Asian Art Discoveries Day 2 - Japanese, Indian & Southea…

Lot 741 - A FINE TRIPTYCH SCROLL PAINTING WITH HOSSU, SKULL AND RUYI SCEPTER A FINE TRIPTYCH SCROLL PAINTING WITH HOSSU, SKULL AND RUYI SCEPTER Japan, 19th century, Edo period (1615-1868) Gouache, gold, and ink on silk, with brocade fabric coated paper frames and mounted as hanging scrolls with wood handles. The first depicting a fly whisk (hossu), sealed and inscribed. The second a skull amid bamboo below a poem about beautiful lady and a hero, sealed, the lower area further inscribed shiwuwei yinshi xu (shiwuwei hermit), and sealed Xue, shiwuwei yinshi. The third depicting a ruyi scepter. Condition: With age-related wear, creases, tiny losses to edges, minor staining, browning and some tears to the mounts. Provenance: French trade. Dimensions: Size incl. mounting 199 x 30.5 cm, 199 x 49 cm and 199 x 30.5 cm

Estim. 400 - 800 EUR

Lot 742 - A PAINTING OF A PEKINGESE, EDO PERIOD A PAINTING OF A PEKINGESE, EDO PERIOD Japan, Edo period (1615-1868) Ink on paper. Expressive painted with bold and vivid brushstrokes to depict a seated Pekingese, sealed and inscribed Hai tian ying, a location in Dalian, China. Dalian has a historic connection with Japan, as it was under Japanese control after defeating Russia in the Russo-Japanese War in 1905. Mounted to a passepartout and framed in a wooden frame, behind plexiglass. Condition: Good condition with minor wear, few creases and possibly touch-ups. Provenance: Collection of Gaston Lazard (1878-1956) and his wife Jane Levy (1886-1985), thence by descent within the same family. Dimensions: Cut out size 34 x 28 cm, Size incl. frame 58 x 50 cm

Estim. 500 - 1 000 EUR

Lot 743 - A PAINTING OF SHOKI, MUROMACHI TO EARLY EDO A PAINTING OF SHOKI, MUROMACHI TO EARLY EDO Japan,16th-17th century, Muromachi period (1333-1573) to early Edo period (1615-1868) Depicting Shoki, dressed in a voluminous robe tightened at the waist with a band, holding a fine sword with elaborate handle in his right hand, the sheath hanging behind his back. The face with a fierce expression, framed by his bushy beard. Ink on paper. Framed behind glass. Condition: Good condition with minor wear, some foxing, few wormholes, some creasing, and small tears at the edges, possibly few minor old repairs. Provenance: German private collection. SIZE 58.1 x 38.7 cm (image), SIZE 82 x 56 cm (incl. frame) Auction comparison: Compare to a related scroll painting of Shoki mounted on a horse, offered at Bonhams, The Ethereal Brush, 10 November 2016, London, lot 4 ( estimate 30,000-50,000 GBP).

Estim. 800 - 1 600 EUR

Lot 744 - A KANO SCHOOL PAINTING OF KANZAN AND JITTOKU A KANO SCHOOL PAINTING OF KANZAN AND JITTOKU Japan, 18 th century, Edo period (1615-1868) Ink and watercolors on paper. Set inside a vintage frame, behind glass. Depicting the two famous immortals Kanzan (Hanshan) and Jittoku (Shide), the latter holding a broom, as the duo raise their head to observe the moon. Image SIZE 26.6 x 11 cm, SIZE incl. frame 47 x 35.2 cm Condition: Good condition with minor wear and minor smudges. Few wormholes. Firmly mounted on a paper frame. Provenance: Ex-collection Teddy Hahn, Darmstadt. A copy of a receipt, dated July 1981, attributing the work to Kano Michinobu (1730-1790) and stating the value of the present lot to “DM 1,800“, accompanies this lot. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, ‘I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.’ Auction comparison: Compare a related painting of Kanzan and Jittoku, by Kano Eino (1631-1696), at Bonhams, Fine Japanese Art, 12 November 2015, London, lot 203 ( sold for GBP 3,500).

Estim. 500 - 1 000 EUR

Lot 745 - SOGA SHOHAKU (1730-1781): AN IMPORTANT SET OF FIVE SCROLL PAINTINGS WITH BIRDS OF PREY SOGA SHOHAKU (1730-1781): AN IMPORTANT SET OF FIVE SCROLL PAINTINGS WITH BIRDS OF PREY Japan, 18 th century. Ink on paper. Mounted as hanging scrolls, on paper, with wooden handles. The set of five paintings depicts finely detailed birds of prey perched high in the treetops, looking down over varying landscapes. (5) Inscriptions: Three paintings bear the seals ‘Joki’ 如鬼 and ‘Jasokuken Shohaku’ 蛇足軒蕭白. Two paintings are sealed ‘Joki’ 如鬼 and ‘Shohaku’ 蕭白. Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his first own gallery in Berlin. The entire family survived the Holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa. Condition: Good condition with minor wear, minuscule soling, small creases, and few old repairs with touch ups. The paper mountings are in similar condition with minor creasing and soiling. Dimensions: Image size ca. 133.5 x 56 cm (each), Size incl. mounting ca. 198 x 67 (each) Soga Shohaku, (1730-1781), original name Miura Sakonjiro, was a Japanese painter of the mid-Edo period who tried to revive the brush-style drawing of the great masters of the Muromachi period. As a young man, Shohaku studied painting under the guidance of Takada Keiho of the Kano school in Kyoto, but his disillusionment with contemporary art led him to look to the past for inspiration. He came to greatly admire the works of the Muromachi painter, Soga Jasoku, and began calling himself Jasoku ken, or Jasoku jussei (‘the tenth’). He excelled in ink monochrome portraits, which he made with powerful brushwork using broad strokes, which is exemplified in these five panels. Many of his paintings today are housed in museums such as the Indianapolis Museum of Art, Kimbell Art Museum, and the Museum of Fine Arts Boston. Museum comparison: Compare a closely related painting by Soga Shohaku, depicting a pair of falcons amongst blossoming branches, signed with an identical seal, in The Indianapolis Museum of Art, accession no. 2000.53. Auction result comparison: Type: Related Auction: Christie’s New York, 22 April 2015, lot 45 Price: USD 81,250 or approx. EUR 98,000 converted and adjusted for inflation at the time of writing Description: Soga Shohaku (1730-1781), Cranes with turtle and rising sun Expert remark: Compare the related motif. Note this set consists of only two hanging scrolls. Note the similar size (each 128.6 x 56.8 cm).

Estim. 15 000 - 30 000 EUR

Lot 746 - † IKEGAMI SHUHO: HAWK ON A ROCKY OUTCROP † IKEGAMI SHUHO: HAWK ON A ROCKY OUTCROP By Ikegami Shuho (1874-1944), signed Shuho with two seals Shuho and Keiryu/Tsugutaka no in Japan, Meiji (1868-1912) to Taisho period (1912-1926) Ink, watercolor, and gouache on silk. Mounted as a hanging scroll on a silk brocade frame with red lacquer handles. Boldly painted with a hawk perched on a rocky outcrop, above crashing waves. Inscriptions: Signed to the upper right, ‘Shuho’ 秀畒, two seals ‘Shuho’ 秀畒 and ‘Keiryu/Tsugutaka no in’ [The seal of Keiryu/Tsugutaka] 継隆之印. The verso inscribed, ‘Takazu Shuho hitsu’ [A painting of a hawk by Shuho] 鷹図秀畒筆. Inscribed to the tomobaku, ‘Ikegami Shuho taka zu’ [Painting of a hawk by Ikegami Shuho] 池上秀畒、鷹図. Image SIZE 123 x 40.5 cm, SIZE incl. mounting 186.5 x 55.7 cm Condition: Excellent condition with minor wear. With an inscribed tomobako storage box. Ikegami Shuho (1874-1944) was born in Nagano Prefecture. He went to Tokyo, studied under Araki Kanpo (1831–1915) and began to show his work at the annual Bunten exhibition, winning third prize in 1914 and the special prize in 1916 and 1917. He was appointed an adjudicator of the Teiten Exhibitions in 1933. He excelled at both landscape and bird-and-flower paintings. Museum comparison: Compare a related scroll painting of a nesting crane, by Ikegami Shuho, in the collection of the National Museum of Modern Art, Tokyo. Auction comparison: Compare a related scroll painting of a pair of deer, by Ikegami Shuho, at Bonhams, Fine Japanese Art, 5 November 2020, London, lot 321 ( sold for GBP 3,188). 13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

Estim. 500 - 1 000 EUR

Lot 747 - UNKOKU TORYU (1804-1895): ‘EAGLES AND FLOWERS’ UNKOKU TORYU (1804-1895): ‘EAGLES AND FLOWERS’ Japan, 19 th century. Ink, watercolors, gouache, and gold paint on silk. Mounted as a hanging scroll, on a silk brocade frame with wooden handles. Vividly painted with a pair of eagles, one cleaning its talon as the other, perched on a plum branch, looks on, the landscape with peony blossoms and a gushing stream. Inscriptions: To the left edge, signed ‘Sesshu matsuyo ...chusai Yoshi ga’ 雪舟末葉O中斎容之画 (‘Painted by Yoshi, a descendant of the Sesshu Toyo school’). Two seals, ‘Yoshi no in’ 容之之印 (‘The seal of Yoshi’) and ‘Tokei’ 等谿 (等渓). The box is inscribed with the dating ‘4th month of Meiji 6’ (corresponding to 1873). The box inscription (hakogaki) says "This scroll was given to a man who lived in Doma area of Sekishu Province (modern Shimane Prefecture). The person who inscribed this lived in Tanshu (Tajima), which is in modern Hyogo Prefecture near Kyoto. The white label on the box lid mentions Sesshu of Sesshu Toyo, the father of Unkoku School. Condition: Very good condition with traces of wear, and minor stains, some slight touch-ups to the background, not the imagery. The brocade frame with expected wear and traces of age. Dimensions: Image size 120.5 x 54.2 cm, Size incl. mounting 212 x 68 cm With an inscribed tomobako storage box. (2) Unkoku Toryu (1804-1895) was a prominent painter during the Edo period. He founded his own school, the Unkoku School of painting, establishing his school’s style in Chugoku and the northern Kyushu region. He painted landscapes in Indian ink in the tradition of Sesshu, proclaiming his school to be the Sesshu’s direct successor. Among his pupils were the renowned Tooku Unkoku who served Terumoto Mori, Toeki Unkoku, and Toji Unkoku. The Sesshu School, founded by Sesshu Toyo, is renowned for its distinctive approach to ink painting. Influenced by Chinese art, the school emphasizes monochrome ink (sumi-e) and bold brushwork. Sesshū, a Zen Buddhist monk and acclaimed artist, incorporated techniques from Chinese painting traditions like the Southern Song and Yuan dynasty literati styles. His landscapes are celebrated for dynamic compositions and expressive ink techniques, capturing nature's essence with simplicity and power. Sesshū's teachings and artistic philosophy passed down through generations, significantly shaping Japanese ink painting during the Muromachi period and leaving an enduring legacy in Japanese art.

Estim. 800 - 1 600 EUR

Lot 748 - A REVERSE GLASS AND MOTHER OF PEARL INLAID PAINTING OF A VIEW OF MOUNT FUJI A REVERSE GLASS AND MOTHER OF PEARL INLAID PAINTING OF A VIEW OF MOUNT FUJI Japan, late 19th to early 20th century Depicting a mountainous landscape with a view of Mount Fuji in the background. A house on stills sits on the bank of a meandering river. Set inside a vintage frame. Provenance: From a private collection in Zagreb, Croatia. Condition: Very good condition with minor wear. Light flaking. The frame with signs of wear and age. Image SIZE 35 x 50 cm, SIZE incl. mounting 43 x 57.8 cm A knowledge transfer from Dutch and Chinese traditions of reverse glass painting initially took place through the city of Nagasaki, where a number of local artists received aspects from both traditions and created a new genre of Japanese art. In time, this art form spread to other parts of Japan, where it took on themes typically seen in Japanese visual media, such as beautiful women, kabuki actors, and landscapes. The inter-medial connections to the woodblock prints became a key part of the Japanese tradition of reverse glass painting and, with the advent of new media in the latter part of the nineteenth century, photography became incorporated into the art form. Literature comparison: Compare a closely related reverse glass painting with a view of Mount Fuji with mother-of-pearl inlays, in the collection of the Dresden State Art Collections, inventory number 52961.

Estim. 150 - 300 EUR

Lot 749 - MAKI OZAN: A FINE SCROLL PAINTING OF AN EGRET AND PINE TREE MAKI OZAN: A FINE SCROLL PAINTING OF AN EGRET AND PINE TREE By Maki Ozan (active c. 1890-1920), signed Shunokaku Ozan with two seals Bokujitsu no in and Bokudo Japan, dated 1918, Taisho period (1912-1926) Ink, watercolors, and gouache on silk. Mounted on a silk brocade and paper frame, with ivory jikusaki (roller ends). Depicting an egret, illuminated by the light of the moon, perched on a craggy pine branch. Inscriptions: Signed to the bottom-right edge, ‘Shunokaku Ozan’ [Ozan, the studio name Shunokaku] 春王閣、桜山, two seals ‘Bokujitsu no in’ [The seal of Bokujitsu] 牧實之印 and ‘Bokudo’ 牧童. Inscribed to the tomobako by the artist, ‘Gekka shirasagi no zu, kinuhon hitahaba’ [Painting of a white egret under the moon, a hanging scroll in the vertical format on silk] 月下白鷺図、絹本直幅. Inscribed to the verso of the lid, ‘Toshi tsuchinoe-uma shigatsu kajo nite, Shunokaku Ozan mizukara daisu’ [Painted in April by the (Kitsuki) castle with cherry flowers, inscribed by myself Ozan, Shunokaku, in the year of the Taisho 7 (1918)] 歳在戊午四月於華城、春王閣桜山自題, with the seal ‘Shiso’ 子叟. Image SIZE 136 x 50.5 cm, SIZE incl. mounting 200 x 65 cm Condition: Very good condition with minor wear and foxing. The frame with usual traces of wear and age. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With an inscribed tomobako storage box.

Estim. 600 - 1 200 EUR

Lot 750 - NAKAJIMA KAHO: A FINE MARUYAMA SCHOOL PAINTING OF A MONKEY UNDER A CHESTNUT TREE NAKAJIMA KAHO: A FINE MARUYAMA SCHOOL PAINTING OF A MONKEY UNDER A CHESTNUT TREE By Nakajima Kaho (1866-1939), signed Kaho with seal Japan, late 19 th century to early 20 th century, Meiji period (1868-1912) Ink and watercolors on silk. Mounted as a hanging scroll on a silk brocade frame, with bone jikusaki (roller ends). The charming painting depicting a stout, seated monkey, its head raised as the simian absentmindedly nibbles on some berries, all the while eyeing the dangling chestnut hanging from the branch above. Inscriptions: Signed 'Kaho' 華鳳 with seal to the left margin. One publisher's label to the back, 'Hachijuyon go, Kaho Sensei, Saru ni Kuri' [No. 84, Master Kaho, Monkey and Chestnut] 八十四号華鳳先生猿ニ栗. Inscribed to the back, ‘painter name Kaho Nakajima, about 100 years old’. Image SIZE 111 x 41 cm, SIZE incl. mounting 195 x 51 cm Condition: Good condition with wear. Some creasing, stains, and two tears. One jiku lost. Provenance: One partial receipt from Tessai-Do. Co., Nawate Sanjo Minami, Kyoto, Japan, dated 5 October 1967, to the back. Nakajima Kaho (1866-1939) studied painting under Mori Kansai (1814-1892) and calligraphy under Tomioka Tessai (1836-1924). In his early years Kaho was a gifted painter in the Maruyama-Shijo tradition. From the late 1910s onwards, he preferred to follow the paths of the 18 th century painters Rosetsu (1754-1799), Ito Jakuchu (1716-1800), and Yosa Buson (1716-1783).

Estim. 500 - 1 000 EUR

Lot 751 - NAGASAWA ROSETSU (1754-1799): PERSIMMON WITH RED AUTUMN LEAVES AND PUPPIES NAGASAWA ROSETSU (1754-1799): PERSIMMON WITH RED AUTUMN LEAVES AND PUPPIES Japan, 18 th century. Ink and watercolor on silk. Mounted as a hanging scroll, with a silk brocade coated paper frame and wooden handles. The free brushwork and playful composition depicting two recumbent puppies sitting under a tree. Inscriptions: To the bottom-left, signed ‘Rosetsu.’ One seal, ‘Gyo’ 魚. The tomobako (storage box) with inscriptions, to the cover, inscribed ‘Rosetsu, Two Puppies,’ a collector’s label to one side ‘Rosetsu komainu-ko (hakushi)’ 蘆雪狛子 (‘Puppies by Rosetsu’), the other side 第三一七號、蘆雪、柿紅葉狛 (‘Number 317, Rosetsu, Persimmon with red autumn leaves and puppies’). Provenance: Collection of Baron Masuda Takashi, Tokyo, Japan, by repute. Louis Pappas Works of Art, San Francisco, 8 August 1969. The James and Marilynn Alsdorf Collection, Chicago, acquired from the above and thence by descent. Baron Masuda Takashi (1848-1938) was a Japanese industrialist, investor, and art collector. He was a prominent entrepreneur in Meiji, Taishō and early Shōwa period Japan, responsible for transforming Mitsui into a zaibatsu through the creation of a general trading company, Mitsui Bussan. Masuda's collection was a legend during his lifetime but was sold by his son after Masuda's death in 1938. Most of the collection is said to have been purchased at that time by Tokyo art dealer Setsu Inosuke. Louis Pappas (1926 - 2018) was an important art dealer in San Francisco, United States. James and Marilynn Alsdorf got married in 1952 and built a life that was centered on art, philanthropy and family. Studying and collecting art was their all-consuming passion, and it took them all over the world. Their spirit of adventure was unique; they went places that few collectors at the time were curious and confident enough to explore. As their interests diversified, so did their collection. ‘They were not strategic in their collecting,’ recalls Bridget Alsdorf, the couple’s granddaughter. ‘They were guided by what fascinated them and gave them pleasure, by knowledge and instinct. They were an incredible team.’ As well as being great collectors, the Alsdorfs were loyal supporters of museums and cultural institutions across Chicago and the wider United States, including the National Gallery of Art in Washington, D.C., the Leigh Block Museum of Art at Northwestern University and the Art Institute of Chicago. James Alsdorf served as Chairman of the AIC from 1975 to 1978, and Marilynn sat on various committees. In 1967, the Alsdorfs joined other prominent Chicago collectors, including, Edwin and Lindy Bergman and Robert and Beatrice Mayer, in founding the Museum of Contemporary Art Chicago, an institution to which they would provide extensive financial and personal leadership. After James’s passing in 1990, Marilynn, who was known as ‘the queen of the Chicago arts community’, continued to build upon her husband’s legacy in art and philanthropy, making a transformative bequest to the AIC in 1997, and funding a curatorial position in Indian and Southeast Asian Art at the AIC in 2006. Condition: Excellent condition with only minor wear. The silk brocade mounting in excellent condition with expected wear. Dimensions: Image size 118.8 x 46 cm, Size incl. mounting 211 x 58.5 cm With an inscribed tomobako storage box. (2) Following the style of his early teacher Maruyama Ōkyo, especially his naturalistic depiction of animals, birds, and fish, Rosetsu established a reputation as an unrestrained and imaginative painter. Nagasawa Rosetsu (1754-1799) was an 18 th-century Japanese painter of the Maruyama School, known for his versatile style. He was born to the family of a low-ranking samurai. He studied with Maruyama Ōkyo in Kyoto. Rosetsu's early period works are in the style of Maruyama Ōkyo, although critics agree that the pupil's skill quickly surpassed his master's. Finally, they had a falling out and Rosetsu left the school. After the break, he worked under the patronage of the feudal lord of Yodo and accepted commissions at several temples. His works are kept in many museums worldwide, including the Dallas Museum of Art, the Walters Art Museum, the Princeton University Art Museum, the Harvard Art Museums, the Los Angeles County Museum of Art, the British Museum, the Minneapolis Institute of Art, and many more. Museum comparison: Compare a closely related painting by Nagasaw Rosetsu in The Walters Art Museum, Baltimore, USA, accession no. 35.74.

Estim. 900 - 1 800 EUR

Lot 752 - CHOKEI GENMYO: A HANGING SCROLL PORTRAITPAINTING OF THE PRIEST WANG YONGMING CHOKEI GENMYO: A HANGING SCROLL PORTRAITPAINTING OF THE PRIEST WANG YONGMING By Chokei Genmyo (died 1734), signed nanajugo-o saika unno Cho Keimin ga Japan, 18 th century, Edo period (1615-1868) Ink, watercolors, and gouache on silk. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Finely painted with a commemorative portrait of the Chinese priest Wang Yongming holding a fly whisk. Inscriptions: Inscribed to the right margin, ‘Fukuto shujin O Eimei (Wang Yongming) ni keihitsu okuru, nanajugo-o saika unno Cho Keimin ga’ [Painting of Wang Yongming who is the Master of Futang, with a fond farewell, painted by (myself) the priest painter Chokei Genmyo, at the age of 75] 福唐主人王永明送恵筆、七十五翁済下雲納兆渓明画. Several seals, including ‘So Genmyo’ [Priest Genmyo] 僧O元明and ‘Chokei’ 兆渓. Image SIZE 96 x 40.6 cm, SIZE incl. mounting 190 x 55 cm Condition: Very good condition with minor wear. Some creasing, tiny tears with associated repairs, and foxing. The frame with usual wear and small tears and losses along the edges. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. Chokei Genmyo (died 1734) was a painter monk who lived in the Edo period. He belonged to the Obaku school of painting and studied under Tetsugyu Doki at Kofuku-ji Temple, Edo. He extensively studied paintings of the legendary master painter Mincho (1352-1431) and drew from his legacy.

Estim. 600 - 1 200 EUR

Lot 753 - MARUYAMA OKYO: A FINE PAINTING OF THE SEVEN LUCKY GODS (SHICHIFUKUJIN) MARUYAMA OKYO: A FINE PAINTING OF THE SEVEN LUCKY GODS (SHICHIFUKUJIN) By Maruyama Okyo (1733-1795), signed Okyo with two seals Okyo no in and Chusen Japan, dated 1790, Edo period (1615-1868) Ink, watercolors, gold paint, and gouache on silk. Mounted on a silk brocade frame and set inside a vintage frame, behind glass. A charming painting of the seven Lucky Gods engaged in different activities and games with small boys who are running around and playing with the various attributes of the deities. Inscriptions: Inscribed and signed to the bottom-right corner, ‘Kansei Kanoeinu Chushun sha, Okyo’ [Painted by Okyo in the middle of spring, Kansei Kanoeinu (corresponding to the year 1790)] 寛政庚戌仲春写, 應舉, with two seals "Okyo no in 應舉之印" [The seal of Okyo] and Chusen 仲選". Chusen was one of the art names (go) used by Okyo. Image SIZE 123 x 55 cm, SIZE incl. frame 155.5 x 74.5 cm Condition: Good condition with wear. Some creasing, folds, and soiling. Maruyama Okyo (1733-1795), from present-day Kameoka, Kyoto, was a student at the Kano School of painting. He gained much renown after his first commission, the Seven Misfortunes and Seven Fortunes. As his public image grew, Okyo founded his own school in Kyoto, the Maruyama School of painting, dedicated to his style of blending Western naturalism with Eastern decorative designs. He taught his students to rely on nature to render images in a realistic picture of light, shadow, and forms. The school grew popular, and branches soon appeared in other locations, including Osaka. Much of the school's work is today preserved at Daijo-ji, a temple in Kasumi. Noteworthy pupils include Okyo's son, Maruyama Ozui, Nagasawa Rosetsu, and Matsumura Goshun.

Estim. 600 - 1 200 EUR

Lot 754 - A FINE BUDDHIST SCROLL PAINTING OF THE DEITY INARI, 18TH CENTURY A FINE BUDDHIST SCROLL PAINTING OF THE DEITY INARI, 18TH CENTURY Japan, 18 th century, Edo period (1615-1868) Ink, watercolors, gold, and gouache on silk. Mounted as a hanging scroll on a fine silk brocade frame with gilt metal jikusaki (roller ends) incised with lotus blossoms. Depicted as a beautiful deity, dressed in voluminous robes and adorned in jewels, riding a fox (kitsune), the deity’s right hand clasped around the hilt of a sword and the left holding a cintamani (wish granting jewel). The fox with a further jewel in its mouth, moving swiftly and gliding on the clouds below. Image SIZE 81.5 x 35 cm, SIZE incl. mounting 164 x 51.4 cm Condition: Very good condition with wear. Some light foxing and tiny stains, some with minor associated touchups. The mounting in excellent condition with minor wear. As a deity representing the wisdom of the Lotus Sutra, Inari is invoked in many Nichiren Shu temples. Especially famous are the Fushimi, Yutoku and Toyokawa Inari shrines which are known as the “Three Great Inari of Japan”, as well as the Nichiren Shu temple called “Saijo Inari-san Myokyoji” in Okayama Prefecture. You can find Inari-san enshrined in many people’s homes, along with Daikokuten, the god of happiness, wealth and longevity, and the water deities “Hachi Dai-ryu-o” (the Eight Great Dragon Kings). Museum comparison: Compare a related scroll painting of Dakini dated to the 14 th century in the Metropolitan Museum of Art (The MET), New York, accession no. 2000.274.

Estim. 600 - 1 200 EUR

Lot 755 - A RARE COLLABORATIVE HANGING SCROLL PAINTING DEPICTING THE TWELVE ANIMALS OF THE ZODIAC (JUNISHI) A RARE COLLABORATIVE HANGING SCROLL PAINTING DEPICTING THE TWELVE ANIMALS OF THE ZODIAC (JUNISHI) Various artists Japan, first half 20 th century, Taisho (1912-1926) to Showa era (1926-1989) Ink, watercolors, and gouache on silk. Mounted as a hanging scroll on a silk brocade frame. For this collaboration, twelve artists each freely painted one animal of the twelve animals of the zodiac. Inscriptions: Each animal is signed and sealed with an artist’s signature, including Rankei 蘭渓; Hakuho 白甫 (Mori Hakuho); Keisui 渓水 (Ito Keisui). Image SIZE 103.4 x 26.4 cm, SIZE incl. mounting 186 x 39 cm Condition: Very good condition with minor wear, creasing, and some soiling. The mounting with usual traces of wear and age. The present painting was likely created during an impromptu painting party (shogakai) where several respected painters collaborated in front of an audience to create this artwork with a limited number of strokes in a relatively short space of time. These types of events became popular during the Meiji area and Kawanabe Kyosai (1831-1889) in particular was known to frequent them, often under the heavy influence of copious amounts of sake. This type of impromptu painting is also referred to as sekiga. Mori Hakuho (1898-1980) was born in Tokyo and exhibited in government shows and at the Nitten. He won the Japan Art Academy Prize in 1957. Ito Keisui (1879-1967) was a major figure in the world of Japanese painting from the Meiji to the Showa eras. He studied under Hirai Chokusui and Yamamoto Shunkyo, and was active in the Teiten and Bunten exhibitions.

Estim. 1 000 - 2 000 EUR

Lot 756 - SHIBATA ZESHIN (1807-1891): RUSU MOYO (ABSENT MOTIF) FOR FUKUROKUJU SHIBATA ZESHIN (1807-1891): RUSU MOYO (ABSENT MOTIF) FOR FUKUROKUJU Japan, 19 th century. Ink, watercolor, and gouache on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame with wooden handles. Finely painted depicting a peaceful, autumnal scene of two monkeys hanging from the vine-clad branches of a pine tree, peering down towards a wasps' nest, guarded by other wasps, two bats hovering around a stag and a deer grazing beside a stream, abundant reishi fungi, grasses, and bamboo growing from behind rocks in the foreground. Inscriptions: Signed, ‘Zeshin utsusu, 是真寫 (‘painted by Zeshin’), and sealed with a pot seal, ‘Zeshin’ 是真, and a square seal, ‘Koma’ 古満. Condition: Excellent condition with minor wear, very light creasing, and microscopic staining. The silk brocade shows minor wear and soiling. Dimensions: Image size 123.7 x 55 cm, Size incl. mounting 214.5 x 70 cm With a fitted tomobako storage box. (2) The combination of a bat (fuku), stag (roku), and pine (ju) are not only symbolic motifs for prosperity and longevity but also make up the reading for Fukurokuju, the god of longevity, whose image is intentionally omitted from this painting. Shibata Zeshin (1807-1891) was a Japanese painter and lacquer artist of the late Edo period and early Meiji era. He studied under the great artists of the Kyoto school, including Maruyama Okyo, Okamoto Toyohiko, and Goshin. Though he would later be known primarily for his work with lacquers, Zeshin excelled at traditional ink painting, and produced many works of traditional subjects such as tigers and waterfalls. He inherited the Koma School workshop after his old teacher, Koma Kansai, died in 1835. It was here that he experimented with the technical aspects of lacquer. Along with Nakayama Komin and Shirayama Shosai, he is considered one of the three great late lacquerers of Japan. Shibata Zeshin's 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 a style and variety unheard of at the time.

Estim. 6 000 - 12 000 EUR

Lot 757 - A FINE SUIBOKU-GA SCROLL PAINTING, ‘GIBBONS REACHING FOR THE MOON’S REFLECTION’ A FINE SUIBOKU-GA SCROLL PAINTING, ‘GIBBONS REACHING FOR THE MOON’S REFLECTION’ Japan, early Edo period (1615-1868). Ink on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame with red lacquered wooden handles. Depicting a lively scene with fifteen monkeys hanging off a cliff, their arms extended to form a chain, attempting in vain to fish the reflection of the moon in the water below. Inscriptions: To the verso, inscribed ‘Enko ryu ga’ 猿猴柳画 (‘Painting of monkeys and willow tree’). Provenance: From an old French private collection. Condition: Very good condition with only minor wear and slight creasing. The brocade mounting with expected wear and traces of age. Dimensions: Image size 98 x 10 cm, Size incl. mounting 160 x 24 cm A common theme in Zen paintings: monkeys trying to capture the moon’s reflection in water. The image derives from a Buddhist story in which five hundred monkeys hold on to each other’s tails and attempt to seize the reflection of a moon in a well; they fail when the branch from which they are hanging breaks. The monkeys stand for unenlightened people who cannot distinguish between reality and illusion.

Estim. 1 500 - 3 000 EUR

Lot 758 - A BUDDHIST SCROLL PAINTING DEPICTING AMIDA NYORAI, EDO PERIOD A BUDDHIST SCROLL PAINTING DEPICTING AMIDA NYORAI, EDO PERIOD Japan, c. 1820-1840, Edo period (1615-1868) Ink, watercolors, and gold paint on silk. Mounted as a hanging scroll on a silk brocade frame. Finely painted with the Buddha Amida Nyorai standing on a lotus dais surrounded by an illuminating nimbus. Inscriptions: The verso inscribed with two inscriptions, the first ‘Honganji Shaku Tatsunyo with the kao, Hoben hoshin sonkei’ [A sacred image of Buddha as Dharma-kaya (“truth-body” or “reality-body”) and Upaya, painted by priest Tatsunyo of the (Higashi) Honganji Temple] 本願寺釈達如、花押。法便法身尊形; the second, a votive inscription on the painting by the devotees, ‘Ganshu shaku Keikan, shakuni Myoki’ [Votive dedication by priest Keikan, and nun Myoki] 願主釈敬歓、釈尼妙喜. Image SIZE 35.7 x 16.4 cm, SIZE incl. mounting 78.5 x 30.3 cm Condition: Excellent condition with minor wear. The silk brocade frame with signs of use and wear. Tatsunyo (1780-1865) was the 20 th abbot of the Higashi Honganji Temple, Kyoto. He was known for his skills in painting and calligraphy. He resided as the head abbot for 54 years between 1792 and 1846, succeeding his father Jonyo (1744-1792), who passed away as the 19th abbot of the same temple. Tatsunyo’s ingo (title given to a Buddhist priest) was Mujokakuin. His imina (personal name) was Mitsuro. His gago (pseudonym) was Gusen. His childhood name was Setsumaru (later changed to Koyomaru).

Estim. 800 - 1 600 EUR

Lot 759 - A SIGNED SCROLL PAINTING OF TWO SUMO WRESTLERS A SIGNED SCROLL PAINTING OF TWO SUMO WRESTLERS Japan, Edo Period (1615-1868) Ink and watercolors on paper. Mounted on paper frame. Signed. Finely painted with two sumo wrestlers locked in combat, the one in the back executing the kawazu gaku technique (one leg entanglement drop), as he coils his leg around his opponent’s, effectively using his weight to topple him. Both with neatly detailed faces showing intense, strained expressions. Image SIZE 84 x 36 cm, SIZE incl. mounting 96 x 42.5 cm Condition: Very good condition with minor wear. Minor flaking, tiny tears along the edges, few creases, and minuscule losses. Provenance: From the private collection of Thomas Padua, Mühldorf, Germany. Thomas Padua was an artist and collector of Japanese woodblock prints who exhibited his surimono collection at the Olaf Gulbransson Museum, in ‘Glückwünsche aus Kyoto: Japanische Shijo-Surimono aus der Sammlung Thomas Padua,’ 3 November 2013 to 26 January 2014. The two wrestlers practice the kawazu throw, so named after the famous wrestler Kawazu no Saburo Sukeyasu. When the latter was pulled up by his opponent Matano Goro Kunihisa (Kagehisa) by the loincloth, Sukeyasu prevented the hip swing by bringing down his opponent with his leg. In the present painting, too, it appears as if the wrestler in the front will be victorious, but the leg entanglement drop is already in process and in a matter of mere seconds he will by lying on the ground, defeated.

Estim. 250 - 500 EUR

Lot 760 - NOBUHIDE: ‘ONNA SAN NO MIYA AND CAT’ NOBUHIDE: ‘ONNA SAN NO MIYA AND CAT’ Japan, Edo period (1615-1868). Ink, watercolors, gouache, and gold paint on paper. Mounted as a hanging scroll, on partially fabric coated paper, with lacquered handles. Vividly painted in bright colors with Onna San No Mia (the third princess) in voluminous robes of green and red, her long flowing hair touches the floor as a recumbent cat plays with the hem of her robe, at her feet. Inscriptions: To the bottom-left, signed ‘Nobuhide hitsu’ 信秀筆 (‘Painted by Nobuhitsu’). One seal, ‘Nobuhide’ 信秀. Provenance: French private collection. Condition: Shows few tears, some touch-ups, creasing, and minor losses but still presenting well. The mounting with usual traces of wear and age. Dimensions: Image size 78 x 33.2 cm, Size incl. mounting 154.4 x 45.3 cm

Estim. 500 - 1 000 EUR

Lot 761 - HOTEI: A PAINTING OF BIRDS AMONG CLOVERS HOTEI: A PAINTING OF BIRDS AMONG CLOVERS Signed Hotei with seal Hotei Japan, 20th century Ink, watercolors, and gouache on thick paper. Depicting a pair of birds walking among clovers and tall grass at dawn, the rising sun to the back. Inscriptions: Signed to the bottom-left margin, ‘Hotei’ 芳亭, one seal, Hotei 芳亭. SIZE 59.1 x 46.3 cm Condition: Very good condition with minor wear, especially along the edges. Slight browning to the margins, some foxing, and one stain to the bottom-left corner.

Estim. 400 - 800 EUR

Lot 762 - AFTER KANO TSUNENOBU: A SCROLL PAINTING OF JUROJIN AFTER KANO TSUNENOBU: A SCROLL PAINTING OF JUROJIN After Kano Tsunenobu (1636–1713), signed Tsunenobu sho Japan, 19 th century Ink and watercolors on paper. Mounted as a hanging scroll on a paper frame, with wood jikusaki (roller ends). Depicting a seated Jurojin, dressed in voluminous robes, holding an uchiwa, as a small minogame approaches him. Inscriptions: Signed to the bottom right edge, ‘Tsunenobu sho’ [Painted by Tsunenobu] 常信書. Image SIZE 60.7 x 37.3 cm, SIZE incl. mounting 144 x 51.5 cm Condition: Good condition with minor wear and slight browning of paper. One fold, some creasing, and minor ink smudges. Provenance: From the estate of Sear Hang Hwie Pao (1937-2009). Pao was one of Canada’s leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto’s trendy Yorkville area from the 1980s to early 2000s. Kano Tsunenobu (1636–1713) was a Japanese painter of the Kano school. He first studied under his father, Kano Naonobu, and then his uncle, Kano Tan'yu, after his father's death. He became a master painter and succeeded his uncle Tan'yu as head of the Kano school in 1674. It is believed many works attributed to Tan'yu might actually be by Tsunenobu, but it is difficult to know since they often worked on larger pieces together.

Estim. 400 - 800 EUR

Lot 763 - A HANGING SCROLL PAINTING OF A CRANE UNDER A WITHERED TREE, AFTER MARUYAMA OKYO, c. 1920s A HANGING SCROLL PAINTING OF A CRANE UNDER A WITHERED TREE, AFTER MARUYAMA OKYO, c. 1920s Japan Ink on paper. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Depicting a crane preening its feathers under a withered tree. Inscriptions: Signed ‘Rakuyo Maruyama Shusui’ 洛陽圓山主水 with seal. Image SIZE 125 x 49 cm, SIZE incl. mounting 207 x 64 cm Condition: Good condition with minor wear and slight browning of paper. Creases, folds, some foxing, and tiny tears and losses. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With a wood tomobako storage box. (2) Maruyama Okyo (1733-95) is pivotal to Japanese art history for being one of the first artists to paint directly from nature rather than from paintings and sketches.

Estim. 150 - 300 EUR

Lot 764 - A HANGING SCROLL PAINTING OF JUROJIN WITH CRANE, c. 1900s A HANGING SCROLL PAINTING OF JUROJIN WITH CRANE, c. 1900s Japan, late 19 th to early 20 th century Ink on paper. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Depicting Jurojin seated with his crane on a rocky outcrop. Inscriptions: Signed with two seals. Image SIZE 122.5 x 51.5 cm, SIZE incl. mounting 212 x 66.2 cm Condition: Good condition with wear. Tears, creases, folds, and minor losses. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With a wood tomobako storage box. (2)

Estim. 150 - 300 EUR

Lot 765 - A PAINTING OF BAMBOO AND MOON, ATTRIBUTED TO KANO TAN'YŪ A PAINTING OF BAMBOO AND MOON, ATTRIBUTED TO KANO TAN'YŪ Signed with seal Kano Japan, 17th–18th century, Edo Period (1615-1868) Ink on paper. Mounted on a silk brocade frame and set inside a vintage frame. Finely painted with a tall bamboo growing among thick shoots, the full moon in the background. Inscriptions: Sealed to the bottom-right corner, ‘Kano’. Image SIZE 84 x 42.7 cm, SIZE incl. frame 111 x 50.8 cm Conditions: Good condition with wear. Few stains, scratches, minor losses, and soiling. The verso with some wear and tear. Provenance: Japan Art - Galerie Friedrich Müller, Frankfurt. Ex-collection Teddy Hahn, Darmstadt, acquired from the above. An old label, ‘Sotheby’s founded 1744 – 364’. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, ‘I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.’ Museum comparison: For a closely related painting of sparrow and bamboo, attributed to Kano Tan’yu, see the collection of the Metropolitan Museum of Art, accession number 14.76.35.

Estim. 350 - 700 EUR

Lot 766 - A PAINTING OF A CARP A PAINTING OF A CARP Japan, Meiji period (1868-1912) Ink and watercolors on paper. Set inside a vintage frame, behind glass. Painted with a carp with its mouth open as it slurps an aquatic worm among the reeds. Image SIZE 23.5 x 35 cm, SIZE incl. frame 43 x 59.5 cm Condition: Very good condition with minor wear. Some soiling and creasing. The frame in excellent condition. Provenance: From the collection of Teddy Hahn, Darmstadt, and thence by descent to the present owner. A copy of a receipt, dated July 1980, confirming the dating above, accompanies this lot. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, ‘I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.’

Estim. 250 - 500 EUR

Lot 767 - A PAINTING OF A CARP ON A PLATTER A PAINTING OF A CARP ON A PLATTER Japan, Meiji period (1868-1912) Ink on paper. Set inside a vintage frame, behind glass. Boldly painted with fresh carp displayed on a platter. Image SIZE 27.5 x 37 cm, SIZE incl. frame 43 x 59.5 cm Condition: Very good condition with minor wear. Some soiling. Firmly mounted behind a passepartout. The frame in excellent condition. Provenance: From the collection of Teddy Hahn, Darmstadt, acquired from Japan Art, Frankfurt, 1981, and thence by descent to the present owner. A copy of the receipt from Japan Art, Frankfurt, dated 9 May 1981, stating the purchase price as DEM 1,200 or EUR 1,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, ‘I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.’

Estim. 250 - 500 EUR

Lot 768 - A PAINTING OF MALLARDS AMONG REEDS A PAINTING OF MALLARDS AMONG REEDS Japan, 19 th century Ink and watercolors on silk. Set inside a frame, behind plexi-glass. Depicting a family of mallards among wild reeds growing by the side of a pond, a majestic mountain in the background, and few birds flying high in the sky. SIZE 157 x 57 cm Provenance: Ex-collection Teddy Hahn, Darmstadt. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.” Teddy Hahn was a passionate collector of snail netsuke, arguably building the greatest collection of snail netsuke ever assembled. Condition: Overall good condition with wear and slight browning. Some foxing, slight fading, and few stains, and soiling. The upper right with few small tears.

Estim. 300 - 600 EUR

Lot 769 - A SIX-PANEL BYOBU SCREEN FEATURING SCENES INSPIRED BY WOODBLOCK PRINTS A SIX-PANEL BYOBU SCREEN FEATURING SCENES INSPIRED BY WOODBLOCK PRINTS Japan, Meiji period (1868-1912) or slightly later Ink, watercolors, gold paint, gouache, and sprinkled gold on paper. Mounted on paper on six wood panels with a black-lacquer frame and chased metal fittings. The first and second panel painted with two Heike generals, Sasaki Takatsuna and Kajiwara Kagesue, on their horses, crossing the Uji River which signaled the beginning of the first Battle at Uji Bridge. The third and fourth panel, are inspired by the woodblock prints by Chikanobu (1838 - 1912), depict Miura Daisuke Yoshiaki and the Minamoto retainer Kajiwara Kagetoki waiting for the Taira. The fifth panel, inspired by the woodblock print by Chikanobu (1838 - 1912), depicts Princess Minazuru, secretly giving a scroll to the young nobleman Ushiwakamaru, the future Minamoto no Yoshitsune. The sixth panel, inspired by the woodblock print by Chikanobu (1838 - 1912), depicts Lady Tokiwa and her three sons escaping through the snow from Kyoto to nearby Fushimi after her husband Minamoto no Yoshitomo was murdered. TOTAL SIZE 376 x 171.5 cm Condition: Excellent condition with minor wear, few stains, and some flaking. Fresh colors. The hinges slightly loose. Minimal wear to the verso.

Estim. 1 200 - 2 400 EUR

Lot 770 - A SCROLL PAINTING OF CRANES, AFTER NAGASAWA ROSETSU, c. 1920s A SCROLL PAINTING OF CRANES, AFTER NAGASAWA ROSETSU, c. 1920s Japan, late 19th to early 20th century Ink and watercolors on paper. The fan-shaped painting mounted on a hanging scroll with a silk brocade frame. Deftly painted with a group of red-crowned cranes huddled together as they peer into the distance. Inscriptions: Signed ‘Rosetsu’ 蘆雪 with seal ‘Nagasawa Rosetsu’ 長澤蘆雪 . Image SIZE 39 x 52 cm, SIZE incl. mounting 131 x 65.5 cm Condition: Good condition with wear. Some fading, creasing, folds, and tiny stains. With a wood tomobako storage box. (2) Nagasawa Rosetsu (1754-1799) was an 18th-century Japanese painter of the Maruyama School, known for his versatile style. He was born to the family of a low-ranking samurai. He studied with Maruyama Okyo in Kyoto. Rosetsu's early period works are in the style of Maruyama Okyo, although critics agree that the pupil's skill quickly surpassed his master's. Finally, they had a falling out and Rosetsu left the school. After the break, he worked under the patronage of the feudal lord of Yodo and accepted commissions at several temples. His works are kept in many museums worldwide, including the Dallas Museum of Art, the Walters Art Museum, the Princeton University Art Museum, the Harvard Art Museums, the Los Angeles County Museum of Art, the British Museum, the Minneapolis Institute of Art, and many more.

Estim. 150 - 300 EUR

Lot 771 - A SCROLL PAINTING OF HYDRANGEAS, AFTER AOKI MOKUBEI, c. 1920s A SCROLL PAINTING OF HYDRANGEAS, AFTER AOKI MOKUBEI, c. 1920s Japan, late 19th to early 20th century Ink on paper. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Freely painted with sprigs of hydrangea blossoms and buds. Inscriptions: Signed ‘Robei’ 聾米 with two seals. Image SIZE 100.5 x 28 cm, SIZE incl. mounting 167 x 40 cm Condition: Very good condition with minor wear and slight browning of paper. Minor creasing and few wormholes with associated repairs. The mounting with traces of wear. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With a wood tomobako storage box. (2) Aoki Mokubei (1767-1833) learned to paint while working primarily as a potter. He established himself as a painter in the Nanga (Literati school) style. He grew up in the Gion district of Kyoto, where his family owned a restaurant and brothel. Mokubei began making pottery under the guidance of Okuda Eisen (1753–1811), and he was soon celebrated for his copies of Chinese ceramics. Together with Eisen and Nin’ami Dohachi (1783–1855), he is credited with reviving the ceramics traditions of Kyoto.

Estim. 100 - 200 EUR

Lot 772 - A SCROLL PAINTING OF A RED-CROWNED CRANE, AFTER MORI TETSUZAN A SCROLL PAINTING OF A RED-CROWNED CRANE, AFTER MORI TETSUZAN Japan, Meiji period (1868-1912) Ink, watercolors, and gouache on silk. Mounted as a hanging scroll on a silk brocade frame with stag antler handles. Finely painted with a red-crowned crane standing on a rock with its wings spread under a gnarled pine tree; an overgrown peony bush blooms nearby. Inscriptions: Signed ‘Tetsusan’ with seals. Image SIZE 94.3 x 32.6 cm, SIZE incl. mounting 188 x 44 cm Condition: Very good condition with minor wear. Tiny losses and few stains. The mounting with usual traces of wear. With a wood tomobako storage box. (2)

Estim. 150 - 300 EUR

Lot 773 - A SCROLL PAINTING OF A SUNSET, c. 1920s A SCROLL PAINTING OF A SUNSET, c. 1920s Japan, late 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a silk brocade frame with stag antler handles. Depicting a view of a setting sun through the leaves of a gnarled pine tree. Inscriptions: Signed ‘Tsunenobu hitsu’ 常信筆 with seal. Image SIZE 93.5 x 26.5 cm, SIZE incl. mounting 179 x 39 cm Condition: Good condition with minor wear and browning of paper. Few holes, creasing, soiling, and wormholes with associated repairs. With a wood tomobako storage box. (2)

Estim. 150 - 300 EUR

Lot 774 - A SCROLL PAINTING REFERENCING A BOY´S FESTIVAL, SHOBU NO SEKKU A SCROLL PAINTING REFERENCING A BOY´S FESTIVAL, SHOBU NO SEKKU Japan, Edo period (1615-1868) to Meiji period (1868-1912) Ink and watercolors on paper. Mounted as a hanging scroll on a silk brocade frame with stag antler handles. Depicting a koboshi kabuto with a dragon maedate flanked by large kuwagata and irises (shobu). Inscriptions: Signed ‘Taigado Ka[…]’ 大雅堂霞 […] with seals. Image SIZE 123.5 x 33.7 cm, SIZE incl. mounting 196 x 47.3 cm Condition: Very good condition with minor wear. Tiny stains and some creasing. The mounting with usual traces of wear. With a wood tomobako storage box. (2)

Estim. 150 - 300 EUR

Lot 775 - A SCROLL PAINTING OF PEONY BLOSSOMS, AFTER SAKAI HOITSU, c. 1920s A SCROLL PAINTING OF PEONY BLOSSOMS, AFTER SAKAI HOITSU, c. 1920s Japan, late 19th to early 20th century Ink, watercolors, and gouache on paper. Mounted as a hanging scroll on a silk brocade frame with stag antler handles. Depicting large peony blossoms and buds growing from a gnarled bush. Inscriptions: Signed ‘Hoitsu […]’ 枹一 […] with seal. Image SIZE 88.5 x 30 cm, SIZE incl. mounting 195 x 35 cm Condition: Good condition with wear and slight browning of paper. Some creasing, flaking, and minor foxing. The frame with usual traces of wear and age. With a wood tomobako storage box. (2) Sakai Hoitsu (1761–1828) was a Japanese painter of the Rinpa school. He is known for having revived the style and popularity of Ogata Korin, and for having created a number of reproductions of Korin's work.

Estim. 150 - 300 EUR

Lot 776 - A HANGING SCROLL PAINTING OF A CROW, AFTER YOSHIMURA KOKEI, c.1920s A HANGING SCROLL PAINTING OF A CROW, AFTER YOSHIMURA KOKEI, c.1920s Japan, late 19 th to early 20 th century Ink and watercolors on paper. Mounted as a hanging scroll on a silk brocade frame with lacquer handles. Depicting a crow flying, the sunset in the background. Inscriptions: Inscribed, signed ‘Kokei’ 考敬, and sealed to the bottom register. Image SIZE 106.5 x 28.5 cm, SIZE incl. mounting 183 x 30.5 cm Condition: Very good condition with minor wear and slight browning. Some creasing. With a wood tomobako storage box. (2) Yoshimura Kokei (1769-1836) lived in Kyoto and specialised in kacho-ga. He was one of Maruyama Okyo's ten famous pupils. Whilst in the service of the Nishi Hongan-ji, he painted a series of screens.

Estim. 150 - 300 EUR

Lot 777 - A SCROLL PAINTING OF GAMBOLING PUPPIES, AFTER MARUYAMA OKYO, c. 1900s A SCROLL PAINTING OF GAMBOLING PUPPIES, AFTER MARUYAMA OKYO, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on silk. Mounted as a hanging scroll on a silk brocade frame with stag antler handles. Depicting three puppies gamboling under the shade of a tree. Inscriptions: Signed ‘Okyo’ 應擧 with seal. Image SIZE 97.2 x 36.2 cm, SIZE incl. mounting 183 x 45 cm Condition: Good condition with wear and browning. Creasing, folds, and soiling. The frame with wear and age. With a wood tomobako storage box. (2) Dogs, one of the twelve animals of the Japanese zodiac, have always been popular pets in Japan. They symbolize good health, and robust children are commonly described as being healthy as puppies. For this reason it has long been the custom to present new born babies with toy dogs as a charm to ensure their healthy growth. Maruyama Okyo (1733-95) is pivotal to Japanese art history for being one of the first artists to paint directly from nature rather than from paintings and sketches.

Estim. 150 - 300 EUR

Lot 778 - A SCROLL PAINTING OF A SCHOLAR’S ROCK UNDER A PINE TREE, AFTER URAGAMI SHUNKIN A SCROLL PAINTING OF A SCHOLAR’S ROCK UNDER A PINE TREE, AFTER URAGAMI SHUNKIN Japan, late 19th to early 20th century Ink and watercolors on silk. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting a porous scholar’s rock under a tall, gnarled pine tree. Inscriptions: Signed ‘sha’寫, ‘Shunkin’ 春琴 with seal. Dated ‘Kanoeko Seiwagetsu’ 丙甲清和月 (corresponding to 1836). Image SIZE 109 x 33.5 cm, SIZE incl. mounting 200 x 46.3 cm Condition: Very good condition with minor wear. Some soiling and minor folds and creasing. The mounting with usual traces of wear and age. With a wood tomobako storage box. (2) Uragami Shunkin (1779-1846) was a Japanese nanga (literati) painter who lived during the late Edo period. He was born in Bizen Province (present-day Okayama Prefecture) as the first son of Uragami Gyokudo, who was a samurai for the Ikeda daimyo at the time. He learned painting and calligraphy from his father when he was a child. Around 1792, the art dealer Nyoi Dojin began buying Gyokudo’s as well as Shunkin’s works. Uragami Shunkin later settled in Kyoto, establishing himself as a Literati painter conversant in the related arts of poetry, calligraphy, and playing the koto, the musical instrument that had been one of his father’s fortes. Shunkin, who was active in the intellectual and literary circle of Rai Sanyo (1780–1832) and others in Kyoto, also achieved a reputation as a connoisseur of antique paintings, calligraphies, inkstones, and metalwork, all of which he collected himself.

Estim. 150 - 300 EUR

Lot 779 - A SCROLL PAINTING OF MONKS AT A FEAST, c. 1920s A SCROLL PAINTING OF MONKS AT A FEAST, c. 1920s Japan, late 19th to early 20th century Ink, watercolors, and gouache on paper. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Depicting several seated monks leisurely enjoying a meal and talking to each other. Inscriptions: Inscribed and signed with two seals ‘Nobori’ 登 and ‘Zenrakudo’ 全楽堂. Image SIZE 102 x 43.5 cm, SIZE incl. mounting 180 x 59.5 cm Condition: Very good condition with minor wear and slight browning of paper. Some folds, creasing, stains, and foxing. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With a wood tomobako storage box. (2)

Estim. 150 - 300 EUR

Lot 780 - A SCROLL PAINTING OF MONKEYS, AFTER MATSUMURA GOSHUN, c. 1900s A SCROLL PAINTING OF MONKEYS, AFTER MATSUMURA GOSHUN, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on silk. Mounted as a hanging scroll on a silk brocade frame with stag antler handles. Depicting eleven mischievous monkeys in a mountainous landscape. Inscriptions: Signed ‘Goshun’ 呉春 with seal. Image SIZE 102 x 32 cm, SIZE incl. mounting 179 x 44.5 cm Condition: Very good condition with minor wear. Some soiling, light fading, minor creases, folds, and miniscule losses. The frame with signs of wear and age. With a wood tomobako storage box. (2) Matsumura Goshun (1752-1811), sometimes also referred to as Matsumura Gekkei, was a Japanese painter of the Edo period and founder of the Shijo school of painting. He was a disciple of the painter and poet Yosa Buson (1716–1784), a master of Japanese southern school painting.

Estim. 150 - 300 EUR

Lot 781 - A SCROLL PAINTING OF A RED-CROWNED CRANE, AFTER MATSUMURA GOSHUN, c. 1900s A SCROLL PAINTING OF A RED-CROWNED CRANE, AFTER MATSUMURA GOSHUN, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting a red-crowned crane with its wings slightly spread. Inscriptions: Signed ‘Goshun’ 呉春 with seal. Image SIZE 69 x 43.5 cm, SIZE incl. mounting 176 x 57.5 cm Condition: Good condition with wear and slight browning of paper. Soiling, stains, creasing, foxing, and a tear with associated repairs. With a wood tomobako storage box. (2) Matsumura Goshun (1752-1811), sometimes also referred to as Matsumura Gekkei, was a Japanese painter of the Edo period and founder of the Shijo school of painting. He was a disciple of the painter and poet Yosa Buson (1716–1784), a master of Japanese southern school painting.

Estim. 150 - 300 EUR

Lot 782 - A SCROLL PAINTING OF CHRYSANTHEMUM BLOOMS, AFTER IKE NO TAIGA, c. 1900s A SCROLL PAINTING OF CHRYSANTHEMUM BLOOMS, AFTER IKE NO TAIGA, c. 1900s Japan, late 19th to early 20th century Ink on paper. Mounted as a hanging scroll on a silk brocade frame with ribbed wooden handles. Depicting a budding and blossoming chrysanthemum shrub. Inscriptions: Signed ‘Kasho’ 霞樵 with seal. Image SIZE 110.5 x 35.6 cm, SIZE incl. mounting 170 x 49 cm Condition: Wear, stains, creasing, folds, soiling, and wormholes with associated repairs. The frame with wear, water stains, and losses. With a wood tomobako storage box. (2) Ike no Taiga (1723-1776) was a Japanese painter and calligrapher born in Kyoto during the Edo period. Together with Yosa Buson, he perfected the bunjinga (or nanga) genre. The majority of his works reflected his passion for classical Chinese culture and painting techniques, though he also incorporated revolutionary and modern techniques into his otherwise very traditional paintings.

Estim. 150 - 300 EUR

Lot 783 - AN AMUSING SCROLL PAINTING OF MONKEYS ON A PINE TREE AN AMUSING SCROLL PAINTING OF MONKEYS ON A PINE TREE Japan, 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a silk brocade frame with wood and stag antler handles. Depicting two monkeys grooming each other on a pine tree. Inscriptions: Signed ‘Kano Shige[…]’ 狩野重[…] with seals. Image SIZE 85 x 38 cm, SIZE incl. mounting 190 x 52 cm Condition: Good condition with wear and slight browning of paper. Creasing, folds, soiling, and minor losses. The frame with usual traces of wear and age. With a wood tomobako storage box. (2)

Estim. 150 - 300 EUR

Lot 784 - A SCROLL PAINTING OF DUCKS AMONG REEDS, AFTER KAIHO YUSHO A SCROLL PAINTING OF DUCKS AMONG REEDS, AFTER KAIHO YUSHO Japan, Edo period (1615-1868) to Meiji period (1868-1912) Ink on paper. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Depicting a pair of ducks among reeds, about to step into the river. Inscriptions: Signed with two seals ‘Kaiho’ 海北 and ‘Yusho’ 友松 . Image SIZE 108 x 40 cm, SIZE incl. mounting 191 x 52.5 cm Condition: Soiling, creasing, folds, losses, stains and general wear. The frame with usual traces of wear and age. One roller loose. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With a wood tomobako storage box. (2) Kaiho Yusho (1533-1615) was a Japanese painter of the Azuchi–Momoyama period (1568-1600). He was born in Omi province to Kaiho Tsunachika, who was a vassal of Azai Nagamasa. At an early age he became a page at the Tofuku-ji in Kyoto and later a lay priest. He served there under the abbot and associated with the leading Zen priests of Kyoto. In his forties, Yusho turned to painting and became a pupil in the Kano School, either under the famous Kano Motonobu or his grandson Kano Eitoku. He then worked at Jurakudai, under the patronage of Toyotomi Hideyoshi and the Emperor Go-Yozei. At first, he patterned his work after Song painter Liang Kai, producing only monochrome ink paintings, using a ‘reduced brush stroke,’ relying more on ink washes than sharp hard strokes. Later, he worked with fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tohaku and Kano Eitoku, he gave his name Kaiho to the style of painting he and his followers practiced.

Estim. 100 - 200 EUR

Lot 785 - A SCROLL PAINTING OF CRANES AND PINE, AFTER YOSA BUSON, c. 1900s A SCROLL PAINTING OF CRANES AND PINE, AFTER YOSA BUSON, c. 1900s Japan, late 19th to early 20th century Ink, watercolors, and gouache on silk. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting a flock of cranes, some flying, some preening, and one feeding its young in a nest, nestled among the thick leaves of a gnarled pine tree. Inscriptions: Signed ‘Shachoko sha’ 謝長庚寫 with seal. Image SIZE 103 x 40.5 cm, SIZE incl. mounting 197 x 53 cm Condition: Very good condition with minor wear. Light soiling, creasing, tiny stains, and some foxing. The frame with usual traces of wear and age. With a wood tomobako storage box. (2) Yosa Buson (1716-1784) was born outside Osaka and moved to Edo (Tokyo) to study both painting and haiku. Like his literary hero, Basho, Buson traveled widely through Japan, publishing notes from his journeys under the name Buson. He is known as one of the great haiku masters, and his work is generally regarded as more sensuous. Buson was also influenced by Chinese poetry. In the 1750s, he settled in Kyoto, where he continued his career as a painter and changed his surname to Yosa.

Estim. 150 - 300 EUR

Lot 786 - A SCROLL PAINTING OF A MEDITATING DARUMA, AFTER TOYO SESSHU, c. 1900s A SCROLL PAINTING OF A MEDITATING DARUMA, AFTER TOYO SESSHU, c. 1900s Japan, late 19th to early 20th century Ink, watercolors, and gouache on paper. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Depicting Daruma meditating on a rocky outcrop, his eyes red as he tries to keep them wide open, careful not to fall asleep. Inscriptions: Signed ‘Sesshu’ 雪舟 with seal. Image SIZE 136 x 60.5 cm, SIZE incl. mounting 197 x 70 cm Condition: Good condition with minor wear and slight browning of paper. Creases, folds, and tiny losses. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With an inscribed tomobako storage box. Toyo Sesshu (1420-1506) is a great ink painter who depicted several Buddhist figural subjects.

Estim. 150 - 300 EUR

Lot 787 - A SCROLL PAINTING OF A FISHERMAN WITH HIS CATCH, AFTER KANO MASANOBU A SCROLL PAINTING OF A FISHERMAN WITH HIS CATCH, AFTER KANO MASANOBU Japan, 19th to early 20 th century Ink on paper. Mounted as a hanging scroll on a silk brocade frame with stag antler handles. Depicting a lone fisherman merrily walking with his fishing rod, a large fish suspended on his line. Inscriptions: Signed ‘Masunobu hitsu’ 益信筆 with seal. Image SIZE 97 x 26.5 cm, SIZE incl. mounting 171 x 37 cm Condition: Presenting well, with minor wear and slight browning of paper. Some creasing, folds, tiny holes, minor foxing, and few stains. The mounting with traces of wear and age; few tiny holes Kano Masanobu (1434-1530) was a Japanese painter. He was the chief painter of the Ashikaga shogunate and is generally considered the founder of the Kanō school of painting. Kano Masanobu specialized in Zen paintings as well as elaborate paintings of Buddhist deities and Bodhisattvas.

Estim. 150 - 300 EUR

Lot 788 - A FINE SCROLL PAINTING OF PLAYFUL KARAKO, AFTER SOGA SHOHAKU A FINE SCROLL PAINTING OF PLAYFUL KARAKO, AFTER SOGA SHOHAKU Japan, Meiji period (1868-1912) Ink, watercolors, gouache, and gold paint on silk. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting three mischievous karako as they giggle and smile coyly at the viewer. Inscriptions: Signed ‘Soga Shohaku hitsu’ 曽我 […]白筆 with seal. One inscription to the back in pencil Soga Shohaku. Image SIZE 77 x 64.5 cm, SIZE incl. mounting 153 x 74 cm Condition: Good condition with minor wear. Few stains, creasing, folds, flaking, minor losses, and tiny tears. The frame with traces of wear and creasing. Soga Shohaku (1730-1781) was a Japanese painter of the Edo period. Shohaku distinguished himself from his contemporaries by preferring the brush style of the Muromachi period, an aesthetic that was already passé 150 years before his birth. His monstrous depictions of prominent figures were extremely unusual compared to other painters of his time.

Estim. 100 - 200 EUR

Lot 789 - A SCROLL PAINTING OF A MONK AND CHILDREN, AFTER HANABUSA ITCHO, c. 1900s A SCROLL PAINTING OF A MONK AND CHILDREN, AFTER HANABUSA ITCHO, c. 1900s After Hanabusa Itcho (1652-1724) Japan, late 19th to early 20th century Ink, watercolors, and gouache on paper. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting two boys gleefully reaching for the black cat in a travelling monk’s hand. The monk with an oi backpack and straw hat strewn to his back. Inscriptions: Signed ‘Hanabusa Itcho’ 英一蝶 with seal. Image SIZE 98.5 x 37.5 cm, SIZE incl. mounting 186 x 50 cm Condition: Very good condition with minor wear and slight browning of paper. Few creases, miniscule losses, and minor stains. Hanabusa Itcho (1652-1724) was a Japanese painter born in Osaka, calligrapher, and haiku poet. He originally trained in the Kano style, under Kanō Yasunobu, but ultimately rejected that style and became a literati (bunjin).

Estim. 150 - 300 EUR

Lot 790 - A SCROLL PAINTING OF A SAMURAI ONI, AFTER UTAGAWA KUNISADA, c. 1900s A SCROLL PAINTING OF A SAMURAI ONI, AFTER UTAGAWA KUNISADA, c. 1900s Japan, late 19th to early 20th century Ink, watercolors, and gouache on silk. Mounted as a hanging scroll on a paper frame with wooden handles. Depicting a muscular oni dressed as a samurai, his weapons to the ground, as he throws his head back to look at the crashing waves. Inscriptions: Signed ‘Gototei Kunisada’ 五渡亭国貞 with seal. One inscription to the back ‘Utagawa Kunisada’. Image SIZE 60 x 26 cm, SIZE incl. mounting 135 x 35 cm Condition: Very good condition with minor wear. Some foxing, stains, and soiling. The frame with usual traces of wear and holes. Utagawa Kunisada (1786-1865) also known as Utagawa Toyokuni III, was a Japanese ukiyo-e artist. He is considered the most popular, prolific, and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. ‘Gototei’ 五渡亭 was the mostly used go name until 1844. It literally means ‘Pavilion of the Fifth Ferry’ and refers to the ferry boat service owned by Kunisada´s family.

Estim. 150 - 300 EUR

Lot 791 - A SCROLL PAINTING OF TENJIN VISITING CHINA, AFTER MARUYAMA OKYO, c. 1900s A SCROLL PAINTING OF TENJIN VISITING CHINA, AFTER MARUYAMA OKYO, c. 1900s Japan, late 19th to early 20th century Ink, watercolors, and gouache on paper. Mounted as a hanging scroll on a silk brocade frame and wooden handles. Depicting a monk dressed in voluminous robes clutching a pruned branch of plum. Inscriptions: Signed ‘Maruyama Okyo’ 円山応挙 . One inscription to the back ‘Toto Tenjin Zo’ 渡唐天神像 . Image SIZE 56.5 x 22.5 cm, SIZE incl. mounting 133 x 29 cm Condition: Good condition with minor wear and slight browning of paper. Creasing, folds, and tiny tears. The frame with age related wear and wormholes. The theme Tenjin Visiting China is one of the most complex and revealing subjects in the Chan/Zen figural canon. Tenjin, an indigenous Japanese kami (sacred spirit), was imagined by medieval Japanese communities to have visited the Chinese Chan master Wuzhun Shifan (1177–1249), becoming the recipient of his authentic dharma transmission. The painting Tenjin Visiting China seen here is one of many dozens of examples that depict the deity in accordance with this popular legend. Usually depicted against a blank background, Tenjin is dressed in Daoist robes, with his hands folded together and a flowering plum branch in his arms; a Chinese scholar’s headgear completes the ensemble. The plum branch refers to a famous episode in Tenjin’s legendary biography. Maruyama Okyo (1733-95) is pivotal to Japanese art history for being one of the first artists to paint directly from nature rather than from paintings and sketches.

Estim. 150 - 300 EUR

Lot 792 - A SCROLL PAINTING OF A BIJIN READING A BOOK, AFTER KANO TSUNENOBU, c. 1900s A SCROLL PAINTING OF A BIJIN READING A BOOK, AFTER KANO TSUNENOBU, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a silk brocade frame with stag antler handles. Depicting an elegantly dressed woman reading a book resting on a vessel. Inscriptions: Signed ‘Tsunenobu hitsu’ 常信筆 with seal. One label to the back, ‘collection of Shindo […], no. 113’ 進藤九十九軒蔵品百十三號 . Image SIZE 88.5 x 51 cm, SIZE incl. mounting 179 x 61.5 cm Condition: Wear, creasing, folds, soiling, and slight browning of paper. Wormholes with associated repairs. The mounting with wear and age. Kano Tsunenobu (1636-1713) was a Japanese painter of the Kano school. He first studied under his father, Kano Naonobu, and then his uncle, Kano Tan'yu, after his father's death. He became a master painter and succeeded his uncle Tan'yu as head of the Kano school in 1674.

Estim. 150 - 300 EUR

Lot 793 - A SCROLL PAINTING OF KINTARO, AFTER YOSA BUSON A SCROLL PAINTING OF KINTARO, AFTER YOSA BUSON Japan, 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a silk brocade frame with stag antler handles. Depicting Kintaro walking barefoot, carrying his familiar axe. Inscriptions: Signed ‘Shain’ 謝寅 and inscribed ‘Taisho ninen’ (‘Year 1913’). SIZE of the sheet 89.5 x 28.5 cm, SIZE incl. mounting 150 x 43 cm Condition: Wear, soiling, fading, creasing, and folds. Presenting well. Yosa Buson (1716-1784) was born outside Osaka and moved to Edo (Tokyo) to study both painting and haiku. Like his literary hero, Basho, Buson traveled widely through Japan, publishing notes from his journeys under the name Buson. He is known as one of the great haiku masters, and his work is generally regarded as more sensuous. Buson was also influenced by Chinese poetry. In the 1750s, he settled in Kyoto, where he continued his career as a painter and changed his surname to Yosa.

Estim. 100 - 200 EUR

Lot 794 - A SCROLL PAINTING OF KANZAN AND JITTOKU, AFTER SENGAI GIBON, c. 1900s A SCROLL PAINTING OF KANZAN AND JITTOKU, AFTER SENGAI GIBON, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a paper frame with bamboo handles. Depicting the eccentric Zen-Buddhist hermits Kanzan (Hanshan) and Jittoku (Shide) depicted in typical pose, Hanzan holding a scroll and Jittoku with his broom. Inscriptions: Signed ‘Sengai […]’ 仙崖禅餘戯墨 . Image SIZE 33 x 48.1 cm, SIZE incl. mounting 117 x 51.2 cm Condition: Very good condition with minor wear, little soiling, creasing, and slight browning of paper Sengai Gibon (1750-1837) was a Japanese monk of the Rinzai school (one of three main schools of Zen Buddhism in Japan). He was known for his controversial teachings and writings, as well as for his lighthearted sumi-e paintings. After spending half of his life in Nagata near Yokohama, he secluded himself in Shofuku-ji in Fukuoka, the first Zen temple in Japan, where he spent the rest of his life.

Estim. 150 - 300 EUR

Lot 795 - A SCROLL PAINTING OF MANZAI PERFORMERS, AFTER HANABUSA ITCHO, c. 1900s A SCROLL PAINTING OF MANZAI PERFORMERS, AFTER HANABUSA ITCHO, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a paper frame. Depicting two manzai dancers performing their whimsical dance, one holding a fan, while the other hunched, senile boke beats his tsuzumi hand drum. Inscriptions: Signed ‘Hokusoo Itcho hitsu’ 北窓翁一蝶筆 with seal. Image SIZE 124.5 x 51.5 cm, SIZE incl. mounting 197 x 61 cm Condition: Old wear, browning of paper, water stains, soiling, and creasing. The frame with wear and water stains. Manzai is a traditional style of comedy in Japanese culture involving two performers, one being a ‘straight’ man (tsukkomi) and a ‘funny’ man (boke). Their performances were originally for the New Year festival with the earliest mention of manzai performers dating to the Heian period. While their performances were traditional, poets like Takarai Kikaku mocked them. In a Haiku, Kikaku wrote, ‘The New Year Dancers / Never miss a single step / Millet for the crane.’ While other poets like Yosa Buson wrote, ‘Yes, New Year’s dancers / Pounding good and properly / The dirt in Kyoto.’ The latter can be said of the dancers depicted on the present lot. Hanabusa Itcho (1652-1724) was a Japanese painter born in Osaka, calligrapher, and haiku poet. He originally trained in the Kano style, under Kano Yasunobu, but ultimately rejected that style and became a literati (bunjin).

Estim. 100 - 200 EUR

Lot 796 - A SCROLL PAINTING OF JUROJIN WITH CRANE, AFTER IKE NO TAIGA, c. 1900s A SCROLL PAINTING OF JUROJIN WITH CRANE, AFTER IKE NO TAIGA, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a silk frame with wooden handles. Depicting the Lucky God with a crane. Inscriptions: Inscribed and signed to the upper margin. One seal, ‘Kasho’ 霞樵 . Inscribed to the back, ‘Daigado hitsu’ 大雅堂筆 . Image SIZE 132 x 41.7 cm, SIZE incl. mounting 195 x 57.3 cm Condition: Good condition with wear, soiling, stains, foxing, and creases. The frame with signs of wear and age. Ike no Taiga (1723-1776) was a Japanese painter and calligrapher born in Kyoto during the Edo period. Together with Yosa Buson, he perfected the bunjinga (or nanga) genre. The majority of his works reflected his passion for classical Chinese culture and painting techniques, though he also incorporated revolutionary and modern techniques into his otherwise very traditional paintings.

Estim. 150 - 300 EUR

Lot 797 - A SCROLL PAINTING OF A MEDITATING MONK, AFTER MATSUMURA GOSHUN, c. 1900s A SCROLL PAINTING OF A MEDITATING MONK, AFTER MATSUMURA GOSHUN, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a paper frame with wooden handles. Finely painted with a seated monk dressed in typical attire. Inscriptions: Signed ‘Goshun’ 呉春 with one seal. Image SIZE 99 x 30.5 cm, SIZE incl. mounting 177 x 41.5 cm Condition: Very good condition with minor wear and some creasing. The mounting with signs of wear and few holes. Matsumura Goshun (1752-1811), sometimes also referred to as Matsumura Gekkei, was a Japanese painter of the Edo period and founder of the Shijo school of painting. He was a disciple of the painter and poet Yosa Buson (1716–1784), a master of Japanese southern school painting.

Estim. 150 - 300 EUR

Lot 798 - A SCROLL PAINTING OF A MAN AND HIS ATTENDANT, AFTER YOSA BUSON, c. 1900s A SCROLL PAINTING OF A MAN AND HIS ATTENDANT, AFTER YOSA BUSON, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on silk. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Depicting a burly man accompanied by his attendant who carries a bundle on a stick in one hand and a large rattan hat in the other. Inscriptions: Signed ‘Higashinari Shain’ 東成謝寅 with seal. Image SIZE 91 x 38.5 cm, SIZE incl. mounting 180 x 53 cm Condition: Very good condition with minor wear. Some stains and minor creasing. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. Yosa Buson (1716-1784) was born outside Osaka and moved to Edo (Tokyo) to study both painting and haiku. Like his literary hero, Basho, Buson traveled widely through Japan, publishing notes from his journeys under the name Buson. He is known as one of the great haiku masters, and his work is generally regarded as more sensuous. Buson was also influenced by Chinese poetry. In the 1750s, he settled in Kyoto, where he continued his career as a painter and changed his surname to Yosa.

Estim. 150 - 300 EUR

Lot 799 - A SIGNED SCROLL PAINTING OF EDO TRAFFIC A SIGNED SCROLL PAINTING OF EDO TRAFFIC Presumably after Yosa Buson (1716-1784) Japan, 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting a man riding on horseback as another group merrily crosses the street with various implements. Inscriptions: Signed with seal. Image SIZE 25.5 x 26.5 cm, SIZE incl. mounting 128 x 43 cm Condition: Overall presenting well. Wear, soiling, fading, creasing, folds, and stains. The frame in good condition with some wear. With a wood tomobako storage box. (2)

Estim. 150 - 300 EUR

Lot 800 - A SCROLL PAINTING OF FUKUROKUJU, c. 1900s A SCROLL PAINTING OF FUKUROKUJU, c. 1900s Japan, late 19th to early 20th century Ink on paper. Mounted as a hanging scroll on a silk brocade frame with stag antler handles. Depicting the lucky god Fukurokuju with his dramatically elongated head, dressed in voluminous robes, his arms folded in front. Inscriptions: Signed with seal. Image SIZE 76 x 23.7 cm, SIZE incl. mounting 166 x 32 cm Condition: Good condition with wear and slight browning of paper. Losses, foxing, stains, soiling, creasing, and folds. The frame with traces of wear, minor losses along the edges, and foxing. With a wood tomobako storage box. (2)

Estim. 150 - 300 EUR

Lot 801 - A SCROLL PAINTING OF MANZAI PERFORMERS, c. 1900s A SCROLL PAINTING OF MANZAI PERFORMERS, c. 1900s Japan, late 19th to early 20th century Ink, watercolors, and gouache on silk. Mounted as a hanging scroll on a silk brocade frame with ribbed stag antler handles. Depicting two manzai dancers performing their whimsical dance, one holding a fan, while the hunched, senile one beats his tsuzumi hand drum. Inscriptions: Signed with seal. Image SIZE 100 x 35 cm, SIZE incl. mounting 184 x 47.3 cm Condition: Good condition with minor wear. Some creasing, minor folds, light soiling, and foxing. The mounting with usual traces of wear, foxing, and one tear. With a wood tomobako storage box. (2) Manzai is a traditional style of comedy in Japanese culture involving two performers, one being a ‘straight’ man (tsukkomi) and a ‘funny’ man (boke). Their performances were originally for the New Year festival with the earliest mention of manzai performers dating to the Heian period. While their performances were traditional, poets like Takarai Kikaku mocked them. In a Haiku, Kikaku wrote, ‘The New Year Dancers / Never miss a single step / Millet for the crane.’ While other poets like Yosa Buson wrote, ‘Yes, New Year’s dancers / Pounding good and properly / The dirt in Kyoto.’ The latter can be said of the dancers depicted on the present lot.

Estim. 150 - 300 EUR

Lot 802 - A SCROLL PAINTING OF A BIJIN IN THE RAIN, AFTER KITAGAWA UTAMARO, c. 1900s A SCROLL PAINTING OF A BIJIN IN THE RAIN, AFTER KITAGAWA UTAMARO, c. 1900s Japan, late 19th to early 20th century Ink, watercolors, and gouache on paper. Mounted as a hanging scroll on a silk brocade frame with stag antler handles. Depicting a beauty in the rain unravelling her umbrella, her hair wrapped in a shawl, the corner of which she clutches between her lips. Inscriptions: Signed ‘Utamaro hitsu’ 歌麿筆 with seal. Image SIZE 77 x 27.5 cm, SIZE incl. mounting 158 x 30 cm Condition: Wear, losses, crackling, flaking, creasing, folds, and soiling. Some restorations. The mounting with wear and age. With a wood tomobako storage box. (3) Kitagawa Utamaro (1754-1806) is one of the most highly regarded designers of ukiyo-e woodblock prints and paintings and is best known for his bijin okubi-e (large-headed pictures of beautiful women) of the 1790s. He also produced nature studies, particularly illustrated books of insects. Little is known of Utamaro's life. His work began to appear in the 1770s, and he rose to prominence in the early 1790s with his portraits of beauties with exaggerated, elongated features. He produced over 2000 known prints and was one of the few ukiyo-e artists to achieve fame throughout Japan in his lifetime.

Estim. 150 - 300 EUR

Lot 803 - A SCROLL PAINTING OF A RAKAN SITTING ON A SHISHI, AFTER KUSUMI MORIKAGE A SCROLL PAINTING OF A RAKAN SITTING ON A SHISHI, AFTER KUSUMI MORIKAGE After Kusumi Morikage (1620-1690) Japan, 20th century Ink, watercolors, and gouache on paper. Mounted as a hanging scroll on a silk brocade frame with lacquer handles. Depicting a rakan seated in royal ease atop a blue shishi. Inscriptions: Signed ‘Morikage’ 守景 with seal. Image SIZE 81.5 x 39.5 cm, SIZE incl. mounting 162 x 54.5 cm Condition: Good condition with wear and soiling. Creasing, folds, and stains. The mounting with usual traces of wear and age. With a wood tomobako storage box. (2) Kusumi Morikage (1620-1690) was a Japanese painter of the Edo period. He came from Kaga Province, the center of the lands of the Maeda clan. He fell afoul of his teacher, Kano Tan'yu, and became the Maeda clan's official painter. His sympathy for farmers and the poor people of the Edo period is reflected in his works. His daughter, Kiyohara Yukinobu (1643–1682), was also an artist, one of the few female painters of the Edo period.

Estim. 150 - 300 EUR

Lot 804 - A SCROLL PAINTING OF A MANZAI DANCER, AFTER MATSUMARA GOSHUN, c. 1900s A SCROLL PAINTING OF A MANZAI DANCER, AFTER MATSUMARA GOSHUN, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a paper frame with wooden handles. Depicting a manzai performer dancing his whimsical dance, with one hand outstretched and clutched around a fan. Inscriptions: Inscribed and signed ‘Gekkei’ 月渓 with a seal. Inscribed to the box, ‘Gogekkeishun shoga’ 呉月渓春書画 . Image SIZE 93 x 27.3 cm, SIZE incl. mounting 179 x 39 cm Condition: Good condition with wear, browning of paper, and some creasing. The frame with usual traces of wear and age. Matsumura Goshun (1752-1811), sometimes also referred to as Matsumura Gekkei, was a Japanese painter of the Edo period and founder of the Shijo school of painting. He was a disciple of the painter and poet Yosa Buson (1716–1784), a master of Japanese southern school painting. With a wood tomobako storage box. (2)

Estim. 150 - 300 EUR

Lot 805 - A SCROLL PAINTING OF DEITIES RIDING ANTLERS, c. 1900s A SCROLL PAINTING OF DEITIES RIDING ANTLERS, c. 1900s Japan, late 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting deities riding antlers. Inscriptions: Signed with seal. Image SIZE 125 x 44.5 cm, SIZE incl. mounting 191 x 57.3 cm Condition: Wear, browning of paper, fading, creasing, folds, and miniscule losses. The frame with signs of wear and age. With a wood tomobako storage box. (2)

Estim. 100 - 200 EUR

Lot 806 - A FINE SCROLL PAINTING OF A KARAKO, AFTER NAGASAWA ROSETSU A FINE SCROLL PAINTING OF A KARAKO, AFTER NAGASAWA ROSETSU Japan, Meiji period (1868-1912) Ink, watercolors, gouache, and gold paint on silk. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Depicting a young boy mindlessly playing with a bluebell vine, his faithful dog right by his side. Painted with fine details. Inscriptions: Signed ‘Rosetsu’ 蘆雪 with seals. Image SIZE 115 x 35.7 cm, SIZE incl. mounting 202 x 46.7 cm Condition: Very good condition with wear. Some creasing, minor folds, soiling, and foxing. The frame with traces of wear, stains, and foxing. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With a wood tomobako storage box. (2) Nagasawa Rosetsu (1754-1799) was an 18th-century Japanese painter of the Maruyama School, known for his versatile style. He was born to the family of a low-ranking samurai. He studied with Maruyama Okyo in Kyoto. Rosetsu's early period works are in the style of Maruyama Okyo, although critics agree that the pupil's skill quickly surpassed his master's. Finally, they had a falling out and Rosetsu left the school. After the break, he worked under the patronage of the feudal lord of Yodo and accepted commissions at several temples. His works are kept in many museums worldwide, including the Dallas Museum of Art, the Walters Art Museum, the Princeton University Art Museum, the Harvard Art Museums, the Los Angeles County Museum of Art, the British Museum, the Minneapolis Institute of Art, and many more.

Estim. 150 - 300 EUR

Lot 807 - A FINE SCROLL PAINTING OF A TIGER, SCHOOL OF MARUYAMA OKYO A FINE SCROLL PAINTING OF A TIGER, SCHOOL OF MARUYAMA OKYO Inscribed Kamei and sealed Anagura and Kameisai Japan, Kyoto, late 18 th – early 19 th century, Edo period (1615-1868) Finely painted in ink and watercolors on silk, with a silk brocade frame and mounted as a hanging scroll, depicting a tiger standing foursquare on a rocky slope, with brown leaves and twisted vines and roots in the background, as well as bamboo leaves below the tiger, calling to mind the popular motif take no tora (tiger in bamboo). The tiger’s striped fur is neatly detailed and both its large side-glancing eyes and dynamic pose suggest a certain mischief to the mysterious animal. Inscribed and signed center right, ‘KAMEI shujin, Heian shuchikuro chu ni oite utsutsu’ (‘Painted by Master Kamei, at the Shuchikuro Studio, Kyoto’). SIZE 103 x 51 cm (image) and 178 x 67 cm (total) Condition: Very good condition with minor wear, creasing, little soiling, the brocade frame with few minuscule losses to edges. Provenance: From a private collection, Illinois. Although there is no information available about this artist, it is likely that he was a follower of Maruyama Okyo (1733-1795). The name Kamei literally means ‘Turtle Abode’. Maruyama Okyo and his students painted numerous paintings for the Daijoji Temple, whose mountain name (sango) is Kamei Temple (also known as Okyo Temple); the commission was carried out at the Okyo's studio in Kyoto, though the Kamei Temple (Okyo Temple) is located in nearby Hyogo. 　 Tiger imagery has a long history in East Asia. Tigers were frequently paired with dragons—the tiger representing the ‘male’ principle, the yin to the female ‘yang’ of the dragon, ancient cosmological symbols. Tigers are also commonly paired with bamboo, which is known as take no tora, or ‘tiger in bamboo’, and has many different interpretations; the tiger has a strong nature, is flexible and resilient like the bamboo, but it is also said that the strong tiger is looking for shelter underneath the bamboo, as any earthly power is inferior to the forces of nature. Moreover, the tiger and bamboo represent the power of faith in Buddhism. Auction comparison: Compare a closely related painting of a tiger, described as “School of Maruyama Okyo”, 104 x 15.5 cm, at Christie’s, Japanese & Korean Art, 23 March 2011, New York, lot 879 ( sold for 10,000 USD).

Estim. 1 500 - 3 000 EUR

Lot 808 - A SCROLL PAINTING OF THE THREE LAUGHERS OF THE TIGER RAVINE, AFTER NAGASAWA ROSETSU, c. 1920s A SCROLL PAINTING OF THE THREE LAUGHERS OF THE TIGER RAVINE, AFTER NAGASAWA ROSETSU, c. 1920s Japan, late 19th to early 20th century Ink and watercolors on paper. Mounted as a hanging scroll on a silk brocade frame with wood and stag antler handles. Depicting three men dressed in voluminous robes standing at the edge of a bridge, bidding farewell to one another, one with a rod swung to the back, and another holding a basket. Inscriptions: Signed ‘Rosetsu sha’ 蘆雪写 with seal. Image SIZE 124.5 x 55.5 cm, SIZE incl. mounting 194 x 62 cm Condition: Good condition with minor wear and slight browning of paper. Creasing, soiling, stains, and possible touchups. The frame with signs of wear and age. With a wood tomobako storage box. (2) The Chinese allegory Kokei Sansho (The Three Laughers of the Tiger Ravine) tells of the meeting of three literati – a poet and a Taoist who cross the ravine to meet a Buddhist scholar who had vowed never to cross the stone bridge. Walking with them after an exhilarating discussion, he suddenly found that he had inadvertently walked on to the bridge, causing them all to break into laughter as they realized that spiritual purity cannot be bound by artificial boundaries. This episode was adapted into the Noh play Sansho. Nagasawa Rosetsu (1754-1799) was an 18th-century Japanese painter of the Maruyama School, known for his versatile style. He was born to the family of a low-ranking samurai. He studied with Maruyama Okyo in Kyoto. Rosetsu's early period works are in the style of Maruyama Okyo, although critics agree that the pupil's skill quickly surpassed his master's. Finally, they had a falling out and Rosetsu left the school. After the break, he worked under the patronage of the feudal lord of Yodo and accepted commissions at several temples. His works are kept in many museums worldwide, including the Dallas Museum of Art, the Walters Art Museum, the Princeton University Art Museum, the Harvard Art Museums, the Los Angeles County Museum of Art, the British Museum, the Minneapolis Institute of Art, and many more.

Estim. 150 - 300 EUR

Lot 809 - A SCROLL PAINTING OF DANCERS AT THE SHISHIMAI FESTIVAL, AFTER YANAGISAWA KIEN, c. 1920s A SCROLL PAINTING OF DANCERS AT THE SHISHIMAI FESTIVAL, AFTER YANAGISAWA KIEN, c. 1920s Japan, late 19th to early 20th century Ink, watercolors, gouache, and gold paint on silk. Mounted as a hanging scroll on a silk brocade frame with tsuishu handles. Depicting two children participating in the Shishimai festival, one playing the drum, the other dressed as a shishimai dancer as he moves to the beat of the music. Inscriptions: Signed ‘Kien Shujin Satotomo […] hitsu’ 淇園主人里恭 […]筆 with seal. Image SIZE 113.5 x 36 cm, SIZE incl. mounting 193.5 x 48.5 cm Condition: Excellent condition with minor wear and foxing. The frame with usual traces of wear and with losses to the tsuishu lacquer handles. With a wood tomobako storage box. (2) Yanagisawa Kien (1703-1758), played an important role among early Nanga-school painters. He provided encouragement to aspiring artists like Ike Taiga (1723–1776), who would become a great master in the Nanga movement. He was also a man of letters, a calligrapher, and poet.

Estim. 150 - 300 EUR

Lot 810 - A SCROLL PAINTING OF EMPRESS JINGU WITH TAKENOUCHI NO SUKUNE AND OJIN, AFTER ITAWA MATABEI A SCROLL PAINTING OF EMPRESS JINGU WITH TAKENOUCHI NO SUKUNE AND OJIN, AFTER ITAWA MATABEI Japan, Meiji period (1868-1912) Ink, watercolors, gouache, and gold paint on paper. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Depicting a standing onna-bugeisha (female samurai) and her travel companion kneeling at her side, holding her bundled baby. The onna-bugeisha holds a large bow with a quiver of arrows on her back. Inscriptions: Signed ‘Iwasa shi’ 岩佐氏 with a seal. Inscribed to the verso, ‘Iwasa Matabei’. Image SIZE 70.5 x 36.5 cm, SIZE incl. mounting 155 x 48 cm Condition: Very good condition with minor wear. Some soiling, creasing, and minor foxing. The frame with usual traces of wear and age. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With a wood tomobako storage box. (2) Descended from Emperor Kogen, Takenouchi no Sukune served under five legendary emperors, but is perhaps best known for his service as Grand Minister to the Regent Empress Jingu, with whom he supposedly invaded Korea. While Jingu was regent to her son, Ojin, Takenouchi was accused of treason. He underwent the "ordeal of boiling water" as a way to prove his innocence. Itawa Matabei (1578-1650) was a Japanese artist of the early Tokugawa period, who specialized in genre scenes of historical events and illustrations of classical Japanese and Chinese literature, as well as portraits. He was the son of Araki Murashige, a prominent daimyo of the Sengoku period who had been made to commit suicide, leaving Matabei to be raised with his mother's family name, Iwasa.

Estim. 150 - 300 EUR

Lot 811 - A SCROLL PAINTING OF THE SIXTEEN RAKAN, AFTER AOKI MOKUBEI, c.1920s A SCROLL PAINTING OF THE SIXTEEN RAKAN, AFTER AOKI MOKUBEI, c.1920s Japan, late 19th to early 20th century Ink and watercolors on silk. Mounted as a hanging scroll on a silk brocade frame with wooden handles. Depicting rakan Handaka Sonja, down on one knee, lifting up his alms bowl from which a majestic dragon emerges amongst billowing clouds; several seated rakan look on in astonishment. Inscriptions: Inscribed and signed ‘Mokubei’ 木米 with seals. Image SIZE 126 x 40 cm, SIZE incl. mounting 192.5 x 54.5 cm Condition: Very good condition with minor wear. Some soiling, stains, and foxing. The frame with traces of wear and few holes. With a wood tomobako storage box. (2) Aoki Mokubei (1767-1833) learned to paint while working primarily as a potter. He established himself as a painter in the Nanga (Literati school) style. He grew up in the Gion district of Kyoto, where his family owned a restaurant and brothel. Mokubei began making pottery under the guidance of Okuda Eisen (1753–1811), and he was soon celebrated for his copies of Chinese ceramics. Together with Eisen and Nin’ami Dōhachi (1783–1855), he is credited with reviving the ceramics traditions of Kyoto.

Estim. 150 - 300 EUR

Lot 812 - AN EMAKI (HANDSCROLL) WITH SHUNGA PAINTINGS AN EMAKI (HANDSCROLL) WITH SHUNGA PAINTINGS Japan, Meiji period (1868-1912) Ink, watercolors, and gouache on silk. Mounted as a hanging scroll, on a paper frame with bone handles. Illustrating ten images of amorous encounters between a various gods, ghosts, animals, and mythological figures. SIZE 466.5 x 30 cm Condition: Very good condition with some wear, slight creasing, and few stains.

Estim. 600 - 1 200 EUR

Lot 813 - HOSEN HIGASHIHARA: A SCROLL PAINTING OF TWO CARPS HOSEN HIGASHIHARA: A SCROLL PAINTING OF TWO CARPS By Hosen Higashihara (1900-1972), signed Hosen with seal Hosen Japan, Mid-20th century Ink and watercolors on silk. Mounted as a hanging scroll on a silk brocade frame with ivory handles. Depicting a pair of carps swimming close to each other in a stream. Inscriptions: Signed to the top-right, Hosen 方僊 , one seal, Hosen 方僊 . Signed with seal, ‘Hosen gaki’ [Painted and put up by Hosen] 方僊画記 to the underside of the tomobako. Image SIZE 63.5 x 72 cm, SIZE incl. mounting 89 x 181 cm Condition: Excellent condition with minor wear. The mounting with minor traces of wear. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With a wood tomobako storage box. (2) In Asian lore, the carp is associated with good fortune and perseverance. Although the carp lives primarily in quiet waters, its symbolic meanings have led to a Japanese design convention of showing the fish arching upward, often mounting waterfalls. Hosen Higashihara (1900-1972) was born in Okayama, Japan. He left Kyoto in 1942 and became a student of Takeuchi Seiho. After having his painting Hana Ringo (two paintings of one pair) accepted for the first time at the 9th Bunten Exhibition in 1915, he exhibited his work at many official exhibitions and was recommended for the 11th Teiten Exhibition, and from the following 12th Exhibition he was not accepted. During this period, he frequently exhibited his works at exhibitions in Japan and abroad, and also painted bamboo works, and paintings for the ceiling of Eiheiji Temple and Minatogawa Shrine. His specialties were flower-and-bird paintings such as Chicken-crowned Night (12th Imperial Exhibition), White Camellia (13th Imperial Exhibition) and Seishu (14th Imperial Exhibition).

Estim. 400 - 800 EUR

Lot 814 - A TWO-PANEL BYOBU SCREEN DEPICTING BAMBOO A TWO-PANEL BYOBU SCREEN DEPICTING BAMBOO Japan, 19 th century Ink on silver painted paper. Mounted on two panels with a black-lacquer frame. The glimmering painting depicting a cluster of tall bamboo shoots, their leaves and nodes nicely rendered. Signed with the artist’s signature within a circular frame in red lacquer along the lower right-hand edge. SIZE 180.5 x 173.4 cm Condition: Very good condition with minor wear, small nicks to the lacquer frame, and minor soiling.

Estim. 1 500 - 3 000 EUR

Lot 815 - A FOUR-PANEL BYOBU SCREEN DEPICTING EIGHT TANCHOZURU (RED-CROWNED CRANES) A FOUR-PANEL BYOBU SCREEN DEPICTING EIGHT TANCHOZURU (RED-CROWNED CRANES) Japan, early 20 th century, late Meiji (1868-1912) to Taisho period (1912-1926) Ink, gouache, and watercolors on silver-painted paper. Mounted on four panels with a brocade backing attached to a black-lacquer frame with metal fittings. The screen depicting eight tanchozuru (red-crowned cranes) standing in the water near the shoreline. Signed and sealed along the lower right-hand corner. SIZE 356 x 173.5 cm Condition: Wear, some soiling, minor tears with associated repairs, touchups, and soiling, overall presenting very well. The crane is one of the most prominent symbols of longevity and good fortune in Asia. They are believed to have a long lifespan and to traverse between heaven and earth. In turn, these attributes have made them logical companions of sennin, the Taoist Immortals. The red-crowned or Japanese crane depicted on this screen is said to live for 1,000 years. Auction comparison: Compare a related byobu screen with cranes, 18 th-19 th century, at Bonhams, Japanese and Korean Art, New York, 21 September 2022, lot 602 ( sold for USD 20,400). Compare a related byobu screen with cranes by Yamamoto Koichi, Meiji period, at Bonhams, Fine Japanese Art, 11 May 2010, lot 162 ( sold for GBP 43,200).

Estim. 3 000 - 6 000 EUR

Lot 816 - YAMAGUCHI SOKEN: PEACOCK PERCHED ON ROCKS YAMAGUCHI SOKEN: PEACOCK PERCHED ON ROCKS Yamaguchi Soken (1759-1818), signed Soken with seal Japan, Meiji period (1868-1912) Color woodblock print on silk, mounted as a hanging scroll, with ivory handles. Signed Soken with seal; publisher Shimbe Shoin. Titled Peacock Perched on Rocks. Based on a painting of a peacock by Yamaguchi Soken, the bird perched atop a rocky outcropping, peering over the edge, its colorful tail falling over one side. The feathers are beautifully colored and detailed, and the rock rendered with a few deft brush strokes. The scene is framed by a cluster of bamboo on the upper right and delicate flowers below. SIZE of the sheet 37.5 x 15.4 cm, SIZE incl. frame 131.5 x 30.5 cm Condition: Very good condition with minor wear, slight creasing, and minuscule soiling. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With a fitted wood box. Museum comparison: A closely related print is in the collection of the Cooper Hewitt, Smithsonian Design Museum, accession number 1955-39-2.

Estim. 250 - 500 EUR

Lot 817 - OHASHI KIHO: AN AMUSING SCROLL PAINTING OF TOADS BY A RICE FIELD OHASHI KIHO: AN AMUSING SCROLL PAINTING OF TOADS BY A RICE FIELD By Ohashi Kiho (active 1920-30s), signed Kiho saku with seal Kiho Japan, early-20th century Ink, watercolors, and gouache on paper. Mounted as a hanging scroll on a paper frame with wooden handles. The mounting applied with two sheets recording the time of sunrise. Finely painted with three toads gathering by the edge of a rice field. Inscriptions: Signed to the bottom-right corner, ‘Kiho saku’ [Made by Kiho] 基甫作 , one seal ‘Kiho’基甫 . Image SIZE 49 x 56.5 cm, SIZE incl. mounting 138 x 60 cm Condition: Good condition with wear and soiling. Some creasing and folds. The frame with traces of wear and age. Ohashi Kiho was active in 1926 exhibiting at the government sponsored Bunten Exhibition, based in Hyogo Prefecture. He studied Japanese style painting under Nishiyama Suisho (1879-1958) and Mori Getsujo (1888-1961).

Estim. 200 - 400 EUR

Lot 818 - A SCROLL PAINTING OF A LOTUS PAD WITH GRASSHOPPER A SCROLL PAINTING OF A LOTUS PAD WITH GRASSHOPPER Japan, 19 th century. Ink and watercolor on silk. Mounted as a hanging scroll, on a silk brocade frame with ivory handles. Depicting two large lotus pads, one with a grasshopper ascending its stem. Signed and sealed to the upper left corner. With a wood storage box. Image SIZE 41 x 36 cm, SIZE incl. frame 130.5 x 56 cm Condition: Very good condition with minor wear, light foxing, and minute soiling. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer.

Estim. 600 - 1 200 EUR

Lot 819 - A TWO-PANEL BYOBU SCREEN DEPICTING THE BATTLE OF MINATOGAWA A TWO-PANEL BYOBU SCREEN DEPICTING THE BATTLE OF MINATOGAWA Japan, 17 th-18 th century, Edo period (1615-1868) Ink, watercolors, gold, and gouache on gold leaf paper. Mounted on silk brocade on two lacquered wood panels with chased metal fittings. Painted with a fierce battle, stretching both screens, between the Imperial forces loyal to Emperor Go-Daigo and the Ashikaga. The Ashikaga after consolidating their forces, attacked the Imperial forces at the Minato River, from both land and sea. SIZE 160.5 x 185 cm Condition: Good condition with wear. Tiny nicks, scratches, creasing, and some losses and flaking. Few tears, some with associated touchups. The verso with minor tears to the backing. Provenance: An American private collection, New York. One label to the verso, ‘#10326’ ANTIQUE painting screen, Date-circa 1650 AD. Design; A scene of battle at Minatogawa Near Kobe between Heike and Genji Samurai families, Unsigned—attributed to Tosa School artist.’ At the decisive Battle of Minatogawa (Minatogawa no tatakai) in early July 1336, Ashikaga Takauji (1305-1358) defeated the Imperial forces championed by Nitta Yoshisada (1301-1338) and Kusunoki Masashige (1294-1336), allowing him to seize Kyoto against the wishes of Emperor Go-Daigo who sought to lessen the power of the warrior class and return to the social and political systems of the Heian period.

Estim. 1 200 - 2 400 EUR

Lot 820 - A PAIR OF KANO SCHOOL SIX-PANEL ‘THREE FRIENDS OF WINTER’ BYOBU SCREENS A PAIR OF KANO SCHOOL SIX-PANEL ‘THREE FRIENDS OF WINTER’ BYOBU SCREENS Japan, 17 th-18 th century, Edo period (1615-1868) Ink, watercolors, and gouache on paper. Each mounted on silk brocade on six hardwood panels with chased metal fittings. The hinges covered in gold paper. Finely painted with a continuous image of red-crowned cranes and herons in a winter landscape dotted with the three friends of winter—pine, bamboo, and plum. The landscape is further interspersed by ducks, sparrows among trees, chrysanthemums, and bush clovers. SIZE 330 x 150 cm (each) Condition: Good condition with wear and browning of paper. Stains, scratches, nicks, and minor losses. Tiny tears, some with associated repairs. Typical wear to the verso. Provenance: From a private collection in England, UK, acquired in Japan in the 1960s. One old label to the back, ‘Judith Thomson’.

Estim. 2 000 - 4 000 EUR

Lot 821 - UTAMARO II: YAMATO YOSHINO RIVER RAFTERS UTAMARO II: YAMATO YOSHINO RIVER RAFTERS By Kitagawa Utamaro II, signed Utamaro hitsu Japan, c. 1810 Color woodblock print on paper. Horizontal oban. Signed Utamaro hitsu; publisher Nishimuraya Yohachi. Titled Yamato Yoshinogawa Ikadashi (Yamato Yoshino River Rafters), from the series Shokoku meisho fukei (Places of Famous Landscapes). Illustrating women crossing the Yoshino River in Yamato Province on wooden rafts paddled by young boys. SIZE of the sheet 35.8 x 23.4 cm Condition: Old wear, soiling, and browning of paper. Minor creasing to the edges, few tiny tears and wormholes, trimmed margins, all backed by Japan paper. Mounted on a paper passepartout. Koikawa Harumachi II (fl. circa 1810's-1830's) was the most renowned pupil of Utamaro I. He adopted the name Utamaro II after marrying Utamaro (I)’s widow in 1806.

Estim. 350 - 700 EUR

Lot 822 - KITAGAWA UTAMARO: A LADY AND CHILD PLAYING WITH A CAT, EX-COLLECTION FREDDIE MERCURY KITAGAWA UTAMARO: A LADY AND CHILD PLAYING WITH A CAT, EX-COLLECTION FREDDIE MERCURY By Kitagawa Utamaro (1754-1806), signed Utamaro hitsu Japan, c. 1803 Color woodblock print on paper. Vertical oban. Signed Utamaro hitsu; publisher Iwatoya Kisaburo (Eirindo). Title Warau Kado niwa Fuku kitaru (Fortune Comes to the Home of Those Who Smile), from the series Kodakana tatoe no fushi (Precious Children as the Basis for Proverbs). In this domestic scene, a young woman sits in front of a screen decorated with red birds on a blossoming branch as her little son plays with a cat, teasing the feline with a bow attached to a long string. Image SIZE 36.7 x 25.5 cm, SIZE incl. frame 59.2 x 44.5 cm Condition: Very good condition with wear and light creasing to the edges. Gently mounted on a paper passepartout. Provenance: Sotheby’s, Freddie Mercury: A World of His Own – In Love with Japan, 11 September 2023, London, lot 1010 . From the collection of Freddie Mercury (Farrokh Bulsara, 1946-1991). Freddie Mercury, universally acclaimed singer of the legendary rock band Queen, developed a profound passion for the country of Japan during his first of many visits while on tour in 1975. Six further tours would take him to Japan, before he first came on his own in 1986, touring museums and buying traditional lacquerware. From then on, he delighted in filling his Kensington home with rare and beautiful antiques and fine objects, such as the present woodblock print, and developed substantial academic expertise in the history of Japan’s culture and craft through the ages. He became an enthusiastic cultural advocate, once saying, “I loved it there: the lifestyle, the people, the art. Wonderful!” Kitagawa Utamaro (1754-1806) is one of the most highly regarded designers of ukiyo-e woodblock prints and paintings and is best known for his bijin okubi-e (large-headed pictures of beautiful women) of the 1790s. He also produced nature studies, particularly illustrated books of insects. Little is known of Utamaro's life. His work began to appear in the 1770s, and he rose to prominence in the early 1790s with his portraits of beauties with exaggerated, elongated features. He produced over 2000 known prints and was one of the few ukiyo-e artists to achieve fame throughout Japan in his lifetime. Museum comparison: A closely related print, from the same series, is in the collection of the Museum of Fine Arts, Boston, accession number 21.6621. A closely related print, from the same series, is in the collection of the Museum of Fine Arts, Boston, accession number 21.6493. A related print depicting a woman and cat is in the collection of the Metropolitan Museum of Art, accession number JP1672. Auction comparison: Compare a related print, by the same artist and also ex-collection Freddie Mercury, at Sotheby’s, Freddie Mercury: A World of His Own, In Love with Japan, 11 September 2013, London, lot 1016 ( sold for GBP 13,970). Compare a related print depicting a courtesan and cat, by the same artist, at Christie’s, Japanese and Korean Art, 18 April 2018, New York, lot 31 ( sold for USD 37,500).

Estim. 6 000 - 12 000 EUR

Lot 823 - KITAGAWA UTAMARO: A LOT WITH TWO WOODBLOCK PRINTS KITAGAWA UTAMARO: A LOT WITH TWO WOODBLOCK PRINTS By Kitagawa Utamaro (c. 1754–1806) Japan, c. 1790s-1800s, Edo period (1615-1868) Color woodblock prints on paper. Vertical oban. 1. One sheet of triptych. Signed Utamaro hitsu. Titled Women Engaged in the Sericulture Industry. Depicting stages of silk production by female workers: stretching silk and floss on posts, hanging them on a line. SIZE of the sheet 36.7 x 25.2 cm Utamaro's fundamental curiosity about women was not limited to any one group or activity. In this print, he shows us women working in silk production, an important occupation for women and an important part of the Edo economy. Its composition reads more like a tableau vivant, with the workers merely suggesting their activities. 2. Signed Toyokuni ga. Titled Actor Ichikawa Yaozo as Obiya Nagaemon and Actor Iwai Kumesaburo as Shinanoya Ohan. SIZE of the sheet 36.3 x 23.8 cm Condition: Presenting well, with wear and browning of paper. Fading of colors, creasing, folds, and few wormholes and losses with associated repairs. One sheet backed with Japan paper. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world’s leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Museum comparison: Compare a closely related print of women engaged in sericulture, one sheet of triptych, in the collection of the Metropolitan Museum of Art, accession number JP2731.

Estim. 150 - 300 EUR

Lot 824 - KATSUSHIKA HOKUSAI: SURIMONO OF KOTOBUKI SHIKI SANBASO KATSUSHIKA HOKUSAI: SURIMONO OF KOTOBUKI SHIKI SANBASO By Katsushika Hokusai (1760-1849), signed Hokusai ga Japan, late 18 th-early 19 th century Color woodblock print on paper. Signed Hokusai ga. The surimono (greeting card for the New Year) illustrated with symbols from the Kotobuki Shiki Sanbaso—Okina mask, fan, and a pine sapling. SIZE of the sheet 17.5 x 22.1 cm Condition: Good condition and impression with minor wear. The paper with some foxing, small touch-ups, and minor losses. Mounted on a passepartout with tape. Provenance: From an English private collection. Kotobuki Shiki Sanbaso is inspired from the Noh play ‘Okina’ which is said to derive from an ancient sighting, at the Kasuga Shrine in Nara, of an old man (taken to be the kami) dancing under a pine tree. The pine tree is used as a background to all Noh plays as a reminder of the origin of this first play, and to emphasize the religious aspects of Noh. Kotobuki Shiki Sanbaso is solemn and dignified and there is no narrative or plot, but only ritual to wish the audience prosperity. It is usually performed at the start of a New Year.

Estim. 250 - 500 EUR

Lot 825 - TSUCHIYA KOITSU: WARBLER ON PLUM BRANCH TSUCHIYA KOITSU: WARBLER ON PLUM BRANCH By Tsuchiya Koitsu (1870-1949), signed Koitsu with seal ‘Shin’ Japan, c. 1950s Color woodblock print on paper. Vertical oban. Signed Koitsu with seal Shin; publisher seal Doi Hangaten with watermark ‘Doi’ located at the top-left corner. Title Warbler on Plum Branch. A warbler perched on a plum tree covered with white buds and blossoms shadowed in blue, with the rugged trunk rendered with bold calligraphic line work. SIZE of the sheet 43 x 28.8 cm Condition: Very good condition with minor wear and very slight browning of paper. Tsuchiya Koitsu (1870-1949) was a renowned landscape artist and a student of the famous Meiji-era print designer Kobayashi Kiyochika (1847-1915). He gained prominence as a designer of shin hanga (New Prints) for major woodblock print publishers from the early 1930s to 1940. Tsuchiya Koitsu's prints were known for their dramatic use of light and interesting color effects, influenced by his teacher Kiyochika. Museum comparison: A closely related mitsugiri print, formerly in the John H. Van Vleck, is in the collection of the Chazen Museum of Art, accession number 1980.2560.

Estim. 600 - 1 200 EUR

Lot 826 - TSUCHIYA KOITSU: BENKEI BRIDGE TSUCHIYA KOITSU: BENKEI BRIDGE By Tsuchiya Koitsu (1870-1949), signed Koitsu with seal ‘Shinsei’ Japan, 1933 Color woodblock print on paper. Vertical Oban. Signed Koitsu with ‘Shinsei’ seal on the bottom right corner of the image. Titled Benkei Bashi (Benkei Bridge) from the series Tokyo Fukei (Views of Tokyo). A beautiful bridge illuminated by streetlights on a spring evening with trees in full bloom. SIZE of the sheet 36.3 x 26 cm Condition: Very good condition with minor wear and trimmed margins. Great impression and vivid colors. Firmly mounted on a paper frame. Tsuchiya Koitsu (1870-1949) was a renowned landscape artist and a student of the famous Meiji-era print designer Kobayashi Kiyochika (1847-1915). He gained prominence as a designer of shin hanga (New Prints) for major woodblock print publishers from the early 1930s to 1940. Tsuchiya Koitsu's prints were known for their dramatic use of light and interesting color effects, influenced by his teacher Kiyochika. While some critics praised his work, noting its quality on par with famous shin hanga landscape artists like Kawase Hasui, Kasamatsu Shiro, and Yoshida Hiroshi, others criticized his heavy-handed design and unconventional color sensibility. Auction comparison: Compare a closely related print sold at Galerie Zacke, Asian Art Discoveries - Japanese Art, 7 September 2023, Vienna, lot 385 (sold for EUR 1,950).

Estim. 400 - 800 EUR

Lot 827 - OHARA KOSON: TWO RABBITS WITH FLOWERING BUSH COVER UNDER A FULL MOON OHARA KOSON: TWO RABBITS WITH FLOWERING BUSH COVER UNDER A FULL MOON By Ohara Koson (1878-1945), signed Shoson with seal Shoson Japan, c. 1931 Color woodblock print on paper. Vertical oban. Signed Shoson with seal Shoson; publisher Watanabe Shozaburo. Title Two Rabbits with Flowering Bush Cover under a Full Moon. Two moon rabbits and a bush clover under the full moon. Blindprinting to simulate fur on the rabbits. SIZE of the sheet 31 x 22 cm Condition: Very good condition with minor wear and slight browning of paper. Some light foxing, and trimmed margins. Gently mounted to paper. Ohara Koson (1877-1945) was a Japanese painter and woodblock print designer of the late 19th and early 20th centuries, part of the shin-hanga (“new prints”) movement. He is famous as a master of kacho-e (bird-and-flower) designs. Throughout a prolific career, in which he created around 500 prints, he went by three different titles: Ohara Hoson, Ohara Shoson, and Ohara Koson. Museum comparison: Compare a related print in the collection of the Rijksmuseum, object number RP-P-2001-735.

Estim. 600 - 1 200 EUR

Lot 828 - OHARA KOSON: STARLINGS IN CHERRY TREE OHARA KOSON: STARLINGS IN CHERRY TREE By Ohara Koson (1877-1945), signed Koson with seal Koson Japan, c. 1930s Color woodblock print on paper. Vertical o-tanzaku. Signed Koson with seal Koson; publisher Kawaguchi. Titled Starlings in Cherry Tree. A pair of starlings on a cherry branch, one bird looking straight ahead as the other is about to take flight. The tree bearing red cherry blossom buds which are a vibrant contrast to the otherwise muted composition. SIZE of the sheet 35.5 x 18.9 cm Condition: Very good condition and impression, vibrant colors, minor wear, tiny losses and tears to the top and right edge. Ohara Koson (1877-1945) was a Japanese painter and woodblock print designer of the late 19th and early 20th centuries, part of the shin-hanga (“new prints”) movement. He is famous as a master of kacho-e (bird-and-flower) designs. Throughout a prolific career, in which he created around 500 prints, he went by three different titles: Ohara Hoson, Ohara Shoson, and Ohara Koson. Museum comparison: A closely related print is in the collection of the Birmingham Museum of Art, accession number AFI.164.2013.

Estim. 300 - 600 EUR

Lot 829 - OHARA KOSON: MOORHENS AMONG REEDS OHARA KOSON: MOORHENS AMONG REEDS By Ohara Koson (1877-1945), signed Koson with seal Koson Japan, first half of 20 th century Color woodblock print on paper. Horizontal otanzakuban. Signed Koson with seal Koson. Titled Moorhens Among Reeds. Two moorhens in low water near a reed collar; against gray background. Image SIZE 34 x 18 cm, SIZE incl. mounting 47.2 x 29.4 cm Condition: Very good condition with fresh colors and minor wear. One minor abrasion to the top margin. Firmly mounted on a passepartout. Ohara Koson (1877-1945) was a Japanese painter and woodblock print designer of the late 19th and early 20th centuries, part of the shin-hanga (“new prints”) movement. He is famous as a master of kacho-e (bird-and-flower) designs. Throughout a prolific career, in which he created around 500 prints, he went by three different titles: Ohara Hoson, Ohara Shoson, and Ohara Koson. Museum comparison: A closely related print, with similar seals, is in the collection of the Rijksmuseum, object number RP-P-1999-452. Another related print, with similar seals, is in the collection of the Rijksmuseum, object number RP-P-1999-394.

Estim. 250 - 500 EUR

Lot 830 - OKUHARA SEIKO: MOON AND CHERRY BLOSSOMS OKUHARA SEIKO: MOON AND CHERRY BLOSSOMS By Okuhara Seiko (1837-1913), signed with seal Japan, 19 th century Color woodblock print on paper. Vertical shikishiban. Signed with seal. Titled Moon and Cherry Blossoms. Cherry blossoms under the moon, partially covered by thin clouds. Image SIZE 24.1 x 25.1 cm, SIZE incl. frame 36.6 x 37.1 cm Condition: Very good condition with minor wear and slight browning of paper. Good impression and colors. Slightly trimmed margins and minor foxing. Mounted on a paper with tape to the top, behind a passepartout. Okuhara Seiko was a Literati artist in Japan in the late 1800s. She became a leading artist in Japan founding an art school and displaying her art throughout the country. Seiko is notable for her established and well-recognized career during the Meiji period, as well as her reputation within the primarily male literati school. Early in her career, she changed her name from Setsuko to the gender-neutral Seiko. Her work has been characterized as "masculine" in both painting and calligraphy, which may be attributed both to the liberal lifestyle she maintained and the role of women painters at the time. Seiko was also noted for wearing masculine clothing and short hair, deliberately eschewing a feminine persona.

Estim. 150 - 300 EUR

Lot 831 - OKUHARA SEIKO: BLUE BIRD AND RED LEAVES OKUHARA SEIKO: BLUE BIRD AND RED LEAVES By Okuhara Seiko (1837-1913), signed Seiko with seal Seiko Japan, c.1895-1905 Color woodblock print on paper. Vertical shikishiban. Signed Seiko with seal Seiko; publisher Daikokuya. Titled Blue Bird and Red Leaves. A small bird with blue wings and black and white underparts, resting on a branch with orange leaves. Image SIZE 24.1 x 24.7 cm, SIZE incl. frame 36.6 x 37.1 cm Condition: Very good condition with minor wear and slight browning. Vivid colors and impression. Trimmed margins and some foxing. Mounted on a paper with tape to the top, behind a passepartout. Okuhara Seiko was a Literati artist in Japan in the late 1800s. She became a leading artist in Japan founding an art school and displaying her art throughout the country. Seiko is notable for her established and well-recognized career during the Meiji period, as well as her reputation within the primarily male literati school. Early in her career, she changed her name from Setsuko to the gender-neutral Seiko. Her work has been characterized as "masculine" in both painting and calligraphy, which may be attributed both to the liberal lifestyle she maintained and the role of women painters at the time. Seiko was also noted for wearing masculine clothing and short hair, deliberately eschewing a feminine persona. Museum comparison: A closely related print, with similar seals, is in the collection of the Art Gallery of Greater Victoria, Canada, object number 2009.026.004.

Estim. 150 - 300 EUR

Lot 832 - OGATA GEKKO: SPARROW FEEDING ON CHERRY BLOSSOM OGATA GEKKO: SPARROW FEEDING ON CHERRY BLOSSOM By Ogata Gekko (1859-1920), signed Gekko with seal Japan, 19 th century, Meiji period (1868-1912) Color woodblock print on paper. Vertical shikishiban. Signed Gekko with seal. Title Sparrow Feeding on Cherry Blossom. A small sparrow slurping down the nectar from a cherry blossom. Image SIZE 24.2 x 25.1 cm, SIZE incl. frame 36.6 x 37.1 cm Condition: Very good condition with minor wear. Vivid impression and colors. Trimmed margins and some foxing. Mounted on a paper with tape to the top, behind a passepartout. Provenance: From an old private collection in England. Ogata Gekko was a Japanese artist best known as a painter and a designer of ukiyo-e woodblock prints. He was self-taught in art, won numerous national and international prizes, and was one of the earliest Japanese artists to win an international audience. Gekko was self-taught in art, and began decorating porcelain and rickshaws, and designing flyers for the pleasure quarters. His early style shows the influence of the painter Kikuchi Yosai. About 1881 he took the surname Ogata at the insistence of a descendant of the painter Ogata Korin. He soon was designing prints and illustrating books and newspapers. In 1885 Gekko exhibited in the Painting Appreciation Society, and he became acquainted with the art scholars Ernest Fenellosa and Okakura Kakuzo. The square shishikiban format appears to have been a favourite of Gekko's. Over 60 prints appear in his oeuvre in this size. Museum comparison: A closely related print, with similar seals, is in the collection of the Edo-Tokyo Museum, document number 88004209.

Estim. 150 - 300 EUR

Lot 833 - OHARA KOSON: SPARROW ON PLUM BRANCH OHARA KOSON: SPARROW ON PLUM BRANCH By Ohara Koson (1877-1945), signed Koson with seal Koson Japan, early 20 th century Color woodblock print on paper. Vertical shikishiban. Signed Koson with seal Koson. Titled Sparrow on Plum Branch. A sparrow is perched on a gnarled branch of a plum tree with few buds and blossoms, the bird with one wing slightly open. Image SIZE 23.9 x 25 cm, SIZE incl. frame 36.6 x 37.1 cm Condition: Very good condition with minor wear and slight browning around the edges. Vivid impression and colors. Trimmed margins and some foxing. Mounted on a paper with tape to the top, behind a passepartout. Ohara Koson (1877-1945) was a Japanese painter and woodblock print designer of the late 19th and early 20th centuries, part of the shin-hanga (“new prints”) movement. He is famous as a master of kacho-e (bird-and-flower) designs. Throughout a prolific career, in which he created around 500 prints, he went by three different titles: Ohara Hoson, Ohara Shoson, and Ohara Koson.

Estim. 150 - 300 EUR

Lot 834 - OHARA KOSON: MONKEY ON A TREE BRANCH OHARA KOSON: MONKEY ON A TREE BRANCH By Ohara Koson (1877-1945), signed Koson with seal Koson Japan, early 20 th century Color woodblock print on paper. Vertical shikishiban. Signed Koson with seal Koson. Titled Monkey on a Tree Branch. A crouching monkey on a gnarled branch with a sincere expression, looking in the distance, surrounded by overhanging catkins. Image SIZE 23 x 24 cm, SIZE incl. mounting 36.5 x 34.7 cm Condition: Good condition with wear and slight browning of paper. Soiling, minor creasing, and smudging. Firmly mounted to a passepartout, the passepartout with stains, water marks, and tiny losses. Ohara Koson (1877-1945) was a Japanese painter and woodblock print designer of the late 19th and early 20th centuries, part of the shin-hanga (“new prints”) movement. He is famous as a master of kacho-e (bird-and-flower) designs. Throughout a prolific career, in which he created around 500 prints, he went by three different titles: Ohara Hoson, Ohara Shoson, and Ohara Koson. Museum comparison: A closely related print, with similar seals, is in the collection of the Rijksmuseum, object number RP-P-1999-442.

Estim. 250 - 500 EUR

Lot 835 - OHARA KOSON: GEESE IN FLIGHT OHARA KOSON: GEESE IN FLIGHT By Ohara Koson (1877-1945), signed Koson with seal Koson Japan, early 20 th century Color woodblock print on paper. Vertical shikishiban. Signed Koson with seal Koson. Titled Geese in Flight. Two geese fly in front of the full moon. Image SIZE 24.3 x 24.1 cm, SIZE incl. frame 36.6 x 37.1 cm Condition: Very good condition with minor wear and slight browning. Very good colors and impression. Minor foxing and slightly trimmed margins. Mounted on a paper with tape to the top, behind a passepartout. Ohara Koson (1877-1945) was a Japanese painter and woodblock print designer of the late 19th and early 20th centuries, part of the shin-hanga (“new prints”) movement. He is famous as a master of kacho-e (bird-and-flower) designs. Throughout a prolific career, in which he created around 500 prints, he went by three different titles: Ohara Hoson, Ohara Shoson, and Ohara Koson. Museum comparison: A closely related print, with similar seals, is in the collection of the Minneapolis Institute of Art, accession number P.77.28.38.

Estim. 150 - 300 EUR

Lot 836 - OHARA KOSON: TWO WILD GEESE FLYING OVER SNOWY LANDSCAPE OHARA KOSON: TWO WILD GEESE FLYING OVER SNOWY LANDSCAPE By Ohara Koson (1877-1945), signed Koson with seal Koson Japan, early 20 th century Color woodblock print on paper. Vertical o-tanzaku. Signed Koson with seal Koson; publisher Daikokuya. Titled Two Wild Geese Flying over Snowy Landscape. Two white-fronted geese in flight in a snow-covered landscape. Stalks of Bamboo frame the design on the left, imparting a sense of depth. The white-fronted Goose was among Koson's favorite subject for prints. Image SIZE 36 x 19 cm, SIZE incl. frame 48.6 x 32.8 cm Condition: Very good condition with minor wear and slight browning of paper. Good impression and colors. Trimmed margins and minor creasing to the bottom-left corner. Mounted on a paper with tape to the top, behind a passepartout. Ohara Koson (1877-1945) was a Japanese painter and woodblock print designer of the late 19th and early 20th centuries, part of the shin-hanga (“new prints”) movement. He is famous as a master of kacho-e (bird-and-flower) designs. Throughout a prolific career, in which he created around 500 prints, he went by three different titles: Ohara Hoson, Ohara Shoson, and Ohara Koson. Museum comparison: A closely related print, with similar seals, is in the collection of the Museum of Fine Arts, Boston, accession number RES.51.138.

Estim. 250 - 500 EUR

Lot 837 - HIROSHI YOSHIDA: HIROSAKI CASTLE HIROSHI YOSHIDA: HIROSAKI CASTLE By Hiroshi Yoshida (1876-1950), signed Yoshida with seal Hiroshi Japan, dated 1935 Color woodblock print on paper. Vertical oban. Signed Yoshida with seal Hiroshi, further signed in pencil in Roman script to the outer-lower margin Hiroshi Yoshida, seal: jizuri (self-printed). Title Hirosaki Jo (Hirosaki Castle), from the series Sakura hachidai (Eight Views of Cherry Blossoms). Illustrating a view of Hirosaki castle, the seat of the Tsugaru clan, partially obstructed by the blooming cherry blossoms. SIZE of the sheet 40.6 x 27.5 cm Condition: Good condition with minor wear. Very good impression with vivid colors. Slight browning of paper and minor foxing. The jizuri seal is the most important mark on a Hiroshi Yoshida print as it helps distinguish an early edition where the printing process was directly supervised by him. Jizuri means "self-printed" and indicates that Hiroshi Yoshida played an active role in the printing process of the respective print. Hiroshi focused heavily on developing prints of the highest quality and normally only the prints with the best impressions received his jizuri seal. Hiroshi Yoshida (1876-1950) began his artistic training with his adoptive father in Kurume, Fukuoka prefecture. Around the age of twenty, he left Kurume to study with Soritsu Tamura in Kyoto, subsequently moving to Tokyo and the tutelage of Shotaro Koyama. Yoshida studied Western-style painting, winning many exhibition prizes, and making several trips to the United States, Europe and North Africa selling his watercolors and oil paintings. While highly successful as an oil painter and watercolor artist, Hiroshi Yoshida turned to woodblock printmaking upon learning of the Western world’s infatuation with ukiyo-e. While widely traveled and knowledgeable of Western aesthetics, he maintained an allegiance to traditional Japanese techniques and traditions. Museum comparison: A closely related print, also bearing the jizuri seal, is in the collection of Museum of Fine Arts, Boston, accession number 50.2501.

Estim. 1 500 - 3 000 EUR

Lot 838 - UTAGAWA HIROSHIGE: HODOGAYA, DISTANT VIEW OF THE KAMAKURA MOUNTAINS FROM THE BOUNDARY TREE POSTHOUSE UTAGAWA HIROSHIGE: HODOGAYA, DISTANT VIEW OF THE KAMAKURA MOUNTAINS FROM THE BOUNDARY TREE POSTHOUSE By Utagawa Hiroshige I (1797–1858), signed Hiroshige hitsu Japan, dated 1855 Color woodblock print on paper. Vertical oban. Signed Hiroshige hitsu, censor’s seals: aratame, Hare 7; publisher Tsutaya Kichizo (Koeido). Titled Hodogaya, Kyoboku tateba Kamakura yama enbo (Hodogaya: Distant View of the Kamakura Mountains from the Boundary Tree Penthouse), number 5 from the series Gojusan tsugi meisho zue (Illustrated Guide to Famous Places along the Fifty-three Stations). Illustrating several thatched roof teahouses and rest stops, festooned with red paper lanterns, in Hodogaya, the 5th station on the Tokaido Road; several pilgrims rest on low benches. SIZE of the sheet 36 x 24.2 cm Condition: Good condition with minor wear and slight fading of colors. Few tiny tears and losses along the outer margins. One tear to the top margin. Mounted on a paper passepartout. Visible fading to the image likely from previous mounting. Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as a master of the ukiyo-e woodblock printing tradition, having created 8,000 prints of everyday life and landscape in Edo-period Japan. Much of Hiroshige’s work focuses on landscape. Inspired by Katsushika Hokusai’s popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833–34), completed after traveling that coastal route linking Edo and Kyoto. Hiroshige’s prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856–58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art. Museum comparison: A closely related print is in the collection of the Van Gogh Museum, object number n0058V1962.

Estim. 1 200 - 2 400 EUR

Lot 839 - UTAGAWA HIROSHIGE: YOKKAICHI, NAKO BAY AND THE MIE RIVER UTAGAWA HIROSHIGE: YOKKAICHI, NAKO BAY AND THE MIE RIVER By Utagawa Hiroshige I (1797–1858), signed Hiroshige hitsu Japan, dated 1855 Color woodblock print on paper. Vertical oban. Signed Hiroshige hitsu, censor’s seal aratame, Hare 7; publisher Tsutaya Kichizo (Koeido). Titled Yokkaichi Nagonoura Mie-gawa (Yokkaichi - Nago Bay, Mie River), number 44 from the series Gojusan tsugi meisho zue (Illustrated Guide to Famous Places along the Fifty-three Stations). Porters crossing a footbridge over a river, distant view of the sea. SIZE of the sheet 34.4 x 22.7 cm Condition: Very good condition with minor wear and fading. Trimmed margins, minor creasing, and some losses to the bottom-left corner. Backed with Japan paper. Museum comparison: A closely related print, with similar seals, is in the collection of the Museum of Fine Arts, Boston, accession number 11.16808. Utagawa Hiroshige (1797 – 1858) (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai’s popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833–34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.

Estim. 250 - 500 EUR

Lot 840 - UTAGAWA HIROSHIGE: VIEW OF KONODAI AND THE TONE RIVER UTAGAWA HIROSHIGE: VIEW OF KONODAI AND THE TONE RIVER By Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, 19th century, Edo period (1615-1868) Color woodblock print on paper. Vertical Oban. Signed Hiroshige ga. Title Konodai Tonegawa fukei (View of Konodai and the Tone River), number 95 from the series Meisho Edo hyakkei (One Hundred Famous Views of Edo). View of the cliff Konodai overlooking the Tone River with sailing boats plying the river at sunset. A few visitors admire the view from the heights beneath pine and maple trees with autumn foliage, Mt. Fuji in the distance at center right. Boats sail along the river below, with a few houses along the water's edge. The Konodai or "Provincial Capital Bluff" served as a regional military center in early times as it was easily defended. SIZE of the sheet 34.5 x 22.8 cm Condition: Very good condition with minor wear. Detailed impression and vivid colors. Trimmed margins and some stains. Utagawa Hiroshige (1797 – 1858) (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai’s popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833–34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art. Museum comparison: A closely related print is in the collection of the Museum of Fine Arts, accession number 21.9498. Auction comparison: Compare a closely related woodblock print at Christie’s, Japanese and Korean Art, 16 March 2021, New York, lot 84 (sold for 4,375). Compare a closely related woodblock print at Bonhams, Polish and Poise: Japanese Art Across the Centuries, 12 May 2022, London, lot 366 (sold for GBP 1,785).

Estim. 250 - 500 EUR

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