Woolley & Wallis Auctioneers

JAPANESE WORKS OF ART 日本美術 THURSDAY 16TH NOVEMBER 2023

Lot 756

ASIAN ART SPECIALISTS & CONTACTS

John Axford

Jeremy Morgan

Freya Yuan-Richards

Alexandra Aguilar

MRICS

Asian Art

Chinese Paintings & Asian Art

Japanese & Asian Art

Sophie Moore Sale Administrator

Nelson Chui Photography

Head of Asian Art

Michelle Yu Sale Administrator

AUCTION ENQUIRIES & CONDITION REPORT REQUESTS Email: asianart@woolleyandwallis.co.uk Telephone: Please dial +44 (0)1722 followed by the number listed below John Axford mrics 424506 Alexandra Aguilar 424583 Freya Yuan-Richards 424589 Jeremy Morgan +44 (0)7812 601098 Michelle Yu 424571 Sophie Moore 424591 Nelson Chui 424591

新浪微博 @艾思福 Instagram: @woolleyandwallisasianart @woolleyandwallissalerooms Facebook: @woolleyandwallis X: @woolleywallis Pinterest: Woolley and Wallis

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500 • www.woolleyandwallis.co.uk 2

Catalogue £20.00 (£25.00 by post) (£30.00 by post outside Europe)

JAPANESE

WORKS OF ART 日本美術 LOTS 700-894

THURSDAY 16TH NOVEMBER 2023 10.00am

VIEWING

11.00am – 4.00pm 11.00am – 4.00pm 11.00am – 4.00pm

Viewing at our Old Sarum Galleries Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX Friday 10th November 10.00am – 5.00pm Saturday 11th November 10.00am – 1.00pm Monday 13th November 10.00am – 4.00pm

Woolley & Wallis Old Sarum Galleries Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX MARLBOROUGH & SWINDON

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Old Sarum Park

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VIEWING HERE WOOLLEY & WALLIS Old Sarum Galleries

AUCTION HERE WOOLLEY & WALLIS Salisbury Salerooms

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Saturday 28th October Sunday 29th October Monday 30th October

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Viewing in London (highlights) 17 Clifford Street, 2nd Floor W1S 3RQ

A345 Castle Rd

SALISBURY

拍賣將於公司總部Castle Street舉行。

BUYER’S PREMIUM See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices. 本公司提供免費網上即時競投，請在11月14日中午12點之前登錄 bid.woolleyandwallis.co.uk登記競投賬戶。 注：所有網絡買家需要支付至少£5,000的保證金。 網上競投總金額的限額為£50,000。

AMESBURY

A36

預展將於Old Sarum展廳舉行 (如圖) ，

Old Sarum

威立士網上競投 LIVE ONLINE BIDDING - FREE OF CHARGE bid.woolleyandwallis.co.uk Please register by 12 noon on Tuesday 14th November.

Online bidders may be required to pay a deposit of £5,000.

This deposit will allow the online bidder to bid up to a maximum of £50,000 in total at this auction.

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SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below ASIAN ART

VALUATIONS FOR INSURANCE & PROBATE

John Axford MRICS 424506 Alexandra Aguilar 424583 Freya Yuan-Richards 424589 Jeremy Morgan +44 (0)7812 601098 Michelle Yu 424571 Sophie Moore 424591 Nelson Chui 424591

Jeremy Lamond MRICS FRSA 424502 Neil Grenyer MRICS 446972 Amanda Lawrence 424509 Archie Swann (Trainee valuer) Hannah Farthing (Trainee valuer)

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424505 446955

AFRICAN & OCEANIC ART | ANTIQUITIES Will Hobbs Molly O’Reilly Georgina Way

BRITISH AND CONTINENTAL CERAMICS & GLASS 424507 446964

CHINESE PAINTINGS & CALLIGRAPHY 424589 424571

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards 411854 Neil Grenyer MRICS 446974 Jim Gale 339161 Sarah Stone 339161 Victoria Elwell 339161

JAPANESE ART Alexandra Aguilar

424583

MEDALS & COINS, ARMS & ARMOUR Ned Cowell Molly O’Reilly Georgina Way

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Sarah Bennie

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers 4

424500

Sally Litherland

MARKETING Chloe Davie Lucinda Phillips

Marielle Whiting FGA 424595 Jonathan Edwards FGAA (Consultant) 424504 Samuel Hug FGA DGA 424586 Megan Corbett Beth Reardon

Freya Yuan-Richards Michelle Yu

Ruth Pike (Office Manager) Gemma Pointer Nicola Young Lynda Cummins

OLD SARUM GALLERIES RECEPTION 339752 446980

JEWELLERY

Clare Durham Hollie Morrison

GENERAL OFFICE

424501 424594

446951 446981

ACCOUNTS Sharon Ringwood Ania Antkowiak

BOARD OF DIRECTORS John Axford MRICS Chairman Natalie Milsted FCCA Managing Director

ASSOCIATE DIRECTORS Alexandra Aguilar Ed Beer Clare Durham Victor Fauvelle Will Hobbs Samuel Hug FGA DGA Michael Jeffery Jeremy Lamond MRICS FRSA Rupert Slingsby Marielle Whiting FGA Freya Yuan-Richards Mark Yuan-Richards

424565

SPECIAL ASIAN ART NOTICES Restricted Bidding If you wish to bid at this auction you will need to register and provide proof of identity and of your address and provide photographic ID. You may be asked to pay a deposit of £5,000. Any deposit must be paid by debit card or bank transfer. Woolley and Wallis must have cleared funds no later than 12 noon on Tuesday 14th November. If you are not successful you will be refunded (without interest) within seven working days.

ONLINE BIDDERS MAY BE REQUIRED TO PAY A DEPOSIT OF £5,000.

THIS DEPOSIT WILL ALLOW THE ONLINE BIDDER TO BID UP TO A MAXIMUM OF £50,000 IN TOTAL AT THIS AUCTION. 網絡競投需向本公司支付£5000押金，網上競投總金額的限額為£50,000。 特別提示： 競拍者需憑本人護照領取競投號牌，並需預繳保證金£5000。 請閣下務必妥善保管拍賣號牌，請勿借予他人使用。 若他人使用其號牌競投相應拍品，競買者需承擔全部法律責任。 注：註冊拍賣截止時間為11月14日中午12點整。 Bank Transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Condition of Lots Please note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults. 品相報告 競買人應於拍賣之前的預展中視察拍品。純為方便買家威立士可以在拍賣開始前提供品相報告，但未記載的 品相報告並不代表其品相完美，如果您有需要請聯繫我們咨訊相關信息。 Collection of lots by appointment only Please contact the department to arrange collection of lots. 提前預約提取拍品 提取拍品前，請先聯絡亞洲藝術部或客戶服務部預約安排提取拍品。 VAT Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand-carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided. 增值稅退稅 注：由於英國稅務海關總署（HMRC）已撤銷零售出口法案（Retail Export Scheme），本公司將無法提供 手持出口增值稅退稅文件（C88）機場退稅單。 若您慾退增值稅，您的拍品必須由貨運公司運送，並且必須由運輸公司提供有效的出口文件。

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CHRONOLOGY OF JAPAN Jōmon Period ca.10,000 BC-ca.300 BC

Momoyama Period 1568-1615

Tenpo Era 1830-1844

Yayoi Period ca.300 BC-552 AD

Bunroku Era 1592-1596

Kaei Era 1848-1854

Asuka Period 552-645 Nara Period 645-794 Heian Period 794-1185 Kamakura Period 1185-1333

Keicho Era 1596-1615 Edo Period 1615-1868 Kan’ei Era 1624-1644 Kanbun Era 1661-1673 Genroku Era 1688-1704 An’ei Era 1772-1781 Tenmei Era 1781-1789

Koka Era 1844-1848 Ansei Era 1854-1860 Man’ei Era 1860-1861 Bunkyu Era 1861-1864 Genji Era 1864-1865 Keio Era 1865-1868 Meiji Era 1868-1912

Muromachi Period 1333-1573

Kansei Era 1789-1801

Taisho Era 1912-1926

Kyowa Era 1801-1804

Showa Era 1926-1989

Namboku-Chō Period 1336-1392

Bunka Era 1804-1818

Heisei Era 1989-2019

Bunsei Era 1818-1830

Reiwa Era 2019-present

JAPANESE & KOREAN WORKS OF ART THURSDAY 16TH NOVEMBER 2023 10.00am LOTS 700-894

Lot 861 reverse

700 A LARGE JAPANESE BLUE AND WHITE DISH EDO PERIOD, 1670-90 The foliate dish decorated in underglaze blue and with a brown rim, painted with two men in Chinese garments seated in a pavilion and two others on a bridge, with prunus, pine and maple trees issuing from rockwork to the side, and scrolling clouds above; the reverse painted with a continuous band of karakusa scrolls and a fuku mark, 29.8cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200 See the Royal Collection Trust, access. no. RCIN 58992 for four other dishes with the same decoration in the British Royal Collection. Also, see M Fitski, Kakiemon Porcelain, a Handbook, p.82, no.90 for another example at the Rijksmuseum, Amsterdam.

700

701 AN UNUSUAL JAPANESE ARITA BLUE & WHITE BOWL EDO PERIOD, C.1670-1740 The deep straight body raised on a short foot and with a flared neck, the foliate rim with a brown edge; decorated in underglaze blue with two figures observing a butterfly to the well, one holding a parasol; the sides with a flowering prunus tree and other flowers emerging from behind rockwork; the exterior with a similar design of a gnarled cherry tree to one side and stylised flowers and rocks to the reverse; the base with a fuku mark within a doubled-lined square, 11.3cm.

701

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200 Provenance: from the collection of David Stopher, Kent, purchased from R&G McPherson Antiques, London. Formerly in the J Johnston Collection, no.701, and the J Drew Collection, no.216.

Cf. S Jenyns, Japanese Porcelain, pl.73D for a barbed rim dish with similar decoration.

702 A JAPANESE BLUE AND WHITE DISH EDO PERIOD, 1670-1700 Decorated with a small bird perched on a vase containing flowers and leafy sprigs, the cavetto with a large border of stylised flowerheads and scrolling tendrils, 27.7cm.

702

£200-300

703 A PAIR OF JAPANESE MOULDED PEONY DISHES EDO OR MEIJI, 19TH CENTURY Both with light celadon bodies decorated in low relief, moulded with concentric rings to the reverse, both raised on a short foot and with a white base, both 18.2cm. (2)

£100-200 703 126

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

704 A LARGE JAPANESE BLUE AND WHITE KRAAK-STYLE DISH EDO PERIOD, C.1700

705 A LARGE JAPANESE BLUE AND WHITE KRAAK-STYLE DISH EDO PERIOD, C.1700

The well painted with large chrysanthemum and peony blossoms beside a triangular fence, framed by a border of alternating panels enclosing further flowers; with three Christie’s paper labels underneath, 40.6cm.

The well painted with a large tripod vase containing fruiting branches of pomegranate and peony flowers, framed by a border of alternating panels enclosing further pomegranates, peonies and other blooms, 42.2cm.

£400-600

£800-1,200

Provenance: from a British private collection formed between 1970-2003, purchased from Christie’s London, 5th February 1998, lot 442.

Provenance: from an English private collection, given to the current owner’s father in the 1970s.

127

706 A JAPANESE BLUE AND WHITE MOULDED DISH EDO PERIOD, 17TH CENTURY The foliate body painted with a central medallion enclosing two large peaches on a leafy branch, with a brown rim and three concentric rings to the reverse, the base with a fuku mark, 21.3cm.

£400-600 Provenance: from the collection of David and Margaret Mellis, Presbyterian missionaries in China, c.1900-14.

706

Cf. O Impey, C J A Jörg and C Mason, Dragons, Tigers and Bamboo, Japanese Porcelain and its Impact in Europe, p.77, fig.28 for another dish with the same decoration. The authors suggest these dishes may be early examples of the Kakiemon workshop.

707 A NEAR PAIR OF CHINESE KO-SOMETSUKE BLUE AND WHITE DISHES 17TH CENTURY For the Japanese market, each foliate dish decorated to the well with an egret wading amongst lotus, both with radiating patterns to the cavetto and a band of chevrons above, the rims with mushikui frits and each with branches to the reverse, one with a mark reading Dai Ming Chenghua nian zhi, both with a paper label reading ‘Christie’s 4 February 1999, lot 357’, 21cm and 20.3cm. (2)

£200-300 707

Provenance: from a British private collection, formed 1970-2003.

708 TWO JAPANESE IMARI DISHES EDO PERIOD, C.1700 Both with a foliate rim and decorated in underglaze blue, gilt and polychrome enamels with a spray of chrysanthemum to the centre, framed by alternating panels enclosing ho-o birds, plants and scrolling tendrils; each with a band of karakusa scrolls to the reverse, 27.8cm and 28.5cm respectively. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 708

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See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

709 A LARGE JAPANESE IMARI BOWL EDO PERIOD, 17TH CENTURY The deep body decorated in underglaze blue, gilt, yellow, red, orange, green and purple enamels, the well painted to the centre with a spray of peony and the cavetto with chrysanthemum tied up to bamboo canes, the rim with a band of clouds and fruiting branches in gilt on the dark blue ground; the reverse with a mountainous river landscape above two floral borders; an elderly man and two boy attendants crossing a bridge to one side, and a pavilion by a waterfall to the other, the base with a chrysanthemum mon, 37.7cm.

£400-600 709

710 A TALL JAPANESE IMARI TRUMPET-SHAPED VASE EDO PERIOD, C.1700 The slender body typically decorated in underglaze blue, gilt, red and pink enamels, with variously-shaped panels enclosing landscapes and flowers, on the dark-blue ground embellished with gilt leaves and scrolling tendrils, 34.3cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250

710

711 A JAPANESE IMARI MOULDED BOWL & COVER EDO PERIOD, 18TH CENTURY The deep U-shaped body raised on a short straight foot, typically decorated in underglaze blue, gilt, and red enamels; the inside with a chrysanthemum flowerhead to the centre and three large sprays of chrysanthemum, the decoration repeated on the inside of the cover; the exteriors with many shishi prancing amongst flowering branches of chrysanthemum, some of the blooms moulded in low relief; 17cm max. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 Provenance: from the collection of David Stopher, Kent.

711

129

712

713

712 A JAPANESE KAKIEMON-STYLE DECAGONAL DISH EDO PERIOD, 17TH CENTURY

713 A FINE JAPANESE KAKIEMON-STYLE MOULDED DISH EDO PERIOD, 17TH CENTURY

The foliate body brightly decorated in polychrome enamels on the bright nigoshide body, with a curled-up dragon to the well and a continuous design to the cavetto depicting a minogame (flaming tortoise), two cranes, pine, prunus and bamboo; the reverse left undecorated, 22.3cm.

The foliate body decorated in bright polychrome enamels with a finger citron and leafy spray to the well, the cavetto with a continuous border enclosing birds in flight in between bamboo, prunus and pine; moulded in shallow relief with flowers and leafy tendrils; 18.6cm.

£600-1,000

£1,000-1,500

Provenance: from the collection of David and Margaret Mellis, Presbyterian missionaries in China, c.1900-1914.

Provenance: the property of a Gentleman.

Cf. J Ayers, O Impey, JVG Mallet, Porcelain for Palaces, The Fashion for Japan in Europe 1650-1750, p.153, no.123 for a dish with the same decoration.

714 A JAPANESE KAKIEMON-STYLE BOWL AND COVER EDO PERIOD, 1660-80 The bulbous body raised on a flared foot, with curved side handles and the cover topped with a seated shishi; decorated in underglaze blue and bright polychrome enamels with pavilions in landscapes, with large trees issuing from rockwork, in between borders of triangular lappets and flowerheads, 14.2cm. (2)

£200-300 Provenance: the property of a Gentleman.

714

130

Cf. C J A Jörg, Fine & Curious, Japanese Export Porcelain in Dutch collections, pp.72-73, for a related bowl and cover. The author explains that the unusual shape may have been inspired by a silver model and was probably made for export. The decoration places this piece between early enamelled wares and the developing Kakiemon style.

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

715 A PAIR OF JAPANESE ARITA MODELS OF HENS EDO PERIOD, 1670-1730 Both crisply moulded with long tail feathers painted in underglaze blue, gilt, red, cyan and black enamels; each standing on a rocky outcrop with a russet-brown glaze, and with green fungi and leaves applied to the sides; the chickens depicted standing in opposite directions, 23.8cm and 23.5cm respectively. (2)

£3,000-5,000 Cf. see J Ayers, O Impey, JVG Mallet, Porcelain for Palaces, The Fashion for Japan in Europe 1650-1750, p.188, no.177 for a similar model of a hen from a private collection, on loan to the Fitzwilliam Museum, Cambridge.

131

716 A RARE JAPANESE KAKIEMON ‘HAMPTON COURT’ VASE AND COVER EDO PERIOD, 1670-90 The slender hexagonal body with tapering sides and a short straight neck, each side painted with tall sprays of iris painted in yellow, cyan, iron-red, navy-blue and black overglaze enamels; the shoulder and cover with matching patterns of karakusa scrolls and red peony flowerheads; the neck with a key fret border and the bud-shaped knop both in underglaze blue, 37.5cm. (2)

£4,000-6,000 Cf. J Ayers, O Impey, JVG Mallet, Porcelain for Palaces, The Fashion for Japan in Europe 1650-1750, p.173, no.153, for another jar and cover with similar decoration from a private collection, which is described as ‘almost unique’.

When first produced in Arita for the Western market in the 17th century, these brightly-coloured porcelain pieces caused considerable delight: after centuries of blue and white China, they offered a bright touch to the fashionably dark interiors of the time. The earliest mention of this type of jar dates from an account of a sale in Holland in 1680: The red assortment was much desired. 36 show pots for cabinets, cost price 2 florins, nine s. sold at Enkuisen for 140 florins (the ‘red assortment’ was the term used then for vases with polychrome decoration).

Hexagonal vases of the same distinctive form and decorated in the Kakiemon palette are known as ‘Hampton Court’ jars, after similar examples that survive at Hampton Court Palace, access. no. RCIN 1094.1-2, 1178.1-2, 1050.1-2, 1047.1-2, 1110.1-2. These vases were originally in the collection of Mary Stuart and William II of Orange. After marrying the Dutch Stadtholder in 1677, Mary became patroness of the Delft porcelain factories and a keen collector of ceramics. Together with Huguenot architect Daniel Marot (1661-1752), they created a new style of interior at the Palace of Het Loo in Apeldoorn, with her collection in pride of place. Paintings were hung between pilasters decked with porcelain on gilt brackets, and a pediment-shaped pyramid of ceramics took centre stage over the fireplace. The publication of Oeuvres du Sr. D Marot (c.1703 or 1712), including engravings illustrating this type of interiors, helped to popularise the William and Mary style and the fashion of collecting porcelain.

Jars from the original collection of William and Mary are still housed today in several royal palaces, including Buckingham Palace and Windsor Castle.

Some of the pieces were also dispersed, since after Mary’s death a proportion was left to Arnold Joost van Keppel, 1st Earl of Albermarle; others are said to have descended from William IV to his illegitimate daughter Lady Augusta Fitzclarence (1803–65).

Colourful Japanese porcelain made its way into other European courts, including the collection of Augustus the Strong, King of Poland and Elector of Saxony, in Dresden. Fashionable ladies trying to emulate the royal taste would also spend huge amounts of money on porcelain collecting, so much so that some were said to have ruined their families and estates. Colourful 17th century Japanese porcelain can still be seen today at Burghley House, Woburn Abbey and other grand houses around Europe.

The ‘Hampton Court’ jars feature a variety of patterns. However, this style of decoration is particularly rare as it seems to be known on only two pieces: the other jar is illustrated in J Ayers, et. al., ‘Porcelain for Palaces, The Fashion for Japan in Europe 1650-1750’, p.173, no.153. The use of blue enamels for the scrolls around the shoulder is also less common than most other examples which tend to feature iron-red and green. Due to their popularity, pieces decorated in the Kakiemon palette became extensively copied, first at Meissen in Germany, and then at many other early porcelain factories across Europe.

Daniel Marot, interior

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See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

133

717

718

719

720

717 A PAIR OF JAPANESE MODELS OF KITSUNE (FOXES) EDO PERIOD, DATED 1769 The two stylised animals modelled seated on their haunches, each raised on a polygonal base; the male depicted baring its teeth; each with the same long inscription incised on its back reading ‘Hojo, Hosono mura, Komura Jihei, Meiwa rokunen, ushi, juichigatsu hi’ (Votive dedication by Mr Komura Jihei of Hosono village, a day in the 11th month of the Year of Ox, in Meiwa 6th year -1769), both 26cm. (2)

718 TWO JAPANESE HIRADO BLUE AND WHITE MODELS OF MONKEYS MEIJI ERA, 19TH CENTURY The two groups depicted in front of a leafy tree, with adults surrounded by smaller primates, all raised on rocky bases with details highlighted in blue glaze, both 10.4cm. (2)

£300-500

£150-250 719 A TALL MODEL OF A CAT PROBABLY 19TH/20TH CENTURY

720 A PAIR OF HIRADO MODELS OF SHISHI MEIJI ERA, 19TH CENTURY

Realistically modelled after the Arita original, seated with its head turned towards the back and its front right paw raised; decorated in iron-red, gilt and black enamels, 25cm.

The lion dogs depicted baring their teeth, seated on their haunches with their paws resting on reticulated balls; their curled manes, tails, and other details picked out in underglaze blue, both 15cm. (2)

£300-500

£300-500

See Sothey’s London, Fine Japanese Art, 3 November 2020, lot 68 for two examples of the Japanese 17th century original with similar postures and colouring.

134

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

721

722

723

724

721 A JAPANESE BLACK-GLAZED BOTTLE VASE MEIJI OR LATER, 19TH OR 20TH CENTURY

722 A JAPANESE BLUE AND WHITE TEAPOT AND COVER MEIJI ERA, 19TH/20TH CENTURY

The tall high-waisted body with splashes of lustrous russet glaze, on a matt silvery-black ground; the rim with a kintsugi gold lacquer repair; together with a wood box and cover, 26cm. (2)

The tall bulbous body raised on a splayed foot, richly decorated in underglaze blue with shaped panels enclosing figures in landscapes, on a dense ground of flowers and bamboo, with birds perched amongst the foliage; between borders of reishi heads, lappets, jewels and other formal designs, the underside of the lid signed Ryuho seisei, 20cm.(2)

£300-500

£200-300

723 A JAPANESE RED AND GILT DISH MEIJI ERA, 19TH CENTURY

724 TWO JAPANESE POLYCHROME BOWLS EDO AND LATER, 17TH CENTURY AND LATER

Richly decorated with a radiating design of various brocade patterns, with roundels enclosing formal motifs of cash and floral tendrils, 21.3cm.

The first with a foliate body, decorated in the Kakiemon style with a prancing kirin, the cavetto with pomegranates and prunus flowers on leafy branches, the reverse with another spray of prunus and flowers floating on the breeze; the other shaped as a curled-up lotus leaf, with various insects painted inside and out, the base impressed with a seal mark; together with a Chinese mammoth tooth seal with two lion dogs disputing a brocade ball, 13.2cm max. (3)

£300-500 Provenance: from the collection of David and Margaret Mellis, Presbyterian missionaries in China, c.1900-1914.

£200-300 135

725

726

725 A PAIR OF JAPANESE SATSUMA VASES BY SHOZAN MEIJI ERA, 19TH/20TH CENTURY

726 A PAIR OF TALL JAPANESE SATSUMA VASES BY KOZAN MEIJI ERA, 19TH/20TH CENTURY

The tall square-section bodies each with a circular foot and rim; both decorated with rectangular panels enclosing many figures in interiors and in luxuriant gardens; framed by bands of chevrons and with a dense border of flowerheads to the shoulders; each vase signed Shozan zo under the Shimazu mon, both 25cm. (2)

The tall slender bodies richly painted in gilt and polychrome enamels, each with a large rectangular panel enclosing figures before pavilions in mountainous landscapes, on a dense background of wisteria, chrysanthemum and other flowers by a stream, each signed Kozan and with remnants of paper labels reading ‘Y Taniguchi, Kobe, Japan’, 31.6cm. (2)

£300-500

£200-400

727 A PAIR OF JAPANESE SATSUMA VASES BY GYOKUZAN MEIJI ERA, 19TH/20TH CENTURY Each decorated in gilt and polychrome enamels with shaped panels enclosing figures in luxuriant gardens and interiors, on a dense ground of brocade patterns, flowers, and other formal designs, both signed underneath Satsuma yaki, Dai Nihon, Gyokuzan zo, 16cm. (2)

£100-200 727 136

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

728

729

728 A JAPANESE SATSUMA TRUMPET-SHAPED VASE BY GYOKUZAN MEIJI ERA, 19TH/20TH CENTURY

729 A TALL JAPANESE SATSUMA VASE BY HOZAN MEIJI ERA, 19TH/20TH CENTURY

The tall body with a flared neck and raised on four bamboo-shaped legs, decorated with three rectangular panels enclosing figures in landscapes, one a small boy running whilst playing with his kite; on a dark-blue ground painted with flowers and brocade patterns in gilt, signed Gyokuzan zo under the Shimazu mon underneath, 15cm.

The baluster body delicately painted with a daimyo and his retinue travelling to Edo for the sankin kotai; the winding procession of samurai painted in diminishing sizes creating an impression of perspective; some on horseback, others on foot carrying banners, boxes and other paraphernalia; between dense bands of flowers above the foot and to the shoulder, and with various mon and keyfret borders; the base signed Hozan under the Shimazu mon, 30.8cm.

£300-500

£1,000-2,000

730 TWO JAPANESE SATSUMA DISHES MEIJI ERA, 19TH/20TH CENTURY Both painted with figures, in an interior and in a garden by a lake; the largest dish with a border of cell diaper and stylised birds, the other with leafy foliage; the reverse of both dishes with a deep navy-blue ground, the largest signed Hozan and the other Hasegawa, 18.8cm and 15.5cm respectively. (2)

£400-600

730 137

731 A FINE JAPANESE SATSUMA BOWL BY KINKOZAN MEIJI ERA, 19TH/20TH CENTURY Delicately painted to the interior with three petal-shaped panels enclosing many figures, including boys playing go; the cavetto with a border of rectangular cartouches variously painted with landscapes, birds and flowers, and further figures, in between borders of key fret and triangular patterns; the reverse with three large peony flowerheads, brocade patterns and shippo-tsunagi coin designs; the base with a square gilt cartouche reading Kinkozan zo and with another Kinkozan impressed mark, 12.6cm.

£1,000-1,500

731

732

733

732 AN UNUSUAL JAPANESE SATSUMA VASE BY SEIKOZAN MEIJI ERA, 19TH/20TH CENTURY

733 A LARGE JAPANESE VASE MEIJI OR LATER, 20TH CENTURY

The bulbous body raised on a short foot and with an elongated neck, elegantly decorated in gilt and polychrome enamels with large flowering sprays of chrysanthemum and peony on a coral-red ground; with a wide band of flowerheads amongst stylised waves below the rim; the base signed Seikozan, 18.5cm.

The bulbous body with a tall straight neck, decorated with large sprays of white and orange chrysanthemum on a blue graduated ground, with a lustrous green glaze dripping from the rim and a band of key fret in gilt to the foot, a six-character signature reading Shinto Kaisha seizo (for the Kobe Porcelain Company) and with two further impressed marks, 39.3cm.

£150-250

£200-300

Provenance: from an English private collection, West Yorkshire, formed in the 1970s and 1980s.

138

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734

735

736

737

734 TWO JAPANESE BIZEN WARE PIECES PROBABLY 19TH CENTURY

735 THREE KOREAN SANGGAM SLIP-INLAID CELADON PIECES POSSIBLY GORYEO, 13TH CENTURY OR LATER

One a small rounded jar with a waisted neck, the other a rectangular kogo box and cover decorated with a shishi in low relief; together with a celadon footed cup, possibly Korean, 13cm max. (4)

All three decorated with flower sprays, two shaped as footed bowls and the third a small shallow dish; the largest bowl with butterflies and flowers to the well, 20.8cm max. (3)

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£1,000-2,000

£150-250

736 TWO KOREAN CELADON BOWLS POSSIBLY GORYEO, 13TH CENTURY OR LATER

737 A SMALL COLLECTION OF JAPANESE AND KOREAN PIECES ALL PROBABLY 19TH CENTURY

The largest incised with patterns of flowers and scrolling tendrils to the well; the other with petals to the exterior; 20cm and 16.6cm respectively. (2)

Comprising: a white-glazed bowl with a wide rim; two small celadon bowls, a hexagonal cup and a Shino ware footed cup painted with foliage, 12.2cm max. (5)

£500-1,000

£150-250

139

738

738 A KOREAN TEN-FOLD HWAJO (BIRDS AND FLOWERS) SCREEN JOSEON DYNASTY AND LATER, 19TH/20TH CENTURY In minhwa (folk) style, each panel painted in ink and colour on paper, with stylised birds and other animals depicted in vivid colours on the buff ground, each panel with calligraphy, signed by various artists including Yi Dong-Myeong, 183.5cm x 445cm.

£3,000-5,000 Provenance: a private English collection, acquired in Seoul in the 1960s.

Birds and flowers were the most common and popular subjects in minhwa paintings due to their brilliant colours. Birds are usually depicted as a male and female pair, which symbolizes conjugal harmony and a peaceful home.

739 A KOREAN BLUE AND WHITE DRAGON VASE JOSEON DYNASTY, 19TH CENTURY OR EARLIER The globular body with an uneven straight neck, decorated with a large writhing dragon chasing a flaming pearl of wisdom underneath a band of stylised bullocho fungi of immortality, 18.2cm.

£700-1,000 739 140

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

740 A KOREAN BRASS CANDLESTICK WITH BUTTERFLY 20TH CENTURY The tall stem raised on a stepped base and with a large butterfly reflector to the top; a rectangular panel to the side decorated in openwork with a small bird perched on a flower and with bamboo branches beside it, 157.5cm. (2)

£200-300

740 141

741 KANO DOSHUN FUKUNOBU (D.1723) VIEW OF LAKE BIWA EDO PERIOD, 18TH CENTURY A Japanese six-fold miniature byobu screen, in ink, colour and gold leaf on paper, decorated with an extensive view of Lake Biwa in the Omi Province, with many figures engaged in daily pursuits, some riding horses and others on small boats; with a temple on stilts on the right, and Mount Fuji towering in the distance; signed lower right corner Doshun hitsu (Painted by Doshun) and with a gourd-shaped red seal mark reading Shosei; mounted with a silk frame; the reverse with a paper label reading ‘Loan 293’, 49cm x 119.5cm; together with a purpose-built cardboard box from the Museum of Applied Arts and Science to house the screen. (2)

£1,500-2,000 Provenance: from the collection of Lt Col. William Albert Harrison (1867-1947), and thence by descent. On loan from 1923-2023 to the Museum of Applied Arts and Science, Sydney, Australia.

Harrison was born in Calcutta, India, and attended the Royal Military Academy in Woolwich. He served in the Chin-Lushai Expeditionary Force (1889-1890), the China Expeditionary Force (1900, Boxer Rebellion) and World War I (1914-1918). He retired from the army as a Lieutenant Colonel in 1919, emigrating to Australia in 1923 and settling in the Sydney suburb of Chatswood where he died on the 8 October 1948.

The screen was acquired by Harrison whilst serving in China in 1900 and was loaned to the Sydney Technological Museum (later the Museum of Applied Arts and Sciences) very soon after his arrival in Australia in 1923. In 2023, on the expiry date of the full loan, the museum traced Harrison’s surviving descendant in the UK and the screen was subsequently returned to the family.

Doshun (also known as Shuseisai) studied under master Kano Masunobu (Toun, 1625-94). Together with other artists including Kano Tsunenobu (1636–1713), he painted inner walls of the old Imperial Palace in Kyoto. He is also known to have produced screens with other painters such as Kano Chikanobu (1636-1713), as tributes to the Korean King of the Joseon Dynasty.

742

742 AFTER KANMEI HIROAKI BAKEMONO NO E (ILLUSTRATIONS OF SUPERNATURAL CREATURES) EDO OR MEIJI, 19TH CENTURY A Japanese bakemono makimono (handscroll paintings of monsters) forming an illustrated index of fantastic creatures; painted in ink and colour on thin, lightweight paper; starting with a group of figures seated around a lantern, followed by a large number of ghosts, monsters, and other mythical creatures, each otherworldly creature identified by an inscription handwritten above it, with a long inscription at the end translating as ‘the sun is bright, the shadows are diminished [...], the mind is strange, the heart is strange, and the mind is attached to the spirits’, 26cm x 1792cm. (4)

£500-1,000

142

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741

743 ANONYMOUS KITSUNE AND BAKEMONO EDO OR MEIJI, 19TH CENTURY Two Japanese makimono (handscroll paintings), probably from a set of three; in ink and colour and mounted on paper with gold flakes; depicting the story of a cursed man and his unfortunate encounters with kitsune (fox spirits), followed by his peregrination in Hell, where he meets a large number of bakemono (monsters); 26.5cm x 1200cm and 26.5cm x 1394cm respectively. (2)

£800-1,200

743 143

744 KANO SCHOOL BIRDS AND PINE PROBABLY EDO, 18TH CENTURY A Japanese two-fold byobu (paper screen), ink, colour and gold on paper, painted with birds in flight and perched amongst pine, bamboo and leafy peony sprays; a stream meandering behind them and with dark clouds above, 147cm x 134cm.

£500-800 Provenance: a private English collection, acquired in Tokyo c.1969.

144

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745 ANONYMOUS THE SHAKA TRIAD MUROMACHI OR LATER, 14TH CENTURY OR LATER A large and impressive Japanese painting, in ink, colour and gilt on silk, with the central figure of Buddha Shakyamuni raised on a lotus throne, with a jewelled canopy above him and a double halo behind, his hands in the vitarka mudra; Fugen Bosatsu seated beside him on his white elephant and holding the long stem of a lotus flower, Monju Bosatsu on the other side riding his shishi whilst holding a nyoi sceptre, the Historical Buddha and the two bodhisattvas depicted in gilt; the Shaka Triad surrounded by twenty other guardian deities, protectors of the Sutra and all those who recite it, including Xuanzang (602-664), the translator of the Great Perfection of Wisdom Sutra painted in the lower right corner, the Chinese Buddhist monk holding a scroll and brush, his protector the Great General of the Desert Jinja Daisho standing before him; the central panel surrounded by a painted border of gilt dragons amongst scrolling clouds, and large peony flowerheads amongst scrolling tendrils imitating a silk mount, framed and glazed, the central panel 129.5cm x 57.5cm, 211.5cm x 85.5cm overall.

£1,000-2,000 Provenance: from the estate of the late Baroness von Hohenberg, formerly, from the collection of Baron Eberhard Bodenhausen-Degener (1868-1918) of Schloss Neubeuern, Bavaria; by descent to Baroness Juli (Luli) Bodenhausen Degener, who married Baron Gottfried von Meyern Hohenberg; by descent to Baron Gottfried Eberhard von Meyern Hohenberg, and thence by descent.

Baroness Juli Bodenhausen-Degener (1902-51) was a German-American actress also known under the name ‘Luli Deste’. She grew up at Schloss Neubeuern in Bavaria. The castle was owned by her uncle, Jan von Wendelstadt (1856-1909), who was an avid art collector. He often invited her father, Baron Eberhard Bodenhausen-Degener (1868-1918), to stay with him at the castle. Under Jan, the Schloss also became a cultural centre with many German artists and intellectuals visiting him.

Jan brought back a large number of souvenirs from his trips to the East, including Chinese bronzes, Japanese screens, and porcelain. A massive pair of Chinese lion dogs were displayed in pride of place in the gardens of the castle.

See the Metropolitan Museum, New York, access. no. 2012.18 for another painting of the Historical Buddha with attendants with a similar composition dated to the late 14th century.

Baroness Juli Bodenhausen Degener (Luli Deste)

Schloss Neubeuern, Bavaria

145

746 ANONYMOUS BEAUTY AT HER DESK PROBABLY MEIJI, 19TH CENTURY A Japanese painting, ink and colour on paper, depicting a beauty wearing a Chinese dress by a desk laden with vessels, one a vase with a peacock feather, inscribed at the back Hyaku-juusan, Fujiaki Tadashi zo (Number 113, in the collection of Fujiaki Tadashi), 33.5cm x 47.5cm, framed and glazed.

£200-300 Provenance: from the collection of Major-General Ian Lyall Grant MC, RE (1915-2020), and thence by descent. After World War II, Major-General Grant co-founded the Burma Campaign Fellowship Group to reconcile those who had fought each other in Burma. He published a number of works about his experience in the Army, including ‘Burma 1942: The Japanese Invasion’ (1999). He was a keen collector of antiques and gems, travelling extensively in Japan, China and the Far East, and he later became a Fellow of the Gemmolological Association of Great Britain (FGA).

746

747 KANO KOI (C.1569-1636) PAVILIONS IN A LANDSCAPE EDO PERIOD, 17TH CENTURY A Japanese Kano School scroll painting, ink on paper, depicting small figures in buildings in a mountainous landscape, with a red seal mark lower left corner, 79cm x 27.5cm.

£100-150 Provenance: from the collection of the Rev. Cyril Chase.

748 MIO GOSEKI (1885-1946) TIGER 20TH CENTURY A Japanese kakemono (hanging scroll painting), ink and colour on silk, depicting a large roaring tiger baring its teeth whilst crouching on a rocky outcrop, signed Goseki and sealed Mio Goseki lower left corner, together with two wood boxes, 124.5cm x 42.5cm. (3) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200 747 146

748

Provenance: an English private collection, Somerset, purchased in Japan.

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

749 KANO GYOKUEN NAGANOBU (1816-80) SHOKA/SHOKO (DATES UNKNOWN) EDO/MEIJI, 19TH CENTURY Two Japanese kakemono (hanging scroll paintings), both ink and colour on paper, one in Chinese style depicting travellers visiting a scholar, his young attendant receiving the visitors at the door of the thatched pavilion; the mountainous river landscape extending beyond them, signed lower left Gyokuen Naganobu hitsu and with the seal Kano, 123.5cm x 54cm; the other painting depicting a flowering branch of camellia, signed Shoka/ Shoko and with a red seal mark, 26.6cm x 31.2cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

749

£200-300

750 YOSHIZAWA SOZAN (ACT. 1875-85) SHIBA KEISEN (ACT. 1900-30) MEIJI OR LATER, 19TH/20TH CENTURY Two Japanese kakemono (hanging scroll paintings), ink and colour on paper, the first depicting an armour-clad samurai beating a drum, with line of calligraphy above reading ‘Hiroyasu Kyosaku was taken ill on the 21st of June in Showa 21 (1946) and passed away at 5:10pm on the 26th of the same month, with the posthumous Buddhist name Tenko Seiren Doji (a little boy called Heaven’s Light and Blue Lotus)’, his collar inscribed ‘Harima Ako-roshi, Oishi Kuranosuke’ and signed lower right corner Sozan ga (Painted by Sozan) and sealed Sozan, 102.5cm x 36.5cm; the other with a samurai helmet and sword, possibly a reference to the Tango no Sekku (Boys’ Festival), signed Keisen and sealed Kamo agata nushi and Kohei; 120cm x 41cm. (2)

£200-300 Provenance: an English private collection, Somerset, purchased in Japan.

The first painting depicts Oishi Kuranosuke, also known as Oishi Yoshio (1659-1703), who was the chamberlain (Karo) of the Ako Domain, Harima Province. Oishi was the leader of the Forty-Seven Rōnin (1702), and the hero of the Chūshingura (The Treasury of Loyal Retainers).

750 147

MR BRIAN McELNEY OBE (1932-2023) A prominent lawyer, Brian McElney started collecting Asian Art in 1955, his first piece being a 17th century gilt brass figure of Sakyamuni Buddha.

Over the years, he amassed a large number of Chinese and Japanese works of art, sourcing the majority of his collection in Hong Kong between the 1950s and 1990s. In 1993, he donated his collection to form the Museum of East Asian Art in Bath, Somerset. This year marks the 30th anniversary of the opening of the Museum as an independent and educational charity, with many of Brian McElney’s pieces still on display alongside items donated by other collectors.

751 ISODA KORYUSAI (1735-90) UTAGAWA TOYOKUNI (1769-1825) EDO PERIOD, 18TH/19TH CENTURY Two Japanese woodblock prints, the first by Koryusai depicting an oiran with two attendants, all three standing by a well, probably from the series Hinagata wakana no hatsu moyo (Models for Fashion: New Year Designs as Fresh as Young Leaves), signed Koryu ga and with kakihan, published by Nishimuraya Yohachi (Eijudo), c.1777, 38cm x 25.3cm; the other by Toyokuni depicting a Kabuki actor and an onnagata, signed Toyokuni ga, 37.4cm x 24.7cm. (2)

£400-600 Provenance: from the collection of Brian McElney OBE (1932-2023), and thence by descent.

148

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752 KATSUSHIKA HOKUSAI (1760-1849) UTAGAWA HIROSHIGE (1797-1858) EDO PERIOD, 19TH CENTURY Three Japanese woodblock prints, all three oban yoko-e; the first by Hokusai entitled Fujiwara no Tadahira (Poem by Teishin Ko), from the series Hyakunin isshu ga etoki (One Hundred Poems by One Hundred Poets, explained by the Nurse), c.1835, signed saki no Hokusai manji, published

by Iseya Sanjiro (Eijudo), censor’s seal kiwame, 25.3cm x 37cm; the two others by Hiroshige, the first entitled Hakone, kosui no zu (Hakone: View of the Lake), from the series Tokaido gojusan tsugi no uchi (Fifty-three Stations of the Tokaido Road), published

by Akenouchi Magohachi (Hoeido), signed Hiroshige ga, censor’s seal kiwame, 24cm x 37.2cm; the other of Nojima yusho (Sunset Glow at Nojima), from the series Kanazawa Hakkei (Eight Views of Kanazawa), signed Hiroshige ga, 24cm x 37.3cm. (3)

£500-1,000 Provenance: from the collection of Brian McElney OBE (1932-2023), and thence by descent.

149

753 KATSUSHIKA HOKUSAI (1760-1849) NAKAHARA IN SAGAMI PROVINCE EDO PERIOD, 19TH CENTURY A Japanese woodblock print, entitled Sōshū Nakahara, from the series Fugaku sanjūrokkei (Thirty-six Views of Mount Fuji), c.1830; signed Saki no Hokusai Iitsu hitsu (Brush of Iitsu, the former Hokusai), published by Nishimuraya Yohachi (Eijudo), oban tate-e, 27cm x 40.5cm.

£300-500

754 UTAGAWA HIROSHIGE (1797-1858) EDO PERIOD, 19TH CENTURY Two Japanese woodblock prints, the first entitled Mii banshô (Evening Bell at Mii-dera Temple), from the series Ômi hakkei (Eight Views of Ômi), signed Hiroshige ga, with censor’s seal aratame, ‘Snake 3’, 37.3cm x 25.2cm; the other entitled Takata Sugataminohashi Omokagenohashi jariba (Sugatami Bridge, Omokage Bridge, Jariba at Takata), from the series Meisho Edo hyakkei (One Hundred Famous Views of Edo), also signed Hiroshige ga, 35.8cm x 23.4cm.

£300-500

755 UTAGAWA HIROSHIGE (1797-1858) EDO PERIOD, 19TH CENTURY Two Japanese woodblock prints, one entitled Oji Otonashigawa entai, sezoku Otaki to tonau (Dam on the Otonashi River at Oji), number 19 from the series Meisho Edo hyakkei (One Hundred Famous Views of Edo); the other entitled Tôto Asukayama (Asuka Hill), from the series Toto sanjurokkei (Thirty-Six Views of the Eastern Capital), both signed Hiroshige ga; together with two other woodblock prints, one giga humorous print possibly by Katsushika Hokusai, and another gruesome depiction of a dead couple by an unknown artist, 36.5cm x 25cm max. (4) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300

150

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

756 KATSUSHIKA HOKUSAI (1760-1849) SUDDEN RAIN BENEATH THE SUMMIT 19TH CENTURY A Japanese woodblock print, entitled Sanka no haku u, also known as ‘Black Fuji’, from the series Fugaku sanjūrokkei (Thirty-six Views of Mount Fuji), signed Hokusai aratame Iitsu hitsu, published by Nishimuraya Yohachi (Eijudo), oban yoko-e, 25.5cm x 36.8cm.

£800-1,200 Provenance: a private Scottish collection.

This is undeniably one of Hokusai’s most recognisable prints, from the equally iconic series ‘Thirty-six Views of Mount Fuji’, which he started when he was in his seventies. Like many other Japanese artists, Hokusai was fascinated with the mountain, and he depicted it in large numbers throughout his career. This particular composition echoes the design of another famous print in the series, ‘South Wind, Clear Sky’ (also known as Red Fuji). The two prints can be seen as opposites, however: Red Fuji depicts a calm, bright dawn in the early stages of autumn, whilst Black Fuji is imbued with the dark agitation of a thunderstorm.

This series was so successful that the publisher decided to expand it to forty-six prints.

Katsushika Hokusai, ‘South Wind, Clear Sky’ (‘Red Fuji’), c.1830-32

151

757

757 UTAGAWA HIROSHIGE (1797-1858) EDO PERIOD, 19TH CENTURY

758 UTAGAWA HIROSHIGE (1797-1858) EDO PERIOD, 19TH CENTURY

Two Japanese woodblock prints, the first entitled Fujikawa, bōhana no zu (Fujikawa, Scene near the Post Office), station 38 from the series Tokaido gojusan tsugi (Fifty-three Stations of the Tokaido), c.1833-34, signed Hiroshige ga, oban yoko-e, 25cm x 37.7cm; the other a later reprint depicting Ōhashi Atake no yūdachi (Sudden Shower over Shin-Ōhashi Bridge and Atake), from the series Meisho Edo hyakkei (One Hundred Famous Views of Edo), framed and glazed, 35.5cm x 23.5cm. (2)

Two Japanese woodblock prints, the first entitled Fukuroi, dejaya no zu (Fukuroi: Tea Stall), from the series Tôkaidô gojûsan tsugi no uchi (Fifty-three Stations of the Tôkaidô), co-published by Hôeidô and Senkakudô, c.1833-34, framed and glazed, oban yoko-e, 24cm x 36cm; the other entitled Seta sekishô (Sunset Glow at Seta), from the series Ômi hakkei (Eight Views of Ômi), c.1857, oban tate-e, 38cm x 25.5cm, both signed Hiroshige ga. (2)

£200-300

£200-300

758

759 JINKYUSHI (DATES UNKNOWN) FLOWER ARRANGEMENTS EDO PERIOD, C.1684 Two Japanese albums containing woodblock prints; the first by Jinkyushi and entitled ‘Rikka Shodoshu’ (Flower Arrangements); the other album by an unidentified artist, also probably 17th century; possibly depicting scenes from the Tale of Ise and with hand-coloured details, both albums 27cm x 19cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

759

£200-300

760 KAWANABE KYOSAI (1831-1889) KYOSAI GADAN MEIJI ERA, 1887 Two Japanese albums of woodblock prints, from a series of four entitled ‘Kyosai’s Account of Painting’; variously depicting monsters, figures, animals and others subjects, some pages in the second album with calligraphy and text written in English; both 24.9cm x 17.5cm. (2)

£150-250 760

152

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761 UNIDENTIFIED ARTISTS PROBABLY EDO AND MEIJI, 18TH AND 19TH CENTURY Two Japanese shunga woodblock prints, the first unusually depicting the Goddess of Mirth Okame embracing a young man, her long hair curling under her, some details of the brocade textiles behind them rendered in karazuri (embossing), 15.7cm x 37.6cm; the other print of a partially clothed couple with food bowls beside them, interrupting their meal to enjoy each other, with lines of calligraphy above, 25.5cm x 38cm. (2)

£200-300 Provenance: an English private collection, purchased c.1970 from Kegan Paul, Trench, Trübner & Co., British publishers in London.

762 UTAGAWA KUNISADA I / TOYOKUNI III (1786-1865) KAMINARI SHOKURO EDO PERIOD, 1847 A Japanese woodblock print depicting a Kabuki actor in the role of Kaminari Shokuro, standing in an iris flower garden and holding a kiseru (pipe), framed and glazed, the reverse with a label for ‘M Nakazawa Tokyo’, oban tate-e, 35.5cm x 23cm.

£200-300

763 ARTIST UNKNOWN PROBABLY EDO, 19TH CENTURY A Japanese surimono woodblock print in the style of Utagawa Kunisada, depicting actor Ichikawa Danjuro VII as Arajishi Otokonosuke, the character about to strike with an iron fan his villainous adversary Nikki Danjō, who has magically transformed himself into a rat; unsigned, the upper section with lines of calligraphy including various poems; 19.9cm x 17cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£80-120

764 UTAGAWA KUNIYOSHI (1797-1861) HOTOKE GOZEN EDO PERIOD, C.1842 A Japanese woodblock print, entitled ‘Hotoke Gozen’ from the series Kenjo reppu den (Biographies of Wise Women and Virtuous Wives), oban tate-e; depicting Hotoke Gozen holding a paper lantern to read a poem written on the wall; signed Ichiyûsai Kuniyoshi ga; framed and glazed, 34.2cm x 23.5cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£80-120

153

765

765 UTAGAWA KUNIYOSHI (1797-1861) AN ARRAY OF CHILD HEROES EDO PERIOD, C.1841

766 part lot illustrated

766 KIKUGAWA EIZAN (1787-1867) AFTER ISODA KORYUSAI (1764-88) AFTER HOSODA EISHI (1756-1829) EDO AND LATER, 19TH/20TH CENTURY

A Japanese woodblock print triptych, entitled Osanadachi buyu zoroe, published by Izumiya Ichibei (Kansendô); each sheet signed Ichiyûsai Kuniyoshi ga; framed and glazed, each sheet approx.

35.5cm x 23.6cm.

Two Japanese woodblock prints, the first by Eizan entitled ‘Chrysanthemum Month’, from the series ‘Elegant Children of the Twelve Months’, c.1810, signed; the other after Koryusai and depicting a couple walking in the snow, with details highlighted in gilt and white paint; together with a painting after a print by Eishi, ink and gilt on silk, depicting two beauties in an interior; all three framed and glazed, 39cm x 20cm max. (3)

£150-250

£150-250 Provenance: formerly the property of the late Marguerite Littman (1930-2020).

767 UTAGAWA KUNISADA I / TOYOKUNI III (1786-1865) YOSHU / TOYOHARA CHIKANOBU (1838-1912) EDO AND MEIJI, 19TH CENTURY

767 part lot illustrated

A collection of seven Japanese woodblock prints, comprising two individual prints with beauties by Kunisada, one entitled Kikuzuki (The Ninth Month) and the other Mutsuki (The First Month), both from the series Gosekku no uchi (The Five Festivals); and five triptychs depicting armour-clads samurais

by Chikanobu, one from the series Chiyoda Castle (Album of Men), all framed and six glazed, 35.5cm x 71cm max. (7)

£200-300

154

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768 OHARA KOSON / SHOSON (1877-1945) OGATA GEKKŌ (1859-1920) MEIJI OR LATER, 19TH/20TH CENTURY A collection of thirteen Japanese woodblock prints, variously depicting birds and flowers; one with a sailboat before Mount Fuji, another entitled ‘a painter’s dream’, some with signatures and red seal marks, all framed and glazed, 33.5cm x 17.5cm max. (13)

£400-600

155

156

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

769 OGATA GEKKO (1859-1920) GEKKO ZUIHITSU MEIJI ERA, C.1897 An album of Japanese woodblock prints entitled ‘Gekko’s Essay’, including forty-eight depictions of various historical characters and stories, together with a title page; each signed and with a red seal mark; each print with an English description handwritten in pencil above; approx.

35.2cm x 23.8cm each.

£1,000-2,000

157

770

771 part lot illustrated

770 HIROSHI YOSHIDA (1876-1950) YOSHIKAWA SHOWA ERA, C.1935 A Japanese woodblock shin-hanga print, signed lower right corner with a red seal mark; titled and signed Hiroshi Yoshida in roman script in the lower margin, framed and glazed, oban yoko-e, 25.8cm x 39cm.

£150-250

771 OGATA GEKKO (1859-1920) CARP AND WISTERIA MEIJI ERA, C.1900 A Japanese woodblock print, signed Gekko, sealed Ogata, shikishiban, 21.7cm x 20cm; together with three later unframed prints, one after Katsushika Hokusai (1760-1849) depicting Tago Bay near Ejiri on the Tokaido; and a framed print, possibly by Tsukioka Yoshitoshi (1839-92) depicting two figures by a kemari ball. (5) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200

772 YOSHIJIRO URUSHIBARA (1889-1953) DAISIES SHOWA ERA, C.1930 A Japanese woodblock print depicting a small bunch of daisies in a tall cylindrical vase, the vessel decorated with floral patterns; signed to the right of the composition and with two red seal marks; numbered no.97 and signed in pencil in the lower margin, framed and glazed; the reverse with paper labels, one reading ‘Y. Urushibara, “Daisies”, Original woodcut printed in colours, 150 signed and numbered proofs only. Blocks destroyed’; 30.5cm x 21cm.

£80-120

772

773 AFTER LEONARD TSUGUHARU FOUJITA (1886-1968) 20TH CENTURY Two drawings, both pencil on paper, one in pink with the three-quarter portrait of a young woman; the other in graphite with the head of a young girl looking up, her hair blowing in the wind; both signed in roman script ‘Foujita’ lower right, 29.5cm x 20.5cm and 29.5cm x 21cm respectively. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 See Sotheby’s London, 20th Century Asian Art, 6th May 2004, lot 62, for a drawing by Foujita entitled ‘Tête de Jeune Fille’ closely related to this first one. Also, see the Bailly Gallery, Geneva/Paris, for ‘Portrait de Jeune Femme Blonde’, another drawing by Foujita dated 1938 and related to the second portrait in this lot.

773 158

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774 Φ COUNTESS SETSUKO KLOSSOWSKA DE ROLA (B.1942) BOTTLE OF BORDEAUX DATED 1990 A Japanese still-life painting, gouache on paper, with a two-character signature lower right corner reading Setsuko, framed and glazed; a label to the back with the title and date also reading ‘The Lefevre Gallery (Alex Reid & Lefevre, ltd.), 30 Bruton Street, London W1X 8JD, Paintings, Drawings and Sculptures’; the painting 98cm x 68cm, 133.5cm x 103cm overall.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-400 Provenance: from the collection of Robin and Rupert Hambro, of Ebury Street (London) and Saint-Rémy de Provence (France). Other pieces from the collection were sold at Christie’s London, 8th June 2023, including artworks by Balthus, Lalanne, Picasso and Calder.

Countess Setsuko Klossowska is a Japanese artist working with bronze, gouache painting and porcelain, as well as a writer. She married fellow painter Balthus in 1967, and is honorary president of the Balthus Foundation. Over her long career, she exhibited in Rome, New York, Paris, London and Tokyo, and in 2005, she became UNESCO’s Artist For Peace.

She is represented by Gagosian, and her latest exhibition took place in Gstaad, Switzerland, from July-September 2023.

Setsuko Klossowska and Balthus

159

FROM THE MILNE HENDERSON COLLECTION OF JAPANESE PRINTS

775 JUNSUKE WATARAI (B.1936) EIICHI SHIBUYA (B.1928) SHOWA PERIOD, C.1980 A collection of sixteen Japanese limited editions colour etchings, thirteen by Watarai, variously depicting figures, musical instruments, and other oneiric scenes, some dated between 1979-82; the other three by Shibuya and of stylised castles; all numbered, titled and signed in pencil in the lower margins, 65.5cm x 49.5cm max. (16) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£300-500 Provenance: from the Milne Henderson collection of Japanese art.

160

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776 IWAO AKIYAMA (1921-2014) SHOWA PERIOD, DATED BETWEEN 1977-81 A small collection of five Japanese woodblock prints by Akiyama, three depicting figures with birds and two female nudes, some with calligraphy; each signed, titled and numbered in pencil in the lower margin, and each with a red seal mark; 45.5cm x 30.5cm max. (5) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£300-500 Provenance: from the Milne Henderson collection of Japanese art.

777 IWAO AKIYAMA (1921-2014) SHOWA PERIOD, DATED BETWEEN 1971-82 Four Japanese woodblock prints by Akiyama, three depicting cats and the fourth an owl, two with calligraphy; each signed, titled and numbered in pencil in the lower margin, and each with a red seal mark; 60cm x 46cm max. (4) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£300-500 Provenance: from the Milne Henderson collection of Japanese art.

161

778 part lot illustrated

778 PHOTOGRAPHS OF JAPAN EARLY 20TH CENTURY An album comprising amateur and professional photographs, many relating to Kobe Golf Club and its members circa 1903, other depicting diplomatic events in early 20th century Japan, and a triptych panorama of Kobe, the album 27cm x 37cm.

779 KOBAYASHI KEISEI (1944-) YOSHIHARU MISHIO (1956-) HEISEI ERA, 20TH OR 21ST CENTURY

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

Two Japanese wood engravings, the first by Keisei entitled ‘ Illusional Planet - Prologue A2’, depicting many animals and fantastic creatures amongst flowers and other leafy vegetation, numbered 3/30, titled and signed in pencil in the lower margin; the other by Mishio of ‘The Second Noah’s Ark’, with a dream-like scene of Noah holding a giant feather, his body merging with animals around him, and with the ark in the distance; numbered 4/50, titled and signed in the lower margin; both framed and glazed, 32.5cm x 32cm and 27.2cm x 22cm respectively. (2)

£150-250

£500-800 Provenance: a private English collection. The Keisei picture purchased at the Royal Academy of Art Summer Exhibition 2005; the other purchased at Bankside Gallery, September 2008. Copies of the original invoices are available.

Exhibited: the Keisei engraving, with the Royal Academy of Art, London, Summer Exhibition, 2005, no.199.

779 162

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780 HUMPHREY BANGHAM (1957-) KYOTO RAIN 21ST CENTURY An English painting, oil on canvas, depicting a rainy view of a Japanese pavilion at the Fushimi Inari shrine, Kyoto, with a balustrade post in the foreground; framed, titled and signed by the artist at the back, 48.8cm x 38.8cm.

£600-800 Humphrey Bangham is a professional artist and designer residing in London.

Through his career, Bangham travelled the world, and notably painted panorama frescoes for LEGO headquarters and stores. He also worked in Japan, developing a particular affinity with Japanese aesthetics and especially, textiles.

780

781 HUMPHREY BANGHAM (1957-) KIMONO DATED 2021 An English picture, ink and charcoal on paper, realistically depicting a kimono, the Japanese robe decorated with dense patterns of fireflies amongst flowers and fishing nets; dated and with the monogram ‘HB’ lower right corner, framed and glazed, 137cm x 96.5cm.

£1,000-1,500 Humphrey Bangham is a professional artist and designer residing in London.

Through his career, Bangham travelled the world, and notably painted panorama frescoes for LEGO headquarters and stores. He also worked in Japan, developing a particular affinity with Japanese aesthetics and especially, textiles.

782 No lot

781 163

783 A JAPANESE YUZEN BIRODO CUT VELVET PAINTING MEIJI PERIOD OR LATER, 20TH CENTURY Depicting a wooden bridge leading to two small pavilions, with Mount Fuji in the distance; in its original wood frame, the picture 17cm x 25cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250

784 TWO JAPANESE EMBROIDERIES OF LIONS MEIJI ERA, 19TH/20TH CENTURY Both depicting a pair of big cats, one with the animals resting on a black silk ground, the other with the beasts walking in the savanna; both framed and glazed, 26.7cm x 37.2cm max. (2)

£200-300

785 A PAIR OF JAPANESE EMBROIDERIES WITH BIG CATS MEIJI ERA, 19TH/20TH CENTURY One depicting a lion and lioness, the male looking straight at the viewer whilst his companion sleeps contentedly beside him; the other with two tigers looking to the right and baring their teeth; the animals rendered in warm honey and cream-coloured threads on the black silk grounds; both in their original remounted frames and glazed, both 42cm x 52.7cm overall. (2)

£200-300 Provenance: from the collection of George Ottaway (1900-45), and thence by descent. Ottaway volunteered with the Royal Navy at 15 years old, quickly rising through the ranks and later becoming Petty Officer and Torpedo Man. He served on many famous ships including the Victory and Iron Duke and was selected in 1929 to accompany HRH Prince Henry, Duke of Gloucester with the Garter Mission to Japan aboard HMS Suffolk, which is when he may have acquired this.

164

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786 AINO IHEI (ACT. C.1800-50) THE SEVEN GODS OF GOOD FORTUNE EDO PERIOD, 19TH CENTURY Four massive Japanese wood panels, each decorated in coloured gesso on the wooden ground with one or two of the Shichifukujin, the Gods depicted on wooden stands and engaged in a variety of activities: one panel with Hotei and Benten playing music whilst a boy performs acrobatics on a ladder beside them; another with Bishamonten fighting three oni causing mischief; the third depicting Daikokuten and Jurojin beside a boy attendant holding a mirror; the fourth with Ebisu catching a large fish whilst Fukurokuju performs the crane dance; the first panel signed Dai Nihon, Osaka, sashimonoshi, Aino Ihei (Made by Aino Ihei, a wood craft maker, Osaka, Great Japan); each panel in a bamboo frame, each 177.5cm x 90.5cm. (4) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£300-500 Aino Ihei was a member of the Aino school of wood carving, who specialised in architectural ornaments for Shinto shrines and Buddhist buildings, processional carts and drum stands.

165

787 A JAPANESE NANBAN-STYLE LACQUER CABINET MOMOYAMA OR EDO, 16TH/17TH CENTURY

788 A JAPANESE NANBAN-STYLE LACQUER TRAY EDO PERIOD, 19TH CENTURY

Of rectangular form with nine variously-shaped drawers, the doors and sides decorated with panels enclosing dense designs of birds and flowers in between borders of chevrons and other geometrical patterns; the decoration rendered in a multitude of raiden (mother of pearl) inlays and gold and black lacquer, the copper fittings and side loop handles with floral designs and tendrils, 29.5cm x 43cm x 29cm. (10)

Of rectangular shape and densely decorated in maki-e gold lacquer and mother of pearl inlays (raiden); the centre with four panels separated by lozenge-shaped cartouches enclosing floral patterns, all four sections with birds in flight amongst various blossoms and foliage; the rim with a border of leafy sprays and peonies, 28.5cm x 42.5cm x 3.7cm.

£1,000-1,500

166

£400-600 Cf. J Welsh, After the Barbarians, pp.84-87 no.12, for a related table with the same decoration to the top.

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

789 AN UNUSUAL JAPANESE MOTHER OF PEARL AND LACQUER BOX AND COVER EDO OR MEIJI, 19TH CENTURY

790 A PAIR OF JAPANESE RYUKYU MOTHER OF PEARL-INLAID LACQUER DISHES EDO PERIOD, 18TH CENTURY

Of rectangular form, the lid richly decorated with a central panel enclosing two confronting cranes in flight, framed by a border of crashing waves and bands of crenellations; the sides with large minogame, the ‘flaming tortoises’ with long seaweeds trailing behind them; all rendered in mother of pearl inlays on the black lacquer ground; 14.3cm x 29.2cm x 46cm. (2)

Both decorated with two large writhing dragons amongst clouds contesting a pearl of wisdom, the cavetti with alternating panels enclosing Buddhist emblems and diaper patterns with stars, each raised on a short foot, both 35cm. (2)

£200-300

£1,000-2,000 Provenance: from a Scottish private collection.

167

791 detail of the lid

791 A JAPANESE LACQUER SAGEJUBAKO (PICNIC SET) MEIJI ERA, 19TH CENTURY

791

Of typical rectangular form, including a four-tier box and cover, a shallow tray, a drawer and a box and cover with two apertures for the pewter bottles; the top embellished with figures aboard two boats, one with a phoenix-shaped prow; the sides with flowering prunus trees; all rendered in gold and silver lacquer on the black ground, 31.7cm x 33cm x 19cm. (12)

£800-1,200 Provenance: an English private collection, Somerset, purchased in Japan.

792 A JAPANESE THREE-TIER LACQUER JUBAKO (PICNIC BOX AND COVER) MEIJI ERA, 19TH/20TH CENTURY

792

Of tall rectangular shape with tiers of various sizes, the sides and cover all decorated with pine, bamboo and prunus, a stream meandering to the side, and with further flowers and grasses on its banks; all rendered in gold and red lacquer hiramaki-e on the black roiro ground, 21.1cm x 11.8cm x 20.9cm. (4)

793 A LARGE JAPANESE THREE-TIER LACQUER JUBAKO (PICNIC BOX AND COVER) SHOWA ERA, 20TH CENTURY The rectangular body decorated all over with many fans depicted in gold, silver and red lacquer on the deep black ground; the lid with three more fans, one embellished with two cranes; in a tomobako wood box with three fitted drawers, the jubako 23.4cm x 22.5cm x 23.5cm. (5)

£150-250 Provenance: an English private collection, Somerset, purchased in Japan.

794 A PAIR OF JAPANESE LACQUERED WOOD HIBACHI (BRAZIERS) MEIJI ERA, 19TH CENTURY The circular keyaki (zelkova) bodies both decorated with flower sprays painted in gold lacquer, one with leaves rendered in mother of pearl; the insides with copper liners, both 27cm dia. (4)

£300-500

£600-800 Provenance: an English private collection, Somerset, purchased in Japan.

793

168

794

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795

795 A JAPANESE GOLD LACQUER SUZURIBAKO (WRITING BOX, INNER TRAYS AND COVER) EDO OR MEIJI, 19TH CENTURY Of typical square shape with chamfered corners, the cover decorated with a figure fishing, seated underneath a thatched canopy on stilts above a stream; the reverse of the lid with figures pulling a stranded boat on a river, with two gloomy fishermen on board; with two rectangular trays to the inside, one decorated with flowers and foliage by a large tree stump, the other with an oval ink stone and a chrysanthemum-shaped metal suiteki; all rendered in gold hiramaki-e on the nashiji ground; 4.5cm x 23cm x 21.1cm. (5)

£1,500-2,000 Provenance: purchased from Lennox Money Antiques Ltd, 8th February 1973.

A copy of the invoice is available.

796 A JAPANESE LACQUER SUZURIBAKO (WRITING BOX AND COVER) TAISHO OR LATER, 20TH CENTURY Of typical rectangular shape, the cover decorated with gold, silver and red lacquer hiramaki-e on the black roiro lacquer ground, with a pair of chickens in a garden, one a large rooster with long tail feathers standing on a war drum, the instrument decorated with scrolling clouds and stylised dragons; the inside in gold nashiji with a metal suiteki (water dropper) and an inkstone, 4.5cm x 21.2cm x 25.2cm; in a tomobako wood box. (3)

797 λ A JAPANESE LACQUER SUZURIBAKO (WRITING BOX) MEIJI ERA, 19TH/20TH CENTURY Of rectangular form, decorated with a spray of flowers and leaves on a ground carved in relief to imitate wood grain, with details rendered in gold lacquer and coloured inlays; the inside in nashiji with an inner tray inset with an ink stone, and a copper suiteki (water dropper) shaped as a pine cone, 4.4cm x 16.7cm x 24.5cm. (4)

796

£400-600 * This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. NUWCX652.

798 A JAPANESE GOLD LACQUER FUBAKO (LETTER BOX AND COVER) EDO PERIOD, 18TH CENTURY Of rounded rectangular form, the lid and sides decorated in gold and silver hiramaki-e and kirikane on a nashiji ground, embellished with a crane in flight over a pine tree and bamboo, a small minogame below, two russet silk cords attached to metal rings on the sides, the paulownia kiri mon decorating the mounts, 7.5cm x 7.7cm x 24.8cm; together with a tomobako wood box. (3)

797

£300-500 Provenance: an English private collection, Somerset, purchased in Japan.

£300-500 Provenance: an English private collection, Somerset, purchased in Japan.

798

In Japanese lore, a chicken on a drum is a symbol of peace as a war drum fallen into disuse, becomes a perch for a cockerel.

169

800

799

799 A LARGE JAPANESE GOLD LACQUER TRAY MEIJI OR LATER, 20TH CENTURY By the Sakakyu Lacquerware Company of Honpo; of rectangular form with straight sides, decorated with four roundels variously made of leafy bamboo, flowering branches of prunus, narcissi and chrysanthemum, in gold and coloured hiramakie on the nashigi ground, with some details rendered in raden (mother of pearl inlays), signed Saito at the back; 5cm x 76cm x 45.5cm; together with a tomobako wood box, inscribed with ‘Four gentlemen Hanamaru maki-e Wajima lacquer, wide tray, Saito family’. (2)

£400-600 Provenance: an English private collection, Somerset, purchased in Japan.

800 TWO JAPANESE LACQUER TRAYS MEIJI ERA, 19TH CENTURY One square-shaped and decorated with two tsuba and prunus petals in mother of pearl, gold and silver lacquer on the red ground, 25.8cm x 26cm; the other rectangular with tall straight sides, embellished with butterflies, flowers, and two square panels enclosing pavilions on a cliff by the water, and a bird under foliage, 20cm x 30.2cm. (2)

801

£400-600 Provenance: an English private collection, Somerset, purchased in Japan.

801 A JAPANESE LACQUER BOX AND TRAY SET BY THE ZOHIKO COMPANY MEIJI OR LATER, 20TH CENTURY Both of rectangular shape, with matching decoration of many flower sprays and tall grasses, all rendered in gold and silver hiramaki-e on the black roiro ground; the box with the Zohiko elephant-shaped seal underneath, 16.1cm x 34.2cm max; together with an inscribed tomobako wood box. (4)

£300-500 Provenance: an English private collection, Somerset, purchased in Japan.

802 A PAIR OF JAPANESE LACQUER STANDS AND TRAYS SETS MEIJI OR LATER, 19TH/20TH CENTURY

802

The square trays decorated with fans enclosing various flower sprays, rendered in gold and silver lacquer on the black ground; all four pieces with the same diaper patterns to the sides, 10.5cm x 30cm x 29cm max; in a fitted tomobako wood box. (4)

£400-600 Provenance: an English private collection, Somerset, purchased in Japan.

170

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803

804

803 A LARGE JAPANESE BAMBOO BASKET AND LINER MEIJI OR LATER, 19TH OR 20TH CENTURY Of oval shape, with a wide rim and a tall loop handle, the bamboo tightly woven in a variety of patterns, 37.5cm high.

£400-600 Provenance: an English private collection, Somerset, purchased in Japan.

804 HAYAKAWA SHOKOSAI I (1815-1897) HAYAKAWA SHOKOSAI II (1860-1905) MEIJI OR LATER, 19TH OR 20TH CENTURY Three Japanese bamboo baskets, all three with circular bodies, two with tall loop handles; all made of bamboo elaborately woven in a variety of patterns, the two smaller pieces inscribed Shokosai tsukuru kore for Hayakawa Shokosai I & II, 28cm max. (3)

£200-300

805

Provenance: an English private collection, Somerset, purchased in Japan.

805 A JAPANESE RECTANGULAR WOOD TABLE MEIJI OR LATER, 19TH/20TH CENTURY Raised on four slightly curved legs linked by three stretchers, each side carved with a single character, 27cm x 94cm x 36cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 806 TWO JAPANESE BAMBOO SUMITORI (CHARCOAL BASKETS) MEIJI OR TAISHO, 20TH CENTURY The Chinese-style baskets for the sencha tea ceremony, one with a cross-shaped base and a wide circular mouth, the other with a hexagonal body and raised on short feet, the bamboo strips woven in a variety of techniques to produces diverse patterns, 25cm and 22.5cm respectively; each with a tomobako wood box. (4)

806

£150-250 Provenance: an English private collection, Somerset, purchased in Japan.

171

807 A JAPANESE LACQUER AND EGGSHELL BOX MEIJI ERA, 19TH/20TH CENTURY Shaped as a pavilion and decorated with many cranes in flight on the white eggshell ground, the walls opening to reveal many boxes decorated with chickens and further cranes, some in tsugaru lacquer, 20.5cm x 12.2cm x 16cm. (a lot)

£200-400

808 A SET OF THREE JAPANESE SAKAZUKI (SAKE CUPS) AND A LACQUER STAND MEIJI ERA, 19TH/20TH CENTURY The cups of various sizes and each raised on a conical foot, all three decorated with a shishi in a luxuriant garden with large peonies and a waterfall in the background, the reverse with pines, all rendered in gold and silver lacquer on the bright coral-red grounds; the stand of rectangular shape, with futher peony blooms to the top and a border of auspicious objects and mon around the sides, 16.2cm x 17.5cm x 17.5cm max; together with a tomobako wood box. (5)

£300-400 Provenance: an English private collection, Somerset, purchased in Japan.

809 A SMALL COLLECTION OF SIX JAPANESE SAKAZUKI (SAKE CUPS) TAISHO/SHOWA, 20TH CENTURY Each cup decorated in gold takamaki-e on the coral-red ground, two of larger size and four smaller, variously decorated with cranes and pine, Buddhist emblems, and one with a large fish; three with further auspicious objects to the reverse, 12.6cm max; contained in two tomobako wood boxes. (8)

£200-300 Provenance: an English private collection, Somerset, purchased in Japan.

810 A SMALL COLLECTION OF SIX JAPANESE SAKAZUKI (SAKE CUPS) TAISHO/SHOWA, 20TH CENTURY Each cup decorated in gold and silver takamaki-e on the coral-red ground; comprising two sets of three cups, the first decorated with sprays of chrysanthemum to the front and butterflies to the reverse; the other three with cranes by a lake, 11.5cm max; contained in two tomobako wood boxes. (8)

£200-300 Provenance: an English private collection, Somerset, purchased in Japan.

172

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

811

812

811 A JAPANESE PARCEL-GILT BRONZE MASK OF AN ONI MEIJI OR LATER, 19TH/20TH CENTURY The ferocious-looking demon depicted with curled hair and beard; its fangs, eyes and horns with remnants of gilt, 17cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 812 A JAPANESE LACQUER MASK OF A NYO MEIJI OR LATER, 20TH CENTURY The Buddhist Guardian God depicted with a ferocious expression, the skin rendered in red and black negoro lacquer, the eyes and crown with remnants of silver-colour pigment and the hair a dark green; 37cm.

£100-200 Provenance: an English private collection, Somerset, purchased in Japan.

813 A JAPANESE NEGORO LACQUER KOBAN (STAND) MEIJI OR LATER, 19TH/20TH CENTURY

813

The shallow circular tray raised on a tall foot with an openwork band and a flared base, with a black-lacquer undercoat showing through the coral-red surface, 31cm.

£200-300 Provenance: from an English private collection, Cambridge.

814 λ A JAPANESE TURNED WOOD VASE AND COVER MEIJI ERA, 19TH/20TH CENTURY Of compressed circular form raised on three scrolling feet, with monster-shaped side-handles and knop to the cover; the sides decorated with shaped panels enclosing bat-like creatures, stylised flowers and tama (sacred jewels), with details picked out in stag antler and other inlays; the underside of the lid signed Ichiryusai with a seal reading Tsuchikawa, 16cm. (2)

£300-500 * This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. N2CYJ6K3.

814

173

815 A JAPANESE GOLD AND BLACK LACQUER INRO EDO OR MEIJI, 19TH CENTURY The wide rectangular body decorated with a traveller resting at the foot of Mount Fuji, the mountain towering above clouds rendered in gold and silver lacquer, the reverse with a forest of pines, a metal tube underneath for the cord and a ring above, 7.5cm.

£300-500 Provenance: an English private collection, Somerset, purchased in Japan.

two views

816 AN UNUSUAL JAPANESE CIRCULAR TWO-CASE INRO MEIJI ERA, 19TH CENTURY Decorated in gold and silver takamaki-e and kirikane lacquer on the black roiro ground, with a large writhing dragon to one side and scrolling clouds to the other, together with a coral ojime, the inro 7cm.

£600-800 Provenance: an English private collection, Somerset, purchased in Japan.

two views

817 A JAPANESE GOLD AND BROWN LACQUER TWO-CASE INRO BY MIZUTANI SHUTOHO EDO PERIOD, 18TH CENTURY The wide body decorated with gold takamaki-e, black and red lacquer and raden mother of pearl inlays on the rich chocolate-brown ground, one side with a large cockerel and a hen and the other with large flowers and foliage, the flanges to the interior decorated with cracked-ice patterns, the base with a six-character signature for Mizutani Shutoho, with a filigrée metal ojime and a wood netsuke carved in openwork with views of thatched buildings by pine trees, together with a kiri box, the inro 7.6cm. (2)

£600-800 Provenance: an English private collection, Somerset.

two views

174

See Bonhams, London, The Edward Wrangham Collection of Japanese Art, Part IV, for a related inro

by Mizutani Shutoho decorated with chickens.

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

818 A JAPANESE FOUR-CASE METAL-INLAID GOLD LACQUER INRO BY SHOKASAI EDO OR MEIJI, 19TH CENTURY Of rectangular rounded form, decorated in gold takamakie and hiramakie, togidashi and hirame against a kinji ground, one side inlaid in mixed metal with a horse rider in an extensive landscape, observing two cranes flying over him; the reverse with a samurai on foot, with Mount Fuji towering behind pines in the distance; each applied figure rendered in iroe takazogan; the base signed Shokasai; attached to a wood netsuke carved as two small dogs on a circular bamboo mat, a two-character signature underneath, the inro 9cm.

£200-300

two views

819 A JAPANESE FOUR-CASE GOLD LACQUER INRO BY HARA YOYUSAI (1772-1845/6) EDO PERIOD, 19TH CENTURY Decorated to one side with a scholar in an interior pensively holding a fan, with an open book before him and a screen decorated with bamboo at the back; the reverse with three boys, probably his students, one reading a book by a large vase of flowers; signed to the base, together with an agate ojime and a stag antler netsuke carved as a snake writhing around a tree stump, signed underneath, the inro 6.8cm.

£400-600 two views

820 A JAPANESE TOBACCO BOX, PIPECASE AND PIPE MEIJI ERA, 19TH CENTURY The tabako-ire with a stag antler body, the base and lid made of carved wood, the cover decorated with two bats, their eyes inlaid with minute pearls; attached to a stag antler kiseruzutsu of senryu-zutsu type and with a blue glass ojime; together with a bamboo and metal pipe, 16cm max. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family.

175

FROM THE COLLECTION OF PETER E MÜLLER, SWITZERLAND 821 A JAPANESE WOOD MASK NETSUKE OF HANNYA EDO PERIOD, 18TH/19TH CENTURY

827 TWO JAPANESE LACQUERED WOOD MASK NETSUKE EDO/MEIJI, 19TH CENTURY,

The horned demon depicted grimacing, 5.5cm.

The first carved as a miniature noh mask of Ko-Beshimi, the male face with tight lips and a furrowed brow, with traces of lacquer and gilt to the eyes, the reverse signed Tenjo; the other depicting an octopus-like face, also with remnants of lacquer; 4.5cm and 4.6cm respectively. (2)

£250-350 Provenance: from the netsuke collection of Peter E. Müller, no.42.

822 A LARGE JAPANESE WOOD MASK NETSUKE OF OTO EDO/MEIJI, 19TH CENTURY With rounded cheeks and a small mouth, the back roughly carved out to create the himotoshi, 6.1cm.

£300-500 Provenance: from the netsuke collection of Peter E. Müller, no.101.

823 TWO JAPANESE WOOD MASK NETSUKE EDO PERIOD, 19TH CENTURY

£300-500 Provenance: both from the netsuke collection of Peter E. Müller; the first numbered no.78, the other no.176.

828 TWO JAPANESE WOOD MASK NETSUKE EDO/MEIJI, 19TH CENTURY, Both carved as Okame, the Goddess of Mirth depicted smiling, with dimples on her cheeks; the first signed Kunimitsu and the other unsigned; 4.3cm and 4.8cm respectively. (2)

£250-350

The first depicting a slit-eyed man with deep lines across his forehead, with remnants of red staining to the lips, signed Deme Joman to the back; the other, of a horned oni with metal-inlaid pupils, unsigned, 3.9cm and 4.8cm respectively. (2)

£200-300 Provenance: both from the netsuke collection of Peter E. Müller; the first numbered no.210, the other no.38.

824 A JAPANESE WOOD MASK NETSUKE OF A DEMON MEIJI ERA, 19TH CENTURY Carved with its mouth opened and baring its fangs, with curled hair and the white of the eyes lacquered in gilt, 5.2cm.

£400-600 Provenance: from the netsuke collection of Peter E. Müller, no.222.

Provenance: both from the netsuke collection of Peter E. Müller; the first numbered no.107, the other no.106.

829 A JAPANESE WOOD MASK NETSUKE OF SANKA JO MEIJI ERA, 19TH CENTURY In two parts linked by cord, the face with deep lines on its forehead and spiral scarifications to the cheeks, signed Deme at the back, 4.8cm.

£100-200 Provenance: from the netsuke collection of Peter E. Müller, no.30.

830 A JAPANESE LACQUERED WOOD MASK NETSUKE OF OKINA EDO/MEIJI, 19TH CENTURY

825 A JAPANESE WOOD MASK NETSUKE OF SHISHIGUCHI EDO/MEIJI, 19TH CENTURY

In the style of Ryuzan, the small face with an elongated forehead and deep lines, 4.2cm.

The emaciated face of the lion spirit carved out of pale boxwood, with furrowed brows and biting its lower lip, 3.8cm.

Provenance: from the netsuke collection of Peter E. Müller, no.22.

£150-250 Provenance: from the netsuke collection of Peter E. Müller, no.69.

£100-200 831 A JAPANESE WOOD MASK NETSUKE OF SHISHIGUCHI EDO PERIOD, 19TH CENTURY

826 A JAPANESE DOUBLE-SIDED WOOD MASK NETSUKE EDO PERIOD, 18TH/19TH CENTURY

The lion spirit carved out of dark wood, with bulging eyes and baring its teeth, 5.1cm.

Carved to one side with a horned oni, the demon depicted baring its fangs; the reverse with a smiling Okame, her nostrils serving as the himotoshi, 4.5cm.

Provenance: from the netsuke collection of Peter E. Müller, no.70.

£200-300

£250-350 832 No lot

Provenance: from the netsuke collection of Peter E. Müller, no.137.

END OF COLLECTION 176

821

822

824

823

825

827

829

826

828

830

831 177

833 A JAPANESE WOOD NETSUKE OF A DRAGON EDO PERIOD, 18TH/19TH CENTURY

838 TWO JAPANESE WOOD NETSUKE MEIJI ERA, 19TH CENTURY

The writhing creature depicted with a long scaly body, holding a pearl of wisdom in its left claw and with scrolling clouds to the back, 4.8cm.

The first depicting Fukusuke, standing on a small base and holding a large box over his shoulder, with traces of lacquer and gilt; the other a manju netsuke decorated with a small rat in low relief, the eye of the rodent inlaid in horn, 4.7cm and 3.9cm respectively. (2)

£250-350 834 THREE JAPANESE WOOD NETSUKE MEIJI ERA, 19TH CENTURY Depicting: a blind man lifting a rock, with a mother of pearl tablet underneath; a Chinese man playing the flute, a two-character signature at the back, and the third carved as a small rat in a basket of mushrooms, its eyes inlaid, 4.8cm max. (3)

£400-600 Provenance: an English private collection, Somerset, purchased in Japan.

835 A JAPANESE WOOD NETSUKE OF MONKEYS EDO OR MEIJI, 19TH CENTURY Cleverly carved as four monkeys with two heads: one pair seated and the others kneeling on all fours; one covering its mouth with its hands and the other cradling its right ear, the gestures reminiscent of those of the sambiki saru (the Three Wise Monkeys); with a large himotoshi in the centre, 4.8cm.

£250-350 The model for this netsuke is probably the Chinese ‘sixi tongzhi’ twin boys. The children are often represented in a similiar entwined position, which represents the principle of ancient Chinese cosmology known as liangyi sheng sixiang, in which two primary forces (yin and yang) generate four images.

836 A JAPANESE WOOD RYUSA NETSUKE MEIJI ERA, 19TH CENTURY The surface decorated in openwork with chrysanthemum, daisies and other flowers crisply carved, a metal ring at the back for suspension, 3.3cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 837 A JAPANESE BAMBOO CIRCULAR KOGO MEIJI ERA, 19TH CENTURY

£200-300 839 THREE JAPANESE WOOD NETSUKE OF ANIMALS EDO AND LATER, 18TH CENTURY AND LATER The first carved as a large frog, its eyes inlaid; another depicting a wolf or a wild dog gnawing on a human skull, its eyes in horn and inscribed Minkoku underneath; the last a ferocious-looking shishi, its front left paw resting on a small ball, raised on an oval base; 5.9cm max. (3)

£600-800 Provenance: an English private collection, Somerset, purchased in Japan.

840 THREE JAPANESE NETSUKE MEIJI ERA, 19TH/20TH CENTURY All three with the bowl made out of wood, one a type of kagamibuta netsuke adapted from a Satsuma button; the largest a manju carved with an armour-clad man wearing an eboshi hat; the third a ryusa decorated in openwork with landscapes to the side, the top carved as a stylised pavilion on a sea wall, 5.2cm max. (3)

£400-600 Provenance: an English private collection, Somerset, purchased in Japan.

841 THREE JAPANESE NETSUKE OF ANIMALS EDO/MEIJI, 18TH/19TH CENTURY One carved as a large frog, its eyes inlaid with metal studs, signed underneath; another a seated monkey scratching its mouth in a quizzical manner; the third depicting a recumbent ram with its head turned towards its back, its large horns curling behind its ears, 4.4cm max. (3)

£600-800 Provenance: an English private collection, Somerset, purchased in Japan.

Of circular form, the cover carved with figures beside a camp fire, the reverse with a spray of reishi fungi; the sides and base with maple leaves, 12cm. (2)

£200-300

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833

834

836

837

835

838

839

840 841

179

842 A MINIATURE WOOD NETSUKE OF BENTEN 20TH CENTURY The diminutive Goddess is depicted standing, wearing long flowing robes and holding a biwa by her side; her hair elegantly tied in a top knot; signed Settei with kakihan, 3.8cm.

£500-800 Settei was a pupil of Shima Sessai (d.1880), who served the Lord of the Echizen Province.

843 A JAPANESE STAG ANTLER NETSUKE OF A SHISHI MEIJI ERA, 19TH/20TH CENTURY The lion dog is depicted seated on a rocky outcrop, baring its teeth and with its head turned to the side; its fox-like tail raised against its back and its mane curling behind the ears, 4.5cm.

£300-500

844 A LARGE JAPANESE WOOD NETSUKE OF A FISHERMAN MEIJI ERA, 19TH/20TH CENTURY Depicted standing, wearing a loincloth and a hachimaki (headband), carrying a large fugu over his shoulder; the sizeable puffer fish with its eyes inlaid in black horn, 6.9cm.

£500-800

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LOTS 845-849

FROM THE GROSVENOR GUEST COLLECTION Lots 845-849 come from the collection of Lady Elizabeth Augusta Grosvenor Guest (1879-1960).

‘Miss Guest’ was the only issue from the union of two pre-eminent British families: the Guests and the Grosvenors. Her maternal grandfather was Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), who acquired part of William Beckford’s estate and built New Fonthill Abbey in 1846-52. After his death, his widow the Marchioness, Lady Elizabeth Leveson-Gower, daughter of the 1st Duke of Sutherland, moved in with her daughter Lady Theodora, to whom she bequeathed most of her collection and fortune, to the dismay of her other children.

Miss Guest’s paternal side was just as notable: a long line of businessmen and politicians, most of the family fortune came from the British iron and steel industry. Miss Guest’s grandmother was the famed Lady Charlotte Guest (later Schreiber, 1812-95). A successful and independent businesswoman, a polyglot and polymath, she is perhaps better known for her translation of medieval Welsh folk tales ‘The Mabinogion’, and for her extensive art collection. In 1884, she donated 12,000 pieces of European and Chinese ceramics to the Victoria & Albert Museum, and later, her collection of fans and games to the British Museum.

Items from the Grosvenor Guest Collection on offer in this series of sales also include lots 68-76 in the Fine Asian Art auction on 14th November 2023.

Lady Elizabeth Grosvenor Guest

Lot 845 reverse

181

845 λ A JAPANESE SHIBAYAMA-STYLE GOLD LACQUER TSUBA MEIJI ERA, 19TH/20TH CENTURY Of hira-kaku-gata (rectangular) shape, richly decorated with mother of pearl, coral and other inlays on a kinji gold-lacquer ground, mounted with a silver ring; one side embellished with a small frog by a stream, the amphibian wearing a lotus leaf-shaped hat and holding a fan, dancing under large prunus and hydrangea flowers, with small birds above; the reverse with a beauty and children in an interior, watching a sarumawashi (monkey-trainer) and a drummer performing, with a large screen in the background decorated with a colourful bird perched on a pine and with a red sun behind, 12.9cm.

£2,000-3,000 Provenance: the collection of Lady Elizabeth Augusta Grosvenor Guest (1879-1960), grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-95). * This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 5XAXF1N7.

182

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846 λ A JAPANESE SHIBAYAMA-STYLE GOLD LACQUER FAN BY MASAYUKI MEIJI ERA, 19TH CENTURY The central panel richly embellished with mother of pearl, coral and other inlays on a kinji gold-lacquer ground, mounted on a silver filigrée frame with a straight handle; decorated with mandarin ducks on a river beneath flowering branches of prunus from which hangs a large basket with tassels, containing chrysanthemum, peony, wisteria and other blooms; a square tablet inscribed Masayuki lower left corner; all framed by a border of chrysanthemum flowerheads and scrolling tendrils, with further blooms enamelled in polychrome, 38.3cm.

£3,000-5,000 Provenance: the collection of Lady Elizabeth Augusta Grosvenor Guest (1879-1960), grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-95). * This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 1KTW195P.

183

847 A MASSIVE JAPANESE BRONZE WATER CISTERN MEIJI ERA, 19TH CENTURY The large ovoid body raised on a tall foot intricately decorated with tortoises amongst crashing waves, with large lion dog-shaped side handles and the cover decorated with a shishi and her pup; the spout cast as a large dragon coiling along the body of the cistern; with borders of fylfots, scrolling tendrils and other formal designs including flaming tama (pearls of wisdom); 175cm x 107cm.

£3,000-5,000 Provenance: the collection of Lady Elizabeth Augusta Grosvenor Guest (1879-1960), grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-95).

848 A PAIR OF LARGE AND IMPRESSIVE JAPANESE MOULDED AND LACQUERED VASES EDO PERIOD, 18TH CENTURY Both vases with a tall, elongated pear-shaped body; decorated in underglaze blue with leafy scrolling tendrils and double-gourds, the same motifs repeated in low relief; each vase with iron-red lacquer and gilt bands of curling patterns to the rim and above the foot, and with further traces of lacquer decoration; both raised on European gilded stands, the vases 98cm. (4)

£2,000-4,000 Provenance: the collection of Lady Elizabeth Augusta Grosvenor Guest (1879-1960), grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-95).

184

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849 A MASSIVE JAPANESE BRONZE KORO (INCENSE BURNER) MEIJI ERA, 19TH CENTURY Raised on five scrolling feet, the lower section cast in high relief as Bishamonten slaying a dragon, the God wearing elaborate armour and holding up his sword, ready to strike; he carries a large bulbous vase above his head with his other hand; the handles are modelled as winged mythical creatures, the sides decorated with a procession of oni, bats, and other bakemono, two monsters carrying a large drum; the cover powerfully cast as an eagle on a rock with outstretched wings; 182cm overall.

£8,000-12,000 Provenance: the collection of Lady Elizabeth Augusta Grosvenor Guest (1879-1960), grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-95).

END OF COLLECTION 185

850

850 A JAPANESE GOLD, SILVER AND SHAKUDO KOZUKA HANDLE BY GOTO MITSUAKI (B.1816) EDO PERIOD, DATED 1841 Inlaid on the shakudo nanako ground with a scene from Ukifune, Chapter 51 from the Tale of Genji; depicting a couple on a small boat, the lovers kissing under the moon and with a pine to the side; the reverse in gold, signed Goto Mitsuaki with kao and dated Tenpo ushi, mutsuki (in the first month of the Year of the Ox, Tenpo 12, 1841), 9.7cm.

£200-300 851 A JAPANESE KATANA WITH A WOODEN BLADE PROBABLY MEIJI, 19TH/20TH CENTURY With a black lacquer scabbard and a white shagreen handle; the fuchi-kashira in copper decorated with a dragon and scrolling clouds; the kogai and kozuka decorated in gold and shakudo with pine trees; the copper tsuba with a stylised prunus tree; with a wooden blade, 84.5cm overall.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 852 A JAPANESE MINIATURE HELMET (KABUTO) IN A BLACK LACQUER BOX MODERN Realisticaly modelled with a gilt maedate shaped as a shishi, with red lacing and removable kuwagata (antlers), raised on a wood stand and kept in a black lacquer hitsu box, the helmet 23cm. (6)

£100-200 853 A JAPANESE TANTO (SHORT-EDGED SWORD) PROBABLY MEIJI, 19TH CENTURY With a striped lacquer saya (scabbard) and a white shagreen handle, the fuchi-kashira decorated with paulownia mon and the circular menuki with wheat; the kozuka handle embellished with a man resting by a waterfall; with an iron quatrelobed tsuba; the blade 27.2cm. (3)

£400-600 854 A JAPANESE INLAID CAST-IRON TETSUBIN (TEA KETTLE) AND COVER BY THE SEIJUDO COMPANY MEIJI ERA, 19TH CENTURY The flat circular body decorated with chidori (plovers) flying above crashing waves on a rough ishime ground; the tall bail handle inlaid in silver with a peony and scrolling tendrils, with remnants of gilt; the base signed Seijudo zo, 21cm. (2)

855 A PAIR OF JAPANESE BRASS CANDLESTICKS MEIJI ERA, 19TH CENTURY Each with a knopped stem and with a pair of elephant head-shaped handles to the top; both with a paulownia mon to the front and with a long dedication around the foot, both 47.3cm. (2)

£200-300 Provenance: from an English private collection, Cambridge.

856 A JAPANESE BRONZE VASE MEIJI ERA, 19TH/20TH CENTURY The tall pear-shaped body cast with fish swimming beside tall reeds, with details highlighted in gilt; the lower part with a band of rectangular panels; a two-character signature and a faint seal mark to the side, 30.3cm.

£150-250 857 THREE JAPANESE DAMASCENE NECKLACES MEIJI OR LATER, 20TH CENTURY All three with a central pendant modelled as a butterfly and shaped panels enclosing birds, flowers and landscapes; some marked K24, 26cm max. (3) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£80-120 858 A JAPANESE DAMASCENE CASE BY FUJII YOSHITOYO MEIJI ERA, EARLY 20TH CENTURY Decorated to one side with pavilions and sailboats in a mountainous river landscape, with Yoshitoyo’s Fuji-shaped mark lower right corner; the other side with a pair of chickens in a luxuriant garden; another Fuji mark on the inside, 6.8cm x 9.3cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200 859 A SMALL COLLECTION OF JAPANESE BRONZE ANIMALS MEIJI OR LATER, 19TH OR 20TH CENTURY Comprising: a pair of crayfish and three monkeys, two depicted sitting and the third with its long arm raised above its head, 19cm max. (5) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200

£400-600

186

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851

852

853

854

855

856

857

858

859 187

860 A LARGE JAPANESE INLAID-IRON BOX, COVER AND STAND BY KOMAI OTOJIRO MEIJI ERA, EARLY 20TH CENTURY Of rectangular form, the lid richly decorated with a panel enclosing a temple complex in a mountainous landscape, with Mount Fuji in the distance and a dense border of many butterflies in flight; the sides with further panels enclosing various birds and flowers, framed by bands of ivy and grapes; raised on four shaped feet embellished with cherry blossoms; the inside incised with further birds, flowers and butterflies; the base with a square mark under a firefly reading Nihon koku Kyoto ju Komai sei and with further butterflies fluttering around it, together with a fitted wood stand, the box 6.3cm x 17cm x 8cm. (2)

£1,200-1,500

188

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reverse

861 A MINIATURE JAPANESE INLAID-IRON KODANSU (CABINET) BY KOMAI OTOJIRO MEIJI ERA, 19TH/20TH CENTURY The slightly-domed rectangular body raised on four bracket feet and with a loop handle to the top, with six variously-shaped drawers, one with a curved front, all with a silver-coloured pull handle; the cabinet is decorated all over with dense designs of birds, flowers, mon, monkeys, landscapes and brocade patterns; one cartouche with a shrine resembling Kiyomizu-dera in Kyoto; the sides with two large panels enclosing a pheasant perched on a flowering branch of peony to one side, and a butterfly fluttering above chrysanthemum to the other; the back of the cabinet with a complex scene of worshippers climbing steps leading to a shrine, the pavilion nestled amongst the trees; with seated lion dogs either side of the entrance and a sign inscribed Naritasan Fudoson below; the base with a square seal mark reading Nihon kuni Kyoto ju Komai sei, 12.2cm x 8.3cm x 5.4cm. (7)

£1,500-2,500

189

862

862 A JAPANESE INLAID-BRONZE DISH BY YOSHIAKI MEIJI ERA, 19TH/20TH CENTURY Decorated with an octopus, a sayori (Japanese halfbeak), and a twig of bamboo, realistically modelled in relief and rendered in silver, copper and gold on the oval bronze body; the rim engraved with a band of crashing waves; signed lower right corner with the incised characters for Yoshiaki and an inlaid shakudo seal, 35.2cm x 27cm.

863

£500-800 863 A JAPANESE INLAID-BRONZE DISH BY KUMAGAI MEIJI ERA, 19TH CENTURY Depicting a rakan and a child attendant in a garden, the ascetic holding a long handscroll flying off in the breeze; the figures depicted in low relief with details picked out in gilt; signed Kyoto Kuma gai zo to the back, 26.8cm. (2)

£300-500 864 A JAPANESE PEWTER PLATE BY GYOKUSENDO MEIJI OR LATER, 19TH/20TH CENTURY Decorated with two large turtles amongst waves, the animals gilded on the bluish hammered ground, with a seal mark lower right for Gyokusendo, 29.3cm; together with an inscribed tomobako wood box. (2)

864

£150-250 Provenance: an English private collection, Somerset, purchased in Japan.

865 A LARGE JAPANESE BRONZE JARDINIERE BY THE NOGAWA COMPANY OF KYOTO MEIJI ERA, 19TH/20TH CENTURY Of oblong shape with a rounded rim, the lower part with a ring of crashing waves and raised and four further wave-shaped feet, the base with the mark for the Nogawa Company, 47cm.

£1,000-2,000 865 190

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866 A LARGE MIYAO-STYLE PARCEL-GILT BRONZE MODEL OF AN ONI MEIJI ERA, 19TH/20TH CENTURY

867 A LARGE JAPANESE SILVERED BRONZE FIGURE OF JUROJIN BY OSHIMA JOUN (1858-1940) MEIJI OR LATER, 20TH CENTURY

The impressive demon is depicted standing, with his left arm lifting a dish modelled as a lotus flower above his head, his other hand resting on his hips; he wears a loincloth made of tiger skins, and a cape with designs of coins and clouds; attached to a wood stand with openwork decoration to the apron; 55.5cm.

The God of Good Fortune stands, wearing long flowing robes and a hood over his elongated forehead; he holds a handscroll opened to reveal two Japanese characters; signed at the back; in an inscribed tomobako wood box, 38cm. (2)

£500-1,000 Provenance: Dreweatts, Newbury, 12th November 2020, lot 472.

£1,500-2,000 Provenance: an English private collection, Somerset, purchased in Japan.

191

868 A JAPANESE GOLD, SILVER AND SHAKUDO KOGO (BOX AND COVER) MEIJI ERA, 19TH CENTURY Of rectangular shape, the lid decorated with two cranes in a bamboo grove; the sides with further designs of birds in luxuriant gardens, with various plants and flowers; one side with the moon rising from behind clouds and another with phoenix, 3.5cm x 7.5cm x 9.2cm. (2)

£800-1,200

869 A JAPANESE SILVER-INLAID BRONZE KORO AND COVER

BY MORIGUCHI MEIJI ERA, 19TH CENTURY The bulbous squat body raised on three shaped legs, decorated with two large panels enclosing thatched pavilions in a mountainous river landscape, one side with figures; on a dense ground of brocade patterns, circular mon, flowers, scrolling tendrils and other formal designs; the cover with further panels enclosing similar patterns; all rendered in gold and silver wire on the black ground; the base inscribed Kyoto Moriguchi sei, together with a detachable side handle, 15.5cm. (3)

£300-500

870 A JAPANESE PARCEL-GILT BRONZE KORO MEIJI ERA, 19TH/20TH CENTURY The rectangular-section body decorated with two panels enclosing an Immortal releasing his soul from his mouth to one side, and birds in a garden to the other; with side handles shaped as mythical creatures and with further shishi heads decorating the corners; on a dense ground of archaic designs; the base with a two-character signature, 27cm.

£400-600 Provenance: an English private collection, Somerset, purchased in Japan.

192

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871 A JAPANESE BRONZE VASE AND COVER MEIJI ERA, 19TH CENTURY The impressive vessel with a rectangular-section body raised on four tall legs and a shaped base, with ho-o side handles and the cover surmounted by two boys, one holding a lion mask for the shishimai dance; the sides with two large gilt panels enclosing a rakan and a tengu in flight, the mythical bird-like creature holding a staff and an egg; with a bird and flowers to the reverse; all reserved on a dense ground of flowerheads repeated across the body; with a gilt inner liner; 54cm. (3)

£4,000-6,000

193

872

872 A JAPANESE SILVER OKIMONO OF A MINOGAME MEIJI PERIOD, 19TH OR 20TH CENTURY The mythical turtle depicted with long seaweed growing from the top of its shell and trailing behind it, its head slightly turned to the left and with the eyes gilded, the underside realistically cast and inscribed with a four character signature for Ryubundo zo above the character gin (silver), 30.5cm.

£1,000-1,500 Provenance: an English private collection, Somerset, purchased in Japan.

873

See L Bordignon, The Golden Age of Japanese Okimono, pp.243-4 for another example of a silver minogame signed Ryuki.

873 A JAPANESE BRONZE ELEPHANT KORO MEIJI ERA, 19TH/20TH CENTURY The incense burner cast as a rotund caparisoned pachyderm carrying a large pagoda on its back, the upper part removable; the base with a Chinese Xuande mark, 25cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 874 A JAPANESE OKIMONO OF TWO CRANES MEIJI OR LATER, 19TH OR 20TH CENTURY The white metal birds depicted standing, one with its beak lowered; both attached to a wood stand, 36cm.

£200-300 Provenance: from the collection of Dr Nariman Bamji (1909-78).

874

875 A JAPANESE BRONZE OKIMONO OF A TIGER BY KABUKI HIDEAKI /SHUMEI TAISHO/SHOWA, 20TH CENTURY The feline depicted in an angular manner reminiscent of the Art Deco style, with a three-character signature for Hideaki underneath, 37cm.

£800-1,200 Provenance: an English private collection, Somerset, purchased in Japan.

875

194

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876 A RARE AND LARGE BRONZE MODEL OF ELEPHANTS BY GENRYUSAI SEIYA MEIJI ERA, 19TH/20TH CENTURY The okimono realistically cast as five animals joyously clambering on top of each other, one a small calf; their rough skins realistically rendered and with lustrous trunks; the reverse with a rectangular seal mark reading Dai Nihon Genryusai Seiya zo, 33cm x 40.5cm.

£4,000-6,000 Provenance: a private English collection, acquired c.1900 and thence by descent.

195

A PRIVATE COLLECTION OF MODERN JAPANESE BRONZES 877 NAKAJIMA YASUMI II (1905-86) TSUDA EIJU (1915-2001) SHOWA/HEISEI, 20TH CENTURY Three Japanese bronze vases, two a pair by Eiju, each one with a tall cylindrical body and four horizontal ribs, both with a seal mark for Eiju; the other vase by Yasumi with a slender waisted shape, signed to the base; all with an individual inscribed tomobako wood box, 20.3cm max. (6)

£300-500 Provenance: a British private collection.

Cf. T & M Becker, Twentieth Century Japanese Bronze Flower Vases, The Becker Collection, pp.120-121, where one of the two vases is illustrated and discussed. The authors explain that Tsuda Eiju worked mainly for the Imperial family, and became particularly famous for his murashi-do patina. He was awarded the Grand Prize at the Nitten Japanese Fine Art Exhibition in 1962.

878 HASUDA SHUGORO (1915-2010) SHOWA/HEISEI, 20TH CENTURY A Japanese hakudo (white bronze) vase, the tall square-section body with an elongated neck and a small triangular handle; the sides embellished with a network of vertical and horizontal lines, the base signed Shugoro, 25.8cm; with an inscribed tomobako wood box. (2)

£1,000-2,000 Provenance: a British private collection.

879 TSUDA EIJU (1915-2001) SHOWA ERA, 20TH CENTURY A tall Japanese bronze vase, the cylindrical body with a reddish-brown patina and cast with a series of horizontal ribs, with a seal mark for Eisu to the base; together with a trumpet-shaped bronze vase with a central bulb, unsigned; both with inscribed tomobako wood boxes, 24cm and 29.9cm respectively. (4)

£200-400 Provenance: a British private collection.

Cf. T & M Becker, Twentieth Century Japanese Bronze Flower Vases, The Becker Collection, pp.122-123, where the ribbed piece is illustrated and discussed. The authors explain that Tsuda Eiju worked mainly for the Imperial family, and became particularly famous for his murashi-do patina. He was awarded the Grand Prize at the Nitten Japanese Fine Art Exhibition in 1962.

196

881 TSUDA EIJU (1915-2001) SHOWA ERA, C.1950 A Japanese bronze vase cast in the shape of a stylised apple; with a round body, the neck modelled as the stem and with a small handle to the side suggesting a leaf; the surface with a warm mottled chocolate-brown patina, the base impressed with a square seal mark reading Eiju, 18.7cm; with an inscribed tomobako wood box. (2)

£300-500 Provenance: a British private collection.

Cf. T & M Becker, Twentieth Century Japanese Bronze Flower Vases, The Becker Collection, pp.114-115, where this very piece is illustrated and discussed. The authors explain that Tsuda Eiju worked mainly for the Imperial family, and became particularly famous for his murashi-do patina.

He was awarded the Grand Prize at the Nitten Japanese Fine Art Exhibition in 1962.

882 A JAPANESE BRONZE VASE SHOWA ERA, 20TH CENTURY The tall body with a slightly flared rim and modelled as a section of bamboo, the surface with a murashi-do mottled reddish-brown patina, in an inscribed tomobako wood box, 18.5cm. (2)

£300-500 Provenance: a British private collection.

883 AIDA TOMIYASU (1903-88) SHOWA ERA, 20TH CENTURY Two Japanese bronze vases, both of tall slender shapes and with deep brown patinas, the tallest with small rectangular handles to the sides; both with a two-character signature to the base for Tomiyasu, 20.5cm and 28.5cm respectively; each with an inscribed tomobako wood box. (4)

£500-800 Provenance: a British private collection.

884 HASUDA SHUGORO (1915-2010) SHOWA/HEISEI, 20TH CENTURY A Japanese bronze vase, the square-section body with slightly curved sides and an uneven neck resembling pottery, the surface a deep chocolate-brown colour and with two stylised characters to the sides, the base with a square seal mark, together with an inscribed tomobako wood box, 8.5cm x 6.7cm x 6.7cm. (2)

£300-400 Provenance: a British private collection.

880 NAKAJIMA YASUMI II (1905-86) SHOWA ERA, C.1960

885 HASUDA SHUGORO (1915-2010) SHOWA/HEISEI, 20TH CENTURY

A Japanese bronze vase cast as a stylised bird and entitled Hina (chick), depicted with its beak wide open and with a flattened curved body, the base signed, 18cm; with an inscribed tomobako wood box. (2)

A Japanese nickel vase, the tall square-section body with an elongated neck and a small triangular handle; the sides embellished with five horizontal lines, the base signed Shugoro, 24.3cm; with an inscribed tomobako wood box. (2)

£400-600

£1,000-2,000

Provenance: a British private collection.

Provenance: a British private collection.

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

882 884

885

878

879

883 881

877

880 197

886 A PAIR OF SMALL JAPANESE CLOISONNE VASES BY THE INABA WORKSHOP TAISHO OR LATER, 20TH CENTURY The bulbous bodies densely decorated with alternating lappets enclosing dragons and phoenix, with bands of scrolling tendrils, spirals, and other formal designs; each with a mark for the Inaba studio underneath and to the rim, both 20.2cm. (2)

£300-500

887 A PAIR OF LARGE JAPANESE BLUE-GROUND CLOISONNE VASES MEIJI OR LATER, 19TH OR 20TH CENTURY Both decorated with large flower sprays, the blooms with yellow and white petals contrasting with the cerulean-blue ground, both 37.5cm. (2)

£300-500

888 A PAIR OF LARGE JAPANESE CLOISONNE VASES AND STANDS MEIJI ERA, 19TH/20TH CENTURY The tall cylindrical bodies decorated with birds and butterflies amongst chrysanthemum, peonies and other flowers, on a vibrant robin’s egg blue ground, between dense borders of brocade patterns, auspicious objects, and other formal designs, each with a dragon writhing around the neck; raised on wood stands, the vases 47.8cm. (4)

£500-1,000

198

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

889 A JAPANESE CLOISONNE ENAMEL VASE MEIJI ERA, 19TH CENTURY The baluster body decorated with four rats on a bright blue ground, two of them carrying large daikon radishes, the other two discussing a book open between them, the shoulder with a band of stylised cash and flowerheads, the neck and foot with further flowerheads on a ground of scrolling tendrils, 18.2cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 Provenance: a private English collection, Brighton.

Cf. Victoria Museums, Australia, acc. no. HT 22554, for a blue-ground cloisonné enamel vase of similar style and described as produced in Nagoya (Aichi Prefecture) between 1868-1880.

889

890

890 AN UNUSUAL EARLY JAPANESE CLOISONNE BRUSHPOT EDO/MEIJI, 19TH CENTURY The tall cylindrical body raised on a rounded foot, decorated with two large panels enclosing various animals including a large frog, a spider, a salamander, a firefly, a grasshopper and others, on a ground of brick-like patterns; the foot with flowerheads and scrolling tendrils, 15.3cm.

£100-200

891 A JAPANESE CLOISONNE DISH AND A TEAPOT AND COVER MEIJI ERA, 19TH/20TH CENTURY

891

The dish decorated with a dense pattern of chrysanthemum flowerheads and scrolling tendrils on a yellow ground; the teapot and cover embellished with many shaped panels enclosing various flowers, on a ground of spirals, floral roundels and other formal designs, the cover with a chrysanthemum bud-shaped knop, 15cm max. (3)

£150-250

892 A JAPANESE CLOISONNE VASE MEIJI OR TAISHO, 20TH CENTURY The tall baluster body decorated in bright emerald-green shizumi enamels with a band of flowers and leaves, the foot and neck both with white metal mounts; together with a Chinese circular cloisonné box and cover with bats and floral patterns, raised on a wood stand, 24cm max. (4)

892

£100-200

199

893 A COLLECTION OF JAPANESE CLOISONNE CHARGERS MEIJI AND LATER, 19TH/20TH CENTURY In different sizes and variously decorated with landscapes, birds, flowers, auspicious designs and other geometric patterns, one depicting a spider spinning a web, another with a flock of geese flying before Mount Fuji. (14)

£300-500 Provenance: the private collection of a British artist, Dorset.

200

See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

894 A LARGE AND IMPRESSIVE COLLECTION OF JAPANESE CLOISONNE PIECES MEIJI AND LATER, 19TH AND 20TH CENTURY Comprising a substantial number of vases, dishes, koro and other pieces, in a variety of shapes and decorated with birds, flowers, auspicious designs and brocade patterns, one a tall baluster-shaped vase embellished with two large dragons, and another gourd-shaped with a yellow ground; also including a set of plaques illustrating various stages of cloisonné production; approx. 117 pieces.

£400-600 Provenance: the private collection of a British artist, Dorset.

END OF SALE 201

JAPANESE SIGNATURES MARKS & LABELS

727 722

724

728

741

729

746

725

730

786

725

726

730

799

731

732

804

828

814

829

817

818

834

733

801

818

839

819

841

801

819

801

823

827

846 850

854 202

856

858

733

799 801

804

727

726

860

861

862

864

854

865

877

867

877

877

867

877

879

879

879

881

882

882

884

884

884

869

870

877

872

877

880

883

885

873

877

880

878

880

883

876

878

881

883

885

875

883

885

878

881

883

886

883

886 203

THE LAWRENCE JADE COLLECTION TUESDAY 14TH NOVEMBER 2023

ENQUIRIES +44 (0)1722 424571 | asianart@woolleyandwallis.co.uk

FINE ASIAN ART TUESDAY 14TH NOVEMBER 2023

ENQUIRIES +44 (0)1722 424571 | asianart@woolleyandwallis.co.uk

THE PHILLIP ALLEN COLLECTION THURSDAY 16TH NOVEMBER 2023

ENQUIRIES +44 (0)1722 424571 | asianart@woolleyandwallis.co.uk

INVITATION TO CONSIGN MAY 2024

A selection of highlights from the collection of Prof. Peter Hariolf Plesch (1918-2013) and Gerta Regina ‘Traudi’ Plesch OBE (1921-2013)

ENQUIRIES +44 (0)1722 424571 | asianart@woolleyandwallis.co.uk

AUCTION INFORMATION OPENING HOURS Castle Street Salerooms Monday to Friday 9.00am – 5.00pm Castle Gate Offices Monday to Friday 9.00am – 5.00pm VIEWING All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US All first time buyers need to register with us.

To register, you will need to provide two forms of identification: 1. a passport or photographic driving licence 2. a utility bill or document showing your name and address You can register in person or by contacting the office on +44 (0)1722 424500 or emailing enquiries@woolleyandwallis.co.uk You will be asked to show your documents, or email copies.

PLEASE NOTE: Registering with thesaleroom.com or through our website does not automatically register you with us.

BIDDING AT AUCTION See below for the different options for bidding. Please note that you may be asked to provide two forms of identification, even if you have bid with us before, in order that we are compliant with Money Laundering Regulations.

BIDDING IN THE ROOM To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale.

COMMISSION BIDDING If you are unable to attend the sale you can leave a commission bid. This will be executed on your behalf by the auctioneer who will purchase the lot as cheaply as possible bearing in mind any reserve price and other bids.

TELEPHONE BIDDING It is usually possible to bid on the telephone by prior arrangement with the office.

LIVE ONLINE BIDDING Live online bidding is now available free of charge for most of our auctions via bid.woolleyandwallis.co.uk, enabling you to take part in the bidding from anywhere in the world live as it happens.

BUYER’S PREMIUM The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24% inclusive) thereafter.

CONDITION REPORTS The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate.

The colours printed in the catalogue are not necessarily true.

SALE RESULTS These will be posted on our website shortly after the sale.

PACKING AND SHIPPING Woolley & Wallis do not offer a packing and despatch service but the following are carriers in our area.

Alban Shipping

+44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

Kimdan Ltd

+44 (0)7973 389436 andy@kimdan.co.uk

Mailboxes

+44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

Pack & Send

+44 (0)1635 887237 newbury@packsend.co.uk www.packsend.co.uk/newbury

ZIXIS Fine Art Limited

+44 (0)7873 981026 zixisfineart@163.com www.zixisfineart.co.uk

Please note that we cannot be held responsible for any damage or loss to items once they are in the hands of a carrier.

EXPORTING YOUR PROPERTY FROM THE UK If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination.

It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

Please note that due to the withdrawal of the Retail Export Scheme by HMRC, we are unable to provide VAT refund documentation (C88) for hand-carried exports.

In order to qualify for a VAT refund, your lots must be exported by a shipper and valid export documentation must be provided.

PAYMENT AND CLEARANCE Payment is due immediately after the auction in pounds sterling. If you are a first time buyer we will need your name, address and bank details and will require funds to be cleared before purchases can be released.

The following methods of payment may be made: Bankers draft, cashiers cheque, personal cheque, travellers cheques, debit and credit cards and cash up to a sterling equivalent of €10,000. We are no longer able to accept card payments of over £1,000 where the card-holder is not present.

Wire transfers should be sent to: Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB. Account no. 00957707 Sort code 30-97-41 IBAN no. GB20LOYD30974100957707 BIC code LOYDGB21063 Debit and Credit cards: Visa, Mastercard, Amex or Union Pay Where practical, payment can be made and purchases collected during the auction.

We reserve the right to add storage charges to all lots not collected within 30 calendar days of the sale. This will include a handling fee of £20 (+ VAT) per consignment and a storage charge of £2 (+ VAT) per lot per day. No goods will be allowed to be collected until these charges have been paid.

LOT SYMBOLS VAT Lots marked with a dagger (†) are subject to VAT on the hammer price. Lots marked with an omega (Ω) have been temporarily imported from outside the EU and are subject to VAT at 5% on the hammer price and the buyer’s premium. In online catalogues, the Sales Tax % column indicates the rate of VAT on hammer price.

CITES REGULATIONS Please note that lots marked λ may be subject to CITES Regulations when exported.

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/ ARTIST’S RESALE RIGHT / DROIT DE SUITE Lots marked with a Φ symbol are potentially subject to a levy.

Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency.

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 FIREARMS Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/ purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not allowed to take physical possession of it. The auctioneers will re­offer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

ROYAL INSTITUTION OF CHARTERED SUREYORS CONDITIONS OF BUSINESS INFORMATION FOR BUYERS 1.

Introduction. The following informative notes are intended to assist Buyers, particularly those inexperienced or new to our salerooms. All sales are conducted on our printed Conditions of Sale which are readily available for inspection and normally accompany catalogues. Our staff will be happy to help you if there is anything you do not fully understand.

2.

Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed.

Accordingly if you buy your primary contract is with the seller.

3.

Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it.

Estimates do not include the Buyer’s Premium or VAT (where chargeable).

Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

4.

The purchase price. The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

5.

VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price.

This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax.

6.

We are, primarily, agents for the seller. We are dependent on information provided by the seller and whilst we may inspect lots and act reasonably in taking a general view about them we are normally unable to carry out a detailed or any examination of lots in order to ascertain their condition in the way in which it would be wise for a buyer to do. Intending buyers have ample opportunity for inspection of goods and, therefore, accept responsibility for inspecting and investigating lots in which they may be interested. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale. Neither the seller nor we, as the auctioneers, accept any responsibility for their condition. In particular, mechanical objects of any age are not guaranteed to be in working order. However, in so far as we have examined the goods and make a representation about their condition, we shall be liable for any defect which that examination ought to have revealed to the auctioneer but which would not have been revealed to the buyer had the buyer examined the goods. Additionally, in specified circumstances lots misdescribed because they are ‘deliberate forgeries’ may be returned and repayment made. There is a 3 week time limit. (The expression ‘deliberate forgery’ is defined in our Conditions of Sale).

7.

Electrical goods. These are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician first.

8.

Export of goods. Buyers intending to export goods should ascertain (a) whether an export licence is required for the goods to leave the U.K. and (b) whether there is any specific prohibition on importing the goods in question into the destination country because, e.g. they may contain prohibited materials such as ivory. Charges may be applicable for export licences. Ask us if you need help. The denial of any permit or licence shall not justify cancellation or rescission of the sale contract or any delay in payment.

9.

Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form.

Some form of identification will be required if you are unknown to us.

Please enquire in advance about our arrangements for telephone bidding.

10. Commission bidding. Commission bids may be left with the auctioneers indicating the maximum amount to be bid excluding buyers’ premium.

They will be executed as cheaply as possible having regard to the reserve (if any) and competing bids. If two buyers submit identical commission bids the auctioneers may prefer the first bid received. Please enquire in advance about our arrangements for the leaving of commission bids by telephone.

11. Methods of Payment. As a general rule any cheques tendered will need to be cleared before removal of the goods is permitted. Please discuss with our Office in advance of the sale if other methods of payment are envisaged (except cash).

12. Collection and storage. Please note what the Conditions of Sale state about collection and storage. It is important that goods are paid for and collected promptly. Any delay may involve the buyer in paying storage charges.

TERMS OF CONSIGNMENT FOR SELLERS 1.

Interpretation. In these Terms the words ‘you’, ‘yours’, etc. refer to the Seller and if the consignment of goods to us is made by an agent we assume that the Seller has authorised the consignment and that the consignor has the Seller’s authority to contract. Similarly the words ‘we’, ‘us’, etc. refer to the Auctioneers.

2.

Commission is charged to sellers at the following rates: 15% + VAT on each lot sold for up to £999, 10% + VAT on each lot realising £1,000 and above.

3.

Removal costs. Items for sale must be consigned to the sale room by any stated deadline and at your expense. We may be able to assist you with this process but any liability incurred to a carrier for haulage charges is solely your responsibility.

4.

Loss and damage waiver. We are not regulated by the FSA for the provision of insurance to clients. However, we for our own protection assume liability for property consigned to us at lower pre-sale estimate. To justify accepting liability, we make a charge of 1.5% of the hammer price plus VAT or, if unsold, our mid estimate of the hammer price. If the owner of goods consigned instructs us in writing not to take such action, they then remain at owner’s risk unless and until the property in them passes to the Buyer or they are collected by or on behalf of the owner, and clause 4 is inapplicable.

5.

Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first.

The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

6.

Minimum bids and our discretion. Goods may be offered subject to a reserve agreed between us before the sale in accordance with clause 7.

7.

We may sell lots below the reserve provided we account to you for the same sale proceeds as you would have received had the reserve been the hammer price. If you specifically give us ‘discretion’ we may accept a bid of up to 10% below the formal reserve.

Reserves. (a)

You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment). (b) A reserve once set cannot be changed except with our consent. (c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

8.

Electrical items. These are subject to detailed statutory safety controls.

Where such items are accepted for sale you accept responsibility for the cost of testing by external contractors. Goods not certified as safe by an electrician (unless antiques) will not be accepted for sale. They must be removed at your expense on your being notified. We reserve the right to dispose of unsafe goods as refuse, at your expense.

9.

Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense.

The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

10. Descriptions. Please assist us with accurate information as to the provenance etc. of goods where this is relevant. There is strict liability for the accuracy of descriptions under modern consumer legislation and in some circumstances responsibility lies with sellers if inaccuracies occur. We will assume that you have approved the catalogue description of your lots unless informed to the contrary. Where we are obliged to return the price to the buyer when the lot is a deliberate forgery under Condition 15 of the Conditions of Sale and we have accounted to you for the proceeds of sale you agree to reimburse us the sale proceeds. The liability to reimburse the sale proceeds shall not arise where you are acting reasonably and honestly and are unaware of the forgery but we are or ought to have been aware of it.

11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed.

Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

12. Withdrawn and bought in items. These are liable to incur a charge of up to 10% plus VAT of the reserve or low estimate on being bought in or withdrawn after being catalogued.

13. Conditions of Sale. You agree that all goods will be sold on our Conditions of Sale. In particular you undertake that you have the right to sell the goods either as owner or agent for the owner. You undertake to compensate us and any buyer or third party for all losses liabilities and expenses incurred in respect of and as a result of any breach of this undertaking.

14. Authority to deduct commission and expenses and retain premium and interest. (a)

You authorise us to deduct commission at the stated rate and all expenses incurred for your account from the hammer price and consent to our right to retain beneficially the premium paid by the buyer in accordance with our Conditions of Sale and any interest earned on the sale proceeds until the date of settlement.

(b) You authorise us in our discretion to negotiate a sale by private treaty not later than the close of business on the day of the sale in the case of lots unsold at auction, in which case the same charges will be payable as if such lots had been sold at auction and so far as appropriate these terms apply.

15. Warehousing. We disclaim all liability for goods delivered to our saleroom without sufficient sale instructions and reserve the right to make minimum warehousing charge of £2 per lot per day. Unsold lots are subject to the same charges if you do not remove them within a reasonable time of notification. If not removed within three weeks we reserve the right to sell them and defray charges from any net proceeds of sale or at your expense to consign them to the local authority for disposal.

16. Settlement. Subject to our normal trading conditions, payment will be made

by BACS or cheque six weeks after the sale unless the buyer has not paid for the goods. In this case no settlement will then be made but we will take your instructions in the light of our Conditions of Sale. You authorise any sums owed by you to us on other transactions to be deducted from the sale proceeds. You must note the liability to reimburse the proceeds of sale to us as under the circumstances provided for in Condition 10 above. You should therefore bear this potential liability in mind before parting with the proceeds of sale until the expiry of 28 days from the date of sale.

CONDITIONS OF SALE Woolley & Wallis Salisbury Salerooms Ltd carries on business with bidders, buyers and all those present in the auction room prior to or in connection with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein.

1.

DEFINITIONS

In these Conditions: (a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate; (b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description; (c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents; (e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising. (g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2.

(h) The singular includes the plural and vice versa as appropriate.

2.

BIDDING PROCEDURES AND THE BUYER

(a)

Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion. (c) Bidders shall be deemed to act as principals. (d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3.

INCREMENTS

4.

THE PURCHASE PRICE

Bidding increments shall be at the auctioneer’s sole discretion.

The Buyer shall pay the hammer price together with a premium thereon of 26% plus VAT @20% (totalling 31.2% inclusive) on the first £500,000 and 20% plus VAT @20% (24%) inclusive thereafter.

5.

VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with a † or Ω. Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots. (Please refer to ‘Information for Buyers’ for a brief explanation of the VAT position).

6.

PAYMENT

(a) (i) (ii) (b)

Immediately a lot is sold you will: give to us, if requested, proof of identity, and pay to us the total amount due in pounds sterling Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

In line with new legislation we reserve the right to investigate and identify the source of any funds received by us. The completion of the sale of a Lot will be postponed or cancelled at our discretion if further time is needed for investigation, or if you are in breach of your warranties as a buyer, or if we consider the sale to be unlawful or in any way cause liabilities or be detrimental to either Woolley and Wallis or the Seller.

(c)

7.

TITLE AND COLLECTION OF PURCHASES

(a)

The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (b) You shall at your own risk and expense collect any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (if later) after which you shall be responsible for any collection, storage and insurance charges. (c) No purchase may be collected and we shall not release any lot to you or your agent until it has been paid for.

8.

REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES

(a)

If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies: (i) to proceed against you for damages for breach of contract; (ii) to rescind the sale of that lot and/or any other lots sold by us to you; (iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale; (vi) to retain that or any other lot sold to you until you pay the total amount due; (vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied. (b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions 9.

THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements.

Accordingly neither the auctioneer nor our employees or agents shall incur

liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

10. COMMISSION BIDS Whilst prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition, we will if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer nor our employees or agents shall be responsible for any failure to do so save where such failure is unreasonable. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made.

11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

12. AGENCY The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.

14. DESCRIPTIONS AND CONDITION (a)

Whilst we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer nor our employees or agents nor the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 ‘information to buyers’.

(b)

Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation.

15. FORGERIES Notwithstanding the preceding Condition, any lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.

The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

GENERAL 16. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

18. Any notice to any buyer, seller, bidder or viewer may be given by first class mail or Swiftmail in which case it shall be deemed to have been received by the addressee 48 hours after posting.

19. Special terms may be used in catalogue descriptions of particular classes of items in which case the descriptions must be interpreted in accordance with any glossary appearing in the catalogue.

20. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular

concession only; in all other respects these Conditions shall be construed as having full force and effect.

21. English law applies to the interpretation of these Conditions.

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue.

Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

Glossary Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. (a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. (b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category. (c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction. (d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil. (e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. (f) Manner of Edward Lear: In our opinion a work in the style of the artist and of a later date. (g) After Edward Lear: In our opinion a copy of a known work of the artist. (h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. (i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. (j) Dimensions are given height before width. (k) Pictures are framed unless otherwise stated.

BOOKS AUCTIONS If, on collation, any named item in this catalogue proves defective in text or illustration, the lot may be returned within 14 days of the sale with the defects stated in writing. This proviso shall not apply to defects stated in the catalogue or announced at the time of sale; nor to the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of text or illustration; nor to drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals; nor to books not identified by title; nor to books sold not subject to return.

ARTIST’S RESALE RIGHT / DROIT DE SUITE Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below the sterling equivalent of €1,000 and the maximum royalty payable on any single lot is the sterling equivalent of €10,000.

Droit de Suite, which is not subject to VAT, will be added to the buyer’s purchase price and then passed on to the relevant collecting agency by the auctioneer.

Please enquire for the accepted exchange rate on the day of the sale.

Royalties for Droit de Suite are as follows: 4% Up to €50,000 3% €50,000.01 - 200,000 1% €200,000.01 - 350,000 0.5% €350,000.01 - 500,000 0.25% In excess of €500,000 Up to a maximum levy of €10,000 Lots marked with a Φ symbol are potentially subject to the levy.

PRIVACY NOTICE FOR CUSTOMERS WHAT THIS PRIVACY NOTICE DOES This privacy notice (Notice) explains how Woolley and Wallis Salisbury Salerooms Limited (us, we, our, Woolley & Wallis), processes the personal data of users of our auction and valuation services (Services) and includes buyers, bidders and sellers of auction items as well as prospective users of our Services (you, your). It also explains your rights in relation to the personal data we hold about you.

This Notice is effective from May 2018. We may change this Notice from time to time. Any significant changes will be notified to you.

DATA CONTROLLER AND CONTACT DETAILS Woolley and Wallis is the data controller of your personal data and is subject to the Data Protection Act 1998 (DPA) and the General Data Protection Regulation (GDPR).

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details: • By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU. •

By email – privacyofficer@woolleyandwallis.co.uk

•

By telephone – +44 (0)1722 424599

HOW WE COLLECT YOUR PERSONAL DATA We collect your personal data from the following sources: •

•

From you when you: - interact with us before entering into a contract with us, for example when you express your interest in our Services; - instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions; - communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account; - in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

From third parties such as: - other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you; - thesaleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on thesaleroom.com) of individuals who register for one of our auctions (please see thesaleroom. com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (thesaleroom.com’s payment provider); - sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided); - shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT We may collect the following personal data about you: • your name and contact details including address, telephone and email address; • your image, as captured by CCTV, if you attend our premises; • personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details); • account details and other information relating to your transactions/dealings with us and your use of our Services; • payment details such as credit card and bank account details; • credit and payment history (where you open an account with us as a buyer or bidder); • information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and • other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

We may also process special categories of personal data, including information concerning your health and medical conditions (for example, disability), where relevant to the provision of our Services.

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following: • to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services); • once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

In this respect we will provide your data to our third party suppliers or subcontractors as necessary whom we engage to help us perform our Services or who assist us in conducting our business, such as our IT suppliers, data storage providers, and valuation companies.

LEGITIMATE INTERESTS We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following: • to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance; • to deal with any concerns or feedback you may have in the performance of the Services; • for our internal business record keeping and processes; • to seek advice on our rights and obligations, including obtaining legal advice; • to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes; • to customise our website and marketing communications in line with your particular interests or preferences; • to collect money owed to us or our consignors; • to carry out background and credit checks in relation to bidders and buyers.

In this respect we will provide your data to the following: • • • • •

our professional advisors; the-saleroom.com; debt collection agencies; third parties who assist us with our marketing; our website and email management software provider.

LEGAL OBLIGATIONS We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following: • to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks; • in order to assist with investigations (including criminal investigations) carried out by competent authorities; In this respect we will provide your data to the following: • •

external auditors; the police and other competent authorities, including HMRC;

CONSENT

HOW LONG YOUR INFORMATION IS KEPT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above.

We will retain your personal data for as long as we are providing you with the Services referred to in any contractual document, and for as long as is required for legal, regulatory, fraud prevention and our legitimate business purposes after the termination of your account/agreement with us, or if your application for a particular Service is declined or abandoned.

Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

SPECIAL CATEGORIES OF PERSONAL DATA We process special categories of personal data for the following reasons: • if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention); • if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers); We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

INTERNATIONAL TRANSFERS OF DATA We transfer names and addresses on our Asian mailing list to a printing company in Hong Kong to distribute our auction catalogues and promotional material. In these circumstances, your personal data will be transferred subject to standard data protection clauses (adopted by the European Commission) and included in our contract with the printing company.

We share your data collected for marketing purposes and through our website with our website and email management software provider who are based in Jersey. In these circumstances, your personal data is transferred to them subject to an Adequacy Decision made by the European Commission in respect of Jersey.

PROFILING We may use your geographical location to target our communications and advertising and promotions to you. If you do not wish us to do this, then please contact us using the details provided above.

In particular: • in relation to CCTV images taken when you attend our premises, we will retain these for a few months; • in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services; • we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive; • in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS Under the DPA you have the following rights: • to obtain access to, and copies of, the personal data that we hold about you; • to require that we cease processing your personal data if the processing is causing you damage or distress; • to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect; • to require us to erase your personal data; • to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal); • to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller; • to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

Please note that the above rights are not absolute, and we may be entitled to refuse requests where exceptions apply.

If you are not satisfied with how we are processing your personal data, you can raise a concern with the Information Commissioner. You can also find out more about your rights under data protection legislation from the Information Commissioner’s Office website available at: www.ico.org.uk

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Park works to the EMAS standard and its Environmental Management System is certified to ISO 14001.

This publication has been manufactured using 100% offshore wind electricity sourced from UK wind.

100% of the inks used are vegetable oil based, 95% of press chemicals are recycled for further use and, on average 99% of any waste associated with this production will be recycled and the remaining 1% used to generate energy.

This document is printed on Magno Satin and Magno Gloss, both made of material from well-managed, FSC®-certified forests and other controlled sources.

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Valuations are a core part of our business and are usually carried out by a senior specialist or director. Accuracy, speed and above all confidentiality are paramount.

INSURANCE VALUATIONS Written valuations for insurance can vary from a single item to a large estate. Before starting we discuss the various options available so that the valuation is specifically tailored to individual client’s needs.

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PROBATE VALUATIONS We offer a speedy and professional service for executors and trustees and provide bound valuations for probate and duplicate copies when required. Since security is often a consideration, we can usually arrange for a house to be cleared and sent for auction, our Valuations Department ensures that executors are informed of which sales are involved and the results thereof.

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Woolley and Wallis valuations are accepted by all leading insurance companies.

We also carry out valuations for Family Division, Capital Gains Tax, and Private Treaty Sales.

Contact Amanda Lawrence +44 (0)1722 424509 | valuations@woolleyandwallis.co.uk FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleyandwallis.co.uk or call +44 (0)1722 424500.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

WOOLLEY & WALLIS Clifford Street, Mayfair

17 (2nd floor) Clifford Street, London W1S 3RQ (open by appointment only)

Woolley & Wallis Salisbury Salerooms Ltd. 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No.02998482 VAT No: 631 9832 29

Follow A345 for 1.7 miles. At Beehive Park & Ride follow the signs for A338 Swindon and Marlborough.

JAPANESE WORKS OF ART THURSDAY 16TH NOVEMBER 2023

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

Please bid, on my behalf, for the undermentioned lots up to the prices shown which do not include the buyer’s premium or any V.A.T. payable on lots. These bids are to be executed as cheaply as is permitted by other bids, and/or reserves if any, and subject to the Conditions of Business printed in the catalogue. Please note we cannot guarantee that bids received after 4pm on the day prior to the auction will be executed.

BUYER’S PREMIUM Each lot is subject to a buyer’s premium of 26% plus VAT at 20%

Billing Name (please print) ��������������������������������� ��������������������������������������������������������� Address �������������������������������������������������� ��������������������������������������������������������� ��������������������������������������������������������� ___________________________ Postcode ������������������� Daytime Telephone ��������������������������������������� Email ���������������������������������������������������� ID may be required even if you have bid with us before.

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Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500

Brief Description of lot

Price excluding buyer’s premium & VAT

AUCTION CALENDAR 2023 OCTOBER 31st

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR MAY 2024 AUCTION

Fine Silver & Objects of Vertu

NOVEMBER 1st & 2nd

Silver & Objects of Vertu

14th

The Lawrence Collection & Fine Asian Art

15th

Asian Art II

16th

Japanese Works of Art & The Allen Collection

28th

Medals & Coins, Arms & Armour

29th

British Art Pottery

DECEMBER 13th

Modern British & 20th Century Art

2024 JANUARY 17th & 18th Furniture, Works of Art & Clocks 24th & 25th Fine Jewellery 30th & 31st Silver & Objects of Vertu

FEBRUARY 20th

Arts of Africa, Oceania and the Americas

21st

British and Continental Ceramics & Glass

Dates may be subject to change +44 (0)1722 424500 enquiries@woolleyandwallis.co.uk 51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk *Price includes buyer’s premium

A GOOD CHINESE BLUE AND WHITE ‘LANDSCAPE’ VASE KANGXI 1662-1722 SOLD FOR £52,920*

www.woolleyandwallis.co.uk