FINE JAPANESE ART - BonhamsMirgorod published in Moscow without a publication date. Each book valued...

FINE JAPAN

ESE ART | N

ew York | W

ednesday September 13, 2017

24293

FINE JAPANESE ARTFeaturing the Collection of Marilyn AckermanWednesday September 13, 2017New York

FINE JAPANESE ARTFeaturing the Collection of Marilyn AckermanWednesday September 13, 2017 at 10amNew York

© 2017 Bonhams & Butterfields Auctioneers Corp. All rights reserved.Principal Auctioneer: Patrick Meade. NYC License No. 1183066-DCA

BONHAMS 580 Madison AvenueNew York, New York 10022bonhams.com

PREVIEWThursday September 7 10am to 5pmFriday September 8 10am to 5pmSaturday September 9 10am to 5pmSunday September 10 10am to 5pmMonday September 11 10am to 5pmTuesday September 12 10am to 3pm

SALE NUMBER: 24293Lots 1 - 374

CATALOG: $35

BIDS+1 (212) 644 9001 +1 (212) 644 9009 [email protected]

To bid via the internet please visitwww.bonhams.com/24293

Please note that bids should besummited no later than 24hrsprior to the sale. New biddersmust also provide proof ofidentity when submitting bids.Failure to do this may result inyour bid not being processed.

LIVE ONLINE BIDDING ISAVAILABLE FOR THIS SALEPlease email [email protected] with “Live bidding” in the subject line 48hrs before the auction to register for this service.

Bidding by telephone will only beaccepted on a lot with a lowerestimate in excess of $1000.

Please see pages 159 to 162 for bidder information including Conditions of Sale, after-sale collection and shipment. All items listed on page 162, will be transferred to off-site storage, if not removed by Thursday, September 14, by 4.30pm.

INQUIRIESJapanese Art DepartmentJeffrey Olson, Director+1 (212) 461 [email protected]

Takako O’Grady,Administrator+1 (212) 461 [email protected]

CLIENT SERVICESMonday – Friday 9am-5pm+1 (212) 644 9001+1 (212) 644 9009 fax

ILLUSTRATIONSFront cover: Lot 1060Back cover: Lot 1286

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JAPANESE AND KOREAN WORKS OF ART TEAM

Suzannah Yip Masami Yamada Yoko Chino

LONDON

Joe EarleNeil Davey

NEW YORK

Jeff Olson Takako O’Grady

Henry Kleinhenz Gloria Garaventa

SAN FRANCISCO

Dessa Goddard

FINE JAPANESE ART | 3

JAPANESE AND KOREAN WORKS OF ART TEAM

Suzannah Yip Masami Yamada Yoko Chino

LONDON

Joe EarleNeil Davey

NEW YORK

Jeff Olson Takako O’Grady

Henry Kleinhenz Gloria Garaventa

SAN FRANCISCO

Dessa Goddard

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Marilyn Ackerman was an unusually inquiring observer and eclectic collector. For some fifty years she tracked and attended the auctions of New York and London, small and large galleries, and private collectors for their objects from Asia, with a sensitive eye, always, for those from Japan: satsuma, cloisonné, porcelains, bronzes, metals, woodworks, and more. Never specializing in only one thing, always seeking freshness and discovery. And always, she believed in her intuition, collecting what instantly excited her, and struck her as unusual, rare and even, sometimes, eccentric.

Marilyn started early. The Beacon, New York of her childhood was a mundane place that she transfigured with the stories she solicited from strangers sitting on summer porches and behind winter doors. These strangers kindly and often gave her access to their attics and the forgotten objects of their lives. She collected these remnants, entranced by the singular ability of each object to conjure worlds beyond Beacon. Initially, it was books. The 1921 Modern Library edition of Passages from the Diary of Samuel Pepys, or the 1925 Modern Library edition of Virginia Woolf’s Mrs. Dalloway. A folklorically decorative edition of Gogol’s Mirgorod published in Moscow without a publication date. Each book valued less for its content than for its design: each design revealing new ways of seeing, and each new way of seeing refining her capacity for creative insight.

She directed her ardor and affection in all directions: film, music, literature, politics, theatre, and her family. Her annual trips to the Cannes Film Festival with her husband Meyer Ackerman, a pioneering theater exhibitor and foreign film distributor, inspired her to develop the idea of subscription cinema clubs as forums for film enthusiasts. She founded the Westchester Cinema Club, now running for 35 years, which has served as the model for countless film clubs throughout the country, and where people still gather to discuss and dissect movies, one of her own favorite pastimes. But, mostly she collected objects, Japanese objects, always seeing the artificers and the culture that shaped the pieces she collected. If asked, and many did—she was an easy talker, a vibrant and charismatic presence—she perceptively described the qualities she saw in every piece. They were all icons, concealers and revealers of hidden worlds, requiring the right and discerning eye to see them. She lived surrounded by the objects that reflected her vision, that nurtured her imagination and sharpened her intuition. In offering this collection for auction, we hope that the delight she experienced in selecting and savoring each piece will be rekindled in their new owners.

The Ackerman family

MARILYN ACKERMAN (1930-2012)

1001

JAPANESE ART FROM THE COLLECTION OF MARILYN ACKERMAN

1001POSSIBLY BY THE ANDO WORKSHOPAn impressive cloisonné-enamel box and cover Meiji era (1868-1912), circa 1890 The rounded rectangular box worked in colored enamels and silver wire and decorated on the cover with scenes from the first three Naikoku Kangyo Hakurankai (National Industrial Exhibitions) held in Ueno Park, Tokyo, in 1877, the scene bordered with a key fret band, the sides and underside decorated with chrysanthemum, paulownia and scrolling vines against a blue-green ground, the silver feet carved with peonies and chrysanthemum, silver rims, the interior lined with brocade-pattern silk 3 x 6 1/8 x 5in (7.8 x 15.6 x 12.8cm)

US$8,000 - 12,000


1004

1002A CLOISONNÉ-ENAMEL KOGO (INCENSE CONTAINER) AND A CLOISONNÉ-ENAMEL VASEThe first by Inaba Shichiho (1850-1931), Meiji era (1868-1912), late 19th century The first, circular and worked in colored enamels and gilt wire with a stand of blossoming flowers among rocks against a blue ground with cloisons of maple leaves, signed on the underside with the mark of the Inaba Workshop; the second decorated with a pair of deer among scattered maple leaves in polychrome enamels and silver wire against a teal-blue ground 2 7/8in (7.2cm) diameter; 4 3/4in (12cm) high

US$1,200 - 1,800

1003A CLOISONNÉ-ENAMEL BOXMeiji era (1868-1912), late 19th century Rectangular with beveled corners and raised on four short gilt supports etched with floral scrolls, decorated in colored enamels in standard cloisonné with scattered chrysanthemum blossoms repeated on the fitted lid with canted edges, all silhouetted against a rich brown ground, the underside applied with turquoise enamel, gilt interior 4 x 4 7/8 x 3in (10 x 12.3 x 7.5cm)

US$2,000 - 3,000

1004A CLOISONNÉ-ENAMEL VASEMeiji era (1868-1912), late 19th century The flattened ovoid vase decorated with three serpentine dragons worked in colored enamels and silver wires, the jewels, claws, teeth and eyes worked in transparent colored enamels over silver foil, all against a light blue ground; silvered mounts 9 3/4in (24.7cm) high

US$1,500 - 2,500

1002

1003

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1005

1005A CLOISONNÉ-ENAMEL INCENSE BURNERMeiji era (1868-1912), late 19th century The compressed ovoid vessel worked in colored enamels and gold and silver wire in musen and standard enamels on a mottled mustard-yellow ground with the 12 animals of the zodiac, the gilt-silver cover carved with clouds in relief and open work 3in (7.6cm) high

US$3,000 - 5,000

1006A LARGE CLOISONNÉ-ENAMEL BOX AND COVERMeiji era (1868-1912), late 19th century Decorated on the exterior with quail, sparrows, and butterflies among blossoming flowers, the borders with a dense design of phoenix in clouds and geometric floral patterns, the foot with a stiff leaf band and a variety of flower blossoms, the interior decorated with a goose in flight above morning glories with lotus blossoms and a basket of fruit and butterflies on a background of light blue, all worked in colored enamels and gold wire, the mounts gilt 9 3/4in (24.7cm) diameter; 3 3/8in (8.6cm) high

US$3,500 - 4,500

1006


1007

1007HAYASHI KIHYOE (1848-1931)A cloisonné-enamel vase Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century Of meiping form worked in colored enamels and silver and gold sculpted wire with a long-tailed bird perched on rocks in a river, the ripples on the water’s surface and the fish below in musen technique, against an apple-green ground, signed on the underside with the character Ki within a heart-shaped reserve, the mark of Hayashi Kihyoe 9 5/8in (24.4cm) high

US$3,000 - 5,000

1008HAYASHI HACHIZAEMON (CIRCA 1850-1908)A cloisonné-enamel vase Meiji era (1868-1912), late 19th century The slender vase with a waisted neck and decorated with blossoming morning glories in colored enamels and silver wire against a ground of cloisonné-enamel spirals on a copper body, signed on the underside with the mark of Hayashi Hachizaemon, silvered-copper mounts. 7 1/16in (18cm) high

US$2,500 - 3,500

1009STYLE OF HAYASHI KODENJIA cloisonné-enamel vase Meiji era (1868-1912), late 19th century The ovoid vase set on a splayed foot and worked with colored enamels and sculpted silver wire on a black ground with a pair of ducks by a stream with blossoming autumn flowers and grasses and a maple tree and three birds in flight, the foot with a floral band and the neck with jeweled garlands; silvered mounts. 9 1/4in (23.4cm) high

US$4,000 - 6,000

1009

1008

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1010GONDA HIROSUKE (1865-1937)A cloisonné-enamel incense burner Meiji era (1868-1912), circa 1905 The bulbous vessel with a foliate rim, applied with flower head handles and set on an integrated foot, all worked in transparent colored enamels and silver wire with blossoming flowers, the silver substrate carved with autumn grasses against a stippled ground, the cover with a continuation of the design and fitted with a chrysanthemum finial, signed on the underside with the mark of Gonda Hirosuke in red enamel, silver rims 5 1/8in (13cm) high

US$2,000 - 3,000

1011GONDA HIROSUKE (1865-1937)A moriage cloisonné-enamel vase Taisho (1912-1926) or Showa (1926-1989) era, circa 1910-1930 Decorated in relief with a lion on a rocky river bank in polychrome enamels and silver and gold wire, the clouds and waterfall in musen technique, all on a light gray ground, signed on the underside with the mark of Gonda Hirosuke; silver mounts 9 7/8in (25cm) high

US$4,000 - 5,000

1010

1011


1012HATTORI TADASABURO (DIED 1939)A fine and large moriage cloisonné-enamel vase Taisho era (1912-1926), circa 1912-1920 The cylindrical vase with a square shoulder, the neck flaring out to the mouth and worked in standard and musen cloisonné techniques with an overall design of sasa (broadleaf bamboo), the silver wires of varying thickness deliniating the stems and veins of the leaves, the enamels of several shades of green and white imitating the natural tones of the plant, all against a light gray background, the foot decorated with tightly scrolling vines and flowers, incised signature on the base Hattori in leaf-shaped reserve, mounts silver 15 1/2in (39.3cm) high

US$50,000 - 70,000

Hattori Tadasaburo of Nagoya was among the finest cloisonné-enameling masters of his day, excelling in a wide range of innovative techniques and styles. He opened his own studio in 1888 and won international honors at the 1893 Chicago World’s Columbia Exposition; at the Louisiana Purchase Exposition, held at St. Louis in 1904, his enamels were, most unusually, shown in the Art Palace rather than the larger but less prestigious Palace of Varied Industries. It is not certain whether or not he invented the demanding moriage (“piled-up”) technique seen here, but he was certainly among the first to exhibit it, starting at St. Louis, and is admired for the way that he succeeded in raising moriage designs to an unusually high level above the ground enamel; see Frederic T. Schneider, The Art of Japanese Cloisonné Enamel: History, Techniques and Artists: 1600 to the Present, Jefferson NC, McFarland & Company, Inc., 2010, p. 202. For a pair of vases by Hattori Tadasaburo, see lot 1330.

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1013

1014

1013A PAIR OF CLOISONNÉ-ENAMEL VASESMeiji era (1868-1912), late 19th century Of waisted square-sided form and worked in colored enamels and gilded wires with scenes of insects and flowers and landscapes, the interior with stylized florets on a white ground the foot and rim with geometric and floral designs 8 3/4in (22cm) high

US$1,500 - 2,500

1014A CLOISONNÉ-ENAMEL EWERMeiji era (1868-1912), late 19th century Hexagonal with tall U-shaped handle and worked in colored enamels in standard cloisonné with six recessed side panels of alternating phoenix and stylized blossom design, all set within stepped floral borders repeated on the curved hexagonal spout, the slightly rounded shoulder and the fitted lid with a bud finial decorated with flowering chrysanthemums on a black ground, gilt rims and base 7 1/2in (19.3cm) high

US$1,000 - 1,500

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1015KUMENO TEITARO (1861-1939)A tomei jippo cloisonné-enamel vase Meiji era (1868-1912), late 19th century The compressed globular vase with a long neck, flared mouth and splayed foot, engraved on the silver substrate with five overlapping dragonflies on the shoulder against a hammered stippled ground and covered in transparent red enamel, the rims silver, signed on the underside with the stamped mark of the Kumeno Workshop and Jungin (Pure silver) 9 7/8in (25cm) high

US$2,000 - 3,000

1016NAKAGAWA JOEKI (1880-1940)A silver-mounted cloisonné-enamel vase Taisho (1912-1926) or Showa (1926-1989) era, early 20th century Ovoid, and decorated with dragons in clouds carved in the silver substrate, covered in transparent red enamel, the base applied with a silver sleeve carved with waves in relief and finished with a lappet band, signed on the underside Nakagawa Joeki tsukuru and Jungin (Pure silver) 11in (27cm) high

US$2,500 - 3,500

1015

1016


1017

1018

1019

1017A CLOISONNÉ-ENAMEL VASETaisho era (1912-1926), early 20th century Worked in colored enamels in standard and musen cloisonné techniques and silver wires with angel fish against a green ground 6 3/8in (16.2cm) high

US$800 - 1,200

1018A CLOISONNÉ-ENAMEL TRAYMeiji era (1868-1912), late 19th century The kidney-shaped tray decorated in colored enamels and silver wires with herons amongst irises below a cluster of chrysanthemums against a light-blue ground, the reverse with butterflies amongst flowering vines 9 5/8 x 11 3/4in (24.5 x 30cm)

US$3,500 - 4,500

1019A CLOISONNÉ-ENAMEL TRAYMeiji era (1868-1912), late 19th century Decorated with a scene of courtiers in a well-appointed interior alarmed by a broken vessel containing coins and auspicious treasures, worked in colored enamels, aventurine and silver and gilt wires, the border decorated with floral garlands, the reverse with a central panel of jewels bordering the character sho and encircled by concentric floral rings and stylized clouds 12 x 11 15/16in (30.6 x 30.4cm)

US$3,000 - 5,000

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1020

1020NAMIKAWA SOSUKE (1847-1910)A fine cloisonné-enamel rectangular tray Meiji era (1868-1912), late 19th century The square tray worked in colored enamels in musen and standard cloisonné techniques with silver and gold wires with a sparrow perched on a branch of a blossoming cherry tree, all against a light blue ground gradually becoming lighter in shade towards the bottom, signed and sealed Seitei (Watanabe Seitei 1851-1918) for the design, the rims shakudo and the reverse with a profusion of cherry blossoms in two shades of brown enamels and gold wires, with the Sakigake mark of the artist 11 1/2 x 11 1/2in (29.3 x 29.4cm)

US$25,000 - 35,000


1021A CLOISONNÉ-ENAMEL KORO (INCENSE BURNER)Meiji era (1868-1912), late 19th century Worked in colored enamels and silver wires with geese in flight and among clouds against a light blue ground, the gilt and silvered bronze handles and finial formed as geese in flight, the vessel set on three bracket feet decorated with gilt dragons on a shakudo ground, fitted with a silvered bronze liner 6 1/4in (16cm) high

US$3,500 - 4,500

1022A LARGE CLOISONNÉ-ENAMEL KORO (INCENSE BURNER)Meiji era (1868-1912), late 19th century Spherical and set on tripod gilt-bronze feet and decorated overall in apple-green enamel, the cover fitted with a gilt-bronze peony finial 13in (33cm) high, 13 1/2in (34.3cm) diameter

US$4,000 - 6,000

1021

1022

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1023KUMENO TEITARO (1861-1939)A cloisonné-enamel vase Meiji era (1868-1912), late 19th century Worked in colored enamels and silver wire with a farmhouse and waterwheel by a stream and willow tree, the background with a distant mountain in musen technique against a light blue sky, signed on the underside with the mark of the Kumeno Workshop, silver rim and foot 9 1/4in (23.5cm) high

US$5,000 - 7,000

1024KUMENO TEITARO (1861-1939)A partial tomei jippo cloisonné-enamel vase Meiji era (1868-1912), late 19th century The exaggerated trumpet vase decorated on the exterior with trailing white wisteria blossoms and leaves in standard cloisonné in green and brown enamels and silver wire and transparent green of varying hues, and colorless enamels over an engraved silver substrate, the interior of the mouth engraved with wisteria against a stippled ground and covered with transparent light green enamel, the vase applied with silver wisteria-shaped handles, mounts silver, signed on the underside with the stamped mark of the Kumeno Workshop 10in (25.3cm) high

US$8,000 - 12,000

1023

1024


1025

1025ANDO JUBEI (1876-1953)A large moriage cloisonné-enamel bottle vase Meiji era (1868-1912), late 19th century The long, square neck applied with stylized cloud handles and with a compressed body with faceted sides, decorated in low relief with flying cranes in clouds, overlapping chrysanthemums and roundels of geometric design below a band of clouds, all in white and brown enamels and silver wire on a light brown ground, signed on the underside with the mark of the Ando Workshop; silver mounts With a double tombako wood storage box, the interior inscribed on the cover Shippo mimitsuki shikunshi unkaku mon kabin (Enamel flower vase with small handles, decorated with the Four Noble Plants, clouds, and cranes), signed Jubei kinsei (Respectfully made by Jubei), and sealed Ando kinsei and Tamamono gochokushi 14 1/2in (36.9cm) high

US$30,000 - 50,000

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1026

1026ANDO JUBEI (1876-1953)A fine wireless cloisonné-enamel vase Taisho (1912-1926) or Showa (1926-1989) era, first half 20th century The lantern-shaped vessel worked in polychrome enamels and silver wire with dragonflies in flight, the insects decorated in various shades of blue, green, and brown, the wings accented with silver wires, the background gradually changing from yellow to sea-foam green toward the base, signed on the base with the Ando mark, silver mounts stamped Jungin (Pure silver) on the foot rim 12 1/4in (31cm) high

US$50,000 - 70,000

The most famous and largest of all the great Nagoya enameling enterprises, the Ando Company grew from modest beginnings in 1880 and started to enjoy to attract widespread notice in the mid-1890s; thereafter enamels made or commissioned by Ando received medals at international expositions virtually every year from 1900 until 1911. The Company continued to prosper even after the heyday of Japanese cloisonné enameling in the early years of the twentieth century; the present lot is an outstanding example of later Ando work. For further information, please refer to Frederic T. Schneider, The Art of Japanese Cloisonné Enamel: History, Techniques and Artists: 1600 to the Present, Jefferson NC, McFarland & Company, Inc., 2010, p. 77.


1028

1027ANDO CLOISONNÉ COMPANYAn enamelled metal suzuribako (writing box) Taisho (1912-1926) or Showa (1926-1989) era, 20th century The copper-alloy box with a domed cover decorated in relief in colored enamels with a bold design of two cormorants in flight above rolling waves, the interior covered in lacquer-soaked cloth embellished with gold, the box containing a removable hardwood tray with recesses for an ink stone and an enameled copper-alloy water-dropper designed as a fish, signed on the underside with the mark of the Ando Company 9 3/4 x 9 3/4in (24.7 x 27.4cm)

US$3,000 - 4,000

1028KOMAI WORKSHOP OF KYOTOAn inlaid-iron box and cover Meiji era (1868-1912), late 19th century Fan-shaped, set on four bracket feet decorated in gold nunome-zogan with a scene of Kyoto’s Kinkakuji Temple, the sides of the box decorated with the attributes of the Seven Gods of Good Fortune and precious emblems, the underside signed Kyoto Komai sei and Raku within a double square reserve and scattered cherry blossoms 3 1/8 x 2 1/2 x 1 1/4in (7.9 x 6.4 x 3.2cm)

US$1,500 - 2,500

1029FUJII WORKSHOPA silvered and gilt box and cover Meiji (1868-1912) or Taisho (1912-1926) era, circa 1910 The rectangular box with a slightly domed, hinged cover and decorated overall with a large peony raised in low relief and highlighted in gilt against a silvered ground finished in a rough ishime surface, the interior carved with a mountainous retreat and a young oxherd under a crescent moon, signed on the underside with the mark of the Fujii Damascene Company 4 1/8 x 5 7/8 x 1 15/16in (10.5 x 15 x 4.8cm)

US$1,500 - 2,500

1027

1027 (Interior)

1029

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1030A GROUP OF MIXED-METAL OBJECTSMeiji era (1868-1912), late 19th century Comprising two pouch clasps re-purposed as brooches and decorated with figures in iro-e takazogan on a shakudo ground; a miniature box and cover with a cottage in a snowy landscape in iro-e takazogan; a pair of cufflinks with circular panels with long-tailed birds on rocks in iro-e takazogan, gilt frames 2 3/4in (7.7cm) wide (the largest)

US$1,500 - 2,500

1031TWO SMALL MIXED-METAL BOXESMeiji era (1868-1912), late 19th century Comprising an oval shakudo box and cover decorated with a pair of cranes and other birds and insects by a riverbank with a pine and plum tree, the sides with insects and flowers, all in iro-e takazogan; and a rounded rectangular shakudo box and cover with peonies, cherry blossoms and magnolias in iro-e takazogan against an ishime ground with a gilt edge, the sides carved with rocks, grasses and a bird in a fruiting bush in katakiribori and gold hirazogan, the interior and underside silver 2 7/16in (6.1cm) high; 2 15/16in (7.4cm) wide

US$2,500 - 3,500

1032JOMI EISUKE II (1839-1900)A bronze box and cover Meiji era (1868-1912), late 19th century Rectangular, set on low bracket feet and cast in yellow bronze and decorated on the cover with a cormorant in waves in iro-e takazogan, takabori, and kebori, the sides of the box decorated with keyfrets in silver hirazogan, signed Jomi Eisuke, with a silver liner 3 3/4 x 5 3/8 x 2 1/8in (9.5 x 13.6 x 5.4cm)

US$4,000 - 6,000

1030

1031

1032


1034

1033

1033JURYUSAI HIDEAKIA pair of miniature bronze vases Meiji era (1868-1912), late 19th century Pear-shaped with a “garlic bud” mouth and decorated with monkeys in and around pine and fruiting persimmon trees in takabori and gold and copper takazogan, signed Juryusai Hideaki saku 5 1/8in (13cm) high

US$3,000 - 5,000

1034A LACQUER-DECORATED IRON VASEMeiji era (1868-1912), late 19th century The cylindrical vase cast in iron and finished with an irregular surface and carved with a key fret band around the neck, the body decorated in colored takamaki-e with a monkey and its young dressed in robes and a branch of fruiting persimmon, the reverse with a branch of berries, the rim lacquered with stylized dragons 13 1/2in (34.3cm) high

US$3,000 - 5,000

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1036

1035

1035A LARGE BRONZE JARDINIEREMeiji era (1868-1912), late 19th century The squat vessel with a wide mouth and applied to the rim and sides with 16 turtles of various size, each one separately cast and finished, the jardiniere patinated to a reddish-brown with green highlights 22 1/4in (56.5cm) diameter, 12 7/8in (32.7cm) high

US$6,000 - 8,000

1036A LARGE BRONZE VASEMeiji era (1868-1912), late 19th century The elongated vase with a short neck and decorated with carp swimming in rippling waters below flowering water plants, all carved in relief, the eyes finished in shakudo and gold, the vase patinated a rich chocolate brown 23 5/8in (60cm) high

US$5,000 - 7,000


1038

1037

1039

1037A BRONZE MODEL OF A RICKSHAWMeiji (1868-1912) or Taisho (1912-1926) era, early 20th century Each of the figures and the carriage separately cast and assembled on the bronze base, the seated passenger’s parasol and the retractable carriage top both decorated with the crest of the Tokugawa clan, signed on the back of one of the footmen and the woman’s kimono Shimi saku, with the original fitted wood base 13 3/4 x 5 5/8 x 9 1/4in (34.9 x 14.3 x 23.5cm)

US$2,000 - 3,000

1038OTANI WORKSHOP (ACTIVE LATE 19TH CENTURY)A bronze plaque Meiji era (1868-1912), late 19th century Cast in bold relief with a tiger in bamboo by a rushing stream below a crescent moon, signed Otani sei; set in a modern stand 8 x 11 3/4in (20.4 x 29.7cm) excluding stand

US$2,000 - 3,000

1039A BRONZE KORO (INCENSE BURNER)Edo period (1615-1868) or Meiji era (1868-1912), circa 1850-1875 Cast as a recumbent elephant, its head turned back to form a compact rectangular composition, the cover pierced with a chrysanthemum blossom, finished to a reddish-brown patina 8 3/4in (22cm) wide; 5in (12.7cm) high

US$2,000 - 3,000

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1041

1042

1040TWO SMALL BRONZE FIGURESEdo period (1615-1868), 18th/19th century The first cast and carved as Monju (Manjusri) seated on his lion vehicle holding a scroll and a sword, with gold highlights; the second cast as a shishi with its young climbing on its back 3in (7.6cm) high; 2 1/4in (5/6cm) wide

US$2,000 - 3,000

1041A BRONZE KORO (INCENSE BURNER) MODELED AS KINTAROEdo period (1615-1868), 19th century Separately cast and assembled, the strong boy seated on the back of a bear holding an axe over his shoulder, his bib decorated with pine trees and highlights of gilt 8 7/8in (22.2cm) high

US$800 - 1,200

1042YOSHIKIYOAn unusual bronze vase Meiji era (1868-1912), late 19th century Cast with a compressed lobed body and flaring neck finishing in a foliate rim and decorated with two elephants applied to the body, their trunks holding ring handles, the surface hammered to an ishime finish, signed on the underside in an engraved signature Yoshikiyo 16 1/4in (41.3cm) diameter, 9 1/4in (23.4cm) high

US$2,500 - 3,500

1040


1045

1046

10431044

1043A BRONZE KORO (INCENSE BURNER) AND A VASEShowa era (1926-1989), early 20th century The incense burner of squat ovoid form set on tripod feet and with two loop handles, finished in a mottled reddish-brown patina, signed on the underside with an illegible seal; the flower vase of usubata form with a cylindrical body and a wide rim, finished in a reddish-brown patina

US$800 - 1,200

1044A BRONZE VASEMeiji era (1868-1912), late 19th century Of modified double gourd form, the lower section in shaped as a bell and decorated with a dragon in clouds in relief, finished in a greenish-brown patina with flashes of red 10 1/2in (26.6cm) high

US$800 - 1,200

1045MYOCHIN MUNEHATA (ACTIVE LATE 19TH CENTURY)An inlaid iron koro (incense burner) Meiji era (1868-1912), late 19th century Forged in iron and carved with a writhing dragon clutching a sacred jewel, the pierced cover with a second dragon in clouds, with gold and silver inlays, signed Myochin Munehata saku, with a copper liner 3 1/8in (7.9cm) high

US$2,500 - 3,500

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1048

1047

1046A BRONZE MODEL OF A CONCH SHELLEdo period (1615-1868) or Meiji era (1868-1912), 19th century Cast and finished to represent the natural surface of the mollusc’s shell and applied with two stylized dragons on either side of its opening and two rings for suspension, the surface decorated with shell and sea-grass designs in gold hirazogan 12 3/4in (32.5cm) wide

US$2,500 - 3,500

1047A BRONZE MODEL OF AN OTTERMeiji era (1868-1912), late 19th century Cast as an otter holding a fish in its mouth, the animal’s fur rendered with fine lines and the fish highlighted with gilt, signed on the underside Toryuken 9in (22.9cm) wide

US$3,000 - 5,000

1048A BRONZE AND MIXED-METAL KORO (INCENSE BURNER)Meiji era (1868-1912), late 19th century Cast as Daikoku’s mallet resting on three small sacred jewels, the surface of the vessel finished in a wood-grain pattern with gilt highlights, the tassels silvered, the removable cover pierced with a keyfret design and applied with a silvered bronze rat finial, the eyes finished in black enamel 7 1/4in (18.5cm) wide

US$6,000 - 8,000


1050

1049

1049KANAYA GOROSABURO XI (1871-1928)A bronze teapot Meiji (1868-1912) or Taisho (1912-1926) era, circa 1910 Of globular form, cast in sentoku (yellow bronze) and extensively hammered on the surface and patinated to a brown and black finish, the cover fitted with a silver loop finial, signed on the underside in seal form Gorosa no in; with a silver liner 5in (12.7cm) high excluding handle, 7in (17.8cm) high overall

US$1,200 - 1,800

1050ARITATSUAn inlaid-iron tetsubin Meiji era (late 19th century) The globular body finished with a polished surface and decorated with boys pulling a flower cart in gold and silver hirazogan and takazogan, the handle with geometric patterns, signed on the body Aritatsu and with a kao, the cover cast in bronze and fitted with a silver rectangular finial and peony collar, signed on the underside Kinjudo tsukuru 5 1/8in (13cm) high excluding handle; 7 1/2in (19.1cm) overall

US$15,000 - 20,000

28 | BONHAMS

1051A TETSUBIN AND VASEThe tetsubin by Oikawa Kanji (b. 1922), the vase by Mitsuhara Showa era (1926-1989), 20th century Of compressed ovoid form and decorated above the central flange in an arare (hailstone) pattern, the cover cast with a finial formed as Daikoku’s mallet, signed on the lower body in seal form Nanbu and Kanji; the vase cast and worked on the surface with three prancing horses raised in low relief, signed and sealed Mitsuhara 5 1/4in (13.3cm) high excluding handle, 8 1/2in (20,9cm) high overall; 9 1/4in (23.5cm) high

US$2,000 - 3,000

1052AN UNUSUAL BRONZE VASEEdo period (1615-1868) or Meiji era (1868-1912), 19th century The baluster vase cast and finished to simulate a drip glaze falling over the shoulder and down the side covering the repeated wave pattern on the surface, illegibly signed in seal form 7 1/8in (18.1cm) high

US$2,500 - 3,500

1053SEIUNA bronze baluster vase Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century Cast in bronze and finished in a dark brown patina with patches of red, signed on the underside in an engraved signature Seiun 12in (30.5cm) high

US$1,000 - 1,500

1053

1052

1051


1055

1054 1056

1054A BRONZE VASE WITH ENAMEL DECORATIONMeiji (1868-1912) or Taisho (1912-1926) era, early 20th century The pear-shaped vase decorated in high relief with hechima gourds and vines on a trellis, the gourds rendered in green and yellow enamels 14 1/2in (36.7cm) high

US$1,800 - 2,500

1055A BRONZE PEAR-SHAPED VASEMeiji era (1868-1912), late 19th century Set on a splayed foot and decorated with a bold high-relief design of a prancing kirin, the foot fashioned from a bronze mirror decorated with a paulownia leaf 20in (50.8cm) high

US$2,000 - 3,000

1056A LARGE BRONZE VASEMeiji era (1868-1912), late 19th century The ovoid vase cast in bronze with a low splayed foot and waisted neck and Chinese-style keyfret handles adorned with pendant rings carved on the edges with keyfret designs, repeated on the neck and foot and finished in a rich chocolate brown patina with splashes of red, signed with a cast seal-form signature Senchoku 20 7/8in (53cm) high

US$1,500 - 2,500

30 | BONHAMS

1057A PAIR OF IRON AND ENAMEL VASESMeiji era (1868-1912), late 19th century The cylindrical vases set on lozenge-shaped feet and applied with ear-shaped handles decorated in colored enamels with half-chrysanthemum blossoms and pieced with rectangular pendants inlaid with keyfret designs in gold hirazogan, the bodies decorated in gold, silver and shakudo takazogan with chrysanthemums floating on a stream, the rims and feet silvered 9 1/2in (24.9cm) high

US$5,000 - 7,000

1058KATSUNOBUAn iron and silver koro (incense burner) Meiji era (1868-1912), late 19th century The spherical body set on tripod feet and applied with a silver dragon, the eyes embellished in gilt and shakudo, the cover finished with a silver kirin on clouds, fitted with a silver liner, signed on the side Tozan Katsunobu and sealed Tozan 6 3/4in (17.2cm) high

US$8,000 - 12,000

1058

1057


1059

1059OHASHI SANZAEMON (ACTIVE LATE 19TH CENTURY)A fine inlaid-bronze vase Meiji era (1868-1912), late 19th century Thickly cast in bronze as a group of chrysanthemums gathered together and tied in a paper parcel with a band raised in relief and inlaid in gold nunome-zogan, the sides of the vase carved with vertical “folds” and decorated with stylized confronted birds separated by trees in shakudo, silver and gold hirazogan, the edge of the parcel bordered with a zigzag design with stylized butterflies in shakudo and gold hirazogan, the flower heads worked in gold,

silver, copper and shakudo takazogan, the shoulder hammered and chiseled to resemble a stone surface, signed on the underside in an engraved signature Dai Nihon Teikoku Toyamaken Takaokashi Ohashi Sanzaemon seizo (Made by Ohashi Sanzaemon of Takaoka City, Toyama Prefecture, Empire of Japan), set on a six-footed stand finished in stylized birds heads fitted with rings and decorated with gold highlights 10 7/8in (27.6cm) high (vase only), 13 3/4in (34.9cm) high overall

US$15,000 - 20,000

32 | BONHAMS

1060OKAMOTO RYOZAN FOR THE YASUDA COMPANYA fine Satsuma vase Meiji (1868-1912) or Taisho (1912-1926) era, late 19th/early 20th century The elongated ovoid vase painted in colored enamels with a detailed design of three crows on a snow-covered branch of blossoming cherry, the scene highlighted with fine dots of gilt, the shoulder and foot decorated with floral and geometric bands, signed on the underside Kyoto Okamoto with the mark of the Shimazu family and the Yasuda Company mark 11 1/8in (28.2cm) high

US$15,000 - 25,000


1061SEIKOZANA Satsuma incense container Meiji era (1868-1912), late 19th century The circular box meticulously painted in polychrome enamels and gilt on a clear crackled glaze with three scenes of Japanese festivities, the cover depicting crowds visiting a temple complex, the underside of the cover with flags waving above groups of people milling around an entrance way flanked by shishi, the interior with crowds converging on a torii gateway near strings of lanterns and waving flags, with multiple gilt floral and jeweled garland bands on the underside, signed Seikozan 3 1/4in (8.3cm) diameter

US$1,500 - 2,500

1062A PAIR OF SATSUMA TEA CADDIESMeiji era (1868-1912), late 19th century Each of rectangular shape with a slightly curved shoulder and decorated in colored enamels and gilt on a clear, finely crackled glaze with flowering camellia branches on each side, some blossoms partially hidden by a brushwood fence, the short cylindrical neck with a band of delicately painted scrolling tendrils within gilt borders accented with red enamel, each now fitted with a silver repoussé lid in the shape of a chrysanthemum 4 7/8in (12.5cm) high

US$1,500 - 2,500

1063KANZANA small Satsuma dish Meiji era (1868-1912), late 19th century Formed as two overlapping fabric squares raised on a short circular foot, finely painted in polychrome enamels, silver and gilt on a clear crackled ground with three beauties at a riverside restaurant viewing distant fireworks, all set within a narrow border of circles, the edges of the lower square decorated with an overall pattern of linked crosses in silver and gilt, signed Kanzan 6 1/8in 15.5cm) square

US$2,000 - 3,000

1061

(Interior)

1063

1062

34 | BONHAMS

1065

1064

1066

1064TANZAN (ACTIVE LATE 19TH CENTURY)A Satsuma incense burner Meiji era (1868-1912), late 19th century Of lobed ovoid form and painted in gosu blue, red, green and white enamels and gilt with a dragon in waves, the shoulder with a lappet collar of geometric patterns and flowering vines, signed on the underside Tanzan ga and with a seal and the mark of the Shimazu family; fitted with a silver cover decorated with hollyhock leaves in low relief and pierced with a chrysanthemum 9 1/2in (24cm) high

US$2,000 - 3,000

1065A SATSUMA VASE WITH APPLIED SILVER MOUNTSMeiji era (1868-1912), late 19th century Modeled as a water pail and decorated in gosu blue, red iron-oxide and gilt with blossoming irises and clouds, the handle applied with a silver mount decorated at the side with an oak leaf, inscribed on the underside Satsuma-yaki 14 1/4in (36cm) high

US$1,500 - 2,500

1066A LARGE SATSUMA FOLIATE BASINMeiji era (1868-1912), late 19th century Molded with a lobed rim and elaborately painted on the exterior with irises above the foot molded in relief with a lappet band of stylized butterflies and chrysanthemum, the interior with alternating petals of geometric patterns and floral scroll, and scattered chrysanthemum and paulownia blossoms, the well decorated with a single large chrysanthemum blossom, all in gosu blue, polychrome enamels and gilt, signed on the underside Satsuma-yaki below the Shimazu family mark, and with an impressed mark Satsuma (in katakana) and another illegible mark, and with two paper labels stating that the basin was exported by Takichi Hododa 20in (50.8cm) diameter, 12in (30.5cm) high

US$1,500 - 2,500


1069

1067ROTAKUDOA pair of Satsuma vases Meiji era (1868-1912), 19th century Each in the shape of a kinuta (mallet) and lavishly decorated in polychrome enamels and gilt with panels of densely populated festival scenes alternating with birds in a flowering landscape, portions of the designs in raised relief, the slender neck with two oval roundels painted with monkeys picking peaches, all reserved on a brocade-patterned ground interspersed by bands of linked geometric- and floral-patterned squares, signed Dai Nihon Tokyo Kyobashi-ku Rotakudo seihin 10in (25.4cm) high

US$1,500 - 2,500

1068A SATSUMA TEAPOTMeiji era (1868-1912), late 19th century Shaped as a length of bamboo with branches forming the opposing curved spout and loop handle, decorated overall in polychrome enamels and gilt on a clear crackled ground with falling maple leaves divided into registers defined by the separate nodes, a cluster of bamboo leaves extending from the rim fitted with a low curved lid with a knop finial and decorated en suite, signed Dai Nihon Satsuma-yaki () ga flanking the mark of the Shimazu family 7 1/4in (18.5cm) high

US$1,000 - 1,500

1069KINKOZAN WORKSHOPA Small Porcelain Figurine Meiji (1868-1912) or Showa (1912-1926) era, 20th century Sculpted as a traditional beauty walking in kimono and floral-pattern jacket 7in (17.7cm) high

US$700 - 900

1070A SATSUMA VASEMeiji era (1868-1912), late 19th century Decorated in colored enamels and gilt over a clear crackled ground with an ornate molded neck band of geometric and floral-patterned lappets extending over the sloping shoulder and raised in shallow relief above a continuous frieze of chrysanthemum blossoms and scrolling tendrils on the globular body, a band of overlapping stiff leaves at the base 9 3/4in (24.8cm) high

US$800 - 1,200

1067 1068

1070

36 | BONHAMS

1072

1071A SATSUMA VASE AND A SATSUMA DISHThe first by Nanko, the second by Tanshu, Meiji era (1868-1912), late 19th century The first, a square-sided tapered vase decorated in polychrome enamels and gilt with chrysanthemums by a brush fence and bonsai trees, the shoulder painted with chrysanthemum scrolls on a gosu blue ground, the rim applied with a silver band, signed on the underside Nanko and with a red seal and the mark of the Shimazu family; the second a foliate dish painted with chrysanthemums on a hill behind a brush fence and clouds in gosu blue, polychrome enamels and gilt, signed on the underside Satsuma Tanshu ga 6 3/4in (17.2cm) high; 11 3/8in (28.9cm) diameter

US$1,500 - 2,000

1072A SATSUMA MODEL OF A SHISHIMeiji era (1868-1912), late 19th century The animal shown looking up and snarling as he guards the pierced ball trapped under his paw, decorated in polychrome enamels and gold on a clear, crackled glaze 14in (35.5cm) high

US$3,000 - 5,000

1073KINTOZAN (ACTIVE LATE 19TH CENTURY)A large Satsuma vase Meiji era (1868-1912), late 19th century The baluster vase painted in polychrome enamels and gilt on a clear crackled ground with shaped panels of peonies framed by phoenix and floral borders, the shoulder painted with cloud-shaped reserves with shishi in rocks and chrysanthemum and vines, the neck with floral lozenges and the foot with chrysanthemums within lappets, signed on the underside Teikoku bijutsu Satsuma-yaki Kintozan sei and with two seals 19 3/4in (50.1cm) high

US$3,000 - 5,000

1071

1073


1075

1074A SATSUMA EWER AND A SATSUMA BOWLMeiji era (1868-1912), late 19th century Each decorated in polychrome enamels and gilt on a clear crackled ground, the ewer of melon form with a rooster-headed spout and tail-feather loop handle, decorated on the sides with six elongated floral panels surrounded by gilt tendrils linking flowering chrysanthemum on a gosu blue ground extending over the fitted lid with a melon-form finial; the chrysanthemum-shaped bowl with a scalloped edge and raised on a pedestal base, the interior well painted with a large flower basket encircled by jeweled lappets at the rim, the exterior with a wide band of scrolling tendrils with further blossoms above a jeweled garland border at the edge of the foot, the underside with the mark of the Shimazu family above the signature Satsuma-yaki Masanobu followed by a miniature red seal 7 1/2in (19cm) height of ewer; 7 3/8in (18.6cm) width of bowl

US$1,500 - 2,000

1075ICHIJO (ACTIVE LATE 19TH CENTURY)A Satsuma model of Shotoku Taishi Meiji era (1868-1912), late 19th century The prince shown in court robes and classical hairstyle and holding a scholar’s tablet, covered in a clear glaze with a fine crackle, impressed signature Ichijo 21 3/4in (55.2cm) high

US$2,000 - 3,000

1076HODODA WORKSHOPA large Satsuma vase Meiji era (1868-1912), late 19th century The baluster vase with a flared neck and decorated in polychrome enamels and gilt with a continuous design of courtiers in a horse race, the shoulder painted with a collar of shishi among peony scrolls and the neck with panels of hollyhocks on a keyfret ground, the foot painted with a lappet band, signed on the underside in a square reserve Satsuma-yaki Hododa 15 1/4in (38.8cm) high

US$1,500 - 2,500

1074

1076

38 | BONHAMS

1077

1077A SATSUMA INCENSE BURNERMeiji era (1868-1912), late 19th century Of hexagonal section with straight sides meticulously painted in colored enamels and gilt on a clear crackled glaze with three scenes, each spanning two panels, an illustration from the Tales of Ise of courtiers viewing a waterfall, the Isle of Immortals with cranes and minogame, and a humorous scene of an anthropomorphic tree chased by mythical creatures, all within gosu blue borders continuing on the shoulder painted with a gilt tendril pattern, the low dome-form cover pierced with a purple-outlined chrysanthemum centered within a reticulated star and decorated with small gilt blossoms 4 7/8in (12.5cm) high

US$1,500 - 2,500

1078MEIZANA tall Satsuma ewer and cover Meiji era (1868-1912), late 19th century The conical vessel with a slender neck tapering outward slightly at the mouth and applied with a large spout and loop handle, the body painted with a continuous scene of a samurai procession banded by a collar of geometric design and a band of plum blossoms above geometric designs encircling the base, the handle painted in gilt, the spout with stylized confronted phoenixes and the cover with a continuation of the geometric patterns, signed on the underside in gilt Meizan 8 7/8in (22.2cm) high

US$6,000 - 8,000

1078


1080

1079TWO SATSUMA CONTAINERSMeiji era (1868-1912), late 19th century The first a tea caddy of square section, each panel painted in blue, white, red and gilt with alternating shishi and phoenixes framed by mythical creatures and reserved on a black enamel ground, the fitted lid decorated en suite, with apocryphal date Ansei ninen kore o tsukuru and signed (Shi)gi Rakuzan utsusu; the second a high-shouldered ovoid jar with a scallop-edged foot, the gilt and colored enamel decoration of two floral panels reserved on a net of linked hexagons occasionally framing red blossoms, silvered metal rim and floral-etched cover 5 3/4 and 5 1/4in (14.6 and 13.5cm) high

US$1,500 - 2,000

1080A SATSUMA MODEL OF A KABUTO (HELMET)Meiji era (1868-1912), late 19th century Modeled as a suji kabuto (helmet with standing ridges) mounted with kuwagata (decorative horns) and a maedate (forecrest) formed as a dragon, the fukigaeshi (turnbacks) decorated with waves and floral lozenges and applied with chrysanthemum bosses, all painted in polychrome enamels and gilt 12 3/8in (31.4cm) wide

US$1,800 - 2,500

1081A SATSUMA MODEL OF AN OLD MANMeiji era (1868-1912), late 19th century Modeled as the old man from the Tale of the Tongue-Cut Sparrow seated by a treasure box enjoying a smoke while his sparrow companion alights on his shoulder, all painted in polychrome enamels and gilt 7 1/4in (18.5cm) high, 9 3/4in (24.7cm) wide

US$1,200 - 1,800

1079

1081

40 | BONHAMS

1082A SATSUMA KORO (INCENSE BURNER) AND SMALL BOX AND COVERThe second by Kakimoto, Meiji era (1868-1912), late 19th century The incense burner painted in green enamel and modeled as a chrysanthemum, set on three leaf feet and fitted with a pierced silver chrysanthemum cover; the box decorated in polychrome enamels and gilt and modeled as Hotei wrapped in his treasure sack, signed on the underside in gilt Kakimoto 3 1/4in (8.3cm) high; 2 1/4in (5.7cm) wide

US$2,000 - 3,000

1083A SATSUMA INCENSE BURNER AND SATSUMA EWERMeiji era (1868-1912), late 19th century Decorated in colored enamels and gilt over a clear crackled glaze, the bulbous incense burner with a partially scalloped foot rim and upper portion finely painted with stylized chrysanthemum blossoms, the rim applied with silver band and fitted with a pierced silver lid fashioned as a chrysanthemum; the phoenix-and-dragon ewer with a bird-head spout and dragon-headed loop handle, the lobed body and lid decorated with chrysanthemum blossoms above hovering butterflies silhouetted against a gosu blue band encircling the lower portion, the base with four short supports signed Satsuma-yaki Shogetsu below the mark of the Shimazu family 4 1/2 and 5 1/2in (11.5 and 14cm) high

US$1,000 - 1,500

1084AN EARTHENWARE MODEL OF FOWLTaisho (1912-1926) or Showa (1926-1989) era, early to mid-20th century A three-dimensional portrayal of a rooster perched on a bound sheaf of rice with a small opening to the top, a hen standing below on a second sheaf and bending over to feed one of the three chicks, the details picked out in gilt and polychrome enamels 10 3/8in (26.3cm) high

US$4,000 - 6,000

1082

1083

1084


1085TWO SATSUMA VASESMeiji era (1868-1912), late 19th century The first, a baluster vase applied with elephant handles and decorated in gosu blue, green, red and black enamels and gilt with cranes in a marsh by a pine tree, signed on the underside Satsuma-yaki under the mark of the Shimazu family; the second of kinuta (mallet) shape and decorated with stands of blossoming flowers, the shoulder painted with chrysanthemum lappets and the neck with a stiff petal collar above a geometric band 14in (35.5cm); 12in (30.5cm) high

US$2,000 - 3,000

1086A SATSUMA EWER AND A SATSUMA BOWLMeiji era (1868-1912), late 19th century Each decorated in polychrome enamels and gilt on a clear crackle glaze; the ewer with an unusual kirin-headed spout opposed by a loop handle, the ovoid body painted with flowering prunus and clumps of bamboo issuing from a gosu blue basket-weave fence extending over three cut-away supports, the small high dome lid with gilt ball finial, signed Meiseizan saku; the trumpet-mouth bowl with overall stylized design of flowering prunus branches in gilt, red and gosu blue, signed Dai Nihon Satsuma-yaki Hyokoseki ga and with the mark of the Shimazu family 4 3/4in (12.2cm) height of ewer; 6 1/4in (16cm) diameter of bowl

US$1,200 - 1,800

1087A SATSUMA MODEL OF OKAME’S FACEMeiji era (1868-1912), late 19th century The facial features and phoenix crown of the popular female deity picked out in polychrome enamels and gilt over a clear crackled glaze ground, the reverse with a novel silhouette of a cord-tied treasure sack, the upper portion painted with a floriform panel depicting a Chinese sage and attendants, the lower leaf-form panel with a squirrel amid fruiting grapevines, all reserved on a variously patterned brocade ground of figural, floral and geometric design 8 3/4in (22.2cm) long

US$1,500 - 2,500

1085

1086

42 | BONHAMS

1088

1087

1089

1088KOGYOKU (ACTIVE LATE 19TH CENTURY)A porcelain plaque Meiji era (1868-1912), late 19th century Molded in high relief with a bold design of a tiger beneath an old pine tree by a waterfall, the tail and some of the branches molded in the round, painted in polychrome enamels and gilt, signed Kogyoku; in a fitted wood frame 12 3/8 x 9 1/4in (131.3 x 23.5cm); 14 5/8 x 11in (37.1 x 27.9cm) including frame

US$2,000 - 3,000

1089A KUTANI COVERED BOWL AND A DOUBLE GOURD VASEMeiji era (1868-1912), late 19th century Each decorated in red and black iron-oxide and gilt on a clear crackled ground, the covered bowl decorated on the exterior with panels of birds and flowers, the surrounding areas with karakusa, whorls, and tassels, the interior painted with a scene of geese in flight and by a stream, the interior rim with a green enamel band and karakusa in gilt, the cover decorated with a circular panel with court ladies playing koto in a villa, the interior of the cover with geese flying before clouds and a full moon, applied with a “bamboo segment” finial, signed on the underside Dai Nihon Kaga no kuni ni oite Kutani Ikkodo sei Setsuzan; the bottle vase painted with circular panels containing figures engaged in various activities surrounded by karakusa and floral lozenges, signed on the underside Dai Nihon Kutani Oodo sei 14in (35.5cm) diameter; 12 1/4in (31.1cm) high

US$1,500 - 2,500


1090

1092

1091

1090A LARGE PORCELAIN VASEHizen ware, Imari type, Edo period (1615-1868), 18th century The large trumpet vase decorated in underglaze blue and red and pink enamels and gilt with shaped panels of kirin, the surrounding area painted with peonies and chrysanthemums, the neck and foot with tasseled cash and stylized chrysanthemum patterns, interior of mouth painted with sprays of peony 24 7/8in (63.2cm) high

US$1,800 - 2,500

1091A PORCELAIN COFFEE POTHizen ware, Imari type, Edo period (1615-1868), late 17th century The pear-shaped body molded in relief with cranes in pine, plum trees and bamboo, standing on three figural feet, painted in underglaze blue and polychrome enamels and gilt, the lobed globular neck surmounted by a dome cover with a jewel finial, fitted with a brass spigot tap 16 1/8in (40.8cm) high

US$1,000 - 1,500

1092A MASSIVE PORCELAIN KORO (INCENSE BURNER)Meiji era (1868-1912), late 19th century Molded and carved on the surface, the two-piece model formed as a seated kirin looking up and baying, covered in a celadon glaze 31 1/2in (80cm) high

US$10,000 - 15,000

44 | BONHAMS

1093A HIRADO PORCELAIN EWERMeiji era (1868-1912), late 19th century Modeled as a seated karako wearing a vest with a cloud pattern, the lid incorporated into the characteristic child’s coiffure, the spout formed by the mouth of a puppy held in his lap, a swirling ribbon collar providing the loop handle, the details picked out in shades of underglaze blue 7 1/2in (19cm) high

US$2,000 - 3,000

1094A PORCELAIN COVERED VASEHizen ware, Imari type, Meiji era (1868-1912), late 19th century The conical vessel applied with small handles and chrysanthemum bosses, decorated with beauties pulling young pine saplings and a stand of peonies, the domed cover with a continuation of the design, all in underglaze blue, red iron oxide and gilt 12 1/2in (31.8cm) high

US$800 - 1,200

1095A LARGE STONEWARE VASEMeiji (1868-1912) or Taisho (1912-1926) era, early 20th century Set on a tall pedestal foot flaring out to a wide mouth and ending in an upturned rim and covered overall in a thick Karatsu-style glaze, turning a mottled brown and black where it becomes thin 18 7/8in (48cm) wide, 14 3/4in (37.4cm) high

US$1,500 - 2,000

1096A LARGE ORIBE-STYLE VESSELMeiji (1868-1912) or Taisho (1912-1926) era, early 20th century The deep stoneware vessel modeled with a rolled lip and a short spout, decorated with stylized dragons in clouds and grasses in iron oxide and splashed with a thick green glaze 15 x 14 x 6 3/8in (38.1 x 35.5 x 16.2cm)

US$800 - 1,200

1095

10941093

1096


1098

1099

1097

1098 (another view)

1097A PORCELAIN DISH AND A PORCELAIN FLOWER POTThe first by Yozan, Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century The first, a dish molded in the shape of Hotei holding a fan and seated by his treasure sack, decorated in underglaze blue and polychrome enamels, signed on the underside with an impressed seal Yozan; the second, a rounded square pot with a heavy loop handle and beast-mask attachments, covered in a clear glaze with a bluish cast 12 1/4in (31.1cm) wide; 10 1/2in (26.6cm) high

US$1,200 - 1,800

1098A DEEP PORCELAIN BOWLMeiji (1868-1912) or Taisho (1912-1926) era, late 19th/early 20th century The deep bowl decorated in underglaze blue and olive-green enamel with a fisherman before Mount Fuji in a design taken from Hokusai’s 36 Views of Mount Fuji 12 1/4in (31.1cm) diameter, 5 1/2in (13.9cm) high

US$1,000 - 1,500

1099A LARGE PORCELAIN BOTTLE VASEMeiji (1868-1912) or Taisho (1912-1926) era, early 20th century Covered in a flambé “wood” glaze and decorated with scrolling flowers, leaves and vines in green and red enamels and silver lacquer 22 1/4in (56.5cm) high

US$2,000 - 3,000

46 | BONHAMS

1100GYOKUSHOEN HAKUSANA porcelain mizusashi (water jar for the tea ceremony) Taisho (1912-1926)/Showa (1926-1989) era Of slightly bulging rectangular form with rounded edges, each side centered by a raised roundel depicting a Chinese immortal in underglaze blue and set within a recessed reserve with an overall seigaiha pattern in purple underglaze, all framed by a dense design of fruiting branches in shades of cobalt blue, the slightly overlapping lid with a loop handle and decorated en suite, signed Gyokushoen Hakusan sei 7 3/4in (19.7cm) high

US$3,000 - 5,000

1101KATO SHIGEJUA porcelain vase Meiji era (1868-1912) Decorated to either side in underglaze blue with writhing dragons silhouetted against a rich ground of iron-brown tenmoku glaze, the recessed base signed Dai Nihon Seto Kato Shigeju sei 7 1/2in (19.2cm) high

US$800 - 1,200

1102SHOFU WORKSHOPA studio porcelain vase with elaborate silver mounts Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century The porcelain bottle vase carved on the surface with chrysanthemums and insect-eaten broad leaves on vines and decorated in yellow and graduated shades of green enamels, applied with a silver mount with vines and leaves, the vase signed on the underside in underglaze blue Dai Nihon Shofu tsukuru 13 7/8in (35.2cm) high

US$2,500 - 3,500

1100

1101

1102

(interior of lid)


1103ITO TOZAN (1846-1920)A Satsuma vase Meiji (1868-1912) or Taisho (1912-1926) era, late 19th/early 20th century The elongated ovoid vase decorated in polychrome enamels and gilt with beauties and attendants gathering flowers among gilt clouds, signed on the underside Tozan sei and with the impressed seal of Ito Tozan 13 3/8in (33.9cm) high

US$1,200 - 1,800

1104ITO TOZAN (1846-1920)A porcelain bottle vase Meiji (1868-1912) or Taisho (1912-1926) era, late 19th/early 20th century The base with a long neck applied with two monkeys in jackets and a peach decorated with brown and green enamels, the bottle covered in a mottled green and caramel-colored glaze, the underside signed with the impressed seal of Ito Tozan 11 1/2in (29.2cm) high

US$1,200 - 1,800

1105ITO TOZAN (1846-1920)A miniature Satsuma tsuitate (table screen) Meiji era (1868-1912), late 19th century Rectangular with canted corners and painted in colored enamels and gilt on a clear crackled glaze with flowering peony branches wreathed in mist, reversed by a gosu blue shishi pursuing a brocade ball, the edges with intermittent scrolling tendrils framing jewels, the two tapering supports with further gilt decoration, signed Tozan tsukuru 5 7/8 x 7 3/8 x 1 1/4in (14.8 x 18.9 x 3.1cm)

US$800 - 1,200

1106SEIFU YOHEI III (1851-1914)A small porcelain vase Meiji era (1868-1912), early 20th century Of tapering ovoid form with a recessed foot and decorated in underglaze red and blue with fruiting branches, including peach, loquat and yuzu, the base with incised signature Seifu 5 3/4in (14.6cm) high

US$1,500 - 2,500

1103

1105

1106

1104

48 | BONHAMS

1107SEIFU YOHEI III (1851-1914)A porcelain bottle Meiji era (1868-1912) circa 1900 The bottle vase set on a slightly splayed foot and decorated with chrysanthemums and tendrils molded in low relief and covered with a celadon glaze, signed on the underside Seifu 12 7/8in (32.8cm) high

US$2,000 - 3,000

1108MAKUZU KOZAN (1842-1916)A porcelain vase Meiji era (1868-1912), late 19th century The sloping shoulder decorated with four underglaze blue roundels portraying groups of frolicking karako set within bands of red enamel and underglaze blue and encircled by a green enamel keyfret band, all reserved on a “basket” ground in red enamel, the neck and splayed foot with keyfret bands in underglaze blue, signed Dai Nihon Kozan sei within a double underglaze blue band 6 3/4in (17.3cm) high

US$1,500 - 2,500

1109A LARGE PORCELAIN VASETaisho (1912-1926) or Showa (1926-1989) era, 20th century The squat vase decorated in polychrome enamels and gilt with a carp molded in relief and decorated with water plants against a blue-gray background 11 3/4in (29.8cm) high, 15 1/4in (38.7cm) diameter

US$3,000 - 5,000

1110MAKUZU KOZAN (1842-1916)A pair of porcelain te-aburi (hand warmers) Meiji era (1868-1912), late 19th century Of cylindrical form on bracket feet molded with scrolling peonies and vines and applied with a bright green celadon glaze, the foot rims and part of the recessed base unglazed, signed on the underside with impressed seal Makuzu Kozan With tomobako storage box inscribed on the lid Te-aburi and on the underside Unkaku seiji botan karakusa i and Rokujugo o Kozan isaku and dated Taisho gonen shoshun (January, 1916) and signed and sealed Makuzu Kozan 11in (27cm) high

US$4,000 - 5,000

1107

1109

1110

1108


1111MAKUZU KOZAN II (HANZAN) (1858-1940)A small porcelain vase Showa era (1926-1989), circa 1926-1940 Of baluster form and finely painted in shades of black enamel with six ducks silhouetted against a white background shading to gray, signed in underglaze blue Makuzu Kozan sei within incised and cobalt blue bands 4 1/2in (11.5cm) high

US$1,000 - 1,500

1112MAKUZU KOZAN II (HANZAN) (1859-1940)A stoneware vase Showa (1926-1989) era, 20th century The squat vase with a square shoulder and decorated with herons by a rocky formation in a white, black and mottled brown glaze with gilt highlights, impressed signature Kozan on underside; with a fitted wood stand 5 1/4in (13.3cm) high

US$1,500 - 2,500

1113KORANSHA WORKSHOPA porcelain vase with lacquered woven bamboo case Meiji era (1868-1912), late 19th century The rounded shoulder finely painted in underglaze blue with a wide band depicting a continuous Chinese-style landscape with country dwellings along a waterway bordered by tall mountains, the lower portion encircled by a separately woven rattan and bamboo case with the plaiting pattern heightened by a reddish-brown lacquer coating, the underside with the Koransha Orchid Studio mark 9 1/2in (24.2cm) high

US$3,000 - 5,000

1114A LARGE LACQUER KARABITSU (STORAGE BOX)Edo period (1615-1868), 19th century The cylindrical ribbed box fitted with four legs and a domed cover and decorated in an overall design of hollyhock crests, scrolling vines and linked lozenges in two shades of gold hiramaki-e against a gold nashiji ground, the gilt-bronze hardware carved with a repetition of the overall design against a nanako ground 19 3/4in (50.1cm) high, 22in (55.8cm) wide (at the feet)

US$1,500 - 2,500

1111

1113

1114

1112

50 | BONHAMS

1115A CERAMIC-INLAID WOOD BOX AND COVERMeiji era (1868-1912), late 19th century The rectangular box finished to expose the natural woodgrain and decorated with a Chinese lion in ceramic inlays, the underside of the cover carved with a Chinese poem, the characters embellished in gold lacquer and signed with two undeciphered inlaid seals 15 1/2 x 10 7/8 x 3 5/8in (39.4 x 28.2 x 9.3cm)

US$2,000 - 3,000

1116A WOOD MODEL OF A TIGERTaisho era (1912-1926), early 20th century Carved from a single block of wood and covered with a brown pigment, worn away on some of the high spots, revealing the wood surface beneath, the eyes inlaid in painted bone 19in (48.2cm) wide, 13 3/4in (34.9cm) high

US$2,000 - 3,000

1117A MASSIVE WOOD BOX AND COVER CARVED AS A TURTLEMeiji era (1868-1912), late 19th century Carved in sections and assembled to form a large turtle with smaller turtles on its back, the top of the shell removable, revealing an interior lacquered with cherry blossoms and leaves floating on rippling water, the underside of the cover decorated with cherry blossoms on “cracked ice” all in gold and black hiramaki-e against a red-lacquer ground, the larger turtle’s eyes inlaid in reverse-painted glass 37 x 27 1/2 x 11in (94 x 70 x 28cm)

US$8,000 - 12,000

1118A FINELY CARVED WOOD PANELMeiji era (1868-1912), late 19th century Carved from a single block of wood with a rooster and hen standing on a rocky hillock worked in high relief, some sections carved in the round, illegibly signed () () to and sealed Eguchi, set into the original heavy wood frame 28 5/8 x 17 1/2in (72.7 x 44.4cm) (panel only), 32 1/8 x 21 1/2in (81.6 x 54.6cm) overall

US$7,000 - 9,000

1115

1117

1118

1116


1119 WA MARQUETRY CABINETTaisho era (1912-1926), early 20th century Rectangular and fitted with seven drawers and a hinged door, opening to reveal three additional recessed drawers, decorated overall in veneer of various shades and inlaid with geometric flourishes, the interior lacquered black, the bronze fittings carved with floral scroll, on a later fitted wood stand 41 1/2 x 29 3/4 x 14in (105.41 x 75.5 x 35.5cm) (excluding stand), 54 x 29 3/4 x 14in (137.1 x 75.5 x 35.5cm) overall

US$3,000 - 4,000

1120A HARDWOOD PALM SHRINEEdo period (1615-1868), 19th century Circular and carved on the interior on one half with the bodhisattva Fugen (Samantabhadra) on his elephant, the other half with Monju (Manjusri) on his lion, traces of pigment, the exterior carved with chrysanthemum and leaves 3in (7.5cm) diameter

US$1,500 - 2,500

1121 WA STANDING FIGURE OF THE BODHISATTVA JIZO (KṢITIGARBHA)Edo period (1615-1868), 18th/19th century Of yosegi-zukuri (joined-block), hollow construction, the figure shown standing in a static pose, leaning slightly forward and holding a wish-granting jewel and a shakujo (staff with jingles), the robes decorated with floral and geometric patterns in gold lacquer, the eyes inlaid in crystal, the separately carved halo decorated with a lotus flower encircled by flaming jewels and pierce-carved clouds, the figure set on a lotus stand supported by a three-register base carved with cloud formations and peony and keyfret friezes 42 7/8in (108.8cm) high overall, 24 1/8in (61.3cm) (figure only)

US$8,000 - 12,000

1121

1119

1120

52 | BONHAMS

FINE JAPANESE ART

FINE JAPANESE ART | 53FINE JAPANESE ART | 53

11241122

1123KATSUSHIKA HOKUSAI (1760-1849)Edo period (1615-1868), circa 1834 An oban yoko-e print of Hietsu no sakai tsuribashi (The Suspension Bridge on the Border of Hida and Etchu Provinces), from the series Shokoku meikyo kiran (Remarkable Views of Bridges in Various Provinces), of two figures on a suspension bridge over a cloudy valley, kiwame censor seal, publisher’s seal Eijudo (Nishimura Yohachi), signed saki no Hokusai Iitsu hitsu 10 1/8 x 15 1/8in (25.9 x 38.4cm)

US$2,000 - 3,000

1124UTAGAWA HIROSHIGE (1797-1858)Edo period (1615-1868), circa 1832 An oban yoko-e print of awabi (abalone) and sayori (needlefish) with peach-blossoms below poems, from an untitled series known as the “Large Fish”, kiwame censor seal, publisher’s seal Eijudo (Nishimuraya Yohachi), signed Ichiryusai Hiroshige ga 10 x 14 1/2in (25.4 x 36.9cm)

US$800 - 1,200

1123

PROPERTY OF VARIOUS OWNERS

1122TORII KIYOTSUNE II (ACTIVE 1757–1779) AND KIKUGAWA EIZAN (1787–1867)Edo period (1615-1868), circa 1774 and 1812 The first a hosoban benizuri-e of the actor Matsumoto Koshiro III as a shirazake vendor, with publisher’s mark of Sumiyoshiya, signed Kiyotsune ga; the second an oban tate-e of a courtesan writing a letter, from the series Furyu gosetsu kacho-awase (Elegant Pictures with Birds and Flowers of the Five Seasons), with kiwame censor seal, date seal (Iwato) and unidentified publisher’s mark, signed Eizan hitsu 12 1/4 x 5 3/8in (31.1 x 13.7cm) 15 x 9 7/8in (37.9 x 25cm)

US$800 - 1,000

54 | BONHAMS

1127

1126

1125UTAGAWA HIROSHIGE (1797-1858)Edo period (1615-1868), circa 1856 An oban tate-e print of Asakusa Kinryuzan (Kinryuzan (Sensoji Temple) in Asakusa) from the series Meisho Edo hyakkei (100 Famous Views of Edo), with partial publisher seal Uo-Ei (Uo-ya Eikichi), signed Hiroshige ga 13 5/8 x 9in (34.6 x 23.1cm)

US$800 - 1,000

1126UTAGAWA HIROSHIGE (1797-1858)Edo period (1615-1868), circa 1858 An oban tate-e print of Ryogoku hanabi (Fireworks at Ryogoku (Bridge)) from the series Meisho Edo hyakkei (100 Famous Views of Edo), with date seal uma-hachi and publisher seal Uo-Ei (Uo-ya Eikichi), signed Hiroshige ga 14 3/4 x 10in (37.3 x 25.4cm)

US$2,000 - 3,000

1127UTAGAWA HIROSHIGE (1797-1858)Edo period (1615-1868), circa 1855 and 1857 Two oban tate-e prints, the first of Shono Shiratorizuka koseki (Shono: Ancient Remains at Shiratori Mound) from the series Gojusan tsugi meisho zue (Famous Sights of the 53 Stations, #46), with aratame and date seals, publisher mark of Tsutaya Kichizo, signed Hiroshige hitsu; the second titled Bikunibashi setchu (Bikuni Bridge in Snow) from the series Meisho Edo hyakkei (100 Famous Views of Edo), with partial aratame and date seals, publisher’s seal Uo-Ei (Uo-ya Eikichi), signed Hiroshige ga 14 1/4 x 9 1/2in (36.3 x 24.1cm) 13 1/4 x 9 1/8in (33.7 x 23.3cm)

US$800 - 1,200

1125


1130

1129

1128UTAGAWA HIROSHIGE (1797-1858)Edo period (1615-1868), circa 1834 An oban yoko-e print of Arashiyama manka (Cherry Blossoms in Full Bloom at Arashiyama), from the series Kyoto meisho (Famous Views of Kyoto), of two persons rafting on a river bordered by flowering cherry trees, publisher’s seal of Kawaguchiya Shozo, signed Hiroshige ga 8 3/4 x 13 7/8in (22.3 x 35.3cm)

US$1,500 - 2,500

Provenance Purchased from Mayuyama & Co. in the 1950s

1129UTAGAWA HIROSHIGE II (1829-1869)Edo period (1615-1868), circa 1859 and 1862 Two oban tate-e prints, the first Akasaka Kiribatake uchu yukei (Night Rain at Akasaka Kiribatake), from the series Meisho Edo hyakkei (100 Famous Views of Edo), with aratame/date seal (circa 1859), publisher’s seal Uo-Ei (Uo-ya Eikichi), signed Nisei Hiroshige ga; the second titled Imado-bashi Matsuchiyama (Imado Bridge and Matsuchiyama), from the series Toto sanjurokkei (36 Views of the Eastern Capital), signed Hiroshige ga 14 3/4 x 10in (37.5 x 25.5cm) 13 5/8 x 9in (34.6 x 22.9cm)

US$600 - 800

1130A SET OF THREE SHUNGA ALBUMSEdo period (1615-1868), late 18th/early 19th century Comprising two accordion-fold albums and one book: an accordion-fold album mounted with 12 oban yoko-e shunga images; a watoji (Japanese-style book binding) book of Hanafubuki jo chu ge in three volumes (the first, second, and third) bound together, by Kitagawa Utamaro, circa 1802; an accordion-fold album mounted with 20 shunga images, inscribed on the cover Harunobu and Koryusai Cover 10 1/4 x 7 1/2in (26 x 19cm) image 10 1/8 x 14 3/8in (25.5 x 36cm) each approximately Cover 8 1/4 x 6 3/8in (21 x 16cm) Cover 7 3/4 x 7 1/8in (19.5 x 18cm) image 5 1/2 x 6 3/8in (14 x 16cm) each approximately

US$1,200 - 1,800

1128

56 | BONHAMS

1131

1131YOSHIDA HIROSHI (1879-1950)Showa era (1926-1989), dated 1928 An oversize woodblock print entitled Keiryu (in Japanese) and Rapid (in English), jizuri seal, dated Showa san (1928), published by Watanabe Shozaburo; signed Yoshida in black ink and Hiroshi Yoshida in pencil 24 1/2 x 35 /8in (62.3 x 91cm)

US$6,000 - 8,000

Another impression is illustrated in Yoshida Hiroshi, Yoshida Hiroshi Zenmokuhangashu (The Complete Woodblock Prints of Hiroshi Yoshida), Tokyo, Abe Shuppansha), 1987, p. 94.


1133

1132

1134

PROPERTY FROM THE COLLECTION OF JUDY BLUM

1132CHOBUNSAI EISHI (1756-1829)Edo period (1615-1868), circa 1793-94 An oban tate-e print from a triptych titled Zendama akudama yukyo zu (Good and Evil Influences), publisher Iwatoya Kisauro (Eirindo), censor’s seal kiwame, signed Eishi ga 15 5/16 x 10 1/8in (38.8 x 25.7cm)

US$600 - 800

1133HISHIKAWA MORONOBU (1618-1694), UTAGAWA TOYOKUNI I (1769-1825), UTAGAWA TOYOKUNI II (TOYOSHIGE) (1777-1835), AND UTAGAWA HIROSHIGE III (1842-1894)Edo period (1615-1868), 19th century Comprising a sumizuri-e album sheet with hand-applied color, three oban tate-e prints, and senjafuda (framed): Raiko Pays His Respects to Shutendoji, from an untitled series of the Shutendoji story, circa 1680; a portrait of the publisher Eijudo Hibino (Nishimuraya Yohachi) aged 71, circa 1799, publisher Nishimuraya Yohachi, signed Toyokuni ga; a tiger, signed Toyokuni ga; a shishi, censor’s seal kiwame, signed Toyokuni ga; and senjufuda, signed Utashige ga on the right sheet (5) Overall 17 ¼ x 22 5/8in (43.8 x 57.5cm) print 9 7/8 x 13in (25 x 33cm) Overall 20 3/8 x 16in (51.8 x 40.7cm) print 14 ½ x 10 1/8in (36.9 x 25.8cm) each approximately Overall 12 ½ x 15 3/4in (31.7 x 40cm) prints [sheets joined] 5 15/16 x 9 7/16in (15 x 24cm)

US$800 - 1,200

1134KATSUSHIKA HOKUSAI (1760-1849)Edo period (1615-1868), circa 1804 A double-width horizontal kokonotsugiri surimono print titled Fujieda: Shimada ni ri kyu cho (Fujieda: Two Ri and Nine Cho to Shimada), no. 24 from an untitled series of the 53 Stations of the Tokaido Road, signed Gakyojin Hokusai ga 5 x 14 1/16in (12.9 x 37.1cm)

US$2,000 - 3,000

58 | BONHAMS

1135KATSUSHIKA HOKUSAI (1760-1849)Edo period (1615-1868), circa 1833 A oban yoko-e print of Beison no chikurin (Bamboo Grove at Beison), from the series Ryukyu hakkei (Eight Views of the Ryukyu Island), circa 1833, publisher Nishimura Yohachi (Eijudo) and Moriya Jihei (Kinshindo), signed Saki no Hokusai Itsu hitsu 9 5/8 x 14 9/16in (24.5 x 37cm)

US$2,000 - 3,000

1136TOTOYA HOKKEI (1780-1850)Edo period (1615-1868), early 19th century Comprising two surimono shikishi-ban and a hosoban print: Urikai (Trade), from the series Kogentei juhachiban tsuzuki (18 Illustrations of the Ladder of Ancient Words), circa 1831, collector seal of Hayashi Tadamasa; Moho (Mao Bao) riding a huge turtle, from the series Mogyu (Meng Qui), circa 1821; Demon Preparing to Write in an Account Book, from the series Kokin kyokasen (Selection of Ancient and Modern Comic Poems), circa 1830; each signed Hokkei (3) 8 3/8 x 7 3/16in(21.4 x 18.3cm) 8 1/8 x 7 1/16in (20.7 x 18cm) 13 6/8 x 6 1/8in (35 x 15.7cm)

US$1,000 - 1,500

1137KATSUKAWA SHUN’EI (1762-1819)Edo period (1615-1868), circa 1790 A hosoban print of the actor Nakamura Kumetaro II in an onnagata role comforting a young girl in the play Yoshitsune koshigoe jo (Yoshitune’s Koshigoe Petition), signed Shun’ei ga 12 5/8 x 5 3/4in (32.2 x 14.7cm)

US$500 - 700

1135 1136

1137


1138KEISAI EISEN (1790-1848)Edo period (1615-1868), circa 1843-47 An oban tate-e print titled Kirifuri no taki, santaki no sono ikkei (The Kirifuri Falls, One of the Three Waterfalls), from the series Nikkosan meisho no uchi (Famous Scenic Spots in the Mountains of Nikko), circa 1843-47, publisher Yamamotoya Heikichi (Eikyudo), signed Keisai Eisen sha 14 7/8 x 9 3/4in (37.9 x 24.9cm)

US$2,000 - 3,000

1139KEISAI EISEN (1790-1848)Edo period (1615-1868), circa 1835 An oban tate-e print vertical diptych (framed) depicting a carp ascending a waterfall, signed Keisai hitsu, artist’s seal Eisen Overall 35 3/8 x 16 1/4in (89.8 x 41.2cm) prints [two sheets joined] 28 ¾ x 9 7/8in (73.2 x 25.2cm)

US$1,000 - 1,500

1140ISHIKAWA TOYONOBU (1711-1785)Edo period (1615-1868), mid-18th century A hosoban benizuri-e print of two actors portraying a young man removing snow from a woman’s geta, publisher Urokogataya Magobei, signed Ishikawa Toyonobu hitsu 11 6/8 x 5 1/2in (29.8 x 14cm)

US$500 - 700

1141UTAGAWA TOYOKUNI I (1769-1825)Edo period (1615-1868), early 19th century Four oban tate-e prints: Satsuki ame no zu (Rain in the Fifth Month), from Junimai tsuzuki (A Set of Twelve), circa 1818, publisher Nishimuraya Yohachi (Eijudo), censor’s seal kiwame; from the series Yakusha butai no sugata-e (Portraits of Actors on Stage), publisher Izumiya Ichibei (Kansendo); Chofu no Tamagawa, from the series Yakusha jigao mutamagawa, circa 1809, publisher Kouchiya Genshichi, censor’s seal kiwame; Actors Ichikawa Danzo and Segawa Kikuzaburo; each signed Toyokuni ga(4) 14 5/8 x 9 6/8in (37.2 x 24.8cm) 15 1/8 x 9 7/8in (38.4 x 25.2cm) 14 15/16 x 10 1/4in (37.8 x 26cm) 15 x 9 7/8in (38 x 25.2cm)

US$1,500 - 2,000

1141

1138 1139 1140

60 | BONHAMS

1142UTAGAWA TOYOKUNI I (1769-1825)Edo period (1615-1868), circa 1807 A koban tate-e/surimono print titled Shibaicho kichirei soga (The Time-honored Customs of the Theater Area), from the series Edo meisho harukyo awase (Famous Views of Edo According to Springtime Amusements), circa 1807, with two poems by Shinratei Manzom and Shoseiro Hansei, signed Toyokuni hitsu 8 3/8 x 5 7/16in (21.4 x 14cm)

US$600 - 1,000

1143UTAGAWA HIROSHIGE I (1797-1858)Edo period (1615-1868), circa 1830s-50s Comprising four oban prints: Inokashira no ike Benzaiten no yashiro yuki no kei (Snow Scene at the Shrine of Benzaiten at Inokashira Pond), from the series Meisho setsugekka (Snow, Moon and Flowers at Famous Places), circa 1844-45; Azuma-no-mori yau (Night Rain at Azuma Wood), from the series Edo kinko hakkei no uchi (Eight Views in the Environs of Edo), circa 1837-1838, published by Sanoya Kihei, censor’s seal kiwame; Sagamigawa (Sagami River), from the series Fuji sanjurokkei (36 Views of Mount Fuji), circa 1858, published by Tsutaya Kichizo; each signed Hiroshige ga; and Nihonbashi yukibare no zu (Clear Weather after Snow at Nihonbashi Bridge), from the series Shinsen Edo meisho (Famous Places in Edo, Newly Selected), circa 1840-1842, signed Ichiryusai Hiroshige ga (4) 9 15/16 x 14 1/2in (25.2 x 37cm) each approximately

US$1,500 - 2,000

1144UTAGAWA HIROSHIGE I (1797-1858)Edo period (1615-1868), circa 1836-39 An oban yoko-e print titled Miyanokoshi from the series Kisokaido rokujukyu tsugi (The 69 Stations of the Kisokaido Road, #37), circa 1836-39, publisher Iseiri (Kinjudo), signed Hiroshige-ga 9 13/16 x 14 1/8in (25 x 36cm)

US$800 - 1,200

1145UTAGAWA HIROSHIGE I (1797-1858)Edo period (1615-1868), circa 1832-42 Comprising four oban yoko-e prints from an untitled series known as the “Large Fish”: Striped Sea Bream, Rock-trout and Nandina, and Mackerel, Crab and Morning Glory, censor’s seal kiwame, both circa 1840-42, signed Hiroshige ga; Flatheads and Eggplant, circa 1832-33, and Mullet, Asparagus and Camellia, variant impression, signed Ichiryusai Hiroshige ga 10 3/16 x 14 7/8in (26 x 37.8cm) each approximately

US$1,000 - 1,500

1142

1145

11441143


1146

1147

1148

1146UTAMARO SCHOOLEdo period (1615-1868), late 18th/early 19th century An oban yoko-e shunga print from an album; unsigned 10 x 14 7/8in (25.5 x 37.7cm)

US$500 - 700

1147UTAGAWA KUNISADA I (TOYOKUNI III) (1786-1864)A chuban yoko-e/surimono print titled Tora no haru (Tiger’s Spring), with an actor battling a tiger, with three poems, signed Gototei Kunisada ga 7 6/8 x 10 7/8in (19.5 x 27.7cm)

US$500 - 700

1148UTAGAWA KUNISADA I (TOYOKUNI III) (1786-1864)Edo period (1615-1868), 1828-30 A surimono shikishi-ban print depicting the actors Ishikawa Danjuro and Iwai Kumesaburo, circa 1828-30, with two poems, signed Gototei Kunisada ga 8 1/4 x 7 3/8in (21 x 18.8cm)

US$500 - 700

1149UTAGAWA KUNISADA I (TOYOKUNI III, 1786-1864)Edo period (1615-1868), circa 1831-1847 Comprising an oban tate-e print triptych and an oban tate-e print diptych (framed): Shunseki bijo no yugaeri (Beautiful Women Returning from the Bath on a Spring Night), circa 1843-47, published by Maruya Jinpachi (Marujin Enjudo), censor’s seal fu, signed Kochoro Toyokuni ga on right and left sheets, Ichiyosai Toyokuni ga on center sheet; and Actors Seki Sanjuro II as Kamiya Niemon (right) and Onoe Kikugoro III from Kamigata as the Lantern Ghost, from Sanganotsu gohyoban no chochin no yurei (The Lantern Ghost, Applauded throughout the Three Cities) (left), circa 1831, publisher Moritaya Hanzo, censor’s seal kiwame, signed Gototei Kunisada ga (2) Overall 20 ¼ x 35 1/2in (51.5 x 90.2cm) prints [three sheets joined] 14 9/16 x 29 1/2in (37 x 79.2cm) Overall 20 3/8 x 25 3/4in (51.7 x 65.5cm) prints [two sheets joined] 14 3/8 x 19 3/4in (37.5 x 50.2cm)

US$1,000 - 1,500

1149

62 | BONHAMS

1150UTAGAWA KUNISADA I (TOYOKUNI III) (1786-1864)Edo period (1615-1868), circa 1850s Comprising two oban tate-e prints and a vertical oban diptych: Tsuraku mo nasaso (The No-Problem Type), from the series Imayo sanjuniso (32 Aspects in the Modern Style), circa 1859, publisher Yamaguchiya Tobei (Kinkodo), censor’s seal hitsuji roku aratame, and Hanakurabe sato no yozakura (Evening Cherry Blossoms; Flower Contest Among the Geisha Houses), circa 1858, publisher Moriya Jihei (Kinshindo), censor’s seal uma hachi, each signed Toyokuni ga; a vertical diptych of Young Woman Walking under Umbrella, signed Gototei Kunisada ga on bottom sheet (4) 14 13/16 x 10 1/4in (37.7 x 26.2cm) each approximately

US$500 - 700

1151UTAGAWA KUNISADA (TOYOKUNI III) (1786-1864)Edo period (1615-1868), circa 1863 An oban tate-e print of Actor Nakamura Tsuruzo I as Hiraga Jirozo, circa 1863, publisher Ebisuya Shoshichi (Kinshodo, censor’s seal i ni aratame, signed Toyokuni ga 15 1/2 x 10 1/2in (39.5 x 26.5cm)

US$500 - 800

1152UTAGAWA KUNISADA I (TOYOKUNI III) (1786-1864)Edo period (1615-1868), circa 1854-60 Comprising an oban tate-e print vertical diptych and an oban tate-e print vertical triptych (framed): from the story Kaizoden no uchi (Monstrous Rats), actors Ichikawa Danjuro VIII as Kanja Yoshitake (top) and Nakamura Fusuke I as Katsuma Shintaro (bottom), circa 1854, censor’s seals aratame and tora shichi, each signed Toyokuni ga; Kirare Yosa, Chijimiuri Echigo Shinsuke, Yokogushi Otomi, from the play Hachiman matsuri yomiya no nigiwai (The Moonlight Night Bustle at the Hachiman Festival), circa 1860, publisher Izutsuya, censor’s seal saru nana aratame, each signed Toyokuni ga (2) Overall 34 ½ x 15 3/4in (87.7 x 40cm) prints [two sheets joined] 28 7/8 x 10 1/8in (73.5 x 25.7cm) Overall 49 x 16in (124.5 x 40.5cm) prints [three sheets joined] 42 ¼ x 9 3/4in (107.2 x 24.7cm)

US$1,000 - 1,500

1153UTAGAWA KUNISADA I (TOYOKUNI III) (1786-1864)Edo period (1615-1868), 1858-63 Comprising four oban tate-e prints: Ichikawa Ichizo III as Daiku Rokuzo in the play Koma Mukae Tanomi no Irikomi, circa 1858, publisher Uoya Eikichi, censor’s seal uma roku, signed Toyokuni ga; Ni Myochin, Matoda Jiro and Ikusanokimi Tarotakamon, from the series Toyokuni kigo kijutsu kurabe (A Contest of Magic Scenes), circa 1862-63, publisher Hiranoya Shinzo, censor’s seal kiwame, each signed Kio Toyokuni hitsu [4] 14 x 9 3/4in (35.7 x 24.8cm) 15 x 10 3/16in (38 x 26cm) 14 3/8 x 9 7/8in (36.5 x 25cm) 15 1/4 x 10 5/16in (39 x 26.5cm)

US$600 - 1,000

1150

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1152

1151


1155

1154

1156

1154UTAGAWA TOYOKUNI I (1769-1825)Edo period (1615-1868), circa 1820 A surimono shikishi-ban print depicting Ichikawa Danjuro in Edo, from the series Shokoku meibutsu shunmansei (Famous Products from Various Countries), poem by Dokurakudo Takamitsu, signed Toyokuni ga 8 1/4 x 7 1/8in (21 x 18.3cm)

US$500 - 700

1155UTAGAWA KUNISADA I (TOYOKUNI III) (1786-1864)Edo period (1615-1868), circa 1855 An uncut uchiwa-e (fan) print of Karainu Gonbei and Otoki, Chobei’s wife; censor’s seals aratame and u ni, publisher Enshuya Matabe, signed Toyokuni ga 8 7/8 x 11 3/8in (22.5 x 29cm)

US$800 - 1,200

1156UTAGAWA KUNISADA I (TOYOKUNI III) (1786-1864)Edo period (1615-1868), circa 1856 An oban tate-e, two-tier hexaptych (framed), titled Odori keiyo gakuya no zu (Backstage and Dressing Rooms) and Odori keiyo nikai-iri no zu (Backstage at a Newly Opened Theater), circa 1856, censor’s seal tatsu ni aratame, publisher Izumiya Ichibei (Kansendo), signed Toyokuni ga on each sheet Overall 35 3/4 x 37in (91 x 94cm) prints [six sheets joined] 28 3/4 x 30 1/8in (73 x 76.5cm)

US$600 - 1,000

1157UTAGAWA KUNISADA I (TOYOKUNI III) (1786-1864)Edo period (1615-1868), early to mid 19th century Comprising three oban tate-e prints and an oban tate-e triptych prints: Actor Ichikawa Danjuro VII, from the series Yakusha hanjimono (Actor Rebuses), circa 1812, publisher Nishimuraya Yohachi (Eijudo), censor’s seals kiwame, Yamaguchiya Tobei, signed Gototei Kunisada ga; Suimen no beni no hana (Safflowers on the Water), Actor Kawarazaki Gonjuro I as Watonai, from the series Tosei mitate sanjuroku kasen (Popular Matches for 36 Selected Flowers), circa 1861, publisher Hiranoya Shinzo, signed Toyokuni ga; Kumokiri Jinzaemon, from the series Jidai moyo ataru shiranami (Current Patterns of the Underworld), circa 1859, publisher Uoya Eikichi, censor’s seal, signed Toyokuni ga; Chushingura, publisher Ezakiya Kichibei (Tenjudo), censor’s seal kiwame, signed Gototei Kunisada ga (6) 15 1/16 x 10in (38.3 x 25.5cm) each apploximately

US$600 - 1,000

64 | BONHAMS

1158UTAGAWA KUNISADA I (TOYOKUNI III) (1786-1864) WITH KATSUSHIKA ISAI (1821-1880)Edo period (1615-1868), circa 1847-64 An oban tate-e print and a set of six koban tate-e prints of actors (framed): Ne Brigade, Ninth Group, Nekomatabashi: Actor Ichinokawa Ichizo (Ichikawa Ichizo III) as Inumura Daikaku, from the series Flowers of Edo and Views of Famous Places, circa 1864, publisher Katoya Iwazo, censor’s seal ne ni aratame, signed Toyokuni ga (bottom right), Isai ga (top) and Manjiro Hokuen ga (bottom left); various actors, circa 1847-52, censor’s seals Fuku and Muramatsu, signed Toyokuni ga on each sheet (2) Overall 19 7/8 x 15 1/8in (50.5 x 38.4cm) print 14 3/16 x 9 1/2in (36 x 24.2cm) Overall 20 5/8 x 28 ¼in (52.5 x 71.7cm) print 6 ¾ x 4 3/4in (17.2 x 12.2cm) each approximately

US$1,000 - 1,500

1159UTAGAWA KUNIYOSHI (1797-1861)Edo period (1615-1868), mid 19th century Comprising three oban tate-e prints: Yamamoto Kansuke, from the series Chuko meiyo kijin den (Lives of Remarkable People Renowned for Loyalty and Virtue), circa 1845, publisher Iseya Ichibei, censor’s seal kinugasa, signed Ichiyusai Kuniyoshi ga; Poem by Ariwara no Narihira no Ason, from the series Hyakunin isshu no uchi (100 Poems by 100 Poets), circa 1838, publisher Ehiko, signed Chooro Kuniyoshi ga; and Yomogyu (The Wormwood Patch), from the series Wakan nazorae Genji (Japanese and Chinese Comparisons for the Chapters of the Genji), circa 1855, publisher Iseyoshi, censor’s seals aratame u juni, signed Ichiyusai Kuniyoshi ga (3) 14 3/8 x 19 7/16in (36.5 x 24.5cm) 14 7/16 x 9 5/8in (36.7 x 24.7cm) 15 1/8 x 10 1/4in (38.7 x 26cm)

US$800 - 1,200

1160UTAGAWA KUNIYOSHI (1797-1861)Edo period (1615-1868), circa 1827-35 Comprising three oban tate-e prints: Otani Korunosuke fights a giant boar, from the series Honcho Suikoden goyu happyakunin (800 Heroes of the Japanese Shuihuzhuan), circa 1830-35, publisher Kagaya Kichibei, censor’s seal kiwame; two prints from the series Tsuzoku Suikoden goketsu hyakuhachinin (108 Heroes of the Popular Shuihuzhuan), circa 1827-30, the first of Konseimao Hanzui (Fan Rui, the Demon King of Chaos), publisher Kagaya Kichibei, censor’s seal kiwame, and the second of Konkoryu Rishun (Li Jun, the Dragon in the Turbulent River); each signed Ichiyusai Kuniyoshi ga (3) 15 1/16 x 10 5/16in (38.4 x 26.3cm) 14 7/8 x 10 1/4in (37.8 x 26cm) 14 3/4 x 10in (37.6 x 25.5cm)

US$1,000 - 1,500

1160

1157 1158 1159


1161

1162

1163

1163

1161UTAGAWA KUNIYOSHI (1797-1861)Edo period (1615-1868), 1827-40 Two oban tate-e print triptychs (framed): the first titled Kitsune no yomeiri (Foxes’ Wedding), circa 1839-40, publisher Eshima, signed Ichiyusai Kuniyoshi ga on the right and left sheets, Chooro Kuniyoshi ga on the center sheet; the second titled Chushingura juichidanme Ryogoku-bashi sei-soroi zu (Act XI of the Storehouse of Loyal Retainers: The Ronin Assemble at Ryogoku Bridge), circa 1827-30, publisher Kagaya Kichiemon, censor’s seal kiwame on the center sheet, signed on each sheet Ichiyusai Kuniyoshi ga (2) Overall 21 5/8 x 36 1/4in (55 x 92cm) prints [three sheets joined] 14 7/16 x 29 5/8in (36.7 x 75.2cm) Overall 21 3/8 x 37 1/8in (54.3 x 94.3cm) prints [three sheets joined] 15 x 30 11/16in (38.2 x 78cm)

US$800 - 1,200

1162UTAGAWA KUNIYOSHI (1797-1861)Edo period (1615-1868), circa 1847-48 An oban tate-e print triptych (framed) titled Dogai miburi junishi (The Comic Transformation of the 12 Characters of the Zodiac), circa 1847-48, censor’s seals Murata and Mera, publisher Ebisuya, signed Rei no giga Ichiusai Kuniyoshi on right and left sheets, Ichiyusai Kuniyoshi on center sheet Overall 20 5/8 x 36 1/4in (52.5 x 92cm) prints [three sheets joined] 14 9/16 x 29 7/8in (37 x 76cm)

US$2,000 - 3,000

1163UTAGAWA KUNIYOSHI (1797-1861)Edo period (1615-1868), 1847-54 An oban yoko-e print and an oban tate-e print triptych (framed): An actor, circa 1854, publisher Mitaya Kihachi, censor’s seals aratame and tora go, signed Ichiyusai Kuniyoshi ga; and Ataru hono negai ogakumen (Votive Tablet with Masks of Kabuki Actors Taken at Face Value), circa 1847-52, censor’s seals Kinugawa and Hama, signed Ichiyusai Kuniyoshi giga on right and center sheets, Ichiyusai Kuniyoshi ga on left sheet (2) Overall 15 7/8 x 20 ½in (40.3 x 52.2cm) print 9 ½ x 13 5/8in (24.2 x 34.7cm) Overall 21 5/8 x 36in (52.5 x 91.5cm) prints [three sheets joined] 14 ½ x 29 3/8in (36.8 x 74.7cm)

US$800 - 1,200

1164UTAGAWA KUNIYOSHI (1797-1861)Edo period (1615-1868), circa 1830s A surimono shikishi-ban print titled Yuki (Snow): Actor Iwai Kumesaburo II, from an untitled series of Setsugekka (Snow, Moon, and Flowers), poems by Ryuotei (Edo no Hananari) and Ryukaen, signed Ichiyusai Kuniyoshi ga 8 x 7 3/16in (20.5 x 18.3cm)

US$500 - 700

66 | BONHAMS

1165UTAGAWA KUNIYOSHI (1797-1861)Edo period (1615-1868), 1844-47 Comprising a chuban tate-e print and a chuban tate-e print triptych (framed): Atsuta no en Uneme, from the series Honcho nijushi ko (24 Japanese Paragons of Filial Piety), signed Ichiyusai Kuniyoshi ga; Natsu (Summer), from the series Shiki no kokoro onna asobi (Pleasures of Women at the Height of the Four Seasons), circa 1844-47, published by Aritaya Seiemon, censor’s seal Watari, signed Ichiyusai Kuniyoshi ga (right), Chooro Kuniyoshi ga (center and left) (2) Overall 15 x 12 1/4in (38.2 x 31cm) print 9 15/16 x 7 3/16in (25.1 x 18.2cm) Overall 16 ¼ x 28 1/16in (41.3 x 71.2cm) prints [three sheets joined] 9 7/8 x 22in (25 x 55.9cm)

US$800 - 1,200

1166UTAGAWA YOSHIIKU (1833-1904)Meiji era (1868-1912), circa 1890-92 Two oban tate-e triptychs (framed): Actor Onoe Kikugoro V as Amano Hachiro in the play Satsukibare Ueno no Asakaze, circa 1890, signed Ikkeisai Ochiai Yoshiiku hitsu; Actors, circa 1892, signed on left sheet (2) Overall 22 ½ x 36in (57.2 x 91.5cm) prints [three sheets joined] 14 ½ x 28in (36.7 x 71.2cm) Overall 20 7/8 x 36 1/4in (53 x 92cm) prints [three sheets joined] 14 7/16 x 28 5/8in (37 x 72.5cm)

US$800 - 1,200

1167UTAGAWA SADAHIDE (1807-1873)Edo period (1615-1868), circa 1860s An oban yoko-e print and an oban tate-e triptych: Sango-ju; Kuronbo no e (Red Coral, Dark-skinned Person), circa 1860, publisher Marutoku, censor’s seal saru san aratame, signed Gountei Sadahide ga; Gishi honmo o togeru no zu, sanmai tsuzuri (The Loyal Retainers Achieve Their Goal), publisher Kawaguchiya Uhei, censor’s seal kiwame, signed Gountei Sadahide ga on each sheet (4) 9 3/4 x 14 3/16in (25 x 36cm) 15 1/8 x 10 1/16in (38.3 x 25.6cm) each approximately

US$800 - 1,200 1167

1164

1165

1166


1168YOSHIHARU (1828-1888) AND YOSHU CHIKANOBU (HASHIMOTO CHIKANOBU) (1838-1912)Edo Period (1615-1868) and Meiji era (1868-1912), circa 1864 and 1886 Two oban tate-e print triptychs (framed): the first of a kite-flying competition in the blue sky, circa 1864, publisher Iseya Fujikichi, censor’s seal ne ju aratame, signed Ichibaisai Yoshiharu ga on the right sheet, Yoshiharu ga on the left sheet; the second of Sekai daiichi chariko daikyoku umanozu (World’s Number One Circus), circa 1886, publisher Okura Shirobei (2) Overall 22 x 37 1/2in (55.8 x 95.3cm) prints [three sheets joined] 14 ¼ x 29 3/8in (36.2 x 74.5cm) Overall 22 1/8 x 36 1/4in (56.2 x 92.3cm) prints [three sheets joined] 14 ½ x 29 1/4in (36.7 x 74.4cm)

US$800 - 1,200

1169UTAGAWA YOSHITOYO (1830-1866)Edo period (1615-1868), circa 1860 An oban yoko-e print titled Moko no sho utsushi (An Exact Depiction of a Ferocious Tiger), circa 1860, publisher Shinagawa-ya, signed Ichiryusai Yoshitoyo ga 10 3/16 x 14 13/16in (26 x 37.8cm)

US$600 - 1,000

1170SHUNKOSAI HOKUSHU (1810-1832), SHUNBAISAI HOKUEI (1824-1837), SAIKOTEI SHIBAKUNI (ACTIVE 1821-1826), RYUSAI SHIGEHARU (1803-1853), AND ICHIYOTEI YOSHITAKI (1841-1899)Edo period (1615-1868), mid 19th century Comprising five oban tate-e prints, an oban tate-e diptych and a chuban tate-e triptych (framed): Hidari(Left) Actor Ichikawa Ebijuro I as Yokanpei, from the series Uchiwa tosei kurabe (Comparison of Current Roles on Fans), circa 1824, publisher Toshikuraya Shinbei (Toshin), signed Shunkosai Hokushu ga; Actor Nakamura Tomijuro II as the Courtesan Kikugawa, circa 1833, signed Shunkosai Hokuei ga; Actor Arashi Kitsusaburo, signed Saikotei Shibakuni ga; Actor Arashi Rikan as Chinzei Hachiro Tametomo, circa 1833, signed Ryusai Shigeharu ga; Actors Onoe Kikugoro III as Shizuka Gozen (right) and Nakamura Utaemon III as the Fox Tadanobu (left), circa 1830, publisher Shohonya Seishichi Honsei, signed Gyokuryutei Shigeharu ga (on each sheet); Collage Pictures for Hagoita (Battledores), signed Yoshitaki hitsu; Actors in Keisei Somewaketazuna Nakamura Nakasuke II as Washizuka Kandayu, Onoe Shoju I as Sagizaka Sanai, Fujikawa Tomokichi III as the Courtesan Sakuragi (right), Onoe Tamizo II as Yurugi Saemon, Arashi Kichisaburo III as Saito Kuranosuke, Jitsukawa Enzabu, circa 1863, signed Ichiyosai Yoshitaki hitsu (on left sheet only) (7) Overall 20 11/16 x 16in (52.5 x 40.7cm) print 14 ½ x 10in (36.8 x 25.4cm) each approximately Overall 20 3/8 x 25 5/8in (56.8 x 65.2cm) prints [two sheets joined] 15 3/16 x 20 ½in (39 x 52cm) Overall 16 ¼ x 27 3/8in (41.2 x 69.5cm) prints [three sheets joined] 21 x 9 7/16in (53.4 x 24cm)

US$1,000 - 1,500

1171ICHIEISAI YOSHITSUYA (1822-1866)Edo period (1615-1868), circa 1847-1852 An uncut uchiwa-e (fan) print titled Shinagawa oki no nami (Waves off Shinagawa), circa 1847-1852, censor’s seals Yoshimura and Kinugawa, publisher’s seal, signed Ichieisai Yoshitsuya ga 9 3/16 x 11 11/16in (23.3 x 29.7cm)

US$800 - 1,200

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1168

1169

1170

68 | BONHAMS

1173

1172CHIKAMARO KAWANABE KYOSAI (1831-1889) AND TORII KIYOKUNI (DATES UNKNOWN)Edo period (1615-1868), mid 19th century Two oban tate-e prints (framed): Sensation from India Elephant Play, circa 1863, censor’s seal i yon aratame, signed Ojuseisei Chikamaro; Cats and Foxes, publisher Ogawa Hansuke, signed Torii Kiyokuni ga (2) Overall 20 ½ x 15 7/8in (52.2 x 40.3cm) print 13 ¾ x 9 1/4in (35 x 23.5cm) Overall 20 ½ x 15 7/8in (52.2 x 40.3cm) print 14 ½ x 9 1/2in (36.7 x 24.2cm)

US$500 - 700

1173GOSOTEI HIROSADA (1826-1863)Edo period (1615-1868), mid 19th century Ten chuban tate-e prints and a chuban tate-e diptych (framed): Okawa Hashizo I as the Ghost of Oiwa and Ichikawa Sukejiro as Takuetsu, a frightened priest in the play Irohagana yotsuya kaidan (The Tokaido Road), circa 1848, signed Hirosada; The ghost of Koshimoto Okiku, from the series Chuko kijin den (Tales of People Remarkable for Loyalty and Virtue), circa 1848, signed Hirosada; I (Boar) Actor Narikomaya Nakamura Utaemon IV as Ono Sadakuro, from the series Chuko junishi no uchi (Loyalty and Fidelity for the 12 Signs of the Zodiac), circa 1849, signed Hirosada; Actor Ichikawa Sukejuro as Kaminari Shokuro,

from the series Naniwa gonin otoko (Five Osaka Dandies), signed Hirosada; Gokinai Yamashiro (Five Countries, Yamashiro) depicting actors Ichikawa Sukejuro as Taira Atsumori (right), Jitsukawa Ensaburo as Kumagaya Naozane (left), from the series Chukoden kunitsukushi (Tales of Filial and Loyalty from All the Provinces), signed Hirosada; six chuban prints from the series Chuko buyu den, signed Hirosada (each sheet) (6) Overall 15 ¼ 12 3/8in (38.7 x 31.5cm) print 10 3/16 x 7 3/8in (25.8 x 18.8cm) each approximately Overall 16 5/16 x 20 1/4in (41.5 x 51.5cm) prints [two sheets joined] 9 3/16 x 14in (23.4 x 35.5cm) Overall 16 5/16 x 20 1/4in (41.5 x 51.5cm) prints [six sheets joined] 9 3/16 x 14in (23.4 x 35.5cm)

US$1,000 - 1,500

1174TSUKIOKA YOSHITOSHI (1839-1892)Meiji era (1868-1912), circa 1888 An oban tate-e print titled Suzushi-so (Looking Aloof), from the series Fuzoku sanjuni so (32 Aspects of Customs and Manners of Women), circa 1888, publisher Tsunashima Kamekichi, signed Yoshitoshi ga 14 5/8 x 10in (37.4 x 25.5cm)

US$500 - 700

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1175AFTER YASHIMA GAKUTEI (1786-1868)Meiji era (1868-1912), circa 1890-95 A surimono print, second edition, of a black carp swimming among water weeds in murky water, with signature Gakutei 8 1/4 x 7 1/8in (21 x 18cm)

US$500 - 700

1176YASHIMA GAKUTEI (1786-1868)Edo period (1615-1868), circa 1834 An oban yoko-e print titled Tenpozan Suehirobashi tsukiyo no zu (Moonlight View of Suehiro Bridge, Tenpozan) from the series Naniwa meisho Tenpozan shokei ichiran (Famous places in Tempozan, Osaka), circa 1834, publisher Shioya Kisuke, signed Gogaku 9 15/16 x 14 15/16in (25.2 x 38cm)

US$1,500 - 2,000

1177YASHIMA GAKUTEI (1786-1868), UTAGAWA KUNIYOSHI (1797-1861), AND UTAGAWA KUNISADA I (TOYOKUNI III) (1786-1864)Edo period (1615-1868), mid-19th century Comprising three oban yoko-e prints: Osaka Tenpozan yudachi no kei (Sudden Shower off Tenpozan), from the series Naniwa meisho Tenpozan shokei ichiran (Famous places in Tenpozan, Osaka), circa 1834, signed Gogaku; Rokushuku, Maizaka, Arai, Shirasuka, Futagawa, Yoshida, Goyu (Six Stations: Maisaka, Arai, Shirasuka, Futakawa, Yoshida and Goyu), from the series Tokaido gojusan eki rokushuku meisho (Famous Views of the 53 Stations of the Tokaido Road), circa 1830-35, publisher Tsutaya Kichizo (Koeido), censor’s seal kiwame, signed Ichiyusai Kuniyoshi shukuzu; and Hokukaku tsuki no yozakura (Cherry Blossoms Under the Moon at Hokukaku), publisher Yamaguchiya Tobei (Kinkodo), censor’s seal kiwame, signed Kochoro Kunisada ga (3) 9 11/16 x 14 5/8in (24.7 x 37.2cm) 9 7/8 x 14 7/8in (25.3 x 37.9cm) 10 3/8 x 14 3/4in (26.5 x 37.5cm)

US$1,000 - 1,500

1178TOYOHARA KUNICHIKA (1835-1900)Meiji era (1868-1912), late 19th century An oban tate-e triptych and two oban tate-e prints (framed): the actor Ichikawa Danjuro IX in the Shibaraku role from Kabuki juhachiban (The 18 Famous Kabuki Plays), circa 1895, published by Fukuda Kumajiro, signed Toyohara Kunichika hitsu on left sheet; Actor Onoe Kikugoro V as Kakogawa Seijuro, and Actor Onoe Kikugoro V as Shibata Katsuie, both from an untitled series of actor portraits, circa 1869, publisher Ota Masukichi, carver Hori Masu, censor’s seal Ne go aratame, each signed Kunichika hitsu (3) Overall 20 1/8 x 34 1/8in (51.2 x 86.8cm) pritns [three sheets joined] 14 x 27 15/16in (35.5 x 71cm) Overall 20 ½ x 15 7/8in (52.2 x 40.3cm) print 14 7/16 x 9 13/16in (36.7 x 24.9cm) Overall 20 x 15 3/8in (50.8 x 39cm) print 13 13/16 x 9 1/8in (35.5 x 23.3cm)

US$800 - 1,200

1175

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1179

1179TOYOHARA KUNICHIKA (1835-1900)Meiji era (1868-1912), circa 1887 An oban tate-e print vertical diptych (framed) of Onoe Kikugoro V as the ghost of Saijiro, Bando Kakitsu as Kanbara Mikinosuke and Onoe Matsukuke as Nakama Gonbee from the play Inaba ama-yobanashi (The Inaba Apprentice), circa 1887, publisher Fukuda Kumajiro, signed Keisetsu Toyohara Kunichika hitsu Overall 34 7/8 x 16 3/16in (88.7 x 41cm) prints [three sheets joined] 28 5/8 x 9 7/8in (72.7 x 25cm)

US$600 - 1,000

1180TOYOHARA KUNICHIKA (1835-1900)Meiji era (1868-1912), circa 1892 An oban tate-e print vertical triptych (framed) of Onoe Kikugoro V as Okiku’s ghost, Ichikawa Danjuro IX as Aoyama Tessan, Onoe Kikujiro V and Onoe Matsusuke V as retainers from the play Mirror of the House of Blue Dishes, circa 1892, publisher Fukuda Kumajiro, signed Toyohara Kunichika hitsu on bottom sheet Overall 49 x 16in (124.5 x 40.5cm) prints [three sheets ojined] 41 5/8 x 9 15/16in (105.8 x 24cm)

US$800 - 1,200

1181OHARA KOSON/SHOSON (1878-1945)Showa era (1926-1989), circa 1928 Two oban prints, the first of Uchu ni shirasagi (Egret in Rain), the second of Hakucho (Swans), circa 1928, publisher Watanabe Shozaburo, signed Shoson 15 x 10 1/4in (38.3 x 26.2cm) 10 1/4 x 15in (26 x 38.2cm)

US$500 - 700

1182PAUL BINNIE (BORN 1967)Circa 2004 An oban tate-e print (framed) titled Edo zumi hyaku shoku: Kuniyoshi no neko (A Hundred Shades of Ink of Edo: Kuniyoshi’s Cats), circa 2004, numbered and signed in pencil on the bottom margin, 27/100, Paul Binnie Overall 23 x 17 3/8in (58.5 x 44.2cm) print 16 3/4 x 11 3/8in (42.5 x 28.8cm)

US$600 - 800

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PROPERTY OF ANOTHER OWNER

1183ANONYMOUSChinese Poem by Yoshishige no Yasutane Momoyama (1573-1615) or Edo (1615-1868) period, 16th/17th century A fragment from a handscroll, ink on decorated paper with ink and metallic pigments, now mounted as a hanging scroll; the seven-character Chinese couplet inscribed over a shita-e (underpainting) of plum and bamboo, the poem authored by Yoshishige no Yasutane (933-1002) listed as number 435 in the Wakan roeishu (Collection of Japanese and Chinese Poems for Recitation) With an inscribed wooden tomobako storage box 8 1/4 x 7in (21 x 17.8cm) image 52 7/8 x 16 3/8in (134.5 x 41.5cm) overall

US$1,000 - 1,500

Poem: 華山有馬蹄猶露　傅野無人路漸滋 Yoshishige no Yasutane (933-1002), a member of the Kamo family which specialized in yin-yang theory, was a scholar-official of the mid-Heian period and author of the Chiteiki (Record of a Pond Pavilion), a famous parallel-prose Chinese work of 982.

PROPERTY FROM THE COLLECTION OF FRANK KORN, TOKYO

1184URAGAMI GYOKUDO (1745-1820)Landscape with Figure An album leaf mounted as a hanging scroll, ink on paper; entitled Kantei shokushin (Base of a waterfall, gathering firewood), signed Gyokudo, with one seal Gyokudo kinshi (impressed upside down) With two wood storage boxes, one with collector’s inscription 10 x 6 7/8in (25.5 x 17.6cm)

US$15,000 - 25,000

Uragami Gyokudo (1745-1820) is one of the most fascinating artists of the Edo period. Though not a professional painter--he prided himself more on his expertise with the qin (a Chinese zither-like instrument)--his paintings are surprisingly in tune with a twentieth- or twenty-first-century sensibility. Landscapes that turn and twist, mountain peaks that tilt, odd circular “rock”-like forms that both define and defy nature, brushwork not merely descriptive or simply abstract--Gyokudo’s landscapes captivate the most jaded modern eye that disparages all but contemporary art. Seemly simple, his execution is extremely sophisticated, recalling the best of Chinese literati painting. The brushwork, the interweaving and overlaying of wet and dry brushstrokes, the use of heavy and light ink, and the sense of abandon despite his total control of the medium, are accompanied by a sensibility that conveys an intensity and monumentality to the smallest of works. All in a state of continual flux, always intriguing, never resting but still a with sense of tranquility, the artistic image of this visionary still resonates without boundaries in today’s world. An excellent monograph on this extraordinary artist is presented in James Cahill, Scholar Painters of Japan: The Nanga School, New York, Asia Society, 1972, pp.71-86.


1185ANONYMOUS KANO SCHOOLAutumn Flowers, Blossoming Peony Edo period (1615-1868) Two folding fan paintings, ink, color, gold pigment and gold leaf on paper, framed and glazed; the first decorated with a butterfly hovering above seasonal autumn foliage, consisting of chrysanthemum, hibiscus, bush clover, Chinese bellflower, valerian and lilies; the second centered by flowering peony and prunus issuing from lichen-encrusted rocks bordering a meandering stream, a solitary butterfly silhouetted against billowing gold clouds 18 and 18 3/4in (45.7 and 47.7cm) lengths 16 x 26in (40.8 x 66.2cm) frames

US$2,000 - 3,000

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1186ATTRIBUTED TO SAKAI HOITSU (1761–1828)Flowering Wisteria Edo period (1615-1868), 19th century A hanging scroll, ink and colors on silk; depicting a pair of white moths hovering near purple flowering wisteria vines, signed Seisei Hoitsu, with one seal 40 x 16 1/2in (101.6 x 42.2cm) painting 74 3/8 x 21 1/8in (188.8 x 53.7cm) overall

US$4,000 - 6,000

1187MIHATA JORYU (ACTIVE 1830-1844)Beauty in an Autumn Landscape Edo period (1615-1868), circa 1830-44 A hanging scroll, ink and color on silk; a portrait of a woman seated on a wooden bench with a smoking set to one side, clumps of flowering bush clover partially concealing a folding fan dropped to the front; signed Joryu, sealed Joryo shinshin With a wooden storage box 41 1/4 x 16 3/8in (105 x 41.4cm) painting 76 5/8 x 23in (194.7 x 58.7cm) overall

US$1,500 - 2,500

1188SHIBATA ZESHIN (1807-1891)Hina Dolls Meiji era (1868-1912), circa 1887 A hanging scroll, ink and color on silk, depicting the doll Emperor and Empress seated in front of a decorative stand beneath two shikishi depicting trees and a river; signed Gyonen hachijuichi-o Zeshin (Zeshin, age 81), with an urn-shaped seal Zeshin With wood tomobako storage box inscribed Zeshin-o hitsu kodai hina

no zu Kakan’an Chikushin shiki (Picture of ancient dolls by the venerable Zeshin, recorded by Kakan’an Chikushin), with seal Yukei, one of the art names used by Shoji Chikushin (1855-1936), a pupil of Zeshin 36 3/4 x 12 7/8in (93.5 x 32.8cm)

US$7,000 - 9,000

For other scrolls by Zeshin of the same subject, see Goke Tadaomi, Shibata Zeshin meihinshu: Bakumatsu kaikaki no shikko kaiga (Lacquer and Painting in Late Edo and Early Meiji: A Collection of Masterworks by Shibata Zeshin), Tokyo, Gakushu Kenkyusha, 1981, cat. nos. 276-278; Nezu Bijutsukan (Nezu Museum), Shibata Zeshin no shikko, urushi-e, kaiga (Shibata Zeshin: From Lacquer Arts to Painting), Tokyo, 2012, cat. no. 138; Shioda Shin, Zeshin-o gakan (An Illustrated Survey of the Venerable Zeshin), Tokyo, Gahosha, 1908, unpaginated.

1189A SET OF 35 BOOKS RELATED TO UKIYO-EShowa (1926-1989) to Heisei era (1989-), mid to late 20th century Comprising 35 Ukiyo-e related books including; Ukiyoe Taikei vol.1-17 by Shueisha, circa 1974; Japanese Prints and Drawings from the Vever Collection vols.1-3 by Jack Hillier, circa 1976; Kuniyoshi vols.1-2 by Juzo Suzuki, circa 1992; Hiroshige: The Collected Edo Landscape Prints by Ganko Sakai, circa 1996; Shutaisei Yokohama Ukiyoe by Kanagawa Prefectural Museum of Cultural History, circa 1979; The Art of Hiroshige by Tsuneo Tamba, circa 1965; The Japanese Pillar Print/ Hashira-e by Jacob Pins, circa 1982; The Clarence Buckingham Collection of Japanese Prints vol.1, circa 1955 and vol.2, circa 1965 by the Art Institute of Chicago; and seven other books 20 1/2 x 17 x 3 1/8in (52 x 43 x 8cm) largest

US$2,000 - 3,000


1190

PROPERTY FROM THE ESTATE OF CLARENCE DAY

1190 ¤YOKOYAMA KAZAN (1794-1837)Agricultural Scenes A pair of large six-panel folding screens, ink on paper; of villagers planting and harvesting rice paddies, each signed Kazan, with one seal Issho 66 1/2 x 147 7/8in (168.8 x 373.6cm)

US$2,500 - 3,500

PROPERTY OF ANOTHER OWNER

1191ANONYMOUSTaiheiki: The Battle of Minatogawa Edo period (1615-1868), 18th/19th century A large two-panel folding screen, ink, color and metallic pigments on paper applied with gold leaf; unsigned 56 1/8 x 66 1/4in (142.6 x 168.2cm)

US$2,500 - 3,500

At the decisive Battle of Minatogawa in early July 1336, Ashikaga Takauji (1305-1358) defeated the imperial forces championed by Nitta Yoshisada (1301-1338) and Kusunoki Masashige (1294-1336), allowing him to seize Kyoto against the wishes of Emperor Go-Daigo who sought to lessen the power of the warrior class and return to the social and political systems of the Heian period.

1190

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1192

PROPERTY FROM THE COLLECTION OF DR. SYLVAN AND FAITH GOLDER

1192ANONYMOUS RINPA SCHOOLFlowering Plants and Grasses Edo period (1615-1868), 18th century A large six-panel screen; ink and gold on gold leaf depicting seasonal plants in bloom, including stalks of corn, bush clover, pampas grass, Chinese bellflowers, cockscombs, lilies, hibiscuses, wild pinks, chrysanthemums, poppies, fruiting gourd vines, sunflowers, poppies, and kerria, with tarashikomi accents, now attached to a short black lacquer stand 66 1/2 x 148 3/8in (169.5 x 376.8cm) screen 70 7/8 x 148 3/8in (180 x 376.8cm) including stand

US$10,000 - 15,000


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1193UKIYO-E SCHOOLBeautiful Women Edo period (1615-1868), 19th century A mid-size four-panel folding screen; the individual panels with paintings by various artists, comprising: a fashionable townswoman, signed Tochoro Sadamichi ga; a courtesan, signed Utagawa Toyokuni; a geisha with a fan, signed Toyo-utsusu, and a samurai youth with a high ranking courtesan, signed Hiromaro 48 3/4 x 62 7/8in (124 x 159.8cm) overall

US$2,000 - 3,000

1194SHUNFU (20TH CENTURY)Mandarin Orange Grove by the Sea Showa era (1926-1989) A large four-panel folding screen, ink and color on paper; of a seaside village screened by fruiting mikan trees, a large pine-covered island in the distance; signed Shunfu 66 1/2 x 94in (169.2 x 238.8cm)

US$2,500 - 3,500

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1195HIROTANI SUISEKI (1884-1944)Butterflies and Blossoms Showa era (1926-1989) A pair of large two-panel folding screens; the right featuring a black swallowtail butterfly perched on a red flowering chrysanthemum bush near daisies and yellow blossoms, the left with two cabbage butterflies hovering near a white chrysanthemum and other flowering plants; each signed Suiseki 68 x 68 1/2in (172.6 x 174.2cm)

US$3,000 - 4,000

1196YASUO KUNIYOSHI (1893-1953)Fishing A drawing, ink on paper, framed and glazed; a charming portrayal of a man catching a fish, his small boat floating in a pond fed by a stream bordered by trees and a shed in the background; signed Y. Kuniyoshi on the lower right 10 5/8 x 8 1/4in (27 x21.2cm) drawing 17 x 14 3/4in (43 x 37.5cm) overall

US$4,000 - 6,000

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1197YASUO KUNIYOSHI (1893-1953)Street Scene with Figures A drawing, ink on thick paper, framed and glazed; a bird’s-eye view of a street with two houses and trees, a mother and child walking behind a man in a checked shirt; signed Yasuo Kuniyoshi to the lower left 14 1/2 x 10 1/4in (37 x 26cm) drawing 16 3/4 x 12 5/8in (42.4 x 32cm)

US$5,000 - 7,000

1198KOBAYASHI TOKUSABURO (1884-1949)Figure in a Landscape Taisho (1912-1926) or Showa (1926-1989)era, circa 1912-1935 Ink and colors on paper; depicting a farmer carrying vegetables and walking through a landscape with a pathway bordering a pond, a village in the distance; signed T. Kobayashi 13 3/8 x 19 1/2in (34 x 49.8cm) painting 20 5/8 x 26 1/2in (53.1 x 67.2cm)

US$1,000 - 1,500

1199OSHITA TOJIRO (1870-1911)Landscape Meiji era(1868-1912), dated 1900 Ink and color on paper; depicting a lush landscape with autumn foliage in the shade of large trees; signed in ink T. Oshita 9 7/8 x 14 3/4in (25.3 x 37.5cm) image 15 3/4 x 20 5/8in (40 x 52.5cm)

US$1,000 - 1,500

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WORKS OF ART

1200A WOOD HYAKUMANTO (MINIATURE PAGODA)Nara period (710-794), circa 764-770 A turned-wood miniature three-tier pagoda from the Hyakumanto (One Million Pagodas), the separately carved top spire forming a cover for a hollowed center compartment that originally concealed a small block-printed dharani charm scroll (now missing), the exterior with traces of gesso With a wood tomobako storage box inscribed Horyuji hyakumanto 8 1/4in (21cm) high

US$800 - 1,200

1201ANONYMOUS BUDDHISTEsoteric Deity Muromachi period (1392-1573) Hanging scroll, ink, colors and gold on silk; possibly Ugajin (Uka no kami), the green-hued deity standing in bodhisattva garb, his hands holding a writhing snake and upright sword, five more snakes encircling his head silhouetted by a flame-edged nimbus, the upper left corner with the siddham (seed-syllable) of the deity 38 3/8 x 15 5/8in (97.5 x 39.7cm) painting 71 x 24 3/8in (180.3 x 62cm)

US$3,000 - 5,000

1202A SMALL BUDDHIST EMBROIDERED VOTIVE SCREENLate Muromachi (1392-1573) or Momoyama (1573-1615) period, 16th century The central panel depicting Uga Benzaiten, the eight-armed syncretic deity seated on a lotus pedestal in Chinese dress and crowned with the effigy of the kami Ugajin framed by a torii gate, her hands displaying the attributes of sacred jewel, sword, bow, arrow, granary key, iron wheel, pestle and trident spear; the head and hands painted in ink contrasting with the garments and attributes in couched gold and embroidered polychrome silk threads; the flanking panels featuring two large embroidered siddham (seed-syllable) characters supported on a lotus pedestal within a circular frame reserved on a silk damask ground, the right signifying Sa (Sarasvati) associated with Benzaiten, the left signifying Amida Buddha; all mounted in a double-sided frame 11 1/4 x 8in (28.5 x 20.5cm) each panel 21 5/8 x 33in (55 x 84cm)

US$6,000 - 8,000

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1203

1203A POLYCHROME WOOD FIGURE OF FUDO MYO-O (ACALA)Edo period (1615-1868), early 18th century The figure shown seated cross-legged modeled with the soft figure of a youth but with a fierce facial expression with the upper teeth and fangs biting the lower lip and the eyebrows embellished with gilt, a lotus crown adorning the figure’s head and the hair swept to one side in a braid down the left shoulder, a kurikara (Buddhist sword) held in the right hand and a weighted rope in the left (both later additions), the robes draped around his waist and over the left shoulder, the eyes inlaid in crystal; with gilt-metal jewelry; a large separately carved flame nimbus emanating from the rear painted in red with gilt highlights, the six-step base decorated in gilt and with a lengthy inscription on the base detailing the dates of restoration 12in (30.4cm) high (figure only), 23 1/2in (59.6cm) overall

US$8,000 - 10,000


1204A GILT-BRONZE AND WOOD KAKEBOTOKE (BUDDHIST VOTIVE PLAQUE)Kamakura period (1185-1333), early 14th century The deity carved in wood and shown seated on a lotus pedestal, the right hand positioned to hold a now-missing attribute, with traces of pigment and gilt, the figure flanked by two offerings of lotus blossoms and set before a peaked nimbus above flowing water and a beast mask, all in bronze with traces of gilding, the arrangement mounted on a circular plaque banded with a bronze rim carved with scrolling vines and with two suspension clasps formed as shishi 12in (30.5cm) diameter

US$4,000 - 6,000

1205A SEATED WOOD FIGURE OF YAMAUBAMuromachi period (1333-1573), 16th century Of yosegi-zukuri (joined-block) construction, the figure shown seated, her robes falling off her right shoulder and open at her breast, traces of gesso and pigment 12 1/8in (30.6cm) high

US$4,000 - 6,000

1206A WOOD FIGURE OF A BUDDHAEdo period (1615-1868), 18th century The figure shown standing, the hands in the mudra most associated with Shaka, the historical Buddha, the flowing robes draped over the shoulders and open at the chest, the urna inlaid in dark wood, traces of gilding on the face and chest, set on a lotus pedestal supported by a stepped dais 15 1/8in (38.4cm) high (figure only), 24 1/4in (61.6cm) high overall

US$1,000 - 1,500

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1207A CHINZO (WOOD PORTRAIT SCULPTURE OF A MONK)Edo period (1615-1868), 18th century Carved and assembled from wood, the figure bearing a stern expression and standing in flowing robes and formal shoes, the hands held at the chest to hold attributes, now lost, the eyes inlaid in crystal, traces of gesso and pigment, set on gilt-wood lotiform base 22 1/2 in (57.2cm) high including base

US$4,000 - 6,000

1208PAIR OF HITEN (APSARA) ANGELSEdo period (1615-1868), 18th-19th century Carved and assembled in wood and decorated in lacquer, pigment and gilt, each in flowing robes and scarves, the foreheads inlaid with a wood urna 22 1/2in (57.1cm) high

US$1,500 - 2,500

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1209A PAIR WOOD FIGURES OF SHISHI (CHINESE LIONS)Nanbokucho period (1336-1393), 14th century The bodies carved from a single block of cypress wood, the long manes carved in relief, one figure with the mouth open making the syllable A and the other with mouth closed making the syllable Un, each with traces of pigment 28in (78cm) high

US$3,000 - 5,000

1210A PAIR OF GILT WOOD KOMAINU (LION-DOGS)Momoyama (1573-1615) or Edo (1615-1868) period, early 17th century Carved and assembled from wood, decorated in gilt that has worn away in some areas revealing the black-lacquer undercoat beneath, one figure with the mouth open making the syllable A, the other with the mouth closed making the syllable Un 19 3/4in (50.1cm) high (the largest)

US$15,000 - 20,000

Provenance George Gund III, purchased in July 1997 from Yoshida Antiques and Fine Art

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1211 WA LARGE BRONZE SEATED AMIDA BUDDHATaisho (1912-1926) or Showa (1926-1989) era, 20th century The figure shown seated in meditation with his hands in the Raigo-in (Welcoming gesture), the urna on his forehead inlaid in glass, the figure supported by a separately cast lotus pedestal, finished to a greenish-brown patina 25in (63.5cm) high (figure only), 41 3/4in (106cm) high overall

US$8,000 - 12,000

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1212A BLACK-LACQUER ZUSHI (PORTABLE BUDDHIST SHRINE)Edo period (1615-1868), 19th century The slender shrine with double hinged doors and containing a sculpture of the bodhisattva Kannon seated before a reticulated nimbus and supported by a multi-registered lotus and cloud pedestal decorated in gilt, the deity adorned with gilt-metal jewelry, the canopy supported by two columns and decorated with hanging garlands and keman, the gilt-bronze hardware carved with foliate scrolls, the top fitted with a suspension ring 6 1/4 x 3 1/4 x 2 1/2in (15.8 x 8.2 x 6.3cm) (closed)

US$1,500 - 2,500

1213A BLACK-LACQUER ZUSHI (PORTABLE BUDDHIST SHRINE)Edo period (1615-1868), 19th century The case lacquered black with double doors opening to reveal an Amida triad all supported by lotus pedestals and decorated in pigments and gilt, the surrounding canopy painted with phoenix, clouds and foliate scroll and the base with floral lozenges, the interior of the doors with lotus blossoms against a gilt ground, gilt-bronze hardware carved with floral scrolls, the exterior reverse with a long inscription in red lacquer praising the Buddhist faith 5 1/2 x 4 1/4 x 2 3/4in (13.9 x 10.8 x 6.9cm)

US$1,500 - 2,500

1214A LARGE BLACK-LACQUER ZUSHI (PORTABLE BUDDHIST SHRINE)Edo period (1615-1868), 19th century The tall case of lenticular section with double doors and housing a seated polychromed and gilt-wood figure of Aizen Myo-o (Ragaraja) holding a vajra, his other hands held in mudra or positioned to hold now-missing attributes, the deity’s face with the mouth open in a fierce expression and crowned by a shishi headdress and seated on a lotus pedestal before an oval nimbus painted with gilt flames on a red ground, the figure framed by pillars supporting roof brackets, interior gold lacquer 16in (40.7cm) high overall

US$3,000 - 5,000

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1215A BLACK-LACQUER DOUBLE-SIDED ZUSHI (PORTABLE BUDDHIST SHRINE)Edo period (1615-1868), 18th/19th century Of flattened oval section and constructed with double doors on each side opening to reveal votive scenes painted in ink, color and gold with a representation of Amida’s Western Paradise on one side, and a representation of an Amida raigo-zu (Descent of Amida) on the opposite central panel, flanked by two priests welcoming the deity, the zushi fitted with a central window containing sacred relics, the exterior case lacquered black and fitted with a gilt-bronze suspension ring 4 1/2 x 3 3/8 x 1 1/4in (11.4 x 8.5 x 3.2cm) (closed); 4 1/2 x 7 x 1 1/4in (11.4 x 17.7 x 3.2cm) (open)

US$6,000 - 8,000

1216A RED-LACQUER ZUSHI (PORTABLE BUDDHIST SHRINE)Edo period (1615-1868), 18th/19th century The shrine fitted with double doors opening to reveal a 16-armed bodhisattva seated on a lotus flower rising from waves and supported by two dragon deities, the surrounding canopy pierce-carved with celestial musicians and vines, all decorated in polychrome pigments and gilt, the interior of the doors decorated with gold lacquer lotus flowers raised in relief, gilt-bronze hardware carved with scrolling vines 8 x 5 x 3 5/8in (20.3 x 12.7 x 9.2cm) (closed)

US$1,500 - 2,500

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1216


1217ATTRIBUTED TO MUKO SEIUN I (1867-1944)A noh mask of Hannya Taisho (1912-1926) or Showa (1926-1989) era, 20th century Carved in wood and painted in polychrome pigments over gesso, gilt-metal eyes, the horns and fangs tinted gilt, signed on the interior in gold lacquer Seiun and with a kao With a wood storage box 8 1/2in (21.7cm) high

US$2,500 - 3,500

1218NAGASAWA UJIHARU (1912-2003)A Noh mask of Obeshimi (Demon) Showa (1912-1989) or Heisei (1989-) era, 20th century Carved in wood and painted in polychrome pigments over gesso, gilt-metal eyes, burned seal Nagasawa Ujiharu With a tomobako storage box signed and sealed by the artist and brocade storage bag 8 1/4in (20.9cm) high

US$2,000 - 3,000

Born in Kyoto, from the age of 14 Nagasawa Kinshiro (better known by his go Ujiharu) studied under Tachibana Seigo with whom he quickly mastered the art of mask making. Thanks to his natural talent he became an independent artist after only a year, honing his skills by copying antique masks lent to him by a local dealer, but it was not until the age of 40 that he was able to focus upon his craft and establish his reputation. In 1979 he was designated Holder of an Intangible Cultural Propery, popularly referred to as “Living National Treasure,” the first mask carver to be accorded this honor.

1219NAGASAWA UJIHARU (1912-2003)A Noh mask of Kaminari (Thunder) Showa (1926-1989) or Heisei (1989-) era, 20th century Carved in wood and decorated in gesso and color pigments, gilt-metal eyes and teeth, burned seal Nagasawa Ujiharu With tomobako storage box signed and sealed by the artist and brocade storage bag 8 5/8in (21.9cm) high

US$2,000 - 3,000

1220NAGASAWA UJIHARU (1912-2003)A Noh mask of Shishiguchi (Lion Mouth) Showa (1926-1989) or Heisei (1989-) era, 20th century Carved in wood and decorated in gesso and color pigments, gilt-metal eyes, burned seal Nagasawa Ujiharu With tomobako storage box signed and sealed by the artist and brocade storage bag 8 5/8in (21.9cm) high

US$2,000 - 3,000

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1221NAGASAWA UJIHARU (1912-2003)A Noh mask of Otobide (Hornless Demon) Showa (1912-1989) or Heise (1989-) era, 20th century Carved in wood and painted in polychrome pigments over gesso, gilt-metal eyes and teeth, burned seal Nagasawa Ujiharu With a tomobako storage box signed and sealed by the artist and brocade storage bag 8 1/4in (20.9cm) high

US$2,000 - 3,000

1222NAGASAWA UJIHARU (1912-2003)A Noh mask of Shishiguchi (Lion Mouth) Showa (1926-1989) or Heisei (1989-) era, 20th century Carved in wood and decorated in polychrome pigment over gesso, gilt-metal eyes and teeth, burned seal Nagasawa Ujiharu With brocade storage bag and tomobako storage box signed and sealed by the artist 8 1/4in (20.9cm) high

US$2,000 - 3,000

1223NAGASAWA UJIHARU (1912-2003)A Noh mask of Shojo (Drunken Sprite) Showa (1926-189) or Heisei (1989-) era, 20th century Carved in wood and decorated in gesso and color pigments, burned seal Nagasawa Ujiharu With tomobako storage box signed and sealed by the artist and brocade storage bag 8 1/16in (20.4cm) high

US$2,000 - 3,000

1224NAGASAWA UJIHARU (1912-2003)A Noh mask of Doji (Boy Attendant) Showa (1926-1989) or Heisei (1989-) era, 20th century Carved in wood and decorated in gesso and color pigments, burned seal Nagasawa Ujiharu With tomobako storage box signed and sealed by the artist and brocade storage bag 8 1/8in (20.6cm) high

US$2,000 - 3,000


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1225NAGASAWA UJIHARU (1912-2003)A mask of Shintai (Youthful Deity) Showa (1921-1989) or Heisei (1989-) era, 20th century) Carved in wood and painted in polychrome pigments over gesso, gilt-metal eyes, burned seal Nagasawa Ujiharu With brocade storage bag and tomobako storage box signed and sealed by the artist 8 1/4in (20.9cm) high

US$2,000 - 3,000

1226NAGASAWA UJIHARU (1912-2003)A Noh mask of Ko-omote (Young Girl) Showa (1912-1989) or Heisei (1989-) era, 20th century Carved in wood and painted in polychrome pigments over gesso, burned seal on the reverse Nagasawa Ujiharu With a tomobako storage box signed and sealed by the artist and brocade storage bag 8 1/4in (20.9cm) high

US$2,000 - 3,000

1227NAGASAWA UJIHARU (1912-2003)A Noh mask of Zo onna (Young Woman) Showa (1912-1989) or Heisei (1989-) era, 20th century Carved in wood and painted in polychrome pigments over gesso, burned seal on the reverse Nagasawa Ujiharu With a tomobako storage box signed and sealed by the artist and brocade storage bag 8 1/4in (20.9cm) high

US$2,000 - 3,000

1228A FESTIVAL MASKEdo period (1615-1868), 17th century Carved from a single piece of wood as an oni (demon), with traces of pigment 10 1/2in (26.6cm) high

US$2,000 - 3,000

1229A MASK FOR THE BUGAKU DANCEMuromachi period (1333-1573), 15th/16th century Carved in wood as the character Ranryo-o (Dragon King) and decorated in gold lacquer and red pigment, a large dragon applied to the top 5 7/8 x 9 1/2 x 15 1/2in (15 x 23.5 x 39.5cm)

US$1,500 - 2,500


1227

1225

1228

1226

1229


1230A LACQUER TOBACCO BOXTaisho era (1912-1926) The rectangular box decorated in gold, silver and red togidashi maki-e with hirame embellishments on a roiro ground with a design of autumn flowers and grasses, the interior dense nashiji, silver rims With a wood storage box 5 1/2 x 4 3/8 x 1 7/8in (14.5 x 11.1 x 4.7cm) long

US$2,500 - 3,500

1231A GOLD LACQUER BOX AND COVERMeiji era (1868-1912), late 19th century The rectangular box with a removable inner tray, the exterior of the box decorated with an overall design of autumn flowers and grasses on a bamboo trellis lacquered in gold and silver takamaki-e against a kinji ground, the tray decorated with autumn maple leaves falling from trees into a nearby stream, in gold, black and red takamaki-e and black and gold togidashi maki-e against a kinji ground, the interiors and undersides nashiji, silver rims With a wood storage box 7 x 8 1/2 x 4 1/4in (17.7 x 21.6 x 10.8cm)

US$1,500 - 2,500

1232A FINE LACQUER KODANSU (CABINET)Edo period (1615-1868) or Meiji era (1868-1912), 19th century Decorated in various shades of gold and red hiramaki-e, takamaki-e, togidashi maki-e, kirikane, nashiji, Gyobu-nashiji and embellishments of inlaid goldand silver covering all the sides of the cabinet and depicting the garden and veranda of a mansion with pine and plum trees, the hinged doors opening to reveal five drawers decorated with hills and blossoming peonies, the interior of the doors with a blossoming plum tree behind a fence and a lady’s carriage beside a pine tree; the interior of the drawers nashiji, silver fittings carved with scrolling vines With a wood storage box 5 3/4 x 6 1/2 x 6in (14.6 x 16.5 x 15.2cm)

US$4,000 - 6,000

1231

1230

1232

94 | BONHAMS

1233A LACQUER TEBAKO (ACCESSORY BOX)Edo period (1615-1868), 19th century Rectangular and decorated in several shades of gold and black takamaki-e and gold, silver and black hiramaki-e, togidashi maki-e and with embellishments of Gyobu-nashiji, mura-nashiji, and hirame and inlays of mother-of-pearl and pewter with designs of open fans decorated with classical scenes, the interior nashiji, the rims silver With a wood storage box 10 1/4 x 8 1/2 x 5 5/8in (26 x 21.6 x 14.3cm)

US$4,000 - 5,000

1234A LACQUERED STORAGE BOXMeiji era (1868-1912), early 20th century Composed of a hinged lid opening to a top compartment above a stack of two drawers, the gold nashiji ground on the exterior with an undulating pattern of swirling waves in silver hiramaki-e and applied with eight gilt metal floral mon, three pouch clasps and 22 various types of figural and floral menuki, with a silver square-form handle, the interiors lined in blue velvet and the lower drawers now fitted for netsuke 9 5/8 x 9 1/2 x 11 7/8in (24.5 x 24.3 x 30.3cm)

US$1,000 - 1,500

1235A LACQUER KODANSU (CABINET)Meiji era (1868-1912), late 19th century Rectangular with a hinged door opening to reveal three drawers, decorated on the exterior with blossoming autumn grasses and an imperial chrysanthemum crest in several shades of gold takamaki-e and inlaid mother-of-pearl against a fine kinji ground, the interior of the door and the drawers with waves, clouds and butterflies in gold hiramaki-e and togidashi maki-e on a nashiji ground, the silver hardware carved with chrysanthemums and scrolling vines With a wood storage box 4 1/4 x 3 1/8 x 4 1/4in (10.8x 7.9 10.8cm)

US$5,000 - 7,000

1234

1233

1235


1237

1236

1237 (set opened)

1236ZOHIKO VII (NISHIMURA ZOFUKU, ACTIVE CIRCA 1900)A lacquer jokobon (tray for incense) Meiji era (1868-1912), circa 1900 The rectangular tray with lobed corners and set on bracket feet, the surface decorated with chrysanthemums blossoming behind a woven bamboo fence, all in two shades of gold and red takamaki-e with highlights of kirikane, hirame, and mura-nashiji against a roiro-nuri ground, the underside nashiji, applied with a silver rim With a wood tomobako storage box incribed Magaki kiku maki-e jokobon (Incense tray with chrysanthemums and fence) and signed on the underside of the lid Nanase Heian Zohiko kore o tsukuru (Made by Zohiko VII) and sealed Zohiko 10 3/4 x 14 3/4in (27.5 x 37.5cm)

US$1,200 - 1,800

1237A LACQUER SAGEJUBAKO (PICNIC SET)Edo period (1615-1868) or Meiji era (1868-1912), 19th century Decorated in gold hiramaki-e and accents of mura-nashiji with characters from a poem and clouds against a roiro-nuri ground, the carrying case modeled to resemble bamboo slats, the set comprising: a rectangular sake flask and fitted sweet tray and a single sakazuki (sake cup), a deeper rectangular sake flask fitted beneath 11 stacking rectangular food trays, and a five-tier stacking jubako, the carrying case with a shallow removable drawer, red interiors and fundame edges, silvered bronze hardware 13 7/8 x 14 1/4 x 8 1/8in (35.2 x 36.2 x 20.6cm) (carrying case)

US$4,000 - 6,000

Provenance Mactaggart collection

96 | BONHAMS

1238KOMA KANSAI II (1767-1835)A fine lacquer bunko (document box) Edo period (1615-1868), early 19th century Decorated on the exterior with cockerels, a hen and chicks by chrysanthemums and rocks in gold, silver, red and black takamaki-e and hiramaki-e with highlights of kirikane and kinji against a rich nashiji ground, the interior of the lid with a cockerel and hen beneath bush clover and grasses in the same lacquer techniques against a sparse hirame ground, the rims and riser fundame, signed on the interior of the lid Kansai and with a kao With a wood storage box 16 5/8 x 13 1/2 x 5 3/4in (42.2 x 34.3 x 14.6cm)

US$20,000 - 30,000


1240

1239

1241

1239A SET OF TWO MIRRORS IN LACQUER CASESEdo period (1615-1868), 19th century Each of typical form with a polished reflecting surface and decorated on the reverse with family crests in relief against a stippled ground and finished with a gilt wash, the handles wrapped in bamboo signed Murata Yamashiro no kami Fujiwara Yoshihiro, in fitted black-lacquer cases decorated with family crests on the covers in gold hiramaki-e, the edges fundame 13 5/8in (34.6cm) long (the largest)

US$1,000 - 1,500

PROPERTY FROM THE COLLECTION OF ABE GERCIK

1240 ¤A SET OF TEN LACQUER TRAYSShowa era (1926-1989), circa 1940 Each of square form with low sides, the black-lacquer ground decorated on the lower right in brown takamaki-e with a flowering camellia sprig and wreath of bare twigs With inscribed wood tomobako storage box 1 x 13 1/8 x 13 1/8cm (2.6 x 33.2 x 33.4cm)

US$800 - 1,200


1241A SET OF TEN SERVING TRAYSTaisho era (1912-1926), early 20th century The round dishes with an undulating rim and decorated with ebi (shrimp) and seaweed in red and gold togidashi maki-e against a roiro-nuri ground With a wood storage box 14 3/8in (36.5cm) diameter

US$2,000 - 3,000

98 | BONHAMS

1242KAJIKAWA WORKSHOPA fine lacquer tray Meiji era (1868-1912), late 19th century Rectangular with lobed corners and decorated with a variety of feathers in gold and silver takamaki-e, hiramaki-e and gold, silver, red and black togidashi maki-e with embellishments of hirame, mura-nashiji and inlaid mother-of-pearl on a roiro-nuri ground, signed Kajikawa saku and with a red jar seal With a wood storage box 11 1//2 x 8 (29.2 x 20.3cm)

US$1,000 - 1,500

1243A LACQUER SUZURIBAKO (WRITING BOX)Taisho (1912-1926) or Showa (1926-1989) era, 20th century Rectangular, and decorated with a photo-realistic design of leafy plants, the design running across the cover and down onto the sides of the box, lacquered in gold, red, green and black togidashi maki-e on a glossy roiro-nuri ground, the interiors roiro-nuri and fitted with a removable frame with a silver oval water dropper set into a gilt-silver collar With a wood storage box 10 1/8 x 8 3/4 x 1 7/8in (25.9 x 22.2 x 4.7cm)

US$3,500 - 4,500

1244TAKAMIA lacquered wood panel Meiji era (1868-1912), late 19th century The rectangular wood panel decorated in iro-e takamaki-e with a parrot perched on a swing above a peony and a bronze ewer, signed Takami, set in a gilt-wood frame 29 1/2 x 18 7/8in (75 x 48cm)

US$7,000 - 9,000

1244

1242

1243


1246

1245

1247

PROPERTY FROM A BAY AREA COLLECTOR

1245RYUBOKU (ACTIVE LATE 19TH CENTURY)A fine mixed-metal inlaid ebony box and cover Meiji era (1868-1912), late 19th century The rectangular box set on four bracket feet and carved in raised and sunken relief with a scene of Benkei and Ushiwakamaru in combat on Sanjo Bridge, the figures rendered in gold, copper and shakudo takazogan, the moon in silver, the sides of the box carved with magnolia, orchids, prunus and grape vines, signed on a gold reserve Ryuboku 4 1/2 x 6 x 2 1/2in (11.4 x 15.2 x 6.3cm)

US$4,000 - 6,000


1246A PAIR OF LACQUERED WOOD HIBACHI (BRAZIERS)Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century Carved from keyaki (zelkova) wood and decorated with a Rinpa-style design of pine trees in gold takamaki-e, with copper liners 16in (40.6cm) diameter; 9in (22.8cm) high

US$3,000 - 4,000

1247AN UNUSUAL PAIR OF LACQUERED WOOD HIBACHI (BRAZIERS)Meiji (1868-1912) or Taisho era (1912-1926), early 20th century Of keyaki (zelkova) wood decorated with a variety of sword furniture including tsuba, kozuka, fuchi-gashira and yanone (arrowheads) in iro-e takazogan, with copper liners 15 3/4in (40cm) diameter; 8 3/4in (22.2cm) high

US$3,000 - 4,000

100 | BONHAMS

1248KANKOSAIA single-case shakudo inro Edo period (1615-1868), 19th century Of oval form, inlaid on one side with a goose standing by a stream beneath the full moon, and on the other with a goose wheeling in the sky above a stream with reeds and rocks beneath, in shibuichi takazogan with details of gold and silver, signed Kankosai; fitted with a shibuichi ojime of geometric design 2 3/4in (7cm) high

US$1,200 - 1,800

Provenance Wrangham collection, no.1141 (purchased at Sotheby’s, London, 1972) Published: E. A. Wrangham, The Index of Inro Artists, Harehope, Northumberland, 1995, p.112, Kankosai

1249KAJIKAWA WORKSHOPA five-case lacquer inro Edo period (1615-1868), 19th century Of lenticular section and with a kinji ground decorated in gold, silver and colored takamaki-e, gold hiramaki-e and e-nashiji with Hotei dancing with his fan held high and balancing a small sacred jewel, a group of four karako joining in the festivities, the interior nashiji, signed Kajikawa saku and with the character Ei within an urn-shaped seal 3 1/8in (8cm) high

US$1,000 - 1,500

1250 ¤KOMA KORYUSAIA four-case lacquer inro Edo period (1615-1868), 19th century Of lenticular section and decorated with circular panels of a kestrel in a pine tree and a sparrow flying before prunus in gold, silver and colored takamaki-e, hiramaki-e and hirame, the surrounding areas kinji, interiors nashiji, signed Koryusai; with a blue hardstone bead ojime and a wood netsuke carved as a pair of hares, eyes inlaid in colored stone 3 1/2in (8.6cm) high

US$1,000 - 1,5001250

1248 1249


1251TWO INROThe first by Kanshosai Toyo, Edo period (1615-1868), 19th century The first of three cases, carved in dark wood and decorated with banana leaves in gold and black takamaki-e, signed Toyo and with a kao; fitted with a small glass bead ojime and a wood netsuke carved as a plover decorated with chrysanthemums in shell and lacquer inlays; the second of four cases decorated with a cottage by a waterfall, a mountainous landscape in the distance, all in gold and silver takamaki-e on a nashiji ground; fitted with a carved lacquer bead ojime 3in (7.6cm) high; 2 1/2in (6.3cm) high

US$2,500 - 3,500

1252A THREE-CASE WOOD INRO, A FOUR-CASE RED-LACQUER INRO AND A SMALL LACQUER BOXEdo period (1615-1868), 19th century The first carved on both sides with shaped panels of figures in landscapes in low relief, the surrounding areas carved with a floral pattern; the second a carved red-lacquer design of Hotei on a bridge, the reverse with fruiting loquat; the third a rectangular box and cover laquered in gold takamaki-e and gold and red hiramaki-e and kirikane and hirame with a cottage by a river and autumn maple tree in a mountainous landscape, silver rims 3in (7.6cm) high each box 4 13/16 x 3 7/8 x 1 3/8in (12.3 x 9.8 x 3.5cm)

US$1,200 - 1,800

1253OMURA GYOKUZAN (ACTIVE 19TH CENTURY)A three-case lacquer inro Edo period (1615-1868), 19th century Lacquered in gold and silver takamaki-e and togidashi maki-e with hirame embellishments with a crouching shishi and a rushing water fall, the interiors nashiji, signed Omura Gyokuzan and with a kao; with a wood netsuke carved as a mokugyo in the form of a fish 2 1/4in (5.7cm) high

US$2,000 - 3,000

1254KAJIKAWA WORKSHOPA four-case lacquer inro Edo period (1615-1868), 19th century Of lenticular section, the roiro ground decorated in gold, silver and iro-e takamakie-e, hiramaki-e, togidashi maki-e, usu nashiji and kirikane with Hotei bathing in a waterfall, reversed by his staff, fan and treasure sack resting near a meandering stream, with inlaid crystal eyes and aogai accents on the sack, the interior of fundame and red lacquer, signed Kajikawa saku and with a jar seal; fitted with a carnelian bead ojime 2 7/8in (7.2cm) high

US$3,000 - 5,000

102 | BONHAMS

1252

1251

12541253


1255

1255A GROUP OF 11 GOLD, SILVER, AND MIXED METAL OJIMEEdo period (1615-1868) and Meiji era (1868-1912), 19th century Comprising: a gold filigree bead; a reticulated bead with fruiting gourd vines in mixed metal; a silver-and-gold bivalve, signed (illegibly); an oval bead with a fruiting pomegranate branch; a silver oval bead decorated with a view of a pond; a mixed-metal square bead with figural decoration; a copper octopus emerging from a bronze pot; a mixed-metal eboshi; a copper bat with raised wings; a bronze figure of Okame as Daruma, silver plaque signed Kazuyuki; and a cylindrical bead with abstract patterns in silver, shakudo and copper 5/8in (1.5cm) length of last

US$1,200 - 1,800

1256A GROUP OF TWO STAGHORN AND 11 WOOD OJIMEEdo period (1615-1868) and Meiji era (1868-1912), 19th century The staghorn ojime depicting a stained toad wearing a hat and a dragon-fronted mokugyo with mother-of-pearl inlay; the wood ojime comprising: a cluster of four fish; two of single fish, signed Ishikawa and Tomohide; two of monkeys, one signed Ishikawa; three of bats, signed Gyokuzan (the others illegible); a coiled snake; a reclining horse, signed Kogyoku; one a double mask of Ebisu and Daikoku with lacquer details; and a demonic face fashioned from a nut (14) 1in (2.5cm) width of largest

US$1,200 - 1,800

1256

104 | BONHAMS

1257

1257A GROUP OF NINE GOLD, SILVER, AND MIXED METAL OJIMEEdo period (1615-1868) and Meiji era (1868-1912), 19th century Comprising: a reticulated gold bead with flowering peonies, signed Shiunsai; a silver figure of Gama Sennin; an octopus above a jar in silver and copper; a crab on a lotus seed pod in mixed metal; an oval bead with silver overlay of a monkey and peaches; a persimmon in mixed metal; a butterfly dancer in mixed metal, signed (illegibly); a rectangular copper bead with silver wire seigaiha inlay; and a silver and shakudo compressed cylindrical bead 7/8in (2.3cm) length of last

US$1,500 - 2,000

1258A GROUP OF 22 STAG ANTLER OR METAL OJIMEMost Edo period (1615-1868) and Meiji era (1868-1912), 19th century Comprising: three round beads, decorated with birds in mixed metal, wild goose and moon or flowers, both in silver; two miniature silver filigree beads; three oval beads in mixed metal or silver decorated with flower, birds or fish; five cylindrical beads, one silver with figures, one of stag antler, the others with birds, bamboo, or fruiting gourd vines; three whorl-form beads, one gold filigree, one patterned silver, and one pierced mixed-metal; a copper bead with a cat head; a mixed-metal summer fan; a gold-hued folding fan; a mixed-metal Buddha-hand citron; a silver figure of Jurojin; a metal repoussé figure of Daikoku; together with a carved and pierced Chinese emerald green jadeite bead (23) 7/8in (2.3cm) length of largest

US$1,000 - 1,500

1258


1259

1259SOZANMeiji era (1868-1912), late 19th century Carved as an owl perched on top of a gnarled tree stump, a frog held in its beak, the eyes inlaid in horn, signed Sozan, on a later wood stand 10 3/4in (27.5cm) high excluding stand

US$5,000 - 7,000

1260 ¤THREE WOOD NETSUKEEdo period (1615-1868), 19th century The first carved as a Daruma perched on top of a mokugyo using a nyoi scepter to scratch his chin, signed Kogessai (Naomasa); the second carved as a mask of an old man, signed Deme Joman; the third finely carved as Jurojin sitting cross-legged, his hands resting on his knees, signed on the underside Kuniyuki 1 15/16in (5cm) high (the largest)

US$1,000 - 1,500

1261ANONYMOUSTwo wood netsuke Edo period (1615-1868), 18th/19th century The first depicting the demon-hag of Adachi carried on the back of a warrior about to draw his sword; the second of Jo and Uba holding a rake and broom and attending to a small minogame, with traces of the original gilt, the underside with illegible signature cartouche 2 1/4 and 1 1/2in (5.9 and 3.8cm)

US$2,000 - 3,000

1262MINKOKUA wood figural netsuke Edo period (1615-1868), 19th century Portraying two blind men crawling on a log bridge, one with a biwa strapped to his back, his companion scratching his head and with a long cane by his side, signed Minkoku on the underside 2 1/2in (6.3cm) long

US$1,500 - 2,500

1263TWO WOOD NETSUKEEdo period (1615-1868), early 19th century Carved as a seated man napping on top of a large millstone, his legs crossed beneath him, the dark wood bearing a fine patina; the second carved as a recumbent goat with its head turned back and its hind leg raised to scratch its chin, the other legs tucked close to its body, the fine details highlighted with dark stain 1 7/8in (4.8cm) wide; 1 3/4in (4.5cm) wide

US$1,500 - 2,500

1264MASATOSHI (NAKAMURA TOKISADA (1915-2001))A wood netsuke of a haniwa (pottery tomb guardian) Showa era (1826-1989), 20th century The figure carved as a Kofun-era warrior standing in full armor, his left hand clutching a long sword, signed on the underside Masatoshi 2 3/8in (6cm) high

US$2,000 - 3,000

1265No lot

106 | BONHAMS

1263

1260

1264

1261

1262


PROPERTY FROM A SAN FRANCISCO ESTATE, COLLECTION FORMED PRIOR TO 1970

1266A HANIWA MODEL OF A HORSEKofun period (circa 593-710), 6th/7th century Of low-fired reddish clay, the standing figure boldly modeled with a saddle, stirrups, bridle, and ornamental trappings, a portion of the mane tied at a knot at the forehead 36 5/8in (93cm) high; 35in (89cm) long

US$7,000 - 9,000


1267A SMALL PORCELAIN DISHHizen ware, Kakiemon type, Edo period (1615-1868), 18th century Molded in floral lozenge form and decorated in underglaze cobalt-blue and red, green, and blue enamels with gilt embellishments and painted with oval panels of phoenix and peonies linked together by leafy tendrils, the underside decorated in underglaze blue with karakusa (“Chinese grasses”) and flowers, the foot with a stylized leaf band 5 1/4 x 5 3/4in (13.3 x 14.6cm)

US$800 - 1,200

1268A SMALL PORCELAIN BOWLHizen ware, Kakiemon type, Edo period (1615-1868), 18th century The foliate bowl molded on the interior with panels containing pine, plum, and bamboo in rocks and a dragon and tiger in clouds; the exterior painted in polychrome enamels with flower blossoms 4 5/8in (10.7cm) diameter

US$800 - 1,200

1266

1267

1268

108 | BONHAMS

1269

1270

1270

1269A MOLDED PORCELAIN DISHHizen ware, Kutani type, Edo period (1615-1868), late 17th-early 18th century Molded as an abalone shell and decorated with a long-tailed bird in a blossoming plum tree in blue, yellow, green, and aubergine enamels and iron red and black, the underside with grasses and a Fuku mark in green and black 8 5/8in (21.8cm) wide

US$1,000 - 1,500

PROPERTY FROM THE ESTATE OF CAROLYN AND JEROME ASH

1270A PORCELAIN SAUCER DISHNabeshima ware, Edo period (1615-1868), late 17th century Painted in underglaze blue, iron-red, green, and ochre enamels with peony blossoms on stylized waves, the underside with linked cash and tassels and a comb design encircling the high foot ring 7 3/4in (19.7cm) diameter; 2in (5.2cm) high

US$7,000 - 9,000

For dishes of similar design, see Fujio Koyama, Toji taikei (Complete Collection of Far Eastern Ceramics), vol. 21, Nabeshima, Tokyo, Heibonsha, 1974, illustrated on the front cover and p. 16, no. 24; Imari, Nabeshima, Tokyo, Kurita Bijutsukan, 1985, p.136, no.127; Nihon no toji, vol.10, Nabeshima, Tokyo, 1988, pp.38-39, no.20; Japanese Ceramics in the Toguri Collection, Tokyo, Toguri Museum of Art, 1988, p.243, no.331; and the exhibition catalogues, Iro Nabeshima, commemorative exhibition, Fukuoka, Asahi Shinbun, 1982, p.42; Les Cadeaux au Shogun, Porcelaine Précieuse des Seigneurs de Nabeshima, Paris, Espace des Arts Mitsukoshi Étoile, 1997-98, p.143, nos. 58 and 59; Nabeshima Ware, Designs that Inspire Pride, Tokyo, Suntory Museum of Art, 2010, pp.156-7, nos.119 and 120.


1271

1272

(Interior)

1273

PROPERTY FROM THE COLLECTION OF ALEX AND BARBARA KASTEN

1271A SMALL PORCELAIN GARNITUREHizen ware, Imari type, Edo period (1615-1868), late 17th century Painted in underglaze cobalt, red iron oxide, and gilt with birds among grasses and blossoming peonies, the beaker vases with additional prunus, Chinese pinks, and temple pavilions among rocks, the vases with domed covers surmounted with “jewel” finials 12 1/2in (31.7cm) high (the largest)

US$7,000 - 9,000


1272A YOSHIDAYA KUTANI DISHEdo period (1615-1868) or Meiji era (1868-1912), 19th century The porcelain dish molded with lobes and painted in underglaze blue, and green, yellow, blue, and black enamels with morning glories, the rim painted in iron brown, the underside with a Fuku mark in iron red 8 1/2in (21.6cm) diameter

US$1,000 - 1,500

1273A LARGE KUTANI BOWLMeiji era (1868-1912), late 19th century The deep bowl set on a ring foot and decorated in polychrome enamels, red iron oxide, and gilt and painted in the interior with rectangular panels containing scenes from kabuki plays, including Chushingura, the exterior painted with portraits of actors of the Ichikawa Udanji and Nakamura Shikan lineages and beauties enjoying cherry-blossom viewing, signed on the underside Dai Nihon Kaga Terai Kinsei ga 21 3/4in (57cm) diameter 9 1/2in (24cm) high

US$5,000 - 7,000

110 | BONHAMS

MEIJI WORKS OF ART


1275

1274

1276

1274MATSUMOTO HOZANA small Satsuma bowl Meiji era (1868-1912), late 19th century The interior well painted in colored enamels on a clear crackled ground with a battle scene between samurai warriors in a spring landscape, bordered by a narrow band of classic scrolls below a frieze of flowering leafy tendrils on a granulated gilt ground, the rim to either side defined by gilt saw-tooth bands, the sloping exterior sides with fan-shaped flower and figural reserves separated by foliate and hexagonal-patterned bands, the base with a Yasuda Company mark above a gilt cartouche signed Matsumoto Hozan 4 3/4in (12.1cm) diameter

US$1,000 - 1,500

1275RYUKOZANA small Satsuma bowl Meiji era (1868-1912) Painted in polychrome enamels and gilt on a clear crackled glaze, the exterior decorated with a continuous design of articles used in the tea ceremony and flower arrangement above a band of chrysanthemum blossoms and goldfish swimming among water plants, each frieze separated by geometric bands, the interior decorated with a gathering of townspeople enjoying outdoor activities and vertical panels of various geometric designs, signed on the underside Ryukozan 4 3/4in (12.3cm) diameter

US$2,500 - 3,500

1276YOZANA small Satsuma bowl Meiji era (1868-1912), late 19th century The deep bowl decorated in colored enamels and gilt over a clear crackled ground, painted on the interior with two shikishi-shaped panels depicting two traveling Heian beauties or a Chinese-inspired landscape, the gilt seigaiha-patterned ground with butterflies and scrolling ribbons bordered by myriad chrysanthemum heads and linked kidney-shaped reserves on a granulated ground below a chrysanthemum-and-cloud rim band, the exterior with a frieze of blossoms silhouetted in black and bordered by a band of minute birds, patterned lappets encircling the octagonal foot, signed on the underside Yozan 4 7/8in (12.5cm) diameter

US$4,000 - 6,000

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1277

1279

1277HATTORIA Satsuma bowl Meiji era (1868-1912), late 19th century The interior painted in gilt and brightly colored enamels with five overlapping figural panels in varying shapes on a brocade ground, one of butterfly form depicting a troop of samurai, a floral panel with Kofun-period figures, a fan-shaped reserve of Japanese families visiting a country villa, a scalloped panel of courtiers accompanying ladies-in-waiting, and a partially unrolled scroll with Buddhist saints; the exterior with three larger panels of similar design and set above a linked flower-centered kikko band, the base with black and gilt painted chrysanthemums and the mark of the Shimazu family, signed Dai Nihon and Hattori sei 5 1/2in (14cm) diameter

US$2,000 - 3,000

1278KINKOZAN WORKSHOPA Satsuma kogo Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century The circular box decorated in polychrome enamels and gilt with a scene of a temple before a mountainous landscape, the rims painted with bands of keyfret and flowering vines, the interior painted with simple floral sprays, signed in the underside in gilt Kinkozan tsukuru 3 3/4in (9.5cm) diameter

US$1,000 - 1,500

1279HANKINZANA small Satsuma koro Meiji era (1868-1912), late 19th century In the shape of a miniature urn with upright loop handles and raised on three splayed supports, minutely painted in polychrome enamels and gilt with two fan-shaped figural reserves, an interior scene of Chinese women and children, the other of scholar-officials in a landscape, the panels linked by a gilt shippo-tsunagi (linked-cash) pattern band on a “thousand-flower” ground and bracketed by slender foliate-pattern bands, the rim edge and edge of the dome-shaped cover with keyfret ornament and decorated en suite and with a finial fashioned as a shishi biting a ribbon-tied ball, signed Hankinzan do 4 1/8in (10.5cm) high

US$1,800 - 2,500


1280A LARGE SATSUMA VASEKinkozan Workshop, Meiji era (1868-1912), late 19th century Of baluster form, the elegant vase decorated in polychrome enamels and gilt on a clear crackled glaze with two large panels painted with the entrance to an impressive temple, flanked by koma-inu (lion-dog) statues and a beauty standing among blossoming chrysanthemums, each panel bordered by keyfrets and separated by dense brocade, roundels of phoenixes and other birds in flight in gilt on a cobalt ground 12in (30.5cm) high

US$3,000 - 4,000

1281RYUUN FUZAN (ACTIVE CIRCA 1900)A large Satsuma vase Meiji era (1868-1912), late 19th/early 20th century The elongated ovoid vase with a tall neck and rolled lip and painted in polychrome enamels and gilt on a clear crackled glaze with a continuous design of a samurai procession, the neck and foot painted with geometric “fabric” bands highlighted with heraldic crests, signed on the underside Ryuun Fuzan 17 7/8in (45.5cm) high

US$7,000 - 9,000

SATSUMA FROM THE COLLECTION OF ALEX AND BARBARA KASTEN

1282MATSUMOTO HOZAN (ACTIVE CIRCA 1900)A large Satsuma vase Meiji era (1868-1912), late 19th/early 20th century The baluster vase painted in polychrome enamels and gilt on a cobalt or dark-brown ground with large panels of beauties and attendants watching a procession from a wooded grove and cranes in flight over a spring landscape, the surrounding areas decorated with flowering vines and birds perched on branches, signed on the underside Dai Nihon Kyoto Matsumoto Hozan in a rectangular reserve on sprays of flowers 16 1/4in (41.2cm) high

US$8,000 - 12,000

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1283KINKOZAN WORKSHOPA Satsuma jar Meiji era (1868-1912), late 19th century The compressed ovoid vase with a narrow mouth and a slightly elongated neck, set on a ring foot decorated in polychrome enamels, gilt, and silver over a clear crackled glaze with shaped panels of flowers, birds, and wisteria on a trellis, bordered by a “bamboo” frame raised in relief, the surrounding silver ground decorated with scrolling vines in two shades of silver, signed Kinkozan kore o tsukuru, with impressed seal Kinkozan 7 1/8in (18.1cm) high

US$800 - 1,300

Provenance Previously sold in these Rooms, March 19 2013, lot 2339.

1284KINKOZAN WORKSHOPA large Satsuma vase Meiji era (1868-1912), late 19th century The bottle vase with a flared mouth and molded on the shoulder to resemble a textile collar and painted in ploychrome enamels, gilt, and silver with courtiers enjoying cherry blossoms before a curtain, the silver ground on the shoulder decorated with acanthus leaves and gilt keyfrets and floral lozenges and the neck with a drip pattern on a “honeycomb” ground, signed on the underside Kinkozan tsukuru 10 5/8in (27cm) high

US$800 - 1,200

1284AKINKOZAN WORKSHOPA large cobalt-ground Satsuma vase Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century The baluster vase painted in polychrome enamels, silver and gilt on a clear, densely crackled ground with two large panels, one featuring Japanese women enjoying blossoming plants in a misty landscape, the other of a spring landscape with a rooster and hen feeding near a flowering cherry tree, all reserved on a dark cobalt blue ground enriched with an overall pattern of scattered gilt and silver blossoms above gilt flowering scrolls painted below an undulating border at the shoulder, signed Dai Nihon Kyoto Kinkozan zo 14 7/8in (37.7cm) high

US$7,000 - 9,000

1285TAIZAN FOR THE HODODA WORKSHOPA large Satsuma trumpet vase Meiji era (1868-1912), late 19th century Painted in polychrome enamels and gilt with a continous design of a samurai procession before a distant castle and Mount Fuji, the ground shaded with gilt stippling, the interior of the rim painted with a band of jeweled garlands, signed on the underside in gilt Dai Nihon kosei Satsuma-yaki Hododa sei Taizan ga 15 1/8in (38.3cm) high

US$7,000 - 9,000

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1284A


1286YABU MEIZAN (1853-1934)A large and highly important Satsuma presentation vase Meiji era (1868-1912) early 20th century The square-sided vase finished with a slightly tapered cylindrical neck and decorated in polychrome enamels and gilt with four panels raised in relief containing scenes of three Japanese macaques in a blossoming cherry tree, a winter landscape, an autumn landscape, and groups of people enjoying chrysanthemums in bloom, the edges of the panels painted with repeated dots within circles and the surrounding areas decorated with scrolling vines and flowers, the shoulder with scattered chrysanthemums encircling the neck painted with lozenges containing stylized dragons above a keyfret band, the rim with formal lappets and chrysanthemum among vines, signed in gilt on the underside Yabu Meizan in a double square reserve; with a fitted hardwood stand, probably original to the vase 14 1/2in (36.7cm) high (not including base)

US$80,000 - 100,000

Yabu Meizan (1853-1934), the most successful of all manufacturers of Satsuma ware, opened his workshop in Osaka in 1880 and first garnered critical acclaim in 1885 when he won a bronze medal at the Fourteenth Kyoto Exhibition. From 1888 he concentrated on the export market, particularly the United States, producing wares decorated with Chinese or Buddhist subjects, but during the 1890s he began to favor native Japanese themes. Throughout the first decade of the twentieth century, Yabu focused his energy on the great international expositions, especially Paris (1900), St Louis (1904), and London (1910), visiting each venue and playing a major organizational role. It is highly likely that the present ambitious lot, an outstanding example of the mature Yabu style, was intended for one of these influential global events.

(another view) (another view)

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1287A LARGE SATSUMA VASE AND COVERAfter Yabu Meizan, Meiji era (1868-1912), late 19th century Of baluster form set on a splayed foot, applied with large upturned handles and decorated in polychrome enamels and gilt on a clear crackled ground with a continuous scene of figures harvesting rice in a lakeside village, a mountainous landscape in the distance, the foot and collar painted with formal lappet and keyfret bands and the handles with geometric patterns, the cover painted with a continuation of the geometric designs and pierced on the sides with gourd-shaped apertures and applied with a finial modeled as a shishi with a brocade ball, inscribed on the underside in gilt Meizan With a wood storage box 10 5/8in (27cm) high

US$10,000 - 15,000

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1288

1288YABU MEIZAN (1853-1934)A fine Satsuma dish Meiji era (1868-1912), late 19th century The hexagonal earthenware dish with a wide rim, set on a ring foot and painted in polychrome enamels and gilt on a clear crackled ground with an elaborate festival float and children, the rim painted with chrysanthemum heads and scrolling vines, the underside with chrysanthemum and vines, signed in gilt Yabu Meizan 7in (18cm) diameter

US$8,000 - 12,000

(another view)


1289

1289YABU MEIZAN (1853-1934)A fine Satsuma bottle vase Meiji (1868-1912) or Taisho era (1912-1926), late 19th/20th century Of compressed ovoid form with a slender flaring neck and decorated in polychrome enamels and gilt on a clear crackled ground, the body painted with three lobed panels containing a landscape, children in elegant pursuits, and a heron beneath a willow three, the surrounding area minutely painted with various chrysanthemum blossoms, the neck decorated with trailing wisteria and the foot with cherry blossoms and leaves, signed on the underside in gilt Yabu Meizan 7 1/4in (18.5cm) high

US$15,000 - 25,000

(another view)

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1290RYOZAN FOR THE YASUDA COMPANYA Satsuma trumpet vase Meiji era (1868-1912), late 19th century The bulbous body set on tripod “leaf” feet below a flaring mouth and painted with people in various activities, the neck decorated with blossoming flowers and the body with a group of children on parade, the rim painted with swaths of geometric patterns, the interior with stylized chrysanthemums, signed on the underside Ryozan below the Yasuda Company mark 5 3/4in (14.6cm) high

US$1,200 - 1,800

1291KINKOZAN WORKSHOPA Satsuma beaker vase Meiji era (1868-1912), late 19th century Cylindrical, flaring slightly at both ends, applied with three loop handles and decorated in polychrome enamels and gilt over a clear crackled glaze, the body decorated in three registers, the top and bottom with rectangular panels of landscapes, people in various activities, birds, insects, sealife, and flowers, and the middle register painted with similar subjects in overlapping shaped panels, the top and bottom edges with geometric bands and the handles densly painted with lozenges, the interior of the rim decorated with blossoming flowers, signed on the underside Kinkozan in gilt 6in (15.2cm) high

US$6,000 - 8,000

SATSUMA FROM THE COLLECTION OF ALEX AND BARBARA KASTEN

1292SOZAN FOR THE KINKOZAN WORKSHOPA Satsuma vase Meiji era (1868-1912), late 19th century The elongated ovoid vase painted in colored enamels and gilt with rectangular panels of beauties and attendants composing poems before a curtain among autumn maples, and stands of chrysanthemum and a brush fence by a stream and sparrows in flight, the background painted with bamboo below a floral cloud collar, the foot with a band of keyfret and floral clouds, signed on one of the panels Sozan in red enamel and Kinkozan and with the mark of the Shimazu family on the underside 12 1/2in (31.8cm) high

US$8,000 - 12,000

Exhibited Columbia, Columbia Museum of Art, “Meiji Magic, Imperial Porcelain from Japan from the Collection of Alex and Barbara Kasten”, January 3-May 18, 2014

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(another view)


1293 ¤A SMALL SATSUMA VASEMeiji era (1868-1912), late 19th century The slender vase decorated with a beauty on a veranda with attendant among flowers, and blossoming peonies, all painted in polychrome enamels and gilt on a cobalt ground, the underside with the mark of the Shimazu family 6in (15.3cm) high

US$800 - 1,200


1294SEIKOZANA pair of Satsuma vases Meiji era (1868-1912), late 19th century Each faceted, tapering to the foot and painted with scenes of birds and flowers, beauties enjoying an outing and revelers celebrating the New Year, the shoulder decorated with floral lozenges, signed on the underside Seikozan tsukuru 5 1/2in (14.5cm) high

US$1,500 - 2,500

1295KOZANA small Satsuma vase Meiji era (1868-1912), late 19th century The cylindrical body raised on three short supports and meticulously painted in polychrome enamels and gilt over a clear glaze with a large crowd of minute figures accompanying a Gion festival float, the continuous scene set below a wide band of jeweled netting partially concealing various blossoms, all bracketed by ribbons of keyfret pattern at the rim and base, signed Kozan 4 3/4in (12cm) high

US$1,200 - 1,800

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1296A RECTANGULAR SATSUMA INCENSE BURNERMeiji era (1868-1912), late 19th century Set on four feet and applied with vertical handles in the manner of a Chinese archaic bronze and decorated in gosu blue, red, and green enamels and gilt on a clear, crackled glaze with chrysanthemum, maple, and grasses, the gilt and silver cover finished with a chrysanthemum finial and leaves 6 5/8in (17cm) high

US$1,500 - 2,500

1297A SMALL SATSUMA DISHMeiji era (1868-1912), late 19th century Painted in colored and white enamels and gilt with a scene of Tokiwa Gozen and her children under a snow-covered pine tree and a group of samurai, signed illegibly on the underside Ko[zan] 6 3/4in (17.2cm) diameter

US$1,500 - 2,500

1298KINKOZAN WORKSHOPA small Satsuma dish Meiji era (1868-1912), late 19th century Painted in polychrome enamels and gilt with a detailed scene of the Enzoji Temple complex, a cartouche in the upper left inscribed Aizu Yanaizu Kokuzodo no zu, the rim painted with a band of lozenges, gilt and impressed signature Kinkozan tsukuru on the underside 6in (15.2cm) diameter

US$2,000 - 3,000

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1300

1299KOBAYASHI CHIKAMITSU AND KAMATA MITSUYOSHI (ACTIVE LATE 19TH CENTURY)A silver kogo (incense container) Meiji era (1868-1912), late 19th century The exterior of the box worked on the surface to an ishime finish and decorated with sasa (broad-leaf bamboo) by rocks in iro-e takazogan, hirazogan, shishiaibori, and kebori, the interior with a poem engraved in katakiribori, signed to the left of the design Chikamitsu (for the decoration) and on the underside in an engraved signature Ginsei Mitsuyoshi (for construction of the box) and with a kao With a wood tomobako inscribed Sasa no zu kogo and singed on the underside of the lid Kobayashi Chikamitsu and Kamata Mitsuyoshi and with two seals 2 1/2in (6.3cm) diameter

US$1,500 - 2,500

1300CHIKUEIDO EISHI (NAKAMURA TAKEJIRO 1850-1915)A silver dish Meiji era (1868-1912), late 19th/early 20th century The circular dish decorated with a crab and chrysanthemum and a poem in katakiribori, signed on the underside with an engraved signature Eishin tsukuru With a wood tomobako stoarage box signed and sealed Eishin and another seal 3 1/2in (8.6cm) diameter

US$1,200 - 1,800

1301TOYOKAWA MITSUNAGA II (1850-1923)A bronze kogo (incense container) Meiji (1868-1912) or Taisho (1912-1923) era, circa 1910-1920 Cast in bronze and decorated on the cover with chrysanthemums, bush clover, and bamboo in shishiaibori, katakiribori, and kebori with gold and shibuichi hirazogan embellishments, the interior finished with a reddish gold ishime surface, signed with an engraved signature Mitsunaga koku With a wood tomobako storage box inscribed Hana kogo and signed Hakusanshi Mitsunaga and sealed Mitsu and another seal 2 5/8in (6.7cm) diameter

US$1,500 - 2,500

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1301

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1302A SHAKUDO PAPER WEIGHT AND A PAIR OF GILT-BRONZE PAPERWEIGHTSMeiji era (1868-1912), late 19th century The first formed as a swimming carp, the eyes highlighted in gilt, signed on the underside with engraved signature Nanajugosai Mitsutada and with a kao, with a wood tomobako storage box illegibly signed ()san Mitsutada and with a kao; the pair of rectangular weights carved in high relief with a long-tailed bird among rocks and peonies by a stream, the handles carved as a peony bud, with a wood storage box 3 3/4in (9.5cm) wide; 7 1/2in (19cm) wide

US$1,200 - 1,800

1303 ¤KATSUHIDE (ITO KATSUHIDE) FOR THE MARUKI COMPANYA shibuichi and silver box and cover, Meiji era (1869-1912), late 19th/early 20th century The silver box rectangular with rounded corners and inset on the cover with a shibuichi panel designed with a landscape, fishing village, and agricultural scenes rendered in gold, silver, and shakudo takazogan, hirazogan, takabori, and kebori, signed on the cover Katsuhide koku and stamped on the silver underside Maruki sei and jungin (Pure silver) 4 1/2 x 5 3/4 x 1 3/4in (11.4 x 14.4 x 4.5cm)

US$800 - 1,200

For another example of work by this artist, see Laura W. Allen and others, In the Moment: Japanese Art from the Larry Ellison Collection, San Francisco, Asian Art Museum, 2013, cat. no. 54.

1304TOYOKAWA MITSUNAGA II (1850-1923)An inlaid shibuichi koro (incense burner) Meiji (1868-1912) or Taisho (1912-1926) era, circa 1900-1920 Of compressed ovoid form set on tripod feet and with square upright handles and decorated with plovers flying over rocks and crashing waves in gold and silver hirazogan and katakiribori, signed on the body Hakusanshi Mitsunaga and sealed, and with two additional seals on the underside With a wood tomobako storage box inscribed Nami ni chidori koro and on the inside of the lid Kingin zogan katakiribori kin shibuichi koro, signed Hakusanshi Toyokawa Mitsunaga and sealed 3 5/8in (9.2cm) high

US$3,000 - 4,000

1304

1303

1302


1305KAKEHIKOA mixed-metal plaque Taisho era (1912-1926), early 20th century Cast and finished in two shades of bronze and decorated in katakiribori with a swallow in flight before a waterfall, chiseled signature Kakehiko koku, in a wood frame 5 3/5 x 4 3/4in (14.6 x 10.2cm), excluding frame, 15 3/8 x 12in (39 x 30.5cm) overall

US$1,500 - 2,500

1306HARUKAGEA mixed-metal plaque Taisho era (1912-1926), early 20th century Cast in bronze and hammered up in repoussé technique with three playful puppies, the surface worked in kebori and katakiribori and finished in varying shades of greenish gold, the eyes highlighted in gilt and shakudo, signed with engraved signature Saiyosai Harukage 11 7/8 x 14 1/4in (30.2 x 36.2cm)

US$1,500 - 2,500

1307YOSHITSUGUAn inlaid-iron panel Meiji era (1868-1912), late 19th century The rectangular panel forged in russet iron and decorated with a man in a mountain villa admiring a pair of monkeys on a rocky outcrop by a rushing stream, pine, maple, and bamboo, rendered in iro-e takazogan and takabori, the stream and the snow-capped mountains in silver hirazogan, signed Oju Kashu no ju Ki Yoshitsugu, in a lacquered wood frame 17 7/8 x 13 5/8in (45.4 x 34.5cm) (including frame)

US$4,000 - 6,000

1308UNNO MORITOSHI (1834-1896)A fine iron panel Meiji era (1868-1912), late 19th century The russet-iron panel carved in relief with a playful scene of a large rat struggling with an egg as two smaller rats pull on its tail, the eyes finished in shakudo and the egg in silver overlays, signed Ryounsai and sealed in gold Mori, mounted on a wood panel 11 3/4 x 14 1/2in (29.9 x 36.8cm) (overall); 6 x 8 3/8in (15.1 x 21.3cm) (panel only)

US$12,000 - 18,000

Provenance Thomas B. Marston Thomas E. Marston, and thence by descent According to family records, this panel was purchased in 1898 or 1899 by Thomas B. Marston on a trip to Japan. Marston was reportedly there as a guest of the Meiji government, advising on the selection of works of art to represent Japan at the upcoming Exposition Universelle held in Paris in 1900

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1305

1306


1310

1311

1309SEIKOA bronze double gourd vase Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century Cast in two shades of bronze and decorated with a small frog, the patina darkening toward the top and bottom, signed on the underside Seiko saku 6 7/8in (15.2cm) high

US$1,500 - 2,500

1310MIYABE ATSUYOSHIA bronze vase with mixed-metal decoration Meiji era (1868-1912), late 19th century Of ovoid form with a tapered foot, boldly decorated with a stand of irises and a swallow in high relief silver, copper, shibuichi, shakudo, and gold, signed on the underside Dai Nihon Kyoto no ju Ikkodo Miyabe Atsuyoshi with a kao 7 1/4in (8.4cm) high

US$2,000 - 3,000

For another work by this Kyoto-based artist, a pupil of Shinoyama Atsuoki (1813-1891), see Oliver Impey, Malcolm Fairley and Victor Harris, Meiji no Takara, Treasures of Imperial Japan, Metalwork Part II [in the Khalili Collection], London: Kibo Foundation, 1995, cat. no. 93.

1311CHIKAHARUA pair of inlaid bronze slender handled vases Meiji era (1868-1912), late 19th century Both vases supported on four tall stylized legs in the form of mythological creatures, elaborately inlaid in gold, shakudo, and bronze with a matching design of a fanciful peacock carrying a tassel floret in its beak above a bulbous section decorated with dragon roundels inlaid in gold on a honeycomb-patterned ground, the shoulder applied with archaic bracket handles, each with removable bronze liner, the base of both vases signed Chikaharu saku; with wood storage box 12 3/4in (32.5cm) high

US$4,000 - 5,000

Provenance Previously sold Bonhams, London, November 6 2014, lot 400

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1312 WA MASSIVE BRONZE INCENSE BURNERMeiji era (1868-1912), circa 1893 Cast in sections and finished in a dark brown patina, the overall surface decorated in archaistic keyfrets in low relief with stylized beast motifs, the lobed ash basin decorated with two dragons, a phoenix, two kirin and a minogame, each separated by zoomorphic columns, the basin applied with elaborate phoenix handles, each holding a free-moving leafy branch in its beak, the tail feathers wrapping around the neck below baku masks, and supported by three legs emanating from beast masks and ending in shishi, the space between the legs with stylized phoenix-in-cloud flourishes with free-moving pierced brocade balls, the four-tiered base cast with beast masks below keyfrets, lotus petals, and a final register of pierce-carved plovers in waves, the top surface of the base surmounted with a sacred jewel supported by a geyser of water, the cover with a continuation of the design and a reticulated band of shishi in peony branches, highlighted in gilt, all surmounted with a large finial formed as a seated kirin with raised paw, looking back over its shoulder and holding a tasseled brocade ball in its jaws, illegibly signed Kyoku in seal form on the underside of the ash basin 51 3/8in (130.5cm) high

US$8,000 - 12,000

For a similar but still larger example of this type of outsize incense burner, evidently made around the time of the World’s Columbian Exposition held in Chicago in 1893, see Joe Earle, Splendors of Imperial Japan: Arts of the Meiji Period from the Khalili Collection, London, The Khalili Family Trust, 2002, cat. no. 187.

1313No lot


1314 WICHIRYU TOMOTOSHI (1831-1889)A large and impressive inlaid-iron panel Meiji era (1868-1912) The circular iron panel worked to a hammered finish and applied in very high relief with a bronze figure of a dancing shojo (drunken sprite) holding a fan and a minogame on top of his head, his face, hair and arms patinated to a reddish-brown and the robes finished with a greenish hue embellished with scrolling vines and chrysanthemums in gold takazogan, the interior of the sleeves and the fan gilded, the tassels hanging from the robes inlaid with green hardstones, signed Ichiryu Tomotoshi and with a kao in applied gilt-bronze; the panel set into a black-lacquer circular table with a glass top 29 5/8in (75.25cm) diameter (panels only), 35 1/2in (90.1cm) diameter, 20 1/2in (52cm) high overall

US$30,000 - 40,000

(detail)

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1315 ¤MYOCHIN MUNETSUGU (ACTIVE CIRCA 1900)An iron articulated model of a spiny lobster Meiji era (1868-1912), late 19th century Assembled from iron sheets hammered and carved on the surface, the tail, legs and antennae all fully articulated, signed on the underside Munetsugu 16 1/2in (42cm) long, when extended

US$1,000 - 1,500

1316MIYAO WORKSHOPA pair of bronze models of quails Meiji era (1868-1912), late 19th century One shown looking to the left, the other shown preening its feathers, each with gilt and shakudo eyes, sealed on the underside Miyao With a later wood stand 5 1/4in (13.3cm) wide (the largest)

US$1,800 - 2,500

1317A BRONZE MODEL OF QUAILTaisho era (1912-1926) Cast and carved as two quail with gilt highlights standing on a fitted bronze base with blossoming foliage in gilt metal, with a fitted lacquer stand With wood tomobako storage box inscribed Kinzokusei uzura okimono daitsuki Taisho shichinen nigatsu nijuhachinichi Hayama Goyotei omairi no toki Kogogu yori gohairyo (Metal okimono of quails with base, humbly received from the Empress on the occasion of a visit to Hayama Imperial Villa on February 28 1918) and Showa jurokunen nigatsu nijuhachinichi Hi Masako Naishinno goihin to shite . . .tomoe shirushi (Received from the effects of Imperial Princess Masako on February 28 1941, comma mark) 12 7/8in (32.8cm) wide

US$4,000 - 6,000

Located on the east coast of Sagami Bay in the Miura Peninsula, the Hayama Imperial Villa, mentioned in the box inscription, was a favorite residence of the Taisho Emperor, who died there in 1926. The Imperial family traditionally used the villa during the low season for tourism, in February and March. The villa burned down in 1971. Princess Masako (1888-1940), was the sixth daughter of the Meiji Emperor. She was famous for her charitable work, especially for wounded soldiers of the imperial army.


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1320

1318MURATA SEIMIN (1761-1873)A bronze hanaire (flower vase) Edo period (1615-1868), 19th century Cast in sections and assembled as a lotus blossom, the base formed from an insect-eaten lotus leaf, applied with two separately cast turtles, signed on the underside Toto no ju Hokugyokuso Seimin With a wood storage box 9 1/2in (24.9cm) high

US$1,500 - 2,000

1319ICHIOKA SHIUN (ACTIVE EARLY 20TH CENTURY)A bronze vase Meiji era (1868-1912), circa 1908 The slender baluster vase cast and chiseled with a pair of deer beneath a cedar tree, finished in a chocolate-brown patina, sealed on the underside Shiun With a wood storage box 10 1/4in (38.6cm) high

US$2,000 - 3,000

A similar bronze vase with deer design by Ichioka Shiun, a pupil of Oshima Joun (see the following lot) is illustrated in Bijutsu Gaho (The Magazine of Art), 28/1 (June 5 1910), “A Bronze Vase with the Figure of Two Deer. By Shiun Ichioka. Awarded the bronze medal at 23rd Competition Show of Sculpture, Autumn of 1908,” accessible at http://www.tobunken.go.jp/materials/materials-image/gahou/28_01/gh_28_01_0013.jpg

1320OSHIMA JOUN (1858-1940)A bronze vase Meiji era (1868-1912), late 19th/early 20th century Of ovoid form and worked on the surface with a snail on a gourd attached to a leafy vine, all in high relief, signed on the underside Joun saku (Made by Joun) With fitted wood stand, storage bag and wood tomobako storage box inscribed Chudo hisago chokoku kabin (Cast-bronze flower vase sculpted with a gourd) and signed Ichijoken Joun saku (Made by Ichijoken Joun) with seal Joun no in (Seal of Joun) 8 1/2in (21.8cm) high

US$3,000 - 4,000

A professor at Tokyo School of Art from 1887 until 1932, Oshima Joun was one of the most celebrated bronze-casters of the late nineteenth and early twentieth centuries. He exhibited at several of the great international expositions of the era, including Paris (1900), St. Louis (1904) and London (1910).

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1321A SMALL CLOISONNÉ-ENAMEL VASEMeiji era (1868-1912), late 19th century Worked in silver and gold wire and polychrome enamels with trailing wisteria around the shoulder, the neck with dense foliate scrolls and the foot with a stiff-leaf band, all on a midnight blue ground, gilt-copper mounts 5 1/4in (13.1cm) high

US$1,500 - 2,500

1322A SMALL CLOISONNÉ-ENAMEL VASEMeiji era (1868-1912), late 19th century Set on a splayed foot and worked in silver wires and polychrome enamels with butterflies and pinks against a black ground, the neck and foot with florets and vines on a gray-green ground, silvered rims 4 1/2in (11.6cm) high

US$2,000 - 3,000

1323¤

A CLOISONNÉ-ENAMEL INCENSE BURNERMeiji era (1868-1912), late 19th century Of compressed ovoid form with a domed cover and a chrysanthemum finial and set on tripod feet, worked in polychrome enamels, aventurine, and gilt wire with shaped panels containing stylized flowers and vines, separated by a band of floral lozenges running around the body, the cover with formal floral lappets punctuated by butterflies, gilt mounts 3 1/4in (8.5cm) high

US$1,000 - 1,500

1324A CLOISONNÉ-ENAMEL VASEMeiji era (1868-1912), late 19th century The baluster vase worked in colored enamels and silver wire on a dark blue ground with birds in flight and perched in a cherry tree in full bloom, the trunk with areas of musen technique, a maple tree below, mounts stamped Silver 9 3/4in (24.7cm) high

US$1,000 - 2,000 1324

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1323


1325OGASAWARA SHUZOA ginbari cloisonné-enamel vase Meiji era (1868-1912), late 19th century The bulbous body with a slightly flaring neck decorated in translucent enamels over silver foil with a design of swimming carp, the water weeds and bubbles carved in the silver foil substrate, signed on the underside Shuzo 7 1/2in (19cm) high

US$1,000 - 1,500

1326A CLOISONNÉ-ENAMEL COVERED VESSEL AND COVERMeiji era (1868-1912), late 19th century The lobed vessel with applied bracket handles worked in silver wire, polychrome enamels, and aventurine and decorated with shaped panels containing scenes of cherry blossoms by a thatched hut, pines and cranes before Mount Fuji and stylized dragons and phoenixes, all surrounded by cherry florets and maple leaves, the neck with archaistic floral patterns below a keyfret band, domed cover decorated to match and with a chrysanthemum finial, gilt-copper mounts 4 7/8in (12.3cm) high

US$2,000 - 3,000

1327A PAIR OF CLOISONNÉ-ENAMEL VASESMeiji era (1868-1912), late 19th-early 20th century Of square-shouldered baluster form and worked in silver wire and polychrome enamels with a stands of flowers before a plum or cherry tree and a pair of doves on a midnight blue ground, the foot and collar with geometric bands, silvered metal mounts 6in (15.1cm) high

US$800 - 1,200

1328A PAIR OF CLOISONNÉ-ENAMEL VASESMeiji era (1868-1912), late 19th century Of compressed baluster form and worked in colored enamels and gold and silver wire against a black ground with sparrows in blossoming cherry trees and stands of flowers, silvered mounts, the base with maker’s mark in red enamel 7 1/4in (18.5cm) high

US$1,500 - 2,5001328

1325 1326

1327

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1330

1329 ¤NAMIKAWA YASUYUKI (1845-1927)A cloisonné-enamel vase Meiji era (1868-1912), late 19th century The elongated ovoid vase worked in polychrome enamels and silver wires with sparrows in flight and blossoming flowers and grains on an apple-green ground, the neck and foot with a band of floral lozenges and geometric designs, signed on a silver plaque in an engraved signature Kyoto Namikawa 8 1/4in (20.9cm) high

US$1,000 - 1,500

1330HATTORI TADASABURO (DIED 1939)A pair of cloisonné-enamel vases Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century Each vessel set on splayed foot and worked in jade-green enamel and silver wires, applied with stylized animal-head handles and decorated on the sides with archaic Chinese-style zoomorphic and geometric designs, signed on the reverse by the artist within a circular reserve with a floral motif Kodo, shibuichi and silver mounts With a wood tomobako storage box inscribed Shippo kabin and signed on the underside of the lid Shippo Korin tsukuru and sealed Korin 5 1/4in (13.3cm) high; 9 3/4in (24.7cm) wide

US$5,000 - 7,000 1329


PROPERTY FROM THE COLLECTION OF ABE GERCIK

1331BAIKEIA carved hardwood tray Taisho era (1912-1926), early 20th century Rectangular and carved in relief with leafy, fruiting grapevines running around the outer edge of the tray and a single wasp in flight, the loop handle formed as a section of the vine, the underside with a continuation of the design, signed on the underside Baikei to and sealed Baikei 11 x 16 1/4 x 10 1/2in (27 x 41.3 x 26.7cm)

US$1,200 - 1,800

1332A RECTANGULAR LACQUER AND WOOD TRAY A rectangular lacquer and wood tray Taisho era (1912-1926), 20th century Deeply carved on the interior with visible chisel marks and decorated with a large circular panel in slightly sunken relief and decorated with a poem by Tokugawa Nariaki and a blossoming plum branch in brown takamaki-e, sealed Nariaki no in 15 x 18in (38 x 45.7cm)

US$1,000 - 1,500

Tokugawa Nariaki (1800-1860) ruled the Mito Domain and contributed to the rise of nationalism and the Meiji Restoration.

1333A LARGE CARVED HARDWOOD TRAYTaisho era (1912-1926) Of rectangular shape with low sloping sides curving inwards to form an irregular rim pierced in places and designed to resemble tree branches and roots, portions of the underside preserving the original texture of the deep reddish-brown wood with occasional knots and natural inclusions 3 x 19 x 13 1/4in (7.7 x 48.3 x 33.6cm)

US$1,200 - 1,800

1331

1332

1333

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1334

1335

1336

1334A CARVED WOOD SERVING TRAYTaisho era (1912-1926) Carved in the form of a split segment of bamboo, the natural grain of the wood used to good effect, inscribed in a shaped reserve Ware no cha 10 x 7 1/4 x 2 1/2in (25.3 x 18.3 x 6.4cm)

US$1,000 - 1,500

1335A TETSUBIN (IRON TEAPOT FOR SENCHA)Taisho (1912-1926) or Showa (1926-1989) era, 20th century Cast in iron and decorated in high relief with a thatched-roof cottage by a river and a traveler on a river barge, the riverbank forming the flange around the lower body, the fittings for the handle in the form of clouds, the bronze lid fitted with a pierced bud finial and signed on the underside Ryubundo tsukuru 4 7/8in (12.4cm) high excluding handle, 8in (20.3cm) diameter

US$1,000 - 1,500

1336A LARGE TETSUBIN (IRON TEAPOT FOR SENCHA)Taisho (1912-1926) or Showa (1926-1989) era, 20th century The bulbous vessel cast in iron with an overall decoration of birds in blossoming cherry trees in high relief against a ground of keyfrets or floral lozenges, each scene separated by stylized columns, the handle attachments formed as reishi fungus, the polished iron handle decorated with precious emblems in silver and gold inlays, sealed on the underside Ueda tsukuru, the bronze lid with a pierced bead finial and finished in a mottled red and brown patina, signed on the underside Ryubundo tsukuru 5 1/2in (14.5cm) high excluding handle, 8 1/2in (21.6cm) diameter

US$1,000 - 1,500


1337A TETSUBIN (IRON TEAPOT FOR SENCHA) AND A PAIR OF BRONZE CANDLESTICKSTaisho (1912-1926) or Showa (1926-1989) era, 20th century The tetsubin cast in iron and decorated in high relief with lotus blossoms and flowers, the cover cast in bronze and fitted with a floret final and signed on the underside Ryubundo tsukuru; the pricket candlesticks cast in two shades of bronze as stalks of bamboo with leaves sprouting from the side 5 1/2in (14.5cm) high excluding handle; 14 1/4in (36.2cm) high

US$1,200 - 1,800

1338A TETSUBIN (IRON TEAPOT FOR SENCHA)Taisho (1912-1926) or Showa (1926-1989) era, 20th century Cast in iron and finished with a rough surface, the cylindrical body with recessed panels containing an ox beneath a tree, and rice stalks with autumn grasses, the body sealed Ueda tsukuru, the circular cover cast in bronze and fitted with a floret finial, signed on the underside Kinryudo tsukuru 5 1/4in (13.3cm) high excluding handle

US$1,000 - 1,500

1337

1337

1338

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A SELECTION OF STUDIO CERAMICS


1339

1340

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1339A LARGE STUDIO PORCELAIN VASEBy Genroku Tominaga, Meiji period (1868-1912), late 19th century The elongated baluster vase with square shoulders and decorated in an Imari-style palette in underglaze cobalt and red enamel, red iron-oxide and gilt with three large shaped panels containing scenes of a rocky shoreline and old pine trees, a waterfall cascading down a rocky mountain above cedar trees, and a rocky cliff with pine trees and distant peaks, the surrounding area all painted with tightly scrolling vines and stylized fans, signed on the underside in underglaze blue Genroku sei 23in (58.4cm) high

US$8,000 - 12,000

1340ITO TOZAN (1846-1920)A porcelain vase Meiji era (1868-1912), circa 1900 The baluster vase decorated in white, green and black enamel and gilt and silver with cherry trees in full blossom, the petals raised slightly in relief, signed on the underside Tozan tsukuru and impressed seal Tozan With a wood tomobako storage box inscribed Sakura moyo kabin (Cherry blossom flower vase) and signed Tozan tsukuru and sealed Tozan 12 1/4in (31.1cm) high

US$3,000 - 5,000

1341MAKUZU KOZAN (1842-1916)A studio porcelain vase Meiji era (1868-1912), late 19th century The slender ovoid vase decorated in underglaze iron red with a resist design of blossoming chrysanthemums, some of the petals molded in low relief, signed in underglaze blue on the foot Makuzu gama Kozan sei 7 5/8in (19.3cm) high

US$1,200 - 1,800

1342 1343

1344

1341

1342MAKUZU KOZAN (1842-1916)A studio porcelain vase Meiji era (1868-1912), late 19th century Decorated in underglaze red with serpentine dragon on a dark purple-grey ground gradually becoming lighter toward the foot, signed on the underside in underglaze blue Makuzu Kozan sei 7 7/8in (20cm) high

US$1,500 - 2,500

1343 ¤MAKUZU KOZAN (1842-1916)A studio porcelain vase Meiji era (1868-1912), late 19th century Painted in underglaze polychrome enamels with confronted roosters, hens and chicks on a white ground, signed on the underside in underglaze blue Makuzu Kozan sei 9 1/2in (24.9cm) high

US$2,000 - 3,000

1344MAKUZU KOZAN (1842-1916)A porcelain vase Meiji era (1868-1912), circa 1900 Of baluster form with an everted rim and decorated in underglaze blue with a cedar forest before a mist-shrouded rocky mountainscape, signed on the underside in seal-form Makuzu gama Kozan sei With a wood storage box 15 1/2in (39.3cm) high

US$5,000 - 7,000


1345MAKUZU KOZAN (1842-1916)A porcelain vase Meiji era (1868-1912), late 19th century Painted in polychrome enamels and gilt with white roses in bloom, the lower half of the body covered in a black glaze, base unglazed, signed on the underside with an impressed signature Kozan, fitted with a later lacquer cover for use as a mizusashi (water container for the tea ceremony) With a wood storage box with a label of attestation written by Imaizumi Yusaku in 1919 8 1/8in (20.6cm) high

US$3,500 - 4,500

Imaizumi Yusaku (1850-1931) was an early curator of the Imperial Museum of Tokyo (Tokyo National Museum).

1346MAKUZU KOZAN II (HANZAN) (1859-1940)A set of earthenware futamono (covered food dishes for the tea ceremony) Taisho (1912-1926) or Showa (1926-1989) era, 20th century Each of rounded square form with an overhanging cover and decorated in green and white enamels and gilt and silver with chrysanthemums, signed on the underside with an impressed signature Kozan With a wood storage box with a paper label inscribed Futamono gokaku Satsuma-yaki utsusu Nidai Teishitsu Gigeiin Makuzu Kozan saku (Five Satsuma-style Covered Food Dishes by Imperial Craftsman Makuzu Kozan II) 5 3/8 x 5 1/2 x 2 1/4in (13.6 x 13.9 x 5.7cm) each approx.

US$2,500 - 3,500

1347MAKUZU KOZAN IV (MIYAGAWA TOMONOSUKE (1884-1959))A pair of porcelain komainu Taisho (1912-1926) or Showa (1926-1989), circa 1930 Modeled as a pair of guardian dogs, one with its paw on a ball and one figure with mouth open making the syllable A and the other with mouth closed making the syllable Un, covered in a celadon glaze and sealed Makuzu With a wood tomobako storage box inscribed Okimono and on the underside of the lid Seijiyu komainu and signed Makuzu Kozan saku and sealed Makuzu 4 5/8in (10.7cm) high

US$2,500 - 3,500

1345

1346

1347

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1348MAKUZU KOZAN II (HANZAN) (1859-1940)A porcelain pagoda Showa era (1926-1989), 20th century Modeled as a five-tier pagoda in unglazed porcelain, set on a base mold with a lotus blossom in low relief, decorated on the spherical body with a Sanskrit character in gold lacquer, the top removable and the body hollow for the storage of a printed sutra handscroll, signed on the underside in incised signature Hachijusan-o Makuzu Kozan saku (Made by Makuzu Kozan at 83 years of age) and sealed Makuzu With a wood storage box 10 1/2in (26.6cm) high

US$3,500 - 4,500

1349SEIFU YOHEI III (1851-1914)A porcelain binkake (brazier for the tea ceremony) Meiji era (1868-1914), late 19th century/early 20th century The cylindrical vessel decorated with a demon mask and a band of taotie and disintegrated zoomorphs in molded relief and keyfrets in underglaze cobalt, signed on the underside Seifu With a wood tomobako storage box inscribed Sometsuke oni men binkake (Brazier with demon masks in blue-and-white) and sealed Seifu and signed on the underside of the lid Seifu tsukuru and with further seal Seizan 9 1/4in (23.4cm) high, 11 1/4in (28.6cm) diameter

US$2,000 - 3,000

1349

1348

1348


1350HEIAN YOZAN (ACTIVE FIRST HALF OF THE 20TH CENTURY)A molded porcelain bowl Showa era (1926-1989), 20th century The thinly potted bowl set on a ring foot and finished with a gently everted rim, the interior molded with fish and water plants on rolling waves, impressed signature Yozan on underside 8 1/16in (20.4cm) diameter

US$800 - 1,200

1351SEIFU YOHEI V (1921-1991)A porcelain mizusashi (water container for the tea ceremony) Showa era (1926-1989), 20th century Decorated in underglaze blue and carved on the surface with seashells and seaweed, signed on the underside Seifu, with a lacquered wood cover With a wood tomobako storage box inscribed Suisaiji kai hori mizusashi and sealed Kojo Seifu and signed on the underside of the lid Seifu tsukuru and sealed Seifu 7in (18cm) high

US$2,000 - 3,000

1352SUWA SOZAN II (1890-1977)A porcelain flower vase Showa era (1926-1989), circa 1926-1977 The squat ovoid vase decorated around the shoulder with loquats and finger citron carved in relief and covered with a celadon glaze, signed on the underside with an impressed seal Sozan With a tomobako storage box inscribed Kajitsumon Seihakuji yokoku kabin (White celadon flower vase carved in relief with fruit) and signed Suwa Sozan tsukuru, and on the underside of the lid Suwa Sozan nidai honmyo Torako shodai yojo joryu sakka seiji (Suwa Sozan II, given name Torako, first generation adopted woman potter) 9 1/4in (23.4cm) high

US$2,000 - 3,0001352

1350

(interior)

1351

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A SELECTION OF MODERN JAPANESE ART

1353SEKIGUCHI CHIKUTOSAI (SHIN’YA) (1877-CIRCA 1932) AND HARATA JUKO (JUTARO, DIED 1926)A pair of silver vases Meiji era (1868-1912) or Taisho (1912-1926) era, circa 1910-1920 Of baluster form decorated with spider chrysanthemums chiseled in slightly sunken relief and inlaid in gold, shibuichi and shakudo hirazogan, one vase signed on the body with an engraved signature and sealed in gold Chitokusai, the other signed Shin’ya koku and sealed in gold Koko, each vase marked on the underside Jungin (Pure silver), Seishukan, Juko and with a kao; with the original carved rosewood stands

With a wood storage box 13in (33cm) high, 5 3/4in (14.6cm) diameter excluding stand; 14 5/8in (37.1cm) high overall

US$18,000 - 22,000

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1354YOSHINORI FOR THE MARUKI COMPNAYA silver vase for flower arrangements Meiji (1868-1912) or Taisho (1912-1926) era, circa 1900-1920 Designed as a chrysanthemum, chiseled and hammered on the surface and finished with a gilt wash, the foot decorated with chrysanthemum scrolls in flush-inlaid colored enamels, the interior fitted with a removable pierced liner for holding flower stems, signed on the underside with a chiseled signature Yoshinori, and with the mark of the Maruki Company, the foot stamped Jungin (Pure silver); with the original fitted wood stand With a wood storage box 11in (27.9cm) diameter; 5 3/4in (14.6cm) high

US$3,000 - 5,000


1356

1355KAJIMA IKKOKU II (1846-1925)A silver cigarette case Meiji (1868-1912) or Taisho (1912-1926) era, circa 1910 The surface hammered and worked in katakiribori decorated with a group of sparrows in flight and alighting against a fine ishime ground, signed on the reverse with an engraved signature Ikkoku, with a silk-lined storage box 3 1/4 x 4 1/4in (8.2 x 10.8cm)

US$1,000 - 1,500

1356TANAKA HIDEAKI (ACTIVE MID-20TH CENTURY)A silver kashiki (tray for sweets) Showa era (1926-1989), circa 1960 The circular tray with a broad rounded rim and hammered on the surface, signed on the underside with an engraved signature Hideaki and stamped Jungin (Pure silver) With a wood tomobako storage box inscribed Nanro aoumi bon and signed on the underside of the lid Tanaka Hideaki saku and sealed 11 1/2in (29.2cm) diameter, 1 5/8in (4.1cm) high

US$1,800 - 2,500

1357REKIDOA silver and patinated metal vase Taisho era (1912-1926), early 20th century Formed as a water bucket, hammered and chiseled on the surface and finished in shibuichi, the suspension ring and horizontal straps shakudo, signed on the underside with an engraved signature Tsuen tsuruibin, Rekido With a wood storage box 7 1/2in (19cm) high

US$3,000 - 4,000

1357

1355 (another view)

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1358

1359

1360

1358HONMA TAKUSAI III (HONMA OTOHACHI, 1868–1946)A bronze flower vase Taisho (912-1926) or Showa (1926-1989) era, circa 1912-1930 Cast in bronze with a rich, mottled red patina and decorated in relief with crickets in autumn leaves, signed on the underside with a cast seal-form signature Takusai do zan With a wood tomobako storage box inscribed by the artist and signed Takusai tsukuru and sealed Takusai do zan 10 ½” high x 11 ¼” diameter

US$2,000 - 3,000

1359AIDA TOMIYASU (1902-1987)A bronze suiban (tray) Showa era (1926-1989), circa 1942 The shallow tray cast in bronze with a rounded basin and decorated on the rim in low relief with stylized crabs, signed on the underside with a cast seal Tomiyasu saku With a tomobako storage box signed and sealed Tomiyasu saku 14 1/4in (36.2cm) diameter; 3in (7.6cm) high

US$2,000 - 3,000

1360HANNYA KANKEI (BORN 1933)A large bronze flower vase Showa era (1926-1989), circa 1980 The large globular vase cast in bronze, set on a tall ring foot and finished with a tiered neck and decorated with three concave horizontal bands running around the sides, finished with a reddish brown patina with patches of deeper red, signed on the underside with a cast seal-form signature Kankei With a wood tomobako storage box inscribed Kodo tsujimon marugata kabin and signed Chushi Hannya Kankei and sealed Kankei 13 1/4in (33.6cm) high, 14 1/2in (36.8cm) diameter

US$2,500 - 4,000


1361TSUDA EIJU (1915-2001)A bronze incense burner Showa era (1926-1989), circa 1965 Cast in the form of a stylized deer and finished in shibuichi with a distinctive rough finish, signed on the underside with a seal-form signature Eiju With a wood tomobako storage box signed and sealed by the artist and bearing a paper label indicating the piece was sold through Wako Department Store in Ginza, Tokyo 10 1/4in (26cm) high

US$1,200 - 1,800

1362KANAMORI EIICHI (1908-2001)A bronze flower vase Showa era (1926-1989), circa 1950 The elongated ovoid vase cast in bronze and decorated with geometric designs in silver inlay, signed on the underside on an inlaid silver plaque with an engraved signature Eiichi saku With a wood tomobako storage box inscribed, signed and sealed by the artist 10 1/2in (26.6cm) high

US$2,500 - 3,500

1363SAKAI TENSEI (ACTIVE SECOND HALF 20TH CENTURY)A bronze vase Showa (1926-1989) or Heisei (1989-) era, circa 1985-2000 The vase of lenticular section cast in bronze and finished to a dark-brown patina, the surface decorated in gold, shibuichi and silver inlays on both sides with horizontal lines and repeating rectangular reserves alternating with small central squares and three tumbling squares, signed on the underside with an engraved signature Tensei With a tomobako storage box signed and sealed by the artist 11 7/8 x 10 x 3 7/8in (30.1 x 25.4 x 9.8cm)

US$3,000 - 4,000

1363

1361

1362

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1364MORIYA SHOTEI (1890-1972)A lacquer chabako (box for tea utensils) Showa era (1926-1989), circa 1946 Lacquered in gold and brown hiramaki-e and roiro-nuri ground over a lacquer-soaked fabric core and decorated on the exterior with a large pine tree running over the top of the lid and onto the sides of the box, the surface of the pine bark and needles finished in a rough texture, the underside of the lid decorated with rolling hills in two shades of takamaki-e and togidashi maki-e, the interior of the box lined with gold leaf on a silver ground, the removable tray decorated with clouds before a red sun in gold, silver and red hiramaki-e, takamaki-e, togidashi maki-e, gold and silver kirikane and mura-nashiji on a roiro-nuri ground, the edges gold lacquer with textured waves, signed on the underside of the cover Shotei and with a kao, silver rims and silver and gold rings for cords with pierce-carved chrysanthemum boss With a lacquered wood tomobako storage box inscribed Chabako takasago and with a poem, and a brocade storage bag 8 7/8 x 6 1/4 x 4 3/8in (22.5 x 15.8 x 11.cm)

US$8,000 - 12,000


1365KAGAMI KOZO (1896-1985)A glass tea bowl Showa era (1926-1989), circa 1964 The deep circular bowl of blue crystal glass With a wood tomobako storage box inscribed on the underside of the lid Munakata Shiko sensei no motome ni yoru kono chawan o tsukuru, Showa yonju-yonen sangatsu (Made this tea bowl to order for Munakata Shiko, March 1964) and signed and sealed Kozo 3 3/4in (9.5cm) high, 5in (12.7cm) diameter

US$3,000 - 4,000

1366MUNAKATA SHIKO (1903-1975)Flowering Landscape Showa era (1926-1989), dated 1959 Folding fan with bamboo ribs, ink and color on paper; the front with an abstract rendition of pine, prunus, bamboo and other colorful foliage, signed and sealed Shiko; reversed by a ten-character Chinese poetic inscription accompanied by the date Showa 34 (1959), June, summer and signed Munakata Shiko, with one seal 18 1/4in (46.5cm) length

US$3,000 - 4,000

Provenance Estate of Ben Joppe (1915-2007) Ben Joppe was a Dutch artist, born in Zierikzee in 1915, who traveled to Bali to work after World War II. Fascinated with the art and culture of Japan, he moved to Osaka in the early 1950s and then moved to Tokyo where he studied and produced Japanese woodblock prints with his friend and mentor Munakata Shiko.

1365

1366

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1367

1368

1369


1367KITAOJI ROSANJIN (1883-1959)A pair of Shino-style tokkuri (sake flasks) Showa era (1926-1989), circa 1950 The stoneware bottles decorated with orchids and grasses in red-iron oxide and covered in a thick grey feldspathic glaze with red patches around the rim and foot, incised on the underside with the artist’s mark Ro With a wood tomobako inscribed on the cover Aka Shino sake tokkuri, signed Rosanjin and sealed and inscribed on the underside Aka Shino tokkuri Rosanjin saku, mei Harugusa and with a kao 5 7/8in (14.9cm) high

US$2,000 - 3,000

1368KITAOJI ROSANJIN (1883-1959)A pair of E-Shino style-dishes Each of square shape with a sloping interior decorated with a design of flowering grasses in iron oxide, the thick speckled white glazed of one plate suffused with pink, each incised with the artist’s mark Ro 9 x 9in (23 x 23cm)

US$1,000 - 1,500

1369KITAOJI ROSANJIN (1883-1959)A nezumi Shino-style dish Of square shape with slightly undulating contour and rounded corners, decorated with a pattern of overlapping grass in white on a light gray ground scattered with patches of iron red, the base with five stilt marks and incised with the artist’s mark Ro 11 3/8 x 11 3/8in (29 x 29cm)

US$1,000 - 1,500

1372

1370

1371

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1370KITAOJI ROSANJIN (1883-1959)A pair of Bizen-style platters (manaita) Each reddish-brown stoneware dish of irregular rectangular shape, the slightly sloping surface and underside scattered with areas of ash glaze and kiln firing marks, incised with the artist’s mark Ro 17 x 9 1/8in (43.3 x 23.cm) approximate dimensions

US$2,000 - 3,000

1371KITAOJI ROSANJIN (1883-1959)A pair of small Ko-Iga-style trays Each rectangular stoneware dish with a raised rim framing incised wavelike patterns accented with irregular spots of green ash glaze contrasting with a cream-colored ground, each incised with the artist’s mark Ro 10 1/4 x 4 1/4in (26 x 11cm) approximate dimensions

US$1,000 - 2,000

1372KITAOJI ROSANJIN (1883-1959)An Oribe style-dish Of square form with deeply indented corners and incised with a star-and-crosshatch pattern within a border of dark green glaze on curving edges, stilt marks at the corners on the underside, the green glaze stopping short of the center of the base, incised with the artist’s mark Ro 8 1/2 x 8 1/2in (21.7 x 21.7cm)

US$1,000 - 1,500

1373KIYOMIZU ROKUBEI V (KURITARO, 1875-1959)A porcelain vase Showa era (1926-1989), circa 1934 In the form of a globular tea jar applied with four lugs to the shoulder for cords, decorated in several shades of red oxide and colored enamels and gilt with Rinpa-style branches of autumn maples, hung with paper tanzaku paintings of the four seasons, signed on the underside Rokubei With a tomobako storage box inscribed Nishiki kazari tsubo, dated Showa kunen shoka (April 1934) and signed Teikoku Bijutsu Iinkai Rokubei saku and sealed by the artist 11in (27.9cm) high

US$4,000 - 6,000

1374MIYANOHARA KEN (1898–1977)A porcelain vase Showa era (1926-1989), circa 1955 The ovoid vase with a wide mouth and an everted rim, carved on the surface and decorated in underglaze blue and copper-oxide red with repeating registers of stylized scales below horizontal bands and stylized whorls, signed on the underside with an impressed signature in an oval reserve Ken With a wood tomobako storage box inscribed Saiji moriage koku mon kabin and signed Koshijigama Miyanohara Ken and sealed Ken 12in (30.5cm) high, 11 3/4 (29.8cm) diameter

US$3,000 - 4,000

1374

1373


BAKUMythical creature, with a long trunk, that consumes bad dreams

BIWAPlucked musical instrument of Chinese origin, similar to a lute

E-NASHIJINashiji used to decorate small areas of a design

FUNDAMEFine gold dust sprinkled repeatedly on wet lacquer to give a smooth, matte appearance

GINBARITransparent enamels applied over heavy, stamped silver foil

GOSUUnderglaze blue decoration on porcelain

GYOBU-NASHIJINashiji using particularly large flakes of gold

HIRAMAKI-EBasic maki-e technique in which metal powders are sprinkled onto wet lacquer and then usually covered with a further layer of lacquer

HIRAMEFlat flakes of gold lying on or near a lacquer surface

HIRAZOGANFlush metal inlay

INROSmall container made up of several interlocking sections, ostensibly for carrying medicines

IROChiseled relief decoration in gold, silver, and copper alloys

ISHIMEStone-like surface texture in lacquer or metal

KAMIShinto deity

KAOCursive monogram used in art signatures

KARAKOSmall Chinese boy with tufted hairdo often seen in Edo-period art

KATAKANAThe more angular of the two Japanese phonetic scripts

KATAKIRI-BORIAngled engraving technique used in metalwork to achieve an effect imitating brushwork

KEBORIThin engraved lines

KEMANHanging gilt-copper Buddhist ritual decoration

KINJIShiny gold-lacquer ground

KIRIKANESmall squares of cut gold foil

KIRINImaginary Chinese being with a deer’s body, a horse’s hooves, an ox’s tail, and a single horn on its head

KOTOPlucked 13-stringed musical instrument

MAKI-Egeneric term for lacquer decoration using powdered metals; see also hiramaki-e, takamaki-e, and togidashi maki-e

MENUKIDecorative fittings on a sword hilt

MINOGAMETurtle or tortoise which has acquired a “tail” of weed by living for a long time in a pond; emblematic of longevity

MOKUGYOWooden gong used in Buddhist ritual

MONHeraldic crest used by prominent samurai families

MURA-NASHIJINashiji with contrasting areas of densely and thinly packed gold flakes

MUSENEnameling with completely hidden wires (or sometimes no wires), producing a soft, painterly outline

NANAKOPattern of small punched granulations used in metalwork

NASHIJIIrregularly shaped flakes of gold, suspended at different angles in several layers of clear or yellowish lacquer

NUNOME-ZOGANOverlay of gold or silver on iron, similar to damascening

OJIMEBead for tightening the cord of an inro or other item hanging from the belt

ROIRO-NURIThe characteristic black background of Japanese lacquer, achieved by the chemical reaction between clear lacquer and a small quantity of iron

SEIGAIHAPattern of stylized semi-circular overlapping waves

SENCHAChinese-inspired formalized drinking of tea made with whole rather than powdered leaves

SHAKUDOBlue-black patinated alloy of copper with a small quantity of gold

SHIBUICHIGray-green patinated alloy of copper with varying quantities of silver

SHIKISHIrectangular card for writing poetry

SHISHILion-like imaginary creature of Chinese origin

SHISHIAIBORIrelief carving below the general level of the rest of a piece of metalwork

TAKABORIhigh-relief carved metalwork decoration

TAKAMAKI-Elacquering technique in which the design is built up in high relief by adding powdered charcoal or clay to the lacquer

TAKAZOGANhigh-relief metalwork inlay

TANZAKUlong, narrow card for writing poetry

TETSUBINHandled cast-iron teapot for sencha

TOGIDASHI MAKI-EForm of maki-e in which a finished design is covered with several further layers of lacquer; when these layers are polished away the design reappears, flush with the new ground

TOMEI JIPPOTransparent enamel on a base of chased metal incised with a decorative design

TORIIArchway at the entrance to a Shinto shrine

USU-NASHIJIThinly sprinkled nashiji

GLOSSARY

ARTS OF THE SAMURAIMonday October 30, 2pmNew York

A RUSSET-IRON TOSEI-GUSOKUEdo period (1615-1868), 18th century$15,000 - 25,000

bonhams.com/japanese

INQUIRIESNew YorkJeff Olson+1 (212) 461 6516 [email protected]

LondonSuzannah Yip+44 (0)20 7468 [email protected]

March 15 – 24, 2018

www.asiaweekny.com

Asia Week New York 2018 is a collaboration among Asian art specialists, 5 auction houses, and 19 museums

and Asian cultural institutions in the metropolitan New York area from

March 15 – 24, 2018. Simultaneous exhibitions presented by more than 40 prominent Asian art dealers from the U.S. and abroad, auctions at Bonhams, Christie’s, Doyle, iGavel, and Sotheby’s as well as dozens of special events are planned

for this period. All exhibitions, auctions, and events will be listed

in a comprehensive illustrated guide with maps, available at the participating galleries, auction houses, and cultural institutions in February 2018 as well as on the Asia Week New York website.

The following Conditions of Sale, as amended by any published or posted notices or verbal announcements during the sale, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold by Bonhams & Butterfields Auctioneers Corp. and any consignor of such property for whom we act as agent. If live online bidding is available for the subject auction, additional terms and conditions of sale relating to online bidding will apply; see www.bonhams.com/WebTerms for the supplemental terms. As used herein, “Bonhams,” “we” and “us” refer to Bonhams & Butterfields Auctioneers Corp.

1. As used herein, the term “bid price” means the price at which a lot is successfully knocked down to the purchaser. The term “purchase price” means the aggregate of (a) the bid price, (b) a PREMIUM retained by us and payable by the purchaser EQUAL TO 25% OF THE FIRST $150,000 OF THE BID PRICE, 20% OF THE AMOUNT OF THE BID PRICE ABOVE $150,000 UP TO AND INCLUDING $3,000,000, AND 12% OF THE AMOUNT OF THE BID PRICE OVER $3,000,000, and (c) unless the purchaser is exempt by law from the payment thereof, any Arizona, California, Colorado, Connecticut, Florida, Georgia, Illinois, Massachusetts, Nevada, New Jersey, New York, Pennsylvania, Texas, Virginia, Washington, D.C., Washington state, or other state or local sales tax (or compensating use tax) and other applicable taxes. With regard to New York sales tax, please refer to the “Sales and Use Tax” section of these Conditions of Sale.

2. On the fall of the auctioneer’s hammer, the highest bidder shall have purchased the offered lot in accordance and subject to compliance with all of the conditions set forth herein and (a) assumes full risk and responsibility therefor, (b) if requested will sign a confirmation of purchase, and (c) will pay the purchase price in full or such part as we may require for all lots purchased. No lot may be transferred. Any person placing a bid as agent on behalf of another (whether or not such person has disclosed that fact or the identity of the principal) may be jointly and severally liable with the principal under any contract resulting from the acceptance of a bid.

Unless otherwise agreed, payment in good funds is due and payable within five (5) business days following the auction sale. Whenever the purchaser pays only a part of the total purchase price for one or more lots purchased, we may apply such payments, in our sole discretion, to the lot or lots we choose. Payment will not be deemed made in full until we have collected good funds for all amounts due.

Payment for purchases may be made in or by (a) cash, (b) cashier’s check or money order, (c) personal check with approved credit drawn on a U.S. bank, (d) wire transfer or other immediate bank transfer, or (e) Visa, MasterCard, American Express or Discover credit, charge or debit card. A processing fee will be assessed on any returned checks. Please note that the amount of cash notes and cash equivalents that can be accepted from a given purchaser may be limited.

To the fullest extent permitted by applicable law: The purchaser grants us a security interest in the property, and we may retain as collateral security for the purchaser’s obligations to us, any property and all monies held or received by us for the account of the purchaser, in our possession. We also retain all rights of a secured party under the California Commercial Code. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to all other remedies available to us and the consignor by law, we may at our election: (a) hold the purchaser liable for the full purchase price and any late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages incurred by us or the consignor arising out of the purchaser’s breach; (b) cancel the sale, retaining as liquidated damages all payments made by the purchaser; and/or (c) cancel the sale and/or resell the purchased property, at public auction and/or by private

sale, and in such event the purchaser shall be liable for the payment of all consequential damages, including any deficiencies or monetary losses, and all costs and expenses of such sale or sales, our commissions at our standard rates, all other charges due hereunder, all late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages. In addition, where two or more amounts are owed in respect of different transactions by the purchaser to us, to Bonhams 1793 Limited and/or to any of our other affiliates, subsidiaries or parent companies worldwide within the Bonhams Group, we reserve the right to apply any monies paid in respect of a transaction to discharge any amount owed by the purchaser. If all fees, commissions, premiums, bid prices and other sums due to us from the purchaser are not paid promptly as provided in these Conditions of Sale, we reserve the right to impose a finance charge equal to 1.5% per month (or, if lower, the maximum nonusurious rate of interest permitted by applicable law), on all amounts due to us beginning on the 31st day following the sale until payment is received, in addition to other remedies available to us by law.

3. We reserve the right to withdraw any property and to divide and combine lots at any time before such property’s auction. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalog and no lots shall be divided or combined for sale.

4. We reserve the right to reject a bid from any bidder, to split any bidding increment, and to advance the bidding in any manner the auctioneer may decide. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects.

5. If we are prevented by fire, theft or any other reason whatsoever from delivering any property to the purchaser or a sale otherwise cannot be completed, our liability shall be limited to the sum actually paid therefor by the purchaser and shall in no event include any compensatory, incidental or consequential damages.

6. If a lot is offered subject to a reserve, we may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If we have an interest in an offered lot and the proceeds therefrom other than our commissions, we may bid therefor to protect such interest. CONSIGNORS ARE NOT ALLOWED TO BID ON THEIR OWN ITEMS.

7. All statements contained in the catalog or in any bill of sale, condition report, invoice or elsewhere as to authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, exhibition and literature of historical relevance, or physical condition ARE QUALIFIED STATEMENTS OF OPINION AND NOT REPRESENTATIONS OR WARRANTIES. No employee or agent of Bonhams is authorized to make on our behalf or on that of the consignor any representation or warranty, oral or written, with respect to any property.

8. All purchased property shall be removed from the premises at which the sale is conducted by the date(s) and time(s) set forth in the “Buyer’s Guide” portion of the catalog. If not so removed, daily storage fees will be payable to us by the purchaser as set forth therein. We reserve the right to transfer property not so removed to an offsite warehouse at the purchaser’s risk and expense, as set forth in more detail in the “Buyer’s Guide.” Accounts must be settled in full before property will be released. Packing and handling of purchased lots are the responsibility of the purchaser. Bonhams can provide packing and shipping services for certain items as noted in the “Buyer’s Guide” section of the catalog.

9. The copyright in the text of the catalog and the photographs, digital images and illustrations of lots in the catalog belong to Bonhams or its licensors. You will not reproduce or permit anyone else to reproduce such text, photographs, digital images or illustrations without our prior written consent.

10. These Conditions of Sale shall bind the successors and assigns of all bidders and purchasers and inure to the benefit of our successors and assigns. No waiver, amendment or modification of the terms hereof (other than posted notices or oral announcements during the sale) shall bind us unless specifically stated in writing and signed by us. If any part of these Conditions of Sale is for any reason invalid or unenforceable, the rest shall remain valid and enforceable.

11. These Conditions of Sale and the purchaser’s and our respective rights and obligations hereunder are governed by the laws of the State of California. By bidding at an auction, each purchaser and bidder agrees to be bound by these Conditions of Sale. Any dispute, controversy or claim arising out of or relating to this agreement, or the breach, termination or validity thereof, brought by or against Bonhams (but not including claims brought against the consignor by the purchaser of lots consigned hereunder) shall be resolved by the procedures set forth below.

SALES AND USE TAX

New York sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property collected or delivered in New York State, regardless of the state or country in which the purchaser resides or does business. Purchasers who make direct arrangements for collection by a shipper who is considered a “private” or “contract” carrier by the New York Department of Taxation and Finance will be charged New York sales tax, regardless of the destination of the property. Property collected for delivery to a destination outside of New York by a shipper who is considered a “common carrier” by the New York Department of Taxation and Finance (e.g. United States Postal Service, United Parcel Service, and FedEx) is not subject to New York sales tax, but if it is delivered into any state in which Bonhams is registered or otherwise conducts business sufficient to establish a nexus, Bonhams may be required by law to collect and remit the appropriate sales tax in effect in such state. Property collected for delivery outside of the United States by a freight-forwarder who is registered with the Transportation Security Administration (“TSA”) is not subject to New York sales tax.

MEDIATION AND ARBITRATION PROCEDURES

(a) Within 30 days of written notice that there is a dispute, the parties or their authorized and empowered representatives shall meet by telephone and/or in person to mediate their differences. If the parties agree, a mutually acceptable mediator shall be selected and the parties will equally share such mediator’s fees. The mediator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling mediations. Any communications made during the mediation process shall not be admissible in any subsequent arbitration, mediation or judicial proceeding. All proceedings and any resolutions thereof shall be confidential, and the terms governing arbitration set forth in paragraph (c) below shall govern.

(b) If mediation does not resolve all disputes between the parties, or in any event no longer than 60 days after receipt of the written notice of dispute referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator. Such arbitrator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling arbitrations. Such arbitrator shall make all appropriate disclosures required by law. The arbitrator shall be drawn from a panel of a national arbitration service agreed to by the parties, and shall be selected as follows: (i) If the national arbitration service has specific rules or procedures, those rules or procedures shall be followed; (ii) If the national arbitration service does not

CONDITIONS OF SALE

NY/MAIN/V2/07.17

CONDITIONS OF SALE - CONTINUED

have rules or procedures for the selection of an arbitrator, the arbitrator shall be an individual jointly agreed to by the parties. If the parties cannot agree on a national arbitration service, the arbitration shall be conducted by the American Arbitration Association, and the arbitrator shall be selected in accordance with the Rules of the American Arbitration Association. The arbitrator’s award shall be in writing and shall set forth findings of fact and legal conclusions.

(c) Unless otherwise agreed to by the parties or provided by the published rules of the national arbitration service:

(i) the arbitration shall occur within 60 days following the selection of the arbitrator;

(ii) the arbitration shall be conducted in the designated location, as follows: (A) in any case in which the subject auction by Bonhams took place or was scheduled to take place in the State of New York or Connecticut or the Commonwealth of Massachusetts, the arbitration shall take place in New York City, New York; (B) in all other cases, the arbitration shall take place in the city of San Francisco, California; and

(iii) discovery and the procedure for the arbitration shall be as follows:

(A) All arbitration proceedings shall be confidential;

(B) The parties shall submit written briefs to the arbitrator no later than 15 days before the arbitration commences;

(C) Discovery, if any, shall be limited as follows: (I) Requests for no more than 10 categories of documents, to be provided to the requesting party within 14 days of written request therefor; (II) No more than two (2) depositions per party, provided however, the deposition(s) are to be completed within one (1) day; (III) Compliance with the above shall be enforced by the arbitrator in accordance with California law;

(D) Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days;

(E) The award shall be made in writing no more than 30 days following the end of the proceeding. Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof.

To the fullest extent permitted by law, and except as

required by applicable arbitration rules, each party shall bear its own attorneys’ fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitrator.

LIMITED RIGHT OF RESCISSION

If within one (1) year from the date of sale, the original purchaser (a) gives written notice to us alleging that the identification of Authorship (as defined below) of such lot as set forth in the BOLD TYPE heading of the catalog description of such lot (as amended by any saleroom notices or verbal announcements during the sale) is not substantially correct based on a fair reading of the catalog (including the terms of any glossary contained therein), and (b) within 10 days after such notice returns the lot to us in the same condition as at the time of sale, and (c) establishes the allegation in the notice to our satisfaction (including by providing one or more written opinions by recognized experts in the field, as we may reasonably require), then the sale of such lot will be rescinded and, unless we have already paid to the consignor monies owed him in connection with the sale, the original purchase price will be refunded.

If, prior to receiving such notice from the original purchaser alleging such defect, we have paid the consignor monies owed him in connection with the sale, we shall pay the original purchaser the amount of our commissions, any other sale proceeds to which we are entitled and applicable taxes received from the purchaser on the sale and make demand on the consignor to pay the balance of the original purchase price to the original purchaser. Should the consignor fail to pay such amount promptly, we may disclose the identity of the consignor and assign to the original purchaser our rights against the consignor with respect to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of Bonhams as consignor’s agent with respect to said lot shall automatically terminate.

The foregoing limited right of rescission is available to the original purchaser only and may not be assigned to or relied upon by any subsequent transferee of the property sold. The purchaser hereby accepts the benefit of the consignor’s warranty of title and other representations and warranties made by the consignor for the purchaser’s benefit. Nothing in this section shall be construed as an admission by us of any representation of fact, express or implied, obligation or responsibility with respect to any lot. THE PURCHASER’S SOLE AND

EXCLUSIVE REMEDY AGAINST BONHAMS FOR ANY REASON WHATSOEVER IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION.

“Authorship” means only the identity of the creator, the period, culture and source or origin of the lot, as the case may be, as set forth in the BOLD TYPE heading of the print catalog entry. The right of rescission does not extend to: (a) works of art executed before 1870 (unless these works are determined to be counterfeits created since 1870), as this is a matter of current scholarly opinion which can change; (b) titles, descriptions, or other identification of offered lots, which information normally appears in lower case type below the BOLD TYPE heading identifying the Authorship; (c) Authorship of any lot where it was specifically mentioned that there exists a conflict of specialist or scholarly opinion regarding the Authorship of the lot at the time of sale; (d) Authorship of any lot which as of the date of sale was in accordance with the then generally-accepted opinion of scholars and specialists regarding the same; or (e) the identification of periods or dates of creation in catalog descriptions which may be proven inaccurate by means of scientific processes that are not generally accepted for use until after publication of the catalog in which the property is offered or that were unreasonably expensive or impractical to use at the time of such publication.

LIMITATION OF LIABILITY

EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR THE CONSIGNOR MAKES ANY REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE MERCHANTABILITY, FITNESS OR CONDITION OF THE PROPERTY OR AS TO THE CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE OR PERIOD OF THE PROPERTY OR AS TO WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE PURCHASER EXPRESSLY ACKNOWLEDGES AND AGREES THAT IN NO EVENT SHALL BONHAMS BE LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT LIMITATION, ANY COMPENSATORY, INCIDENTAL OR CONSEQUENTIAL DAMAGES.

as “photo auction estimate”. Alternatively, you can submit your request using our online form at www.bonhams.com/us. Digital images may be attached to the form. Please limit your images to no more than five (5) per item.

CONSIGNING YOUR PROPERTY

After you receive an estimate, you may consign your property to us for sale in the next appropriate auction. Our staff assists you throughout the process, arranging transportation of your items to our galleries (at the consignor’s expense), providing a detailed inventory of your consignment, and reporting the prices realized for each lot. We provide secure storage for your property in our warehouses and all items are insured throughout the auction process. You will receive payment for your property approximately 35 days after completion of sale.

Sales commissions vary with the potential auction value of the property and the particular auction in which the property is offered. Please call us for commission rates.

PROFESSIONAL APPRAISAL SERVICES

Bonhams’ specialists conduct insurance and fair market value appraisals for private collectors, corporations, museums, fiduciaries and government entities on a daily basis. Insurance appraisals, used for insurance purposes, reflect the cost of replacing property in today’s retail market. Fair market value appraisals are used for estate,

tax and family division purposes and reflect prices paid by a willing buyer to a willing seller.

When we conduct a private appraisal, our specialists will prepare a thorough inventory listing of all your appraised property by category. Valuations, complete descriptions and locations of items are included in the documentation.

Appraisal fees vary according to the nature of the collection, the amount of work involved, the travel distance, and whether the property is subsequently consigned for auction.

Our appraisers are available to help you anywhere and at any time. Please call our Client Services Department to schedule an appraisal.

ESTATE SERVICES

Since 1865, Bonhams has been serving the needs of fiduciaries – lawyers, trust officers, accountants and executors – in the disposition of large and small estates. Our services are specially designed to aid in the efficient appraisal and disposition of fine art, antiques, jewelry, and collectibles. We offer a full range of estate services, ranging from flexible financial terms to tailored accounting for heirs and their agents to world-class marketing and sales support.

For more information or to obtain a detailed Trust and Estates package, please visit our website at www.bonhams.com/us or contact our Client Services Department.

SELLING AT AUCTION

Bonhams can help you every step of the way when you are ready to sell art, antiques and collectible items at auction. Our regional offices and representatives throughout the US are available to service all of your needs. Should you have any further questions, please visit our website at www.bonhams.com/us for more information or call our Client Services Department at +1 (212) 644 9001.

AUCTION ESTIMATES

The first step in the auction process is to determine the auction value of your property. Bonhams’ world-renowned specialists will evaluate your special items at no charge and in complete confidence. You can obtain an auction estimate in many ways:

• Attend one of our Auction Appraisal Events held regularly at our galleries and in other major metropolitan areas. The updated schedule for Bonhams Auction Appraisal Events is available at www.bonhams.com/us.

• Call our Client Services Department to schedule a private appointment at one of our galleries. If you have a large collection, our specialists can travel, by appointment, to evaluate your property on site.

• Send clear photographs to us of each individual item, including item dimensions and other pertinent information with each picture. Photos should be sent to Bonhams’ address in envelopes marked

SELLER’S GUIDE

NY/MAIN/V2/07.17

NY/MAIN/V2/07.17

BIDDING & BUYING AT AUCTIONWhether you are an experienced bidder or an enthusiastic novice, auctions provide a stimulating atmosphere unlike any other. Bonhams previews and sales are free and open to the public. As you will find in these directions, bidding and buying at auction is easy and exciting. Should you have any further questions, please visit our website at www.bonhams.com or call our Client Services Department at +1 (212) 644 9001.

CatalogsBefore each auction we publish illustrated catalogs. Our catalogs provide descriptions and estimated values for each “lot.” A lot may refer to a single item or to a group of items auctioned together. The catalogs also include the dates and the times for the previews and auctions. We offer our catalogs by subscription or by single copy. For information on subscribing to our catalogs, you may refer to the subscription form in this catalog, call our Client Services Department, or visit our website at www.bonhams.com/us.

PreviewsAuction previews are your chance to inspect each lot prior to the auction. We encourage you to look closely and examine each object on which you may want to bid so that you will know as much as possible about it. Except as expressly set forth in the Conditions of Sale, items are sold “as is” and with all faults; illustrations in our catalogs, website and other materials are provided for identification only. At the previews, our staff is always available to answer your questions and guide you through the auction process. Condition reports may be available upon request.

EstimatesBonhams catalogs include low and high value estimates for each lot, exclusive of the buyer’s premium and tax. The estimates are provided as an approximate guide to current market value based primarily on previous auction results for comparable pieces, and should not be interpreted as a representation or prediction of actual selling prices. They are determined well in advance of a sale and are subject to revision. Please contact us should you have any questions about value estimates.

ReservesUnless indicated by the ¤ symbol next to the lot number, which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum auction price that the consignor is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value.

Auction House’s Interest in Property Offered at AuctionOn occasion, Bonhams may offer property in which it has an ownership interest in whole or in part or otherwise has an economic interest. Such property, if any, is identified in the catalog with a symbol next to the lot number(s).

Bonhams may also offer property for a consignor that has been guaranteed a minimum price for its property by Bonhams or jointly by Bonhams and a third party. Bonhams and any third parties providing a guarantee may benefit financially if the guaranteed property is sold successfully and may incur a financial loss if its sale is not successful. Such property, if any, is identified in the catalog with a symbol next to the lot number(s).

Bidding at AuctionAt Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ live online bidding facility. Absentee bids can be submitted in person, online, via fax or via email.

Valid Bonhams client accounts are required to participate in bidding activity. You can obtain registration information online, at the reception desk or by calling our Client Services Department.

By bidding at auction, whether in person or by agent, by absentee bid, telephone, online or other means, the buyer or bidder agrees to be bound by the Conditions of Sale.

Lots are auctioned in consecutive numerical order as they appear in the catalog. Bidding normally begins below the low estimate. The auctioneer will accept bids from interested parties present in the saleroom, from telephone bidders, and from absentee bidders who have left written bids in advance of the sale. The auctioneer may also execute bids on behalf of the consignor by placing responsive or consecutive bids for a lot up to the amount of the reserve, but never above it.

We assume no responsibility for failure to execute bids for any reason whatsoever.

In PersonIf you are planning to bid at auction for the first time, you will need to register at the reception desk in order to receive a numbered bid card. To place a bid, hold up your card so that the auctioneer can clearly see it. Decide on the maximum auction price that you wish to pay, exclusive of buyer’s premium and tax, and continue bidding until your bid prevails or you reach your limit. If you are the successful bidder on a lot, the auctioneer will acknowledge your paddle number and bid amount.

Absentee BidsAs a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of auction online or in writing on bidding forms available from us. “Buy” bids will not be accepted; all bids must state the highest bid price the bidder is willing to pay. Our auction staff will try to bid just as you would, with the goal of obtaining the item at the lowest bid price possible. In the event identical bids are submitted, the earliest bid submitted will take precedence. Absentee bids shall be executed in competition with other absentee bids, any applicable reserve, and bids from other auction participants. A friend or agent may place bids on your behalf, provided that we have received your written authorization prior to the sale. Absentee bid forms are available in our catalogs, online at www.bonhams.com/us, at offsite auction locations, and at our San Francisco, Los Angeles and New York galleries.

By Telephone Under special circumstances, we can arrange for you to bid by telephone. To arrange for a telephone bid, please contact our Client Services Department a minimum of 24 hours prior to the sale.

OnlineWe offer live online bidding for most auctions and accept absentee bids online for all our auctions. Please visit www.bonhams.com/us for details.

Bid IncrementsBonhams generally uses the following increment multiples as bidding progresses:$50-200 .........................................by $10s $200-500 .......................................by $20/50/80s $500-1,000 ....................................by $50s $1,000-2,000 .................................by $100s $2,000-5,000 .................................by $200/500/800s $5,000-10,000… ............................by $500s $10,000-20,000 .............................by $1,000s $20,000-50,000 .............................by $2,000/5,000/8,000s $50,000-100,000 ...........................by $5,000s $100,000-200,000 .........................by $10,000s above $200,000 .............................at auctioneer’s discretion

The auctioneer may split or reject any bid at any time at his or her discretion as outlined in the Conditions of Sale.

Currency Converter Solely for the convenience of bidders, a currency converter may be provided at Bonhams’ auctions. The rates quoted for conversion of other currencies to U.S. Dollars are indications only and should not be relied upon by a bidder, and neither Bonhams nor its agents shall be responsible for any errors or omissions in the operation or accuracy of the currency converter.

Buyer’s Premium A buyer’s premium is added to the winning bid price of each individual lot purchased, at the rates set forth in the Conditions of Sale. The winning bid price plus the premium constitute the purchase price for the lot. Applicable sales taxes are computed based on this figure, and the total becomes your final purchase price.

Unless specifically illustrated and noted, fine art frames are not included in the estimate or purchase price. Bonhams accepts no liability for damage or loss to frames during storage or shipment.

All sales are final and subject to the Conditions of Sale found in our catalogs, on our website, and available at the reception desk.

Payment All buyers are asked to pay and pick up by 3pm on the business day following the auction. Payment may be made to Bonhams by cash, checks drawn on a U.S. bank, money order, wire transfer, or by Visa, MasterCard, American Express or Discover credit or charge card or debit card. All items must be paid for within 5 business days of the sale. Please note that payment by personal or business check may result in property not being released until purchase funds clear our bank. For payments sent by mail, please remit to Cashier Department, 220 San Bruno Avenue, San Francisco, CA 94103.

Sales TaxResidents of states listed in Paragraph 1 of the Conditions of Sale must pay applicable sales tax. Other state or local taxes (or compensation use taxes) may apply. Sales tax will be automatically added to the invoice unless a valid resale number has been furnished or the property is shipped via common carrier to destinations outside the states listed in the Conditions of Sale. If you wish to use your resale license please contact Cashiers for our form.

Shipping & RemovalBonhams can accommodate shipping for certain items. Please contact our Cashiers Department for more information or to obtain a quote. Carriers are not permitted to deliver to PO boxes. International buyers are responsible for all import/export customs duties and taxes. An invoice stating the actual purchase price will accompany all international purchases.

Collection of PurchasesPlease arrange for the packing and transport of your purchases prior to collection at our office. If you are sending a third party shipper, please request a release form from us and return it to +1 (212) 644 9009 prior to your scheduled pickup. To schedule collection of purchases, please call +1 (212) 644 9001.

Handling and Storage ChargesPlease note that our offices have requirements for freight elevator usage. Please contact us to schedule an elevator appointment for pickup of any large or awkward items. Bonhams will hold all purchased lots in our gallery until Thursday September 14 2017 without penalty. After Thursday September 14 2017 oversized lots (noted as w next to the lot number and/or as oversize on page 162) will be sent to Cadogan Tate where transfer, storage and full value protection fees will be immediately applicable.

All other sold lots will be retained in Bonhams gallery until September 28 2017 without penalty. After the September 28 2017 the collection of lots will be by appointment only.Please call +1 (212) 644 9001 at least 24 hours in advanceto make an appointment.Storage charges of $5 per lot, per day will begin accruingfor any lots stored in Bonhams galleries that are not collected by September 28 2017.Bonhams reserves the right to remove uncollected sold lots to the warehouse of our choice at the buyer’s risk and expense. Further transfer, handling, storage and full value protection fees will apply if moved to a warehouse of our choice

Auction ResultsAll you need is a touch-tone telephone and the lot number. Auction results are usually available on the next business day following the sale or online at www.bonhams.com/us.

BUYER’S GUIDE

NY/MAIN/V2/07.17

IMPORTANT NOTICE TO BUYERS

COLLECTION & STORAGE AFTER SALE

Please note that all oversized lots, noted with a “W” next to the lot number and/or listed below, that are not collected on Thursday September 14 2017 by 4.30PM ET will be removed to the warehouse of Cadogan Tate New York Limited. Lots not so listed or noted with a “W” will remain at Bonhams but Bonhams reserve the right remove uncollected sold lots to the warehouse of our choice at the buyer’s risk and expense. For any questions please refer to the Bonhams department.

LOTS WILL BE AVAILABLE FOR COLLECTION FROM CADOGAN TATE ON MONDAY SEPTEMBER 18.

AddressCadogan Tate Fine Art301 Norman AveBrooklyn, NY 11222

Lots will be available for collection 24 hrs. following transfer to Cadogan Tate every business day from 9.30am-4.30pm ET.

Collection appointments must be booked 24 hrs. in advance (subject to full payment of all outstanding amounts due to Bonhams and Cadogan Tate) by contacting Cadogan Tate at +1 (917) 464 4346.

HANDLING & STORAGE CHARGES

For sold lots that remain at Bonhams, there will be no penalty for lots collected by and including October 11 2017.

For sold lots removed to Cadogan Tate, there will be transfer & Full Value Protection charges due immediately upon transfer, however, storage charges will not apply for lots collected within 7 days.

After 7 days at Cadogan Tate, additional storage charges will be due per lot, as follows (plus any applicable sales tax).

FURNITURE/LARGE OBJECTSTransfer ...................................................... $75Daily storage ............................................... $10Full Value Protection (on Hammer + Premium + tax) .................. 0.3%

SMALL OBJECTSTransfer ............................................... $37.50Daily storage ................................................. $5Full Value Protection (on Hammer + Premium + tax) .................. 0.3%

For more information on the Cadogan Tate rates applicable to Bonhams purchases, or for estimates for domestic or International shipping through Cadogan Tate, please contact:Catherine More+1 (917) 464 [email protected]

PAYMENT

All amounts due to Bonhams and all charges due to Cadogan Tate must be paid at the time of collection and before release from Cadogan Tate’s warehouse.

TO MAKE PAYMENT IN ADVANCETelephone +1 (917) 464 4346 to ascertain the amount due – payable by cash, check or credit card.

PAYMENT AT TIME OF COLLECTIONMay be made by cash, check, or credit card. Lots will only be released from Cadogan Tate’s warehouse upon production of the “Collection Slip” obtained from the Cashier’s office at Bonhams. All services provided by Cadogan Tate will be subject to its standard Conditions of Business, copies of which are available at Bonhams.

PLEASE NOTE Cadogan Tate does not accept liability for damage or loss due to negligence or otherwise, exceeding the stated value of such goods, or at its option the cost of repairing or replacing the damaged or missing goods. Cadogan Tate reserves a lien over all goods in its possession for payment of storage and other charges due it.

1119 1121 1211 1312 1314

OVERSIZED LOTS

OFFICERSMalcolm Barber Co-Chairman

Matthew Girling Chief Executive Officer

Laura King Pfaff • Chairman Emeritus

Leslie Wright Vice President, Trusts and Estates

Jon King Vice President, Business Development

Vice Presidents, Specialists Susan F. Abeles Rupert Banner Kayla Carlsen Judith Eurich Mark Fisher Dessa Goddard Jakob Greisen Bruce McLaren Scot Levitt Mark Osborne Brooke Sivo Catherine Williamson William O’Reilly

REPRESENTATIVES Arizona Terri Adrian-Hardy, (602) 684 5747

California David Daniel (916) 364 1645, Central Valley

California Brooke Sivo (760) 350 4255, Palm Springs (323) 436 5420, San Diego

Colorado Julie Segraves, (720) 355 3737 •

Florida Jon King (561) 651 7876, Palm Beach (305) 228 6600, Miami (954) 566 1630, Ft. Lauderdale

Georgia Mary Moore Bethea, (404) 842 1500 •

Illinois Ricki Harris (773) 267 3300, (773) 680 2881

Massachusetts/New England Amy Corcoran, (617) 742 0909

Nevada David Daniel, (775) 831 0330

New Jersey Alan Fausel, (973) 997 9954 •

New Mexico Michael Bartlett, (505) 820 0701

Oregon and Idaho Sheryl Acheson, (503) 312 6023

Pennsylvania Alan Fausel, (610) 644 1199 •

Texas, Oklahoma and Louisiana Amy Lawch, (713) 621 5988 •

Virginia and Washington DC Gertraud Hechl, (540) 454 2437 •

Washington Heather O’Mahony, (206) 218 5011

Canada, Toronto, Ontario Jack Kerr-Wilson, (416) 462 9004 •

Montreal, Quebec David Kelsey, (514) 894 1138 •

BONHAMS *LOS ANGELES DEPARTMENTS7601 W. Sunset BoulevardLos Angeles California 90046(323) 850 7500

20th Century Decorative Arts Angela Past, (323) 436 5422

20th Century Fine Art Alexis Chompaisal, (323) 436 5469

African, Oceanic & Pre-Columbian Art Fredric W. Backlar, (323) 436 5416 •

Books & Manuscripts Catherine Williamson, (323) 436 5442

Coins & Banknotes Paul Song, (323) 436 5455

Contemporary Art Dane Jensen, (323) 436 5451

Entertainment Memorabilia Catherine Williamson, (323) 436 5442 Dana Hawkes, (978) 283 1518

Furniture & Decorative Arts Andrew Jones, (323) 436 5432Jennifer Kurtz, (323) 436 5478

Jewelry & Watches Dana Ehrman, (323) 436 5407Alexis Vourvoulis, (323) 436 5483

Collectors’ Motorcars & Motorcycles Nick Smith, (323) 436 5470

Photographs & Prints Morisa Rosenberg, (323) 436 5435

Natural History Thomas E. Lindgren, (310) 469 8567 •Claudia Florian, G.J.G., (323) 436 5437 •

California & Western Paintings & Sculpture Scot Levitt, (323) 436 5425

Paintings - European Mark Fisher, (323) 436 5488

Silver Aileen Ward, (323) 436 5463

Trusts & Estates Leslie Wright, (323) 436 5408 Joseph Francaviglia, (323) 436 5443

CONTACTSBONHAMS *SAN FRANCISCO DEPARTMENTS220 San Bruno AvenueSan Francisco California 94103(415) 861 7500

20th Century Fine ArtDane Jensen, (323) 436 5451

Arms & ArmorPaul Carella, (415) 503 3360

Asian Works of ArtDessa Goddard, (415) 503 3333

Books & ManuscriptsAdam Stackhouse, (415) 503 3266

Chinese Works of ArtDaniel Herskee, (415) 503 3271

Jewelry & WatchesShannon Beck, (415) 503 3306

Collectors’ Motorcars & MotorcyclesMark Osborne, (415) 503 3353Jakob Greisen, (415) 503 3284

Museum ServicesLaura King Pfaff, (415) 503 3210

Native American ArtIngmars Lindbergs, (415) 503 3393

California & Western Paintings & Sculpture Aaron Bastian, (415) 503 3241

Photographs & PrintsJudith Eurich, (415) 503 3259

Space HistoryAdam Stackhouse, (415) 503 3266

Trusts & EstatesVictoria Richardson, (415) 503 3207Celeste Smith, (415) 503 3214

WineErin McGrath, (415) 503 3319

Writing InstrumentsIvan Briggs, (415) 503 3255

BONHAMS *NEW YORK DEPARTMENTS 580 Madison Avenue New York, New York 10022 (212) 644 9001

Books & Manuscripts Darren Sutherland, (212) 461 6531 Ian Ehling, (212) 644 9094

Chinese Works of Art & Paintings Bruce MacLaren, (917) 206 1677 Nicolas Rice, (917) 206 1622 Ming Hua, (646) 837 8132

Collectors’ Motorcars & Motorcycles Rupert Banner, (212) 461 6515 Eric Minoff, (917) 206 1630Evan Ide, (917) 340 4657Michael Caimano, (917) 206 1615

Fine Art American Kayla Carlsen, (917) 206 1699

Contemporary Jeremy Goldsmith, (917) 206 1656 Megan Murphy, (212) 644 9020 European Paintings Madalina Lazen, (212) 644 9108Impressionist & Modern William O’Reilly, (212) 644 9135

Himalayan Art Mark Rasmussen, (917) 206 1688

Japanese Works of Art Jeff Olson, (212) 461 6516

Jewelry Susan F. Abeles, (212) 461 6525 Caroline Morrissey, (212) 644 9046Camille Barbier, (212) 644 9035

Maritime Paintings & Works of Art Gregg Dietrich, (212) 644 9001 •

Modern Decorative Arts & Design Benjamin Walker, (212) 710 1306

Photographs & PrintsShawna Brickley, (917) 206 1690Laura Paterson, (917) 206 1653

Russian Fine & Decorative Arts Yelena Harbick, (212) 644 9136

Trusts & Estates Sherri Cohen, (917) 206 1671

Watches & Clocks Jonathan Snellenburg, (212) 461 6530Jonathan Hochman, (917) 206 1618

CLIENT SERVICES DEPARTMENTSan Francisco (415) 861 7500 (415) 861 8951 faxMonday - Friday, 9am to 5pm Los Angeles (323) 850 7500 (323) 850 6090 faxMonday - Friday, 9am to 5pm

New York (212) 644 9001 (212) 644 9009 faxMonday - Friday, 9am to 5pmToll Free (800) 223 2854

The following information is recorded and available 24 hours a day, 7 days a week, through our telephone system: - Auction and Preview Information - Directions to Bonhams’s salesrooms - Automated Auction Results

* Indicates saleroom • Indicates independent contractor

CON07/17

OFFICERSMalcolm Barber Co-Chairman

Matthew Girling Chief Executive Officer

Laura King Pfaff • Chairman Emeritus

Leslie Wright Vice President, Trusts and Estates

Jon King Vice President, Business Development

Vice Presidents, Specialists Susan F. Abeles Rupert Banner Kayla Carlsen Judith Eurich Mark Fisher Dessa Goddard Jakob Greisen Bruce McLaren Scot Levitt Mark Osborne Brooke Sivo Catherine Williamson William O’Reilly

REPRESENTATIVES Arizona Terri Adrian-Hardy, (602) 684 5747

California David Daniel (916) 364 1645, Central Valley

California Brooke Sivo (760) 350 4255, Palm Springs (323) 436 5420, San Diego

Colorado Julie Segraves, (720) 355 3737 •

Florida Jon King (561) 651 7876, Palm Beach (305) 228 6600, Miami (954) 566 1630, Ft. Lauderdale

Georgia Mary Moore Bethea, (404) 842 1500 •

Illinois Ricki Harris (773) 267 3300, (773) 680 2881

Massachusetts/New England Amy Corcoran, (617) 742 0909

Nevada David Daniel, (775) 831 0330

New Jersey Alan Fausel, (973) 997 9954 •

New Mexico Michael Bartlett, (505) 820 0701

Oregon and Idaho Sheryl Acheson, (503) 312 6023

Pennsylvania Alan Fausel, (610) 644 1199 •

Texas, Oklahoma and Louisiana Amy Lawch, (713) 621 5988 •

Virginia and Washington DC Gertraud Hechl, (540) 454 2437 •

Washington Heather O’Mahony, (206) 218 5011

Canada, Toronto, Ontario Jack Kerr-Wilson, (416) 462 9004 •

Montreal, Quebec David Kelsey, (514) 894 1138 •

BONHAMS *LOS ANGELES DEPARTMENTS7601 W. Sunset BoulevardLos Angeles California 90046(323) 850 7500

20th Century Decorative Arts Angela Past, (323) 436 5422

20th Century Fine Art Alexis Chompaisal, (323) 436 5469

African, Oceanic & Pre-Columbian Art Fredric W. Backlar, (323) 436 5416 •

Books & Manuscripts Catherine Williamson, (323) 436 5442

Coins & Banknotes Paul Song, (323) 436 5455

Contemporary Art Dane Jensen, (323) 436 5451

Entertainment Memorabilia Catherine Williamson, (323) 436 5442 Dana Hawkes, (978) 283 1518

Furniture & Decorative Arts Andrew Jones, (323) 436 5432Jennifer Kurtz, (323) 436 5478

Jewelry & Watches Dana Ehrman, (323) 436 5407Alexis Vourvoulis, (323) 436 5483

Collectors’ Motorcars & Motorcycles Nick Smith, (323) 436 5470

Photographs & Prints Morisa Rosenberg, (323) 436 5435

Natural History Thomas E. Lindgren, (310) 469 8567 •Claudia Florian, G.J.G., (323) 436 5437 •

California & Western Paintings & Sculpture Scot Levitt, (323) 436 5425

Paintings - European Mark Fisher, (323) 436 5488

Silver Aileen Ward, (323) 436 5463

Trusts & Estates Leslie Wright, (323) 436 5408 Joseph Francaviglia, (323) 436 5443

CONTACTSBONHAMS *SAN FRANCISCO DEPARTMENTS220 San Bruno AvenueSan Francisco California 94103(415) 861 7500

20th Century Fine ArtDane Jensen, (323) 436 5451

Arms & ArmorPaul Carella, (415) 503 3360

Asian Works of ArtDessa Goddard, (415) 503 3333

Books & ManuscriptsAdam Stackhouse, (415) 503 3266

Chinese Works of ArtDaniel Herskee, (415) 503 3271

Jewelry & WatchesShannon Beck, (415) 503 3306

Collectors’ Motorcars & MotorcyclesMark Osborne, (415) 503 3353Jakob Greisen, (415) 503 3284

Museum ServicesLaura King Pfaff, (415) 503 3210

Native American ArtIngmars Lindbergs, (415) 503 3393

California & Western Paintings & Sculpture Aaron Bastian, (415) 503 3241

Photographs & PrintsJudith Eurich, (415) 503 3259

Space HistoryAdam Stackhouse, (415) 503 3266

Trusts & EstatesVictoria Richardson, (415) 503 3207Celeste Smith, (415) 503 3214

WineErin McGrath, (415) 503 3319

Writing InstrumentsIvan Briggs, (415) 503 3255

BONHAMS *NEW YORK DEPARTMENTS 580 Madison Avenue New York, New York 10022 (212) 644 9001

Books & Manuscripts Darren Sutherland, (212) 461 6531 Ian Ehling, (212) 644 9094

Chinese Works of Art & Paintings Bruce MacLaren, (917) 206 1677 Nicolas Rice, (917) 206 1622 Ming Hua, (646) 837 8132

Collectors’ Motorcars & Motorcycles Rupert Banner, (212) 461 6515 Eric Minoff, (917) 206 1630Evan Ide, (917) 340 4657Michael Caimano, (917) 206 1615

Fine Art American Kayla Carlsen, (917) 206 1699

Contemporary Jeremy Goldsmith, (917) 206 1656 Megan Murphy, (212) 644 9020 European Paintings Madalina Lazen, (212) 644 9108Impressionist & Modern William O’Reilly, (212) 644 9135

Himalayan Art Mark Rasmussen, (917) 206 1688

Japanese Works of Art Jeff Olson, (212) 461 6516

Jewelry Susan F. Abeles, (212) 461 6525 Caroline Morrissey, (212) 644 9046Camille Barbier, (212) 644 9035

Maritime Paintings & Works of Art Gregg Dietrich, (212) 644 9001 •

Modern Decorative Arts & Design Benjamin Walker, (212) 710 1306

Photographs & PrintsShawna Brickley, (917) 206 1690Laura Paterson, (917) 206 1653

Russian Fine & Decorative Arts Yelena Harbick, (212) 644 9136

Trusts & Estates Sherri Cohen, (917) 206 1671

Watches & Clocks Jonathan Snellenburg, (212) 461 6530Jonathan Hochman, (917) 206 1618

CLIENT SERVICES DEPARTMENTSan Francisco (415) 861 7500 (415) 861 8951 faxMonday - Friday, 9am to 5pm Los Angeles (323) 850 7500 (323) 850 6090 faxMonday - Friday, 9am to 5pm

New York (212) 644 9001 (212) 644 9009 faxMonday - Friday, 9am to 5pmToll Free (800) 223 2854

The following information is recorded and available 24 hours a day, 7 days a week, through our telephone system: - Auction and Preview Information - Directions to Bonhams’s salesrooms - Automated Auction Results

* Indicates saleroom • Indicates independent contractor

CON07/17

Liz Goodrich, (917) 206 1699

General Notice: This sale will be conducted in accordance with Bonhams Conditions of Sale, and your bidding and buying at the sale will be governed by such terms and conditions. Please read the Conditions of Sale in conjunction with the Buyer’s Guide relating to this sale and other published notices and terms relating to bidding.Payment by personal or business check may result in your property not being released until purchase funds clear our bank. Checks must be drawn on a U.S. bank.

Notice to Absentee Bidders: In the table below, please provide details of the lots on which you wish to place bids at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Buyer’s Guide in the catalog for further information relating to instructions to Bonhams to execute absentee bids on your behalf. Bonhams will endeavor to execute bids on your behalf but will not be liable for any errors or non-executed bids.

Notice to First Time Bidders: New clients are requested to provide photographic proof of ID - passport, driving license, ID card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorizing the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bankers reference.

Notice to online bidders; If you have forgotten your username and password for www.bonhams.com, please contact Client Services.

If successfulI will collect the purchases myselfPlease contact me with a shipping quote (if applicable)I will arrange a third party to collect my purchase(s)

Please email or fax the completed Registration Form and requested information to:Bonhams Client Services Department580 Madison AvenueNew York, New York 10022Tel +1 (212) 644 9001Fax +1 (212) 644 [email protected]

Auction Registration Form (Attendee / Absentee / Online / Telephone Bidding)Please circle your bidding method above.

Paddle number (for office use only)

Type of bid(A-Absentee, T-Telephone) Lot no.

Brief description(In the event of any discrepancy, lot number and not lot description will govern.)If you are bidding online there is no need to complete this section.

MAX bid in US$ (excluding premium and applicable tax)Emergency bid for telephone bidders only*

* Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

You instruct us to execute each absentee bid up to the corresponding bid amount indicated above.

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND SHALL BE LEGALLY BOUND BY THEM, AND YOU AGREE TO PAY THE BUYER’S PREMIUM, ANY APPLICABLE TAXES, AND ANY OTHER CHARGES MENTIONED IN THE BUYER’S GUIDE OR CONDITIONS OF SALE. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

Shipping Address (if different than above):

Address: _____________________________________

City: _________________________________________

Country: _____________________________________

Post/ZIP code: _________________________________

Please note that all telephone calls are recorded.

SHIPPING

Sale title: Sale date:

Sale no. Sale venue:

Customer Number Title

First Name Last Name

Company name (to be invoiced if applicable)

Address

City County / State

Post / Zip code Country

Telephone mobile Telephone daytime

Telephone evening Fax

Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 next to the telephone number.E-mail (in capitals) By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams and partner organizations. Bonhams does not sell or trade email addresses.

I am registering to bid as a private client I am registering to bid as a trade client

Resale: please enter your resale license number here We may contact you for additional information.

General Bid Increments:$10 - 200 .....................by 10s$200 - 500 ...................by 20 / 50 / 80s$500 - 1,000 ................by 50s$1,000 - 2,000 .............by 100s$2,000 - 5,000 .............by 200 / 500 / 800s$5,000 - 10,000 ...........by 500s

$10,000 - 20,000 .........by 1,000s$20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s$50,000 - 100,000 .......by 5,000s$100,000 - 200,000 .....by 10,000sabove $200,000 ...........at the auctioneer’s discretionThe auctioneer has discretion to split any bid at any time.

NY/MAIN/07.17

International Auctioneers and Appraisers – bonhams.com

Bonhams580 Madison Avenue New York, NY 10022

+1 212 644 9001 +1 212 644 9009 fax

FINE JAPAN

ESE ART | N

ew York | W

ednesday September 13, 2017

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