JAPANESE WORKS OF ART 日本美術 TUESDAY 23RD NOVEMBER 2021

Lot 1006 detail

SPECIALIST DEPARTMENTS Please dial +44 (0)1722 followed by the number listed below ASIAN ART VALUATIONS FOR INSURANCE \& PROBATE Jeremy Lamond MRICS ASFAV FRSA John Axford MRICS ASFAV 424506 Amanda Lawrence 424598 424509 Alexandra Aguilar 424583 GENERAL OFFICE Ruth Pike (Office Manager) 424500 Freya Yuan-Richards 424589 Sarah Bennie Megan Corbett Jeremy Morgan +44 (0)7812 601098 Leyanne Hind Debbie Mason-Smith Alana Ker Mercer 424591 Nicola Young Michelle Yu 424571 CHINESE PAINTINGS \& CALLIGRAPHY 424589 Freya Yuan-Richards 424571 Michelle Yu JAPANESE WORKS OF ART 424583 CASTLE GATE RECEPTION Alexandra Aguilar 424591 Sally Litherland Alana Ker Mercer MARKETING 20TH CENTURY DESIGN 424505 Chloe Davie 446959 Michael Jeffery 446955 446960 Zoe Smith ACCOUNTS Sharon Ringwood ENGLISH \& EUROPEAN CERAMICS \& GLASS 424507 Anna Gentleman Clare Durham 446964 Hollie Morrison BOARD OF DIRECTORS John Axford MRICS ASFAV FURNITURE, WORKS OF ART \& CLOCKS 411854 Chairman Mark Yuan-Richards 339161 Jim Gale 446974 Natalie Milsted FCCA Suzy Becsy Managing Director JEWELLERY ASSOCIATE DIRECTORS Alexandra Aguilar Marielle Whiting FGA 424595 Clare Durham Victor Fauvelle Jonathan Edwards FGAA (Consultant) 424504 Will Hobbs Michael Jeffery Charlotte Glyde FGA 424586 Jeremy Lamond MRICS ASFAV FRSA Rupert Slingsby Emily O’Donnell Marielle Whiting FGA Freya Yuan-Richards MEDALS \& COINS, ARMS \& ARMOUR 341469 Mark Yuan-Richards Ned Cowell Molly O’Reilly PAINTINGS 446961 Victor Fauvelle 446962 Ed Beer 446970 Hannah Farthing SILVER 424501 Rupert Slingsby 424594 Lucy Chalmers AFRICAN AND OCEANIC ART, 339752 Front Cover: Lot 1046 detail ANTIQUITIES Back Cover: Lot 1134 Will Hobbs Molly O’Reilly Catalogue £20.00 (£25.00 by post) Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU Tel: +44 (0)1722 424500 • www.woolleyandwallis.co.uk (£30.00 by post outside Europe) 2

JAPANESE WORKS OF ART 日本美術 TUESDAY 23RD NOVEMBER 2021 10.00am VIEWING Viewing in London (highlights) 17 Clifford Street, 2nd Floor W1S 3RQ Saturday 30th October 11.00am – 4.00pm JAPANESE ART 日本藝術品 Sunday 31st October 11.00am – 4.00pm Alexandra Aguilar +44 (0)1722 424583 Monday 1st November 11.00am – 4.00pm aa@woolleyandwallis.co.uk Viewing in Salisbury Alana Ker Mercer +44 (0)1722 424591 Saturday 20th November 10.00am – 1.00pm ak@woolleyandwallis.co.uk Monday 22nd November 10.00am – 5.00pm There will be no viewing on the morning of the sale. IMPORTANT CHANGES TO OUR BIDDING PROCEDURE LIVE ONLINE BIDDING - FREE OF CHARGE Please note that, owing to the recent introduction of Money Laundering Regulations, clients wishing to bid in this auction are 威立士網上競投 likely to be asked to provide two forms of identification. This applies to both new and existing clients. bid.woolleyandwallis.co.uk Please register by 12 noon on Monday 22nd November. BUYER’S PREMIUM See paragraphs 4 \& 5 of our conditions of business at the back of Instagram: @woolleyandwallisasianart the catalogue for additional charges on the final hammer prices. @woolleyandwallissalerooms Telephone Bidding Facebook: @woolleyandwallis Requests for telephone bidding may not be accepted after Twitter: @woolleywallis 12 noon on Monday 22nd November. 新浪微博 @艾思福 本公司提供免費網上即時競投，請在11月22日中午12點之前登錄 bid.woolleyandwallis.co.uk登記競投賬戶。 3

Lot 1117 detail

CHRONOLOGY OF JAPAN Jōmon Period Genroku Era 1688-1704 ca.10,000 BC-ca.300 BC An’ei Era 1772-1781 Yayoi Period Tenmei Era 1781-1789 ca.300 BC-552 AD Kansei Era 1789-1801 Asuka Period 552-645 Kyowa Era 1801-1804 Nara Period 645-794 Bunka Era 1804-1818 Heian Period 794-1185 Bunsei Era 1818-1830 Kamakura Period Tenpo Era 1830-1844 1185-1333 Koka Era 1844-1848 Muromachi Period Kaei Era 1848-1854 1333-1573 Ansei Era 1854-1860 Namboku-Chō Period Man’ei Era 1860-1861 1336-1392 Bunkyu Era 1861-1864 Genji Era 1864-1865 Momoyama Period Keio Era 1865-1868 1568-1615 Bunroku Era 1592-1596 Meiji Era 1868-1912 Keicho Era 1596-1615 Taisho Era 1912-1926 Showa Era 1926-1989 Edo Period 1615-1868 Heisei Era 1989-2019 Kan’ei Era 1624-1644 Reiwa Era 2019-present Kanbun Era 1661-1673 5

6

JAPANESE SILVER, BRONZE, IRON \& OTHER METAL WORKS OF ART LOTS 1001-1044 Lot 1026 detail 7

1001 1001 1002 1003 A JAPANESE SILVER THREE-TIERED JEWELLERY BOX signatures MEIJI PERIOD, 19TH OR 20TH CENTURY Of rectangular form and with a cloud-shaped loop handle to the top, decorated with thatched buildings by a lake to the front and a depiction of Mount Fuji to the top, the box opening to reveal three compartments lined in purple velvet, the side with a three character signature, the base stamped sterling 950, 10.5cm x 12.4cm x 9cm. £400-600 1002 A FINE JAPANESE SILVER KODANSU BY SHUZAN MEIJI PERIOD, 19TH OR 20TH CENTURY The small chest of typical rectangular form, all sides decorated with large flowering sprays of chrysanthemum, prunus, orchids and branches of bamboo, all emerging from behind clouds embellished with diamond patterns, the hinges and lock with delicate scrolling tendrils and with a cloud-shaped loop handle to the top, the doors opening to reveal four drawers in black lacquer, with small chrysanthemum-shaped handles and lined in red velvet, signed Shuzan koku, 15.8cm x 11.2cm x 13.7cm. (5) £2,400-2,600 1003 A SMALL JAPANESE SILVER BOX AND COVER MEIJI PERIOD, 19TH OR 20TH CENTURY The rectangular body decorated with a dense pattern of repoussé chrysanthemum flowerheads, the inside with dark wood linings, a three-characters mark to the base and the jungin (pure silver) mark underneath, 4.5cm x 6cm x 8.2cm. £300-500 1002 1001 1003 8 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1004 A FINE JAPANESE SILVER OKIMONO OF A MINOGAME MEIJI PERIOD, 19TH OR 20TH CENTURY The mythical turtle depicted with long seaweed growing from the top of its shell and trailing behind it, its head slightly turned to the left and with the eyes gilded, the underside realistically cast and inscribed with a four character signature for Ryubundo zo, 24.4cm. £2,500-3,500 Provenance: an English private collection, Somerset. See L Bordignon, The Golden Age of Japanese Okimono, pp.243-4 for another example of a silver minogame signed Ryuki. signature 9

1005 signature A TALL JAPANESE SILVER VASE BY HASEGAWA ISSEI MEIJI PERIOD, 19TH CENTURY The elegant quatrelobed body with an elongated tapered neck and raised on a short foot, each side decorated with a different bird including a crane, a magpie, a pair of ducks and a crow, the birds rendered in low relief and in various coloured metals, the base signed Issei koku, 30cm. £2,000-3,000 Provenance: from a lady of title, formerly the collection of Walter Green (1874-1965) and thence by descent. Green worked as a dentist and started practising in Ealing in 1896. He joined the British Dental Association and later served as Vice President. He was one of the first to use the Bilateral Sagittal Split Osteotomy procedure and he became the first dental surgeon to be appointed to the King Edward VII Memorial Hospital. Hasegawa Issei (also known under his artist’s name of Gyokutosai) was an important silversmith working in Asakusa, Tokyo. He found fame during the Meiji era and his designs became popular in the West after he took part in international exhibitions including the Chicago Columbus Exposition (1893), the Liège Exposition (1905) and the Paris Exposition Universelle (1900). Several of his works are on display at the Kyoto Sannenzaka Museum. Cf. Meiji no Takara, The Nasser D. Khalili Collection of Japanese Art, Metalwork, Part I, no.66 and Part II, no.130 for other works by Hasegawa Issei in the Khalili Collection. Walter Green (1874-1965) 10 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1006 signatures A FINE JAPANESE BRONZE OKIMONO OF SANKOCHO BIRDS BY KOYAMA YUKIMITSU MEIJI OR TAISHO PERIOD, 20TH CENTURY The two paradise flycatchers perched on a flowering branch of paulownia, the plumage of the long-tailed birds embellished in gilt and russet, the eyespots at the end of their feathers inlaid, and their eyes gilded; the branch bearing large leaves and with silvered paulownia flowers blooming beside them; together with the original tomobako wood box, the front inscribed Kirinoki so Sankocho okimono (a pair of Sankocho birds okimono on a paulownia base), the reverse signed Koyama Yukimitsu with a seal mark reading Mitsu, the interior with a drawer divided into two compartments for the birds, 27.7cm x 36cm. (6) £2,800-3,200 11

1007 A JAPANESE SILVERED BRONZE OKIMONO OF TWO GEESE BY CHIKAYOSHI MEIJI PERIOD, 19TH OR 20TH CENTURY Both realistically rendered, their beaks, eyes and legs picked out in gilt, one leaning forward whilst the other stretches out its neck and flaps its wings, the taller one with a rectangular cartouche underneath reading Chikayoshi saku, the birds raised on a black lacquer stand, 30cm overall. (3) £800-1,200 signature 1008 signature A JAPANESE PARCEL-GILT BRONZE PANEL MEIJI PERIOD, 19TH OR 20TH CENTURY Depicting a large bird of prey precariously perched on a rock, with large crashing waves and a small fish emerging from the water beside it, the head of the majestic bird and other elements rendered in high relief, an oval cartouche to the lower left corner inscribed Hidekazu/ Shuichi with kao, in a wooden frame carved as two dragons on either side of the hoju-no-tama sacred jewel, 32.5cm x 44.5cm overall. £800-1,200 12 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1009 A RARE AND MASSIVE JAPANESE SILVER BRONZE OKIMONO BY GENRYUSAI SEIYA MEIJI PERIOD, 19TH CENTURY Depicting an impressive cockerel, the bird naturalistically modelled with gilt bronze legs and pupils, the claws and long tail feathers rendered in shakudo, the comb and wattle in red patinated bronze, the details of the plumage rendered in kebori, signed in a rectangular cartouche beneath the long tail Dai Nihon Genryusai Seiya zo (Great Japan, made by Genryusai Seiya), raised on a wood base carved as a rocky outcrop, the bronze 75cm, 89cm overall. (2) £8,000-12,000 Provenance: an English private collection, the property of a gentleman; purchased in the 1990s from PAN Amsterdam art fair. See Zacke, Vienna, Asian Art Discoveries Days 1 - Japanese Art, 21st January 2021, lot 13, for another model of a chicken by Seiya measuring 23cm. Also, see Bonhams, London, Meiji Modern Design, 11th June 2003, lot 476 for another tall cockerel signed Masatsune. Cf. Meiji no Takara, The Nasser D. Khalili Collection of Japanese Art, Metalwork, Part II nos.104-5 for two other cockerels by Masatsune. Also, see L Bordignon, The Golden Age of Japanese Okimono, pp.252-3, for another example signed Hanehiroya sei. signature 13

1010 1011 A JAPANESE MIXED METAL VASE A PAIR OF JAPANESE BRONZE CANDLESTICKS MEIJI PERIOD, 19TH CENTURY MEIJI PERIOD, 19TH CENTURY The baluster body with dragon-shaped handles applied to the shoulder, one Both cast with a dragon coiling around the stem decorated with leiwen side decorated with two bats in flight underneath wisteria, the other with patterns, raised on a stepped base and with a foliate wax pan, with further two sparrows underneath further blossoms, with bands of scrolling tendrils bands of key fret and archaistic designs, both 24.8cm. (2) and geometrical designs above the foot and below the rim, the decoration rendered in mixed metal including silver and gold inlays, the animals depicted £250-350 in low relief, 23.5cm. Provenance: an English private collection, Somerset. £400-600 1012 1013 A SMALL COLLECTION OF JAPANESE MIXED METAL BOXES AND A SMALL JAPANESE METAL BOX AND COVER COVERS MEIJI PERIOD OR LATER, 20TH CENTURY MEIJI PERIOD, 20TH CENTURY The hinged lid decorated with a small owl perched on a flowering branch of The first of circular shape, the lid decorated with a crane in flight above prunus, the full moon behind it, the sides with chrysanthemum flowerheads large lotus leaves and flowers; the two others of rectangular form and with floating amongst waves, the inside with thatched buildings in a landscape, hinged covers, the largest decorated with Otani Furuinosuke fighting a giant signed, 2.8cm x 6.3cm x 3.9cm. wild boar, the front and back inlaid with parcel-gilt copper plaques depicting further legendary figures, the other box with two cranes flying before Mount PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Fuji, all unsigned, 7.8cm max. (4) £80-120 £300-500 14 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1014 A PAIR OF JAPANESE ENAMELLED BRONZE AND SILVER VASES MEIJI PERIOD, 19TH CENTURY Both with a bulbous body, raised on a scalloped foot and with a tall neck, decorated in enamels, gold and silver on the bronze ground with a continuous design of chickens amongst flowers and other plants, the base of each neck with a cloisonné enamel band of two confronting ho-o birds and a paulownia mon, the necks and feet with elegant scrolling designs and stylised flowers embellished with polychrome enamels, both signed in a gilt rectangular tablet underneath, both approx. 26.5cm. (2) £1,000-1,500 Provenance: a London private collection, acquired in the early 20th century and thence by descent. signatures 1015 1016 A LARGE JAPANESE RECTANGULAR JARDINIERE A JAPANESE RECTANGULAR JARDINIERE MEIJI PERIOD, 19TH CENTURY MEIJI PERIOD, 19TH CENTURY Raised on four curved legs and with two scrolling handles, the sides cast with Decorated in archaic style, the feet formed as stylised lion heads and with a dragon, a minogame, a kirin and a phoenix, the four mythological animals monster-shaped handles, the sides cast to one side with a mythical creature amidst clouds, waves, and a leiwen ground, the base with and to the other with a bird perched on a fruiting branch on a leiwen ground, a nine characters seal mark reading Dai Nihon Bunsei chu, 12cm x 40.5cm x 22.8cm. 12.4cm x 48.5cm x 26.2cm. £200-300 £300-500 Provenance: an English private collection, Somerset. Provenance: an English private collection, Somerset. signature 15

1017 1018 A PAIR OF JAPANESE CLOISONNE VASES A JAPANESE CLOISONNE BOX AND COVER MEIJI PERIOD, 19TH CENTURY MEIJI PERIOD, 19TH OR 20TH CENTURY The flattened ovoid bodies each raised on a splayed foot, the sides decorated The lid decorated with a pair of chickens and a small butterfly above them, with elegant designs of butterflies fluttering above flowers on a dark with white lilies to their side and other flowers, on a robin’s egg blue ground, navy-blue ground, each vase with colourful bands of lappets above the foot the sides with chrysanthemum flowerheads and scrolling tendrils on an olive and under the neck, the rims with metal mounts, both 15.2cm. (2) green ground, 5.3cm x 8.9cm x 12.1cm. (2) £400-600 £400-600 1019 1020 A JAPANESE LACQUER BOX AND COVER A PAIR OF JAPANESE CLOISONNE VASES MEIJI PERIOD, 19TH OR 20TH CENTURY MEIJI PERIOD, 19TH CENTURY The rectangular body and lid decorated with a continuous design of Of cylindrical form, both decorated with continuous designs of many dandelions and other leafy sprays in gold nashiji and takamaki-e lacquer on butterflies flying amongst flowering peonies on a bright blue ground, the a black ground, some petals highlighted with minute mother of pearl inlays, necks embellished with a band of writhing dragons amongst scrolling clouds, unsigned, 5.8cm x 11.2cm x 14cm; together with a rectangular cloisonné tray the design rendered in silver, gold, and brass wires, both 31.8cm. (2) with a writhing dragon, the reverse with paulownia, 18.2cm x 12.6cm. (3) £400-600 £200-300 16 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1021 signature A TALL JAPANESE CLOISONNE VASE BY HAYASHI KODENJI (1831-1915) MEIJI PERIOD, LATE 19TH CENTURY The square-section body decorated with a continuous design of seven sparrows in flight and perched amongst prunus blossoms, with leafy branches of maple below, the decoration rendered in polychrome enamels and silver and gold wires, all on a deep midnight-blue ground, with ornate bands of jewels, cash, and other geometric designs to the neck and footrim, with copper mounts and lining, the base stamped and inscribed Nagoya Hayashi saku (made by Hayashi of Nagoya), 31.3cm. £800-1,200 Provenance: from the collection of Joseph Gordon (d.1969), of Randolph Crescent, Edinburgh, and thence by descent. 17

1022 1023 A JAPANESE MIXED METAL KOGO BY INOUE OF KYOTO A JAPANESE MIXED METAL VASE MEIJI PERIOD, 19TH CENTURY MEIJI PERIOD, 19TH CENTURY The cover of the incense box decorated with a butterfly fluttering above The baluster body decorated with tall irises emerging from shallow waters, daisies and peonies, the design rendered in low relief with gilt, silver and with two cranes in flight above, the decoration in low relief and rendered in shibuichi, with gilt mounts to the rims, the round body stamped to the mixed metals including gold and silver, the side incised base with Dai Nihon Saikyo ju Inoue sei (Great Japan, made by Inoue of with three characters for Kowa and the base with a West Kyoto), 12.1cm. (2) silver seal mark for Kanyu, 23.5cm. £800-1,200 £2,000-2,500 See Christie’s, New York, Japanese and Korean Works of Art, signature signatures 22nd September 2004, lot 221 for a related box and cover by Inoue. 1024 1025 A JAPANESE MIXED METAL VASE A JAPANESE MIXED METAL KOGO BY NISHIMURA MEIJI PERIOD, 19TH CENTURY MEIJI PERIOD, 19TH CENTURY The small bulbous body raised on a short foot and decorated with a goose in The cover of the box decorated with a couple in a luxuriant garden, the flight before a silver moon, the bird’s plumage rendered in a variety of metals design rendered in low relief with gilt and silver inlays on the including copper and silver on the gilt bronze bronze ground, the round body stamped to the base with Kyoto ground, the side incised with a two character Nishimura sei (Made by Nishimura of Kyoto), 14.3cm. (2) signature and the base with a circular mark for £400-600 Iida sei, 12cm. signature £1,000-1,500 signatures 18 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1026 A FINE JAPANESE MIXED METAL KOGO BY INOUE OF KYOTO MEIJI PERIOD, 19TH CENTURY The cover of the box decorated with a dynamic scene of figures caught in a storm and running for cover, including one woman with a small child on her back shielding herself with a broken paper umbrella; a sarumawashi, the monkey trainer carrying his pet on his shoulders whilst crossing a small bridge; with lightning bolts emerging from menacing clouds towards a thatched hut and a leaning pine, the design rendered in relief with a variety of metals including gilt bronze, silver and shibuichi, the round body signed to the base Saikyo Inoue sei (made by Inoue of West Kyoto) and with a gold seal for Fusahiro, 19.7cm. (2) £1,800-2,200 signature 19

1027 A JAPANESE BRONZE OKIMONO OF DARUMA MEIJI PERIDO, 19TH OR 20TH CENTURY The Father of Zen Buddhism depicted standing, wearing long robes covering his head and revealing his chest, raised on an associated wood stand carved as a rocky outcrop, the bronze 13.5cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £200-300 1028 THREE JAPANESE BRONZE OKIMONO MEIJI OR LATER, 19TH OR 20TH CENTURY The first cast as Daruma, the Father of Zen Buddhism wrapped in his long robes and with a thoughtful look, the base incised with three characters; the other models depicting a small hare and two tortoises, both unsigned, 14.5cm max. (3) £300-500 1029 A JAPANESE BRONZE OKIMONO OF AN ELEPHANT MEIJI PERIOD, 19TH CENTURY The pachyderm standing four-square and with its head slightly turned to the right, the rough texture of its thick skin realistically depicted and with a benevolent expression, signed underneath one foot, possibly Izumi, together with a wood stand, 38cm. (2) £400-600 Provenance: an English private collection acquired circa 1900 and thence by descent. 20 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1030 λ A JAPANESE BRONZE OKIMONO BY GENRYUSAI SEIYA MEIJI PERIOD, 19TH CENTURY The pachyderm fending off the attack of two tigers, its front leg lifted and about to crush one feline whilst the other clambers upon its back, with ivory tusks and inscribed to the belly Seiya zo for Genryusai Seiya, together with a wood base, 28.5cm wide. (2) £1,000-1,500 Provenance: formerly a Russian private collection, and thence by descent. 1031 A JAPANESE BRONZE OKIMONO MEIJI OR TAISHO PERIOD, 20TH CENTURY Cast as a small boy sidesaddle riding a large stallion, holding the horse’s mane whilst resting his other hand on its croup, he wears modern clothes and a wide brimmed hat, the underside with a two character signature for Hozan, 41cm. £300-500 Provenance: an English private collection, Somerset. 1032 λ A JAPANESE BRONZE OKIMONO OF AN ELEPHANT BY GENRYUSAI SEIYA MEIJI PERIOD, 19TH CENTURY The pachyderm standing four-square and with its trunk raised, its tusks in ivory and signed to the belly Seiya saku for Genryusai Seiya, together with a wooden base, 34.5cm. (2) £500-1,000 Provenance: formerly a Russian private collection, and thence by descent. 21

1033 1034 A PAIR OF JAPANESE BRONZE QUAILS BY ATSUYOSHI FOR THE A JAPANESE BRONZE OKIMONO OF TORTOISES BY KOSE MARUKI COMPANY MEIJI PERIOD, 19TH OR 20TH CENTURY MEIJI PERIOD, 19TH CENTURY Both realistically cast, the larger animal with its right leg forward as if slowly stepping away, its young climbing on its side, a three-character mark incised The two plump birds realistically depicted standing, one sleeping with its underneath reading Kose saku, 17cm. beak buried in its breast feathers, the other with its head slightly turned to £1,300-1,500 the left, each signed underneath Atsuyoshi saku and Maruki sei, 10.3cm and 8cm. (2) signature £1,500-2,000 Provenance: from the collection of Colonel R B Cousens (1898-1943), acquired in Hong Kong in the 1930s. signatures 1035 A JAPANESE BRONZE OKIMONO OF A MONKEY AFTER TAKAMURA KOUN (1852-1934) MEIJI PERIOD OR LATER, 20TH CENTURY Realistically modelled, the primate sits on a rock and turns to his right in an inquisitive manner; he holds three large feathers in his left hand, possibly belonging to the bird he is gazing at; the base with an illegible impressed mark, possibly for Koun, 27cm. £400-600 Provenance: an English private collection, Somerset. This bronze is modelled after the famous wood carving entitled signature ‘Aged Monkey’ by Buddhist sculptor Takamura Koun. The original is over a meter tall and was displayed at Chicago’s World Fair in 1893, where it won the Outstanding Performance Award. It is today on display at Tokyo National Museum. 22 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1036 A JAPANESE BRONZE HANGING KORO MEIJI PERIOD, 19TH CENTURY The incense burner cast as an eagle in flight, fitted with chains for suspension, the wings removable, the underside adapted with a lamp fitting, approx. 54cm wide. £200-300 1037 signature A JAPANESE BRONZE OKIMONO OF A TIGER MEIJI PERIOD, 19TH OR 20TH CENTURY The feline baring its fangs in a snarl, its glass eyes menacingly fixed on an invisible prey before it; the big cat stands on a large base shaped as a rock with vegetation growing to the side, with an indistinct three character mark to the back of the stone, 50cm across. (2) £600-800 Provenance: an English private collection, Somerset. 1038 A PAIR OF JAPANESE BRONZE SHISHI EDO PERIOD, DATED 1660 The two male lion dogs both seated on their haunches, their heads turned towards each other, one with a tall horn on its forehead and the other with its mouth open and baring its teeth, both with scrolling manes and tails, each inscribed with a three-line dedication to its chest and forelegs, 29cm and 32cm respectively. (2) £300-500 23

1039 signature A RARE MYOCHIN INLAID IRON KORO EDO OR MEIJI PERIOD, 19TH CENTURY The incense burner of rectangular form and decorated with Fudo Myoo and his two attendants Kongara and Seitaka, the powerful King of Immutable Wisdom and Vanquisher of Evil holding the kurikara (devil-subduing) sword and a lasso to catch and bind up the wicked; the God and his acolytes surrounded by the halo of flames that destroys ignorance; the opposite side with a large shishi clambering upon a rock; the other sides each with a long-tailed bird in flight holding a knotted cord in its beak, and a large chrysanthemum flower underneath; the cover decorated with geometric patterns and shaped apertures for the smoke to escape, the underside of the lid with a cut-out design of a similar bird; all raised on four legs shaped as archaistic monsters, the handles to the side with further stylised creatures suspending loose rings; the decoration rendered in low relief and with details inlaid in silver and gold, inscribed Myochin ki Munenori beside Fudo Myoo to the front, 40cm. (3) £20,000-25,000 Provenance: sold in these rooms, Asian Art II, 18th May 2016, lot 810. Myochin Munenori is recorded as a retainer of the Lords of Tsuchiya, in the province of Hitachi. He also used the name Yukiye. Munenori is particularly known for his kabuto (samurai helmets) which makes this incense burner particularly unusual. It is possible that the koro was a unique and special commission for a wealthy client. reverse 24 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

25

1041 1042 1044 1043 1040 1043 A JAPANESE MAGARI YARI (THREE-PRONGED SPEAR) THREE JAPANESE GOLD INLAID SHAKUDO TSUBA EDO PERIOD, 18TH OR 19TH CENTURY EDO AND MEIJI PERIOD, 19TH CENTURY The long pole decorated with scrolling tendrils and sixteen-petalled The largest of otafuku gata quatrelobed shape with a shakudo chrysanthemum mon, in gold lacquer hiramaki-e on the black roiro fukurin rim, decorated with gold snow flakes on a ground of leafy ground, 208cm. tendrils in low relief, the cloud-shaped openings with gold rings applied to the rims; the two others of maru gata circular form, the £500-600 largest with fan-shaped panels variously enclosing waves, flowers and other plants; the smallest tsuba with prunus flowers floating 1041 on crashing waves, 7.9cm max. (3) A JAPANESE TANEGASHIMA (MATCHLOCK CARBINE) EDO PERIOD, 18TH OR 19TH CENTURY £300-500 With an iron octagonal-section barrel inlaid with a writhing dragon 1044 in gilt, the wood stock decorated with scrolling tendrils and TWO JAPANESE PARCEL-GILT BRONZE TSUBA circular mon in gold hiramaki-e on the black roiro lacquer ground, EDO OR MEIJI PERIOD, 18TH OR 19TH CENTURY with many metal elements shaped as prunus and chrysanthemum flowerheads, 130cm. Both with a quatrelobed body, the first depicting playing cards from the hyakunin isshu uta karuta game scattered on a ground of £2,000-3,000 chrysanthemum flowers, the other illustrating the story of Choryo and Kosekiko, both with details highlights in gilt, both unsigned, 1042 6.5cm and 6.7cm. (2) TWO JAPANESE IRON TSUBA EDO PERIOD, 17TH CENTURY OR LATER £300-500 The first Higo School tsuba in the style of Hayashi Shigemitsu Half the cards from a hyakunin isshu uta karuta game set depict (1652-1729), with an openwork design of a moon crescent famous Japanese poets, and the other half is painted with calligraphy. above flowering branches of prunus, ume ni mikatsuki, in a kiri The aim of the game is to associate the authors with their writings. wood box; the other of oval shape with four stylised pines The other tsuba depicts the story of Choryo and Kosekiko: Choryo was growing at the corners, their roots highlighted with gold inlays, a hero who met an old man named Kosekiko on a bridge. The wise man 7.6cm and 7.7cm. (3) began to teach him the art of war. One day, Kosekiko decided to test Choryo and threw his shoe into a river where a powerful water dragon £400-600 lived. The dragon seized the shoe, but Choryo defeated it, and he gave the shoe back to Kosekiko. 1040 26 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

original engravings 1045 TWO JAPANESE LACQUER MEDALLIONS ON COPPER OF FAMOUS EUROPEAN FIGURES EDO PERIOD, LATE 18TH CENTURY The first a portrait of François-Marie Arouet, better known as Voltaire (1694-1778), the French Enlightenment writer depicted half-length with his name written above, the reverse inscribed ‘DE VOLTAIRE Né à Paris en 1694’, the other plaque decorated with the head of Emperor Constantine II (337-340), his name and titles also written above, the reverse with another long inscription about the Roman ruler, both portraits rendered in gold hiramaki-e on the deep roiro black lacquer ground, both with a ring for suspension to the top, 14.3cm x 14.5cm. (2) £1,400-1,600 The designs for both medallions are taken from European engravings, many from the 18th century encyclopaedic work L’Europe Illustrée, which would have been sent to the Japanese workshops to be copied. The trend for portraits of famous figures was also embraced by Josiah Wedgwood who produced them both in blue jasper and black basalt. See O Impey and C Jörg, Japanese Export Lacquer (1580-1850), pp. 48-57 and pp.216-217 for further examples of medallions depicting European figures. reverse 27

28

29

1046 A RARE AND IMPORTANT JAPANESE LACQUER CABINET FOR THE DUTCH MARKET EDO PERIOD, C.1680 Of rectangular form with a flat top, the sides and front embellished in gold, silver, brown and red lacquer hiramaki-e on a deep black roiro ground with a continuous design, the large panels depicting a complex scene of many figures in a mountainous river landscape; the left side with a rare depiction of the island of Dejima, a three-masted fluyt (cargo ship) sailing toward it, flying the tricolour flags of the Dutch East India Company and the stern with a small monogram reading VOC. The right-hand side of the panel depicts a busy street of Nagasaki leading to the Dutch island, with many figures in traditional garments engaged in daily life; a small wooden bridge leads to the fan-shaped artificial island, three Dutch men are visible outside the buildings and two Japanese figures sit in seiza in a small hut in the centre, probably guards. Japanese boats sail in the distance, and a four-storey pagoda with many birds flying above are visible behind. The front doors are decorated with a long procession, the many travellers on foot and on horseback, three of the horse riders dressed as Dutch merchants and a fourth figure, probably the Opperhoof (chief trader), is seen in a palanquin. Many Japanese figures on either side of the procession are engaged in various activities: some play musical instruments on board of small boats, others are fishing; figures inside buildings are depicted playing go, and farmers to the side are tending to their rice paddocks. The upper half of the right door depicts a large mansion, probably the local daimyo’s castle, with men kneeling before another figure in the central courtyard. The right side of the cabinet is painted with further horse riders and their retinue journeying through mountains. The pair of doors to the front open to reveal eight rectangular drawers and two further doors with escutcheons; the cabinet is decorated to the inside with scenes of many birds in flight in further mountainous river landscapes, the reverse of the left door with two thatched buildings, one with a ladder, underneath a camellia tree with large blooms; the right door with a three-storey pagoda nestled amongst trees; with some details rendered in raised takamaki-e; the cabinet with elaborately engraved metal clasps and lock plates, together with the original key, raised on a later European Japanned wood stand, the cabinet 88cm x 100.5cm x 54cm. £40,000-60,000 Provenance: an English private collection formerly at Cliff Avenue, Cromer, Norfolk since the 1950s and thence by descent. Believed by the family to have been purchased from Margaret Jane Barclay (1861-1958) of Herne Close, Cromer, together with the entire contents of her house. Margaret’s ancestor James Barclay (1708-66) established the Barclays banking dynasty. It is likely that the cabinet was purchased by Margaret’s father, Joseph Gurney Barclay (1816-98), who built Herne Close as a holiday house and furnished it. Joseph was one of the wealthiest members of the Barclays family, leaving many properties and a fortune of £900,000 to his children after his death. Detail of the left side panel showing Dejima View of Dejima. Pieter van der Aa, La Galerie agreable du monde, 1729. Royal Collection Trust RCIN 1021721 The Dutch East India Company or VOC (Vereenigde Oostindische Compagnie) had an exceptional position in 17th century Japan. On 24th August 1609, Jacques Specx (the first chief merchant or Opperhoofd) was given the permission to trade by the Shogun, Tokugawa Ieyasu. After the Portuguese were expelled from the country, the Dutch became the only Europeans allowed to trade there. In 1634, the artificial fan-shaped island of Dejima became their trading post. The island was only 185 meters long and the VOC had to pay about £150,000 per year for it. There was only one bridge connecting it to the shore which gave local authorities control over the Westerners. There was a maximum of twenty Dutch people living on the island at any time, and -officially- none of them were soldiers or women. Detail of the left side panel showing a Dutch ship (fluyt) with VOC monogram 30 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

31

Detail of the right side panel showing the procession Detail of the front panel showing the Opperhoofd or VOC Chief merchant Restrictions on Dejima were tight and the merchants were only allowed to leave the island by special permission. The Chief Opperhoofd could only stay on Dejima for a year, and each new one had to go to the capital of Edo to pay tribute to the Shogun and obtain permission to keep on trading. At first, they would travel with gifts once a year, but later this audience was only required once every four years. The procession (the Hofreis) would include the Opperhoofd (depicted here in a norimono palanquin), his secretary and his physician. The Dutchmen on this cabinet are easily recognisable, wearing Western outfits and wide-brimmed hats. The Dutch travellers were treated like local daimyo lords, who also had to pay tribute to the Tokugawa leader and undertake regular trips to Edo under the sankin kōtai (alternate attendance) system. One can only imagine the spectacle this procession would have been for local people, and many are depicted here stepping out of their houses to observe the foreigners. European collectors would have been familiar with some of the decorative elements often encountered on these lacquer pieces for export, including combinations of the ‘seven grasses of autumn’ and other blooms such as chrysanthemum, magnolia and peonies. The decoration with many figures engaged in daily activities is reminiscent of rakuchu rakugai zu (Scenes in and around the Capital), a style of paper screens decorated with bird’s eye views of the busy streets of the old capital of Kyoto. The Japanese figures here are depicted fishing, playing musical instruments on boats, tending to their fields, playing go, and paying tribute to the local lord. Japanese lacquer cabinets such as lot 1046 were very expensive and as such, they were seen as a luxury item worthy of European courts. This cabinet is a good example of the type of export lacquer popular in the 17th century for its decoration of mountainous river landscapes. The shape is adapted from earlier Portuguese and Spanish escritórios or bargueños concealing many drawers of various sizes. Detail of the front panel showing a similar cabinet being transported 32 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

Inner drawers Japanese lacquer was a luxury commodity, and it became even more sought-after when Japan restricted relations with the rest of the world after 1639. Some of the most prestigious commissions for these high-quality lacquer cabinets include Cardinal de Mazarin’s order for sixty coffers and cabinets in 1661, largely decorated with landscapes and figures. One of these magnificent coffers is now on display at the Victoria \& Albert Museum, access. no.412:1, 2-1882. The Dutch Royal Collections also include a pair of important Japanese lacquer cabinets with depictions of Dejima and the Chief merchant travelling to Edo for the Hofreis. These cabinets were possibly a gift to Amalia van Solms (1602-1675), an avid Japanese art collector and lover of lacquerwares. Japanese cabinets depicting Dutch merchants would have been appropriate presents to the wife of the Stadtholder. This very expensive pair of cabinets were probably commissioned by the Company or by one of the VOC Chambers; however, there is no documentation recording the orer. The unusual depictions of the Opperhoofd and the Hofreis on lot 1046 suggest that the cabinet was also a special commission for Dutch nobility or a high-ranking VOC official serving in the Dutch East Indies. Cabinet in the Dutch Royal Collection with comparable decoration, access no.HtB 01190 33

CHINESE CERAMICS FOR THE JAPANESE MARKET, EARLY JAPANESE PORCELAIN, KOREAN, SATSUMA \& LATER WARES LOTS 1047-1091 34

Lot 1052 detail 35

1047 Catalogue of the Chinese Exhibition, National Gallery of South Africa, 1953 A RARE CHINESE BLUE AND WHITE SHONZUI-STYLE ‘ZODIAC’ DISH FOR THE JAPANESE MARKET CHONGZHEN, 1628-44 The well painted with three figures in a boat encircled by the Twelve Earthly Branches, within bands of key fret and loops, the crenellated border decorated with a band of diaper designs and cash, the reverse with irregular leaf motifs radiating from the foot, a six character Jiajing mark in underglaze blue, with a paper label for the South Africa National Gallery Chinese Exhibition 1953, no.203, 14.9cm. £2,000-3,000 Provenance: from the collection of G R A Murray and thence by descent. Exhibited: National Gallery of South Africa, Cape Town, Chinese Exhibition, 1953, no.203. See Kaikodo, New York Asia Week 2018, for a shonzui dish with a comparable central pattern of three figures on a boat surrounded by the characters of the zodiac and a ring of key frets. The Twelve Earthly Branches are sometimes used as a circular pattern on Swatow wares of the same period as this dish. The unusual crenellation on the other hand may be inspired by a European silver shape. reverse 36 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

37

1048 A CHINESE BLUE AND WHITE SHONZUI-STYLE ‘HARE’ DISH FOR THE JAPANESE MARKET TIANQI 1621-27 The well decorated with a central medallion enclosing a plump rabbit within four radiating fan-shaped panels, variously painted with key fret, scales, cell diaper, or Y-pattern, with four cash symbols to the cavetto and a border of formal scrolling tendrils, the rim with typical mushikui frits, the underside with two flower sprays and butterflies, inscribed Da Ming Chenghua nian zhi to the base, 20.5cm. £1,500-2,500 Cf. Princessehof Museum, Chinese Porcelain, The Transitional Period (1620-1683): a selection from the Michael Butler Collection, p.29, no.17, for a comparable dish. Also, see Christie’s London, The Peony Pavilion Collection: Chinese Tea Ceramics for Japan (c.1580-1650), 12 June 1989, lot 219 for another example. The authors explain that the style is in the manner of shonzui wares, with complex geometric patterns. 1049 TWO CHINESE KO-SOMETSUKE DISHES FOR THE JAPANESE MARKET TIANQI 1621-27 Both decorated in underglaze blue with a deer underneath a pine, a crane in flight above, the rims with typical mushikui frits and both raised on a short foot, one dish inscribed Da Ming Chenghua nian zhi to the base, 20.8cm and 20.4cm. (2) £600-800 Crane, deer and pine are all symbols of longevity and were depicted on these dishes for their auspicious meaning. 38 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1050 A CHINESE KO-AKAE DISH FOR THE JAPANESE MARKET CHONGZHEN (1628-44) The well decorated with the lone figure of a luohan carrying a bundle of books on a staff balanced over his shoulder, the monk gazing at the crashing waves before him, with a flowering prunus behind and a red sun amongst wispy clouds above, the decoration painted in underglaze blue and overglaze polychrome enamels; the rim with a brown edge and the base with a fuku mark, 21cm. £1,000-2,000 See Christie’s London, The Peony Pavilion Collection: Chinese Tea Ceramics For Japan, 12th June 1989, lot 316 for a closely related dish inscribed underneath tian xia taiping (Peach under Heaven). Also, see Tokyo National Museum, Catalogue of Chinese Ceramics, p.136 no.564 for another example in the museum collections. 1051 A SQUARE-SECTION INCENSE BURNER AND COVER 17TH OR 18TH CENTURY Possibly Japanese, each side painted with a square panel variously enclosing a spray of peony, millet, a deer and butterfly, and a bird in flight by a pine amongst scrolling clouds, with borders of stylised flowers and leafy tendrils, the Japanese metal cover with apertures shaped as prunus blossoms and maple leaves, 8cm overall. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £100-200 39

1052 A RARE AND MASSIVE JAPANESE ELEPHANT KORO (INCENSE BURNER AND COVER) EDO PERIOD, LATE 17TH OR EARLY 18TH CENTURY The large pachyderm depicted standing four-square, its head lowered and with its trunk curled to the right, a gentle expression on its face; the surface with an unctuous creamy white glaze with a blue tinge; with some remnants of cold-painted decoration, possibly depicting a beaded caparison; the cover with a double row of apertures for the smoke to escape; the underside of the cover and the animal inscribed with lines of calligraphy in kanji and katakana, possibly reading Kobayashi and Haruto XIX, 31cm x 38cm, 11.5kg. (2) £1,000-2,000 Provenance: an English private collection, Suffolk. Early Japanese porcelain models of animals are very rare, and this elephant appears to be unrecorded. The names inscribed underneath may relate to worshippers donating the incense burner to a local temple, as seen with the Kakiemon model of a lion dog offered to the Sonobe Shinto shrine in 1692. This elephant presents similarities with a rare and important early model of a deer from the collection of Lord and Lady Broughton, 3rd Baron Fairhaven of Anglesey in Cambridge, sold in these rooms on 6th June 2000, lot 335. Both animals feature similar thick, bluish glazes and deep firing faults. Early model of a deer formerly in the collection of Lord and Lady Broughton, 3rd Baron Fairhaven of Anglesey, Cambridge 40 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

41

1053 λ A RARE JAPANESE KO-IMARI CHA-IRE (TEA CADDY) EDO PERIOD, PROBABLY 17TH CENTURY The squat gourd-shaped body decorated all over with underglaze blue splashes, the cream-coloured silhouettes of two fish swimming amongst them, together with an ivory lid decorated with gold leaf underneath, a silk purse and a tomobako wood box and cover, 6cm. (5) £2,000-3,000 Provenance: formerly a Japanese private collection. 42 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1054 A GOOD JAPANESE KO-KUTANI FOLIATE DISH EDO PERIOD, c.1650-60 The well decorated with a small magpie perched on a flowering branch of prunus, with rocky outcrops and further vegetation underneath it, all within an underglaze-blue ring and framed by a band of karakusa-like scrolling tendrils, the decoration delicately painted in overglaze polychrome enamels, the cavetto moulded with radiating lines and the scalloped rim with a typical chocolate-brown edge; the underside with many stylised pine needles, further underglaze blue rings and a central square fuku mark in green and black enamels, a paper collection label reading ‘BR 3115’ and an auction label inscribed ‘ Christie’s Rockefeller, 10 May 18, Sale 16723, Lot 921’, 14.5cm. £8,000-12,000 Provenance: purchased from Christie’s New York, The Collection of Peggy and David Rockefeller: Travel and Americana, 10th May 2018, lot 921. Originally from Miss Lucy Truman Aldrich of Providence, Rhode Island, acquired as a gift in the early 1950s. Illustrated in R Ellsworth and A Christy, The David and Peggy Rockefeller Collection, vol. III, p.131, no.77. See The Museum of Fine Arts, Boston, access. no.46.1199 for another closely related dish, a gift of Miss Lucy T Aldrich. Also, see the British Museum, access. no.1959,0418.21 for another dish with two swallows perched on a branch of bamboo. Cf. The Kyushu Ceramic Museum, Complete Catalogue of Shibata Collection, no.0527 for another Ko-Kutani dish with a similarly moulded cavetto and painted with a bird on a branch in a similar colour scheme. Lucy Truman Aldrich (1869-1955) was an important art collector and philanthropist from Providence, Rhode Island. Her Miss Lucy T. Aldrich sister was Abigail Rockefeller (1874-1948), the mother of David Rockefeller (1915-2017). Lucy travelled extensively in (1869-1955) Europe and Asia, collecting European and Asian porcelain and textiles. She bequeathed many pieces to the Museum of Art of Rhode Island School of Design, and to the Museum of Fine Arts, Boston. 43

1055 A JAPANESE ARITA MODEL OF A LEAPING CARP EDO PERIOD, 17TH CENTURY The large fish with its body contorted and its mouth open, the moulded scales rendered in washes of cobalt blue, the mouth and eyes accentuated with red paint, raised on a European gilt ormolu base decorated with scrolls and leaves, 13.5cm. £1,000-2,000 Provenance: an English private collection, Nottinghamshire. 1056 A JAPANESE BLUE AND WHITE KAKIEMON-STYLE DISH EDO PERIOD, 1670-90 The scalloped body decorated with two Chinese figures on a wood jetty gazing at a waterfall, with branches of flowering prunus behind them, the water falling from a rocky outcrop and crashing into a stream below, the underside with karakusa scrolls and a fuku mark to the base, 18.3cm. £100-200 Provenance: from the collection of Henry Mark Darlow (d.2018). 44 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1057 A LARGE JAPANESE KAKIEMON ‘HOB IN THE WELL’ DISH EDO PERIOD, C.1680 The deep octagonal body painted to the well with the legend of Shiba Onko, the small boy being rescued from the large jar whilst another boy looks on, with four small birds flying over them and flowering sprays of peonies and bamboo by their side, all within a band of chrysanthemum and camellia flowerheads amongst scrolling tendrils, the decoration rendered in polychrome enamels and with details highlighted in gold; the rim with a brown iron-oxide glaze, the underside left undecorated and with three spur marks, 24.1cm. £14,000-16,000 Provenance: formerly a private German collection. See O Impey, Japanese Export Porcelain, Catalogue of the Collection of the Ashmolean Museum, Oxford, p.157, nos. 229 and 230, for two other examples of Japanese ‘Hob in the well’ dishes in the museum collections. Also, see the Rijksmuseum, access. no. BK-1968-233-A for another good example. This scene was one of the most popular Japanese Kakiemon motifs copied by European factories in the 18th century. The famous Chinese Song Dynasty statesman Sima Guang (or Shiba Onko in Japanese) was renowned for his intelligence. As a child, he rescued a friend by throwing stones at the jar in which he was drowning and smashing it. The design was misunderstood by Europeans who thought the boy was a spirit living in the jar. According to Oliver Impey, the European name for this pattern came from a farce by Colley Cibber entitled ‘Flora or Hob-in-the-Well’ (1711). In the Netherlands, these dishes were referred to as ‘mirror plates’ or ‘the little man in the well’. 45

1058 SIX JAPANESE PORCELAIN ITEMS EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Comprising: a pair of foliate dishes, each decorated with a small butterfly fluttering by a cluster of grapes and vines; a pair of rectangular dishes with the Three Friends of Winter, the pine, prunus and bamboo issuing from rockwork, both with a mark to the base reading Da Ming Chenghua nian zhi; and a pair of circular bowls decorated in Kakiemon-style polychrome enamels with sprays of flowers and paulownia mon, 21cm max. (6) £300-500 Cf. The Kyushu Ceramic Museum, Complete Catalogue of Shibata Collection, no.3681 for a related dish with vines and butterfly. The authors date it as c.1780-1810. 1059 EIGHT JAPANESE BLUE AND WHITE ITEMS EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Including three pairs of bowls and two dishes, variously decorated with figures, landscapes, mythical creatures and flowers, the pair of foliate bowls each with a four-character mark for Da Ming nian zhi, 19cm max. (8) £300-500 46 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1060 1061 TWO JAPANESE ARITA BLUE AND WHITE VESSELS A JAPANESE ARITA BLUE AND WHITE EWER EDO PERIOD, 17TH CENTURY EDO PERIOD, 17TH CENTURY The first a tall bottle vase painted with sprays of camellia, chrysanthemum, The bulbous body with a tall neck and elegantly curved handle, painted with millet, and prunus, a small bird flying to one side and with a full moon above; three shaped panels depicting figures in mountainous river landscapes on the other a ewer fitted with a European metal mount to the handle, the a ground of karakusa scrolls, the neck and handle with formal flowers and bulbous body decorated with a continuous design of figures in a mountainous further scrolling tendrils, 23.5cm. landscape, with formal patterns of flowers and scrolling leaves to the neck, 30cm and 27.5cm. (2) £500-800 £200-300 Cf. G Lang, The Wrestling Boys, An exhibition of Chinese and Japanese ceramics from the 16th to the 18th century in the collection at Burghley House, p. 17 no.49, for a comparable ewer. Also the British Museum, acc. n. Franks.1693.+, for another example. This type of pattern displays similarities with Japanese wares decorated in the ‘Van Frytom’ style produced as export ware for the Netherlands. 1062 THREE JAPANESE ARITA BLUE AND WHITE DISHES EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY The larger rectangular dish painted with a tree by a waterfall under dark clouds, the other half with a dense design of karakusa scrolls, the base marked Fu gui chang chun; together with a pair of smaller bowls decorated with writhing dragons amongst waves and clouds, phoenix in flight and further karakusa scrolls, each inscribed Qi yu bao ding zhi zhen underneath, 11.6cm x 21.2cm max. (3) £400-600 47

1063 1064 1063 A JAPANESE IMARI TUREEN AND COVER EDO PERIOD, C.1700 The circular body decorated in underglaze blue, gilt, red, green, and black enamels with shaped panels enclosing birds and flowering trees, in between large lappets enclosing flowerheads and karakusa scrolls, the lid decorated with similar scenes and the knop shaped as a fruiting branch of peaches, 19cm. (2) £300-500 Provenance: from the collection of Joseph Gordon (d.1969), of Randolph Crescent, Edinburgh, and thence by descent. 1064 A SMALL COLLECTION OF JAPANESE IMARI PIECES MEIJI PERIOD AND LATER, 19TH AND 20TH CENTURY Comprising: three pairs of dishes, two with a mark reading Da Ming Jiajing nian zhi; a large bowl and a smaller footed one, marked Da Ming Chenghua nian zhi, all painted in polychrome enamels and variously decorated with mythical creatures, flowers, brocade patterns and other auspicious designs, 24.8cm max. (8) £200-300 1065 1066 1065 FIVE JAPANESE IMARI DISHES MEIJI PERIOD AND LATER, 19TH AND 20TH CENTURY All decorated in underglaze blue, gilt, and polychrome enamels, variously painted with birds, flowers, brocade patterns, and other auspicious designs, two a pair, 31cm max. (5) £150-250 1066 A MASSIVE SAMSON IMARI DISH 19TH CENTURY The well decorated with a large shaped panel enclosing a ho-o bird perched amongst flowering branches of prunus, chrysanthemum and paulownia, the cavetto and rim with complex designs of further panels with birds, flowers and scrolling tendrils in gilt, the base with a stylised haru mark, 52.2cm. £200-300 48 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices