该页无缩略图
53
A LARGE JAPANESE BRONZE AND WOOD TOKYO SCHOOL OKIMONO BY TAKAAKI
MEIJI ERA, 19TH CENTURY
The charming model depicting a father and son on a bench, the man leaning towards the toddler and giving him a lotus root with
his chopsticks, the crawling infant stretching to grab it, a square tray laden with food between them, the figures and food cast in
bronze and the bench naturalistically carved in wood, the boy signed Takaaki saku (made by Takaaki) underneath, 60.5cm max. (4)
£3,000-4,000
49
50 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
54
A MASSIVE JAPANESE BRONZE TOKYO
SCHOOL OKIMONO OF A GOOSE BY
MASATSUNE
MEIJI ERA, LATE 19TH CENTURY
The tall bird is naturalistically depicted, with one leg
forward and its long elegant neck curved as it looks
down, its eyes inlaid in shakudō and gilt, raised on a
wood stand naturalistically carved as a rocky outcrop,
the belly signed Masatsune chu (cast by Masatsune),
78.5cm overall. (2)
£8,000-12,000
Cf. L Bordignon, The Golden Age of
Japanese Okimono, pp.248-251 for other
models of birds by Masatsune. The author
points out that the artist was particularly
good at depicting birds, but that little is
known about his career. Also, see J Earle,
Splendours of Imperial Japan: Arts of the
Meiji Period from the Khalili Collection,
p. 369, no.260, and Meiji no Takara,
Treasures of Imperial Japan, the D. Khalili
Collection, Metalwork part II, nos.104 and
105 for more examples.
51
55
A JAPANESE TOKYO SCHOOL OKIMONO OF AN OWL WITH SPOTTED FEATHERS
MEIJI ERA, 19TH/20TH CENTURY
The charming bird is perched on a gnarled piece of wood, its head turned and its left wing slightly stretched out, modelled
with details rendered in shakudo and gilt, the spotted feathers on its back and wings realistically depicted, signed Watanabe
saku (Made by Watanabe) in a rectangular reserve underneath, the owl 21cm, 27cm overall. (2)
£8,000-12,000
56
A JAPANESE COPPER AND BRONZE OKIMONO (SCULPTURAL ORNAMENT) BY JOSHU / YOSHIHIDE
MEIJI ERA, 19TH/20TH CENTURY
Depicting three small sparrows gathered around stalks of millet, one bird on the ground holding seeds in his beak whilst
the other two are perched amongst the stalks, with details rendered in a variety of patinas, signed Joshu / Yoshihide
underneath, with a fitted wood stand echoing the shape of the copper base, 27.5cm overall. (2)
£4,500-5,000
55 56
52 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
57
A MASSIVE JAPANESE BRONZE BRIDGE POST (GIBOSHI)
POSSIBLY EDO PERIOD, 17TH CENTURY
The monumental finial cast in the shape of a sacred jewel (tama), the smooth surface with a deep olive-green patina, 51cm.
£2,000-3,000
53
JIZAI OKIMONO, WOOD & LACQUER
LOTS 58-82
Lots 62 & 72
54 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
58
A JAPANESE SILVERED BRONZE JIZAI OKIMONO (ARTICULATED MODEL) OF A CRAYFISH
MEIJI ERA, 19TH/20TH CENTURY
With a fully articulated body, the surface of the exoskeleton realistically modelled, the long antennae, eyes and limbs all fully articulated,
41cm.
£3,500-4,000
55
61
A JAPANESE IRON JIZAI OKIMONO (ARTICULATED
MODEL) OF A HERMIT CRAB
EDO OR LATER, 18TH OR 19TH CENTURY
With a large spiralling top shell, the antennae, eyes and limbs
fully moveable; the surface with a light orange tinge, 19.5cm.
£1,000-2,000
See the British Museum, access. no.HG.370 for another example of
a jizai okimono of a hermit crab.
60
A JAPANESE IRON JIZAI OKIMONO (ARTICULATED MODEL) OF A
GRASSHOPPER
EDO OR MEIJI, 19TH CENTURY
The small insect realistically modelled with movable limbs and head, the surface cleverly
worked to depict details of the wings, an illegible two-character signature inside the
wing, 9.8cm.
£3,500-4,000
59
A JAPANESE BRONZE JIZAI OKIMONO (ARTICULATED
MODEL) OF A CRAB
MEIJI ERA, 19TH/20TH CENTURY
Naturalistically modelled with fully articulated limbs
and eyes, the shell intricately worked and the surface
a reddish colour, opening to reveal a five-character
signature reading Goto Mitsuie zo (made by Goto
Mitsuie), 23.5cm.
£2,000-3,000
The signature may be an hommage to Goto Mitsuie (d.1620), a
Kyoto sword maker mentioned in the Toso Kinko Jiten, p.152.
56 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
62
A RARE AND IMPRESSIVELY LONG JAPANESE WOOD JIZAI OKIMONO (ARTICULATED MODEL) OF A SNAKE
BY MASAKAZU
MEIJI ERA, 19TH/20TH CENTURY
The fully articulated body of the reptile realistically rendered, with a movable lower jaw, fangs and tongue; the eyes cleverly inlaid in
yellow mother of pearl and the surface of the wooden scales a warm golden brown patina, signed Masakazu in an oblong mother of
pearl reserve underneath the jaw, 175cm.
£12,000-15,000
Provenance: formerly in an important European collection, acquired in the 1970s.
See Christie’s London, Art of Japan, 8th December 2016, lot 19, for another wood model of a snake signed Masakazu. See p.53 of this
catalogue for another view.
57
63 two views
65
64
58 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
63
A JAPANESE WOOD NETSUKE OF A RAT
MEIJI ERA, 19TH CENTURY
The small rodent realistically carved, resting on its long curved tail,
the eyes rendered with small dark beads and the teeth inlaid, signed
Tomokazu in an oblong reserve underneath, 5.5cm.
£3,500-4,000
64
A JAPANESE WOOD NETSUKE OF A TIGER
EDO PERIOD, 18TH/19TH CENTURY
The crouching beast with its mouth slightly open revealing sharp
fangs, its long tail curving across its back, the stripes realistically
rendered, a two-character signature underneath for Kokei, 4.6cm.
£300-500
65
A MINIATURE SILVER SEAL
18TH OR 19TH CENTURY
Possibly a Japanese ojime modelled as a greyhound, the charming
pup depicted seated on an oblong base and with a gilded ring
around its waist, the seal face cut with a single character, 1.6cm.
£600-800
59
66
AN UNUSUAL JAPANESE SINGLE-CASE WOOD INRO BY SANDOKU
MEIJI ERA, 19TH CENTURY
Of rectangular shape, embellished with a large cockatoo perched on a flowering branch of prunus to one side and
butterflies fluttering above wisteria to the other; the various inlays made of horn, mother of pearl, and other materials;
the lid opening to reveal a miniature set of shelves with boxes of various shapes, attached to a copper ojime modelled
as a Daruma doll, the wood netsuke carved as a Mandarin duck; the inro with a two-character signature reading
Sandoku, the inro 6.5cm.
£3,000-4,000
Provenance: formerly in the collection of the Duke of Gloucester, by repute.
See the back cover of this catalogue for another view.
two views
60 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
68
A JAPANESE FOUR-CASE GOLD LACQUER INRO BY KOSAI
MEIJI ERA, 19TH CENTURY
Of rectangular rounded form, each side decorated with an actor from
the Noh play Shakkyo (The Stone Bridge), one wearing a long red wig and
wielding a bell clanger, the other half-kneeling and about to draw a sword,
in gold takamakie and with e-nashiji details on a kinji ground, the faces made
of silver inlays, signed Kosai underneath; with a jade ojime and a lacquered
wood netsuke also modelled as an actor, the inro 8.6cm.
£2,000-3,000
See Bonhams London, the Edward Wrangham Collection of Japanese Art Part IV,
6th November 2013, lot 279 for a related inro by Kosai.
67
A JAPANESE KISERUZU (PIPE CASE), ASHTRAY AND TONKOTSU
(TOBACCO BOX)
EDO OR MEIJI, 19TH CENTURY
The pipe case and box carved from gnarled pieces of wood, both decorated with
insects, leaves and flowers rendered in inlays made of mother of pearl, metal, and other
materials; the cover of the tonkotsu with a writhing snake seemingly emerging from the
wood; both attached to a metal ashtray and with an ojime carved as a hazelnut, a small
movable worm erupting from it; the kiseruzutsu 22.3cm.
£1,000-1,500
Provenance: formerly in the Trevor Barton (1920-2008) collection of smoking paraphernalia.
61
69
λ A JAPANESE BOXWOOD TONKOTSU, OJIME AND EN SUITE MONKEY NETSUKE BY MITSUKUNI
MEIJI ERA, 19TH CENTURY
The surface of the tobacco box carved with many primates in a leafy peach tree, the animals depicted in a variety of poses
picking up the fruits, with details inlaid in mother of pearl, bone and other materials, the lid carved to the inside with
another monkey carrying a fruiting branch, signed Mitsukuni in a mother of pearl rectangular cartouche; attached to a large
ojime and a netsuke modelled as a monkey tenderly holding her infant, the primates with eyes inlaid in horn, the netsuke
also signed Mitsukuni, the tonkotsu 9.8cm.
* This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate,
Ref. No. J7445XHJ.
£6,000-8,000
62 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
70
A LARGE BOXWOOD NETSUKE OF TWO STAG BEETLES BY MICHAEL WEBB (1932-2009)
DATED 1987
The large insects depicted on a section of branch, locked in battle with their mandibles entangled, their
eyes inlaid with small dark beads, the surface of the wood realistically stained and their wings with a
lustrous sheen, the bark peeling at the back to reveal an inscription reading ‘MJW carved this at Crofton
near York December 1987’, 6.1cm.
£600-800
A SELECTION OF NETSUKE BY
MICHAEL WEBB (1934-2009)
LOTS 70-73
Michael Webb’s first career in the art world saw him become Director and auctioneer at Sotheby’s
London, taking important Japanese auctions such as the Hindson sales of netsuke in 1967-69.
Progressively becoming frustrated with the auction world, he left the salerooms in 1976 for
Yorkshire, where he fully embraced his hobbies of painting and carving netsuke. Luigi Bandini at
Eskenazi Ltd was a strong supporter of his artistic endeavours, notably of his naturalistic depictions
of animals rendered in boxwood. Several exhibitions at Eskenazi Ltd and the subsequent catalogues
celebrated his creations, establishing him as a British master of netsuke carving. Bandini mentions
in the Preface of one of these catalogues that Webb took up carving after a conversation with
Giuseppe Eskenazi in the 1960s, to whom he gave his first netsuke of a bird carved in limewood.
Webb’s interest for Japanese Art developed whilst training as an auctioneer, and later flourished
from his many friendships with Japanese specialists and connoisseurs, including W. W. Winkworth,
Michael Birch, Neil Davey and Oliver Impey. The public interest for Webb’s netsuke grew further after the exhibition ‘Michael Webb: an English
carver of netsuke’ which took place at the Ashmolean Museum (Oxford), in 1983. Lot 71 was displayed as part of the exhibition.
Webb favoured carving his animals in boxwood, sometimes using tools formerly belonging to Mark T Hindson. He mastered the ukibori technique
of raised carving, using it to suggest the warts on the skin of a frog, or the veins of a leaf. He polished his creations with oil or wax, and staining
was achieved using complex mixes of dyes and stains.
Michael Webb’s netsuke can today be found in important collections including the Victoria and Albert Museum and Liverpool World Museum.
One of his frogs was notably included in the loan exhibition ‘In a nutshell: Japanese netsuke from European collections’ at the Embassy of Japan in
London in 2013.
Michael Webb in his workshop
63
71
A LARGE BOXWOOD NETSUKE OF BEETLES ON A LEAF BY MICHAEL WEBB (1932-2009)
C.1980S
The small insects depicted crawling on long curved leaves, with the minute details of their antennae realistically carved, the leaves embellished
with long thin strokes; signed MW to the tip, 6.9cm, together with a receipt from Eskenazi Oriental Art Ltd. (2)
£600-800
Provenance: purchased from Eskenazi Oriental Art Ltd, 23rd November 1983. A copy of the original receipt is available.
Exhibited: Ashmolean Museum, Oxford, October 1983, and Eskenazi Ltd, London, November 1983.
72
A LARGE BOXWOOD NETSUKE OF A CHAMELEON BY MICHAEL WEBB (1932-2009)
C.1980S
The reptile is depicted clambering upon a small twig, the rough texture of its skin realistically rendered in ukibori and stained in various colours,
the eyes inlaid with small black beads, the branch signed MJW, 6cm.
£600-800
See p.53 of this catalogue for another view.
73
A LARGE BOXWOOD NETSUKE OF A CICADA BY MICHAEL WEBB (1932-2009)
DATED 1996
The plump insect is depicted on a small piece of bark, realistically carved and stained to highlight details of the wings and carapace; the eyes
inlaid with small agate beads, signed underneath MJW and inscribed 1996, 5cm.
£600-800
Eskenazi invoice
72 73
64 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
74
A PAIR OF JAPANESE LACQUER MODELS OF SHACHIHOKO
MEIJI ERA, 19TH CENTURY
The mythical dragon-fish depicted in a dynamic pose with their heads turned upward and baring their sharp teeth, the gilt and white
eyes contrasting with the red lacquer, their bodies covered in scales and barbed fins, both 24cm. (2)
£2,000-3,000
Detail of the lotus bud (open)
65
75
A RARE JAPANESE LOTUS-SHAPED NYOI ZUSHI SHRINE SCEPTRE
EDO OR EARLIER, 18TH CENTURY OR EARLIER
The tall wood body modelled as a lotus stem with three branches, the shorter one ending with a seed head,
another with a curling leaf, and the tallest topped with a large flower bud; the underside of the burgeon
subtly decorated with scrolling clouds in white gesso; a petal opening to reveal further cloud motives inside
embellished in polychrome, and an oval aperture revealing a base for a small figure, carved as a rocky
outcrop; with an orange silk cord tied up around the stem; 94cm overall.
£1,000-2,000
The lotus is an important symbol in Buddhism, representing spiritual purity. The shape of this zushi shrine is rare
in Japan, but lotus mandalas made of copper alloy with hinged petals are more common in Indian iconography.
See the Rubin Museum, New York, access. no. C2003.10.2 for a 12th century lotus mandala of Hevajra from
north-east India with hinged petals.
78
66 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
76
A FINE JAPANESE GOLD AND SILVER LACQUER SUZURIBAKO (WRITING BOX AND COVER)
MEIJI ERA, 19TH CENTURY
Attribute to the Igarashi School, the almost square kabusebuta (overlapping lid) embellished with a gate leading to thatched pavilions in a
mountainous landscape, the huts nestled amongst leafy vegetation; the interior of the cover richly decorated with a large silver crescent
moon above a meandering stream, a man gathering horsetail with a sickle below; the interior of the box embellished with further horsetail
plants on a nashiji ground; the inner tray with an inscribed rectangular inkstone, a silver suiteki and four calligraphy implements; the decoration
rendered in hiramaki-e, takamaki-e and nashiji on the black roiro ground, and the rims with metal mounts; in a fitted tomobako wood box,
4.8cm x 23cm x 24.7cm. (14)
£4,000-6,000
Provenance: an English private collection, Somerset, purchased in Japan.
See p.5 (Chronology of Japan) of this catalogue for a detail of the decoration on the back of the cover.
77
A JAPANESE GOLD LACQUER AND MOTHER OF PEARL SUZURIBAKO (WRITING BOX AND COVER)
SHOWA ERA, C.1950
Of typical rectangular form, the lid richly decorated with leafy branches of adzuki bean plant, the leaves and pods rendered in gold hiramaki-e
and aogai mother of pear inlays on the black roiro ground, the interior and inner tray embellished with gold nashiji; with a blue and white
porcelain suiteki and a rectangular ink stone; the rims with metal mounts; with a three-character signature to the cover for Ono Keizan
(act. c.1950), together with an inscribed tomobako wood box. (6)
£400-600
77
76
78
NAKATA KINSEKI (1902-1959)
SHOWA ERA, 20TH CENTURY
A Japanese rectangular woven bamboo basket for
Ikebana (flower arrangement), with a short
rectangular handle above, the pieces of bamboo
cleverly intertwined to emphasize the different
colours of the material, signed Kinseki saku
underneath, 16cm x 38cm x 13.5cm.
£300-500
Kinseki was a student of master of bamboo
Iizuka Hôsai II (1872-1934). His pieces can be
found in collections around the world, including
at the Metropolitan Museum of New York,
access. no.2019.425.29a,b.
Hayato Otani in his workshop
67
79
HAYATO OTANI (1954-)
HEISEI ERA, 20TH CENTURY
A large Japanese red and black lacquer sculpture, the body of long rectangular form with a
curled-up end, the surface embellished in kinma (lacquered woven bamboo), the diamond-shaped
patterns getting smaller towards the rolled-up extremity, the reverse a deep black roiro lacquer
ground, together with its original inscribed tomobako wood box and two further fitted cardboard
boxes, 56cm x 31cm. (4)
£1,000-2,000
HAYATO OTANI:
MASTER OF KINMA LACQUER
Otani Hayato (1954-) is one of the very few Japanese artists bearing the title of Living
National Treasure, and Important Cultural Property Holder for the kinma technique of
lacquerware. Otani was educated at the Kagawa Prefectural Takamatsu Kogei School and
Kagawa Urushi Lacquerware Institute, where he studied under Living National Treasure
Hitoshi Ota (1931-). Over his career, he perfected the kinma method consisting in
repeatedly applying lacquer to a surface, carving it, filling the gaps and polishing them, a
process that involves more than sixty steps. The lacquer is applied on rantai, a base made of
woven bamboo strips shaped in a wood mould. The quality of Otani Hayato’s craft is widely
recognised, and many of his creations were purchased by the Japanese Agency for Cultural
Affairs. He received many awards, including at the Japan Traditional Art Crafts Exhibition,
and in 2013, he was recognised as Kagawa Prefecture Person of Cultural Merits.
68 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
80
SHOICHI AND COLLEEN SAKURAI
HEISEI ERA, 21ST CENTURY
Two Japanese wood and rice paper illuminated sculptures entitled ‘The Bag’, both of tall form with a cord attached to the top and each
raised on a pine wood stand with short legs, both with two signatures in sumi ink and with two red seals, one taller than the other,
79cm x 38cm x 120cm and 54cm x 23cm x 66cm respectively. (2)
£1,500-2,000
Exhibited: ‘Re-Birth: The Collective Works of Colleen and Soichi Sakurai’, 20th February-24th April 2009,
TUV Rheinland Forum, Yokohama.
THE ILLUMINATED SCULPTURES
OF SHOICHI AND COLLEEN SAKURAI
The son of a wood carver, Shoichi Sakurai grew up in the old downtown district of Tokyo, surrounded
by traditional Japanese crafts. His passion, however, resided in the aesthetics and music of 1950s
America. After many years of collecting vintage clothing and rockabilly memorabilia, Shoichi decided
to turn his obsession into a business and relocated to California where he would source artworks
to trade back in his homeland. Shoichi then met his wife, Colleen, an American jazz singer with a
fascination for Japanese washi paper. They moved back to Japan and together, started creating unique
sculptures featuring recycled and traditional Japanese materials, opening a workshop in 1995. The concept of wabi-sabi, the idea of beauty in
imperfection and aged surfaces, permeates their work. Colleen and Shoichi’s creations also reflect their interest in light, warmth, and perspective.
In 2007, the De’Longhi design company in Tokyo commissioned them to create two large illuminated sculptures, and an exclusive line of jewellery
featuring recycled materials made from their aluminium appliances. Today, the Sakurais are widely active in the US, Europe, and Japan.
Shoichi and Colleen Sakurai
69
81
SHOICHI AND COLLEEN SAKURAI
HEISEI ERA, 21ST CENTURY
A Japanese wood and rice paper illuminated sculpture entitled
‘Spirit’, featuring stylised grasses in relief on a ground with black ink
mottling, signed in sumi ink and with a red stamp, the reverse also
signed, sealed and inscribed, 89cm x 69cm x 16cm.
£500-800
82
SHOICHI AND COLLEEN SAKURAI
HEISEI ERA, 21ST CENTURY
A Japanese wood and rice paper illuminated sculpture entitled ‘Curtain’, raised on a pine wood stand with short legs, signed in sumi ink, seal and inscribed,
33cm x 36cm x 94cm.
£800-1,200
Exhibited: ‘Re-Birth: The Collective Works of Colleen and Soichi Sakurai’, 20th February-24th April 2009, TUV Rheinland Forum, Yokohama.
The Sakurais describe this piece as ‘hand-whittled wood with pine base; high and low relief created by an old technique of burning the wood and then ‘scouring’ it with an
uzukuri (type of bamboo brush)’.
70 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
83
A KOREAN EIGHT-FOLD HWAJO (BIRDS AND FLOWERS) SCREEN
JOSEON DYNASTY, 19TH CENTURY
In minhwa (folk) style, each panel painted in ink and colour on paper, with stylised birds and other animals depicted in vivid colours on the buff ground,
the paintings possibly mounted on a later frame, the painted panels 79cm x 26cm, the screen 148cm x 340cm overall.
£1,000-2,000
Provenance: a private British collection, acquired in Korea in the 1970s.
Birds and flowers were the most common and popular subjects in minhwa paintings due to their brilliant colours. Birds are usually depicted as a male and female pair,
which symbolizes conjugal harmony and a peaceful home.
84
ATTRIBUTED TO CHONG SON (1676-1759)
JOSEON DYNASTY, 17TH/18TH CENTURY
A Korean painting, ink and colour on paper, depicting an extensive mountainous river landscape, with two figures by a thatched building to the side,
signed Kyomjae and with two red seals, mounted on board with a silk surround, 46.5cm x 31.5cm.
£500-1,000
83
71
84
85 86
72 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
85
A KOREAN MOON JAR (DAL HANG-ARI) BY IM WHA KONG (B.1924)
20TH CENTURY
The compressed circular body with a short everted neck, the surface with a greyish-white glaze and iron speckles, the foot signed Wha (flower),
25.5cm.
£500-800
86
A KOREAN MOON JAR (DAL HANG-ARI) BY IM WHA KONG (B.1924)
20TH CENTURY
The ovoid body with a short neck, the surface with a bluish-white glaze and visible throwing rings, the foot signed Wha (flower), 28.5cm.
£400-600
IM WHA KONG (B.1924): THE FLOWER OF SOUTH KOREA
LOTS 85-88
Im Wha Kong was born in 1924 in Gangwon Province, north-eastern South Korea. Her grandfather gave her
the name ‘Wha’ (華), which means ‘flower’, a decision which was to affect her whole life: Im Wha Kong was to
become the figurehead of Cocoji, Korean flower arrangement.
Im Wha Kong studied masters of landscape painting, notably Cheongjeon Lee Sangbeom (1897-1972), and
Japanese Ikebana flower arrangement. In 1960, she founded the innovative Whakong-Hoe Association,
establishing a new major Korean school of flower arrangement. Im Wha Kong’s creations often featured vessels
she potted herself and fired at her own climbing kiln near Seoul. In Korean fashion, she favoured white-glazed
pots, the colour reflecting the Confucian ideas of purity, honesty and modesty, with forms suggesting femininity.
During her long career, she created numerous compositions for Cheong Wa Dae, the official residence of the
South Korean President until 2022. Recognised as the State Flower Arranger of South Korea, she regularly
gave live demonstrations in Seoul until 2009.
Im Wha Kong won a Korea-Japan Cultural Exchange award in 1999 and later received the Order of the Rising Sun from the Japanese Government
(2004). In 2006, the Korean President acknowledged her achievements by awarding her the Sungye Medal, the Order of Diplomatic Service Merit.
Her flower arrangements have been displayed at shows and exhibitions in Japan, but also in the US, the UK, France, the Netherlands, Singapore,
Hong Kong and Peru. Her vases can also be found in various collections around the world, including at the Philadelphia Museum of Art. The Wha Kong
Hall at the National Museum of Korea is widely used today as a place of study and training in the Cocoji style she established.
87 88
73
87
A LARGE KOREAN MOON JAR (DAL HANG-ARI) BY IM WHA KONG (B.1924)
20TH CENTURY
The spherical body raised on a short foot and with a tall straight neck, the surface covered in a bluish-white glaze with small iron
speckles, the foot signed Wha (flower), 34.5cm.
£500-800
88
A LARGE KOREAN WHITE-GLAZED DISH BY IM WHA KONG (B.1924)
DATED 1978
Raised on a short circular foot, the surface with many small iron-coloured speckles and with throwing rings to the well, the base
inscribed, signed Wha (flower) and Im Wha Kong in Roman script, dated December 1978, 37.5cm.
£400-600
89 90
74 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
89
A KOREAN BUNCHEONG MOON JAR (DAL HANG-ARI)
JOSEON OR LATER, 19TH OR 20TH CENTURY
Thickly potted with a globular body raised on a short straight foot and with a rounded lip to the neck, decorated with
a design of stylised flowers and scrolling tendrils, rendered in underglaze iron-brown on a coffee-coloured mottling
contrasting with the white body, together with an inscribed wood box, 25cm. (2)
£300-500
Provenance: an English private collection, purchased in Japan. By repute, formerly in the collection of Jun Itami (1937-2011),
an architect renowned in Korea and Japan for his primitive-style buildings and his use of raw materials. Itami Jun also collected
Korean Joseon ceramics, and pieces from his personal collection were offered at auction after his death.
90
A KOREAN BUNCHEONG MOON FLASK
JOSEON OR LATER, 19TH OR 20TH CENTURY
Of circular flattened shape, raised on a short rectangular foot and with a flared rim, the surface covered in a warm lustrous
glaze with a blue hue, together with an inscribed wood box, 28.5cm. (2)
£600-800
Provenance: an English private collection, purchased in Japan. By repute, formerly in the collection of Jun Itami (1937-2011),
an architect renowned in Korea and Japan for his primitive-style buildings and his use of raw materials. Itami Jun also collected
Korean Joseon ceramics, and pieces from his personal collection were offered at auction after his death.
JAPANESE CERAMICS
LOTS 91-132
Lot 104 detail
76 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
91
A RARE JAPANESE KO-KUTANI VASE
EDO PERIOD, 17TH CENTURY
The double-gourd vessel with a narrow waist and a tall slender neck, the eight-sided body decorated with medallions
enclosing pine, bamboo and prunus branches on a band of karakusa scrolls; embellished with further formal designs,
tortoiseshell and cash patterns, all rendered in thick enamels; the base left unglazed, 18.3cm.
£3,000-5,000
See Osaka Bijutsu Kurabu (Fine Arts Club), Cat. 22, June 1940, ‘A Private Collection’, lot 34, for a related Ko-Kutani vase
decorated with karakusa scrolls and cash patterns.
77
92
† A LARGE AND IMPRESSIVE JAPANESE BLUE AND WHITE CHARGER
EDO PERIOD, C.1670-80
Elegantly painted to the well with flowering chrysanthemum and peony by a triangular fence, the rim with a wide band of five lotus flowers and leafy
scrolling tendrils, the reverse left undecorated and with several spur marks, 53.5cm.
£12,000-15,000
Provenance: purchased in Paris, by repute.
Cf. J Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol. II, p.631, no.1471-1472, for a pair of related dishes
(access. no. RCIN58949). Also, see C J A Jörg, Fine & Curious, Japanese Export Porcelain in Dutch Collections, p.130, no.138, for a similarly decorated dish in the
Groninger Museum, Groningen.
78 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
93
A LARGE JAPANESE LACQUERED VASE
EDO PERIOD, 18TH CENTURY
The surface of the bulbous body decorated all over in gold, red and black
lacquer, with two large ho-o birds depicted in flight above paulownia, their
long tail feathers trailing behind them, the neck and foot with borders
of karakusa scrolls; some areas with traces of unrelated underglaze blue
decoration underneath, 43cm.
£300-500
Provenance: from the collection of Charles William Martin (1850-96) of Quorn
Place, Leicestershire. In 1886, Martin founded the Quorn Ranch Company
in Alberta, Canada, one of the most famous British North Amerian ranches,
importing British horses and Angus cattle to the area. See lot 261 for another
Japanese piece from the same collection.
Charles William Martin (1850-96)
79
94
A PAIR OF LARGE AND IMPRESSIVE JAPANESE ARITA LACQUERED VASES
EDO PERIOD, 1690-1720
The bulbous bodies decorated in underglaze blue with cloud-shaped panels of dense foliage and peony flowers, with large gilded lacquer areas enclosing
many prancing shishi, the lion dogs depicted in a variety of poses, with branches of bamboo and flowers above them and on a cell diaper ground, the necks
with a lacquer border decorated with coiling dragons and shachihoko (dragon fish), 60cm and 59cm respectively. (2)
£800-1,200
Cf. O Impey, Japanese Export Porcelain, Catalogue of the collection of the Ashmolean Museum, Oxford, p.119, no.151, for a jar of similar shape and underglaze blue
painting lacking its lacquer decoration.
80 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
96
A RARE JAPANESE BLUE AND WHITE DRUG JAR FOR
THE WESTERN MARKET
EDO PERIOD, C.1650
The tall cylindrical body with a waisted spreading foot and an
everted rim, painted in underglaze blue with a narrow blank
cartouche framed by formal scrolling designs with stylised leaves
and swags, the shading rendered with cross-hatching of a darker
shade; the banderol embellished with an unusual depiction of a
moustached male harpy wearing a neck ruff or millstone collar,
perched on an orb; heavily potted with some of the recessed
base left unglazed, 28cm.
£5,000-8,000
C J A Jörg, Fine & Curious, Japanese Export Porcelain in Dutch
Collections, pp.213-217 for other examples of drug jars for the
Western market. Also, see O Impey, Japanese Export Porcelain,
Catalogue of the collection of the Ashmolean Museum, Oxford,
pp.42-43, for another blue and white jar (pictured right with lot 96).
95
A JAPANESE BLUE AND WHITE CYLINDRICAL JAR
EDO PERIOD, C.1660-80
The tall cylindrical body painted in underglaze blue with panels enclosing
peonies in vases and sprays of chrysanthemum, framed by formal scrolling
motifs, the shoulder and neck decorated with bands of lappets and chevrons,
30.5cm.
£600-800
Cf. G Lang, The Wrestling Boys, An exhibition of Chinese and Japanese ceramics
from the 16th to the 18th century in the collection at Burghley House, p.19,
no.53, for a related jar. Also, see J Ayers, O Impey, JVG Mallet, Porcelain for
Palaces, The Fashion for Japan in Europe 1650-1750, p.107, no.55, and O Impey,
Japanese Export Porcelain, Catalogue of the collection of the Ashmolean Museum,
Oxford, p.99, no.105, for a square-section jar with comparable decoration.
Lot 96 and another Japanese drug jar at the Ashmolean Museum, Oxford
81
This apothecary jar is an unrecorded and possibly unique example. The shape is based on the European albarello (probably from
the Arabic term al barani, meaning storage), a container used for spices, herbs and other medicinal products. The European model
derived from Persian and Syrian jars from the 12th-13th century. This Japanese example dates from c.1650 and was probably
made as a special order. The depiction of a male harpy wearing a neck ruff is very unusual, and may have been the armorial used
by a particular monastery or apothecary.
Comparing this piece to the jar at the Ashmolean Museum (see picture opposite) shows how these pieces were produced in a
similar manner, heavily potted and with the surface covered in a thick white splashed glaze. The cobalt-blue decoration on both
jars features shading rendered with cross-hatchings in a darker shade of blue. Dr Oliver Impey noted that no prototypes for this
type of decorative labels have been found in Dutch earthenware. However, as the fashion for neck ruffs only stretched into the
17th century in the Dutch Republic, it is likely that the harpy decoration was based on a Dutch model rather than a Portuguese
one. The winged creature is also reminiscent of angel-like figures with neck ruffs that can be found on 17th and 18th century
Dutch jars or apothekerspots.
The first recorded order for Arita porcelain by the VOC (1653) included ‘various (small) porcelain bottles, (small) pots, salve and
preserve pots for the surgeon’s shop in Batavia, made according to the samples sent’. Other such orders were passed for ‘large and
small medicine pots’ to be shipped to Taiwan, and for other unrecorded destinations. Shards of Japanese albarelli were also found
in the shipwreck of the Oosterland, a VOC ship wrecked at the Salt River Mouth, South Africa. This jar was possibly made as part
of one of these orders.
We would like to thank Clare Pollard and Guido Rabbeljee for their kind assistance and suggestions in researching this lot.
97
98 99
82 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
97
A JAPANESE BLUE AND WHITE BOTTLE VASE
EDO PERIOD, 17TH CENTURY
The slender body with a tall straight neck, decorated in underglaze blue with
garlands of prunus blossoms and tassels, the neck with a band of lappets;
three rings above the foot and the base left undecorated, 26cm.
£800-1,200
98
A JAPANESE BLUE AND WHITE MELON-SHAPED DISH
POSSIBLY EDO, 18TH OR 19TH CENTURY
Raised on an oval foot and moulded to the well with a large leaf and tendrils,
decorated with a light blue wash, 16.2cm.
£800-1,200
99
A SMALL AND UNUSUAL JAPANESE SHELL-SHAPED DISH
EDO PERIOD, 17TH CENTURY
The moulded body raised on a short foot, decorated to the well in underglaze
blue and polychrome enamels with a design of crashing waves, with further
shells and seaweeds floating on the surface of the water, the underside with
karakusa scrolls and the base with a two-character seal mark, 13.9cm.
£300-500
Cf. M Fitski, Kakiemon Porcelain, a Handbook, p. 165, where the author illustrates
a comparable mark and explains that it is unidentified, but it occurs on pieces
from the Nangawara kiln produced between 1670-1700.
83
100
A RARE JAPANESE BLUE AND WHITE DRUM-SHAPED TEAPOT
EDO PERIOD, 17TH CENTURY
The unusual flattened circular body raised on a short rectangular foot, the sides with a curved spout and a rounded handle, a hexagonal
neck above; painted in underglaze blue with a prancing shishi to each side, framed by bands of karakusa scrolls and leafy tendrils,
15.5cm.
£800-1,200
84 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
103
A LARGE JAPANESE BLUE AND WHITE DISH
EDO PERIOD, 17TH CENTURY
The ten-sided foliate dish decorated in underglaze
blue and with a brown rim, painted with two men in
Chinese garments seated in a pavilion and two others
on a bridge, with prunus, pine and maple trees issuing
from rockwork to the side, and scrolling clouds above;
the reverse painted with a continuous band of karakusa
scrolls and a fuku mark, 29.8cm.
£1,000-2,000
102
A JAPANESE BLUE AND WHITE
KAKIEMON-STYLE DISH
EDO PERIOD, 17TH CENTURY
The ten-sided body with a brown rim and decorated
in underglaze blue with a central medallion enclosing
two figures in a landscape, a small dog prancing beside
them, a waterfall, prunus and pine issuing from banded
hedges behind; the cavetto and rim with a border of
flowers, tassels and other formal designs; the reverse
with karakusa scrolls and a kin mark in a double-lined
square, 18.2cm.
£200-400
Provenance: from the collection of David Stopher, Kent.
101
TWO JAPANESE BLUE AND WHITE DISHES
EDO PERIOD, 17TH CENTURY
Both decorated in underglaze blue, one with two
pavilions in a dramatic mountainous landscape with a
waterfall to the side, the rim with a wide band enclosing
another panorama; the other plate with two adults and
a child on a bridge, the small boy pointing at a large
poppy and with further blooms to the side, two birds in
flight above, 21.5cm and 21.4cm respectively. (2)
£300-500
85
104
A JAPANESE BLUE AND WHITE KAKIEMON-STYLE DISH
EDO PERIOD, C.1680-1720
The shallow dish raised on a short foot and with a foliate brown-edged rim; decorated in underglaze blue to the well with a ho-o bird
perched on a flowering branch of chrysanthemum issuing from rockwork; the rim with a border of formal flowerheads and scrolling
tendrils; the reverse with karakusa scrolls and a fuku mark in a double-lined square to the base, 15.6cm.
£300-500
See p.75 of this catalogue for another view.
86 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
105
A JAPANESE ARITA ‘QUAIL AND MILLET’ DISH
EDO PERIOD, C.1700-20
The octagonal body decorated in underglaze blue, gilt and polychrome enamels; the two plump birds pecking seeds underneath tall
sprays of millet and other flowers, the reverse with four beribboned sacred pearls, a paper label for ‘Girton Two Quail Collection, 2004
Loan Exhibition, no.2’, 17.4cm.
£300-500
Provenance: from the collection of David Stopher, Kent. Purchased from Bonhams, Fine Japanese Art, 12th May 2011, lot 103.
Exhibited: Stockspring Antiques, London, 6th-20th May 2004, and The Museum of Worcester Porcelain, Worcester, 2nd July-5th September
2004, no.2, as part of the exhibition ‘The Two Quail Pattern, 300 Years of Design on Porcelain’ and illustrated in the catalogue, p.77.
87
106
A TALL AND RARE JAPANESE KAKIEMON-STYLE EWER
EDO PERIOD, C.1660-80
The bulbous body with a slender neck and a curved handle to the side, decorated in underglaze blue, red, black and green enamels;
the body painted with pavilions in a mountainous river landscape, surrounded by luxuriant gardens and with large palm trees behind
them; the neck embellished with further blooms and formal floral designs, the handle with karakusa scrolls, 26.7cm.
£1,000-2,000
Cf.C J A Jörg, Fine & Curious, Japanese Export Porcelain in Dutch Collections, p.161, no.181, for a closely related ewer in the Groninger Museum,
Groningen. The author notes that the combination of a Chinese Transitional-style landscape in underglaze blue and the enamelled decoration
is very unusual, and it places this piece between the early Japanese enamels and the developing Imari and Kakiemon styles. He also notes that
no other comparable piece seems to be recorded.
88 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
109
A LARGE JAPANESE IMARI BOWL
EDO PERIOD, 17TH CENTURY
The deep body typically decorated in underglaze blue, gilt, yellow, green,
cyan, orange and red enamels, the well with a peony to the centre and the
cavetto with two beribboned sprays of chrysanthemum and irises, a band
of blue spirals to the rim embellished with gilt; the reverse decorated with
alternating panels enclosing various flowers including chrysanthemum,
carnations, lotus and others, above a continuous band of prunus branches,
the foot painted with spirals, 31.4cm.
£1,000-1,500
108
A PAIR OF JAPANESE FOLIATE DISHES
EDO PERIOD, 1670-1700
Both decorated in underglaze blue, gilt and red enamel with a five-petal
flower to the centre and radiating panels to the cavetto enclosing further
blooms and leafy sprays; both painted to the reverse with karakusa scrolls and
a single character mark, both 18.2cm. (2)
£400-600
Cf. M Fitski, Kakiemon Porcelain, A Handbook, p.165, where a similar mark
is illustrated. Although the author explains that the character is unidentified,
it occurs on Nangawara pieces produced between 1670-1700.
107
A JAPANESE KAKIEMON BOWL
EDO PERIOD, C.1700
The deep body moulded as a five-petalled flower and raised on a short
straight foot, richly painted in polychrome enamels with a single bloom to the
well and flowering prunus trees and flowers emerging from behind fences to
the cavetto; the exterior with a large fruiting pomegranate tree and further
flowering prunus issuing from rockwork, 19cm.
£600-800
Provenance: from the collection of David Stopher, Kent. Purchased from Bonhams,
Fine Japanese Art, 11th November 2010, lot 237.
89
110
A LARGE JAPANESE IMARI BOWL
EDO PERIOD, 17TH CENTURY
The deep body decorated in underglaze blue, gilt, yellow, red, orange, green and purple enamels, the well painted to the centre with
a spray of peony and the cavetto with chrysanthemum tied up to bamboo canes, the rim with a band of clouds and fruiting branches
in gilt on the dark blue ground; the reverse with a mountainous river landscape above two floral borders; an elderly man and two boy
attendants crossing a bridge to one side, and a pavilion by a waterfall to the other, the base with a chrysanthemum mon, 37.7cm.
£800-1,200
90 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
111
A PAIR OF JAPANESE ARITA DISHES
EDO PERIOD, 1690-1720
Both decorated in underglaze blue, gilt, red, yellow, cyan and green enamels, each with a central medallion enclosing two tripod
jardinières issuing rocks and flowers by a fence, framed by a wide border of further blooms, leafy branches, rocks and fences; the rims
with borders of stylised waves and flowers; both dishes painted to the reverse with prunus flowers and leafy tendrils, 31.3cm. (2)
£1,000-1,500
112
† A LARGE JAPANESE IMARI DISH
EDO PERIOD, 1690-1720
Decorated in underglaze blue, gilt, and red enamel, the well painted with a
pavilion by a bridge, a large tree issuing from rockwork beside it; the cavetto
with shaped panels enclosing flowering chrysanthemum, prunus and peony,
and a formal border of scrolling tendrils, diaper and further blooms to the rim;
the reverse with foliate scroll decoration, 48.5cm.
£1,500-2,500
91
113
A PAIR OF VERY LARGE AND IMPRESSIVE JAPANESE IMARI DISHES
EDO PERIOD, 1690-1720
Both richly decorated in underglaze blue, gilt, yellow, green, purple and red enamels, each painted with sprays of flowering
chrysanthemum to the well encircled by scrolling tendrils, the cavetto with figures in a mountainous river landscape and with many
chrysanthemum, peonies, prunus and other blooms, the rims of both dishes with alternating panels enclosing formal leafy tendrils and
further chrysanthemum flowers, the undersides both painted with three flower sprays, 55.5cm and 55cm respectively. (2)
£10,000-15,000
92 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
115
† A TALL JAPANESE IMARI BALUSTER VASE
EDO PERIOD, 18TH CENTURY
The baluster body richly decorated in underglaze blue, gilt and polychrome
enamels, with panels shaped as ribbons and fans variously enclosing figures
in landscapes, flowers, squirrels and vines, carps and butterflies, all reserved
on a dark navy-blue ground embellished with flowers and scrolling tendrils in
gilt, 58cm.
£5,000-6,000
See Japanese Works of Art, 1st July 2020, lot 218, for a pair of Imari vases
from the collection of Lionel de Rothschild (1882-1942), Edmund de Rothschild
(1916-2009), and the Trustees of Exbury House, with similar decoration of fan
and ribbon-shaped panels on a dark blue ground sold in these rooms.
The ribbon-shaped cartouches on this vase imitate the decorative strips of paper
known as tanzaku on which one would write a wish during the Tanabata festival.
114
† A PAIR OF JAPANESE IMARI VASES
EDO PERIOD, C.1700-1730
The baluster bodies typically decorated in underglaze blue, gilt,
orange and red enamels, painted with flowering branches of peony
and prunus in between ribbons, the dark blue rectangular panels
embellished with formal scrolls and flowering tendrils rendered in gilt,
both approx. 34cm. (2)
£3,500-4,000
93
116
† A LARGE AND IMPRESSIVE JAPANESE IMARI DISH
EDO PERIOD, 1690-1720
Richly painted in underglaze blue, gilt, and polychrome enamels, the well decorated with two birds of prey, one perched on a
flowering branch of peony, the other immobilising a smaller bird; the border with shaped panels enclosing various birds, flowers and
squirrel and vines on a dense ground of karakusa scrolls, the reverse with three sprays of chrysanthemum, prunus and peony, 50cm.
£4,000-6,000
See the Victoria and Albert Museum, access. no.C.1503-1910 for a related dish.
94 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
119
† A PAIR OF JAPANESE IMARI BOTTLE VASES
EDO PERIOD, C.1700
Both decorated in underglaze blue, gilt, red, green, cyan and purple enamels;
painted with panels enclosing flowering branches of prunus and other
flowers issuing from rockwork; each with a band of triangular lappets above
the foot and to the neck, and with karakusa scrolls to the rim, 23cm and
22cm respectively. (2)
£2,500-3,000
118
† A PAIR OF JAPANESE IMARI TOKKURI (BOTTLES)
EDO PERIOD, C.1700
The square-section bodies richly decorated in underglaze blue, gilt, and red
enamels, each side with flowering sprays of chrysanthemum, both bottles
painted to the shoulder with formal designs in shaped panels and bands of
writhing dragons above, both approx. 23cm. (2)
£3,500-4,000
117
† AN UNUSUAL JAPANESE IMARI MOULDED DOUBLE-GOURD
VASE
EDO PERIOD, 18TH CENTURY
Painted in underglaze blue, gilt, red, green and purple enamels, with many
chrysanthemum, peony and other blooms amongst leafy sprays, some
flowers depicted in slight relief and two others with details unusually
rendered in openwork, 29.5cm.
£1,500-2,500
121 120
95
120
† A LARGE AND UNUSUAL JAPANESE IMARI MOULDED BOX AND COVER
EDO PERIOD, 18TH CENTURY
Of square shape and raised on a short foot, the heavily potted box richly decorated with shaped panels enclosing flowers, grapes, vines, and landscapes,
some areas embellished with patterns of cell diaper; the decoration moulded in low relief; all framed by borders of stylised peonies and scrolling tendrils;
the cover made of lacquer and decorated with various mon in gold hiramaki-e on the black roiro ground, 21cm x 20.3cm x 19.9cm. (2)
£2,000-3,000
Cf. O Impey, Japanese Export Porcelain, Catalogue of the collection of the Ashmolean Museum, Oxford, p.212 for another 18th century square box with moulded
honeycomb pattern. The author notes that the moulded decoration has been especially adapted in order to take the particular painted pattern, thus showing close
collaboration between potter and painter.
121
† A JAPANESE FOUR-TIER JUBAKO (PICNIC BOX AND COVER)
MEIJI ERA, 19TH CENTURY
The square-section stacking box decorated with shaped panels enclosing bamboo, prunus, and pine on a ground of seigaiha waves, the cover painted with
poppies and bamboo shoots on a fylfot ground, 21cm. (5)
£1,000-1,500
96 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
122
A JAPANESE HIRADO MODEL OF DOGS
EDO OR MEIJI, 19TH CENTURY
The charming okimono depicting a bitch and her two puppies, the adult with
a blue collar and all three with a yellow-brown ribbon tied around the neck,
one pup clambering upon the back of its parent whilst the other calmly looks
up, with some details delicately incised in the surface, 13.2cm.
£300-500
123
A SET OF SEVEN JAPANESE HIRADO MODELS OF BOYS
MEIJI ERA, 19TH/20TH CENTURY
The children are all depicted seated in a variety of poses, each wearing a
tunic and loose trousers with details highlighted in underglaze blue and
iron oxide, in an inscribed tomobako wood box with seven compartments,
6cm max. (8)
£1,000-2,000
97
124
A JAPANESE SATSUMA VASE BY KINKOZAN
MEIJI ERA, 19TH/20TH CENTURY
Of bulbous shape and with a ring to the neck, decorated with
many mythical creatures including dragons, ho-o birds and
shishi; the beasts on a dense ground of white scrolling tendrils;
bordered by bands of flowers, brocade patterns and other
formal designs, the base signed Kinkozan zo, 12.5cm.
£300-500
125
A PAIR OF JAPANESE SATSUMA VASES BY GENZAN
MEIJI ERA, 19TH/20TH CENTURY
Both with a bulbous body decorated with a central scalloped band enclosing a
procession, the many figures including a sarumawachi (monkey trainer), a man with a
lion mask for the shishimai dance, children with toys, musicians, samurai, and beauties
with parasols; the panels framed by borders of flowerheads and brocade patterns, both
with a square mark underneath for Hiramatsu Genzan, both 12.3cm. (2)
£500-800
126 127
98 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices
126
A JAPANESE CYLINDRICAL VASE BY MEIZAN
MEIJI ERA, 19TH CENTURY
Raised on three short feet, richly decorated with a wide band enclosing a continuous scene in between borders of flowerheads and key
fret, the panel painted with many figures in an extensive mountainous river landscape, some depicted walking in the snow and others
seating in pavilions, one looking through a telescope; the base signed in gilt Meizan sei in a rectangular cartouche, 14.8cm.
£500-1,000
127
A JAPANESE SATSUMA VASE BY YABU MEIZAN
MEIJI ERA, 19TH CENTURY
The tall body decorated with a continuous design of swallows flying amongst wisteria, the flowers and vines trailing down the side of the
vase, the petals painted in slightly raised enamels and with details highlighted in gilt, the rim embellished with formal scrolling tendrils and
flowerheads, the base sealed Yabu Meizan in gilt, 24.3cm.
£400-600
