Meissen Prunkservice-Teile7-tlg., Meissen, 2. Hälfte 20. Jh., weißes Porzellan, polychrom bemalt, gold staffiert, 1 kleine Vase in kobaltblau, H 10 cm, 2 Kuchenteller mit Goldbronze und gelbem Rand in der Fahne, Ø 20 cm, 4 Teile in weiß mit Streublümchen, Tasse und UT, H 9 cm, Kuchenteller und Zuckerdose, H 8,5 cm, jeweils unterseitig mit Manufaktur- und Malermarke sowie Modellnummer, 2 Teller mit 2 Schleifstrichen, Zustand A/BMeissen splendor service parts7-piece set, Meissen, 2nd half of 20th c., white porcelain, polychrome painted, gold painted, 1 small vase in cobalt blue, h 10 cm, 2 cake plates with gold bronze and yellow rim in the flag, Ø 20 cm, 4 pieces in white with scattered flowers, cup and UT, h 9 cm, cake plate and sugar bowl, h 8,5 cm, each with manufactory and painter's mark and model number on the bottom, 2 plates with 2 grinding marks, condition A/B
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Meissen Kaffee- und Speiseservice 'Zwiebelmuster'78-tlg., Meissen, 1970er Jahre, Porzellan, weiß, unterglasurblaue Malerei, 1 Kaffeekanne, H 24 cm, 1 Mokkakanne, H 16,5 cm, 2 Zuckerdosen, H 7 cm und 8 cm, 1 Milchkännchen, 8 Kaffeetassen und 8 UT, 8 Mokkatassen und 8 UT, 1 runde Kuchenplatte, Ø 28 cm, 1 längliche Kuchenpatte, L 29,5 cm, 1 Tafelaufsatz mit Durchbruchrand (Knaufzeit), H 21 cm, 1 Gebäckteller mit Durchbruchrand, Ø 20 cm, 1 Vase, H 17 cm, 1 Kerzenhalter, Ø 12,5 cm, 1 Salzstreuer, 8 Vorspeiseteller, Ø 20 cm, 8 tiefe Teller, Ø 22,5 cm, 8 Speiseteller, Ø 25,5 cm, 3 Schälchen in Blattform, 1 Sauciere, 1 Butterdeckeldose, 1 ovale Vorlegeschale, L 42 cm, 2 Vorlegeschüsseln, 22 cm x 22 cm, 2 Frühstücksbrettchen, L 20,5 cm, alle unterseitig mit Manufakturmarke, Malermarke, Jahreszeichen, Bossierer- und Modellnummer, 12 Teile mit 2 Schleifstrichen, Zustand B/CMeissen coffee and dinner service 'Onion Pattern'78-pc, Meissen, 1970s, porcelain, white, underglaze blue painting, 1 coffee pot, h 24 cm, 1 mocha pot, h 16,5 cm, 2 sugar bowls, h 7 cm and 8 cm, 1 milk jug, 8 coffee cups and 8 UT, 8 mocha cups and 8 UT, 1 round cake plate, Ø 28 cm, 1 oblong cake plate, L 29,5 cm, 1 centerpiece with breakthrough rim (knob time), H 21 cm, 1 pastry plate with breakthrough rim, Ø 20 cm, 1 vase, H 17 cm, 1 candlestick, Ø 12,5 cm, 1 salt shaker, 8 hors d'oeuvre plates, Ø 20 cm, 8 deep plates, Ø 22,5 cm, 8 dinner plates, Ø 25,5 cm, 3 bowls in leaf shape, 1 sauce boat, 1 butter cover box, 1 oval serving dish, L 42 cm, 2 serving bowls, 22 cm x 22 cm, 2 breakfast boards, l 20,5 cm, all with maker's mark, painter's mark, year mark, embosser's and model number on underside, 12 pieces with 2 grinding marks, condition B/C
Englische Standuhr mit IntarsienEngland, ca. 1850, Westminster- und Whittington-Schlag, Stundenschlag auf Gong, Stundenschlag auf Gongstäben, Viertel-Stundenschlag auf Gong oder Glocken, 8-Tagewerk, 3-Gewichter, Sekundenindikation, Gehäuse Massivholz, furniert, mit Intarsien und Messingdetails, Uhrwerk Messing, Zifferblatt Messing und Edelstahl, Stundenzahlen römisch, Sekundenzahlen arabisch, Kopf mit verglaster Tür, abnehmbar, kannelierte Halbsäulen und Zapfenbekrönung Messing, eintüriger Pendelkasten mit Vasen- und Schleifenintarsien, 237,5 cm x 56,5 cm x 34,5 cm, gangbar, Werk reinigungsbedürftig, Pendelzug zu weit hochgezogen, mit Alters- und Gebrauchsspuren, Furnierschäden und BestoßungenEnglish grandfather clock with inlaysEngland, ca. 1850, Westminster and Whittington strike, hour strike on gong, hour strike on gong sticks, quarter hour strike on gong or bells, 8-day movement, 3-coasters, seconds indication, case solid wood, veneered, with inlays and brass details, movement brass, dial brass and stainless steel, hour numerals Roman, seconds numerals Arabic, head with glazed door, removable, fluted half columns and cone crowning brass, single door pendulum case with vase and bow inlays, 237,5 cm x 56,5 cm x 34,5 cm, gangable, movement in need of cleaning, pendulum train raised too far, with signs of age and wear, veneer damage and bumping
Wiener Empire-Portaluhr mit JacquemartÖsterreich, um 1800-1820, dreifach verspiegeltes, architektonisches Holzgehäuse, furniert, mit Messingapplikationen, Alabastersäulen und Vasendekoration, kulissenartiges Unterteil mit verspiegelter Rückwand, eintüriges, guillochiertes Messingzifferblatt mit Weintraubenrelief und Jacquemart, weißer Emaillekranz mit schwarzen, arabischen Ziffern, Adleraufsatz, Tageswerk, Viertelstundenschlag auf Gong, Fadenaufhängung, 63,5 cm x 40 cm x 15 cm, 1 Regulierschlüssel und 1 Aufziehschlüssel anbei, jedoch nicht original, gangbar, Spiegel neueren Datums, eine Alabastersäule gebrochen, anbei, mit AltersspurenViennese Empire portal clock with JacquemartAustria, c. 1800-1820, triple-mirrored, architectural wooden case, veneered, with brass applications, alabaster columns and vase decoration, backdrop-like base with mirrored back, single-door, guilloché brass dial with grape relief and Jacquemart, white enamel wreath with black arabic numerals, eagle attachment, day movement, quarter hour strike on gong, thread suspension, 63,5 cm x 40 cm x 15 cm, 1 regulating key and 1 winding key attached, but not original, operable, mirror of recent date, one alabaster column broken, enclosed, with traces of age
Konvolut von Porzellanteilen, 1x Meissen Vase in Kraterform, Blumenb., 1. Wahl, H. ca.16,5 cm, 1x Vase Meissen rote Rose (Chip am Stand), H. ca. 14 cm, 1x Vase Höchst, Kraterform, Dekor gelbe Rose, H ca. 16,5, Deckeldose Höchst, Dm. ca. 10 cm Dekor in Purpur, 1x Vase Rosenthal Maria Weiss, H. ca. 10,5 cm.
Robert Mapplethorpe, Parrot Tulip in Black VaseGelatinesilberabzug. 25,1 x 25,3 cm (35,3 x 27,8 cm). Im unteren Bildrand mit Tinte rechts signiert und datiert, links mit persönlicher Widmung. - Unter Passepartout und Glas gerahmt.ProvenienzGalerie Stefan Röpke, Köln; Sammlung Rosemarie Trockel und Curtis Anderson, Köln; Privatsammlung, Nordrhein-WestfalenLiteraturJanet Kardon, Robert Mapplethorpe. The Perfect Moment, Philadelphia/PA 1988, S. 91 mit Abb.; Richard Marshall, Robert Mapplethorpe, Ausst.kat. Whitney Museum of American Art, New York, London 1988, S. 133 mit Abb.; Marc Holborn/Dimitri Levas (Hg.), Robert Mapplethorpe. Flora. The Complete Flowers, London 2016, S. 161 mit Abb.
A LARGE BRONZE VASE IN THE FORM OF A PRUNUS TREE WITH FIVE BATSJapan, Meiji period (1868-1912)Naturalistically cast and carved in high relief as a prunus stump with two pruned branches and another rising along the side with several prunus buds. Five separately cast bats encircle the stump, their wings brushing the finely detailed bark of the prunus tree.HEIGHT 35 cmWEIGHT 3,537 gCondition: Good condition with minor casting flaws, small cracks likely inherent to manufacturing, and the base lost.
OSHIMA JOUN: A BRONZE VASE DEPICTING MONKEYSBy Oshima Joun (1858-1940), sealed JounJapan, Meiji period (1868-1912) Of elongated bulbous form, the slender body tapering towards the rounded shoulder and short waisted neck with a flat everted rim, the body finely cast in relief with a group of monkeys on a gnarled barren tree growing from craggy rockwork with leafy vines twisting around the thin branches. Two young are hanging on to their mother's long arm, the lower of which attempts to reach for the reflected crescent moon in the subtly carved water below, a third is clambering over her back, and the fourth has the back turned to the others, the monkeys with small inlaid copper eyes, one of the young with gilt eyes. Sealed to the underside within an oval reserve JOUN.HEIGHT 23.3 cmWEIGHT 617 gCondition: Very good condition with minor surface wear and few light scratches to the foot, some areas of oxidation to surface. Fine, naturally grown patina. The present vase alludes to a Buddhist story in which a monkey attempts to seize the reflection of a moon in a well; it fails when the branch from which it is hanging breaks. The monkey stands for unenlightened people who cannot distinguish between reality and illusion.Oshima Joun (1858-1940) was a professor at Tokyo School of Art from 1887 until 1932 and is regarded as one of the most celebrated bronze-casters of the late nineteenth and early twentieth centuries. He exhibited at several of the great international expositions of the era, including Paris (1900), St. Louis (1904) and London (1910).Auction comparison:Compare a closely related bronze vase of different form with a very similar design by the same artist, 29 cm high, at Bonhams, Fine Japanese Art, 12 May 2016, London, lot 523 (sold for 3,750 GBP).
OSHIMA JOUN (1858-1940): A FINE BRONZE VASE WITH A DRAGONBy Oshima Joun (1858-1940), signed Ichijoken Joun saku and sealed Taishodo seiJapan, Taisho period (1912-1926)The tall cylindrical body rising from a flat foot ring, decorated in high relief with a dragon emerging from a turbulent sea and flying towards the clouds in the distant sky. Signed to the back ICHIJOKEN JOUN saku [made by Ichijoken Joun] and sealed to the recessed base Taishodo sei. Accompanied by the original silk Shifuku.HEIGHT 21.6 cmWEIGHT 958 gCondition: Very good condition with minor wear and few typical casting irregularities.With an inscribed and sealed wood tomobako storage box.Oshima Joun (1858-1940), also known as Yasutaro, was a highly skilled artist renowned for his expertise in bronze casting. He hailed from a family of metalworkers and began his career in the family business in 1877. It was during this year that he adopted the art name Joun. By 1879, he had expanded the family business significantly, employing 11 craftsmen in his Tokyo studio. In 1881, Oshima Joun exhibited his work at the 2nd National Industrial Exposition, marking the beginning of his illustrious career. He gained international recognition by showcasing his art at prestigious events such as the Paris Exposition in 1900 and the London Japan-British Exposition in 1910.
NOGAWA: A FINE BRONZE VASE WITH BIRDS AND FLOWERSBy the Nogawa company, sealed with the Nogawa company markJapan, late 19th century, Meiji period (1868-1912)Finely cast and supported on slender foot with tapering sides decorated in iro-e takazogan of rich gold, silver, suaka (copper), shibuichi and shakudo. The sides decorated with four separate motifs: two iris (shobu) plants in bloom and a small bud, an egret perched on a gnarled plum tree in bloom, three geese flying in a moon-lit sky above peony blossoms, and a sparrow perched on an autumnal maple tree. The base sealed with the company's mark.HEIGHT 24 cm (excl. stand), 27.1 cm (incl. stand)WEIGHT 581 g (excl. stand)Condition: Excellent condition with only minor wear. The wood stand in good condition with minor wear and minor old repairs.With an associated wood stand finely carved in openwork.
A SUPERB PAIR OF MIYAO-STYLE MIXED-METAL-INLAID AND PARCEL-GILT BRONZE VASES WITH SHOKI AND ONIJapan, late 19th century, Meiji period (1868-1912)Each vase with a baluster body supported on a spreading foot and rising to a gently waisted neck with flat everted rim, the shoulder with two long handles issued from baku heads, the exterior carved in high and sunken (shishiaibori) relief, inlaid in iro-e takazogan and hirazogan, and engraved in katakiri and kebori, with bamboo-framed panels surrounded by two snakes flanking a toad above and a snail below – an impressive example of the sansukumi motif. Each panel shows a different but complementary design, on one vase depicting a proudly standing Shoki holding his sword in one hand and extending the other, with a long-tailed pheasant amid chrysanthemums under a gnarled pine tree to the back; and on the other three oni depicted in different attitudes, one of them fighting back against the demon queller, the back with two long-tailed pheasants perched on a craggy rock. The body is further decorated with bamboo leaves, mushrooms, and leaves, the neck and foot with formalized bands.HEIGHT each 30.5 cmWEIGHT each 4.7 kgCondition: Very good condition with minor surface wear.Provenance: From the private collection of an intrepid and seasoned connoisseur who tirelessly travels the globe and acquires with passion, discernment and above all a sense of all-embracing eclecticism, bound by no rigid formula of what should constitute a worthy object save the admiration and wonder that it can produce in the viewer.The present pair of vases, impressively cast, finely carved in high and sunken relief, and masterfully inlaid in both hirazogan and takazogan, was clearly made by an extremely talented metalworker. The inspired use of inlays makes an attribution to the workshop of Miyao Eisuke reasonable. Although most often associated with large-scale bronze figures of samurai, the Miyao Company also manufactured or dealt in a wide range of craft goods including Shibayama-work panels and ivory figures. Apparently based first in Yokohama and then, after about 1890, in Nihonbashi-ku, Tokyo, the company is first recorded at the second Naikoku Kangyo Hakurankai (National Industrial Exposition) where Miyao Eisuke collaborated with the bronze caster Momose Sozaemon in the production of a bronze figure of seven drunken shojo.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 was capable of killing 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.
FUJI: A PAIR OF KOMAI-STYLE GILT-DAMASCENED HEXAGONAL MINIATURE VASESBy the Fuji workshop, signed with the Fuji markJapan, Kyoto, Meiji period (1868-1912)Well modeled with ovoid sides tapering to the short spreading foot and surmounted by a flat shoulder, a short waisted neck and flat everted rim, each side decorated with a panel enclosing alternating landscapes, mythical animals, and butterflies, surrounded by a dense ground of prunus blossoms repeated on the shoulder. Each with the gilt-inlaid Fuji mark to the base. HEIGHT 5.8 cm (each)WEIGHT 44 and 46 gCondition: Very good condition, minor wear, little rubbing to gilt, few tiny nicks, minute dents.Provenance: From a private collection in northern Germany, assembled between 1985 and 2006. Auction comparison:Compare a Komai iron and gilt miniature vase, dated late 19th century, 5.7 cm high, at Bonhams, Fine Japanese Works of Art, 13 September 2011, New York, lot 2221 (sold for 5,625 USD).
A SUPERB KOMAI-STYLE GOLD AND SILVER INLAID BRONZE VASE WITH MONKEYSJapan, Kyoto, Meiji period (1868-1912)Of baluster form, supported on a spreading foot with slightly concave base, the straight shoulder surmounted by the short-waisted neck and galleried rim. Finely decorated in gold and silver nunomezogan and takazogan with two shaped panels enclosing numerous monkeys huddled together in various poses, some constituting the sambiki saru motif, also referred to as the three wise monkeys, using their hands to cover their own or each other's ears, eyes, or mouth, the simians further well detailed with finely incised fur and gold eyes. The panels are reserved against a silver-inlaid ground of various brocade patterns, above stylized waves and dew drops at the foot, and below foliate scroll and chrysanthemum flowerheads to the shoulder, finely engraved clouds to the neck, and a silver-inlaid key-fret band around the rim. HEIGHT 16 cmWEIGHT 467 gCondition: Very good condition with minor wear and few tiny nicks.Provenance: From a private collection in southern Germany, acquired before 2007.The present vases are decorated in the manner of the famous Komai workshop of Kyoto. The Komai workshop is believed to have been founded in 1841, but it was only when Komai Otojiro I became its head, in 1865, that the company began to make the wares for which they were to become so famous. Under his leadership, the workshop specialized in intricate inlaid work of gold and silver into iron. In a promotional brochure from around 1915 his son, Komai Otojiro II (his father having retired in 1906) called his workshop the 'pioneer of damascene work' and describes the lacquering process of the characteristic black ground, which required kiln firing and burnishing. The Komai style developed with an increasingly pictorial central motif on a background of both geometric patterns and free illustrations of nature, life, and landscapes with elaborate repeating borders. Most of these central motifs illustrate stories from Japanese history or mythology, and the Komai family retains a number of design books in which can be found drawings for many of their works.
NAOYUKI: A SUPERB CLOISONNE ENAMEL AND SHIBAYAMA INLAID FLORIFORM VASE WITH MANDARIN DUCKS (OSHIDORI)By Naoyuki, signed NaoyukiJapan, late 19th century, Meiji period (1868-1912)Standing on three lobed feet and rising to a bulbous body, the long neck with a flaring floral rim, embellished to the feet, shoulder, and neck with stunning bright enamels featuring floral designs of cherry blossoms and kiku medallions, the body with two lobed panels bearing a gold-lacquered kinji ground and inlaid in the Shibayama style with horn, mother-of-pearl, bone, and coral, depicting on one side a pair of Mandarin ducks (oshidori) beneath an opulently flowering cherry tree, and to the other side with an ornate flower basket. The silver body further incised with katakiri-bori showing various flowers and applied with two enameled mythical beast handles. Signed underneath within a rectangular gilt reserve NAOYUKI.HEIGHT 19 cmWEIGHT 150 gCondition: Good condition with minor tarnishing to silver, few tiny losses to inlays. Presenting beautifully.Auction comparison:Compare a related inlaid silver and cloisonne-enamel vase with closely related mythical beast handles, by Nemoto, at Bonhams, Fine Japanese Art, 11 May 2017, London, lot 419 (sold for GBP 3,750).
NAMIKAWA YASUYUKI: A SUPERB BLACK-GROUND MINIATURE CLOISONNE ENAMEL VASEBy Namikawa Yasuyuki (1845-1927), signed Kyoto NamikawaJapan, Kyoto, late 19th century, Meiji period (1868-1912)The tapering ovoid body supported on a short foot and rising to a short neck with flat everted rim, with silver mounts. The black ground finely decorated in bright enamels with a butterfly fluttering above pink buds and blossoms borne on leafy meandering stems. Signed on a silver tablet to the base KYOTO NAMIKAWA.HEIGHT 7.5 cmWEIGHT 49 gCondition: Good condition with minor wear, minimal pitting, a small bruise to the shoulder with associated fine hairlines, the foot with a tiny nick. 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. Altogether, he won 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 have been so honored.Auction comparison:Compare a closely related black-ground cloisonne vase by the same maker, with a similar design and also signed Kyoto Namikawa, 7.6 cm high, at Christie's, Innovative Japanese Design: Art of the Meiji Period, 18 November 2015, New York, lot 5 (sold for USD 10,000).
GONDA HIROSUKE: A FINE CLOISONNE ENAMEL VASEBy Gonda Hirosuke (1865-1937), signed with the mark of Gonda HirosukeJapan, late 19th century, Meiji period (1868-1912)Of quadrangular form with an ovoid body, short spreading foot, waisted neck, and flat everted rim, the rims of silver. The exterior finely decorated with silver and gilt wire and polychrome enamels against a black ground with a maple tree and numerous blossoming flowers including chrysanthemum, bellflower, aster, iris, and lily. The base with a silver tablet with the impressed mark of Gonda Hirosuke in the shape of a flaming tama. HEIGHT 18.5 cmWEIGHT 268 gCondition: Very good condition, minor wear, minimal pitting, occasional light scratches, the mouth and foot rim each with few tiny nicks. Provenance: From a private collection in Northern Germany, assembled between 1985 and 2006.
HAYASHI KODENJI: A FINE CLOISONNE ENAMEL VASEBy Hayashi Kodenji (1831-1915), signed Dai Nihon Hayashi Kodenji seiJapan, late 19th century, Meiji period (1868-1912)Of rounded square section, the baluster body supported on a short foot and rising to a slender waisted neck with flat everted rim, the rims of silver. The exterior finely decorated with gilt and silver wire and bright polychrome enamels against a black ground with a multitude of blossoming flowers including chrysanthemum, Chinese bellflower, prunus, peony, and iris, the neck and foot with stylized floral motifs, the recessed base incised with the signature Dai Nihon HAYASHI KONDEJI sei [made by Hayashi Kodenji in Great Japan]. HEIGHT 15.2 cmWEIGHT 178 gCondition: Very good condition, minor wear, minimal pitting, the mouth and foot rim each with a dent as well as few tiny nicks.Provenance: From a private collection in Northern Germany, assembled between 1985 and 2006. Hayashi Kodenji (1831-1915) was a pivotal figure in the history of cloisonne enameling and instrumental in the formation and leadership of the Shippo-cho enamelers guild, and it is probable that he worked for the Nagoya-based Shippo Kaisha. As well as being an innovative enameller he was also an astute businessman. Stories are told that in his early days he walked from Nagoya to Yokohama to sell his wares at a time when there was a long-standing prohibition on selling copper (which included the body of the cloisonne objects). He worked with his son, Kodenji II, for over 40 years and it is often hard to differentiate the work of the two makers. He exhibited and won prizes at many international exhibitions: Nuremberg 1885 (silver), Paris 1889 (silver) and St Louis 1904 (gold). In 1912, Glendining of London auctioned over 300 'Japanese cloisonne enamels from the Glasgow Exhibition offered for sale by Mr. K Hayashi of Nagoya'.Auction comparison:Compare a closely related vase at Christie's, The Japanese Aesthetic, 7 November 2012, London, lot 306 (sold for 11,875 GBP).
A MIDNIGHT-BLUE-GROUND CLOISONNE ENAMEL VASE WITH SHOBU (IRIS) AND KIKYO (CHINESE BELLFLOWER)Japan, Meiji period (1868-1912)The baluster body supported on a short spreading foot and rising to a rounded shoulder with slender waisted neck and flat everted rim. The exterior finely decorated in gilt and silver wire to one side with blossoming iris and Chinese bellflower as well as grasses rising from the ground, above bands of circles and rinzu at the foot. HEIGHT 18.3 cmWEIGHT 306 gCondition: Very good condition with minor wear, minimal pitting, little rubbing to gilt.
A RARE IMARI 'BLACK SHIP' VASEJapan, late 17th-18th century, Edo period (1615-1868)Well potted, the globular body supported on a short foot and rising to a slender neck with a rolled lip. Finely decorated in iron-red, gilt, turquoise, yellow, blue, and black enamels to one side with two large ships, one with four masts and the other with three, over crashing waves, and to the other with two Dutchmen with characteristic curled hair and wide hats, one holding a cane in one hand, the other with conjoined rings, the neck decorated with brocade patterns. HEIGHT 31.5 cmCondition: Very good condition with minor wear to enamel painting and with few typical firing irregularities.Provenance: The Robert G. Vater Collection. Robert G. Vater was a German collector of European and Asian ceramics. He was the owner and director of a chain of leather clothing stores, who later began to deal in ceramics as well. The collection was put together in the 20th century and part of it (focusing on European ceramics, silver, and gold boxes) was dispersed at Christie's London in December 2021.Auction comparison:Compare a related Imari bottle vase decorated with Dutchmen and a four-masted ship, 45 cm high, dated to the 19th century, at Christie's, 12 October 2005, Amsterdam, lot 45 (sold for 28,200 EUR).
KINKOZAN: A FINE SATSUMA BOTTLE VASE DEPICTING BIJIN AND CHILDRENBy the Kinkozan company, sealed Kinkozan zoJapan, Kyoto, Meiji period (1868-1912)Finely potted, covered in a transparent glaze beautifully crackled where the white ware is visible, and supported on a short round foot gradually rising to a slender neck with a flared mouth. The neck decorated with elaborate, polychrome brocade patterns while the shoulder has a gilt rinzu (key fret) band, both enclosing the main motif. The primary scene is of eight bijin tending children in a garden with each figure dressed in finely decorated robes with elaborately detailed patterns. The recessed base sealed on a red square reserve KINKOZAN zo [made by Kinkozan].HEIGHT 11.7 cmCondition: Very good condition with minor wear, small manufacturing irregularities, a minuscule loss to the shoulder, and slight rubbing to gilt.Provenance: From a private collection in Guernsey, England.The Kinkozan workshop was one of the most successful producers of so-called 'Kyo-Satsuma' (Kyoto Satsuma) wares. Like their equivalents from Osaka, Yokohama, and Tokyo, these pieces were Kyoto's response to the Western demand for delicately painted Japanese pottery. The exhibits at the 1867 Paris Expo fascinated the West and a great admiration for Japanese cultures known as Japonisme led to a stark increase in Kyo-Satsuma ware exports. Auction comparison:Compare a related Satsuma vase by the Kinkozan company, painted by Shozan, dated to the late 19th/early 20th century, at Bonhams, Polish and Poise, 12 May 2022, London, lot 168 (sold for GBP 3,825).
FUJII SHUMEI: A FINE SNOW-FLAKE GLAZE VASE DEPICTING A WINTER FORESTBy Fujii Shumei (1936-2017), signed Shumei sakuJapan, 20th centuryThe globular body supported on a broad foot and rising to a short neck flaring to a wide foliate mouth, painted with a hilly, dark blue pine forest on a winter day, the snowflake glaze covering the upper half. The white recessed base signed SHUMEI saku [made by Shumei].HEIGHT 23.5 cmCondition: Excellent condition.Provenance: From a private Dutch collection. With an old display label: Nitten kai no tomo日展会友、朱明作 ('A friend of Nitten Exhibition Organization').Fujii Shumei was born in Arita, Saga Prefecture in 1936 and started working at the age of 15 at an akae (red glaze) shop and pottery company. Hewas selected for the Nitten (Japan Fine Arts Exhibition) for the first time in 1937 for his 'Cold Stream', which was subsequently selected 15 times. He won many prizes including one at the Japan Ceramic Art Exhibition, the Minister of Education Prize at the Kyushu-Yamaguchi Ceramics Exhibition, and the Japan New Crafts Award at the Japan New Crafts Exhibition. He was a long-term member of Nitten Exhibitions and Saga Art Association.
A RARE FIGURAL LACQUER INCENSE HOLDER OF A DRUNKEN SHOJOJapan, 19th centuryFinely formed and decorated in iro-e maki-e in the shape of a Shojo sitting atop a large raku-ware sake jar. The Shojo wearing a large kimono decorated in gold hiramaki-e with medallions and foliate designs, the billowing robes decorated with bamboo leaves, holding a vase decorated with lotus. The figure's face bearing an inebriated expression and with long red hair, falling in strands down the back and sides. The vase and top of the shojo's head have apertures for holding incense sticks.HEIGHT 18.3 cmCondition: Good condition with minor wear, small nicks, light scratches, a single dent to the Shojo's head, and some tiny chips to edges.
A LARGE AND FINELY PAINTED FUKUGAWA KORANSHA BLUE AND WHITE PALACE VASEBy the Fukugawa Koransha company, signed with a rare variant of the Fukugawa Fuji markJapan, early 20th centuryFinely formed and thickly potted, painted in a deep cobalt-blue glaze standing on circular base with rounded sides rising to a slender neck and everted rim. Finely painted with naturalistic bamboo and oval, circular, and fan-shaped panels depicting birds and flowers. The large oval frames painted with tall pine trees near the shoreline with crashing waves and a towering Mount Fuji in the background with cranes flying and diving overhead. The base sealed with a rare variant of the Fukugawa Fuji mark in the form of a rising sun.HEIGHT 125 cm (excl. stand), 143 cm (incl. stand)Condition: Very good condition with minor wear and a few firing flaws including a few losses to the glaze, some dark spots, and minor glaze cracks, Provenance: From a private collection in Germany.With an old wood stand carved in openwork with foliate designs.
A LARGE BRONZE VASE APPLIED WITH A FROGJapan, Meiji period (1868-1912)Of spin-top form, the finely cast vase supported on a thick foot its flattened shoulder rising to a narrow neck which gently flares upward. A frog with large eyes, webbed feet, and smooth skin crawls hesitantly across the vase looking upward. The bronze is covered in a lustrous patina with deep red inclusions.HEIGHT 29.5 cmWEIGHT 2,230 gCondition: Very good condition with only minor wear.Provenance: From a private collection in Wiltshire, England.Auction comparison:Compare a closely related vase with applied toad, by Kato Tatsuo, at Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 2 (sold for EUR 2,022).
A PAIR OF BRONZE VASES WITH CICADASJapan, Meiji period (1615-1868)Of pear-shaped form, supported on a thick foot with the rounded body gradually rising to a narrow neck surmounted by a flared mouth. A small, naturalistically cast cicada (semi) ascends the neck of the vase, its legs, eyes, and wings finely detailed. The bronze has a lustrous patina with deep brown and red inclusions.HEIGHT 27.7 cm (each)WEIGHT 793 g (each)Condition: Very good condition with minor wear.Auction comparison:Compare a related pear-shaped vase with a cicada, consisting of only one vase, by Takeyoshi, dated to the Meiji period, at Bonhams, Fine Japanese Art, 6 November 2007, London, lot 403 (sold for GBP 1,560).
KANAYA GOROSABURO: A BRONZE FLOWER PRESENTATION VASEBy Kanaya Gorosaburo, signed Kanaya GorosaburoJapan, 20th centuryFinely cast, the vase supported by a subtly arched base with a slightly rounded body rising to a dramatically flared diamond-shaped mouth with a single band of rinzu along the rim. Each corner is cast with a bamboo stalk rising from the base to the neck with two ear-shaped handles in the form of rain dragons on either side. The base of the neck is decorated with a band of archaic geometric designs on a diaper ground, while each side of the body bears frames of crashing waves.Inscriptions: The base of the bronze vase inscribed, 'Kanaya Gorosaburo sei, Furomon, toke denrai, hato-mon ryumon-mimi kabin utsushi, kado iemoto, Ikenobo Sen'ei, with the seal Sen'ei' 金谷五良三郎製、不老門、当家相伝、波頭文龍文耳花瓶写、華道家元、池坊専永、印：専永 [Made by Kanaya Gorosaburo, the flower vessel entitled Furomon (The Gate to Immortality), copied from the original bronze flower vessel which has been handed down as a family heirloom at the Ikenobo School of Flower Arrangement, the design has dragons and waves with ear-shaped handles, commissioned by Ikenobo Sen'ei 45th, the Master of the Ikenobo School Flower Arrangement']HEIGHT 26 cmWEIGHT 6,762 gCondition: Excellent condition with only minor wear.Provenance: From the collection of Miyamoto Tanio, acquired from Sen'ei Ikenobo in November 1986 and thence by descent in the same family. A letter from 1986 which accompanies this lot reads, 'To Mr. Miyamoto Tanio. This is a replica based on the original bronze vessel which has been handed down through the Ikenobo family, a one flower vessel, titled Furomon (The Gate to Immortality). I, Ikenobo Sen'ei 45th, present this to you in recognition of your many years of work, dated an auspicious day in November, Showa 61 (1986), Ikenobo Sen'ei the head of the Ikenobo School of Flower Arrangement.' The letter is sealed 'Kado Iemono.' Miyamoto Tanio was an author and historian. He researched the history and tradition of Japanese floral arts, publishing his research in his 1977 book, Nageire kadensho, in the series Kado Koten Meisaku Senshu.With the original fitted tomobako box.Kanaya Gorosaburo is from the 14th generation of Kanaya bronze metallurgists based in Kyoto. The family's work has spread far and wide as their reputation for excellence and exquisite bronze has made them world renowned. Today, several pieces from the family are housed in the Rijksmuseum, National Victoria Museum in Melbourne, and Philadelphia Museum of Art.
Burmantofts Faience Anglo-Persian vase, designed by Leonard King, of bulbous form with tapering neck, painted with an entwined mythical sea serpent and dragon, against a ground of foliage and fruit, impressed factory marks, model no. 26, incised DS9-122 (931) and artists monogram LK, H22cm Condition Report:Glaze chips to the top rim, general surface wear and crazing commensurate with age.
Burmantofts Faience Anglo-Persian bottle vase, designed by Leonard King, painted with dragons and sea serpents amidst flowers and foliage, in tones of blue and green, impressed factory marks, incised D-91 8-40 (1207) and artists monogram LK, H25cm Condition Report:Glaze chips to the top rim and foot, chips and cracks to the interior, general surface wear and heavy crazing around the base, further crazing throughout, commensurate with age.
Burmantofts Faience Anglo-Persian bottle vase, designed by Leonard King, painted with dragons and sea serpents amidst flowers and foliage, in tones of blue and green, impressed factory marks, model no. 70, incised DSG-91 (628) and artists monogram LK, H26.5cm Condition Report:Restoration to section of top rim and part of neck, checked under UV. Glaze chips to the top rim and foot, chips and cracks to the interior, general surface wear and heavy crazing around the base, further crazing throughout, commensurate with age.
Burmantofts Faience Anglo-Persian bottle vase, designed by Leonard King, painted with stylized flowers and foliage, against a blue ground, impressed factory marks, incised 'Design 82, 483' and artists monogram LK, H25.5cmCondition Report:Glaze chips to the top rim and foot of the vase. Some glaze loss to the body, one section painted over, surface wear and crazing commensurate with age.
Burmantofts Faience Anglo-Persian vase, designed by Leonard King, of bottle form, painted with stylized flowers and foliage against a blue ground, impressed factory marks, model no. 36, incised 'Design 65, 362' and artists monogram LK, H35cmCondition Report:Glaze chips to top rim, chip and hairline cracks to body and small chips to foot rim. General surface wear and minor crazing commensurate with age.
Burmantofts Faience twin-handled Anglo-Persian vase, designed by Leonard King, of ovoid form with applied loop handles and painted with stylized flowers and foliage against a blue and yellow ground, impressed factory marks no. 69, incised D.230, 1666 and artists monogram LK, H24.5cm Condition Report:Handle and section around the handle has been restored. Some residue on the body of the vase but doesn't appear to be restoration. Glaze chips to the top and foot rim, discolouration to top rim, crazing and surface wear commensurate with age.
Burmantofts Faience Anglo-Persian vase, designed by Leonard King, of ovoid form, painted with stylized flowers and foliage against a blue ground, impressed factory marks, model no. 65, incised DS9-85 (677) and artists monogram LK, H24.5cmCondition Report:Chip to the top rim, wear and some loss of glaze to the base, hairline crack through the base, heavily crazed throughout, discolouration and surface wear commensurate with age.
Pair of Burmantofts Faience Anglo-Persian vases, designed by Leonard King, of shouldered form, painted with stylized flowers and foliage against a blue ground, impressed factory marks, model no. 167, incised D.601, 2851 & 2851 and artists monogram LK, H30cmCondition Report:The first vase (no. 2851) has small glaze chips to the rim, further chips around the base and foot rim and some scratches to the glaze. The second has a small glaze chip to the body and minor glaze chips to the foot rim. Both have general surface wear, some discolouration and crazing commensurate with age.
Burmantofts Faience Anglo-Persian vase, designed by Leonard King, of shouldered form, painted with stylized flowers and foliage against a blue ground, impressed factory marks, model no. 167, incised D.619, 2892 and artists monogram LK, H30cmCondition Report:Glaze chips and hairline cracks to top rim and wear to foot rim. General surface wear and heavy crazing commensurate with age.
Burmantofts Faience Anglo-Persian vase, designed by Leonard King, of ovoid form with waisted cylindrical neck, painted with panels of stylized foliage, in aubergine, blue, green and ochre tones, impressed factory marks, model no. 99, incised D-205, 1453 and artists monogram LK, H26cmCondition Report:The top rim has been repaired, with further cracks and losses. General surface wear and crazing, commensurate with age.
Large Burmantofts Faience partie-colour vase, of bellied bottle form with tapering neck, tube lined and incised with classical dolphin swimming amongst marine foliage, impressed factory marks beneath, model no. 2123, painted Col No. 80, H53cmCondition Report:Minor chips to the glaze on the body, minor crazing and surface wear commensurate with age.
Burmantofts Faience partie-colour twin-handled vase, of globular form with cylindrical neck, designed by Joseph Walmsley, tube lined and incised with a raven grasping a serpent amongst stylized flower heads and foliage, against a brown ground, impressed factory marks beneath, model no. 2062, painted Col No. 125.5, H31cmCondition Report:General surface wear and minor crazing commensurate with age.
Burmantofts Faience partie-colour vase, of shouldered form tapered neck, designed by Joseph Walmsley, tube lined and incised with fruit, flowers and geometric decoration, impressed factory marks beneath and indistinct model number, H23cmCondition Report:Some glaze chips to the rim, body and foot. General surface wear and minor crazing commensurate with age.
Pair of Burmantofts Faience three-handled vases, designed by Joseph Walmsley, each of elongated ovoid form, incised and glazed with tulips, impressed factory marks beneath, model no. 2246, H27cm Condition Report:The first vase has a small area of restoration to the rim, two hairline cracks running down the rim and all three handles restored. The second vase also has restoration to all three handles, stress crack and small hairline cracks to the rim. Both have minor surface wear, small glaze chips to the bodies and crazing, commensurate with age.
Burmantofts Faience turquoise-glaze model of a monkey, modelled seated resting on a vase, his foot resting on a large nut, on fluted oblong base, impressed factory marks beneath, model no. 782, H15cm x L16cmCondition Report:Chip to the rim of the vase, small glaze chips to the monkeys toes, crazing, discolouration and surface wear commensurate with age.
Burmantofts Faience turquoise-glaze vase, of ovoid form with swollen collar neck, the body tube line decorated with a trailing linear repeat pattern, against a stipple ground, impressed factory marks beneath, model no. 582, H25cmCondition Report:Small nibbles to the tube line decoration, fading to the glaze around the rim and general surface wear & crazing commensurate with age.
Burmantofts Faience turquoise-glaze vase, of double gourd form, the body incised with flowerheads and floral sprigs, within floral borders, impressed factory marks beneath, model no. 274, H53cm Condition Report:Restoration to the top rim and patches of restoration (residue), some scratches to the glaze and chips to the foot rim. General surface wear and crazing commensurate with age.
Burmantofts Faience turquoise-glaze twin-handled vase of amphora form, with angled handles and moulded rim, impressed factory marks beneath, model no. 1819, H26cmCondition Report:Stress crack to one handle join, wear to glaze on both handles and glaze chips to foot and rim. Surface wear & crazing commensurate with age.
Pair of Burmantofts Faience turquoise-glaze vases, each of bulbous bottle form, beaded borders and incised ice ground, impressed factory marks beneath, model no. 35, H14.5cm & H15cmCondition Report:The first vase has a small glaze chip to the rim and hairline cracks to the base (very heavy crazing).The second has two chips to the foot rim. Both have surface wear and crazing commensurate with age.
Burmantofts Faience ochre-glaze twin-handled bottle vase, the body decorated in relief with flowerhead roundels, within incised lappet leaf borders, ribbed angular handles, impressed factory marks beneath, model no.435, H20cmCondition Report:Stress cracks to the base joins on both handles and small glaze chips to raised flowers, surface wear and crazing commensurate with age.
Burmantofts Faience oxblood-glaze jardiniere, decorated in low relief with panels of flowers, model no. 549, ochre glaze dimple vase, model no. 990 and turquoise bottle vase no. 1612, all having impressed factory marks beneath, H26cm (3)Condition Report:Turquoise vase: chip to rim and glaze chips to body and foot rim. Ochre vase: Chip and small hairline cracks to the rim, small minor glaze chips to body. Jardiniere: Three chips to the foot and some glaze chips to the relief decoration. All have crazing and surface wear commensurate with age.
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