Fine Japanese Art Auction - Friday 29th November 2019 by zacke1664

AUCTION

Fine Japanese Art Friday, November 29th 2019, at 3.00 pm CET CATALOG JAP1119

VIEWING www.zacke.at

IN OUR GALLERY +1%31 0 0 0" 0" ! &2).(0 04+3).(0 0am0 0 0pm Day of the sale: 10 am0 0 0pm and by appointment

GALERIE ZACKE MARIAHILFERSTR ASSE 112 1070 VIENNA AUSTRIA Tel +43 1 532 04 52 Fax +20 E-mail office@zacke.at

IMPORTANT INFORMATION

According to the general terms and conditions of business of Galerie Zacke Vienna, Founded 1968, SZA Versteigerungen & Vertriebs GmbH, 1070 Wien, online at www.zacke.at ABSENTEE BIDDING Absentee bids are carried out under the regulations of the terms of business of Galerie Zacke, SZA Versteigerungen & Vertriebs GmbH, which requires written submission of your purchase limit. Orders without purchase limits cannot be processed. Only the submitted lot number of the auction lot is binding for the processing of the absentee bid. The place of jurisdiction is Vienna, Austrian Law and Austrian jurisdiction are exclusively applicable for all legal questions arising from the business relationship. Absentee bids for this auction will be accepted until the day of auction by 10:00 a.m. We regret that absentee bids received after the time stated above will not be processed until after the auction. PLEASE SEND ABSENTEE BIDS FOR THIS AUCTION TO: Fax: +43 1 532 04 52 20 or Email: office@zacke.at or Mail: Galerie Zacke, Mariahilferstrasse 112, Stiege 1, 2. Stock, 1070 Wien, Austria, Europe WE ACCEPT THE FOLLOWING METHODS OF PAYMENTS: Č? &DVK Č? &HUWLILHG RU SHUVRQDO FKHFN Č? %DQN WUDQVIHU SOHDVH LQTXLUH WR UHFHLYH our bank account information) Č? &UHGLW FDUG 9LVD 0DVWHU&DUG $PH[ 'LQHUV &OXE

TELEPHONE BIDDING It is generally possible to bid by telephone during the auction. Please fill out the absentee bidding form enclosed in this catalogue and include your telephone number at which you can be reached during the auction. In the â&#x20AC;&#x153;bid in euroâ&#x20AC;? column please write â&#x20AC;&#x153;TELâ&#x20AC;? and then send us the completed absentee bidding form. We will contact you by telephone during the auction, whereby you will be able to bid directly. Please keep in mind that such telephone bids are always classified as a bid equivalent to the estimate. Should no other person bid for the specified lot, you will automatically win the bidding and the respective lot will be knocked down at the estimate price. ESTIMATES AND STARTING PRICES The auction will begin with the starting price and written bids will be accepted only with a minimum amount equivalent to the starting price. SHIPPING AND TRANSPORT INSURANCE )RU GRPHVWLF VKLSSLQJ *DOHULH =DFNH KHUHLQDIWHU FDOOHG Č&#x160;WKH companyâ&#x20AC;?) charges in average EUR 15,- to EUR 50,- per item, depending on size and weight. These fees cover the costs of packing and shipping. Fees for bulky or fragile items, or international shipping will be quoted upon request. The purchased goods are transported at the risk of the customer following handover of the packaged item to the post office or another carrier which the customer agrees to through his/her submission of the purchase order. According to the specific wish of the customer, the auctioned goods may EH LQVXUHG IRU WKH YDOXH RI WKH SXUFKDVH SULFH KLJKHVW ELG and all surcharges). This insurance fee is 3% of the purchase price. For any lots with purchase prices exceeding EUR 350,the transport insurance will be automatically arranged by the company if it does not expressively receive the purchaserÂ´s written denial of this service. Payments due to the company under the insurance contract will be charged to the customer. The company is also entitled to assign claims under the insurance contract to the customer providing the terms of the insurance contract do not prevent this. In any case, the company is only required to make payment to the customer specifically if payment has effectively been received from the insurance company.

COLOR AND CONDITION Auction lots will be exhibited for viewing prior to the auction, thus offering all interested customers the opportunity to examine the quality and condition of the works exhibited. The catalogue illustrations are intended to assist customers during such preview. In illustrations, printed colors do not correspond exactly to the originals. The printed catalogue images are not representative for the condition of the illustrated pieces. Flaws and damages are therefore always indicated in the catalogue. The illustrations in the online catalogue can be strongly magnified, so that damages and restorations are usually well recognizable. ENDANGERED SPECIES / CITES INFORMATION Some items in this catalogue may consist of material such as for example ivory, rhinoceros-horn, tortoise shell, coral or any rare types of tropical wood, and are therefore subject to the &RQYHQWLRQ RQ Î&#x2013;QWHUQDWLRQDO 7UDGH LQ (QGDQJHUHG 6SHFLHV RI :LOG )DXQD DQG )ORUD >&Î&#x2013;7(6@ 6XFK LWHPV PD\ RQO\ EH H[SRUWHG RXWVLGH the European Union after an export permit in accordance with &Î&#x2013;7(6 KDV EHHQ JUDQWHG E\ WKH $XVWULDQ DXWKRULWLHV We would like to inform you that such licenses are typically not granted. For Objects which have a low ivory content or have been proven beyond doubt to be in the EU before 1982 please contact RXU RIILFH IRU PRUH LQIRUPDWLRQ RQ KRZ WR REWDLQ D &Î&#x2013;7(6 OLFHQVH COMPLAINTS At its auctions, Galerie Zacke sells consigned lots on behalf of third-party consignors. For this reason, any complaints related to purchased lots must be reported to Galerie Zacke within 6 weeks after the receipt of such lot. Our complete general terms and conditions of business can be found on our website www. zacke.at THE ART LOSS REGISTER All items starting above 2.000,- EUR have been checked by the Art Loss Register. FURTHER IMAGES More images of all lots can be found at: www.zacke.at

ABSENTEE BIDDING FORM FOR THE AUCTION Fine Japanese Art JAP1119 ON DATE NOVEMBER 29 TH, 2019, AT 3:00 PM CET

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MY PHONE NUMBER

TELEPHONE BIDS: Î&#x2013;I \RX OLNH WR ELG E\ WHOHSKRQH SOHDVH VWDWH È&#x2020;7(/È&#x2021; LQ WKH È&#x2020;%Î&#x2013;' Î&#x2013;1 (852È&#x2021; FROXPQ LQVWHDG RI D (XUR DPRXQW *DOHULH =DFNH ZLOO FDOO \RX RQ WKH GD\ of the auction, on the telephone number provided, 5 lots before the lot you are bidding on and the bidding will commence at the starting price, as stated in the catalog. If Galerie Zacke cannot reach you during the auction, Galerie Zacke will bid up to the estimate on your behalf. TERMS OF PAYMENT, SHIPPING AND COLLECTION:

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With the signature on this form, the client instructs the auctioneer to bid on his behalf. The Euro amount up to which the auctioneer shall bid on behalf of the client is either stated in this form or will be communicated to the auctioneer via telephone during the auction. All absentee bidding shall be governed by the terms and conditions [AGB] of Galerie Zacke. The client agrees with his signature that he has read, understood and fully accepted the AGB of Galerie Zacke. Galerie Zacke, founded 1968, is a registered brand of SZA Versteigerungen & Vertriebs GmbH, Vienna, Austria.

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GALERIE ZACKE Mariahilferstrasse 112, 1070 Vienna, Austria Email: office@zacke.at Tel: +43-1-532 04 52 Fax: +43-1-532 04 52 20

IMPORTANT NOTICE: At its auctions, Galerie Zacke sells consigned lots on behalf of third-party consignors. For this reason, any complaints related to purchased lots must be reported to Galerie Zacke within 6 weeks after the receipt of such lot.

ABSENTEE BIDDING FORM FOR THE AUCTION Fine Japanese Art JAP1119 ON DATE NOVEMBER 29 TH, 2019, AT 3:00 PM CET

LOT NR.

LOT TITLE

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50 YEARS GALLERY ZACKE

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GALERIE ZACKE

Schottenfeldgasse

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TEL

Westbahnhof

Neubaugürte

HOW TO FIND US ON MARIAHILFERSTRASSE: Apollogasse

BY PUBLIC TRANSPORT: 2-3 minutes from the U3 station ZIEGLERGASSE 3-5 minutes from the U3/U6 station WESTBAHNHOF BY CAR: %HVW URXWH WDNH WKH *¾UWHO WR WKH :HVWEDKQKRI DQG turn onto Mariahilferstraße; house number 112 is just after the Kaiserstraße. Access is possible by car, with loading and unloading all day as well as short term parking. Multiple garages directly nearby. ADDRESS: Mariahilferstr. 112 1070 Vienna STAIRCASE 1, 2nd )/225 (/(9$725

Further images of all lots at: www.zacke.at

TERMS OF AUCTION

§ 1) The auction shall be carried out in accordance with the provisions of the rules of procedure of GALERIE ZACKE ©, SZA VERSTEIGERUNGEN UND VERTRIEBS GMBH, MARIAHILFERSTRASSE 112, 1070 WIEN (hereinafter referred to as the company) as well as in accordance with sections 244-246 of the GEWERBEORDNUNG [Industrial Code] of 1994. The auction shall be carried out on commission. The auctioneer shall be entitled to withdraw lots exceptionally, to conduct the auction deviating from the order of the catalogue numbers and to offer lots jointly. In the event of any dispute concerning a double bid or if the auctioneer has missed a bid, the auctioneer shall be entitled to revoke acceptance of a bid and to continue auctioning the item. The figures stated in the catalogue shall be the highest bid in Euro (€) expected by the respective expert. As a rule, the bid shall be increased by 10% of the last bid. (See table of the bidding increments). § 2) The acceptance of a bid shall be granted to the highest bidder unless a hidden reserve has been agreed upon with the consignor of the item in question. Such a hidden reserve (also called limit or just reserve) shall be the minimum price under which the item will not be sold during the auction. This reserve will be disclosed upon request only and may exceed the estimate. The auctioneer will in this case bid on behalf of the seller against all other bidders until the reserve has been reached. If a reserve is not reached during the auction, the auctioneer will knock down the item to the highest bidder at the final bid, but the sale will be conditional of the acceptance of this final bid by the seller. In this case the highest bidder shall be bound to his/her last bid for a term of 8 days starting with the day of the knockdown. If the winning bidder does not receive a written cancellation notice within this term of 8 days, the knockdown becomes unconditional and the sale is final. Typically, only a minority of all items in an auction have a hidden reserve. § 3) All items shall be subject to differential taxation. A uniform surcharge of 22% plus the value added tax applicable to the surcharge to the amount of 20% shall be added to the achieved highest bid (final and highest bid). Thus, the surcharge shall be 26.4% of the final and highest bid in total. § 4) In the event of sales abroad, the value added tax will be repaid if the item is sold to a country which is not a member country of the European Union (third country), the legal requirements are met, and the proof of exportation is provided. The value added tax shall not be shown separately on the invoice. § 5) The auction buyer must pay the purchase price immediately upon acceptance of the bid (final and highest bid plus 22% surcharge, plus the value added tax applicable to the surcharge to the amount of 20%). However, the company may grant the auction buyer a respite for the payment of the purchase price in whole or in part in individual cases. If a respite is refused, the acceptance of the bid may be revoked, and the item may be reoffered. In the event of revocation of the acceptance of the bid, the company shall be entitled to accept the last bid from the underbidder. § 6) In the event of respite in whole or in part, the company shall be entitled to charge default interest (12% p.a.) as well as storage charges (2.4% pf the final and highest bid per month commenced) after 14 days upon acceptance of the bid. The item purchased at auction shall be handed over exclusively upon full payment of the purchase price including all costs and charges accrued since the acceptance of the bid. § 7) The buyer can take acquired items in possession, as far as possible, immediately or after the end of the auction. Items which have been fully paid for shall be handed over in our show rooms in GALERIE ZACKE, MAIAHILFERSTRASSE 112, 1070 VIENNA. If a deferred purchase price is not paid within the set period, the company shall be entitled to auction the item again in order to recoup its claim from the defaulting auction buyer. In this case, the defaulting auction buyer shall be liable to the company for the total loss of commission incurred by the company due to the re-auctioning as well as for any default interest and storage charges.

§ 11) If a customer is not able to participate in an auction personally, the company shall accept purchase orders. These orders may be placed in writing, via email or fax. In the case of a purchase order placed by phone or orally, the company shall reserve the right to make the performance dependent on a confirmation from the principal communicated in writing, via email or fax. Furthermore, the company shall not be liable for the performance of purchase orders. Purchase orders with equal top bid limits will be considered in the order of their receipt. Bids which are only one increment above the starting price shall be exhausted totally. Bids which do not correspond to the increments determined by the company (see bidding increment) in tabular form will be rounded up to the next higher increment. The table of these increments can be sent upon request. In the case of lots auctioned “without any limits”, bids below the estimated price shall be exhausted totally. The written bid (purchase order) must include the item stating the catalogue number and the offered top bid limit which is quoted as the amount of the acceptance of the bid without buyer´s commission and without value added tax. Ambiguities shall be carried by the bidder. A purchase order which has already been placed may only be cancelled if the written withdrawal is received by the company at least 72 hours prior to the beginning of the auction. § 12) The company may refuse to process a purchase order without explanation until offering or make this dependent on payment of a deposit. In the event of an unsuccessful order, such a deposit will be reimbursed by the company within 5 working days. Processing of purchase orders is free of charge. § 13) Every contributor shall in principle be entitled to withdraw the items offered for auction until the start of the auction. Therefore, it is impossible to assume liability or to give warranty for the actual offering. § 14) Items paid must be collected within 30 days of payment. Items which have not been collected may be delivered without further communication at a starting price from the recent auction reduced by 50% after 30 days from the respective auction date. Items which have not been collected within 3 (three) working days after the auction or for which the company does not receive any proper shipping instructions stating the type of shipping and the address of dispatch (independent of a possibly placed purchase order) within 3 (three) working days after the auction shall be stored at the owner´s risk. Furthermore, the company shell be entitled to store item which have been purchased at auction and paid but not collected at the buyer´s risk and expense, including the costs for an insurance, with a forwarding agency. It shall be understood that the provision concerning the re-auctioning of unpaid and paid but not collected items must also apply to items not exhibited or stored on the premises of the company. The ownership shall be transferred the buyer at the time of handing over the delivery note. § 15) In the case of mixed lots with a starting price of less than EUR 350.00, the company shall not warrant for the completeness or correctness of the individual items within a mixed lot. § 16) A registration for a bid by telephone for one or several items shall automatically represent a bid at the starting prices for these items. If the company cannot reach the bidder by telephone, it will bid on behalf of the bidder by phone up to the starting price when the respective auction lot is called. § 17) Payments made to the company by mistake (through the payer´s fault) (e.g. due to miscalculation of the exchange rate by the payer) or payments made to the company for the same invoice several times shall be compensated in form of a credit note for goods for an indefinite period of time. The repayment of such payments in cash shall be excluded.

§ 8) The company shall be entitled to a lien on all items of the buyer irrespective of whether the buyer bought them within the scope of an auction or in free sale or the company secured ownership of these items otherwise. This lien shall serve to secure all current and future, qualified, limited and unmatured claims to which the company is entitled and which result from all legal transactions concluded with the buyer.

§ 18) In the case of individual auction lots, it may happen that they are delivered several times. In such a case, the auctioneer may accept a second or third etc. bid from the underbidder(s) In this case, the text om the catalogue and not the illustration in the catalogue shall also be exclusively binding with regard to the warranty (relating to these auction lots).

§ 9) The items received for auction will be exhibited and may be viewed prior to the auction. In doing so, the company shall give everyone the opportunity to check the nature and the condition of the exhibited items to the extent deemed possible within the scope of the exhibition. Every bidder shall be deemed to act on its own behalf uncles it provides a written confirmation saying that it acts as a representative of a well-known principal. The company may refuse bids; this shall particularly apply if a bidder who is unknown to the company or with whom the company has no business connections yet does not provide security by the beginning of the auction at the latest. However, in principle there shall be no claim to accept a bid. If a bid has been refused, the previous bid shall remain effective.

§ 19) When making a bid, whether personally, in writing or by telephone, the bidder shall acknowledge these terms of auction, the AGB (General Terms and Conditions) as well as the rules of procedure and the schedule of fees (as amended) of the company.

§ 10) The company’s experts evaluate and describe the items received for auction and determine the starting prices uncles otherwise stated in the catalogue or expert opinion. The information concerning production technique or material, state of preservation, origin, design and age3 of an item is based on published or otherwise generally accessible (scientific) findings concluded by the company’s expert with the necessary care and accuracy. The company shall warrant to the buyer according to §22 of the AGB (General Terms and Conditions) that properties are correct provided that any possible complaints referring to this are made within four weeks upon their taking into possession. Subsequent complaints shall be excluded in principle. The company shall not be liable for any further information in the catalogue and expert opinion as well. This shall also apply to illustrations in the catalogue. The purpose of these illustrations is to guide the potential buyer during the preview. They shall not be authoritative for the condition or the characteristics of the pictured item. The catalogue and the expert opinions shall only mention defects and damage affecting the artistic or commercial value significantly. Complaints concerning the price shall be excluded upon acceptance of the bid. The company reserves the right to amend catalogue information prior to the auction. These amendments shall be made either by a written notice at the place of auction or orally by the auctioneer immediately prior to offering of the respective item. In this case, the company shall be liable for the amendment only. All items offered may be checked prior to the auction. These items are used. Any claims for damages exceeding the liability named above and resulting from other material defects or other defects of the item shall be excluded. When making the bid, the bidder confirms that it has seen the item prior to the auction and has made sure that the item corresponds to the description.

§ 20) The place of performance of the contract brought about between the company on the one hand and the seller as well as the buyer on the other hand shall be the place of business of the company. The legal relationships and contracts existing between the company, the sellers and the buyers shall be subject to the Austrian substantive law. The company, the sellers and the buyers shall agree to settle all disputes resulting from, concerning and in connection with this contract before the territorially competent court of Vienna. § 21) The export of art objects from Austria, when indicated, shall require a permit from the Bundesdenkmalamt [Federal Monuments Office]. In any event, the company shall orally provide information about art objects for which an export permit will probably not be granted at the beginning of the auction. § 22) The company reserves the right to assign to the customer all rights and obligations resulting from the contractual relationship between the company and the contributor by a way of a respective declaration, as well to assign to the contributor all rights and obligations resulting from the contractual relationship between the company and the customer by way of a respective declaration, in each case in terms of a complete assignment of contract with the result that the contractual relationship-following the submission of the aforementioned declarations by the company – shall exclusively be between the contributor and the customer, which is in accordance with the basic model of the commission agreement. Customers and contributors shall already now give their explicit consent to this contract assignment.

CONTENT

Metalwork Lots 1 to 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Important Works of Samurai Art Lots 31 to 39 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Swords & Tosogu Lots 40 to 57 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

CloisonnĂŠ, Ceramic & Porcelain Lots 58 to 73 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Lacquerwork & Wood Lots 74 to 93 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Okimono & Other Carvings Lots 94 to 123 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Four Exceptionally Large Works of Art Lots 124 to 127 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Splendors of Shibayama Lots 128 to 146 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Paintings Lots 147 to 150 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Metalwork

Lots 1 to 30

1 |

A LARGE AND MASSIVE DRAGON AND TEMPLE BELL BRONZE

Japan, 19th century, late Edo period (16151868) to earlier Meiji period (1868-1912)

The dragon is cast in full detail with his typical scale armor, three sharp claws to each of his four paws, a thorn spine and two forked horns. The bell is upside down and therefore can serve as a container. HEIGHT 59 cm WEIGHT 12.3 kilograms Condition: Excellent condition with some wear, mostly to base of feet, and some traces of use. The patina has grown into a deep brown color with nuances of copper-red and lustrous finish. Very minor losses to few of the tips of the thorns. Provenance: British collection. Estimate EUR 1.500,Starting price EUR 750,-

2 |

OSEI: A VERY FINE SHISHI BRONZE

By Osei, signed Osei Japan, second half of 19th century, late Edo period (1615-1868) to earlier Meiji period (1868-1912)

The Shishi is lively cast with both forepaws resting on an elaborate and reticulated brocade ball with floral dĂŠcor in high relief. The bronze is finely patinated to an even, dark-brown, almost black, tone. The eyes are delicately inlaid in 22 carat gold. The artist signature OSEI is found within an oval cartouche at the bottom of the lion. Note the neatly incised detail to fur, all four paws, tail and mane.

LENGTH 31 cm WEIGHT 3.6 kilograms Condition: Very good and original condition with old wear and minor traces of use. Small loss to one of the many tips of the bushy fur. Provenance: From a reputed German private collection. Estimate EUR 2.500,Starting price EUR 1.250,-

3 |

A RARE BRONZE PORTRAIT OF DARUMA

Japan, 17th-18th century, Edo period (1615-1868)

The Father of Zen Buddhism cast with his hands held in a gesture of prayer, tucked under his long flowing robe, his eyes gently downcast and his hair and beard arranged in finely incised curls. Note the finely cast and engraved naked feet and the minuscule urna on the forehead. The superior quality and elegant yet simple style of this work clearly identify it as an earlier bronze, dating from the mid-Edo period. Modern wood base. HEIGHT 26.5 cm (the statue) and 30 cm (with the base) WEIGHT 2357 grams (including the base) Condition: Superb condition with only minor wear. The natural patina grown into an unctuous olive-brown tone. One small nick to the edge of one of the curls on the head. Provenance: From an old English private collection. Estimate EUR 2.000,Starting price EUR 1.000,-

4 |

A VERY RARE AND EARLY BRONZE SUTRA CANISTER

Japan, Muromachi period (1333-1573)

The exterior of the cylindric vessel is finely incised with three wrathful Buddhist deities and a poem by Fujiwara no Fuyutsugu (775 â&#x20AC;&#x201C; 826). The bronze has nicely patinated into a dark brown, almost black color with hues of malachite green. HEIGHT 23 cm WEIGHT 1029.2 grams Condition: The base is pierced. Some minor dents, losses, encrustations and wear, traces of use, all as expected from a piece of this age. Some minor casting flaws. Overall still very good condition. Provenance: From the collection of Jacques Bigay, High Commissioner of the United Nations. A French private collection acquired from the above. Estimate EUR 1.500,Starting price EUR 750,-

5 |

AN IMPORTANT PAIR OF NIO BRONZE GUARDIANS

Japan, 18th – earlier 19th century, Edo period (1615-1868)

The Kongorikishi cast with a wrathful expression, finely cold-painted, both standing on layered rockwork and wearing flowing skirts with heavenly bands, their muscular chests and arms left bare. They are modelled after Ungyo and Agyo, the two monumental 13th century cypress figures at Todaiji temple, Nara, Japan. HEIGHT 55 cm (each) WEIGHT 14.7 kilograms (both together) Condition: Superb condition with only minor wear. Good natural patina. Minor losses to painting. Provenance: From an old English private collection. Nio or Kongorikishi are two wrathful and muscular guardians of the Buddha standing today at the entrance of many Buddhist temples in East Asian Buddhism in the form of frightening wrestler-like statues. They are dharmapala manifestations of the bodhisattva Vajrapani, the oldest and most powerful of the Mahayana Buddhist pantheon. According to Japanese tradition, they travelled with Gautama Buddha to protect him. Within the generally pacifist tradition of Buddhism, stories of dharmapalas justified the use of physical force to protect cherished values and beliefs against evil. Nio are also seen as a manifestation of Mahasthamaprapta, the bodhisattva of power that flanks Amitabha in Pure Land Buddhism and as Vajrasattva in Tibetan Buddhism. They are usually a pair of figures that stand under a separate temple entrance gate usually called Niomon in Japan. The right statue is called Misshaku Kongo and has his mouth open, and the left statue is called Naraen Kongo and has his mouth closed. Similar to Alpha and Omega in Christianity, they signify “everything”. Estimate EUR 5.000,Starting price EUR 2.500,-

Two Nio who stand in the left (Ungyo) and the right (Agyo) of sanmon (gate) at Zentsu-ji, Nara, Japan

6 |

GENRYUSAI SEIYA: A RARE AND MASSIVE BRONZE OF A MUSK OX

By Genryusai Seiya, signed Dai Nihon Genryusai Seiya Japan, Meiji period (1868-1912)

The large, highly naturalistic and expressive statue shows the ovibos moschatus in its typical defense position, with its characteristic curved and ribbed horns and its thick, bushy fur. Impressed seal mark “Dai Nihon Genryusai Seiya” to base. Note the fine execution of the cloven hoofs. LENGTH 51 cm from tail to horns WEIGHT 8.6 kilograms Condition: Excellent condition with some wear and very minor traces of use. The patina has grown into a deep bronze, almost black color with an unctuous finish. Provenance: British collection. Estimate EUR 3.000,Starting price EUR 1.500,-

7 |

GENRYUSAI SEIYA: A TIGER AND BOAR BRONZE

By Genryusai Seiya, signed Dai Nihon Genryusai Seiya Japan, Meiji period (1868-1912)

The large and massive statue captures the rare moment, when a tiger dares to attack a wild boar from the back. Typically, both animals avoid each other, as they are physically more or less equal combatants. Impressed seal mark â&#x20AC;&#x153;Dai Nihon Genryusai Seiyaâ&#x20AC;? to base. Note the fine detail to the fur of both animals, including various types of incision and relief work. LENGTH 55 cm WEIGHT 9.9 kilograms Condition: Excellent condition with some wear, mostly to base of feet, and very minor traces of use. The patina has grown into a deep bronze, almost black color with an unctuous finish. Provenance: British collection. Estimate EUR 2.500,Starting price EUR 1.250,-

8 |

GENRYUSAI SEIYA: A MONUMENTAL ‘PRIDE OF LIONS’ BRONZE VASE

By Genryusai Seiya, signed Genryusai Seiya zo Japan, Meiji period (1868-1912)

Finely cast with six lions in high relief, neatly applied incision work and unctuous patina. The base with an artist’s seal mark reading GENRYUSAI SEIYA zo. Despite the pride’s large scale and striking appearance as a group, each lion is rendered with scientific exactitude, remarkably brisk and spirited by its own. The depiction hence attains a degree of naturalism, monumentality, and dignity normally found only in the works of the next generation of animal sculptors, notably Rembrandt Bugatti (1884-1916). HEIGHT 48.5 cm WEIGHT 12.1 kilograms Condition: Good condition with some stains, dents, old wear and traces of use, the original base reinstated. Provenance: From an English private collection. Estimate EUR 3.000,Starting price EUR 1.500,-

9 |

SEIUN: A RARE ‘DAIKOKU HAMMER’ BRONZE KORO

By Seiun, signed Seiun with kao Japan, Meiji period (1868-1912)

Cast in the form of a Daikoku mallet on a cord with two tassels, the reticulated cover with a silvered rat sitting on top serving as the handle. The eyes of the rat are finely inlaid in bronze and details such as hair and tail are neatly incised. The convex lid is surrounded by a key fret border in deep relief and cleverly mirrored by an identical design on the underside of the hammer. The lid fits so well into the border that at first sight it looks like it cannot be removed – a real Trompe l’Oeuil! Artist signature SEIUN and kao incised to underside. HEIGHT 19 cm WEIGHT 1303.5 grams Condition: Excellent condition with some wear and tiny scratches only. Provenance: From an English private estate. Estimate EUR 1.500,Starting price EUR 750,-

10 |

HIDEAKI: A FINE BRONZE OF A RAT ON DAIKOKU’S BAG

By Hideaki, signed Hideaki saku Japan, Meiji period (1868-1912)

Finely cast in two parts as a rat seated on top of the lucky deity Daikoku’s bag, the rat inset and removable. The bag is of a smoothly polished blackish bronze and the rat is cast from copper bronze, and naturalistically carved with large eyes and alert ears. Signed to the base HIDEAKI saku. LENGTH 23.5 cm WEIGHT 2172.3 grams Condition: Excellent condition with extremely minor surface wear. Provenance: French private collection. Estimate EUR 1.500,Starting price EUR 750,-

11 |

A FINE BRONZE OF A RUNNING BOAR

Japan, early Meiji period (1868-1912)

The bronze figure with dark chocolate-brown patina and masterly chiseled fur. The beast depicted with open mouth, upward pointed tusks and ferocious eyes in a realistic, almost IULJKWHQLQJ DWWDFN SRVWXUH b LENGTH 21.5 cm across WEIGHT 1492.6 grams Condition: Superb condition with some old wear and a few tiny surface scratches here and there. Provenance: French private collection. A near identical bronze was exhibited in 2014 in the History Museum, Moscow, as part of the â&#x20AC;&#x2DC;Japanese animalistic bronze of the Meiji epochâ&#x20AC;&#x2122; exhibition. Estimate EUR 2.000,Starting price EUR 1.000,-

12 |

A BRONZE GROUP OF THREE TORTOISES

The largest signed Tsunemitsu, the second largest signed Yoshinobu. Japan, Meiji period (1868-1912)

A rare group of naturalistically modelled bronze tortoises. Note the finely incised detail work, especially to the carapace. It is rare to find such a group being still together, more than a century after its creation. The largest and second largest are signed TSUNEMITSU and YOSHINOBU respectively, both known Meiji artist who worked in bronze. LENGTH 12.5 cm (the largest) WEIGHT 409.1 grams (total weight) Condition: Excellent condition with some wear, mostly to base of feet, and very minor traces of use. The patina has grown into a deep bronze color with hues of copper-red and an unctuous finish. Provenance: British collection. Estimate EUR 1.200,Starting price EUR 600,-

13 |

HIROMITSU: A RARE BRONZE OF KINTARO SUMO WRESTLING WITH A BEAR

By Hiromitsu, signed Hiromitsu saku Japan, Meiji period (1868-1912)

A rare two-color bronze statue of Kintaro, the legendary child folklore hero, here in a sumo match with a huge bear. Kintaro wears a loin cloth as he exhibits an Ottsuke (arm clamp-down) with bent elbows, thrusting up into his opponent’s armpit, thus blocking the huge animals attack and stopping it from effectively using his arms. Kintaro is highlighted in a copper-brown patina while the bear is dark brown, almost black, with neatly incised detail to its fur. The artist signature is on the boy’s cloth, the kanji characters reading HIROMITSU saku. SIZE 29 x 26.5 cm WEIGHT 8.8 kilograms Condition: Superb condition with only minor wear and traces of use. Provenance: From an English collector.

The legends agree that even as a toddler, Kintaro was active and indefatigable, plump and ruddy, wearing only a bib with the kanji for “gold” on it. His friends were mainly the animals of Mounts Kintoki and Ashigara. He was also phenomenally strong, able to smash rocks into pieces, uproot trees, and bend trunks like twigs. Several tales tell of Kintaro’s adventures, fighting monsters and oni, beating bears in sumo wrestling, and helping the local woodcutters fell trees. Estimate EUR 3.000,Starting price EUR 1.500,-

14 |

A FINE LARGE CAPARISONED ELEPHANT BRONZE KORO

Japan, Meiji period (1868-1912)

The pachyderm stands on its four feet with the head turned to its left, exotically caparisoned with a saddle finely incised with Ho-o birds (Japanese phoenix) and jeweled swags, the tusks inlaid in ivory. The elephant carries a globular vessel serving as the koro (incense burner), partially covered by a modeled cloth secured with a tasseled cord, the domed cover surmounted by a handle in the form of a rat sitting on Daikokuâ&#x20AC;&#x2122;s mallet. The cloth with circumferential leafy bands of family crests in shallow relief.

Condition: Excellent condition with some wear and tiny scratches. The original ivory tusks are still in place. It is rare to find a bronze which consists of five separate pieces to be still absolutely original and complete! Provenance: From an English private estate. Estimate EUR 2.500,Starting price EUR 1.250,-

HEIGHT 30.3 cm WEIGHT 4 kilograms

15 |

A VERY RARE AND FINE SHAKUDO KODANSU

Japan, late 19th century Meiji period (1868-1912) SIZE 13.9 cm x 10.9 cm x 17.5cm The Kodansu (miniature cabinet) of rectilinear form made from shakudo with gilt edges. The front shows two confronting roosters, gilt feathers flying around, finely inlaid in gold, silver and copper. The remaining four sides show various inlaid images in iro-e takazogan and hon-zogan inside fan-shaped reserves. These include: the thunder god Raijin, puppies next to a stupa, the lucky deity Hotei with karako, a man and woman drinking sake, butterflies and flowers, a stork, sparrows amidst tumbling waves, a squid with clams and a basket of fruit. When opening the Kodansu with the gilt floral handle in the front, the inside reveals three wood drawers decorated in gold takamaki-e to the fronts with Buddhist treasures. The top with a gilt metal handle, the whole resting on bracket feet.

Condition: Very good and original condition. Minor expected surface wear, and some rubbing to gilding and silvered copper throughout. The lowest drawer with a large crack through the underside. Provenance: British private estate. Kondansu, which are usually made from lacquered wood, are extremely rare to find in metal. Auction comparison: For a Kodansu made from Shibuichi see Sothebyâ&#x20AC;&#x2122;s. Fine Japanese Art, London, 6 November 2018, lot 144. Estimate EUR 4.000,Starting price EUR 2.000,-

16 |

INOUE: A SUPERB KOMAI STYLE IRON, SILVER AND GOLD DISH WITH SHIBA ONKO

By the Inoue company, signed Kyoto Inoue Sei Japan, Meiji period (1868-1912)

The lobed dish is decorated in the center with a large circular reserve showing a scene from the childhood of the legendary statesman Shiba Onko. Depicted is Shiba Onko smashing a huge jar with a rock and freeing a poor boy who was about to drown after he fell inside watching the goldfish from the rim. Two companions are visibly delighted at Shiba Onkoâ&#x20AC;&#x2122;s heroics. The details are iroetakazogan with rich gold and silver. Outside the circular reserve are fine geometrical motifs in silver and various scenes arranged in six lobed reserves in gold and silver nunome-zogan. The backside with gold signature Kyoto INOUE Sei.

DIAMETER 30.5 cm WEIGHT 1390 grams Condition: Excellent condition with minor expected surface wear. Provenance: British collection. Auction comparison: Compare to a related dish by Inoue sold by Bonhams, Meiji Modern Design, 11 June 2003, London, lot 489. Estimate EUR 5.000,Starting price EUR 2.500,-

17 |

INOUE: A LARGE BRONZE DISH

By Inoue of Kyoto, signed Kyoto Inoue sei and sealed Fusahiro Japan, Meiji period (1868-1912)

The backside is signed ‘Kyoto Inoue Sei’ and inlaid with the golden artist seal ‘Fusahiro’. Very finely decorated in bronze, silver, copper and gilt takazogan with a pair of sparrows perched on a bamboo pole supporting a snow-covered rice-stook next to which several peonies are growing. Part of the image is executed in Katakiri technique. The scene is enclosed within a circular inlaid band of leafy bamboo. The lobed rim shows a golden meander inlay.

Condition: Superb condition with hardly any wear, some staining to patina on the backside. Provenance: British private collection.

DIAMETER 30.5 cm WEIGHT 1363 grams

Estimate EUR 3.000,Starting price EUR 1.500,-

Auction comparison: Compare with a plate by the same maker at Christies, in ‘Edo to Post-War: 500 Years of Japanese Art and Design’ on November 15th, 2017, lot 5.

18 |

A SUPERB IRON AND GOLD DISH WITH DARUMA

Japan, Meiji period (1868-1912)

The iron dish stands on three feet and is decorated in the front with an amusing image of the Zen-patriarch Daruma (Bodhidharma). Daruma looks out from a grated window, the bars inlaid in gold and silver, and a wasp descends from a finely inlaid spiderweb and lands on Daruma’s head. He has been woken from his meditation and pulls an amusing grimace. He is holding a hossu (Buddhist fly whisk) and is contemplating to swat the wasp – this comical indecision is masterfully executed in his distorted facial expression. Daruma’s face is inlaid in sentoku and his robe is made from rich gold. Below the image are leafy vines inlaid in silver, gold and copper. The rim is fitted with a silver ring.

DIAMETER 31 cm WEIGHT 1546 grams Condition: Excellent condition with associated wear. The iron has developed a fine rust patina. Provenance: British collection. Estimate EUR 4.000,Starting price EUR 2.000,-

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MASAYUKI: AN IRON AND GOLD BOX WITH MAGNOLIA AND SPARROW

By Masayuki, signed Masayuki Japan, late 19th century, Meiji period (1868-1912)

The cover masterfully inlaid in gold, silver and bronze with a sparrow (suzume) landing on a branch with a blooming magnolia (mokuren), all within a raised ‘endless knot’ frame. The sides with inlaid grapes amidst vines, the inside with massive fire-gilding and neatly incised family crests (mon). The base with incised pomegranates. Artist signature to lower left corner reading MASAYUKI and saku. SIZE 11.2 x 10.5 x 4.5 cm WEIGHT 671.3 grams Condition: Fine condition with some wear and traces of use. The ‘endless knot’ frame is loose. Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. Estimate EUR 1.500,Starting price EUR 750,-

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A RARE LOTUS BOX

Japan, Meiji period (1868-1912)

The finely cast, gilt and silvered bronze box shows a partially reticulated and naturalistic design of a lotus flower amid its gnarly stems and leaves, all modeled in very high relief. LENGTH 7.7 cm WEIGHT 296.2 grams Condition: Good condition with some old wear, tiny scratches and traces of use. Provenance: From a private estate in the United Kingdom. Estimate EUR 1.000,Starting price EUR 500,-

21 |

RINSHOSAI: A PEAR-SHAPED BRONZE VASE

By Rinshosai, signed Rinshosai Japan, Meiji period (1868-1912)

The vase finely patinated to a deep olive-brown tone and with a sprawling neck and foot. The recessed base with a neatly incised artist signature corresponding to RINSHOSAI and a cursive inscription. The sides cast in high relief with three fish swimming amid jakago (breakwater) and tree stumps. HEIGHT 31.8 cm WEIGHT 2933 grams Condition: Excellent condition with only minor wear and traces of use. Provenance: From a private estate in the United Kingdom. Estimate EUR 1.500,Starting price EUR 750,-

22 |

CHIKUSHIN: AN ICONIC ‘MOUNT FUJI’ SILVER BOX

By Chikushin for the Miyamoto company, signed Chikushin koku and marked Miyamoto and Jungin Japan, Meiji period (1868-1912)

The silver box with dark hardwood insets and finely incised and inlaid in copper and gold to depict a cottage on a rocky outcrop above a riverbank, all below the monumental Mount Fuji. Artist signature CHIKUSHIN koku (carved by) to the base and two marks Miyamoto, relating to the company, and Jungin (sterling silver). SIZE 13.6 x 10 x 4.7 cm WEIGHT 385.1 grams Condition: Superb condition with only minor wear. Provenance: From an old French private collection. The Miyamoto Shoko company was established in 1880 and is still in business to this day. Estimate EUR 1.000,Starting price EUR 500,-

23 |

KANEYOSHI: A PAIR OF GOLD AND SILVER INLAID ‘ONAGADORI’ VASES

By Kaneyoshi, signed Kaneyoshi Japan, Meiji period (1868-1912)

The vases of elegant baluster shape with sprawling necks and foot rims, the bronze nicely patinated to a dark brown tone. The finely incised inlays are made of gold, silver and copper to depict a long-tailed rooster (onagadori) and a hen perched on the branch of a blooming plum tree. Each vase with engraved artist signature to backside reading KANEYOSHI. HEIGHT 18.2 cm (each) WEIGHT 1794 grams (total) Condition: Excellent condition with some wear and tiny scratches only. Provenance: From an English private estate. Estimate EUR 1.200,Starting price EUR 600,-

24 |

KOSEN: A SILVER AND GOLD MODEL OF A HIGAKI KAISEN

By Kosen, signed Kosen saku Japan, dated 1876, Meiji period (1868-1912)

The ship shows extremely fine detail with the mast, the ropes, the sail, stern and bow, the rudder and the hull executed in minute detail, neatly chiseled and incised, the highlights picked out in gold. With a commemorative inscription and dated early spring of 1876 and signed KOSEN, a known Meiji artist who worked in silver. HEIGHT 29.5 cm, LENGTH 35 cm WEIGHT 2063.2 grams (total) Condition: Excellent condition with some wear and tiny scratches only. The base with extensive traces of use. Provenance: From an English private estate. Higaki Kaisen were a type of coastal transport ships during the Edo period, which traveled regularly between Edo and Osaka, carrying passengers as well as cotton, oil, paper, and other basic goods. The name refers to the diamond-shaped (hishi) pattern of lattices (gaki) on the side of the ship (kaisen). Estimate EUR 3.000,Starting price EUR 1.500,-

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A PARCEL GILT BRONZE OF DARUMA AWAKENING ATTRIBUTED TO MIYAO EISUKE

Unsigned, attributed to Miyao Eisuke of Yokohama Japan, Meiji period (1868-1912)

A large and finely patinated two-color bronze of the awakening Daruma, stretching his arms and yawning. His eyes are inlaid in gold and bronze and details such as beard, teeth or eyebrows are masterfully incised. The massive stand has been carved of limestone to imitate a craggy rock. The material has beautifully patinated to a rusty copper tone. It is quite possible that this is the original stand! Decisively attributed to Miyao Eisuke of Yokohama. HEIGHT 30.8 cm (including limestone stand) WEIGHT 3.5 kilograms (the statue including the limestone stand) Condition: Excellent condition with minor wear and traces of use. The limestone stand with some wear and minuscule losses. Daruma may have once held something in his proper right hand (probably a hossu), which is now missing. Provenance: From an English collector. If it werenâ&#x20AC;&#x2122;t for the missing signature, this author would swear that this work is from the own hand of Miyao Eisuke, no less, as the quality of the workmanship simply does not permit any other conclusion. Estimate EUR 2.000,Starting price EUR 1.000,-

26 |

A FINE PARCEL GILT BRONZE OF DARUMA AWAKENING ATTRIBUTED TO MIYAO EISUKE

Unsigned, attributed to Miyao Eisuke of Yokohama Japan, Meiji period (1868-1912)

A parcel gilt two-color character bronze of the awakening Daruma, stretching his arms above his head and yawning. Hem of cowl and jewelry inlaid in 22 carat gold, details such as beard or breast hair neatly incised. Decisively attributed to Miyao Eisuke of Yokohama. On an associated wood stand. HEIGHT 21.3 cm (just the figure) and 26 cm (including base) WEIGHT 1026 grams (the statue including the base) Condition: Excellent condition with minor wear and traces of use. The wood stand with extensive wear, age cracks and losses. Provenance: From an English collector. If it werenâ&#x20AC;&#x2122;t for the missing signature, this author would swear that this work is from the own hand of Miyao Eisuke, no less, as the quality of the workmanship simply does not permit any other conclusion. Estimate EUR 2.000,Starting price EUR 1.000,-

27 |

AKASOFU GYOKKO: FUJIWARA NO YASUMASA

By Akasofu Gyokko, signed Gyokko Japan, Meiji period (1868-1912)

The heavily cast two-color patinated bronze okimono in distinct Miyao style with its gilt accents and fine engraving superbly portraying the military commander Fujiwara no Yasumasa. Fujiwara no Yasumasa plays a flute on the Ichihara Moor, wears an eboshi and is clad in a wind-swept hitatare garment with phoenix crests and mitsugashira hidari tomoe mons picked out in massive gilding. His piercing eyes are inlaid in silver and bronze. He carries a removable katana sword. The statue is supported on a carved openwork wood stand embellished with floral scrolls. The gilt signature cartouche on the back reads GYOKKO. HEIGHT 35 cm (including the stand) WEIGHT 3.8 kilograms (including the stand) Condition: Superb condition with only minor wear and traces of use. The stand with some abrasions, a fine natural patina, minute losses and age cracks. The statue still retains the original Katana. Rare! Provenance: From an English private collection. Acquired in Italy on August 9th, 1976, at Galleria Morosini, according to and old handwritten collector label at the base. Auction result comparison: Compare with a closely related figure of Fujiwara no Yasumasa at Bonhamâ&#x20AC;&#x2122;s San Francisco on December 9th, 2008, in Fine Asian Works of Art, lot 5228, sold for USD $19.200,-. Estimate EUR 8.000,Starting price EUR 4.000,-

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MIYAO EISUKE: A BRONZE â&#x20AC;&#x2DC;SAMURAIâ&#x20AC;&#x2122; CANDLESTICK

By Miyao Eisuke of Yokohama, signed Miyao with seal Ei Japan, Meiji period (1868-1912)

Signed MIYAO on a gilt rectangular reserve with seal Ei. The heavily cast, gilt and incised bronze figure stands on its en suite lacquered wood stand. The Samurai is dressed in a palatial robe with various gilt family crests over a large apron with thick tassels at the bottom that looks like a kesho-mawashi, normally worn only by sumo wrestlers. A tanto is tucked through his sash as he holds the removable blossom-shaped candleholder. HEIGHT 30.3 cm (including the stand) WEIGHT 1823.7 grams (including the stand) Condition: Superb condition with only minor wear and traces of use. The stand with some abrasions, minute chipping and age cracks. The warrior may have once held something in his proper right hand, which is now missing. Provenance: From an English private collection. Estimate EUR 3.000,Starting price EUR 1.500,-

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MIYAO EISUKE: A PARCEL GILT TWO-COLOR BRONZE OF A TRADESMAN

By Miyao Eisuke of Yokohama, signed Miyao tsukuru and sealed Ei Japan, Meiji period (1868-1912)

The man stands dressed in a short robe with one foot up on a bale of rice-straw which he ties up securely. Original gold lacquered wood base with finely painted foliate scrolls. Signed MIYAO tsukuru twice on his robe and with the neatly incised seal “Ei” on his headband. HEIGHT 13.2 cm (including the original base) WEIGHT 322.8 grams (including the original base) Condition: Superb condition with only minor wear. Fine, unctuous patina. Provenance: From an English private collection. Estimate EUR 1.200,Starting price EUR 600,-

30 |

MIYAO EISUKE: A RARE AND VERY FINE BRONZE KORO

By Miyao Eisuke of Yokohama, signed Miyao Japan, Meiji period (1868-1912)

The incense burner of rounded, rectangular form raised on four elegant inome shaped feet with a stepped neck. The sides applied with imposing dragon-head handles. The slightly domed en suite cover with gilt and incised auspicious objects in relief and a handle vividly modelled as a boy blowing a trumpet. The body cast with panels of a butterfly amid chrysanthemums and a warrior firing an oversized tanegashima rifle while two others are taking cover. The artist signature MIYAO is found in a gilt reserve to the back of the boy. HEIGHT 19.8 cm WEIGHT 1470.2 grams

Condition: Superb condition with only minor wear and traces of use. Even the copper inset for the incense is original and still fits perfectly into the vessel! Provenance: From an English private collection. Tanegashima was a matchlock configured firearm introduced to Japan through the Portuguese in 1543. It was used by the samurai class and their foot soldiers (ashigaru) and within a few years the introduction of the tanegashima in battle forever changed the way war was fought in Japan. Estimate EUR 5.000,Starting price EUR 2.500,-

Important Works of Samurai Art from an Austrian Private Collection

Lots 31 to 39

31 |

A VERY RARE AND MAGNIFICENT ENJU SCHOOL KOTO TACHI REGISTERED AS A JUYO TOKEN, WITH SHIRASAYA AND KOSHIRAE

Japan, Koto, mid to late Kamakura period (1185-1333)

The blade was rated a Juyo Token (Important Work) by the NBTHK in 2001 and listed in the Juyo Zufu #47 on page 145. The sayagaki on the shirasaya was made by Michihiro Tanobe, former senior managing director and the head judge at the time, attesting to the quality and status of this sword. It states that this extremely precious and rare sword has the finest ko-itame jigane of all Enju blades submitted for shinsa (examination) in ten years! The blade: Shinogi-zukuri with iori mune. The mune is wide and thick, producing a very healthy blade with a lot of hira niku. The kissaki is ikubi (“boar’s neck”) in the style of the late Kamakura period. The blade shows excellent bo-hi and soe-hi carving. The jigane (surface of the steel) is a tight ko-itame (wood grain) pattern with tendencies toward nagare-hada, a flowing pattern. The hiraji hada, or skin of the blade, shows much ji nie as well as fine chikei, appearing wet or oily on the surface. The nie-utsuri, shadowing the hamon within the hiraji showing martensite crystals, is a prominent feature of this blade and a common one for the Rai school and its affiliates, like the Enju. The hamon is chu suguha, a straight and elegant temper line in nie deki with predominantly martensite formations. The tang is o-suriage, mumei (unsigned). The blade is attributed to Ko-Enju, the earliest period of this swordsmith school, by the NBTHK. The blade is stored in a fine inscribed shirasaya and the mounting is separate. The mounting: The handachi koshirae is from the mid-Edo period (c. 1650-1700), the saya has a matte black lacquer finish with cloud motifs, the fuchi-kashira and handachi fittings are shibuichi with an ishime finish. Interestingly, the tsuka is made from shakudo instead of the regular same but with the same ray skin texture. The waki goto menuki are finely carved dragons in shakudo and gold of excellent quality. The excquisite kyo-sukashi tsuba complements the cloud theme of the saya.

NAGASA 67.6 cm, MOTOHABA 3.05 cm, SAKIHABA 1.95 cm Condition: The blade and koshirae are in superb condition. Provenance: Important samurai art from an Austrian private collection – Lots (31 – 39) are from an Austrian private collection, assembled with great knowledge and care, as all the objects are in a superior state of preservation. The collection most prominently features three Koto swords, no. 31 is listed as a Juyo Token (= important work). Estimate EUR 40.000,Starting price EUR 20.000,-

32 |

HEKI MITSUHIRA: A RARE KOTO KATATE-UCHI WITH KINZOGAN-MEI, WITH KOSHIRAE AND SHIRASAYA

Unsigned, attributed to Heki Mitsuhira Japan, Shinto, ca. 1655, Edo period (1615-1868)

A one-handed sword, mumei (unsigned) with kinzogan-mei, attributed to Heki Mitsuhira, the most accomplished student of Korekazu, founder of the Ishido school which revived the KoIchimongi style. Accompanied by a certificate from the NBTHK attesting to the sword’s quality and authenticity.

NAGASA 54 cm Condition: The blade in an excellent state of preservation, one miniscule nick to the edge of the blade. The koshirae in superb condition. Provenance: Important samurai art from an Austrian private collection – Lots (31 – 39) are from an Austrian private collection, assembled with great knowledge and care, as all the objects are in a superior state of preservation. The collection most prominently features three Koto swords, no. 31 is listed as a Juyo Token (= important work). Estimate EUR 15.000,Starting price EUR 7.500,-

The blade: Shinogi-zukuri with ihori mune and ko-itame-mokume hada. The hamon is choji midare, a clove-like temper line in nioi deki with plenty of nie as well as tadpole choji with togari elements. Jifuutsuri, ‘reflections’ of the hamon in the form of spots forming a pattern over the hiraji. The kinzogan-mei on the shortened nakago reads Konkaidan Tameshigiri (cutting test), referring to the Kon trigram from the I Ching, three broken lines which in this case represent three severed bodies as well as the cutting strength of this sword. The Kon trigram is also found on the gold habaki. The blade is stored in a fine shirasaya which bears an inscription. The mounting: The koshirae is in part crafted in the style of the late Meiji period, with the fuchi-kashira showing inazuma. The black lacquered saya shows a roiro-nuri ground with a fine ribbed surface. The tsuka is quite distinct, its same ground down to form a smooth surface. The gold applications in between the nodules give the tsuka a highly attractive appearance. The older katchushi tsuba is engraved on the omote side. The kozuka and kogai are fine examples of shibuichi from an earlier period, probably mid to late Edo.

33 |

A SUPERB KANEIYE SCHOOL SUNOBI KOTO TANTO WITH DAIMYO KOSHIRAE AND SHIRASAYA

By the Kaneiye School, signed Kaneiye Japan, Koto, 1570, late Muromachi period (1336-1573)

Accompanied by Kanteisho (Genuine Swords) authentication papers from the NBHTK. The blade: Hira-zukuri with mokume hada appearing like wood burls. The hamon is gunome midare with nie deki, tobiyaki and yubashiri. Ara nie, large martensite particles, within the hamon and the mune. The niji (two-character) mei reads KANEIYE. Higaki-yasurime, a fence-like file pattern, can be found on the nakago. The mounting: The daimyo koshirae was crafted between the Muromachi and Momoyama periods, between 1580 and 1600. The black lacquered saya shows large gold lacquer kirimons, the mon of the Toyotomi clan. The kozuka is made from shakudo and shows carved kanji characters on the blade in commemoration of the master swordsmith Shizu Saburo Kaneuji, founder of the Mino tradition. The excellent handle is decorated with gold karashishi amidst clouds. The handle is made from shark skin and shows the same gold kirimons as menuki. With a modern sword stand and a fine inscribed shirasaya to store the blade. NAGASA 31.75 cm, WIDTH AT HILT 3.17 cm, WIDTH AT TIP 2.99 cm Condition: The koshirae is in excellent condition. The blade is in superb condition and is in an excellent state of preservation. Provenance: Important samurai art from an Austrian private collection â&#x20AC;&#x201C; Lots (31 â&#x20AC;&#x201C; 39) are from an Austrian private collection, assembled with great knowledge and care, as all the objects are in a superior state of preservation. The collection most prominently features three Koto swords, no. 31 is listed as a Juyo Token (= important work). Estimate EUR 12.000,Starting price EUR 6.000,-

34 |

A RARE ENJU KOTO SCHOOL YOROIDOSHI TANTO

Japan, Koto, 1570, late Muromachi period (1336-1573)

A very sturdy and solid armor-piercing blade that was originally a kikuchi yari, a Japanese spear, before it was shortened to a tanto. Accompanied by a certificate from the NBTHK attesting to the sword’s quality and authenticity. The blade: The hamon is hoso suguha, a string-like temper line. The jigane is a coarse itame nagare (flowing wood grain) combined with masame at the edge, which along with the shirake utsuri is very characteristic of the Enju school. The mounting: The attractive Higo-style koshirae was made during the late Edo period (1615-1868). The fuchi and kashira are made from shakudo and show oars on top of fine nanako. The menuki is a coiled dragon in gold under the brown-lacquered tsuka-ito. A high-quality same lies under the wrap. The interesting and unusual iron katchushi (armorsmith) tsuba shows a paulownia inlaid in copper on the rim. The saya is lacquered in a base of aogai (powdered abalone) with chrysanthemum overlays all around. The kozuka was made by Yurakusaki Sekibun from a high-quality suaka copper blade showing an engraved tiger with gold and silver inlays, while the kogai was also made by a late Edo period artist. With a modern sword stand. NAGASA 24 cm Condition: The blade and koshirae are in excellent condition. The blade with very minor surface wear. Provenance: Important samurai art from an Austrian private collection – Lots (31 – 39) are from an Austrian private collection, assembled with great knowledge and care, as all the objects are in a superior state of preservation. The collection most prominently features three Koto swords, no. 31 is listed as a Juyo Token (= important work).

The blade of this tanto was originally a specific type of yari, a kikuchi yari, named after the Higo Province town that was the seat of the Enju school of swordsmiths. These yari had an unconventional shape, resembling a kanmuri otoshi or yoroi doshi (armor piercer), but with a long nakago to be used as a spear if the need should arise. As warfare intensified during the Sengoku period, seeing an increase in close-combat fighting, these yari became an obvious choice for shortening and remounting as an armor-piercing tanto, its heavy triangular construction providing a fine thrusting weapon capable of penetrating heavy targets. Estimate EUR 10.000,Starting price EUR 5.000,-

35 |

AN IMPORTANT HON KOZANE KABUTO FROM THE HONDA CLAN WITH MAEDATE AND MENPO

Japan, late Muromachi (1336–1573) to Momoyama period (1568–1600)

The sixty-plate iron sujibachi kabuto (ridged helmet) with a fivestage gilt and copper tehen kanamono. The mabisachi, with fine gilding on the edge, holds the large and impressive gilt-lacquered wood maedate in the shape of a shell. The three-tiered shikoro (neck guards) is hon kozane of lacquered heavy iron tied together with fine fabric. The upper part shows a flaring gilt iron section which holds an inscription and the mon of the Honda clan on each side. The menpo (face mask) is made of iron and shows a moustache made from horsehair. The five-lame yodarekake are iron with gilt lacquer and leather. HEIGHT (with stand) 58 cm Condition: Excellent age-related condition. There is very minor wear all around, including but not limited to, small crackling, creases and miniscule losses. It is very rare to find this complete set in this condition. Provenance: Important samurai art from an Austrian private collection – Lots (31 – 39) are from an Austrian private collection, assembled with great knowledge and care, as all the objects are in a superior state of preservation. The collection most prominently features three Koto swords, no. 31 is listed as a Juyo Token (= important work). The Honda clan is a Japanese family that claims descent from the medieval court noble Fujiwara no Kanemichi. Arguably the most famous member of the Honda clan was the legendary samurai general Honda Tadakatsu (1548-1610). Auction comparison: Another early Hon-Kozane Kabuto was sold recently at Bonhams, Fine Japanese and Korean Art, 11 September 2019, New York, lot 984. Estimate EUR 15.000,Starting price EUR 7.500,-

36 |

MASAHIDE AND MYOCHIN: A RARE NOBUIE TSUBA

By Umetada Masahide and Myochin Muneyoshi Japan, Edo period (1615-1868)

This mokkogata tsuba is a copy of a very well-known piece by Nobuie and was made by two famous tsubako, Umetada Masahide and Myochin Muneyoshi, likely ordered by the owner of the original, as this piece is near identical to the original as pictured in Nakamura’s book on Nobuie tsuba. The iron of this tsuba was crafted by Umetada Masahide, with a very soft texture and an oily sheen. Probably the maker patinated it this way at the time of production to copy the old patina of the original. The design is extremely well done and has not suffered any damage. The gold and silver nunome ‘fragments’ are also likely to have been placed intentionally to emulate the original’s aged appearance. The sekigane indicates that this tsuba was at least initially intended for actual use. With original inscribed wood tomobako (storage box). SIZE 8 cm x 7.4 cm Condition: Excellent condition with minor expected surface wear. Provenance: Important samurai art from an Austrian private collection – Lots (31 – 39) are from an Austrian private collection, assembled with great knowledge and care, as all the objects are in a superior state of preservation. The collection most prominently features three Koto swords, no. 31 is listed as a Juyo Token (= important work). Estimate EUR 1.000,Starting price EUR 500,-

37 |

A RARE SHOAMI SCHOOL TSUBA

Japan, 18th/19th century, Edo period (1615-1868)

The copper marugata tsuba with two hitsu, the kogai hitsu-ana lobed, and finely inlaid in silver with grasses and pinecones – a symbol for the autumn season – on both sides. The copper surface shows a very fine dotted structure. With a wood tomobako (storage box). SIZE 8.3 x 8 cm Condition: Excellent condition with minor expected surface wear. Provenance: Important samurai art from an Austrian private collection – Lots (31 – 39) are from an Austrian private collection, assembled with great knowledge and care, as all the objects are in a superior state of preservation. The collection most prominently features three Koto swords, no. 31 is listed as a Juyo Token (= important work). Estimate EUR 800,Starting price EUR 400,-

38 |

A RARE HIRATA SCHOOL TSUBA

Japan, 17th/18th century, Edo period (1615-1868)

The iron tsuba of mokkogata shape and with a beaded brass Odawara fukurin (decorated rim cover). A fine, old simplistic tsuba from the Hirata school with no hitsu. With a wood tomobako (storage box). SIZE 7.6 x 7.2 cm Condition: Excellent condition with associated wear. Provenance: Important samurai art from an Austrian private collection – Lots (31 – 39) are from an Austrian private collection, assembled with great knowledge and care, as all the objects are in a superior state of preservation. The collection most prominently features three Koto swords, no. 31 is listed as a Juyo Token (= important work). Estimate EUR 600,Starting price EUR 300,-

39 |

A RARE LACQUERED WOOD KATANA KAKE WITH MORI CLAN CRESTS, EDO PERIOD

Japan, late Edo period (1615-1868)

The katana kake (sword stand) is made to fit five individual swords. Sections of the stand are lined with gold lacquer and the central panel with a pierced design and the front and reverse shows two gold-lacquered mon crests of the Mori-clan. A rare and must-have piece for any sword collector.

HEIGHT 39 cm, LENGTH 58.5 cm Condition: Excellent condition. Provenance: Important samurai art from an Austrian private collection – Lots (31 – 39) are from an Austrian private collection, assembled with great knowledge and care, as all the objects are in a superior state of preservation. The collection most prominently features three Koto swords, no. 31 is listed as a Juyo Token (= important work). Estimate EUR 3.000,Starting price EUR 1.500,-

Swords & Tosogu

Lots 40 to 57

40 |

NORIMITSU: A WAKIZASHI WITH HORIMONO IN KOSHIRAE

By Norimitsu, signed Washu ju Norimitsu saku Japan, late Edo period (1615-1868)

The mounting: The tsuba of mokkogata form with two hitsu, the depiction shows a Chinese sage in high relief admiring the gorgeous flowers on a porch. Partly gilt, the background pattern with nanakoji. Fuchikashira with finest nanakoji, the floral decorations in gold zogan. The kozuka handle shows party gilt clams on nanakoji, the blade is missing. The black-lacquered saya with densely speckled particles of mother-of-pearl. NAGASA 51.7 cm, total LENGTH 73.7 cm

The blade: Shinogi-zukuri and iori mune, with decorative horimono on both sides. The hamon is wide and mostly suguha with some notare. The horimono show a long-scaled dragon chasing a flaming pearl as a main motif, the rear side shows dragon claws amid clouds. The tang is ubu with one mekugi-ana. The signature reads Washu ju NORIMITSU saku.

Condition: The blade is in good condition with minor surface wear and corrosion below the dragon, as visible in the catalog illustration. The saya is in excellent condition with extremely minor wear. Provenance: From a Hungarian private collection. Estimate EUR 2.000,Starting price EUR 1.000,-

41 |

KANESHIGE: A WAKIZASHI IN KOSHIRAE

By Kaneshige, signed Kumamoto ju Fujiwara Kaneshige Japan, mid-Edo period (1615-1868)

The blade: Shinogi-zukuri and iori mune, the hamon is suguha with light notare. The kissaki is moderately large. The tang is ubu with one mekugi-ana, the tip is kirijiri. The signature reads Kumamoto ju Fujiwara KANESHIGE. Kumamoto is the capital of Higo province in Kyushu.

The mounting: Smooth oval-round tsuba with two hitsu, signed and with a gold inlaid seal. The kashira is also smooth, the fuchi with takazogan over nanakoji and gilt showing motifs of different blossoms. One of the menuki shows a gilt blossom, the other depicts geese. The lustrous black-lacquered saya with a speckled brownish pattern. NAGASA 54 cm, total LENGTH 86 cm Condition: The blade is in very good condition with minor surface wear and imperfections. The saya shows crackling, losses and minor touch-ups. Provenance: From a Hungarian private collection. Estimate EUR 2.500,Starting price EUR 1.250,-

42 |

MASANAGA: A WAKIZASHI IN KOSHIRAE

By Masanaga, signed Fujiwara Masanaga Japan, mid-Edo period (1615-1868)

The blade: Slender blade, shinogi-zukuri and iori mune, the hamon is suguha to a light notare, kinsuji with nioi. The tang is ubu with one mekugi-ana, the tip is ha-agari-kurijiri, the yasurime is o-sujikai. The signature reads Fujiwara MASANAGA. The mounting: Smooth, oval-round tsuba with two hitsu and decorative openwork, the motif shows a farmer on a bundle of twigs with a work tool. The black kashira is smooth, the fuchi with takazogan on finest nanakoji shows different headpieces with gilding. The menuki show floral compositions with gilding. The saya with roironuri as well as ribbing with incised lines and five mon emblems painted with gold lacquer in the form of crossed yabane (arrow feathers) within a circle.

NAGASA 44.6 cm, total LENGTH 69.3 cm Condition: The blade is in excellent condition with minor blemishes. The saya with some chips to lacquer and minor wear. Provenance: From a Hungarian private collection; with certificate in Japanese from the NBTHK. Estimate EUR 2.500,Starting price EUR 1.250,-

43 |

A MINO WAKIZASHI IN KOSHIRAE

Japan, c. late 16th to 17th century

The blade: Shinogi-zukuri and iori mune, the hamon is a finely pronounced gunome with a partial slight tendency towards sugi. The unsigned tang is ubu with one mekugi-ana, the tip is kurijiri, the yasurime is o-sujikai. The Japanese expertise attributes this blade to a â&#x20AC;&#x2DC;successorâ&#x20AC;&#x2122; of Kanemoto. There were very many swordsmiths in the Mino school with the name Kanemoto, most of them were active in the 16th century. The mounting: Oval-round tsuba with two hitsu and openwork, motifs showing lotus leaves. The kashira in silver takazogan with some gilding shows a lively shishi, while the kashira shows a large blossom utilizing the same technique. Both menuki in black shakudo with some gold also show shishi. The saya with lustrous black lacquer has an ishime structure.

NAGASA 39.1 cm, total LENGTH 61 cm Condition: The blade in very good condition with minor wear and imperfections. The saya shows extensive wear. Provenance: From a Hungarian private collection; with certificate in Japanese from the NBTHK. Estimate EUR 1.500,Starting price EUR 750,-

44 |

SHINKAI: A TANTO IN KOSHIRAE

By Shinkai, signed Shinkai Japan, c. 17th century, Edo period (1615-1868)

The blade: Hira-zukuri with iori mune, the hamon shows irregular wave. Notare-midare. The tang is ubu with one mekugi-ana, the tip is kurijiri, the clearly written and large signature reads SHINKAI. The mounting: The iron tsuba of mokkogata form has one hitsu open on the side and much patina. The smooth fuchi and the kojiri with shakudo and some gilt on the edge. The menuki are on the surface of the wrapping and show well-crafted, partly gilt dragons. The blacklacquered saya with slanted stokes shows a tiger in the pose of a dragon on the kozuka handle on lightly gilt nanakoji.

NAGASA 27.1 cm, total LENGTH 49.8 cm Condition: The blade in good condition with few blemishes and surface wear. The saya shows crackling and wear to lacquer. Provenance: From a Hungarian private collection. Estimate EUR 1.500,Starting price EUR 750,-

45 |

TOMOTSUGU: A TANTO IN KOSHIRAE

By Tomotsugu, signed Tomotsugu Japan, c. 16th to 17th century

The blade: Hira-tsukuri with iori mune, the hamon is notare midare with a tendency towards sugi or mountains. The tang is ubu with two mekugi-ana, the tip is kurijiri, the large signature reads TOMOTSUGU. A number of swordsmiths with this name were active in the 13th to 17th centuries. The mounting: The oval-round iron tsuba has one hitsu and much patina. The decorations in takazogan with silver and gilding show a peony blossom and a wild shishi on the front side and only suggest a waterfall and plants on the rear side. The fuchi and kashira in shakudo show blossoms in takazogan and with gilt. The menuki show rapidly galopping horses with gilt saddlecloths. The saya is lustrous lacquerwork with fine red-gold spots on a black background. The kozuka shows a shishi next to a peony blossom in high relief (takazogan) over fine nanakoji, some gilt, nekogaki with gilding on the reverse.

NAGASA 29.3 cm, total LENGTH 52 cm Condition: The blade is in excellent condition with very minor surface wear. The saya shows some crackling and smaller chips and the kojiri is lost. Provenance: From a Hungarian private collection. Estimate EUR 1.500,Starting price EUR 750,-

46 |

A RARE TANTO ATTRIBUTED TO JIKAN GANBUN

Unsigned, attributed to Jikan Ganbun Japan, 19th century, Edo period (1615-1868)

The scabbard and handle are made of finely carved stag antler and dark hardwood, the latter finely inlaid with eight minuscule ants, all made of neatly incised and gilt bronze. This design was the â&#x20AC;&#x2DC;trademarkâ&#x20AC;&#x2122; of Jikan Ganbun, which is why the present work is attributed to him although it is unsigned. LENGTH 27.5 cm (overall) Condition: Age cracks and some losses, both as visible on the images in the catalogue and online. One small piece of stag antler is loose. The blade has been polished and shows minimal traces of corrosion. The blade hinge bears minor scratches and the blade does not retract entirely into the scabbard. Fine natural patina and wear overall.

47 |

Provenance: The present owner, a German private collector, found this lot in the attic of his grandparents 60 years ago while playing as a child. He has kept it ever since. Although for some years it has been recorded that Ganbun worked in Kyoto and Edo, he was at one time thought to have also lived and worked in Iwami Province. He was an adept metalworker, renowned for his meticulous, lifelike miniature ants with which he inlaid his own carved netsuke, as well as adding to wood netsuke and works of art by other makers. Note that it was not possible to remove the blade for cataloguing, hence it is unknown if it is signed or not. Estimate EUR 1.200,Starting price EUR 600,-

A RARE SET OF KOZUKA

Japan, 19th century, Edo period (1615-1868) HEIGHT of box 6.1 cm A set of six kozuka inside a three-tiered wood box, each compartment split into two further compartments and lined with fine fabric and fitted perfectly to hold the kozuka. They depict various scenes such as a a Shishi amongst peony, lucky gods, a ferocious dragon, a treasure ship, an image of Shoki and a samurai scene. The materials are copper, gold and silver. The lid with a piece of fabric with a slightly worn inscription.

Condition: The box in good condition. The kozuka are in good condition with associated wear. Provenance: From the collection of Alexander Popov in Novi Sad, Kingdom of Serbia, acquired between 1900-1920. Estimate EUR 1.500,Starting price EUR 750,-

48 |

HIROCHIKA: A MASTERFUL LARGE SUKASHI UCHIKOSHI SCHOOL TSUBA WITH FIVE RATS

By Uchikoshi Hirochika, signed Hirochika with kao Japan, 19th century, Edo period (1615-1868)

Carved in marugata shape in shibuichi and copper, with gilt details. Five rats (nezumi) are depicted in various attitudes, the entire composition carved in openwork (sukashi). The fur of the rats is minutely incised, and the composition is dynamic and the individual rats all depicted in movement, scratching themselves or sniffling each other. Signed HIROCHIKA with characteristic kao. The two hitsu are plugged. SIZE 8.8 x 8.5 cm Condition: Excellent condition with minor rubbing and wear. Provenance: Swiss private collection. The Uchikoshi school was founded by Konishi Bunshichi in the beginning of the 19th century. One of his most famous students was Hirochika. Estimate EUR 2.000,Starting price EUR 1.000,-

49 |

TOSHINAGA: A SUPERB NARA SCHOOL SHAKUDO TSUBA WITH EAGLE

By Toshinaga, signed Toshinaga with kao Japan, 19th century, Edo period (1615-1868)

A shakudo tsuba of marugata type, partially carved in openwork with sprays of tumbling waves and inlaid above in copper with an image of a fierce eagle on the hunt, the plumage masterfully incised and the beak and visible talon inlaid in gold. Signed in the front TOSHINAGA with characteristic kao. One hitsu and the nakago-ana with copper sekigane. SIZE 8.1 x 7.8 cm Condition: Excellent condition with expected minor wear. Provenance: Old German collection, assembled in the 1960s-1970s. Estimate EUR 1.000,Starting price EUR 500,-

50 |

SOMEYA KAZUNOBU: A FINE SENTOKU TSUBA WITH TIGER

By Someya Kazunobu (active ca. 1848-1850), signed Someya Kaznobu Japan, 19th century, Edo period (1615-1868)

A sentoku tsuba of marugata shape, decorated in high relief in the front with a tiger inlaid in shibuichi with a gilt eye â&#x20AC;&#x201C; the fur coat of the tiger is marvelously expressed. The animal has one paw placed on the egde of a cliff, above a stream of silver inlaid water. The reverse continues the image showing the the tail of the tiger next to rockwork. Signed in the front between the kozuka hitsu-ana and the nakago-ana SOMEYA KAZUNOBU. SIZE 7 x 6.5 cm Condition: Very good condition with little surface wear. There is a minor imperfection to the inlay by the tigerâ&#x20AC;&#x2122;s eye. Provenance: Old French private collection. Estimate EUR 1.000,Starting price EUR 500,-

51 |

YASUCHIKA: A LARGE NARA IRON TSUBA WITH ELEPHANT

Signed Yasuchika Japan, 19th century, Edo period (1615-1868)

An oval tsuchimeji plate carved with a design of a caparisoned elephant decorated in silver and gold nunomezogan, the wrinkly skin of the elephant is achieved very well. The backside with fine clouds in gold nunomezogan and a lengthy inscription relating to the arrival of the elephant in Japan, on a shikishi. Signed YASUCHIKA. The two hitsu are filled. SIZE 8.3 x 7.5 cm Condition: Good condition with age-related surface wear and oxidation to the copper fillings of the hitsu. Provenance: Old French private collection. Auction comparison: Compare to an almost identical tsuba sold by Bonhams, The Paul Goodman Collection of Japanese arrowheads, swords and fittings, 20 October 2015, New York, lot 100. Estimate EUR 800,Starting price EUR 400,-

52 |

AN IRON TSUBA WITH CARP

Japan, 18th century, Edo period (1615-1868)

An iron tsuba of marugata shape and finely carved in partial openwork and decorated on both sides with an image of a carp amongst dense sprays of waves. The scales of the carp are accentuated in gold. The two hitsu, as well, are ringed in gold. With a wood tomobako (storage box). SIZE 7.4 x 6.9 cm Condition: Very good condition with age-appropriate surface wear. The gold details are slightly worn. Provenance: Old German collection acquired at Kunsthandel Klefisch, June 2000, lot 353. Estimate EUR 800,Starting price EUR 400,-

53 |

TWO IRON TSUBA WITH TREE BARK AND CICADA SIZE 8.5 x 7.7 cm and 7.8 x 7.5 cm

Japan, 18th to 19th century, Edo period (1615-1868)

The first of iron and mokkogata type and depicting a fine grain of tree bark with an inlaid copper cicada and leaves, with gold details. The second of iron and marugata type showing the same tree bark dĂŠcor. Both with two hitsu.

Condition: Very good condition with age-related wear. Provenance: Old French private collection. The first with old collection number in red. Estimate EUR 800,Starting price EUR 400,-

54 |

MASAYOSHI: A SHIBUICHI TSUBA WITH DARUMA

Signed Masayoshi Japan, 19th century, Edo period (1615-1868)

A shibuichi tsuba of marugata type, carved on one side in sunken relief with an image of the Zen-partriarch Daruma, his visible eye gilt, enveloped in a flowing robe and holding a hossu and gilt leaves draped over his back. The reverse is decorated with an incised tree with gilt details. Signed in the front between the kozuka hitsu-ana and the nakago-ana MASAYOSHI. With a wood tomobako (storage box). SIZE 7.2 x 6.2 cm Condition: Excellent condition with minor surface wear. Provenance: Old German collection acquired at Kunsthandel Klefisch, June 2000, lot 353. Estimate EUR 800,Starting price EUR 400,-

55 |

AN IRON TSUBA WITH FLOWERS AND NUNOME-ZOGAN

Japan, 18th century, Edo period (1615-1868)

The tsuba of marugata form and decorated with fine gold nunomezogan depicting a butterfly above flowers and grasses, some of them carved in sukashi (openwork). The reverse continues the image. The kogai hitsu-ana is plugged with shakudo. SIZE 7.3 x 6.9 cm Condition: The iron has developed a fine patina testifying to its age. Expected surface wear, very good condition. Provenance: Austrian private collection acquired from the local art market. Estimate EUR 600,Starting price EUR 300,-

56 |

AN IRON TSUBA WITH CHERRY BLOSSOMS

Japan, 17th century, Edo period (1615-1868)

An iron tsuba of marugata type showing on both sides a blossoming cherry tree, the flowers beautifully inlaid in silver. Some gold details. The nakago-ana with sekigane. SIZE 8.1 x 7.6 cm Condition: Excellent condition with age-appropriate surface wear, especially to the sides. Provenance: Old French private collection. Estimate EUR 500,Starting price EUR 250,-

57 |

A COPPER TSUBA WITH CHERRY BLOSSOMS

Japan, 19th century, Edo period (1615-1868)

The rather thick tsuba is carved from copper in naga marugata shape and showing cherry blossoms, the details in silver and shakudo, as well as a tree trunk and a cafed window â&#x20AC;&#x201C; an allusion to a brothel. SIZE 7.2 x 6.4 cm Condition: Excellent condition. Provenance: Old French private collection. Estimate EUR 600,Starting price EUR 300,-

CloisonnĂŠ, Ceramic & Porcelain

Lots 58 to 73

58 |

A LARGE AND FINE CLOISONNĂ&#x2030; ENAMEL VASE ATTRIBUTED TO THE ANDO COMPANY

Unsigned, attributed to the Ando company Japan, Meiji period (1868-1912)

The baluster-shaped vase shows a reddish-brown ground and is decorated with colored enamels and silver wire. Depicted is a dense scene of leafy grapevines attached to a tree, surrounded by dragonflies and butterflies. The vase is beautifully detailed, some of the grapes are riper than others and many leaves are decaying and changing color â&#x20AC;&#x201C; an autumn scene. The color changes within the silver wire frames are masterfully achieved and show the highest quality of craftsmanship, typical of the Ando company. The rim and base are gilt. HEIGHT 31 cm Condition: Generally, in very good condition with no damages, restorations, etc. There is minor surface wear and scratches to the enamels. Provenance: From the collection of Alexander Popov in Novi Sad, Kingdom of Serbia, acquired between 1900-1920. Thence by descent. Estimate EUR 1.500,Starting price EUR 750,-

Alexander Popov, ca. 1920

59 |

ANDO JUBEI: A FINE CLOISONNĂ&#x2030; ENAMEL VASE WITH VIOLETS

By Ando Jubei (1876-1953), signed with the mark of the Ando company Japan, Meiji period (1868-1912)

The large and heavy bulbous vase shows a fine creamy turquoise ground and is decorated with silver wire and musen-shippo (wireless technique) depicting a dense bushel of blue violets. The base and mouth applied with a silver rim, and the Ando mark on the silver rim of the base. HEIGHT 21 cm Condition: Excellent condition. Provenance: Private collection, Geneva, Switzerland. Estimate EUR 1.000,Starting price EUR 500,-

60 |

ANDO JUBEI: A FINE CLOISONNĂ&#x2030; ENAMEL VASE WITH CRANES

By Ando Jubei (1876-1953), signed with the mark of the Ando company Japan, Meiji period (1868-1912)

The baluster-shaped vase shows a deepblack ground and is decorated with silver wire and colored enamels to show five redcrested cranes depicted in flight. Applied with a silver rim to the mouth and base, the Ando company mark shown on the rim of the base. HEIGHT 25 cm Condition: Superb condition, extremely minor surface wear. Provenance: Private collection, Geneva, Switzerland. Estimate EUR 1.200,Starting price EUR 600,-

61 |

A FINE CLOISONNĂ&#x2030; ENAMEL VASE IN THE MANNER OF HAYASHI KODENJI

Japan, Meiji period (1868-1912)

The faceted vase shows a midnight blue ground and is decorated with silver wire and colored enamels to depict a tranquil scene of two sparrows perched on a branch beneath hanging wisteria and above a dense composition of flowers including morning glory, peonies and iris blossoms. Another sparrow is depicted in flight next to the wisteria. The mouth and base with a silver-applied rim. HEIGHT 25 cm Condition: Small imperfections and faults, minor fritting, minor surface scratches and minor surface wear. One larger area where the enamel has been damaged and sealed above the third sparrow in flight. Generally, in good condition. Provenance: Austrian private collection acquired at the local Viennese art market. Estimate EUR 800,Starting price EUR 400,-

63 |

ADACHI KINJIRO: A PAIR OF SMALL CLOISONNĂ&#x2030; VASES

By Adachi Kinjiro, marked Adachi Japan, Meiji period (1868-1912)

Each vase baluster-shaped and decorated with silver wire and colored enamels on a fine turquoise-green ground and depicting a bluebird perched on a branch of a blossoming cherry tree. HEIGHT each 12 cm Condition: Very good condition. Expected surface wear and imperfections. Provenance: Austrian private collection acquired at the local Viennese art market. Auction comparison: For another vase by the same artist see Bonhams, Fine Japanese Art, 19 March 2012, New York, lot 2395. Estimate EUR 600,Starting price EUR 300,-

62 |

A PAIR OF SMALL CLOISONNĂ&#x2030; VASES

Japan, Meiji period (1868-1912)

Each vase baluster-shaped and decorated with silver wire and colored enamels on a midnight blue ground and depicting a sparrow in flight amongst wisteria and iris blossoms. HEIGHT each 12 cm Condition: Miniscule surface wear. Very good condition. Provenance: Austrian private collection acquired at the local Viennese art market. Estimate EUR 600,Starting price EUR 300,-

64 |

A CLOISONNÉ ‘DRAGON’ BOWL

Japan, Meiji period (1868-1912)

The midnight blue bowl with two three-clawed dragons coiled along the sides. The lip and foot rim each with a finely executed lappet border. DIAMETER 12.5 cm Condition: Superb condition with only minor wear and little verdigris. Provenance: From an old French private collection. Estimate EUR 1.000,Starting price EUR 500,-

65 |

A RARE HIRADO PORCELAIN KIRIN

Japan, late 19th century, Meiji period (1868-1912)

Finely modelled and incised depiction of the mythical unicorn dramatically enhanced with flames and swirls painted in iron red and gold above the white Hirado glaze. Note the filigree openwork to nostril and beard and the blue glaze to the hoofs. HEIGHT 26.5 cm Condition: Repair to two legs, horn and beard, but no spraying or replacements. Overall fine appearance. Provenance: Swiss private collection. Old, illegible collector inscription to base. Estimate EUR 600,Starting price EUR 300,-

66 |

A FINE HIRADO PORCELAIN MIZUSASHI WITH IMMORTALS

Japan, 18th century, Edo period (1615-1868)

The mizusashi (freshwater jar), used for the tea ceremony, decorated in Hirado underglaze blue with a circumferential image of drunken immortals below a pine tree, gesticulating at each other. The painting is extremely fine and shows dense rockwork below the immortals and a waterfall descending from a mountainous landscape in the background. The lid with a pinecone as a finial. HEIGHT 22 cm Condition: Superb condition with one small firing fault. Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. Estimate EUR 2.000,Starting price EUR 1.000,-

67 |

KATO ZENJI III: A SUPERB PORCELAIN PAINTING OF A WINTER SCENE WITH QUAILS

By Kato Zenji III (1848-1918) for the Imura Hikojiro studio of Yokohama, signed Nihon Yokohama, Imura-seizo, with seal mark Zen Japan, Meiji period (1868-1912)

A large rectangular porcelain plaque showing a superbly painted and tranquil scene of three quails, depicted in various attitudes, next to withering snowy leaves and flowers amidst a dense mist, and under the shimmering moon. The quails are naturalistically painted with excellent plumage and expressions. One of the quails has its head turned back and exclaims with its beak wide open, another is grooming itself and the last quail almost disappears in the mist. The image of the three-dimensionally painted birds behind the all-enveloping mist is achieved masterfully, making the quails almost come alive before our eyes. Signed in the back in red Nihon Yokohama, Imura-Seizo, and sealed ZEN for Kato Zenji III. SIZE 56.1 x 43.6 cm Condition: Superb condition. Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. Estimate EUR 5.000,Starting price EUR 2.500,-

68 |

IMURA STUDIO: A WINTER LANDSCAPE PORCELAIN VASE

By the Imura studio, signed Dai Nihon Imura zo Japan, Yokohama, Meiji period (1868-1912) HEIGHT 9.5 cm The spherical vase is superbly painted in polychrome enamels with various houses and trees on a lakeshore, all in front of a deep winter mountain setting with migrating birds in the foreground. Signature painted in red to the base reading â&#x20AC;&#x2DC;Dai Nihon Imura Zoâ&#x20AC;&#x2122; (made by Imura in great Japan). Note the finely painted gold border around the neck.

Condition: Perfect condition with only minimal wear! Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. Estimate EUR 800,Starting price EUR 400,-

69 |

A VERY LARGE IMARI PORCELAIN DOUBLE-GOURD VASE

Japan, ca. 1900, Meiji period (1868-1912)

The vase in the form of a double-gourd and decorated in underglaze blue with colored enamels and gold depicting shochikubai (pine, bamboo and plum). Several decorative floral reserves show phoenixes, sparrows and dragons. HEIGHT 57 cm Condition: Excellent and original condition with minor wear to gold and enamels. Provenance: From the collection of Alexander Popov in Novi Sad, Kingdom of Serbia, acquired between 1900-1920. Estimate EUR 1.000,Starting price EUR 500,-

Alexander Popov, ca. 1920

70 |

HOZAN: A SATSUMA CERAMIC EWER

By Hozan, signed Hozan sei Japan, Meiji period (1868-1912)

Finely painted in gold, black and polychrome enamels with a vast number of people engaged in various pursuits within a palace garden compound. The foot rim, handle and neck with meticulously executed floral borders. The spout with the â&#x20AC;&#x2DC;thousand-butterfliesâ&#x20AC;&#x2122; motif. Artist signature in a golden reserve to base reading HOZAN sei (made by Hozan). HEIGHT 12.3 cm Condition: Tip of spout and lid lost. Otherwise in perfect condition. Provenance: From a Croatian private collector. Acquired between 1970 and 2000. Estimate EUR 800,Starting price EUR 400,-

71 |

A SATSUMA CERAMIC SHELL BOX

Japan, Meiji period (1868-1912)

Finely painted in gold and polychrome enamels with the portrait of a noble man holding a fan, the inside with a still life and a group of crabs. LENGTH 8.8 cm Condition: Minute chipping to edges, hardly visible from the outside. Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. Estimate EUR 600,Starting price EUR 300,-

72 |

SHUNZAN: A FINE SATSUMA KORO

By Shunzan, signed Shunzan with Shimazu clan mark Japan, Meiji period (1868-1912)

A satsuma ceramic koro with an unusual and elegant shape standing on four feet and with two handles. The four sides are painted with rich gold and polychrome enamels depicting images of bijin (beautiful ladies) with boys and idyllic landscape scene. The pierced lid, which allows the smoke to escape, shows fine floral decorations and a gold filial. The underside showing the signature SHUNZAN and Shimazu clan mark inside a sunken square reserve. HEIGHT 7.6 cm Condition: Very good condition, the lid with a tiny professional repair to the edge only visible on the underside. Provenance: Austrian private collection acquired at the local Viennese art market. Estimate EUR 600,Starting price EUR 300,-

73 |

YOZAN AND KOZAN: TWO SATSUMA CERAMIC VASES AND ONE CIRCULAR LIDDED BOX

By Yozan and Kozan, signed Yozan and Kozan Japan, Meiji period (1868-1912)

An elegant satsuma ceramic set consisting of two small globular vases and one lidded circular box. The two globular vases are decorated with a millefleur pattern around the neck and a central image of Bijin (beautiful ladies) and boys. Both signed YOZAN on the underside in gold. The lidded box is similarly decorated inside a circular reserve in the center of the lid and is surrounded by concentric bands with fine decorations in rich gold and bright colors. The underside of the lid shows butterflies and the inside shows three Bijin. Signed KOZAN on the underside in gold. HEIGHT vases 6.3 cm, DIAMETER box 7.8 cm Condition: One vase with two small chips to the mouth. Otherwise excellent condition. Provenance: From the collection of Georg Weifert (1850-1937). Thence by descent in the same family. Weifert was a SerboAustrian industrialist and the first governor of the Federal Bank of the Kingdom of Serbia, Croatia and Slovenia. With old labels to base. Estimate EUR 600,Starting price EUR 300,-

Lacquerwork & Wood

Lots 74 to 93

74 |

A FINELY LACQUERED OSTRICH EGG

Japan, late 19th century, Meiji period (1868-1912)

The speckled egg is decorated in gold and silver takamaki-e, gold hiramaki-e, nashiji and kirikane with Manchurian cranes walking in a lush landscape with numerous bushes and flowers. The inner is entirely covered in fine gold nashiji. The lip of the lid and the bottom are inlaid in silver. The handle on the lid is made of ivory carved in the shape of a flower with its leaves made of incised tortoise shell. The matching fivefoot boxwood stand is carved with scrolls of mythical birds and foliage in high relief. (2) HEIGHT 24 cm (the complete set) Condition: Two feet of the stand show old repairs. The lid has a few tiny age cracks, with a v-shaped crack also visible on the underside of the lid. Very minor losses to tip of tortoise shell leaves. Overall still very good condition! Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. Estimate EUR 1.500,Starting price EUR 750,-

75 |

A MINIATURE LACQUER DINING SET

Japan, 19th century, Edo period (1615-1868)

The set consists of a table, a pitcher, two small trays, two lidded vessels and a bowl. It is overall covered in red and brown lacquer with finely painted golden dĂŠcor. SIZE 12 x 12 x 7 cm (the table) Condition: Superb condition with only microscopic losses and minor traces of use. Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. It is rare to find such a complete and wellpreserved miniature set, which most likely was made for a doll house. Estimate EUR 800,Starting price EUR 400,-

76 |

GOTO JOTARO: A VERY FINE LACQUER TEA CADDY, NATSUME

By Goto Jotaro (b. 1942), inscribed on the box Shidare-yanagi, makie, o-natsume, Jotaro Japan, Showa era (1926–1989)

Scrupulously precise décor with a weeping willow tree in several shades of gold hiramaki-e and nashiji against a smooth roiro-nuri ground. Of typically rounded form with domed cover, the interior entirely covered in silver lacquer. Accompanied by an inscribed wood storage box, sealed by its original textile bands, reading: “A large natsume (tea caddy), lacquer design of weeping willow trees, made by Jotaro”. HEIGHT 7 cm Condition: Superb condition with no visible damage whatsoever! The box with some old wear. Provenance: From an English collector, by repute acquired before 1980 and thence by descent in the same family. Estimate EUR 800,Starting price EUR 400,-

77 |

A POMEGRANATE LACQUER BOWL

Japan, 19th century, Edo period (1615-1868)

Finely painted in gold and iron red lacquer on dark-brown ground with a pair of pomegranates in the well, the sides with various flowers amid their vines and leaves, the lip with a stylized floral border. HEIGHT 8.8 cm, DIAMETER 15 cm Condition: Excellent condition with only minor wear and tiny flakes to foot rim. Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. Estimate EUR 800,Starting price EUR 400,-

78 |

A LARGE PAIR OF LACQUERED CONFRONTING DRAGON BRUSH POTS

Japan, 19th century, Edo period (1615-1868)

Both wooden vessels are finely painted in high relief with three-clawed dragons amid swirling flames and clouds in gold and dark brown lacquer on a russet ground, the latter cleverly sculpted and lacquered to imitate the trunk of a tree. The matching bases are fixed to the brush pots but separated by raised border made in imitation of bamboo. Also note the finely inlaid eyes of the dragons. HEIGHT 34.5 cm each Condition: Good condition with some old wear, traces of use as well as minor dents and touch-ups. Provenance: From a British private collection. Estimate EUR 1.500,Starting price EUR 750,-

79 |

A FINE WOVEN BAMBOO HYOTAN HANAKAGO

Japan, 20th century, Meiji period (18681912) or Showa era (1912-1926)

The hanakago (flower basket) made from woven bamboo in the form of a doublegourd (hyotan) and with an opening for the formal presentation of flowers (ikebana). The hanakago is mounted onto a burlwood stand giving it a unique appeal - the natural burlwood twisting and turning around the bamboo hyotan. HEIGHT 38 cm Condition: Very good condition. Miniscule losses and expected surface wear. Provenance: French private collection. Estimate EUR 1.200,Starting price EUR 600,-

80 |

AN EXQUISITELY INLAID AND VERY RARE â&#x20AC;&#x2DC;DRAGONâ&#x20AC;&#x2122; LACQUER TRAY

Japan, Ryukyu Island, 19th century, Edo period (1615-1868)

The hexagonal black lacquer tray with a dragon flying in a circle amid flames and clouds, all within a circular medallion surrounded by further clouds and mist in mother-of-pearl. The extravagant inlay work is of a quality level beyond any compare! The tray stands on three S-shaped feet bearing delicate inlay work. The outer rim shows finely inlaid floral sprays and the lip is entirely covered by inlaid sheets carved from mother-of-pearl. The underside is covered in gold nashiji. DIAMETER 41.5 cm Condition: Very good and original condition with old wear, minor scratches and dents as well as very few minimal losses. Provenance: From an old German private collection. Estimate EUR 2.000,Starting price EUR 1.000,-

Note the extremely fine lacquerwork with mother-of-pearl inlays.

81 |

A GOLD LACQUER TRAY

Japan, late 19th century, Meiji period (1868-1912)

Finely painted with a scene depicting a Samurai and his attendant assisting a Geisha crossing a small river, the waves designed in classic Japanese style and highlighted with gold Nashiji. The background with kids at play. SIZE 29 x 29 x 3.7 cm Condition: Excellent condition with only minor wear. Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. Remainder of old collector paper label to backside. Estimate EUR 1.500,Starting price EUR 750,-

82 |

A FINE LACQUERED SUZURIBAKO WITH LUNAR HARES

Japan, late 18th â&#x20AC;&#x201C; earlier 19th century, Edo period (1615-1868)

Finely decorated in takamaki-e and hiramaki-e gold, silver and darkbrown lacquer with two hares amid tall grass under the crescent moon and a cloudy sky, the inside of the lid with dragonflies, reeds and flowers on a nashiji ground. SIZE 24.7 x 22.2 x 5 cm Condition: Good and original condition with old wear, minor scratches and losses to edges. Provenance: From an old French private collection. Estimate EUR 2.000,Starting price EUR 1.000,-

83 |

MICHIZUKI HANZAN: AN IMPORTANT ‘BIWA LUTE’ RYOSHIBAKO DOCUMENT BOX

By Michizuki Hanzan (1743-1790), signed Ritsuo with seal Kan Japan, ca. 1770-1790, Edo period (1615-1868) Published: Stephen Little and Edmund J. Lewis, View of the Pinnacle: Japanese Lacquer Writing Boxes: The Lewis Collection of Suzuribako. University of Hawai’i Press, 2011, catalogue number 54.

Three-dimensional depiction of a four-stringed Biwa lute in high relief amid red and white chrysanthemum, their vines and leaves. The lute is executed with braided silver strings, superb motherof-pearl inlays on a black ground with a circumferential filigree border, a hinoki wood corpus with its sides in gold nashij and the neck of the lute cleverly extending beyond the edge of the lid well into the sides of the box. The flowers are made of porcelain with polychrome glazes of emerald green, tsuishu red, egg yolk yellow and white. Signed in gold RITSUO with pottery seal Kan - the usage of this inscription together with a white seal indicates that this work is by Michizuki Hanzan (1743-1790), a direct pupil of Ogawa Haritsu (1663-1747). SIZE 40.5 x 32 x 14 cm Condition: Very good and absolutely original condition. The background with intentional crackling and few minuscule losses, some of them touched-up, the largest being on the left side of the signature. Very minor losses of lacquer to the edges of the inside. Provenance: Ashkenazie & Co, San Franscisco, USA, 1996. Drs. Edmund and Julie Lewis, Chicago, USA, acquired from the above. Old collector label “Lewis Collection 76” to base. Little and Lewis have noted that the present lot is most likely by Michizuki Hanzan (1743-1790), but that there also is a distant possibility that it is by Sakai Kyozan or Miura Kenya. Estimate EUR 8.000,Starting price EUR 4.000,-

84 |

RITSUO: A RARE TWO-CASE LACQUER ‘RITSUO REVIVAL’ INRO WITH BUDDHIST DESIGN

In honor of Ogawa Haritsu (1663-1747), signed Ritsuo and sealed Kan Japan, dated 1772 or 1832, Edo period (1615-1868) Published: Jahss, Inro and other miniature art forms of Japanese lacquer Arts, pl. 204. Eskenazi Ltd, Japanese inro from private collections, no. 27. Sydney L. Moss, Ltd, They are all fire and every one doth shine, London: Sydney L. Moss, 2010, no. 5. Exhibited: Pacific Asia Museum, Japanese lacquer from Southern California collections, illustrated on page 27.

A two-case lacquer inro with a with a formalized lobed square reserve framed by a silver lacquer ground with a gold lacquer border. The inside of the reserve showing a fine red-brown ground imitating faded roiro below spectacular inlays showing Chinese Buddhist-derived designs of an archaistic incense burner inlaid in ceramic with a lacquer imitation metalwork open cover, with a red-lacquered nyoi scepter resting behind it. The reverse shows six large silver takamaki-e archaic Chinese characters dating it to the Kyoho period and with a cyclical date of 1712, 1772 or 1832, etc. The last two characters show the signature RITSUO and pinkish ceramic seal KAN. The inside with fine, dense nashiji. With a fine guri-lacquer ojime and a lacquer netsuke showing a hossu (Buddhist fly whisk). The lacquer netsuke bears an illegible seal.

Condition: Superb condition with extremely minor surface wear. Provenance: Sotheby’s London, 12 April 1965, lot 131. Dr and Mrs Melvin Jahss, New York. Victor Topper, Toronto. Thence Collection Drs. Edmund und Julie Lewis, New York. In the publication ‘They are all fire and every one doth shine’ by Sydney L. Moss there is a detailed description of why this seemingly genuine and superior example by Ritsuo is categorized as a ‘Ritsuo revival’ piece (making it no less important). The synopsis is that the artist of this inro, no doubt a very talented craftsman, has purposely left a clue in the cyclical date of 1712 as it cannot correspond to the Kyoho period (1716-1735). It is likely that the artist made this inro in 1772 or 1832, after Ogawa Haritsu had died and in fact dated the inro correctly, but left the discrepancy in the Kyoho period date as a clue to show that this in fact a revival piece for the important and influential master Ogawa Haritsu.

HEIGHT 6.5 cm, LENGTH netsuke 6 cm Estimate EUR 3.000,Starting price EUR 1.500,-

85 |

YAMADA JOKASAI: A MAGNIFICENT AND LARGE LACQUERED THREE-CASE INRO

By Yamada Jokasai, signed Jokasai Japan, 19th century, Edo period (1615-1868) Published: The Netsuke Kenkyukai Study Journal, vol. 14, no. 2, p. 31, fig. 20. E.A.Wrangham, The Index of Inro Artists, 1995, p.99, Jokasai, second row, second from left. Exhibited: The Ashmolean Museum, Oxford, 1972, no.21.

An unusually large three-case inro with a roiro ground and sprinkled with dense green powder creating a unique and rare surface. The image on both sides is executed in gold lacquer and colored togidashi-e and depicts Gama Sennin holding his frog over his shoulder on one side, and Tekkai Sennin blowing out his soul on the other. The risers on the inside showing gold kinji and the inside with red matte lacquer. Signed JOKASAI on the underside in gold. HEIGHT 8.5 cm, LENGTH 8.5 cm Condition: Very good and original condition. Very few surface scratches and miniscule expected wear to lacquer. Provenance: Sir Trevor Lawrence collection, no.576. F.A. Richards collection, purchased at Sothebyâ&#x20AC;&#x2122;s London, 1964. Wrangham collection, no.339 (with old label inside). The images of Gama Sennin and Tekkai Sennin are taken from a Chinese painting by the fourteenth century artist Yen Hui, published in Inro fu, a book of designs for inro taken from Chinese originals, printed in 1717. Estimate EUR 6.000,Starting price EUR 3.000,-

Auction result from Bonhams

Published in Netsuke Kenkyukai Study Journal, vol. 14, no. 2, p. 31, fig. 20, showing the Inro design was influenced by the 14th century Chinese painter Yen Hui.

86 |

SHIBATA ZESHIN: A RARE AND FINE KORO OF A TEMPLE BELL

By Shibata Zeshin (1807-1891), signed Zeshin Japan, late 19th century, Edo period (1615-1868) or Meiji period (1868-1912)

The lidded koro (incense burner) in the shape of a temple bell and brilliantly lacquered in seido-nuri to imitate the copper bronze of the old bell. This imitation is enhanced by the reddish hues shown on the surface. The handle is in the shape of two confronting fishes and shows pierced holes underneath for the smoke to escape. The inside is lined with metal to hold the burning incense. The sides are finely decorated with flying tennin (Buddhist angels) arranged in rectangular reserves. The base and interior with fine and dense gold nashiji. Signed ZESHIN next to one of the reserves containing the flying tennin. HEIGHT 9.4 cm

Condition: Excellent original condition with no restoration or polishing whatsoever! Minor wear and very few traces of use, tiny natural age cracks at the handle. Provenance: Acquired at Christie’s Japanese & Korean Art, 23 March 2011, New York, lot 802 (Hammer price 30.000 USD). Shibata Zeshin (March 15, 1807 – July 13, 1891) was a Japanese lacquer artist and painter of the late Edo period and early Meiji era. He has been called “Japan’s greatest lacquerer”. He was known for his techniques in imitating various materials such as bronze or iron – such as shown in the present piece. Estimate EUR 30.000,Starting price EUR 15.000,-

87 |

SHIBATA ZESHIN: A FINE KISERUZUTSU WITH FRUITING TAMARILLO BRANCH

Signed Zeshin Japan, late 19th century, Meiji period (1868-1912)

The kiseruzutsu of muso-zutsu form and lacquered magnificently to emulate woven bamboo (rattan). The ground is decorated with fine takamaki-e to depict an image of a fruiting tamarillo branch, a very rare exotic fruit imported by the Dutch. Two large ripening fruits (the fruits turn deep red when ripe) are executed in thick takamaki-e, the ripening process is emulated masterfully – the orange streaks in the red appear like the stroke of a paintbrush. The vines are executed playfully, and the leaves are finely lacquered in black with golden veins. The insert continues the design and shows golden buds. Signed on the bottom of the insert ZESHIN. The tranquility of the design, superior lacquering, as well as the very unusual emulative ground, suggest that this is by the master himself or at least very close hand. HEIGHT 22.5 cm

100

Condition: Excellent and original condition with miniscule expected wear to lacquer. Provenance: Collection of Drs. Edmund and Julie Lewis. Shibata Zeshin (March 15, 1807 – July 13, 1891) was a Japanese lacquer artist and painter of the late Edo period and early Meiji era. He has been called “Japan’s greatest lacquerer”. He was known for his techniques in imitating various materials such as bronze or iron – or in this case woven bamboo. Auction comparison: Compare to a related inro by Zeshin, sold by Van Ham, Asiatische Kunst, 12 June 2019, Cologne, lot 2236. Estimate EUR 4.000,Starting price EUR 2.000,-

88 |

SHIBATA ZESHIN: A FINE URUSHI-E PAINTING

By Shibata Zeshin (1807-1891), signed Zeshin with seal Japan, circa 1872-1890, Meiji period (1868-1912)

A virtuoso urushi-e painting of two noble ladies and a child seen from the back, all wearing masterfully decorated Kimono, and mesmerized from watching a sparrow (suzume) perched on the tiniest branch of a blooming cherry tree. Signed to lower right ZESHIN with one seal of the artist. Colored lacquer and gold foil on very thin paper. Zeshin’s long artistic career is marked by several striking innovations in lacquer technique and compositional layout. These two interests come together in the lacquer paintings, or urushi-e, of his later period. For these he invented a method of mixing colour with a kind of lacquer that would not crack when applied to a flexible surface such as paper or silk. In the painting presented here, the strong dominant shape of the Kimonos and the sharp diagonal formed by the shutter at the upper right across more than half the page is a compositional device mastered by Zeshin. SIZE 19 x 17 cm Condition: Minimal soiling and microscopic losses to lacquer. Some scratches and minor creases. Three small spots of white color, which probably can be removed. Provenance: From an important Austrian private collection.

It is thought that Zeshin first worked in urushi-e in 1872 and it is certain that the technique was well developed by 1876, when he submitted an album of urushi-e paintings to the Philadelphia Centennial Exhibition, where he won a prize. The jury’s citation read: “The application of urushi-e to thin paper is a remarkable technique. His depiction of the natural world is very lifelike and full of strength.” Estimate EUR 5.000,Starting price EUR 2.500,-

101

89 |

A VERY LARGE NANBAN COFFER WITH MATCHING STAND

Japan, ca. 1615-1630, early Edo period (1615-1868)

The coffer is of conventional form with a hinged and curved lid. The top, front, back, sides and stand are all bordered by bands of formal and floral ornament and finely painted in gold lacquer on black ground, partially in high relief, with various landscapes and pavilion scenes. The interior is lacquered red and painted inside the lid with a spray of camellia. The corners of the lid and body applied have engraved copper fittings, the sides each come with a swing handle, the front with an elaborate lock-plate and clasp. The stand bears a drawer, four spiral-shaped columns and an X-shaped stabilizer above the four compressed globular feet. SIZE 121 x 99 x 44.5 cm

Alexander Popov, ca. 1920

Condition: Original condition with some losses, wear, traces of use and age cracks. The front clasp is loose. Provenance: From the collection of Alexander Popov in Novi Sad, Kingdom of Serbia, acquired between 1900-1920. Thence by descent. The present form of coffer with domed cover, nicknamed kamaboko (fish sausage) by modern commentators, was only briefly fashionable and gradually gave way to the flat-topped chest during the second and third decades of the seventeenth century as the Portuguese presence in Japan waned and Dutch traders began to play a more prominent role. Literature comparison: For similar types, see Oliver Impey and Christiaan Jörg, Japanese Export Lacquer 1580-1850, Amsterdam, Hotei Publishing, 2005, pp. 153-154, nos. 343 and 344. Auction result comparison: See Bonham’s London, November 9th, 2017, lot 309, for a related coffer, but lacking its original stand, sold for £ 10,625 (€ 12,140). Estimate EUR 8.000,Starting price EUR 4.000,-

102

103

90 |

A RARE MUROMACHI PERIOD POLYCHROME WOOD GROUP WITH SHOKI AND ONI

Japan, 16th century, Muromachi period (1336 â&#x20AC;&#x201C; 1573)

Set on a black-lacquered natural wood base and showing a grim Shoki standing next to a disciple who is kneeling and fiercely pinning down an oni, grabbing him by the neck, who is screeching in agony. The figures are painted in polychrome pigments and lacquer. The clothes of Shoki are adorned with a fine asanoha pattern, indicative of the period (see Auction comparison). The figures are separately carved and inset into the base. A very rare and expressive composition dated to the late Muromachi period (1336-1573). HEIGHT 23.5 cm Condition: Very good condition considering the age. There is minor flaking to lacquer and polychrome pigments. The sword of Shoki has been lost and the sword of the disciple is chipped. Some crackling, minor losses and fading to colors. Provenance: German private collection. Auction comparison: Compare to a mount of a wakizashi, executed in very similar style and dated to the Muromachi period, sold at Bonhams, Arts of the Samurai, 30 October 2017, New York, lot 434. Estimate EUR 6.000,Starting price EUR 3.000,-

104

91 |

A RARE POLYCHROME WOOD FIGURE OF DARUMA

Japan, 16th - early 17th century, late Muromachi (1333-1573) or Momoyama (1572-1615) period

Bodhidharma is depicted in meditation, his hands showing the gesture of prayer (Anjali Mudra). He wears long flowing robes and a cowl. His eyes are inlaid in painted glass and enhance the serene character of the statue. HEIGHT 30.5 cm Condition: Fine and fully original condition with wear, abrasions, losses to lacquer and wood, several age cracks. Note that it is very unusual to find such a statue with most of the lacquer painting still intact. Also note that the statue is hollow and still originally sealed. The contents are unknown. Provenance: From the collection of Georg Weifert (1850-1937). Thence by descent in the same family. Weifert was a Serbo-Austrian industrialist and the first governor of the Federal Bank of the Kingdom of Serbia, Croatia and Slovenia. Old merchant label from ‘A LA PAGODE, THÉS, PARIS’ to base. Estimate EUR 5.000,Starting price EUR 2.500,-

Georg Weifert (1850-1937)

105

106

92 |

A GILT WOOD FIGURE OF AMIDA NYORAI

Japan, 17th-18th century, Edo period (1615-1868)

Of yosegi jointed wood construction, standing serenely on an elaborate lotus pedestal before an impressive kohai (mandorla) carved with cloud scrolls in deep relief, draped in crisply folding robes, with lowered eyes and compassionate gaze. Extensively gilded and lacquered. The right hand is raised in raigo-in or semui-in (gestures of reassurance and welcome), the left hand is lowered in yogan-in (wish-granting gesture). Note that the urna and ushnisha are both separately inlaid with glass cabochons. HEIGHT 74.5 cm Condition: Good and original condition with old wear, traces of use, dents and some losses. Minor repair to fingertips of lower hand. Difficult to find in this fine and complete state of preservation! Provenance: From an old Swiss private collection, acquired on 13th October 1897 in Japan (see old label). Estimate EUR 5.000,Starting price EUR 2.500,-

107

93 |

A VERY RARE LACQUERED SHRINE OF YAKUSHI NYORAI, ZUSHI

Japan, 17th-18th century, Edo period (1615-1868)

The gilt and lacquered wood figure of the Medicine Buddha Yakushi Nyorai (Bhaisajyaguru) is set on a lotus pedestal and backed by a magnificent openwork kohai (nimbus). One hand holds a myrobalan fruit, the other shows the abhayamudra. Note that the doors are finely painted with gesso images of Kannon floating upon wispy clouds. HEIGHT 35.5 cm Condition: Excellent condition with only minuscule losses, minor soiling, some old wear and traces of use, mostly to the outside. Provenance: Acquired by a diplomat in Japan during the 1930â&#x20AC;&#x2122;s. Thence by descent in the same family. Estimate EUR 4.000,Starting price EUR 2.000,-

108

109

Okimono & Other Carvings

110

Lots 94 to 123

111

94 |

YAMADA KISAI: A BOXWOOD OKIMONO OF RAKAN KALIKA

By Yamada Kisai (active 1864-1901), signed Nanâ&#x20AC;&#x2122;etsu Kisai Japan, late 19th century, Meiji period (1868-1912)

The intricate carving depicts the Rakan Kalika holding a scroll and dressed in elaborate flowing robes, leaving the chest bare, riding on an elephant that holds a reishi fungus in his trunk. The bottom with a neatly incised artist signature reading NANâ&#x20AC;&#x2122;ETSU KISAI (Kisai of South Etchu region). Note the finely inlaid eyes in black horn of both the elephant and the rakan. The tusks of the elephant are inlaid in carved stag antler. LENGTH 27 cm Condition: One of the tusks has been reattached. Minor loss to tip of reishi. One tiny age crack. Naturally grown golden-brown patina, nicely enhancing the characteristic grain of the wood. Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. Yamada Kisai was born into a family of Buddhist wood sculptors, originally from Fukui prefecture (southern Etchu province). It was Okakura Tenshin (1862-1913, also known as Okakura Kakuzo) who initially discovered the talent in young Yamada Kisai and encouraged him to study wood sculpting under him and Takamura Koun, at Tokyo School of Fine Art. Yamada Kisai taught wood sculpture as professor at the Tokyo School of Fine Art. One of his most representative works is a huge bronze statue of samurai Kusunoki Masashige, located at the Imperial Palace Plaza. This was made in 1897 in collaboration with the leading sculptors of the time Takamura Koun, Ishikawa Komei, Goto Sadayuki and Yamada Kisai. The wooden model was finished in 1893, the final bronze work in 1897. Estimate EUR 2.000,Starting price EUR 1.000,-

112

113

96 |

DOICHI: AN IVORY OKIMONO OF KIYOHIME

Signed Doichi Sanjin with kakihan Japan, late 19th century, Meiji period (1868-1912)

The witch Kiyohime is depicted seated on top of the Dojo-ji bell, holding one strand of her long hair which flows all the way down, while she is ferociously grinning. Her facial features are crafted very well, and she is holding a mallet in her right hand. The large bell features lengthy inscriptions. To the side there are three priests, two of them hiding under a blanket and one is holding up a rosary. The underside shows the hiding priest Anchin and the signature DOICHI sanjin and kakihan. HEIGHT 9.4 cm Condition: The end-section of the mallet is reattached. Otherwise excellent original condition. Provenance: British collection. Estimate EUR 1.500,Starting price EUR 750,-

97 |

JUTSUICHI: A SMALL IVORY OKIMONO OF ONI CARRYING A WATER BUCKET

By Jutsuichi, signed Jutsuichi Japan, second half of 19th century, late Edo period (1615-1868) to earlier Meiji period (1868-1912)

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AN IVORY OKIMONO OF KIYOHIME

Japan, late 19th century, Meiji period (1868-1912)

The witch Kiyohime is depicted with her scaly body wrapped around the bell of Dojo-ji. She is ferociously snarling, her facial features crafted very well, and is holding a mallet in her right hand. Her long flowing hair is finely incised.

Finely carved and incised depiction of oni, working hard to improve his devilish image. Note the details to his tobacco pouch, his curled hair and sharp teeth as well as the distinct texture of his loincloth. The inscription on the pouch reads “beware of the fire” and the signature is located in a polished reserve on the oni’s behind JUTSUICHI. The work is stylistically close to Tomomasa. HEIGHT 8.2 cm

HEIGHT 9.4 cm

In the legend of Kiyohime, the priest Anchin fell in love with the once beautiful Kiyohime, but refrained from his passions, escaping from her which made Kiyohime transform into a dragon-like monster due to her rage. In her rage she belched a fire so great it not only melted the temple bell but also killed Anchin.

Condition: Good condition with small loss to one toe and tiny natural age cracks. Nicely grown patina with golden-brown color, the ivory grain is well visible and adds nicely to the overall appearance of this okimono. Provenance: British collection.

Estimate EUR 1.200,Starting price EUR 600,-

Estimate EUR 1.000,Starting price EUR 500,-

Condition: Excellent condition with minor expected surface wear. Provenance: British collection.

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SHOKASAI KYOKUZAN: A SPECTACULAR OKIMONO OF A SKULL, SNAKE AND FROG

By Shokasai Kyokuzan, signed toto kanda shi in Horyusai Kyokuzan Japan, Tokyo School, Meiji period (1868-1912)

A macabre and rather large composition of a skull on a rock. A large snake is slithering around the skull and eyeing a frog which is climbing up the side of the rock. A large snail is on top of the skull, stretching its feelers out over the scaly body of the snail. The okimono references the sansukumi, meaning ‘mutual control’. The snake will consume the frog, however there is a catch – the frog has already eaten a poisonous snail, so too the snake must perish. In this composition however, the frog will hardly reach the snail. Signed made by KYOKUZAN, art name Horyusai, resident of Kanda district, Tokyo. HEIGHT 8 cm Condition: Very good condition with expected age cracks, particularly through the base. Provenance: British collection. Horyusai Kyokuzan was a student of Asahi Gyokuzan who became famous for his carvings of skulls. The present okimono is quite unique as it appears to be the only example which shows the full name of the artist. Estimate EUR 2.000,Starting price EUR 1.000,-

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A RARE JAPANESE STAG ANTLER â&#x20AC;&#x2DC;DRAGON AND TIGERâ&#x20AC;&#x2122; SCROLL CASE FOR A BUDDHIST SUTRA

Japan, late 19th century, Meiji period (1868-1912)

Finely carved stag antler in high relief with roller ends made of dark horn. The case is made in the form of a scroll, openable in the middle. Depicted is a celestial dragon, finely carved amidst clouds, the scales and fierce expression particularly detailed. Below the dragon is a tiger snarling at the dragon, naturalistically carved with sprays of waves around him. The antler has been carved with great skill, somewhat simulating ivory.

LENGTH 16 cm Condition: Very good condition, one tiny age crack, a minor imperfection around the edge of the opening and a tiny chip on the edge. Provenance: Old Austrian private collection. Tiger and dragon represent the earth and sky and protect the Buddhist teachings that would be stored inside this scroll. Estimate EUR 1.500,Starting price EUR 750,-

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100 | A RARE FULLY ARTICULATED IVORY AND BONE OKIMONO OF A DRAGON Japan, Meiji period (1868-1912)

The fully articulated body consists of over one hundred segments and is made from ivory and bone. The body of the dragon (tatsu) is elongated and slender with many scales, like a snake, and with sharp dorsal spikes. The four limbs have ivory flames emanating from them and the head is expressive, with sharp horns, glaring eyes of mother of pearl, a flaming beard and a movable tongue. LENGTH total 83.5 cm Condition: Very good, complete and original condition. Some segments have been reattached, as would be expected from a piece like this. Some segments are more rigid than others. Provenance: British collection. Estimate EUR 4.000,Starting price EUR 2.000,-

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101 | YAMAZAKI NANKAI: A RARE FULLY ARTICULATED IVORY OKIMONO OF A SPINY LOBSTER By Yamazaki Nankai, signed Nankai Japan, Meiji period (1868-1912)

The spiny lobster (ebi) is entirely carved from ivory with many joined and fully articulated segments. The crustacean has long spiny antennae, ten legs, mandibles, a segmented body and a fan shaped tail. The composition is very naturalistic and even when touching the okimono, the sound it makes resembles the crawling of the crustacean on the seabed. Signed in red underneath NANKAI.

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Total LENGTH 55.5 cm Condition: Very good condition. Some segments are more rigid than others, and have possibly been reattached, as is expected from a piece like this. Provenance: British collection. Estimate EUR 3.000,Starting price EUR 1.500,-

103 | A RARE ARTICULATED IVORY OKIMONO OF A DRAGON FISH Japan, second half of 19th century, Meiji period (1868-1912)

102 | KYOUN: A RARE ARTICULATED IVORY OKIMONO OF A CRAB Signed Dai Kyoun Japan, Meiji period (1868-1912)

The crab naturalistically carved with movable limbs and large inlaid eyes. The surface is finely stippled to emulate the natural carapace of the crab. Signed in a red-lacquered rectangular cartouche on the underside Dai (great) KYOUN. Maximum LENGTH 16 cm Condition: Very good condition. Some segments are more rigid than others, and have possibly been reattached, as is expected from a piece like this. Provenance: British collection.

Carved from separate movable segments, all joint together to form a fully articulated body, with fins of various forms and sizes to side, back and tail. Note the finely inlaid eyes in mother-of-pearl and dark horn. LENGTH 30 cm Condition: Superb condition with old wear and some fine age cracks. Tiny losses to the edge of the dorsal fins. The natural patina grown into a splendid golden-yellow. Provenance: British collection. Estimate EUR 2.500,Starting price EUR 1.250,-

Auction comparison: For a related example see Bonhams, Fine Japanese Art, 12 November 2015, London, lot 480. Estimate EUR 2.000,Starting price EUR 1.000,-

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104 | A MONKEY AND CRAB IVORY OKIMONO Japan, Meiji period (1868-1912)

Humorous and detailed carving of a monkey crying out in pain as he is unexpectedly tweaked by two crabs, while trying to grab a large lotus plant. The okimono references the legendary battle between the monkey and crab. Note the finely inlaid eyes of the monkey. LENGTH 6 cm Condition: Superb condition with only minor wear and minimal age cracks. Good natural patina. Provenance: From an English private estate. Estimate EUR 1.000,Starting price EUR 500,-

105 | A FINE IVORY OKIMONO OF AN EAGLE AND MONKEY Japan, second half of 19th century, Edo period (1615-1868) to Meiji period (1868-1912)

A small and very detailed stained ivory okimono depicting an eagle (washi) grabbing a monkey (saru) between its talons. The individual expressions are masterfully carved, with inlaid eyes, and the monkey clenches its hands and feet, visibly frightened by the imposing eagle. The plumage of the eagle is dense, and the fur of the monkey is neatly incised. HEIGHT 7.8 cm Condition: Very good condition, one tiny chip to the one feather on the eagleâ&#x20AC;&#x2122;s head. Provenance: British collection. Estimate EUR 1.200,Starting price EUR 600,-

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106 | SHIGECHIKA: AN IVORY TABLE SCREEN WITH MONKEYS By Natsume Otosaku Shigechika, signed Shigechika Japan, Meiji period (1868-1912)

Finely carved and incised to depict a monkey family terrified by an approaching wasp. Several more monkeys are found on the two drawers. A humorous sequel to the main depiction is eventually found on the backside, where the monkeys have found shelter inside a large craggy rock, with the baffled wasp flying in circles atop. Note the openwork border carvings with shishi, dragons, phoenix and bats, all with finely inlaid eyes in black horn. The artist signature SHIGECHIKA is found in a raised oval cartouche on the lower right side of the main screen.

Literature comparison: Compare with a related work by the same artist, an ivory fan decorated with monkeys appraising a painting, dated 1898, in the Michael Tomkinson collection. Estimate EUR 2.500,Starting price EUR 1.250,-

Alexander Popov, ca. 1920

SIZE 23 x 23 x 8 cm Condition: Excellent condition with only minor wear. Good natural patina. Only one from a total of 18 inlaid eyes is lost. Provenance: From the collection of Alexander Popov in Novi Sad, Kingdom of Serbia, acquired between 1900-1920. Thence by descent. Natsume Otosaku Shigechika is listed in the Ivory Carving Book published by the Shoto Museum (Tokyo), as a member of the Tokyo Chokokai (Tokyo Carversâ&#x20AC;&#x2122; Association) between Meiji 37-29 (19041906) whose address was Komagome, Hongo district, Tokyo.

Monkeys hiding after the wasp attack

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107 | SEISHI: A BOY AS CIRCUS ARTIST By Seishi, signed Seishi Japan, Meiji period (1868-1912)

Finely carved and incised ivory okimono with minute Shibayama inlays in lacquer, mother-of-pearl and horn. The boy is carefully balancing on a large ball, which itself rests on a circular base with an engraved key fret border. Tsuishu lacquer cartouche with artist signature SEISHI inlaid to base. HEIGHT 17.8 cm Condition: Near perfect condition. Nicely grown patina with a golden-yellow color. No losses of inlays, one tiny repair to proper right hand. Provenance: British collection. Estimate EUR 1.500,Starting price EUR 750,-

108 | RYUICHI: A MINIATURE OKIMONO OF A EUROPEAN BOY By Ryuichi, signed Ryuichi Japan, Meiji period (1868-1912)

Finely carved and incised ivory okimono. The crawling boy is only dressed in a skirt and looks up towards the spectator. Note the superb details to his face. Signed RYUICHI on the underside. LENGTH 6 cm Condition: Good condition with microscopic losses to one toe and one finger, and a repair to one hand. Nicely grown patina with golden-yellow color, the ivory grain is well visible and adds nicely to the overall appearance of this okimono. Provenance: British collection. Ryuichi was a member of the Tokyo Sculptorâ&#x20AC;&#x2122;s Society. His name is reported in the memberâ&#x20AC;&#x2122;s list for the years 1920-1922. Estimate EUR 600,Starting price EUR 300,-

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109 | TOSHIYUKI: A PAIR OF WOOD AND IVORY OKIMONO WITH BOYS ON DEER By Toshiyuki, signed Toshiyuki (Shushi) Japan, Meiji period (1868-1912)

One depicting a boy seated on a deer with its head lowered in order to graze. The deer is carved from wood with finely carved fur and a naturalistic expression. The boy is made from ivory and depicted in motion, holding a persimmon and a bundle of sticks. The other okimono is executed in similar style and depicting a boy seated on a buck. Both okimonos are set on a wood base. Each signed TOSHIYUKI (Shushi) on the boyâ&#x20AC;&#x2122;s behind. HEIGHT 20 cm and 22.3 cm Condition: Excellent condition with natural age cracks. Provenance: British collection. Estimate EUR 2.500,Starting price EUR 1.250,-

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110 | A RARE WOOD OKIMONO OF THE MINOGAME ROCK Japan, 19th century, Edo period (1615-1868) to Meiji period (1868-1912)

The craggy layered rock is finely carved with a minogame mother and her family, consisting of four smaller turtles. The unsigned work is neatly inlaid with leaves carved from mother-of-pearl. Note the minuscule inlaid eyes on some of the turtles. LENGTH 25 cm Condition: Superb condition with fine golden-brown patina, some wear and minor traces of use. Provenance: British collection. Estimate EUR 1.000,Starting price EUR 500,-

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111 | A RARE HINOKI WOOD SHISHI WITH TWO PUPS Japan, ca. 1800-1850, later Edo period (1615-1868)

A simple yet virtuoso wood carving of a mother Shishi striding along with her two cubs, eyes delicately inlaid in black horn and partially gold lacquer, the fur with neatly incised swirls and bushy tails. LENGTH 34 cm Condition: Fine condition with some age cracks, old wear, minor dents here and there. Provenance: From a European private collector. The Hinoki cypress wood patinated to a gentle pinkish-brown tone, with a rich, straight grain and original clear coat. Estimate EUR 1.200,Starting price EUR 600,-

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112 | A FINE IVORY OKIMONO OF A RAT Japan, Meiji period (1868-1912)

Finely rendered as a crawling rat with a long tail and with its paws placed afore and its head curiously raised. The large eyes are inlaid in lustrous black horn and the fur is neatly incised. The characteristic sharp front teeth of the rodent are shown in the front. LENGTH 16.5 cm Condition: Excellent condition with thin natural age cracks. Provenance: British collection. Estimate EUR 1.500,Starting price EUR 750,-

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113 | HAPPO: AN IVORY OKIMONO OF A QUAIL By Happo, signed Happo Japan, Meiji period (1868-1912)

Naturalistically carved from a single piece of ivory, the feathers with neatly incised details, the eyes inlaid in mother-of-pearl and dark horn, the feet made from chiseled and punched bronze. Artist signature HAPPO engraved to base. LENGTH 10 cm Condition: Absolutely perfect condition. Nicely grown patina with a golden-yellow color. Provenance: British collection. Estimate EUR 2.000,Starting price EUR 1.000,-

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114 | MASAYOSHI: A FINE IVORY OKIMONO-NETSUKE OF A FRUSTRATED RAT CATCHER By Masayoshi, signed Masayoshi (Seikei) to Japan, 19th century, Edo period (1615-1868)

The rat catcher, equipped with a large club, is holding down a box with one hand in an effort to catch the rat, which has escaped onto his back. He is visibly frustrated, as he is exclaiming while turning his head and looking at the innocent rat which has eluded him. The rat (nezumi) is a symbol of wealth and the companion of the lucky god Daikoku. That may explain why rat catchers had such a bad reputation, since he is usually depicted emaciated, ugly and demonic, as in the present carving. All eyes inlaid in dark horn, and the signature on the underside MASAYOSHI (Seikei). HEIGHT 4.3 cm, LENGTH 5.5 cm Condition: Very good condition with expected age cracks, one larger one through the front of the club. Provenance: British collection. Auction comparison: Compare a near identical example sold at Zacke, Fine Netsuke, Sagemono & Okimono, 27 April 2019, Vienna, lot 149. Estimate EUR 2.000,Starting price EUR 1.000,-

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115 | SHIZUHARU: AN IVORY OKIMONO OF A TEMPLE SERVANT WITH RAT By Shizuharu, signed Shizuharu (Jyoshun) Japan, Meiji period (1868-1912)

Detailed carving enhanced by fine incision work. Depiction of a servant as he picks up a temple lantern, crying out in shock because of a clandestine rat hidden inside the luminary. Artist signature SHIZUHARU to base. HEIGHT 7.5 cm Condition: Superb condition with only minor wear! Good natural patina. Provenance: From an English private estate. Auction comparison: For another okimono by the artist see Bonhams, Fine Japanese Art, 6 November 2012, London, lot 332. Estimate EUR 1.200,Starting price EUR 600,-

116 | SEIDO: IVORY OKIMONO OF A RAT CATCHER WITH BIJIN By Seido, signed Seido Japan, Meiji period (1868-1912)

Highly detailed carving enhanced by fine incision work. Depiction of a rat catcher holding a cage while the rat, subject of the hunt, is escaping across his shoulder. A noble lady, probably the client, is watching in despair. Artist signature SEIDO to base. HEIGHT 7.5 cm Condition: Good condition with only minor wear and one small loss. Fine natural patina. Provenance: From an English private estate. Estimate EUR 1.200,Starting price EUR 600,-

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117 | KIKKOSAI TOKUZAN: AN IVORY OKIMONO OF A CRAB FISHER FAMILY By Kikkosai Tokuzan, signed Kikkosai Tokuzan saku Japan, Meiji period (1868-1912)

Incredibly fine and detailed carving enhanced by meticulous incision work. Depiction of father, mother and kid as they are attempting to fish crabs from a river. Artist signature KIKKOSAI TOKUSAN saku and seal to base. Note the finely inlaid minuscule beads to the base. HEIGHT 7 cm Condition: Superb condition with only minor wear! Good natural patina. Provenance: From an English private estate. Estimate EUR 1.200,Starting price EUR 600,-

118 | SADAMASA: AN IVORY OKIMONO OF AN ARCHER By Sadamasa, signed Sadamasa Japan, late 19th century, Meiji period (1868-1912)

A small and expressive carving with fine incision work. Depiction of an archer preparing a set of arrows. His work is almost completed as he is sharpening the last arrow from a group of 36. Note the focused expression on his face. Signature SADAMASA to the base. HEIGHT 5 cm Condition: Perfect condition. The ivory with a good natural patina. Provenance: From an English private estate. Estimate EUR 1.200,Starting price EUR 600,-

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119 | BUNDO: A FINE OKIMONO OF A LITERATI By Bundo, signed Bundo Japan, Tokyo School, late 19th to earlier 20th century, Meiji period (1868-1912)

Well carved in the classic style of this school with fine incisions and distinct staining to depict a scholar in long flowing robes holding a tea scoop. The base with a tsuishu lacquer cartouche bearing the artist signature. HEIGHT 11.6 cm Condition: Excellent condition with some old wear and a nice, golden yellow patina. Provenance: From a British private collection. Estimate EUR 800,Starting price EUR 400,-

120 | AN IVORY OKIMONO OF A LOTUS FARMER Japan, Meiji period (1868-1912)

Finely carved and incised to depict the standing man in front of a pot with a nicely grown lotus plant in it, holding secateurs in his proper right hand. HEIGHT 10.8 cm Condition: Fine condition with one tiny loss, minute chip and tiny age crack. Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. Estimate EUR 800,Starting price EUR 400,-

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121 | TOSHIMUNE: A FINE OKIMONO OF A RESTING MAN By Toshimune, signed Toshimune and kakihan Japan, Meiji period (1868-1912)

The okimono consisting of three parts and depicting a resting man holding a parasol and lying on a bed. His robe is finely decorated, and his expression is very well crafted. In front of him is a smoking and tea set. Signed in a mother of pearl plaque TOSHIMUNE with kakihan on the underside of the man. Entire composition HEIGHT 9.5 cm, LENGTH 10.3 cm Condition: The handle of the parasol has been reattached. Otherwise excellent original condition. Provenance: British collection. Toshimune was a fine okimono maker. His name is recorded in the Tokyo Sculptorsâ&#x20AC;&#x2122; Society from 1904 to 1910. Auction comparison: Compare to another okimono by the artist in similar style sold by Bonhams, Asian Works of Art, 20 August 2011, San Francisco, lot 6465. Estimate EUR 1.500,Starting price EUR 750,-

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122 | AN INLAID WOOD AND IVORY OKIMONO OF A TOY PEDDLER Japan, Meiji period (1868-1912)

Fine ivory carving of a man selling various toys, among them a cat puppet, a Fugu on a trolley and a Daruma doll, all neatly inlaid in Shibayama style with various materials such as stained ivory, tsuishu lacquer, horn and mother-of-pearl. Note the four-lobed hardwood base with its distinct ivory feet. LENGTH 13 cm Condition: Excellent condition with fine patina, some wear and traces of use. Provenance: British collection. Estimate EUR 1.500,Starting price EUR 750,-

123 | AN IVORY BIWA LUTE BOX Japan, Meiji period (1868-1912)

The instrument is finely carved of two pieces forming the base and the lid. The strings and some elements of dĂŠcor are inlaid in silver and neatly incised with swastika and other emblems. The ivory has patinated nicely to a goldenyellow tone. LENGTH 13.5 cm Condition: Superb condition with minor wear and one silver string slightly loose. Provenance: From an English private estate. Estimate EUR 1.200,Starting price EUR 600,-

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Four Exceptionally Large Works of Art

136

Lots 124 to 127

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124 | A VERY RARE AND LARGE WOOD WELL COVER WITH LACQUERED DÉCOR Japan, Meiji period (1868-1912)

The base arranged with four rectangular natural wood panels set on a modern base, the panels decorated with many lacquered takamaki-e insects and a frog. A tree branch embellished with lacquered leafy vines, consisting of three parts, is inset into the design and a finely lacquered takamaki-e monkey is climbing up on the side. At the end of the branch there is a carved roof, where a three-dimensionally lacquered snake lurks – unbeknownst to the poor innocent monkey. The scales of the snake and fur of the monkey are masterfully lacquered. Attached to the roof with a hook are two finely carved wood buckets, each outlined with interlocking rings simulating iron but entirely carved in wood, which are suspended from a rope and are utilized to transport water out of the well. Total HEIGHT 115 cm Condition: Excellent condition with minor and natural crackling and splitting to the wood. Minor wear to lacquer décor. Provenance: British collection. A masterful and rustic Meiji creation intended for export to Great Britain. A one of a kind collector’s item. The composition includes five individual parts. Estimate EUR 8.000,Starting price EUR 4.000,-

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125 | A MONUMENTAL AND RARE STATUE OF A WHITE GYRFALCON Japan, Meiji period (1868-1912)

The majestic Falco Rusticolus is departing from a T-shaped landing pole, which itself rests on a mahogany stand with four feet. The bird of prey is carved from wood and embellished overall with neatly incised ivory feathers. The eyes are inlaid in dark horn and mother-ofpearl. The landing pole is entirely covered with ivory segments, all carved to imitate the natural wood grain. HEIGHT 77 cm Condition: Excellent and fully original condition with some old wear, minor natural warping to some inlays and few traces of use. Very minor losses to inlays and some age cracks. Small repair where the pole connects to the stand. Provenance: British collection. The gyrfalcon is a bird of prey and the largest of the falcon species. It breeds in Japan and is a resident there also, but some gyrfalcons disperse more widely after the breeding season, or in winter. Individual vagrancy can take birds for very long distances. Its plumage varies with location, with birds being colored from all-white, like the present one, to dark brown. These color variations are called morphs. Like other falcons, it shows sexual dimorphism, with the female much larger than the male. For centuries, the gyrfalcon has been valued as a hunting bird in Japan. Typical prey includes the ptarmigan and waterfowl, which it may take in flight. It also takes fish and mammals. Estimate EUR 20.000,Starting price EUR 10.000,-

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126 | A MASTERFUL AND MONUMENTAL IVORY OKIMONO OF A COCKATOO Japan, Meiji period (1868-1912)

The feathery bird is perched on a black burlwood stand, its talons tightly gripping a branch. The bird is crafted with superior naturalism, the plumage is masterfully carved and three-dimensional with neatly incised lines. The cockatoo has its head slightly lowered and the large eyes are lacquered in black with inlaid silver rings for the pupils. The defining attributes of this exotic bird are the long tail feathers and the crest on the back of its head. HEIGHT 62 cm with stand, 29 cm without stand Condition: Excellent condition with minor natural age cracks. Provenance: British collection. The cockatoo is not native to Japan and was probably introduced by the Dutch. It became a popular theme in Japanese art, perhaps most famously treated by the woodblock print artist Ohara Shoson (1877-1945). This monumental sculpture was probably intended for a Japanese World Fair during the Meiji period. Auction comparison: Compare to a near identical example sold at Bonhams, Asian Art, 10 July 2013, Edinburgh, lot 21. Estimate EUR 30.000,Starting price EUR 15.000,-

A Woodblock print by Ohara Shoson depicting a Cockatoo

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127 | MARUKOSHI AND SENSHO: AN IMPORTANT AND MONUMENTAL PAIR OF BRONZE ELEPHANTS WITH INLAID TUSK VASES The bronze by Marukoshi and the ivory tusk vases by Sensho, signed Marukoshi and Sensho Japan, early Meiji period (1868-1912)

Each elephant is cast from bronze of superb quality with extremely fine incision work and molding, creating a highly naturalistic model of an elephant. Both pachyderms are shown in a different attitude, depicted in movement, swinging tail and swinging trunk. The tusks are inlaid in ivory. Both elephants show the signature MARUKOSHI underneath one of the feet. On the elephant’s back are waves carved from wood and lacquered in red and black, the sprays inlaid with mother-of-pearl and brass. On top of the waves sits a finely carved lacquered stand with key fret and asanoha patterns, the sides with metal and ivory finials. The stands are surmounted by finely carved and embellished ivory tusk vases continuing the aquatic theme of the composition. One tusk vase shows a procession with the dragon king of the sea Ryujin in the center surrounded by his attendants, all amidst swirling waves. Ryujin is wearing a dragon cap while his attendants have various aquatic creatures on their heads such as fugu, crabs and octopuses. The carving shows superior detail at the very highest level and is adorned with mother-of-pearl inlays. The second tusk vase is similarly decorated and shows Ryujin’s daughter Otohime surrounded by her attendants. She wears an oshidori (mandarin duck) cap and her attendants are presenting various objects such as magical pearls (tama) and scrolls. The tusk vase with Ryujin is signed on an inlaid mother-of-pearl plaque SENSHO. Both tusk vases are mounted on a lacquered wood base in order to fit onto the saddle of the elephants. Each elephant is set on a wood stand and thus each composition consists of four individual parts.

The set is completely original and was likely intended for one of the world exhibitions and fairs Japan participated in during the Meiji period, to show off its splendors after centuries of isolation policy. HEIGHT each 85 cm (with stand) Condition: Superb and original condition, other than extremely minor wear to the lacquered wood there appears to be zero damages. Provenance: British collection, with old provenance label inside the tusk vase reading ‘Madame Lionel de Cailler’. Auction comparison: For a very similar example by the same artist see Sotheby’s, Art D’Asie, 13 June 2012, Paris, lot 249, sold for 36.750 EUR. Only one elephant by Marukoshi, without the mounted ivory tusk vase, was sold at Christie’s, Art D’Asie, 11 June 2008, Paris, lot 19, for 17.300 EUR. Estimate EUR 40.000,Starting price EUR 20.000,-

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Splendors of Shibayama

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Lots 128 to 146

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128 | MASAYOSHI: A SILVER-MOUNTED SHIBAYAMA IVORY TUSK VASE By Masayoshi, signed Masayoshi Japan, early Meiji period (1868-1912)

Decorated with the Chinese sage Shoshiâ&#x20AC;&#x2122;s wife, Rogyoku, seated astride a ho-o and playing the sho, all finely inlaid in mother-ofpearl, stained ivory and aogai, the rim applied with an intricately worked silver filigree border. Signed MASAYOSHI in a tsuishulacquer reserve. Affixed to a reticulated wood stand. HEIGHT 27.5 cm overall Condition: Good patina, very minor losses, traces of use and wear, the wooden base with old traces of glue. Overall still very good condition. Provenance: Bonhams London, Fine Japanese Art, November 5th, 2009, lot 119, sold for ÂŁ 5.040. British collection, acquired from the above. Estimate EUR 3.000,Starting price EUR 1.500,-

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129 | A FINE PAIR OF LACQUERED WOOD AND SHIBAYAMA VASES WITH RAKAN Japan, Meiji period (1868-1912)

A pair of vases of cylindrical shape and supported on three leafy bamboo feet made from shakudo. Decorated with a circumferential scene of a group of Rakan set on a gold kinji ground, the details in takamaki-e, kirikane, nashiji and with inlays of ivory and mother of pearl. The Rakan are surrounded by a blossoming tree and many sparrows. One shows the Rakan Bukan Zenshi next to his tiger companion viewing a Buddhist reliquary held by another Rakan. The other shows one Rakan pointing and the other reading from a scroll. HEIGHT 26.1 cm Condition: One loss to the edge of one sparrowâ&#x20AC;&#x2122;s wing. Generally, in good condition with minimal wear around the inlays and edges. Provenance: British collection. Estimate EUR 2.000,Starting price EUR 1.000,-

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130 | A FINE MINIATURE IVORY AND SHIBAYAMA DISPLAY CABINET Japan, Meiji period (1868-1912)

Finely worked as a miniature display cabinet (shodana) ideal for the display of miniature objects such as netsuke. The cabinet stands on four flared feet and has two storage drawers carved with celestial dragons in high relief grasping a tama (which forms the knob), their eyes inlaid in mother of pearl. The mid-section allows for display space and one side is finely inlaid in Shibayama style with flowers and butterflies. The top section consists of two sliding doors and another door with a knob. The sides and top as well are decorated in Shibayama style with flowers, birds and butterflies. The inlays are horn and mother of pearl amongst fine incision work. SIZE 15.4 x 14.2 cm Condition: Excellent condition. Provenance: British collection. Estimate EUR 2.000,Starting price EUR 1.000,-

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131 | SHOGYOKUSAI MASAYOSHI: AN EXTREMELY RARE AND EARLY SHIBAYAMA CABINET By Shogyokusai Masayoshi, signed Shogyokusai Masayoshi Japan, 1800-1850, Edo period (1615-1868)

Made of thick and heavy ivory segments, punched and incised bronze fittings, overall decorated with superb lacquer painting and few Shibayama inlays, an unquestionable trademark of the earliest Shibayama works. Five-character artist signature SHOGYOKUSAI MASAYOSHI painted in gold lacquer to backside. Depiction of an array of Manchurian cranes, peacocks, eagles, sparrows and various other birds amid pine and cherry trees as well as peonies with their vines and leaves. The inside bears six small and one large drawer. The cabinet itself stands on four raised feet. The Shibayama inlays are made of mother-of-pearl, coral and hardstone. The lacquer painting is made of hira- and takamaki-e and gold nashiji. SIZE 20.4 x 16.3 x 6.9 cm WEIGHT 1807.6 grams (!!) Condition: Good condition with some wear, one age crack to backside, old wear and traces of use. The ivory has naturally patinated into a deep golden-yellow tone. The bronze fittings also show a unanimous natural, dark-brown patina. Provenance: British collection. Estimate EUR 5.000,Starting price EUR 2.500,-

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132 | A RARE INLAID RYOSHIBAKO WITH CHICKENS AND BAMBOO Japan, early Meiji period (1868-1912)

A ryoshibako (documents box) carved from a reddish wood with a beautiful and natural grain, and the egdes lacquered in gold fundame. The lid is decorated with fine inlays of ivory, horn and mother of pearl and depicts a rooster, hen and chick underneath leafy bamboo stalks. The inside is lacquered in black with fine and sparse lacquer powder. SIZE 27 x 22 x 10.5 cm Condition: Good condition with minor losses to the leaves of the bamboo and miniscule wear to the edges of the box and fundame lacquer. Provenance: British collection. Estimate EUR 1.500,Starting price EUR 750,-

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133 | A FINE SHIBAYAMA BOX AND COVER Japan, Meiji period (1868-1912)

The cover of the square ivory box is finely inlaid with minuscule pieces of carved mother-of-pearl, soapstone and coral to depict a Geisha in a neatly incised kimono, a quail and a butterfly, all surrounded by various flowers amid their vines and leaves. SIZE 8.3 x 9 x 3.5 cm Condition: Excellent condition with one minuscule repair to one corner and a chip to the other. Not a single piece from of the more than 150 inlays is lost, and it is extremely rare to find a Shibayama work in such a complete and pristine condition! One tiny piece of inlay is loose, but still present. Provenance: English private estate. Estimate EUR 1.200,Starting price EUR 600,-

134 | MASAYUKI: A RARE IVORY AND SHIBAYAMA PARASOL By Masayuki, signed Masayuki Japan, Meiji period (1868-1912)

The ivory handle finely inlaid in motherof-pearl and tortoiseshell to depict wisteria amid other flowers, vines and leaves. The artist signature incised into a mother-of-pearl cartouche. LENGTH of handle 25 cm, overall LENGTH 96 cm Condition: The handle in fine condition with only few tiny age cracks to ivory and a nice naturally grown patina. The pink silk parasol with traces of use an several large tears, hence in unusable condition (silk needs to be repaired or replaced). The expansion mechanism of the parasol is in fine working condition. The wrapper is original to the parasol and also comes in fine condition. Provenance: British collection. Estimate EUR 800,Starting price EUR 400,-

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135 | SHIBAYAMA IWAO: A SHIBAYAMA, LACQUER, SILVER AND IVORY TABLE SCREEN By Shibayama Iwao, signed Shibayama iwao for the lacquerwork and inlays and signed Yamada for the wood work Japan, Meiji period (1868-1912)

This magnificent two-fold screen shows the dramatic but also amusing scene of a farmer and a Samurai with his attendant sheltering from heavy rain in a hut while a cooper and the farmer’s wife with her child are still fleeing the deluge. Inlays are from coral, ivory, tortoise shell, mother-of-pearl, tsuishu lacquer and horn. Most of the inlays are incised and some have been stained. All of the inlays are on a gold and polychrome lacquer ground painted in slight relief with some areas of nashiji and mother-of-pearl roironuri. The ivory frame is extensively carved in high relief with fine incision work. The silver hinges and embellishments show fine chase work. The backside panels bear further fine gold, silver and iron red lacquer painting on an amber colored ground depicting birds and various flowers and plants. Also note the fine rectangular cartouches at the front showing various children’s toys in absolutely stunning quality! Signed in a red lacquer cartouche SHIBAYAMA IWAO below a lantern with the inscription ‘lanterns’ and to the side of a worker painted in red lacquer reading YAMADA next to an inscription reading ‘pleasure garden’.

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SIZE 30 x 15 x 1 cm (each panel) and 30 x 30 x 1 cm (altogether) Condition: Excellent condition with minor wear, very minor loss to inlays (this author counted nine inlays lost from several hundred still in place, and all of them small and hardly noticeable without a magnifying glass), minimal crackling to lacquer and ivory. Minor traces of glue at some of the silver hinges. Provenance: From an Austrian private collection. Kept in the same family since the first half of the 20th century and thence by descent. Auction comparison: Compare with a closely related screen at Bonham’s London on May 17th, 2018, lot 217, sold for £ 11,250. Estimate EUR 8.000,Starting price EUR 4.000,-

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136 | SHIBAYAMA YASUNOBU: A SPECTACULAR TWO PANEL SHIBAYAMA TABLE SCREEN By Shibayama Yasunobu, signed Yasunobu Japan, Meiji period (1868-1912)

The front side with a scene of promenading figures on a river shore with Mount Fuji, several boats, pavilions and pagodas in the far background. The backside with an undulating landscape, a river and two birds perched on the branch of a blooming cherry tree, while two more are approaching. The lower four panels on both sides with magnificently inlaid Mille Fleurs décor. SIZE 24.2 x 23 cm

Tsuishu lacquer cartouche to backside with carved signature of Shibayama Yasunobu, an important member of the Shibayama family/school. The front with a painted poem on a rock roughly translating to “Spring breeze, my heart and flowers are full of spring as I head to Mukoujima”. Extremely fine inlays of ivory, mother-ofpearl, tsuishu lacquer, horn, hardwood and coral, all above a gold and silver lacquer ground in hiramaki-e and takamaki-e with nashiji. Carved and incised ivory frame with silver, enamel and gold lacquer embellishments.

Condition: Superb, absolutely original and unrestored condition. Very few microscopic losses, minor wear and traces of use, mostly to feet and silver embellishments. The ivory with few natural age cracks and minor warping. Provenance: British collection. Estimate EUR 10.000,Starting price EUR 5.000,-

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137 | MASAMITSU: A FINE SILVER FILIGREE AND SHIBAYAMA DISH By Masamitsu, signed Masamitsu Japan, Meiji period (1868-1912)

Of foliate form and finely worked in openwork with silver filigree and inset with eight ivory petal-shaped panels decorated in gold takamaki-e and hiramaki-e with images of flowers and plants. The octagonal center with a gold lacquered kinji ground with Shibayama inlays showing a flower arrangement set on a red-lacquered table. The reverse shows four silver filigree feet and a central panel with dense nashiji and signature MASAMITSU â&#x20AC;&#x201C; a known Meiji artist who worked in Shibayama, lacquer and silver. DIAMETER 28.1 cm Condition: Excellent condition. Miniscule wear to lacquer. Provenance: British collection. Estimate EUR 5.000,Starting price EUR 2.500,-

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138 | GYOKKENDO: A SHIBAYAMA AND SILVER KORO By the Gyokkendo company, signed Gyokkendo Japan, Meiji period (1868-1912)

Two gold lacquer medallions, each with an opulent flower still life inlaid in tortoise shell, coral, mother-of-pearl, stained ivory and gilt metal. The silver with neatly enameled, manifold floral borders. A rectangular cartouche at the base bears the signature GYOKKENDO. One silver hallmark is stamped to the lip of the vessel. Also note the two handles made in the shape of enameled maple leaves and the knob on the lid designed as a peony accompanied by its leaves. HEIGHT 14.5 cm Condition: Absolutely magnificent condition with minor wear, microscopic dents to silver, the knob on the lid a bit loose, only one (!) loss to inlays, minimal crackling to lacquer and tiny manufacturing irregularities. This author, in his 35-year career, has hardly ever seen such a koro in a comparably good state of preservation. Provenance: From a Croatian private collector. Acquired between 1970 and 2000. Estimate EUR 5.000,Starting price EUR 2.500,-

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139 | SHIBAYAMA YASUMASA: A MAGNIFICENT AND RARE SHIBAYAMA TRAY By Shibayamasa Yasumasa, signed Yasumasa Japan, Meiji period (1868-1912)

The décor consists of an assortment of Japanese collectibles as they would have been stored inside a curio or collector’s box. We see three large tusba of various shapes, all inlaid with different designs, an inro with its matching tsuishu lacquer Ojime and a Netsuke, Eguchi no Kimi, finely carved of ivory and mother-of-pearl. All of these collectibles are not only inlaid themselves, but the whole assortment is surrounded by floral sprays amid their vines and leaves, flying cranes and sparrows, all made of further finely incised inlays. The octagonal tray stands on four feet, the underside is entirely covered in gold lacquer nashiji, and the upside bears an elegant silver frame. Tsuishu lacquer cartouche to lower left with carved artist signature Shibayama Yasumasa. Extremely fine inlays of ivory, mother-ofpearl, tsuishu lacquer, horn, hardwood, tortoiseshell and coral, all above a gold lacquer ground in hira- and taka-zogan with nashiji. SIZE 34.1 cm x 23.6 cm Condition: Superb and absolutely original and unrestored condition. Very few microscopic losses, minor wear and traces of use, mostly to feet at backside. The silver frame bent and loose at one corner. An absolute rarity in this state of preservation. Provenance: British collection. For any collector of small fine objects like netsuke, inro and tsuba, this is a must-have acquisition! Shibayama Yasumasa was the grandson of the founder of the Shibayama school, Senzo Shibayama. He won prizes at the second and third Naikoku Kangyo Hakurankai (National Industrial Exhibitions) in 1881 and 1890 (see Tadaomi Goke, Julia Hutt and E. A. Wrangham, Meiji no Takara, Treasures of Imperial Japan: Lacquer, London, Kibo Foundation, 1995, Part 1, p.32 and Part 2, cat. nos.160,167). Auction result comparison: Compare with a pair of vases by the same artist, Shibayama Yasumasa, sold at Bonham’s London on November 9th, 2017, lot 295, sold for £ 93.750, - . Estimate EUR 15.000,Starting price EUR 7.500,-

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140 | A TANTO IN SUPERB IVORY AND SHIBAYAMA KOSHIRAE Japan, Meiji period (1868-1912)

The blade of the tanto with horimono incised on one side with a dragon chasing after a flaming tama. The reverse is decorated with plum (ume) blossoms. The koshirae is superb and made from ivory with dense and masterful inlays in Shibayama style of stained ivory, horn, silver, coral and mother of pearl. One side shows a long-tailed cockerel (nagatori) next to a gnarly tree and amongst dense leaves and blossoms. The handle shows a basket on top of a stand, the basket filled flowers and leaves, and a small bird is perched on the handle. The other side of the handle shows a hanging mother of pearl basket with many flowers and leaves fixed on the top by a bat ornament. The reverse shows a tranquil scene a pair of mandarin ducks (oshidori) swimming below dense blossoms. The area of the kashira and kojiri is finely incised with floral designs and scrolling vines. The inset and original kozuka is similarly decorated with flowers and leaves and shows the artist signature KIMPOSAI and seal. The kozuka blade is signed. LENGTH 34.6 cm Condition: SUPERB and original condition with no losses to inlays. Provenance: British collection. Auction comparison: A similar tanto was sold by Christieâ&#x20AC;&#x2122;s, Japanese Art & Design Including Arts of the Samurai, 9 November 2011, London, lot 267, sold for hammer price ÂŁ 25.000,-. Estimate EUR 15.000,Starting price EUR 7.500,-

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141 | A LARGE LACQUERED AND INLAID WALL PANEL WITH SENNIN AND TENGU Japan, Meiji period (1868-1912)

A large rectangular wood panel fitted at the back as a wall hanging and finely lacquered and inlaid with a scene of a tengu and sennin. The tengu is floating on a gold takamaki-e cloud, the details inlaid in ivory, wood and mother of pearl, and is presenting a tama to a sennin below him, who appears to be exchanging it for the tengu king Sojoboâ&#x20AC;&#x2122;s fan. This fan is made from seven feathers and is a symbol of Sojoboâ&#x20AC;&#x2122;s power. The sennin, seated underneath a large gold takamaki-e tree, is finely rendered and inlaid with sections of lacquered wood, fine ivory and mother of pearl. He wears an artemisia leaf cloak and holds a gnarly staff to which a basket is attached, containing reishi mushrooms. The reverse shows a lacquered tranquil scene of sparrows (suzume) and lilies. The frame is lacquered with geometrical designs and fitted with silver buttons on the four sides. SIZE 59.1 x 48.5 cm Condition: Excellent condition with minor wear as visible in the catalog illustration. Provenance: British collection. Estimate EUR 2.000,Starting price EUR 1.000,-

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142 | FUJITA: A CHERRYWOOD AND IVORY PANEL OF KIKUJIDO Signed Fujita Japan, Meiji period (1868-1912) SIZE 77 x 47 cm Finely inlaid with carved and incised ivory, root wood and motherof-pearl, this panel depicts the Chrysanthemum Boy reading a book while seated on the trunk of a gnarly plum tree, with a pair of flying suzume above and chrysanthemum flowers (kiku) at his feet. Artist signature FUJITA within an inlaid square seal. Note the fine patina and unctuous surface of the cherry (sakura) wood.

Condition: Excellent condition with some old wear, minor natural warping to some inlays and few traces of use. No losses to inlays! Provenance: British collection. Estimate EUR 2.000,Starting price EUR 1.000,-

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143 | A LARGE IVORY AND HINOKI WOOD PANEL Japan, Meiji period (1868-1912)

Finely inlaid with carved and incised ivory, stag antler and mother-of-pearl on Hinoki wood, this panel depicts peonies and marguerites amid their vines and leaves along with a flying butterfly. Note the staggering three-dimensional effect created by the high relief of the inlay. Fine patina to the ivory, which has nicely grown into a deep golden-yellow tone. Original hardwood frame with silver lacquer embellishments. SIZE 113 x 65 cm Condition: Excellent condition with some old wear, minor natural warping to some inlays and few traces of use. Very minor losses to inlays. Provenance: British collection. Old collector label to backside with manually inscribed inventory numbers. Estimate EUR 2.500,Starting price EUR 1.250,-

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144 | A SHIBAYAMA WALL PANEL Japan, around 1900, Meiji period (1868-1912)

Inlay work in high relief with ivory, partially stained, mother-of-pearl and horn, carved and incised in remarkable detail, depicting an obeisance scene with two noble man presenting a generalâ&#x20AC;&#x2122;s helmet to a Samurai riding on a horse. SIZE 31 x 27 cm (overall) Condition: Fine and fully original condition with wear, two or three minimal losses, some gaps related to aging. The current display of the inlays on a velvet ground is at least 80 years old but may still not be the primordial setting. The frame is a later addition. Provenance: From the collection of Georg Weifert (1850-1937). Thence by descent in the same family. Weifert was a Serbo-Austrian industrialist and the first governor of the Federal Bank of the Kingdom of Serbia, Croatia and Slovenia. Estimate EUR 1.500,Starting price EUR 750,-

Georg Weifert (1850-1937)

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145 | A VERY LARGE AND SPECTACULAR INLAID AND LACQUERED IVORY FAN WITH SHICHIFUKUJIN Japan, Meiji period (1868-1912)

The large fan consists of twenty-four leaves and masterfully lacquered in takamaki-e and inlaid on one side with an animated scene of the seven lucky gods (Shichifukujin). From left to right: Hotei is seated next to his treasure bag and exclaiming as he places his hand on his head, Jurojin is next to him playing the flute, Benten is seated playing the biwa, Bishamonten is next to her holding up a miniature stupa, Fukurukoju is dancing, Ebisu is seated holding up a sakazuki (sake cup) and Daikoku is seated below him next to a rice bale and holding his hammer. The center shows food offerings including a mother of pearl tai (sea bream), above a table with a vase lacquered in magnificent seido-nuri (imitating bronze) next to a scholarâ&#x20AC;&#x2122;s rock. The vase is filled with ornately blossoming flowers. The inlays are of stained ivory, horn, mother-of-pearl and coral. The reverse shows a lacquered scene of quails amidst a stream below many flowers, leaves and grasses. The guard is decorated with a

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scene of two boys on one side and lacquered and inlaid leaves and grasses below a descending goose. The fan is held together by a silver fitting with a tasseled cord attached to it and mounted with a thick ivory and Shibayama inlaid ojime. MAXIMUM SPAN 64 cm Condition: Superb condition with only very minor wear to lacquer. Provenance: British collection. Not only are fans of this quality and size incredibly rare, but the motif of Shichifukujin. Estimate EUR 10.000,Starting price EUR 5.000,-

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Details of lot 145

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146 | A FINE LACQUERED IVORY FAN Japan, Meiji period (1868-1912)

Consisting of twenty leaves and lacquered in fine gold and silver takamaki-e with an image of a pheasant, butterflies and dragonfly amongst flowers, grasses and leaves on one side. The reverse shows butterflies amongst chrysanthemum and peony flowers. The guard is finely decorated with Shibayama inlays. The fan is held together by a silver fitting with a tasseled cord attached to it and mounted with an ivory and Shibayama inlaid ojime. MAXIMUM SPAN 46 cm Condition: Excellent condition with miniscule associated wear. Provenance: British collection. Estimate EUR 3.000,Starting price EUR 1.500,-

Details of the other side of the fan

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Paintings

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Lots 147 to 150

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147 | NANMEI: A SPECTACULAR IVORY FOLDING FAN WITH FINE PAINTINGS By Haruki Nanmei (1795-1878), signed Nanmei with seal Japan, early Meiji period (1868-1912)

An elaborately and very finely crafted folding fan or ogi in 30 segments, each carved from ivory and some with a wavy shape. The two exterior segments are partly painted with gold lacquer and show fine Shibayama style inlays with a bird, beetle, butterfly, vines and fruit. The main side shows a large, dense landscape with a stream and very many pines, through which the snow-covered Mount Fuji shines in the center. An elderly man and two young Bokudo (ox herders) are shown, each playing the flute, and wood is being collected for the impending cold season. The other side shows a dense composition of a bamboo forest with a large group of sparrows, some flying and some still on branches. Both paintings are signed and show a red seal, corresponding to Haruki Nanmei. With string, tassles and a very fine satsuma gilt ojime. HEIGHT 27 cm, WIDTH 50 cm when opened Condition: Superb condition with expected minor creases from folding the fan. Provenance: From the private collection of a Corsican seafarer. Estimate EUR 3.000,Starting price EUR 1.500,-

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148 | A VERY LARGE AND IMPORTANT PAINTED WOODCUT PRINT DEPICTING THE DEATH OF BUDDHA (NEHANZU) Japan, dated 1830 (Bunsei 13th year), Edo period (1615-1868)

A very large and elaborately crafted hand-painted woodcut print depicting Nehanzu (the death of Buddha Shakyamuni, also known as paranirvana). The original woodcut was made by Matsubara Shogetsu in 1816 and was used as a template for this massive handcolored woodcut print. The coloring was commissioned by a group of eight votive donors (identified by name in an inscription to the back). The inscription in the lower center of the painting states that it is based on a treasure collection at the San’enji Temple which is better known as the Zojoji Temple, the Tokugawa shogunates’ family temple (Bodaiji in Japanese), Edo (Tokyo). The two inscriptions in the back read: “the 16th of the Seventh month, the year of tiger, in the 13th year of the Bunsei era (1830). This is for the repose of the soul of the deceased (tsuizen kuyo in Japanese), Votive donors’ names listed: Myorin-in, Keirin-in, Shokenin, Keikyo-in, Shojaku-in, Kyosho-in, Seishin-in, Chigen.” The work is a masterpiece utilizing two very different techniques. A massive (or many) woodblock(s) was required to craft this print. There are so many incredibly detailed figures and inscriptions that it would be simply impossibly to do this entirely by hand. The painting, as well, is of the highest quality. The painting shows Buddha in the center surrounded by beings from all dimensional planes, rakans, Bodhissatvas, heavenly beings, figures of the underworld and animals, all coming together to mourn Buddha Shakyamuni’s death. Painting only SIZE 176.4 x 96.6 cm, With mounting SIZE 250.5 x 126.2 cm Condition: Very good age-related condition – minor losses, creases, fading of colors, staining (as visible in the images provided). There are some water stains to the back, which are not visible in the front as the painting is backed on paper. Provenance: Collection of Irene and Wolfmar Zacken. Estimate EUR 12.000,Starting price EUR 6.000,-

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Preparatory drawing by Matsubara Shogetsu, dated Bunka 13 (1816). The original size of the woodcut print is 177.5 x 98.7 cm.

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149 | SESSON SHUKEI: A RARE PAINTING OF KINKO SENNIN Sealed Sesson and Shukei Japan, 16th century, Muromachi period (1336-1573)

A large and expressively painted image of Kinko Sennin (in Chinese Qin Gao) reading from a scroll and riding on a gigantic carp, the latter with a crazed expression with large eyes. The large dynamically painted tail of the carp swings above the head of the Sennin, as the pair emerge from the mist around them. Note the fine and wise expression of the immortal, and the finely painted fingers which hold the scroll. Framed under glass and set onto a European passe-partout. Satake Shukei (born Satake Heizo, 1504 – ca. 1589) was a Japanese Zen Monk painter from the Muromachi period, also known as the last great Muromachi ink painter. His painting style is influenced by ink paintings imported from China, his works being some of the earliest examples of ink painting in Japan, infused with traditional subjects imbued with a power and originality, so unique to Japanese painting. He was known to have painted Sennin, and another Kinko Sennin is in the collection of the Kyoto National Museum, designated as a culturally important object (Juyo Bunkazai). One square seal to the lower right reading SHUKEI and another pot-seal (tsubo-in) reading SESSON. Both seals are a close match to the artist’s seal repertoire, present on authenticated works in museum collections. SIZE (painting only) 130 x 53 cm, SIZE (with frame) 151.7 x 74 cm Condition: Very good age-related condition. The painting has been set onto a passe-partout. Expected creases, minor losses, fading coherent with the age and comparable works from the period. Provenance: German private collection acquired from Kunsthandel Klefisch in Cologne with an E-mail from Trudel Klefisch stating (translated from German): “A work with the signature of the ink painter Satake Shukei, who was known under his monk name Sesson, and lived between 1504-89(?). I have acquired the painting from Werner Funke in Cologne. Mr. Funke purchased the painting in 1975 from Henk Kouw, Prinzengracht 156, who had acquired it from a London collection.” Estimate EUR 15.000,Starting price EUR 7.500,-

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150 | MORI TANGYOKUSAI: A FINE KANO SCHOOL TWO-FOLD SCREEN By Mori Tangyokusai (ca. 1780-1840), signed Tangyoku hitsu and sealed Tosai no in Japan, Kano school, late 18th to early 19th century, Edo period (1615-1868)

Ink and color on paper, mounted as a small two-fold screen, delicately painted with a scene from the famous Chinese story of the Utopian Ideal World. Artist signature TANGYOKU hitsu (made by Tangyoku) and sealed Tosai no in to the lower left. SIZE 74 x 51.5 cm Condition: Fine condition with wear, soiling, creases and small losses. Minor repair work, mostly to background. The frame with extensive traces of use. Provenance: The present lot is accompanied by the original sale receipt from â&#x20AC;&#x2DC;H. Taniguchi Fine Art Curiosâ&#x20AC;&#x2122;, Kyoto, Japan, dated August 27th, 1964, for 5.000 Japanese Yen. A French private collector, acquired from the above. The frame retains its original bronze fittings and brocade mounting from the period. Estimate EUR 1.500,Starting price EUR 750,-

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IMPRINT

Publisher Galerie Zacke founded 1968 © SZA Versteigerungen & Vertriebs GmbH 1070 Wien Mariahilferstraße 112, Stiege 1, 2. Stock Austria, Europe Tel (0043-1) 532 04 52 Email: office@zacke.at Editors Lukas Zacke Marion Schor Experts Lukas Zacke Alexander Zacke Wolfmar Zacken Assistance Susanne Zacke Max Zacke Assistance with Signature Readings Mieko Gray Photography Georg Bodenstein Design Hermann Kienesberger Printing Gröbner Druck, Oberwart Website www.zacke.at © GALERIE ZACKE Reproduction forbidden

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