ART OF JAPAN

King Street · 8 December 2016

 ART OF JAPAN

THURSDAY 8 DECEMBER 2016

AUCTION
PROPERTIES FROM Thursday 8 December 2016
The Tony and Johanna Oey Collection at 2.00 pm Lots 1-139
8 King Street, St. James’s
A Private Swiss Collection
London SW1Y 6QT
The Mike and Hiroko Dean Collection
The Dolphyn Collection of Samurai Art (Part I)
AUCTION CODE AND NUMBER
In sending absentee bids or making
enquiries, this sale should be referred
to as KOMAI 13127

SPECIALISTS VIEWING
Saturday 3 December 12 noon – 5.00 pm
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Anastasia von Seibold Wednesday 7 December 9.00 am – 4.30 pm
Tel:+44 (0)20 7752 3127
AUCTIONEER
Kuniko Matsui
Hugh Edmeades
Tel:+44 (0)20 7752 3254

NEW YORK
Takaaki Murakami SERVICES
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SPECIAL NOTICE CONDITIONS OF SALE
The USA has recently changed its policy on the CLIENT SERVICES This auction is subject to Important Notices,
import of property containing elephant ivory. Tel: +44 (0)20 7839 9060 Conditions of Sale and to Reserves  
Only Asian Elephant ivory may be imported into Fax: +44 (0)20 7389 2869
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than 100 years old. Buyers will be responsible for see the Buying at Christie’s section.
the costs of obtaining any DNA analysis or other
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THE TONY AND JOHANNA OEY COLLECTION
OF NETSUKE

Tony and Johanna Oey formed their Collection, of which this is a part, in the 1970s and 80s during visits to London and San Francisco for
exhibitions and netsuke conventions. Image courtesy of the Oey Family

2 JAPANESE WORKS OF ART

1
A WOOD NETSUKE OF A WILD BOAR
SIGNED TOYOMASA (NAITO TOYOMASA, 1773-1856),
TAMBA, EDO PERIOD (EARLY 19TH CENTURY)
猪 木彫根付
銘 豊昌　江戸時代（19世紀前期）
The boar running at full stride, eyes inlaid in pale cow horn and
hair details fnely rendered
6.4 cm. long
£10,000-15,000 $13,000-19,000
€12,000-17,000

For an example in the Victoria and Albert Museum, go to:

http://collections.vam.ac.uk/item/O76513/netsuke-
toyomasa/

For other examples, see:

George Lazarnick, Netsuke and Inro Artists and How to Read
Their Signatures, (Honolulu, 1982), vol. II, p. 1190
Raymond Bushell, Collectors’ Netsuke, (Tokyo, 1971), p. 68
Joe Earle, Netsuke: Fantasy and Reality in Japanese Miniature
Sculpture, (Boston: Museum of Fine Arts, 2001), p. 329, no. 298

3
 ~2
A FINE IVORY NETSUKE OF A SLEEPING WILD BOAR
SIGNED KAIGYOKUSAI MASATSUGU (1813-1892), OSAKA,
EDO PERIOD (19TH CENTURY)
猪 牙彫根付
銘 懐玉斎正次　江戸時代（19世紀）
The boar resting on a bed of autumn leaves with grasses draped
gracefully over its back, rockwork beside and the grasses with
dewdrops of applied silver, pale and dark cow horn, the fur and
other details rendered using very fne incised and stained lines
4.5 cm. long
£15,000-18,000 $19,000-22,000
€17,000-20,000

For similar examples of wild boar by Kaigyokusai, see:

George Lazarnick, Netsuke and Inro Artists and How to Read
Their Signatures, (Honolulu, 1982), vol. I, p. 561
Joe Earle, Netsuke: Fantasy and Reality in Japanese Miniature
Sculpture, (Museum of Fine Arts, Boston, 2001), p. 331, no. 300

4 JAPANESE WORKS OF ART

 THE TONY AND JOHANNA OEY COLLECTION

~3
A RARE IVORY NETSUKE OF A TIGER AND TWO CUBS
SIGNED TOMOTADA (IZUMIYA TOMOTADA, ACTIVE
CIRCA 1781), KYOTO, EDO PERIOD (LATE 18TH CENTURY)
親子虎 牙彫根付
銘 友忠　江戸時代（18世紀後期）
The tigress seated licking her raised paw, a cub lies scratching its
chin at her feet, whilst the other nestles into her leg, the eyes with
large eyebrows and expressive features, pupils inlaid in dark cow
horn, the markings and hair details delicately incised and stained
4 cm. high
£20,000-30,000 $25,000-37,000
€23,000-34,000

A model by Tomotada of a tigress with two cubs is rare, with

the more usual model having only one cub.

For another example with two cubs see Joe Earle, Netsuke:
Fantasy and Reality in Japanese Miniature Sculpture, (Museum
of Fine Arts, Boston, 2001), p. 288-289

For examples with one cub see:

Bernard Hurtig, Masterpieces of Netsuke Art: One Thousand
Favorites of Leading Collectors, (Tokyo and New York, 1973),
p. 58, no. 163
Nihon Netsuke Kenkyukai ed., Netsuke: Condensed Culture of
Edo, (Tokyo, 2005), p. 27, no. 16

5
~4 ~5
AN IVORY NETSUKE OF KARASHISHI [LION DOG] AN IVORY NETSUKE OF TWO HARES
SIGNED MASATADA, KYOTO, OSAKA, EDO PERIOD
EDO PERIOD (18TH CENTURY) (LATE 18TH - EARLY 19TH CENTURY)
獅子 牙彫根付 二兎 牙彫根付
銘 正忠　江戸時代（18世紀） 江戸時代（18世紀後期 - 19世紀前期）
The karashishi with open mouth, its head tilting to one side, fur A charming study of a hare nibbling its paw whilst the other rests
fnely rendered in coils and tufts, eyes inlaid in pale cow horn over its back, eyes inlaid in cow horn
4.7 cm. high 3.8 cm. long
£6,000-8,000 $7,500-10,000 £8,000-10,000 $10,000-12,000
€6,800-9,000 €9,000-11,000

For another ivory carving of a hare in the collection of Edmund

de Waal, go to:
http://www.edmunddewaal.com/writing/the-hare-with-
amber-eyes/gallery

6 JAPANESE WORKS OF ART

 THE TONY AND JOHANNA OEY COLLECTION
~6
AN IVORY NETSUKE OF A RECLINING STAG
EDO PERIOD (LATE 18TH CENTURY)
鹿 牙彫根付
江戸時代（18世紀後期）
Curled up at rest with its forepaws folded underneath its body
and head raised, the fur details and markings fnely stained and
engraved, eyes inlaid in dark cow horn
5.5 cm. long
£5,000-8,000 $6,300-10,000
€5,700-9,000

7
A WOOD NETSUKE OF AN OX AND KID GOAT
SIGNED TOYOMASA (HIDARI TOYOMASA, 1811-1883),
TAMBA, EDO PERIOD (19TH CENTURY)
牛と子山羊 木彫根付
銘 豊昌　江戸時代（19世紀）
The reclining ox with a kid goat playfully climbing over its back,
eyes inlaid in dark cow horn
4.2 cm. long
£6,000-8,000 $7,500-10,000
€6,800-9,000

For a similar example, see Raymond Bushell, Collectors’

Netsuke, (Tokyo, 1971), p. 70

7A
A WOOD NETSUKE OF TWO RATS
SIGNED IKKAN (1817-1893), NAGOYA, EDO PERIOD (19TH
CENTURY)
二匹の鼠 木彫根付
銘 一貫　江戸時代（19世紀）
A fne study of two rats, one leaning against the other and with
tails entwined beneath them, eyes inlaid in dark cow horn and
teeth inlaid in cow bone
2.8 cm. high
£4,000-6,000 $5,000-7,500
€4,500-6,700

7
8 ~9
A LARGE WOOD NETSUKE OF SHOKI AND AN ONI AN IVORY NETSUKE OF A SAGE ON A CRANE
EDO PERIOD (LATE 18TH - EARLY 19TH CENTURY) SIGNED IKKO (HASEGAWA IKKO), TSU, EDO PERIOD
(EARLY 19TH CENTURY)
鍾馗と鬼 木彫根付
江戸時代（18世紀後期 - 19世紀前期） 鶴乗り仙人 牙彫根付
The large model of Shoki the Demon Queller holding his sword 銘 一虎　江戸時代（19世紀前期）
and with a ferce expression, his left hand reaching up to catch A sage holding onto the neck of an enormous crane, stained
an oni by the hand which has mischievously climbed onto his details
broad-rimmed hat, the oni’s horns inlaid with pale cow horn 12.3 cm. long
11.4 cm. high £5,000-7,000 $6,300-8,700
£2,500-3,000 $3,200-3,700 €5,700-7,800
€2,900-3,400
PUBLISHED:

For another large wood study of the same subject in the George Lazarnick, Netsuke and Inro Artists and How to Read
M. T. Hindson Collection, see Neil K. Davey, Netsuke: A Their Signatures (Honolulu, 1982), vol. 1, p. 510
Comprehensive Study Based on the M. T. Hindson Collection,
(London, 1982), no. 1177, p. 395

8 JAPANESE WORKS OF ART

 THE TONY AND JOHANNA OEY COLLECTION

10 11
A STAG ANTLER OBI HASAMI NETSUKE OF ASHINAGA A WOOD NETSUKE OF ASHINAGA
EDO PERIOD (19TH CENTURY) SIGNED SHOKO (SUGUNOYA SHOKO), HIDA,
EDO-MEIJI PERIOD (MID-LATE 19TH CENTURY)
足長 角彫帯挟み根付
江戸時代（19世紀） 足長 木彫根付
The tall smiling fgure standing on his heels, and with his hands 銘 尚古　江戸 - 明治時代（19世紀中後期）
curled under his chin, stained details, Kokusai school The tall standing fgure with a drum at his waist and drum stick
11.6 cm. high in his left hand
£2,000-3,000 $2,500-3,700 12.7 cm. high
€2,300-3,400 £2,000-3,000 $2,500-3,700
€2,300-3,400

9
~12 13
AN IVORY AND WOOD NETSUKE OF JESUS DISGUISED A WOOD NETSUKE OF NIKKI DANJO TURNING INTO A
AS BUDDHA RAT
SIGNED ON A SILVER TABLET HOSHU (YASUHIDE) AND SIGNED SOSUI (OUCHI SOSUI, 1907-1972),
WITH KAKIHAN ON A GILT TABLET, SHOWA PERIOD (20TH CENTURY)
MEIJI PERIOD (LATE 19TH - EARLY 20TH CENTURY)
仁木弾正 木彫根付
仏陀に扮するキリスト 木牙彫根付 銘 藻水　昭和時代（20世紀）
銘 芳秀　明治時代（19世紀後期 - 20世紀前期） Modelled as Nikki Danjo, the character from the kabuki story
The standing fgure of Jesus, hair and beard rendered in coils, ‘The Disputed Succession’ (Meiboku Sendai hagi), with a
the carved and stained wood robes fnely detailed small scroll held in his mouth, the back of his formal costume
7.3 cm. high dissolving into a wisp of smoke from which emerges an
£4,000-6,000 $5,000-7,500 apparition of a large rat
6.2 cm. high
€4,500-6,700
£5,000-7,000 $6,300-8,700
For a similar example by the artist, see Bernard Hurtig, €5,700-7,800
Masterpieces of Netsuke Art: One Thousand Favorites of
Leading Collectors, (Tokyo and New York, 1973), p. 110-111, no. 417 For another similar model by Sosui, see Bernard Hurtig,
Masterpieces of Netsuke Art: One Thousand Favorites of
Leading Collectors, (Tokyo and New York, 1973), p. 171, no. 697
10 JAPANESE WORKS OF ART
 THE TONY AND JOHANNA OEY COLLECTION

(alternate view)

14
A WOOD NETSUKE OF TWO SUMO WRESTLERS
PUBLISHED:
SIGNED MASATOSHI TO (NAKAMURA MASATOSHI,
Raymond Bushell and Masatoshi, The Art of Netsuke Carving,
1915-2001), TOKYO, MARCH 1976
(Tokyo, New York and San Francisco, 1981), no. 133
相撲 木彫根付
銘 雅俊刀　1976年3月 The pose depicted here refers to a classic bout between
Kawazu and Matano that took place in 1176. Matano was about
Expressively carved as two grappling sumo wrestlers, one
to lift Kawazu by his loincloth and throw him, but Kawazu
lifting the other by the arm from around his back, the details well
outwitted him with a combined neck grip and leg trip, a move
defned
still known as kawazugake. The basic design of this group is
6 cm. high
shown in a set of netsuke designs by Katushika Hokusai’s pupil
£4,000-6,000 $5,000-7,500 Isai (in the style of Hokusai’s Manga), published in Kacho sansui
€4,500-6,700 zushiki (1847-65, reprinted in 1881).1

PROVENANCE: 1 Joe Earle, Netsuke: Fantasy and Reality in Japanese Miniature

Raymond Bushell Sculpture, (Museum of Fine Arts, Boston, 2001), no. 163, p. 200

11
 ~15
AN IVORY NETSUKE OF A WOMAN CUTTING HER
TOENAILS
SIGNED YASUFUSA, TOKYO, TAISHO PERIOD (EARLY
20TH CENTURY)
爪を切る女 牙彫根付
銘 保房　大正時代（20世紀前期）
The bespectacled lady with traditional hairstyle and kimono
incised with fan and auspicious ju characters, her obi decorated
with chrysanthemums against kikko design, seated and bending
forward to cut her toenails, details inlaid in tortoiseshell and
mother-of-pearl
4 cm. long
£2,000-3,000 $2,500-3,700
€2,300-3,400

For a similar carving of a man cutting his toenails by Yasuaki,

see Bernard Hurtig, Masterpieces of Netsuke Art: One
Thousand Favourites of Leading Collectors, (Tokyo and New
York, 1973), p. 108, no. 411

~16
A WOOD AND COLOURED IVORY NETSUKE OF EBISU
SIGNED KOKOKU AND SEALED KOKOKU, TOKYO,
EDO PERIOD (19TH CENTURY)
恵比寿 木牙彫根付
銘 光谷　江戸時代（19世紀）
Of smiling Ebisu, the god of wealth and fshermen, crouching
to lift a basket containing a red sea bream, details inlaid in gilt
copper
4 cm. high
£2,000-3,000 $2,500-3,700
€2,300-3,400

~17
A COLOURED IVORY NETSUKE OF HOTEI
SIGNED YASUTAKA ON AN INLAID MOTHER-OF-PEARL
TABLET, MEIJI PERIOD (LATE 19TH CENTURY)
布袋 牙彫根付
銘 保孝　明治時代（19世紀後期）
Hotei, the god of good fortune and happiness, seated, looking
slightly upward and smiling, his coloured robe decorated in
detail with various geometric designs, a reishi fungus in his
hands
3.1 cm. high
£3,000-5,000 $3,800-6,200
€3,400-5,600

12 JAPANESE WORKS OF ART

 THE TONY AND JOHANNA OEY COLLECTION
~18
A WOOD AND CORAL NETSUKE OF A PERSIMMON
BRANCH
SIGNED SHUBI (IWAO ARAMAKI, B. 1916),
SHOWA PERIOD (FIRST HALF OF 20TH CENTURY)
柿の小枝 木彫珊瑚象嵌根付
銘 秀美　昭和時代（20世紀前半）
The persimmons of coral and inlaid into a branch with
leaves carved of boxwood
4.2 cm. wide
£2,000-3,000 $2,500-3,700
€2,300-3,400

18

18A
TWO MODERN WOOD NETSUKE
MICHAEL WEBB (B. 1934) AND HIDEYUKI (B. 1941),
20TH CENTURY
蛙 ・ 鬼 木彫根付
マイケル・ウェブ / 英之　20世紀
The frst of a frog on a banana leaf, eyes inlaid in pale and
dark horn, signed in ukibori MW and inscribed Made at
Cropton nr York; the second a standing fgure of an oni
clutching a mask of Shoki to his chest, eyes inlaid in pale
and dark cow horn, signed on a gold tablet Hideyuki
4.1 cm. long and 6.9 cm. high respectively
(2)
£1,000-1,500 $1,300-1,900
€1,200-1,700

PUBLISHED:
The second, Barry Davies Oriental Art, Netsuke Through
Three Centuries, exhibition catalogue, (London, 1996),
no. 180, p. 152-3

18A

13
 THE PROPERTY OF A PRIVATE SWISS COLLECTOR
*19
A WOOD ARTICULATED MODEL OF A SNAKE
SIGNED MASAKAZU, MEIJI PERIOD (LATE 19TH CENTURY)
木製自在置物 蛇
銘 正一　明治時代（19世紀後期）
The wood snake constructed of multiple carved wood parts joined inside the body; fully
articulated with realistic movement, the jaw and tongue movable, teeth of inlaid cow
bone, the eyes inlaid dark cow horn
112 cm. long
£2,000-3,000 $2,500-3,700
€2,300-3,400

14 JAPANESE WORKS OF ART

 A PRIVATE SWISS COLLECTION

*20
A FINE CARVED WOOD OKIMONO IN THE FORM OF A SNAKE ENTWINED
AROUND A SKULL
SIGNED DAI NIHON SENTEI SUKEYUKI (IZUMI SUKEYUKI 1838–1920),
MEIJI PERIOD (LATE 19TH CENTURY)
頭骸骨に蛇 木彫置物
銘 大日本蟾亭亮之　明治時代（19世紀後期）
The realistically modelled skull with a snake entwined around it, the details fnely
carved and incised, the snake’s eyes inlaid with cut shell, the tongue movable
12 cm. high
£4,000-6,000 $5,000-7,500
€4,500-6,700

Izumi Sukeyuki lived in the town of Bamba in Omi Province; present day Shiga
Prefecture. He was a master carver of family Buddhist alters and on a visit to
Hida-Takayama he was impressed by the work of Sukemizu who carved okimono
and netsuke, and he then decided to begin carving similar works.

15
 *21
A FINE WOOD NETSUKE OF A SNAKE COILED AROUND
A SKULL
SIGNED MASAKATSU, YAMADA SCHOOL, EDO PERIOD
(EARLY 19TH CENTURY)
頭骸骨に蛇 木彫根付
銘 正勝　江戸時代（19世紀前期）
Carved as a snake coiled around and through a skull, eyes inlaid
in pale and dark cow horn
3.9 cm. high
£6,000-8,000 $7,500-10,000
€6,800-9,000

The netsuke carver Masakatsu was the son of Masanao I and

examples of his work are rare due to a small output because
of ill health. His work is considered to be very fne, working
almost entirely in boxwood and is particularly recognised for
his rendering of reptiles. For a very similar model in ivory by
Masakatsu see Eskenazi, Japanese Netsuke from the Carré
Collection, (London, 1993), no. 169, p. 139

*21A
A THREE-CASE LACQUER INRO WITH A SNAKE
AND SKULL
SEALED SHIN, EDO PERIOD (19TH CENTURY)
頭骸骨に蛇蒔絵印籠
銘 真　江戸時代（19世紀）
Decorated in raised lacquer (takamaki-e) and oil litharge with
a snake slithering through the eye socket of a skull, the design
continuing from the reverse with a sprig of fowers in gold
lacquer and inlaid cut shell, all against a black lacquer ground,
nashiji interiors, metal ojime carved and engraved with a snake
coiled around a stone
7.2 cm. high
£4,000-5,000 $5,000-6,200
€4,500-5,600

16 JAPANESE WORKS OF ART

 A PRIVATE SWISS COLLECTION

(reverse)

*22
A FOUR-CASE LACQUER INRO AND NETSUKE
SIGNED KOMA KYUHAKU SAKU, EDO PERIOD (19TH
CENTURY)
落葉に蟻蒔絵印籠
銘 古満休伯作　江戸時代（19世紀）
The inro decorated in gold, silver and black lacquer and
inlaid in lead against a dense sprinkled-gold lacquer
ground (nashiji), with a lively depiction of an army of
ants clambering over leaves and over the top of the inro,
fundame interiors and risers, attached lacquer manju
netsuke similarly decorated with leaves against a nashiji
ground, copper-gilt ojime pierced with fowers and leaves
7.2 cm. long (the inro)
4.5 cm. wide (the netsuke)
£4,000-6,000 $5,000-7,500
€4,500-6,700

17
 24

*23
A WOOD SASHI NETSUKE OF A WASP INSIDE A DOUBLE GOURD
SIGNED KOGETSU, EDO PERIOD (19TH CENTURY)
瓢箪に蜂 木彫差根付
銘 江月　江戸時代（19世紀）
A wasp inside a decaying double gourd entwined in gourd vine, eyes inlaid in
dark cow horn
15.5 cm. long
£4,000-5,000 $5,000-6,200
€4,500-5,600

For a discussion on the group of artists known as “the wasp carvers” who
included Ichimin, Sangetsu, Kogetsu and Gekko, see Raymond Bushell,
Collectors’ Netsuke, p. 83-84, with illustrations of variations on the subject
p. 100-102

*24
A WOOD NETSUKE OF A FROG ON A LOTUS POD
SIGNED HIDA SUKENAO ZO, EDO PERIOD (19TH CENTURY)
蛙と蓮の実 木彫根付
銘 ヒタ亮直造　江戸時代（19世紀）
The frog poised on a lotus pod, details fnely engraved, eyes inlaid in dark and
pale cow horn
4.4 cm. long
£2,000-3,000 $2,500-3,700
€2,300-3,400

23

18 JAPANESE WORKS OF ART

 A PRIVATE SWISS COLLECTION
*25
A WOOD NETSUKE OF A RAT
SIGNED TOMOKAZU, GIFU, EDO PERIOD
(EARLY 19TH CENTURY)
鼠と豆 木彫根付
銘 友一　江戸時代（19世紀前期）
The fnely detailed rat holding a bean pod and with its
tail coiled beneath forming the himotoshi, eyes inlaid in
dark cow horn and teeth inlaid in cow bone
4.9 cm. long
£2,500-3,000 $3,200-3,700
€2,900-3,400

*26
A WOOD AND INLAID METAL NETSUKE OF TWO
SNAILS AND ANTS
UNSIGNED, ATTRIBUTED TO GANBUN (MEBUN),
EDO PERIOD (EARLY 19TH CENTURY)
蝸牛に蟻 木彫象嵌根付
伝 眼文　江戸時代（19世紀前期）
A small snail slithers over the shell of a large snail,
whilst ants also climb over, the ants of applied gilt copper,
copper and silver, the wood lightly stained and with a
fne patina
3.7 cm. wide
£3,000-4,000 $3,800-5,000
€3,400-4,500

PROVENANCE:
H. Jafe Collection
George Lazarnick
Eskenazi, London
EXHIBITED:
Eskenazi, London, May 1990
PUBLISHED:
Eskenazi, Japanese Netsuke from the Lazarnick
Collection, (London, 1990), no. 38, p. 60-61

*27
A WOOD NETSUKE OF A HARE
SIGNED ON AN OVAL RESERVE HIDARI ISSAN,
IWASHIRO, EDO PERIOD (19TH CENTURY)
兎 木彫根付
銘 左一山　江戸時代（19世紀）
The hare seated with its head turned to the left, fnely
engraved hair details, eyes inlaid in dark cow horn
4.5 cm. long
£3,000-4,000 $3,800-5,000
€3,400-4,500

19
A GROUP OF JIZAI
The basic principle of Japanese armour is its fexibility, being composed of a great
number of small lacquered metal plates laced together in rows allowing freedom
of movement. It is this freedom which gave rise to the word jizai to describe jizai
okimono, or articulated ornaments. The subjects of the jizai okimono makers
are chiefy dragons, snakes, crustaceans, birds, insects - any such creatures
whose articulating feathers and scales protect them from harm, as do indeed the
articulating components of a Japanese armour.

*28
AN IRON ARTICULATED MODEL OF A BUTTERFLY
SIGNED MUNEYOSHI (TOMIKI MUNEYOSHI) (UNDER THE LEFT SMALLER
WING), TAISHO - EARLY SHOWA PERIOD (EARLY 20TH CENTURY)
自在置物 蝶
銘 宗好　大正 - 昭和時代（20世紀前期）
The iron butterfy constructed of multiple incised plates; with articulated and movable
legs, wings and antennae
11.5 cm. wide (wingspan)
£2,000-3,000 $2,500-3,700
€2,300-3,400

Tomiki Muneyoshi was adopted at the age of three by the master Kyoto artist Takase
Kozan.

*29
A COPPER ARTICULATED MODEL OF A MANTIS
SIGNED MUNENOBU (UNDER THE ABDOMEN), MEIJI - TAISHO PERIOD (LATE
19TH - EARLY 20TH CENTURY)
自在置物 蟷螂
銘 宗信　明治 – 大正時代（19世紀後期 - 20世紀前期）
The copper mantis constructed of multiple hammered and incised plates; with articulated
and movable head, legs, wings and antennae, the eyes inlaid in shakudo
15.2 cm. long (from eye to tip of back leg)
£3,000-4,000 $3,800-5,000
€3,400-4,500

20 JAPANESE WORKS OF ART

 A PRIVATE SWISS COLLECTION

(side view)

21
Lots 30-32, 34 and 38 are works by the artist Tanaka Tadayoshi (? - 1958), who
used the signature Muneyoshi and is known for his articulated iron fgures of the
Taisho and early Showa periods. Tadayoshi apprenticed in the Kyoto workshop of
Takase Kozan (1869-1934), who directed the production of ornamental iron pieces for
both domestic and international markets.

A group of articulated models of insects and a model of a snake by the same artist
were sold in Christie’s New York, 15 April 2016, lots 70 and 71, sale 11930.

*30
A SILVERED COPPER ARTICULATED MODEL
OF A STAG BEETLE
SIGNED MUNEYOSHI (TO THE ABDOMEN),
TAISHO - SHOWA PERIOD (EARLY 20TH CENTURY)
自在置物 鍬形虫
銘 宗義　大正 - 昭和時代（20世紀前期）
The silvered copper beetle constructed of multiple hammered and incised plates; with
articulated and movable legs, wings, antennae and mandibles
8 cm. long (from tip of mandible to wingtip)
£2,000-3,000 $2,500-3,700
€2,300-3,400

*31
A COPPER ARTICULATED MODEL OF A HORNET
SIGNED MUNEYOSHI (UNDER THE LEFT WING), TAISHO - SHOWA PERIOD
(EARLY 20TH CENTURY)
自在置物 胡蜂
銘 宗義　大正 - 昭和時代（20世紀前期）
The copper hornet constructed of multiple hammered and incised plates; with
articulated and movable legs, wings, antennae and extending stinger, the eyes inlaid in
shakudo and details inlaid in gilt metal
5.1 cm. long (from antenna to wingtip)
£2,500-3,000 $3,200-3,700
€2,900-3,400

*32
A SHIBUICHI ARTICULATED MODEL
OF A LONG-HORNED BEETLE
SIGNED MUNEYOSHI (UNDER THE INNER, RIGHT WING), TAISHO-SHOWA
PERIOD (EARLY 20TH CENTURY)
自在置物 髪切虫
銘 宗義　大正 - 昭和時代（20世紀前期）
The shibuichi long-horned beetle constructed of multiple hammered and incised
plates; with articulated and movable legs, wings and antennae, eyes inlaid in shakudo
6.5 cm. long (from top of head to tip of antenna whilst folded back across body)
£1,500-2,000 $1,900-2,500
€1,700-2,200

22 JAPANESE WORKS OF ART

A PRIVATE SWISS COLLECTION

23
 *33
AN IRON ARTICULATED MODEL OF A CRAB
MEIJI PERIOD (LATE 19TH CENTURY)
自在置物 蟹
明治時代（19世紀後期）
The russet-iron crab constructed of multiple hammered and
incised plates; with articulated and movable legs and claws
Approx. 4.3 cm. wide
£600-800 $750-1,000
€680-900

(alternate view)

*34
A SILVER ARTICULATED MODEL OF A CICADA
SIGNED MUNEYOSHI (UNDER THE WING), TAISHO-
SHOWA PERIOD (EARLY 20TH CENTURY)
自在置物 蝉
銘 宗義　大正 - 昭和時代（20世紀前期）
The silver cicada constructed of multiple hammered and incised
plates; with articulated and movable wings and legs
5.7 cm. long (from antenna to wing tip)
£2,000-3,000 $2,500-3,700
€2,300-3,400

24 JAPANESE WORKS OF ART

*35
A COPPER POWDER FLASK IN THE FORM OF A CICADA
MEIJI PERIOD (LATE 19TH CENTURY)
蝉形火薬入れ
明治時代（19世紀後期）
The well patinated copper fask in the form of a cicada,
hammered and incised details, eyes inlaid in gilt, the head
hinged and opening to reveal an inner compartment
7.3 cm. long
£1,000-1,500 $1,300-1,900
€1,200-1,700

(reverse)

*36
TWO ARTICULATED COPPER MODELS OF CRABS
ONE SIGNED INOUE ZO (ON AN INLAID SILVER TABLET),
MEIJI PERIOD (LATE 19TH CENTURY)
自在置物 蟹 2点
銘 井上造・無銘　明治時代（19世紀後期）
Each copper crab constructed of multiple hammered and
incised plates; with articulated and movable legs, claws and
antennae
7.2 cm. wide each approx
(2)
£2,000-3,000 $2,500-3,700
€2,300-3,400

25
*37
A SILVERED-COPPER ARTICULATED MODEL OF A SPINY
LOBSTER (ISE EBI)
MEIJI PERIOD (LATE 19TH CENTURY)
自在置物 伊勢海老
明治時代（19世紀後期）
The silvered-copper spiny lobster constructed of multiple
hammered and incised plates joined inside the body; with
articulated and movable legs, abdomen, antennae, eyes and
swimmerets
42.3 cm. long (tip of antennae to tip of tale)
£4,000-6,000 $5,000-7,500
€4,500-6,700

26 JAPANESE WORKS OF ART

 A PRIVATE SWISS COLLECTION

*38
A COPPER ARTICULATED MODEL OF A PRAWN
SIGNED MUNEYOSHI (UNDERNEATH THE TAIL),
TAISHO - SHOWA PERIOD (EARLY 20TH CENTURY)
自在置物 海老
銘 宗義　大正 - 昭和時代（20世紀前期）
The copper prawn constructed of multiple hammered and
incised plates joined inside the body; with articulated and
movable legs, abdomen, antennae and swimmerets, the eyes
inlaid in shakudo
14.6 cm. long (tip of head to tip of tail)
£4,000-5,000 $5,000-6,200
€4,500-5,600

This is the work of the metal artist, Tanaka Tadayoshi

(? - 1958), who used the signature Muneyoshi and is known
for his articulated iron fgures of the Taisho and early Showa
periods. Tadayoshi apprenticed in the Kyoto workshop of
Takase Kozan (1869-1934), who directed the production of
ornamental iron pieces for both domestic and international
markets.

A group of articulated models of insects and a model of a

snake by the same artist were sold in Christie’s New York,
15 April 2016, lots 70 and 71, sale 11930.

27
 *39
A FINE LACQUER KODANSU [INCENSE CABINET]
DEPICTING SCENES OF NIKKO
EDO - MEIJI PERIOD (19TH CENTURY)
日光東照宮図蒔絵香箪笥
江戸 - 明治時代（19世紀）
The rectangular cabinet with rounded corners and hinged door
opening to reveal three small drawers; decorated overall in gold,
silver, black and red hiramaki-e, takamaki-e, togidashi, kirikane,
kinpun and gyobu nashiji on a black ground, with various aspects
of Nikko - the door depicting the Toshogu shrine, a complex
of multiple buildings including Gojunoto [fve-story pagoda],
Ishidorii [Stone Torii Gate], the Yomeimon Gate and Gohonsha
[Main Shrine], framed with a diaper ground with auspicious
objects, the top panel with the sacred Shinkyo Bridge over the
cascading Daiya River, trees and mountains amongst clouds,
the side panels with other scenes of the Daiya River before
mountains and the back panel with the Yudaki [Yu Waterfall], the
interior of the door with Uramitaki Falls, three drawers with birds
in fight, the interior in a fne nashiji, the shaped feet in gyobu-
nashiji, metal fttings inlaid in gold nunomezogan with karakusa
scrolls and a diaper design with auspicious objects, a ftted key,
and a wood storage box
27.8 cm. long
£20,000-30,000 $25,000-37,000
€23,000-34,000

PROVENANCE:
A private French collection formed in the 1930’s

28 JAPANESE WORKS OF ART

 (interior)

This lavish, elaborately decorated cabinet depicts the beautiful

and well-known sites in Nikko, Tochigi Prefecture. The Nikko
Toshogu, depicted on the front door, enshrines Tokugawa
Ieyasu (1543-1616), the founder of the Tokugawa shogunate
that ruled Japan for over 250 years. It was initially built in 1617
and enlarged during the time of the third shogunate Iemitsu
(1604-1651), and is now part of the UNESCO World Heritage
Site, ‘Shrines and Temples of Nikko’. The Yomeimon Gate
is one of the most renowned architectural structures in the
Toshogu shrine and is designated a National Treasure. The
gate is decorated with around four hundred carvings and is
also called Higurashi mon meaning the gate at which people
can look all day and never tire. The Gojunoto is designated an
Important Cultural Property.

30 JAPANESE WORKS OF ART

31
 (suzuribako interior)

40
A FINE LACQUER SUZURIBAKO [WRITING BOX]
SIGNED OGETSU SAKU, MEIJI PERIOD
(LATE 19TH CENTURY)
大和雲図蒔絵硯箱
銘 鴨月作　明治時代（19世紀後期）
The rectangular box with fush-ftting cover decorated in gold, silver and red hiramaki-e,
takamaki-e, kirikane, togidashi-e and nashiji, with a poem inlaid in fnely-carved mother-
of-pearl over a design of clouds, the interior of the cover decorated with young pine
trees amongst hills, ftted inner tray with silver waterdropper in the form of a Genji mon,
slate inkstone with gold lacquer rims, a knife, paper pricker and inkstick holder with
fnely engraved silver fttings and two brushes; each decorated with cherry blossoms
and nashiji, the box and cover with silver rims, ftted black lacquer storage box signed
Ogetsu saku
26.2 x 23.8 x 5 cm.
£12,000-18,000 $15,000-22,000
€14,000-20,000

The calligraphy is part of a poem by Motoori Norinaga

(1730-1801): Shikishima no / yamato / kokoro o

The complete poem reads: Shikishima no yamato gokoro o hito towaba, asahi ni niou
yamazakura bana

[If one should ask what the heart of a true Japanese is, I would point to the wild cherry
fower glowing in the sun]

32 JAPANESE WORKS OF ART

33
 (suzuribako interior)

41
A LACQUER SUZURIBAKO [WRITING BOX]
MEIJI PERIOD (LATE 19TH CENTURY)
山水蒔絵硯箱
明治時代（19世紀後期）
The rectangular box with overhanging cover decorated in gold, silver and red
hiramaki-e, takamaki-e, kirikane and dense nashjii with a thatched house beside a
waterfall in a mountainous landscape amongst pine and blossoming cherry trees,
the interior of the cover with pine and maple trees beside a waterfall, the interior with
autumn grasses and plants against dense nashiji, silver waterdropper in the form of
maple leaves on water, details highlighted in gilt, slate inkstone with gold lacquer rims,
two matching brushes, knife and a paper pricker; each decorated in nashiji and with
fnely engraved silver fttings, the box and cover with silver rims; ftted black lacquer
storage box sealed Koshida Mitsugu (no) in and Bizan
27.2 x 24.2 x 4.4 cm.
£8,000-12,000 $10,000-15,000
€9,000-13,000

34 JAPANESE WORKS OF ART

35
 (suzuribako interior)

*42
A SUZURIBAKO [WRITING BOX]
AND MATCHING RYOSHIBAKO
[DOCUMENT BOX]
EDO PERIOD (19TH CENTURY)
扇面蒔絵硯箱・料紙箱
江戸時代（19世紀）
Both boxes (see ryoshibako next page) decorated in gold, silver, red and black lacquer
in various techniques including hiramaki-e, takamaki-e, togidashi, kirikane, nashiji and
inlaid in silver and gilt silver, the exterior with open and closed fans depicting various
designs of plum, iris, peony, dandelions, autumn grasses and fowers by a stream,
landscapes of thatched houses, temple pavilions, waterfalls and mountains, various
birds including cranes, herons, cockerels and hens, the fans scattered amongst
shinobugusa ferns on a nashiji ground, the interiors depicting thatched houses in a
garden with cherry, maple and pine by a stream, mountains in the distance against
a nashiji ground, the writing box ftted with two inner trays containing a silver
waterdropper cast and carved with cranes amongst scrolling clouds, ink stone, two
brushes in nashiji, knife, a paper pricker and ink stick holder decorated with cherry
fowers against nashiji with gilt silver fttings engraved with fower and scrolling foliage
on a nanako ground, silver rims; with ftted wood storage boxes
27.2 x 24 x 5 cm. (writing box), 44.2 x 34 x 16 cm. (document box)
(2)
£30,000-40,000 $38,000-50,000
€34,000-45,000

36 JAPANESE WORKS OF ART

37
(ryoshibako interior)

The Fan in Japanese Art

The opened shape of the fan in the following lots (42-45) is
known as suehirogari and associated with prosperity in Japan.
With the variety of fan shapes and the diferent motifs that can
be depicted, the design of scattered fans was very popular in
Japan and used in various designs of lacquerware.

38 JAPANESE WORKS OF ART

39
Courtesy of Shibusawa Eiichi Memorial Museum

*43
A PRESENTATION RYOSHIBAKO [DOCUMENT BOX]
AND MATCHING BUNDAI [WRITING TABLE]
UEMATSU HOBI (1872-1933) AND FUNABASHI SHUMIN
(1859-AFTER 1914), MEIJI PERIOD (EARLY 20TH CENTURY)
扇面蒔絵料紙箱・文台
植松抱美・船橋舟珉　明治時代（20世紀前期）
The rectangular document box with rounded corners, decorated
in gold, silver and coloured lacquer in various techniques
including hiramaki-e, takamaki-e, togidashi, kirikane, and inlaid in
gold, silver, shakudo and mother-of-pearl on a nashiji ground, the
exterior with open and closed fans depicting various fowers and
trees, cranes and landscapes, the lower fan with a rock of inlaid
shakudo with fnely applied calligraphy, the interior similarly
decorated with fans on a gold lacquer ground with sparse nashiji,
silver rims; the writing table decorated en suite with shakudo
fttings inlaid in gold with foliage, applied patinated silver rims
to legs, ftted wood storage boxes, with calligraphic scroll by
Maeda Kosetsu (1841-1916)
42.2 x 33.3 x 16.3 cm (document box);
36.9 x 61.1 x 12.4 cm. (writing table)
(3)
£30,000-40,000 $38,000-50,000
€34,000-45,000

PROVENANCE:
Shibusawa Eiichi (1840-1931)

40 JAPANESE WORKS OF ART

41
According to the accompanying document by Maeda Kosetsu
(1841-1916), a calligrapher and a board member of The Imperial
Museum (precursor of the Tokyo National Museums) and
the Ryuchikai (precursor of the Japan Art Association), dated
January 1911, this set was made for a special order to celebrate
the 70th year of Viscount Shibusawa Eiichi. The original design
was by Kishi Kokei (1839-1922) and the lacquer work was
executed by Uematsu Hobi (1872-1933) and Funabashi Shumin
(1859-after 1914).

Shibusawa Eiichi (1840-1931) was a leading fgure in the

development of Japan’s modern society and is known as the
“father of Japanese capitalism”. He was born in a farmhouse
in Chiaraijima Village, present day Saitama Prefecture, and
grew up helping the family business of farming and selling
indigo. He then moved to Kyoto and served under Hitotsubashi
Yoshinobu (later Tokugawa Yoshinobu; 1837-1913, the last
shogun of the Tokugawa shogunate). At the age of 27, he
visited Europe and the Paris International Exposition in
1867 as a shogunal retainer to Tokugawa Akitake. This visit
to Europe gave him a deep insight into modern European
society which infuenced his later activities towards Japan’s
industrial and economic development. After his return to Japan
he established Shokokaisho, the frst joint stock company in
Japan, and then served in the Ministry of Finance of the new
Meiji Government introducing economic reforms. After leaving
the government he became president of First National Bank,
the frst modern bank in Japan. He was also known to support
social welfare, education and private-sector diplomacy and
contributed to the founding of hospitals, schools, universities
and charitable organisations including the Japanese Red Cross
Society. For more about Shibusawa Eiichi, go to the website of
Shibusawa Eiichi Memorial Foundation:

http://www.shibusawa.or.jp/english/eiichi/biography.html

42 JAPANESE WORKS OF ART

43
The open shape of fans (suehirogari) symbolises prosperity, The artists involved in this work are:
which would be an appropriate motif for celebrating Kishi Kokei was a Teishitsu Gigei-in [Imperial Artist] who was
Shibusawa’s longevity. The designs in the fans were active mainly during the Meiji period. He is known to have
thoughtfully selected; Shibusawa is known to have revered the contributed the resurgence of art and crafts in Japan.
Chinese poet Tao Yuanming (Japanese: To Enmei; 365-427).
Shibusawa owned a house and a large garden in a tranquil Uematsu Hobi was the son of the Tokyo lacquer artist Uematsu
area of Asukayama and a calligraphic work of Tao Yuanming’s Homin (1845-1902). They were from a long line of lacquerers
poem by the last shogun Tokugawa Yoshinobu was hung on working in a traditional style.
the wall of one room. Funabashi Shumin was a pupil of Uematsu Homin. He won a
silver medal at the Louisiana Purchase Exhibition in 1904. The
The ryoshibako portrays Tao Yuanming’s poetry as well last recorded data about the artist is a bronze medal he won at
as the beauty of changing seasons. One fan on the cover an exhibition in Tokyo in 1914.
depicts kashiwa leaves [Japanese Emperor Oak] and pine
needles. Kashiwa was the family crest of Shibusawa family For an Imperial presentation box (tebako) by Funabashi Shumin
and pine symbolises longevity and prosperity. Another fan see T. Goke, J. Hutt and E. W. Wrangham, Meiji no takara:
has chrysanthemum, the fower loved by Tao Yuanming. One Treasures of Imperial Japan, Lacquer (London: Kibo Foundation,
fan on the inside of the cover with calligraphy of a poem by 1995), vol. 2, no. 230 and Jan Dees, “Japanese Imperial
Tao Yuanming. The snow-capped Mount Fuji on another fan Presentation Boxes 1900-1930”, Oriental Art, vol. 43, no. 1
symbolises the integrity of Shibusawa. The design of cranes (1997), fg. 5, p. 4.
and pine, bamboo and plum on the side of the box is another
connotation of longevity.

The bundai shows another garden scene to the central fan

with a famous pine tree visited by generations of Tokugawa
shoguns. Snow-covered, the pine again symbolises longevity.
Two famous sacred mountains are depicted, Mount Fuji on the
ryoshibako and Mount Tsukuba on the bundai.

44 JAPANESE WORKS OF ART

(ryoshibako interior)

45
44
A THREE-TIERED LACQUER JUBAKO [FOOD CONTAINER]
EDO PERIOD (17TH CENTURY)
扇朝顔図蒔絵重箱
江戸時代（17世紀）
The three-tiered circular box and cover with ftted inner tray
decorated in gold hiramaki-e, takamaki-e and nashiji and
inlaid with nuggets of silver on a black ground with open fans
depicting autumn fowers, plum, bamboo and a fshing net by a
stream, all amongst morning glories, the interior in red lacquer,
fundame rims
25.2 cm. high
£1,000-1,500 $1,300-1,900
€1,200-1,700

PUBLISHED:
Mike Dean et. al., Nihon no Shikki, Japanese Lacquer - an
Exposition by M & H Dean, (Kyoto, 1984), no. 6
Barry Davies Oriental Art, Japanese Lacquer Nambokucho to
Zeshin, The Collection of Mike and Hiroko Dean, (London, 2002),
p. 49-51, cat. no. 12

For similar jubako, see: Henry L. Joly, W.L. Behrens Collection

Part II, Lacquer and Inro, (Repr. New York, 1966; original edition
London, 1912), no. 203, pl. IX and The Metropolitan Museum of
Art, New York, accession number 2015.500.2.41a–d, go to:
http://www.metmuseum.org/art/collection

46 JAPANESE WORKS OF ART

 THE MIKE AND HIROKO DEAN COLLECTION

45
A FOUR-CASE LACQUER INRO WITH FANS IN A STREAM
SIGNED KOMA YASUTADA SAKU, EDO PERIOD (LATE
18TH – EARLY 19TH CENTURY)
扇流蒔絵印籠
銘 古満安匡作　江戸時代（18世紀後期 - 19世紀前期）
Decorated in gold, silver and coloured hiramaki-e, takamaki-e,
togidashi, heidatsu and inlaid in mother-of-pearl on a kinfun-ji
ground with three open fans in a stream, each fan depicting
cranes and pine, sailing ships and the sun, and various mon
amongst clematis and clouds, fundame interiors and risers
9 cm. long
£2,000-3,000 $2,500-3,700
€2,300-3,400

PUBLISHED:
Mike Dean et. al., Nihon no Shikki, Japanese Lacquer - an
Exposition by M & H Dean, (Kyoto, 1984), no. 96
Barry Davies Oriental Art, Japanese Lacquer Nambokucho to
Zeshin, The Collection of Mike and Hiroko Dean, (London, 2002),
p. 263-264, cat. no. 106

47
 (reverse)

46
A FINE LACQUER TONKOTSU [TOBACCO CONTAINER]
SIGNED ZESHIN (SHIBATA ZESHIN, 1809-1891), EDO
PERIOD (19TH CENTURY)
布袋唐子図とんこつ
銘 是真（柴田是真, 1809-1891）　江戸時代（19世紀）
The dark ishime [rough stone fnish] ground decorated with
Hotei in gold and silver takamaki-e, the fgure seated under a
willow tree looking at a small bird being chased by two karako
[Chinese boys], the trunk of the tree in bold ishime takamaki-e
of gold and brown, the fronds in brown lacquer, the bird in gold
and silver takamaki-e, the undulations of the ground in harigaki
(incised in detail with a needle-like sharp instrument), the
signature on the base harigaki, the cover of plain bamboo
5.8 cm. long
£8,000-10,000 $10,000-12,000
€9,000-11,000

PUBLISHED:
Mike and Hiroko Dean, Nihon no Shikki Japanese Lacquer - an
Exposition (Kyoto, 1984), no. 77
Barry Davies Oriental Art, Japanese Lacquer Nambokucho to
Zeshin, The Collection of Mike and Hiroko Dean, (London, 2002),
p. 279-280, no. 114

48 JAPANESE WORKS OF ART

 THE MIKE AND HIROKO DEAN COLLECTION

(reverse)

47
A FOUR-CASE LACQUER INRO WITH BROCADE DESIGN
MOMOYAMA - EDO PERIOD (LATE 16TH - 17TH CENTURY)
錦織物蒔絵印籠
桃山 - 江戸時代（16世紀後期 - 17世紀）
Decorated in gold, silver and coloured lacquer hiramaki-e and
inlaid in mother-of-pearl on a brown ground with a brocade
design, nashiji interiors and risers, fundame rims, a bead ojime
6.9 cm. long
£1,000-1,500 $1,300-1,900
€1,200-1,700

PROVENANCE:
W. W. Winkworth collection
E. A. Wrangham collection, no. 1654

49
 (reverse)

48
A THREE-CASE LACQUER INRO WITH A KARASHISHI
[LION DOG] AND DRAGON
EDO PERIOD (18TH CENTURY)
獅子龍蒔絵印籠
江戸時代（18世紀）
Decorated in gold and coloured hiramaki-e, takamaki-e, kirikane
and inlaid in gold and shibuichi on a black ground, depicting a
karashishi with inlaid glass eyes lying on a clif to one side and
a dragon amongst scrolling clouds to the other, both bordered
by tsuishu [carved red lacquer] with stylised fowers, fundame
interiors and risers, attached tsuishu netsuke in the form of a
plum fowerhead decorated with a Chinese fgure on a boat, a
bead ojime
6.9 cm. long
£2,500-3,000 $3,200-3,700
€2,900-3,400

PROVENANCE:
E. Gilbertson Collection
H. C. Cliford Collection, sold 1947
G. G. Davies Collection, sold 1949

50 JAPANESE WORKS OF ART

 THE MIKE AND HIROKO DEAN COLLECTION

(reverse)

49
A THREE-CASE LACQUER INRO WITH KARASHISHI
[LION DOGS]
MOMOYAMA - EDO PERIOD (LATE 16TH - EARLY 17TH
CENTURY)
獅子牡丹蒔絵印籠
桃山 - 江戸時代（16世紀後期 - 17世紀前期）
The cloth ground lacquered in black and red and decorated
in gold hiramaki-e, takamaki-e and kirikane and inlaid in silver,
shakudo and mother-of-pearl with a karashishi [lion dog] and
peony on each side, framed by karakusa scrolls on a black
ground, nashiji interiors and risers, fundame rims, himotoshi
[cord runners] in silver
6 cm. long
£1,200-1,500 $1,500-1,900
€1,400-1,700

PUBLISHED:
Mike Dean et. al., Nihon no Shikki, Japanese Lacquer - an
Exposition by M & H Dean, (Kyoto, 1984), no. 91
Barry Davies Oriental Art, Japanese Lacquer Nambokucho to
Zeshin, The Collection of Mike and Hiroko Dean, (London, 2002),
p. 222-223, cat. no. 86

For a similar example (possibly by the same maker), see Henri

L. Joly, W.L. Behrens Collection Part II Lacquer and inro, (London
1912), no. 53, pl. XIII and Pierre-F. Schneeberger, The Baur
Collection, Geneva: Japanese Lacquer, (Geneva, 1984), cat. no. 149

51
 51 (reverse)

50 51
A FOUR-CASE LACQUER INRO WITH A FLOWER POT A FOUR-CASE LACQUER INRO WITH A CARRIAGE
BESIDE A TSUITATE [SCREEN] EDO PERIOD (LATE 17TH CENTURY)
SIGNED KOMA KYUHAKU SAKU, EDO PERIOD (LATE 18TH
伯夷叔斉蒔絵印籠
– EARLY 19TH CENTURY)
江戸時代（17世紀後期）
衝立に梅蒔絵印籠 Decorated in gold hiramaki-e and takamaki-e and inlaid in lead
銘 古満休伯作　江戸時代（18世紀後期 - 19世紀前期） and mother-of-pearl on a black ground with a two-wheeled cart
Decorated in gold, silver, red and black hiaramaki-e, takamaki-e to one side and a basket containing books, ferns and twigs to the
and sumi-e togidashi and inlaid in mother-of-pearl on a black other, karakusa scrolls to the edges, nashiji interiors and risers,
ground, with a plum in a pot beside a tsuitate, nashiji interiors fundame rims; with a tsuishu bead ojime with peony
and risers, fundame rims 6.7 cm. long
7.8 cm. long £2,000-3,000 $2,500-3,700
£2,000-3,000 $2,500-3,700 €2,300-3,400
€2,300-3,400
PROVENANCE:
W. L. Behrens Collection, no. 827
PUBLISHED:
Henry L. Joly, W. L. Behrens Collection Part II, Lacquer and Inro,
(Repr. New York, 1966; original edition London, 1912), no. 827, pl. XLI
Mike Dean et. al., Nihon no Shikki, Japanese Lacquer - an
Exposition by M & H Dean, (Kyoto, 1984), no. 104
Barry Davies Oriental Art, Japanese Lacquer Nambokucho to
Zeshin, The Collection of Mike and Hiroko Dean, (London, 2002),
p. 231-233, cat. no. 90

52 JAPANESE WORKS OF ART

 THE MIKE AND HIROKO DEAN COLLECTION

52 (reverse)

This inro refects one of the most signifcant trends in lacquer

design during the early and middle Edo period, the revival of
the classical Rimpa tradition initiated by Hon’ami Koetsu and
continued by various artists.

There is no known Japanese rendition of a Japanese court

carriage similar to this canopied example and therefore it is
possible that it could be based on a Chinese or European
attempt at a depiction of a Japanese carriage. An illustration
of a cart similar to this can be found in the late 18th century
European publication, Drake’s Voyages (see image left).

The basket of books and fern are possibly references to an early

Chinese poem or Boyi and Shuqi, two morally upright brothers
lived in China at the time of the transition between the Shang
dynasty (c. 1600-1046 BC) and the Zhou dynasty (c. 1046-256
BC) and retired to the Shouyang Mountain.

53
Gordon Bunshaft in front of Yale Beinecke Library.
Image courtesy SOM / © Alburtus – Yale News Bureau

*52
A HANIWA MODEL OF A HORSE
KOFUN PERIOD (CIRCA 6TH CENTURY)
埴輪 馬
古墳時代（6世紀頃）
Of low-fred clay, modelled as a horse standing foursquare
with short, conical tail, long, quadrangular head, extended
oval-section ears and upright demilune mane, moulded with a
bridle on the head, reins, saddle and decorative rear harness, all
embellished with raised circular bosses, and modelled with a
chest harness hung with bells
93 cm. long; 89 cm. high
£30,000-50,000 $38,000-62,000
€34,000-56,000

PROVENANCE:
The Museum of Modern Art (MoMA) Corporation, New York
Gordon and Nina Bunshaft

The results of the Report on Thermoluminescence Analysis

no. 581s95 obtained by the Research Laboratory for
Archaeology and the History of Art, Oxford University, are
consistent with the dating of this lot.

54 JAPANESE WORKS OF ART

FORMER PROPERTY OF THE MUSEUM OF MODERN ART CORPORATION, NEW YORK

55
Haniwa of armoured warriors and horses of the 5-6th century
AD indicate the military power of the ancestors of the Imperial
line and show that the horse must have played a major role
in the unifcation struggles and the rise of the Yamato clan.
Interestingly the Kojiki records that a pair of horses was sent
as a gift from Korea to the Emperor Ojin (c. 300) together with
Korean grooms. Although archaeology tells us that there were
wild horses in Japan long before the Kofun period, it is believed
that they were never previously domesticated. That horses
and riding accoutrements were brought from China and Korea
around the end of the 4th and beginning of the 5th century
is attested by tomb contents which include both imported
objects and objects made in Japan virtually identical to those
found in Korean mounds of the same period. Representations
of haniwa of horses are often found sculpted in such detail
as to enable the positive identifcation of metal fragments of
horse trappings found buried in the stone chambers of some
tombs.

Gordon Bunshaft (1909-1990) was one of the most infuential

architects of the 20th century, designing modernist
skyscrapers, museums and libraries. He joined the architecture
frm Skidmore, Owings & Merrill in 1937 and spent 42 years
there, gaining an immense international reputation of his own.
He brought modern architecture to America in the 1950s with
landmark buildings in New York including Lever House, One
Chase Manhattan Plaza and the Pepsi-Cola Building.

In 1943 Gordon Bunshaft married Nina Wayler (d. 1994). Avid

collectors of modern art, the couple amassed an important
collection including works by Joan Miró, Alberto Giacometti,
Jean Dubufet, Henry Moore and Isamu Noguchi, amongst
others. They lived in Manhattan House, New York, which Mr
Bunshaft’s frm had helped to design, and in East Hampton
in the only house Bunshaft ever designed. From 1975 Gordon
Bunshaft was a trustee of the Museum of Modern Art, New
York (MoMA) and in 1984 the couple pledged their entire
modern art collection, along with the proceeds from the sale
of the East Hampton house to the museum and the bequest
was fulflled upon Nina’s death in 1994. This haniwa horse was
also gifted to the museum from the estate of Nina Bunshaft
to be sold to raise further funds for further acquisitions in the
Department of Painting and Sculpture.

56 JAPANESE WORKS OF ART

57
 *53
A LACQUER DAI-KOGO [LARGE INCENSE BOX]
MUROMACHI PERIOD (16TH CENTURY)
牡丹図鎌倉彫大香合
室町時代（16世紀）
The large circular box with fushftting cover, deeply carved in the Kamakura-bori
technique in red and gold lacquer over a black lacquer, with peony and foliage, the side
with bands of key fret design, the interior and base in black lacquer, the base with later
inscription Ryusoin, Kyohan dai [at the time of Kyohan], shuho [repair], nushi [lacquerer]
Toda Katsuo
21.3 cm. diam.
£15,000-20,000 $19,000-25,000
€17,000-22,000

PROVENANCE:
Ryusoin temple, Shizuoka Prefecture

The Kamakura-bori technique was named not after the Kamakura period (1185-1333),
but after the city of Kamakura, the capital city of the shogun at that time. As Chinese
carved lacquers were both highly prized and expensive at that time, the Japanese
devised a technique of carving the design into wood and then lacquering it over with
a layer of black, then a layer of red lacquer.

Although the inscription to the base is worn, the inscription includes the characters
of the 23rd head priest of the Ryusoin temple, Kyohan (act. 1790 - 1803). The
temple had a major fre in the late 18th century and in the late 1790s they started
restoring the damaged temple and it is likely that this early dai-kogo was acquired
for commemorating this restoration. This type of dai-kogo are usually used in special
ceremonies such as the appointment of a new priest.

58 JAPANESE WORKS OF ART

59
THE ELEGANCE OF NEGORO
Negoro-nuri originally referred only to lacquerware produced at the Negoro temple, and this use of the word Negoro as a
term of approbation demonstrates just how highly lacquerwares made during the temple’s heyday were esteemed for their
combination of utility and beauty. Put at its simplest, the chief characteristics of Negoro is the ability to withstand frequent use,
the beauty of form and the manner in which this beauty is enhanced by the combination of an undercoat of black lacquer and a
fnal coat of red lacquer.

The objects generally described as Negoro are of many diferent types, but all of them were designed for actual day-to-day
use. Negoro lacquer was never produced solely for aesthetic admiration and is never adorned with excessive decoration that
would compromise its functionality. Rather, it is characterised by simplicity and clarity. Red and black lacquer creates an
ever-changing beauty that can only be brought out through use and is transfgured by the passage of time. Features such as
wear, cracks, damage, splits, traces of the brush used for lacquering, and even faws in both wood and textile covering due
to shrinkage caused by dryness can all help to enhance the inefable, harmonious beauty of the surface of Negoro lacquer.
It is precisely because of this sense of a mature beauty enhanced by the passing of the centuries that Negoro lacquer is so
appreciated by tea masters and admired by people of refned taste.

*54
A NEGORO FOOTED BASIN
MOMOYAMA PERIOD (LATE 16TH CENTURY)
根来足付盥
桃山時代（16世紀後期）
Of turned and assembled wood with faring sides on three
scroll-shaped bracket feet, the red lacquer worn in places
revealing the underlayer of black lacquer, the underside and rims
in black lacquer, with a ftted wood box
44.8 cm. diam.
£22,000-28,000 $28,000-35,000
€25,000-31,000

PUBLISHED:
Miho Museum and Kawada Sadamu ed., Shuurushi Negoro
Chusei ni saita hana [Negoro: Eflorescence of Medieval
Japanese Lacquerware], (Tokyo, 2013), p. 225, no. 238

For further examples of footed basins, see:

Miho Museum and Kawada Sadamu ed., Shuurushi Negoro

Chusei ni saita hana [Negoro: Eflorescence of Medieval
Japanese Lacquerware], (Tokyo, 2013), p. 216-226, 228-229
Kawada Sadamu, Negoro Lacquer, (Kyoto, 1985), p. 134-149
Hosomi Kokoan, Negoro no bi [Beauty of Nogoro], (Osaka,
1966), p. 37, 41, 44

60 JAPANESE WORKS OF ART

61
THE PROPERTY OF A TRUST
55
A NEGORO LOBED TRAY
MUROMACHI PERIOD (LATE 16TH CENTURY)
根来輪花盆
室町時代（16世紀後期）
Of turned and assembled wood on a high foot, the rim with six For similar examples, see:
lobes, the red lacquer slightly worn away in places, the foot and
underside in black lacquer, with a silk pouch and ftted wood box Miho Museum and Kawada Sadamu ed., Shuurushi Negoro
22 cm. wide Chusei ni saita hana [Negoro: Eflorescence of Medieval
Japanese Lacquerware], (Tokyo, 2013), p. 193, 197
£7,000-9,000 $8,800-11,000
€7,900-10,000 Kawada Sadamu, Negoro Lacquer, (Kyoto, 1985), p. 102-103

THE PROPERTY OF A LADY

56
A RAKU CHAWAN [TEABOWL]
EDO PERIOD (17TH CENTURY)
黒楽茶碗
江戸時代（17世紀）
The deep cylindrical bowl on ring foot with undulating rim,
decorated overall in a thick black glaze, the ring foot with three
kiln marks, shallow depression to the interior of base
10.3 cm. diam., 8.7 cm. high
£2,000-3,000 $2,500-3,700
€2,300-3,400

A similar teabowl was sold in The Portier Collection of

Japanese Art sale at Drouot, Paris, on 21 June, 2016, lot 39.

62 JAPANESE WORKS OF ART

63
 THE PROPERTY OF A TRUST
57
A BLACK NEGORO HEISHI (RITUAL SAKE BOTTLE)
MUROMACHI PERIOD (15TH CENTURY)
黒根来瓶子
室町時代（15世紀）
Of turned and assembled wood with curved shoulder, the
sides turned inwards to form a narrow waist just above the low
foot, the tapered neck ending in a rolled lip, the entire surface
lacquered black, with a ftted wood storage box
33 cm. high
£20,000-30,000 $25,000-37,000
€23,000-34,000

For examples of black heishi with some decoration see Hosomi

Kokoan, Negoro no bi [Beauty of Nogoro], (Osaka, 1966), p. 21,
23-26

For other examples of heishi in red lacquer see Miho Museum

and Kawada Sadamu ed., Shuurushi Negoro Chusei ni
saita hana [Negoro: Eflorescence of Medieval Japanese
Lacquerware], (Tokyo, 2013), p. 19-34 and Hosomi Kokoan,
Negoro no bi [Beauty of Nogoro], (Osaka, 1966), p. 22

64 JAPANESE WORKS OF ART

65
THE PROPERTY OF A TRUST
58
A FIGURE OF NYOIRIN KANNON (CINTAMANICAKRA)
KAMAKURA PERIOD (14TH CENTURY)
如意輪観音像
鎌倉時代（14世紀）
Carved wood with traces of gilding over a black lacquer paste,
the byakugo [whorl of hair in the centre of the forehead] of
crystal, the eyes of crystal painted from behind, the copper-gilt
hokan [head-ornament] with glass beads, red pigment on the
lips and traces of white pigment on the base of lotus, seated on
a lotus pedestal in the typical pose, leaning slightly to the right,
the chin resting on one of the right hands, one of the right arms
supported on the raised right knee
39.2 cm. high (sculpture with pedestal)
£15,000-18,000 $19,000-22,000
€17,000-20,000

This wood sculpture is made by the yosegi-zukuri process

whereby a number of separate hollowed-out pieces are
assembled to make the three-dimensional sculpture. This
method became standard during the Kamakura period (1185-
1333) but remained in use especially for large sculptures until
sometime during the Edo period (1604-1867). The eyes are
of crystal with pigment on paper set behind the face which
is attached to the hollow head. The arms are carved from
separate pieces and set into the hollow body with pegs and
held by a layers of lacquer to which lacquer, pigment, and
decorative metal (usually gold dust or foil) is applied.

The deity Noyoirin Kannon is one of the many forms of Kannon Since the popularisation of Nyoirin Kannon among the esoteric
(Avalokitesvara), the ‘Bodhisattva of Mercy’. The deity is usually sects introduced into Japan in the 8th century, the deity has
depicted sitting on a rock with the right knee raised, with six been considered as feminine deriving from the Heian period
arms, although versions might have fewer. Most extant fgures penchant for Tang dynasty feminine beauty. Indeed virtually
of Nyoirin Kannon, like the present fgure, will have lost some all sculptures from the Heian (794-1185) and Kamakura (1185-
or all of the attributes which the deity once held. One arm on 1333) periods, and the restoration pieces under the Tokugawa
the left of the fgure is supported on the ground, signifying a regime in the Edo period (1604-1687), are distinctly feminine
wholeness with the ‘Daichi’ (Great Earth) or apparent world. in appearance. They have high dressed coifures with gilt and
Another arm has the hand raised with the palm upward which bejewelled crowns, bracelets, a softly rounded feshy physique,
would once have held a ‘Horin’, or ‘Wheel of the Law’ while the and sensual facial expression with a slight intimate smile, the
third arm once held a lotus stem and bud. The upper arm on head slightly inclined to one side. A number of legends tell of
the right side touches the cheek in a gesture of contemplation, this feminine gender of Nyoririn Kannon. Among them the best
while another held in front of the trunk once held the ‘Nyoi documented is probably that recorded in the Genko Shakusho
Hoju’ or ‘Wishing Jewel’, and the third held down at the side (1322) telling how the monk Kukai had an image made in the
would have held a juzu, the Buddhist rosary of crystal beads. likeness of Nyoi, a beautiful concubine of Emperor Junna (823-
The six arms are held to be synonymous with the ‘Rokudo’ or 833), who later retired to a nunnery.
‘Six Worlds’, the stages of a sentient being to enlightenment.
But in simple terms the ‘Hoju’ grants human’s desires for In contrast the head of the present sculpture is held erect
wealth, wisdom, and enlightenment, while the ‘Horin’ defnes rather than inclined in the Tang style, and the facial expression,
the direction that desire must take according to Buddhist is serene and inquiring. The style of the sculpture suggests a
teaching. military rather than a courtly fashion.

66 JAPANESE WORKS OF ART

 (interior)

VARIOUS PROPERTIES
59
A LACQUER TEBAKO [ACCESSORY BOX]
EDO PERIOD (LATE 17TH - EARLY 18TH CENTURY)
椿梅松図蒔絵手箱
江戸時代（17世紀後期 - 18世紀前期）
Of octagonal form with a ftted inner tray, decorated in gold and
silver hiramaki-e, takamaki-e, kinpun, hirame and inlaid in silver
on a roironuri ground, the cover with a shaped panel depicting
fowering camellia, plum and pine behind a garden fence, the
inner tray with scattered chrysanthemum fowerheads on a
nashiji ground, the interior nashiji, the base ishime, silver rims
10.3 cm. wide
£3,000-4,000 $3,800-5,000
€3,400-4,500

PROVENANCE:
The James Orange Collection
A Lady of Title
PUBLISHED:
James Orange, Catalogue of a Small Collection of Japanese
Lacquer, (Hong Kong, Yokohama, 1910), p. 27, cat. no. 51.

This small box, described by James Orange as “a very fne

specimen of old work in perfect condition”, is a striking
instance of the infuence of Chinese Ming dynasty lacquer
on the Japanese lacquer style. The zigzag fence foreground
is seen on many Ming pictorial lacquers, as is the ogival
border, and this type of design is especially associated with
17th century export lacquers, but the octagonal shape and
the scattered chrysanthemum motifs on the interior surfaces
are in a more Japanese idiom, suggesting that this box may
have been destined for the domestic market; this is also more
likely in view of the fact that most if not all of the pieces in the
Orange catalogue were acquired in Japan.

68 JAPANESE WORKS OF ART

60
A CEREMONIAL LACQUER SAKE FLASK
EDO PERIOD (LATE 17TH - EARLY 18TH CENTURY)
鶴波文蒔絵大徳利
江戸時代（17世紀後期 - 18世紀前期）
The conical body with tapering neck, decorated in gold, silver
and black hiramaki-e, takamaki-e and nashiji, with cranes and
mandarin ducks amongst a stream, the waves swirling, some
forming tomoe patterns, the coast with reeds, waterweeds and
shells, the base in nashiji
33.3 cm. high
£4,000-6,000 $5,000-7,500
€4,500-6,700

PROVENANCE:
Soame Jenyns, Deputy Keeper of Asian Antiquities,
British Museum (1950-1968)

69
 61
A LACQUER HIIRE [INCENSE ASH CONTAINER]
EDO PERIOD (LATE 17TH CENTURY)
橘桐葵紋散蒔絵火入
江戸時代（17世紀後期）
The lobed container, decorated in gold, silver and black lacquer
in various techniques including hiramaki-e, takamaki-e and
kirikane with Tokugawa mon and paulownia mon amongst
tachibana and rocks beside a stream on a nashiji ground, the
fush ftting cover similarly decorated, silver fnial
7.8 cm. high
£1,000-1,500 $1,300-1,900
€1,200-1,700

62 (reverse)

70 JAPANESE WORKS OF ART

 THE MIKE AND HIROKO DEAN COLLECTION

62
A LACQUER HIIRE [INCENSE ASH CONTAINER]
MOMOYAMA - EDO PERIOD
(LATE 16TH - EARLY 17TH CENTURY)
柳橋水車図蒔絵火入
桃山 - 江戸時代（16世紀後期 - 17世紀前期）
The oviform container with everted neck and three scalloped
low feet, with nashiji ground decorated in gold hiramaki-e,
takamaki-e, harigaki and kakiwari, gold and silver kirikane and
mother-of-pearl inlay, depicting the Uji bridge disappearing into
clouds, a willow tree, rocks, tachibana [citrus], omodaka [arrow-
head], and a stream with waterwheels and jakago (basketwork
cages to prevent erosion), the interior lined with copper, with a
silk pouch
7.5 x 9.3 cm. ~63
£1,000-1,500 $1,300-1,900 A LACQUER CHABAKO [TEA CEREMONY UTENSILS BOX]
€1,200-1,700 EDO PERIOD (18TH - 19TH CENTURY)
PUBLISHED: 梅に短冊図蒔絵茶箱
Mike and Hiroko Dean, Nihon no Shikki Japanese Lacquer - an 江戸時代（18 - 19世紀）
Exposition (Kyoto, 1984), no. 64 The rectangular box with rounded corners, slightly domed close-
Barry Davies Oriental Art, Japanese Lacquer Nambokucho to ftting cover and high interior rim, decorated in gold and silver
Zeshin, The Collection of Mike and Hiroko Dean, (London, 2002), hiramaki-e, takamaki-e, kirikane, nashiji and inlaid in coral on a
p. 94-95, cat. no. 33 black ground, the cover depicting a plum branch and tanzaku
[poem slips], the sides of the box with aubergines, the interior
rim with stylised scrolls and wheels, the interior cover with
The design on the container evokes the 11th-century novel
paulownia mon on a nashiji ground, fundame rims
Genji monogatari [Tale of Genji], in which the centre of the
15.3 cm. wide
action moves from the capital Kyoto to the village of Uji,
famous for its distinctly-shaped bridge. For a six-panel screen £1,000-1,500 $1,300-1,900
depicting the Uji Bridge see lot 109. €1,200-1,700

71
Matsunaga Jian, Odawara, 1964 (tomoboko)
Courtesy of Central Research Institute
of Electric Power Industry

*64 The frst Igarashi Doho moved, together with his adopted son
A FINE AND IMPORTANT LACQUER SUZURIBAKO Doho II, and pupil, Shimizu Kyubei, from Kyoto, his native city, to
[WRITING BOX] WITH ROCKS AND WAVES Kanazawa in Kaga at the behest of Maeda Toshitsune, daimyo of
ATTRIBUTED TO IGARASHI DOHO I (1643-1678), the province in around 1700. Doho was the son of Igarashi Hosai
EDO PERIOD (MID-17TH CENTURY) and a descendant of Shinsai (c.1407-90), the founder of the
school. Igarashi Doho developed a unique combination of black
大岩波図蒔絵硯箱 lacquer coating with extensive use of gold and silver leaf, fecks,
伝 五十嵐道甫　江戸時代（17世紀中期） and even nuggets of gold and silver. The elegance of this type of
The rectangular box with overhanging cover fnely decorated in lacquerware appealed to the aristocratic nature of the Samurai
various lacquer techniques including gold and silver hiramaki-e, culture. After the fame of Igarashi lacquer was established in
takamaki-e, rich kirikane and kinpun, and inlaid with nuggets of Kanazawa (it became known in as Kaga-maki-e), Doho returned
solid gold and silver as well as cut pieces of mother-of-pearl, to Kyoto, where he died in 1678. Neither of the frst two Doho
with a large and elegantly-formed rock covered in leaves against masters signed their work.
a rich gyobu-nashiji ground, the interior similarly decorated
with rocks amidst crashing waves beneath a cloudy sky, For two further suzuribako by Doho I see Tokyo National Museum,
fundame rims, a square copper water dropper inlaid with a Special Exhibition Oriental Lacquer Arts (Tokyo, 1977), no. 301 and
chrysanthemum, a slate inkstone inset into a removable inner 302. For a lacquer cabinet ftted for a poem book also by Doho I
tray, with ftted double wood storage boxes, the outer box signed which contains a writing box similarly decorated with waves in the
by the leading industrialist and collector Matsunaga Jian, Jian Ishikawa Prefectural Museum of Art, go to:
kyujugo [Jian, aged 95] and with kakihan http://www.ishibi.pref.ishikawa.jp/collection/index.
25.6 x 23.6 x 4.5 cm. php?app=shiryo=detail_id=2552
£80,000-120,000 $100,000-150,000 Matsunaga Yasuzaemon (Jian) (1875-1971) was a prominent
€90,000-130,000 industrialist who helped build the infrastructure of postwar Japan.
He formed an important collection of tea ceremony utensils, a
PROVENANCE: portion of which he gifted to the Tokyo National Museum in 1947.
Matsunaga Yasuzaemon (Jian) (1875-1971) He became a tea master and following his death in 1970s his
collection was donated to the Fukuoka Art Museum.

72 JAPANESE WORKS OF ART

A WRITING BOX FORMERLY IN THE COLLECTION OF
MATSUNAGA YASUZAEMON (JIAN) (1875-1971)

73
74 JAPANESE WORKS OF ART
75
THE MIKE AND HIROKO DEAN COLLECTION THE PROPERTY OF A FRENCH ACADEMIC
65 66
TWO EARLY ARITA DISHES AN EARLY ARITA KENDI (POURING VESSEL) FOR THE
EDO PERIOD (MID-LATE 17TH CENTURY) VIETNAMESE MARKET
EDO PERIOD (MID-17TH CENTURY)
染付花文皿 2点
江戸時代（17世紀中後期） 染付唐草文ケンディ
江戸時代（17世紀中期）
The frst lobed and moulded shallow dish decorated in
underglaze blue, red enamel and gilt with a central roundel Of typical form with a bulbous spout and faring neck ending
depicting two square shikishi [poem cards], one depicting plum in a everted rim, the body and spout ribbed and decorated in
blossom in a fower vase on a table, bordered by various stylised underglaze blue, the body, spout and mouth with karakusa
auspicious characters in relief, the reverse with morning glory, scrolls, the shoulder, neck and mouth rim with foral karakusa,
the base with underglaze blue fuku mark; the second dish with ftted with a metal mount
narrow rim, decorated in underglaze blue with a bird in branch of 22.5 cm. high
morning glory bordered by a band of lappets in the form of ruyi £8,000-10,000 $10,000-12,000
heads, the reverse with tendril, the mark of Chokichidani kiln €9,000-11,000
21.8 cm. and 21.5 cm. diam.
(2) Kendi were widely used in Asia for the ceremonial drinking of
£1,000-1,500 $1,300-1,900 water or taking medicine. From the 1660s, kendi were made
in Japan for export mainly to Asia as they were not used in
€1,200-1,700
the domestic market. Many have been found in Indonesia,
Thailand and as here Vietnam, but some were also exported
For a dish with similar design to the frst, see Japan Society,
to the Netherlands by the Dutch East India Company (VOC).
New York, The Burghley Porcelains: An Exhibition from the
In the Netherlands, kendi were more for interior decoration,
Burghley House Collection and Based on the 1688 Inventory and
sometimes used as vases.
1690 Devonshire Schedule, (New York, 1986), p. 106.
For more about kendi, see: Christiaan J.A. Jorg, Fine and
For a discussion of this design see Nicole Coolidge Curious, Japanese Export Porcelain in Dutch Collections,
Rousmaniere, Acquisition in Focus, The Shibata gift of Japanese (Amsterdam, 2003), p. 63-66; Oliver Impey, Japanese Export
Porcelain to the British Museum, Apollo, March 1998, p. 25, Porcelain – Catalogue of The Collection of The Ashmolean
illustrated p. 26, pl. 6. Museum Oxford, (Amsterdam, 2002), p. 183, no. 288.
(Ashmolean Museum, Oxford); Ko-Imari Chosa Iinkai ed., Ko-
Imari [Old Imari], (Kyoto, 1958), p. 211, no. 39 and 40

76 JAPANESE WORKS OF ART

FROM THE COLLECTION OF A FRENCH ACADEMIC
67
A FINE KAKIEMON DISH
EDO PERIOD (LATE 17TH CENTURY)
柿右衛門色絵双鶴文輪花皿
江戸時代（17世紀後期）
The shallow dish with foliate rim decorated in iron-red, blue,
green, yellow and black enamels and gilt, with cranes in fight
and at rest among chrysanthemums and other fowers and
foliage, the rim with a band of fower heads and scrolling foliage,
chocolate rim
25 cm. diam.
£25,000-30,000 $32,000-37,000
€29,000-34,000

78 JAPANESE WORKS OF ART

68
A RARE KAKIEMON BOWL
EDO PERIOD (LATE 17TH CENTURY)
柿右衛門色絵花文透彫足付鉢
江戸時代（17世紀後期）
With lobed and pierced rim supported
by a shaped and pierced tripod stand,
decorated in iron-red, blue, green
and black enamels and gilt with two
butterfies amongst chrysanthemums
and peonies issuing from rockwork, the
stand with karakusa
23.5 cm. diam., 11 cm. high
£15,000-20,000 $19,000-25,000
€17,000-22,000

79
69
A KAKIEMON JAR AND COVER OF A TYPE INVENTORIED
IN ENGLAND BY 1688
EDO PERIOD (LATE 17TH CENTURY)
柿右衛門色絵菊蝶文蓋付壺
江戸時代（17世紀後期）
Of ovoid form decorated in iron-red, blue, green, yellow and
black enamels on underglaze blue with butterfies amongst
chrysanthemums issuing from rockwork, the shoulder and neck
with bands of lappets, the domed cover similarly decorated
25.5 cm. high
£35,000-40,000 $44,000-50,000
€40,000-45,000

For a similar example in the Burghley House collection

see Japan Society, New York, The Burghley Porcelains: An
Exhibition from the Burghley House Collection and Based on
the 1688 Inventory and 1690 Devonshire Schedule, (New York,
1986), no. 74; and Mark Hinton and Oliver Impey, Flowers
of Fire: Kakiemon Porcelain from the English Country House,
(London, 1989), no. 11.

For a similar jar without cover in the collection of the Museum

of Fine Arts, Boston, accession number 57.383, go to:
http://www.mfa.org/collections/object/jar-with-decoration-
of-rock-and-the-seven-grasses-of-autumn-21992

Another is illustrated in Soame Jenyns, Japanese Porcelain,

(London, 1965), no. 54a.

80 JAPANESE WORKS OF ART

81
 (side view of one)

FROM A PRIVATE FRENCH COLLECTION

70
A PAIR OF FINE ARITA VASES OF RARE DESIGN
EDO PERIOD (LATE 17TH CENTURY)
染付鳳凰花文大壷　一対
江戸時代（17世紀後期）
Each oviform vase with slightly everted short neck, decorated
in underglaze blue with two large ho-o birds divided by stylised
fowers, the shoulder and neck with bands of lappets
40 cm. high each
£20,000-30,000 $25,000-37,000
€23,000-34,000

82 JAPANESE WORKS OF ART

83
THE PROPERTY OF A LADY
71
AN IMARI CHARGER
EDO PERIOD (LATE 17TH CENTURY)
色絵花籠文大皿
江戸時代（17世紀後期）
Decorated in an unusual palette of iron-red, green, yellow,
aubergine, light blue and black enamels and gilt on underglaze
blue with a central roundel depicting a fower basket containing
peony and chrysanthemum sprays, on a balustraded terrace, the
wide rim with various fowers and trees issuing from rockwork,
including pine, bamboo, plum, peony and chrysanthemum,
amongst scrolling clouds, the reverse with three sprays of peony
57.5 cm. diam.
£8,000-10,000 $10,000-12,000
€9,000-11,000

84 JAPANESE WORKS OF ART Opposite: lots 70, 72, 80, 83 and 87

85
 *72
A RARE AND IMPORTANT CHRISTIAN SHRINE (SEIGAN) COMMISSIONED BY
THE PORTUGUESE JESUITS
MOMOYAMA PERIOD (LATE 16TH CENTURY), THE PAINTING (17TH CENTURY)
七宝花菱花文蒔絵螺鈿聖龕
桃山時代（16世紀後期）、油彩画（17世紀）
The deep rectangular frame, decorated in gold hiramaki-e and harigaki and inlaid
with mother-of-pearl, the inner section with a broad band of shippo hanabishi with
a Western element to the design, surrounded by borders of Nanban tendril and
geometric design, the four sides decorated with vine, fowers and double-gourds, the
central image a copper panel painted in oils with the Virgin and Child surrounded by the
Apostles and angels playing instruments, the Holy Dove above
57.4 x 46.3 x 4 cm. (frame); 46.4 x 36.4 cm. (copper panel)
£150,000-200,000 $190,000-250,000
€170,000-220,000

PROVENANCE:
James Howard Bridges (1858-1939), the frst curator of the Frick Collection, New York,
and personal assistant of Andrew Carnegie, Herbert Spencer and Henry Clay Frick
Cornelia Howard, the daughter of James Bridges
Formerly on loan to the Museum of Fine Arts, Boston (no. T. L. 19.376)

In the spread of Nanban (‘Southern Barbarian’) devotional art in the seventeenth

century, the trade went both ways. Portuguese Jesuits commissioned local Japanese
craftsmen to make votive objects—portable lacquer hanging shrines and folding
lecterns—for use in the churches they were establishing in Japan and also for export
to the West for proft. Few pieces survived in Japan as most were confscated during
the severe persecutions against Christian missionaries and converts in the 1620s
and 1630s. Most Nanban objects have been found in the West, although many have
now been repatriated to Japanese museums. The lacquer cases for these hanging
shrines were made in a non-Christian lacquer workshop in Kyoto. The religious icons
commissioned by the Jesuits for export to Europe as private altars had to survive long
voyages and rough handling.

In 1549, Francis Xavier, who founded the Jesuit order with Ignatius Loyola nine years
earlier, arrived in Japan to begin evangelising. That missionary efort was a success,
attracting many converts, and the original supply of religious artifacts was soon
exhausted. Japanese converts requested images of the Saviour, the Virgin Mary
and the various saints. To meet that demand, the Jesuits commissioned local artists
to copy imported religious art and they sent for supplies from the Jesuit Curia in
Rome. Several years might elapse before shipments arrived from Europe. As a result,
there was increased use of local artisans as Japan’s so-called Christian Century
progressed. A great deal of Christian art was produced in Japan at that time, although
much of it was inevitably lost during the subsequent persecution of Christians.
The few surviving Japanese paintings of Christian themes show Western stylistic
infuence.

86 JAPANESE WORKS OF ART

A SHRINE FORMERLY IN THE COLLECTION OF JAMES HOWARD BRIDGES,
CURATOR OF THE FRICK COLLECTION, NEW YORK
 The icons housed in shrines are painted in oil on either panel or copper, as here. Most
were probably placed in a case once they were delivered to the West. Some icons,
however, such as the example ofered here of the seventeenth-century Madonna and
Child enthroned with music-making angels and venerated by saints, are attributed
to the school of Brother Giovanni Niccolò (1563-1626). A capable painter from
Naples, he reached Nagasaki in 1583 and became director of the Japanese Jesuit art
academy in Kyushu. This Seminary of Painters was the most fourishing Jesuit art
workshop in Asia, fush with both Japanese and Chinese students. The best works of
the Seminary exhibit delicacy of line and attention to detail, as here.

The framed painting ofered here is probably based on a Spanish or Portuguese

engraving. There are 38 fgures depicted in this painting, one of the most complex
paintings of this kind. There are Saints John, James, Peter, Catherine, Alexandria,
Anne, Mary Magdalene amongst others. It may have been overpainted with pigments
in South America, possibly Mexico. We know that Nanban lacquers, including
portable altars, were sent from Japan to Manila, and thence to Nueva España
(Mexico).

Japanese portable Christian shrines are rare. For another Nanban shrine, ftted with
a late seventeenth-century European devotional painting in oil on copper, see lot 73.
The existence of such Nanban shrines was frst recognised by Martha Boyer in 1951
(Boyer, Japanese Export Lacquer [Copenhagen, 1951], p. xxvii, Pl. 23). Subsequent
research by the Japanese lacquer scholars Okada Jo and Arakawa Hirokazu, as well
as by Watanabe Toshio, Haino Akio and Oliver Impey, uncovered more and the corpus
now numbers at least a dozen. Extant examples take two forms. They are basically
rectangular cases with two folding doors and some have decorative pediments. The
frame form, shown here, which may not have had protective doors, is extremely rare.

A rather coarse craftsmanship is typical of these early Nanban lacquers intended for
export although their sparkling mother-of-pearl inlay, a technique that achieved great
popularity at this time, distinguishes them. There are several possible sources of
infuence for the increased use of shell. Portuguese traders in Goa, the centre of the
Portuguese empire in Asia, acquired products of Indian craftsmen inlaid with wood
and ivory. At the same time, Japan’s invasion of Korea in the late sixteenth century
may have exposed the Japanese to Korean lacquers, which are lavishly decorated with
shell inlay. European traders may also have come to appreciate the technique through
Chinese inlaid lacquers. “Like the Momoyama period itself, Namban lacquers are
energetic and eclectic” (Pekarik, in Japan’s Golden Age: Momoyama, p. 257).

The lacquer case is decorated in gold lacquer and mother-of-pearl inlay with motifs
common to Japanese Nanban lacquers as a whole (and frst introduced around 1580).
Sparkling mother-of-pearl was used to refect candlelight in dark interiors. Here, the
geometric, mother-of-pearl lozenge or shippo pattern encircling the image enhances
the painting. Similar borders appear on a number of published Nanban trunks and
cabinets. On this example, an exquisite fowering gourd vine, dense with overlapping
gold leaves, enlivens the sides of the frame.

88 JAPANESE WORKS OF ART

73 The devotional image in the shrine ofered here was painted
A PORTABLE CHRISTIAN SHRINE (SEIGAN) on copper by an anonymous Italian artist probably in the late
COMMISSIONED BY THE PORTUGUESE JESUITS 17th - early 18th century, after a lost original by Antonio Allegri
MOMOYAMA PERIOD (LATE 16TH CENTURY), da Correggio (1489-1534), ‘The Holy Family of the Cradle’ and
THE PAINTING (LATE 17TH-EARLY 18TH CENTURY) known from various versions including that in Petworth House,
Sussex. The lacquer case is decorated in lacquer and mother-
花鳥蒔絵螺鈿聖龕 of-pearl inlay with foral motifs common to Japanese Nanban
桃山時代（16世紀後期）、油彩画（17世紀後期-18世紀前期） (‘Southern Barbarian’) lacquers. Mother-of-pearl was used to
The rectangular case with metal hinge plates and L-bar lock refect candlelight in dark interiors. The foral design is elegant
engraved with fowers, decorated in gold and silver hiramaki-e and simple, enhancing the intimate painting at the centre.
and harigaki and inlaid in mother-of-pearl on a black ground, the
exterior of the doors with camellia and clematis, the interior with The lacquer artist made extensive use of the harigaki technique:
birds amongst tachibana [citrus tree] and chrysanthemums, a sharp needle-like instrument (hari) was used to incise details
the sides with morning glory and tachibana, the central image a into the lacquer before it was fully dried. The gold and silver
copper panel painted in oil with the Virgin Mary and St. Joseph hiramaki-e (powdered gold and silver decoration in low or fat
tenderly holding the Christ Child relief), left unpolished, provides stylistic and technical links to
41.3 x 33.5 x 5.5 cm. (frame); 30.2 x 23 cm. (copper panel) lacquers preserved at Kodaiji Temple, Kyoto, the mausoleum
completed in 1606 for Kitano Mandokoro, the widow of
£50,000-70,000 $63,000-87,000 Toyotomi Hideyoshi (1568–1595). The Kodaiji Temple lacquers
€57,000-78,000 were probably originally made for Hideyoshi’s nearby Fushimi
Castle in the 1590s, but were repurposed for the mausoleum.

90 JAPANESE WORKS OF ART

A SHRINE FROM A EUROPEAN PRIVATE COLLECTION
74
A LACQUER CASKET COMMISSIONED BY THE
PORTUGUESE
MOMOYAMA PERIOD (LATE 16TH CENTURY)
草花文蒔絵螺鈿洋櫃
桃山時代（16世紀後期）
The rectangular casket with domed hinged cover, decorated
in gold hiramaki-e and inlaid in mother-of-pearl on a black
ground, the cover and the front with grapes, kiri [paulownia] and
camellia, one side with kikyo [Chinese bellfowers] and foral
vine, the other side with morning glory and Japanese clovers, the
back with cherry, foral vine and kikyo, all bordered with nanban
tendril, the interior in black lacquer, copper fttings engraved
with stylised fowers and scrolls
10.7 x 20.3 x 14 cm.
£4,000-5,000 $5,000-6,200
€4,500-5,600

92 JAPANESE WORKS OF ART

75 Europeans began to arrive in Japan from the late 16th century
A RARE LACQUER CASKET WITH INTEGRAL DRAWER for trade and Christian missions. To furnish the Christian
COMMISSIONED BY THE PORTUGUESE churches in Japan and also for export, Japanese lacquer
MOMOYAMA PERIOD (LATE 16TH CENTURY) workers produced a variety of decorative lacquer chests,
cofers, boxes and other furniture, as well as ceremonial
草花文蒔絵螺鈿洋櫃 religious objects. They were largely in European form but
桃山時代（16世紀後期） decorated using Japanese techniques and designs, sometimes
The rectangular casket with domed hinged cover, a drawer at combined with Western patterns.
the base, decorated in gold hiramaki-e and inlaid in mother-
of-pearl on a black ground, the cover with birds amongst kikyo Nanban lacquerwares were decorated in gold hiramaki-e
[Chinese bellfowers] and tachibana [citrus], the front with kikyo and shell inlay as in this present lot. Their design is related to
and tachibana, both sides with autumn fowers and plants, Kodaiji lacquer, a type of lacquerware made in Kyoto during the
the back with vine, all bordered with the bands of geometric late Momoyama and early Edo periods, which is characterised
patterns, copper gilt fttings engraved with stylised fowers and by expansive and expressive designs in gold hiramaki-e on
foliage, a ftted key a roironuri, or black ground, and the favoured subject was
14.5 x 25.6 x 18.3 cm. fowers and plants. Western missionaries and merchants had
opportunities to see Kodaiji lacquerwares and ordered the
£30,000-40,000 $38,000-50,000 workshops to make the objects for them using the same design
€34,000-45,000 and techniques in freely painted hiramaki-e. Nanban pieces,
however, generally employ dazzling shell inlay, which is never
found in Kodaiji works and disappears after the Momoyama
period. Their decorations are also denser than those of Kodaiji
pieces and often combined with some Western patterns such
as nanban tendril and geometric borders.

For more information on lacquer caskets commissioned by

Europeans, go to the British Museum website:
http://www.britishmuseum.org/explore/highlights/highlight_
objects/asia/t/travelling_chest_kamaboko-bak.aspx

93
 (interior)

*76
A LACQUER CABINET OF RARE FORM COMMISSIONED
BY THE PORTUGUESE
MOMOYAMA PERIOD (LATE 16TH – EARLY 17TH
CENTURY)
虎花樹鳥文蒔絵螺鈿小箪笥
桃山時代（16世紀後期 - 17世紀前期）
Of rectangular form with side-hinged door rather than drop-
front, opening to reveal twelve various-sized drawers, decorated
in gold and silver hiramaki-e and inlaid in mother-of-pearl on
a black ground, the door with a roundel depicting two tigers
amongst bamboo and kikyo [Chinese bellfowers], the top with
a roundel depicting a landscape with two fgures on a bridge
beneath tachibana and autumn grasses, a boat on a water,
one side with kikyo and the other with tachibana, all against
scattered shell inlays, the back and interior of the door with vine,
the drawers decorated with various fowers, trees and birds,
all bordered with shippo-hanabishi and geometric bands, gilt
copper fttings engraved with stylised fowers and foliage
40.3 x 47.8 x 42.7 cm.
£20,000-30,000 $25,000-37,000
€23,000-34,000

PROVENANCE:
A lady of title

77 No Lot

94 JAPANESE WORKS OF ART

95
*78 The Portuguese 48-card deck arrived in Japan in the mid-16th
A RARE FOUR-TIERED LACQUER JUBAKO century. It had four suits - cups, swords, coins, and clubs - said
[FOOD CONTAINER] to represent the four classes of medieval Europe: priests,
MOMOYAMA - EDO PERIOD knights, merchants, and peasants. The foreign practice of
(LATE 16TH - EARLY 17TH CENTURY) card games spread quickly and became subject to constant
regulation by the Tokugawa shogunate, which disapproved of
うんすんかるた蒔絵重箱 gambling. In Japan, the design of cards went through various
桃山 - 江戸時代（16世紀後期 - 17世紀前期） permutations to circumvent the proscriptions and developed
The four-tiered rectangular box and cover decorated in gold and separately from the rest of the world also due to the seclusion
silver hiramaki-e, takamaki-e and nashiji on a black ground with policy. In due course, a revised pack was made, called Unsun
scattered Unsun Karuta [Japanese playing cards in Portuguese Karuta - a mix of European, Chinese, and Japanese motifs.
style] depicting various designs including cups, swords, coins,
clubs, dragons, Kings, Queens and knights, the interior in red For another example of a four-tier jubako with card design, see:
lacquer, nashiji rims, with a wood storage box Sakai City Museum ed., Nanban shikki - shitsugei ni miru tozai
28 cm. high koryu [Namban lacquerware - Cultural Exchanges between East
and West through Lacquer Craft], (Osaka, 1983), p. 70, no. 82.
£20,000-30,000 $25,000-37,000
€23,000-34,000 For more about Unsun Karuta, see:
Sezon Museum of Art and Shizuoka Prefectural Museum
of Art, eds., ‘Porutogaru to Nanban bunka’ ten: mezase toho
no kuniguni [‘Portugal and Nanban culture’ exhibition : Via
Orientals] (Japan, 1993), p. 216-217, 219, no. 206,
and go to the Kyushu National Museum website (Japanese):
http://www.kyuhaku.jp/museum/museum_info04-07.html
http://www.kyuhaku.jp/collection/collection_gl02.html
96 JAPANESE WORKS OF ART
*79
A RARE NANBAN-STYLE LACQUER KAGAMIBAKO
[MIRROR BOX]
MOMOYAMA - EDO PERIOD
(LATE 16TH - EARLY 17TH CENTURY)
縞蒔絵螺鈿鏡箱
桃山 - 江戸時代（16世紀後期 - 17世紀前期）
Of circular form with fush-ftting lid, decorated in gold
hiramaki-e and nashiji and inlaid in mother-of-pearl on a black The stripes - shima - so named because these stripes are
ground with stripes of various designs in Nanban style with a often seen in designs of imported foreign textiles known as
plum fowerhead to the centre, the interior of the lid with autumn shimamono or shima watari.
grasses, the base with chrysanthemum fowerhead, the interior
black lacquer, fundame rims, with an old wood storage box For examples of Nanban lacquerware with similar stripe design
10.8 cm. diam. see:
James C.Y. Watt and Barbara B. Ford, East Asian Lacquer:
£20,000-30,000 $25,000-37,000
The Florence and Herbert Irving Collection, (The Metropolitan
€23,000-34,000 Museum of Art, New York, 1991), p. 229, no. 107. (jubako [tiered
PROVENANCE:
food box])
Yoshino Tomio Tokyo National Museum A Selection of Japanese Art from The
Mary and Jackson Burke Collection (New York, 1985), pl. 112
During the Momoyama period new stylish designs began to Sakai City Museum ed., Nanban shikki - shitsugei ni miru tozai
appear on lacquer ware. This box for example is decorated with koryu [Namban lacquerware - Cultural Exchanges between
radiating narrow lines which must have been regarded as quite East and West through Lacquer Craft], (Osaka, 1983), cat.
extraordinary at the time. The designs of this type of lacquer no. 65 (fubako [letter case], Nanban Bunkakan, Osaka), 73
ware usually depict landscapes, plants, fowers and animals. (chabako [tea box], Suntory Museum of Art, Tokyo), 83-84
These extremely rare geometric patterns are inspired by the (jubako, Nanban Bunkakan), 85 (jubako, a private collection), 86
design of textiles from South East Asia and the Middle East (jubako, Okayama Art Museum, Okayama),
brought to Japan by European traders. The chrysanthemum and go to the website of The Metropolitan Museum of Art,
design on the base is possibly inspired by the original mirror New York, accession number 2015.500.2.31a–f:
contained in the box. http://www.metmuseum.org/art/collection
97
98 JAPANESE WORKS OF ART
 FROM A PRIVATE AMERICAN COLLECTION
81
A PAIR OF IMARI DISHES
EDO PERIOD (EARLY 18TH CENTURY)
色絵傘美人水禽図皿　一対
80 江戸時代（18世紀前期）
A LACQUER DISH WITH THE ARMS OF DE MONINCX
Decorated with a design after Cornelis Pronk (1691-1759) in iron-
EDO PERIOD (LATE 17TH CENTURY)
red, green, aubergine and black enamels and gilt on underglaze
紋章入花文蒔絵飾皿 blue, with a courtesan and her attendant holding a parasol to the
江戸時代（17世紀後期） centre, surrounded by a band of fowerheads, the rim with panels
The circular dish decorated in gold and coloured hiramaki-e, of birds and courtesans on a geometric pattern, the reverse with
takamaki-e and togidashi on a black lacquer ground, the centre a band of insects
with a Flemish coat-of-arms beneath stylised foliage and 22.1 cm. and 22.5 cm. diam.
feathers within a wide band of peony, surrounded by a wide fat (2)
rim with peony fowers and foliage, the reverse in nashiji £2,000-3,000 $2,500-3,700
33 cm. diam. €2,300-3,400
£4,000-6,000 $5,000-7,500
€4,500-6,700 For a discussion of Cornelis Pronk designs, and the way in
which they were ordered and received at the VOC base in
PUBLISHED: Batavia, see C.P.A. Jorg, Pronk Porcelain (Porcelain after designs
Oliver Impey and Christiaan Jorg, Japanese Export Lacquer by Cornelis Pronk), exhibition catalogue, Groninger Museum
1580-1850, (Amsterdam, 2005), p. 184-185, no. 439. (Groningen, 1980).
The arms depicted on this dish are attributed to Muinck de For similar examples see:
Monincx in Flanders in J.B. Rietstap, Armorial General, (London, Soame Jenyns, Japanese Porcelain, (London, 1965), pl. 46a
1967), vol. 3. Ashmolean Museum, Eastern Ceramics and Other Works of Art
from the Collection of Gerald Reitlinger, (Oxford, 1981), p. 86,
For other examples of armorial lacquer dishes in the collections pl. 232
of Rijksmuseum in Amsterdam, Peabody Essex Museum in Hayashiya Seizo, Nihon no toji [Japanese ceramics], vol. 8, Ko-
Salem and in a private collection in the Netherlands, see: Imari, (Tokyo, 1975), p. 107, pl. 212
Oliver Impey and Christiaan Jorg, Japanese Export Lacquer Nagatake Takeshi, Yabe Yoshiaki, Imari, vol. 19 of Nihon toji
1580-1850, (Amsterdam, 2005), p. 185, no. 21-26. taikei [Compendium of Japanese ceramics], (Tokyo, 1989), pl.
For further examples, see Kyoto National Museum ed., Japan 48 (the Idemitsu Museum of Arts collection)
makie – kyuden wo kazaru toyo no kirameki – [Export Lacquer: Christiaan J.A. Jorg, Fine and Curious, Japanese Export
Refection of the West in Black and Gold Makie], (Osaka, Porcelain in Dutch Collections, (Amsterdam, 2003), p. 253, no.
2008), cat. 63 (Kyushu National Museum) 325 (the Groninger Museum collection, Groningen)

99
THE PROPERTY OF A FRENCH COLLECTOR
82
A RARE UNRECORDED LARGE LACQUER BOX AND
COVER COMMISSIONED BY THE DUTCH EAST INDIA
COMPANY
EDO PERIOD (LATE 17TH - EARLY 18TH CENTURY)
楼閣山水蒔絵箱
江戸時代（17世紀後期 - 18世紀前期）
The eight-lobed box and cover on shaped feet, decorated in
gold, silver and red hiramaki-e, takamaki-e, togidashi, kinpun
and kirikane on a roironuri ground, the cover with a landscape
depicting pavilions, willow, pine and peony on rocky clifs by a
stream with a pair of mandarin ducks, three ho-o birds in fight,
the side with eight panels, each depicting landscapes, various
fowers, butterfies and birds, all divided with a ground of shippo
hanabishi, the edge of the cover with scrolling foliage, nine
compartments inside the box, one circular and eight radiating,
fundame rims
59.5 cm. wide
£20,000-30,000 $25,000-37,000
€23,000-34,000

100 JAPANESE WORKS OF ART

101
*83
PUBLISHED:
A LACQUER CABINET ON EUROPEAN STAND
“Old English Walnut and Lacquer Furniture”, R.W.Symonds, 1921
EDO PERIOD (MID-LATE 17TH CENTURY); THE STAND “Furniture in The Collection of Lord Plender”, Apollo, Vol. XIV, 1931
(LATE 17TH CENTURY), ANGLO-DUTCH STYLE “Furniture from the Indies”, The Connoisseur, Vol. XCIII, 1934
楼閣山水蒔絵箪笥・スタンド The Connoisseur, June 1943
江戸時代（17世紀中後期）、スタンド（17世紀後期） The Antique Collector, May/June 1944
Country Life, 14th June, 1956
The cabinet decorated in gold, silver and red hiramaki-e,
takamaki-e and nashiji on a black ground, the front with two Lord Plender’s collection of furniture at Ovenden in Kent
hinged doors decorated with a Chinese scholar in a garden, comprised principally English pieces of the 17th and 18th
the top depicting a coastal scene with pine trees (Miho no centuries. The present Japanese cabinet was probably
Matsubara) in the foreground and in the distance Mount Fuji, imported to England, during Charles II’s reign, when “Indian
the interior with nine drawers in four sizes with camellia and goods” arriving via Holland, became the height of fashion. The
willow, with gilt copper fttings; on an elaborately carved stand trade between Japan and Europe began with the Portuguese
in the late 17th century Anglo-Dutch style, silvered and glazed, in the 16th century, who shared a monopoly with the Chinese,
the deep frieze beneath a foliate carved cornice centred by but passed later to the Dutch who remained dominant until the
embracing cherubim which emerge from fower-festooned opening of Japan in the 19th century.
acanthus scrolls, the canted and serpentined herm supports
formed as “arabesque” cherubim with raised wings, emerging Despite the eforts of European “japanners” to discover a
from acanthus-enriched feet substitute, Japanese lacquer formed from urushi, the sap of
the lacquer tree, rhus vernicifera, was always superior, both in
60 x 60.5 x 45.5 cm. (cabinet); 81.8 x 80 x 53 cm. (stand)
technical quality and in its design and composition.
(2)
£20,000-30,000 $25,000-37,000 The “arabesque” cherubim of the stand may be related to a
€23,000-34,000 table attributed to the sculptor-carver Grinling Gibbons (d.
1721), while its frieze relates to carvings in Trinity College
PROVENANCE: chapel, Oxford. See David Green, Grinling Gibbons, (London,
Lord Plender, Ovenden, Kent 1964), pl. 119 and 121.

102 JAPANESE WORKS OF ART

A CABINET FORMERLY IN THE COLLECTION OF LORD PLENDER

103
*84
AN EXPORT LACQUER STORAGE CABINET COMMISSIONED BY THE
DUTCH EAST INDIA COMPANY
EDO PERIOD (MID-17TH CENTURY)
山水花鳥文蒔絵螺鈿小箪笥
江戸時代（17世紀中期）
Of rectangular form with hinged doors decorated in gold and silver hiramaki-e,
takamaki-e, kirikane, nashiji and inlaid in mother-of-pearl, the top with a
shaped panel depicting a moonlit seascape with a Japanese palace among
rocky mountains and trees, the front doors similarly decorated, the left side
with a shaped panel with chrysanthemums, kikyo [Chinese bellfower] and
nadeshiko [wild pink] beside a stream, the right side similarly decorated with
an owl perched in a camellia tree, bamboo and chrysanthemums, the back with
another panel depicting autumn fowers by a garden fence, all shaped panels
against dense nashiji ground, each side bordered with bands of geometric
patterns and chrysanthemum and scrolling foliage, the interior of the doors
with further fowers including poppy, nadeshiko and ominaeshi [Patrinia
scabiosifolia] by a stream beneath clouds, the interior and base of the cabinet
in black lacquer, silver fttings in the form of chrysanthemum fowerheads, the
interior ftted with two replacement black lacquer drawers with silver handles
31.2 x 42.8 x 38 cm. (47 cm. wide including handles)
£40,000-60,000 $50,000-75,000
€45,000-67,000

PUBLISHED:
Edmund J. Lewis and Joe Earle, Shadows and Refections: Japanese Lacquer Art
from the Collection of Edmund J. Lewis, exh cat. (Honolulu, 1996), Pl. 6

This exquisite example from the heyday of the early export lacquer trade
was made in Kyoto for the Dutch market by members of the Koami family of
lacquer craftsmen, the premier lacquer artists of the day. A small number of
similar works, mostly dating from the 1630s, were commissioned as gifts for
private trade by oficers of the Dutch East India Company. The cabinet was
perhaps a private order made from a European model.

Following an uprising by Christian converts, Portuguese traders were expelled

from Japan in 1639. In 1640 the Tokugawa government put into efect a
seclusionist policy that closed the country to all outsiders other than Chinese
merchants, a handful of Dutch traders in Nagasaki, and occasional Korean
emissaries. This policy awarded the Dutch a European monopoly over direct
trade with Japan. Inevitably, this shift in trade afected the style of lacquerware
produced for export. The old-fashioned cabinet with drop-down panel, for
example, was replaced by one with more up-to-date double hinged doors, as
here, in conformity with changing European custom. The domed lid of the
earlier export chests was replaced by a fat lid. The heavy use of mother-of-
pearl inlay characteristic of earlier Nanban lacquers decreased, while pictorial
designs with large open spaces became more prevalent. In addition to fat
makie, lacquer artisans now favoured raised maki-e (takamaki-e), producing a
relief efect on the lacquered surface. Gold designs on pure black ground, as
in the present example, become increasingly prominent. This new style was
sometimes called “red hair” (komo), or Dutch, lacquerware.

104 JAPANESE WORKS OF ART

FROM AN AMERICAN PRIVATE COLLECTION

105
Vigorous sales promotion by the Dutch traders opened up the landscape motifs are typical of export lacquers: Chinese-style
world of maki-e to royal families all over Europe. Old castles pavilions set high on stone walls; an owl; and minutely drawn
in Europe usually have at least one “red-hair” cabinet. Prices plants such as pinks (nadeshiko) and camellia. The details and
shot up. “Red-hair” lacquer cabinets and chests were usually intricate craftsmanship are the work of Kyoto artisans putting
placed on Western–made stands, surrounded by Chinese and to use techniques honed to perfection in traditional domestic
Japanese porcelains. The cabinet drawers held rarities and wares over many generations.
curiosities collected from across the world for the enjoyment
of guests and as conversation pieces. Export lacquers were For similar examples see: Oliver Impey and Christiaan Jorg,
often on display in a room specifcally designed to show Japanese Export Lacquer 1580-1850, (Amsterdam, 2005), p.
of the cultivation of the owner or announce his wealth and 93, no. 145a (Peabody Essex Museum, Salem, inv. AE 85343);
infuence—a “Wunderkammer,” in German. Trustees of Chiddingstone Castle, Japanese lacquer: the Denys
Eyre Bower Collection at Chiddingstone Castle, (London, 2000),
A characteristic of this early Dutch export lacquer is the curious p. 19-20, no. 13.
mixture of Chinese, Japanese and other foreign styles. A
border of very delicate shell inlay in key-fret pattern suggesting For other Japanese export lacquers with similar designs in the
Chinese or Korean sources is framed here by a gold edge Victoria and Albert Museum, go to:
decorated with formalised sixteen-petaled chrysanthemums. http://collections.vam.ac.uk/item/O18899/the-van-diemen-
The carrying handles and heads of the nails fxing the hinges box-document-box-unknown/
also feature chrysanthemum-shaped fttings. Ogival roundels http://www.vam.ac.uk/content/articles/j/japanese-export-
with lobed borders have their origin in contemporary Chinese lacquer-panel/
lacquer. Pictorial landscape designs inside these cartouches and see: Joe Earle, Genji meets Yang Guifei: A group of Japanese
are set of against a stark black background, rare in pre- Export Lacquers, Transactions of the Oriental Ceramic Society,
seventeenth-century lacquer. A ground of densely sprinkled London 1982-1983, pp. 45-75; Eskenazi, Japanese netsuke, inro
gold fakes (nashiji) sourrounds these cartouches. The and lacquer ware, 12-13 December 1986

106 JAPANESE WORKS OF ART

107
THE PROPERTY OF A EUROPEAN GENTLEMAN *86
85 A RARE LACQUER TRAY
A KAKIEMON TEAPOT EDO PERIOD (LATE 17TH - EARLY 18TH CENTURY)
EDO PERIOD (LATE 17TH CENTURY)
美人花卉文蒔絵盆
柿右衛門色絵梅文ティーポット 江戸時代（17世紀後期 - 18世紀前期）
江戸時代（17世紀後期） Derived from a European metal form, with scrollwork at each
The decagonal lobed teapot and cover decorated in iron-red, corner, decorated in gold hiramaki-e and takamaki-e with two
blue, green and black enamels with fowering plum trees issuing ladies amongst various fower sprays
from rockwork beneath scrolling clouds, the shoulder with 54.8 cm. wide
lappets, the handle and spout with karakusa, the cover similarly £3,000-4,000 $3,800-5,000
decorated, the fnial in shape of a fower bud
€3,400-4,500
14.5 cm. wide
£4,000-6,000 $5,000-7,500 PUBLISHED:

€4,500-6,700 Oliver Impey and Christiaan Jorg, Japanese Export Lacquer

1580-1850, (Amsterdam, 2005), p. 202, no. 487

108 JAPANESE WORKS OF ART

87
A FINE KAKIEMON BOWL
EDO PERIOD (LATE 17TH CENTURY)
柿右衛門色絵花卉文輪花鉢
江戸時代（17世紀後期）
The deep bowl with fve-lobed rim, decorated in iron-red, green, yellow, blue and black
enamels with fowering chrysanthemums issuing from rockwork, the interior similarly
decorated with fowering branches issuing from rockwork, chocolate rim
24.5 cm. diam.
£20,000-30,000 $25,000-37,000
€23,000-34,000

For a similar example see Asahi Shimbunsha, Kakiemon ten, exhibition catalogue,
Tokyo, 1993, p. 128, no. 88.

This model was copied by Meissen in the early 18th century.

109
 *88
A NAGASAKI LACQUER SECRETAIRE
EDO PERIOD (EARLY 19TH CENTURY)
青貝細工楼閣山水花鳥文書物机
江戸時代（19世紀前期）
Decorated in Nagasaki style with mother-of-pearl inlay on a black ground with ho-o
birds, various fower sprays and foliage, the fall front with an oval panel depicting a
moonlit landscape with pavilions, trees and rocks and a bridge over water in front of a
mountain, opening to reveal six drawers, a hinged door and four narrow compartments,
a pair of doors beneath with panels depicting ho-o birds and a fowering tree by a
stream, all bordered by geometric bands, standing on four shaped feet, applied gilt
copper angels and stylised plants to the corners, gilt copper fttings
138.5 x 96.5 x 44.2 cm.
£8,000-12,000 $10,000-15,000
€9,000-13,000

Nagasaki, the technique of colourful shell inlay on a black lacquer ground, was
produced under Dutch instruction in Nagasaki from the late 18th century. The
colourful decoration of foral and bird motifs follow the conventional Nagasaki
designs of the period.

This secretaire was probably produced for the North European market as its shape
is closely linked to Dutch and North German examples. It may have been made on
the island of Deshima in the Bay of Nagasaki. Deshima, also known as Dejima, was
a man-made island constructed in Nagasaki harbour by the Tokugawa shogunate
(1603-1867) in the mid-1630s. It was the only place in Japan where Westerners, frst
the Portuguese and then the Dutch, were allowed to reside from the 1630s to 1856
under the country’s policy of national seclusion.

For a similar example in The Peabody Essex Museum (inventory number E 79452),
Salem, see Oliver Impey and Christiaan Jorg, Japanese Export Lacquer 1580-1850,
(Amsterdam, 2005), p. 220-221, no. 535.

89 No Lot

110 JAPANESE WORKS OF ART

111
 *90
KATSUSHIKA HOKUSAI (1760-1849)
LI BAI (RI HAKU)
葛飾北斎（1760-1849）
詩歌写真鏡 李白
From the series A True Mirror of Chinese and
Japanese Poetry (Shika shashin kyo), also called
Imagery of the Poets, woodblock print on paper,
signed Zen Hokusai Iitsu hitsu, published by Moriya
Jihei (Kinshindo), circa 1833
Vertical nagaban (51.5 x 22.9 cm.)
£20,000-30,000 $25,000-37,000
€23,000-34,000

For another impression in the collection of the

Metropolitan Museum of Art, New York, accession
number JP3516, go to:
http://www.metmuseum.org/art/collection/
search/44900

112 JAPANESE WORKS OF ART

PROPERTY OF AN ENGLISH COLLECTOR
91
KATSUSHIKA HOKUSAI (1760-1849)
THE AMIDA WATERFALL IN THE FAR REACHES OF THE
KISOKAIDO ROAD (KISOJI NO OKU AMIDA-GA-TAKI)
葛飾北斎（1760-1849）
諸国瀧廻り 木曽路ノ奥阿弥陀ヶ瀧
From the series A Tour of Waterfalls in Various Provinces
(Shokoku taki meguri), woodblock print, signed Saki no Hokusai
Iitsu hitsu, published by Nishimuraya Yohachi (Eijudo), 1832
Vertical oban (37.5 x 25.4 cm.)
For another impression in the collection of the Tokyo National
£12,000-18,000 $15,000-22,000 Museum, go to:
€14,000-20,000 http://webarchives.tnm.jp/imgsearch/show/C0028352

113
 *92
KATSUSHIKA HOKUSAI (1760-1849)
A TRAVELLER IN THE SNOW
葛飾北斎（1760-1849）
詩歌写真鏡 雪中人馬
A Traveller in the Snow, from the series A True Mirror
of Chinese and Japanese Poetry (Shiika shashin kyo),
woodblock print, signed Zen Hokusai Iitsu hitsu,
published by Moriya Jihei, circa 1833
Vertical nagaban (51.8 x 22.8 cm.)
£25,000-30,000 $32,000-37,000
€29,000-34,000

A Chinese horseman is gazing at a snow-covered

landscape of thatched houses, a pine tree and
some paddling water birds. His servant in a straw
coat and on foot behind him carries some luggage.

Owing to the lack of title in the cartouche

(compared with the other designs in this set),
there has been some debate about the horseman’s
identity and by extension the subject depicted. One
theory is that he is the Chinese poet Su Tung-p’o
(1037-1101) during his exile, however the close
similarity of this print to an illustration by Hokusai
published in 1833 has made the Chinese poet Tu
Fu (712-70) a stronger possibility. Tu Fu wrote in a
poem of riding out into a desolate winter landscape
- forced to leave his homeland due to war.

For another impression of this design in The British

Museum, museum number 1924,0327,0.19, go to:
http://www.britishmuseum.org/research/
collection_online/collection_object_details.
aspx?objectId=784531=1

For another impression in the collection of the

Museum of Fine Arts, Boston, accession number
34.322, go to:
http://www.mfa.org/collections/object/traveler-
in-snow-from-the-series-a-true-mirror-of-chinese-
and-japanese-poetry-shika-shashin-ky%C3%B4-
also-called-imagery-of-the-poets-129276

114 JAPANESE WORKS OF ART

PROPERTY OF AN ENGLISH COLLECTOR
93
KATSUSHIKA HOKUSAI (1760-1849)
TWO LONG SURIMONO
葛飾北斎（1760-1849）
摺物 2点
Two woodblock prints:
Courtiers travelling with an ox-drawn cart, signed Hokusai sori ga, privately issued, circa
1796-7, to the reverse is a programme listing kabuki performances
Travellers crossing a river by boat, signed Katsushika Hokusai ga, privately issued, circa
1810s
Both long surimono: (18.3 x 49.3 cm.) and (18.8 x 50.8 cm.)
(2)
£1,500-2,000 $1,900-2,500
€1,700-2,200

115
*94
KATSUSHIKA HOKUSAI (1760-1849)
FINE WIND, CLEAR WEATHER (GAIFU
KAISEI), ALSO KNOWN AS RED FUJI
葛飾北斎（1760-1849）
富嶽三十六景 凱風快晴 （赤富士）
From the series the Thirty-six Views
of Mount Fuji (Fugaku sanjurokkei),
woodblock print on paper, signed Hokusai
aratame Iitsu hitsu [From the brush of
Hokusai changing to Iitsu], published
by Nishimuraya Yohachi (Eijudo), circa
1830-31
Horizontal oban (25.8 x 37.8 cm.)
£50,000-70,000 $63,000-87,000
€57,000-78,000

For a similar impression in the collection

of the Museum of Fine Arts, Boston,
accession number 34.314, go to:

http://www.mfa.org/collections/object/
fne-wind-clear-weather-gaif%C3%BB-
kaisei-also-known-as-red-fuji-from-the-
series-thirty-six-views-of-mount-fuji-
fugaku-sanj%C3%BBrokkei-246311

For another in the collection of the

British Museum, London, Museum
number 1906,1220,0.525, go to:

http://www.britishmuseum.org/
research/collection_online/collection_
object_details.aspx?assetId=102568001
&objectId=787342&partId=1

116 JAPANESE WORKS OF ART

A PRIVATE SWISS COLLECTION OF WOODBLOCK PRINTS
 *95
KITAGAWA UTAMARO (1753?-1806)
TWO PRINTS DEPICTING BEAUTIFUL WOMEN
喜多川歌麿（1753?-1806）
美人画 2点
Needlework (Hari-shigoto), the middle sheet from an incomplete triptych, signed Utamaro
hitsu, published by Uemura Yohei, circa 1794-95
Good Luck Comes to Those Who Wait Quietly (Kaho wa nete mate), from the series
Precious Children as the Basis for Proverbs (Kodakara tatoe no fushi), signed Utamaro hitsu,
published by Iwatoya Kisaburo (Eirindo), circa 1803
Both vertical oban: (38.6 x 26 cm.); (36.4 x 24.8 cm.)
(2)
£1,000-1,200 $1,300-1,500
€1,200-1,300

For the complete triptych Hari-shigoto (Needlework) in the Tokyo National Museum, go to:
http://webarchives.tnm.jp/imgsearch/show/C0008302

For another impression of the second in the Museum of Fine Arts, Boston, go to:
http://www.mfa.org/collections/object/good-luck-comes-to-those-who-wait-quietly-
kah%C3%B4-wa-nete-mate-from-the-series-precious-children-as-the-basis-for-
proverbs-kodakara-tatoe-no-fushi-234285

*96
KITAGAWA UTAMARO II (ACTIVE CIRCA 1800-1810)
HOSODA EISHI (1756-1829)
TORII KIYONAGA (1752-1815)
UTAGAWA TOYOKUNI (1769-1825)
FOUR PRINTS DEPICTING BEAUTIFUL WOMEN
喜多川歌麿二代・鳥文斎栄之・鳥居清長・歌川豊国
美人画 4点
Chozan of the Chojiya House (Chojiya Uchi no Chozan), from the series Five Layers of
Clothing for Gorgeous Courtesans (Goju no Koromobina no Kasanegi), woodblock print,
signed Utamaro hitsu, 1799
The Priest Kisen, from the series Six Immortal Poets (Rokkasen), signed Eishi ga, circa 1789-90
A Boating Party on the Sumida River, signed Kiyonaga ga, circa 1789 (one sheet from an
incomplete triptych)
The actors Segawa Michisaburo and Matsuyama Sawamura Gennosuke I, signed Toyokuni
ga, circa 1800
Each vertical oban (each approx. 37.8 x 25.2 cm.)
(4)
£1,500-1,800 $1,900-2,200
€1,700-2,000

*97
UTAGAWA KUNISADA (1786-1865)
UTAGAWA KUNIYOSHI (1797-1861)
UTAGAWA HIROSHIGE (1797-1858)
UTAGAWA HIROSHIGE II (1826-1869)
TWELVE PRINTS DEPICTING BIJIN, ACTORS AND LANDSCAPES
歌川国貞・国芳・広重・広重二代
美人画・武者絵・名所絵 12点
Each woodblock-printed, variously signed and published
Each vertical oban (each approx. 37.2 x 25 cm.)
(12)
£1,000-1,500 $1,300-1,900
€1,200-1,700

118 JAPANESE WORKS OF ART

 A PRIVATE SWISS COLLECTION OF WOODBLOCK PRINTS

*98
UTAGAWA HIROSHIGE (1797-1858)
ASAKUSA RICEFIELDS AND TORINOMACHI FESTIVAL
歌川広重（1797-1858）
名所江戸百景 浅草田甫酉の町詣
Asakusa Ricefelds and Torinomachi Festival (Askusa tanbo
Torinomachi mode), from the series One Hundred Famous Views
of Edo (Meisho Edo hyakkei)
Woodblock print, signed Hiroshige ga, published by Totoya
Eikichi, 11th month, 1857
Vertical oban (35.2 x 23.5 cm.)
£1,500-2,000 $1,900-2,500
€1,700-2,200

For other impressions of the same design in museum

collections go to:
http://www.mfa.org/collections/object/asakusa-ricefelds-
and-torinomachi-festival-askusa-tanbo-torinomachi-
m%C3%B4de-from-the-series-one-hundred-famous-views-
of-edo-meisho-edo-hyakkei-230563 (Museum of Fine Arts,
Boston, accession number 18.26)

http://www.britishmuseum.org/research/collection_online/
collection_object_details.aspx?objectId=786968&partId=1
(British Museum, museum number 1906,1220,0.664)

*99
KAWANABE KYOSAI (1831-1889)
UTAGAWA KUNITERU II (1830-1874)
AND OTHERS
NINE PRINTS FROM THE SERIES SCENES OF FAMOUS
PLACES ALONG THE TOKAIDO ROAD
河鍋暁斎・歌川国輝二代、他
東海道名所絵 9点
Nine prints from the series Scenes of Famous Places along
the Tokaido Road (Tokaido meisho fukei), also known as the
Processional Tokaido (Gyoretsu Tokaido), here called Tokaido
meisho no uchi
Each variously signed, various publishers, published 1863
Each vertical oban (each approx. 35.8 x 24.6 cm.)
(9)
£700-1,000 $880-1,200
€790-1,100

119
 *100
UTAGAWA HIROSHIGE (1797-1858)
THE COMPLETE SET OF THE SERIES SIX JEWEL RIVERS
(MU TAMAGAWA NO UCHI)
歌川広重（1797-1858）
六玉河之内　全6点
Each a woodblock print on paper signed Hiroshige ga, published
by Fujiokaya Hikotaro (Shogendo), circa 1835
Comprising:
The Chofu Jewel River in Musashi Province (Musashi Chofu)
The Noji Jewel River in Yamato Province (Yamato Noji)
The Ide Jewel River in Yamashiro Province (Yamashiro Ide)
The Kinuta Jewel River in Settsu Province (Settsu Kinuta)
The Noda Jewel River in Mutsu Province (Mutsu Noda)
The Koya Jewel River in Kii Province (Kii Koya)
Each chutanzaku (each approx. 36.6 x 12.8 cm.)
(6)
£20,000-25,000 $25,000-31,000
€23,000-28,000

120 JAPANESE WORKS OF ART

†101
UTAGAWA HIROSHIGE (1797-1858)
SHONO: DRIVING RAIN (SHONO, HAKUU)
歌川広重（1797-1858）
東海道五十三次之内 庄野 白雨
A fne, early impression from the series Fifty-three Stations of
the Tokaido Road (Tokaido gojusan tsugi no uchi), also known as For another impression in the collection of The Metropolitan
the First Tokaido or Great Tokaido, woodblock print on paper, Museum of Art, accession number JP516, go to:
signed Hiroshige ga, published by Takenouchi Magohachi http://www.metmuseum.org/art/collection/search/36967
(Hoeido), circa 1833-34
For another impression in The Edo-Tokyo Museum, number
Horizontal oban (24.7 x 37.3 cm.)
25.1 *37.1 *, go to:
£20,000-30,000 $25,000-37,000 http://digitalmuseum.rekibun.or.jp/app/collection/detail?
€23,000-34,000 ss=01=1000200=2000220=0108100046

121
*102
UTAGAWA HIROSHIGE (1797-1858)
SUDDEN SHOWER OVER SHIN-OHASHI BRIDGE AND
ATAKE (OHASHI ATAKE NO YUDACHI)
歌川広重（1797-1858） For another impression in the collection of the British Museum,
名所江戸百景 大はしあたけの夕立 London, museum number 1906,1220,0.752, go to:
From the series One Hundred Famous Views of Edo (Meisho http://www.britishmuseum.org/research/collection_online/
Edo hyakkei), woodblock print on paper, signed Hiroshige ga, collection_object_details.aspx?objectId=786880=1
published by Totoya Eikichi, 9th month 1857
For a similar impression in the collection of the Edo-Tokyo
Vertical oban (38 x 25.9 cm.)
Museum, number 83200053, go to:
£30,000-50,000 $38,000-62,000 http://digitalmuseum.rekibun.or.jp/app/collection/detail?
€34,000-56,000 ss=01=1000200=2000220=0183200053

122 JAPANESE WORKS OF ART

*103
UTAGAWA KUNIYOSHI (1797-1861)
NICHIREN IN THE SNOW AT TSUKAHARA ON SADO
ISLAND
歌川国芳（1797-1861）
高祖御一代略図 佐州塚原雪中
Nichiren in the Snow at Tsukahara on Sado Island (Sashu
Tsukahara setchu), from the series Sketches of the Life of the
Great Priest (Koso goichidai ryakuzu), woodblock print with
splashed gofun, signed Ichiyusai Kuniyoshi hitsu, published by
Iseya Rihei, circa 1831
Horizontal oban (25.6 x 37.3 cm.) Although there is debate surrounding the many editions of this
£20,000-25,000 $25,000-31,000 print and which should be considered the frst, it is generally
€23,000-28,000 believed that prints without the horizon line (as with the print
ofered here) are indicative of the frst edition.
A solitary fgure bracing himself against the wind, trudges up For another impression in the Honolulu Museum of Art, object
an exposed, snow-covered mountain slope near Tsukahara number 14842, go to:
on Sado island. Snow falls thickly from a dark sky. This is http://honolulumuseum.org/art/10353
Nichiren, sent into exile by the regent Hojo Tokimune in 1271. It
is believed that this print must have been very popular during For another impression in The Metropolitan Museum of Art,
Kuniyoshi’s lifetime and it remains one of Kuniyoshi’s best- accession number JP2856, go to:
known designs. http://www.metmuseum.org/art/collection/search/57049
*104
UTAGAWA KUNIYOSHI (1797-1861)
THE WITCH PRINCESS TAKIYASHA CALLING UP A
MONSTROUS SKELETON SPECTRE AT THE OLD
PALACE IN SOMA
歌川国芳（1797-1861）
相馬の古内裏
Princess Takiyasha calling up a Monstrous Skeleton Spectre
at the Old Palace in Soma (Soma no furu-dairi ni Masakado
no himegimi Takiyasha), woodblock print, each sheet signed
Ichiyusai Kuniyoshi ga, artist’s seal Yoshikiri, published by
Yashimaya, 1845-46
Oban triptych (each sheet approx. 37.7 x 25.8 cm.)
(3)
£30,000-35,000 $38,000-44,000
€34,000-39,000

This triptych exemplifes the work of Kuniyoshi; it is a

remarkable image based on legend - incorporating ghosts and
warriors - subjects he became famous for depicting. In addition
it displays expert use of Western devices in the realistic
depiction of the giant skeleton looming menacingly across the
compositional plane. Kuniyoshi was believed to own a book
titled Kaitai shinsho [The New Book of Anatomy], (published
1774), which showed Western anatomical drawings and this
print clearly shows his knowledge of the subject.

Page from Kaitai shinsho, 1774

124 JAPANESE WORKS OF ART

The print is based on the story of Taira Masakado, the For other impressions in museum collections, go to:
self-proclaimed ‘New Taira emperor’ who was defeated in
a rebellion and subsequently killed by the followers of the http://www.britishmuseum.org/research/collection_online/
emperor Suzaku (923-52). One of Masakado’s chief retainers, collection_object_details.aspx?objectId=785775=1 (British
Oya Taro Mitsukuni survives and is sent by Suzaku to hunt Museum, museum number 1908,0418,0.2.1-3)
down the remaining retainers and relatives of Masakado. http://honolulumuseum.org/art/10270 (Honolulu Museum of
Mitsukuni arrives at Masakado’s palace at Soma, where Art, object number 11641.06)
Masakado’s orphaned daughter, the princess and sorceress
Takiyashi, in defence invokes a giant skeleton spectre whilst
reading an incantation from a scroll. Mitsukuni however later
manages to defeat the princess and her magic powers.

125
 PROPERTY OF A COLLECTOR
105
YASHIMA GAKUTEI (1786?-1868)
A WARRIOR WEARING AN ANTLER MAEDATE
VANQUISHING HIS RIVAL
八島岳亭（1786?–1868）
武者絵摺物
Woodblock-printed surimono, embellished with gold and silver
metallic pigments and embossing, signed Gakutei, privately
issued circa 1830
Shikishiban surimono (21.8 x 18.7 cm.)
£1,500-2,000 $1,900-2,500
€1,700-2,200

PROPERTY OF A COLLECTOR
106
TOTOYA HOKKEI (1780-1850)
CHINESE WARRIOR WITH HALBERD SITTING READING
A BOOK
魚屋北渓（1780-1850）
武者絵摺物　
Woodblock-printed surimono, embellished with silver and gold
metallic pigments and embossing, signed Hokkei, privately
issued circa 1830
Shikishiban surimono (20.8 x 18.2 cm.)
£2,000-3,000 $2,500-3,700
€2,300-3,400

PROPERTY OF A COLLECTOR
107
ATTRIBUTED TO KATSUSHIKA TAITO II (ACTIVE CIRCA
1810-1853)
A WOMAN WEAVING BESIDE A VERANDA
伝 葛飾戴斗二代（作画期 1810-53年頃）
機織 摺物
Woodblock-printed surimono, embellished with gold and silver
metallic pigments and embossing, unsigned, privately issued
Shikishiban surimono (21 x 18.7 cm.)
£2,000-3,000 $2,500-3,700
€2,300-3,400

126 JAPANESE WORKS OF ART

FROM A PRIVATE COLLECTION art movements he encountered for the frst time including
l108 Fauvism and Cubism. Foujita adapted to Parisian life and
LÉONARD TSUGUHARU FOUJITA (1886-1968) immersed himself in meeting other artists and observing their
JEUNE FEMME AUX CHEVEUX LONGS (YOUNG WOMAN work, instead of receiving formal training at school.
WITH LONG HAIR)
Foujita’s frst marriage in 1912 in Japan to Tomiko Tokita
藤田嗣治（1886-1968） ended in 1916, and in 1917 he met and fell in love with
長い髪の女 Fernande Barrey, a young painter studying in Montparnasse,
Ink and pen on paper, signed and dated Tsuguharu (in Japanese) and married her soon after. It was in this period that Foujita
Foujita (in Roman script), 1924 (upper left) experienced his frst major successes, exhibiting six works at
Painted in 1924 the Salon d’Automne in 1919, two more in 1920, and three in
25.1 x 20.3 cm. (paper only) 1921. However, with professional success came the end of his
marriage to Fernande, who would quickly be replaced by the
£8,000-12,000 $10,000-15,000
fair-skinned and cheerful Lucie Badoul, nicknamed “Youki” by
€9,000-13,000 the artist. Foujita and Youki married in 1924, the same year the
present work was painted, and his new wife would serve as his
In August 1913, Léonard Tsuguharu Foujita travelled to Paris muse and principal model for the next decade.
from Japan planning to stay there for four years. There he
lived and worked in Montmartre amongst the other non- The work is accompanied by a certifcate issued by Sylvie
French artists working in Paris before the First World War, Buisson confrming the authenticity, numbered D24.193.D and
who formed the Ecole de Paris. He was inspired by European dated 3rd July 2014.

127
109
A SIX-PANEL FOLDING SCREEN DEPICTING WILLOWS the canonical group of pictures of famous places (meisho-e)
AND THE UJI BRIDGE expressing a distinctive Japanese sensibility. Although
the scenery of Uji is believed to have been represented in
ANONYMOUS, MOMOYAMA PERIOD (LATE 16TH – EARLY
paintings as early as the early Heian period, the earliest extant
17TH CENTURY)
example of Uji imagery is the fourteenth-century Buddhist tale
柳橋水車図屏風　六曲一隻 Ishiyamadera engi emaki (Illustrated History of Ishiyamadera)
桃山時代（16世紀後期 - 17世紀前期） in which the Uji Bridge and a waterwheel are both depicted.
Ink, colour, gold and gold leaf on paper From its frst depiction the theme underwent several stages
162.5 x 366.2 cm. of development, before reaching the magnifcent composition
of this screen, produced during the Momoyama period - the
£70,000-90,000 $88,000-110,000
great age of screen painting, when devices such as bold
€79,000-100,000 asymmetrical composition combined with lavish use of gold
were used to dramatic efect.
This painted screen represents the bridge over the Uji
River in southeast Kyoto - an area of rolling hills and clear This screen would have originally been one of a pair - this being
water, leading it to become one of the sites renowned for the left-hand screen. The bridge would have continued onto
its outstanding beauty, and to become incorporated into the right-hand screen, sweeping dramatically downwards,

128 JAPANESE WORKS OF ART

 THE PROPERTY OF A EUROPEAN NOBLE FAMILY

with further willow trees either side and a moon to complete

the composition. This left screen boldly depicts the bridge,
framed by two willow trees left and right. A waterwheel turns
in the river, surrounded by stone-flled baskets (jakugo) which
protect the river banks from erosion. Irregularly-shaped clouds For each of these go to:
formed of small pieces of gold leaf pasted onto the gold http://webarchives.tnm.jp/imgsearch/show/C0066284
ground gently conceal elements of the scene from sight. The (Tokyo National Museum)
three-dimensional rendering of the waterwheel and baskets in http://bunka.nii.ac.jp/heritages/detail/42028 (Kyoto National
built-up gesso adds a sense of realism, but also decoration. Museum)
http://collections.artsmia.org/search/Uji (Minneapolis
This subject must have been extremely popular during the Institute of Arts)
Momoyama and early Edo periods as numerous examples exist http://www.metmuseum.org/art/collection/search/53241
today - including in the Tokyo National Museum, the Kyoto (MET)
National Museum as well as American collections including
the Minneapolis Institute of Arts and the Burke Collection in For further reading see Miyeko Murase, Japanese Art:
The Metropolitan Museum of Art. Most of these are virtually Selections from the Mary and Jackson Burke Collection, (The
identical, except for small variations of detail. Metropolitan Museum of Art, 1975), p. 160-162

129
130 JAPANESE WORKS OF ART
*110
A SIX-PANEL FOLDING SCREEN DEPICTING AUTUMN
MAPLE
ANONYMOUS, MOMOYAMA PERIOD
(LATE 16TH – EARLY 17TH CENTURY)
紅葉図屏風　六曲一隻
桃山時代（16世紀後期 - 17世紀前期）
Ink, colour, gold and gold leaf on paper with an autumn scene
depicting a maple tree by a stream, mountains in the distance
amongst clouds
165.5 x 366.6 cm.
£80,000-100,000 $100,000-120,000
€90,000-110,000

131
132 JAPANESE WORKS OF ART
*111
A SIX-PANEL FOLDING SCREEN DEPICTING CRANES
ANONYMOUS, EDO PERIOD (18TH CENTURY)
群鶴図屏風　六曲一隻
江戸時代（18世紀）
Ink, colour and gold leaf on paper with red-capped cranes
resting amongst dwarf bamboo and reed, iris and further
fowers in a stream
178.8 x 373 cm.
£40,000-60,000 $50,000-75,000
€45,000-67,000

112 No Lot
133
113
A PAIR OF SIX-PANEL FOLDING SCREENS DEPICTING
BAMBOO
ANONYMOUS, EDO PERIOD
(LATE 17TH – EARLY 18TH CENTURY)
竹図屏風　六曲一双
江戸時代（17世紀後期 - 18世紀前期）
Ink, colour and gold leaf on paper, depicting bamboo and
bamboo shoots to the right screen and bamboo in snow to the
left screen
170.5 x 377 cm. each
(2)
£70,000-90,000 $88,000-110,000
€79,000-100,000

134 JAPANESE WORKS OF ART

135
THE PROPERTY OF A LONDON COLLECTOR
114
GANKU (1749/56 - 1838)
TIGER AND DRAGON
岸駒（1749/56-1938）
龍虎図屏風　六曲一双
A pair of six-panel screens, sumi [ink] and silver leaf on paper,
depicting a dragon amongst clouds and a tiger by bamboo, each
signed Echizen no kami Ganku and illegible seal
154 x 355 cm. each
(2)
£20,000-30,000 $25,000-37,000
€23,000-34,000

Ganku was born in Kanazawa, Kaga Province. He worked frst

in a textile shop, then moved to Kyoto in 1773 and became a
retainer of Prince Arisugawa. During the Tenmei era (1781-
89) he executed wall paintings for the Imperial Palace. In
1804, he entered court service and was appointed Echizen
no suke [Honorary Governor of Echizen Province], which he
incorporated into his signature of works of this period (as
in this pair of screens). In 1809, he returned to Kanazawa to
serve Lord Maeda and was commissioned to create paintings
for Kaga Castle. In 1836 he was promoted to Ju-goi Echizen
no kami [Honorary Lord of Echizen Province with the rank of
Ju-goi].

After training in both Kano school and Chinese styles, he

explored Japanese “naturalism” under Maruyama Okyo and
nanga-inspired “naturalism” under Matsumura Goshun of the
Shijo school in Kyoto. However, perhaps looking for his own
approach, he founded the Kishi school, characterised by a
rough and vigorous brush style but still incorporating elements
of the many infuences his training had provided. Ganku
developed a signature mixture of realism and sumptuous
decorative elements. He is renowned for his paintings of
animals, particularly of tigers.

For a pair of screens of tigers by Ganku, formerly in the Manno

Art Museum, Osaka, and subsequently purchased by the
Ashmolean Museum, Oxford, accession number EA2002.61 a
and b, go to:
http://jameelcentre.ashmolean.org/collection/8/per_
page/25/ofset/0/sort_by/date/object/22607

For a set of four fusuma depicting tigers and a dragon in sumi,

in The Walters Art Museum, accession number 35.301, go to:
http://art.thewalters.org/detail/77479/fusuma-tigers-and-
dragon/

For a pair of screens depicting bamboo by Ganku in the Art

Institute of Chicago, accession no. 1967.378-1967.379, go to:
http://www.artic.edu/aic/collections/artwork/198910

136 JAPANESE WORKS OF ART

137
PROPERTY OF AN OVERSEAS COLLECTOR
*115
HASHIMOTO GAHO (1835 - 1908)
CRANES BESIDE A LAKE IN SPRING AND AUTUMN
橋本雅邦（1835-1908）
春秋鶴汀図屏風　六曲一双
A pair of six-fold screens, ink, colour and gold leaf and seikin on paper; the right screen
with red-capped cranes amongst pine and plum blossom; the left screen with red-
capped cranes amongst pine and maple trees overhanging a stream, each signed Shoen
hitsu and sealed Gaho
166 x 350 cm. each
(2)
£25,000-30,000 $32,000-37,000
€29,000-34,000

PROVENANCE:
Aneiji temple
EXHIBITED:
1st - 30th September 1990, Special Exhibition: Hashimoto Gaho - The Man and His Art,
Yamatane Museum of Art, Tokyo
12th October - 24th November 2013, Tokubetsu ten: Kano ha to Hashimoto Gaho (Special
Exhibition: Hashimoto Gaho and the Kano School), Saitama Prefectural Museum of
History and Folklore
PUBLISHED:
The Yamatane Museum of Art, Special Exhibition: Hashimoto Gaho - The Man and His Art,
(exhibition catalogue), (Tokyo, 1990), p. 10-11, cat. no. 2 and p. 92
Saitama Prefectural Museum of History and Folklore Tokubetsu ten: Kano ha to
Hashimoto Gaho (Special Exhibition: Hashimoto Gaho and the Kano School), (exhibition
catalogue), p. 56-57, 60, cat. no. 45

Hashimoto Gaho was a painter active from the end of Edo to Meiji periods, and known
as the “father of nihonga (Japanese style painting)”. His painting style was of the
traditional Kano school, however he introduced elements of Western art in particular
the proper depiction of perspective, contributing to the transition and modernisation of
Japanese style painting in the Meiji period. He was involved in founding the Tokyo Art
School and after it was established in 1890 taught many important artists including
Yokoyama Taikan (1868-1958). He became one of the frst Teishitsu Gigeiin [Imperial
Artists].

Gaho was born in Edo, son of Hashimoto Osakuni, a goyo-eshi [oficial painter] of the
Kawagoe Domain, present Saitama Prefecture, and a leading pupil of Kano Osanobu
(1796-1846), the ninth generation of the Kobikicho Kano family. From the age of fve
Gaho learned Kano-school painting under his father and Kano Shosenin (1823-1880).
Amongst many pupils he and Kano Hogai (1828-1888) were regarded as the most
highly skilled and both artists later became the pioneers who lead the modernisation
of nihonga. In 1860 he became independent however during the upheaval of the Meiji
Restoration it became harder to work as a Kano school painter. From around 1884 he
was invited to establish the Tokyo Art School under Ernest Francisco Fenollosa and
Okakura Tenshin where he taught as professor of painting after the school opened.

Many of Gaho’s works produced during the period when he painted in the Kano school
style in Kobikicho have been lost and few survive today. This pair is a rare example
from this period which show his great sense and skill as a Kano school artist. On the
right are three cranes in a spring scene, one tending to her chicks in a nest in the trunk
of a large pine tree, white plum trees and bamboo grow beside a stream, a turtle on a
rock to the left, and the mountains in the distance. The left screen shows an autumnal
scene of cranes in fight and one perched in a pine tree growing from clif overhanging
a stream. Maple leaves gently fall from a tree. Clouds are rendered with sprinkled
gold leaf and seikin (gold and silver alloy). This depiction of cranes and fowers is in
traditional Kano school style, however the bright colours enhanced with light sumi
[black ink] show Gaho’s splendid sense of colour and individuality as an artist.

138 JAPANESE WORKS OF ART

139
116
A TWO-PANEL FOLDING SCREEN DEPICTING CRANES
ANONYMOUS, EDO PERIOD (18TH CENTURY)
群鶴図屏風　二曲一隻
江戸時代（18世紀）
Ink, colour and gold leaf on paper with cranes resting on the
shore next to dwarf bamboo and reeds by a stream, pine and
maple trees on two peaks in the distance amongst clouds
166.5 x 179 cm.
£10,000-15,000 $13,000-19,000
€12,000-17,000

140 JAPANESE WORKS OF ART

†117
A FINE SILVER KORO [INCENSE BURNER]
SIGNED TSUNEAKI, MEIJI PERIOD (LATE 19TH CENTURY)
銀製鴨香炉
銘 常明　明治時代（19世紀後期）
Modelled as a duck, with fnely engraved details, gilt and copper
eyes, shakudo beak, the feet in gilt, with ftted container and cover
15 cm. long
£15,000-20,000 $19,000-25,000
€17,000-22,000
(signature)

141
 †118
A PAIR OF VERY FINE MIXED-METAL-INLAID SILVER
AND CLOISONNÉ VASES
EACH SEALED OZEKI SEI, MEIJI PERIOD
(LATE 19TH CENTURY)
銀製金工七宝象嵌蛇に菊図花瓶　一対
銘 大関製　明治時代（19世紀後期）
Each spherical vase with long tapered neck, the patinated
silver body inlaid in various metals in high relief including
gold, silver, shakudo, shibuichi, copper and gilt with various
fowers including chrysanthemums, plum, narcissus, peony,
cotton rosemallow and wisteria, the shoulder and foot
inlaid in various soft metals with lappets of stylised ho-o
birds and fowers with foliage on a silver ground, the silver
neck decorated with various coloured cloisonné enamels
with stylised fowers and a band of clouds, ribboned and
applied with a gold and silver coiled snake with shakudo eyes
entwined around the lobed mouth rim in the form of a kikyo
[Chinese bellfower], the tripod foot decorated in stylised kiri
[paulownia], fowers and vine, with ftted wood storage box
21.5 cm. high each
(2)
£120,000-140,000 $150,000-170,000
€140,000-160,000

The Musashiya company, operated by Ozeki Yahei and

his son Sadajiro, were perhaps the most successful of the
concerns selling high-quality decorative art during the Meiji
era. Originally a dealer in pipes, Ozeki Yahei set up the
Yokohama branch at 66 Main Street, probably under the
management of his son Ozeki Sadajiro, soon after the port
was opened in 1859. In 1877, both father and son exhibited
commissioned pieces under their separate names in the frst
Naikoku Kangyo Hakurankai [National Industrial Exposition].
By 1880, the company is recorded as employing twenty-
four people and dealing in enamels, bronzes, ivory, crystal,
carvings, pins, fans, hardstones, tortoiseshell, lacquer, and a
variety of ceramics.1

For examples with dragons coiled around the necks by

Hasegawa Issei, see:
Oliver Impey and Malcolm Fairley eds., Meiji no Takara:
Treasures of Imperial Japan, The Nasser D. Khalili Collection
of Japanese Art, Metalwork Part I, (London, 1995), cat. no. 66.
Oliver Impey and Malcolm Fairley eds., Meiji no Takara:
Treasures of Imperial Japan, The Nasser D. Khalili Collection
of Japanese Art, Enamel, (London, 1994), cat. no. 80.

1. Joe Earle, Splendors of Meiji: Treasures of Imperial Japan,

Masterpieces from the Khalili Collection (St. Petersburg,
Florida, 1999), p. 94

142 JAPANESE WORKS OF ART

The Komai workshop, circa 1915

*119
A MAGNIFICENT PAIR OF INLAID IRON VASES FROM THE KOMAI
WORKSHOP
EACH SIGNED KYOTO JU KOMAI SEI [MADE BY KOMAI OF KYOTO],
MEIJI PERIOD (LATE 19TH CENTURY)
金銀布目象嵌鉄地羅漢仙人図花瓶　一対
銘 京都住駒井製　明治時代（19世紀後期）
Each in the form of a double-gourd, inlaid in gold and silver nunomezogan [fne
damascene work], hirazogan [fat inlay] and takazogan [inlay in relief], wrapped with a
lavish brocade of various patterns including fowers and auspicious geometric patterns,
revealing four panels depicting Sennin and Rakan, the neck with grape vine below a
band of key-fret design, the mouth rim with shippo, silver rims; signed on the sides
34 cm. high each
(2)
£250,000-300,000 $320,000-370,000
€290,000-340,000

(signature)

144 JAPANESE WORKS OF ART

146 JAPANESE WORKS OF ART
 A trade label for the Komai workshop, circa 1900

The Komai Company was established in 1841, and became famous throughout
the world with Japan’s participation in the International Expositions of the
fnal decades of the 19th century following the Meiji restoration of 1867. The
Komai technique of fne gold and silver inlaid into line-engraved patterns and
onto a hatched iron surface was perfected by the end of the century under the
directorship of Komai Otojiro (1842-1917) and his son.

These techniques had been developed in the early 17th century for use on iron
arms and armour. Iron tsuba made with nunomezogan were the speciality of a
number of makers in Kyushu, and several schools in Kyoto from the 17th century
onward, and Komai Otojiro was himself frst apprenticed to a tsuba maker. But
none of the early Edo period wares could anywhere near compare in technical
excellence and elegance of composition with Otojiro’s mature work.

In addition to a number of select designs on pairs of vases the Komai studio also
made large, impressive dishes with central designs of historical and legendary
subjects many of which are recorded in the studio’s design books.

This extraordinary pair of double-gourd shaped vases are carved with inter-woven
ribbon-like swathes of textile all with repeated patterns of stylised geometric
and foral forms in fne gold and silver inlay. The ribbons overlap in startling
dissymmetry to reveal windows into another world - that of the ‘Sennin’, a group of
Daoist immortal hermits depicted frequently in popular Japanese art. The Sennin
are often confused with Buddhist Rakan (Arahats - the original ten disciples of the
historical Buddha although frequently found in larger numbers up to fve hundred),
and some share the same attributes. They inhabit a world of rocky landscapes
with rivers, waterfalls, trees and magical plants high in the clouds away from
the encumbrance of life and death. Some can be identifed by their own special
attributes, such as Tekkai who is able to project his spiritual self along his expelled
breath, and Chinnan who is able to conjure a dragon from his bowl. Others have
a Buddhist appearance, like the hooded fgure of Daruma-San (Bodhidharma)
sitting in an attitude of contemplation on the upper part of one of the vases. The
sennin took a hold on the Japanese imagination, and were depicted in all schools
of art from the studious Kano to the sometimes frivolous Katsuchika Hokusai and
other Ukiyo-e artists.

A pair of vases of similar size, also signed Kyoto ju Komai sei, and with equally
unreal landscapes was sold in Christie’s London, The Exceptional Sale 2016, 7th
July 2016, lot 314, sale 11955.

147
 119 (side view)

148 JAPANESE WORKS OF ART

THE PROPERTY OF A GENTLEMAN
120
A KOMAI DISH DEPICTING KANZAN AND JITTOKU
SIGNED KYOTO JU KOMAI SEI [MADE BY KOMAI OF
KYOTO], MEIJI PERIOD (LATE 19TH CENTURY)
金銀布目象嵌鉄地寒山拾得図大皿
銘 京都住駒井製　明治時代（19世紀後期）
The large iron dish with a scalloped rim, inlaid in gold, silver and
shakudo (gold and copper alloy), nunomezogan [fne damascene
work], hirazogan [fat inlay] and takazogan [inlay in relief], the
central roundel depicting Kanzan and Jittoku examining a scroll
with a Buddhist fgure amongst scrolling clouds, the lobes
of Kanzan and Jittoku decorated lavishly with foral scrolls,
ho-o birds and geometric designs, Jittoku holding his broom,
surrounded by numerous reserves with various brocade designs
including shippo hanabishi, auspicious patterns, grapes, waves,
clouds and many varieties of geometric patterns, the outer
border with another band of geometric designs, the signature
framed with two dragons to the reverse
For similar examples in the Nasser D. Khalili Collection,
42.5 cm. diam.
see Oliver Impey and Malcolm Fairley eds., Meiji no Takara:
£15,000-20,000 $19,000-25,000 Treasures of Imperial Japan, The Nasser D. Khalili Collection of
€17,000-22,000 Japanese Art, Metalwork Part I, (London, 1995), cat. no. 14-19.

149
(signature)

†121
AN IMPRESSIVE LARGE KOMAI DISH DEPICTING A SCENE
FROM MOMIJIGARI [MAPLE VIEWING]
SIGNED NIHON KOKU KYOTO JU KOMAI SEI [MADE BY KOMAI OF
KYOTO, JAPAN], MEIJI PERIOD (LATE 19TH CENTURY)
金銀布目象嵌鉄地紅葉狩図大皿
銘 日本国京都住駒井製　明治時代（19世紀後期）
The large circular iron dish with foliate rim fnely inlaid in gold, silver,
shibuichi (silver alloy), shakudo (gold and copper alloy) and copper
nunomezogan [fne damascene work], hirazogan [fat inlay] and
takazogan [inlay in relief], the central roundel depicting Lord Taira
no Koremochi menaced by the Demon of Mount Togakushi beneath
a maple tree, bordered by a band of key-fret design, surrounded by
two dragons, the mouth of one is closed to represent the Buddhist
incantation ‘Un’ and the mouth of the other is open to represent the
incantation ‘Ah’, amongst brocade decorated with various designs, the
rim with grape vine
54.5 cm. diam.
£80,000-120,000 $100,000-150,000
€90,000-130,000

The tale of Lord Taira no Koremochi and the Demon of Mount

Togakushi is from the noh play titled Momijigari and was later also
adapted in to a kabuki play. Koremochi joins the princess at a maple
picnic. Drinking sake he falls asleep and the princess turns in to a
demon. This dish depicts the scene where Koremochi discovered the
truth that the princess was in fact the demon.

For similar examples in the Nasser D. Khalili Collection, see:

Oliver Impey and Malcolm Fairley eds., Meiji no Takara: Treasures
of Imperial Japan, The Nasser D. Khalili Collection of Japanese Art,
Metalwork Part I, (London, 1995), cat. no. 14-19, 21, 23.

150 JAPANESE WORKS OF ART

†122
A MIXED-METAL-INLAID SILVER AND BRONZE VASE
SIGNED TOSHIYUKI KOKU AND SEALED ON BASE OZEKI SEI,
MEIJI PERIOD (LATE 19TH CENTURY)
銀銅製金工七宝象嵌三猿図花瓶
銘 壽之刻・大関製　明治時代（19世紀後期）
The ovoid vase with long tapering neck, the patinated bronze
body applied with three high-relief monkeys mizaru, kikazaru and
iwazaru (‘not seeing’, ‘not hearing’ and ‘not speaking’), chased,
engraved and inlaid in various metals in high relief including
gold, silver, shakudo, copper and cloisonné enamel with foliage
and vine beside a stream, the neck and foot in silver, the lobed
rim in the form of a snowfake above a simulated molten motif,
the foot decorated in various coloured enamels with stylised
fowers and foliage
27.5 cm. high
£50,000-70,000 $63,000-87,000
€57,000-78,000

For examples with a simulated molten motif by the Ozeki

Company, see:
Oliver Impey and Malcolm Fairley eds., Meiji no Takara:
Treasures of Imperial Japan, The Nasser D. Khalili Collection of
Japanese Art, Metalwork Part I, (London, 1995), cat. no. 48, 50
and 51.

152 JAPANESE WORKS OF ART

153
 (detail of cover)

THE PROPERTY OF AN AMERICAN COLLECTOR

*123
A MAGNIFICENT SILVER KORO [INCENSE BURNER]
SIGNED KAZUHIDE KOKU AND GOLD SEAL (SATO
KAZUHIDE, 1855-1925), MEIJI PERIOD (LATE 19TH CENTURY)
銀製金工象嵌群鶏図香炉
銘 一秀刻（佐藤一秀, 1855-1925）　明治時代（19世紀後期）
Of globular form with short neck and everted rim on three feet
in the form of archaic masks, chased and inlaid in gold, shakudo,
shibuichi and patinated copper with cockerels, hens and chicks,
the neck with a band of gold key-fret pattern, the shoulder
applied with two stylised paulownia in relief, the cover pierced,
chased and inlaid in gold with a profusion of chrysanthemum
flowers, with silver liner
12.7 cm. high
£100,000-150,000 $130,000-190,000
€120,000-170,000

Sato Kazuhide became an independent metal artist in 1876,

producing work for the Imperial Household and international
expositions, including the Paris Exposition of 1900. Also from
Edo, he apprenticed under the metal masters Iwamoto Ikkan
VII and Ozaki Kazuyoshi.

For a similar example by the artist, see:

Oliver Impey and Malcolm Fairley eds., Meiji no Takara:
Treasures of Imperial Japan, The Nasser D. Khalili Collection of
(signature) Japanese Art, Metalwork Part I, (London, 1995), cat. no. 9

154 JAPANESE WORKS OF ART

155
*124 Motohira (using one of the characters from Katsuhira’s
UNNO SHOMIN (1844-1915) name), in 1871, he went to work in Tokyo. In 1890, Shomin
A SOFT-METAL PANEL DEPICTING FUKUROKUJU was appointed to the Tokyo School of Art (present-day Tokyo
University of the Arts), where he was to work with Kano Natsuo
海野勝眠（1844-1915） (1828-1898). He was made lecturer in metalwork in 1894.
扇面彫金額 福禄寿
The soft-metal panel in the form of fan, carved, chiselled and Shomin won prizes at the frst, second and several later
inlaid in gold depicting Fukurokuju, one of the Seven Lucky Domestic Industrial Exhibitions. His work is considered second
Gods and the God of happiness, wealth and longevity, carrying only to that of Kano Natsuo, who strongly infuenced him, and
a sacred reishi fungus and an auspicious bat, signed Hosho so is thought to have produced joint works with Shomin. Like
Shomin and with kao, mounted, framed and glazed Natsuo, Shomin was honoured as a Teishitsu Gigeiin [Imperial
Panel: 39 cm. wide, frame: 39.4 x 57.5 cm. Artist] in 1896.
£10,000-15,000 $13,000-19,000 Shomin exemplifes the transition of the traditional
€12,000-17,000 metalworker from the manufacture of sword fttings to that
of decorative objects. He assumed the name Shomin in
Unno Shomin is one of the greatest of the Meiji/Taisho period reference to the great metal smith Yokoya Somin (1670-1733),
metal artists. He was born in the castle town of Mito (present- who is credited with the perfection of katakiri-bori (sculpting
day Ibaraki Prefecture), and from the age of nine studied under with oblique cuts of the chisel in simulation of brush strokes).
his uncle Unno Yoshimori (Bisei) and Hagiya Katsuhira (1804- The katakiribori chiselwork of the present lot is particularly
96), both leading makers of sword fttings of the Mito school. characteristic of Shomin, refecting both his early study of
He was taught painting by Adachi Baikei and calligraphy calligraphy and Natsuo’s infuence.
by Take Sojiro during his years in Mito. Then with the name

156 JAPANESE WORKS OF ART

 (alternate view)

THE PROPERTY OF A GENTLEMAN

125
A CLOISONNÉ VASE
THE MARK OF KAWADE SHIBATARO, ANDO WORKSHOP,
MEIJI PERIOD (LATE 19TH CENTURY)
七宝蝶図花瓶
安藤七宝・川出柴太郎　明治時代（19世紀後期）
Decorated in gold and silver wire and various coloured cloisonné
enamels with three butterfies in relief on an unusual mottled
bluish ground, silver rims
18 cm. high
£8,000-10,000 $10,000-12,000
€9,000-11,000

157
THE PROPERTY OF A EUROPEAN LADY
126
A PAIR OF SATSUMA VASES
EACH SIGNED YABU MEIZAN, MEIJI PERIOD
(LATE 19TH CENTURY)
薩摩色絵山水図花瓶　一対
銘 藪明山　明治時代（19世紀後期）
Each vase of compressed body with slightly everted long neck,
decorated in various coloured enamels and gilt on a crackled
cream ground with a central band depicting a landscape with
houses and trees on cliffs, boats on water and mountains in the
distance, beneath and above bands of profusion of flowerheads,
the lower body with peony above a band of flower and karakusa,
the upper neck with a panel depicting numerous children at
play and in various festival scenes beneath a band of geometric
design, gilt seal on base
14.7 cm. high each
(2)
£15,000-20,000 $19,000-25,000
€17,000-22,000

158 JAPANESE WORKS OF ART

 *127
A PAIR OF SATSUMA VASES
EACH SIGNED YABU MEIZAN, MEIJI PERIOD
(LATE 19TH CENTURY)
薩摩色絵山水図花瓶　一対
銘 藪明山　明治時代（19世紀後期）
Each oviform vase with everted neck and foot, decorated in
various coloured enamels and gilt on a crackled cream ground
with a central band depicting a scene of fshermen in boats,
houses, trees and further fgures on river banks and mountains
in the distance, the lower body with coiled bands of profusion
of fowerheads and butterfies above the bands of geometric
designs to the foot, the shoulder with a panel of fgures and
A trade label for the Yabu Meizan workshop
children in various festival scenes and costumes, the neck with
bands of fowers and geometric designs, gilt seal on base
13.2 cm. high each
(2)
£15,000-20,000 $19,000-25,000
€17,000-22,000

159
128
AN IRON SOMEN [FULL-FACE MASK]
SIGNED RYU (FUKUTAKE ICHIRO), SHOWA PERIOD
(EARLY 20TH CENTURY)
総面
銘 龍（福武一郎）　昭和時代（20世紀前期）
The russet iron somen hammered from iron sheet, the nose and
upper lip portion made separately and riveted to the face, the
yodarekake [bib] hanging from a stencilled leather piece and
composed of two tiers of lacquered iron kozane [scales]
£4,000-6,000 $5,000-7,500
€4,500-6,700

The maker Fukutake Ichiro worked in Okayama province,

achieving some fame with his artistic renderings of traditional
armour masks.

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161
129
A NANBAN KABUTO [HELMET]
EDO PERIOD (17TH - 18TH CENTURY)
南蛮兜
江戸時代（17-18世紀）
The russet iron helmet formed essentially from two major side
pieces and a frontal piece, worked and hammered with raised
The decorative wave-form surround to the bottom edge of the
curved ridges giving a feeling of fowing motion to the helmet,
bowl is also found on the Nanban-inspired work of the 16th
iron fukurin [edging] at fore and rear cover the major joints, four
and 17th century helmet makers of Saika in Kii province. A
vertical curved rows of cylindrical studs intimate the decorative
gold-rimmed ‘boar’s eye’ heart-shaped aperture at the crown
rivets of the traditional Japanese ‘hoshi-bachi’ on a piece which
would probably have held a decorative bow. The red lacquered
would otherwise have had a more European ambiance
fve-tiered iron plate Hineno-style shikoro [neck guard] has
£6,000-8,000 $7,500-10,000 fukikaeshi [turned -back portions] with gilt fukurin and applied
€6,800-9,000 gilt Shonai katabami mon [woodsorrel family crest] .

162 JAPANESE WORKS OF ART

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163
 130
A GOMAI-DO GUSOKU [ARMOUR WITH
FIVE-PIECE CUIRASS]
THE HELMET SIGNED NAGAMICHI, EDO
PERIOD
(17TH - 18TH CENTURY)
黒漆五枚胴具足
兜銘 長途　江戸時代（17-18世紀）
The armour with matching green silk with gold
brocade lining and matching variegated reddish-
orange silk kebiki-odoshi [close laced] lacing, the
zaboshi kabuto [helmet with star-seated rivets]
of sixty-two russet iron plates signed Nagamichi,
fve-tiered gilt and copper alloy hachimanza
[decorative surround to central aperture], riveted
iron mabisashi [peak] with gilt edging, maedate
[fore-crest] of a leaping karashishi [lion dog], fve
tier black-lacquered iron shikoro [neck guard]
formed of shitsuke-zane [laced plates simulating
individual lamellae], small rounded fukigaeshi
[return plates] with inlaid shell characters ken
[frm] and haku [white], with gilt copper fukurin
[edging], russet iron menpo [face mask] with
expansive bristle moustache and detachable
nose, with four tier black lacquered iron yodare-
gake [bib], the fve piece hinged cuirass of
dangai yokohagi construction (horizontal riveted
iron plates with upper and lower sections of
laced lamellae), kobire [small shoulder pieces]
of brigandine, seven tiered kusazuri [skirt] of
lacquered hardened leather shittsukezane,
hyotan-gote [sleeves with black lacquered iron
rectangular and double-gourd shaped pieces
on chain mail], seven tier chu-sode [shoulder
guards] of iron shittsukezane, Etchu haidate
[thigh guards], lacquered iron splint Shino sune-
ate, with an armour box
£8,000-10,000 $10,000-12,000
€9,000-11,000

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165
131
A KOZUKA WITH RATS
EDO PERIOD (19TH CENTURY)
赤銅魚子地金象嵌鼠扇図小柄
江戸時代（19世紀）
Shakudo nanakoji kozuka in a gilt setting, with rats, two of
which carry brushes in their mouths, and folding fans, an open
fan-paper with tiger and dragon in high relief, all in gold suemon-
zogan inlay
10 cm. wide
133
£800-1,200 $1,000-1,500
A PAIR OF SHAKUDO MENUKI WITH CRANES
€900-1,300 SIGNED SHOZUI KONEN ROKUJU-SAN [SHOZUI AGED 63
YEARS], EDO PERIOD (18TH CENTURY)
赤銅鶴図目貫
銘 政随 行年六十三　江戸時代（18世紀）
4.2 cm. long (largest) (2)
£1,000-1,500 $1,300-1,900
€1,200-1,700
Accompanied by a certifcate as a Tokubetsu Kitcho Kodogu
[Especially Valuable Sword Fitting] no. 647 issued by the Nippon
Bijutsu Token Hozon Kyokai [Society for the Preservation of the
Japanese Art Sword] issued on 1st November 1972.

134
A KAWARI-KABUTO [EXOTIC HELMET]
EDO PERIOD (17TH CENTURY)
変わり兜
江戸時代（17世紀）
In the form of a stylised sea shell and fns of a marine creature
built in an organic material onto an iron zunari [head-shaped]
helmet, lacquered black and with gold lacquer striations
defning the shell and silver togidashi makie foating marine
132
shapes on the back, a broad mabisashi [peak], deeply embossed
A FUCHI-KASHIRA WITH KIRIN and carved gold-lacquered eyebrows and wrinkled forehead,
SIGNED SOYO, EDO PERIOD (17TH CENTURY) the shikoro [neck guard] of fve tiers of solid iron plate lacquered
赤銅魚子地金象嵌麒麟図縁頭 gold with blue lacing and red hishi-nui [cross-knots] on the lower
銘 宗與　江戸時代（17世紀） plate, with small fukigaeshi [turned-back end portions] on the
upper plate
Shakudo nanako with gold inlay
3.7 cm. long (largest) (2) £10,000-15,000 $13,000-19,000
£2,000-3,000 $2,500-3,700 €12,000-17,000
€2,300-3,400
Such exotic helmets became popular during the civil wars
Accompanied by a certifcate of registration as a Tokubetsu Kitcho of the 16th century both as an expression of the wearer’s
Kodogu [Sword Fitting Especially Worthy of Preservation] no. 65 individuality and the need to be clearly identifable during the
issued by the Nihon Bijutsu Token Hozon Kyokai [Society for the heat of battle when vision might be impaired by the smoke of
Preservation of the Japanese Art Sword] on 4th October 1972. gunfre on the feld.

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167
 135
A ROUND YAMAGANE TSUBA
EDO PERIOD (17TH CENTURY)
山銅地松透鐔
江戸時代（17世紀）
Of yamagane (unrefned natural copper alloy) with rounded rim pierced with distant
pines, attributed to Higo province work
8 cm. diam.
£700-1,000 $880-1,200
€790-1,100

136
AN ITOMAKI NO TACHI KOSHIRAE
EDO PERIOD (18TH CENTURY)
糸巻太刀拵
江戸時代（18世紀）
Gold makie lacquered Itomaki no tachi koshirae [sword mounting with cord-wrapped
scabbard], the saya with gold lacquer and gilt chrysanthemum and paulownia mon, metal
fttings shakudo nanako-ji with gold inlaid mon, formal wear for a high ranking samurai
100 cm. long
£4,000-5,000 $5,000-6,200
€4,500-5,600
Accompanied by a certifcate of registration as a Tokubetsu Kitcho Kodogu [Especially
Valuable Sword Mounting] issued by the Nihon Bijutsu Token Hozon Kyokai [Society
for the Preservation of the Japanese Art Sword] on 23rd February 1959.

The cord-wrapped tachi was devised for use by mounted samurai, the wrapping
on the scabbard preventing damage to the lacquered scabbards due to violent
movement on horseback, and the tachi became formal wear for high-ranking samurai
during the Edo period. Since ancient times the paulownia mon has been associated
with the Imperial Family, but during the civil wars of the 16th century the Ashikaga,
Oda, and Toyotomi families adopted the mon, which came to be used by their allies
and Buddhist temples under their auspices. The use of variations of the Imperial
Chrysanthemum also spread among temples and related samurai clans. The present
tachi doubtless belonged to a high ranking samurai clan whose use of the mon
implies a relationship with the Imperial Family.

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137
A SEKISHU NAGINATA-NAOSHI KATANA
ATTRIBUTED TO SADATSUNA, NANBOKUCHO PERIOD
(14TH CENTURY)
石州薙刀直し刀
伝 貞綱　南北朝時代（14世紀）
A naginata-naoshi katana with itame-hada, copious jinie,
gunome-midare hamon of nie with much variation, in shirasaya,
attributed to Sadatsuna, the son of Naotsuna of Sekishu (Iwami)
province, said to have been one of the ten disciples of Masamune
of Sagami
Sugata [confguration]: o-suriage naginata-naoshi shobu-zukuri,
even curve
Kitae [forging pattern]: itame hada fowing into masame on the
shinogi-ji with ji-nie and chikei
Hamon [tempering pattern]: midare-ba with gunome, diverse
ashi, hotsure with kinsuji, tobiyaki
Boshi [tip]: yakitsume
Nakago [tang]: o-suriage, single mekugi-ana, katte-sagari fle
marks, kuri-jiri
Habaki [collar]: double gilt copper
Nagasa [length of blade]: 70.9 cm.
Koshirae [mounting]: in shirasaya
Accompanied by a certifcate of registration as a Hozon Token
[Sword Worthy of Preservation] no. 357913 issued by the Nihon
Bijutsu Token Hozon Kyokai [Society for the Preservation of the
Japanese Art Sword] on 21st December 2000
£5,000-7,000 $6,300-8,700
€5,700-7,800

During the Nanbokucho period the style of warfare changed

from essentially individual combat between well armed groups
of mounted samurai, to include conscripts from the farming
communities, or ‘kachi-musha’. These soldiers would attack
the mounted samurai in groups with arrows from a distance
and cutting at the horse’s legs with agricultural instruments to
bring their enemy down. Long naginata, swords called ‘o-dachi’,
and yari (stabbing and cutting spears) became popular
among the samurai. Although naginata were used by samurai
in the Heian and Kamakura periods, the use of long bladed
swords, naginata, and nagamaki became prevalent during the
Nanbokucho and Muromachi periods.

The word naginata can be translated as ‘long cutter’ and

applies to curved glaive-like blades mounted on long wooden
poles. Nagamaki, or ‘long bound’, applies to long blades
mounted on long poles bound with braid like the hilts of
normal-length swords. Most existing blades were shortened
during the Muromachi period, and the present example
attributed to Sadatsuna of Sekishu is one such. The high
shinogi, the slight broadening of the blade around the mono-
uchi, and the fact that the boshi is yakitsume style owing to the
re-shaping of the original deeply-curved kissaki all show that
the blade was once of naginata or nagamaki type. Naotsuna, the
father of the frst generation Sadatsuna, is said to have been
one of the ten disciples of the great smith Masamune of Soshu
province working in the frst half of the 14th century. The line
continued during the Nanbokucho period with two or possibly
three generations of Sadatsuna.

169
 138
AN OSURIAGE BIZEN KATANA
WITH GOLD KINPUN-MEI, ATTRIBUTION
TO MOTOSHIGE, NANBOKUCHO
PERIOD (14TH CENTURY)
大磨上備前刀
伝 元重　南北朝時代（14世紀）
A fne broad early 14th century o-suriage
Bizen katana length 66.5 cm., itame-hada
with utsuri, kata-ochi gunome hamon, ko-
maru boshi, with bohi grooves, attributed to
Motoshige, working in the frst half of the
14th century, katana koshirae with black
lacquered saya, iron fttings with gold-
inlaid tachi-aoi mon [crest with upright
hollyhock leaves], round tsuba with prunus
and hollyhock, gilt menuki of goma-bashi
(Buddhist ritual tongs)
Sugata [confguration]: broad shinogi-zukuri,
iori-mune, low curve, chu-kissaki
Kitae [forging pattern]: itame with some
nagare hada, ji-nie-utsuri
Hamon [tempering pattern]: squarish
kataochi gunume-midare, with togari-ba, of
ko-nie
Boshi [tip]: ko-maru with togari tendency
Nakago [tang]: o-suriage, katte sagari fle
marks, two mekugi-ana, kuri-jiri
Habaki [collar]: single gilt
Horimono [carving]: bohi kakitosu both sides
of blade
Nagasa [length of blade]: 66.5 cm.
Koshirae [mounting]: katana koshirae ishime-
ji black lacquered saya, fuchi, kashira, and
kojiri of black iron with inlaid gold tachi-aoi
mon within circles, round iron tsuba with
prunus and aoi in sukidashi-bori with gilt
details, one hitsu-ana plugged with shakudo,
the menuki gilt goma-bashi [ritual tongs]
£10,000-15,000 $13,000-19,000
€12,000-17,000

The blade accompanied by a certifcate

of registration as a Juyo Token [Important
Sword] no.3900 issued by the Nihon
Bijutsu Token Hozon Kyokai [Society for the
Preservation of the Japanese Art Sword] on
8th September 1980.

Dated works signed by Motoshige of

Osafune in Bizen Province span the long
period between the Showa (1312-1317)
and Joji (1362-1368) eras, suggesting that
there were two generations, although it has
not been possible to defne a border line
between them. Many of his early works have
kataochi-gunome choji similar to the work
of Kagemitsu of Osafune working around
the same time, and later pieces have large
saka choji close to work of the Aoe school
of Bitchu Province. This is a fne early
Nanbokucho period work by the smith.

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139
AN OZAKI SHINSHINTO KATANA
SIGNED TACHI-MEI OZAKI NAGATO
(NO) KAMI CHAKUSHI TENRYUSHI
MASATAKA AND ON THE URA TEMPO
JUNINEN NIGATSU HI [A DAY IN THE
SECOND MONTH, 1841] WITH AN
IMPRESSED SEAL
新々刀
銘 尾崎長門守嫡子天龍子正隆　
天保十二年二月日
Sugata [confguration]: slender deeply
curved shinogi-zukuri, iori-mune, chu-
kissaki
Kitae [forging pattern]: fne ko-itame
Hamon [tempering pattern]: suguha of
ko-nie
Boshi [tip]: ko-maru
Nakago [tang]: ubu, single mekugi-ana,
kesho and osujigai fle marks, shallow
kurigata-jiri
Habaki [collar]: single silver-clad
Nagasa [length of blade]: 66.2 cm.
Koshirae [mounting]: katana -koshirae,
ribbed black lacquer scabbard, mokko
shakudo tsuba with basket weave and gold
inlaid foral vine, fuchi-kashira of shakudo
carved as basket weave with gold inlaid
wind-swept paulownia, menuki of peonies
in shakudo and gold inlay
£6,000-8,000 $7,500-10,000
€6,800-9,000
The blade accompanied by a certifcate
of registration as a Hozon Token [Sword
Worthy of Preservation] no. 370530
issued by the Nihon Bijutsu Token Hozon
Kyokai [Society for the Preservation of the
Japanese Art Sword] on 8th April 2005.

A leading Shinshinto smith, the son of

Tomosaburo Takashige, Masataka moved
from Osaka to Kyoto where he remained
active until the early Meiji period.

171
GLOSSARY

bundai writing table

chawan tea-bowl
fundame matt gold lacquer ground
gyobu-nashiji lacquer ground of relatively large irregularly shaped flakes of gold or silver
sprinkled and suspended in clear or yellowish lacquer
harigaki lacquer surface incised in detail with a sharp instrument
hiramaki-e basic lacquering technique in which metal powders are sprinkled onto wet
lacquer and then covered with a further layer of transparent lacquer, i.e.
low relief lacquer
hirame flat gold and silver flakes used in lacquer decoration
hirazogan level inlay
jubako tiered food box
kagamibako mirror box
kinji polished gold lacquer ground
kinpun gold powder
kirikane geometrically cut out pieces of gold and silver
maki-e generic term for lacquer decoration using powdered metals; see also
hiramaki-e and takamaki-e
mon family crest
mura-nashiji sparse nashiji or nashiji sprinkled in patches
nashiji very small, irregularly shaped flakes of gold or silver sprinkled and
suspended in clear or yellowish lacquer
nunomezogan fine damascene work
roironuri polished black lacquer
ryoshibako formal document box
sennin semi-divine being of Chinese origin
shakudo blue black patinated alloy of copper with a small quantity of gold
shakudo nanako shakudo with a granulated ground stamped with a tiny cup-headed punch
shibuichi grey-green patinated alloy of copper with varying quantities of silver
shippo linked jewel pattern
suzuribako formal box for writing utensils
tachibana mandarin orange; Citrus deliciosa
takamaki-e lacquering technique in which the design is built up in high relief either
by repeated applications or by adding powdered charcoal or clay to the
lacquer
takazogan high-relief inlay
tebako literally ‘hand box’ or ‘handy box’, a term often used loosely to describe
cosmetic and accessory box
togidashi lacquer technique in which the design is covered with several layers
of lacquer; when these layers of lacquer are polished away the design
reappears, flush with the new ground
tsuishu thick layers of red lacquer carved in high and low relief

172 JAPANESE WORKS OF ART

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174
CONDITIONS OF SALE • BUYING AT CHRISTIE’S

CONDITIONS OF SALE (d) For jewellery sales, estimates are based on the information in 6 BIDDING SERVICES
These Conditions of Sale and the Important Notices and any gemmological report or, if no report is available, assume that The bidding services described below are a free service offered
Explanation of Cataloguing Practice set out the terms on which the gemstones may have been treated or enhanced. as a convenience to our clients and Christie’s is not responsible
we offer the lots listed in this catalogue for sale. By registering to for any error (human or otherwise), omission or breakdown in
bid and/or by bidding at auction you agree to these terms, so you 8 WATCHES & CLOCKS providing these services.
should read them carefully before doing so. You will find a glossary (a) Almost all clocks and watches are repaired in their lifetime
at the end explaining the meaning of the words and expressions and may include parts which are not original. We do not give (a) Phone Bids
coloured in bold. a warranty that any individual component part of any watch is Your request for this service must be made no later than 24 hours
authentic. Watchbands described as ‘associated’ are not part of prior to the auction. We will accept bids by telephone for lots only
Unless we own a lot (∆ symbol, Christie’s acts as agent for the original watch and may not be authentic. Clocks may be sold if our staff are available to take the bids. If you need to bid in a
the seller. without pendulums, weights or keys. language other than in English, you must arrange this well before
(b) As collectors’ watches often have very fine and complex the auction. We may record telephone bids. By bidding on the
A BEFORE THE SALE mechanisms, a general service, change of battery or further repair telephone, you are agreeing to us recording your conversations.
1 DESCRIPTION OF LOTS work may be necessary, for which you are responsible. We do You also agree that your telephone bids are governed by these
(a) Certain words used in the catalogue description have special not give a warranty that any watch is in good working order. Conditions of Sale.
meanings. You can find details of these on the page headed Certificates are not available unless described in the catalogue.
‘Important Notices and Explanation of Cataloguing Practice’ which (c) Most wristwatches have been opened to find out the type and (b) Internet Bids on Christie’s Live™
forms part of these terms. You can find a key to the Symbols found quality of movement. For that reason, wristwatches with water For certain auctions we will accept bids over the Internet. Please
next to certain catalogue entries under the section of the catalogue resistant cases may not be waterproof and we recommend you visit www.christies.com/livebidding and click on the ‘Bid Live’
called ‘Symbols Used in this Catalogue’. have them checked by a competent watchmaker before use. icon to see details of how to watch, hear and bid at the auction
(b) Our description of any lot in the catalogue, any condition Important information about the sale, transport and shipping of from your computer. As well as these Conditions of Sale, internet
report and any other statement made by us (whether orally or watches and watchbands can be found in paragraph H2(g). bids are governed by the Christie’s LIVE™ terms of use which are
in writing) about any lot, including about its nature or condition, available on www.christies.com.
artist, period, materials, approximate dimensions or provenance B REGISTERING TO BID
are our opinion and not to be relied upon as a statement of fact. (c) Written Bids
1 NEW BIDDERS
We do not carry out in-depth research of the sort carried out by
(a) If this is your first time bidding at Christie’s or you are a You can find a Written Bid Form at the back of our catalogues, at
professional historians and scholars. All dimensions and weights
returning bidder who has not bought anything from any of our any Christie’s office or by choosing the sale and viewing the lots
are approximate only.
salerooms within the last two years you must register at least 48 online at www.christies.com. We must receive your completed
hours before an auction to give us enough time to process and Written Bid Form at least 24 hours before the auction. Bids must
2 OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS approve your registration. We may, at our option, decline to permit be placed in the currency of the saleroom. The auctioneer will take
We do not provide any guarantee in relation to the nature of a lot you to register as a bidder. You will be asked for the following: reasonable steps to carry out written bids at the lowest possible
apart from our authenticity warranty contained in paragraph E2 (i) for individuals: Photo identification (driving licence, national price, taking into account the reserve. If you make a written bid
and to the extent provided in paragraph I below. identity card or passport) and, if not shown on the ID document, on a lot which does not have a reserve and there is no higher bid
proof of your current address (for example, a current utility bill than yours, we will bid on your behalf at around 50% of the low
3 CONDITION or bank statement). estimate or, if lower, the amount of your bid. If we receive written
bids on a lot for identical amounts, and at the auction these are
(a) The condition of lots sold in our auctions can vary widely due (ii) for corporate clients: Your Certificate of Incorporation or
the highest bids on the lot, we will sell the lot to the bidder whose
to factors such as age, previous damage, restoration, repair and equivalent document(s) showing your name and registered address
written bid we received first.
wear and tear. Their nature means that they will rarely be in perfect together with documentary proof of directors and beneficial
condition. Lots are sold ‘as is’, in the condition they are in at the time owners; and
of the sale, without any representation or warranty or assumption of (iii) for trusts, partnerships, offshore companies and other C AT THE SALE
liability of any kind as to condition by Christie’s or by the seller. business structures, please contact us in advance to discuss our 1 WHO CAN ENTER THE AUCTION
(b) Any reference to condition in a catalogue entry or in a requirements. We may, at our option, refuse admission to our premises or decline
condition report will not amount to a full description of condition, (b) We may also ask you to give us a financial reference and/or to permit participation in any auction or to reject any bid.
and images may not show a lot clearly. Colours and shades may a deposit as a condition of allowing you to bid. For help, please
look different in print or on screen to how they look on physical contact our Credit Department on +44 (0)20 7839 9060. 2 RESERVES
inspection. Condition reports may be available to help you evaluate
Unless otherwise indicated, all lots are subject to a reserve. We
the condition of a lot. Condition reports are provided free of
2 RETURNING BIDDERS identify lots that are offered without reserve with the symbol
charge as a convenience to our buyers and are for guidance only.
We may at our option ask you for current identification as • next to the lot number. The reserve cannot be more than the
They offer our opinion but they may not refer to all faults, inherent
described in paragraph B1(a) above, a financial reference or a lot’s low estimate.
defects, restoration, alteration or adaptation because our staff are
not professional restorers or conservators. For that reason they are deposit as a condition of allowing you to bid. If you have not bought
not an alternative to examining a lot in person or taking your own anything from any of our salerooms in the last two years or if you 3 AUCTIONEER’S DISCRETION
professional advice. It is your responsibility to ensure that you have want to spend more than on previous occasions, please contact our The auctioneer can at his sole option:
requested, received and considered any condition report. Credit Department on +44 (0)20 7839 9060.
(a) refuse any bid;
(b) move the bidding backwards or forwards in any way he or she
4 VIEWING LOTS PRE-AUCTION 3 IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS may decide, or change the order of the lots;
(a) If you are planning to bid on a lot, you should inspect it If in our opinion you do not satisfy our bidder identification and (c) withdraw any lot;
personally or through a knowledgeable representative before you registration procedures including, but not limited to completing
(d) divide any lot or combine any two or more lots;
make a bid to make sure that you accept the description and its any anti-money laundering and/or anti-terrorism financing checks
we may require to our satisfaction, we may refuse to register you to (e) reopen or continue the bidding even after the hammer has
condition. We recommend you get your own advice from a restorer fallen; and
or other professional adviser. bid, and if you make a successful bid, we may cancel the contract
for sale between you and the seller. (f) in the case of error or dispute and whether during or after
(b) Pre-auction viewings are open to the public free of charge. Our the auction, to continue the bidding, determine the successful
specialists may be available to answer questions at pre-auction bidder, cancel the sale of the lot, or reoffer and resell any lot. If any
viewings or by appointment. 4 BIDDING ON BEHALF OF ANOTHER PERSON
dispute relating to bidding arises during or after the auction, the
(a) As authorised bidder. If you are bidding on behalf of another auctioneer’s decision in exercise of this option is final.
5 ESTIMATES person, that person will need to complete the registration
requirements above before you can bid, and supply a signed letter
Estimates are based on the condition, rarity, quality and 4 BIDDING
authorising you to bid for him/her.
provenance of the lots and on prices recently paid at auction for The auctioneer accepts bids from:
similar property. Estimates can change. Neither you, nor anyone (b) As agent for an undisclosed principal: If you are bidding as
an agent for an undisclosed principal (the ultimate buyer(s)), you (a) bidders in the saleroom;
else, may rely on any estimates as a prediction or guarantee of
accept personal liability to pay the purchase price and all other (b) telephone bidders, and internet bidders through ‘Christie’s
the actual selling price of a lot or its value for any other purpose.
sums due. Further, you warrant that: LIVE™ (as shown above in Section B6); and
Estimates do not include the buyer’s premium or any applicable
taxes. (i) you have conducted appropriate customer due diligence on (c) written bids (also known as absentee bids or commission bids)
the ultimate buyer(s) of the lot(s) in accordance with any and all left with us by a bidder before the auction.
applicable anti-money laundering and sanctions laws, consent to
6 WITHDRAWAL
us relying on this due diligence, and you will retain for a period of 5 BIDDING ON BEHALF OF THE SELLER
Christie’s may, at its option, withdraw any lot at any time prior to not less than five years the documentation and records evidencing
or during the sale of the lot. Christie’s has no liability to you for any The auctioneer may, at his or her sole option, bid on behalf of the
the due diligence; seller up to but not including the amount of the reserve either by
decision to withdraw.
(ii) you will make such documentation and records evidencing making consecutive bids or by making bids in response to other
your due diligence promptly available for immediate inspection bidders. The auctioneer will not identify these as bids made on
7 JEWELLERY by an independent third-party auditor upon our written request behalf of the seller and will not make any bid on behalf of the
(a) Coloured gemstones (such as rubies, sapphires and emeralds) to do so. We will not disclose such documentation and records seller at or above the reserve. If lots are offered without reserve,
may have been treated to improve their look, through methods to any third-parties unless (1) it is already in the public domain, (2) the auctioneer will generally decide to open the bidding at 50%
such as heating and oiling. These methods are accepted by the it is required to be disclosed by law, or (3) it is in accordance with of the low estimate for the lot. If no bid is made at that level, the
international jewellery trade but may make the gemstone less anti-money laundering laws; auctioneer may decide to go backwards at his or her sole option
strong and/or require special care over time. (iii) the arrangements between you and the ultimate buyer(s) are until a bid is made, and then continue up from that amount. In
(b) All types of gemstones may have been improved by some not designed to facilitate tax crimes; the event that there are no bids on a lot, the auctioneer may deem
method. You may request a gemmological report for any item (iv) you do not know, and have no reason to suspect, that the such lot unsold.
which does not have a report if the request is made to us at least funds used for settlement are connected with, the proceeds
three weeks before the date of the auction and you pay the fee of any criminal activity or that the ultimate buyer(s) are under 6 BID INCREMENTS
for the report. investigation, charged with or convicted of money laundering, Bidding generally starts below the low estimate and increases in
(c) We do not obtain a gemmological report for every gemstone terrorist activities or other money laundering predicate crimes. steps (bid increments). The auctioneer will decide at his or her sole
sold in our auctions. Where we do get gemmological reports A bidder accepts personal liability to pay the purchase price option where the bidding should start and the bid increments. The
from internationally accepted gemmological laboratories, such and all other sums due unless it has been agreed in writing with usual bid increments are shown for guidance only on the Written
reports will be described in the catalogue. Reports from American Christie’s before commencement of the auction that the bidder is Bid Form at the back of this catalogue.
gemmological laboratories will describe any improvement or acting as an agent on behalf of a named third party acceptable
treatment to the gemstone. Reports from European gemmological to Christie’s and that Christie’s will only seek payment from the
laboratories will describe any improvement or treatment only if we 7 CURRENCY CONVERTER
named third party.
request that they do so, but will confirm when no improvement The saleroom video screens (and Christies LIVETM) may show bids
or treatment has been made. Because of differences in approach in some other major currencies as well as sterling. Any conversion
5 BIDDING IN PERSON is for guidance only and we cannot be bound by any rate of
and technology, laboratories may not agree whether a particular
gemstone has been treated, the amount of treatment or whether If you wish to bid in the saleroom you must register for a numbered exchange used. Christie’s is not responsible for any error (human
treatment is permanent. The gemmological laboratories will bidding paddle at least 30 minutes before the auction. You may or otherwise), omission or breakdown in providing these services.
only report on the improvements or treatments known to the register online at www.christies.com or in person. For help, please
laboratories at the date of the report. contact the Credit Department on +44 (0)20 7839 9060.

175
8 SUCCESSFUL BIDS (c) The authenticity warranty does not apply to any Heading or (ii) Credit Card.
Unless the auctioneer decides to use his or her discretion as set out part of a Heading which is qualified. Qualified means limited by We accept most major credit cards subject to certain conditions.
in paragraph C3 above, when the auctioneer’s hammer strikes, we a clarification in a lot’s catalogue description or by the use in a To make a ‘cardholder not present’ (CNP) payment, you must
have accepted the last bid. This means a contract for sale has been Heading of one of the terms listed in the section titled Qualified complete a CNP authorisation form which you can get from
formed between the seller and the successful bidder. We will issue Headings on the page of the catalogue headed ‘Important Notices our Cashiers Department. You must send a completed CNP
an invoice only to the registered bidder who made the successful and Explanation of Cataloguing Practice’. For example, use of the authorisation form by fax to +44 (0)20 7389 2869 or by post to
bid. While we send out invoices by post and/or email after the term ‘ATTRIBUTED TO…’ in a Heading means that the lot is in the address set out in paragraph (d) below. If you want to make
auction, we do not accept responsibility for telling you whether Christie’s opinion probably a work by the named artist but no a CNP payment over the telephone, you must call +44 (0)20
or not your bid was successful. If you have bid by written bid, you warranty is provided that the lot is the work of the named artist. 7839 9060. CNP payments cannot be accepted by all salerooms
should contact us by telephone or in person as soon as possible Please read the full list of Qualified Headings and a lot’s full and are subject to certain restrictions. Details of the conditions
after the auction to get details of the outcome of your bid to avoid catalogue description before bidding. and restrictions applicable to credit card payments are available
having to pay unnecessary storage charges. (d) The authenticity warranty applies to the Heading as amended from our Cashiers Department, whose details are set out in
by any Saleroom Notice. paragraph (d) below.
9 LOCAL BIDDING LAWS (e) The authenticity warranty does not apply where scholarship (iii) Cash
You agree that when bidding in any of our sales that you will strictly has developed since the auction leading to a change in generally We accept cash subject to a maximum of £5,000 per buyer per
comply with all local laws and regulations in force at the time of the accepted opinion. Further, it does not apply if the Heading either year at our Cashier’s Department only (subject to conditions).
sale for the relevant sale site. matched the generally accepted opinion of experts at the date of (iv) Banker’s draft
the sale or drew attention to any conflict of opinion.
You must make these payable to Christie’s and there may be conditions.
(f) The authenticity warranty does not apply if the lot can only
D THE BUYER’S PREMIUM, TAXES AND ARTIST’S (v) Cheque
be shown not to be authentic by a scientific process which,
RESALE ROYALTY You must make cheques payable to Christie’s. Cheques must be
on the date we published the catalogue, was not available or
1 THE BUYER’S PREMIUM generally accepted for use, or which was unreasonably expensive from accounts in pounds sterling from a United Kingdom bank.
In addition to the hammer price, the successful bidder agrees or impractical, or which was likely to have damaged the lot. (d) You must quote the sale number, your invoice number and
to pay us a buyer’s premium on the hammer price of each lot (g) The benefit of the authenticity warranty is only available to client number when making a payment. All payments sent by post
sold. On all lots we charge 25% of the hammer price up to and the original buyer shown on the invoice for the lot issued at the must be sent to: Christie’s, Cashiers Department, 8 King Street, St
including £100,000, 20% on that part of the hammer price over time of the sale and only if the original buyer has owned the lot James’s, London SW1Y 6QT.
£100,000 and up to and including £2,000,000, and 12% of that continuously between the date of the auction and the date of claim. (e) For more information please contact our Cashiers Department
part of the hammer price above £2,000,000. It may not be transferred to anyone else. by phone on +44 (0)20 7839 9060 or fax on +44 (0)20 7389 2869.
(h) In order to claim under the authenticity warranty you must:
2 TAXES (i) give us written details, including full supporting evidence, of any 2. TRANSFERRING OWNERSHIP TO YOU
The successful bidder is responsible for any applicable tax claim within five years of the date of the auction; You will not own the lot and ownership of the lot will not pass to you
including any VAT, sales or compensating use tax or equivalent (ii) at Christie’s option, we may require you to provide the written until we have received full and clear payment of the purchase price,
tax wherever they arise on the hammer price and the buyer’s opinions of two recognised experts in the field of the lot mutually even in circumstances where we have released the lot to the buyer.
premium. It is the buyer’s responsibility to ascertain and pay all agreed by you and us in advance confirming that the lot is not
taxes due. You can find details of how VAT and VAT reclaims authentic. If we have any doubts, we reserve the right to obtain 3 TRANSFERRING RISK TO YOU
are dealt with in the section of the catalogue headed ‘VAT additional opinions at our expense; and The risk in and responsibility for the lot will transfer to you from
Symbols and Explanation’. VAT charges and refunds depend on (iii) return the lot at your expense to the saleroom from which you whichever is the earlier of the following:
the particular circumstances of the buyer so this section, which bought it in the condition it was in at the time of sale. (a) When you collect the lot; or
is not exhaustive, should be used only as a general guide. In all
(i) Your only right under this authenticity warranty is to cancel the (b) At the end of the 30th day following the date of the auction or, if
circumstances EU and UK law takes precedence. If you have any
sale and receive a refund of the purchase price paid by you to us. earlier, the date the lot is taken into care by a third party warehouse
questions about VAT, please contact Christie’s VAT Department
We will not, in any circumstances, be required to pay you more than as set out on the page headed ‘Storage and Collection’, unless we
on +44 (0)20 7839 9060 (email: VAT_london@christies.com, fax:
the purchase price nor will we be liable for any loss of profits or have agreed otherwise with you in writing.
+44 (0)20 3219 6076).
business, loss of opportunity or value, expected savings or interest,
costs, damages, other damages or expenses. 4 WHAT HAPPENS IF YOU DO NOT PAY
3 ARTIST’S RESALE ROYALTY (j) Books. Where the lot is a book, we give an additional warranty
In certain countries, local laws entitle the artist or the artist’s estate (a) If you fail to pay us the purchase price in full by the due date,
for 14 days from the date of the sale that if on collation any lot is we will be entitled to do one or more of the following (as well as
to a royalty known as ‘artist’s resale right’ when any lot created by defective in text or illustration, we will refund your purchase price,
the artist is sold. We identify these lots with the symbol λ next to enforce our rights under paragraph F5 and any other rights or
subject to the following terms: remedies we have by law):
the lot number. If these laws apply to a lot, you must pay us an (a) This additional warranty does not apply to:
extra amount equal to the royalty. We will pay the royalty to the (i) to charge interest from the due date at a rate of 5% a year above the
(i) the absence of blanks, half titles, tissue guards or advertisements, UK Lloyds Bank base rate from time to time on the unpaid amount due;
appropriate authority on the seller’s behalf.
damage in respect of bindings, stains, spotting, marginal tears or (ii) we can cancel the sale of the lot. If we do this, we may sell the lot
The artist’s resale royalty applies if the hammer price of the other defects not affecting completeness of the text or illustration;
lot is 1,000 euro or more. The total royalty for any lot cannot be again, publicly or privately on such terms we shall think necessary or
(ii) drawings, autographs, letters or manuscripts, signed appropriate, in which case you must pay us any shortfall between the
more than 12,500 euro. We work out the amount owed as follows:
photographs, music, atlases, maps or periodicals; purchase price and the proceeds from the resale. You must also pay
Royalty for the portion of the hammer price
(iii) books not identified by title; all costs, expenses, losses, damages and legal fees we have to pay or
(in euros)
(iv) lots sold without a printed estimate; may suffer and any shortfall in the seller’s commission on the resale;
4% up to 50,000
(v) books which are described in the catalogue as sold not subject (iii) we can pay the seller an amount up to the net proceeds payable
3% between 50,000.01 and 200,000
to return; or in respect of the amount bid by your default in which case you
1% between 200,000.01 and 350,000 acknowledge and understand that Christie’s will have all of the
(vi) defects stated in any condition report or announced at the time
0.50% between 350,000.01 and 500,000 of sale. rights of the seller to pursue you for such amounts;
over 500,000, the lower of 0.25% and 12,500 euro. (b) To make a claim under this paragraph you must give written (iv) we can hold you legally responsible for the purchase price
We will work out the artist’s resale royalty using the euro to details of the defect and return the lot to the sale room at which and may begin legal proceedings to recover it together with other
sterling rate of exchange of the European Central Bank on the you bought it in the same condition as at the time of sale, within losses, interest, legal fees and costs as far as we are allowed by law;
day of the auction. 14 days of the date of the sale. (v) we can take what you owe us from any amounts which we or
(k) South East Asian Modern and Contemporary Art and any company in the Christie’s Group may owe you (including any
E WARRANTIES Chinese Calligraphy and Painting. deposit or other part-payment which you have paid to us);
1 SELLER’S WARRANTIES In these categories, the authenticity warranty does not apply (vi) we can, at our option, reveal your identity and contact details to
because current scholarship does not permit the making of the seller;
For each lot, the seller gives a warranty that the seller:
definitive statements. Christie’s does, however, agree to cancel (vii) we can reject at any future auction any bids made by or on
(a) is the owner of the lot or a joint owner of the lot acting with the
a sale in either of these two categories of art where it has been behalf of the buyer or to obtain a deposit from the buyer before
permission of the other co-owners or, if the seller is not the owner
proven the lot is a forgery. Christie’s will refund to the original accepting any bids;
or a joint owner of the lot, has the permission of the owner to sell
the lot, or the right to do so in law; and buyer the purchase price in accordance with the terms of Christie’s (viii) to exercise all the rights and remedies of a person holding
authenticity warranty, provided that the original buyer notifies us security over any property in our possession owned by you, whether
(b) has the right to transfer ownership of the lot to the buyer
with full supporting evidence documenting the forgery claim within by way of pledge, security interest or in any other way as permitted
without any restrictions or claims by anyone else.
twelve (12) months of the date of the auction. Such evidence must by the law of the place where such property is located. You will be
If either of the above warranties are incorrect, the seller shall not be satisfactory to us that the lot is a forgery in accordance with deemed to have granted such security to us and we may retain
have to pay more than the purchase price (as defined in paragraph paragraph E2(h)(ii) above and the lot must be returned to us in such property as collateral security for your obligations to us; and
F1(a) below) paid by you to us. The seller will not be responsible to accordance with E2h(iii) above. Paragraphs E2(b), (c), (d), (e), (f) and (ix) we can take any other action we see necessary or appropriate.
you for any reason for loss of profits or business, expected savings, (g) and (i) also apply to a claim under these categories.
loss of opportunity or interest, costs, damages, other damages or (b) If you owe money to us or to another Christie’s Group
expenses. The seller gives no warranty in relation to any lot other company, we can use any amount you do pay, including any deposit
than as set out above and, as far as the seller is allowed by law, all F PAYMENT or other part-payment you have made to us, or which we owe you,
warranties from the seller to you, and all other obligations upon the 1 HOW TO PAY to pay off any amount you owe to us or another Christie’s Group
seller which may be added to this agreement by law, are excluded. (a) Immediately following the auction, you must pay the purchase company for any transaction.
price being: (c) If you make payment in full after the due date, and we choose
(i) the hammer price; and to accept such payment we may charge you storage and transport
2 OUR AUTHENTICITY WARRANTY
costs from the date that is 30 calendar days following the auction
We warrant, subject to the terms below, that the lots in our sales (ii) the buyer’s premium; and
in accordance with paragraphs Gd(i) and (ii). In such circumstances
are authentic (our ‘authenticity warranty’). If, within five years of (iii) any amounts due under section D3 above; and paragraph Gd(iv) shall apply.
the date of the auction, you satisfy us that your lot is not authentic, (iv) any duties, goods, sales, use, compensating or service tax or VAT.
subject to the terms below, we will refund the purchase price paid Payment is due no later than by the end of the seventh calendar day
by you. The meaning of authentic can be found in the glossary at 5 KEEPING YOUR PROPERTY
following the date of the auction (the ‘due date’).
the end of these Conditions of Sale. The terms of the authenticity If you owe money to us or to another Christie’s Group company, as
(b) We will only accept payment from the registered bidder. Once well as the rights set out in F4 above, we can use or deal with any of
warranty are as follows:
issued, we cannot change the buyer’s name on an invoice or your property we hold or which is held by another Christie’s Group
(a) It will be honoured for a period of five years from the date of re-issue the invoice in a different name. You must pay immediately
the auction. After such time, we will not be obligated to honour the company in any way we are allowed to by law. We will only release
even if you want to export the lot and you need an export licence. your property to you after you pay us or the relevant Christie’s
authenticity warranty.
(c) You must pay for lots bought at Christie’s in the United Kingdom Group company in full for what you owe. However, if we choose,
(b) It is given only for information shown in UPPERCASE type in in the currency stated on the invoice in one of the following ways: we can also sell your property in any way we think appropriate. We
the first line of the catalogue description (the ‘Heading’). It does
(i) Wire transfer will use the proceeds of the sale against any amounts you owe us
not apply to any information other than in the Heading even if
You must make payments to: and we will pay any amount left from that sale to you. If there is a
shown in UPPERCASE type.
Lloyds Bank Plc, City Office, PO Box 217, 72 Lombard Street, shortfall, you must pay us any difference between the amount we
London EC3P 3BT. Account number: 00172710, sort code: 30-00- have received from the sale and the amount you owe us.
02 Swift code: LOYDGB2LCTY. IBAN (international bank account
number): GB81 LOYD 3000 0200 1727 10.

176
G COLLECTION AND STORAGE (d) Lots of Iranian origin 5 TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES
(a) We ask that you collect purchased lots promptly following the Some countries prohibit or restrict the purchase and/or import of You may not grant a security over or transfer your rights or
auction (but note that you may not collect any lot until you have Iranian-origin ‘works of conventional craftsmanship’ (works that responsibilities under these terms on the contract of sale with
made full and clear payment of all amounts due to us). are not by a recognised artist and/or that have a function, for the buyer unless we have given our written permission. This
(b) Information on collecting lots is set out on the storage and example: bowls, ewers, tiles, ornamental boxes). For example, the agreement will be binding on your successors or estate and anyone
collection page and on an information sheet which you can get from the USA prohibits the import of this type of property and its purchase who takes over your rights and responsibilities.
bidder registration staff or Christie’s cashiers on +44 (0)20 7839 9060. by US persons (wherever located). Other countries, such as Canada,
only permit the import of this property in certain circumstances. As 6 TRANSLATIONS
(c) If you do not collect any lot promptly following the auction we
a convenience to buyers, Christie’s indicates under the title of a lot if
can, at our option, remove the lot to another Christie’s location or If we have provided a translation of this agreement, we will use
the lot originates from Iran (Persia). It is your responsibility to ensure
an affiliate or third party warehouse. this original version in deciding any issues or disputes which arise
you do not bid on or import a lot in contravention of the sanctions or
(d) If you do not collect a lot by the end of the 30th day following under this agreement.
trade embargoes that apply to you.
the date of the auction, unless otherwise agreed in writing:
(e) Gold
(i) we will charge you storage costs from that date. 7 PERSONAL INFORMATION
Gold of less than 18ct does not qualify in all countries as ‘gold’ and
(ii) we can at our option move the lot to or within an affiliate may be refused import into those countries as ‘gold’. We will hold and process your personal information and may pass
or third party warehouse and charge you transport costs and it to another Christie’s Group company for use as described in,
(f) Jewellery over 50 years old
administration fees for doing so. and in line with, our privacy policy at www.christies.com.
Under current laws, jewellery over 50 years old which is worth
(iii) we may sell the lot in any commercially reasonable way we
£34,300 or more will require an export licence which we can apply
think appropriate. 8 WAIVER
for on your behalf. It may take up to eight weeks to obtain the
(iv) the storage terms which can be found at christies.com/ export jewellery licence. No failure or delay to exercise any right or remedy provided under
storage shall apply. these Conditions of Sale shall constitute a waiver of that or any
(g) Watches
(v) Nothing in this paragraph is intended to limit our rights under other right or remedy, nor shall it prevent or restrict the further
(i) Many of the watches offered for sale in this catalogue are pictured
paragraph F4. exercise of that or any other right or remedy. No single or partial
with straps made of endangered or protected animal materials such
exercise of such right or remedy shall prevent or restrict the further
as alligator or crocodile. These lots are marked with the symbol ~
H TRANSPORT AND SHIPPING exercise of that or any other right or remedy.
in the catalogue. These endangered species straps are shown for
1 TRANSPORT AND SHIPPING display purposes only and are not for sale. Christie’s will remove and
We will enclose a transport and shipping form with each retain the strap prior to shipment from the sale site. At some sale 9 LAW AND DISPUTES
invoice sent to you. You must make all transport and shipping sites, Christie’s may, at its discretion, make the displayed endangered This agreement, and any non-contractual obligations arising out of
arrangements. However, we can arrange to pack, transport and species strap available to the buyer of the lot free of charge if collected or in connection with this agreement, or any other rights you may
ship your property if you ask us to and pay the costs of doing so. in person from the sale site within one year of the date of the sale. have relating to the purchase of a lot will be governed by the laws
We recommend that you ask us for an estimate, especially for any Please check with the department for details on a particular lot. of England and Wales. Before we or you start any court proceedings
large items or items of high value that need professional packing For all symbols and other markings referred to in paragraph H2, (except in the limited circumstances where the dispute, controversy
before you bid. We may also suggest other handlers, packers, please note that lots are marked as a convenience to you, but we do or claim is related to proceedings brought by someone else and this
transporters or experts if you ask us to do so. For more information, not accept liability for errors or for failing to mark lots. dispute could be joined to those proceedings), we agree we will
please contact Christie’s Art Transport on +44 (0)20 7839 9060. each try to settle the dispute by mediation following the Centre for
See the information set out at www.christies.com/shipping or Effective Dispute Resolution (CEDR) Model Mediation Procedure.
I OUR LIABILITY TO YOU
contact us at arttransport_london@christies.com. We will take We will use a mediator affiliated with CEDR who we and you agree
reasonable care when we are handling, packing, transporting and (a) We give no warranty in relation to any statement made, or to. If the dispute is not settled by mediation, you agree for our benefit
shipping a lot. However, if we recommend another company for information given, by us or our representatives or employees, about that the dispute will be referred to and dealt with exclusively in the
any of these purposes, we are not responsible for their acts, failure any lot other than as set out in the authenticity warranty and, as courts of England and Wales. However, we will have the right to
to act or neglect. far as we are allowed by law, all warranties and other terms which bring proceedings against you in any other court.
may be added to this agreement by law are excluded. The seller’s
warranties contained in paragraph E1 are their own and we do not
2 EXPORT AND IMPORT 10 REPORTING ON WWW.CHRISTIES.COM
have any liability to you in relation to those warranties.
Any lot sold at auction may be affected by laws on exports from Details of all lots sold by us, including catalogue descriptions
(b) (i) We are not responsible to you for any reason (whether
the country in which it is sold and the import restrictions of and prices, may be reported on www.christies.com. Sales totals
for breaking this agreement or any other matter relating to your
other countries. Many countries require a declaration of export are hammer price plus buyer’s premium and do not reflect costs,
purchase of, or bid for, any lot) other than in the event of fraud or
for property leaving the country and/or an import declaration on financing fees, or application of buyer’s or seller’s credits. We
fraudulent misrepresentation by us or other than as expressly set
entry of property into the country. Local laws may prevent you regret that we cannot agree to requests to remove these details
out in these Conditions of Sale; or
from importing a lot or may prevent you selling a lot in the country from www.christies.com.
(ii) give any representation, warranty or guarantee or assume
you import it into.
any liability of any kind in respect of any lot with regard to
(a) You alone are responsible for getting advice about and meeting merchantability, fitness for a particular purpose, description, K GLOSSARY
the requirements of any laws or regulations which apply to size, quality, condition, attribution, authenticity, rarity, importance, authentic: a genuine example, rather than a copy or forgery of:
exporting or importing any lot prior to bidding. If you are refused medium, provenance, exhibition history, literature, or historical (i) the work of a particular artist, author or manufacturer, if the
a licence or there is a delay in getting one, you must still pay us in relevance. Except as required by local law, any warranty of any lot is described in the Heading as the work of that artist, author or
full for the lot. We may be able to help you apply for the appropriate kind is excluded by this paragraph. manufacturer;
licences if you ask us to and pay our fee for doing so. However,
(c) In particular, please be aware that our written and telephone (ii) a work created within a particular period or culture, if the lot
we cannot guarantee that you will get one. For more information,
please contact Christie’s Art Transport Department on +44 (0)20
bidding services, Christie’s LIVE™, condition reports, currency is described in the Heading as a work created during that period
converter and saleroom video screens are free services and we are or culture;
7839 9060. See the information set out at www.christies.com/
not responsible to you for any error (human or otherwise), omission (iii) a work for a particular origin source if the lot is described in the
shipping or contact us at arttransport_london@christies.com.
or breakdown in these services. Heading as being of that origin or source; or
(b) Lots made of protected species
(d) We have no responsibility to any person other than a buyer in (iv) in the case of gems, a work which is made of a particular
Lots made of or including (regardless of the percentage) connection with the purchase of any lot.
endangered and other protected species of wildlife are marked material, if the lot is described in the Heading as being made of
(e) If, in spite of the terms in paragraphs (a) to (d) or E2(i) above, that material.
with the symbol ~ in the catalogue. This material includes, among
we are found to be liable to you for any reason, we shall not have authenticity warranty: the guarantee we give in this agreement
other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn,
to pay more than the purchase price paid by you to us. We will not that a lot is authentic as set out in section E2 of this agreement.
whalebone, certain species of coral, and Brazilian rosewood. You
be responsible to you for any reason for loss of profits or business, buyer’s premium: the charge the buyer pays us along with the
should check the relevant customs laws and regulations before
loss of opportunity or value, expected savings or interest, costs, hammer price.
bidding on any lot containing wildlife material if you plan to import
damages, or expenses.
the lot into another country. Several countries refuse to allow you catalogue description: the description of a lot in the catalogue for
to import property containing these materials, and some other the auction, as amended by any saleroom notice.
countries require a licence from the relevant regulatory agencies J OTHER TERMS Christie’s Group: Christie’s International Plc, its subsidiaries and
in the countries of exportation as well as importation. In some 1 OUR ABILITY TO CANCEL other companies within its corporate group.
cases, the lot can only be shipped with an independent scientific In addition to the other rights of cancellation contained in this condition: the physical condition of a lot.
confirmation of species and/or age and you will need to obtain agreement, we can cancel a sale of a lot if we reasonably believe due date: has the meaning given to it in paragraph F1(a).
these at your own cost. If a lot contains elephant ivory, or any other that completing the transaction is, or may be, unlawful or that the
wildlife material that could be confused with elephant ivory (for estimate: the price range included in the catalogue or any
sale places us or the seller under any liability to anyone else or may saleroom notice within which we believe a lot may sell. Low
example, mammoth ivory, walrus ivory, helmeted hornbill ivory), damage our reputation.
please see further important information in paragraph (c) if you are estimate means the lower figure in the range and high estimate
proposing to import the lot into the USA. We will not be obliged means the higher figure. The mid estimate is the midpoint
to cancel your purchase and refund the purchase price if your 2 RECORDINGS between the two.
lot may not be exported, imported or it is seized for any reason We may videotape and record proceedings at any auction. We will hammer price: the amount of the highest bid the auctioneer
by a government authority. It is your responsibility to determine keep any personal information confidential, except to the extent accepts for the sale of a lot.
and satisfy the requirements of any applicable laws or regulations disclosure is required by law. However, we may, through this Heading: has the meaning given to it in paragraph E2.
relating to the export or import of property containing such process, use or share these recordings with another Christie’s lot: an item to be offered at auction (or two or more items to be
protected or regulated material. Group company and marketing partners to analyse our customers offered at auction as a group).
(c) US import ban on African elephant ivory and to help us to tailor our services for buyers. If you do not want to
other damages: any special, consequential, incidental or indirect
be videotaped, you may make arrangements to make a telephone
The USA prohibits the import of ivory from the African elephant. damages of any kind or any damages which fall within the meaning
or written bid or bid on Christie’s LIVE™ instead. Unless we agree
Any lot containing elephant ivory or other wildlife material of ‘special’, ‘incidental’ or ‘consequential’ under local law.
otherwise in writing, you may not videotape or record proceedings
that could be easily confused with elephant ivory (for example, purchase price: has the meaning given to it in paragraph F1(a).
at any auction.
mammoth ivory, walrus ivory, helmeted hornbill ivory) can only provenance: the ownership history of a lot.
be imported into the US with results of a rigorous scientific test qualified: has the meaning given to it in paragraph E2 and
acceptable to Fish & Wildlife, which confirms that the material 3 COPYRIGHT
Qualified Headings means the section headed Qualified
is not African elephant ivory. Where we have conducted such We own the copyright in all images, illustrations and written
Headings on the page of the catalogue headed ‘Important Notices
rigorous scientific testing on a lot prior to sale, we will make this material produced by or for us relating to a lot (including the
and Explanation of Cataloguing Practice’.
clear in the lot description. In all other cases, we cannot confirm contents of our catalogues unless otherwise noted in the
whether a lot contains African elephant ivory, and you will buy catalogue). You cannot use them without our prior written reserve: the confidential amount below which we will not sell a lot.
that lot at your own risk and be responsible for any scientific test permission. We do not offer any guarantee that you will gain any saleroom notice: a written notice posted next to the lot in the
or other reports required for import into the USA at your own cost. copyright or other reproduction rights to the lot. saleroom and on www.christies.com, which is also read to
If such scientific test is inconclusive or confirms the material is prospective telephone bidders and notified to clients who have left
from the African elephant, we will not be obliged to cancel your commission bids, or an announcement made by the auctioneer either
4 ENFORCING THIS AGREEMENT
purchase and refund the purchase price. at the beginning of the sale, or before a particular lot is auctioned.
If a court finds that any part of this agreement is not valid or is
UPPER CASE type: means having all capital letters.
illegal or impossible to enforce, that part of the agreement will
be treated as being deleted and the rest of this agreement will warranty: a statement or representation in which the person
not be affected. making it guarantees that the facts set out in it are correct.

177
VAT SYMBOLS AND EXPLANATION

You can find a glossary explaining the meanings of words coloured in bold on this page at the end of the section of the catalogue headed ‘Conditions of Sale’
VAT payable

Symbol

No We will use the VAT Margin Scheme. No VAT will be charged on the hammer price.
Symbol VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

† We will invoice under standard VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premium and shown separately on our invoice.

θ For qualifying books only, no VAT is payable on the hammer price or the buyer’s premium.

These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
* Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

These lots have been imported from outside the EU for sale and placed under the Temporary Admission regime.
Ω Customs Duty as applicable will be added to the hammer price and Import VAT at 20% will be charged on the Duty Inclusive hammer price.
VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

The VAT treatment will depend on whether you have registered to bid with an EU or non-EU address:
α • If you register to bid with an address within the EU you will be invoiced under the VAT Margin Scheme (see No Symbol above).
• If you register to bid with an address outside of the EU you will be invoiced under standard VAT rules (see † symbol above)

For wine offered ‘in bond’ only. If you choose to buy the wine in bond no Excise Duty or Clearance VAT will be charged on the hammer.
‡ If you choose to buy the wine out of bond Excise Duty as applicable will be added to the hammer price and Clearance VAT at 20% will be charged on the
Duty inclusive hammer price. Whether you buy the wine in bond or out of bond, 20% VAT will be added to the buyer’s premium and shown on the invoice.

VAT refunds: what can I reclaim?

If you are:

A non VAT registered

No VAT refund is possible
UK or EU buyer

The VAT amount in the buyer’s premium cannot be refunded.

UK VAT registered No symbol
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT rules (as if the lot had
buyer and α
been sold with a † symbol). Subject to HMRC’s rules, you can then reclaim the VAT charged through your own VAT return.

Subject to HMRC’s rules, you can reclaim the Import VAT charged on the hammer price through your own VAT return when you are
in receipt of a C79 form issued by HMRC. The VAT amount in the buyer’s premium is invoiced under Margin Scheme rules so cannot
* and Ω normally be claimed back. However, if you request to be re-invoiced outside of the Margin Scheme under standard VAT rules (as if the
lot had been sold with a † symbol) then, subject to HMRC’s rules, you can reclaim the VAT charged through your own VAT return.

The VAT amount in the buyer’s premium cannot be refunded. However, on request we can re-invoice you outside of the VAT Margin
EU VAT registered No Symbol
Scheme under normal UK VAT rules (as if the lot had been sold with a † symbol).
buyer and α
See below for the rules that would then apply.

If you provide us with your EU VAT number we will not charge VAT on the buyer’s premium. We will also refund the VAT on the
† hammer price if you ship the lot from the UK and provide us with proof of shipping, within three months of collection.

The VAT amount on the hammer and in the buyer’s premium cannot be refunded.
However, on request we can re-invoice you outside of the VAT Margin Scheme under normal UK VAT rules
* and Ω (as if the lot had been sold with a † symbol).
See above for the rules that would then apply.

Non EU buyer If you meet ALL of the conditions in notes 1 to 3 below we will refund the following tax charges:

No Symbol We will refund the VAT amount in the buyer’s premium.

We will refund the VAT charged on the hammer price. VAT on the buyer’s premium can only be refunded if you are an overseas business.
† and α The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.

No Excise Duty or Clearance VAT will be charged on the hammer price providing you export the wine while ‘in bond’ directly outside
the EU using an Excise authorised shipper. VAT on the buyer’s premium can only be refunded if you are an overseas business.
‡ (wine only) The VAT amount in the buyer’s premium cannot be refunded to non-trade clients.

* and Ω
We will refund the Import VAT charged on the hammer price and the VAT amount in the buyer’s premium.

1. We CANNOT offer a refund of VAT 4. Details of the 5. If you appoint 6. If you ask us to 7. All reinvoicing
refunds of VAT amounts amounts/Import VAT documents which you Christie’s Art Transport re-invoice you under requests must be received
or Import VAT to buyers (as applicable) non-EU must provide to us to or one of our authorised normal UK VAT rules (as within four years from the
who do not meet all buyers must: show satisfactory proof shippers to arrange your if the lot had been sold date of sale.
applicable conditions (a) have registered to bid of export/shipping are export/shipping we with a † symbol) instead If you have any questions
in full. If you are unsure with an address outside available from our VAT will issue you with an of under the Margin about VAT refunds
whether you will be of the EU; and team at the address below. export invoice with the Scheme the lot may please contact Christie’s
entitled to a refund, (b) provide immediate We charge a processing applicable VAT or duties become ineligible to be Client Services on info@
please contact Client proof of correct export fee of £35.00 per invoice cancelled as outlined resold using the Margin christies.com
Services at the address out of the EU within the to check shipping/export above. If you later cancel Schemes. You should take Tel: +44 (0)20 7389 2886.
below before you bid. required time frames of: documents. We will waive or change the shipment professional advice if you Fax: +44 (0)20 7839 1611.
2. No VAT amounts 30 days via a ‘controlled this processing fee if you in a manner that infringes are unsure how this may
or Import VAT will be export’ for * and Ω lots. appoint Christie’s Shipping the rules outlined above affect you.
refunded where the total All other lots must be Department to arrange we will issue a revised
refund is under £100. exported within three your export/shipping. invoice charging you all
3. In order to receive months of collection. applicable taxes/charges.

178
SYMBOLS USED IN THIS CATALOGUE
The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed ‘Conditions of Sale’.

º λ ?, * , Ω, α, #, ‡
Christie’s has a direct financial interest in the Artist’s Resale Right. See Section D3 of the See VAT Symbols and Explanation.
lot. See Important Notices and Explanation of Conditions of Sale.
Cataloguing Practice. ■
• See Storage and Collection Pages.
∆ Lot offered without reserve which will be
Owned by Christie’s or another Christie’s Group sold to the highest bidder regardless of the
company in whole or part. See Important Notices pre-sale estimate in the catalogue.
and Explanation of Cataloguing Practice.
~
♦ Lot incorporates material from
Christie’s has a direct financial interest in the lot endangered species which could result
and has funded all or part of our interest with in export restrictions.
the help of someone else. See Important Notices See Section H2(b) of the Conditions of Sale.
and Explanation of Cataloguing Practice.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.

IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE

CHRISTIE’S INTEREST IN PROPERTY Please see http://www.christies.com/ financial-interest/ for (c) A reference to a “mark and of the period” means that, in
CONSIGNED FOR AUCTION a more detailed explanation of minimum price guarantees our opinion, the piece is of the period of the mark (e.g.
and third party financing arrangements. “Kangxi six-character mark and of the period”).
∆ Property Owned in part or in full by Christie’s
From time to time, Christie’s may offer a lot which it owns in (d) A reference to a mark without reference to “and of the
whole or in part. Such property is identified in the catalogue Where Christie’s has an ownership or financial interest in every period” means that, in our opinion, although bearing the
with the symbol ∆ next to its lot number. lot in the catalogue, Christie’s will not designate each lot with a mark, the pieces were possibly not made in the period
symbol, but will state its interest in the front of the catalogue. of the mark (e.g. “Kangxi six-character mark”).
º Minimum Price Guarantees
(e) Where no date, period, reign or mark is mentioned, the
On occasion, Christie’s has a direct financial interest in the
lot is, in our opinion, of uncertain date or 19th or 20th
outcome of the sale of certain lots consigned for sale. This POST 1950 FURNITURE
century manufacture.
will usually be where it has guaranteed to the Seller that All items of post-1950 furniture included in this sale are
whatever the outcome of the auction, the Seller will receive items either not originally supplied for use in a private EXPLANATION OF
a minimum sale price for the work. This is known as a home or now offered solely as works of art. These items CATALOGUING PRACTICE
minimum price guarantee. Where Christie’s holds such may not comply with the provisions of the Furniture and The following expressions with their accompanying
financial interest we identify such lots with the symbol º next Furnishings (Fire) (Safety) Regulations 1988 (as amended explanations are used by Christie’s as standard cataloguing
to the lot number. in 1989 and 1993, the ‘Regulations’). Accordingly, these practice. Our use of these expressions does not take account
items should not be used as furniture in your home in their of the condition of the lot or of the extent of any restoration.
º♦ Third Party Guarantees/Irrevocable bids
current condition. If you do intend to use such items for this
Where Christie’s has provided a Minimum Price Guarantee it
purpose, you must first ensure that they are reupholstered,
is at risk of making a loss, which can be significant, if the lot Buyers are recommended to inspect the property
restuffed and/or recovered (as appropriate) in order that
fails to sell. Christie’s therefore sometimes chooses to share themselves. Written condition reports are usually
they comply with the provisions of the Regulations.
that risk with a third party. In such cases the third party agrees available on request.
prior to the auction to place an irrevocable written bid on the 1. OGATA KORIN*
EXPLANATION OF
lot. The third party is therefore committed to bidding on the lot
CATALOGUING PRACTICE In our qualified opinion a work by the artist.
and, even if there are no other bids, buying the lot at the level
of the written bid unless there are any higher bids. In doing so, The following expressions with their accompanying 2. Attributed to OGATA KORIN*
the third party takes on all or part of the risk of the lot not being explanations are used by Christie’s as standard cataloguing In our qualified opinion a work of the period of the artist
sold. If the lot is not sold, the third party may incur a loss. Lots practice. Our use of these expressions does not take account which may be in whole or part the work of the artist.
which are subject to a third party guarantee arrangement are of the condition of the lot or of the extent of any restoration. 3. Circle of OGATA KORIN*
identified in the catalogue with the symbol º♦. In Christie’s qualified opinion a work of the period of the
Buyers are recommended to inspect the property artist and closely related in his style.
The third party will be remunerated in exchange for
themselves. Written condition reports are usually 4. School of OGATA KORIN*
accepting this risk based on a fixed fee if the third party is
available on request.
the successful bidder or on the final hammer price in the In our qualified opinion a work by a pupil or follower of
event that the third party is not the successful bidder. The “Attributed to …” the artist.
third party may also bid for the lot above the written bid. In our opinion probably a work by the artist in whole or 5. Manner of OGATA KORIN*
Where it does so, and is the successful bidder, the fixed fee in part.
In our qualified opinion a work in the style of the artist,
for taking on the guarantee risk may be netted against the “Circle of …” possibly of a later period.
final purchase price. In our opinion a work of the period of the artist and showing 6. After OGATA KORIN*
Third party guarantors are required by us to disclose to anyone his influence.
In our qualified opinion a copy of the work of
they are advising their financial interest in any lots they are “Manner of …” the artist.
guaranteeing. However, for the avoidance of any doubt, if you In our opinion a work executed in the artist’s style but of
are advised by or bidding through an agent on a lot identified as 7. ‘signed’
a later date.
being subject to a third party guarantee you should always ask Has a signature which in our qualified opinion is the
“After …” signature of the artist.
your agent to confirm whether or not he or she has a financial
interest in relation to the lot. In our opinion a copy (of any date) of a work of the artist. 8. ‘bears signature’ and/or ‘inscribed’
“Signed …”/“Sealed …”/ Has a signature and/or inscription which in our qualified
Other Arrangements
In our opinion the work has been signed/dated/inscribed opinion might be the signature and/or inscription of the
Christie’s may enter into other arrangements not involving
by the artist. artist.
bids. These include arrangements where Christie’s has
given the Seller an Advance on the proceeds of sale of the “With date …”/ 9. ‘dated’
lot or where Christie’s has shared the risk of a guarantee In our opinion the signature/date/inscription appears to be Is so dated and in our qualified opinion was executed at
with a partner without the partner being required to place by a hand other than that of the artist. about that date.
an irrevocable written bid or otherwise participating in the 10. ‘bears date’
bidding on the lot. Because such arrangements are unrelated FOR PORCELAIN AND CERAMICS Is so dated and in our qualified opinion may have been
to the bidding process they are not marked with a symbol
(a) A piece catalogued with the name of a period, reign executed at about that date.
in the catalogue.
or dynasty without further qualification was, in our 11. ‘seal’
Bidding by parties with an interest opinion, made during or shortly after that period, reign Has a seal which in our qualified opinion is a seal of the
In any case where a party has a financial interest in a lot and or dynasty (eg. “a Ming vase”) artist.
intends to bid on it we will make a saleroom announcement to (b) A piece catalogued “in the style of ” a period, reign 12. ‘bears seal’
ensure that all bidders are aware of this. Such financial interests or dynasty is in our opinion, quite possibly a copy or
can include where beneficiaries of an Estate have reserved the Has a seal which in our qualified opinion might be a seal
imitation of pieces made during the named period,
right to bid on a lot consigned by the Estate or where a partner of the artist.
reign or dynasty (e.g. “a vase in Ming style”)
in a risk-sharing arrangement has reserved the right to bid on a
lot and/or notified us of their intention to bid.
STORAGE AND COLLECTION

COLLECTION LOCATION AND TERMS If the lot remains at Christie’s it will be available for SHIPPING AND DELIVERY
Specifed lots (sold and unsold) marked with a collection on any working day 9.00am to 5.00pm. Christie’s Post-Sale Service can organise local
flled square ( ■ ) not collected from Christie’s by Lots are not available for collection at weekends. deliveries or international freight. Please contact
5.00 pm on the day of the sale will, at our option, them on +44 (0)20 7752 3200 or PostSaleUK@
be removed to Cadogan Tate Ltd. Christie’s will PAYMENT OF ANY CHARGES DUE christies.com. To ensure that arrangements for
inform you if the lot has been sent ofsite. Our ALL lots whether sold or unsold will be subject the transport of your lot can be finalised before
removal and storage of the lot is subject to the to storage and administration fees.Please see the the expiry of any free storage period, please
terms and conditions of storage which can be details in the table below. Storage Charges may contact Christie’s Post-Sale Service for a quote
found at Christies.com/storage and our fees for be paid in advance or at the time of collection. as soon as possible after the sale.
storage are set out in the table below - these will Lots may only be released on production of the
apply whether the lot remains with Christie’s or ‘Collection Form’ from Christie’s. Lots will not be PHYSICAL LOSS & DAMAGE LIABILITY
is removed elsewhere. released until all outstanding charges are settled. Christie’s will accept liability for physical loss
If the lot is transferred to Cadogan Tate Ltd, it will and damage to sold lots whilst in storage.
be available for collection from 12 noon on the Christie’s liability will be limited to the invoice
second business day following the sale. purchase price including buyers’ premium.
Please call Christie’s Client Service 24 hours in Christie’s liability will continue until the lots
advance to book a collection time at Cadogan Tate are collected by you or an agent acting for you
Ltd. All collections from Cadogan Tate Ltd. will be following payment in full. Christie’s liability is
by pre-booked appointment only. subject to Christie’s Terms and Conditions of
Tel: +44 (0)20 7839 9060 Liability posted on www.christies.com.
Email: cscollectionsuk@christies.com.

ADMINISTRATION FEE, STORAGE & RELATED CHARGES

CHARGES PER LOT LARGE OBJECTS SMALL OBJECTS
E.g. Furniture, Large Paintings E.g. Books, Luxury, Ceramics, Small
& Sculpture Paintings

1-30 days after the auction Free of Charge Free of Charge

31st day onwards:
Administration Fee £70.00 £35.00
Storage per day £8.00 £4.00

Will be charged on purchased lots at 0.5% of the hammer price or

Loss & Damage Liability
capped at the total storage charge, whichever is the lower amount.
All charges are subject to VAT.
Please note that there will be no charge to clients who collect their lots within 30 days of this sale.
Size to be determined at Christie’s discretion.

COLLECTION FROM
CADOGAN TATE LTD
Please note that Cadogan Tate Ltd’s opening
hours are Monday to Friday 9.00 am to 5.00 pm
and lots transferred to their warehouse are not
available for collection at weekends.

Cadogan Tate Ltd’s Warehouse

241 Acton Lane,
Park Royal,
London NW10 7NP
21/10/16

180
WORLDWIDE SALEROOMS AND OFFICES AND SERVICES

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• DENOTES SALEROOM
ENQUIRIES — Call the Saleroom or Office EMAIL — info@christies.com
For a complete salerooms & offices listing go to christies.com 13/10/16
 A bronze statue of
Gaspar De Guzmán
A Roman marble
Francesco Fanelli,
torso of Cupid Ernst Agerbeek c. 1626 – 1640
c. 2nd century A.D. (1903 – 1945) £40,000 – 60,000
£5,000 – 8,000 £30,000 – 50,000
A monumental
marble bust of
James Jacques Jupiter of Otricoli
Joseph Tissot Late 18th/early
(1836 – 1902) 19th century
£120,000 – 180,000 £30,000 – 50,000

An Attic red-figured
column krater
c. 470 – 460 B.C.
£7,000 – 9,000

Francesco Guardi
(1712 – 1793)
£100,000 – 150,000

Salvador Dalí
(1904 – 1989)
& Edward James
(1907 – 1984)
A bronze group of
Arno Breker Lobster Telephone
Apollo and Daphne
(1900 – 1991) £150,000 – 250,000
François Lespingola,
Portrait bust of © Salvador Dalí,
first half 18th century
Salvador Dalí Fundació Gala-
£25,000 – 35,000
£10,000 – 15,000 Salvador Dalí,
© DACS 2016 © DACS 2016
 Jacob Jordaens
(1593 – 1678)

The Master of the

£500,000 – 800,000 This December, Classic Week at Christie’s presents
Countess of Warwick antiquities, Old Masters, sculpture, Japanese art
(active 1567 – 1569)
£40,000 – 60,000
and more. From Constable, Canaletto and Guardi
to Burne-Jones, Tissot and Courbet, the auction
series features masters of Western painting
A Continental
model of an ostrich
alongside Japanese prints and armour, Roman
c. 1880 marbles, Florentine bronzes and iconic Surrealism.
£3,000 – 5,000
With prices starting at the surprisingly accessible,
you might just take something home.

Sales run from 6 to 15 December at our London

salerooms, with viewings from 2 December.
You can also visit us at christies.com/classicart to
view catalogues and take part in auctions online.

Antiquities Old Masters

6 December, 10.30am Day Sale
9 December, 10.30am
The Resandro Collection
6 December, 11.30am 19th Century European
& Orientalist Art
European Sculpture 13 December, 2pm
& Works of Art
6 December, 2.30pm Victorian,
Pre-Raphaelite
Old Master & & British
British Drawings Impressionist Art
& Watercolours 14 December, 2.30pm
7 December, 1pm
A Surreal Legacy:
From Ancient to Modern: Selected Works
A Distinguished of Art from
Private Collection The Edward James
7 December, 2pm Foundation
Art of Japan 15 December, 10.30am
Pieter Brueghel II
(1564/5 – 1637/8) 8 December, 2pm Topographical Pictures
£120,000 – 180,000 15 December, 2pm
Old Masters Evening Sale
8 December, 7pm

Auction | Private Sales | Online Auctions

182
ART OF JAPAN WRITTEN BIDS FORM CHRISTIE’S LONDON
THURSDAY 8 DECEMBER 2016 AT 2.00 PM
8 King Street, St. James’s, London SW1Y 6QT
WRITTEN BIDS MUST BE RECEIVED AT LEAST 24 HOURS BEFORE THE AUCTION BEGINS.
CODE NAME: KOMAI
CHRISTIE’S WILL CONFIRM ALL BIDS RECEIVED BY FAX BY RETURN FAX. IF YOU HAVE NOT
SALE NUMBER: 13127
RECEIVED CONFIRMATION WITHIN ONE BUSINESS DAY, PLEASE CONTACT THE BID DEPARTMENT:
(Dealers billing name and address must agree TEL: +44 (0)20 7389 2658 • FAX: +44 (0)20 7930 8870 • ON-LINE WWW.CHRISTIES.COM
with tax exemption certificate. Once issued, we
cannot change the buyer’s name on an invoice 13127
or re-issue the invoice in a different name.) Client Number (if applicable) Sale Number
BID ONLINE FOR THIS SALE AT CHRISTIES.COM
Billing Name (please print)

Address

BIDDING INCREMENTS Postcode

Bidding generally starts below the low estimate

and increases in steps (bid increments) of up to Daytime Telephone Evening Telephone

10 per cent. The auctioneer will decide where

the bidding should start and the bid increments. Fax (Important) E-mail
Written bids that do not conform to the Please tick if you prefer not to receive information about our upcoming sales by e-mail
increments set below may be lowered to the next I have read and understood this written bid form and the Conditions of Sale – Buyer’s Agreement
bidding interval.

UK£50 to UK £1,000 by UK£50s

Signature
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38,000) documents for yourself as well as the party on whose behalf you are bidding, together with a signed letter
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UK£100,000 to UK£120,000 by UK£10,000s ofice within the last two years, and those wishing to spend more than on previous occasions will be asked
Above UK£200,000 at auctioneer’s discretion to supply a bank reference. We also request that you complete the section below with your bank details:

The auctioneer may vary the increments during the course of the
auction at his or her own discretion. Name of Bank(s)

1. I request Christie’s to bid on the stated lots up to the maximum

bid I have indicated for each lot.
Address of Bank(s)
2. I understand that if my bid is successful, the amount payable
will be the sum of the hammer price and the buyer’s premium
(together with any taxes chargeable on the hammer price and
Account Number(s)
buyer’s premium and any applicable Artist’s Resale Royalty in
accordance with the Conditions of Sale – Buyer’s Agreement). The
buyer’s premium rate shall be an amount equal to 25% of the
hammer price of each lot up to and including £100,000, 20% on Name of Account Officer(s)
any amount over £100,001 up to and including £2,000,000 and 12%
of the amount above £2,000,001. For wine and cigars there is a flat
rate of 17.5% of the hammer price of each lot sold. Bank Telephone Number
3. I agree to be bound by the Conditions of Sale printed in the
catalogue.
4. I understand that if Christie’s receive written bids on a lot for
identical amounts and at the auction these are the highest bids on the PLEASE PRINT CLEARLY
lot, Christie’s will sell the lot to the bidder whose written bid it received
Lot number Maximum Bid £ Lot number Maximum Bid £
and accepted first.
(in numerical order) (excluding buyer’s premium) (in numerical order) (excluding buyer’s premium)
5. Written bids submitted on ‘no reserve’ lots will, in the absence of
a higher bid, be executed at approximately 50% of the low estimate
or at the amount of the bid if it is less than 50% of the low estimate.
I understand that Christie’s written bid service is a free service
provided for clients and that, while Christie’s will be as careful as it
reasonably can be, Christie’s will not be liable for any problems with
this service or loss or damage arising from circumstances beyond
Christie’s reasonable control.
Auction Results: +44 (0)20 7839 9060

If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS

Please quote number below:
4/12/16
CHRISTIE’S

CHRISTIE’S INTERNATIONAL PLC CHRISTIE’S UK Michelle McMullan, Daniel McPherson,

Patricia Barbizet, Chairwoman and CEO Neil Millen, Jeremy Morgan, Leonie Moschner,
Jussi Pylkkänen, Global President CHAIRMAN’S OFFICE Giles Mountain, Chris Munro, Liberte Nuti,
Stephen Brooks, Deputy CEO Orlando Rock, Chairman Beatriz Ordovás, Rosalind Patient, Anthea Peers,
Loïc Brivezac, Gilles Erulin, Gilles Pagniez, Noël Annesley, Honorary Chairman; Keith Penton, Romain Pingannaud,
Héloïse Temple-Boyer, Richard Roundell, Vice Chairman; Sara Plumbly, Anne Qaimmaqami,
Sophie Carter, Company Secretary Robert Copley, Deputy Chairman; Marcus Rädecke, Pedram Rasti, Lisa Redpath,
The Earl of Halifax, Deputy Chairman; Sumiko Roberts, Sandra Romito, Tom Rooth,
CHRISTIE’S EXECUTIVE Francis Russell, Deputy Chairman; Alice de Roquemaurel, Francois Rothlisberger,
Patricia Barbizet, Chairwoman and CEO Julia Delves Broughton, James Hervey-Bathurst, Patrick Saich, Rosemary Scott, Tom Scott,
Jussi Pylkkänen, Global President Amin Jaffer, Nicholas White, Mark Wrey Nigel Shorthouse, Dominic Simpson, Nick Sims,
Stephen Brooks, Deputy CEO Clementine Sinclair, Sonal Singh, Katie Siveyer,
SENIOR DIRECTORS Nicola Steel, Kay Sutton, Cornelia Svedman,
INTERNATIONAL CHAIRMEN Simon Andrews, Jeremy Bentley, Ellen Berkeley, Rakhi Talwar, Thomas Venning, Edwin Vos,
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Stephen Lash, Chairman Emeritus, Americas Benjamin Clark, Karen Cole, Paul Cutts, Sophie Wiles, Bernard Williams,
Viscount Linley, Honorary Chairman, EMERI Isabelle de La Bruyere, Leila de Vos, Georgina Wilsenach, Toby Woolley, Geoff Young
Charles Cator, Deputy Chairman, Christie’s Int. Harriet Drummond, Julie Edelson,
Xin Li, Deputy Chairwoman, Christie’s Int. David Elswood, David Findlay, Margaret Ford, ASSOCIATE DIRECTORS
Edmond Francey, Daniel Gallen, Karen Harkness, Guy Agazarian, Ksenia Apukhtina,
CHRISTIE’S EMERI Philip Harley, James Hastie, Karl Hermanns, Fiona Baker, Sarah Boswell, Mark Bowis,
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Nick Hough, Michael Jeha, Donald Johnston, David Cassidy, Marie-Louise Chaldecott,
Erem Kassim-Lakha, Nicholas Lambourn, Helen Culver Smith, Laetitia Delaloye,
SENIOR DIRECTORS
William Lorimer, Catherine Manson, Charlotte Delaney, Milo Dickinson,
Mariolina Bassetti, Giovanna Bertazzoni,
Nic McElhatton (Chairman, South Kensington), Freddie De Rougemont, Grant Deudney,
Edouard Boccon-Gibod, Prof. Dr. Dirk Boll,
Jeremy Morrison, Nicholas Orchard, Howard Dixon, Virginie Dulucq, David Ellis,
Olivier Camu, Roland de Lathuy,
Henry Pettifer, Steve Phipps, Will Porter, Antonia Essex, Kate Flitcroft, Eva French,
Eveline de Proyart, Roni Gilat-Baharaff,
Paul Raison, Tara Rastrick, Amjad Rauf, Pat Galligan, Elisa Galuppi, Julia Grant,
Francis Outred, Christiane Rantzau,
William Robinson, Tim Schmelcher, Pippa Green, Angus Granlund, Christine Haines,
Andreas Rumbler, François de Ricqles, Juan Varez
John Stainton, Alexis de Tiesenhausen, Coral Hall, Charlotte Hart, Daniel Hawkins,
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ADVISORY BOARD
David Warren, Andrew Waters, Harry Williams- Adrian Hume-Sayer, James Hyslop,
Pedro Girao, Chairman,
Bulkeley, Martin Wilson, André Zlattinger Helena Ingham, Pippa Jacomb, Guady Kelly,
Patricia Barbizet, Arpad Busson, Loula Chandris,
Hala Khayat, Alexandra Kindermann,
Kemal Has Cingillioglu, Ginevra Elkann,
DIRECTORS Julia Kiss, Polly Knewstub, Mark Henry Lampé,
I. D. Fürstin zu Fürstenberg, Laurence Graff,
Zoe Ainscough, Cristian Albu, Marco Almeida, Aoife Leach, Rob Leatham, Antoine Lebouteiller,
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Viscount Linley, Robert Manoukian,
Jane Blood, Piers Boothman, David Bowes-Lyon, Georgie Mawby, David McLachlan,
Rosita, Duchess of Marlborough,
Louise Broadhurst, Lucy Brown, Robert Brown, Lynda McLeod, Kateryna Merkalenko,
Countess Daniela Memmo d’Amelio,
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Usha Mittal, Çiğdem Simavi
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Arne Everwijn, Adele Falconer, Nick Finch, Hannah Schweiger, Angus Scott, Ben Slinger,
Emily Fisher, Peter Flory, Elizabeth Floyd, James Smith, Graham Smithson, Mark Stephen,
Nina Foote, Christopher Forrest, Giles Forster, Annelies Stevens, Charlotte Stewart,
Zita Gibson, Alexandra Gill, Keith Gill, Dean Stimpson, Dominique Suiveng,
Leonie Grainger, Simon Green, David Gregory, Keith Tabley, Iain Tarling, Sarah Tennant,
Annabel Hesketh, Sydney Hornsby, Timothy Triptree, Flora Turnbull,
Peter Horwood, Kate Hunt, Simon James, Paul van den Biesen, Mieke Van Embden,
Sabine Kegel, Hans-Peter Keller, Tjabel Klok, Ben Van Rensburg, Lisa Varsani, Shanthi Veigas,
Robert Lagneau, Joanna Langston, Tina Law, Julie Vial, Assunta Grafin von Moy,
Adriana Leese, Tom Legh, Brandon Lindberg, Anastasia von Seibold, Zelie Walker-Noble,
Laura Lindsay, David Llewellyn, Tony Walshe, Gillian Ward, Chris White,
Murray Macaulay, Graeme Maddison, Annette Wilson, Julian Wilson,
Sarah Mansfield, Nicolas Martineau, Miriam Winson-Alio, Elissa Wood,
Roger Massey, Joy McCall, Neil McCutcheon, Suzanne Yalcin-Pennings, Charlotte Young

27/10/16 © Christie, Manson & Woods Ltd. (2016)

8 KING STREET ST. JAMES’S LONDON SW1Y 6QT