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Lot 223

A FINE GOLD LACQUER BOX WITH BOYS PLAYING, 19th CENTURYJapan, 19th century Of rounded rectangular form with a slightly domed cover, finely decorated in gold, silver and maroon takamaki-e with kirikane on a nashiji ground, depicting two boys riding hobby horses and one holding a banner, all below a large pine tree and clouds. The interiors and base with fine dense nashiji, the interior edges of gold fundame. Condition: Very good condition with minimal wear and very few tiny nicks along the edges. Provenance: French private collection. Weight: 37,2 g Dimensions: Size 7.5 x 6.5 x 3 cm

Lot 224

A LACQUER KOGO (INCENSE CONTAINER) WITH LANDSCAPE, 19th CENTURYJapan, 19th centuryThe small box and cover of rectangular form with rounded corners and metal rims, finely decorated in gold and silver takamaki-e and hiramaki-e with aogai inlays, kirikane, gold foil and sprinkled gold flakes, depicting a landscape with a large willow tree before a bridge over a meandering river, with neatly painted waves and thick clouds. The interior and underside of nashiji. Condition: Good condition with minor wear, light surface scratches and very few losses to the gold foil. Provenance: French private collection. Weight: 25.9 g Dimensions: 7.5 x 6 x 2 cm

Lot 23

A GOLD AND SILVER INLAID BRONZE 'DRAGON' VASE, EDOJapan, Edo Period (1615-1868), 18th century. Of baluster form with squared mouth, supported and a flaring foot, flanked by two mask handles suspending loose rings, finely cast with dragons in relief and with gilt takazogan details on a dense wave pattern. The base with an archaistic seal mark.Condition: Very good condition, signs of wear to the interior, and casting flaws.Provenance: From the collection of Teddy Hahn, Darmstadt, acquired at Charlotte Otto and Gerhard Müller Antiquitäten, Darmstadt on 10 September 1981, and thence by descent to the present owner. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. A copy of the original purchasing letter from Charlotte Otto and Gerhard Müller, dated 10 September 1981, accompanies this lot.Weight: 2,894 gDimensions: Height 29.1 cm

Lot 28

A TALL AND IMPRESSIVE PARCEL GILT BRONZE KORO (INCENSE BURNER) AND COVER, ATTRIBUTED TO THE MIYAO COMPANYJapan, Meiji period (1868-1912) The koro of rounded square form, fitted with a metal inset, the sides with two shaped panels in gold, copper, and shakudo takazogan to depict a rakan and oni conversing, the arhat wearing loose robes and holding a small figure of Kannon while the demon holds a staff, the reverse panel depicting pheasants and peony, the body cast with raised floral diaper and foliate designs against an archaistic scroll ground and flanked by two scrolling cloud-form handles. The cover similarly cast and surmounted by a boy wearing a gold-inlaid robe decorated with clouds and flowers, standing in a dynamic pose beside a red-capped crane with silvered body and plumage. The vessel is supported on four long legs issuing from fierce dragon heads atop a tiered base which is crisply cast with stylized butterflies surrounding a ho-o bird against a diapered ground, a superbly patinated and gold-inlaid figure of Kannon wearing a long flowing robe with deeply incised folds standing atop the base which is raised on four short feet decorated with gold-inlaid ho-o birds. Unsigned, however confidently attributed to the Miyao company of Yokohama.HEIGHT 91 cm WEIGHT 14.6 kg Condition: Very good condition with minor wear, minimal casting flaws, few minuscule nicks, occasional light surface scratches. Founded by Miyao Eisuke, the Miyao Company of Yokohama specialized in the manufacture of bronze sculptures, embellished with gold and silver as well as patinated copper alloys, that represent generic samurai warriors as well as more precisely identifiable characters from Japanese myth and legend. In addition, the company also made a smaller number of pieces in other formats such as incense burners, vases, and chargers.Auction comparison:Compare a related parcel gilt bronze censer, measuring 44.5 cm, also with rakan and oni motif and by the Miyao company, sold at Zacke, Fine Japanese Art, 4 June 2021, Vienna, lot 6 (sold for 17,696 EUR).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

Lot 29

A PAIR OF SUPERB TAKAOKA GOLD-INLAID BRONZE 'MYTHICAL BEASTS' KORO (INCENSE BURNERS) AND COVERSAttributed to Ohashi San'emon (1851-1895), unsignedJapan, Takaoka, late 19th century, Meiji period (1868-1912)Finely decorated in gold, silver, and shakudo takazogan, each censer of compressed globular form, inlaid to one side with a winged mythical beast chasing a ribboned vase and to the other with a ribboned vase flanked by a fan and a reishi cloud, the shoulder applied with baku-form handles suspending loose gold rings, the domed cover decorated with gold-inlaid swirling clouds above a lappet border and surmounted by a baying kirin, raised on three elongated legs encircled by three-clawed dragons and centered by a gold tama, above an elaborately cast and openworked tiered hexagonal base.HEIGHT 38 cm and 37.5 cmWEIGHT 2,802 and 2,816 gCondition: Very good condition with minor wear and few minuscule nicks.The history of casting copper alloys in Takaoka, the provincial capital of Etchu (present day Toyama Prefecture), is reputed to date to the early Edo period, the industry encouraged by the local feudal government as a source of income. Around 1830, new sales venues were developed, extending from Edo city to the northern-most part of the Japanese archipelago, eventually expanding to overseas export markets during the Bakumatsu era.Compare the design of the present koro to a drawing of a koro made by Ohashi San'emon in Meiji 27 (1894) to celebrate the 25th year wedding anniversary for the Meiji Emperor.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

Lot 31

A LARGE AND IMPRESSIVE MIXED METAL DISH DEPICTING WASOBEI AND MOUNT FUJIJapan, Meiji period (1868-1912)The large bronze dish with raised rim neatly engraved with a cloud design, the front worked in iro-e takazogan of suaka, silver, shakudo, and gold depicting the giant Wasobei leaning against Mount Fuji with a somewhat disinterested attitude and glaring at two cranes which are flying past. The details are superbly rendered.DIAMETER 45 cmWEIGHT 7 kgCondition: Very good condition with minor typical wear including some tiny nicks and light surface scratches.Provenance: From a private collection in Chicago, USA.The subject has also been previously identified as Daidarabotchi, a gigantic yokai in Japanese mythology, sometimes said to pose as a mountain range when sleeping.Auction comparison:Compare a closely related dish by Kazutoshi at Zacke, Fine Japanese Art, 2 December 2022, Vienna, lot 79 (sold for 13,000 EUR).

Lot 37

AN IMPERIAL SILVER PRESENTATION VASE WITH KIKUMON, MEIJIJapan, Meiji period (1868-1912), early 20th century Of slender baluster form, rising from a recessed foot to a waisted neck with lipped rim, the silver with an iridescent shine, bearing a silver takazogan sixteen-petaled kikumon (Chrysanthemum Seal), the Imperial Seal of Japan. The base with a 100% pure silver hallmark. Condition: Good condition with minor surface wear and minimal surface scratches. With a dent to the body and another to the mouth rim. Provenance: German private collection, by repute a former state gift to a German minister. Weight: 1,230 g Dimensions: Height 30 cmThe Chrysanthemum Seal (kikumon) found on the present vase indicates it was commissioned by the Emperor of Japan or a member of the Imperial Family. The Imperial Seal of Japan or National Seal of Japan, also called the Chrysanthemum Seal (kikumon), Chrysanthemum Flower Seal (kikukamon, kikukamonsho) or Imperial chrysanthemum emblem (kikunogomon) is the crest (mon) used by the Emperor of Japan and members of the Imperial Family. It is one of the national seals of Japan and is used in a manner similar to the national coat of arms of Japan. During the Meiji period, no one was permitted to use the Imperial Seal except the Emperor of Japan, who used a 16-petaled chrysanthemum with sixteen tips of another row of petals showing behind the first row. Therefore, each member of the Imperial family used a slightly modified version of the seal. Shinto shrines either displayed the imperial seal or incorporated elements of the seal into their own tag.

Lot 399

YOSHITSUGU: A PAIR OF GILT AND SILVER-INLAID LACQUERED IRON STIRRUPS (ABUMI)By Yoshitsugu, signed Yoshitsugu sakuJapan, 17th to early 18th century, Edo period (1615-1868)Of typical form, the exteriors finely decorated in gilt and silver hirazogan with flowering peony, the undersides each with a daikon radish. The buckles at the top with movable tangs. The interiors of red lacquer. Each stirrup signed on the uprights in silver hirazogan YOSHITSUGU saku.SIZE 24.5 x 28 cm and 25 x 28 cmWEIGHT 2,284 g and 2,053 gCondition: Good condition, commensurate with over 300 years of age. The lacquer with expected age cracks and some losses. Wear to inlays and gilt. Minuscule nicks and light scratches. Few minor losses to inlays.Provenance: Dutch collection.At least eighteen artists using the name Yoshitsugu are listed in Haynes, Robert E. (2001) The Index of Japanese Sword Fittings and Associated Artists, two of which worked in Kaga Province, where the present stirrups were likely made; Yoshitsugu H 12230.0 (Kanazawa in Kaga Province, ca. 1600) and Yoshitsugu H 12234.0.Abumi, Japanese stirrups, were used in Japan as early as the 5th century, and were a necessary component along with the Japanese saddle (kura) for the use of horses in warfare. Abumi became the type of stirrup used by the samurai class of feudal Japan.The military version of this open-sided stirrup, called the shitanaga abumi, was in use by the middle Heian period. It was thinner, had a deeper toe pocket and an even longer and flatter foot shelf. It is not known why the Japanese developed this unique style of stirrup, but this stirrup stayed in use until European style-stirrups were introduced in the late 19th century. The abumi had a distinctive swan-like shape, curved up and backward at the front so as to bring the loop for the leather strap over the instep and achieve a correct balance. Most of the surviving specimens from this period are made entirely of iron, inlaid with designs of silver or other materials, and covered with lacquer.Auction comparison:Compare to a closely related pair of abumi, sold at Christie's, Japanese Art and Design, 12 May 2010, London, lot 459 (sold for 4,000 GBP).

Lot 40

A FINE INLAID SENTOKU VASE WITH PEONIES AND BIRD, MEIJIJapan, Meiji period (1868-1912)Of baluster shape supported by a spreading foot and rising to a short neck set with coiled handles, the body finely incised and inlaid with silver, gold and copper, depicting blooming peonies, with a bird perched on a stem. The neck and foot decorated with leafy borders. Incised inscription to the underside. HEIGHT 31 cm WEIGHT 2,945 g Condition: Good condition with minor wear, surface scratches, and nicks. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.

Lot 400

KUNIYASU: A TANTO IN SHIRASAYABy Kuniyasu, signed KuniyasuJapan, Yamato Province, 12th century, early Kamakura period (1185-1333)The slender, gently curved blade is kanmuri-otoshi-zukuri with naginata-hi to either side, a thin groove to one side, and iori mune. The hamon is suguha with nioi. The hada is masame-itame. The silver habaki with diagonal file marks and dew drops. The nakago with two mekugi-ana, a kuri-jiri, and the mei KUNIYASU.NAGASA 20.9 cm, LENGTH 36.5 cm (total)Condition: Very good condition with minor surface wear. Provenance: Hungarian private collection. The kanmuri-otoshi-zukuri configuration is typically found in swords from Yamato Province made during the early Kamakura period.

Lot 401

YOSHII YOSHINORI: A WAKIZASHI IN KOSHIRAEBy Yoshii Yoshinori, signed Yoshii Yoshinori saku Yukan Japan, The blade Nanboku-chō period (1336-1392). The mounting Edo period (1615-1868)The blade: The slender, gently curved blade with shinogi-zukuri and ihori mune. The hamon is sugu in nioi-deki, ending in hakikkake. The hada is mokume-ayasugi. The nakago with one mekugi-ana, the tip is haagari, the mei reads Yoshii Yoshinori Saku Yukan to one side, the other side with a further inscription. The mounting: The iron tsuba of mokko-gata form with one hitsu, decorated in gilt and silvered copper takazogan with a flowering plum branch. The fuchi depicting flowers, the plain kashira crafted from wood. The figural menuki with details in silver and gold. The rayskin tsuka with black silk tsuka-ito. The saya is lacquered brown. NAGASA 37 cm, LENGTH 61 cm (total) Condition: Good condition with minor wear and traces of use, the blade with scattered small fukure, ware and very tiny chips to the sharp edge. Provenance: Hungarian private collection.

Lot 410

A BLACK LACQUER KOSHIRAE FOR A WAKIZASHI, EDOJapan, Edo period (1615-1868)The copper tsuba of maru-gata shape with nananko ground, decorated in takazogan with grape vines to both sides and with gold details. The kashira and fuchi of shakudo nanako with plovers in flight amid clouds worked in gold and silver takazogan. The two menuki of paulownia shape with gilt details. The tsuka handle covered in rayskin below leather with gilt details and wrapped with blue textile. The saya covered in black lacquer with swirling patterns.Total LENGTH 80.7 cm (the koshirae)Condition: Good condition, some wear, minor losses, nicks and dents, the tsuba with casting flaws, the saya with lacquer flakes. The kozuka missing.Provenance: Hungarian private collection.

Lot 423

A LOT WITH A WAKIZASHI IN SHIRASAYA AND A KOSHIRAEJapan, Edo period (1615-1868)The koshirae with a shibuichi tsuba of maru gata shape with two hitsu, one plugged, decorated with a shishi besides a blooming peony branch. The shibuichi fuchi and kashira worked in takazogan with fans. The figural menuki with details in gold and silver, the copper kozuka further decorated with shishi. The rayskin tsuka with black silk tsuka-ito. The saya is lacquered in brown. Inside is a wooden blade.LENGTH 73.5 cm (total)The slender, gently curved blade with shinogi-zukuri and iori mune. The hamon is sugu-notare in nioi-deki. The hada is muji-masame. The mumei (unsigned) nakago with one mekugi-ana, the tip is haagari.The wood shirasaya inscribed TO ARAI KE DENRAI NAGASA 52 cm, LENGTH 75 cm (total) Condition: Overall in good condition with minor wear, few nicks, and traces of use, the blade with scattered small fukure and ware. Provenance: Hungarian private collection.

Lot 424

A TANTO IN KOSHIRAE, EDOJapan, Edo period (1615-1868)The blade: The slender blade with hira-zukuri and ihori mune. The hamon is midare in nioi-deki. The hada is mukome. The mumei (unsigned) nakago with one mekugi-ana, the tip is haagari. The mounting: The hamidashi tsuba (with the hitsu-ana open to one side) lacquered black. The sentoku fuchi and kashira worked in takazogan with birds amid flowering plum branches. The floral shakudo menuki with details in gold. The rayskin tsuka with black silk tsuka-ito. The wood saya is ribbed and finely decorated in fine takazogan of silver, copper, and gold, depicting leaves, a vase, and a fan. NAGASA 17.5 cm, LENGTH 37 cm (total) Condition: Good condition with minor wear and traces of use, the blade with scattered tiny fukure, the mounts with few small nicks and shallow scratches, the silk tsuka-ito broken at the end and the kashira loose. Provenance: Hungarian private collection.

Lot 426

A TANTO IN KOSHIRAE, EDOJapan, Edo period (1615-1868)The blade: The slender, gently curved blade with unokubi-zukuri, ihori mune and a short ridge on both sides. The hamon is toran in nioi-deki with ko-ashi. The hada is ayasugi-muji, ending in omaru boshi. The mumei (unsigned) nakago with one mekugi-ana, the tip is haagari. The mounting: The sentoku hamidashi tsuba (with two open hitsu-ana), the fuchi, kashira, kogai, kozuka koiguchi, and kojiri each worked in silver takazogan and hammered decoration. The menuki depicting birds. The rayskin tsuka with a black silk tsuka-ito. The saya is lacquered in roiro and red with butterflies and a peony bloom. NAGASA 29 cm, LENGTH 46 cm (total) Condition: Good condition with minor wear and traces of use, the blade with scattered tiny fukure and shallow scratches. The mounts with few minuscule nicks. Provenance: Hungarian private collection.

Lot 436

KENJO: A BRONZE TSUBA REFERENCING THE LEGEND OF THE MANTIS AND CHARIOTBy Kenjo, signed Kenjo with kakihanJapan, 18th century, Edo period (1615-1868)Of mokko-gata shape, with a kogai hitsu-ana and some sekigane, the surface pierced with three Genji-mon and worked in iro-e takazogan of shakudo, silver, shibuichi and gold depicting a praying mantis below a leafy vine to the front, the verso showing a cartwheel. Signed to the front KENJO and kakihan. There are two artists listed in the Haynes Index of Japanese Sword Fittings and Associated Artists that signed Kenjo (H 03102.0 & H 03103.0), both are Goto school.HEIGHT 7.2 cm, LENGTH 7 cmWEIGHT 142 gCondition: Excellent condition with minor typical wear.The mantis is a symbol of courage and strength to overcome all odds. The present tsuba references the popular Chinese legend when Duke Chuang of Ts'i (B. C. 794-731) went hunting and there was a mantis raising its feet and seizing the wheel of his chariot. He questioned his charioteer as to this insect who said in reply: “This is a mantis; it is an insect who knows how to advance but will never know how to retreat; without measuring its strength, it easily offers resistance.” The Duke answered: “Truly, if it were a man, it would be the champion-hero of the empire.” Then he turned his chariot to dodge it, and this act won him all heroes to go over to his side.

Lot 440

TSUNESHIGE: A FINE SENTOKU TSUBA DEPICTING ARIWARA NO NARIHIRABy Nara Tsuneshige, signed TsuneshigeJapan, Nara school, second half of 18th century, Edo period (1615-1868)Published: Heckmann, Günther (1995) Tsuba, no. T79.The sentoku tsuba of nade-kakugata shape, with a kozuka hitsu-ana, depicting the poet Ariwara no Narihira on horseback by the Tamagawa River, below a pine tree, the image rendered partially in sunken relief and decorated with iro-e takazogan of gold, silver, and copper. Signed to the back TSUNESHIGE.HEIGHT 7.3 cm, LENGTH 6.7 cmWEIGHT 157 gCondition: Excellent condition with minor typical wear.The artist is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on p. 2125 (H 10905.0) and was trained by Nara Shigetsugu (H 08508.0).Ariwara no Narihara (825-880) was one of the six great poets of Japan, the “Rokkasen”. After an intrigue at court, he went into exile. He is usually depicted on his journey, either when riding through Sugura on his way to Azukama, or along the river Tamagawa in Yamashiro as in the present piece.

Lot 442

A SUPERB MINO-GOTO SCHOOL NANAKO SHAKUDO TSUBA DAISHO SET WITH INSECTS AND SPRING FLOWERSUnsignedJapan, Mino-Goto school, c.1800, Edo period (1615-1868)Published: Heckmann, Günther (1995) Tsuba, no. T40The daisho pair of mokkogata shape, each with a kozuka hitsu-ana and kogai hitsu-ana with gold ategane, the design masterfully worked in low relief in rich gold, silver and shakudo against a superb nanako ground, depicting a spring flower scene of mostly chrysanthemums, the leaves with copper dew drops, and various insects including dragonflies, praying mantis, butterflies, and crickets.SIZE 8.2 x 7.6 cm & 7.7 x 7.1 cmWEIGHT 138 and 158 gCondition: Excellent condition with minor typical wear.

Lot 445

A SHAKUDO TSUBA WITH A LOSBTER (ISE-EBI), EDO Japan, late 18th to 19th century, Edo period (1615-1868) Of tate-maru-gata (oval) form with two hitsu, bearing a masterfully chiseled nanako ground and worked in relief with gilt and silver highlights as well as copper takazogan, depicting an Ise-ebi (spiny lobster) and New Year decorations. Condition: Very good condition with traces of use and age. Weight: 105,3 g Dimensions: 7 x 6.3 cm

Lot 448

SHOZUI: AN IRON TSUBA WITH OMORI HIKOSHICHI, EDO By Shozui, signed Shozui Japan, late 18th to 19th century, Edo period (1615-1868) Of almost circular form (maru-gata) with one hitsu, cast in relief and with gold takazogan details to depict Omori Hikoshichi carrying on his back a demon disguised as a beautiful woman. With silver semegane and signed Shozui. Condition: Very good condition with traces of use and age. Weight: 140 g Dimensions: 7.4 x 7 cm

Lot 45

A LOT WITH FOUR METAL BOXES, MEIJIJapan, Meiji period (1868-1912)The first a rectangular sentoku box with hinged lid inlaid with fruity branches, blooms, birds, and figures. The second a silver finished copper box with hinged lid worked in repousse and embossed with a sinuous dragon and two characters 'long life' and 'good luck' on the cover, with dragon skin and stylized floral décor on the sides and underside, the interior fitted in wood. The third a quadrangular sentoku box with hinged lid incised with lobed and fan shaped reserves and inlaid with copper and sentoku birds and flowers. The last a small parcel-gilt bronze chest-shaped box with hinged lid and clasp, cast with animals, roundels, and flames.Condition: Overall good condition with wear, dents, and minor nicks here and there. The hinged lid mechanisms damaged. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.Weight: 1174 g in totalDimensions: Height 2.8 - 4.5 cm, length 7.3 - 11 cm

Lot 457

A FINE SHAKUDO NANAKO KOZUKA WITH MOUNT FUJIJapan, 19th century, Edo period (1615-1868)Of shakudo, the front bearing a nanako ground with a gilt-metal and shakudo frame, divided on the reverse by a katamigawari line, the front inlaid in gold, silver, shakudo, and copper with Mount Fuji, pines, clouds, and the moon. In a fitted wood storage box. Condition: Excellent condition, minor wear.Dimensions: Length 9.7 cm

Lot 460

YOSHIOKA IBANOSUKE: A FINE SHAKUDO NANAKO KOZUKA WITH SNOW-COVERED BAMBOOBy a member of the Yoshioka Ibanosuke family, signed Gyonen hachijuhachisai Yoshioka InabanosukeJapan, Yoshioka school, 18th-19th century, Edo period (1615-1868)Bearing a superb nanako ground and worked in takazogan of gold, silver, and shakudo depicting snow-covered bamboo, the back migakiji (polished) and signed Gyonen hachijuhachisai YOSHIOKA INABANOSUKE [Yoshioka Inabanosuke at the age of 88].LENGTH 9.7 cmCondition: Excellent condition. Condition: Excellent condition with minor expected wear and some light scratches to the back.The Yoshioka Inabanosuke family is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on pp. 390-391 (H 01894.0). Their pieces are often equal to the best of the mainline Goot masters of their periods of work. Many of the best fittings made by this school have been certified as true Goto school pieces.

Lot 462

A SHIBUICHI KOZUKA WITH DRIED SALMONUnsignedJapan, 18th-19th century, Edo period (1615-1868)Of shibuichi, finely worked in takazogan with highlights of gold and silver inlay, depicting a dried salmon prepared for New Year's festivities hanging from a gold rope with a silver label attached. The back with a fine wave pattern incised in katakiribori.HEIGHT 9.7 cmCondition: Good condition with minor expected wear, some brown spots to the surface.

Lot 463

A GROUP OF TWO KASHIRA AND ONE FUCHI, 19th CENTURYJapan, 19th centuryThe first an iron kashira decorated in gilt takazogan with a depiction of a scarecrow. The second an iron fuchi crafted as well in gilt, copper, and shibuich iro-e tagazogan, showing a scarecrow, birds, and flowers. The third a shibuichi kashira crafted in gilt, copper, and silver iro-e tagazogan, depicting a sage, holding a cup of sake in his hand. LENGTH 3.8 cm (each kashira), 3.3 cm (the fuchi) WEIGHT (total) 36 g Condition: Each in good condition with minor surface wear, and slight surface scratches. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.

Lot 465

NAGATA NAOHIRO: A FINE SHAKUDO NANAKO FUCHI AND KASHIRA DEPCITING SEASHELLSBy Nagata Naohiro, signed Heian Nagato Naohiro with kakihanJapan, 18th-19th century, Edo period (1615-1868)Of shakudo, each bearing a superbly worked nanako ground and worked in fine iro-e takazogan of gold, shakudo, silver, shibuichi, and copper depicting various seashells amongst seaweed. Signed underneath Heian NAGATA NAOHIRO with the artist's kakihan (cursive monogram).LENGTH 3.8 cmWEIGHT 31 gWith a padded wood tomobako storage box.The artist is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on p. 1317 (H 06626.0) and signed with a very strong and deliberate signature, as in the present piece. The kakihan is a match to the one illustrated by Haynes.

Lot 467

WASHIDA MITSUCHIKA: A FINE SHAKUDO AND GOLD FUCHI AND KASHIRA WITH DRAGONFLIESBy Washida Mitsuchika (1823-1902), signed Koka ni kinoto-mi shujitsu Washida MitsuchikaJapan, dated 1845, Edo period (1615-1868)Of shakudo and finely decorated in iro-e takazogan with a design of naturalistically rendered dragonflies with gold veins and silver eyes as well as copper inlay to the abdomen. Signed underneath the fuchi Koka ni kinoto-mi shujitsu WASHIDA MITSUCHIKA [Washida Mitsuchika, Autumn 1845] and kakihan (artist's cursive monogram).LENGTH 3.9 cm WEIGHT 38 gCondition: Very good condition, minor wear.Washida Mitsuchika is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on pp. 1049-1050 (H 05142.0).

Lot 47

A SIGNED IRO-E TAKAZOGAN INLAID BRONZE VASE WITH FLOWERS, MEIJIJapan, Meiji period (1868-1912) The vase with a pear-shaped body supported on a straight foot and rising to a slender neck with flared rim, the body finely inlaid in iro-e takazogan technique with silver, gold, and copper with leafy flower blooms. Signed to the base within a rectangular reserve with an artist seal. Condition: Very good condition with some wear and minimal casting flaws. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands, acquired from the above. J.W.N. van Achterbergh was an important collector, expert, and patron of Dutch post-war ceramics. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Weight: 266 g Dimensions: Height 14 cm

Lot 471

KONO TOYOTOSHI: A FINE SHIBUICHI FUCHI AND KASHIRA WITH DANCERS, EDO PERIODBy Kono Toyotoshi, signed Kono Toyotoshi with a kao Japan, Echizen Province, dated 1866Of shibuichi migakiji (polished ground), with flush inlay of gold, silver, copper, and shakudo depicting masked dancers. Note the fine and meticulous detail of the patterned robes. Signed Hinoe-tora haru Echi Fuku ni oite kore o horu Kono Toyotoshi (Chiseled by Kono Toyotoshi in Fukui, Echizen Province, spring 1866), with a gold seal.In a fitted wood storage box. Condition: Very good condition with typical associated surface wear. Dimensions: Length 3.8 cmLiterature comparison: For a Kozuka by Kono Toyotoshi see the Museum of Fine Arts Boston, accession number 11.23845.

Lot 472

HIDENORI: A FINE SHAKUDO NANAKO FUCHI AND KASHIRA WITH SNAKES, EDOBy Hidenori, signed HidenoriJapan, 19th century, Edo period (1615-1868)Of shakudo, each part bearing a fine nanako ground, finely worked in relief and inlaid in gold, silver, and copper with snakes amid rocks, bamboo grass, and susuki (plume grass), signed HIDENORI.In a fitted wood storage box. With a sticker reading ´Fuchi Kashira, MI HIDENORI´Condition: Good condition with typical associated surface wear. Old repair to the snake's head. Dimensions: Length 3.7 cm

Lot 475

A MENUKI OF A BLOOMING CHERRY TREE, EDOJapan, 19th century, Edo period (1615-1868)Made of shakudo, depicting a blossoming cherry tree branch inlaid with silver drops, the blossoms highlighted in gilt.Condition: Very good condition with minor surface wear. Provenance: Spanish private collection. Weight: 5.2 g Dimensions: Length 4.7 cm

Lot 481

A LACQUERED LIGHT WOOD THREE-CASE INRO WITH CHRYSANTHEMUM AND PEONYJapan, 19th century, Edo period (1615-1868)Of upright, rounded rectangular form, the light wood ground neatly decorated in gold, silver, red, and black takamaki-e with flowerheads of peony and chrysanthemum surrounded by leaves with vines executed in gold hiramaki-e.With a fine en suite nut ojime of globular form carved with various flowerheads and leaves.HEIGHT 9.1 cmCondition: Good condition with old wear, minute nicks, and light scratches.Provenance: British private collection. Old collector's label '619' to interior.

Lot 484

AN INLAID LACQUER FOUR-CASE INRO WITH ISLANDERS, EDOJapan, Edo period (1615-1868), 19th century Of rounded rectangular form, bearing a roiro ground finely decorated in gold, silver and brown takamaki-e and wood and coral takazogan to depict two south sea islanders, one holding a large branch of coral, the other seated atop an elephant and holding a small coral ball, the elephant rendered with fine details and inlaid tusk, the foreground with weathered rocks, the interiors of rich nashiji with gold fundame edges. Together with an inlaid lacquer ojime and a horn netsuke also carved as a South Sea islander, depicted seated as he holds a jar from which a choice piece of coral rises (now lost), his features neatly detailed, the mouth agape revealing teeth, with curly hair and clad only in a loincloth, the back with himotoshi.The interior with an old Japanese collection label.Condition: With surface wear and few tiny nicks here and there, some losses to the inlays and small cracks and chips to the interior. Overall, still presenting well. The netsuke with some age cracks, the ojime with some losses. Dimensions: Height 8 cm (the inro), and 3.8 cm (the netsuke)

Lot 485

A GOLD LACQUER FIVE-CASE INRO WITH A LANDSCAPE SCENE, EDOJapan, Edo period (1615-1868)Of oval shape, worked in gold and silver takamaki-e and hiramaki-e with kirikane against a roiro ground with sprinkled nashiji, depicting on both sides a continuous image of an idyllic landscape scene including pine trees, little huts, hills, clouds, and a meandering stream. The interiors of rich nashiji with gold fundame edges and inscriptions. Together a simplistic stag antler ojime.Condition: With some wear and minor nicks here and there, the interiors with minor small cracks and chips. The top case restored. Overall presenting well. Provenance: Private collection, Belgium. Dimensions: Height 9.5 cm

Lot 487

SHOZUI: A SMALL INLAID GILT COPPER THREE-CASE INROSchool of Hamano Masayuki (Shozui), signed Shozui Japan, Hamano school, 18th - early 19th century, Edo period (1615-1868)Of upright, rectangular form, the gilt copper body decorated in mixed metal takazogan to depict on one side an attendant holding a scroll and a nanbuhouki (broom), the details finely rendered, the other side with a silver inlaid moon and the signature SHOZUI. With a shibuichi ojime decorated in copper takazogan with a double gourd borne on a leafy steam. Condition: Very good condition with some wear and shallow surface scratches. Provenance: Formerly in the Edward Wrangham Collection of Japanese Art. Dimensions: Height 5.3 cm

Lot 488

KOMA KYUHAKU: A GOLD LACQUER FIVE-CASE INRO WITH A WOOD NETSUKEBy Koma Kyuhaku, signed Koma Kyuhaku Japan, late 18th to early 19th century, Edo period (1615-1868) Of rounded rectangular form, bearing a kinji ground finely decorated in gold and silver takamaki-e and hiramaki-e with kirikane, depicting to one side Jurojiin observing a minogame, the God of Longevity wearing ornate robes embellished with phoenix mon, the reverse with three cranes, the slender birds with details rendered in silver and red lacquer, the interiors of rich nashiji with gold fundame edges. The base signed KOMA KYUHAKU. Together with a wood netsuke carved as Jurojin accompanied by a little boy.Condition: Very good condition with minor wear and few tiny nicks. At the inro a small flake to the sleeve of Jurojin´s robe. Provenance: Irish private collection, Dublin.Dimensions: Height 9.5 cm (the inro), and 4.5 cm (the netsuke)Auction result comparison: An inro by the same artist was sold in these rooms in Fine Netsuke & Sagemono on 16th April 2021, lot 337, sold for EUR 2,806.

Lot 492

KAJIKAWA: A LACQUER FOUR-CASE INRO, EDOBy a member of the Kajikawa family, signed Kajikawa 梶川 saku 作 Japan, 19th century, Edo period (1615-1868)Of upright rectangular form, bearing a roiro ground sprinkled with nashiji lacquer, decorated in gold, silver, and red hiramaki-e and takamaki-e with gold foil, depicting three birds seated on a branch, the image continuing onto the reverse, showing the branch adorned with gold foil leaves and ripening fruits. The interiors of nashiji with gold fundame edges. The base signed KAJIKAWA saku [made by Kajikawa] and with a red-lacquered seal. Condition: Good condition with some surface wear and tiny losses to the gold foil. Dimensions: Height 8.5 cm

Lot 495

HAKKISAI: A GOLD LACQUER FOUR-CASE INRO DEPICTING A SHISHI AND PEONYBy Hakkisai, signed Hakkisai 白亀斎 with kakihanJapan, 19th century, Edo period (1615-1868)The kinji ground finely decorated in gold and silver takamaki-e with kirikane to depict a lively shishi striking a dynamic pose, well detailed with wild scrolling mane, sharp claws, and inlaid eyes, along with leafy peony sprays, craggy rockwork, and a waterfall. The interior of nashiji with gold fundame edges. The base with the gold-lacquered signature HAKKISAI and a red-lacquered kakihan. HEIGHT 8.9 cmCondition: Good condition with minor wear, few light scratches, few tiny nicks to edges, some dents to the top of the upper case. Provenance: From the collection of Gaston Lazard (1878-1956) and his wife Jane Levy (1886-1985) and thence by descent within the same family.The motif of shishi and peony (shishi-botan) is very popular in Japan, as the shishi is seen as the king of all animals, while the peony is regarded as the king of all flowers. The pairing has its origins in a Buddhist sutra, according to which the shishi's only enemy are tiny insects living in its body, the only remedy for which are the dew drops falling from peony petals. Therefore, the shishi would sleep beneath a peony flower at night.A lacquered sake cup with a design of the Sumida River in Edo by the same artist, formerly in the Ungern-Sternberg collection, is in the Osaka City Museum of Art, no. 023.

Lot 51

A LARGE SIGNED BRONZE HIBACHI DEPICTING THE MOUNT FUJI, TAISHOJapan, Taisho period (1912-1926) The deep curving sides rising from a broad foot to an inverted rim, with two handles shaped as stylized clouds. The exterior decorated to one side with trees beneath the majestic Mount Fuji, its snow-capped summit accentuated by a silver coating, the other side with calligraphy describing the landscape. Signed to the base. Condition: Good condition with surface wear and minor casting irregularities. Provenance: Danish private collection, acquired at Bruun Rasmussen on 15 May 2023, lot 2320. Weight: 6,946 g Dimensions: Height 23 cm, mouth diameter 27 cm

Lot 528

A GROUP OF SEVEN LEATHER TABAKO-IRE SETS, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912)The first and second each embroidered with a dragon, the dragon motif is also shown on the brass kanamono (clasp), a Bakelite (in imitation of ivory) and metal dragon kagamibuta netsuke is attached by a multi-strand chain secured by a gilt metal dragon guard, the interior with three compartments, the central one closing with a clasp. The third similarly decorated, having a silver plate of the kagamibuta netsuke depicting a peony in place, missing the bowl. The fourth also with a silvered copper dragon kanamono and a multistrand chain attached to the wood and stag antler manju netsuke, which is executed in openwork with a flower head. The last three with metal kanamono depicting a horse, the famous story of Shiba Onko, and a boat respectively; the pouch with the boat clasp bearing a wood netsuke carved as a grazing horse. Condition: Good condition with traces of wear and use as well as some losses and soiling. One dragon pouch missing the clasp. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Dimensions: Length c. 12 cm to 15 cm

Lot 541

SEN'YU: A WOVEN RATTAN KISERUZUTSU WITH A BAMBOO AND SILVER KISERUBy Sen'yu, signed Sen'yu 泉友 Japan, c. 1900, Meiji period (1868-1912)Of slender muso-zutsu form, the woven rattan ground finely decorated in gold and black takamaki-e as well as aogai inlays to depict edamame bean pods borne on twisting vines further issuing leaves. A looped himotoshi ringed in gilt metal below the mouth. Signed within an oval reserve SEN'YU. The kiseru (pipe) with a bamboo rao (tube) and plain silver suikuchi (mouthpiece) and karikubi (bowl). LENGTH 20.5 cm (the kiseruzutsu) and 18.7 cm (the kiseru)Condition: Excellent condition with minor wear. Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa.

Lot 545

A SUPERB ARTIST SIGNED WOVEN RATTAN KISERUZUTSU AND A SANSUKUMI NETSUKE, MEIJIJapan, Meiji period (1868-1912) or slightly later The pipe case of muso-zutsu type, the woven ground lacquered in black, silver and gold takamaki-e with leafy vines, the lower end with a snail. The neck mount with a silvered metal loop, the reverse with the artist signature in gold lacquer on a circular, black-lacquered reserve. Together with a resin netsuke, showcasing a snake coiled atop a straw hat (kasa), underneath the hat a large frog is hiding. Natural himotoshi through an opening in the hat, the top with two further holes. Condition: Good condition with some wear, tiny nicks, and tiny losses to the lacquer. Provenance: The Strong National Museum of Play, accession number 77/039.a (lacquered to the underside of the kiseruzutsu) and 77.10995 (lacquered to the underside of the netsuke). 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 accumulation grew, Margaret planned a museum to house her collection. 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. Dimensions: Length 21.5 cm The combination of snake, frog, and snail (or slug) constitutes the sansukumi motif. Sansukumi translates to 'the three who are afraid of one another'. The three animals are in a state of mutually assured destruction: the snake will consume the frog, however the frog has already eaten a poisonous snail, so the snake must perish as well. This motif is connected to sansukumi-ken, a category of Japanese hand games played by using three hand gestures. The oldest sansukumi-ken game is mushi-ken, a game originally from China. In mushi-ken, the 'frog' represented by the thumb wins against the 'slug' represented by the pinkie finger, which, in turn defeats the 'snake' represented by the index finger, which wins against the 'frog'. Although this game was imported from China, the Japanese version differs in the animals represented. In adopting the game, the original Chinese characters for centipede or millipede were apparently confused with the characters for the 'slug'. The centipede was chosen because of the Chinese belief that the centipede could kill a snake by climbing and entering its head. One of the few surviving sansukumi-ken games is jan-ken, which was brought to the West in the 20th century as rock-paper-scissors.

Lot 546

A WOOD KISERUZUTSU OF REISHI FUNGUS AND A KISERU, EDOJapan, Edo period (1615-1868), 19th centuryThe kiseruzutsu of senryu-zutsu type, depicting a large stalk of a reishi fungus, the top with a second and smaller stalk creating an opening for the cord attachment. The fine pipe (kiseru), having silver fittings with copper and shibuichi marbling and gilding to the mouth rim, connected by an attractive bamboo segment of light color with distinct 'ghost eyes'. Condition: Very good condition with traces of wear and few tiny nicks here and there. Dimensions: Length 20 cm

Lot 553

TOSAI: A RARE STAG ANTLER YATATE DECORATED WITH MONSBy Tosai, signed Tosai 匋斎 saku 作 with two sealsJapan, Tokyo, Asakusa, late 19th centuryThe yatate comprising a fudezutsu (brush holder) and silver-fitted sumitsubo (inkwell) with hinged cover, the underside of the inkwell decorated with a finely carved chrysanthemum, the sides of the inkwell and one end of the handle decorated with various mon designs including Maru ni chigai takanoha (double hawk feather), hanabishi (diamond flower), manji (svastika), serrated leaves, and a pouch, all against a densely hatched ground, all executed in the manner of Ozaki Kokusai (1835.1892). The smoothly polished section of the handle incised with the signature TOSAI saku as well as two seals, Zuiun Ho ('The Laws of Auspicious Clouds') and Sakko ('To create the old and antiquity'). The stag antler of a fine caramel tone.LENGTH 14.8 cmCondition: Good condition, minor wear, natural imperfections including minor age cracks.With a small bead and a miniature silk pouch.This apparently unrecorded artist appears to be a rare follower of Ozaki Kokusai (1835-1892), the founder of the famous 'Asakusa school' in Tokyo.

Lot 556

A SILVER INLAID SHIBUICHI 'POMEGRANATE AND BIRDS' YATATE, MEIJIJapan, 19th century, Meiji Period (1868-1912). The yatate comprising a fudezutsu (brush holder), brush, sumitsubo (inkwell) and a small knife, the sumitsubo incised and inlaid in silver to the hinged lid with two birds perched on a branch growing pomegranates.Condition: Very good condition, minor wear, and casting flaws. Provenance: The Strong National Museum of Play, accession number 78.1503 (lacquered to the base of the inkwell). 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 accumulation grew, Margaret planned a museum to house her collection. 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.Weight: 68 gDimensions: Length 17.2 cm

Lot 62

A FINE INLAID IRON PANEL DEPICTING EGRETS AND LOTUSJapan, late 19th century, Meiji period (1868-1912)The roughly textured iron ground finely decorated in gold, silver, and bronze takazogan to depict two egrets, one flying and the other standing in a lotus pond, surrounded by giant leaves, buds, blossoms, and reeds, the pond rendered with subtly incised lines. SIZE 50 x 33.5 (the panel) and 57 x 41 cm (incl. frame)WEIGHT 3,360 gCondition: Very good condition with minor wear.With an old wood frame. Auction comparison: Compare a related inlaid iron panel signed Fukuda Michiharu zo, also dated late 19th century, Meiji period, 59 cm high, at Sotheby's, Fine Japanese Art, 14 May 2019, London, lot 168 (sold for 8,750 GBP).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

Lot 63

JUKOSHI MITSUTSUGU: AN ICONIC AND LARGE SILVER OKIMONO OF MOUNT FUJIBy Jukoshi Mitsutsugu, signed Jukoshi Mitsutsugu with gold seal MitsutsuguJapan, late 19th century, Meiji period (1868-1912)Masterfully cast and chiselled as the iconic Mount Fuji, the details naturalistically engraved, signed to the underside JUKOSHI MITSUTSUGU with gold square seal MITSUTSUGU.LENGTH 42.2 cmWEIGHT 3.4 kgCondition: Very good condition, minor wear, few scratches to underside.Mount Fuji is frequently depicted in pictorial Japanese Art, however the present okimono showing Mount Fuji in figural form must be considered extremely rare and quite possibly unique.

Lot 64

A SILVER AND GILT TAKARABUNE (TREASURE BOAT), TAISHOJapan, Taisho period (1912-1926) or slightly later The boat sailing on tumultuous waves, with a ho bird bow and decks filled with coins, rice bales, and symbols of the Gods of Good Fortune. The rudder with a silver mark ´made from silver´. On a fitted wood base. Condition: Very good condition with minor wear. Weight: 2,058 g Dimensions: Length of the base 30 cm

Lot 648

A RARE MIXED METAL MANJU NETSUKE WITH ASTROLOGICAL ZODIAC COMPASSUnsignedJapan, c. 1850, Edo period (1615-1868)Of shibuichi with a silver rim, the front worked in takazogan with rich gold depicting a scene of temple servants amongst butterflies resting by a fire. The interior reveals an old silver compass inscribed with the characters for the twelve animals of the zodiac and the four cardinal directions. Looped cord attachment to the exterior.DIAMETER 3 cmCondition: Very good condition with minor wear. A peg to the side lost.

Lot 73

KUMENO TEITARO: A FLORAL CLOISONNÉ ENAMEL VASEBy Kumeno Teitaro (1865-1939), sealed Kume Japan, Meiji period (1868-1912) The pear-shaped body supported on a spreading foot and rising to a tall waisted neck, with copper mounts, very finely decorated in silver wire and bright enamels with leafy flowers, all against a spiral design on a midnight-blue ground. Note the varying wire thicknesses of the spirals versus the flowers. The base sealed KUME. Condition: Very good condition with minor surface wear and manufacturing irregularities, such as minor scattered pitting. The metal rims with few minimal dents. Provenance: Private collection, UK. Weight: 109 g Dimensions: Height 15.5 cmKumeno Teitaro (1861-1939) gained widespread recognition for his exquisite ginbari enamels. In 1882, he established his own studio and showcased his works at numerous national and international exhibitions. Notably, he participated in exhibitions such as Nuremberg in 1885, Paris in 1889 (earning a silver medal), and Chicago in 1893. His exceptional craftsmanship quality was acknowledged with a 'grand prize' at St. Louis in 1904 and a gold medal at Liège in 1905.Auction result comparison: For another cloisonne enamel vase by the same artist see Bonhams New York, in Fine Japanese and Korean works of art on 18th March 2015, lot 3165, sold for USD 15,000.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

Lot 753

A FINE STAG ANTLER NETSUKE OF TWO OWLS PERCHED ON A PINE TREE, EDO PERIODJapan, 19th century, Edo period (1615-1868)Of irregular ovoid form and carved in openwork, one side with a pair of stylized owls perched on a gnarled pine tree branch, the owl's eyes, as well as some dew drops inlaid in silver. On the reverse side, several openings are artfully incorporated, offering various options for the himotoshi. LENGTH 5 cm Condition: Very good condition with traces of use and wear.

Lot 77

A LOT WITH TWO CLOISONNE ENAMEL VASES, MEIJIThe larger signed Ota Zo Japan, Meiji period (1868-1912)The larger of ovoid form, rising from a recessed foot to a waisted neck and flat lip, decorated in bright enamels on a turquoise ground, showing a branch and two herons in flight, with a cloud border above the foot, and a floral collar below the lip; the base signed OTA ZO (Made by Ota). The smaller of quatre-lobed baluster form, supported on a slightly splayed foot, decorated in silver wire with brightly colored enamels arranged in four panels with wisteria, iris, plum, and peony, the neck with floral collar, all against a midnight-blue ground.Condition: Good condition with minor wear, few tiny nicks, slight surface scratches, and manufacturing flaws, such as pitting. The larger with a thin hairline crack below the lip. Provenance: Estate of an Austrian collector, the collection was assembled in the 1980s - 1990s through purchases at Galerie Zacke and other specialized galleries in Vienna. The larger vase with an old Galerie Zacke label to base. Weight: 319 g (total) Dimensions: Height 8.7 cm and 14.5 cm

Lot 778

KOMA: A LARGE LACQUER MANJU NETSUKE WITH SARU MASKBy a member of the Koma school of lacquerers, signed Koma 古滿 and kakihanJapan, 19th century, Edo period (1615-1868)A large two-part manju netsuke, bearing a black-lacquered ground with sparsely sprinkled maki-e flakes, the front decorated with a fine iro-e takamaki-e saru mask, the eyes double inlaid in crystal with black pupils. The reverse shows a striking design of interlocking circles executed in gold takamaki-e. With a large silver-lined himotoshi to the back, the cord attachment to the nashiji interior.DIAMETER 4.9 cmCondition: Very good condition with minor wear to lacquer on the inside and a small loss to the interior silver-lined cord hole.Provenance: The Collection of Gloria and Joe Kurilecz, Westchester County, New York.

Lot 78

A CLOISONNÉ ENAMEL VASE WITH ORCHIDS, c. 1930sJapan, early Showa period (1926-1989)The bulbous body rising to a waisted neck, worked in gilt wire and brightly colored enamels depicting orchids, all against a pale-beige ground. The flowers and branch are skillfully rendered with a naturalistic approach, displaying a range of color gradients. With silver colored metal rims.With a wood storage box. Condition: Very good condition with minor wear. The rims with shallow surface scratches. Provenance: Dutch collection. Weight: 2732 g Dimensions: Height 24.3 cm

Lot 79

ANDO JUBEI: A FINE CLOISONNÉ ENAMEL VASE WITH IRISESWorkshop of Ando Jubei (1876-1953), signed with the Ando company mark Japan, first half of 20th century, Taisho period (1912-1926) to early Showa period (1926-1989)Of baluster shape, worked in silver wire with brightly colored enamels depicting a pair of irises with leafy branches, against the pale-celadon ground, worked with remarkable naturalism showing varying gradients of color. With silver colored metal rims, the underside of the foot rim marked with the Ando company mark.Condition: Very good condition with minor wear. The interior of the mouth with a small fault and a tiny nick. Provenance: Swedish private collection.Weight: 960 gDimensions: Height 21.5 cmAndo Jubei (1876-1953) was a cloisonné artist from Nagoya. Along with Hayashi Kodenji, he dominated Nagoya's enameling industry in the late Meiji era. Ando, Namikawa Yasuyuki, and Namikawa Sosuke are considered the three artists whose technical innovations brought in the 'Golden Age for Japanese cloisonné' in the late 19th century.

Lot 790

RYOMIN: A RARE AND FINE LACQUER NETSUKE OF JUROJINBy Ono Ryomin, signed Ryomin 陵民Japan, Edo/Tokyo, second half of 19th centuryThe lucky god seated with one hand resting on his lap, the other holding a scroll, his expression marked with joyous laughter, his long silver beard flowing downwards, wearing a finely carved gold-lacquered robe embellished with scrolling gold hiramaki-e designs, a silver-lacquered cowl draped over his head. Large, asymmetrical himotoshi through the underside, the signature RYOMIN lacquered in gold within a raised rectangular reserve. Lacquer netsuke by this artist are very rare.LENGTH 3.8 cmCondition: Very good condition, minor typical wear to lacquer.Literature comparison:Another lacquer netsuke by Ono Ryomin, depicting a saru ningyo, is illustrated in Hutt, Julia (2012) Japanese Netsuke, no. 88.

Lot 80

A LARGE CLOISONNÉ ENAMEL VASE WITH PEONIES, c. 1930sInaba Shippo workshop, signed at the storage box Japan, early Showa period (1926-1989)Of baluster shape, worked in gilt wire and brightly colored enamels depicting peonies and chrysanthemums with leaves and buds, against the pale-green ground. The leaves and flowers are worked with remarkable naturalism, showing varying gradients of color simulating the exposure to the sun. With silver rims, hallmarked at the foot rim.In a signed wood storage box, the top of the cover with an inscription describing the vase, the interior of the cover with a mark of the cloisonné company in Kyoto: INABA SHIPPO. Condition: Very good condition with some minor pitting and minimal wear. The rims with shallow scratches. Provenance: Dutch collection. Weight: 4,394 g Dimensions: Height 36 cm

Lot 807

A RARE SENTOKU BRONZE MATCHLOCK TINDER BOX LIGHTER (HIUCHI) NETSUKEUnsignedJapan, 18th-19th century, Edo period (1615-1868)Of sentoku bronze, the exterior bearing an ishime ground, the lid inlaid with copper and silver plum (ume) blossoms, a small mechanism to the side revealing the interior with iron flintlock. The exterior with a small eyelet serving as the cord attachment.LENGTH 4.5 cmWEIGHT 58.9 gCondition: Excellent condition with minor wear and casting irregularities.Museum comparison:Compare to a closely related example, formerly in the Trumpf collection, in the collection of the Linden Museum, Stuttgart, accession no. OA 19374.

Lot 808

A RARE MIXED METAL GOURD-SHAPED MINIATURE YATATE (PORTABLE WRITING SET)UnsignedJapan, 19th centuryOf sentoku bronze and applied with silver, cast as a slender gourd overgrown with leafy vines and with inlaid silver dew drops, the top with a looped step which forms the cord attachment and is removable, revealing a hollowed opening for a small brush, one of the leaves on the side serving as the lid for the ink container (sumitsubo).LENGTH 9.4 cmWEIGHT 36.8 gCondition: Excellent condition with minor wear and casting irregularities.Museum comparison:Compare to a closely related example, formerly in the Trumpf collection, in the collection of the Linden Museum, Stuttgart, accession no. OA 19378.

Lot 926

A CONTEMPORARY WOOD AND MIXED METAL KAGAMIBUTA NETSUKEJapan, 20th centuryThe mixed metal disc flush-fitted into the dark wood bowl, the disc worked in relief with a floral design, featuring copper, silver and gilt arranged in a dense pattern. The interior of the bowl finely carved with a similar floral motif. Central himotoshi to the back, the cord attachment to the back of the plate. DIAMETER 4.5 cm Condition: Very good condition with hardly any wear and a tiny nick to the edge.

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