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.

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

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

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

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).

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

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 two views

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

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