply carved to both sides with a scholar in a garden. The second a three-case inro crafted from wood and decorated in gold with a mon crest on each side, with an agate ojime and a stag antler netsuke depicting Hotei with his treasure bag, the backside with himotoshi and signature SHOICHI. The third a three-case red lacquered inro in a brown lacquered case executed in openwork, with a resin ojime and a stag antler netsuke of compressed globular form and carved in openwork enclosing a landscape. Condition: Overall good condition with some wear. The first with flakes to the interior. The second with shallow surface scratches and few tiny nicks. The compartments of the third resistant to opening smoothly, the netsuke with an age crack. Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture. Dimensions: Height 8 cm, 7.6 cm, and 7. 3 cm (the inros), 3 cm and 2 cm (the netsuke)
Lot 524
A POWERFUL AND RARE WOOD TONKOTSU IN THE FORM OF A HANNYA MASKUnsigned Japan, 19th centuryWell carved as a Hannya mask for the role of Kiyohime, with bulging eyes double-inlaid in pale and dark horn, the mouth wide open in a ferocious scream showing tongue and teeth flanked by sharp fangs, the hair neatly incised and wrinkles deeply carved, the interior of the hinged cover carved with a striker, forming a himotoshi underneath.LENGTH 9.6 cmCondition: Good condition with minor wear, light scratches. A small repair to the edge of the cover. The Hannya mask represents a female serpent-demon filled with malicious jealousy and hatred. The mask is worn by the protagonist (shite) in the second acts of the Noh plays Aoi no Ue, Dojoji, Kurozaka, and Momijigari. The first two plays depict women betrayed or spurned by their lovers; the second two portray demons who first appear in human form to trap the unwary. Several traditions account for the name Hannya: the most plausible account traces the origins of the mask to the mask carver Hannyabo who was active in the late 15th or early 16th century. The bell striker, which forms the cord attachment in the present tonkotsu, indicates that this particular Hannya mask was used for the Dojoji play for the role of Kiyohime.
Lot 526
A FINE GROUP OF NINE WOOD AND BAMBOO SAGEMONO SETS, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912)Comprising seven bamboo and wood tonkotsu (tobacco containers), and two yatate: one consisting of a bamboo stalk fudezutsu (brush holder), with a glazed ceramic sumitsubo (inkwell) shaped as a mokugyo; the other a red fudezutsu with calligraphy, a fine mixed metal openwork ojime, and a bamboo inkwell incised with a pine tree. The first tonkotsu is carved with calligraphy, a frog, and a landscape on the cover, with a matching kiseruzutsu (pipecase) of senryu-zutsu type carved as a lotus leaf. The second tonkotsu engraved with calligraphy, with an openwork ojime, and a kiseruzutsu of senryu-zutsu type carved as Ashinaga. The third carved with a face to each side and with a metal kanamono to the top of the cover, with a floral ojime and a kiseruzutsu of senryu-zutsu type shaped as a gourd. The fourth hexagonal and with incised calligraphy, a plain ojime, and a kiseruzutsu of senryu-zutsu type. The fifth a tonkotsu and kiseruzutsu of senryu-zutsu type, both naturalistically carved from burlwood, showing protruding burls and recesses, finely polished to a smooth feel overall. The sixth carved as a monkey covering its ears, with a floral ojime and a kiseruzutsu of senryu-zutsu type depicting a dragon. The seventh and last kiseruzutsu of muso-zutsu type, with a stag antler ojime depicting Hotei, a leather pouch (tabako-ire), and a pipe (kiseru). Condition: Very good condition with some wear and small nicks here and there. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Length c. 19 cm to 22 cm
Lot 527
A FINE GROUP OF SEVEN SAGEMONO SETS, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912)Comprising seven wood kiseruzutsu of muso-zutzu type, all having the cord attachments in the form of eyelets, and seven leather tobacco pouches (tabako-ire). The first with thin strips arranged vertically and lacquered red, with a pipe, a plain ojime, and a pouch with a western metal clasp. The second bearing a lustrous fine patina and incised with calligraphy, with a glass ojime, and a pouch with a metal kanamono (pouch fitting) depicting a flower, to the inside of the pouch the fitting is signed KUSUNOKI. The third with a woven bamboo body, a pipe inscribed ´in memory of the earthquake, September 1st´, a gilt metal ojime, and a pouch, the metal kanamono depicting a man and a goat. The fourth crafted from woven bamboo and having a hinged metal cover, together with a pouch, the metal kanamono depicting a peony and a teapot. The fifth with thin strips arranged vertically and lacquered black, an amber ojime, and a fabric pouch with woven decoration depicting a house among mountains and trees. The sixth of woven bamboo, with a pipe, a reticulated metal ojime, and a pouch with a figural copper kanamono. The seventh and last lacquered black, with a pipe, a coral ojime, and a fabric pouch with woven decoration depicting a house and a gourd. Condition: Very good condition with traces of wear and use as well as some losses and minor nicks here and there. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.Dimensions: Length c. 17 cm to 24 cm
Lot 528
A GROUP OF SEVEN LEATHER TABAKO-IRE SETS, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912)The first and second each embroidered with a dragon, the dragon motif is also shown on the brass kanamono (clasp), a Bakelite (in imitation of ivory) and metal dragon kagamibuta netsuke is attached by a multi-strand chain secured by a gilt metal dragon guard, the interior with three compartments, the central one closing with a clasp. The third similarly decorated, having a silver plate of the kagamibuta netsuke depicting a peony in place, missing the bowl. The fourth also with a silvered copper dragon kanamono and a multistrand chain attached to the wood and stag antler manju netsuke, which is executed in openwork with a flower head. The last three with metal kanamono depicting a horse, the famous story of Shiba Onko, and a boat respectively; the pouch with the boat clasp bearing a wood netsuke carved as a grazing horse. Condition: Good condition with traces of wear and use as well as some losses and soiling. One dragon pouch missing the clasp. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Length c. 12 cm to 15 cm
Lot 529
A LOT WITH TWO FINE TABAKO-IRE SETS, MEIJIJapan, Meiji period (1868-1912)The first crafted from leather and decorated in forbidden stitch (knotted stitch) and satin stitch with a pair of cockerels, the metal kanamono (pouch fitting) depicting irises, the ivory manju netsuke is attached by a multi-strand chain secured by a metal dragon guard and carved and inlaid with daikoku and a boy, the backside with Daikoku´s attributes. The second crafted from fabric, the exterior bearing floral decoration and with a metal dragon kanamono, an ivory and metal peony kagamibuta netsuke is attached by a multi-strand chain secured by a metal dragon guard. Condition: Good condition with minor traces of wear and use as well as few small losses. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Length 13.5 cm and 10 cm Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-2076).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.
Lot 530
A FINE GROUP OF FIVE SAGEMONO SETS, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912)Comprising five kiseruzutsu carved from stag antler and four tobacco pouches (tabako-ire). The first of muso-zutsu type, the stag antler superbly polished and showing a fine patina, the cord attachment in the form of an eyelet near the rim, together with a glass ojime and a tobacco pouch crafted from leather and with a figurative mixed metal kanamono (pouch fitting). The second of otoshi-zutsu type, the cord attachment in the form of an eyelet near the rim, with an amber ojime, a stag antler obi-hasami, and a woven bamboo pouch. The third of otoshi-zutsu type, finely carved in relief, depicting Handaka Sonja underneath a pine tree branch, holding his alms bowl aloft, the upper tree branch forming the cord attachment, together with a glass ojime, and a leather pouch with a figural mixed metal kanamono (pouch fitting), to the inside of the pouch the fitting is further engraved and signed. The fourth of otoshi-zutsu type, carved with a vase filled with flowers below a pair of birds, the cord attachment through the sides. The fifth of otoshi-zutsu type, finely carved in relief with a figure standing below a tree branch that serves as the cord attachment, together with a glass ojime, and a woven bamboo pouch in the form of a picknick box with metal fittings. Condition: Very good condition with traces of wear and use as well as natural imperfections and tiny losses. The second with a chip to the kiseruzutsu´s upper rim. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Length c. 20 cm each
Lot 531
A STAG ANTLER KISERUZUTSU OF ASHINAGA, MEIJIJapan, Meiji period (1868-1912)Of senryuzutsu type, carved as the long-legged Ashinaga, with his short arms joined to encircle the pipe. His face expressively carved with inlaid eyes. The cord attachment runs through a little carved loop to his side, just above the tobacco pouch which is attached to his obi. With an artist signature at the back near the base within a raised reserve.LENGTH 21.8 cmCondition: Very good condition with minimal wear, and with natural imperfections to the material. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.
Lot 54
HARUYAMA FUBO: A THREE-PART BRONZE USUBATA VASE WITH VINESBy Haruyama Fubo (1890-1970), signed by Haruyama Fubo at the boxJapan, 20th centuryThe double gourd plain body set to the top with a separately cast network of scrolling vines, each leaf inlaid with silvered metal dew drops, all surmounted by a trumpet mouth with a galleried rim.With an original wooden box signed by the artist.Condition: Very good condition with minor wear, minimal casting irregularities and few tiny nicks here and there. Provenance: Dutch collection. Weight: 6,886 g Dimensions: Height 33 cm, diameter 36 cmBased 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. Haruyama Fubo (1890-1970), originally named Yoshio, was a Japanese metal artist known for his expertise in casting. He studied at the Tokyo School of Fine Arts under Sakuraoka Sanshiro and Tsuda Shinobu. Fubo's talent was recognized early on, with one of his bronze vases accepted at the 1916 Noten exhibition. He later taught at the Kagawa Prefectural Industrial Arts High School and became a lecturer at the Tokyo School of Fine Arts. Fubo actively exhibited his works and was involved in restoration projects for ancient temples, leaving a significant mark on Japanese art.
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