Japanese and Korean Art: Including Prints From The Jeffrey M. Kaplan Collection Wednesday March 15, 2017 New York

JAPANESE AND KOREAN ART
Including prints from the Jeffrey M. Kaplan Collection

Wednesday March 15, 2017
New York
JAPANESE AND KOREAN ART
Including Prints from the Jeffrey M. Kaplan Collection
Wednesday March 15, 2017 at 1pm
New York
BONHAMS BIDS INQUIRIES

580 Madison Avenue +1 (212) 644 9001 New York
New York NY 10022 +1 (212) 644 9009 fax Jeff Olson, Director
bonhams.com +1 (212) 461 6516
To bid via the internet please visit [email protected]
PREVIEW www.bonhams.com/23784
Thursday March 9, 10am - 5pm Takako O’Grady
Friday March 10, 10am - 5pm Please note that bids should be +1 (212) 461 6523
Saturday March 11, 10am - 5pm summited no later than 24hrs [email protected]
Sunday March 12, 10am - 5pm prior to the sale. New Bidders
Monday March 13, 10am - 5pm must also provide proof of San Francisco
Tuesday March 14, 10am - 5pm identity when submitting bids. Dessa Goddard, Director
Failure to do this may result in +1 (415) 503 3333
your bid not being processed. [email protected]
SALE NUMBER: 23784
Lots 6001 - 6318 LIVE ONLINE BIDDING IS Gloria Garaventa, Consultant
AVAILABLE FOR THIS SALE Japanese Prints and Paintings
CATALOG: $35 Please email bids.us@bonhams. +1 (415) 503 3397
com with “Live bidding” in [email protected]
ILLUSTRATIONS the subject line 48hrs before
Front cover: Lot 6023 the auction to register for this London
Back cover: Lot 6150 service. Joe Earle
[email protected]
Bidding by telephone will only +44 20 7254 5178
be accepted on a lot with a lower
estimate in excess of $5000.
Please see pages 152 - 155 for

bidding information including
conditions of sale, after-sale
collection and shipment.
© 2017, Bonhams & Butterfields

Auctioneers Corp.; All rights reserved.
Bond No. 57BSBGL0808
Principal Auctioneer: Malcolm J. Barber,
License No. 1183017
JAPANESE AND KOREAN WORKS OF ART TEAM
Dessa Goddard
NEW YORK
Jeff Olson Takako O’Grady
SAN FRANCISCO
Henry Kleinhenz Gloria Garaventa
LONDON
Suzannah Yip Masami Yamada Yoko Chino
Neil Davey Joe Earle

PRINTS
JAPANESE PRINTS FROM
THE COLLECTION OF JEFFREY M. KAPLAN
Jeffrey M. Kaplan is a man of remarkable taste. His wide range of many iconic (and often rare) works by the masters such as Hokusai’s
interests are fuelled by his insatiable curiosity of all things cultural. fan print of a hawk in flight (lot 6023), and the oversized vertical
Collecting categories include not only Asian art and Japanese Minamoto no toru (lot 6018), or Hiroshige’s vertical diptych of Fuji
woodblock prints in particular, but reach into such disparate areas River (lot 6051). Perhaps most importantly, Mr. Kaplan has taken great
as 20th century design, European furniture & decorative arts and Art pleasure in living with his entire collection as a single entity, acting not
Glass of the 19th-21st centuries. Over a relatively short period of time only as steward, but also as curator; regularly rotating works in and out
Mr. Kaplan has managed to assemble an astonishing array of objects of circulation, hanging and re hanging. He eventually had to acquire
spanning various media, and a period of some 1000 years. neighboring residences and expand his wall space, in order to live with
his expansive collection.
Mr. Kaplan was raised in an artistic and cultured family. He is a
graduate of the University of Michigan; double major in Art History and Bonhams is proud to offer Japanese prints from the collection of
English Literature, and received his juris doctorate from Yale School of Jeffrey M. Kaplan, one of the largest and most comprehensive private
Law. He began collecting in earnest in his thirties, and came relatively collections to come to sale in recent years.
late to Japanese prints, but soon developed a keen eye and acquired
4 | BONHAMS
6001 6002
6001
ISODA KORYUSAI (1735-1790)
Edo period (1615-1868), circa 1776
An oban tate-e print of Kaoru and the kamuro Eguchi of Shin-Kanaya,
from the series Hinagata wakana no hatsu moyo (Models for Fashion:
New Year Designs as Fresh as Young Leaves), publisher Nishimuraya
Yohachi (Koshodo/Eijudo); signed Koryusai ga
15 1/4 x 10 3/8in (38.8 x 26.3cm)
US$1,500 - 2,500
Reference:
Allen Hockley, The Prints of Isoda Koryusai, Seattle/London, 2003, p.
227, #I-C-15.
6002
An oban tate-e of Somenosuke of the Matsubaya from the series
Hinagata wakana no hatsu moyo (Models for Fashion: New Year
Designs as Fresh as Young Leaves), lacking Koshoido and Eijudo
publisher seals; signed Koryusai ga
14 3/4 x 9 7/8in (37.5 x 25.2cm)
US$1,000 - 2,000
Reference:
Allen Hockley, The Prints of Isoda Koryusai, Seattle, University of
Washington Press, 2003, p. 226, #I-A-7.
6003
A hashira-e portraying a courtesan adjusting her hairpin as she waits
for her lover while seated at a kotatsu near a veranda overlooking a
figure walking under an umbrella in the rain, the upper section with a
poem, no publisher mark; signed Koryusai ga
25 7/8 x 4 7/8in (67.8 x 12.4cm)
US$500 - 800
Reference:
Allen Hockley, The Prints of Isoda Koryusai, Seattle, University of
Washington Press, 2003, p. 243, Appendix 3, B-36.
Another impression is in the collection of the Honolulu Museum of Art,
inv. no.#13890. 6003
JAPANESE AND KOREAN ART | 5

6004 6005
6004
KITAGAWA UTAMARO (1753-1806)
Edo period (1615-1868), circa 1788-90
An aiban tate-e print, depicting a young man lingering in bed while
observing his companion courtesan wiping her face and attended by
a kamuro and hairdresser, from an untitled series of genre scenes with
kyoka poems, publisher Tsutaya Juzaburo (Koshodo); signed Utamaro
ga
12 1/2 x 8 5/8in (31.7 x 21.8cm)
US$5,000 - 7,000
Reference:
Gina Collia-Suzuki, The Complete Woodblock Prints of Kitagawa
Utamaro, Weeston-Super-Mare, Nezu Press, 2003, p. 304, no. 5
6005
An oban tate-e print of Nabiki of Wakamatsuya leaning on a railing,
inscribed with the names of her kamuro, Momiji and Tatta, publisher
Ibaya Kyubei; signed Utamaro hitsu
14 1/2 x 9 3/8in (36.7 x 23.9cm)
US$1,800 - 2,500
6006
An oban tate-e print with a full length portrait of Karauta of Chojiya,
from the series Yukun gosekku, (Five Festivals of the Courtesans),
publisher Muruya Jinpachi; signed Utamaro hitsu
15 1/2 x 10 1/2in (39.5 x 26.6cm)
6006 US$1,800 - 2,500
6 | BONHAMS
6008 6009
6007
A hashira-e print of a pair of ill-fated lovers, Choemon and Ohan, the
youth wearing a white headscarf and carrying his lover upon his back,
published by Murataya Jirobei; signed Utamaro-ga
24 x 4 3/8in (61.1 x 11cm)
US$1,500 - 2,500
Reference:
Gina Collia-Suzuki, The Complete Woodblock Prints of Kitagawa
Utamaro, Weeston-Super-Mare, Nezu Press, 2003, p. 321, no. 10.
6008
ATTRIBUTED TO KATSUSHIKA HOKUSAI (1760-1849)
Funpon (preparatory sketch)
Edo period (1615-1868), circa 1830-1840s
An ink sketch of a Buddhist sage seated near a burning stick of
incense placed in a Chinese-style brazier, the pensive figure backed by
a circular full-moon nimbus, unsigned
9 3/8 x 10 3/8in (23.8 x 26.3cm)
US$800 - 1,200
6009
Edo period (1615-1868), circa 1830s-1840s
A sketch in ink and color, of two different views of a traveler seated
with a large straw hat and holding bamboo staff; unsigned
11 x 12in (27.5 x 31cm)
US$1,500 - 2,500
6007

6010
A sketch in ink and light color of figures in various costumes and
poses, one with a superimposed grid to assist in the transfer of the
image to a larger format; unsigned
15 1/2 x 10 3/4in (39.4 x 27.4cm)
US$2,000 - 3,000
6010
6011
KATSUSHIKA HOKUSAI (1760-1849)
Edo period (1615-1868), circa 1830-33
An oban yoko-e print of Sunshu Ejiri (Ejiri in Suruga Province), from the
series Fugaku sanjurokkei (36 Views of Mount Fuji), of travelers fighting
against gusts of wind, published by Nishimuraya Yohachi (Eijudo);
signed Saki no Hokusai Iitsu hitsu
10 x 14 3/4in (25.3 x 37.5cm)
US$1,500 - 2,500
6011
6012
Edo period (1615-1868), circa 1830-33
An oban yoko-e print of Tokaido Yoshida (Yoshida on the Tokaido),
from the series Fugaku sanjurokkei (36 Views of Mount Fuji), of
travelers in the foyer of the Fuji-view Teahouse, published by
Nishimuraya Yohachi (Eijudo); signed zen Hokusai Iitsu hitsu
9 3/4 x 14in (24.7 x 35.8cm)
US$4,000 - 6,000
6012
8 | BONHAMS
6013
Edo period (1615-1868), circa 1830-33
An oban yoko-e print of Sumidagawa sekiya no sato (Sekiya Village
on the Sumida River), from the series Fugaku sanjurokkei (36 Views of
Mount Fuji), of three express riders departing Edo at dawn, published
by Nishimuraya Yohachi; signed zen Hokusai Iitsu hitsu
9 3/4 x 14in (24.7 x 35.8cm)
US$3,000 - 5,000
6013
6014
Edo period (1615-1868), circa 1830-33
An oban yoko-e print of Tokaido hodogaya (Hodogaya on the Tokaido),
from the series Fugaku sanjurokkei (36 Views of Mount Fuji), of
travelers seen before a row of pines, published by Nishimuraya Yohachi
(Eijudo); signed Saki no Hokusai Iitsu hitsu
10 1/4 x 15 1/4in (26 x 38.7cm)
US$2,500 - 3,500
6014
6015
Edo period (1615-1868), circa 1830-31
An oban yoko-e print of Soshu Shichiri-ga-hama (Seven-Mile Beach
in Sagami Province), from the series Fugaku sanjurokkei (36 Views
of Mount Fuji), of a small seaside village, published by Nishimuraya
Yohachi (Eijudo); signed Saki no Hokusai Iitsu hitsu
10 x 14 7/8in (25.3 x 37.8cm)
US$2,000 - 4,000
6015

6016
An oban tate-e print of Kisoji no oku, Amidagataki (Amida Waterfall
on the Kisokaido ), from the series Shokoku taki meguri (a Tour of
Waterfalls in the Provinces), published by Nishimuraya Yohachi (Eijudo);
signed Saki no Hokusai Iitsu hitsu
14 3/4 x 9 3/4in (37.4 x 24.9cm)
US$7,000 - 9,000
10 | BONHAMS
6017
An oban tate-e print of Mino no kuni Yoronotaki (Yoro Waterfall in Mino
Province) from the series Shokoku taki meguri (A Tour of Waterfalls in
the Provinces), published by Nishimuraya Yohachi (Eijudo); signed Saki
no Hokusai Iitsu hitsu
14 5/8 x 9 7/8in (37 x 25.2cm)
US$6,000 - 8,000

6018
Edo period (1615-1868), circa 1833-34
A vertical naga-oban print titled Toru no daijin (Minamoto no Toru),
from the series Shiika shashin-kyo (A True Mirror of Chinese and
Japanese Verse), of three courtiers at a lakeside, publisher Moriya Jihei
(Kinshindo); signed Saki no Hokusai Iitsu hitsu
19 5/8 x 9in (49.7 x 22.8cm)
US$8,000 - 12,000
12 | BONHAMS
6019
Edo period (1615-1868), circa 1833-34
A vertical naga-oban print titled Ariwara no Narihira, from the series
Shiika shashin-kyo (A True Mirror of Chinese and Japanese Verse),
depicting a couple pounding cloth by moonlight, publisher Moriya Jihei
(Kinshindo); signed zen Hokusai Iitsu hitsu
20 5/8 x 8 7/8in (52.3 x 22.5cm)
US$6,000 - 8,000

6020
Edo period (1615-1868), circa 1835-36
An oban yoko-e print titled Kakinomoto no Hitomaro, from the series
Hyakunin isshu uba-ga etoki (The 100 Poems [by the 100 Poets]
Explained by the Nurse), of fisherman pulling a net near a smoky fire,
published by Nishimuraya Eijudo and Iseya Eijudo
9 5/8 x 14 3/8in (24.5 x 36.6cm)
US$3,000 - 5,000
6020
6021
Edo period (1615-1868), circa 1835-36
An oban yoko-e print titled Abe no Nakamaro, from the series
Explained by the Nurse), depicting the poet watching the moon from a
hill, publisher seal of Nishimuraya Eijudo and Iseya Eijudo
10 x 13 7/9in (25.3 x 36.7cm)
US$5,000 - 7,000
6021
6022
Edo period (1615-1868), circa 1835-36
An oban yoko-e print titled Fujiwara no Yoshitaka, from the series
Explained by the Nurse), depicting patrons at a bathhouse, published
by Nishimuraya Eijudo and Iseya Eijudo; signed Saki no Hokusai [manji]
9 5/8 x 14 3/4in (24.7 x 37.3cm
US$3,000 - 5,000
6022
14 | BONHAMS
6023
An uncut uchiwa-e (fan) print of a hawk in flight; signed Sobo
Ryokyaku zen Hokusai aratame Gakyo-rojin [manji]
8 3/4 x 10 7/8in (22.1 x 27.6cm)
US$12,000 - 18,000
Literature:
Listed in Richard Lane, Hokusai: Life and Work, New York, 1989,
p.296, no. 164, fig. 156.
For another impression, see the Edo-Tokyo Museum, inv. no.

91200306 (http://digitalmuseum.rekibun.or.jp/app/collection/
detail?ss=01&b1=1000200&b2=2000220&id=0191200306)

6024
Edo period (1615-1868), 1830s
Comprising eight single, 15 double-page sumizuri-e double-page
illustration bookplates and six printed pages: two from one of the
Hokusai manga, a double page of an elephant and two single pages of
birds on a drum or "water buffalo"; the remainder from Fugaku hyakkei
(100 Views of Mount Fuji), circa 1834-35, publishers Eirakuya Toshiro,
Nishimura Yuzo and Nishimuraya Yohachi; together with six single
pages printed with text [29]
9 x 6in (23 x 15cm) average (each page)
US$600 - 800
6025
Edo period (1615-1868), circa 1820s
Two shikishiban surimono prints, the first of the warrior Hatakeyama
Shigetada carrying his horse, with poems by Tetsunoya Ume[ ] and
Yomo Magao, circa 1820-22, signed Fusenkyo Iitsu hitsu; the second
6024 of Ki no Natora and Otomo no Yoshio wrestling, circa 1829, signed
Saki no Hokusai Iitsu hitsu [2]
8 1/8 x 7 1/8in (20.8 x 18.3cm)
8 1/4 x 7 1/8in (21 x 18.2cm)
US$2,000 - 3,000
Another impression of the second is in the collection of the

Museum of Fine Arts, Boston (inv. no. 00.1949); see http://www.
mfa.org/collections/object/ki-no-natora-and-ôtomo-no-yoshio-
wrestling-178843
6026
YASHIMA GAKUTEI (CA. 1786-1855)
Two shikishiban surimono prints, the first of the warrior Miuranosuke
and a nine-tailed fox in the guise of Tamamo no Mae, a favorite
concubine of the Toba emperor, for the poetry group led by Bensusha
Masago, with poems by Bentandai Giboshi, Benbensai Kazumasa and
Bensusha Masado which, circa 1827, signed Gakutei, production seal
of Shugyokudo; the second of Takemikazuchi Daijin, from the series
Katsushika nijushisho (24 Generals for the Katsushika [Circle]), with a
poem by Bunpukukyo Chagamaru, circa 1821, signed Gakutei, studio
seal of Teiko [2]
8 1/8 x 7 1/8in (20.8 x 18.2cm)
8 1/8 x 7 1/4in (20.2 x 18.4cm)
6025
US$1,400 - 2,200
Another impression of the first with additional information published in

Matthi Forrer, Surimono in the Rijksmuseum Amsterdam, Leiden, 2013,
p. 239, no. 443 and in John T Carpenter, ed., Reading Surimono: the
interplay of Text and Image in Japanese Prints, Leiden and Zurich:
Hotei Publishing in association with Museum Rietberg Zürich, 2008,
pp.186-187, no. 61.
Another impression of the second and discussion of this series is
published in John T. Carpenter, ed., Reading Surimono: The Interplay
of Text and Image in Japanese Prints, Leiden and Zurich: Hotei
Publishing in association with Museum Rietberg Zürich, 2008, pp.
118-119, Appendix II.
6026
16 | BONHAMS
6027
AOIGAOKA KEISEI AND TOTOYA HOKKEI (1780-1850)
Edo period (1615-1868), 1820s-1830s
Three shikishiban surimono prints: a top sheet of an upright diptych
depicting the goddess Benzaiten appearing to Hojo Tokimasa at
Enoshima, with a poem by Rogetsuan Umekage, circa 1832-33,
signed Keisei; Kori (the Chinese general Li Guangli) releasing fresh
water from a rock, from the series Mogyu (Meng giu [A Child Asked,
a 9th-century Chinese encyclopedia]), with a poem by Tsunenoya
Atsumaru, circa 1821, signed and sealed Hokkei, and with poetry
group mark of Hanazonoren; and Uyauyashi (Reverence) from the
series Kogentei juhachiban-tsuzuki (18 illustrations for a Ladder to the
Ancient Language), two shrine servants receiving New Year's offerings
from farmers and fishermen, with three poems, circa 1831, signed
Hokkei [3]
8 5/8 x 7 1/8in (21.8 x 18.2cm)
8 1/4 x 7 1/4in (20.8 x 18.4cm)
8 x 6 3/4in (20.3 x 17.1cm)
US$1,200 - 1,800
For another impression of the first, see Museum of Fine Arts, Boston,
inv. no. 11.20644 [bottom sheet: http://www.mfa.org/collections/
object/the-goddess-benzaiten-appears-to-h%C3%B4j%C3%B4-
tokimasa-at-enoshima-212693].
Another impression of the second and discussion of this series is 6027
published in John T. Carpenter, ed., Reading Surimono: The Interplay
of Text and Image in Japanese Prints, Leiden and Zurich: Hotei
Publishing in association with Museum Rietberg Zürich, 2008, p. 211,
no. 82
6028
TOTOYA HOKKEI (1780-1850) AND YANAGAWA SHIGENOBU
(1787-1833)
Two shikishiban surimono prints: the first entitled Kisohajimeyoshi (It Is
Good to Wear New Clothes) from the series Hanazono bantsuzuki (A
Series for the Hanazono Circle), with poems by Ryusuitei Sodezumi
and Senryutei, circa 1822-24, signed Hokkei; the second print of
Sayohime thwarting an attacker, from the series Sanyafu (Three Strong
Women), with poems by Hana[ ]tei Chocho and another, signed
Yanagawa Shigenobu
8 1/8 x 7 1/8in (20.7 x 18.2cm)
8 1/2 x 7 1/8in (21.5 x 18.3cm) 6028
US$900 - 1,200
For another impression of the first with additional information, see

Matthi Forrer, Surimono in the Rijksmuseum Amsterdam, Leiden, Hotei
Publishing, 2013, p. 161, no.296 and
Roger Keyes, The Art of Surimono, Privately Published Japanese
Woodblock Prints and Books in the Chester Beatty Library, Dublin,
London, Sotheby, 1985, p.153, no. 120.
Another impression of the second is in the collection of the Harvard
University Art Museums, inv. no. 1933.4.1446.
6029
TOTOYA HOKKEI (1780-1850)
A shikishiban surimono print of Benzaiten, Goddess of Fortune and
Music, appearing to Taira no Kiyomori, with poems by Raikyutei
Kazutaka, Hinanoya Shunshi/Haruko and Yayoian Hinamaru; signed
Hokkei
8 3/8 x 7 1/8in (21.2 x 18.1cm)
US$1,500 - 2,500
Another impression is in the collection of the Harvard University Art

Museums, inv. no. 1933.4.1917
6029

6030 6031
6030
JOREN HOKUTEI (EARLY 19TH CENTURY)
A shikishiban surimono print of a mother biting off pieces of a long
letter, which her child folds into origami cranes, the right with a kimono
draped over a rack, with a poem by Komari-an Inamaro; signed
Hokutei Joren
7 7/8 x 7 3/8in (20 x 18.7cm)
US$800 - 1,200
Another impression is illustrated in Matthi Forrer, Surimono in the

Rijksmuseum Amsterdam, Leiden, 2013, p. 221, no. 387.
6031
KATSUKAWA SHUNWA, HISHIKAWA SORI III, UTAGAWA
KUNISADA (1786-1864), AND SHIBATA ZESHIN (1807-1891)
Edo period (1615-1868) and Meiji era (1868-1912), 19th century
Comprising four surimono prints, each with poetic verses: Katsukawa
Shunwa, a kokonotsugiriban egoyomi of a boy and puppies playing
near a kadomatsu (notation of the long months incorporated into the
body of the white puppy), circa 1826, signed Katsu Shunwa, 5 3/4
x 7 3/4in (14.5 x 19.6cm); Hishikawa Sori III, a yatsugiriban entitled
Mensetsu (Surreptitious), of a mask carver seated near a woman with
an Otafuku mask, from the series Shokunin sanjurokkasen(36 Artisans),
signed Sori ga, 5 3/8 x 7 3/8in (13.6 x 18.7cm); Utagawa Kunisada,
a koban egoyomi depicting various New-Year toys, circa 1830-1842,
signed Oju Kunisada ga, 4 3/8 x 5 7/8in (11.1 x 15cm); Shibata
Zeshin, a New Year's print with seven poems issued for the year of the
ox, signed Zeshin, sealed Tairyukyo, 7 1/4 x 9 7/8in (18.5 x 25.1cm) [4]
US$800 - 1,200
6032 6033
18 | BONHAMS
6032 6034
KEISAI EISEN (1790-1848)
Edo period (1615-1868), 1820s
One vertical oban kakemono-e (print diptych) of a standing beauty
looking at a mirror, publisher Maruya Seijiro; and one oban tate-e print
entitled Okazaki: Aimachi of Sugata-Ebiya, from the series Keisei dochu
sugoroku/mitate Yoshiwara gojusan tsui (A Tokaido Board Game of
Courtesans: 53 Pairings in the Yoshiwara), circa 1821-23, publisher
Tsutaya Kichizo (Koeido); each signed Keisei Eisen ga [2]
28 3/4 x 10in (73 x 25.2cm) and 15 5/8 x 10 1/4in (39.6 x 26cm)
US$700 - 900
6033
KIKUGAWA EIZAN (1787-1867)
Edo period (1615-1868), 1820s
Two oban tate-e joined as a kakemono-e (print diptych) of a beauty
walking in the rain under an umbrella in the rain; signed Kikugawa
Eizan hitsu
29 5/8 x 9 7/8in (75.3 x 25cm)
US$1,200 - 2,000
6034
KEISAI EISEN (1790-1848)
Edo period (1615-1868), circa 1835-38
An oban yoko-e woodblock print, titled Nojiri Inagawa-hashi enkei/
enbo (Nojiri: Distant View of the Inagawa bridge), no. 41 from the
series Kisoji no eki (Stations of the Kiso Road [alternate name: The 69
Stations of the Kisokaido Road]), published by Takeuchi Magohachi
(Hoeido); signed Keisai ga
9 x 13 3/4in (23.1 x 35.2cm)
US$1,200 - 1,800
6035
KEISAI EISEN (1790-1848) 6035
Edo period (1615-1868), circa 1843-47
An oban yoko-e print of Kirifuri no taki, santaki no sono ikkei (The
Kirifuri Falls, One of the Three Waterfalls), from the series Nikkosan
meisho (Famous Scenic Spots in the Mountains of Nikko), censor seal
Watari, published by Yamamotoya Heikichi (Eikyudo); signed Keisai
Eisen sha
14 1/8 x 9 1/4in (35.9 x 23.6cm)
US$2,000 - 4,000

6036 6037 6038
6036 6038
KEISAI EISEN (1790-1848) KEISAI EISEN (1790-1848)
Edo period (1615-1868), circa 1843-47 Edo period (1615-1868), circa 1843-47
An oban yoko-e print of Somen no taki An oban yoko-e print of Jakko Nunobiki no
(Somen [Noodle] Falls), from the series taki (Jakko [temple] Nunobiki Waterfall), from
Nikkosan meisho (Famous Scenic Spots in the series Nikkosan meisho (Famous Scenic
the Mountains of Nikko), censor seal Watari, Spots in the Mountains of Nikko), censor seal
published by Yamamotoya Heikichi (Eikyudo); Watari, published by Yamamotoya Heikichi
signed Keisai Eisen sha and sealed Eisen (Eikyudo); signed Keisai Eisen sha
14 x 9 1/4in (35.6 x 23.4cm) 14 x 9 1/4in (35.7 x 23.6cm)
US$2,000 - 4,000 US$1,400 - 2,000
6037 6039
KEISAI EISEN (1790-1848) UTAGAWA KUNIYOSHI (1797-1861)
Edo period (1615-1868), circa 1843-47 Edo period (1615-1868), circa 1827-30
An oban yoko-e print of Kegon no taki, santaki Four oban tate-e prints, from the series
no sono ikkei (Kegon Falls, One of the Three Tsuzoku Suikoden goketsu hyakuhachinin
Waterfalls), from the series Nikkosan meisho no hitori (The 108 Heroes of the Popular
(Famous Scenic Spots in the Mountains of Suikoden), depicting Dakosho Richu (Li
Nikko), censor seal Watari, published by Zhong), Gyoja Busho (Wu Song), Kinhyoshi
Yamamotoya Heikichi (Eikyudo); signed Keisai Yorin (Yang Lin), and Seibokukan Kakushibun
Eisen sha (Hao Siwen); all published by Kagaya
14 x 9 1/4in (35.8 x 23.5cm) Kichiemon (Kichibei); all signed Ichiyusai
6039 Kuniyoshi-ga
14 7/8 x 10 (37.8 x 25.6cm) each
US$2,000 - 4,000
approximately
US$1,500 - 2,000
20 | BONHAMS
6040
UTAGAWA KUNIYOSHI (1797-1861)
Comprising three oban tate-e prints: Kamada Matahachi killing a
monstrous cat in the mountains of Ise Province, circa 1830s, published
by Tsutaya Kichizo; Kitashirakawa Iwabuchi Tankai and Ushiwakamaru,
from the series Honcho Suikoden goyu happyakunin no hitori
(800 Heroes of the Japanese Water Margin), circa 1830, publisher
Kagaya Kichiemon (Kichibei); and Miyamoto Musashi and the sword
master Tsukahara Bokuden, from the series Choko meiyo kijin den
(Biographies of Exceptional Persons of Loyalty and Honor), circa 1845-
46, publisher Iseya Ichibei; all signed Ichiyusai Kuniyoshi ga
14 1/8 x 9 1/2in (36.2 x 24.3)
14 3/3 x 10 1/4in (37.4 x 26.2cm)
14 1/2 x 10in (37 x 25.3cm)
US$1,500 - 2,500
6040
6041
UTAGAWA KUNIYOSHI (1797-1861)
Edo period (1615-1868), circa 1843-47
Comprising: a chuban print of Keyamura Rokusuke under Hikosan
Gongen Falls, from Honcho nijurokko (24 Japanese Paragons of
Filial Piety), circa 1842-43, publisher Muratetsu; an o-tanzakuban
print entitled Susumushi (Bell Cricket) depicting Satsuma no kami
Tadanori, from the series Buyu nazorae Genji (Heroic Comparisons
for the Chapters of Genji), circa 1843, publisher Ibaya Senzaburo;
two oban tate-e prints from the series Dai Nihon rokujuyoshu (The
60-odd Provinces of Great Japan), Shima depicting Okon, and Bungo
depicting Ogata no Senzo Hananomoto, circa 1845, each inset signed
Monjin Ichigyokusai Yoshitori-jo ga, publisher Fujiokaya Hikotaro
(Shogendo); and one oban print triptych, enjoying the evening cool
under a bridge, circa 1843-45, publisher Waka[ ]; all signed Ichiyusai
Kuniyoshi ga [7]
10 x 7 1/8in (25.6 x 8.2cm) first print
US$1,000 - 1,500
6042
6041
UTAGAWA KUNISADA (1786-1864)
Comprising nineteen oban prints, including five triptych sets: Sumida-
zutsumi sakuragari no zu (Looking for cherry blossoms on the Banks
of the Sumida [River]), circa 1830s, publisher Ezakiya Kichibei, signed
Kochoro Kunisada ga; Viewing Cherry Blossoms at Night, circa 1847-
52, publisher Fujiokaya, signed Kochoro Toyokuni ga; Setchu sanko zu
(Three Views in the Snow), circa 1847-52, publisher Ebiya, signed Oju
Ichyosai/Kochoro Toyokuni ga; Kabuki revenge scene of Rokusuke,
circa 1847-52, publisher Moriya, signed Toyokuni ga; Hana Genji
yoru no omokage (Flowering Genji: Vestiges of Night), circa 1861,
publisher Omiya; one diptych [joined] depicting a scene based on
the novel Hakkenden (The Chronicle of Eight Dogs), circa 1847-52,
publisher Ebisuya, signed Oju Toyokuni ga; a single print from Tosei
mitate sanjurokkasen (Contemporary Kabuki Actors Likened to 36
Flowers), circa 1862, publisher Hiranoya Shinzo, signed Toyokuni ga;
and a single print entitled Yushima: Toto sanjurokkei (Yushima, from
36 Views of the Eastern Capital), circa 1863, publisher Omiya, signed
nanjukyusai Toyokuni hitsu
14 1/2 x 9 3/4in (37.1 x 24.8cm) each approximately
6042
US$1,400 - 1,800

6043
6044
6043 6044
UTAGAWA YOSHITSUYA (1822-1866), UTAGAWA YOSHITORA, UTAGAWA KUNIYOSHI (1797-1861)
TOYOHARA KUNICHIKA (1835-1900), AND YAMADA KUNITERU Edo period (1615-1868), 1850s
(1829-1874) Comprising three oban tate-e print triptych sets: Tametomo wa rodo
Edo period (1615-1868) and Meiji era (1868-1912), amata meshitsure... (Tametomo Watching Oniyasha Shouldering a
mid-late 19th century Stranded Boat off a Rock), circa 1849, publisher Yamaguchiya Tobei
Comprising nine oban tate-e prints: a triptych of Kijutsu o yabutte (Kinkodo); Koestu Kawanakajima ogassen (Great Battle between
Yorimitsu Hakamadare o karamen to su (Yorimitsu Tries to Capture Kai and Echigo Provinces at Kawanakajima), circa 1852, publisher
Hakamadare by Destroying His Magic), circa 1858, publisher Tsutaya Yamaguchiya Tobei (Kinkodo) [sheets joined]; and Hokkoku ogassen
Kichizo, signed Ichieisai Yoshitsuya; a triptych of Moko zokusen (Great battle of the North Country [Kurikaradani]), circa 1853, publisher
taiji no zu (The Defeat of the Mongol Invasion Fleet), circa 1863, Izumi-ya Ichibei; all signed Ichiyusai Kuniyoshi ga [7]
publisher Iseya Kanekichi, signed Yoshitora ga; two actor prints, one 14 1/2 x 10in (36.8 x 25.3cm) average (each sheet)
of Nakamura Fukusuke as Akatsuki Hoshi Goro , circa 1864, publisher
Izutsuya, the other the actor Ichikawa Danjuro IX from the series
US$1,500 - 2,500
Ichikawa Danjuro engeki hyakuban (100 Scenes of Ichikawa Danjuro
in Performance), circa 1889, publisher Fukuda Hatsujiro, each signed
Kunichika ga/Toyohara Kunichika hitsu; and one print of a swimming
manta ray from the series Senihayu, circa 1871, signed Oju Ichiyusai
Kuniteru ga
14 x 9 1/2in (35.7 x 24.4cm) average (each sheet)
US$1,500 - 2,500
22 | BONHAMS
6045
UTAGAWA HIROSHIGE (1797-1858)
Edo period (1615-1868), early 1830s
An oban yoko-e print of Hakone kosui zu (The Lake at Hakone), no.
11, from the series Tokaido gojusantsugi (53 Stations of the Tokaido),
published by Takenochi Magohachi (Hoeido) and Tsuruya Kiemon
(Senkakudo); signed Hiroshige ga
10 x 15in (25.3 x 38.1cm)
US$4,000 - 6,000
6045
6046
An oban yoko-e print of Yokkaichi Miegawa (Mie River at Yokkaichi),
from the series Tokaido gojusantsugi (53 Stations of the Tokaido),
published by Takenochi Magohachi (Hoeido) and Tsuruya Kiemon
(Senkakudo); signed Hiroshige ga
9 1/2 x 14 5/8in (24.2 x 37.1cm)
US$1,000 - 1,500
6046
6047
An oban yoko-e print of Chiryu shuka umaichi (The Horse Market in the
Fourth Month at Chiryu, no. 40, from the series Tokaido gojusantsugi
(53 Stations of the Tokaido), published by Takenochi Magohachi
(Hoeido) and Tsuruya Kiemon (Senkakudo); signed Hiroshige ga
9 5/8 x 14 1/4in (24.4 x 36.4cm)
US$4,000 - 6,000
6047
6048
An oban yoko-e print of Kameyama yukibare (Clear Weather after
Snow at Kameyama), no. 47, from the series Tokaido gojusantsugi (53
Stations of the Tokaido), published by Takenochi Magohachi (Hoeido)
and Tsuruya Kiemon (Senkakudo); signed Hiroshige ga
10 x 15in (25.5 x 38.3cm)
US$6,000 - 8,000
6048

6049 6050
6049 6050
UTAGAWA HIROSHIGE (1797-1858) UTAGAWA HIROSHIGE (1797-1858)
Edo period (1615-1868), circa 1832-35 Edo period (1615-1868), circa 1830s
A o-tanzaku print of Yumiharizuki (Crescent Moon), from the series Comprising: one o-tanzaku print with a kyoka poem above flowering
Tsuki nijuhakkei (28 Views of the Moon), with a seven-character peonies and a peacock, one short o-tanzaku print of a Java sparrow
Chinese poetic couplet above a bow-shaped moon over a waterfall on a branch, two tanzaku-e prints with poetic verses, one of a
between two cliffs with a waterfall, published by Sanoya Kihei (Sanoki flowering morning glory vines, the other with a butterfly amid nadeshiko
han); signed Hiroshige hitsu (wild pinks), two quarter-block prints (harimaze fragments), the larger
15 x 6 3/4in (38.2 x 17.3cm) of a parrot perched on blossoming hydrangea, the other of a mandarin
duck in the snow; and an oban yoko-e print of an Ise ebi (crayfish) and
ama ebi (prawns), based on the series Uo-zukushi (All the Fishes); each
US$6,000 - 8,000
signed Hiroshige ga/hitsu [7]
13 1/8 x 4 5/8in (33.5 x 10.8cm) first print
US$1,200 - 2,000
24 | BONHAMS
6051
Edo period (1615-1868), circa 1842-44
An oban tate-e diptych (kakemono-e), Fujigawa no setchu (The Fuji
River in Snow), depicting a mountain gorge in winter with boatmen on
a winding river and a lone farmer crossing a bridge towards a small
hamlet, published by Sanoya Kihei (Kikakudo); signed Hiroshige hitsu,
sealed Ichiryusai
14 3/8 x 9 3/4in (36.5 x 24.9cm) [upper]; 14 ¾ x 9 3/4in (37.5 x
24.9cm)
US$8,000 - 12,000

6052 6053
6052
6052 6053
UTAGAWA HIROSHIGE (1797-1858) UTAGAWA HIROSHIGE (1797-1858)
Edo period (1615-1868), circa 1845-48 Edo period (1615-1868), circa 1853
An oban tate-e print and matching An oban tate-e print of Mino, Yoro no taki
preparatory ink drawing of Lady Kenreimon'in, (Mino [Province]: Yoro Waterfall), from the
the daughter of the Chancellor Taira no series Rokujuyoshu meisho zue (Pictures of
Kiyomori and empress-consort of Emperor Famous Places in the 60-odd Provinces),
Takakura, with a poem by Chunagon (Fujiwara published by Koshimuraya Heisuke,
no) Atsutada, from the series Ogura nazorae blockcutter Yokokawa Takejiro (Hori Take);
hyakunin isshu (Ogura Imitation of 100 Poems signed Hiroshige ga
by 100 Poets), published by Ibaya Senzaburo 14 x 9 1/2in (35.8 x 24.2cm)
(Dansendo), blockcutter seal of Yokokawa
Takejiro (Hori Take); signed Hiroshige ga
US$1,000 - 2,000
14 3/8 x 9 3/4in (36.7 x 24.8cm) print
13 3/8 x 9 1/2in (33.9 x 24.2cm) drawing
6054
US$800 - 1,200
An oban tate-e print of Minasaka
The poem reads: Aimite no / nochi no kokoro Yamabushidani (Mimasaka [Province]:
ni / kurabureba / mukashi wa mono o / Yamabushi Valley), from the series
omowazarikeri (Compared with the way / my Rokujuyoshu meisho zue (Pictures of Famous
heart longs for you now / after we have met Places in the 60-odd Provinces), published by
/ those yearnings I had before / seem like Koshimuraya Heisuke; signed Hiroshige ga
nothing at all.) 14 1/4 x 9 5/8in (36.1 x 24.6cm)
6054
US$800 - 1,200
26 | BONHAMS
6055 6056
6055
Edo period (1615-1868), 1853
An oban tate-e print of Kozuke, Harunasan setchu (Kozuke [Province],
Mount Haruna under Snow), from the series Rokujuyoshu meisho
zue (Pictures of Famous Places in the 60-odd Provinces), published
by Koshimuraya Heisuke, blockcutter Yokogawa Takejiro (hori Take);
signed Hiroshige ga
14 ½ x 10in (36.7 x 25.3cm)
US$3,000 - 5,000
6056
An oban tate-e print of Horikiri no hanashofu (Horikiri Iris Garden), from
the series Meisho Edo hyakkei (100 Famous Views of Edo), featuring a
field of flowering irises, published by Uoya Eikichi; signed Hiroshige ga
14 1/8 x 9in (36 x 22.9cm)
US$1,000 - 1,500
6057
An oban tate-e print of Mama no momiji Tekona no yashiro Tsugihashi
(Maple Trees at Mama, Tekona Shrine and Linked Bridge), from the
series Meisho Edo hyakkei (100 Famous Views of Edo), of autumn
maples framing a distant landscape with a shrine and pavilions,
published by Uoya Eikichi; signed Hiroshige ga
6057
13 7/8 x 9 1/4in (35.1 x 23.7cm)
US$1,500 - 2,500

6058 6059
6058
An oban tate-e print of Ryogoku hanabi (Fireworks at Ryogoku
[Bridge]), no. 98 from the series Meisho Edo hyakkei (100 Famous
Views of Edo), depicting pleasure boats viewing fireworks, published
by Uoya Eikichi; signed Hiroshige ga
13 3/4 x 9 1/8in (35 x 23.2cm)
US$800 - 1,200
6059
An oban tate-e print of Fukagawa Kiba (Fukagawa Lumberyards), from
the series Meisho Edo hyakkei (100 Famous Views of Edo), depicting
a large lumberyard during a snowy night, published by Uoya Eikichi;
signed Hiroshige ga
13 7/8 x 9 1/8in (35.3 x 23.3cm)
US$1,000 - 1,500
6060
An oban tate-e print of Fukagawa Susaki Jumantsubo (Fukagawa
Susaki and Jumantsubo), from the series Meisho Edo hyakkei (100
Famous Views of Edo), depicting an eagle diving for prey above
wintery marshes, published by Uoya Eikichi; signed Hiroshige ga
13 3/4 x 9 1/4in (35 x 23.4cm)
6060
US$1,500 - 2,500
28 | BONHAMS
6061 6062
6061 6062
UTAGAWA HIROSHIGE (1797-1858) UTAGAWA HIROSHIGE (1797-1858
Edo period (1615-1868), circa 1857 Edo period (1615-1868), circa 1857
An oban tate-e print of Asakusa tanbo Torinomachi mode (Asakusa An oban tate-e print of Oji shozoku enoki omisoka no kitsunebi (New
Rice Fields and Torinomachi Festival), from the series Meisho Edo Year's Eve Foxfires at the Changing Tree, Oji), from the series Meisho
hyakkei (100 Famous Views of Edo), depicting a cat seated in a Edo hyakkei (100 Famous Views of Edo), a night view of foxes/foxfire
window overlooking a distant procession of figures, published by Uoya at the base of a hackberry tree, published by Uoya Eikichi; signed
Eikichi; signed Hiroshige ga Hiroshige ga
14 1/2 x 10in (36.6 x 25.4cm) 13 7/8 x 9 1/4in (35.1 x 23.6cm)
US$2,500 - 4,000 US$5,000 - 7,000

6063
6063 TSUKIOKA YOSHITOSHI (1839-1892)
An oban tate-e triptych print set, entitled Taiheiki Masakiyo nansen no
zu (Masakiyo's Difficult Battle from the Taiheiki Chronicles), published
1866.10, of Sato Masakiyo on horseback pulling back from a massive
explosion, publisher Yamajin; signed Ikkaisai Yoshitoshi hitsu
14 1/8 x 9 1/4in (36 x 23.7cm) each sheet
US$1,000 - 2,000
6064
TSUKIOKA YOSHITOSHI (1839-1892)
Edo period (1615-1868), circa 1867-68
Comprising four oban tate-e print triptychs: two from the series Buyu
setsugekka (Heroes for the Snow, Moon and Flowers), circa 1867,
one titled Gojo no tsuki (Moon over Gojo [Bridge]) with tengu watching
Benkei and Yoshitsune fight, the other Ikuta mori Ebira no ume (Plum
Blossoms in the Forest of Ikuta) of Kajikawa Kagesue defending
against Taira warriors, publisher Kiya Sojiro; the third titled Genpei
6064 sakaro no ron (The Reversing Oars Argument during the Genpei [War]),
circa 1868, publisher Tsujiokaya Bunsuke; and Zen Taiheiki Soma dairi
no zu (The Palace at Soma in the Earlier Taiheiki), circa 1868, publisher
Iseya Kanekichi [sheets joined]; all signed Ikkaisai Yoshitoshi hitsu [10]
14 3/8 x 9 1/2in (36.5 x 24.3cm) average
US$1,200 - 1,800
6065
Edo period (1615-1868) Meiji era (1868-1912), circa 1867-8, 1878,
1883
Comprising five oban tate-e prints, including two from the series
Azuma no nishiki ukiyo koden (Tales of the Floating World on Eastern
Brocade), depicting Ito Yosota and the spectral cat, (circa 1867) and
Asabe Bungonosuke Sadaaki riding his horse through water (circa
1868), all publisher Masudaya Ginjiro and signed Ikkaisai Yoshitoshi
hitsu; two from the series Dai Nihon meisho kagami (Mirror of Famous
Commanders of Great Japan), depicting Oda no Nobunaga and
Uesugi Kenshin, each circa 1878, publisher Funatsu Chujiro, signed
Oju Yoshitoshi; and one from Yoshitoshi musha burui (Yoshitoshi's
Courageous Warriors), featuring Yamanaka Shikanosuke Yukimori,
circa 1883, signed Taiso Yoshitoshi ga [8]
US$800 - 1,000
6065
30 | BONHAMS
6066
Meiji era (1868-1912), circa 1879-83 6066
Comprising three oban tate-e print triptychs: two from the series Dai
Nihon shiraku zue (Illustrated History of Greater Japan), entitled Dai
nanajurokudai Sutoku Tenno (The 76th Emperor, Sutoku), depicted
refusing to receive the priest Rennyo, dated Meiji 13 (1880), and
Amaterasu-omikami, the Sun-Goddess being lured from her cave,
dated Meiji 12 (1879), published by Tsunashima Kamekichi, signed
Taiso Yoshitoshi; and one from the series Sangokushi zue (Illustrated
Romance of the Three Kingdoms), titled Gentoku fusetsu ni Komei o
tazunu (Gentoku Visiting Komei in the Snow), dated Meiji 16 (1883),
publisher Komiyama Shohei, signed Oju Yoshitoshi ga and sealed
Taiso [9]
14 1/4 x 9 1/2-10in (36 x 24-25.5cm) each approximately
US$800 - 1,000
6067
Edo period (1615-1868) and Meiji era (1868-1912) circa 1866,
1881-82
Comprising: two chuban prints from the series Biyu Suikodo
(Handsome Heroes of The Water Margin), circa 1866, Kinezumi
koboshi kaiden (The Strange Story of the Mouse Priest) and Fujinami
Yukarinosuke shown riding on a butterfly, publisher Omiya Kyujiro, 6067
signed Ikkaisai Yoshitoshi hitsu; two chuban [uncut oban] from the
series Tokyo kaika kyoga meisho (Famous Places and Humorous
Images of Modern Life in Tokyo), circa 1881, publisher Tsunajima
Kamekichi; and five chuban from the series Yoshitoshi ryakuga (Quick
Sketches by Yoshitoshi), circa 1882, titled Jingu Kogo tsuri neko
(Empress Jingu Playing with a Cat), Honda Yoshimitsu Nanba-ike ni
nyorai o kan[ ] su (Honda Yoshimitsu Discovers a Buddha [statue]
at Nanba Pond) [together on an uncut oban], Satori no tsuki (Moon
of Enlightenment) of Benkei, Jo and Uba, and one of a courtier and
townsman, published by Funazu Chujiro, signed Yoshitoshi [7]
US$400 - 600
6068
Meiji era(1868-1912), circa 1872-74
Comprising four oban tate-e prints, three from the series Ikkai zuihitsu
(Essays by Yoshitoshi), including Seito no Oniwakamaru, the boy hero
grappling with a giant carp, Enhito Chohi, Chang Fei on horseback,
each circa 1872, and Inuzuka Shinano Inukai Kenpachi, of two warriors
struggling in midair, circa 1873, publisher Masadaya Heikichi, all signed
Ikkaisai Yoshitoshi hitsu; and one from the series Keisei suikoden
(Biographies of Valiant Drunken Tigers), of Amako Hashiro, circa 1874;
publisher Dobashi Masadaya ban; signed Taiso Yoshitoshi [5]
14 1/2 x 9 7/8in (37 x 25.2cm) first print
6068
US$800 - 1,000

6069
Meiji era (1868-1912), circa 1883
An oban tate-e print triptych titled Meiji jugo mizuno-uma kishu Kaiga
Kyoshinkai shuppinga Fujiwara Yasumasa gekka roteki (The painting
"Fujiwara Yasumasa Plays the Flute by Moonlight," exhibited at the
National Painting Exhibition in the autumn of 1882), dated Meiji 16.2
(1883 February), publisher Akiyama Buemon, signed Taiso Yoshitoshi
sha; together with a posthumous oban tate-e print triptych of the same
6069 subject from the series Bidan musha eiyu (Fine tales of warrior heroes),
dated Meiji 27 (1894), April, publisher Katada Chojiro, signature
Yoshitoshi and seal Taiso [6]
14 1/8 x 9 3/8in (35.7 x 24.1cm/35.8 x 23.9cm/35.7 x 23.7cm)
14 3/8 x 9 5/8in (36.5 x 24.4cm) each sheet
US$4,000 - 6,000
6070
Meiji era (1868-1912), circa 1885
Two oban tate-e print triptychs: the first titled Nichiren Shonin
Isawagawa nite ukai no meikon o saido shitamau no zu (Saint Nichiren
Praying for the Restless Spirit of the Cormorant Fisherman at the Isawa
River), dated Meiji 18.5 (1885 May, publisher Akiyama Buemon, signed
Yoshitoshi and sealed Taiso; the second from the series Osaka gunki
no zu ('The Siege of Osaka'), of Okuko Hikozaemon protecting the
Tokugawa shogun from the spear of Goro Matabei Mototsugu, circa
1884, publisher Akiyama Buemon [sheets joined], signed Oju Taiso
Yoshitoshi [4]
13 7/8 x 9 3/8in (35.4 x 23.6cm)
6070 13 7/8 x 9 1/8in (35.4 x 23.3cm) each sheet
US$1,000 - 1,500
6071
Meiji era (1868-1912), circa 1882 and 1885
Two oban tate-e print triptychs: the first titled Soga Tokimune
hadakauma ni norite Oiso ni kakeru (Soga Goro Gallops Bareback
to Oiso), dated Meiji 18.12 (1885 December), published by
Fukuda Yasushi, signed Oju Yoshitoshi ga; the second of a comic
entertainment of the Seven Gods of Good Fortune, dated Meiji 15
(1882), publisher Tsukioka Beijiro, signed Oju Yoshitoshi giga [6]
14 1/8 x 9 1/4/9 5/8/9 1/4in (36 x 23.5/24.5/23.5cm) each sheet
US$1,300 - 1,800
6071
32 | BONHAMS
6072
Meiji era (1868-1912), circa 1885-89
Comprising three oban print diptychs [one joined]: two from the series
Shinsen azuma nishiki-e (New Selection of Eastern Brocade Prints),
titled Kishin Omatsu Shirosaburo o korosu zu (The Demon Omatsu
Killing Shirosaburo), dated Meiji 19.3 (1886 March), and Kusu[noki]
Masashige Sakuraieki ni isshi Masatsura ni ikun shite ketsubetsu suru
no zu (Kusunoki Masashige Conveying Dying Instructions to His Child
Masayuki, separates), dated Meiji 22 (1889), publisher Tsunashima
Kamekichi, signed Yoshitoshi/oju Yoshitoshi ga; the last from the series
Yoshitoshi manga (Sketches of Yoshitoshi), of Watanabe no Tsuna
releasing the arm of the Ibaraki demon disguised as an old woman,
dated Meiji 18 (1885), publisher Kobayashi Tetsujiro, signed Yoshitoshi
6072
ga [5]
14 1/2 x 9 5/8in (36.8 x 25cm) each sheet
14 5/8 x 9 3/4in (37 x 24.9cm) each sheet
14 1/8 x 19 1/8in (35.8 x 48.4cm) sheets joined
US$800 - 1,000
6073
Meiji era (1868-1912), circa 1882 and 1886
Two oban tate-e print triptychs: the first from the series Nise Murasaki
Inaka Genji (A False Murasaki [and] Rustic Genji), of Mitsuuji and his
lover Tasogare confronted by a jealous spirit in the guise of Hannya
while in a secluded temple, circa 1882, publisher Akiyama Buemon
[sheets joined], signed Yoshitoshi ga; the second from the series
Gokoku onna taiheiki (The Taiheiki of Women Protecting the Country),
of the shogun Tsunayoshi dreaming of his favorite concubine while his
wife prepares to stab him in order to protect the country, dated Meiji
19 (1886), publisher Akiyama Buemon, signed Oju Yoshitoshi ga [4]
14 x 28 1/4in (35.7 x 71.9cm) sheets joined 6073
15 x 9 7/8in (38 x 25cm) each sheet
US$1,000 - 1,500
6074
Meiji era (1868-1912), circa 1890
An oban tate-e print triptych set, from the series Setsu-gekka (Snow-
Moon-Flowers), entitled Yuki: Iwakura no Sogen: Onoe Baiko (Snow:
Onoe Baiko V as Iwakura Sogen), dated 1890 August, publisher
Akiyama Buemon; signed and sealedYoshitoshi [3]
14 1/8 x 9 1/4-9 5/8in (35.9 x 23.6/24.6/24.7cm)
US$1,000 - 1,500
6074

6075 6076 6077
6075 6076 6077

TSUKIOKA YOSHITOSHI (1839-1892) TSUKIOKA YOSHITOSHI (1839-1892) TSUKIOKA YOSHITOSHI (1839-1892)
Meiji era (1868-1912), circa 1886 Meiji era (1868-1912), circa 1887 Meiji era (1868-1912), circa 1886
A kakemono-e (vertical oban print diptych), A vertical oban print diptych, entitled Mongaku A vertical oban print diptych, entitled Shunkan
depicting Hyoshito Rinchu (Panther Head Lin shonin aragyo no zu (Picture of the Penance sozu Kikaigashima ni oite tamatama Yasuyori
Chong) killing officer Riku (Lu) by the Temple of Saint Mongaku), circa 1887, of Seitaka no shamen senbo kito no zu (Shunkan
of the Mountain Spirit, circa 1886, publisher Doji, one of the attendants of Fudo Myo-o, Watching Enviously from Kikai Island as
Matsui Eikichi; signed Oju Yoshitoshi ga, saving Mongaku atoning for his sins at Nachi Yasuyori Returns to the Capital after Being
sealed Yoshitoshi no in Waterfall, publisher Hasegawa Tsunejiro; Unexpectedly Pardoned), dated 1886.5,
14 x 9 3/8in (35.8 x 24cm) upper sheet signed Oju Yoshitoshi ga, sealed Taiso publisher Hasegawa Tsunejiro; signed
14 1/4 x 9 1/2in (36.3 x 24.3cm) lower sheet 14 3/4 x 10in (37.4 x 25.7cm) each sheet Yoshitoshi, sealed Taiso
14 3/4 x 10in (37.1 x 25.3cm) upper sheet
14 3/4 x 10 1/4in (37.6 x 26.1cm) lower sheet
US$800 - 1,200 US$800 - 1,000
US$800 - 1,000
34 | BONHAMS
6078 6079 6080
6078 6079 6080

Meiji era (1868-1912), dated 1887 Meiji era (1868-1912), circa 1888 Meiji era (1868-1912), circa 1888
A vertical oban print diptych titled Taira A vertical oban diptych titled Shochikubai A vertical oban print diptych of the warrior
Koremochi Togakushiyama kijo taiji no zu (Taira Yushima no Kakegaku [name of a Kabuki Watanabe no Tsuna cutting off the arm of
no Koremochi Vanquishes a Female Demon drama], of Yaoya Oshichi climbing the fire the Ibaraki demon clutching a pillar at the
at Togakushi Mountain), published by Matsui watchtower to look at her burning house, Rashomon Gate in Kyoto, published by
Eikichi, seal of blockcutter Egishi Chokuzan; published by Hasegawa; signed Oju Hasegawa; signed Oju Yoshitoshi ga, sealed
signed Yoshitoshi, sealed Yoshitoshi no in Yoshitoshi ga, sealed Taiso Taiso
28 3/8 x 9 3/4in (72 (36 & 36) x 24.8cm) 14 3/4 x 10in (37.4 x 25.6cm) upper sheet 14 x 9 3/8in (35.6 x 23.7cm) upper sheet
overall 14 5/8 x 10in (37.2 x 25.5cm) lower sheet 14 1/8 x 9 3/8in (35.9 x 23.9cm) lower sheet
US$600 - 800 US$600 - 800 US$600 - 800

6081 6082 6083
6081 6082 6083

Meiji era (1868-1912), circa 1885-86 Meiji era (1868-1912), circa 1888-91 Meiji era (1868-1912), circa 1886-88
Nine oban tate-e prints from the Tsuki Nine oban tate-e prints from the Tsuki Nine oban tate-e prints from the Tsuki
hyakushi (100 Aspects of the Moon) series: hyakushi (100 Aspects of the Moon) series: hyakushi (100 Aspects of the Moon) series:
Ugo no sangetsu – Tokimune (Mountain Moon Shizugatake no tsuki – Hideyoshi (Shizu Peak Genji Yugao no maki (The Yugao Chapter
after Rain – Tokimune), no. 9; Daimotsu kaijo Moon – Hideyoshi), no. 66; Joganden no tsuki from The Tale of Genji), no. 29; Kitayama no
no tsuki – Benkei (Moon above the Sea at - Minamoto no Tsunemoto (Joganden Moon tsuki - Toyohara Sumiaki (Kitayama Moon -
Daimotsu Bay – Benkei), no. 12; Yoshinoyama - Minamoto no Tsunemoto), no. 67; Gyokuto – Toyohara Sumiaki), no. 32; Inamuragasaki
yowa no tsuki - Iga no Tsubone (Mount Songoku (Jade Rabbit - Sun Wukong), no. 73; no akebono no tsuki (Inamura Promontory
Yoshino Midnight-Moon - Iga no Tsubone), no. "Hidetsugu in exile," no. 75; Shinobugaoka Moon at Daybreak), no. 39; Moon over the
15; Yamashiro Ogurusu no tsuki (The Moon of no tsuki – Gyokuensai (Shinobugaoka Moon Mio pine forest (Takeda Shingen), no. 41;
Ogurusu in Yamashiro), no. 19; Suzakumon – Gyokuensai), no. 76; "Kenshin Watching the Oboroyo no tsuki – Kumasaka (Hazy-night
no tsuki - Hakuga Sanmi (Suzaku Gate Moon Geese in the Moonlight," no. 82; "Moon on moon – Kumasaka), no. 45; "Streetwalker
- Hakuga Sanmi), no. 20; Yamaki yakata the Sumida River," no. 94; Horinji no tsuki – by moonlight," no. 49; Daro no tsuki - Taira
no tsuki – Kagekado (The Moon of Yamaki Yokobue (Horin Temple Moon – Yokobue), no. no Kiyotsune (The Moon and the Helm of a
Mansion), no. 27; Shinkan no tsuki - Taira no 89; Sagano no tsuki (Saga Moor Moon), no. Boat - Taira no Kiyotsune), no. 50; Gosechi
Tomoume (The Moon's Inner Vision - Taira no 99; published by Akiyama Buemon, all signed no nyobu (Lady Gosechi), no. 51; Harano
Tomoume), no. 34; Inamuragasaki no akebono Yoshitoshi, sealed Yoshitoshi no in/Taiso [9] no tsuki – Yasumasa (The Moon of the Moor
no tsuki (Inamura Promontory Moon at 14 1/8 x 9 5/8in (36 x 24.5cm) each – Yasumasa), no. 63; published by Akiyama
Daybreak), no. 39; Zokuso no tsuki - O-usu- approximately Buemon, all signed Yoshitoshi, sealed
no-miko (Moon of the Enemy's Lair - Little Yoshitoshi no in/Taiso [9]
Prince Usu), no. 42; published by Akiyama 14 x 9 5/8in (35.5 x 24.5cm) each
US$1,500 - 2,500
Buemon, all signed Yoshitoshi, sealed approximately
Yoshitoshi no in/Taiso [9]
14 1/8 x 9 5/8in (35.8 x 24.5cm) each
US$1,300 - 2,000
approximately
US$1,200 - 2,200
36 | BONHAMS
6084
Meiji era (1868-1912), circa 1886
Comprising three oban tate-e print diptychs:
each from the series Shinsen azuma nishiki-e
(New Selection of Eastern Brocade Prints),
titled Sano Jirozaemon no setsu (The Story
of Sano Jirozaemon), depicted murdering the
courtesan Yatsuhashi, Osame yujo no gaku
no zu (Osame Learning to be a Courtesan)
[sheets joined], and Koshida goten shuen
no zu (Banquet at the Koshida Palace), all
dated Meiji 19 (1886), publisher Tsunashima
Kamekichi; all signed Yoshitoshi and sealed
Taisho [5]
13 3/4 x 19 1/8in (39 x 48.7cm) sheets joined
14 5/8 x 9 5/8-9 7/8in (37.2 x 24.5-25.3cm)
each sheet
14 1/8 x 9 3/8-9 7/8in (35.8 x 23.8-25.3cm)
each sheet
6084
US$600 - 800
6085
Meiji era (1868-1912), dated April 1889
An oban tate-e woodblock print triptych of
koi swimming beneath wisteria blossoms and
branches, published by Akiyama Buemon;
signed Yoshitoshi ga, sealed Yoshitoshi
14 3/4 x 10-10 1/8in (37.5 x
25.8/25.8/25.5cm)
US$400 - 600
See Eric van den Ing, Beauty and Violence,

Japanese Prints by Yoshitoshi, 1839-1892,
Bergeyk, Netherlands, Society for Japanese 6085
Arts, 1992, no. 66, p. 144 for another
impression plus the original drawing by
Yoshitoshi in the collection of the British
Museum.
6086
Meiji era (1868-1912), circa 1889-91
Three oban tate-e prints from the series
Shinkei sanjurokkaisen (New Forms of 36
Strange Things): Sagi musume (Heron Maiden)
[#2], published 1889.4.10; Shoki muchu ni
oni o toraeru no zu (Shoki Captures a Demon
in a Dream) [#13], published 1890.4.12; and
Daimotsu no ura ni rei Taira no Tomomori kaijo
ni shutsugen no zu (The Ghost of Taira no
Tomomori Appears at Daimotsu Bay) [#28],
published 1891; publisher Sasaki Toyokichi; all
signed Yoshitoshi, sealed Taiso
14 x 9 1/2in (35.4 x 24.1cm)
14 1/4 x 9 3/4in (36 x 24.8cm)
14 5/8 x 9 7/8in (37.1 x 25.3cm)
US$800 - 1,000
6086

6087 6088 6089
6087 6089
TSUKIOKA YOSHITOSHI (1839-1892) TSUKIOKA YOSHITOSHI (1839-1892)
Meiji era (1868-1912), circa 1889 Meiji era (1868-1912), circa 1889-90
Four oban tate-e prints from the series Shinkei Two oban tate-e prints from the series
sanjurokkaisen (New Forms of 36 Strange Shinkei sanjurokkaisen (New Forms of 36
Things): Roba kiwan o mochisaru zu (The Old Strange Things): the first Taira no Koremochi
Woman Retrieves Her Arm) [#6], 1889.4.12; Togakushiyama ni akki o taijisu zu (Taira no
Takeda Katsuchiyo tsukiyo ni rori o utsu no Koremochi Vanquishes the Evil Demon of
zu (Takeda Katsuchiyo Kills an Old Badger in Mount Togakushi) [#16], published 1890.4,
the Moonlight) [#3], 1889.4.10; Oniwakamaru the demon's visage reflected in a large sake
chichu ni rigyo o ukagau zu (Oniwaka cup; the second Omori Hikoshichi michi ni kaii
Observes the Giant Carp in the Pool) [#7], au zu (Omori Hikoshichi Encounters a Demon
1889.10.20; and Tametomo no bui tokijin on the Road) [#4], published 1889.5.10,
o shirizoku zu (Tametomo's Ferocity Drives the demon's true visage reflected in the
Away the Smallpox Demons) [#9], 1889.10.5; water; publisher Sasaki Toyokichi and signed
all publisher Sasaki Toyokichi; all signed Yoshitoshi, sealed Taiso or Yoshitoshi [2]
Yoshitoshi, sealed Taiso [first] or Yoshitoshi 14 x 9 3/4in (35.5 x 24.8cm)
14 1/8 x 9 1/4in (35.8 x 23.4cm) first print 14 1/2x 10in (37 x 25.2cm)
US$800 - 1,000 US$800 - 1,200
6088 6090
TSUKIOKA YOSHITOSHI (1839-1892) TSUKIOKA YOSHITOSHI (1839-1892)
Meiji era (1868-1912), circa 1889-92 Meiji era (1868-1912), circa 1890
6090
Three oban tate-e prints from the series Two oban tate-e prints and one keyblock
Shinkei sanjurokkaisen (New Forms of 36 impression from the series Shinkei
Strange Things): Komachi zakura no sei sanjurokkaisen (New Forms of 36 Strange
(The Spirit of the Komachi Cherry Tree) [#8], Things): the first of Kuzunoha-gitsune doji ni
published 1889.10.7; Kobayakawa Takakage wakaruru no zu (The Fox-Woman Kuzunoha
Hikosan no tengu mondo no zu (Kobayakawa Leaves Her Child) [#20], published 1890;
Takakage Debating with the Tengu of Mount second a print and keyblock of Shoki muchu
Hiko) [#29], published 1892; Seppu no rei ni oni o toraeru no zu (Shoki Captures
taki ni kakaru zu (The Good Woman's Spirit a Demon in a Dream) [#13], published
Prays in the Waterfall) [#33], published 1890.4.12; publisher Sasaki Toyokichi and
1892; publisher Sasaki Toyokichi; all signed signed Yoshitoshi, sealed Yoshitoshi or Taiso
Yoshitoshi, sealed Taiso (2) or Yoshitoshi [3]
14 1/2 x 9 7/8in (36.9 x 25cm) 14 x 9 1/2 in (35.5 x 24cm)
14 x 9 1/4in (35.4 x 23.6cm) 14 3/8 x 9 1/2in (36.4 x 24.4cm)
14 x 9 1/2in (35.6 x 24.2cm) 14 3/4 x 9 3/8in (37.1 x 24cm)
US$800 - 1,000 US$800 - 1,000
38 | BONHAMS
6091
6091
KOBAYASHI KIYOCHIKA (1847-1915), MIZUNE TOSHIKATA
(1866-1908), MIGITA TOSHIHIDE (1863-1925)
Meiji era (1868-1912), circa late 19th century
Comprising three oban tate-e print triptych sets: Sogo watashiba
no zu (Sogo at the Ferry Landing), from the series Choga kyoshikai
(Authentic View), dated February 1884, publisher Matsuki Heikichi
(Daikokuya), signed Kobayashi Kiyochika ga; Tsuki (Moon) [joined
sheets] from the series Genpei Setsugekka (Minamoto-Taira: Snow-
Moon-Flowers), of Yoshitsune receiving military secrets from the
tengu king, circa 1885-7, signed/sealed Toshikata ga; Tokimune
Kamakuradono no kariya o sawagasu (Tokimune (Soga Goro)
Sneaking into Yoritomo's Residence), circa 1891, signed/sealed
Toshihide [5]
14 1/8 x 9 7/8in (35.8 x 25cm) each sheet
13 7/8 x 28 3/8in (35.3 x 72.3cm) overall
6092
US$700 - 900
6092
ATTRIBUTED TO SHIBATA ZESHIN (1807-91), KAWANABE
KYOSAI (1831-1889), AND TEISAI HOKUBA (1771-1844)
Funpon (Preparatory drawings)
Edo period (1615-1868) and Meiji era (1868-1912), 19th century
Comprising a small watercolor attributed to Shibata Zeshin, ink
and color on paper, depicting a frog next to a stone water vessel,
reputed to be a study for a work in the series Hana kurabe, circa
1875-80, unsigned; an ink drawing attributed to Kawanabe Kyosai
of a elderly Chinese sage, unsigned; and two ink drawings attributed
to Teisai Hokuba, one of a seated samurai, the other of a foreigner
blowing a horn, each with a poetic inscription, unsigned
7 1/8 x 10 1/4in (18 x 26.2cm) dimensions of first
US$400 - 600
6093
OHARA KOSON (1877-1945) AND KOMORI SOSEKI
Meiji (1868-1912) or Showa (1926-1989) era, 1910, circa 1930
Comprising four o-tanzaku-e prints: three by Ohara Koson, including
two mallard ducks in flight above the water, 1910, signed Koson, a
roaring tiger near rocks, publisher Daikokuya, each signed Koson, a
carrion crow on a snow-covered willow branch at dawn, publisher
Watanabe, signed Shoson; and one print by Komori Soseki of a pair
of herons in the rain, circa 1920-30, publisher Kawaguchi, signed
Soseki [4]
14 1/2 x 7 5/8in (36.8 x 19.3cm) smallest
15 1/4 x 8 1/2in (38.8 x 21.5cm) largest
US$700 - 900
6093

6094 6095
6094
YOSHIDA HIROSHI (1876-1950)
Showa era (1926-1989), dated 1928
A small print entitled Nyu Yoruku [impression] and New York in pencil,
dated Showa 3 (1928), publisher Watanabe; signed Yoshida in ink and
H. Yoshida in pencil
10 1/8 x 7 1/8in (25.8 x 18.1cm)
US$1,000 - 1,500
6095
Showa era (1926-1989), dated 1928 and 1937
Comprising an oban yoko-e print of Okitsu/Fuji from Okitsu, from
the series Ten Views of Fuji, jizuri seal, dated Showa 10 (1935), and
an oban tate-e print of Fujo/Calm Wind, jizuri seal, dated Showa 12
(1937), publisher Watanabe Shozaburo; each signed Yoshida in ink
and Hiroshi Yoshida in pencil [2]
10 3/4 x 15 7/8in (27.3 x 40.4cm)
15 3/4 x 10 3/4in (40 x 27.2cm)
US$1,100 - 1,600
6096
HASHIGUCHI GOYO (1880-1920)
Taisho era (1912-1926), dated July 1920
A large woodblock print entitled Onsen yado (Hot Spring Inn), of
a woman at a hot-spring hotel, dated lower right Taisho kyunen
shichigatsu (July 1920); signed and sealed Goyo ga
17 5/8 x 10 1/2in (44.6 x 26.7cm)
6096 US$1,000 - 1,500
40 | BONHAMS
6097
6097
KAWASE HASUI (1883-1957) AND YOSHIDA HIROSHI
(1876-1950)
Showa era (1926-1989) dated 1929 and 1935
Comprising an oban yoko-e print by Kawase Hasui, entitled Shiba
Benten-ike (Benten Pond, Shiba), dated 1929 August, edition notation
177/350, publisher Sakai-Kawaguchi, signed Hasui; and an oban
tate-e print by Yoshida Hiroshi, entitled Hirosaki-jo/Hirosaki Castle,
from the series Sakura hakkei (Eight Views of Cherry Blossoms), jizuri
seal, published by Watanabe Shozaburo, signed Yoshida in ink and
Hiroshi Yoshida in pencil
10 3/4 x 15 5/8in (28.4 x 39.9cm)
16 x 10 1/2in (40.4 x 26.8cm)
US$700 - 900
6098
KAWASE HASUI (1883-1957)
Showa era (1926-1989), dated 1930
An oban tate-e print of Umagome no tsuki (Moon at Umagome), from
the series Tokyo nijukei (20 Views of Tokyo), dated 1930, with publisher
cartouche of Watanabe Shozaburo; signed Hasui
15 1/2 x 10 3/8in (39.2 x 26.4cm)
US$1,500 - 2,500
6098

6099
PROPERTY OF VARIOUS OWNERS
6099
HISHIKAWA MORONOBU (CIRCA 1618-1694)
Wakoku hyakujo (100 Women of Japan), circa 1695
A sumizuri ehon, volume 3 from the series, comprising 34 printed
double-page illustrations of figures below passages of text, with a
frontispiece of text and accompanied by two double pages of new
book listings at the end, one of the illustrations of women preparing the
fibers from hemp plants; with recent folding cloth case
10 1/4 x 7 1/4in (26 x 18.5cm)
US$2,000 - 3,000
6100¤
OSAKA SCHOOL
Album of 36 woodblock prints
Chuban tate-e mounted in an accordion-fold album; most depicting
kabuki actors in role, 1850s, comprising three single prints, three
6100 diptych sets, three triptych sets and two sets of four sheets (total 26)
by Konishi Hirosada; two diptych sets by Uehara Yoshitoyo; one single
print and one diptych set by Utagawa Sadayoshi; two single prints by
Hasegawa Munehiro; and one other print - generally very good-good
impressions, very good color, some with slight toning, covers worn
and soiled
10 x 7 1/4in (25.5 x 18.7cm) (average)
US$800 - 1,200
Property from the Monterey Museum of Art, sold to benefit the

Museum Funds
6101
Edo period (1615-1868), circa 1833-34
An oban yoko-e print titled Shono haku-u (Shono: Driving Rain),
from the series Tokaido gojusan tsugi (53 Stations of the Tokaido), of
travelers in a rainstorm, by publisher Takenouchi Magohachi (Hoeido);
6101 signed Hiroshige ga
8 1/8 x 12 5/8in (20.5 x 32.7cm) (sight)
US$2,000 - 3,000
42 | BONHAMS
6104
6102
A shikishiban surimono print, framed, depicting a scroll of the rakan
Handaka Sonja holding a bowl from which a dragon emerges out from 6102
the painting, with a poem by Chotei Kusumi; signed Hiroshige hitsu
8 1/4 x 6 3/8in (21 x 16.4cm) print
16 3/4 x 14 1/4in (42.3 x 36.2cm) overall
US$2,000 - 3,000
Provenance
Henri Vever (1854-1943) (Lugt 1381 b)
6103
ATTRIBUTED TO UTAGAWA HIROSHIGE (1797-1858)
Edo period (1615-1868)
A small narrow surimono print, framed; depicting a ghostly apparition
of a samurai warrior issuing from an unwrapped flute resting near a
partial suit of armor; unsigned
7 x 1 3/4in (17.8 x 4.6cm) print
14 3/8 x 9in (36.4 x 22.8cm) overall
US$1,500 - 2,500
6104
SUZUKI HARUNOBU (1794-1770)
Edo period (1615-1868), circa 1765-70
An erotic chuban print, framed, of an interior scene depicting a beauty
leaning back from a kotatsu and engaged in pleasurable pursuits while
thinking of her lover's amorous embrace; unsigned
7 1/2 x 9 7/8in (18.3 x 25cm) print
14 3/4 x 17in (37.1 x 43cm) overall
US$3,000 - 5,000
6103

6104A 6105
6104A 6105¤
YANAGAWA SHIGENOBU II ISHIKAWA TORAJI (1875-1964)
Edo period (1615-1868), circa 1835 Showa era (1926-1989), circa 1934-35
A shikishiban surimono print, framed; titled Yamabito (Mountain A dai oban tate-e print of Yokushitsu nite (In the Bathroom), from the
Dweller), from the series Takimono awase (An Incense Contest), circa series Rajo jushu no uchi (Ten Types of Female Nudes), no. 5, of a
1835, a series based on the names of types of incense made for the seated nude at her bath, self-published, carver cartouche Yamagishi
Shakuyakutei circle, with poems by Gantosha Nanafusa, Chikujuen Kazue to; signed in ink Ishikawa, sealed Tora
Shigeyasu and Kagenro; signed Nisei Yanagawa Shigenobu 19 x 14 5/8in (48.3 x 37.3cm)
8 1/8 x6 7/8in (20.5 x 17.6cm) print
15 1/2 x 14in (39.2 x 35.3cm) overall
US$800 - 1,200
US$800 - 1,200
Provenance
Henri Vever (Lugt 1381b)
The poems are translated in John T. Carpenter, ed., Reading

Surimono: The Interplay of Text and Image in Japanese Prints, Leiden
and Zurich: Hotei Publishing in association with Museum Rietberg
Zürich, 2008, p. 367
44 | BONHAMS
PROPERTY TO BE SOLD BY THE
BOARD OF TRUSTEES OF
A MIDWESTERN MUSEUM
6106
6106
An oban yoko-e print titled Kameido Tenjin Taikobashi (The Drum
Bridge at Kameido Tenjin Shrine), from the series Shokoku meikyo
kiran (Remarkable Views of Bridges in Various Provinces), publisher
seal of Nishimuraya Yohachi (Eijudo); signed Saki no Hokusai Iitsu hitsu
9 3/4 x 14 3/4in (24.6 x 37.5cm)
US$2,000 - 4,000
6107
An oban tate-e print titled Toto Aoigaoka no taki (The Falls at Aoigaoka
in the Eastern Capital), from the series Shokoku taki meguri (A Tour
of Waterfalls in the Provinces), publisher seal of Nishimuraya Yohachi
(Eijudo); signed Saki no Hokusai Iitsu hitsu
15 x 10 1/4in (38.3 x 26.2cm)
US$6,000 - 8,000
6107
46 | BONHAMS
6108
6108
Edo period (1615-1868), circa 1832-33
Two oban yoko-e prints from the series Tokaido gojusan tsugi (53
Stations of the Tokaido), the first titled Mitsuke, Tenryugawa zu
(Mitsuke: Tenryu River View), the second titled Kameyama yukibare
(Kameyama: Clear Weather after Snow); each by publisher Takenouchi
Magohachi (Hoeido); signed Hiroshige ga [2]
9 5/8 x 14 3/4in (24.5 x 37.4cm)
9 3/8 x 13 3/8in (23.7 x 34cm)
US$800 - 1,200
6109 6109
Edo period (1615-1868), circa 1832-33
Two oban yoko-e prints from the series Tokaido gojusan tsugi
(53 Stations of the Tokaido), the first titled Kameyama yukibare
(Kameyama: Clear Weather after Snow), the second titled Mitsuke,
Tenryugawa zu (Mitsuke: Tenryu River View), each by publisher
Takenouchi Magohachi (Hoeido); signed Hiroshige ga [2]
8 7/8 x 13 3/4in (22.5 x 34.9cm
8 7/8 x 14in (22.8 x 35.4cm)
US$1,200 - 1,800
6110
Edo period (1615-1868), circa 1832-33
from the series Tokaido gojusan tsugi (53 Stations of the Tokaido),of
signed Hiroshige ga
9 3/4 x 14 3/4in (24.6 x 37.6cm)
6110
US$1,500 - 2,500

6111
6111
Edo period (1615-1868), circa 1832-33
An oban yoko-e print titled Shono hakuu (Shono: Driving Rain), from
the series Tokaido gojusan tsugi (53 Stations of the Tokaido), of
signed Hiroshige ga
8 3/4 x 13 3/4in (22.5 x 34.7cm)
US$1,200 - 2,000
6112
Edo period (1615-1868), circa 1832-33
from the series Tokaido gojusan tsugi (53 Stations of the Tokaido), of
signed Hiroshige ga
6112 10 x 13 5/8in (25.4 x 34.6cm)
US$1,500 - 2,500
6113
Edo period (1615-1868), circa 1830s, 1856
Three oban prints, comprising: Gion-sha setchu (The Gion Shrine in
Snow), from the series Kyoto meisho (Famous Views of Kyoto), circa
1834, publisher Kawaguchiya Shozo (Shoeido, Eisendo);Yanagi-
bashi yakei, Manpachi (Night View of Yanagi Bridge: the Manpachi
[Restaurant]), from the series Edo komei kaitei zukushi (Famous
Restaurants of Edo), circa 1838-40, publisher Fujioka Hikotaro
(Shogendo); Fukagawa kiba (Fukagawa Lumberyards), from the series
Meisho Edo hyakkei (100 Famous Views of Edo), circa 1856, 8th
month, publisher Uoya Eikichi; all signed Hiroshige ga
8 1/12 x 13 3/4in (21.5 x 35cm)
9 3/8 x 14 1/4in (23.8 x 36.2cm)
14 1/8 x 9 1/4in (35.8 x 23.5cm)
6113
US$800 - 1,200
48 | BONHAMS
6114 6115 6116
6114
An oban tate-e print titled Suruga-cho, from the series Meisho Edo
hyakkei (100 Famous Views of Edo), date seal of 1856, 9th month,
publisher Uoya Eikichi; signed Hiroshige ga
14 1/4 x 9 7/8in (36.3 x 25.1cm)
US$800 - 1,200
6115
An oban tate-e print titled Asakusa Kinryuzan (Kinryuzan Temple,
Asakusa), from the series Meisho Edo hyakkei (100 Famous Views of
Edo), with date seal of 1856, 7th month, publisher Uoya Eikichi; signed
Hiroshige ga
14 1/8 x 9 1/4in (35.8 x 23.5cm)
US$1,000 - 1,500
6116
An oban tate-e print titled Fukagawa Kiba (Fukagawa Lumberyards),
from the series Meisho Edo hyakkei (100 Famous Views of Edo), date
seal of 1856, 8th month, publisher Uoya Eikichi; signed Hiroshige ga
6117
13 3/4 x 9 1/4in (34.9 x 23.5cm)
US$800 - 1,200
6117
An oban tate-e print titled Meguro Taikobashi Yuhinooka (Meguro
Drum Bridge and Sunset Hill), from the series Meisho Edo hyakkei (100
Famous Views of Edo), date seal of 1857, 4th month, publisher Uoya
Eikichi; signed Hiroshige ga
14 x 9 1/2in (35.7 x 24.2cm)
US$1,000 - 1,500
6118 6119
6118
UTAGAWA HIROSHIGE II (1829-1869) AND OTHERS
Edo period (1615-1868)/Meiji era (1868-1912)
Comprising: an oban tate-e print titled Fukagawa kiba (Evening View
of Rain in Paulownia Field at Akasaka), from the series Meisho Edo
hyakkei (100 Famous Views of Edo), circa 1859, publisher Uoya Eikichi,
signed Nisei Hiroshige ga; three oban prints by Utagawa Kunisada
(1786-1865), the center sheet from a triptych, circa 1844, and two
sheets from a Genji series of women cleaning, circa 1851, each
signed Toyokuni ga; a double hand-colored bookplate by Hasegawa
Mitsunobu (active circa 1724-1754) from Ehon fuji no yukari vol.1,
illustrating Tale of Genji chapters; a color-printed double bookplate
by Utagawa Hiroshige (1797-1858) from Tokaido meisho (Famous
Views of the Tokaido), depicting the passage between cliffs in Asahina,
mid-19th century; a later reproduction after Utagawa Hiroshige of
five swimming ayu (fresh water trout), from an untitled series known
as Sakana tsukushi or "Large Fish"; and a later reproduction after
Katsushika Hokusai (1760-1849) of Soshu Roben no taki (The Roben
Falls [at Oyama] in Sagami Province), from the series Shokoku taki
meguri (A Tour of Waterfalls in the Provinces) [7]
US$500 - 700
6119
TORII KOTONDO (1900-1976)
Showa era (1926-1989), circa 1929
A dai oban print titled Nagajuban (Long Undergarment) embossed on
the lower margin, dated Showa yonen shichigatsu (Showa 4 [1929],
7th month), signed Kotondo ga, sealed Torii, lower left with embossed
publisher seal Sakai-Kawaguchi go ban (Sakai Kawaguchi, joint
publication), reverse with hand-numbered limited edition paper label
6120 Gaikoku-yuki ni-hyaku-mai kagiri zeppan, dai yonjuni-go, Torii Kotondo
(for foreign export, limited edition of 200 printed, number 42, by Torii
Kotondo)
18 1/2 x 11 7/8in (46.9 x 30.1cm)
US$800 - 1,500
50 | BONHAMS
6120
ITO SHINSUI (1898-1972)
Taisho era (1912-1926), circa 1917
An aiban tate-e print of Miidera (Mii Temple), from the series Omi 6121
hakkei (Eight Views of Omi), titled, dated and signed Omi hakkei no
uchi Miidera Taisho rokunen shichigatsu Shinsui (Eight Views of Omi,
Miidera, Taisho 6 [1917], July, Shinsui), with limited edition publisher
Watanabe Shozaburo seal hand-numbered on verso, Ito Shinsui
ga, Omi hakkei, no uchi Miidera, surizuri nihyaku mai kagiri no uchi
dai gojuyon-ban (picture by Ito Shinsui, Eight Views of Omi, Miidera,
limited edition of 200, number 54)
12 1/2 x 8 5/8in (31.8 x 22.5cm)
US$1,800 - 2,800
6121
Showa era (1926-1989), circa 1938
An oban yoko-e print of Soshun no Yoshida (Early Spring in Yoshida),
from the series Izu hakkei no uchi (Eight Views of Izu), of fields with
Mount Fuji in the distance, publisher Watanabe Shozaburo seal (G:
1942-45), printer Ono Gintaro; signed and sealed Shinsui
10 3/4 x 15 3/4in (27.4 x 40cm)
US$600 - 800
6122 6122
Taisho era (1912-1926), circa 1917
An aiban tate-e print of Ishiyamadera (Ishiyama Temple), from the
series Omi hakkei (Eight Views of Omi), titled, dated and signed
Omi hakkei no uchi Ishiyamadera Taisho rokunen junigatsu Shinsui
(Eight Views of Omi, Ishiyama Temple, Taisho 6 [1917], December,
Shinsui), with limited edition publisher Watanabe Shozaburo seal
hand-numbered on verso, Ito Shinsui ga, Omi hakkei, Ishiyama, surizuri
nihyaku mai kagiri no uchi dai rokujunana-ban (Picture by Ito Shinsui,
Eight Views of Omi, Miidera, limited edition of 200, number 69) 12 5/8
x 8 5/8in (32 x 22cm)
US$2,000 - 3,000
6123
Showa era (1926-1989), circa 1937 and 1939
One oban and six koban prints, the larger titled Kaze shizuka (Calm
Wind)/Calm Wind [#215], dated Showa 12 (1937); signed in ink with
seal Hiroshi, pencil signed Hiroshi Yoshida, jizuri seal; the remaining
five forming a set titled Printing of 'A Junk' Process Set, circa 1939, its
fourth and fifth sheets signed in ink and with the impressed signature
H. Yoshida [6]
15 7/8 x 10 5/8in (40.3 x 27.2cm)
11 1/4 x 7 3/4in (28.7 x 19.9cm) each (5)
6123
US$800 - 1,200
6124
Showa era (1926-1989), circa 1927 and 1930s
Three oban prints, comprising: Haru no asa (Spring Morning)/A
Garden in Okayama [#134], from the series Four Garden Scenes,
dated Showa 8 (1933); Kyoto sanjo ohashi (The Great Bridge of Sanjo
in Kyoto)/Sanjo Bridge in Kyoto [#98], dated Showa 2 (1927); Hokuryo
[#210], from the series Korea and Manchuria, dated Showa 12 (1937);
all signed in ink with seal Hiroshi, the first with impressed signature and
blind printed baren and kao (cursive monograms), the others with jizuri
seal and signed Hiroshi Yoshida in pencil [3]
10 5/8 x 15 3/4in (27 x 40cm)
16 x 11 1/8in (40.7 x28.5cm)
10 5/8 x 16in (27.1 x 40.5cm)
US$800 - 1,200
6124
6125
YOSHIDA TOSHI (1911-1995) AND YOSHIDA KISO (1919-2005)
Showa era (1926-1989)
Comprising six prints of various sizes: four works by Yoshida Toshi:
Hawai no sakana B/Hawaiian Fish B, dated 1955, No.5, dated 1952,
Michi no /Unknown, 86/150, dated 1968, Mount Rainier in Winter,
dated 1972, all pencil signed Toshi Yoshida; and two works by Yoshida
Kiso: Pink Plum Tree, dated 1970, and Wave and Moon, dated 1987,
all pencil signed Kiso Yoshida [6]
10 3/4 x 16in (27.3 x 40.5cm) first print
US$600 - 800
6125
6126
Taisho era (1912-1926), 1926
Two oban prints from the series At the Zoological Garden , the first
titled Kibatan omu (Sulphur-crested Cockatoo)/ Kibatan Parrot [#71],
the second titled Tora (Tiger) [printed] and Sketch of Tiger in pencil
[#74]; each dated Taisho 15 (1926) and with a jizuri seal; each pencil
signed Hiroshi Yoshida, sealed Hiroshi
15 7/8 x 10 1/2in (40.4 x 27.5cm)
10 5/8 x 16 1/8in (26.8 x 40.8cm)
US$800 - 1,200
6126
52 | BONHAMS
6127
Taisho era (1912-1926), 1926
A dai oban yoko-e print titled Komoi sakura (Kumoi Cherry Trees)/
Kumoi Cherry Trees [#76], dated Taisho 15 (1926); signed in ink with
seal Hiroshi, pencil signed Hiroshi Yoshida, jizuri seal
23 x 29 1/4in (58.8 x 74.4cm)
US$2,000 - 4,000

6128
Showa era (1926-1989), circa 1927-28
Three oban prints, comprising: Taguchi no fuyu (Winter in Taguchi)/
Winter in Taguchi [#91], dated Showa 2 (1927); Goraiko (Sunrise
Rite)/ Sun Rise of Fuji [#51], from the series Fuji jukkei (Ten Views of
Fuji), dated Showa 3 (1928); Ainodake Notoridake (Ainodake and
Notoridake)/Manotake and Notoridake [#132], from the series The
Southern Japan Alps, dated Showa 3 (1928); all with a jizuri seal
and signed in ink with seal Hiroshi; the first two pencil signed Hiroshi
Yoshida [3]
10 1/2 x 16 1/4in (26.8 x 41.1cm)
10 1/4 x 15 5/8in (26.2 x 39.7cm)
10 5/8 x 16 1/8in (27.7 x 41.1cm)
US$1,000 - 1,500
6128
6129
Showa era (1926-1989), circa 1941
A dai oban yoko-e print titled Kinmon (Gold Gate)/Gold Gate [#248],
dated Showa 16 (1941); signed in ink with seal Hiroshi, pencil signed
Hiroshi Yoshida, jizuri seal
15 3/4 x 21 3/8in (40 x 54.4cm)
US$800 - 1,200
6129
54 | BONHAMS
PAINTINGS AND SCREENS
6130 6131
6130¤
Garden and Haystacks
1902
Watercolor on paper; featuring a bucolic landscape with a small
garden with flowering bushes and a pair of tall haystacks near a grove
of trees; signed H. Yoshida
13 1/8 x 19 1/2in (33.5 x 49.8cm)
US$1,000 - 1,500
6131
YOSHIDA FUJIO (1887-1987)
River scene
6132 Watercolor on paper; of a pine grove and a fishing village along a shore
line bordered by clumps of reeds; signed F. Yoshida
13 1/8 x 19 5/8in (33.3 x 50cm)
US$1,000 - 1,500
6132¤
NAKABAYASHI SEN (1878-1937)
Hakone
Meiji era (1868-1912)
Watercolor, ink and color pigments on paper; a rural landscape with a
traveler walking towards a torii gate flanked by stone lanterns; artist's
mark NS
9 1/2 x 13 7/8in (24.4 x 35.4cm) image
11 x 15 5/8in (27.7 x 39.6cm)
US$800 - 1,200
6133
6133 HOSEDA GOSEI II
Temple in Mountains
Meiji era (1868-1912)
Watercolor on paper; depicting a solitary traveler ascending a wooden
stairway to a mountain shrine at the base of massive cliff; signed G
Hoseda
13 7/8 x 2 1/4in (35.2 x 51.6cm)
US$1,200 - 1,800
56 | BONHAMS
6134
6134
ANONYMOUS KANO SCHOOL
Still Life
A small hanging scroll, ink line and wash on paper; depicting an
eggplant, melon and small branch of lychee nuts, all set within a
circle, bearing the seal of Kano Motonobu; unsigned
20 5/8 x 13 1/4in (52.4 x 33.7cm) painting
57 1/4 x 18in (145.5 x 46cm) overall
US$1,200 - 1,800
6135
AFTER KANO TSUNENOBU (1636-1713)
Bird on a Rock
A hanging scroll, ink on paper; of a solitary wagtail perched near
withered branches on a large rock above a waterway, bearing an
owl-shaped seal (illegible)
38 x 10 1/4in (1780.496.7 x 26.1cm) painting
71 x 15in (180.4 x 38.2cm) overall
US$1,500 - 2,500
6136¤
TEISAI HOKUBA (1771-1844)
Preparing food for nightingales
Late Edo period (1615-1868)
Hanging scroll, ink and color on paper; of a courtier preparing food
for nightingales with a mortar and pestle, a waka poem in cursive
script to the top; signed Hokuba, sealed Teisai
With a wood tomobako (storage box) inscribed with an
authentication dated Showa 54 (1979)
35 5/8 x 9 5/8in (90.6 x 24.7cm) image
68 3/8 x 14 3/8in (173.8 x 36.5cm) overall
US$800 - 1,200
6135 6136

6137 6138 6138
6137 6138
ITO JAKUCHU (1716-1800) AFTER SOGA SHOHAKU (1730–1781)
Cranes Man Riding a Horse; Monkey Reaching for the Moon
Edo period (1615-1868), 18th century Edo period (1615-1868), 19th century
A hanging scroll, ink on paper; an abbreviated portrayal of two A pair of hanging scrolls, ink on paper; the right depicting the back
standing cranes; signed Tomaio, sealed Jakuchu-koji view of a Chinese sage riding a horse, the left of a gibbon on a cliff,
With a wood tomobako (storage box) reaching down towards a reflection of a full moon; each bearing the
47 1/8 x 18 1/8in (119.8 x 46.1cm) painting signature Shohaku ga, seal Jasoku ga Shohaku
84 3/4 x 23 5/8in (215.5 x 60.2cm) overall With a wood tomobako (storage box)
49 5/8 x 19 7/8in (126.1 x 50.7cm) each painting
84 1/2 x 25in (214.8 x 63.5cm) each overall
US$2,000 - 3,000
US$3,000 - 5,000
58 | BONHAMS
6139
6140 6141
6139 6141¤
UKIYO-E SCHOOL SAITO UNKEI
Beauty Composing a Poem Mount Fuji
Meiji era (1868-1912), circa 1870-1880 Taisho (1912-1926) or Showa era (1926-1989)
A roundel in ink, color and gold pigment, framed; a half-portrait of A hanging scroll, ink and light color on silk; a hazy view of Mount Fuji
a lady-in-waiting writing on a poem card; set within a thick black- towering above wooded cliffs and two fishing boats; signed and sealed
lacquered wood frame with two metal suspension loops of repoussé Unkei
chrysanthemum design With a wood tomobako (storage box) inscribed by the artist
39 7/8in (101.5cm) diameter 40 1/4 x 15 3/4in (102.3 x 40) painting
73 1/8 x 20 5/8in (186 x 52.5cm) overall
US$1,000 - 2,000
US$700 - 900
6140
NIHONGA SCHOOL (20TH CENTURY) 6142
Court lady playing the koto No lot
Taisho (1912-1926) or Showa (1926-1989), 1910s-1930s
Hanging scroll, ink and color on silk; depicting an interior with a Heian-
era beauty in three-quarter view, seated as she plucks the strings of a
koto in the soft light of an oil lamp; signed and sealed Gogan
49 1/2 x 21 3/4in (125.7 x 55.5cm) image
76 x 26 3/8in (160 x 67.2cm) overall
US$1,500 - 2,000

6143
ANONYMOUS
Stable with Horses
Edo period (1615-1868) or Meiji era (1868-1912), mid-late 19th
century
A two-panel folding screen, ink, color and metallic foil on paper;
depicting an umaya (stable) with two stallions tethered in their stalls,
the veranda with two groups of courtiers, one engaged in a game
of sugoroku, the other admiring a goshawk and waited upon by two
attendants; unsigned
60 1/4 x 53 1/4in (153 x 135.8cm)
US$1,000 - 1,500
PROPERTY FROM THE COLLECTION OF H. LEE TURNER,

KANSAS
6144
ANONYMOUS
Poppies
Edo period (1615-1868), mid-late 17th century
Fragments of a six-panel screen, now mounted as a pair of fusuma
doors; ink, color and gold on gold leaf with stands of poppies in bloom
among clouds
60 x 24in (152 x 61cm) each panel
US$20,000 - 30,000
6143
This pair of fusuma is a companion to the following lot.
6144
60 | BONHAMS
6145
ANONYMOUS
Poppies
Edo period (1615-1868), mid-late 17th century
Six-panel screen; ink, color and gold on gold leaf showing stands of
poppies in bloom among clouds
56 x 21in (142 x 53cm) each panel, possibly reduced in size
US$40,000 - 60,000
For other seventeenth-century screens of this subject, a favorite of

Tawaraya Sotatsu (active circa 1600-1640) and his followers using the
Inen seal, compare Museum of Fine Arts, Boston, inv. no. 11.1273 and
11.1274, http://www.mfa.org/collections/object/poppies-24483 and
Kyoto National Museum, http://bunka.nii.ac.jp/heritages/detail/91400.
6145 (detail)

6146
6146
UKIYO-E SCHOOL
Beautiful Women
Edo period (1615-1868), 19th century
A mid-size four-panel folding screen; the
individual panels with paintings by various artists,
comprising: a fashionable townswoman, signed
Tochoro Sadamichi ga; a courtesan, signed
Utagawa Toyokuni; a geisha with a fan, signed
Toyo-utsusu, and a samurai youth with a high
ranking courtesan, signed Hiromaro
48 3/4 x 62 7/8in (124 x 159.8cm) overall
6147 US$5,000 - 7,000
6147
ANONYMOUS
24 paragons of Filial Piety
A small six-panel screen; ink color and gold
flecks on paper, illustrating 12 of 24 examples of
filial pienty
48 1/8 x 106in (106.9 x 296.2cm)
US$3,000 - 4,000
6147A
TSUKIOKA SESSAI (DIED 1839)
The Seven Sages of the Bamboo Grove
Edo period (1615-1868), early 19th century
A large six-panel folding screen, ink, color and
6147A gold on paper; depicting the Seven Sages of the
Bamboo Grove accompanied by two youthful
attendants in a bamboo grove, most of the
group engaged in examining a long handscroll
written in archaic script; signed Hogen Tsukioka
Sessai zu
69 1/8 x 146in (175.8 x 370.8cm)
US$2,500 - 3,500
62 | BONHAMS
SHINTO AND
BUDDHIST ART
SCULPTURE FROM THE GITTER-YELEN COLLECTION
6148
A PAIR OF WOOD ZUISHIN (ATTENDANT FIGURES)
Kamakura (1185-1333) or Muromachi (1333-1573) period,
13th-14th century
Each carved from a single block of wood and originally seated on a Although previously described generically as gyoji (Shinto priests),
dais or similar support in a formal pose, one with his hands together these lively, assertive figures seem more likely to belong to a group
and the other with his hands resting symmetrically on his knees, they of awe-inspiring pairs of figures called zuishin that were placed at the
wear voluminous formal robes and lacquered hats, the facial features entrances to shrines during the medieval period; this identification
well preserved, both with extensive traces of black pigment especially is supported by the fact that the mouth of one is very slightly open,
on the reverse, the figure with hands together with linear patterns uttering the syllable a, while that of the other is closed, uttering the
suggesting the decoration of his robes, the timber with numerous syllable un, features copied from the more familiar pairs of Buddhist
wormholes but otherwise largely intact; each with a modern steel Nio (Guardian Kings). The earliest pair of zuishin, registered as
stand Important Cultural Properties and datable to 1162 from inscriptions
29 1/8 and 29 1/2in (74 and 75cm) high on scraps of paper found inside the figures, is in the Takano Shrine,
Tsuyama, Okayama Prefecture. As noted in a commentary to
another pair of zuishin dating from circa 1219 (also Important Cultural
US$40,000 - 60,000
Properties) in the Kamitami Shrine, Kagawa, "the wrath of Shinto
guardians is generally more contained and their pose less animated
than that of their Buddhist counterparts, the Nio."1
1 Haruki Kageyama and Christine Guth Kanda, Shinto Arts: Nature,
Gods, and Man in Japan, New York, Japan Society, 1976, cat. no. 6.
64 | BONHAMS
6149 (detail)
6149
A STANDING WOOD FIGURE OF A SHINTO DEITY
Heian period (794–1185), late 10th century
Carved from a single block of wood, he stands in an imposing, pensive
pose, wearing the characteristic formal garb of a Chinese or Japanese
courtier of the Tang dynasty or Heian period, his hands held together in
front concealed by voluminous sleeves and wearing a court cap which
bears extensive traces of black pigment, some traces also visible on
his triangular beard, his face with its serene expression largely intact,
most of the rest of the surface with extensive worm damage which is
especially pronounced on his right side; mounted on a modern wood
stand
33 7/8in (86cm) high
US$35,000 - 45,000
Published:
Stephen Addiss, Michael G. Cunningham and others, A Myriad expression and pointed beard of the present lot invite comparison
of Autumn Leaves: Japanese Art from the Kurt and Millie Gitter with a seated kami Daishogun (Great General) in the Daishogun Hachi
Collection, New Orleans Museum of Art 1983, cat. no. 108, which Jinja Shrine, Kyoto, probably from slightly later in the Heian period.1
records that a radiocarbon test on this lot indicated a date in the third The present figure has been tentatively identified as the work of a
quarter of the tenth century. fine provincial sculptor from the Tohoku region, on the basis of similar
images in the Matsuoyama Kannondo and Manzoki, Iwate Prefecture.2
In contrast to the preceding lot, which gives Buddhist form to a kami The marks of prolonged exposure to wind, weather, and insect pests
(Shinto deity), this figure portrays a kami in the guise of a court official. enhance rather than detract from its calm authority and appealing
Starting in the late seventh century, Japan's rulers introduced a personality.
bureaucratic system and code of laws modeled upon those of China's 1. Haruki Kageyama and Christine Guth Kanda, Shinto Arts: Nature,
Tang dynasty. The highest positions below the Emperor himself were Gods, and Man in Japan, New York, Japan Society, 1976, cat. no. 5;
taken by members of the leading clans, who made claims to divine Victor Harris ed., Shinto: The Sacred Art of Ancient Japan, London,
descent in order to legitimize their formal political authority; not long The British Museum Press, 2001, cat. no. 63.
afterwards, figures of kami personified as courtiers, often wearing 2. Stephen Addiss, Michael G. Cunningham and others, A Myriad
formal headgear, started to be produced. These divine bureaucrats of Autumn Leaves: Japanese Art from the Kurt and Millie Gitter
are nearly always shown in a seated or kneeling position, making the Collection, New Orleans Museum of Art 1983, p. 297.
present lot an exceptional rarity.
The earliest figures portraying kami in courtly attire are probably a pair
in Kyoto's Matsuno-o Shrine, dated to the ninth century, but the facial
6150
A LARGE STANDING FIGURE OF A SHINTO DEITY
Heian period (794–1185), late 10th century
Carved from a single tree trunk, the stern facial expression Philadelphia Museum of Art, Treasures of the Philadelphia Museum of
characterized by a downturned mouth, arched eyebrows, and a Art, 1973, p. 16; Sherman E. Lee, "A Hand and an Image of Wood,"
prominent nose, below a flame-like coiffure, the naked torso simply Bulletin of the Cleveland Museum of Art, 44 (Jan. 1957); Jack Sewell,
carved with a slightly protruding belly, the suggestion of a cloak-like "Four Newly Acquired Examples of Japanese Art," The Art Institute
garment around the shoulders, the skirt indicated by three folds in of Chicago Quarterly, 52, no. 1 (Feb. 1958); and Henry Trubner,
relief and augmented by a few simple lines extending to just above the Royal Ontario Museum: The Far Eastern Collection, 1968, cat. 102.
knees, the back almost smooth except for lines below the collar and See also Donald Jenkins, Masterworks in Wood: China and Japan,
above the skirt, the feet with traces of dark pigment indicating shoes, Portland Art Museum, 1976, cat. 57 (Honolulu Academy of Arts) and
other traces of pigment particularly on the hair and the upper garment, Hugo Munsterberg, Sculpture of the Orient, 1972, p. 135 (Brooklyn
both arms and parts of both feet missing and with extensive old worm Museum). Another example in Denver Art Museum (inv. no. 1980.95)
damage; mounted on an antique wood stand appears to have reached the United States separately from the group.
39 3/4in (101cm) high without stand; 45 1/8in (114.7cm) It comprises the upper half only of a figure that must originally have
high with stand been close to six feet in height and carved from a single tree trunk.
US$60,000 - 80,000 The first sculptural images of kami (Shinto deities), in contrast to
Buddhas, bodhisattavas, guardian kings, and other Buddhist deities,
were likely carved during the Nara period (710–794), when it is
Provenance recorded that a statue was constructed of the kami Tado, who had
Howard Hollis collection expressed a wish (communicated through a Buddhist monk) to follow
the Buddhist way of the Sanbo (Three Jewels).1 Like this lot, many
Published early statues of Shintō deities were fashioned from a single block of
Hugo Munsterberg, Sculpture of the Orient, New York, Dover wood, typically harvested close to the locality where the kami was
Publications, 1972, p. 136 believed to reside and thus already imbued with its spirit power. In the
Carolyn H. Wood, Art of China and Japan, Huntsville AL, Huntsville absence of a tradition of Shinto image-making, Buddhist deities served
Museum of Art, 1977, cat. no. 283 as sources of imitation for these representations of Japan's native
Stephen Addiss, Michael G. Cunningham and others, A Myriad deities and, as in the present case, the terrifying gods of esoteric
of Autumn Leaves: Japanese Art from the Kurt and Millie Gitter Buddhism were sometimes used as models. Here, the flaming hair
Collection, New Orleans Museum of Art 1983, cat. no. 109, which recalls that of ninth-century Buddhist deities such as Gosanze Kongo,
records that a radiocarbon test on this lot indicated a date in the a fierce protector of the Buddhist law;2 the same hair is seen in the
third quarter of the tenth century. figure in the Honolulu Academy of Arts (inv. no. 2788.1) and would
become especially associated with the syncretic Shinto-Buddhist deity
This numinous figure is one of a group of unusually large Shinto Zao Gongen.3
deities that appear to have reached the United States in the 1950s Due to understandable reluctance to give Shinto deities human form,
through the Mayuyama Company and are thought to be associated figures such as the present lot, especially those more than three feet
with religious cults active in the region southwest of present-day in height, are exceptionally rare; its early date makes it an even more
Tokyo, centered on the Izu Peninsula. Other members of the group remarkable survival. It was likely preserved for centuries in the inner
are in a wide range of North American institutions and have been sanctuary of a Shinto shrine, where it would have been little seen even
extensively published, although not in the recent past. For illustrations by the priests, except at an annual festival when the shrine deity would
and discussions, see especially a series of articles by Shimizu Zenzo have been invoked to breathe new life into the timber. We can imagine
entitled "Amerika, Kanada ni aru Nihon chokoku (Japanese Sculpture the structure housing the figure falling slowly into disrepair, exposing it
in America and Canada": Bukkyo geijutsu 126 (Sept. 1979), p. 84, to the elements and imbuing it with a natural, weathered appearance
fig. 68 (Art Institute of Chicago); Bukkyo Geijutsu 127 (Nov. 1979), that seems entirely in character with Japan's native religion.
pp. 110-111, figs. 163-165 (Honolulu Academy of Fine Arts); Bukkyo 1. Victor Harris ed., Shinto: The Sacred Art of Ancient Japan, London,
Geijutsu 127 (Nov. 1979), p. 107, fig. 150 (Brooklyn Museum, on loan The British Museum Press, 2001, cat. no. 60; see also Christine Guth
from Cynthia H. Moore); Bukkyo Geijutsu 128 (Jan. 1980), p. 100, Kanda, Shinzo: Hachiman Imagery and Its Development, Cambridge,
fig. 194 (Philadelphia Museum of Art); and Bukkyo Geijutsu 128 (Jan. MA, Harvard University Press, 1985, pp. 12-13.
1980), p. 113, fig. 247 (Royal Ontario Museum). 2. For an early pictorial example, see Elizabeth Ten Grotenhuis,
Most of the figures are reproduced in Junkichi Mayuyama, Japanese Japanese Mandalas: Representations of Sacred Geography, Honolulu,
Art in the West, Tokyo: Mayuyama and Co. Ltd., 1966: nos. 24 University of Hawai'i Press, 1999, p. 83.
(Honolulu Academy of Arts), 25 (Royal Ontario Museum), 26 (Honolulu 3. For a 13th-century iron example in the John C. Weber collection,
Academy of Fine Arts), 27 (Art Institute of Chicago), 28 (Cleveland see Asia Society, "Pilgrimage and Buddhist Art," http://pilgrimage.
Museum of Art), 29 (Philadelphia Museum of Art), and 30 (Honolulu asiasociety.org/artifacts/zao-gongen; see also Haruki Kageyama and
Academy of Arts); see also Mayuyama, Seventy Years, 1976, vol. 2, Christine Guth Kanda, Shinto Arts: Nature, Gods, and Man in Japan,
p. 165, figs. 334-335. Newer images can be found on some of the New York, Japan Society, 1976, cat. no. 32.
respective museum websites, as well as in older museum publications:
66 | BONHAMS
6151
A LACQUERED WOOD FIGURE OF A SEATED BUDDHIST
MONK
Muromachi (1333-1573), Momoyama (1573-1615), or Edo (1615-
6151 1868) period, 16th-17th century
Carved and assembled from multiple pieces of wood, seated in formal
pose, the right hand raised, the left hand missing, with many areas of
pigment remaining
US$5,000 - 6,000
6152
A SEATED WOOD FIGURE OF ONE OF THE JUO (TEN HELL
MAGISTRATES)
Muromachi period (1333-1573), 16th century
Carved and assembled from wood, seated formally and looking sternly
downward, wearing a large Chinese judge's cap, the eyes inlaid in
crystal, the robes flowingly carved, few traces of pigment remaining,
the hands and the front section of the robes missing; with a wooden
dais probably of the same date
15in (38cm) high without dais; 17 3/8in (44cm) high with dais
US$5,000 - 7,000
6152 A similar figure is in the Victoria and Albert Museum, London, inv. no.
A10-1967 (http://collections.vam.ac.uk/item/O230942/one-of-the-ten-
judges-figure-unknown/)
6153
A WOOD FIGURE OF A NIO (GUARDIAN DEITY)
Standing in the characteristic pose of a Buddhist guardian, the mouth
slightly open uttering the syllable a, the face beneath a dramatic
coiffure, the deeply slanted eyebrows looking downward creating
a ferocious expression, the right hand raised with fingers bent and
the left hand lowered with fingers held horizontal, part of the left foot
missing, the simple, vigorous carving originally covered in pigment of
which very few traces remain, a few characters in ink partly visible on
the reverse; with a modern wood stand
22 1/4in (56.6cm) high
US$10,000 - 15,000
6153
68 | BONHAMS
6154
A STANDING WOOD FIGURE OF THE BODHISATTVA JIZO
Heian (794–1185) or Kamakura (1185-1333) period, 12th century
Mostly carved from a single block of wood, the bald-headed
compassionate bodhisattva, patron of children, women, and travelers,
represented as a young monk with a shaven head, standing in his
typical pose, the right hand holding a shakujo (priest's staff, a later
replacement), the left hand extended and originally holding a hoju
(wish-granting jewel), traces of red and black pigment remaining
especially on the front of the robes along with a suggestion of gold
designs over lacquer that are now essentially lost; with modern black-
painted stand
19 7/8in (50.4cm) high
US$25,000 - 35,000
Published
Stephen Addiss, Michael G. Cunningham and others, A Myriad
of Autumn Leaves: Japanese Art from the Kurt and Millie Gitter
Collection, New Orleans Museum of Art 1983, cat. no. 106
The mostly single-block construction of this delicately executed figure
with traces of lavish decoration suggest that it was likely carved in
the twelfth century, probably in present-day Shiga or Mie Prefecture.
Its diminutive size suggest that it may once have graced a private
aristocratic chapel rather than a temple sanctuary.

6155
A BRONZE FIGURE OF KANNON
Nara period (646-794), 8th century
Standing on a double-lotus pedestal and wearing the characteristic
bodhisattva raiment, his head with a youthful face and elaborate
coiffure encircled by a diadem fronted by a small seated figure of
Amida Buddha
12 1/4in (31.3cm) high
US$15,000 - 20,000
The dating of this lot is consistent with the results of a materials

technical examination dated December 20, 2011.
6155
6156
AN IRON KAKEBOTOKE (VOTIVE PLAQUE)
Kamakura-Nanbokucho period (1185-1392), 14th century
Cast and carved in relief as Yakushi Nyorai , the Buddha of Healing
shown standing on a lotus with his right hand raised in a mudra and
his left holding a vase
7 3/8in (18.7cm) high
US$2,000 - 3,000
6156
70 | BONHAMS
6157
A POLYCHROME WOOD FIGURE OF KISHIMOJIN
Also known as Kariteimo, a Buddhist protector of children and the
Lotus Sutra, standing in brocade-patterned Chinese robes and
cradling an infant in her left arm, her right hand holding a spray of
fruiting pomegranates (now missing), the dimpled face with an partially
open mouth and inlaid crystal eyes framed by an elaborate coiffure, the
reverse with an effaced inscription [] [] Kishimonjin Jurassetsu nyo Onjo
(ji) (Miidera) and with artists cipher
22 1/2in (57cm) height exclusive of stand
US$6,000 - 8,000
Kariteimo (Hariti) was originally a fierce spirit who kidnapped children

and fed them to her own offspring. After realizing the pain and suffering
she has caused countless parents she converts to Buddhism and
adopts the role of protector of all children.
For a Kamakura-period seated example of Kishimonjin in the collection

of Miidera, see Shiga Kenritsu Biwako Bunkakan, ed., Tenjokai no
hotoketachi, Tenbu no shoson (The Buddhas of Heaven, Various
Buddhas Deva), (Otsu, 1998), fig. 37.
6157
6157 (detail)
6158
A GILT AND POLYCHROMED WOOD FIGURE OF AIZEN MYO-O
Muromachi period (1333-1573) 15th century
The red-colored wrathful deity wearing a brocade-patterned garment
and metal jewelry with glass beads while seated on an elaborate
ribbon-tied lotus pedestal, his primary hands holding a five-prong vajra
and ritual bell, the other four displaying a mudra or holding attributes of
an arrow and bow (now missing), the face with a ferocious expression
heightened by inlaid crystal eyes and crowned by a headdress with the
head of a snarling shishi, also with inlaid crystal eyes, all backed by a
circular nimbus painted with flames
27 1/4in (69.3cm) height overall
US$10,000 - 15,000
6158

(detail) (x-ray showing placards)
6159
A SEATED FIGURE OF DAINICHI NYORAI (VAIROCANA)
Muromachi period (1333-1573) 15th century
Carved and assembled in yose-zukuri (joined-block) construction
with inlaid crystal eyes and finished in gold lacquer, the figure shown
seated cross-legged with both hands in the lap in the hokkai jouin
mudra (concentration seal of the Dharma realm), the hair swept up in
a high topknot and fastened with an ornament and crown of royalty,
applied with a necklace of jeweled garlands, armbands and wristlets,
the interior of the body with numerous wood dedicatory placards
US$50,000 - 70,000
This fine figure represents a somewhat uncommon form of Dainichi

known as the Taizokai (Womb World) Dainichi, identifiable by the
hokkai join mudra, where the hands are held in the lap, palms facing
upward and thumbs touching. The more recognizable representation
of the deity is the Kongokai (Diamond World) Dainichi, as described
in the Kongokai Mandala, with the hands held in the chiken-in (so-
called "knowledge fist") mudra, with the clenched right hand held
above the extended index finger of the left hand. An inscription on
the lotus dais (now effaced) indicated that this sculpture was the
principle image in a temple of the Shingon sect.
The survival of dedicatory placards inside the body cavity, still
present some 500 years after the sculpture was made, is remarkable.
The placards are probably inscribed with the names of donors,
the date of dedication and possibly the name of the sculptor.
The results of carbon-14 test (no. IHME 2077 05270313) are

(x-ray of the interior) consistent with the dating of this lot.
72 | BONHAMS
6160 6161
KOSHO (1534-1621) A LATER KEI SCHOOL ZUSHI WITH THREE DEITIES
A large wood figure of the Bodhisatva Jizo By Koun, Edo period (1615-1868), dated 1746
Momoyama (1573-1615) or Edo (1615-1868) period, circa 1600 The black-lacquer cabinet with hinged doors opening to reveal figures
Of yosezukuri (joined-block) construction, the figure shown seated half of Fudo Myo-o flanked by Nyorai Koujin (Vajrasatta), and Aizen Myo-o,
pendant on an elaborate rock base, the left hand holding a sacred all carved and assembled in wood and painted in pigments and gilt,
jewel and the right with a staff and finished in pigments and gold with applied jewelry and accoutrements and set on a multi-tiered dais,
lacquer, the eyes inlaid in crystal, the interior signed Kosho Daibusshi, inscribed on the underside of the cabinet
and inscribed with the address of the sculptor's workshop and the
name of the donor who commissioned the work 不動明王, 如来荒神, 愛染明王三尊
US$20,000 - 30,000 落陽七條大仏筋運慶嫡博十八世

京西六條天使製作者大仏師康雲
延享二年作（一七四六年）
A native of Kyoto and chief sculptor to the Toji Temple, Kosho seems
to have been active primarily as a restorer of Buddhist statuary; new Fudo Myo-o, Aizan Myo-o, Nyorai Kojin sanzon
works from his hand are rare. Rakuyou shichi-jou daibutsu suji Unkei chakuden juuhachi-sei
Kyousai rokujou tenshi seisakusha daibusshi Kouun
Enkyou ninen saku (1746)
(Fudo, Aizen Nyorai Koji triad, 18th-generation descendant of the
great Buddhist line of Unkei, of eastern Kyoto's 7th Avenue, Buddhist
sculptor Kouun, of western Kyoto's 6th Avenue
Fudo: 16 1/2in (41.9cm); Aizen: 13 1/8in (33.3cm); Nyorai Koujin: 12
1/2in (31.8cm) high; Cabinet: 22 x 21 3/4 x 10 1/4in (55.8 x 55.2 x
26cm)
US$25,000 - 35,000
The inscription on the underside of the case indicates that all three
figures were carved by a Kyoto sculptor named Koun, purportedly
the 18th descendant in the lineage of Unkei.
74 | BONHAMS
6161
6161 (detail of underside)

6162
A STANDING FIGURE OF AMIDA BUDDHA
Momoyama (1573-1615) or Edo Period (1615-1868),
17th-18th century
The figure shown standing with his hands in a mudra representing
one of the 9 levels of re-birth ( kubon 九品), the robes loosely draped
across the torso and hanging at the sleeves, eyes, and urna inlaid in
crystal or colored stone, with a later wood stand
38 1/4in (97.ccm) high (figure only)
US$35,000 - 45,000
6163
AN ILLUSTRATED SUTRA, JINGOJI ISSAIKYO
Heian period (794-1185), early-mid 12th century
Handscroll, gold and silver on indigo-dyed paper, with gilt-
copper floral-etched scroll ends; the frontispiece depicting Shaka
Buddha preaching at Vulture Peak, flanked by two monks and two
bodhisattvas; the accompanying long passage of scripture entitled
Bussetsu daiai dohatsu deionkyo 佛説大愛道般泥洹経
With an inscribed wooden storage box
10 1/8 x 150 7/8in (25.7 x 383.4cm)
11 1/2in (29.2cm) height with rollers
6162
US$6,000 - 8,000
Another scroll from this set was sold in these rooms, September 15,
2015, lot #2057
This gold-and-silver decorated sutra is part of the Issaikyo (Buddhist

corpus), commonly known as Jingoji-kyo due to its association with
the Jingo-ji temple complex in Takao, Kyoto. One of over 5,400
volumes in total, it was originally donated to by Emperor Go-Shirakawa
(1127-1192) at the request of retired Emperor Toba (1103-1156).
The Jingo-ji itself still retains 2,317 scrolls, all of which have been
collectively designated Important Cultural Properties. Other illustrated
scrolls from this set are in the collection of the Goto Art Museum
(Nihon no shakyo ten [Exhibition of Copied Buddhist scripture in
Japan], Sano Art Museum, 1980, p. 58, fig. 39 and p. 77); the
Mary and Jackson Burke Collection (Miyeko Murase, Japanese Art:
Selection from the Mary and Jackson Burke Collection, New York,
1975, pp. 42-43, pl. 11); the Art Institute of Chicago (2008.157; http://
www.artic.edu/aic/collections/artwork/193241); and Kyoto National
Museum (www.kyohaku.go.jp/jp/dictio/shoseki/74jingoji.html).
6163
76 | BONHAMS
LACQUER
6164 6169
GYOKKO MASANAO
A wood netsuke of Sato Tadanobu A wood netsuke of a toad
Edo period (1615-1868), 19th century Edo period (1615-1868), or Meiji era (1868-1912), mid-late 19th
The warrior shown holding aloft a go board with which he defends century
himself from his attackers, signed Gyokko Carved as a crouching toad, the surface finished and stained to
2 1/4in (5.7cm) high resemble the bumpy skin of the amphibian, signed in a polished
reserve Masanao
US$1,200 - 1,800 2in (5.1cm) long
Sato Tadanobu (1161-1186) was a retainer of Minamoto no Yoshitsune US$1,200 - 1,800

(1159-1189). He is commonly known and Goban (Go board) Tadanobu
after the story surrounding his death. Attacked while engaged in a 6170
game of Go, he picked up the heavy game board to defend himself, ANONYMOUS, YAMADA SCHOOL
repelling his would-be assasins. He later committed suicide. A wood netsuke of a toad
6165 Perched on a discarded straw sandal, the eyes inlaid in dark horn
TOMAN 1 5/8in (4.2cm) wide
A wood netsuke of Kan'u
Edo period (1615-1868), 19th century US$1,000 - 1,500
The Chinese God of War shown leaning on his halberd dressed in
armor and flowing robes, signed Toman 6171
2 3/8in (6cm) high ANONYMOUS
A wood mask netsuke
US$3,000 - 5,000 Edo period (1615-1868) or Meiji era (1868-1912), 19th century
Carved as a mask of the demon-woman Hannya
Provenance 1 11/16in (4.2cm) high
Mary Louise O'Brien collection
US$500 - 700
6166
KOKUZAN 6172
A wood netsuke of Ashinaga and Tenaga AFTER NAITO TOYOMASA
Edo period (1615-1868), 19th century A wood netsuke of an emaciated dog
The two figures shown working in tandem to play a large drum, signed Edo period (1615-1868), 19th century
Kokuzan The animal shown seated with its left front paw raised and its mouth
1 1/2in (2.8cm) high agape, the ribs prominently shown, the eyes inlaid in bone and dark
horn, inscribed Toyomasa in a rectangular polished reserve on the
US$800 - 1,200 underside of the tail
1 1/2in (3.8cm) wide
6167
SUGUNOYA SHOKO US$1,500 - 2,500
A wood netsuke of Benkei and Yoshitune
Edo period (1615-1868), 19th century 6173
Carved as Benkei bending down to retrieve Yoshitsune's geta (wooden ANONYMOUS
clog) after his defeat by the youth at Gojo Bridge, the eyes inlaid in A wood netsuke of Shoki
dark horn, signed Shoko Edo period (1615-1868), 19th century
1 5/8in (4.2cm) wide The demon hunter shown looking over the edge of a stump, sword in
hand, looking for an oni who peers out from a cavernous hideout
US$3,000 - 5,000 1 1/2in (3.8cm) wide
Published US$1,000 - 1,500

Bernard Hurtig, Masterpiees of Netsuke Art, New York, Weatherhill,
1973, no. 369, pg. 100. 6174
Provenance SANMAI
Elaine Hazu collection A wood netsuke of a shishi (Chinese lion)
20th century
6168 The compact figure seated with feet close together and boldly carved
MASANAO OF YAMADA with open mouth and flowing mane, signed on the underside Sanmai
A wood netsuke of a coiled rat 1 5/8in (4.2cm) wide
The rodent shown in the typical pose for the subject with one paw at US$800 - 1,200
the ear and one on the snout, the tail wrapped tightly around the body,
eyes inlaid in dark horn, signed Masanao in a polished reserve 6175
1 1/2in (3.7cm) wide KAWARA AKIHIDE (BORN 1934)
A boxwood netsuke of a snail and a longhorn beetle
US$1,500 - 2,500 20th century
The insect confronting the snail as it emerges from its shell, the
beetle's wings inlaid in dark horn, signed Akihide
US$1,500 - 2,500
Provenance
With Bernard Hurtig, June 29, 1979
78 | BONHAMS
6164 6165 6166
6167 6168 6169
6170 6171 6172
6173 6174 6175

6176 6177 6178
6179 6180
6176 6178
KAIGYOKUSAI MASATSUGU (1813-1892) STYLE OF ITSUMIN
A wood Netsuke of a mokugyo (temple bell) A wood netsuke of an owl
Edo period (1615-1868) or Meiji era (1868-1912), 19th century Edo period (1615-1868), 19th century
Carved in typical form with confronted dragon heads forming the The bird shown perched on pine branch looking slightly to the left, the
handle, their open mouths holding a free-moving ball, the removable feathers rendered with fine incised lines and the eyes inlaid in amber
striker inserted into a receptacle at the bottom, signed on the and dark horn
underside Kaigyokusai 1 1/2in (3.7cm) high
1 1/2in (3.7cm) high
US$1,000 - 1,500
US$3,000 - 5,000
6179
Provance RAKU OF OSAKA
Rino Ferrari collection A wood netsuke of a Chinese boy
With Bernard Hurtig, May 19, 1978 Edo period (1615-1868), 19th century
Carved as a round faced boy holding a fan, his head thrown back and
6177 mouth open in a laugh, signed Raku
ANONYMOUS 1 3/4in (4.4cm) high
A wood netsuke of Fukurokuju
Edo period (1615-1868), 19th century US$1,500 - 2,500
Carved to resemble a tortoise when seen from the top, the features
of Fukurokuju visible on the underside, the details finely carved nad 6180
stained for effect A WOOD NETSUKE OF TURLES
1 1/2in (3.8cm) long By Gekko, Edo period (1615-1868), 19th century
Carved as a group of turtles clambering on top of one another, the
US$1,200 - 1,800 himotoshi lined in dark horn, signed on the underside Gekko
2 1/4in (5.7cm) high
US$2,000 - 3,000
80 | BONHAMS
6181
6182
6181 6182¤
SEKIJOKEN TAIZAN MOTOZANE (1741-1830) KOMAI STUDIO
A fine three-case silver and shakudo sheath inro A gilt-decorated iron one-case inro
Edo period (1615-1868), dated 1825 Meiji era (1868-1912), late 19th century
The exterior case of shakudo and decorated in gold and shibuichi Of oval section and decorated in gold nunomezogan with rectangular
takazogan with a pair of cranes in a landscape with a fruiting peach panels of a rooster and hen beneath peonies and a temple complex,
extending to the opposite side with reishi fungus and rock and partially the surrounding areas decorated with geometric patterns, the top and
silhouetted against openwork clouds, the silver interior case etched bottoms imitating Gyobu nashiji, signed Dai Nihon Kyoto no ju Komai
with flowering bush clover along a stream, the base of the outer sei; fitted with an iron manju-style netsuke decorated with blossoming
case incised Bunsei shichi, kinoe-saru, shichigatsu gyonen hachijugo flowers and a recumbent fox in gold nunomezogan
Mito no ju Sekijoken Taizan Motozane kincho (respectfully made by 3 5/8in (9.2cm) high
Sekijoken Taizan Motozane of Mito at the age of 85, in the seventh
month of 1824); fitted with a coral-colored bead US$1,500 - 2,000
2 5/8in (6.6cm) long
US$3,000 - 4,000

6183
6183 6185 6187

THREE LACQUER INRO HASEGAWA SHIGEYOSHI TAIHEI
Edo period (1615-1868), 18th/19th century A four-case gold lacquer inro A two-case lacquer inro
Comprising a four-case inro decorated with Edo period (1615-1868), 19th century Edo period (1615-1868), 18th century
kimono hanging on racks in iro-e hiramaki-e Of lenticular shape and decorated with Of lenticular section, designed with a brown
and inlaid shell on a dense nashiji ground, butterflies hovering about a sleeping figure ground and lacquered in gold and silver
the interior risers lacquered with scrolling of Zhuangzi or Rosei dreaming, his face takamaki-e with a waterfall cascading from
vines in hiramaki-e on a roiro-nuri ground, visible through a horn-inlaid fan, the reverse jagged cliffs to either side, with accents
the interior of the top case inscribed with a dream-like vision of a phoenix cart of e-nashiji and kirikane, the interior of
Marukawaya Yoshitsugu and with a kao accompanied by courtiers issuing from nashiji, signed Taihei and with a kao (cursive
(cursive monogram), fitted with a hardstone billowing clouds, rendered in gold, silver, black monogram)
bead ojime; a four-case inro with a boy and iro-e takamaki-e, togidashi maki-e and 3 3/8in (8.5cm) long
resting by a bundle of rice straw and a sickle gold e-nashiji and kirikane, the interiors nashiji
in gold and black hiramaki-e against a dark and fundame, signed Hasegawa Shigeyoshi US$2,000 - 4,000
kinji ground, the interiors nashiji and inscribed saku with a red urn-form seal; fitted with a
with names of medicines on the interior cases gold lacquer bead ojime Provenance:
in red lacquer, fitted with a hardstone bead 3 1/8in (8.1cm) high Previously sold Bonhams, London, The
ojime; a four-case inro with a sudden rain Edward Wrangham Collection of Japanese
shower falling on pine and cherry trees by a US$2,500 - 4,000 Art, Part I, 9 November 2010, lot 329.
meandering stream in several shades of gold
and black takamaki-e, hiramaki-e, togidashi 6186
and hirame, the interiors nashiji EISAI (SHOTATSU NARIAKI)
2 7/8in (7.4cm) high (the largest) A four-case gold lacquer inro
Edo period (1615-1868), late 18th century
US$1,500 - 2,500 Of compressed ovoid shape and with a
sparse nashiji ground decorated in gold and
6184 silver takamaki-e, togidashi maki-e, e-nashiji,
TATSUKE KOKOSAI and gold kirikane with a large pine shading
A four-case gold lacquer inro a salt-maker's hut and piles of salt along a
Edo period (1615-1868), 19th century seashore with cresting waves visited by a flock
Of lenticular section, the kinji ground of plovers, the top and base kinji, the interiors
decorated in gold, silver, black and iro-e nashiji and fundame, signed Eisai Shotatsu
takamaki-e, gold hiramaki-e, e-nashiji, Nariaki and with a kao (cursive monogram);
togidashi maki-e and kirikane with two fitted with gold lacquer oval bead ojime
women pounding cloth beneath a spring 3 1/4in (8.5cm) high
willow, reversed by a rustic dwelling in an
autumn landscape, the interiors nashiji and US$1,500 - 2,500
fundame, signed Tatsuke Kokosai saku and
with a kao(cursive monogram); fitted with a gilt
lacquer bead ojime
3 1/2in (9cm) high
US$2,000 - 3,000
82 | BONHAMS
6184
6185
6187
6186

6188
KAJIKAWA WORKSHOP AND ANOTHER
Two four-case lacquer inro
The first lacquered in gold and silver takamaki-e, hiramaki-e and
togidashi maki-e with embellishments of hirame and gold foil against
a black ground with flowering autumn plants by a rushing stream,
the interior cases nashiji, signed Kajikawa saku and with a jar seal,
fitted with an enamel bead ojime and an ebony wood netsuke of two
monkeys; the second lacquered in gold and black hiramaki-e and
togidashi maki-e with a bridge over a stream by flowering cherry trees,
the interior cases nashiji
6188
3 3/8in (8.5cm); 3 1/4in (9.5cm) high
US$1,200 - 1,800
6189
A SMALL GOLD LACQUER BOX
Meiji era (1868-1912), late 19th century
Designed in the shape of swinging kimono sleeves and decorated in
gold takamaki-e with gold kirikane, silver inlay and iro-e takamaki-e
accents with geometric patterns or scattered flowering branches and
ornaments on a kinji ground, the sides with cresting waves in gold
hiramaki-e, the interior and base nashiji
4 3/4in (12cm) long
US$800 - 1,200
6190
A SMALL LACQUER BOX AND COVER
The circular red-lacquer box carved in relief with a serpentine dragon
6189 surrounded by clouds on the cover and four characters surrounding a
stylized flower head among clouds on the box, the interior gold nashiji
1 5/8in (4.2cm) diameter
US$2,000 - 3,000
Provenance
Michael Tomkinson collection, no. 542
6190
84 | BONHAMS
6191
A GOLD LACQUER SUZURIBAKO IN THE SHAPE OF A
HAGOITA (BATTLEDORE)
Edo period (1615-1868) or Meiji era (1868-1912), circa 1850-1875
The upper section of the tapering lid decorated in gold hiramaki-e,
takamaki-e, e-nashiji and kirikane on a kinji ground with an illustration
featuring Hatsune, Chapter 23 of Genji monogatari (The Tale of Genji), 6191
known as Hatsune, depicting an uguisu (warbler) in gold singing in
the garden of an aristocratic dwelling, the handle with an overall key-
fret pattern; the interior dense nashiji and fitted with two removable
supports for a small rectangular ink stone edged with fundame and a
circular paulownia-etched silver water dropper with gilt accents; with
silver rim bands
With two nested wood tomobako (storage boxes), the outer with a gilt
lacquer inscription
10 1/2in (26.6cm)long
US$4,000 - 6,000
6192
A LACQUER DOCUMENT BOX
Rectangular with a removeable inner tray and decorated overall in gold
hiramaki-e, takamak-e and nashiji on a hirame ground with willows,
chrysanthemums, water plants in bloom and clouds of mist and
chrysanthemum family crests, dew drops of inlaid silver, the interior
with a continuatin of the design, fundame edges
14 5/8 x 11 3/4 x 5 1/8in (37.1 x 29.8 x 13cm)
US$2,000 - 3,000
6192
6193
A SET OF TWO MIRRORS IN LACQUER CASES
Each of tyical form with a polished reflecting surface and decorated
on the reverse with family crests in relief against a stipled ground and
finished with a gilt wash, the handles wrapped in bamboo. signed
murata Yamashiro (no) kami Fujiwara Yoshihiro, in fitted black-lacquer
cases decorated with family crests on the covers in gold hiramaki-e,
the edges fundama
13 5/8in (34.6cm) long (the largest)
US$1,500 - 2,500
6193

6194
A NEGORO LACQUER KOBAN (FOOTED TRAY)
Edo period (1615-1868), 17th century and later
Circular and set on three feet, the top surface undecorated highlighting
the natural grain of the wood and the rest of the tray decorated in
typical Negoro style with some areas of black-lacquer undercoat
6194 showing through, the underside surface undecorated and inscribed
with characters indicating the location in the temple in which the tray
was used
15 3/4in (40cm) diameter; 5 1/4in (13.3cm) high
US$1,800 - 2,500
6195
A LACQUER OSUMIAKABAKO (COSMETIC BOX)
The deep box with red-lacquered cloth over wood, the top and side
panels with a black-lacquer ground decorated with a flowering cherry
tree and gasses in gold hiramaki-e, togidashi and hirame, the inner tray
black lacquer, fundame edges, the cord-fittings gilt metal carved with
paulownia
15 x 11 3/4 x 10in (38.1 x 29.8 x 25.3cm)
US$1,000 - 1,500
6196
BISON (YOSHIMURA)
6195 A three-tier stacking lacquer box
Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century
Rectangular with a fitted cover and lacquered in iro-e takamaki-e,
hiramaki-e and togidashi maki-e with kirikane embellishments with
three hares on a woven straw mat beneath blossoming plum trees, the
sides of the box with a continuation of the design, all against a glossy
black ground, the edges fundame and the interiors beige lacquer,
applied silver rims, signed on the cover Bison (Yoshimura) saku
12 x 9 x 8 1/4in (30.5 x 22.9 x 21cm)
US$3,000 - 5,000
6196
86 | BONHAMS
6197
A GOLD LACQUER KODANSU (CABINET)
Rectangular and decorated with a continuous design of the garden
and veranda of the Rokujo Mansion, lacquered in silver and gold
takamaki-e with embellishments of mura-nashiji and kirigane, the top,
front, left and back sides of the cabinet inlaid in solid gold with seven
characters taken from a poem from "Hatsune" (The First Warbler),
chapter 23 of Genji Monogatari (The Tale of Genji), the hinged doors
opening to reveal three drawers decorated with autumnal plants and
flowers, applied with silvered-metal mounts carved with scrolling
foliage 6197
With a wood storage box
4¼in x 6in x 4 3/8in (10.8cm x 15.2cm x 11.1cm)
US$8,000 - 10,000
6198
A LACQUER KODANSU (CABINET)
Rectangular with a drop front opening to reveal four drawers,
decorated with a shaped central front panel of a mill and waterwheel
by a stream in gold and silver hiramaki-e, takamaki-e, togidashi maki-e
and kirigane, silver lacquer border, the exterior of the box lacquered
in silver and gold togidashi maki-e and hirame in a mokume design,
edges in fundame; the interiors with scattered cherry blossoms and
hirame on a roiro ground; silver hardware carved with scrolling vines
8 x 12 x 9 1/2in (20.3 x 30.5 x 24.1cm)
US$4,000 - 6,000
6198

6199
ATTRIBUTED TO MURATA TOKUJIRO (1899-1973)
A carved keyaki-wood tiger
Showa era (1926-1989), mid-20th century
Seated on its back haunches with the tail curling upwards, the head
turned slightly and with a menacing expression, sculpted in the round
in the ittobori ("one-stroke carving") manner
10 1/2in (26.7cm) high
US$1,200 - 1,800
6199
6200
MASK FOR THE NOH DRAMA: HANNYA
Carved with the characteristic horns, large eyes and open mouth
exposing pointed fangs, the hinoki wood lacking the original gesso
coating and polychrome pigments
With a contemporary black iron stand
8 3/4in (22.4cm) long; 13 1/4in (33.7cm) length inclusive of stand
6200 US$800 - 1,200
6201
AN OTSUZUMI (LARGE DRUM FOR THE NOH THEATER)
Momoyama (1573-1615) or Edo (1615-1868) period, early 17th
century
Of turned wood, decorated in gold-and-black Kodaiji-style lacquer with
melons on vines and insect-eaten leaves, the central band decorated
with geometric patterns
11 1/8in (28.2cm) high
US$1,500 - 2,000
6201
88 | BONHAMS
CERAMICS
6203
6202
6202
A HANIWA TERRACOTTA HEAD AND UPPER TORSO
Kofun period (circa 593-710), 6th century
Of hand-built and paddled low-fired reddish earthenware, perhaps
modeled as a shaman wearing a wide-brimmed sedge hat (now mostly
lost), the face represented by three openings for the eyes and mouth,
the nose and forehead simply modeled, wearing a bead necklace
10 3/4 x 7 7/8in (26.5 x 20cm)
US$2,000 - 3,000
A similar model was sold in these rooms, September 14 2016, lot 101.
PROPERTY FROM THE ESTATE OF FAITH DOMERGUE
6203
A HANIWA TERRACOTTA HEAD OF A MAN
Kofun period (c. 590-710), 6th/7th century
Of low-fired reddish clay with flecks of mica, the figure wearing a
headpiece with ear-like flourishes, the surface finished with fine incised
lines; with a wood stand and fitted wood storage box
8in (20.3cm) high (head only); 11 3/4in (29.8cm) overall
US$1,200 - 1,800
Provenance
Mayuyama & Co., Tokyo, 1957
6204
A LARGE HANIWA TERRACOTTA FIGURE OF A SHAMANESS
The columnar figure of low-fired reddish earthenware with traces of
mica modeled as a female wearing a headdress, a necklace with
traces of an amulet, and earings, the surface incised with combed
lines; set on a wood stand and with a fitted wood box
6204 28 7/8in (73.2cm) high (figure only); 32 1/4in (81.9cm) high overall
US$4,000 - 6,000
Provenance
90 | BONHAMS
6205 6206
6205
A HANIWA TERRACOTTA FIGURE
The truncated figure with knob-like ears adorned with large hoop
earrings and a broad chin, the surface scraped and paddled smooth,
with traces of mica, with a wood stand and fitted wood storage box
12in (30.5cm) high (figure only); 14 1/4in (36.1cm) high overall
US$2,000 - 3,000
Provenance
6206
A HANIWA TERRACOTTA FIGURE OF A SHAMANESS
The bust of low-fired reddish clay with traces of mica, the figure shown
with her hands on her hips and wearing a cap, with traces of earrings
and a necklace, the surface with lightly incised lines; with a wood
stand and a fitted wood storage box
16 7/8in (42.8cm) high (figure only); 23 1/8in (58.8cm) high overall
US$3,500 - 4,500
Provenance
6207
A KO-SETO HEISHI (FLASK)
Kamakura (1185-1333) or Muromachi (1333-1573) period,
14th-15th century 6207
The stoneware body decorated with impressed designs of five-petal
flowers below a shoulder band of incised double-lines and floating
lotus petals, all covered in a caramel-brown glaze of ash and iron-
oxide rich slip stopping short of the flat base
9in (22.8cm) high
US$10,000 - 15,000

PROPERTY FROM THE ESTATE OF FAITH DOMERGUE
6208
AN ORMOLU-MOUNTED IMARI PORCELAIN COFFEE POT
6208 Edo period (1615-1868), circa 1690
Decorated in underglaze blue and touches of overglaze green enamel
and black iron oxide, with a long-tailed bird on rocks in blossoming
plants and another bird in flight above rocks and fruiting pomegranate
trees, the conical vessel set on a flat base and applied with a curved
handle painted with scrolling vines, the domed cover finished with a
bead finial and mounted with a gilt-metal fitting with a seashell lever, a
gilt-metal tap fitted into an opening above the base
12in (30.5cm) high
US$1,200 - 1,800
Provenance
Bulgari collection, Rome
For a nearly identical coffee pot, see Christian J. A. Jörg, Fine and
Curious, Japanese Export Porcelain in Dutch Collections, Amsterdam,
Hotei Publishing, 2003, pl. 261, p. 204.
6209
AN IMARI URN WITH COVER
Decorated in red and black overglaze enamel, underglaze blue and gilt
6209 with two large panels, one of phoenix amid flowering paulownia, the
other of a shishi with blossoming peonies, all below a shoulder band
with reserves of butterflies or kestrels on a karakusa ground bordered
by a thin ribbon tied in bows, the high dome-shaped lid with a shishi
finial, decorated en suite
19 1/8in (48.6cm) high
US$2,500 - 3,500
6210
STYLE OF OGATA KENZAN
Stoneware, with flat bottom and straight sides formed as overlapping
poem cards and decorated in iron-oxide covered in a clear, crackled
glaze with a camellia and a poem, the sides with freely painted scroll
motifs, inscribed Kenzan and illegibly sealed
7in (17.8cm) wide
US$3,000 - 5,000
6210
92 | BONHAMS
6211
6211
A SET OF FIVE KI-SETO-STYLE FOOD DISHES (MUKOZUKE)
Edo period (1615-1868), 18th-19th century
Molded and carved on the surface to resemble overlapping maples
leaves set on three applied feet and covered with a transparent yellow
glaze with green flashes where it pools
With a wood storage box inscribed with a collector's name and dated
Bunsei gannen (1818)
6 1/4in (16cm) wide
US$2,000 - 3,000
6212 6212
A HIZEN PORCELAIN SUITEKI (WATER DROPPER)
Ingeniously molded as a double face portraying the head of an angry
demon with the downwards spout forming its tongue, and when
reversed, depicting a bearded creature with a surprised appearance,
the circular water hole forming the mouth, the features picked out in
polychrome enamel and underglaze blue, the base with a fuku mark in
red enamel
3 1/2in (9cm) wide
US$1,500 - 2,500
6213¤
A SMALL KOGO (INCENSE BOX)
Edo period (1615-1868), 18th-19th century 6213
Moulded in relief in the form of an incense burner decorated with lotus
petals floating on a stream and covered in a transpearent yellow glaze
with patches of green
US$800 - 1,200
6214
A RAKU TEA BOWL
Edo period (1615-1868), 18th-19th century
The shallow bowl set on a high ring foot with a coiled build up of clay
in the recession, the sides hand finished and shaved on the underside,
three spur marks
6214
US$1,200 - 1,800

6215
6215
A LARGE KOREAN IDO TEABOWL NAMED HATSUSHIMO
(FIRST FROST)
Joseon Dynasty (1392-1897), 16th/17th century
The deep bowl set on a tall ring foot and applied with a clear, slightly
grayish ash glaze over a peach-hued body, the glaze pooling in the
interior, portions of the interior side-walls exhibiting a dramatic crackle
pattern, the interior with four kiln marks from stacking during firing
With wood storage box and purple silk wrapping and attestation
3 3/4in (9.4cm) high; 6 7/8in (17.6cm) diameter
US$2,000 - 3,000
6216
A KOREAN IDO TEABOWL
Joseon Dynasty (1392-1897)
Of Ido type, the steep sides applied with a clear glaze of fine crackle
and with an iron-induced pink hue, the glossy surface occasionally
mottled with lighter inclusions and stopping short of the high splayed
6216 foot
With inscribed wood tomobako (storage box)
3 1/4in (8.4cm) high; 5in (12.7cm) diameter
US$4,000 - 5,000
6217
AN AGANO WARE CHAWAN (TEABOWL)
Edo period (1615-1868) 18th-19th century
With slightly tapering sides and regular ring foot, decorated with a
splash of white glaze over a lustrous brown slip, a transition-type
mottling of white, blue and purple along the edges and extending to
the interior
With a wood tomobako (storage box) with title and attestation
3in (7.7cm) high; 4 7/8in (11.9cm) diameter
US$3,000 - 4,000
6217
94 | BONHAMS
6218
6219
6218
A KISETO CHAWAN (TEABOWL)
Of modified dotei-gata type with a horizontal ridge to the center,
applied with a thin glossy yellowish-green glaze with overall
craquelure and pooling along the ridge, in the recessed lines of two
incised flowers on the exterior and the recessed outline of a large
leafy blossom in the interior well, the base with three rectangular
spur-marks
With wood storage box
2 2/34in (7cm) high; 4 1/4in (10.9cm) diameter
6220
US$2,500 - 3,500
6219
A BLACK ORIBE CHAWAN (TEABOWL)
Kutsugata (clog-shaped), with three patches of white slip painted in
brown iron-oxide with foliate or geometric motifs reserved on a black
iron ground and applied with a transparent glaze with occasional runs
and fine crackle pattern
With lacquered wood tomobako (storage box) inscribed with the
name Okina (Old Man)
3 1/4in (8.4cm) high; 6in (15.2cm) wide
US$3,500 - 4,500
6220
A PAIR OF CHRYSANTHEMUM-SHAPED KYO-YAKI DISHES
Molded in the shape of chrysanthemum flowers and leaves, set
on a tall foot and decorated in colored enamels and gilt on a clear,
crackled ground and painted with smaller chrysanthemum florets
6in (15.2cm) wide
US$1,500 - 2,500
6221
A PORCELAIN BOTTLE
Hirado ware, Meiji era (1615-1868), late 19th century
The body molded in the form of a leafy melon and painted in
underglaze cobalt with leaves and vines 6221
11 1/2in (29.2cm) high
US$1,200 - 1,800

6222
6224
6222
MAKUZU KOZAN (1842-1916)
A porcelain vase
Taisho era (1912-1926), early 20th century
With a flat shoulder and short flared mouth, the body gradually in
tapering at the waist and flaring out toward the foot, and decorated
with cranes and their young moulded in relief and painted in
underglaze copper and iron oxide, the pink ground fading to white at
the foot, signed on the underside in underglaze cobalt Makuzu gama
Kozan sei
7 1/2in (19cm) high
US$1,200 - 1,800
6223
MAKUZU KOZAN (1842-1916)
A large porcelain vase
The baluster vase with an elongated neck and flared rim set on a
slightly flared foot and decorated in shades of underglaze cobalt with
leafy bamboo, signed on the underside within double incised rings
Makuzu Kozan kore o sei
24 1/2in (62.2cm) high
US$6,000 - 8,000
6224
ITO TOZAN (1846-1920)
A porcelain vase
Taisho era (1912-1926)
The elongated ovoid vase with a design of gourds on a flowering vine
in green, white and brown enamels on a cream glazed ground, the
intricate vine details pierce-carved around the shoulder of the vessel,
the underside with impressed seal Tozan
14in (35.6cm) high
6223 US$3,000 - 5,000
96 | BONHAMS
6225
6225
RYOUN
A set of six Hirado porcelain dishes
Each rectangular and formed as a river barge and decorated in
underglaze cobalt with the attributes of the Shichifukujin (Seven Gods
of Good Fortune), sealed Ryoun; with a fitted wood tomobako (storage
box)
11 1/4in (28.6cm) long
US$1,500 - 2,500
6226
KORANSHA WORKSHOP
A pair of porcelain vases
6226
The elongated ovoid vases decorated with a painterly design of rain
dragons in clouds in black and red underglaze enamels, the necks
painted with a formal band of lappets in underglaze blue and gilt,
signed with the mark of the Koransha workshop
15in (38cm); 14 3/4in (37.3cm) high
US$3,000 - 5,000
6227
A LARGE SATSUMA VASE
Decorated in blue enamel and gilt on a clear, crackled ground and
painted with a continuous design of irises in bloom, a Shimazu family
crest on the underside
14in (35.5cm) high
US$2,500 - 3,500
6227

PROPERTY FROM A NORTH AMERICAN ESTATE
6228
A LARGE SATSUMA VASE
Painted in colored enamels and gilt on a clear crackled glaze with
various types of flowering chrysanthemums issuing from a woven
fence with an undulating contour, the waisted neck with a trompe-
l'oeil fabric square with stylized folds and scattered with Shimazu and
Tokugawa family crests, signed Ryozan with two seals
14in (35.5cm) high
US$1,000 - 1,500
6228
The reading of the signature is based on Louis Lawrence, Satsuma,
The Romance of Japan, California, Meiji Satsuma Publications, 2011,
p. 243, fig. 148.
6229
A LARGE STUDIO CERAMIC JAR
Decorated in colored enamels and gilt over a clear glaze with poem
cards framing one of the Rokkasen (Six Immortal Poets), each of the
figures raised in relief and superimposed over another card inscribed
with a poem, all reserved on a ground of Genji symbols accompanied
by cranes amid flowering paulownia and set within two wide bands
of linked blossoms on a dark blue ground, the thick everted rim with
a foliate band penciled in gilt over red enamel, the pedestal base with
6229 another gilt-accented band above a wide red enamel band incised
with a key-fret pattern, the wide mouth fitted with a silver-washed
metal cover formed by a reticulated multi-petaled blossom encircled by
a repoussé band of the Tokugawa family crest amid auspicious objects
and chrysanthemum blossoms, unsigned
16in (40.7cm) high [excluding the cover]
US$1,500 - 2,500
6230
KINKOZAN WORKSHOP
A cobalt-ground Satsuma vase
Of baluster form and decorated in colored enamels and gilt on a clear,
crackled glaze with two large panels of beauties watching young men
6230 joust and courtiers confronted by warriors on a palatial veranda, the
surrounding areas decorated with tightly scrolling vines and flowers
and stylized lozenges in low relief, all on a cobalt ground, effaced
signature Kinkozan tsukuri
15in (38cm) high
US$4,000 - 6,000
6231
KENSAI
A large Satsuma vase
Meiji (1868-1912) or Taisho era (1912-1926), early 20th century
The large baluster vase decorated in colored enamels and gilt on a
clear, densely crackled ground with a bold design of bamboo, plum,
pine and thistles, the shoulder with a band of clouds, signed on the
underside Satsuma Kensai and with Shimazu mark
18 5/8in (47.3cm) high
6231
US$5,000 - 7,000
98 | BONHAMS
6232
BAIKA
A large Satsuma jar and cover
Painted in colored enamels and gilt over a clear, crackled glaze with
stands of chrysanthemums behind fences, the shoulder decorated
with a brocade collar, the domed cover painted with a continuation
of the brocade pattern and finished with a band of lozenges around
the edge and floral hollyhock-reserves on the finial, signed on the
underside on the cover and on the foot Dai Nihon Satsuma yaki Baika
ga and with spurious date Bunka ni nen (1805) with a Shimazu mark
22 1/2in (57.1cm) high
US$12,000 - 18,000
6233 6232
KINKOZAN WORKSHOP
The baluster vase decorated in colored enamels and gilt over a clear,
crackled ground with two large panels of beauties and children on a
veranda by a blossoming garden and warriors witnessing the descent
of the bodhisattva Kannon and attendants, some of the details raised
in relief, the surrounding areas painted with phoenixes, brocade bands
and floral flourishes in gilt on a cobalt ground, signed in gilt and with
impressed seal Kinkozan tsukuri
US$8,000 - 12,000
6234
KYOZAN
An usual Satsuma silver-ground moriage vase
Meiji era (1868-1912) late 19th century
The compressed baluster vase set on a splayed foot and painted
in colored enamels and gilt on a silver ground with a continuous
frieze of hiten (Buddhist angels) in flight with instruments and large
lotus blossoms, their flowing robes painted in floral and geometric
brocade, all in slight relief against a ground of clouds, the register
below decorated with crashing waves in low relief below a band of 6233
lozenges and scattered flowers, the shoulder and foot painted with
tasseled feather fans and sutra scrolls on a lozenge ground, signed in
a hollyhock-shaped reserve Kyozan and two illegible characters
13 1/8in (33.3cm) high
US$6,000 - 8,000
6234

6235
A FOLIATE SATSUMA BOWL
By Kozan, Meiji era (1868-1912), late 19th century
Painted in colored enamels and gilt on a clear, crackled ground with a
scene of travelers recieving refreshments beneath an autumn maple
tree and panels of irises and wisteria alternating with cherry blossoms
and vines on the interior, the exterior with lobed panels containing
6235 beauties receiving callers, nobles taking tea and children at play, all
against a background of flower motifs continuing from the interior,
the foot deocorated with stylized plovers over waves, signed on the
underside Dai Nihon Kozan zo and with the mark of the Shimazu family
10in (25.3cm) diameter
US$5,000 - 6,000
PROPERTY FROM THE ESTATE OF ALEXANDER J. DUBE
6236
KIZAN, FOR THE YASUDA COMPANY
A massive Satsuma bowl
The deep bowl decorated in colored enamels and gilt over a clear,
crackled glaze, painted on the interior with a scene of rakan, with
Handaka Sonja and his dragon in the foreground and a temple
complex in the distance, a large Shimazu family crest at the rim, the
6236 exterior with rakan and their attendants with dragons, signed on the
underside Dai Nihon Satsuma-yaki Kizan tsukuru and with the Yasuda
company mark and the crest of the Shimazu clam; with a fitted wood
stand
16 3/4in (42.5cm)
US$7,000 - 9,000
6237
SAIKO
A large Satsuma charger
The earthenware charger painted in colored enamels and gilt over a
crackled glaze with a dynamic scene of warriors in combat before a
campaign curtain, the rim decorated with alternating geometric and
floral patterns, signed on the reverse Dai Nihon Toto Saiko tsukuru
US$3,000 - 5,000
6237
100 | BONHAMS
6238
A SATSUMA BOWL 6238
The deep bowl decorated in colored enamels and gilt on a
clear, crackled ground painted on the interior with beauties and
attendants enjoying an outing beneath blossoming cherry trees,
the exterior decorated with additional cherry trees and flowers in
bloom, the rim with floral lozenges
7 1/2in (19cm) diameter
US$1,500 - 2,500
6239
KINKOZAN WORKSHOP
A large and impressive Satsuma bowl
Set on a high, slightly splayed foot and decorated in polychrome 6238 (interior)
enamels and gilt and painted on the interior with a large central
floral-shaped reserve of a multitude of chrysanthemum heads
surrounded by a ground of floral lozenges punctuated by
phoenixes, the exterior decorated with kidney-shaped reserves
containing blossoming plants of the four seasons surrounded by
myriad chrysanthemum heads, the foot banded by a continuous
frieze of irises above scrolling vines, the rim painted with a band of
keyfrets, signed on the underside Dai Nihon Kyoto Awata Kinkozan
tsukuri and with impressed seal Kinkozan tsukuri
11 1/8 (28.5cm) diameter
US$3,000 - 4,000
6240
6239
OKAMOTO RYOZAN FOR THE YASUDA COMPANY
A fine Satsuma vase
Decorated in colored enamels and gilt with a wide panel containing
a panoramic scene of groups of people enjoying an outdoor
excursion under pine trees by a lake and a smaller panel of quail
by rocks and blossoming plants, each panel borbered by mille
fleur, the shoulder with a floral collar, signed on the underside
Ryozan with the marks of the Yasuda Company and the the
Shimazu family
8 3/8in (21.2cm) high
US$8,000 - 10,000
6240 (another view) 6240

6241
YABU MEIZAN (1853-1934)
A fine miniature Satsuma vase
The elongated ovoid vase with a flaring neck and slightly splayed foot
decorated in colored enamels and gilt over a clear, crackled glaze with
a humorous scene of a parade of monkeys in a daimyo procession,
the leader riding a deer while his retainers accompany him on foot
carrying panniers, standards bearing blossoming flowers and fruit, and
the leader's boots on a tray, each of the monkeys dressed in jinbaori
(military jackets), the shoulder painted with a collar of chrysanthemum
heads beneath a profusion of butterflies, the foot with floral lappets,
signed on the underside Yabu Meizan
4 3/8in (11.2cm) high
US$6,000 - 8,000
6241 6241 (another view)
PROPERTY FROM AN ARIZONA COLLECTION
6242
A fine miniature Satsuma jar and cover
Of square section with slightly tapering sides meticulously painted in
colored enamels and gilt on a clear crackled glaze with four panels
variously depicting a daimyo procession, mandarin ducks in a snowy
landscape, a distant view of a fishing village along a waterway or
sparrows perched on a bamboo trellis supporting flowering peonies, all
within patterned border bands and below alternating panels of cherry
or millefleur on the low rounded shoulder, the short cylindrical neck
ringed by a geometric band repeated on the fitted cover with a knob
finial and decorated en suite, signed on the underside Yabu Meizan in
a gilt cartouche 4 1/4in (10.8cm) high
US$15,000 - 25,000
6242
102 | BONHAMS
SATSUMA FROM
THE COLLECTION OF
ALEX AND BARBARA KASTEN
6243 (detail)
6243
NAKAMURA FOR THE KINKOZAN WORKSHOP
An unusual brown-ground Satsuma vase
The lobed vase with a square, sloping shoulder and a quadrilobe
mouth and decorated in colored enamels and gilt with two large
shaped panels containing women preparing tea leaves and a group of
6243 people enjoying displays of chrysanthemums and two smaller panels
painted with articles used in the tea ceremony, the surrounding area
painted with tightly scrolling vines and flowers and swathes of of silk
brocade, the underside signed Kinkozan tsukuru and Nakamura and
with impressed signatureKinkozan tsukuru
9 5/8in (24.3cm) high
US$10,000 - 15,000
Exhibited:
Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain
from Japan from the Collection of Alex and Barbara Kasten", 3
January- 18 May, 2014
6244
SHOZAN
Decorated in colored enamels and gilt with a dynamic design of a
gathering of noble warriors watching a sumo match between retainers,
the makeshift ring beneath a blossoming cherry tree with mountains
in the distance, the rim decorated with a band of stylized confronted
sparrows, signed on the underside Shozan seizo
13in (33cm) high
US$12,000 - 18,000
Exhibited:
6244
104 | BONHAMS
6245
A large and fine Satsuma vase
The large baluster vase painted in colored enamels and gilt with a
detailed scene of villagers working through the various stages of the
rice harvest, boats and barges on the lake in the distance before a
mountain range, the foot painted with small roundels of alternating
designs of peonies, chrysanthemums, and cherry and plum blossoms
above a band of floral lozenges and flowering vines, the shoulder
decorated with a collar of millefleur topped with a geometric band
and floral scroll, signed in gilt on the underside Yabu Meizan and with
impressed signature Meizan
9 3/4in (24.7cm) high
US$15,000 - 25,000
Exhibited:
Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain 6245 (detail)

6246
IKKO FOR THE KINKOZAN WORKSHOP
A Satsuma beaker vase
Conical with a slightly flared rim, and decorated with a painterly design
of a beauty and attendant startled as a gust of wind blows away her
hat, the foot painted with a key-fret pattern and the rim with a simple
band, all in colored enamels and gilt, signed in red enamel Ikko ga and
on the underside Kinkozan tsukuru
7 3/4in (19.7cm) high
US$2,000 - 3,000
6246 6247
A Satsuma bottle vase
Meiji era (1868-1912), late 19th century)
The double-gourd bottle painted in polychrome enamels and gilt with
scenes of revelers in a blossoming garden and a long-tailed bird in a
branch of autumn maple separated with swaths of textile decorated
in various floral designs, the neck decorated with a scene of children
in procession below a collar of trailing flowers and formal lappets, all
separated by geometric bands, signed on the foot Dai Nihon Kyoto
Ryozan and with the mark of the Yasuda Company
8 5/8in (21.8cm) high
US$5,000 - 7,000
6247
Exhibited:
6248
SEIKOZAN
An unusual Satsuma vase
The ovoid vase applied with loop handles and painted in colored
enamels and gilt on a clear, crackled glaze with beauties and
attendants in procession, and beauties and children beneath a gnarled
plum tree, the shoulder painted with a brocade collar decorated with
geometric patterns and the foot with lappets below a band of fan-
shaped reserves containing flower blossoms, the handle decorated
with flowering vines in gilt on a brown-enamel ground, signed on the
underside Seikozan
9 3/4in (24.7cm) high
US$5,000 - 7,000
Exhibited:
6248
106 | BONHAMS
6249
SHIZAN
A rectangular Satsuma tray
Heavily potted and painted in colred enamels and gilt with a
mountainous landscape and cottages, the borders painted with a
floral brocade design, signed on the underside Shizan
8 3/8 x 9 5/8in (21.2 x 24.5cm)
US$10,000 - 15,000
Exhibited:
Published:
Alistair Seton, Collecting Japanese Antiques, (Tuttle: Hong Kong,
2004), fig. 237, pg. 132 6249
6250
SEIKOZAN
A large Satsuma charger
Decorated with a detailed design of groups of people visiting a temple
and its precincts on New Year's day, the area before the temple and
shrine gates with vendor's stalls selling emblems of good fortune
and the trees on the grounds decorated with more of the same, the
line of visitors stretching off into the distance, the rim finished with a
key-fret band and the underside decorated with stylized foliate scroll,
all painted in colored enamels and gilt over a clear, crackled glaze,
signed on the underside Seikozan
US$10,000 - 15,000
Exhibited:
6250
6250 (detail)

6251 6252
6251 6252
KINKOZAN WORKSHOP OKAMOTO RYOZAN FOR THE YASUDA COMPANY
A large cobalt-ground Satsuma vase A cylindrical Satsuma vase
Meiji era (1868-1912), late 19th century Meiji era (1868-1912), late 19th century)
Set on a slightly splayed foot and painted in colored enamels and gilt Painted in colored enamels and gilt over a clear, crackled glaze with a
over a clear, crackled ground with rectangular and fan-shaped panels continuous scene of groups of people enjoying cherry blossoms in the
containing scenes of birds and flowers or beauties and deities, all precincts of a shrine by a rocky riverside, the borders decorated with
against a cobalt ground painted in gilt with scrolling floral vines and geometric designs, signed on the underside Kyoto Ryozan and with
fan-shaped panels of birds and flowers and articles associated with the mark of the Yasuda Company and the Shimazu family crest
elegant pursuits, signed on the underside among flowering vines 14 1/2in (36.7cm) high
Kinkozan tsukuru and with impressed signature Kinkozan tsukuru
12 5/8in (32cm) high US$12,000 - 18,000
US$6,000 - 8,000 Exhibited:

Exhibited: from Japan from the Collection of Alex and Barbara Kasten", 3
Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain January- 18 May, 2014
108 | BONHAMS
6253
A fine Satsuma vase
Meiji era(1868-1912), late 19th century
With a bulbous body tapering down to a slightly flared foot and with
a wide mouth, and painted in colored enamels and gilt on a clear
crackled ground with a procession of festival floats and groups of
people enjoying seasonal festivities, above stands of chrysanthemums
and peony lappets, the mouth painted with hollyhock-leaf
chrysanthemum flourishes, sighed in gilt Yabu Meizan, the foot with
impressed signature Meizan
7 1/4in (18.3cm) high
US$45,000 - 55,000
Exhibited:
6253 (detail)

6254 6255
6254 6255
RYOZAN, FOR THE YASUDA COMPANY KINKOZAN WORKSHOP
A Satsuma vase and cover A globular Satsuma vase
Meiji era(1868-1912), late 19th century Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century
The compressed ovoid vase decorated in colored enamels and gilt Finely painted in colored enamels and gilt with a continuous frieze
with people enjoying outdoor excursions before Mount Fuji and distant of fighting roosters and hens beneath blossoming cherry trees and
mountains, the scene punctuated with a dragon roundel and a floral peonies, and other smaller birds by a stream and stands of plants
band, the shoulder and foot with brocade swathes and floral lozenges, and flowers, the shoulder and foot painted with shaped reserves of
the manju-shaped cover painted with entertainers banded with floral geometric designs and stylized phoenix on a ground of gilt clouds and
and geometric patterns, signed underside Dai Nihon Kyoto Tojiki flower heads raised slightly in relief, signed on the underside Kyoto
Goshi gaisha Ryozan with the Yasuda Company mark Awata Kinkozan tsukuru among wisteria and with impressed signature
8 7/8in (22.5cm) high Kinkozan tsukuru
9 1/4in (23.4cm) high
US$10,000 - 15,000
US$12,000 - 18,000
Exhibited:
Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain Exhibited:
from Japan from the Collection of Alex and Barbara Kasten", 3 Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain
January- 18 May, 2014 from Japan from the Collection of Alex and Barbara Kasten", 3
Published:
Ghisela Jahn, Meiji Ceramics, The art of Japanese Export Porcelain
and Satsuma Ware 1868-1912, (Stuttgart: Arnoldsche, 2004), pl. 95,
pg. 168.
110 | BONHAMS
6256 6257
6256
KINKOZAN WORKSHOP
A fine Satsuma vase and cover
The compressed ovoid vase decorated with a detailed scene of the
Imperial Palace and its environs, Mount Fuji visible in the distance,
all in colored enamels and gilt, the rim painted with a shaped collar
of scrolling vines and flowers continuing onto the cover and finished
with a profusion of blossoming flowers and a chrysanthemum finial,
signed on the body and on the underside Kinkozan tsukuru and with
impressed signature Kinkozan tsukuru
9in (22.9cm) high
US$15,000 - 25,000
Exhibited: 6257 (detail)

6257
A fine Satsuma vase
The exaggerated ovoid body finished with a square mouth and painted Exhibited:
with four shaped panels of children at play, a landscape and a bird Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain
in a flowering cherry tree, the surrounding area with a profusion of from Japan from the Collection of Alex and Barbara Kasten", 3
chrysanthemum heads, the foot decorated with stands of iris above January- 18 May, 2014
floral lozenges, signed on the underside Yabu Meizan
6 1/8in (15.6cm) diameter For very similar vases by Yabu Meizan see Oliver Impey et. al., The
Nasser D. Khalili Collection; Ceramics, Part II, London, The Kibo
US$10,000 - 15,000 Foundation, 1995, cat. nos. 67 and 68.

6258 6259
6258 6259
SOZAN FOR THE KINKOZAN WORKSHOP KINKOZAN WORKSHOP
An unusual brown-ground Satsuma vase A large cobalt-ground Satsuma vase
Meiji era (1868-1912), late 19th century Meiji era (1868-1912), late 19th century
The slender ovoid vase decorated in colored enamels, silver and The small, elongated ovoid vase decorated with two shaped panels
gilt on a clear, crackled glaze with two large panels of a beauty and containing a Chinese beauty in flowing robes attended by musicians
attendant admiring deer in a rocky landscape and a group of people while an elegant court lady looks on, and a group of people enjoying
gathering shells at ow tide, a beauty startled by a young boy holding games in the garden of a well-appointed mansion, all in colored
a blowfish, each scene signed in red enamel Sozan, the surrounding enamels and gilt on a clear, crackled ground, the surrounding areas
areas painted with ferns in silver and gilt on a brown enamel ground, painted in gilt and red and green enamels on a cobalt ground with
signed on the underside in a gourd-shaped reserve with leafy tendrils tightly scrolling floral vines, the underside with impressed signature
Kinkozan seizo and Sozan and with impressed signature Kinkozan Kinkozan tsukuru
tsukuru 7 3/8in (18.7cm) high
8in (20.3cm) high
US$3,000 - 5,000
US$12,000 - 18,000
Exhibited:
Exhibited: Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain
Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain from Japan from the Collection of Alex and Barbara Kasten", 3
from Japan from the Collection of Alex and Barbara Kasten", 3 January- 18 May, 2014
Published:
Nancy Schijfer, Japanese Porcelain 1800-1950, (New York, 1997), pg.
...
112 | BONHAMS
6260 6260 (another view)
6260
KINKOZAN WORKSHOP
A large Satsuma model of a beauty
The young woman shown leaning slightly forward in mid-stride with
her hand to her mouth as if calling out, her long sleeved garment
decorated in flowering clematis and flower heads, and a single
hollyhock crest below the collar, her elaborate obi painted with a large
dragon roundel and floral lozenges, her hair done up with a comb and
a single flower, impressed signature on the underside Kinkozan tsukuru
24in (60.9cm) high
US$10,000 - 15,000
Exhibited:
from Japan from the Collection of Alex and Barbara Kasten",
3 January- 18 May, 2014

6261
A square-sided vase
Set on four bracket feet and painted in colored enamels and gilt with
four scenes of groups of people enjoying seasonal outings, and birds
and flowers, the edges decorated in scrolling vines or key fret in gilt,
signed on the underside Kyoto Tojiki Goshigaisha Ryozan kore o
tsukuru and with the Yasuda Company mark and the Shimazu family
crest
7 1/8in (18.1cm) high
US$7,000 - 9,000
Exhibited:
6261
6262
A large and fine Satsuma vase
Of square section, tapering at the neck and foot and painted on each
side with lobed panels of beauties playing cards, spectators observing
a horse race under blossoming cherry trees, a beauty and attendants
receiving a bouquet of flowers under a blossoming plum tree, and
a crowd of people attending a market at the entrance to a shrine,
the surrounding areas decorated with phoenix roundels and floral
brocade, all in colored enamels and gilt, the top surface of the rim gilt
and finished with plum blossoms raised slightly in relief, the interior
sides moulded with stylized blossoms, signed on the underside Kyoto
Ryozan with the Yasuda Company mark and the Shimazu family crest
14 3/4in (37.4cm) high
US$18,000 - 25,000
Exhibited:
6262 January- 18 May, 2014
114 | BONHAMS
6263
SOZAN FOR THE KINKOZAN STUDIO
A massive Satsuma trumpet vase
meiji era (1868-1912), late 19th century
Cylindrical with a flared mouth and finely painted in colored enamels
and gilt with rectangular panels containing a winter landscape with
geese in flight and standing by a lake shore, and a scene of the final
meeting between Kusunoki Masashige and his son Masatsura before
campaign curtains bearing the family crest, the borders painted with
key frets and the rim and foot with a band of formal lozenges with
abreviated versions of the Kusunoki family crest, the interior of the rim
with a cloud band containing flowering vines, the surrounding areas
painted with maple leaves, chrysanthemums and cherry blossoms
in two shades of gilt and red and green enamels on a cobalt ground,
signed at the bottom left of each panel Sozan in red enamel in an
oval reserve and on the underside in an elaborate rectangular key-fret
reserve Kinkozan sei and with impressed signature Kinkozan tsukuru
US$35,000 - 45,000
Exhibited:

6264
A heavy circular Satsuma dish
The steep-sided dish painted with a central design of groups of people
on an outing to enjoy blossoming cherry trees in a lakeside park, the
interior sides decorated with overlapping fans of various design and
the exterior with stylized peony and chrysanthemum blossoms, all
painted in polychrome enamels and gilt on a clear, crackled ground,
signed on the underside Dai Nihon Kyoto Tojiki Goshigaisha Ryozan no
so, the mark of the Yasuda Company and the Shimazu family crest 13
1/4in (33.7cm) diameter
US$15,000 - 25,000
Exhibited:
6264
6265
KINKOZAN WORKSHOP
The slender baluster vase decorated in colored enamels and gilt with
a continuous scene of an entertainer accompanied by musicians
performing for a noble and his retinue before a folding screen painted
with Mount Fuji, a luxurious garden in bloom visible through the open
sliding doors, the foot and shoulder painted with Tokugawa family
crests on tightly scrolling vines, signed on the underside Kinkozan
tsukuru and with impressed signature Kinkozan tsukuru
10in (25.3cm) high
US$7,000 - 9,000
Provenance
Walter and Edith Haas collection, no. 246
Exhibited:
6265 Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain
116 | BONHAMS
6266
6266 6267
SHUZAN, FOR THE KINKOZAN STUDIO YABU MEIZAN (1853-1934)
A large plate with beauties engaged in elegant pastimes A fine Satsuma vase
Meiji era(1868-1912), late 19th century Meiji (1868-1912) or Taisho (1912-1926) era, early 20th century
Decorated in polychrome enamels and gilt with an elaborate scene Conical and tapering to the foot with a square, steeply sloping
of beauties engaged in the elegant pastimes all within a leaf-shaped shoulder decorated in colored enamels and gilt on a clear, crackled
reserve, the border moulded in low relief and painted with tight foliate ground with a continuous scene of a daimyo procession framed on
scroll on a cobalt ground, signed on the image Shuzan and on a the top and bottom by trailing wisteria and blossoming peonies, the
folding screen in the design Shuzan ga and sealed, and sigend onthe shoulder and neck painted with chrysanthemum heads, signed in gilt
underside Kinkozan zo in a cherry blossom-strewn rectangular reserve on the underside Yabu Meizan
14 1/2in (36.7cm) diameter 6 5/8in (16.8cm) high
US$18,000 - 25,000 US$7,000 - 9,000
Exhibited: Exhibited:
Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain
from Japan from the Collection of Alex and Barbara Kasten", 3 from Japan from the Collection of Alex and Barbara Kasten", 3
January- 18 May, 2014 January- 18 May, 2014

6268
6267 6268
A small and fine Satsuma dish
Decorated in colored enamels and gilt on a clear, crackled ground with
a painterly design of three court attendants warming sake over maple
leaves, the rim sparsely painted with flowering vines, signed on the
underside Yabu Meizan
US$3,000 - 4,000
6269
A fine Satsuma vase
The elongated ovoid vase with a tapered foot and a short neck
painted in colored enamels and gilt on a clear, crackled ground with a
continuous scene of figures enjoying an outing near a food stand by a
meandering stream lined with irises, the shoulder painted with a collar
of lobed panels of trailing wisteria on a background of millefleur, the
neck and foot finished with geometric bands
US$12,000 - 18,000
Exhibited:
from Japan from the Collection of Alex and Barbara Kasten",
3 January- 18 May, 2014
6269
6269 (detail)
118 | BONHAMS
6270
KINKOZAN WORKSHOP Exhibited:
A Satsuma dish Columbia, Columbia Museum of Art, "Meiji Magic, Imperial Porcelain
Meiji era (1868-1912), dated 1897 from Japan from the Collection of Alex and Barbara Kasten",
Painted in colored enamels and gilt on a clear, crackled ground with a 3 January- 18 May, 2014
detailed scene of festival attendees in Kyoto's Maruyama Park, a large
cherry tree in full bloom in the center, the reverse with three groups of Published:
insects, signed in a fan-shaped reserve Dai Nihon Kyoto [] [] Kinkozan Alistair Seton, Collecting Japanese Antiques, (Tuttle: Hong Kong,
tsukuru hanbai Kimura Mitsushige ga Meiji sanju nen(1897), and with a 2004), fig. 234, pg. 131.
Kinkozan Workshop sticker
US$25,000 - 35,000

6271
SOZAN FOR THE KINKOZAN WORKSHOP
A fine Satsuma dish
Decorated in colored enamels and gilt with three rectangular "hanging
scroll" reserves, the central reserve painted with a high-ranking
courtesan and her attendants on promenade beneath blossoming
cherry trees, flanked by paintings of a rooster, hen and birds among
peonies and autumn maples, and a mountainous landscape shrouded
in mist, the borders decorated with geometric patterns imitating
brocade, the remaining areas painted with ferns intwo shades of gilt
against a cobalt ground, signed on the reverse in a formal reserve
among a spray of flowers Dai Nihon Kyoto Awata Tojiki Kinkozan sei
Sozan ga and sealed So
US$20,000 - 30,000
Exhibited:
120 | BONHAMS
MEIJI ERA WORKS OF ART
ANOTHER PROPERTY
6272¤
TWO PAIRS OF CLOISONNÉ-ENAMEL VASES
The first pair of small ovoid form and worked in colored enamels
and silver wire with chrysanthemum heads and butterflies against a
reddish-brown ground, the shoulders with cloud-shaped reserves con-
taining butterflies, mounted with silver collars and stoppers carved as
butterflies, the spout designed as a chrysanthemum head, gilt-metal
butterfly finials, silvered metal bases; the second pair of baluster form
6272
and worked in colored enamels and aventurine with shaped panels of
birds and flowering plants, the surrounding areas floral patterns and
lappets, with the impressed mark of the Ota workshop
4in (11cm); 7 1/2in (19cm) high
US$800 - 1,200
PROPERTY FROM A FLORIDA PRIVATE COLLECTION
6273
A CLOISONNÉ-ENAMEL VASE
Taisho era (1912-1926)
The tapered vase decorated in colored enamels and silver wire with
four scenes of birds in blossoming flowers bordered by bands of floral
reserves, all against a light blue ground, mounted with gilt-bronze
fittings designed to resemble bamboo
12 1/2in (31.8cm) high
6273 US$1,500 - 2,000
ANOTHER PROPERTY
6274
ATTRIBUTED TO THE ANDO STUDIO
A moriage cloisonné-enamel box and cover
Rectangular with rounded corners and worked in colored enamels
in standard, moriage and wireless cloisonné with two carp creating
ripples as they rise to the surface of water, rims silver and interior lined
in brocade
5 5/16in (13.5cm) wide
6274 US$2,500 - 3,500
6275
ATTRIBUTED TO NAMIKAWA YASUYUKI
A cloisonné-enamel vase
The elongated ovoid vase worked in colored enamels and gold and
silver wire with three large panels containing birds or butterflies among
blossoming flowers on a yellow, mustard-yellow or green speckled
ground, the remaining areas worked with stylized blossoming peonies
and florets against a black ground, the shoulder with shaped reserves
of confronted phoenix and flowering leafy vines on a red-brown ground
above a floral lozenge band, the foot with floral lappets above cherry
florets and scrolling tendrils
7 1/8in (18.1cm) high
US$4,000 - 6,000
6275
122 | BONHAMS
6276 6277
PROPERTY OF ANOTHER OWNER PROPERTY FROM A FLORIDA PRIVATE COLLECTION
6276 6277
NAMIKAWA YASUYUKI (1845-1927) ATTRIBUTED TO HAYASHI KODENJI
A fine cloisonné-enamel vase A large cloisonné-enamel vase
Meiji era (1868-1912), late 19th century Meiji era, (1868-1912), circa. 1900
The elongated ovoid vase with a tapered foot and a tall neck flaring out The baluster vase decorated in standard and musen ("wireless") clois-
to the mouth decorated in silver wire and colored enamels with a swal- onné techniques with a bold design of an eagle with wings outspread
low on a wisteria vine, the breast of the bird and some of the wisteria on a rock near a rushing stream beneath a pine tree with smaller birds,
blossoms rendered in musen ("wireless") enamels, the mouth decorat- all in colored enamels and silver wire and sculpted silver wire against
ed with an elaborate band of geometric patterns, all on a plum-colored a black ground, the foot and neck with a geometric floral band, silver
ground, signed in a silver tablet Kyoto Namikawa, with silver mounts rims
7 3/8in (18.7cm) high 11in (27cm) high
US$15,000 - 20,000 US$4,000 - 5,000

6278¤
GONDA HIROSUKE (1865-1937)
A partial plique-a-jour cloisonné enamel bowl
Decorated in standard and musen ("wireless") cloisonné enamels, with
a band of blossoming lotus flowers, the petals rendered in transparent
enamels outined in opaque white, the leaves in wireless cloisonné in
6278 shades of green with splashes of orange and reddish-brown, all on a
ground of seafoam green gradually changing to pale green near the
rim, signed with the mark of Gonda Hirosuke on the foot; silver rims
US$3,000 - 4,000
6279
OGASAWARA SHUZO
A ginbari cloisonné-enamel vase
The bulbous body with a slightly flaring neck decorated in translucent
enamels over silver foil with a design of swimming carp, the water
weeds and bubbles carved in the silver foil substrate, signed on the
underside Shuzo
7 1/2in (19cm) high
US$1,200 - 1,800
6280
HAYASHI KODENJI (1831-1915)
A fine and large incense burner and cover
6279 The compressed, slightly flattened ovoid basin worked in colored
enamels and silver and gold wires with shaped panels containing
sparrows and thushes in flowering plum and cherry trees and autumn
plants and maple trees against a teal or light olive-green ground, the
borders composed of stylized confronted dragons, the surrounding
areas decorated with blossoming bush clover on a black ground, the
foot and neck finished with a tight geometric or floral band, the domed
cover decorated with a continuation of the bush clover on a black
ground and topped with a large finial of similar decoration, the collar
silver, carved as a branch of budding peony and leaves, the silver
backplate carved as a peony and with the mark of Hayashi Kodenji;
silver mounts
8 3/4in (22cm) wide; 8 1/4in (22cm) high
US$10,000 - 15,000
6280
124 | BONHAMS
ANOTHER PROPERTY
6281
ATTRIBUTED TO THE WORKSHOPS OF
NAMIKAWA YASUYUKI AND OTHERS
An extremely rare 36-piece set of silver
flatware with cloisonné enamel handles
Comprising a set of 12 knives, forks and spoons, all set into rectangu-
lar handles worked on the front and back in colored enamels, aventu-
rine and gold and silver wires with geometric and floral patterns and
scenes of flowers and butterflies in reserves of zigzag and matsuka-
wabishi (pine-bark crest) shapes, the sides of the handles all carved
with chrysanthemum heads and scrolling vines and the necks of the
spoons and forks, and both sides of the knife blades carved with a
stylized dragon on a bamboo trellis in katakiribori
Knives: 7 7/8in (20cm); Forks: 7in ((17.7cm); Spoons: 7 1/8in (18.1cm)
long
US$40,000 - 60,000
For a nearly identical set of 12 Tiffany knives only, see William P. Hood,
Jr., Tiffany Silver Flatware, 1845-1905, When Dining Was an Art,
Woodbridge, Antique Collectors' Club, 1999, fig. 417a, and rear image
of dust jacket.

6282
ATTRIBUTED TO THE OTA WORKSHOP
A pair of cloisonné-enamel bottle vases
Each of ovoid form with an elongated neck, worked in colored enamels
and silver wire with shaped panels containing scenes of gardens in
bloom and birds and dragonflies, the panels framed by stylized beast
masks and separated with tasseled garlands on a black ground, the
neck decorated with a jeweled floral collar and the foot with a band of
6282 floral lozenges
10in (25.3cm) high
US$3,000 - 5,000
6283
ANDO CLOISONNÉ COMPANY
An enamelled copper vase
The copper body hammered on the surface and finished with an
everted rim and decorated in colored enamels with blossoming plum
trees, signed on the underside Ando tsukuru and with the mark of the
Ando Company
6 1/2in (16.5cm) high
US$800 - 1,200
6284
Showa era (1926-1989), circa 1960
6283 A cloisonné enamel vase and cover
Of compressed ovoid form set on a splayed foot and with a domed
cover and worked in colored enamels and siver wire with a sparrow in
flight by trailing wisteria, the design continuing onto the cover raised
slightly in relief, all against a brown ground with a slight iridescence,-
signed on the underside with the inlaid mark of the Ando Company in
silver wire
With a wood tomobako (storage box) inscribed on the exterior Shippo
rokuyu reki okimono, signed Ando shippoten kinsei and inscribed on
the underside of the lid with details of presentation from the Toyota
Corporation in 1967 6 3/4in (17.2cm) high
US$2,500 - 3,500
6284
126 | BONHAMS
6285
A PAIR OF MONUMENTAL CLOISONNÉ ENAMEL VASES
Each pear-shaped vase with flaring necks and splayed foot worked in
polychrome enamels, aventurine and silver wire with a bold design of
a coiling dragon, the neck with lappet panesl containing confronted
phoenix and dragons separated by a wide band of chrysanthemum,
vines and paulownia blossoms, the foot decorated with flowering vines
35 1/4in (89.7cm) high
US$18,000 - 25,000

6286
A PAIR OF CLOISONNÉ-ENAMEL VASES
Of compressed baluster form and worked in colored enamels and gold
and silver wire against a black ground with sparrows in blossoming
cherry trees and stands of flowers, silvered mounts
7 1/4in (18.5cm) high
US$2,000 - 3,000
6286
6287
A pair of cloisonné enamel vases
Showa era (1926-1989), circa 1940
Each globular and tapering slightly to the squared shoulder with a
wide mouth and worked in standard and musen ("wireless") cloison-
né enamels with ships under sail and seagulls in flight, signed on the
underside with the mark of the Ando company in silver wire, foot with
jungin ("Pure Silver") stamp; with fitted wood stands
With wood storage box
6 1/2in (16.5cm) high
6287 US$6,000 - 8,000
6288
A CLOISONNÉ-ENAMEL VASE
The baluster vase worked in colored enamels and silver wire on a
dark blue ground with birds in flight and perched in a cherry tree in full
bloom, the trunk with areas of musen ("wireless") cloisonné, a maple
tree below, mounts stamped silver
9 3/4in (24.7cm) high
US$1,500 - 2,500
6288
128 | BONHAMS
6289 6290
6289
AN INLAID-IRON KOGO (INCENSE BOX)
Worked throughout in silver and gold nunomezogan with a moon par-
tially hidden by wind-blown branches of flowering hagi (bush clover),
the design continuing on the lower section, with a gold-lined interior,
the base signed Mi[un] saku
US$1,200 - 1,800
6290
A SMALL INLAID-IRON TABLE SCREEN
Decorated with a temple complex before Mount Fuji, a figure caught in
a thunderstorm, leafing bamboo, and a long-tailed rooster in silver and
gold hirazogan, the lower panels with leafy vines, the reverse gilt and
decorated with swallows and a cherry tree carved in katakiribori
5 x 9 1/2in ( 12.7 x 24.1cm) (open)
US$800 - 1,200
6291
TAKASAKI KOICHI
A mixed-metal and enamel bottle vase with a rooster and chick
Meiji era (1869-1912), c. 1900
The slender, pear-shaped vase with an extended neck flaring slightly to
the rim, the body finished in shibuichi and the neck silver, the two sur-
faces divided by a narrow section of silver of brighter patination in the
shape of a cherry blossom, the body decorated with a bantam rooster,
hen and chick, rendered in raised, transparent enamels of various
colors and grasses and plants in colored relief inlay and engraving, the
ground finished in two shades of shibuichi in imitation of mist, signed
on the underside Takasaki seizo
9 1/2in (24.9cm) high
US$6,000 - 8,000
The enameler Takasaki Koichi exhibited a pair of silver vases at the

Paris Exposition Universelle of 1900, see Bijutsu Gaho, Daini rinji zokan 6291
Bijutsu Gaho Pari Hakurankai Shuppin Kumiai seisakuhin (Extra Issue
No. 2 of Fine Arts Magazine Containing Illustrations and Descriptions of
Products of the Paris World Exposition Exhibiter's Union). Tokyo, 1900,
unpaginated. He often collaborated with enamel artists.

6292
A SMALL BRONZE INK WELL
Meiji (1868-1912) or Taisho era(1912-1926), first quarter of the
20th century
Cast and finished in two shades of bronze as an oni struggling to carry
a large temple bell on his back, the hanger of the bell hinged, opening
to reveal a recessed glass ink well
3in (7.6cm) high
US$1,200 - 1,800
6292
6293
MIYAO COMPANY
A gilt-bronze incense burner
Of compressed ovoid form on tripod feet in the form of a cloth-covered
tea jar, the body carved with flowering vines in kebori and gold hirazo-
gan and the cloth cover carved with folds, finished on the surface with
a stippled pattern resembling fabric and decorated with chrysanthe-
mums, paulownia and vines in gold hirazogan and takazogan, edges
finished in a knotted cord finished in gilt, the cover surmounted with
Handaka Sonja crouched beside his dragon companion and holding
aloft an alms bowl, signed on the body in a rectangular reserve Miyao
9 1/2in (24.9cm) high
US$3,000 - 5,000
6293
6294
A MIYAO-STYLE BRONZE MODEL OF A SAMURAI
The figure shown standing with his hand resting on the hilt of his sword
and holding an open signal fan, his armor and garments decorated
with floral motifs highlighted in gilt; on a fitted wood stand
10 1/4in (26.2cm) high (figure only); 13 3/4in 34.9cm) high overall
US$1,800 - 2,500
6294
130 | BONHAMS
PROPERTY FROM A SOUTHERN CALIFORNIA TRUST
6295
AKASOFU GYOKKO
A gilt-bronze figural group
Meiji era (1868-1912), circa 1890
Cast as a nobleman apprehending a blind masseur by the collar and
finished in two shades of bronze, the figures, robes decorated in floral
of butterfly heraldic crests finished in gold overlays, signed in a rectan-
gular reserve Gyokko; on a fitted wood stand
12in (30.5cm) high; 14in (35.5cm) wide
US$15,000 - 25,000

6296
MIYAO COMPANY
A pair of gilt-bronze figural groups of entertainers
Meiji era (1868-1912), circa 1900
Cast as a pair of acrobatic boys hanging from a circular apparatus
balanced on poles supported by male performers, two swallows
perched atop the poles, all finished in two shades of bronze, the
figures' robes decorated with patterns of crane roundels, scrolling
vines and crashing waves, signed Miyao and sealed; each set upon
an original wood stand decorated in floral vines and stylized dragons
in gold hiramaki-e
17in (43.2cm) high
US$15,000 - 25,000
132 | BONHAMS
6297
KIBUNDO (HATANO SHOHEI) III
A set of four patinated bronze byochin (screen weights)
Meiji era (1868-1912), late 19th/early 20th century
Each cast with a design of a small snail climbing up a length
of bamboo, the reverse with a squared suspension hook and
incised signature Kibun tsukuru
With a wood tomobako (storage box) signed Kibundo Shohei 6297
tsukuru and sealed Kibun no in
12 5/8in (32.1cm) long
US$800 - 1,200
6298
A SILVER KOMAI-STYLE BOX AND COVER
The slightly domed cover with cut sides and decorated on the top with
a lobed panel with courtiers and fighting cocks before a pavilion, all in
high-relief gold and silver inlay against an iron ground, the surrounding
areas decorated with floral lozenges in flush silver inlay, the lacquer
interior decorated in nashiji
4 1/2 x 5 1/2 x 3 3/4in (11.4 x 13.9 x 9.5cm)
US$3,000 - 5,000
6298
6299
A BRONZE BOX AND COVER
By Shuei
The body rectangular and decorated on the cover with Mt. Fuji skirted
by clouds, all carved in relief, the snow-covered peak highlighted in
silver and gilt overlays, the ground finshed in adark patina, the sides of
the box bearing a yellow-brown patina and decorated with pine trees
and grasses in katakiribori, singed on the side Shuei saku
11 x 9 3/4 x 2 5/8in (27.9 x 24.7 x 6.2cm)
US$1,000 - 1,500 6299

6300
AN INLAID-IRON TESTUBIN (TEA KETTLE) WITH BUTTERFLIES
Cast in iron and of slightly tapered cylindrical form with a short spout
and decorated in silver and gold nunomezogan with butterflies and
blossoming flowers and grasses, the handle with nanden berries in
gold and silver takazogan and hirazogan, the bronze cover finished
with a flower-bud finial and signed on the underside Ryubundo zo
6 3/4in (17.2cm) wide
US$5,000 - 6,000
6300
6301
AN INLAID-IRON TETSUBIN (TEA KETTEL) WITH DRAGON-FLY
Ovoid and with a slightly elongated spout emanating from a dragon's
mouth, the body worked on the surface and decorated with shaped
panels raise in relief with a dragonfly in lotus and autums grasses
and leaves in silver and gold hirazogan, the handle decorated with
archaistic Chinese geometric designs in gold and silver nunomezogan
and joined to the body with a loop formed as a beast mask, the bronze
cover finished with a cherry blosson finial and signed on the underside
Ryubundo zo
7 1/4in (18.5cm) wide
US$5,000 - 6,000
6301
134 | BONHAMS
6302
UNNO MORITOSHI (1834-1896)
A fine iron panel
The russet-iron panel carved in relief with a playful scene of a large
rat struggling with an egg as two smaller rats pull on its tail, the eyes
finished in shakudo and the egg in silver overlays, signed Ryounsai and
sealed in gold Mori, mounted on a wood panel
11 3/4 x 14 1/2in (29.9 x 36.8cm) (overall); 6 x 8 3/8in (15.1 x 21.3cm)
(panel only)
US$20,000 - 25,000
Provenance
Thomas B. Marston
Thomas E. Marston, and thence by descent
According to family records, this panel was purchased in 1898 or 1899

by Thomas B. Marston on a trip to Japan. Marston was reportedly
there as a guest of the Meiji government to advise on selections of art
to represent Japan at the upcoming Exposition Universelle to be held
in Paris in 1900.

6303
MURASAKIBARA TOSHIYOSHI (1829-?)
A fine inlaid-bronze tray
Edo period (1615-1868) or Meiji era (1868-1912), after 1890
Rectangular with lobed corners and decorated with a bold design of
Watanabe no Tsuna crouching beside a storage box with his sword
drawn about to strike the demon Ibaraki who is represented by a
swirling cloud of smoke, carved on the surface in relief, the warrior
rendered in shibuichi, shakudo, gold, silver and copper high-relief
takazogan, signed and sealed Toshiyoshi
8 x 10 1/4in (20.2 x 26cm)
US$35,000 - 45,000
The design sketch for this tray is published in Hida Toyojiro, Meiji
no yushutsu kogei zuan: Kiryu Kosho Kaisha no rekishi [Meiji Period
Design Sketches for Export Crafts: The History of the Kiritsu Kosho
Kaisha] (Nihon moyo zushu [Collection of Japanese designs] series,
Kyoto, Kyoto Shoin, 1998), no. 640.
136 | BONHAMS
KOREAN ART
PROPERTY FROM THE COLLECTION OF
JOHN AND CELESTE FLEMING
6304
A SET OF 16 HANGING SCROLLS OF RAKAN tradition, all except one of them on silk and all of them following
Japanese, Kamakura (1185-1333) or Muromachi (1333-1573) a common style in terms of figure and animal types, pointing to
period, or Korean, Goryeo (918-1392) or Joseon (1392-1897) a uniform pictorial tradition.
dynasty, 14th-15th century
16 hanging scrolls, ink, colors, and gold on silk, in Japanese silk The present scrolls, while sharing many features with the five sets,
mounts also differ from them in certain respects that have led earlier scholars
Each 28 1/4 x 16in (72 x 40.6cm) to suggest a Korean, rather than Japanese, origin. One of these is the
abstracted, folkish character of the animal depiction, as seen most
US$30,000 - 50,000 clearly in the two tigers at the foot of one of the scrolls, with a slug-
shaped pattern on their fur that is often seen in Korean folk art of the
Provenance Joseon dynasty. Another possibly Korean feature of the paintings is the
Chester Dale Carter collection depiction of some donors' facial features, with very high cheekbones
Sold at Sotheby Parke Bernet, December 18, 1980, lot 100 and fish-like eyes. These characteristics are not often seen in
Fleming Family collection Japanese paintings but are a prominent feature of donor and attendant
figures in early Korean paintings such as the Yoryu Kannon 楊柳観音
Published (Willow Kannon) in Daitokuji 大徳寺 Temple (reproduced in Kikutake
Robert Moes, A Flower for Every Season: Japanese Paintings from the Jun'ichi 菊竹淳一 and Yoshida Hiroshi 吉田宏志 eds., Korai butsuga
C. D. Carter Collection, Brooklyn: Brooklyn Museum, 1975 高麗仏画 (Koryo Buddhist Painting), Tokyo, Mainchi Shinbunsha
朝日新聞社, 1981, pl. 32, detail 3). Finally, earlier commentators
The present striking and well preserved set of 16 Rakan paintings have pointed to the calligraphy of the inscriptions, which shares
was in Japan for much of its history; inscriptions within the mounts characteristics with a Korean Nahan painting of the Goryeo dynasty in
record Japanese remountings in 1396, 1684, 1796, and 1966. For the Cleveland Museum (inv. no. 1979.71, reproduced in Kikutake and
more than four decades, however, there have been differing views Yoshida, op. cit., pl. 62).
concerning their date and country of origin. Originally purchased by Mr.
C. D. Carter as Japanese, Kamakura period, reputedly on the basis Notwithstanding the well-argued hypothesis briefly summarized above,
of an authentication by the legendary scholar Tanaka Ichimatsu 田中 even during the 1980s there were dissenting voices and more recent
一松, the paintings were published and exhibited, again as Japanese, scholarship tends to take a broader view of the varied international
by the Brooklyn Museum in 1975, but until recently it has widely been influences that may be at work in a single Buddhist painting or group
considered that they are of Korean origin, based on a number of of paintings at this period.1superscript Some younger specialists are
factors. so struck by the similarities between the present set and the Tokyo
National Museum exemplar that they feel compelled to conclude
The compositional tradition embodied in the paintings points to a that these paintings must have been executed in Japan, possibly not
hypothetical Chinese model, for which no actual example appears to in Kyoto but at a regional location where iconographic conventions
survive, that is represented by a number of sets in Japan. The earliest were less strictly followed and influences from Korean painting might
and best known is a National Treasure in Tokyo National Museum, have been absorbed. We tend toward the view that these magnificent
originally in the Shojuraigoji Temple 聖衆来迎寺 in Shiga Prefecture and paintings, whose ancient silk shows evidence of painstaking efforts
datable to before 1125 (reproduced in black-and-white and discussed at conservation over the centuries, are not Korean but Japanese.
in Tanaka Kisaku 田中喜作, "Yamato-e juroku rakan-zo ni tsuite 大 Whatever their origin, we consider them to be works of great rarity and
和絵十六羅漢像に就いて [On 16 Japanese paintings of Rakan]," significance that belong in a major collection of East Asian Buddhist
Bijutsu kenkyu 美術研究, 58 [1936], pp.1-10; images accessible at art.
http://www.emuseum.jp/detail/100157/000/000?mode=detail&d_
lang=ja&s_lang=ja&class=&title=&c_ 1. For a refreshing overview of mutual pictorial influences at the period
e=®ion=&era=¢ury=&cptype=&owner=&pos=9&num=7). It appears of these scrolls, see Hae Yeun Kim, "East Asian Cultural Exchange in
to be based upon a Chinese prototype and all the figures depicted Tiger and Dragon Paintings," October 1916), http://www.metmuseum.
are Chinese, rather than South Asian, monks, but the paintings are org/toah/hd/tidra/hd_tidra.htm.
universally agreed to be Japanese. Four other Japanese sets, also
discussed in the Bijutsu kenkyu article cited above, follow the same
138 | BONHAMS
6305
A SMALL BRONZE FIGURE OF A BODHISATTVA
Korean, Joseon dynasty (1392-1897), 15th/16th century
Cast standing square and dressed in flowing robes with long sleeves,
the hair swept up into a top knot with plaits looping around the
pendant earlobes, and framed with an elaborate crown, the hands
held in a mudra, the reverse with an opening
7 1/4in (18.5cm) high
US$1,000 - 1,500
6305
6306
ANONYMOUS
A painting of Amita Buddha and attendants
Korean, Joseon dynasty (1392-1897), 18th century
Ink, color and gold on silk of Amita (아미타 Amida) seated cross-legged
on a throne flanked by attendants Kannon (Gwanyeum관음 ) and Seishi
(Daeseji 세지), inscribed with the name of the monastery to which this
painting was donated Myohyangsan Pyungfwung am 묘향산병풍암 妙
香山屏風庵, dated (乾隆二年 건륭이년) (1737) and with a long list of
monks and donors
38 3/4 x 26 1/4in (98.2 x 66.7cm)
US$12,000 - 18,000
6306
6306 (inscription detail)
140 | BONHAMS
PROPERTY FROM THE
BLACK FAMILY COLLECTION
KAY E. BLACK
Kay E. Black is a scholar of 19th and early 20th century Korean

decorative painting. She has been a research consultant to
the Asian Art Department of the Denver Art Museum and has
published many essays on Korean art in Korean Culture, Oriental
Art, Orientations, Journal of Historical Studies at Magnitogorsk
University, Journal of Art History, and Archives of Asian Art. She
pursued undergraduate studies at Bennington College, and
completed a Master’s Degree in Art History from the University
of Denver, with further studies at the Ewha Womens’ University
International Summer School, and University of Oregon.
6307
PROPERTY FROM THE KAY BLACK FAMILY

COLLECTION OF KOREAN PAINTINGS
6307 6309
A SET OF SIX MUNCHADO PAINTINGS ANONYMOUS
Korea, Joseon dynasty (1392-1897), 19th century Landscapes and Poems
Ink and slight colors on paper, mounted on panels, the ideographs Korea, Late 19th/Early 20th century
boldly painted and superimposed with designs of animals, insects Ten-panel folding screen, ink and slight color on paper, delicately
flowers and auspicious emblems, and with related poems painted with landscapes and poems.
31 1/2 x 11 1/4in (80 x 28cm) Painting: 39 3/4 x 13in (101 x 33cm); with mounting: 67 x 17 1/2 each
panel (170.2 x 44.5cm)
US$3,000 - 5,000
US$8,000 - 12,000
Munchado are pictorial characters that are intertwined with decorative
designs. The characters however, are still recognizable and express The colophons on the landscape paintings are the九曲棹歌 the
the Eight Cardinal Princples of Confucian Morality. Each virtue is Jiuqu Zhaoge ('The Oar song of the Nine Bends') by the Song Neo-
represented by a single character. This set of six paintings feature the Confucian Zhu Xi 朱熹each describing a different bend of 'The Nine
following characters: 孝 (hyo), 悌 (che), 信 (shin), 廉 (yom), 禮 (yae) and Bend River' of Wuyi mountain.
義 (ui). Two paintings from the set, 忠 (ch'ung) and 恥 (chia), are now
lost. 武夷山上有仙靈，山下寒流曲曲清。
欲識個中奇絕處，棹歌閑聽兩三聲。
Provenance 　　一曲溪邊上釣船，幔亭峰影蘸晴川。
Emille Museum, 1976 　　虹橋一斷無消息，萬壑千岩鎖翠煙。
　　二曲亭亭玉女峰，插花臨水爲誰容。
On loan to the Denver Art Museum 2001-2016 　　道人不作陽臺夢，興入前山翠幾重。
　　三曲君看駕壑船，不知停棹幾何年。
6308 　　桑田海水兮如許，泡沫風燈敢自憐。
ANONYMOUS 　　四曲東西兩石岩，岩花垂露碧監毿。
Birds, animals and flowers 　　金雞叫罷無人見，月滿空山水滿潭。
Korea, Late Joseon dynasty,early 20th century 　　五曲山高雲氣深，長時煙雨暗平林。
Ink and color of silk, mounted as a 10-panel screen 　　林間有客無人識，矣乃聲中萬古心。
skillfully painted with various exotic birds, phoenix and deer set off by 　　六曲蒼屏繞碧灣，茆茨終日掩柴關。
rocky outcroppings and blossoming plants 　　客來倚棹岩花落，猿鳥不驚春意閑。
Each Painting: 52 x 16in (132.7 x 40.6cm; Overall height 81 x 172 (206 　　七曲移舟上碧灘，隱屏仙掌更回看。
x 438cm) 　　卻憐昨夜峰頭雨，添得飛泉幾道寒。
　　八曲風煙勢欲開，鼓樓岩下水縈回。
US$5,000 - 8,000 　　莫言此地無佳景，自是遊人不上來。
　　九曲將窮眼豁然，桑麻雨露見平川。
　　漁郎更覓桃源路，除是人間別有天。
For a screen of a related subject, see Yang-mo Chŏng Arts of Korea:

the Metropolitan Museum of Art. The Metropolitan Museum of Art,
1998, p. 338
142 | BONHAMS
6308
6309

6310
ATTRIBUTED TO SIN HAGGWEON신학권 申學權 This so-called mountain, also called Mt. Maple, [about which] earlier
(DOAM도암 陶菴, 1785-1866) poets wrote: .... 'night is quiet and long, approaching the early
Geumgang naesan chongdo 金剛内剛揔圖 (A General View of Inner morning, [few leaves left], turning into autumn now'. However, this
Diamond Mountain) painting depicts a view of the moment of the transition from Spring to
Korea, Jeoson dynasty (1392–1897), circa 1850 Summer. Why does it seem so green? When [I] travel in the mountains,
Folding screen mounted on a panel, ink and slight colors on paper, the climb seems dark.
with four seals Doam 陶菴
18 1/2 x 92in (47 x 233.7cm)
With two inscriptions as follows:
金剛內山總圖 US$150,000 - 250,000
華人詩曰：願生高麗國，一見金剛山。餘以東[]人居，六七百年，至 For a similar painting attributed to the same artist, compare an eight-
四五十，尚未得見。蓋以將老，不能（閱）月遠離故也。既未得足躡 panel screen of Mount Geumgang in the Jordan Schnitzer Museum
其境，常欲想見。枋彿於畫中，而諸帖各異，未知其同不同。大赤坡 of Art, University of Oregon, reproduced in Ilmin Museum of Art일민
詩所云：橫看成嶺側成峰。到處看山各異容者耶。（雄?）言魚齋鄭 미술관, 夢游金剛 : 그림 으로 보는 금강산 300년 (Art of Kumgang: From
元伯*所寫，為諸家，（玖）散在人家，其運筆於雲嵐扶[]之巾，而釣 18th Century to 20th Century in Korean Art), Seoul, 1999, cat. no. 20.
得佳境，遠近向背瞭然在目。餘愛而不能捨。始知其我東，妙手獨步 Since early times Geumgangsan (Kumgangsan, Diamond or
於眾中者也，惜其年久漫漶，終歸於澌盡，故乃以新紙摹之。揮灑已 Thunderbolt Mountain), a 5,374-foot peak just north of the
畢，釋觚環視，其真真奇奇，[]鬼矢，人奪目，恍惚有若變幻於俄頃 demilitarized zone on the peninsula's east coast, has been regarded
之間。畫亦然矣，況其真乎，無乃化翁之有意用力於融結之初，而現 as a national symbol, admired for its spectacular scenery of more
出琉瑞，千萬諸佛於滄渤之東，而飛仙之所窟宅，靈物之所藏悔者 than 12,000 stone formations of weathered granite and diorite. The
歟。然則其天慳地秘，神剜鬼（削/刻 []）之妙，雖巧於摸寫者，豈得 mountain's name varies with the seasons, Geumgang being its
形容於萬一也哉！ spring name; in summer it is known as Pongraesan 봉래산 蓬萊山,
in reference to Penglai, the imaginary island of Chinese mythology, a
A Chinese poem once read: [I] wish I could have been born in Korea place where spirits dwell. Geumgangsan has been celebrated in poetry
so that I could see Mt. Kumgang. I live in the east [of China], (six throughout Korean history and became a favorite subject for painting
hundred or seven hundred years), I am in my 50s, but I have still not during the eighteenth century thanks in large part to Jeong Seon
seen Mt. Kumgang. As I continue to get older, I am no longer able 정선 鄭敾 (Chong Son, 1676-1759), (see lot00), whose most famous
to travel far. Because I've never been able to set foot there, I have version of Geumgangsan (1734) is registered as Korean National
always wanted to see it. As for the paintings [of the subject], each Treasure # 217 and preserved in the Ho-Am Museum. Like the
one is different; I don't know if they are faithful or not. Su Dongpo's painting here, Jeong's painting shows Naegeumgang (Inner Diamond
poem says 'Look horizontally, they're mountain ranges; vertically, they Mountain), usually considered the most picturesque part of the entire
appear to be precipitous peaks'. Mountains viewed from different region, and is celebrated as an example of the artist's distinctive
locations show different contours. There is a painting of Mt. Kumgang style, liberated from undue Chinese influence, based on plein-air
by Jeong Seon. It has been at my home for a while. The brushwork observation, and characterized by strong contrasts of light and shade.
is superb. I like it very much and cannot put it down. By viewing
Jeong Seon's painting, I learned that he is exceptional among many Jeong is said to have executed some hundred versions of the view,
painters [in Korea]. However, the painting is old and in poor condition; (one of which seems to be referenced in the inscription on the present
eventually it will be gone. Therefore, I copied the painting onto new lot), and even though he seems to have had no formal pupils, both
paper. After finishing it and putting down my drink, [I] looked around his choice of subject—one of the key images of Korean nationalism—
[and started to see] forms that were at once real and fantastical: and his style influenced generations of Korean artists, including Sin
spirits and men flashed before my eyes, as if everything had suddenly Haggweon who here follows his predecessor's semi-topographical
changed. The painting also transformed, ..... Was this not God's approach (including labels for some of the more celebrated peaks)
intention when he created the world? Bringing auspicious things into and extensive use of dots to depict vegetation, a distant echo of the
existence - thousands of Buddhas appearing on the east of the ocean, Chinese master Mi Fei (1052-1107). These large-scale compositions
immortals living in those caves? However, heaven is secluded and the were intended almost as a substitute for a real visit: as Jeong Seon
earth is secret. The wonder the gods and ghosts have created, even put it in an inscription on his 1734 masterwork, "Even if you visit the
though one might be good at depicting it, one cannot come close to mountain yourself and tread its every nook and cranny, how can your
describing one one-thousandth of what nature is. joy be compared with what you feel upon viewing this picture at your
bedside?"
And:
As a distinguished later depiction of the country's most iconic
painting subject, from the hand of a documented artist, this view of
又茲山，或名楓岳。前人所詠，五夜虛明長，欲曙四時，寥落（稀 Geumgangsan would be a significant addition to any serious collection
少）易為秋是也。然此帖攬取時景，乃在春夏之交。蒼翠如滴者何 of Korean painting.
也？(几)遊間之，士陟遐冥。搜者多在日長少年之時也。觀是帖者常
作此（看[]）。
144 | BONHAMS
6311
ANONYMOUS
Geumgangdo 금강도 金剛圖 (Diamond Mountain)
Korea, Joseon dynasty (1392–1897), dated 1847
Handscroll mounted on a panel
ink and slight colors on paper, inscribed 金剛圖 (Geumgando 금강도)
and dated 丁未仲春寫 (Jeonmi jung chunsa 정미 정천사)
(Spring of 1847) and with one seal
18 1/4 x 92in (46.3 x 233.7cm)
US$60,000 - 80,000
This anonymous depiction of the Diamond Mountains (see also lot

6310) is of particular interest in that, in addition to familiar natural
aspects of the landscape, in particular the countless formations
of weathered granite and diorite, it also includes one of the most
celebrated man-made sights in the locality: the famous triad of relief-
carved images at the Sambulsa 삼불사 三佛寺 (Temple of the Three
Buddhas), carved during the Goryeo period. In addition, the complex
of buildings shown in a mountain clearing is likely either of two
celebrated temples, the Pyohunsa표훈사 表訓寺or the Jeongyangsa
정양사 正陽寺.
Published (in part)

Dr. Zo Zoyong. Diamond Mountain. Vol. 2. Seoul: Emille Museum,
1975, p. 53
On loan to the Denver Art Museum, 2001-2016

6310
6311
6312 6312 6313
6312 6314
TWO CH'AEKKORI PAINTINGS ATTRIBUTED TO CHONG HAK-GYO 丁學
Joseon dynasty (1392-1897), 19th century 教 (정학교)(1832-1914)
Ink and color on paper, mounted on a panel, Rocks and orchids
depicting a collection of scholar's volumes, Korea, Joseon dynasty (1392-1897), 19th
objects and auspicious symbols of long life. century
21 x 11 3/4in (53.3 x 29.8cm) image; overall Ink on paper, mounted on a panel, sealed
70 1/2 x 23 1/2in (179 x 59.7cm) Lyo'i cha'o 聊以自娛 료이자오
56 1/4 x 17 7/8in (143 x 48cm)
US$2,500 - 4,000
US$1,500 - 2,500
On loan to the Denver Art Museum, 2001-
2016 The poem is inscribed as;
6313 擬硯壽堂墨蘭
ANONYMOUS
Lion rock and flowers 溪畔無載數十叢
Korea, 20th century 業（業）徑葉（餽）壽風
Ink and color on paper, mounted on panel; 年來霜艾遏三及
butterflies hovering near a cluster of flowers 白首相看以夢中
growing from a facetted rock emulating a
striding lion. Drafting ink orchids of Ink-stone Longevity Hall
47 1/2 x 23in (120.2 x 58.4cm)
Besides the stream I have planted several
US$2,000 - 3,000 bushels
And as my time has passed and leaves wither
The inscription on the painting can be read as Three years of frost piles on the mugwort
follows: And I can but look back with white hair as in
a dream.
李書友人碧趙 Li writes his friend Cho Pyek
獅子石 Lion rock Per 金京熙, 韓國書畫家印譜, Seoul, 知識產業
善世令流,王相國傾城顏色,李友人不云百社, 1978; p 104.
花皆報此陛下. In this enlightened age ever
passing, the attractiveness of a kingly visage Provenance
causes cities to fall. Friend Li: don't say these Emille Museum, 1975
hundred flowers herald this majesty.
Provenance 2016.
Emille Museum, 1970's

2016
6314
146 | BONHAMS
6315
6315 6317
CHRYSANTHEMUM AND ROCK ABBOT OF THE SONGGWANGSA
Korea, Joseon dynasty (1392-1897), 19th MONASTERY, (ACTIVE LATE 20TH
century CENTURY)
Double album leaf, ink and mineral pigments Buddha
on paper; Circa 1976 6316
depicting chrysanthemums issuing from a Hanging scroll, ink on paper, inscribed to Kay
large rocky outcropping, signed "scribbled by E. Black with two seals of the artist
Kyomjae", the pen name of Jeong Seon정선 48 1/4 x 12 3/4in (122.5 x 32.4cm)
鄭敾 (Chong Son, 1676-1759).
19 1/2 x 27in (49.6 x 58.6cm) US$1,000 - 1,500
US$1,000 - 1,500 In the summer of 1976, Kay E. Black was

invited to visit Songgwangsa, one of Korea's
Literature: largest and most famous monasteries, along
Dr. Zo Zayong. Diamond Mountain. Vol 2. with Julia Lee, former wife of Prince Yi Kyu,
Seoul: Emille Museum, 1975, p. 54 and Jon Carter Covell, a well-known art
historian of Japanese paintings. This scroll,
On loan to the Denver Art Museum, 2001- which has a calligraphic depiction of the
2016 Chinese character for Buddha, was inscribed
by the Abbot of the Monastery and presented
6316 to Kay E. Black during the visit.
CHONG HAK-SU 丁鶴洙 정학수 (1832-1914)
Rock and grasses and poem
Korean, Joseon dynasty (1392-1897) or
later , late 19th- early 20th century
Ink on paper, mounted on a panel, sealed 人
月雙清 or 인월쌍청 (in hwel ssang cheng) 'man
and moon alike in purity'
55 3/4 x 18in (141.6 x 45.8cm)
US$15,000 - 25,000
The poem can be read as follows:

[抱]笏堪稱戈
摩挲是遇兄
莫云身無用
將有補天功
Wielding the power of civil office can be like

a sword
And so with a deft touch I met you, brother;
Don't say that you're useless
Fate has an important plan for you.
Provenance 6317
Emille Museum, 1975
ANOTHER PROPERTY
6318W
AN INLAID LACQUER TABLE
Korea, Joseon dynasty (1392-1897), 19th century
Rectangular and set on cabriole legs and decorated in inlaid mother-
of pearl with a map of the Korean pennisula, the sides and legs
decorated with chrysanthemum and scrolling vines
58 x 40 x 14in (147.3 x 101.6 x 35.5cm)
US$8,000 - 12,000
Provenance
Purportedly presented to Mitsuhito, Emperor Meiji in 1898
from Yi Ha-Eung (Daewongun)
木戸幸一 Kido Koichi (1889-1977), Lord Keeper of the Privy Seal
of Japan from 1940 to 1945, by repute
According to related documents written in 1954, this table was made

to commemorate the 300th anniversary of Toyotomi Hideyoshi’s
Korean campaigns (1592-1598). Yi Ha-eung (1820-1898) reportedly
presented the table to the Meiji Emperor in 1898. This fact is had
to prove however, given the degree of anti-Japanese sentiment in
Korea during this period and the fact that according to historian Bruce
Cumings, Ha-eung himself adapted a foreign policy of “no treaties, no
trade, no Catholics, no West and no Japan”.
Yi was forced into retirement in 1874 when the rightful heir to the
throne came of age. However Yi was once again called into service
in 1894 by the Japanese during their occupation of Korea. The
occupying government needed a suitable leader who would be
amenable to their policies. This tributary gift could have been given
during this brief period before Yi’s death in 1898.
148 | BONHAMS
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NY/MAIN/11.17
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REGULATED SPECIES MATERIALS AND CITES PERMITS PHYSICAL CONDITION OF LOTS IN THIS AUCTION
The export of a lot from the United States or import into certain countries may PLEASE NOTE THAT THERE IS NO REFERENCE IN THIS
be subject to export or import regulations, licensure and/or other restrictions; CATALOG TO THE PHYSICAL CONDITION OF ANY LOT.
in particular, lots containing plant or animal materials such as ivory, rhinoceros INTENDING BIDDERS MUST SATISFY THEMSELVES AS
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‘LIMITATION OF LIABILITY’ IN THE ‘CONDITIONS OF SALE.’
or certificates, or may be banned from import altogether by some countries.
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the ability to obtain an import license or certificate in another country. Lots that As a courtesy to intending bidders, Bonhams will provide a
contain such regulated species materials may also not be eligible for expor- written indication of the physical condition of lots in this sale
tation or for re-importation into the United States if they are not at least 100 if a request is received up to 24 hours before the auction
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no longer be re-imported into the United States regardless of age. In addition,
Bonhams website.
resales of lots containing certain regulated species materials may be subject to
restrictions in some jurisdictions.
Lots noted in the catalog with a Y next to the lot number contain one or more
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without limitation purchases of items containing elephant ivory or rhino horn.
For example, we are advised that New York buyers of any lot containing ele-
phant or mammoth ivory or rhino horn will be responsible for obtaining a New
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CONDITIONS OF SALE
The following Conditions of Sale, as amended by any of both sales, our commission at our standard rates, all 10. These Conditions of Sale shall bind the successors
published or posted notices or verbal announcements other charges due hereunder, attorneys’ fees, expenses and assigns of all bidders and purchasers and inure to
during the sale, constitute the entire terms and and incidental damages. In addition, where two or more the benefit of our successors and assigns. No waiver,
conditions on which property listed in the catalog shall amounts are owed in respect of different transactions by amendment or modification of the terms hereof (other
be offered for sale or sold by Bonhams & Butterfields the purchaser to us, to Bonhams 1793 Limited and/or to than posted notices or oral announcements during the
Auctioneers Corp. and any consignor of such property any of our other affiliates, subsidiaries or parent companies sale) shall bind us unless specifically stated in writing
for whom we act as agent. If live online bidding is worldwide within the Bonhams Group, we reserve the right and signed by us. If any part of these Conditions of Sale
available for the subject auction, additional terms and to apply any monies paid in respect of a transaction to is for any reason invalid or unenforceable, the rest shall
conditions of sale relating to online bidding will apply; discharge any amount owed by the purchaser. If all fees, remain valid and enforceable.
see www.bonhams.com/WebTerms for the supplemental commissions, premiums, bid price and other sums due to
terms. As used herein, “Bonhams,” “we” and “us” refer us from the purchaser are not paid promptly as provided 11. These Conditions of Sale and the purchaser’s and
to Bonhams & Butterfields Auctioneers Corp. in these Conditions of Sale, we reserve the right to impose our respective rights and obligations hereunder are
a finance charge equal to 1.5% per month on all amounts governed by the laws of the State of California. By
1. As used herein, the term “bid price” means the due to us beginning on the 31st day following the sale bidding at an auction, each purchaser and bidder agrees
price at which a lot is successfully knocked down to until payment is received, in addition to other remedies to be bound by these Conditions of Sale. Any dispute,
the purchaser. The term “purchase price” means the available to us by law. controversy or claim arising out of or relating to this
aggregate of (a) the bid price, (b) a PREMIUM retained agreement, or the breach, termination or validity thereof,
by us and payable by the purchaser EQUAL TO 25% 3. We reserve the right to withdraw any property and brought by or against Bonhams (but not including
OF THE FIRST $150,000 OF THE BID PRICE, 20% OF to divide and combine lots at any time before such claims brought against the consignor by the purchaser
THE AMOUNT OF THE BID PRICE ABOVE $150,000 property’s auction. Unless otherwise announced by the of lots consigned hereunder) shall be resolved by the
UP TO AND INCLUDING $3,000,000, AND 12% OF auctioneer at the time of sale, all bids are per lot as procedures set forth below.
THE AMOUNT OF THE BID PRICE OVER $3,000,000, numbered in the catalog and no lots shall be divided or
and (c) unless the purchaser is exempt by law from combined for sale. SALES AND USE TAX
the payment thereof, any Arizona, California, Colorado, New York sales tax is charged on the hammer price,
Connecticut, Florida, Georgia, Illinois, Massachusetts, 4. We reserve the right to reject a bid from any bidder, to
split any bidding increment, and to advance the bidding buyer’s premium and any other applicable charges on
Nevada, New Jersey, New York, Pennsylvania, Texas, any property collected or delivered in New York State,
Virginia, Washington, D.C., Washington state, or other in any manner the auctioneer may decide. In the event
of any dispute between bidders, or in the event the regardless of the state or country in which the purchaser
state or local sales tax (or compensating use tax) and resides or does business. Purchasers who make
other applicable taxes. With regard to New York sales auctioneer doubts the validity of any bid, the auctioneer
shall have sole and final discretion either to determine direct arrangements for collection by a shipper who is
tax, please refer to the “Sales and Use Tax” section of considered a “private” or “contract” carrier by the New
these Conditions of Sale. the successful bidder or to re-offer and resell the article
in dispute. If any dispute arises after the sale, our sales York Department of Taxation and Finance will be charged
2. On the fall of the auctioneer’s hammer, the highest records shall be conclusive in all respects. New York sales tax, regardless of the destination of the
bidder shall have purchased the offered lot in accordance property. Property collected for delivery to a destination
and subject to compliance with all of the conditions set 5. If we are prevented by fire, theft or any other reason outside of New York by a shipper who is considered
forth herein and (a) assumes full risk and responsibility whatsoever from delivering any property to the purchaser a “common carrier” by the New York Department of
therefor, (b) if requested will sign a confirmation of or a sale otherwise cannot be completed, our liability Taxation and Finance (e.g. United States Postal Service,
purchase, and (c) will pay the purchase price in full or shall be limited to the sum actually paid therefor United Parcel Service, and FedEx) is not subject to New
such part as we may require for all lots purchased. No by the purchaser and shall in no event include any York sales tax, but if it is delivered into any state in which
lot may be transferred. Any person placing a bid as compensatory, incidental or consequential damages. Bonhams is registered or otherwise conducts business
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has disclosed that fact or the identity of the principal) implement such reserve by bidding on behalf of the
may be jointly and severally liable with the principal under in effect in such state. Property collected for delivery
consignor, whether by opening bidding or continuing outside of the United States by a freight-forwarder who is
any contract resulting from the acceptance of a bid. bidding in response to other bidders until reaching the registered with the Transportation Security Administration
Unless otherwise agreed, payment in good funds is reserve. If we have an interest in an offered lot and the (“TSA”) is not subject to New York sales tax.
due and payable within five (5) business days following proceeds therefrom other than our commissions, we may
the auction sale. Whenever the purchaser pays only bid therefor to protect such interest. CONSIGNORS ARE MEDIATION AND ARBITRATION PROCEDURES
a part of the total purchase price for one or more lots NOT ALLOWED TO BID ON THEIR OWN ITEMS.
(a) Within 30 days of written notice that there is a
purchased, we may apply such payments, in our sole 7. All statements contained in the catalog or in any bill dispute, the parties or their authorized and empowered
discretion, to the lot or lots we choose. Payment will of sale, condition report, invoice or elsewhere as to representatives shall meet by telephone and/or in
not be deemed made in full until we have collected authorship, period, culture, source, origin, measurement, person to mediate their differences. If the parties agree,
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(b) cashier’s check or money order, (c) personal check ARE QUALIFIED STATEMENTS OF OPINION AND NOT mediator shall be a retired judge or an attorney familiar
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returned checks. Please note that the amount of cash judicial proceeding. All proceedings and any resolutions
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NY/MAIN/V2/11.16
CONDITIONS OF SALE - CONTINUED
arbitrator shall be an individual jointly agreed to by bear its own attorneys’ fees and costs in connection with REASON WHATSOEVER IS THE LIMITED RIGHT OF
the parties. If the parties cannot agree on a national the proceedings and shall share equally the fees and RESCISSION DESCRIBED IN THIS SECTION.
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NY/MAIN/V2/11.16
BUYER’S GUIDE
BIDDING & BUYING AT AUCTION Lots are auctioned in consecutive numerical order as Buyer’s Premium
Whether you are an experienced bidder or an enthusiastic they appear in the catalog. Bidding normally begins A buyer’s premium is added to the winning bid price of
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Catalogs We assume no responsibility for failure to execute bids for accepts no liability for damage or loss to frames during
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Bonhams catalogs include low and high value estimates bids, any applicable reserve, and bids from other auction valid resale number has been furnished or the property is
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for comparable pieces, and should not be interpreted as a available in our catalogs, online at www.bonhams.com/
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to a reserve. The reserve is the minimum auction price that purchase price will accompany all international purchases.
the consignor is willing to accept for a lot. This amount is Online
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the catalog with a symbol next to the lot number(s). bidding progresses: (212) 644 9001.
$50-200..........................................by $10s
Bonhams may also offer property for a consignor that $200-500........................................by $20/50/80s Handling and Storage Charges
has been guaranteed a minimum price for its property $500-1,000.....................................by $50s Please note that our offices have requirements for freight
by Bonhams or jointly by Bonhams and a third party. $1,000-2,000..................................by $100s elevator usage. Please contact us to schedule an elevator
Bonhams and any third parties providing a guarantee $2,000-5,000..................................by $200/500/800s appointment for pickup of any large or awkward items.
may benefit financially if the guaranteed property is sold $5,000-10,000….............................by $500s Bonhams will hold all purchased lots in our gallery until
successfully and may incur a financial loss if its sale is not $10,000-20,000..............................by $1,000s Wednesday March 29, 2017 without penalty. After March
successful. Such property, if any, is identified in the catalog $20,000-50,000..............................by $2,000/5,000/8,000s 29 collection of lots will be by appointment only. Please call
with a symbol next to the lot number(s). $50,000-100,000............................by $5,000s +1 (212) 644 9001 at least 24 hours in advance to make
$100,000-200,000..........................by $10,000s an appointment.
Bidding at Auction above $200,000..............................at auctioneer’s discretion
At Bonhams, you can bid in many ways: in person, via Storage charges of $5 per lot, per day will begin accruing
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Valid Bonhams client accounts are required to participate Currency Converter
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or bidder agrees to be bound by the Conditions of Sale. currency converter. online at www.bonhams.com/us.
NY/MAIN/V2/11.16
IMPORTANT NOTICE TO BUYERS
COLLECTION & STORAGE AFTER SALE HANDLING & STORAGE CHARGES PAYMENT
Please note that all oversized lots listed below, Please note: For sold lots removed to Cadogan All amounts due to Bonhams and all charges due
that are not collected by 4PM ON WEDNESDAY, Tate there will be transfer and insurance charges to Cadogan Tate Fine Art Storage Ltd must be
MARCH 29, 2017 will be removed to the but no storage charge due for lots collected within paid by the time of collection of the property from
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Limited. Lots not so listed will remain at Bonhams; at Bonhams, there will be no storage charge for lots
provided, however, THAT IF BUYERS OF LISTED collected within 21 days of the sale date. TO MAKE PAYMENT IN ADVANCE
LOTS ALSO BUY OTHER NON-LISTED Telephone +1 (917) 464 4346 to ascertain the
ITEMS, THESE OTHER LOTS WILL ALSO The per-lot charges levied by Cadogan Tate Fine amount due, payable by cash, check, or credit card.
BE REMOVED TO THE WAREHOUSE OF Art Storage Ltd are as follows (plus any applica-
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one location. For any questions please refer to the FURNITURE/LARGE OBJECTS
Bonhams department. Transfer................... $75 Lots will only be released from Cadogan Tate’s
Daily storage............ $10 warehouse upon production of the “Collection Slip”
LOTS WILL BE AVAILABLE FOR Insurance (on Hammer + Premium + tax) 0.3% obtained from the Cashier’s office at Bonhams.
COLLECTION FROM CADOGAN TATE
BEGINNING AT 10AM ET ON MONDAY, SMALL OBJECTS The removal and/or storage by Cadogan Tate of
APRIL 3 Transfer .................. $37.50 any lots will be subject to their standard Condi-
Daily storage............ $5 tions of Business, copies of which are available at
Address Insurance (on Hammer + Premium + tax) 0.3% Bonhams.
Cadogan Tate
301 Norman Ave Please contact Catherine More at Cadogan Tate PLEASE NOTE
Brooklyn, NY 11222 Fine Art Storage at Cadogan Tate does not accept liability for
+1 (917) 464 4346 damage or loss, due to negligence or otherwise,
Lots will be available for collection 24hrs following +1 (347) 468 9916 (fax) exceeding the sale price of such goods, or at
transfer to Cadogan Tate every business day from [email protected] their option the cost of repairing or replacing the
9.30am to 4.30pm ET. damaged or missing goods.
For more information and estimates on domes-
Collections appointments must be booked 24 tic and International shipping, please contact Cadogan Tate reserves a lien over all goods in
hours in advance (subject to full payment of all Catherine More at their possession for payment of storage and all
outstanding amounts due to Bonhams and Cado- +1 (917) 464 4346 or other charges due them.
gan Tate) by contacting Cadogan Tate at [email protected]
+1 (917) 464 4346.
OVERSIZED LOTS
6318
NY/MAIN/V2/11.16
ARTS OF THE SAMURAI INQUIRIES
+1 (212) 461 6516
September 13, New York [email protected]
Consignments now invited
A FINE KASHU KAGEMITSU

WITH TACHI MOUNTS
Muromachi period (1336-1573),
15th century
Provenance
Ogasawara daimyo family,
Shinano (present day Nagano)
Benito Mussolini (1883-1945)
Steven H. Janovick, late of
Company K, 85th infantry, 10th
Colorado Mountain
$50,000 - 60,000
bonhams.com/japanese
Bonhams
580 Madison Avenue
New York, New York 10022
+1 (212) 644 9001

+1 (212) 644 9009 fax
International Auctioneers and Valuers – bonhams.com

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JAPANESE AND KOREAN ART

Including prints from the Jeffrey M. Kaplan Collection

BONHAMS BIDS INQUIRIES

Please see pages 152 - 155 for

© 2017, Bonhams & Butterfields

Jeff Olson Takako O’Grady

Henry Kleinhenz Gloria Garaventa

Suzannah Yip Masami Yamada Yoko Chino

Neil Davey Joe Earle

JAPANESE AND KOREAN ART | 5

6006 US$1,800 - 2,500

JAPANESE AND KOREAN ART | 7

JAPANESE AND KOREAN ART | 9

JAPANESE AND KOREAN ART | 11

JAPANESE AND KOREAN ART | 13

For another impression, see the Edo-Tokyo Museum, inv. no.

JAPANESE AND KOREAN ART | 15

Another impression of the second is in the collection of the

Another impression of the first with additional information published in

For another impression of the first with additional information, see

Another impression is in the collection of the Harvard University Art

JAPANESE AND KOREAN ART | 17

Another impression is illustrated in Matthi Forrer, Surimono in the

JAPANESE AND KOREAN ART | 19

US$2,000 - 4,000 US$1,400 - 2,000

JAPANESE AND KOREAN ART | 21

JAPANESE AND KOREAN ART | 23

JAPANESE AND KOREAN ART | 25

JAPANESE AND KOREAN ART | 27

US$2,500 - 4,000 US$5,000 - 7,000

JAPANESE AND KOREAN ART | 29

JAPANESE AND KOREAN ART | 31

JAPANESE AND KOREAN ART | 33

6075 6076 6077

6078 6079 6080

US$600 - 800 US$600 - 800 US$600 - 800

JAPANESE AND KOREAN ART | 35

6081 6082 6083

See Eric van den Ing, Beauty and Violence,

JAPANESE AND KOREAN ART | 37

US$800 - 1,000 US$800 - 1,200

US$800 - 1,000 US$800 - 1,000

JAPANESE AND KOREAN ART | 39

6096 US$1,000 - 1,500

JAPANESE AND KOREAN ART | 41

PROPERTY OF VARIOUS OWNERS

Property from the Monterey Museum of Art, sold to benefit the

PROPERTY OF VARIOUS OWNERS

JAPANESE AND KOREAN ART | 43

The poems are translated in John T. Carpenter, ed., Reading

JAPANESE AND KOREAN ART | 47

JAPANESE AND KOREAN ART | 53

PROPERTY OF VARIOUS OWNERS

JAPANESE AND KOREAN ART | 57

JAPANESE AND KOREAN ART | 59

PROPERTY FROM THE COLLECTION OF H. LEE TURNER,

For other seventeenth-century screens of this subject, a favorite of

JAPANESE AND KOREAN ART | 61

6147 US$5,000 - 7,000