Woolley & Wallis Japanese Art

WOOLLEY & WALLIS SALISBURY

A siAn A rt ii ,

J ApAnese A rt W ednesdAy 23 rd M Ay 2018

www.woolleyandwallis.co.uk

WOOLLEY & WALLIS SALISBURY SALEROOMS

威立士

Asian Art ii, Japanese Art Wednesday 23rd May 2018

Lots 800-981 Japanese & Korean Works of Art

800 A JAPANESE ARTICULATED BRONZE MODEL OF A SPINY LOBSTER, KUSSHIN JIZAI OKIMONO MEIJI 1868-1912 Modelled with fully articulated limbs and shell, cast in naturalistic detail, unsigned, 42cm.

£2,000-3,000 Provenance: the collection of Roy Merley, purchased from Lennox Money Antiques, 18th June 1975.

Cf. H Mami, Chozetsugiko! Meiji Kogei no Iki, p.110 no.6-10 for another example of fully articulated lobster of the same quality.

801 A JAPANESE IRON ARTICULATED MODEL OF A SNAKE, KUSSHIN JIZAI OKIMONO 19TH/20TH CENTURY Realistically modelled, constructed of numerous plates simulating scales, the head with a hinged jaw opening to reveal a small forked tongue, the eyes in gilt, unsigned, 42.5cm.

£1,200-1,500

802 A JAPANESE ARTICULATED COPPER ALLOY MODEL OF A CRAB, KUSSHIN JIZAI OKIMONO MEIJI 1868-1912 Naturalistically modelled, the eyes picked in shakudo, 26cm.

£600-800 Provenance: purchased from a private collection in Buenos Aires in 1983.

129

803 A JAPANESE BRONZE ‘ELEPHANT’ SCROLL WEIGHT EDO 1615-1868 The recumbent pachyderm with his head and trunk raised, his ears with traces of gilding, 12.5cm.

£1,000-2,000

804 A JAPANESE BRONZE ‘ELEPHANT’ INCENSE BURNER MEIJI 1868-1912 The caparisoned pachyderm standing four-square with a raised trunk, the cover formed as a saddle with a small boy holding a spray of lotus, 19.5cm. (2)

£500-700

805 A JAPANESE BRONZE MODEL OF AN ELEPHANT MEIJI 1868-1912 Standing four-square, its head slightly turned to sinister, a three character mark to the belly, 22cm.

£500-700

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Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

806 A MASSIVE JAPANESE BRONZE AND WOOD OKIMONO OF AN EAGLE MEIJI 1868-1912 The raptor standing upon a gnarled burrwood base, its wings outstretched, the pupils picked out in gilt and with details in shakudo, 101cm across. (2)

£3,000-5,000 Provenance: formerly in the collection of Norman Loudon (d.1967), British businessman, director and owner of Shepperton Studios, and thence by descent.

Cf. J Earle, Splendors of Imperial Japan, Arts of the Meiji Period from the Khalili Collection, fig.191, p.276-277, for a comparable okimono and fig.4, p.242, for another exhibited at the Fine Arts Pavilion at the World’s Columbian Exposition, Chicago, in 1893.

807 A LARGE JAPANESE BRONZE INCENSE BURNER AND COVER, KORO MEIJI 1868-1912 The square-section body with two loop handles and raised on four tall legs, decorated with panels containing a ho-ho bird on one side and a shishi on the other, with further stylised birds on a leiwen ground, the lid topped with an eagle with its wings outstretched, the base signed Dai Nippon Kandagawa atari no ju Shokaken kore o iru with kao, 47cm. (2)

£400-600 Shokaken may have been an alternative name used by Oshima Joun (1858-1940), who was one of the most important sculptors of the late Meiji, Taisho and early Showa periods.

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808 A JAPANESE BRONZE FIGURE BY OSHIMA JOUN MEIJI/TAISHO PERIOD Cast as a seated figure with long flowing hair, possibly Gama Sennin or a shojo, reclining toward the ground and with a cheery expression on his face, with a seal mark for Oshima Joun (1858-1940), 21cm.

£300-500 Provenance: the collection of Roy Merley, purchased from F C Manser & Son on 3rd July 1984 for £400.

809 A JAPANESE TOKYO SCHOOL BRONZE OKIMONO OF A BOY MEIJI 1868-1912 The boy depicted standing, lifting a small cage in his left hand and gazing at it in wonder, the base with a three character mark, 34.5cm.

£150-250

810 A JAPANESE MIXED METAL VASE MEIJI 1868-1912 Depicting three monkeys against a hollowed tree trunk, with vines and fruits growing upon it, together with a fitted wooden stand, unsigned, 14.8cm. (2)

£200-300

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Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

811 A LARGE JAPANESE BRONZE BALUSTER VASE MEIJI/TAISHO PERIOD The body rising to a flared rim, decorated in low and high relief with two rabbits amongst tall grasses gazing at the moon, the celestial body inlaid in gilt bronze, the base with a four character seal mark, 40cm.

ÂŁ2,500-3,500 This design was possibly made after a print by Ohara Koson (1877-1945) who produced comparable depictions of rabbits gazing at the moon.

812 FOUR JAPANESE INLAID BRONZE VASES MEIJI 1868-1912 Comprising: a pair with slender bodies decorated with butterflies fluttering amongst cherry blossoms and scrolling tendrils, another with many cranes amongst reeds, all with Nogawa marks underneath, the fourth of bulbous shape with irises, with a mark for the Kuroda Kiichi workshop, 18cm max. (4)

ÂŁ1,000-2,000

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813 TWO JAPANESE CAST-IRON KETTLES AND COVERS, TETSUBIN EDO/MEIJI PERIODS

814 TWO JAPANESE CAST-IRON KETTLES AND COVERS, TETSUBIN EDO/MEIJI PERIODS

One of bulbous shape, the body with a rough ishime (stone texture) surface and decorated to each side with a firefly fluttering above flowers, with details highlighted in gold and silver, the shaped handle with further inlaid details, the lid signed with a four character signature, the other with a square section body also rendered in ishime and with a seal mark beneath the spout, the lid signed Kogyoku do sei, 22.5cm. (4)

One of tapering form decorated with a small crab beside reeds under the moon to one side, a four character poem to the other, the rim with a key fret border and the lid signed Ryubundo zo, the other kettle of bulbous shape and with fruiting pomegranate plants to one side and sprays of shukaido (hardy begonia) to the other, with details inlaid in silver, unsigned, together with a small bronze water dropper, 17cm max. (6)

£600-1,000

£600-1,000

815 A KOREAN GILT BRONZE FIGURE OF BUDDHA KORYO/CHOSON DYNASTY Sitting in dhyanasana on a high lotus throne, the flowing robes picked out in gilt, 26.5cm.

£1,000-2,000 Provenance: from the collection of John Newall Esq.

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Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

two views 816 A PAIR OF JAPANESE KOMAI BOXES AND COVERS MEIJI 1868-1912 With oval cylindrical bodies decorated in nunome zogan (gold and silver inlays) with musical instruments on a dense geometrical ground, one side with a yamatogo carrying bag inscribed saikiyo o maru ma in katakana, the footrims with a band of cherry blossoms, the lids with double gourds and vines and topped with depictions of notebooks, one signed Kyoto ju Komai sei 7.8cm. (4)

£2,000-3,000 Provenance: from the collection of Professor J Norman Collie, FRS (1859-1942) and thence by descent.

817 A SMALL JAPANESE KOMAI-STYLE BOX TAISHO 1912-1926

818 A SMALL JAPANESE KOMAI-STYLE BOX MEIJI/TAISHO PERIODS

Of rectangular shape and supported on four short bracket feet, the hinged cover with five doves amongst blossoming prunus trees, the sides with panels depicting a writhing dragon, cranes flying over irises, a thatched house and a ho-ho bird, the inside incised with a rooster and hen under a tree, the base with Fujii Yoshitoyo’s Fujii Damascene Company trademark, 2.7cm x 4.5cm x 6cm.

Of square shape, the hinged cover with a writhing dragon chasing a flaming pearl of wisdom, the sides with irises, the base with Fujii Yoshitoyo’s Fujii Damascene Company trademark, together with a Satsuma box and cover decorated with figures in a garden, the base with a two character signature, 12.5cm max. (3)

£200-300

£250-350

135

819 A JAPANESE CLOISONNE ENAMEL VASE IN THE STYLE OF HAYASHI KODENJI (1831-1915) MEIJI 1868-1912 The bulbous body decorated in silver and gold wire with sparrows flying over a flowering prunus tree, one bird perched amongst the blossoms and with colourful daisies underneath, on a dark navy-blue ground, the foot and shoulder with stylised flowers, palmettes and scrolling tendrils, the rim with flowerheads amongst whorls, unmarked, 13cm.

820 A JAPANESE WHITE METAL, LACQUER AND ENAMEL VASE MEIJI 1868-1912 The body decorated with butterflies fluttering amongst chrysanthemum, wisteria and foliage, the neck and foot with stylised flowerheads and scrolling foliage, with ho-ho bird handles, signed Masayuki in a rectangular reserve to the base, 19.3cm.

£1,500-2,500

£2,000-3,000 Cf. Bonhams, New York, 21st March 2018, lot 2231 for a comparable cloisonné vase with birds and flowers also attributed to Hayashi Kodenji.

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Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

821 λ A JAPANESE GOLD LACQUER, SILVER AND SHIBAYAMA VASE AND COVER MEIJI 1868-1912

822 A JAPANESE CLOISONNE ENAMEL MINIATURE VASE AND COVER BY NAMIKAWA YASUYUKI (1845-1927) MEIJI 1868-1912

The bulbous body inset with two large lobed panels edged in silver, one decorated with birds under a flowering prunus tree, one on an elaborately decorated perch, with a small stream running underneath, the other panel with Ebisu and Daikoku in an interior counting coins, with dragon handles, the foot, neck and cover decorated with stylised flowers and scrolling foliage, the cover topped with a large chrysanthemum flower, unsigned, 20.3cm. (2)

The ovoid body decorated in silver and gold wire with cherry blossoms, scrolling tendrils and stylised floral medallions scattered over eight vertical panels of different colours, the neck and foot with matching arabesque motifs, the cover with further stylised flowers and buds and topped with a chrysanthemum finial, the base signed on a silver plaque Kyoto Namikawa, 10.7cm. (2)

£2,500-4,000 Provenance: from an English private collection.

£6,000-8,000 Cf. Bonhams London, 10 November 2016, lot 476, for a related vase and cover by Namikawa Yasuyuki.

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823 A JAPANESE LACQUER FOUR-HANDLED WASHBASIN, TSUNODARAI EDO 1615-1868 The circular wood body decorated in gold and silver hiramaki-e with twisted wisteria mon on a black lacquer ground, raised on a short foot with scrolling foliage, the handles with shakudo nanako metal mounts with stylised flowers and further mon, 22cm x 44cm x 65cm.

824 A JAPANESE LACQUER INCENSE BURNER AND COVER, KORO EDO/MEIJI PERIOD Of six-lobed form, the body with three kuyo-mon (nine stars family crests), with a metal liner and a pierced metal cover, 10cm. (2)

£150-250

£300-500 Provenance: from the collection of Michael Pitt-Rivers (1917-1999), by repute.

This washbasin was probably part of a konrei chodo, a lady’s lacquer toilet set traditionally offered at weddings.

825 A JAPANESE LACQUERED WOOD SHIBAYAMA-STYLE CABINET, TANSU EDO/MEIJI PERIOD Possibly Rykyu Islands, with seven pullout drawers, two sliding doors and a compartment, decorated with birds, bats, flowers, reishi, landscapes and musical instruments in mother of pearl, stained bone, soapstone and coral on a black lacquer ground, the inner part of the drawers in nashiji lacquer, the back with flowering prunus branches before a full moon, 54cm x 54.7cm x 27.2cm.

826 A KOREAN LACQUER GARMENT BOX AND COVER CHOSON DYNASTY The cover decorated in mother of pearl with two writhing dragons amongst clouds, with four bats to the corners and a band of cash around, the sides with depictions of the Four Benevolent Animals (phoenix, girin, turtle and dragon) with pearls of wisdom and a shou symbol, 8.5cm x 23.5cm x 37cm. (2)

£200-300

£1,000-1,500

138

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

827 TWO JAPANESE NAMBAN CABINETS MOMOYAMA PERIOD AND LATER One enclosing a central drawer with an arched panelled front, with two further drawers on either side, typically decorated with geometrical designs, flowers and scrolling tendrils in mother of pearl, gilt and brown lacquer on a black ground, the top with a quatre-lobed panel with birds flying over flowering trees, the other cabinet with two top drawers and a third underneath with similar decoration, the sides with panels containing shishi, on a pair of later Regency-style stands with gilt decoration, the cabinets 17cm x 25.5cm x 43cm max. (4)

ÂŁ5,000-8,000

detail

139

828 part lot illustrated 828 TWELVE JAPANESE WOODBLOCK PRINTS EDO/MEIJI PERIODS Comprising illustrations from the One Hundred Poems by One Hundred Poets (Hyakunin isshu no uchi) and portraits of heroes and actors by Utagawa Kuniyoshi (1797-1861), together with a portrait of Kiyohime from the One Hundred Ghost Stories of China and Japan (Wakan Hyaku Monogatari) by Tsukioka Yoshitoshi (1832-1892) and the portrait of Kisegawa of the Matsubaya pleasure house, from the series Beauties of the Yoshiwara as Six Floral Immortals (Seirô bijin Rokkasen) by Hosoda Eishi (1756-1829), 37.5cm x 25cm max. (12)

£800-1,200 829 NINETEEN JAPANESE WOODBLOCK PRINTS EDO/MEIJI PERIODS Comprising various depictions of beauties, fictional characters, flowers and scenes of daily life by Yashima Gakutei (1615-1868), Katsushika Hokuun Taiga (dates unknown), Yanagawa Shigenobu (1787-1832), Totoya Hokkei (1780-1850), and Katsushika Hokusai (1760-1849), 21.3cm x 18.4cm max. (19)

£300-500 Provenance: from the collection of a former British Ambassador to Japan.

830 SIXTEEN JAPANESE WOODBLOCK PRINTS EDO/MEIJI PERIODS Comprising various depictions of famous stories by Utagawa Kunisada (1823-1880), Watanabe Kyosai (1831-1889) and other artists, with pages of designs from the Manga by Katsushika Hokusai (1760-1849), ten pictures framed and glazed, together with a preparatory drawing in ink depicting Suzano-o No Mikono slaying the dragon Yamata No Orochi, 73cm x 35cm max. (17)

£500-1,000

140

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

829 part lot illustrated

830 part lot illustrated

141

831 TWO SCROLL PAINTINGS 19TH/20TH CENTURY One depicting a large tiger, its head turned to dexter and with bamboo behind it, with a line of calligraphy and two artist’s seals above, the other depicting two carp amongst swirling waves, with calligraphy above and three artist’s seals, 122cm x 52cm. (2)

£300-500 832 TWO JAPANESE SCROLL PAINTINGS ON SILK MEIJI 1868-1912 One depicting Kanzan and Jittoku gazing at the moon, a poem above them, signed Kage Hogan Jishun and with an artist’s seal to the side, the other with a carp diving deeper in the water to feed amongst the algae, with two lines of calligraphy and two artist’s seals, 33.5cm x 92cm max. (2)

£200-400 833 A JAPANESE SCROLL PAINTING MEIJI 1868-1912 In ink on fabric, depicting a hunter tying up a large boar in a rocky landscape with pine above them, a gun at his feet, inscribed Gakyojin Hokusai ga to the side, a dedication in pen written under the picture and reading ‘Respectful and Dear Dr Dara, I was Long Long Hunting, From Manchuria Sept. 1931, 18 years; North China, July 1937, 12 years; Second World War, Dec.1941, 8 years; Atom Aug. 1945, 4 years; Now as it is. Your friend, R. Matsumoto, Day of New Year 1950’, the picture 41cm x 32.8cm.

£300-500

831 part lot illustrated

832 part lot illustrated

834 TWO JAPANESE WOODBLOCK PRINTS MEIJI 1868-1912 Both by Keinen Imao (1845-1924) and from the ‘Album of Bird-and-Flower Pictures by Keinen’ (Keinen Kacho Gafu) published by Nishimura in 1892, one depicting geese and the other cranes under tall reeds, both framed and glazed, the prints 45cm x 32cm. (2)

£200-300 Provenance: purchased from the Japanese Gallery, Kensington Church Street, London.

833

142

834 part lot illustrated

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

835 A JAPANESE HANDSCROLL, KASE-E EDO/MEIJI PERIOD Hand-painted with the Thirty-six Immortal Women Poets (Nishikizuri Onna Sanjurokkasen) from the Heian period (794-1185), each with their name and a waka poem, 11.4m approx.

£600-1,000 Provenance: From the collection of Reginald Woolley (1912-1993), set designer and director at the Players Theatre Club, Villiers Street, London, and thence by descent.

For another depiction of the Thirty-six Immortal Women Poets, see Chobunsai Eishi’s series of woodblock prints from the Frederick W. Gookin Collection, Chicago Art Institute, ref. 1939.1710.

836 A JAPANESE EROTIC HAND SCROLL, SHUNGA MAKIMONO MEIJI 1868-1912 Hand-painted with erotic scenes from the tale of Nyogogashima (the Voyage to the Island of Women), in which beautiful women seduce fishermen who have drifted ashore and exhaust them after countless bouts of intercourse, forcing them to flee, 30cm x 405cm.

£300-500

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837 TWO JAPANESE ALBUMS OF WOODBLOCK PRINTS MEIJI 1868-1912 One enclosing various prints by Utagawa Kuniyoshi (1798-1861) including depictions of beauties on bridges, views from the Five Elements series (Mitate Go-gyo) and scenes from the Tale of Genji (Genji Monogatari), the other album by Miyagawa Shuntei (1873-1914) depicting Children’s Customs & Manners (Kodomo Fuzoku), 36cm x 24cm. (2)

£400-600 838 A JAPANESE WOODBLOCK PRINT TRIPTYCH EDO/MEIJI PERIOD

837 part lot illustrated

By Utagawa Kuniyoshi (1797-1861), depicting Lord Yoritomo releasing a thousand cranes as an offering to the Tsurugaoka Hachiman Shrine (Udaisho Yoritomo ko Tsurugaoka Hachimangu e horaku no tame senba no tsuru o hojoe o okanai yo n), 36.7cm x 73.7cm.

£500-1,000 839 A JAPANESE WOODBLOCK PRINT 20TH CENTURY Entitled ‘Zentsuji Temple in Rain’ by Kawase Hasui (1883-1957), together with a painting on paper depicting Chokaro Sennin freeing the horse from his gourd, unsigned, 37.5cm x 25.5cm max. (2)

£80-120 840 A JAPANESE EMBROIDERED PANEL MEIJI 1868-1912

838

Depicting an eagle flying over crashing waves, with calligraphy in red paint, framed and glazed, 62cm x 50.5cm.

£200-300 Provenance: formerly in the collection of Norman Loudon (d.1967), British businessman, director and owner of Shepperton Studios, and thence by descent.

839 part lot illustrated

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840

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

841 A LARGE JAPANESE SCROLL PAINTING EDO/MEIJI PERIOD

842 A JAPANESE SCROLL PAINTING EDO/MEIJI PERIOD

Depicting Daruma wearing a red hooded robe and hoop earrings, with Zen scriptures from a sutra above him and two seals, the design probably inspired by the portrait of Daruma by Soga Jasoku (d.1483) at the Kyoto Imperial Museum, 86.5cm x 136.5cm.

Depicting an older-looking Daruma, his head slightly turned and looking side-ways under bushy eyebrows, inscribed Sesshu hitsu above and with an artist’s seal, contained in three separate boxes with calligraphy, 86.5cm x 136.5cm. (6)

£500-1,000

£500-1,000

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Lots 843-857 Netsuke from an English Private Collection

843 A FINE JAPANESE WOOD NETSUKE EDO/MEIJI PERIOD

844 A GOOD STAG ANTLER NETSUKE EDO/MEIJI PERIOD

Depicting an eagle attacking a monkey, the raptor holding its terrified prey in its claws, the feathers and hair finely carved and with the eyes inlaid in horn, signed Nobukazu, together with a copy of Barry Davies Oriental Art, 100 Selected Pieces from The Netsuke Collection of Scott Meredith where this very piece is illustrated, 4.3cm. (2)

Carved as a joyful-looking dog seated on its haunches, its left forepaw raised and with its tail curled up against its flank, a collar with a bell tied around its neck, unsigned but in the style of Okatomo of Kyoto, 5.5cm.

£1,800-2,200

£2,800-3,200 Provenance: an English private collection, purchased from David Bowden Chinese & Japanese Art.

Provenance: an English private collection, purchased from Barry Davies Oriental Art Ltd. Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.608, for three other netsuke by Nobukazu.

Barry Davies notes that little is known about Nobukazu and that he may have been a pupil of Hokyudo Itsumin or Tomokazu of Gifu.

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Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

845

846

847

848

845 λ A GOOD JAPANESE IVORY NETSUKE MEIJI 1868-1912

846 λ A JAPANESE IVORY NETSUKE EDO/MEIJI PERIOD

Carved as a small dog crouching, its head turned toward its back, with a large temari ball resting between its forepaws, a ribbon tied around its neck and with the eyes inlaid, the side of the ball with three characters for Masashige in a rectangular cartouche, 4cm.

Depicting a startled-looking dog with its forepaws resting on a large ball, the pupils inlaid in horn and with the tail curled against its haunches, unsigned, 3.8cm.

£1,000-1,500

£500-1,000 Provenance: an English private collection.

Provenance: an English private collection.

847 λ A JAPANESE IVORY NETSUKE MEIJI 1868-1912

848 A JAPANESE WOOD NETSUKE MEIJI 1868-1912

Carved as two chubby-looking puppies lying back to back, their short tails curled and the eyes inlaid, unsigned, 5.1cm.

Depicting two puppies, one with its eyes shut and the other lying on top, its pupils inlaid, with a signature for Ransen in an oval reserve underneath, 4.8cm.

£1,000-1,500 Provenance: an English private collection.

£1,000-1,500 Provenance: an English private collection.

Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.639 for another netsuke depicting puppies by Ransen.

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849

850

851

852

849 λ A JAPANESE IVORY NETSUKE EDO/MEIJI PERIOD

850 λ A JAPANESE IVORY NETSUKE EDO/MEIJI PERIOD

Depicting two small dogs, one lying on the back of the other, with ribbons tied up around their necks, unsigned, 4.4cm.

Depicting a lying dog licking her paw, the eyes inlaid with horn, a small pup resting against her back, unsigned, 5.4cm.

£500-800

£800-1,200

Provenance: an English private collection.

Provenance: an English private collection.

851 λ A JAPANESE IVORY NETSUKE MEIJI 1868-1912

852 A JAPANESE WOOD NETSUKE MEIJI 1868-1912

Depicting many chubby puppies playing on a large straw basket and awabi shell, the eyes inlaid, signed Meizan underneath, 5cm.

Carved as a dog’s head, the eyes inlaid with horn and with darker pupils, the hair finely rendered, signed Chikusai to the reverse, 4.5cm.

£800-1,200

£800-1,200

Provenance: an English private collection.

Provenance: an English private collection.

This netsuke may be inspired by European dog-shaped silver stirrup cups or walking sticks pommels.

148

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

853 A JAPANESE WOOD NETSUKE EDO 1868-1912

854 λ A JAPANESE WOOD AND IVORY NETSUKE EDO/MEIJI PERIOD

Depicting a lying dog licking a small puppy climbing upon her back, signed Kokei underneath, 3.2cm.

Depicting a crouching piebald dog, its squiggle-shaped patches in ivory and a darker wood, a ribbon tied around its neck and with the tail curled on its back, a paper collection label with reference F318, 4.7cm.

£1,400-1,600 Provenance: an English private collection.

Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part A, pp.362-366 for more netsuke by Kokei.

£1,400-1,600 Provenance: an English private collection. Purchased from Sydney L Moss Ltd as from the Mark Fletcher collection.

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855 λ A JAPANESE IVORY NETSUKE MEIJI 1868-1912 Carved as a dog lying on a circular mat and scratching its ear, a ribbon and tether tied around its neck and with a small ball before him, the mat with stylised flowerheads and scrolls underneath, signed Tomokazu in an oval reserve, 4.9cm.

£600-1,000 Provenance: an English private collection.

856 λ A JAPANESE IVORY NETSUKE MEIJI 1868-1912 Depicting a puppy lying on a large straw hat and gnawing at a section of it, unsigned, 5.5cm.

£600-1,000 Provenance: an English private collection.

857 λ A JAPANESE IVORY NETSUKE MEIJI 1868-1912 Carved as a long-haired Pekingese dog resting on a large palm leaf fan, the eyes inlaid, 5.3cm.

£800-1,200 Provenance: an English private collection.

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Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

858 λ TWO JAPANESE IVORY MODELS OF FRUITS, OKIMONO MEIJI 1868-1912 One carved as an apple, the skin partially peeled to the underside revealing the fleshy pulp within, stained a pale shade of pink, the other depicting a tangerine, the skin also partially removed to reveal the segments underneath, realistically stained orange, 5.8cm. (2)

£3,000-4,000

859 λ THREE JAPANESE IVORY MODELS OF FRUITS, OKIMONO MEIJI 1868-1912 All naturalistically carved and stained, depicting a partly-peeled tangerine, a banana with its skin peeled back and a small kumquat, 9.4cm max. (3)

£4,000-5,000

860 λ A JAPANESE IVORY MODEL OF A BANANA, OKIMONO MEIJI 1868-1912 Naturalistically carved, the skin peeled off to reveal the flesh of the fruit underneath, stained a pale yellow, 14.5cm.

£2,000-3,000

151

861 λ A GOOD JAPANESE IVORY NETSUKE EDO 1615-1868

862 λ A JAPANESE IVORY NETSUKE EDO 1868-1912

Depicting a stubby recumbent horse, its head turned towards the back, the tail sweeping across its haunches, unsigned, 4.2cm.

Depicting a sleeping boar lying on a bed of autumn leaves and grasses, its head lowered and slightly turned to the left, unsigned, 4.8cm.

£1,800-2,200

£1,500-2,000

152

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

863 λ A JAPANESE IVORY NETSUKE MEIJI 1868-1912

864 λ A JAPANESE IVORY NETSUKE EDO/MEIJI PERIOD

Depicting a grumpy-looking toad crawling on a roof tile carved with a mitsudomoe (three comma) crest within a ring of beads, with two small insects to the side, signed Minkoku underneath, 4.4cm.

Depicting a dog, a monkey and a rabbit wrestling, the latters’ eyes inlaid in horn, signed Ikkosai underneath, 4cm.

£500-1,000

£500-1,000 Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part A, p.226, where six different netsukeshi using this signature are listed.

153

865 λ A JAPANESE NARWHAL TUSK NETSUKE MEIJI 1868-1912 Depicting a slender kirin on a base, the mythical beast seated on its haunches with its head raised, 5.9cm.

£600-1,000

866 TWO JAPANESE WOOD NETSUKE EDO/MEIJI PERIODS One carved as a sparrow, suzume, with the eyes inlaid in light-coloured horn and with a five character mark underneath, the other netsuke depicting a coiled snake, with a two character signature, 4.9cm max. (2)

£600-800

867 λ A JAPANESE IVORY NETSUKE EDO 1615-1868 Carved as a stylised dancing fox, kitsune, standing upright with its forepaws held to one side, unsigned, 6.3cm.

£400-600

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868 TWO JAPANESE NETSUKE MEIJI 1868-1912

869 λ TWO JAPANESE IVORY NETSUKE MEIJI 1868-1912

Both depicting shishi, one in wood seated on its haunches and holding a brocade ball between its forepaws, signed Tomokazu, the other in stag antler with a cheery expression, unsigned, 4.8cm. (2)

One carved as a shishi resting its forepaws on a ball, raising its head and baring its teeth, signed Hidekazu, the other depicting a shishi with its cub, its mouth opened to reveal a small loose ball, unsigned, 4cm max. (2)

£1,000-2,000

£2,000-3,000 Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part A, p.137, where other netsuke baring Hidekazu’s signature are illustrated.

870 λ A JAPANESE IVORY NETSUKE MEIJI 1868-1912

871 λ TWO JAPANESE IVORY NETSUKE EDO/MEIJI PERIOD

Carved as a fierce-looking shishi climbing on a large tama, baring its teeth and with a long curling mane, 4.5cm.

Both carved as clusters of seals, one with seven faces, the other with four, both with a recumbent shishi, unsigned, 4.8cm max. (2)

£300-500

£500-800

155

872 λ A JAPANESE IVORY NETSUKE EDO/MEIJI PERIOD Carved as double gourds and leaves growing on square-shaped trellis, a small bird perched to the top, with a stylized flower to the back reminiscent of a mon, 3.6cm.

£400-600

two views

873 λ THREE JAPANESE NETSUKE EDO/MEIJI PERIODS Two in ivory, both depicting a small man carrying a massive double gourd, the third stag antler, carved as a man hugging a giant mushroom, all unsigned, 6.4cm max. (3)

£300-500

874 λ TWO UNUSUAL JAPANESE NETSUKE MEIJI 1868-1912 Both depicting double gourds, one in wood with ivory plaques with the characters for to and Meigyoku, with a metal prunus blossom and suspension ring, the other netsuke in ivory carved with flowerheads and scrolling foliage, with traces of gilt and red lacquer, with a metal suspension ring and chain, unsigned, 7.1cm max. (2)

£800-1,200

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Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

875 λ TWO JAPANESE IVORY NETSUKE MEIJI 1868-1912

876 AN UNUSUAL JAPANESE STAG ANTLER NETSUKE MEIJI 1868-1912

One depicting a biwa fruit on a gnarly branch, the other with two satsuma, the peels curling to reveal the segments underneath, both unsigned, 4.5cm. (2)

Depicting a movable pulley, keyaki, unsigned, 4.6cm.

£200-400

£400-600

877 λ THREE JAPANESE IVORY NETSUKE EDO/MEIJI PERIODS

878 λ FIVE JAPANESE NETSUKE EDO/MEIJI PERIODS

Two depicting a small crab on a lotus flower, one with a three character signature, the third carved as a basket of mushrooms, unsigned, 7.5cm max. (3)

Variously carved as insects and spiders crawling on fruits, vegetables and mushrooms, in wood and ivory, one signed Deme Eiman, the fifth in stag antler depicting Chokaro Sennin’s horse issuing from a double gourd, unsigned, 8.8cm max. (5)

£300-500

£800-1,200

157

879 λ TWO JAPANESE NETSUKE EDO/MEIJI PERIOD

880 λ THREE JAPANESE NETSUKE EDO/MEIJI PERIODS

881 λ A JAPANESE IVORY NETSUKE EDO 1615-1868

Both depicting foreigners, one in stag antler carved as a tall Dutchman holding his beard with one hand and a hossu fly whisk in the other, with a large circular hat topped with feathers and a long coat with a scale-like pattern, the other in ivory wearing a hood and a long coat with flowerheads, carrying a matchlock gun on his shoulder, both unsigned, 9.2cm max. (2)

Two in stag antler depicting Dutchmen, one with his head turned to the left and holding a branch, the other with his hands neatly tucked in his long sleeves, the third in ivory depicting a foreigner wearing a fanciful outfit and with a small child on his shoulders, all unsigned, 10.3cm max. (3)

Depicting Chokaro Sennin wearing long robes decorated with a pattern of clouds, a double gourd slung over his shoulder, unsigned, 7.6cm.

£400-600

£1,000-1,500

£600-1,000

882 λ TWO JAPANESE NETSUKE EDO/MEIJI PERIODS One in ivory carved as a jovial-looking Gama Sennin, his pet toad clambering over his shoulder, signed Hide / Shu, the other in wood and ivory with a man kneeling, unsigned, 4.3cm. (2)

£400-600

883 THREE JAPANESE STAG ANTLER NETSUKE EDO/MEIJI PERIODS One depicting a tall Gamma Sennin wearing mugwort leaves and holding a gnarly staff, his pet toad climbing upon his back, its eyes inlaid with horn, another depicting Shoki the Demon Queller grabing an oni, both unsigned, the third carved as a yawning Hotei seated against a large sack, signed to the back, 9.2cm max. (3)

884 λ TWO JAPANESE IVORY NETSUKE EDO 1615-1868 The first carved as a figure holding a basket in one hand and a flower in the other, possibly Ota Dokan, the other a rakan with a cloak of mugwort leaves seated against a rock, both unsigned, 5.8cm max. (2)

£500-1,000

£800-1,200

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885 AN UNUSUAL JAPANESE IVORY NETSUKE EDO 1615-1868 Carved as a tsuitate screen decorated with Kanzan and Jittoku typically represented with a broom and a scroll, unsigned, 3.9cm.

£400-600

886 λ TWO JAPANESE BOXWOOD NETSUKE EDO/MEIJI PERIODS One depicting a mermaid, swimming and holding a jewel, unsigned, the other a shunga depiction of a woman seating next to a basket, signed Mingyoku, 7cm max. (2)

£1,200-1,500

887 A JAPANESE WOOD NETSUKE MEIJI 1868-1912 Humorously depicting Daruma chasing a rat running on his back with a fly whisk, his eyes inlaid with ivory and horn, unsigned, 3.2cm.

£400-600

159

888

889

890

891

888 λ TWO JAPANESE NETSUKE MEIJI 1868-1912

889 λ A JAPANESE IVORY MANJU NETSUKE MEIJI 1868-1912

One in ivory depicting a large oni mask on one side and Okame throwing beans on Setsubun to the other, unsigned, the other in wood and carved as Shoki the Demon-Queller with two oni, a seal mark to the base, 4.2cm max. (2)

Depicting a Shinto priest with long robes throwing beans on Setsubun, the other half with an oni running in fear, signed Minkoku, 4.6cm. (2)

£400-600

£400-600 890 λ A JAPANESE IVORY NETSUKE MEIJI 1868-1912

891 λ FOUR JAPANESE NETSUKE EDO/MEIJI PERIODS

Carved as a grimacing tengu mask with a crooked nose, its pupils inlaid with horn, with a two character signature to the back, 3.9cm.

One a marine ivory manju with a rubbed out figure, another a ryusa with lotus, marine animals and chrysanthemum, the third a metal and ivory hako netsuke with the character for ki and a chrysanthemum mon, the fourth a tsuishu lacquer hako with a shishi and brocade balls on an asa-no-ha ground, signed Yosei tsukuru, 5.2cm max. (5)

£200-300

£500-800 Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.981, where the tsuishu hako netsuke is illustrated.

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892

893

894

895

892 λ TWO JAPANESE NETSUKE MEIJI 1868-1912

893 λ FOUR JAPANESE NETSUKE MEIJI 1868-1912

One in ivory and carved as a smiling Okame, signed Ikko, the other Bizen stoneware and depicting Ko-omote, signed Sekisen, 4.7cm max. (2)

Two kagamibuta, one with a wood bowl and the lid with the five stages of a frog’s life cycle, unsigned, the other with a wood and ivory bowl and a lid with two kappa fishing, signed in an amber reserve Shibayama, the third a manju depicting a basket of charcoal with a rattan bowl and an ebony lid, unsigned, the last a metal mask of a grimacing man, also unsigned, 5cm max. (4)

£300-500 Provenance: the Bizen ware netsuke from Bonhams, The Edward Wrangham Collection of Japanese Art: Part V, 5th November 2014, lot 53.

£1,000-1,200 894 FIVE JAPANESE MASK NETSUKE MEIJI 1868-1912

895 A SMALL COLLECTION OF STAG ANTLER NETSUKE EDO/MEIJI PERIODS

Variously carved as two Okame, one signed Hidemasa, an elderly woman opening her mouth in surprise and a smiling oni, both unsigned, the fifth a noh mask of Okina, with a two character signature to the back, 5.2cm max. (5)

Variously carved as seashells, stylised flowers, a bamboo shoot, a crouching figure and a monkey, together with a ryusa attached to a fabric purse, 17cm max. (10)

£600-1,000

£500-1,000

161

896 λ FOUR JAPANESE IVORY NETSUKE EDO/MEIJI PERIODS Two carved as dogs, one crouching next to a large sack, the other with her puppy, the third a shishi on a rhomboid base, the fourth a karako playing the flute while seated on a deer, signed Shugioku with kao, 5.4cm max. (4)

£500-800

897 A JAPANESE WOOD NETSUKE EDO/MEIJI PERIOD Depicting a scholar’s pavilion, with small figures in a thatched teahouse, with pines growing from a rocky outcrop beside it, signed Horaku, 4.6cm.

£600-1,000 Cf. Christie’s New York, 18th April 2018, lot 60 for a comparable scholar’s pavilion by Horaku.

898 λ FOUR JAPANESE IVORY NETSUKE EDO/MEIJI PERIODS Variously carved as a shishi on a rhomboid base, a man on a giant clam, a shojo with an awabi shell, and a monkey on a giant peach, 4.9cm max. (4)

£300-500

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Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

899 λ SIX JAPANESE IVORY NETSUKE EDO/MEIJI PERIODS Variously carved as two karako arm wrestling over a table, a man with a hammer standing against a large sack, a thwarted rat catcher, a man on a giant clam, all unsigned, together with a netsuke depicting a blind man crawling on a plank, signed Tomochika, and a man cleaning his horse’s hoof, signed Shokusai, 4.6cm max. (6)

£600-1,000

900 λ TWO JAPANESE NETSUKE MEIJI 1868-1912 One in marine ivory carved as a caparisoned elephant on an oblong base, unsigned, the other in ivory depicting a karako making a snowman shaped as a Daruma doll, signed Shigemasa, 3.9cm max. (2)

£600-1,000

901 λ THREE JAPANESE NETSUKE MEIJI 1868-1912 One a metal and ivory kagamibuta with a Sambaso dancer, another a wood and stag antler square manju with a tennin signed Mitsutoshi, the third a model of a hand drum, tsutsumi, together with a stag antler ashtray decorated with a squirrel and a mother of pearl gourd, 4.4cm max. (4)

£300-500

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902 λ FOUR JAPANESE NETSUKE EDO/MEIJI PERIODS Three in wood, variously carved as a horse on a rectangular base, a cluster of chestnuts and a parasol bearer, the latter with a two character signature, the fourth one in ivory depicting an elderly figure holding bells, unsigned, 5.7cm max. (4)

£500-1,000

903 THREE JAPANESE TSUISHU LACQUER NETSUKE MEIJI 1868-1912 Variously depicting a lion dog with a brocade ball, a Sambaso dancer performing and an Immortal standing with long flowing robes, all unsigned, 5.5cm max. (3)

£300-500

904 FIVE JAPANESE LACQUER NETSUKE MEIJI 1868-1912 Variously modelled as a manju with chrysanthemum and other flowerheads, a shishi mask, a boy holding a mask and another with a dog on a large sack, all unsigned, the fith an oni mask on a tile, signed Riuraku, 4.4cm max. (6)

£1,000-1,500

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905 FOUR JAPANESE WOOD NETSUKE EDO/MEIJI PERIODS Variously carved as a tanuki using its swollen scrotum as an umbrella, Shoki the Demon-Queller with an oni on his hat, a parasol bearer holding a lantern in a manner reminiscent of the ghost Kasa-obake, and a beauty wearing long robes and an obi tied to the front, 7.9cm max. (4)

£800-1,200

906 THREE JAPANESE WOOD NETSUKE MEIJI 1868-1912 Two depicting karako lying on a rectangular base, the third a tea expert, chajin, depicted asleep at his tea mill, all unsigned, 4.2cm max. (3)

£400-600

907 TWO JAPANESE WOOD NETSUKE EDO 1615-1868 Both depicting standing figures, the first holding a fan and lifting the hem of his robes, the other smiling and clasping a peach, 6.5cm max. (2)

£300-500

165

908 FIVE JAPANESE WOOD NETSUKE EDO/MEIJI PERIODS Four carved as figures, one beating a drum with a two character mark to the base, another a temple servant polishing a giant bell, the third with a moveable head holding a brazier and the last holding a fan, the fifth netsuke depicting a monkey dressed as a monk, all unsigned, 7.7cm. (5)

£500-800

909 FOUR JAPANESE WOOD NETSUKE EDO/MEIJI PERIODS One carved as a karako on a hibachi brazier, one a seated man touching his head, another depicting Hotei and the last Daikoku carrying a large sack over his shoulder, 5.1cm max. (4)

£400-600

910 λ FOUR JAPANESE WOOD NETSUKE MEIJI 1868-1912 One carved as a man using a nose tickler to make himself sneeze, another a stone cutter seated with the tools of his trade, both unsigned, the third a noh dancer with ivory mask and socks, signed Jugyoku, the fourth a cluster of masks, signed Harumitzu, 4.5cm max. (4)

£500-1,000

166

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

911 THREE JAPANESE WOOD NETSUKE MEIJI 1868-1912 One depicting Tentoki or Raiden standing on a cloud and holding a lantern, another Bushishi Sennin on a giant scroll, the third a man sculpting a large tengu mask, all unsigned, 4.9cm max. (3)

£500-1,000

912 THREE JAPANESE WOOD NETSUKE EDO/MEIJI PERIODS One carved as two mushrooms, another a cockerel on a drum and the third a boy with his pet tortoise, with traces of lacquer and gilt decoration, the latter two signed underneath, 5.4cm max. (3)

£300-500

913 THREE JAPANESE WOOD NETSUKE MEIJI 1868-1912 One depicting a seated Daruma, another a man throwing beans at an oni on Setsubun, the third a man wearing a mask of Usofuki grimacing, all unsigned, 5.4cm max. (3)

£500-1,000

167

914

915

916

917

914 λ A JAPANESE WOOD TOBACCO POUCH, TONKOTSU EDO/MEIJI PERIOD

915 λ A JAPANESE SHIBAYAMA IVORY BOX AND COVER MEIJI 1868-1912

Decorated on one side with a pewter crab and bamboo issuing from rockwork in mother of pearl, ebony and ivory, the other side with a pewter bird and a mother of pearl moon crescent, signed Dosho in a rectangular green plaque, 10.5cm. (2)

The lid decorated with a beauty carrying a water bucket and gazing at morning glories growing over trellis, the petals inlaid with mother of pearl, coral and stained ivory, the underside with a small stream, grasses, butterflies and dragonflies, signed Chikahiro in a mother of pearl oval reserve, 7.9cm. (2)

£400-600

The figure depicted is probably Fukuda Chiyo-ni (1703-1775), a famous poetess celebrated for her haiku and the poem entitled ‘The Morning Glory’. The poem is inscribed on the water bucket here and reads: ‘morning glory! the well bucket-entangled, I ask for water’. This scene is probably inspired by Utagawa Kuniyoshi’s woodblock print of the poetess, who upon finding a bucket entangled in the vines of the flower, prefers to go asking for water rather that disturb the plant.

£500-800 916 λ A JAPANESE IVORY CARD CASE MEIJI 1868-1912

917 A JAPANESE WOOD INK CASE EDO/MEIJI PERIODS

Decorated all over with a dense pattern of flowerheads carved in low relief, the lid signed Yoshiaki in a square reserve to the corner, 10.3cm.

The lid and body decorated with lotus leaves and a bud, signed and with calligraphy to the interior, together with a wood box and cover decorated with bean pods, leaves and buds in horn, lacquer and mother of pearl, unsigned, 13.5cm max. (4)

£300-500

£300-500

168

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

918

919

920

921

918 λ TWO JAPANESE TOBACCO BOXES AND PIPE HOLDERS SETS, TONKOTSU AND KISERUZUTSU MEIJI 1868-1912 One tonkotsu depicting a yawning Daruma in wood, inlaid with a small bowl in horn and an ivory sceptre, nyoi, with a wood kiseruzutsu carved as Ashinaga, the other tonkotsu depicting a laughing man, also with an Ashinaga kiseruzutsu, together with a lacquer pipe case, tabako-ire, 20.5cm max. (4)

919 λ A SMALL JAPANESE TWO-CASE LACQUER INRO MEIJI 1868-1912 With cranes depicted on a section of bamboo, with an ivory netsuke depicting a man leaning above a large holed ball, together with a small tinder box with a stag antler netsuke carved as a Daruma doll on a four-legged stand, all unsigned, 5.7cm max. (2)

£200-300

£500-1,000 920 AN UNUSUAL JAPANESE BAMBOO SAKE BOTTLE, TOKURI MEIJI 1868-1912

921 SEVEN JAPANESE LACQUER INRO EDO/MEIJI PERIODS

Modelled as a cylindrical water bucket and carved with magnolia buds and flowers, with calligraphy and three seal marks to the side and a painted inscription underneath reading ‘Made by Rodo from a pattern designed by Sodo’, 27cm.

Variously decorated with landscapes, flowers, butterflies and calligraphy, two with mother of pearl inlays, one with an amber ojime, 9.5cm max. (7)

£500-1,000

£500-1,000 Provenance: from the collection of Professor J Norman Collie, FRS (1859-1942) and thence by descent.

See Sotheby’s London, 19th-20th March 1990, lot 123, for a related sake bottle carved as a water bucket with a fish and terrapin amongst lotus leaves.

The inscription underneath may refer to a woodblock print designed by Kawarazaki Shodo (1889-1973).

169

922 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912 Carved as a beauty with fan and eboshi (Shinto headdress), possibly acting the part of Dojoji in the eponymous Noh play, the base inscribed Tomochika, 15.8cm.

£500-800 Provenance: purchased from Laura Bordignon on 15th November 2011, a copy of the original invoice is available.

923 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912 Depicting two celestial beings (tennin) floating amongst clouds and playing musical instruments, with details inlaid in mother of pearl, coral, metal and coloured beads, signed Hideyuki in a red lacquer cartouche to the base, 11cm.

£400-600

924 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912 Depicting a bijin dancing with a fan and wearing an eboshi (Shinto headdress), possibly acting the part of Dojoji in the eponymous Noh play, the base with a two character mark, 17.3cm.

£500-1,000

170

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

925 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912 Carved as a bijin examining a kakemono (scroll) depicting a monkey, her hair secured in an elaborate chignon and wearing a kimono with fans and wheels, the base signed Masayuki, 14.4cm.

£200-400

926 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912 Depicting a bijin wearing long robes and carrying a small swaddled baby, the base signed Mitsuyama / Kozan, a paper label underneath reading ‘Given by W.H. Carnegie to Mary E. Carnegie in memory of all the family’s babies’, 19cm.

The label may refer to William Hartley Carnegie (1859-1936), Canon and subsequently Sub-Dean of Westminster, and his wife Mary Carnegie.

£300-500

927 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912 Carved as a bijin holding a kokyu (string instrument), her kimono elaborately decorated with a pattern of swirls and leaves, signed Kogyoku to the base, 17.8cm.

£500-800 Provenance: purchased from Laura Bordignon on 8th November 2005.

A copy of the original invoice is available.

171

928 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912 Depicting three sake tasters standing around a large jar, all wearing long robes, one with a reishi sceptre, the other two holding small cups, the jar carved with two mythical creatures and a shou character to the front, its base signed Chikatoshi on a red lacquer tablet, together with a fitted wood stand, 18cm max. (6)

£400-600 Provenance: from the collection of Mr Cedric Sheppard dec’d.

929 λ A JAPANESE STAG ANTLER AND IVORY OKIMONO MEIJI 1868-1912 Depicting a kneeling man surrounded by implements to perform a tea ceremony, a large kettle beside him turning into a tanuki, with details picked in coloured ivory, the base with three butterflies with inlaid elements surrounding a large red lacquer tablet with a four character signature for Akishige, another seal mark beside it, 11cm.

£500-1,000

930 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912 Carved as a musician tuning his shamisen, the base with a two character mark in a red lacquer reserve, 23.5cm.

£300-500 Provenance: the collection of Roy Merley

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Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

931 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912 Depicting a man returning from the hunt, a bow and arrow slung over his shoulder and holding a rope fasten around a small deer at his feet, the animal with naturalistically carved antlers and fur, its belly with a two character signature, together with a fitted wood stand, 20.5cm. (2)

£400-600 Provenance: the collection of Roy Merley.

932 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912 Carved as an archer stringing his yumi bow, holding the cord in his mouth while bending the weapon, the man depicted with a long beard and with a skirt of mugwort leaves, a two-character mark to the base, attached to a wood stand with the initials TE inlaid underneath, 16.5cm.

£150-250

933 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912 Depicting an elderly man dressed as a fisherman and holding a small hermit crab in his left hand, carrying his grandson over his shoulder, with a seal mark underneath, 20.3cm.

£300-500 Provenance: the collection of Roy Merley.

173

934 λ A JAPANESE IVORY OKIMONO MEIJI 1868-1912

939 λ TWO JAPANESE IVORY OKIMONO MEIJI 1868-1912

Carved as a Treasure Boat, Takarabune, with some of the Seven Gods of Good Fortune aboard being entertained by several oni, a two-character mark in a red lacquer reserve underneath the hull, together with a fitted wood stand simulating waves, 14.5cm. (2)

One depicting a tall Shinto priestess holding a wooden wand with paper streamers (gohei) and a fan, unsigned, the other depicting Shoki the Demon-Queller attempting to confine four malicious-looking oni into a large wood bucket, with a two-character signature underneath, 16.3cm max. (2)

£500-1,000 935 λ A JAPANESE IVORY NETSUKE MEIJI 1868-1912 Carved as a man seated with three small dressed-up kappa wearing straw hats, the base with a rectangular reserve signed Tomokazu, 3.8cm.

£200-300 936 λ A JAPANESE IVORY OKIMONO NETSUKE MEIJI 1868-1912 Depicting the Treasure Boat, Takarabune, carrying the Seven Gods of Good Fortune, the ship with a dragon figurehead, the gods merrily drinking sake and watering a small tortoise, unsigned, 8.5cm.

£300-500 937 λ TWO JAPANESE IVORY OKIMONO MEIJI 1868-1912 One depicting a farmer smoking his kiseru pipe and resting on his hoe, signed Minko, the other another farmer drinking from his double gourd bottle, a two character mark underneath, 18.3cm. (2)

£400-600 938 λ A JAPANESE SHIBAYAMA-STYLE IVORY-MOUNTED SWORD, TACHI MEIJI 1868-1912 The scabbard and mounts carved in low-relief with continuous scenes of warriors engaged in battle, tennin playing musical instruments and panels of karakusa scrolls, with some details inlaid with mother of pearl, stained ivory, horn, and small metal beads, signed and with the blade inscribed, 142cm. (2)

£300-500 940 λ FOUR JAPANESE IVORY OKIMONO MEIJI 1868-1912 Two carved as elderly men, one selling double gourds, the other visibly drunk and refilling his cup with sake, the third depicting a seated man drinking tea and the fourth a boy carrying large daikon radishes, three with stands, all signed, 19cm max. (7)

£300-500 941 λ FOUR JAPANESE IVORY CARVINGS MEIJI 1868-1912 Comprising a pair of brushpots decorated with mirroring designs of a warrior with an attendant, unsigned, an okimono of a seated fisherman gasping in surprise at a flapping fish, with a seal mark in a metal reserve underneath, and an okimono of Hojo Tokimasa opening a box from which Benten, her dragon and two oni emerge, signed, 12.1cm max. (5)

£200-400 Provenance: the collection of Roy Merley.

942 λ FOURTEEN JAPANESE IVORY OKIMONO MEIJI 1868-1912 Variously carved as figures engaged in daily life, fictional characters and deities, some with signatures, together with a Chinese carving of a clam spirit and a wood stand, 20cm max. (16)

£400-600 Provenance: from the collection of Mr Cedric Sheppard dec’d.

£500-1,000

174

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934

935

936

937

938

939

940

941

942

175

two views 943 A LARGE JAPANESE SATSUMA BOWL BY KINKOZAN MEIJI 1868-1912 Densely decorated to the exterior with a profusion of flowers, the cavetto with a further millefleurs design comprising peonies, daisies, wisteria, and other flowers, the rim with chrysanthemum mon on an iron-red ground, the base with a gilt mark for Kinkozan zo, 23.2cm.

£500-700 Provenance: from the collection of the celebrated silversmith H G Murphy (1884-1939), and thence by descent.

944 A JAPANESE SATSUMA BOWL BY SEIKOZAN MEIJI 1868-1912

945 A JAPANESE SATSUMA BOWL MEIJI 1868-1912

The scalloped body densely decorated with many wisteria flowers in blue, white, red and purple hues, the well with a medallion painted with a millefleurs pattern, with friezes of small stylised palmettes in gilt, signed Seikozan to the base, with a wood stand, 12.4cm dia. (2)

Decorated to the outside with shaped panels containing various groups of figures on a dense background of brocade designs, the well with Immortals standing by a lake, the base with a long inscription in gilt, 10.8cm dia.

£800-1,200

£500-1,000

176

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

946 A LARGE AND FINE JAPANESE SATSUMA VASE BY KINKOZAN MEIJI 1868-1912 The spherical body finely decorated with a dense continuous design of many figures at a tea house, one side with musicians, a dancer and courtesans entertaining guests on a large balcony, a village visible in the distance, the other side with further courtesans and customers, with stairs leading to another room below where more figures stand, some visible through openings in a shoji paper wall, the shoulder and lower portion of the body with a band of millefleurs design, the foot with key fret and the neck with further stylised flowers in gilt, the base inscribed Kinkozan zo and Shozan/Masayama in shaped reserves surrounded by wisteria flowers and leaves, with another impressed mark for Kinkozan zo, 29cm high.

£4,000-6,000 Cf. Christie’s London, 12 May 2010, lot 332 for another Kinkozan vase of similar shape and with decoration of the same quality.

177

947 A PAIR OF JAPANESE SATSUMA VASES MEIJI 1868-1912 The bodies decorated with beauties and children in a garden with chrysanthemum and bamboo towering above them, the necks with brocade designs, both signed Hakuzan, 24.5cm. (2)

£300-500

948 THREE JAPANESE MINIATURE SATSUMA VASES AND ONE COVER MEIJI 1868-1912 Two with baluster bodies and decorated with beauties, children, brocade designs and a river landscape, both signed, the third with a bulbous body with boys at play and sprays of flowers, the lid with a bud-shaped finial, unsigned, 9.8cm max. (4)

£200-300

949 A JAPANESE SATSUMA VASE MEIJI 1868-1912 The cylindrical body raised on a short tapering foot, decorated with panels depicting beauties in an interior to one side, and with children in a garden to the other, the panels bordered within a simulated bamboo frame and reserved on a honeycomb ground, the shoulder and neck with stylised clouds on a black ground, the base with an impressed mark for Kinkozan zo, together with a bowl with a millefleurs design to the outside and beauties in a river landscape to the well, signed Shozan, 12.3cm dia. (2)

£800-1,200

178

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

950 A JAPANESE GOSU SATSUMA INCENSE BURNER AND COVER, KORO MEIJI 1868-1912

951 A JAPANESE GOSU SATSUMA INCENSE BURNER AND COVER, KORO MEIJI 1868-1912

The compressed bulbous body raised on three short feet, decorated with a continuous scene of Mandarin ducks on a stream, with the Three Friends of Winter (prunus, pine and bamboo) above them, the lid with a chrysanthemum-shaped knop and with brocade designs, the base with the Shimazu mon and inscribed underneath tsukuru Oyama/Koyama, 10.3cm overall. (2)

The short body raised on four slender legs, decorated in thick enamels with shaped panels containing flowers and sacred objects, the lid with similar decoration and topped with a ferocious-looking shishi, a paper label for Empire Bazar underneath the lid, the base inscribed Dai Nihon Satsuma yaki Meizan with kao, 21cm overall. (2)

£300-500

£800-1,200

952 A JAPANESE GOSU SATSUMA INCENSE BURNER AND COVER, KORO MEIJI 1868-1912 The bulbous body with tall handles and raised on three mythical beast-mask feet, decorated with panels containing a ho-ho bird flying over flowers and rockwork to one side, with chrysanthemum and peonies to the other, the shoulder with brocade designs, chrysanthemum flowerheads and paulownia mon, the lid with similar decoration and topped with a shishi bearing its teeth, the base inscribed Satsuma yaki Tomonobu, 25cm overall. (2)

£1,000-2,000

179

Lots 953-956 From the collection of Warrens House, Bramshaw, the New Forest

Warrens House, Bramshaw

953 A NEAR PAIR OF LARGE JAPANESE ARITA BLUE AND WHITE VASES AND COVERS LATE 17TH CENTURY Of octagonal form, decorated with ho-ho birds amongst rocks and peonies between bands of palmettes, whorls and scrolls, with domed covers, 72cm. (4)

£4,000-6,000 Provenance: Warrens House, Bramshaw, the New Forest.

180

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

954 A PAIR OF JAPANESE ARITA BALUSTER VASES AND COVERS FROM A GARNITURE C.1700 The ovoid bodies decorated in gilt with peonies, chrysanthemum and paulownia issuing from behind trellis on a rich blue ground, the shoulder with three writhing dragons between panels of flowerheads, the covers with further dragons and flowers and topped with a fierce shishi on a rocky outcrop, 22cm max. (4)

£1,500-2,000 Provenance: Warrens House, Bramshaw, the New Forest.

Cf. Christie’s London,16th June 1998, lot 260 for a five-piece garniture with three comparable vases. This design is described as a special order made through the Dutch East India Company and copying Chinese export ceramics.

955 THREE JAPANESE ARITA IMARI VASES AND COVERS FROM A GARNITURE C.1700 The baluster bodies decorated in underglaze blue, iron red, green and black enamels, with four mirroring panels containing cranes and shishi between borders of stylised flowers, the shoulder with reishi-shaped panels containing phoenix, prunus and bamboo, the cover with a shishi with a temari ball on a rocky outcrop, 63cm max. (6)

£2,000-3,000 Provenance: Warrens House, Bramshaw, the New Forest.

956 THREE JAPANESE ARITA IMARI VASES AND COVERS FROM A GARNITURE C.1700 The baluster bodies decorated in underglaze blue, gilt, iron red, green and black enamels, with shaped panels containing prunus, peonies, and figures observing birds between borders of stylised scrolling leaves and flowers, the cover with a fierce shishi on a rocky outcrop, 65cm max. (6)

£2,000-3,000 Provenance: Warrens House, Bramshaw, the New Forest.

181

957 A JAPANESE ARITA BLUE AND WHITE BALUSTER VASE C.1700 Decorated with a continuous design of chrysanthemum flowers and leaves issuing from rockwork, a butterfly fluttering to the side, the shoulder and neck with a frieze of cash designs, stylised flowers and geometrical designs, 22cm.

£400-600

958 A LARGE JAPANESE ARITA BLUE AND WHITE DISH 18TH /19TH CENTURY Decorated with a central panel of flowers and leaves by a stream, the border with kraak-style panels with further flowers, 36.8cm.

£300-500 Provenance: from the collection of Professor J Norman Collie, FRS (1859-1942) and thence by descent.

959 A LARGE JAPANESE BLUE AND WHITE JAR, COVER AND INNER LID MEIJI 1868-1912 The ovoid body and cover decorated with a continuous design of sparrows amongst trees issuing from rockwork, the foot with a band of key fret, together with an inner lid, the cover signed Dai Nihon Seto Kawamoto Masukichi sei, 33cm. (3)

£400-600

182

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

960 A KOREAN CELADON VASE KORYO DYNASTY

961 A KOREAN BLUE AND WHITE BOTTLE VASE KORYO DYNASTY

The pear-shaped body decorated with four sprays of flowers, the neck with bands of ruyi-heads, lappets and feathers, with gold lacquer restoration filling firing faults to the body and to the rim, 27.8cm.

The body painted with a crane in flight, with bamboo and clouds to the reverse, 20.5cm.

£800-1,200

£200-300

962 A KOREAN CELADON BOWL KORYO DYNASTY

963 A SMALL CELADON U-SHAPED BOWL PROBABLY 19TH CENTURY KOREA

Decorated to the exterior with three flowerheads in medallions and concentric lines, the interior with three cranes in flight amongst clouds, with a ring of ruyi-heads and another band of geometrical designs above, 20.3cm.

With a wide bowl and straight sides decorated with an even green glaze, 11.5cm

£400-500

£1,400-1,600

183

964

965

966

967

964 A SMALL COLLECTION OF JAPANESE MINIATURE IMARI WARES EDO 1615-1868 Comprising two barber’s bowls, six jugs and a spittoon, together with two cylindrical inkwells, all typically decorated with flowers, foliage and butterflies, 6cm max. (11)

965 FOUR JAPANESE MINIATURE IMARI WARES EDO 1615-1868 Comprising two quatre-lobed dishes and two chamber pots, 7.5cm max. (4)

£500-800

£1,000-1,500

966 THREE JAPANESE IMARI DISHES EDO/MEIJI PERIODS

967 A JAPANESE IMARI SAKE EWER AND COVER EDO 1615-1868

Decorated with dragons, six character Chenghua marks, a blue and white Hirado moulded inkwell, and a bronze model of Hotei signed Joko/Tsunemitsu to the side, 18cm max. (5)

The body decorated with the Three Friends of Winter in green, red and purple enamels with details in gilt, the shoulder with stylised palmettes and scrolling leaves, with a chrysanthemum mon over the spout, 19cm. (2)

£250-350

184

£500-1,000

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

968

969

970

971

968 A PAIR OF JAPANESE IMARI DISHES 18TH CENTURY

969 A JAPANESE IMARI TEAPOT AND COVER EDO 1615-1868

Both decorated with a central panel enclosing a stylised building by the water’s edge, with rockwork beside it and flowering prunus above, the cavetto with a continuous band of pine, flowers, foliage and geometrical designs, the underside with flowers and scrolling tendrils, 22.4cm. (2)

The moulded body with a tall handle imitating a section of bamboo, painted with chrysanthemum, leaves and scrolling vines, the lid with three further flowerheads, with a paper label for G. & C.W. Digby, 12.3cm. (2)

£200-300

£300-500

970 SIX JAPANESE BLUE AND WHITE ARITA DISHES 18TH CENTURY

971 TWO JAPANESE IMARI BARBER’S BOWLS EDO/MEIJI PERIODS

The lobed bodies decorated with two sages in a mountainous landscape with a pagoda, a bridge, boats and further buildings, the underside with a six character Chenghua mark, 21.8cm. (6)

Of typical circular shape with an opening to the rim, one decorated with prunus blossoms, crashing waves, stylised palmettes and curtains, the other with further palmettes, flowers, bamboo and scrolling foliage, both pierced with two holes for suspension, 24.8cm. (2)

£150-250

£300-500

185

972 A JAPANESE IMARI MODEL OF A LEAPING CARP 19TH/20TH CENTURY The fish depicted with its mouth wide open, its tail emerging from swirling water, painted in orange, cyan, turquoise and green enamels, 16.3cm.

£300-500

973 A RARE JAPANESE WATER DROPPER SHAPED AS A SHISHI 17TH/18TH CENTURY The mythical beast seated on its haunches, its scrolling mane and bushy tail highlighted in blue enamels and with the tip of the ears in red, 13.5cm.

See Christie’s London, 12th May 2010, lot 320 for a pair of Kakiemon shishi water droppers from the same model.

£300-500

974 A JAPANESE KAKIEMON-STYLE OVAL DISH 19TH CENTURY The scalloped body decorated with fruiting branches of pomegranate in red, cyan, turquoise, purple and yellow enamels, with details in gilt, the underside with daisies issuing from rockwork, together with a wood stand, 22.1cm. (2)

£300-500

186

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

975 A RARE JAPANESE KAKIEMON WATER DROPPER SHAPED AS A BOY C.1680

976 A RARE JAPANESE IMARI FIGURE OF A RECLINING BIJIN C.1700

The smiling youth depicted seated on a drum, holding the tasselled cords of a double gourd slung over his shoulder, decorated in iron red, blue, green and black, the flat base with gauze marks, 14.4cm.

Painted in coloured enamels and gilt, the beauty rests on one hand whilst holding a vase in the other, her kimono decorated with quatrefoil patterns, stylised birds and paulownia leaves reminiscent of the Imperial crest, 24cm.

£2,000-3,000

£2,000-3,000

For other examples of Kakiemon water droppers shaped as boys, see The Avery Brundage Collection at the Asian Art Museum of San Francisco, no. B69P30. Also, the Burghley House Collection, ref. CER0300 for two other models listed in the 1688 Inventory, one with comparable decoration.

See B Davies, Barry Davies Oriental Art, Ko-Imari Porcelain from the Collection of Oliver Impey, p.202 fig.120 for a similar figure holding a candlestick. Also, Christie’s, London, 16 May 2012, lot 232 for a pair of comparable bijin described as inkwells.

187

977 A SMALL JAPANESE KAKIEMON SCALLOPED DISH C.1670-1700

978 A SMALL JAPANESE KAKIEMON SCALLOPED DISH C.1670-1700

Decorated in red, green, blue and ochre with a small bird perched on a flowering prunus branch issuing from rockwork, 11cm.

Decorated in red, green, blue and ochre with a butterfly fluttering over flowers issuing from rockwork, 11cm.

£800-1,000

£200-300

See the Rijksmuseum, Amsterdam, ref.AK-RBK-1960-144-D-2 for an identical dish from the Clifford Bequest.

979 A NEAR PAIR OF JAPANESE KAKIEMON SCALLOPED DISHES C.1700 Decorated in red, green, blue and ochre with flowers and foliage issuing from rockwork, 11cm. (2)

£400-600

188

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

980 A JAPANESE KAKIEMON INCENSE BURNER, KORO C.1670 The cylindrical body decorated in blue, green, yellow and red enamels with prunus blossoms and foliage, the lower section with stylised palmettes and scrolls between iron-red circumferential lines, with a later cover pierced and engraved with prunus flowers and asakusa scrolls, 11cm. (2)

ÂŁ3,000-4,000

189

981 A JAPANESE KAKIEMON PORCELAIN FIGURE OF A BEAUTY, BIJIN C.1690 She stands smiling, holding her kosode (inner kimono) with her left hand, her other hand gracefully resting on her hip, painted in red, orange, yellow, turquoise, green and black enamels, the kosode with an amime (fishing net) pattern and small flowers cascading upon her breast, a black obi (belt) loosely tied at her waist, her uchikake (outer kimono) with orange and yellow prunus blossoms with green and blue leaves and scrolling tendrils, her hair elegantly tied up in the gosho mage style, 39cm.

£15,000-25,000 Cf. H Seizo, Nihon no Toji, vol.9, Kakiemon, pls.30-31, 161-166; I Motosuke, Genshoku Nihon no Meito, Ko-Imari to Kakiemon, pl.68; S Jenyns, Japanese Porcelain, pl.63B, and Genruyu kara gendai made Kakiemon no sekai ten, p.47, pl.54, for other figures of bijin from the same model but decorated with different patterns.

THE RISE AND FALL OF A KAKIEMON BIJIN The collapse of the Chinese Ming Dynasty in 1644 and the civil war that followed triggered an unprecedented crisis in the Jingdezhen kilns, putting an end to porcelain production. The export of Chinese ceramics to Japan gradually ceased and as a result, Japanese kilns were compelled to produce alternative wares to satisfy the domestic demand. Ceramic factories shifted from Korean aesthetics to a more Chinese style. A number of Chinese potters had also fled their country to seek refuge in Japan, bringing with them advanced technical knowledge of porcelain production. One of the most important innovations to Japanese ceramics was the introduction of polychrome overglaze enamels on a milky white ground.

The kilns near Arita in Kyushu, the southernmost island of Japan, started to exploit the kaolin clay deposits discovered nearby and necessary for the production of pure white porcelain. Many of the moulds used for these figures of bijin have been excavated from Akaemachi, the enamellers’ quarter in central Arita. The Kakiemon family of decorators are thought to have been the first to master the technique, thus giving it its name.

Japan in the 17th century was undergoing a period of prosperity, with blooming trade and cities increasing in size and number. It is said that two thirds of the population of Edo (Tokyo) were male and perhaps as a consequence of this, pleasure quarters were also thriving. The entertainment industry, also known as the ‘floating world’ or ukiyo, contributed to the emergence of a new iconography celebrating the beauty of courtesans and actors, most famously in ukiyo-e woodblock prints. Porcelain figures of women such as this one were referred to as ‘Kanbun Beauties’ after the Kanbun era (1661-1673). Although her pose is demure and the contours of her body are obscured by the many layers she wears, this sophisticated lady is undoubtedly a high-rank courtesan. Her complex robes and gosho mage hairstyle, then popular amongst ladies of the Imperial court and of the red-light districts, demonstrate that she was a fashion icon of the time.

Although a number of these porcelain bijin are known to have been made from the same moulds, every one of them is enamelled with a unique design, suggesting the painters were given free reign to decorate them. The sources for these designs are unknown, but one theory is that they were inspired by the aesthetics of ukiyo ningyo (dolls of courtesans) and joruri (puppets). Paintings from the Kano and Tosa Schools depicting beauties may have provided the enamellers with another source of inspiration. The 17th century also witnessed the growth of townspeople as wealthy patrons who favoured genre painting, and depictions of the special pleasures of ukiyo were a common type of commission. Books of textile patterns (hiinagata-bon) most likely provided another source of inspiration for the Kakiemon bijin’ outfits. The album illustrated next page shows a Kanbun-style kimono with large asymmetrical flowers scattered across the back and in particular around the shoulder area. The depiction of the bijin illustrates the fashion of wearing the multi-layered robes in a loose style and tied with a large black obi (belt).

190

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

191

As the crisis in China deepened, the Qing government decided to prohibit international trade and so merchants of the VOC (Dutch East India Company) had to find another source for their porcelain trade. After inspecting the Arita kilns in 1659, they started the export of local porcelain to Europe from the trading port of Nagasaki. The elegant ware, with bright multicoloured patterns on a pure white ground, presented an exciting alternative to the centuries of blue and white ceramic and the dark hues of marble, lacquer and ebony then favoured in many interiors. Kakiemon bijin and other figures (such as the boy on a drum, lot 975) became highlights of porcelain displays in castles and palaces across Europe.

England in particular had an insatiable appetite for the new ware and Queen Mary (1662-1694) became a fervent collector, displaying her prized pieces in the grand rooms of Hampton Palace. A craze for interior decorating emulating the William and Mary style developed and many fashionable ladies were said to have ruined their families with the enormous expenses of their porcelain collecting.

The peak for Arita kilns lasted from the 1650s to the 1680s and came to an end in the late 1690s. The downturn on the domestic market is possibly due to the developing taste for Nabeshima ware, produced in the same area during this period. In Europe, Japanese porcelain had pride of place in many collections for a period of 85 years. This period extended between 1659, when the VOC first imported Kakiemon ware, and 1745, when European factories such as Meissen, Bow and Chelsea started imitating Japanese aesthetics. Traditional patterns such as ‘squirrel and gourd’, ‘dragon and tiger’ and ‘quail’ were successfully copied, so much so that the Japanese originals became obsolete. Curiously, European porcelain factories did not attempt to produce their version of Kakiemon bijin and by the mid-18th century, the stylish courtesan had fallen out of fashion, in Japan and abroad.

Hishikawa Moronobu (d.1964), Kosode no sugatami.

Photograph © 2018 Museum of Fine Arts, Boston

Base of the bijin

End of Sale 192

Each lot is subject to a buyer’s premium of 25% plus VAT at 20% 每件拍品收取 25% 的買家佣金+增值稅 (20%)

193

Japanese Signatures

805

807

813

843

864

194

808

813

845

866

813

811

809

814

848

866

816

812

817

851

868

812

820

852

822

853

869

863

877

878

882

883

892

900

914

924

886

893

902

915

888

894

904

894

908

916

925

926

927

896

910

917

892

890

897

910

920

921

928

912

922

899

912

923

929

930

195

931

933

939

935

940

942-7

949

940

942

942

196

934

940

942

943

950

937

940

942

944

951

937

945

952

952

938

941

941

942

946

959

942

948

966

938

948

970

Arts & CrAfts Wednesday 20th June 2018

Toby a rare Martin Brothers stoneware jar and cover by robert Wallace Martin, 13cm high Estimate: ÂŁ12,000-18,000

EnquiriEs: Michael Jeffery | Tel+44 (0)1722 424505 | mj@woolleyandwallis.co.uk

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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 are subject to the uK firearms/shotgun licencing regime, and may only be viewed and/or purchased by individuals with appropriate licences. such lots are offered on an auctioneer’s permit, and must be collected prior to the expiry thereof. For further information, please contact ned Cowell.

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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 & Wallis Absentee Bid Form Asian Art II, Japanese Art 23rd May 2018

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 Sale 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 25% plus VAT at 20% Billing name (please print) ���������������������������� ���������������������������������������������������� Address �������������������������������������������� ���������������������������������������������������� ���������������������������������������������������� ������������������������� Postcode ����������������� Daytime Telephone ���������������������������������� Email����������������������������������������������� All accounts must be settled within 21 days. iD is required for all first time bidders. signature �������������������������������������������

salisbury salerooms, 51-61 Castle street, salisbury, Wiltshire sP1 3su Tel: 01722 424500 Fax: 01722 424508

Brief Description of lot

Price excluding buyer’s premium & VAT

sOCiETY OF FinE ArT AuCTiOnEErs AnD VALuErs and the rOYAL insTiTuTiOn OF CHArTErED surVEYOrs 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 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4%) 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 or fax.

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.

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.

3.

(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 five 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

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

4.

THE PURCHASE PRICE The Buyer shall pay the hammer price together with a premium thereon of 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4%) inclusive thereafter.

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.

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.

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.

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 PURCHASES

NON-PAYMENT

OR

FAILURE

TO

COLLECT

(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.

(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.

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

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.

(a)

(b) (c)

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.

(d) (e) (f) (g) (h) (i) (j) (k)

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.

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.

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. 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.

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. 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.

Manner of Edward Lear: in our opinion a work in the style of the artist and of a later date.

After Edward Lear: in our opinion a copy of a known work of the artist.

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.

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.

Dimensions are given height before width.

Pictures are framed unless otherwise stated.

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

Auction Calendar AsiAn Art, Chinese PAintings & JAPAnese Works of Art 22nd & 23rd May 2018 John Axford +44 (0) 1722 424506 • jea@woolleyandwallis.co.uk Freya Yuan-Richards +44 (0) 1722 424589 • fyr@woolleyandwallis.co.uk Alex Aguilar Doméracki +44 (0) 1722 424583 • aad@woolleyandwallis.co.uk PAintings 6th June 2018 – Modern British & 20th Century Art Victor Fauvelle +44 (0) 1722 424503 • vf@woolleyandwallis.co.uk Jo Butler +44 (0) 1722 424592 • jb@woolleyandwallis.co.uk 20th Century Design 20th June 2018 – Arts & Crafts Michael Jeffery +44 (0) 1722 424505 • mj@woolleyandwallis.co.uk furniture, Works of Art & CloCks 4th July 2018 Mark Yuan-Richards +44 (0) 1722 411854 • myr@woolleyandwallis.co.uk silver 17th & 18th July 2018 – Silver & Objects of Vertu Rupert Slingsby +44 (0) 1722 424501 • rs@woolleyandwallis.co.uk Lucy Chalmers +44 (0) 1722 424594 • lc@woolleyandwallis.co.uk JeWellery 19th July 2018 – Jewellery & Watches Marielle Whiting +44 (0) 1722 424595 • mw@woolleyandwallis.co.uk Jonathan Edwards (Consultant) +44 (0) 1722 424504 • je@woolleyandwallis.co.uk Charlotte Glyde +44 (0) 1722 424586 • cg@woolleyandwallis.co.uk tribAl Art & Antiquities 19th September 2018 Will Hobbs +44 (0) 1722 339752 • wh@woolleyandwallis.co.uk english & euroPeAn CerAmiCs & glAss 16th October 2018 – English & European Ceramics & Glass Clare Durham +44 (0) 1722 424507 • cd@woolleyandwallis.co.uk meDAls & Coins, Arms & Armour 21st November 2018 Ned Cowell +44 (0) 1722 341469 • nc@woolleyandwallis.co.uk

Lot 835

• Entries can usually be accepted up to eight weeks prior to the auction • Illustrated catalogues are available about ten days before the sale • Viewing is normally two days prior to the auction and on Saturday mornings • Catalogue subscriptions are available for all sales • Fully illustrated catalogues can be viewed on our website www.woolleyandwallis.co.uk

WOOLLEY & WALLIS SALISBURY

A siAn A rt ii ,

J ApAnese A rt W ednesdAy 23 rd M Ay 2018

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Asian Art ii, Japanese Art Wednesday 23rd May 2018