Woolley & Wallis Auctioneers

FINE JAPANESE WORKS OF ART

日本美術

TUESDAY 23RD MAY 2023

ASIAN ART SPECIALISTS & CONTACTS

Please dial +44 (0)1722 followed by the number listed below

John Axford MRICS ASFAV 424506

Alexandra Aguilar 424583

Freya Yuan-Richards 424589

Jeremy Morgan +44 (0)7812 601098

Michelle Yu 424571

Sophie Moore 424591

Nelson Chui 424591

Email: asianart@woolleyandwallis.co.uk

Front Cover: Lots 35, 32, 62, 92 & 96

Back Cover: Lot 66 (detail)

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

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU

Tel: +44 (0)1722 424500 • www.woolleyandwallis.co.uk

Jeremy Morgan Asian Art

Nelson Chui Photography

Michelle Yu Sophie Moore

Alexandra Aguilar Japanese Art

Freya Yuan-Richards Chinese Paintings

John Axford MRICS ASFAV Head of Asian Art

FINE JAPANESE WORKS OF ART

日本美術

TUESDAY 23RD MAY 2023

10.00AM

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 13th May 11.00am – 4.00pm

Sunday 14th May 11.00am – 4.00pm

Monday 15th May 11.00am – 4.00pm

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

Friday 19th May 10.00am – 5.00pm

Saturday 20th May 10.00am – 1.00pm

Monday 22nd May 10.00am – 5.00pm

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SPECIALIST DEPARTMENTS

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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

THE STOCLET COLLECTION

LOTS 1-10

Adolphe Stoclet (1871-1949) was a successful Belgian engineer and financier. His wife Suzanne Stevens (1874-1960) was the daughter of art critic and collector Arthur Stevens (1825-1909), and the niece of painter Alfred Stevens (1823-1906). Through these connections to the art world, the Stoclets were introduced to the avant-garde art circles of Paris and Vienna.

When living in Austria, they met architect and designer Josef Hoffmann (1870-1956) whom they commissioned to build the Palais Stoclet in Brussels in 1905. A great monument to the Secessionist style, the Palais would house their extensive art collection which included a variety of pieces from Egyptian and Chinese sculpture to medieval Italian painting, Byzantine jewellery, Pre-Columbian and African art. Gustav Klimt painted the mural in the dining room, and the Palais was used to entertain the King of Sweden as well as historians, archaeologists, writers, and musicians.

Early on in his collecting life, Adolphe became interested in Japanese ukiyo-e prints, embracing the wave of Japonisme taking the West by storm. He showed a true scholarly interest for the pictures in his collection, keeping a record of where the prints were purchased and identifying the themes depicted. His notes were written down on the frames and mounts of many of the prints in this sale and have been added to the catalogue descriptions. The Stoclet Collection included close to three thousand prints, variously bought at auction and from famous art dealers of the early 20th century. Tadamasa Hayashi (Paris) and Takejirō Murakami (Brussels) are sometimes mentioned. Other Japanese ukiyo-e pictures from the Stoclet Collection were auctioned at Sotheby’s London on 8th June 2004, and many of the prints on offer here echo those ones in terms of artists and subject matters depicted.

Suzanne and Adolphe Stoclet Palais Stoclet, Brussels

Hayashi Tadamasa’s collector seal

HAYASHI TADAMASA: THE FATHER OF JAPONISME (1854-1906)

Many of the Stoclet prints on offer in this sale bear the seal of the Hayashi Collection. Interested in the life of Napoléon, Hayashi Tadamasa decided to study French at the University of Tokyo and went on to work at the Paris Exposition Universelle of 1878 as translator, assisting the Japanese art expert Wakai Kanezaburo (1834-1908).

A few years later, Tadamasa and Wakai would establish a business partnership in Paris, the Wakai-Hayashi Company, dealing in Japanese artworks and thus contributing to the craze for Japanese Art spreading in the West in the late 19th century. In 1886, Tadamasa contributed to the publication of Paris Illustré, the cover of which would inspire Van Gogh for his painting ‘The Courtesan’. Tadamasa sourced many artworks for European collections including for those of Louis Gonse, Edmond de Goncourt, Henry Vever, and others. The prints he imported by famous artists such as Utamaro and Kiyonaga were particularly disputed amongst collectors, and he quickly became famous for the quality of the art he offered for sale and collected himself. In 1900, the Japanese Government appointed him General Commissioner of the Japanese Art section at the Paris World Fair, for which he was later awarded the Légion d’Honneur, the highest French order of merit established by Napoléon a century earlier. Tadamasa sold his collection of prints at auction in 1902-03 and left Paris in 1905 to return to Tokyo, where he lived surrounded by his favourite artworks by Degas, Monet, and others until his death in 1906.

Hayashi Tadamasa

ISODA KORYUSAI (1735-90)

KATSUKAWA SHUNSHO (1726-92)

EDO PERIOD, 18TH CENTURY

Two Japanese woodblock prints, the first by Koryūsai and entitled Seitoji bansho (Evening Bell at Seitoji) from the series Tōtō Hokushu hakkei (Eight Views of Northern Edo), depicting two beauties in a garden, one adjusting the obi of the other, signed Koryū ga, with the seal of the Hayashi Collection, 26.2cm x 18.9cm, the frame with a label reading ‘seal of the Hayashi Collection, bought from Murakami 15th April 1909’ in French; the other print by Shunshō depicting two women and a samurai in an interior, one holding the man’s sleeve, with Shunsho’s tsubo-shaped seal reading Hayashi, 26cm x 19.5cm; both prints with embossed details. (2)

£200-400

Provenance: from the collection of Adolphe Stoclet (1871-1949). The Koryūsai print previously in the collection of Hayashi Tadamasa (1854-1906).

KOMAI YOSHINOBU (ACT. C.1764-81) EDO PERIOD, C.1765-71

A Japanese woodblock print entitled Edo-machi Itchome, Ogiya uchi Matsukaze (The Courtesan Matsukaze of Ogiya in Edo-machi Itchome), depicting two beauties in an interior, one presenting the other with a letter, signed Komai Yoshinobu ga, with the seal of the Hayashi Collection, 25.5cm x 19.4cm; the mount with a handwritten inscription reading ‘Yoshinobu Komai, seal of the Hayashi Collection, bought from Murakami 10-3(?)-09’ in French.

£200-300

Provenance: from the collection of Adolphe Stoclet (1871-1949), and previously in the collection of Hayashi Tadamasa (1854-1906).

See Sotheby’s London, Important Japanese Prints, Books and Paintings from the Adolphe Stoclet Collection, 8th June 2004, lot 101, for another print by Komai Yoshinobu from the collection of Adolphe Stoclet, with a similar inscription on the mount reading ‘bought from Murakami, 9-1-09’. Also, see the Art Institute Chicago, access. no.1928.979 for another example of this print.

KITAGAWA UTAMARO I (C.1754–1806)

EDO PERIOD, C.1801-2

Two Japanese woodblock prints from the series Chūshingura (The Treasury of the Loyal Retainers), the first entitled ‘Act IX (Kudanme)’, some details embossed, 37.9cm x 24.6cm; the second print depicting Act II, with Oboshi Rikiya meeting his sweetheart Konami, 37.5cm x 18cm; both signed Utamaro hitsu, published by Nishimuraya Yohachi (Eijudō), and with censor’s seal kiwame; both prints with the seal of the Hayashi Collection, and each with a label originally on the back of the frames with the name and dates of the artist and another label for ‘Cadres et Dorure Gabriel van Thienen, 28 Rue de l’Enclume, Bruxelles’. (2)

£200-400

Provenance: from the collection of Adolphe Stoclet (1871-1949), and previously in the collection of Hayashi Tadamasa (1854-1906).

See the Museum of Fine Arts, Boston, access. no.21.6443 for another example of the first print. Also, see Sotheby’s London, Important Japanese Prints, Books and Paintings from the Adolphe Stoclet Collection, 8th June 2004, lots 210, 211, 212, and 213, for more prints from the same series from the Stoclet Collection.

UTAGAWA TOYOHARU (1735-1814)

EDO PERIOD, C.1780

A Japanese woodblock print entitled Kyusenzan Kassen no zu (The Battle of Jiuxian-Shan in China) from the series Shinpan uki-e (Newly Published Perspective Pictures), signed Utagawa Toyoharu kore o hakaru, with the seal of the Hayashi Collection, published by Iwatoya Genpachi, 24cm x 35cm.

£200-400

Provenance: from the collection of Adolphe Stoclet (1871-1949), and previously in the collection of Hayashi Tadamasa (1854-1906).

See the Museum of Fine Arts, Boston, access. no.11.14708, and the British Museum, access. no.1963,0731,0.6 for two other impressions of this print with slight differences. Also, see Sotheby’s London, Important Japanese Prints, Books and Paintings from the Adolphe Stoclet Collection, 8th June 2004, lots 153 and 154 for two other prints by Toyoharu of perspective views from the Stoclet Collection, one also with Hayashi provenance.

5 TORII

KIYONAGA

(1752-1815)

EDO PERIOD, C.1787

Two Japanese woodblock prints from a triptych entitled Mimeguri no yudachi (A Sudden Shower at the Mimeguri Inari Shrine), depicting travellers caught in a rainstorm, both signed Kiyonaga ga, 37.7cm x 25cm and 38.3cm x 25cm respectively; the frame with a label reading ‘bought from Murakami, 17 June 1909’ in French.

£200-300

Provenance: from the collection of Adolphe Stoclet (1871-1949).

See the Museum of Fine Arts, Boston, access. nos.11.13972, 11.13985 and 11.13986 for another example of this triptych.

6 KATSUSHIKA HOKUSAI (1760-1849)

EDO PERIOD, C.1806

A Japanese woodblock print diptych made of two pages from an album entitled Ehon Sumidagawa ryogan ichiran (Picture Book of Both Banks of the Sumida River at a Glance), depicting many travellers crossing a bridge over the Sumida River, published by Bun’edo (Maekawa Zenbei), 20cm x 30cm overall.

£200-300

Provenance: from the collection of Adolphe Stoclet (1871-1949).

7 UTAGAWA YOSHITORA (C.1836-87)

EDO PERIOD, 1854

A Japanese woodblock print, entitled Nihonbashi: Sunset, from the series Toto meisho hakkei no uchi (Eight Views of Famous Places in the Eastern Capital), depicting many figures crossing a bridge, with Mount Fuji in the distance; published by Yamada Shobei, signed Yoshitora ga, with publisher’s seal Yamada and censor’s Aratame seal, 23.9cm x 34.5cm.

£200-300

Provenance: from the collection of Adolphe Stoclet (1871-1949).

8

UTAGAWA HIROSHIGE (1797-1858)

EDO PERIOD, C.1832-33

A Japanese woodblock print entitled ‘Sea Bream and Sansho Pepper’, from an untitled series known as ‘Large Fish’, with two kyōka poems above, one by Shizugaki Namiyasu; signed Ichiryûsai Hiroshige ga, 25cm x 36.4cm.

£200-400

Provenance: from the collection of Adolphe Stoclet (1871-1949).

9

KEISAI EISEN (1790–1848)

EDO PERIOD, C.1830-44

A Japanese vertical oban diptych woodblock print, depicting a large carp in a waterfall, signed Keisai hitsu, with red artist’s seal Eisen, published by Izumiya Ichibei (Kansendo), 71cm x 24.5cm overall.

£200-300

Provenance: from the collection of Adolphe Stoclet (1871-1949).

10

A JAPANESE GOLD LACQUER SUZURIBAKO (WRITING BOX AND COVER) MEIJI PERIOD, 19TH CENTURY

Of typical square shape with chamfered corners, the box and cover decorated to the exterior with a dense pattern of leafy branches in gold lacquer on the black ground; the inside and inner trays with a design of stylised waves; a rectangular metal suiteki and an inkstone, 4.3cm x 21.2cm x 22.8cm. (5)

£300-500

Provenance: from the collection of Adolphe Stoclet (1871-1949).

END OF COLLECTION

ISODA KORYUSAI (1735-1790)

EDO PERIOD, C.1774-5

A Japanese oban yoko-e shunga woodblock print entitled ‘Making Love on the Veranda’, depicting a young couple enjoying each other’s company, with large chrysanthemum flowers in the foreground and a screen depicting crashing waves behind, two poems beside the busy lovers , some details rendered in karazuri (embossing), 24.95cm x 37cm.

£500-800

Provenance: an English private collection, purchased c.1970 from Kegan Paul, Trench, Trübner & Co., British publishers in London. See the British Museum, access. no. OA+,0.97 for another example of this print by Koryusai, also illustrated in R Buckland, Shunga: Erotic Art in Japan, p.46.

UNIDENTIFIED ARTISTS

PROBABLY EDO AND MEIJI, 18TH AND 19TH CENTURY

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

£500-800

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

UTAGAWA KUNIYOSHI (1797-1861)

EDO PERIOD, 19TH CENTURY

Three Japanese woodblock prints, all signed Ichiyūsai Kuniyoshi ga; two from the series Kisokaidō rokujūkyū tsugi no uchi (Sixty-nine Stations of the Kisokaidō Road), one entitled Mitake: Akushichibyōe Kagekiyo, published by Sumiyoshiya Masagorō, 36.3cm x 25.6cm; the other of ‘Ochiai: Kume Sennin and the Washerwoman’, published by Hayashiya Shōgorō, 36.5cm x 25cm; the third entitled ‘Yūgao: Yazama’s Wife Orie’, from the series Genji kumo ukiyo-e awase (Genji Clouds Matched with Ukiyo-e Pictures), published by Iseya Ichiemon, with embossed details, 36cm x 24.5cm. (3)

£400-600

UTAGAWA KUNISADA I / TOYOKUNI III (1786-1865) EDO PERIOD, C.1855-61

Four Japanese woodblock prints, the first entitled ‘Wild Geese’, published by Otaya Takichi, 36.5cm x 24.2cm; another of Villain Onitaro disguising himself as Shimobe Tomoshige, published by Kagiya Shobei, 35.5cm x 24cm; the third of a poet gazing at butterflies, published by Otaya Takichi, 36.2cm x 24cm; and the fourth of Shosan practising Asceticism, with spiderwebs behind him, published by Kagiya Shobei, 35.5cm x 24cm. (4)

£200-300

Provenance: from the private collection of a British artist, formed in the 1990s.

15

YOSHU / TOYOHARA CHIKANOBU (1838-1912)

MEIJI ERA, C.1888

An accordion album of ten Japanese woodblock print triptychs, comprising a whole set of the series entitled Onko azuma no hana (Flowers of Edo in the Past), including:

-New Year’s Greeting for the Shogun

-Noble Ladies Evacuating from the Accidental Fire

-Townspeople Watching the Noh Play ‘Okina’ at Edo Castle

-The Daimyo Procession Entering Edo

-The Shogun’s Wild Boar Hunting in Koganehara

-Procession of a Feudal Lord Visiting the Temple at Ueno

-The Shogun Hearing a Lawsuit at Fukiage

All bound together with three other triptychs depicting various processions, each sheet 35.3cm x 23.6cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£300-500

Provenance: an Irish private collection, Dublin.

16

YOSHU / TOYOHARA CHIKANOBU (1838-1912)

MEIJI ERA, C.1897

Two Japanese woodblock print triptychs, the first entitled Kagamibiraki no zu (New Year’s Kagamibiraki Ceremony) and the other Shogatsu ganjitsu moro-shimobe tojo go-genkan mae no zu (Depiction outside the Gate where various low-ranking officials have arrived to attend the Shogun on New Year’s Day), both from the series Chiyoda no On-omote (The Outer Palace of Chiyoda), both framed and glazed, each sheet approx. 34.7cm x 23.3cm. (2)

£100-150

part lot illustrated

YOSHU / TOYOHARA CHIKANOBU (1838-1912)

MEIJI ERA, C.1895

An accordion album of ten Japanese woodblock print triptychs, comprising a whole set of the series entitled Chiyoda no ooku (The Inner Palace of Chiyoda), some sheets with embossed details, the prints depicting beauties in and around Edo Castle engaged in various daily pursuits, some triptychs with the publisher’s seal Fukuda Hatsujiro, all signed Yoshu Chikanobu/Oju Yoshu Chikanobu, each triptych approx. 35.5cm x 71cm.

£300-500

18

TSUCHIYA KOITSU (1870-1949)

SHOWA ERA, 1934

£400-600

A Japanese woodblock print, entitled ‘Snow at Ukimido, Katata’, depicting a stilted pavilion on Lake Biwa at night, with snow falling and gathering on tree branches and on the shore below, published by Watanabe, signed Koitsu lower left corner and with a red seal mark, the margin inscribed and with Hanken shoyu Watanabe Shozaburo (copyright ownership Watanabe Shozaburo), 39.4cm x 26.5cm.

OHARA KOSON (1877-1945)

MEIJI ERA, 20TH CENTURY

Two Japanese woodblock prints, both published by Nishinomiya Yosaku, the first of a large crow perched on a branch, with snow gathering on the twigs around it, signed Koson lower left corner, the reverse inscribed ‘All rights reserved, Y Nishinomiya Tokyo, Made in Japan’, 44cm x 27.6cm; the other print depicting a couple of pheasants, the larger male bird leaving imprints as it walks in the snow, signed and sealed Koson, 44cm x 27.8cm; both prints with the same carver’s and printer’s names in the left margins. (2)

£200-400

20

YOKOYAMA MOKUGYO (DATES UNKNOWN)

MEIJI ERA, 19TH CENTURY

A Japanese yūrei-zu kakemono (hanging scroll painting of a ghost), in ink and colour on silk, with a gruesome depiction of an emaciated female ghost grimacing whilst gazing at a severed head, the whiteness of the flesh contrasting with the buff ground; signed Yokoyama Mokugyo Dojin hitsu (Painted by Yokoyama Mokugyo, a man of Tao) and sealed, 86cm x 31.5cm.

£250-350

21

AFTER SHIBATA ZESHIN (1807-1891)

MEIJI ERA, 19TH CENTURY

A Japanese kakemono (hanging scroll painting), in ink and colour on paper, depicting Jurojin wearing long flowing robes, the God of Good Fortune typically depicted with an elongated forehead and a long beard, two characters reading Zeshin with a red seal mark underneath, with silk mounts, 60cm x 30.5cm.

£250-350

AFTER LEONARD TSUGUHARU FOUJITA (1886-1968)

20TH CENTURY

Two drawings, both pencil on paper, one in pink with the three-quarter portrait of a young woman; the other in graphite with the head of a young girl looking up, her hair blowing in the wind; both signed in roman script ‘Foujita’ lower right, 29.5cm x 20.5cm and 29.5cm x 21cm respectively. (2)

£400-600

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

23 TOSA SCHOOL

EDO OR MEIJI, 18TH OR 19TH CENTURY

A Japanese six-fold byobu (paper screen), painted in ink and colour on a gold leaf ground, depicting various narative scenes, probably from the Tale of Genji, divided by pines and framed by scrolling clouds, unsigned, 172cm x 378cm. £8,000-12,000

TANAKA SHOHO (ACT. 1900s-20s)

PROBABLY TAISHO, 1920S

A Japanese two-fold byobu (paper screen) brightly painted with vivid colours, depicting a woven basket containing a large bouquet of flowers including chrysanthemum, sunflowers, prunus and other blossoms, a tall stand beside it with a phoenix vase in archaistic style containing sprays of morning glory, signed Shoho Gashi (Painted by Shoho) and sealed Sekiboku an shu and Shoho lower left corner, 171cm x 190cm.

£3,000-5,000

Tanaka Shoho (act.1900s-20s), studied under famous Meiji artist Suzuki Shonen (1848-1918), the founder of the Suzuki school of painting.

λ A GOOD JAPANESE TWO-PART GOLD LACQUER SHODANA (DISPLAY CABINET)

MEIJI ERA, 19TH/20TH CENTURY

Richly decorated with a profusion of details rendered in gold, black and red lacquer and with mother of pearl and other inlays; embellished with many figures in mountainous river landscapes, formal geometric designs and brocade patterns, mon family crests, dragons and ho-o birds; the cabinet comprising three shelves, two sets of sliding doors, a pair of hinged doors and another curved one, the lower section with three drawers; all raised on a fitted stand decorated with further mon, 159cm x 120cm x 56cm. (2)

This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. VXJNX9AW.

£5,000-8,000

A LARGE JAPANESE YUZEN-BIRODO (CUT VELVET) WALL HANGING

MEIJI ERA, 19TH CENTURY

Depicting a red bridge leading to a torii gate, with temple buildings beyond nestled amongst pine trees, a waterfall to the side and thick clouds obscuring the hill behind, the panel framed by a silk mount and the upper part embellished with tassels, 225cm x 156cm.

£500-1,000

A PAIR OF LARGE AND IMPRESSIVE JAPANESE

EMBROIDERED SILK WALL HANGINGS

MEIJI ERA, 19TH/20TH CENTURY

Each rectangular panel richly decorated with two woven baskets containing an abundance of flowers, with sprays of wisteria, chrysanthemum, peony and other vivid blooms, the hanging baskets tied up with colourful tassels, all rendered in delicate threads on the rich midnight-blue silk ground, both 283cm x 118cm. (2)

£6,000-8,000

A PAIR OF LARGE AND IMPRESSIVE JAPANESE

EMBROIDERED SILK WALL HANGINGS

MEIJI ERA, 19TH/20TH CENTURY

Each rectangular panel richly decorated with two woven baskets containing a plethora of flowers, with sprays of wisteria, chrysanthemum, peony and other vivid blooms, the hanging baskets tied up with colourful tassels, all rendered in delicate multicoloured threads on the rich midnight-blue silk ground, both 284cm x 118cm. (2)

£6,000-8,000

29

AN IMPRESSIVE JAPANESE YUZEN BIRODO (CUT VELVET) PANEL

MEIJI ERA, 19TH/20TH CENTURY

Of square shape, dyed and painted with a watermill by a stream, with leafy trees on the riverbanks and the silhouettes of thatched pavilions in the distance; all rendered in warm shades evoking summer lights; the square panel with silk mounts embellished with chrysanthemum and scrolling leaves; glazed and displayed in an impressive European gilded frame with stylised vines to the corners, with remnants of a paper label at the back for ‘J.B. Bennett & Sons, Painters and Decorators to the Queen, Gilders and Fine Art Dealers’, the panel 60.5cm x 69cm, 95cm x 94.2cm overall.

£800-1,200

J.B. Bennett & Sons was founded by John Brown Bennett (c.1810-1878) in Glasgow c.1856, trading as painters, interior decorators and art dealers. John’s son Robert James (c.1843-1916) became the President of Glasgow Master Painters’ Association, and the company started selling modern paintings, European Porcelain and Japanese works of art from 1889.

30

A PAIR OF JAPANESE EMBROIDERIES WITH BIG CATS

MEIJI ERA, 19TH/20TH CENTURY

One depicting a lion and lioness, the male looking straight at the viewer whilst his companion sleeps contentedly beside him; the other with two tigers looking to the right and baring their teeth; the animals rendered in warm honey and cream-coloured threads on the black silk grounds; both in their original remounted frames and glazed, both 42cm x 52.7cm overall. (2)

£400-600

Provenance: from the collection of George Ottaway (1900-45), and thence by descent. Ottaway volunteered with the Royal Navy at 15 years old, quickly rising through the ranks and later becoming Petty Officer and Torpedo Man. He served on many famous ships including the Victory and Iron Duke and was selected in 1929 to accompany HRH Prince Henry, Duke of Gloucester with the Garter Mission to Japan aboard HMS Suffolk, which is when he may have acquired this and lot 210.

JAPANESE METALWORK & CLOISONNÉ ENAMELS

LOTS 31-57

A PAIR OF IMPERIAL JAPANESE SILVER PRESENTATION VASES MEIJI OR LATER, 19TH OR 20TH CENTURY

Each vase with a tall cylindrical body elegantly decorated with a single kikumon, the sixteen-petalled chrysanthemum crest of the Imperial family; each stamped with a jungin (pure silver) mark underneath, both 26.1cm. (2)

£3,000-5,000

Provenance: from the collection of Dame Marie Tempest (1864-1942), and thence by descent.

Dame Marie Tempest (née Marie Susan Etherington,1864-1942) was an English actress sometimes referred to as ‘the Queen of her profession’. Tempest’s career spanned over five decades, making her stage debut in 1885 in the operetta Boccaccio at the Comedy Theatre. The title role in Dorothy (1887), running for 931 performances, established her career and reputation. In 1914, she undertook an eight-year worldwide tour, visiting America, Canada, Australia, New Zealand, South Africa, India, Singapore, China, the Philippines and Japan, where she may have acquired this pair of vases. In 1935, she celebrated her golden jubilee with a performance attended by George V and Queen Mary, and two years later, she was made a Dame of the Order of the British Empire (DBE).

Dame Marie Tempest (1864-1942)

A FINE JAPANESE ENAMELLED SILVER VASE BY YUSHIN MEIJI ERA, 19TH/20TH CENTURY

The slender trumpet-shaped body with a foliate foot and rim, elegantly decorated at the waist with a band of shippo tsunagi cash design with four-petalled flower details, the body embellished with floral scrolling tendrils rendered in colourful enamels, signed Yushin koku underneath, 21.7cm. £2,000-3,000

A FINE AND UNUSUAL INLAID IRON BOX AND COVER BY THE KOMAI COMPANY

MEIJI ERA, C.1900

Of long rectangular form and raised on shaped bracket feet, the cover finely decorated with figures in a river landscape with Mount Fuji towering in the distance; the foreground with the unusual depiction of a horse and cart outside thatched pavilions, with travellers resting inside and small chickens pecking grain at the back; the sides of the box with a kaleidoscope of fluttering butterflies; the inside embellished with chrysanthemum flowerheads; the decoration rendered in gilt, copper and silver on the dark black ground; the Komai dragonfly seal mark to the base inscribed Nihon koku Kyoto ju Komai sei, 6cm x 17.3cm x 8cm.

£3,500-4,000

Provenance: formerly in an American private collection.

See p.1 of this catalogue for a full view of the decoration on the cover.

A FINE AND LARGE INLAID IRON BOX AND COVER BY KOMAI SEIBEI MEIJI ERA, C.1900

Of rectangular form, the lid richly decorated with a shaped panel enclosing the Great Torii of Miyajima and the complex pavilions of Itskushima Shrine behind, a fan-shaped cartouche above identifying the view, with minute depictions of fishermen, travellers and deer dispersed across the landscape; all reserved against a dense ground of sakura flowers, and with a border of kikumon, the Imperial crest made of a sixteen-petalled chrysanthemum; the sides embellished with complex borders of flowerheads and ivy, further kikumon and the go-shichi no kiri mon paulownia crest; the base with the seal mark for Komai Seibei; the inside with a wood liner, and raised on a fitted silver stand with bracket feet incised with flower sprays, 6.5cm x 18.2cm x 12cm. (4)

£4,000-5,000

Provenance: formerly in an American private collection.

See p.1 of this catalogue for a full view of the decoration on the cover.

A FINE JAPANESE PARCEL-GILT BRONZE VASE BY THE MIYAO EISUKE COMPANY MEIJI ERA, 19TH CENTURY

The elegant body with a long cylindrical neck and scrolling handles, richly decorated with gilt roundels of flowering paulownia, chrysanthemum, magnolia, peony, narcissus and other blooms, on a dense ground of chased scrolling tendrils and dots, the flaring mouth with a band of key fret, the base signed Miyao zo in a gilt reserve, 39cm.

£20,000-30,000

The Miyao Company of Yokohama was very prolific in the Meiji era, producing high-quality bronzes and in particular, models of warriors and other figures.

A FINE AND IMPRESSIVE JAPANESE INLAID IRON CHARGER BY THE KOMAI COMPANY SHOWA ERA, C.1930

Richly embellished with a central design of thatched huts in a river landscape with Mount Fuji towering in the distance; with minute details of a farmer transporting woven baskets on a carrying pole whilst walking towards the pavilions, a group of chickens busy pecking grain to the side; another figure on a sailing boat in the distance, and with a three-storey pagoda beyond; the decoration rendered in gilt, silver and copper inlays against the black iron ground; all framed by two impressive dragons depicted in shallow relief emerging from curtains ripped to shreds, their claws, whiskers, pupils, fangs and fire wisps modelled in gilded copper; the base with the dragonfly trademark, inscribed Nihon koku Kyoto ju Komai sei and JAPAN underneath, the rim with a metal ring, 45.5cm. £10,000-15,000

Cf. Meiji no Takara, The Nasser D. Khalili Collection of Japanese Art, Metalwork, Part I, no.19, for another Komai charger with comparable dragons appearing through torn drapery.

37

A PAIR OF JAPANESE CLOISONNE VASES

MEIJI ERA, 19TH/20TH CENTURY

The tall cylindrical bodies with flared necks, each decorated with sparrows amongst flowering branches of prunus and wisteria, rendered in gold and silver wires on the dark navy-blue ground, both with bands of key fret to the foot and neck, the rims with metal mounts, both 15.5cm. (2)

£300-500

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

38

A PAIR OF JAPANESE CLOISONNE VASES

MEIJI ERA, 19TH/20TH CENTURY

Each with a tall baluster body raised on a spreading foot and a long flared neck applied with scrolling handles, embellished with alternating lappets enclosing writhing dragons and ho-o birds holding paulownia sprays in their beaks, with bands of formal designs including stylised lotus flowers, chrysanthemum, scrolling tendrils and shaped cartouches with further dragons and birds, both 30.5cm. (2)

£500-800

A SMALL JAPANESE CLOISONNE ENAMEL VASE BY NAMIKAWA YASUYUKI (1845-1927)

MEIJI ERA, 19TH/20TH CENTURY

The baluster body decorated in silver wires and polychrome enamels, with a delicate design of a small lemon-yellow butterfly fluttering towards pink flowers, on a dark aubergine ground, with a silver rim and foot, the base with four chiselled cursive characters on a silver plaque reading Kyoto Namikawa, 8cm.

£6,000-8,000

A JAPANESE MORIAGE CLOISONNE BOX AND COVER, ATTRIBUTED TO ANDO JUBEI MEIJI OR TAISHO, 20TH CENTURY

Of rectangular shape, the lid decorated with two small crabs amongst bamboo, the crustaceans rendered in silver wires and slightly raised enamels on the pale green ground, the rims with silver mounts and the inside lined with fabric, 5.2cm x 13.5cm x 10.3cm. (2) £1,200-1,500

Provenance: formerly a private American collection.

41

A LARGE CLOISONNE ENAMEL VASE WITH LILIES BY ANDO JUBEI (1876-1953)

MEIJI OR TAISHO, 20TH CENTURY

The tall cylindrical body decorated with an elegant single lily with pink and yellow petals, the dark midnight-blue leaves contrasting on the pale duck egg blue ground, the design rendered in silver wire and musen (wireless), the neck and foot both mounted with a silver ring, the footrim stamped with the mark for the Ando company and jungin (pure silver), 33.5cm.

£800-1,200

Provenance: formerly a private American collection.

42

A LARGE CLOISONNE ENAMEL VASE WITH NARCISSUS BY ANDO JUBEI (1876-1953)

MEIJI OR TAISHO, 20TH CENTURY

The tall slender body decorated with three flowers, buds and dark blue leaves contrasting with the pale yellow ground, the design in silver wire and with details rendered in the musen (wireless) technique, the rim and foot with silver mounts and the base with the mark for the Ando company, 32cm.

£400-600

Provenance: formerly a private American collection.

43

A JAPANESE CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

TAISHO ERA, 20TH CENTURY

The tall cylindrical body decorated with the summit of Mount Fuji emerging from clouds and with pine trees in the foreground, the scene rendered in musen (wireless) and shosen (partially wireless) enamels, the darker colours of the slopes and trees contrasting against the café au lait sky and cotton-like clouds; with silver mounts to the rims, the one applied to the foot stamped ‘silver’ and the base with the circular mark for the Ando Company rendered in wires, 30.3cm.

£1,000-1,500

44

A JAPANESE CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

TAISHO ERA, C.1920

Elegantly decorated with a four-tiered pagoda and an adjacent temple nestled amongst trees, the waning crescent moon above; the scene rendered in warm shades of honey, tangerine and russet, with areas rendered in musen (wireless), with metal mounts to the rims and the base with the mark for the Ando Company, 24.5cm.

£300-500

Provenance: formerly a private American collection.

45

A JAPANESE CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

TAISHO OR SHOWA, 20TH CENTURY

The compressed body decorated with stylised depictions of wheat on a band of yellow and pink abstract shapes, the ground a deep raspberry red, with areas rendered in musen (wireless), the neck and foot both mounted with a silver ring, the base with the mark for the Ando Company, 21cm.

£400-600

A JAPANESE CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

MEIJI OR TAISHO, 20TH CENTURY

The bulbous body with a tall flared neck and raised on a short foot, decorated in bright emerald-green shizumi enamels with a band of flowers and leaves, the foot and neck both with a silver mount, the base with the mark for the Ando Company, together with a wood stand, the vase 26.2cm. (2)

£300-500

A LARGE CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

MEIJI OR TAISHO, 20TH CENTURY

The tall baluster body decorated with a formal band of stylised lotus flowers and scrolling foliage rendered in silver wire and mocha-coloured enamels on the light coffee-brown ground, the inside a lustrous chocolate colour, the neck and foot both mounted with a silver ring, the footrim stamped jungin (pure silver) and the base with the mark for the Ando Company rendered in silver wires, 36.5cm.

£600-800

Provenance: formerly a private American collection.

A CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

MEIJI OR TAISHO, 20TH CENTURY

The globular body decorated with five ho-o birds in flight between stylised floral sprays on a dark teal blue ground, the rims with silver mounts, the base with the mark for the Ando Company and the footrim stamped jungin (pure silver), 15.5cm.

£300-500

Provenance: formerly a private American collection.

49

A LARGE JAPANESE INLAID BRONZE KORO (INCENSE BURNER), LINER AND COVER

MEIJI ERA, 19TH/20TH CENTURY

Richly decorated in mixed metals, the bulbous body with an integral base formed as a tripod stand, the legs shaped as ho-o birds’ heads; the handles modelled as mythical creatures and the cover topped with a howling kirin; one side is embellished with two sparrows and flowering chrysanthemum, and the reverse with a formal design of two stylised birds flanking a lotus flower and leafy scrolls; the liner left undecorated, 46cm overall. (3)

£1,000-1,500

50

A JAPANESE BRONZE JARDINIERE ATTRIBUTED TO GENRYUSAI SEIYA

MEIJI ERA, 19TH/20TH CENTURY

Decorated with the heads of many wild animals including a roaring lion, a monkey holding a peach, a deer, an elephant, a bear and an ox, some details rendered in high relief, 31cm.

£600-800

A PAIR OF JAPANESE BRONZE TOKYO SCHOOL OKIMONO OF PUPPIES

MEIJI OR TAISHO, 19TH OR 20TH CENTURY

The two charming dogs with chocolate-brown coats and dark pupils, one seated on its haunches and with its front paw slightly lifted, a two-character mark underneath for Ryoun; the other recumbent and chewing on a leafy branch of bamboo, 20cm and 17cm respectively. (2)

£2,000-3,000

Ryoun was a famous bronze artist living in Tokyo at the turn of the century. He was a celebrated member of the Tokyo School of Fine Arts, and he exhibited at the Exposition Universelle in Paris in 1900, where he received several awards for the quality of his artworks.

A LARGE AND IMPRESSIVE JAPANESE BRONZE TOKYO SCHOOL OKIMONO OF AN ELEPHANT

BY GENRYUSAI SEIYA MEIJI ERA, 19TH/20TH CENTURY

The pachyderm stands four-square with its trunk raised, its tusks and ears a smooth chocolate-brown colour and the texture of its skin realistically depicted, the belly with a six-character seal mark which reads Genryusai Seiya zo, raised on a wooden base, 56cm. (2)

£800-1,200

A LARGE JAPANESE BRONZE AND WOOD TOKYO SCHOOL OKIMONO BY TAKAAKI MEIJI ERA, 19TH CENTURY

The charming model depicting a father and son on a bench, the man leaning towards the toddler and giving him a lotus root with his chopsticks, the crawling infant stretching to grab it, a square tray laden with food between them, the figures and food cast in bronze and the bench naturalistically carved in wood, the boy signed Takaaki saku (made by Takaaki) underneath, 60.5cm max. (4) £3,000-4,000

A MASSIVE JAPANESE BRONZE TOKYO SCHOOL OKIMONO OF A GOOSE BY MASATSUNE

MEIJI ERA, LATE 19TH CENTURY

The tall bird is naturalistically depicted, with one leg forward and its long elegant neck curved as it looks down, its eyes inlaid in shakudō and gilt, raised on a wood stand naturalistically carved as a rocky outcrop, the belly signed Masatsune chu (cast by Masatsune), 78.5cm overall. (2)

£8,000-12,000

Cf. L Bordignon, The Golden Age of Japanese Okimono, pp.248-251 for other models of birds by Masatsune. The author points out that the artist was particularly good at depicting birds, but that little is known about his career. Also, see J Earle, Splendours of Imperial Japan: Arts of the Meiji Period from the Khalili Collection, p. 369, no.260, and Meiji no Takara, Treasures of Imperial Japan, the D. Khalili Collection, Metalwork part II, nos.104 and 105 for more examples.

55

A JAPANESE TOKYO SCHOOL OKIMONO OF AN OWL WITH SPOTTED FEATHERS MEIJI ERA, 19TH/20TH CENTURY

The charming bird is perched on a gnarled piece of wood, its head turned and its left wing slightly stretched out, modelled with details rendered in shakudo and gilt, the spotted feathers on its back and wings realistically depicted, signed Watanabe saku (Made by Watanabe) in a rectangular reserve underneath, the owl 21cm, 27cm overall. (2)

£8,000-12,000

56

A JAPANESE COPPER AND BRONZE OKIMONO (SCULPTURAL ORNAMENT) BY JOSHU / YOSHIHIDE MEIJI ERA, 19TH/20TH CENTURY

Depicting three small sparrows gathered around stalks of millet, one bird on the ground holding seeds in his beak whilst the other two are perched amongst the stalks, with details rendered in a variety of patinas, signed Joshu / Yoshihide underneath, with a fitted wood stand echoing the shape of the copper base, 27.5cm overall. (2)

£4,500-5,000

A MASSIVE JAPANESE BRONZE BRIDGE POST (GIBOSHI) POSSIBLY EDO PERIOD, 17TH CENTURY

The monumental finial cast in the shape of a sacred jewel (tama), the smooth surface with a deep olive-green patina, 51cm. £2,000-3,000

JIZAI OKIMONO, WOOD & LACQUER

LOTS 58-82

A JAPANESE SILVERED BRONZE JIZAI OKIMONO (ARTICULATED MODEL) OF A CRAYFISH MEIJI ERA, 19TH/20TH CENTURY

With a fully articulated body, the surface of the exoskeleton realistically modelled, the long antennae, eyes and limbs all fully articulated, 41cm.

£3,500-4,000

59

A JAPANESE BRONZE JIZAI OKIMONO (ARTICULATED MODEL) OF A CRAB

MEIJI ERA, 19TH/20TH CENTURY

Naturalistically modelled with fully articulated limbs and eyes, the shell intricately worked and the surface a reddish colour, opening to reveal a five-character signature reading Goto Mitsuie zo (made by Goto Mitsuie), 23.5cm.

£2,000-3,000

The signature may be an hommage to Goto Mitsuie (d.1620), a Kyoto sword maker mentioned in the Toso Kinko Jiten, p.152.

60

A JAPANESE IRON JIZAI OKIMONO (ARTICULATED MODEL) OF A GRASSHOPPER

EDO OR MEIJI, 19TH CENTURY

The small insect realistically modelled with movable limbs and head, the surface cleverly worked to depict details of the wings, an illegible two-character signature inside the wing, 9.8cm.

£3,500-4,000

61

A JAPANESE IRON JIZAI OKIMONO (ARTICULATED MODEL) OF A HERMIT CRAB

EDO OR LATER, 18TH OR 19TH CENTURY

With a large spiralling top shell, the antennae, eyes and limbs fully moveable; the surface with a light orange tinge, 19.5cm.

£1,000-2,000

See the British Museum, access. no.HG.370 for another example of a jizai okimono of a hermit crab.

62

A RARE AND IMPRESSIVELY LONG JAPANESE WOOD JIZAI OKIMONO (ARTICULATED MODEL) OF A SNAKE

BY MASAKAZU MEIJI ERA, 19TH/20TH CENTURY

The fully articulated body of the reptile realistically rendered, with a movable lower jaw, fangs and tongue; the eyes cleverly inlaid in yellow mother of pearl and the surface of the wooden scales a warm golden brown patina, signed Masakazu in an oblong mother of pearl reserve underneath the jaw, 175cm.

£12,000-15,000

Provenance: formerly in an important European collection, acquired in the 1970s.

See Christie’s London, Art of Japan, 8th December 2016, lot 19, for another wood model of a snake signed Masakazu. See p.53 of this catalogue for another view.

63

A JAPANESE WOOD NETSUKE OF A RAT

MEIJI ERA, 19TH CENTURY

The small rodent realistically carved, resting on its long curved tail, the eyes rendered with small dark beads and the teeth inlaid, signed Tomokazu in an oblong reserve underneath, 5.5cm.

£3,500-4,000

64

A JAPANESE WOOD NETSUKE OF A TIGER

EDO PERIOD, 18TH/19TH CENTURY

The crouching beast with its mouth slightly open revealing sharp fangs, its long tail curving across its back, the stripes realistically rendered, a two-character signature underneath for Kokei, 4.6cm.

£300-500

65

A MINIATURE SILVER SEAL

18TH OR 19TH CENTURY

Possibly a Japanese ojime modelled as a greyhound, the charming pup depicted seated on an oblong base and with a gilded ring around its waist, the seal face cut with a single character, 1.6cm.

£600-800

63 two views

AN UNUSUAL JAPANESE SINGLE-CASE WOOD INRO BY

MEIJI

ERA,

19TH CENTURY

SANDOKU

Of rectangular shape, embellished with a large cockatoo perched on a flowering branch of prunus to one side and butterflies fluttering above wisteria to the other; the various inlays made of horn, mother of pearl, and other materials; the lid opening to reveal a miniature set of shelves with boxes of various shapes, attached to a copper ojime modelled as a Daruma doll, the wood netsuke carved as a Mandarin duck; the inro with a two-character signature reading Sandoku, the inro 6.5cm.

£3,000-4,000

Provenance: formerly in the collection of the Duke of Gloucester, by repute. See the back cover of this catalogue for another view.

two views

67

A JAPANESE KISERUZU (PIPE CASE), ASHTRAY AND TONKOTSU (TOBACCO BOX)

EDO OR MEIJI, 19TH CENTURY

The pipe case and box carved from gnarled pieces of wood, both decorated with insects, leaves and flowers rendered in inlays made of mother of pearl, metal, and other materials; the cover of the tonkotsu with a writhing snake seemingly emerging from the wood; both attached to a metal ashtray and with an ojime carved as a hazelnut, a small movable worm erupting from it; the kiseruzutsu 22.3cm.

£1,000-1,500

Provenance: formerly in the Trevor Barton (1920-2008) collection of smoking paraphernalia.

68

A JAPANESE FOUR-CASE GOLD LACQUER INRO BY KOSAI MEIJI ERA, 19TH CENTURY

Of rectangular rounded form, each side decorated with an actor from the Noh play Shakkyo (The Stone Bridge), one wearing a long red wig and wielding a bell clanger, the other half-kneeling and about to draw a sword, in gold takamakie and with e-nashiji details on a kinji ground, the faces made of silver inlays, signed Kosai underneath; with a jade ojime and a lacquered wood netsuke also modelled as an actor, the inro 8.6cm.

£2,000-3,000

See Bonhams London, the Edward Wrangham Collection of Japanese Art Part IV, 6th November 2013, lot 279 for a related inro by Kosai.

The surface of the tobacco box carved with many primates in a leafy peach tree, the animals depicted in a variety of poses picking up the fruits, with details inlaid in mother of pearl, bone and other materials, the lid carved to the inside with another monkey carrying a fruiting branch, signed Mitsukuni in a mother of pearl rectangular cartouche; attached to a large ojime and a netsuke modelled as a monkey tenderly holding her infant, the primates with eyes inlaid in horn, the netsuke also signed Mitsukuni, the tonkotsu 9.8cm.

* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. J7445XHJ.

£6,000-8,000

λ A JAPANESE BOXWOOD TONKOTSU, OJIME AND EN SUITE MONKEY NETSUKE BY MITSUKUNI MEIJI ERA, 19TH CENTURY

A SELECTION OF NETSUKE BY MICHAEL WEBB (1934-2009)

LOTS 70-73

Michael Webb’s first career in the art world saw him become Director and auctioneer at Sotheby’s London, taking important Japanese auctions such as the Hindson sales of netsuke in 1967-69. Progressively becoming frustrated with the auction world, he left the salerooms in 1976 for Yorkshire, where he fully embraced his hobbies of painting and carving netsuke. Luigi Bandini at Eskenazi Ltd was a strong supporter of his artistic endeavours, notably of his naturalistic depictions of animals rendered in boxwood. Several exhibitions at Eskenazi Ltd and the subsequent catalogues celebrated his creations, establishing him as a British master of netsuke carving. Bandini mentions in the Preface of one of these catalogues that Webb took up carving after a conversation with Giuseppe Eskenazi in the 1960s, to whom he gave his first netsuke of a bird carved in limewood.

Webb’s interest for Japanese Art developed whilst training as an auctioneer, and later flourished from his many friendships with Japanese specialists and connoisseurs, including W. W. Winkworth, Michael Birch, Neil Davey and Oliver Impey. The public interest for Webb’s netsuke grew further after the exhibition ‘Michael Webb: an English carver of netsuke’ which took place at the Ashmolean Museum (Oxford), in 1983. Lot 71 was displayed as part of the exhibition. Webb favoured carving his animals in boxwood, sometimes using tools formerly belonging to Mark T Hindson. He mastered the ukibori technique of raised carving, using it to suggest the warts on the skin of a frog, or the veins of a leaf. He polished his creations with oil or wax, and staining was achieved using complex mixes of dyes and stains.

Michael Webb’s netsuke can today be found in important collections including the Victoria and Albert Museum and Liverpool World Museum. One of his frogs was notably included in the loan exhibition ‘In a nutshell: Japanese netsuke from European collections’ at the Embassy of Japan in London in 2013.

70

A LARGE BOXWOOD NETSUKE OF TWO STAG BEETLES BY MICHAEL WEBB (1932-2009)

DATED 1987

The large insects depicted on a section of branch, locked in battle with their mandibles entangled, their eyes inlaid with small dark beads, the surface of the wood realistically stained and their wings with a lustrous sheen, the bark peeling at the back to reveal an inscription reading ‘MJW carved this at Crofton near York December 1987’, 6.1cm.

£600-800

Michael Webb in his workshop

A LARGE BOXWOOD NETSUKE OF BEETLES ON A LEAF BY MICHAEL WEBB (1932-2009)

C.1980S

The small insects depicted crawling on long curved leaves, with the minute details of their antennae realistically carved, the leaves embellished with long thin strokes; signed MW to the tip, 6.9cm, together with a receipt from Eskenazi Oriental Art Ltd. (2)

£600-800

Provenance: purchased from Eskenazi Oriental Art Ltd, 23rd November 1983. A copy of the original receipt is available. Exhibited: Ashmolean Museum, Oxford, October 1983, and Eskenazi Ltd, London, November 1983.

A LARGE BOXWOOD NETSUKE OF A CHAMELEON BY MICHAEL WEBB (1932-2009)

C.1980S

The reptile is depicted clambering upon a small twig, the rough texture of its skin realistically rendered in ukibori and stained in various colours, the eyes inlaid with small black beads, the branch signed MJW, 6cm.

£600-800

See p.53 of this catalogue for another view.

A LARGE BOXWOOD NETSUKE OF A CICADA BY MICHAEL WEBB (1932-2009)

DATED 1996

The plump insect is depicted on a small piece of bark, realistically carved and stained to highlight details of the wings and carapace; the eyes inlaid with small agate beads, signed underneath MJW and inscribed 1996, 5cm.

£600-800

Eskenazi invoice

A PAIR OF JAPANESE LACQUER MODELS OF SHACHIHOKO MEIJI ERA, 19TH CENTURY

The mythical dragon-fish depicted in a dynamic pose with their heads turned upward and baring their sharp teeth, the gilt and white eyes contrasting with the red lacquer, their bodies covered in scales and barbed fins, both 24cm. (2) £2,000-3,000

A RARE JAPANESE LOTUS-SHAPED NYOI ZUSHI SHRINE SCEPTRE

EDO OR EARLIER, 18TH CENTURY OR EARLIER

The tall wood body modelled as a lotus stem with three branches, the shorter one ending with a seed head, another with a curling leaf, and the tallest topped with a large flower bud; the underside of the burgeon subtly decorated with scrolling clouds in white gesso; a petal opening to reveal further cloud motives inside embellished in polychrome, and an oval aperture revealing a base for a small figure, carved as a rocky outcrop; with an orange silk cord tied up around the stem; 94cm overall.

£1,000-2,000

The lotus is an important symbol in Buddhism, representing spiritual purity. The shape of this zushi shrine is rare in Japan, but lotus mandalas made of copper alloy with hinged petals are more common in Indian iconography. See the Rubin Museum, New York, access. no. C2003.10.2 for a 12th century lotus mandala of Hevajra from north-east India with hinged petals.

Detail of the lotus bud (open)

76

A FINE JAPANESE GOLD AND SILVER LACQUER SUZURIBAKO (WRITING BOX AND COVER)

MEIJI ERA, 19TH CENTURY

Attribute to the Igarashi School, the almost square kabusebuta (overlapping lid) embellished with a gate leading to thatched pavilions in a mountainous landscape, the huts nestled amongst leafy vegetation; the interior of the cover richly decorated with a large silver crescent moon above a meandering stream, a man gathering horsetail with a sickle below; the interior of the box embellished with further horsetail plants on a nashiji ground; the inner tray with an inscribed rectangular inkstone, a silver suiteki and four calligraphy implements; the decoration rendered in hiramaki-e, takamaki-e and nashiji on the black roiro ground, and the rims with metal mounts; in a fitted tomobako wood box, 4.8cm x 23cm x 24.7cm. (14)

£4,000-6,000

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

See p.5 (Chronology of Japan) of this catalogue for a detail of the decoration on the back of the cover.

77

A JAPANESE GOLD LACQUER AND MOTHER OF PEARL SUZURIBAKO (WRITING BOX AND COVER)

SHOWA ERA, C.1950

Of typical rectangular form, the lid richly decorated with leafy branches of adzuki bean plant, the leaves and pods rendered in gold hiramaki-e and aogai mother of pear inlays on the black roiro ground, the interior and inner tray embellished with gold nashiji; with a blue and white porcelain suiteki and a rectangular ink stone; the rims with metal mounts; with a three-character signature to the cover for Ono Keizan (act. c.1950), together with an inscribed tomobako wood box. (6)

£400-600

78

NAKATA KINSEKI (1902-1959)

SHOWA ERA, 20TH CENTURY

A Japanese rectangular woven bamboo basket for Ikebana (flower arrangement), with a short rectangular handle above, the pieces of bamboo cleverly intertwined to emphasize the different colours of the material, signed Kinseki saku underneath, 16cm x 38cm x 13.5cm.

£300-500

Kinseki was a student of master of bamboo Iizuka Hôsai II (1872-1934). His pieces can be found in collections around the world, including at the Metropolitan Museum of New York, access. no.2019.425.29a,b.

HAYATO OTANI: MASTER OF KINMA LACQUER

Otani Hayato (1954-) is one of the very few Japanese artists bearing the title of Living National Treasure, and Important Cultural Property Holder for the kinma technique of lacquerware. Otani was educated at the Kagawa Prefectural Takamatsu Kogei School and Kagawa Urushi Lacquerware Institute, where he studied under Living National Treasure Hitoshi Ota (1931-). Over his career, he perfected the kinma method consisting in repeatedly applying lacquer to a surface, carving it, filling the gaps and polishing them, a process that involves more than sixty steps. The lacquer is applied on rantai, a base made of woven bamboo strips shaped in a wood mould. The quality of Otani Hayato’s craft is widely recognised, and many of his creations were purchased by the Japanese Agency for Cultural Affairs. He received many awards, including at the Japan Traditional Art Crafts Exhibition, and in 2013, he was recognised as Kagawa Prefecture Person of Cultural Merits.

79 HAYATO OTANI

(1954-)

HEISEI ERA, 20TH CENTURY

A large Japanese red and black lacquer sculpture, the body of long rectangular form with a curled-up end, the surface embellished in kinma (lacquered woven bamboo), the diamond-shaped patterns getting smaller towards the rolled-up extremity, the reverse a deep black roiro lacquer ground, together with its original inscribed tomobako wood box and two further fitted cardboard boxes, 56cm x 31cm. (4)

£1,000-2,000

Hayato Otani in his workshop

THE ILLUMINATED SCULPTURES OF SHOICHI AND COLLEEN SAKURAI

The son of a wood carver, Shoichi Sakurai grew up in the old downtown district of Tokyo, surrounded by traditional Japanese crafts. His passion, however, resided in the aesthetics and music of 1950s America. After many years of collecting vintage clothing and rockabilly memorabilia, Shoichi decided to turn his obsession into a business and relocated to California where he would source artworks to trade back in his homeland. Shoichi then met his wife, Colleen, an American jazz singer with a fascination for Japanese washi paper. They moved back to Japan and together, started creating unique sculptures featuring recycled and traditional Japanese materials, opening a workshop in 1995. The concept of wabi-sabi, the idea of beauty in imperfection and aged surfaces, permeates their work. Colleen and Shoichi’s creations also reflect their interest in light, warmth, and perspective.

In 2007, the De’Longhi design company in Tokyo commissioned them to create two large illuminated sculptures, and an exclusive line of jewellery featuring recycled materials made from their aluminium appliances. Today, the Sakurais are widely active in the US, Europe, and Japan.

80

SHOICHI AND COLLEEN SAKURAI HEISEI ERA, 21ST CENTURY

Two Japanese wood and rice paper illuminated sculptures entitled ‘The Bag’, both of tall form with a cord attached to the top and each raised on a pine wood stand with short legs, both with two signatures in sumi ink and with two red seals, one taller than the other, 79cm x 38cm x 120cm and 54cm x 23cm x 66cm respectively. (2)

£1,500-2,000

Exhibited: ‘Re-Birth: The Collective Works of Colleen and Soichi Sakurai’, 20th February-24th April 2009, TUV Rheinland Forum, Yokohama.

Shoichi and Colleen Sakurai

SHOICHI AND COLLEEN SAKURAI HEISEI ERA, 21ST CENTURY

A Japanese wood and rice paper illuminated sculpture entitled ‘Spirit’, featuring stylised grasses in relief on a ground with black ink mottling, signed in sumi ink and with a red stamp, the reverse also signed, sealed and inscribed, 89cm x 69cm x 16cm.

£500-800 82

SHOICHI AND COLLEEN SAKURAI HEISEI ERA, 21ST CENTURY

A Japanese wood and rice paper illuminated sculpture entitled ‘Curtain’, raised on a pine wood stand with short legs, signed in sumi ink, seal and inscribed, 33cm x 36cm x 94cm.

£800-1,200

Exhibited: ‘Re-Birth: The Collective Works of Colleen and Soichi Sakurai’, 20th February-24th April 2009, TUV Rheinland Forum, Yokohama. The Sakurais describe this piece as ‘hand-whittled wood with pine base; high and low relief created by an old technique of burning the wood and then ‘scouring’ it with an uzukuri (type of bamboo brush)’.

83

A KOREAN EIGHT-FOLD HWAJO (BIRDS AND FLOWERS) SCREEN

JOSEON DYNASTY, 19TH CENTURY

In minhwa (folk) style, each panel painted in ink and colour on paper, with stylised birds and other animals depicted in vivid colours on the buff ground, the paintings possibly mounted on a later frame, the painted panels 79cm x 26cm, the screen 148cm x 340cm overall.

£1,000-2,000

Provenance: a private British collection, acquired in Korea in the 1970s. Birds and flowers were the most common and popular subjects in minhwa paintings due to their brilliant colours. Birds are usually depicted as a male and female pair, which symbolizes conjugal harmony and a peaceful home.

84

ATTRIBUTED TO CHONG SON (1676-1759)

JOSEON DYNASTY, 17TH/18TH CENTURY

A Korean painting, ink and colour on paper, depicting an extensive mountainous river landscape, with two figures by a thatched building to the side, signed Kyomjae and with two red seals, mounted on board with a silk surround, 46.5cm x 31.5cm.

£500-1,000

IM WHA KONG (B.1924): THE FLOWER OF SOUTH KOREA LOTS

85-88

Im Wha Kong was born in 1924 in Gangwon Province, north-eastern South Korea. Her grandfather gave her the name ‘Wha’ (華), which means ‘flower’, a decision which was to affect her whole life: Im Wha Kong was to become the figurehead of Cocoji, Korean flower arrangement.

Im Wha Kong studied masters of landscape painting, notably Cheongjeon Lee Sangbeom (1897-1972), and Japanese Ikebana flower arrangement. In 1960, she founded the innovative Whakong-Hoe Association, establishing a new major Korean school of flower arrangement. Im Wha Kong’s creations often featured vessels she potted herself and fired at her own climbing kiln near Seoul. In Korean fashion, she favoured white-glazed pots, the colour reflecting the Confucian ideas of purity, honesty and modesty, with forms suggesting femininity.

During her long career, she created numerous compositions for Cheong Wa Dae, the official residence of the South Korean President until 2022. Recognised as the State Flower Arranger of South Korea, she regularly gave live demonstrations in Seoul until 2009.

Im Wha Kong won a Korea-Japan Cultural Exchange award in 1999 and later received the Order of the Rising Sun from the Japanese Government (2004). In 2006, the Korean President acknowledged her achievements by awarding her the Sungye Medal, the Order of Diplomatic Service Merit.

Her flower arrangements have been displayed at shows and exhibitions in Japan, but also in the US, the UK, France, the Netherlands, Singapore, Hong Kong and Peru. Her vases can also be found in various collections around the world, including at the Philadelphia Museum of Art. The Wha Kong Hall at the National Museum of Korea is widely used today as a place of study and training in the Cocoji style she established.

85

A KOREAN MOON JAR (DAL HANG-ARI) BY IM WHA KONG (B.1924)

20TH CENTURY

The compressed circular body with a short everted neck, the surface with a greyish-white glaze and iron speckles, the foot signed Wha (flower), 25.5cm.

£500-800

86

A KOREAN MOON JAR (DAL HANG-ARI) BY IM WHA KONG (B.1924)

20TH CENTURY

The ovoid body with a short neck, the surface with a bluish-white glaze and visible throwing rings, the foot signed Wha (flower), 28.5cm.

£400-600

A LARGE KOREAN MOON JAR (DAL HANG-ARI) BY IM WHA KONG (B.1924) 20TH CENTURY

The spherical body raised on a short foot and with a tall straight neck, the surface covered in a bluish-white glaze with small iron speckles, the foot signed Wha (flower), 34.5cm.

£500-800

88

A LARGE KOREAN WHITE-GLAZED DISH BY IM WHA KONG (B.1924) DATED 1978

Raised on a short circular foot, the surface with many small iron-coloured speckles and with throwing rings to the well, the base inscribed, signed Wha (flower) and Im Wha Kong in Roman script, dated December 1978, 37.5cm.

£400-600

89

A KOREAN BUNCHEONG MOON JAR (DAL HANG-ARI)

JOSEON OR LATER, 19TH OR 20TH CENTURY

Thickly potted with a globular body raised on a short straight foot and with a rounded lip to the neck, decorated with a design of stylised flowers and scrolling tendrils, rendered in underglaze iron-brown on a coffee-coloured mottling contrasting with the white body, together with an inscribed wood box, 25cm. (2)

£300-500

Provenance: an English private collection, purchased in Japan. By repute, formerly in the collection of Jun Itami (1937-2011), an architect renowned in Korea and Japan for his primitive-style buildings and his use of raw materials. Itami Jun also collected Korean Joseon ceramics, and pieces from his personal collection were offered at auction after his death.

90

A KOREAN BUNCHEONG MOON FLASK

JOSEON OR LATER, 19TH OR 20TH CENTURY

Of circular flattened shape, raised on a short rectangular foot and with a flared rim, the surface covered in a warm lustrous glaze with a blue hue, together with an inscribed wood box, 28.5cm. (2)

£600-800

Provenance: an English private collection, purchased in Japan. By repute, formerly in the collection of Jun Itami (1937-2011), an architect renowned in Korea and Japan for his primitive-style buildings and his use of raw materials. Itami Jun also collected Korean Joseon ceramics, and pieces from his personal collection were offered at auction after his death.

JAPANESE CERAMICS

LOTS

91 A RARE JAPANESE KO-KUTANI VASE

EDO PERIOD, 17TH CENTURY

The double-gourd vessel with a narrow waist and a tall slender neck, the eight-sided body decorated with medallions enclosing pine, bamboo and prunus branches on a band of karakusa scrolls; embellished with further formal designs, tortoiseshell and cash patterns, all rendered in thick enamels; the base left unglazed, 18.3cm.

£3,000-5,000

related Ko-Kutani vase decorated with karakusa scrolls and cash patterns.

See Osaka Bijutsu Kurabu (Fine Arts Club), Cat. 22, June 1940, ‘A Private Collection’, lot 34, for a

† A LARGE AND IMPRESSIVE JAPANESE BLUE AND WHITE CHARGER

EDO PERIOD, C.1670-80

Elegantly painted to the well with flowering chrysanthemum and peony by a triangular fence, the rim with a wide band of five lotus flowers and leafy scrolling tendrils, the reverse left undecorated and with several spur marks, 53.5cm.

£12,000-15,000

Provenance: purchased in Paris, by repute.

Cf. J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol. II, p.631, no.1471-1472, for a pair of related dishes (access. no. RCIN58949). Also, see C J A Jörg, Fine & Curious, Japanese Export Porcelain in Dutch Collections, p.130, no.138, for a similarly decorated dish in the Groninger Museum, Groningen.

A LARGE JAPANESE LACQUERED VASE EDO PERIOD, 18TH CENTURY

The surface of the bulbous body decorated all over in gold, red and black lacquer, with two large ho-o birds depicted in flight above paulownia, their long tail feathers trailing behind them, the neck and foot with borders of karakusa scrolls; some areas with traces of unrelated underglaze blue decoration underneath, 43cm.

£300-500

Provenance: from the collection of Charles William Martin (1850-96) of Quorn Place, Leicestershire. In 1886, Martin founded the Quorn Ranch Company in Alberta, Canada, one of the most famous British North Amerian ranches, importing British horses and Angus cattle to the area. See lot 261 for another Japanese piece from the same collection.

Charles William Martin (1850-96)

A PAIR OF LARGE AND IMPRESSIVE JAPANESE ARITA LACQUERED VASES EDO PERIOD, 1690-1720

The bulbous bodies decorated in underglaze blue with cloud-shaped panels of dense foliage and peony flowers, with large gilded lacquer areas enclosing many prancing shishi, the lion dogs depicted in a variety of poses, with branches of bamboo and flowers above them and on a cell diaper ground, the necks with a lacquer border decorated with coiling dragons and shachihoko (dragon fish), 60cm and 59cm respectively. (2)

£800-1,200

Cf. O Impey, Japanese Export Porcelain, Catalogue of the collection of the Ashmolean Museum, Oxford, p.119, no.151, for a jar of similar shape and underglaze blue painting lacking its lacquer decoration.

96

A RARE JAPANESE BLUE AND WHITE DRUG JAR FOR THE WESTERN MARKET

EDO PERIOD, C.1650

The tall cylindrical body with a waisted spreading foot and an everted rim, painted in underglaze blue with a narrow blank cartouche framed by formal scrolling designs with stylised leaves and swags, the shading rendered with cross-hatching of a darker shade; the banderol embellished with an unusual depiction of a moustached male harpy wearing a neck ruff or millstone collar, perched on an orb; heavily potted with some of the recessed base left unglazed, 28cm.

£5,000-8,000

C J A Jörg, Fine & Curious, Japanese Export Porcelain in Dutch Collections, pp.213-217 for other examples of drug jars for the Western market. Also, see O Impey, Japanese Export Porcelain, Catalogue of the collection of the Ashmolean Museum, Oxford, pp.42-43, for another blue and white jar (pictured right with lot 96).

95

A JAPANESE BLUE AND WHITE CYLINDRICAL JAR

EDO PERIOD, C.1660-80

The tall cylindrical body painted in underglaze blue with panels enclosing peonies in vases and sprays of chrysanthemum, framed by formal scrolling motifs, the shoulder and neck decorated with bands of lappets and chevrons, 30.5cm.

£600-800

Cf. G Lang, The Wrestling Boys, An exhibition of Chinese and Japanese ceramics from the 16th to the 18th century in the collection at Burghley House, p.19, no.53, for a related jar. Also, see J Ayers, O Impey, JVG Mallet, Porcelain for Palaces, The Fashion for Japan in Europe 1650-1750, p.107, no.55, and O Impey, Japanese Export Porcelain, Catalogue of the collection of the Ashmolean Museum, Oxford, p.99, no.105, for a square-section jar with comparable decoration.

Lot 96 and another Japanese drug jar at the Ashmolean Museum, Oxford

This apothecary jar is an unrecorded and possibly unique example. The shape is based on the European albarello (probably from the Arabic term al barani, meaning storage), a container used for spices, herbs and other medicinal products. The European model derived from Persian and Syrian jars from the 12th-13th century. This Japanese example dates from c.1650 and was probably made as a special order. The depiction of a male harpy wearing a neck ruff is very unusual, and may have been the armorial used by a particular monastery or apothecary.

Comparing this piece to the jar at the Ashmolean Museum (see picture opposite) shows how these pieces were produced in a similar manner, heavily potted and with the surface covered in a thick white splashed glaze. The cobalt-blue decoration on both jars features shading rendered with cross-hatchings in a darker shade of blue. Dr Oliver Impey noted that no prototypes for this type of decorative labels have been found in Dutch earthenware. However, as the fashion for neck ruffs only stretched into the 17th century in the Dutch Republic, it is likely that the harpy decoration was based on a Dutch model rather than a Portuguese one. The winged creature is also reminiscent of angel-like figures with neck ruffs that can be found on 17th and 18th century Dutch jars or apothekerspots

The first recorded order for Arita porcelain by the VOC (1653) included ‘various (small) porcelain bottles, (small) pots, salve and preserve pots for the surgeon’s shop in Batavia, made according to the samples sent’. Other such orders were passed for ‘large and small medicine pots’ to be shipped to Taiwan, and for other unrecorded destinations. Shards of Japanese albarelli were also found in the shipwreck of the Oosterland, a VOC ship wrecked at the Salt River Mouth, South Africa. This jar was possibly made as part of one of these orders.

We would like to thank Clare Pollard and Guido Rabbeljee for their kind assistance and suggestions in researching this lot.

97

A JAPANESE BLUE AND WHITE BOTTLE VASE

EDO PERIOD, 17TH CENTURY

The slender body with a tall straight neck, decorated in underglaze blue with garlands of prunus blossoms and tassels, the neck with a band of lappets; three rings above the foot and the base left undecorated, 26cm.

£800-1,200

98

A JAPANESE BLUE AND WHITE MELON-SHAPED DISH

POSSIBLY EDO, 18TH OR 19TH CENTURY

Raised on an oval foot and moulded to the well with a large leaf and tendrils, decorated with a light blue wash, 16.2cm.

£800-1,200

99

A SMALL AND UNUSUAL JAPANESE SHELL-SHAPED DISH

EDO PERIOD, 17TH CENTURY

The moulded body raised on a short foot, decorated to the well in underglaze blue and polychrome enamels with a design of crashing waves, with further shells and seaweeds floating on the surface of the water, the underside with karakusa scrolls and the base with a two-character seal mark, 13.9cm.

£300-500

Cf. M Fitski, Kakiemon Porcelain, a Handbook, p. 165, where the author illustrates a comparable mark and explains that it is unidentified, but it occurs on pieces from the Nangawara kiln produced between 1670-1700.

100

A RARE JAPANESE BLUE AND WHITE DRUM-SHAPED TEAPOT EDO PERIOD, 17TH CENTURY

The unusual flattened circular body raised on a short rectangular foot, the sides with a curved spout and a rounded handle, a hexagonal neck above; painted in underglaze blue with a prancing shishi to each side, framed by bands of karakusa scrolls and leafy tendrils, 15.5cm.

£800-1,200

101

TWO JAPANESE BLUE AND WHITE DISHES EDO PERIOD, 17TH CENTURY

Both decorated in underglaze blue, one with two pavilions in a dramatic mountainous landscape with a waterfall to the side, the rim with a wide band enclosing another panorama; the other plate with two adults and a child on a bridge, the small boy pointing at a large poppy and with further blooms to the side, two birds in flight above, 21.5cm and 21.4cm respectively. (2)

£300-500

102

A JAPANESE BLUE AND WHITE KAKIEMON-STYLE DISH

EDO PERIOD, 17TH CENTURY

The ten-sided body with a brown rim and decorated in underglaze blue with a central medallion enclosing two figures in a landscape, a small dog prancing beside them, a waterfall, prunus and pine issuing from banded hedges behind; the cavetto and rim with a border of flowers, tassels and other formal designs; the reverse with karakusa scrolls and a kin mark in a double-lined square, 18.2cm.

£200-400

Provenance: from the collection of David Stopher, Kent.

103

A LARGE JAPANESE BLUE AND WHITE DISH EDO PERIOD, 17TH CENTURY

The ten-sided foliate dish decorated in underglaze blue and with a brown rim, painted with two men in Chinese garments seated in a pavilion and two others on a bridge, with prunus, pine and maple trees issuing from rockwork to the side, and scrolling clouds above; the reverse painted with a continuous band of karakusa scrolls and a fuku mark, 29.8cm.

£1,000-2,000

A JAPANESE BLUE AND WHITE KAKIEMON-STYLE DISH EDO PERIOD, C.1680-1720

The shallow dish raised on a short foot and with a foliate brown-edged rim; decorated in underglaze blue to the well with a ho-o bird perched on a flowering branch of chrysanthemum issuing from rockwork; the rim with a border of formal flowerheads and scrolling tendrils; the reverse with karakusa scrolls and a fuku mark in a double-lined square to the base, 15.6cm.

£300-500

See p.75 of this catalogue for another view.

A JAPANESE ARITA ‘QUAIL AND MILLET’ DISH EDO PERIOD, C.1700-20

The octagonal body decorated in underglaze blue, gilt and polychrome enamels; the two plump birds pecking seeds underneath tall sprays of millet and other flowers, the reverse with four beribboned sacred pearls, a paper label for ‘Girton Two Quail Collection, 2004 Loan Exhibition, no.2’, 17.4cm.

£300-500

Provenance: from the collection of David Stopher, Kent. Purchased from Bonhams, Fine Japanese Art, 12th May 2011, lot 103.

Exhibited: Stockspring Antiques, London, 6th-20th May 2004, and The Museum of Worcester Porcelain, Worcester, 2nd July-5th September 2004, no.2, as part of the exhibition ‘The Two Quail Pattern, 300 Years of Design on Porcelain’ and illustrated in the catalogue, p.77.

A TALL AND RARE JAPANESE KAKIEMON-STYLE EWER EDO PERIOD, C.1660-80

The bulbous body with a slender neck and a curved handle to the side, decorated in underglaze blue, red, black and green enamels; the body painted with pavilions in a mountainous river landscape, surrounded by luxuriant gardens and with large palm trees behind them; the neck embellished with further blooms and formal floral designs, the handle with karakusa scrolls, 26.7cm.

£1,000-2,000

Cf.C J A Jörg, Fine & Curious, Japanese Export Porcelain in Dutch Collections, p.161, no.181, for a closely related ewer in the Groninger Museum, Groningen. The author notes that the combination of a Chinese Transitional-style landscape in underglaze blue and the enamelled decoration is very unusual, and it places this piece between the early Japanese enamels and the developing Imari and Kakiemon styles. He also notes that no other comparable piece seems to be recorded.

107

A JAPANESE KAKIEMON BOWL EDO PERIOD, C.1700

The deep body moulded as a five-petalled flower and raised on a short straight foot, richly painted in polychrome enamels with a single bloom to the well and flowering prunus trees and flowers emerging from behind fences to the cavetto; the exterior with a large fruiting pomegranate tree and further flowering prunus issuing from rockwork, 19cm.

£600-800

Provenance: from the collection of David Stopher, Kent. Purchased from Bonhams, Fine Japanese Art, 11th November 2010, lot 237.

108

A PAIR OF JAPANESE FOLIATE DISHES

EDO PERIOD, 1670-1700

Both decorated in underglaze blue, gilt and red enamel with a five-petal flower to the centre and radiating panels to the cavetto enclosing further blooms and leafy sprays; both painted to the reverse with karakusa scrolls and a single character mark, both 18.2cm. (2)

£400-600

Cf. M Fitski, Kakiemon Porcelain, A Handbook, p.165, where a similar mark is illustrated. Although the author explains that the character is unidentified, it occurs on Nangawara pieces produced between 1670-1700.

109

A LARGE JAPANESE IMARI BOWL

EDO PERIOD, 17TH CENTURY

The deep body typically decorated in underglaze blue, gilt, yellow, green, cyan, orange and red enamels, the well with a peony to the centre and the cavetto with two beribboned sprays of chrysanthemum and irises, a band of blue spirals to the rim embellished with gilt; the reverse decorated with alternating panels enclosing various flowers including chrysanthemum, carnations, lotus and others, above a continuous band of prunus branches, the foot painted with spirals, 31.4cm.

£1,000-1,500

A LARGE JAPANESE IMARI BOWL EDO PERIOD, 17TH CENTURY

The deep body decorated in underglaze blue, gilt, yellow, red, orange, green and purple enamels, the well painted to the centre with a spray of peony and the cavetto with chrysanthemum tied up to bamboo canes, the rim with a band of clouds and fruiting branches in gilt on the dark blue ground; the reverse with a mountainous river landscape above two floral borders; an elderly man and two boy attendants crossing a bridge to one side, and a pavilion by a waterfall to the other, the base with a chrysanthemum mon, 37.7cm. £800-1,200

111

A PAIR OF JAPANESE ARITA DISHES

EDO PERIOD, 1690-1720

Both decorated in underglaze blue, gilt, red, yellow, cyan and green enamels, each with a central medallion enclosing two tripod jardinières issuing rocks and flowers by a fence, framed by a wide border of further blooms, leafy branches, rocks and fences; the rims with borders of stylised waves and flowers; both dishes painted to the reverse with prunus flowers and leafy tendrils, 31.3cm. (2)

£1,000-1,500

112

† A LARGE JAPANESE IMARI DISH

EDO PERIOD, 1690-1720

Decorated in underglaze blue, gilt, and red enamel, the well painted with a pavilion by a bridge, a large tree issuing from rockwork beside it; the cavetto with shaped panels enclosing flowering chrysanthemum, prunus and peony, and a formal border of scrolling tendrils, diaper and further blooms to the rim; the reverse with foliate scroll decoration, 48.5cm.

£1,500-2,500

A PAIR OF VERY LARGE AND IMPRESSIVE JAPANESE IMARI DISHES EDO PERIOD, 1690-1720

Both richly decorated in underglaze blue, gilt, yellow, green, purple and red enamels, each painted with sprays of flowering chrysanthemum to the well encircled by scrolling tendrils, the cavetto with figures in a mountainous river landscape and with many chrysanthemum, peonies, prunus and other blooms, the rims of both dishes with alternating panels enclosing formal leafy tendrils and further chrysanthemum flowers, the undersides both painted with three flower sprays, 55.5cm and 55cm respectively. (2) £10,000-15,000

115

† A TALL JAPANESE IMARI BALUSTER VASE EDO PERIOD, 18TH CENTURY

The baluster body richly decorated in underglaze blue, gilt and polychrome enamels, with panels shaped as ribbons and fans variously enclosing figures in landscapes, flowers, squirrels and vines, carps and butterflies, all reserved on a dark navy-blue ground embellished with flowers and scrolling tendrils in gilt, 58cm.

£5,000-6,000

See Japanese Works of Art, 1st July 2020, lot 218, for a pair of Imari vases from the collection of Lionel de Rothschild (1882-1942), Edmund de Rothschild (1916-2009), and the Trustees of Exbury House, with similar decoration of fan and ribbon-shaped panels on a dark blue ground sold in these rooms. The ribbon-shaped cartouches on this vase imitate the decorative strips of paper known as tanzaku on which one would write a wish during the Tanabata festival.

114

† A PAIR OF JAPANESE IMARI VASES EDO PERIOD, C.1700-1730

The baluster bodies typically decorated in underglaze blue, gilt, orange and red enamels, painted with flowering branches of peony and prunus in between ribbons, the dark blue rectangular panels embellished with formal scrolls and flowering tendrils rendered in gilt, both approx. 34cm. (2)

£3,500-4,000

† A LARGE AND IMPRESSIVE JAPANESE IMARI DISH EDO PERIOD, 1690-1720

Richly painted in underglaze blue, gilt, and polychrome enamels, the well decorated with two birds of prey, one perched on a flowering branch of peony, the other immobilising a smaller bird; the border with shaped panels enclosing various birds, flowers and squirrel and vines on a dense ground of karakusa scrolls, the reverse with three sprays of chrysanthemum, prunus and peony, 50cm. £4,000-6,000

See the Victoria and Albert Museum, access. no.C.1503-1910 for a related dish.

118

† A PAIR OF JAPANESE IMARI TOKKURI (BOTTLES)

EDO PERIOD, C.1700

The square-section bodies richly decorated in underglaze blue, gilt, and red enamels, each side with flowering sprays of chrysanthemum, both bottles painted to the shoulder with formal designs in shaped panels and bands of writhing dragons above, both approx. 23cm. (2)

£3,500-4,000

117

† AN UNUSUAL JAPANESE IMARI MOULDED DOUBLE-GOURD VASE

EDO PERIOD, 18TH CENTURY

Painted in underglaze blue, gilt, red, green and purple enamels, with many chrysanthemum, peony and other blooms amongst leafy sprays, some flowers depicted in slight relief and two others with details unusually rendered in openwork, 29.5cm.

£1,500-2,500

119

† A PAIR OF JAPANESE IMARI BOTTLE VASES

EDO PERIOD, C.1700

Both decorated in underglaze blue, gilt, red, green, cyan and purple enamels; painted with panels enclosing flowering branches of prunus and other flowers issuing from rockwork; each with a band of triangular lappets above the foot and to the neck, and with karakusa scrolls to the rim, 23cm and 22cm respectively. (2)

£2,500-3,000

120

† A LARGE AND UNUSUAL JAPANESE IMARI MOULDED BOX AND COVER EDO PERIOD, 18TH CENTURY

Of square shape and raised on a short foot, the heavily potted box richly decorated with shaped panels enclosing flowers, grapes, vines, and landscapes, some areas embellished with patterns of cell diaper; the decoration moulded in low relief; all framed by borders of stylised peonies and scrolling tendrils; the cover made of lacquer and decorated with various mon in gold hiramaki-e on the black roiro ground, 21cm x 20.3cm x 19.9cm. (2)

£2,000-3,000

Cf. O Impey, Japanese Export Porcelain, Catalogue of the collection of the Ashmolean Museum, Oxford, p.212 for another 18th century square box with moulded honeycomb pattern. The author notes that the moulded decoration has been especially adapted in order to take the particular painted pattern, thus showing close collaboration between potter and painter.

121

† A JAPANESE FOUR-TIER JUBAKO (PICNIC BOX AND COVER) MEIJI ERA, 19TH CENTURY

The square-section stacking box decorated with shaped panels enclosing bamboo, prunus, and pine on a ground of seigaiha waves, the cover painted with poppies and bamboo shoots on a fylfot ground, 21cm. (5)

£1,000-1,500

123

A SET OF SEVEN JAPANESE HIRADO MODELS OF BOYS

MEIJI ERA, 19TH/20TH CENTURY

The children are all depicted seated in a variety of poses, each wearing a tunic and loose trousers with details highlighted in underglaze blue and iron oxide, in an inscribed tomobako wood box with seven compartments, 6cm max. (8)

£1,000-2,000

122

A JAPANESE HIRADO MODEL OF DOGS

EDO OR MEIJI, 19TH CENTURY

The charming okimono depicting a bitch and her two puppies, the adult with a blue collar and all three with a yellow-brown ribbon tied around the neck, one pup clambering upon the back of its parent whilst the other calmly looks up, with some details delicately incised in the surface, 13.2cm.

£300-500

Of bulbous shape and with a ring to the neck, decorated with many mythical creatures including dragons, ho-o birds and shishi; the beasts on a dense ground of white scrolling tendrils; bordered by bands of flowers, brocade patterns and other formal designs, the base signed Kinkozan zo, 12.5cm.

£300-500 125

Both with a bulbous body decorated with a central scalloped band enclosing a procession, the many figures including a sarumawachi (monkey trainer), a man with a lion mask for the shishimai dance, children with toys, musicians, samurai, and beauties with parasols; the panels framed by borders of flowerheads and brocade patterns, both with a square mark underneath for Hiramatsu Genzan, both 12.3cm. (2)

£500-800

A JAPANESE SATSUMA VASE BY KINKOZAN MEIJI ERA, 19TH/20TH CENTURY

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

A JAPANESE CYLINDRICAL VASE BY MEIZAN MEIJI ERA, 19TH CENTURY

Raised on three short feet, richly decorated with a wide band enclosing a continuous scene in between borders of flowerheads and key fret, the panel painted with many figures in an extensive mountainous river landscape, some depicted walking in the snow and others seating in pavilions, one looking through a telescope; the base signed in gilt Meizan sei in a rectangular cartouche, 14.8cm.

£500-1,000

127

A JAPANESE SATSUMA VASE BY YABU MEIZAN MEIJI ERA, 19TH CENTURY

The tall body decorated with a continuous design of swallows flying amongst wisteria, the flowers and vines trailing down the side of the vase, the petals painted in slightly raised enamels and with details highlighted in gilt, the rim embellished with formal scrolling tendrils and flowerheads, the base sealed Yabu Meizan in gilt, 24.3cm.

£400-600

A GOOD JAPANESE SATSUMA VASE BY KINKOZAN MEIJI ERA, 19TH/20TH CENTURY

The slender baluster body embellished with two large panels, one painted with an elegant beauty wearing ornate kimonos in luxuriant gardens, with large peonies, a flowering prunus tree and bamboo, a small butterfly fluttering to the side; the other side with further blooms; on a dense ground of sakura flowers rendered in gilt on the navy-blue ground; the base painted with a leafy branch of maple and signed on an omikuji paper strip Kinkozan zo, 21.5cm.

£2,500-3,000

129

A TALL JAPANESE SATSUMA VASE BY DOZAN

The bulbous body raised on a slightly spreading foot and with a flared neck, decorated with two large panels enclosing many figures, one side with beauties and children by a gate feeding chickens, the reverse with further women and boys on a terrace overlooking a pond; all reserved on a dark navy-blue ground decorated with dense brocade patterns and flowerheads, the base signed Dozan in a rectangular cartouche, 30.5cm.

£500-1,000

MEIJI ERA, 19TH/20TH CENTURY

130

A JAPANESE SATSUMA VASE BY KINKOZAN

MEIJI ERA, 19TH CENTURY

The square-section body with a tapered foot and short neck, each side decorated with a large panel enclosing flowering sprays of chrysanthemum, prunus, wisteria and other blooms, one panel with butterflies fluttering above a woven bamboo fence; the shoulder richly decorated with a dense pattern of flowers and scrolling tendrils, the base signed and impressed Kinkozan, 15cm.

£400-600

131

AN UNUSUAL JAPANESE SATSUMA KORO (INCENSE BURNER AND COVER) BY KINKOZAN

MEIJI ERA, 19TH/20TH CENTURY

Of semi-circular shape and raised on four slightly curved feet, each side richly decorated with panels enclosing figures and brocade designs, on a ground of flowers emerging from rockwork decorated with geometric patterns, the sides with shippo tsunagi cash decoration and the cover with a handle shaped as a gnarled branch, with four circular apertures, the base signed Kinkozan sei in a rectangular reserve, 9cm. (2)

£300-500

132

A FINE JAPANESE SATSUMA KORO (INCENSE BURNER AND COVER) BY KINKOZAN

MEIJI ERA, 19TH CENTURY

The square-section body raised on four shaped feet and applied with scrolling handles, delicately painted with two shaped panels enclosing a beauty in a luxuriant garden to one side and a pavilion in a mountainous landscape to the other, on a dense ground of flowerheads embellished with a profusion of gilt and polychrome; the cover with further blooms, two quatrefoil apertures and a chrysanthemum-shaped finial, signed Kinkozan sei in a square cartouche underneath, 9cm. (2)

£300-500

Lot 309: Raimund Von Stillfried/Kusakabe Kimbei, ‘Woman with Umbrella in Rain’, part of an album of early Japanese photographs Estimate £300 - 500*

FINE CHINESE WORKS OF ART

WEDNESDAY 24TH MAY 2023

INCLUDING THE STOCLET COLLECTION

ENQUIRIES

John Axford | +44 (0)1722 424506

asianart@woolleyandwallis.co.uk

A rare Chinese marble stele, Northern Qi dynasty (550-577AD)

Attributed to Zhao Mengfu, Yuan/Ming Dynasty

Both exhibited at the Musée Cernuschi, Paris, 1913 and 1912. From the collection of Alfred Stoclet (1871-1949)

AUCTION INFORMATION

OPENING HOURS

Castle Street Salerooms

Monday to Friday 9.00am – 5.00pm

Castle Gate Offices

Monday to Friday 9.00am – 5.00pm

VIEWING

All our auctions are on view at least two days prior to the sale and details will be found in the relevant catalogues.

REGISTERING WITH US

All first time buyers need to register with us. Once registration is complete you will be provided with a paddle number which can be used in all future sales.

To register, you will need to provide two forms of identification:

1. a passport or photographic driving licence

2. a utility bill or document showing your name and address

You can register in person or by contacting the office on +44 (0)1722 424500 or emailing enquiries@woolleyandwallis.co.uk

You will be asked to show your documents, or email copies.

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

BIDDING AT AUCTION

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

BIDDING IN THE ROOM

To bid at auction you will need a paddle number. This can be obtained from the office either during the view or on the day of the sale. We now provide paddle numbers which can be used for any future sale, once registered.

COMMISSION BIDDING

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

TELEPHONE BIDDING

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

LIVE ONLINE BIDDING

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

BUYER’S PREMIUM

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

CONDITION REPORTS

The relevant department will be pleased to give condition reports on any lot, where practical. All weights and measures given in the catalogue should be regarded as approximate. The colours printed in the catalogue are not necessarily true.

SALE RESULTS

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

PACKING AND SHIPPING

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

Alban Shipping +44 (0)1582 493099

info@albanshipping.co.uk

www.albanshipping.co.uk

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

Mailboxes +44 (0)1962 622133

mbewinchester@btconnect.com

www.mbe.co.uk/winchester

Pack & Send +44 (0)1635 887237

newbury@packsend.co.uk

www.packsend.co.uk/newbury

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

EXPORTING YOUR PROPERTY FROM THE UK

If you are exporting your property, import taxes, customs duties and other fees may apply at the country of destination. It is also your responsibility to ensure that your shipment can be lawfully imported to the destination country.

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

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

PAYMENT AND CLEARANCE

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

The following methods of payment may be made:

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

Lloyds Bank plc, Blue Boar Row, Salisbury SP1 1DB.

Account no. 00957707

Sort code 30-97-41

IBAN no. GB20LOYD30974100957707

BIC code LOYDGB21063

Credit cards: Visa, Mastercard or American Express

Debit cards: Delta, Switch, Connect 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 ‡ symbol are potentially subject to a levy. Droit de Suite is a royalty payable to a qualifying artist or the artist’s heirs each time a work is resold during the artist’s lifetime and up to a period of 70 years after the artist’s death.

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

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

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

Royalties for Droit de Suite are as follows:

4% Up to €50,000

3% €50,000.01 - 200,000

1% €200,000.01 - 350,000

0.5% €350,000.01 - 500,000

0.25% In excess of €500,000

Up to a maximum levy of €10,000

FIREARMS

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

SOCIETY OF FINE ART AUCTIONEERS AND VALUERS and the ROYAL INSTITUTION OF CHARTERED SURVEYORS CONDITIONS

INFORMATION FOR BUYERS

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

2. Agency. As auctioneers we usually contract as agents for the seller whose identity, for reasons of confidentiality, is not normally disclosed. Accordingly if you buy your primary contract is with the seller.

3. Estimates. Estimates are designed to help buyers gauge what sort of sum might be involved for the purchase of a particular lot. The lower estimate may represent the reserve price and certainly will not be below it. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the sale and may be altered by announcement before the sale. They are in no sense definitive.

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

5. VAT. (†) indicates that VAT at the current standard rate is payable by the purchaser on the hammer price as well as being an element in the buyer’s premium. This imposition of VAT is likely to be because the seller is registered for VAT within the European Union and is not operating the Dealers Margin Scheme or because VAT is due at 20% on importation into the UK. The symbol (Ω) indicates that the lot has been imported from outside the European Union and the present position is that these lots are liable to a reduced rate of VAT (5%) on the gross lot price (i.e. both the hammer price and the buyer’s premium). Lots which appear without either of the above symbols indicate that no VAT is payable on the hammer price. This is because such lots are sold using the Auctioneers’ Margin Scheme and it should be noted that the VAT included within the Premium is not recoverable as input tax. (As at 31st December 2020. Please refer to SOFAA website for updates to the Terms and Conditions).

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

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

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

9. Bidding. Bidders will be required to register before the sale commences and lots will be invoiced to the name and address on the registration form. Some form of identification will be required if you are unknown to us. Please enquire in advance about our arrangements for telephone bidding.

OF BUSINESS

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

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

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

TERMS OF CONSIGNMENT FOR SELLERS

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

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

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

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

5. Illustrations. The cost of any illustrations is borne by you. If we consider that the lot should be illustrated your permission will usually be asked first. The copyright in respect of such illustrations shall be the property of us, the auctioneers, as is the text of the catalogue.

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

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

(a) You are entitled to place prior to the auction a reserve on any lot consigned, being the minimum hammer price at which that lot may be sold. Reserves must be reasonable and we may decline to offer goods which in our opinion would be subject to an unreasonably high reserve (in which case goods carry the storage and insurance charges stipulated in these Terms of Consignment).

(b) A reserve once set cannot be changed except with our consent.

(c) Where a reserve has been placed only we may bid on your behalf and only up to the reserve (if any) and you may in no circumstances bid personally.

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

9. Soft furnishings. The sale of soft furnishings is strictly regulated by statute law in the interests of fire safety. Goods found to infringe safety regulations will not be offered and must be removed at your expense. We reserve the right to dispose of unsafe goods as refuse, at your expense. The rights of disposal referred to in clause 8 and 9 are subject to the provisions of The Torts (Interference with Goods) Act 1977, Schedule 1, a copy of which is available for inspection on request.

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

11. Unsold and withdrawn items. If an item is unsold it may with your consent be re-offered at a future sale. Where in our opinion an item is unsaleable you must collect such items from the saleroom promptly on being so informed. Otherwise, storage charges may be incurred. We reserve the right to charge for storage in these circumstances at a reasonable daily rate.

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

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

14. Authority to deduct commission and expenses and retain premium and interest.

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

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

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

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

CONDITIONS OF SALE

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

1. DEFINITIONS

In these Conditions:

(a) ‘auctioneer’ means Woolley & Wallis Salisbury Salerooms Ltd or its authorised auctioneer, as appropriate;

(b) ‘deliberate forgery’ means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which at the date of the sale had a value materially less than it would have had if it had been in accordance with the description;

(c) ‘hammer price’ means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer;

(d) ‘terms of consignment’ means the stipulated terms and rates of commission on which Woolley & Wallis Salisbury Salerooms Ltd accepts instructions from sellers or their agents;

(e) ‘total amount due’ means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions;

(f) ‘sale proceeds’ means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising.

(g) ‘‘You’, ‘Your’, etc. refer to the buyer as identified in Condition 2.

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

2. BIDDING PROCEDURES AND THE BUYER

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid;

(b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid shall be settled at the auctioneer’s absolute discretion by reoffering the Lot during the course of the auction or otherwise. The auctioneer shall act reasonably in exercising this discretion.

(c) Bidders shall be deemed to act as principals.

(d) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved.

3. INCREMENTS

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

4. THE PURCHASE PRICE

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

5. VALUE ADDED TAX

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

6. PAYMENT

(a) Immediately a lot is sold you will:

(i) give to us, if requested, proof of identity, and

(ii) pay to us the total amount due in pounds sterling

(b) Any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied.

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

7. TITLE AND COLLECTION OF PURCHASES

(a) The ownership of any Lots purchased shall not pass to you until you have made payment in full to us of the total amount due.

(b) You shall at your own risk and expense collect any lots that you have purchased and paid for from our premises not later than 3 working days following the day of the auction or upon the clearance of any cheque used for payment (if later) after which you shall be responsible for any collection, storage and insurance charges.

(c) No purchase may be collected and we shall not release any lot to you or your agent until it has been paid for.

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES

(a) If any Lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on our own behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(i) to proceed against you for damages for breach of contract;

(ii) to rescind the sale of that lot and/or any other lots sold by us to you;

(iii) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller;

(iv) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere;

(v) to charge interest at a rate not exceeding 1.5% per month on the total amount due to the extent it remains unpaid for more than 3 working days after the sale;

(vi) to retain that or any other lot sold to you until you pay the total amount due;

(vii) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted;

(viii) to apply any proceeds of sale of other Lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of any of your property in our possession for any purpose until the debt due is satisfied.

(b) We shall, as agent for the seller and on our own behalf pursue these rights and remedies only so far as is reasonable to make appropriate recovery in respect of breach of these conditions

9. THIRD PARTY LIABILITY

All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur

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

10. COMMISSION BIDS

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

11. WARRANTY OF TITLE AND AVAILABILITY

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

12. AGENCY

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

13. TERMS OF SALE

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

14. DESCRIPTIONS AND CONDITION

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

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

15. FORGERIES

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

GENERAL

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

17. (a) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate.

(b) Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them.

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

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

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

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

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

22. Prior written consent must be sought by the buyer or any other party for the use of any images, illustrations and written materials produced by or for Woolley & Wallis relating to a lot or sale, including the contents of a catalogue. Copyright for any of the aforementioned will remain the property of Woolley & Wallis, subject to the provisions of the Copyright, Designs and Patents Act 1988. Woolley & Wallis and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights to it.

PAINTINGS, DRAWINGS, LITHOGRAPHS, ENGRAVINGS AND PRINTS

In accordance with long standing practice in Fine Art Sale Rooms certain terms used in descriptions in the Catalogue have the meanings ascribed to them in the glossary below.

Glossary

Any statement as to authorship, attribution, origin, date, age, provenance and condition is a statement of opinion and is not to be taken as a statement of fact. The Company reserves the right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable.

(a) Edward Lear: In our opinion a work by the artist. (When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

(b) Attributed to Edward Lear: In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category.

(c) Studio of Edward Lear: In our opinion a work by an unknown hand in the studio of the artist which may be or may not have been executed under the artist’s direction.

(d) Circle of Edward Lear: In our opinion a work by an as yet unidentified but distinct hand, closely associated with the named artist but not necessarily his pupil.

(e) Style of ...; Follower of Edward Lear: In our opinion a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil.

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

(g) After Edward Lear: In our opinion a copy of a known work of the artist.

(h) The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

(i) The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand.

(j) Dimensions are given height before width.

(k) Pictures are framed unless otherwise stated.

BOOKS AUCTIONS

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

ARTIST’S RESALE RIGHT / DROIT DE SUITE

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

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

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

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

Royalties for Droit de Suite are as follows:

4% Up to €50,000

3% €50,000.01 - 200,000

1% €200,000.01 - 350,000

0.5% €350,000.01 - 500,000

0.25% In excess of €500,000

Up to a maximum levy of €10,000

Lots marked with a ‡ symbol are potentially subject to the levy.

WHAT THIS PRIVACY NOTICE DOES

PRIVACY NOTICE FOR CUSTOMERS

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

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

DATA CONTROLLER AND CONTACT DETAILS

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

If you have any questions about how we use your personal data, whom we share it with, or if you wish to exercise any of the rights set out in this Notice, please contact us using the following details:

• By post – Privacy Officer, Woolley and Wallis Salisbury Salerooms, 51-61 Castle Street, Salisbury, SP1 3SU.

• By email – privacyofficer@woolleyandwallis.co.uk

• By telephone – +44 (0)1722 424599

HOW WE COLLECT YOUR PERSONAL DATA

We collect your personal data from the following sources:

• From you when you:

- interact with us before entering into a contract with us, for example when you express your interest in our Services;

- instruct us to provide Services to you, sign contractual documentation and provide information in connection with those instructions;

- communicate with us by post, telephone, email or via our website, for example in order to make enquiries or register for an online account;

- in various other ways as you interact with us during your time as a user (or potential user) of our Services, for the various purposes set out below.

• From third parties such as:

- other auction houses and individuals and organisations in the auctioneering trade whom we may contact to check background details about you;

- thesaleroom.com who enable live online bidding and provide us with the name, contact details, the last four digits of registered payment cards and transaction history (in relation to activity on thesaleroom.com) of individuals who register for one of our auctions (please see thesaleroom. com’s privacy policy for further information). We also receive names, contact details, sale details and payment details (the amount and date paid) from realex payments (thesaleroom.com’s payment provider);

- sage pay who process payments on our behalf and who provide us with your name, contact details and payment details (only the last four digits of your payment card are provided);

- shipping companies whom you hire to collect items you purchased from us.

THE CATEGORIES OF PERSONAL DATA WE COLLECT

We may collect the following personal data about you:

• your name and contact details including address, telephone and email address;

• your image, as captured by CCTV, if you attend our premises;

• personal identification documents, including copies of government-issued identification such as passport and driving license which are required to register bidders (or when we need to verify a seller’s details);

• account details and other information relating to your transactions/dealings with us and your use of our Services;

• payment details such as credit card and bank account details;

• credit and payment history (where you open an account with us as a buyer or bidder);

• information on your collecting preferences and aspirations, and your collections, acquisitions and disposals; and

• other information that you provide to us, for example, when you have a comment/complaint, submit a question, take part in a survey or where you express an interest in receiving marketing material or request further information.

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

THE BASIS FOR PROCESSING YOUR DATA, HOW WE USE THAT DATA AND WITH WHOM WE SHARE THAT DATA

WHERE WE HAVE A CONTRACTUAL RELATIONSHIP WITH YOU

We will process your personal data because it is necessary for the performance of a contract with you (for example, a contract to use our Services) or in order to take steps at your request prior to entering into a contract. In this respect, we use your personal data for the following:

• to interact with you before you enter into a contract with us, such as when you express your interest in our Services (for example, to send you information about our Services or answer enquiries about our Services);

• once you have engaged us and entered into a contract, to provide you with the Services set out in any contractual documents.

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

LEGITIMATE INTERESTS

We may also process your personal data because it is necessary for our or a third party’s legitimate interests. Our legitimate interests include our commercial interests. In this respect, we may use your personal data for the following:

• to monitor and evaluate the performance and effectiveness of our Services, including by training our staff or monitoring their performance;

• to deal with any concerns or feedback you may have in the performance of the Services;

• for our internal business record keeping and processes;

• to seek advice on our rights and obligations, including obtaining legal advice;

• to contact you for marketing purposes. If you do not wish to receive such information, please let us know now or at any time in the future, and your details will be removed from our marketing list. We will not provide your personal data to third party organisations to use for their own marketing purposes;

• to customise our website and marketing communications in line with your particular interests or preferences;

• to collect money owed to us or our consignors;

• to carry out background and credit checks in relation to bidders and buyers.

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

• our professional advisors;

• the-saleroom.com;

• debt collection agencies;

• third parties who assist us with our marketing;

• our website and email management software provider.

LEGAL OBLIGATIONS

We may also process your Personal Data for our compliance with our legal obligations. In this respect, we may use your Personal Data for the following:

• to meet our compliance and regulatory obligations, such as our tax reporting requirements or to carry out identity checks;

• in order to assist with investigations (including criminal investigations) carried out by competent authorities;

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

• external auditors;

• the police and other competent authorities, including HMRC;

CONSENT

We may also process your Personal Data where we have your specific consent to do so (for example, where we have your agreement to include information about you (as a seller) in sale marketing materials) or where we have sought and obtained your consent to send you direct marketing by email, or for the use of cookies on our website. If you have given your consent and you wish to withdraw it, please contact us using the contact details set out above. Please note that where our processing of your personal data relies on your consent and where you then withdraw that consent, we may not be able to provide all or some aspects of our Services to you and/or it may affect the provision of our Services.

SPECIAL CATEGORIES OF PERSONAL DATA

We process special categories of personal data for the following reasons:

• if it is necessary to protect your or another person’s vital interests (for example, where you have a life-threatening accident or illness and we have to process your personal data to ensure you receive appropriate medical attention);

• if it is necessary for the establishment, exercise or defence of legal claims (for example, to protect and defend our rights, and/or the rights of our customers);

We may process information relating to your health where we have your explicit consent to do so (for example, when you provide information about your access requirements prior to attending one of our events).

INTERNATIONAL TRANSFERS OF DATA

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

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

PROFILING

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

HOW LONG YOUR INFORMATION IS KEPT

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

In particular:

• in relation to CCTV images taken when you attend our premises, we will retain these for a few months;

• in relation to personal data relating to the transactions you have entered into with us as part of the provision of our Services, we will retain that data for period of seven years after that transaction has concluded in case any legal claims arise out of the provision of those Services;

• we will retain your details on our marketing database until you inform us that you no longer wish to receive our marketing communications. However, where you do unsubscribe from our marketing communications we will keep your details on a suppression list to ensure that we do not send you information you have asked not to receive;

• in relation to personal data relating to the provenance of works, we may retain that data indefinitely in our legitimate interests and the legitimate interests of the wider art market in maintaining the integrity of that market.

YOUR LEGAL RIGHTS

Under the DPA you have the following rights:

• to obtain access to, and copies of, the personal data that we hold about you;

• to require that we cease processing your personal data if the processing is causing you damage or distress;

• to require us not to send you marketing communications.

• to require us to correct the personal data we hold about you if it is incorrect;

• to require us to erase your personal data;

• to require us to restrict our data processing activities (and, where our processing is based on your consent, you may withdraw that consent, without affecting the lawfulness of our processing based on consent before its withdrawal);

• to receive from us the personal data we hold about you which you have provided to us, in a reasonable format specified by you, including for the purpose of you transmitting that personal data to another data controller;

• to object, on grounds relating to your particular situation, to any of our particular processing activities where you feel this has a disproportionate impact on your rights.

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

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

Woolley & Wallis Salisbury Salerooms Ltd.

51-61 Castle Street, Salisbury, Wiltshire SP1 3SU

Registered in England No.02998482

VAT No: 631 9832 29

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 client’s 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 Amanda Lawrence

+44 (0)1722 424509 | valuations@woolleyandwallis.co.uk

FREE AUCTION VALUATIONS

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

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

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

ABSENTEE BID FORM FINE JAPANESE WORKS OF ART

TUESDAY 23RD MAY 2023

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

BUYER’S PREMIUM

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

Billing Name (please print)

Address Postcode

Daytime Telephone

Email

ID may be required even if you have bid with us before.

Signature

AUCTION CALENDAR

MAY

17th Medals & Coins, Arms & Armour

23rd Japanese Works of Art

24th & 25th Fine Chinese Works of Art & Asian Art II

JUNE

7th Modern British & 20th Century Art

21st Fine Arts & Crafts (Including Martin Ware)

Exhibition Robert Wallace Martin Potter, Sculptor, Artist 12th to 23rd June

JULY

5th & 6th Furniture, Works of Art & Clocks

11th & 12th Silver & Objects of Vertu

13th Fine Jewellery

SEPTEMBER

6th Old Masters, British & European Paintings

19th British and Continental Ceramics & Glass

20th Arts of Africa, Oceania and the Americas

OCTOBER

4th & 5th Furniture Works of Art & Clocks

18th Design

24th & 25th Silver & Objects of Vertu

26th & 27th Fine Jewellery

Dates may be subject to change

+44 (0)1722 424500

enquiries@woolleyandwallis.co.uk

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

*Price includes buyer’s premium

A rare album of the Famous Views of the Sixty-odd Provinces SOLD FOR £110,000*

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR AUTUMN 2023 SERIES OF ASIAN ART SALES

UTAGAWA HIROSHIGE (1797-1858)

www.woolleyandwallis.co.uk