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Sun 26 May

Japan, Edo period, Transition style Pagoda chest, c. 1639-1645 in lacquer decorated in makie, gold on a black background, with cartouches on the front, sides and top of the tray decorated with pagodas, landscapes inspired by the eight views of Omi and branches. The rims are encircled by a geometric frieze of four-petal flowers, and the ends of the lid by motifs of môns on a nashiji, aventurine background. The back features a gold-on-black makie decoration of birds in branches, contained within a geometric frieze frame. The interior and reverse of the tray in red-ground lacquer, with gold decoration of flowers and birds. The corners, lock plate and side handles in finely engraved brass with flowers. European lock. Height 66.5 Width 154 Depth 74.5 cm. (restoration) It stands on two later blackened wood glides. Total height 80 cm. Provenance : - probably commissioned by François Caron, head of the V.O.C. counter in Japan ; - private collection, Netherlands. Art Loss Register certificate, London, April 12, 2024. Japan, Edo-Period. A Transition style lacquer chest. Brass mounts. European lock. Identical to a chest kept in the Royal Collections of Denmark since the 17th century. Related works: the counterpart to this chest has been kept in the Royal Collections of Denmark since the reign of Frederik III, inventoried in 1674 in the sovereign's Kunstkammer under number 20 or number 62 (National Museum of Denmark, Copenhagen, inv. EAc 104). Bibliography: - Impey and Jörg, "Japanese Export Lacquer 1580-1850", Hotei Publishing, Amsterdam, 2005, the Danish chest reproduced on p. 94 under no. 131. - Meiko Nagashima, "Export Lacquer: Reflection of the West in Black and Gold Makie = Japan Makie , Kyoto National Museum, Kyoto, 2008, the Danish chest reproduced under no. 67. RED AND BLACK GOLD FROM JAPAN, by Aymeric Rouillac By the end of the 16th century, the art of lacquerware had been mastered to such an extent in Japan that its trade became a priority for the European powers established there: Portugal, the Netherlands and England. In 1635, ten years after the English, the Portuguese were definitively ousted from the Archipelago, which underwent a period of political reconfiguration. The Tokugawa shogun established himself among his peers, ushering in the Edo era. The V. O. C., the Dutch East India Company, took advantage of the proximity of its representative François Caron to the Tokugawa Iemitsu Shogun to obtain a monopoly on trade with the Land of the Rising Sun. Using the best lacquer workshops, a new style known as "Pictorialist" was gradually developed. The "Namban" style, with its domed lids and shagreen and Indian mother-of-pearl inlays favored by the Portuguese, was abandoned. A new technique, both more luxurious because of its use of gold and more economical because it was used sparingly on a black background and flat lids, was developed. It's called "makie". This shift from "Nanbam" to "Pictorialist" style lasted some twenty years, until the late 1650's. A rare "Transition" style was then experimented with, bringing together the new "makie" decoration and the old "Namban" style, with its cartouche frames and geometric borders. A rare chest with a red background The themes of the "Transition" style are those of traditional Japanese landscapes, immortalized in The Eight Views of Ômi, and the great literary myths, such as The Tale of Genji or The Tale of the Soga Brothers. These themes take pride of place on the four exceptional chests, commissioned by Caron at the same time as this one, and inventoried on departure from Japan in 1643. We rediscovered the largest of these in 2013. It had passed through the collection of Cardinal Mazarin and is now conserved in Amsterdam (Rijksmuseum, n°AK-RAK-2013-3-1). The other three chests are or would be in London (Victoria & Albert Museum, n°412:1, 2-1882), Moscow (State Historical Museum) and Berlin (Charlottenburg, cabinet-mounted panel). Even for this "Fine Group" commission, the most luxurious ever made, the decoration is only freed from the hindrance of the cartouches on the back panel. On all visible sides of our chest, with the exception of the back panel and the inside of the lid, the narrative scenes are delineated by scrolls, while a frieze of flowers or "môns" runs along the outer edges. The interior of this chest has a red background, while the other chests have a black background, with the exception of Mazarin's, which was covered with gold-powdered aventurine lacquer. Between 1639 and 1645, the directives of the 17 representatives of the V.O.C. recom

Estim. 50 000 - 80 000 EUR