SHIMADA KISUI (DATES UNKNOWN)Set of Three Sake Cups with a Design of the 'Three Famous Mountains', and Stand Taisho (1912-1926) or Showa (1926-1989) era, 20th centuryThree sakazuki (sake cups) of standard form in three graduated sizes, bowl-shaped with short, slightly splayed stands, the lustrous red-lacquered ground decorated in gold and silver takamaki-e as follows: the largest depicting Mount Fuji, 4.5cm x 13.1cm (1¾in x 5¼in); the middle-sized probably of Mount Haku, 4cm x 11.5cm (1 9/16in x 4½in): the smallest of Mount Tate, 3.7cm x 10.1cm (1½in x 4in); the design continuing over the sides, the tall square stand with scalloped sides and embellished in gold togidashi maki-e and mura-nashiji with clouds, the top narrow edges with Gyobu flakes, 14.5cm x 16.7cm (5¾in x 6 9/16in), all unsigned; with two lacquered-wood storage boxes, one for the whole set inscribed on the lid On Sanzan maki-e mitsugumi sakazuki, daitomo (Set of Three maki-e sake Cups with Design of the 'Three Mountains' and stand), the box for the sakazuki inscribed On Sanzan maki-e mitsugumi sakazuki (Set of three maki-e sake Cups with design of the 'Three Mountains'), signed inside the lid Byokinshi, Kisui (Maki-e artist Kisui) with seal Kisui. (6).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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KOMATSU HOKO (1903-1993) AND UWADANA SOSA (1878-1946)A Black-Lacquer Rectangular Tebako (Box for Accessories) and Cover Showa (1926-1989), 20th centuryWith a inrobuta (flush-fitting) lid decorated in gold hiramaki-e and shibuichi-nuri with leafy cherry blossoms and buds across the full moon, the design continuing over the lid and over all four sides, the interior of the lid and box scattered with snowflakes similarly lacquered in gold takamaki-e, all on a lustrous black-lacquer ground, the rims mounted with silver, signed on the underside in gold lacquer Hoko saku; with a wood tomobako storage box inscribed on the lid Nushi Uwadanaya Sosa with seal Sosa, signed and sealed inside the lid Hoko with seal Komatsu. 5.2cm x 13.8cm x 10.1cm (2in x 5 3/8in x 4in). (3).Footnotes:Born in Kanazawa, Komatsu Hoko specialised in Kaga maki-e and trained under Uematsu Hobi. He exhibited regularly at the Teiten salon and its successor iterations, the Bunten and Nitten, from 1927 (when crafts were first admitted) until 1957. He was appointed as professor at the Kanazawa Nakamura Memorial Museum rising to honorary professor in 1944. Between 1946-1950, he served as a museum director in the Kanazawa Nakamura Memorial Museum.Born in Kanazawa the second son of Koshino Kitarō, Uwadana Sosa was adopted into the Uwadana family and became a pupil of Tonami Hikotaro, who taught him the art of Kanazawa-nuri (Kanazawa-style plain lacquering). He was the last master of Kanazawa-nuri and left many fine tea pieces.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A COLOURED LACQUER AND INLAID SUZURIBAKO (WRITING BOX) AND COVERShowa era (1926-1989), mid 20th centuryA rounded rectangular suzuribako, the thick sides curved on the exterior, with a slightly domed top, the interior fitted with two ita (boards) with cut-outs framing the suzuri (ink-grinding stone) and with a recess for the suiteki (water dropper), the exterior of the lid and the sides of the box with a kingfisher on a giboshi (plantain lily), executed in bold shell inlay and gold and coloured takamaki-e, with dewdrops in gold or shibuichi, against a yellowish-tan ground which extends to the base, the interior covered throughout in large flakes of metal-foil mosaic (probably silver) with touches of gold against a black-lacquer ground, the circular suiteki of shibuichi with gold and silver squares in nunome-zogan; unsigned. 5cm x 23.6cm x 27cm (2in x 9 1/4in x 10 5/8in). (7).For further information on this lot please visit Bonhams.com
SEVEN KOZUKA (KNIFE HANDLES), ONE WITH A BLADEEdo period (1615-1868), 18th to 19th centuryThe first shakudo and gold, with a carp and weeds, signed Yurakusai Sekibun; the second shibuichi, shakudo, silver, gold, and copper, with mallow flowers and buds, signed Seimin with a kao; the third shibuichi, silver, and shippo enamels, with cherry blossoms floating on water under the moon, with signature Shokado no zu o motte Hamano Noriyuki kore o saku; the fourth shakudo nanako, gold, and silver, with a spray of nogiku (daisies) tied with a thread, fitted with a steel blade signed Kunimitsu, with a plain wood storage box; the fifth copper, shibuichi, and gold, with a namazu (catfish) and weeds; the sixth gold, shibuichi, and black lacquer, with ants and grains of rice, signed Joshin zu Joka with a kao; the last shibuichi, copper, and gold, on one side a fugu (pufferfish) hung up to dry, on the other a crowd crossing Nihonbashi Bridge with Mount Fuji in the background. (8).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
SIX KOZUKA (KNIFE HANDLES)Edo period (1615-1868), 17th to 19th centuryThe first brass and gold, with a cicada on the trunk of a tree, the reverse with a Chinese poem on the same subject, signed Ryuchiken Teruyuki; the second shakudo and gold, modelled as a bamboo culm with a rooster in relief; the third shakudo, shibuichi, and gold, with ants crawling on a piece of rotten wood joined by a butterfly dovetail, signed Haruchika (wood tomobako storage box with an attestation by Amiya Soemon dated 1950); the fourth shibuichi ishimeji, shakudo, gold, and silver, modelled in shishiaibori with a bear in a cave, signed Shozui with a kao (wood storage box); the fifth shakudo nanako, with a dragon and tiger, the reverse gold nekogaki, with signatures Teijo saku and Mitsutaka and a kao (origami [certificate] with the signature of Goto Mitsutada bearing a date of 1729; wood tomobako storage box with an attestation by Sato Kanzan dated 1972); the last brass, copper, shakudo, gold, and copper with a crab; the remaining kozuka each with a plain wood storage box. (14).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
SIX KOZUKA (KNIFE HANDLES)Edo period (1615-1868), 18th to 19th centuryThe first gold with silver and shakudo on the front and silver on the reverse, on the front Yoshitsune in disguise, on the reverse Benkei carrying seven weapons on his back; the second silver chiselled in katakiribori on one side with Shoki the Demon-Queller and on the other with Emperor Genso and his concubine Yokihi, with signature Somin and a kao; the third shibuichi, shakudo, and gold, with the Uji Bridge on one side and a willow tree on the other; the fourth shibuichi, silver, and shakudo, with a bridge post in swirling water, signed, probably by a follower of Asama Tenmin, with a kao; the fifth iron and gold, with Mount Fuji and a dragon, with signature Kiyo Sanjin Ryuunken Jakushi; the last shibuichi with Jurojin sleeping with his stag companion, signed for the design Yuga ga (painted by Yuga [Nemoto Narimasa, 1824-1866]) and for the metalwork Jokatsusai Hoichi (Chinju, Haynes 00306) with a kao; each with a plain wood storage box. (12).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
SEVEN FUCHI-GASHIRA (HILT COLLARS AND POMMELS)Edo period (1615-1868), 18th to 19th centuryThe first in Mino Goto style, shakudo and gold, deeply chiselled with choji (cloves) and karakusa ('Chinese grasses') arabesques, unsigned; the second shibuichi and gold, with waves and spray, with signature Teruhide and a kao; the third shakudo, copper, and gold, with anchors, ropes, and waves, unsigned; the fourth shakudo, with rustic dwellings and flowering prunus, unsigned; the fifth copper, gold, and silver, with kikusui (chrysanthemum and water) motifs, with signature Ikkin and a kao; the sixth gold, shibuichi, and shakudo, with an okina (old man) mask, dancer's suehiro fan, origami cranes and kadomatsu (decorative pine sprigs), signed Yoshioka Inabanosuke saku; the last iron and gold, chiselled with pine trees, signed Zengyokuenju ni oite Yoshi [...]; four with a plain wood storage box. (18).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
SEVEN FUCHI-GASHIRA (HILT COLLARS AND POMMELS)Edo period (1615-1868), 18th to 19th centuryThe first shakudo nanako, gold, and silver, with a raptor and egrets, signed Takase Eiju (Haynes 00436) with a kao; the second shibuichi, shakudo, gold, and silver, with mandarin ducks, water, and weeds, signed Yoshioka Inabanosuke; the third shakudo, gold, and silver, with dragons and clouds, signed Hosai; the fourth shakudo nanako, gold, shibuichi, silver and copper, with cock, hen, and chicks, signed Takase Eizui (Haynes 00468) with a kao (wood tomobako storage box dated 1975 and certified by Sato Kanzan); the fifth shakudo nanako and gold, with chidori (plovers or dotterels) and high-relief waves, signed Kuramoto Terushige with a kao; the sixth shakudo and gold, with dragons and waves, signed Chohan [...] Masatomo saku (Made by Masatomo of Nagato Province, Haynes 04569); the last shibuichi ishimeji, gold, silver, shibuichi, copper, and shakudo, with a swallow flying beneath the moon and another calling from a tree overhanging a rustic dwelling, signed Iwamoto Kanri with a kao; one with a plain wood storage box. (16).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
THREE FUCHI (HILT COLLARS) AND SIX FUCHI-GASHIRA (HILT COLLARS AND POMMELS)Edo period (1615-1868), 18th to 19th centuryThe first fuchi shakudo nanako and gold, with tigers and a cub crossing a river; the second shakudo nanako and gold, with a bird and waves, with a certificate of attribution to [Goto] Renjo; the third shakudo nanako and gold, with a bird and foliage; the first fuchi-gashira, shakudo nanako and gold, with floral crests and motifs; the second in Mino Goto style, shakudo nanako and gold, with chrysanthemums and other flowers; the third shakudo nanako and gold, with bamboo and stylised clouds; the fourth shakudo and silver, with water and dewdrops; the fifth shakudo nanako and gold, with crests and flowers; the sixth shakudo, gold, and silver, with a hazy sunset, signed Omori Teruhide with a kao; one fuchi-gashira with a plain wood storage box. (16).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MAKUZU KOZAN (1842-1916)A Porcelain Blue-and-White Squat Koro (Incense Burner) Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryPainted in underglaze blue with a continuous landscape depicting pine groves at the foot of soaring mountains, fitted with an en-suite reticulated silver hoya (incense cover), pierced with swirling clouds, signed on the base in underglaze blue Makuzu Kozan sei within underglaze blue double rings; with a wood storage box. 13cm (5 1/8in) high. (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
ANDO JUBEI COMPANYA Cloisonné-Enamel Ovoid Vase Meiji era (1868-1912), early 20th centuryWorked in partly musen and yusen enamels with a coastal view of a snow-capped Mount Fuji in the distance towering over pine trees on rocky islets in a slight mist rendered on a pale grey-blue ground, applied with a silver rim and foot, signed on the base in silver wire with the mark of Ando Jubei; with a wood tomobako storage box inscribed and signed on the lid Shippo Tokai shokeizu kabin, Jubei tsukuru (Cloisonné vase with scenic view in the Tokai Region, made by Jubei) with seal. 18.7cm (7 3/8in) high. (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
NAMIKAWA YASUYUKI (1845-1927) OF KYOTOA Cloisonné-Enamel Miniature Squat Jar and Cover Meiji era (1868-1912), early 20th centuryFinely worked in silver and gilt wire and decorated with butterflies hovering among meandering sprays of stylised chrysanthemum and other blossoms on a lightly mottled salmon-pink ground, the shoulder with a tightly clustered lobed band enclosing formal foliate motifs, the domed cover embellished with similar sprays of chrysanthemums and surmounted by a chrysanthemum finial, applied with a gilt brass rim and foot, signed on the base with chiselled characters Kyoto Namikawa on a silver plaque; with a wood storage box. 8.5cm (3 3/8in) high. (3).Footnotes:Published and illustrated:Sano Museum, Kindai kogei no hana, Meiji no shippo (Belle of Modern Crafts: Meiji-Period Cloisonné), exh. cat., Shizuoka, 2008, p.64, pl.73.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A CLOISONNÉ-ENAMEL ROUNDED RECTANGULAR BOX AND COVERMeiji era (1868-1912), late 19th/early 20th centuryWorked in silver of varying gauge with a ho-o bird in flight above sprigs of flowering kiri (paulownia), the leaves extending over the sides of the box, reserved on a midnight black ground, the interior lined in silk brocade; unsigned. 5.8cm x 13cm x 10cm (2¼in x 5 1/8in x 4in).For further information on this lot please visit Bonhams.com
AN INLAID IRON RECTANGULAR BOX AND COVERBy Kazutoshi, Meiji era (1868-1912), late 19th/early 20th centuryThe cover decorated in high-relief cloisonné-enamel, silver, bronze, and gilt with a solitary butterfly hovering over flowering stems of chrysanthemums, the inside corner of the cover engraved with a leaf caught in a spider's web; signed with chiselled characters Kazutoshi with a gold seal. 3.3cm x 12.1cm x 8.3cm (1¼in x 4¾in x 3¼in). (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
NIHASHI YOSHIHIRA (1896-1977)An Inlaid Mixed-Metal Rectangular Accessory Box and Cover Showa era (1926-1989), 1965With a gold and shakudo surface, the cover decorated with a clump of hagi (bush clover) applied in high relief inlay of gold, shibuichi and gold, the long sides with three butterflies applied in high relief of gold, silver, and shakudo, the shorter sides with a triangular formation of stylised wave designs on one corner and stylised dandelions similarly rendered in gold flat inlay on one corner, the interior lined in silk brocade, signed on the underside Showa yonjunen aki Nihashi Yoshihira saku (made by Nihashi Yoshihira, autumn 1965); with a wood tomobako storage box titled Shakudo sei irogane kaizogan, akikusa chocho-mon hako (Coloured metal-inlaid shakudo box with autumn plants and butterfly design), the inside of the lid dated and signed Showa yonjunen aki no hi, Nihashi Yoshihira saku (made by Nihashi Yoshihira, in autumn 1965) with seal Yoshihira. 12cm x 22.6cm x 11.5cm (4¾in x 8 7/8in x 4½in). (3).Footnotes:Exhibited and Illustrated:Ninth Nitten Exhibition, 1977 (as his last work).Tenryu City, Tenryu City Board of Education, Tenryu City Cultural Association, Nihon no chokinkai no kyosho: Nihashi Yoshihira to sono shuhen ten (Great Master in Japanese Metal Engraving World: Nihashi Yoshihira and His Contemporaries Exhibition), 26 January -2 February 1986; illustrated in the exhibition catalogue.Born in Shizuoka Prefecture in 1896, Nihashi Yoshihira went to Tokyo at the age of 10, studied under Unno Bisei, graduated from Tokyo Fine Art School with a top grade in 1925 and was founding member and director of the Nihon Kogeikai (Japan Crafts Association). He exhibited in several Teiten, Bunten and other national exhibitions. Some of his works were commissioned by the Imperial Household Agency.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
UEMURA ENSHU (BORN 1955)A Brown-Lacquer Three-Case Inro with Matching Manju Netsuke Showa (1926-1989) or Heisei (1989-2019) era, late 20th/early 21st centuryOf oval form, decorated in silver and gold takamaki-e with a hare on each side, one seated, leaning back amid fallen cherry blossoms, the other seated upright among variously shaped snow crystals, with highlights of inlaid shell, all the sides sprinkled with shell flakes, the interior of kinji with nashiji risers, signed on the base Enshu; with an en-suite manju netsuke, lacquered in similar style with a running hare, signed on the reverse in gold lacquer Enshu and with a glass ojime; with a wood storage box. The inro: 7.3cm (2 7/8in) high; the manju netsuke: 3.2cm (1¼in) diameter. (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
SHIBATA ZESHIN (1807-1891)An Important Gold, Silver, and Black Lacquer Panel Gakumen (Panel) Meiji era (1868-1912), dated 1887A rectangular panel constructed from a single piece of wood reinforced with textile and two crosspieces applied to the reverse, depicting a lone crow on a pond or river bank, to the right a rocky outcrop, below and on the outcrop snow-laden grasses, a few snow crystals on the ground and flying away to the left, the design executed over the highly polished black lacquer roiro ground in a range of Zeshin's most idiosyncratic techniques in addition to traditional hiramaki-e, togidashi maki-e and takamaki-e, including gold and silver sabiage made from a mixture of raw lacquer with powder from grindstone powder and crushed charcoal, here worked in high relief and embellished with crushed shell, mist rising from the bank and water indicated by very finely sprinkled silver powder, the crow's tongue in dark-red lacquer; signed in gold hiramaki-e at lower right Hachijuichi-o Zeshin (Zeshin, aged 81), followed by a version of the character nuno (cloth) much used in his signatures at this period; with a modern wood storage box. 36cm x 71.5cm (14 1/8in x 28 1/8in). (2).Footnotes:Provenance:Sakamoto Goro Collection, Kyoto.A Royal Collection.Published:Goke Tadaomi, Shibata Zeshin meihinshu: Bakumatsu kaikaki no shikko kaiga (Lacquer and Painting in Late Edo and Early Meiji: A Collection of Masterworks by Shibata Zeshin), Tokyo, Gakushu Kenkyusha, 1981, cat. no.118.This is one of several celebrated works demonstrating the artist's masterful depiction of crows, those characteristic Edo/Tokyo birds that fascinated both Zeshin and his contemporary Kawanabe Kyosai (as seen in the current exhibition of the latter at the Royal Academy, London). Other examples, in a range of media, include a maki-e box in Tokyo National Museum with an Escher-esque design of crows and egrets (bunka.nii.ac.jp/heritages/detail/558743); an urushi-e painting of two crows in the Misumi Collection, published in Nezu Bijutsukan, Shibata Zeshin no shippo, urushi, kaiga (Shibata Zeshin: From Lacquer Arts to Painting), exh. cat., Tokyo, 2012, cat. no.120; and in lacquer on wood, as with the present lot, a panel of a crow on a fruiting branch of biwa (loquat) in the same catalogue as the urushi-e painting, cat. no.54, preserved in the Ako City Tabuchi Museum of Art, Hyogo Prefecture. The 1880s were a period of peak production for Zeshin's pictorial lacquer panels that seek to emulate the format of framed Western oils, including, for example one that depicts vegetables mourning the death of the Buddha, executed in 1888 and purchased by industrial titan Iwasaki Yanosuke and now in the Museum of Fine Arts, Boston: accession number 2008.1413.For further information on this lot please visit Bonhams.com
SHIBATA ZESHIN (1807-1891)A Lacquer Four-Case Inro with Antique Mirror Designs Meiji era (1868–1912), circa 1870–1890With four interlocking cases and cover, of standard lenticular cross-section with straight sides, rounded corners, curved top and base, and integrated cord-runners, the roiro lacquer ground decorated in black maki-e with a continuous ground of ken-katabami mon (heraldic crests of swordblades combined with flowers of wood sorrel, Oxalis corniculata), an antique mirror on each side executed in chado-nuri takamaki-e, one of the mirrors eight-lobed with a dragon design, its carrying cord in red lacquer extending to the other side and terminating in a tassel, the other nine-lobed with a design of two ho-o birds alternating with paulownia crests, the compartments and risers gold nashiji, the shoulders and rims brightish gold fundame; the ojime of carnelian, signed in subori to the left of the handle of the smaller mirror Zeshin, 7.6cm × 4.8cm × 1.6cm (3in × 1 7/8in × 5/8in); lacquered wood manju netsuke decorated in gold, silver, and red hiramaki-e with two ho-o birds, 3.5cm × 2cm (1⅜in × ¾in); with a fitted wood storage box. (2).Footnotes:Provenance:Misumi Collection.Sold in these Rooms, 10 November 2015, lot 6.A Royal Collection.Exhibited and Published:Nezu Museum, Shibata Zeshin no shikko, urushi-e, kaiga (Shibata Zeshin: From Lacquer Arts to Painting), exh. cat., Tokyo, 2012, cat. no.94.In 1875, Zeshin paid a visit to Nara where he was able to examine items stored in the Shosoin, the eighth-century Imperial treasure house in the precincts of the Todaiji Temple (Joe Earle and Tadaomi Goke, Meiji no Takara, Treasures of Imperial Japan, Masterpieces by Shibata Zeshin [in the Khalili Collection], London, Kibo Foundation, 1996, p.46, quoting Umezawa Ryushin's 1927 biography of Zeshin). Objects from the Shosoin, until then almost inaccessible to anyone outside the imperial court, subsequently played an increasing influential role in Japanese art from early in the Meiji era. Zeshin was no exception to this trend and it is likely that the mirrors depicted on this inro were loosely modelled on originals stored in the Shosoin, either Chinese Tang-dynasty examples or Japanese copies of around the same date. He lavished typically meticulous craftsmanship both on the mirrors and on the dense background pattern of mon (crests). Takao Yo notes that although chado-nuri, used here for the mirrors, is listed as a separate technique in Sawaguchi Goichi's monumental study of Japanese lacquer, Nihon shikko no kenkyu (1933), in Zeshin's time it would simply have been regarded as a variant of seido-nuri. Chado-nuri differs from seido-nuri in that it contains bengara (red iron oxide) in addition to orpiment (arsenic sulphide), producing an effect that, as Takao comments, is ideally suited to imitating the surface of antique bronze (Takao Yo, 'Shibata Zeshin no shikko giho: Kawari-nuri giho o chushin ni (Shibata Zeshin's Lacquer Techniques, Centred on the Kawarinuri Technique)', Ishikawa-ken Wajima Shitsugei Bijutsukan kiyo (Bulletin of the Wajima Museum of Lacquer), 6, 2011, figs.14, 15).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
SHIBATA ZESHIN (1807-1891)An Urushi-e (Lacquer Painting) of a Farmer's House Meiji era (1868–1912), dated 1888Depicting a peaceful scene of a farmer's rustic dwelling, well maintained but showing its age, in early spring: to the right a straw hat and mino (raincoat) hanging on the wall of the house by a tree and a ragged sudare (roller blind) hung from the eaves, sheaves of rice straw leaning against the walls, and in front a rooster and hen pecking grains of rice from a rice-mortar standing on a straw mat, the inside of the house with details including smoke rising from the hearth with its jizai (adjustable pot hanger), cups in a basket, a pair of zori (straw sandals), a bunch of daikon radishes, a sickle, a stone grinding-mill, and an uchiwa (non-folding fan), to the left, two children, one barefoot and one wearing zori, feeding hay to the family ox, a spider's web above its head, in the foreground, a stream with a plank bridge and timber reinforcements; all executed in a range of urushi-e colours, the smaller child's kimono with fine shell decoration and the plum blossoms in silver foil; parts of the paper decorated with gold dust; signed at lower right Gyonen hachijuni-o Zeshin (Zeshin, aged 82) with a seal Tairyukyo; with a cloth-bound storage box. Overall: 61.1cm x 81.4cm (24in x 31⅞in); image: 47.5cm × 67.9cm (18¾in × 26¾in). (2).Footnotes:Provenance:Grace Tsumugi Fine Art London, 2015, cat. no.4.A Royal Collection.Exhibited:Nihon Bijutsu Kyokai (Japan Art Association), 1888.Published:Goke Tadaomi, 'Shibata Zeshin', Nihon no bijutsu (Arts of Japan), 93, Tokyo, Shibundo, 1974, pl.7.Goke Tadaomi, Shibata Zeshin eyo tebikae (Sketches and Notes by Shibata Zeshin), Kyoto, Dohosa Shuppan, 1981, pl.140.Goke Tadaomi, Shibata Zeshin meihinshu: Bakumatsu kaikaki no shikko kaiga (Lacquer and Painting in Late Edo and Early Meiji: A Collection of Masterworks by Shibata Zeshin), Tokyo, Gakushu Kenkyusha, 1981, cat. no.140.Exhibited and Published:Nezu Museum, Shibata Zeshin no shikko, urushi-e, kaiga (Shibata Zeshin: From Lacquer Arts to Painting), exh. cat., Tokyo, 2012, cat. no.122.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A GOLD-LACQUER ROUNDED RECTANGULAR RYOSHIBAKO (DOCUMENT BOX) AND COVERMeiji (1868-1912) or Taisho (1912-1926) era, late 19th/early 20th centuryThe inrobuta (flush-fitting lid) with a kinji ground decorated in shades of gold and takamaki-e with kirikane highlights and details inlaid in shell possibly with flowering inu hozuki (black nightshade), the design continuing over the lid and over all four sides of the box, beneath a gold-lacquer sixteen-petalled kikumon (chrysanthemum crest) appearing prominently on the lid, the interior of rich nashiji and the rims mounted with silver; unsigned. 14.5cm x 29.3cm x 22.5cm (5 11/16in x 11½in x 8 7/8in). (2).Footnotes:Provenance: An English private collection, and according to the current owners, this gold lacquer box was gifted by Crown Prince Hirohito (later the Showa Emperor) to David Lloyd George, then British prime minister, on a visit to Chequers in 1921.For further information on this lot please visit Bonhams.com
A BLACK-LACQUER LARGE DEEP ROUNDED RECTANGULAR TRAYMeiji (1868-1912) or Taisho (1912-1926) era, late 19th/early 20th centuryDecorated in gold hiramaki-e, gold, silver and iro-e togidashi maki-e with two confronting ho-o birds in flight against a ground of black lacquer, their feathers trailing over wisps of clouds, the underside decorated with a single gold maru ni-kaga-umebachi crest in gold hiramaki-e, applied with a silver rim, unsigned; with a wood storage box 5.5cm x 54.6cm x 39.2cm (2 1/8in x 21½in x 15 3/8in). (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
GROUP OF SOUTHEAST ASIAN SILVER AND MIXED METAL ITEMS, 19/20TH CENTURY. Twelve items to include a Sterling 925 silver cigarette box with repousse decoration, a knife set with horn handles and others. Box 16cm x 10cm (12)Overall good general condition with no major damages or signs of repair.
GROUP OF CHINESE SILVER AND OTHER MIXED METAL ITEMS 19/20TH CENTURY. Eleven items to include a circular box and cover decorated with dragon, makers marks to base, a Chinese silver cup with W.O maker mark to base and others. Cup 6.5cm height. (11)All in good general condition without signs of damage or repair.
Six silver boxes and vesta cases, (i) embossed with a saddle and stirrups; (ii) silver vesta engraved with a motto London hallmark dated 1898 mm MJJ; (iii) silver trinket box commemorating the Queens Jubilee London hallmark dated 1977; (iv) circular pill box stamped 925; silver match box holder Birmingham hallmark dated 1899 engraved Francie, (v) silver and tortoiseshell trinket box stamped 800 approx 150.3 gms and one other white metal pill box.
Gentleman's Longines 2018 stainless steel G Master Chronometer. The automatic watch having a silver barley-corn face 34mm, painted Arabic dial, blue steel hands, date indicated by the half moon central hand, skeleton back, model number 17350581, case nr L2.673.4, stainless steel bracelet with three separate links to bracelet, complete with box and papers. May Sale 12/05/2022Moving forward at time of cataloguing. No guarantees implied or given.
Antique silver and guilloche enamel pocket watch. The open-faced pocket watch having a white enamel face with numeric dial, suspended from a bow brooch heightened with enamel, approx. 28 x 30mm, in the original presentation box. May Sale 12/05/2022The pocket watch is moving forward at time of cataloguing. Some enamel loss to bow pin clasp. No guarantees given or implied.
A RARE SILVER-GILT AND BLUE ENAMEL 'EIGHT IMMORTALS' BOX AND COVERLate 19th century, stamped marks of Hui Yuan, Jiujiang, circa 1875-1895Of circular form, the top of the flat cover decorated in relief with the 'Eight Immortals', each holding their various attributes set in a garden scene, encircled by a band of leafy grapevines to the border and the straight sides, the straight sides of the box further decorated in relief with a continuous scene of the immortals gathering in a garden landscape, the base stamped with three seal marks reading Wenyin, Huiyuan, and Jiujiang. 16.4cm (6 3/8in) diam. (2).Footnotes:十九世紀晚期，約1875-1895年 銀鎏金鏨胎填藍琺瑯八仙祝壽圖蓋盒 「紋銀」、「匯源」、「九江」款The semi-translucent blue enamel on the present box is referred to as basse-taille, or guangfalang, a technique that was introduced to Guangdong enamel workshops in the 18th century, and used primarily during the Qianlong period. One of a pair of basins decorated in this technique, with gold and silver foil and transparent blue enamel on a copper body, which was sent as tribute from Guangzhou to Beijing, is illustrated by Chuimei Ho and Bennet Bronson in Splendors of China's Forbidden City: The Glorious Reign of Emperor Qianlong, London and New York, 2004, p.263, fig.341. Another example of a silver-gilt and blue enamel tripod incense burner, Qianlong mark and period, is in the Tai'an Museum, Shangdong, illustrated in Zhongguo jinyin boli falangqi quanji: 5: falangqi vol.1, Heibei, 2001, no.239.According to the research by Adrien von Ferscht, Hui Yuan is identified as one of the four silversmiths in Jiujing, who created quality silver for the export market in the West as well as to affluent Chinese and foreign residents during the late 19th to the early 20th century, see Adrien von Ferscht, Chinese Export Silver 1785-1940, Catalogue of Makers' Marks, Glasgow, 2013, pp.8, 12 and 21.For further information on this lot please visit Bonhams.com
A silver six piece condiment set of octaganal form comprising two lidded mustards with blue glass liners and spoons, two salts with blue glass liners and spoons and two pepperettes, Sheffield 1929, marker mark H.A, cased rectangular cigarette box, London 1929, and a silver mounted writing case intialled G.C
A Rare Novelty Jewellery Box in the form of a Miniature Victorian Safe. Antique piece, reveals four drawers each with gilt metal drop handles and the words 'Gold', 'Silver' and 'Notes and Keys'. Opens and closes well (key lacking). Probably by H Barton, Manchester. Measures 7" tall x 6" deep.
A Trio of Antique Period Silver and Silver Plated Items. Comprises 1/ Oval Shaped Sterling Silver Hinged Lidded Snuff Box, Hallmark Birmingham 1912, 3 Inches - 7.5 cms Wide. 2/ Victorian Silver Plated Fan Shaped - Hinged Small Purse, 3 Inches - 7.5 cms Diameter. 3/ Victorian Period - Ladies Silver Topped Leather Concertina Sovereign Purse. Length 3.5 Inches - 8.75 cms.
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