FINE JAPANESE WORKS OF ART TUESDAY 23RD MAY 2023

WOOLLEY & WALLIS

FINE JAPANESE WORKS OF ART

日本美術

TUESDAY 23RD MAY 2023

Lots 33 & 34

2

Salisbury Salerooms, 51-61 Castle Street, Salisbury, Wiltshire SP1 3SU

Tel: +44 (0)1722 424500 • www.woolleyandwallis.co.uk

Please dial +44 (0)1722 followed

by the number listed below

John Axford MRICS ASFAV 424506

Alexandra Aguilar 424583

Freya Yuan-Richards 424589

Jeremy Morgan +44 (0)7812 601098

Michelle Yu 424571

Sophie Moore 424591

Nelson Chui 424591

Email:

asianart@woolleyandwallis.co.uk

Front Cover: Lots 35, 32, 62, 92 & 96

Back Cover: Lot 66 (detail)

Catalogue £20.00

(£25.00 by post)

(£30.00 by post outside Europe)

Jeremy Morgan

Asian Art

Nelson Chui

Photography

Michelle Yu Sophie Moore

Alexandra Aguilar

Japanese Art

Freya Yuan-Richards

Chinese Paintings

John Axford MRICS

ASFAV

Head of Asian Art

ASIAN ART SPECIALISTS & CONTACTS

VIEWING

Viewing in London (highlights)

17 Clifford Street, 2nd Floor W1S 3RQ

Saturday 13th May 11.00am – 4.00pm

Sunday 14th May 11.00am – 4.00pm

Monday 15th May 11.00am – 4.00pm

Viewing at our Old Sarum Galleries

Unit 1B Castle Gate Business Park,

Old Sarum, Salisbury SP4 6QX

Friday 19th May 10.00am – 5.00pm

Saturday 20th May 10.00am – 1.00pm

Monday 22nd May 10.00am – 5.00pm

3

新浪微博 @艾思福

LIVE ONLINE BIDDING - FREE OF CHARGE

bid.woolleyandwallis.co.uk

Please register by 12 noon on Monday 22nd May.

威立士網上競投

IMPORTANT CHANGES TO OUR BIDDING PROCEDURE

Please note that, owing to the recent introduction of Money

Laundering Regulations, clients wishing to bid in this auction are

likely to be asked to provide two forms of identification. This applies

to both new and existing clients.

BUYER’S PREMIUM

See paragraphs 4 & 5 of our conditions of business at the back of

the catalogue for additional charges on the final hammer prices.

Telephone Bidding

Requests for telephone bidding may not be accepted after

12 noon on Monday 22nd May.

To register for this sale or request condition reports, please email

asianart@woolleyandwallis.co.uk or call +44 (0)1722 424500.

Instagram: @woolleyandwallisasianart

@woolleyandwallissalerooms

Facebook: @woolleyandwallis

Twitter: @woolleywallis

FINE JAPANESE WORKS OF ART

日本美術

TUESDAY 23RD MAY 2023

10.00am

The sale to be conducted at our Castle Street Salerooms, SP1 3SU

Po

A345 Castle Rd rtwa

B

y

eehive Park & Ride

A345

A36 Churchill Way A36

Old Sarum

SALISBURY

AMESBURY

Sarum Business Park

Old Sarum Park

E

N S

W

Kia Motors

Westover Garage

MARLBOROUGH & SWINDON

Storage work s

WOOLLEY & WALLIS

Salisbury Salerooms

WOOLLEY & WALLIS

Old Sarum Galleries

Woolley & Wallis

Salisbury Salerooms

51 – 61 Castle Street

SP1 3SU

Woolley & Wallis

Old Sarum Galleries

Unit 1B

Castle Gate Business Park

Old Sarum

Salisbury

SP4 6QX VIEWING HERE

AUCTION HERE

4

SPECIALIST DEPARTMENTS

Please dial +44 (0)1722 followed by the number listed below

ASIAN ART

John Axford MRICS ASFAV 424506

Alexandra Aguilar 424583

Freya Yuan-Richards 424589

Jeremy Morgan +44 (0)7812 601098

Michelle Yu 424571

Sophie Moore 424591

Nelson Chui 424591

CHINESE PAINTINGS & CALLIGRAPHY

Freya Yuan-Richards 424589

Michelle Yu 424571

JAPANESE WORKS OF ART

Alexandra Aguilar 424583

Michelle Yu 424571

20TH CENTURY DESIGN

Michael Jeffery 424505

Zoe Smith 446955

AFRICAN & OCEANIC ART | ANTIQUITIES

Will Hobbs 339752

Molly O’Reilly 446980

ENGLISH & EUROPEAN CERAMICS & GLASS

Clare Durham 424507

Hollie Morrison 446964

FURNITURE, WORKS OF ART & CLOCKS

Mark Yuan-Richards 411854

Neil Grenyer MRICS 446974

Jim Gale 339161

Sarah Stone 339161

Victoria Elwell 339161

JEWELLERY

Marielle Whiting FGA 424595

Jonathan Edwards FGAA (Consultant) 424504

Samuel Hug FGA DGA 424586

Megan Corbett 424562

MEDALS & COINS, ARMS & ARMOUR

Ned Cowell 341469

Molly O’Reilly 446980

PAINTINGS

Victor Fauvelle 446961

Ed Beer 446962

Sarah Bennie 446970

SILVER

Rupert Slingsby 424501

Lucy Chalmers 424594

VALUATIONS FOR INSURANCE & PROBATE

Jeremy Lamond MRICS ASFAV FRSA 424502

Neil Grenyer MRICS 446972

Amanda Lawrence 424509

Archie Swann (Trainee valuer)

Hannah Farthing (Trainee valuer)

GENERAL OFFICE

Ruth Pike (Office Manager) 424500

Nicola Young

Serena Tandy-Cockram

Gemma Pointer

CASTLE GATE RECEPTION

Sally Litherland

MARKETING

Chloe Davie 446951

Lucinda Phillips 446981

ACCOUNTS

Sharon Ringwood 424565

Ania Antkowiak

BOARD OF DIRECTORS

John Axford MRICS ASFAV

Chairman

Natalie Milsted FCCA

Managing Director

ASSOCIATE DIRECTORS

Alexandra Aguilar

Clare Durham

Victor Fauvelle

Will Hobbs

Michael Jeffery

Jeremy Lamond MRICS ASFAV FRSA

Rupert Slingsby

Marielle Whiting FGA

Freya Yuan-Richards

Mark Yuan-Richards

Lot 76 detail

CHRONOLOGY OF JAPAN

Jōmon Period

ca.10,000 BC-ca.300 BC

Yayoi Period

ca.300 BC-552 AD

Asuka Period

552-645

Nara Period

645-794

Heian Period

794-1185

Kamakura Period

1185-1333

Muromachi Period

1333-1573

Namboku-Chō Period

1336-1392

Momoyama Period

1568-1615

Bunroku Era 1592-1596

Keicho Era 1596-1615

Edo Period 1615-1868

Kan’ei Era 1624-1644

Kanbun Era 1661-1673

Genroku Era 1688-1704

An’ei Era 1772-1781

Tenmei Era 1781-1789

Kansei Era 1789-1801

Kyowa Era 1801-1804

Bunka Era 1804-1818

Bunsei Era 1818-1830

Tenpo Era 1830-1844

Koka Era 1844-1848

Kaei Era 1848-1854

Ansei Era 1854-1860

Man’ei Era 1860-1861

Bunkyu Era 1861-1864

Genji Era 1864-1865

Keio Era 1865-1868

Meiji Era 1868-1912

Taisho Era 1912-1926

Showa Era 1926-1989

Heisei Era 1989-2019

Reiwa Era 2019-present

6

Suzanne and Adolphe Stoclet Palais Stoclet, Brussels

THE STOCLET COLLECTION

LOTS 1-10

Adolphe Stoclet (1871-1949) was a successful Belgian engineer and financier. His wife Suzanne Stevens

(1874-1960) was the daughter of art critic and collector Arthur Stevens (1825-1909), and the niece of painter

Alfred Stevens (1823-1906). Through these connections to the art world, the Stoclets were introduced to the

avant-garde art circles of Paris and Vienna.

When living in Austria, they met architect and designer Josef Hoffmann (1870-1956) whom they commissioned

to build the Palais Stoclet in Brussels in 1905. A great monument to the Secessionist style, the Palais would house

their extensive art collection which included a variety of pieces from Egyptian and Chinese sculpture to medieval

Italian painting, Byzantine jewellery, Pre-Columbian and African art. Gustav Klimt painted the mural in the dining

room, and the Palais was used to entertain the King of Sweden as well as historians, archaeologists, writers,

and musicians.

Early on in his collecting life, Adolphe became interested in Japanese ukiyo-e prints, embracing the wave of

Japonisme taking the West by storm. He showed a true scholarly interest for the pictures in his collection, keeping

a record of where the prints were purchased and identifying the themes depicted. His notes were written down on

the frames and mounts of many of the prints in this sale and have been added to the catalogue descriptions. The

Stoclet Collection included close to three thousand prints, variously bought at auction and from famous art dealers

of the early 20th century. Tadamasa Hayashi (Paris) and Takejirō Murakami (Brussels) are sometimes mentioned.

Other Japanese ukiyo-e pictures from the Stoclet Collection were auctioned at Sotheby’s London on 8th June 2004,

and many of the prints on offer here echo those ones in terms of artists and subject matters depicted.

7

HAYASHI TADAMASA:

THE FATHER OF JAPONISME

(1854-1906)

Hayashi Tadamasa’s collector seal

Many of the Stoclet prints on offer in this sale bear the seal of the Hayashi Collection. Interested in the life of

Napoléon, Hayashi Tadamasa decided to study French at the University of Tokyo and went on to work at the Paris

Exposition Universelle of 1878 as translator, assisting the Japanese art expert Wakai Kanezaburo (1834-1908).

A few years later, Tadamasa and Wakai would establish a business partnership in Paris, the Wakai-Hayashi

Company, dealing in Japanese artworks and thus contributing to the craze for Japanese Art spreading in the West

in the late 19th century. In 1886, Tadamasa contributed to the publication of Paris Illustré, the cover of which

would inspire Van Gogh for his painting ‘The Courtesan’. Tadamasa sourced many artworks for European collections

including for those of Louis Gonse, Edmond de Goncourt, Henry Vever, and others. The prints he imported by

famous artists such as Utamaro and Kiyonaga were particularly disputed amongst collectors, and he quickly became

famous for the quality of the art he offered for sale and collected himself. In 1900, the Japanese Government

appointed him General Commissioner of the Japanese Art section at the Paris World Fair, for which he was later

awarded the Légion d’Honneur, the highest French order of merit established by Napoléon a century earlier.

Tadamasa sold his collection of prints at auction in 1902-03 and left Paris in 1905 to return to Tokyo, where he

lived surrounded by his favourite artworks by Degas, Monet, and others until his death in 1906.

Hayashi Tadamasa

8 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1

ISODA KORYUSAI (1735-90)

KATSUKAWA SHUNSHO (1726-92)

EDO PERIOD, 18TH CENTURY

Two Japanese woodblock prints, the first by Koryūsai and entitled Seitoji

bansho (Evening Bell at Seitoji) from the series Tōtō Hokushu hakkei (Eight

Views of Northern Edo), depicting two beauties in a garden, one adjusting

the obi of the other, signed Koryū ga, with the seal of the Hayashi Collection,

26.2cm x 18.9cm, the frame with a label reading ‘seal of the Hayashi Collection,

bought from Murakami 15th April 1909’ in French; the other print by Shunshō

depicting two women and a samurai in an interior, one holding the man’s sleeve,

with Shunsho’s tsubo-shaped seal reading Hayashi, 26cm x 19.5cm; both prints

with embossed details. (2)

£200-400

Provenance: from the collection of Adolphe Stoclet (1871-1949). The Koryūsai print

previously in the collection of Hayashi Tadamasa (1854-1906).

9

2

KOMAI YOSHINOBU

(ACT. C.1764-81)

EDO PERIOD, C.1765-71

A Japanese woodblock print

entitled Edo-machi Itchome,

Ogiya uchi Matsukaze (The

Courtesan Matsukaze of

Ogiya in Edo-machi Itchome),

depicting two beauties in an

interior, one presenting the

other with a letter, signed

Komai Yoshinobu ga, with the

seal of the Hayashi Collection,

25.5cm x 19.4cm; the mount

with a handwritten inscription

reading ‘Yoshinobu Komai,

seal of the Hayashi Collection,

bought from Murakami

10-3(?)-09’ in French.

£200-300

Provenance: from the

collection of Adolphe Stoclet

(1871-1949), and previously

in the collection of Hayashi

Tadamasa (1854-1906).

See Sotheby’s London,

Important Japanese Prints,

Books and Paintings from the

Adolphe Stoclet Collection, 8th

June 2004, lot 101, for another

print by Komai Yoshinobu

from the collection of Adolphe

Stoclet, with a similar inscription

on the mount reading ‘bought

from Murakami, 9-1-09’. Also,

see the Art Institute Chicago,

access. no.1928.979 for

another example of this print.

10 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

3

KITAGAWA UTAMARO I (C.1754–1806)

EDO PERIOD, C.1801-2

Two Japanese woodblock prints from the series Chūshingura (The Treasury of the Loyal Retainers), the first entitled ‘Act IX (Kudanme)’, some details embossed,

37.9cm x 24.6cm; the second print depicting Act II, with Oboshi Rikiya meeting his sweetheart Konami, 37.5cm x 18cm; both signed Utamaro hitsu, published by

Nishimuraya Yohachi (Eijudō), and with censor’s seal kiwame; both prints with the seal of the Hayashi Collection, and each with a label originally on the back of

the frames with the name and dates of the artist and another label for ‘Cadres et Dorure Gabriel van Thienen, 28 Rue de l’Enclume, Bruxelles’. (2)

£200-400

Provenance: from the collection of Adolphe Stoclet (1871-1949), and previously in the collection of Hayashi Tadamasa (1854-1906).

See the Museum of Fine Arts, Boston, access. no.21.6443 for another example of the first print. Also, see Sotheby’s London, Important Japanese Prints, Books and

Paintings from the Adolphe Stoclet Collection, 8th June 2004, lots 210, 211, 212, and 213, for more prints from the same series from the Stoclet Collection.

11

4

UTAGAWA TOYOHARU

(1735-1814)

EDO PERIOD, C.1780

A Japanese woodblock print

entitled Kyusenzan Kassen no

zu (The Battle of Jiuxian-Shan

in China) from the series

Shinpan uki-e (Newly Published

Perspective Pictures), signed

Utagawa Toyoharu kore o

hakaru, with the seal of the

Hayashi Collection, published

by Iwatoya Genpachi,

24cm x 35cm.

£200-400

Provenance: from the

collection of Adolphe Stoclet

(1871-1949), and previously

in the collection of Hayashi

Tadamasa (1854-1906).

See the Museum of Fine Arts,

Boston, access. no.11.14708,

and the British Museum, access.

no.1963,0731,0.6 for two

other impressions of this print

with slight differences. Also, see

Sotheby’s London, Important

Japanese Prints, Books and

Paintings from the Adolphe

Stoclet Collection, 8th June

2004, lots 153 and 154 for

two other prints by Toyoharu

of perspective views from the

Stoclet Collection, one also with

Hayashi provenance. 5

TORII KIYONAGA

(1752-1815)

EDO PERIOD, C.1787

Two Japanese woodblock

prints from a triptych entitled

Mimeguri no yudachi (A Sudden

Shower at the Mimeguri Inari

Shrine), depicting travellers

caught in a rainstorm,

both signed Kiyonaga

ga, 37.7cm x 25cm and

38.3cm x 25cm respectively;

the frame with a label reading

‘bought from Murakami,

17 June 1909’ in French.

£200-300

Provenance: from the

collection of Adolphe Stoclet

(1871-1949).

See the Museum of Fine Arts,

Boston, access. nos.11.13972,

11.13985 and 11.13986 for

another example of this triptych.

12 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

6

KATSUSHIKA HOKUSAI

(1760-1849)

EDO PERIOD, C.1806

A Japanese woodblock print

diptych made of two pages

from an album entitled Ehon

Sumidagawa ryogan ichiran

(Picture Book of Both Banks of

the Sumida River at a Glance),

depicting many travellers

crossing a bridge over the

Sumida River, published by

Bun’edo (Maekawa Zenbei),

20cm x 30cm overall.

£200-300

Provenance: from the

collection of Adolphe Stoclet

(1871-1949). 7

UTAGAWA YOSHITORA

(C.1836-87)

EDO PERIOD, 1854

A Japanese woodblock print,

entitled Nihonbashi: Sunset,

from the series Toto meisho

hakkei no uchi (Eight Views

of Famous Places in the

Eastern Capital), depicting

many figures crossing a

bridge, with Mount Fuji in the

distance; published by Yamada

Shobei, signed Yoshitora ga,

with publisher’s seal Yamada

and censor’s Aratame seal,

23.9cm x 34.5cm.

£200-300

Provenance: from the

collection of Adolphe Stoclet

(1871-1949).

9

8

13

8

UTAGAWA HIROSHIGE (1797-1858)

EDO PERIOD, C.1832-33

A Japanese woodblock print entitled ‘Sea Bream and Sansho Pepper’, from an untitled

series known as ‘Large Fish’, with two kyōka poems above, one by Shizugaki Namiyasu;

signed Ichiryûsai Hiroshige ga, 25cm x 36.4cm.

£200-400

Provenance: from the collection of Adolphe Stoclet (1871-1949).

9

KEISAI EISEN (1790–1848)

EDO PERIOD, C.1830-44

A Japanese vertical oban diptych woodblock print, depicting a large carp in a waterfall,

signed Keisai hitsu, with red artist’s seal Eisen, published by Izumiya Ichibei (Kansendo),

71cm x 24.5cm overall.

£200-300

Provenance: from the collection of Adolphe Stoclet (1871-1949).

14 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

10

A JAPANESE GOLD LACQUER SUZURIBAKO (WRITING BOX AND COVER)

MEIJI PERIOD, 19TH CENTURY

Of typical square shape with chamfered corners, the box and cover decorated to the exterior with a dense pattern of leafy

branches in gold lacquer on the black ground; the inside and inner trays with a design of stylised waves; a rectangular metal

suiteki and an inkstone, 4.3cm x 21.2cm x 22.8cm. (5)

£300-500

Provenance: from the collection of Adolphe Stoclet (1871-1949).

END OF COLLECTION

15

11

ISODA KORYUSAI (1735-1790)

EDO PERIOD, C.1774-5

A Japanese oban yoko-e shunga woodblock print entitled ‘Making Love on the Veranda’, depicting a young couple enjoying each other’s company, with large

chrysanthemum flowers in the foreground and a screen depicting crashing waves behind, two poems beside the busy lovers, some details rendered in karazuri

(embossing), 24.95cm x 37cm.

£500-800

Provenance: an English private collection, purchased c.1970 from Kegan Paul, Trench, Trübner & Co., British publishers in London.

See the British Museum, access. no. OA+,0.97 for another example of this print by Koryusai, also illustrated in R Buckland, Shunga: Erotic Art in Japan, p.46.

16 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

12

UNIDENTIFIED ARTISTS

PROBABLY EDO AND MEIJI, 18TH AND 19TH CENTURY

Two Japanese shunga woodblock prints, the first unusually depicting the Goddess of Mirth Okame embracing a young man, her long hair

curling under her, some details of the brocade textiles behind them rendered in karazuri (embossing), 15.7cm x 37.6cm; the other print

of a partially clothed couple with food bowls beside them, interrupting their meal to enjoy each other, with lines of calligraphy above,

25.5cm x 38cm. (2)

£500-800

Provenance: an English private collection, purchased c.1970 from Kegan Paul, Trench, Trübner & Co., British publishers in London.

17

13

UTAGAWA KUNIYOSHI (1797-1861)

EDO PERIOD, 19TH CENTURY

Three Japanese woodblock prints, all signed Ichiyūsai Kuniyoshi

ga; two from the series Kisokaidō rokujūkyū tsugi no uchi

(Sixty-nine Stations of the Kisokaidō Road), one entitled

Mitake: Akushichibyōe Kagekiyo, published by Sumiyoshiya

Masagorō, 36.3cm x 25.6cm; the other of ‘Ochiai: Kume Sennin

and the Washerwoman’, published by Hayashiya Shōgorō,

36.5cm x 25cm; the third entitled ‘Yūgao: Yazama’s Wife Orie’,

from the series Genji kumo ukiyo-e awase (Genji Clouds Matched

with Ukiyo-e Pictures), published by Iseya Ichiemon, with

embossed details, 36cm x 24.5cm. (3)

£400-600

18 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

14

UTAGAWA KUNISADA I / TOYOKUNI III (1786-1865)

EDO PERIOD, C.1855-61

Four Japanese woodblock prints, the first entitled ‘Wild Geese’, published by Otaya Takichi, 36.5cm x 24.2cm;

another of Villain Onitaro disguising himself as Shimobe Tomoshige, published by Kagiya Shobei, 35.5cm x 24cm;

the third of a poet gazing at butterflies, published by Otaya Takichi, 36.2cm x 24cm; and the fourth of Shosan

practising Asceticism, with spiderwebs behind him, published by Kagiya Shobei, 35.5cm x 24cm. (4)

£200-300

Provenance: from the private collection of a British artist, formed in the 1990s.

19

part lot illustrated

20 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

15

YOSHU / TOYOHARA CHIKANOBU (1838-1912)

MEIJI ERA, C.1888

An accordion album of ten Japanese woodblock print

triptychs, comprising a whole set of the series entitled

Onko azuma no hana (Flowers of Edo in the Past), including:

-New Year’s Greeting for the Shogun

-Noble Ladies Evacuating from the Accidental Fire

-Townspeople Watching the Noh Play ‘Okina’ at Edo Castle

-The Daimyo Procession Entering Edo

-The Shogun’s Wild Boar Hunting in Koganehara

-Procession of a Feudal Lord Visiting the Temple at Ueno

-The Shogun Hearing a Lawsuit at Fukiage

All bound together with three other triptychs depicting

various processions, each sheet 35.3cm x 23.6cm.

PLEASE NOTE THIS LOT IS TO BE OFFERED

WITHOUT RESERVE.

£300-500

Provenance: an Irish private collection, Dublin.

16

YOSHU / TOYOHARA CHIKANOBU (1838-1912)

MEIJI ERA, C.1897

Two Japanese woodblock print triptychs, the first entitled

Kagamibiraki no zu (New Year’s Kagamibiraki Ceremony) and

the other Shogatsu ganjitsu moro-shimobe tojo go-genkan

mae no zu (Depiction outside the Gate where various

low-ranking officials have arrived to attend the Shogun on

New Year’s Day), both from the series Chiyoda no On-omote

(The Outer Palace of Chiyoda), both framed and glazed,

each sheet approx. 34.7cm x 23.3cm. (2)

£100-150

21

17

YOSHU / TOYOHARA CHIKANOBU (1838-1912)

MEIJI ERA, C.1895

An accordion album of ten Japanese woodblock print triptychs, comprising a whole set of the series entitled Chiyoda no ooku (The Inner Palace of Chiyoda), some

sheets with embossed details, the prints depicting beauties in and around Edo Castle engaged in various daily pursuits, some triptychs with the publisher’s seal

Fukuda Hatsujiro, all signed Yoshu Chikanobu/Oju Yoshu Chikanobu, each triptych approx. 35.5cm x 71cm.

£300-500

part lot illustrated

22 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

18

TSUCHIYA KOITSU (1870-1949)

SHOWA ERA, 1934

A Japanese woodblock print, entitled ‘Snow at Ukimido, Katata’, depicting a stilted pavilion on Lake Biwa at night,

with snow falling and gathering on tree branches and on the shore below, published by Watanabe, signed Koitsu

lower left corner and with a red seal mark, the margin inscribed and with Hanken shoyu Watanabe Shozaburo

(copyright ownership Watanabe Shozaburo), 39.4cm x 26.5cm.

£400-600

23

19

OHARA KOSON (1877-1945)

MEIJI ERA, 20TH CENTURY

Two Japanese woodblock prints, both published by Nishinomiya Yosaku, the first of a large crow perched on a branch, with snow gathering on the twigs around

it, signed Koson lower left corner, the reverse inscribed ‘All rights reserved, Y Nishinomiya Tokyo, Made in Japan’, 44cm x 27.6cm; the other print depicting a

couple of pheasants, the larger male bird leaving imprints as it walks in the snow, signed and sealed Koson, 44cm x 27.8cm; both prints with the same carver’s

and printer’s names in the left margins. (2)

£200-400

24 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

20

YOKOYAMA MOKUGYO (DATES UNKNOWN)

MEIJI ERA, 19TH CENTURY

A Japanese yūrei-zu kakemono (hanging scroll painting

of a ghost), in ink and colour on silk, with a gruesome

depiction of an emaciated female ghost grimacing whilst

gazing at a severed head, the whiteness of the flesh

contrasting with the buff ground; signed Yokoyama

Mokugyo Dojin hitsu (Painted by Yokoyama Mokugyo,

a man of Tao) and sealed, 86cm x 31.5cm.

£250-350

21

AFTER SHIBATA ZESHIN (1807-1891)

MEIJI ERA, 19TH CENTURY

A Japanese kakemono (hanging scroll painting), in ink and colour on

paper, depicting Jurojin wearing long flowing robes, the God of Good

Fortune typically depicted with an elongated forehead and a long beard,

two characters reading Zeshin with a red seal mark underneath, with silk

mounts, 60cm x 30.5cm.

£250-350

25

22

AFTER LEONARD TSUGUHARU FOUJITA (1886-1968)

20TH CENTURY

Two drawings, both pencil on paper, one in pink with the three-quarter portrait

of a young woman; the other in graphite with the head of a young girl looking

up, her hair blowing in the wind; both signed in roman script ‘Foujita’ lower right,

29.5cm x 20.5cm and 29.5cm x 21cm respectively. (2)

£400-600

See Sotheby’s London, 20th Century Asian Art, 6th May 2004, lot 62, for a drawing by

Foujita entitled ‘Tête de Jeune Fille’ closely related to this first one. Also, see the Bailly

Gallery, Geneva/Paris, for ‘Portrait de Jeune Femme Blonde’, another drawing by Foujita

dated 1938 and related to the second portrait in this lot.

26 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

23

TOSA SCHOOL

EDO OR MEIJI, 18TH OR 19TH CENTURY

A Japanese six-fold byobu (paper screen), painted in ink and colour on a gold leaf ground, depicting various narative scenes, probably from the Tale of Genji,

divided by pines and framed by scrolling clouds, unsigned, 172cm x 378cm.

£8,000-12,000

27

28 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

24

TANAKA SHOHO (ACT. 1900s-20s)

PROBABLY TAISHO, 1920S

A Japanese two-fold byobu (paper screen) brightly painted with vivid colours, depicting a woven basket containing a large

bouquet of flowers including chrysanthemum, sunflowers, prunus and other blossoms, a tall stand beside it with a phoenix

vase in archaistic style containing sprays of morning glory, signed Shoho Gashi (Painted by Shoho) and sealed Sekiboku an

shu and Shoho lower left corner, 171cm x 190cm.

£3,000-5,000

Tanaka Shoho (act.1900s-20s), studied under famous Meiji artist Suzuki Shonen (1848-1918), the founder of the Suzuki school

of painting.

29

25

λ A GOOD JAPANESE TWO-PART GOLD LACQUER SHODANA (DISPLAY CABINET)

MEIJI ERA, 19TH/20TH CENTURY

Richly decorated with a profusion of details rendered in gold, black and red lacquer and with mother of pearl and other

inlays; embellished with many figures in mountainous river landscapes, formal geometric designs and brocade patterns,

mon family crests, dragons and ho-o birds; the cabinet comprising three shelves, two sets of sliding doors, a pair of hinged

doors and another curved one, the lower section with three drawers; all raised on a fitted stand decorated with further

mon, 159cm x 120cm x 56cm. (2)

This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate,

Ref. No. VXJNX9AW.

£5,000-8,000

30 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

26

A LARGE JAPANESE YUZEN-BIRODO (CUT VELVET) WALL HANGING

MEIJI ERA, 19TH CENTURY

Depicting a red bridge leading to a torii gate, with temple buildings beyond nestled amongst pine trees, a waterfall to

the side and thick clouds obscuring the hill behind, the panel framed by a silk mount and the upper part embellished

with tassels, 225cm x 156cm.

£500-1,000

31

27

A PAIR OF LARGE AND IMPRESSIVE JAPANESE

EMBROIDERED SILK WALL HANGINGS

MEIJI ERA, 19TH/20TH CENTURY

Each rectangular panel richly decorated with two woven

baskets containing a plethora of flowers, with sprays of wisteria,

chrysanthemum, peony and other vivid blooms, the hanging

baskets tied up with colourful tassels, all rendered in delicate

multicoloured threads on the rich midnight-blue silk ground, both

284cm x 118cm. (2)

£6,000-8,000

28

A PAIR OF LARGE AND IMPRESSIVE JAPANESE

EMBROIDERED SILK WALL HANGINGS

MEIJI ERA, 19TH/20TH CENTURY

Each rectangular panel richly decorated with two woven baskets

containing an abundance of flowers, with sprays of wisteria,

chrysanthemum, peony and other vivid blooms, the hanging baskets

tied up with colourful tassels, all rendered in delicate threads on the

rich midnight-blue silk ground, both 283cm x 118cm. (2)

£6,000-8,000

29

30

32 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

29

AN IMPRESSIVE JAPANESE YUZEN BIRODO (CUT VELVET) PANEL

MEIJI ERA, 19TH/20TH CENTURY

Of square shape, dyed and painted with a watermill by a stream, with leafy trees on

the riverbanks and the silhouettes of thatched pavilions in the distance; all rendered in

warm shades evoking summer lights; the square panel with silk mounts embellished with

chrysanthemum and scrolling leaves; glazed and displayed in an impressive European gilded

frame with stylised vines to the corners, with remnants of a paper label at the back for

‘J.B. Bennett & Sons, Painters and Decorators to the Queen, Gilders and Fine Art Dealers’,

the panel 60.5cm x 69cm, 95cm x 94.2cm overall.

£800-1,200

J.B. Bennett & Sons was founded by John Brown Bennett (c.1810-1878) in Glasgow c.1856, trading

as painters, interior decorators and art dealers. John’s son Robert James (c.1843-1916) became the

President of Glasgow Master Painters’ Association, and the company started selling modern paintings,

European Porcelain and Japanese works of art from 1889.

30

A PAIR OF JAPANESE EMBROIDERIES WITH BIG CATS

MEIJI ERA, 19TH/20TH CENTURY

One depicting a lion and lioness, the male looking straight at the viewer whilst his companion

sleeps contentedly beside him; the other with two tigers looking to the right and baring their

teeth; the animals rendered in warm honey and cream-coloured threads on the black silk

grounds; both in their original remounted frames and glazed, both 42cm x 52.7cm overall. (2)

£400-600

Provenance: from the collection of George Ottaway (1900-45), and thence by descent. Ottaway

volunteered with the Royal Navy at 15 years old, quickly rising through the ranks and later becoming

Petty Officer and Torpedo Man. He served on many famous ships including the Victory and Iron Duke

and was selected in 1929 to accompany HRH Prince Henry, Duke of Gloucester with the Garter

Mission to Japan aboard HMS Suffolk, which is when he may have acquired this and lot 210.

JAPANESE METALWORK

& CLOISONNÉ ENAMELS

LOTS 31-57

Lot 40 detail

34 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

31

A PAIR OF IMPERIAL JAPANESE SILVER PRESENTATION VASES

MEIJI OR LATER, 19TH OR 20TH CENTURY

Each vase with a tall cylindrical body elegantly decorated with a single kikumon, the sixteen-petalled chrysanthemum

crest of the Imperial family; each stamped with a jungin (pure silver) mark underneath, both 26.1cm. (2)

£3,000-5,000

Provenance: from the collection of Dame Marie Tempest (1864-1942), and thence by descent.

Dame Marie Tempest (née Marie Susan Etherington,1864-1942) was an English actress sometimes referred to as ‘the Queen

of her profession’. Tempest’s career spanned over five decades, making her stage debut in 1885 in the operetta Boccaccio at

the Comedy Theatre. The title role in Dorothy (1887), running for 931 performances, established her career and reputation.

In 1914, she undertook an eight-year worldwide tour, visiting America, Canada, Australia, New Zealand, South Africa, India,

Singapore, China, the Philippines and Japan, where she may have acquired this pair of vases. In 1935, she celebrated her golden

jubilee with a performance attended by George V and Queen Mary, and two years later, she was made a Dame of the Order of

the British Empire (DBE).

Dame Marie Tempest

(1864-1942)

35

32

A FINE JAPANESE ENAMELLED SILVER VASE BY YUSHIN

MEIJI ERA, 19TH/20TH CENTURY

The slender trumpet-shaped body with a foliate foot and rim, elegantly decorated at the waist with a band of shippo tsunagi

cash design with four-petalled flower details, the body embellished with floral scrolling tendrils rendered in colourful enamels,

signed Yushin koku underneath, 21.7cm.

£2,000-3,000

36 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

33

A FINE AND UNUSUAL INLAID IRON BOX AND COVER BY THE KOMAI COMPANY

MEIJI ERA, C.1900

Of long rectangular form and raised on shaped bracket feet, the cover finely decorated with figures in a river landscape

with Mount Fuji towering in the distance; the foreground with the unusual depiction of a horse and cart outside

thatched pavilions, with travellers resting inside and small chickens pecking grain at the back; the sides of the box with a

kaleidoscope of fluttering butterflies; the inside embellished with chrysanthemum flowerheads; the decoration rendered

in gilt, copper and silver on the dark black ground; the Komai dragonfly seal mark to the base inscribed Nihon koku Kyoto ju

Komai sei, 6cm x 17.3cm x 8cm.

£3,500-4,000

Provenance: formerly in an American private collection.

See p.1 of this catalogue for a full view of the decoration on the cover.

37

34

A FINE AND LARGE INLAID IRON BOX AND COVER BY KOMAI SEIBEI

MEIJI ERA, C.1900

Of rectangular form, the lid richly decorated with a shaped panel enclosing the Great Torii of Miyajima and the complex

pavilions of Itskushima Shrine behind, a fan-shaped cartouche above identifying the view, with minute depictions of

fishermen, travellers and deer dispersed across the landscape; all reserved against a dense ground of sakura flowers,

and with a border of kikumon, the Imperial crest made of a sixteen-petalled chrysanthemum; the sides embellished with

complex borders of flowerheads and ivy, further kikumon and the go-shichi no kiri mon paulownia crest; the base with

the seal mark for Komai Seibei; the inside with a wood liner, and raised on a fitted silver stand with bracket feet incised

with flower sprays, 6.5cm x 18.2cm x 12cm. (4)

£4,000-5,000

Provenance: formerly in an American private collection.

See p.1 of this catalogue for a full view of the decoration on the cover.

35

A FINE JAPANESE PARCEL-GILT BRONZE VASE BY THE MIYAO EISUKE COMPANY

MEIJI ERA, 19TH CENTURY

The elegant body with a long cylindrical neck and scrolling handles, richly decorated with gilt roundels of

flowering paulownia, chrysanthemum, magnolia, peony, narcissus and other blooms, on a dense ground of

chased scrolling tendrils and dots, the flaring mouth with a band of key fret, the base signed Miyao zo in a gilt

reserve, 39cm.

£20,000-30,000

The Miyao Company of Yokohama was very prolific in the Meiji era, producing high-quality bronzes and in particular,

models of warriors and other figures.

38 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

36

A FINE AND IMPRESSIVE JAPANESE INLAID IRON CHARGER BY THE KOMAI COMPANY

SHOWA ERA, C.1930

Richly embellished with a central design of thatched huts in a river landscape with Mount Fuji towering in the distance; with minute details of a

farmer transporting woven baskets on a carrying pole whilst walking towards the pavilions, a group of chickens busy pecking grain to the side;

another figure on a sailing boat in the distance, and with a three-storey pagoda beyond; the decoration rendered in gilt, silver and copper inlays

against the black iron ground; all framed by two impressive dragons depicted in shallow relief emerging from curtains ripped to shreds, their

claws, whiskers, pupils, fangs and fire wisps modelled in gilded copper; the base with the dragonfly trademark, inscribed Nihon koku Kyoto ju

Komai sei and JAPAN underneath, the rim with a metal ring, 45.5cm.

£10,000-15,000

Cf. Meiji no Takara, The Nasser D. Khalili Collection of Japanese Art, Metalwork, Part I, no.19, for another Komai charger with comparable dragons

appearing through torn drapery.

39

40 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

38

A PAIR OF JAPANESE CLOISONNE VASES

MEIJI ERA, 19TH/20TH CENTURY

Each with a tall baluster body raised on a spreading foot and a long flared

neck applied with scrolling handles, embellished with alternating lappets

enclosing writhing dragons and ho-o birds holding paulownia sprays in

their beaks, with bands of formal designs including stylised lotus flowers,

chrysanthemum, scrolling tendrils and shaped cartouches with further

dragons and birds, both 30.5cm. (2)

£500-800

37

A PAIR OF JAPANESE CLOISONNE VASES

MEIJI ERA, 19TH/20TH CENTURY

The tall cylindrical bodies with flared necks, each decorated with sparrows

amongst flowering branches of prunus and wisteria, rendered in gold and

silver wires on the dark navy-blue ground, both with bands of key fret to the

foot and neck, the rims with metal mounts, both 15.5cm. (2)

£300-500

Provenance: an English private collection, Somerset, purchased in Japan.

39

A SMALL JAPANESE CLOISONNE ENAMEL VASE BY NAMIKAWA YASUYUKI (1845-1927)

MEIJI ERA, 19TH/20TH CENTURY

The baluster body decorated in silver wires and polychrome enamels, with a delicate design of a small

lemon-yellow butterfly fluttering towards pink flowers, on a dark aubergine ground, with a silver rim and

foot, the base with four chiselled cursive characters on a silver plaque reading Kyoto Namikawa, 8cm.

£6,000-8,000

41

40

A JAPANESE MORIAGE CLOISONNE BOX AND COVER, ATTRIBUTED TO ANDO JUBEI

MEIJI OR TAISHO, 20TH CENTURY

Of rectangular shape, the lid decorated with two small crabs amongst bamboo, the crustaceans rendered in silver wires and slightly

raised enamels on the pale green ground, the rims with silver mounts and the inside lined with fabric, 5.2cm x 13.5cm x 10.3cm. (2)

£1,200-1,500

Provenance: formerly a private American collection.

42 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

43

41

A LARGE CLOISONNE ENAMEL VASE WITH LILIES BY ANDO JUBEI (1876-1953)

MEIJI OR TAISHO, 20TH CENTURY

The tall cylindrical body decorated with an elegant single lily with pink and yellow petals, the dark midnight-blue leaves contrasting on

the pale duck egg blue ground, the design rendered in silver wire and musen (wireless), the neck and foot both mounted with a silver ring,

the footrim stamped with the mark for the Ando company and jungin (pure silver), 33.5cm.

£800-1,200

Provenance: formerly a private American collection.

42

A LARGE CLOISONNE ENAMEL VASE WITH NARCISSUS BY ANDO JUBEI (1876-1953)

MEIJI OR TAISHO, 20TH CENTURY

The tall slender body decorated with three flowers, buds and dark blue leaves contrasting with the pale yellow ground, the design in silver

wire and with details rendered in the musen (wireless) technique, the rim and foot with silver mounts and the base with the mark for the

Ando company, 32cm.

£400-600

Provenance: formerly a private American collection.

41 42

44 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

43

A JAPANESE CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

TAISHO ERA, 20TH CENTURY

The tall cylindrical body decorated with the summit of Mount Fuji emerging

from clouds and with pine trees in the foreground, the scene rendered in musen

(wireless) and shosen (partially wireless) enamels, the darker colours of the slopes

and trees contrasting against the café au lait sky and cotton-like clouds; with silver

mounts to the rims, the one applied to the foot stamped ‘silver’ and the base with

the circular mark for the Ando Company rendered in wires, 30.3cm.

£1,000-1,500

44

A JAPANESE CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

TAISHO ERA, C.1920

Elegantly decorated with a four-tiered pagoda and an adjacent temple nestled

amongst trees, the waning crescent moon above; the scene rendered in warm

shades of honey, tangerine and russet, with areas rendered in musen (wireless),

with metal mounts to the rims and the base with the mark for the Ando Company,

24.5cm.

£300-500

Provenance: formerly a private American collection.

45

A JAPANESE CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

TAISHO OR SHOWA, 20TH CENTURY

The compressed body decorated with stylised depictions of wheat on a band

of yellow and pink abstract shapes, the ground a deep raspberry red, with areas

rendered in musen (wireless), the neck and foot both mounted with a silver ring,

the base with the mark for the Ando Company, 21cm.

£400-600

45

43 44

45

46

A JAPANESE CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

MEIJI OR TAISHO, 20TH CENTURY

The bulbous body with a tall flared neck and raised on a short foot, decorated in bright

emerald-green shizumi enamels with a band of flowers and leaves, the foot and neck both

with a silver mount, the base with the mark for the Ando Company, together with a wood

stand, the vase 26.2cm. (2)

£300-500

47

A LARGE CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

MEIJI OR TAISHO, 20TH CENTURY

The tall baluster body decorated with a formal band of stylised lotus flowers and scrolling

foliage rendered in silver wire and mocha-coloured enamels on the light coffee-brown

ground, the inside a lustrous chocolate colour, the neck and foot both mounted with a

silver ring, the footrim stamped jungin (pure silver) and the base with the mark for the Ando

Company rendered in silver wires, 36.5cm.

£600-800

Provenance: formerly a private American collection.

48

A CLOISONNE ENAMEL VASE BY ANDO JUBEI (1876-1953)

MEIJI OR TAISHO, 20TH CENTURY

The globular body decorated with five ho-o birds in flight between stylised floral sprays on

a dark teal blue ground, the rims with silver mounts, the base with the mark for the Ando

Company and the footrim stamped jungin (pure silver), 15.5cm.

£300-500

Provenance: formerly a private American collection.

48

46 47

49 50

46 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

49

A LARGE JAPANESE INLAID BRONZE KORO (INCENSE BURNER), LINER AND COVER

MEIJI ERA, 19TH/20TH CENTURY

Richly decorated in mixed metals, the bulbous body with an integral base formed as a tripod stand, the legs shaped as ho-o birds’ heads;

the handles modelled as mythical creatures and the cover topped with a howling kirin; one side is embellished with two sparrows and

flowering chrysanthemum, and the reverse with a formal design of two stylised birds flanking a lotus flower and leafy scrolls; the liner

left undecorated, 46cm overall. (3)

£1,000-1,500

50

A JAPANESE BRONZE JARDINIERE ATTRIBUTED TO GENRYUSAI SEIYA

MEIJI ERA, 19TH/20TH CENTURY

Decorated with the heads of many wild animals including a roaring lion, a monkey holding a peach, a deer, an elephant, a bear and an ox,

some details rendered in high relief, 31cm.

£600-800

51

A PAIR OF JAPANESE BRONZE TOKYO SCHOOL OKIMONO OF PUPPIES

MEIJI OR TAISHO, 19TH OR 20TH CENTURY

The two charming dogs with chocolate-brown coats and dark pupils, one seated on its haunches and with its front paw

slightly lifted, a two-character mark underneath for Ryoun; the other recumbent and chewing on a leafy branch of bamboo,

20cm and 17cm respectively. (2)

£2,000-3,000

Ryoun was a famous bronze artist living in Tokyo at the turn of the century. He was a celebrated member of the Tokyo School

of Fine Arts, and he exhibited at the Exposition Universelle in Paris in 1900, where he received several awards for the quality of

his artworks.

47

52

A LARGE AND IMPRESSIVE JAPANESE BRONZE TOKYO SCHOOL OKIMONO OF AN ELEPHANT

BY GENRYUSAI SEIYA

MEIJI ERA, 19TH/20TH CENTURY

The pachyderm stands four-square with its trunk raised, its tusks and ears a smooth chocolate-brown colour and

the texture of its skin realistically depicted, the belly with a six-character seal mark which reads Genryusai Seiya zo,

raised on a wooden base, 56cm. (2)

£800-1,200

48 See paragraphs 4 & 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices