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Lot 118
WW2 BOB fighter pilot Herbert Hallowes 43 sqn signed vintage Battle of Britain souvenir booklet, signed in pencil so not great contrast, but still very rare and collectable. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 399
RAF Museum Co Ordinated Series Collection of 75 Signed Covers inc 2 RARE Covers. This Collection is Housed in a Black Folder, which is damaged, not affecting the contents. Fantastic Signatures in this Collection include William P Hay, John Potter, James Davidson, Andrew Humphrey, Duncan Pearce, Wg Cdr MK Adams, Leonard Cheshire and others. Sought After Collection. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 1762
JOHN ‘JIMMY’ BUCHANAN OF THE IRISH FREE STATE, MATCH WORN JUNIOR INTERNATIONAL JERSEY, 1930s stitched green shamrock crest, lace-up collar, long sleeved, two interior labels for “Lee” MADE IN IRISH FREE STATE and ELVERY’S of DUBLIN MADE IN IRISH FREE STATE Note: The following lots pertain to John ‘Jimmy’ Buchanan of the Irish Free State.They come from a poignant and important period for both the nation and the sport.Football in Ireland had, since 1880, been controlled by the Irish Football Association (IFA). Shortly after the Irish War of Independence and the country’s partition, a rival Football Association of Ireland (FAI) was set up to govern football in the newly formed Free State.Disputes between members of the IFA and the FAI dated back several years, the former perceived by the latter as a Northern-based Unionist body.Further to these disputes, in the South, popular British sports such as football were treated with a degree of suspicion, the Gaelic Athletic Association going as far as to ban its members from playing or watching the ‘foreign’ game.Whilst to this day, something of a divide lingers, the importance of the creation of the FAI cannot be overstated. In the face of adversity, it fought to popularise the sport in a newly liberated country, setting the foundations for today’s Republic of Ireland team.Anything relating to those early years of Free State football should be viewed as rare and highly collectable. Relatively few fixtures were played before the team changed from the Free State to Éire (1936), and then to the Republic of Ireland (1956).Disputes between the FAI and the IFA continued long after the partition and relate back to those changes. Before the FAI was formally recognised by the Home Nations, and indeed for some time after, both Associations claimed legitimacy over the island of Ireland. As a result, players were selected on a national basis, with at least 38 representing both the North and South. This was until FIFA intervened, implementing restrictions based on the border, this following both teams’ appearance at the 1950 World Cup.It was during the early years of the FAI, Jimmy Buchanan pulled on the national shirt to represent that newly reborn nation. The shirts and caps offered relate to a few of those games, presenting a rich and important insight into the development of the sport.Whilst it remains difficult to say which matches the shirts were worn in, the caps, with their embroidered detail, open a door into two historic fixtures.The first comes from an Irish Free State XI vs. a Scottish Junior League XI, played on the 10th February 1934 at Brockville Park in Falkirk. The Scottish Junior League had begun an annual fixture with the Free State in 1927, an important milestone for the newly formed Association. The Irish team was selected from a league pool, with Buchanan playing for his local side Glenview at the time.The second comes from a game dubbed ‘Ireland vs. England’, played at Dalymount Park in Dublin on Easter Monday 1936 (poignantly, just two decades after the Easter Rising). The game was in fact played by a Free State select XI and players from the Birmingham & District County FA, it being much easier to promote as an Ireland vs. England youth international. Ultimately, England won 3-0, with an interesting aside noting ‘no anthem to be played’ (clearly for political reasons).The fact that caps were bestowed shows how seriously these junior fixtures were taken, Buchanan pulling on that emerald green jersey to represent his country. Indeed, if we look inside the shirts, we see the relatively novel stamp, MADE IN THE IRISH FREE STATE. This perfectly captures the political and historical charge of each object, standing out triumphantly as signifiers of the growth of the nation and the sport.Buchanan was a gifted player and was selected by the FAI on several occasions. At club level, he played for teams including Glenview, Bohemians and Bray Unknowns. Reputedly, there was interest from England, with possible trials offered for Spurs and Arsenal. Ultimately though, a decision to stay in his home country and play in that newly formed Irish League was the more appealing one.This lot offers a rare opportunity to own an important instance of Irish and footballing history.
Lot 1759
JOHN ‘JIMMY’ BUCHANAN OF THE IRISH FREE STATE, INTERNATIONAL CAP, 1934 vs. the Scottish Junior League, in emerald green velvet with silver bullion inscription, trim and tassel, stamped maker’s mark to red velvet lining Note: The following lots pertain to John ‘Jimmy’ Buchanan of the Irish Free State.They come from a poignant and important period for both the nation and the sport.Football in Ireland had, since 1880, been controlled by the Irish Football Association (IFA). Shortly after the Irish War of Independence and the country’s partition, a rival Football Association of Ireland (FAI) was set up to govern football in the newly formed Free State.Disputes between members of the IFA and the FAI dated back several years, the former perceived by the latter as a Northern-based Unionist body.Further to these disputes, in the South, popular British sports such as football were treated with a degree of suspicion, the Gaelic Athletic Association going as far as to ban its members from playing or watching the ‘foreign’ game.Whilst to this day, something of a divide lingers, the importance of the creation of the FAI cannot be overstated. In the face of adversity, it fought to popularise the sport in a newly liberated country, setting the foundations for today’s Republic of Ireland team.Anything relating to those early years of Free State football should be viewed as rare and highly collectable. Relatively few fixtures were played before the team changed from the Free State to Éire (1936), and then to the Republic of Ireland (1956).Disputes between the FAI and the IFA continued long after the partition and relate back to those changes. Before the FAI was formally recognised by the Home Nations, and indeed for some time after, both Associations claimed legitimacy over the island of Ireland. As a result, players were selected on a national basis, with at least 38 representing both the North and South. This was until FIFA intervened, implementing restrictions based on the border, this following both teams’ appearance at the 1950 World Cup.It was during the early years of the FAI, Jimmy Buchanan pulled on the national shirt to represent that newly reborn nation. The shirts and caps offered relate to a few of those games, presenting a rich and important insight into the development of the sport.Whilst it remains difficult to say which matches the shirts were worn in, the caps, with their embroidered detail, open a door into two historic fixtures.The first comes from an Irish Free State XI vs. a Scottish Junior League XI, played on the 10th February 1934 at Brockville Park in Falkirk. The Scottish Junior League had begun an annual fixture with the Free State in 1927, an important milestone for the newly formed Association. The Irish team was selected from a league pool, with Buchanan playing for his local side Glenview at the time.The second comes from a game dubbed ‘Ireland vs. England’, played at Dalymount Park in Dublin on Easter Monday 1936 (poignantly, just two decades after the Easter Rising). The game was in fact played by a Free State select XI and players from the Birmingham & District County FA, it being much easier to promote as an Ireland vs. England youth international. Ultimately, England won 3-0, with an interesting aside noting ‘no anthem to be played’ (clearly for political reasons).The fact that caps were bestowed shows how seriously these junior fixtures were taken, Buchanan pulling on that emerald green jersey to represent his country. Indeed, if we look inside the shirts, we see the relatively novel stamp, MADE IN THE IRISH FREE STATE. This perfectly captures the political and historical charge of each object, standing out triumphantly as signifiers of the growth of the nation and the sport.Buchanan was a gifted player and was selected by the FAI on several occasions. At club level, he played for teams including Glenview, Bohemians and Bray Unknowns. Reputedly, there was interest from England, with possible trials offered for Spurs and Arsenal. Ultimately though, a decision to stay in his home country and play in that newly formed Irish League was the more appealing one.This lot offers a rare opportunity to own an important instance of Irish and footballing history.
Lot 1761
JOHN ‘JIMMY’ BUCHANAN OF THE IRISH FREE STATE, MATCH WORN JUNIOR INTERNATIONAL JERSEY, 1930s stitched gold shamrock crest, lace-up collar, long sleeved, two interior labels for “Lee” KNITWELL, WEARWELL Made in Ireland and ELVERY’S of DUBLIN MADE IN IRISH FREE STATE Note: The following lots pertain to John ‘Jimmy’ Buchanan of the Irish Free State.They come from a poignant and important period for both the nation and the sport.Football in Ireland had, since 1880, been controlled by the Irish Football Association (IFA). Shortly after the Irish War of Independence and the country’s partition, a rival Football Association of Ireland (FAI) was set up to govern football in the newly formed Free State.Disputes between members of the IFA and the FAI dated back several years, the former perceived by the latter as a Northern-based Unionist body.Further to these disputes, in the South, popular British sports such as football were treated with a degree of suspicion, the Gaelic Athletic Association going as far as to ban its members from playing or watching the ‘foreign’ game.Whilst to this day, something of a divide lingers, the importance of the creation of the FAI cannot be overstated. In the face of adversity, it fought to popularise the sport in a newly liberated country, setting the foundations for today’s Republic of Ireland team.Anything relating to those early years of Free State football should be viewed as rare and highly collectable. Relatively few fixtures were played before the team changed from the Free State to Éire (1936), and then to the Republic of Ireland (1956).Disputes between the FAI and the IFA continued long after the partition and relate back to those changes. Before the FAI was formally recognised by the Home Nations, and indeed for some time after, both Associations claimed legitimacy over the island of Ireland. As a result, players were selected on a national basis, with at least 38 representing both the North and South. This was until FIFA intervened, implementing restrictions based on the border, this following both teams’ appearance at the 1950 World Cup.It was during the early years of the FAI, Jimmy Buchanan pulled on the national shirt to represent that newly reborn nation. The shirts and caps offered relate to a few of those games, presenting a rich and important insight into the development of the sport.Whilst it remains difficult to say which matches the shirts were worn in, the caps, with their embroidered detail, open a door into two historic fixtures.The first comes from an Irish Free State XI vs. a Scottish Junior League XI, played on the 10th February 1934 at Brockville Park in Falkirk. The Scottish Junior League had begun an annual fixture with the Free State in 1927, an important milestone for the newly formed Association. The Irish team was selected from a league pool, with Buchanan playing for his local side Glenview at the time.The second comes from a game dubbed ‘Ireland vs. England’, played at Dalymount Park in Dublin on Easter Monday 1936 (poignantly, just two decades after the Easter Rising). The game was in fact played by a Free State select XI and players from the Birmingham & District County FA, it being much easier to promote as an Ireland vs. England youth international. Ultimately, England won 3-0, with an interesting aside noting ‘no anthem to be played’ (clearly for political reasons).The fact that caps were bestowed shows how seriously these junior fixtures were taken, Buchanan pulling on that emerald green jersey to represent his country. Indeed, if we look inside the shirts, we see the relatively novel stamp, MADE IN THE IRISH FREE STATE. This perfectly captures the political and historical charge of each object, standing out triumphantly as signifiers of the growth of the nation and the sport.Buchanan was a gifted player and was selected by the FAI on several occasions. At club level, he played for teams including Glenview, Bohemians and Bray Unknowns. Reputedly, there was interest from England, with possible trials offered for Spurs and Arsenal. Ultimately though, a decision to stay in his home country and play in that newly formed Irish League was the more appealing one.This lot offers a rare opportunity to own an important instance of Irish and footballing history.
Lot 1763
W. FAIRLEE OF AYR UNITED F.C., 2ND DIVISION CHAMPIONSHIP WINNERS GOLD MEDAL, 1911-12 the obverse with enamelled decoration, the reverse inscribed 2nd DIVISION CHAMPIONSHIP 1911-12 WON BY W. FAIRLIE AYR UNITED F.C., in nine carat gold, in gilt tooled leather box of issue with cover inscription 3.9cm high including suspension Qty: 11g Note: Ayr United Football Club were founded in 1910 via a merger between Ayr Parkhouse and Ayr F.C..They would begin life in the Scottish 2nd division, finishing 2nd in their inaugral season.Ayr won their first nine fixtures of the 1911/12 season in what remains their greatest ever league start. They would go on to lift the title, a historic event, five points ahead of their nearest rivals Abercorn.Promotion to the top flight however, depended on the outcome of an annual general meeting (this being during a period before automatic promotions). Whilst a decision to admit Ayr to the top flight was initially passed by the required majority, the delegate from St. Mirren complained that this would be at the expense of their team, who had already committed to a top-flight wage bill for the following season.Extraordinarily an u-turn was made at the expense of Ayr, with the matter of automatic promotion being suspended from discussion until next year. Indeed, it would take another season and another 2nd division title for Ayr to eventually be admitted to the top flight.This rare and historically important medal comes from the first title victory, a pivotal point in the club's history.
Lot 1760
JOHN ‘JIMMY’ BUCHANAN OF THE IRISH FREE STATE, JUNIOR INTERNATIONAL CAP, 1936 vs. England, in emerald green velvet with silver bullion inscription, trim and tassel, stamped maker’s mark to red velvet liningNote: The following lots pertain to John ‘Jimmy’ Buchanan of the Irish Free State.They come from a poignant and important period for both the nation and the sport.Football in Ireland had, since 1880, been controlled by the Irish Football Association (IFA). Shortly after the Irish War of Independence and the country’s partition, a rival Football Association of Ireland (FAI) was set up to govern football in the newly formed Free State.Disputes between members of the IFA and the FAI dated back several years, the former perceived by the latter as a Northern-based Unionist body.Further to these disputes, in the South, popular British sports such as football were treated with a degree of suspicion, the Gaelic Athletic Association going as far as to ban its members from playing or watching the ‘foreign’ game.Whilst to this day, something of a divide lingers, the importance of the creation of the FAI cannot be overstated. In the face of adversity, it fought to popularise the sport in a newly liberated country, setting the foundations for today’s Republic of Ireland team.Anything relating to those early years of Free State football should be viewed as rare and highly collectable. Relatively few fixtures were played before the team changed from the Free State to Éire (1936), and then to the Republic of Ireland (1956).Disputes between the FAI and the IFA continued long after the partition and relate back to those changes. Before the FAI was formally recognised by the Home Nations, and indeed for some time after, both Associations claimed legitimacy over the island of Ireland. As a result, players were selected on a national basis, with at least 38 representing both the North and South. This was until FIFA intervened, implementing restrictions based on the border, this following both teams’ appearance at the 1950 World Cup.It was during the early years of the FAI, Jimmy Buchanan pulled on the national shirt to represent that newly reborn nation. The shirts and caps offered relate to a few of those games, presenting a rich and important insight into the development of the sport.Whilst it remains difficult to say which matches the shirts were worn in, the caps, with their embroidered detail, open a door into two historic fixtures.The first comes from an Irish Free State XI vs. a Scottish Junior League XI, played on the 10th February 1934 at Brockville Park in Falkirk. The Scottish Junior League had begun an annual fixture with the Free State in 1927, an important milestone for the newly formed Association. The Irish team was selected from a league pool, with Buchanan playing for his local side Glenview at the time.The second comes from a game dubbed ‘Ireland vs. England’, played at Dalymount Park in Dublin on Easter Monday 1936 (poignantly, just two decades after the Easter Rising). The game was in fact played by a Free State select XI and players from the Birmingham & District County FA, it being much easier to promote as an Ireland vs. England youth international. Ultimately, England won 3-0, with an interesting aside noting ‘no anthem to be played’ (clearly for political reasons).The fact that caps were bestowed shows how seriously these junior fixtures were taken, Buchanan pulling on that emerald green jersey to represent his country. Indeed, if we look inside the shirts, we see the relatively novel stamp, MADE IN THE IRISH FREE STATE. This perfectly captures the political and historical charge of each object, standing out triumphantly as signifiers of the growth of the nation and the sport.Buchanan was a gifted player and was selected by the FAI on several occasions. At club level, he played for teams including Glenview, Bohemians and Bray Unknowns. Reputedly, there was interest from England, with possible trials offered for Spurs and Arsenal. Ultimately though, a decision to stay in his home country and play in that newly formed Irish League was the more appealing one.This lot offers a rare opportunity to own an important instance of Irish and footballing history.
Lot 1725
STOKE CITY F.C. VS. RANGERS F.C., HISTORICALLY IMPORTANT HOLDITCH COLLIERY DISASTER TANKARD, CIRCA 19TH OCTOBER 1937 the waisted Fielding's Crown Devon ceramic tankard moulded and painted in colours with tavern scene, transfer printed with words to AULD LANG SYNE, hand painted inscription in gilt Stoke City v. Glasgow Rangers 19.10.37. To commemorate your visit to Stoke on Trent From an old Stoke player A.R. Fielding., moulded thistle handle, stamped Crown Devon, Fielding’s. Made in England PP No. 804873 to the base Note: This rare and important tankard commemorates Rangers visit to Stoke-on-Trent to face Stoke City in aid of The Holditch Colliery Disaster Relief Fund.On the 2nd July 1937, a tragic accident occurred at the Colliery, during which 30 miners were killed and 8 injured. To raise funds for both victims and dependents, Stoke invited the champions of Scotland to play them in a benefit match. Rangers manager, Bill Struth, immediately accepted, with the game scheduled for October that year.30,000 fans turned out for the fixture and, despite it being a goalless draw, it was noted as an entertaining one. The Gers XI featured Dawson, Gray, McDonald, McKillop, Simpson, Main, Venters, Smith, Kinnear, Fiddes, and Little.It proved a resounding success for the relief fund, raising a total of £2,000. After the game, the Stoke chairmen gifted Rangers an important commemorative vessel known as a Loving Cup. This three-handled ceramic device continues to be used in a special ceremony prior to the first home match of each New Year to toast the reigning monarch.Indeed, any visitor to the Ibrox Trophy Room will still see that Loving Cup on display, besides which is an identical tankard to the one offered for auction. Presumably, Rangers officials and/or players would have been presented with these tankards to mark the solemn occasion.The ‘A.R. Fielding’ mentioned is believed to be Arthur Ross Fielding, who had two spells at Stoke City as a player between 1901-07.Provenance from Christies Auctions. Condition generally good. No chips, cracks or restoration. Crazing throughout as per manufacturing process. Minor wear to printed script of Auld Lang Syne. Additional images available.
Lot 1758
LISBON LIONS INTEREST, SIGNED SHIRT AND RARE UNUSED TICKET DISPLAY, comprising a Bukta Lisbon Lions 25th Anniversary shirt autographed by John Clark, Jim Craig, Billy McNeill, Joe McBride, Bobby Murdoch, Ronnie Simpson, Stevie Chalmers, jimmy Johnstone, Willie O'Neill, Charlie Gallagher, Bertie Auld, Bobby Lennox, John Fallon, Willie Wallace, John Hughes, Tommy Gemmell and Neil Mochan, mounted alongside an original unused ticket for the 1967 European Cup final (Sector 4, Row K, Seat 9), and a facsimile programme, all framed and under glassNote: The original ticket for the match was purchased by the vendor, though was sadly never used as they could not attend the match. It is rare to see one in unused condition with both stubs still attached.Comes with letter certifying authenticity of the signatures, signed by John Hughes. The signatures were gathered by Bobby Murdoch and presented to the vendor at the Hospitality Inn, Glasgow, 24th May 1992, at a banquet to celebrate the 25th Anniversary of Lisbon. 85cm x 112cm overall Unfortunately due to the fact that it is framed we cannot confirm if the ticket has been mounted with adhesive. Additional images are available in which it can be seen that the corners and edges of the ticket do not appear have been fixed to the back board. More detailed inspection of the right edge of the ticket appear closer to the back board than then the left hand side.
Lot 1727
NEIL 'NEILLY' GIBSON OF RANGERS F.C., SCOTTISH CUP WINNERS GOLD MEDAL, 1903 the obverse inscribed Scottish Football Association in blue enamelled lettering around a pierced oval depicting a lion rampant, beneath a thistle motif, the reverse inscribed 1902-3 CHALLENGE CUP WON BY RANGERS F.C. Neil Gibson, in nine carat gold 4cm Qty: 11.1g Note: This rare and important pre-war medal was awarded to Scotland international Neil Gibson, for his part in Rangers 1903 Scottish Cup triumph.Gibson signed for Rangers from Larkhall club Royal Albert in 1894, where he had only been for a few months after signing from junior team Larkhall Thistle.During his time with the Gers he won four consecutive league titles (including the 1898-99 invincible season), as well as three Scottish Cups, five Glasgow Cups, and three Glasgow Charity Cups.The decorated star received plaudits from his contemporaries. Former Hibs manager Willie McCartney said of Gibson that he was ‘The greatest of my, and any generation following, in Scottish football’. Steve Bloomer of Derby County and England thought he was ‘the greatest footballer I ever saw’. Harry Wood summed him up as ‘Pavlova in football boots’.Rangers won this trophy after defeating hearts 2-0 in the second replay. They also defeated rivals Celtic 3-0 in the quarter final of the competition, Stenhousemuir 4-1 in the semis.
Lot 132
JEDBURGH. This is the Common Buik Perteining to the Freemen of Tailzeour Crafte within the Burghe of Jedburgh. 167ff. Upper card wrapper inscribed as above, with other text, the name of Robert Moscropt to the reverse. No lower wrapper. Detailed manuscript in contemporary hands covering the period November 1571 to March 1783. Some leaves re-laid, a few torn with loss & relaid. A rare & interesting survival.
Lot 109
Corgi 153 Donald Campbell's Proteus Bluebird Land Speed Record Car - mid-blue body & base with red engine exhausts, rare late issue black plastic wheels and RARE dual United Kingdom flags. Condition is Excellent in generally Good box complete with original "Join the Corgi Model Club" leaflet. (1)
Lot 603
SWEDEN, SOUTH KALMAR COUNTY HOUSEKEEPING SOCIETY, HONOURABLE MERIT AWARD The medal inscribed AF CALMAR LÄNS SODRA HUSHÅLLNINGS SÄLLSKAP. with the classically dressed figure of Demeter, signed to the base C:G: QVARNSTRÖM INV. LEA AHLBORN FEC, verso with AKTNINGSGARD AT FORTJENSENSTEN, awarded to Axel Mannerskantz, stamped MJV GULD 1960 to the flange, rare 109.6 grams Axel Mannerskantz (1897-1975) was a Swedish politician and landowner.
Lot 174
A RARE NEEDLEWORK PORTRAIT OF CHARLES IIAFTER SIR PETER LELY (1618-80), LATE 17TH CENTURYsilk and hair on a silk ground, depicted seated wearing a suit of armour and the chain of the garter, in an ebonised ripple moulded frame, the picture appears to have been cut down from a larger image20 x 17.2cmCatalogue NoteThis silkwork portrait is probably after the original portrait painting by Sir Peter Lely which can be found in the Throne Room of the Palace of Holyroodhouse.
Lot 1042
A LARGE BRONZE FIGURE OF MAITREYA, PALA REVIVALTibet, late 19th to first half of 20th century. Heavily cast, standing in samabhanga on a double lotus pedestal with a beaded rim, incised with scrolling designs along the base. He is holding in a lotus stem in his right hand which curls up his arm opening to a large blossom supporting a kundika at his shoulder. Wearing a short dhoti tied at the waist by a sash with beaded jewelry and a central floret clasp, his bare arms and chest are adorned with finely beaded jewelry with tassels and floret medallions.Provenance: From a private collection in Germany.Condition: Good condition with minor wear, casting flaws, small nicks, and minor dents.Weight: 5,910 g Dimensions: Height 56.2 cmHis serene face set with almond-shaped eyes and full lips. Finely incised, his curled secured by a foliat tiara and gathered in a tall, multi-tiered chignon surmounted by a lotus blossom.The presence of the kundika vase crowning the resplendent lotus flower by his left shoulder identifies this idealized young prince as the future Buddha Maitreya. Although equally vital to popular Buddhist practice, standing Maitreya images are relatively rare by comparison to more common bronzes of Avalokiteshvara Padmapani.Maitreya, also known as the Buddha of the Future, may be considered a Bodhisattva according to the sutras, or a Buddha according to the tantras. In Tibet, when represented as a Bodhisattva, he may be depicted standing or seated in European style with the feet resting on a small lotus throne. The princely appearance of this figure is one of the most popular manifestations of Maitreya.
Lot 1081
A RARE TIBETAN GLASS BEAD, 19TH CENTURY OR EARLIERHimalayan region, presumably Tibet, 19th century or earlier. The cylindrical bead made from glass in imitation of agate, the translucent glass showing variegated tones of yellow and orange with milky white, dark brown, yellow and crystalline inclusions. Central drilling showing ancient toolmarks and allowing for suspension as a pendant.Condition: Good condition with minor traces of wear and age.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 17.9 gDimensions: Length 7.3 cm
Lot 1192
A RARE SANCAI-GLAZED POTTERY FIGURE OF A SEATED COURT LADY, TANG DYNASTY OR LATER 唐代罕見三彩坐姿陶俑China, 618-906 or later. Well modeled seated on a waisted stool, poised with one hand at the waist holding a lotus flower, the other arm along the torso. The long gown glazed in alternating swaths of bright green and amber, crisply modeled with vertical stripes enclosing trefoil florets, the amber glazed decollete bodice with a blue glazed hem and green glazed sleeves, two blue glazed shoes peeking out under the dress. The unglazed face with painted features framed by an elaborate coiffure, parted at the center and swept up to either side into a double-topknot.Provenance: British trade. Condition: Overall good condition, commensurate with age and presenting very well. Extensive wear, minor losses, firing cracks, glaze flakes, small chips, old repairs, the seat with an aperture for steaming drilled before the firing and with minor associated nibbles, all exactly as expected from authentic Tang dynasty excavations.Weight: 1,307 g Dimensions: Height 37.1 cmThis particularly charming figure is rare due to it being applied with the precious cobalt-blue glaze. The application of this expensive glaze suggests that the original owner was one of wealth and privilege. The present figure combines an elaborately decorated dress with hair simply bunched on either side of the head in a style more usually associated with younger girls. This gives a rather endearing impression of a young girl in her best clothes. In her introduction to the Exhibition of Tang Sancai Pottery Selected from the Collection of Alan and Simone Hartman, Margaret Medley notes that a similarly dressed standing figure with hair in side-bunches was that of a 'young adolescent girl'.The source of manufacture for these figures has proven difficult to identify. Among figural representations, sancai-glazed sculptures of seated ladies are relatively rare and to date it appears that there were very few kilns known to produce sancai-glazed statues at all. The Gongyi (Gongxian) kilns in Henan province in north China are well known as the producers of China's finest sancai lead-glazed wares, but excavations at the site have revealed few figural remains. A misfired sancai-glazed lady, seated and holding a duck-form vessel, was discovered at the Liquanfang kilnsite in Chang'an, illustrated in Lu Junmao & Zhang Guozhu, Fragmentary Ceramics of Ancient Xi'an, Xi'an, 2003, page 8, which is of similar form to a sancai figure unearthed from the tomb of Li Du and his wife in Changzhi, Shanxi, dated to AD 710, illustrated in Hsie Mingliang, Zhongguo gudai qianyoutao de shijie (The world of lead-glazed objects from ancient China: from the Warring States to Tang), Taipei, 2014, fig. 5.28.Literature comparison:Compare a closely related sancai pottery figure of a seated court lady, 8th to 9th century, in the Phoenix Art Museum, accession number 2006.36. A near-identical figure, seated with a related hair style and blue and amber-glazed dress, was exhibited at Sui to Tang Dynasty Art, Osaka City Museum, 1976, catalog no. 200. Another closely related female seated figure, with slightly different hair style but wearing an identical dress, is in the Nezu Museum of Art and illustrated in Selected Masterpieces from the Nezu Museum Collection, Japan, 2009, pl. 67 (fig. 1).Auction result comparison:Type: Closely relatedAuction: Sotheby's New York, 11 September 2019, lot 741Price: USD 27,500 or approx. EUR 30,500 converted and adjusted for inflation at the time of writingDescription: A sancai-glazed pottery figure of a seated court lady, Tang dynastyExpert remark: Compare the closely related pose, dress, decoration, hair, and size (31.8 cm)Auction result comparison:Type: Closely relatedAuction: Christie's Hong Kong, 29 November 2017, lot 2916Price: HKD 1,250,000 or approx. EUR 166,000 converted and adjusted for inflation at the time of writingDescription: A very rare inscribed blue and amber-glazed pottery figure of a seated lady, Tang dynasty (618-907)Expert remark: Compare the closely related pose, dress, decoration, hair, and size (30 cm). Note the inscription to the base in black ink 'Guang jia zhi nu zi', which may be translated as 'daughter of the Guang family'.唐代罕見三彩坐姿陶俑中國，618-906年。女俑呈坐姿，面容圓潤，體態豐腴，衣紋褶皺自然流暢，一手自然下垂，一手置於腹前，顯得悠閒自如，面部未上釉，五官秀美，可見工匠有很強的人體刻畫塑形能力。衣領敞口，衣紋流暢，修飾三葉草小花，綠釉和黃釉是這件陶俑的主色調。 來源：英國古玩交易。 品相：總體狀況良好，大面積磨損、小缺損、輕微燒製裂紋，釉面剝落，小缺口，小修，燒製前鑽有蒸氣孔，並伴有輕微的磕損。 重量：1,307 克 尺寸：高 37.1 厘米 人俑身著裝飾精美的連衣裙，頭髮簡單地束在頭的兩側，Margaret Medley在介紹 “Alan and Simone Hartman收藏唐三彩陶器展”時指出，一個穿著相似、頭髮束成兩束的人俑意味著這是一個“青春期少女”。文獻比較： 比較一件非常相近的公元八至九世紀三彩宮廷侍女坐像，收藏於 Phoenix Art Museum，收藏編號2006.36。一件幾乎相同的坐像，有相近的髮型和藍琥珀色洋裝，展於大阪市立美術館《Sui to Tang Dynasty Art》，1976年，圖錄編號200。另一件非常相近的女性坐像，髮型稍微不同，但著有幾乎相同的洋裝，收藏於Nezu Museum of Art ，見《Selected Masterpieces from the Nezu Museum Collection》，日本，2009年，編號67 (圖1)。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年9月11日，lot 741 價格：USD 27,500（相當於今日EUR 30,500） 描述：唐三彩女坐俑 專家評論：比較非常相近的姿勢、洋裝、裝飾、髮型和尺寸(31.8 厘米) 。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2017年11月29日，lot 2916 價格：HKD 1,250,000（相當於今日EUR 166,000） 描述：唐藍釉三彩仕女坐俑 專家評論：比較非常相近的姿勢、洋裝、裝飾、髮型和尺寸(30 厘米)。請注意器底書「光家之女子」款。
Lot 1327
A LIME-GREEN GROUND FAMILLE ROSE PORCELAIN TEAPOT AND COVER, QING DYNASTYChina, late Qing dynasty (1644-1912). Of ovoid form with a tall handle opposite to a slender, arched spout, decorated to each side with a gilt-bordered panel enclosing a poem about tea written in iron-red above the glaze and dated Dingsi year of the Jiaqing period (1797), all reserved against a lime-green ground decorated with lotus sprays. The neck with a band of ruyi and finely painted scrolls interspersed with flowerheads. The associated, domed, cover is similarly decorated with a lotus scroll and surmounted by a bud-shaped finial painted in iron-red and gilt. The base enameled in turquoise with an apocryphal six-character Jiaqing reign mark.Condition: Very good condition with minor wear and few light surface scratches. The cover is a replacement, also dating to the late Qing dynasty, but not fitting perfectly.Provenance: Finish private collection, acquired in the Dutch auction market in 2020.Weight: 508.3 g incl. coverDimensions: Height 15.5 cm incl. coverThe teapot illustrates the continued influence of the Qianlong Emperor (r. 1736-1795) at court after his abdication in 1796 and even after his death in 1799. Its form, painted decoration, and composition follows the style developed at the imperial kilns in Jingdezhen that catered to Qianlong's taste. The poetic inscription was also composed by the then retired Qianlong Emperor on the 10th lunar month of 1797. Titled 'Brewing Tea', the poem is collected in the First Anthology of Imperial Poetry, and has been translated by S.W. Bushell as follows:Finest tribute tea of the first pickingAnd a bright full moon prompt a line of verseA lively fire glows in the bamboo stove,The water is boiling in the stone griddle,small bubbles rise like ears of fish or crab.Of rare Ch'i-Ch'iang tea, rolled in tiny balls,one cup is enough to lighten the heard,And dissipate the early winter chill.(S.W. Bushell, Oriental Ceramic Art, London, 1981, p. 239).
Lot 1464
A RARE LOPBURI GREEN AGATE PENDANT, c. 13TH CENTURYThailand, Lopburi period, c. 13th century. The wing or comb shaped pendant carved from semi- translucent agate, well-polished, showing attractive variegated tones of emerald green, with transparent and crystalline patches. Pierced for suspension as a pendant, showing ancient toolmarks.Condition Good condition with minor expected age-related wear and few tiny nicks.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 27.6 gDimensions: Length 5.2 cm
Lot 1490
A RARE 'THREE-LEGGED TOAD' CELADON-GLAZED WATER POT, ANNAM, 15TH-16TH CENTURY 安南十五至十六世紀罕見青釉三足蟾水盂Standing on three legs, the toad gently lifts its head. Its body is decorated with raised warts as well as scroll designs along its spine, its well detailed face has an animated mouth and prominent arched brows. Covered overall with a finely crackled celadon glaze, thinning considerably to the raised sections. The top of the toad's back with a large circular aperture with raised rim.Provenance: From a notable private collection in Bavaria, Germany. Condition: Very good condition with expected old wear and some firing irregularities, minor glaze flaking, fritting and few minuscule chips.Weight: 182.6 g Dimensions: Length 12.8 cmThe three-legged toad represents a popular feng shui charm for prosperity. It is usually depicted as a bullfrog with bulging eyes, flared nostrils and only one hind leg. According to feng shui beliefs, the toad helps to attract and protect wealth, and guards against bad luck. This three-legged toad, associated with the Chinese immortal Liu Hai, was also a popular motif in Vietnamese and Korean art. See, for example, a related white porcelain toad-shaped water dropper, dated to the Joseon dynasty, in the National Museum of Korea, accession number Namsan 409.Literature comparison: Compare a closely related Annamese green-glazed toad-form water dropper, dated 15th-16th century, at Christie's London, 7 December 1984, lot 29, and illustrated in Adrian Joseph, Chinese and Annamese Ceramics, no. 78.Auction result comparison: Type: Distantly related Auction: Sotheby's New York, 24 March 2023, lot 612 Price: USD 22,500 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing Description: A 'Yue' celadon-glazed 'toad' water dropper, Western Jin dynasty Expert remark: Compare the related subject.安南十五至十六世紀罕見青釉三足蟾水盂蟾蜍三足站立，微微抬頭。它的身體上有著凸起的疙瘩，面部表情生動，一張大嘴和突出的眉毛。整體施青釉，釉面開片。蟾蜍背部的頂部有一個大的圓孔，邊緣凸起。 來源：德國巴伐利亞知名收藏。 品相：狀況極好，有磨損和一些燒製不規則、輕微的釉料剝落、熔結和一些微小的碎片。 重量：182.6 克 尺寸：長 12.8 厘米 文獻比較： 比較一件非常相近的十五至十六世紀安南蟾蜍水盂，見倫敦佳士得，1984年12月7日，lot 29，見Adrian Joseph，《Chinese and Annamese Ceramics》，編號78。 拍賣結果比較： 形制：稍微相近 拍賣：紐約蘇富比，2023年3月24日，lot 612 價格：USD 22,500（相當於今日EUR 24,000） 描述：西晉越窰青釉蛙形水盂 專家評論：比較相近的主題。
Lot 1543
AN ANCIENT NECKLACE WITH 31 GLASS BEADS, 800 BC-200 CESamon Valley culture, 800 BC-200 CE. The necklace composed of 31 glass beads in imitation of amethyst, in a rare barrel shape, with small and flattened nubs to the ends, the translucent glass of a beautiful violet and light-lavender color. Central drilling showing ancient toolmarks.Condition: Good condition with expected wear and few nicks and notches here and there.Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 46 gDimensions: Length 25.3 cm (the necklace) and 1.6 cm (the largest bead)
Lot 1615
A GRANITE FIGURE OF ADHIKARA NANDI, 15th CENTURYIndia, 15th century or earlier. The granite statue depicting Nandi in both human and bull form, the four-armed human form holding the attributes parasu (battle axe) and the miṛga (antelope) in the secondary hands, the main hands are folded at the chest in the Anjali mudra (obeisance). Together with the bull the complete composition is a mirror reflection of Shiva's classical iconography. This statue is a rare iconographic representation of Shiva philosophy 'Shivoham' or 'I am Shiva'. Condition: Very good condition, commensurate with age, extensive wear, losses, and signs of weathering. Provenance: French private collection, acquired in the Dutch auction market. Weight: 5765 g Dimensions: Height 28 cm
Lot 21
A VERY RARE AND SUPERB INLAID LACQUER BOX AND COVER DEPICTING LUNAR HARESJapan, 19th centuryOf rounded rectangular form, the kinji ground finely decorated in gold, silver, and copper takamaki-e, hiramaki-e, and togidashi with kirigane as well as inlays of aogai (mother-of-pearl) to depict two hares amid leafy chrysanthemums, lilies, other flowers, and clovers as well as craggy rocks, the cover further with three silver-lacquered kana characters in cursive script (ashide) reading 'Tsuki no yo' ('The moon at night'). The hares' eyes are inlaid with coral and amber. The base and interior of nashiji, the interior with gold fundame edges, the rims of silver.SIZE 7 x 15.3 x 11.6 cmCondition: Excellent condition with minor wear.Provenance: The Strong National Museum of Play, accession number 75.1892 (lacquered to the base). Old collector's label '#16' to base. Margaret Woodbury Strong (1897-1969) grew up in a prosperous family of collectors. Her interests ranged so widely that by 1960 she had amassed more than 27,000 collectible items and works of art. The vast majority of her collections related in some way to play and as her collection grew, Margaret planned a museum to house it. It eventually opened to the public in 1982 and grew dramatically over the following decades, expanding its collections, facilities, and resources, now spanning over 285,000 square feet. Today, the Strong National Museum of Play (known as just The Strong Museum or simply The Strong) is the only collections-based museum in the world devoted solely to the study of play.The inscription on the present box, coupled with the two hares, is an allusion to the lunar hare, a mythical figure who lives on the moon in Far Eastern folklore, based on pareidolia interpretations that identify the dark markings on the near side of the moon as a rabbit or hare. This popular motif originates in China, where the rabbit is often portrayed as a companion of the moon goddess Chang'e, constantly pounding the elixir of life for her. In the Japanese variation, the lunar hare is often seen pounding mochi.
Lot 256
A RARE AND LARGE PAINTED POTTERY OKIMONO OF A MONKEY EXAMINING A MONKEY NETSUKEJapan, Meiji period (1868-1912)Well modeled and painted with polychrome pigments, the monkey seated with its legs crossed, looking through a magnifying glass (now lost) held in his right hand to examine a monkey netsuke in his left, the netsuke attached to a kinchaku (pouch) decorated with a diapered brocade pattern and a globular ojime, both the monkey and the netsuke with neatly incised fur, the primate further detailed with large ears, a short tail, and alert eyes. HEIGHT 22 cmCondition: Good condition with minor wear and firing irregularities, including a small firing crack to the underside, the hand with old repair and minor touchups, few small chips to edges, the magnifying glass lost.Provenance: From an English private collection, by repute formerly in the Charlton Collection. The underside with three old labels, two numbered '985' and one inscribed in Japanese.Auction comparison:Compare a bronze okimono by Mitani depicting a similar subject, dated late 19th century, Meiji period, 10.2 cm high, at Bonhams, 16 September 2014, New York, lot 2162 (sold for 8,750 GBP).
Lot 282
SEISHU: A RARE IVORY OKIMONO OF A FISHERMAN REELING IN A FISHBy Okawa Seishu, signed Seishu sakuJapan, Tokyo, late 19th century, Meiji period (1868-1912)Elaborately carved from several parts, depicting a fisherman standing on a boulder joined to a dock above a small pond, casting his fishing rod into the water and pulling out a fish which jumps onto a small rock. The okimono is superbly detailed overall, with intricate openwork carving to the straw skirt of the man and the net which emerges from the water. Signed underneath within red-lacquered reserve SEISHU saku [made by Seishu].LENGTH 18.7 cmCondition: Very good condition with minor wear. The fishing line has been replaced and a small section of the rod has been re-glued. Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no. 110.Auction comparison:Compare a related ivory okimono of similar elaborate design, by the same artist, at Bonhams, Fine Japanese Art, 12 November 2015, London, lot 443 (sold for GBP 3,125).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2023/BE00319/CE). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
Lot 285
ICHIYOSAI SOKO: A RARE IVORY OKIMONO DEPICTING A KISERU (PIPE) MAKER WITH HIS SONBy Ichiyosai Soko (Munehiro), signed Ichiyosai SokoJapan, Meiji period (1868-1912)Finely carved, the tall craftsman standing next to his workbench carving a narrow pipe with an awl, his mouth open in a joyous expression as he watches his son play. Dressed in an elaborate robe decorated with brocade patterns, his sagemono secured in his obi, the young boy wearing a kinchaku (purse) secured at his waist. The child holds a small string attached to a toy fish pulled on four wheels. The carver's bench with one large removable drawer below a shelf filled with bamboo shafts and a pair of drawers, all beneath the worktable filled with tools; several finished kiseru are mounted on the side of the table while two straps are attached to the other side to transport the small workbench. Signed to the base of the workbench on a red lacquer tablet ICHIYOSAI SOKO.HEIGHT 13.9 cmCondition: Good condition with minor wear, expected age cracks, natural flaws, and the string attached to the child's toy lost.Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no. 135.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2023/BE00224/CE). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
Lot 300
A RARE HORN NETSUKE OF A PUPPY NESTLED WITHIN A ROOF TILE, ATTRIBUTED TO HORAKUAttributed to Horaku, unsignedJapan, Kyoto, early 19th century, Edo period (1615-1868)Finely carved in the manner of Horaku to depict a puppy nestled within a roof tile, the chubby canine with peculiar tiny eyes, very much in the style of the Kyoto carver Horaku, and with minutely incised fur. The end of the roof tile decorated with a mitsutomo-e crest. Generously excavated himotoshi to the base.LENGTH 4.1 cmCondition: Losses to the horn, one eye replaced, the natural material with typical crackling and natural fissures, otherwise presenting well.Museum comparison:A closely related bat on roof tile, by Horaku, formerly in the Raymond and Frances Bushell Collection, is in the Los Angeles County Museum of Art (LACMA), accession number AC1998.249.3.
Lot 303
TOMOTADA: A POWERFUL WOOD NETSUKE OF A SNARLING SHISHISigned Tomotada 友忠Japan, Kyoto, late 18th century, Edo period (1615-1868)Superbly carved as a seated shishi turning its head curiously, the face with a prominent reishi nose. The details are finely carved - the mythical lion dog has a thick bushy tail and curling mane, accentuated with light black staining for effect. Natural himotoshi, the signature TOMOTADA within a rectangular reserve underneath.LENGTH 4.6 cmCondition: Restoration to the upper snout and expected minor wear, otherwise in good condition.Museum comparison: Wood netsuke bearing the signature Tomotada are to be considered rare, for another example depicting a shishi and signed Tomatada, formerly in the Trumpf collection, see the Linden Museum, Stuttgart, accession no. OA 18970.
Lot 317
A RARE EBONY WOOD NETSUKE OF A BATUnsignedJapan, 19th century, Edo period (1615-1868)Finely carved in the manner of Horaku to depict a flying bat, the wings folded together just touching above, drawn in to form a compact composition with a narrow base on which the netsuke stands. The bat's body covered with fine hairwork and its beady eyes inlaid with dark horn, the base with the asymmetrical himotoshi, the larger of which is generously excavated to accommodate the knot.LENGTH 4.6 cmCondition: Very good condition with minor wear.Literature comparison:Compare a closely related netsuke of a bat by Horaku in Rutherston and Bandini (2011), The Sheila M. Baker collection of Japanese netsuke and inro, no. 56.
Lot 324
MASAMARU: A FINE WOOD NETSUKE OF A RECUMBENT HORSEBy Masamaru, signed Masamaru 正丸Japan, Nagoya, c. 1800, Edo period (1615-1868)Finely carved, the dark-reddish cherry wood beautifully smoothed and bearing a fine patina. The horse (uma) is sensitively crafted, rearing its head back over its left shoulder, the mane neatly incised and falling in tresses over its neck. The underside is equally well-carved, showing the legs with superbly carved hooves tucked underneath for compactness. Signed MASAMARU in a polished area on the haunch underneath.LENGTH 3.7 cmCondition: Very good condition, only very minor wear. Small repair to one ear. Superb patina.Provenance: Ex-collection Philip Schneider (1908-1983), sold at Sotheby's, Japanese Works of Art, 21 March 1997, New York, lot 318. A noted private collection, USA, acquired from the above.The artist is a rare artist from the Nagoya school, his output being fairly limited and mostly focused on netsuke depicting shojo. The comparison of this netsuke with Ichiyu's kirin (lot 72) and Masayasu's goat (lot 74) is certainly instructive and interesting, particularly when comparing the undersides. The present horse netsuke is surely slightly earlier, and the three carvings together provide insight into the evolution of Nagoya carver's techniques with more attention given to fur and an increased use use of sukashi-bori (openwork), as netsuke became more ornamental during the 19th century, rather than being worn.Auction comparison:Compare to a closely related Nagoya school wood netsuke of a horse by Ittan was sold at Christie's, Japanese Art & Design, 11 May 2011, London, lot 301 (sold for 3,750 GBP).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Lot 327
HIDARI ISSAN: A SUPERB WOOD NETSUKE OF A RECUMBENT OXBy Hidari Issan, signed Hidari Issan 左一山Japan, Iwashiro Province, c. 1840, Edo period (1615-1868)Finely carved as a recumbent ox, bearing irresistible character and charm, the carving somewhat rustic, yet still remarkably refined. The ox has its head slightly lowered and turned to the left, the crisply carved feet are tucked under the body for compactness, the spine and neck folds are expressed, the eyes inlaid in dark horn, and the hairwork beautifully incised. The underside with two himotoshi and signed to the haunch within the typical raised oval reserve HIDARI ISSAN.LENGTH 3.9 cmCondition: Very good condition. Microscopic nicks to the edge of one hoof and one ear. Minor expected wear.Literature comparison:Oxen are a rare subject by Hidari Issan. For another example see Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 250.
Lot 330
SHOTO: A SUPERB WOOD NETSUKE OF A WILD BOARBy Shoto, signed Shoto 松涛Japan, Iwashiro Province, mid-19th century, Edo period (1615-1868)A superbly carved wood netsuke, of compact design, depicting a recumbent long-snouted boar with a wild hairstyle and meticulously engraved fur. The eyes are inlaid in dark horn encircled with gilt metal, which is typical for the school of Hidari Issan, whom this carver is associated with. The underside shows the beautifully carved feet which are folded underneath the body, the asymmetrical himotoshi, the smaller hole ringed in stained bone, and the signature within an oval reserve underneath the right haunch SHOTO.LENGTH 4.5 cmCondition: Excellent condition with only minor wear.Literature comparison:The artist was a rare follower/pupil of Hidari Issan and only a few of his netsuke are recorded. A wood netsuke depicting a dragon clutching a tama, signed Shoto, published in Barker & Smith (1976), Netsuke: The Miniature Sculpture of Japan, no. 247 and located in the British Museum, accession no. F. 296. further illustrates this point.Auction comparison:Compare to a wood netsuke of a boar, by Hidari issan, at Bonhams, Fine Japanese Works of Art including Selections from the Collection of Ruth and Carl Barron, 16 September 2014, New York, lot 2074 (sold for 5,625 USD).
Lot 337
MINICHI: A RARE NAGOYA SCHOOL WOOD NETSUKE OF A COILED RAT LICKING ITSELFBy Minichi (Tamikazu), signed Minichi 民一Japan, Nagoya, 19th century, Edo period (1615-1868)Well carved, of spherical form, the animal amusingly detailed with its tongue stretched out to lick itself, further with eyes inlaid in horn, large funnel-shaped ears, long paws, and neatly incised fur and tail, incised with the signature MINICHI within an oval reserve. HEIGHT 3.5 cmCondition: Very good condition with minor wear, few small nicks. Auction comparison: Compare a related wood netsuke of a tiger licking itself by Kokei, dated early 19th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part I, 9 November 2010, lot 111 (sold for 6,240 GBP).
Lot 340
A RARE COROZO NUT NETSUKE OF A RAT ON A GOURDUnsignedJapan, Meiji period (1868-1912)Finely carved, the naturalistically rendered rat resting one paw on the vine of the oval gourd as it grips the vegetable with the other hand, resting its head on the gourd in a charming manner. Its large ears flank its slender face with dark-horn inlaid eyes, and its body covered in finely incised hair. The hair and rat rest on top of a large leaf. The himotoshi formed by the stem of the gourd.LENGTH 4.6 cmCondition: Very good condition with minor wear and natural cracks.This material is rarely encountered in netsuke art as it is notoriously difficult to carve but was on occasion used by carvers of the Tokyo school. Corozo nut is also known as 'vegetable ivory' due to its similar appearance. The surface of the present netsuke is reminiscent of deeply stained, caramel-toned ivory from the 18th century.
Lot 388
RYUKOKU: A RARE WOOD FIGURE OF A DRUMMING ISLANDERBy Ryukoku, signed Ryukoku 龍谷Japan, Edo (Tokyo), late 18th to early 19th century, Edo period (1615-1868)The islander standing with his left arm raised, holding a mallet with which he is about to strike the drum held in his lowered right hand. The man is clad only in a fundoshi, his muscular arms and legs, his rotund belly, and his spine and rib cage are well detailed and heightened by skillful staining. His brows and hair are neatly incised, his face with a somewhat grotesque expression, his cavernous eyes inlaid with dark wood. The back with asymmetrical and generously excavated himotoshi below the signature RYUKOKU. The wood with a fine, smooth, dark patina.HEIGHT 6.8 cmCondition: Very good condition, appealingly worn, few tiny nicks.Literature comparison: Compare a wood netsuke by Ryukoku of a crane dancer, illustrated in Coullery, Marie-Therese / Newstead, Martin S. (1977) The Baur Collection, p. 246, C 703, and in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 893.
Lot 390
A RARE MARINE IVORY NETSUKE BY TANUKI HARA TSUZUMI, ATTRIBUTED TO MASATAMIAttributed to Masatami, unsignedJapan, Tokyo, second half of the 19th century, Meiji period (1868-1912)Depicting tanuki no hara tsuzumi (belly drumming raccoon dog), the fur finely incised, the lustrous marine ivory beautifully stained, the spine expressively carved, the face with sharp fangs, upwards turned snout, double-inlaid eyes in mother-of-pearl and black horn, and a jovial expression - he is visibly delighted as he drums on his large and smooth belly, with his left front paw raised in a dynamic posture. Himotoshi to the underside and to the back.HEIGHT 3.8 cmCondition: Very good condition with only minor surface wear and a flaw to the material by the creature's shoulder.Provenance: Zacke, Fine Japanese Art, 4 June 2021, Vienna, lot 202. German private collection, acquired from the above.The tanuki possesses magical powers and can change forms, sometimes into Buddhist monks; they are jovial, but also dangerous, as they have been known to suffocate hunters with their enormous scrotums. The act of drumming on the belly, according to legend, was used by tanuki to beguile travelers and hunters and to lead them astray. However, it has also been said that tanuki would get together just for fun, drumming on their bellies under the moonlight, perhaps even with some sake involved.Museum comparison: Compare a closely related ivory netsuke, signed Masatami, at the Asian Art Museum, San Francisco, object number B70Y1039.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0363). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
Lot 409
A REMARKABLE TALL WOOD NETSUKE OF CHINNAN SENNIN WITH DRAGON, ATTRIBUTED TO SOSHINAttributed to Soshin, unsignedJapan, Osaka or Kii, c. 1800, Edo period (1615-1868)Published: Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 201, no. 841.Sydney L. Moss Ltd. (2006) More Things in Heaven and Earth, pp. 40-41, no. 11.A remarkable wood figure of the immortal Chinnan stroking a loose strand of hair and holding an alms bowl from which a minutely carved dragon emerges, the creature looking up at its conjuror and gently placing one claw against Chinnan's chest. This small yet striking detail is executed with peculiar sensitivity, almost surprising the viewer, giving a rare glimpse into the bond shared by the dragon and sennin. Chinnan's glaring eyes, inlaid in pale and dark horn, and opened mouth confirm this heightened sense of pleasure induced by the dragon's touch. The immortal wears a neatly incised leaf cloak and has a curious horn-like protrusion emerging from his head, which is usually an attribute of rishi such as the immortal Ikkaku. The back with large, asymmetrical, and generously excavated himotoshi placed at an angle. The wood bearing a fine, dark patina.HEIGHT 9.3 cmCondition: The feet have been replaced a long time ago (already visible in the 1973 publication quoted above) and are convincing and respectful repairs. They have been probably lost due to fire damage as indicated by some light singing to the left sleeve. Few natural age cracks and typical wear. Appealingly dark patina.Provenance: Ex-collection Georges Weil. Georges Weil (b. 1938) was a jewelry designer and sculptor of precious metals who formed an important collection of netsuke in the 1960s and also started carving netsuke in the 1970s. His works have been featured in many important exhibitions throughout the world, and are in the collections of many noted museums, such as the British Museum. With Sydney Moss Ltd., London, 1993. An American private collection, acquired from the above. Christie's, 21 December 2009, Paris, lot 46. Ex-collection Guy de Lasteyrie, acquired from the above. De Lasteyrie is a member of the Lasteyrie du Saillant family and is considered among the leading French collectors of netsuke.Literature comparison:Compare a related figure of Tekkai sennin, by Soshin, note the similar crispness of the carving and the expression with peculiarly inlaid eyes, illustrated in Sydney L. Moss Ltd. (2006) More Things in Heaven and Earth, no. 37.
Lot 424
YOSHITOSHI: A SUPERB AND LARGE WOOD NETSUKE OF KAN'U STROKING HIS BEARDBy Yoshitoshi, signed Yoshitoshi 慶寿Japan, late 18th to early 19th century, Edo period (1615-1868)Published: Sagemonoya (2022) A Selection of Netsuke & Sagemono from the Collection of Georgina & Gabor Wilhelm, p. 12, no. 9.A powerfully sculpted and large netsuke of remarkable thickness depicting the God of War Kan'u (Guan Yu) standing proudly and stroking his long and elegantly flowing beard. The legendary general wears a cloud-patterned robe below a cuirass with beast-masked shoulder plates. Note the superbly carved facial features and fingers which curl around his beard and are placed against his hip. Two large himotoshi to the back and signed towards the hem of the robe YOSHITOSHI.HEIGHT 8.8 cmCondition: Good condition with minor wear and traces of use. Some light chipping with associated repairs to the edge of the robe in the back.Provenance: The Gabor Wilhelm Collection, Paris.Guan Yu (died 220) was a Chinese military general serving under the warlord Liu Bei during the late Eastern Han dynasty of China. Guan Yu's life was lionised and his achievements glorified to such an extent after his death that he was deified during the Sui dynasty. He is reported to have had a 'peerless beard'. In the present netsuke he is depicted in a portraitist manner with particular attention devoted to the long beard, which is central to the composition, the eyes of the viewer being immediately drawn to the curved, elegant fingers caressing this legendary figure's facial hair.Literature comparison:Only two works are recorded by this exceptionally rare artist in Fuld's Netsuke and Ojime Index. One depicting Gama Sennin is illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 992, and the other depicts a man tying his fundoshi illustrated in Barry Davies Oriental Art, The Netsuke Collection of W.G Bosshard Part 1, no. 92.
Lot 431
AN EXQUISITELY SMALL WOOD NETSUKE OF A FOX DANCER, ATTRIBUTED TO JUGYOKUAttributed to Ryukosai Jugyoku, unsignedJapan, Edo (Tokyo), mid to late 19th centurySuperbly carved as a young boy performing the kitsune odori (fox dance) wearing tightly fitted cloths with a cowl over his head, wearing a fox's mask and tail. The dancer stands on one leg (the netsuke actually is perfectly balanced and stands on that leg), the other leg lifted dynamically, and the two hands are raised in a dancing posture. Two himotoshi to the back. Unsigned, however attributed to Ryukosai Jugyoku who treated this subject and used the same type of reddish wood.HEIGHT 4.1 cmIn some areas of Japan, the kitsune odori was performed during O-bon (a traditional festival honoring the dead), the boys wearing white close-fitting costumes including a fox's mask and tail. The small size of this netsuke may indicate it was made for a young boy, the subject matter here making it a suitable gift.Condition: Excellent condition.Provenance: Ex-collection Irene Segeler, Zurich. Irene Segeler specialized in collecting tiny children's netsuke, acquiring over 80 examples, which is quite remarkable as they are exceptionally rare. A few pieces from her collection are illustrated in Children's Netsuke (2001), The International Netsuke Society Journal (INSJ), vol. 21, no. 2, pp. 26-30.Literature comparison:Compare to a closely related wood netsuke of a fox dancer, by Jugyoku, illustrated in Coullery, Marie-Therese and Newstead, Martin S. (1977) The Baur Collection, pp. 247-247, no. C 699.
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