Japanese Art At Auction August 20-21, 2019
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Japanese Art
Terms
A buyer’s premium will be added to all purchases. The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. Payment must be in the form of a check, money order or wire transfer. We accept all major credit cards for auction purchases provided the total bill is $5,000 or less and the credit card has a U.S. billing address. PayPal is not an accepted form of payment. Bidders holding a valid Massachusetts or out-of-state resale number must provide the certificate or a copy thereof when registering or otherwise will be required to pay 6.25% Massachusetts sales tax on purchases. Items picked up in our Mystic office or shipped to Connecticut are subject to 6.35% Connecticut sales tax.
At Auction in East Dennis, Massachusetts Tuesday, August 20, 2019 at 10 a.m. Lots 1-388 Wednesday, August 21, 2019 at 10 a.m. Lots 401-728 The Prints of Paul Jacoulet Lots 729-764
On Exhibit
Absentee & Telephone Bidding
Please use the bid form found at the back of this catalog or visit our website to make arrangements for absentee and telephone bidding.
Monday, August 19, 2019 from 10 a.m. to 5 p.m. And the mornings of each sale, beginning at 8:45 a.m.
Online Bidding
This auction will be held simultaneously online at www.invaluable.com and www.eldreds.com. The buyer’s premium is 25% for purchases bought online via Invaluable or Eldred’s Infinite Bidding. Prospective bidders must register and be approved prior to bidding.
Important Notices
Prospective bidders should satisfy themselves by personal inspection as to the condition of each lot. It is the bidder’s responsibility to obtain a condition report, by either visiting our website or contacting us. Although condition reports may be given on request, such reports are statements of opinion only. The absence of a condition report does not imply the property is in good condition.
ROBERT C. ELDRED CO., INC.
main office & aucTion house 1483 Route 6A P.O. Box 796 East Dennis, MA 02641 (508) 385-3116 fax: (508) 385-7201 MA License #155
Regardless of whether or not a condition report is given, all property is sold subject to Item 1 of our Conditions of Sale, which provides that all property is sold as is. All dimensions and weights are approximate. Items made with whalebone, whale ivory or other protected species will not be shipped internationally without a CITES permit. Obtaining CITES and any other necessary permits is the obligation of the buyer.
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connecTicuT office 5 Roosevelt Avenue Mystic, CT 06355 (860) 912-8169 info@eldreds.com
w w w. eld red s.co m
E L D R E D ’ S S TA F F D I R E C TO RY Antiques & Fine Art Specialists
Production & Administrative Staff
Joshua F. Eldred President Head of American and European Paintings jeldred@eldreds.com
Mary Ann Eldred Appraisal and Mailing List Director maeldred@eldreds.com Wendy A. Dunford Assistant Treasurer wendy@eldreds.com
John H. Schofield President Emeritus Asian Arts johns@eldreds.com Susan M. Schofield Treasurer The Prints of Paul Jacoulet sue@eldreds.com William Bourne Vice President Head of Americana and Maritime Arts bill@eldreds.com Eric S. Mulak Assistant Vice President Head of Sporting Antiques, Folk Art & Collectibles Consignment Manager eric@eldreds.com Leah S. Kingman Head of European Decorative Arts lkingman@eldreds.com Glen Krawczyk Head of Oriental Rugs glen@eldreds.com Anne G. Lajoie Asian Arts Condition Reports annie@eldreds.com
Devyn Henry Administrative Assistant dhenry@eldreds.com Kristin Kiley Client Services Manager/Shipping kkiley@eldreds.com Jessica Lambert Assistant Head of Photography, Website Administrator, Condition Reports jlambert@eldreds.com Kristyn Mills Head of Photography kmills@eldreds.com Madison Morris Assistant Photographer & Digital Image Editor mmorris@eldreds.com Kathleen Morse Auction Coordinator kmorse@eldreds.com Tanya Sargent Administrative Assistant tsargent@eldreds.com Caleb G. Seaver Catalog Production and Design cseaver@eldreds.com Cheryl Stewart Head of Marketing Catalog Layout and Design cheryl@eldreds.com
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Japanese Art SESSION I
Tuesday, August 20, 2019 Beginning at 10 a.m.
Lots 1-388 Netsuke 1-197
Weapons 198-243
Enamel
244-309
Metal
318-341
Photographs 342-342
Textiles
Lot 386
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Lot 201
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Lot 661
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Japanese Art SESSION I
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1.
WOOD NETSUKE By Gyokurintei. In the form of two battling samurai. Signed.
18th/19th Century 700/900
2.
WOOD NETSUKE In the form of shoki beating on an oni. Signed “Hide...” . Height 2.25”.
Early 19th Century 2,000/2,500
3.
WOOD NETSUKE 19th Century In the form of a puppy with double inlaid eyes seated in a humorous position. Signed (possibly Yuko). Length 2”. 600/800
4.
WOOD NETSUKE 19th Century By Masamitsu. In the form of a shishi holding a brocade ball with a loose ball floating inside. Signed. Height 1.25”. 1,500/2,000
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5.
INLAID WOOD NETSUKE 19th Century In the form of a wolf with inlaid eyes, feasting on a bone while leaning against a tree branch that forms the himotoshi. Height 1.5”. 1,000/1,500
6.
WOOD NETSUKE 18th Century By Miwa. Depicting Kiyohime wrapping herself about the bell of Anchin. Anchin can be viewed through a crack in the bell. Signed. Length 1.3”. 1,200/1,500
7.
INLAID WOOD NETSUKE 18th Century By Miwa. In the form of a seated man examining a tea jar while wearing a short sword. Ivory inlays. Signed. Height 1”. 1,500/2,000
8.
WOOD NETSUKE 19th Century By Miwa. Depicting six children preparing for a parade with a shishi costume. Signed on inlaid lacquer plaque. Length 1.5”. 2,000/2,500
To view color images and condition reports for all lots please visit www.eldreds.com.
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9.
LACQUER-ON-WOOD NETSUKE In the form of Fukurokuju standing while wearing a cloud-decorated robe. Height 1.4”.
10.
LACQUER-ON-WOOD NETSUKE 18th/19th Century By Yokobue. Depicting an elderly woman walking with the aid of a staff while hiding a demon mask behind her back. Signed. Height 2”. 1,200/1,800 Ex Collection: Carl Krock.
11.
LACQUER-ON-WOOD NETSUKE In the form of a man seated on a tree stump with a basket. Height 1.5”.
12.
WOOD NETSUKE Mid-19th Century By Hokyudo Itsumin. Depicting Hodaka Sonja seated while pouring a dragon from his beggar’s bowl. Signed. 1,800/2,200
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19th Century 1,000/1,200
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13.
IVORY NETSUKE * 19th Century By Mitsuharu. Depicting an oni sitting on an Okame mask while throwing setsubin beans. Length 1.5”. 600/800
14.
IVORY NETSUKE * In the form of a Dutchman standing while holding a rooster. Height 3.75”.
15.
IVORY NETSUKE * In the form of a turtle and a frog neck-wrestling while balanced on a lotus leaf. Length 1.75”.
16.
IVORY NETSUKE * By Gyokumin. Depicting two puppies lying on a sandal. Signed. Length 1.5”.
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14
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* Not available for international delivery.
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19th Century 800/1,000
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18th Century 1,500/2,000 Circa 1900 700/900 19th Century 500/700
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17.
WOOD NETSUKE In the form of a woman beating silk while seated. Height 2”.
18.
WOOD NETSUKE In the form of a reclining goat with inlaid eyes. Signed Masayoshi.
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19th Century 500/700 Early 19th Century 800/1,200
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19.
IVORY NETSUKE * By Komin. In the form of Ebisu with a large fish. Signed. Length 1.9”.
19th Century 600/800
20.
IVORY NETSUKE * 19th Century By Tomoaki. In the form of a street entertainer blowing bubbles while entertaining a child. Signed. Height 1.9”. 700/900
21.
IVORY NETSUKE * In the form of a peasant woman with a straw hat and a cane. Height 1.8”.
22.
IVORY NETSUKE * In the form of a female ghost wearing a wisteria-pattern kimono. Height 2.25”.
23.
WOOD NETSUKE In the form of a monkey with inlaid eyes eating a piece of fruit. Length 1.75”.
24.
TWO FIGURAL NETSUKE * 19th Century 1. Carved wood westerner in a hat and coat. Length 4”. 2. Ivory in the form a of a man with a sword looking out from a bowl. Signed. Height 1.5”. 250/350
Early 19th Century 500/700 19th Century 500/700 Early 19th Century 350/450
* Not available for international delivery.
To view color images and condition reports for all lots please visit www.eldreds.com.
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25.
IVORY NETSUKE * Depicting a badger trapping a hunter beneath his distended scrotum. Signed. Height 1.25”.
26.
IVORY NETSUKE * Circa 1900 By Baisho (grandfather of Bishu). Depicting a snake with gold-inlaid eyes fighting with a frog with horn-inlaid eyes. Signed on inset plaque. Length 1.6”. 400/600
27.
IVORY NETSUKE * 18th Century Attributed to Okatomo. Depicting a rat with inlaid eyes feasting on a radish. Signed “Okatomo.” Length 1.5”. 1,500/2,000
28.
IVORY NETSUKE * After Kaigyokusai. Depicting a sleeping baby boar. Signed “Masatsugu.” Length 1.8”.
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19th Century 800/1,200
19th Century 1,200/1,500
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29.
WOOD NETSUKE Depicting a peasant seated with a mortar and pestle. Height 1.5”.
30.
WOOD NETSUKE In the form of Raiden dragging his thunder drum through clouds. Length 1.4”. Ex Collection: Raymond Bushell.
31.
WOOD NETSUKE 19th Century By Tomokazu. In the ironic form of an oni trapping Shoki beneath a straw basket. Signed. Length 1.5”. 4 00/500
32.
WOOD AND IVORY NETSUKE * In the form of a shishi emerging from a peach. Height 1.75”.
* Not available for international delivery.
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Mid-19th Century 400/500 19th Century 1,500/2,500
19th Century 600/800
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33.
FOUR CASE GOLD LACQUER INRO With takamaki tiger landscape design. Nashiji interior. Length 3”.
34.
FOUR CASE LACQUER INRO With willow tree and bridge landscape design.
Early 19th Century 400/600
35.
THREE CASE BLACK AND GOLD LACQUER INRO With rural landscape design. Height 2.75”.
Circa 1800 300/500
36.
FOUR CASE MINIATURE INRO 18th Century Decorated on once face with rooster and bamboo. Decorated on reverse with pheasant and flowers. Silver melon-form ojime. Height of inro 2.25”. 300/500
37.
THREE CASE BLACK AND GOLD LACQUER INRO With dragon rondel design on a fretwork ground. Some agoi inlay. Height 2.5”.
38.
FOUR CASE LACQUER INRO 18th Century With gunfu, agoi and gold takamaki design of a bowman on horseback hunting geese. All on a ro-iro ground. Height 2.75”. 500/800
39.
FOUR CASE GOLD LACQUER INRO With Hiramaki-e floral design. Height 3”. Agate ojime.
40.
BOX TURTLE TONKOTSU Made from the carapace of a turtle. Wood gourd-form netsuke. Length of tonkotsu 3.2”.
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Circa 1800 400/600
18th Century 500/700
Mid-19th Century 400/600
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To view color images and condition reports for all lots please visit www.eldreds.com.
19th Century 250/350
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41.
IVORY NETSUKE * 19th Century By Masatoshi (d. 1884). Depicting a tea house and figures on a hillside beneath pine trees. Signed. Length 1.5”. 500/700
42.
IVORY NETSUKE * Late 19th Century By Masakazu (1868-1911). Depicting a warrior battling a boar as it tramples a fallen figure. Signed. Length 2.5”. 300/500
43.
IVORY NETSUKE * Depicting a cat peering into a decaying paper lantern. Signed “Nori”. Length 1.5”.
44.
IVORY NETSUKE * 19th Century By Tomochika (1800-1873). Depicting an ashinaga and a tenaga playing a horn-inlaid drum. Signed. Height 2”. 600/800
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45.
IVORY NETSUKE * By Tomonobu (active 1820-1850). Depicting a tiger and a dragon. Signed. Length 1.5”.
46.
IVORY NETSUKE * 18th Century In the form of six blind men carrying a child, loose-carved and dangling from a pole. Length 1.75”. 500/600
47.
IVORY NETSUKE * Depicting several tengu assaulting a cucumber farmer. Signed. Length 2”.
48.
IVORY NETSUKE * By Kinryusai. Depicting two sages and a dragon. Signed and seal marked. Height 1.5”.
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* Not available for international delivery.
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Meiji Period 300/500
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19th Century 600/800
Meiji Period 600/800 19th Century 400/600
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From an Eastern Massachusetts Collection
49.
IVORY NETSUKE * Mid 19th Century By Ichiun. Depicting a karako standing and laughing while holding a ram. Signed and marked with inset plaque. Height 2.4”. 2,000/3,000
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50.
IVORY NETSUKE * In the form of a cat licking its right rear paw. Length 2”.
51.
IVORY RYUSAI STYLE MANJU OR NETSUKE * In the form of a dragon and clouds. Rich gold patina. Length 1.6”.
52.
IVORY NETSUKE * By Yoshitomo. Depicting a tiger resting on a section of bamboo. Signed. Height 1.4”.
53.
INLAID IVORY NESTUKE * Mid 19th Century By Shugyoku. In the form of Raiden dragging a large bell. Bell with horn inlays. Signed. Length 1.3”. 1000/1,500
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18th/19th Century 800/1,200 Circa 1800 1,500/2,000
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Mid 19th Century 1,000/1,500
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* Not available for international delivery.
To view color images and condition reports for all lots please visit www.eldreds.com.
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From an Eastern Massachusetts Collection
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54.
IVORY NETSUKE * By Ranichi. Depicting a seated badger with a rounded belly. Signed. Height 1.6”.
55.
IVORY NETSUKE * In the form of Raiden running while holding his drum and mallet. Height 2.4”.
Mid 19th Century 1,000/1,200
56.
IVORY NETSUKE * Nagoya School. Depicting a cicada resting on the shell of a nut. Length 1.6”.
Mid 19th Century 1,000/1,500
57.
IVORY NETSUKE * 19th Century By Nobukazu. Depicting an eagle attacking a monkey. Inlaid eyes. Signed. Height 1.25”. 1,500/2,000 Similar example in wood illustrated in Netsuke and Inro Artists and How to Read Their Signatures by George Lazarnick, p. 835.
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58.
WOOD NETSUKE Early 19th Century In the form of a shishi guarding a large ball while snarling through his open mouth. Height 1.6”. 600/800
59.
WOOD NETSUKE In the form of a dragon and a dog referring to zodiac transition. Length 2.2”.
60.
WOOD NETSUKE 19th Century By Toyomasa. Depicting a monkey with inlaid eyes on a peach and peach branch. Signed. Height 1.5”. 2,000/3,000
61.
WOOD NETSUKE In the form of a mermaid. Length 1.9”.
* Not available for international delivery.
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Circa 1820 1000/1,500
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18th Century 700/900
Early 19th Century 1,000/1,500
From an Eastern Massachusetts Collection
62.
WOOD NETSUKE Mid 19th Century In the form of a badger disguised as a priest standing with a mokugyo bell about his neck and straw hat on the back of his head. Double inlaid amber and horn eyes. Height 3.4”. 1,200/1,800
63.
IVORY NETSUKE * 18th Century In the form of a sarumawashi entertainer and his monkey. Height 3.3”. 1,500/2,000
64.
IVORY NETSUKE * 18th Century In the form of Shoki standing while holding a drawn sword. Height 3.4”. 2,500/3,500
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* Not available for international delivery.
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To view color images and condition reports for all lots please visit www.eldreds.com.
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From an Eastern Massachusetts Collection 65.
IVORY NETSUKE * In the form of a Thai fish or sea bream with inlaid eyes. Length 2.6”.
66.
IVORY NETSUKE * By Unpo. Depicting Kakkyo with his family discovering a pot of gold. Signed. Height 2.1”. Ex Collection: I.A. Victor.
Mid 19th Century 2,000/3,000
67.
IVORY SHUNGA NETSUKE * In the form of two monkeys climbing on the long nose of a Tengu mask. Height 2.25”. Ex Collection: Edward Hemper.
Mid 19th Century 1,200/1,800
68.
IVORY NETSUKE * Circa 1800 By Minkoku. In the form of a scholar holding a scroll and accompanied by a youth. Signed. Height 2”. 1,000/1,500
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Early 19th Century 1,000/1,500
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69.
IVORY NETSUKE * Mid 19th Century By Komin. In the form of Fujin resting on a cloud while holding his bag filled with wind. Signed. Height 1.3”. 1,000/1,500
70.
IVORY NETSUKE * Mid 19th Century By Hojitsu. Depicting an actor wearing a mask on the side of his head. Signed. Height 1.2”. 1,800/2,200
71.
IVORY NETSUKE * In the form of a cat dressed as geisha. Height 2”.
72.
IVORY NETSUKE * In the form of Gama Sennin riding on the back of a giant frog. Inlaid eyes. Height 1.5”.
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Mid 19th Century 600/800
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* Not available for international delivery.
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68
To view color images and condition reports for all lots please visit www.eldreds.com.
Early 19th Century 800/1,200
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From an Eastern Massachusetts Collection
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73.
IVORY NESTUKE * In the form of a sleeping Bugaku entertainer with a mask at his side. Length 2.5”. Similar example in Netsuke by Neil K. Davey, page 360.
18th Century 3,500/4,500
74.
IVORY NETSUKE * In the form of a pilgrim with tree branch staff and straw hat. Height 3.4”.
18th Century 1,000/1,200
75.
IVORY NETSUKE * In the form of Chockwaro standing while holding a gourd bottle on his shoulder. Height 3.75”.
18th Century 1,500/2,000
* Not available for international delivery.
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To view color images and condition reports for all lots please visit www.eldreds.com.
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From an Eastern Massachusetts Collection
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76.
WOOD NETSUKE By Nagamitsu. In the form of a coiled dragon with inlaid eyes. Signed. Length 1.9”.
77.
INLAID WOOD NETSUKE Late 19th Century By Sozan (So School). Depicting a puppeteer with a geisha puppet on a traveling box with sliding drawer. Signed. Height 2.2”. 2,500/3,500
78.
EBONY NETSUKE In the form of an ashinaga and a tenaga capturing an octopus. Height 3.6”.
79.
EXPRESSIVE WOOD NETSUKE Depicting Shoki advancing with a drawn sword. Height 3.5”.
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Early 19th Century 1,000/1,200
Early 19th Century 1,800/2,200 Circa 1820 3,000/4,000
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80.
IVORY RYUSAI MANJU * With openwork shishi and peony design. Diameter 1.6”.
81.
STAGHORN RYUSAI MANJU With hawk and pine tree design. Gold-inlaid eye. Signed illegibly. Diameter 1.6”.
Circa 1830 400/600
82.
IVORY RYUSAI MANJU * With openwork chrysanthemum and leaf design. Oval length 2.8”.
Circa 1800 400/600
83.
IVORY RYUSAI MANJU * Mid-19th Century Carved with numerous seals, including one topped with tiger carving and openwork base revealing a miniature village. Length 1.6”. 500/700
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Early 19th Century 600/800
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84.
IVORY AND SILVER RYUSAI MANJU * With lion and peony design. Each flower with a silver center. Diameter 1.7”.
85.
IVORY RYUSAI MANJU * With autumn weeds design within a dotted circle. Diameter 1.5”.
86.
IVORY RYUSAI MANJU * With kingfisher, lotus and wave design. Diameter 1.6”.
87.
IVORY RYUSAI MANJU * With openwork Hannya mask design. Diameter 2”.
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Early 19th Century 300/500 Circa 1840 400/600 18th Century 500/700 Circa 1830 500/600
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87
* Not available for international delivery.
To view color images and condition reports for all lots please visit www.eldreds.com.
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88.
GOLD, SILVER, COPPER AND SHAKUDO-INLAID KAGAMABUTA NETSUKE * Early 19th Century By Yoshiharu. Depicting a peony in high relief on a gold ground. Signed on underside. Ivory holder. Diameter 2.1”. 400/600
89.
GOLD, COPPER AND SHAKUDO-INLAID KAGAMABUTA NETSUKE * Mid-19th Century With relief depiction of a rakan with a beggar’s bowl and holding his elongated eyebrows. Ivory holder. Diameter 1.6”. 350/450
90.
IVORY NETSUKE * 19th Century By Koichi. Depicting five theatrical masks. Signed and marked with kakihan. Length 1.7”. Ex Collection: William DuPont. 300/400
91.
INLAID SENTOKU KAGAMABUTA NETSUKE * Early 19th Century Depicting two men climbing on a large statue of Buddha. With gold details. Ivory holder. Diameter 1.5”. 300/400
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92.
IVORY NETSUKE * Circa 1870 By Tomoyuki. Depicting a child sitting on and playing a drum while wearing an Okame mask on top of his head. Signed. Height 1.8”. 400/600
93.
IVORY NETSUKE * Depicting Hotei seated with two karako. Length 2”.
Circa 1800 400/600
94.
IVORY NETSUKE * In the form of a witch’s head with inlaid eyes. Height 1.25”.
Circa 1800 400/600
95.
IVORY NETSUKE * Meiji Period By Mitsuyuki. Depicting a sage painting a scroll with the assistance of a karako. Signed. Height 1.75”. 350/550
* Not available for international delivery.
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91
To view color images and condition reports for all lots please visit www.eldreds.com.
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96.
WOOD TONKOTSU WITH KISERU-ZUTSU AND OJIME Circa 1800 Tonkotsu carved in the form of a folded lotus leaf with tortoise-form latch; kiseru-zutsu in lotus pod and lotus leaf form with loose-carved seed pods. Flower-form ojime. Length of kiseru-zutsu 8.7”. 400/600
97.
TSUISHU LACQUER NETSUKE In double gourd form with silver mounts and landscape design. Length 2.3”.
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99
19th Century 400/500
100
98.
WOOD AND LACQUER TONKOTSU * Early 19th Century With two dish-like conjoined elements embellished with red, gold, silver and agoi lacquer gourds and vines. Rosewood and ivory cover in mon design. Ivory ojime. Conforming manju with grasshopper design. Diameter of tonkotsu 4.3”. 1,000/1,500
99.
WOOD TONKOTSU Early 19th Century Simulating tooled leather. With paulownia and ho bird design. Ebony chain and netsuke in passionflower and treasure boat design. Length overall 7.75”. 1,000/1,500
100. STAGHORN-INLAID WOOD TONKOTSU * 19th Century In ovoid form. With iris and butterfly design. Cover in double gourd form. With staghorn ojime carved as a snail, lotus leaf and beetle. Fine ivory netsuke (circa 1800) in cicada and folded leaf form. Length of tonkotsu 3.5”. 600/800
* Not available for international delivery.
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101. WOOD NETSUKE In the form of a reclining boar with inlaid eyes. Signed. Length 1.5”.
20th Century 150/250
102. WOOD NETSUKE In the form of a quail with inlaid eyes resting on millet. Height 1.75”.
20th Century 150/250
103. WOOD NETSUKE In the form of Daruma seated while holding a coin behind his back. Height 1.5”.
19th Century 300/400
104. WOOD NETSUKE In the form of an elderly woman seated on a fallen signpost. Signed “Shuzan”. Height 1.8”.
19th Century 500/700
105. WOOD NETSUKE In the form of a shishi guarding a ball, while holding a loose ball in its mouth. Length 1.75”.
19th Century 250/350
106. WOOD NETSUKE By Kokei. In the form of a singing badger. Height 1.25”.
19th Century 800/1,200
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107. WOOD NETSUKE In the form of a straw hat with silver inlaid setsubun beans.
Early 19th Century 200/300
108. WOOD NETSUKE In the manner of Ikkan. Depicting two rats with inlaid eyes. Signed. Height 1.25”.
19th Century 200/300
109. WOOD NETSUKE In the form of a turtle resting on the back of a larger turtle. Length 1.4”.
Late 19th Century 250/350
110. WOOD NETSUKE In the form of cherry blossoms lying on a calligraphic scroll. Length 1.7”.
Early 19th Century 300/400
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111. IVORY NETSUKE * In the form of a monkey seated on leaves while eating a peach. Height 1”.
114
Early 19th Century 400/500
112. STAGHORN NETSUKE 19th Century In the form of various shells including scallop, snail, clam and awabi shell with crab. Length 2”. 400/500 113. BONE NETSUKE In the form of a Dutchman holding a fan. Inlaid horn buttons. Height 3.25”.
Early 19th Century 400/500
114. IVORY MANJU * Mid-19th Century With sunken-relief carving of two masks, Okame and a tengu. Reverse with folded fan and textile. Signed. Diameter 1.6”. 500/700 Ex Collection: Scott Meredith.
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115. UMIMATSU NETSUKE In the form of a bamboo shoot with relief-carved butterfly. Length 2”. 116. WOOD NETSUKE In the form of a snail resting on a bamboo shoot with extended feelers. Length 2.25”. Ex Collection: Raymond Bushell. 117. WOOD NETSUKE In the form of three peanuts. One with a loose nut on interior. Length 2.7”. Ex Collection: Jim Rose. 118. BOXWOOD AND GUNFU LACQUER NETSUKE In the form of two clamshells. Himotoshi mounted with horn. Length 1.25”.
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Mid-19th Century 400/600 Early 19th Century 700/900 Meiji Period 800/1,000 Mid-19th Century 400/600
* Not available for international delivery.
To view color images and condition reports for all lots please visit www.eldreds.com.
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119
120
119. THREE CARVED WOOD FIGURAL NETSUKE * 19th Century 1. A noh actor with an ivory mask holding a fan and a rattle. Height 2.25”. 2. A seated sage holding a whisk, with ivory details. Height 1.5”. 3. A robed woman crouched in a shell, with an ivory face. Height 2”. 300/500 120. WOOD NETSUKE In the form of a tobacco pouch with brass inlay. Length 2.1”
121
122
121. WOOD MASK NETSUKE Depicting a man with a comic expression. 122. WOOD MASK NETSUKE Depicting a man with mother-of-pearl inlaid eyes and an open mouth. Length 1.9” 123. WOOD MASK NETSUKE Depicting a young woman. Signed. 124. WOOD NETSUKE In the form of a lotus pod, with loose carved seeds. Length 1.6”. 125. CARVED BONE NETSUKE In the form of three pearls and a straw hat lay on a rain cape. Length 2.5”.
Early 19th Century 150/250
123
19th Century 200/300 Early 20th Century 200/300 20th Century 150/250 Circa 1900 150/250 Early 20th Century 200/300
126. TWO WOOD NETSUKE Early 20th Century 1. In the form a palm nut with a worm poking out of it. Length 2”. 2. In the form of the head of Daruma. Signed. Height 1.75”. 300/400 127. TWO MANJU-STYLE NETSUKE Late 19th/Early 20th Century 1. Carved wood with figural motif. Diameter 2”. 2. Ivory with gilt bamboo decoration. Signed. Diameter 2”. 300/500 * Not available for international delivery.
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128. IVORY NETSUKE * In the form of a standing sage with a whisk and peach staff. Height 3.5”.
19th Century 250/350
129. KYOTO SCHOOL IVORY NETSUKE * 18th Century Signed Tomotada. Depicting a herd boy and water buffalo. Buffalo with horn inlaid eyes. Length 2.25”. 2,000/2,500
128
129
130. IVORY NETSUKE * A monkey with its young on its back, protecting a nut. Length 1.5”.
19th Century 300/400
131. IVORY NETSUKE * 19th Century Conjoined masks of the Seven Lucky Gods of Japan. Some traces of polychroming. Signed. Length 1.5”. 250/350 132. IVORY FIGURAL NETSUKE * Seated man drinking from a bowl. Signed. Height 1.5”.
19th Century 300/400
133. IVORY FIGURAL NETSUKE * The Demon queller Shoki holding an oni in a sack. Height 2.5”.
18th Century 300/400
134. TWO NETSUKE IN SHISHI FORM Early 20th Century A red lacquer recumbent shishi. Length 2”. A wood netsuke with two shishi protecting a ball. Length 2”. 300/400 135. WOOD NETSUKE In the form of a Dutchman holding cloth and shears. Inscribed Tomotada. Height 4”.
131
130
132
20th Century 300/500
133
* Not available for international delivery.
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136
137
136. IVORY NETSUKE * In the form of Hoteh reclining while holding his treasure sack and a fly whisk. Length 2.5”. 137. BOAR’S TUSK NETSUKE * Depicting a centipede and a spider on a piece of pine bark. Signed. Length 3.25”.
138
139
140
18th Century 800/1,200 Early 20th Century 300/500
141
142
138. GOLD OJIME In ball form with openwork peony and chrysanthemum design. Diameter .65”.
400/500
139. GOLD OJIME In ball form depicting an openwork flock of sparrows flying in various directions. Diameter .65”.
400/500
140. GOLD OJIME In ball form with openwork spider chrysanthemum design. Diameter .6”.
400/500
141. GOLD OJIME In ball form with openwork floral design. Signed “Toshimitsu”. Diameter .6”.
500/700
142. GOLD OJIME In elongated oval form with openwork bamboo and flower design. Signed “Toshimitsu”. Length .65”. 500/700 143. TWO VOLUMES Netsuke & Inro Artists, and How to Read their Signatures By George Lazarnick. 1981. 300/500 144. FOURTEEN TITLES RELATING TO JAPANESE NETSUKE Netsuke, a Guide for Collectors by O’Brien, The Art of the Netsuke Carver by Meinertzhagen, The Wonderful World of Netsuke by Bushell, The Netsuke Handbook by Reikichi, Netsuke by Jonas, The Netsuke of Japan by Ryerson, Netsuke by Tollner, Contemporary Netsuke by Kinsey, Netsuke, Japanese Life and Legend in Miniature by Symmes, So School Netsuke, Netsuke: the Miniature Sculpture of Japan by Barker & Smith, Treasured Miniatures: Contemporary Netsuke, The Signature Book of Netsuke, Inro and Ojime Artists in Photographs by Lazarnick. 200/300
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145. GOLD INLAID IVORY KISERU-ZUTSU Circa 1860 By Ipposai Jitsuman. Depicting a samurai in gold outside a gate reading a scroll. Signed. Length 8”. 1,000/1,500 146. GOLD AND SHAKUDO INLAID IVORY KISERU-ZUTSU Circa 1860 By Ipposai Jitsumin. With relief carving of figurines crossing a bridge with a pine tree. Scene echoed by a mixed metal figurine carrying a basket on her head. Signed “Jitsumin”. Length 8.75”. 800/1,000 147. THREE SILVER METAL KISERU Late 19th Century 1. Mixed metal with fruit and butterfly design. 2. Silver with lotus leaves. 3. Brass inlay of farmer with basket. Lengths 7.8” to 8.25”. 300/400 148. THREE SILVER METAL KISERU Late 19th Century 1. Sharkskin design. 2. Floral lattice design. 3. Basketweave design. Lengths 6.5” to 8.4”. 400/500 149. FIVE STAGHORN KISERU-ZUTSU 18th/19th Century 1. Carved with three samurai scene. 2. Carved with wood cutter scene. 3. Carved fish scale and lattice design. 4. Carved with three courtier scene. 5. Carved with openwork coin and coma design. 500/800 150. FIVE KISERU-ZUTSU 19th Century 1. Bamboo with minute calligraphic inscription. 2. Wood with warrior scene and calligraphy. 3. Ashinga figurine. 4. Bamboo with silver cover. 5. Wood in fish dragon form. 600/800 151. FIVE KISERU-ZUTSU 19th Century 1. Lacquer on basketry with calligraphy. 2. Red and black lacquer with gray calligraphy. 3. Lacquer on tree bark. 4. Black-brown lacquer. 5. Shagreen with silver mount. 400/600
145
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146
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152
153
152. LACQUERED AND INLAID WOOD TONKOTSU 19th Century Decorated on one face with a flight of inlaid and gold lacquer birds. Reverse with gold lacquer grasses and inlaid wood snail. Gold lacquer on wood netsuke in hexagonal form with chrysanthemum design. Length of Tonkotsu 3.5”. 700/900 153. INLAID WOOD TONKOTSU WITH MATCHING MANJU Early 19th Century Tonkotsu with the form of a clothes chest with mother-of-pearl, lacquer and ivory inlay of a mirror, lotus leaves and prayer banners. Length 3.5”. Metal ojime manju in circular form with lotus leaf inlay. 600/800 154. BURL WOOD TONKOTSU * 19th Century In the form of Daruma. With staghorn hinged lid and mother-of-pearl eyes. Mounted with mountain-form wood ojime. Slab-form ivory netsuke. Length of tonkotsu 3.5”. 400/500 155. THREE LEATHER TOBACCO POUCHES WITH PIPE CASES Meiji Period 1. Pouch with traces of silver decoration and a mixed metal fan-form menuki closure. Length of pouch 5”. Pipe case with reeded decoration, enclosed pipe with circular decoration and silver mounts. Length of case 8”. 2. Brown pouch with gold and silver tiger closure. Length 4.5”. Wooden pipe case, pipe with brass mounts. Length 8.25”. 3. Black pouch with two silver paulownia mons. Length 5”. 4. Silver mounted carved pipe case with engraved silver mounted pipe. Length 9”. 400/600 156. TWO TOBACCO-RELATED ITEMS Early 20th Century 1. Wooden tobacco pouch in the form of Daruma, his head protruding from his robes, with mother of pearl details. Length 4”. Carved wooden figural-form holder, with pipe with silver mounts. Length 8”. 2. Black lacquer kiseru with applied silver decoration of a fu dog on a table. Pipe with metal mounts. Length 7”. 300/400 157. TWO FIGURAL FORM SMOKING SETS Early 20th Century 1. A kiseru with silver on copper mounts, with a carved wood animalistic holder. Length 8”. 2. Wooden tobacco pouch in the form of a badger in his tree house. Length 4”. Pipe with engraved metal mounts, wooden tree-branch form holder. Length 8”. 300/400 158. LEATHER TOBACCO POUCH* With ivory kanemon depicting a reclining man contemplating a skull. Length 2.25”.
* Not available for international delivery.
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Mid-19th Century 150/250
159
159. FIVE STAGHORN KISERU-ZUTSU 18th/19th Century 1. Mount Fuji and village scene. 2. Tea ceremony items. 3. Snail on pea pod. 4. Sage in a bamboo grove. 5. Flower and vines. 500/800 160. FIVE STAGHORN KISERU-ZUTSU 18th/ 19th Century 1. Reishi fungus. 2. Reishi fungus with iris 3. Gourd with vines. 4. Daruma carving. 5. Lotus carving (with mixed metal kiseru). 600/800
160
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163
164
165
166
161. FOUR LONG KISERU 19th Century 1. Silver with Karakusa design. 2. Undecorated. 3. Lacquer stem with inlaid silver metal mouth piece. 4. Undecorated. Length from 14.5” to 17.75”. 200/300 162. BURLWOOD TONKOTSU In modified rectangular form with agate ojime and 8” star horn kiseru-zutsu. 163. IVORY NETSUKE * In the form of two karako with a large drum. Length 1.6”.
Circa 1800 250/350
164. STAGHORN NETSUKE Depicting a general with a halberd standing while holding his beard. Height 4.2”. 165. IVORY RYUSAI MANJU * Early 19th Century Depicting an arhat seated on a tree branch holding a ruyi. SIgned Yoshikore. Diameter 1.6”. 400/500 166. IVORY MANJU * Mid-19th Century In ryusai style depicting various domestic items: fan, flywisk, cleaver, spoon, flute, sake bottle, hat, etc. Length 1.5”. 350/450 167. IVORY NETSUKE * 19th Century In the form of a folded ribbon of cloth or paper. Marked with Tokugawa and imperial mons. Length 2”. 1,000/1,500 Ex Collection: Scott Meredith.
167
* Not available for international delivery.
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19th Century 250/350
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18th Century 300/400
168. THREE BONE NETSUKE 19th Century 1. A reclining water buffalo with inlaid eyes. 2. A frog on a well bucket. 3. Fukurusuzumit. 400/600 169. FOUR TITLES RELATING TO JAPANESE NETSUKE The Art of Netsuke Carving by Masathoshi as told to Bushell, Netsuke, Familiar and Unfamiliar by Bushell, Inro Handbook by Bushell and Netsuke by Davey. 300/500 170. WOOD NETSUKE In the form of a decaying human skull. Signed “Gyoku...”. Length 1.6”.
19th Century 250/350
171. GILDED DUTCH LEATHER TOBACCO POUCH 19th Century With gilt copper and bronze kanemono in flower basket design. Tsuishu lacquer ojime. Basketry design kiseru-zutsu and komei style pipe. Length of pouch 5”. 350/450 172. FINE BASKETRY TONKOTSU WITH MATCHING ASHTRAY NETSUKE Height of Tonkatsu 3.2”.
19th Century 300/500
173. LACQUERED WOOD TONKOTSU AND KISERU-ZUTSU 19th Century With carved wakasanuri lacquer peony design employing multiple colored lacquer layers. Signed. Height of tonkotsu 2.6”. 400/500
171
172
173
174. BURLWOOD TONKOTSU WITH BAMBOO KISERU-ZUTSU Late 19th Century Tonkotsu in natural form. Agate ojime. Kiseru-zutsu carved with eagle in flight. Height of tonkatsu 3.2”. 300/400 175. FOUR NETSUKE 19th Century 1. A wood puppy with a ball. Inlaid eyes. 2. A wolf with inaid eyes gnawing on a skull. 3. Tsuishu manju. 4. Reclining puppy. 500/700 176. TWO BONE NESTUKE A square manju depicting a woman with a fan and a stylized mandarin duck .
19th Century 300/400
177. WOOD SHUNGA NETSUKE 19th Century Carved to represent male and female elements. Inscribed with the character “Mitsu”. Length 1.5”. 250/350
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178
179
178. TWO-PART CARVED WOOD TONKOTSU 19th Century In modified rectangular form with dragon carved cover and phoenix carved sides. Signed. Natural burl netsuke and porcelain ojime. Height of tonkatsu 3.6”. 350/450 179. THREE CARVED NUT NETSUKE 19th Century 1. A rabbit in waves. 2. Lotus leaves. 3. Various flowers. Approx. Length 1.7” each. 300/500 180. STAGHORN OBIDOMI With lotus leaf engraving. Length 4”.
19th Century 200/300
181. BONE NETSUKE In the form of a standing sennin holding a basket. Height 2.4”.
19th Century 200/300
182. BONE NETSUKE In the form of gourd lying beside a palm shoot. Height 1.6”.
19th Century 250/350
183. IVORY NETSUKE * Late 19th century By Gyougan (born 1843). Depicting a kappa and a frog wrestling while standing on a lotus leaf. Signed. Height 1.75”. 250/350 184. JAPANESE MIXED METAL YATATE In sentoku with bowl formed from a fuchi and kashira of sages. Length 7.1”.
19th Century 400/600
185. BRASS KISERU With engraved design of priest and nobleman. Length 10.3”.
19th Century 200/300
* Not available for international delivery.
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184
185
186
186. THREE SILVER METAL KISERU Late 19th Century 1. Minogame and pine tree 2. Lotus leaves. 3. Mount Fuji and cottage. Length 7.5” to 8.5”. 250/350 187. IVORY NETSUKE * Mid 19th Century By Haku-un. In the form of three shojo drinking sake and dancing. Signed. Height 1.6”. 400/600 188. BONE NETSUKE 19th Century In the form of a stranding badger disguised as priest. Height 2.5”. 250/350 189. WOOD NETSUKE 20th Century Depicting a frog and a kappa, arm wrestling while resting on a lotus leaf. 150/250
187
* Not available for international delivery.
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190
191
190. SILVER OJIME 19th Century In the form of a flower blossom. Length 0.8”. 300/400 191. TWO METAL OJIME 1. Mixed metal in seed form with gilt metal floral and mon design. Length 1”. 2. Silvered bronze in seed form with incised floral decoration. Length .75”.
Meiji Period 250/350
192. WOOD NETSUKE Depicting two frogs, one lying underneath a lotus leaf, one lying on it.
20th Century 150/250
193. WOOD NETSUKE In the form of a crouched frog with inlaid eyes.
20th Century 200/300
194. WOOD NETSUKE In the form of an eggplant and leaves. Length 1.7”.
19th Century 150/200
195. THREE STAGHORN NETSUKE Meiji Period 1. Carved circular cross section. Diameter 2”. 2. Square-form toggle with silver flower. Length 2”. 3. Carved dancer with a drum and a shishi on his head. Length 2.5”. 200/300 196. IVORY NETSUKE * In double gourd vessel form with a miniature ivory horse spilling out from the top. Height 2”. 197. POLYCHROME IVORY NETSUKE * A man feeding birds in a bird cage. Height 1.75”.
* Not available for international delivery.
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19th Century 200/400 Meiji Period 300/500
198
199
198. ENGRAVED NAGA MARU-GATA COPPER TSUBA By Sochi. Depicting a sennin resting on a tiger beneath a pine tree. Length 2.75”.
200
Early 19th Century 400/600
199. INLAID SHIBUICHI PRESENTATION TSUBA 19th Century With high-relief and silver-inlaid depiction of a man with a shishi costume. Signed. Length 3.25”. 600/700 200. INLAID SHIBUICHI TSUBA 19th Century In hokkei form. With cherry tree design on one face; willow tree design on reverse. Length 2.6”. 700/900 201. SUIT OF LACQUER, LEATHER AND IRON ARMOR Edo Period Consisting of cuirass with seven skirt panels, partial haidate with two panels, two suneate, two kote, two sode, twelve ribbed helmet with three shikoro, a half mask and a brocade vest with eight pointed star mon. 2,500/3,500 202. AIKUCHI Possibly 14th/15th Century In hon-dzukuri form. Signature obscured possibly “...Kunimune.” Length 14.25”. Black lacquer saya. 150/250
201
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203
204
203. SHINTO WAKIZASHI Early 16th Century Signed “Nobuyoshi”. With irregular invected hamon. Length of blade 13”. Inlaid iron tsuba with takarabune design. Fuchi kashira with flowering leaves and vines. Similar menuki. Shakudo and copper-bronze kozuka in dragon design. Black lacquer saya. 1,500/2,500 204. SHINTO WAKIZASHI 17th Century Signed “Munenaga”. In hon-dzukuri form with suguha hamon. Length of blade 15.25”. Inlaid sentoku tsuba in insect and flower design. Floral design fuchi kashira and menuki. Brown lacquer saya with black striping. 1,500/2,500 205. INLAID IRON SHIN NO MARU-GATA TSUBA With copper and brass bonsai design. Signed. Diameter 3.25”.
18th Century 300/400
206. SOTEN IRON NAGA MARU GATA TSUBA With openwork design of warriors and pine tree. Signed. Length 3.1”.
18th century 400/600
207. NAVAL SWORD With suguha hamon. Unsigned. Length of blade 25”.
20th Century 400/600
206
205
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208
208. KOTO KATANA BY KANEMITSU Possibly 14th Century Signed “Bishu Osafune no ju Kanemitsu”. In hon-dzukuri form with gunome-choji ha and mixed damask mokume. Length 26.75”. Date not translated due to deterioration of engraving. Mounted with inlaid iron mokko-form tsuba with goose and marsh-grass design. Sentoku fuchi and kashira with bird and grasses design. Menuki in yari and centipede design. 2,000/3,000
209
210
211
209. INLAID SHAKUDO SHIN NO MARU-GATA TSUBA With river landscape design. Diameter 2.5”. 210. INLAID IRON SHIN NO MARU-GATA TSUBA With openwork dragon design. Diameter 2.6”.
19th Century 350/450 17th/18th Century 300/400
211. INLAID IRON SHIN NO MARU-GATA TSUBA With gold dragon above Mount Fuji design. Diameter 3”.
18th Century 400/600
212. FOUR MIXED METAL FUCHI 1. Peony design. 2. Shakudo with sharkskin. 3. Two with mon design. 150/250 213. FIFTEEN PIECES OF METAL WORK Seven menuki (one mounted as a pin) and eight kanemono including one that was a silver coin.
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400/500
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214
215
214. SHINTO TACHI 17th/18th Century With gentle wave hamon. Length of blade 25.25”. Mounted with iron tsuba and brass fuchi and kashira. 1,000/1,500 215. TACHI BLADE (NO MOUNTS) In hon-dzukuri form with suguha hamon. Signed “Kanemune” (possibly). Length 26.2”.
20th Century 600/800
216. NINE MIXED METAL MENUKI 18th/ 19th Century 1. Dove. 2. Scholars hat. 3. Herd boys with water buffalo. 4. Flowers and leaves. 5. Pair of millet. 6. Pine cones. 7. Flowers. 8. Buddhist symbol 300/500 217. TWO MIXED METAL KANEMONO 19th Century 1. Tengu reading a scroll. 2. Woman making a fan. Signed. Fitted as pins. 200/300 218. THIRTEEN PIECES OF METALWARE, SILVER METAL EATING SET Seven kanemono and five menuki (one mounted as a pin) and one with cloisonne on gilt floral design. Length of eating set 5.6”. 400/600 219. ENAMEL-ON-BRONZE TSUBA In shin no maru-gata form. With butterfly and peony design. Diameter 3”.
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20th Century 200/300
220. INLAID SHIN NO MARU-GATA IRON TSUBA With inkstone, brush and ink-cake design. Diameter 3”.
18th Century 250/350
221. INLAID IRON MOKKO-FORM TSUBA With waterfall landscape design. Signed. Length 2.75”.
18th Century 300/500
222. INLAID IRON SHIN NO MARU-GATA TSUBA In Namban style. With guardian lion and temple design. Diameter 2.8”.
18th Century 300/400
223. INLAID BRASS TSUBA 19th Century In irregular form with openwork hawk and songbird design. Highlighted in gold. Length 2.75”. 400/600 224. INLAID SENTOKU HOKAI FORGED TSUBA 19th Century With gold, silver and copper relief decoration of Shoki and oni on one face; river and shakudo rock on reverse. Length 2.6”. 500/700 225. INLAID COPPER SHIN NO MARU GATA TSUBA With pine tree, bamboo and mountain design. On a sharkskin tooled ground. Length 2.8”.
19th Century 500/700
226. NAGA MARU GATA SHAKUDO INLAID TSUBA With goose and marsh grass design. Length 2.75”.
19th Century 500/700
220
223
221
224
222
225
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226
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227
228
229
230
231
227. ENGRAVED KOZUKA HANDLE With tiger design. Signed.
19th Century 250/350
228. COPPER KOZUKA HANDLE With relief depiction of Okame holding a fan.
19th Century 200/300
229. INLAID SHAKUDO KOZUKA HANDLE In bridge and wave design. Length 3.75”.
19th Century 300/500
230. INLAID SENTOKU KOZUKA HANDLE Depicting Gama Sennin. Signed. 231. SILVER KOZUKA HANDLE Depicting Gama Sennin crossing a stream. Green papers. 232. COLLECTION OF SIX KOZUKA BLADES With inscribed blades.
Circa 1800 400/600 Early 19th Century 400/600 17th Century 500/700
233. THREE SWORDS Modern One in shira saya. Length 19.75”. One in gunto mounts. Length 25.75”. One decorative in simulated gunto mounts. Length 27.5”. 900/1,200
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234
234. LACQUER MOUNTED AIKUCHI By Masahiro. With suguha hamon Length 11”. Saya in oni form.
15th Century 1,200/1,800
235. CARVED AND INLAID SHIN NO MARU GATA IRON TSUBA With pawlonia deisgn. Diamter 3.25”.
18th Century 400/600
236. IRON TSUBA In peach form with sukashi gourd design. Length 3.5”.
17th Century 300/500
237. IRON HOKEI TSUBA With sukashi comma and geometric designs. 2.8” square.
17th/18th Century 400/500
238. INLAID IRON TSUBA Depicting three lohans in a landscape. Signed. Diameter 3.8”.
235
236
18th Century 500/700
237
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238
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239
240
241
242
239. SHIN NO MARU GATA IRON TSUBA With openwork raft and cherry tree design. Signed illegibly. Diameter 3”.
18th Century 400/600
240. INLAID IRON SHIN NO MARU GATA TSUBA With relief scroll designs. Diameter 3”.
18th Century 400/600
241. INLAID IRON SHIN NO MARU GATA TSUBA 18th Century By Masaharu. With relief inlaid fiddle head design on one face; grasses on reverse. Diameter. 3.3”. 400/600 242. IRON HOKEI TSUBA 18th Century By Yasuchika. Depicting a samurai with an anchor in relief with copper and gold highlights. Length 3.2”. 400/600 243. FIVE MIXED METAL MENUKE 19th Century 1. Pair of gilt lions. 2. Pair of banners (mounted as pins). 3. Silver eagle with gilt talons. 300/400
243
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244
245
246
244. PORCELAIN JAR Late Meiji Period By Makazu Kozan. In ovoid form with pink carp design on a green wave ground. Six-character signature on base. Diameter 6.5”. 300/400 245. BLUE AND WHITE HIRADO PORCELAIN FIGURE In the form of a seated shishi with bisque eyes. Height 4”.
Meiji Period 200/300
246. STUDIO PORCELAIN VASE Early 20th Century In inverted pear shape with pate-sur-pate grapevine design in white on an aubergine-brown ground. Signed. Height 5.2”. 200/300 247. KORANSHA PORCELAIN VASE Meiji Period In inverted pear shape. With black and gold lacquer crane and goose cartouches. Four-character signature on base. Height 16.2”. 300/400 248. KYOTO POTTERY BOTTLE VASE IN A YELLOW CRACKLED GLAZE Height 12”.
First Quarter of the 20th Century 200/300
249. UNUSUAL REVERSE-DECORATED WHITE AND BLUE HIRADO PORCELAIN CHARGER In a raised chidori and wave pattern. Diameter 13”.
19th Century 300/500
249
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250. STUDIO PORCELAIN PLATE Late 20th Century By Tsukamoto Kaiji (1912-1990). In pale blue with incised rose design. Potter’s mark on base. Diameter 8.75”. Original kiriwood box. 800/1,200 251. STUDIO POTTERY VASE 20th Century By Shoji Hamada (1894–1978). With black and cream glaze on a brown body. Signed and sealed beneath the lid of the box. Height 6.25”. With kiriwood box. 1,200/1,500 252. STUDIO PORCELAIN BOWL Late 20th Century By Tsukamoto Kaiji (1912-1990). In cream glaze with incised floral design. Potter’s mark on base. Diameter 10”. With kiriwood box. 800/1,200 253. GLAZED POTTERY TEA LEAF STORAGE JAR Early 20th Century In brown glaze with four applied handles at the shoulder. Height 9.5”. Diameter of mouth 5”. 250/350 254. TWO SATSUMA POTTERY VASES Last Half of the 20th Century In baluster form. Decorated with finely detailed chrysanthemums and other flowers with gilt highlights. Differing signatures on bases. Heights 8.5” and 10.5”. 250/350
250
251
252
255. PORCELAIN VASE Meiji Period Attributed to Kozan. In inverted pear shape. With decoration of children celebrating a birthday on a black ground. Height 15.75”. 800/1,200
255
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256
257
258
256. STUDIO PORCELAIN VASE Circa 1910 In baluster form with tripod base. Decorated with paulownia and lappet designs. Four-character studio mark on base. Height 4.5”. 250/350 257. SATSUMA POTTERY BOWL With fan, inro and netsuke design. Diameter 5.6”.
Circa 1850 250/350
258. STUDIO PORCELAIN VASE In ovoid form. With relief crayfish at shoulder. Height 4”.
Circa 1910 250/350
259. SATSUMA POTTERY WINE POT AND FIVE MATCHING CUPS Second Half of the 20th Century Wine pot in squat ovoid form with bamboo and flower decoration. Bent bamboo handle. Height 4”. Cups in footed conical form. Heights 1.5”. Diameters 2.5”. 200/300 260. BLUE AND WHITE POTTERY JAR In ovoid form. With bird and grasses design. Height 7.25”.
Late 19th Century 200/300
261. TWO PIECES OF HIRADO PORCELAIN Meiji Period In the forms of a rooster and a hen. With white-glazed bodies and bisque eyes. Height of rooster 8.5”. 250/350
261
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262. SATSUMA POTTERY BOWL In square form with relief figure at rim. Body decorated with gourd and vine motif. 4” square.
18th Century 250/350
263. MIURA KENYA POTTERY BOWL With flowering tree and stream design. Signed. Diameter 6.25”.
Circa 1850 350/550
264. STUDIO PORCELAIN CENSER BY ITAYA HAZAN (1872-1963) 20th Century In footed bowl form with upswept handles. Ho bird design. Potter’s mark on base. Diameter 3”. 400/600
262
263
264
265. STUDIO POTTERY VASE 20th Century In bottle form with elongated neck and flared mouth. Turquoise flambé glaze over a creamware base. Height 22”. 200/300 266. SETO WEAR POTTERY CENSER In the form of a guardian lion. Height 4”.
19th Century 150/250
267. AO-KUTANI PORCELAIN CENSER Meiji Period In footed four-lobed form. With dragon and flame design. Domed cover with pine cone finial. Green Fuku mark on base. Also impressed “Kutani”. Height 5.5”. Width 7”. 300/400
267
46
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268. NINSEI POTTERY CHAWAN 17th Century In hemisphere form. With raised chrysanthemum design on a black ground. Ninsei mark on base. Diameter 5”. 700/900 269. NINSEI POTTERY HAND CENSER 17th Century In tripod cylinder form. With brocade design on a black ground. Ninsei mark on base. Height 2.5”. 1,000/1,500 270. ROKUBEI POTTERY TEAPOT In cylinder form. With red and green floral design. Fitted with interior filter. Height 3”.
18th Century 300/500
271. AO-KUTANI PORCELAIN CENSER 20th Century With tripod base, spike-like handles and pierced cover. Body decorated with floral rondels. Kutani mark on base. Height 5”. 200/300 272. SETO POTTERY CHAWAN With crackle glaze. Gold lacquer repairs. Diameter 6”.
17th Century 300/500
273. KINKOZAN SATSUMA POTTERY TEAPOT In ovoid form with wisteria design. Signed. Height 6.5”.
269
Meiji Period 400/600
268
272
270
273
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47
274
275
276
274. NAESHIROGAWA POTTERY TEAPOT In squat ovoid form with black-brown glaze. Length 5.75”.
250/350
275. KYOTO POTTERY CENSER 19th Century In squat ovoid form. With tripod base, loop handles and pierced cover with floral decoration. Signed beneath cover. Diameter 5.25”. 300/400 276. BROWN, BLUE AND WHITE HIRADO PORCELAIN JAR Meiji Period In shell form with crabs, barnacles and other shells. One open shell contains a loose pearl inside. Length 4.75”. 300/400 277. KYOTO POTTERY KOGO Edo Period In clamshell and chrysanthemum form. With flute and helmet design on exterior; screen and comma design on interior. Length 3.6”. 250/350 278. SHINO POTTERY VASE Late 19th Century In mallet form. With two stump handles at shoulder. Impressed potter’s mark on base. Height 7.5”. 250/350 279. STUDIO POTTERY VASE In gourd form. With relief vine and leaf design. Potter’s mark at foot. Height 11.25”.
278
48
279
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Early 20th Century 300/400
280
281
282
280. SHIGARAKI POTTERY STORAGE JAR In inverted pear shape. With splash ash glaze. Height 18”.
283
17th/18th Century 500/700
281. POTTERY STORAGE JAR Late 19th/Early 20th Century In seed form with molded lip. With black glaze vertical slip over a phosphatic brown glaze. Height 16”. 300/400 282. RARE KINKOZAN ART DECO SATSUMA POTTERY VASE In inverted pear shape with stylized iris design. Printed signature on base. Height 12”.
Circa 1930 300/500
283. STUDIO PORCELAIN VASE Circa 1900 In inverted pear shape. With relief bird and flower design on a golden yellow ground. Height 10”. 300/500 284. RAKU POTTERY TEA BOWL With black glaze spotted with two green and white drips. Raku mark at foot. Diameter 4.5”.
20th Century 150/200
285. SHINO POTTERY WINE POT 18th Century In bladder form. With turquoise over olive green glaze. Shuntan potter’s mark on base. Height 7”. 200/300
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286
287
286. STUDIO PORCELAIN VASE Mid 20th Century In faceted seed form with a red flambé splash over a white glazed ground. Signed on base. Height 8.5”. 200/300 Private Cape Cod Collection. 287. FUKUGAWA PORCELAIN VASE Early 20th Century In ovoid form with green leaf design. Fukugawa mark on base. Diameter 5.5”. 150/250 288. UNDERGLAZE BLUE SAKE BOTTLE 18th Century In ovoid form with horse and flower design. Height 7”. 300/400
288
289
289. ARITA PORCELAIN DISH Early 19th Century In mokko form. With fisherman decorations. Length 7”. 150/250 290. KENZAN DENCHICHI PORCELAIN CUP & SAUCER 19th Century Depicting two poets with their poems. Signed. 200/400 291. BLUE AND WHITE KAKIEMON PORCELAIN PLATE Circa 1700 In wheat pattern. Underside with flower and vine design. Diameter 8.5”. 250/350
290
50
291
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292
293
292. AO-KUTANI POTTERY BOWL 19th Century With bird and flower center surrounded by lappet border. Fuku mark on base. Diameter 9.25”. 300/500 Ex Holzapple Collection. 293. IMARI PORCELAIN COVERED JAR 19th Century In ovoid form. With cartouches depicting ladies in Genroku costumes, all on a red pearl and flower ground. Height 9.6”. 300/500 294. TWO TANZAN POTTERY SAKE POTS One in cylinder form. Height 6.5”. One in seed form. Height 5”.
Early 20th Century 250/350
295. HIRADO PORCELAIN BOWL 18th Century In awabi shell form. With figural landscape design in brown, blue and white. Signed on base. Length 8.5”. 400/600
295
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51
296
297
296. ANDO RELIEF-DECORATED ENAMEL-ON-COPPER VASE In inverted pear shape with colorful grapevine design. Height 15”.
Circa 1930 1,200/1,500
297. ANDO ENAMEL-ON-COPPER VASE In ovoid form with weeping cherry tree design. Ando mark on base. Diameter 9”.
Circa 1930 200/300
298. CLOISONNÉ ENAMEL VASE With transparent spider chrysanthemum design on a black ground. Height 10”.
Meiji Period 400/600
299. CLOISONNÉ ENAMEL PLATE In sparrow, bamboo and flower pattern. Diameter 12”.
Meiji Period 100/150
300. CLOISONNÉ ENAMEL PLATE With crane and chrysanthemum pattern. Diameter 12”.
Meiji Period 100/150
301. CHAMPLEVÉ ENAMEL ON BRONZE VASE In trumpet form with mask and lappet design. Height 14.5”.
Early 20th Century 200/300
302. CLOISONNÉ VASE Multicolor floral decoration on an oxblood red ground. Silvered rim and base. Height 5.25”.
52
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20th Century 100/150
303
304
303. PAIR OF CLOISONNÉ ENAMEL JARS Meiji Period In ovoid form with birds and flowers on turquoise cartouches, on a brown butterfly-filled ground. Domed covers with ball finials. Carved wood bases. Heights of jars 15.5”. 700/900 304. CLOISONNÉ ENAMEL VASE In baluster form. With rooster, hen and bamboo design on a green ground. Height 12”.
Meiji Period 400/500
305. CLOISONNÉ VASE 20th century Flower and branch decoration on an apple green ground. Paper label on underside. Silvered rim and base. Height 6”. 200/300 306. CLOISONNÉ VASE 20th Century Multicolor floral decoration on a deep yellow ground. Silvered rim. Height 7”. 150/250 307. CLOISONNÉ VASE 20th Century With tonal aqua leaf decoration. Silvered rim and base. Factory mark on foot. Height 9.75”. 150/200 308. LARGE CLOISONNÉ ENAMEL CHARGER Late Meiji Period Central enameled decoration of a kakko (drum) and sho (mouth organ) surrounded by maple leaves on a green ground. Alternating chrysanthemum and butterfly decoration about a blue scrolling vine border. Diameter 20.5”. 600/800 309. CLOISONNÉ ENAMEL VASE Meiji Period In inverted pear shape with bird and prunus design on a black ground. Height 8.75”. 200/300 308
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310
311
312
310. CARVED ABALONE SHELL Depicting dragon and clouds. Height 6.5”.
Late 19th Century 250/350
311. INLAID SHAKUDO BOX Early 20th Century In rectangular form with depiction of figures in rain crossing Nihon Bashi, after a print by Hiroshige. Length 4.3”. 800/1,000 312. UNUSUAL SILVER WRITER’S COUPE In paulownia form with three receptacles. Signed “Yoshinobu”. Length 4.75”.
313
313. SPLINT BAMBOO IKEBANA BASKET In baluster from with entwined handle. Signed. Height 20.5”. 314. RED, BLACK AND WHITE PAPER LANTERN In a calligraphic design. Height extended 41”. Diameter 28”. 315. SPLINT BAMBOO IKEBANA BASKET In waisted form with loop handle. Height 15”.
19th Century 400/600
314
Early 20th Century 250/350 300/400 Early 20th Century 200/300
316. RED LACQUER COVERED WOOD LIFT-TOP BOX 20th Century In the form of a pillow. Top decorated with songbirds, butterfly, peony and bamboo. Interior top and base with erotic art scenes on a red lacquered ground. Side carrying handles and brass lock. Height 6”. Width 10”. Depth 5.5”. 250/350 54
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317
318
317. PAINTED WOOD FIGURE OF A MANEKI-NEKO (GOOD LUCK CAT) In black and white with red ribbon and ears. Height 16.25”.
20th Century 200/300
318. IKEBANA BASKET Late Meiji Period In cylindrical form with hexagonal base, various woven bands, and molded rim. Signed on base. Height 12”. Diameter 7”. 400/600 319. PAINTED BRONZE FIGURE Fukurokuju in standing position holding a scroll and bamboo staff. Height 35.25”.
Meiji Period 600/800
320. BRONZE VASE Meiji Period In squat ovoid form with a slim cylindrical neck and a trumpet-form mouth. Raised decoration of a swimming goose and carp. Signed on base. Height 14”. 1,000/1,200
319
321. COPPER BRONZE SUITEKI In the form of a tsuba with insect and flower design. Length 3”.
320
200/300
322. PAIR OF BRONZE HEXAGONAL VASES In trumpet form with lion handles and shou decoration. Height 5.1”.
Meiji Period 200/300
323. BRONZE STAND In rockery and scrub form. Height 5.5”.
Meiji Period 100/150
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324
326
325
327
324. ARTICULATED COPPER BRONZE LOBSTER Signed. Length 15.25”.
Late Meiji Period 300/500
325. ARTICULATED COPPER BRONZE LOBSTER Length extended 16.5”.
Meiji Period 700/900
326. BRONZE ORNAMENT Meiji Period In the form of a rooster perched atop a drum that rests on an openwork bird and cloud pattern base. Height 20.5”. 300/400 327. BRONZE CENSER Meiji Period In baluster form with lion’s-head handles, tripod base and pierced cover with lion finial. Body decorated with relief birds and flowers. Height 27”. 400/600 328. BRONZE JARDINIÈRE Meiji Period In diamond form on four nut-shaped feet. Reddish finish with intricate relief cast decoration. Height 3”. Length 14”. 250/350 329. IRON AND BRONZE TETSUBIN 19th Century In cylinder form with raised bamboo design. Irregular skirt. Signed on body. Height including fixed handle 11.25”. 300/400 330. BRONZE VASE In seed form with molded base and lip. Signed on base. Height 10”.
56
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Late Meiji Period 200/300
331. THREE-PART BRONZE URN Meiji Period In baluster form with circular foot and usabatalike form top. Body finely decorated with a sage drawing water on one side and a hawk and pine tree on reverse. Height 14.75”. 600/800 332. CHAMPLEVÉ ENAMEL FIGURE OF KWANDI Meiji Period In a militant pose with a yari. Robe in colorful floral pattern. Height 14”. 500/700 331
332
333. PAIR OF BRONZE SCULPTURES Meiji Period With elaborate openwork design of pheasant, song bird and eagle in a pine tree, flower and rockery landscape. Height 17.25” 800/1,000 334. PAIR OF CAST IRON NIO WARRIOR FIGURES Early 20th Century With painted polychrome decoration, standing on rockery bases. Heights 20”. 400/600
333
335. ELEVEN TITLES RELATING TO CERAMICS 1. Andacht, Treasury of Satsuma. 2. Becker, Karatsu Ware. 3. Japanese Art from the Garry Collection. 4. Morse, Catalog of the Morse Collection of Japanese Pottery. 5. Lawrence, Satsuma. 6. Munsterberg,The Ceramic Art of Japan. 7. Shigaraki Court. 8. Kawahara, The Ceramic Art of Ogata Kenzan. 9. Ceramic Art of Japan, 100 Masterpieces from Japanese Collections. 10. Soame Jenyns, Japanese Porcelain. 11. Nakagawa, Kutani Ware. 200/300 336. PAGEANT OF JAPANESE ART Volumes 3, 4, and 5 out of six volumes. Titles: Sculpture, Ceramics and Metal Work and Textiles and Lacquer. 1,000/1,500 334
337. EIGHT TITLES RELATING TO JAPANESE ARTS 1. Real and Imagined Beings: The Netsuke Collection of Joseph And Edith Kurstin. 2. Joly & Tomita, Japanese Art and Handicraft. 3. Joly, Legend in Japanese Art. 4. Through Closed Doors. 5. Spindel, Contemporary Netsuke. 6. Jahss, Inro and Other Miniature Forms of Japanese Lacquer Art. 7. Japanese Lacquer, 1600-1900. 8. Herberts, Oriental Lacquer. 200/300
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338
339
338. WOOD OKIMONO In the form of Hotei carrying a fan and treasure sack. Height 5.5”. 339. BRONZE SCULPTURE In the form of two seated monkeys. Signed and seal marked. Height 3.5”. 340. PAIR OF COPPER AND BRASS KEMAN With openwork ho bird and lotus design with pendant drops. Length 14”. Width 7.5”.
300/400 Meiji Period 500/700 19th Century 600/800
341. W.L. BEHRENS COLLECTION By Joly. London, Glendining and Co.,1913-1914. 1. Lacquer and Inro. Three vols. 2. Netsuke. Three vols. 3. Metal. 4. Sword Fittings. 5. Tsuba. 6. Buddhist Section and Chinese Antiques. 7. Chinese Miscellanea. 8. Varia. With original cases. 3,000/4,000
340
58
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342
343
342. SET OF THREE TRANSPARENT GLASS PLATE PHOTOGRAPHS Early 20th Century Three ladies in a courtyard. Two ladies beneath wisteria. A bridge above a rocky stream. Framed. Each approx. 10” x 7.5”. 400/500 343. VIEWS AND COSTUMES OF JAPAN BY TAMAMURA KOSABURO Late 19th Century Forty-eight 7.5” x 10” hand-colored photographs, titled and mounted on 24 pages, bound with tissue guards inbetween each page. Gilt and black lacquered covers. Leather spine with gilt impressed “Album”, worn. Overall size 11” x 14”. 300/500 344. SILK NEEDLEWORK PICTURE Depicting wasps on a peach branch. 27” x 24”. Framed.
Meiji Period 100/200
345. SILK NEEDLEWORK PICTURE Late Meiji Period Depicting songbirds on a maple tree branch. All set on a black background. Framed 25.5” x 24”. 300/400 346. PAIR OF SILK NEEDLEWORK PANELS First Half of the 20th Century Embroidered sparrows and chrysanthemums on a red silk ground. An embroidered bat at the top of each. Heights 72.5”. Widths 22.5”. Framed together in a black-painted wood frame. 300/400
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347
347. IMPORTANT SILK AND METALLIC THREADWORK NOH ROBE 18th/19th Century In paulownia and lattice design on a deep blue field. With large sleeves. Width with arms extended 66”. 2,500/3,500 348. UNUSUAL SILK GAUZE KESA With gold three-leaf mon design on a green ground. 68” x 42”.
Early 20th Century 600/800
348
60
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349
350
349. SILVER JEWEL BOX In the form of Daikoku’s hammer. Engraved with flowers. Length 4.25”.
Circa 1900 300/400
350. TWO LACQUER ZUSHI 19th Century 1. Black lacquer with painted Nio and standing Kwannon figure. Height 6.2”. 2. Red lacquer with seated Buddha figure. Height 4.5”. 300/500 351. LOT OF SIX MAI-OGI (DANCE FANS) Four, Japanese, 19th Century, two newer Five double-sided with bamboo sticks and guards, two with each guard split and splayed into two and attached to the leaf by means of silk cords. 100/150 For similar examples see OGI, A History of the Japanese Fan p. 49-51. 352. THREE SILVER SAKE CUPS In graduated sizes. With mon design and calligraphy. Diameters 5.25” to 6.5”.
20th Century 200/300
353. SILVER SAKE CUP Taisho Period Inscribed in Japanese “Dedicated in celebration of fifteen years anniversary of the Komori store.” Engraved with a scene of tortoise and bamboo. Diameter 3.5”. 150/200 354. WESTERN-STYLE WATERCOLOR ON ARTIST BOARD BY TOMI Depicting a woman with an umbrella in snow. Signed. 19.5” x 12.75”.
Circa 1910 250/350
355. WATERCOLOR ON SILK Early 20th Century Depicting a young girl in a blue and white kimono. Signed lower left. Framed 32” x 13.5”. 150/250
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356
357
358
356. SCROLL PAINTING ON SILK 19th Century Flowering dogwood and pine tree branches. Signed and seal marked lower left. 47.5” x 20”. 400/600 357. SCROLL PAINTING ON PAPER 17th Century By Kano Tanyu. Depicting a crane and marsh grasses. Signed and seal marked. 39.75” x 10.5”. 600/800 358. SCROLL PAINTING ON SILK Late 19th Century By Hashimoto Gaho Kakejiku. Depicting a mountain stream. Signed and seal marked. 44” x 16”. 300/500 359. NAKAMORA NAONODO 20th Century “Strangers in Paris”. Depicting two figures against a dark ground. Signed lower right. Gouache. Matted 9.25”x 12.25” sight. Framed. 300/500 360. FRAMED PAINTING ON PAPER Late Meiji Period A pair of song birds and quail around peonies and other flowering branches. 58” x 32”. Framed 60.5” x 33”. 500/700
360
62
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361
361. THREE FRAMED RIMPA SCHOOL PAINTED PANELS 19th Century Together with one unframed, as is. Depicting plum blossoms, peonies and wisteria. Each marked with a single seal mark. 51” x 21.5” sight. Framed individually, 69.5” x 34.24”. 1,500/2,500 Purchased at Sloane & Kenyon. 362. FRAMED SUMI-E PAINTING Grasshopper on bamboo. Signed and seal marked. 23” x 15.5” sight. Framed 32” x 22.5”.
363
364
20th Century 250/350
365
363. SCROLL PAINTING ON SILK With gold and black mountain landscape design. Signed 46” x 12.75”. With kiriwood box. 364. SCROLL PAINTING ON SILK Depicting an eagle perched on a rock. Signed and seal marked. 43” x 13.5”. 365. SCROLL PAINTING ON SILK Sparrows and bamboo. Signed and seal marked lower left. 45” x 16”. With kiriwood box.
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Meiji Period 400/500 Late 19th Century 300/500 Meiji Period 250/350
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366
367
366. WESTERN-STYLE WATERCOLOR Early 20th Century By Banka Maruyama. Depicting four children gathering flowers. Signed “LR”. 19.5” x 13.25” sight. Matted and framed. 600/800 367. PAIR OF WESTERN-STYLE WATERCOLORS By S. Numi. Depicting figures at a shrine in autumn colors. Both are signed. 13” x 19.5” each.
Circa 1920 700/900
369 368
368. WESTERN-STYLE WATERCOLOR Early 20th Century With lantern, lake and pine tree in moonlight. Signed “Hiroshi” lower right. Matted 9.75” x 13.25” sight. Framed. 250/350 369. TWO WESTERN-STYLE WATERCOLORS By Terauchi Manjiro. 1. A cottage with lake and cherry trees. 2. Cottages in moonlight with snow. Both signed. Framed. 11.5” x 7.75” each.
Early 20th Century 300/500
370. PAINTING ON PAPER Circa 1930 In the manner of Kobayakawa Kiyoshi. Depicting a pensive woman wearing a black and red kimono. Signed and seal marked. Titled on reverse. 15.75” x 11.75”. 300/500 371. PAINTING ON SILK Circa 1900 Depicting a songbird with grasses, pine tree and flowers. Signed and seal marked. 45” x 14”. Framed 62” x 21”. 200/300 64
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372
372. WATERCOLOR ON PAPER Early 20th Century By Hiroshi Yoshida. Depicting fishing boats in morning fog. Signed “H. Yoshida” lower right. Framed 13” x 18.75”. 1,000/1,500 373. SCROLL PAINTING ON PAPER Mid-19th Century Depicting a beijin in reclining position wearing a colorful kimono. 43” x 18.5”. Framed 52.5” x 24.5”. 500/600 374. SCROLL PAINTING ON SILK Early 20th Century Depicting a sparrow on a flowering cherry tree branch. Signed. 42.5” x 16.25”. With kiriwood box. 250/350 375. SCROLL PAINTING ON SILK Meiji Period Depicting two ducks swimming beneath a willow tree and flowers. Signed and seal marked. 44” x 15.25”. With kiriwood box. 400/500 376. TWO FRAMED PAINTINGS ON SILK 20th Century Each with a pair of songbirds on a flowering tree branch, with calligraphy. Framed 26.5” x 16” and 17.5” x 20”. 300/500
373
374
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375
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377
378
377. HAND SCROLL ON PAPER Depicting birds and animals in a landscape with calligraphy. Length 430”.
19th Century 500/700
378. SHUNGA HAND SCROLL ON PAPER Late 19th Century With narrative scene featuring a woman and a flutist exploring their developing relationship. Length 444”. 800/1,200
380
379
379. PAIR OF INK AND SLIGHTLY COLORED DRAWINGS Depicting scenes from the Tale of Genji. Framed. Each 7” x 10.3”.
19th Century 400/600
380. HABOKU-STYLE SCROLL PAINTING ON PAPER 17th/18th Century Depicting a cottage with a lake and distant hills. Signed and marked with three seals. 10.75” x 21.25”. 300/500 381. SCROLL PAINTING ON PAPER Meiji Period Farmer on a bridge in a winter landscape. Signed and seal marked lower left. 16” x 20”. Bottom mounting as is. 250/350
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382
382. PAIR OF PAINTINGS ON PAPER 20th Century By Fukui Ryonosuke (1924–1986). Depicting stylized flowers. Both signed in pencil. 13.5” x 9.5”. Framed 20.25” x 16.25”. 2,500/3,500 383. WATERCOLOR ON PAPER Attributed to Kogo. Depicting the head of a young woman. Framed 11.5” x 8.75” sight.
Early 20th Century 1,000/1,500
384. WESTERN-STYLE WATERCOLOR By T. Nokoyama. Depicting a farmer carrying a hoe and a basket. 13” x 6.75”.
Early 20th Century 350/450
385. SCROLL PAINTING ON SILK Depicting cottages and a farmer beneath mountains. 41” x 16”. Signed and seal marked.
Early 20th Century 200/300
383
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384
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386
388
386. FRAMED PAINTING 20th Century A samurai warrior on horseback in the center of a procession through verdant green grasses. Seal marked lower left. Framed 89” x 83”. 4,000/6,000 Ex Collection: Louis Joseph Auction Gallery, Commonwealth Avenue, Boston. 387
387. OIL PAINTING ON CANVAS Dated 1938 Signed “Sugemoto Shigenori”. In Expressionist s tyle, depicting a village landscape. 18” x 21”. Framed. 200/300 388. SCROLL PAINTING ON PAPER 20th Century After Shinsui. Depicting a woman in a snowy landscape wearing a pine tree-pattern kimono. Signed “Shinsui”. 47.5” x 8.5”. 300/400
END OF SESSION I
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Japanese Art SESSION II
Wednesday, August 21, 2019 Beginning at 10 a.m. SESSION II 401-764 Pottery, Porcelain 400-493 Lacquer 494-510 Wood 511-522 Bronze 523-524 Books 525-536 Prints 537-728 The Prints of Paul Jacoulet 729-764
Lot 468
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401
402
403
401. SATSUMA POTTERY CENSER First Half 20th Century In handled basket form with fenestrated body and cover. Cover with chrysanthemum finial. Signed on base. Height 5.5”. 200/300 402. SATSUMA POTTERY BOWL Meiji Period Attributed to Hankinzan. With spiral floral design on interior. Iris design on exterior. Diameter 4.1”. 400/600 403. SATSUMA POTTERY LANTERN-FORM BOX Meiji Period By Gykuzan. In hexagonal form with wisteria, butterfly, bird and figural decoration. Signed. Height 6.2”. 200/300 404. RARE EARLY SATSUMA MORIAGE DISH With shaped rim and flower-vase design. Signed “Bizen”. Diameter 7.25”.
Circa 1840 600/800
405. SET OF FIVE SATSUMA POTTERY PLATES In “Three Monkey” design. Potter’s mark on base. Diameters 6.5”.
Circa 1910 150/250
406. SATSUMA POTTERY COVERED SUGAR BOWL In pear shape with dragon and lohan design. Black mark signature on base. Height 5”.
404
70
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Meiji Period 200/300
407
408
409
407. SATSUMA POTTERY TEAPOT In four-lobed form. With chicken’s-head spout and floral decoration. Height 6.5”.
19th Century 500/700
408. SATSUMA POTTERY KORO Late Edo Period In four-lobed form. With brilliant floral design. Pierced cover with chrysanthemum finial. Diameter 4.75”. 500/700 409. OKUMURA SHOZAN SATSUMA POTTERY BOWL In ovoid form with inverted rim. Decorated with a bold floral design. Diameter 13.75”.
Meiji Period 800/1,200
410. SATSUMA POTTERY TEA SET Meiji Period In lohan and relief dragon design. Consisting of covered teapot, covered sugar bowl, creamer, five cups and five saucers. Red mark signature on base. Height of teapot 6.5”. 400/600 411. SATSUMA POTTERY VASE In baluster form with figural and brocade designs. Height 7”.
Meiji Period 200/300
412. SATSUMA POTTERY SERVING DISH Meiji Period In awabi shell form with arhat landscape design on interior. Exterior with relief shell motif. Length 12.5”. 200/300
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413
414
413. SATSUMA POTTERY VASE In moon flask form with lion handles and fine floral design. Signed. Height 9.75”.
Meiji Period 600/700
414. SATSUMA POTTERY VASE In rectangular form with figural decoration. Black mark signature. Height 7”.
Meiji Period 300/400
415. SATSUMA POTTERY FOOTED BOWL Meiji Period With shaped rim and decoration of Kwannon surrounded by lohans. Black mark signature. Height 7.75”. Diameter 12”. 800/1,000 416. SATSUMA POTTERY VASE Late Meiji Period In inverted pear shape with court scene cartouches on a pink enameled ground. Height 12.5”. 250/350
415
416
417. PAIR OF SATSUMA VASES Meiji Period In cylinder form with dragon and lohan design. Shimazu crest at shoulder. Red mark signature. 250/350 418. SATSUMA POTTERY VASE Late Meiji Period In pear form in thousand lohan design. Shimazu crest on signature plaque on base. Height 5.25”. 200/300
72
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419
420
421
419. SATSUMA POTTERY BOWL Late Meiji Period Interior with finely detailed depiction of four samurai warriors, with gosu blue exterior and rim highlighted by gilt decoration. Height 2”. Diameter 5”. 300/500 420. SATSUMA POTTERY BOWL Taisho Period With a pinched floriform rim. Interior and exterior with finely detailed hundred lohan decoration and inscription. Brocade border. Shimazu family crest and Bizan mark on plaque. Height 2.5”. Diameter 6”. 400/600 421. SATSUMA POTTERY PLATE Taisho Period With a shaped edge. Finely detailed enameled decoration of Fukurokuju surrounded by dolls, animals and other figures and objects, with a gosu blue border and underside. Marked with Shimazu crest on base. Diameter 6”. 300/400
422
423
422. TWO PIECES OF SATSUMA POTTERY Meiji Period A wine pot and a small bowl with pinched rim. Both pieces with bird decoration on a gold ground. Matching two-character Satsuma marks on base. Height of wine pot 2.5”. Length 4”. Height of bowl 1.5”. Diameter 3.5”. 400/600 423. SATSUMA POTTERY BOWL Late Meiji Period Floriform in Thousand Flower design. Two character seal on plaque on base. Height 2.25”. Diameter 6.5”. 200/300
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73
424. KINKOZAN SATSUMA POTTERY CENSER Meiji Period In ovoid form. With quadruped base and lion’s-head handles. Red and green geometric design. Silver cover in twenty-four-petal chrysanthemum form. Impressed mark on base. Diameter 8”. 500/700 425. SATSUMA POTTERY BOWL Meiji Period In chrysanthemum form. Decorated on interior with relief dragons about a Shimazu crest. Exterior with dragons, lohans and Shimazu crest. Unusual ho bird and calligraphy mark in gold on base. Diameter 12.5”. 800/1,200
424
426. SATSUMA POTTERY JAR Late 19th Century In ovoid from with chrysanthemum, wisteria, and iris design. Blue Shimazu crest on base. Gilt signature. Height 10.25”. 2,500/3,500 427. SATSUMA THOUSAND FLOWERS POTTERY BOWL 20th Century Colorful chrysanthemum-filled ground on interior and exterior. Shimazu crest on base. Height 3.5”. Diameter 6.5”. 250/350 428. SATSUMA PORCELAIN MINIATURE VASE 20th Century In meiping form with figural panels on a brocade ground. Signed on base. Height 4”. 200/300 425
429. SATSUMA POTTERY TEAPOT Mid-19th Century In squat form. With brocade design at shoulder. Shimazu crest on handle. Gilt signature on base. Teapot illustrated in a book by Nancy Schiffer. 150/250
426
74
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430
431
432
430. GYOZAN SATSUMA POTTERY COVERED JAR In ovoid form with fine figural design. Signed beneath cover. Height 2.3”.
Meiji Period 350/450
431. SATSUMA POTTERY COVERED JAR 19th Century In melon form. Ribbed body decorated with leaves and flowers on a blue ground. Diameter 5”. 300/500 432. MINIATURE KINKOZAN SATSUMA POTTERY TEAPOT In ovoid form. With karako and brocade design. Signed. Length 3”.
Meiji Period 300/400
433. SATSUMA POTTERY BOWL Meiji Period In a blue wave design with orange sky. Impressed 20th Century inscription on base. Diameter 8.25”. 300/500 434. GYOZAN SATSUMA POTTERY BOWL Depicting four standing cranes. Exterior with wave design. Signed. Diameter 7.25”.
Circa 1900 200/300
435. GYOZAN SATSUMA POTTERY BOWL In cherry blossom form with bird and flower decoration. Signed. Diameter 8”.
Circa 1900 250/350
433
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75
436. HOZAN SATSUMA POTTERY VASE Meiji Period In rectangular form. With scenes of ladies in a courtyard and ladies in an interior setting interspersed with brilliant landscape scenes. Signed. Height 9.75”. 2,500/3,000
436
437
438
439
437. SATSUMA POTTERY TEAPOT In seed form. With white crackle glaze. Height 5.5”.
Circa 1700 500/700
438. KYOTO POTTERY SAKE POT Circa 1710 In squat ovoid form. With brown glazed body. Blue and white maple leaf-pattern cover. Entwined vine handle. Potter’s mark on base. Length 7.25”. 250/350 Ex Yamanaka Collection. 439. POTTERY CENSER 19th Century In ovoid form with elephant’s-head handles. Pierced sides and tripod base. Replaced cover. Signed. Height 5.75”. 300/400
76
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440
441
440. SATSUMA POTTERY FIGURE GROUP Late 19th Century Depicting a man with a sake bottle and his dog. Length 6”. 300/500 441. AO-KUTANI PORCELAIN FIGURE Meiji Period Depicting Kenzan standing while holding a broom. Height 12”. 300/500 442. SEVEN-PIECE GYOKUZAN SATSUMA POTTERY SWEETMEAT SET Meiji Period In circular form with decoration of the Gods of Good Fortune. Set in a black lacquer Lazy Susan stand (possibly of a later date). Diameter 13”. 400/600 443. FIVE ART DECO POTTERY ITEMS BY KINKOZAN Mid-20th Century 1. Pear-shaped vase in stylized peacock design. Height 7.5”. 2. Bird and flower-decorated tumble-up. Height 8.25”. 3. Bird-decorated vase. Height 8.5”. 4. Checkerboard and leaf-decorated vase. Height 9”. 5. Blue-on-gray floral-decorated vase. Height 8.6”. 800/1,000
442
444. PAIR OF RUST RED KUTANI PORCELAIN VASES Meiji Period In baluster form with crane and peony design. Converted to table lamps. Heights 18”. 300/500
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77
445. EXCEPTIONAL SATSUMA POTTERY FIGURE GROUP Late 19th Century In the form of Kwannon seated on a lion and holding a ruyi sceptor. Fine gilding and gosu blue. Gyokozan mark on base. Height 16”. 2,000/3,000
445
446
446. PAIR OF IMPORTANT TANZAN POTTERY PLATES Circa 1910 With hand-painted scenes reproducing landscape photographs by Herbert Ponting. Diameters 9.2”. 1,000/1,500 447. BLUE AND WHITE PORCELAIN BOWL In bell form with landscape design. Diameter 7.1”. With married kiriwood box.
Early 20th Century 250/350
448. POLYCHROME PORCELAIN PLATE 19th Century Made for the Japanese market. With four alternating enameled figural and gilt landscape cartouches and a floral center. All on a famille rose floral and butterfly ground. Diameter 9.75”. 200/300 449. STUDIO PORCELAIN BOTTLE VASE In teardrop form with prunus branch decoration. Signed Sekiko. Height 4.6”.
78
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20th Century 150/200
451
450
450. IMARI PORCELAIN CHARGER With bird and flower garden design surrounded by stylized fungus. Diameter 17.5”. 451. IMARI PORCELAIN CHARGER In landscape design with bird, flowers and figural border. Diameter 18.25”.
452
Mid-19th Century 300/400 19th Century 300/400
453
452. IMARI PORCELAIN CHARGER Early 19th Century With decoration of children flying kites before Mount Fuji. Exterior with ho bird and paulownia design. Diameter 17.5”. 800/1,000 453. PORCELAIN CHARGER With decoration of a samurai throwing a sword into the sea. Diameter 18.25”.
Late Meiji Period 250/350
454. PAIR OF KORANSHA PORCELAIN DISHES With red and yellow paulownia and cherry blossom design. Diameters 8.25”.
Late 19th Century 100/200
455. KYOTO POTTERY BOTTLE VASE Late 19th Century In triple gourd form. With pierced flower and calligraphy design. Impressed potter’s mark on base. Height 11.5”. 300/500
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79
456
456. NEAR-PAIR OF IMARI PORCELAIN OVERSIZED CHARGERS Meiji Period Both with alternating decoration of birds on millet and flowering tree blossoms, on a chrysanthemum-filled cobalt ground with gilt highlights. Heights 4”. Diameters 21.5”. 400/600 Private Cape Cod Collection.
457
458
457. IMARI PORCELAIN CHARGER With unusual red, gold and green bamboo center surrounded by chidori cartouches.
19th Century 800/1,200
458. IMARI PORCELAIN CHARGER 18th Century Depicting two ladies with a crane-decorated screen surrounded by a shishi and passionflower border. Underside with flowers and vines. Diameter 17.5”. 700/900 459. BLUE AND WHITE HIRADO PORCELAIN PLATE Late 19th Century After a Nabeshima example. Depicting a camellia blossom. Exterior with flower and combed foot. Diameter 8.5”. 200/300 460. KYO-YAKI POTTERY MIZUSASHI In drum form. With hydrangea design in blue and green. Height 7”. 461. BLUE AND WHITE PORCELAIN BOWL In flower form with transfer design of sages in a bamboo grove. Diameter 15.6”.
80
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Early 19th Century 200/300 Late Meiji Period 200/300
462
463
462. IMARI PORCELAIN PLATE Genroku Period Depicting two ladies with a flower cart. Surrounded by a bird and flower border. Diameter 9.75”. 500/700 463. AO-KUTANI PORCELAIN SAKE BARREL With quail and grasses design. Height 10.25”.
Circa 1900 250/350
464. IMARI PORCELAIN CHARGER A rabbit center surrounded by a bold crane, flower and butterfly border. Diameter 18”.
18th Century 700/900
465. NUIN SWEETMEAT BOWL Mid-19th Century In turquoise and purple floral and shou design. Impressed potter’s mark on base. Diameter 7”. 500/700
464
465
466. BLUE AND WHITE KUTANI PORCELAIN FIGURE In the form of Jurojin seated and holding a scroll. Kutani mark on base. Height 11.5”.
20th Century 250/350
467. IMARI PORCELAIN CHARGER With floral center surrounded by bird and flower panels. Diameter 18”.
19th Century 150/250
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81
468. BLUE AND WHITE ARITA PORCELAIN TEMPLE JAR Late 19th Century In inverted pear shape, with domed cover and onion finial. Body decorated with cartouches of dancers on a floral ground. Height 37.5”. 1,200/1,500 469. IMARI PORCELAIN TRUMPET VASE Late 19th Century Decorated with ladies and wisteria. Height 21.25”. 600/800
468
470. KAKIEMON PORCELAIN BOWL 19th Century In chrysanthemum form. With underglaze blue rings at foot. Diameter 4.75”. 100/150 471. IMARI PORCELAIN COVERED BOWL 19th Century With dramatic red circular design. Diameter 5.25”. 50/80 472. BLANC DE CHINE PORCELAIN TRIFOOT BOWL Early 20th Century Horizontal ribbed body. Potter’s mark on base. Two old paper label remnants. Height 2.75”. Diameter 3.75”. 200/300 473. TWO IMARI PORCELAIN CHARGERS Early 20th Century Finely enameled and gilt decoration on central scroll and fan cartouches. Diameters 21.5”. 300/500
469
82
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474
475
476
474. CELADON PORCELAIN WATER DROPPER In lotus form. Diameter 2.75”.
18th/19th Century 200/300
475. UNUSUAL SATSUMA POTTERY BOTTLE VASE Meiji Period In gourd form with relief lohan deign and dragon design. Shimazu crest at mouth. Extensive gilt on red signature. Height 9.6”. 300/500 476. PAIR OF SATSUMA POTTERY VASES Meiji Period In baluster form with figural decoration and lion form handles. Black mark signature. Height 4.6” 800/1,200 477. GYOZAN SATSUMA POTTERY KOGO In circular form. With Tokugawa mon design. Signed on base. Diameter 3.2”. 478. IMARI PORCELAIN DOUBLE FISH SERVING DISH With floral design. Length 10.25”.
19th Century 300/400 Meiji Period 200/300
479. POTTERY CHARGER With moriage-style decoration of warriors surrounded by waves. Diameter 13.75”.
19th Century 200/300
477
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83
480
481
480. EIRAKU POTTERY BOWL Meiji Period In flower form. Decorated with leaf, wave and Good Luck symbol on a yellow ground. Raku mark on base. Diameter 7.3”. 800/1,200 481. STUDIO PORCELAIN VASE Meiji Period Attributed to Makazu Kozan. In gourd form. With relief coin design and fine gilt wave decoration. Height 7.5”. 500/700 482. BLUE AND WHITE ARITA PORCELAIN CHARGER Edo Period In flower form. With rabbit center surrounded by relief butterflies and blue dragons. Pearl border. Diameter 12”. 700/900 483. BLUE AND WHITE STUDIO PORCELAIN BOWL By Seifu. With pine tree landscape design. Signed on base. Diameter 7.25”.
20th Century 500/700
484. PAIR OF BLUE AND WHITE PORCELAIN DISHES In rectangular form. With “three friends” decoration. Lengths 8”.
19th Century 100/150
485. SET OF THREE IMARI PORCELAIN DISHES In rectangular form. With landscape design. Lengths 5.7”.
482
84
Late 19th Century 100/150
483
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487
486
486. KUTANI PORCELAIN BOWL Late Meiji Period Finely decorated Samurai warriors on horseback crossing a river. Chrysanthemum and brocade border. Exterior with finely enameled cherry blossom and wave decoration. Marked on base. Height 3”. Diameter 9.25”. 300/400 487. KUTANI PORCELAIN BOWL Meiji Period Ribbed body and floriform rim. With central interior decoration of a lady in a chrysanthemum and pine tree landscape, surrounded by an alternating lappet border. Marked on base. Height 4”. Diameter 9.25”. 250/350 488. BLUE AND WHITE NABESHIMA PORCELAIN DISH With sparrow and peony design. Exterior with flowers and combed foot. Diameter 9.75”. 489. KYOTO POTTERY VASE In bladder form. With insect and flower design. Artist’s signature at foot. Height 12.5”.
Circa 1700 800/1,200 19th Century 200/300
488
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85
490
490. BLUE AND WHITE PORCELAIN CHARGER 18th Century With decoration of various fish and sea grasses. Pseudo hallmark on base. Diameter 12”. 600/800 491. IMARI PORCELAIN WALL POCKET 18th/19th Century In the form of a woman wearing a Genroku-style robe with wave and maple leaf design. Height 12.25” 800/1,200 492. IMARI PORCELAIN DOUBLE FISH DISH Late 19th Century With floral design. Length 10.4”. 150/250 493. KUTANI PORCELAIN DISH Late Meiji Period With central hanging flower arrangement, surrounded by a cloud border. Four-character signature on base. Diameter 9”. 150/250
491
86
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494. GOLD LACQUER COMB AND KANGASHI 19th Century Comb with pawlonia design. Kangashi with squirrel and pawlonia design. Kangashi signed. Length of comb 3.5”. Length of kangashi 6.6”. 250/350 495. MOTHER-OF-PEARL INLAID AND GOLD-ON-LACQUER IVORY COMB * Circa 1860 With ho bird and flower deisgn. Length 3.25”. 200/300 496. GOLD LACQUER ON IVORY COMB AND KANGASHI * Circa 1860 With fine floral design. Length of comb 4.5”. Length of kangashi 6.4”. 350/550
494
495
496
497. RED LACQUER NATSUME 20th Century By Nakamura Soutetsu XI (1893-1993). In cylinder form. Signature on base. Height 3”. Kiriwood box with inscriptions on exterior and under the cover. 800/1,200 498. TWO LACQUER-ON-HORN KOGAI In foliate designs. Lengths 5.75” and 6.25”.
19th Century 200/300
499. GOLD LACQUER COMB With ginko leaf design. Length 3.5”.
19th Century 150/250
497
* Not available for international delivery.
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87
500
500. JAPANESE RED LACQUER ZUSHI Edo Period With elaborately engraved gilt-metal door mounts. Interior with dramatic figure of Fudo Mio with flame halo and two attendants behind a pierced wheel and cloud surround. Height 15”. 1,200/1,800
502
501. BLACK AND GOLD LACQUER SUZURI BAKO 19th Century In fan design with ink stone and water dropper interior. 400/500 502. BLACK AND GOLD LACQUER TANZAKU BOX Late 19th Century With chrysanthemum design. Length 15.75”. 400/600
501
88
503. BLACK AND GOLD LACQUER CARRYING BOX 19th Century In rectangular form with openwork lattice top, with a folding handle. Body decorated with Tokugawa mon design. Height 18”. 12” square. 400/600
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504
505
506
504. LACQUER-ON-IVORY COMB * With brocade and chrysanthemum design. Length 3.25”.
Mid-19th Century 200/300
505. GOLD LACQUER-ON-IVORY COMB * With chrysanthemum design. Length 3.1”.
Mid-19th Century 200/300
506. GOLD LACQUER-ON-TORTOISESHELL KANGASHI * With crane and shrine design. Signed. Length 5.6”.
Early 19th Century 400/600
507. MOTHER-OF-PEARL AND BONE-INLAID LACQUER PANEL Late 19th Century Depicting a sparrow viewing insects approaching a flower blossom. All on a blue lacquer ground. 11” x 15”. 400/600 508. BLACK AND GOLD LACQUER KANGASHI Made in two parts. With ferryboat and river design. Signed. Length 6.5”.
19th Century 150/200
509. INLAID GOLD LACQUER COMB Cherry blossom design with poem on one face. Signed. Length 3.5”.
19th Century 150/200
* Not available for international delivery.
507
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89
510
510. SILVER-MOUNTED BLACK AND GOLD LACQUER SHO Leaf and flower pattern. Length 18.75”.
Meiji Period 600/800
511. TWO-PART TANSU Late Meiji Period Top with two full drawers, base with two three-quarter drawers and two one-quarter drawers above a cupboard door. Three small drawers inside. Iron bindings, lock plates and carrying handles. Height 45”. Width 45”. Depth 17”. 300/500 512. KIRIWOOD TANSU With two pairs of sliding doors and three drawers. Height 42.5”. Width 36”.
19th Century 800/1,000
513. IRON-BOUND TWO-PART TANSU Late 19th Century In a dark brown stain. Upper case with two paneled doors that open to reveal two full-width drawers. Lower case with two full-width drawers. Iron mounts and iron bail handles to sides. Height 41.25”. Length 39.5”. Depth 17.5”. 400/700
511
90
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512
514
515
514. PAIR OF PAINTED DOOR PANELS 18th Century Attributed to Tanzan. Depicting a sage in a tea house with two attendants. All on a gold lacquer ground. Signed. 67” x 26.5”. 800/1,200 515. SIX-PANEL TEA SCREEN Depicting playful children in a landscape. Height 31”. Length overall 110”.
18th/19th Century 800/1,200
516. FOUR-PANEL TEA SCREEN Depicting songbird, prunus and bamboo on a gold ground. Overall 16.5” x 27.5”.
Early 20th Century 300/400
517. KOREAN TWO-PART-STYLE TANSU Early 20th Century In elmwood, with eight steps, thirteen drawers, one cupboard door and two sliding doors. Iron mounts and hardware. Height 58”. Length 54”. Depth 14”. 1,000/1,500
516
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517
91
519 518
518. CARVED AND INLAID WOOD COVERED JAR Circa 1880 In ovoid form with tripod base. Body carved with high-relief gold-eyed dragon and clouds. Body flanked by two karako, both with mother-of-pearl and semiprecious stone-inlaid robes. One holds a rattle with gold lacquer details; the other a trumpet with horn mouthpiece. The domed cover sports a similarly dressed karako holding a lacquer-decorated fan with bird and wisteria design. 19th Century shop label on base “E. Guerin 174 Rue Montmartre Paris Chinoiseries-Japonniries Objets Anciens & Modernes”. Height 8.5”. 2,000/3,000 519. INLAID WOOD AND IVORY FIGURE OF A BEGGAR Meiji Period Standing in mother-of-pearl robes with his similarly inlaid bowl, on a separate rockery base. Height of figure 20”. Height of carved rootwood base 9”. 700/900
520
520. FOUR-PANEL TOSA SCHOOL TABLE SCREEN Depicting the poetess Genji and mandarin ducks. Height 15.25”. Length 25”. 521. LACQUERED WOOD NOH MASK Depicting Hannaya. Length 7.75”.
92
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521
19th Century 300/500 18th/19th Century 1,000/1,200
522
522. KANO SCHOOL SIX-PANEL SCREEN Circa 1850 Painted exotic birds and flowers on plum branches and bamboo, on gold paper. Height 18.5”. Width fully opened 111”. 2,000/3,000 523. PAIR OF MIXED METAL WAISTED VASES With trumpet mouths. Body decorated with sparrow and flowering tree design. Height 9.4”.
Meiji Period 400/600
524. BRONZE GOURD-FORM WALL POCKET With full relief leaves and cicada. Length 6.25”.
Meiji Period 200/300
523
524
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93
525
526
525. TWO VOLUMES: KIYONAGA A STUDY OF HIS LIFE AND WORKS With a portfolio of plates in color and collotype. Published for the Museum of Fine Arts, Boston, 1939. 400/600 526. TWO VOLUMES: THE CLARENCE BUCKINGHAM COLLECTION JAPANESE PRINTS Published in 1955. With slipcases. 527. ONE VOLUME: SUBJECTS PORTRAYED IN JAPANESE COLOUR-PRINTS By Basil Stewart. Published in 1922.
1,000/1,500 300/400
528. TWO VOLUMES: PRINTS FROM THE GRABHORN COLLECTION Figure Prints of Old Japan and Twelve Woodblock Prints of Kitagawa Utamaro. Published in 1959 and 1965 respectively. 300/400 529. FIVE VOLUMES: WORKS OF HOKUSAI Printed in Japanese by Shueisha, 1990.
600/800
530. TWELVE TITLES RELATING TO JAPANESE PRINTS 1. Meech-Pekarik, Word of the Meiji Print. 2. The New Wave, 20th Century Prints from the Robert O. Muller Collection. 3. Highly Important Japanese Prints form the Henri Vever Collection: Final Part. 4. Robinson, Kuniyoshi. 5. Lane, Images from the Floating World. 6. Merritt and Yamada, Guide to Modern Japanese Woodblock prints: 1900-1975. 7. Merritt, Modern Japanese Woodblock Prints. 8. Henderson and Ladoux, The Surviving Works of Sharaku. 9. Smith, The Japanese Print Since 1900. 10. Link, The Theatrical Prints of the Torii Masters. 11. Yokohama Prints From Nineteenth-Century Japan. 12. Lane, Hokusai: Life and Work. 300/500
94
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531
531. FIVE VOLUMES: SOTHEBY’S HENRI VEVER COLLECTION Four volumes on Japanese prints and one volume on Japanese prints, drawings and paintings.
500/600
532. EIGHT VOLUMES FROM THE ENCYCLOPEDIA OF JAPANESE WOODBLOCK PRINTS Printed in Japanese. Includes vols 1-3, 5, 7, and 9-11. From the Editorial Committee of the Ukiyo-e Encyclopedia, 1981. With slipcases.
300/400
533. ONE VOLUME: SURIMONO: PRINTS BY ELBOW By Edythe Polster and Alfred H. Marks.
200/300
534. ONE VOLUME OF WOODBLOCK PRINTS BY HIROSHIGE Published in Japanese. Depicting twenty-six prints from the Hundred Views of Edo Series.
400/600
535. JAPANESE PRINTS 1917 Volume 3. Published by Shimbi Shoin 900/1,200 536. FIVE VOLUMES: JAPANESE PRINTS OF THE LEDOUX COLLECTION From the collection of Louis V. Ledoux (1880-1948). The Primitives. Harunobu to Shunsho. Buncho to Utamaro. Sharaku to Toyokuni. Hokusai to Hiroshige. From Princeton University Press, 1950. 800/1,000
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95
537
538
539
537. MASANOBU Depicting a seated nobleman beneath pine and prunus. Framed 40” x 24.5”.
Kakemono 1,200/1,500
538. HARUNOBU Hashire-e Two figures peering through a window observing a woman writing on a scroll. Scroll-mounted. 2,000/3,000 539. EIZAN Depicting a samurai with sword and a woman with a teacup. Scroll-mounted.
Hashire-e 350/450
540. JAPANESE BOOK PAGES Edo Period Approx. ten sheets, all depicting men and women in various pursuits surrounded by calligraphy. Individual page size 8” x 16”. 200/300 541. BOOK CONTAINING TWENTY-FIVE PILLAR PRINTS Meiji Period Including five by Koryusai, eight by Harunobu, three by Koryu, two by Shunko, one by Muraski, one by Utamaro, one by Haritsugu, one by Shuncho, one by Seicho, one by Kiyomitsu and one by Kiyonaga. With brocade binding and kiriwood box. 1,000/1,500 542. EISEN & YOSHITAKI Two Chuban Courtesan Jigoku Dayu kuchi-e print (trimmed) by Tomioka Eisen and Thunder God Osaka print by Utagawa Yoshitaki. Both matted 15” x 11”. 200/300
96
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544
543
543. TOYOKUNI I Two actors. One dressed as a woman and the other holding a pillar. 544. TOYOKUNI II A man and a woman holding a kite. Framed 21.5” x 26”.
Oban tate-e 400/600 Diptych 300/500
545. TOYOKUNI II Figure with swords and shakuhashi flute, azuri background.
Oban tate-e 150/200
546. TOYOKUNI III Depicting a man wearing a dragon-decorated robe.
Oban tate-e 150/250
547. KATSUSHIKA HOKUSAI Peasant Standing On The Rim Of A Tub. Framed 14.5” x 12”.
Chuban 300/500
548. TWO JAPANESE WOODBLOCK PRINTS 1. Depicting a geisha holding a box by Kikugawa Eizan (1787-1867). 2. “Itsutomi” by Chobunsai Eishi (1756-1829). Each matted and framed 20” x 15”.
Oban tate-e
549. TOYUKUNI III A snow scene with three figures, two inside a house.
Oban tate-e 100/200
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400/600
97
550
98
551
550. TOYOKUNI III From Chushingura series, depicting a samurai with drawn sword.
Oban tate-e 150/250
551. TOYOKUNI III Actor in Mirror (looking right), from “Portraits of Famous Actors”. Matted 20” x 16”.
Oban tate-e 300/400
552. TOYOKUNI III Elaborately dressed woman with attendant child at night beneath cherry trees. Framed.
Oban tate-e 80/120
553. TOYOKUNI III A butterfly dancer against a snowy landscape.
Oban tate-e 120/250
554. TOYOKUNI III Night scene with a woman and cherry blossoms.
Oban tate-e 100/200
555. KUNISADA A woman gathering cherry blossoms while standing on the back of her attendant.
Oban tate-e 100/200
556. KUNISADA A man standing beside a stone lantern. Framed.
Oban tate-e 100/200
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557. KUNISADA Kakemono A lady with two attendants in a lightening storm. Scroll-mounted. 800/1,000 558. KUNISADA Two actors on stage.
Surimono 400/600
559. TOYOKUNI III Oban tate-e Actors backstage at a Kabuki theatre. Matted 20” x 16”. 300/400 560. TOYOKUNI Actor print. Framed 22” x 17”.
Oban tate-e 250/350
561. TOYOKUNI Oban tate-e Lady in winter kimono. Framed 20” x 15”. 250/350 562. KUNISADA Two pillar prints: 1. Man looks over a seated woman. 2. Woman in a checkered kimono holding a parasol. Both framed. 36.5” x 17’. 400/600
557
563. TOYOKUNI III Oban tate-e Actor wearing a bat-decorated costume. 150/250
558
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99
564
565
564. KUNIYOSHI A child being tied to a well.
Oban tate-e 200/300
565. KUNIYOSHI Oban tate-e From the One Hundred Poets series. Depicting the star maiden standing on a cloud with an approaching figure riding on a water buffalo. 300/400 566. KUNIYOSHI A woman attacked by an umbrella defends herself with a sword. Framed. 567. TOYOKUNI III Three actors, one with a teacup, one with a sword and one with a folded fan.
Oban Triptych 150/250
568. TOYOKUNI III Woman praying at a shrine.
Oban tate-e 150/250
569. TOYOKUNI III Woman with a pipe seated in a kago.
Oban tate-e 150/250
570. KUNISADA “Kasatsu Station�. Depicting a woman traveling beside a shine. 571. KUNIYOSHI Seated figure praying at a shrine as a ghostly figure emerges.
100
Oban tate-e 150/250
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Chuban 200/300 Oban tate-e 200/300
572
572. KUNIYOSHI A group of figures attempting to free a nobleman from a devil figure.
Oban Diptych 400/500
573. KUNIYOSHI Woman with a well bucket.
Oban tate-e 200/300
574. KUNIYOSHI Two figures cooking rice.
Oban tate-e 200/300
576 575
575. HIROSHIGE View of Mount Fuji from the Harbor, from View of the 40 Odd Provinces. Matted 20” x 16”. 576. HIROSHIGE “Kasatsu Station from Holeido Tokaido”. Depicting porters carrying palanquins. 577. HIROSHIGE Actors on stage in a theatre. Framed 19” x 14”.
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Oban tate-e 300/500 Oban yoko-e 300/500 Oban tate-e 250/350
101
578
580
102
581
578. TWO BOUND VOLUMES OF HIROSHIGE PRINTS Depicting forty prints from The Sixty-Nine Stations of the Kiso Kaido Series.
1,000/1,500
579. AFTER HIROSHIGE Night scene of Tankudajima, seen from Eitai Bridge. Later edition. Unframed.
Oban tate-e 250/350
580. YOSHIKU Cleaning Sword Beneath the Moon, from Twenty-Eight Famous Murders. Matted 20” x 16”.
Oban tate-e 300/400
581. YOSHIKU Old Man with Mask, Slaughtered, from Twenty-Eight Famous Murders. Matted 20” x 16”.
Oban tate-e 300/400
582. KUNIYASU An actor in a floral-decorated kimono standing with a folded fan.
Oban tate-e 100/200
583. KUNICHIKA A man wearing a dragon-decorated robe.
Oban tate-e 100/200
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584
585
584. YASHIMA GAKUTEI “Six Venerable Sages”.
Surimono 400/600
585. YASHIMA GAKUTEI A seated woman in a maple leaf and deer-decorated kimono.
Surimono 400/600
586. CHIKANOBU Two oban tate-e “Viewing the Full Moon” from the Ladies of Chiyoda Palace series. Missing third print. Framed. 250/350 587. CHIKANABU “Beauty of The Kaei Era”. Framed.
Oban tate-e 200/400
588. OSAKA Two Chuban, possibly a diptych Each depicting a Kabuki actor. Matted separately. Framed as one 17.5” x 24”. 300/500
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103
589. YOSHITOSHI “Ranmaru and the Mysterious Sago Palm”. From the Thirty-Six Ghosts series.
Oban tate-e 400/500
590. YOSHITOSHI Oban tate-e “Sogi and the Ghosts”. From the Thirty-Six Ghosts series. Depicting a kneeling man observing two kneeling ghosts. 400/600 591. YOSHITOSHI Oban tate-e “The Peony Lantern”. From the Thirty-Six Ghosts series. Depicting two figures with a flower lantern. 350/450 592. YOSHITOSHI Oban tate-e “Woman Strolling”. From the Thirty-Two Aspects of Women series. Depicting a woman in a floral bonnet walking through a field of irises. 250/350 593. YOSHITOSHI Two Oban tate-e 1. Scene from Twenty-Four Accomplishments in Imperial Japan. Depicting a woman holding a child. 2. Scene from One Hundred Aspects of the Moon. Depicting a samurai with falling flower petals. 400/500 594. YOSHITOSHI Flowers and flower baskets with calligraphy.
589
104
Oban tate-e 250/350
590
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591
595
596
597
595. YOSHITOSHI Nitta Tadatsune seeing an apparition in a cave. From the Thirty-Six Ghosts series.
Oban tate-e 400/500
596. YOSHITOSHI “Ghost of Seigen”. From the Thirty-Six Ghosts series. Depicting a ghost appearing from smoke.
Oban tate-e 300/500
597. YOSHITOSHI From “100 Aspects of the Moon”, a streetwalker in rain.
Oban tate-e 300/500
598. YOSHITOSHI Oban tate-e Takeda Katsuchiyo. From the Thirty-Six Ghosts series. Depicting a warrior destroying a wooden horse. 200/400 599. YOSHITOSHI Sadanobu threatening a demon inside a palace. From the Thirty-Six Ghosts series. 600. YOSHITOSHI Depicting three native men viewing the arrival of Christopher Columbus. 601. SCHOOL OF YOSHITOSHI Depicting Ushiwara practising swordsmanship with a tengu. Framed.
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Oban tate-e 300/500 Double Book Page 250/350 Oban Triptych 400/600
105
602
602. SADAHIDE Oban Diptych Depicting warriors on horseback battling through a river. Framed. 300/500 603. SADAHIDE Oban Triptych Depicting a boar hunt beneath Mount Fuji. Framed as separate panels. 500/700 604. KOBASHI KIYOCHIKA Two Woodblock Prints “The Second Month, Matsuchiyama in Snow at Dusk, March 1896”. Missing third panel on right. Unframed. 200/300 605. SHUNTEI Hosoban “Shadow Dancers” depicting ten figures in black beneath a full moon. 300/400 606. ITO TAKASHI Oban tate-e Depicting birch woods with a traveler crossing a mountain stream 300/400 607. TAKAHASHI HIROAKI Two O-tanzaku 1. Figures in snow at night. 2. Figures on a bridge with heavy wind. 200/300
605
106
To view color images and condition reports for all lots please visit www.eldreds.com.
608
608. SHIBATA ZESHIN Depicting three figures and calligraphy.
Letter Sheet Surimono 400/600
609. SHIBATA ZESHIN Depicting an ikebana display and calligraphy.
Letter Sheet Surimono 400/600
610. TOSHIKATA “Gathering Shells at Low Tide”. Framed.
Oban tate-e 200/300
611. THREE HASAGSAWA PRINTED CHILDRENS BOOKS Two in English. Vol. 8 and 12. One in Italian. Length 6”.
612
Early 20th Century 120/200
613
612. OHARA KOSON Depicting two white geese beneath palm leaves.
Dai oban tate-e 300/400
613. OHARA KOSON Depicting pheasants in snow.
Dai oban tate-e 300/400
614. OHARA SHOSON “Wild Geese”. Depicting two white geese in a marsh.
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Oban yoko-e 300/400
107
615. KIYOSAI Crane with falling rain.
Oban tate-e 400/500
616. GESSO Hosoban Depicting sparrows and bamboo in snow. 100/200 617. NISHIMURA HODO Oban tate-e Two rabbits against a black ground. 200/300
615
618. TSUCHIYA RAKUSAN Dai oban yoko-e “Silverberry and Blue Robin, Early Winter”, #93 from the Birds and Flowers of Japan series, comprised of 100 images, in a limited edition of 200. Framed 19” x 25”. 200/300 619. ITO SOZAN Two O-tanzaku “Pair of Geese with Frog” and “Parrot on Pomegranate Branch”. 200/300 620. GIHACHIRO OKUYAMA Two oban yoke-e 1. Winter landscape with mill on a river leading to a village. Pencil-signed lower right. 2. Three ducks in the water. Pencil-signed lower right. 300/400 621. TSUCHIYA KOITSU Ducks in flight.
Mitsugiri-ban 300/500
621
108
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622
623
624
622. TSUCHIYA KOITSU Oban tate-e “Snow at Zoji Temple” depicting two figures before a red temple. 300/400 623. TSUCHIYA KOITSU Oban tate-e Ladies on a rainy street at night with a red lantern. Doi Publishing seal in left margin. 200/300 624. SHIRO KASAMATSU Oban tate-e “Snow at Hameda”. Depicting a snowy river landscape with birds in flight. 1,000/1,500 625. SHIRO KASAMATSU Oban tate-e “Rain at Yanaka near Ueno Park, Tokyo”. Depicting a figure with an umbrella before a pagoda. 200/300 626. WOODBLOCK PRINT Oban yoko-e Figure walking near Sacred Bridge, Nikko. Watanabe Publisher’s seal lower left. Unframed. 200/300 627. SHIRO KASAMATSU Oban tate-e “Misty Day at Shinbazu Pond” depicting willow trees and lanterns. Watanabe Publishing seal lower left corner. 200/300 628. SHIRO KASAMATSU Oban tate-e “Kegon Waterfall.” Depicting figures below a waterfall with autumn foliage. 300/500
628
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109
629
630
629. KAWASE HASUI Oban tate-e “Arai-cho, Enshu”. Depicting figures and cottages along a river. Watanabe “C” Publisher’s seal in left margin. 4,000/6,000 630. KAWASE HASUI “Gion Bridge”. Depicting a child and geese below a bridge.
Oban tate-e 4,000/6,000
631. KAWASE HASUI Oban tate-e “Red Fish Flag”. Depicting a red fish wind sock flying above a village street. 6 mm Watanabe Publisher’s seal in lower right corner. 1,500/2,000 632. KAWASI HASUI “Moon at Magome”. 1930. Watanabe publishers seal. Unframed.
631
110
Oban tate-e 300/500
632
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633
634
633. KAWASE HASUI Oban tate-e “Zentsuji Temple.” Depicting figures before a temple in light rain. Marked with 6 mm Watanabe Publisher’s seal in lower right corner. 500/700 634. KAWASI HASUI “Winter Moon Over Toyama Plain”.
Oban tate-e 300/500
635. KAWASE HASUI Oban yoko-e “Shower over Imai Bridge.” Depicting a single figure crossing a bridge in rain. Mark with “D” Watanabe Publisher’s seal. 1,000/1,500 636. KAWASE HASUI Two Oban 1. “Evening Rain on the Pine Island”, oban yoko-e. 2. “Snow at a Guest House”, oban tate-e. Both from the series The Mitsubishi Villa at Fukagawa, 1920, with Watanabe Publisher’s seal lower left. Unframed. 400/600
635
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111
637
639
368
637. HIROSHI YOSHIDA Dai oban tate-e “Afternoon in a Pasture”. Depicting four cows. 1921. Signed in plate and margin. Red artist’s seal and Watanabe Publisher’s seal in left margin. Numbered edition 8/150. 3,000/5,000 638. HIROSHI YOSHIDA “Sailing Boats”. Printed title, printed signature lower right. Framed 27” x 21”.
Dai oban tate 400/600
639. HIROSHI YOSHIDA Oban yoko-e Titled in pencil “Acropolis Night” and signed in pencil lower right. Marked with Jizuri seal. Framed 14.4” x 20.5”. 300/400 640. HIROSHI YOSHIDA Oban tate-e “Misty Day in Nikko.” Depicting pilgrim at the foot of a temple stairway. Marked with jizuri seal. Pencil signature. 500/700
112
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641
642
644
643
641. HIROSHI YOSHIDA Pencil titled “Sphinx”. Pencil-signed in pencil lower right. Marked with jizuri seal. Unframed.
Oban yoko-e 600/800
642. HIROSHI YOSHIDA Oban tate-e Printed title “Caravan From Afganistan”. Pencil-signed lower right. Marked with jizuri seal. Unframed. 500/700 643. HIROSHI YOSHIDA Pencil titled “Jami Masjid, Delhi”. Pencil-signed lower right. Marked with jizuri seal. Unframed.
Oban tate-e 600/800
644. HIROSHI YOSHIDA Oban yoko-e Printed title “Approach to Agra, No. 3”. Pencil-signed lower right. Marked with jizuri seal. Framed 15” x 20.5”. 300/400 645. HIROSHI YOSHIDA Oban yoko-e “Small town in Chugobu”. Depicting figures outside a building. Printed tittle and signature. Framed. 200/300
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113
646
647
643
649
650
646. HIROSHI YOSHIDA Oban yoko-e Pencil titled “Taj Mahal - Night No. 2.” Pencil-signed lower right. Marked with jizuri seal. Framed 15” x 21”. 300/400 647. HIROSHI YOSHIDA Oban yoko-e Pencil titled “Ghat in Benares” and pencil-signed lower right. Marked with jizuri seal. Unframed. 600/800 648. HIROSHI YOSHIDA Oban yoko-e Pencil titled “Victoria Memorial” and pencil-signed lower right. Marked with jizuri seal. Framed 15” x 20”. 300/500 649. HIROSHI YOSHIDA Oban yoko-e Titled in pencil “Kinchinjanga Morning”. Pencil-signed lower right. Marked with jizuri seal. Framed 15” x 20.5”. 300/400 650. HIROSHI YOSHIDA Oban tate-e “Yozakura In Rain”. Depicting two figures and a willow tree. Pencil-signed. Marked with jizuri seal. 350/450
114
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651
652
651. HIROSHI YOSHIDA Oban yoko-e “Fujiyama from Okitsu”. Depicting Mount Fuji reflected in a lake. Pencil titled and signature. Marked with jizuri seal. Framed. 200/300 652. HIROSHI YOSHIDA Oban yoko-e “Chionin Temple Gate.” Depicting figures on a temple stairway with cherry trees. Marked with jizuri seal. Signed in pencil. 600/800 653. HIROSHI YOSHIDA Oban tate-e “Plum Gateway”. Depicting figures at a gateway with weeping cherry tree. Printed signature and title. Seal in left margin. 300/400 654. HIROSHI YOSHIDA Oban yoko-e “Suzekawa” Depicting Mount Fuji reflected in a lake. Printed title and signature. Framed. 200/300 655. HIROSHI YOSHIDA Oban tate-e “Arashiyama” depicting figures and boats along a river. Printed title and signature. 250/350 653
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115
657
656
658
659
656. HODAKA YOSHIDA “Pagoda in Muro”. Depicting a pagoda at the top of a stairway. Printed title. Signature in pencil. 657. MASAJI YOSHIDA Abstract design. Signed in pencil. Dated 1958 and numbered 17/50.
Oban tate-e 400/600
Dai oban tate-e 300/400
658. TOSHI YOSHIDA Oban tate-e “Parisienne”. A cubist portrait. Dated 1954. Reminiscent of Paul Jacoulet’s print “La Parisienne” done in 1934. 400/600 659. TOSHI YOSHIDA “Snow Country”. Depicting a valley in snow. Signed in pencil and marked with jizuri seal.
116
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Oban tate-e 300/500
660
661
660. TOSHI YOSHIDA Oban tate-e “Myoko Hot Springs”. Depicting a snow-covered landscape. Signed in pencil and marked with jizuri seal. 250/450 661. TOSHI YOSHIDA Oban tate-e “Shrine of the Paper Makers” 1951. Depicting figures on a street with red gateway. Signed in pencil. 300/500 662. TOSHI YOSHIDA A bird on a snowy tree branch. Signed in Japanese.
Dai oban tate-e 350/450
663. TOSHI YOSHIDA Dai oban tate-e “Friendly Garden - Pine Tree.” Depicting mandarin ducks in a pine tree garden. Signed in Japanese. 400/600
662
663
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117
665
664
667
664. YAMANAKA KODO (TATSUSHIGE) Oban tate-e “Mother and Baby”. Depicting a woman with a laughing doll or baby. Watanabe “C” Publisher’s seal in right margin. 500/700 666
665. SHUHO Oban yoko-e “Korean Beauty.” Depicting a Korean woman with a red lacquer fan. 300/400 666. SHUHO Oban tate-e “Autumn Leaves.” Depicting a young woman wearing a kimono decorated with hearts, diamonds, clubs and spades. 300/500 667. ODA KAZUMA Oban yoko-e “Matsyue Bridge In Snow” (Matsuye Ohashi). Signed lower left. Watanabe publisher’s seal lower right. 9.25” x 14.5”. Framed 15” x 20”. 400/600 668. ITO SHINSUI Oban tate-e A woman wearing a blue kimono with a thistlepatterned obi. 600/800
668
118
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669
670
671
669. ITO SHINSUI Dai oban yoko-e A woman in a pale pink kimono holding a black raku tea bowl. 1,500/2,000
672
670. ITO SHINSUI Oban tate-e “Ikenohata at Night.” Depicting a figure playing a samisen outside a shop at night. With attached script description. 600/800 671. HASHIGUCHI GOYO “Mandarin Ducks”. August 1920.
Oban yoko-e 1,200/1,800
672. HASHIGUCHI GOYO Later Edition Dai oban tate-e A woman in a black robe kneeling before a mirror. With original folder. 500/700 673. HASHIGUCHI GOYO Later Edition Dai oban tate-e A woman standing while examining an obi by a lantern. With original folder. 500/700
673
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119
675
674
674. ISHIKAWA TORAJI Dai oban tate-e “Burlesque, Dancer.” Depicting a nude woman with silver mesh shawl. 700/900 675. ISHIKAWA TORAJI Dai oban yoko-e A nude woman with dog and mahjong tiles. 700/900 676. ISHIKAWA TORAJI Dai oban tate-e “At the Bath.” Depicting a nude woman seated by her bath. 700/900 677. YOSHIKAWA-KENJIRO (KANPO) Oban yoko-e “Early Morning Mist at Sanjo Ohashi”. Depicting buildings along a canal. 300/400
676
120
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678. KOSHIRO ONCHI Oban tate-e “Impression of a Violinist”. Framed 22” x 18”. 400/600 679. AZECHI Oban yoko-e Mountain landscape in blue, gray and white. Signed in pencil lower left. Seal marked in image lower right. Unframed. 200/250
678
679
680
680. TOMOO INAGAKI Dai Oban tate-e “A Couple of Cats”. Numbered 177/210. Signed in pencil lower right. Dated 1964. Unframed. 400/600 681. TAKEHIKO HIRONAGA Dai oban yoko-e View of a thatched roof house in the snow. Numbered 19/50. Signed and dated ‘79 lower right. Framed 22” x 27”. 400/600
681
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121
682 683
684
682. ODA KAZUMA Oban yoko-e “The Great Bridge at Matsue”. Depicting figures crossing a bridge in snow. 6 mm Watanabe Publisher’s seal lower left. 400/600 683. HIRATSUKA UN’ICHI Chuban “Sukiyabashi”. Depicting a bridge with city buildings. 400/500 685
684. KAWANO KAORU Oban yoko-e, Chuban 1. Mandarin Ducks. Seal marked lower left in image. 2. Love Birds. Signed lower center in pencil. Both unframed. 300/500 685. KAWANO KAORU Girl in a shell, girl with cactus and girl emerging from a cherry tree. All pencil-signed. 686. KAWANO KAORU Two Kittens. Seal marked in image upper left and verso. Framed 15” x 21”.
Three Oban 500/600 Oban yoko-e 250/350
687. KAWANO KAORU Dai Oban tate-e, oban tate-e 1. Dancing Figure (Kamuro). Printed title and signature. 2. Girl with butterflies and flowers. Seal marked in image. Both unframed. 400/600 688. KAWANO KAORU Dai oban tate-e “Shell”. Depicting girl in a shell. Numbered 40/50. Signed in pencil lower right “Kaoru Kawano”. 16.75” x 23.25” sight. Framed 22.75” x 28.875”. 120/160
122
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689
690
691
689. JUN’ICHIRO SEKINO Dai oban yoko-e Exterior view of a building. Dated 1974 and numbered 5/100. Signed on the plate. 400/500 690. KIYOSHI SAITO Dai oban tate-e Landscape scene, approach to a temple. 300/500 691. KIYOSHI SAITO Dai oban yoko-e “Nagasaki”. Signed in pencil. Attached self-carved, self-printed label. 20.25” x 32”. Framed 25.25” x 37”. 1,000/1,500
692
692. KIYOSHI SAITO Dai oban tate-e “Maiko”. Depicting a woman in profile. Signed in pencil. 300/500 693. KIYOSHI SAITO Dai oban tate-e “Clay Image”. Depicting two Haniwa figures. Numbered edition 62/200. Signed in pencil. Together with a colored lithography by Dobashi Jun (1910-1975) in an abstract design. 8” x 6.25”. 400/600 694. KIYOSHI SAITO Dai oban tate-e “Maiko Kyoto (E”). Numbered 117/200, dated 1960. Signed in image lower left. Self-carved, self-printed label verso. Unframed 24” x 18”. 400/600 694
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123
695
696
695. HIDE KAWANISHI Dai Oban “The Water Lily Season”. Signed in pencil lower right, dated 1959, numbered 115/200. Unframed. 300/400 696. HAKU MAKI Chuban “76-40”. Embossed print of a peach and peach branch. In black and rose colors. Numbered 65/250. Signed in pencil. Mat opening 8.5” x 8.25”. Framed. 300/500 697. HAKU MAKI Embossed Print “Work 74-62” (abundant). In red, black and pewter abstract design. Signed and numbered 62 of 153. Matted 16.2” x 8.25” sight. Framed. 300/400 697
698. TOMIKICHIRO TOKURIKI Four oban yoko-e “Four Seasons of Mt. Fuji”. Matted, and contained in a portfolio. 14.5”x 19”.5”. Includes San Francisco Chinatown print by Louis Macouillard and holiday greeting card depicting two deer in a winter scene. 200/300 699. JOICHI HOSHI Chuban “Tree at Sunset.” Signed in pencil and dated ‘77. 200/300
124
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700
702
701
703
700. TADASHI NAKAYAMA “Running Horses.” Numbered 36/85 and dated 1967. Signed in pencil. Framed.
704
Half oban yoko-e 600/800
701. TADASHI NAKAYAMA “Flying Birds”. Dated 1969 and signed in pencil lower left. Numbered 25/65 lower right. Framed 33” x 30”. 500/1,000 702. TADASHI NAKAYAMA Abstract design in gray, red, blue, yellow and white. Signed in pencil. Dated 1958.
Dai oban tate-e 500/700
703. YOSHITOSHI MORI Dai oban tate-e Samurai with daikon. Signed and seal marked lower right, dated ‘74, and numbered 35/100. Framed 21” x 25”. 400/600 704. TADASHI NAKAYAMA Kakemono-e Depicting a child and sunflowers. Considerable use of metallics. Signed in pencil and dated 1956. 800/1,200 705. YOSHITOSHI MORI Dai oban tate-e Untitled (crouching figure). Signed in pencil, dated ‘75 and numbered 38/50 lower right. Unframed 28”x 20”. Matted 32” x 23”. 250/350
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125
707
706
709
708
706. HIDEO TAKEDA SILKSCREEN A porcupine skeletal print in red and white on black. Numbered from an edition of 120. Signed. Framed mat opening 16” x 23.5”. Overall 26.5” x 32.5”. 350/450 707. HIDEO TAKEDA SILKSCREEN “BULL FROG” A bullfrog skeletal print from Altamira series in gold on black. Numbered 47 of 80. Signed. Overall 20.5” x 28.25”. 300/400 708. TANAKA RYOHEI Etching “Tsuten-kyo”. Numbered 42/100, signed and dated ‘99 lower right. 14” x 20” sight. Matted 16” x 22.25”. 500/700 709. TANAKA RYOHEI Two Etchings 1. “Persimmon & Roof 2”. Numbered 85/100, signed and dated ‘75 lower right. 2. “Barge Pool”. Numbered 20/100, signed and dated ‘77 lower right. Each 14” x 7” to the plateline. Matted 14.75” x 21.25”. 700/900 710. TANAKA RYOHEI Etching “Tree/Roof 5”. Numbered 40/100, signed, and dated ‘99” lower right. 18.5” x 15.5”. Matted 21.5” x 17.25”. 400/600
126
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710
711
712
714
713
711. TANAKA RYOHEI Three Etchings 9.5” x 10.5” 1. “Railroad in Autumn”. Numbered 81/150. 2. “Orizuku”. Numbered 21/150. 3. “White Cat”. Numbered 78/150. Each titled and dated lower right. Matted 10.75” x 11.75”. 400/600 712. TANAKA RYOHEI Etching, 9” x 15.5” to the plateline “Lingering Snow”. Numbered 49/100. Signed and dated ‘76 in pencil lower right. Matted 17” x 23”. 400/600 713. SHIKO MUNAKATA Oban tate-e Figure with bird. Signed and seal marked lower left, dated 1960, Tokyo, #122. Framed 23” x 17”. 500/700 714. HIROYUKI TAJIMA Colored Etching “Nanda 50-6”. Dated ‘70. Circular abstract. Matted 18.75” x 21.75” sight. Framed. 250/350 715. SHEN MIN-YI Two Dai oban tate-e 1. Boating through a canal with a temple in the distance. 78/500. Dated 1992. 2. Old house on a river. 96/100. Signed lower right and dated 1986. 200/400
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127
716
717
718
716. TORU MABUCHI Colored Etching Depicting a Haniwa warrior. Dated 1960. Matted 22.5” x 16.5” sight. Framed. 300/500 717. CONTEMPORARY JAPANESE BLACK AND WHITE PRINT Dai Oban tate-e A girl stands in front of her sleeping mother. Signed illegibly lower right. Numbered 5/101, signed lower right, dated ‘86. 14.5” x 16” sight. Framed 21” x 23”. 400/600
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718. TAKEHIKO HIRONAGA Dai oban tate-e “Village of Aizu”. Numbered 32/50. Titled lower center and signed lower right, dated ‘79. Framed 25” x 29”. 400/600 719. TOBEI KAMEI Oban tate-e An angry bunraku puppet head. Numbered 30/200. 300/500 720. 2OTH CENTURY WOODBLOCK PRINT Oban tate-e Two rural houses. Titled lower left, and signed illegibly lower right. Numbered 26/30. Framed 18” x 16”. 400/600 721. PAIR OF 20TH CENTURY JAPANESE WOODBLOCK PRINTS Oban tate-e 1. Spider chrysanthemums. 2. Songbirds on a vine. Framed 23” x 17”. 200/300
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722. HELEN HYDE Colored lithograph “Mexican Coquette.” In a circular format depicting a girl gathering flowers viewed by five young men wearing sombreros. Framed. Mat opening diameter 11.5”. 700/900 723. HELEN HYDE Color woodcut, 5.37 x 7.75 “Miss Apricot Cloud” 1908. Signed in pencil lower right. Mat opening 5.37” x 7.75”. 400/600 724. HELEN HYDE Etching “Cherry Blossoms Overhead”. Circa 1900 Depicting two girls with umbrellas walking beneath cherry trees. Plate line 4.8” x 3.75. Overall 9.5” x 7.75”. 300/500 725. CHARLES W. BARTLETT Woodblock print “Taj Mahal from the Desert”. Signed in pencil lower left. Titled in image, with monogram, lower right. 10”x 14.5” to the plateline. 10.5” x 15.5”. Framed 18” x 22”. 500/700 726. CHARLES W. BARTLETT Woodblock print “Indian Nautch Dancing Girls”. Signed in pencil lower left. Numbered 62/75. Monogramed in plate. 8” x 12” to the plateline. Sheet size 10” x 12”. Framed 15” x 19.5”. 500/700
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727. MARY M. WILBUR Oban tate-e “A Thousand Hangchow Springs”. Depicting cherry trees on a hillside. Signed and titled in pencil. Inscribed “To Gertrude with love”. 500/700 728. TED COLYER Dai Oban yoko-e “Interior Hida”. Artist’s proof, signed lower right, and dated ‘87. Framed 23” x 28”. 400/600
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The World of Paul Jacoulet
For ease of reference, the prints in this catalog are numbered to correspond with those in previous catalogs. When I prepared the first catalog of Jacoulet’s work in 1975, I organized the prints from the research material available to me, putting them in chronological order within their various seals. When Richard Miles prepared his book on Jacoulet in 1982, his method of numbering showed some variations. Consequently, the prints have come to be known by two numbers, i.e. Craig or Eldred numbers and Miles numbers.
The prints in this catalog are listed first with the title in French as it appears on the print, followed by my rough translation. Jacoulet always gave credit to his carver and printer, and the name of the carver and/or printer is often stamped on the margin of the print. Where these appear, they have been noted. For those who are new collectors, the following excerpts from previous catalogs may prove of interest. Paul Jacoulet’s prints were not on sale in shops. He evolved a system of obtaining monthly subscribers who received a copy of the “print of the month”. Jacoulet published his prints in series, each distinguished by a seal of his design which incorporated the stylized Japanese characters for his name in a design of some conventional object. From his many years of training in calligraphy, Paul Jacoulet acquired a subtle feeling for brush stroke and the nuances of meaning given to different thickness’ of the “living line”. He transferred his skill with the brush into skill with the pencil, and thus became the only artist to attempt and to master the ability to draw the “living line” with this instrument. This makes his prints unique. No Japanese brush artist can produce this original touch; nor can a western artist, lacking years of calligraphic training. Paul Jacoulet was able to claim many “firsts”. He was the first foreigner to become a master of the ukiyo-e art, being worthy to rank with the Japanese masters. He was the first ukiyo-e artist to use more than 50 blocks for a print; he frequently used from 200 to 300. He was the first artist to record the vanishing nobility of Mongolia. He was the first print artist to extend the application of ukiyo-e beyond the borders of Japan, for he also recorded the “floating world” of the South Seas and mainland Asia. In true ukiyo-e (pictures of the floating world) fashion, Jacoulet portrayed vanishing customs almost as if he foresaw that those modes of living would float away. No wonder then that in all of Jacoulet’s prints there is some sadness, a hint of the deeper side of life. Perhaps that is why one is drawn to look again and again at his prints. Susan M. Craig-Schofield, Cataloger
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729. EXTREMELY RARE OPERA PROGRAM COVER FOR “MADAME BUTTERFLY” Color lithograph, 9” x 13.5” Created by Paul Jacoulet for the Imperial Theater (Tokyo) production held May 1 to 8, 1948. Illustrated as Plate 33 Watercolors of Paul Jacoulet by Richard Miles wherein he writes: “In 1948 he painted a ....watercolor of an imaginative moth...used in lithographic form, as the color cover...of Madame Butterfly...and no one but Paul knew that his “butterfly” ....was really a fanciful moth.” The program is complete with cast listing, scene descriptions, etc. Front cover with creasing at top right; back cover shows where it was glued and removed from black photo album page. 500/700 730. RARE PAUL JACOULET PRINT (#7A) Woodblock print, 16.25” x 10.75” A Corean Girl. 1935. From the extremely rare second preliminary Han series with printed signature above the Double Gourd seal. Japanese calligraphy on left margin reads: “Published: Showa 10 (1935) - A Corean Girl Publisher: Junji Kato”. Numbered 77/200 in Japanese on the reverse. Excellent condition.Searching to establish his personal style, Jacoulet produced this second preliminary series all in a smaller format using subtle colors. As with the Rainbow Series, the Double Gourd seal prints were not widely distributed and should be considered great rarities. 3,500/4,500 731. PAUL JACOULET (#9) Woodblock print, 19” x 14.75” Vieille Marchande de Carpes. Ibaraki...Japon. (The Old Carp Seller.) Signed in pencil lower right above the Fan seal. Published: 5 July 1934. Numbered 86/150 in Japanese on the reverse. Moderate toning margins and reverse. Illegible printer or carver cartouche lower left margin. 400/600 732. PAUL JACOULET (#17) Woodblock print, 18.5” x 14.25” Mon Ami Francesco Ogarto. Marianes-Saipan. (My Friend, Francesco Ogarto) Signed in pencil lower left above the Fan seal. Seal of the carver, Shunosuke Fujii, lower right margin. Published: 26 March 1935. Numbered 130/150 in Japanese on the reverse. Slightly toned margins and reverse, otherwise very good condition. 500/700
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733. PAUL JACOULET (#20) Woodblock print, 18.75” x 14” La Geisha Kiyoka. (The Geisha, Kiyoka.) Signed in pencil lower left above the Mandarin Duck seal. Seals of the carver, Kentaro Maeda, and printer, Shunosuke Fujii, lower right margin. Published: 24 May 1935. Numbered 42/350 on the reverse. Barely discernable imperfection top margin and printing ‘dot’ upper mid-right; otherwise very good condition. 1,000/1,500 734. PAUL JACOULET (#30) Woodblock print, 18.5” x 14” Marchand de Sel. Coree. (The Salt Merchant.) Signed in pencil lower right above the Good Luck Hammer seal. Numbered on reverse, 324/350. Faint color difference inside plate lines probably from previous matting. Otherwise, clean and very good condition. 700/900 735. PAUL JACOULET (#33) Woodblock print, 18.75” x 14.25” Le Tabouret de Porcelaine. Mandchoukuo. (The Porcelain Garden Seat.) Signed in pencil lower right above the Good Luck Hammer seal. Seals of the carver, Kentaro Maeda, and printer, Matashiro Uchikawa, lower right margin. Published: 25 June 1936. Numbered 149/350 on the reverse. Very good condition despite toning to margins and reverse as a result of storage in the original folder. 800/1,200 736. PAUL JACOULET (#34) Woodblock print, 18.75” x 14.25” Les Deux Freres. Izu, Japon. (The Two Brothers.) Signed in pencil lower right above the Good Luck Hammer seal. Seals of the carver, Kentaro Maeda, and printer, Matashiro Uchikawa, lower right margin. Published: 2 July 1936. Numbered 246/350 on the reverse. Slight toning to reverse; otherwise excellent. 900/1,100
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737. PAUL JACOULET (#39) Woodblock print, 14.25” x 18.75” Sur le Sable. Rhull, Yap. (On the Beach.) Signed in pencil lower right above the Good Luck Hammer seal. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, lower left margin. Published: 5 November 1937. Numbered 130/350 on the reverse. Except for creases where the margins were previously folded, this print is in excellent condition. 500/700 738. PAUL JACOULET (#40) Woodblock print, 18.5” x 14” Hokkan-zan. Seoul...Coree. (Hokkan-zan.) Signed in pencil lower right above the Tea Jar seal. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, lower right margin. Published: 6 December 1937. Numbered 320/350 on the reverse. Barely discernable imperfection when viewed from back, otherwise very good condition. 700/900 739. PAUL JACOULET (#43) Woodblock print, 18” x 14” Apres la Pluie. Tarang, Yap. (After the Rain.) Signed in pencil lower left above the Tea Jar seal. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, lower right margin. Published: 2 April 1938. Numbered 96/150 in Japanese on the reverse. Slightly trimmed, spotted and toned with tape residue on reverse. 300/500 740. PAUL JACOULET (#48) Woodblock print, 18.5” x 14.25” Coucher de soleil a menado. Celebes. (Sunset in Menado) Signed in pencil lower left above the Tea Jar seal. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda,lower right margin. Published: 26 December 1938. Numbered 19/350 on the reverse. Shows creases at margins where folded back; toning to margins and reverse but print within plateline looks excellent. 500/700
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741. PAUL JACOULET (#52) Woodblock print, 18.5” x 14” Nuit de Neige. Coreee. (Snowy Night.) Signed in pencil lower left above the Boat seal. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, lower right margin. Published: 3 June 1939. Numbered 71/350 on the reverse. Very slightly toned with pencil notation and tape residue top reverse margin. Very good condition. 700/900 742. PAUL JACOULET (#55) Woodblock print, 14.25” x 18.5” Les Pasteques. “Jo-noku-ri, Coree”. (The Watermelons.) Signed i ;pencil lower right above the Boat seal. Seal of the carver, Kentaro Maeda, lower left margin. Published: 24 September 1939. Numbered 110?/150 in Japanese on the reverse. Toned lightly and with subtler colors as is typical for Jacoulet’s prints numbered in Japanese. 400/600 743. PAUL JACOULET (#63) Woodblock print, 18.75” x 14.37” Vieillad au Chapelet. “Kawadzu”. (Mr. Kawada, the Old Man in the Chapel) Signed in pencil lower right above the Butterfly seal. Seals of the carver, Kentaro Maeda, and printer, Fusakichi Ogawa, lower right margin. Published: 25 July 1940. Numbered 345/350 on reverse. Slight toning to reverse margins, otherwise excellent, pristine condition. 700/900 744. PAUL JACOULET (#67) Woodblock print, 18.5” x 14.25” Vendeur de Masques (Chinois). The Chinese Mask Seller. Signed in pencil lwer left above the Butterfly seal. Seals of the carver, Kentaro Maeda, and printer, Fusakichi Ogawa, lower right margin. Published 30 December 1940. Special red seal with PJ in script on reverse. Very good condition. 500/700
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745. PAUL JACOULET (#68) Wodblock print, 18.75” x 14.25” La Poetesse Indienne. (The Indian Poetess.)Signed in pencil lower right above the Butterfly seal.. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, lower right margin. Published: 2 January 1941. Special red seal with PJ in script on the reverse. Very, very good condition. 1,500/2,000 746. PAUL JACOULET (#71) Woodblock print, 18.5” x 14” Bergers des Hautes Montagnes. Coree. (Shepherds of the High Mountains.) Signed in pencil lower left above the Sparrow seal. Seal of the carver, Kentaro Maeda, lower right (old style). Published: 20 April 1941. Numbered 42/150 on the reverse. Toned. 500/700 747. PAUL JACOULET (#72) Woodblock print, 18.5” x 14” Fleurs du Soir. Truck-Toloas. (Evening Flowers.) Signed in pencil lower right above the Sparrow seal. Seal of the carver, Kentaro Maeda, lower right margin (old style). Published: 1 May 1941. Numbered 34?/150 in Japanese on the reverse. Excellent condition. A beautiful print. 1,000/1,200 748. PAUL JACOULET (#73) Woodblock print, 14” x 18.5” Les Joueurs “Chinois”. (The Chinese Gamblers.) Signed in pencil lower right above indistinct Sparrow seal. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, lower left margin. Published: 7 June 1941. Numbered 236/350(?) on reverse. Good condition. Although margins are toned, the colors within the plate line are strong. 500/700
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749. PAUL JACOULET (#75) Woodblock print, 18.5” x 14.12” Cactus. Mers du Sud. (Cactus. South Seas.) Signed in pencil lower left above the Sparrow seal. Seal of the carver, Kentaro Maeda, lower right (old style). Published: 20 November 1941. Numbered 110/150 on the reverse. Slightly toned with some fading and spotting. 400/900 750. PAUL JACOULET (#77) Woodblock print, 18.75” x 14” L’Attente. Celebes Menado. (Waiting in Menado.) Signed in pencil lower right above the Sparrow seal. Seals of the carver, Kentaro Maeda, and printer, Yoshizo Onotera, lower right margin. Published: 15 September 1947. Numbered 32/250 on the reverse. Very good condition - lightly toned from original folder in which consigned. 1,200/1,500 751. PAUL JACOULET (#80) Woodblock print, 18.37” x 14.12” Sous les Bananiers. Tomil: Yap. (Under the Banana Trees.) Signed in pencil lower right above the Sparrow seal. Seals of the carver, Kentaro Maeda, and printer, Fusakichi Ogawa, lower right margin. Published: 1 April 1948. Numbered 160/350 on reverse. Appears in excellent condition with excellent colors. 799/900 752. PAUL JACOULET (#83) Woodblock print, 18.25” x 14.12” La Favorite. (The Favorite.) Signed in pencil lower right above the Bat seal. Seals of the carver, Kentaro Maeda, and printer, Shunosuke Fujii, lower right margin. Published: 15 April 1942. Numbered 44/150 on the reverse. Although creasing and staining, image within plate line is very good. One of five images known as the Princess series depicting Manchurian princesses and inspired by the magnificent gowns and elaborate coiffures of the wives of dignitaries attending an official reception at the Palace of Seoul. 1,000/1,500 To view color images and condition reports for all lots please visit www.eldreds.com.
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753. PAUL JACOULET (#86) Woodblock print, 18.5” x 14.25” L’Homme accroupi. Chinois. (The Squatting Chinese Man.) Signed in pencil lower right above the Owl seal. Seals of the carver, Kentaro Maeda, and printer, Shunosuke Fujii, lower right margin. Published: 20 November 1947. Numbered 53/250 on reverse. Fair condition. Intermittent toning to margins and reverse. 400/700 754. PAUL JACOULET (#87) Woodblock print, 18.5” x 14” Joaquina et sa mere au Sernon du Pere Pons. Rota: Marianes. (Joaquina and Her Mother at Father Pons’ Sermon.) Signed mid-right above the Owl seal. Seals of the carver, Kentaro Maeda, and printer, Shunosuke Fujii, lower right margin. Published: 25 December 1947. Fair condition - faded, toned and with mat shadows in margins. Specially dedicated to Pope Pius XII. 200/300 755. PAUL JACOULET (#88) Woodblock print, 18.75” x 14.25” La Mariee. Seoul, Coree. (The Bride.) Signed in pencil lower left above the Owl seal. Seals of the carver, Kentaro Maeda, and printer, Fusakichi Ogawa, lower right margin. Published: 2 February 1948. Numbered 36/350 on the reverse. Slight toning. Beautiful mica deails. 600/800 756. PAUL JACOULET (#100) Woodblock print, 18.5” x 14” Le Jeune Chef Saragan et son Esclave Forum. Tomil, Yap. (The Young Chief, Saragan, and His Slave, Forum.) Signed in pencil lower right above the Owl seal. Seals of the carver, Kentaro Maeda, and printer, Shunosuke Fujii, lower right margin (old style). Published: 10 March 1949. Numberedd 16/350. Toned margins and reverse with faint spotting in basket area. 500/700
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757. PAUL JACOULET (#105) Woodblock print, 18.5” x 14.25” La Perruche Morte. Celebes. (The Dead Parakeet.) Signed in pencil lower left above the Ivy seal. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, lower right margin. Published: 3 July 1948. Numbered 29/350 on the reverse. Margins and reverse show slight toning with faint outline from previous matting. Reverse top also with slight loss from tape removal; image within plate line is excellent. 1 ,500/2,000 758. PAUL JACOULET (#108) Woodblock print, 18.75” x 14.25” Les Vieux Manuscrits. Coree-Seoul. (The Old Writings. Seoul, Korea.) Signed in pencil mid-right above the Ivy seal. Seals of the carver, Kentaro Maeda, and printer, Fusakichi Ogawa, lower right margin. Published: 3 November 1948. Numbered 236/250 on the reverse. Wonderful, strong colors. Very, very good condition. 700/900 759. PAUL JACOULET (#115) Woodblock print, 14” x 18.5” Fumees de Santal. Mandchoukuo. (Sandalwood Smoke.) Signed in pencil lower right above the Mitsu-Tomoe seal. Seals of the carver, Kentaro Maeda, and printer, Matashiro Uchikawa, lower left margin. Published: 21 December 1948. Numbered 151/250 on the reverse. Two pieces of archival tape on reverse, slightly toned, otherwise good condition. Specially dedicated to King George VI of England. 1,500/2,000
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760. PAUL JACOULET (#116) Woodblock print, 18.5” x 14” Les Deux Adversaires (gauche). Coree. (Two Adversaries, left view. North Korea.) Signed in pencil lower left above the Arrow seal. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, lower right margin. Published: 5 December 1950. Special red seal with PJ in script on reverse. Two tiny tape shadow top margin edge, otherwise pristine. 700/900 761. PAUL JACOULET (#117) Woodblock print, 18.75” x 14” Les Deux Adversaires (droite). Coree. (Two Adversaries, right view. South Korea.) Signed in pencil lower right above the Arrow seal. Seals of the carver, Kentaro Maeda, and printer, Yoshizo Onotera, lower right margin. Published: 6 December 1950. Special red seal with PJ in script on the reverse. Excellent, pristine condition. 800/1,000 762. PAUL JACOULET (#120) Woodblock print, 19” x 14” Le Remplacant. Mongole. (The Substitute.) Signed in pencil mid-right above the Peony seal. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, lower right margin. Published: October 1955. Numbered 14/350 on the reverse. Slightly faded showing losses at top front margin from previous attachment to a mat, some toning on reverse. All that being said this is a wonderful print, a sentimental favorite with beautiful powder of gold and mica highlights. 1,500/2,500
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763. PAUL JACOULET (#149) Woodblock print, 19” x 14.25” Les Petits Voleurs (gauche). Jo-Hoku-ri, Coree. (The Little Robbers, left view.) Signed in pencil lower left above the Peony seal. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, lower right margin. Published: 1959. Special red seal with PJ in script together with a red collector’s seal on reverse. Reverse top margin shows slight creasing and small area of tape residue, otherwise very, very good condition. 700/900 764. PAUL JACOULET (#150) Woodblock print, 18.75” x 14” Les Petits Voleurs (droite). Jo-hoku-ri, Coree. (The Little Robbers, right view.) Signed in pencil lower right above the Peony seal. Seals of the carver, Kentaro Maeda, and printer, Tetsunosuke Honda, lower right margin. Published: 1959. Excellent condition. 700/900
END OF AUCTION
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Upcoming Auctions
Asian Art Week: August 19th-24th Japanese Sale: Aug. 20th-21st Asian Art: Aug. 22nd-24th The Fall Sale November 22nd-23rd
Lot 656
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BIDDER INFORMATION Advice to Bidders 1. Carefully read the Conditions of Sale. 2. Pre-sale estimates are provided by the auctioneers for the convenience of our customers. They are not meant to be taken as a guide to the value of an item, but as a guide to its expected selling price. Estimates are prepared well in advance of a sale and are subject to revision. 3. Carefully examine any item that you might consider bidding on for any variation from the catalog description. If you are unfamiliar with auction procedure or terminology, or if you would like clarification of a catalog description, please ask for assistance from our staff. 4. If you wish to leave an Absentee Bid or request a Telephone Bid, please review the Absentee/ Telephone Bid Procedure and complete the Bid Form. 5. A buyer’s premium will be added to the hammer price of all property sold, to be paid as part of the purchase price. The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. 6. Online bidding is available through Eldred’s Live! at www.eldreds.com, powered by Invaluable.com, with a 25% buyer’s premium. Prospective bidders must register and be approved prior to placing bids or bidding live online. 7. Eldred’s reserves the right to refuse to issue, or to revoke, bidding credentials, or to reject any bid, if deemed necessary and proper in its sole discretion, for the conduct of the auction process, and to insure fairness to consignors and other bidders.
The property listed in this catalog will be offered and sold subject to the terms and conditions listed in this catalog.
Shipping Information We require prompt payment and removal of your purchases as stated in Paragraph 12 of the Conditions of Sale. If you plan to pick up your purchases, please call ahead and we’ll make every effort to have your items ready. We provide shipping services directly from our gallery for select merchandise including small items, small paintings and rugs. Our staff can assist with determining if your items qualify for in-house shipping. Shipments from our gallery may take four to six weeks from receipt of payment. You will be charged for the shipping or carrier fees, packing and handling fees, and required insurance. There is a minimum handling charge of $15.00 for all shipments. Depending on the carrier, insurance limits may exist (i.e., Federal Express will only insure up to $500). If we are unable to ship your items we will provide you a list of alternative shipping agents. Upon your approval we will transfer your items to your chosen shipping agent. We require seven to ten business days for your payment to clear our banking system before releasing purchases to your chosen shipping agent.
Shipping estimates can be provided only AFTER we receive payment for your invoice.
Bidding Increments $0-$49: $5 $50-$199: $10 $200-$499: $25 $500-$999: $50 $1,000-$2,999: $100 $3,000-$4,999: $250 $5,000-$9,999: $500 $10,000-$29,999: $1,000 $30,000-$49,999: $2,000 $50,000-$99,999: $5,000 $100,000 and above: $10,000 Above $300,000 at the auctioneer’s discretion
Please adhere to the above bidding increments. Eldred’s reserves the right to adjust absentee bids to the nearest increment below the bid.
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CONDITIONS OF SALE 1. CORRECTNESS OF DESCRIPTION: Robert C. Eldred Co., Inc. (hereinafter referred to as Eldred’s) has exercised reasonable care to catalog and describe correctly the property to be sold, but neither Eldred’s nor its consignors warrant the correctness of description, attribution, authenticity, or condition of said property. No statements shall be deemed such a warranty or representation or an assumption of liability with respect thereto, but are to be construed as opinions only. Bidders are encouraged to personally examine all property to be sold prior to the beginning of the auction. 2. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered. 3. Eldred’s reserves the right to withdraw any property before the sale. 4. DETERMINATION OF HIGHEST BIDDER: The highest bidder accepted by the auctioneer shall be the buyer. In the event of any dispute between bidders, the auctioneer may determine who is the successful bidder or the auctioneer may re-offer the article in dispute and his decision shall be final. 5. REJECTION OF BIDS: The auctioneer reserves the right to reject any nominal raise or any bid or raise which, in his opinion, is not commensurate with the value of the article being offered. At his discretion, he may also reject any nominal raise or any bid that he may determine as having a detrimental effect on the item in question or the sale as a whole. Eldred’s may refuse to issue bidding privileges to any person not in good credit standing with Eldred’s, or to any person who is deemed by Eldred’s in its sole discretion, to be disruptive of or harmful to established auction practices, either before or after the acceptance of bids or the fall of the hammer. 6. TITLE: Except as herein otherwise provided, title will pass to the highest bidder as determined by the auctioneer, and the property is thereafter at the purchaser’s sole risk and responsibility. 7. PAYMENT: On title passing to the highest bidder acknowledged by the auctioneer, and subject to all the conditions set forth herein, such bidder will thereupon pay the full purchase price. Payment in full is due at the time of sale. Any bills not paid in full within 25 days of the date of the sale will accrue interest at a rate of 1.5% per month. In addition, the purchaser may be subject to one or more of the following actions: a) Any and all legal remedies available to Eldred’s and its consignors by law including without limitation the right to hold the purchaser liable for the total purchase price; b) Immediate cancellation of the sale, with Eldred’s retaining as liquidated damages all payments made by the purchaser; c) Resale of the property at public auction, wherein the original purchaser shall be liable for any deficiency, costs, and Eldred’s commission on both sales. At Eldred’s option, payment will not be deemed to have been made in full until Eldred’s has collected funds represented by checks, or in the case of bank or cashier’s checks, their authenticity has been confirmed. A buyer’s premium will be added to the hammer price to be paid by the buyer as part of the purchase price.
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precedence. Eldred’s shall not be held responsible for errors or failure to execute bids. A deposit of 10% of the total amount bid is required. TELEPHONE BIDS: While the sale is in progress, bidding by telephone may be allowed by the auctioneer at his discretion. A deposit of 10% of the anticipated top bid is required. Eldred’s shall not be held responsible for any failure to properly execute such a bid whether it be due to equipment failure, loss of connection, or failure to hear or understand the bidder’s directions. Any advice or opinions provided by Eldred’s or its employees are given strictly as a courtesy and are not a warrant of condition, attribution, authenticity, or description of said property. All bidding by telephone is solely at the risk of the bidder. 9. CONDITION: If for any cause whatsoever any article sold cannot be delivered, or cannot be delivered in as good condition as the same may have been at the time of sale, due to a failure or damage on the company’s part, the sale will be cancelled, and any amount that may have been paid on account of the sale will be returned to the purchaser. EXCEPTION: Eldred’s will not be held responsible for damage to picture frames or lampshades. 10. SALES TAX: All purchases are subject to the Massachusetts sales tax (currently 6.25%) unless the purchaser: a) possesses a Massachusetts sales tax exemption or resale number and registers it with Eldred’s; b) is an out‑of‑state vendor who meets requirements of Massachusetts Department of Revenue GLC 64H 1(5) and Directive 89‑10 and registers with Eldred’s prior to each purchase; or c) has purchases shipped out of state directly from Eldred’s by a bona fide shipping agent. Applications for a Massachusetts number are available through the Massachusetts Department of Corporations and Taxation. Purchases picked up at our Mystic, Connecticut location or shipped to Connecticut are subject to 6.35% Connecticut state sales tax unless a resale certificate is provided. 11. RESERVES: Unless advertised as an “Unreserved Auction”, all sales may have items subject to reserve (an agreed upon price between the auctioneer and the consignor, below which the article will not be sold). 12. COLLECTION OF PURCHASES: Delivery or shipping arrangements must be made within seven (7) days from the close of the auction for all purchases. All items must be removed from Eldred’s facilities within fourteen (14) days of the end of the auction. All items remaining after fourteen days may be subject to a $5/per item/perday storage fee. No items will be released unless storage fees are paid in full. Items remaining over thirty (30) days from the close of the auction may be sold for the buyer’s account minus auction and storage fees. 13. PACKING: Purchasers are advised that packing and/ or handling by Eldred’s employees is undertaken solely as a courtesy for the convenience of customers. In the case of fragile articles, it will be undertaken at the sole discretion of the company. Handling and packing by Eldred’s is at the risk of the purchaser. SHIPPING: When requested, Eldred’s may arrange shipment of paid purchases. Eldred’s will not be responsible for damage or loss once the item has been received by the shipper. In the case of fragile articles, shipping will be undertaken at the sole discretion of the shipper. Please refer to our Advice to Bidders for details.
8. ORDER BIDS: Subject to these Conditions of Sale and to such terms and conditions as it may prescribe, but at no charge to the customer, Eldred’s will undertake to execute all 14. These Conditions of Sale cannot be altered except order bids submitted to it by a customer who has established in writing by Eldred’s or by public announcement by the credit with said company. Requests for such bidding must auctioneer at the time of the sale. be given in writing with such clearness as to leave no room 15. Bidding on any article(s) indicates acceptance of the terms for misunderstanding as to the amount to be bid and must set forth above. state the catalog number and the name or title of the article to be bid on. Telephone bids must be confirmed in writing 16. These Conditions of Sale and any suits arising thereunder or by cable. All bids are kept in strict confidence. In the event To viewbycolor imageswill andtake condition reports for all lots be please visit www.eldreds.com. shall construed and governed by the laws of Massachusetts. of identical bids, the earliest received Eldred’s Revised 10/12/16
BIDDER PRE-REGISTRATION Thank you for your interest in bidding in our auction. If you have not been a successful bidder with Eldred’s in the past, please help us establish your bidding credentials by completing this form and selecting one of the options that follow. CLIENT INFORMATION Name:
Phone:
Company:
Alternate Phone:
Address:
Email:
City:
All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate or a copy thereof when registering. Failure to do so will subject the bidder to paying 6.25% Massachusetts sales tax on purchases.
MA Resale #: State:
ZIP:
FINANCIAL REFERENCES Please select one of the following options: 1. DEPOSIT Submit a deposit representing 10% of the total order, either by mailing a check to the address below or providing a credit card number. We accept Visa, MasterCard, American Express, and Discover with US billing addresses in amounts up to $5,000.00 2. LETTER OF CREDIT FROM YOUR BANK Please have your bank fax us at 508-385-7201. Letter must be on bank letterhead. 3. AUCTION HOUSE REFERENCE Complete the information requested below. Advance notice is required for this option as it is often difficult to reach the appropriate contact. You may have to authorize release of information. Please be aware Christie’s and Sotheby’s will not divulge any credit information. Auction House Phone: Auction House: Contact:
Account #:
Auction House:
Auction House Phone:
Contact:
Account #:
Auction House:
Auction House Phone:
Contact:
Account #:
SIGNATURE (required):
Date:
Bids will not be accepted without your signature on this form. By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc.
Please send form and deposit to The Robert C. Eldred Co., Inc. P.O. Box 796, East Dennis MA 02641 www.eldreds.com
info@eldreds.com
Phone: 508-385-3116
Fax: 508-385-7201
To view color images and condition reports for all lots please visit www.eldreds.com.
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ABSENTEE BID FORM Please clearly print the lot number, the item description and the highest amount you are willing to pay. Please follow the bidding increments outlined in this catalog. Carefully check your bid form. Although we attempt to confirm the description against the lot number, bids are posted by lot number.
4. 5.
A buyer’s premium will be added to the hammer price of each lot, to be paid as part of the purchase price. The buyer’s premium is 20% of the final bid price up to and including $500,000, and 10% of the final bid price over $500,000. All invoices must be paid in full within seven (7) business days of the close of the auction. All sales subject to sales tax unless the item is shipped outside of Massachusetts or Connecticut by a licensed carrier, or if we have a copy of your valid re-sale certificate on file. All sales are subject to the Conditions of Sale printed in this catalog.
6.
The Robert C. Eldred Co., Inc. offers this service as a convenience to its clients and will not be held responsible for errors or failure to execute bids.
All bids should be received prior to the day of the sale. Submitting your bids in a timely manner avoids the chance of a posting error. In the event of identical bids, the earliest received by Eldred’s will take precedence. All bids are kept in strict confidence. On the day of the auction, a member of our staff will act as your agent and bid for you, attempting to obtain the lot(s) for you for the lowest possible amount. If you have indicated the highest amount you are willing to pay, you should not be disappointed if you lose an item. Many times you will actually buy it for less than your bid.
Are you a new bidder with Eldred’s?
Yes:
No:
If so, please also complete our Buyer Pre-Registration form.
A 10% deposit is required. If you are successful, the amount of your deposit will be applied toward your invoice. If you are not successful, the full amount of your deposit will be returned promptly to you.
SALE TITLE: SALE DATE:
NAME: Lot #
Item Description
Maximum Bid
or “phone” for Telephone Bid
ADDRESS: check if change in address
PHONE: ALTERNATE PHONE: EMAIL: Signature (required): By signing you agree to place the above bids in the auction listed, subject to the Terms and Conditions of Sale put forth by The Robert C. Eldred Co., Inc.
SHIPPING Do you have a tax resale #? Yes: Will pick up:
No:
Ship to address above:
or Ship to:
All property must be removed from our facility within 28 days of the close of the auction or be subject to a $5 per item/per day storage fee.
20% buyer’s premium will be added to the hammer price. See Item 5 above.
Total 10% Deposit
Have you examined the items listed above? Yes
Please send form and deposit to The Robert C. Eldred Co., Inc. P.O. Box 796, East Dennis MA 02641 146
www.eldreds.com info@eldreds.com Phone: 508-385-3116 Fax: 508-385-7201 To view color images and condition reports for all lots please visit www.eldreds.com.
No: