Woolley & Wallis Japanese Works of Art by Park Communications

JAPANESE

WORKS OF ART 日本美術 WEDNESDAY 1ST JULY 2020

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

VALUATIONS FOR INSURANCE & PROBATE

John Axford MRICS ASFAV 424506 Jeremy Morgan +44 (0)7812 601098 Amber Lees 424571 Sarah Lopez-Ferreiro 424591

Jeremy Lamond MRICS ASFAV FRSA 424598 Paul Viney ASFAV 424509 Amanda Lawrence (PA) 424509

CHINESE PAINTINGS & CALLIGRAPHY

Sally Trench Megan Corbett

Freya Yuan-Richards Amber Lees

424589 424571

JAPANESE WORKS OF ART Alexandra Aguilar Sarah Lopez-Ferreiro

20TH CENTURY DESIGN 424505 446955

ENGLISH & EUROPEAN CERAMICS & GLASS Clare Durham Hollie Morrison

424507 446964

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

JEWELLERY

Sharon Ringwood Pauline Jones Nicola Young Ruth Pike Sarah Bennie

CASTLE GATE RECEPTION Sally Litherland

John Axford MRICS ASFAV Chairman Natalie Milsted FCCA Managing Director

Marielle Whiting FGA 424595 Jonathan Edwards FGAA (Consultant) 424504 Charlotte Glyde FGA 424586

Paul Viney ASFAV Non-Executive Director

MEDALS & COINS, ARMS & ARMOUR

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

Ned Cowell Zoe Cordey

341469 446980

PAINTINGS Victor Fauvelle Ed Beer Hannah Vernon

446961 446962 446970

SILVER Rupert Slingsby Lucy Chalmers

ASSOCIATE DIRECTORS

424501 424594

TRIBAL ART & ANTIQUITIES Will Hobbs Zoe Cordey

424500

GENERAL OFFICE

BOARD OF DIRECTORS 411854 339161 411854

446959 446960

ACCOUNTS Janice Clift (Office Manager)

424583 424591

Michael Jeffery Zoe Smith

MARKETING

339752 446980 Catalogue £20.00 (£25.00 by post) (£30.00 by post outside Europe)

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

424500

JAPANESE

WORKS OF ART 日本美術 WEDNESDAY 1ST JULY 2020 2.30pm Following Fine Chinese Paintings & Works of Art

Viewing Viewing will be by appointment. Please contact the department to make an appointment. There will be no viewing on the morning of the sale. Saturday 27th June Sunday 28th June Monday 29th June Tuesday 30th June

10.00am– 4.00pm 10.00am– 4.00pm 10.00am– 4.00pm 10.00am– 4.00pm

JAPANESE ART 日本美術 Alexandra Aguilar +44 (0)1722 424583 aa@woolleyandwallis.co.uk

Sarah Lopez-Ferreiro +44 (0)1722 424591 slf@woolleyandwallis.co.uk

LIVE ONLINE BIDDING - FREE OF CHARGE

bid.woolleyandwallis.co.uk Please register by 12 noon on Tuesday 30th June. CONDITION OF LOTS Please note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults. 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.

Telephone Bidding Requests for telephone bidding cannot be accepted after 12 noon on Tuesday 30th June. 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.

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

JAPANESE

WORKS OF ART 日本美術 WEDNESDAY 1ST JULY 2020 2.30pm

Lot 313

200 A JAPANESE ARITA BLUE AND WHITE SAKE BOTTLE, TOKKURI EDO PERIOD, 17TH CENTURY Shaped as a double gourd, the body decorated with a stylised mountainous river landscape, the neck and foot with bands of lappets, 21cm.

£400-600 Provenance: from the collection of Richard Gordon Smith (1858-1918) and thence by descent. Gordon Smith was an English traveller, sportsman and naturalist who lived in Japan at the turn of the century. He transcribed traditional myths in “Ancient Tales and Folklore of Japan” (1908) and his diaries were later published in “Travels in the Land of the Gods: The Japan Diaries of Richard Gordon Smith” (1986).

201 A BLUE AND WHITE BOTTLE VASE, POSSIBLY BLEU DE HUE 18TH CENTURY Shaped as a double gourd, the body decorated with a continuous design of scrolling clouds and wisps of mist on a creamy-white ground, 26cm.

£300-500

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

202 TWO JAPANESE ARITA BLUE AND WHITE EWERS EDO PERIOD, 17TH CENTURY Of ovoid form with a tall neck, both decorated in underglaze blue with a continuous scene of figures in a mountainous river landscape, one bearing a large standard, the shoulder with scrolling tendrils and chevron patterns, the neck with stylised flowers and leaves, the loop handles with karakusa scrolls, 29cm and 28cm. (2)

£1,500-2,000 Cf. O Impey, Japanese export porcelain, p.49 no.23 for a tall mug with similar decoration. The author explains that the underglaze painting copies a Chinese Transitional-style design.

203 A JAPANESE ARITA BLUE AND WHITE MUG EDO PERIOD, 17TH CENTURY Of typical form, the body decorated with three shaped panels painted with a central figure surrounded by plantain leaves and rockwork, on a ground of karakusa scrolls, the loop handle with further scrolling tendrils, 18cm.

£600-800

204 A TALL JAPANESE ARITA BLUE AND WHITE EWER EDO PERIOD, 17TH CENTURY The slender baluster body decorated in underglaze blue with three large shaped panels enclosing flowering chrysanthemum and peonies amongst rockwork and long grasses, on a dense ground of karakusa scrolls, the neck and loop handle with further stylised blooms and volutes, 36.5cm.

£800-1,200

205 A PAIR OF JAPANESE ARITA BLUE AND WHITE DISHES EDO PERIOD, 18TH CENTURY Decorated in underglaze blue with three deer, the animals depicted prancing amongst large maple leaves, both with a brown-edged rim, the reverse with karakusa scrolls and a fuku mark to the base, both 21cm. (2)

£1,800-2,200 Cf. Ko-Imari: A catalogue of Hizen Porcelain from the Nezu Museum’s Yamamoto Collection, p.61, no.130, for a comparable dish with deer and maple leaves. Deer and maple leaves are often depicted together in Japanese art as they both symbolise the arrival of autumn. The phrase ‘momiji ni chika’ (maple leaves and deer) also conveys the idea of a perfect pairing.

206 A LARGE JAPANESE ARITA DISH AND TEA BOWL EDO PERIOD, CIRCA 1700 The dish with a foliate rim and painted with a mountainous river landscape, with two thatched huts by the shore and sailboats to the fore, the base with a seal mark within double rings, possibly for ‘spring’, together with a small blue and white bowl with a brown glazed rim, painted with figures in a continuous landscape, the base with a seal mark for ki (happiness), 30.8cm and 8.9cm dia. respectively. (2)

£150-250 Provenance: from a deceased estate, Dorset, both purchased from Artemesia Alresford, the plate on 27th August 1998 for £265 and the bowl on 28th May 1998 for £150. Copies of the original invoices are available.

207 A LARGE JAPANESE ARITA BLUE AND WHITE DISH EDO PERIOD, CIRCA 1700 Decorated in kraak style with two ho-ho birds amongst rockwork, pomegranates and hibiscus flowers to the well, the rim with panels enclosing alternating motifs of peonies and other flowers, 38.5cm.

£200-300

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.16 no.46, for a comparable tea bowl. The author also discusses how this piece resembles others produced with Chinese-style decoration for the Dutch market.

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

208 A JAPANESE ARITA BLUE AND WHITE SAKE BOTTLE, TOKKURI EDO PERIOD OR LATER, 18TH OR 19TH CENTURY

209 A JAPANESE BLUE GLAZED SAKE BOTTLE, TOKKURI MEIJI PERIOD, 19TH CENTURY

The tall rectangular body decorated in underglaze blue, each side depicting a different carp leaping up a waterfall, with branches of pine and blossoming prunus above, the shoulder painted with rows of pine needles and four chidori birds, the neck with triangular lappets, 20cm.

The tall rectangular body incised with pines to two sides and inscribed to another, the fourth left bare, the upper section and shoulder with bands of key fret and the neck with V-shaped patterns, the base with a paper collection label for “K.R.M.”, 29cm.

£1,000-1,500

£200-300

210 A JAPANESE KAKIEMON OGEE-SHAPED TEA BOWL EDO PERIOD, 17TH CENTURY

211 A PAIR OF JAPANESE KIKUGAWA KAKIEMON-STYLE BOWLS EDO PERIOD, 18TH OR 19TH CENTURY

The deep body shaped as a five-petal flower and raised on a short foot, the sides painted in red, green, blue and black enamels with two sprays of flowering chrysanthemum, a further spray delicately painted to the well, the underside with a paper label for “Du Boulay Collection ED 126”, 7cm.

With deep fluted bodies, both decorated to the cavetto with a bird perched on a flowering branch of peony and with another bird amongst tall grasses, the well with a single prunus flowerhead, the exterior painted with two flower sprays and a small red bird in flight, 11.7cm dia. (2)

£100-200

£300-500

Provenance: from the collection of Anthony du Boulay Esq.

212 A PAIR OF LARGE JAPANESE ARITA BLUE AND WHITE BALUSTER VASES AND COVERS EDO PERIOD, CIRCA 1700 Of octagonal form, each decorated with a continuous scene of ho-ho birds in a river landscape, with large hibiscus and peony flowers blooming amongst rocky outcrops, a band of triangular lappets above the foot, karakusa scrolls and palmettes to the shoulder and Buddhist emblems to the neck, with domed covers, one associated, 67cm and 66cm. (4)

£12,000-15,000 Cf. Japanese Art, 23rd May 2018, lot 953 for another pair of vases with similar decoration from Warrens House, Bramshaw, the New Forest sold in these rooms.

213 A MASSIVE JAPANESE ARITA WHITE GLAZED VASE EDO PERIOD, 18TH CENTURY The ovoid body raised on a stepped foot, a tall trumpet-shaped neck rising above, the shoulders with elephant head handles, 79.8cm.

£2,000-3,000 It is possible that this impressive vase is a blank piece meant to be enamelled or lacquered at a later stage.

214 No lot

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

215 TWO JAPANESE IMARI SAKE BOTTLES, TOKKURI EDO PERIOD, 18TH OR 19TH CENTURY

216 A JAPANESE IMARI DISH EDO PERIOD, 18TH CENTURY

Both mallet-shaped, raised on a short foot and with a tall neck, the bodies decorated in underglaze blue, gilt, red, green and yellow enamels, moulded with large bell-shaped panels enclosing a writhing dragon and a tiger amongst prunus flowers and rockwork, with figures under sakura blossoms in between, the shoulder with Buddhist emblems, ho-ho birds and peonies, both with a Chinese mark for Da Ming Chenghua nian zhi, both 31cm. (2)

Typically decorated in underglaze blue, gilt and red enamels, the well painted with a vessel containing large peonies, chrysanthemum and prunus blossoms, the cavetto and rim with three shaped panels of birds perched amongst flowers, alternating with further stylised flowerheads and scrolling tendrils, 25cm.

£1,000-2,000

£100-200 Provenance: a Scottish private collection acquired in the early 1900s.

217 A PAIR OF JAPANESE IMARI DISHES EDO OR MEIJI PERIOD, 19TH CENTURY The foliate bodies decorated in underglaze blue, gilt, red, green and purple enamels, the well with a central medallion depicting Hotei surrounded by precious objects, the cavetto painted with alternating panels of stylised flowers and scrolling tendrils, the underside with Buddhist emblems, both 24.3cm. (2)

£200-300 Provenance: an English private collection, Wiltshire.

Exbury House, Hampshire

218 A PAIR OF IMPRESSIVE JAPANESE IMARI BALUSTER VASES EDO PERIOD, 18TH CENTURY Both decorated in underglaze blue, gilt, red, green and pink enamels with fan and ribbon-shaped panels enclosing ho-ho birds perched on branches of paulownia, on a deep navy-blue ground with flowering chrysanthemum amongst scrolling tendrils in gilt, with shaped lappets above the foot and smaller panels around the neck enclosing further birds and stylised lotus flowers, the shoulders with a band of leaping dragons on a red ground, both raised on elegant European ormolu mounts, probably 19th century, both 71cm. (2)

ÂŁ3,000-5,000 Provenance: Lionel de Rothschild (1882-1942), Edmund de Rothschild (1916-2009), the Trustees of Exbury House. Cf. J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol.II, pp.677-8 for two pairs of Japanese Imari vases with comparable decoration. Lionel de Rothschild, OBE (1882-1942) was the eldest son of Leopold de Rothschild and part of the prominent Rothschild banking family of England. After the death of his father in 1917, Lionel and his brother Anthony became the managing partners of N M Rothschild & Sons bank. Aside from his involvement in the family bank, Lionel was also a Conservative politician, serving as MP for the Vale of Aylesbury from 1910 to 1923. After selling Halton House which he had inherited from his uncle Alfred de Rothschild in 1918, the following year Lionel purchased the Mitford estate at Exbury in Hampshire. Lionel had been interested in horticulture from an early age and dedicated much time and money into creating an impressive garden at Exbury. He was also responsible for the building of Exbury House on the estate in the 1920s. Lionel passed away in 1942, and the estate was inherited by his son Edmund de Rothschild (1916-2009) who devoted himself not only to the family business but also to maintaining and developing Exbury Gardens which had fallen into disrepair during the Second World War. Whilst Exbury House remains private, the gardens are open to the public and are still regarded as some of the finest in the United Kingdom today.

Lionel de Rothschild (1882-1942)

These Japanese vases (opposite) were in the collection of Lionel de Rothschild at Exbury House and subsequently passed by descent to Edmund.

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

219

220

221

222

219 A SMALL JAPANESE SATSUMA VASE BY HODODA MEIJI PERIOD, 19TH CENTURY

221 A JAPANESE MINIATURE SATSUMA VASE BY RANZAN MEIJI PERIOD, 19TH CENTURY

Of ovoid form and raised on a short flared foot, decorated to the shoulder in gilt and polychrome enamels with chrysanthemum flowerheads amongst scrolling tendrils, the lower section in openwork with petal-shaped reticulations, the base signed Hododa zo, 9cm.

The baluster body decorated in gilt and polychrome with two large shaped panels enclosing many people in a street to one side, one man being carried in a palanquin, the reverse with two groups of soldiers about to get into battle, on a densely painted ground of brocade patterns, the base signed Ranzan in a square reserve, 9.3cm.

£400-600 220 AN UNUSUAL JAPANESE SATSUMA VASE BY KINKOZAN MEIJI PERIOD, 19TH CENTURY The pear-shaped chocolate-brown body decorated in gilt with a writhing dragon amongst flaming wisps, the mythical beast holding a pearl of wisdom between its claws, with details highlighted in silver and red enamels, the reverse with the feather coat of a tennin signed Kinkozan zo, 9.3cm.

£300-500 Provenance: from the collection of Richard Gordon Smith (1858-1918) and thence by descent. Gordon Smith was an English traveller, sportsman and naturalist who lived in Japan at the turn of the century. He transcribed traditional myths in “Ancient Tales and Folklore of Japan” (1908) and his diaries were later published in “Travels in the Land of the Gods: The Japan Diaries of Richard Gordon Smith” (1986). See Bonhams London, 10th November 2011, lot 344, for a related vase by Kinkozan with the dragon facing the opposite way.

£100-200 222 A JAPANESE MINIATURE SATSUMA VASE BY RYOZAN MEIJI PERIOD, 19TH CENTURY The ovoid body delicately painted with a continuous river landscape, one side with two waders walking in a stream by a woven fence, the reverse with another bird in flight, a small thatched building visible in the distance, with large sprays of peonies, chrysanthemum, irises and other flowers, a band of key fret in gilt above the foot and brocade patterns to the neck, the base signed Ryozan kore zo, 9.6cm.

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

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

223 A JAPANESE SATSUMA BOWL BY KINZAN MEIJI PERIOD, 19TH OR 20TH CENTURY With a foliate rim and decorated in gilt and polychrome, the well with two large rats gnawing at a feather and with a third one in the distance, the rim richly painted with brocade patterns, the outside with scattered branches of coral and the foot surrounded by lappets with further brocade patterns and scrolling tendrils, the base signed Kinzan in a square reserve, 15.1cm dia.

£1,200-1,500

224 A JAPANESE SATSUMA DISH BY KOBAYASHI KEIZAN MEIJI PERIOD, 19TH CENTURY Decorated in gilt and polychrome with many different birds in a luxuriant river landscape, the chickens, ducks, swallows and tits surrounded by an abundance of flowers, with peonies, chrysanthemum, prunus, hibiscus and many other flowers painted in a profusion of colours, the rim with a band of key fret, the reverse with three large clusters of butterflies and an elaborate signature for Kobayashi Keizan in two colourful reserves surrounded with branches of maple leaves, 24.7cm.

£1,000-2,000 Provenance: an English private collection of Satsuma wares, Wiltshire. Purchased from Sotheby’s London, 12th November 2002, lot 262; a copy of the original receipt is available.

225 A JAPANESE SATSUMA DISH BY FUJISAN MEIJI PERIOD, 19TH CENTURY Decorated in gilt and polychrome, the well with a large flower-shaped panel enclosing two beauties and three children on a veranda, one woman seated at a low table with a scroll painting before her, a blossoming prunus tree above them and a meandering stream beyond, on a dark navy-blue ground painted in gilt with chrysanthemum flowerheads and scrolling tendrils, the rim with a border containing scale-like patterns, the underside with a deep blue glaze and the base signed Fujisan zo in a square cartouche, 18.4cm.

£800-1,200

227

226

226 A LARGE JAPANESE SATSUMA DISH BY SHOZAN MEIJI PERIOD, LATE 19TH OR EARLY 20TH CENTURY Richly decorated in gilt, polychrome and thick white enamels, painted with a millefleurs design of a multitude of flowerheads, a large white chrysanthemum to the well, signed Shozan underneath and with an impressed circular mark, 30.6cm.

£200-300 Provenance: an English private collection of Satsuma wares, Wiltshire.

227 A JAPANESE SATSUMA BOWL BY SENZAN MEIJI PERIOD, 20TH CENTURY The lobed body richly decorated with a multitude of colourful birds in flight on a gold ground, the well with the larger depiction of a peacock amongst a variety of other birds including cranes, kingfishers, a pheasant and a chicken, the outside with similar decoration, the base signed Senzan, 12.5cm dia.

£300-500 228

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

228 A JAPANESE SATSUMA INCENSE BURNER AND COVER, KORO MEIJI PERIOD, 19TH CENTURY The compressed circular body raised on three short feet, the handles shaped as chrysanthemum flowerheads, painted with eight roundels depicting figures, flowers and a landscape on a dense background of brocade patterns, the base signed Matsumoto Hozan, 7.5cm. (2)

£200-300 229 AN UNUSUAL JAPANESE SATSUMA COMMEMORATIVE DISH TAISHO PERIOD, DATED 1922 Decorated to the well with a biplane flying between the Belém Tower in Lisbon and the Brazilian archipelago of Fernando de Noronha, the dates 1500 and 1922 underneath, with the Portuguese and Brazilian flags and national emblems above, the back with an inscription reading “PV de Couto, Director Goeidow’s Porcelain & Satsuma Painting Factory, No.2 Sannomiya cho I Chome, Kobe Japan”, 25cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200 229 14

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

230

231

230 A PAIR OF JAPANESE GOSU SATSUMA VASES BY YUZAN MEIJI PERIOD, 19TH CENTURY Both of ovoid form raised on a tall flared foot, painted with auspicious objects including cash, scrolls, pearls, a fan and Daikoku’s mallet, the foot and shoulder decorated with brocade patterns and flowerheads on a ground of scrolling tendrils, the necks with bands of key fret, one signed Yuzan zo and the other with the same very faint signature, both 13cm. (2)

£300-500 Provenance: an English private collection, London and Shetland.

231 A JAPANESE TEA CUP AND SAUCER BY KINKOZAN MEIJI PERIOD, 19TH CENTURY Both delicately painted with a design of purple and white wisteria flowers, the wells with a flutter of butterflies, the inner rim of the cup with a band of scrolling clouds, with details highlighted in gilt, the saucer signed Kinkozan in a rectangular cartouche and the cup with an impressed mark for Kinkozan zo, 12.2cm max. (2)

£200-300

232

Provenance: an English private collection, Gloucestershire.

232 A JAPANESE SATSUMA VASE BY FUZAN MEIJI PERIOD, 19TH CENTURY The bulbous faceted body painted with four circular panels, two depicting scenes of figures in landscapes and the two others with birds and butterflies flying over flowers, on a dark midnight-blue ground decorated in gilt with brocade patterns and chrysanthemum flowerheads, the bases signed Fuzan, 16cm.

£200-300 233 A PAIR OF JAPANESE SATSUMA VASES BY HASEGAWA MEIJI PERIOD, 19TH CENTURY Of tall cylindrical form, the bodies decorated with rectangular panels enclosing beauties and river landscapes, on a ground of roundels variously depicting plants, animals and mythical creatures, both signed Hasegawa zo; together with a 20th century Japanese bronze vase, the trumpet-shaped body decorated with red splashes, a three character signature to the base and with a paper label for Gregg Baker London, 27.8cm max. (3)

£150-250

233 15

234

235

234 A GOOD JAPANESE SATSUMA TRAY BY TOZAN MEIJI PERIOD, 19TH CENTURY Of oval form with a tall rim, richly decorated in gilt and polychrome with a swarm of insects including butterflies, grasshoppers, beetles, fireflies and praying mantis, one small snail to one corner, the border with a band of shippo-tsunagi cash patterns, the rim with a millefleurs pattern of chrysanthemum, peonies and hydrangea, and the reverse with a band of stylised flowerheads and paulownia-shaped Imperial mon crests, a four character mark to the side for Tozan, 31.5cm.

ÂŁ2,000-3,000 Provenance: an English private collection of Satsuma wares, Wiltshire. Purchased from Barry Davies Oriental Art Ltd, London, 10th June 1999; a copy of the original receipt is available.

235 A GOOD JAPANESE SATSUMA TRAY BY FUZAN MEIJI PERIOD, 19TH CENTURY Richly painted in gilt and polychrome, the well with a large rectangular panel enclosing many beauties in a luxuriant garden, a river to the side and Mount Fuji towering in the distance, the figures in the foreground engaged in a game of kemari involving brocade balls, temari, one man on the floor among them, with further figures observing from a veranda behind, the border with brocade patterns, flowerheads, shippo-tsunagi cash patterns and other geometrical designs, the underside with further chrysanthemum blooms, the short foot painted with a thin band of dentils and signed Fuzan to the base, 15cm x 23.9cm.

ÂŁ1,000-2,000 Provenance: an English private collection of Satsuma wares, London. The idea of the game of kemari is to keep the ball in the air for as long as possible.

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

236

237

236 A JAPANESE SATSUMA VASE BY KINKOZAN MEIJI PERIOD, 19TH CENTURY The slender baluster body decorated in gilt and polychrome with a continuous scene of many people in a garden, some sitting in a bamboo grove for a picnic, others carrying bundles of food, the shoulder with colourful bands of brocade patterns, the foot with chevrons and scale-like patterns and scrolling tendrils, the base signed Kinkozan zo in a square cartouche and with another impressed mark, 17.9cm.

ÂŁ1,200-1,500 237 A TALL JAPANESE SATSUMA VASE BY KINKOZAN MEIJI PERIOD, 19TH CENTURY The baluster body richly decorated in gilt and polychrome with two large heart-shaped panels, one side with many chickens underneath trellis covered with fruiting gourds, flowers and scrolling tendrils, the reverse with ducks by a river and with flowering hibiscus behind them, on a dense ground of comma-shaped patterns and gilt dots, with a band of chevrons above the foot and to the rim, the base signed Kinkozan zo in a square cartouche, 26cm.

ÂŁ3,000-5,000 Provenance: an English private collection of Satsuma wares, Wiltshire.

238 A GOOD JAPANESE SATSUMA BOWL BY NAKAMURA BAIKEI MEIJI PERIOD, 19TH CENTURY The well delicately painted with a scene of revelers on a pleasure boat, the vessel with a dragon-shaped prow and a large model of a white phoenix on the roof, the family crest for the Tokugawa clan underneath, Maru ni Mitsuba Aoi mon, other boats visible in the distance and a densely-built island with a torii gate to the side, two cranes flying above, the rim with bands of chrysanthemum flowerheads, the outside with many cloud-shaped panels variously containing figures engaged in daily activities, some at work and others at leisure, the square foot surrounded by bands of lappets and brocade patterns, the base signed Nakamura Baikei with a gilt square seal and a gourd-shaped panel enclosing a long self-congratulatory inscription, 12.2cm dia.

ÂŁ5,000-8,000 Provenance: an English private collection of Satsuma wares, Wiltshire. Purchased from Sothebyâ&#x20AC;&#x2122;s London, 20th June 2002, lot 266; a copy of the original receipt is available. The decoration to the well may be a reference to chapter 24 of The Tale of Genji, in which the Prince arranges for the construction of Chinese-style barges with dragon and phoenix decoration for a spring party in honour of Lady Murasaki, his favourite consort.

side 18

reverse

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239 A LARGE AND IMPRESSIVE JAPANESE SATSUMA VASE BY RYOZAN FOR THE YASUDA COMPANY MEIJI PERIOD, 19TH CENTURY The ovoid body richly decorated in gilt and polychrome with two large rectangular panels enclosing many figures in mountainous river landscapes, one side with Mount Fuji towering above revelers at leisure by a river, some drinking sake in small thatched huts and setting up a picnic under the sakura cherry blossoms, others standing on a veranda and admiring the landscape; the reverse with many travellers on the shore of the Abe River, some on horseback and other on barges, a sign to the side mentioning the Tokaido Road; the panels on an elaborate ground of densely painted brocade designs, geometric patterns and flowerheads, with four medallions to the shoulder enclosing the Maru ni Mitsuba Aoi mon, the family crest for the Tokugawa clan; with further brocade patterns above the foot, the base signed with the mark for the Yasuda Company, Dai Nihon, and Kyoto Ryozan with the Shimazu mon underneath, 30cm, 4.2kg.

ÂŁ10,000-15,000 Provenance: the collection of Stan & Winifred Gerrans, South Africa, and thence by descent. The elaborate decoration depicts the shores of the Abe River where the 19th station of the Tokaido Road, the main artery of Japan that connected Edo (Tokyo) to Kyoto, was located. Ryozan was the head decorator for the Yasuda Satsuma factory, and this is a telling example of his talent.

Winifred Gerrans (left)

two views

240 AN UNUSUAL JAPANESE SATSUMA BOX BY KOZAN MEIJI PERIOD, 19TH CENTURY Of rectangular shape, the body decorated in gilt and polychrome, two sides with many figures in mountainous river landscapes, the others with large sprays of peonies, hydrangea, irises and chrysanthemum, the top with brocade patterns, stylised flowerheads and a quatrelobed aperture, the inside delicately painted with a still life of scholar’s and Buddhist objects, flowers in vases and a scroll painting to the back, kakemono, one side signed Kozan, 5.3cm x 8.4cm x 12.1cm.

£2,000-3,000

241 A LARGE AND IMPRESSIVE JAPANESE SATSUMA BOWL BY RYUZAN MEIJI PERIOD, 19TH CENTURY The deep U-shaped body raised on a short foot and decorated in gilt and polychrome, the well delicately painted with a kaleidoscope of hundreds of butterflies fluttering all over the surface, the inner rim with a band of key fret and shippo-tsunagi cash to the reverse, the outside with a continuous decoration of many flowers, chrysanthemum, peony, hibiscus and irises above a swarm of insects including crickets, cicadas, flies and fireflies, a band of lappets and further shippo-tsunagi above the foot, the base signed Dai Nihon Kyoto fu Ryuzan tsukuru, 23cm dia.

£5,000-8,000 Provenance: an English private collection of Satsuma wares, Wiltshire. Purchased from Christie’s London, 7th June 2000, lot 273; a copy of the original invoice is available.

inside

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242 A JAPANESE SATSUMA BOWL BY YOZAN MEIJI PERIOD, 19TH CENTURY With a scalloped rim and richly painted in gilt and polychrome, the well with three large panels enclosing butterflies fluttering above peonies, figures in a mountainous river landscape and large carp swimming in a stream, on a ground of many flowers and brocade patterns, the rim painted black with cherry blossoms and karakusa scrolls in gilt, the outside with a continuous design of butterflies amongst peonies, chrysanthemum, hibiscus and hydrangea, the base signed Kyoto Yozan in a square cartouche, 10cm.

£2,000-3,000

243 A JAPANESE GOSU SATSUMA INCENSE BURNER AND COVER BY SHOGETSU, KORO MEIJI PERIOD, 19TH CENTURY The baluster body raised on three feet and typically decorated with gilt, red and thick blue enamels, the mid-section with large open fans painted with ho-ho birds, chrysanthemum flowerheads, karakusa scrolls, and other geometrical patterns, on a ground of scrolling tendrils and flowers, a band of key fret below, the foot and shoulder with lappet-shaped panels enclosing brocade patterns, the openwork metal lid topped with a hat and chrysanthemum, signed Shogetsu, 18cm. (2)

£200-400

244 A JAPANESE GOSU SATSUMA VASE AND COVER BY HYOKOSEKI MEIJI PERIOD, 19TH CENTURY The baluster body richly decorated in gilt and blue, red and green enamels, with many chrysanthemum flowerheads on a dark navy-blue ground to the shoulder and foot, the central section with hibiscus blooms amongst leafy branches, the lid echoing the decoration and the knop painted with a sixteen-petal chrysanthemum, the base signed Dai Nihon Satsuma yaki Hyokoseki ga under the Shimazu mon and with old paper collection labels, 29.5cm. (2)

£400-600

245 A TALL JAPANESE VASE BY GENROKU TOMINAGA (1859-1920) MEIJI OR TAISHO PERIOD, 20TH CENTURY The elegant slender body decorated in underglaze blue and gilt with blossoming branches of prunus and pine before bamboo, the base signed Genroku sei, 40cm.

£300-500 Genroku worked in Ureshino on the Island of Kyushu during the late 19th/early 20th century. He became Head of the Protection of Cultural Properties Commission and won many prizes, including awards at the Fifth National Industrial Exposition in 1903.

246 A JAPANESE KUTANI BOTTLE VASE MEIJI PERIOD, 19TH CENTURY The tall body richly decorated in gilt and red, blue, green and black enamels, the middle section with a dense pattern of flowerheads, a band of stylised flowers above and the neck with a hexagonal tortoiseshell motif, the base with a fuku mark, 36cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250

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247 TWO JAPANESE BOWLS FOR THE TEA CEREMONY, CHAWAN EDO PERIOD OR LATER, 17TH CENTURY OR LATER One with a tall U-shaped body decorated with gold lacquer seemingly dripping over the black glaze, the shapes evoking mountain tops and clouds, the glaze stopping short of the foot and with an incised mark for Ninsei, a paper collection label reading “Nonomura Seisuke Ninsei 1650”, the other in raku style with pink mottling over a brown ground, with old kintsugi gold lacquer restoration, 9.6cm and 7.8cm respectively. (2)

£1,000-2,000 Provenance: an English private collection, London and Shetland. See the Seikado Bunko Art Museum, Iro-e Yoshino Yama zu Chatsubo (Important Cultural Property), for a large tea storage container by Ninsei with a similar pattern of gold clouds over a deep black ground, representing the night sky over Mount Yoshino.

248 A JAPANESE ORIBE-STYLE DISH MEIJI PERIOD, 19TH CENTURY The quatrelobed body decorated with splashes of thick blue and green enamels, the well with a large stylised crayfish and an amoeba-like organism, the short rim with brown abstract patterns and the underside left unglazed, 19.8cm.

£300-500 Provenance: an English private collection, London and Shetland.

249

250

251

252

253

254

249 A SMALL JAPANESE KYOTO WARE TEA CADDY MEIJI PERIOD, 19TH OR 20TH CENTURY The gourd-shaped body decorated in thick yellow, green and black enamels with panels variously enclosing cranes, a samurai, buildings in a mountainous landscape and a fox dressed as a farmer on a dense ground of brocade patterns, with hoju-no-tama, the wish-fulfilling jewels, and roundels shaped as dragons, the lid with a loop handle and a band of key fret, 12cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

250 A LARGE JAPANESE KYOTO WARE BOX AND COVER MEIJI PERIOD, 19TH CENTURY The squat circular body and lid decorated with branches of flowering prunus, the flowers painted in thick white and navy-blue enamels and the pistils in gilt, the base signed in red enamels under the Shimazu mon, 29cm dia. (2)

251 A JAPANESE KUTANI BOTTLE VASE MEIJI PERIOD, LATE 19TH CENTURY With a tall cylindrical neck rising from a square-section body, each side decorated with a panel variously enclosing figures in gardens, a lion dog and a bird of prey, with further panels to the shoulder, the neck and foot painted with red and gilt scrolling tendrils and brocade designs, 24.5cm.

£200-300

£200-400

£100-200 252 TWO JAPANESE VASES MEIJI PERIOD OR LATER, 20TH CENTURY One cylindrical and painted with poppies in Kakiemon style, together with an associated wood stand, the other mallet-shaped and decorated with two panels of ho-ho birds on a ground of iron-red geometrical designs, the base with an impressed mark, 19.5cm and 25.8cm respectively. (3)

£200-300 Provenance: Lionel de Rothschild (1882-1942), Edmund de Rothschild (1916-2009), the Trustees of Exbury House.

253 TWO JAPANESE BLUE AND WHITE VASES MEIJI PERIOD, 19TH CENTURY The tall baluster-shaped bodies decorated with bands of flowerheads and tendrils to the neck and foot, one vase painted with sparrows amongst flowering prunus and peonies, the other with a couple and a small child resting under a pine tree, both signed Kan sei, both 31cm. (2)

£200-300 24

254 A PAIR OF JAPANESE KUTANI VASES MEIJI PERIOD, 19TH CENTURY Both decorated in polychrome and gilt with many figures in a continuous river landscape, some standing at a balcony and others on small pleasure barges, the elegant shape of Mount Fuji towering above them, with rich brocade patterns to the shoulders and feet, the bases signed Kutani, Nishinoura tsukuru Murakami ga, both 29.5cm. (2)

£300-500

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255

256

257

258

259

255 A JAPANESE KUTANI MODEL OF A DOG, OKIMONO MEIJI PERIOD OR LATER, 19TH OR 20TH CENTURY

256 A JAPANESE WHITE GLAZED MODEL OF A SQUIRREL, OKIMONO EDO PERIOD OR LATER, 19TH CENTURY

The small Pekingese seated on its haunches and turning its head while raising its right paw, with details highlighted in polychrome enamels, 17cm.

Possibly Hirado ware, the rodent depicted clambering upon a rocky outcrop, its eyes picked out in brown and with its long tail trailing behind, with luscious fruiting vines growing to the side, 14.5cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250

£200-300

257 A JAPANESE KUTANI FIGURE OF DARUMA, OKIMONO MEIJI PERIOD OR LATER, 19TH OR 20TH CENTURY

258 TWO JAPANESE HIRADO FIGURES, OKIMONO MEIJI PERIOD AND LATER, 19TH AND 20TH CENTURY

The Founder of Zen Buddhism depicted reclining and holding a nyoi sceptre, wearing his typical red robes, with details highlighted in gilt, 12.4cm.

Depicting a man and a woman standing, both holding fans and with their eyes subtly picked out in blue, 23cm and 22cm respectively. (2)

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250

259 TWO JAPANESE KUTANI MODELS OF DOVES, OKIMONO MEIJI PERIOD, 19TH CENTURY The birds perched on gnarled trunks, their plumage colourfully depicted in gilt and green, blue, purple and yellow enamels, both 28cm. (2)

£200-300

£80-120

260 LITERATURE A COLLECTION OF REFERENCE BOOKS Relating to netsuke, inro and other Japanese works of art. (59)

£500-800

261 LITERATURE A LARGE COLLECTION OF BOOKS AND OTHER PUBLICATIONS Relating to Chinese, Japanese and South-East Asian art. (a lot)

£400-600

262 LITERATURE A COLLECTION OF AUCTION CATALOGUES Relating to Chinese and Japanese art, from Christie’s, Sotheby’s and Bonhams. (43) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300

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263 LITERATURE G LAZARNICK, NETSUKE & INRO ARTISTS AND HOW TO READ THEIR SIGNATURES, 1982

264 LITERATURE F MEINERTZHAGEN, THE MEINERTZHAGEN CARD INDEX ON NETSUKE IN THE ARCHIVES OF THE BRITISH MUSEUM, 1986

Volumes I and II. (2)

£600-1,000

265 LITERATURE A SMALL COLLECTION OF AUCTION CATALOGUES

266 LITERATURE THE NASSER D. KHALILI COLLECTION OF JAPANESE ART, MEIJI NO TAKARA, TREASURES OF IMPERIAL JAPAN, CERAMICS PART II, EARTHENWARE, 1995

Four relating to the Henri Vever Collection sold at Sotheby’s 1974-1977, the fifth for a sale of Japanese prints, drawings and paintings at Sotheby’s on 22nd March 1978. (5) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

Together with L Lawrence, Satsuma, Masterpieces from the world’s important collections, 1991. (2)

£100-200

£200-300 Provenance: an English private collection of Satsuma wares, Wiltshire.

267 A LARGE COLLECTION OF PAPER EPHEMERA 19TH AND 20TH CENTURY Comprising: a large number of Japanese woodblock prints; a portrait by Ikeda Shozo (1922-2004), two depictions of birds and flowers entitled Early Summer and Winter by Rakuzan Tsuchiya (1896-1976), bookplates, maps, and other printed and painted items. (a lot) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£500-1,000

268 A COLLECTION OF FORTY JAPANESE WOODBLOCK PRINT TRIPTYCHS MEIJI PERIOD AND LATER, 19TH CENTURY AND LATER Comprising: portraits of actors, depictions of military events, beauties in gardens and other figures engaged in daily life. (40)

£1,000-2,000

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269 A LARGE COLLECTION OF JAPANESE WOODBLOCK PRINTS MEIJI PERIOD AND LATER, 19TH CENTURY AND LATER Depicting figures engaged in daily activities, military events, beauties in luxuriant gardens and other various scenes. (a lot)

£400-600

270 FIVE JAPANESE WOODBLOCK PRINTS MEIJI PERIOD, LATE 19TH CENTURY Depicting beauties and children engaged in daily activities, three by Chikanobu Yoshu (1838-1912) and two by Miyagawa Shuntei (1873-1914), all glazed and framed, 49.7cm x 38.5cm max. (5)

£300-500 29

271 A LITHOGRAPH PRINT BY ELIZABETH KEITH (1887-1956) 20TH CENTURY Depicting two Korean court musicians in traditional outfits, one playing the flute and the other the gayageum, a zither-like instrument with twelve strings, signed in pencil Elizabeth Keith and numbered 30/50, 40cm x 27cm.

£400-600 Elizabeth Keith (1887-1956) was a Scottish artist who specialised in print-making and watercolours. She was significantly influenced by her extensive travels in Asia, producing many portraits of Japanese, Korean and Chinese people engaged in daily activities.

272 A LARGE JAPANESE PRINTED MAP OF TOKYO MEIJI PERIOD, 19TH CENTURY Orientated to the West and printed on four sheets of paper, showing the old centre of Edo with the Imperial palace and the mouth of the river Sumida, with areas and details picked out in red and blue and with a compass rose device, framed and glazed, 91cm x 64cm.

£200-300 The inscription in the lower left corner lists ‘the eighteen most famous pine trees of Tokyo’ with their locations and so this map was probably aimed at Japanese visitors sightseeing in the city.

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273 A SMALL COLLECTION OF JAPANESE PRINTED BOOKS EDO AND MEIJI PERIOD, 18TH CENTURY AND LATER Including seven volumes of the Manga by Katsushika Hokusai (1760-1849) and pages from Shashin Kacho Zue by Kitao Shigemasa (1739-1820), textbooks, instruction manuals and other works, some with illustrations variously depicting birds, figures and landscapes. (approx. 30)

£500-1,000

274 part lot illustrated

275 part lot illustrated

274 A COLLECTION OF JAPANESE WOODBLOCK PRINTS MEIJI PERIOD AND LATER, 19TH CENTURY AND LATER

275 A JAPANESE WOODBLOCK PRINT MEIJI PERIOD, 19TH CENTURY

Comprising: artworks by Chikanobu Yoshu (1838-1912), Utagawa Kunisada II (1823-1880), Kunimasa Baido (1848-1920), Utagawa Kuniteru II (1830-1874), Utagawa Kuninao (1793-1854), Toyohara Kunichika (1835-1900), Chikanobu Yoshu (1838-1912), Utagawa Hirosada (1819-1865) and others, variously depicting actors, sumo wrestlers, courtesans and other beauties. (14)

By Utagawa Kunisada II (1823-1880) and depicting an actor dressed as Genkuro, the shape-shifting fox spirit, in a modern frame and glazed, together with a volume of the Manga by Katsushika Hokusai (1760-1849), volume 12, the framed print 34.7cm x 24cm. (2)

£100-200

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£500-1,000 31

276 A SET OF SIX JAPANESE WATERCOLOUR PAINTINGS ON PAPER MEIJI PERIOD, 19TH CENTURY The upper halves with the Gods of Rain and Thunder Raijin and Fujin, the lower section with figures engaged in daily activities, one panel depicting them running away from the rain, another building snowmen, one panel with a red seal mark to the lower right corner, all in their original wooden frames, all 37.2cm x 19cm. (6) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200

276

277

277 A JAPANESE PAINTING OF A BIRD OF PREY MEIJI PERIOD, 19TH CENTURY In ink and colour on silk, the raptor depicted in flight before branches of pine, signed to the lower right corner and with a red seal mark, the painting mounted on board, 65cm x 50.5cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 278 A JAPANESE PAINTING AFTER WATANABE SEIBEI (1851-1918) MEIJI PERIOD, 19TH OR 20TH CENTURY In ink and colour on paper, depicting three small sparrows amongst sprays of millet and a fourth flying above, signed in the lower right corner and with a red seal mark, in its original frame and glazed, 32.5cm x 27cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

278 32

£150-250

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279 part lot illustrated

279 A SMALL COLLECTION OF JAPANESE PRINTS MEIJI PERIOD AND LATER, 19TH AND 20TH CENTURY Two by Hiroshi Yoshida (1876-1950), one entitled Sacred Bridge, the other a view of Mount Fuji from Suzukawa, another by Hasui Kawase (1883-1959), Dusk at Tagonoura Beach from the series Selection of Views of the Tokaido, the others depicting figures engaged in various activities and the last with two peacocks, six framed and glazed, 41.6cm x 37.2cm max. (7) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 280 A JAPANESE WOODBLOCK PRINT OF A CAT SHOWA PERIOD, C.1930 Attributed to Aoyama Seizan (act. 1920-1930), the small feline depicted carrying an unfortunate frog in its mouth, framed and glazed, 26.5cm x 39cm.

£150-250

280 33

281 part lot illustrated

281 THREE JAPANESE PAINTINGS EDO PERIOD AND LATER, 18TH CENTURY AND LATER One in ink on paper depicting Hotei, the God of Good Fortune reclining on his treasure sack, framed and glazed; the other two in ink on silk, one of a sponge gourd and vines, the other with lines of calligraphy on a ground embellished with gold flowers and long grasses, mounted on board; together with five prints depicting beauties engaged in various activities, 28cm x 21.5cm max. (8) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 282 A JAPANESE SCROLL PAINTING WITH CALLIGRAPHY, KAKEMONO EDO PERIOD, 17TH CENTURY In ink on paper, inscribed with characters in kanji script with the phrase “the dragon appears at dawn”, signed Abbot Taishin and with three red seals, a paper slip to the reverse mentioning that Taishin was the “noted 17th century Abbot of the Zenrinji Temple” in Kyoto, 129.5cm x 27.5cm.

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

283 A JAPANESE SCROLL PAINTING WITH CALLIGRAPHY, KAKEMONO MEIJI PERIOD OR LATER, 19TH CENTURY OR LATER In ink on paper, with the characters for sadame (fate) written in hiragana and kanji scripts, signed to the left-hand side and with a red seal, 38.5cm x 48.5cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 282

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283

284 TWO JAPANESE SCROLL PAINTINGS, KAKEMONO MEIJI PERIOD OR LATER, 19TH OR 20TH CENTURY One depicting a kaleidoscope of butterflies fluttering on a bare ground, signed to the lower right corner and with two red seal marks, 108cm x 41cm, the other in the style of Kishi Ganku (1749-1839) and depicting a ferocious-looking tiger emerging from behind rockwork, with bamboo above, a red seal mark to the lower left cover, 98cm x 32cm. (2)

£200-300

284 part lot illustrated

285 A JAPANESE SCROLL PAINTING, KAKEMONO MEIJI PERIOD, 19TH CENTURY Depicting an extensive mountainous river landscape, with a fisherman in the foreground, willow trees and buildings nestled in the hillside and a tiered pagoda in the distance, inscribed with calligraphy and with three seal marks, 125cm x 49cm.

£200-300 286 A JAPANESE SCROLL PAINTING, KAKEMONO EDO PERIOD OR LATER, 18TH CENTURY OR LATER In ink on paper, depicting a nine-storey pagoda amongst clouds with a stream meandering in the foreground and trees behind, signed in the lower right corner Hanabusa Itcho (1652-1724) and with a red seal, 111cm x 15cm.

£200-400 Provenance: an English private collection, London and Shetland. This scroll painting possibly depicts one of the two pagodas that stood in the 8th century in Todaiji, Nara. See the Freer Gallery of Art and Arthur M. Sackler Gallery, access. no.F1904.388, for another painting of a multi-storey pagoda signed Hanabusa Itcho, formerly in the collection of Michael Tomkinson (1841-1921).

285

286 35

287 A JAPANESE RIMPA SCHOOL TWO-FOLD PAPER SCREEN, BYOBU EDO PERIOD, 18TH CENTURY Painted in ink and colour on a gold ground with morning glories amongst bamboo, the branches partly obscured by scrolling clouds, 172cm x 180cm.

£400-600 Provenance: from the collection of James Benson OBE (1925-2018), purchased from Milne Henderson Oriental Art, London. James ‘Jimmy’ Benson worked as a submariner during World War II and later became the Vice Chairman of marketing company Oglivy & Mather International.

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

288 A JAPANESE HANDSCROLL PAINTING OF THE NIJO IMPERIAL EXCURSION OF 1626, MAKIMONO MEIJI PERIOD OR EARLIER, 19TH CENTURY OR EARLIER In ink and colour on paper, depicting a long procession of courtiers from the entourage of Emperor Go-Mizunoo, reading from right to left and starting with the arrival of the first travellers at the gates of Nijo Castle, Kyoto, the procession consisting of a large number of subjects including daimyo, ladies-in-waiting, courtiers, musicians, servants and many others, the names and titles of the most prominent travellers written above, the Imperial entourage moving down the streets of Higashinotoin and Horikawa toward the mansion, with seals throughout the scroll for Watanabe Bunko (Watanabe Library, Prof. Kyukichi Watanabe’s collection of books and scroll paintings at Kyushu University Library), in the style of the Kano School of Kyoto, 38cm x 2,546cm (approx.).

£4,000-6,000 Provenance: an English private collection, Cambridgeshire. See the Royal Collection Trust, access. no.RCIN 1145973, for another very similar scroll painting by Bunkei (act. 1855) depicting the same section of the procession. This unusually long makimono is probably the second from a set of five scroll paintings depicting the procession of Emperor Go-Mizunoo, Empress Tôfukumon’in and their retinue to Nijo Castle, Kyoto, in 1626. By summoning the Imperial Court to its Kyoto stronghold for five days, the second Tokugawa Shogun Hidetada was displaying his power: the warrior lord demonstrated that he could summon the Emperor and his entire court away from the venerated space of his palace at a whim. Witnesses’ accounts describe a procession made up of thousands of courtiers and the spectacle of the Imperial carriages as striking. This was the last time an Emperor was ever invited to visit a shogunal estate as this excursion to Nijo Castle established for several generations the power of the Tokugawa over the Emperor. Only a small number of these handscrolls are known. A famous set dates from the 17th century and belongs to the Japanese Imperial Household Collections housed at Sannomaru Shôzôkan, Tokyo. The sets are usually made up of five scrolls: the first depicts the Castle building; the second the front of the procession, with the four horse-drawn carriages of the Emperor’s relatives; the third the Imperial palanquin, high ranking courtiers and entertainers; the fourth the final day of the visit and the last is inscribed with an account of the various festivities and gifts presented to the Emperor. Their provenance is unknown, but it is possible that these were commissioned by courtiers who had taken part in the excursion as a souvenir commemorating the event, or as dowries for women of high-ranking families. Suden, the official spokesperson for the Tokugawa, was the first to record the event and an illustrated version was published a few months later. His account opens with the depiction of two attendants arriving at the gates of the Castle and the same iconography can be found at the opening of lot 288.

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288 fully opened scroll

288A A JAPANESE SCROLL PAINTING OF THE PURE LAND OF AMIDA BUDDHA, TAIMA MANDALA KAMAKURA PERIOD OR LATER, 13TH/14TH CENTURY OR LATER In ink, colour and gold on paper, the Western Paradise made up of elaborate gardens, ponds and buildings, with numerous Bodhisattvas, tennin, divine musicians and attendants, presided over by Amida Buddha flanked by the Bodhisattvas Kannon and Seishi, the three figures seated on stepped lotus thrones at the centre of the composition; the lower section painted with Amida Nyorai and attendants descending on a devotee seated in an interior, possibly representing the wealthy worshipper who commissioned the picture, 112cm x 55cm.

ÂŁ1,000-2,000 Provenance: an English private collection, London and Shetland. See Nara National Museum, Kasuga Jodo Mandala (Important Cultural Property) for another mandala depicting the Pure Land in the upper section of the composition and a similar worldly view in the lower (Kasuga Shrine). This Kamakura period painting presents stylistic similarities with lot 288A, in particular the portraits of the divine figures and the gilt geometrical patterns throughout. This type of mandala reproduces the composition of an original scroll painting in Taimadera, Nara, dating from circa 763. The painting is based on the description of the Western Paradise given in the Contemplation Sutra. This iconography was disseminated throughout Japan during the Kamakura period (1185-1333). Taima mandalas were used as a teaching aid by the Jodo sect of Buddhism rather than for meditation.

Details of the lower section 40

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289 A JAPANESE LACQUERED WOOD FIGURE OF AMIDA NYORAI (AMIDA BUDDHA) MUROMACHI PERIOD OR LATER, 16TH CENTURY OR LATER Of yosegi-zukuri (jointed) construction, standing on an elaborate lotus throne and wearing long flowing robes loosely draped across his torso, the eyes inlaid in glass and downcast in a serene expression, his hands in a mudra representing one of the nine levels of rebirth, kubon, with a glass or crystal bead amongst his knotted hair signifying spiritual elevation, ushnisa, and another representing the urna on his forehead, with remnants of gilt lacquer, together with a later mandorla, kohai, carved with scrolling clouds and a large Sanskrit character, 84.5cm overall.

ÂŁ3,000-5,000 Provenance: the collection of Mr Richard Nathanson (d.2018), together with a valuation from Marcel Nies Oriental Art dated 31st May 2017. A copy of the additional documentation from Nies is available. Amida Buddha is represented performing the kubon mudra when welcoming the souls of the departed as they reach the Great Western Paradise. Sculptures and paintings depicting this subject became popular during the 12th century and were placed near the beds of dying devotees to bring them comfort.

290 A LARGE JAPANESE GILT BRONZE FIGURE OF AMIDA NYORAI (AMIDA BUDDHA) EDO PERIOD, 18TH CENTURY OR LATER Seated in dhyanasana with his hands held before him in the mida no join position, his robes loosely draped across his torso, the hem decorated with bands of foliate scrolls, raised on a lotus throne, 45cm. (2)

Â£5,000-8,000 The mida no join is a Japanese variation of the dhyana mudra of meditation, where the index fingers are brought together with the thumbs.

291 A JAPANESE MIXED METAL DISH MEIJI PERIOD OR LATER, 19TH CENTURY OR LATER

292 TWO JAPANESE INLAID BRONZE DISHES BY KUMAGAI MEIJI PERIOD, 19TH CENTURY

Decorated with birds amongst peonies, chrysanthemum and bamboo, with details picked out in copper and silver-coloured metal on a gilt bronze ground, 29.8cm.

One depicting three rakan in a garden and the other a further rakan with an attendant by a river, the figures depicted in low relief with details picked out in gilt, with flowers and birds around them in a composition reminiscent of a scroll painting, one dish with a signature to the front for Kyoto Kumagai zo, 24.3cm and 25.2cm. (2)

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£80-120

293 A JAPANESE PEWTER DISH MEIJI PERIOD, 19TH CENTURY The well embossed with two men and a woman in an interior, the figures dressed in Heian style, the design possibly a scene from the Tale of Genji, Genji Monogatari, 21.8cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£80-120

£200-300

294 A JAPANESE IRON CHIN PROTECTOR, HANBO EDO PERIOD, 17TH OR 18TH CENTURY Possibly Saika or Haruta School, decorated with rivets shaped as chrysanthemum flowerheads, kirigane, the sides with five-petal flower apertures, the inside in red lacquer, 18.2cm.

£200-400

295 A JAPANESE ‘HIDDEN CHRISTIAN’ PORTABLE WRITING SET, YATATE EDO PERIOD OR LATER, 18TH CENTURY OR LATER Of typical form, the circular lid of the bowl decorated with a small gilt minogame and opening to reveal a pewter cross, with a small fitted knife to the inside and a later brush and cord, 20cm. (3)

£500-800

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

296

297

298

299

300

301

296 A JAPANESE BRONZE INCENSE BURNER AND COVER, KORO MEIJI PERIOD, 19TH CENTURY

297 A JAPANESE BRONZE MODEL OF A HORSE, OKIMONO MEIJI PERIOD, 19TH CENTURY

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

The bulbous body decorated with writhing dragons amongst clouds, raised on three feet shaped as young boys, karako, and with a fourth one to the cover, the handles formed as smaller dragons, signed Yoshi zo to the base, 21cm. (2)

The equine realistically depicted, standing with its head elegantly raised and with its tail flowing behind it, the belly with a two character signature in a rectangular cartouche, 30cm.

Cast as Ashinaga and Tenaga, the long-legged and long-armed men depicted standing, holding three flower-shaped sconces above their heads, both raised on a rectangular plinth with scrolling feet, each marked Sanri in a rectangular reserve to the back, 38.5cm. (2)

£300-500

£400-600

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

Cf. Bonhams London, 14th May 2015, lot 424, for a related koro with boys and dragons by Yoshi.

299 A PAIR OF JAPANESE INLAID BRONZE VASES MEIJI PERIOD, 19TH CENTURY The middle sections of the trumpet-shaped bodies decorated with a band of mythical creatures amongst scrolling clouds, the kirin, dragon and ho-ho bird depicted in mixed metal in between bands of lappets, both 33.5cm. (2)

£200-300

£100-200 300 TWO BRONZE VASES AND A SILVER SAKE BOTTLE, TOKKURI MEIJI PERIOD AND LATER, 19TH AND 20TH CENTURY The tallest vase of cylindrical shape and decorated with bamboo, signed; the other vase with copper and silver-coloured inlays and decorated with chickens and chicks pecking, signed Kaneyoshi, together with a gourd-shaped sake bottle with a hammered surface, the base marked jungin (silver), 22cm max. (3)

301 A PAIR OF JAPANESE BRONZE VASES MEIJI PERIOD, 19TH CENTURY The bodies cast with a continuous scene of a bird of prey and smaller birds amongst pine, the shoulders decorated with bands of lappets, both raised on four shaped feet, both 28cm. (2)

£100-200 Provenance: from the collection of Anne Hull-Grundy (1926-1984) and thence by descent.

£500-800 45

302 A MASSIVE JAPANESE BRONZE JARDINIERE BY SEIRYUSAI MEIJI PERIOD, 19TH CENTURY Raised on four scrolling legs, the body decorated with four carp in low relief swimming amongst waves, the legs and rim with bands of key fret in openwork, signed in a rectangular reserve underneath Seiryusai chu, 37.5cm.

£1,000-2,000

303 TWO JAPANESE KETTLES AND COVERS, TETSUBIN MEIJI PERIOD, 19TH CENTURY OR LATER

304 A JAPANESE CAST-IRON KETTLE AND COVER, TETSUBIN MEIJI PERIOD, 19TH CENTURY

One in iron, of typical form and decorated with chrysanthemum flowerheads and stylised characters, the handle inlaid with further blooms, the lid with a fruit-shaped knop and signed Ryubundo zo, the other in soft metal and imitating woven bamboo, the handle in rattan and the lid with a bird-shaped knop, 24cm max. (4)

Cast in high relief to one side with a bird perched on a flowering branch, the reverse with a single prunus blossom, the bail handle inlaid with a simple design of stylised waves, a four character seal mark underneath the spout and the lid signed Ryubundo zo, 23.5cm. (2)

£300-500

£300-400

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

305 A PAIR OF JAPANESE INLAID IRON VASES BY KAJIMA IKKOKU II (1846-1925) MEIJI PERIOD, 19TH OR 20TH CENTURY Of ovoid form and raised on short scrolling bases, decorated in gold and silver nunome zogan, with cranes in flight above crashing waves and one standing on a rock, the shoulders decorated with bands of lappets enclosing designs of fireflies amongst scrolling tendrils, the bases with branches of pine, each with a square seal mark underneath, one for Mitsutaka and the other for Ikkoku, both 9.6cm. (2)

£3,000-4,000 Kajima Ikkoku II (1846-1925) was a famous metalworker from Kawagoe, near Tokyo. He learnt traditional techniques from his father, the renowned artist Kajima Mitsuyuki (d.1882), and developed an international reputation for his mastering of nunome zogan (damascene work). His award-winning designs were exhibited at many important fairs including the Japanese National Industrial Exposition (1890) and the Japan-British Exhibition in London (1910).

306 A LARGE JAPANESE SILVER BOWL MEIJI PERIOD, LATE 19TH CENTURY Of double-wall construction, the outside richly decorated with a continuous band of irises and elegantly raised on a short foot, the base marked jungin (silver) and with two additional stamped marks, 2.59kg, 30cm dia.

£2,000-3,000

307 A JAPANESE INLAID BRONZE VASE MEIJI PERIOD OR LATER, 19TH OR 20TH CENTURY The tall baluster body decorated with three butterflies in silver, gold and shakudo, the insects fluttering on the bronze ground left bare, 30.2cm.

£1,500-2,000

308 A JAPANESE KAGA STYLE BRONZE DISH MEIJI PERIOD, 19TH CENTURY Decorated with a central medallion enclosing the figure of Eguchi no Kimi as Fugen Bosatsu in shibuichi takazogan, the deity wearing long robes and her hair held up with kanzashi ornaments, holding a long handscroll and standing on an elephant, with twelve inlaid cranes flying amongst scrolling clouds to the cavetto in gold honzogan, 32.5cm.

£500-1,000 See Bonhams New York, 19th September 2008, lot 5183 for another Kaga style bronze dish. Kimi was a famous prostitute from the village of Eguchi who after assiduously studying Buddhist scriptures became an incarnation of Fugen Bosatsu, the bodhisattva of Universal Goodness, Virtue and Worthiness. See lot 385 for another depiction of this myth.

309 A JAPANESE INLAID IRON BOX AND COVER BY HARUTOSHI, KOBAKO MEIJI PERIOD, 19TH CENTURY The hexagonal iron body inlaid with a depiction of a small child, karako, holding a small spin wheel, kazaguruma, and climbing upon Hotei’s shoulders, the God of Good Fortune leaning over his bottomless bag of treasures and pointing at an uchiwa fan before them, with details in gold, shibuichi and silver takazogan, the lid signed Harutoshi with two gold seals, one for Chosai, 5.1cm x 11.5cm x 10.2cm. (2)

£2,000-3,000 The signature may be for Uchino Harutoshi (who also used the name Ichigenshi), a swordsmith and pupil of the Hirata Family, renowned for their highly decorative hand guards. A tsuba by Harutoshi decorated with implements for the tea ceremony is recorded in the collection of Michael Tomkinson (1841-1921).

310 A JAPANESE WOOD AND MIXED METAL BOX AND COVER, KOBAKO MEIJI PERIOD, 19TH CENTURY The rectangular lid decorated with Daikoku, the God of Good Fortune lying against his large sack of treasures, a hand supporting his head and the other holding his mallet, laughing at two of his pet rats before him, with a wad of banknotes behind inscribed kin ju ryo, 4.2cm x 7.5cm x 9.9cm. (2)

£200-300

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311 A JAPANESE KOMAI STYLE INLAID IRON DISH MEIJI PERIOD, 19TH CENTURY

marks to the reverse

Decorated in nunome zogan (gold and silver inlays), the well with a large panel enclosing a mountainous river landscape, with many figures engaged in daily activities including a fisherman waiting for a bite and a beauty under a large thatched building, with details picked out in gilt and low relief, the rim with a band of scrolling tendrils, brocade and asa-no-ha patterns and six small fan-shaped panels enclosing a variety of fruits and plants, the reverse with two rectangular cartouches, one reading “Kyoto”, 30cm.

£6,000-8,000

312 A LARGE JAPANESE KOMAI STYLE INLAID IRON PANEL MEIJI PERIOD, 19TH CENTURY Of rectangular form and decorated in mixed metals with rakan, the disciples of Buddha at leisure in a garden, two on the left-hand side conversing under large plantain leaves, Binzuru Rakan with his tiger to the right and Handaka Sonja riding his dragon, the mythical beast emerging from clouds, framed, 61cm x 48.5cm.

ÂŁ8,000-12,000 50

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

313 A PAIR OF IMPRESSIVE JAPANESE INLAID BRONZE VASES BY INOUE OF KYOTO MEIJI PERIOD, 19TH CENTURY The tall baluster bodies decorated with large cartouches inlaid in silver, gold, and shakudo with many figures in mountainous river landscapes, one panel with itinerant entertainers in the foreground, manzai, two men having a meal in a thatched hut behind and others in a pleasure barge in the background; the reverse with a musician playing the flute, two men drinking sake under a sakura tree, and a couple admiring the cherry blossoms; the other vase with a maid bringing a meal to a couple seated under a veranda and the reverse with travellers by a bridge, possibly Togetsukyo (the “Moon Crossing Bridge”) in Arashiyama, all reserved on a dense ground of flowerheads in rhomboid cells, the mon for the Yonekura clan, both bases signed Dai Nihon Saikyo Inoue sei, Yoshiteru saku, both 41cm. (2)

£40,000-60,000 See Bonhams London, 10th November 2016, lot 487, for a single vase of related shape and of similar decoration.

314 A JAPANESE ARTICULATED MODEL OF A CRAYFISH, JIZAI OKIMONO MEIJI PERIOD OR LATER, 19TH OR 20TH CENTURY Naturalistically modelled with a fully articulated body, the surface of the exoskeleton intricately worked, with a two character signature on the underside for Hiroyoshi, 24cm.

£400-600 See Japanese Works of Art, 12th November 2019, lot 323, for a related jizai okimono of a crayfish sold in these rooms.

315 A JAPANESE ARTICULATED MODEL OF A CRAYFISH, JIZAI OKIMONO MEIJI PERIOD OR LATER, 19TH OR 20TH CENTURY Naturalistically modelled with a fully articulated body, the surface of the exoskeleton intricately worked, with a two character signature on the underside for Hiroyoshi, 18.8cm.

£300-500 See Japanese Works of Art, 12th November 2019, lot 323, for a related jizai okimono of a crayfish sold in these rooms.

316 A JAPANESE PARCEL-GILT BRONZE SCROLL WEIGHT MEIJI PERIOD, 19TH CENTURY Depicting Binzuru Rakan and his pet tiger, the Immortal raising a begging bowl above his head in one hand and gently holding the feline’s paw in the other, 7cm.

£200-300

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

317 A LARGE AND IMPRESSIVE SILVERED BRONZE MODEL OF AN EAGLE, OKIMONO MEIJI PERIOD, 19TH CENTURY The raptor realistically cast standing with its wings outstretched and ready to take flight, the beak, claws and pupils picked out in gilt and the eyes in shakudo, together with a large wood base, signed in a rectangular reserve Hidemitsu / Shuko, 87.5cm wide. (2)

£10,000-15,000

318 A PAIR OF LARGE JAPANESE BRONZE SHISHI, OKIMONO MEIJI PERIOD, 19TH OR 20TH CENTURY The lion dogs depicted seated on their haunches, one with its muzzle open and baring its fangs, both ferocious-looking and with ornate collars decorated with a large flowerhead and scrolling tendrils, with bells and jewels suspended from them, both signed Shuzan / Hideyama, both 38cm. (2)

£500-1,000 53

319

320

321

322

319 TWO JAPANESE CLOISONNE ENAMEL VASES MEIJI PERIOD, 19TH CENTURY

320 A JAPANESE CLOISONNE ENAMEL BALUSTER VASE MEIJI PERIOD, 19TH CENTURY

One with a hexagonal body decorated with shaped panels of ho-ho birds and dragons on a robin’s egg blue ground, the foot and neck with bands of scrolling tendrils and stylised flowerheads, the base with a three character signature, together with a small ginbari vase with morning glories on a light blue ground, 15cm and 9cm respectively. (2)

The ovoid body decorated with sprays of flowering chrysanthemum, daisies and other flowers, with three small sparrows flying above, all on a dark midnight-blue ground, the neck and foot with bands of lappets and other geometric designs, with metal mounts stamped jungin (silver) underneath, 21.5cm.

£200-300

321 A JAPANESE CLOISONNE VASE BY THE ANDO JUBEI COMPANY TAISHO OR SHOWA PERIOD, 20TH CENTURY

322 THREE SMALL CLOISONNE ENAMEL VASES 19TH CENTURY

Of baluster shape and decorated with large white camellia flowers and leaves on a deep peacock blue ground, the rims with metal mounts and with characters for jungin (silver) underneath, with the Jubei mark to the base, together with a ginbari cloisonné vase with flowers on a deep red ground, 30.8cm and 25cm respectively. (2)

Two Japanese, of baluster form and with covers, one decorated with ho-ho birds on a ground of flowerheads and scrolling tendrils, the other with a bird in flight amongst vegetation on a black ground, together with a Chinese mallet-shaped cloisonné vase with cranes and chrysanthemums, 13.4cm. (5).

£400-600

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300

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

323 A SMALL JAPANESE CLOISONNE ENAMEL BOX AND COVER BY ANDO JUBEI, KOBAKO MEIJI PERIOD, LATE 19TH/EARLY 20TH CENTURY Of circular convex form, the lid decorated with two cranes in flight on a deep black ground, the rims and foot with white metal mounts, the base with the mark for the Ando Jubei Company, 8.7cm. (2)

£400-600

324 A JAPANESE CLOISONNE ENAMEL BOX AND COVER, KOBAKO MEIJI PERIOD, 19TH CENTURY Of rectangular form with rounded corners, the lid elegantly decorated with a ho-ho bird in flight, its long tail feathers trailing behind it and with its head turned to the side, with flowering branches of paulownia below, all on a deep black ground, 5.5cm x 9.7cm x 13.5cm. (2)

£300-500

325 A SMALL JAPANESE CLOISONNE ENAMEL BOX AND COVER, KOBAKO MEIJI PERIOD, 19TH CENTURY OR LATER Of circular convex form, the body and lid decorated with a design of butterflies fluttering amongst many flowerheads on a baby blue ground, 8.5cm. (2)

£200-300 Provenance: from the collection of Richard Gordon Smith (1858-1918) and thence by descent. Gordon Smith was an English traveller, sportsman and naturalist who lived in Japan at the turn of the century. He transcribed traditional myths in “Ancient Tales and Folklore of Japan” (1908) and his diaries were later published in “Travels in the Land of the Gods: The Japan Diaries of Richard Gordon Smith” (1986).

326 A JAPANESE FIREMAN’S COAT, HIKESHI BANTEN EDO OR MEIJI PERIOD, 19TH CENTURY The reversible garment made of quilted cotton cloth, sashiko, one side a deep indigo colour, the other side with freehand paste-resist decoration, tsutsugaki, depicting a man standing on a balcony, gazing pensively into distance, together with a folding fireman’s hat, also of quilted cotton cloth and decorated with flowering sprays of peonies, the exterior a deep blue ground, 125cm and 75cm max respectively. (2)

330 λ A JAPANESE SHIBAYAMA-STYLE INLAID WOOD PANEL MEIJI PERIOD, 19TH CENTURY The two lacquered cartouches on a leiwen ground and decorated with birds amongst prunus flowers and peonies, the inlaid elements in ivory and mother of pearl, 41cm x 27cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£300-500

£150-250

327 A JAPANESE FIREMAN’S COAT, HIKESHI BANTEN EDO PERIOD OR LATER, 19TH CENTURY

331 A JAPANESE METAL BOX AND COVER MEIJI PERIOD, 19TH CENTURY

The reversible garment made of quilted cotton cloth, sashiko, one side with a large single character in white on a deep indigo ground referring to the fire company, with stylized ideograms underneath, the inside with vertical lines, together with a modern haori short jacket, 88cm. (2)

£200-300 328 A PAIR OF JAPANESE EMBROIDERED PANELS MEIJI PERIOD, LATE 19TH CENTURY Both intricately worked in coloured silks, depicting buildings in landscapes, one with a river meandering to the centre and with a small temple visible on the side, the other with thatched huts by a stream, both with original frames and glazed, both 45cm x 73.5cm. (2)

£300-400 329 A PAIR OF JAPANESE EMBROIDERED PANELS MEIJI PERIOD, 19TH OR 20TH CENTURY

Shaped as a persimmon, kaki, the surface decorated in lacquer with leafy sprays of flowers and insects, together with a wood page turner engraved with Kinko Sennin sitting on his giant carp and with two lines of calligraphy, 41.3cm max. (3) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 332 λ A PAIR OF JAPANESE SHIBAYAMA-STYLE PANELS MEIJI PERIOD, 19TH CENTURY Decorated with quails and other birds amongst flowers and tall grasses, with details in gilt and brown lacquer, mother of pearl, ivory and coral, on a chocolate-brown lacquer ground, 72.5cm x 41cm. (2)

£200-400

One depicting a lion and a lioness resting amongst tall grasses, the other with two reclining tigers baring their teeth, all in gold and cream-coloured threads on a black ground, with original frames and glazed, both 56.7cm x 74.5cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300

330

331

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332

326 part lot illustrated

327 part lot illustrated

328

329

333 A JAPANESE DISPLAY CABINET, SHODANA MEIJI PERIOD, 19TH CENTURY Of rectangular form with reticulated bands of scrolling tendrils, the upper section with two sliding doors, three open shelves underneath and three more doors, the lower section with two drawers, decorated with gold lacquer and metal plaques with appliqués in the shape of birds and flowers, 106cm x 25cm x 70cm.

£400-600

334 A JAPANESE WOOD SMOKING SET, TABAKO-BON MEIJI PERIOD, 19TH CENTURY Of rectangular form, the top inset with a copper ash compartment or brazier, the lid decorated with a large dragon amongst clouds and with a shaped aperture to the front, the lower part with six square and rectangular drawers, the top right corner with a door opening to reveal two further drawers, with white metal mounts, 35cm x 19.3cm x 35cm.

£300-500

335 A JAPANESE WOOD AND IRON PICNIC SET, SAGE JUBAKO EDO PERIOD, 18TH OR 19TH CENTURY Of rectangular shape, the pitched top fitted with two copper doors opening to reveal a burner and a tea caddy, the lower section with another door enclosing two drawers, one containing a small kettle, 40cm x 17cm x 41cm. (10) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£100-200 Cf. O Impey & C Jörg, Japanese Export Lacquer 1580-1850, pp.176-177 no.412 for an illustrated example of a similar picnic set at the National Museum of Denmark, access. no.EAc 133, inventoried in the Royal Danish Kunstkammer in 1674.

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

336 A LARGE JAPANESE LACQUER FOOD BOX, JUBAKO EDO PERIOD OR LATER, 19TH CENTURY The five-tiered rectangular box and lid decorated with a continuous design in hiramaki-e, takamaki-e and nashiji of flowering prunus and pine trees on hills by meandering streams, the inside in red lacquer, 46.7cm x 32cm x 30.2cm. (6)

£150-250

337 A JAPANESE LACQUER BOX AND COVER MODERN, 20TH CENTURY The rectangular body decorated in hiramaki-e, nashiji and gold and silver takamaki-e with a mountainous river landscape, with thatched buildings by the hillside and a waterfall in the distance, 7cm x 11.1cm x 18.1cm. (2)

£150-250

338 A JAPANESE LACQUER FOOD CONTAINER, HOKAI MEIJI PERIOD, 19TH CENTURY Of typical form, with ribbed sides and raised on four tall spreading feet, with shaped metal fittings decorated with diamond patterns, on a deep brown lacquer ground, with a circular lid, 42.5cm x 37.5cm. (2)

£150-200 Provenance: from the collection of James Benson OBE (1925-2018), purchased from Milne Henderson Oriental Art, London. James ‘Jimmy’ Benson worked as a submariner during World War II and later became the Vice Chairman of marketing company Oglivy & Mather International.

339 A SMALL JAPANESE LACQUER INCENSE BOX AND INNER COMPARTMENTS, KOBAKO MEIJI PERIOD, 19TH CENTURY Of rectangular form, the lids decorated with birds on perches, two possibly hawks and the third a small parrot, with details in hiramaki-e, tamaki-e, togidashi and kirikane, red and silver lacquer, inscribed to the side with a two-character signature for Ayabe and kao, 5.8cm x 9.2cm x 11.8cm. (6)

£300-500

340 λ THREE JAPANESE CARD CASES MEIJI PERIOD, 19TH CENTURY Two in ivory decorated in Shibayama style with inlays in mother of pearl, coral, stained ivory and metal, one depicting three fish to one side and a sponge gourd to the other, the other case with figures in luxuriant gardens to both sides, the third in lacquer decorated in gold and silver hiramaki-e and nashiji with two shojo drinking out of a large sake jar and with a flowering prunus to the reverse, signed to the side, together with two small circular lacquer boxes and covers decorated with flowers, 12cm x 7cm max. (10)

£1,000-1,500 Provenance: from the collection of Anne Hull-Grundy (1926-1984) and thence by descent.

Anne Hull-Grundy (1926-1984)

Hull-Grundy was an important art collector whose bequests of jewellery and netsuke to the British Museum and the Fitzwilliam Museum, Cambridge, include some of the finest pieces in the museums’ collections. Her principle for acquiring new artworks was: “if you don’t fall in love, don’t buy it!” and she saw herself as “a large spider sitting at the centre of a web of dealers, salesrooms and museums”. She was hoping that through their collection, which also included important Martinware, she and her husband would get “a ticket to life eternal”.

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

two views

341 λ A SHIBAYAMA STYLE GOLD LACQUER SWORD GUARD, TSUBA MEIJI PERIOD, 19TH CENTURY Of octagonal form with a silver rim, both sides decorated with inlays in mother of pearl, coral, horn and ivory on a kinji ground, the recto with a beauty leading a deer emerging from a cloud of reishi fungi, the verso with precious objects of the Seven Gods of Good Fortune, takaramono, including Daikoku’s mallet, with other auspicious objects depicted in gold hiramaki-e, 11.2cm.

£4,000-6,000

342 A FINE JAPANESE LACQUER INCENSE BOX, TRAY AND INNER COMPARTMENTS, KOBAKO MEIJI PERIOD, 19TH CENTURY Shaped as five volumes of the Tale of Genji, decorated in gold and silver hiramaki-e, tamaki-e and nashiji and with details in red lacquer, the cover bearing the taleâ&#x20AC;&#x2122;s title, Genji Monogatari, and with rectangular panels enclosing shishi and dragons, the inner tray decorated with an ornate barge on a meandering river next to a pavilion, a reference to chapter 24; the four smaller boxes underneath with symbols of the four seasons: pomegranates (winter), iris (spring), chrysanthemum (autumn) and morning glory (summer), the sides with geometric brocade patterns of aogai shell inlays, attributed to the Zohiko studio, with tomobako wood box, 4.8cm x 9.9cm x 13cm. (11)

Heronden Hall, Tenterden, Kent

ÂŁ8,000-12,000 Provenance: from the collection of Heronden Hall, Tenterden, Kent. See the Metropolitan Museum of Art, access. no.38.25.165a-c for another kobako shaped as five volumes of the Tale of Genji. Also, Philadelphia Museum of Art, access. no.2010-44-1 for a related accessory box, tebako, decorated with similar panels of dragons and shishi.

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

343 A JAPANESE LACQUER COSMETIC BOX AND COVER, TEBAKO EDO PERIOD OR LATER, 18TH CENTURY OR LATER The rectangular body decorated in red, silver and gold hiramaki-e, takamaki-e and nashiji lacquer with an elegant pattern of a kaleidoscope of butterflies fluttering on a striped background, the sides with ring handles with Kuyo mon-shaped mounts, the crest made up of eight circles surrounding a ninth one, 13cm x 13.6cm x 19.7cm. (2)

£1,000-2,000 Provenance: formerly in the collection of Edward C. Moore (1827-1891) and later gifted to the family of the current owner. See the Metropolitan Museum of Art, New York, access. no.91.1.629, for another lacquer box from the collection of Edward C. Moore decorated with butterflies. Also access. no.2015.500.2.31a-f for another box with a comparable striped ground. The striped patterns may be a reference to Indian and South-East Asian textiles. Kuyo mon, the “Nine Stars Crest”, was used by several high-ranking families including the Katakura, Ishida and Soma clans. Edward C. Moore was Tiffany & Co.’s artistic director and a keen collector, from early Islamic Art to Song Dynasty Chinese ceramics and Japanese netsuke. His interest for Japanese art was triggered by pieces sent by Christopher Dresser to Louis Comfort Tiffany as a study collection. Many of the artworks he produced emulate Japanese aesthetics, and the particular pattern of butterflies appears on several of his designs. His vast collection is housed at the MET in New York.

Edward Chandler Moore (1827-1891)

344 λ A COLLECTION OF TWENTY-THREE WOOD AND LACQUER NETSUKE EDO PERIOD AND LATER, 18TH CENTURY AND LATER Some in negoro style and others in polychrome, variously depicting animals, figures, mythical creatures and objects from daily life, one with a movable ivory head, some with signatures including Gyokusai, 6.1cm max. (23)

£600-1,000 Provenance: from the collection of a lady of title, and thence by descent.

345 NINE JAPANESE HIRADO PORCELAIN NETSUKE MEIJI PERIOD, 19TH CENTURY One depicting Shoki the Demon Queller, another Hotei, others animals, Buddhist emblems and various objects, together with a pottery mokugyo bell-shaped netsuke, signed and with a long inscription, 5cm max. (10)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

346 A COLLECTION OF THIRTEEN WOOD AND LACQUER NETSUKE EDO PERIOD AND LATER, 18TH AND 19TH CENTURY Most in negoro style, variously depicting animals, figures, mythical creatures and objects from daily life, some with abstract forms, one a small dragon on an upturned bowl, possibly an ashtray, another a tengu no tamago signed Yomin, 5cm max. (13)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

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

348 349 347

347 λ A JAPANESE WOOD AND IVORY ARTICULATED KOBE TOY MEIJI PERIOD, 19TH CENTURY Carved as a mother carrying her child on her back, their heads and hands movable, the mother’s tongue and left eye sticking out and the child’s neck extending upwards, 6.8cm.

348 λ A JAPANESE WOOD AND IVORY ARTICULATED KOBE TOY MEIJI PERIOD, 19TH CENTURY Carved as a bakemono, the monster with an articulated head and arm, holding a sceptre from which hangs a conical jewel in one hand and a walking cane in the other, sticking its tongue out and with two small fangs, 8.4cm.

£400-600 349 λ A JAPANESE WOOD AND IVORY ARTICULATED KOBE TOY MEIJI PERIOD, 19TH CENTURY Carved as a tanuki racoon dog transforming into a drum, holding a sign in one hand and a sake bottle in the other, with movable head and arms, the eyes and tongue sticking out, 6cm.

£300-500

350

350 FOUR JAPANESE MASK NETSUKE MEIJI PERIOD, 19TH CENTURY Two in metal and two in wood, variously depicting Okame, Hannya and other characters, together with a wood netsuke of a boy with a lion mask for the shishi-mai dance beating on a small drum before him, signed Mokusai and “aged sixty-five”, 6cm max. (5)

£300-500 Provenance: an English private collection, London and Shetland.

351 SEVEN JAPANESE NETSUKE MEIJI PERIOD, 19TH CENTURY One made of the lacquered jaw of a small carnivorous animal, possibly a dog; the others in wood, variously depicting a large tengu no tamago, the winged creature beating on a drum; another a kneeling figure wearing a square mask; the third a large oni trying to hide under a shield on Setsubun; the fourth a skeleton sumo wrestling an oni; the fifth a grimacing South Sea Islander holding a large jar and the last carved as a bakemono climbing on the back of a mokugyo bell with bat wings, some with signatures including Kokuho and Shunsai, 6cm max. (7)

351

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

352

353

354

355

352 FIVE JAPANESE WOOD NETSUKE OF SHISHI MEIJI PERIOD, 19TH CENTURY

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

The lion dogs depicted in a variety of positions, two with brocade balls, one signed Masamitsu; another resting its front paws on a mokugyo bell before it, the fourth with its pup on its back and the last on a square base made of seals and with a movable ring, the faces carved with various characters, 5.8cm max. (5)

The largest of flattened form with a large peony flower to the reverse; another with traces of lacquer resting against a cushion; the third with its front paws on a large ball and with a smaller one in its mouth; the fourth recumbent and baring its teeth, 9.4cm max. (4)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

£600-1,000 Provenance: from the collection of a lady of title, and thence by descent.

354 FOUR JAPANESE WOOD NETSUKE OF FELINES EDO PERIOD AND LATER, 18TH CENTURY AND LATER

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

Two depicting tigers, one tall and seated on its haunches, the other recumbent and signed Masamitsu; the other two carved as cats, one on a rectangular base with a small rat in its mouth and the other licking its back paw, 5.8cm max. (4)

Two carved as tanuki racoon dogs, one reclining with its belly lacquered and the other dressed in a kimono and reading a book open on its enlarged scrotum; the third a kirin on an oblong base, and the last a man surprised by his tea kettle turning into a tanuki, 5cm. (4)

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£300-500

£200-300

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

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

356

357

358

359

356 THREE JAPANESE WOOD NETSUKE OF HORSES MEIJI PERIOD, 19TH CENTURY

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

The largest depicted standing on a rectangular base and with inlaid dots to its flanks, signed Okamoto Shogen saku with kakihan; another carved as two horses, one lying on the ground while the other grazes by its side; the third a smaller equine, recumbent and with its head turned to the side, signed Minko with kakihan, 6.8cm max. (3)

Three depicting rabbits: one in a small boat, signed Jujo/Toshinori with kakihan; another in the shape of a ball and gnawing on its back paw; the third two rabbits huddled up together; together with a netsuke of a rat on a large mushroom, eating a small pea pod with chestnuts before him, the eyes inlaid in horn and signed Masanao, 4cm max. (4)

£400-600

£600-1,000

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

Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.739, where a netsuke similar to the largest one is illustrated and discussed, possibly this very piece.

358 EIGHT JAPANESE WOOD NETSUKE OF DOGS MEIJI PERIOD, 19TH CENTURY

359 SIX JAPANESE WOOD NETSUKE OF MONKEYS EDO PERIOD AND LATER, 19TH CENTURY

Depicted in a variety of positions, one with a red ribbon attached around its neck and with fur patches in silver lacquer; others playfighting, four with signatures including Masakazu, Minko and others, 5cm max. (8)

One a small red primate in a giant wood chestnut, signed Sa Toyomasa; another a sarumawashi training a monkey on a lead, a third delousing itself, the fourth in lacquer and holding a branch over its back, the leaves opening to reveal the himotoshi, the fifth seated with its leg stretched and the last a group of monkeys in a giant fruit, three the Sanbiki no Saru, two with signatures for Gyokumin and Masateru, 5cm max. (6)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

£600-1,000 Provenance: from the collection of a lady of title, and thence by descent. Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.956, where a similar netsuke of a red monkey in a chestnut is illustrated and discussed, possibly this very piece.

360

361

360 THREE JAPANESE WOOD NETSUKE OF FIGURES EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY One carved as a small child holding a mask of Okame, another a monk with long robes swiping the floor with his broom, signed Komin, and the third, partially lacquered, depicting an entertainer with a fan, 5.3cm max. (3)

£200-300 Provenance: an English private collection, Westminster.

361 λ SIX JAPANESE NETSUKE EDO PERIOD AND LATER, 18TH CENTURY AND LATER Two in stag antler, one carved as a small boy holding the mask of an oni and the other a curled up lotus flower, signed with the single character Tou/Nori, one in lacquer depicting a cluster of masks; one gourd-shaped in wood and ivory carved with a tiger and a dragon amongst clouds, prunus flowers and bamboo; the remaining two in wood and depicting Hotei, one lying on his side and the other standing, 6.1cm max. (6)

£300-500 362

362 SIX JAPANESE WOOD NETSUKE OF ENTERTAINERS EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Two itinerant manzai performers playing the drum, two sambaso dancers, and two actors, one wearing a fox mask and the other a long wig trailing behind his back, one signed Gyokusai, 5.2cm max. (6)

£300-500 Provenance: from the collection of a lady of title, and thence by descent.

363 SIX JAPANESE WOOD NETSUKE AND ONE UMIMATSU MEIJI PERIOD, 19TH CENTURY Variously carved as deities, two depicting Hotei, two Daikoku, one Fukurokuju, another Jurojin, and the seventh Seiobo, the sea-pine netsuke carved as a reclining Hotei holding a fly whisk, two with signatures, one for Hojitsu, 4.7cm max. (6)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

363

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

364

365

364 FIVE JAPANESE NETSUKE MEIJI PERIOD AND LATER, 19TH AND 20TH CENTURY One in stag antler carved as Tobosaku Sennin carrying the Peach of Immortality; the other four in wood, one a shishi and its cub, another a mother and child, the third the God Ebisu and the fourth another sennin holding a large pearl, some with signatures, 7.2cm max. (5)

£150-250 365 λ FOUR JAPANESE WOOD NETSUKE OF FIGURES EDO PERIOD AND LATER, 18TH CENTURY AND LATER One depicting a tall sennin standing on one leg, laughing; another of Gama Sennin, the Immortal carrying his pet toad on his head whilst a smaller amphibian clambers up his leg; the third the witch Hannya, her dragon tail curling around the bell under which Anchin hides, her head and hands in ivory; the fourth depicting a Chinese scholar and attendant under a rocky outcrop, together with a wood carving of two boys and a turtle, possibly Chinese, 10cm max. (5)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

366

366 FOUR JAPANESE WOOD NETSUKE OF DEITIES MEIJI PERIOD, 19TH CENTURY Two depicting Raijin, the God of Thunder standing on scrolling clouds and holding a small lantern, one signed Masakazu; another carved as Fujin, the God of Wind holding a large sack from which emerge further scrolling clouds, signed Ryumin, and the fourth depicting a deity writing on a low table whilst holding a large pot over his head, signed Gyokusen, 5cm max. (4) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 Provenance: from the collection of a lady of title, and thence by descent.

367 SEVEN JAPANESE WOOD NETSUKE OF ONI EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Two depicting the demons on Setsubun as beans are being thrown at them; another carved as a large oni ringing a monk’s bell; another pounding mochi while the fifth is shown fighting a small boy on a lotus leaf; the sixth an oni weeping on the severed arm of his master the Rashomon Demon, signed Masanao, and the last, a beauty cleaning the ear of a demon dressed as a monk, some with signatures including Norishige and Masatsugu, 5.8cm max. (7)

367

£600-1,000 Provenance: from the collection of a lady of title, and thence by descent.

368 SEVEN JAPANESE WOOD NETSUKE OF FIGURES MEIJI PERIOD, 19TH CENTURY Depicting men engaged in various activities, two polishing mirrors, one carving a mask, another sharpening a sickle, together with a horn netsuke of a man with a basket seated on a tree stump, some with signatures including Masayuki, Hokei and Shoju, 4.2cm max. (8)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

369 EIGHT JAPANESE WOOD NETSUKE OF DARUMA MEIJI PERIOD, 19TH CENTURY The Father of Zen Buddhism depicted in a variety of positions, two stretching and yawning after waking up from nine years of meditation, the others in the typical rounded doll shape without visible limbs, one with a movable face which becomes Okame and an oni, another with mother of pearl eyes, some with signatures including Jugyoku and Minko, 6.2cm max. (8)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

370 NINE JAPANESE WOOD NETSUKE OF LEGENDARY FIGURES EDO PERIOD AND LATER, 18TH CENTURY AND LATER Variously depicting figures from Buddhist myths and other legends, including: Shoki the Demon Queller and an oni; two netsuke of nio restringing sandals; Kanzan and Jittoku examining a scroll; Binzuru Rakan resting with his pet tiger; Heikuro Masatora slaying the boar; one of a warrior holding a shoe and the remaining two carved as sennin, some with signatures including Ryugyoku, Yoshinaga, Itsumin and Suketada, 4.5cm max. (9)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

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

371 TEN JAPANESE WOOD NETSUKE OF FIGURES MEIJI PERIOD, 19TH CENTURY Variously depicting travellers, entertainers, itinerant manzai performers and others, one a man crawling between the legs of three others, another with his grandson on his back, some with signatures including Kuni/Koku, Kokuho, Hiro and Hiromitsu, 7.4cm max. (10)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

372 SIX JAPANESE WOOD NETSUKE OF BOYS MEIJI PERIOD, 19TH CENTURY Depicted engaged in a variety of activities, five wearing lion masks for the shishi-mai dance and another riding an ox, together with a netsuke in resin of a child doing the akanbe gesture (pulling his eyelid and sticking his tongue out) and a small hinged box, possibly for tobacco, shaped as two children climbing on a large sack, some with signatures including Gyokuho, 5.6cm max. (8)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

373 NINE JAPANESE WOOD NETSUKE MEIJI PERIOD, 19TH CENTURY Variously carved as two drunk shojo sleeping, two men with sake bottles and another drinking, three blind men, including one signed Gyokukei, and the last trying to lift a stone which is transforming into a tanuki racoon dog, some with signatures including Gyokuhei and Shiko, 5.3cm max. (9)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

374 A JAPANESE WOOD NETSUKE OF A SNAIL MEIJI PERIOD, 19TH CENTURY Emerging from its shell and bending back to the top, realistically carved with its ocular tentacles fully extended, the himotoshi underneath formed by its fleshy tail, 4cm.

£500-800

375 THREE JAPANESE STAG ANTLER CARVINGS, NETSUKE AND OJIME EDO PERIOD AND LATER, 18TH CENTURY AND LATER All three carved as shishi, one lion dog resting against a rock, a moveable ball in its mouth, another with its front paws on a large brocade ball, the smallest on a small oblong base, 4.5cm max. (3)

£300-500 Provenance: from the collection of a lady of title, and thence by descent.

376 FIVE JAPANESE WOOD NETSUKE OF SEAFARERS MEIJI PERIOD, 19TH CENTURY Two carved as a fisherman whose loincloth is trapped in a giant bivalve; two others depicting Benkei blowing in a conch shell, the last an unusual depiction of a mermaid with her children, one clambering over her tail and the other suckling at her teat, some with signatures including Masakazu, Tomokazu and Kizan / Yoshiyama, 5.3cm max. (5)

£300-500 Provenance: from the collection of a lady of title, and thence by descent.

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

377 λ A COLLECTION OF FORTY-THREE JAPANESE BEADS, OJIME EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Strung as a necklace and made of mixed materials including ivory, coral, aventurine, glass, metal and others, variously depicting figures, animals, objects and abstract designs, two in wood inlaid with mother of pearl, coral, horn, and ivory and signed Shibayama, some others also with signatures, 2.5cm max. (43)

Richard Gordon Smith (1858-1918) during his travels in Japan and an ojime bead necklace he illustrated in his Diaries.

378 λ A JAPANESE SHIBAYAMA STYLE IVORY BOX AND COVER MEIJI PERIOD, 19TH CENTURY The square box with rounded corners, the lid realistically carved in low relief with Kikujido, the small child holding a firefly, a woven basket and sprays of flowers behind him, the sides delicately decorated in gold and silver hiramaki-e lacquer with many chrysanthemum flowers, the inside with seven lines of calligraphy, the foot with a thin band of key fret and the base signed Baisensai Munehide with kao, 5.5cm. (2)

£200-300 The story of Kikujido, “the Chrysanthemum Boy”, appears in the Noh play Makurajido. The boy remains youthful 700 years after writing the lines of the Lotus Sutra gifted to him by the Emperor on chrysanthemum leaves, when dew drops had become an elixir for Immortality.

379 λ TWO JAPANESE INLAID WOOD NETSUKE MEIJI PERIOD, 19TH CENTURY One depicting a butterfly, the wings with details picked out in lacquer and inlaid with mother of pearl and ivory in Shibayama style, the other of a low table laden with treasures including Daikoku’s mallet, with details in gilt, lacquer and ivory, a large branch of coral in the centre, signed Kogyoku underneath, 5.3cm and 5.4cm respectively. (2)

£800-1,200 Provenance: from the collection of a lady of title, and thence by descent.

380 λ THREE JAPANESE MIXED MATERIALS NETSUKE EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY The first in lacquered wood and ivory and carved as Daruma, the Father of Zen Buddhism with spectacles and absorbed in the book opened before him; the second of a monkey examining a beetle on a persimmon with a magnifying glass, in ivory and with the insect inlaid, signed Shomin / Masatami in a rectangular reserve underneath; the third of a large tanuki with its young, with long grasses inlaid in stained ivory and horn to the back, signed Togyoku, 5cm max. (3)

£600-1,000 Provenance: from the collection of a lady of title, and thence by descent.

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

381 λ THREE JAPANESE IVORY NETSUKE OF RECUMBENT MAMMALS EDO PERIOD AND LATER, 18TH AND 19TH CENTURY Two carved as boars, one lying down with its mouth open, the other carved as one beast with its young resting on a bed of autumn leaves, the third depicting a ram, 7.9cm max. (3)

£800-1,200 Provenance: from the collection of a lady of title, and thence by descent.

382 λ FOUR JAPANESE NETSUKE OF DRAGONS EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Two in ivory, the first of flattened form and depicted fast asleep, holding a pearl of wisdom between its claws, signed Baikioku to the reverse; the second in Asakusa School style, its body forming a ring and with a loose ball in its mouth, signed Masakazu with kakihan; the third in wood, the beast depicted coiling around a large double gourd; and the last in marine ivory, the body of the dragon tightly interwoven, 7.3cm max. (4)

£600-1,000 Provenance: from the collection of a lady of title, and thence by descent. Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part A, p.11, where a similar netsuke of a dragon by Baikioku is illustrated and discussed, possibly this very piece.

383 λ THREE JAPANESE MANJU NETSUKE AND ONE KAGAMIBUTA EDO PERIOD AND LATER, 19TH CENTURY One manju carved as a chrysanthemum flower with a paulownia mon to the centre; another a frog walking on its hind legs and holding an umbrella under its arm; the third a grimacing man, the design possibly taken from Hokusai’s Manga, signed Midori to the back; the lid of the kagamibuta with chrysanthemum flowerheads and attached to a silver chain, 5cm max. (4)

£300-500

384 λ A JAPANESE IVORY MANJU NETSUKE MEIJI PERIOD, 19TH CENTURY The lid depicting a graceful tennin, the celestial being floating with her long robes swirling around her and holding a reed flute, shô, the reverse with a single lotus bud and signed Minkoku, 4.5cm. (2)

£200-300

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

385 λ A JAPANESE IVORY NETSUKE OF A BEAUTY MEIJI PERIOD, 19TH CENTURY Carved as Eguchi no Kimi seated on an elephant, the courtesan reading a love letter inscribed on a long makimono scroll unrolled on her lap, her hair stained black and loosely tied behind her back, wearing long robes and tabi socks, the benevolent-looking pachyderm depicted reclining with its head lowered, signed Tomonobu underneath, 6.9cm.

£400-600 Kimi was a famous prostitute from the village of Eguchi who after assiduously studying Buddhist scriptures became an incarnation of Fugen Bosatsu, the bodhisattva of Universal Goodness, Virtue and Worthiness. See lot 308 for another depiction of this myth.

386 λ A TALL AND UNUSUAL JAPANESE IVORY NETSUKE OF A FOREIGNER EDO PERIOD, LATE 18TH OR EARLY 19TH CENTURY The man depicted standing, wearing a short tunic incised with flowers, scrolls and clouds over long robes, possibly a Chinese outfit, tying on a mask before his face, the character depicted with bulging eyes, bushy eyebrows and a scrolling beard, possibly the caricature of a Westerner, 15cm.

£800-1,200

387 λ TWO JAPANESE IVORY NETSUKE EDO PERIOD AND LATER, 18TH AND 19TH CENTURY One a tall Chokaro Sennin with his pet horse slung over his shoulders, typically dressed with a coat of mugwort leaves, his head turned to the side as he laughs; the other a fox dressed with long robes as a priest, holding a walking stick and with his head also turned to the side, 8cm and 7cm respectively. (2)

£500-800 Provenance: from the collection of a lady of title, and thence by descent.

386

387 77

388 λ THREE JAPANESE IVORY NETSUKE EDO PERIOD AND LATER, 18TH AND 19TH CENTURY One depicting a tiger and a dragon on a rocky outcrop, their eyes inlaid in mother of pearl, signed Ikko / Kazutora; another depicting a man seated on a large shishi, holding a sake bottle over his shoulder, the lion dog reclining on a rock-shaped base; the third depicting Jurojin and his pet crane on a swirling cloud, 4.2cm max. (3)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

389 λ SEVEN JAPANESE IVORY NETSUKE OF DOGS EDO PERIOD AND LATER, 18TH AND 19TH CENTURY Depicted in a variety of positions, two with their front paws resting on a seashell, another with a large ball; three bitches with their puppies, some with signatures including Shunzan / Haruyama and Shungetsu, 4.9cm max. (7)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

390 λ FIVE JAPANESE IVORY NETSUKE OF DOGS MEIJI PERIOD, 19TH CENTURY The first depicting Hanasaka Jiisan with his dog raking through a pile of gold coins, signed Shokyusai; the four others carved as chubby-looking puppies, one resting on a rooftile, another on an awabi shell, the third with a fish and the last a bitch with her young, some with signatures including Ranichi, Hakuryu and Shokyusai, 5.2cm max. (5) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 Provenance: from the collection of a lady of title, and thence by descent.

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

391 λ FIVE JAPANESE IVORY NETSUKE OF SHISHI EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY The lion dogs with ferocious expressions; one reclining on a cushion with a mokugyo drum beside it; another ball-shaped and holding a jewel between its claws; another a cluster of five lion dogs climbing upon each other and the two others seated baring their teeth, 5cm max. (5)

£600-1,000 Provenance: from the collection of a lady of title, and thence by descent.

392 λ FIVE JAPANESE IVORY NETSUKE OF SHISHI EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY The lion dogs depicted in a variety of positions, all with long scrolling manes, two resting their front paws on brocade balls, two others baring their teeth, revealing a small movable ball inside their mouths; the last depicting two shishi playfighting, one netsuke signed Okakoto and another Okatori, 5.8cm max. (5)

£2,000-3,000 Provenance: from the collection of a lady of title, and thence by descent.

393 λ SEVEN JAPANESE IVORY NETSUKE OF SHISHI EDO PERIOD AND LATER, 18TH AND 19TH CENTURY The lion dogs depicted in a variety of positions, one on a mokugyo bell signed Tomochika, another coming out of its egg, the third reclining over a large ball and one with its pup, signed Hojitsu, 4.5cm max. (7)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

394 λ A JAPANESE IVORY OKIMONO AND A LARGE NETSUKE MEIJI PERIOD, 19TH CENTURY The okimono depicting a monkey and a frog on a fruiting branch of persimmon playing tug of war, with a paper collection label reading “1894” and “China Town San Francisco” to the reverse, the netsuke carved as a beribboned cat lying on a feather duster, the handle opening to reveal a short blade, 11.9cm and 11cm respectively. (3) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 Provenance: from the collection of a lady of title, and thence by descent.

395 λ FIVE JAPANESE NETSUKE OF AMPHIBIOUS CREATURES EDO PERIOD AND LATER, 18TH AND 19TH CENTURY

396 λ SIX JAPANESE IVORY NETSUKE EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY

One in ivory carved as a minogame and its young, signed Shounsai; another a wood turtle hidden in her carapace; the third a nut carved as a small toad with inlaid eyes; another a grumpy-looking wooden toad and the fifth depicting five small frogs on a lotus leaf, 5cm max. (5)

Four depicting fishermen and their catches; one a benevolent-looking man resting on a small raft; another carved as Chokaro Sennin and a boy on a small boat, the Immortal releasing his miniature horse from his gourd; together with a stag antler netsuke carved as a catfish, namazu, some with signatures including Jugyoku, Hikaku and Anraku, 16.6cm max. (7)

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 Provenance: from the collection of a lady of title, and thence by descent.

£300-500 Provenance: from the collection of a lady of title, and thence by descent.

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

397 λ TWO JAPANESE IVORY NETSUKE OF CEPHALOPODS MEIJI PERIOD, 19TH CENTURY One carved as an octopus on an upturned pot, its mouth seemingly open in surprise as one of its tentacles gets stuck in a small clam to the side, the eyes inlaid in horn, the reverse signed Dosho above a seal reading Yashikuni; the other depicting an ama, the diving girl smiling as a large octopus entangles its tentacles around her body, her hair stained and its eyes also inlaid, signed Tomochika in a shaped cartouche to the back of its head, 4.3cm and 3.5cm respectively. (2)

£800-1,200 Provenance: from the collection of a lady of title, and thence by descent.

398 λ FIVE JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY One in Shibayama style depicting clams with a squid and other seashells in mother of pearl, horn, coloured ivory and shell inlays, signed Raku in a shaped reserve; another a cluster of shells to one side and fish to the other, one fugu with an opening revealing a miniature landscape inside, signed Kozan; the third with five peaches, also with miniature landscapes to the insides, signed Gyokumin and with a small paper label reading “Pekin” and “1859”; the fourth a nest of terrapins on rockwork, with insects inlaid in horn, coral and stained ivory; the last a small monkey on a peach, together with a bone manju in the shape of a chrysanthemum flower, 5cm max. (6)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

399 λ FOUR JAPANESE IVORY NETSUKE OF MONKEYS MEIJI PERIOD, 19TH CENTURY

400 λ SEVEN JAPANESE IVORY NETSUKE EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY

One primate quizzically looking at a bug climbing on the fruit before it; another eating a large persimmon; the third with its young and the last wrestling with a large eagle, two signed Masatomo and Tadamitsu, 5.2cm max. (4)

One carved as a woman with her two children on horseback and with an attendant to the side, another a boy playing the flute to a large ox lying behind him, both signed Tomochika; a third depicting Chokaro Sennin’s horse emerging from his gourd, a movable ring around it; another a horse standing in a tub of water, signed Ranmei; the fifth an ox on a rectangular base; the sixth a boy seated on the back of a small elephant; the last depicting three figures dressed as Westerners, observing a large elephant, the underside carved as a seal; 5.1cm max. (7)

£300-500 Provenance: from the collection of a lady of title, and thence by descent.

£400-600 Provenance: from the collection of a lady of title, and thence by descent. Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.891, where a netsuke of travellers on horseback by Tomochika is illustrated, possibly this very piece.

401 λ ELEVEN JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY

402 λ FIVE JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY

One of Raijin, the God surrounded by clouds and taiko drums; another of a man surprised by two kappa signed Gyokuo; a third of an Immortal standing on a giant scroll; and eight of oni, the demons engaged in various activities, some bearing signatures for Gyokuzan, Gyokuichi, Gyokko, Shogyoku, Hounsai, and Minkoku, 6.2cm max. (11)

One large okimono-style netsuke carved as Tentoki holding a lantern; two depicting oni; the fourth of Gamma Sennin with his pet toad and the fifth a kappa grabbing the leg of a fisherman, signed Tomochika, 5.6cm max. (5)

£800-1,200 Provenance: from the collection of a lady of title, and thence by descent.

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 Provenance: from the collection of a lady of title, and thence by descent.

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

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403 λ A JAPANESE IVORY CARVING, OKIMONO MEIJI PERIOD, 19TH CENTURY Carved as Minamoto no Yoshitsune, the military commander depicted riding a large horse under a pine tree, his mount trampling over two fallen soldiers, signed Sukeaki to the base, 7cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300

404 λ TWO JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY One depicting Gyoja Busho taming a large lion dog, signed Tomochika underneath; the other carved as four armour-clad samurai scrambling to stand up, signed Masatsugu, 4.2cm and 6.4cm respectively. (2)

£200-300 Provenance: an English private collection, Westminster. Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.890, where a similar netsuke of Busho and a shishi by Tomochika is illustrated and discussed, possibly this very piece.

405 λ A JAPANESE IVORY CARVING, OKIMONO MEIJI PERIOD, 19TH CENTURY Depicting a group of four figures, one a woman smoking, seated on a bundle of sticks, two others carved as craftsmen at work, the fourth a samurai holding a fan, the base signed Chikuyosai Tomochika, 5.3cm.

£250-350

406 λ FIVE JAPANESE IVORY CARVINGS, OKIMONO MEIJI PERIOD, 19TH CENTURY

407 λ TWO JAPANESE IVORY CARVINGS, OKIMONO MEIJI PERIOD, 19TH CENTURY

408 λ FIVE JAPANESE IVORY CARVINGS OF DEITIES, OKIMONO MEIJI PERIOD, 19TH CENTURY

One depicting the Seven Gods of Good Fortune on a treasure boat, takarabune, another two men at their toilet, two oni assisting them, the third a couple and the remaining two carved as men holding birds, some with signatures including Gyokuzan, Shogyoku and Shigeyuki, 18.5cm max. (5)

One depicting a beauty wearing long kimonos decorated with maple leaves, standing with her head turned and holding a spray of flowers, the other a fisherman with a large basket of seashells and a small dog by his side, 10.9cm and 7.8cm respectively. (2)

Four variously depicting the Seven Gods of Good Fortune, Shichifukujin, the fifth with Daruma being attacked by a small dog while eating noodles, some with signatures including Gyokuzan, Kogyoku, Sozan and Isshosai / Shungetsu, 7.5cm max. (5)

£300-500

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£400-600

Provenance: an English private collection, Westminster.

£200-300

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

409 λ A JAPANESE IVORY NETSUKE OF AN IMMORTAL EDO PERIOD OR LATER, 19TH CENTURY

410 λ THREE JAPANESE NETSUKE EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY

Stained and carved as a sennin seated on a rocky outcrop, the Immortal typically depicted wearing a coat of mugwort leaves, 4.3cm.

Two in ivory, one carved as a man and a recumbent ox, the other a tsuitate screen with a figure holding a fan to one side and a jar under a pine tree to the other; together with an erotic stag antler netsuke of a beauty dressing herself in lose robes, smiling while revealing her right breast, 7cm max. (3)

£200-300 Provenance: an English private collection, London and Shetland.

£300-500

411 λ FOUR JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY

412 λ FOUR JAPANESE NETSUKE EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY

Two carved as Tobosaku Sennin and the Peach of Immortality, the third Susanoo slaying the Yamata no Orochi, the fourth depicting a man struggling to carry a large shell, 7cm max. (4)

Three in wood, variously depicting two mushrooms, two sages conversing inside a giant fruit and a stylised doll; the fourth in ivory and carved as a basket containing fruiting branches of persimmon; together with a Chinese nut carved as two figures emerging from a giant shell, 5cm max. (5)

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 Provenance: from the collection of a lady of title, and thence by descent.

413 λ THREE JAPANESE NETSUKE MEIJI PERIOD, 19TH CENTURY

414 λ THREE JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY

One in stag antler carved as a monkey resting inside a giant bamboo shoot; another in marine ivory of a farmer and his large ox and the third in ivory of two children at play, signed Masatoshi, 3.8cm max. (3)

One depicting a drunk shojo lying against a sake cup, its long hair stained red and signed Jugyoku to the base, another a shishi resting its front paws on a large bowl and baring its teeth, unsigned, the third carved as a man seated at a table with two swallows dressed in women’s kimonos, signed Rakusho, 4.6cm max. (3)

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£150-250 84

£200-300 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

415 λ NINE JAPANESE IVORY NETSUKE OF BOYS MEIJI PERIOD, 19TH CENTURY

416 λ NINE JAPANESE IVORY NETSUKE AND AN OJIME EDO PERIOD AND LATER, 18TH CENTURY AND LATER

Depicted engaged in a variety of activities, some playing, helping adults and causing mischief, one catching a small fish out of a tank, another in stag antler laughing whilst holding a sake bottle behind his back, together with a small okimono carved as a child playing with a mask, a paper collection label underneath for “1926 Wimbledon Curphey”, some with signatures including Tomochika, Gyokumin, Tomohisa, Jusen and Rensai, 6cm max. (10)

Carved as children, the ojime a toddler playing with cymbals, two netsuke depicting boys building a Daruma-shaped snowman; another in wood hiding behind a small screen, two playing a board game on a low table, another bending over a giant peach and the others depicted engaged in a variety of activities, some with signatures including Masamitsu, Tomohisa, Tomoshige and Masahiro, 4.2cm max. (10)

£500-1,000

£400-600

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

417 λ THREE JAPANESE NETSUKE EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY

418 λ FOUR JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY

Two in ivory, one carved as a monkey seated on a rock and scratching his head, the other Gama Sennin, the Immortal typically depicted wearing mugwort leaves and with his pet toad clinging onto his shoulder, together with a stag antler netsuke of a traveller with a wide brimmed hat and a walking stick, 8.5cm max. (3)

One carved as Shoki the Demon Queller with a small oni on his large brimmed hat; another a samurai holding a lance with another man at his feet, signed Tomohisa; the third an archer holding a broken arrow and the fourth a Mongolian horse rider, together with a stag antler netsuke of Gama Sennin, 8.3cm max. (5)

£200-300

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

Provenance: an English private collection, Westminster.

£200-300 Provenance: from the collection of a lady of title, and thence by descent.

419 λ A JAPANESE TOKYO SCHOOL IVORY CARVING BY SHIMAMURA SHUNMEI (1853-1896), OKIMONO MEIJI PERIOD, 19TH CENTURY Depicting a mother and child, the beauty wearing a long kimono decorated with a design of chrysanthemums and brocade patterns, the back of the obi with further flowers and fans, the toddler she holds on her shoulder smiling and stretching his hand towards her, the base signed Nihon Tokyo Shimamura Shunmei with a square seal underneath, 28cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300 Provenance: an English private collection, Wiltshire. Cf. L Bordignon, The Golden Age of Japanese Okimono, pp.202-3 for another okimono by Shimamura Shunmei and p.288 for a short biography of the artist. The author mentions his successful if short career (he died at 42 years old), and his award-winning contributions to Domestic Industrial Expositions and the World’s Columbian Exhibition in Chicago (1893). He was also one of the founders of the Tokyo Sculptors’ Society. Pieces by Shunmei are recorded in the collection of Michael Tomkinson (1841-1921) and at the Tokyo National Museum.

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

two views

420 λ A JAPANESE IVORY NETSUKE OF RATS EDO OR MEIJI PERIOD, 19TH CENTURY Depicting a large rat and its two young, the parent and one of the pups gnawing on a spray of millet, the other clambering on to its parent’s back, realistically carved and with the eyes inlaid, signed Okatomo in a rectangular reserve underneath, 3.9cm.

£800-1,200 Provenance: from the collection of a lady of title, and thence by descent.

two views

421 λ A JAPANESE IVORY NETSUKE OF RATS EDO PERIOD, 19TH CENTURY Carved as a large rat and its young on an open paper fan, the rodents realistically depicted with the hair finely rendered and their eyes inlaid, the small pup clambering upon its parent’s long tail, the fan decorated to both sides with flowering branches of prunus, the petals delicately highlighted in pink, signed Shomin / Masatami, with a paper collection label reading ‘Shyomin’ to one side and ‘no.3’ to the other, 4.6cm.

£400-600

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422 λ TEN JAPANESE IVORY NETSUKE EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Depicting figures engaged in various activities: one a hunter with his pet monkey observing another primate fighting a rabbit with inlaid eyes; another a thwarted rat catcher; the third depicting two long-legged Ashinagas; the fourth a man seated by a brazier; the fifth another trying to get a small dog out of a paper lantern; four standing figures, one naked, and the last, a man with a small tanuki on his back, some with signatures including Minkoku, Jugyoku, Saneo and Tomochika, 7cm max. (10)

£500-1,000

423 λ ELEVEN JAPANESE WOOD, LACQUER AND IVORY NETSUKE OF ENTERTAINERS MEIJI PERIOD, 19TH CENTURY Variously depicting itinerant manzai performers playing the drum, dancers, actors, one wearing a fox mask and another with a lion costume, two manju carved as clusters of Noh masks, and other figures, some with signatures including Tomochika, Tomohisa, Ryomin and Tadachika, 4.5cm max. (6)

£600-1,000 Provenance: from the collection of a lady of title, and thence by descent.

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

424 λ NINE JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY

425 λ ELEVEN JAPANESE IVORY NETSUKE OF GODS EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY

Depicting figures engaged in a variety of activities: one an okimono-style netsuke of three painters fighting with their brushes; another two boys playing with a frog and a turtle; a third carved as a mirror polisher; the others depicting men at leisure or working, some with signatures including Tomohisa, Gyokuzan, Gyokuji, Hidemasa, Hideaki, Ryuraku and Ryomin, 6.4cm max. (9)

Engaged in various activities, including Hotei, Daikoku and Fukurokuju, many carved with their divine attributes, and Daruma, the Father of Zen Buddhism, two signed Tomochika and the others Gyokuei and Kazumasa, 6cm max. (11)

£300-500

£500-1,000 Provenance: from the collection of a lady of title, and thence by descent.

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

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

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426 λ FIVE JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY

427 λ FIVE JAPANESE IVORY NETSUKE EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY

Depicting figures engaged in various activities, children playing, a sanbaso dancer, and a tall oni carrying a smaller one on its back, some with signatures including Gyokuhisai and Tamihisa, 4.5cm max. (5)

Variously depicting figures engaged in daily activities, one a fisherman with his catch, another a Chinese man with a large sack, a third a man holding a placard, the fourth a scholar in a giant fruit writing with an oni next to him and the fifth a shojo reclining on a large hat, together with a stag antler netsuke of two figures holding large bundles, some with signatures including Hozan and Masatsugu, 4.6cm max. (6)

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

£200-300

£200-300 Provenance: an English private collection, Westminster.

428 λ NINE JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY

429 λ NINE JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY

Depicting figures engaged in various activities, one carved as Jurojin resting with his deer, another Daikoku hiding a daikon shaped as female legs under a blanket; a beauty standing, wearing a long kimono and holding a fan; together with a ceramic netsuke of a woman carrying a large mushroom on her back, some with signatures including Ikko, Tamihisa, Rantei, Homin, Ryuei and Chikahiro, 8cm max. (10)

Variously depicting figures and animals, fishermen and their catch, one Kinko Sennin riding his carp, signed Masatsugu, another carved as travellers on a boat, signed Tomochika, a horse rider and his attendant, a large ox on a rectangular base and Chokaro Sennin’s horse galloping on its gourd, together with a stag antler netsuke of a recumbent ox, some others with signatures including Yasuaki, Masatsugu and Kogyokko, 6cm max. (10)

£400-600

PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

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

£200-300 Provenance: from the collection of a lady of title, and thence by descent.

430 λ THREE JAPANESE IVORY NETSUKE OF RABBITS EDO AND MEIJI PERIOD, 19TH CENTURY One netsuke carved as a small rabbit resting its paws on the back of another, their eyes inlaid in coral; the two other netsuke depicting the animals seated on their haunches, one with amber-coloured eyes, the other with the pupils inlaid in horn, 5.2cm max. (3)

£400-600 Provenance: from the collection of a lady of title, and thence by descent.

431 λ NINE JAPANESE IVORY NETSUKE OF RATS MEIJI PERIOD, 19TH CENTURY One with a small rodent peeking out of a wood pumpkin; another climbing over a large mushroom; three each depicting a colony of rats; a large rat with its young and the remaining four climbing over fruits and mushrooms, some with signatures including Tomochika, Ikkosai and Masamitsu, 4cm max. (9)

£800-1,200 Provenance: from the collection of a lady of title, and thence by descent.

432 λ THREE JAPANESE NETSUKE OF RATS MEIJI PERIOD, 19TH CENTURY Two in ivory, the first depicted on a large straw hat, realistically carved and with its eyes inlaid, signed Masanao in an oblong reserve underneath; the other resting its paws on a rolled-up scroll, with its head raised and the eyes also inlaid; the third in stag antler and carved as two rodents on a large awabi shell, seemingly holding paws, 4.7cm max. (3)

£300-500 Provenance: from the collection of a lady of title, and thence by descent.

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

433 λ TWO JAPANESE IVORY NETSUKE MEIJI PERIOD, 19TH CENTURY One depicting an owl, the plump bird perched on an ivy-clad branch with two movable owlets peeping from the sides, the eyes inlaid and signed Tenmin to the base, the other a cluster of realistically carved gingko nuts, signed Mitsuharu, 4.7cm and 3.7cm respectively. (2)

£800-1,200 Provenance: from the collection of a lady of title, and thence by descent. Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.861, where a related netsuke of owls by Tenmin is illustrated and discussed, possibly this very piece.

434 λ EIGHT JAPANESE WOOD AND IVORY NETSUKE OF BIRDS MEIJI PERIOD, 19TH CENTURY Four carved as sparrows, the largest inscribed Masanao underneath; one a large cockerel standing on a broom signed Eisai, another a gull with reticulated wings opening to reveal the himotoshi; a stylised duck of geometrical shape inscribed Shitsuichi and a small quail on a branch of millet, together with a small netsuke of a bat, some with signatures, 6.4cm max. (9)

£500-800 Provenance: from the collection of a lady of title, and thence by descent.

435 λ THREE JAPANESE NETSUKE OF CICADAS MEIJI PERIOD, 19TH CENTURY One in umimatsu and carved resting on a twig with small leaves to the side; another in ivory, the insect on a bed of small mushrooms and pinecones, signed to the underside, possibly Gyokusei; the third in wood, 5.9cm max. (3)

£500-1,000 Provenance: from the collection of a lady of title, and thence by descent.

two views

436 λ A JAPANESE IVORY NETSUKE OF A TIGER AND HER CUB EDO PERIOD, 18TH CENTURY

437 λ TWO JAPANESE IVORY NETSUKE OF TIGERS MEIJI PERIOD, 19TH CENTURY

The feline depicted with her head turned to sinister, a paw gently placed on the back of the small cub before her, both with long elegant tails and with their eyes inlaid, signed Tomotada underneath, 3.6cm.

Both carved as a larger feline and its two young, realistically modelled and with the ivory stained to imitate the stripes, their eyes inlaid in mother of pearl, both signed to the back Hakuryu in a gourd-shaped reserve, 4.6cm and 4cm respectively. (2)

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

£400-600 Provenance: from the collection of a lady of title, and thence by descent. Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part A, p.120, for other examples of tiger netsuke by Hakuryu.

438 λ THREE JAPANESE IVORY NETSUKE OF TIGERS EDO PERIOD AND LATER, 18TH AND 19TH CENTURY One licking its cub, with the eyes inlaid and the stripes realistically rendered, signed underneath; another seated and baring its fangs, the third reclining and with its long tail resting on its back, 5cm max. (3)

£2,000-3,000 Provenance: from the collection of a lady of title, and thence by descent.

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

439 Îť THREE JAPANESE NETSUKE AND AN OJIME EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Two netsuke in ivory, one carved as a large wolf devouring the leg of a spotted deer, the fur realistically carved and with the eyes inlaid in horn, signed Okatomo in a rectangular reserve underneath; the other of a tiger, one paw holding a crab before it; the third in wood and depicting another emaciated wolf holding a skull between its front paws; together with a small ivory ojime in the shape of another wolf and skull, 5.2cm max. (4)

ÂŁ2,000-4,000 Provenance: from the collection of a lady of title, and thence by descent. Cf. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.620, where other netsuke of wolves signed Okatomo are illustrated.

END OF SALE 93

JAPANESE SIGNATURES & MARKS

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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

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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

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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

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FURNITURE, WORKS OF ART & CLOCKS TUESDAY 11TH AUGUST 2020

A pair of fine and rare French Louis XVI ormolu-mounted white marble vases after the Borghese Vase, c.1790, 44.7cm high. Provenance: Alfred de Rothschild (1842-1918), Lionel de Rothschild (1882-1942), Edmund de Rothschild (1916-2009), the Trustees of Exbury House. Estimate Â£20,000 - 30,000* ENQUIRIES Mark Yuan-Richards | +44 (0) 1722 411854 | myr@woolleyandwallis.co.uk *Visit woolleyandwallis.co.uk/buying for additional charges on final hammer price

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.

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.

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.

Alban Shipping +44 (0)1582 493099 info@albanshipping.co.uk www.albanshipping.co.uk

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.

Mailboxes +44 (0)1962 622133 mbewinchester@btconnect.com www.mbe.co.uk/winchester

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.

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

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.

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.

Storage charges will be levied on all lots in the furniture and works of art and clock sales 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. 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.

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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WILTON & WARMINSTER

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

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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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VALUATIONS

LONDON, ANDOVER & WINCHESTER

CASTLE RD A345

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

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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

WOOLLEY & WALLIS

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A345 Castle Rd

SALISBURY AMESBURY

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Clifford Street, Mayfair

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Sarum Business Park

Westover Garage

Woolley & Wallis Unit 1B Castle Gate Business Park Old Sarum Salisbury SP4 6QX

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

Old Sarum

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 WEDNESDAY 1ST JULY 2020 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 �� All accounts must be settled within 21 days. ID may be required even if you have bid with us before. Signature ��

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 JULY 15th Jewellery 22nd & 23rd Silver & Objects of Vertu

ENTRIES ARE CURRENTLY BEING ACCEPTED FOR OUR NOVEMBER 2020 AUCTION

AUGUST 11th

Furniture, Works of Art & Clocks

26th

Modern British & 20th Century Art Including the Estate of Dame Elisabeth Frink and Lin Jammet

SEPTEMBER 8th Old Masters, British & European Paintings 22nd

Tribal Art & Antiquities

Dates may be subject to change

+44 (0)1722 424500 enquiries@woolleyandwallis.co.uk 51-61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk *Price includes buyer’s premium

A Japanese articulated iron model of a dragon fish or shachihoko, SOLD FOR £15,000*