Japanese Works of Art

JAPANESE WORKS OF ART

THURSDAY 13TH NOVEMBER 2025

JAPANESE ART

日本美術

THURSDAY 13TH NOVEMBER 2025

10.00am

LOTS 700-961

The sale to be conducted at our Castle Street Salerooms, SP1 3SU

VIEWING

Viewing in London (highlights)

17 Clifford Street, 2nd Floor W1S 3RQ

Saturday 1st November 11.00am – 4.00pm

Sunday 2nd November 11.00am – 4.00pm

Monday 3rd November 11.00am – 4.00pm

Viewing at our Old Sarum Galleries Unit 1B Castle Gate Business Park, Old Sarum, Salisbury SP4 6QX

Friday 7th November 10.00am – 5.00pm

Saturday 8th November 10.00am – 1.00pm

Monday 10th November 10.00am – 4.00pm

Tuesday 11th November & Wednesday 12th Novemberby appointment only

BUYER’S PREMIUM

Each lot is subject to a Buyer’s Premium of 27% (+VAT) on the first £20,000, reducing to 26% (+VAT) thereafter. See paragraphs 4 & 5 of our conditions of business at www.woolleyandwallis.co.uk for additional charges on the final hammer prices.

ILLUSTRATIONS

Front Cover: lot 767 & 906 detail

Back Cover: lot 860

For full descriptions and additional images please see our website www.woolleyandwallis.co.uk

Alexandra Aguilar Head of Department

+44 (0)1722 424583 aa@woolleys.live

Olivia Jones

Sale Administrator

+44 (0)1722 424591 asianart@woolleys.live

Fahmeeda Yasmin

Photographer

bid.woolleyandwallis.co.uk

Please register by 12 noon on Wednesday 12th November.

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CHRONOLOGY OF JAPAN

Jōmon Period

ca.10,000 BC-ca.300 BC

Yayoi Period

ca.300 BC-552 AD

Asuka Period 552-645

Nara Period 645-794

Heian Period

794-1185

Kamakura Period 1185-1333

Muromachi Period 1333-1573

Namboku-Chō Period 1336-1392

Momoyama Period 1568-1615

Bunroku Era 1592-1596

Keicho Era 1596-1615

Edo Period 1615-1868

Kan’ei Era 1624-1644

Kanbun Era 1661-1673

Genroku Era 1688-1704

An’ei Era 1772-1781

Tenmei Era 1781-1789

Kansei Era 1789-1801

Kyowa Era 1801-1804

Bunka Era 1804-1818

Bunsei Era 1818-1830

Tenpo Era 1830-1844

Koka Era 1844-1848

Kaei Era 1848-1854

Ansei Era 1854-1860

Man’ei Era 1860-1861

Bunkyu Era 1861-1864

Genji Era 1864-1865

Keio Era 1865-1868

Meiji Era 1868-1912

Taisho Era 1912-1926

Showa Era 1926-1989

Heisei Era 1989-2019

Reiwa Era 2019-present

700

A JAPANESE ARITA BLUE AND WHITE VASE

EDO

PERIOD, 17TH CENTURY

The ovoid body decorated with birds amongst flowering branches, with butterflies fluttering above, in between borders of lappets and key fret to the neck and above the foot, 23.5cm.

WITHOUT RESERVE

£600-1,000

701

A TALL JAPANESE ARITA BLUE AND WHITE VASE

EDO PERIOD, 17TH CENTURY

The pear-shaped body decorated with a luxuriant garden with many flowers, plantain with large leaves and other plants amongst rockwork and scrolling clouds, 39.3cm.

£1,500-2,500

Provenance: from an English private collection, London.

702

FIVE JAPANESE BLUE AND WHITE DISHES

EDO PERIOD, 18TH CENTURY

Three with a scalloped rim and painted to the well with a shishi on a dense ground of leafy peony sprays, all with further scrolling tendrils to the reverse and a mark reading Daimin Seika nensei; together with a pair of small dishes painted with flowers, the reverse with a ju (long life) mark; 21cm max. (5)

£500-800

Provenance: from an English private collection, London.

703

A SMALL COLLECTION OF JAPANESE BLUE AND WHITE PIECES

EDO AND LATER, 17TH CENTURY AND LATER

Including: two dishes with foliate rims, one with two deer prancing amongst flowers and rockwork, the other with a goose; together with two jarlets, one octagonal painted with butterflies and peony, the other with wisteria and scrolling tendrils, 21.7cm max. (4)

£200-400

704

THREE JAPANESE RECTANGULAR AI-KAKIEMON DISHES

EDO PERIOD, 17TH CENTURY

Each decorated with flowering branches of prunus and a border of stylised snowflakes to the interior, the exteriors with dragons and ho-o birds amongst chrysanthemum and scrolling tendrils, each raised on a short foot with key fret, all marked, 15.3cm x 10cm each; with tomobako (wood boxes). (6)

WITHOUT RESERVE

£600-1,000

Cf. The Kyushu Ceramic Museum, Shibata Collection Part 5, p.253 where a similar mark is illustrated. Also, see M Fitski, Kakiemon Porcelain, a Handbook, p. 165, where the author explains that it this mark is unidentified, but it occurs on pieces from the Nangawara kiln produced between 1670-1700. It is sometimes read as inishie-bito, meaning ‘ancient acquaintance’, and is a mark found on exceptionally high-quality Kakiemon-style porcelain, signifying its status as a masterwork.

705

A JAPANESE ARITA MIZUSASHI (WATERPOT)

EDO PERIOD, 17TH CENTURY

The compressed circular body decorated in underglaze blue with a continuous design of figures in a mountainous landscape, one side with chickens by a rocky outcrop, the other with two thatched buildings amongst luxuriant vegetation; together with a small blue and white circular box and cover, the lid and side painted with palm trees issuing from behind stylised fences, 4.7cm. (3)

£200-300

Provenance: from an English private collection, London.

706

A RARE JAPANESE VASE MODELLED AS A SHACHIHOKO

PROBABLY EDO, 18TH/19TH CENTURY

The dragon-fish depicted leaping out of crashing waves, its mouth wide open; painted in underglaze blue and with the pupils picked out in black; the base inscribed Daishin Kakeitei nensei, 18cm. WITHOUT RESERVE

£150-250

Provenance: from the collection of Dr Richard Brown, and thence by descent.

Dr. Richard F. Brown (1898-1963) was a Canadian Anglican missionary doctor who served in China, most notably at St. Paul’s Hospital in Henan, starting around 1930. During the Second Sino-Japanese War, he became a field doctor, providing urgent medical aid near the front lines and famously collaborating with fellow Canadian Dr. Norman Bethune in 1938 to treat wounded soldiers.

707

A RARE JAPANESE ARITA OKIMONO OF A SHISHI

EDO PERIOD, 18TH CENTURY

The body of the mythical beast contorted as it lands on its front paws after jumping on a tree stump, modelled with its hind legs raised and baring its fangs with a ferocious expression, its body decorated with dark blue and white spots in overglaze enamels, 19.5cm.

£600-800

Provenance: from an English private collection, London.

This unusual okimono seems related to other Arita figures of shishi jumping on rocks, usually decorated in more colourful enamels, as illustrated in C Jörg, Fine & Curious, Japanese Export Porcelain in Dutch Collections, p.282 no.356.

708

A JAPANESE ARITA BLUE AND WHITE GOURD-SHAPED DISH

EDO PERIOD, 17TH CENTURY

Decorated in underglaze blue with three roundels, one enclosing the silhouettes of branches; on a moulded ground decorated with scrolling tendrils and stylised lotus; the reverse with further branches and raised on a short foot decorated with crenellations, 13.4cm.

WITHOUT RESERVE

£400-600

Cf. The Kyushu Ceramic Museum, Shibata Collection Part 2, vol.1: pictures, p.25 for a set of comparable polychrome dishes dated 1640-50.

709

A JAPANESE ARITA POLYCHROME GOURD-SHAPED DISH

EDO PERIOD, 17TH CENTURY

Decorated in underglaze blue and colourful enamels with roundels enclosing bamboo, pine and rhomboid patterns, on a moulded ground of scrolling tendrils and stylised lotus; the reverse with three sprays of prunus and a fuku mark, raised on a short foot decorated with crenellations, 13.2cm.

WITHOUT RESERVE

£400-600

Cf. The Kyushu Ceramic Museum, Shibata Collection Part 2, vol.1: pictures, p.25 for a set of comparable polychrome dishes dated 1640-50.

710

A JAPANESE KO-KUTANI STYLE TOKKURI (SAKE BOTTLE)

POSSIBLY EDO, 17TH-18TH CENTURY

The double-gourd body decorated in underglaze blue and polychrome enamels, painted with floral roundels reminiscent of mon amongst scrolling vines and formal borders, 17.5cm.

WITHOUT RESERVE

£300-500

711

A JAPANESE KAKIEMON-STYLE BOWL

EDO PERIOD, 17TH CENTURY

Raised on a short foot, painted with various sprays of flowers including stylised daisies, bellflowers, other blooms and stalks of horsetail, the plants separated by cyan borders; with a border of cash above the foot and a single prunus blossom painted to the well; the base inscribed Daishin Kaseitei nensei, 11.1cm.

£500-800

Provenance: from an English private collection, London.

713

A JAPANESE OCTAGONAL KAKIEMON BOWL

EDO PERIOD, 17TH/18TH CENTURY

Elegantly painted with two large ho-o birds in flight amongst paulownia mon, the inside with scattered prunus blossoms; all rendered in polychrome enamels on the white nigoshide ground, the rim with a brown edge and with a single spur mark underneath, 20.2cm.

£500-1,000

712

A SMALL JAPANESE KAKIEMON BOWL

EDO PERIOD, 17TH/18TH CENTURY

Delicately painted in gilt and polychrome enamels, one side with a flowering prunus tree and the reverse with sprays of peony; the base with a paper collection label reading ‘1084’ and another for ‘Robert McPherson Antiques, 25794’, 10cm; together with a tomobako (wood box). (2)

£400-600

Provenance: an English private collection, purchased from Robert McPherson Antiques, 27th January 2022; a copy of the original invoice is available. By repute, previously in the collection of Soame Jenyns, Deputy Keeper of Asian Antiquities at the British Museum, author of reference books on Japanese Porcelain (1965) and Japanese Pottery (1971).

714

A JAPANESE KAKIEMON-STYLE DISH WITH DRAGON

PROBABLY EDO, 18TH CENTURY

With a foliate rim, decorated to the well with a large writhing dragon, the cavetto with a band of flowerheads and scrolling tendrils; the reverse with another band of flowers and scrolls around the foot, 14.6cm.

WITHOUT RESERVE

£400-600

Cf. The Kyushu Ceramic Museum, Shibata Collection Part 5, p.69 for another Kakiemon-style dish with a similar dragon to the well.

716

A LARGE JAPANESE KRAAK-STYLE BLUE AND WHITE CHARGER

EDO PERIOD, 17TH CENTURY

The well painted with a deer by a pond, the small animal surrounded by lush vegetation, bamboo, chrysanthemum and butterflies; the cavetto with alternating panels of flowers and auspicious symbols, 45.5cm.

£800-1,200

Provenance: an English private collection, Dorset.

Cf. J Ayers, O Impey and J V Mallet, Porcelain for Palaces: The Fashion for Japan in Europe, p.93, pl.31 for a comparable dish. Also, see the Victoria & Albert Museum, London, access. no. 1724-1876.

715

A PAIR OF RARE JAPANESE ARITA VASES

EDO PERIOD, 17TH CENTURY

Each with a large conical rim above a bulbous body and raised on a flared foot, decorated in underglaze blue with chrysanthemum and peony amongst scrolling tendrils and formal lappets; raised on associated wood stands, the vases 23.5cm. (4)

£2,000-3,000

717

A PAIR OF LARGE JAPANESE ARITA BLUE AND WHITE VASES AND COVERS

EDO PERIOD, C.1700

Of octagonal baluster form, each decorated with shishi prancing amongst peonies and other flowers, with ho-o birds in flight above; the sides with further vegetation including pines, bamboo, reishi fungi and karakusa scrolls; the shoulders with lobed panels enclosing formal floral patterns and further ho-o; the covers with similar decoration and each topped with a bud-shaped knop; 63.5cm and 62.5cm. (4)

£2,000-3,000

Provenance: an English private collection, Dorset; purchased from Susan Ollemans Oriental Art. A copy of the original invoice is available.

718

A COLLECTION OF JAPANESE AND CHINESE PIECES

EDO AND LATER, 18TH CENTURY AND LATER

Comprising: four Japanese blue and white pieces, one a foliate dish with quails, two ewers and a mug, together with a small cup with further quails and other birds amongst flowers, with a paper collection label for ‘R. SOAME JENYNS’; an Imari ewer with the letter ‘A’ in a roundel at the front; a modern aka-shino cup, and two lacquer pieces; together with a pair of Chinese cloisonné vases and a small teacup, 22.5cm max. (13)

WITHOUT RESERVE

£300-500

Provenance: from the collection of Richard Barker (1950-2023), Chinese and Japanese Art specialist at Spink and Sons, Barry Davies Oriental Art and later Richard Barker Fine Art Ltd.

719

A COLLECTION OF SIXTEEN JAPANESE PORCELAIN PIECES

EDO/MEIJI, 18TH AND 19TH CENTURY

Comprising: eleven blue and white dishes, including a set of three rectangular dishes with karakusa scrolls and peonies, and five dishes with polychrome decoration; all variously decorated with birds, flowers, auspicious symbols, scholars in gardens and legendary figures, 27.2cm max. (16)

£300-500

720

A COLLECTION OF JAPANESE IMARI PIECES

EDO PERIOD, 18TH CENTURY

All variously decorated in underglaze blue, gilt and polychrome enamels, painted with birds, flowers, landscapes, brocade patterns and other formal designs, four with Chinese marks underneath; one a barber’s bowl and another applied with metal handles, 27cm max. (8)

£600-800

Provenance: from an English private collection, London.

721

A JAPANESE IMARI BARBER’S BOWL

EDO PERIOD, C.1700

Decorated with a large vase of chrysanthemum to the well, the rim with prunus flowers, pavilions in mountainous landscapes and three shaped panels each enclosing a chicken, the reverse with further prunus and peony, 31cm.

£300-500

722

A PAIR OF SMALL JAPANESE IMARI DISHES

EDO PERIOD, 18TH/19TH CENTURY

With scalloped rims, decorated in underglaze blue, gilt and polychrome enamels with panels enclosing stylised chrysanthemum, prunus and peony blooms, with scrolling leafy tendrils to the reverse, both with a Chinese mark reading as Da Ming Wanli nian zhi (daimin Banreki nensei), 15cm. (2)

£200-300

Provenance: from an English private collection, London.

723

A LARGE JAPANESE IMARI DISH

EDO PERIOD, 18TH/19TH CENTURY

Richly decorated in underglaze blue, gilt and polychrome enamels, the well with two beauties and a child in an interior, with screens and other furnishing beside them; the rim with three panels enclosing birds alternating with irises and leafy scrolls; the reverse painted with three large sprays of camellia, chrysanthemum and prunus to the rim and another spray of flowers to the base, 40.3cm.

£300-500

724

A PAIR OF JAPANESE IMARI EWERS

EDO PERIOD, 18TH CENTURY

Painted in underglaze blue, gilt and polychrome enamels with baskets of pomegranates and flowering branches of prunus, 15.8cm. (2)

WITHOUT RESERVE

£150-250

725

A JAPANESE IMARI TOKKURI (SAKE BOTTLE)

EDO PERIOD, C.1700

The square body decorated in underglaze blue, gilt and red enamels with Chinese scholars admiring large flowers, with details moulded in low relief; the shoulder and neck with further flowers and geometric patterns, 25cm.

£400-600

726

A COLLECTION OF JAPANESE PORCELAIN PIECES

EDO AND LATER, 18TH CENTURY AND LATER

Including eight cups, three dishes and a saucer, variously decorated with birds, flowers, brocade patterns and other formal designs, 16cm max. (12)

£200-400

727

A SMALL COLLECTION OF JAPANESE BLUE AND WHITE DISHES

MEIJI OR LATER, 19TH/20TH CENTURY

Including four Nabeshima-style dishes, variously decorated with fruiting branches and flowers, one with a small birds perched on a branch of persimmon; together with a Seto dish with bamboo before a full moon, 21cm max. (5)

£200-400

728

A COLLECTION OF JAPANESE HIRADO PORCELAIN PIECES

EDO/MEIJI, 18TH AND 19TH CENTURY

All decorated in underglaze blue, comprising two dishes with flowers and butterflies, two candlesticks modelled as karako holding flowers, and a small inkstand modelled as rockwork; all with delicate chrysanthemum flowers in relief; together with a small blue and white milk jug, 18.5cm max. (8)

£200-400

729

A RARE JAPANESE HIRADO CISTERN

EDO/MEIJI, 19TH CENTURY

The bulbous body raised on a tall foot with pierced openwork decoration, decorated all over in underglaze blue, with mythical beasts’ masks to the foot, an extensive mountainous river landscape to the body and formal lappets repeated on the cover; with two shishi-head handles to the sides and another lion dog to the top, depicted seated with its paw raised; with a silver mask-shaped spout and a reticulated band to the rim; 45cm. (2)

£1,200-1,500

730

A SMALL JAPANESE HIRADO OKIMONO OF A PUPPY

MEIJI ERA, 19TH/20TH CENTURY

Sitting, with a ribbon at its neck and a small curly tail, the eyes pick out in ochre, 15cm.

£200-400

732

A JAPANESE NABESHIMA KORO (INCENSE BURNER)

PROBABLY MEIJI, 19TH CENTURY

The heavy circular body decorated with a continuous design of many sprays of flowers, all rendered in underglaze blue, gilt and polychrome enamels; one side with the mon (family crest) for the Nabeshima clan; together with a wooden reticulated cover, 12.5cm. (2)

£300-500

731

A LARGE AND UNUSUAL JAPANESE CELADON OKIMONO OF A CRAB

MEIJI OR LATER, 19TH/20TH CENTURY

The large crustacean realistically depicted, with its claws over its head; the underside left unglazed, 35cm.

£600-1,000

733

A JAPANESE KAKIEMON-STYLE MODEL OF A BIJIN

PROBABLY 19TH/20TH CENTURY

Standing holding her kosode (inner kimono) with her left hand; painted in polychrome enamels, her robes decorated with patterns of waves, maple leaves and stylised characters; her hair elegantly tied up in the gosho mage style, 32.5cm.

£400-600

735

A JAPANESE KUTANI TEAPOT

MEIJI ERA, 19TH/20TH CENTURY

With a quatrelobed body, a phoenix-head spout and a dragon head at the back of the handle; decorated in colourful enamels with scholars in a garden; the cover with remnants of a fuku mark underneath, 15.5cm. (2)

WITHOUT RESERVE

£200-300

734

A JAPANESE VASE BY TAIZAN YOHEI (1864-1922)

MEIJI/TAISHO, 19TH/20TH CENTURY

Decorated with shishi and waves in between borders of birds and flowers, insects and brocade patterns, the base signed Dai Nihon Taizan zo and impressed Taizan, 21cm; and a Hirado okimono of a monkey holding a peach, inscribed Hono, Kanbun ninen, Hirado, Imamura Kojiro (Dedicated by Imamura Kojiro, Kanbun 2nd year, 1662, Hirado), 15.5cm. (2)

WITHOUT RESERVE

£300-500

736

THREE JAPANESE KUTANI CHARGERS

MEIJI OR LATER, 19TH/20TH CENTURY

One decorated in thick enamels with a map of Japan and neighbouring countries, inscribed with names of the various provinces, a fuku mark at the back; together with a pair of dishes each decorated with a large fan, brocade patterns and flowers, both marked Kutani tsukuru, 37cm max. (3)

£300-500

737

A RARE YOSHIDAYA KUTANI BASIN

EDO/MEIJI, 19TH CENTURY

Painted in thick polychrome enamels, the well split diagonally with paulownia and chrysanthemum mon to the upper part and lotus flowers and scrolling tendrils below; the cavetto with further chrysanthemum flowerheads, leafy scrolls and a diaper pattern; the rim with a cash design; the reverse painted with four shaped cartouches enclosing bamboo, prunus, chrysanthemum and other flowers, the base with a large fuku mark, raised on a short foot with crenellations, 305cm.

£3,000-5,000

Provenance: the collection of a Gentleman, Somerset. Yoshidaya is a style of Kutani ware established by the wealthy merchant Den’emon Toyoda in 1824, who founded the Yoshidaya Kiln. These Kutani revival pieces are characterised by the prominent use of green, yellow, purple, and dark blue enamels applied in a thick, all-over style.

739 A TALL JAPANESE FUKAGAWA VASE

MEIJI ERA, 19TH/20TH CENTURY

Decorated with a pair of tachibina (paper dolls for the Hinamatsuri or Girls’ Day festival), with a band of kikkō-hanabishi pattern below and karakusa above; moulded in low relief and decorated in underglaze blue, gold lacquer and iron-red enamels, with a long mark underneath reading as Dai Nihon, Hizen (no) kuni, Arita, Fukagawa XX sei, 33.5cm.

WITHOUT RESERVE

£500-800

738

A TALL JAPANESE ARITA VASE

MEIJI ERA, 19TH/20TH CENTURY

The cylindrical body with a narrow neck, richly decorated in polychrome enamels with stylised kotobuki characters, ho-o birds, scrolling clouds, tama (sacred jewels) and other formal designs, signed Kotobuki migi ni, Nanri sei, possibly for Nanri Kaju (1819-1880), 42.5cm.

£300-500

Provenance: an English private collection, London.

740

A JAPANESE BLUE AND WHITE VASE BY DAIMARU HOKUHO/ HOPPO (1879-1959)

SHOWA/TAISHO, 20TH CENTURY

Decorated with an extensive mountainous landscape, with figures in pavilions nestled amongst pine trees; a lake to the reverse with further figures on boats; signed Setchu-an Hokuho/Hoppo sei, 24cm.

£300-500

Provenance: from an English private collection, London.

Daimaru Hokuho was a renowned ceramicist of the Kyoto school, producing pieces inspired by Chinese art and Sencha tea ware. His vessels were particularly sought after, and some were purchased by the Imperial Household Agency.

741

THREE JAPANESE GOSU SATSUMA KORO (INCENSE BURNERS)

MEIJI ERA, 19TH CENTURY

All three richly decorated in gilt and thick polychrome enamels; the largest with fans, the tripod one with pines and the last with a ho-o bird and a dragon, all featuring stylised waves; one signed Satsuma-yaki Masanobu and the other Kanzan, 16.5cm max. (6)

WITHOUT RESERVE

£400-600

743

A JAPANESE GOSU SATSUMA CHAIRE (TEA CADDY AND COVER)

MEIJI ERA, 19TH CENTURY

The cylindrical body typically decorated in thick polychrome enamels and gilt, with two ho-o birds in flight amongst paulownia mon, the lid with mitsu-tomoe (three-comma designs); the base signed Dai Nihon Satsuma yaki, Hyakushu beniga (Hyaku/ Momo Shuko), 14.3cm. (2)

£200-300

Provenance: a private English collection of Satsuma wares, Wiltshire.

742

A JAPANESE GOSU SATSUMA CHAIRE (TEA CADDY AND COVER)

MEIJI ERA, 19TH CENTURY

The ovoid body decorated with trailing cherry blossoms over stylised waves, the lid with peonies and scrolling clouds, the base signed Dai Nihon Satsuma, Hyokoseki-i, 16.5cm. (2)

WITHOUT RESERVE

£150-250

744

A JAPANESE SATSUMA BOWL AND A MINIATURE VASE

MEIJI ERA, 19TH/20TH CENTURY

Both decorated with beauties and children in luxuriant gardens, all reserved on a dark navy-blue ground with gilt decoration, the bowl with an associated stand, 15.5cm and 9.5cm. (3)

WITHOUT RESERVE

£200-300

Provenance: a private English collection of Satsuma wares, Wiltshire.

745

THREE JAPANESE MINIATURE

SATSUMA PIECES

MEIJI ERA, 19TH/20TH CENTURY

Two a pair of slender vases painted with panels of figures and landscapes on a dense ground of flowers, both possibly signed Raizan, 12.5cm each; together with a small ewer and cover, decorated to one side with Immortals and to the other with nobles in Heian garments, all reserved on a ground of flowers and brocade patterns, signed Kaizan underneath, the lid with similar decoration, 10.3cm. (4)

WITHOUT RESERVE

£400-600

746

TWO JAPANESE SATSUMA PIECES BY THE KINKOZAN WORKSHOP

MEIJI ERA, 19TH/20TH CENTURY

The first an ovoid vase with a short neck, decorated with flowering branches of chrysanthemum and panels of brocade patterns, the base inscribed Kinkozan sei, 11.5cm; together with a small foliate bowl delicately painted to the well with a kaleidoscope of butterflies, the exterior with flowerheads, the base inscribed Kinkozan in gilt and with an impressed Kinkozan sei mark, 9.2cm. (2)

£400-600

747

THREE JAPANESE MINIATURE

SATSUMA PIECES

MEIJI ERA, 19TH/20TH CENTURY

Including a koro (incense burner), a cup and a small vase signed Kikkoen zo underneath, together with a Satsuma hairpin; all variously decorated with flowers, figures, birds and butterflies, 6cm max. (5)

WITHOUT RESERVE

£200-300

748

TWO JAPANESE MINIATURE PIECES BY KAIZAN

MEIJI ERA, 19TH/20TH CENTURY

One a small oval tray delicately painted with many children at play to the well, some walking on bamboo stilts, others playing with a kite, another with a hobby horse; three small puppies cavorting amongst them, framed by a border of key fret; the reverse with four clusters of various toys and a small white rabbit, signed Kaizan sei, 11.2cm; together with a small bowl painted with figures and flowers to the well, the reverse with a continuous band enclosing further figures at leisure, also with a seal mark for Kaizan sei, 7.2cm. (2)

£400-600

749

A PAIR OF JAPANESE SATSUMA VASES BY RYOZAN FOR THE YASUDA COMPANY

MEIJI ERA, 19TH/20TH CENTURY

The two cylindrical vases each decorated with a horizontal panel enclosing a lively scene with many figures, some playing hanetsuki with long battledores, others carrying small children or playing musical instruments; above a border of auspicious objects, and with other panels enclosing flowers, birds and praying mantis; all reserved on a ground of brocade patterns; each signed to the base Nihon Kyoto Yasuda Ryozan, 15cm. (2)

£600-800

Provenance: a private English collection of Satsuma wares, Wiltshire.

750

A LARGE JAPANESE SATSUMA BOWL

MEIJI ERA, 19TH/20TH CENTURY

Richly decorated inside and out with many rakan and other Immortals in a heavenly city, one holding a scroll inscribed Dai Nihon Satsuma yaki, Minako Sanjo Shirakawa-bashi, framed by brocade patterns and Shimazu mon; the base signed Dai Nihon Satsuma yaki, Kusube zo, 24.3cm.

£400-600

Provenance: a private English collection of Satsuma wares, Wiltshire.

751

AN UNUSUAL JAPANESE SATSUMA BOWL BY THE KINKOZAN WORKSHOP

MEIJI ERA, 19TH/20TH CENTURY

The well painted with two writhing dragons amongst fire wisps, the mythical creatures clutching pearls of wisdom, signed beside the larger beast Kinkozan sei zo with a red seal underneath; the reverse with three roundels enclosing figures and gilt kikkō (tortoiseshell) patterns on a mottled chocolate-brown ground, 15.5cm.

£500-800

752

A JAPANESE SATSUMA DISH

MEIJI ERA, 19TH/20TH CENTURY

The well delicately painted with beauties and a child celebrating the Hatsuuma (First Horse Day), the boy playing the drum and with a fox mask on his head; signed Rei/Rai, 18.8cm.

WITHOUT RESERVE

£200-300

Provenance: The Michael Baggott Collection.

753

A LARGE AND IMPRESSIVE JAPANESE SATSUMA BOWL BY RYUZAN

MEIJI ERA, 19TH CENTURY

The deep U-shaped body raised on a short foot and decorated in gilt and polychrome enamels, the well delicately painted with a kaleidoscope of hundreds of butterflies fluttering all over the surface, the inner rim with a band of key fret and shippo-tsunagi cash to the reverse, the outside with a continuous decoration of many flowers, chrysanthemum, peony, hibiscus and irises above a swarm of insects including crickets, cicadas, flies and fireflies, a band of lappets and further shippo-tsunagi above the foot, the base signed Dai Nihon Kyoro fu Ryuzan tsukuru, 23cm dia.

£2,000-3,000

Provenance: an English private collection of Satsuma wares, Wiltshire. Purchased from Christie’s London, 7th June 2000, lot 273; a copy of the original invoice is available.

754

A GOOD JAPANESE SATSUMA TRAY BY TOZAN

MEIJI

ERA, 19TH CENTURY

Of oval form with a tall rim, richly decorated in gilt and polychrome with a swarm of insects including butterflies, grasshoppers, beetles, fireflies and praying mantis, one small snail to one corner, the border with a band of shippo-tsunagi cash patterns, the rim with a millefleurs pattern of chrysanthemum, peonies and hydrangea and the reverse with a band of stylised flowerheads and paulownia-shaped Imperial mon crests, a four-character mark to the side for Tozan, 31.5cm.

£1,000-1,500

Provenance: an English private collection of Satsuma wares, Wiltshire. Purchased from Barry Davies Oriental Art Ltd, London, 10th June 1999; a copy of the original receipt is available.

755

A JAPANESE SATSUMA BOWL BY KOZAN MEIJI ERA, 19TH/20TH CENTURY

Richly painted to the well with a roundel enclosing beauties and children in a landscape, with a pagoda and Mount Fuji in the background; the cavetto decorated with a multitude of flowers trailing down from the rim; the reverse with shaped panels variously enclosing birds, flowers, landscapes and figures in an interior, on a ground of further trailing flowers; a border of lappets above the foot enclosing brocade patterns; the base signed Kozan, 14.2cm; together with a wood stand. (2)

£400-600

Provenance: a private English collection of Satsuma wares, Wiltshire.

756

A JAPANESE YABU MEIZAN-STYLE SATSUMA BOWL

MEIJI ERA, 19TH/20TH CENTURY

Delicately painted to the well with two carp swimming underneath wisteria, the sides with shaped panels variously enclosing mountainous watery landscapes, figures and children observing an hinamatsuri altar with dolls, the reverse with a worn gilt mark possibly for Yabu Meizan, 12.3cm; together with a wood stand. (2)

£600-800

Provenance: a private English collection of Satsuma wares, Wiltshire.

756 two views

755 two views

757

A TALL JAPANESE SATSUMA VASE BY THE KINKOZAN WORKSHOP MEIJI ERA,

19TH/20TH CENTURY

The baluster body richly decorated with three large roundels enclosing many figures, one with a beauty playing the flute to a group of small children, another with dancers and the third with ladies playing go; all reserved on a dense ground of coin diaper, between bands of flowers, butterflies, key fret and other geometric designs; the base signed in gilt and impressed Kinkozan zo, 30.5cm. WITHOUT RESERVE

£2,000-4,000

757 mark

758

A FINE JAPANESE SATSUMA VASE AND COVER BY YABU MEIZAN (1853-1934)

MEIJI ERA, 19TH/20TH CENTURY

The ovoid body decorated with three continuous bands; the upper one with a large number of small mice causing mayhem amongst auspicious objects including Daikoku’s mallet and tama (sacred jewels), the lid with similar decoration; the central band painted with many figures at leisure; the lower part with an expansive mountainous landscape, with figures crossing a lake on a boat and thatched pavilions to the side; all between borders of geometric patterns and other formal designs, the base signed Yabu Meizan in a double square, 12.5cm. (2)

£1,500-2,500

758 mark

760 A GOOD JAPANESE SATSUMA VASE BY YABU MEIZAN (1853-1934)

MEIJI/TAISHO, 20TH CENTURY

The tall vase with an elegant pear-shaped body, delicately painted with a single branch of maple, the leaves depicted in a variety of warm green, yellow, orange and red hues; the base with a gilt seal mark for Yabu Meizan, 23.5cm.

£1,500-2,000

Provenance: a private English collection of Satsuma wares, Wiltshire.

759

A PAIR OF LARGE SATSUMA VASES BY THE KINKOZAN WORKSHOP

MEIJI OR LATER, 20TH CENTURY

The tall bodies decorated with bands of dense designs including sparrows, flowers, brocade patterns, and views of bridges underneath pine trees, one with a figure on a raft; with moulded rings and bamboo leaves rendered in relief; each vase signed horizontally Dai Nihon Kyoto Kinkozan zo, both 33cm. (2)

WITHOUT RESERVE

£300-500

761

A LARGE JAPANESE SATSUMA KORO (INCENSE BURNER) BY THE KINKOZAN WORKSHOP

MEIJI OR LATER, 20TH CENTURY

The lobed body raised and four short feet, richly decorated with panels enclosing various birds and flowers including chickens and geese; all reserved on a dense ground of gilt flowerheads on dark navy blue, the lid with further blooms and a knop modelled as a flowering branch of chrysanthemum; the base with a seal mark reading Kinkozan zo, 18cm. (2)

£600-800

763 A JAPANESE VASE AND COVER WITH A PROCESSION OF INSECTS

MEIJI ERA, 19TH/20TH CENTURY

Decorated in polychrome enamels and gilt with a continuous scene of many grasshoppers and other insects carrying flowers as weapons or insignia; the lid with butterflies; signed Nihon Yokohama Imura sei, for Hikojirō (Hikotaru) Imura, 20cm. (2)

£300-500

762

A RARE JAPANESE BOTTLE VASE WITH CHILDREN IN BUDDHIST HELL

MEIJI ERA, 19TH/20TH CENTURY

Painted in polychrome enamels and gilt with lost souls by the Sanzu no Kawa and Sai no Kawara; one side with Jizō Bosatsu guiding small children; another with an oni boiling the dead in a large cauldron; a pillar to the side inscribed Kore ada Jigoku do, hidari Gokuraku do (This way to Hell, Paradise on the left); 30.5cm.

£500-800

The Sanzu no Kawa (River of Three Crossings) is the Buddhist river that all souls must cross on their way to the afterlife. The Sai no Kawara (River-plain of the Dead) is the adjacent shore where the souls of children are condemned to eternally pile stones only to have demons knock them down until Jizō Bosatsu rescues them.

764

A JAPANESE CELADON VASE BY MIYAGAWA HANZAN / MAKUZU KOZAN II (1859-1940)

TAISHO/SHOWA, 20TH CENTURY

The baluster body elegantly decorated with three kirin, the mythical animals depicted in various poses, galloping underneath a border of lappets enclosing kotobuki characters, the decoration moulded underneath an unctuous celadon glaze; the base signed Makuzu Kozan sei, 28cm.

£2,000-3,000

765

A JAPANESE EWER BY MIYAGAWA (MAKUZU) KŌZAN (1842-1916)

MEIJI/TAISHO, 20TH CENTURY

Modelled as a phoenix or ho-o bird with curled feathers, the head forming the spout and the long tail feathers the handle; decorated in underglaze blue with geometrical patterns and other formal designs, the sides with stylised fish; signed Makuzu Kozan sei underneath the lid and to the base, 21cm. (2)

£2,000-3,000

766

A JAPANESE KORO BY MIYAGAWA (MAKUZU) KŌZAN (1842-1916)

MEIJI/TAISHO, 20TH CENTURY

The tripod incense burner decorated in underglaze blue and bright overglaze yellow enamel, with panels made of scrolling tendrils enclosing ho-o birds and other mythical creatures and stylised flowers, the lid with clusters of auspicious emblems and coin-shaped apertures, the reverse of the lid and base inscribed Makuzu Kōzan sei, 13.5cm. (2)

£300-500

766

765 marks

766 marks

765

767

A RARE JAPANESE ‘ICE CAVE’ VASE WITH DUCKS BY MIYAGAWA (MAKUZU) KŌZAN (1842-1916) MEIJI ERA, C.1900-1910

Realistically modelled in the round with two small mandarin ducks sheltering in a cave, with snow melting around them creating numerous icicles; the conical upper half with a deep recess to the top, and raised on an integral stand, the iridescent blue glaze resembling a pool around the small colourful birds; the base marked ‘Makuzu’ for the Miyagawa Kōzan workshop of Yokohama, 28cm.

£6,000-8,000

767 mark

The vase is a magnificent example of Kōzan’s technical skill, particularly his use of taka-ukibori, a sculptural relief technique. The ducks and the icy cave are not just painted on the surface but are modelled in high relief, giving the piece a three-dimensional quality. Kōzan was also a pioneer in developing new glazes. This vase demonstrates his experimental approach, using crystalline glaze technology to create the specific effects of the scene. The ‘icy effect’ is achieved through innovative glaze techniques, such as a white, crackled glaze that simulates the appearance of ice and a turquoise flambé glaze that adds a unique, wet quality. The icicles are also glazed to simulate the tips melting. This type of ‘ice cave’ vases was probably inspired by contemporary European pieces, in particular those produced by the Royal Copenhagen Manufactory in the early 20th century.

Mandarin ducks, known as oshidori in Japanese, are a powerful symbol of conjugal affection and fidelity because they typically mate for life. Depicting them in a serene, natural setting would have been a popular and meaningful motif for both Japanese and Western audiences. Scholars have suggested that Kōzan was inspired by animal painter Itō Jakuchū (1716-1800) and his picture ‘Willow Tree and Mandarin Ducks in the Snow’.

Kōzan was a highly acclaimed potter during the late Meiji and early Taisho period, creating exquisite pieces often pushing technical boundaries, blending traditional Japanese aesthetics with modern, Western innovations. His workshop was based in Yokohama, a centre for international trade at the time. He was appointed artist to the Japanese Imperial household in 1896 and produced many artworks for the domestic market. He also created pieces especially for export, and participated in several International Exhibitions. This ‘Ice Cave’ vase with mandarin ducks was probably produced for a World Fair: it is closely related to another model featuring polar bears which was acquired by the Victoria and Albert Museum after being displayed at the Japan-British Exhibition in White City in 1910, access. no.C.244-1910. Only one other ‘Ice Cave’ vase with mandarin ducks seems to be known; it is currently in the collections of the Makuzu Ware Museum, Yokohama.

767 detail

Itō Jakuchū (1716-1800) ‘Willow Tree and Mandarin Ducks in the Snow’

768

TWO JAPANESE KI-SETO DOHIMO CHAWAN BY KENJI HARA (B.1947-)

HEISEI ERA, 2018

Each with tall straight sides and everted rims raised on a short circular foot, covered all-over in a warm yellow glaze with green and russet splashes, incised with floral motifs and scrolling tendrils; together with two tomobako wood boxes, inscribed by the artist Ki Seto, chawan, Kenji (Yellow Seto ware, a tea bowl, by Kenji), with the seal Shi (of Kenji), 11cm. (4)

£600-800

Hara Kenji (b.1947) is a celebrated Japanese porcelain artist, known for his elegant vessels. Trained under Kato Takuo, he developed a refined style characterized by subtle glazes, delicate forms, and a sense of purity. His exquisite work is highly regarded and exhibited internationally.

769

A JAPANESE STONEWARE ASH-GLAZED BOWL BY RYOJI KOIE (1938-2020)

SHŌWA ERA, 1980S

The bowl rising from the unglazed foot to an everted rim, covered in a flecked olive-green glaze and incised to the side, with three marks to the unglazed interior; together with a tomobako wood box inscribed by the artist Chawan, Ryo (A tea bowl, Ryo) with the seal Ryoji no in, 35.9cm. (2)

£400-600

Koie Ryoji (1938-2020) was an influential Japanese ceramic artist from Tokoname who broke from tradition with his experimental and spontaneous style, inspired by contemporary art. His diverse work, ranging from functional pieces to sculpture with bold glazes, gained him international acclaim and numerous awards.

770

A JAPANESE STONEWARE CHAWAN (TEA BOWL) BY RYOJI KOIE (1938-2020)

SHŌWA/HEISEI ERA, 20TH CENTURY

The body with rounded sides raised on a short circular foot and incised to the side, decorated with a swirling pale grey and white glaze; together with a tomobako wood box inscribed by the artist Haiyu hachi, Ryo (A bowl in ash glaze, Ryo), with the seal Ryoji no in, 15.5cm. (2)

£400-600

771

A JAPANESE STONEWARE CHAWAN (TEA BOWL) BY RYOJI KOIE (1938-2020)

SHŌWA/HEISEI ERA, 20TH CENTURY

The U-shaped bowl raised on a short circular foot and covered all-over in a transparent glaze, the side of the bowl incised; together with a tomobako wood box inscribed by the artist Tomeiyu, chawan, Ryo (A tea bowl in transparent glaze, by Ryo), with a seal, 12.9cm. (2)

£400-600

772

A TALL JAPANESE NATURAL ASH-GLAZED VASE BY SHOZO MICHIKAWA (B.1953-) HEISEI ERA, 2004

With grooves to the twisting stoneware body, covered in a russet and olive-green glaze; a mark incised to the base, 59cm.

£500-800

773

A JAPANESE BIZEN WARE MIZUSASHI BY RYUICHI KAKUREZAKI (B.1950-)

SHŌWA/HEISEI, 20TH CENTURY

The water container with two lug handles and an undulating rim, the cover topped with a similarly uneven knop; the surface partially covered with a lustrous greenish-grey and warm iron-brown glaze, with an incised signature to the base, 22cm. (2)

£400-600

774

A COLLECTION OF JAPANESE PIECES FOR THE CHANOYU (TEA CEREMONY)

MEIJI AND LATER, 20TH CENTURY

Comprising: one tall bottle vase and five bowls, decorated with glazes of various colours, one a pink raku chawan, another a white Shino ware chawan decorated with branches; some with stamped marks, 18.5cm max. (6)

WITHOUT RESERVE

£300-500

775

TSUJIMURA SHIRO (B.1947)

20TH CENTURY

A set of five large leaf-shaped dishes, each decorated with a lustrous olive-green glaze with areas showing the pinkish earthenware base, all approx. 34cm x 15.5cm; with a fitted tomobako (wood box) signed Shiro and sealed Shi. (6)

£2,000-3,000

Shiro Tsujimura is a self-taught potter famous for blending traditional Japanese and Korean styles, with an emphasis on wabi-sabi and the unpredictable effects of wood-firing. His vessels, which he creates in his mountain studio in Nara, are widely exhibited and held in major international museum collections, including the Metropolitan Museum of Art.

774

776

TWO KOREAN CELADON JARLETS

KORYO DYNASTY (918–1392), 12TH/13TH CENTURY

Both of compressed circular form with incised decoration of lappets radiating from the neck, 5.8cm max. (2)

£250-350

Provenance: an English private collection, Dorset

778

A KOREAN MOULDED CELADON BOWL

POSSIBLY GORYEO, 13TH CENTURY OR LATER

The interior carved with a pattern of foliate scrolls, the surface covered with an olive-green crackled glaze, the rim with an area of ornate kintsugi gold lacquer restoration decorated with flowerheads and scrolling tendrils in low relief, 17.2cm.

£300-500

Provenance: from an English private collection, London.

777

A KOREAN INLAID-CELADON JARLET

KORYO DYNASTY (918–1392), 12TH/13TH CENTURY

With a heavy compressed circular body, decorated with four small egrets in flight amongst wavy clouds, 6cm. (2)

£300-500

Provenance: an English private collection, Dorset; previously in the collection of John Walden (1925-2013), British colonial administrator in Hong Kong (1951-80) where he served as Director of Home Affairs.

779

A COLLECTION OF KOREAN CELADON PIECES

KORYO AND LATER, 12TH CENTURY AND LATER

Comprising: a Sanggam inlaid-celadon bowl with many flowerheads, two dishes each raised on a short foot, and an inlaid-celadon jarlet; together with a Vietnamese ewer and cover, 14.4cm max. (6)

£500-1,000

776

778

777

779

781

FIVE KOREAN MAPS FROM THE CH’ONHA CHIDO (KOREAN ATLAS OF THE WORLD)

CHOSON DYNASTY (1392-1910), 18TH/19TH CENTURY

Each map a woodblock print depicting a different region; each approx. 33.5cm x 32cm; all framed, four glazed. (5)

£800-1,200

Provenance: from the collection of Patricia (1920-2010) and Denis Dunlop (1917-2012).

These atlases were issued by the Korean authorities to help train administrative officers working in various provinces around the country.

780

A KOREAN BLUE AND WHITE JAR, TANJI

CHOSON DYNASTY (1392–1910)

The ovoid body with a short neck and painted with flowers and scrolling tendrils, 15.3cm.

£400-600

Provenance: from Patricia (1920-2010) and Denis Dunlop (1917-2012), keen collectors of Korean and East Asian Art. Denis’s diplomatic career took them to Washington, New York, Singapore, New Delhi and finally Seoul, where Denis became the New Zealand Ambassador in the 1970s.

782

TWO KOREAN SILVER-INLAID IRON BOXES

JOSEON DYNASTY, 18TH/19TH CENTURY

Both of rectangular shape and decorated with a shou (double happiness) character to the cover, the largest with symbols of longevity including deer, cranes and the Yeonggwi (Spirit Turtle) on dense grounds of diaper, cash and other geometric designs, 9cm x 13.9cm x 10.5cm; the other box with a sliding cover and a bat-shaped handle, 5.7cm x 9.9cm x 6.5cm; together with a Chinese rectangular box decorated with copper and brass inlay on a pewter ground, 17th century, the sliding cover with a scene depicting a dignitary and four scholar-officials overlooked by a lady in a pavilion, 16.7cm. (5)

£500-800

Provenance: from an English private collection, London.

part lot illustrated

783

λ A RARE TORTOISESHELL AND LACQUER KOREAN BADUK BOARD

JOSEON DYNASTY, 18TH/19TH CENTURY

Of square shape with a typical grid to the top, richly embellished to the sides with a large dragon and a phoenix amongst scrolling clouds, all rendered in tortoiseshell and twisted wire inlays on the warm gold lacquer ground; with a shaped apron decorated with leaves, fruits and auspicious symbols, 30.5cm x 48cm x 47.5cm.

£3,000-5,000

Provenance: from the collection of Dr Richard Brown, and thence by descent.

Dr. Richard F. Brown (1898-1963) was a Canadian Anglican missionary doctor who served in China, most notably at St. Paul’s Hospital in Henan, starting around 1930. During the Second Sino-Japanese War, he became a field doctor, providing urgent medical aid near the front lines and famously collaborating with fellow Canadian Dr. Norman Bethune in 1938 to treat wounded soldiers.

In Korea, especially during the Joseon Dynasty, the use of materials like tortoiseshell was a hallmark of elite and royal objects. The dragon and phoenix pairing was often reserved for objects intended for the royal family, particularly furnishings for the Queen’s quarters or items related to the court.

784

A LARGE JAPANESE YUZEN BIRODO (CUT-VELVET) PANEL BY SHUHO MEIJI ERA, 19TH/20TH CENTURY

The large silk panel depicting a serene landscape with thatched pavilions by a lake, Mount Fuji towering in the distance; signed and sealed Shuho, 171cm x 262cm.

£200-400

785

TWO JAPANESE KESA ROBES POSSIBLY EDO, 18TH/19TH CENTURY

The Buddhist vestments typically made from textile fragments; one with gold chrysanthemum on a blue ground, with small orange square panels including part of a dragon amongst clouds; the other with colourful peonies on an orange ground, with squares enclosing floral roundels, 108cm x 201cm and 113cm x 204cm respectively. (2)

£300-500

Provenance: from the collection of Dr Richard Brown, and thence by descent.

Dr. Richard F. Brown (1898-1963) was a Canadian Anglican missionary doctor who served in China, most notably at St. Paul’s Hospital in Henan, starting around 1930. During the Second Sino-Japanese War, he became a field doctor, providing urgent medical aid near the front lines and famously collaborating with fellow Canadian Dr. Norman Bethune in 1938 to treat wounded soldiers.

787

FOUR JAPANESE IKEBANA BAMBOO BASKETS

MEIJI OR LATER, 19TH OR 20TH CENTURY

For traditional flower arrangements, of various shapes and woven in a variety of complex patterns; three with an inner otoshi (water container) made of a lacquered section of bamboo; 54.5cm max. (7)

£300-500

786

A LARGE JAPANESE IKEBANA BAMBOO BASKET

PROBABY MEIJI, 19TH/20TH CENTURY

For traditional flower arrangement, of tall circular shape and made of strips of bamboo tightly plaited in a free-style technique, with a metal liner, 62.5cm. (2)

£600-800

788

A JAPANESE WOOD KOBON (INCENSE TRAY)

TAISHŌ ERA, 20TH CENTURY

Shaped as a large banana leaf, with curved edges and a short stalk, 58.5cm; together with a tomobako (wood box). (2)

£1,500-2,000

789

A JAPANESE NEGORO KOBAN (FOOTED TRAY) AND ANOTHER DISH POSSIBLY MOMOYAMA, 17TH CENTURY OR LATER

Typically decorated in red lacquer over a black undercoat; each with an everted rim, the koban raised on a high slightly splayed foot; 34.3cm and 38cm. (2)

£800-1,200

790

A JAPANESE NEGORO HEISHI (RITUAL BOTTLE VASE)

EDO/MEIJI, 19TH CENTURY

Of typical form, with a tapered neck, a broad shoulder raised on a narrow foot and a wide base, painted in warm coral-red lacquer on a black ground, 33cm.

£2,000-3,000

During the Kamakura period (1185-1333), the elegant heishi wine vessels began to be produced, likely inspired by the meiping porcelain vase shape from China’s Song Dynasty (960-1279). According to Kawada Sadamu, a renowned expert on the Nara National Museum and Tezukayama University, the Negoro-ware heishi became popular with the warrior class. This was a time when a distinctive aesthetic of red designs on a black background was favoured for various items, from swords to ceremonial vessels. Negoro lacquer saw a significant rise in its artistic and cultural appreciation during the 19th century as collectors, particularly those involved in the Way of Tea (Chanoyu), revered its rustic simplicity and the aesthetic beauty of its worn red-over-black patina.

791

A JAPANESE SAISHIKI (PAINTED WOOD) MASK OF A NIŌ (BUDDHIST GUARDIAN KING)

MEIJI ERA, 19TH CENTURY

Possibly carved in hinoki (cypress wood), the surface painted in red pigment over gesso; the deity is depicted grimacing with a furrowed brow, the reverse with a three-character signature, possibly for Tessai, and an unidentified paper collection label; 6cm.

WITHOUT RESERVE

£400-600

Provenance: from the Mark and Elizabeth Harding Collection, South Africa.

792

A JAPANESE WOOD CARVING

POSSIBLY KAMAKURA, 13TH-14TH CENTURY

Depicting the head of an Immortal, constructed in the joined-woodblock technique (yosegi-zukuri), realistically carved with elongated ears, the eyes inlaid in crystal and the pupils circled in gold; raised on a modern wood stand; 23.5cm overall.

£600-800

Provenance: a private English collection, purchased from an American collector in 2009.

794

λ THREE JAPANESE WOOD NETSUKE

MEIJI ERA, 19TH CENTURY

The first depicting Kanshin crawling between the legs of a bully, with two baskets of fish behind them, one forming the himotoshi, 4.2cm; another carved as a seated rakan arranging his topknot whilst looking in a mirror, with inlaid rings around the himotoshi, 3.1cm; the third depicting a cooper, 3.3cm. (3)

WITHOUT RESERVE

£300-500

Provenance: formerly in the Mark and Elizabeth Harding Collection, South Africa.

Kanshin was originally a Chinese prince called Han Xin (231-196 BC) who famously consented to the humiliation of crawling between the legs of a fisherman rather than fight with a man of lowly rank.

Ivory Act 2018 exemption certificate, ref. FNQ7S59B.

793

λ A JAPANESE WOOD OKIMONO OF ONO NO KOMACHI MEIJI ERA, 19TH/20TH CENTURY

The famous poetess depicted in her old age, haggard-looking and wearing frayed garments, a straw hat by her side; with her hand raised and grimacing, her eyes inlaid, 29cm. (2)

£600-1,000

Ono no Komachi is one of the six great poets of the 9th century, and was once a beautiful woman. In her old age, legend says she became a nun and lived in seclusion, ashamed of her aged appearance.

Ivory Act 2018 exemption certificate, ref. VRXK42HG

795

λ AN UNUSUAL JAPANESE HAKO NETSUKE

MEIJI ERA, 19TH/20TH CENTURY

Of long rectangular shape, the lid decorated with a beauty depicted in tsuishu red lacquer, the base possibly signed Kiichi and the himotoshi lined with a ring stained green, 1.7cm x 1.9cm x 5.8cm. (2)

WITHOUT RESERVE

£150-250

Ivory Act 2018 exemption certificate, ref. MB4ZQKWX

A RARE AND IMPRESSIVE PAIR OF JAPANESE WOOD OKIMONO OF NIŌ BY ROKKO MEIJI ERA, 19TH CENTURY

The two wrathful and muscular guardians of the Buddha depicted standing in dramatic poses, wearing loose skirts and with long ribbons flowing around them; Ungyō typically carved with his mouth closed and holding a short spear, Agyō with his mouth open and holding a staff; the eyes inlaid with small black beads; both signed Rokko, 17.6cm and 18.2cm respectively. (2)

£12,000-15,000

Rokko is mentioned in G Lazarnick, Netsuke & Inro Artists, and How to read their signatures, vol.II, p.880 and F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.652. Lazarnick lists two pieces by the artist, one of a bather and another of Hotei. The Hotei okimono is described by Meinertzhagen as an ‘extraordinarily clever carving expressing Hotei’s mirthful spirit to a degree never exceeded in any other figure I have ever seen. […] The whole effect much enhanced by the beautiful color, grain and polish of the wood’.

These dramatic representations of the Benevolent Kings are usually found at the entrances of Buddhist temples. The open mouth represents the first sound of birth (“a”), while the closed mouth symbolizes the last sound of death (“un”), together embodying the cycle of all creation. Their muscular bodies convey the idea of strength and the ability to protect Buddhist teachings from evil.

796 marks

797

A JAPANESE EBONY NETSUKE OF A SENNIN

EDO PERIOD, 18TH CENTURY

Depicted standing, wearing loose robes and a cloak of mugwort leaves, clutching its beard while looking up and with a staff in his other hand, 6.5cm.

£300-500

799

A JAPANESE WOOD NETSUKE BY KAZUTOMO EDO PERIOD, 19TH CENTURY

Depicting a small rat resting its paw on a shogi tile, the hair finely rendered and with its eyes inlaid with small black beads, the tail neatly tucked underneath and signed Kazutomo in an oval cartouche underneath, 4.3cm; together with an 18th century wood netsuke of a recumbent deer, 4.4cm. (2)

£1,500-2,000

Provenance: from the William F C Ohly collection (1883-1955), Berkeley Galleries and Abbey Museum, New Barnet, London, UK, and thence by descent.

798

TWO JAPANESE HORN MANJU NETSUKE

MEIJI ERA, 19TH/20TH CENTURY

One circular with an armour-clad samurai emerging from a waterfall to one side and two deities amongst clouds to the other; the other netsuke with two figures under trailing wisteria, one wearing a large-brimmed hat, both unsigned, 4.4cm and 4.1cm. (2)

WITHOUT RESERVE

£300-500

800

A JAPANESE WOOD NETSUKE OF A STAG EDO PERIOD, 18TH CENTURY

The large animal is depicted bent over in half, as if hanging by the waist; the himotoshi located behind its hind legs; 8cm.

£300-500

801

A JAPANESE WOOD NETSUKE OF SNAKE ATTRIBUTED TO TAMETAKA

EDO PERIOD, 18TH CENTURY

Depicted flicking its long tongue and tightly arranged in coils, the himotoshi formed by the end of the tail curling underneath; unsigned, 3.6cm.

£5,500-6,500

The himotoshi is typical of Tametaka’s snakes, and the rounded scales are also reminiscent of some of his other works. See Bonhams London, Fine Netsuke from a French Private Collection, 4th November 2020, lot 68 for another Tametaka snake purchased from Josette Schulmann with comparable scales.

802

A JAPANESE WOOD SASHI NETSUKE OF A HYRIU (BIRD-DRAGON)

EDO PERIOD, 18TH/19TH CENTURY

Its beak wide open and with fire wisps engulfing its legs, its tail bifurcated; unsigned, 12.8cm.

£2,000-3,000

Provenance: formerly the collection of Miss Elizabeth Augusta Grosvenor Guest (1879-1960), grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-95), and thence by descent. Sold in these rooms, Japanese Works of Art, 27th July 2021, lot 449.

This netsuke is reminiscent of another dragon by Gyokutei in the collection of Shiro Akai, illustrated in R Bushell, Netsuke Familiar and Unfamiliar, fig. 585 and G Lazarnick, Netsuke and Inro Artists, p.432.

801 underside

802 Miss Elizabeth Augusta Grosvenor Guest (1879-1960)

803 two views

804 A JAPANESE WOVEN BAMBOO TONKOTSU BY TABABE CHIKUUNSAI (1877-1937)

MEIJI OR LATER, 19TH/20TH CENTURY

The tobacco box made of bamboo strips woven in various patterns, some stained and lacquered in red and gold, the base signed Chikuunsai zo, attached to a netsuke also made of woven bamboo with an inner ball and a bell inside; together with a wood netsuke carved as a cluster of mushrooms and a stag antler ojime modelled as a fugu fish, 9.9cm max. (3)

£800-1,200

Provenance: from the collection of Dr Richard Brown, and thence by descent.

Dr. Richard F. Brown (1898-1963) was a Canadian Anglican missionary doctor who served in China, most notably at St. Paul’s Hospital in Henan, starting around 1930. During the Second Sino-Japanese War, he became a field doctor, providing urgent medical aid near the front lines and famously collaborating with fellow Canadian Dr. Norman Bethune in 1938 to treat wounded soldiers.

803

A JAPANESE THREE-CASE GOLD LACQUER INRŌ

EDO

PERIOD, 18TH CENTURY

Decorated with chickens, one side with a cock emerging from a basket of brushwood, signed lower left corner Jōka with kao and Kanoko below; the reverse with a hen and two small chicks nestling in a winnowing basket; all rendered in gold lacquer takamakie on a fundame ground, with details in the feathers cleverly picked out in aogai (mother of pearl inlays), 6.2cm.

£3,000-4,000

Provenance: by repute, formerly in the collection of Edward A. Wrangham OBE (1928-2009).

805

THREE JAPANESE GOLD LACQUER ITEMS

EDO PERIOD, 18TH/19TH CENTURY

Including a single-case inro decorated with chrysanthemum mon in gold takamaki-e, the base signed Yoyusai; together with two kōbako (incense boxes), one circular with chrysanthemum sprays and the other of rhomboid form with butterflies, 10.3cm max. (6)

£200-300

806

A JAPANESE THREE-CASE LACQUER INRŌ MODELLED AS AN Ō-YOROI (SUIT OF ARMOUR)

MEIJI ERA, 19TH CENTURY

Realistically rendered in the round and decorated in gold nashiji and iroe hiramakie, the do (breastplate) and kabuto (helmet) decorated with kuraokami (rain dragons), raised on an armour box with mokume (wood grain) design; the interior in fundame, and with a hole to the top of the metal tehen (finial) of the helmet for the cord, unsigned, 10.9cm.

£3,000-4,000

This type of inrō was an opportunity for the artist to showcase his technical mastery, using a large variety of lacquer techniques to realistically imitate the different elements of the armour. These inrō were a nod to the wearer’s samurai heritage or military prestige.

807

λ A COLLECTION OF JAPANESE SAGEMONO (HANGING OBJECTS)

EDO/MEIJI, 18TH/19TH CENTURY

Including: a tabako-ire (tobacco pouch), the clasp engraved with Immortals and signed Tenmin o with kao for Asama Tenmin (b.1799); a tonkotsu (tobacco pouch) made from a turtle carapace; a kinchaku (fabric pouch) with a glass ojime and a bamboo netsuke; and a velvet pouch; 18cm max. (4)

WITHOUT RESERVE

£300-500

Provenance: from the collection of William Cleverley Alexander (1840-1916), and thence by descent.

809

A JAPANESE WOOD AND COPPER TOBAKO-BON (SMOKING SET)

MEIJI ERA, 19TH/20TH CENTURY

Of rectangular form with drawers, the cover decorated with a large writhing dragon and with gourd-shaped apertures; together with a long smocking pipe, 18cm x 20.5cm x 13cm. (7)

WITHOUT RESERVE

£200-300

808

λ A COLLECTION OF JAPANESE LACQUER PIECES

EDO/MEIJI, 18TH/19TH CENTURY

Comprising a lacquered emu egg kōbako (incense box), a collection label mentioning ‘Liberty, July 78’; a bird-shaped kōbako, a label underneath for ‘Hewett, 19/7/77, C.CE’; another small circular box, the cover with three porcelain butterflies; an aubergine-shaped tray and a sakazuki (sake cup); 10.7cm. (8)

WITHOUT RESERVE

£300-500

Provenance: from the collection of William Cleverley Alexander (1840-1916), and thence by descent.

810

A JAPANESE LACQUER JUBAKO (PICNIC SET)

MEIJI ERA, DATED JANUARY 1894

Made up of four tiers and a lid, raised on a stand with a loop handle; painted with snowflakes in gold lacquer on the dark emerald-green ground, the interior in cinnabar red, 26cm overall; with a fitted tomobako (wood box) inscribed ‘Collection of the Kurata Family’. (7)

WITHOUT RESERVE

£200-400

(WRITING BOX AND COMPONENTS)

The lid decorated with a night view of a small fishing boat by Ukimidō Hall at Mangetsuji Temple, with a silver moon emerging from behind wooded hills in the distance, the reverse of the cover with a shrine gate inscribed Sasaki Jinja (Sasaki Shrine) and another pavilion; the interior of the box with inner trays, an ink stone, a silver inscribed mizusashi, two brushes and two knives; all decorated in silver, gold and iroe hiramaki-e, nashiji and kirikane, 4.6cm x 20.5cm x 22.6cm; with an inscribed tomobako (wood box). (17)

£1,000-2,000

The Mangetsu-ji and Sasaki Shrines are both ancient, historically significant landmarks in the Shiga Prefecture near Lake Biwa, with roots dating back to or before the Heian Period in the former Ōmi Province.

812

THREE JAPANESE GOLD LACQUER PIECES

EDO/MEIJI, 19TH CENTURY

Including a fubako (letter box and cover), a small box and cover and a stand, all variously decorated with mon, flowers, landscapes and auspicious items, 30cm max. (5)

WITHOUT RESERVE

£150-250

Provenance: The Michael Baggott Collection.

813

AN UNUSUAL JAPANESE SUZURIBAKO (WRITING BOX)

EDO PERIOD, 18TH CENTURY

Shaped as half a war drum covered with ivy leaves and tendrils, rendered in gold hiramaki-e, kanagai, and maki-bokashi on a black roiro ground; the reverse of the lid with two chickens; two inner trays, a silver receptable for the mizusashi and a rectangular ink stone to the inside, 11.5cm x 18cm x 20cm. (6)

£300-500

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

811 two views

815

A JAPANESE LACQUER KAI-OKE (BOX FOR THE KAI-AWASE SHELL GAME)

MEIJI ERA, 19TH CENTURY

The box and cover decorated in gold hiramaki-e on a black roiro ground with mon (family crests) and leafy tendrils; with copper mounts decorated with further leafy scrolls, 53cm. (2)

£1,200-1,500

814

λ A LARGE JAPANESE TWO-FOLD SHIBAYAMA-STYLE SCREEN

MEIJI ERA, 19TH/20TH CENTURY

With panels enclosing birds in flight and perched amongst flowering branches, rendered in mother of pearl and other inlays on the black lacquer ground, each with a red seal mark for Kōmin; all reserved on lacquer frames with gold scrolling tendrils on a navy-blue ground, above shaped cartouches enclosing carved birds and peonies, and with further floral borders; two ho-o birds to the top, 180cm x 168.5cm.

WITHOUT RESERVE

£500-1,000

Ivory Act 2018 exemption certificate, ref. LE2VCN7J

816

λ AN UNUSUAL JAPANESE INLAID AND LACQUERED BOX

MEIJI ERA, 19TH CENTURY

With a hinged cover, decorated in gold and iroe hiramaki-e, with inlays in mother of pearl, horn and other materials; the top embellished with a boy playing the flute while seated on a large ox, with many flowers beside them, birds and a village in the distance, signed Kajikawa Kikosai to the left; the sides with further birds flying over variously-shaped vases and an ink stone; the inside of the lid with another bird flying over an inrō; 16.5cm x 36.5cm x 25.8cm.

£400-600

Ivory Act 2018 exemption certificate, ref. 3WLZAAGS

816 two views

817

λ A JAPANESE INLAID LACQUER BUNKO (DOCUMENT BOX)

EDO PERIOD, 18TH/19TH CENTURY IN THE STYLE OF OGAWA HARITSU (RITSUO, 1663-1747)

The lid decorated with the Seven Sages of the Bamboo Grove, the third-century Chinese Daoist scholars seemingly engaged in a lively debate, one yawning and another dozing off, all enclosed in a circular panel lower right corner, with bamboo branches and silver clouds above; the sides decorated with scholarly objects including a handscroll, a nyoi (sceptre), a fan and reishi fungi; all elaborately rendered in a variety of materials including porcelain, mother of pearl, lead and lacquer; the inside decorated in god nashiji; a small green porcelain seal mark reading Kan, 13cm x 26.4cm x 22.2cm. (2)

£500-1,000

818

A JAPANESE INLAID LACQUER BOWL

EDO PERIOD, 18TH/19TH CENTURY IN THE STYLE OF OGAWA HARITSU (RITSUO, 1663-1747)

The turned bowl decorated with a large sea bass to the well, the fish realistically rendered in porcelain, with a willow branch beside it in gold lacquer and mother of pearl; a green porcelain Kan seal mark above, 19.6cm; together with a tomobako (wood box). (2)

£4,000-6,000

817 mark

818 mark

Michael Tomkinson (1841-1921)

THE TOMKINSON FAMILY COLLECTION

We are delighted to offer a selection of Japanese art from the Tomkinson Family Collection, started by Michael Tomkinson (1841-1921) in 1878. Michael Tomkinson, a prominent figure from Kidderminster, Worcestershire, was both a successful businessman and a renowned art collector. His entrepreneurial success was rooted in the carpet-making industry. In 1869, he formed a partnership with William Adam, a venture that would revolutionize the production of Axminster carpets and make them a staple in middle-class homes. By 1876, their firm had grown to employ 800 people and had an international reputation. Tomkinson’s business acumen extended to securing the UK patent rights for the ‘Spool Axminster’, which further solidified his fortune.

Beyond his business pursuits, Tomkinson was also a public servant, holding the office of Mayor of Kidderminster in 1887 and Sheriff of Worcestershire in 1892.

Tomkinson and his wife, Annie Porrit Stonehouse, were passionate collectors of Japanese art. Their collection grew to include thousands of diverse objects, such as ivory okimono carvings, netsuke toggles, lacquerware, ceramics, woodblock prints, swords, and bronzes. Tomkinson’s interest in Japanese culture wasn’t limited to collecting; he was an active member of the Japan Society, where he promoted cultural exchanges. He frequently lent pieces from his collection for exhibitions at museums and institutions, and he also gave numerous lectures on the subject.

In 1898, he published a two-volume catalogue of his entire collection, titled ‘A Japanese Collection’, which documented the thousands of objects housed at his home, Franche Hall, in Worcestershire. The exquisite suzuribako (lot 830) decorated with monkeys in gold and red lacquer is one of the pieces collected by Michael and illustrated in the book, volume 2, plate L573.

Following his death in 1921, the extensive collection was sold at auction in London. The Victoria and Albert Museum, the British Museum, and the Ashmolean Museum in Oxford are among the institutions reported to have acquired pieces from his collection. Many pieces remained with the family, however, and some were also bought back.

His passion was passed down generations, however, and we are delighted to also offer pieces collected by a direct descendant of Michael’s. Their particular interest in lacquerware led them to acquire many pieces at auction and from antiques dealers, both in the UK and in France. Amongst the most impressive lots that later joined the Tomkinson Family Collection is the extensive wedding trousseau (lot 836) purchased from Christie’s London in 1995. Another impressive piece is the large cylinder desk (lot 828) acquired from David D. Dickinson in 1995.

819

THREE JAPANESE LACQUER KŌBON (INCENSE TRAYS)

EDO/MEIJI, 19TH CENTURY

The largest of rectangular shape and decorated in the style of Ritsuō, with chrysanthemums rendered in mother of pearl, ceramic and lead; the reverse with a minute green porcelain seal mark reading as Teiji and a paper collection label for ‘Tomkinson Collection 580’; the other rectangular tray decorated in iroe togidashi with a pheasant amongst bamboo, signed Kajikawa saku, the base in gold nashiji; and the third tray in the shape of Hotei’s treasure sack, decorated in gold and black hiramaki-e, togidashi, and kimpun on a fundame ground with a karako (boy) and butterfly beneath a plum tree, the reverse in nashiji, 20.6cm max. (3)

£800-1,200

Provenance: the Tomkinson Family Collection. The largest tray first collected by Michael Tomkinson (1841-1921) and thence by descent; the two others both formerly in the collection of James Orange, Hong Kong; purchased from Christie’s London, 19th June 1997, lot 601 (part). James Orange lived in Hong Kong at the turn of the century, visiting Japan frequently and assembling an impressive lacquer collection. Many of his pieces were bequeathed to the British Museum in 1928. Exhibited: the larger tray at the Burlington Fine Arts Club, 1894.

Literature: the same tray listed in M Tomkinson, A Japanese Collection Made by Michael Tomkinson, vol. II, p.40, no. 580. Also, listed in the Burlington Fine Arts Club, ‘Catalogue of specimens of Japanese Lacquer and Metal Work’, p.95, no.22.

820

λ A JAPANESE INLAID LACQUER SUZURIBAKO (WRITING BOX)

EDO PERIOD, 18TH/19TH CENTURY IN THE STYLE OF OGAWA HARITSU (RITSUO, 1663-1747)

The lid decorated with two inrō depicted in low relief, one with three cases and embellished with a caparisoned elephant tethered to a pole, the other depicted in the shape of a gunbai fan, rendered in tsuishu lacquer with scrolling clouds and a central medallion with a stylised dragon, the netsuke in the shape of a small handscroll; with details masterfully rendered in a variety of materials including metal, ceramic, mother of pearl and glass; a red seal mark lower left reading as Kan; the interior embellished in nashiji and with compartments for writing implements, 26cm x 18.5cm x 3.5cm. (2)

£800-1,200

Provenance: the Tomkinson Family Collection. Ivory Act 2018 exemption certificate, ref. Q7AF7UYH

820 mark

819 mark and Tomkinson label

821

FOUR JAPANESE LACQUER INRŌ

EDO/MEIJI, 18TH/19TH CENTURY

The first a four-case gold hiramaki-e and fundame inrō with all-over decoration of kotobuki characters; another a five-case inrō with a flowering prunus tree in gold kirikane, hiramaki-e and fundame; the third a four-case inrō with a red kotobuki character to one side and seashells for the kai-awase game to the other, the inside of one decorated with trailing wisteria, with details rendered in nashiji, hiramaki-e and gold leaf; the last a four-case inrō with tall grasses and a silver moon, in gold kirikane and hiramaki-e on a black roiro ground, signed Chikanao with kao; 9.7cm max. (4)

£500-800

Provenance: the Tomkinson Family Collection.

822

THREE JAPANESE LACQUER INRŌ

EDO/MEIJI, 19TH CENTURY

The first a three-case black lacquer inrō with champlevé decoration of flowers, scrolling tendrils and butterflies, the base with a paper collection label reading ‘Tomkinson Collection 691’; another a Somada school four-case inrō decorated with geometric patterns picked out in gold and silver inlays on a roiro ground, framed by gold cherry blossoms on a mother of pearl cracked-ice ground; one side with a gold lacquer cicada and the other with red and gold maple leaves; the base signed Somada saku; the third a three-case inrō with landscape decoration rendered in relief and in various coloured lacquers against a red cinnabar ground; 8.7cm max. (3)

£500-800

Provenance: the Tomkinson Family Collection. The first inrō originally collected by Michael Tomkinson (1841-1921) and thence by descent.

Literature: the first inrō listed in M Tomkinson, A Japanese Collection Made by Michael Tomkinson, vol.I, p.19, no. 691.

821 two views

822 two views

823

THREE JAPANESE LACQUER INRŌ

MEIJI ERA, 19TH CENTURY

823 two views

All three decorated with cranes or egrets, the first a three-case inrō; the second also with three cases and attached to two ojime, one in bone, the other in metal, signed Shunshō; the third with a tsuishu lacquer netsuke and a small silk pouch; the last two with signatures underneath reading Kajikawa saku above a red pot seal Ei. (3)

£600-1,000

Provenance: The Tomkinson Family Collection. The inrō with bone ojime purchased from Christie’s London, ‘The Carlo Monzino Collection of netsuke, inro and lacquer’, 21st June 1995, lot 408.

824

λ TWO JAPANESE LACQUER KŌGŌ (INCENSE BOXES)

EDO/MEIJI, 18TH/19TH CENTURY

The first a square box and cover, decorated with camellia flowers strung on a thin ribbon, rendered in red, gold and silver fundame on the black roiro lacquer ground, the inside in silver togidashi with specks of gold, with a paper collection label for ‘Tomkinson Collection 204’, and another label inside inscribed 2154/2; another box and cover naturalistically modelled as a persimmon with a leafy stem, in red and gold hiramaki-e and with a nashiji interior and base, with a paper collection label for ‘Tomkinson Collection’ and possibly ‘694’, raised on an associated Chinese stand with Tomkinson Collection label possibly inscribed ‘I, 324a’; together with an unusual aubergine-shaped wood tonkotsu (tobacco box) with a glass ojime; 8cm max. (7)

£800-1,200

Provenance: the Tomkinson Family Collection, first collected by Michael Tomkinson (1841-1921) and thence by descent. Literature: the square box listed in M Tomkinson, A Japanese Collection Made by Michael Tomkinson, vol.II, p.20, no.204. Ivory Act 2018 exemption certificate, ref. 9JZ59H3M.

825

TWO JAPANESE GOLD LACQUER KŌGŌ (INCENSE BOXES)

EDO/MEIJI, 18TH/19TH CENTURY

The largest a square-section box and cover decorated with mon (family crests) in gold hiramaki-e and nashiji lacquer; the other shaped as a rectangular pouch tied with ribbons and decorated with maple leaves, all rendered in gold and red hiramaki-e with kirikane details on a black ground, the inside in nashiji with two collection paper labels reading ‘Tomkinson Collection 117’ and ‘2154/2’; together with a gold nashiji and hiramaki-e lacquer cylinder, possibly a case for a hanko seal, subtly decorated with mitsudomoe (three-comma), a mon and stylised waves, in a fitted silk pouch. (6)

£400-600

Provenance: all three from the Tomkinson Family Collection; the pouch-shaped kōgō first collected by Michael Tomkinson (1841-1921) and thence by descent.

Literature: the same kōgō listed in M Tomkinson, A Japanese Collection Made by Michael Tomkinson, vol. II, p.16, no. 117.

826

A COLLECTION OF JAPANESE MINIATURE LACQUER PIECES

EDO PERIOD AND LATER, 17TH CENTURY AND LATER

Mostly decorated in gold hiramaki-e and takamaki-e on a black roiro ground, including three models of rectangular fubako boxes and covers embellished with flowers and scrolling tendrils; a miniature model of a hōkai box and cover for the kai-awase shell game, enclosing four minute painted shells; a model of a ryōshibako (document box), the cover decorated with a fourteen-petal chrysanthemum mon and hō-ō birds; and a seashell box and cover decorated in gold, iroe hiramaki-e and gold foil on a roironuri ground; and a fan-shaped box in Somada style, decorated with kirikane and aogai inlays on a black roiro ground, with a boy sat between a basket of flowers and a large ox, a poem above; 8.5cm max. (18)

£300-500

Provenance: from the Tomkinson Family Collection. The fan-shaped box and seashell one both formerly in the collection of James Orange, Hong Kong; purchased from Christie’s London, 19th June 1997, lot 601 (part).

Literature: the seashell box published in J Orange, Catalogue of a Small Collection of Japanese Lacquer, no.57, illustrated on p.26.

James Orange lived in Hong Kong at the turn of the century, visiting Japan frequently and assembling an impressive lacquer collection. Many of his pieces were bequeathed to the British Museum in 1928.

828

A FINE JAPANESE GOLD LACQUER BUNKO (DOCUMENT BOX)

MEIJI ERA, 19TH CENTURY

The tall rectangular box with a flush-fitting lid and inner tray, all exquisitely decorated in gold and silver hiramaki-e, nashiji, kirikane and iroe hiramaki-e with a complex design of fans scattered on a mokume ground realistically simulating wood grain; each fan embellished with a different design, one with thatched huts by a lake, another with a bird perched on a fishing boat, a third with a large ox-drawn cart; two with luxurious verandas and others depicting lush gardens and flowers, several details referencing the Tale of Genji; the base of the box and reverse sides of the lid and inner tray in nashiji; 15.5cm x 20.5cm x 25.5cm. (3)

£1,200-1,500

Provenance: the Tomkinson Family Collection; purchased from Michael E. Bound, June 2011; a copy of the original invoice is available.

827

A JAPANESE GOLD LACQUER KŌGŌ (INCENSE BOX)

MEIJI ERA, 19TH CENTURY

Modelled in the shape of a gunbai and another fan, decorated all over in gold hiramaki-e, nashiji and kirikane; the gunbai richly decorated with bamboo and pine and the other fan with thatched pavilions by a lake; the sides with a large number of auspicious emblems scattered across the surface, including Dailkoku’s mallet, Hotei’s sack of treasures and a hagoromo (a tennin’s feather coat); the interior and base embellished in nashiji; 5.2cm x 15.2cm x 9cm. (2)

£600-800

Provenance: the Tomkinson Family Collection; purchased from M.C.N. Antiques (Umezawa), 4th November 2000; a copy of the original invoice is available.

829

AN IMPRESSIVE JAPANESE RED AND GOLD LACQUER CYLINDER DESK MEIJI ERA, 19TH/20TH CENTURY

Richly decorated in mother of pearl inlays, gold and iroe hiramaki-e lacquer, painted with many view of shrines including the Nikkō Tōshō-gū, birds, paulownia and hollyhock mon, blossoming prunus trees and figures, all framed by borders of key fret and other geometrical designs; made of various stackable parts, raised on two sections with front doors each opening to reveal three drawers to the front and a cupboard to the back; the cylinder roll top enclosing two hinged doors, a set of sliding doors and a drawer containing a writing slope set in purple velvet; the superstructure reminiscent of a traditional Japanese shrine, with further doors, drawers, and a central set of hinged doors opening to reveal two small drawers and an empty space above, decorated at the back with a Japanese scroll painting with a writhing dragon, signed; 171cm x 106cm x 69cm.

£2,000-4,000

Provenance: the Tomkinson Family Collection; purchased from David D. Dickinson, 14th February 1995; a copy of the original invoice is available.

830 A GOOD JAPANESE MEIJI ERA, 19

Delicately decorated in gold and iroe hiramaki-e, takamaki-e, togidashi, kirikane and okibirame lacquer, the lid with a group of monkeys cavorting on a pine tree, signed Shisen and sealed lower left corner; the reverse of the cover embellished with an equally masterful design of a deer beneath a fruiting pomegranate tree, looking at a sparrow in flight above; with an inner tray, variously-shaped compartments, and an inkstone; the interior and base rendered in mura-nashiji; with a paper collection label reading ‘Tomkinson Collection 573’; 21.8cm x 14.4cm x 4.5cm. (7)

£3,000-5,000

Provenance: the Tomkinson Family Collection, first collected by Michael Tomkinson (1841-1921); purchased back by the Tomkinson Family from Christie’s London, 13th November 1995, lot 481; a copy of the original invoice is available.

Exhibited: The Burlington Fine Arts Club, 1894.

Literature: listed and illustrated in M Tomkinson, A Japanese Collection Made by Michael Tomkinson, vol.II, p.40, no.573. Also, listed in the Burlington Fine Arts Club, ‘Catalogue of specimens of Japanese Lacquer and Metal Work’, p.95, no.22

830 Reverse of lid Illustration in M. Tomkinson ‘A Japanese Collection’, 1898

831

A JAPANESE LACQUER TANZAKU-BAKO (POEM-SLIP BOX)

EDO/MEIJI, 19TH CENTURY

The slender box and cover decorated in gold hiramaki-e and nashiji on a black roiro ground, the lid embellished with rafts drifting down a river, bearing branches of willow, yamabuki (wild roses) and bush clover; together with a rectangular tortoiseshell tray decorated in iroe hiramaki-e with five sparrows flying over a screen suspending a red tassel; 38.2cm x 7.8cm max. (3)

£500-800

Provenance: the Tomkinson Family Collection; the box purchased from Christie’s London, 16th June 1999, lot 173; the tray from Christie’s London, 19 June 1997, lot 601 (part), formerly in the collection of James Orange, Hong Kong. Copies of the original invoices are available.

James Orange lived in Hong Kong at the turn of the century, visiting Japan frequently and assembling an impressive lacquer collection. Many of his pieces were bequeathed to the British Museum in 1928.

833

A COLLECTION OF FOUR JAPANESE LACQUER CABINETS

MEIJI ERA, 19TH/20TH CENTURY

Three with a flat tray to the top, all with drawers of various sizes and decorated in gold hiramaki-e on a black roiro ground, variously painted with sprays of flowers, scrolling tendrils, and one with mon; all with metal fittings; 37.5cm x 31.5cm x 21.5cm max. (18)

£300-500

Provenance: the Tomkinson Family Collection.

832

A COLLECTION OF TEN JAPANESE LACQUER BOXES

MEIJI AND LATER, 19TH/20TH CENTURY

Comprising six fubako (letter boxes), a kogo (box for incense), a card case, a foliate-shaped box, and a tall rectangular box with two compartments for playing cards; all variously decorated with birds, flowers, brocade patterns and landscapes, one fubako with a silver moon crescent above sprays of bush clover by a meandering stream, another with large chrysanthemum behind trellis, 31cm max. (19)

£300-500

Provenance: the Tomkinson Family Collection.

834

A COLLECTION OF JAPANESE KAGAMI (MIRRORS) AND LACQUER CASES

EDO/MEIJI, 19TH CENTURY

The four bronze mirrors decorated with auspicious symbols including cranes, pine and bamboo; three in fitted lacquer boxes embellished in gold hiramaki-e on a black roiro ground with mon and scrolling tendrils; two with foldable stands, another displayed on a small cabinet with an integrated mirror stand above two drawers; together with another black lacquer mirror case, undecorated; 63cm max. (19)

£400-600

Provenance: the Tomkinson Family Collection.

835

A JAPANESE GOLD AND BLACK LACQUER STAND MEIJI ERA, 19TH/20TH CENTURY

Elegantly modelled in the shape of an undulating sash curling at one end, the top decorated in gold and silver hiramaki-e and nashiji on a black roiro ground, with three geese in flight beside a full moon and above autumn grasses, bellflowers and leafy tendrils; the sides decorated with bands of shippo-tsunagi (cash design) enclosing four-petalled flower mon; 12.5cm x 74cm x 31.8cm.

£800-1,200

Provenance: the Tomkinson Family Collection; purchased from M.C.N. Antiques (Umezawa), 4th November 2000; a copy of the original invoice is available.

836

AN EXTENSIVE JAPANESE GOLD LACQUER WEDDING TROUSSEAU

EDO PERIOD, 18TH/19TH CENTURY

The lavish set decorated in gold hiramaki-e and mura-nashiji lacquer with a dense pattern of sasa-no-ha (bamboo leaves) and scrolling tendrils; comprising: a large te-arai (washbasin raised on three feet), a hazo (ewer with lid and spout-cover), a large hollow cylinder with quatrefoil apertures to the sides, eight boxes of various sizes and shapes with covers and some with inner trays, probably used to contain cosmetics, one containing eighteen brushes for make-up, another with two brushes on rests; a footed bowl, a cabinet with three drawers below an integral tray; two cases with lids enclosing bronze hand mirrors, and a folding stand; a tenmoku-dai (cup stand), and a number of combs and wooden implements for make-up application; 53cm max.

£1,800-2,200

Provenance: the Tomkinson Family Collection. Purchased from Christie’s London, 13th November 1995, lot 488; a copy of the original invoice is available.

Commissioned by powerful daimyō for their daughters, these impressive trousseaux were more than just possessions; they symbolized the family’s social standing and the political alliances formed through the marriage. Preparations for the trousseau would begin as soon as an engagement was announced. As the bride was marrying into the groom’s family, her trousseau was a crucial part of the dowry, and it would be transported to the groom’s estate in an elegant wedding procession.

838

TWO SMALL JAPANESE KODANSU (LACQUER CABINETS) AND POEM CARDS

EDO PERIOD, 17TH CENTURY AND LATER

One of long rectangular form with four small drawers to the side, decorated in gold hiramaki-e, fundame and kirikane on a black roiro ground with pavilions in mountainous river landscapes, the top with a waterfall; the taller cabinet with two front drawers, decorated to the sides and back with many birds flying amongst flowering prunus branches, rendered in gold hiramaki-e and nashiji on a roiro ground; the drawers containing a set of four hundred and two uta garuta (poem cards) for the Hyakunin Isshu game, each hand-written in sumi ink and with a silver leaf backing; 18cm x17.3cm x 10.2cm max. (410)

£300-500

Provenance: the Tomkinson Family Collection.

837

A JAPANESE LACQUER KAI-OKE (BOX FOR THE KAI-AWASE SHELL GAME) MEIJI ERA, 19TH CENTURY

The box, cover and stand decorated in gold hiramaki-e on a black roiro ground with cherry blossoms, scrolling tendrils and the gyōyō mon (family crest with horse fittings ornaments); the box lined in silk with auspicious emblems; the stand finely decorated with seven seashells rendered in relief in gold and coloured lacquer, variously decorated with butterflies, feathers and a branch of paulownia; together with two lose hamaguri (Japanese surf clam) shells, painted to the inside in ink and colour on gold leaf with birds and flowers, 49cm overall. (5)

£600-1,000

Provenance: purchased from Robert Brandt Oriental Antiques, London, 9th June 1994; a copy of the original invoice is available.

839

A JAPANESE GOLD AND BLACK LACQUER SAGEJUBAKO (PICNIC SET)

EDO/MEIJI, 18TH/19TH CENTURY

Of typical rectangular form, including a four-tier box and cover, a shallow tray, a drawer and a box and cover with two apertures for the lacquer bottles with lids; decorated all over with many flowering sprays of chrysanthemums and tall autumn grasses by a meandering stream, with many small metal inlays simulating seeds scattered across the surface, 31cm x 34.3cm x 20.3cm. (13)

£800-1,200

Provenance: the Tomkinson Family Collection, purchased from Japon Antique, Reiko et Christian Magnier, Paris, 13th May 2000.

840

A COLLECTION OF JAPANESE LACQUER PIECES

MEIJI ERA, 19TH/20TH CENTURY

All decorated in gold lacquer, most with hiramaki-e designs on a black roiro ground; one a large cabinet decorated with the mitsuba aoi mon (triple hollyhock crest), the removable front door opening to reveal three drawers of various sizes; a cabinet with an integrated box and cover to the top and five drawers, decorated with scattered fans, each embellished with a different design including birds and flowers; a large bunko (document box and cover) with chrysanthemum and scrolling tendrils; another small cabinet with bush clover and paulownia mon; and shelves decorated in gold lacquer with floral designs; 47.5cm x 46cm x 32.5cm max. (18)

£400-600

Provenance: the Tomkinson Family Collection.

842

A COLLECTION OF JAPANESE LACQUER PIECES

MEIJI AND LATER, 19TH CENTURY AND LATER

Comprised of two models of multi-storey pavilions, each opening to reveal many compartments, trays and boxes, one with details rendered in eggshell; a fan-shaped box and cover, the surface also decorated in white eggshells, gold and iroe hiramaki-e lacquer, with chickens and a landscape; together with a model of an ox-drawn cart and a miniature shamisen, 40cm max (49)

£200-400

Provenance: the Tomkinson Family Collection. The fan-shaped box purchased from Christie’s London, 19 June 1997, lot 601 (part), formerly in the collection of James Orange, Hong Kong; copies of the original invoice is available.

James Orange lived in Hong Kong at the turn of the century, visiting Japan frequently and assembling an impressive lacquer collection. Many of his pieces were bequeathed to the British Museum in 1928.

841 A COLLECTION OF JAPANESE LACQUER PIECES

EDO AND LATER, 17TH/18TH CENTURY AND LATER

All variously decorated in gold hiramaki-e, kirikane and nashiji on a black roiro ground, comprising: a jubako (picnic box) modelled as a bamboo cage covered with butterflies, enclosing three trays and a rectangular container, with details rendered in iroe hiramaki-e and gold leaf; four variously-shaped boxes decorated with flowers and scrolling tendrils, some with mon, one with four tiers and another with a domed cover raised on an associated stand; and a small natsume (tea caddy) with many cranes in flight above pine, 24.2cm max. (25)

£200-300

Provenance: the Tomkinson Family Collection.

843

A COLLECTION OF JAPANESE LACQUER PIECES

EDO AND LATER, 18TH CENTURY AND LATER

Decorated in gold and silver hiramaki-e on a black roiro ground, some with areas in red lacquer; most decorated with scrolling leafy tendrils; one a combined bunko and suzuribako, the tall rectangular box with an inner tray and a drawer opening to reveal an ink stone and a shell-shaped copper suiteki (water dropper), embellished with mon and tendrils; a large renge spoon, with a fitted case and cover to protect the bowl; a cylindrical kettle with a long straight handle and lid; a box, cover and integrated cup stand decorated with cherry blossoms and ho-o birds in flight, together with a small kettle and cover shaped as Daikoku’s mallet, with the same decoration; and a large footed bowl with scrolling wisteria, 25cm max. (18)

£400-600

Provenance: the Tomkinson Family Collection.

844

FOUR JAPANESE FUKUSA (GIFT COVERS)

MEIJI ERA, 19TH/20TH CENTURY

Each embroidered in silk and with details rendered in metallic threads, one with the Shichifukujin (Seven Gods of Good Fortune) celebrating the New Year, another an aerial view of the shrine at Itsukushima with its iconic ‘floating’ torii gate; the third with three figures in an interior reading poem cards, the fourth with many auspicious symbols; each approx. 84cm x 71cm. (4)

£400-600

Provenance: the Tomkinson Family Collection, first collected by Michael Tomkinson (1841-1921) and thence by descent.

Literature: the Shichifukujin and Itsukushima fukusa both listed in M Tomkinson, A Japanese Collection Made by Michael Tomkinson, vol.1, p.183, nos.18 and 32.

845

A COLLECTION OF JAPANESE FUCHI-KASHIRA AND OTHER SWORD FURNITURE

EDO/MEIJI, 18TH/19TH CENTURY

Including: eight sets of fuchi-kashira, four single fuchi, three single kashira, and a single kojiri, all variously decorated with dragons, animals, mon, flowers and other designs, the embellishments rendered in copper, iron, shakudo and other metals, one gold-plated fuchi decorated with a dragon writhing amongst clouds; together with three variously-shaped menuki, a metal bead with filigree decoration, and a kagamibuta netsuke with a wooden bowl, the metal disc decorated with a chicken; together with a miniature model of a katana, all unsigned. (31)

£1,200-1,500

Provenance: the Tomkinson Family Collection.

846

THREE JAPANESE IRON TSUBA

EDO AND LATER, 17TH CENTURY AND LATER

One a parcel-gilt nanban tsuba of mokko gata shape with reticulated decoration of a dragon writhing amongst clouds, chasing a sacred pearl of wisdom above a pavilion; another inlaid in gold and shakudo, depicting a duck on a pond and lotus, signed Kafudo Mitsuaki with kao; the third with openwork decoration featuring a shishi, the lion dog prancing over a peony bloom, with a paper collection label reading ‘Tomkinson Collection’ and possibly ‘I 500 / 108’, 8.4cm max. (3)

£400-600

Provenance: the Tomkinson Family Collection. By repute, the tsuba with Tomkinson label originally collected by Michael Tomkinson.

844

845

848

TWO JAPANESE KATANA (SWORDS), ONE IN SHIRASAYA POSSIBLY MUROMACHI AND EDO, 14TH AND 18TH CENTURY

847

A JAPANESE KATANAKAKE (SWORD STAND) AND A JINGASA (WAR HAT) EDO/MEIJI, 18TH/19TH CENTURY

The stand in gold and silver hiramaki-e on a black roiro ground, decorated with a large bird of prey and a pine tree before Mount Fuji, above a single drawer; and the gold, red and black lacquer jingasa with a single circular mon enclosing a ho-o bird; 44cm max. (3)

£600-1,000

Provenance: the Tomkinson Family Collection.

The first with a lacquered scabbard decorated in nashiji and with malachite inlays; the tsuba of mokko shape in gold and shakudo with dragon roundels, the fuchi-kachira modelled as ho-o birds amongst clouds, and with ho-o menuki; the blade 73.7cm, shallow koshi-zori, shinogi-tsukuri with bo-hi either side, toran hamon of nie and nioi, itame-mokume hada, ubu-nakago; the mei for Tsuda Omi no Kami Sukesada, possibly dated Hoei, 3rd year (corresponding to 1707), 8th month; the other katana blade in shirasaya with paper collection labels for ‘Tomkinson Collection 96’, measuring 70.6cm, koshi-zori, shinogi-tsukuri with double hi either side midare hamon of nie and nioi, itame-hada, suriage-nakago with two mekugi-ana, kinzogan-mei (signed in gold) Muramasa. (4)

£2,000-3,000

Provenance: the Tomkinson Family Collection. The katana in shirasaya originally collected by Michael Tomkinson (1841-1921) and thence by descent. Literature: the same katana listed in M Tomkinson, A Japanese Collection Made by Michael Tomkinson, vol.I, p.152, no.96, where it is dated as 14th century.

848 mark

849 A JAPANESE WAKIZASHI (SHORT SWORD)

PROBABLY EDO, 18TH/19TH CENTURY

The black lacquer scabbard with a pronounced shagreen decoration, one menuki modelled as a copper frog with gilt eyes, together with its young on a lotus leaf; the other a writhing snake in shakudo; the fuchi/kashira and tsuba with a large number of flowers rendered in gilt over the shakudo ground, the fuchi signed Nagaharu; the kozuka with deer and maple leaves, inscribed Shizu Saburo Kaneuji in homage to the 13th century swordsmith; the tang of the blade mumei (unsigned), the blade 48cm. (2)

£400-600

850 A JAPANESE KATANA (SWORD)

PROBABLY EDO, 18TH/19TH CENTURY

The mottled red lacquer scabbard with minute sprinkled aogai details, the fuchi-kashira decorated with flowers and with a grasshopper on the pommel, each menuki modelled as a prancing horse with details in gilt; the iron tsuba also embellished with a shakudo stallion under a willow tree and by a stream; the handle of the kozuka with a lobster, the blade with an inscription possibly reading Seki Kane…; the tang of the blade with mei reading as Munehira saku; the blade 62.3cm. (2)

£600-1,000

851

A JAPANESE OSAKA SCHOOL KATANA (SWORD)

EDO PERIOD, 17TH CENTURY

The black lacquer saya (scabbard) with a inro-kizami notched surface, the sword furniture elements (menuki, fuchi-kashira, kojiri and tsuba) all decorated with an Un-ryū (cloud dragon) design with traces of gilt; the fuchi signed Narinobu with kao, possibly for Narinobu of the Umetada School, Edo; the tsuba of kawari-mokko-gata shape, with inome (boar’s eye) sukashi (cut-out) design, decorated with swirling clouds patterns; the tang with a mei possibly reading Kawachi no kami, Kunisuke; the blade 74cm. (2)

£3,500-4,500

Provenance: an English private collection, London.

852

A TWO-HANDLED FIGHTING SWORD

PROBABLY 19TH CENTURY

Possibly a dha sword from Thailand or of Ainu origin, the handle and scabbard covered with metal sheets decorated with scrolling ornaments, the blade 47.5cm, 74.5cm overall. (2)

WITHOUT RESERVE

£200-300

853

A JAPANESE GOLD AND SHAKUDO BOX MADE FROM SWORD FURNITURE

EDO PERIOD, 19TH CENTURY

Made up of a fuchi and kashira, decorated with scenes from the Tale of the Heike, with Kagesue riding his black horse Surusumi and his rival Takatsuna riding Ikezuki, one armour-clad samurai crossing the Uji river on the kashira and the other riding by the shore on the fuchi, signed Sobaiken and with kao, 3.9cm. (2)

£600-1,000

854

AN UNUSUAL SILVER AND SHAKUDO BOX WITH JAPANESE YŌKAI (MONSTER)

MEIJI ERA, 19TH CENTURY

THE SILVER BOX DATED 1895

The top inset with a plaque depicting a kamaitachi (‘sickle weasel’), the fury beast with sharp silver claws emerging from scrolling clouds in shakudo, its eyes and fangs picked out in gilt; mounted in a silver box of the same shape with English hallmarks for George Heath, London 1895; 8.8cm.

£1,000-1,500

In Japanese lore, a kamaitachi or ‘sickle weasel’, scratches or tears people’s skin without reason, and is often held responsible for one’s small cuts of unknown origins.

855

A JAPANESE LACQUERED SILVER NAPKIN RING

MEIJI OR LATER, 19TH OR 20TH CENTURY

Of octagonal shape, decorated with quails amongst flowers, signed and with English silver hallmarks for Charles Dumenil, London 1928 to the inside, 4.6cm; together with a Chinese silver box surmounted by a crab, marked underneath, 5.2cm. (3)

WITHOUT RESERVE

£150-250

853 two views

856

A NEAR-PAIR OF JAPANESE VASES BY KONOIKE OF YOKOHAMA (ACT. C.1880-1921)

MEIJI/TAISHO, 19TH OR 20TH CENTURY

Both with an elegant foliate trumpet-shaped body and raised on a circular base, each decorated with a dragon rendered in the round ensnaring the stem, with another dragon depicted in low relief on the foot, both with a mark underneath for Konoike zo and jungin (pure silver), both 14.5cm. (2)

£1,000-2,000

857

A LARGE JAPANESE SILVER, GOLD AND SHIBUICHI BOX BY SEKIGUCHI SHINYA (1877-1932)

MEIJI OR LATER, 19TH/20TH CENTURY

The cover inset with a large rectangular plaque in mixed metals depicting ukai (traditional cormorant fishing), one bird paddling in a pond and with a minute fish in its beak, the other perched on a fisherman’s boat, with its wings outstretched and its head turned towards a small basket engulfed in flames; signed lower right corner Shinya koku and sealed Shinya; the inside of the box decorated in gold nashiji lacquer and divided into compartments of various sizes, the underside stamped jungin (pure silver) above a swallow-shaped punch mark for the Hattori Company, 10.3cm x 28.5cm x 19.4cm. (2)

£4,000-6,000

856 marks

857 mark

LOTS 858-861

JAPANESE JIZAI OKIMONO: THE MYOCHIN FAMILY

Jizai okimono are intricate metal sculptures crafted from numerous articulated plates that allow them to move with lifelike flexibility. Originating with master armourers like those of the Myōchin school during the peaceful Edo period, this unique art form repurposed their highly refined metal forging skills. The name Myōchin itself, meaning "brilliantly executed, extraordinarily rare craftsmanship," was a prestigious name granted by Emperor Konoe (1141–54) to an early ancestor of the school. The school's members were highly regarded for their mastery of metal-hammering techniques.

858

A LARGE AND IMPRESSIVE JAPANESE IRON JIZAI OKIMONO OF A CRAB BY MYŌCHIN MUNEYOSHI

MEIJI ERA, 19TH/20TH CENTURY

Naturalistically modelled with fully articulated limbs, eyes, and mandibles; with a warm chocolate-brown patina, the reverse with a signature reading as ‘Myochi Muneyoshi, made at the age of seventy-seven’, 28cm; together with a tomobako (wood box). (2)

£8,000-12,000

859

A SMALL JAPANESE IRON JIZAI OKIMONO OF A CRAB

EDO/MEIJI, 19TH CENTURY

Naturalistically modelled with fully articulated limbs and eyes, the shell intricately worked, 9cm.

£300-500

Provenance: from the Mark and Elizabeth Harding Collection, South Africa.

860

A JAPANESE MYOCHIN-SCHOOL IRON JIZAI OKIMONO OF A SNAKE

EDO OR MEIJI PERIOD, 18TH OR 19TH CENTURY

Realistically modelled, the fully articulated body constructed of a multitude of hammered plates simulating scales, the head with a hinged jaw opening to reveal a movable forked tongue and silver teeth, the eyes and tongue gilded, signed Myochin horizontally underneath the belly, 79cm.

£3,000-5,000

Provenance: from the Mark and Elizabeth Harding Collection, South Africa.

861

A JAPANESE MYOCHIN-SCHOOL IRON JIZAI OKIMONO OF A PRAYING MANTIS

MEIJI ERA, 19TH/20TH CENTURY

The insect with a fully articulated body, the limbs, head and wings constructed of moving parts, the wings incised with thin lines, signed Myochin underneath, 17cm.

£300-500

Provenance: from the collection of Dr Richard Brown, and thence by descent.

Dr. Richard F. Brown (1898-1963) was a Canadian Anglican missionary doctor who served in China, most notably at St. Paul’s Hospital in Henan, starting around 1930. During the Second Sino-Japanese War, he became a field doctor, providing urgent medical aid near the front lines and famously collaborating with fellow Canadian Dr. Norman Bethune in 1938 to treat wounded soldiers.

858 mark

860 mark

861 mark

862

A LARGE HARDWOOD CRAB BOX 19TH/20TH CENTURY

Possibly Japanese, realistically carved and with glass eyes, the hinged lid opening to reveal a velvet-lined interior; together with a key, 34cm. (2)

£100-150

863

A JAPANESE BRONZE KORO (INCENSE BURNER)

MEIJI OR LATER, 19TH OR 20TH CENTURY

Cast as two shishi playfighting, one biting the back of the other, its head removable; with traces of gilding; 37cm. (2) WITHOUT RESERVE

£800-1,200

864

TWO JAPANESE BRONZE OKIMONO OF RATS MEIJI ERA, 19TH/20TH CENTURY

One small rodent resting its front paws on a chestnut and the other holding a small stone, both marked underneath, both 11cm. (2) WITHOUT RESERVE

£200-300

Provenance: from the collection of the late Wing Commander F W Hilton (d.1990s).

865

A JAPANESE BRONZE OKIMONO BY THE MIYAO EISUKE COMPANY OF YOKOHAMA MEIJI ERA, 19TH/20TH CENTURY

Depicting a man dressed in robes with designs of futatsu-tomoe and floral mon, the details highlighted in gilt, standing holding a fan and a spear; signed in a gilt rectangular reserve Miyao; attached to a wood stand decorated in gold takamaki-e; the figure, 14.7cm, 18.5cm overall. (2)

£1,000-2,000

Under its founder Miyao Eisuke, The Miyao Company of Yokohama became one of the most prolific workshops of the Meiji era, specialising in ornamental cast-bronze sculptures mainly for the export market.

866

A JAPANESE BRONZE FIGURE OF JIZŌ BOSATSU

EDO/MEIJI, 19TH CENTURY

The Buddhist Protector of children depicted standing, holding a shakujō or khakkhara (a monk’s staff with six metal rings) and a tama (a sacred wish-granting jewel) in his left hand; the back with an inscription reading as Nihon-ji Kongōgan Jizō Nijūyon-ban, 27cm; together with a lotus-shaped stand. (2)

£600-800

The inscription possibly refers to Nihon-ji, a Buddhist temple in the city of Kyonan, Chiba Prefecture, Japan.

867

AN IMPRESSIVE PAIR OF JAPANESE COLD-PAINTED BRONZE FIGURES

EDO PERIOD, 18TH/19TH CENTURY

Both ferocious-looking Heavenly Gods wearing elaborate armours and standing on rocky outcrops, one cast as Tamonten (Vaisravana), the Guardian of the North, typically holding a stupa or lantern; the other Zōchōten (Virudhaka), Guardian of the South, holding a polearm and with a hand on his hip; each with details painted in red, green and ochre, their faces with remnants of gilding, 61cm and 67cm respectively. (2)

£5,000-8,000

Provenance: from an English private collection, London.

Tamonten’s stupa or lantern represents the propagation of Buddhist teachings, and Zōchōten is usually associated with growth and prosperity.

A MASSIVE JAPANESE BRONZE FIGURE OF KANNON BOSATSU

MEIJI ERA, 19TH/20TH CENTURY

The impressive and heavy Bodhisattva of Compassion depicted standing, barefoot and with long flowing robes revealing her chest, with bejewelled necklaces with malachite inlays and an elaborated headdress; the hands depicted in kichijo-in and an-i-seppo-in; with a long inscription at the back reading as ‘Kozuke no kuni, Nitta, Kanayama jo sanroku, Mannen san Sogen-ji, Minamoto Yoshisada kufu su’ (Donated by Minamoto Yoshisada, the Sogen-ji Temple of the Mannen mountain, located at the foot of Kanayama Castle, Nitta, Kozuke Province)’, 95cm.

£6,000-8,000

Provenance: an English private collection; purchased from Christie’s Amsterdam, 13th October 1998, lot 95, previously in the collection of Kasteel de Haar near Utrecht, The Netherlands.

The votive inscription is a reference to Minamoto Yoshisada (Nitta Yoshisada, 1301-38), a samurai lord and head of the Nitta clan who, in 1333, led the attack that overthrew the Kamakura Shogunate. The Sogen-ji Temple is a historical temple in Ota, Gunma, founded in 1188 by the Nitta clan.

Baroness Hélène de Rothschild (1863-1947) married Baron Etienne van Zuylen van Nijevelt van De Haar in 1887. She became closely involved with the massive, twenty-year rebuilding of Kasteel de Haar, a major castle near Utrecht he had inherited, which was a ruin at the time. The interiors were furnished to her taste, including many valuable items donated from Rothschild collections, such as Chinese and Japanese porcelain, old master paintings, and Flemish tapestries.

The contents of Kasteel de Haar were sold at Christie’s in 1998. The sale was a notable event in the art and antiques world, reflecting the long and rich history of the castle and the prominent families who owned it.

Christie’s catalogue, The contents of Kasteel de Haar, Netherlands, 13th October 1998

869

A NEAR PAIR OF JAPANESE BRONZE JARDINIERES

MEIJI ERA, 19TH/20TH CENTURY

Both decorated with a continuous design of deer grazing amongst trees and with mythical beasts handles, each 25cm. (2) WITHOUT RESERVE

£200-400

870

A JAPANESE BRONZE HIBACHI (HANDWARMER)

MEIJI ERA, 19TH/20TH CENTURY

Of tall waisted shape, decorated in relief with an unusual scene set in Buddhist Hell, with the horse and ox-headed demons Mezu and Gozu overseeing the infernal landscape, a stream meandering beside them amongst jagged rocks and scrolling mist; the reverse with a man carrying a large stele of the Buddhist Triad over his back; unsigned, 25.3cm.

£400-600

In Buddhism Mezu and Gozu are the demons who greet you at the gates of Hell and are the chief torturers responsible for chasing down those who manage to escape.

871

A PAIR OF JAPANESE BRONZE VASES

MEIJI ERA, 19TH/20TH CENTURY

Both decorated with ferocious scaly dragons amongst crashing waves, one clasping a pearl of wisdom; the mythical beasts cast in high relief below a band of key fret; both marked underneath, 23.8cm each. (2)

£400-600

872

A COLLECTION OF SIX JAPANESE BRONZE KAGAMI (MIRRORS)

MEIJI ERA, 19TH/20TH CENTURY

Of various sizes, decorated with mon, birds, flowers and auspicious symbols, all inscribed, 27.7cm max. (6)

WITHOUT RESERVE

£200-300

873

A JAPANESE OVOID BRONZE VASE

MEIJI ERA, 19TH/20TH CENTURY

Cast in bronze with a rich, mottled red patina and decorated in low relief with flowers and a basket of persimmon, the reverse with a poem referring to ten thousands years of felicity and immortality on Mount Horai/ Penglai, signed Takusai zo and sealed Takusai, probably for Honma Takusai I (1812-91) or II (1846-1904), 24.5cm.

WITHOUT RESERVE

£400-600

874

THREE JAPANESE IRON TETSUBIN (TEA KETTLES)

MEIJI OR LATER, 19TH/20TH CENTURY

Two a pair decorated with irises in low relief, both with a lacquer cover; the third decorated with raised dots and with a signature to the front, 21.5cm max. (6)

£300-500

Provenance: from the collection of Dr Richard Brown, and thence by descent. Dr. Richard F. Brown (1898-1963) was a Canadian Anglican missionary doctor who served in China, most notably at St. Paul’s Hospital in Henan, starting around 1930. During the Second Sino-Japanese War, he became a field doctor, providing urgent medical aid near the front lines and famously collaborating with fellow Canadian Dr. Norman Bethune in 1938 to treat wounded soldiers.

875

A MASSIVE JAPANESE BRONZE KORO (INCENSE BURNER) MEIJI ERA, 19TH/20TH CENTURY

The rectangular body raised on curled feet and with scrolling handles, the sides decorated with a continuous scene depicting minogame, the mythical turtles amongst crashing waves; the rim with a border of four-petalled flower mon, all rendered in inlaid wires; together with an inner liner, 21cm x 69cm x 39.5cm. (2)

£800-1,200

Provenance: from an English private collection, London.

876

A MASSIVE JAPANESE BRONZE JARDINIERE

MEIJI ERA, 19TH/20TH CENTURY

The ovoid body cast with three ferocious-looking shishi, the lion dogs with inlaid eyes and stone cabochons; with large areas decorated in colourful cloisonné and the rim with a key-fret border; marked underneath, 36.5cm.

£1,000-2,000

877

AN UNUSUAL JAPANESE LACQUERED IRON VASE

MEIJI ERA, 19TH CENTURY

The heavy pear-shaped body with a tall flaring neck and a rough ishime surface imitating stone, decorated in gold hiramaki-e lacquer with Kannon standing on a writhing dragon, the Goddess of Mercy depicted with elegantly flowing robes; the long body of the mythical creature partially obscured behind scrolling clouds rendered in lacquered wires, 39.5cm.

£400-600

879

A PAIR OF JAPANESE SILVER-INLAID BRONZE VASES

TAISHO/SHOWA, 20TH CENTURY

Elegantly decorated with mirroring images of onagadori chicken perched on flowering prunus branches; both signed Kanayoshi, probably for Sakuratani Kanayoshi; each with a wood stand; both 21.5cm. (4)

£300-500

878

A JAPANESE GOLD-SPLASHED BRONZE KORO BY MAKINO MEIJI ERA, 19TH CENTURY

The cylindrical body cast with a Xuande mark divided in two panels, the footrim with three curved recesses, the base with a mark reading Makino zō, 10.7cm.

£800-1,200

Provenance: from an English private collection, London.

880

TWO JAPANESE MIXED-METAL VASES

MEIJI ERA, 19TH/20TH CENTURY

The tallest with a pear-shaped body and raised on a flared foot, decorated with flowers in low relief, rendered in silver and shakudo on a copper ground, 18.5cm; the other with two figures under umbrellas caught in a storm, with a lightning bolt above, signed Hidekuni koku to the side and with another minute mark underneath, 12cm. (2)

£500-800

881

A JAPANESE BRONZE VASE BY MASAMITSU

MEIJI ERA, 19TH/20TH CENTURY

Of suru-kubi (crane’s neck) shape, the tall slender body cast in low relief with a small frog swimming in a stream, the surface with a warm chocolate patina, signed Masamitsu saku, 27.5cm.

£500-800

Provenance: from an English private collection, London. Charles Dumenil, London 1928

883

A JAPANESE BRONZE VASE

MEIJI ERA, 19TH/20TH CENTURY

The tall slender body subtly decorated in low relief with a small bird perched on a flowering branch of prunus, the base signed Masatsugu, 26cm.

£300-500

Provenance: from an English private collection, London.

882

A JAPANESE INLAID-BRONZE VASE

MEIJI ERA, 19TH/20TH CENTURY

Of tsuru-kubi (crane’s neck) shape, the tall slender body subtly decorated with the silhouettes of three carps in a stream, their pupils picked out in gilt, the base with an illegible signature, 25.5cm.

£600-800

Provenance: from an English private collection, London.

884

A JAPANESE SILVER-INLAID BRONZE VASE WITH EGRET

MEIJI ERA (19TH/20TH CENTURY)

Of tsuru-kubi (crane’s neck) shape, the tall slender body decorated with the large water bird perched on a wood post, its eye picked out in gilt; with silver reeds emerging from the water below; signed Kao/Hanamori underneath, 23cm.

£200-300

Provenance: from an English private collection, London.

885

TWO JAPANESE CLOISONNE VASES

MEIJI OR LATER, 19TH/20TH CENTURY

Both decorated with colourful flowers and on a deep black ground, one a miniature piece signed underneath, both with a wood stand, 18cm and 6.5cm respectively. (4)

WITHOUT RESERVE

£150-250

887

A JAPANESE CLOISONNE VASE

MEIJI ERA, 19TH/20TH CENTURY

Decorated with small birds and a flowering prunus tree, on a dark-blue ground and with borders of lappets, 15cm.

WITHOUT RESERVE

£300-500

886

A JAPANESE CLOISONNE VASE

MEIJI ERA, 19TH/20TH CENTURY

The elegant slender body decorated with ornate panels on a coral-red ground enclosing ho-o birds and dragons, in between borders of formal designs, 25cm.

WITHOUT RESERVE

£150-250

Provenance: The Michael Baggott Collection.

888

A PAIR OF JAPANESE CLOISONNE VASES

MEIJI ERA, 19TH/20TH CENTURY

The ovoid bodies decorated with cranes in flight and beside large pine branches, in between borders of lappets enclosing flowerheads; both 12.3cm. (2)

£1,000-2,000

Cranes and pine are a popular subject notably found on early pieces by Namikawa Yasuyuki (1845–1927).

889

A TALL JAPANESE CLOISONNE VASE

MEIJI ERA, 19TH/20TH CENTURY

The baluster body elegantly decorated with four birds amongst the branches of a flowering prunus tree, with colourful blooms underneath and to the reverse, on a deep navy-blue ground and in between borders of lappets enclosing floral designs, 24.7cm.

£600-1,000

890

A RED JAPANESE GINBARI VASE BY THE ANDO WORKSHOP

MEIJI ERA, 19TH/ 20TH CENTURY

With a squat body and a tall flaring neck, decorated with folding fans scattered amongst waves, the base with the Ando mark, 24.5cm.

£500-800

891

A PAIR OF JAPANESE CLOISONNE VASES BY HAYASHI KODENJI (1831–1915)

MEIJI ERA, 19TH/20TH CENTURY

Unusually decorated with egrets in ponds, the water birds wading amongst tall reeds, water lilies and other flowers, all rendered in colourful enamels on the dark navy-blue ground; both signed Hayashi Kodenji underneath, 15.3cm. (2)

£800-1,200

892

A FINE CLOISONNE JAR AND COVER BY HAYASHI KODENJI (1831–1915)

MEIJI ERA, C.1905

The squat ovoid body with a short flared foot, elegantly decorated with small birds in flight and amongst flowering prunus trees, in between borders of stylised flowers and other formal designs; the cover with many chrysanthemum flowerheads amongst scrolling tendrils, with a rounded knop; all rendered in silver and gold wires and polychrome enamels on the dark navy-blue ground; the base inscribed Nagoya Hayashi zo and with the trademark Hayashi lozenge, 10cm. (2)

£1,500-2,500

The Metropolitan Museum of Art, New York, had a similar jar and cover on display from the collection of Fredric T. Schneider, author of The Art of Japanese Cloisonné Enamel: History, Techniques and Artists, 1600 to the Present.

892 mark

891 marks

A GOOD JAPANESE CLOISONNE JAR AND COVER BY NAMIKAWA SŌSUKE (1847–1910)

MEIJI ERA, 19TH/20TH CENTURY

The ovoid body with a flat cover, delicately decorated with small butterflies fluttering amongst sprays of pink and white chrysanthemum, on an unusual creamy-pink ground; the inside gilded and the base with the cloisonné mark for Namikawa Sōsuke, 7.5cm. (2)

£4,000-6,000

Namikawa Sōsuke (1847-1910) was a preeminent Japanese cloisonné enamel artist celebrated for pioneering the musen (wireless) technique, which eliminated visible metal wires to make the decorative enamelwork resemble detailed paintings. The uncommon combination of the butterflies decoration, the flattened shape and creamy-pink ground makes this piece particularly rare.

893 mark

895

A JAPANESE CLOISONNE VASE BY THE ANDO JUBEI WORKSHOP

TAISHO/SHOWA, 20TH CENTURY

The globular body with a rounded lip, delicately decorated in gold wire and musen (wireless) coloured enamels, with two carp swimming on a pale green ground, with the Ando trademark in gold wire to the base, 15.5cm.

£800-1,200

Provenance: formerly in the collection of the Bass Museum of Art, Miami.

894

A PAIR OF JAPANESE CLOISONNE ENAMEL VASES

MEIJI ERA, 19TH/20TH CENTURY

Of bulbous form, decorated with roundels variously enclosing flowers and birds of prey chasing small chidori birds above waves, all reserved on a dense ground of leafy scrolling tendrils; each with a two-character mark underneath, 9.8cm. (2)

WITHOUT RESERVE

£150-250

Provenance: The Michael Baggott Collection.

896

λ A JAPANESE CLOISONNE PANEL IN THE STYLE OF NAMIKAWA SŌSUKE

MEIJI ERA, 19TH/20TH CENTURY

Of rectangular form, with two small quails underneath flower sprays on a bright blue ground, the reverse with fish scale pattern; mounted in a frame with tortoiseshell border, the panel 13.7cm x 17.8cm, 19.2cm x 23.2cm overall.

£600-1,000

LOTS 897-898

FROM

THE COLLECTION OF WILLIAM F C OHLY (1883-1955) BERKELEY GALLERIES AND ABBEY MUSEUM

897

ANONYMOUS

RAIGŌ JIZŌ BOSATSU (THE WELCOME DESCENT OF JIZŌ BOSATSU)

KAMAKURA/MUROMACHI, 14TH/15TH CENTURY

A Japanese kakejiku (hanging scroll painting), in ink, colours, and gold on silk, the Buddhist Protector of children depicted descending from the heavens, holding a shakujō or khakkhara (a monk’s staff with six metal rings) and a tama (a sacred wish-granting jewel) to assist or escort souls to a better place, dressed in monastic robes and raised on a double-lotus pedestal, with a halo behind; with silk mount, framed and glazed, the painting 100cm x 38.5cm.

£1,500-2,000

Provenance: from the William F C Ohly collection (1883-1955), Berkeley Galleries and Abbey Museum, New Barnet, London, UK, and thence by descent.

898

ANONYMOUS

ARHAT/RAKAN PROBABLY KAMAKURA/ MUROMACHI, 14TH/15TH CENTURY

A Japanese kakejiku (hanging scroll painting), ink, colour and gold on paper, depicting one of the legendary disciples of the historical Buddha descending from the heavens amongst clouds, portrayed as an elderly man wearing ornate robes, his left hand raised in a gesture of blessing and holding a staff in the other; framed and glazed, with a paper label at the back for ‘The Berkeley Galleries, William F C Ohly, 20 Davies Street, London W1’; the painting 160cm x 67cm.

£1,500-2,000

Provenance: from the William F C Ohly collection (1883-1955), Berkeley Galleries and Abbey Museum, New Barnet, London, UK, and thence by descent.

899

ANONYMOUS

RAIGŌ JIZŌ BOSATSU (THE WELCOME DESCENT OF JIZŌ BOSATSU)

PROBABLY EDO, 17TH/18TH CENTURY

A Japanese kakejiku (hanging scroll painting), in ink, colours, and gold on silk, the Buddhist Protector of children depicted descending from the heavens, holding a staff topped with two deities’ heads; with an ornate beaded necklace and dressed in monastic robes, raised on a double lotus pedestal and scrolling clouds; 98cm x 42cm.

£800-1,200

Provenance: an English private collection.

(not to scale)

900

UNIDENTIFIED ARTIST

ZHAO GONGMING

19TH CENTURY

A hanging scroll painting, ink and colour on paper, depicting the Chinese Daoist God of Wealth riding on a tiger, possibly signed Montei ga, 146cm x 64cm.

£400-600

Provenance: an English private collection.

901 AFTER NISHIKAZI KIZAN (SHUKO / CHIKARA)

SHUSSAN SHAKA (BUDDHA SHAKYAMUNI DESCENDING FROM THE MOUNTAIN)

MEIJI ERA, 19TH/20TH CENTURY

A Japanese kakejiku (hanging scroll painting), ink, gold and colour on paper, depicting the historical Buddha standing by a rocky outcrop, signed Shuko Saiki utsusu and sealed Nishizaki Kizan, Shuko and Nishizaki Chikara (Ryo) in; 125cm x 59cm.

£400-600

Provenance: an English private collection.

902

UNIDENTIFIED ARTIST

SHOKI THE DEMON QUELLER

PROBABLY EDO, 18TH/19TH CENTURY

A Japanese kakejiku (hanging scroll painting), ink on paper, the God depicted with bold strokes wearing flowing robes and a tall black hat, holding a sword behind his back; an illegible red seal mark, 60cm x 38cm; recently re-mounted and together with a tomobako (wood box) and cardboard sleeve. (3)

£400-600

Provenance: an English private collection.

903

FUJIWARA UJITSUNE (MINRYUSAI, ACT. 19TH CENTURY)

KAKU SHIGI AND CHILDREN

EDO/MEIJI, 19TH CENTURY

A Japanese kakejiku (hanging scroll painting), ink and colour on silk, depicting the famous Chinese Tang dynasty general Kaku Shigi or Guo Ziyi (697-781) as an elderly man with children, signed Fujiwara Ujitsune ga and sealed Fujiwara, 108cm x 36.5cm; together with a scroll painting of Kan’u and Chohi (Guan Yu and Zhang Fei), with a seal reading Rinsen juin (Auspicious seal of Rinsen), 86cm x 42cm. (2)

£300-500

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

904

AFTER WATANABE SEITEI (1852-1918)

LADY KAOYO

MEIJI ERA, 19TH/20TH CENTURY

A Japanese kakejiku (hanging scroll painting), ink and colour on silk, depicting Lady Kaoyo getting dressed with an attendant, inscribed lower right corner Sameni tote, Seitei utsusu (Waking up in the morning, at the morning toilette, copied from Seitei), 105cm x 41.5cm.

WITHOUT RESERVE

£300-500

902 901

(not to scale)

FROM THE COLLECTION OF WILLIAM F C OHLY (1883-1955) BERKELEY GALLERIES AND ABBEY MUSEUM

905

ANONYMOUS, KANO SCHOOL

EDO PERIOD, 17TH/18TH CENTURY

A small Japanese six-fold byōbu (folded screen) depicting the popular Chinese theme of the ‘One Hundred Boys’; the many children painted at play with a few adults supervising; some taking part in a mock-procession, pulling a cart; others playing with tambourines; the scene set in gardens with a bridge over a meandering river to the left, flowering prunus trees and a pavilion on the right-hand side of the composition, partly obscured by golden clouds; 93.5cm x 294.5cm.

£1,000-1,500

Provenance: from the William F C Ohly collection (1883-1955) Berkeley Galleries and Abbey Museum, New Barnet, London, UK, and thence by descent.

903 (not to scale)

904

906

SCHOOL OF GEIAI

A RARE JAPANESE SIX-FOLD BYŌBU (FOLDING SCREEN)

MOMOYAMA PERIOD, 17TH CENTURY

Ink and colour on paper, painted with a colourful composition featuring a jakō neko (musk cat) observing three large geese by a meandering stream; with a plethora of other birds depicted in a variety of poses: in flight, perched or pecking the ground; three sparrows cavorting lower left corner, a pair of mandarin ducks drifting on the gentle current, and a quail performing a dust bath to the right; a large prunus tree with a gnarled trunk painted to the left, beside rockwork and camellia; the foreground with branches issuing chestnuts and with further flowers and bamboo to the right; the scene also featuring whimsical details such as a small lizard on a rock, basking in the sun, or a quizzical-looking praying mantis; the screen with two red seal marks lower left corner reading as Geiai (‘Lover of the arts’) and Tonshu (possibly a studio name), 180cm x 362cm.

£15,000-20,000

Provenance: The Rooke Family Collection, previously at the Ivy, Chippenham, and thence by descent.

A small number of paintings are known featuring these seals; they relate to the elusive Kyoto artist Geiai. There isn’t much biographical information about him, but for the fact that he was commissioned to paint interiors for the grand Zen temple Daitokuji in Kyoto, and for the date of 1489 written on a document with an underdrawing by him. Many Japanese scholars believe however that he can be identified as the equally enigmatic painter Oguri Soritsu (d.1556).

Paintings by Geiai often feature a wide range of brush techniques including the “boneless” technique, where forms are created without using outlines. This can be seen in several areas of this screen, including the cavorting sparrows in the lower left corner. These are painted in the exact same positions as other sparrows in two paintings attributed to Geiai, one in the Metropolitan Museum of Art, New York, and the other in the Mary Griggs Burke Collection, donated to the Minneapolis Institute of Art in 2015. This suggests that the painter of the present screen was very much aware of Geiai’s paintings and techniques, and that the cavorting sparrows was a much-loved subject for artists of the late Muromachi / early Momoyama period.

The painting is rich in quirky and charming details, and it features a very unusual depiction of a jakō neko (musk cat) seated amongst the many birds, a detail rarely seen on the usual ‘birds and flowers’ paintings of the period.

The screen comes from the Rooke Family Collection, previously at the Ivy, Chippenham. The Ivy is a magnificent Grade I listed manor house, built in 1728 for a lawyer and local MP named John Norris. Alexander Beaumont Rooke (1821-1914) purchased the Ivy in 1869, including its contents. The manor house was passed down the generations until it was sold in the 1970s. The screen was then moved to the family’s new home in Wiltshire. It is unknown whether the screen was originally acquired by a member of the Rooke family or if it was already at the Ivy when the house was purchased in the 19th century.

We would like to thank Dr. Yukio Lippit for his help in researching this lot.

The Ivy, Chippenham, c.1900

The Rooke family crest

Detail of the jakō neko on the Rooke Screen

Sparrows on the Rooke Screen, the Burke Collection and Metropolitan Museum paintings

907

ANONYMOUS

EDO/MEIJI, 19TH CENTURY

Two Japanese makimono (handscroll paintings), ink and colour on paper, each with depictions of Buddhist and Shinto deities, one scroll starting with views of Earth and Heaven followed by divine beings, each accompanied by an inscription with its name; 26cm x 419cm and 22cm x 495cm. (2)

£300-500

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

908

ANONYMOUS

MEIJI ERA (1868-1912), 19TH CENTURY

A Japanese makimono (handscroll painting), ink and colour on paper; the scroll is painted with a large number of fans of different sizes, variously enclosing depictions of figures, landscapes, birds, flowers and other subjects. 27cm x 610cm.

WITHOUT RESERVE

£150-250

909 part lot illustrated

909

ICHIO (ACT. 19TH CENTURY)

CHUSHINGURA ZUGA, HITO (FIGURES FROM THE TREASURY OF LOYAL RETAINERS)

EDO PERIOD, DATED 1835 and 1841

A Japanese makimono (handscroll painting), ink and colour on paper, painted with the story of the Forty-Seven Rōnin, illustrating their mission to avenge the death of their master; with various scenes including the famous seppuku of samurai Asano Naganori with death poem reading as ‘Oh, I am so happy! I realised my desire and it is time to die. There is no cloud on the moon of my life’; and many other portraits of famous samurai and calligraphy; signed Ichio hitsu and sealed Shuyu; also inscribed ‘painted in the 11th month of the Kansei 7th year (1795), additionally painted in the late 9th month of the Tempo 6th year (1835), […] copied and painted from an earlier original, on a day in summer in the Tempo 12th year (1841) by Ichio, with the seals Shuyu and Senkisai’, 31.5cm x 1240cm.

£500-1,000

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

910

SHIBATA ZESHIN (1807-91)

URUSHI-E (LACQUER PAINTING)

EDO/MEIJI, 19TH CENTURY

A Japanese painting, ink, coloured lacquer and gold leaf on paper, mounted as an album leaf; depicting two fans, one decorated with a large red lobster, the other with white chrysanthemum by a bamboo fence; signed Zeshin and sealed Shin lower right corner, 19.3cm x 16cm, 25.7cm x 21cm overall; together with another urushi-e, ink, mother of pearl, coloured lacquer and gold leaf on paper, painted with an oni wearing monk’s robes, looking pensively at a large dish and a sake bottle before him, together with fragments of a signature with a Shin seal, framed and glazed, 36cm x 41cm. (2) WITHOUT RESERVE

£1,000-2,000

Provenance: from the collection of Richard Barker (1950-2023), Chinese and Japanese Art specialist at Spink and Sons, Barry Davies Oriental Art and later Richard Barker Fine Art Ltd.

911

SHIBATA ZESHIN (1807-91)

KAWANABE KYOSAI (1831-89) AND OTHERS

EDO/MEIJI, 19TH CENTURY

A rare Japanese collaborative makimono (handscroll painting), ink and colour on paper, with a title slip inscribed Kinsei Meika gassaku ga makimono (Collaborative Painting Scroll by Renowned Artists of the Early Modern Period), featuring eleven sketches by various artists, including:

1. Shibata Zeshin (1807-91), a depiction of Hotei, the God of Good Fortune standing, holding his large sack of treasures over his shoulder, signed Zeshin;

2. Shibata Zeshin (1807-91), branches of pine, signed Zeshin;

3. Kawanabe Kyosai (1831-89), Hotei dreaming of Ebisu carrying the Goddess Okame on his back, signed Seisei Kyosai ga;

4. Shibata Nankoku (1802-73), a mountainous river landscape to the right and a horse rider and attendants in a snow landscape to the left, signed Nankoku;

5. Kawabata Gyokusho (1842-1913), a large standing deer, signed Gyokusho;

6. Sato Genran (1818-85), Shoki and an oni, the demon carrying a bunch of irises, signed Genran;

7. an unsigned depiction of Mount Fuji;

8. Kawanabe Kyosai (1831-89), another depiction of Okame wearing colourful robes, signed Seisei Kyosai ga and with a red seal Bankokuhi (‘Flying all over the world’) in the shape of crows;

9. Sato Genran (1818-85), tortoises and flowering prunus, signed Genran sanjin (Genran the Mountain Man);

10. Kawanabe Kyosai (1831-89), the Goddess Bishamonten pouring sake for Jurojin, signed Seisei Kyosai ga;

11. and an unsigned painting of radishes; 28cm x 494cm.

£2,000-4,000

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

910

912 part lot illustrated

913

SUZUKI KASON (1860-1919)

DAIKON AND RATS

MEIJI /TAISHO, 19TH/20TH CENTURY

912

SCHOOL OF MARUYAMA ŌKYO

TSUBAKI CHINZAN (1801-54)

EDO/MEIJI, 19TH CENTURY

Three Japanese kakejiku (hanging scroll paintings), all ink on silk, two with colour; the first with turtles before the rising sun, inscribed Ōkyo with seals Ōkyo and Chusen, 27cm x 33cm; another a painting of white flowers by Tsubaki Chinzan (1801-54) with calligraphy reading as ‘a gentle western wind, painted by Chinzan, in the mid-winter of the year Kanoto-I’ (1851), 103cm x 11.5cm; together with an ink painting of a dragon amongst clouds (indistinct seal), 27cm x 33cm. (3)

£400-600

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

A Japanese kakejiku (hanging scroll painting), ink and colour on silk, of five plump rats feasting on a large daikon, signed and sealed Gyoyu, framed and glazed, the painting 95cm x 40.5cm.

WITHOUT RESERVE

£100-200

Suzuki Kason became famous in the West in the early 20th century, and was then considered the best-known Japanese artist since Hokusai. He exhibited works at international exhibitions including at the Paris Exposition Universelle (1900) where he won a bronze medal, and at the Japan-British Exhibition of 1910, where he was awarded the Gold Medal.

914 part lot illustrated

914

SCHOOL OF HOKUSAI AND OTHERS

EDO/MEIJI, 19TH CENTURY

A collection of Japanese ink drawings, the first depicting a mythical goat-like animal with eyes and horns on its back, similar to the one illustrated in Katsushika Hokusai’s Manga, vol.2, p.59, a label for ‘Spink & Son Ltd, School of Hokusai, A mythical goat, Old Dutch Collection’; the others variously portraying a beauty reading a letter, monkeys, a small bird and an elephant, all framed and glazed; together with an unframed ink drawing of Daruma, two prints (one with Zeshin seal) and a small printed book entitled Soken Biko (Old sword blades and their furniture) by Kurihara Nobumitsu (1794-1870); 40.5cm x 25cm max. (9)

WITHOUT RESERVE

£200-300

Provenance: from the collection of Richard Barker (1950-2023), Chinese and Japanese Art specialist at Spink and Sons, Barry Davies Oriental Art and later Richard Barker Fine Art Ltd.

916

UTAGAWA HIROSHIGE (1797-1858)

KONO BAIREI (1844-1895)

EDO AND MEIJI, 19TH CENTURY

Three Japanese prints, the first by Hiroshige and entitled Tōto Ikkoku-bashi (Ichikoku Bridge in the Eastern Capital), from the series Fuji sanjūrokkei (Thirty-six views of Mount Fuji), signed Hiroshige ga, published by Tsutaya Kichizō in 1858, 33.7cm x 21.7cm; together with two prints of birds and flowers by Bairei, both 36.8cm x 25cm. (3)

WITHOUT RESERVE

£150-250

915

UTAGAWA HIROSHIGE (1797-1858)

NAGAKAWA SHUREI (ACT. C.1914)

EDO AND MEIJI, 19TH AND 20TH CENTURY

A collection of twelve Japanese woodblock prints, two by Utagawa Hiroshige, one from the series Meisho Edo hyakkei (One Hundred Famous Views of Edo) and the other Gōjusan-tsugi meisho zue (Illustrated Guide to Famous Places along the Fifty-three Stations); a shin hanga print of a chicken by Nagakawa Shurei, and prints of beauties and actors by various artists; together with an album entitled ‘Japanese Fairy Tal Series no.25, Chin Chin Kobakama’ translated by Lafcadio Hearn. (13)

£200-300

917

UTAGAWA HIROSHIGE (1797-1858)

EDO PERIOD, 19TH CENTURY

A collection of eight Japanese woodblock prints by Hiroshige, three from his series Rokujū yo shū meisho zue (Illustrated Guide to Famous Places in the Sixty-odd Provinces), three from the Toto Meisho series (Famous Places of the Eastern Capital), one from the series Gojūsan-tsugi meisho zue (Illustrated Guide to Famous Places along the Fifty-three Stations), another from the Edo Meisho (Famous Places in Edo); together with a print by Utagawa Kunisada II from the series Murakami Shikibu genji karuta (Lady Murasaki’s Genji cards), 35.9cm x 24.9cm max. (9)

£200-400

Provenance: from the Estate of Rosslyn Hill.

915 part lot illustrated

918

UTAGAWA HIROSHIGE II (1826-69)

HAKONE SHICHIYU ICHIRAN (THE SEVEN HOT SPRINGS OF HAKONE IN A SINGLE VIEW)

EDO PERIOD, 19TH CENTURY

A Japanese oban tate-e woodblock print triptych, each sheet signed Ichiryusai Hiroshige zu, published by Maruya Tetsujiro (Enjudo), 1861; mounted with a silk backing; each sheet 35.4cm x 24.5cm.

£800-1,200

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

919

UTAGAWA HIROSHIGE II (1826-69) AND OTHERS

EDO PERIOD, 18TH/19TH CENTURY

A Japanese oban tate-e woodblock print entitled Sesshū Nunobiki no taki (The Nunobiki Waterfall in Settsu Province), from the series Shokoku meisho hyakkei (One Hundred Famous Views in the Various Provinces), signed Hiroshige ga, published by Uoya Eikichi, 1859, 35.6cm x 24.5cm; together with five other Japanese prints, by Katsushika Hokusai (1760–1849), Shunsho Katsukawa (1726-92) and others. (6)

WITHOUT RESERVE

£200-400

920 part lot illustrated

921

920

UTAGAWA KUNISADA I (TOYOKUNI III, 1786-1865)

UTAGAWA KUNISADA II (UTAGAWA TOYOKUNI IV, 1823-80)

UTAGAWA KUNISADA III (ICHIYOSAI, 1786-1864)

UTAGAWA YOSHITSUYA (1822-66)

EDO/MEIJI, 19TH CENTURY

A collection of nine Japanese woodblock print triptychs and one diptych, variously depicting figures in interiors and gardens, all the prints mounted with ornate floral backings and with title slips. (9)

£400-600

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

921 part lot illustrated

UTAGAWA KUNISADA I (TOYOKUNI III, 1786-1865)

UTAGAWA KUNIYOSHI (1797-1861)

EDO PERIOD, 19TH CENTURY

Five Japanese oban tate-e woodblock prints, four by Kunisada variously depicting beauties in interiors, a man reading a letter and another drinking sake on a balcony; the fifth by Kuniyoshi and entitled Ryōgoku no tsuki (Moon at Ryōgoku Bridge); three mounted on board, 37.2cm x 25.2cm max. (5)

£200-300

Provenance: from the Estate of a Collector, Heath House, Hampshire, and thence by descent. By repute, acquired in Asia at the turn of the 19th century.

922

UTAGAWA KUNISADA I (TOYOKUNI III, 1786-1865)

EDO PERIOD, 19TH CENTURY

Three Japanese woodblock prints, one a vertical chūban entitled Okabe no zu (View of Okabe), from the series Tōkaidō gojūsan tsugi no uchi (Fifty-three Stations of the Tōkaidō Road); the two others oban tate-e with portraits of actors (yakusha-e); two mounted on board, 35.2cm x 24.5cm max. (3)

WITHOUT RESERVE

£150-250

922 part lot illustrated

924

LITERATURE

F BRINKLEY, JAPAN: DESCRIBED AND ILLUSTRATED BY THE JAPANESE, VOL.I-X (1897-98)

Imperial edition in ten volumes, n. 74 from a limited run of 100, including over 200 illustrations (chromolithographs, collotype photographs and other printing techniques) of famous artworks, containing essays on Japanese art, all folios 37.2cm x 29.3mm. (10)

£400-600

Captain Francis Brinkley (1841-1912) was an Anglo-Irish officer and newspaper owner who lived in Japan for more than forty years during the Meiji period. He created the newspaper The Japan Mail and later became the Tokyo correspondent for The Times of London, reporting on the Russo-Japanese War. He published several books on Japan and was the editor for the present publication, a general guide to Japanese culture.

923

TWO

JAPANESE PAPER FANS BY HAIBARA NAOJIRO (1846-1910) MEIJI/TAISHO, 19TH/20TH CENTURY

Each painted in ink, colour and gold with flowers, with wooden handles and silk tassels, each presented in its original manufacturer’s folder, both 38.5cm; together with an album of prints entitled Kodomo Asobi Gajo (Picture Book of Children’s Play), the trilingual (Japanese, English and French) publication edited by Nagao Kagesuke, 22.8cm x 29.2cm. (3)

£500-1,000

925

AN EXTENSIVE ARCHIVE RELATING TO MIKI TATSUO (B.1904)

20TH CENTURY

Including a large number of artist’s proofs, copper prints, and sketches by the artist. (a lot) WITHOUT RESERVE

£500-1,000

Miki Tatsuo was a Japanese copper print artist renowned for his small-format, often hand-coloured landscape prints, including views of famous sites like Mount Fuji and the Sacred Bridge at Nikko.

925 part lot illustrated

926

MASAO IDO (1945-2016)

KAWASE HASUI (1883-1957)

UTAGAWA HIROSHIGE (1797-1858)

GIHACHIRO OKUYAMA (1907-81)

EDO AND LATER, 19TH AND 20TH CENTURY

Four Japanese woodblock prints, the first by Masao Ido entitled Rakushisha (the House of Falling Persimmons), titled, dated ‘97, signed and numbered 177/200 in pencil underneath; another by Kawase Hasui of the Fudō Temple in Meguro, signed Hasui, published by Watanabe Shozaburo c.1931; the third an ōtanzaku by Utagawa Hiroshige titled ‘Golden Pheasant and Pine Shoots in Snow’, signed Hiroshige hitsu and with two red seal marks; the last by Gihachiro Okuyama (1907-81) and entitled ‘Rice Planting’; 44.7cm x 33.3cm max. (4)

£400-600

Provenance: from the collection of Dr Richard Brown, and thence by descent. Dr. Richard F. Brown (1898-1963) was a Canadian Anglican missionary doctor who served in China, most notably at St. Paul’s Hospital in Henan, starting around 1930. During the Second Sino-Japanese War, he became a field doctor, providing urgent medical aid near the front lines and famously collaborating with fellow Canadian Dr. Norman Bethune in 1938 to treat wounded soldiers.

927

YAYOI KUSAMA (B.1929)

TSUMARI IN BLOOM

21ST CENTURY

A large Japanese square textile panel, ink on polyester; depicting a colourful flower covered in dots, framed by a border printed with the artist’s signature and inscribed ‘LOVE FOREVER.; I like Myself.; Dot’s OBSESSION’, framed and glazed, 104cm x 104cm overall.

926 part lot illustrated (not to scale) 927

£400-600

LOTS 928-961

THE IAN WILSON COLLECTION OF WORKS ON PAPER

TO BE OFFERED WITHOUT RESERVE

Originally from County Durham, Ian Wilson (d.2024) moved to London to become a business analyst in the oil industry. He later started collecting Art Deco pieces and a very large collection of over four hundred works on paper. His collection was mostly made of Japanese woodblock prints including many examples of bijinga and shin-hanga, but it also featured artworks inspired by Japan by artists such as Paul Binnie (1967-) and Sarah Brayer (1957-).

After retiring, Ian became a guide at the North of England Open Air Museum at Beamish and at Pockerly, the Georgian farm area of the museum. He also occasionally served as Home Guard soldier at The Home Farm.

For over ten years, Ian collected prints voraciously and would often hang them on the walls of his house in Craghead.

Ian Wilson (centre) with his brother Geoff and niece Bethan

928

Φ PAUL BINNIE (1967-) FUYU (WINTER)

2004

A woodblock print by Paul Binnie, from the series ‘The Four Seasons’, numbered 56/100, signed and titled, 48cm x 31.8cm.

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

929

Φ PAUL BINNIE (1967-) AKI (AUTUMN)

2004

A woodblock print by Paul Binnie, from the series ‘The Four Seasons’, numbered 86/100, signed and titled, 48.4cm x 33.2cm.

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

930

Φ PAUL BINNIE (1967-) HANTŌMEI (TRANSLUCENT)

2004

A woodblock print of a nude, signed in gold kanji, Bin-ni, with artist’s circular seal BINNIE, numbered 12/30, titled and signed in pencil in the bottom margin; 42.3cm x 31cm.

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent. Purchased from Saru Gallery, The Netherlands, 17 July 2015. A copy of the invoice is available.

931 part lot illustrated (not to scale)

931

SARAH BRAYER (1957-) NUDES

20TH CENTURY

Five prints by Sarah Brayer, four depicting nudes, variously entitled ‘Emerald Bath’ (numbered 17/45, dated 1993), ‘Rinse’ (numbered 6/10, dated 1987), ‘Bath’ (numbered 14/30, 1987) and ‘Ivory Bath’ (numbered 32/80, 1987); the fifth a moonlit landscape entitled ‘Luna’ (numbered 20/50, 2001); 67.5cm x 51cm max. (5)

WITHOUT RESERVE

£200-300

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent. The ‘Emerald Bath’ and ‘ Rinse’ prints purchased from Saru Gallery, The Netherlands, 17 July 2015 and 14 August 2015; copies of the invoices are available.

932

ITO SHINSUI (1898-1972) HARUSAME (SPRING RAIN)

20TH CENTURY

A Japanese woodblock print of a beauty holding an umbrella in the rain, with prunus blossoms behind her; with highlights in gofun; signed and sealed Shinsui, published by Momose, carved by Ohkura and printed by Chujo, 50cm x 41cm.

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

933 part lot illustrated (not to scale)

933

YAMAKAWA SHŪHŌ (1898–1944) AND OTHERS

20TH CENTURY

A collection of thirteen Japanese bijinga (portraits of beauties), one by Yamakawa Shūhō entitled Fujo Yondai: Tasogare (Four Images of Women: Dusk); three by Torii Kotondo (printed posthumously), from the series Onna Ju-ni Dai (Twelve Aspects of Women); three later reprints after Goyō Hashiguchi, two with folders, and five lithographs of his drawings of nudes, the paper embossed ‘Athens Gallery’; 53.8cm x 32cm max. (13)

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

934

TAKAZAWA KEIICHI (1914-1984) BEAUTIES

20TH CENTURY

Two Japanese lithographs by Keiichi Takazawa, one entitled ‘Large Snowflakes’, numbered 15/470; the other ‘Hair’, numbered 15/470; in a presentation folder; 52.5cm x 41.8cm and 52.4cm x 41.6cm. (3)

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent. Both purchased from Roid Works Gallery, Tokyo; a copy of the invoice is available.

935 part lot illustrated (not to scale)

935

A COLLECTION OF JAPANESE PRINTS WITH THEATRE SUBJECTS

20TH CENTURY

Including ten prints by Tsukioka Kōgyo (Sakamaki Kōgyo, 1869-1927), from his series Nogaku hyakuban (One Hundred No Dramas); other prints by Tsukioka Gyokusei (1908-2009), and other artists; 39.2cm x 25.9cm max. (12) WITHOUT RESERVE

£1,000-2,000

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

936

OGATA GEKKŌ (1859-1920)

SUZUKI SHONEN (1849-1918)

KOBORI TOMOTO (1864-1931)

KEISHU TAKEUCHI (1861-1942)

MIZUNO TOSHIKATA (1866-1908) AND OTHERS

MEIJI AND LATER, 19TH AND 20TH CENTURY

936 part lot illustrated (not to scale)

A large collection of Japanese woodblock prints, variously depicting beauties, actors, historical figures and characters from famous stories. (a lot) WITHOUT RESERVE

£1,000-2,000

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

937

937 part lot illustrated (not to scale)

OKUHARA SEIKO (1837-1913)

OHARA KOSON / SHŌSON (1877-1945)

ITO SOZAN (1884-?) AND OTHERS

20TH CENTURY

Seven Japanese woodblock prints, variously depicting birds and flowers; one by Seiko entitled ‘Crow on Willow Branch’; another by Koson of a bullfinch on a flowering branch of plum; a third by Ito Sozan titled ‘White Egret on Willow Tree in a Storm’; and others by various artists, 38.8cm x 17.5cm max. (7)

WITHOUT RESERVE

£400-600

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

938

OGATA GEKKŌ (1859-1920)

KIKUCHI HOBUN (1862-1918)

lot illustrated

OHARA KOSON / SHŌSON (1877-1945) AND OTHERS

20TH CENTURY

A collection of nineteen Japanese prints depicting birds and other animals, one depicting quails by Gekkō, another entitled ‘Japanese White-eyes on a cherry branch’ by Kikuchi Hobun; a third ‘Two Birds of Paradise on a Tree Branch’ by Koson, and others; some mounted on board, 38cm x 17cm max. (19)

WITHOUT RESERVE

£400-600

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

938 part

(not to scale)

939 part lot illustrated

939

KONO BAIREI (1844-1895)

SHIBATA ZESHIN (1807-91)

MEIJI ERA (1868-1912)

Twenty-two prints by Bairei, variously depicting fruits, figures, flowers and animals, and four prints by Shibata Zeshin (1807-91), one of thistles, another with chickens, the third with petals caught in a twister, and the fourth with straw hats; 24.9cm x 32.7cm max. (26)

WITHOUT RESERVE

£200-300

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

940

THREE JAPANESE KAKEJIKU

940 part lot illustrated

(HANGING

MEIJI OR LATER, 19TH/20TH CENTURY

SCROLL PAINTINGS)

The first with a blue tit perched amongst tall grasses beside a flower, a poem above about a lonely and quiet mountain path and a beautiful bellflower in early summer, signed Saika heidai (painted and inscribed by Saika); the two other paintings depicting landscapes, one with a waterfall and pine trees, signed and sealed Seizan, the other with fisherman on a bridge, signed and sealed Shuko; together with two books of prints, 104 x 40cm max. (5)

WITHOUT RESERVE

£150-250

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

941

SHŌDA KŌHŌ (1871-1946)

OHARA KOSON (1877-1945)

YOSHIMOTO GESSO (1881-1936)

MEIJI OR LATER, 19TH/20TH CENTURY

A collection of thirteen tanzaku (narrow vertical prints), variously depicting figures, landscapes, birds and flowers and other animals; one entitled ‘Planting Rice’ by Ohara Koson, six by Shōda Kōhō and six by Yoshimoto Gesso, 36.8cm x 12.5cm max. (13)

WITHOUT RESERVE

£200-300

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

941 (not to scale)

942 part lot illustrated (not to scale)

942

SHIRŌ KASAMATSU (1898-1991)

TOSHI YOSHIDA (1911-1995)

OSAMU SUGIYAMA (B.1946)

20TH CENTURY

Five Japanese woodblock prints depicting landscapes, two by Osamu Sugiyama, numbered 1/50 and 5/80, both titled and signed by the artist in pencil in the lower margins; one by Toshi Yoshida, also inscribed in the margin, and two by Shiro Kasamatsu; 31.8cm x 72.5cm max. (5)

WITHOUT RESERVE

£400-600

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

943

HIROSHI YOSHIDA (1876-1950)

SHŌDA KŌHŌ (1871-1946)

TSUCHIYA KŌITSU (1870-1949)

TAKAHASHI HIROAKI / SHOTEI (1871-1945)

20TH CENTURY

Six Japanese shin-hanga prints depicting landscapes, one by Hiroshi Yoshida entitled ‘Misty Day in Nikko’; two with lakes scenes by Shōda Kōhō; two others by Tsuchiya Kōitsu with boats sailing under a full moon and another of Mount Fuji reflecting in a lake; the last also with fishing boats at night, 39.7cm x 26.9cm max. (6)

WITHOUT RESERVE

£400-600

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

943 part lot illustrated (not to scale)

944

TAKAHASHI HIROAKI (SHOTEI, 1871-1945)

SHIRO KASAMATSU (1898-1991)

ARAI YOSHIMUNE (1873-1945) AND OTHERS

MEIJI AND LATER, 19TH AND 20TH CENTURY

A collection of fifteen shin-hanga prints, mostly depicting night views, some signed and sealed, 11cm x 36.5cm max. (15)

WITHOUT RESERVE

£400-600

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

945

TAKAHASHI HIROAKI / SHOTEI (1871-1945)

20TH CENTURY

A collection of seven Japanese otanzakuban tate-e (tall vertical prints), mostly depicting night scenes, all by Takahashi Hiroaki, 38cm x 17.4cm max. (7)

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

944 part lot illustrated (not to scale)

945 (not to scale)

946

KATSUYUKI NISHIJIMA (B.1945)

MASAO MAEDA (1904-1974)

20TH CENTURY

Three Japanese woodblock prints; two by Katsuyuki Nishijima depicting buildings, both titled and signed by the artist in pencil in the lower margins, the largest numbered 18/500; together with a print of a torii gate by Masao Maeda, titled Mon, Koke-dera (Gate of the Moss Temple), signed and dated 1965, 53.5cm x 42cm max. (3)

WITHOUT RESERVE

£200-400

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

947

GIHACHIRO OKUYAMA (1907-81)

20TH CENTURY

A large collection of Japanese monochrome prints by Gihachiro Okuyama, including two large views of fishing boats on a lake, both titled, numbered, signed and dated by the artist, three others with snowy scenes; the remaining prints of smaller format and variously depicting farmers at work, landscapes, birds and flowers; 53.4cm x 40.8cm max. (22)

WITHOUT RESERVE

£400-600

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

946 (not to scale)

947 part lot illustrated (not to scale)

948

KOTOZUKA EIICHI (1906-79)

ASADA BENJI (1899-1984)

TOMIKICHIRO TOKURIKI (1902-99)

HIDEO NISHIYAMA (1911-89)

OMURA KOYO (1891-1983)

20TH CENTURY

A collection of seven Japanese prints depicting various scenes and landscapes; three by Kotozuka Eiichi, two portraying silk dyers; one by Asada Benji titled ‘Cherry Blossoms at Omuro Pagoda (Spring)’; another ‘Music by the soba wagon’ by Tomikichiro Tokuriki; another by Hideo Nishiyama depicting sunset at Ishiyama; and the last a deer by a lantern by Koyo Omura, 45cm x 29.8cm max. (7)

WITHOUT RESERVE

£400-600

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

949

FUMIO KITAOKA (1918-2007)

SHOWA ERA, 1970S AND 80S

Four Japanese woodblock prints depicting landscapes by Fumio Kitaoka, all inscribed in the lower margins in pencil by the artist, each dated, titled and signed, two artist’s proofs and two numbered 29/100 and 59/120, 48.8cm x 63.8cm max. (4)

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

948 part lot illustrated (not to scale)

949 (not to scale)

950 part lot illustrated (not to scale)

951

952

OKIIE HASHIMOTO (1899-1993)

SHOWA ERA, DATED 1969 AND 1982

Two Japanese woodblock prints by Okiie Hashimoto, the smallest entitled ‘Mount Fuji in Twilight’, numbered 39/150, titled, signed and dated in pencil, 47cm x 44.5cm; the other called ‘Waterfall’, numbered 43/80, also signed and dated in pencil by the artist, 65.6cm x 53cm. (2)

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

950

UNNO MITSUHIRO (1939-79)

NORIKANE HIROTO (B.1949)

KATSUMI MIYAKE (KOKKI, 1874-1954)

MASAYA WATABE (B.1931) AND OTHERS

20TH CENTURY

A collection of fourteen prints and etchings depicting dwellings, three by Unno Mitsuhiro, one titled ‘A Calm Sea’; one by Norikane Hiroto, titled ‘Farm House’, numbered 14/100 and signed by the artist, framed and glazed; some of the other pictures titled, dated, signed and numbered in the lower margins, 44.2cm x 34.5cm max. (14)

WITHOUT RESERVE

£200-300

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

951

KOICHI SEWAI (B.1946)

HARU NARAI (THE NORTH WIND IN THE SPRING)

HEISEI ERA, C.2010

A large Japanese woodblock print depicting a flaming pink sky at sunset; signed by the artist, titled and numbered 10/20 in pencil in the lower margin, 68.3cm x 46.2cm.

WITHOUT RESERVE

£200-300

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

952 (not to scale)

953

NISHIDA TADASHIGE (B.1942) HIDEAKI KATO (B.1954) SABURO MIYATA (1924-2013) AND OTHERS

20TH CENTURY

A collection of ten prints and silkscreens depicting landscapes, some titled, numbered, signed and dated in pencil in the lower margins, 44.2cm x 57.2cm max. (10)

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

954

TOMIKICHIRO TOKURIKI (1902-2000)

SUSUMU YAMAGUCHI (1897-1983)

EIICHI KOTOZUKA (1906-79) AND OTHERS

20TH CENTURY

A collection of twenty Japanese prints, mostly depicting landscapes; one by Tomikichiro Tokuriki depicting Mount Kasagi, from the series ‘Famous Historic Places and Holy Places’, and another of the Obon festival of Daimonji; another by Susumu Yamaguchi of a mountain lake; and many others by various artists, together with a folder of four views of Nikko by Eiichi Kotozuka. (25)

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

953 part lot illustrated (not to scale)

954 part lot illustrated (not to scale)

955

BAKUFU OHNO (1888-1976)

UNICHI HIRATSUKA (1895-1997)

SEIJI SANO (B.1959) AND OTHERS

20TH CENTURY

A collection of thirteen bird and flowers prints and etchings, including a very large print by Seiji Sano titled Haruake no Usuzumi (Spring Dawn Usuzumi), numbered 107/150, titled, dated 1998 and signed by the artist; some other pictures also titled, signed, dated and numbered by the makers in the lower margins; 66cm x 94cm max. (13) WITHOUT RESERVE

£200-400

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

956

OHNO BAKUFU (1888-1976) KAWARAZAKI SHODO (1889-1973)

SHŌDA KŌHŌ (1871-1946)

TOMIKICHIRO TOKURIKI (1902-2000) AND OTHERS

20TH CENTURY

Nine Japanese prints variously depicting insects and flowers, two by Ohno Bakufu, both printed by Kyoto Hanga c.1950; two others featuring butterflies and flowers by Kawarazaki Shodo and Shōda Kōhō; a print of lilies by Tomikichiro Tokuriki, and other prints by various artists, 27.7cm x 42.5cm max. (9) WITHOUT RESERVE

£200-300

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

955 part lot illustrated (not to scale)

956 part lot illustrated (not to scale)

957 part lot illustrated (not to scale)

957

A LARGE COLLECTION OF JAPANESE PAPER EPHEMERA

MEIJI AND LATER, 19TH CENTURY AND LATER

Including a woodblock print by Unno Mitsuhiro (1939-79), titled ‘Spin the Hemp’, numbered 16/100, signed and dated 1974; and a large number of other prints, calendars, postcards and other paper ephemera, and four framed and glazed pictures. (a lot)

WITHOUT RESERVE

£200-300

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

958

HIROYUKI TAJIMA (1911-84) MASAO MAEDA (1904-74)

UNICHI HIRATSUKA (1895-1997) AND OTHERS

20TH CENTURY

A collection of fourteen prints, silkscreens and etchings, including two by Hiroyuki Tajima titled ‘Birthmark’ and ‘Ancient Writing’, both titled, signed, dated and numbered by the artist in pencil; two by Masao Maeda of villages, signed; one by Unichi Hiratsuka entitled ‘Girl of Sakura Island’, signed and numbered 21/100; and others by various artists, 63.3cm x 49.6cm max. (14)

WITHOUT RESERVE

£200-300

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

958 part lot illustrated (not to scale)

959 part lot illustrated (not to scale)

959

KEVIN CLARK (1965-)

HEISEI ERA, 20TH AND 21ST CENTURY

A collection of eight woodblock prints by American artist Kevin Clark, variously depicting birds, flowers, fish, a Chinese junk and a Japanese house; including three artist’s proofs with certificates of authenticity, all signed by the artist and numbered; one framed and glazed, 36.5cm x 50.3cm max. (8)

WITHOUT RESERVE

£200-300

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

961

KIYOSHI SAITO (1907-97)

DACHSHUND

C.1950

960 part lot illustrated (not to scale)

960

KAORU KAWANO (1916-65)

KANETAKA URATA (B.1939)

TSUKASA YOSHIDA (B.1949)

IKU NAGAI (B.1930) AND OTHERS

20TH CENTURY

A collection of eighteen prints depicting beauties and other figures; some titled, numbered, signed and dated in pencil in the lower margins, 62.5cm x 46cm max. (18)

WITHOUT RESERVE

£300-500

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

A Japanese woodblock print, depicting a seated sausage dog, signed in pencil Kiyoshi Saito underneath and with a red seal mark at the back, 29.1cm x 21cm.

WITHOUT RESERVE

£150-250

Provenance: the private collection of Ian Wilson (d.2024), County Durham, and thence by descent.

END OF SALE

AUCTION INFORMATION

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

The colours printed in the catalogue are not necessarily true.

SALE RESULTS

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

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Debit and Credit cards: Visa, Mastercard, Amex or Union Pay

Where practical, payment can be made and purchases collected during the auction.

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

LOT SYMBOLS

VAT

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

CITES REGULATIONS

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

The CITES Regulations may be found at www.defra.gov.uk/ahvla-en/imports-exports/cites/

ARTIST’S RESALE RIGHT / DROIT DE SUITE

Lots marked with a Φ symbol are potentially subject to a levy.

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

Royalties are calculated on a sliding percentage scale based on the hammer price excluding the buyer’s premium. The royalty does not apply to lots selling below £1,000 and the maximum royalty payable on any single lot is £12,500.

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.

Royalties for Droit de Suite are as follows:

4% Up to £50,000

3%

1%

£50,000.01 - 200,000

£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 £12,500

FIREARMS

Lots marked Ƒ in the catalogue, or by any other means identified as controlled firearms, are subject to the UK firearms/shotgun licencing regime, and should only be viewed/ purchased by individuals with appropriate licences. It is the responsibility of the bidders to ensure that they are legally authorised to acquire the lot that they are bidding for. In the event that such a lot is successfully bid for by an individual who is not authorised to possess it, that individual will be required to pay for it, but are not allowed to take physical possession of it. The auctioneers will reoffer the lot on behalf of the buyer in a future auction; or may accept instructions to dispose of it by some other legal means, at their discretion.

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VALUATIONS

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

INSURANCE VALUATIONS

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

For valuations of an entire house contents an itemised bound valuation is produced and can be accompanied by photographs when required. In addition to providing an inventory, written valuations can prevent painful arguments with a loss adjuster in the event of a claim.

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

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.

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

Contact Jeremy Lamond +44 (0)1722 424502 | valuations@woolleys.live

FREE AUCTION VALUATIONS

Free verbal valuations of items for sale are available by appointment. Please email valuations@woolleys.live or call +44 (0)1722 424500.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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

Woolley & Wallis Salisbury Salerooms Ltd.

51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Registered in England No.02998482

VAT No: 631 9832 29

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

AUCTION CALENDAR

2025

OCTOBER

29th & 30th Fine Jewellery

NOVEMBER

11th, 12th & 13th The Finer Collection, Fine Asian Art, Asian Art II and Japanese Works of Art

DECEMBER

2nd Medals & Coins, Arms & Armour

10th British Art Pottery

11th Modern British & 20th Century Paintings and Works of Art

2026

JANUARY

20th, 21st, & 22nd Classics week: Fine Furniture; Interiors: European Ceramics and Glass

29th & 30th Fine Jewellery

FEBRUARY

3rd & 4th Silver & Objects of Vertu

Dates may be subject to change

+44 (0)1722 424500 info@woolleys.live

51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk

*Price includes buyer’s premium

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR MAY 2026 AUCTIONS