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NGUYỄN MINH MỸ (VIETNAM, BORN IN 1923) Jeune paysanne au chapeau - Young girl with a hat Ink and colours on silk Signed on the lower right Artist seal on the lower right Framed with a glass Dimensions (as seen within its frame): 51 x 38,6 cm NGUYỄN MINH MỸ (VIỆT NAM, SINH NĂM 1923) Jeune paysanne au chapeau - Cô gái nông dân đội mũ Note: Currently aged 100 years old, Nguyễn Minh Mỹ is a woman artist whose work is still appreciated by collectors and exhibited. Indeed, in 2021, she participated in a group exhibition given at the Fine Arts Exhibition Hall in Hanoi by the Vietnam Fine Arts Association. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) WITH SIGNATURE POSSIBLY READING LƯƠNG THI THỦY Paysage du vietnam - A vietnamese landscape 1925 Watercolour on paper Signed, dated and numbered on the lower right: '215' Framed 39 x 48,6 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. TRƯỜNG HỌC VIỆT NAM (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) VỚI CHỮ KÝ CÓ THỂ ĐỌC ĐƯỢC LƯƠNG THỊ THỦY Paysage du vietnam - Một phong cảnh Việt Nam 1925 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

VUONG V. KHOA ALSO KNOWN AS KHOA DI NGOC (VIETNAM, ACTIVE 20TH CENTURY) POSSIBLY A STUDENT OF THE ECOLE DES BEAUX ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE - EBAI) Les vieilles rues de Hanoi animées - Hanoi old streets with characters Watercolor on paper Signed on the lower right Framed with a glass 22,8 x 31 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. XXXXX IN THE PRINTED CATALOG, LOT 385 AND LOT 386 DESCRIPTIONS WERE INVERSED XXXX VƯƠNG V. KHOA CÒN ĐƯỢC BIẾT LÀ KHOA DI NGỌC (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) CÓ THỂ LÀ SINH VIÊN CỦA THE ECOLE DES BEAUX-ARTS DE L’INDOCHINE (TRƯỜNG CAO ĐẲNG MỸ THUẬT ĐÔNG DƯƠNG - TMTĐD) NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) Paysans sur le chemin terreux à Huế - Peasants walking in Huế streets Watercolor on paper Signed and numbered on the lower left: 'L. LIEN' and '5070' Also numbered on the left: ‘5070.’ Framed with a glass 34 x 30,3 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. XXXXX IN THE PRINTED CATALOG, LOT 385 AND LOT 386 DESCRIPTIONS WERE INVERSED XXXX TRƯỜNG HỌC VIỆT NAM (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) Paysans sur le chemin terreux à Huế - Những người nông dân đi dạo trên đường phố Huế NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

TRẦN NGUYÊN DŨNG (VIETNAM, 20TH CENTURY) ‘Thị Mầu Lên Chùa’ (Thi Mau goes to the Temple) Colors on paper Signed, titled and dated 1992 on the lower right Also bears an artist seal to the lower right Framed TRẦN NGUYÊN DŨNG (VIỆT NAM, THẾ KỶ 20) “Thị Mầu Lên Chùa” (Thi Mau goes to the Temple) Notes: 1. Trần Nguyên Dũng, although not as known as some other painters, seems to have been respected amongst scholars. He is believed to be from Hanoï city. 2. The subject of this painting is a Chèo play, a form of generally satirical musical theatre, often encompassing dance, traditionally performed by Vietnamese peasants in northern Vietnam. It is usually performed outdoors by semi-amateur touring groups, stereotypically in a village square or the courtyard of a public building. Hát chèo's origins date to the 12th century during the Lý Dynasty and has existed in its present form since roughly the 16th century. It derives from folk traditions, and was orally transmitted; unlike courtly theater traditions, it employs no scenery and sparse costumes and makeup. This piece comes from the story of 'Lady Buddha'. Thi Mau is a flirtatious character and undoubtedly the favorite of most Vietnamese people. She comes from a rich but strict family that never allows her to leave the house, except on the 15th of every month where she is permitted to go to the temple to pray. As this monthly trip is her only day of freedom, she takes the opportunity to flirt with as many boys as she can find. She comes across one particular monk and falls for him instantly. She tries everything to win the heart of this young monk, including throwing apples at him, but to no avail. What she does not realize is this monk is in fact a woman dressed up as a man. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

ĐỖ ANH (VIETNAM, ACTIVE 20TH CENTURY) A GRADUATE FROM HO CHI MINH CITY (HCMC) UNIVERSITY OF FINE ARTS Jeune beauté vêtue d’un áo dài à l’enfant endormi (lit. ‘A young beauty wearing an áo dài with a boy asleep’) Ink and colors on silk Signed on the lower right Also bear an artist seal on the lower right Framed with a glass 77,3 x 58,2 cm ĐỖ ANH (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) TỐT NGHIỆP ĐẠI HỌC MỸ THUẬT THÀNH PHỐ HỒ CHÍ MINH (TP.HCM) Jeune beauté vêtue d’un áo dài à l’enfant endormi Thiếu nữ xinh đẹp mặc áo dài cho con ngủ NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

ĐỖ ANH (VIETNAM, ACTIVE 20TH CENTURY) A GRADUATE FROM HO CHI MINH CITY (HCMC) UNIVERSITY OF FINE ARTS Jeune beauté vêtue d’un áo dài et au vase fleuri (lit. ‘A young beauty wearing an áo dài with a flowered vase) 1994 Ink and colors on silk Signed on the lower right Also bear an artist seal on the lower right Also dated on the lower right Framed with a glass 57 x 76 cm ĐỖ ANH (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) SINH VIÊN ĐẠI HỌC MỸ THUẬT THÀNH PHỐ HỒ CHÍ MINH (TP.HCM) Jeune beauté vêtue d’un áo dài et au vase fleuri Thiếu nữ xinh đẹp mặc áo dài cắm bình hoa NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

VIETNAMESE SCHOOL (VIETNAM, 20TH CENTURY) Sampans amarrés dans le port de Saïgon - Moored sampan boats in Saïgon harbour Gouache on paper 48 x 64,3 cm TRƯỜNG HỌC VIỆT NAM (VIỆT NAM, THẾ KỶ 20) Sampans amarrés dans le port de Saïgon - Thuyền tam bản neo đậu tại cảng Sài Gòn Note: An interesting river and harbor landscape with a vernacular fishermen town with thatched stilt houses and docked (or moored) sampan boats. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

VIETNAMESE SCHOOL (VIETNAM, ACTIVE 20TH CENTURY) Marché flottant sur le port de Saïgon - Floating market in Saigon harbour Oil on masonite Signed on the lower right 49,9 x 60,5 cm TRƯỜNG HỌC VIỆT NAM (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) Marché flottant sur le port de Saïgon - Chợ nổi trên bến cảng Sài Gòn NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

VIETNAMESE SCHOOL, ATTRIBUTED TO KIM SON (VIETNAM, ACTIVE 20TH CENTURY) La baie d’Along - Hạ Long Bay Oil on canvas Bears a signature on the lower right, maybe a apocryphal one, reading ‘Kim Son’ With its original wooden frame 25,5 x 36,6 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. TRƯỜNG HỌC VIỆT NAM, THUỘC KIM SƠN (VIỆT NAM HOẠT ĐỘNG VÀO THẾ KỶ 20) La baie d’Along - Hạ Long Bay Note: Compare with a related painting by Kim Son sold in DROUOT Paris, 2019-06-14, lot 325, sold for €3,864. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

ALEXANDER DIMITREIVICH SOFRONOFF (RUSSIA AND CEYLON, 1901-1948) Native huts and characters in Ceylon Oil on cardboard Signed on the lower right Bears a label on the back: ‘Framed by Victor Waddington Galleries Art Dealers Picture Framers 8 South Anne Street Dublin no 66281’ Framed with a glass 31 x 45 cm Provenance (according to label): Victor Waddington Galleries, an art dealer located at 8 South Anne Street, Dublin, Ireland. Note: Alexander Sofronoff was a Russian painter trained as an artist in Yekaterinburg. When the Russian Revolution broke out, Sofronoff had to flee the country. In 1922, Sofronoff traveled on the Trans-Siberian railway to Manchuria where he found safe haven in Harbin and made a living as a set designer. In 1936, at the onset of the Second Sino-Japanese war, Sofronoff sailed to Ceylon as a theatrical scene painter with the Shanghai Russian Ballet Company. Sofronoff found life in Ceylon to his liking and found employment at the Galle Face Hotel in Colombo as the resident decorative artiste. He soon became popular amongst the British community who commissioned him to do portraits of their families and taught painting, one of his students being the well-known Ceylonese landscape artist Donald Ramanayake. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

U NYAN SHEIN (BURMA, MYANMAR, 1925-2003) An animated view with a walking monk and a stupa Watercolor on paper Signed and dated on the lower left Framed with a glass 49 x 71,7 cm Provenance: A private Irish collection of Burmese and South-East Asian Arts. Notes: 1. U Nyan Shein studied art with famous artists such as U Ba Shwe, U San Shein, Saya Saung and U San Win from 1937 to 1954. In 1954, some of his paintings were exhibited in London, UK. He was awarded the PPrize of the Central Art Academy Committee in 1974 and eventually made his path as a professor, e.g. being the supervisor of the Art Education in Tangoon from 1973 to 1984. 2. Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

U MAUNG MAUNG THEIN OR THAIN (BURMA, MYANMAR, ACTIVE 20TH & 21ST CENTURY) The Golden Stupa of the Shwedagon Pagoda Yangon, Rangoon Watercolor on paper Signed on the lower right Framed with a glass 58,3 x 45,4 cm Provenance: A private Irish collection of Burmese and South-East Asian Arts. Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING KYAW SWAT View of a pagoda with monumental Singha sculptures Watercolor on paper Signed on the lower left Framed with a glass 22,9 x 32,4 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING KYAW SWAT View of a temple Watercolor on paper Signed on the lower right Framed with a glass 23 x 32,5 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING U KYAW NYUNT (C.1924-2003) A street market with ceramics, possibly that of the Old Bagan near Ananda Temple Watercolor on paper Signed on the lower right Framed with a glass 23 x 32,3 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING KYAW SWAT A young monk with two other boys Watercolor on paper Signed on the lower left Framed with a glass 23 x 32 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING KYAW SWAT A view of a street market Watercolor on paper Signed on the lower left Framed with a glass 21,5 x 30,5 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING KYAW SWAT Devotees at the temple Watercolor on paper Signed on the lower right Framed with a glass 23 x 32,2 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING U KYAW NYUNT (C.1924-2003) View of a temples Watercolor on paper Signed on the lower right Framed with a glass 23 x 32 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

BURMESE SCHOOL (BURMA - MYANMAR, ACTIVE 20TH CENTURY) WITH SIGNATURE MAYBE READING U KYAW NYUNT (C.1924-2003) View of a street mark with squatting women, one dressed in a red traditional costume Watercolor on paper Signed on the lower right Framed with a glass 22,9 x 32,4 cm Note: Myanmar painting is crucial to Southeast Asian arts because its history reaches back to the 11th century AD. In Myanmar, the formal introduction of international painting occurred with the establishment of the Burma Art Club in 1918. In the 1920s, British club members sent two Burmese painters, Ba Nyan and Ba Zaw, to London to study at the Royal College of Art. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A LACQUER ‘RAMAYANA’ BETHEL BOX AND COVER BURMA (MYANMAR), 19TH CENTURY Of circular shape, it is finely adorned with numerous characters and elephants, possibly to evoke a scene from the Ramayana. The base is also adorned with three further characters. There is a removable inner tray. H: 17 cm - D: 22,3 cm Provenance: A private Irish collection of Burmese and South-East Asian Arts. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A LARGE RETICULATED AND CHISELED SILVER BETHEL BOX AND COVER BURMA (MYANMAR), 19TH CENTURY Of circular shape, topped by a dome-shaped lid, nicely chiseled and reticulated with a foliate design. It opens by a lid, with no hinges, and unveils an inner part with four boxes whose lids are adorned with an elephant, a snake, a passing lion and a winged deity. H: 17,5 cm - D: 20 cm Weight: Provenance: A private Irish collection of Burmese and South-East Asian Arts. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A PAIR OF TURQUOISE EMBELLISHED SILVER BIRDS AND MAYBE DOVES IRAN (PERSIA), CIRCA 1900-1930 H: 19 cm Total weight: 690 grams *****CONFIRMED BY THE ASSAY OFFICE AS BEING SILVER***** NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A GROUP OF TWO (2) KUTAHYA CERAMIC EGGS / HANGING ORNAMENTS KUTAHYA, 18TH CENTURY The first one is adorned in green, yellow, brown and black enamels with three (3) seraphim and crosses. The second one has a similar decor but painted in light blue. H (each): 8 cm Note: The first one to be compared with an almost identical egg sold at ARTCURIAL Paris, France, 2012-10-09, lot 326 for €1,416. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A SAMURAÏ SWORD, KATANA JAPAN, 19TH CENTURY With a blade inscribed with bonji and with a scabbard adorned with mon (heraldic crests). L: 101 cm NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A SET OF TWELVE (12) MIXED-METAL OR SOFT-METAL INLAYS KOZUKA 小柄 OR KOGATANA 小刀 JAPAN, MEIJI PERIOD The kozuka (handle of small knives) are inlaid with mixed metals (also described as soft metals) with various designs. They are all fitted with their kogatana (or small words, i.e. blades). Offered at auction in a fitted box. L (each knife): 20,8 cm NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A CARVED BOXWOOD NETSUKE OF A MAN HOLDING AN EGGPLANT POSSIBLY BY JOBUN 如文 JAPAN, LATE EDO PERIOD, 18TH TO 19TH CENTURY Of elongated shape, depicting a standing man wearing loose robes tied up with a belt hanging a tobako-ire (visible to the back), and grasping what seems to be an eggplant in his right hand, his face turned to the left. The back part is pierced with two holes (himotochi) for suspension and is signed ‘如文’ for Jobun. H: 9,5 cm Weight: 14 grams Note: A simple and delicate carving, a touching one, with an expressive smiling face, very-well rendered. The wood nicely patinated with a colour ranging from light brown to honey. A piece that might be by Jobun but that we would cautiously described as ‘attributed to’. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A KYOGEN THEATER MASK OF AN ANGRY TENGU 天狗 Japan, Showa period A lacquered wooden mask with brass eyes. H: 21 cm - w: 17 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Tengu are a type of legendary creature found in Japanese folk religion. They are considered a type of yokai (supernatural beings) or Shinto kami (gods). The tengu were originally thought to take the forms of birds of prey and monkey deity, they are traditionally depicted with human, monkey and avian characteristics. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A CLOISONNÉ ENAMEL ‘LILY FLOWERS’ VASE AND COVER MAYBE BY NAMIKAWA YASUYUKI (JAPAN, 1845-1927) JAPAN, 20TH CENTURY This vase rests on a short ring foot. It has a flattened elongated egg-shaped body with round shoulder surmounted by a short rim topped by a dome-shaped lid set with a chrysanthemum finial. Its front part is finely adorned with lily flowers of different colors against a tea-dust enameled. The base bears a mark reading ‘京都並河’, i.e. ‘Kyoto Namikawa’, maybe an apocryphal one. Offered at auction together with a matching collector wooden stand. H (stand excluded): 10,5 cm Note: Namikawa Yasuyuki was a Japanese cloisonné artist. His work was highly sought-after in his own lifetime and is held in several collections today. He and Namikawa Sōsuke were the most famous cloisonné artists of the 1890 to 1910 period, known as the ‘Golden age’ of Japanese enamels. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A SOFT-METAL OR MIXED-METAL INLAID ‘BIRD AND FLOWERS’ BOX AND COVER JAPAN, MEIJI PERIOD, LATE 19TH CENTURY Of rectangular shape with round corners, opening by a removable cover or lid. The top of the lid is centered by a foliate quatrefoil medallion inlaid with soft metals or mixed metals to depict a crow perched on a rock and surrounded by flowers. H: 6 cm - L: 12,3 cm - width: 8,5 cm NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A POSSIBLY KAKIEMON PORCELAIN EWER OF CALABASH / DOUBLE GOURD SHAPE POSSIBLY JAPAN, EDO, 18TH CENTURY It is finely painted in underglaze cobalt blue and red enamels with ladies and boys and blossoming trees. The base bears two old collector labels, one is saying ‘Japon XVIIIe’ (lit. ‘Japan 18th century’), the other one is inscribed with #82. H: 17 cm Provenance: - a private collection; - formerly the property of Otto Gürgen, a German prominent industrialist in Buenos Aires, Argentina, in the 1930s (by repute). NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A POSSIBLY DUTCH DECORATED ‘FRUITS AND FLOWERS’ SAKE BOTTLE, TOKKURI THE PORCELAIN: JAPAN, EDO PERIOD - THE DESIGN: POSSIBLY DUTCH, AMSTERDAM BONT H: 24 cm NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

AN IRON-RED DECORATED ‘PROCESSION OF THE DAIMYO’ BALUSTER PORCELAIN VASE BY THE STUDIO OF MAKUZU KOZAN JAPAN, MEIJI PERIOD Resting on a short ring foot, with a waisted base and a globular body surmounted by a long tubular neck with a slightly everted rim. Finely painted in deliberately ‘faded’ iron red design depicting an interesting procession of insects. The base is inscribed in cobalt blue with a mark in Japanese script reading ‘Makuzu-gama Kozan Sei’. H: 20,7 cm ****WARNING: THIS LOT IS LOT 454 = NOT THE BOWL IN THE PRINTED CATALOGUE**** Notes: 1. Miyagawa Toranosuke, birth name of Makuzu Kōzan 宮川香山 (1842-1916) was of the major potters of the Meiji period appointed artist to the Japanese Imperial household. He won prizes at fifty-one (51) exhibitions. 2. The design may have been made after an oshi-e panel – i.e. a tradition Japanese craft of folded silk over stiff paper cuttings, puffed up with stuffed cotton – by the artist Sakurai Seppo (1753-1824) currently preserved at the Whyte Museum of the Canadian Rockies, Canada, under accession number SeP.15.01. It is a parody of a procession of the daimyo, i.e. a the regional and feudal warrior lords. Those approximately two hundred and fifty (250) lords were required to spend alternate years in the shogun court in the capital Edo, thus the roads to Edo were often the sigh of formidable pageants. The original piece of art depicts forty-two (42) insects in total, either grasshoppers, wasps and mantises – bearing flowers and fruits over their stiff limbs, banners and even a palanquin. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A LARGE YELLOW-GLAZED ‘DRAGON’ PORCELAIN VASE BY THE STUDIO OF MAKUZU KOZAN JAPAN, MEIJI PERIOD It rests on a ring foot and has a round body surmounted by slightly waisted shoulders and a tubular neck with an everted rim. It is delicately adorned with a flying and coiled three-clawed dragon under a covering yellow glaze. The base is inscribed in cobalt blue with a mark in Japanese script reading ‘Makuzu-gama Kozan Sei’. H: 42,5 cm *****HEIGHT SHOULD READ 42,5 CM***** Note: Miyagawa Toranosuke, birth name of Makuzu Kōzan 宮川香山 (1842-1916) was of the major potters of the Meiji period appointed artist to the Japanese Imperial household. He won prizes at fifty-one (51) exhibitions. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A REVERSIBLE ‘TATTOO’ FIREFIGHTER COAT, HANTEN 半纏 JAPAN, POSSIBLY LATE 19TH CENTURY This coat is made from multiple layers of cotton held together with upwards of hundred (100) stitches per square inch. It is adorned in sashiko 刺し子 technique (traditional hand stitching or quilting used as reinforcement and decoration) with a rare design of tattoo as seen on the sleeves and the collar. The inner part features tsutsugaki 筒描 (free hand paste resisting to the dying process). It is also adorned with Japanese calligraphies or inscriptions. Dimensions: H: 85 cm – width: 130 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: A hanten is a heavy coat that became popular during the 18th century (Edo period). NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A REVERSIBLE ‘DRAGON’ FIREFIGHTER COAT, HANTEN 半纏 JAPAN, POSSIBLY EARLY 19TH CENTURY This coat is made from multiple layers of cotton held together with upwards of hundred (100) stitches per square inch. It is adorned in sashiko 刺し子 technique (traditional hand stitching or quilting used as reinforcement and decoration) with lucky symbols including two (2) dragons flying in a stormy sky with dark clouds and thunderbolts. The inner part features tsutsugaki 筒描 (free hand paste resisting to the dying process). On the front part, the following inscription is repeated twice: ‘鈴常’, lit. ‘Suzujo’ or ‘Suju Tsune’. Dimensions: H: 91 cm – width: 122,5 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: A hanten is a heavy coat that became popular during the 18th century (Edo period). NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

A GROUP OF THREE (3) FIREFIGHTER TOOLS JAPAN, SHOWA PERIOD It is composed of: - two (2) blue fabric hats; - one (1) tool called tobiguchi (equivalent to a pickaroon) adorned in sashiko 刺し子 technique (traditional hand stitching or quilting used as reinforcement and decoration). The hats are made from multiple layers of cotton held together with upwards of hundred (100) stitches per square inch. The first hat is adorned with a brick design whilst the second hat is adorned with dragons. Dimensions: - the smaller hat: 60 x 35 cm - the tobiguchi: H: 58 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Katsushika Hokusai 葛飾北斎 (Japan, 1760-1849) Two samurai with their katana Circa 1830 A rare aizuri-e / Prussian blue oban tata-e woodblock print Dimensions (the leaf): 46 x 25,7 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Katsushika Hokusai is recognized as one of the major ukiyo-e painters and printmakers of the Edo period. Born in Edo, he is best-known as author of the woodblock print series ‘Thirty-six Views of Mount Fuji’ which includes the iconic and internationally recognized print, ‘The Great Wave off Kanagawa’. Despite our thorough research, we have not been able to find a print identical to the one we present under that lot number. 3. The term aizuri-e (藍摺絵), lit. ‘blue printed picture’, refers to Japanese woodblock prints that are printed entirely or predominantly in blue. The development of that technique was associated with the import of the pigment Prussian blue from Europe in the 1820s. Prussian blue had a number of advantages over indigo blue: it was more vivid, had greater tonal range and was more resistant to fading. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

AFTER Keisai Eisen 渓斎英泉 (JAPAN, 1790-1848) Winter landscape Circa 1900s, Meiji period A rare aizuri-e / Prussian blue small oban tata-e woodblock print Dimensions (the leaf): 30 x 21 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Keisai Eisen was a Japanese ukiyo-e artist who specialized in bijin-ga (pictures of beautiful women). His best works, including his ōkubi-e (‘Large head pictures’), are considered to be masterpieces of the ‘decadent. Bunsei Era (1818–1830). The term aizuri-e (藍摺絵), lit. ‘blue printed picture’, refers to Japanese woodblock prints that are printed entirely or predominantly in blue. The development of that technique was associated with the import of the pigment Prussian blue from Europe in the 1820s. Prussian blue had a number of advantages over indigo blue: it was more vivid, had greated tonal range and was more resistant to fading. 3. Compare with a related print, dated to the Edo period, preserved in the collection of the Metropolitan Museum of Art (The MET), New York, USA, under accession number JP554. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

AFTER Isoda Koryusai 礒田湖龍斎 (JAPAN, 1735-1790) Young beauties or Bijin Circa 1880s, Meiji period An interesting aizuri-e / Prussian blue oban tata-e woodblock print Dimensions (the leaf): 45,4 x 29 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Isoda Koryūsai was a Japanese ukiyo-e print designer and painter active from 1769 to 1790. Born in 1735, he worked as a samurai in the service of the Tsuchiya clan and later became involved in the process of creating woodblock prints. 2. The term aizuri-e (藍摺絵), lit. ‘blue printed picture’, refers to Japanese woodblock prints that are printed entirely or predominantly in blue. The development of that technique was associated with the import of the pigment Prussian blue from Europe in the 1820s. Prussian blue had a number of advantages over indigo blue: it was more vivid, had greated tonal range and was more resistant to fading. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

AFTER Katsushika Hokusai 葛飾北斎 (Japan, 1760-1849) ‘Fine Wind, Clear Morning’ (Gaifû kaisei 凱風快晴), also known as ‘Red Fuji’ First half of 20th century Oban yoko-e woodblock print From the series ‘Thirty-six Views of Mount Fuji’ (Fugaku sanjûrokkei 富嶽三十六景) Dimensions (the leaf): 38,8 x 26 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Katsushika Hokusai is recognized as one of the major ukiyo-e painters and printmakers of the Edo period. Born in Edo, he is best-known as author of the woodblock print series ‘Thirty-six Views of Mount Fuji’ which includes the iconic and internationally recognized print, ‘The Great Wave off Kanagawa’. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) ‘Cherry-blossom Viewing at Goten-yama’ (Goten-yama hanami no zu) 1843–47 (Tenpo 14–Koka 4) Oban yoko-e woodblock print From the series Famous Places in the Eastern Capital (Tôto meisho 東都名所) Dimensions (the leaf): 36,5 x 24,7 cm Catalogue raisonné: Sakai, Hiroshige Edo fûkei (1996), list #72.6, pls. 687-688; Ukiyo-e shûka 14 (1981), Hiroshige list, p. 244, horizontal ôban #72.06; Matsuki 1939, #105. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 21.9852. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) Kyoto: The Imperial Palace (Kyô, Dairi 京内裏) 1840-42 Chuban yoko-e woodblock print From the series of ‘53 stations of Tokaidō’ (Tôkaidô gojûsan tsugi 東海道五十三次) Printer: Minakuchi Dimensions (the leaf): 21,4 x 15,5 cm Catalogue raisonné: Ukiyo-e shûka 14 (1981), Hiroshige list, p. 236, horizontal chûban #24.56. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.39923. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) Acts #-2, #3, #4, #5, #6 and #8 1847–52 (Koka 4–Kaei 5) A suite of six (6) oban yoko-e woodblock prints From the series of ‘The Storehouse of Loyal Retainers’ (Chûshingura 忠臣蔵) Dimensions (each leaf, average): 34,5 x 22,7 cm Catalogue raisonné: Ukiyo-e shûka 14 (1981), Hiroshige list, p. 245, horizontal ôban #52.02, #52.03, #52.04, #52.05, #52.06 and #52.08 Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: 1. Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with two related prints, #4 and #5, preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession numbers 06.897 and 21.9390. Click HERE and HERE to see the related prints. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

AFTER Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) ‘Awa Province: Naruto Whirlpools’ (Awa, Naruto no fûha 阿波鳴門の風波) First published in 1855, Second half of 20th century Ōban tate-e woodblock print From the series ‘Famous Places in the Sixty-odd Provinces [of Japan]’ ([Dai Nihon] Rokujûyoshû meisho zue 六十余州名所図絵) Dimensions (the leaf): 39,3 x 27 cm Catalogue raisonné: Jansen, Hiroshige's Journey (2004), #55; Ukiyo-e shûka 14 (1981), Hiroshige list, p. 249, ôban #64.03. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with a related print, dating to 1855, preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.26257. Click HERE to see the related prints. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

AFTER Utagawa Hiroshige 歌川広重 (JAPAN, 1797-1858) ‘Kai Province: Monkey Bridge’ (Kai, Saruhashi 甲斐さるはし) First published in 1853, Second half of 20th century Ōban tate-e woodblock print From the series ‘Famous Places in the Sixty-odd Provinces [of Japan]’ ([Dai Nihon] Rokujûyoshû meisho zue 六十余州名所図絵) Dimensions (the leaf): 39,6 x 25,8 cm Catalogue raisonné: Jansen, Hiroshige's Journey (2004), #13; Ukiyo-e shûka 14 (1981), Hiroshige list, p. 249, ôban #64.23. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. He is best known for his horizontal-format landscape series ‘The Fifty-three Stations of the Tōkaidō’ and for his vertical-format landscape series ‘One Hundred Famous Views of Edo’. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on western European painting (see, inter alia, Manet and Monet) towards the close of the 19th century as a part of the trend in Japonism. 2. Compare with a related print, dating to 1853, preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.26224. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Kuniyoshi 歌川国芳 (JAPAN, 1797–1861) ‘Sun Erniang, the Demon Mother’ (Boyasha Sonnijô母夜叉孫二娘) 1827–30 (Bunsei 10–Tenpo 1) Ōban tate-e woodblock print From the series ‘108 Heroes of the Popular Shuihuzhuan. (Tsûzoku Suikoden gôketsu hyakuhachinin no hitori 通俗水滸傳濠傑百八人一個) Publisher: Kagaya Kichiemon (Kichibei) Dimensions (the leaf): 35,8 x 24,4 cm Catalogue raisonné: Klompmakers, Of Brigands and Bravery (1998), #45; Robinson, Kuniyoshi: The Warrior-Prints (1982), list #S2.5. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A member of the Utagawa School, Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. His range of subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 2016.1347. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Kuniyoshi 歌川国芳 (JAPAN, 1797–1861) ‘Wang Dingliu, the Living Hag of Hell’ (Kassenba Ôteiroku 霍閔婆王定六) 1827–30 (Bunsei 10–Tenpo 1) Ōban tate-e woodblock print From the series ‘108 Heroes of the Popular Shuihuzhuan. (Tsûzoku Suikoden gôketsu hyakuhachinin no hitori 通俗水滸傳濠傑百八人一個) Publisher: Kagaya Kichiemon (Kichibei) Dimensions (the leaf): 37,3 x 25,8 cm Catalogue raisonné: Iwakiri et al., Edo no eiyû (2010), #112; Klompmakers, Of Brigands and Bravery (1998), #48; Robinson, Kuniyoshi: The Warrior-Prints (1982), list #S2.38. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A member of the Utagawa School, Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. His range of subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 64.812. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Tachihara Inuki 立原位貫 (JAPAN, 1951-2015) AFTER Utagawa Kuniyoshi 歌川国芳 (JAPAN, 1797–1861) ‘Oniwakamaru killing the giant carp’ Originally published in 1847-1850, High quality reprint in late Showa - Heisei period with woodblocks carved by famous artist Katsuhara Shinia also known as Tachihara Inuki 立原位貫 (1951-2015) Ōban tate-e woodblock print Artist seal on the back: 彫摺 勝原伸也 Dimensions (the leaf): 39 x 27,5 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A member of the Utagawa School, Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. His range of subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. 2. A woodblock print artist, Tachihara Inuki is best-known for reproductions of prints by Kunisada, Hiroshige and Kuniyoshi. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Yoshitsuya 歌川芳艶 (JAPAN, 1822-1866) A battle 1864 Ōban tata-e woodblock print From the series of ‘Fifty-four Battle Stories of Hideyoshi’ Publisher Tsutaya Kichizo Koeido (蔦屋吉蔵紅英堂) Dimensions (the leaf): 35,5 x 25 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A student of Utagawa Kuniyoshi, Utagawa Yoshitsuya is also known as Kōko Yoshitsuya (甲胡芳艶) and as Ichieisai Yoshitsuya (一英斎芳艶). He was a Japanese designer of ukiyo-e woodblock prints and has also produced many advertisements and designs for tattoos. 2. The ‘Fifty-four Battle Stories of Hideyoshi’ is Yoshitsuya’s finest series of prints. Hagiography is an art common to all cultures - this combination of historical fact, mythology and fiction, designed to elevate the subject and set him (usually) above his contemporaries. After 1864, the relaxation of rules banning the direct depiction of historical characters allowed this series to be made. Yoshitsuya takes passages from two old hagiographies as the subject matter, depicting true and fanciful stories of victories and battles. The series is lavishly printed, complex and detailed with many colors and blocks, beautifully carved and imagine. Each print is framed with a decorative border. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Kunisada I 歌川国貞 also known as Utagawa Toyokuni III 三代歌川豊国(JAPAN, 1786-1864) Yakusha-e kabuki actor with dragon design on his kimono 1859 Ōban tata-e woodblock print Dimensions (the leaf): 36,5 x 25 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Kunisada was the most popular, prolific and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. 2. A superb printing with burnishing effect. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Kunisada I 歌川国貞 also known as Utagawa Toyokuni III 三代歌川豊国(JAPAN, 1786-1864) ‘Chōkichi of Eagle’ or ‘Hanazoroe Gonin Otoko Washi no Chōkichi’ (花揃五人男 鷲乃長吉) Ōban tata-e woodblock print Publisher: Kagaya Kichiemon & Kichibei 1861 Dimensions (the leaf): 36 x 25 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes: Utagawa Kunisada was the most popular, prolific and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. 2. Compare with a related print preserved in the collection of the Honolulu Museum of Arts (HoMA), Hawai, USA, under accession number 21557.02. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Yoshitsuya 歌川芳艶 (JAPAN, 1822-1866) Actors Kawarazaki Gonjûrô I and Ichikawa Kodanji IV as Firefighters A suite of four (4) oban tata-e woodblock prints From the series ‘Flowers of Edo, Excitement at Night’ (Edo no hana yoru no nigiwai与六浅田屋浅尾尾長) Publisher: Ebiya Rinnosuke (Kaijudô) Blockcutter: Matsushima Masakichi (Hori Masa) 1860 (Ansei 7/Man'en 1), 9th month Dimensions (average, each leaf): 37 x 25,5 cm Catalogue raisonné: Waseda db 201-1642 (R), 012-0315 (C), 012-0316 (L); NDL db. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A student of Utagawa Kuniyoshi, Utagawa Yoshitsuya is also known as Kōko Yoshitsuya (甲胡芳艶) and as Ichieisai Yoshitsuya (一英斎芳艶). He was a Japanese designer of ukiyo-e woodblock prints and has also produced many advertisements and designs for tattoos. A very rare high quality carving and printing with mica effects on the scintillations in the sky at night. 3. Compare with a related triptych preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.37790. Click HERE to see the related triptych. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Katsukawa Shunsen 勝川春扇 also known as Shunkō II (JAPAN, 1762-1830) aka Shunko II Courtesan Oiran 1820-1830 Double oban tata-e woodblock print Dimensions (the leaves together): 72,3 x 24 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Katsukawa Shunsen was a designer of books and ukiyo-e style Japanese woodblock prints. He was born in 1762 and designed prints from about 1805 to about 1821. He initially studied with the Rimpa school artist Tsutsumi Tōrin III. In 1806 or 1807, Shunsen became a student of Katsukawa Shun'ei. He is best known for his genre scenes, landscapes, and prints of beautiful women. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Yoshiiku 歌川芳幾 also known as Ochiai Yoshiiku 落合芳幾 (JAPAN, 1833-1904) Kabuki play (Jôruri, final of Part 2) : Mata Meguri Kuruwa no IrodakoIchikawa Ichizô III as a Yakko Kite (Yakko-dako) (R) and Nakamura Tsurusuke IV as Musôbyôe (L), with Musicians 1862 (Bunkyu 2), 2nd month Ōban woodblock horizontal diptych Publisher: Ôtaya Takichi (Hori Takichi) Dimensions (the leaf): 50 x 36,4 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : 1. Born the son of teahouse proprietor Asakusa Tamichi in 1833, Yoshiiku became a student of ukiyo-e artist Utagawa Kuniyoshi toward the end of the 1840s. His earliest known work dates to 1852 when he provided the backgrounds to some actor prints by his master. 2. Compare with a related print preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.21592-3. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Kuniyoshi歌川国芳 (Japan, 1797-1861) Enma-Ō, the god of hell who judges right and wrong after a human dies and falls into hell, from the theather play Noborigoi Taki no Shirohata, with Actors Ichikawa Ebizô V as Enma no Kohei and Ichikawa Danjûrô VIII as Ukiyo Inosuke Two (2) oban yoko-e from a triptych Dimensions (the two leaves together): 50 x 36,4 cm Catalogue raisonné: Iwakiri, Kuniyoshi (2011), #151. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A member of the Utagawa School, Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. His range of subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. 2. Compare with a complete triptych preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.38492a-c. Click HERE to see the related print. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Yoshimune歌川芳宗 (Japan, 1817-1880) A puppet Bunraku performance (定高吉田三吾) 1866 A triptych of oban tata-e Dimensions (the triptych): 75 x 36,4 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Note: Compare with a related triptych preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 00.1370-2. Click HERE to see the related triptych. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Kuniyoshi歌川国芳 (Japan, 1797-1861) ‘Ise Chorus Song’ 1854 A triptych of oban tata-e woodblock prints Publisher: Mikawaya Kihei Dimensions (the triptych): 75,6 x 36,4 cm Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : A member of the Utagawa School, Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. His range of subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. 2. Compare with a related triptych preserved in the collection of the British Museum, London, UK, under accession number 2008,3037.20402. Click HERE to see the related triptych. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.

Utagawa Yoshitsuya 歌川芳艶 (JAPAN, 1822-1866) Minamoto Yorimitsu in the Ashigara Mountains (Minamoto Yorimitsu Ashigarayama-iri no zu) 1861 (Man'en 2/Bunkyu 1), 1st month A triptych of oban tata-e woodblock prints Publisher: Etsuka Blockcutter: Katada Chôjirô (Hori Chô) Dimensions (the triptych): 74 x 36,4 cm Catalogue raisonné: 1861 (Man'en 2/Bunkyû 1), 1st month. Provenance: A large collection of 100+ Japanese woodblock prints, properties from a French collector. Notes : 1. A student of Utagawa Kuniyoshi, Utagawa Yoshitsuya is also known as Kōko Yoshitsuya (甲胡芳艶) and as Ichieisai Yoshitsuya (一英斎芳艶). He was a Japanese designer of ukiyo-e woodblock prints and has also produced many advertisements and designs for tattoos. 2. Compare with a related triptych preserved in the collection of the Museum of Fine Arts (MFA) of Boston, USA, under accession number 11.37933a-c. Click HERE to see the related triptych. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.