Woolley & Wallis Auctioneers

JAPANESE

WORKS OF ART 日本美術 TUESDAY 23RD NOVEMBER 2021

Lot 1006 detail

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

VALUATIONS FOR INSURANCE & PROBATE

John Axford MRICS ASFAV 424506 Alexandra Aguilar 424583 Freya Yuan-Richards 424589 Jeremy Morgan +44 (0)7812 601098 Alana Ker Mercer 424591 Michelle Yu 424571

Jeremy Lamond MRICS ASFAV FRSA Amanda Lawrence

CHINESE PAINTINGS & CALLIGRAPHY Freya Yuan-Richards Michelle Yu

424589 424571

JAPANESE WORKS OF ART Alexandra Aguilar Alana Ker Mercer

424507 446964

BOARD OF DIRECTORS

411854 339161 446974

Natalie Milsted FCCA Managing Director

Sharon Ringwood Anna Gentleman

446959

446960

John Axford MRICS ASFAV Chairman

ASSOCIATE DIRECTORS

Marielle Whiting FGA 424595 Jonathan Edwards FGAA (Consultant) 424504 Charlotte Glyde FGA 424586 Emily O’Donnell

MEDALS & COINS, ARMS & ARMOUR 341469

PAINTINGS Victor Fauvelle Ed Beer Hannah Farthing

MARKETING ACCOUNTS

JEWELLERY

Ned Cowell Molly O’Reilly

424500

Sally Litherland

Chloe Davie

FURNITURE, WORKS OF ART & CLOCKS Mark Yuan-Richards Jim Gale Suzy Becsy

Ruth Pike (Office Manager) Sarah Bennie Megan Corbett Leyanne Hind Debbie Mason-Smith Nicola Young

424505 446955

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

GENERAL OFFICE

CASTLE GATE RECEPTION 424583 424591

20TH CENTURY DESIGN Michael Jeffery Zoe Smith

424598 424509

Alexandra Aguilar Clare Durham Victor Fauvelle Will Hobbs Michael Jeffery Jeremy Lamond MRICS ASFAV FRSA Rupert Slingsby Marielle Whiting FGA Freya Yuan-Richards Mark Yuan-Richards

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

424501 424594

AFRICAN AND OCEANIC ART, ANTIQUITIES Will Hobbs Molly O’Reilly

339752

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

Front Cover: Lot 1046 detail Back Cover: Lot 1134 Catalogue £20.00 (£25.00 by post) (£30.00 by post outside Europe)

JAPANESE

WORKS OF ART 日本美術 TUESDAY 23RD NOVEMBER 2021 10.00am

VIEWING Viewing in London (highlights) 17 Clifford Street, 2nd Floor W1S 3RQ Saturday 30th October Sunday 31st October Monday 1st November

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

JAPANESE ART 日本藝術品 Alexandra Aguilar +44 (0)1722 424583 aa@woolleyandwallis.co.uk

Viewing in Salisbury Saturday 20th November 10.00am – 1.00pm Monday 22nd November 10.00am – 5.00pm There will be no viewing on the morning of the sale.

IMPORTANT CHANGES TO OUR BIDDING PROCEDURE Please note that, owing to the recent introduction of Money Laundering Regulations, clients wishing to bid in this auction are likely to be asked to provide two forms of identification. This applies to both new and existing clients.

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

Telephone Bidding Requests for telephone bidding may not be accepted after 12 noon on Monday 22nd November. 本公司提供免費網上即時競投，請在11月22日中午12點之前登錄 bid.woolleyandwallis.co.uk登記競投賬戶。

Alana Ker Mercer +44 (0)1722 424591 ak@woolleyandwallis.co.uk

LIVE ONLINE BIDDING - FREE OF CHARGE

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Lot 1117 detail

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

Genroku Era 1688-1704

Yayoi Period ca.300 BC-552 AD

Tenmei Era 1781-1789

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

An’ei Era 1772-1781 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

Bunroku Era 1592-1596 Keicho Era 1596-1615

Meiji Era 1868-1912 Taisho Era 1912-1926

Edo Period 1615-1868

Showa Era 1926-1989

Kan’ei Era 1624-1644

Heisei Era 1989-2019

Kanbun Era 1661-1673

Reiwa Era 2019-present

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JAPANESE SILVER, BRONZE, IRON & OTHER METAL WORKS OF ART LOTS 1001-1044

Lot 1026 detail

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1001 A JAPANESE SILVER THREE-TIERED JEWELLERY BOX MEIJI PERIOD, 19TH OR 20TH CENTURY Of rectangular form and with a cloud-shaped loop handle to the top, decorated with thatched buildings by a lake to the front and a depiction of Mount Fuji to the top, the box opening to reveal three compartments lined in purple velvet, the side with a three character signature, the base stamped sterling 950, 10.5cm x 12.4cm x 9cm.

£400-600 1002 A FINE JAPANESE SILVER KODANSU BY SHUZAN MEIJI PERIOD, 19TH OR 20TH CENTURY The small chest of typical rectangular form, all sides decorated with large flowering sprays of chrysanthemum, prunus, orchids and branches of bamboo, all emerging from behind clouds embellished with diamond patterns, the hinges and lock with delicate scrolling tendrils and with a cloud-shaped loop handle to the top, the doors opening to reveal four drawers in black lacquer, with small chrysanthemum-shaped handles and lined in red velvet, signed Shuzan koku, 15.8cm x 11.2cm x 13.7cm. (5)

1001

1002

1003

signatures

£2,400-2,600 1003 A SMALL JAPANESE SILVER BOX AND COVER MEIJI PERIOD, 19TH OR 20TH CENTURY The rectangular body decorated with a dense pattern of repoussé chrysanthemum flowerheads, the inside with dark wood linings, a three-characters mark to the base and the jungin (pure silver) mark underneath, 4.5cm x 6cm x 8.2cm.

£300-500

1002

1001

1003

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

1004 A FINE JAPANESE SILVER OKIMONO OF A MINOGAME MEIJI PERIOD, 19TH OR 20TH CENTURY The mythical turtle depicted with long seaweed growing from the top of its shell and trailing behind it, its head slightly turned to the left and with the eyes gilded, the underside realistically cast and inscribed with a four character signature for Ryubundo zo, 24.4cm. £2,500-3,500 Provenance: an English private collection, Somerset.

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

signature

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1005 A TALL JAPANESE SILVER VASE BY HASEGAWA ISSEI MEIJI PERIOD, 19TH CENTURY The elegant quatrelobed body with an elongated tapered neck and raised on a short foot, each side decorated with a different bird including a crane, a magpie, a pair of ducks and a crow, the birds rendered in low relief and in various coloured metals, the base signed Issei koku, 30cm.

£2,000-3,000 Provenance: from a lady of title, formerly the collection of Walter Green (1874-1965) and thence by descent.

signature

Green worked as a dentist and started practising in Ealing in 1896. He joined the British Dental Association and later served as Vice President. He was one of the first to use the Bilateral Sagittal Split Osteotomy procedure and he became the first dental surgeon to be appointed to the King Edward VII Memorial Hospital.

Hasegawa Issei (also known under his artist’s name of Gyokutosai) was an important silversmith working in Asakusa, Tokyo. He found fame during the Meiji era and his designs became popular in the West after he took part in international exhibitions including the Chicago Columbus Exposition (1893), the Liège Exposition (1905) and the Paris Exposition Universelle (1900). Several of his works are on display at the Kyoto Sannenzaka Museum.

Cf. Meiji no Takara, The Nasser D. Khalili Collection of Japanese Art, Metalwork, Part I, no.66 and Part II, no.130 for other works by Hasegawa Issei in the Khalili Collection.

Walter Green (1874-1965)

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

1006 A FINE JAPANESE BRONZE OKIMONO OF SANKOCHO BIRDS BY KOYAMA YUKIMITSU MEIJI OR TAISHO PERIOD, 20TH CENTURY The two paradise flycatchers perched on a flowering branch of paulownia, the plumage of the long-tailed birds embellished in gilt and russet, the eyespots at the end of their feathers inlaid, and their eyes gilded; the branch bearing large leaves and with silvered paulownia flowers blooming beside them; together with the original tomobako wood box, the front inscribed Kirinoki so Sankocho okimono (a pair of Sankocho birds okimono on a paulownia base), the reverse signed Koyama Yukimitsu with a seal mark reading Mitsu, the interior with a drawer divided into two compartments for the birds, 27.7cm x 36cm. (6)

signatures

£2,800-3,200

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1007 A JAPANESE SILVERED BRONZE OKIMONO OF TWO GEESE BY CHIKAYOSHI MEIJI PERIOD, 19TH OR 20TH CENTURY Both realistically rendered, their beaks, eyes and legs picked out in gilt, one leaning forward whilst the other stretches out its neck and flaps its wings, the taller one with a rectangular cartouche underneath reading Chikayoshi saku, the birds raised on a black lacquer stand, 30cm overall. (3)

£800-1,200 signature

1008 A JAPANESE PARCEL-GILT BRONZE PANEL MEIJI PERIOD, 19TH OR 20TH CENTURY Depicting a large bird of prey precariously perched on a rock, with large crashing waves and a small fish emerging from the water beside it, the head of the majestic bird and other elements rendered in high relief, an oval cartouche to the lower left corner inscribed Hidekazu/ Shuichi with kao, in a wooden frame carved as two dragons on either side of the hoju-no-tama sacred jewel, 32.5cm x 44.5cm overall.

£800-1,200 signature 12

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

1009 A RARE AND MASSIVE JAPANESE SILVER BRONZE OKIMONO BY GENRYUSAI SEIYA MEIJI PERIOD, 19TH CENTURY Depicting an impressive cockerel, the bird naturalistically modelled with gilt bronze legs and pupils, the claws and long tail feathers rendered in shakudo, the comb and wattle in red patinated bronze, the details of the plumage rendered in kebori, signed in a rectangular cartouche beneath the long tail Dai Nihon Genryusai Seiya zo (Great Japan, made by Genryusai Seiya), raised on a wood base carved as a rocky outcrop, the bronze 75cm, 89cm overall. (2)

£8,000-12,000 Provenance: an English private collection, the property of a gentleman; purchased in the 1990s from PAN Amsterdam art fair.

See Zacke, Vienna, Asian Art Discoveries Days 1 - Japanese Art, 21st January 2021, lot 13, for another model of a chicken by Seiya measuring 23cm. Also, see Bonhams, London, Meiji Modern Design, 11th June 2003, lot 476 for another tall cockerel signed Masatsune.

Cf. Meiji no Takara, The Nasser D. Khalili Collection of Japanese Art, Metalwork, Part II nos.104-5 for two other cockerels by Masatsune.

Also, see L Bordignon, The Golden Age of Japanese Okimono, pp.252-3, for another example signed Hanehiroya sei.

signature

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1010 A JAPANESE MIXED METAL VASE MEIJI PERIOD, 19TH CENTURY

1011 A PAIR OF JAPANESE BRONZE CANDLESTICKS MEIJI PERIOD, 19TH CENTURY

The baluster body with dragon-shaped handles applied to the shoulder, one side decorated with two bats in flight underneath wisteria, the other with two sparrows underneath further blossoms, with bands of scrolling tendrils and geometrical designs above the foot and below the rim, the decoration rendered in mixed metal including silver and gold inlays, the animals depicted in low relief, 23.5cm.

Both cast with a dragon coiling around the stem decorated with leiwen patterns, raised on a stepped base and with a foliate wax pan, with further bands of key fret and archaistic designs, both 24.8cm. (2)

£250-350 Provenance: an English private collection, Somerset.

£400-600

1012 A SMALL COLLECTION OF JAPANESE MIXED METAL BOXES AND COVERS MEIJI PERIOD, 20TH CENTURY The first of circular shape, the lid decorated with a crane in flight above large lotus leaves and flowers; the two others of rectangular form and with hinged covers, the largest decorated with Otani Furuinosuke fighting a giant wild boar, the front and back inlaid with parcel-gilt copper plaques depicting further legendary figures, the other box with two cranes flying before Mount Fuji, all unsigned, 7.8cm max. (4)

1013 A SMALL JAPANESE METAL BOX AND COVER MEIJI PERIOD OR LATER, 20TH CENTURY The hinged lid decorated with a small owl perched on a flowering branch of prunus, the full moon behind it, the sides with chrysanthemum flowerheads floating amongst waves, the inside with thatched buildings in a landscape, signed, 2.8cm x 6.3cm x 3.9cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£80-120

£300-500

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

1014 A PAIR OF JAPANESE ENAMELLED BRONZE AND SILVER VASES MEIJI PERIOD, 19TH CENTURY Both with a bulbous body, raised on a scalloped foot and with a tall neck, decorated in enamels, gold and silver on the bronze ground with a continuous design of chickens amongst flowers and other plants, the base of each neck with a cloisonné enamel band of two confronting ho-o birds and a paulownia mon, the necks and feet with elegant scrolling designs and stylised flowers embellished with polychrome enamels, both signed in a gilt rectangular tablet underneath, both approx. 26.5cm. (2)

£1,000-1,500 Provenance: a London private collection, acquired in the early 20th century and thence by descent.

signatures

1015 A LARGE JAPANESE RECTANGULAR JARDINIERE MEIJI PERIOD, 19TH CENTURY

1016 A JAPANESE RECTANGULAR JARDINIERE MEIJI PERIOD, 19TH CENTURY

Raised on four curved legs and with two scrolling handles, the sides cast with a dragon, a minogame, a kirin and a phoenix, the four mythological animals amidst clouds, waves, and a leiwen ground, the base with a nine characters seal mark reading Dai Nihon Bunsei chu, 12.4cm x 48.5cm x 26.2cm.

Decorated in archaic style, the feet formed as stylised lion heads and with monster-shaped handles, the sides cast to one side with a mythical creature and to the other with a bird perched on a fruiting branch on a leiwen ground, 12cm x 40.5cm x 22.8cm.

£300-500

Provenance: an English private collection, Somerset.

Provenance: an English private collection, Somerset.

£200-300

signature 15

1017 A PAIR OF JAPANESE CLOISONNE VASES MEIJI PERIOD, 19TH CENTURY

1018 A JAPANESE CLOISONNE BOX AND COVER MEIJI PERIOD, 19TH OR 20TH CENTURY

The flattened ovoid bodies each raised on a splayed foot, the sides decorated with elegant designs of butterflies fluttering above flowers on a dark navy-blue ground, each vase with colourful bands of lappets above the foot and under the neck, the rims with metal mounts, both 15.2cm. (2)

The lid decorated with a pair of chickens and a small butterfly above them, with white lilies to their side and other flowers, on a robin’s egg blue ground, the sides with chrysanthemum flowerheads and scrolling tendrils on an olive green ground, 5.3cm x 8.9cm x 12.1cm. (2)

£400-600

£400-600

1019 A JAPANESE LACQUER BOX AND COVER MEIJI PERIOD, 19TH OR 20TH CENTURY

1020 A PAIR OF JAPANESE CLOISONNE VASES MEIJI PERIOD, 19TH CENTURY

The rectangular body and lid decorated with a continuous design of dandelions and other leafy sprays in gold nashiji and takamaki-e lacquer on a black ground, some petals highlighted with minute mother of pearl inlays, unsigned, 5.8cm x 11.2cm x 14cm; together with a rectangular cloisonné tray with a writhing dragon, the reverse with paulownia, 18.2cm x 12.6cm. (3)

Of cylindrical form, both decorated with continuous designs of many butterflies flying amongst flowering peonies on a bright blue ground, the necks embellished with a band of writhing dragons amongst scrolling clouds, the design rendered in silver, gold, and brass wires, both 31.8cm. (2)

£200-300

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£400-600

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

1021 A TALL JAPANESE CLOISONNE VASE BY HAYASHI KODENJI (1831-1915) MEIJI PERIOD, LATE 19TH CENTURY The square-section body decorated with a continuous design of seven sparrows in flight and perched amongst prunus blossoms, with leafy branches of maple below, the decoration rendered in polychrome enamels and silver and gold wires, all on a deep midnight-blue ground, with ornate bands of jewels, cash, and other geometric designs to the neck and footrim, with copper mounts and lining, the base stamped and inscribed Nagoya Hayashi saku (made by Hayashi of Nagoya), 31.3cm.

signature

£800-1,200 Provenance: from the collection of Joseph Gordon (d.1969), of Randolph Crescent, Edinburgh, and thence by descent.

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1022 A JAPANESE MIXED METAL KOGO BY INOUE OF KYOTO MEIJI PERIOD, 19TH CENTURY

1023 A JAPANESE MIXED METAL VASE MEIJI PERIOD, 19TH CENTURY

The cover of the incense box decorated with a butterfly fluttering above daisies and peonies, the design rendered in low relief with gilt, silver and shibuichi, with gilt mounts to the rims, the round body stamped to the base with Dai Nihon Saikyo ju Inoue sei (Great Japan, made by Inoue of West Kyoto), 12.1cm. (2)

The baluster body decorated with tall irises emerging from shallow waters, with two cranes in flight above, the decoration in low relief and rendered in mixed metals including gold and silver, the side incised with three characters for Kowa and the base with a silver seal mark for Kanyu, 23.5cm.

£800-1,200

£2,000-2,500

See Christie’s, New York, Japanese and Korean Works of Art, 22nd September 2004, lot 221 for a related box and cover by Inoue.

signatures

signature

1024 A JAPANESE MIXED METAL VASE MEIJI PERIOD, 19TH CENTURY

1025 A JAPANESE MIXED METAL KOGO BY NISHIMURA MEIJI PERIOD, 19TH CENTURY

The small bulbous body raised on a short foot and decorated with a goose in flight before a silver moon, the bird’s plumage rendered in a variety of metals including copper and silver on the gilt bronze ground, the side incised with a two character signature and the base with a circular mark for Iida sei, 12cm.

The cover of the box decorated with a couple in a luxuriant garden, the design rendered in low relief with gilt and silver inlays on the bronze ground, the round body stamped to the base with Kyoto Nishimura sei (Made by Nishimura of Kyoto), 14.3cm. (2)

£1,000-1,500

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£400-600

signatures

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

signature

1026 A FINE JAPANESE MIXED METAL KOGO BY INOUE OF KYOTO MEIJI PERIOD, 19TH CENTURY The cover of the box decorated with a dynamic scene of figures caught in a storm and running for cover, including one woman with a small child on her back shielding herself with a broken paper umbrella; a sarumawashi, the monkey trainer carrying his pet on his shoulders whilst crossing a small bridge; with lightning bolts emerging from menacing clouds towards a thatched hut and a leaning pine, the design rendered in relief with a variety of metals including gilt bronze, silver and shibuichi, the round body signed to the base Saikyo Inoue sei (made by Inoue of West Kyoto) and with a gold seal for Fusahiro, 19.7cm. (2)

£1,800-2,200 signature

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1027 A JAPANESE BRONZE OKIMONO OF DARUMA MEIJI PERIDO, 19TH OR 20TH CENTURY The Father of Zen Buddhism depicted standing, wearing long robes covering his head and revealing his chest, raised on an associated wood stand carved as a rocky outcrop, the bronze 13.5cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300

1028 THREE JAPANESE BRONZE OKIMONO MEIJI OR LATER, 19TH OR 20TH CENTURY The first cast as Daruma, the Father of Zen Buddhism wrapped in his long robes and with a thoughtful look, the base incised with three characters; the other models depicting a small hare and two tortoises, both unsigned, 14.5cm max. (3)

£300-500

1029 A JAPANESE BRONZE OKIMONO OF AN ELEPHANT MEIJI PERIOD, 19TH CENTURY The pachyderm standing four-square and with its head slightly turned to the right, the rough texture of its thick skin realistically depicted and with a benevolent expression, signed underneath one foot, possibly Izumi, together with a wood stand, 38cm. (2)

£400-600 Provenance: an English private collection acquired circa 1900 and thence by descent.

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

1030 λ A JAPANESE BRONZE OKIMONO BY GENRYUSAI SEIYA MEIJI PERIOD, 19TH CENTURY The pachyderm fending off the attack of two tigers, its front leg lifted and about to crush one feline whilst the other clambers upon its back, with ivory tusks and inscribed to the belly Seiya zo for Genryusai Seiya, together with a wood base, 28.5cm wide. (2)

£1,000-1,500 Provenance: formerly a Russian private collection, and thence by descent.

1031 A JAPANESE BRONZE OKIMONO MEIJI OR TAISHO PERIOD, 20TH CENTURY Cast as a small boy sidesaddle riding a large stallion, holding the horse’s mane whilst resting his other hand on its croup, he wears modern clothes and a wide brimmed hat, the underside with a two character signature for Hozan, 41cm.

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

1032 λ A JAPANESE BRONZE OKIMONO OF AN ELEPHANT BY GENRYUSAI SEIYA MEIJI PERIOD, 19TH CENTURY The pachyderm standing four-square and with its trunk raised, its tusks in ivory and signed to the belly Seiya saku for Genryusai Seiya, together with a wooden base, 34.5cm. (2)

£500-1,000 Provenance: formerly a Russian private collection, and thence by descent.

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1033 A PAIR OF JAPANESE BRONZE QUAILS BY ATSUYOSHI FOR THE MARUKI COMPANY MEIJI PERIOD, 19TH CENTURY The two plump birds realistically depicted standing, one sleeping with its beak buried in its breast feathers, the other with its head slightly turned to the left, each signed underneath Atsuyoshi saku and Maruki sei, 10.3cm and 8cm. (2)

1034 A JAPANESE BRONZE OKIMONO OF TORTOISES BY KOSE MEIJI PERIOD, 19TH OR 20TH CENTURY Both realistically cast, the larger animal with its right leg forward as if slowly stepping away, its young climbing on its side, a three-character mark incised underneath reading Kose saku, 17cm.

£1,300-1,500

£1,500-2,000 Provenance: from the collection of Colonel R B Cousens (1898-1943), acquired in Hong Kong in the 1930s.

signature signatures

1035 A JAPANESE BRONZE OKIMONO OF A MONKEY AFTER TAKAMURA KOUN (1852-1934) MEIJI PERIOD OR LATER, 20TH CENTURY Realistically modelled, the primate sits on a rock and turns to his right in an inquisitive manner; he holds three large feathers in his left hand, possibly belonging to the bird he is gazing at; the base with an illegible impressed mark, possibly for Koun, 27cm.

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

This bronze is modelled after the famous wood carving entitled ‘Aged Monkey’ by Buddhist sculptor Takamura Koun. The original is over a meter tall and was displayed at Chicago’s World Fair in 1893, where it won the Outstanding Performance Award. It is today on display at Tokyo National Museum.

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

signature

1036 A JAPANESE BRONZE HANGING KORO MEIJI PERIOD, 19TH CENTURY The incense burner cast as an eagle in flight, fitted with chains for suspension, the wings removable, the underside adapted with a lamp fitting, approx. 54cm wide.

£200-300

1037 A JAPANESE BRONZE OKIMONO OF A TIGER MEIJI PERIOD, 19TH OR 20TH CENTURY The feline baring its fangs in a snarl, its glass eyes menacingly fixed on an invisible prey before it; the big cat stands on a large base shaped as a rock with vegetation growing to the side, with an indistinct three character mark to the back of the stone, 50cm across. (2)

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

signature

1038 A PAIR OF JAPANESE BRONZE SHISHI EDO PERIOD, DATED 1660 The two male lion dogs both seated on their haunches, their heads turned towards each other, one with a tall horn on its forehead and the other with its mouth open and baring its teeth, both with scrolling manes and tails, each inscribed with a three-line dedication to its chest and forelegs, 29cm and 32cm respectively. (2)

£300-500

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1039 A RARE MYOCHIN INLAID IRON KORO EDO OR MEIJI PERIOD, 19TH CENTURY The incense burner of rectangular form and decorated with Fudo Myoo and his two attendants Kongara and Seitaka, the powerful King of Immutable Wisdom and Vanquisher of Evil holding the kurikara (devil-subduing) sword and a lasso to catch and bind up the wicked; the God and his acolytes surrounded by the halo of flames that destroys ignorance; the opposite side with a large shishi clambering upon a rock; the other sides each with a long-tailed bird in flight holding a knotted cord in its beak, and a large chrysanthemum flower underneath; the cover decorated with geometric patterns and shaped apertures for the smoke to escape, the underside of the lid with a cut-out design of a similar bird; all raised on four legs shaped as archaistic monsters, the handles to the side with further stylised creatures suspending loose rings; the decoration rendered in low relief and with details inlaid in silver and gold, inscribed Myochin ki Munenori beside Fudo Myoo to the front, 40cm. (3)

£20,000-25,000 Provenance: sold in these rooms, Asian Art II, 18th May 2016, lot 810.

Myochin Munenori is recorded as a retainer of the Lords of Tsuchiya, in the province of Hitachi. He also used the name Yukiye. Munenori is particularly known for his kabuto (samurai helmets) which makes this incense burner particularly unusual. It is possible that the koro was a unique and special commission for a wealthy client.

reverse

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

signature

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1041

1042

1044

1043

1040 A JAPANESE MAGARI YARI (THREE-PRONGED SPEAR) EDO PERIOD, 18TH OR 19TH CENTURY

1043 THREE JAPANESE GOLD INLAID SHAKUDO TSUBA EDO AND MEIJI PERIOD, 19TH CENTURY

The long pole decorated with scrolling tendrils and sixteen-petalled chrysanthemum mon, in gold lacquer hiramaki-e on the black roiro ground, 208cm.

The largest of otafuku gata quatrelobed shape with a shakudo fukurin rim, decorated with gold snow flakes on a ground of leafy tendrils in low relief, the cloud-shaped openings with gold rings applied to the rims; the two others of maru gata circular form, the largest with fan-shaped panels variously enclosing waves, flowers and other plants; the smallest tsuba with prunus flowers floating on crashing waves, 7.9cm max. (3)

£500-600 1041 A JAPANESE TANEGASHIMA (MATCHLOCK CARBINE) EDO PERIOD, 18TH OR 19TH CENTURY With an iron octagonal-section barrel inlaid with a writhing dragon in gilt, the wood stock decorated with scrolling tendrils and circular mon in gold hiramaki-e on the black roiro lacquer ground, with many metal elements shaped as prunus and chrysanthemum flowerheads, 130cm.

£2,000-3,000 1042 TWO JAPANESE IRON TSUBA EDO PERIOD, 17TH CENTURY OR LATER The first Higo School tsuba in the style of Hayashi Shigemitsu (1652-1729), with an openwork design of a moon crescent above flowering branches of prunus, ume ni mikatsuki, in a kiri wood box; the other of oval shape with four stylised pines growing at the corners, their roots highlighted with gold inlays, 7.6cm and 7.7cm. (3)

£400-600

£300-500 1044 TWO JAPANESE PARCEL-GILT BRONZE TSUBA EDO OR MEIJI PERIOD, 18TH OR 19TH CENTURY Both with a quatrelobed body, the first depicting playing cards from the hyakunin isshu uta karuta game scattered on a ground of chrysanthemum flowers, the other illustrating the story of Choryo and Kosekiko, both with details highlights in gilt, both unsigned, 6.5cm and 6.7cm. (2)

£300-500 Half the cards from a hyakunin isshu uta karuta game set depict famous Japanese poets, and the other half is painted with calligraphy.

The aim of the game is to associate the authors with their writings.

The other tsuba depicts the story of Choryo and Kosekiko: Choryo was a hero who met an old man named Kosekiko on a bridge. The wise man began to teach him the art of war. One day, Kosekiko decided to test Choryo and threw his shoe into a river where a powerful water dragon lived. The dragon seized the shoe, but Choryo defeated it, and he gave the shoe back to Kosekiko.

1040 26

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original engravings

1045 TWO JAPANESE LACQUER MEDALLIONS ON COPPER OF FAMOUS EUROPEAN FIGURES EDO PERIOD, LATE 18TH CENTURY The first a portrait of François-Marie Arouet, better known as Voltaire (1694-1778), the French Enlightenment writer depicted half-length with his name written above, the reverse inscribed ‘DE VOLTAIRE Né à Paris en 1694’, the other plaque decorated with the head of Emperor Constantine II (337-340), his name and titles also written above, the reverse with another long inscription about the Roman ruler, both portraits rendered in gold hiramaki-e on the deep roiro black lacquer ground, both with a ring for suspension to the top, 14.3cm x 14.5cm. (2)

£1,400-1,600 The designs for both medallions are taken from European engravings, many from the 18th century encyclopaedic work L’Europe Illustrée, which would have been sent to the Japanese workshops to be copied. The trend for portraits of famous figures was also embraced by Josiah Wedgwood who produced them both in blue jasper and black basalt.

See O Impey and C Jörg, Japanese Export Lacquer (1580-1850), pp. 48-57 and pp.216-217 for further examples of medallions depicting European figures.

reverse 27

28

29

1046 A RARE AND IMPORTANT JAPANESE LACQUER CABINET FOR THE DUTCH MARKET EDO PERIOD, C.1680 Of rectangular form with a flat top, the sides and front embellished in gold, silver, brown and red lacquer hiramaki-e on a deep black roiro ground with a continuous design, the large panels depicting a complex scene of many figures in a mountainous river landscape; the left side with a rare depiction of the island of Dejima, a three-masted fluyt (cargo ship) sailing toward it, flying the tricolour flags of the Dutch East India Company and the stern with a small monogram reading VOC. The right-hand side of the panel depicts a busy street of Nagasaki leading to the Dutch island, with many figures in traditional garments engaged in daily life; a small wooden bridge leads to the fan-shaped artificial island, three Dutch men are visible outside the buildings and two Japanese figures sit in seiza in a small hut in the centre, probably guards. Japanese boats sail in the distance, and a four-storey pagoda with many birds flying above are visible behind. The front doors are decorated with a long procession, the many travellers on foot and on horseback, three of the horse riders dressed as Dutch merchants and a fourth figure, probably the Opperhoof (chief trader), is seen in a palanquin. Many Japanese figures on either side of the procession are engaged in various activities: some play musical instruments on board of small boats, others are fishing; figures inside buildings are depicted playing go, and farmers to the side are tending to their rice paddocks. The upper half of the right door depicts a large mansion, probably the local daimyo’s castle, with men kneeling before another figure in the central courtyard. The right side of the cabinet is painted with further horse riders and their retinue journeying through mountains.

The pair of doors to the front open to reveal eight rectangular drawers and two further doors with escutcheons; the cabinet is decorated to the inside with scenes of many birds in flight in further mountainous river landscapes, the reverse of the left door with two thatched buildings, one with a ladder, underneath a camellia tree with large blooms; the right door with a three-storey pagoda nestled amongst trees; with some details rendered in raised takamaki-e; the cabinet with elaborately engraved metal clasps and lock plates, together with the original key, raised on a later European Japanned wood stand, the cabinet 88cm x 100.5cm x 54cm.

£40,000-60,000 Provenance: an English private collection formerly at Cliff Avenue, Cromer, Norfolk since the 1950s and thence by descent. Believed by the family to have been purchased from Margaret Jane Barclay (1861-1958) of Herne Close, Cromer, together with the entire contents of her house. Margaret’s ancestor James Barclay (1708-66) established the Barclays banking dynasty. It is likely that the cabinet was purchased by Margaret’s father, Joseph Gurney Barclay (1816-98), who built Herne Close as a holiday house and furnished it. Joseph was one of the wealthiest members of the Barclays family, leaving many properties and a fortune of £900,000 to his children after his death.

Detail of the left side panel showing Dejima

View of Dejima. Pieter van der Aa, La Galerie agreable du monde, 1729.

Royal Collection Trust RCIN 1021721

The Dutch East India Company or VOC (Vereenigde Oostindische Compagnie) had an exceptional position in 17th century Japan. On 24th August 1609, Jacques Specx (the first chief merchant or Opperhoofd) was given the permission to trade by the Shogun, Tokugawa Ieyasu. After the Portuguese were expelled from the country, the Dutch became the only Europeans allowed to trade there. In 1634, the artificial fan-shaped island of Dejima became their trading post. The island was only 185 meters long and the VOC had to pay about £150,000 per year for it. There was only one bridge connecting it to the shore which gave local authorities control over the Westerners. There was a maximum of twenty Dutch people living on the island at any time, and -officially- none of them were soldiers or women.

Detail of the left side panel showing a Dutch ship (fluyt) with VOC monogram 30

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31

Detail of the right side panel showing the procession

Detail of the front panel showing the Opperhoofd or VOC Chief merchant

Restrictions on Dejima were tight and the merchants were only allowed to leave the island by special permission. The Chief Opperhoofd could only stay on Dejima for a year, and each new one had to go to the capital of Edo to pay tribute to the Shogun and obtain permission to keep on trading. At first, they would travel with gifts once a year, but later this audience was only required once every four years. The procession (the Hofreis) would include the Opperhoofd (depicted here in a norimono palanquin), his secretary and his physician. The Dutchmen on this cabinet are easily recognisable, wearing Western outfits and wide-brimmed hats.

The Dutch travellers were treated like local daimyo lords, who also had to pay tribute to the Tokugawa leader and undertake regular trips to Edo under the sankin kōtai (alternate attendance) system. One can only imagine the spectacle this procession would have been for local people, and many are depicted here stepping out of their houses to observe the foreigners.

European collectors would have been familiar with some of the decorative elements often encountered on these lacquer pieces for export, including combinations of the ‘seven grasses of autumn’ and other blooms such as chrysanthemum, magnolia and peonies.

The decoration with many figures engaged in daily activities is reminiscent of rakuchu rakugai zu (Scenes in and around the Capital), a style of paper screens decorated with bird’s eye views of the busy streets of the old capital of Kyoto. The Japanese figures here are depicted fishing, playing musical instruments on boats, tending to their fields, playing go, and paying tribute to the local lord.

Japanese lacquer cabinets such as lot 1046 were very expensive and as such, they were seen as a luxury item worthy of European courts. This cabinet is a good example of the type of export lacquer popular in the 17th century for its decoration of mountainous river landscapes. The shape is adapted from earlier Portuguese and Spanish escritórios or bargueños concealing many drawers of various sizes.

Detail of the front panel showing a similar cabinet being transported 32

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Inner drawers

Japanese lacquer was a luxury commodity, and it became even more sought-after when Japan restricted relations with the rest of the world after 1639. Some of the most prestigious commissions for these high-quality lacquer cabinets include Cardinal de Mazarin’s order for sixty coffers and cabinets in 1661, largely decorated with landscapes and figures. One of these magnificent coffers is now on display at the Victoria & Albert Museum, access. no.412:1, 2-1882.

The Dutch Royal Collections also include a pair of important Japanese lacquer cabinets with depictions of Dejima and the Chief merchant travelling to Edo for the Hofreis. These cabinets were possibly a gift to Amalia van Solms (1602-1675), an avid Japanese art collector and lover of lacquerwares. Japanese cabinets depicting Dutch merchants would have been appropriate presents to the wife of the Stadtholder. This very expensive pair of cabinets were probably commissioned by the Company or by one of the VOC Chambers; however, there is no documentation recording the orer.

The unusual depictions of the Opperhoofd and the Hofreis on lot 1046 suggest that the cabinet was also a special commission for Dutch nobility or a high-ranking VOC official serving in the Dutch East Indies.

Cabinet in the Dutch Royal Collection with comparable decoration, access no.HtB 01190 33

CHINESE CERAMICS FOR THE JAPANESE MARKET, EARLY JAPANESE PORCELAIN, KOREAN, SATSUMA & LATER WARES LOTS 1047-1091

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Lot 1052 detail 35

1047 A RARE CHINESE BLUE AND WHITE SHONZUI-STYLE ‘ZODIAC’ DISH FOR THE JAPANESE MARKET CHONGZHEN, 1628-44 The well painted with three figures in a boat encircled by the Twelve Earthly Branches, within bands of key fret and loops, the crenellated border decorated with a band of diaper designs and cash, the reverse with irregular leaf motifs radiating from the foot, a six character Jiajing mark in underglaze blue, with a paper label for the South Africa National Gallery Chinese Exhibition 1953, no.203, 14.9cm.

£2,000-3,000 Provenance: from the collection of G R A Murray and thence by descent.

Exhibited: National Gallery of South Africa, Cape Town, Chinese Exhibition, 1953, no.203.

See Kaikodo, New York Asia Week 2018, for a shonzui dish with a comparable central pattern of three figures on a boat surrounded by the characters of the zodiac and a ring of key frets.

The Twelve Earthly Branches are sometimes used as a circular pattern on Swatow wares of the same period as this dish. The unusual crenellation on the other hand may be inspired by a European silver shape.

Catalogue of the Chinese Exhibition, National Gallery of South Africa, 1953

reverse 36

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37

1048 A CHINESE BLUE AND WHITE SHONZUI-STYLE ‘HARE’ DISH FOR THE JAPANESE MARKET TIANQI 1621-27 The well decorated with a central medallion enclosing a plump rabbit within four radiating fan-shaped panels, variously painted with key fret, scales, cell diaper, or Y-pattern, with four cash symbols to the cavetto and a border of formal scrolling tendrils, the rim with typical mushikui frits, the underside with two flower sprays and butterflies, inscribed Da Ming Chenghua nian zhi to the base, 20.5cm.

£1,500-2,500 Cf. Princessehof Museum, Chinese Porcelain, The Transitional Period (1620-1683): a selection from the Michael Butler Collection, p.29, no.17, for a comparable dish. Also, see Christie’s London, The Peony Pavilion Collection: Chinese Tea Ceramics for Japan (c.1580-1650), 12 June 1989, lot 219 for another example. The authors explain that the style is in the manner of shonzui wares, with complex geometric patterns.

1049 TWO CHINESE KO-SOMETSUKE DISHES FOR THE JAPANESE MARKET TIANQI 1621-27 Both decorated in underglaze blue with a deer underneath a pine, a crane in flight above, the rims with typical mushikui frits and both raised on a short foot, one dish inscribed Da Ming Chenghua nian zhi to the base, 20.8cm and 20.4cm. (2)

£600-800 Crane, deer and pine are all symbols of longevity and were depicted on these dishes for their auspicious meaning.

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1050 A CHINESE KO-AKAE DISH FOR THE JAPANESE MARKET CHONGZHEN (1628-44) The well decorated with the lone figure of a luohan carrying a bundle of books on a staff balanced over his shoulder, the monk gazing at the crashing waves before him, with a flowering prunus behind and a red sun amongst wispy clouds above, the decoration painted in underglaze blue and overglaze polychrome enamels; the rim with a brown edge and the base with a fuku mark, 21cm.

£1,000-2,000 See Christie’s London, The Peony Pavilion Collection: Chinese Tea Ceramics For Japan, 12th June 1989, lot 316 for a closely related dish inscribed underneath tian xia taiping (Peach under Heaven). Also, see Tokyo National Museum, Catalogue of Chinese Ceramics, p.136 no.564 for another example in the museum collections.

1051 A SQUARE-SECTION INCENSE BURNER AND COVER 17TH OR 18TH CENTURY Possibly Japanese, each side painted with a square panel variously enclosing a spray of peony, millet, a deer and butterfly, and a bird in flight by a pine amongst scrolling clouds, with borders of stylised flowers and leafy tendrils, the Japanese metal cover with apertures shaped as prunus blossoms and maple leaves, 8cm overall. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200

39

1052 A RARE AND MASSIVE JAPANESE ELEPHANT KORO (INCENSE BURNER AND COVER) EDO PERIOD, LATE 17TH OR EARLY 18TH CENTURY The large pachyderm depicted standing four-square, its head lowered and with its trunk curled to the right, a gentle expression on its face; the surface with an unctuous creamy white glaze with a blue tinge; with some remnants of cold-painted decoration, possibly depicting a beaded caparison; the cover with a double row of apertures for the smoke to escape; the underside of the cover and the animal inscribed with lines of calligraphy in kanji and katakana, possibly reading Kobayashi and Haruto XIX, 31cm x 38cm, 11.5kg. (2)

£1,000-2,000 Provenance: an English private collection, Suffolk.

Early Japanese porcelain models of animals are very rare, and this elephant appears to be unrecorded. The names inscribed underneath may relate to worshippers donating the incense burner to a local temple, as seen with the Kakiemon model of a lion dog offered to the Sonobe Shinto shrine in 1692.

This elephant presents similarities with a rare and important early model of a deer from the collection of Lord and Lady Broughton, 3rd Baron Fairhaven of Anglesey in Cambridge, sold in these rooms on 6th June 2000, lot 335. Both animals feature similar thick, bluish glazes and deep firing faults.

Early model of a deer formerly in the collection of Lord and Lady Broughton, 3rd Baron Fairhaven of Anglesey, Cambridge

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41

1053 λ A RARE JAPANESE KO-IMARI CHA-IRE (TEA CADDY) EDO PERIOD, PROBABLY 17TH CENTURY The squat gourd-shaped body decorated all over with underglaze blue splashes, the cream-coloured silhouettes of two fish swimming amongst them, together with an ivory lid decorated with gold leaf underneath, a silk purse and a tomobako wood box and cover, 6cm. (5)

£2,000-3,000 Provenance: formerly a Japanese private collection.

42

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1054 A GOOD JAPANESE KO-KUTANI FOLIATE DISH EDO PERIOD, c.1650-60 The well decorated with a small magpie perched on a flowering branch of prunus, with rocky outcrops and further vegetation underneath it, all within an underglaze-blue ring and framed by a band of karakusa-like scrolling tendrils, the decoration delicately painted in overglaze polychrome enamels, the cavetto moulded with radiating lines and the scalloped rim with a typical chocolate-brown edge; the underside with many stylised pine needles, further underglaze blue rings and a central square fuku mark in green and black enamels, a paper collection label reading ‘BR 3115’ and an auction label inscribed ‘ Christie’s Rockefeller, 10 May 18, Sale 16723, Lot 921’, 14.5cm.

£8,000-12,000 Provenance: purchased from Christie’s New York, The Collection of Peggy and David Rockefeller: Travel and Americana, 10th May 2018, lot 921. Originally from Miss Lucy Truman Aldrich of Providence, Rhode Island, acquired as a gift in the early 1950s.

Illustrated in R Ellsworth and A Christy, The David and Peggy Rockefeller Collection, vol. III, p.131, no.77.

See The Museum of Fine Arts, Boston, access. no.46.1199 for another closely related dish, a gift of Miss Lucy T Aldrich.

Also, see the British Museum, access. no.1959,0418.21 for another dish with two swallows perched on a branch of bamboo.

Cf. The Kyushu Ceramic Museum, Complete Catalogue of Shibata Collection, no.0527 for another Ko-Kutani dish with a similarly moulded cavetto and painted with a bird on a branch in a similar colour scheme.

Lucy Truman Aldrich (1869-1955) was an important art collector and philanthropist from Providence, Rhode Island. Her sister was Abigail Rockefeller (1874-1948), the mother of David Rockefeller (1915-2017). Lucy travelled extensively in Europe and Asia, collecting European and Asian porcelain and textiles. She bequeathed many pieces to the Museum of Art of Rhode Island School of Design, and to the Museum of Fine Arts, Boston.

Miss Lucy T. Aldrich (1869-1955)

43

1055 A JAPANESE ARITA MODEL OF A LEAPING CARP EDO PERIOD, 17TH CENTURY The large fish with its body contorted and its mouth open, the moulded scales rendered in washes of cobalt blue, the mouth and eyes accentuated with red paint, raised on a European gilt ormolu base decorated with scrolls and leaves, 13.5cm.

£1,000-2,000 Provenance: an English private collection, Nottinghamshire.

1056 A JAPANESE BLUE AND WHITE KAKIEMON-STYLE DISH EDO PERIOD, 1670-90 The scalloped body decorated with two Chinese figures on a wood jetty gazing at a waterfall, with branches of flowering prunus behind them, the water falling from a rocky outcrop and crashing into a stream below, the underside with karakusa scrolls and a fuku mark to the base, 18.3cm.

£100-200 Provenance: from the collection of Henry Mark Darlow (d.2018).

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1057 A LARGE JAPANESE KAKIEMON ‘HOB IN THE WELL’ DISH EDO PERIOD, C.1680 The deep octagonal body painted to the well with the legend of Shiba Onko, the small boy being rescued from the large jar whilst another boy looks on, with four small birds flying over them and flowering sprays of peonies and bamboo by their side, all within a band of chrysanthemum and camellia flowerheads amongst scrolling tendrils, the decoration rendered in polychrome enamels and with details highlighted in gold; the rim with a brown iron-oxide glaze, the underside left undecorated and with three spur marks, 24.1cm.

£14,000-16,000 Provenance: formerly a private German collection.

See O Impey, Japanese Export Porcelain, Catalogue of the Collection of the Ashmolean Museum, Oxford, p.157, nos. 229 and 230, for two other examples of Japanese ‘Hob in the well’ dishes in the museum collections. Also, see the Rijksmuseum, access. no. BK-1968-233-A for another good example.

This scene was one of the most popular Japanese Kakiemon motifs copied by European factories in the 18th century. The famous Chinese Song Dynasty statesman Sima Guang (or Shiba Onko in Japanese) was renowned for his intelligence. As a child, he rescued a friend by throwing stones at the jar in which he was drowning and smashing it. The design was misunderstood by Europeans who thought the boy was a spirit living in the jar. According to Oliver Impey, the European name for this pattern came from a farce by Colley Cibber entitled ‘Flora or Hob-in-the-Well’ (1711). In the Netherlands, these dishes were referred to as ‘mirror plates’ or ‘the little man in the well’.

45

1058 SIX JAPANESE PORCELAIN ITEMS EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Comprising: a pair of foliate dishes, each decorated with a small butterfly fluttering by a cluster of grapes and vines; a pair of rectangular dishes with the Three Friends of Winter, the pine, prunus and bamboo issuing from rockwork, both with a mark to the base reading Da Ming Chenghua nian zhi; and a pair of circular bowls decorated in Kakiemon-style polychrome enamels with sprays of flowers and paulownia mon, 21cm max. (6)

£300-500 Cf. The Kyushu Ceramic Museum, Complete Catalogue of Shibata Collection, no.3681 for a related dish with vines and butterfly. The authors date it as c.1780-1810.

1059 EIGHT JAPANESE BLUE AND WHITE ITEMS EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Including three pairs of bowls and two dishes, variously decorated with figures, landscapes, mythical creatures and flowers, the pair of foliate bowls each with a four-character mark for Da Ming nian zhi, 19cm max. (8)

£300-500

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1060 TWO JAPANESE ARITA BLUE AND WHITE VESSELS EDO PERIOD, 17TH CENTURY

1061 A JAPANESE ARITA BLUE AND WHITE EWER EDO PERIOD, 17TH CENTURY

The first a tall bottle vase painted with sprays of camellia, chrysanthemum, millet, and prunus, a small bird flying to one side and with a full moon above; the other a ewer fitted with a European metal mount to the handle, the bulbous body decorated with a continuous design of figures in a mountainous landscape, with formal patterns of flowers and scrolling leaves to the neck, 30cm and 27.5cm. (2)

The bulbous body with a tall neck and elegantly curved handle, painted with three shaped panels depicting figures in mountainous river landscapes on a ground of karakusa scrolls, the neck and handle with formal flowers and further scrolling tendrils, 23.5cm.

£200-300

£500-800 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. 17 no.49, for a comparable ewer. Also the British Museum, acc. n. Franks.1693.+, for another example. This type of pattern displays similarities with Japanese wares decorated in the ‘Van Frytom’ style produced as export ware for the Netherlands.

1062 THREE JAPANESE ARITA BLUE AND WHITE DISHES EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY The larger rectangular dish painted with a tree by a waterfall under dark clouds, the other half with a dense design of karakusa scrolls, the base marked Fu gui chang chun; together with a pair of smaller bowls decorated with writhing dragons amongst waves and clouds, phoenix in flight and further karakusa scrolls, each inscribed Qi yu bao ding zhi zhen underneath, 11.6cm x 21.2cm max. (3)

£400-600 47

1063

1064

1063 A JAPANESE IMARI TUREEN AND COVER EDO PERIOD, C.1700 The circular body decorated in underglaze blue, gilt, red, green, and black enamels with shaped panels enclosing birds and flowering trees, in between large lappets enclosing flowerheads and karakusa scrolls, the lid decorated with similar scenes and the knop shaped as a fruiting branch of peaches, 19cm. (2)

£300-500 Provenance: from the collection of Joseph Gordon (d.1969), of Randolph Crescent, Edinburgh, and thence by descent.

1064 A SMALL COLLECTION OF JAPANESE IMARI PIECES MEIJI PERIOD AND LATER, 19TH AND 20TH CENTURY Comprising: three pairs of dishes, two with a mark reading Da Ming Jiajing nian zhi; a large bowl and a smaller footed one, marked Da Ming Chenghua nian zhi, all painted in polychrome enamels and variously decorated with mythical creatures, flowers, brocade patterns and other auspicious designs, 24.8cm max. (8)

£200-300

1065

1066

1065 FIVE JAPANESE IMARI DISHES MEIJI PERIOD AND LATER, 19TH AND 20TH CENTURY All decorated in underglaze blue, gilt, and polychrome enamels, variously painted with birds, flowers, brocade patterns, and other auspicious designs, two a pair, 31cm max. (5)

£150-250 1066 A MASSIVE SAMSON IMARI DISH 19TH CENTURY The well decorated with a large shaped panel enclosing a ho-o bird perched amongst flowering branches of prunus, chrysanthemum and paulownia, the cavetto and rim with complex designs of further panels with birds, flowers and scrolling tendrils in gilt, the base with a stylised haru mark, 52.2cm.

£200-300 48

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1067

1068

1067 FOUR BLUE AND WHITE PORCELAIN ITEMS 19TH AND 20TH CENTURY Including two large Japanese dishes, one with cranes under bamboo and the other of foliate shape with boys and bats; together with two small dishes, each delicately painted with a bird perched on a flowering branch of peony, 34.8cm max. (4)

£200-300 1068 A JAPANESE ARITA BLUE AND WHITE BOWL MEIJI PERIOD OR EARLIER, 19TH CENTURY OR EARLIER The flaring body raised on a short foot, the exterior painted with a continuous design of five cranes in flight above branches of pine, the well left undecorated, the base with a stylised seal mark possibly for the character kin (gold), 22.5cm.

£300-500

1069

1070

1069 TWO JAPANESE BLUE AND WHITE BOTTLES MEIJI PERIOD, 19TH CENTURY The first an Arita tokkuri sake bottle of square section, each side decorated with flowering chrysanthemum and other plants; the other a Kyoto mizusashi water container shaped as a well bucket, delicately painted with chidori birds and sprays of flowers, a small circular lid to the top, 20cm and 22cm. (3)

£300-500 See the British Museum, access. no.1977,0228.3 for a related water jar painted with flower sprays.

1070 FOUR BLUE AND WHITE ITEMS WITH DRAGONS 19TH AND 20TH CENTURY Including two large Japanese plates and a pair of bowls, all decorated with ferocious-looking dragons writhing amongst scrolling clouds, the two bowls possibly South-East Asian, 30.5cm max. (4)

£300-500 49

1071 FOUR JAPANESE SATSUMA TEACUPS AND SAUCERS MEIJI PERIOD, 19TH CENTURY All decorated in gilt and polychrome with designs of flowers and butterflies, one set with wisteria signed Nikko, another with a maple tree signed Shuzan, the third with flowerheads and butterflies with a signature for Oguri Seizo, and the fourth inscribed Satsuma, 13.7cm max. (8) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200

1072 FOUR JAPANESE MINIATURE SATSUMA ITEMS MEIJI PERIOD, 19TH CENTURY The first a cylindrical vase with a continuous design of a procession in between bands of flowers and butterflies, signed; the second a baluster-shaped vase with panels enclosing figures in an interior and a landscape on a ground of flowers, the signature partially erased; a scalloped bowl with a kaleidoscope of butterflies to the well and flowerheads to the outside, signed Kinkozan in gilt and with an impressed mark for Kinkozan zo; the last a spherical box and cover with many butterflies, chrysanthemum and other blooms, signed Kinzan, 8cm max. (4)

£300-500

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1073 A JAPANESE SATSUMA TEA SERVICE MEIJI PERIOD, 19TH OR 20TH CENTURY

1074 THREE JAPANESE SATSUMA ITEMS MEIJI PERIOD, 19TH AND 20TH CENTURY

Comprising: a teapot, a sugar bowl, a milk jug, two saucers and two teacups, all decorated with bamboo and morning glory and with gilt rims, each piece signed Shinzan/Kamiyama in a rectangular cartouche, 13.5cm max. (10)

The first a small globular koro raised on three short feet, the incense burner painted with fourteen Immortals; the second a lobed bowl painted with pheasants in a luxuriant garden, the outside with chrysanthemums; the last a large dish decorated with shaped panels enclosing figures at leisure and Immortals, all reserved on dense brocade designs and with a dragon writhing behind them; the three pieces each with a signature, one for Yasuda zo, Fuzan, and possibly Donryusai, 29.8cm max. (4)

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200

1075 FOUR JAPANESE SATSUMA ITEMS MEIJI PERIOD, 19TH AND 20TH CENTURY Comprising of a pair of trumpet-shaped vases decorated with beauties and children in a garden between bands of geometrical designs, the rims with gilt ho-o birds in medallions, both signed Hozan; the larger bowl painted to the well with many figures in an interior watching a dancer, all framed by complex floral borders, the outside with further flowers, the gilt signature erased; the smaller bowl painted with a thatched building by a lake, signed Furuyama/ Kozan, 15cm max. (4)

£200-300

1075 51

1076 A JAPANESE SATSUMA DOUBLE-HANDLED VASE BY KINKOZAN MEIJI PERIOD, 19TH OR 20TH CENTURY The urn-shaped body raised on a flared foot and with elegant handles applied to the shoulder, decorated with a continuous band of beauties, children, and a man in a mountainous river landscape, on a dense ground of spirals and flowerheads painted in gilt on the midnight-blue ground, the base impressed with a mark reading Kinkozan zo, 18cm.

signature

£400-600

1077 A JAPANESE SATSUMA VASE MEIJI PERIOD, 19TH OR 20TH CENTURY The tall cylindrical body decorated in polychrome with a brocade pattern enclosing floral and ho-o shaped mon, the base with a six-character mark for Dai Nihon Taizan sei, 22.5cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250

1078 A JAPANESE SATSUMA BOWL BY KINKOZAN MEIJI PERIOD, 19TH CENTURY The well decorated with a large flower-shaped panel enclosing a scene of two beauties and a little girl in a mountainous river landscape, a lone fisherman on a sampan and two thatched huts behind, the exterior decorated with gilt flowers and scrolling tendrils on a dark navy-blue ground, the base with a gilt seal mark reading Kinkozan tsukuru, 13.1cm.

£400-600

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signature

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1079 A JAPANESE SATSUMA VASE BY KINKOZAN MEIJI PERIOD, 19TH CENTURY The trumpet-shaped body richly decorated with a multitude of fans on a dense ground of small gilt triangles, each fan painted with a different design including flowers, landscapes, butterflies, figures, and brocade patterns, a band of flowerheads underneath the rim, the base with a black cartouche and an impressed mark reading Kinkozan zo, 20cm.

£1,500-2,000 Provenance: an English private collection, Surrey.

signature

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1080 A JAPANESE HIRADO TEA KETTLE AND COVER MEIJI PERIOD, 19TH CENTURY Modelled as a minogame, the mythical creature standing four-square on short feet, the shell with a honeycomb pattern highlighted in underglaze blue, the seaweed trailing behind its back forming the handle, the lid topped with a small seashell, the seal mark to the base with three lines of characters, 22cm. (2)

£200-300

1081 A SMALL JAPANESE VASE BY SAKAIDA KAKIEMON XIII (1906-1982) TAISHO OR SHOWA, 20TH CENTURY The ovoid body painted with a ho-o bird in flight, with flowering sprays of chrysanthemum issuing from rockwork beside it, the base signed Kakiemon with kao, together with a fitted tomobako wood box, the cover signed and sealed by the artist, 10cm. (3)

£150-250

Provenance: from the collection of Joseph Gordon (d.1969), of Randolph Crescent, Edinburgh, and thence by descent.

See Los Angeles County Museum of Art, access. no.1997.273.36.1-.2, for another minogame-shaped ewer with flowerheads painted on its shell.

1082 A JAPANESE VASE AND COVER BY MAKUZU KOZAN (1842-1916) MEIJI OR TAISHO PERIOD, 20TH CENTURY The tall baluster body painted in underglaze blue and polychrome enamels with a continuous design of a kaleidoscope of butterflies fluttering above flowering peonies, the lid similarly decorated and with a flattened bulbous knop, signed underneath the lid and to the base Makuzu Kozan sei, 34cm overall. (2)

£200-300

1083 TWO LARGE JAPANESE BALUSTER VASES MEIJI OR TAISHO PERIOD, 20TH CENTURY The first decorated with an armour-clad samurai riding a rearing horse, the warrior carrying a large sack over his shoulder and looking at a fortress from which flaming arrows are being fired; the other vase painted with a dismounted samurai gazing at the moon whilst his attendant tends to his mount, both with a signature painted to the side and an impressed circular mark, possibly for Kayuki Minoru, Tsukisho, 41.8cm and 42.5cm. (2)

£300-500

1084 A JAPANESE SHINO WARE BOWL SHOWA OR LATER, 20TH CENTURY The well painted with branches of prunus with large white blooms, the creamy ground scattered with bubbles, the design continuing on the underside; with a two character signature to the base, 20.5cm.

1085 TWO JAPANESE CHAWAN FOR THE TEA CEREMONY SHOWA ERA OR LATER, 20TH CENTURY

£80-120

The first teabowl Bizen ware with a u-shaped body and left unglazed, raised on a circular foot and with subtle vertical firing marks; the other with tall straight sides and raised on a short foot, the sides decorated with dripping blue glaze, tortoiseshell patterns, and calligraphy, both with an incised mark, each with a wood tomobako box, 11.8cm and 11.9cm respectively. (6)

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

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250

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1080

1081

1082

1083

1084

1085 55

KOREAN ART LOTS 1086-1090

1086 A KOREAN FACETED BOTTLE VASE JOSEON DYNASTY OR LATER, 19TH OR 20TH CENTURY The globular body with a tall neck and painted with stylised leaves in underglaze brown, the creamy-white ground peppered with black specks, together with a modern wood box, 22.3cm. (2)

£200-300

1087 A KOREAN SILVER-INLAID IRON TOBACCO BOX AND COVER JOSEON DYNASTY, 19TH CENTURY The rectangular body decorated to each side with auspicious Chinese ideographs including the character fu (luck), the hinged cover with the circular symbol for shou (longevity), all reserved on a complex background of key fret, spirals and other geometric patterns, the inside of the box lined in wood, 9.2cm x 10.6cm x 14.5cm.

£400-600 See Asian Art II, 15th November 2016, lot 515 for a comparable box from the collection of John Newall Esq. sold in these rooms.

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1088 A KOREAN WHITE GLAZE MOON JAR MODERN, 20TH CENTURY The elegant bulbous body raised on a short foot and with an everted neck rim, the surface covered with a lustrous white glaze with a subtle light blue tinge, the base inscribed with four-character in underglaze blue reading Han Qing gu zuo (old Korean celadon ware), 34cm.

£200-400 1089 A TALL KOREAN WHITE GLAZE MOON JAR MODERN, 20TH CENTURY The elegant vessel made of two halves joined in the middle, raised on a short foot and with a flared neck rim, the surface covered with a lustrous white glaze with subtle light blue drips, the design with a spiralling manufacturing line rising from the foot, 34cm.

£400-600 1090 A KOREAN WHITE GLAZE FACETED JAR JOSEON DYNASTY, 19TH CENTURY The squat bulbous body raised on a short foot and with a straight neck rim, the surface with a little peppering and some areas with a light crazing, 18cm.

£500-1,000

1089

1088

1090

57

LACQUER, WOOD & TEXTILES LOTS 1091-1105

58

Lot 1091 detail

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1091 A FINE JAPANESE GOLD LACQUER KOBAKO (BOX AND COVER) MEIJI PERIOD, 19TH CENTURY The lid shaped as a paper fan decorated with a traditional house on stilts in a luxuriant garden with prunus to the side, a small bird depicted in relief on the veranda resting on a branch of pine, the fan’s sticks made of inlaid silver; the sides decorated with another view of the gardens, a stream flowing between rocks and with further flowering trees along it, with pines issuing from behind wooden fences, the decoration rendered in inlaid gilt, gold and silver hiramaki-e, takamaki-e, okibirame and togidashi mokume on gyobu nashiji and nashiji grounds, together with a fitted tomobako box and cover, and a Spink catalogue entitled Japanese Lacquer, 21.4cm x 12.3cm x 6.7cm. (5)

£1,000-2,000 Provenance: a private English collection, purchased from Spink in July 1997. A copy of a letter from Christopher Knapton, Director of Spink Oriental Department, informing the owner that the piece is ready to be collected, is available.

Cf. Spink, Japanese Lacquer, Miyabi transformed, p.27, no.17 where this very piece is illustrated and discussed.

The decoration is a reference to The Tale of Genji and it shows the Prince’s Rokujo mansion as described in the 23rd Chapter of the Genji Monogatari entitled Hatsune (The First Warbler).

Spink Japanese lacquer catalogue

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1092 A JAPANESE INLAID LACQUER BOX AND COVER IN THE STYLE OF RITSUO MEIJI PERIOD, 19TH CENTURY The rectangular body and lid decorated in relief with a variety of fish and seashells in polychrome ceramic, the animals swimming amongst seaweed rendered in gold lacquer, all on a dense ground of mother of pearl inlays, 7cm x 9.6cm x 12.2cm. (2)

£500-800

1093 A JAPANESE LACQUER BOX, COVER, AND INNER TRAY MEIJI PERIOD, 19TH CENTURY The rectangular body and cover decorated in red, gold and silver nashiji and takamaki-e lacquer with a mountainous river landscape, with many sail boats in the distance and a thatched hut underneath pines in the foreground, a lone fisherman in a sampan visible in the lower right corner, a small stream meandering on the sides; the underside of the lid decorated with a vase containing flowering branches of prunus, narcissi in a jardinière and small birds flying above; the inner tray with sprays of chrysanthemum, prunus and peony floating amongst scrolling waves, the rim with the three hollyhock leaves gosanke mon; the base of the box signed Kajikawa Masaharu in gold lacquer, 6cm x 13.7cm x 10cm. (3)

£400-600 See the San Diego Museum of Art, Access. no.1976.236.a-c, for a related box, cover and inner tray by Kajikawa Masaharu also depicting a mountainous river landscape.

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1094 A JAPANESE WOOD CARVING OF JIZO BOSATSU KAMAKURA PERIOD OR LATER, 14TH CENTURY OR LATER The bodhisattva carved as an itinerant monk, standing on a lotus flower raised on a rocky outcrop and holding a hoju (sacred jewel) in his left hand, an elaborate necklace resting on his bare chest, with remnants of paint and gilt to the surface, together with a fitted tomobako wood box, 45cm. (3)

£500-1,000 Provenance: formerly from the Milne Henderson collection of Japanese art.

See Birmingham Museum of Art, access. no.2005.16a-b, for another wood carving of Jizo Bosatsu offered to the museum through Sondra Milne Henderson.

Jizo Bosatsu is the protector of children, women in childbirth and travellers.

63

1095 A RARE JAPANESE WOOD DOLL’S HOUSE MEIJI PERIOD OR LATER, 19TH OR 20TH CENTURY Constituted of three connected structures: the main two-storey building to the left with movable shoji paper walls, the removable roof revealing the upstairs rooms furnished with low cabinets; a small teahouse with railings facing a pond to the centre, and a shrine to the right with a torii-shaped entrance, together with two small Chinese wood carvings of seated ladies, 40cm x 72cm x 31cm. (4)

£400-600 Provenance: from the collection of Cavendish Morton (1874-1939). Morton was a British actor, photographer, and art director. Many of his photographs are today on display at the National Portrait Gallery, London.

1096 A JAPANESE LACQUERED WOOD RECTANGULAR STAND MEIJI PERIOD, 19TH CENTURY

1097 A JAPANESE LACQUER TABAKO-BON (SMOKING SET) MEIJI PERIOD, 19TH CENTURY

Raised on four scrolling legs, decorated in gold and black lacquer on the chocolate-brown ground, with a border of shippo-tsunagi cash to the top and a river landscape with sail boats to the apron, with chidori (plovers) flying above, 21cm x 33cm x 45cm.

Of typical rectangular form with three drawers to the front, the top inset with two metal containers for the coal and ashes, the body decorated in gold lacquer on the brown nashiji ground, with a flowering prunus tree and further blooms scattered across the surface, 21cm x 21cm x 13.5cm. (8)

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200

£150-250 Provenance: purchased c.1960 from the collection of British artist Ernest Cole (1890-1979), by repute.

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1098 A SMALL COLLECTION OF JAPANESE MUSICAL INSTRUMENTS MEIJI PERIOD, 19TH CENTURY Comprising of a koto (zither), a biwa (lute) and a kotsuzumi (drum); the koto embellished with details in yosegi-zaiku marquetry, with areas in tortoiseshell painted with tennin and a dragon; the biwa with remnants of painted decoration and a moon inlaid in silver, with a black lacquer wooden case and a silk purse containing two wood plectrums; the drum in leather and wood, decorated with leafy tendrils in gold lacquer on the black ground, approx. 189cm max. (7) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£400-600 Provenance: from the collection of Cavendish Morton (1874-1939). Morton was a British actor, photographer, and art director. Many of his photographs are today on display at the National Portrait Gallery, London.

Cavendish Morton (1874-1939)

1099 TWO JAPANESE IKEBANA HANAKAGO (BAMBOO BASKETS) MEIJI OR TAISHO PERIOD, 20TH CENTURY

1100 TWO JAPANESE BAMBOO SUMITORI (CHARCOAL BASKETS) MEIJI OR TAISHO PERIOD, 20TH CENTURY

Each with a tall body surmounted by a loop handle, the bamboo strips tightly plaited to create complex weave patterns, one raised on four short feet and the other on a circular base, the underside featuring a six-armed star-like pattern, 46cm and 43cm. (2)

The first a na-kago style basket with a square bottom and a wide circular mouth, raised on four short feet; the other of rounded form with two ring handles, the body featuring a double wall of woven bamboo strips, both signed, one possibly Toeisai, 27cm and 33cm. (2)

£200-300

£200-300

Provenance: an English private collection, Somerset.

Provenance: an English private collection, Somerset.

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1101 A PAIR OF JAPANESE IKI NINGYO (LIVING DOLLS) OF SUMO WRESTLERS MEIJI PERIOD, LATE 19TH CENTURY The two men realistically depicted in gesso and pigments over carved wood, with glass eyes and human hair applied to their torso, one darker-skinned and attempting to lift the other by his mawashi (loincloth), the paler wrestler trying to counter the move by using his right leg in a technique known as the Kawasu gake throw, both raised on a base shaped as tied-up straw bales, inscribed in Danish underneath ‘Gave fra Herr Henny. Haag i Aug.1907’ (Gift from Mr Henny, The Hague, August 1907), 39.5cm overall. (2)

£3,000-4,000 Iki-ningyo (living dolls) are a type of Japanese traditional dolls popular in the Edo and Meiji periods which were often included in misemono (special exhibitions used to raise funds for shrines). Many were life-size and depicted gruesome subjects with a realism that equally shocked and attracted viewers. The larger models were at first intended for the domestic market, but smaller examples later became popular with Western collectors, museums and Institutions. Yokohama workshops started producing them for export, and the Smithsonian and the Peabody Essex Museum commissioned examples for their own collections.

The Kawazu gake (Kawazu entanglement) is named after Kawazu no Saburo Sukeyasu who defeated Matano Goro Kagehisa at a sumo tournament before Minamoto no Yoritomo on Mount Akazawa in 1177.

The fight is highly significant in the history of sumo, and it is often depicted in Japanese art, in particular in woodblock prints series dedicated to the story of the Soga Monogatari (The Revenge of the Soga Brothers). The darker-skinned wrestler depicted here is Kawatsu Saburo and the other is Matano Goro.

See Museums Sheffield, access. no. K91.11 for another iki-ningyo model of sumo wrestlers donated to the City of Sheffield in 1891.

Cf. A Scott Pate, Ningyo: The Art of the Japanese Doll, pp.64-65 for another example of iki-ningyo wrestlers at Detroit Institute of the Arts.

Museums Sheffield’s example of iki-ningyo dolls modelled as wrestlers

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67

1102 A LARGE JAPANESE EMBROIDERED WALL HANGING MEIJI PERIOD, 19TH CENTURY The rectangular panel worked in silk and metallic threads in a variety of embroidery techniques, depicting a large eagle perched on a rock amongst crashing waves, a ferocious-looking dragon holding a sacred pearl emerging from the waters underneath; with three cranes flying amongst scrolling clouds high above, 215cm x 149cm.

£300-500

1103 A JAPANESE SILK EMBROIDERY MEIJI PERIOD, 19TH OR 20TH CENTURY The panel of rectangular shape and depicting woodlands, with tall trees by a pond and the orange glow of the sun in the distance, the scene rendered in warm tones suggesting the first light of dawn, framed and glazed, 21.3cm x 29cm.

£100-200 1104 A JAPANESE YUZEN BIRODO CUT VELVET PAINTING MEIJI PERIOD OR LATER, 20TH CENTURY Depicting a lone figure in a sail boat navigating calm waters, with a building and many trees visible in the distance and Mount Fuji in the background, framed and glazed, 30cm x 26.3cm.

£100-200 1102

1103

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1104

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1105 A JAPANESE SILK EMBROIDERY BY NISHIMURA SOZAEMON (1855-1935) MEIJI PERIOD, C.1910 Depicting two young women illuminated by a paper lantern, one holding a brush and about to write on a sheet of paper, the dimmed light cleverly rendered by minimal stitch work, on a dark chocolate-brown ground, in its original wood and silk frame with chrysanthemum-shaped rings to the sides, the back with an elaborate paper label reading ‘S.Nishimura, Kyoto, Japan, Manufacturer of High Class Embroideries, Fancy Cut-velvets and Silk Goods in General’, 31.8cm x 43.3cm overall.

£1,800-2,200 Cf. the Ashmolean Museum, Oxford, Threads of Silk and Gold, Ornamental Textiles from Meiji Japan, pp.154-155 for two related embroideries by Nishimura Sozaemon depicting beauties lit by a weak light.

Label at the back

Another S.Nishimura embroidery at Kiyomizu Sannenzaka Museum, access. no. Ll1956.17

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1106 LITERATURE A SMALL LIBRARY OF REFERENCE BOOKS Mostly relating to Japanese art. (a lot)

£2,000-4,000 Provenance: from the Milne Henderson collection of Japanese art.

1107 LITERATURE THE BAUR COLLECTION Two volumes, one dedicated to netsuke and the other to Japanese lacquer. (2)

1108 LITERATURE A COLLECTION OF AUCTION CATALOGUES AND REFERENCE BOOKS

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

Mostly relating to Japanese and Korean Art, the auction catalogues from Sotheby’s and Christie’s. (16)

£80-120

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

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£100-200

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WORKS ON PAPER, PAINTINGS AND PRINTS LOTS 1109-1162

Lot 1135 detail

71

1109 part lot illustrated

1109 A JAPANESE SIX-FOLD PAPER SCREEN, BYOBU EDO PERIOD, 18TH OR 19TH CENTURY In ink, gold and colour on paper, with six panels depicting many figures in gardens and pavilions, some dressed in Chinese style, the first panel to the right painted with the God of Thunder Raijin amongst clouds, another panel with a large tiger crouching before a boy, 167cm x 324cm. (3)

£200-300

1110 A JAPANESE SIX-FOLD PAPER SCREEN, BYOBU MEIJI PERIOD, 19TH CENTURY Painted in ink, gold and colour on paper, with six panels depicting many figures in mountainous river landscapes, with courtiers in Heian-style garments receiving visitors, some scenes possibly inspired by the Tale of Genji, 173cm x 366cm.

£200-300

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1111 A PAIR OF JAPANESE SIX-FOLD PAPER SCREENS, BYOBU MEIJI PERIOD OR LATER, 19TH OR 20TH CENTURY With six panels on a gold paper ground, each panel painted in ink and colour with figures amongst mountainous river landscapes, the frames in negoro lacquer, each screen 170cm x 372cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300

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1112 A RARE JAPANESE PAINTING OF THE SANJUBANJIN MUROMACHI OR MOMOYAMA PERIOD, 16TH CENTURY Painted in ink, colour and gilt on paper with portraits of the thirty Shinto kami representing the thirty days of the month, the gods depicted sitting on dais and wearing rich garments, each portrait with an inscription identifying the day and deity represented; the upper part of the painting with drawn curtains, an illegible inscription following the drapery to the right; the sun and moon amongst scrolling clouds below, and an inscribed panel reading Namu Myoho Renge kyo (Glory to the Dharma of the Lotus Sutra); the lower section with a pair of shishi and two divine archers, the lion dogs and guards on either sides of a flight of stairs, the lower left corner with a four-character signature reading Hoin (Seal of the Law - the highest rank awarded to Buddhist artists) and possibly Nichihisa with kao, the painting with a silk mount on board and framed, the painting 98.5cm x 47cm.

£3,000-5,000 Provenance: from the collection of an aristocratic Spanish family, purchased from Shreve, Crump & Low of Boston in the late 1970s or early 1980s.

See Chishaku-in Temple, Kyoto, for a comparable scroll painting of the Sanjubanshin dated 1580. Also, see Daihoji Temple, Takaoka City, from another similar depiction of the thirty gods by Hasegawa Tohaku (1539-1610) dated 1566.

The thirty kami are said to protect the peace and happiness of the nation during the thirty days of the lunar month. Legends says that the abbot Ennin (794-864) invited the gods to Mount Hiei to protect a copy of the Lotus Sutra that he had enshrined in the mountain. The earliest records of the Sanjubanjin however date from the late 11th century and they became particularly popular in the Muromachi period (1333-1573). Paintings like this one were used during Buddhist rituals of the Tendai Lotus School and the Nichiren sect.

Signature

The thirty Kami tutelaries of the 30 days of the lunar month 74

Detail of the inscription top right

The painting in a family picture (late 1970s - early 1980s)

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1113 A LARGE AND IMPRESSIVE JAPANESE PAINTING OF THE SHAKA TRIAD MUROMACHI OR LATER, 14TH CENTURY OR LATER Painted in ink, colour and gilt on silk with the central figure of Buddha Shakyamuni raised on a lotus throne, with a jewelled canopy above him and a double halo behind, his hands in the vitarha mudra; Fugen Bosatsu seated beside him on his white elephant and holding the long stem of a lotus flower, Monju Bosatsu on the other side riding his shishi whilst holding a nyoi sceptre, the Historical Buddha and the two bodhisattvas depicted in gilt; the Shaka Triad surrounded by twenty other guardian deities, protectors of the Sutra and all those who recite it, including Xuanzang (602-664), the translator of the Great Perfection of Wisdom Sutra painted in the lower right corner, the Chinese Buddhist monk holding a scroll and brush, his protector the Great General of the Desert Jinja Daisho standing before him; the central panel surrounded by a painted border of gilt dragons amongst scrolling clouds, and large peony flowerheads amongst scrolling tendrils imitating a silk mount, framed and glazed, the central panel 129.5cm x 57.5cm, 211.5cm x 85.5cm overall.

£7,000-10,000 Provenance: from the collection of Baron Eberhard Bodenhausen-Degener (1868-1918); Baroness Juli (Luli Deste) Bodenhausen-Degener (1902-51) of Schloss Neubeuern, Bavaria; Gottfried Eberhard von Meyern-Hohenberg, and by descent to the current owner, a Lady of title.

Baroness Juli Bodenhausen-Degener (1902-51) was a German-American actress also known under the name ‘Luli Deste’. She grew up at Schloss Neubeuern in Bavaria.

The castle was owned by her uncle, Jan von Wendelstadt (1856-1909), who was an avid art collector. He often invited her father, Baron Eberhard Bodenhausen-Degener (1868-1918), to stay with him at the castle. Under Jan, the Schloss also became a cultural centre with many German artists and intellectuals visiting him.

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

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

Baroness Juli Bodenhausen-Degener (Luli Deste)

The Shaka Triad and other Guardian deities 76

Schloss Neubeuern, Bavaria

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1114

1115

1114 ANONYMOUS, KANO SCHOOL EDO PERIOD, 18TH OR 19TH CENTURY A Japanese painting in ink on paper depicting a farmer in a bamboo grove, the man using an adze to dig out bamboo shoots while snow falls around him, together with an ink painting of a monk holding a broom, possibly Jittoku, both framed and glazed, 50cm x 35cm max. (2)

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

The larger painting may be a depiction of Moso, one of the Twenty-Four Paragons of Filial Piety often represented digging for bamboo shoots to feed his sick mother.

1115 TWO JAPANESE SCROLL PAINTINGS MEIJI PERIOD, 19TH OR 20TH CENTURY Both kakemono painted in ink on paper, one with calligraphy, the main characters forming a shape reminiscent of the God of Good Fortune Jurojin’s elongated forehead; the other with an enso circle, both inscribed and with red seal marks, 132cm x 61cm max. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 1116 ANONYMOUS MOMOYAMA PERIOD (1573-1615), 16TH OR 17TH CENTURY A Japanese fan painting in ink and gold wash on paper, depicting two pheasants perched on a gnarly branch of pine, unsigned, mounted on board; together with two other fans, one painted with a flowering branch of prunus and the other with a cat wearing a kimono, both signed, 20cm x 55cm max.

(3)

£400-600 Provenance: from the Milne Henderson collection of Japanese art.

1116

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1117

1117 ANONYMOUS, TOSA SCHOOL EDO PERIOD, 17TH CENTURY OR LATER Two Japanese album leaves depicting scenes from the Genji Monogataori (The Tale of Genji), in ink, colour and gold on paper, one depicting chapter 39, scene 7 (‘Evening Mist’), the other with a group of monks, possibly for the funeral of Genji’s wife Aoi, both framed and glazed, both approx.

29.5cm x 24.3cm; together with a portrait of a woman wearing Heian garments, possibly the poetess Murasaki Shikibu (c.973-1031), mounted on board and framed, 27.5cm x 23cm. (3)

£400-600 Provenance: from the Milne Henderson collection of Japanese art.

1118 ATTRIBUTED TO SUMIYOSHI GUKEI (1631-1705) EDO PERIOD, 17TH OR 18TH CENTURY Three album leaves decorated in ink, colour and gold on paper, each depicting a chapter of the Soga Monogatari (The Tale of the Soga Brothers): one with chapter 7, book 5 (entitled ‘Where the Brothers ask for Yoichi’s assistance’); another with chapter 4, book 3 (‘A Mother’s Lament’) and the last chapter 16, book 2 (‘The Death of Kanetaka’), all framed and glazed, all approx. 23.2cm x 16.5cm; together with two double leaves mounted on board, one depicting chapter 2, book 1 (‘The Horse Race at Ukon no Baba’) and the other chapter 2, book 6 (‘Benzaiten’), both approx.

23.2cm x 33.2cm. (5)

£400-600 Provenance: from the Milne Henderson collection of Japanese art.

1118

See the Birmingham Museum of Art, Alabama, access. nos. AFI.8.2012, AFI.9.2012, AFI.10.2012 and AFI.11.2012 for four other album leaves by Sumiyoshi Gukei depicting chapters from the Soga Monogatari. These were purchased in 1993 from Sondra Milne Henderson, London, and they may belong to the same album of paintings.

79

1119 A COLLECTION OF SEVEN JAPANESE PREPARATORY DRAWINGS FOR WOODBLOCK PRINTS MEIJI PERIOD, 19TH AND 20TH CENTURY The gako sketches variously depicting figures engaged in daily life, two framed and glazed and the others mounted on board; together with four ink paintings on paper and a small collection of album covers, 29cm x 20cm max. (11)

£200-400 Provenance: from the Milne Henderson collection of Japanese art.

1120 A COLLECTION OF JAPANESE WOODBLOCK PRINTS EDO AND MEIJI PERIOD, 19TH AND 20TH CENTURY Including depictions of actors, historical figures, beauties and birds, two prints by Nishikawa Sukenobu (1641-1750) depicting women at their toilet, four portraits from the series ‘One Hundred Poets’ by Katukawa Shunsho (1762-92), three pictures framed and glazed, 33cm x 23cm max. (12)

£400-600 Provenance: from the Milne Henderson collection of Japanese art.

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1121 part lot illustrated

1121 AN UNUSUAL JAPANESE CONCERTINA ALBUM OF PRINTS EDO AND MEIJI PERIOD, 19TH CENTURY One side of the book made of Japanese prints of European-style technical drawings, the sketches depicting guns, canons, and horse fittings; the other side used as a scrap book with 108 small engravings pasted on the paper sheets, some of banzuke type listing various professions in a specific town or region, the others of keidaizu type, the copper plates depicting bird’s-eye views, maps and other depictions of various locations including Arashiyama and Kiyomizudera, each picture with calligraphy identifying the view or the event depicted; the album with wooden covers, one side inscribed in ink with characters from a poem by Chinese Ming dynasty scholar Shixing Shen (1535-1614), referring to the shadow produced by low clouds, the sound of rain and the deep roots of ancient trees, the album 25.2cm x 17.9cm.

£500-1,000

1123

1122 A JAPANESE SCROLL PAINTING MEIJI PERIOD, 19TH CENTURY Ink and colour on paper, depicting a troop of monkeys, one an adult carrying its young on its back, some primates resting on a rocky outcrop and others climbing on a branch of pine, a waterfall in the background, signed Sozan on the lower right corner and with two red seal marks, 113cm x 55cm.

£300-400 1123 SEIHO TAKEUCHI (1864-1942) MEIJI PERIOD OR LATER, 20TH CENTURY A Japanese woodblock kacho-e print entitled ‘Dancing Monkey’ from the series ‘Twelve Signs of the Zodiac’, the animal depicted in nihonga style holding a bamboo stick, signed and sealed, framed and glazed, 36cm x 49.2cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 1122 81

AN ENGLISH PRIVATE COLLECTION OF JAPANESE WOODBLOCK PRINTS LOTS 1124-1134

1124

1124 UTAGAWA KUNIYOSHI (1797-1861) EDO PERIOD, C.1847-52 A Japanese giga (humorous) woodblock print triptych entitled Shiritori nenashi gusa (Stories Told from End to End), published by Jakurindo, with censors’ seals Fuku and Muramatsu, signed Ichiyusai Kuniyoshi giga and with the artist’s kiri paulownia seal, oban tate-e, approx.

35.7cm x 74.2cm.

£300-500 See the Museum of Fine Arts, Boston, access. no.11.36496a-c for another example of this triptych.

1125 UTAGAWA HIROSHIGE (1797-1858) EDO PERIOD, C.1830-40

1125

Four rare and unrecorded Japanese giga (humorous) woodblock prints depicting figures and bats, the many silhouettes of the animals hidden in the figures’ hair and clothing, two prints per sheet, published by Ibasen, signed Hiroshige giga with artist’s seal Hiro, each sheet approx. 35.3cm x 25.1cm. (2)

£200-300

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1126 UTAGAWA KUNIYOSHI (1797-1861) EDO PERIOD, C.1852 A Japanese woodblock print triptych entitled Seichu Gishi no kikigaki no uchi: uchi-iri hommo no zu (The Forty-Seven Ronin scaling the wall of Moronao’s Palace with bamboo ladders by moonlight), embellished with splashed gofun for the snow, published by Mitaya Kihachi in April/May 1852, with censors’ seals for Kinugasa and Watanabe, the left-hand side sheet signed Ichiyusai Kuniyoshi ga and the two other sheets Chooro Kuniyoshi, oban tate-e, each approximately 36cm x 25cm. (3)

£600-800

1126

See the British Museum, access. no. 2008,3037.18806 for another example of this rare print.

1127 UTAGAWA KUNIYOSHI (1797-1861) EDO PERIOD, C.1849-50 A Japanese woodblock print triptych entitled Banshu Sodegawa-jiri Fugito hama Sasaki Moritsuna kiba ni te umi o wataru (At Fujito Harbour in Nishikawajiri Sasaki Moritsuna Crosses the Inland Sea on Horseback), published by Yamaguchiya Tobei, with censors’ seals Kinugasa and Watanabe, signed by the artist Ichiyusai Kuniyoshi ga and with kiri (paulownia) seal, oban tate-e, approx. 74.5cm x 35.8cm.

£500-800 See the British Museum, access. no.2008,3037.18512 for another example of this triptych.

1127

1128 UTAGAWA SADAHIDE (1807-C.1878) EDO PERIOD, C.1848-50 A Japanese woodblock print triptych entitled Zen Taiheiki Tsukushi kassen no zu (Fire under the Stars - Battle at Tsukushi from the Taiheiki Chronicles), published

by Yamaguchiya Tobei, signed Gyokuran Sadahide ga, oban tate-e, 36.2cm x 72.8cm.

£400-600

1128

83

1129 THREE JAPANESE WOODBLOCK PRINT TRIPTYCHS EDO PERIOD, C.1850 The first by Utagawa Kunisada (1786-1865) and entitled The Revenge of the Soga Brothers; the second by Utagawa Kuniyoshi (1797-1861) and depicting the Night Attack at the Obaka Inn; the third by Utagawa Yoshitora (1836-80) with armour-clad horse riders preparing to go into battle, the silhouettes of their armies visible in the distance, all oban tate-e, all approx. 36cm x 74.5cm. (3)

£400-600 See the Museum of Fine Arts, Boston, access. no. 11.38083a-b for another example of the Obaka Inn triptych.

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1130 UTAGAWA KUNIYOSHI (1797-1861) EDO PERIOD, C.1850 Three Japanese woodblock print triptychs, one entitled Gishi hyojo no zu (Forty-Seven Ronin in Council in their Lord’s Palace), published 1851-52; another Igagoe katakiuchi no zu (Vengeance at Iga Pass), published 1849-52; the third depicting Oguri Hangan Kaneiji, published in 1851, each triptych approximately 36cm x 74.5cm. (3)

£400-600 See the British Museum, access. no.2008,3037.18802 for another example of the Forty-Seven Ronin print. Also, see the Museum of Fine Arts, Boston, access. no.11.27032-4 for another Vengeance at Iga Pass triptych.

85

1131

1131 UTAGAWA YOSHITORA (ACT.1850-80) EDO PERIOD, C.1850 A rare Japanese woodblock print hexaptych entitled The Inundation Tactics of the Akamatsu Castle, published by Izumiya Ichibei, signed Ichimosai Yoshitora ga, six oban panels, 146cm x 36cm.

£600-800 This panorama depicts the attack of the Akamatsu clan in the early 14th century by general Kusunoki Masashige. He is represented here at the bottom of the fourth panel from the left pointing at the flooded castle.

1132 UTAGAWA KUNIYOSHI (1797-1861) EDO PERIOD, C.1847-50 A Japanese woodblock print triptych entitled Heike no kyoshaku akugaku (Minamoto Yoshitsune fights Benkei on Gojo Bridge with the help of tengu demons), published by Enshuya Hikobei, with censors’ seals Mera and Murata, signed Ichiyusai Kuniyoshi ga, oban tate-e, each approximately 36cm x 25cm. (3)

£1,500-2,500 See the British Museum, access. no.2008,3037.20507 and the Museum of Fine Arts, Boston, access. no.11.28763VR for other examples of this triptych.

1133 UTAGAWA KUNIYOSHI (1797-1861) EDO PERIOD, C.1847-52 A Japanese woodblock print triptych entitled Gen Ushikawamaru Sojobo ni shitagai bujutsu o oboeru zu (Minamoto no Ushiwakamaru/ Yoshitsune attended by Kisanda, practises fencing with the tengu in the forest at night under the direction of their king, Sojobo), published by Enshuya Hikobei, censors’ seals Mera and Watanabe, signed Ichiyusai Kuniyoshi, oban tate-e, each sheet approximately 36cm x 25.5cm. (3)

£1,000-1,500 See the British Museum, access. no.1907,0531,0.623.1-3 for another example of this triptych.

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1131

1132

1133 87

1134 UTAGAWA KUNIYOSHI (1797-1861) EDO PERIOD, C.1849-52 A Japanese woodblock print triptych entitled Minamoto no Yoshitsune Miyako wo uchitachi Saikoku e (The Ghosts of the Taira Warriors attack Yoshitsune’s Ship in Daimotsu Bay), published by Enshuya Hikobei, with censors’ seals for Fuku and Muramatsu, each sheet signed Ichiyusai Kuniyoshi ga and sealed Yoshiriki, oban tate-e, each approximately 36cm x 24.8cm. (3)

£20,000-30,000

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See the British Museum, access. no.1907,0531,0.230.1-3, the Metropolitan Museum of Art, New York, access. no. JP1565 and the Museum of Fine Art, Boston, access. no. 11.30566a-c, 1992.568a-c for other examples of this triptych. Also, see Christie’s London, From Artist to Woodblock: Japanese Prints Online, 5-12 July 2018, lot 62, for another example.

This triptych is a good example of Utagawa Kuniyoshi’s use of dynamic compositions and large objects (in this case, the ship and waves) spilling out of one sheet onto the other. Kuniyoshi established the warrior print, depicting legendary figures performing heroic achievements, as a major genre. Many of his designs feature yokai (spectres and other monsters), and these demonic depictions catapulted him to success.

This striking design depicts the Ghosts of the Taira Clan attacking Minamoto Yoshitsune (1159-89) in Daimotsu Bay after their brutal defeat. According to legend, all ends well as the devout monk Benkei prays to the Gods of the Sea who dispel the ghosts and put an end to the storm. Some say that the cries of the restless Taira ghosts can still be heard emanating from the waters at the site of the legendary battle. Crabs that can be found nearby bear markings similar to samurai masks and they are believed to carry the souls of the restless warriors.

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1135 UTAGAWA HIROSHIGE I (1797-1858) EDO PERIOD, 1857 A Japanese woodblock prints triptych entitled Buyo Kanazawa hassho yakei (Eight Views of Kanazawa at night, Province of Musashi), published by Okazawaya Taheiji on the 7th month of 1857, with censors’ seals for Aratame and Mi Shichi, the left sheet signed Hiroshige hitsu and sealed Ichiryusai, oban tate-e, each approximately 36.5cm x 25.4cm, together with a glazed triptych frame bearing a label for Maple & Co Fine Art dealers dated 10/11/10 (1910). (4)

£10,000-15,000 Provenance: from the collection of G R A Murray and thence by descent.

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See the Metropolitan Museum of Art, New York, access. no.JP3509a-c and Minneapolis Institute of Art, access. no.P.75.51.342a-c for two other examples of this triptych. Also, see Christie’s New York, Important Japanese Art, 21st September 2021, lot 36, for another triptych formerly in the Raymond A Bidwell collection.

This triptych belongs to a series created by Hiroshige depicting monumental landscape panoramas and illustrating the concepts of snow, moon and cherry blossoms (setsugekka). The theme comes from this poem written by Chinese writer Bo Juyi (772-846): ‘In snow, moon, and cherry blossoms, I think of you’. The full moon occupies the central position in this composition which is reminiscent of another Chinese theme, the ‘Eight Views of the Xiao and Xiang Rivers’ (shosho hakkei).

Hiroshige also displays his knowledge of Western perspective, with rocky outcrops guiding the eyes towards the horizon. His use of subtle colouring and graduations (fukibokashi) gives this moonlit landscape a painterly character which was popular both for the domestic market and to Western collectors.

91

1136 UTAGAWA HIROSHIGE (1797-1858) EDO PERIOD, C.1840-50 Eight Japanese woodblock prints depicting landscapes, one horizontal yoko-e picture entitled ‘Yoshiwara’ from the series Tokaido gojusan tsugi no uchi (The Fifty-three Stations of the Tokaido Road), the seven others taken from various series entitled ‘Famous Places in the Sixty-odd Provinces of Japan’, ‘Famous Sights of the Fifty-Three Stations’ (‘The Vertical Tokaido’), ‘Thirty-Six Views of Mount Fuji, ‘One Hundred Views of Famous Places in the Provinces’ and ‘One Hundred Famous Views of Edo’, all approx.

35.4cm x 24cm. (8)

£1,000-2,000 See the Minneapolis Insititute of Art, access. no.P.75.51.531 for another example of the Yoshiwara print.

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1137 HOICHI SAKAI (1761-1829) MEIJI PERIOD OR LATER, 20TH CENTURY Twenty-one Japanese woodblock prints from a series entitled Shiki no Hana (Flowers of the Four Seasons), fourteen of the sheets depicting a variety of floral designs, the others with calligraphy listing the flowers depicted and giving individual descriptions, some in English and others in Japanese, all approx. 27.5cm x 35cm. (21)

£400-600

part lot illustrated 93

1138 A SMALL COLLECTION OF SIX JAPANESE WOODBLOCK PRINTS EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY

1139 TORII KIYONOBU (1664-1729) EDO PERIOD, C.1715

One after Kitagawa Utamaro (c.1753-1806) entitled Ryogokubashi no ue (On top of Ryogoku Bridge), the other depicting various beauties, two portraits showing the women carrying small pet rats, all framed and glazed, 37.2cm x 25.5cm max. (6)

A Japanese tan-e woodblock print depicting a courtesan holding a hozuki physalis, a child attendant by her side, signed and sealed by the artist, framed and glazed; together with an album of prints by Tsukioka Yoshitoshi (1839-92) entitled ‘Handsome Heroes of Suikoden’ published in 1866, and another print depicting a beauty and a little girl observing a cat, 58cm x 31cm max. (3)

£200-300

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 Provenance: property from a deceased estate, Cheshire.

1140 A COLLECTION OF TWENTY-TWO JAPANESE WOODBLOCK PRINTS EDO AND MEIJI PERIOD, 19TH AND 20TH CENTURY Variously depicting characters from famous stories, beauties in interiors and other figures engaged in daily life, landscapes, birds and other subjects, 36.5cm x 24.8cm max. (22)

£500-1,000

1141 FIVE JAPANESE WOODBLOCK PRINTS EDO AND MEIJI PERIOD, 19TH CENTURY Including a depiction of a woman and child before Mount Fuji by Utagawa Hiroshige II (1826-69) and Utagawa Toyokuni III (1786-1865) from the series ‘Pride of Edo’ published c.1864; another by Toyohara Kunichika (1835-1900) from the series ‘Eight Views of Beauties and Restaurants’ published in 1875; together with three other woodblock prints portraits, all approx.

33.5cm x 22cm max. (5)

£300-500 Provenance: from a private Cornish country estate.

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1142 UTAGAWA KUNISADA I/ TOYOKUNI III (1786-1864) UTAGAWA HIROSHIGE II/ SHIGENOBU (1826-69) EDO PERIOD, 1859

Thirty-three Japanese woodblock prints entitled Kannon Reigenki (The Miracles of Kannon), depicting the goddess performing various miracles and other scenes from history, each image with a descriptive text, the prints signed Toyokuni ga and Hiroshige ga, oban tate-e, all approx. 36.5cm x 24.5cm. (33)

£2,000-3,000 This fascinating series of prints was divided into three parts: 33 prints for the Western provinces, 33 prints for the Eastern provinces and 34 for the central provinces. This set depicts the Western regions.

95

1143 THREE JAPANESE WOODBLOCK PRINTS TRIPTYCHS OF THE RUSSO-JAPANESE WAR MEIJI PERIOD, C.1904-5 The first by Ikeda Terukata (1883-1921), entitled Dai Nihon teikoku kaigun daihori banzai (A Great Victory for the Great Japanese Imperial Navy, Banzai!); the second by Migita Toshihide (1863-1925) entitled Nichiro ryokantai nigatsu yoka no yo Ryojun-ko taikaisen ni meiyo naru waga no suiraitei tekkan niseki o gekichin-su (In the Great Sea Battle between the Japanese and Russian Navies on the Night of 8 February at the Straits of Lushun, Our Illustrious Torpedo Boat Sinks Three Enemy Ships), together with a third triptych depicting another naval battle, all framed and glazed, all approx.

35cm x 70.5cm. (3)

£500-800 See the Museum of Fine Arts, Boston, access. no.2000.466a-c for another example of the triptych

by Ikeda Terukata and the British museum, access. no.1946,0209,0.100.1-3 for another example of the print by Migita Toshihide.

96

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1144 JOICHI HOSHI (1913-79) SHOWA ERA, 1974 AND 1976 Two Japanese woodblock prints with metallic pigments depicting trees, the first rectangular picture entitled Soshun (Early Spring) with a single birch, framed and glazed; the second loose square print entitled Fuyu kodachi (Trees in Winter) depicting a small grove, both signed in pencil and dated by the artist, 24.5cm x 24.5cm max. (2)

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

1145 KAWASE HASUI (1883-1957) SHOWA ERA, 1941 A Japanese woodblock print entitled ‘Lake Matsubara on a Morning, Shinshu’ signed Hasui with a seal reading Kawase, the rectangular oban yoko-e depicting a lone fisherman by a lake, 39.3cm x 26.9cm; together with a woodblock print by Elizabeth Keith (1887-1956) entitled ‘Lama Priest.

Peking’, published in 1922 and signed in green pencil to the lower right corner, 38.7cm x 26.3cm. (2)

£100-200 Provenance: from a private Cornish country estate.

1146 JUNSUKE WATARAI (1936-) SHOWA ERA, 20TH CENTURY Two Japanese limited editions colour etchings, one entitled ‘The Marionette’s Travels’, numbered 5/60, the other entitled ‘On Stage (G)’, numbered 12/50, both signed in pencil underneath, framed and glazed; together with four loose sketches depicting musicians, possibly by Watarai, 36.1cm x 59.1cm max. (6)

£500-1,000 Provenance: from the Milne Henderson collection of Japanese art.

97

1147 IWAO AKIYAMA (1921-2014) SHOWA ERA, 1980 A Japanese woodblock print entitled Dou ni mo naranai (There is nothing else I can do) depicting a small black owl and the large shadow of another bird behind it, a poem by Santoka Taneda (1882-1940) above reading as ‘tottering, tottering, there’s nothing else I can do’, signed in pencil by the artist, numbered 13/200 and dated 1980, framed and glazed, 57cm x 43.5cm.

£200-300 Provenance: from the Milne Henderson collection of Japanese art.

Cf. the Tikotin Museum of Japanese Art, Akiyama Iwao: prints and poems, Winter 1985, no.40.

1148 AOYAMA SEIZAN (ACT. 1920-30) SHOWA PERIOD, C.1930 A Japanese woodblock print of a kitten, the small cat depicted carrying an unfortunate frog in its mouth, with a red seal mark to the lower right corner, framed and glazed, 26.5cm x 39cm.

£300-400

98

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1149 ANONYMOUS MEIJI OR TAISHO PERIOD, 20TH CENTURY A Japanese pencil study of a nude, possibly by the artist Hashiguchi Goyo (1881-1921), the beauty depicted comfortably seated, her eyes lowered, with two red seal marks to the bottom left corner, one reading Honjo, the reverse with another incomplete nude, framed, 33.5cm x 33.5cm.

£80-120 Provenance: from the Milne Henderson collection of Japanese art.

1150 KAMISAKA SEKKA (1866-1942) MEIJI ERA, C.1910 Two Japanese woodblock prints, one entitled Tomoe no Yuki (Whirling Snow) from the album Momoyogusa (A World of Things) depicting a traveller caught in a snow storm; the other depicting a makimono, the handscroll partly open to reveal two beauties wearing Heian-style garments, with a red seal mark, both prints framed and glazed, 28cm x 43cm max. (2)

£500-1,000 Provenance: from the Milne Henderson collection of Japanese art.

See the British Museum, access. no.1991,1112,0.161.1 for another example of the snow print.

99

1151 KATO TATSUSABURO (ACT. C.1970) SHOWA PERIOD, 1971 Nine Japanese paintings, all designs for traditional paper kites, from an edition of 100 hand-painted albums published by Unida, Tokyo, variously depicting animals, auspicious symbols and legendary figures, all in box frames and glazed, all approx.

44cm x 33cm. (9)

£400-600 Cf. T Streeter, The Art of the Japanese Kite, p.113 no.45, for an illustration of the kite depicting Kintaro and the carp by Kato Tatsusaburo.

100

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A COLLECTION OF TAKASHI MURAKAMI (1962-) PRINTS OF DORAEMON LOTS 1152-1155 1152 TAKASHI MURAKAMI (1962-) HEISEI ERA, 2018 Six limited edition offset lithographs printed in colour on wove paper, entitled ‘Doraemon, Thank You’, ‘Doraemon, Here We Go’, ‘Doraemon: Hip Hip Hurrah!’, ‘Doraemon’s Daily Life’, ‘Doraemon and Author Fujiko F. Fujio are in the Field of Flowers’, and ‘Doraemon in the Field of Flowers’, three depicting Doraemon from the front and three from the back, all published by Kaikai Kiki Co., Ltd., Tokyo, all signed Murakami in silver ink, framed and glazed, all approx. 57cm x 65cm. (6)

£2,800-3,200 1153 TAKASHI MURAKAMI (1962-) HEISEI ERA, 2017 A limited edition offset lithograph printed in colour on wove paper entitled ‘Wouldn’t it be nice if we could do such a thing’, depicting a multitude of characters from Doraemon’s world, numbered 787/1000 or 1111, published by Kaikai Kiki Co., Ltd., Tokyo, signed Murakami in silver ink, framed and glazed, 50.3cm x 102cm.

£500-800 1152

See Sotheby’s London, From Japan with Love, 13th October 2020 for another print from the same series.

1153 101

1154 TAKASHI MURAKAMI (1962-) HEISEI ERA, 2018 Two limited edition offset lithographs printed in colour on wove paper, one entitled ‘Anywhere Door (Dokodemo Door) in the Field of Flowers’ and the other ‘We Came to the Field of Flowers through Anywhere Door (Dokodemo Door)!’, both depicting Doraemon and his friend Nobita Nobi standing beside the teleportation gate, one numbered 787/1000 and the other 993/1000, published by Kaikai Kiki Co., Ltd., Tokyo, signed Murakami in silver ink, framed and glazed, both approx. 59.5cm x 59.5cm. (2)

£1,100-1,300

1155 TAKASHI MURAKAMI (1962-) HEISEI ERA, 2018 Two limited edition offset lithographs printed in colour on wove paper, one entitled ‘Many things Await Beyond Anywhere Door (Dokodemo Door)’ and the other ‘On an Endless Journey on a Time Machine with the Author Fujiko F. Fujio!’, both depicting Doraemon and his friends amongst a multitude of flowers, one numbered 783/1000 and the other 794/1000, published by Kaikai Kiki Co., Ltd., Tokyo, signed Murakami in silver ink, framed and glazed, both approx. 71.5cm x 71.5cm. (2)

£1,100-1,300 102

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A COLLECTION OF JAPANESE CINEMA POSTERS LOTS 1156-1162

1156 TWO JAPANESE JAMES BOND 007 POSTERS SHOWA ERA, 1972 AND 1983 Both featuring Sean Connery, the first of Dr. No (1972 re-release) and the other of Never Say Never Again (1983), both 72.5cm x 51.5cm. (2)

£200-300

1157 THREE JAPANESE JAMES BOND 007 POSTERS SHOWA ERA, 1979 AND 1981 All three featuring Roger Moore, the first of Moonraker (1979) and the two others of For Your Eyes Only (1981), all approx. 72.5cm x 51.5cm. (3)

£300-400 103

1158 TWO JAPANESE JAMES BOND 007 POSTERS SHOWA ERA, 1981 Both featuring Roger Moore, the first of A View to a Kill (1981) and the other of For Your Eyes Only (1981), approx. 72.5cm x 51.5cm. (2)

£200-300

1159 THREE JAPANESE JAMES BOND 007 POSTERS SHOWA ERA, 1970-80s All three featuring Roger Moore, one of Live and Let Die (1973), the second of The Man with the Golden Gun (1974) and the third of Octopussy (1983), all approx. 72.5cm x 51.5cm. (3)

£300-400

104

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1160 TWO JAPANESE STAR WARS POSTERS SHOWA ERA, 1977 Both for Episode IV - A New Hope, both featuring Princess Leia and Luke Skywalker, both approx. 72.8cm x 51.5cm. (2)

£200-300

1161 TWO JAPANESE STAR WARS POSTERS SHOWA ERA, 1980 AND 1983

1162 TWO JAPANESE STAR WARS POSTERS SHOWA ERA, 1980 AND 1983

Both featuring photographs of the main characters, the first for Episode V The Empire Strikes Back (1980) and the other for Episode VI - Return of the Jedi (1983), both approx. 72.8cm x 51.5cm. (2)

Both featuring paintings of the main characters, the first for Episode V - The Empire Strikes Back (1980) and the other for Episode VI - Return of the Jedi (1983), both approx. 72.8cm x 51.5cm. (2)

£200-300

£200-300

105

SAGEMONO & NETSUKE LOTS 1163-1222

106

107

1163 A JAPANESE GOLD AND BLACK LACQUER THREE-CASE INRO EDO OR MEIJI PERIOD, 19TH CENTURY Decorated with a continuous design of flowers issuing from a rocky outcrop, with small chrysanthemums to one side and large white blossoms made of mother of pearl inlays, the rest of the decoration rendered in gold takamaki-e and hiramaki-e, with a glass ojime, a wood bead and a manju netsuke carved with a dense design of leafy tendrils, the inro 7.4cm.

£200-400

1164 AN UNUSUAL JAPANESE FIVE-CASE GOLD LACQUER INRO MEIJI PERIOD OR LATER, 19TH OR 20TH CENTURY Decorated with the elegant figure of Seiobo, the Queen Mother of the West standing amongst clouds, wearing loose robes with long ribbons floating behind her, the reverse with the steps to her divine palace, the face and hair of the figure rendered in thick enamels and her clothes with details in gold foil on the takamaki-e and nashiji ground, a three-character mark underneath, attached to an agate ojime, 8.8cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£300-500 Provenance: an American private collection, purchased 1990s-2010s.

1165 A JAPANESE GOLD LACQUER SIX-CASE INRO EDO OR MEIJI PERIOD, 19TH CENTURY The tall body decorated to the top and sides with a continuous design of a mountainous river landscape, with waterfalls amongst luxuriant vegetation and above crashing waves, the design rendered in gold and silver takamaki-e, shishiai togidashi maki-e, nashiji and kirikane lacquer, a three-character signature reading Kajikawa saku to the base, 10.5cm.

£400-600 Provenance: an American private collection, purchased 1990s-2010s.

108

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two views

1166 λ A JAPANESE BLACK AND GOLD LACQUER FIVE CASE INRO MEIJI PERIOD, 19TH CENTURY Decorated with an elegant design of feathers rendered in gold, silver and red lacquer takamaki-e on a black roiro ground, each side depicting a large peacock feather and smaller ones from other bird species, inscribed with two characters for Zeshin after Shibata Zeshin (1807-91) in gold lacquer to the base, together with an ivory netsuke of the cut-tongue sparrow, the suzume with eyes inlaid in dark horn, 8.5cm and 4.8cm. (2)

signature

£800-1,200 Provenance: formerly from a Swiss private collection.

1167 λ A JAPANESE FOUR-CASE GOLD INRO MEIJI PERIOD, 19TH CENTURY Decorated in the style of Kano School paintings with a large tiger seated on its haunches in a bamboo grove, the eyes of the big cat inlaid in light horn, the design in gold takamaki-e and hiramaki-e, the reverse with branches of bamboo rendered in raden mother of pearl inlays, attached to a reticulated ivory ojime carved with many flowerheads, the inro 6.9cm.

£1,200-1,500

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1168 two views

signature

1168 λ A JAPANESE GOLD AND BLACK LACQUER THREE-CASE INRO MEIJI PERIOD, 19TH CENTURY Decorated with a continuous design of a cockerel, a hen and their chicks pecking seeds, the birds amongst large chrysanthemum flowers, the design rendered in gold, silver and red takamaki-e and nashiji lacquer on the black roiro ground, a two-character signature signed Jo O (for Jokosai) with kao to the base; attached to a coral ojime and with an en-suite ivory manju netsuke with a large cockerel to the top, the inro 7.4cm.

£2,000-2,500 Provenance: an American private collection, purchased 1990s-2010s.

1169 A JAPANESE GOLD AND BLACK LACQUER FIVE-CASE INRO MEIJI PERIOD, 19TH CENTURY Decorated with a continuous design of two peacocks in a luxuriant garden, the male bird pecking at the ground whilst his companion looks to the side, with many flowering branches around them, the eyespots inlaid in mother of pearl and the rest of the design rendered in gold and silver takamaki-e, nashiji and hiramaki-e lacquer on the black roiro ground, signed underneath with a three-character mark in gilt reading Inagawa saku and with a red pot seal mark, together with a melon-shaped stag antler and metal ojime, the inro 8.2cm.

£1,800-2,200 Provenance: an American private collection, purchased 1990s-2010s.

1169

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signature

1170 two views

1170 A JAPANESE GOLD AND BROWN LACQUER TWO-CASE INRO BY MIZUTANI SHUTOHO EDO PERIOD, 18TH CENTURY The wide body decorated with gold takamaki-e, black and red lacquer and raden mother of pearl inlays on the rich chocolate-brown ground, one side with a large cockerel and a hen and the other with large flowers and foliage, the flanges to the interior decorated with cracked-ice patterns, the base with a six-character signature for Mizutani Shutoho, with a filigree metal ojime and a wood netsuke carved in openwork with views of thatched buildings by pine trees, together with a kiri box, the inro 7.6cm. (2)

£2,000-3,000 Provenance: an English private collection, Somerset.

See Bonhams, London, The Edward Wrangham Collection of Japanese Art, Part IV, for a related inro by Mizutani Shutoho decorated with chickens.

signature

1169

111

signature

1171 two views

1171 A JAPANESE GOLD AND BLACK LACQUER FOUR-CASE INRO MEIJI PERIOD, 19TH CENTURY Decorated to one side with a kyobako, the empty sutra box and cover left open on a beach, with crashing waves in the background, many seashells scattered over the sand and large pine trees to the side, the top with scrolling clouds, the continuous design rendered in gold, silver and red takamaki-e and nashiji on the black roiro lacquer ground, the base with a five-character signature reading Koma Kyuhaku saku, attached to a coral ojime, i7.7cm.

£2,000-2,500 Provenance: an American private collection, purchased 1990s-2010s.

1172 AN UNUSUAL JAPANESE FOUR-CASE LACQUER INRO EDO OR MEIJI PERIOD, 19TH CENTURY Decorated to all sides with a continuous design of broken wagon wheels discarded amongst vines and scrolling tendrils, the front with a praying mantis standing on a leaf, the design rendered in red and black takamaki-e lacquer in relief on the mottled toffee-coloured ground imitating agate, three leaves made of silvered metal inlays, together with a glass ojime, the inro 8cm.

£1,000-2,000 Provenance: an English private collection, Somerset.

1172

112

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1173 two views

1173 A JAPANESE GOLD AND BLACK LACQUER FOUR-CASE INRO EDO PERIOD, 19TH CENTURY Decorated with a continuous design of a flowering tree in gold and silver togidashi and hirame on the black roiro ground, signed in red lacquer to the side with a four-character seal mark in a rectangular cartouche for Shiomi Masanari, attached to a coral ojime and with an en-suite square manju netsuke, decorated with a weeping willow in gold lacquer on the black ground, with three decorative metal studs, the back with a long inscription and a two-character signature for Komin, the inro 7.4cm.

£2,000-2,500 Provenance: an American private collection, purchased 1990s-2010s.

1173 signature on the inro

1173 1173 signature inscription on the netsuke on the netsuke

1172

113

signature 1174 two views

1174 A JAPANESE GOLD LACQUER FOUR-CASE INRO EDO OR MEIJI PERIOD, 19TH CENTURY Decorated to one side with Shoki the Demon Queller holding an oni by the horn, the small monster with his hands clasped in prayer, probably begging for his release; the reverse with two further oni looking mischievous, one with a green complexion holding a kanabo spiked club, the design rendered in gold, silver and coloured takamaki-e lacquer on the okibirame ground, the base signed Jo O (Jokasai) with kao, together with a glass ojime, 7.5cm.

£1,800-2,200 Provenance: an American private collection, purchased 1990s-2010s.

1175 A JAPANESE GOLD LACQUER FOUR-CASE INRO MEIJI PERIOD, 19TH CENTURY Decorated to both sides with a continuous design of Okame in an interior, the Goddess of Mirth peacefully sleeping against a large rectangular pillow whilst holding an open fan, a blind open behind her; the other side with a black lacquer tsuigasane (table tray) and a wooden tray, the designs rendered in gold, silver, red and black takamaki-e, hiramaki-e and tsukegaki on the nashiji ground, the base signed with three tensho characters, possibl for Hosen saku, attached to a coral ojime, the inro 9.2cm.

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

1175

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signature 1176 two views

1176 A JAPANESE GOLD AND BLACK LACQUER FOUR-CASE INRO EDO PERIOD, 18TH OR 19TH CENTURY Decorated with a continuous scene of an ascetic seated underneath a tree, the emaciated man wrapped in long robes and observing a fishing rod before him; the reverse with a young man carrying a bundle of sticks on his back and walking whilst reading an open book, the decoration rendered in gold, silver and red takamaki-e, hiramaki-e and nashiji lacquer on the black roiro ground, the base with a four-character signature reading Kanshosai saku for Kanshosai Toyo, attached to a coral bead, the inro 7.5cm.

£1,800-2,200 Provenance: an American private collection, purchased 1990s-2010s.

Cf. G Lazarnick, Netsuke & Inro Artists, and How to read their signatures, vol.II, pp.1184-88 for other examples of inro by Kanshosai Toyo. The artist explains that Toyo was employed by Lord Hachisuka, the daimyo of Awa Province, who made him a samurai in recognition of his talent. Several generations of lacquer artists after him used his name and signature.

signature

1175

115

two views

1177 A RARE JAPANESE GOLD AND RED LACQUER THREE-CASE INRO MEIJI PERIOD, 19TH CENTURY The flattened circular body richly decorated to each side with the Shochikubai (the Three Friends of Winter), with branches of pine, flowering prunus, and bamboo sprays rendered in gold and silver takamaki-e, hiramaki-e and kirikane on the deep red ground, together with a rock crystal ojime and a kiri box, 7.2cm. (2)

£2,000-3,000 Provenance: an English private collection, Somerset.

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two views

1178 λ A JAPANESE SHIBAYAMA-STYLE INLAID IVORY FOUR-CASE INRO MEIJI PERIOD, 19TH CENTURY Decorated with a dense design of a large eagle perched on a flowering branch of prunus, the bird of prey observing a sparrow in flight beneath it, the reverse with another small bird underneath large hibiscus flowers and leaves, looking up at two butterflies fluttering above; each side embellished with inlays in mother of pearl, coral and horn, signed Masaaki / Shomei in a mother of pearl cartouche underneath; attached to en-suite Shibayama-style ojime and netsuke, the bead decorated with flowers inlaid in mother of pearl and metal studs; the lid of the manju netsuke decorated with a dense design of flowerheads, the inro 9.5cm.

£3,000-5,000 Provenance: an English private collection, Somerset.

signature

117

1179 A JAPANESE SMOKING SET EDO OR MEIJI PERIOD, 18TH OR 19TH CENTURY

1180 A JAPANESE SMOKING SET EDO OR MEIJI PERIOD, 18TH OR 19TH CENTURY

The kiseruzutsu (pipe case) of muso-zutsu form and made of woven rattan, decorated with a large tetsubin and with sprays of millet hung from a tall mast behind, the design rendered in gold, silver and brown takamaki-e lacquer, the kettle in seido-nuri lacquer imitating metal, with remnants of a signature in gold to the side; the tabakoire (tobacco pouch) of tooled leather, the front with European-style designs of arabesques and the back with grapes and vines, the gold mae-kanagu shaped as flowering sprays of chrysanthemum, together with an agate ojime, the kiseruzutsu 20.5cm. (2)

The kiseruzutsu (pipe case) of muso-zutsu form and made of woven rattan, decorated with two jardinieres containing fruiting plants, the design rendered in gold, silver, black and brown takamaki-e lacquer, a two-character signature to the back for Nobusane / Shinzan; the tabakoire (tobacco pouch) of thick leather, embellished with a mae-kanagu shaped as a lion dog gnawing on its back leg, together with a coral ojime, the kiseruzutsu 21.3cm. (2)

£500-800

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

Provenance: an English private collection, Somerset.

1181 TWO JAPANESE SMOKING SETS EDO OR MEIJI PERIOD, 18TH OR 19TH CENTURY Both with stag antler kiseruzutsu of otoshi-zutsu form, the first pipe case carved with a sennin sat on the back of a giant catfish leaping amongst crashing waves, attached to a wood ashtray netsuke with a copper bowl, and a leather pouch with bone rings for fastening; the other kiseruzutsu carved with a panel depicting pomegranates under a reticulated shippo-tsunagi cash pattern, with a rattan and leather tonkotsu, the tobacco container embellished with a rectangular mae-kanagu featuring two quails, signed, the pipe cases 20.8cm and 17.5cm. (2)

£400-600

1182 AN UNUSUAL JAPANESE LACQUERED WOOD SMOKING SET MEIJI PERIOD, 19TH CENTURY The kiseruzutsu (pipe case) of muso-zutsu form decorated with maple leaves, the en-suite tonkotsu (tobacco box) cleverly carved to simulate a tabakoire (tobacco pouch), embellished with a copper mae-kanagu shaped as a sake cup and gourd bottle, the side opening to reveal a sliding compartment with an oval aperture, together with an agate ojime, the kiseruzutsu 21.5cm. (2)

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

The pipe case with the fish may be an illustration of the myth of the Namazu or Onamazu, a giant catfish that lives underneath the islands of Japan. The figure may represent the deity Takemikazuchi who controls the monster. When the beast escapes its divine keeper, its movements are said to cause earthquakes.

Provenance: an English private collection, Somerset.

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1179

1180

1182

1181

119

1183 TWO JAPANESE LACQUERED KISERUZUTSU (PIPE CASE) MEIJI PERIOD, 19TH CENTURY

1184 TWO JAPANESE LACQUERED KISERUZUTSU (PIPE CASE) MEIJI PERIOD, 19TH CENTURY

Both pipe cases of muso-zutsu form, the first made of woven rattan and decorated with lotus flowers and leaves in gold, red and black takamaki-e lacquer, signed to the back; the other in red negoro-style lacquer with two large persimmons on a branch, the fruits in red, gold and black takamaki-e, with a metal ring and loop to the rim, signed in a rectangular reserve to the back, 21.6cm and 20.5cm. (4)

Both pipe cases of muso-zutsu form, the first made of woven rattan and decorated with Hotei carrying his large bundle on a stick, the jovial God of Good Fortune depicted in gold and silver takamaki-e and nashiji and his body in seido-nuri lacquer, the reddish-brown colour imitating copper, a two-character seal mark to the back; the other in wood and stag antler, decorated with Daruma under lines of calligraphy, the Father of Zen Buddhism wearing his typical red robes, signed above the figure, the rim with a stag antler ring carved with key fret and scrolls, 20cm and 21.1cm. (4)

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

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

1185 TWO JAPANESE KISERUZUTSU MEIJI PERIOD, 19TH CENTURY

1186 TWO JAPANESE KISERUZUTSU EDO OR MEIJI PERIOD, 19TH CENTURY

Both pipe cases in stag antler and of otoshi-zutsu form, the first carved with an armour-clad samurai lifting his sword over his head, possibly throwing it in the river before him, signed; the other depicting Shoki the Demon Queller riding on a horse, an oni feeding it pellets from a large circular basket; both pipe cases with a loop for suspension carved as branches of pine, 19.5cm and 20.2cm. (2)

Both pipe cases of otoshi-zutsu form, the first made of ivory and carved in low relief with an elegant ho-o, the mythical bird with its beak buried in its breast feathers as it stretches its wings, with a branch of paulownia beside it and a further branch above for suspension, a two-character signature for Hakuo in a metal cartouche to the back, possibly for Meigyoku; the other in stag antler and carved with a lone figure travelling under the cover of night, concealing something in their long coat and wearing a tall hat, the moon crescent high above, 20.6cm and 20.4cm. (2)

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

£500-800 The figure may be Tokiwa Gozen or Lady Tokiwa (1138-c.1180), a noblewoman from the Heian period often represented fleeing with her young son Minamoto no Yoshitsune (c.1159-89) during the Heiji Rebellion in 1160.

Provenance: an English private collection, Somerset.

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1183

1185

1184

1186 121

1187 A LARGE JAPANESE STAG ANTLER KOGATANA NETSUKE MEIJI PERIOD, 19TH CENTURY Of curved form and hiding a short blade, the surface decorated with a dense design of a writhing dragon amongst clouds, with two tama (grant-wishing jewels), leafy tendrils, flowers, key frets, and the extremities with monsters’ heads, attached to a bamboo tonkotsu, the tobacco box carved with a three-clawed dragon emerging from clouds whilst grasping a tiger with its scaly tail, on a dense ground of cross designs, the lid with clouds and bamboo leaves; together with a wood tonkotsu decorated with many insects in a variety of inlays including mother of pearl, lacquer, horn and bone, the kogatana netsuke 36.2cm. (3)

£500-800

1188 A COLLECTION OF THIRTY-ONE JAPANESE OJIME BEADS EDO PERIOD AND LATER, 18TH CENTURY AND LATER Strung as a necklace and made of mixed materials including glass, metal, wood, horn, stag antler, aventurine and other hardstones, one a small inlaid bronze cube featuring a minute cross, possibly for a ‘Hidden Christian’ worshipper; another Chokaro Sennin’s horse on his double gourd, some shaped as coins, 2.4cm max.

£300-500

1189 TWO JAPANESE OKIMONO OF ANIMALS MEIJI PERIOD, 19TH CENTURY The first in bronze and depicting a seated tiger, the big cat with a long tail resting on its back and its head turned to the left; the other a wood carving of a plump puppy, its eyes inlaid with dark beads, signed Masanao underneath, 9cm and 8.5cm. (2)

£200-300

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1190 FOUR JAPANESE WOOD BOKUTO (WOODEN SWORDS) EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Three shaped as dragons, the fourth a stylised whale with inlaid eyes; the largest mythical creature carved with a simulated saya (scabbard) with a ribbed surface and a fake kozuka handle, the eyes lacquered; all with holes for suspension, 55cm max. (4)

£400-600 Provenance: the largest bokuto from the collection of French Japanophile Louis Gonse (1846-1921), by repute.

Bokuto were imitation swords worn by doctors, actors and travelling merchants in the 1700s and 1800s. Real swords could only be carried by samurai, and at night, it gave the impression of a real sword that would warn off potential attackers.

Louis Gonse (1846-1921)

1191 A JAPANESE WOOD JIZAI OKIMONO OF A SNAKE MEIJI PERIOD, 19TH CENTURY The fully articulated body of the reptile realistically rendered, with a movable lower jaw and the eyes inlaid in horn, approx. 114cm.

£400-600 See Christie’s London, Art of Japan, 8th December 2016, lot 19, for another wood model of a snake by Masakazu.

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1192 FOUR JAPANESE WOOD NETSUKE OF FIGURES MEIJI PERIOD, 19TH CENTURY

1193 FOUR JAPANESE LACQUERED WOOD NETSUKE EDO PERIOD AND LATER, 18TH CENTURY AND LATER

The first in dark wood, possibly ebony, carved as Gama Sennin laughing whilst standing with his right foot on his large pet toad, the eyes of the amphibian inlaid in horn, a two-character signature for Ryuzan underneath; another a seated man using a nose tickler to sneeze, signed Hokei in a rectangular reserve to the base; the third an elderly couple tying down a small wolf before them, unsigned; the last a man carrying a large sack on his back with the faces of two distraught oni poking from holes, signed Minko, 4.6cm max. (4)

One a negoro-style seal netsuke depicting two lion dogs standing on their hind legs and holding a brocade ball, raised on a rectangular plinth carved to the underside with three characters; two others carved as seated figures, the last depicting an elderly man with a small turtle, possibly Urashima Taro, in black lacquer with remnants of red, yellow and silver, a two-character signature underneath, 4cm max. (4)

£500-800

£300-500

1194 THREE JAPANESE NETSUKE MEIJI PERIOD, 19TH CENTURY

1195 TWO JAPANESE WOOD NETSUKE MEIJI PERIOD, 19TH CENTURY

Two in wood, the largest depicting a spider on a persimmon, the body of the insect in mother of pearl; the other carved as a bundle of firewood in a woven basket; the third netsuke a small rat peeping out of Daikoku’s sack of treasures, the rodent movable, the bag probably made of corozo nut, all unsigned, 4cm max. (3)

One carved as three travellers on a boat, one a sarumawashi with his pet monkey, signed Masamin underneath; the other depicting Chinese sages in a bamboo grove, the base carved a two-character signature possibly reading Ganshu / Shugetsu and an unusual kao, 7cm and 3cm. (2)

£300-500

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£300-500

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1196 AN UNUSUAL LARGE JAPANESE WOOD NETSUKE EDO OR MEIJI PERIOD, 19TH CENTURY

1197 A JAPANESE WOOD NETSUKE OF GAMA SENNIN EDO PERIOD, 18TH CENTURY

Carved as a standing hunchbacked man, possibly blind, holding a walking stick with one hand whilst smiling contentedly as he scratches his neck, the himotoshi made from a loop at the back of his hakama (culotte), 9.2cm.

The Immortal depicted standing, holding with one hand a fruiting branch of peaches and with the other his pet toad climbing on his shoulder, wearing a coat of mugwort leaves and a gourd at his waist, with a deep dark patina and some carved features worn off, 7.9cm.

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

£300-500 Provenance: an American private collection, purchased 1990s-2010s.

1198 THREE JAPANESE MASK NETSUKE MEIJI PERIOD, 19TH CENTURY

1199 TWO JAPANESE NETSUKE MEIJI PERIOD, 19TH CENTURY

Two in wood, the first depicting Okame, the Goddess of Mirth with her mouth slightly open as she laughs; the other carved as Usofuki grimacing, signed Hidemitsu at the back; the third in negoro-style red lacquer, modelled as a cluster of masks depicting a variety of figures including an oni, a tengu and the fox Inari, 4.1cm max. (3)

One in dark wood, carved as a large pumpkin with movable seeds inside visible through a slit in the fruit’s flesh, with a two-character signature for Gyokuso and a seal mark for Ji; the other made from a corozo nut and depicting a snail on a fruit, unsigned, 3.5cm and 4cm. (2)

£300-500

£300-500

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1200 A JAPANESE WOOD NETSUKE OF A FROG MEIJI PERIOD, 19TH CENTURY The large amphibian depicted crouching with its head slightly turned to the left, its bulging eyes inlaid, the warts and bumps on its skin realistically rendered in ukibori, a two-character signature for Sukeyuki in a rectangular cartouche underneath, 4.7cm.

£1,800-2,200 Cf. G Lazarnick, Netsuke & Inro Artists, and How to Read Their Signatures, vol.II, p.1052, for an example of a frog netsuke by Sukeyuki, possibly this very piece.

1201 A JAPANESE UMIMATSU (SEA-PINE) NETSUKE OF A FROG EDO PERIOD, 18TH CENTURY The large amphibian clambering upon a rocky outcrop, its bulging eyes inlaid in light and dark horn, the umimatsu of variegated colours, unsigned, 3.5cm.

£400-600 Provenance: an American private collection, purchased 1990s-2010s.

1202 AN UNUSUAL JAPANESE WOOD AND CORAL NETSUKE EDO PERIOD, 18TH OR 19TH CENTURY Naturalistically modelled as the severed tentacle of an octopus, the carving in dark wood, possibly ebony, the tentacle with realistic suckers to the side and the end entwined around a small branch of coral, 5.5cm.

£300-500

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1203 A JAPANESE WOOD NETSUKE OF A TORTOISE MEIJI PERIOD, 19TH CENTURY The reptile almost completely withdrawn into its shell, its head out, the eyes inlaid in light and dark horn, the top of its carapace opening to reveal the himotoshi, the underside inscribed Seki-shu Enokawa Seiyodo Tomiharu chôkoku (carved by the Eno River in Iwami Province by Seiyodo Tomiharu 1733-1810), 5.2cm.

£1,000-1,500

inscription underneath

1204 A JAPANESE WOOD NETSUKE OF TORTOISES MEIJI PERIOD, 19TH CENTURY Carved as two young clambering upon the back of an adult, the larger animal with its limbs retracted against its body and its nose only just poking out of the carapace, unsigned, 4cm.

£500-800

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two views

1205 A JAPANESE WOOD NETSUKE OF A DRAGON EDO PERIOD, 18TH CENTURY The three-clawed monster coiled around a sacred pearl of wisdom, the scales on its back and other carved details worn off with age, a two-character signature in a rectangular reserve underneath, possibly for Tomotada, 4.5cm.

£1,000-1,500

1206 A JAPANESE WOOD NETSUKE OF A COCKEREL MEIJI PERIOD, 19TH CENTURY The bird depicted resting on a war drum, its eyes and the drum studs inlaid with minute black beads, the chicken’s feathers and the surface of the instrument realistically carved, with a single character inscribed to the top, possibly for Yoshi, and a seven-character inscription underneath, 3.2cm.

£500-1,000 Provenance: an American private collection, purchased 1990s-2010s.

The characters on the drum refer to writings by the Chinese Tang Dynasty poet Wang Wei (699-759). In this verse, he longs for a peaceful time when the moss would grow undisturbed on the forest floor, and the muffled beating of the drum wouldn’t startle the birds. In Japanese lore, a chicken on a drum is a symbol of peace as a war drum fallen into disuse, becomes a perch for a cockerel.

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two views

1207 A JAPANESE WOOD NETSUKE OF A RECUMBENT RAM EDO PERIOD, 18TH CENTURY Depicted with its head turned to the left, its long hair trailing behind its back, its legs neatly tucked underneath its body and with its eyes inlaid in horn, unsigned, 4.8cm.

£3,000-5,000 Provenance: an English private collection, Somerset, purchased in Japan.

1208 λ A JAPANESE IVORY NETSUKE OF A DEER EDO PERIOD, 18TH CENTURY The recumbent sika deer depicted with its head turned towards its back, its legs drawn in and with the eyes inlaid in horn, unsigned, 4.8cm.

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

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1210

1209 A JAPANESE WOOD NETSUKE OF A WOLF OR YAMA-INU (WILD DOG) EDO OR MEIJI PERIOD, 19TH CENTURY

1210 A LARGE JAPANESE WOOD NETSUKE OF A WOLF OR A YAMA-INU (WILD DOG) EDO PERIOD, 18TH CENTURY

The emaciated animal seated on its haunches and biting a large human skull resting before it, its eyes inlaid in bone and horn, its tail neatly tucked underneath and signed Minkoku, 4.7cm.

The emaciated beast seated on its haunches with its mouth wide open, its front paw resting on a leg of venison before it, the eyes inlaid, its tail tucked underneath forming the himotoshi and signed Tomotada in an oblong reserve, 5.5cm.

£400-600

£300-500

Provenance: an English private collection, Somerset.

Provenance: from the collection of a lady of title, and thence by descent.

See Japanese Works of Art, 1st July 2020, for the first part of this private collection of netsuke sold in these rooms.

1211 A JAPANESE WOOD NETSUKE OF A PUPPY MEIJI PERIOD, 19TH CENTURY The small plump dog depicted gnawing at the strap of a large straw sandal, its eyes in gilt and the pupil inlaid with minute black beads, the underside with a paper collection label numbered 244-5, 3.9cm.

£400-600 1212 TWO JAPANESE WOOD NETSUKE EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY

1211

The first a large carving of a shishi and her young, the lion dog ferociously baring its fangs; the other a dog and her puppy, the adult wearing a collar with a bell, both unsigned, 6.7cm and 4.6cm. (2)

£500-800 Provenance: an American private collection, purchased 1990s-2010s.

1212

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1213

1214

1213 A JAPANESE WOOD NETSUKE OF A TIGER EDO PERIOD, 18TH CENTURY Seated on its haunches and with its head turned to the left, baring its fangs in a snarl, its long tail curling around its body, with details of the fur finely rendered and stained, signed Masanao underneath, 2.8cm.

£1,000-2,000 Provenance: an American private collection, purchased 1990s-2010s.

Cf. N Davey, Netsuke, p.221 no.674 for a comparable netsuke of a tiger signed Masanao.

1214 A JAPANESE WOOD NETSUKE OF A TANUKI MEIJI PERIOD, 19TH CENTURY The mischievous-looking racoon-dog with its right arm raised as it beats on its distended stomach, its mouth wide open and with the eyes inlaid in gilt metal, signed Minko underneath, 3cm.

£600-800 1215 A JAPANESE WOOD NETSUKE OF A SHISHI MEIJI PERIOD, 19TH CENTURY

1215

The lion dog depicted with both front legs resting on a brocade ball whilst it tries to gnaw at it, with a smaller movable ball inside, the mythical creature with a long mane, a spiralling tail and its eyes inlaid with small dark beads, the base signed Masamitsu in a rectangular cartouche, 4.2cm.

£400-600 Provenance: an American private collection, purchased 1990s-2010s.

1216 TWO JAPANESE WOOD NETSUKE EDO PERIOD, 18TH CENTURY The first carved as a monkey delousing its young whilst the infant eats a fruit, the larger primate with its eyes inlaid in light horn, a two-character signature underneath; the other carved as a lion dog, the shishi crouching on a shaped base, the carved features worn with age, unsigned, 4cm and 5.3cm. (2)

£500-800

1216

131

1217 A JAPANESE WOOD NETSUKE OF MONKEYS MEIJI PERIOD, 19TH CENTURY Realistically carved as a primate cradling her young before her, their hair finely rendered and their eyes inlaid in light and dark horn, signed Ikko in a shaped reserve at the back, 3.6cm.

£800-1,200 See Japanese Works of Art, 14th November 2018, lot 847 for a related netsuke

by Ikko sold in these rooms. Also, see Christie’s London, 15th May 2013, lot 421 for another example.

Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part A, p.225 where other monkeys by Ikko are listed.

1218 A JAPANESE WOOD NETSUKE OF A MONKEY MEIJI PERIOD, 19TH CENTURY The large primate seated on its haunches, a contented expression on its face as it holds a peach before its chest, its other hand comfortably resting on its feet, signed Masanao underneath, possibly for Masanao of Yamada (Ise Province), 5.2cm.

£600-800

1219 A JAPANESE WOOD NETSUKE OF MONKEYS MEIJI PERIOD, 19TH CENTURY Carved as an adult and its young, the larger primate delousing the other whilst the infant eats a fruit, their eyes inlaid with small black beads, the base signed Tomokazu in an oval reserve, 3.6cm.

£400-600 Provenance: an American private collection, purchased 1990s-2010s.

132

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

1220 AN UNUSUAL JAPANESE LACQUER NETSUKE MEIJI PERIOD, 19TH CENTURY Modelled as a rabbit and a monkey neck-wrestling, the primate depicted in red and gold lacquer with its eyes inlaid with minute mother of pearl and black beads, his opponent in silver lacquer and its eyes inlaid with red beads, unsigned, 3.9cm.

£500-800 Provenance: an American private collection, purchased 1990s-2010s.

1221 TWO JAPANESE WOOD NETSUKE EDO OR MEIJI PERIOD, 18TH OR 19TH CENTURY The first boxwood and carved as a cluster of mushrooms, the fungi of different sizes and the stalk of one forming the himotoshi, signed Masanao underneath; the other in darker wood and depicting a small plump rabbit, its eyes inlaid with minute pink beads, 3.6cm and 3.7cm. (2)

£400-600

1222 A JAPANESE WOOD NETSUKE OF LEVERETS MEIJI PERIOD, 19TH CENTURY The charming animals huddled against each other, both carved with long ears and large eyes inlaid with black beads, 4cm.

£400-600

END OF SALE 133

JAPANESE SIGNATURES AND MARKS

1001

1013

1024

1035

1059

1071

1074 134

1002

1003

1013

1025

1037

1062

1071

1074

1004

1005

1014

1014

1026

1028

1039

1047

1071

1075

1071

1071

1031

1050

1064

1007

1022

1030

1049

1076

1006

1021

1029

1062

1075

1006

1015

1048

1062

1006

1072

1077

1023

1032

1054

1064

1078

1072

1079

1009

1023

1033

1058

1064

1072

1008

1024

1033

1058

1068

1072

1080

1034

1059

1071

1073

1081

1071

1074

1081

1081

1082

1088

1173

1184

1093

1173

1199

1215

1083

1100

1173

1185

1198

1214

1082

1100

1174

1186

1200

1216

1083

1164

1175

1176

1189

1192

1203

1205

1217

1218

1083

1165

1178

1192

1083

1166

1180

1219

1206

1085

1168

1169

1181

1192

1206

1084

1170

1183

1193

1209

1085

1183

1195

1210

1171

1184

1195

1213

1221 135

AUCTION INFORMATION OPENING HOURS Castle Street Salerooms Monday to Friday 9am – 5.30pm Castle Gate Offices Monday to Friday 9am – 5.30pm 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 permanent 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 fax 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 permanent 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 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4% 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 or Mastercard

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.

Debit cards: Delta, Switch, Connect, American Express, Union Pay

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.

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

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

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.

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 25% plus VAT @20% (totalling 30% inclusive) on the first £500,000 and 12% plus VAT @20% (14.4%) inclusive thereafter.

5. VALUE ADDED TAX

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

6. PAYMENT (a) (i) (ii) (b)

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

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

(a)

(b) (c) (d) (e) (f) (g) (h) (i)

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

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

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

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

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

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

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

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

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

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

Dimensions are given height before width.

Pictures are framed unless otherwise stated.

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

(j) (k)

15. FORGERIES

BOOKS AUCTIONS

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.

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

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

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.

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

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

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

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

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

By email – privacyofficer@woolleyandwallis.co.uk

•

By telephone – +44 (0)1722 424599

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

•

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

•

From third parties such as:

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

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

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

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

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

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

In this respect we will provide your data to the following: • our professional advisors; • the-saleroom.com; • debt collection agencies; • third parties who assist us with our marketing; • our website and email management software provider.

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

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

CONSENT

HOW LONG YOUR INFORMATION IS KEPT

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Contact Amanda Lawrence +44 (0)1722 424509 | valuations@woolleyandwallis.co.uk FREE AUCTION VALUATIONS Free verbal valuations of items for sale are available at our Castle Street salerooms. Please telephone the relevant specialist or call our office on +44 (0)1722 424500.

DIRECTIONS FROM WOOLLEY & WALLIS CASTLE STREET TO OLD SARUM

MARLBOROUGH & SWINDON

Old Sarum Park

WOOLLEY & WALLIS Castle Gate WOOLLEY & WALLIS Salisbury Salerooms

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Woolley & Wallis Salisbury Salerooms 51 – 61 Castle Street SP1 3SU

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

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

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

ABSENTEE BID FORM

JAPANESE

PLEASE PRINT CLEARLY IN BLOCK LETTERS Lot Number in numerical order

WORKS OF ART TUESDAY 23RD NOVEMBER 2021 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 25% plus VAT at 20%

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

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Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500 Fax: +44 (0)1722 424508

Brief Description of lot

Price excluding buyer’s premium & VAT

AUCTION CALENDAR 2021 NOVEMBER 9th & 10th Upper Slaughter Manor, The Collection

of Micheál & Elizabeth Feller

An impressive Japanese iron model of a hawk, Meiji period, 19th century SOLD FOR £53,750*

17th & 18th Fine Jewellery 23rd & 24th Asian Art, Chinese Paintings &

Japanese Works of Art

DECEMBER 7th & 8th

Modern British & 20th Century Art

14th

Medals & Coins, Arms & Armour

15th

African & Oceanic Art | Antiquities

2022 JANUARY 12th

Furniture, Works of Art & Clocks

25th & 26th Silver & Objects of Vertu

FEBRUARY 9th

Fine Porcelain and Pottery

MARCH 2nd

Old Masters, British & European Paintings

16th

Clarice Cliff, Art Deco & Design

30th

Furniture, Works of Art & Clocks

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

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR SPRING 2022 SERIES OF ASIAN ART SALES

www.woolleyandwallis.co.uk