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Lot 199
A 20th century Mahjong set, the ebonised case with removable front panel revealing four trays, filled with bamboo and bone pieces and wooden racks, case 42 by 13.5 by 16cm; together with a case of four, lacquered racks, with articulated lid and hand painted landscape scenes and original Mahjong instruction booklet. (3)
Lot 362
Manner of Henry Scott Tuke RA RWS (British, 1858-1929): nude study of a young man, circa 1915, crouched down looking off to the left, with his arms resting on his thighs, the model is probably Charlie Mitchell, Tuke's boat handler, unsigned, oil on panel, 39.0 by 30.0cm, in a contemporary gilt gesso frame, 53.8 by 45.4cm, with gallery label to the back 'Rowley, 140-2 Kensington W8'.
![Oak chest, the lift up surface opening to interior storage, the front with moulded panel design [49x92x49cm]](https://cdn.globalauctionplatform.com/d2168f73-c8b2-4cd1-b6dc-b0c400ffe884/e5e1008b-6934-463f-97fc-b0c50114baa0/468x382.jpg)
![18th/19th Century oil on wooden panel depicting side profile of a bearded gentleman.[24x19cm]](https://cdn.globalauctionplatform.com/d2168f73-c8b2-4cd1-b6dc-b0c400ffe884/095d23d0-1028-46e6-97fe-b0c501134ce1/468x382.jpg)
![Large glass panel depicting Dunfermline Abbey by Julie Ross Glass Design with original paperwork. [192x133]](https://cdn.globalauctionplatform.com/d2168f73-c8b2-4cd1-b6dc-b0c400ffe884/ab41e907-979a-478d-a92f-b0c50113ae6f/468x382.jpg)
Lot 1119
David W Haddon (fl.1884-1911)"The Coxswain"Signed and dated 1911, oil on board, 34.5cm by 24.5cmProvenance: Private Collection, North Yorkshire General surface dirt and discoloured varnish. The odd sporadic patch of incongruous paint. Paint thin in places. The odd abrasion to surface. Frame rubbing to edges. Couple of small veritcal splits to reverse of panel. Not examined under UV.
Lot 305
Textiles to Include, A Pair of Embroidered Cushion Covers depicting an Amorial, with tassel trim and velvet to the reverse, approx 49cm square, various other cushion covers incluing one tapestry example, another woven with a contemporary Aztec design, and one woven in a William Morris style pattern, furnishing covers and a quilt, A Quantity of Modern Blankets and Throws; together with proddy rag rug panel depicting a house (2 boxes)
Lot 395
Unbekannter Künstler (19 Jh.)Abendrast unter einem Viadukt, Öl auf Leinwand auf Platte aufgezogen, 82,5 cm x 68 cm, Leinwand beschnitten, reinigungsbedürftig, craqueliert, partiell berieben und kleine FarbabplatzerUnknown artist (19th century)Evening rest under a viaduct, oil on canvas mounted on panel, 82,5 cm x 68 cm, canvas trimmed, in need of cleaning, craquelure, partially rubbed and small paint chips
Lot 111
A FINE MIXED METAL BOX AND COVER DEPICTING HANDAKA SONJAJapan, Meiji period (1868-1912)Of rectangular form with rounded corners, supported on an aproned foot, the rims and interior of silver, the exterior with a sentoku ground decorated to the sides in gold hirazogan with small circular and fan-shaped reserves engraved with various bird-and-flower motifs including an owl, sparrows and bamboo, chrysanthemums, and asters, the cover with a central shakudo-ground panel decorated in gold and silver takazogan with Handaka Sonja standing and holding aloft his alms bowl, his pet dragon writhing around him, the rakan's robe and dragon's scales finely carved, their faces well detailed, the clouds emanating from the bowl and surrounding the figures in silver hirazogan with subtly engraved swirls, all enclosed by a neatly incised rope-twist border encircled by flowerheads borne on scrolling vines. SIZE 4.5 x 9.5 x 7.8 cmWEIGHT 364 gCondition: Very good condition with minor wear, light scratches mostly to the base and interior, minor rubbing and wear to some inlays.Provenance: From an old German private collection, acquired before 2007. The rakan Handaka Sonja (Arhat Panthaka) is one of the sixteen disciples of Buddha often depicted together. In Japanese art he is usually shown accompanied by his pet dragon, which he keeps in a bowl (as here) or in a gourd.
Lot 112
A SUPERB PAIR OF MIYAO-STYLE MIXED-METAL-INLAID AND PARCEL-GILT BRONZE VASES WITH SHOKI AND ONIJapan, late 19th century, Meiji period (1868-1912)Each vase with a baluster body supported on a spreading foot and rising to a gently waisted neck with flat everted rim, the shoulder with two long handles issued from baku heads, the exterior carved in high and sunken (shishiaibori) relief, inlaid in iro-e takazogan and hirazogan, and engraved in katakiri and kebori, with bamboo-framed panels surrounded by two snakes flanking a toad above and a snail below – an impressive example of the sansukumi motif. Each panel shows a different but complementary design, on one vase depicting a proudly standing Shoki holding his sword in one hand and extending the other, with a long-tailed pheasant amid chrysanthemums under a gnarled pine tree to the back; and on the other three oni depicted in different attitudes, one of them fighting back against the demon queller, the back with two long-tailed pheasants perched on a craggy rock. The body is further decorated with bamboo leaves, mushrooms, and leaves, the neck and foot with formalized bands.HEIGHT each 30.5 cmWEIGHT each 4.7 kgCondition: Very good condition with minor surface wear.Provenance: From the private collection of an intrepid and seasoned connoisseur who tirelessly travels the globe and acquires with passion, discernment and above all a sense of all-embracing eclecticism, bound by no rigid formula of what should constitute a worthy object save the admiration and wonder that it can produce in the viewer.The present pair of vases, impressively cast, finely carved in high and sunken relief, and masterfully inlaid in both hirazogan and takazogan, was clearly made by an extremely talented metalworker. The inspired use of inlays makes an attribution to the workshop of Miyao Eisuke reasonable. Although most often associated with large-scale bronze figures of samurai, the Miyao Company also manufactured or dealt in a wide range of craft goods including Shibayama-work panels and ivory figures. Apparently based first in Yokohama and then, after about 1890, in Nihonbashi-ku, Tokyo, the company is first recorded at the second Naikoku Kangyo Hakurankai (National Industrial Exposition) where Miyao Eisuke collaborated with the bronze caster Momose Sozaemon in the production of a bronze figure of seven drunken shojo.The combination of snake, frog, and snail (or slug) constitutes the sansukumi motif. Sansukumi translates to 'the three who are afraid of one another'. The three animals are in a state of mutually assured destruction: the snake will consume the frog, however the frog has already eaten a poisonous snail, so the snake must perish as well. This motif is connected to sansukumi-ken, a category of Japanese hand games played by using three hand gestures. The oldest sansukumi-ken game is mushi-ken, a game originally from China. In mushi-ken, the 'frog' represented by the thumb wins against the 'slug' represented by the pinkie finger, which, in turn defeats the 'snake' represented by the index finger, which wins against the 'frog'. Although this game was imported from China, the Japanese version differs in the animals represented. In adopting the game, the original Chinese characters for centipede or millipede were apparently confused with the characters for the 'slug'. The centipede was chosen because of the Chinese belief that the centipede was capable of killing a snake by climbing and entering its head. One of the few surviving sansukumi-ken games is jan-ken, which was brought to the West in the 20th century as rock paper scissors.
Lot 113
KOMAI: A SUPERB GOLD-DAMASCENED IRON TABLE CABINET (KODANSU) By the Komai Company, signed Nihon koku Kyoto ju Komai seiJapan, Kyoto, late 19th century, Meiji period (1868-1912)Finely inlaid in predominantly gilt nunome-zogan and hira-zogan, the doors with cranes amid bamboo and flowers with two birds in flight, opening to reveal four drawers. The top two drawers decorated with flowers, the third with butterflies, and the fourth with cranes and birds. The inner doors with flowers and butterflies. The outer sides and back with panels of birds and flowers, the top with a lobed panel enclosing a landscape with a shrine, a pagoda, and other buildings, with Mount Fuji in the background, the panels all against a dense ground of maple leaves borne on twisting vines, the sides of the top and foot with geometric bands, the four bracket feet with stylized flowerheads. The base with the gilt-inlaid signature Nihon koku Kyoto ju KOMAI sei within a square reserve and with the Komai dragonfly mark.SIZE 7 x 7.4 x 5 cmWEIGHT 361 gCondition: Very good condition with minor wear, little rubbing to lacquer and gilding, the base slightly loose. Auction comparison:Compare a closely related kodansu by the Komai Company, 8.3 cm high, at Bonhams, Fine Japanese Works of Art, 16 September 2014, New York, lot 2278 (sold for 9,375 USD).
Lot 114
FUJI: A PAIR OF KOMAI-STYLE GILT-DAMASCENED HEXAGONAL MINIATURE VASESBy the Fuji workshop, signed with the Fuji markJapan, Kyoto, Meiji period (1868-1912)Well modeled with ovoid sides tapering to the short spreading foot and surmounted by a flat shoulder, a short waisted neck and flat everted rim, each side decorated with a panel enclosing alternating landscapes, mythical animals, and butterflies, surrounded by a dense ground of prunus blossoms repeated on the shoulder. Each with the gilt-inlaid Fuji mark to the base. HEIGHT 5.8 cm (each)WEIGHT 44 and 46 gCondition: Very good condition, minor wear, little rubbing to gilt, few tiny nicks, minute dents.Provenance: From a private collection in northern Germany, assembled between 1985 and 2006. Auction comparison:Compare a Komai iron and gilt miniature vase, dated late 19th century, 5.7 cm high, at Bonhams, Fine Japanese Works of Art, 13 September 2011, New York, lot 2221 (sold for 5,625 USD).
Lot 23
KAN: A MASTERFUL RITSUO STYLE INLAID LACQUER BUNKO AND COVER REFERENCING SUGAWARA NO MICHIZANEBy a follower of Ogawa Haritsu (Ritsuo, 1663-1747), most likely by Mochizuki Hanzan (1743-1790), sealed KanJapan, second half of 18th century, Edo period (1615-1868)Published & Exhibited: Cornell University, Herbert F. Johnson Museum of Art, Scattered Gold and Midnight Gloss: Japanese Lacquer from the Anbinder Collection, 31 March – 8 July 2007, p. 11. Of rectangular form with lobed edges, the top and sides each with a shaped sunken panel bearing a beautiful gold kinji ground, the cover finely decorated with inlays of aogai, mitsuda, eggshell, coral, and glazed ceramic as well as gold, black, and red takamaki-e to depict three cranes in front of an entrance to the Dazaifu shrine with a blossoming plum tree in the courtyard, the gate tower with subtly inlaid glass windows, the gate and wall roughly textured imitating plaster, the edges and base finished in ishime, the sides gold-lacquered in low relief with Chinese poems (kanshi) by Sugaware no Michizane. The interior of roiro with gold fundame edges, the interior of the cover with gold, red, and black hiramaki-e and takamaki-e with kirigane and mura-nashiji as well as inlays of aogai and mitsuda (pewter) to depict an ox bucking before a meandering river, the lower right corner with an inlaid ceramic seal KAN. SIZE 10.6 x 37.6 x 28.8 cmCondition: Very good condition with minor wear, few tiny nicks, occasional light scratches, minor flaking to ceramic inlays, little rubbing to lacquer and mitsuda inlay. Provenance: Heian Art, Kyoto, Japan. The Paul and Helen Anbinder Collection, acquired from the above. Paul Anbinder (b. 1940) is a retired editor who was a director at important publishers, including Random House and Hudson Hills. Helen Anbinder (1942-2022) was an education administrator who ran the Inter-village Continuing Education Program for Ardsley, Dobbs Ferry, Hastings, and Irvington, New York. The couple were avid museumgoers and collectors of art. They donated many books and prints from their collection to their alma mater Cornell University and the Herbert F. Johnson Museum of Art.The style of the present bunko is clearly that of Ogawa Haritsu (Ritsuo, 1663-1747), but it is more likely to be by Mochizuki Hanzan (Haritsu II, 1743-1790) or a close follower.The design on the cover, depicting the Dazaifu shrine, a blossoming plum tree, and cranes, allegorizes the legends surrounding Sugaware no Michizane, who at the age of ten composed a Chinese poem praising the beauty of plum blossoms under the full moon. The inscriptions on the sides of the box and cover are Chinese poems by Michizane written during his exile. The inside of the cover also refers to Michizane, as after his death his body was carried in a cart by an ox, which suddenly stopped in front of a stream as if it could not be induced to go farther. Michizane's attendants interpreted this as a sign of where their master wanted to be buried and dug his grave at the exact spot the ox stopped. Later, the Shinto shrine of Dazaifu Tenmangu, visible to the front of this masterful lacquer box, was erected there in his honor. Sugawara no Michizane (845-903) was a scholar, poet, and politician of the Heian period. He is regarded as an excellent poet, particularly in waka and kanshi poetry. Although he reached the high rank of Dajo Daijin (Supreme Head of the Council of State), due to a political rivalry against Fijiwara no Tokihira, he was exiled and died in Dazaifo, Kyushu. After Michizane's death, plague and drought spread and sons of Emperor Daigo died in succession. The Imperial Palace's Great Audience Hall (shishinden) was struck repeatedly by lightning, and the city experienced weeks of rainstorms and floods. Attributing this to the angry spirit of the exiled Sugawara, the imperial court built a Shinto shrine called Kitano Tenman-gu in Kyoto, and dedicated it to him. They posthumously restored his title and office, and struck from the record any mention of his exile. Even this was not enough, and 70 years later Sugawara was deified as Tenjin-sama, a god of sky and storms. Eventually Tenjin evolved into a benign kami of scholarship. With a wood storage box. Auction comparison: Compare a related woven rattan suzuribako by Mochizuki Hanzan, with a similar shaped panel to the top of the cover, dated to the 18th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 361 (sold for 19,200 GBP). Also compare to a related suzuribako by Mochizuki Hanzan, sealed Hanzan, worked with similar bright inlays, at Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 165 (sold for EUR 50,560).
Lot 241
KANO SCHOOL: A FINE PAIR OF 'KARAKO BOYS' SIX-PANEL BYOBU SCREENSJapan, 17th-18th century, Edo period (1615-1868)Ink, gouache, watercolors, and gold paint on paper. Mounted on six panels within a silk brocade attached to a black-lacquer frame with chased metal fittings. Finely painted, the screens depict 62 children engaged in various activities in a beautiful landscape with gentle streams, blossoming peony, prunus, and magnolia, as well as pine and maple trees growing along the rocky landscape. Beautiful gold clouds isolate individual vignettes, a device that also lends considerable opulence and decorative impact to the composition.SIZE 121 x 281 cm (each)Condition: Good condition with wear, minor soiling, minute tears, a few touchups, chips and scratches to the lacquer frame, and a few small losses. The silk brocade with wear and several losses. Overall presenting very well.With a fitted box containing both screens.One screen depicts boys pulling a hana-guruma (flower cart) laden with a bamboo basket overflowing with peonies (emblematic of riches and honor) and other flowers associated with good fortune. The figures display the artist's awareness of Chinese traditions; in China the theme of One Hundred Boys was a popular and auspicious subject for painting, and in Japan the motif of karako (Tang-Dynasty Children) symbolized longevity and health for offspring.The theme of karako boys undoubtedly drew its inspiration from the extremely popular Chinese 'One Hundred Boys' motif. While the felicitous theme of 'One Hundred Boys' first appeared during the Song dynasty (960-1279), these screens are indebted to prototypes from the later Ming era (1368-1644), when the subject also appeared widely on ceramics and other decorative arts objects. The detail, variety, and sheer number of figures, executed in fine-quality pigments, along with the finely fitted box indicate that the family who commissioned these screens was aristocratic. They may have belonged to a bride's wedding trousseau, perhaps to inspire the creation of a large and joyous family.Museum comparison:Compare a closely related Kano School pair of 'one hundred boys' screens, by Kano Eino, dated to the 17th century, in the Metropolitan Museum of Art, accession number 2009.260.1,.2. Compare a related screen depicting the seven gods of good fortune with children pulling a similar flower cart, dated 17th-18th century, in the Metropolitan Museum of Art, accession number 29.100.498.
Lot 242
A SIX-PANEL 'PANORAMA OF THE TOKAIDO WITH MOUNT FUJI' BYOBU SCREENJapan, 19th centuryInk, gouache, watercolors, and gold paint on paper. Mounted on six panels within a silk brocade attached to a black-lacquer frame with metal fittings. Finely painted with a cloud covered landscape, the towering, snowcapped Mount Fuji flanking the rolling hills which surround the small coastal village.SIZE 64 x 215 cmCondition: Wear, small scratches, minor soiling, tears to the front and back with associated repairs and touchups, small chips to the lacquer frame, and losses. Overall presenting well.The panorama captures multiple aspects of daily life. A farmers ford the river alongside an aristocrat who is being carried over on a palanquin with his entourage of servants. Several towns are interconnected by bridges, filled with people. A market square with only a few marketgoers stands alongside a harbor with boats whose sails are raised.Museum comparison:Compare a related pair of byobu screens depicting a view of Tokaido with Mount Fuji in the background, dated 18th-19th century, in the Minneapolis Institute of Art, accession number 2010.33.2.
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