Fine Japanese Art - Gazette Drouot

Fine Japanese Art

JJ

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AUCTION

VIEWING

www.zacke.at

IN OUR GALLERYMay 21st - June 1st

Monday - Friday 10am - 6pm

June 2nd 10am - 2pm

and by appointment

Fine Japanese Art

Saturday, June 2nd 2018 at 4pm CETCATALOG JAP0618

GALERIE ZACKEMARIAHILFERSTRASSE 112

1070 VIENNA AUSTRIATel +43 1 532 04 52 Fax +20 E-mail [email protected]

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IMPORTANT INFORMATION(According to the general terms and conditions of business Gallery Zacke Vienna)

German description and further images of all lots at: www.zacke.at

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NO. TITLE BID IN EURO

NAME

PHONE

EMAIL

DATE & SIGNATURE

ADDRESS

POSTCODE & CITY

CASH ON DELIVERY (MAILING) UP TO A VALUE OF 350 ONLY

DEBIT OF CREDIT CARD PLEASE MARK THE DESIRED CARD WITH A CROSS:

AMEX DINERS MASTERCARD VISA

NAME

CARD NUMBER

EXPIRY DATE

CUSTOMER COLLECTION PAYMENT ONSITE AND IN CASH, BY CHEQUE OR CREDITCARD

INVOICE PAYMENT UPON RECEIPT OF IN-VOICE - SHIPPING UPON RECEIPT OF PAY-MENT

EXPRESS PARCEL SERVICE REQUIRED

TRANSPORT INSURANCE: PLEASE TAKE OUT A TRANSPORT INSURANCE POLICY FOR THE ITEMS I HAVE BOUGHT PURSUANT TOTHE TERMS CONCERNING THE "SHIPPING AND TRANSPORT INSURANCE"

TERMS OF PAYMENT, SHIPPING AND COLLECTION:

For your information:At its auctions, the Galerie Zacke offers exclusively third-party contributions for saleon commission. We would like to draw your attention to the fact that, in case of anycomplaints arising from a purchase, these have to be reported to us within 6 weeksafter the receipt of the item.

PLEASE RAISE MY PURCHASE BID BY ONEBID STEP (APPROX. 10%) IF NECESSARY

PLEASE CALL ME IF THERE IS ALREADY A HIGHER WRITTEN BID

With the signature on this form the client declares his consent to aforementionedcommissioning of Galerie Zacke. Bids by telephone shall be governed by the AGB(terms and conditions) of Galerie Zacke. The AGB of Galerie Zacke are part of thecommissioning of Galerie Zacke by the client. The client agrees with his signaturethat he has taken note of the AGB (terms and conditions) of Galerie Zacke and thathe agrees with them.

Notice: All bids are to be understood plus buyer`s premium (incl. VAT).

If you like to bid by telephone please write in the column purchase limit „ TEL” . A bid by telephone shall automatically represent a bid at the starting price for this item. If Galerie Zacke cannot reach the Client during the auction,Galerie Zacke will bid up to the starting price for him. If no one else bids on the corresponding good, then the Client shall automatically receive thewinning bid at the starting price.

TEL

Galerie Zacke Mariahilferstr. 112, 1070 ViennaEmail off [email protected] +43-1-532 04 52Fax +43-1-532 04 5220

ABSENTEE BIDDING FORMFOR THE AUCTION FINE JAPANESE ART JAP0618ON DATE Saturday, June 2ND, 2018 at 4 pm CET

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§ 1) The auction shall be carried out in accordance with the provisions of the rules of procedure ofGALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA (hereinafter referred to as the company) aswell as in accordance with sections 244-246 of the Gewerbeordnung [Industrial Code] 1994. Theauction shall be carried out on commission. The auctioneer shall be entitled to withdraw lotsexceptionally, to conduct out the auction deviating from the order of the catalogue numbers and tooffer lots jointly. In the event of any dispute concerning a double bid or if the auctioneer has misseda bid, the auctioneer shall be entitled to revoke acceptance of a bid and to continue auctioning off the item. The figures attached to the text shall be the expected last and highest bidin EURO (€) from the respective expert. As a rule, the bid shall be increased by 10% of the last bid.(See list of the bidding increments).§ 2) The acceptance of a bid shall be granted to the highest bidder unless a seller’s reserve pricehas been agreed with the consignor. Such a seller’s reservation (also referred to as limit) shall bethe minimum price limit below which particular lots shall not be sold during the auction. This limitshall be disclosed upon request and may not exceed the lower estimated price. If a limit (seller’sreserve price) is not achieved, the bid of the highest bidder shall be accepted subject toreservations only. In this case, the highest bidder shall be bound to its highest bid for a period of 8(eight) working days. If the highest bid from the highest bidder is not finally accepted within thisperiod of time, its binding commitment to this bid shall expire. In order for the final acceptance ofthe bid to become effective, it is sufficient to send a corresponding notification to the addressnamed by the highest bidder within the stated period of 8 working days.§ 3) All items shall be subject to differential taxation. A uniform surcharge of 22% plus the valueadded tax applicable to the surcharge to the amount of 20% shall be added to the achievedhighest bid (final and highest bid). Thus the surcharge shall be 26.4% of the final and highest bidin total.§ 4) In the event of sales abroad, the value added tax will be repaid if the item is sold to acountry which is not a member country of the European Union (third country), the legalrequirements are met and the proof of exportation is provided. The value added tax shall not beshown separately on the invoice.§ 5) The auction buyer must pay the purchase price immediately upon acceptance of the bid (finaland highest bid plus 22% surcharge, plus the value added tax applicable to the surcharge to theamount of 20%). However, the company may grant the auction buyer a respite for the payment ofthe purchase price in whole or in part in individual cases. If a respite is refused, the acceptance ofthe bid may be revoked and the item may be reoffered . In the event of revocation of theacceptance of the bid, the company shall be entitled to accept the last bid from the underbidder.§ 6) In the event of respite in whole or in part, the company shall be entitled to charge defaultinterest (12% p.a.) as well as storage charges (2.4% of the final and highest bid per monthcommenced) after 14 days upon acceptance of the bid. The item purchased at auction shall behanded over exclusively upon full payment of the purchase price including all costs and chargesaccrued since the acceptance of the bid.§ 7) The buyer can take acquired items in possession, as far as possible, immediately or after theend of the auction. Items which have been fully paid for shall be handed over in our show roomsin GALLERY ZACKE, MARIAHILFERSTR. 112, 1070 VIENNA. If a deferred purchase price is not paidwithin the set period, the company shall be entitled to auction the item again in order to recoupits claim from the defaulting auction buyer. In this case, the defaulting auction buyer shall be li-able to the company for the total loss of commission incurred by the company due to the re-auc-tion as well as for any default interest and storage charges. § 8) The company shall be entitled to a lien on all items of the buyer irrespective of whether thebuyer bought them within the scope of an auction or in free sale or the company securedownership of these items otherwise. This lien shall serve to secure all current and future, qualified,limited and unmatured claims to which the company is entitled and which result from all legaltransactions concluded with the buyer.§ 9) The items received for auction will be exhibited and may be viewed prior to the auction. Indoing so, the company shall give everyone the opportunity to check the nature and the conditionof the exhibited items to the extent deemed possible within the scope of the exhibition. Everybidder shall be deemed to act on its own behalf unless it provides a written confirmation sayingthat it acts as a representative of a well-known principal. The company may refuse bids; this shallparticularly apply if a bidder who is unknown to the company or with whom the company has nobusiness connections yet does not provide security by the beginning of the auction at the latest.However, in principle there shall be no claim to accept a bid. If a bid has been refused, theprevious bid shall remain effective.§ 10) The company’s experts evaluate and describe the items received for auction and determinethe starting prices unless otherwise stated in the catalogue or expert opinion. The informationconcerning production technique or material, state of preservation, origin, design and age of anitem is based on published or otherwise generally accessible (scientific) findings concluded by thecompany’s experts with the necessary care and accuracy. The company shall warrant to the buyeraccording to §22 of the AGB (General Terms and Conditions) that properties are correct providedthat any possible complaints referring to this are made within four weeks upon their taking intopossession. Subsequent complaints shall be excluded in principle. The company shall not be liablefor any further information in the catalogue and expert opinion as well. This shall also apply to illustrations in the catalogue. The purpose of these illustrations is to guide the potential buyer during the preview. They shall not be authoritative for the condition or the characteristics of thepictured item. The catalogue and the expert opinions shall only mention defects and damage affecting the artistic or commercial value significantly. Complaints concerning the price shall beexcluded upon acceptance of the bid. The company reserves the right to amend catalogue information prior to the auction. These amendments shall be made either by a written notice atthe place of auction or orally by the auctioneer immediately prior to offering of the respectiveitem. In this case, the company shall be liable for the amendment only. All items offered may be

checked prior to the auction. These items are used. Any claims for damages exceeding the liabilitynamed above and resulting from other material defects or other defects of the item shall be excluded. When making the bid, the bidder confirms that it has seen the item prior to the auctionand has made sure that the item corresponds to the description. § 11) ) If a customer is not able to participate in an auction personally, the company shall acceptpurchase orders. These orders may be placed in writing, via email or fax. In the case of a purchaseorder placed by phone or orally, the company shall reserve the right to make the performance dependent on a confirmation from the principal communicated in writing, via email or fax. Furthermore, the company shall not be liable for the performance of purchase orders. Purchase orders with equal top bid limits will be considered in the order of their receipt. Bids which are only one increment above the starting price shall be exhausted totally. Bids which do not correspond to the increments determined by the company (see bidding increments) in tabularform will be rounded up to the next higher increment. The table of these increments can be sentupon request. In the case of lots auctioned“without any limits“, bids below the estimated price shall be exhausted totally. The written bid (purchase order) must include the item stating the cataloguenumber and the offered top bid limit which is quoted as the amount of the acceptance of the bidwithout buyer’s commission and without value added tax. Ambiguities shall be carried by the bidder. A purchase order which has already been placed mayonly be cancelled if the written withdrawal is received by the company at least 72 hours prior tothe beginning of the auction. § 12) The company may refuse to process a purchase order without explanation until offering ormake this dependent on payment of a deposit. In the event of an unsuccessful order, such a deposit will be reimbursed by the company within 5 working days. Processing of purchase ordersis free of charge. § 13) Every contributor shall in principle be entitled to withdraw the items offered for auctionuntil the start of the auction. Therefore, it is impossible to assume liability or to give warranty forthe actual offering.§ 14) Items paid must be collected within 30 days of payment. Items which have not been collected may be delivered without further communication at a starting price from the recent auction reduced by 50% after 30 days from the respective auction date. Items which have notbeen collected within 3 (three) working days after the auction or for which the company does notreceive any proper shipping instructions stating the type of shipping and the address of dispatch(independent of a possibly placed purchase order) within 3 (three) working days after the auctionshall be stored at the owner’s risk. Furthermore, the company shall be entitled to store items which have been purchased at auctionand paid but not collected at the buyer’s risk and expense, including the costs for an insurance,with a forwarding agency. It shall be understood that the provisions concerning the re-auctioningof unpaid and paid but not collected items must also apply to items not exhibited or stored on thepremises of the company. The ownership shall be transferred the buyer at the time of handingover the delivery note. § 15) In the case of mixed lots with a starting price of less than EUR 350.00, the company shallnot warrant for the completeness or correctness of the individual items within a mixed lot.§ 16) A registration for a bid by telephone for one or several items shall automatically representa bid at the starting price for these items. If the company cannot reach the bidder by telephone, itwill bid on behalf of the bidder by phone up to the starting price when the respective auction lotis called.§ 17) Payments made to the company by mistake (through the payer’s fault) (e.g. due tomiscalculation of the exchange rate by the payer) or payments made to the company for the sameinvoice several times shall be compensated in form of a credit note for goods for an indefiniteperiod of time. The repayment of such payments in cash shall be excluded.§ 18) In the case of individual auction lots, it may happen that they are delivered several times.In such a case, the auctioneer may accept a second or third etc. bid from the underbidder(s).In this case, the text in the catalogue and not the illustration in the catalogue shall also beexclusively binding with regard to the warranty (relating to these auction lots).§ 19) When making a bid, whether personally, in writing or by telephone, the bidder shallacknowledge these terms of auction, the AGB (General Terms and Conditions) as well as the rulesof procedure and the schedule of fees (as amended) of the company.§ 20) The place of performance of the contract brought about between the company on the onehand and the seller as well as the buyer on the other hand shall be the place of business of thecompany. The legal relationships and contracts existing between the company, the sellers and thebuyers shall be subject to the Austrian substantive law. The company, the sellers and the buyersshall agree to settle all disputes resulting from, concerning and in connection with this contractbefore the territorially competent court of Vienna.§ 21) The export of art objects from Austria, when indicated, shall require a permit from the Bundesdenkmalamt [Federal Monuments Office]. In any event, the company shall orally provideinformation about art objects for which an export permit will probably not be granted at the be-ginning of the auction. § 22) Zacke reserves the right to assign to the customer all rights and obligations resulting fromthe contractual relationship between Zacke and the contributor by a way of a respective declaration, as well to assign to the contributor all rights and obligations resulting from the contractual relationship between Zacke and the customer by way of a respective declaration, ineach case in terms of a complete assignment of contract with the result that the contractual relationship – following the submission of the aforementioned declarations by Zacke – shall exclusively be between the contributor and the customer, which is in accordance with the basicmodel of the commission agreement. Customers and contributors shall already now give their explicit consent to this contract assignment.

Terms of Auction - www.zacke.at

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1A RARE AND MASSIVE THREE-PART “LOTUS AND ELEPHANTS” BRONZE (133 CM)Bronze. Japan, Meiji period

Consisting of three parts in a black, polished bronze. Standing on a hexagonal plinth, with finely carved dragons in reserves, are four massive conjoined elephants; their tusks, legs and trunks all naturalistically modelled. The third part consists of a massive lobed, veiny lotus flower. Considering the provenance and appearance of this bronze, it likely comes from the ‘Wiener Welt Ausstellung’ in 1873. These type of elaborate and massive bronzes were manufactured for the very first world fair after the opening of Japan, in order to display the superior workmanship of the Japanese.

HEIGHT 133 CM

Condition: Good, complete conditionProvenance: From an important Austrian private collection, acquired before 1930

Estimate EUR 5.000,-Starting price EUR 2.500,-

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3HEXAGONAL POMPOUS VASE IN SHIBUICHIShibuichi bronze with inlay (takazogan) in silver, gold and copper. Japan, Meiji period

Elaborately designed showpiece consisting of six parts, namely, a three-footed base, base, collar, separate mouth which opens up extremely widely and handles. The alloy of this bronze is presumably shibuichi, meaning that copper was mixed with silver, thus creating a beautiful olive-brown color. On the base is a border of strung together c-forms and, on the foot, are fluttering leaves, bats and pairs of stylized magical creatures as well as a meander. Inside the curved borders of one of the vase’ large reserves is a bird amongst blossoms, while the other reserve features a dog sitting surrounded by grass. Also featured are variously stylized magical creatures, i.e. dragons.

On the open-work collar is a Japanese variant of the ancient Chinese taotie-monster. The wide, plate-like mouth has tendril-form, inlay decoration on the rounded lip with an engraved lotus on the inside. The handles are removable and depict a long-tailed phoenix, called ho-o in Japan. The inlays are made of silver, gold (or gilded metal) and copper and are flat, with the exception of the dog, bird and blossoms in the reserves, which are takazogan (raised inlay). Very beautiful, refined patina with polish. A rare, impressive peace.

HEIGHT 45.2 CM

Condition: Good conditionProvenance: From a private German collection, subsequently in the collection of Sohel Chawla, New Delhi - Vienna


2A RARE AND ELABORATE JAPANESE THREE-PART BRONZE ELEPHANT LAMP BY NISHIMURA UNSHOBronze. Japan, Meiji period

Consisting of three parts. The bottom part with three conjoined, caparisoned elephants, with elaborately decorated saddles with dragons. The elephant’s trunks rising in to the air. Upon a lotus pedestal – a ferocious dragon amongst swirling clouds, which leads to the openwork bulbous central body with swastika decorations, with two hinged openable doors where a lamp has been fitted. The top part with a large protruding phoenix and half Vajra. Signature on the inside of the base reading Nihon, Tokyo, Nishimura Unsho tsukuru

HEIGHT 80 CM Condition: Good, original condition with a fine patina Provenance: From an important Austrian private collection, acquired before 1930

Estimate EUR 1.500,-Starting price EUR 750,-

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4AN ORNATELY MODELLED BRONZE SHOJO LIDDED INCENSE BURNERBronze. Japan, Meiji period

Modelled as two laughing and dancing shojo, ‘drunken sprites’, one holding a fan and the other holding a sake cup. They are standing next to a large lidded jar, filled to the brim with sake, even overflowing. The entire bronze is incised with fine floral decorations, as are the robes which are decorated with splendid detail.

HEIGHT 11 CM, LENGTH 18 CM Condition: Good conditionProvenance: From an Austrian private collection

Estimate EUR 600,-Starting price EUR 300,- 5

A LARGE BRONZE VASE WITH MYTHICAL ANIMALSBronze. Japan, late 19th century

Of beaker-shaped form with a bulbous body and flaring rim. Arranged in three sections, the bottom section with minogame amongst sprays of water, just above them flying cranes. The mid-section with phoenixes amongst leaves. The top-section with an expressively carved dragon in high relief.

HIEGHT 85.5 CM

Condition: Good condition, with minor oxidation on the topProvenance: From a German private collection, with old price sticker ‘4500 DM’

Estimate EUR 600,-Starting price EUR 300,-

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6A LARGE BRONZE CACHEPOT WITH CRANESBronze. Japan, Meiji period

Of globular form, in a reddish-brown attractive bronze. Depicted in high relief are several cranes underneath pine trees.

HEIGHT 39.5 CM, DIAMETER 39 CM

Condition: Good condition, fine patinated bronzeProvenance: From an important Austrian private collection, acquired before 1930


7USUBATA WITH QUAILSBronze. Japan, Meiji period

The three-footed bronze leads to a conical body with quails and millets, which mounds into a wide flaring rim with an opening, where one would formally present flowers. Archaistic dragon handles and fine patina.

HEIGHT 33 CM

Condition: Good condition, patinated, oxidized bronzeProvenance: From a Hungarian private collection


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8AN ELABORATE BRONZE VASE WITH DRAGONSBronze. Japan, Edo period

An elaborately cast bronze vase, with a delicately incised brocade pattern and swirling clouds. Mounted on the rim with a ferocious dragon, very much in Myochin style, with a scaly body and flaring whiskers. Two further removable, smaller dragons are placed on the rim. Furthermore around the body are alternating minogame and phoenixes in flaming borders. The body ends in four phoenix-shaped feet mounted on a circular base with floral motifs.

HEIGHT 48 CM

Condition: Good condition, the dragon missing one metal whiskerProvenance: From an Austrian private collection


9A LARGE PAIR OF CHAMPLEVE GUARDIAN DEITIES (NIO)Enameled bronze. Japan, Meiji period

An attractive pair of enameled bronze nio in determined posture standing on a plinth, with a vajra in their respective left and right hand. Typical grimacing expression, top knot, heavenly garland and muscular rib cage and body. Misshaku Kong with his mouth open and Naraen Kong with a closed mouth. Their robes are enameled in a turquoise blue with floral motifs and scrolling foliage.

HEIGHT 50 CM

Condition: Good conditionProvenance: From an important Austrian private collection, acquired before 1930


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10A BRONZE SHISHI Bronze with gilding. Japan, 19th century

Of beautiful greenish patina, the former gilding almost completely faded. A playful lion bending its front legs, beard and hair covered with curling hair tufts matching the curls of his bushy tail, holding the stem of a rose in its snarling mouth. Carved signature to the base.

LENGTH ca. 25 CM Condition: Good antique worn patina Provenance: From a Hungarian private collection


11SCULPTURE OF A HISSING SHISHI Fired ceramic. Japan, Bizen, Meiji period

Exceptional and massive sculpture of a big shishi lion dog in crouched posture with wild hissing expression. The design of the powerful head is rarely spirited, the eyes very deepset with inlaid glass spheres, enhancing the enchanted expression. The very muscular body of shishi is stretched back, the tail flaming up energetically. Further flaming elements, very forceful paws. Minor improvements, altogether well preserved ceramic from Bizen manufacture - ideal as terrace sculpture.

HEIGHT 50 CM, LENGTH 54.5 CM

Condition: Good condition, one claw reattachedProvenance: From a German private collection


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12JAPANESE SILVER TORII SALT AND PEPPER SHAKERSilver. Japan, early 1900s

Each modelled in sold silver, with inscription, as a traditional Japanese gate torii. With hallmarks ‘S’.

HEIGHT 6.5 CM Condition: Typical traces of use and wear, minor rubbing and a small dent Provenance: From an important Austrian private collection, acquired before 1930


13A GROUP OF JAPANESE METAL PINSShakudo and gold. Japan, Meiji period

A group of nine metal shakudo pins, with gilt details depicting various scenes. Including scenes from daily life and various samurai warriors.

WIDTH ca. 1 CM



15THREE SMALL GILT METAL OBJECTS INCLUDING A BRUSHGilt bronze and lacquer. Japan, Meiji period

Consisting of two small rectangular lidded boxes with floral decorations and one brush similarly decorated. Lacquered in black on the inside.

LENGTH 2.5 – 3.5 CM

Condition: Good condition Provenance: From an important Austrian private collection, acquired before 1930


14KURODA: BRONZE VASE WITH ROOSTERGold-yellow bronze. Japan, 19th century to Meiji period

Tall, slender vase with no neck and a pronounced shoulder. Seated on a plum tree branch that has just begun to blossom is an unusually long-tailed rooster, called onagatori. Parts of its coat of feathers are gilded. On the bottom is the signature KURO-DA tsukuru , to the right of which is TO-TO (Tokyo) and, on the back of the vase, (engraved by) KO-EN koku . Kuroda, the workshop’s owner, was a samurai who spent some time in Paris and lived until 1917.

HEIGHT 17.7 CM

Condition: Slight signs of age and wearProvenance: From an Austrian private collection


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This fine selection of Japanese cloisonné pieces (nos. 16-33) comes from an art dealer’s collection who acquired the pieces over 15 years, most of them from Austrian flea markets, fairs and estates. He developed a passion and deep understanding for the incredibly cumbersome technique of cloisonné which is reflected in the selection, featuring the great names of Namikawa Yasuyuki and Namikawa Sosuke.

16A CLOISONNÉ KORO WITH BLOSSOMS AND BUTTERFLIES IN THE STYLE OF NAMIKAWA YASUYUKI Colored enamel cloisonné. Japan, Meiji period

A cloisonné vessel with oval cross-section on three curved legs. The finely crafted cloisonné decorations show blossoms and butterflies in various colors, as well as floral motifs. Angular mouth with flat pot, light blue enamel on the interior. Very much in the style of early Namikawa Yasuyuki works.

HEIGHT 7.7 CM WIDTH 10.5 CM Condition: Good condition - missing the lid Provenance: From an Austrian private collection


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17A CLOISONNÉ TEAPOT WITH HANDLE ATTRIBUTED TO NAMIKAWA YASUYUKI (1845-1927) Colored enamel cloisonné on silver. Japan, Meiji period

An astoundingly fine, rich and diversely crafted beak-spouted teapot with a movable handle, a lid and three legs. Kiku (chrysanthemum) blossoms on the underside, many geometrically shaped flowers on the straight sides, reishi (longevity mushroom) contours containing birds and tama pearls at the top. The lid shows a very dense and fine floral composition; the knob shows a silver chrysanthemum.

Namikawa Yasuyuki (1845-1927) was one of the most famous and brilliant Japanese cloisonné artists. 1886 he was awarded the honorary title of ‘Teishitsu Gigeiin’ (artist-craftsman to the imperial household).

HEIGHT with knob 7.5 CM, HEIGHT with handle 14.5 CM, DIAMETER with spout 16 CM Condition: Good condition – one of the four silver chrysanthemum screws is missing Provenance: From an Austrian private collection

A similar piece, also attributed to Namikawa Yasuyuki, sold at Bonhams 21st March 2018 lot 2226.


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18A CLOISONNÉ POT WITH SPOUT AND HANDLE ATTRIBUTED TO NAMIKAWA YASUYUKI (1845-1927) Colored enamel cloisonné with gilding. Japan, Meiji period

A pot on a small foot with a slightly bulbous body, a gilded handle and an elegantly curved spout. Two large oval reserves with a yellowish background shows one butterfly each in front of different blossoms. The deep blue areas show fine blossoms and leaves. Some blossoms and many spirals on the spout. The cover also shows blossoms, with a chrysanthemum-like knob.


HEIGHT 9.9 CM, WIDTH 10 CM Condition: Very good condition Provenance: From an Austrian private collection


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19A CLOISONNÉ VASE BY NAMIKAWA YASUYUKI (1845-1927) Colored enamel cloisonné on silver. Japan, Meiji period

A cloisonné vase with accentuated shoulder and a flared foot and neck. Eight small fields, round at the top and tapering at the bottom, in light yellow, two shades of green and brown on the body. Finely painted decorations with blossoms and vines in diverse colors and shapes. Deep, dark blue enamel with very fine decorations with spirals. Silver mark KYO-TO NAMI-KAWA on the base.


HEIGHT 15.3 CM Condition: Very good condition Provenance: From an Austrian private collection


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20A SMALL CLOISONNÉ VASE BY NAMIKAWA YASUYUKI (1845-1927) Colored enamel cloisonné on silver. Japan, Meiji period

A small cloisonné vase with high, rounded shoulders in the Chinese meiping style. The almost black, deep midnight blue background shows a very finely arranged composition of round fruit and blossoms with leaves and butterflies fluttering in between, all in a multitude of colors. Geometrical, floral bordure around the foot; spirals around the short neck. Silver mark KYO-TO NAMI-KAWA on the gilded base.


HEIGHT 10 CM Condition: Very good condition Provenance: From an Austrian private collection


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21A CLOISONNÉ VASE WITH BUTTERFLIES BY THE SHIBATA WORKSHOP Colored enamel cloisonné on silver. Japan, Meiji period

A bottle-shaped vase with an elegant neck. Two large and three small butterflies, or kocho, symbols of marital bliss and a carefree life, on a deep, dark blue background. The butterflies are painted in a multitude of colors. White iris blossoms with leaves in rows around the foot. Floral bordure around the mouth. Silver engraved mark KYO-TO SHIBA-TA on the base.

HEIGHT 17 CM Condition: Very good condition Provenance: From an Austrian private collection

Note: Not much is known about Shibata. However due to his style, exceptional quality and similar silver seal to Namikawa Yasuyuki (“Kyoto Namikawa”) – it is assumed that he was involved in Yasuyuki’s Kyoto workshop in some way, possibly even working directly for him.


22A CLOISONNÉ VASE WITH A BIRD AND CHERRY BLOSSOMS Colored enamel cloisonné on gilt silver. Japan, Meiji period

A small, elegantly shaped cloisonné vase, conically tapering towards the shoulder with a small, concave neck. Deep, dark blue background with finely painted cherry tree and bird. A cherry, sakura, with branches on a gnarly trunk. The small bird – with gold wire – is high up in the sky. Bordures with rows of leaves around the foot and mouth. The elegance of this piece is enhanced even further by the gilded base and mouth interior.



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23A ‘WINTER’ CLOISONNÉ PLATE, BY NAMIKAWA SOSUKE, SIGNED WATANABE SEITEIPolychrome enamels with cloisonné. Japan, Meiji period ca. 1880

Watanabe Shotei aka Watanabe Seitei (1851 in Edo – 1918) was a Nihonga painter and one of the first to visit Europe, attending the 1878 International Exhibition in Paris and being awarded a medal. His works have enjoyed great popularity in the West, and a large number are to be seen in both European and American collections. On his return from Europe, Seitei started to create designs for cloisonné, working closely with the accomplished cloisonné artist Namikawa Sosuke (1847–1910), this cooperation leading to further acclaim from abroad. Sosuke’s perhaps greatest achievement was his development of a technique called musen-shippo, also known as wireless enameling. This enabled him and Seitei exclusively to recreate brush painting on paper or silk in Cloisonné, a modus operandi completely unknown before and well visible on this plate, with the multicolored enamels in the snow-covered tree, and a little icicle dropping down like the picturesque stroke of a

brush. Today, some collectors regard the output of the short yet fruitful cooperation between Seitei an Sosuke as the pinnacle of Sosuke’s cloisonné work.

Technically speaking, this work is a combination of inlaid wire and musen-shippo, which marks the transition from one technique to the other. It can hence be dated to after 1879, because it must have been created shortly after Seitei’s return from Europe. The flat, four-lobed plate shows a brown sparrow, or suzume, sitting on the snow-covered branch of a pine tree on a light grey background. His wings are retracted as he is visibly freezing. The sparrow is a symbol of friendship and is also called ‘lucky sparrow’. Gilded rim, small bordure with very finely inlaid meander. Stylized cloisonné blossoms and many spirals on the black-grey underside.

DIAMETER 28.8 CM

Condition: Very good conditionProvenance: From an Austrian private collection


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24A CLOISONNÉ VASE WITH IRIS BLOSSOMS IN THE STYLE OF NAMIKAWA SOSUKE Colored enamel cloisonné on silver. Japan, Meiji period

A cloisonné vase with an ovoid shape and a short neck. The decorations are not cloisonné but wire-free musen-shippo, to a picturesque effect. Lily blossoms painted on a light greenish background with sharp leaves that appear like sword blades. There are many different kinds of this flower in Japan, including hanashobu, ayame and others. Stylistically, this would be Namikawa Sosuke.



25A CLOISONNÉ VASE WITH FIVE HERONS Colored enamel cloisonné on brass. Japan, Meiji period

A vase with a spherical body and a short, concave neck. Five white sagi in various poses on the monochrome brown background. The different nuances of white and very finely tuned transitions show this is wire-free musen-shippo instead of cloisonné. The five herons appear like luminous apparitions of higher beings.

HEIGHT 9.2 CM Condition: Good condition, minor nick on the rim Provenance: From an Austrian private collection


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26A CLOISONNÉ BOX AND COVER WITH BLOSSOMS AND BUTTERFLY BY THE ANDO JUBEI COMPANY Colored enamel cloisonné. Japan, Meiji period

A light blue-grey, rectangular box and cover bearing the mark of Ando Jubei on the base; his company, the Ando Cloisonné Company, was founded in 1880 and continues to work to this day. The finely executed cloisonné decorations on the cover show a butterfly fluttering among aster blossoms and leaves. The box is lined with the finest brocade on the interior.

SIZE 5.2 x 13.6 x 10.5 CM (HWD) Condition: Very good condition Provenance: From an Austrian private collection


27A CLOISONNÉ VASE WITH THREE DRAGONS Colored enamel cloisonné. Japan, Meiji period

This vase shows three dragons – apparently father, mother and son – on a beautifully colored light blue background. The dragons are all snarling at each other; the largest is holding a flaming, magical pearl, or tama. The fierce heads with horns, barbels and fangs are depicted in a dramatic as well as humorous manner! The shoulder-accentuated vase has an oval cross-section.



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28A CLOISONNÉ VASE WITH FUJI BLOSSOMS Colored enamel cloisonné. Japan, Meiji period

A relatively large vase with an accentuated shoulder and everted lip. Long blossoms hanging from a wisteria tree all on a dark midnight blue ground. The flowers of this tree, called kushakufuji in Japan, can reach lengths of up to 200 cm; in Japan, they are also known as Fujinami, or ‘Fuji waves’. On this vase, some blossoms are white enamel while others are in a more violet shade. One branch with a single umbel reaches the rear side. Lined wooden box.

HEIGHT 22 CM Condition: Very good conditionProvenance: From an Austrian private collection, formerly collection Doblhof


29A GINBARI CLOISONNÉ VASE BY KUMENO TEITARO (1865-1939) Colored enamel with cloisonné on silver. Japan, Meiji to Taisho period

A fluted vase showing wisteria blossoms. The flowers of this tree, kushakufuji, can reach lengths of up to 200 cm; in Japan, they are also known as Fujinami, or ‘Fuji waves’. On this vase, they are arranged in fields of different colors, silver-green, white and violet. The granular background is silver; this characteristic, glass-like technique is known as tsuiki-shippo. The mark of this Nagoya master is found on the base.

HEIGHT 18.7 CM Condition: Good condition, very minor faults Provenance: From an Austrian private collection


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30A PAIR OF SMALL CLOISONNÉ VASES WITH PLUM BLOSSOMSColored enamel cloisonné. Japan, Meiji period

Both vases have ovoid shapes and everted lips. The floral composition on a deep black-blue background is rather free and very lively in a decorative way, showing tangled branches of the plum tree ume but also other blossoms and leaves, including lotus.

HEIGHT 14.7 CM Condition: Very good conditionProvenance: From an Austrian private collection, formerly collection Doblhof


31A PAIR OF SMALL CLOISONNÉ VASES WITH PLUM BLOSSOMSColored enamel cloisonné. Japan, Meiji period

A pair of cloisonné vases with compressed bodies, elegantly high necks and everted lips. White blossoms on tangled branches of a plum tree, or ume. Each vase also shows a small bird (in different colors) on the highest branch. Other blossoming plants around the base. Very fine composition. With original box.

HEIGHT 9 CM Condition: Very good conditionProvenance: From an Austrian private collection


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32A PAIR OF SMALL CLOISONNÉ VASES WITH CRANESColored enamel cloisonné. Japan, Meiji period

A pair of cloisonné vases with bulbous bodies, everted lips and short necks. Each vase shows two white tancho tsuru in flight on a black-blue background. These are red-crowned cranes, symbols of luck and longevity in East Asia. All four cranes are wearing their ‘red crowns’, or tancho. With wood box.

HEIGHT 6.2 CM Condition: Very good conditionProvenance: From an Austrian private collection, formerly collection Doblhof


33A PLIQUE-À-JOUR BOWL WITH CHRYSANTHEMUMSColored plique-à-jour, enamel and silver. Japan, Meiji period

A rare example of translucent enamel, called shotai-shippo in Japan. The metal base was etched away, leaving the enamel to appear like glass. It has a light yellowish color and shows different chrysanthemum blossoms in a very lively composition. The delicate ring-shaped foot and lip are silver. The shotai-shiippo technique came to Japan via France around 1900.

HEIGHT 5 CM, DIAMETER 11.2 CM Condition: Some hairlines in the enamel but overall good conditionProvenance: From an Austrian private collection


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34A RARE PAIR OF KAKIEMON MODELS OF TIGERS Ceramic and enamel painting. Japan, 19th century

Each seated on a dark brown tree stump base. The bodies decorated in yellow enamel with black fur and the mouths and ears are detailed in iron-red; turquoise-blue eyes. This type of model is rarely ever seen on the market, they originate from the 17th century (Arita kakiemon ware). The execution of the painting of the fur, eye brows and naturalistic-playful expressions are strikingly similar to the 17th century models.

HEIGHT 25 CM Condition: Very good condition Provenance: From a German private collection

A similar pair of tigers, but earlier (17th century), was sold at Christie’s on 16th May 2012, lot 243.


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35AN ELABORATELY ADORNED IMARI CACHEPOTPorcelain with enamel painting. Japan, Meiji period around 1900

A globular pot with a tapered neck and flaring rim. Depicted in alternating reserves are golden coiled, three-clawed dragons in red four-clover reserves within a blue border and phoenixes in larger reserves with floral elements. The reserves are surrounded by flowers and scrolling, floral foliage. The imari color palette is achieved here with astonishing harmony and detail; rare in this size and quality. Intended for export, with ‘made in Japan’ and signature on the underside.

HEIGHT 29 CM, DIAMETER 38 CM



36A PAIR OF FINE BLUE AND WHITE NABESHIMA LIDDED CUPS Blue and white porcelain. Japan, Meiji period Finely painted with a sea landscape with mountains and boats. The knobbed lids with similar design. Marked with the emblem of the Nabeshima clan.

HEIGHT from 6 to 10 CM, DIAMETER from 6 to 6.5 CM Condition: Fine condition Provenance: From an Austrian private collection


37A PAIR OF MING-STYLE DRAGON BOWLS Porcelain. Japan, around 1900

Both decorated in a soft underglaze blue with dragons and enameled in translucent green, and iron-red with floral motifs and clouds wisps. Outlined with gold, red and black.

HEIGHT 5 CM, DIAMETER 14.5 CM Condition: Worn enamel in some areas due to age – good condition Provenance: From an Austrian private collection


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38KINKOZAN: A SATSUMA PLATE WITH YOUNG LADIESGlazed ceramic with paint and gold. Japan, Meiji period

Two young ladies in festive clothing stand, accompanied by a small girl, in the foreground next to a maple tree. In the midfield are multiple women and men, some of whom are hold various objects such as a lute, ball bat or broom in their hands. In the background are a grand palace, pagoda tower and mountain ridge. The colorful painting is very fine and features considerable gold, the trim around the edge being entirely golden. On the bottom of the plate is the golden mark KIN-KO-ZAN

zo .

DIAMETER 22.6 CM

Condition: Very well preservedProvenance: From an Austrian private collection


39KINZAN: SATSUMA PLATE WITH PEACOCKGlazed ceramic with paint and gold. Japan, Meiji period

Octagonal plate with finely painted nishikide decoration on the upper side. In the foreground is a peacock (kujaku) standing on a rock, one leg lifted. The bird is an emblem of the deity kujaku myo-o. The long feathers are splendidly painted. Above it, in a circular, lobed reserve, is a courtly scene with daimyo and dignitaries. The filler spaces are contoured like clouds and feature blossoms and geometric patterning. On the bottom are blossoms and objects from samurai warriors. The signature KIN-ZAN sei (made this) inside multiple, golden rings, though the first character is unclear due to its stylization.

SIZE 13.5 x 13.5 CM

Condition: Very well preservedProvenance: From an Austrian private collection, once acquired from the Galerie Zacke - corresponding label on the bottom


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40FUKUBE: LIDDED SATSUMA BOWL WITH CRANESGlazed ceramic with paint and gold. Japan, Meiji period

Elaborately painted, three-legged, lidded bowl. On the outside of the slightly curved lid is a couloir with waterfall and multiple tanchotsuru (red-crowned cranes), symbols of longevity in a forest of bamboo and wisteria with hanging bunches of blue blossoms. In the branches are two pheasants, as well as a sparrow darting by. On the inside of the lid are two holy rakkan. The one with a dragon is Handaka Sonja. In the well of the vessel is a throning daimyo, in front of whom are three ladies, one of whom, possibly the famous courtly poet Ono no Komachi, is reading aloud. Running around the outside is a sansui landscape; on the legs are chrysanthemums. On the bottom is the Satsuma cross and, inside an oval frame, the signature FUKU-BE zo

(made it). On the upper side of the lid is, far to the right of the cranes, the painter’s signature, presumably KE-ZAN .

DIAMETER 13.5 CM, HEIGHT 7.6 CM



41HODODA: VASE WITH ROYAL PERSONSGlazed ceramic with paint and gold. Japan, Meiji period

All splendidly dressed and with considerable gold, many full bearded and rather like wisemen in appearance, though also armed, some with bow and arrow. Trees, mountainous landscape, waterfall and, on the other side of the stream, another smaller group of people. Ostentatiously executed borders, in particular that on the shoulder, the patterning varied and extremely meticulous. On the bottom are the inscriptions, in gold against a black background: HO-DO-DA zo , on the right; SATSU-MA-YAKI (Satsuma ceramic) in the middle below the satsuma mon of the Shimazu family; and the painter's name SUI-GETSU kore ga (painted it), on the outer left.

HEIGHT 15.2 CM



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42AN ELEGANT SATSUMA VASE BY YUZAN Glazed ceramic with paint and gold. Japan, Meiji period

All densely finely painted. Intricate nishikide composition with two panels, one depicting a group of women outdoor, where chrysanthemums and peonies are in full bloom; the second with seasonal floral decoration. Signed DAI NIHON YUZAN Zo (

, ).

HEIGHT 24.9 CM

Condition: Good conditionProvenance: From an Austrian private collection


43HOZAN: A SMALL SHOULDERED SATSUMA VASEGlazed ceramic with paint and gold. Japan, Meiji period

Exceedingly finely painted figural scene and intricate nishikide with considerable gold. In the two framed fields are ladies, children, a flock of chicken and huts with Fujisan in the background. Especially opulent in composition are the blossoms and butterflies on the flat shoulder; around the mouth is a star-shaped contour. On the bottom is the signature HO-ZAN

HEIGHT 7.4 CM

Condition: Good conditionProvenance: From an Austrian private collection, once acquired from the Galerie Zacke - corresponding label on the bottom


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44FUZAN: A SATSUMA CRICKET CAGE Glazed ceramic with paint and gold. Japan, Meiji period

Extremely unusual, delicately crafted cricket cage. The form is ovoid and almost entirely openwork and perfectly imitates a woven basket. The “carrying handle” is a cloth that is wrapped around the basket and tied together at the top. It is decorated with blossoms, is colorful and features gold. The vaulted, openwork lid has a golden knob. On the bottom are three stubby legs and the signature FU-ZAN .

HEIGHT 18 CM

Condition: Very well preserved, minor chipping to lidProvenance: From an important Austrian private collection, acquired before 1930


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45TWO LIDDED SATSUMA VESSELS, ONE KINKOZAN WORKSHOPGlazed ceramic with paint and gold. Japan, Meiji period

The first exceedingly finely decorated, spherical vessel on three legs, the curved feet separated by cut-out, arched sections. On the body are eight slanted, rectangular fields filled with depictions of various landscapes in the style of Hiroshige’s Tokaido series, some featuring people. The handle is in the shape of halved kiku blossoms. On the powerfully vaulted golden lid are three cutout heart shapes as well as a knob in the shape of a seated shishi. On the bottom is the name KINKOZAN

.

The second a spherical lidded vessel on three stubby legs, meticulously decorated. Running around it is a scene on a river bank with about ninety figures, both female and male. Two arched handles; vaulted lid with two openings, the knob and area surrounding it a very golden chrysanthemum. The detailed and varying nishikide decoration has been executed with great care. On the recessed bottom is the signature SHOZAN .

HEIGHT 9.5 CM and 7.4 CM



46TWO SATSUMA BOWLSGlazed ceramic with paint and gold. Japan, Meiji period

The first bowl with a hexagonal mouth. On the outside of the round walls are alternating holy rakkan with golden halos and bijin, female “beauties”, each of the figures seated in a diamond-shaped space. Inside the bowl is a scene full of figures in front of a temple complex, a pagoda tower and mountains in the background. The border around the mouth features a lined, triangular pattern; hanging into the image are uneven surfaces with spiral patterns. On the bottom, below the satsuma cross, is the signature HODODA .

The second small, black-blue bowl with a beautiful, shiny

glaze. The gilded mouth has five leaf-shaped points. Inside are two bijin (beautiful ladies) and a boy in a garden in front of a lookout pavilion with lanterns. Towards the mouth and on the outside, painted in gold, are blossoms and tendrils as well as a wavy border inside a frame. On the bottom are the characters for the name SHUZAN .

DIAMETER 8.8 CM, HEIGHT 4 CM and DIAMETER 7.8 CM, HEIGHT 3.7 CM



a lookout pavilion, as well as water and boats. The other scene features multiple bijin along with some girls. The filler spaces are decorated with nishikide, the neck with a composition of blossoms.

The second of very distinctive form on a tall, widely flared foot. The picturesque decoration features a composition with numerous blossoms, many painted in red and gold, which runs around the vase. The borders have geometric patterning. On the bottom is the signature GYOKUZAN painted in gold.

The last small vase, approximately ovoid in shape.

The lip of the flared mouth is gilded. Beneath a tree, the branches of which extend downwards, sit two bijin in a field, two “beauties”. Their loose robes have finely painted golden patterns. In the foot, which is surrounded by a wavy border, and below the satsuma cross are the characters for the name SHUZAN .

HEIGHT 6.4 – 9 CM



47THREE SATSUMA VASESGlazed ceramic with paint and gold. Japan, Meiji period

The first small vase features two different miniature paintings. In one is a sansui-style landscape with a tall cliff, on top of which is

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48KENZAN: PAIR OF SATSUMA VASESGlazed ceramic with paint and gold. Japan, Meiji era

Ovoid form with a rippled, outwardly flared mouth. Both vases feature two large framed fields with somewhat different painting. Each has a figural scene with a royal figure and entourage. The other image is a nice, poetic-romantically painted landscape with mountains, river and huts. The filler spaces have blossoms and tendrils in gold against a dark-blue background. On the bottom are the characters for the name KEN-ZAN .

HEIGHT 12.4 - 12.7 CM

Condition: One in good condition, the other with a very well restored breakProvenance: From an Austrian private collection


49HODODA: PAIR OF SMALL HEXAGONAL SATSUMA VASESGlazed ceramic with paint and gold. Japan, Meiji period

On the outside is a scene exclusively populated by many bijin beauties in extremely varied clothing, in front of huts, a temple complex, steep cliff walls and a waterfall. Two of the fields in between are decoratively designed with golden patterns, as is the shoulder area too. On the flat mouth is a radial line pattern. On the bottom of each vase is the signature HO-DO-DA .

HEIGHT (EACH) 9.2 CM



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51KINKOZAN: BELL-SHAPED LIDDED SATSUMA VESSELGlazed ceramic with paint and gold. Japan, Meiji era

Unusual, small vessel; the background decoration in slight relief consists of a very dense composition with kiku blossoms (chrysanthemums), the color an exceedingly beautiful, shiny silvery gray-blue, also featured on the concavely indented, knobbed lid. There are two fan-shaped fields, in one of which is a samurai in armor, while the other presents a beautiful bijin in front of a tree in full blossom in the foreground and, behind her, some men. On the bottom is the signature (made by …) KIN-KO-ZAN

zo .

HEIGHT 8.8 CM

Condition: Very well preservedProvenance: From an important Austrian private collection, acquired before 1930


50KENZAN: SATSUMA VASE WITH WISEMENGlazed ceramic with paint and gold. Japan, Meiji era

Ovoid form on a flush foot, short neck with beaded, flared lip. Two large medallion fields with lobed-pointed contours. The scenes are full of figures and depict bearded wisemen, some of whom are surrounded by smaller figures (children?). The other image features musicians, one of the bearded men dancing, some drinking. In the background are old pine trees and a splashing waterfall. The filler spaces have golden motifs against a shiny dark-blue background. On the bottom is the following inscription inside a heart-shaped contour: on the right, KEN-ZAN , in the middle, Satsumayaki

(Satsuma ceramic); on the left, Toki (ceramic), as well as the Shimazu family crest.

HEIGHT 19.6 CM



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52FUKUBE: A SMALL SATSUMA VASEGlazed ceramic with paint and gold. Japan, Meiji period

Small, four-sided vase with curved and flared foot and mouth. In the four fields are various figural scenes, minutely painted with considerable gold. Samurai in armor, ladies - some with children - in front of buildings, royally dressed people conversing. In the background of each field is a landscape. Otherwise, the decoration is detailed, geometric to floral and features considerable gold. The signature FUKU-BE zo (made this) is written in red. Very well preserved.

HEIGHT 14.5 CM

Condition: Good condition with a very well restored break on the lip

Provenance: Once acquired from the Galerie Zacke in Vienna - corresponding label on the bottom


53HODODA: A SMALL SATSUMA VASE WITH SAINTSGlazed ceramic with paint and gold. Japan, Meiji period

Small, shouldered vase; the neck and mouth atop the flat shoulder very small. Depicted inside two large fields are bodhisattvas or goddesses, surrounded by numerous rakkan, arhat in Sanskrit, the Buddha’s successors. The detailed decoration consists of intricate “brocade style” (nishikide) with considerable gold. On the bottom the Shimazu family crest and the signature HO-DO-DA .

HEIGHT 9.5 CM



54RYOZAN: AMIDA BUTSU AND VENERATORSGlazed ceramic with paint and gold. Japan, Meiji period

Two large framed images, in one of which is the Buddha Amitabha, called Amida Butsu in Japan, enthroned before a golden nimbus with a group of venerators before him. The other painting features an expansive scene with many people in front of a temple complex and a mountain ridge in the background. The borders and filler spaces feature extremely fine nishikide, the patterns floral, geometric or composed of the Chinese leiwen meander. On the bottom is the Shimazu family crest and the partially fragmentary inscription SATSU-MA with RYO-ZAN ga

(painted it) to its left.

HEIGHT 12.3 CM



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55SENRITSU (?): SATSUMA VASE WITH BLOSSOMING FIELDGlazed ceramic with paint and gold. Japan, Meiji period

Vase similar in form to the Chinese meiping. Beautiful, arched curve, marked shoulder, no neck, the bulging lip protruding. Running around the vase is the painting of a willow (yanagi), the deeply hanging branches full of red blossoms. All contours in gold. On the bottom is the framed signature SEN-RITSU tsukuru (a third character, after ritsu, is unclear).

HEIGHT 18.7 CM

Condition: Restored break on the lipProvenance: From an Austrian private collection


56SHOKOZAN: A DEEP SATSUMA BOWLGlazed ceramic with paint and gold. Japan, Meiji period

Extremely fine piece with figural scenes, blossoms and a mountainous landscape. On the outside are ladies with their children on a walk through the spring landscape, the first blossoms on the knotted branches. Inside, in the well, is a dense blossom composition and, on the walls, many playing children and only one lady carrying her son. The borders are densely ornamental with gold on a dark red background. On the bottom is the Shimazu family crest and the signature SHO-KO-ZAN

on a red background.

HEIGHT 6.3 CM, DIAMETER 12.2 CM



57BIZAN: LANDSCAPES AND BEAUTIFUL LADIESGlazed ceramic with paint and gold. Japan, Meiji period

Quadratic, four-legged lidded vessel with two handles. All four sides bear images. Two sansui landscapes with mountains, huts and water. Another of the paintings features a lady observing the landscape together with her children. The fourth image is full of figures and depicts bijin ladies picknicking in front of a building, a stone lamp (ishidoro) in the background. The four-edged, vaulted lid has a knob and floral open work. Very fine nishikide decoration features, among other things, tomo-e and lightning-bolt meander. On the bottom is the signature BI-ZAN .

HEIGHT 11.5 CM, SIDES 8.5 x 8.5 CM (without handles)



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59KYOKUZAN: LIDDED SATSUMA JAR WITH KANNONGlazed ceramic with paint and gold. Japan, Meiji period

On the slightly vaulted lid are, seated before the Bodhisattva, or rather the Goddess Kannon, several rakkan with their holy, golden nimbuses. Among them are two female beings and a boy. The outside features purely landscape, sansui-style painting. Inside, on the bottom of the bowl is a red peony blossom. Inside the foot ring, beneath the satsuma cross are the characters for the name KYOKU-ZAN , which literally means “dawn at the mountain”.

DIAMETER 6.5 CM, HEIGHT 4.1 CM



60SHUZAN: A DEEP SATSUMA BOWLGlazed ceramic with paint and gold. Japan, Meiji period

The edge is recessed at five points, the lip gilded. In the well, young ladies are depicted with their playing sons who are, for example, trying to catch a butterfly. Also featured is a dwelling; lake and mountains in the background. The borders around the edge are geometric and floral, intricate and extremely fine. On the outside are flying insects, above which is a dense composition of blossoms in the most varied of colors. The upper border with “thunder pattern” is in the style of Chinese leiwen. On the bottom is the Shimazu family crest as well as the framed signature SHU-ZAN .

HEIGHT 6.6 CM, DIAMETER 15.6 CM



58KOZAN: SATSUMA PLATE WITH FIGURAL SCENEGlazed ceramic with paint and gold. Japan, Meiji era

Ladies and gentlemen in a loose group sitting on the floor, all splendidly dressed. Around them are bonsai, tables with vessels and flowers, as well as a small folding screen featuring a blood-red sunrise, and a large, multi-panel screen with writing. In addition, a winter landscape is also depicted along with various, heavy curtains. On the bottom is the signature KO-ZAN against a black background.

DIAMETER 12.8 CM



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61A RARE POLYCHROME LACQUERED WOOD FIGURE OF A RAKAN Wood and polychrome lacquer. Japan, Edo period or earlier

A rare and expressive polychrome-lacquered figure of a Rakan. He is seated on a hollowed plinth, with one hand raised and the other resting on his lap. His partially incised robes are flowing and expressively carved, lacquered in green and red and accentuated with gold. The face is carved with astonishing detail and wit; the nose and lips sensitively sculpted with his two front teeth showing. Long pierced ears and the eyes are double inlaid with glass.

HEIGHT 37.5 CM Condition: Severe flaking to lacquered layers and loss of details. Cracking to wood and one repaired break through the detachable head. Possibly once was holding something in his right hand (partial loss to the hand). Provenance: From an Austrian private collection


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62A VERY LARGE AND ELABORATE LACQUERED WOOD PANEL WITH TENNIN (BUDDHIST ANGEL)Wood, brass and lacquer. Japan, Muromachi period or early Edo period

A large rectangular panel with brass fittings with finely incised floral decorations. Depicted is a tennin, a buddhist angel, with beautiful large, well-carved wings. Her tail ends in elaborately carved feathers and her head is surrounded by a heavenly garland. Her body is accentuated with polychrome lacquer painting and the swirling clouds around her are lacquered in gold. She has a dignified expression, whilst she holds one of her defining attributes – a sho or ‘mouth organ’. The composition is well achieved with her body being elevated in front of the openwork clouds, creating an overwhelming three-dimensional effect. The wear to the polychrome painting and the facial expression hint at a very early work – museum quality.

LENGTH 172 CM, WIDTH 63 CM

Condition: Extraordinarily well-preserved condition, expected wearProvenance: From an important Austrian private collection, acquired before 1930


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63A KAKEMONO OF HORSES AND SERVANT UNDER A WILLOW Kakemono painting with colors on silk. Japan, 18th century

This work was painted after the Chinese painter Shen Quan, who lived until 1760 and had many students in Japan. A brown and a black horse, one calmly yet curiously looking towards the other, which struggles with the servant boy trying to pull it through the water, under a willow tree blowing in the wind. Inscription indicating the Qianlong era on the top left. The left line shows the name NAN-PIN SHEN QUAN , the lowest character sha

, ‘painted after’. Mounted with silk brocade, ivory jikusaki.

SIZE image 104 x 41.5 CM, SIZE mounting 197 x 54.7 CM



64A KAKEMONO OF A MOUNTED SAMURAI WARRIOR Kakemono painting with colors on silk. Japan, late Edo period

A precisely painted, realistic work that offers a considerable amount of blood but also has a humorous side, thanks to a skillful mannerism. The battle is over, the samurai’s helmet on his back, his long tachi back in its sheath; both the warrior and his horse have been hit by several arrows, yet he is holding up his lance, with the severed head of an enemy on top, in victory. Three more heads are tied to the horse. They appear quite lively, one of them is screaming while the head on the lance has a fierce expression. The samurai’s unflinching yet satisfied

expression is a sight to see. The horse’s mane, tail and head with large blue eyes are excellently painted, its posture is dashingly directed forward. A discreet mounting lets the painting come into full effect. Ivory jikusaki.

SIZE image 111.8 X 55.5 CM, SIZE mounting 195 x 68.3 CM Condition: Generally in good condition, damaged paper with stretcher marks and stains on the silk - crease folds are visible, one jikusaki missing Provenance: From an important Austrian private collection, acquired before 1930


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66A TATEMONO BY TANI BUNCHO (1763-1840) OF A HORSE UNDER A WILLOW Tatemono painting with ink and colors on silk. Japan, dated 1840

An uma (horse) with a splendidly long and richly painted tail, lowered head and large eyes, in a hilly landscape in the foreground. Very finely washed nuances contrast with the gnarly trunk of the willow tree in the background. Inscription with date, “Tenpo 11th year [1840]”, followed by “Kone roku gatsu” and signature BUN-CHO hitsu

on the bottom right. Red hyotan frame contains also “Buncho”. Mounted with silk brocade and gold, ivory jikusaki.

SIZE image 48 x 24.2 CM, SIZE mounting 129 x 36.5 CM

Condition: Good conditionProvenance: From a German private collection


65A TATEMONO IN THE STYLE OF HOKUSAI OF BIJIN ON HORSEBACKTatemono painting with colors on silk. Japan, 19th century This smaller scroll painting shows a very finely painted image with a brown horse at its center. Two baskets on its back, each containing a bijin, both with pinned-up hair and smoking pipes. A servant is kneeling on the ground in front of the horse and tying his sandals. A stone lantern, or ishidoro, with a flaming pearl between two tree trunks behind the group. The background is very large and fades into the distant haze. Signature HOKU-SAI I-ITSU

hitsu and red seal on the right. Very finely mounted with silk and silk brocade, wood jikusaki.

SIZE image 28.7 x 37 CM, SIZE mounting 111.8 x 48 CM Condition: Good condition, minor staining Provenance: From a German private collection


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67A KAKEMONO OF CHOKARO SENNIN Kakemono painting with ink on silk. Japan, 19th century

The immortal Chokaro is wearing a long Chinese robe and is sitting on a rock. He is holding a hyotan (bottle gourd) with both arms extended forwards, his mule has just emerged from the gourd and is flying in the sky. This Sennin, one of the Eight Immortals in China, would fly on a white mule. Finely wash-painted garment. The mule appears very lively. Inscription, signature and red seal to the left of Chokaro. Mounted with silk brocade, ivory jikusaki. Wooden box.

SIZE image 108 x 45.6 CM, SIZE mounting 201 x 60 CM Condition: A tear to the right side, faded silk probably due to sun exposure and subtle crease folds are visible - overall good condition Provenance: From an Austrian private collection Estimate EUR 600,-Starting price EUR 300,-

68A KAKEMONO OF GAMA SENNIN Kakemono painting with ink and colors on paper. Japan, 16th century

This painting from the Kano school offers an unusual image of a hermit, who is still a boy. He is wearing a richly pleated garment, his chest, belly and leg are naked and the nails on his fingers and toes are very long. His facial features are unusually expressive, especially the eyes! He is holding a toad (gama) in one hand and appears captivated by it. The hermit with a toad is known as Gama Sennin. A steep cliff covered with bamboo in the background. Red seal with characters MOTO-NOBU in seal script. This work was painted in the style of

this great master of the Kano school, who lived between 1476 and 1559. Mounted with silk and silk brocade, ivory jikusaki (one piece missing). With wooden box.

SIZE image 118.5 x 53.7, SIZE mounting 175 x 66.6 CM Condition: Traces of age and wear; minor scratches and one jikusaki missingProvenance: From a German collection, acquired at the Cologne auction house Lempertz in 2002


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69KOUHOU (?) KAWAMATA (1891 - 1953?): WINTER LANDSCAPEPainting on silk, hanging scroll with brocade mounting. Japan, 20th century

An appealing wintery landscape depicting a snowbound hut, trees and the Mount Fuji far in the background.

SIZE picture 114 x 28 CM, SIZE scroll 187 x 38.5 CM

Condition: Good condition, subtle stainingProvenance: From an European private collection


70A KAKEJIKU SCROLL DEPICTING AN INARI LANDSCAPE PAINTING EMBROIDERED WITH BIRDS AND LEAVES Painting on silk, embroidery, paper, wood. Japan, 19th century

Kakejiku (hanging scroll), ink and color on silk with silk and paper mounts. Depicting a landscape with trees, flowers birds, traditional Japanese houses and a bridge. Some tree leaves and birds are colorfully embroidered.

Lacquered wood jiku (roller ends). SIZE overall 164 x 51 CM, SIZE image 124 CM x 44 CM Condition: Damaged paper mostly along the edges, subtle stains; one side of the roller slightly damaged Provenance: From an old Austrian private collection, acquired before 1930 - on the back old collection number


71A PAINTING OF A FALCON WITH SPARROW Colors and ink on paper. Japan, 19th century

Depicting a falcon on a branch with a little sparrow in its claws. Signed.

SIZE image 128 x 59 CM

Condition: Damaged paper, with holes, cracks and stains - crease folds are visible Provenance: From an Austrian private collection


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72A KAKEMONO OF FUDU MYO-O Kakemono painting with colors on silk. Japan, late 18th to 19th century

Fudo means the ‘immovable’, he who firmly adheres to the healing path of Buddhist teachings and asks the god of death Yama for justice. In this painting, Fudo, or Acala in Sanskrit, is placed in the center with typical iconography, surrounded by flames, holding his khadga sword vertically and holding the pasha sling to catch demons. He is richly adorned with jewelry and his garment shows several emblems of the dharma wheel. Fudo has a grim, resolute expression, he sees everything – one eye looks up, the other looks down – and has fangs for teeth. Lotus blossom on his head, the figure next to Fudo is holding up another lotus blossom. Several demons in front of him, one with a khakkara staff; a hermit with a full beard behind him. High mountains in the background. The painting on silk is mounted on paper, with silk and silk brocade with gold. The gilded jikusaki show lotus blossoms. Inscription on the rear side.

SIZE image 116 X 54.5 CM, SIZE mounting 174 x 66 CM Condition: Generally in good condition; some creases and one small tear to the mounting - one jikusaki missing and damaged futai Provenance: From an important Austrian private collection, acquired before 1930


73A SET OF THREE JAPANESE SCROLLS WITH BODDHISATTVA AND MONKS Silk with painting and mounts of wood and bronze. Japan, Edo period

A set of interesting silk scrolls with paintings framed in silk with floral motifs, inside an old wooden box. The central and largest one, with finely gold painted central Bodhisattva with likenesses surrounding her on clouds. The two neighboring scrolls depicting monks.

HEIGHT 75.5 CM Condition: The central one with only a tear to the fabric, painting in good condition; the other two with losses to painting; all worn and soiled Provenance: From an old Austrian private collection acquired before 1930


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74A RARE AND IMPORTANT KAKEMONO OF THE KING OF GHOSTS Kakemono painting with colors on silk. Japan, 19th century

A fantastic painting with many figures and some beautifully grotesque details. The large figure of the ghost king is in the center and is quite distinct from the other ghosts surrounding him. He is much larger, entirely blue, wearing precious garments and a flame is coming out of his mouth. He is wearing head decorations with an image that possibly shows himself, when he was still alive. A large halo behind his head. Like the other ghosts, he is extremely emaciated, with all of his ribs visible and his belly protruding grotesquely. The ghosts surrounding him are so-called gaki-zoshi or hungry ghosts in various colors and poses, almost naked with only torn aprons. Some are pleadingly raising their hands towards a floating figure in elegant courtly garments with fine, devout facial features and folded hands. Inscription

(‘The true face of the king of ghosts’) on the left. One of the ascending bubbles contains the character for ‘eternity’.

The national treasure Gaki-zoshi scroll of the Hungry Ghosts in the Kyoto National Museum shows some similar depictions.

SIZE image 169 x 88 CM, SIZE mounting 249.5 x 98 CM Condition: Generally in good condition; damaged paper, cracks and stains - crease folds are visibleProvenance: From an important Austrian private collection, acquired before 1930


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75A DAILY LIFE JAPANESE PAINTING Ink and colors on silk. Japan, Meiji or Showa period

Depicting a leisure daily life scene, with men and women enjoying food and music, the open shoji sliding doors revealing a pine tree, a cabin and the moon. Framed.

SIZE mounting 95.5 x 66.5 CM Condition: Good age-related condition, stains and two medium tears on the right upper part and edge - the frame with flaking paint and chips, the back damaged Provenance: From an Austrian private collection


76A YOKOMONO OF A LAKE AND MOUNTAIN LANDSCAPE Yokomono painting with ink on paper. Japan, 19th century

This work shows bushes on a steep slope and a view of a boat with a man in it, as well as the roofs of a fishing village in front of a steep cliff. A subtle contrast is formed by a group of black birds flying into the distance. The painting is from the Kano school. Red seal in the lower right corner. Mounted with silk and silk brocade, ivory jirusaki. Wooden box.

SIZE image 43 x 49 CM, SIZE mounting 131 x 61 CM

Condition: Good condition, subtle crease folds are visible Provenance: From a German private collection


77A KAKEMONO BY BAIDO OF FIVE BOYS AND A SCROLLKakemono painting with colors on silk. Japan, 19th century

The heads and faces of the boys are very lively and executed in the style of ukiyoe painting. All heads are bald except for one. One boy is sitting at a table with two cans. Another is pretending to paint on the scroll, like a child imitates adult activities. Another boy is studying the character Koto on the scroll, which refers to a type of Japanese zither. The boy holding up the scroll is also holding a large leaf-shaped fan. Signature BAI-DO hitsu and two red seals on the right. Baido Asana lived from 1816 to 1880 and also made colored woodblock prints. Mounted with silk and silk brocade with gold, ivory jikusaki.

SIZE image 42.5 x 66.7 CM,SIZE mounting 133 x 77.5 CM Condition: Slight damaged paper, silk loss and subtle stains - painting in good condition Provenance: From an Austrian private collection


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78KANO CHIKANOBU: LONG-ARMED MONKEYInk painting on paper. Japan, 17th / early 18th century

Depiction of a long-armed monkey. A characteristic Zen ink painting depicting a gibbon grasping for a reflection of the moon. A small, magnificent ink painting done on paper, some minor condition. Old mounting as hanging scroll.

SIZE image 90.5 x 25 CM, LENGTH scroll 170 x 33 CM

Condition: Age-related condition; stainingProvenance: From an European private collection


79A TAIZAN SCHOOL TATEMONO OF A KINGFISHER AND LOTUSTatemono painting with ink on paper. Japan, 19th century

The kingfisher, flying over a lotus plant, is painted with minimal yet very accurate strokes. The pond or lake is left to the viewer’s imagination. Signature TAI-ZAN IN HO-GEN and seal Taizan´ in, In, meaning ‘school’, at the bottom. Mounte on paper with gold and brocade, wooden jikusaki. Wooden box with inscription about the signature as well as the motifs of kingfisher and lotus.

SIZE image 94.5 x 29.7 CM, SIZE mounting 136 x 32 CM Condition: Good condition, minor staining; mounting with lossesProvenance:From a German private collection Estimate EUR 300,-Starting price EUR 150,-

80A TATEMONO OF A MAN DRUNK ON SAKE Tatemono painting with ink on paper. Japan, 19th century

This bearded drunk could be the sage Toyenmai, a poet and great drunkard from ancient times. But he could also be an immortal, gleefully strolling around and carrying a hyoten bottle gourd containing the elixir of life on his head. Inscrition in sosho calligraphy and two red seals in the upper part of the image. Signature and red seal on the bottom left. Mounted with paper and silk brocade, wooden jikusaki (one piece missing).

SIZE image 57.7 x 29 CM, SIZE mounting 141.3 x 31 CM Condition: Traces of age and wear, the upper part with small holes - crease folds are visible Provenance: From a German private collection


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81A NOH MASK OF SHIKAMI (BITING LION)Wood, gesso, pigments, gilt metal. Japan,Edo period 17th – 18th century

Carved in wood, painted in red pigment over gesso and with features highlighted in black ink. Gilt-metal eyes and golden teeth and fangs. Impressed seal signature on the reverse.

HEIGHT 21 CM

Condition: General wear, with minimal loss along edges; cracked and chipped paint, mainly in the protruding parts; good, old usage patina at the back on the inside; fixed break in the jaw and one gilt metal eye lost- otherwise in good and complete conditionProvenance: From an important Austrian private collection acquired before 1930

A similar mask was sold at Christie’s, 14th September 2011, lot 664.


82A KYOGEN MASK OF TOBI (BLACK KITE) Wood, gesso, pigments and animal hair. Japan, Edo period 17th – 18th century

Carved in wood and painted in polychrome pigments over gesso. Gilt-metal eyes and prominent beak. Animal hair inset whiskers. Prominent wrinkles, eyebrows and cheekbones. Expressively carved Kyogen mask, likely relating to a Noh play on Tengu.

HEIGHT 20 CM

Condition: Cracked and chipped paint, mainly in the protruding parts, gilding to one eye lost, good; old usage patina at the back, on the inside - general age-related wearProvenance: From an important Austrian private collection, acquired before 1930 - with old collection no. ‘AGRON’

A similar mask was sold at Christie’s on 15th October 2014, lot 35.


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83A NOH MASK OF WASHIBANA AKUJ (EAGLE-NOSED FIERCE OLD MAN)Wood, gesso and pigments. Japan, Edo period 17th – 18th century

Carved in wood and painted in polychrome pigments over gesso, with golden eyes and impressed seal signature on the reverse. A mask representing a fierce old man. Worn in the Noh plays Domyoji or Naniwa.

HEIGHT 22.5 CM, WIDTH 16.4 CM

Condition: With minimal loss along the edges and colour scuffing due to age, cracked and chipped paint mainly in nose and forehead - complete condition with general wearProvenance: From an important Austrian private collection, acquired before 1930

A similar mask, but later, was sold at Christie’s 20th March 2007, lot 125.


84A NOH MASK OF OTOBIDE (HORNLESS DEMON) Wood, gesso, pigments and gilt metal. Japan, Edo period, 17th – 18th century

Carved in wood and painted in golden pigment over gesso with features highlighted in black and red ink. Gilt-metal eyes and impressed seal signature on thereverse

The mask with protruding, large eyes usually represents the god of thunder, the god of heaven, protector of Buddhism, or a ghost. The prominent, flattened nose and big ears further emphasize the mask’s imposing character, the mouth opens wide to show both the upper and lower teeth.

HEIGHT 20 CM

Condition: General age-related wear, requires small amounts of restoration to chipped lacquer -otherwise in well-preserved, complete conditionProvenance: From an important Austrian private collection, acquired before 1930

A strikingly similar mask was sold at Christie’s on September 14th 2011, lot 663.


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85NOH MASK OF A HANNYAWood, gesso, pigments and animal hair.Japan, Edo period, 18th century

This unusual mask shares several characteristics with Hannya masks, but rather than being a tormented soul, it is a manifestation of pure evil. Carved in wood and painted in polychrome pigments, black over red, with golden eyes and teeth. Applied animal hair. With sharp horns that sprout from the head and bulbous golden eyes. The gaping mouth is full of gold teeth with upper and lower fangs that heighten her ferocity.

HEIGHT 21.5 CM, WIDTH 16.2 CM Condition: Complete condition with general wear, cracked and chipped paint and subtle hair loss and a crack on the chin; good, old usage patina at the back, on the insideProvenance: From an important Austrian private collection, acquired before 1930 - with old collection numbers ‘FARN’ and ‘1257’


86A NOH MASK OF KOJO (OLD MAN) Wood, gesso, pigments and animal hair. Japan, Edo period, 17th – 18th century Polychrome pigments and gesso over wood, beard and hair applied animal hair. Long, expressive wrinkles on forehead and cheeks. The Kojo mask was principally used in the play Takasago, where an old man becomes a god.

HEIGHT 19 CM

Condition: Typical traces of use and wear along the edges, with subtle colour scuffing and paint chipping on the chin; good, old usage patina at the back, on the insideProvenance: From an important Austrian private collection, acquired before 1930 - with old sticker on the back


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87A NOH MASK OF OKINA (HAKUSHIKIJO) Wood, gesso, pigments and animal hair. Japan, Edo Period, 17th – 18th century

Polychrome pigments and gesso over wood, beard applied animal hair, free moving lower jaw attached with silk cords and the mustache painted with a brush. The white-faced mask of an old man or god was used in Noh and festival performances of the ancient play Okina.

HEIGHT 19.5 CM

Condition: Typical traces of use and wear, with paint chipping on the right cheek and on the chin; the characteristic Pompoms made of hemp and glued on for eyebrows typical of this kind of masks are removed and painted overProvenance: From an important Austrian private collection, acquired before 1930. - with old collection numbers ‘4875’ & ‘FRANZ #808

A similar mask, but later, sold at Christie’s 22nd September 2004, lot 311.


88A KYOGEN MASK - DEPICTING A GRIMACING OLD MANWood, gesso, pigments and animal hair. Japan, Edo period

Polychrome pigments and gesso over wood, and mustache applied animal hair. Represent a highly stylized character with an exaggerated expression, whose fierce appearance is made comical by caricature traits, heavy frowning brow and a grimacing broad mouth. Signature and label on the back.

HEIGHT 15 CM Condition: General wear with color scuffing due to age, some hair loss on eyebrows and mustache - good, age-related condition Provenance: From an important Austrian private collection, acquired before 1930


50

89WOODEN MASK OF AN ONI Wood. Japan, 19th century

With short pointed horns and hair curls, bushy eyebrows, and broad nose, open mouth revealing teeths and fangs.Signature Ishikawa Komei – famous okimono and netsuke artist known to have made masks as well.

HEIGHT 19.5 CM, WIDTH 15 CM

Condition: Good, complete conditionProvenance From an important Austrian private collection, acquired before 1930


90A PAPER MACHE MASK OF AN ONIPaper mache and pigments. Japan, Edo period

Gold, black and red pigments over paper mache. A small mask of an expressive oni, with congregations of gold painted horns on his head. The fangs held by wooden sticks on the inside

HEIGHT 21 CM, WIDTH 15 CM

Condition: Complete condition with general wear, cracked and chipped paint - delaminated paper along the edgesProvenance: From an important Austrian private collection, acquired before 1930


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92LARGE GIGAKU STYLE PAULOWNIA WOOD SHISHI MASKPaulownia wood. Japan, Edo period or earlier

The mask is constructed from two pieces of wood, the lower chin hangs free by wires. Possibly also used for festivals.

HEIGHT 28 CM, WIDTH 22 CM

Condition: Subtle cracks and material loss; hair implant is cutProvenance: From an Austrian private collection


91WOOD MASK OF A KITSUNEWood. Japan, Meiji period

Long snout and mouth ajar revealing teeths and fangs, hair, eyelashes and whiskers delicately engraved. Inlaid glass eyes. Signature in sosho script on the back.

HEIGHT 18 CM Condition: Larger chip on the inside, otherwise good conditionProvenance: From an important Austrian private collection, acquired before 1930


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93A BLACK LACQUER FOUR-TIER JUBAKO (CAKE BOX) AND COVER WITH A PORTABLE CASEWood and lacquer. Japan, Edo period

Of rectangular shape. An elegantly executed set of four-tiered black lacquer stacking boxes with lids and portable case. Exterior lacquered in gold with floral designs, kabu (turnip), ogi (folding fans) and tanzaku papers. The interior of rich nashiji. The carrying case covered in black polished lacquer and decorated in gold hiramakie with scrolling vines.

HEIGHT total 27.2 CM, WIDTH 16.5 CM, HEIGHT of the 4 stacking boxes 6.5 CM, 5.1 CM, 5.5 CM and 4.3 CM, HEIGHT of the lid 1.3 CM

Condition: Good conditionProvenance: From an Austrian private collection acquired in Japan in the early 1960s


94RARE SMALL BOX WITH UTAGARUTA PLAYING CARDSLacquer, gold, silver and paint, etc. Japan, 19th century to Meiji period

Lacquer box with a very deep lid; the painted decoration against shiny black roironuri has stylized blossoms and leafed tendrils with gold and silver. Inside are two removable stacks of 100 cards each, the cards 8.3 x 5.5 cm, inside cloth bags with golden floral decoration. These utagaruta (“poem cards”) were played in January. One of the stacks contains the first half of poems from the “Hundred Poets”, while the other stack contains the second half of these poems. The game consisted of finding matching parts.

The poems on these cards have been skillfully written in sosho calligraphy. These cards are special because all 100 poets have been painted on them, very finely and dressed in courtly clothing of the day, including ladies. This collection of tanka poems, also called hyakunin-isshu (“One Poem each from the Hundred Poets”) was compiled in the 13th century by Fujiwara Sadaie.

HEIGHT box 15.2 CM, WIDTH box 15.1, DEPTH box 10.7 CM

Condition: Generally in good, complete condition - the lacquer worn and partially cracked, with minor damages on the edgesProvenance: From a German private collection


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95A RARE GOLD AND BLACK LAQUER JIKIRO (CEREMONIAL FOOD CONTAINER) Wood and lacquer. Japan, Edo period

Of large ovoid shape with lid and raised on a high pedestal foot. The exterior black-lacquered decorated in gold hiramaki-e with scrolling vines and flowers. The interior lacquered in red.

HEIGHT with lid 26 CM, DIAMETER 36.5 CM

Condition: Small chips along the borders and surface, one chip in the interior, subtle scratches and a crack on the interior red lacquerProvenance: From an old Austrian private collection acquired before 1930 - with old collection numbers at the base


96A PAIR OF LACQUERED KOBAKOWood and lacquer. Japan, Edo period

The smaller lidded box of square shape with a slightly domed cover. Covered in black polished lacquer and decorated in gold hiramaki-e and takamaki-e with stalks of leafy bamboo, peonies and aoi-mon (hollyhock crests). The larger box of square shape and covered in black polished lacquer and decorated in gold hiramaki-e with scrolling vines and leaf-mon.

SIZE 5 x 5 x 5 and 6 x 6 x 6 CM

Condition: Slight material loss in the table corners; overall good conditionProvenance: From an old Austrian private collection acquired before 1930 - with old collection numbers at the base


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98A FINE LACQUERED KOBAKO WITH MINOGAMEWood and lacquer. Japan, Meiji period (1868-1911)

Lidded box of rectangular shape. The rich nashiji ground embellished in gold takamaki-e with stalks of leafy bamboo, a pine tree and a minogame on a floor of plants and flowers. In the left corner, a cross. The dense nashiji continues over lid, sides and interior.

LENGTH 8 CM, WIDTH 5.8 CM, HEIGHT 3.3 CM

Condition: Good condition, minor rubbing commensurate with age, three small scratches on top - the box and cover en suite, however put togetherProvenance: From an old Austrian private collection acquired before 1930 - with old collection number on the inside


99A PAIR OF LACQUERED TRAYSWood and lacquer. Japan, Edo period (1603-1868)

One of rectangular and one of square shape. The larger tray covered in black polished lacquer and decorated in gold hiramaki-e with a background of net pattern, scrolling vines, various mon and a knotted rope design and nashiji at the base. Particularly fine mixture of lacquer techniques utilizing nashiji, takamaki-e and togidashi-e inside the mon. The square tray with classic hiramaki-e scrolling floral vine pattern.

SIZE 17 x 10 and 9.5 x 9 CM

Condition: Good condition - some traces of wear on the edges of the square trayProvenance: From an old Austrian private collection acquired before 1930 - with old collection number on the bottom of one tray


97A MINIATURE LACQUERED SUZURIBAKO (WRITING BOX) AND TWO MATCHING BUNDAI (WRITING TABLES), THE SUZURIBAKO BY YOYUSAIWood and lacquer. Japan, Edo period (1603-1868)

The two writing tables covered in black polished lacquer and decorated in gold hiramaki-e with scrolling vines and flowers. The suzuribako of rounded rectangular form, decorated on the cover in gold hiramaki-e lacquer with floral motifs and scrolling vines, continued on the exterior walls. The interior lid is lacquered in gold with floral designs and signed YO-YU-SAI after a painting by Hoitsu ; fitted with a rectangular inkstone, a water vessel (the water dropper lid is missing) one kiri (pricker), and two brushes.

SIZE suzuribako 7.2 x 6 CM, SIZE bundai (writing table) 19 x 11 CM and 12 x 6.7 CM

Condition: Typical traces of use and wear along the edges, minor rubbing; the suzuribako with a repair to one of the sides of the coverProvenance: From an old Austrian private collection acquired before 1930 - with old collection numbers on the bottom of one table and the suzuribako


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100TAIKO DRUM WITH STAND Wood, lacquer, leather and iron. Japan, Meiji period

A gilt and black lacquered wooden drum with leather heads to two sides and an iron harness loop to one side. Decorated with Hidari Gomon, a symbol of the Ryukyu Kingdom. Includes solid wooden stand.

HEIGHT 18 CM, DIAMETER 17 CM Condition: Surface wear consistent with age, with lacquer cracks Provenance: From a Hungarian private collection


101A FINE LACQUERED KOTO Wood, lacquer and bone. Japan, 19th century

A traditional thirteen-string Japanese musical instrument (Koto), the wood with a beautiful swirling pattern. With modern nylon strings added later, five strings strung over movable bridges. The sides and margins decorated in gold hiramaki-e with scrolling vines and flowers. The ends inlaid, the lower end with geometrical designs in ivory and precious stones, the upper end with inlays and a golden hiramaki-e bird.

LENGTH 48 CM

Condition: Signs of age with small chips and detachment of inlay, the base scratched and with a break - stable good conditionProvenance: From an Austrian private collection


102 LACQUERED KOBAKU WITH BUTTERFLY INLAID IN MOTHER OF PEARLWood, lacquer, metal and mother of pearl. Japan, Edo period (1603-1868)

Lidded box of rounded rectangular form. Covered in black polished lacquer, covered in nashiji and decorated in gold Hiramaki-e and mother of pearl butterflies. The interior and bottom covered in red polished lacquer and nashiji. Fitted with metal rims inside.

LENGTH 7.5 CM, WIDTH 6 CM, HEIGHT 2 CM

Condition: Good condition, minor traces of wearProvenance: From an old Austrian private collection acquired before 1930 - with old collection number on the inside


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106SET OF SIX LACQUERED PLATESWood and lacquer. Japan, Meiji/Taisho period

Of rounded shape, covered in dark brown polished lacquer and decorated in dull gold hiramaki-e and togidashi-e with clouds, bushes and flowers.

DIAMETER ca. 14.3 CM

Condition: Subtle chips and cracks along the edgesProvenance: From an Austrian private collection acquired in Japan in the early 1960s


103A LACQUER ZUSHI (PORTABLE SHRINE)Wood and lacquer. Japan, Edo period

The exterior red-lacquered with gilt-metal fittings engraved with scrolling vines and lozenges, with four hinged doors opening to a gilt lacquer interior.

HEIGHT 27 CM, WIDTH 11.2 CM

Condition: Surface wear consistent with age and normal use, small cracks at the base; the inside with stains and gilt lossProvenance: From an old Austrian private collection acquired before 1930 - with old collection numbers at the base


104A SET OF SIX LACQUERED PLATES WITH DAIKON Wood and lacquer. Japan, Meiji/Taisho period

Each small circular plate of long curved sides, covered in dark black polished lacquer with beautiful reddish reflections and decorated in gold takamaki-e with daikon (white radish) with large leaves.

DIAMETER 10 CM, HEIGHT 3 CM

Condition: Good condition Provenance: From an Austrian private collection acquired in Japan in the early 1960


105SET OF SIX SMALL LACQUERED BOWLS AND STANDWood and lacquer. Japan, Meiji/Taisho period

A low black-lacquered stand of open-box construction decorated in gold hiramaki-e with geometric and floral motifs, the top red lacquered. The bowls, each raised on a short circular foot, one raised on a long circular foot, three of them with lid. Lacquered red on the inside, black on the rim and the underside in gold hiramaki-e with geometric and floral motifs.

DIAMETER bowl from 4 to 5.5 CM, LENGTH stand 19 CM, WIDTH stand 18 CM, HEIGHT stand 11 CM

Condition: Some stains and some surface wear consistent with age and normal use; one of the lids with a broken part, one bowl with a chip on the underside - stand with cracks and subtle chip; one leg is broken, but still attachedProvenance: From an Austrian private collection acquired in Japan in the early 1960


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107AN IVORY OKIMONO BY MASAJO OF A SAMURAI Ivory okimono. Japan, Meiji period

This okimono shows a samurai seated on a folding chair and wearing a garment that is beautifully carved with great attention to detail. He is wearing tabi, wide trousers and an apron made from tiger fur. He is holding a fan in one hand and a sword is attached to his belt. The facial features and hair style are finely crafted. Shiny black inlaid eyes with a sharp expression. The mon (emblem) on his garment is called mokko, an old emblem also described as ‘melon’ which is popular among many samurai clans. Signature MASA-JO

on the underside on the tiger fur.

HEIGHT 10.7 CM

Condition: One restoration on the chair, otherwise very good condition Provenance: From an Austrian private collection


110A WOOD NETSUKE OKIMONO OF SHOKI AND ONI Netsuke okimono, wood. Japan, 19th century

The large demon hunter Shoki has fallen asleep from fatigue. An oni (demon) is sneaking up on him, trying to steal his sword, with a frightful, contorted expression on his face. The oni has three fangs, small horns, curly hair is almost naked. Shoki is wearing a Chinese garment and has a full beard. Very densely composed, lively scene with finely crafted details.

WIDTH 5.8 CM Condition: Minor scratches, possibly a small chip by the hair of Shoki Provenance: From an Australian private collection


109AN IVORY OKIMONO BY SEIZAN OF A CLAM MERCHANT Ivory okimono. Japan, Meiji to Taisho period

A man selling live clams, seated in front of baskets and a larger wooden vessel. Finely carved, life-like face of a young man, accurately crafted details such as the hairstyle, garment pattern, wood grain, etc. Red lacquer inlaid signature SEI-ZAN on the underside.

HEIGHT 5.8 CM, WIDTH 7.9 CM Condition: Good general condition; one repaired break by the finger Provenance: From a German private collection


108AN IVORY OKIMONO BY GYOKKO OF THE TENGU KING Ivory okimono. Japan, 19th century

The tengu are legendary creatures, part human, part crow-like, with a beak or long nose. This beak can be seen in this work on the bottom right. King Sojobo, their leader, on the left, with a long nose, a fan made of feathers in one hand and large wings on his back. The third figure is female. The group is in a bamboo forest on rocky terrain. Signature GYOKU-KO (Gyokko)

on the flat base.

HEIGHT 6 CM Condition: Good condition; worn patina Provenance: From a German private collection


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111TWO IVORY OKIMONO Ivory okimono. Japan, Meiji period

A large monkey and a young monkey holding a rope on the branches and leaves of an oak tree. The large monkey has a turtle on its shoulder, whose shell and motion are captured in a very lively manner. The monkeys are reminiscent of the carver Masatami in their style. Some minor blemishes, especially on the leaves on the underside.

A boar has just run over one of the two men, who is lying flat on the floor. His friend, carrying a katana sword, is leaping onto the boar, trying to grab it. The pig is the last animal of the Japanese zodiac and is a symbol of foolhardiness. The dynamically crafted scene is reminiscent of Nitta no Shori, who was hunting on the slopes of Mount Fuji when he attacked a boar, riding it facing the wrong way before stabbing it to death. Himotoshi on the boar and the stump leg of the man lying on the floor.

HEIGHT 5.6 CM; HEIGHT 3.9 CM, LENGTH 6.3 CM

Condition: Losses to both okimono – minor restorations required Provenance: From a German private collection Estimate EUR 500,-Starting price EUR 250,-

113A STAG ANTLER NETSUKE OF A CHINESE SAGE WITH CRANE Stag antler netsuke. Japan, 18th century

A high, standing figure in Chinese garment and a Taoist cap on his head, possibly the calligraphist Ogishi. The man is holding his long chin beard, with a large leaf-shaped fan in the other hand. The crane, a symbol of longevity, is nestled his front with raised head and beak. A very expressive work with a very good patina, himotoshi on the back.

HEIGHT 10.5 CM Condition: Good general condition – drilled hole on the bottom Provenance: From an important Austrian private collection, acquired before 1930


112AN IVORY OKIMONO BY SHUNGETSU OF KANNON ON A THRONE Ivory okimono. Japan, Meiji period

Kannon is the Japanese version of the bodhisattva Avalokitesvara, who is also known as Guanyin in Chinese Buddhism. Here she is seated in lotus position on a high throne, heavenly garlands fluttering around her and jewelry on her spiritually elongated head with long pearl chains. She is holding a vessel or maybe a magic pearl, as she usually holds a vase as a vessel, in one hand. Signature SHUN-GETSU , meaning ‘spring moon’, however the name is known in netsuke art, on the flat base.

HEIGHT 7.6 CM Condition: Good condition Provenance: From a German private collection


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114AN IVORY NETSUKE OKIMONO OF A MAN WITH BIJINIvory netsuke okimono. Japan, Meiji period

A man seated with folded legs, holding a pipe in one hand, and a gleeful look on his face. A beautiful bijin is seated next to him and cleaning his ear. She has fine, sensual features and high hair, while he is rather stout. This lively group was later mounted on a well-fitted wood base, which is lacquered and appears knobby.

HEIGHT netsuke 3.7 CM, WIDTH 4.8 CM, HEIGHT total 5.4 CM Condition: Good condition, glued on the stand Provenance: From a German private collection


115AN IVORY NETSUKE OF HOTEI Ivory netsuke. Japan, 19th century

Hotei, one of the Seven Lucky Gods, laughing gleefully and exuding happiness, is leaning on his bag, which contains takaramono, or treasure. Black inlaid nipples, himotoshi through the deity’s bottom and the treasure bag.

HEIGHT 3.7 CM, WIDTH 4.4 CM Condition: Good condition Provenance: From an Austrian private collection


117AN IVORY NETSUKE OF A BOY WITH A CARP Ivory netsuke. Japan, 19th century

A seated boy is tightly holding or grappling a koi fish. The symbolism of this small netsuke is related to the legendary heroes Kintaro, Onikawa and Asahina Saburo, who wrestled carps as large as themselves, as well as the Tango no Sekku festival in May, with the carp as its main symbol representing bravery and success. Himotoshi through the boy’s belly. Very finely rounded, beautiful patina.

WIDTH 3.5 CM Condition: Good condition Provenance: From an English private collection


116AN IVORY NETSUKE OF A MAN WITH A GOOSE Ivory netsuke. Japan, 19th century to Meiji period

A child’s netsuke that shows a seated man holding a bird, probably a goose, with one hand on the body and the other around the neck. He seems content, possibly he is looking forward to his meal. Small himotoshi on the base.

HEIGHT 3.2 CM Condition: Good condition Provenance: From an important Austrian private collection, acquired before 1930


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118AN IVORY NETSUKE OF A SHISHI ON A ROCK Ivory netsuke. Japan, 19th century

The well-rounded rock with himotoshi has a granular structure. A small shishi with a fierce expression and flame-like mane and tail is lying on it. Very rich and amusing composition, good polish, fine patina.

HEIGHT 2.4 CM, WIDTH 4.1 CM Condition: Good condition Provenance: From an English private collection


119AN IVORY NETSUKE BY IKKOSAI OF SEVEN RATS Ivory netsuke. Japan, 19th century

An astoundingly vivacious composition from this well-known master from Osaka! The seven rats, or nezumi, are all close together, side by side and on top of each other, possibly fighting. Black inlaid eyes, finely carved fur, tails and paws as well as other details, including each head. Signature I-KO-SAI

(last character abbreviated) on the underside inside a rectangle that also forms the cord channel.

WIDTH 3.8 CM Condition: Excellent condition Provenance: From an English private collection


121AN IVORY NETSUKE OF A SHISHIIvory netsuke. Japan, first half of 19th century

This netsuke is crafted like an ingyo, or seal, but without an inscription on the underside. A shishi seated on a base that appears like a rock. The Lion Dog looks more like an actual dog here and has a mane and flaming tail. Large cord channel through the base.

HEIGHT 3.8 CM Condition: Honey yellow patina, signs of age – good condition Provenance: From an English private collection


120AN IVORY NETSUKE OF A DOG WITH A BALLIvory netsuke. Japan, 19th century

This dog is crafted in the typical style of Kyoto, as they were already made in the 18th century. The seated dog is looking straight backwards, holding a smooth, round ball with his two front paws. Vibrantly crafted fur, shiny black inlaid eyes that have a very lively effect. Cord channel between the legs.

HEIGHT 3.4 CM, LENGTH 4.15 CM Condition: Good general condition; worn Provenance: From a German private collection


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124OLD MAN WITH WALKING STICKIvory. Japan, 19th century Meticulously carved piece. An old and barefoot man walking and leaning on a stick. Particularly the face is carved with fine detail and is exceptionally spirited. His wrinkled clothes including his hat and belt (obi) are powerfully executed as well. Smiling wisely he looks up into the sky, the tiny eyes colored in black. Himotoshi at the back.

HEIGHT 6 CM

Condition: Good conditionProvenance: From a German private collection


125AN IVORY NETSUKE OF TEKKAI SENNIN Ivory netsuke. Japan, 19th century

This sennin is named after his iron cane. Tekkai was able to leave his body and on one occasion his body was buried as he was believed to have died. As tekkai returned he had no choice but to enter the corpse of a beggar, as depicted by this netsuke. The fully bearded beggar is still lying on the ground, leaning on a rock and holding his cane.

HEIGHT 3.8 CM Condition: Good condition Provenance: From an Austrian private collection


122TWO IVORY MASKS OF USOFUKI AND BESHIMI Ivory. Japan, 19th century

The Usofuki is a kyogen character, who performs in the comical interludes of Noh drama. Known for his whistling, the form of the mouth here is typical. Hollowed out at the rear side, no himotoshi or ‘bridge’ as is usual for mask netsuke.

The main characteristics of a Beshimi mask are the narrow mouth and large, staring eyes; bushy, elegantly curved eyebrows and wide nostrils. A finely crafted work, fully hollowed out on the rear side but no himotoshi or ‘bridge’.

HEIGHT 3.85 - 3.9 CM Condition: Good condition Provenance: From a German private collection


123AN IVORY NETSUKE BY KOICHI OF A TOBIDE MASKIvory netsuke. Japan, 19th century

This type of netsuke often features the characteristics seen

here, like the large, gawking eyes below the brushy brows and especially the wide-open mouth and protruding chin. Tobide is a demon mask, of which there are many varieties. Smooth surface on the rear side with himotoshi and signature KO-ICHI .

HEIGHT 3 CM Condition: Good condition Provenance: From an important Austrian private collection, acquired before 1930


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126A WOODEN NETSUKE OF A SANBASO DANCER Wood. Japan, 19th century

Sanbaso is an auspicious dance, often performed during the New Year season. The dancer stands on one leg while the other is raised. The two arms and head also raised, wearing a mask and the high court hat (eboshi). With the traditional clothing hakama. Signed on the base.

LENGTH 4 CM

Condition: Very good conditionProvenance: From an Austrian private collection

Estimate EUR 300,-Starting price EUR 1 50,-

129A WOOD NETSUKE BY MASATSUGU OF KAPPA, LOTUS AND FROG Wood netsuke. Japan, 19th century

The kappa are mythological beings that live in rivers and can be quite dangerous, luring and drowning people and animals, but can also be helpful. They have a small pool of water on their head and a turtle shell on their back. This kappa is seated next to a tent-like lotus leaf that contains a tiny frog, only visible if you look very closely. Signature MASA-TSUGU and himotoshi on the flat base, fine patina.

WIDTH 3.7 CM Condition: Very good condition Provenance: From a French private collection Estimate EUR 100,-Starting price EUR 50,-

127AN EBONY WOOD NETSUKE BY SHOZAN OF A ROCK, TREES AND SHRINEEbony wood netsuke. Japan, 19th century

A shrine leaning against a rock, with Shinto-figures inside. Pine trees growing around the rock, three visitors on an arched bridge and two more beneath the trees. The ensemble is standing on a rocky plinth with a flat underside and himotoshi. With the signature SHO-ZAN, presumably a carver from the Horaku circle, whose style is reflected in this work.

WIDTH 4.4 CM

Condition: Very well preservedProvenance: From a German private collection


128A KAGAMIBUTA BY TENMIN WITH RIHAKUWood and iron. Japan, Edo period

Kagamibuta showing Rihaku in front of a waterfall, by Tenmin (TEN-MIN

). Rihaku is the Japanese name for the well-known Chinese Tang poet Li Taibe. The artist of this work opened a kagamibuta school in the mid-19th century in Edo (Tokyo).

DIAMETER 4.3 CM

Condition: Heavily oxidized, crack through the wood bowlProvenance: From an important Austrian private collection, acquired before 1930


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132AN IRON TSUBA AFTER NOBUIEIron, gilt copper. Japan, Edo period or earlier

Nadegaku gata, a rounded rectangular iron tsuba with a design of wheels and vines, small gilt copper inlays. Pierced with two udenuki-ana. One hitsu ringed with gilt copper .Signed Nobuie.

HEIGHT 8.4 CM

Condition: Good conditionProvenance: From a Hungarian private collection


130A TSUBA AND FUCHI-KASHIRAIron, silver and gold inlay. Japan, Edo period

Nade Kaku, a rounded square iron tsuba carved in high and low relief showing a landscape with the moon, plants and bulls. Details inlaid in silver and gold. Unsigned; the fuchi-kashira of iron with carved landscape with water, details with nunome-zogan.

HEIGHT tsuba 6.5 CM, HEIGHT fuchi-kashira 3.5 CM

Condition: There is some rust and detachments of foil inlay, however, it becomes smooth and fit, as feel of passing times, both shitodome missingProvenance: From a Hungarian private collection


131AN IRON TSUBAIron, gold foil inlay. Edo period, 18th/19th century

Maru Gata, a circular iron tsuba carved in high and low relief showing a flying bird above stalks of leafy bamboo, the surface with traces of gold nunome-zogan highlights. A hitsu filled with rich black shakudo. Unsigned.

HEIGHT 7.5 CM

Condition: Faded in general, some surface corrosion - age-related conditionProvenance: From a Hungarian private collection


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133A FINELY CARVED SENTOKU TSUBASentoku with gold inlay. Japan, Edo period

Nagamaru gata, an oval sentoku tsuba carved in katakiri bori with a kara-shishi on guard, his eyes and fangs inlaid with gilt copper, the tongue inlaid with copper. Signed Yasuchika, school Tsuchiya.

HEIGHT 7.6 CM

Condition: Good conditionProvenance: From a French private collection


134A NARA-SCHOOL SENTOKU TSUBASentoku with gold and silver inlay. Japan, Edo period

Nadegaku gata, a rounded square sentoku tsuba chiseled in high relief with Shoki sleeping under a partially inlaid pine tree, while an oni steals a silver ingot, the reverse showing a tree and a sword. Details inlaid in gold and silver. Signed Tsuneshige Nara.

HEIGHT 7.5 CM

Condition: Good condition Provenance: From a French private collection


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135AN ISHIGURO-SCHOOL SENTOKU TSUBASentoku. Japan, Edo period

Nadegaku gata, a rounded rectangular sentoku tsuba carved in high relief with Futen (god of wind) with his characteristic, large bag of winds strolling above the clouds. Signed Ishiguro Masaaki.

HEIGHT 8.8 CM



136A SOTEN-SCHOOL IRON TSUBAIron, silver and gold inlay. Japan, Edo period

An excellent iron tsuba of Mokko gata form carved with powerful strokes on either side in high relief with a mass of crashing waves and turbulent water, inlaid with spray drops in silver and gold. One hitsu plugged with gilt copper. Signed Goshu Hikone no ju Soheishi Nyudo Soten sei.

HEIGHT 8 CM



137AN IRON SUKASHI TSUBAIron. Japan, Muromachi period or after

Yatsu mokko, a slight octagon/circular form iron tsuba pierced with a heart and other shapes. Of great strength and well patinated surface. Signed Yamashiro kuni Fushimi ju Kaneiye

HEIGHT 7.5 CM



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138A RARE NERIKAWA TSUBA (A TSUBA MADE FROM SHEETS OF LEATHER FASTENED TOGETHER)Leather, lacquer. Japan, late Edo period

Of Aoi-gata form, hardened leather tsuba covered with a glossy black lacquer (and rim fitted with a fukurin to cover the cut edge of the laminated leather).

HEIGHT 8.5 CM

Condition: Cracked and chipped lacquer, normal wear due to materials and ageProvenance: From a Hungarian private collection


139A SMALL IRON TSUBA WITH EGRETSIron, silver. Japan, early Edo period

Mokko-gata tsuchime, a small four lobed ovoid tsuba decorated in fine silver takabori (relief carving) with design of egrets.

HEIGHT 6 CM



140A GROUP OF FIVE IRON TSUBAIron. Japan, Edo period

The first Nadegaku gata, a rounded rectangular iron tsuba, the roughened surface carved in low relief with swirling clouds and mountains. The takabori (relief carving) is missing but a silhouette of a man is still visible - unsigned; the second a Maru-gata tsuba carved in high relief with rabbits in a mass of breaking waves, illegible signature; the third Nagamaru gata, an oval sukashi tsuba pierced with a stylized geometric design in openwork; the fourth a twenty-lobed tsuba carved with clouds in the outer ring and decorated in gold nunome, unsigned; the fifth a Maru-gata tsuba decorated on either side with a bronze gilt tatsu (serpent body dragon) in takabori (relief carving), with signs of silver inlay, unsigned.

HEIGHT 9.3 CM, 7.5 CM, 6.4 CM, 7.3 CM and 8.1 CM

Condition: All with rust-patina; the first dented plate with missing inlays; the second with typical traces of use and wear; the third with minimal signs of old nunome; the fourth with faded numome; the fifth, originally with four tatsu dragons, now with two and a half missingProvenance: From a Hungarian private collection


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143KOZUKA WITH LION DANCERSShibuichi, coppper, gold and silver. Japan, Edo period, 18th to 19th century

Very fine craftsmanship of Goto type, bearing a shibuichi nanako ground, inlaid in gold, silver and copper high relief with two lion dancers around a drum. The reverse divided diagonally into a gilt cat-scratched shibuichi and a brown polished one. Unsigned.

LENGTH 9.3 CM

Condition: Minimal wear consistent with age and use - overall good conditionProvenance: From an English private collection


144TWO LANDSCAPE KOZUKAShibuichi, copper, gold. Japan, Edo period, 18th to 19th century

The first of Goto type, bearing a shibuichi nanako ground inlaid in high relief with a view of Fujiyama, unsigned; the second of copper inlaid with trees beneath the golden rising sun, signed Harutsune with a kao; the third of iron carved in high relief with a scarecrow decorated in gold, unsigned.

LENGTH 9.6 and 10 CM and 9.8 CM

Condition: Wear consistent with age and use - overall good conditionProvenance: From an English private collection


141A KOZUKA WITH INSECTSMixed metal. Japan, Meiji Period

Bearing a shibuichi nanako ground inlaid in high relief with an earwig and a centipede. Unsigned.

LENGTH 9.8 CM



142A KOZUKA WITH INSECTSMixed metal. Japan, Meiji Period

Bearing a shibuichi nanako ground inlaid in high relief with two little beetles and a gold and silver beetle, grasshopper and cricket. Unsigned.

LENGTH 9.7 CM

Condition: Minimal wear consistent with age and use, small dent and crack in the opening - overall good conditionProvenance: From an English private collection


Further images of all lots at: www.zacke.at

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145THREE KOZUKAIron, gold, silver, mixed metal. Japan, Edo period

The first of iron inlaid in high relief with lobster in gold and silver; the second a shiiremono kozuka carved in high relief with a fishing scene, gilt details; the third a shiiremono kozuka carved in high relief and with an ensign, gilt details. All unsigned.

LENGTH 9.3 CM, 9.8 CM and 9.7 CM

Condition: Wear consistent with age and use - overall good conditionProvenance: From an English private collection


146AN INLAID IRON KOZUKAIron, bronze, gilt copper, silver. Japan, Edo period

Rounded to one edge, carved and inlaid in high relief with oni nembutsu. Signed.

LENGTH 9.4 CM



147SET OF TWO RIBBED FUCHI-KASHIRA Iron and gold foil. Japan, Edo period

Both of iron bearing a ribbed ground; the first of iron with nunome-zogan (gold overlay) scrolling vines; the second with golden lines.

HEIGHT 3.7 CM and 3.5 CM Condition: Surface wear consistent with age and normal use, there are some detached points on gold inlay and rust Provenance: From a Hungarian private collection


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148INLAID SHAKUDO FUCHI-KASHIRAShakudo, silver, gilt copper. Japan, Edo period

The fuchi bearing an elaborate nanako ground inlaid in gilt copper and silver takazogan with a warrior with pipe, the kashira inlaid with two helmets in takazogan.

HEIGHT 3.3 CM

Condition: Good condition, minimal wear consistent with age, both shitodome missingProvenance: From a Hungarian private collection


149FUCHI-KASHIRAShibuichi, silver and gold foil. Japan, Edo period

Bearing a shibuichi nanako ground carved in high relief and overlaid in gold and silver with fruit branches.

HEIGHT 3.9 CM

Condition: Surface wear consistent with age and normal useProvenance: From a Hungarian private collection


150A FINELY CARVED FUCHI-KASHIRA Shakudo, copper and gold. Japan, Edo period

Very fine craftsmanship! Of stippled shakudo. The kashira with plovers carved separately in high relief. The fuchi with an eagle on the mountains carved in high relief and katakiri-bori. Details inlaid in gold.

HEIGHT 3.2 CM Condition: Good condition, only minor rust Provenance: From a Hungarian private collection


151FUCHI-KASHIRAGilt shibuichi. Japan, Edo period

Bearing an elaborate pattern decoration in gilt relief resembling giraffe skin.

HEIGHT 3.9 CM

Condition: Surface wear consistent with age and normal use, patina loss; two different shitodomeProvenance: From a Hungarian private collection


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152A PAIR OF STYLIZED RAIN DRAGON MENUKIMetal. Japan, Edo period

Each in the form of rain dragons, one with the neck stretched forward while the other has turned it tailward. Unsigned.

LENGTH 6.4 CM

Condition: Wear consistent with age and use, worn patina - overall good conditionProvenance: From a Hungarian private collection


153A FINE PAIR OF KIRIN MENUKIShakudo with gold. Japan, Edo period

Each menuki representing three playful kirin, the saddles, eyes and horns highlighted in gold. Unsigned.

LENGTH 4.2 CM

Condition: Gilding wear consistent with age - overall good conditionProvenance: From a Hungarian private collection


154TWO SMALL PAIR OF MENUKIMixed metal. Japan, Edo period

The first pair of shakudo, one depicting Mount Fuji emerging from the clouds, the other a rain dragon on the clouds, the delicate fine line engraving adds a touch of refinement; the second pair in the form of two roll paintings, details inlaid in gilt copper. Unsigned.

LENGTH 3.3 CM and 3.7 CM

Condition: Wear and rust consistent with age and use, old patina - overall good conditionProvenance: From a Hungarian private collection


155COUPLE OF FLORAL MENUKIShakudo with gold. Japan, Edo period Two pairs of shakudo menuki; the first depicting two branches of sansho nuts (Japanese Pepper Tree) fully covered with gold overlays; the second formed as blossoming peonies decorated in gold details. Both unsigned.

LENGTH 3.7 and 4 CM

Condition: Wear consistent with age and use, worn patina - overall good conditionProvenance: From a Hungarian private collection


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157A LACQUERED JINGASA (WAR HAT)Lacquered wood. Japan, Edo period

Of circular form with a domed head and slightly upward rim in the front. Lacquered in gold hiramaki-e on a roiro-nuri background is a mon in the front, with a multitude of stripes joining in the center, emanating a sunrise. The slightly faded gold lacquer creates a beautiful effect.

The inside lacquered in gold with shades of black coming through, with another black lacquered mon.

LENGTH 33 CM

Condition: Good, complete condition - slight wear and fading to the lacquerProvenance: From a Hungarian private collection


156A LACQUERED JINGASA (WAR HAT)Lacquered wood. Japan, Edo period

Of flat and circular form with a very slightly domed head. Lacquered in a coarse, greyish-brown lacquer with a gold hiramaki-e mon in a circular reserve. The inside lacquered in an attractive, bright red with sprinkles of gold lacquer

DIAMETER 42 CM

Condition: Good condition, the inside with wear to lacquerProvenance: From a Hungarian private collection


158A RARE AND LARGE EBOSHI KABUTO Iron and lacquer. Japan, Edo period

The elongated iron bowl with a smooth, grey lacquer finish. With mae-zashi, five black lacquered iron shikoro and two fukigaeshi. With a fitted wood stand.

HEIGHT (without stand) 44 CM

Condition: Age-related condition - some rusting to iron and splitting, peeling of lacquer Provenance: From a Hungarian private collection


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159A SAMURAI ARMOUR WITH HELMET Iron, leather, alloys, fabric and diverse materials. Japan, Edo period

Very impressive. Including a helmet, kabuto, and the top with a rosette in the form of a kiku (chrysanthemum), on the back an orange agemaki. The facemask mempo is made of iron with horsehair moustache and four lame yodare-kake (throat guards). The shoulder pads sode are crafted of six strips connected by fabric bands. The other parts of the armor are: the chest-piece, do, the front of which is decorated with an Akechi clan crest, the kusazuri; the shoulder-guards, called sode; the forearm-guards, kote, made of silk and featuring chains and buckles, attached to which are the hand-guards, made of cloth and thin iron; haidate and Sune-ate, the thigh-coverings and shin-guards also with brocade and chains. The shoes of iron with gilt decoration. With a box

HEIGHT 145 CM Condition: This set of armor is almost entirely complete, with signs of aging appropriate for its age and use; the box with damaged corners Provenance: From a Hungarian private collection


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160A FINE MENPO (MASK)Iron, leather, lacquer, animal hair and fabric. Edo period

Covering the face from the nose down to the chin, with horsehair moustache and detachable nose-piece. The interior lacquered red, the outside black with a simple three lame yodare-kake (throat guard) of brown-lacquered leather and laced in black and beige. The chin with an

Asenagashi-no-ana, a drain hole for perspiration and the ears pierced.

HEIGHT ca. 21 CM Condition: Traces of use and wear mostly in the leather - complete condition Provenance: From a Hungarian private collection


161A HANBO (MASK)Iron, leather, lacquer, animal hair and fabric. Edo period, late 18th century

Covering the lower face from under the nose to the chin. The interior lacquered red, the outside black, with a simple four lame yodare-kake (throat guard) laced in dark blue. The chin with an Asenagashi-

no-ana, a drain hole for perspiration.

HEIGHT ca. 16 CM Condition: Traces of use and wear, small cracks - complete condition Provenance: From a Hungarian private collection


162AN IRON WAR FAN (TESSEN) Iron, bamboo, paper and paint. Japan, Edo period

An iron battle fan used as a samurai’s weapon for self-protection, used for the place where the samurai cannot be allowed to bring sword. Constructed of heavy iron ends with bamboo splays, original paper decorated with a black hino maru design of rising sun

and moon.

LENGTH 28.5 CM Condition: Good antique condition with expected paper damages Provenance: From a Hungarian private collection


163 AN IRON WAR FAN (TESSEN) Iron, bamboo, paper, linen and paint. Japan, Edo period

An iron battle fan used as a samurai’s weapon for self-protection, used for the place where the samurai cannot be allowed to bring sword. Constructed of heavy iron ends with bamboo splays, original paper superimposed with a thin layer of linen and

decorated in red hino maru design of rising sun and moon.

LENGTH 28 CM Condition: Good antique condition with expected subtle paper damages Provenance: From a Hungarian private collection


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164A RARE CLOISONÉ ENAMEL TACHI KOSHIRAE WITH BLADE

THE BLADEJapan, Edo period, c. 17th century

The blade has a lean shape with iori-mune and shinogi-zukuri, the hada is obscured, possibly masame, the hamon is gunome with nie. The tang cannot be opened. The sheath is impaired towards the tip.

NAGASA 47.2 CM

THE MOUNTINGJapan, Meiji period

The mounting is the main attractions in terms of quality here. The saya, tsuka and tsuba are fine works in enamel cloisonné showing furious celestial dragons in the clouds. The background is black, the dragons are grey, bluish to light brown. They are scaled, coiled and have fangs, barbels and grim expressions. The same motif on the mokko-gata tsuba which shows four inome excerpts. The

entire metal mounting with saya-jiri, semegane, tsuka-gashira, etc. is stylistically synchronous and the ashi-kanamono offer another dragon motif, but this time engraved. The obitori in original condition with leather and silk elements.

The mounting Kyoto workshop, in the style of Namikawa Yasuyuki.

TOTAL LENGTH 71.5 CM

Condition: The mounting in generally good condition, with expected wear

to the enamel. Minor damage around the Mekugi-nakago; the blade in extensively worn condition Provenance: From an Important Austrian private collection, acquired before 1930

Compare to a similar cloisonné enamel scabbard, likely from the same workshop, sold at Bonhams 16th May 2013, lot 551.


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165A SPLENDID COURTLY TANTO, SIGNED KIYOMITSUJapan, mounting from the Edo period, c. 17th to 18th century, blade dated 1573

THE KOSHIRAEThe entire mounting is perfectly congruous in all its parts and in original condition. All decorative elements crafted from shakudo and glittering gold, dragons are the main motif. The saya (sheath) is red-yellow lacquer with fine gold nashiji. The metal sayajiri (scabbard tip) with a finely marked nanakoji plate and a gilded pair of dragons. The kurigata is quite elegant as well.A mokko-gata tsuba, with an openworked hitsu and dense nanakoji. Showing the kirimon, the Paulownia Seals. The tanto’s handle is made from metal, only the fuchi can be removed. Gilded dragons over nanakoji; the kashira is made in the style of courtly swords. Dense, geometric decorations containing manji symbols.

NAGASA 31.4 CM

THE BLADEThe type of blade is shinogi-zukuri, with iori-mune; fine mokume-hada; the hamon is a balanced, high notare to gunome. The

tang is an ubu with two mekugi-ana, the yasurime is kiri, with a rounded tang tip kurijiri. The mei (signature) is found on both sides, on one side with date (‘Genki 4th Year, 2nd Month, on a day’). Genki was the last era of the Muromachi period (1394-1573). The other side shows Bizen kuni ju Osafune KIYO-MITSU . The Kiyomitsu from Bizen were a family that included over a dozen sword masters of this name.The kozuka is also signed and was made by a well-known master from around the second half of the 17th century. The inscription on the blade reads Kobayashi Ise Kami KUNI-TERU

. Handle with nanakoji and dragons, one back and the other gilded. With black-brown teak stand.

TOTAL LENGTH 42.2 CM, TOTAL LENGTH IN KOSHIRAE 51.5 CM Condition: Excellent condition, extraordinarily well preserved Provenance: From a German private collection


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167A YARI SPEAR Wood, steel, bronze, bone, copper. Japan, Edo period

Comprising of a blade of typical form with a triangular cross section, the signed tongue pierced with one peg hole, and a wooden cylindrical Tsuka that has part of its surface decorated in black lacquer, inlaid with bone and mounted with several original matching copper fittings. The yari ishizuki (the end cap) of iron. The blade with leather cover.

HEIGHT 158 CM

Condition: The blade cover damaged, the rest showing its age and usage but in good condition.Provenance: From a Hungarian private collection


166CANE WITH HIDDEN BLADEJapan, Edo period

Blade:Very slender shinogi-tsukuri with iorimune, suguha-hamon. The slender tang (nakago) ubu, one mekugi-ana, the yasurime (filing mark) sujikai. The Signature….Nihon Kaji…mune tsukuru (?), with Kiku-mon of Tokugawa – partially illegible.

NAGASA ca. 44.7 CM

Mounting:Saya and tsuka (handle) are made entirely of brownish wood with a very finely engraved yasurime-like pattern. The saya (sheath) has a slight curvature and fine counter-curvature.


Condition: Generally in good condition, the blade partially wornProvenance: From a Hungarian private collection


168A JAPANESE TANEGASHIMA MATCHLOCK RIFLEWood, steel, brass. Japan, Edo period, likely 17th century

With an octagonal steel barrel, very simply adorned with various floral crests. The wooden stock inlaid with brass rosettes and with a brass lock and pipe trigger guard.

LENGTH 106 CM

Condition: Good, age-related condition; mechanism no longer fully functional Provenance: From an important Austrian private collection, acquired before 1930


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169EFU NO TACHIJapan, Edo, ca. 17th to 18th century

Blade:Iorimune with shinogizukuri, hada and hamon no longer recognizable.

Mountings:Splendid and with considerable gold. The gold lacquer saya (sheath) displays the Aoi mon (hollyhock crest) of the Tokugawa shoguns. The many individual pieces composing the courtly mounting feature the finest chasework, multiple floral motifs. The

shitogi-tsuba is box shaped and completely golden, as is the fuchi-kashira. These courtly mountings come from the late Edo period.


Condition: Good condition, subtle wear due to age, with minor rust on the bladeProvenance: From an Austrian private collection


170MOUNTED KATANAJapan, Edo, ca. 18th century

Blade:Iorimune with shinogizukuri, masame-hada, gunome-hamon with choji. The nakago is ubu and has a mei (signature), sujikai yasurime, the tang’s tip kurijiri.

NAGASA 67.7 CM

Mountings:Leather saya with signs of usage, one hitsu in the iron skashi-tsuba, its motif are two fruits. Iron fuchi and kashira, the fuchi (hilt collar) featuring chrysanthemum blossoms, the kashira a blossom composition. Both bronze menuki depict horses.


Condition: Good condition, leather with signs of use.Provenance: From a Hungarian private collection


Further images of all lots at: www.zacke.at

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Mountings:Shiny black lacquer saya with small blemishes. The iron tsuba has mokkogata, both hitsu and bears engraved characters on both sides, some with the characters for “large” and “samurai”. Black lacquered iron fuchi and kashira with floral engravings in which is silver and gold hirazogan inlay. The bronze menuki beneath the newer tsuka-ito each have the form of a fruit with partial gilding.


Condition: The sheath with small blemishes, the tsuba with some rust; The blade with minor fissures along the sword, a group of larger fissures on one side; generally worn, but acceptable condition


171MOUNTED KATANAJapan, Edo period, ca. 17th - 18th century

Blade:Form: Iorimune with shinogizukuri. Itame-masame-hada, suguha-hamon with nie. The tang (nakago) ubu and mumei with a mekugi-ana, its tip kurijiri, no filing marks.

NAGASA 65.7 CM

172WAKIZASHIJapan, Edo, ca. 17th century

Blade:Shinogizukuri form with iorimune. Itame-hada, notare-hamon with nie. The tang in mumei, ubu, one mekugi-ana, the end in-yamagata, the yasurime with barely recognizable sujikai

Mountings:Elegant lacquer saya with thousands of extremely fine red dots against shiny black lacquer kuro-urushi. The end of the saya bears a bronze mounting, partially ribbed and partially floral as well as inome. Kozuka missing.

The round iron tsuba with one hitsu features kiku blossoms (chrysanthemum). The decoration of the fuchi-kashira is also floral, but includes the head of a sickle. Bronze menuki with gilding featuring floral growth.


Condition: Good condition with only minimal fissures on the blade and chips on the seathProvenance: From a Hungarian private collection


Mountings:Japan, 18th to 19th century, tsuba possibly older

Red lacquer saya with irregular black speckling. Kozuka missing, its sheath, however, features a combed wave pattern and is gilded. The oval, iron tsuba has two hitsu and cloud-spiral relief on both sides. Possibly signed, but no longer clearly recognizable, possibly masahisa, a noted master. Smooth shakudo fuchi and kashira, the kashira

openwork. The handle is made of very fine same-nuri. The menuki are kiku blossoms (chrysanthemums) and also serve to secure the handle.


Condition: With a very small fissure on the blade and minimal chips on the sheath. Otherwise in good conditionProvenance: From a Hungarian private collection


173TANTO

Blade:Japan, Edo period

Elegant shobu-tsukuri form with iorimune, suguha-hamon. The tang (nakago) ubu has a mekugi-ana, the tip kurijiri, and the yasurime (filing marks) kattesagari to kiri.

NAGASA 30 CM

79

174MOUNTED KATANABlade:Japan, ca. 17th century

Shinogi tsukuri form with iorimune. The hada possibly masame, the hamon gunome featuring chikei (or nioi). The tang mumei, ubu and one Mekugi-ana, the tang end kurijiri, the Yasurime katte-sagari.

NAGASA 51.5 CM

Mountings:Japan, 18th to 19th century

The saya in shiny, black roironuri. No kozuka. The bronze tsuba with hitsu has relief on both sides depicting swelling sea waves and scaled dragons. Fuchi and kashira are made of iron with gold inlay decoration, the motif floral, water and dragonflies. The bronze menuki beneath the black tsuka-ito also depicts dragons.

TOTAL LENGTH 78 CM

Condition: Well forged blade in good conditionProvenance: From a Hungarian private collection


175WAKIZASHIJapan, Edo, ca. 18th century

Blade:Shinogizukuri form with iorimune; hada possibly masame, though, like the hamon, which may be suguha, hardly recognizable. The blade’s tip (in relation to the blade’s entire length) o-gissaki. The tang has a mekugi-ana; o-sukikai-yasurime; the tip kirijiri, possible also shortened.

NAGASA 50 CM

Mountings:Black lacquer saya with finely sprinkled, variously colored bits of mother of pearl. The iron sayajiri (butt cap) has a decoratively curved form with inome as well as golden particles, as does the collar around the opening of the saya. The companion knife (kozuka) has decorative floral relief, its back gilded. The iron mokkogata-tsuba has an ishime surface structure, two hitsu. The fuchi-kashira, on the other hand, are made of iron with scattered, hammered-in gold particles. The menuki depict two of the

popular fukujin (gods of good fortune), namely, Ebisu with carp and Daikoku with the bag of wealth.

TOTAL LENGTH 73 CM

Condition: The sheath with two long vertical cracks, overall good condition Provenance: From a Hungarian private collection


Mounting:

Japan, 18th to 19th century

Shiny black lacquer saya, the kozuka featuring plum blossoms and a (slightly indented) heron (sagi). The oval tsuba is made of iron and has one hitsu. Bronze fuchi and kashira, the fuchi featuring blossoms. One of the menuki depicts the zen patriarch Daruma, the other blossoms.

With a stand.


Condition: Good condition with only minor fissures on the bladeProvenance: From a Hungarian private collection Estimate EUR 800,-Starting price EUR 400,-

176DAGGER (TANTO)Japan, ca. 18th century

Blade:

Hira-tsukuri form with iorimune. Masame-hada and gunomehamon. The tang (nakago) ubu features mekugi-ana, its tip kurijiri, sujikai-yasurime.

NAGASA 28.35 CM

80

177NAGAMACHI CHIKUSEKI (1747 - 1806)Rooster and henKachô-e. Original woodblock print, published around 1910. Signature: Chikuseki. Seal: Chikuseki. Press: Matsuki Heikichi (Daikokuya)?

Framed inside a gold painted frame with passe-partout.

SHIKISHIBAN, 23.5 x 24 CM

Condition: Good general condition, minor stainingProvenance: From an Austrian private collection, with old Galerie Zacke label from the early 1990s


178HIROSE YOSHIKUNI (BIHO) - (active 1904/05)Shirasagi, “White Heron”Kachô-e. Original woodblock print, published during 1900’s. Seal: Yoshikuni (Biho)

Framed inside a gold painted frame with passe-partout.

SHIKISHIBAN, 23.5 x 24 CM

Condition: Good conditionProvenance: From an Austrian private collection, purchased in the Galerie Zacke in the 1990s (old label)


179OHARA KOSON = OHARA SHÔSON

(1877 - 1945)White cockatoo on a pomegranate branchOriginal woodblock print. First printing 1927, this edition 1949 - 1989.Signature: Shôson. Seal: Shôson. Press: Watanabe Shyozaburô.

ÔBAN, ca. 39 x 26 CM



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180UTAGAWA TOYOKUNI III = KUNISADA I (1786 - 1865)51st chapter of Ukifune - “Drifting Boat” ( )Original woodblock print from the series Sentimental Depictions of a Late Genji Series - Genji ato shû yojô -

, published in 1858, 2nd month. Signature: Toyokuni ga inside Toshidama cartouche. Press: Ebisuya Shôshichi (Kinshôdô). Plate smith: Yokokawa hori Take (Yokokawa Takejirô)

Framed.

ÔBAN, 36 x 25 CM

Condition: Good condition, expected wear and creasesProvenance: From an Austrian private collection


181UTAGAWA KUNISATO (? - 1858)Original woodblock print from the series Real Images of the Capital’s Flowers - Miyako hana sugata no-utsushi-e -

, published in 1854, 5th month. Signature: Kunisato ga. Press: Sanoya Kihei. Censor’s seal: Aratame.

Framed.

ÔBAN, 33 x 21 CM

Condition: Good condition, expected creases and minor stainingProvenance: From an Austrian private collection, purchased in the Galerie Zacke in the 1990s (old label)


182UTAGAWA KUNISADA I = TOYOKUNI III (1786 - 1865)The kabuki actor Ichikawa Kuzô II in the role of an onnagata.Original woodblock print, published around 1838. Signature: Gototei Kunisada ga. Press: Ezakiya Kichibei. Censor’s seal: Kiwame

Framed.

ÔBAN, 33.5 x 22.5 CM

Condition: Good condition, expected creases and minor stainingProvenance: From an Austrian private collection, purchased in the Galerie Zacke in the 1990s (old label)


Complete descriptions and further images of all lots at: www.zacke.at

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183UTAGAWA KUNISADA I = TOYOKUNI III (1786 - 1865)The kabuki actor Iwai Kumesaburô III in the role of an onnagataOriginal woodblock print, published around 1840. Signature: Gototei Kunisada ga.Press Sanoya Kihei. Censor’s seal: Kiwame

Framed.

ÔBAN, 36.5 x 25 CM

Condition: Good condition, expected wear – the glass from the frame damagedProvenance: From an Austrian private collection


184UTAGAWA KUNISADA I = TOYOKUNI III (1786 - 1865)

The kabuki actor Bandô Tamasaburô I in the role of an onnagataOriginal woodblock print, published around 1835/38. Signature: Gototei Kunisada ga.Press: miya Heihachi. Censor’s seal: Kiwame

Framed.

ÔBAN, 35.5 x 24.5 CM

Condition: Fading, expected wear and creasesProvenance: From an Austrian private collection


185ICHIYÛSAI KUNIYOSHI (1798 - 1861)The kabuki actor Iwai Shijaku I in the role of an onnagataOriginal woodblock print, published around 1838. Signature: Ichiyûsai Kuniyoshi ga.Press: Edoya Matsugorô. Censor’s seal: Kiwame.

Framed.

ÔBAN, 35 x 24 CM

Condition: Good general condition, minor wearProvenance: From an Austrian private collection


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186KATSUSHIKA HOKUSAI (1760 - 1849)Jukken business at the puppet market - Jukken-ten - Hina ichi - Illustration from the 1802 three-volume picture booklet Pleasures in the Eastern Capital (Ehon Azuma asobi - ), published in 1802

DOUBLE CHÛBON, each page ca. 20.8 x 15.9 CM

Condition: Worn, with one small hole on the left upper corner of the right pageProvenance: From a German private collection


187KATSUSHIKA HOKUSAI (1760 - 1849)The Nagasaki House in Edo

Illustration from the 1802 three-volume picture booklet Pleasures in the Eastern Capital (Ehon Azuma asobi - ), published in 1802

CHÛBON, ca. 20.8 x 15.9 CM

Condition: Worn, with small holes on the edgesProvenance: From a German private collection


188CHÔKÔSAI EISHÔ(active ca. 1780 – 1800)Right-hand section of the triptych Narihira ason hatsu kanmuri yatsushi - A Parody of the Maturity Test of Prince NarihiraOriginal woodblock print, published around 1796/1798. Signature: ôju Eishô zu. Press: Izumiya Ichibei (Kansendyô). Censor’s seal: Kiwame

ÔBAN, 35 x 23.5 CM

Condition: Faded, but in good conditionProvenance: From an Austrian private collection, purchased in the Galerie Zacke in the 1990s (old label)


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191SHIBATA ZESHIN (1807 - 1891)Uguisu - Japanese NightingaleOriginal woodblock print, published around the 1880’s. Signature: Zeshin. Seal: Koman

ÔBAN, ca. 37 x 25.3 CM

Condition: Good condition, one tear in the top leftProvenance: From an Austrian private collection


190SHIBATA ZESHIN (1807 - 1891)Sparrow on a sheaf of riceOriginal woodblock print from Hana Kurabe, published around the 1880’s. Signature: Zeshin. Seal: Ze ( )

ca. 22.5 x 28.3 CM



189TOYOHARA KUNICHIKA (1835 - 1900)Yakusha-e triptych. Original woodblock print, published 1875, 2nd month. Signature: Toyohara Kunichika ga. Seal: Toshidama. Press: Ebiya Rinnosuke. Censor’s seal: date sealIchikawa Sadanji as Kô no Moronao (

), Bandô Hikosaburô as Momonoi Wakasanosuke ( ) and Nakamura Kanjaku as Enya Hangan ( ) in the Kabuki play Seichû gishi den - an example of a vendetta drama thematizing the 47 ronins’ quest for vengeance.

Triple ÔBAN, each page ca. 35 x 24 CM

Condition: Generally in good condition, with minor wear and staining, particularly to the edgesProvenance: From an Austrian private collection


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Irene M. Zacke

Julia Pastor

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Fine Japanese Art - Gazette Drouot

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Transcript of Fine Japanese Art - Gazette Drouot