JOSIAH CONDER (1852-1920) KAWANABE KYOSAI (1831-1889) DAVID NEWMAN (1936-2012) 19TH & 20TH CENTURY An extensive collection of paper ephemera, letters, photographs and other material relating to Josiah Conder, his family, Kawanabe Kyosai, and other subjects, including several albums comprising photographs of Conder and his relatives c.1910, many taken while they were living in Japan and featuring interiors decorated with artworks by Kyosai, the archive assembled by David Newman (d.2012) in the 1980s-90s and including a large number of letters he exchanged with Conder's descendants, showing his efforts to trace Kyosai's paintings once owned by the family. (a lot) Provenance: formerly the David and Paula Newman collection, sold on behalf of the executors. Josiah Conder (1852-1920) was a British architect and an 'oyatoi gaikokujin', a foreign advisor to the Meiji Government, sometimes also referred to as the 'Father of modern Japanese architecture'. Conder was hired in 1877 as Professor of Architecture at the Imperial College of Engineering, and Architect to the Public Works Department. The Meiji Government commissioned many European-style buildings as part of its aim to Westernize Japanese society and cities. Conder was hired to supervise the building work and train Japanese students in this European style of architecture. After his contract with the Japanese Government ended, Conder decided to remain in Japan and set up his own company. His most famous constructions include the Ueno Imperial Museum (Tokyo), the Rokumeikan (Tokyo), the Bank of Japan (Tokyo), the Mitsubishi Ichigokan Museum (Tokyo), Christ Church (Yokohama), and many other public structures and private houses in European style. Conder was fascinated by the arts and culture of his adopted country, and notably wrote books about Japanese landscape gardening and flowers. He enjoyed Kabuki theatre and ikebana (flower arrangement), and he studied traditional Japanese painting under the master painter Kawanabe Kyosai (1831-1889). Kyosai nicknamed Conder Kyôei (‹Å‰p), the second character meaning 'Britain'. Conder was by the artist's side when he died in 1889, and he later published in 1911 the first work in English dedicated to his art ('Paintings and Studies by Kawanabe Kyosai'). Conder owned a large number of paintings by his friend and mentor, and many of these are visible in the photographs offered as part of lot 157. Some of these paintings are now in museum collections around the world, and others are currently on display at the Royal Academy of Art, London, until 19th June 2022 as part of the exhibition Kyosai: The Israel Goldman Collection.
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UTAGAWA KUNIYOSHI (1798-1861) KATSUSHIKA HOKUSAI (1760-1849) WATANABE SEITEI (1851-1918) EDO PERIOD, 19TH CENTURY Four framed and glazed Japanese woodblock prints by Kuniyoshi, three from the series Tsuzoku Suikoden goketsu hyakuhachinin no hitori (108 Heroes of the Popular Water Margins, c.1827-30), each print depicting one of the eponymous characters, all approx. 37.5cm x 25.8cm; the fourth from the series Kisokaido rokujoku tsugi no uchi (Sixty-Nine Post Stations of the Kisokaido, c.1852) and depicting Princess Yaegaki with her fox friends, all approx. 31.7cm x 22.8cm; together with two printed albums, the first by Hokusai and entitled Denshin Kaishu, Hokusai Gaen (A Garden of Pictures by Hokusai, c.1820), vol.2, 22.6cm x 15.7cm; the other by Seitei, entitled Bijutsu sekai (Art World, 1892), vol.19, a publication produced to promote Japanese Art, with illustrations after Kuniyoshi, Okyo, Masanobu and others, 24.9cm x 16.1cm. (6) Provenance: from the collection of John Peter Russell (1858-1930), purchased from Siegfried Bing by repute, and thence by descent. Russell was an Australian Impressionist and a friend of Van Gogh's, painting the first oil portrait of the artist, now at the Van Gogh Museum in Amsterdam. He also painted with Claude Monet, and Henri Matisse credited Russell for introducing him to Impressionism. He married Anna Maria Antonietta Mattiocco, one of Rodin's favourite models, in 1888. Cf. W Tunnicliffe, John Russell: Australia's French Impressionist, pp.38-39 where Russell's interest for Japanese art and his print collecting are discussed. The book was published as a guide to the exhibition dedicated to John Russell held at the Art Gallery of New South Wales, Sydney, in 2018.
UTAGAWA KUNISADA I / TOYOKUNI III (1786-1864) UTAGAWA HIROSADA (ACT. 1825-75) TAKAHASHI SHOTEI / HIROAKI (1871-1945) KO SUKOKU (1730-1804) EDO AND LATER, 19TH AND 20TH CENTURY Three Japanese prints and a painting, the first a woodblock print by Kunisada entitled 'Mirror Mountain at Musa Station (with actor Onoe Shoroku I as Tsubone Iwafuji)', from the series 'The Sixty-Nine Stations of the Kisokaido Road' (1852); another woodblock print by Utagawa Hirosada depicting a man holding a child (c.1849); the third a print on board by Shotei entitled 'Rain on Izumi Bridge' (c.1927); the ink painting by Ko Sukoku (1730-1804), depicting the drunk Chinese poet Li Bai (701-762) supported by two young boys, 42.5cm x 30cm max. (4) Provenance: from an English private collection, London.
UTAGAWA HIROSHIGE (1797-1858) KITAGAWA SHIKIMARO (ACT. 1804-20) KEISAI EISEN (1790-1848) KIKUGAWA YEIZAN (1787-1867) UTAGAWA YOSHIFUJI (1828-87) EDO PERIOD, 19TH CENTURY Five Japanese woodblock prints depicting beauties, the first by Hiroshige and entitled 'Evening Cool at Ryogoku', from the series 'Famous Places in the Eastern Capital' (c.1844-48); another by Shikimaro of 'Hanazuma of the Ogiya, Kamuro Nioi and Kaoru', from the series 'Thirty-Six Female Poetic Immortals in the Modern Style' (c.1813); the third by Eisen and entitled 'Yui: Shigesaki of the Owariya' from the series 'A Tokaido Board Game of Courtesans: Fifty-Three Pairings in the Yoshiwara' (c.1821-23); the fourth possibly by Utagawa Yoshifuji of a lady in an interior holding a fan, and another possibly by Kikugawa Yeizan depicting an oiran with a checkered kimono, 39cm x 26.4cm max. (5)
UTAGAWA SADAHIDE (C.1807-1873) YOSHIKAZU UTAGAWA (ACT.1850-70) EDO PERIOD, C.1861 Three Japanese Yokohama-e woodblock prints depicting Westerners, two from Utagawa Sadahide's series 'People of Foreign Nations', the first entitled 'Two Russians in Yokohama', the foreigners with a long-haired goat; the second 'Russians enjoying a Holiday in Yokohama', one holding a telescope; the third print by Yoshikazu Utagawa entitled 'English couple' and depicting the figures with their pet dog, all three oban tate-e, all approx. 37cm x 25.5cm. (3) Foreigners settled in Yokohama often kept animals as pets and livestock, including dogs, and goats. Sadahide saw them as exotic subjects worth including in his woodblock prints.
UTAGAWA TOYOSAI (1848-1920) CHIKANOBU YOSHU (1838-1912) MEIJI PERIOD, C.1891 Two Japanese woodblock prints triptychs, the first by Toyosai and depicting figures observing two men landing with parachutes, one of them possibly Percival Spencer (1864-1913), a British parachutist; the other by Yoshu and depicting courtesans enjoying hanami, both mounted on board, all sheets oban tate-e, approx. 35.4cm x 23.2cm. (2)
KATSUSHIKA HOKUSAI (1760-1849) EDO PERIOD, C. 1827-1832 Two Japanese woodblock prints by Hokusai, the first entitled Soshu Oyama Roben no taki (Roben Waterfall at Oyama in Sagami Province), the other entitled Kisokaido Ono no Bakufu (The Waterfall at Ono on the Kisokaido Road), both from the series Shokoku taki Meguri (A Tour of Waterfalls in Various Provinces), both oban yoko-e, framed and glazed, 37.9cm x 26cm and 37.5cm x 26.1cm respectively. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
UTAGAWA HIROSHIGE I (1797-1858) TAISHO OR LATER, 20TH CENTURY A Japanese woodblock print triptych entitled Buyo Kanazawa hassho yakei (Eight Views of Kanazawa at night, Province of Musashi), first published in 1857, with publisher's mark reading Uchida han, oban tate-e, each sheet framed and glazed, all approx. 43.7cm x 27.4cm. (3)
KAWARAZAKI SHODO (1889-1973) KOTOZUKA EIICHI (1906-79) SHOWA ERA, C.1950 Three Japanese woodblock prints, the first by Shodo and depicting a large sunflower, from the series Nihon no hanagoyomi (Calendar of the Flowers of Japan), 37.7cm x 26cm; the two others by Eichii, the first entitled Tango no Sekku (Boy's Day), and the other Koto Gosho (Imperial palace in Kyoto), both approx. 38.5cm x 24.8cm; all three framed and glazed. (3) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
TSUCHIYA KOITSU (1870-1949) SHOTEI TAKAHASHI (1871-1945) SHOWA ERA, C.1930 Two Japanese woodblock prints, the first by Koitsu and entitled 'Evening at Hira' (1936), framed and glazed, oban tate-e, 35.6cm x 23.6cm; the other by Takahashi and entitled 'Night Scene at Itako' (c.1930), mounted on board, 25.8cm x 17.2cm. (2)
YOSHIDA HIROSHI (1876-1950) SHOWA ERA, 1933-1935 Three Japanese woodblock prints, the first entitled Sarusawa ike (Saruwasa Pond) and dated 1933; the second Sankeien (Three Creeks Garden) from the series 'Eight Scenes of Cherry Blossoms' and dated 1935; the third (Evening in Nara) from the series 'Kansai District' and dated 1933; all three signed Hiroshi Yoshida in pencil underneath, Yoshida in sumi ink and the red seal for Hiroshi bottom right, with jizuri seal in the left margins; all oban tate-e, all approx. 39cm x 27cm each. (3) Provenance: the collection of Vice-Admiral Reginald Vesey Holt, CB, DSO, MVO, (1884-1957), and thence by descent.
PAUL JACOULET (1902-1960) SHOWA, 1936 AND 1937 Two Japanese woodblock prints, the first entitled La Chenille Verte, Corée (The Green Caterpillar, Korea) and the other Sur le Sable, Ouest Carolines, Yap (On the Sand, West Caroline Islands, Yap); both signed in pencil lower right corner above the red Good Luck Hammer seal; the first with a ground of mica, a carver's seal for Maeda Kentaro and stamped with edition number 150/150 on the verso, and the other with edition number 82/150, 46.8cm x 35.6cm and 36.1cm x 46.7cm respectively. (2) Paul Jacoulet was a French artist living in Japan, who learnt traditional ukiyo-e printing techniques and developed a personal style often featuring portraits of people he met on his voyages. He travelled extensively to Micronesia, Indonesia, China, Korean, Japan and the Philippines.
GINNOSUKE YOKOUCHI (1870-1942) AND T. YAMAMOTO (C.1900) MEIJI OR TAISHO, 19TH OR 20TH CENTURY Two Japanese paintings in Yoga style, the first a watercolour with a small building on stilts by a pond, the scene set in a luxuriant garden with many flowers in bloom, signed G.Yokouchi, framed and glazed; the other depicting two fishermen on a large boat purchasing persimmons from a third man on a smaller craft, with further boats visible in the distance, signed T. Yamamoto, framed, 32cm x 48cm and 46.5cm x 63.5cm respectively. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from an English private collection, London.
A RARE JAPANESE TENMOKU AND BLUE AND WHITE DISH EDO PERIOD, C.1660-70 The shaped dish decorated with an elegant design of snow-covered banded hedges, the upper section in mottled chocolate-brown tenmoku glaze and the fences below rendered in underglaze blue, with old kintsugi gold lacquer repairs, a flattened rim and raised on a short foot, 15.5cm. Provenance: purchased from Richard Barker Fine Art. Exhibited: Asahi Shimbun, Ko-Imari Porcelain, Daimaru Kyoto, November 1992, and illustrated in the catalogue p.113, pl.131. The exhibition toured other Daimaru stores in Fukuoka, Osaka and Tokyo in 1993. Cf. O Impey, The Early Porcelain Kilns of Japan, Arita in the First Half of the Seventeenth Century, no.48d where this very dish is illustrated. Also, see Ko_imari: A Catalogue of Hizen Porcelain from the Nezu Museum's Yamamoto Collection, p.72, no.274, for a related dih with the same decoration of snow-covered brushwood fences.
TWO JAPANESE ARITA BLUE AND WHITE DISHES MEIJI PERIOD, 19TH OR 20TH CENTURY Both decorated in underglaze blue; the first depicting a tiger baring its fangs and standing four-square in a bamboo grove; the other with pine trees before Mount Fuji on a cracked-ice ground, 31cm and 28cm respectively. (2) Provenance: from the collection of the late Gas Kimishima, wood-fire potter and specialist in the ancient kilns of Japan, purchased in Japan and thence by descent. Gas established his studio in England and built his own anagama kiln in Tring, Hertfordshire.
TWO LARGE JAPANESE ARITA BLUE AND WHITE DISHES MEIJI PERIOD, 19TH OR 20TH CENTURY Both decorated in underglaze blue; the first depicting a crane wading amongst tall grasses, with scrolling wisps of mist and lotus behind it; the other with a large carp on a cracked-ice background, both with karakusa scrolls to the underside, 35.8cm and 31cm respectively. (2) Provenance: from the collection of the late Gas Kimishima, wood-fire potter and specialist in the ancient kilns of Japan, purchased in Japan and thence by descent. Gas established his studio in England and built his own anagama kiln in Tring, Hertfordshire.
TWO JAPANESE BLUE AND WHITE PIECES MEIJI AND LATER, 19TH OR 20TH CENTURY Both decorated in underglaze blue, the first a scalloped bowl painted to the well with a long-eared hare curling up amongst tall grasses, with a brown-edged rim and the underside left undecorated; together with a tokkuri embellished with flower sprays, 15cm and 22.5cm respectively. (2) Provenance: from the collection of the late Gas Kimishima, wood-fire potter and specialist in the ancient kilns of Japan, purchased in Japan and thence by descent. Gas established his studio in England and built his own anagama kiln in Tring, Hertfordshire.
Part of a 2nd grade silver cassette, model Haagslofje. Consisting of six table and six dessert place settings, a vegetable spoon, a sauce spoon, two various meat forks and a salad place setting. Master stamp: Van Kempen from Voorschoten, first half of the 20th century. Gross weight approx 1880 grams.
Part of a 2nd grade silver cassette, model Haagslofje, first half of the 20th century. Consisting of six table and six dessert place settings, two vegetable spoons, a potato spoon, a sauce spoon, a meat fork, a soup spoon, a pie spoon, six serving spoons, a salad place setting and a cucumber place setting. Van Kempen, in different years. Gross weight approx 2750 grams.
A pair of early 20th century mantle clocks to include an Edwardian style Kemp Brothers of Bristol mantle clock of irregular form with inlay to the case together with a 1930's carved walnut balloon / mantel clock having carved scroll decoration and enamelled face with eight day movement. Both accompanied by key. Measures 22cm tall. First clock ticking at time of cataloguing.
Mattheus Smallegange - "Nieuwe Cronyk van Zeeland, First part, containing the Cronyken of the Heeren Jacobus Eyndius, and Johan Reygersberg, published for this purpose, much increases about these Landscape Antiquities and Origins, Waters and Streams, Islands, Cities and Heerliykheden. By M. Smallegange. Decorated with many copper plates." - Middelburg, Joannes Meertens and Abraham Someren, Amsterdam, 1696 - facsimile edition: Vlissingen, Bikker Boeken in collaboration with Interbook, Schiedam, 1976 - 824 pp - artificial leather binding with gold stamp print - 36 x 23 x 12 cm - weight: 6.4 kg.
Julien 't Felt (1874-1933) Portrait of a Spanish beauty, signed (lower right), oil on canvas Julien t' Felt was the youngest son of Charles t' Felt . At the t' Felt printery, Julien drew on the lithograph for the first time at the age of five. From 1888 to 1894 he attended various courses at the Antwerp Academy, including "drawing after the antiques" (1891-'92), figure drawing and "painting after life" (1892-'93). Towards the end of his education, Julien trained as a portraitist and animal draftsman. The Antwerp Zoo was his favorite field of activity. He made his debut as a painter at the World Exhibition of 1894 in Antwerp. 90 x 60 cm.
PANERAI LUMINOR 1950 SUBMERSIBLE PAM 00243 COSC, EDIZIONE LIMITATA 001/500, SCATOLA E GARANZIA, VENDUTO NEL 2006 PRIMO ESEMPLARE SERIE SUBMERSIBLE VENDUTO IL 21/12/2006 DA OFFICINE PANERAI A FIRENZE, UNICO PROPRIETARIO Cassa: firmata, n. OP 6671, BB 1213671, tre corpi in acciaio, fondello a vite, ghiera monodirezionale graduata, brevetto sistema a leva per la corona, valvola di sfogo per l'elio. Bracciale/Cinturino: firmato, cinturino in caucciù e fibbia in acciaio. Quadrante: firmato, nero, indici circolari e a numeri arabi luminescenti, quadrantino dei secondi, indicazione della data, lancette scheletrate luminescenti. Movimento: firmato, cal. automatico OP III (7750 P1), n. 483326, 21 rubini, rodiato, rifinito a perlage e texture Panerai, bilanciere monometallico, spirale piana. Accessori: controscatola e scatola, cacciavite, libretto, tessera di garanzia e Bollettino di Marcia. Diametro Ø: 44 mm Note: funzionante. PANERAI LUMINOR 1950 SUBMERSIBLE PAM 00243 COSC, LIMITED EDITION 001/500, BOX AND PAPERS, SOLD IN 2006 FIRST EXEMPLAR OF SUBMERSIBLE SERIES SOLD ON 21/12/2006 BY OFFICINE PANERAI IN FIRENZE, UNIQUE OWNER Case: signed, n. OP 6671, BB 1213671, three-body in stainless steel, screwed caseback, unidirectional graduated bezel, patent lever system for winding crown, helium escape valve. Bracelet/Strap: signed, rubber strap and stainless steel buckle. Dial: signed, black, luminescent circular indexes and Arabic numerals, small seconds, date indication, skeletonized luminescent hands. Movement: signed, self-winding cal. OP III (7750 P1), n. 483326, 21 jewels, rhodium-plated, perlage and Panerai texture finishing, monometallic balance, flat hairspring. Accessories: cardboard and box, screwdriver, booklet, warranty card and Bulletin du marché. Diameter Ø: 44 mm Note: working.
ROLEX CRONOGRAFO "ANTIMAGNETIC" REF. 2811, 1935 CIRCA Cassa: firmata, n. 034422, in acciaio, fondello a scatto, pulsanti a oliva. Bracciale/Cinturino: non originale. Quadrante: firmato, salmone, indici a rilievo a numeri arabi e a bastone, suddivisione dei minuti con frazioni a 1/5 di secondo, quadrantini ribassati dei secondi continui e del sommatore dei 30 minuti, scala tachimetrica e telemetrica, lancette a foglia. Movimento: firmato, cal. manuale Valjoux 23, 17 rubini, ruota a colonne, bilanciere monometallico con viti, spirale Breguet brunita. Accessori: – Diametro: 32 mm Note: funzionante. Si stima che la referenza 2811 sia stata prodotta in soli 500 esemplari realizzati con casse in acciaio e oro giallo o rosa. L'orologio qui proposto si presenta in splendide condizioni con un raro quadrante salmone caratterizzato da una patina naturale. La cassa in acciaio con pulsanti a forma di oliva si distingue per essere una prima serie, in quanto la successiva produzione differì per l'adozione di pulsanti rettangolari e anse maggiormente concave e ravvicinate. ROLEX CHRONOGRAPH "ANTIMAGNETIC" REF. 2811, CIRCA 1935 Case: signed, n. 034422, in stainless steel, snap on caseback, olive pushers. Bracelet/Strap: not original. Dial: signed, salmon, embossed bâton indexes and numerals, minute divisions with 1/5th of second fractions, sunk dials for small seconds and 30-min register, tachymeter and telemeter graduations, feuille hands. Movement: signed, manual-winding cal. Valjoux 23, 17 jewels, columns wheel, monometallic balance with screws, blued Breguet hairspring. Accessories: – Diameter: 32 mm Note: working. It's estimated that the reference 2811 was produced in only 500 exemplars with steel, yellow or pink gold cases. The watch proposed is in stunning condition with a rare salmon dial characterized by a natural patina. The steel case with olive-shaped pushers stands out for being a first series, cause the subsequent production differed in the adoption of rectangular pushers and more concave and close lugs.
ROLEX COSMOGRAPH DAYTONA REF. 6262 PAUL NEWMAN “PANDA”, 1970 CIRCA Cassa: firmata, n. 2533336, tre corpi in acciaio con profilo convesso, lunetta prima serie graduata con scala tachimetrica a 200 unità, fondello a vite ref. 6239, corona Twinlock, pulsanti tondi. Bracciale/Cinturino: fibbia Rolex in acciaio. Quadrante: firmato, bitonale con fondo bianco, indici applicati e affiancati da punto di trizio, suddivisione dei minuti/secondi e frazioni a 1/5 di secondo su pista nera, quadrantini dei secondi, del sommatore dei 30 minuti e delle 12 ore su fondo nero con incisioni concentriche e le hash quadrate, lancette a bastone luminescenti e cronografiche laccate in bianco. Movimento: firmato su cinque righe, cal. manuale Valjoux 727, nichelato, 17 rubini, innesto a ruota a colonne, bilanciere monometallico con viti e regolazione a Microstella e aggiustato in tre posizioni, spirale Breguet libera. Accessori: – Diametro Ø: 36 mm Note: funzionante. ROLEX COSMOGRAPH DAYTONA REF. 6262 PAUL NEWMAN “PANDA”, CIRCA 1970 Casa: signed, n. 2533336, three-body in stainless steel with convex profile, first series bezel graduated with tachymeter scale up to 200 units, screwed caseback ref. 6239, Twinlock crown, round pushers. Bracelet/Strap: Rolex steel buckle. Dial: signed, two-tones on white field, applied indexes side by side tritium dots, minutes/seconds divisions and 1/5th of seconds fraction on black field, black sub-dials for seconds, 30-min and 12-hours registers with concentric engravings and the square hashes, luminescent bâton hands and white lacquered chronographic hands. Movement: signature on five rows, manual-winding cal. Valjoux 727, nickel-plated, 17 jewels, column wheel switching, monometallic balance with screws regulated by Microstella screws and adjusted for three positions, free-sprung Breguet hairspring. Accessories: – Diameter Ø: 36 mm Note: working.
Pianohandel D.A. Rippen A 'Rippen' grand piano, white and mint-green lacquered, made of Silumin, an aluminium alloy, with wooden sounding board, piano- and keys-cover, circa 1960, with stool. On board of SS Rotterdam (Holland-America Line), in the Café de la Paix, 'Rippen' grand piano was present already from the first boat trip in 1959 and onwards. Circa 400 pianos of this model have been produced. 93 x 141 x 185 cm. (hxwxd)
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