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Fine Japanese Art

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Lot 1 - A VERY LARGE AND MASSIVE BRONZE TEMPLE WATER FOUNTAIN WITH DRAGON SPOUT - A VERY LARGE AND MASSIVE BRONZE TEMPLE WATER FOUNTAIN WITH DRAGON SPOUT Japan, Edo period (1615-1868) Superbly modeled, the ovoid body supported on a tall, elaborately tiered base cast in openwork with minogame amid crashing waves and decorated with bands of rinzu, key-fret, and stiff leaves, flanked by scrolling handles issuing from beast heads, above the spout in the form of a ferocious two-horned dragon with the mouth wide open revealing tongue and fangs, its scaly body writhing along the vessel pursuing a flaming tama, the reverse with a fierce flying eagle, the shoulder encircled by lobed panels enclosing foliate scroll against a key-fret ground alternating with pendent tassels below a band of paulownia leaves and clouds, all below the stepped cover surmounted by a shishi mother and its cub exquisitely modeled in animated poses with snarling expressions. HEIGHT 175 cm WEIGHT 170 kg Condition: Very good condition with minor wear, traces of use, casting flaws. Minor signs of weathering and few small areas of corrosion. Remnants of pigment. Naturally grown patina with fine verdigris. Provenance: Collection of Elizabeth Augusta Grosvenor Guest (1879-1960), thence by descent in the same family. Augusta Guest was the only issue from the union of two pre-eminent British families: the Guests and the Grosvenors. She was the grand-daughter of Richard Grosvenor, 2nd Marquess of Westminster (1795-1869), and grand-daughter of Lady Charlotte Guest (later Schreiber, 1812-1895). She was a keen sportswoman, a dog breeder and amateur artist. Her home was Inwood House, Yenston Road, Henstridge, Templecombe, Somerset which was built by her parents in 1881 on the site of an earlier house. She illustrated several books. After the fall of the Tokugawa shogunate and the dissolution of Buddhist temples at the beginning of the Meiji period, many of the large bronze temple lanterns and fountains like the present lot were largely sold, melted down, or destroyed during earthquakes and wars. Expatriates living in Japan and tourists purchased them to decorate their gardens at home, while others received them as gifts well into the 20th century. Auction comparison: Compare a related larger bronze lantern with similar patina and also decorated with dragon and shishi, ca. 295 cm high, at Lempertz, 11 June 2022, Cologne, lot 293 ( sold for EUR 47,880).

Estim. 10 000 - 20 000 EUR

Lot 2 - † A CARVED WOOD SCULPTURE OF AMIDA NYORAI (AMITABHA), KAMAKURA - † A CARVED WOOD SCULPTURE OF AMIDA NYORAI (AMITABHA), KAMAKURA Japan, late 12th-13th century, Kamakura period (1185-1333) Scientific Analysis Report: The result of a radiocarbon dating test conducted by RCD Lockinge, from a sample taken in September 2021 of the present sculpture’s head, is consistent with the dating of this lot. A copy of the signed report, dated 9 December 2021, accompanies this lot. Carved and assembled from cypress wood in yosegi-zukuri technique and modeled as the Amitabha Buddha standing, his right arm raised and the left slightly lowered, wearing a monastic robe opening at the chest and cascading in voluminous folds, decorated in gilt with brocade patterns, much of the original decoration to the robes still preserved in various places. His face with serene expression, downcast eyes, rock crystal byakugo (urna), the hair arranged in small spiral curls (rahotsu) rising into the ushnisha with a further rock crystal inlay. HEIGHT 36.5 cm Condition: Good condition, commensurate with age. Extensive wear to gilt decoration, expected minor age cracks, chips, losses, flaking, an old touchup to the chin. With an associated fitted wood stand. The present sculpture represents Amitabha, known in Japanese as Amida Nyorai, Buddha of Infinite Light. The Pure Land (Jodo) tradition in Japan emphasizes the salvific powers of Amida; incantation of the Buddha’s name can invite divine intercession and devotion in life can insure rebirth in Amida’s Western Paradise. By the early eleventh century, it was increasingly believed that only the compassion of Amida could override the cycle of rise, decline and fall – the concept of mappo, meaning the end of the Law that would devolve into ten millennia of moral degradation and strife. By Japanese calculation, this would coincide with the year 1052. Devotees among the upper classes commissioned sculptures and paintings showing the arrival of Amida and attendants to welcome the spirits of the dying. Given its scale, it is likely that the figure here graced a private altar. The figure exudes an elegant serenity characteristic of the sculptural treatments of the 12th-13th century. Amida’s divinity is emphasized by gentle idealization. The figure is slender and delicate with robes carved in rhythmic folds. Auction comparison: Compare a related wood sculpture of Amida, dated to the Kamakura period, 13th century, 34 cm high, at Christie’s, Japanese and Korean Art, 21 March 2023, New York, lot 5 ( sold for 30,240 USD). 13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

Estim. 7 500 - 15 000 EUR

Lot 6 - A LARGE LACQUER WOOD ZUSHI (PORTABLE SHRINE) CONTAINING FUDO MYO-O, LATE EDO - A LARGE LACQUER WOOD ZUSHI (PORTABLE SHRINE) CONTAINING FUDO MYO-O, LATE EDO Japan, late Edo period (1615-1868) The exterior of the shrine lacquered black with gilt-metal fittings. The hinged doors are gold-lacquered on the interior and open to reveal a figure of Fudo Myo-o (Acala), the fierce protector of the Buddhist Law, enveloped in a fire kohai (aureole). The figure stands atop a stepped plinth decorated with lotus blossoms and two wheels of dharma. He is holding his sword in one hand and a noose (pasa) in the other hand, wearing a three-strand necklace with a stern expression on his face. The figure is flanked by two slender columns supporting a shaped canopy decorated with a sinuous dragon and an openwork ho-o bird. HEIGHT (total) 60 cm Condition: Good condition with wear, expected age cracks, typical losses to the lacquering, minor losses, and old repairs. The attributes of Fudo have likely been replaced. Presenting very well. Fudo Myo-o (Acala) was one of the five kings of wisdom, and was brought to Japan by the Buddhist monk Kukai, who founded the Shingon school of Buddhism. He was seen as a powerful vanquisher of evil, the protector of the imperial court and nation, and the personal guardian of the prominent priests Kukai, Kakuban, Ennin, Enchin, and Soo. The daimyo Takeda Shingen took Fudo Myo-o as his patron when he became a monk, and is said to have commissioned a statue of Fudo modelled after his face.

Estim. 1 000 - 2 000 EUR

Lot 7 - A RARE STANDING WOOD FIGURE OF JIUCHIMEN KANNON, LATE MUROMACHI TO EARLY EDO - A RARE STANDING WOOD FIGURE OF JIUCHIMEN KANNON, LATE MUROMACHI TO EARLY EDO Japan, 16th-17th century, late Muromachi (1336-1573) to early Edo period (1615-1868) The eleven-headed Kannon (Ekadashamukha Avalokiteshvara) carved standing in samabhanga on a separate double lotus base with a beaded rim, dressed in flowing robes open at the chest and draping across both shoulders, one hand clasped around a long neck vase, holding the nectar of Kannon’s compassion, the other outstretched, the face with a serene expression and painted eyes, the rock crystal urna below a diadem framing the coiffure, the topknot fronted by the face of Amida Nyorai, and further heads bearing a range of expressions. HEIGHT 55.5 cm (the figure) and 67.5 cm (total) Condition: Good condition with wear, age cracks, losses, repairs and touchups. Overall presenting very well. Provenance: From a New England private collection. Juichimen Kannon (lit. ‘eleven-headed Kannon’), is an important bodhisattva in the esoteric schools of Buddhism. Atop the deity’s own head are eleven additional heads. Ten of these take the form of bodhisattvas and represent the ten stages toward enlightenment. The topmost head is that of Amida (Sanskrit: Amitabha), the Buddha from whom Kannon emanates. Auction comparison: Compare a related, yet significantly larger figure of Seishi Bosatsu, bearing similar features, also dated 16th-17th century, at Zacke, Fine Japanese Art, 2 December 2022, Vienna, lot 34 ( sold for EUR 52,000). Also compare to a related figure of Kannon Bosatsu, dated to the 17th-18th century, at Zacke, Fine Japanese Art, 16 June 2023, Vienna, lot 60 ( sold for EUR 10,400).

Estim. 1 500 - 3 000 EUR

Lot 8 - A GILT WOOD FIGURE OF SEISHI BOSATSU, EARLY EDO PERIOD - A GILT WOOD FIGURE OF SEISHI BOSATSU, EARLY EDO PERIOD Japan, 17th-18th century, Edo period (1615-1868) Seishi Bosatsu (Mahasthamaprapta), also known as the bodhisattva of strength and wisdom, is standing in a pose of reverence, slightly kneeling and leaning forwards, the hands together in gassho-in. The serene face with downcast eyes, painted with black pupils ringed in red, crystal-inlaid byakugo (urna), full lips, pierced pendulous earlobes, the hair piled up into a topknot secured by a narrow band. Set on an elaborately carved tiered octagonal vase finely decorated with lotus and floral designs. The kohai with a central openworked lotus blossom surrounded by thick swirling clouds. HEIGHT (the figure) 57.5 cm and (total) 101 cm Condition: Good condition with wear, repairs to the base, kohai, scarves, and one foot, some touchups to lacquer, natural age cracks, flaking and rubbing to lacquer, small chips and minor losses to the base. Overall presenting very well. The kohai possibly added later. Provenance: From an old French private collection. Seishi Bosatsu (Mahasthamaprapta), also known as the bodhisattva of strength and wisdom, is recognized in Japan as one of the Thirteen Buddhas and associated with the Nio temple guardians. He is one of the oldest bodhisattvas and is regarded as powerful, especially in the Pure Land school, where he takes an important role in the Longer Sukhavativyuha Sutra. He is often depicted in a trinity with Amitabha (Amida) and Avalokiteshvara (Kannon), especially in Pure Land Buddhism. Seishi Bosatsu is rarely represented in Japanese sculpture outside of the Amida triad, where he is often depicted holding a lotus flower. Musuem comparison: Compare a related gilt wood figure of Seishi Bosatsu, 81.3 cm high, dated 17th-18th century, in the Metropolitan Museum of Art, accession number 2006.438a–e. Auction comparison: Compare a related gilt-lacquered wood figure of Seishi Bosatsu, dated 15th-16th century, 88 cm high, at Zacke, Fine Japanese Art, 28 October 2020, Vienna, lot 149 ( sold for EUR 10,112).

Estim. 4 000 - 8 000 EUR

Lot 9 - A LARGE AND IMPRESSIVE GILT-LACQUER FIGURE OF AMIDA NYORAI, DATED 1693 - A LARGE AND IMPRESSIVE GILT-LACQUER FIGURE OF AMIDA NYORAI, DATED 1693 Japan, dated 1693 Of yosegi (jointed) construction, standing on a separately carved lotus dais fitted to an elaborately carved hexagonal-stepped base. Buddha’s hands are held in raigou-in mudra, welcoming the dead into his Pure Land. His serene face with heavy-lidded downcast eyes below gently arched eyebrows centered by a glass or rock crystal byakugo (urna), a broad nose, full lips, and a thin-painted mustache, flanked by long pendulous pierced earlobes. His robes fall in elegant folds and are finely decorated with geometric patterns and floral blossoms. The plinth he stands on incorporates writhing dragons, ho-o birds, elaborate floral and geometric designs, with the base being supported by painted Nio guardians and shishi. The hollow interior of the base is inscribed Genroku roku mizunoto-tori nen, nigatsu juhachi nichi, Baihodai [On the 18th day of the second month of the Genroku 6th year (corresponding to 1693), in the year of mizunoto-tori, representing Baiho]. HEIGHT 49 cm (the figure) cm, 94.3 cm (total) Condition: Wear, minor age cracks, small losses, and old repairs. Overall presenting very well. The Byakugo, a white swirl of fine hair on the forehead of the Buddha, is represented here by a neatly inlaid rock crystal . It is also sometimes called the third eye and allows Amida to see past the mundane and into the divine world. The ushnisha above is embedded in finely sculpted, curly hair and another neatly inlaid in rock crystal. The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living. Auction comparison: Compare with a closely related statue of Amida of similar size at Christie's, Japanese Art and Design, 16 November 2000, London, lot 191 (sold for 35,200 GBP).

Estim. 5 000 - 10 000 EUR

Lot 10 - A RARE AND LARGE GILT-LACQUERED WOOD FIGURE OF AMIDA NYORAI, MUROMACHI TO EARLY EDO - A RARE AND LARGE GILT-LACQUERED WOOD FIGURE OF AMIDA NYORAI, MUROMACHI TO EARLY EDO Japan, 16th-17th century, Muromachi period (1336-1573) to early Edo period (1615-1868) Of yosegi (jointed) construction, sensitively carved and finely lacquered in black and gold, the Buddha Amitabha standing in samabhanga atop a separately carved lotus dais raised on an elaborate tiered hexagonal base decorated with dragons, kirin, shishi, and lotus, openworked panels with tiger in bamboo, shishi and peony, prunus, and minogame, as well as dharmachakra, swirling clouds, and brocade patterns. His hands are held in the welcoming mudra of raigo-in assumed by Amida Buddha when descending to welcome the souls of the dying. He is dressed in a loose-fitting monastic robe opening at the chest and cascading in voluminous folds. His serene face with downcast eyes, painted with black pupils ringed in red, and full bow-shaped lips, the byakugo and nikkishei inlaid with crystal, flanked by pierced pendulous earlobes, the hair arranged in tight curls. HEIGHT (the figure) 55 cm and (total) 92 cm Condition: Good condition with wear, few expected fine age cracks, rubbing, flaking, and losses to gold lacquer, one finger with a minute chip, minor chips and losses to exposed areas of the base, possibly few very minor repairs and touchups. The figure firmly attached to the base. Presenting beautifully. Provenance: The Jameson J. Wood Collection, acquired 2010 in the London trade. Auction comparison: Compare a closely related figure of Amida Buddha, dated Edo period, 17th-18th century, the figure 39.2 cm and overall 97.8 cm high, at Christie’s London, 16 November 2000, lot 191 ( sold for GBP 35,250).

Estim. 5 000 - 10 000 EUR

Lot 15 - A GILT-LACQUERED WOOD FIGURE OF AMIDA NYORAI, EDO PERIOD - A GILT-LACQUERED WOOD FIGURE OF AMIDA NYORAI, EDO PERIOD Japan, late 18th to early 19th century, Edo period (1615-1868) Of yosegi (jointed) construction, seated in dhyanasana atop a separately carved circular double-lotus base, his hands lowered in mida jo-in, wearing loose-fitting robes opening at the chest and cascading in voluminous folds. His serene face with a meditative expression, downcast eyes, a crystal-inlaid byakugo (urna), and bow-shaped lips, flanked by long pendulous earlobes. His hair is arranged in tight curls over the high ushnisha with a crystal-inlaid nikkeishu. The separately carved kohai inset at the back of the base and finely carved with a central openworked lotus flower above a circular aperture surrounded by swirling clouds. HEIGHT (the figure) 21.5 cm and (total) 45.5 cm Condition: Good condition with old wear, particularly to gold lacquer, minor flaking to lacquer here and there, small nicks, light scratches, natural age cracks and minor losses with associated old repairs and minor touchups. Overall presenting very well. The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living.

Estim. 1 200 - 2 500 EUR

Lot 16 - A GILT-LACQUERED WOOD FIGURE OF AMIDA NYORAI, EDO PERIOD - A GILT-LACQUERED WOOD FIGURE OF AMIDA NYORAI, EDO PERIOD Japan, 18th-19th century, Edo period (1615-1868) Of yosegi (jointed) construction, finely carved seated in dhyanasana atop a separately carved double-lotus throne supported on a balustraded hexagonal base carved with swirling clouds, his hands lowered in mida jo-in, wearing a loose-fitting robe opening at the chest and cascading in voluminous folds, his serene face with downcast eyes and crystal-inlaid byakugo, the hair arranged in tight curls over the high ushnisha. HEIGHT (the figure) 28.5 cm and (total) 63 cm Condition: Good condition with typical wear, cracks with associated old repairs, little flaking, small losses, and minor touchups to lacquer, the head and hands loose, small chips and minor losses to exposed areas. Overall presenting very well. The separately carved kohai inset at the back of the base and finely carved with a central openworked lotus flower above a circular aperture surrounded by swirling clouds. The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living.

Estim. 2 400 - 5 000 EUR

Lot 17 - A VERY RARE AND LARGE GILT BRONZE FIGURE OF AMIDA NYORAI, EDO - A VERY RARE AND LARGE GILT BRONZE FIGURE OF AMIDA NYORAI, EDO Japan, 18th to 19th century, Edo period (1615-1868) Finely cast in multiple sections, Amida standing on a lotus dais supported by a round pedestal with hands raised in raigo-in (vitarka mudra). He is wearing heavy monastic robes falling in elegant, voluminous folds and opening at the chest. His face bearing a serene expression with heavy-lidded eyes, sinuous brows and a raised byakugo (urna), his hair arranged in tight curls over the domed ushnisha, flanked by beautiful kohai (nimbus) exuding rays. HEIGHT 35.4 cm (figure), 65.6 cm (incl. stand) WEIGHT 7,848 g Condition: Good condition with minor wear, light nicks, small scratches, some rubbing, and repairs to the neck and hands. The bronze is covered in a rich, dark patina. Provenance: Ex-collection of Anton Exner, Vienna, Austria. Each section painted in red ‘EX5.’ Anton Exner (1882-1952) was the most important dealer, collector, and assessor of East Asian art in Vienna during the interwar period. His collection included all branches of Asian art, from all epochs, and particularly Chinese and Japanese works. During a long sojourn through Canada and the USA from 1908 to 1910, he made first contacts with Chinese dealers and subsequently acquired numerous antiques at various Asian ports, which formed the basis for his future business activities. From then on, he went almost every year on buying trips to the Far East. The Austrian auction house Dorotheum appointed him as a sworn assessor of Asian art, a position he held for c. 25 years. From the early 1920s onwards, he lent objects to most major exhibitions of Asian art held in Austria, and eventually gifted a large part of his personal collection, numbering several thousand objects, to the Museum of Applied Arts in Vienna, where it is on permanent exhibition to this day. The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living. Japanese gilt bronzes depicting Amida are to be considered extremely rare. Museum comparison: Compare a related earlier gilt bronze figure of Amida, dated 14th-15th century, in The Metropolitan Museum of Art (The MET), accession no. 1975.268.168a, b.

Estim. 2 400 - 5 000 EUR

Lot 19 - TAKAMURA KOUN: A FINE GILT BRONZE FIGURE OF KANNON - TAKAMURA KOUN: A FINE GILT BRONZE FIGURE OF KANNON By Takamura Koun (1852-1934), signed Takamura Koun to Japan, early 20th century, Meiji period (1868-1912) to Taisho period (1912-1926) The Bodhisattva of mercy and compassion elegantly sculpted, standing on a circular base atop lotus petals, her left hand holding a lotus bud stalk, the hair tied into a high chignon and adorned with the floral crown centered by Amida, the upper body wrapped in a johaku (decorative scarf), the folds of the garment softly rendered, the reverse of the figure signed in chiseled characters TAKAMURA KOUN to [carved by Takamura Koun]. HEIGHT 32.2 cm WEIGHT 1,793 g Condition: Very good condition with minor wear, few small nicks, light surface scratches, and minor casting irregularities. The lot is accompanied by a presentation card written in Japanese, with the biography of the artist and a photo of the present lot. A key figure in the development of Japanese sculpture in the later Meiji, Taisho and early Showa eras, Takamura Koun started his career as a specialist carver of Buddhist images and came to international attention in 1877 when he showed a sandalwood figure of the White-Robed Kannon at the first Naikoku Kangyo Hakurankai (Domestic Industrial Exhibition). The figure was purchased by a Yokohama merchant for a high price and from that time on Koun increasingly produced work in a style designed to suit changing tastes in Japan and overseas, participating in foreign expositions and receiving many important official commissions. His most famous works are public statues of Kusunoki Masashige, outside the Imperial Palace, and of Saigo Takamori, at the entrance to Ueno Park. In October 1890 he became one of the first two sculptors to be appointed Teishitsu Gigeiin (Artist to the Imperial Household). It was during the 1880s that Koun first carved wooden models to be cast in bronze; this is a later example of such a collaboration, admirably combining deep familiarity with Buddhist iconography and a fluent, Western-inflected glyptic style. For a more detailed assessment of Koun's well-documented career, see Christine M. E. Guth, 'Takamura Koun and Takamura Kotaro: On Being a Sculptor', in Melinda Takeuchi ed., The Artist as Professional in Japan, Stanford, 2004, pp.152-179. Auction comparison: Compare a closely related bronze figure of Kannon by Takamura Koun and Takamura Toyochika, dated Taisho to Showa period, at Bonhams, Fine Japanese Art, 15 May 2014, London, lot 542 (sold for GPB 3,500).

Estim. 1 000 - 2 000 EUR

Lot 20 - TAKAMURA KOUN: A FINE BRONZE FIGURE OF PRINCE SHOTOKU - TAKAMURA KOUN: A FINE BRONZE FIGURE OF PRINCE SHOTOKU By Takamura Koun (1852-1934), sealed Takamura Koun Japan, early 20th century, Meiji period (1868-1912) to Taisho period (1912-1926) Finely cast as Prince Shotoku dressed in monastic robes, holding a handled censer decorated with two shishi, the hair parted down the middle and tied on both sides with a bow, the reverse with the artist’s seal TAKAMURA KOUN. HEIGHT 21.2 cm WEIGHT 1,182 g Condition: Very good condition with minor wear, few small nicks, light surface scratches, and minor casting irregularities. A key figure in the development of Japanese sculpture in the later Meiji, Taisho and early Showa eras, Takamura Koun started his career as a specialist carver of Buddhist images and came to international attention in 1877 when he showed a sandalwood figure of the White-robed Kannon at the first Naikoku Kangyo Hakurankai (Domestic Industrial Exhibition). The figure was purchased by a Yokohama merchant for a high price and from that time on Koun increasingly produced work in a style designed to suit changing tastes in Japan and overseas, participating in foreign expositions and receiving many important official commissions. His most famous works are public statues of Kusunoki Masashige, outside the Imperial Palace, and of Saigo Takamori, at the entrance to Ueno Park. In October 1890 he became one of the first two sculptors to be appointed Teishitsu Gigeiin (Artist to the Imperial Household). For a more detailed assessment of Koun's well documented career, see Christine M. E. Guth, 'Takamura Koun and Takamura Kotaro: On Being a Sculptor', in Melinda Takeuchi ed., The Artist as Professional in Japan, Stanford, 2004, pp.152-179. Prince Shotoku (574–622), nephew of Empress Suiko (554–628), served as her regent and adviser on matters of civil administration. Reputed to be a great Buddhist scholar and influential statesman, he sent an official diplomatic delegation to China and, in 592, compiled the Seventeen Article Constitution, Japan’s earliest code of conduct for the ruling class. Sources indicate that the Imperial family initiated the veneration of Shotoku. At first deified as a Shinto kami, by the medieval period the prince came to be seen as a manifestation of a Buddhist deity. Here, he is portrayed as a paragon of filial piety, holding a handled censer and praying for the recovery of his father, Emperor Yomei, from illness. Auction comparison: Compare a related bronze figure of Laozi by the same artist, dated early 20th century, at Christie’s, Japanese and Korean Art, 18 March 2014, New York, lot 545 (sold for USD 3,250).

Estim. 800 - 1 500 EUR

Lot 21 - A MASSIVE AND SUPERB WOOD OKIMONO OF JUROJIN AND MINOGAME - A MASSIVE AND SUPERB WOOD OKIMONO OF JUROJIN AND MINOGAME Japan, Meiji period (1868-1912) Boldly carved as the Lucky God Jurojin wearing an elaborately carved, loose-fitted robe with a cowl draped over his elongated head, the hands holding a partially opened scroll which gently supports a minogame scrambling to clamber over the deity’s legs. Jurojin is depicted laughing at the antics of the thousand-year-turtle, his long finely carved beard flowing down to his chest. HEIGHT 55 cm WEIGHT 12.3 kg Condition: Excellent condition with minor wear and natural age-related cracks. Beautiful, naturally grown patina. Provenance: From the collection of Hisazo Nagatani, and thence by descent within the family. Hisazo Nagatani (1905-1994) was a Japanese-American collector, scholar, and noted dealer of Asian art. Growing up near his birthplace Osaka, he developed a passion for Asian art early on and joined Yamanaka & Co. in 1922, at the age of only 17. He soon moved to Beijing, traveling throughout China, and handling bronzes, porcelains, jades, and other works of art, before relocating to the United States. He eventually became the manager of the Yamanaka gallery on the Magnificent Mile in Chicago until the firm had to cease operations in the United States. In 1944, he opened his own gallery, Nagatani & Co., which flourished for many decades, selling to important collectors such as Robert Mayer, Stephen Junkunc, Avery Brundage, and the Alsdorfs. Nagatani later donated many of his works of art and his important library to various museums. Auction comparison: Compare a closely related wood okimono of Hotei, at Galerie Zacke, Fine Japanese Art, 28 October 2020, Vienna, lot 163 ( sold for EUR 7,584).

Estim. 3 000 - 6 000 EUR

Lot 22 - Ɏ A FINE WOOD AND IVORY OKIMONO OF A HUNTER CARRYING A TANEGASHIMA TEPPO AND MONKEY - Ɏ A FINE WOOD AND IVORY OKIMONO OF A HUNTER CARRYING A TANEGASHIMA TEPPO AND MONKEY Japan, Meiji period (1615-1868) Naturalistically carved from various types of wood, the face, hands, and pouch of ivory, depicting a hunter balancing himself as he traverses a naturalistically carved log, holding his tanegashima teppo rifle over his shoulder from which a monkey is strung from twisted rope of metal. Wearing typical hunting attire with tall boots and heavy trousers, his face bearing a cheerful expression. LENGTH 34.2 cm Condition: Good condition with wear, natural age cracks, the feet with some repairs. Provenance: From a private collection in Belgium, published in the commissioned private catalogue ‘The Nibajama collection’ no. 219. Auction comparison: Compare a related ivory okimono of a hunter carrying a tanegashima teppo and monkey, at Christie’s, Japanese Art & Design, 19 June 2002, London, lot 176 ( sold for GBP 8,365). Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2023/BE00254/CE). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

Estim. 2 000 - 4 000 EUR

Lot 25 - Ɏ GYOKUSAI: AN IVORY TUSK BOX AND COVER WITH DARUMA AND RATS - Ɏ GYOKUSAI: AN IVORY TUSK BOX AND COVER WITH DARUMA AND RATS By Gyokusai, signed Gyokusai with a seal Japan, Meiji period (1868-1912) Carved from a single tusk of oval shape, the cover with leafy vines and a finial in the form of a rat with a leaf on its back. The sides of the box carved with leafy vines and several rats of different sizes, all with finely incised fur, two crawling over each other and one moving through a ‘crack in the wall’. One side shows Daruma, the patriarch of Zen Buddhism, in a typically satirical depiction, in front of what appears to be a brothel window. His hands and face form an amusing variation of the akanbe gesture, with one hand pulling down both eyelids and the other pushing two fingers up his nose, and one of the rats on the rim of the box is trying to steal his hossu (fly whisk) without him noticing. Japanese artists often parodied revered figures, particularly Daruma, as a means of exposing the hypocrisy of society. During the Edo period, the word Daruma became a slang expression for a courtesan, and darumaya meant a brothel. HEIGHT 11 cm Condition: Excellent condition with minor traces of wear and some natural age cracks. Provenance: Zacke, Fine Japanese Art, 28 October 2020, Vienna, lot 226 ( sold for EUR 1,390). German private collection, acquired from the above. This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

Estim. 1 000 - 2 000 EUR

Lot 27 - KAN: A MASTERFUL RITSUO STYLE INLAID LACQUER BUNKO AND COVER REFERENCING SUGAWARA NO MICHIZANE - KAN: A MASTERFUL RITSUO STYLE INLAID LACQUER BUNKO AND COVER REFERENCING SUGAWARA NO MICHIZANE By a follower of Ogawa Haritsu (Ritsuo, 1663-1747), most likely by Mochizuki Hanzan (1743-1790), sealed Kan Japan, second half of 18th century, Edo period (1615-1868) Published & Exhibited: Cornell University, Herbert F. Johnson Museum of Art, Scattered Gold and Midnight Gloss: Japanese Lacquer from the Anbinder Collection, 31 March – 8 July 2007, p. 11. Of rectangular form with lobed edges, the top and sides each with a shaped sunken panel bearing a beautiful gold kinji ground, the cover finely decorated with inlays of aogai, mitsuda, eggshell, coral, and glazed ceramic as well as gold, black, and red takamaki-e to depict three cranes in front of an entrance to the Dazaifu shrine with a blossoming plum tree in the courtyard, the gate tower with subtly inlaid glass windows, the gate and wall roughly textured imitating plaster, the edges and base finished in ishime, the sides gold-lacquered in low relief with Chinese poems (kanshi) by Sugaware no Michizane. The interior of roiro with gold fundame edges, the interior of the cover with gold, red, and black hiramaki-e and takamaki-e with kirigane and mura-nashiji as well as inlays of aogai and mitsuda (pewter) to depict an ox bucking before a meandering river, the lower right corner with an inlaid ceramic seal KAN. SIZE 10.6 x 37.6 x 28.8 cm Condition: Very good condition with minor wear, few tiny nicks, occasional light scratches, minor flaking to ceramic inlays, little rubbing to lacquer and mitsuda inlay. Provenance: Heian Art, Kyoto, Japan. The Paul and Helen Anbinder Collection, acquired from the above. Paul Anbinder (b. 1940) is a retired editor who was a director at important publishers, including Random House and Hudson Hills. Helen Anbinder (1942-2022) was an education administrator who ran the Inter-village Continuing Education Program for Ardsley, Dobbs Ferry, Hastings, and Irvington, New York. The couple were avid museumgoers and collectors of art. They donated many books and prints from their collection to their alma mater Cornell University and the Herbert F. Johnson Museum of Art. The style of the present bunko is clearly that of Ogawa Haritsu (Ritsuo, 1663-1747), but it is more likely to be by Mochizuki Hanzan (Haritsu II, 1743-1790) or a close follower. The design on the cover, depicting the Dazaifu shrine, a blossoming plum tree, and cranes, allegorizes the legends surrounding Sugaware no Michizane, who at the age of ten composed a Chinese poem praising the beauty of plum blossoms under the full moon. The inscriptions on the sides of the box and cover are Chinese poems by Michizane written during his exile. The inside of the cover also refers to Michizane, as after his death his body was carried in a cart by an ox, which suddenly stopped in front of a stream as if it could not be induced to go farther. Michizane’s attendants interpreted this as a sign of where their master wanted to be buried and dug his grave at the exact spot the ox stopped. Later, the Shinto shrine of Dazaifu Tenmangu, visible to the front of this masterful lacquer box, was erected there in his honor. Sugawara no Michizane (845-903) was a scholar, poet, and politician of the Heian period. He is regarded as an excellent poet, particularly in waka and kanshi poetry. Although he reached the high rank of Dajo Daijin (Supreme Head of the Council of State), due to a political rivalry against Fijiwara no Tokihira, he was exiled and died in Dazaifo, Kyushu. After Michizane's death, plague and drought spread and sons of Emperor Daigo died in succession. The Imperial Palace's Great Audience Hall (shishinden) was struck repeatedly by lightning, and the city experienced weeks of rainstorms and floods. Attributing this to the angry spirit of the exiled Sugawara, the imperial court built a Shinto shrine called Kitano Tenman-gu in Kyoto, and dedicated it to him. They posthumously restored his title and office, and struck from the record any mention of his exile. Even this was not enough, and 70 years later Sugawara was deified as Tenjin-sama, a god of sky and storms. Eventually Tenjin evolved into a benign kami of scholarship. With a wood storage box. Auction comparison: Compare a related woven rattan suzuribako by Mochizuki Hanzan, with a similar shaped panel to the top of the cover, dated to the 18th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 361 ( sold for 19,200 GBP). Also compare to a related suzuribako by Mochizuki Hanzan, sealed Hanzan, worked with similar bright inlays, at Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 165 ( sold for EUR 50,560).

Estim. 4 000 - 8 000 EUR

Lot 28 - RITSUO: A RINPA-STYLE SUZURIBAKO (WRITING BOX) DEPICTING THE POET SUGAWARA NO MICHIZANE ON AN OX - RITSUO: A RINPA-STYLE SUZURIBAKO (WRITING BOX) DEPICTING THE POET SUGAWARA NO MICHIZANE ON AN OX School of Ogawa Haritsu Ogawa Haritsu (Ritsuo, 1663-1747), signed Uchukanshi Ritsuo saku with seal Kan Japan, 18th-19th century, Edo period (1615-1868) Of rounded rectangular form with a flat overhanging cover, the suzuribako bearing a fine kinji ground. The exterior is decorated in iro-e takazogan and hirazogan, as well as inlays of aogai, mitsuda, tortoiseshell, and glazed ceramic, to depict Sugawara no Michizane riding his ox through a meadow of flowers. The interior of the cover decorated with a gnarled plum tree, referencing Sugawara no Michizane’s legendary poem composed at the age of ten, bearing several flowers and buds, growing from a rocky landscape which is lightly sprinkled with gold, the silhouette of an imposing full moon to the background. Housed within the interior are the original implements with their sleeves: a ceramic waterdropper (suiteki) in the form of a moon rabbit, two brushes (fude) decorated to the body with plum blossoms, the paper-cutting knife (kogatana) similarly decorated with blossoms to the body, a fitted rectangular inkstone (suzuri), and a cushion with a silk case. Signed to the interior UCHUKANSHI RITSUO saku with seal Kan. SIZE 3.5 x 24 x 21 cm Condition: Very good condition with expected wear and scratches. Minor flaking and cracks to the lacquer and tiny losses to the inlays. Overall presenting excellently. Provenance: From an old Austrian private collection. Ogawa Haritsu (Ritsuo, 1663-1747) specialized in the combination of unusual materials such as pottery, bone, lacquer, shell and wood. His sophisticated taste and modern approach appealed to literati circles in the eighteenth century, and he served as both artist and artistic adviser to the Daimyo Tsugaru Nobuhisa. He had many followers and pupils, and his original style has been adapted throughout the centuries. The combination of Ritsuo school features along with Rinpa school features, particularly evident in the mitsuda plum décor is very unusual. Rinpa is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early seventeenth century and has continued through modern times. Literally meaning ‘school of Korin,’ Rinpa derives its name from Ogata Korin (1658–1716), a celebrated painter from Kyoto. It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, the lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with new brush techniques. Transmitted by means of pattern books and manuals, the work of the Ogata Korin inspired numerous other craftsmen. Literature comparison: A related black lacquer four-case inro depicting a typical Rimpa-style motif of Toba on his mule, attributed to a follower of Ritsuo, dated to the 18th century, is illustrated in Moss, Sydney L. (1982) Eccentrics in Netsuke, pp. 32-33, no. 21. Auction comparison: Compare a closely related Rimpa style lacquer writing box (suzuribako) with a gnarled plum tree bearing flowers, at Christie’s, Crafted Landscapes: The Ankarcrona Collection of Japanese Lacquer and Asian Works of Art, 1 October 2020, New York, lot 9 ( sold for USD 23,750).

Estim. 3 000 - 6 000 EUR

Lot 29 - A SUPERB RITSUO-STYLE LACQUERED WOOD SUZURIBAKO DEPICTING A BOAT WITH A HARVEST OF SEASHELLS - A SUPERB RITSUO-STYLE LACQUERED WOOD SUZURIBAKO DEPICTING A BOAT WITH A HARVEST OF SEASHELLS Japan, 18th century, Edo period (1615-1868) The rectangular box with a fine grain decorated with superb gold and mitsuda (pewter) takamaki-e, further embellished with aogai and masterful ceramic inlays for the seashells. The fishing boat with a single upright oar laden with shells of various kinds, finely glazed and textured, the bow of the boat with slats in gold hiramaki-e, floating down a river with a meandering current. The cover’s interior decorated with seashells and seaweed, and the box with a bell-shaped suzuri (ink stone) and rectangular waterdropper. SIZE 24.3 x 20.5 x 6 cm Condition: Excellent condition with only very minor wear. Provenance: Grace Tsumugi, London. Collection of James and Christine Heusinger, acquired from the above, the interior with an old collector’s note. James and Christine Heusinger started collecting Japanese art in the late 1970s. Their collection began with a modest piece by Seifu Yohei III and expanded to over 100 pieces. They donated the majority of their pieces to the Cleveland Museum of Art, which now houses the most important collection of ceramics by the Seifu Yohei studio. While their collection was mostly focused on modern Japanese ceramics, they also had a fondness for lacquer, purchasing select pieces from noted dealers such as Grace Tsumugi and Sharen Chappel. With a fitted tomobako box inscribed with label in Japanese. Auction comparison: Compare a related Ritsuo-style wood bunko (document box) decorated with a similar motif with ceramic-inlaid shells and an anchor, at Bonhams, Fine Japanese and Korean Art, 17 March 2021, New York, lot 594 (sold for USD 27,812). Compare a related polychrome glaze ceramic iremono (box) and cover in the form of seashells, attributed to Ogawa Haritsu (Ritsuo), at Zacke, Fine Japanese Art, 4 June 2021, Vienna, lot 94 (sold for EUR 13,904).

Estim. 4 000 - 8 000 EUR

Lot 30 - A FINE RINPA-STYLE LACQUER SUZURIBAKO DEPICTING A YANEBUNE FISHING BOAT - A FINE RINPA-STYLE LACQUER SUZURIBAKO DEPICTING A YANEBUNE FISHING BOAT Japan, 19th century Of rectangular form, the writing box with an overhanging cover and chamfered edge, decorated in gold, silver, and black hiramaki-e, takamaki-e, nashiji and inlaid in patinated mitsuda (pewter) and pearlescent aogai, with a yanebune fishing boat beneath reeds, the details finely embellished, the interior of the cover with chrysanthemums entwined amongst a bamboo fence, the inner tray supporting a slate ink stone decorated in gold fundame, the design of the interior of the cover continuing on the base with further chrysanthemums among bamboo, all on a sparse nashiji ground, the silver water dropper (suiteki) finely carved and chased with petals and gold details signed ICHIYA saku (made by Ichiya). SIZE 25.1 x 23.5 x 5 cm Condition: Very good condition with only very minor wear and some manufacturing-inherent flaws to the base. One tiny old touchup to the rim of the cover and another tiny fill to one side of the box. With a fitted wood tomobako storage box. The present lot exemplifies the Rinpa school style, and particularly that of Hon'ami Koetsu (1558-1637). The Rinpa School was a key part of the Edo period revival of indigenous artistic interests in Japan described by the term yamato-e. Paintings, textiles, ceramics, and lacquerwares were decorated by Rinpa artists with vibrant colors applied in a highly decorative and patterned manner. Favored themes, which often contained evocative references to nature and the seasons, were drawn from Japanese literature, notably The Tale of Genji, The Tales of Ise, and Heian-period poems composed by courtiers. The present lot may be a rusu moyo (absent motif) for chapter 51 of The Tales of Genji. This chapter tells the story of the maiden Ukifune, literally “boat cast adrift”.

Estim. 2 400 - 5 000 EUR

Lot 31 - A FINE RINPA STYLE LACQUER BUNKO WITH A COCKEREL ON A WAR DRUM, AFTER OGATA KORIN - A FINE RINPA STYLE LACQUER BUNKO WITH A COCKEREL ON A WAR DRUM, AFTER OGATA KORIN After Ogata Korin, signed Korin and sealed Hoshuku Japan, late 19th century, Meiji period (1868-1912) Of rectangular form with rounded corners, worked in gold, red-lacquer, and mitsuda (pewter) takamaki-e and hiramaki-e with large mother-of-pearl inlays, all against a fine roiro ground. The cover depicting a large rooster (tori) resting on a war drum with large ivy vines growing around it. The interior of the cover decorated with a biwa (lute) and shakuhachi (flute), and the box with kiku (chrysanthemum) blossoms and bamboo. Signed to underside of the cover KORIN and sealed Hoshuku. SIZE 49.5 x 32.7 x 14.5 cm Condition: Good condition with minor wear, small losses to the mother-of-pearl inlays, and wear to the edges of the cover and box. Rinpa is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early seventeenth century and has continued through modern times. Literally meaning ‘school of Korin,’ Rinpa derives its name from Ogata Korin (1658–1716), a celebrated painter from Kyoto. It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, the lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with new brush techniques. Transmitted by means of pattern books and manuals, the work of the Ogata Korin inspired numerous other craftsmen.

Estim. 1 500 - 3 000 EUR

Lot 32 - A LACQUER SUZURIBAKO DEPICTING SCENES FROM THE TALES OF GENJI - A LACQUER SUZURIBAKO DEPICTING SCENES FROM THE TALES OF GENJI Japan, 19th century Of rounded rectangular form, with a slightly domed overhanging cover. The exterior with a reddish-brown and kinji ground decorated in gold takamaki-e and hiramaki-e, as well as kirigane flakes, to depict shells from the game of Kai-awase (shell-matching game) decorated to the interior with scenes from the Tale of Genji, a classic work of Japanese literature from the beginning of the eleventh century written by Murasaki Shikibu. The interior of the cover similarly decorated with the pavilion of Genji. Housed within the integrated baseboard interior is a metal butterfly water dropper (suiteki) and a rectangular inkstone (suzuri). SIZE 3.9 x 21.7 x 18.3 cm Condition: Excellent condition with minor wear. The metal water dropper with signs of wear. With a wooden tomobako storage box. Kai-awase, the game of ‘matching shells’, is included among a number of aristocratic pastimes that were popular in the eleventh and twelfth–century Japanese court. From the start, shell matching was most popular among women and girls. The shells used were clams, ideally from Ise Bay in central Japan, of a size to fit nicely in a girl’s hand. They were cleaned and polished, the interiors then covered in paper and gold leaf and decorated with scenes from nature, or often from The Tale of Genji. The same picture was painted on both halves of the shell on the inside. The outsides of the shells were polished but undecorated.

Estim. 1 500 - 3 000 EUR

Lot 33 - KOMA YASUTADA: A SUPERB BLACK-LACQUER TOGIDASHI SUZURIBAKO AFTER A PAINTING BY KANO EISHIN - KOMA YASUTADA: A SUPERB BLACK-LACQUER TOGIDASHI SUZURIBAKO AFTER A PAINTING BY KANO EISHIN By Koma Yasutada (Koma Kyuzo IV, died 1756), signed Koma Yasutada saku, Hogen Yusei ga, and sealed Kano Japan, 18th century, Edo period (1615-1868) Of circular full-moon form, the flush-fitting lid lacquered with a fine and sparse nashiji on a roiro-nuri ground, worked in red togidashi-e depicting falling maple leaves, and the interior decorated with a maple tree with bright red leaves. The rim of the box and cover in gold fundame, the box’s interior with a moon-shaped water dropper, removable ita (baseboard), and a suzuri (inkstone). The lid signed KOMA YASUTADA saku [made by Koma Yasutada], Hogen Yusei ga, and sealed Kano, indicating that this motif is after a painting by the Kano school painter, Kano Eishin (1717-1763). DIAMETER 23.3 cm Condition: Very good condition with associated minor wear and traces of use and a few surface scratches. A tiny nick to the lacquer on the interior rim of the cover. The Koma family of lacquer artists is one of the most famous dynasties of lacquer artists from the Edo period. The family was founded by Koma Kyui I (1600-1663). Members of the family were lacquerers of the court and shogunate well into the 19th century. The family specialized in lacquered inro, suzuribako, and other lacquer objects. The founder of the family is credited to have made inro for the shogun Iemitsu. The artist of the present lot specialized in togidashi-e lacquer.

Estim. 2 000 - 4 000 EUR

Lot 34 - A SUPERB LACQUER SUZURIBAKO DEPICTING A CORMORANT - A SUPERB LACQUER SUZURIBAKO DEPICTING A CORMORANT Japan, 19th century Of rectangular form with rounded corners, bearing a lustrous nashiji ground finely decorated on the cover with iro-e hiramaki-e, togidashi-e, and some kirigane flakes to depict a cormorant standing on a rock next to a wavy ocean. The interior of the cover similarly worked depicting a waterfowl in a lotus pond. The box covered in sparse nashiji, the interior decorated with a lotus pond and fitted with a removable ita (baseboard), suzuri (inkstone) and a cushion. SIZE 25.9 x 22.4 x 4.6 cm Condition: Excellent condition with only very minor wear and a very slight area of warping to the cormorant on the cover. Provenance: The Kura, Kyoto . Collection of James and Christine Heusinger, acquired from the above, the interior with an old collector’s note. A copy of the old invoice from the Kura addressed to James Heusinger, dated 7 April 2007 with the purchase price of USD 5,000, accompanies this lot. James and Christine Heusinger started collecting Japanese art in the late 1970s. Their collection began with a modest piece by Seifu Yohei III and expanded to over 100 pieces. They donated the majority of their pieces to the Cleveland Museum of Art, which now houses the most important collection of ceramics by the Seifu Yohei studio. While their collection was mostly focused on modern Japanese ceramics, they also had a fondness for lacquer, purchasing select pieces from noted dealers such as Grace Tsumugi and Sharen Chappel. With a fitted tomobako storage box applied with a Japanese label reading “cormorant suzuribako”.

Estim. 4 000 - 8 000 EUR

Lot 35 - A FINE LACQUERED WOOD BUNKO (DOCUMENT BOX) DEPICTING A FALCON AND MOUNT FUJI - A FINE LACQUERED WOOD BUNKO (DOCUMENT BOX) DEPICTING A FALCON AND MOUNT FUJI Japan, 19th century, Edo period (1615-1868) Of rectangular form, the interior with a fitted tray, the edges and corners covered in gold fundame. The cover lacquered in gold and silver takamaki-e and gold hiramaki-e, depicting a falcon, its eyes inlaid behind crystal or glass, its legs tied with ahikawa (jesses) perched on a daiboko (indoor screen) with a motoosi (swivel) tied with a leash, the sides lacquered with falconry accoutrements including an ooo (leash), egoushi (feed box), a flask, okinawa (creance), and buchi (brushing staff). The interior of the cover finely decorated on a sparse nashiji ground in gold takazogan, kirigane flakes, as well as gold and silver foil depicting a plum tree bearing large blossoms with mount Fuji towering in the background. SIZE 39.5 x 31.8 x 15.8 cm Condition: Good condition with wear, traces of use, small chips and cracks to the lacquer, some with associated old repairs, surface scratches, and small losses to the gold foil. The eye of the falcon repaired. The earliest reference to falconry in Japan appears in the Nihon Shoki, ca. 350 AD, and refers to a Korean emissary who brought a restrained hawk to Japan. During the Nara period (710-794) falconer became an official military station. With the Kamakura period (1185-1333) and the rise of the warrior classes, falconry became a popular samurai pastime and falconry schools such as the Suwa-ryu and Yoshida-ryu were founded. The practice was highly respected in samurai circles alongside archery, swordsmanship, and kemari.

Estim. 2 000 - 4 000 EUR

Lot 36 - A FINE MINIATURE LACQUER KODANSU (SMALL CABINET) DEPICTING BIRDS AND FLOWERS - A FINE MINIATURE LACQUER KODANSU (SMALL CABINET) DEPICTING BIRDS AND FLOWERS Japan, 18th-19th century, Edo period (1615-1868) Of rectangular form, the small incense cabinet with a single door with chased metal hinges and a functional lock mechanism opening to three drawers with silver-applied pinecone knobs. The exterior finely worked in gold fundame, takamaki-e, and hiramaki-e with kirigane flakes all on a fine roiro ground. Each panel depicting various birds and flowers including red-crowned cranes by a river beneath a plum tree, two owls roosting on a wisteria tree beneath a full moon, geese and autumnal grasses, and various birds on leafy bamboo stalks. The interior similarly decorated with more birds, the interior of the drawers and base of the cabinet worked in dense nashiji. SIZE 13.6 x 6.5 x 8.3 cm Condition: Very good condition with expected wear, some rubbing to the gold fundame from opening and closing, a few minor touchups to the lacquer along the edges. Provenance: Collection of the Glasgow Art Galleries & Museums, reg. no. 62-’05, with an old label to the bottom. Exhibited in 1905 at the People’s Palace Museum, Glasgow, according to an old label with the registration number, ‘AA515.’ A second museum label identifies the cabinet, ‘515. Cabinet, black lacquer, gold decorations. 18th century.’ Museum comparison: Compare a related gold incense cabinet with various birds, dated to the Edo period, in the Metropolitan Museum of Art (The MET), accession number 81.1.277a–d.

Estim. 2 400 - 5 000 EUR

Lot 37 - A SUPERB GOLD-INLAID LACQUER TEBAKO AND TRAY WITH A RIVER LANDSCAPE - A SUPERB GOLD-INLAID LACQUER TEBAKO AND TRAY WITH A RIVER LANDSCAPE Japan, 19th century The fine rectangular accessories box with lobed corners, a flush fitting cover with silver rims, and a footed tray inside. The box and cover lavishly lacquered in rich gold with various techniques such as takamaki-e, hiramaki-e kirigane flakes, nashiji, with gold and mixed-metal inlays, depicting a river meandering through low hills spotted with trees. The interior and the tray are covered in a rich nashiji ground, and the cover’s interior depicts a straw ayaigasa hat next to a bow and arrow referring to kasagake (hat shooting). SIZE 15.4 x 11.6 x 7.3 cm Condition: good condition with minor wear to the lacquer, losses to the metal inlays, and a minuscule nick to the base. A tiny nick to one corner of the box with an associated tiny nick to the interior tray. Kasagake (hat shooting) is a type of mounted archery, and was one of the three martial arts of mounted archer during the Kamakura period. It was widely practiced by Samurai and involves the archer shooting while moving on horseback. The name derives from the straw hats first used as targets that were hung on posts. This martial art is still practiced today. Auction comparison: Compare a closely related lacquer tebako depicting a river landscape, signed Shumin, at Sotheby’s, Fine Japanese Art, 3 November 2020, London, lot 29 (sold for GBP 8,820).

Estim. 2 000 - 4 000 EUR

Lot 48 - A FINE ZESHIN-STYLE LACQUER PAINTING OF A CROW WITH FALLING MAPLE LEAVES - A FINE ZESHIN-STYLE LACQUER PAINTING OF A CROW WITH FALLING MAPLE LEAVES Japan, late 19th to early 20th century, Meiji period (1868-1912) Finely worked in layers of black and red lacquer, carved with minute detailing to depicting a descending crow, its red leaves falling in the autumnal night scenery, holding in its beak a twig bearing two berries made of inlaid mother-of-pearl. The plumage of the majestic bird is neatly incised, the leaves are executed with remarkable naturalism. SIZE 45.5 x 33.5 cm Condition: Good condition with minor wear, uneven sections of lacquer on the panel, and chips to the edges with some associated touchups. Provenance: From the collection of the Mulhouse Museum of Fine Arts, Mulhouse, France, old inventory number to the back 974.315.1 AD. The museum is a part of the Société Industrielle de Mulhouse, an industrial society for the promotion of manufacturing and entrepreneurship founded in 1826. The museum was founded by the society in 1864 with the donation of local members. Much of the museum’s collection was confiscated during World War II, and due to losses and damages sustained during the war, the museum did not reopen until 1958. Auction comparison: Compare a related lacquer painting depicting a crow in the night, by Shibata Zeshin, at Bonhams, Polish and Poise, Japanese Art across the Centuries,12 May 2022, London, lot 77 ( sold for GBP 138,900).

Estim. 4 000 - 8 000 EUR

Lot 49 - SHIBATA ZESHIN: A MASTERFUL LACQUER PAINTING OF A CARP ASCENDING A WATERFALL - SHIBATA ZESHIN: A MASTERFUL LACQUER PAINTING OF A CARP ASCENDING A WATERFALL By Shibata Zeshin (1807-1891), signed Shibata Zeshin and seal Shin Japan, 19th century The bright-red ground painted in thick, flawless strokes of silverish lacquer depicting a carp, its fins outspread, ascending the waterfall next to a craggy rock cliff. The artist masterfully used the negative space to form the waterfall, its stream running over and splashing out to the sides of the fish’s head. The lacquer is embellished with small specks of mother-of-pearl throughout the composition. Signed to the lower right ZESHIN with seal Shin, a seal frequently used by this master. SIZE 30.4 x 28.8 cm (image), 34.9 x 32.3 cm (incl. frame) Condition: Excellent condition. One small nick to the frame and minor expected wear to the back of the panel. Shibata Zeshin (1807-1891) was a Japanese painter, lacquer artist, and printmaker of the late Edo period to early Meiji era. He has been called ‘Japan's greatest lacquerer.’ His work, unlike the oils being used by so many of his contemporaries, never need re-touching and never faded. He was a master of emulating oil or ink painting with lacquer and combined groundbreaking techniques with traditional subjects. His studio was situated on the bank of a river, providing him with ample opportunity to observe nature, and the creatures that inhabited the natural world. Like many painters of the 19th century, he was eclectic in his sources and would have been exposed to traditional styles. However, Zeshin's skill level was such that he could fluidly mix techniques, ideas, and stylistic options, thus painting part of a composition in one manner and including elements of another to add variety and dynamics unheard of at the time. The carp is associated with strength and resilience. In Chinese mythology, the Longmen (lit. Dragon Gate) is located at the top of a waterfall cascading from a legendary mountain. The legend states that while many carps swim upstream against the river's strong current, few are capable or brave enough for the final leap over the waterfall. If a carp successfully makes the jump, it is transformed into a powerful dragon. Museum comparison: Compare a related painting by the same artist, signed Zeshin, in the Metropolitan Museum of Art, New York, accession no. 2019.193.78. Auction comparison: Compare a related set of three sake cups bearing a similar ground and similarly lacquered, by Shibata Zeshin, at Bonhams, The Misumi Collection of Important Works of Lacquer Art and Paintings, 8 November 2017, London, lot 12 (sold for GBP 37,500), today on display in the Metropolitan Museum of Art, accession number 2019.193.43a–c.

Estim. 7 500 - 15 000 EUR

Lot 55 - A FINE KOAMI-SCHOOL LACQUERED SINGLE-CASE INRO WITH DRAGONFLIES - A FINE KOAMI-SCHOOL LACQUERED SINGLE-CASE INRO WITH DRAGONFLIES Japan, 19th century, Edo period (1615-1868) The wide-bodied, single-case inro of horizontal rectangular form and oval section, bearing a superbly polished, lustrous roiro ground, finely lacquered in thick red and gold takamaki-e with five dragonflies, the thick lacquer pooling attractively and spilling over the edges. The eyes inlaid with iridescent mother-of-pearl, the wings and legs detailed with gold hiramaki-e. The interior cases of red lacquer with gold fundame rims. HEIGHT 5.1 cm, LENGTH 9.3 cm Condition: Very good condition with minor wear to lacquer along the edges and some minor rubbing to the high points. Tiny chip to the edge of one of the cord holes. Provenance: Glendining and Co., 15 December 1947. A noted private collection, assembled by the previous owner’s great-grandfather and thence by descent. With an old collection label to the interior of the top case. The Koami family is one of the most famous dynasty of lacquerers, founded according to tradition by Docho. The family worked extensively for the court and the shogunate until well into the 19th century and had a considerable influence on the development of lacquer art through its leadership of the teams of craftsmen that worked on important shrines and palaces and other national projects. The family is also credited with having created the technique and style known as kodaijimaki-e. The shapes, subjects, and techniques of Koami inro are so varied that no family style can be identified. Museum comparison: A closely related lacquered inro with dragonflies by Koami Nagataka is in the Metropolitan Museum of Art (The MET), New York, accession no. 13.67.23.

Estim. 1 500 - 3 000 EUR

Lot 57 - KAJIKAWA: A FIVE-CASE LACQUER INRO WITH ARIWARA NO NARIHIRA PASSING MOUNT FUJI ON HIS JOURNEY TO THE EAST - KAJIKAWA: A FIVE-CASE LACQUER INRO WITH ARIWARA NO NARIHIRA PASSING MOUNT FUJI ON HIS JOURNEY TO THE EAST By a member of the Kajikawa family, signed Kajikawa saku and sealed Ei Japan, 19th century, Edo period (1615-1868) Of lenticular form and oval section, bearing a lustrous kinji ground, finely worked in iro-e takamaki-e and hiramaki-e, as well as kirigane, to depict a continuous scene of Ariwara no Narihira on horseback, accompanied by attendants, passing by Mount Fuji, on his way to exile; Mount Fuji cloaked in newly fallen snow. The landscape with rolling hills and lush pine trees. The interior compartments of black lacquer and gold fundame rims. Signed to the underside in gold KAJIKAWA saku [made by Kajikawa] and with the characteristic red ‘tsubo’ (pot) seal Ei. With a coral ojime. The en suite netsuke in the form of a simple horse. HEIGHT 8.5 cm, LENGTH 5 cm Condition: Very good condition with minor wear and expected losses to kirigane. Some wear to cord-holes and dents to the lower case. The coral ojime with minor age cracks. Provenance: From an Italian private collection, acquired from Pierre-Eric Becker, Cannes, on 23 October 1999. The inro depicts Ariwara Narihira (825-80), the famously handsome ninth-century poet who, it is said, was banished from court for having an affair with an imperial consort. While traveling to his exile in the deep north, Narihira passed beneath Mount Fuji, cloaked in newly fallen snow. Noting the strangeness of snow so close to summer, Narihira composed the following poem: Fuji is a mountain that has no sense of time. What season does it take this for That it should be dappled with newly fallen snow When one travels on foot along a course near a big mountain, one has the feeling that progress is slowed by the overwhelming immobility of the mountain that seems to be eternally watching. This sensation is lyrically expressed in this lacquered inro. Fuji's immobility is emphasized in contrast to the gentle rhythm of the row of pine trees to the verso and the crawling pace of the travelers.

Estim. 800 - 1 500 EUR

Lot 61 - † OZAKI KOKUSAI: A SUPERB ANTLER NYOI SCEPTER - † OZAKI KOKUSAI: A SUPERB ANTLER NYOI SCEPTER By Ozaki Kokusai (1835-1892), sealed Kokusai Japan, Shiba, Tokyo, mid to late 19th century Finely carved as a nyoi scepter with reishi fungus on the stem, the head detailed with a baku-snouted water dragon, its single eye inlaid in black buffalo horn. The dragon wraps around the fungus head, encircling a pointy double-gourd with a Buddhist swastika character and the yin-yang symbol above a hatched ground. The head is pierced with a small aperture near the edge. The upper end of the scepter with a key-fret border. The base is pierced and carved with the inome motif also known as the boar’s eye badge of courage. Signed to the stem within an oval reserve in sunken relief KOKUSAI. LENGTH 39.3 cm Condition: Excellent condition with typical ‘flaws’ to the material. With an associated modern metal base. The Buddhist swastika character, known as ‘ban’ or ‘manji’, in Chinese as 'wan', can be literally translated as ‘ten thousand’. It expresses a wish for a near-immortal long life. Literature comparison: A closely related antler nyoi scepter, also with a water dragon reishi head, is illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, pp. 434-435, no. 319. Another related antler nyoi scepter, also with a water dragon reishi head, is illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, pp. 430-431, no. 317. Another related antler nyoi scepter, also with a water dragon reishi head, is illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, pp. 428-429, no. 316. 13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

Estim. 7 500 - 15 000 EUR

Lot 64 - ASAHI GYOKUZAN: A RARE BAMBOO, WOOD AND ANTLER WALKING STICK, DATED 1919 - ASAHI GYOKUZAN: A RARE BAMBOO, WOOD AND ANTLER WALKING STICK, DATED 1919 By Asahi Gyokuzan (1843-1923), signed to the original tomobako hakogaki Nanajunana-o Asahi Gyokuzan kinsei and sealed Gyokuzan Japan, dated 1919 Finely carved from a long section of bamboo, superbly polished, surmounted by a section of antler coronet on which a long-tailed pheasant is perched, the bird carved from a natural section of burled wood. The tip of the staff is inlaid in antler. With the original wood box inscribed to the hakogaki: Nanajunana-o ASAHI GYOKUZAN kinsei [reverently made by the the 77-year-old old man Asahi Gyokuzan] and seal GYOKUZAN. LENGTH 122 cm Condition: Excellent condition with minor typical wear and ‘natural flaws’ to the material. Born in Asakusa, Asahi Gyokuzan together with Ishikawa Komei (1852-1913) were designated Teishitsu gigeiin (Imperial Court Artists) and were two of the most famous and influential carvers in Japan during the Meiji Period (1868-1912). Gyokuzan first trained as a Buddhist priest in the late Edo Period, but as a young man Gyokuzan took to a more secular life as a carver. After becoming a professor at the Tokyo Art School, he later moved to Kyoto. There Gyokuzan re-established his Buddhist ties, while also mastering techniques of inlay. The artist was highly proficient in all types of materials, including wood, antler, and bamboo. The present piece is a rare object from Gyokuzan’s oeuvre, carved with reverence, the deceivingly simple carving showing the brilliance of this master carver.

Estim. 2 000 - 4 000 EUR

Lot 74 - MINOURA CHIKUHO: A HANAKAGO WITH CLOUD-FIGURED BAMBOO - MINOURA CHIKUHO: A HANAKAGO WITH CLOUD-FIGURED BAMBOO By Minoura Chikuho (1934-2010), signed Chikuho zo Japan, 20th century Of ovoid form, tapering towards the foot, the sides finely woven with a 'cloud-figured' madake (bamboo) and rattan, with a gozame yoroizashi technique, set with a handle, and the interior with the original water container in lacquered bamboo. The base signed CHIKUHO zo [made by Chikuho]. HEIGHT 27.5 cm The wood storage box with hakogaki at the top reading ‘Natsume gata, hanakago’ [A bamboo basket in the shape of a tea-caddy (natsume)] and signed ‘Chikuho zo’ [made by Chikuho] with seal ‘Minoura’. Condition: Excellent condition with minor wear. Provenance: TAI Gallery, Santa Fe, New Mexico, USA. The Estate of Eleanor Koffler, acquired from the above in 2005. A copy of the original purchase receipt and invoice from TAI Gallery, dated 16 June 2005 and stating a purchase price of USD 8,100, accompanies this lot. TAI Gallery was founded by Robert T. Coffland, a leading expert in Japanese bamboo arts in the West, who began sourcing works from contemporary masters in Japan. In 2014, the gallery was purchased by Margo Thoma, merged with her own gallery Eight Modern, and rebranded as TAI Modern. Together with Koichiro Okada, a renowned bamboo expert, they support bamboo art in the West by serving as an advisor to Western collectors and institutions, facilitating public demonstrations, and curating bamboo art exhibitions. Works by TAI Modern artists have been placed in some of the country’s most prestigious institutions, including the Art Institute of Chicago, the Metropolitan Museum of Art, the Denver Art Museum, the Los Angeles County Museum of Art, the Asian Art Museum, and many more. Eleanor Koffler was the co-author of the book ‘Freeing the Angel from the Stone: A Guide to Piccirilli Sculpture in New York City’ and an avid collector of Western, Native American, and Asian art. Minoura Chikuho (1934-2010), was born into a family of weavers and was a student of Sakaguchi Sounsai, one of the most famous artists in the Kansai-area tea environment. The ‘cloud-figure’ bamboo is a rarity and highly valued among Japanese and Chinese tea connoisseurs. Chikuho’s father was certain that such valuable material would attract customers and new business. Auction comparison: Compare a related basket by Minoura Chikuho, 39.6 cm tall, dated to the 20th century, at Christie’s, The Collection of Victoria, Lady de Rothschild, 9 December 2021, London, lot 109 (sold for 15,000 GBP).

Estim. 2 400 - 5 000 EUR

Lot 75 - KAJIWARA AYA: A HANAGAKO (FLOWER BASKET) WITH SPIRAL PATTERN - KAJIWARA AYA: A HANAGAKO (FLOWER BASKET) WITH SPIRAL PATTERN By Kajiwara Aya (born 1941), signed Aya saku Japan, 2004 Of compressed globular form, beautifully crafted in openwork with a spiral pattern around the walls, woven with madake (bamboo) and rattan in the maru-ami and kushime-rasenami techniques, and supported on a short foot. The underside incised with the artist signature AYA saku [made by Aya]. HEIGHT 21.3 cm Condition: Excellent condition with minor wear. Provenance: TAI Gallery, Santa Fe, New Mexico, USA. The Estate of Eleanor Koffler, acquired from the above in 2004. A copy of the original purchase receipt and invoice from TAI Gallery, dated 18 and 19 (respectively) August 2004, accompanies this lot. TAI Gallery was founded by Robert T. Coffland, a leading expert in Japanese bamboo arts in the West, who began sourcing works from contemporary masters in Japan. In 2014, the gallery was purchased by Margo Thoma, merged with her own gallery Eight Modern, and rebranded as TAI Modern. Together with Koichiro Okada, a renowned bamboo expert, they support bamboo art in the West by serving as an advisor to Western collectors and institutions, facilitating public demonstrations, and curating bamboo art exhibitions. Works by TAI Modern artists have been placed in some of the country’s most prestigious institutions, including the Art Institute of Chicago, the Metropolitan Museum of Art, the Denver Art Museum, the Los Angeles County Museum of Art, the Asian Art Museum, and many more. Eleanor Koffler was the co-author of the book ‘Freeing the Angel from the Stone: A Guide to Piccirilli Sculpture in New York City’ and an avid collector of Western, Native American, and Asian art. The wood storage box with hakogaki at the top reading ‘Rasen (spiral) patterned Hanakago’ to the exterior and signed Aya saku [made by Aya] with a red seal to the interior. With a Japanese description of the artist’s biography. Kajiwara Aya (born 1941) became the first woman to become a full member of the Japan Traditional Craft Arts Association in 2000 and started winning major awards. Her work is exhibited in the collection of The Metropolitan Museum of Art, New York. Literature comparison: Compare a related bamboo hanakago by Kajiwara Aya, 17.8 cm tall, dated 1990, in the Asian Art Museum, object number 2006.3.481. Auction comparison: Compare a related woven bamboo and rattan basket by Kajiwara Aya, 33 cm tall, dated to 1995, at Christie’s, The Collection of Victoria, Lady de Rothschild, 9 December 2021, London, lot 146 (sold for GBP 12,500). Note the closely related signature and design of the base.

Estim. 4 000 - 8 000 EUR

Lot 76 - MORIGAMI JIN: A BAMBOO HANAGAKO (FLOWER BASKET) FROM THE QUIET OCEAN SERIES - MORIGAMI JIN: A BAMBOO HANAGAKO (FLOWER BASKET) FROM THE QUIET OCEAN SERIES By Morigami Jin (born 1955), signed Jin Japan, circa 1999 Of ovoid form tapering towards the foot, with openwork twining and twill plating, decorated with a wave-like pattern around the walls, signed to the underside in incised characters JIN. HEIGHT 35.5 cm Condition: Excellent condition with minor wear. Provenance: TAI Gallery, Santa Fe, New Mexico, USA. Private collection, acquired from the above in 2004. A copy of the original purchase receipt and invoice from TAI Gallery, dated 29 June 2004, accompanies this lot. TAI Gallery was founded by Robert T. Coffland, a leading expert in Japanese bamboo arts in the West, who began sourcing works from contemporary masters in Japan. In 2014, the gallery was purchased by Margo Thoma, merged with her own gallery Eight Modern, and rebranded as TAI Modern. Together with Koichiro Okada, a renowned bamboo expert, they support bamboo art in the West by serving as an advisor to Western collectors and institutions, facilitating public demonstrations, and curating bamboo art exhibitions. Works by TAI Modern artists have been placed in some of the country’s most prestigious institutions, including the Art Institute of Chicago, the Metropolitan Museum of Art, the Denver Art Museum, the Los Angeles County Museum of Art, the Asian Art Museum, and many more. Morigami Jin (born 1955), was born into a family of weavers and became one of the most talented creators among the young generation of bamboo artists. After completing his training, he created his studio and even employed several young assistants to help him fill the many orders he received for his delicate works, thus introducing a new style of bamboo sculpture to Oita. As a young artist, he submitted his work to the Nitten, the Japan Fine Arts Association, and was accepted without being required to pass through the intermediate stages. In 2004, he was a finalist in the prestigious Cotsen Bamboo Prize competition. Since then, the artist has enjoyed success, especially recently at the Musée du Quai Branly - Jacques Chirac in Paris, where he was acclaimed for his pieces in the Fendre l'Air, Art of Bamboo in Japan exhibition. Auction comparison: Compare a closely related bamboo hangako by Morigami Jin, 31.5 cm tall, dated c. 1999, at Christie’s, The Collection of Victoria, Lady de Rothschild, 9 December 2021, London, lot 166 (sold for GBP 8,125). Note the closely related signature and design of the base.

Estim. 4 000 - 8 000 EUR

Lot 77 - HONDA SYORYU: A LARGE WOVEN BAMBOO BASKETRY SCULPTURE, UNDULATION - HONDA SYORYU: A LARGE WOVEN BAMBOO BASKETRY SCULPTURE, UNDULATION By Honda Syoryu (Shoryu, born 1951), signed Syoryu Japan, 21st century Of abstract form, finely crafted from madake (bamboo) finely woven with a horizontal herringbone pattern. Signed to a bamboo tablet SYORYU. HEIGHT 67 cm Condition: Good condition with little wear, light surface scratches, few tiny splits, small areas of darkening and distortion, and few minuscule losses. Honda Syoryu himself remarks about his work: “I create sculptures about space and time, about the magnificence and mystery of the universe. Six years ago, I moved to the city of Matsumoto, where the sky and mountains spread out before my eyes. I am becoming more and more inspired by the beauty of this area. Working with bamboo, it is almost impossible to have total control over the form that you intend to make. When I make my art, I am in constant dialogue with the bamboo. This material’s unique pliability allows me to draw beautiful, naturally curving lines in space. The textures I create cannot be achieved with any other medium. I feel great satisfaction when working together with the bamboo leads me to create a sculpture beyond my imagination.” Syoryu has virtually abandoned traditional ideas about the function of basketry acquired during his early training, choosing instead to create dramatic curvilinear sculptures from fine stained bamboo strips woven in nawame (twining) technique. Once a few rows of twining have been completed, he leaves the verticals exposed for several inches at both ends, uses hot water to soften the entire piece, and then kneads it into shape, pulling up some of the rows to form the gaps seen in the finished work. The free ends of the verticals are then plaited and secured with a binding of rattan. Syoryu works are held in various museum collections such as The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Boston, MA, and The Asian Art Museum, San Francisco. He has received many prizes for his bamboo sculptures. Auction comparison: Compare a related bamboo sculpture by the same artist, titled Galaxy (Seiun) 2001, at Christie’s, The Collection of Victoria, Lady de Rothschild, 9 December 2021, London, lot 161 (sold for GBP 18,750). Also compare a related bamboo sculpture by the same artist at Zacke, Fine Japanese Art, 16 June 2023, Vienna, lot 168 ( sold for EUR 11,700).

Estim. 5 000 - 10 000 EUR

Lot 80 - HIGASHI TAKESONOSAI: A WOVEN BAMBOO HANGING HANAKAGO (FLOWER BASKET) - HIGASHI TAKESONOSAI: A WOVEN BAMBOO HANGING HANAKAGO (FLOWER BASKET) By Higashi Takesonosai (1915-200), signed Takesonosai Japan, Showa period (1926-1989) Finely woven in ara-ami to form a rounded basket with a short-woven rattan handle to one side for suspension, the basket made from shichiku (purple) and kuroshiku (black) bamboo strips. Signed to the underside TAKESONOSAI. HEIGHT 15.5 cm Condition: Very good condition with minor wear, the upper back interior with a break to a bamboo strip. Provenance: TAI Gallery, Santa Fe, New Mexico, USA. From a private collection, acquired from the above in 2010. A copy of the invoice from TAI Gallery, dated 4 January 2010 and stating a purchase price of USD 2,550, accompanies this lot. TAI Gallery was founded by Robert T. Coffland, a leading expert in Japanese bamboo arts in the West, who began sourcing works from contemporary masters in Japan. In 2014, the gallery was purchased by Margo Thoma, merged with her own gallery Eight Modern, and rebranded as TAI Modern. Together with Koichiro Okada, a renowned bamboo expert, they support bamboo art in the West by serving as an advisor to Western collectors and institutions, facilitating public demonstrations, and curating bamboo art exhibitions. Works by TAI Modern artists have been placed in some of the country’s most prestigious institutions, including the Art Institute of Chicago, the Metropolitan Museum of Art, the Denver Art Museum, the Los Angeles County Museum of Art, the Asian Art Museum, and many more. Eleanor Koffler was the co-author of the book ‘Freeing the Angel from the Stone: A Guide to Piccirilli Sculpture in New York City’ and an avid collector of Western, Native American, and Asian art. Higashi Takesonosai (1915-2003), Kyoto, was a prolific, widely honored master, best known for his unique structural compositions made with parallel construction. Higashi Takesonosai is considered one of the leading bamboo artists of the later twentieth century. He received an early training from the Kyoto based basket makers Kaneka Chikkasai (dates unknown) and Wada Rinshi (dates unknown) and began to develop his own creative style as early as the 1930s. His first solo exhibition as an independent artist was in 1937. His first participation in the prestigious National Exhibition (Nitten) was in 1952. Since then, he gradually began to move from Chinese-style objects (karamono) to a range of expressive new techniques. Literature comparison: Compare a related bamboo and rattan basket by Higashi Takesonosai, 1971, in The Metropolitan Museum of Art, accession number 2019.424.10.

Estim. 800 - 1 500 EUR

Lot 83 - A BROWN, TURQUOISE, AND CREAM-GLAZED CHAWAN (TEA BOWL) - A BROWN, TURQUOISE, AND CREAM-GLAZED CHAWAN (TEA BOWL) Japan, 18th century, Edo period (1615-1868) The bowl in form of a shell with ribs following the curvature of the body, covered in a dark greenish-brown glaze transitioning to a cream color at the well, upper rim, and foot, and with turquoise accents, the cream glaze suffused with crackles. The foot pierced to one side and partially left unglazed to reveal the dark brown ware. LENGTH 11.2 cm WEIGHT 211 g Condition: Very good condition with minor wear and manufacturing flaws including glaze flaking. Provenance: The private collection of the Société Industrielle de Mulhouse, preserved in the society for over 100 years. The base with a collector’s number ‘AD.974.280.1’. An old label ‘14109 727 916 332’ to the base and a label ‘727’ to the interior. Founded in 1826, the Société Industrielle de Mulhouse (SIM) is based in Alsace, France, established under Charles X by Protestant industrialists, including Émile Dollfus and Joseph Koechlin-Schlumberger. Throughout the 19th century, the SIM was a laboratory of ideas, where the ‘Mulhouse model’ was developed, a unique convergence of industry, research, and education. A collection was established with the aim to bring together knowledge in a central location, whether in natural sciences, fine arts, or history. Today, thousands of works remain from these collections, some of them highly prestigious in their fields. Over the decades, much of the collection was given to local museums and cultural institutions.

Estim. 800 - 1 500 EUR

Lot 84 - A TURQUOISE-GLAZED TOKKURI (SAKE FLASK) - A TURQUOISE-GLAZED TOKKURI (SAKE FLASK) Japan, 18th century, Edo period (1615-1868) Of conical form, tapering towards the short straight foot, and surmounted by an elongated neck with everted rim, the upper third covered in a pale-turquoise glaze suffused with a dense network of crackles, the lower third of the vessel covered in a dark-brown glaze above a ribbed body. HEIGHT 22.7 cm WEIGHT 1,301 g Condition: Very good condition with minor wear, small losses to the upper and lower rim with small glaze flakes, and manufacturing flaws including firing cracks to the underside and uneven glazing. Provenance: The private collection of the Société Industrielle de Mulhouse, preserved in the society for over 100 years. The base with a collector’s number ‘AD 974.293.1’, ‘SIM 2008.0.0472’, and ‘9/294’. An old label ‘9574 744 9’ to the base, a label ‘44’ to the neck, and another label ‘Japon 1900 9/6 523’ inside the vase. Founded in 1826, the Société Industrielle de Mulhouse (SIM) is based in Alsace, France, established under Charles X by Protestant industrialists, including Émile Dollfus and Joseph Koechlin-Schlumberger. Throughout the 19th century, the SIM was a laboratory of ideas, where the ‘Mulhouse model’ was developed, a unique convergence of industry, research, and education. A collection was established with the aim to bring together knowledge in a central location, whether in natural sciences, fine arts, or history. Today, thousands of works remain from these collections, some of them highly prestigious in their fields. Over the decades, much of the collection was given to local museums and cultural institutions.

Estim. 1 000 - 2 000 EUR

Lot 86 - A TURQUOISE-GLAZED RAKU WARE MIZUSASHI (WATER JAR) - A TURQUOISE-GLAZED RAKU WARE MIZUSASHI (WATER JAR) Japan, Edo period (1615-1868) Of conical from, the body with horizontal ribs and slightly waisted neck, the exterior and interior covered in an opaque turquoise glaze with creamy-beige and blue accents pooling irregularly along the lower body and forming drops, the lower part unglazed revealing the brown ware. The lower edge of the vessel imprinted with a seal mark ‘RAKU’ in a circular reserve. HEIGHT 13.2 cm WEIGHT 750 g Condition: Very good condition with minor wear and manufacturing flaws including chips to the glaze around the foot. Provenance: The private collection of the Société Industrielle de Mulhouse, preserved in the society for over 100 years. The base with a collector’s number ‘AD 974.247.1’, ‘20629’, and ’66 2/6’. Founded in 1826, the Société Industrielle de Mulhouse (SIM) is based in Alsace, France, established under Charles X by Protestant industrialists, including Émile Dollfus and Joseph Koechlin-Schlumberger. Throughout the 19th century, the SIM was a laboratory of ideas, where the ‘Mulhouse model’ was developed, a unique convergence of industry, research, and education. A collection was established with the aim to bring together knowledge in a central location, whether in natural sciences, fine arts, or history. Today, thousands of works remain from these collections, some of them highly prestigious in their fields. Over the decades, much of the collection was given to local museums and cultural institutions.

Estim. 800 - 1 500 EUR

Lot 89 - KATO KICHIBEI: A SETO-WARE PORCELAIN VASE DEPICTING THE FOUR WORTHIES (SHIKUNSHI) - KATO KICHIBEI: A SETO-WARE PORCELAIN VASE DEPICTING THE FOUR WORTHIES (SHIKUNSHI) By Kato Kichibei, signed Kato Kichibei sei Japan, Meiji period (1868-1912) The oval vase supported on a slightly flaring foot with rounded sides rising to an everted rim. The body decorated with swirling vines and blossoms with four panels depicting the shikunshi (four worthies): orchids, bamboo, kiku (chrysanthemum), and plum blossoms. The upper shoulder of the vase molded with four plump moon rabbits. The base is signed KATO KICHIBEI sei. HEIGHT 24.9 cm Condition: Excellent condition. Provenance: Collection of James and Christine Heusinger. James and Christine Heusinger started collecting Japanese art in the late 1970s. James and Christine worked for a travel agency until James became a prominent carpenter, whose company renovated the office of US Vice President Dick Cheney’s office. His collection began with a modest piece by Seifu Yohei III, and expanded to over 100 pieces. They donated the majority of their pieces to the Cleveland Museum of Art, University Hospitals of Cleveland, and Oishei Children’s Hospital in Buffalo. The Shikunshi, literally ‘the four worthies’ or ‘the four gentlemen,’ are a motif of four plants which represent the four seasons as well as four characteristics adherent to men of virtue. The motif has been popular since the Ming dynasty, and became popular with naga artists in the 18th and 19th centuries in Japan. The orchid is associated with spring as well as purity, loyalty, incorruptibility, and modesty. Bamboo represents summer and the quality of strength and tenacity. Chrysanthemum symbolize autumn as well as regality and stoic honor. And lastly, the plum blossom represents winter, symbolizing vitality and resilience.

Estim. 800 - 1 500 EUR

Lot 91 - SAIKANZAN: AN IZUSHI-WARE PORCELAIN VASE DEPICTING A SMALL VILLAGE - SAIKANZAN: AN IZUSHI-WARE PORCELAIN VASE DEPICTING A SMALL VILLAGE By Saikanzan, signed Saikanzan sei Japan, Izushi, Hyogo prefecture, 19th century The rectangular vase with a baluster shape supported on a flat base, two flange handles, and a flat rim. The main sides finely modeled, one side with a walled village and the other with a small hut beneath tall trees. The narrower sides decorated with butterflies and peaches on a spiral ground. The rim of the base with a mark in underglaze blue SAIKANZAN sei [made by Saikanzan]. HEIGHT 19 cm Condition: Good condition with minor wear, few firing flaws including minor pitting, small chips to edges, and the base restored. Provenance: Collection of Florine Langweil. Collection of the Mulhouse Museum of Fine Arts, Mulhouse, France, acquired from the above. An old shop label to the interior of the vase, ‘Mon. F. Langweil, No. 24, Prix., Collections Anciennes Dela Chine & Du Japan, 26 Place St. Georges. Paris.’ Two other collection numbers appear on the vase: ‘328’ and AD. 974.325.1.’ Florine Langweil (1861-1958) was a prominent dealer of Japanese and Chinese ceramics in the Parisian art market at the turn of the century. After opening up a gallery at the height of the aesthetic Japanism craze, she became on of the most prominent female art dealers in the trade. The Mulhouse Museum of Fine Arts is a part of the Société Industrielle de Mulhouse, an industrial society for the promotion of manufacturing and entrepreneurship founded in 1826. The museum was founded by the Society in 1864 with the donation of local members and is located in the hometown of Florine Langweil. Much of the museum’s collection was confiscated during World War II, and due these losses and damages sustained during the war, the museum did not reopen until 1958.

Estim. 500 - 1 000 EUR

Lot 100 - YABU MEIZAN: A SUPERB SATSUMA CERAMIC VASE WITH A ROYAL PROCESSION - YABU MEIZAN: A SUPERB SATSUMA CERAMIC VASE WITH A ROYAL PROCESSION By Yabu Meizan (1853-1934), signed Yabu Meizan Japan, late 19th to early 20th century, Meiji period (1868-1912) Of baluster shape, the small vase rising to rounded shoulders with a narrow neck and a gently flared rim. The finely crackled beige body decorated in superb enamels and gilt with a royal procession, at its center a lady is being carried by four men inside a palanquin. The lady’s entourage comprising of samurai, banner carriers, a multitude of female and male attendees. The rim of the face is decorated with five panels enclosing millefleur designs. Signed to the base within a gilt reserve YABU MEIZAN. HEIGHT 12 cm (the vase only), HEIGHT 13.3 cm (with the wood base) Condition: Excellent condition. With a fitted wood base. Yabu Meizan (1853-1934) was a Japanese artist and workshop owner known for painting on porcelain. His studio produced high-end Satsuma ware and he was one of the artists who continued the tradition of high artistic quality while also successfully exporting. Meizan actively marketed his work internationally as well as domestically, taking an active role in organizing the presentation of Japanese wares at world fairs. Auction comparison: Compare a closely related satsuma vase by the same artist similarly depicting a royal procession, signed Yabu Meizan, 16 cm high, at Bonhams, Fine Japanese Works of Art, 16 September 2014, New York, lot 2271 (sold for USD 20,000).

Estim. 4 000 - 8 000 EUR
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