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Lot 69
Alexej von Jawlensky, Blumen im KrugÖl über Bleistift auf leinenstrukturiertem Papier, auf Leinwand aufgezogen. 52,3 x 35 cm (53 x 36 cm). Gerahmt. Oben links blau signiert und datiert 'A. Jawlensky 14'. - In gutem farbfrischen Zustand, mit wenigen winzigen Retuschen.M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi Bd. II, Nr. 651 mit Abb. S. 56ProvenienzSelected Artists Galleries (SAG), New York (mit Etikett auf dem Keilrahmen, dort als "Verschiedene Blumen 1915" bezeichnet); Studio Ellen Forest, Roskin, Amsterdam; Willem van Leusden, Amsterdam; Mrs. Selma van Cornewal, Maarssen; Christie's London, Auktion 9. Juli 1965, Lot 93; Privatsammlung New York; Math. Lempertz’sche Kunstversteigerung 497, Köln, 1967, Lot 378; Math. Lempertz’sche Kunstversteigerung 460, Köln, 24. Nov.1972, Lot 460; Privatsammlung RheinlandJawlensky hat während seiner gesamten Schaffenszeit immer wieder Stillleben gemalt. Anfangs angeregt von Paul Cezanne, später in Orientierung an Henri Matisse, fand er um 1911/1912 farblich und kompositorisch zu seinem eigenen Stil. Meist waren es Früchte, Krüge, Statuetten und immer wieder Blumen, die er vor stark gemusterten Wandbehängen arrangierte und mit leuchtenden, von schwarzen Konturen eingefassten Farben malte. Bei den vorliegenden „Blumen im Krug“ verzichtete er auf die Umrisslinien und trug die Farben – seinen „Variationen“ vergleichbar – dünnflüssig und mit breitem Pinsel flockig und weich auf. Die Farben Rot, Violett, Gelb, Blau und Grün umschreiben nur summarisch die Blüten und die bauchige Vase. In den äußeren Bereichen verschwimmen die Grenzen zwischen Blumen und Hintergrund, so dass einzelne Partien bei näherem Hinsehen abstrakt erscheinen. Zur Bedeutung der Blumenstillleben sind Jawlenskys Lebenserinnerungen hilfreich, in denen er gegen Ende seines Schaffens schrieb: „Als ich etwas Erleichterung in meinen Händen fühlte, malte ich gleich große Bilder, nur Stillleben, meistens Blumen. Sie sind sehr schön in den Farben und haben großen Erfolg bei den Menschen.“ (zit. nach: Ausst. Kat. München/Baden-Baden 1983, S. 332).Die heiteren Farben des Blumenstilllebens lassen auf eine friedlich-ruhige Zeit im Leben Jawlenskys schließen. Doch das täuscht – gemeinsam mit Helene Nesnakomoff, der Mutter seines inzwischen zwölf Jahre alten Sohnes, und Marianne von Werefkin musste er nach Ausbruch des Ersten Weltkriegs 1914 als russischer Staatsbürger Deutschland binnen 48 Stunden verlassen.
Lot 74
Anton Räderscheidt, La letteraÖl auf Holz. 50 x 39,7 cm. Gerahmt. Unten links schwarz signiert 'Anton Räderscheidt'. - In guter, farbfrischer Erhaltung. Spuren einer späteren Restaurierung und im Bereich des Schmetterlings leichtes Craquelé.Im Kasimir Hagen-Archiv wurde das Bild mit der Nummer KH1356 geführt.ProvenienzRichmod-Galerie Casimir Hagen, Köln (mit Etikett auf der Rückseite); Privatsammlung KölnAusstellungenBielefeld 1990/91 (Kunsthalle Bielefeld), Neue Sachlichkeit - Magischer Realismus, Kat. Nr. 120; Köln 1993 (Josef-Haubrich-Kunsthalle), Anton Räderscheidt 1892 - 1970. Retrospektive, S. 62; Heilbronn 2012 (Städtische Museen Heilbronn, Kunsthalle Vogelmann), Aufbruch Realismus. Die neue Wirklichkeit im Bild nach '68, S. 38LiteraturWerner Schäfke, Michael Euler-Schmidt (Hg.), Anton Räderscheidt, Köln 1993, Kat. Nr. 11 mit Farbabb. S. 62Um 1920 setzte im Schaffen des Kölner Malers Anton Räderscheidt die Stilllebenmalerei ein – das zweite wichtige Bildthema neben Porträts, beziehungsweise Bildern von Paaren. Das zum Aufruf kommende Stillleben „La Lettera“, „der Brief“, gehört zu den frühesten Werken einer mehrteiligen Serie von Tulpenstillleben aus den frühen 1920er Jahren. Das der Neuen Sachlichkeit zugehörende Bild gewinnt seinen Reiz durch eine edle, zurückhaltende Farbgebung und eine ausgewogene Komposition. Vor braunem, im oberen Drittel schwarzem Hintergrund trug Räderscheidt die drei Bildmotive, die Vase, das Blatt Papier und den Schmetterling, behutsam, beinahe schwebend auf. Während die schlichte Glasvase mit zwei weißen Tulpen die rechte Bildhälfte einnimmt, liegt links ein weißes Stück Papier, auf das sich ein gelblich schimmernder Schmetterling niedergelassen hat. Im Sinne der Neuen Sachlichkeit sind alle Motive mit höchster Präzision wiedergegeben. Ebenso durchdacht ist die Farbgebung: So finden sich auf dem Stillleben nicht nur drei verschiedene Nuancen von Grün, sondern auch eine erstaunliche Bandbreite an Weißtönen, das ins Gräuliche tendierende Weiß der Tulpen, das harte Weiß des Papiers und die zart weiß-gelbe Färbung der Schmetterlingsflügel. Kompositorisch lassen sich verschiedene Diagonalen ausmachen, die alle nur das eine Ziel haben – die Betonung des Hauptmotivs. Bei aller Präzision der Darstellung bleibt es nicht bei einer vordergründigen Präsentation zweier Tulpen: Das Stück Papier dürfte im Sinne des Bildtitels „La Lettera“ vielleicht als Liebesbrief zu interpretieren sein und der Schmetterling, seit alters her ein Symbol vergänglicher Schönheit und Unsterblichkeit, als Zeichen der jungen Ehe Räderscheidts mit der Künstlerin Marta Hegemann. Das Gemälde stammt aus der renommierten Kölner Sammlung von Kasimir Hagen (1887 – 1967). Hagen leitete seit 1926 die in der gleichnamigen Straße gelegene Richmod-Galerie, in der er vor allem die jungen rheinischen Künstler förderte. Ein besonders enges künstlerisches Verhältnis verband ihn mit Räderscheidt, von dessen Hand er über 50 Werke, den größten privaten Bestand, besaß. Zum Dank fertigte Räderscheidt 1954 ein Porträt seines Galeristen und Sammlers an.
Lot 98
Niki de Saint Phalle, L'Ange VasePolyester-Harz, Lack und Keramik, farbig gefasst, auf Metallplinthe. Gesamthöhe ca. 100 cm. Auf Metallplakette mit Signaturstempel "Niki de Saint Phalle" und nummeriert. Exemplar 24/50. Diese Skulptur wurde in drei Farbvarianten in einer Auflage von jeweils 50 Exemplaren plus 10 Künstlerexemplaren herausgegeben. Edition Gérard Haligon, Mandres-les-Roses (mit Prägestempel). - Mit leichten Altersspuren.ProvenienzFischerplatz Galerie, Ulm; Privatbesitz, BayernAusstellungenUlm 1999 (Museum), Ludwigshafen 2000 (Wilhelm-Hack-Museum), Niki de Saint Phalle, Liebe, Protest, Phantasie, Ausst.Kat., S.55 mit Farbabb. (anderes Exemplar)
Lot 99
Niki de Saint Phalle, Vase ChienPolyester-Harz, Eisen, farbig gefasst und emailliertes Steingut. 48 x 72 x 20 cm. Auf Metallplakette mit Signaturstempel "Niki de Saint Phalle" und nummeriert. Exemplar 26/50. Edition Gérard Haligon, Mandres-les-Roses (mit Prägestempel). - Mit leichten Altersspuren.ProvenienzPrivatsammlung, Rheinland
Lot 5095
Mid 18th century Chelsea plate with gold anchor mark beneath, decorated with green floral sprays upon plain ground, the moulded cavetto shaped border with gilt rim, (A/F), D22cm, together with early 20th century Adams Tunstall Tokio pearlware slop bowl, Spode plate decorated in the Imari type pallette, with impressed and printed marks beneath, 19th century Indian Tree pattern breakfast cup and saucer, small polychrome enamelled vase and cover in the style of Samson of Paris, with marks beneath, and a pastille burner
Lot 5134
Collection of studio pottery, to include slip ware by James Brooke for Appleton-Le-Moors Pottery, York, round butter dish and three mugs all with trailed design of crossed ears of wheat, Pendeen Pottery mottled blue and ochre mug, Jersey Pottery egg plate, two Aller Pottery lidded twin handled jars and circular dish, and unmarked jar and vase (10)
Lot 5150
Large quantity of Victorian and later ceramics to include Wedgwood Jasperware box, Royal Doulton Southern Belle, Goebel figure, pair of late 19th/early 20th century Eichwald figural pipe racks, modelled in the form of gentlemen with horses (a/f), Capodimonte style tramp figure, other figures, Denby green stoneware vase, miniatures, Royal Worcester, Country Artists, vases, lamp, jardinieres, etc in three boxes and Heavy marble effect alabaster table lamp in the form of an Ionic column, with fabric shade, overall H89cm (a/f)
Lot 5152
Two Royal Albert Old Country Roses pattern teacup trios, Royal Doulton Neptune miniature jug D6555, Crown Devon Fieldings John Peel musical tankard, three Disney Cartoon Classics plates, Warner Bros Bug Bunny plate, other ceramics and tea wares to include Roslyn Whispering Grass, Keele St Pottery Co, lidded oriental vase of ovoid form decorated with birds upon blossoming branches, wash set decorated with flowers to include chamber pot and bowl etc in four boxes
Lot 5160
Quantity of ceramics to include Beswick Beatrix Potter Squirrel Nutkin figure, Wedgwood Jasperware, Mason's Ironstone, Delft style vase and planter, pair Wedgwood Nanette plates, Royal Worcester Evesham Vale tea wares, Portmeirion, Royal Doulton, large Italian Deruta style jug, Pair of concrete wall planters in the form of a medieval King and Queen, painted white, L28cm etc
Lot 5166
Late 19th century Wiltshaw & Robinson, early Carlton Ware teapot, decorated in relief with Grecian figures on pink ground, registration number 289951, H16cm, together with a Coalport cornucopia vase, both with printed marks beneath, Spode Italian pattern bowl, with blue print beneath, together with a Spode Blue Tower pattern cake plate, and other blue and white wares to include Wedgwood, Burleighware,Late 20th century Japanese figure of a sage, partially glazed, modelled sitting cross-legged pointing to a tablet laid in his palm, his head with long hair and horns and his blue robe with leaves in greens, blues and grey, with pierced circular display stand, together with pair of Japanese satsuma vases, tallest H16cm
Lot 90
ISHIDA KAZUMASA: A FINE BRONZE 'TOAD AND HYOTAN' VASEBy Ishida Kazumasa (Issei), signed KazumasaJapan, Meiji period (1868-1912)Finely cast as a toad struggling to hold up a large double gourd, the frog's skin naturalistically modeled, its eyes of gilt with shakudo pupils, the dark bronze patination of the frog providing an appealing contrast to the lighter bronze patina of the gourd. Signed in a recessed reserve KAZUMASA.HEIGHT 28.8 cm WEIGHT 2,688 gCondition: Very good condition, minor wear, light surface scratches, small casting flaws.Ishida Kazumasa (Issei), given name Seiji, studied metal art in Takaoka, Toyama Prefecture. In the mid-Meiji Period, he went to Tokyo (Shimogaya district, Kamigyo, Tokyo) and worked in the metal art industry as a member of the Tokyo Chukin Kai (Tokyo Cast Metal Association). Ishida Kazumasa belongs to the Otake Norukuni line of metal crafting in Tokyo.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Lot 76
A FINE INLAID BRONZE VASE WITH QUAIL AND AUTUMN GRASSESJapan, Meiji period (1868-1912)The baluster body supported on a spreading foot and rising to a waisted neck with a broad everted rim, the sides finely decorated in iro-e takazogan to depict a quail perched on the subtly incised ground amid autumn grasses and leaves.HEIGHT 18 cmWEIGHT 700 gCondition: Good condition with minor wear, minuscule nicks, and light surface scratches. Provenance: Austrian private collection.
Lot 118
YABU TSUNEO: A FINE AND RARE MINIATURE SATSUMA VASE DEPICTING HYAKKI YAGYO ('NIGHT PARADE OF ONE HUNDRED DEMONS')By Yabu Tsuneo (active after 1926), signed MeizanJapan, c. 1930The pear-shaped body supported on a slightly spreading foot and rising to a waisted neck and garlic-head mouth with short lipped rim, the neck flanked by two cloud-form handles, the exterior exquisitely enameled with a procession of oni and yokai, including a three-eyed bakemono with a small pet, an Okame-like demon riding a boar, and a toad holding a tall staff. The base with the finely gilt signature MEIZAN. HEIGHT 12 cmCondition: Good condition, little rubbing to gilt. One of the handles restored.Provenance: British private collection.Hyakki Yagyo ('Night Parade of One Hundred Demons'), also transliterated Hyakki Yako, is an idiom in Japanese folklore. Sometimes an orderly procession, other times a riot, it refers to a parade of thousands of supernatural creatures known as oni and yōkai that march through the streets of Japan at night. Kawanabe Kyosai (1831-1889), also known as 'The Demon of Painting' and a contemporary of Yabu Meizan, composed a book of paintings depicting a series of such demonic parades near the end of his life, which was first published after the artist's death in 1889. Meizan was clearly familiar with this work and decided to recreate it for one of his pieces, heightening Kyosai's designs with his painting and gilding techniques.Yabu Tsuneo was the son of Yabu Meizan (1853-1934). He worked in the style of his father after his retirement in 1926. Like his father, his designs were quirky and often inspired by the work of Kawanabe Kyosai (1831-1889).Auction comparison: Compare a related miniature Satsuma vase by Yabu Meizan, depicting a humorous procession of monkeys, 11.2 cm high, at Bonhams, Fine Japanese and Korean Art, 15 March 2017, New York, lot 6241 (sold for 12,500 USD).
Lot 121
TOKUDA YASOKICHI III: A FINE KUTANI GLAZED PORCELAIN VASEBy Tokuda Yasokichi III (1933-2009), signed Kutani MasahikoJapan, late 20th century, Showa period (1926-1989)The globular body supported on a short broad foot and rising to a slender cylindrical stem-form neck, covered overall in a rich, lustrous, finely crackled, blue-green streaked glaze, save for the white foot and base signed KUTANI MASAHIKO below an impressed foliate design.HEIGHT 25.5 cmCondition: Excellent condition.Provenance: Dutch collection.Tokuda Yasokichi III was designated a Bearer of Important Intangible Cultural Assets (a "Living National Treasure") in 1997 for his mastery of the innovative saiyu glaze technique, based on traditional Kutani colored glaze enamels as handed down from his grandfather and father, Tokuda Yasokichi I (1873–1956) and Tokuda Yasokichi II (1907–1997). Before he succeeded his father in 1988 as Tokuda Yasokichi III, the artist was known as Tokuda Masahiko.Literature comparison: Compare a related spherical vase by the same artist in the collection of the Metropolitan Museum of Art, accession number 2001.734. Compare a related vase by the same artist in the Minneapolis Institute of Art, accession number 2015.79.372.Auction comparison:Compare a related vase by the same artist, 27.7 cm high, at Bonhams, Fine Japanese and Korean Art, 12 September 2018, New York, lot 1279 (sold for 4,750 USD). Another closely related vase by the same artist was sold at Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 75 (sold for 5,688 EUR).
Lot 62
OTSUEI FOR THE NOGAWA COMPANY: A MASTERFUL INLAID BRONZE VASE DEPICTING A SPIDER HANGING FROM A PLUM BRANCHBy Otsuei for the Nogawa Company, with company mark and signed Otsuei with kakihanJapan, Meiji period (1868-1912) The tall slender body rising to a waisted neck with everted lipped rim, the sides finely decorated in iro-e takazogan with a masterful gold spider hanging by a single thread from its irregularly constructed web around a thin prunus branch bearing leaves with serrated edges, slowly opening buds, and a single blossom, the base with the Nogawa Company mark, the reverse signed OTSUEI with a kakihan.HEIGHT 36 cm WEIGHT 2,684 g Condition: Excellent condition with minor wear.Founded in Kyoto in 1825, during the Meiji era the Nogawa Company developed into a commissioning house that showed at major international expositions between 1893 and 1910 as well as at the Naikoku Kangyo Hakurankai (Domestic Industrial Promotion Exhibitions) in 1881 and 1890. The company had a popular store which was on the "must-see" list for international globetrotters, as well as showrooms in the Kyoto and Miyako Hotels.Auction comparison: Compare a related bronze vase, signed Otsuno with kakihan and with Nogawa Company mark, 32 cm high, also depicting a spider hanging from its web, at Christie's, 18 May 2012, London, lot 151 (sold for 27,500 GBP).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Lot 68
TAMAGAWA MITSUKIYO FOR THE KAKUHA COMPANY: A SUPERB SILVER AND GOLD-INLAID BRONZE USUBATA VASEBy Tamagawa Mitsukiyo for the Kakuha company, signed Dai-Nihon Etchu-koku, Kakuha sei, MitsukiyoJapan, c. 1880, Meiji period (1868-1912) The ovoid body flanked by two openworked handles depicting ho-o birds at flight amid scrolling clouds and decorated in gold, silver, copper, and shakudo takazogan within shaped panels depicting to one side a samurai carrying a noble lady on his shoulder amid pine and bamboo with finely incised crashing waves in the background, and to the other the hero Saginoike Heikuro fighting a giant python with neatly incised scales atop a craggy rock amid crashing waves and a waterfall. The separately cast trumpet mouth with a galleried rim inlaid in silver wire with a geometric and a foliate band, the base of the mouth with silver-inlaid leafy floral blossoms, the interior with katakiri and kebori as well as gold and copper takazogan to depict a ho-o bird beside a leafy branch and a kirin amid swirling clouds, the exterior similarly decorated with birds and butterflies amid leafy branches and peony. The separately cast, elaborately openworked, tiered stand is intricately decorated with gold and silver inlay, both flat and in high relief, as well as katakiri and kebori, depicting beast masks, birds in flight, blooming chrysanthemums, leafy bamboo, and implements for the shell-matching game (kai-awase), and further with geometric and foliate designs. HEIGHT 59 cm WEIGHT 13.9 kgCondition: Excellent condition with minor wear. Provenance: British collection. Kakuha Kanzaemon I, 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 the export trade of bronze ware and also acted as a retailer for foreign clients in Japan. Based on Chinese bronze forms but with exaggeratedly wide rims, usubata were first cast in Japan in the seventeenth century for formal flower arrangements; then, during the early Meiji era, elaborate multi-part usubata became one of the favored forms of bronze destined for international exhibitions and the global export market. Museum comparison:The artist Tamagawa Mitsukiyo appears to be rare, his output focused on producing exceptionally fine usubata. A single usubata is preserved in the Takaoka City Museum of Art and a pair of Usubata are located in the Portland Museum of Art, accession no. 2000.64A,B.Auction comparison: Compare a pair of related usubata vases by Tamagawa Mitsukiyo, dated Meiji period, circa 1880, each 48 cm high, at Bonhams, Fine Japanese Art, 7 November 2019, lot 219 (bought-in at an estimate of 25,000-30,000 GBP).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Lot 64
MIYAO: A SUPERB AND IMPRESSIVE PARCEL-GILT CENSER DEPICTING WATANABE NO TSUNA FIGHTING THE ONI IBARAKIBy Miyao Eisuke of Yokohoma, signed Miyao zo Japan, late 19th century, Meiji period (1868-1912) Heavily cast as the Rashomon Gate, the cylindrical vessel with elaborate stylized demon masks and shaped panels enclosing leafy peony sprays against a wood-grain ground, a smaller cylindrical pole beside the vase is similarly decorated with panels showing inome (boar's eye) elements and surmounted by the fierce oni with finely incised curled hair, two gold horns, and a floral garment, the demon being pulled down by the great samurai in the process of drawing his trusty sword. The censer fitted with a metal inset. The reverse of the vase signed in a gold-inlaid rectangular reserve MIYAO zo. HEIGHT 57 cm WEIGHT 18.1 kg Condition: Very good condition with some wear, the sword blade lost. Presents beautifully.Provenance: From a Swedish private collection.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.According to legend, in the late 10th century of Heian Period Japan, Ibaraki-doji, a notorious oni, resided at Rashomon Gate in Kyoto. Ibaraki-doji harassed people who tried to pass through the gate until a heroic samurai named Watanabe no Tsuna, a loyal retainer of Minamoto no Raiko, went to subdue the creature. When Tsuna arrived at Rashomon Gate he was attacked by Ibaraki-doji. However, Tsuna was a strong and valiant swordsman who was able to defend himself against the ferocious attack. The battle raged on until Tsuna drew his katana and severed the arm of the demon. Screaming in pain, Ibaraki-doji ran away from Tsuna, leaving the severed arm behind. Tsuna swept up Ibaraki-doji's arm as a trophy. When he arrived home at his mansion, he wrapped up the severed arm and locked it away in a chest. A few days later, an elderly woman claiming to be Tsuna's aunt, Mashiba, came to visit him. During the conversation, the aunt asked her nephew to recount how he fought with the oni, and when Tsuna mentioned that he had the severed arm in his possession, his aunt was curious and asked to see it. The unsuspecting Tsuna brought out the chest with Ibaraki-doji's arm inside and when he removed the arm, his aunt revealed herself as being Ibaraki-doji in disguise. She grabbed the arm and escaped from Tsuna's mansion. Tsuna was astonished that Ibaraki-doji had posed as his elderly aunt and did not give chase. However, even after retrieving the arm, Ibaraki-doji never returned to dwell at Rashomon Gate again.Auction comparison:Compare a related bronze by the workshop of Miyao Eisuke, 67.3 cm high, at Christie's, 24 June 2014, New York, lot 28 (sold for 37,500 USD).
Lot 111
ANDO: A CLOISONNÉ ENAMEL VASE DEPICTING PHEASANTS AND CHRYSANTHEMUMSBy the Ando company, signed with the Ando company markJapan, Nagoya, early 20th century, Meiji (1868-1912) to Taisho period (1912-1926)The broad baluster body supported on a short spreading foot and rising to a waisted neck with flared rim, the sides finely decorated in bright enamels with two pheasants on a rocky outcrop, a stream running between them, amid large leafy chrysanthemums, daisies, and other flowers, all against a deep-blue ground, with floral diapered bands below the rim and above the foot. The rims of silver, the foot rim with a two-character mark 'jungin' (pure silver), and the base with the Ando company mark.HEIGHT 24.2 cm (excl. stand)WEIGHT 1,100 g (excl. stand)Condition: Excellent condition with minor wear and minimal manufacturing irregularities. Provenance: From the collection of Vice-Admiral Reginald Vesey Holt, CB, DSO, MVO, and thence by descent. The vase was gifted to Vice-Admiral Holt by Admiral Koshiro Oikawa, the Japanese Naval Minister during World War II, as commemorated by the silver plaque on the wood stand. The wood stand further with remnants of an original Ando company label to the base. Koshiro Oikawa (1883-1958) was an admiral in the Imperial Japanese Navy and Naval Minister during World War II. Oikawa was appointed as Minister of the Navy in the second and third cabinets of Prime Minister Fumimaro Konoe between 5 September 1940 and 18 October 1941. While Navy Minister, he strove to maintain ties with the United States, and instructed his naval attachés in Washington DC to work together with the Japanese ambassador to prevent war from breaking out. He continued to serve as Naval Councilor until near the end of World War II and was Chief of the Navy General Staff in late 1944 but resigned in May 1945. Vice-Admiral Reginald Vesey Holt, CB, DSO, MVO, (1884-1957) was an officer in the Royal Navy. He commanded a considerable number of destroyers and torpedo craft during World War I. Holt was promoted to the rank of Vice-Admiral on 15 December, 1939. He was placed on the Retired List at his own request on 4 May, 1940.With a finely carved and openworked wood stand, fitted with a silver commemorative plaque inscribed, 'Vice-Admiral R.B. [sic] Holt. January 1940. From K. Oikawa, Admiral I. J. Navy', and incised with a symbol of an anchor and prunus blossom.Auction comparison: Compare a closely related cloisonné vase by the Ando workshop, dated Taisho period (1912-1926), 30.8 cm high, at Bonhams, Fine Japanese and Korean Works of Art, 18 March 2015, New York, lot 3166 (sold for 3,250 USD).
Lot 70
A MASTERFUL PARCEL-GILT BRONZE VASE DEPICTING A TREE TRUNK WITH AUTUMN LEAVESJapan, late 19th century, Meiji period (1868-1912)Superbly cast as a gnarled and knotted tree trunk bearing thin branches issuing maple leaves, exquisitely patinated and gilt to convey the turning of the leaves, which are further detailed with neatly incised veins and finely serrated edges, the stump masterfully finished with a strikingly naturalistic texture, the straight rim incised with growth rings.HEIGHT 35.8 cmWEIGHT 4,844 gCondition: Excellent condition with minor wear.Provenance: From a Belgian private collection, assembled between 1950 and 1990.The present vase, impressively cast in a minimalist yet naturalistic manner, was clearly made by an extremely talented metalworker. The masterful use of patination and the superb texture of the bronze style make an attribution to the workshop of Miyao Eisuke reasonable.Auction comparison:Compare a related pair of bronze figural vases by Miyao Eisuke at Sotheby's, 15 December 2011, Paris, lot 337 (bought-in at an estimate of 20,000-30,000 EUR).
Lot 119
KINKOZAN: A RARE SATSUMA CERAMIC HU-FORM VASE WITH MAPLE AND SPARROWSBy the Kinkozan company, signed and sealed Kinkozan zoJapan, Kyoto, Meiji period (1868-1912)The vase of Chinese Hu-shape rising from a short straight foot to a long neck with straight rim, comprising four sides that are finely painted in polychrome enamels and with gilt depicting an autumnal scene with four sparrows in flight amid branches of maple, all above a cream craquelure glaze. The rim in gilt with a band of key-fret. The recessed base with the gilt signature KINKOZAN zo and with an impressed seal KINKOZAN zo.HEIGHT 18.8 cmCondition: Very good condition, minor wear, mostly to the gilt, and manufacturing flaws.Provenance: British trade.The design is quite unusual for the Kinkozan company and is much more reminiscent of the work of Yabvu Meizan (1853-1935)Auction comparison:For a closely related satsuma vase with maple design, by Yabu Meizan, see Bonhams, Fine Japanese and Korean Art, 24 September 2020, New York, lot 896 (sold for 3,187 USD).
Lot 63
A PAIR OF SUPERB GOLD-INLAID BRONZE 'MYTHICAL BEASTS' KORO (INCENSE BURNERS) AND COVERSJapan, 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 present koro depicts three of the most iconic Japanese mythical creatures. Dragons are hugely significant in Asian culture. Known as the Ryu or Tatsu in Japan, they are closely related to the Chinese Long and Korean Yong. The Japanese dragons rarely fly and usually reside in or near the sea and other bodies of water. Japanese dragons have positive symbolism. They are good and represent wisdom and generosity, and they are portrayed as using their powers to help mankind. The baku is a mythical Japanese chimeric creature which loosely resembles an elephant; it is said they eat nightmares and protect from pestilence and evil. The kirin (Qilin in Chinese) is a mythical chimerical creature common in artworks and legends across most of East Asia, it is believed to have originated in China around the 5th century BC. The Japanese kirin resembles a deer with long slender legs and horns; it is said that they are peaceful creatures with great power, they are able to walk on grass without disturbing a single blade, and they only appear at times when there is peace in the world. When the giraffe was first brought to Japan it greatly resembled the kirin and so the Japanese word for giraffe is kirin.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
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653833 item(s)/page