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Click here to subscribeA COPPER AND SHIBUICHI TSUBA WITH OWL IN TREEJapan, 19th century, Edo period (1615-1868)The copper tsuba of kaku-gata shape, with one hitsu and a thick shibuichi rim, worked in takabori and gold, silver, and shakudo takazogan depicting an owl inside a leafy tree trunk.SIZE 6.2 x 5.4 cmWEIGHT 85. 2 gCondition: Very good condition with only minimal surface wear.Provenance: French private collection.
OMORI TERUMITSU: AN INLAID SILVER KOZUKA WITH A FLYING CRANE AND RISING SUNBy Omori Terumitsu (1785-c.1847), signed Omori TerumitsuJapan, 19th century, Edo period (1615-1868)The finely polished silver kozuka inlaid in silver with a flying crane in relief and flat-inlaid in copper with the rising sun above the shakudo and gold-sprinkled mist, the reverse neatly incised with wavy lines and the signature OMORI TERUMITSU.LENGTH 9.7 cmWEIGHT 30.9 gCondition: Excellent condition with only minor surface wear. Provenance: British private collection.Omori Terumitsu (1785-c.1847) was the fourth master of the Omori school.
A SUPERB KAKUHA STUDIO INLAID GILT-BRONZE VASE WITH FLYING SPARROWSBy Tenmaru Isshi for the Kakuha studio, signed Tenmaru Isshi zo and Kakuha seiJapan, Takaoka, Toyama prefecture, Meiji period (1868-1912)The baluster body rising from a straight foot to a waisted neck with an everted rim, the shoulder applied with two fierce beast-mask handles with gilt eyes and fangs, the body with copper and shakudo takazogan depicting numerous sparrows in flight, some clustered together and others flying alone, amid finely gilt-splashed clouds, above a flat-inlaid band of archaistic designs with stylized phoenix heads in gold, copper, and silver, the neck flat-inlaid in gold with ‘Buddha’s hand’ fingered citron and stylized flowers, the underside signed TENMARU ISSHI zo and KAKUHA sei.HEIGHT 33.5 cmWEIGHT 4,882 gCondition: Very good condition with minor wear, few small nicks, and occasional light scratches.Provenance: German private collection, acquired before 2007.Kakuha Kanzaemon IX, real name Kakuha Zenjiro, was a member of a lineage of metalworkers from Toyama. In 1869, he started a branch office in the port of Yokohama for export trade of bronze ware, also acting as a retailer for foreign clients in Japan.Auction comparison: For a fine bronze of a monkey and frog by the same studio see Christie’s, Peter Petrou: Tales of the Unexpected, 20 January 2019, London, lot 44 (sold for 10,625 GBP). For a bronze group depicting elephants from the same studio see Bonhams, Fine Japanese and Korean Art, 17 March 2021, New York, lot 602 (sold for 20,312 USD).
HAMANO NAOYUKI: A RARE SILVER AND GOLD-INLAID SHIBUICHI KOZUKA WITH WILLOW TREE GHOSTBy Hamano Naoyuki (1745-1819), signed Hamano Naoyuki with kakihanJapan, Musashi province, late 18th to early 19th century, Edo period (1615-1868)Finely decorated with the spirit of a willow tree, a famous ghost story, in shishiaibori, silver takazogan, and gold hirazogan, the reverse with the signature HAMANO NAOYUKI and the artist’s kakihan. With a wood tomobako (storage box).LENGTH 9.8 cmWEIGHT 35.4 gCondition: Excellent condition with only minor surface wear.Provenance: Ex-collection J. M. Gueneau, purchased in 1971. Ex-collection Paul Corbin. Edward Wrangham collection, Bonhams, The Edward Wrangham Collection of Japanese Art Part I, 9 November 2010, London, lot 25 (sold for 1,140 GBP).Hamano Naoyuki (1745-1819) lived in Musashi province and studied under Hamano Noriyuki and is listed in Toso Kinko Jiten by Takeshi Wakayama, p. 479-480.
A GOLD AND SILVER-INLAID GOTO SCHOOL SHAKUDO KOZUKA WITH RAIKO AND HIS MEN IN DISGUISE WITH SHUTEN DOJI AND ATTENDANT OGRESJapan, Goto School, 19th century, Edo period (1615-1868)The kozuka inlaid in gold and silver with a group of warriors led by Raiko Minamoto kneeling before the ogre-king Shuten Doji, who is seated on a finely polished and neatly incised shakudo mat and surrounded by his demon attendants beside three further warrior figures, all on a shakudo nanako ground, the reverse well-polished and left undecorated.LENGTH 9.2 cmWEIGHT 23.8 gCondition: Excellent condition with only minor surface wear. Provenance: British private collection.The present kozuka depicts a scene from the popular tale Oeyama Ekotoba (‘Tale of Mount Oe in Pictures and Words’), which relates how the famous warrior Minamoto no Raiko (Minamoto no Yorimitsu, 948-1012) kills the giant ogre Shuten doji and subdues his cannibalistic band of demons dwelling on Mount Oe. Here, Raiko and his men are disguised as yamabushi priests and are being granted an audience by Shuten doji, surrounded by his attendant ogres, attempting to trick the ogre-king into dropping his guard.
A SHIBUICHI KOZUKA WITH SHOBU FLOWER AND CRESCENT MOONJapan, 19th century, Edo period (1615-1868)The iris (shobu) flower in silver, gold, and shakudo takazogan next to the gold hirazogan crescent moon.LENGTH 9.7 cmWEIGHT 23.5 gCondition: Some surface wear and discoloration throughout. Good condition.Provenance: From the collection of Oscar Gustaf Bjoerck (1860-1929), Stockholm, painter and professor at the Royal Swedish Academy of Arts.
TWO MIXED METAL MENUKIJapan, 19th century, Edo period (1615-1868)Each of shakudo with gold, silver and copper. One depicting the story of Shiba Onko and the other the lucky gods Ebisu, Benten and Daikoku.LENGTH 3.5 & 4 cmWEIGHT 5 & 9 gCondition: Very good condition with minor associated wear.Provenance: From the collection of Oscar Gustaf Bjoerck (1860-1929), Stockholm, painter and professor at the Royal Swedish Academy of Arts.
AN EXCEPTIONAL MIXED METAL ‘SHOKI AND ONI’ VASEJapan, Meiji period (1868-1912)The bulbous bronze vase with a slender neck and everted lip finely worked in gold, silver, copper, and shibuichi takazogan, as well as some kebori and katakiri, depicting the grim-faced demon queller Shoki with his sword drawn. A separately cast oni with gilt eyes and horns is holding a large silver cloth and quite amusingly polishing the vase with it. The vase is further embellished with a beautiful gold orchid, leafy vines, and a sparrow depicted in mid-flight. The central section and the rim with a concentric band showing minutely stippled ground finely worked in silver and gold takazogan depicting formal designs and leafy vines.HEIGHT 23.5 cmWEIGHT 1322 gCondition: Very good condition with associated surface wear, including some tiny surface nicks and minor casting irregularities. Small dent to the foot rim.Provenance: Old Swiss private collection formed in the 1940s/50s.The oni represented in this vase is likely a repentant oni looking to convert to Buddhism. The little devil is trying to make amends by polishing the vase, though the demon queller does not seem particularly impressed. The quality of workmanship is so fine, it appears as if Shoki is about to come out of the vase and strike the oni down.Literature comparison:The manner of the oni shows some similarities with the work of Sano Takachika. See for example The Nasser D. Khalili Collection of Japanese Art - Treasures of Imperial Japan, Metalwork Part II, p. 123.
A WAKIZASHI IN KOSHIRAE, THE BLADE ATTRIBUTED TO SAN’AMI KANETAKA, WITH NBTHK CERTIFICATEBy San’ami Kanetaka, unsigned Japan, 17th century, early Edo period (1615-1868)The blade:The gently curved blade with shinogi-zukuri and iori mune. The hamon is gunome-midare in nioi-deki with ashi and yo, the hada is a very dense ko-itame. The nakago (tang) with two mekugi-ana and mumei, the tip is iriyamagata jiri.The mounting:The signed iron tsuba of tate-maru-gata form with two hitsu and finely incised with floral decorations partly in relief, one flower with openwork. The fuchi and kashira are inlaid in gold, silver, and shakudo with blossoming flowers, while the shakudo menuki depict horses. The copper kozuka decorated in relief with a dragon and animals. The lacquered saya with a dense reddish scattering pattern on the roironuri.With an NBTHK Kicho Token (Precious Swords) white paper certificate issued by Hosokawa Moritatsu (1883-1970), president of the NBTHK, on 19 October 1968, attributing the blade to San’ami Kanetaka, in the original envelope.LENGTH 45.2 cm (the blade) and 63 cm (the koshirae)Condition: The blade is in fair condition with minor surface wear as well as two small chips near the center of the kissaki, a very small loss to the tip of the kissaki as well. The mounts are in very good condition with minor wear and small losses to the lacquer, particularly near the hilt.Provenance: Hungarian private collection.Auction comparison: Compare a related wakizashi, signed Kanetaka and dated to the 17th century, at Christie’s, Japanese and Korean Art, 23 March 2004, New York, lot 232 (sold for 10,158 USD).
A MINO KATANA IN SHIRASAYAJapan, 17th-18th century, Edo period (1615-1868)The blade:The slender blade with shinogi-zukuri and iori mune. The hamon is sambonsugi in nioi-deki with yakidashi and the hada is itame, bordering on ko-itame. The boshi is notare with komaru. The nakago (tang) is suriage, however only slightly shortened, with two mekugi-ana, the yasurime is higaki, and the tip is kuri-jiri. The two-part silver habaki with vertical and horizontal file marks as well as stylized raindrops. With a wood shirasaya.NAGASA 68 cm, TOTAL LENGTH 97 cmCondition: The blade is in good condition with very minor surface wear and a small chip to the ha (edge). The shirasaya is in very good condition with minor wear and small nicks here and there.Provenance: Austrian private collection.
NAMIKAWA YASUYUKI: A FINE CLOISONNE ENAMEL VASEBy Namikawa Yasuyuki (1845-1927), signed Kyoto NamikawaJapan, circa 1890, Meiji period (1868-1912)The silver-mounted baluster-shaped vase with an elongated neck and a flaring lip, masterfully worked with polychrome enamels and silver wire depicting varieties of kiku (chrysanthemum) blossoms and scrolling vines, all against a midnight blue ground, the shoulder decorated with a band of butterflies and flower heads, and the neck with formal lozenge motifs on a mustard-yellow ground. The foot ringed with panels of flower heads on a lime-green ground. Signed underneath on a raised signature tablet KYOTO NAMIKAWA.HEIGHT 13.3 cmWEIGHT 175 gCondition: Pristine condition with only minimal wear. Minor nicks and traces of use to silver fittings. Tiny area of enamel thinning original to manufacture.Provenance: US private collection.Namikawa Yasuyuki (1845-1927) is widely regarded as one of the greatest cloisonne makers of all time. He won prizes at the Philadelphia World Fair of 1876, then at the Paris World Fair of 1878, and later at the 1889 Paris Fair. He was also honored at the series of National Industrial Expositions which was instituted in 1877. He won altogether 31 prizes at expositions both at home and abroad. In 1896 together with the unrelated Namikawa Sosuke, Yasuyuki was appointed as a Teishitsu Gigeiin, or ‘Imperial Artist’, the only two cloisonne makers to be so honored.Literature comparison:For a bottle of nearly identical design, see Impey and Fairley, eds., Enamel, vol. II of Meiji no Takara, Treasures of Imperial Japan (London: Kibo Foundation, 1995), pl. 8.Auction comparison:Compare to an almost identical vase sold at Christie’s, Japanese and Korean Art, 22 September 2005, New York, lot 256 (sold for 28,800 USD).
NAMIKAWA YASUYUKI: A SUPERB AND VERY RARE MINIATURE CLOISONNE ENAMEL BOX AND COVERAttributed to Namikawa Yasuyuki, unsignedJapan, late 19th century, Meiji period (1868-1912)The silver-mounted octagonal box with a faceted cover, masterfully worked with polychrome enamels and silver wire, depicting various stylized floral diapered patterns arranged in neatly enameled panels of alternating color. The lid with a central octagonal reserve depicting a majestic phoenix showing all the various colored enamels used throughout the design of the box, against a bright yellow ground.SIZE 4 x 3.8 x 3.5 cmWEIGHT 91 gCondition: Very good condition with minor old wear. The box: Perfect condition. The lid: Minuscule hairlines to the edge of two panels. One panel with two microscopic, restored areas, all of which is only noticeable under strong UV-light and magnification. [Please request additional images made under UV-light from us]Provenance: US private collection.The box and cover are designed in a clever way so that the lid can only be fitted on the box when the panels of the same color are matched.Namikawa Yasuyuki (1845-1927) is widely regarded as one of the greatest cloisonne makers of all time. He won prizes at the Philadelphia World Fair of 1876, then at the Paris World Fair of 1878, and later at the 1889 Paris Fair. He was also honored at the series of National Industrial Expositions which was instituted in 1877. He won altogether 31 prizes at expositions both at home and abroad. In 1896 together with the unrelated Namikawa Sosuke, Yasuyuki was appointed as a Teishitsu Gigeiin, or ‘Imperial Artist’, the only two cloisonne makers to be so honored.Auction comparison:Compare to a very similar miniature box and cover by Namikawa Yasuyuki, yet arguably considerably less fine than the present example, sold at Christie’s, Japanese and Korean Art, 18 September 2013, New York, lot 776 (sold for 21,250 USD).
GOTO EIJO: A MASTERFUL INLAID SUAKA (REFINED COPPER) LOBED KORO WITH MYTHICAL BEASTSSigned Goto Eijo with kakihan Japan, Meiji period (1868-1912)Supported on a lobed base with four feet, the lobed sides of the koro with two reserves framed by scrolling clouds, inlaid with copper and gold depicting a baku to one side and a mythical creature with the body of a kirin and the head of a phoenix to the other, both against ishime ground while the surrounding body shows a finely polished surface, the openworked cover surmounted by a koma-inu (Korean Buddhist lion) in shibuichi with gilt eyes, the underside with the signature GOTO EIJO with a kakihan within a rectangular silver-inlaid reserve.HEIGHT 14.6 cmWEIGHT 736.0 gCondition: Very good condition with minor wear, the koma-inu slightly loose.Provenance: French private collection, old collector’s label to interior.Although the present koro is signed Goto Eijo (1577-1611), it is likely crafted as an homage to the famous Goto school master by a member of the Goto school during the Meiji period. Goto Eijo was the 6th main-line master of the famous Goto school and rarely signed his work, see Haynes, Robert (2001) The Index of Japanese Sword Fittings and Associated Artists, no. H 00431.
KINKOZAN: A RARE AND FINE SATSUMA JAR AND COVERBy Kinkozan, signed Kinkozan zoJapan, Kyoto, late 19th century, Meiji period (1868-1912)Shaped as a bell, the blue ground neatly enameled in gray with a meticulous floral pattern, appearing like fine incision work, and with two gilt fan-shaped reserves, one containing a bijin seated on a bench in a garden with a blossoming tree in the background and the other with a samurai scene, both painted in bright enamels with gilt highlights, the small cover with similar silver decorations on a blue ground and a small blue spherical finial with fine gilding, the underside with a gilt floral decor and the signature KINKOZAN zo.HEIGHT 8.8 cmCondition: Very good condition with minor surface wear, some minor wear to gilt as well.Provenance: Old Austrian private collection, acquired before 1930.
KAJIKAWA: A RARE LACQUER BUNDAI (WRITING TABLE)By a member of the Kajikawa family, signed Kajikawa saku and with pot sealJapan, 19th century, Edo period (1615-1868)The writing surface decorated in gold and silver hiramaki-e, takamaki-e, and gold and silver foils against a black lacquer ground with various floral roundels, including ume (plum) blossoms, kiri (paulownia), kiku (chrysanthemum), and peony (botan), against a separated hanabishi-shippo pattern which is repeated on the exterior legs, the underside of the table and interior legs with nashiji, the corners and sides mounted with silvered fittings. The writing surface signed KAJIKAWA saku with a pot seal in the lower left corner.SIZE 15 x 62.5 x 36.3 cmCondition: Overall good condition with minor wear, particularly to edges, some wear to lacquer, several fittings are lost, one of the feet has been reattached some time ago, some of the gold foil a little loose, all as visible on the images provided. Provenance: Collection of Wivica Ankarcrona Borell (1935-2019). Her grandfather Sten Ankarcrona was a Swedish marine officer who came to Japan on a special mission in 1923, bringing back vast collections of Japanese art and decorating his summer house, creating first a Japanese garden and later a complete Japanese building as documented in Svenska Hem i ord och bild (Swedish Home in Words and Pictures) in 1928, providing a fascinating look at this golden age of European collecting. Their guest book contains the signature of the Swedish king Gustav VI Adolf as well as that of the Japanese crown prince, later Emperor Akihito.Auction comparison: The exact matching suzuribako to the present bundai, also from the Ankarcrona Collection, was sold at Christie’s, Crafted Landscapes: The Ankarcrona Collection of Japanese Lacquer and Asian Works of Art, 1 October 2020, New York, lot 21 (sold for 18,750 USD). Compare a set of bundai and suzuribako, signed Kajikawa and dated to the Meiji period (late 19th century), at Christie’s, The Edoris Collection of Japanese Art / Japanese Art & Design, 10 November 2004, London, lot 148 (sold for 19,120 GBP).
A SUPERB SILVER-MOUNTED INLAID LACQUER SUZURIBAKO WITH A LANDSCAPEJapan, 18th-19th century, Edo period (1615-1868)Of rectangular form with rounded colors, the cover superbly decorated in copper-brown and gold takamaki-e and hiramaki-e as well as silver takazogan and mother-of-pearl (aogai) inlays depicting a vast mountainous landscape with houses and trees, a lone figure inside the larger house looking up at the full moon and taking in the beautiful scenery, all against a roiro ground, the interior with an inset tray of nashiji fitted with a silver water dropper finely decorated with crashing waves, the interior of the box and cover both with nashiji as well, the interior rims of both mounted in silver. With a nashiji lacquer writing brush and a wood storage box with calligraphy inscription and one seal to either side of the cover.SIZE 4.7 x 27.5 x 24.3 cmCondition: Good condition with only minor surface wear. Loss to one mother-of-pearl inlay. The wood storage box with minor chips and few natural age cracks.Provenance: US private collection.Auction comparison:Compare a related but earlier suzuribako, attributed to the Igarashi school and dated to the 17th century, at Sotheby’s, Fine Japanese Art, 5 November 2019, London, lot 63 (sold for 40,000 GBP).
A LACQUER SUZURIBAKO WITH THE SEVEN FLOWERS OF AUTUMNJapan, c. 1750, Edo period (1615-1868)Of rectangular form with canted edges, finely decorated in gold and silver takamaki-e and hiramaki-e, depicting the seven flowers of Autumn (Aki-no Nanakusa) in a bamboo-fenced garden as well as craggy rockwork and grass, all against a fine nashiji ground, the interior of the cover with plovers flying above a meandering river on a nashiji ground, the design continued onto the writing utensil compartment, the interior of the box further fitted with a rectangular inkstone and a copper water dropper.SIZE 4.5 x 20.5 x 22.5 cmCondition: Good condition with minor wear, the cover with a minuscule loss in the upper area.Provenance: British collection.The Seven Flowers of Autumn are all indigenous to Japan and have been loved by the Japanese at least since the Nara period (710-794). They consist of Lespedeza (hagi), Miscanthus sinensis (susuki), Pueraria montana var. lobata (kuzu), Dianthus superbus (nadeshiko), Patrinia scabiosifolia (ominaeshi), Eupatorium fortunei (fujibakama), and Platycodon grandiflorus (kikyo).
A LACQUER SUZURIBAKO DEPICTING CRANES, WITH WRITING UTENSILSJapan, 18th century, Edo period (1615-1868)Finely decorated in gold, silver, copper-brown, and black hiramaki-e and takamaki-e, depicting four cranes in a rich landscape with pine and bamboo, two further cranes in flight above, the interior of the cover also with gold-foil inlay and depicting peonies and rockwork, the interior fitted with an ink stone, a blue and white ceramic water dropper (suiteki), and a tray for brushes, and comes complete with a brush and further utensils.SIZE 5 x 21.5 x 23.5 cmCondition: Very good condition with minor wear, the cover with a small crack to the lacquer.Provenance: French private collection.Auction comparison: Compare a related but later suzuribako, with a similar depiction to the cover and of related size, at Sotheby’s, Fine Chinese Ceramics & Works of Art Including Chinese and Japanese Art from the Collection of Frieda and Milton Rosenthal, 16 September 2008, New York, lot 257 (sold for 10,625 USD).
AN ART NOUVEAU SILVER-PLATED BOWL, by Boardman & Glossop, circular with pierced rim and stepped circular foot, set with six pottery cabochons. 16cm diameterThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Some surface scratching/grazing to the body, some fairly heavy crazing to the enamel. No engravings.
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