Fine Japanese Art: Thursday 12 November 2015

FINE JAPANESE ART
Thursday 12 November 2015

SPECIALIST AND AUCTION ENQUIRIES
LONDON
Suzannah Yip Yoko Chino Masami Yamada
NEW YORK
Jeff Olson Caroline Gill
SENIOR CONSULTANTS
Neil Davey Joe Earle
JAPAN REPRESENTATIVE
Akiko Tsuchida
Tokyo
FINE JAPANESE ART
Thursday 12 November 2015 at 10.30 and 14.30
101 New Bond Street, London
VIEWING ENQUIRIES CUSTOMER SERVICES Please see page 2 for bidder

Saturday 7 November 11.00 - 17.00 Specialist, Head of Department Monday to Friday 8.30 to 6.00 information including after-sale
Sunday 8 November 11.00 - 17.00 Suzannah Yip +44 (0) 20 7447 7447 collection and shipment
Monday 9 November 9.00 - 19.30 +44 (0) 20 7468 8368
Tuesday 10 November 9.00 - 16.30 [email protected] Please see page 4 for bidder For the sole purpose of providing
Wednesday 11 November 9.00 - 16.30 information including after-sale estimates in three currencies in
Cataloguer collection and shipment the catalogue the conversion
SALE NUMBER: Yoko Chino has been made at the exchange
+44 (0) 20 7468 8372 Physical Condition of Lots in rate of approx.
22815 this Auction
[email protected] £1: ¥184.4876
£1: USD1.5300
CATALOGUE:
Department Assistant PLEASE NOTE THAT THERE Please note that this rate may well
£25.00 IS NO REFERENCE IN THIS have changed at the date of
Masami Yamada
+44 (0) 20 7468 8217 CATALOGUE TO THE PHYSICAL the auction.
BIDS CONDITION OF ANY LOT.
[email protected]
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visit bonhams.com +44 (0) 20 7468 8288 AS SPECIFIED IN CLAUSE 15 コンディションの記述は記載
[email protected] OF THE NOTICE TO BIDDERS されていないことを、予めご了
Please note that bids should be CONTAINED AT THE END OF 承ください。入札をご希望の
submitted no later than 4pm on Joe Earle THIS CATALOGUE. お客様は、カタログ巻末の
the day prior to the sale. New +44 (0) 20 7468 8217 「Notice to Bidders（入札され
bidders must also provide proof [email protected] As a courtesy to intending る方へのご注意）」第15条をご
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your bid not being processed. +44 (0) 20 7495 5840 condition of lots in this sale if a
Telephone bidding will only be request is received up to 24 hours ご希望のお客様には、オークショ
accepted on lots with a lower Tokyo before the auction starts. ン開始の24時間前まで、
estimate in excess of £1,000. Akiko Tsuchida This written Indication is issued コンディション•レポートの依頼
+81 (0) 35532 8636 subject to Clause 1.6 of the を受け付けております。こちら
Live online bidding is [email protected] Notice to Bidders. は、「Notice to Bidders（入札
available for this sale されるお客様へのご注意）」
Please email [email protected] Acknowledgements 1.6条に基づき作成されます。
with ‘live bidding’ in the subject We would like to thank
line 48 hours before the auction to Geneviève Renard for her IMPORTANT INFORMATION
register for this service assistance with the preparation The United States Government
of this catalogue. has banned the import of ivory
into the USA. Lots containing
ivory are indicated by the
symbol Ф printed beside the
lot number in this catalogue.
Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors
Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Andrew McKenzie, Simon Mitchell, Jeff Muse,
Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Antony Bennett, Matthew Bradbury, Mike Neill, Charlie O’Brien, Giles Peppiatt,
Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Lucinda Bredin, Harvey Cammell, Simon Cottle, Peter Rees, Iain Rushbrook, John Sandon,
Matthew Girling CEO, Andrew Currie, Paul Davidson, Jean Ghika, Tim Schofield, Veronique Scorer,
+44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Charles Graham-Campbell, Miranda Leslie, James Stratton, Roger Tappin, Ralph Taylor,
+44 (0) 20 7393 3905 fax Geoffrey Davies, Jonathan Horwich, Richard Harvey, Robin Hereford, Asaph Hyman, Shahin Virani, David Williams,
James Knight, Caroline Oliphant, Charles Lanning, Gordon McFarlan, Michael Wynell-Mayow, Suzannah Yip.
Hugh Watchorn.
SALE Central
Middlesex
INFORMATION
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Payment of sale proceeds 2015.
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heritage 5.30pm Thursday 26 November exclusive of VAT.
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CHRONOLOGY
Jomon period ca.10,000BC - ca.300BC
Yayoi period ca.300BC - ca.300AD
Kofun period ca.593 - 710
Nara period 710 - 794
Heian period 794 - 1185
Kamakura period 1185 - 1333
Muromachi period 1333 - 1573
Nanbokucho period 1336 - 1392
Momoyama period 1573 - 1615
Bunroku era 1592 - 1596

Keicho era 1596 - 1615
Edo period 1615 - 1868
Kan’ei era 1624 - 1644

Kanbun era 1661 - 1673
Genroku era 1688 - 1704
An’ei era 1772 - 1781
Tenmei era 1781 - 1789
Kansei era 1789 - 1801
Kyowa era 1801 - 1804
Bunka era 1804 - 1818
Bunsei era 1818 - 1830
Tenpo era 1830 - 1844
Koka era 1844 - 1848
Kaei era 1848 - 1854
Ansei era 1854 - 1860
Man’en era 1860 - 1861
Bunkyu era 1861 - 1864
Genji era 1864 - 1865
Keio era 1865 - 1868
Meiji era 1868 - 1912
Taisho era 1912 - 1926
Showa era 1926 - 1989
Heisei era 1989 - present

EUROPEAN AND ENGLISH PRIVATE COLLECTIONS
OF FINE NABESHIMA AND KAKIEMON PORCELAIN
Lots 338 - 347
CONTENTS
Lots 1 – 276 (from 10:30)
Netsuke and Inro from the Salomon Fuld Collection 1 – 80
Yatate and bokuto 81 - 82
Inro and tonkotsu (various owners) 83 - 95
Netsuke (various owners) 96 - 129
Tsuba and other sword-fittings 130 - 176
Swords, accessories for swords and bow and arrow sets 177 - 189
Armour, helmets and masks 190 - 201
Painted hanging scrolls and screens 202 - 214
from the Joyce Merrick Collection
Painted hanging scrolls (various owners) 215 - 236
Painted handscrolls, albums and painted fans 237 - 246
Painted screens 247 - 251
Woodblock prints from the property of a lady 252 - 270
Other woodblock prints 271 - 276
Lots 277 – 504 (from 14:30)

Cloisonné enamel 277 - 290
Bronze and inlaid bronze works of art 291 - 317
Silver, shibuichi and other metal works of art 318 - 326
Iron and inlaid iron works of art 327 - 335
Early and late ceramics 336 - 358
Satsuma earthenware 359 - 383
Lacquer works of art 384 - 422
Buddhist works of art and Noh masks 423 - 429
Wood and inlaid wood works of art and furniture 430 - 440
Ivory and inlaid ivory works of art 441 - 489
Ivory vessels, fans and Shibayama-inlaid works of art 490 - 504
MORNING SESSION
Lots 1 - 276 (from 10.30)
THE SALOMON FULD COLLECTION
OF NETSUKE AND INRO
(Lots 1-80)
In 1945, after the Holocaust, Sal Fuld was left fatherless, In the 1970s, when his business really took off,
penniless and barely alive. To take care of his mother Sal was able to give more attention to his collection
and younger brother, he had to start work at the age of netsuke, inrō and other Japanese art forms. At
of 16 but by the 1960s his industry and commercial first he lacked the expertise to assess the quality
acumen had enabled him to open his own photography of the pieces, but he quickly filled the gaps in his
and film business. More shops soon followed and Sal, knowledge by visiting auction houses, antique markets
now married, became the father of two daughters. and museums. He made his purchases mainly in the
Netherlands and from an antique dealer who often
It was during those years that he saw a documentary came to London. When business took him abroad,
film about netsuke in the National Museum of Ethnology, to the United States or Japan, he always kept an eye
Leiden. Sal’s wife’s eldest brother, inspired by the same out for possible acquisitions. In Japan, it was not that
documentary, bought his first netsuke from an antique simple: a Westerner was not expected to know about
dealer in The Hague, but as time went on he wanted these objects. When Sal let on that he could read the
to dispose of the netsuke—an eighteenth-century signatures on the pieces he was shown, rarer and
piece—as the damage on it bothered him. Sal, however, more beautiful works were brought out and he could
was not disturbed by these imperfections and quickly negotiate a deal.
discovered that netsuke dating back two centuries
could never be absolutely immaculate: after all, they After his retirement in 1995, Sal started work on what
had been used! In this way, he started to acquire would later be called the ‘Fuld Netsuke Index’, a
some netsuke. database of more than 40,000 pieces with information
regarding the carver, the material and the subject.
He worked on this project for a good ten years or so
and presented the results of his research at a variety
of locations around the globe, attaining a prominent
position in the Japanese art-collecting world. In 2007,
illness prevented him from working further on this
project and on 10 August 2008 he passed away,
but specialists and collectors still consult the
Index every day.
10 | BONHAMS
Salomon Samuel Fuld (1933-2008)
1945年、ホロコーストが終焉を迎えたとき、Sal Fuldは父 1970年代になり、彼の事業がいよいよ軌道にのると、Salは

親がおらず、無一文で、やっとのことで毎日を生きていまし根付、印籠をはじめ、自身の日本美術コレクション蒐集に力
た。彼は母親と弟を養うために、16歳の頃から稼ぎに出なを注ぐことができるようになりました。始めは、専門知識に
ければなりませんでした。しかし、1960年代頃には、彼の商欠けていたせいで作品の質を見抜くことができずにいまし
才とビジネスセンスが功を成して、写真と映像を扱った個人たが、オークションハウス、骨董市、美術館に足繁く通うこ
ビジネスを展開するまでに成長。その後も店舗が増えていとで着実に知識を増やしていったのです。彼は、主にオラン
き、Salは結婚を経て、2人の娘の父親になっていました。ダで蒐集を行いましたが、ロンドンを頻繁に訪れていた骨
董商からも作品を購入していました。ビジネスのため、アメ
その頃、彼はライデンの国立民俗学博物館で、根付に関リカ、日本といった国に出向く機会があるときには、作品購
するドキュメンタリー映画を観る機会を得ました。Salの妻入のチャンスを常に探っていたものです。日本においての作
の長兄も、同じドキュメンタリー映画を観たことをきっかけ品購入は、決して容易なことではありませんでした。西洋人
に、長兄はハーグの美術商から初めて根付を購入しましが日本の美術品を理解していると考えてもらえなかったた
た。ところが、時が経つにつれ、根付についている傷を気にめです。Salが見せられた作品の銘を読むことができること
するようになり、18世紀に作られたそうした根付を処分したが相手に分かると、より稀少でより美しい作品を見せてもら
いと考えるようになっていました。一方、Salは、根付のそのえるようになり、値段交渉をすることができました。
ような不完全な姿を気にすることはなく、2世紀も前に作ら
れた根付が無傷であることはあり得ないことを心得ていま 1995年、仕事から退いた後、Salは後に’Fuld Netsuke
した。結局のところ、根付はどれも使用済みのものなので Index’と呼ばれることとなるプロジェクトを開始しました。
す！こうして、彼は根付の蒐集を始めました。それは4万点以上にのぼる根付の作者、素材、題材をまとめ
たデーターベースを作ることでした。彼はこのプロジェクト
に10年を費やし、世界中のあらゆる場所において、自身の
研究結果を発表し、日本美術蒐集家のなかで確固たる地位
を築いていったのです。2007年、彼は病に倒れ、このプロ
ジェクトを中断せざるを得なくなり、2008年8月10日にこの
世を去りました。現在も日本美術の専門家、蒐集家は、日々
彼のこの研究の集大成を活用しています。
FINE JAPANESE ART | 11

THE SALOMON FULD COLLECTION
OF NETSUKE AND INRO
(Lots 1 - 80)
WOOD NETSUKE
1 4 6
TWO WOOD ANIMAL NETSUKE TWO WOOD NETSUKE OF TURTLES A WOOD NETSUKE OF RATS
18th and 19th century Style of Tadakazu and by Gekko, AND MILLET
The first of a monkey seated, its head turned late 19th century By Ikko, late 19th century
to the right as it leans on a large chestnut, The first of a large turtle climbing on a large One large rat seated beside and gnawing at a
the rather worn wood with a good patina, discarded roof tile, a smaller reptile on head of millet seeds while its young clambers
unsigned, 4.2cm (1 5/8in) wide; the second its back and another crawling on the tile on its back, the wood stained and the eyes
of a shishi seated, its head lowered to the beneath, unsigned, 4.2cm (1 5/8in) high; the inlaid with ebony; signed Ikko.
right as it protects its cub which sits at its second of a resting turtle with four smaller 4.6cm (1¾in) wide.
feet, its long tail curling beneath, unsigned, turtles clambering on its shell, one cord hole
style of Masayoshi, 4.6cm (1¾in) wide. (2). ringed with ebony, signed Gekko, £800 - 1,000
5.5cm (2 1/8in) high. (2). JPY150,000 - 180,000
£800 - 1,000 US$1,200 - 1,500
JPY150,000 - 180,000 £1,000 - 1,500
US$1,200 - 1,500 JPY180,000 - 280,000 For similar examples by Ikko, see Barry
US$1,500 - 2,300 Davies Oriental Art, The Netsuke Collection of
Provenance: The second item from W. G. Bosshard, Part I, London, 1994, no.13;
the Lt. Col. J. B. Gaskell collection, no.871. For a very similar example to the second, Neil K. Davey, Netsuke, a Comprehensive
in the Peabody Museum, Salem, Study Based on the M. T. Hindson Collection,
2 Massachusetts, see George Lazarnick, London, Faber & Faber Ltd. and Sotheby
A WOOD NETSUKE OF AN OCTOPUS Netsuke and Inro Artists and how to Read Parke Bernet Publications, 1974, p.2004,
Early 19th century Their Signatures, Honolulu, Reed Publishers, no.621; and George Lazarnick, Netsuke
Its large head enveloped by its curling 1981, p.400. and Inro Artists and How to Read Their
tentacles which rise up, forming a compact Signatures, Honolulu, Reed Publishers, 1982,
composition, the slightly worn wood with a 5 p.512.
fine patina and the eyes of pale translucent A WOOD NETSUKE OF A DOG
horn with dark pupils; unsigned. After Sari, 19th century 7
3.5cm (1 3/8in) high. Recumbent, its head turned back to the left A WOOD NETSUKE
and its tail passing over the left flank, forming OF A FORMALISED SPARROW
£800 - 1,000 a compact composition, the slightly worn By Masakata, 19th century
JPY150,000 - 180,000 wood stained and the eyes with pale horn The rounded body with short, erect tail and
US$1,200 - 1,500 inlaid pupils; inscribed in an oval reserve Sari. extended wings, the legs carved in low
5.1cm (2in) wide. relief below and the pupils inlaid, the slightly
3 worn wood with a good patina; signed in a
FOUR WOOD ANIMAL NETSUKE £1,200 - 1,500 rectangular reserve Masakata.
18th and early 19th century JPY220,000 - 280,000 3.8cm (1½in) wide.
The first of a monkey squatting and holding US$1,800 - 2,300
a large chestnut as it looks to the right, £600 - 800
unsigned, 5cm (2in) high; the second of a JPY110,000 - 150,000
horse standing on a rectangular base, its US$920 - 1,200
head lowered as it grazes, unsigned, 3.2cm
(1¼in) wide; the third of a grazing horse The work is very similar to that of the maker
standing in a typical attitude, unsigned, who signed the name Hide. For an example
5.1cm (2in) high; the fourth of a recumbent of his work, see Neil K. Davey, Netsuke, a
ox, its head turned back to the left, unsigned, Comprehensive Study Based on the M. T.
6.1cm (2 3/8in) wide. (4). Hindson Collection, London, Faber & Faber
Ltd. and Sotheby Parke Bernet Publications,
£900 - 1,200 1974, no.21.
JPY170,000 - 220,000
US$1,400 - 1,800
12 | BONHAMS
1 2
4 5
6 7

8
8 11
FOUR WOOD NETSUKE A LARGE WOOD NETSUKE OF A TOAD ON A SANDAL
Late 18th to late 19th century By Masanao, Ise, late 19th century
The first six chestnuts forming a compact compostion, unsigned, The toad seated on the large waraji (straw sandal), its body twisted
4.6cm (1¾in) wide; the second of a helmet with broad neck guard, slightly to the right, the thongs of the shoe forming the himotoshi and
the wood somewhat worn and with later added himotoshi, unsigned, the toad’s eyes inlaid; signed in a rectangular reserve Masanao.
5.1cm (2in) wide; the third of seven eggplants forming a compact 6.3cm (2½in) wide.
composition, one stalk forming the himotoshi, signed Masanao, 3.5cm
(1 3/8in) wide; the fourth of three clams of varying size, carved from £800 - 1,000
kurogaki wood, unsigned, 4.9cm (2in) wide. (4). JPY150,000 - 180,000
US$1,200 - 1,500
£900 - 1,200
JPY170,000 - 220,000 12
US$1,400 - 1,800 A WOOD NETSUKE OF A TIGRESS
AND CUB
9 After Tomotada, probably 20th century
FOUR WOOD ANIMAL NETSUKE The tigress seated, her body slightly curled to the right as she leans
18th to early 19th century her forepaws on the back of her seated cub, the wood stained and
The first of a cicada resting with wings folded on a large folded leaf, slightly worn and the pupils inlaid; inscribed in a rectangular reserve
unsigned, 5cm (2 1/8in) wide; the second of a desiccated fish head, Tomotada. 5.1cm (2in) wide.
its mouth open and its skin adhering to its partially visible bones,
unsigned, 7.4cm (2 7/8in) wide; the third of a monkey seated, wearing £1,000 - 1,500
a coat and holding a fruit, one cord hole ringed with bone, unsigned, JPY180,000 - 280,000
3.5cm (1 3/8in) high; the fourth of a wolf seated, leaning over a US$1,500 - 2,300
captured tortoise, the eyes inlaid, signed Masatomo,
5.4cm (2 1/8in) wide. (4). 13
A WOOD NETSUKE OF A TIGER
£1,000 - 1,200 Kyoto style, 19th century
JPY180,000 - 220,000 Seated, its body curled to the right and its head raised as it scratches
US$1,500 - 1,800 its back with one hind paw, its tail passing forward over the right flank
and one leg forming the himotoshi, the wood slightly worn and of a
10 good colour; unsigned. 6.4cm (2½in) wide.
FIVE WOOD ANIMAL NETSUKE
Early to late 19th century £1,500 - 2,000
The first of a recumbent puppy, its head turned back to the left and JPY280,000 - 370,000
its eyes inlaid, unsigned, 4.5cm (1¾in) wide; the second of ebony, US$2,300 - 3,100
of a shishi standing on a rock while its offspring clambers out of
a cave beneath, signed Masa [...], 4.2cm (1 5/8in) high; the third
of a wolf seated with a captured tortoise, the eyes inlaid, signed
Masatomo, 4.9cm (1 7/8in) wide; the fourth of a tightly coiled snake,
signed Mitsutoshi, 3.4cm (1 3/8in) wide; the fifth of a seated puppy,
lacquered gold with black piebald patches, unsigned,
3.8cm (1½in) wide. (5).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
14 | BONHAMS
9
10 (part lot)
11 12 13

14 17
TWO WOOD NETSUKE A WOOD NETSUKE OF AN ONI (DEMON)
18th and early 19th century By Tanaka Minko (1735-1810), Tsu, late 18th century
The first of a recumbent shishi, its head turned back to the left as Seated, leaning to the left and wearing an angry expression, holding
it snarls, its tail erect, its forepaws outstretched and a loose ball a bean box in which he was trying to catch a rat while the rodent in
in its open mouth, the wood with a good patina, unsigned, 4.6cm question sits on his raised right leg, the wood slightly worn with a fine
(1¾in) wide; the second of a tengu hatching from its egg, one wing patina; signed Minko. 4.5cm (1¼in) wide.
spreading over the shell and the eyes inlaid, signed Masanobu,
4.3cm (1¾in) wide. (2). £1,500 - 2,000
JPY280,000 - 370,000
£800 - 1,000 US$2,300 - 3,100
JPY150,000 - 180,000
US$1,200 - 1,500 18
A WOOD NETSUKE OF A MONKEY TRAINER
15 Late 18th century
A WOOD NETSUKE OF A RECUMBENT ONI (DEMON) Standing, looking down and smiling, holding a short cane and with
18th century a jar of food at his waist as a small performing monkey sits on his
The demon lying, resting his head on one hand and wearing a shoulder, the wood slightly worn and with a good patina; unsigned.
disgruntled expression, the somewhat worn wood with a fine patina 8.2cm (3¼in) high.
and the pupils inlaid; inscribed Minko.
5.7cm (2¼in) wide. £750 - 850
JPY140,000 - 160,000
£700 - 800 US$1,200 - 1,300
JPY130,000 - 150,000
US$1,100 - 1,200 19Y Ф
TWO WOOD FIGURE NETSUKE
16 One by Toman, early 19th century
TWO WOOD NETSUKE The first a balancing netsuke of a man carrying a huge gourd on his
Late 19th century back, the wood slightly worn and of a good colour, signed Toman,
The first of Ashinaga and Tenaga, the former standing behind his 5.2cm (2in) high; the second of a young boy seated, holding a huge
seated companion, who holds a large sake cup aloft, the wood lightly winter cherry and opening it to reveal the ivory fruit within, unsigned,
stained and the eyes inlaid, signed Shuzan, 8cm (3 1/8in) high; the 4.4cm (1¾in) high. (2).
second of a recumbent stag, facing ahead and carved in the ittobori
manner with white painted spots, signed Togen, £800 - 1,000
5.3cm (2 1/8in) wide. (2). JPY150,000 - 180,000
US$1,200 - 1,500
£800 - 1,000
JPY150,000 - 180,000 For a very similar example to the first, see Frederick Meinertzhagen,
US$1,200 - 1,500 The Meinertzhagen Card Index on Netsuke in the Archives of the
British Museum, New York, Alan R. Liss Inc., 1986, p.877.
For a somewhat similar study of a stag by Togen, see Neil K. Davey,
Netsuke, a Comprehensive Study Based on the M. T. Hindson 20
Collection, London, Faber and Faber Ltd. and Sotheby Parke Bernet A WOOD NETSUKE OF OKAME
Publications, 1974, p.273, no.836. By Tomin, early 19th century
Seated, smiling and with one leg raised as she dresses her hair which
falls in a long tress down her back, the somewhat worn wood with a
good patina; signed in an oval reserve Tomin.
3.5cm (1 3/8in) high.
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
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17
16 18
19 20

21
21 24 Y Ф
THREE WOOD FIGURE NETSUKE THREE LATE WOOD FIGURE NETSUKE
18th and early 19th century 19th century
The first of Hotei seated, leaning against his large sack and holding The first of a seated street performer with a large shishi mask and
a fan to one side, the wood somewhat worn but with a fine patina, cloak strapped to his back, its eyes inlaid with ivory and with dark
unsigned, 5.1cm (2in) wide; the second of Daruma seated, wearing pupils, signed on an ivory tablet Gyokkei, 5cm (2in) high; the second
a morose expression as he meditates, unsigned, 4.6cm (1¾in) high; of a professional sneezer, holding an ivory tickling stick, one cord hole
the third of Tobosaku, standing and holding a peach to one side, ringed with ivory, signed on an ivory tablet Ryumin, 5cm (2in) high;
unsigned, 6cm (2 3/8in) high. (3). the third of a crouching beggar lifting his distended scrotum, signed
Gyokkei, 3.5cm (1 3/8in) high. (3).
£900 - 1,200
JPY170,000 - 220,000 £800 - 1,000
US$1,400 - 1,800 JPY150,000 - 180,000
US$1,200 - 1,500
22
THREE WOOD FIGURE NETSUKE 25
19th century THREE WOOD FIGURE NETSUKE
The first of Jurojin holding a scroll and standing with a deer at his 19th century
back on a base, signed Tomohisa, 4.1cm (1 5/8in) high; the second of The first carved from kurogaki wood, of Gama Sennin looking up at a
two men seated on an oval base and playing go, the counters inlaid, large toad which he holds on one shoulder, unsigned, 7.8cm (3 1/8in)
inscribed Igo shukai, ichi roku san hachi (Go meeting, one, six, three, high; the second of a sennin riding over water on a leaf, bearing traces
eight), signed Fukushu, 5.4cm (2 1/8in) wide; the third of two small of coloured pigment over gesso, signed Masakazu, 5cm (2in) high;
boys, wearing a shishimai mask and cloak, unsigned, the third of Okame holding a fan, carved in relief in a large sake cup,
4.6cm (1¾in) high. (3). signed Masakazu, 4.1cm (1 5/8in) wide. (3).
£800 - 1,000 £800 - 1,000

JPY150,000 - 180,000 JPY150,000 - 180,000
US$1,200 - 1,500 US$1,200 - 1,500
23 For two netsuke similar to the first, signed Miwa, see George
FOUR WOOD FIGURE NETSUKE Lazarnick, Netsuke and Inro Artists and How To Read Their
19th century Signatures, Honolulu, Reed Publishers, 1981, p.793.
The first of an oni (demon) seated, grimacing as he applies a burning
moxa pellet to his leg, the eyes inlaid, unsigned, 3.5cm (1 3/8in)
high; the second of Ebisu masquerading as a manzai dancer, signed
Yasuaki, 4.7cm (1 7/8in) high; the third of Fukurokuju crawling with
a small boy on his back, inscribed Minko, 3.4cm (1 3/8in) wide; the
fourth of Jurojin standing with a deer on an irregular base, signed Toei,
3.5cm (1 3/8in) high. (4).
£900 - 1,200
JPY170,000 - 220,000
US$1,400 - 1,800
18 | BONHAMS
22
23
24
25
26 29
FOUR PAINTED WOOD NETSUKE THREE WOOD NETSUKE
19th century By Alexander Derkachenko (born 1964), late 20th century
The first of Hotei standing holding a fan, hollowed out to simulate The first of Okame seated, laughing behind her sleeve as she realises
a Bizen stoneware model, signed Shuzan, 4.9cm (1 7/8in) high; the erotic significance of a long-nosed tengu mask, signed in seal
the second of a manzai dancer, posturing with an open fan, signed form, 4.1cm (1¾in) wide; the second of Okame seated, laughing as
Shuzan, 5.6cm (2¼in) high; the third of Daruma seated, stretching she holds a a long cucumber, signed in seal form, 3.8cm (1½in) high;
and yawning after his meditation, his eyes and teeth inlaid, unsigned, the third of Jurojin seated, holding a huge fish on a line at his back,
5.7cm (2¼in) wide; the fourth of a temple servant beating a large signed in seal form, 4.5cm (1¾in) high. (3).
mokugyo (wooden drum) lacquered in Negoro style, unsigned,
5.5cm (2 1/8in) high. (4). £750 - 850
JPY140,000 - 160,000
£900 - 1,200 US$1,200 - 1,300
JPY170,000 - 220,000
US$1,400 - 1,800 For a discussion of Alexander Derkachenko’s life and work by Wolfmar
Zacken, see the International Netsuke Society Journal, vol.17, no.4,
27 Y Ф winter 1997, pp.22-26. He was born in 1964 and lived in Kyiv,
AN INLAID WOOD NETSUKE OF A MAN Ukraine, where he carved his first netsuke in 1995, having given up
By Kokeisai Sansho, late 19th/early 20th century his work as lead engineer in the Kyiv Aircraft Factory. He worked
Standing and wearing a floppy hat and belted robe, inlaid with predominately in pear wood, producing a variety of subjects common
medallions, leaning forward and holding open his mouth with both to Japan, but with his own, sometimes quirky, interpretations.
hands to reveal his protruding tongue, the boxwood lightly stained
with details inlaid in ivory and shell; signed Sansho with kao.
5.7cm (2¼in) high.
MASK NETSUKE
£3,500 - 4,000
JPY650,000 - 740,000 30 Y Ф
US$5,400 - 6,100 A LARGE WOOD NETSUKE IN THE FORM OF A SHISHI MASK
AND CLOAK
A typical example of the work of a fine netsuke carver and satirist, who By Ryukei, Edo, late 19th century
often, as here, imbued his netsuke with grotesque humour. Of broad form, the fierce countenance with ivory inlaid eyes, a smaller
mask of Buaku partly enveloped in the folds of the cloak at the back;
28 Y Ф signed on an inlaid ivory tablet Ryukei. 6.6cm (2 5/8in) wide.
AN INLAID WOOD NETSUKE OF A NOH ACTOR
By Yoshihide, Meiji era (1868-1912) £600 - 800
The actor in the role of Shishiguchi, posturing with his hands over his JPY110,000 - 150,000
head and holding a closed fan, wearing a frightening mask and a long US$920 - 1,200
robe with hakama (stiffly starched trousers) carved with various formal
designs, partly inlaid with metal wire, the wood lightly stained and the 31
feet and fan of ivory; signed on two inlaid metal tablets Yoshihide with SIX WOOD MASK NETSUKE
kao. 5.4cm (2 1/8in) high. Early to mid 19th century
The first of a kitsune (fox) crisply carved in lightly stained boxwood,
£2,000 - 2,500 unsigned, 5.3cm (2 1/8in) high; the second of Namanari, lacquered
JPY370,000 - 460,000 black with gold lacquered details, the reverse lacquered red, unsigned,
US$3,100 - 3,800 5cm (2in) high; the third of Hannya, carved from ebony, the wood
slightly worn, unsigned, 5.4cm (2 1/8in) high; the fourth of Buaku
The role of Shishiguchi is one of the main characters, representing a carved in dark stained wood, unsigned, 4.5cm (1¾in) high; the fifth of
shishi or lion, in the play Shakkyo (The Stone Bridge). Beshimi, the pupils inlaid with shakudo, unsigned, 5cm (2in) high; the
sixth of an oni (demon), unsigned, 4.9cm (1 7/8in) high. (6).
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300
20 | BONHAMS
26
27 28 29
30
(reverse)
31 (part lot)
32 (part lot)
32 35
SIX WOOD MASK NETSUKE THREE WOOD MASK NETSUKE
Early to mid 19th century By members of the Deme family, early to late 19th century
Comprising: the first an oni (demon) with a smiling Okame at the The first of Kokushiki, carved in kurogaki wood, signed on the bar
back, the himotoshi passing through her nostrils, signed (Yasusada) attachment Deme Joman, 4.5cm (1 7/8in) high; the second of Buaku,
Shuzan, 4.8cm (1 7/8in) high; the second Kokushiki with loose lower the eyes inlaid with metal, signed Deme Uman, Tenkaichi, 4.4cm (1¾in)
jaw, signed Deme Uman, Tenkaichi, 4.2cm (1 5/8in) high; the third high; the third of Hotei, inscribed Deme Joman,
of Hannya, unsigned, 6.4cm (2½) high; the fourth of Gedo with one 4cm (1 5/8in) high. (3).
horn unsigned, 5.7cm (2¼in) high; the fifth of Tsurimanako, unsigned,
5.4cm (2 1/8in) high; and a group of eight Noh masks, including Onna, £900 - 1,200
Okame, Kokushiki and Buaku, unsigned, 3.8cm (1½in) wide. (6). JPY170,000 - 220,000
US$1,400 - 1,800
£1,200 - 1,500
JPY220,000 - 280,000 36 Y Ф
US$1,800 - 2,300 SIX MASK NETSUKE OF VARIOUS MATERIALS
Late 18th to late 19th century
33 Comprising: an unusual ivory mask of a grimacing man, his protruding
FOUR WOOD MASK NETSUKE tongue covered with shell, unsigned, 4.3cm (1¾in) high; a painted
Early to mid 19th century wood mask of an oni (demon) in green and gold pigments, unsigned,
The first of Usobuki (fibber) with typical pursed lips, signed Deme 4.3cm (1¾in) high; another of a karasu tengu, the eyes gilt, inscribed
Uman, 4.3cm (1¾in) high; the second of Ebisu, signed Deme Uman, Unmon, 3.8cm (1½in) high; a large painted wood mask of Okame,
4.9cm (1 7/8in) high; the third of a one-horned demon with staring her face covered with gesso, signed Tengetsu, 5.7cm (2¼in) high; an
eyes and broad open mouth, inscribed Deme Uman, 4.5cm (1 7/8in) iron mask of Hannya, the cords cast in relief at the back, unsigned,
high; the fourth of Okame, signed Gyokusho, 5.1cm (2in) high. (4). 4.6cm (1 7/8in); and a stag antler group of ten comical Kyogen masks,
unsigned, 4cm (1 5/8in) wide. (6).
£800 - 1,000
JPY150,000 - 180,000 £1,000 - 1,500
US$1,200 - 1,500 JPY180,000 - 280,000
US$1,500 - 2,300
34 Y Ф
FIVE WOOD MASK NETSUKE
Early to late 19th century
The first of an angry man with elongated eyebrows, signed Ryuzan,
4.4cm (1¾in) high; the second of Kokushiki, signed Kyokkei, 4.8cm
(1 7/8in) high; the third of a grimacing man with one eye closed, the
other inlaid with ivory, signed Ryukei, 5.9cm (2 3/8in) high; the fourth of
Buaku, shown typically scowling, signed Shusen, 4.4cm (1¾in) high;
the fifth of Okame, carved in a crisp manner, signed possibly Shuzan,
5.4cm (2 1/8in) high. (5).
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300
22 | BONHAMS
33
34
35
36 (part lot)
IVORY AND STAG ANTLER NETSUKE
37 Y Ф 40 Y Ф
THREE IVORY AND ONE BONE ANIMAL NETSUKE AN IVORY NETSUKE OF A MONKEY AND CHILD
18th to 19th century By Masatami, late 19th century
The first of a dog seated, its head raised and its forepaws resting on a The parent seated, crying out and clutching a large persimmon, while
large sack, unsigned, 4.3cm (1¾in) wide; the second of a clam resting her child climbs over her shoulder, leaning forward to grab it, the ivory
on an abalone shell, unsigned, 4.5cm (1¾in) wide; the third of a typically stained and the pupils inlaid; signed in a rectangular reserve
monkey clambering out of a huge chestnut, a smaller nut at the side, Masatami. 3.2cm (1¼in) high.
unsigned, 4.4cm (1¾in) wide; the fourth of a wolf seated, leaning over
a human skull, its eyes inlaid, signed Tomomitsu, 5.2cm (2in) high. (4). £700 - 900
JPY130,000 - 170,000
£900 - 1,200 US$1,100 - 1,400
JPY170,000 - 220,000
US$1,400 - 1,800 For another of the same subject by Masatami, see Frederick
Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the
38 Y Ф Archives of the British Museum, New York, Alan R. Liss, Inc., 1986,
FOUR IVORY AND STAG ANTLER NETSUKE p.468.
19th century
The first of a monkey seated, examining an insect on a persimmon 41 Y Ф
with a magnifying glass (missing), signed Masatami, 3.5cm (1 3/8in) AN IVORY NETSUKE OF A KIRIN
high; the second of numerous puppies crawling over and nibbling at 18th century
a Daruma doll, a straw mat and an abalone shell, signed Masamitsu, Seated with its head turned back in an exaggerated manner, one
4.5cm (1 5/8in) wide; the third carved from a tooth with a dragon in forepaw raised to scratch its right flank, its long neck twisted and
sunk relief and kebori engraving, unsigned, 7.1cm (2¾in) wide; the flames licking up the side of its body, the well patinated ivory slightly
fourth of stag antler of a tiger on a section of bamboo, unsigned, worn; unsigned. 5.6cm (2¼in) high.
5.9cm (2 3/8in) wide. (4).
£1,000 - 1,500
£1,000 - 1,500 JPY180,000 - 280,000
JPY180,000 - 280,000 US$1,500 - 2,300
US$1,500 - 2,300
42 Y Ф
39 Y Ф TWO IVORY NETSUKE OF SHISHI
AN IVORY NETSUKE OF AN EAGLE AND FOX One by Chikuyosai Tomochika, Edo, 19th century
By Chikuyosai Tomochika, Edo, 19th century The first of a shishi walking over rocky ground, its head turned
The large bird standing on the terrified captured fox, looking down as back and with a peony in its mouth, signed in an irregular reserve
it prepares to kill its prey, the ivory lightly stained; signed in a polished Tomochika, 4cm (1 5/8in) wide; the second of a shishi standing on
reserve Tomochika. 3.6cm (1 3/8in) high. an oval base, its tail rising forward over its back and its head lowered,
unsigned, 3.4cm (1 3/8in) high. (2).
£800 - 1,000
JPY150,000 - 180,000 £750 - 850
US$1,200 - 1,500 JPY140,000 - 160,000
US$1,200 - 1,300
43 Y Ф
AN IVORY NETSUKE OF A HATCHING TENGU AND RATS
By Ikko, late 19th century
The tengu struggling to break out of its egg and wearing an agonised
expression as it is attacked by four rats which clamber around the
broken shell, the ivory lightly stained and the rats’ eyes inlaid; signed
Ikko. 4.9cm (1 7/8in) high.
£5,000 - 6,000
JPY920,000 - 1,100,000
US$7,700 - 9,200
24 | BONHAMS
37
38
39 40
41
42
43

44
44 Y Ф 47 Y Ф
TWO IVORY MASK NETSUKE THREE IVORY FIGURE NETSUKE
By Jigoku and Hidemasa I, 19th century Early to late 18th century
The first of Okame, boldly carved with almost closed eyes and two The first of an oni (demon), possibly intended for Futen, seated on
inlaid urna marks on her forehead, the solid reverse engraved with a rock with a fierce expression as he holds a large sack over his
a wood grain, signed Jigoku, 4.9cm (1 7/8in) wide; the second of shoulders, unsigned, 3.8cm (1½in) high; the second of Hotei standing,
Fukusuke, the broad-headed dwarf with unshaven chin and inlaid holding an uchiwa fan to one side, unsigned, 6cm (2 3/8in) high; the
pupils, the solid back engraved with wood grain, signed in an irregular third of Hotei standing on his sack, holding the neck over his shoulder,
reserve Hidemasa, 4.7cm (1 7/8in) high. (2). the ivory with a good patina, unsigned, 4.4cm (1¾in) high. (3).
£900 - 1,200 £800 - 1,000

JPY170,000 - 220,000 JPY150,000 - 180,000
US$1,400 - 1,800 US$1,200 - 1,500
45 Y Ф 48 Y Ф
TWO IVORY FIGURE NETSUKE THREE IVORY FIGURE NETSUKE
By Sosho (Munemasa) and Gyokuzan, Meiji era (1868-1912) Early to mid 18th century
The first of an oni (demon) undertaking penance by vigorously The first of Hotei seated on his sack and smiling, his robe engraved
polishing a large bell, signed Sosho (Munemasa), 3.6cm (1½in) high; with clouds and the ivory with a good patina, unsigned, 4.5cm
the second of an oni (demon) struggling to pin a large carp to the (1¾in) wide; the second of a rakan seated on a base, leaning on a
ground over an irregular base, signed Gyokuzan, recumbent shishi and holding four small gourds over his shoulder,
4.1cm (1 5/8in) wide. (2). unsigned, 4.3cm (1¾in) high; the third of Ebisu riding on a giant carp,
of somewhat flattened form, unsigned, 5.5cm (2 1/8in) wide. (3).
£900 - 1,200
JPY170,000 - 220,000 £750 - 850
US$1,400 - 1,800 JPY140,000 - 160,000
US$1,200 - 1,300
46 Y Ф
AN IVORY NETSUKE OF DARUMA 49 Y Ф
By Okamoto Garaku, Osaka, 19th century AN IVORY NETSUKE OF BENKEI
He stands, facing ahead and wearing a stern expression, his hands By Shinkeisai Masatoshi, 19th century
enveloped in his voluminous sleeves over his stomach, the ivory The hero standing at the side of the huge bell of Miidera Temple which
stained for effect; signed in an irregular reserve Garaku. he is trying to lift, his robe engraved with a formal design and the bell
5.1cm (2in) high. carved in low relief with panels of formalised dragons, the ivory lightly
stained; signed Masatoshi with kao. 4.4cm (1¾in) high.
£600 - 800
JPY110,000 - 150,000 £800 - 1,000
US$920 - 1,200 JPY150,000 - 180,000
US$1,200 - 1,500
The maker, whose netsuke are rarely seen, was probably working
during the middle part of the 19th century and his work, on the basis
of the present example, shows affinities with that of Ohara Mitsuhiro.
26 | BONHAMS
45 46
47
48
49
50 Y Ф NETSUKE OF OTHER MATERIALS
AN IVORY NETSUKE OF THREE CHILDREN
By Nishimoto Kosen, late 19th century
Two small boys almost completely enveloped by the long cloak of a
54 Y
shishimai dancer while the performer sits resting, at the side two feet
A TORTOISESHELL NETSUKE OF SHINNO
forming the himotoshi beneath, the ivory lightly stained; signed Kosen
19th century
koku. 6.3cm (2½in) wide.
Of somewhat flattened triangular form, carved in low relief with Shinno
(in Chinese, Shen Nong, early culture hero and god of agriculture)
£600 - 800
seated, chewing a blade of grass, the reverse engraved with a swirling
JPY110,000 - 150,000
cloud; unsigned. 6.3cm (2½in) high.
US$920 - 1,200
£600 - 800
51 Y Ф
JPY110,000 - 150,000
TWO IVORY FIGURE NETSUKE
US$920 - 1,200
By Masamitsu and Toshunsai, Meiji era (1868-1912)
The first of a manzai dancer posturing while holding a small bell with
55
one hand, the other raised aloft, signed Masamitsu, 4cm (1 5/8in)
THREE RED-LACQUER NETSUKE
high; the second of okimono type in the form of Choryo and Kosekiko,
Late 18th to 19th century
the latter riding over a bridge while Choryo sits on a dragon below,
The first of red lacquer in the form of a mokugyo (wooden temple
reaching up to proffer a shoe, signed Toshunsai,
gong) with double dragon handle and carved with panels of plum
4.5cm (1¾in) high. (2).
blossom, pine tree and bamboo, unsigned, 4.2cm (1 5/8in) wide; the
second of a shishi in red lacquer with gilt details, seated, clutching a
£750 - 850
cord attached to a large silver-lacquer ball, unsigned, 4.1cm (1 5/8in)
JPY140,000 - 160,000
high; the third of a similarly lacquered shishi protecting a large pierced
US$1,200 - 1,300
ball between its forepaws, unsigned, 4.2cm (1 5/8in) wide. (3).
52 Y Ф
£800 - 1,000
THREE IVORY FIGURE NETSUKE
JPY150,000 - 180,000
Late 19th century/early 20th century
US$1,200 - 1,500
The first of Choryo and Kosekiko, the latter riding over an irregular
base while Choryo kneels at the side, proffering up a shoe, signed
Kinryusai, 4.2cm (2 5/8in) wide; the second of a small boy standing,
holding a gourd flask behind his back, his coat engraved with a floral
medallion, unsigned, 5.3cm (2 1/8in) high; the third a sashi netsuke of
Ashinaga and Tenaga, the latter seated on his companion’s shoulders
and reaching down, holding a large fish, signed Konen,
17.2cm (6¾in) high. (3).
£800 - 1,000
JPY150,000 - 180,000
US$1,200 - 1,500
53 Y Ф
TWO IVORY AND ONE STAG ANTLER NETSUKE
One by Anraku and one by Keisai, 19th century
The first of Benten standing, leaning over to pat the head of an
energetic boy attendant, their robes engraved with various designs
and the ivory stained, signed Anraku, 4.8cm (1 7/8in) high; the second
of a man balancing on a very tall geta (clog) and holding a jar from
which spills a liquid torrent, signed Keisai, 7.4cm (2 7/8in) high; the
third of stag antler, of a Dutchman holding a gun with a suspended
hare over his shoulder, unsigned, 9.6cm (3¾in) high. (3).
£900 - 1,200
JPY170,000 - 220,000
US$1,400 - 1,800
28 | BONHAMS
50 51
52
54
53 (part lot)
52 55

56
56 58 Y Ф 60 Y Ф
THREE NETSUKE OF METAL THREE IVORY MANJU NETSUKE A LARGE SOLID IVORY
AND WALNUT By Kogetsusai Naomasa, Ichijusai Kou and MANJU NETSUKE
Early to mid 19th century Genryosai Minkoku, 19th century By Gyokkosai Morimasa, late 19th century
The first of iron, in the form of a tinder lighter, The first carved in shishiaibori (sunk relief) Carved in shishiaibori (sunk relief) with a bold
of oval form, inlaid with a thatched hut in with Yojo stabbing the cloak of his enemy design of Benkei struggling to lift the huge
gilt metal, the fittings of iron and brass, Chu Bujutsu, the reverse with a straw hat and bell of Miidera Temple, his face exhibiting the
unsigned, 4.7cm (1 7/8in) high; the second cane, signed Kogetsusai with seal Naomasa, pain of his exertions, the design continued
of brass, of similar form inlaid on the top with 5cm (2 1/8in) diam.; the second similarly on the reverse, the himotoshi formed by a
falling plum blossoms, the fittings of iron and carved with Chokaro Sennin and his miniature loose central peg; signed Morimasa with kao.
brass, unsigned, 4.4cm (1¾in) high; the third horse, the reverse with a running horse, 6.6cm (2 5/8in) diam.
fashioned from two walnuts of double-gourd signed Ichijusai Kou with kao, 4.7cm (1 7/8in)
form, the upper section carved in relief with diam.; the third carved with two Otsu-e £1,000 - 1,500
a landscape of a thatched hut on the banks characters, Oni no Nenbutsu and Fujihime, JPY180,000 - 280,000
of a river with a bridge, the lower section with signed Minkoku, 5cm (2in) diam. (3). US$1,500 - 2,300
fish leaping from the waves, unsigned, 5.3cm
(2 1/8in) high. (3). £1,000 - 1,500 61 Y Ф
JPY180,000 - 280,000 FOUR IVORY MANJU NETSUKE
£700 - 900 US$1,500 - 2,300 19th century
JPY130,000 - 170,000 The first of oval form, inlaid in Shibayama
US$1,100 - 1,400 59 Y Ф style with a flowering and fruiting peach
TWO IVORY MANJU NETSUKE branch, signed Shibayama, 5.1cm (2in) wide;
For similar hiuchi (tinder lighter netsuke), see By Hironobu and Kogyoku, Edo, 19th century the second of irregular lobed form, carved
Frederick Meinertzhagen, The Meinertzhagen The first of solid circular form, carved with an in shishiaibori (sunk relief) with an agonised
Card Index on Netsuke in the Archives of the elaborate design of two small boys playing, blind man, unsigned, 5.3cm (2 1/8in) wide;
British Museum, New York, Alan R. Liss Inc., one holding a shishimai mask aloft, while his the third of round form carved and pierced
1986, pp.1039/40. companion holds the cloak over his head, with a mass of irises, unsigned, 4.5cm (1¾in)
the reverse carved with a hat and fan, signed diam.; the fourth of walrus tusk and round
Hironobu with kao, 4.9cm (1 7/8in) diam.; the form, carved and pierced with a formalised
second in the form of Hotei holding his head bird over a mass of foliage, unsigned, 4.3cm
MANJU AND KAGAMIBUTA and with a morose expression as he sits in (1¾in) diam. (4).
his large sack, which is tied at the top, signed
NETSUKE
Kogyoku, 4.5cm (1 7/8in) wide. (2). £900 - 1,000
JPY170,000 - 180,000
57 Y Ф £800 - 1,000 US$1,400 - 1,500
THREE IVORY TWO-SECTION JPY150,000 - 180,000
MANJU NETSUKE US$1,200 - 1,500
19th century
The first carved in sunk relief with a small boy
seated on an ox, viewed from the front, the
reverse engraved with a basket and scythe,
signed Mitsutoshi (Koju) with kao, 4.8cm
(1 7/8in) diam.; the second carved in a
similar manner with the early hero Yamato
Takeru moving blazing grass with his sword,
unsigned, 4.6cm (1¾in) diam.; the third
carved with the bust of a female Buddhist
deity holding the sleeve of her robe to her
mouth, unsigned, 4.4cm (1¾in) diam. (3).
£900 - 1,200
JPY170,000 - 220,000
US$1,400 - 1,800
30 | BONHAMS
57
58
59
60
61

62 Y Ф 65
TWO SOLID IVORY MANJU NETSUKE A STAG ANTLER MANJU NETSUKE
By Doshosai and Dosho, Osaka, 19th century Asakusa, Tokyo, late 19th century
The first of shallow circular form, carved in shishiaibori (sunk relief) Of shallow circular form, carved and elaborately pierced with a rain
with a bold design of Oniwaka fighting with a large carp while holding dragon among lotus plants and a vessel and cover amid breaking
a knife in his mouth, one visible eye inlaid, signed Doshosai, 6cm (2 waves, the antler with a dark stain; unsigned. 5.4cm (2 1/8in) diam.
3/8in) diam.; the second of almost square form, similarly carved with
a shishi seated, holding a ball, one visible eye inlaid, signed Dosho, £800 - 1,000
5.4cm (2 1/8in) high. (2). JPY150,000 - 180,000
US$1,200 - 1,500
£1,000 - 1,500
JPY180,000 - 280,000 66 Y Ф
US$1,500 - 2,300 AN IVORY MANJU NETSUKE
By Ohara Mitsuhiro (1810-1875), Onomichi and Osaka, 19th century
The first manju netsuke is not by the more usually seen Doshosai of Of shallow square form with canted corners, carved in delicate
Osaka, the first part of the name featuring a different kanji. shishiaibori (sunk relief) with three descending geese and the moon
inlaid in shell, the reverse with a rustic fulling block and cloth beater
63 Y Ф beneath a 14-character poem; signed Tamanoura no ju Mitsuhiro
TWO IVORY TWO-PART INLAID MANJU NETSUKE with seal Ohara. 4.8cm (1 7/8in) high.
By Ryumin, late 19th century
The first inlaid with Tenaga seated among rocks, drinking sake from £1,000 - 1,500
a stemmed cup, a bottle at his side, in shibuichi and malachite with JPY180,000 - 280,000
details of silver and agate, signed on a silver tablet Ryumin, 4.2cm US$1,500 - 2,300
(1 5/8in) diam.; the second similarly decorated with Taikobo seated
beneath an overhanging cliff, his creel and rod at his side, details in It is probable that this is the late work of Ohara Mitsuhiro, who worked
shakudo and gold, signed on a silver tablet, Ryumin with kao, most of his life in Osaka. However, the inscription, Tamaura no ju
4.3cm (1¾in) diam. (2). implies that the netsuke was made in Onomichi (for which Tamaura
is an elegant name), a small town close to Hiroshima and about 150
£1,000 - 1,500 miles west of Osaka. It was here that Mitsuhiro was born and from
JPY180,000 - 280,000 where he left to Osaka, to eventually retire to his native town in 1858.
US$1,500 - 2,300
67 Y Ф
For very similar examples to the first, see George Lazarnick, Netsuke A RARE IVORY AND WOOD KAGAMIBUTA NETSUKE
and Inro Artists and How to Read Their Signatures, Honolulu, Reed By Toryusai Kozan, 19th century
Publishers, 1981, p.894; and Neil K. Davey and Susan G. Tripp, Th bowl of ivory, carved in the form of a shallow basket for the tea
The Garrett Collection, Lacquer, Inro, Netsuke, London, Philip Wilson ceremony, the plate of kurogaki wood, carved as a pile of charcoal
Publishers Ltd., 1991, p.232, no.263. and inlaid with a haboki (feather fan for dusting ashes), in silver and
shakudo, signed Kozan with kao. 4.5cm (1¾in) diam.
64 Y Ф
TWO IVORY MANJU NETSUKE £600 - 800
One by Kounsai, Edo, 19th century JPY110,000 - 150,000
The first of square form with pierced sides, carved on the top in sunk US$920 - 1,200
relief with a baby boy holding a kitsune (fox) mask on his lap, the
reverse carved with a fan, with metal ring cord attachment, signed 68 Y Ф
Kounsai, 4cm (1 5/8in) high; the second of circular form, dark-stained AN IVORY AND METAL KAGAMIBUTA NETSUKE
and carved with maple leaves, inlaid with an iron and shibuichi The bowl by Komin, 19th century
kanamono of a large maple leaf on an ink stone, unsigned, The ivory bowl carved in relief with eight medallions of various formal
4.3cm (1¾in) diam. (2). designs, including drying fishing nets, umbrellas and tea whisks, the
silver plate inlaid in iro-e takazogan with street performers, including a
£700 - 900 dancer wearing an Usobuki (fibber) mask, details in gold, silver, copper
JPY130,000 - 170,000 and shakudo; the bowl signed Komin with seal. 5.2cm (2in) diam.
US$1,100 - 1,400
£600 - 800
JPY110,000 - 150,000
US$920 - 1,200
32 | BONHAMS
62
63
64
(reverse) 66
65
67 68

69
69 Y Ф 72 Y Ф
THREE KAGAMIBUTA NETSUKE FIVE KAGAMIBUTA NETSUKE WITH INTERESTING
19th century LEGENDARY SUBJECTS
Each having an ivory bowl, the first of deep rectangular form, the pale 19th century
shibuichi plate delicately engraved with a small puppet of a nobleman Each with an ivory bowl, the first with a brass plate cast and inlaid with
perched on a finger, signed Hakutsuru Senshi to, 4.1cm (1 5/8in) Yoko and the large tiger, unsigned, 4.1cm (1 5/8in) diam.; the second
wide; the second with shibuichi plate engraved and inlaid with a half- with a shibuichi plate inlaid with the frog of Ono no Tofu wearing an
naked figure and a fox, the bowl engraved with mushrooms and pine eboshi (hat) and holding an umbrella, unsigned, 4cm (1 5/8in) diam.;
needles, unsigned, 4.1cm (1 5/8in) diam.; the third with silver plate, the third inlaid with Aoto Saemon Fujitsuna encouraging men to
finely engraved in katakiri and kebori with a running horse, signed search for coins in the Nameri River, unsigned, 4.8cm (1 7/8in) diam.;
Naoharu with kao, 4cm (1 5/8in) diam. (3). the fourth inlaid with herons wading in a stream among cherry trees,
unsigned, 4.2cm (1 5/8in) diam.; the fifth engraved and inlaid with
£900 - 1,200 Momotaro emerging from a large peach, unsigned,
JPY170,000 - 220,000 4.3cm (1¾in) diam. (5).
US$1,400 - 1,800
£800 - 1,000
70 Y Ф JPY150,000 - 180,000
FIVE KAGAMIBUTA NETSUKE US$1,200 - 1,500
19th century
The first with a faceted bamboo bowl, the shibuichi plate engraved 73 Y Ф
and inlaid with a street performer, signed Minkoku with kao, 4.2cm FOUR UNUSUAL KAGAMIBUTA NETSUKE
(1 5/8in) diam.; the second with a stag antler bowl, the silvered metal 19th century
plate with a rakan in relief, unsigned, 4.2cm (1 5/8in) diam.; the third The first with wood bowl, the shibuichi plate inlaid with two swallows
with an ivory bowl, the dark shibuichi plate inlaid with two flying birds flying past a flowering cherry tree, in gold, silver and shakudo
in shakudo, signed Masatsune, 4.3cm (1¾in) diam.; the fourth with takazogan, unsigned, 4.5cm (1¾in) diam.; the second entirely of
an ivory bowl, the shibuichi plate inlaid with Hotei and a small boy shibuichi, the plate inlaid with Hanasaka Jiji making withered trees
fording a stream, unsigned, 4.5cm (1¾in) diam.; the fifth with a dark blossom, signed Sofu, 3.5cm (1 3/8in) diam.; the third with wood
wood bowl, the shibuichi plate engraved and inlaid with fighting cocks, bowl, the cloisonné-enamel plate decorated with paulownia and
unsigned, 4.6cm (1 7/8in) diam. (5). chrysanthemum, unsigned, 4.3cm (1¾in) diam.; the fourth with wood
bowl lacquered with autumn plants, the shibuichi ishime plate inlaid
£800 - 1,000 with a gilt-metal flying bird, signed Masahide, 3.7cm (1½in) diam. (4).
JPY150,000 - 180,000
US$1,200 - 1,500 £900 - 1,200
JPY170,000 - 220,000
71 Y Ф US$1,400 - 1,800
FIVE KAGAMIBUTA NETSUKE
19th century
Each with an ivory bowl, four with shibuichi plates, the first inlaid with
a nobleman standing beside reeds, looking at descending geese,
unsigned, 4.3cm (1¾in) diam.; the second inlaid in gilt metal with a
toy tiger, the bowl carved and pierced with cherry blossoms on water,
signed Shuraku with kao, 4.1cm (1 5/8in) diam.; the third cast and
inlaid with the hero Hankai carrying a door, unsigned, 6cm (2 3/8in)
diam.; the fourth cast and inlaid with a shishimai dancer, unsigned,
4.5cm (1¾in) diam.; the fifth with a brass plate cast with the head of a
rakan, signed Ryumin with kao, 4.7cm (1 7/8in) diam. (5).
£900 - 1,200
JPY170,000 - 220,000
US$1,400 - 1,800
34 | BONHAMS
70
71 (part lot)
72 (part lot)
73

INRO
74
TWO LACQUER INRO
17th and 18th century
The first of black lacquer and four
cases, decorated in gold takamaki-e
with a heron perched on the paddle
of a boat moored among reeds and a
kingfisher on the reverse, the interior
of nashiji, unsigned, 7cm (2¾in) high,
with a wood netsuke of mushrooms,
and a carnelian ojime, with wood
storage box; the second of gold
lacquer and five cases, decorated
in gold takamaki-e with hagi (bush
clover) growing by a winding stream,
embellished with profuse kirikane
details, the interior of nashiji, unsigned,
8.9cm (3½in) high. (3).
£800 - 1,000
JPY150,000 - 180,000
US$1,200 - 1,500
75
TWO BLACK-LACQUER
FOUR-CASE INRO
One by a member of the Kajikawa family,
74
18th century
The first decorated on the roiro ground
in gold and slight coloured takamaki-e
and hiramaki-e with a noble archer and
performing monkey beneath a pine tree,
details inlaid with shell and applied with
gold foil, signed Kajikawa saku with red pot
seal, 7.8cm (3 1/8in) high; the second with
clumps of hagi (bush clover) beside a stream
in gold takamaki-e and details of kirikane,
unsigned, 7.5cm (3in) high, with an inlaid
copper ojime. (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
75
36 | BONHAMS
76
TWO LACQUER INRO
The first of four cases, the roiro ground lacquered
in takamaki-e with Mitsunaka attacked by an oni
(demon) in a tree, his horse rearing on the reverse,
with details of kirikane, unsigned, 6.4cm (2½in) high,
with a pierced metal ojime; the second of five cases,
embellished in gold takamaki-e and hiramaki-e
with an elaborate continuous landscape of huts
among cherry and pine trees, the details of kirikane,
unsigned, 9.8cm (3 7/8in) high. (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
76
77
TWO RED-LACQUER INRO
18th and early 19th century
The first of three cases, carved in relief on both sides
with a shaped panel surrounding chrysanthemums
and rocks, reserved on a ground of formalised
motifs, the top and base similarly carved with a
rolled scroll, unsigned, 8.2cm (3¼in) high, with a
carved walnut ojime; the second of two cases,
carved in relief with sages conversing and playing
go in a garden, unsigned, 8.9cm (3½in) wide, with a
part red-lacquer manju netsuke carved with karako
(Chinese boys) and a crystal ojime. (2).
£700 - 800
JPY130,000 - 150,000
US$1,100 - 1,200
77 (part lot)
78
79
78 79 Y Ф
THREE WOOD INRO TWO IVORY INRO
One by Imanaka Chikusen, 19th century 19th century
The first of circular form and two cases, carved in relief on both sides The first of three cases and slender upright form, carved with two
with formalised flowerheads and scrolling foliage, the edges carved panels of Choryo and Kosekiko, the former standing on a defeated
with key-fret, unsigned, 7.2cm (2 7/8in) diam.; the second a single- dragon in a river, having retrieved the old man’s fallen shoe and
case inro, carved in relief with two panels of dragons, unsigned, 8.1cm passing it to him, riding over a bridge, reserved on a ground of formal
(1¼in) wide; the third of bamboo and two cases, carved in relief with motifs, unsigned, 9.2cm (3 5/8in) high; the second of four cases,
cranes in flight amid clouds and above seigaiha (stylised waves), carved in low relief with two confronting dragons amid swirling clouds,
signed Chikusen to, 7.5cm (3in) high. (3). unsigned, 8.9cm (3½in) high; with an ivory ojime. (2).
£800 - 1,000 £1,000 - 1,500

JPY150,000 - 180,000 JPY180,000 - 280,000
US$1,200 - 1,500 US$1,500 - 2,300
38 | BONHAMS
80 (part lot)
80 Y Ф
A GROUP OF SMOKERS’ UTENSILS
AND A YATATE (PORTABLE BRUSH
AND INK CONTAINER)
19th century
Comprising eight kiseruzutsu (pipe cases), including
five of stag antler, four of otoshi-zutsu type, one
carved with Daikoku chasing away a rat on rice
bales, 19.5cm (7 5/8in) long; one carved with
Sojobo, the tengu king, 19.7cm (7¾in) long; one
with Daikoku, Hotei and Benten, 20.9cm (8¼in) long;
and one carved with Shoki on horseback and an
oni (demon) cleaning the horse’s hooves, 20.5cm (8
1/8in) long; and one of senryu-zutsu type, in the form
of lotus leaves, 19.7cm (7¾in) long; three of wood,
comprising one in the form of a fish, 20.8cm (8¼in)
long; one of a man stretching, 18.7cm (7 3/8in) long;
and one carved as Tenaga, 20.5cm (8 1/8in) long; a
leather tabako-ire (tobaco pouch) with an ivory mae-
kanagu carved with a shishi among peonies, 12.5cm
(4 7/8in) wide, with kiseruzutsu en suite; another with
a silvered metal mae-kanagu in the form of a peony,
15.2cm (6in) wide, with kiseruzutsu en suite; a leather
tabako-ire, the mae-kanagu cast with a rakan, 13cm
(5 1/8in) wide; a wood tonkotsu (tobacco box) carved
with Shoki, the cover in the form of an oni (demon),
unsigned, 9.2cm (3 5/8in) high; a bamboo tonkotsu
with kiseruzutsu engraved with figures and landscape
with a poem, the kiseruzutsu 20.3cm (8in) long; a
kiseru (pipe) of silver and bamboo, carved with floral
medallions and scrolling foliage, 18.4cm (7¼in) long;
six others of brass, silvered metal and bamboo; and
a yatate (portable writing set), of shibuichi, the bowl
formed from a fuchi-gashira, inlaid with dragonflies,
signed Masayuki (Shozui), 18.7cm (7 3/8in) long.(21).
£2,000 - 2,500
JPY370,000 - 460,000
US$3,100 - 3,800
Illustrated on page 39.
81
82
40 | BONHAMS
83 (part lot)
YATATE (PORTABLE BRUSH AND INK OTHER INRO

CONTAINERS) AND BOKUTO (WOODEN SWORDS) Various Properties
Various Properties
81 83
A YATATE MOUNTED AS A TANTO FOUR LACQUER INRO
Style of Hasegawa Ikko, 19th century 17th to 19th century
The wood saya (scabbard) and tsuka (hilt) inlaid with a snake, a snail, Three with four cases, the first lacquered on the nashiji ground with
a frog, a butterfly, a dragonfly, peaches and ginkgo leaves in various numerous workmen hauling a wheeled cart, unsigned, 7.2cm (2 7/8in)
woods, bone and stained horn, fitted with a simple yatate of flattened high, with a wood ojime; the second of black lacquer, embellished with
form; unsigned. 34.3cm (13½in) long. a butterfly and dragonfly amid flowers, signed Kansai, 8.6cm (3 3/8in)
high; the third of gold lacquer, decorated with a continuous landscape
£800 - 1,000 of cherry trees on the hills of Yoshino, signed Kajikawa Bunryusai,
JPY150,000 - 180,000 8.2cm (3¼in) high; the fourth a small black-lacquer two-case inro,
US$1,200 - 1,500 decorated in gold takamaki-e with a shishi, unsigned,
6.3cm (2½in) wide. (4).
82 Y Ф
A BOKUTO AND WOOD AND STAG ANTLER £1,000 - 1,500
CHATO (‘TEA SWORD’) JPY180,000 - 280,000
The first by Hokimaru Ryuko, 18th/19th century US$1,500 - 2,300
The first of slight curved slender form, the simulated saya (scabbard)
bound with carved ropes and the imitation tsuka (hilt) inlaid in copper
with masks of Hannya and Beshimi, signed Hokimaru Ryuko, 49.4cm
(19½in) long; the chato (imitation sword for wearing at a tea ceremony)
of rustic wood with ivory and bone fittings, including a stag antler
kozuka, inlaid with silver dew drops, the tsuka (hilt) inlaid in pewter with
two rain dragons, containing a modern blade, unsigned,
45cm (17¾in) long. (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
Provenance: Louis Cartier (1875-1942) collection

and thence by descent.

84 (part lot)
84
FIVE INRO 85 *
18th to 19th century A GOLD-LACQUER FIVE-CASE INRO
The first of gold lacquer with four cases, decorated in takamaki-e with By Hasegawa Shigeyoshi, late 18th/early 19th century
chickens among bamboo, signed Ryuzan with seal, 8.9cm (3½in) Decorated in gold and slight coloured takamaki-e with an elaborate
high; the second of gold lacquer and four cases lacquered with a dog continuous landscape of quails perched on rocks above a rushing
barking at a window, unsigned, 8cm (3 1/8in) high, with a gold-lacquer stream and a bird flying over the water amid clumps of wild flowers,
manju netsuke, unsigned; the third a black-lacquer four-case inro of with hills in the distance beneath cloud bands, all with profuse details
slender cylindrical form, embellished in gold hiramaki-e with trailing of e-nashiji and kirikane, the interior of nashiji, signed Hasegawa
vines, unsigned, 10.1cm (4in) high; the fourth a small black-lacquer Shigeyoshi saku with seal; with a kagamibuta netsuke, the deep horn
two-case inro decorated in takamaki-e with a Hannya mask and bowl with a shibuichi plate cast and inlaid with Raijin producing a wind
maple leaves, unsigned, 6.5cm (2½in) wide; the fifth of wood with storm, signed Ryumin. 9.5cm (3¾in) high.
two cases, lacquered and inlaid with a flying goose and moon,
signed Toshimasa saku, 7.6cm (3in) high. (5). £1,500 - 2,000
JPY280,000 - 370,000
£1,000 - 1,500 US$2,300 - 3,100
JPY180,000 - 280,000
US$1,500 - 2,300
42 | BONHAMS
85
86
86
A GOLD-LACQUER SMALL
FOUR-CASE INRO
By a member of the Kajikawa family, after a
design by Kano Eitoku, 19th century
The vertical rounded kinji body decorated
with the Shichifukujin (Seven Gods of Good
Fortune) gathered beneath a pine tree
and cloud bands above, in gold and slight
coloured takamaki-e with details of gold foil
and kirikane, the interior with gold fundame
shoulders and rim; signed Kajikawa
with seal and Eitoku sha.
6.7cm (2 5/8in) high.
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600

87
87
A GREY-LACQUER FOUR-CASE INRO
By a member of the Kajikawa family,
19th century
The shibuichi-nuri ground decorated
in gold and slight coloured takamaki-e
with a continuous scene of a mounted
warrior, probably intended for Sasaki Shiro
Takatsuna, urging his steed as it fords the
Uji River and approaches a pine tree, its
spreading branches supported by poles
on the far shore, the interior of nashiji;
signed Kajikawa saku.
9.6cm (3¾in) high.
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
Provenance: J. Prieur collection.
88 Y
A BLACK- AND GOLD-LACQUER
FIVE-CASE INRO
By Koma Kansai II, 19th century
The roiro ground shading to usu-nashiji,
embellished in gold, slight coloured and
shibuichi takamaki-e with a continuous
design of Kinko Sennin riding a giant carp
amid turbulent waves, the interior of nashiji
with kinji edges, signed Koma Kansai;
with a stag antler manju netsuke of lobed
form, carved and pierced with a formalised
flowerhead in the manner of Ozaki Kokusai,
unsigned; and a coral ojime.
7.8cm (3 1/8in) high.
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100
88
44 | BONHAMS
(netsuke signature)
89
A BLACK-LACQUER FOUR-CASE INRO
By Ogawa Haritsu (Ritsuo, 1663-1777), dated 1720;
the hako netsuke by Shibata Zeshin (1807-1891), late 19th century
In the form of an upright Chinese ink-cake, decorated in relief with a shrine
servant sweeping leaves beside a tall stone lantern beneath a maple tree, the
reverse with a three-character inscription Akibino (Outside on an autumn day),
the interior of black lacquer with gold-lacquer edges, signed and dated Ritsuo
sei with seal Kan, Kyoho gosai, kanoe-ne shunjitsu (A spring day in the fifth
year of the Kyoho era kanoe-ne [1720]); with a black-lacquer hako netsuke
of ink-cake form, with formalised takaramono (treasures associated with the
Seven Gods of Good Fortune) in relief, signed Zeshin; and a silver ojime of
lobed form. 7.6cm (3in) high.
£6,000 - 7,000
JPY1,100,000 - 1,300,000
US$9,200 - 11,000
For a hako netsuke by Shibata Zeshin of similar form and design,

see Neil K. Davey, Netsuke, a Comprehensive Study Based on the
M. T. Hindson Collection, London, Faber & Faber Ltd. and Sotheby
Parke Bernet Publications, 1974, p.279, no.847.

90
A TABAKO-IRE (TOBACCO BOX) AND NETSUKE
WITH DESIGN OF WRITING IMPLEMENTS
By Shibata Zeshin (1807-1891), circa 1870-1890
A tabako-ire (tobacco box) formed from a section of bamboo with
tapering sides, the lid also of bamboo, lacquered in gold, silver,
black and red hiramaki-e and takamaki-e with an ink stone, brush
and cover, signed on the base with subori characters Zeshin;
with a hako netsuke of brown lacquer, embellished in gold and
black hiramaki-e with a branch of fern and two fruits, the fern
motif extending onto the bamboo lid; and a carnelian ojime; with a
(signature)
fitted wood tomobako inscribed on the cover Zeshin-o saku sage-
tabako-ire suzuri fude on-maki-e (Hanging tobacco box with ink
stone and brush in maki-e by the venerable Zeshin) and inscribed
inside Koma Chikushin kan (examined by Koma Chikushin) with
seal. 5.3cm x 6.6cm x 3.1cm (2 1/8in x 2 5/8in x 1¼in). (2).
£4,000 - 5,000
JPY740,000 - 920,000 (inscription by (inscription on tomobako)
US$6,100 - 7,700 Koma Chikushin)
46 | BONHAMS
91 Y Ф
AN INLAID GOLD-LACQUER SHIBAYAMA STYLE
FOUR-CASE INRO
By Shibayama Chuzan, Meiji era (1868-1912)
The vertical octagonal body with a rich kinji ground, inlaid with various
materials in Shibayama style and lacquered in gold takamaki-e and
hiramaki-e with togidashi maki-e with a continuous scene of a bird-
catcher on one side, standing before two tengu sugi (cedar trees
inhabited by tengu) each attached with a votive plaque, attempting
to catch two fleeing Karasu tengu, whilst a third tengu hatching out
from its egg on the ground startles a small peasant boy reeling back
in alarm on the other side, with details of kirikane, the interior of rich
nashiji, signed on an inlaid leaf-shaped reserve Chuzan; with an ivory (signature)
ojime engraved with a minogame (hairy-tailed turtle) crawling beside
a rock, possibly signed Shuchiku sha, Bokusai (Bokusai, painting by
Shuchiku). 9.6cm (3¾in) high.
£7,000 - 8,000
JPY1,300,000 - 1,500,000
US$11,000 - 12,000
For the maker, see E. A. Wrangham, The Index of Inro Artists, Alnwick,
Northumberland, Harehope Publications, 1995, p.194, Nakayama
(Chuzan), Shibayama.

92 (part lot) 93
92 Y Ф 93 Y Ф
A LACQUERED IVORY CARD CASE, A LETTER AN IVORY AND SHIBAYAMA-INLAID CARD CASE
OPENER AND AN IVORY NETSUKE By Masakazu, Meiji era (1868-1912)
The card case and letter opener late 19th century; The ivory rectangular body decorated in typical
the netsuke 18th century Shibayama style with a pair of cranes standing amid
The card case lacquered in takamaki-e with cranes autumnal grasses and flowers, the other side with a
among flowering trees and plants, the reverse with a mantis and two butterflies hovering over a sprig of plum;
thatched hut beneath Mount Fuji, unsigned, 11.5cm the base signed in a rectangular shell reserve Masakazu.
(4 5/8in) high; the letter opener lacquered and inlaid 11.4cm (4½in) high.
in Shibayama style with a bird perched among wild
flowers, unsigned, 27.6cm (10 7/8in) long; the early £1,000 - 1,500
ivory netsuke of a sennin standing with a large gourd JPY180,000 - 280,000
on his back, unsigned, 7.5cm (3in) high. (3). US$1,500 - 2,300
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
92 (part lot)
48 | BONHAMS
94
A GOLD-LACQUER AND SILVER-MOUNTED
SHIBAYAMA-INLAID THREE-CASE INRO
Meiji era (1868-1912)
The kinji body inlaid with various materials in Shibayama style and
lacquered in gold takamaki-e, hiramaki-e and togidashi maki-e
with a continuous humorous scene along the banks of a river, one
side showing revelling skeletons accompanied by frogs, snakes
and different species of insects, dancing as they enjoy the hanami
(cherry-blossom-viewing) season and two skeletons in human attire
on the other side, strolling past two passers-by and alarmed by a
doll dangling from a bamboo rod held by the young girl, with details
of kirikane, all four corners applied with silver mounts engraved with
tightly clustered chrysanthemum heads, unsigned; with a red-lacquer
manju netsuke carved with auspicious symbols, unsigned; and a red-
lacquer ojime. 9.9cm (3 7/8in) high.
£8,000 - 12,000
JPY1,500,000 - 2,200,000
US$12,000 - 18,000
Provenance: a Dutch private collection.

95 Y Ф
A GOLD-LACQUER AND SHIBAYAMA-INLAID THREE-CASE
INRO IN THE FORM OF A BUNDO (BALANCE WEIGHT)
By Nemoto, Meiji era (1868-1912)
The kinji ground inlaid in typical Shibayama style and lacquered in
gold takamaki-e with a continuous scene of the kitsune no yomeiri
(foxes’ wedding), depicting foxes in human attire passing through a
cryptomeria forest with rice stooks in the foreground, one side showing
a group carrying the bride in a kago (ceremonial palanquin) and four
foxes on the other, two carrying wicker baskets, with details of kirikane
and e-nashiji, the interior of nashiji, signed in two silver cartouches
Nemoto zo; with a wood netsuke in the form of a cluster of seashells,
unsigned; and an ivory ojime in the form of two mice clambering over a
bale of rice, unsigned. 10.3cm (4in) high.
£8,000 - 12,000
JPY1,500,000 - 2,200,000
US$12,000 - 18,000
Provenance: a Dutch private collection.
50 | BONHAMS
96 (part lot)
97 (part lot)
98 (part lot)
OTHER NETSUKE
Property from an Austrian Private Collection
(Lots 96-101)
96 Y Ф 97 Y Ф 98
FIVE NETSUKE OF WRESTLERS FIVE IVORY FIGURE NETSUKE FOUR WOOD NETSUKE
18th to late 19th century 18th to late 19th century 19th century
Four of ivory, the first of two monkeys The first of a small boy, a broad hat on his The first of a seated shishi, its head turned
wrestling on a pierced base while a third back as he sits on an ox which stands on to the right as it protects a ball with its
watches from below, unsigned, 4.3cm (1¾in) a base, unsigned, 4.4cm (1¾in) high; the forepaws, signed Shoto, 3.9cm (1½in) wide;
high; the second of a seated sumo wrestler second of Fukurokuju standing on a base the second of a seated oni (demon) holding
wearing a stern expression, signed Koraku, beside a large stag, unsigned, 3.7cm (1 a large hat over his back to protect himself
3.5cm (1 3/8in) high; the third of two sumo 3/8in) wide; the third of two small men from beads thrown to exorcise him, inscribed
wrestlers in combat on an oval base, signed kneeling beside a larger man in formal attire Doraku, 3.3cm (1 3/8in) high; the third of
Masatoshi, 5.1cm (2in) high; the fourth of two seated on a box, signed Gyokuichi, 3.9cm Benkei in formal attire, wearing the skull cap
skeletons wrestling over a large coin, signed (1½in) wide; the fourth of a servant pushing of a Yamabushi (mountain monk), holding a
Yugyoku, 4.1cm (1 5/8in) wide; the fifth of a large snow Daruma, possibly signed rosary, signed Miwa, 3.3cm (1¼in) high; the
wood, of an oni (demon) wrestling with a gaki Kazushige, 4.5cm (1¾in) wide; the fifth of fourth of the Chinese warrior Choun holding
(hungry ghost) on a large lotus leaf, with eyes Jurojin walking with a small child on his back, the infant Ato as he rides his horse over two
inlaid, unsigned, 3.5cm (1 3/8in) wide. (5). inscribed Jugyoku, 5cm (2in) high. (5). falling men, signed Gyokurintei,
4.1cm (1 5/8in) high. (4).
£1,000 - 1,500 £1,200 - 1,500
JPY180,000 - 280,000 JPY220,000 - 280,000 £1,000 - 1,500
US$1,500 - 2,300 US$1,800 - 2,300 JPY180,000 - 280,000
US$1,500 - 2,300
99 (part lot)
99 101
FIVE WOOD NETSUKE SIX WOOD NETSUKE
Early to late 19th century 18th to late 19th century
The first of a clam, open to reveal a scene of castle precincts within, The first of a wild boar attempting to rise beneath the weight of a
unsigned, 5cm (2in) wide; the second of figures in an open building performing monkey on its back, the boar’s eyes inlaid, unsigned,
resting amid turbulent waves, a dragon rising up from below, signed 5.6cm (2¼in) wide; the second of a horse grazing on a rounded
Minkoku, 4.5cm (1¾in) wide; the third of buildings beneath pine trees rectangular base, unsigned, 4.2cm (1 5/8in) wide; the third of Shoki
in rocky terrain, unsigned, 4cm (1 5/8in) wide; the fourth of pale wood, stalking around a screen in pursuit of an oni (demon), unsigned, 3.7cm
carved with two-storeyed buildings beneath spreading pine trees, (1½in) wide; the fourth of a boy riding on a model horse on a base,
signed Shunko, 5cm (2in) high; the fifth of a two-horned kirin seated unsigned, 3.6cm (1 3/8in) high; the fifth of a recumbent puppy holding
on a rectangular base, its head raised and turned slightly to the right, a straw sandal in its mouth, signed Shozan, 3.9cm (1½in) wide ; the
its tail passing forward and flames licking the side of its body, the sixth of Momotaro emerging from a large peach, inscribed Tomokazu,
details crisply rendered and the base carved beneath with an eight- 4.5cm (1¾in) wide. (6).
character seal, unsigned, 5cm (2in) high. (5).
£1,200 - 1,500
£800 - 1,200 JPY220,000 - 280,000
JPY150,000 - 220,000 US$1,800 - 2,300
US$1,200 - 1,800
100
SEVEN LACQUERED AND PAINTED NETSUKE WOOD NETSUKE
Early to mid 19th century Various Properties
The first of the heavenly being from the Noh play Hagoromo, wearing
a feather cloak, the details painted in subdued pigments, signed 102
Shuzan, 5cm (2in) high; the second a similarly painted figure of a man A WOOD NETSUKE OF A TIGER
standing, holding an open fan, signed Shuzan, 5.1cm (2in) high; the By Tanaka Minko (1735-1816), Tsu, late 18th century
third a small painted wood figure of the oil thief, signed Shuzan, 4.1cm Seated, its head turned back to the left and its tail passing forward
(1 5/8in) high; the fourth a figure of Hotei standing, holding a large over its back, the legs drawn in for compactness and the eyes inlaid
jewel, a small boy at his side, lacquered in Negoro style, unsigned, with brass, the wood slightly worn and of a good colour;
5.5cm (2 1/8in) high; the fifth of a blind man, his coat lacquered in signed Minko with kao. 4.2cm (1 5/8in) wide.
Negoro style, unsigned, 5cm (2in) high; the sixth of a red-lacquered
oni (demon) seated, holding a tokkuri (sake flask) and a small cup, £1,200 - 1,500
unsigned, 3.7cm (1½in) high; the seventh of a small tiger sprawling on JPY220,000 - 280,000
a large section of bamboo, partly lacquered in Negoro style, unsigned, US$1,800 - 2,300
5.3cm (2in) wide. (7).
For a very similar example, see George Lazarnick, Netsuke and Inro
£1,200 - 1,500 Artists and How To Read Their Signatures, Honolulu, Reed Publishers,
JPY220,000 - 280,000 1981, p.759.
US$1,800 - 2,300
103
A WOOD NETSUKE OF TWO PUPPIES
By Masakuni, Nagoya, 19th century
One recumbent, its body curled slightly to the right while its
companion clambers onto its back, one leg forming the himotoshi,
the wood slightly worn and the eyes inlaid with pale translucent horn;
signed in an oval reserve Masakuni. 3.8cm (1½in) wide.
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300
Provenance: Michael Tomkinson collection, no.550.

52 | BONHAMS
100
100
101 (part lot)
(reverse) 102
103

104 108
A WOOD NETSUKE OF A COCKEREL AND HEN TWO WOOD NETSUKE
By Nobuyuki, 19th century The first by Hasegawa Ikko, 19th century
The two birds perched side by side on a bifurcated branch, the The first of a performing monkey seated, leaning forward, wearing
cockerel looking back to the left, its erect tail curling around while its a stiff ebony and bone hat and holding a baton, its nose of pointed
mate faces ahead, the wood with a good colour and the eyes inlaid in shape and its teeth and baggy eyes inlaid, signed Ikko, 4.2cm (1
bone with dark pupils; signed Nobuyuki with kao. 5/8in) wide; the second of a badger, of kurogaki and boxwood,
4.2cm (1 5/8in) wide. masquerading as a priest, seated cross-legged as it chants, the eyes
inlaid, unsigned, 4.2cm (1 5/8in) wide. (2).
£750 - 800
JPY140,000 - 150,000 £800 - 1,000
US$1,200 JPY150,000 - 180,000
US$1,200 - 1,500
105
A WOOD NETSUKE OF A MONKEY The subject of the first may be a caricature of Toyotomi Hideyoshi
After Kano Tomokazu, 19th century (1563-98), who had various nicknames, including saru matsu (monkey
Seated, biting a persimmon while two others attached to a branch pine) and saru kanja (monkey servant). From known portraits, he is
rest at its feet, the slightly worn wood with a good patina; inscribed in characterised by a pointed nose and baggy eyes, each represented
an oval reserve Tomokazu. 3.5cm (1 3/8in) high. in the present example. For a discussion on the subject, see The
Netsuke Society Journal, vol.15, no.4, pp.13-15.
£1,000 - 1,500
JPY180,000 - 280,000 109
US$1,500 - 2,300 ONE WOOD NETSUKE AND ONE STAG ANTLER NETSUKE
One by Masanobu and one by Hoshunsai Masayuki,
106 mid to late 19th century
TWO WOOD NETSUKE The first of a seated tiger, its head turned to the left as it snarls, its tail
One by Masakata and the other after Kano Tomokazu, 19th century passing forward over its back and its legs drawn in for compactness,
The first of two fighting shishi, one rolling on its back, while the the eyes inlaid, signed Masanobu, 3.5cm (1 3/8in) wide; the second
other sprawls over it, its long tongue protruding, one leg forming the of a bamboo section with a smaller branch and foliage at the side,
himotoshi and another added himotoshi beneath, signed Masayoshi, originally with a monkey hanging loose attached, signed in a square
3.5cm (1 3/8in) wide; the second of a seated monkey, holding two reserve Masayuki, 4.2cm (1 5/8in) high. (2).
batons to its head and a large persimmon on its folded legs, the eyes
inlaid with two shades of horn, inscribed Tomokazu, £800 - 1,000
3.2cm (1¼in) high. (2). JPY150,000 - 180,000
US$1,200 - 1,500
£1,200 - 1,500
JPY220,000 - 280,000 110
US$1,800 - 2,300 AN UMOREGI NETSUKE OF A SPIDER
By Seiyodo Tomiharu, Iwami Province, early 19th century
107 The spider crawling over a large section of driftwood, polished smooth
TWO WOOD ANIMAL NETSUKE on two sides, the underside unpolished, with a poem in ukibori
19th century characters, signed faintly Seiyodo Tomiharu. 7.6cm (3in) wide.
The first of a recumbent goat, lying with its head turned to the left and
its legs drawn in for compactness, signed in an oval reserve Shugetsu, £4,000 - 5,000
4.8cm (1 7/8in) wide; the second of two rats, one recumbent while the JPY740,000 - 920,000
other tries to climb onto its back, the eyes inlaid, unsigned, US$6,100 - 7,700
2.9cm (1 1/8in) high. (2).
The spider on driftwood was one of the favoured subjects of the
£1,200 - 1,500 carvers from Iwami and was employed as a motif by the three main
JPY220,000 - 280,000 exponents of the art, Seiyodo Tomiharu, his daughter Bunshojo
US$1,800 - 2,300 and Gansui.
From the few readable characters of the poem, it appears to be a

well-known waka poem included with variations in the 10th-century
anthology Kokinshu, the poetic biography Ise Monogatari and the
popular 13th-century grouping Hyakunin isshu (One Hundred Poems
by One Hundred Poets), reading: Michinoku no shinobu mojizuri / tare
yue ni / midaremu to omou / ware nara naku ni (Like a patterned cloth
/ tangle-tyed in Shinobu / in the farthest north / it must be because of
you / that my heart is in turmoil).
For the other Iwami netsuke with this poem, see Joe Earle, The
Robert S. Huthart Collection of Iwami Netsuke, Hong Kong, Robert S.
Huthart, 2000, cat. nos. 85, 123 (by Bunsho); 137-138 (by Gansui).
54 | BONHAMS
104 105
106
107
108
109
110

111 * 114
A WOOD NETSUKE OF A COCKEREL IN A DRUM THREE WOOD NETSUKE
By Naito Toyomasa II (1810-1883), Tanba Province, early 19th century 19th century
The shallow circular drum with sides of engraved wood grain and The first of the angel from the Noh play Hagoromo wearing her feather
bands of studs in relief, the skin carved and pierced with a cockerel, cloak, signed Gyokko, 4.7cm (1 7/8in) high; the second of a grazing
its head turned back and its tail erect, the wood slightly worn and the horse with a blanket tied to its back, unsigned, 4.7cm (1 7/8in) high;
one visible eye inlaid with pale translucent horn; signed Toyomasa. the third of the hero Hankai (in Chinese, Fan Kuai) carrying a door
4.2cm (1 5/8in) diam. beneath one arm, signed Masatsugu, 5cm (2in) high. (3).
£3,000 - 5,000 £1,500 - 2,000

JPY550,000 - 920,000 JPY280,000 - 370,000
US$4,600 - 7,700 US$2,300 - 3,100
Several examples of the subject by Toyomasa are recorded. A similar 115

example from the Raymond and Frances Bushell collection was sold SIX WOOD NETSUKE
at Christie’s, London, 27 October 1987, lot 299. Another from the E. 19th century
A. Wrangham collection was sold in these rooms, 9 November 2010, The first of an oni (demon) trapping Shoki beneath a large basket, the
lot 125. eyes and coat buttons inlaid, inscribed Tomokazu, 3.8cm (1½in) high;
the second of Okame seated, being massaged by an oni (demon),
112 * signed Kunimitsu, 4.6cm (1¾in) high; the third of a female monkey
A WOOD NETSUKE OF A TENGU NO TAMAGO (HATCHING seated, holding her child, unsigned, 4cm (1 5/8in) high; the fourth of
TENGU) Gama Sennin standing, holding his toad and a gnarled staff, unsigned,
By Naito Toyomasa (1773-1856), Tanba Province, early 19th century 6cm (2 3/8in) high; the fifth of Tekkai Sennin standing, holding his staff,
Shown levering itself out of its large egg, one wing trapped while the unsigned, 4.2cm (1 5/8in) high; the sixth of a toad on an overturned
other spreads over the shell, the slightly worn wood with a good tone bucket, signed Masanao, 3.3cm (1¼in) high. (6).
and the eyes inlaid with pale translucent horn; signed Toyomasa.
4.5cm (1¾in) wide. £1,000 - 1,500
JPY180,000 - 280,000
£5,000 - 6,000 US$1,500 - 2,300
JPY920,000 - 1,100,000
US$7,700 - 9,200 116
FOUR WOOD MASK NETSUKE
113 Early to mid 19th century
A WOOD NETSUKE OF TWO PUPPIES The first of Okina smiling, signed Shugetsu, 4.6cm (1 7/8in) high; the
By Naito Toyomasa (1773-1856), Tanba Province, early 19th century second of Buaku, carved in well polished wood and with inlaid eyes,
The two young dogs playfully fighting, each standing on its hind legs, unsigned, 4.3cm (1¾in) high; the third of a smiling man, signed Toei,
one attempting to roll the other onto its back, two legs forming a 4.9cm (1 7/8in) high; the fourth of Okame, signed Shuzan, 4.2cm (1
natural himotoshi, the slightly worn wood with a fine patina and the 5/8in) high. (4).
eyes inlaid with ebony; signed in a long oval reserve Toyomasa.
3.5cm (1 3/8in) wide. £700 - 900
JPY130,000 - 170,000
£5,000 - 6,000 US$1,100 - 1,400
JPY920,000 - 1,100,000
US$7,700 - 9,200
56 | BONHAMS
111 (reverse) 112
(reverse) 113 114
115 (part lot)
116 (part lot)

117 Y Ф IVORY AND STAG ANTLER NETSUKE
FIVE WOOD FIGURAL NETSUKE Various Properties
Early to late 19th century
The first of Daikoku smiling as he emerges from his large sack, the 119 Y Ф
wood with a good patina, unsigned, 4cm (1 5/8in) high; the second AN IVORY NETSUKE OF A CAT
of Daikoku seated on a recumbent ox, unsigned, 3.7cm (1½in) wide; Late 18th/early 19th century
the third of Daruma seated meditating, signed Yoshihisa, 4cm (1 5/8in) The piebald cat resting asleep on a large tasselled feather fan, its head
high; the fourth of a blind beggar lifting his distended scrotum, signed lowered to the right and a knotted collar around its neck, the ivory
on an ivory tablet Gyokkei, 3.4cm (1 3/8in) high; the fifth of a seated somewhat worn with a good patina; unsigned.
farmer smoking his pipe as he sharpens a scythe, signed Sukekazu, 5.8cm (2¼in) wide.
3.7cm (1½in) high. (5).
£700 - 800
£800 - 1,200 JPY130,000 - 150,000
JPY150,000 - 220,000 US$1,100 - 1,200
US$1,200 - 1,800
120 Y Ф
AN IVORY NETSUKE OF A RECUMBENT OX
118 Y Ф School of Tomotada, Kyoto, late 18th/early 19th century
FIVE MANJU NETSUKE, A WALNUT NETSUKE Lying with its head turned to the right and a rope halter passing over
AND A SMALL LACQUER KOGO its back, the slightly worn ivory with a fine patina and the pupils inlaid;
19th century inscribed in a rectangular reserve Tomotada.
Three manju netsuke of ivory, one carved in relief with insects 6.1cm (2 3/4in) wide.
around a wasp nest, variously stained for effect, unsigned, 4.2cm
(1 5/8in) diam.; one inlaid in Shibayama style with butterflies around £1,500 - 2,000
chrysanthemums, unsigned, 4cm (1 5/8in) diam.; and one carved with JPY280,000 - 370,000
two figures in an open boat, the reverse with gulls on water, unsigned, US$2,300 - 3,100
5cm (2in) diam.; a lacquer manju netsuke, decorated in sabi-nuri
with scrolling chrysanthemums, unsigned, 3.5cm (1 3/8in) diam.; a 121 Y Ф
pressed-horn manju netsuke moulded with a sage and attendant in a AN IVORY NETSUKE OF A HARE AND LEVERET
garden, unsigned, 4.5cm (1¾in) wide; the walnut netsuke carved with Early 19th century
a peasant wading in a stream, signed Shozan, 4.4cm (1¾in) high; the The former seated, its head lowered and its body curled to the left
small kogo of carved red lacquer, carved with a sage in an open boat, while its offspring sits on its haunches at its side, the slightly worn
unsigned, 3.8cm (1½in) wide. (7). ivory with a good patina and the eyes inlaid; unsigned.
3.8cm (1½in) wide.
£800 - 1,200
JPY150,000 - 220,000 £700 - 800
US$1,200 - 1,800 JPY130,000 - 150,000
US$1,100 - 1,200
122 Y Ф
AN IVORY NETSUKE OF A PUPPY
Osaka, early 19th century
The young dog seated, its head lowered to the right as it attempts to
shake off a butterfly which has alighted on its head, its legs drawn in
to form a compact composition; signed in an irregular reserve Raku.
4cm (1 5/8in) wide.
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
123 Y Ф
AN IVORY NETSUKE OF A SNAKE
19th century
Coiled in several irregular loops, its head at the top and part of its
body forming a natural cord attachment, the ivory lightly stained and
the pupils inlaid; inscribed in an oval reserve Yoshimasa.
4.1cm (1 5/8in) wide.
£2,500 - 3,000
JPY460,000 - 550,000
US$3,800 - 4,600
58 | BONHAMS
117 (part lot)
118 (part lot)
119 120
121 122 123

124 (part lot)
127 Y Ф
AN IVORY NETSUKE OF ENDO MORITO
19th century
Half kneeling on the ground, holding aloft the severed head of Kesa
with one hand and his sword with the other, the episode well depicted
in slightly worn ivory; unsigned.
5.5cm (2 1/8in) high.
124 Y Ф
SEVEN NETSUKE OF VARIOUS SUBJECTS £1,200 - 1,500
Early to late 19th century JPY220,000 - 280,000
Comprising: six of ivory, a group of five eggplants forming a compact US$1,800 - 2,300
composition with a natural himotoshi, signed Okatomo, 5cm (2in)
wide; a cluster of four biwa fruits on a leaf, signed Masakazu, 3.9cm An expressive representation of the tragic tale of Endo Morito, a minor
(1½in) wide; a dragon struggling to swim amid tumultuous waves, courtier who was in love with Kesa, wife of a Kyoto palace guard.
unsigned, 4.4cm (1¾in) wide; a long-tailed bird perched on a rock Morito accepted an appointment to visit her house at night and
above water, inscribed Ikko (Kazutora), 3.9cm (1½in) wide; a kneeling murder the husband, who would be sleeping alone. He entered the
foreigner on a seal base, unsigned, 4.2cm (1 5/8in) high; a group room and decapitated the person sleeping there, only to find that he
of a cock, hen and chick, unsigned, 3.6cm (1½in) wide; and a shell had killed Kesa, who had sacrificed herself to protect her honour.
netsuke of a squid, unsigned, 8.4cm (3¼in) high. (7).
128 Y Ф
£2,000 - 3,000 FOUR IVORY FIGURAL AND ANIMAL NETSUKE
JPY370,000 - 550,000 18th and 19th century
US$3,100 - 4,600 The first of a man pounding rice in a large mortar while his wife
washes her hands, bent over at his side, signed Ikkosai, 4.1cm (1
125 5/8in) high; the second of a farmer sleeping beside a large basket
A RARE LARGE STAG ANTLER NETSUKE OF A DUTCHMAN filled with mushrooms, unsigned, 4cm (1 5/8in) wide; the third of two
19th century dogs, one recumbent with the other climbing over it, unsigned, 3.6cm
Standing, looking up and crying out as he holds a loop of rope with (1 3/8in) wide; the fourth of a boy playing a flute while seated on an ox
one hand, wearing a tall plumed hat, a belted robe and an overcoat on an oval base, unsigned, 5.4cm (2 1/8in) high. (4).
carved in low relief with scrolling foliage, the antler dark stained and
slightly worn; unsigned. 15.8cm (6¼in) high. £1,000 - 1,500
JPY180,000 - 280,000
£1,200 - 1,500 US$1,500 - 2,300
JPY220,000 - 280,000
US$1,800 - 2,300 129 Y Ф
FOUR IVORY NETSUKE
126 Y Ф 18th to late 19th century
A TALL IVORY NETSUKE OF GAMA SENNIN The first of six nuts, forming a compact composition with a natural
18th century himotoshi, the ivory with a good tone, signed Kiyokatsu, 4.7cm (1
Standing on one foot, smiling as he looks up, holding a toad on his 7/8in) wide; the second of the poet Saigyo Hoshi seated at the foot
shoulder with one hand and his gnarled cane between his legs with of Mount Fuji, the ivory somewhat worn and with a good patina,
the other, his loose robe tied at the waist and with a sash of mugwort unsigned, 4.1cm (1 5/8in) wide; the third a group of nine Noh and
leaves, the ivory slightly worn with a good patina; unsigned. Kyogen masks comprising those of Okame, Okina, Hannya, Oni,
13.4cm (5¼in) high. Shojo, Buaku, Beshimi, Hyottoko and Heida, signed Rakuyo, 4.5cm
(1¾in) wide; the fourth a late figure of Daruma, his robe falling off
£6,000 - 8,000 as he stretches after his nine-year meditation, signed Soshi,
JPY1,100,000 - 1,500,000 7cm (2¾in) high. (4).
US$9,200 - 12,000
£1,500 - 1,800
JPY280,000 - 330,000
US$2,300 - 2,800
60 | BONHAMS
127
128 (part lot)
125 126
129 (part lot)

SWORDS-FITTINGS, SWORDS, ARMOUR,
HELMETS AND OTHER MILITARY
ACCOUTREMENTS
Lots 130 - 201
TSUBA (SWORD GUARDS)
Various Properties
130
A KO-KATCHUSHI (EARLY
ARMOURERS’) IRON TSUBA
16th century
Of circular form with raised rim, pierced
with a tomo-e design, unsigned;
with wood storage box.
8.5cm (3 3/8in). (3).
£1,800 - 2,000
130
JPY330,000 - 370,000
US$2,800 - 3,100
Accompanied by a NBTHK Tokubetsu

Hozon certificate dated 2015, identifying
the tsuba as an example of Ko-katchushi
work.
131
A KO-KATCHUSHI (EARLY
ARMOURERS’) IRON TSUBA
16th century
Of circular form with raised rim, pierced
with a simple design of three kukuri-saru
(cloth monkey tumbler dolls), unsigned;
with wood storage box.
10.1cm (4in). (2).
£700 - 900
JPY130,000 - 170,000
US$1,100 - 1,400
For other Ko-katchushi tsuba with monkey-

doll design, see Kazutaro Torigoe, Tsuba
131 kanshoki, Okayama, Nihon Bunkyo
Shuppan, 1965, p.22; and Masayuki
Sasano, Early Japanese Sword Guards:
Sukashi Tsuba, London, Robert G. Sawers,
1974, p.42, no.10.
132
A KO-SHOAMI SUKASHI (PIERCED)
IRON TSUBA
16th century
Of almost circular form, carved and pierced
with a bobbin design, showing a spool of
thread on a wheel, unsigned; with
wood storage box.
7.6cm (3in). (3).
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300

Hozon certificate dated 2012, attributing
the work to Ko Shoami.
132
64 | BONHAMS
133
A KO-SHOAMI SUKASHI
(PIERCED) IRON TSUBA
17th century
Of circular form, pierced with a chidori
(plover) flying over a simplified sailing ship
within a half-pipe rim, unsigned; with a
wood storage box.
7.9cm (3 1/8in). (3).
£1,000 - 1,200 133

JPY180,000 - 220,000
US$1,500 - 1,800
Accompanied by a NBTHK Hozon

certificate dated 2007, attributing the
work to the Ko-Shoami School.
134
A KO-AKASAKA SUKASHI
(PIERCED) IRON TSUBA
17th/18th century
Of circular form with gadrooned rim,
pierced with a symmetrical design of ferns
and karigane (flying geese), unsigned; with
wood storage box.
7.6cm (3in). (2).
£500 - 600
JPY92,000 - 110,000
US$770 - 920
135
A SHINGEN IRON TSUBA
17th/18th century 134
Of circular form with raised rim, carved
and inlaid with a typical mukade
(centipede) design, partly in sentoku,
unsigned; with a tomobako with a
hakogaki by Dr Sato Kanzan.
8.9cm (3½in). (2).
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300
135

136
A KYO-KINKO (EARLY KYOTO SOFT-
METAL) SHAKUDO TSUBA
17th/18th century
Of mokko form, carved with a ground of
matting and in relief with chrysanthemums and
foliage with inlaid gold trailing clematis, the
kogai hitsu plugged with gold, unsigned; with
wood storage box. 7.9cm (3 1/8in). (3).
136
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
Accompanied by a NBTHK Hozon certificate

dated 2005, identifying the tsuba as an
example of Kyo-kinko work.
137
A COPPER FUTATOKOROMONO (TSUBA
AND FUCHI-GASHIRA)
The tsuba by Shigemitsu, 19th century
The tsuba of oval form with shakudo mimi, the
nanako ground inlaid with a Hannya mask with
tasselled cords and a whip, the reverse with
falling maple leaves, in gold, copper, shakudo
and shibuichi takazogan, signed Shigemitsu
with kao; the fuchi-gashira inlaid with a similar
design, unsigned; with wood storage box.
The tsuba 7.9cm (3 1/8in). (3).
£1,500 - 2,000
JPY280,000 - 370,000
137
US$2,300 - 3,100
138 *
AN INLAID BRONZE TSUBA
By Shoami Shigeyuki, 19th century
Of rounded rectangular form with raised rim,
decorated with cloth suspended on a pole
over a stream, with young cherry trees on the
shore, the reverse with a flock of birds flying
over breaking waves, signed Shigeyuki with
kao; with wood storage box inscribed Shoami
Shigeyuki. 7.6cm (3in). (2).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
138
122 123
66 | BONHAMS
139
139 *
A PAIR OF INLAID SHAKUDO TSUBA
FOR A DAISHO
19th century
Each of oval form, with a polished raised rim, the plate with a nanako
ground, the larger tsuba inlaid with a frog and various flying insects
among autumn plants, the ryohitsu plugged with gilt metal, unsigned;
the smaller tsuba with a snail and various insects among autumn
plants by a stream, all in shades of gold, copper, shakudo and
shibuichi takazogan, unsigned; with fitted wood storage box.
8.2cm and 7.6cm (3¼in and 3in). (3).
£4,000 - 5,000
JPY740,000 - 920,000
US$6,100 - 7,700
140 *
A SHAKUDO TSUBA
By Hidemasa, 19th century
Of oval form, the nanako ground inlaid with Kan’u standing with his
horse outside a castle gate, the reverse with a pine tree by a wall
overhanging a waterfall, inscribed Hidemasa with kao; with wood
storage box. 8.2cm (3¼in). (2).
140
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
141
A SHAKUDO TSUBA
Ishiguro School, second half of the 19th century
Of oval form with gilt mimi, the nanako ground
inlaid with swallows perched on and flying
above trailing asagao (morning glory), in gold,
silver and shakudo takazogan; signed Ishiguro
Masatoshi with kao; with wood storage box.
7.9cm (3 1/8in). (2).
£1,800 - 2,000
141 JPY330,000 - 370,000
US$2,800 - 3,100
Ishiguro Masatoshi, whose work is rarely seen,

was a student of Ishiguro Masatsune.
142 *
A SHAKUDO TSUBA
Ishiguro style, 19th century
Of oval form, the fine nanako ground inlaid with
large crickets among wind-blown grasses, in gilt
metal, copper and shakudo, the crescent moon
shown on the reverse, unsigned; with wood
storage box. 7.9cm (3 1/8in). (2).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
143 *
A BRONZE TSUBA
Nara School, 19th century
Carved and pierced in the form of Raijin, the
God of Thunder, running through a swirling
cloud and clutching a small drum, signed
142 Tsuchiya [...]; with wood storage box.
8.5cm (3 3/8in). (2).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
144
A SHAKUDO TSUBA
Mito School, 19th century
Of oval form, the nanako ground inlaid with a
sage standing by a pine tree, among rocks and
wild plants, holding a rolled makimono (hand
scroll) in one hand, the reverse with a waterfall,
in gold, silver, copper and shakudo takazogan,
unsigned; with wood storage box. 8.2cm
(3¼in). (3).
£2,000 - 2,500
JPY370,000 - 460,000
US$3,100 - 3,800
Accompanied by a NBTHK Hozon

certificate dated 2015, attributing
the work to the Mito School.
143
68 | BONHAMS
145
A LATE GOTO SCHOOL IRON TSUBA
By Goto Ichijo (1791-1876), Kyoto and Edo,
19th century
Of rounded rectangular form with slightly raised
irregular rim, engraved on one side with a
branch of flowering plum blossom and on the
other with stands of bamboo, in deep katakiri-
bori, signed Haku-o with kao; with tomobako
bearing hakogaki by Dr Sato Kanzan.
7.9cm (3 1/8in). (3).
144
£4,000 - 5,000
JPY740,000 - 920,000
US$6,100 - 7,700
Accompanied by a NBTHK ninteisho certificate

dated 1972, attributing the work to Goto
Ichijo and another NBTHK Tokubetsu Hozon
certificate dated 2015.
Provenance: Sano Family.
Published: Nakamura Tessei, Tsuba shusei,

Tokyo, Tsuba Shusei Kankokai, 1963,
p.433, no.98.
146
A SHAKUDO TSUBA
Ayanokoji School, 19th century
Of oval form, the fine nanako ground inlaid with
a scene of the battle of Ishibashiyama, showing
Minamoto Yoritomo hiding in the hollow of a
large tree while three warriors search for him
and two small birds fly above, in gold,
silver, copper and shakudo takazogan,
unsigned; with wood storage box. 145
7.3cm (2 7/8in). (3).
£3,500 - 4,000
JPY650,000 - 740,000
US$5,400 - 6,100
Accompanied by a NBTHK Tokubetsu Kicho

certificate dated 2015, attributing the work to
the Ayanokoji School.
Ishibashiyama (1180) was the first battle in

which Yoritomo, who would become shogun
in 1185, commanded the forces of the
Minamoto clan. His long-time foe Taira no
Kiyomori launched a night attack on the
Minamoto, who were forced to make a fighting
retreat which culminated in a final stand by a
hollow tree. Yoritomo hid in the tree where he
was found by one of his secret allies on the
Taira side and smuggled from the battlefield.
146

147 (part lot)
147 * 150
FOUR VARIOUS TSUBA SIX IRON TSUBA
One by Okamoto Naoshige and one by Yashiro Jingo, 18th to 19th century
17th to 18th century The first of tapering rectangular form with indented corners, carved
The first of iron, carved and pierced in the form of irises, signed and inlaid with Mount Fuji above clouds, the reverse with a dragon,
Tetsugendo Okamoto Naoshige with seal, 7.6cm (3in); the second signed and dated [...] Tsuchiya [...] shin, with kao, Ansei tsuchinoto-
of oval form, the thin plate with large ryohitsu and inlaid with hitsuji kan (Winter in the tsuchinoto-hitsuji year [1859]), 7.0cm (2¾in);
chrysanthemums, signed Yashiro Jingo, 7.3cm (2 7/8in); the third of the second of circular form, carved and inlaid with a heron and crow in
iron, the mokko plate engraved and inlaid in gold and silver nunome dispute, signed Tenka nakaoku [...] zan Umetada saku, 7.9cm (3 1/8in);
with a boy on an ox, unsigned, 8.9cm (3½in); the fourth a hamidashi the third in the form of a leaping carp, unsigned, 7.9cm (3 1/8in); the
tsuba of shakudo, carved and inlaid with a grape vine, unsigned, fourth in the form of a drum with inlaid studs, unsigned, 8.2cm (3¼in);
5.4cm (2 1/8in); with four wood storage boxes. (8). the fifth in the form of a stylised dove, its head turned to one side,
inscribed Hachimantaro hatomaru ontachi tsuba utsushi (referring
£4,000 - 5,000 to the Shinto deity and bodhisattva Hachiman, god of war), signed
JPY740,000 - 920,000 Norisuke saku, 7.6cm (3in); the sixth carved and partly pierced in
US$6,100 - 7,700 the form of a horse standing with lowered head, unsigned,
6.7cm (2 7/8in). (6).
148 *
A SHAKUDO TSUBA £1,000 - 1,500
Iwamoto School, 19th century JPY180,000 - 280,000
Of oval form with slightly raised rim, the ishime ground inlaid with US$1,500 - 2,300
a lobster over a coiled shimenawa (sacred rope) among ferns, the
reverse with a fruit and two nuts, all in shades of gilt metal, shibuichi, 151 *
shakudo and copper, signed Iwamoto Kanri with kao; with wood A LARGE INLAID IRON TSUBA
storage box. 7.9cm (3 1/8in). (2). Attributed to Tsuchiya Yasuchika, Nara School, 18th to 19th century
Of rounded rectangular form, carved in relief with a seated tiger, its
£1,500 - 2,000 stripes and eyes inlaid with gold, the reverse carved in relief with stands
JPY280,000 - 370,000 of bamboo, signed Tou; with wood storage box. 8.9cm (3½in). (2).
US$2,300 - 3,100
£2,000 - 3,000
149 JPY370,000 - 550,000
TWO INLAID TSUBA US$3,100 - 4,600
The first of iron, of oval form, carved and pierced in marubori with a Published: Nagaoka Tsuneki, ‘Shonai tanshishu (A collection of
raging battle scene, details in gilt metal and copper, signed Koshu Shonai tsuba types)’, in Shonai kinko no kenkyu (A study of Shonai
Hikone no ju Soheishi Nyudo Soten sei, 8cm (3 1/8in); the second of metalwork), Tokyo, Yoshikawa Kobunkan, 1933, no.76, where the
shibuichi, inlaid with two herons flying above reeds, signed Yanagawa tsuba is described as by Tsuchiya Yasuchika.
Naomitsu with kao, 5.9cm (2 3/8in). (2).
£700 - 900
JPY130,000 - 170,000
US$1,100 - 1,400
70 | BONHAMS
149
148 149
150 (part lot)
150 (part lot)

150 (part lot)
151 FINE JAPANESE ART | 71

152 *
TWO TSUBA
One by Shoami Yukimitsu and one by Sadatoshi,
late 18th century and late 19th century
The first of iron, almost circular form, pierced
with a hare leaping over breaking waves, signed
Matsuyama no junin Shoami Yukimitsu, 8.3cm
(3¼in); the second of copper, in the form of an
oni (demon) half kneeling and looking back as he
152 holds a large hat over his back to protect himself
from beans thrown at him, details in gold, silver
and shakudo, signed Sadatoshi, 7.3cm (2 7/8in);
both with wood storage box. (4).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
For the maker of the first tsuba, see Robert

Haynes, The Index of Japanese Sword Fittings
and Associated Artists, Ellwangen, Germany,
Nihon Art Publishers, 2001, no.H12412.
153 *
A SILVER TSUBA
By Shimamura Mitsuyoshi, late 19th century
Of rounded rectangular form with softly raised
rim, inlaid with a scene from Genji monogatari
(The Tale of Genji), in silver, shibuichi and
shakudo takazogan with gold details, the
reverse with a nobleman and attendant fleeing
in shakudo honzogan beneath a large pine tree
in relief, signed Mitsuyoshi with inlaid seal;
with wood storage box. 7.9cm (3 1/8in). (2).
153 £3,000 - 4,000

JPY550,000 - 740,000
US$4,600 - 6,100
154 *
AN IRON TSUBA
After Kano Natsuo, late 19th century
Of rounded rectangular form with irregular
raised rim, inlaid in relief with Kannon standing
on a cloud, looking down and holding a large
fly whisk in both hands, in copper takazogan
with details of silver, inscribed Natsuo with seal
Koi; with wood storage box and brocade cover.
8.2cm (3¼in). (3).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
154
72 | BONHAMS
155
155 * 156 *
A PAIR OF IRON TSUBA A HAMANO-STYLE IRON TSUBA
FOR A DAISHO By Hisanori, late 19th century
After Kano Natsuo, late 19th century Of mokko form, inlaid in gilt metal with a
Each of rounded rectangular form with leaping cockerel beneath a fruiting peach
raised rim, inlaid with fuki myoga (ginger branch, the design continued on the
shoots) in pale gold, the larger tsuba reverse, signed Homei Koishikawa
inscribed and dated Kinoto-hitsuji shoto ni oite Hisanori kore o saku; with
rokujuhasso ([October 1895] aged 68), wood storage box.
Natsuo with seal Koi (in the ancient 8.2cm (3¼in). (2).
manner); the smaller tsuba with seal
Natsuo; with double wood storage boxes. £800 - 1,200
The larger tsuba 8.5cm (3 3/8in), the JPY150,000 - 220,000
smaller tsuba 7.9cm (3 1/8in). (6). US$1,200 - 1,800
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600

Kicho certificate dated 1961 attributing the
work to Natsuo; and a certificate written 156
by Natsuo’s son Akio, dated 1941, also
attributing the work to Natsuo.

157 *
A SENTOKU TSUBA
By Kawakami (Seiryuken) Katsutoshi
(born 1832), late 19th century
Of rounded rectangular form with softly raised
rim, inlaid with a ferocious nio in copper
takazogan with details in two shades of gold,
shakudo and shibuichi, the reverse carved and
inlaid with temple precincts by a lake, signed
157 Seiryuken hachiju so (aged 80) Katsutoshi; with
wood storage box. 8.5cm (3 3/8in). (3).
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100

dated 2015.
Seiryuken Katsutoshi was born in Mito in Hitachi

Province in 1832 and moved to Tokyo in the Meiji
era. He was a student of Hagiya Katsuhira I,
and his work reflects his master’s style.
158 *
A SENTOKU TSUBA
After a design by Hanabusa Itcho, Mito,
19th century
Of rounded rectangular form with raised rim,
inlaid with the Chinese immortal Koshohei turning
a rock into a goat beneath a pine tree, in iro-e
takazogan, the reverse engraved and inlaid with
the Chinese poet Rinnasei (in Chinese, Lin Hexing)
158 and a crane, inscribed Hanabusa Itcho no zu;
with wood storage box. 8.2cm (3¼in). (3).
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300

dated 2013.
159 *
AN IRON TSUBA
By Mori Joken, late 19th century
Of irregular form with slightly raised rim, carved on
the hammered ground with two sennin, the reverse
with one of the Wagojin, the gods of conjugal
harmony, signed in gold Joken with seal; with
lacquer storage box. 8.5cm (3 3/8in). (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
159
74 | BONHAMS
160
160 *
AN UNUSUAL INLAID SILVER TSUBA
By Sanjo Akitada (born 1899), Showa era
(1926-1989), dated 1968
The thick plate of oval form with unpolished
ground, decorated with the sword maker Kokaji
Munechika forging the sword Kogitsunemaru
(‘Little Fox’), assisted by the fox spirit in the
form of a bearded deity with a fox headress,
in silver and shakudo takazogan with details of
gold and copper, the reverse with an inlaid fox
running amid clouds beneath a long inscription,
signed and dated Toshi nanajussai Showa
yonjusannen sangatsu kore o horu Echigo no
kuni Sanjo Akitada Minamoto Yukifusa (Carved
by Sanjo Akitada Minamoto Yukifusa of Echigo
Province in the third month of the 43rd year of
Showa [1968]); with a tomobako inscribed on
the cover exterior Kokaji Munechika and on the
interior Showa yonjusannen sangatsu hi Echigo
no kuni Sanjo Akitada Minamoto Yukifusa kore
o horu Yamanaka-shi tame seikon no tame no
issaku (Carved by Sanjo Akitada Minamoto
Yukifusa of Echigo Province in the third month
of the 43rd year of Showa [1968] for the soul of
Mr Yamanaka) with seal Akitada. 9.2cm
(3 5/8in). (2).
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300
Sanjo Akitada (birth name Abe Shoichi) was

born in 1899, son of an iron worker who made
cannon rather than swords. He was active as a
swordsmith during the 1920s and 1930s but later
moved to Nagaoka, Niigata Prefecture (formerly
Echigo Province as referred to in the signature),
took the additional name of Yukifusa (‘Snow Hut’,
perhaps in reference to the climate of his new
home) and specialized in carving blades. 161

OTHER SWORD FITTINGS
Various Properties
161
AN ASSOCIATED SET OF TSUBA,
KOZUKA, FUCHI-GASHIRA AND MENUKI
19th century
The tsuba of shakudo, of oval form, carved,
pierced and inlaid in iro-e takazogan with an
elaborate design of battling warriors, in Hiragiya
style, unsigned, 7cm (2¾in); the kozuka of
polished shakudo, inlaid with Sasaki Taketsuna
and Kajiwara Kagesue racing across the Uji
River, within a silver frame, the reverse of thick
gilt metal, unsigned; the fuchi-gashira of dark
shibuichi, the fuchi inlaid in similar style with a
kneeling warrior and war banners, the kashira
with a mounted warrior, unsigned; the menuki in
162
the form of a warrior standing beside turbulent
water, and a fisherman standing in water,
unsigned; with wood storage box. (6).
£3,500 - 4,500
JPY650,000 - 830,000
US$5,400 - 6,900
162 *
A TSUBA AND FUCHI-GASHIRA
By Tsuchiya Yasuchika, Nara, 19th century
The tsuba of iron, of oval form with raised rim,
carved in low relief with a skein of geese flying in
a rainstorm, signed with a gold seal Yasuchika;
the fuchi-gashira of shakudo, inlaid with flying
geese and moored boats in rain, in gold, copper
and shibuichi takazogan, signed Yasuchika;
with tomobako attributing the works to Tsuchiya
Yasuchika, dated tsuchinoe-ne year of the
Showa era [1948]. The tsuba 7.6cm (3in). (3).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
163 163 *
A SHAKUDO SET OF TSUBA AND
FUCHI-GASHIRA
After Nara Toshishige, probably 18th century
The tsuba of oval form, the nanako ground
inlaid with salt-burners’ huts surrounded by
trees beside a lake with birds flying overhead
and hills among clouds in the distance,
inscribed Nara Toshishige saku, 7.3cm
(2 7/8in); the fuchi-gashira similarly decorated
on a polished ground, inscribed Nara Toshishige
with kao; with wood storage box. (3).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
164
76 | BONHAMS
165
164 *
A SHAKUDO FUTATOKOROMONO (KOGAI AND KOZUKA) a scarecrow, flying geese and reishi fungus, unsigned; a kojiri with six
By Ichinomiya Nagatsune (1722-1787), 18th century fans engraved and inlaid with peony, paulownia, cherry blossom and
Each with a nanako ground, depicting Miho no Matsubara, the kozuka iris, signed Saya kanagu Tokuoki; a saya kanamono with a single fan
carved and inlaid with Mount Fuji among cloud bands and a copse engraved with a narcissus; with fitted wood storage box bearing a
of pine trees, details in gold and silver, the kogai with pine trees in a paper label with descriptions and attributions on the underside of the
similar manner, each signed Echizen no daijo Nagatsune with kao; with cover. The tsuba 7.3cm (2 7/8in). (7).
tomobako with a lengthy explanatory sayagaki by Kuwabara Yojuro,
and an outer wood box with brocade cover. (6). £8,000 - 12,000
JPY1,500,000 - 2,200,000
£3,000 - 5,000 US$12,000 - 18,000
JPY550,000 - 920,000
US$4,600 - 7,700 Provenance: Mitsui Takakage collection.
165 * The makers of this interesting set were all working in Kyoto during the
A FINE SHAKUDO SOROI KANAGU latter half of the 19th century. Matsuo Gassan (1815-1875), a student of
(COMPLETE SET OF SWORD FITTINGS) Kawarabayashi Hideoki and Otsuki Mitsuoki, developed the Kongosai
By Matsuo Gassan, Harutsura, Kawarabayashi Hidekuni and School and also worked under Tanaka Kiyotoshi. Sasayama Tokuoki
Sasayama Tokuoki, mid 19th century (1813-1891) was the son-in-law of Kawarabayashi Hideoki. Aoki
Comprising: a tsuba of rounded rectangular form, carved with swirling Harutsura (1805-1858) was the son of Shunki Jinsuke and worked in
water and inlaid with ten variously shaped panels of silver, copper, the classic later Goto style. Kawarabayashi Hidekuni (1825-1891) was
shakudo and shibuichi, variously engraved and inlaid with Mount Fuji, the adopted son-in-law and student of Kawarabayashi Hideoki.
a flying crane, salt-burners’ huts, a butterfly and floral designs, in
gold and slight copper hirazogan, signed Kongosai Gassan with kao;
a kozuka similarly inlaid with four fan-shaped panels inlaid with rat
and radish, an anchor, Daruma doll and mandarin ducks, the reverse
thickly gilt, and with an engraved fan, signed Harutsura; a fuchi-
gashira similarly inlaid with eight fan-shaped panels of plant designs,
signed Kinryusai Hidekuni; a kurikata inlaid with three fans depicting

166
167
166 * 168 *
AN IRON SOROI KANAGU (COMPLETE SET OF FITTINGS) A RARE SET OF TWELVE SHIBUICHI KOZUKA
Attributed to Goto Ichijo, 19th century WITH EROTIC MOTIFS
Comprising a kozuka, wari-kogai (incense sticks), short ken (sword) After Otsuki Mitsuoki (1766-1834), Kyoto and Edo, 19th century
and saw, each inlaid in gold with inscriptions relating to immersion in Each of pale shibuichi, finely engraved in katakiri and kebori with
Zen and other auspicious characters, the kozuka with a waka poem, scenes of lovemaking, all with highlights of gold and silver hirazogan,
in gold honzogan, all unsigned; with fitted wood storage box. (6). the reverse of each engraved with flowering plants, each inscribed
Tsuki Mitsuoki; contained in a two-tiered wood storage box, the cover
£1,200 - 1,500 inscribed within Tsuki Mitsuoki gi saku (made for fun) with seal. (13).
JPY220,000 - 280,000
US$1,800 - 2,300 £6,000 - 8,000
JPY1,100,000 - 1,500,000
Accompanied by a NBTHK Tokubetsu Kicho certificate dated 1978, US$9,200 - 12,000
attributing the work to Ichijo.
Otsuki Mitsuoki (1766-1834) was born in Kyoto and moved
167 * to Edo when he was 20 years old. He studied painting under
A GOTO-SCHOOL PALE SHIBUICHI KOZUKA Nagasawa Rosetsu and was the fourth master of the Otsuki family
By Hashimoto Isshi, late 19th century of metalworkers, although he was a maker who developed his own
Inlaid with three fireflies hovering over a winding stream, in shakudo and independent style. He had several students, as well as his son
silver with gold details, the reverse with falling snow in gold and silver Mitsuhiro, working with and for him. This accounts for some variation
honzogan and an engraved two-line poem, the butt end with a gold of style and workmanship and also for the large number of forgeries
mount, signed Hashimoto Isshi with kao; with tomobako attributing the that are in existence.
work to Hashimoto Isshi, dated 1947; and paper cover. (3).
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300
78 | BONHAMS
168
(168 - reverse)
170
169 171 (part lot)
169 * 170 * 171 *

TWO SHAKUDO KOZUKA A SHAKUDO FUTATOKOROMONO SIX PAIRS OF MENUKI
19th century (KOZUKA AND MENUKI) One pair by Yasuchika, 19th century
The first of shakudo nanako, inlaid in copper After Tsu Jinpo, 19th century The first of copper and shakudo, each in the
with a large nio with gilt metal details, the The kozuka of shakudo nanako inlaid in gilt form of a spider with a captured wasp, unsigned;
reverse engraved and inlaid with an ancient metal with a large lobster within a gilt frame, the second of shakudo with gold details, in the
cherry tree, inscribed Hagiya Katsuhira with inscribed Tsu Jinpo; the menuki of shakudo, form of kabuto (helmet), unsigned; the third in
kao; the second of polished shakudo, inlaid in each in the form of a lobster, with gilt eyes, the form of butterfly dancers, one of gold, the
copper and gilt metal with a half-naked man unsigned; with fitted wood storage box. (4). other of shakudo with gold and silver details,
standing beneath a cloud, inscribed Kikuoka inscribed Mitsu; the fourth of gold and shakudo
Mitsuyuki on the reverse; each with wood £1,000 - 1,500 in the form of carpenters’ squares, unsigned; the
storage box. (4). JPY180,000 - 280,000 fifth of copper, in the form of tadpoles, signed
US$1,500 - 2,300 Yasuchika; the sixth of shakudo in the form of
£1,000 - 1,500 scythes, with gold details, unsigned; with six
JPY180,000 - 280,000 wood storage boxes. (18).
US$1,500 - 2,300
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
80 | BONHAMS
172
173 174
172 * 173 * 174 *

A PAIR OF COPPER AND SHAKUDO A MAE-KANAGU (POUCH FITTING) A GOLD KANAGU
MENUKI CONVERTED INTO AN OBIDOME After Kano Natsuo, late 19th century 19th century
(SASH CLIP) Formed from an iron menuki in the form of In the form of a peony in full bloom with
The menuki attributed to Unno Shomin, a flying demon-woman, attached to a gold buds and foliage, slight details in shakudo,
the obidome by Yoshihiko, late 19th/early rectangular base engraved beneath with a unsigned; with wood storage box.
20th century three-line text from the Noh play Rashomon, 5.4cm (2 1/8in) wide. (2).
In the form of two large crabs amid swirling water inscribed Natsuo koku; with tomobako
in gold, the menuki inscribed Shomin with kao, bearing two attestations, one by £1,000 - 1,500
Rokujunana o (at the age of 67), the water signed Natsuo’s son Akio, dated 1924. JPY180,000 - 280,000
Yoshihiko; with tomobako bearing a hakogaki 3.7cm (1½in) wide. (2). US$1,500 - 2,300
by Unno Kiyoshi, attributing the menuki to Unno
Shomin. 8.7cm wide (3 3/8in). (3). £1,000 - 1,500
JPY180,000 - 280,000
£5,000 - 6,000 US$1,500 - 2,300
JPY920,000 - 1,100,000
US$7,700 - 9,200

175
176 (part lot)
175 * 176 *
THREE FUCHI-GASHIRA SIX INLAID SHAKUDO FUCHI-GASHIRA
19th century 19th century
The first of shakudo, the fuchi inlaid with a tasselled fan and dragonfly The first with a nanako ground, inlaid in gold and copper with mounted
in silver and gold, the kashira similarly inlaid with a wind bell, signed Chinese generals and attendants, signed Otsuki Gozaemon Korin with
on the fan and banner of the wind bell Goto Mitsuyoshi; the second kao; the second of shakudo nanako, inlaid with birds flying amid stands
of sentoku, inlaid with a cat and peony in iro-e takazogan, signed of bamboo, signed Nara Munetoshi saku; the third of polished shakudo,
Yasunobu; the third of iron, inlaid with swallows, signed Toshinaga inlaid with Seiobo and a peach tree, signed Fucho with kao; the fourth
with kao; with three wood storage boxes. (6). of shakudo nanako, inlaid in gilt metal with a shishi and peony, signed
Yanagawa Naomasa with kao; the fifth of shakudo ishime, inlaid in gilt
£1,000 - 1,500 metal and shakudo with peonies, signed Munetoshi with kao; the sixth
JPY180,000 - 280,000 of shakudo ishime, inlaid with egrets wading in a stream, signed Nara
US$1,500 - 2,300 Toshiharu saku; with six wood storage boxes. (12).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
82 | BONHAMS
(signatures)
SWORDS
Various Properties
177 *
A KOTO KATANA
The blade by Osafune Kiyomitsu, 16th century
The blade of shinogi-zukuri form, shallow koshi-zori, narrow
suguba of nioi and nie, mokume-hada, the ubu-nakago with
one mekugi-ana, signed and dated Bishu Osafune Kiyomitsu,
Tenbun jukyunen hachigatsubi (a day in the eighth month of
Tenbun [1550]); in shirazaya; with koshira-e (mounting): the
saya (scabbard) of dark olive-green lacquer sprinkled with
powdered shell; the iron sukashi (pierced) tsuba by Kamiyoshi
Fukanobu of Higo Province, pierced with plum blossoms; the
fuchi-gashira of shakudo with scattered karakusa in gilt metal.
The blade 67.7cm (26 5/8in) long. (2).
£3,500 - 4,000
JPY650,000 - 740,000
US$5,400 - 6,100

(signatures)
178 *
A MOUNTED BIZEN SHIN-SHINTO KATANA
The blade by Yokoyama Kaganosuke Fujiwara Sukenaga and
the fuchi-gashira by Omori Teruhide, 19th century
Th blade of slender shinogi-zukuri form, shallow koshi-zori,
medium gunome-ha of nioi, itame hada,the ubu-nakago
with one mekugi-ana, signed Bishu Osafune shi Yokoyama
Kaganosuke Fujiwara Sukenaga with engraved kiku and ichi
kanji; koshira-e (mounting): the saya (scabbard) of polished
black lacquer, the iron tsuba of Kyo-sukashi type, pierced with
winged insects; the fuchi-gashira of shibuichi, carved and inlaid
in gilt metal with dragons in turbulent water, signed Omori
Teruhide saku; the menuki of shakudo and gilt metal, in the
form of running dragons.
The blade 65.5cm (25¾in) long.
£3,000 - 3,500
JPY550,000 - 650,000
US$4,600 - 5,400
84 | BONHAMS
(signatures)
179
A FINE SHINTO KATANA BLADE WITH MOUNTS
The blade by Bitchu no kami Tachibana Yasuhiro,
first generation, circa 1660
The blade of shinogi-zukuri form with ko-maru boshi, chojiha of
nie with choji-ashi and kinsuji, the hada of broad ko-itame; the
ubu-nakago with osujikai yasurime and one mekugi-ana, signed
Bitchu no kami Tachibana Yasuhiro with kiku-mon; in shirazaya
with gold habaki and sayagaki; koshira-e (mounting): the saya
(scabbard) of black ishime lacquer with polished bishi-ju-mon;
iron Nanban sukashi (pierced) tsuba carved and pierced with
exotic foliage derived from European leather designs; the fuchi-
gashira with netting in relief; the Mino-Goto menuki of shakudo
in the form of eggplants and foliage; the kojiri of iron, devoid of
decoration; with two silk storage bags.
The blade 62.5cm (24 5/8in) long. (5).
£8,000 - 10,000
JPY1,500,000 - 1,800,000
US$12,000 - 15,000
Accompanied by a NBTHK Hozon cerificate dated 1998,

attributing the work to Bitchu no kami Tachibana Yasuhiro.
The sayagaki by Tanobe Michihiro, dated 1998, also attributes

the work to Bitchu no kami Tachibana Yasuhiro, with a full
description of the blade, commenting on the fine hamon.

180 181 182
180 *
A TANTO KOSHIRA-E (MOUNTING) pagoda to one side, the fuchi-gashira, kurikata and kojiri of shibuichi
19th century nanako with scrolling foliage in gold takazogan; the menuki each in
The saya (scabbard) of black ishime lacquer with polished lacquer the form of two oxen in gilt metal and shakudo, all unsigned; with a
dragonflies; the mokko form iron tsuba inlaid with a dragonfly and brocade bag. 54cm (21¼in) long. (2).
a spider web; the Goto School shakudo nanako kozuka inlaid with
salt-burners’ huts by a river; the iron fuchi-gashira and kojiri with £1,500 - 2,000
dragonflies in Jinpo style; the gilt metal menuki in the form of ho-o JPY280,000 - 370,000
(phoenixes); with cotton bag. 47cm (18½in) long. (2). US$2,300 - 3,100
£1,500 - 1,800 182 *

JPY280,000 - 330,000 A TANTO KOSHIRA-E (MOUNTING)
US$2,300 - 2,800 19th century
The saya (scabbard) of divided wakasa-nuri lacquer and black lacquer
181 * with clouds of red ishime lacquer; the fuchi and kojiri of shakudo, with
A TANTO KOSHIRA-E (MOUNTING) kuyo-mon amid karakusa (‘Chinese grasses’) in relief; the gold menuki
19th century in the form of coiled dragons; with silk bag. 38.6cm (15¼in) long. (2).
The saya (scabbard) of wakasa-nuri lacquer with associated fittings,
the kozuka of shakudo with a silver plate inlaid in gold and shakudo £1,000 - 1,500
takazogan with boats on a lake with trees on the rocky shores and a JPY180,000 - 280,000
US$1,500 - 2,300
86 | BONHAMS
(signature)
183 *
A BLACK-LACQUER TANTO KOSHIRA-E
(MOUNTING)
By Ikeda Taishin (1825-1903), 19th century
The saya (scabbard) and tsuka (handle) of rich roiro
lacquered with trailing paulownia in shades of gold
takamaki-e and with a flying ho-o (phoenix) applied in
shibuichi and silver with gilt details; the tsuka applied
with shakudo menuki of recumbent shishi; the kojiri of
shibuichi, inlaid with a formalised butterfly and peony,
signed Taishin; with cotton bag.
37.8cm (14 7/8in) long. (2).
£1,800 - 2,000
JPY330,000 - 370,000
US$2,800 - 3,100
184
A MOUNTED SHINTO O-TANTO
The blade by Akitoshi, 19th century
The blade of hira-zukuri form, bevelled on one side,
with narrow sugu-ba of nie and indistinct hada; with
a running dragon horimono to one side and short
double hi and bonji to the other, the ubu nakago with
two mekugi-ana, signed in inlaid gold Akitoshi (Meiju);
koshira-e (mounting): the saya (scabbard) of black
lacquer, incised with slanting rain; the shibuichi tsuba,
habaki and kojiri carved with dragons; the shibuichi
kozuka inlaid with a dragon issuing from a bag held
by a rakan; the fuchi inlaid with a copper dragon,
signed in seal form; the kashira of lacquer with dragon
medallions; the gold menuki of coiled dragons; with a
storage bag. The blade 32.3cm (12¾in) long. (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
Provenance: a French private collection.
183 184

ACCESSORIES FOR SWORDS
AND OTHER MILITARIA
Various Properties
185
A SHELL-INLAID KATANA ZUTSU
(SWORD STORAGE CASE)
18th/19th century
The slender body widening at the top to
accommodate the tsuba (sword guard), entirely
covered with triangular sections of shell, the cover
lacquered with a kiri mon (paulownia crest) in gold
hiramaki-e, applied with a gilt-metal clasp, the
interior of black lacquer.
83.4cm (32¾in) long.
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
186 *
A SHELL-INLAID BROWN-LACQUER
TACHI-KAKE (SWORD STAND)
19th century
Raised on four bracket feet with a rectangular base
with indented corners and fitted with a curved neck
terminating in a reishi-form finial, inlaid with peonies
and butterflies in flight atop a rock surrounded by
water, all in shell, the neck and finial sides with
formalised designs, the finial with a stylised peony,
and the sides with formalised flowers and leaves.
65.2cm (25 5/8in) high.
£900 - 1,200
JPY170,000 - 220,000
US$1,400 - 1,800
185 186
88 | BONHAMS
187
BOW AND ARROW SETS

Various Properties
187 *
TWO SETS OF BOW AND ARROWS
18th/19th century
The first set contained in a polished wood box with an interior tray, the
tray containing a yumi (bow) which breaks down into three wooden
components, two of them fitting together, with shakudo and gilt fittings,
which in turn fit into two sockets on the thread-wrapped handle of the
bow, the box containing two wooden frames each of them holding six
arrows (without metal tips), with feathered flights; the second stored in
two black-lacquered boxes, one box with a bow of similar construction
to the preceding, signed Meiroku and Hosai and dated An’ei gonen
[1776], the other box with six arrows in a wood frame.
The largest box 6.4cm x 9cm x 33cm (2½in x 3½in x 13in). (42).
£1,500 - 1,800
JPY280,000 - 330,000
US$2,300 - 2,800
188 *
A BOW AND ARROW SET
19th century
Consisting of a lacquered horn bow with gilded leather thumb grip;
together with a set of twelve arrows with feathered flights and red-
lacquered shafts; contained within a horn frame, the lower section with
a gilt leather case, lacquered with crests; with a wood storage box, the
cover inscribed Rimankyu, ichigu. The bow 67cm (26 3/8in) long;
the arrows 44.5cm (17½in) long. (16).
£1,500 - 1,800
JPY280,000 - 330,000
US$2,300 - 2,800 188

The sculptor Sano Akira at the enthronement ceremony
for the Taisho Emperor, Kyoto, November 1915.
SANO AKIRA (1865-1955) 佐野昭 (1865-1955)
Born in Edo not long before the city changed its name to 1865年（慶応元年）、江戸生まれ。1882年（明治15年）、工部美術学校
Tokyo, Sano Akira attended the very first sculpture class (東京美術学校、東京芸術大学の前身）の第1期生として彫刻科を卒業。
at the Kobu Bijutsu Gakko (Industrial Art School, the イタリア人彫刻家のヴィンチェンツォ・ラグーザ（Vincenzo Ragusa）に師
predecessor of the Tokyo School of Art and Tokyo University
事。卒業後は彫刻家として明治美術会展などで作品を発表。洋画家の黒田
of the Arts), where he studied with the Italian sculptor
清輝や久米桂一郎ら新進芸術家との交遊も深く、1896年にはともに白馬
Vincenzo Ragusa. Graduating in 1882, from 1895 he began
to show his work at the exhibitions of the Meiji Bijutsukai (Meiji 会を創立。1899年（明治32年）にパリ万国博覧会の博覧会審査員に就任
Art Association) and other groups and became friendly with し、パリへ渡る。当時、主要な建築装飾にも多く関わり、東宮御所
such outstanding artists as the Western-style painters Kuroda (現在の迎賓館・赤坂離宮）を作るため、ベルサイユ宮殿などを視察。帰国
Seiki and Kume Keiichiro. In 1896 Sano, along with Kuroda, 後、迎賓館・赤坂離宮、国会議事堂、内閣総理大臣官邸などの建築彫刻の
Kume and other young artists helped found the Hakubakai 総監督として活躍。1915年（大正4年）、大正天皇の御大典※にて大礼使
(White Horse Association), an independent grouping which を務めた。代表作の「可真手命像」は、現在も浜離宮恩賜庭園に設置され
sought to break free of the bureaucratic methods of the ている。
Meiji Bijutsukai. In 1899 he was appointed as a juror for the
Paris Exposition Universelle, travelling the following year to
※御大典：天皇即位を国の内外に宣言する「即位式」、新天皇がその年の
the French capital and taking the opportunity to study the
新穀を神と共食する「大嘗祭（だいじょうさい）」の2つを同時に行う儀式
architecture of Versailles and other important buildings. On
his return to Japan he supervised the architectural decoration
of the Togu Palace (present-day Geihinkan and Akasaka
Rikyu Palace), the Imperial Diet Building, the Prime Minister’s
Residence and other public buildings. In 1915 he served as
one of the Taireishi Kotokan (High Ceremonial Officers) at
the delayed official enthronement ceremony for the Taisho
Emperor (whose reign had started in 1912). His most famous
work is a bronze statue of the deity Umashimade no Mikoto
which still stands in Tokyo’s Hamarikyu Gardens.
90 | BONHAMS
Property from a Japanese Private Collection
189 *
A SET OF CEREMONIAL ARCHERY Provenance: The sculptor Sano Akira;
EQUIPMENT FOR THE ENTHRONEMENT thence by descent.
CEREMONY OF THE TAISHO EMPEROR
Taisho era (1912-1926), circa 1915 This is one of several archery sets prepared for the
Comprising a yumi (bow) decorated in gold lacquer enthronement ceremonies for the Taisho Emperor
with imperial paulownia crests and tendrils, with in 1915. It was owned by the sculptor Sano Akira,
silk wrappings and gilt metal fittings; a set of 15 who served as a Taireishi Kotokan (High Ceremonial
arrows with lacquered shafts, gilt-metal tips and Officer) at the event. Sano would have entered
feather flights, a wooden shaku (sceptre) and other the enthronement venue from either the Nikka or
accoutrements, with two silk wrappers, the whole the Gekka Gate and taken his place before either
set with a fitted wooden storage box; and an ebira the Sakon no Sakura or the Ukon no Tachibana,
(quiver) also decorated in gold lacquer with imperial as represented in lot 321. See D.C. Holtom, The
paulownia crests and tendrils and with gilt-metal Japanese Enthronement Ceremonies, vol. 2,
fittings and silk tying cords with crystal ends, and London, Routledge Japan Library, 1996, p.91
various other lacquer and textile components for (first published in 1928).
mounting the arrows, unsigned.
The bow 179cm (70½in) long, the arrows each 67cm
(26 3/8in) long, the quiver 28cm x 20.5cm x 6.5cm
(11in x 8 1/8in x 2½in).
£9,000 - 12,000
JPY1,700,000 - 2,200,000
US$14,000 - 18,000

92 | BONHAMS
ARMOUR
Various Properties
190 * W
A MUNETORI AND KOSHITORI YOKOHAGI
DO TOSEI GUSOKU ARMOUR
18th/19th century
An eight-plate iron bowl black lacquered, to the top
a very elaborate eight-stage tehen kanamono in
shakudo and gilt copper and on the front a maedate
of gilded wood stag antlers, a five-lame iron komanju
jikoro; a good ryubu-men with a hair moustache
and fitted with a four-lame yodarekake; iron chu
sode and shino gote; the do of nimai yokohagi style,
the front plate with the top and bottom sections
laced, the centre area on the front covered in
Nanban gawa, on the back a gattari, machi uke
and ukezutsu for a sashimono and an agemaki, the
kusazuri of kiritsuke kozane, karuta gane haidate and
shino suneate; black lacquered overall and laced in
blue in both sugake and kebiki style; together with
an armour box and wood stand. The armour box
39cm x 39cm x 55cm
(15 3/8in x 15 3/8in x 21 5/8in).
£5,000 - 6,000
JPY920,000 - 1,100,000
US$7,700 - 9,200
191 * W
A BOYS’-FESTIVAL ARMOUR
Taisho (1912-1926) or Showa (1926-1989) era, 20th century
The 14-plate russet-iron helmet bowl overlaid by a single iron shinodare
to the front plate, an elaborate multi-stage tehen-kanamono and on
the front a gilded wood dragon maedate, a three-lame ko-manju-jikoro
with large fukigaeshi, the russet-iron mask with a hair moustache,
the do laced to the front and plain to the rear, chu-sode, shino-gote,
karutagane-haidate and shino-suneate, gold-lacquered overall and laced
in kebiki style in bands of red and white with green hishinui; contained
in a black-lacquered karabitsu (armour box) with a wood stand.
The armour box 31cm x 43cm x 36.5cm
(12¼in x 17in x 14 3/8in).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
94 | BONHAMS
192 * W
A COMPOSITE ARMOUR
The armour 19th century, the helmet by Munemitsu
and dated 1860
The 18-plate sujibachi kabuto signed and dated
Man’en gan kanoe-saru doshi (1860), Ki no
Munemitsu, hachigatsu kisshinbi (a lucky day in
the eighth month), the bowl black-lacquered, on
the front a red-lacquer wood maedate in the form
of a lobster, the iron four-lame komanju jikoro
lacquered alternately black and gold; a russet-iron
ressai menpo with hair chin tuft and a four-lame
yodarekake lacquered black and gold; the do of
nimai yokohagi style lacquered in bands of black
and gold, on the muneita an applied shakudo mon
and two gilt-metal shishi, the kusazuri lacquered to
match the do; leather kosode lacquered to match
the do; kusari gote, leather haidate in black and gold
and shino suneate; laced overall in white sugake
odoshi; together with an armour box and wood
stand. The armour box 40cm x 43cm x 51.7cm
(15¾in x 17in x 20 3/8in).
£6,000 - 8,000
JPY1,100,000 - 1,500,000
US$9,200 - 12,000

193 * W
A COMPOSITE MOGAMI DO TOSEI
GUSOKU ARMOUR
19th century
The 62-plate sujibachi kabuto in russet iron fitted
with a five-stage gilt tehen kanamono, on either side
gilt-wood leaf wakidate and on the front a wood
dragon and maedate in the form of a sword, the
six-lame Hineno jikoro with small fukigaeshi; a russet-
iron hanbo with a three-lame yodarekake black-
lacquered with a gold lacquer mon on the lower
plate; the good quality mogami-do of black-lacquer
iron with the mune-ita, waki-ita, oshitsuke-no-ita and
watagami covered with stenciled leather; kosode
black-lacquered with gold lacquer mon on the lower
plate, shinogote on the upper arm with pierced and
gilded iron plates, leather kawara haidate and tsutsu
suneate; laced overall in dark-blue sugake odoshi;
together with an armour box and wood stand.
The armour box 40cm x 38cm x 54.5cm
(15¾in x 15in x 21½in).
£5,000 - 6,000
JPY920,000 - 1,100,000
US$7,700 - 9,200
96 | BONHAMS
194 * W
A NIMAI-YOKOHAGI-DO TOSEI GUSOKU ARMOUR
The helmet by Haruta Daizaemon Masashige,
17th/18th century
The well made six-plate russet-iron bowl of eccentric
form rising high at the back falling to a rounded front
above a tosei mabisashi, the plates edged with zaboshi
at the top, a small three-stage tehen kanamono, signed
Kashu Kanazawa no ju Haruta Daizaemon Masashige
saku, on the front a small maedate in the form of an
inome (wild boar’s eye) in black and gold lacquer, black-
lacquer iron Hineno jikoro with black-lacquer fukigaeshi
(one missing); russet-iron menpo with hair moustache
and a four-lame russet-iron yodarekake; the russet-iron
do in ni mai yokohagi style, the plates overlaid with floral
studs on front and back, black-lacquer leather gyoyo,
on the back a wood gattari and an agemaki, the tateire
and kohire leather-covered, black-lacquer leather broad
kusazuri; together with an adapter to allow a katana
to be worn with armour; five-lame leather tsubo sode
black-lacquered, russet-iron shinogote and suneate, the
plates smudged with sawari, and black-lacquer leather
haidate; laced overall with nurigawa sugake odoshi; with
armour box and wood stand.
The armour box 42.5cm x 41.5cm x 55.7cm
(16¾in x 16 1/8in x 21 7/8in).
£7,000 - 8,000
JPY1,300,000 - 1,500,000
US$11,000 - 12,000

(reverse) 195
HELMETS AND MASKS

Various Properties
195
A SUJIBACHI KABUTO (HELMET)
Early-mid 19th century
The 60-plate russet-iron sujibachi with the rivet heads left visible
on the surface, decorated at the top with a four-stage tehen
kanamono and on the front a metal dragonfly maedate, the five-
lame komanju jikoro laced in pale blue sugake odoshi, the small
fukigaeshi pierced with a plum blossom; unsigned. (2).
£3,500 - 4,500
JPY650,000 - 830,000
US$5,400 - 6,900
196
A KABUTO (HELMET)
The six-plate iron bowl russet-lacquered, to the top a three-
stage iron tehen kanamono, a tosei mabisashi, a four-lame
komanju jikoro and fukigaeshi lacquered in red-stippled lacquer,
laced in pale green sugake odoshi; unsigned.
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
196
98 | BONHAMS
197
By Nao Masanobu, early 17th century
A fine 62-plate russet iron sujibachi kabuto signed Nao
Masanobu saku mounted with a six-stage tehen kanamono and
slim silvered shinodare, three to the front one on either side and
two to the rear, on the front a maedate in the form of a pair of
pincers, the five-lame iron komanju jikoro black-lacquered, the
lower plate covered in gilded leather, laced in mid blue sugake
odoshi, the interior lacquered red, the fukigaeshi leather-covered
and edged with shakudo fukurin with a Choban mon in gilt
copper. (3). (reverse)
£7,000 - 8,000
JPY1,300,000 - 1,500,000
US$11,000 - 12,000
(signature)

(signatures)
198
By Myochin Muneyoshi, dated 1851
A good 62-plate russet-iron sujibachi kabuto well
made with elegant slim suji and rivet heads left
visible on the surface, rounded mabisashi with
oharai date, a five-stage copper tehen kanamono,
198 the three-lame iron komanju jikoro black-lacquered
and laced in dark blue sugake odoshi, the fukigaeshi
part leather covered with a silvered mon; signed
Myochin Muneyoshi and dated Kaei yonen kanoto-i
juichigatsu kichijitsu (an auspicious day in the
eleventh month of 1851). (2).
£3,000 - 5,000
JPY550,000 - 920,000
US$4,600 - 7,700
Accompanied by a NKBHK ninteisho certificate

dated 1982.
199
A MOMONARI KABUTO (HELMET)
The iron bowl russet-lacquered with raised gilded
lacquer ridges imitating suji, to the top a gilded
central ridge, a three-lame iron kasa jikoro black-
lacquered, the fukigaeshi modern replacements,
laced in dark blue sugake odoshi; unsigned.
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100
199
100 | BONHAMS
200 201
200 201
A MENPO (MASK) A MENPO (MASK)
18th century 18th/early-mid 19th century
A ryubu mask in russet iron with yadome on the cheeks and odayori- The russet-iron mask well formed in ressai style, the nose detachable
gane under the chin, a three-lame black-lacquer iron yodarekake laced and with odayore-gane beneath the chin, the interior without lacquer,
in white sugake odoshi; unsigned. a three-lame itamono yodarekake black-lacquered and laced with dark
blue sugake odoshi; unsigned.
£2,000 - 2,500
JPY370,000 - 460,000 £1,500 - 2,500
US$3,100 - 3,800 JPY280,000 - 460,000
US$2,300 - 3,800

PAINTED HANGING SCROLLS, SCREENS,
HANDSCROLLS AND ALBUMS
Lots 202 - 251
THE JOYCE MERRICK COLLECTION OF PAINTED
HANGING SCROLLS AND PAINTED SCREENS
(Lots 202 - 214)
Joyce Merrick was passionate about all things Japanese but most
especially classical Japanese art forms. She embraced traditional
Japanese aesthetics as a whole and began collecting Japanese
prints in the late 1970s. Within just a few years, she turned to the often
overlooked area of Japanese paintings. Purchasing in France, New
York and Japan, she acquired a wide range of work, spanning the
Edo period and even into the early 20th century with the marvelous
pair of Tsuji Kako screens purchased in Kyoto decades ago. With
her keen eye, she focused on bravura brushwork whether used in
monochromatic ink painting of the nanga school and zen tradition
or more colorful works by artists in the Maruyama-Shijo tradition.
Joyce Merrickは、日本に関するあらゆる事柄に関心を持っていましたが、
なかでも伝統的な日本美術の様式が何よりも彼女を魅了しました。日本固
有の美意識を愛した彼女は、1970年代に浮世絵の蒐集を始めました。それ
からわずか数年のうちに、彼女の関心はあまり評価されていなかった日本
画へと移っていきました。フランス、ニューヨーク、日本において作品を購入
し、江戸時代の作品から果ては20世紀初頭の作品まで、幅広いジャンルを
蒐集しました。京都において数十年前に購入された都路華香の屏風は、そ
の代表例といえます。彼女の審美眼は、南画派や禅宗美術における水墨画
の力強い筆づかいや、円山四条派の画家が好んだ色調に注目しました。
104 | BONHAMS
202 Y Ф
MOKUAN SHOTO (1611–1684)
Mid 17th century
Kakejiku (vertical hanging scroll), ink on paper, with five characters of
calligraphy (see below), signed Obaku Mokuan sei, with seals Rinzai
seishu (The true Rinzai line), Mokuan to in (seal of Mokuan (Sho)to)
and Shobo eisho (Eternal glory of the true doctrine); with wood
storage box. Overall 201cm x 36cm (79¼in x 14 1/8in);
image 125.5cm x 28cm (49 3/8in x 11in). (2).
£3,000 - 5,000
JPY550,000 - 920,000
US$4,600 - 7,700
The five characters of dramatic cursive calligraphy read 澗水湛如藍,

Kansui tataete ai no gotoshi (When the water in the river is full, it looks
like indigo), the second half of an answer given by master Dairyu in
Section 82 of the Hekiganroku (Blue Cliff Record), a major collection of
Zen Buddhist koan compiled in China in the twelfth century. A monk
asked Dairyu ‘Human bodies all perish. What is the indestructible
Dharma body?’ Dairyu replied ‘When the flowers in the mountain
bloom, they resemble brocade; when the water in the river is full,
it looks like indigo’.
A native of China’s Fujian Province, Mokuan Shoto (Chinese: Muan

Xingtao) was a towering figure in the early history of the Obaku sect
of Zen Buddhism. He arrived in Japan in 1655 on the orders of Ingen
(Yinyuan), who had earlier brought the sect from China to Japan.
After several years living in the Chinese community at Nagasaki, in
1661 Mokuan joined his master at Uji near Kyoto and oversaw the
construction of the Manpukuji, the sect’s head temple. He became
Abbot in 1664 and later spent much of his time in Edo, where he
established another temple, Zuishoji, and received generous patronage
from the shogun Tokugawa Ietsuna. He is considered one of the
Obaku no sanpitsu (Three Finest Calligraphers of the Obaku Sect).
202

203
203
KANO EINO (1631-1697)
Mid/late 17th century
Kakejiku (vertical hanging scroll), ink on paper, depicting the two
eccentric monks Kanzan and Jittoku, the former standing with a brush
and painting on the wall of a cave, his companion seated and grinding
an ink stone; signed Ichiyosai with seal Eino. Overall 121cm x 69cm
(47 5/8in x 27 1/8in); image 52cm x 37.5cm (21in x 14 3/8in). (2).
£3,000 - 5,000
JPY550,000 - 920,000
US$4,600 - 7,700
Kano Eino studied under his father Kano Sansetsu (1589-1651, whom
he succeeded as third head of the Kyoto branch of the Kano family
workshop which served the imperial and military elite throughout the
Edo period (1615-1868). He is widely known as the author of the first
history of Japanese painting, Honcho gashi written in circa 1678.
106 | BONHAMS
204
TANI BUNCHO (1763-1840) AND KAMEDA BOSAI (1752-1826)
Circa 1810
Kakejiku (vertical hanging scroll), ink on paper, depicting a solitary
chidori (plover) flying above breaking waves, signed Buncho with
seal, a poem at the top by Bosai that incorporates his signature Bosai
rojin suidai (inscribed in drunkeness by old man Bosai) with seal; with
wood storage box, titled Tani Buncho hitsu, Namichidori (Painted by
Tani Buncho, Plover and wave) and Kameda Bosai san (Inscription by
Kameda Bosai). Overall 179cm x 52.5cm (70½in x 20 5/8in);
image 103cm x 31cm (40½in x 12¼in). (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
The poem reads:
紫燕飛入白雲去
驚濤飄海如吹烟
一幅妙画天然手
莫怪水墨称画襌
鵬斎老人酔題
A purple martin flies in and out of the white clouds

Rushing waves race across the sea seeming to breathe mist
A wondrous picture scroll from a divinely inspired hand
No wonder that your paintings in water and ink are praised as
the spirit of Zen
Inscribed in drunkenness by old man Bosai
A leading scholar, painter, poet, calligrapher, illustrator and scholar,

Kameda Bosai lived in Edo and played a prominent role in literary
and artistic circles during the early part of the nineteenth century. See
Stephen Addiss, The World of Kameda Bosai: The Calligraphy, Poetry,
Painting, and Artistic Circle of a Japanese Literatus, New Orleans,
New Orleans Museum of Art, 1984.
For Tani Buncho, please refer to the footnote to lot 206.
204

205 Y Ф
TANI BUNCHO (1763-1840)
Circa 1820
Kakejiku (vertical hanging scroll), ink on paper, depicting a village
nestled at the foot of a narrow mountain valley, signed Buncho with
seal Buncho ga in; with wood storage box. Overall 176cm x 46.5cm
(69¼in x 18 3/8in); image 98.5cm x 28cm (34¾in x 11in). (2).
£3,000 - 5,000
JPY550,000 - 920,000
US$4,600 - 7,700
For Tani Buncho, please refer to the footnote to lot 206.
206 Y Ф
TANI BUNCHO (1763-1840)
Dated 1804
Kakejiku (vertical hanging scroll), ink on paper, depicting Mount Fuji
majestically rising above bands of clouds, the right bottom corner
inscribed Kasshi sangatsu kore o utsushite, akatsuki no kei o toraete
(Painted in the third month in the kinoe-ne year [1804], capturing a
view of sunrise) and signed Buncho with seal; with wood storage box.
Overall 145.5cm x 86.5cm (57¼in x 34 1/16in); image 37cm x 66.5cm
(14 9/16in x 26 3/16in). (2).
£5,000 - 6,000
JPY920,000 - 1,100,000
US$7,700 - 9,200
An enormously versatile and charismatic artist who studied the works

of the Kano, Tosa and Maruyama-Shijo Schools as well as Western
art and Chinese painting from the Song through to the Qing dynasties,
Tani Buncho was one of the leading cultural figures of his time. See
Fumi Ikeda and others, Tani Buncho: Tanjo 250 shunen (Tani Buncho:
Commemorating the 250th Anniversary of His Birth), Tokyo,
Suntory Museum of Art, 2013.
205
108 | BONHAMS
206
Lot 207
110 | BONHAMS
207 Y Ф
MORI SOSEN (1747-1821)
Circa 1790
Kakejiku (vertical hanging scroll), ink, mica and slight colour on paper,
depicting a monkey lifting a large straw hat and unwittingly releasing
the sparrow that was trapped beneath, all enclosed within a
fan-shaped cartouche; signed Sosen with two seals So and Sen.
Overall 115cm x 67cm (45½in x 26 3/8in);
image 18cm x 50cm (7 1/8in x 19 11/16in). (2).
£3,000 - 5,000
JPY550,000 - 920,000
US$4,600 - 7,700
208 Y Ф
IKE TAIGA (1723–1776)
Mid 18th century
Kakejiku (vertical hanging scroll), ink and slight colour on paper,
depicting Jurojin (God of Longevity) performing kagura (Shinto ritual
dance) to the accompaniment of three musicians, signed Kyuka
Sansho shai with two joined seals Mumei Taisei, a third seal at top
right; with tomobako inscribed outside Taisei-o giga (Painted for fun
by Taisei-o [i.e. Taiga]); the inside of the lid with a long inscription
about the painting, dated Meiji sanjukyunen hinoe-uma natsu no hi
(A summer’s day in the 39th year of Meiji, hinoe-uma [1906] and
signed Taigado Rokumei Doshi shiki with two seals, one reading
Rokumeido. Overall 182.5cm x 43.3cm (71 7/8in x 17 1/16in),
£4,000 - 6,000
JPY740,000 - 1,100,000
US$6,100 - 9,200
Among the most influential of all Japanese artists of the mid-Edo

period, Ike Taiga was a child prodigy, writing his first calligraphy at
the age of three, starting his formal training at age six and opening
his first business, a fan shop, in his mid-teens. He worked in a wide
range of styles, techniques and subjects, laying the foundation for
the development of Nanga as a leading artistic school during the later
eighteenth, nineteenth and twentieth centuries. His work, together
with that of his wife Tokuyama Gyokuran, was the subject of a major
exhibition at the Philadelphia Museum of Art in 2007.
For the joined seal Mumei Taisei, see Felice Fischer with Kyoko
Kinoshita, Ike Taiga and Tokuyama Gyokuran: Japanese Masters of the
Brush, Philadelphia, Philadelphia Museum of Art, 2007, Appendix II,
no.S39 (p.486).
The priest-painter Taigado Rokumei Doshi (1839-1910), better known

as Taigado Sadasuke, was a younger son of Yamaoka Geppo, who is
considered third in line after Taiga.
208

209
SHIOKAWA BUNRIN (1808-1877)
Mid/late 19th century
Kakejiku (vertical hanging scroll), originally a leaf from
an album, ink and slight colour on silk, depicting the
Tsuten Bridge at Tofukuji Temple surrounded by a
view of the temple’s celebrated autumn maple leaves,
signed Bunrin with two seals Bun and Rin; with wood
storage box. Overall 104cm x 33cm
(41in x 13in); image 21cm x 18.5cm (8¼in x 7¼in). (2).
£600 - 800
JPY110,000 - 150,000
US$920 - 1,200
The Kyoto painter Shiokawa Bunrin was a pupil of

Okamoto Toyohiko, an artist of the Shijo school, but
was increasingly influenced by Western-style painting
and played an important part in laying the ground
for the evolution of Nihonga (neo-nativist syncretic
209
painting using traditional media) during the late
nineteenth century.
210
HOKUSEN TAIGAKU (FL. FIRST HALF OF 19TH
CENTURY)
Early/mid 19th century
Kakejiku (vertical hanging scroll), ink on paper,
depicting a high-ranking courtesan parading through
the Yoshiwara, signed Taigaku with seal Taigaku; with
wood storage box. Overall 115cm x 42.5cm
(45¼in x 16¾in); image 33.5cm x 24.5cm
(13¼in x 9 5/8in). (2).
£800 - 1,000
JPY150,000 - 180,000
US$1,200 - 1,500
Taigaku was a Ukiyo-e painter and a pupil of

Katsushika Taito II (fl. circa 1810-53).
210
112 | BONHAMS
211
HARUKI NANKO (1759-1839) AND HARUKI NANMEI (1795-1878)
Circa 1830
depicting a moonlit scene of a solitary goose standing among wild
chrysanthemums and reeds with its head turned behind, signed on the
right Nanko [...] getsu with seal and Nanmei with seal on the left; with
wood storage box, titled Getsurogan, Nanko Nanmei gassaku (The
Moon, reeds and a goose, collaboration by Nanko and Nanmei), the
inside of the lid inscribed Hon, Asami shozo (Owned by Asami).
Overall 180cm x 43cm (70 7/8in x 16 15/16in);
image 107cm x 28cm (42 1/8in x 11in). (2).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
Born in Edo, Nanko was a Nanga painter who first served under
Masuyama Sessai (1754-1819), a member of the ruling Tsu clan in Ise
Province and then became a pupil of Kimura Kenkado (1736-1802). He
later studied in Nagasaki and learnt the Chinese manner of painting. At
the time he was as well known as his contemporary the Nanga painter
Tani Buncho (1763-1840). Nanmei was his son and pupil.
211

212
212 Y Ф
WATANABE SEITEI (1851-1918) Watanabe Seitei (also pronounced Shotei) was a pupil of the leading
Late 19th/early 20th century eclectic painter Kikuchi Yosai. He was among the first Japanese artists
Two kakejiku (vertical hanging scrolls) from a set of four depicting to visit Europe and America and was awarded a silver medal at the
scenes from the four seasons, ink and slight colour on silk, the first an 1878 Paris Exposition. Combining Western naturalism with the delicate
autumnal scene of a disparate group of travellers including a monkey use of colours and washes he learned from Yosai, Seitei pioneered a
trainer and itinerant entertainers being ferried across a marshland, new approach to kachoga (bird-and-flower painting).
signed Seitei Itsujin with seal Seitei, the second of crows in flight over
mountainous winter landscape, signed [...] kyuritsu Seitei Itsujin egaku
(in the twelfth month [...] painted by retiredee, Seitei) with two seals
including Seitei; with tomobako titled Aki; Ukiyo no watashi (Autumn:
Ferry to the ‘Floating World’) and Fuyu: Yamaga no yuki (Winter: Snow
on the mountains and huts), the inside of the lid signed Seitei ga with
seal Seitei. Each approx. overall 199.5cm x 61cm (78 5/8in x 24in);
image 109cm x 41cm (42 7/8in x 16in). (3).
£4,000 - 6,000
JPY740,000 - 1,100,000
US$6,100 - 9,200
114 | BONHAMS
213
NAKAHARA NANTENBO (1839-1925)
Circa 1912
Kakejiku (vertical hanging scroll), ink on paper, depicting a procession
of monks setting off, inscribed Uto enritsu kagyo sonki (Black robes
and round hats forming a line and going back to the village) and signed
Hachijuyon-o Tenbo Toshu (Tenbo Toshu, aged 84) with four seals
Nantenbo, Hakugaikutsu and Toju (twice); with wood storage box.
Overall 199.5cm x 50cm (78½in x 19 5/8in);
image 133cm x 32cm (52½in x 12 5/8in). (2).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
Monks Setting Out, often paired with Monks Returning, is one of a

small number of subjects that Nakahara Nantenbo, among the most
outstanding and controversial Zen masters of the late nineteenth and
early twentieth century, chose to paint repeatedly, mainly when he was
in his late seventies and early eighties. As noted by Matthew Welch,
‘Nantenbo followed in the footsteps of other Zen masters, particularly
of the Edo period . . . for whom Zen painting was a significant mode of
expression. Their simple pictures were a convenient and vivid means
of making abstruse Zen principles more accessible to lay people’
(Matthew Welch, ‘Ushering Zen into the Twentieth Century: Nakahara
Nantenbo’, in Audrey Yoshiko Seo with Stephen Addiss, The Art
of Twentieth-Century Zen: Paintings and Calligraphy by Japanese
Masters, Boston and London, Shambhala, 1998, pp.17–34).
Nantenbo started his formal religious education at the of 11, first

attained enlightenment at 18 and was recognized by Razan Genma
as his dharma heir at 26. He was renowned for a staff which he cut
from an ancient nandina tree (Nantenbo means ‘Nanten tree staff’) and
subsequently used to discipline students, although he eventually locked
it away in the treasure house of the Enpukuji Temple. The military and
naval heroes Kodama Gentaro and Nogi Maresuke were among the
many recipients of his muscular version of Rinzai Zen training.
213

214 W
TSUJI KAKO (1870 –1931)
Taisho (1912-1926) or early Showa (1926-1989) era
A pair of six-panel folding screens, painted in ink and slight colour
on silk, both screens with a matching continuous autumnal scene of
thatched dwellings set within low mountainous plains, the foreground
with masses of bamboo stems bending in the breeze, the right screen
signed Kako saku with two seals, the left screen signed Kako with seal
Kako. Each screen 136.5cm x 274.8cm (53¼in x 108 3/16in). (2).
£10,000 - 15,000
JPY1,800,000 - 2,800,000
US$15,000 - 23,000
A pupil of Kono Bairei, Kako received his early training in the

Maruyama-Shijo style but quickly established his own distinctive
manner, specialising at first in dramatic historical and religious
compositions. Always questioning his creative intentions and abilities,
he began his practice of Zen in 1899, and would remain a diligent lay
student throughout his life. During the ensuing decade, he developed
a wide range of additional painting modes, including both an imposing,
tall, brushstroke-rich bunjinga landscape style and a revolutionary
manner of rendering waves with the flavor of Rinpa but an almost
watercolor-like quality.
(signatures)
116 | BONHAMS
OTHER PAINTED
HANGING SCROLLS
The Property of a Lady
(Lots 215-216)
215
ANONYMOUS
14th century
Kakejiku (vertical hanging scroll), ink, colours and
gold on silk, depicting Amida Buddha seated
on a throne beneath an elaborate canopy, a
double kohai (nimbus) behind him, his right hand
raised in the semui-in (abhaya mudra, a gesture
of reassurance), below him to his right Fugen
Bosatsu seated on an elephant and to his left
Monju Bosatsu seated on a lion, around and
below the three central figures a host of red-faced
guardian figures and other deities, unsigned,
framed. Overall 156cm x 83cm x 2.5cm
(61 3/8in x 32 5/8in x 1in),
image 115cm x 57.2 cm (45¼in x 22½in).
£5,000 - 6,000
JPY920,000 - 1,100,000
US$7,700 - 9,200
Provenance: Charles Bain Hoyt (1889-1949),

on loan to the Fogg Art Museum,
Harvard University in 1943.
Sold at Sotheby’s, New York, 4 June 1992, lot 1.
A European private collection.
215
118 | BONHAMS
216
ANONYMOUS
Late14th/early 15th century
Kakejiku (vertical hanging scroll), ink, colours and
gold on silk, a raigo-zu (image of deities welcoming
the soul of a departed believer) depicting Amida
Buddha and 12 bosatsu (bodhisattvas) descending
on white-and-gold clouds on a blue background,
all standing, Amida in the foreground, his right hand
raised in the semui-in (abhaya mudra, a gesture of
reassurance), to his right and left Seishi Bosatsu and
Fudo Bosatsu, Jizo Bosatsu behind Fudo Bosatsu,
the other nine bosatsu disposed vertically behind
them, unsigned; with wood futomaki (roller) and
wood storage box. Overall 165cm x 57.5cm
(65in x 22 5/8in); image 91.3cm x 38cm
(36in x 15in). (3).
£15,000 - 20,000
JPY2,800,000 - 3,700,000
US$23,000 - 31,000
Provenance: purchased at Sotheby’s, New York,

4 June 1992, lot 2.
216

Other Properties
217 *
HASEGAWA TOGYOKU (FL.CIRCA 1615-1644)
Early 17th century
Kakejiku (vertical hanging scroll), ink on paper
depicting a tiger crouching behind a rock taking
refuge from attack, signed Nobuyuki hitsu with two
seals Hasegawa and Togyoku; with wood storage
box. Overall 167cm x 57cm (65¾in x 22 7/16in),
image 76.5cm x 38cm (31 1/8in x 15in). (2).
£3,000 - 5,000
JPY550,000 - 920,000
US$4,600 - 7,700
Exhibited and published: Fuchushi Bijutsukan,

Dobutsu kaiga no nihyakugojunen (250 years of
Animal Pictures), Tokyo, Fuchushi Bijutsukan, 2015,
pp. 62-63, pl.33.
Hasegawa Togyoku is considered to have followed

in the tradition of Toshu (died 1613), son-in-law
of Hasegawa Tohaku (1539-1610), founder of the
Hasegawa line.
218 *
HANABUSA ITCHO (1652-1724)
Early 18th century
Kakejiku (vertical hanging scroll), ink on paper,
depicting Daikoku, one of the Seven Gods of
Fortune, standing on two rice bales, looking up at a
mouse balancing on his uchide-no-kozuchi (magic
mallet of fortune) held in his right hand, signed
Hokuso-o Itcho sho (Drawn by Hokuso-o Itcho)
with seal; with double wood storage boxes. Overall
184cm x 48cm (72½in x 18 7/8in); image 98.5cm x
27.6cm (38¾in x 10 7/8in). (3).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
Provenance: Nara Family.
217
120 | BONHAMS
218 219
219
SHAKU YUSHO (FL. CIRCA MID-EDO PERIOD) Wang Shengwu was a Chinese merchant (and, it must be presumed,
Dated 1762 professional or amateur painter) who arrived at Nagasaki in 1760 in
Kakejiku (vertical hanging scroll), ink and colour on silk, depicting a ship that carried a copy of the Gujin tushu jichen, a vast collection
a pair of cranes and their three offspring standing on the bank of a of reproductions of Chinese painting and calligraphy that had been
river among stalks of bamboo beside an old pine tree, with a two-line ordered much earlier by shogun Tokugawa Yoshimune (1684-1751).
inscription Horeki juni mizunoe-uma haru Ojibu no hitsui o naratte Shaku Yusho was a priest of Honkyoji Temple whose artist names
Shigetsudo no naka ni oite azamuite utsusu (Disrespectfully drawn were Biyu and Dadatei.
in the Moon-Pointing Hall in the brush manner of Wang Shengwu in
spring of the twelfth, mizunoe-uma year of Horeki [1762]) and signed
Dada Sanjin with two seals Yusho no in and Dadatei, additionally
stamped with one circular collector’s seal among the pine branches
above, within a card mount, framed and glazed. Overall 125cm x
64.5cm x 1cm (49¼in x 25 3/8in x 3/8in); the image 111cm x 51cm
(43 3/4in x 20 1/8in).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
220 (part lot)
220 with wood storage box, 120cm x 42cm (47¼in x 16½in); the fifth,
AFTER KANO TANSETSU AND OTHERS ink and slight colour on silk, depicting a lone female tiger prowling
18th to early 20th century among bamboo grasses beneath the full moon, dated Kanoe-ushi
Comprising seven kakejiku (vertical hanging scrolls): the first, ink and shoka (Early summer in the kanoe-ushi year), signed indecipherably
colour on silk, depicting warriors fighting on a cliff overlooking rice with seal, 122cm x 36cm (48in x 14 1/8in); the last, a pair of scrolls,
fields, inscribed Tansetsu no zu, with seal Tansetsu, with wood storage ink, colour and gold on silk, both of scenes from Genji mongatari (The
box titled Kano Tansetsu no musha-e (Warrior painting by Kano Tale of Genji), the right depicting Chapter Five, Wakamurasaki, signed
Tansetu), 35.4cm x 44.5cm (14in x 17½); the second, ink and colour Minamoto no Shuko sha with seal, Shuko, the left probably of Chapter
on silk, depicting Chapter Four, Yugao, from Genji mongatari (The Tale Six, Suetsumuhana, signed Kanoe-saru chushu no hi, Minamoto no
of Genji), possibly signed Shigeki with seal, with wood storage box, Shuko sha (Painted by Minamoto no Shuko on a day in the eighth
32.5cm x 43cm (12 5/8in x 17in); the third, ink and slight colour on silk, month of the kanoe-saru year [probably 1920]), with seal Shuko, with
depicting two carp swimming towards aquatic plants, signed Gyokko wood storage box, both 121cm x 50cm (47 5/8in x 19 5/8in). (12).
with seal Gyokko, with wood storage box bearing an inscription,
111cm x 35cm (43¾in x 13¾in); the fourth, ink and slight colour on £1,500 - 2,000
silk, depicting two thatched houses nestled among mountainous JPY280,000 - 370,000
landscape, with flowering white plum trees and a river US$2,300 - 3,100
in the foreground, signed Kosen with two seals,
122 | BONHAMS
221 222
221 * 222 *
ANONYMOUS ANONYMOUS, AFTER OGAWA HARITSU
18th century Early-mid 19th century
Kakejiku (vertical hanging scroll), ink, colour and gold on paper, Kakejiku (vertical hanging scroll), ink, colour and gold on paper,
depicting a bijin (beauty) from the Kanbun era standing against a plain depicting a beautiful young dancer holding a fan with the rising red
background, her left hand concealed inside her sleeve and the hem sun, a ten-line inscription above, with signature Haritsu [...]; with wood
of her kimono tucked up with the other, unsigned; with double wood storage box titled Haritsu-o ga maiko no zu (Painting by the venerable
storage boxes. Overall 237cm x 72.5cm (93¼in x 28½in); Haritsu, picture of a girl dancer), the inside of the lid inscribed
image 130.5cm x 50cm (51 3/8in x 19 11/16in). (3). Bensa’an chinzo (Treasured by Bensa’an). Overall 165cm x 34.7cm
(64 15/16in x 13 5/8in); image 86cm x 26.7cm (33 7/8in x 10½in). (2).
£2,500 - 3,000
JPY460,000 - 550,000 £2,000 - 3,000
US$3,800 - 4,600 JPY370,000 - 550,000
US$3,100 - 4,600

(223 - jiku)
223 224
223 * 224 *
OGAWA HARITSU (1663-1747), 18TH CENTURY OGAWA HARITSU (1663-1747)
The jiku (roller-ends) by Teiji, mid 19th century Dated 1741
Two kakejiku (vertical hanging scrolls), forming a diptych, ink and colour Kakejiku (vertical hanging scroll), red ink on silk, depicting Shoki the
on silk: the painting on the right side depicting a personified pumpkin Demon-Queller standing defiantly, clutching a sword, a bat flying
as a half-disrobed girl powdering her face in front of a kyoka (mirror on above, signed Kanpo gan kanoto-tori gogatsu itsuka u no koku, shusa
stand), signed Haritsu-o with seal Kan applying rouge to her lips, her o motte Ukanshi Ritsuo gyonen nanajukyusai kessai no tame ni egaku
right hand holding a lip brush and an ekagami (mirror with handle) in (At the hour of the rabbit [around 6am] on the fifth day of the fifth
the other, signed Ukanshi Ritsuo kore o egaku with seal kan; both with month in the kanoto-tori year, Kanpo 1 [1741], Ukanshi Ritsuo, at the
polychrome-lacquered roller-ends decorated with design of paulownia age of 79, painted this using vermilion as act of purification)
and a chrysanthmum blossom inlaid in pottery, one jiku signed in a with two seals Kan and Naoyuki; with wood storage box.
rectangular reserve Teiji, with wood storage box with title slip inscribed Overall 165cm x 34.7cm (65in x 13¾in);
Ogawa Haritsu o hitsu: Nasu kabocha kesho no zu (Picture of an image 86cm x 26.7cm (33 7/8in x 10½in). (2).
aubergine and pumpkin putting on make-up, painted by the venerable
Ogawa Haritsu), the inside of the lid attached with a paper introducing £1,500 - 2,000
the artist. Each approx. 21cm x 21.3cm (8¼in x 8 3/8in). (3). JPY280,000 - 370,000
US$2,300 - 3,100
£600 - 800
JPY110,000 - 150,000
US$920 - 1,200
124 | BONHAMS
225 *
MARUYAMA OKYO (1733-1795)
The Ghost of Oyuki, late 18th century
Kakejiku (vertical hanging scroll), ink and slight
colour on silk, depicting a female ghost with
long, dishevelled hair, her mouth downturned in
a grimace, her right hand in a contorted gesture,
signed Okyo with seal Okyo no in; with wooden
tomobako storage box inscribed outside Yurei
ichijiku (Ghost, one scroll) and inscribed inside
Maru Okyo no ga kijo kakefuku Manzotei shozo
ima yo ni tsutaete Keirin Manroku ni shosai mono
sunawachi kore nari Keisetsu rojin (Scroll of a
devil-woman by Maru[yama] Okyo [formerly] in
the Manzotei collection and transferred to me;
this is the piece recorded in the Keirin manroku,
Keisetsu Rojin), with two seals.
Overall 147cm x 49.7cm (57 7/8in x 19 5/8in),
£15,000 - 20,000
JPY2,800,000 - 3,700,000
US$23,000 - 31,000
One of the best-known examples of this subject,

for which Okyo was famous in his own lifetime, is
in a private collection deposited with the Berkeley
Art Museum, University of California. The subject
is traditionally said to be the ghost of the artist’s
former young lover Oyuki, who appeared to him
after her death, giving Okyo the opportunity to
study her calmly, as his commitment to close and
direct observation required; see Sasaki Shohei,
Maruyama Okyo: Shaseiga, sozo e no chosen
(Maruyama Okyo: Shaseiga—Challenging a New
Frontier), Osaka, Osaka Municipal Museum of Art,
2003, cat. no.68. For a recent popular account of
Okyo and Oyuki, see also Zack Davisson, Yurei:
The Japanese Ghost, Seattle, Chin Music Press
Inc., 2015, Chapter 1, ‘The Ghost of Oyuki’).
Manzotei, referred to in the box inscription, is

a name used by Morishima Churyo (also called
Katsuragawa Hosan) a versatile scholar and
writer who specialised in Rangaku (Dutch or
Western learning), penned kibyoshi and othe
types of popular fiction and associated with
such progressive luminaries as the mineralogist,
satirist, scholar, and ceramic designer Hiraga
Gennai, with whom he co-authored a number
of plays. His elder brother Hoshu held the
prestigious position of shogunal physician. The
inscription also refers to Morishima’s Keirin
manroku, first published in Edo in 1800, an
example of the zuihitsu (miscellaneous-essay)
genre which includes his jottings on a wide range
of subjects including ghosts, discussed toward
the end of volume 1 where a brief essay traces
the Japanese literature on female ghosts back
to the Man’yoshu anthology (8th century) and
notes that in Japan they were notorious for their
trickery. Morishima goes on to mention that the
Kyoto master Maruyama Okyo was famous for
his female ghost paintings and that he owns
a particularly fine example, ‘which makes the
viewer’s hair stand on end’. 225

226
126 | BONHAMS
(Joseph Henry Longford [back row, left] with foreign and Japanese officials,
early Meiji era), photograph courtesy of owner.
226 W
ARAI UMIN
Mid-19th century
Four kakejiku (vertical hanging scrolls), ink, colours and gold
on silk, each depicting a bird-and-flower scene, respectively
pheasants, peonies and butterflies; rooster, hen and
chrysanthemums; egret, kingfisher, water plant and morning
glory; mandarin ducks, plum and bamboo; each signed Umin
with two seals; framed and glazed. Each overall 142cm x
73.5cm (55 7/8in x 28 7/8in), image 119cm x 55cm
(46 7/8in x 21 5/8in). (4).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
Provenance: Joseph Henry Longford (1849-1925)

and thence by descent.
The original owner of these paintings, Joseph Henry Longford,

was an official in the British consular service from 1869 until
1902. He served at Nagasaki from 1897-1902 where it is likely
that he would have purchased the paintings, since their style
shows the influence of Chinese professional artists, who were
active there from the eighteenth century and flourished when
the port was fully opened to global trade in the 1850s.
Arai Umin was active in Edo during the Kaei period (1848-1854),
see Araki Tadashi, Dainihon shoga meika taikan (A Survey of
Japanese Painting and Calligraphy), Tokyo, Daiichi Shobo,
1991, biographical vol.1, p.788.
227

228 229
227 * 228 *
MORI SOSEN (1747-1821) MORI SOSEN (1747-1821)
Late 18th/early 19th century Late 18th/early 19th century
Kakejiku (vertical hanging scroll), ink on paper, depicting a shishi Kakejiku (vertical hanging scroll), ink and colour on silk, depicting
(Chinese lion) cub clinging on to the sides of a cliff, after having just a performing monkey wearing a haori (short jacket) and restraining
been pushed off by its mother, alluding to the proverbial shishi no ko- a caparisoned horse with its saddle decorated with fuda (Shinto
otoshi (adult lions pushing their cubs off a cliff as a test of their pluck talisman) and several strips of ritual paper, signed Sosen hitsu with
and perserverance), signed Sosen hitsu with two seals Shu and Sho; seal Sosen; with wood storage box titled Sosen hitsu, Ibashinen no zu
with wood storage box. Overall 196cm x 46.7cm (77 1/8in x 18 3/8in), (Painted by Sosen, picture of inability to control one’s worldly desires
image 102cm x 28.5cm (40 1/8in x 11¼in). (2). and passions [expressed by a monkey taming a wild horse]), the inside
of the lid signed Chokusai kan hei dai (Examined and inscribed by
£3,000 - 5,000 Chokusai) with seal Chokusai, with outer lacquered-wood box. Overall
JPY550,000 - 920,000 182cm x 52.2cm (71 5/8in x 20 9/16in ), image 86cm x 34cm
US$4,600 - 7,700 (33 7/8in x 13 3/8in). (3).
Exhibited and published: Fuchushi Bijutsukan, Dobutsu kaiga no £3,000 - 5,000

nihyakugojunen (250 years of Animal Pictures), Tokyo, Fuchushi JPY550,000 - 920,000
Bijutsukan, 2015, p.182, pl.153. US$4,600 - 7,700
128 | BONHAMS
230
229 * 230 *
MORI IPPO (1798-1871) UNPO, UKIYO-E SCHOOL
19th century Dated 1855
Two Kakejiku (vertical hanging scrolls), forming a diptych, ink, slight Kakejiku (vertical hanging scroll), ink and colour on paper depicting two
colour and kirihaku on silk, both decorated with a continuous scene overlapping fan-shaped paintings, one enclosing a middle-class girl
of three bats in flight before the full moon on a misty night, the right reading a letter held in her right hand, the other with a skull lying beside
painting unsigned, the left signed with seal Ippo no e; with wood an itasotoba (wooden grave tablet) probably inscribed with the name
storage box. Each approx. overall 117cm x 70.5cm of the deceased, signed Ansei ni fuyu Unpo ga (Painted by Unpo in the
(46 15/16in x 27¾in), image 28cm x 51cm (11in x 20 1/16in). (3). winter of the second year of Ansei [1855]) with seal Unpo no in; with
wood storage box, titled Bijo to gaikotsu (Beauty and skull). Overall
£1,500 - 2,000 131cm x 71cm (51¼in x 28in); image 42cm x 56cm (16½in x 22in). (2).
JPY280,000 - 370,000
US$2,300 - 3,100 £1,500 - 2,500
JPY280,000 - 460,000
An Osaka-based painter in the naturalistic Shijo manner, Mori Ippo US$2,300 - 3,800
was the student and adopted son of Mori Tetsuzan. He worked for
the powerful Hosokawa family and also executed paintings for fusuma
(sliding doors) in the Imperial Palace in Kyoto.

231 *
KAWANABE KYOSAI (1831-1889)
Meiji era (1868-1912), 1870s-1880s
Set of three kakejiku (vertical hanging scrolls), ink
and slight colour on silk, each depicting a rakan
(arhat, direct disciple of the Buddha), the right-hand
scroll with Nakasaina looking up at an apparition
of the bodhisattva Kannon rising from his bowl
(instead of the canonical fountain of water), a fierce
demon attendant standing at his side, the middle
scroll with Handaka and a demon playing with his
dragon, a mountain torrent in the background, the
left-hand scroll with another rakan, perhaps Handara
again or Hottara, whose staff has been stolen by
a dragon rising into the sky, himself seated on a
larger dragon swimming in raging seas, a demon
looking up in terror at the dragon’s head, the right-
hand scroll signed Nyoku Kyosai ga with seal Nyoku
Koji, the middle scroll unsigned, the left-hand scroll
signed Nyoku Kyosai with seal Nyoku Koji; with
wood storage box titled Kyosai Kawanabe Toiku
hitsu, Rakan no zu, sanpuku tsui (Painted by Kyosai
Kawanabe Toiku, picture of rakan, a set of three),
the inside of the lid signed Kyosui kan (Examined
by Kyosui) with two seals Kawanabe Toyo in and
Kogetsuan, with outer lacquered-wood box.
Each overall 206cm x 58.5cm (81 1/8in x 23in),
£18,000 - 25,000
JPY3,300,000 - 4,600,000
US$28,000 - 38,000
For other examples of Kyosai’s exuberant depictions

of demons and related deities, see Kyoto Kokuritsu
Hakubutsukan (Kyoto National Museum), Kyosai:
Kaiga no bokensha (Bridge to Modernity: Kyosai’s
Adventures in Painting), Kyoto, 2008, cat. nos.18,
20, 29, 135.
Kawanabe Kyosui (1868-1935), who wrote the box

attestation, was Kyosai’s daughter with his third wife
Chika. She worked as a print designer and painter,
mainly in the ukiyo-e style.
130 | BONHAMS
Lot 232
132 | BONHAMS
232 *
KAWANABE KYOSAI (1831-1889) AND TAKAHASHI DEISHU
(1835-1903)
19th century
depicting otafuku beckoning an oni (demon) towards a basket of
mushrooms and noshi (ceremonial paper decoration), signed Seisei
Kyosai with seal Seisei, with an eight-line inscription above by Deishu
which incorporates his signature Deishu koji with three seals; with
wood storage box. Overall 118.5cm x 67.2cm (56 5/8in x 26½in);
image 29cm x 48.3cm (11 3/8in x 19in). (2).
£2,500 - 3,000
JPY460,000 - 550,000
US$3,800 - 4,600
Takahashi Deishu was born in Edo as a member of the Yamaoka

samurai clan, but was later adopted by marriage into the Takahashi
family; a vassal of the shogunate, he was famed for his skill as a
spearsman, which he learned from his grandfather. He served as a
minister in the province of Ise and was an important figure in the last
days of the Tokugawa government. He retired from public life soon
after the Meiji Restoration to devote himself to poetry, calligraphy
and painting.
233 *
AFTER KATSUSHIKA HOKUSAI
19th century
Kakejiku (vertical hanging scroll), ink and colour on silk, depicting the
sisters Matsukaze and Murasame on the shores of Suma Beach ladling
brine in order to make salt, an eboshi (hat) and kimono belonging to
Ariwara no Nariyuki draped on the branches of a pine tree, alluding to
the love story between the nobleman and the two sisters, two cranes
flying above, inscribed Soshu Katsushika kyo, saki no Hokusai Taito
hitsu with seal; with double wood storage boxes.
Overall 191.5cm x 54.5cm (75 3/8in x 21¼in),
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
233
234 235
234 Starting in 1840, when the Edo Sugar Wholesalers’ Association

SHIBATA ZESHIN (1807-1891) commissioned him to paint a votive panel of the subject, Zeshin
Meiji era (1868-1912) frequently depicted the Ibaraki demon-woman, basing his treatment on
Kakejiku (vertical hanging scroll), ink and colour on silk, depicting the an old story about a female devil at the Rashomon Gate who preyed
Ibaraki demon fleeing with her severed hand, signed Zeshin with seal on the people of Kyoto. She was subdued by the hero Watanabe no
Shin; with wood storage box. Overall 164.5cm x 46.5cm Tsuna (953-1025), who hacked off her arm and kept it in a chest, but
(64¾in x 18 3/8in); image 81cm x 31.5cm (31 7/8in x 12 3/8in). (2). she managed to trick him into giving it back. Perhaps the most famous
surviving example of such a painting by Zeshin is a pair of two-panel
£2,000 - 3,000 screens formerly in the Weston and Burke collections and currently
JPY370,000 - 550,000 on display at the Minneapolis Institute of Art, see Miyeko Murase and
US$3,100 - 4,600 others, Art Through a Lifetime: The Mary Griggs Burke Collection,
vol. 1, Japanese Paintings, Printed Works, Calligraphy, New York,
Mary and Jackson Burke Foundation, 2013, cat. no.412.
134 | BONHAMS
235 *
WATANABE SEITEI (1851-1918)
Dated 1916
Kakejiku (vertical hanging scroll), ink and slight colour on silk, depicting
a three-clawed writhing dragon surging towards the sky with its body
partially concealed among clouds, signed Hinoe-tatsu aki no hi Seitei
(Autumn day in the hinoe-tatsu year [1916]) with seal; with tomobako
probably titled by Seitei himself Unryu no zu, Seitei ga (Picture of
cloud dragon, painting by Seitei), the inside of the lid stamped with
the artist’s seal Seitei. Overall 216cm x 61.2cm (85in x 24 1/16in);
image 121.5cm x 40.5cm (47 7/8in x 16in). (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
For Watanabe Seitei, please refer to the footnote to lot 212.
236 *
KOBAYAKAWA SHUSEI (1885-1974)
Taisho (1912-1926) or early Showa (1926-1989) era, circa 1915-1930
Kakejiku (vertical hanging scroll), ink, slight colour, gold and mica
on silk, depicting a night scene with mist falling onto a bush of
bamboo grasses, one firefly perched in the bush and another flying
above, signed Shusei[...] with seal; with tomobako titled Saiu shosho
(Melancholy mist), the inside of the lid signed Shusei with seal, and
outer wood storage box. Overall 184cm x 57cm (72 3/8in x 22 7/16in);
115.5cm x 36.5cm (45½in x 14 3/8in). (3).
£3,500 - 4,000
JPY650,000 - 740,000
US$5,400 - 6,100
Born in Kobe to an aristocratic mother and a father who was a high-

ranking temple official, Kobayakawa Shusei dreamed of becoming a
painter from an early age. Following a period of study at Kyoto private
art academies, in 1909 he travelled to China to study ink painting.
He first showed his work at the Nihon Bijutsu Kyokai (Japan Art
Association) exhibition in 1912 and at the national Bunten exhibition
in 1914. In 1921-2 he studied in Berlin, visiting Egypt and India on his
way back to Japan, and then visited the United States in 1926 as part
of a friendship mission. As the present work indicates, he first worked
in an escapist Nihonga style, but from 1931 until 1943 he was an
embedded war-propaganda artist with the Imperial Japanese Army
in Manchuria, China and South East Asia.
236

237
238
237 *
ANONYMOUS
OTHER PAINTED HANDSCROLLS, 18th/19th century
ALBUMS AND PAINTED FANS Makimono (horizontal scroll), ink, colour, gold and silver on paper,
Various Properties depicting 12 scenes of couples making love, some with groups
of three, all with noble-class figures, including a Chinese courtier
with a noblewoman, a young courtier with a noblewoman, and two
noblewomen with a middle-aged nobleman, unsigned; with wood
storage box. 29.2cm x 372.4cm (11½in x 146 5/8in). (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
136 | BONHAMS
238 *
ANONYMOUS, STYLE OF KITAGAWA UTAMARO
Probably 1839
Makimono (horizontal handscroll), ink, colour and gold on paper,
depicting 20 erotic scenes of couples, the majority making love,
including a young middle-class couple beside a go game board, a
geisha holding a shamisen with her client, a young couple teasing a
cat with a hozuki (Chinese lantern, Physalis alkekengi) and a woman
combing her hair in front of a mirror stand beside her lover, unsigned,
with sections of preface written by Furai Dojin, dated Tsuchinoto-i
gokugetsu (Twelfth month in the Tsuchinoto-i year [probably 1839])
with a postscript by Henko Sanjin; with wood storage box titled Hoshu
(no) maki, Echizen dai (Scroll of mid-spring, inscribed by Echizen).
30.2cm x 138cm (11 7/8in x 54¼in). (2).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
239
240
241
241
239 * 240 *
ANONYMOUS ANONYMOUS
19th century 18th/19th century
Makimono (horizontal handscroll), ink and slight colour on silk, Makimono (horizontal handscroll), ink, colour, gold and silver on paper,
depicting humorous erotic scenes of the Shichifukujin (Seven Gods of depicting seven scenes of love-making set in the Kanbun era (1661-73)
Good Fortune) as sumo wrestlers in a tournament, including a contest featuring courtesans in the Yoshiwara pleasure quarter with their clients,
between the goddess Benzaiten and the god Ebisu, concluding with unsigned; with non-associated wood storage box, 30.5cm x 321cm
a scene of the group in their usual attire enjoying a feast prepared by (12in x 126 3/8in). (2).
servant mice with red bream and catfish served as prizes; unsigned.
16cm x 186.1cm (6¼in x 73¼in). £3,000 - 5,000
JPY550,000 - 920,000
£600 - 800 US$4,600 - 7,700
JPY110,000 - 150,000
US$920 - 1,200
138 | BONHAMS
241 *
ANONYMOUS
Momoyama period (1573-1615)
Makimono (horizontal handscroll), ink, colour, gold and silver on paper,
depicting 11 scenes of couples making love, some in groups of three,
with a title slip Higi-e (Erotic paintings), including an armed warrior and
a princess, a monk, a nun and a young girl and a noble couple playing
a kubi-hiki (tug of war) game with a loop of cord stretched around their
necks, unsigned; with wood storage box. 33cm x 540cm
(13in x 212 5/8in). (2).
£5,000 - 8,000
JPY920,000 - 1,500,000
US$7,700 - 12,000

242 (part lot)
242 *
TOYOKUNI SCHOOL
Meiji era (1868-1912)
A fold-out album of 12 paintings in ink, colour and mica on silk,
depicting 12 scenes of couples making love, including a noble couple,
a samurai with a courtesan and an older woman with a young man,
unsigned, mounted within pale-blue fabric, with brocade covers, titled
on the cover Toyokuni shunga, junimai (Shunga paintings by Toyokuni,
set of 12). The smallest 24.5cm x 37cm (9 5/8in x 14 1/16in),
the largest 25cm x 37.5cm (9 7/8in x 14¾in).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
140 | BONHAMS
243 *
TSUKIOKA SETTEI (1710-1786)
Osaka, mid to late 18th century
A large orihon (concertina) album opening to reveal 13 double-pages
and two single-pages of erotic pictures accompanied by a separate
painting showing two overlapping shikishi (square-shape poem-cards) (cover)
draped with a seasonal spray of flowers, representing the 12 months
of the year, each horizontally mounted on a gold-sprinkled silk ground
framed within a gold-papered narrow border, painted in ink, colour,
gold and mica, some with silver, the preface written by the artist on
two sheets of joined patterned-paper mounted beneath a painting of
two butterflies, the frontis piece painted with a firefly hovering over a
fan decorated with nadeshiko (pinks), the last single-page with a
fan-shaped painting of autumnal grass in Rinpa-style,
the paintings comprising:
First month: Branches of flowering white plum, a courtier and

a young princess
Second month: Stalks of orchid, a newly-wed couple
Third month: Cherry blossom, a young middle-class couple
Fourth month: Stalks of botan (peony), a geisha and a client
Fifth month: Kobone (Nuphar japonicum), a mother and child (frontispiece)
with her lover
Sixth month: Stalks of nadeshiko (pink), servants in a garden
Seventh month: Asagao (morning glory), husband and wife
Eighth month: Stalks of hagi (bush clover), a geisha and her client or
a female servant from a samurai household and a samurai retainer
Ninth month: Stalks of chrysanthemums, a samurai and a dancer
Tenth month: Branches of maple leaves, a courtesan and her client
Eleventh month: Branches of tsubaki (camellia), a maid and the son
of a household
Twelfth month: Stalks of daffodils, an older woman and a young man
The preface signed Hogen Tsukioka Settei ga hei dai (Painted and
inscribed by Hogen Tsukioka Settei) with seal; the album with a silk
brocade cover decorated with phoenixes in flight over a netting-design
ground. Each double-page 77.5cm x 62.1cm (30½in x 24½in);
the smallest 34.5cm x 55.4cm (13 5/8in x 21¾in),
the largest 34.6cm x 58.1cm (13 5/8in x 22 7/8in).
£8,000 - 12,000
JPY1,500,000 - 2,200,000
US$12,000 - 18,000
(preface)
243 (part lot)
142 | BONHAMS
244
244
ANONYMOUS, NARA-EHON STYLE
Late 17th/early 18th century
Makimono (horizontal handscroll), a section from an original handscroll,
ink, colour, silver and gold on paper, comprising a text written in
cursive script on the right with a corresponding painting on the left,
possibly depicting Chapter One, Kiritsubo (Paulownia Court), from
Genji Monogatari (The Tale of Genji), illustrating the death of Kiritsubo,
Prince Genji’s mother, unsigned; with a non-associated handwritten
letter and lacquered wood storage box, the inside of the lid attached
with two paper slips, one inscribed Tosa Mitsunobu, Genji monogatari
Kiritsubo [...] (Tosa Mitsunobu, Genji monogatari, Kiritsubo [...]) and the
other inscribed Tosa Mitsunobu hitsu (Painted by Tosa Mitsunobu).
The image and text 233cm x 35cm (91¾in x 13¾in);
the image 131.5cm x 35cm (51¾in x 13¾in). (3).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
The paper labels inside the lid erroneously attribute the painting to Tosa
Mitsunobu (1434-1534), founder of the Tosa Shool but the painting
appears to be of a later date.
144 | BONHAMS
(lacquer box)
245 *
SUMIYOSHI HIROYUKI (1755-1811) Hiroyuki, fifth head of the Sumiyoshi family, worked in the edokoro
AND ITAYA KEII HIRONAGA (1760-1814) (painting workshop) of the bakufu (shogunal government) and among
Late 18th/early 19th century numerous other projects was responsible for painting shoji screens for
A set of five sensu (folding fans), painted on both sides in gold the Shishinden Hall of the imperial palace in Kyoto; Itaya Hironaga was
on paper (the last two described below also with ink and colour), his younger brother.
mounted on bamboo sticks, the kaname (retaining pins) shakudo
and gold, depicting uchigumori (stylised clouds), pine, plum, iris and
other plants; dandelions and cherry blossom; camellia and hydrangea;
dragon boats, mandarin ducks, cherry blossom and clouds; the
moon, an umbrella, pine, wisteria and other plants, the second to last
signed Sumiyoshi Naiki Hiroyuki ga with seals Keikin’en shujin and
Hiroyuki no in, the last signed Keii Hironaga hitsu with seal Hironaga;
contained in a lacquer box with roiro ground decorated in gold
hiramaki-e with mon (family crests), the rims and edges
gold hiramaki-e, the interior and base mura-nashiji.
Each 51cm (20in) wide, 32cm (12 7/8in) diameter;
the box 4.7cm x 18cm x 34cm (1 7/8in x 7 1/8in x 13 3/8in). (7).
£2,500 - 3,000
JPY460,000 - 550,000
US$3,800 - 4,600

245 (part lot)
146 | BONHAMS
(front cover of album) (tomobako)
246 *
SHIBATA ZESHIN (1807-1891) Tenth Month: A smiling Ebisu, God of Fishing, with a tai (bream) he has
Meiji era (1868-1912), circa 1883 just landed, his bamboo fishing rod and his bamboo creel containing
A large-format album bound in orihon (concertina-fold) format, the another carp; the tenth month was also known as Kaminazuki
front and back covers of thick card mounted with figured silk and (Godless Month) because all Japan’s deities were summoned to the
with gilt metal openwork corner pieces, the front cover with a silk Grand Shrine at Izumo, with the exception of Ebisu; with seal Zeshin.
title slip decorated with gold paint and inscribed in ink Zeshin-o hitsu
junikagetsu gacho Chikushin kan (Album of pictures for the 12 months Eleventh Month: Two kaki (persimmons) on a leafy branch and a
by the venerable Zeshin, examined by Chikushin) with seal Yusai, the procession of five ants, the leader about to climb onto one of the fruits,
front endpaper decorated with stylised clouds in gold and silver, the with seal Shin.
reverses of the paintings decorated with gold flecks, the 12 paintings
in ink and colours on silk with a gold-painted border and comprising: Twelfth Month: A snow scene from the Noh play Hachi no ki
(see below), signed Zeshin with pot-seal Zeshin.
First Month: Mount Fuji and pine trees by the seashore, standing for
the first sunrise of the year, with seal Reisai. With inner wooden tomobako storage box, the exterior inscribed
Zeshin-o hitsu junikagetsu gacho (Album of pictures for the 12 months
Second Month: Ofuku, Goddess of Mirth, with a box of shiromame by the venerable Zeshin), the interior of the lid inscribed Kakan’an
(dried beans) and an oni running away and hiding underneath a Chikushin kan (Examined by Kakan’an Chikushin) with seal Yusai;
lacquer box, in allusion to the oni-yarai (demon-purging) rite, outer wooden tomobako storage box inscribed Shibata Zeshin-o
with seal Koma. hitsu Junikagetsu gacho Kakan’an Chikushin kan (Album of pictures
for the 12 months by the venerable Shibata, examined by Kakan’an
Third Month: A puppy and a flowering branch of weeping cherry, Chikushin). Each painting 39.3cm x 59.4cm (15½in x 23 3/8in) with
with seal Reisai. border; 37.2cm x 52.7cm (14 5/8in x 20¾in) without border. (3).
Fourth Month: A peasant woman planting out rice seedlings, £10,000 - 15,000
with pot-seal Zeshin. JPY1,800,000 - 2,800,000
US$15,000 - 23,000
Fifth Month: An itinerant monk holding an umbrella and crossing a
rustic bridge, with seal Take. The last of this impressive set of large-format album paintings is very
closely related to the lacquer Panel with a Design of a Farmhouse in the
Sixth Month: The Shichirigahama (Seven League Beach) and the island Snow at Sano (1883) which formed the centrepiece of our sale of the
of Enoshima, with seal Reisai. Misumi Collection of Lacquer Art and Paintings; Part 1, Wednesday 5
November 2014 (lot no. 14). The figure to the left is Lord Hojo Tokiyori
Seventh Month: A tanzaku (poem-slip), a large red brush, ropes and disguised as a wandering monk and the figure behind the window is
silk threads, in allusion to the Tanabata Star Festival held on the Tsuneyo Genzamon, the impoverished former courtier, seated with a
seventh day of the month, with seal Shin. juzu (Buddhist rosary) in his hand. In the foreground we see the three
potted plants, plum, cherry and pine, that will be offered by Tsuneyo
Eighth Month: A section of bamboo, a grasshopper, and an asagao as firewood to keep his guest warm. The three birds at the left do not
(morning glory) flower and tendrils, with seal Koma. appear on the lacquer panel, while the painting omits many smaller
architectural details and the branch of the pine tree is positioned upward
Ninth Month: A pine-clad shore, with chrysanthemums and a butterfly, and to the right rather than downward and to the left.
with pot-seal Zeshin. FINE CHINESE ART | 147
Fourth Month Third Month
Eighth Month Seventh Month
246 Twelfth Month Eleventh Month
148 | BONHAMS
Second Month First Month
Sixth Month Fifth Month
Tenth Month Ninth Month

247
PAINTED SCREENS
Various Properties
247 W
ANONYMOUS
A six-panel folding screen, ink, colour and gold on a gold-
leaf paper ground embossed with chrysanthemum heads
and paulownia crests, depicting six scenes from the Tale
of Genji, including Chapter One, Kiritsubo (The Paulownia
Pavilion), Chapter Three, Utsusemi (The Cicada Shell),
Chapter Seven, Momiji no ga (Autumn Leaves); and Chapter
Six, Suetsumuhana (The Safflower), unsigned.
172.5cm x 376cm (68in x 148 1/16in).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
248 * W
TAKADA BIICHI (BORN 1899)
Taisho (1912-1926) or Showa (1926-1989) era, 20th century
A two-panel folding screen, ink and colour on silk, depicting
four mandarin ducks perched on wave-lashed rocks and
one in flight; signed Biichi with seal.
170cm x 171cm (67in x 67 5/16in).
248 £600 - 800

JPY110,000 - 150,000
US$920 - 1,200
Takada Biichi was born in Kagawa Prefecture and studied

under Kawai Gyokudo (1873-1957). He exhibited his works
at the Teiten and was renowned for his bird-and-flower
scenes.
150 | BONHAMS
249
249 * W
ANONYMOUS
A two-panel folding screen, ink, gold and colour on a silver-leaf
ground, decorated with a continuous design of flowering and fruiting
yugao (calabash) trailing over a bamboo fence; unsigned.
171cm x 186cm (67 5/16in x 73¼in).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600

250 W
ANONYMOUS
A six-panel folding screen, ink and colour on paper with sparse gold flakes,
depicting pine groves along the water’s edge; unsigned.
172.5cm x 364cm (67 15/16in x 143¼in).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
251 * W
250
MORI IPPO (1798-1871)
A six-panel folding screen, ink, colour and gold on a gold-leaf ground, painted with a
koto at lower right and at upper left two geese ascending toward the moon through an
opening in the clouds, their trajectory echoing the pattern of the kotoji bridges
supporting the strings of the musical instrument; sealed Ippo, Mori Keishi no in.
169.5cm x 378cm (69¾in x 148¾in).
£4,000 - 5,000
JPY740,000 - 920,000
US$6,100 - 7,700
For Mori Ippo, please refer to the footnote to lot 229.
(251 - seals) 251
152 | BONHAMS
WOODBLOCK PRINTS
Lots 252-270
252 (part lot) 252 (part lot)
252 253
ANDO HIROSHIGE (1797-1858) ANDO HIROSHIGE (1797-1858)
Early 1830s Early 1830s
Three oban yoko-e prints from the Hoeido Tokaido gojusantsugi Three oban yoko-e prints from the Hoeido Tokaido gojusantsugi (53
(53 Stations on the Tokaido Road) series: the first of Nihonbashi, Stations on the Tokaido Road) series: the first of Kanagawa, dai no kei
gyoretsu furidashi (Daimyo procession setting out at Nihonbashi), (A view of the hill at Kanagawa), no.4, 23.5cm x 36cm (5 3/8in x 14
no.1, second state, 23cm x 23.5cm (9 1/16in x 14in), the second of 1/8in); the second of Hodogaya, Shimmachibashi (Shimmachi Bridge,
Numazu, tasogare no zu (Twilight at Numazu), no.13, 22cm x 34.5cm Hodogaya), no.5, 23cm x 36cm (9 1/16in x 14 1/8in); the last of
(8 5/8in x 13 5/8in); the third of Fuchu, Abekawa (Abe River, Fuchu), Mariko, meibutsu chamise (Famous teahouse, Mariko), no.21, 23.5cm
no.20, 23.5 cm x 36cm (9¼in x 14 1/8in); all published by Takenouchi x 35.8cm (5 3/8in x 14 1/16in); variously published by Takenouchi
Magohachi, signed Hiroshige ga, each print within a card mount. (3). Magohachi/Takenouchi Magohachi and Tsuruya Kiemon,
signed Hiroshige ga, each print within a card mount. (3).
£1,500 - 2,000
JPY280,000 - 370,000 £1,500 - 2,000
US$2,300 - 3,100 JPY280,000 - 370,000
US$2,300 - 3,100
Provenance: The first purchased at Sotheby’s, London,
20 May 1977, lot 99. Provenance: The first purchased at Sotheby’s, London,
The third purchased at Christie’s, London, 12 December 1978, lot 94. 19 January 1977, lot 70.
The second purchased at Sotheby’s, London, 19 January 1977, lot 137.
The third purchased at Sotheby’s, London, 24 October 1977, lot 178.
156 | BONHAMS
254
ANDO HIROSHIGE (1797-1858)
Early 1830s
Three oban yoko-e prints from the Hoeido Tokaido
gojusantsugi (53 Stations on the Tokaido Road)
series: the first of Fujisawa, Yugyoji (Yugyoji temple,
Fujisawa), no.7, 23.5cm x 36cm (5 3/8in x
14 3/16in), the second of Hiratsuka, Nawatemichi
(Nawate Road, Hiratsuka), no.8, 28.3cm x 36cm
(9 3/16in x 14 3/16in), the last of Odawara,
Sakawagawa (Sakawa River, Odawara), no.10,
23.7cm x 35.8cm (9 1/8in x 14 1/8in); variously 254
published by Takenouchi Magohachi/Takenouchi
Magohachi and Tsuruya Kiemon, all signed
Hiroshige ga, each print within a card mount. (3).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
Provenance: The first purchased at Sotheby’s,

London, 20 May 1977, lot 98.
The second purchased at Christie’s, London,
14 December 1977, lot 232.
The third purchased at Christie’s, London,
255
Early 1830s
series: the first of Shinagawa, shoko detachi
(Shinagawa, Daimyo’s departure), no.2, 23.5cm
x 35.5cm (9¼in x 14in), the second of Oiso, tora
ga ame (Tora’s rain, Oiso) (Shinmachi Bridge, 254
Hodogaya), no.9, 24cm x 36cm (9 7/16in x
14 1/8in); the last of Hara, asa no Fuji (Mount Fuji in
the morning, Hara), no.14, 23.7cm x 36cm (9 3/8in
x 14 1/8in); all published by Takenouchi Magohachi,
the last two with censor’s seal kiwame, all signed
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
Provenance: The second purchased at Christie’s,

London, 12 December 1978, lot 90.
254

255 255
255 256 (part lot)
158 | BONHAMS
257
256 257
Four oban yoko-e prints from the Hoeido Tokaido gojusantsugi An oban yoko-e print of Yoshiwara, hidari Fuji (Yoshiwara with Mount Fuji
(53 Stations on the Tokaido Road) series: the first of Yui, Satta mine to the left), no.15, from the Hoeido Tokaido gojusantsugi (53 Stations on
(Satta Pinnacle, Yui), no.17, 23cm x 36.5cm (9 1/16in x 14 3/8in); the Tokaido Road) series, depicting a family with a boy on horseback
the second of Okitsu, Okitsugawa (Okitsu River, Okitsu), no.18, 23cm x seen from the rear as they continue on a path through a field between
35.5cm (9 1/16in x 14in); the third of Otsu, Hashirii chamise tall trees with Mount Fuji seen in the distance to the left; published by
(The Running-Well Teahouse, Otsu), no.54, 24cm x 36.5cm (9 7/16in x Takenouchi Magohachi, with censor’s seal kiwame, signed Hiroshige ga,
14 3/8in); the last of Kanaya, Oigawa engan (Distant bank of Oi River at within a card mount. 23.4cm x 36.3cm (9 3/16in x 14 5/16in).
Kanaya), no.25, 23.5cm x 36cm (9¼in x 14 1/8in); all variously published
by Takenouchi Magohachi/Takenouchi Magohachi and Tsuruya Kiemon, £1,500 - 2,000
the first and the third with censor’s seal kiwame, all signed Hiroshige ga, JPY280,000 - 370,000
each print within a card mount. (4). US$2,300 - 3,100
£1,500 - 2,000 Provenance: purchased at Sotheby’s, London, 22 March 1978, lot 307.
JPY280,000 - 370,000
US$2,300 - 3,100
Provenance: The first purchased at Christie’s, London, 11 July 1978, lot 100.
The third purchased at Sotheby’s, London, 27 October 1976, lot 187.
The fourth purchased at Sotheby’s, London, 20 May 1977, lot 152.

258 259
Three oban yoko-e prints from the Hoeido Tokaido gojusantsugi Three oban yoko-e prints from the Hoeido Tokaido gojusantsugi
(53 Stations on the Tokaido Road) series: the first of Kawasaki, (53 Stations on the Tokaido Road) series: the first of Totsuka,
Rokugo watashi-bune, (Rokugo Ferry, Kawasaki), no.3, 23.5cm x Motomachi betsudo (Motomachi detour, Totsuka), no.6, 23cm x
35.5cm (9¼in x 14in); the second of Ejiri, Miho enbo (Distant view of 36cm (9 1/16in x 14 1/8in); the second of Okabe, Utsu no yama
Miho, Ejiri), no.19, 23cm x 35.3cm (9 1/16in x 13 7/8in); the last of (Mount Utsu, Okabe), no.22, 23.5cm x 36cm (9¼in x 14 1/8in);
Kakegawa, Akibayama enbo (Distant view of Mount Akiba, Kakegawa), the last of Fukuroi, dejaya no zu (Outdoor tea-stall, Fukuroi), no.28,
no.27, 24cm x 26.2cm (9 7/16in x 10 3/8in); all published by 22.2cm x 35cm (8 13/16in x 13¾in); the first published by Takenouchi
Takenouchi Magohachi, signed Hiroshige ga, Magohachi, the second by Tsuruya Kiemon, the last by both
each print within a card mount. (3). publishers, all signed Hiroshige ga, each print within a card mount. (3).
£1,500 - 2,000 £1,500 - 2,000

JPY280,000 - 370,000 JPY280,000 - 370,000
US$2,300 - 3,100 US$2,300 - 3,100
Provenance: The first purchased from Richard Kruml, London, 1978. Provenance: The second purchased at Christie’s, London,
The second purchased at Sotheby’s, London, 19 June 1977, lot 71. 12 December 1978, lot 94.
The last purchased at Sotheby’s, London, 22 March 1978, lot 307. The third purchased at Christie’s, London, 12 July 1977, lot 5.
160 | BONHAMS
260
Early 1830s
series: the first of Fujieda, jinba tsugitate (Changing
260
porters and horses, Fujieda), no.23, 23.3cm 35.3cm
(9 1/8in x 14in); the second of Shimada, Oigawa
sungan (Suruga bank of the Oi River at Shimada),
no.24, 23cm x 36cm (9 1/16in x 14 1/8in); the last of
Mitsuke, Tenryugawa no zu (A view of Tenryu River,
Mitsuke), no.29, 23.5cm x 36cm (9¼in x 14 1/8in);
published by Takenouchi Magohachi/Takenouchi
Magohachi and Tsuruya Kiemon, the second and the
last with censor’s seal kiwame, all signed
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100

London, 22 March 1978, lot 307.
12 November 1976, lot 66.
261
Early 1830s 260
Three oban yoko-e prints from the Hoeido
Tokaido gojusantsugi (53 stations on the Tokaido
Road), Hamamatsu, fuyugare no zu (Winter view,
Hamamatsu), no.30, 23cm x 35cm (9 1/16in x
13¾in); the second of Maisaka, Imagire shinkei
(Imagire Promontory, Maisaka), no.31, 23.5cm x
36cm (9 1/4in x 14 1/8in); the last of Futagawa,
Sarugababa (Monkey Plateau, Futagawa), no.34,
23cm x 35.5cm (9 1/16in x 14in); all published by
Takenouchi Magohachi, signed Hiroshige ga,
each print within a card mount. (3).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
Provenance: The third purchased at Christie’s,

London, 10 November 1976, lot 66.
260

261 261
261 262
262 262
162 | BONHAMS
263
262 263
Three oban yoko-e prints from the Hoeido Tokaido gojusantsugi An oban yoko-e print of Kanbara, yoru no yuki (Night snow, Kanbara)
(53 Stations on the Tokaido Road) series: the first of Arai, watashibune [no.16] from the Hoeido Tokaido gojusantsugi (53 Stations on the
no zu (Ferry boats, Arai), no.32, 22.5cm x 36cm (8 7/8in x 14 1/8in); Tokaido Road) series, showing travellers trudging in deep snow up an
the second of Shirasuka, Shiomizaka no zu (The Shiomi Slope, incline past a village with hills in the distance; published by Takenouchi
Shirasuka), no.33, 23.2cm x 35cm (9 1/8in x 13¾in); the last of Magohachi, signed Hiroshige ga, within a card mount.
Akasaka, ryusha shofu no zu (Travellers and hostesses at an inn in 23.5cm x 36.6cm (9¼in x 14 7/16in).
Akasaka), no.37, 24cm x 36cm (9 7/16in x 14 1/8in); all published by
Takenouchi Magohachi, the first with censor’s seal kiwame, £1,500 - 2,000
all signed Hiroshige ga, each print within a card mount. (3). JPY280,000 - 370,000
US$2,300 - 3,100
£1,500 - 2,000
JPY280,000 - 370,000 Provenance: purchased at Christie’s, London, 12 December 1978, lot 93.
US$2,300 - 3,100
Provenance: The first purchased at Christie’s, London,

The third purchased at Sotheby’s, London, 19 January 1977, lot 70.

264 265
Three oban yoko-e prints from the Hoeido Tokaido gojusantsugi Three oban yoko-e prints from the Hoeido Tokaido gojusantsugi
(53 Stations on the Tokaido Road) series: the first of Yoshida, (53 Stations on the Tokaido Road) series: the first of Okazaki, Yahagi no
Toyokawabashi (Toyokawa Bridge, Yoshida), no.35, 23.8cm x 36.2cm hashi (Yahagi Bridge, Okazaki), no.39, 20cm x 30.5cm (7 7/8in x 12in);
(9 3/8in x 14¼in); the second of Goyu, tabibito tome onna (Women the second of Chiryu, shuka uma ichi (The horse market in the fourth
stopping travellers at Goyu), no.36, 23cm x 35.5cm (9 1/16in x 14in); month at Chiryu), no.40, 24cm x 36.2cm (9 7/16in x 14¼in); the last of
the last of Fujikawa, bohana no zu (Procession at a boundary marker Narumi, meibutsu Arimatsu shibori (Shops selling Arimatsu tie-dyed cloth,
near Fujikawa), no.38, 23.5cm x 36.2cm (9¼in x 14¼in); all published a famous product of Narumi), no.41, 23.3cm x 36cm (9 1/8in x 14 1/8in);
by Takenouchi Magohachi, signed Hiroshige ga, all published by Takenouchi Magohachi, the second with censor’s seal
each print within a card mount. (3). kiwame, all signed Hiroshige ga, each print within a card mount. (3).
£1,500 - 2,000 £1,500 - 2,000

JPY280,000 - 370,000 JPY280,000 - 370,000
US$2,300 - 3,100 US$2,300 - 3,100
Provenance: The first purchased at Sotheby’s, London, Provenance: The third purchased at Sotheby’s, London,
31 May 1978, lot 200. 24 October 1977, lot 277.
The second purchased at Sotheby’s, London, 19 January 1977, lot 72.
164 | BONHAMS
266
Early 1830s
Four oban yoko-e prints from the Hoeido Tokaido
series: the first of Miya, Atsuta shinji (Atsuta Festival,
Miya), no.42, 23.2cm x 36cm (9 1/8in x 14 3/8in);
the second of Kuwana, shichiri watashiguchi
(The landing of the Seven-League Ferry at Kuwana),
no.43, 23cm x 35.5cm (9 1/16in x 14in); the third
of Yokkaichi, Miegawa (Mie River, Yokkaichi), no.44,
23cm x 35.5cm (9 1/16in x 14in); the last of Hakone,
kosui no zu (The lake, Hakone), no.11, 23.5cm x
36cm (9¼in x 14 1/8in); all published by Takenouchi
Magohachi, signed Hiroshige ga, each print within a
card mount. (4).
266 (part lot)
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100

London, 18 July 1984, lot 101.
The second purchased at Sotheby’s, London,
20 May 1977, lot 152.
The third purchased at Sotheby’s, London,
20 May 1977, lot 106.
267
Early 1830s
series: the first of Ishiyakushi, Ishiyakushiji (The
Ishiyakushi Temple, Ishiyakushi), no.45, 21.3cm x
33cm (8 3/8in x 15in); the second of Kameyama,
yukibare (Clear weather after snow, Kameyama),
no.47, 23cm x 35.5cm (9 1/16in x 14in); the third
of Seki, honjin hayadachi (Early departure of a
daimyo, Seki), no.48, 23.5cm x 35.5cm (9¼in
266 (part lot)
x 14in); all published by Takenouchi Magohachi
and signed Hiroshige ga, each print within a card
mount; together with a facsimile of Mishima, asagiri
(Morning mist, Mishima), no.12, 22.7cm x 35cm
(9in x 13¾in). (4).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
Provenance: The first purchased at Christie’s,

London, 12 July 1977, lot 19.
11 July 1978, lot 100.
The third purchased at Sotheby’s, London,
24 October 1977, lot 178.
266 (part lot)

166 | BONHAMS
268
Early 1830s
series: the first of Sakanoshita, Fudesute mine (The
peak of Mount Fudesute from Sakanoshita), no.49,
23.2cm x 35.8cm (9 1/8in x 14 1/8in); the second of
Tsuchiyama, haru no ame (Spring rain, Tsuchiyama),
no.50, 23.2cm x 35.5cm (9 1/8in x 14in); the third
of Ishibe, Megawa no sato (Megawa Village near 269
Ishibe), no.52, 23cm x 36cm (9 1/16in x 14 1/8in);
all published by Takenouchi Magohachi and signed
Hiroshige ga, each print within a card mount;
together with a facsimile of Nissaka,
Sayo no nakayama (Sayo Pass, Nissaka), no.26,
23cm x 35.5cm (9 1/16in x 14in). (4).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100

London, 31 May 1978, lot 208.
11 July 1978, lot 100.
269
Early 1830s
series: the first of Minakuchi, meibutsu kampyo
(Preparing dried-gourd peels, a famous product
of Minakuchi), no.51, 22.5cm x 35.5cm (8 7/8in x
14in); the second of Kusatsu, meibutsu tateba 269
(The Ubamochiya restaurant serving local rice
cakes at Kusatsu), no.53, 25.3cm x 37.5cm (10in x
14¾in); the last of Keishi, Sanjo ohashi (The Great
Bridge at Sanjo, Kyoto), no.55, 23cm x 35.5cm
(9 1/16in x 14in); all published by Takenouchi
Magohachi, the second with censor’s seal kiwame,
all signed Hiroshige ga, each print within a card
mount. (3).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
Provenance: The first and second purchased at

Sotheby’s, London, 19 January 1977, lot 72.
269

270
270
Early 1830s
An oban yoko-e print of Shono hakuu (Driving rain, Shono), no.46, from
the Hoeido Tokaido gojusantsugi (53 Stations on the Tokaido Road)
series, showing travellers on a hill, struggling against the torrential rain,
among wind-blown trees, the roofs of a village to the right; published by
Takenouchi Magohachi, with censor’s seal kiwame, signed Hiroshige ga,
within a card mount. 23.3cm x 36.1cm (9 3/16in x 14 3/16in).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
Provenance: purchased from Robert G. Sawers, London, 1979.
168 | BONHAMS
271 (part lot)
Other Properties
271
ANDO HIROSHIGE (1797-1861), UTAGAWA TOYOKUNI III each triptych approx. 36cm x 73cm (14 1/8in x 28¾in); one hanging
(1786-1864), UTAGAWA KUNIAKI II (1835-1888), KEISAI EISEN scroll mounted with a otanzakuban print by Hiroshige depicting a lion
(1790-1848) AND OTHERS training its cub, 36.3cm x 14cm (14 3/8in x 5½in); the other hanging
19th century scroll mounted with a habahiro hashira-e print depicting three courtiers
Comprising four makimono (horizontal handscrolls) mounted with and two shishi by Eisen, 76.5cm x 25cm (30 1/8in x 9 7/8in); one actor
several woodblock prints, two kakejiku (vertical hanging scrolls) each triptych and two diptychs by Toyokuni III, the smallest 35cm x 48cm
mounted with a single print, two loose triptychs, another two loose (13¾in x 18 7/8in), the largest 35cm x 73cm (13¾in x 28¾in); one
diptychs and one single print: the three handscrolls, each with musha-e triptych by Yoshiume, 36.5cm x 74cm (14 3/8in x 29 1/8in);
12 oban prints depicting the 12 Acts from the kabuki play Chushingura one single oban print of a courtier by Eisen, 38cm x 25.3cm (15in x
(The Treasury of Loyal Retainers) by Hiroshige, Toyokuni III and Kuniaki 9 15/16in); all variously published and variously signed; with a non-
II, the smallest 23.5cm x 32.5cm (9¼in x 12¾in), the largest 25.5cm associated lacquered wood storage box for one hand scroll. (12).
x 37cm (10in x 14in); the fourth handscroll with four kabuki actor
triptychs, three by Toyokuni III and one by Kunitora, £1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100

272
UTAGAWA KUNIYOSHI (1797-1861), UTAGAWA
TOYOKUNI (1769-1825), TORII KIYOMINE (1788-1869),
KEISAI EISEN (1790-1848) AND OTHERS
Early 19th to early 20th century
Comprising nine oban, one triptych, one diptych from a
triptych, two chuban and one shikishiban prints: one triptych,
one diptych, one oban print and two chuban prints by
Kuniyoshi, an oban yoko-e print of Shinyoshiwara from the
series Toto meisho (Famous Places in the Eastern Capital)
depicting two porters carrying a palanquin past three men,
a diptych titled Mutsu no kuni Chidori no Tamagawa (Plover
Jewel River in Mutsu Province) depicting three women
collecting brine for salt; a yakusha-e diptych of a samurai and
a young lady fighting with bandits; two chuban prints depicting
Ushiwakamaru and Musashibo Benkei; five oban bijin-ga, one
by Kiyomine depicting an oiran (high-ranking courtesan) and
two shinzo (apprentices), one by Toyokuni depicting a beautiful
lady standing in front of autumnal flowers, one by Toyokuni
III depicting a lady holding a fan with flowers on top, alluding
to the Chapter Four, Yugao (Evening Faces), from the Tale
of Genji, one with a townswoman holding her baby on her
back by Eisen, and one by Eizan depicting two geisha; four
Meiji-era prints, the first an oban tate-e by Bairei depicting a
pair of cranes and flowering morning glories from the series
Bairei kacho gafu (Bairei’s Book of Birds and Flowers), the
second and the third oban yoko-e by Kogyo from the series
Nogaku zue (Pictures of Noh), the last a shikishiban print by
Koson depicting a pair of cranes; variously published, variously
signed. The smallest 24.8cm x 15.5cm (9¾in x 6 1/16in),
the largest 35.6cm x 75.1cm (14in x 29 9/16in). (14).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
272 (part lot)
170 | BONHAMS
273
GOSOTEI HIROSADA (FL. CIRCA 1847-
1863), HASEGAWA SADANOBU (1809-1879),
GOCHOTEI SADAMASU (FL. CIRCA 1832-1852),
GANSUITEI YOSHITOYO (FL. CIRCA 1854-1858)
AND OTHERS
Mid to late 19th century
Comprising 76 chuban single prints, 22 chuban
diptychs, some incomplete sheets from triptychs,
and five mini prints of Osaka actors: 46 single
prints and 22 diptychs by Hirosada, 46 single
prints consisting four sheets from the series
Chuko buyuden (Tales of Loyalty, Bravery and Filial
Devotion), four from the series Furyu hokku awase
(A Collection of Elegant Poems), three from the
series Kanadehon chushingura (The Treasury
of Loyal Retainers), three prints probably from
the series Akiba gongen kasen banashi, two
identical prints from the series Chuko kyoka awase
(Comparison of Persons of Loyalty and Kyoka
Poems), 12 titled and 17 untitled prints from various
series, a single print depicting two actors on the
right with text page on the left, 22 diptychs including
two of the Acts Seven and Ten from the series
Kanadehon chushingura (The Treasury of Loyal
Retainers), two from the series Chuko buyuden
(Tales of Loyalty, Bravery and Filial Devotion) and
several untitled sheets; one unsigned single print
attributed to Hirosada from the series Chukoden
(Tales of Loyalty and Filial Piety); nine titled/untitled
prints by/attributed to Sadanobu, including two
from the series Chuko juni no uchi (12 Persons of
Loyalty and Filial Devotion) and one of Jitsukawa
Enzaburo as Kizu no Kansuke; two by Sadanobu
II, including one from the series Yufuden (Tales of
Brave Women); three prints by Sadamasu (one
signed Kunimasu), including one of Kataoka Ichizo
as Daroku in the play Ono no Tofu aoyagi suzuri
in 1848; three by Enjaku, including one depicting
Otani Tomomatsu; two by Kunikazu, including
one depicting Arashi Rikan; two by Yoshitoyo
including one with portraits of Ichikawa Jutaro,
Nakamura Tominojo and Nakamura Masajiro; two
by Munehiro; one by Yoshimine; one by Kunikazu;
one by Toyohide; one by Sadayoshi; further two
unsigned prints; all variously published, variously
signed except for the three unsigned; together with
five mini prints with indecipherable signatures, some
unsigned. The smallest 12.5cm x 8cm
(4 15/16in x 3 1/8in), the largest 25cm x 37.1cm
(9 7/8in x 14 5/8in). (103).
£1,200 - 1,800
JPY220,000 - 330,000
US$1,800 - 2,800
273 (part lot)

ILLUSTRATED BOOKS AND WOODBLOCK PRINTED ALBUMS
Various Properties
274 *
UTAGAWA TOYOKUNI III (1786-1864)
Dated 1852-1854
A fold-out album of chuban tate-e woodblock prints mounted onto gold-sprinkled paper,
containing a complete set of 54 prints of the 54 chapters from the Tale of Genji and one
preface page by Ryutei Senka (Ryutei Tanehiko II), each sheet with figures from the related
chapter in contemporary dress and with a waka poem within a shikishi (square-shape
poem-card) cartouche, published by Sanoya Kihei between 1852 and 1854, many with
censor’s seal aratame and two nanushi-in seals and all with date seals, all signed Toyokuni
ga except for one with a partially erased signature, 54 chapters comprising:
1. Kiritsubo (Paulownia Pavilion)

2. Hahakigi (Broom Tree)
3. Utsusemi (Cicada Shell)
4. Yugao (Twilight Beauty)
5. Wakamurasaki (Young Murasaki)
6. Suetsumuhana (Safflower)
7. Momiji no Ga (Beneath the Autumn Leaves)
8. Hana no En (Under the Cherry Blossoms)
9. Aoi (Heart-to-Heart)
10. Sakaki (Green Branch)
11. Hanachirusato (Falling Flowers)
12. Suma (Suma)
13. Akashi (Akashi)
14. Miotsukushi (Pilgrimage to Sumiyoshi)
15. Yomogiu (Waste of Weeds)
16. Sekiya (At The Pass)
17. E Awase (Picture Contest)
18. Matsukaze (Wind in the Pines)
19. Usugumo (Wisps of Cloud)
20. Asagao (Bluebell)
21. Otome (Maidens)
22. Tamakazura (Tendril Wreath)
23. Hatsune (Warbler’s First Song)
24. Kocho (Butterflies)
25. Hotaru (Fireflies)
26. Tokonatsu (Pink)
27. Kagaribi (Torches)
28. Nowaki (Typhoon)
29. Miyuki (Imperial Progress)
30. Fujibakama (Thoroughwort Flowers)
31. Makibashira (Handsome Pillar)
32. Umegae (Plum Tree Branch)
33. Fuji no Uraha (New Wisteria Leaves)
34. Wakana: Jo (Spring Shoots I)
35. Wakana: Ge (Spring Shoots II)
36. Kashiwagi (Oak Tree)
37. Yokobue (Flute)
38. Suzumushi (Bell Cricket)
39. Yugiri (Evening Mist)
40. Minori (Law)
41. Maboroshi (Seer)
42. Nio no Miya (Perfumed Prince)
43. Kobai (Red Plum Blossoms)
44. Takekawa (Bamboo River)
45. Hashihime (Maiden of the Bridge)
46. Shigamoto (Beneath the Oak)
47. Agemaki (Trefoil Knots)
48. Sawarabi (Bracken Shoots)
49. Yadorigi (Ivy)
50. Azumaya (Eastern Cottage)
51. Ukifune (A Drifting Boat)
52. Kagero (Mayfly)
53. Tenarai (Writing Practice)
54. Yume no Ukihashi (Floating Bridge of Dreams)
With wood storage box.

Each approx. 26cm x 18cm (10¼in x 7 1/8in). (2).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100 274 (part lot)
172 | BONHAMS
275
OGATA GEKKO (1859–1920)
Dated 1897 and 1898
An album of the complete set of 36 oban tate-e
woodblock prints titled Nihon hanazu-e (Pictures of
Japanese Flowers), depicting legends, fairy tales, Noh
plays and other stories associated mainly with the
theme of cherry blossoms, the illustrations include
Lord Kusunoki bidding farewell to his son before the
battle at the Sakurai Station, a scene from the Noh play
Hanagatami (Flower Basket) with Teruhi-no-mae holding
a flower basket and a letter from her beloved Prince
Otabe, and an old man sprinkling ashes on cherry trees
from the fairly tale Hanasaka jiji (The Old Man Who Turned
Withered Trees to Blossom), some sheets with mica and
embossed details, published by Matsumoto Heikichi,
dated Meiji 30 and 31 (1897 and 1898); all signed Gekko,
the frontispiece with an informative print showing the
table of contents, with original cover and title slip.
35.7cm x 24cm (14in x 9 7/16in).
£1,500 - 1,800
JPY280,000 - 330,000
US$2,300 - 2,800
275 (part lot)
174 | BONHAMS
276
KATSUSHIKA HOKUSAI (1760-1849), KEISAI
EISEN (1790–1848), SHIMOKOBE SHUSUI
(DIED 1798) AND KITAO TOKINOBU
(FL. MID 18TH CENTURY)
Late 18th to mid 19th century
Comprising one ohon-size, two hanshibon-size and
a set of two hanshibon-size books: the first an ohon-
size book titled Hokusai gashiki (Hokusai’s Models
for Painting), one volume complete, with illustrations
of miscellaneous subjects made for use by artists,
consisting of three pages of preface, a single page
with calligraphy, 20 double-page and two single-
page light-tint illustrations, one page of colophon
(inside the back cover) indicating the artist Katushika
Taito (Hokusai), the publishers Suhara Mohei, et al.,
and the publishing date Bunsei 2 (1819), 26.3cm x
18.8cm (10½in x 7 3/8in); the second a hanshibon-
size book, volume 1 of Buyu sakigaki zue (Pictures
of Valiant Warriors) by Eisen, consisting of a single
page with a list of other publications by the publisher
inside the front cover, 2 pages of preface, 14
double-page and nine single-page black-and-white
illustrations, two pages of colophon indicating the
artist Keisai Eisen and the publiser Eirakuya Toshiro,
22.7cm x 14.5cm (8 7/8in x 5¾in); one hanshibon-
size book by Shusui, titled Jido kyokun iroha uta-e
sho (Collection of Iroha Poems and Pictures Relating
to the Morals of Children), three volumes bound as
one, incomplete, missing some pages, consisting of
three pages of preface, 61 pages of black-and-white
illustrations with poem/poems, two pages of post
script and colophon, indicating the author Nansei
Yaso, the artist Shimokobe Shusui, the publishing
date Anei 4 (1775) and the publisher Kikuya Kibei,
22.4cm x 14.7cm (8 7/8in x 5 7/8in); the set of
two hanshibon-size books by Tokinobu, titled Ehon
jitsugokyo (Illustrated Book of the Words of Truth),
illustrating Japanese moral poems, vol.1, consisting
of two pages of preface, nine double-page and
two single-page black-and-white illustrations; vol.2,
consisting of ten double-page and 2 single-page
black-and-white illustrations, one page of postscript
indicating the artist Kitao Tokinobu, one page of
colophon inside the back cover with the publishing
date Horeki 7 (1757) and the publishers Nishimura
Genroku and Taharaya Hyobei, with paper chitsu
cover, 22.3cm x 14.5cm (8 7/8in x 5 11/16in). (6).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
276 (part lot)

AFTERNOON SESSION
Lots 277 - 504 (from 14.30)
277 278
CLOISONNÉ-ENAMEL
Various Properties
277
A CLOISONNÉ-ENAMEL SLENDER OVOID VASE
By Kinunken of Kyoto, Meiji era (1868-1912)
Worked in gold and silver wire with a solitary uguisu (bush warbler)
perched on the branch of a flowering plum tree reserved on a pale-green
celadon ground, the foot decorated with a horizontal band of yellow
chrysanthemum heads interwoven among karakusa (‘Chinese grasses’);
the base signed Kinunken zo on a silver tablet.
15.4cm (6in) high.
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
278
A CLOISONNÉ-ENAMEL SLENDER OVOID VASE
By Kinunken of Kyoto, Meiji era (1868-1912)
Worked in silver wire with an uguisu (bush warbler) perched among
trailing branches of cherry, the neck with a simulated brocade cloth
decorated with clumps of paulownia interwoved among Chinese
grasses on a midnight-blue ground, the base signed with chiselled
characters Kinunken zo on a silver square tablet; with a separate wood
stand. 17.8cm (7in) high. (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
279
178 | BONHAMS
280
The Property of a Gentleman
279 * 280
A CLOISONNÉ-ENAMEL BALUSTER VASE A PAIR OF CLOISONNÉ-ENAMEL BALUSTER VASES
Meiji era (1868-1912) By Hayashi Tanigoro, early 20th century
Worked in silver wire with doves perched or in flight among trailing Both finely worked in silver wire with a complementary design,
branches of cherry, the shoulder encircled by a brocade band of each vase decorated with a pair of kiji (pheasants) perched on a
formalised foliage, the neck with a band of lappets enclosing repeat maple tree above flowering autumnal flowers and grasses including
stylised foliate motifs, all reserved on a midnight-blue ground, applied chrysanthemums, kikyo (Chinese bellflowers), higanbana (red spider-
with a gilt rim and foot; unsigned. 24.8cm (9½in) high. lily) and hagi (bush clover) reserved on a blue ground, the neck and
foot with matching bands of shield-shaped panels enclosing repeat
£1,000 - 1,500 foliate motifs, the neck and foot applied with silver rims, one vase
JPY180,000 - 280,000 signed on the base in silver wire within a rectangular reserve
US$1,500 - 2,300 Hayashi Tani. Each vase 24.5cm (9 5/8in) high. (2).
£4,500 - 5,500
JPY830,000 - 1,000,000
US$6,900 - 8,400

281
Other Properties
281 *
A PAIR OF CLOISONNÉ-ENAMEL CYLINDRICAL GOKE
(BOWLS FOR COUNTERS) AND GOISHI (STONES) FOR GO
Meiji era (1868-1912)
Each vessel containing respectively dark blue and light blue counters,
worked in silver wire with a matching design, the cover decorated
with a cockerel surrounded by a wide band of takaramono (auspicious
objects) associated with the Seven Gods of Good Fortune comprising:
the kakuregasa (hat of invisibility), orimono (rolls of brocade),
kanebukuro (inexhaustible purse), kagi (sacred keys), choji (cloves),
makimono (hand scroll), tsuchi (Daikoku’s hammer) and kakuremino
(lucky raincoat), the body with stylised foliate motifs interwoven among
karakusa (‘Chinese grasses’), all reserved on a dark brown ground
flecked with aventurine, unsigned; with wood storage box.
Each vessel 10.2cm (4in) high. (5).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
282
180 | BONHAMS
282 *
A CLOISONNÉ-ENAMEL
BALUSTER VASE
Attributed to the Ando Jubei company,
Meiji era (1868-1912)
Worked in silver wire with opaque and
translucent enamels with details flecked with
aventurine, the upper body with horizontal
bands enclosing stylised repeat foliate motifs
above shield-shaped panels of mythological
dragons alternating with birds, the foot with
a band of flower heads, unsigned; with
tomobako titled Tenpyo jidai mon shippo
kabin (Cloisonné vase with designs from the
Tenpyo era [710-794]), signed Jubei zo with
seal Ando-shi kinsei (Respectfully made by
Ando), the inside of the lid with inscription. (reverse)
30.5cm (12in) high. (2).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
283 *
A CLOISONNÉ-ENAMEL FLATTENED
SQUAT OVOID VASE
Attributed to Ando Jubei, Meiji era
(1868-1912)
Finely decorated in musen shippo (wireless
enamel) with a crescent moon partially
concealed by dark grey clouds all reserved
on a pale blue-grey ground, the rims and
base mounted with silver, the interior of plain
olive-green enamel, unsigned; the silver
foot rim stamped Jungin (pure silver), with
tomobako signed and inscribed by the Ando
Jubei Workshop, the inside of the lid inscribed
Musen shippo hanamoriki (Wireless enamel
flower vase) and signed Ando Jubei zo with
seal Ando kinsei (Respectfully made by Ando),
with separate wood stand.
21.5cm x 20.8cm (8½in x 8¼in). (3).
£10,000 - 15,000
JPY1,800,000 - 2,800,000
US$15,000 - 23,000
283

284
285
182 | BONHAMS
284 *
A CLOISONNÉ-ENAMEL RECTANGULAR PLAQUE
By Kawade Shibataro, Meiji era (1868-1912)
Worked in musen (wireless) and shosen (partially wireless) enamels
depicting a grey and white dove perched on a thatched roof, the
feathers, the thatch and the roof in typical graduations of colour, the
eyes and beak in gold wire with details to the roof and the plumage in
silver wire, reserved on a pale-grey ground, the reverse signed Kawa
and Shiba within a gourd-shaped seal; with cloth-bound storage box.
34.6cm x 26.5cm (13½in x 10 3/8in). (2).
£4,000 - 6,000
JPY740,000 - 1,100,000
US$6,100 - 9,200
For an example of a similarly wired and wireless cloisonné-enamel tray

depicting roosters by Kawade Shibataro, see Kuo Hong-Sheng and
Chang Yuan-Feng (eds.), Splendid Beauty: Illustrious Crafts of the Meiji
Period Selected Works from the Collection of Sung Pei-An, Taiwan,
National Taiwan Normal University Research Centre for Conservation of
Cultural Relics, 2013, p.395.
For other similar panels attributed to and by Namikawa Sosuke, see

Malcolm Fairley Japanese Works of Art, Japanese Enamels
of the Meiji Era, London, June 1998, nos.60, 62 & 63.
285
SIX CLOISONNÉ-ENAMEL VASES
Meiji era (1868-1912)
Comprising two pairs and two single vases, the first pair worked in
gilt wire with carp swimming among calm rippled waters with kohone 286
(Nuphar japonicum) at the bottom, maple branches trailing from the
neck reserved on a turquoise-blue ground, each vase stamped with a
seal on the base, each vase 25cm (9¾in) high; the second ovoid pair
with short everted multilobed necks, worked in silver wire with a flock
of tanchozuru (Japanese red-crested cranes) wading in a river among
red flowers, the base of each vase decorated with different types of
seashells and seaweed, unsigned, each vase 24.5cm (9 5/8in) high;
the fifth vase worked in silver wire and wireless enamels with numerous
stylised egrets huddled together, on a violet-blue ground, the base
stamped with the silver wire mark of Ando Jubei, 18.2cm (7 1/8in)
high; the sixth vase worked in silver wire with three doves perched on
a flowering cherry tree on a midnight-blue ground, unsigned,
15.5cm (6 1/8in) high. (6).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
286 *
A CLOISONNÉ-ENAMEL
SMALL ROUNDED CYLINDRICAL VASE
Attributed to Namikawa Yasuyuki, Meiji era (1868-1912)
Intricately worked in gold wire with opaque and translucent enamels
with details flecked with aventurine, the body with a central wide band
enclosing stylised long-tailed exotic birds in flight above shield-shaped
panels of mythological dragons alternating with foliate motifs, the
shoulder with lobed bands of repeat formalised patterns,
unsigned; with wood storage box.
10.2cm (4in) high. (2).
£4,000 - 5,000 (286 - reverse)

JPY740,000 - 920,000
US$6,100 - 7,700

(shita-e (preliminary design) by Nakahara Tessen, 1897)
287 Y Ф
AN IMPORTANT AND FINE PAIR OF MATCHING The shita-e (preliminary design) for these vases, reproduced here, was
CLOISONNÉ-ENAMEL OVOID VASES hand-drawn in 1897 by Nakahara Tessen (1863-1942) of Kyoto who
By Namikawa Yasuyuki (1845-1927), circa 1897 designed patterns for important cloisonné-enamel pieces, see Yoshida
Delicately worked in silver wire of varying gauge with an identical Mitsukuni and Nakahara Kenji, Nakahara Tessen; Kyo shippo monyo-
design, each vase decorated with a horizontal formation of tightly shu (Nakahara Tessen’s Design Sketches for Cloisonne-enamel),
clustered flowering white and purple wisteria draped across with Kyoto, Tankosha, 1981, p.92.
green paulownia leaves, trailing from the upper body and extending
downwards, above four varieties of chrysanthemums, including yellow Born in 1845 to a rural samurai family, Namikawa Yasuyuki started his
Mino giku, pale red-colour kogiku, and red ringiku issuing from the cloisonné business in Kyoto in 1873 and by the 1880s was successful
foot, the rim, neck and shoulder of each vase decorated with repeat enough to build, and then extend and upgrade, a large compound
chrysanthemum heads and other foliate motifs, all reserved on a that eventually included workshops housing 20 or more employees,
midnight-blue ground; the base of each vase signed with chiselled a showroom, a family residence and a garden with a fishpond. He
cursive characters on a silver plaque Kyoto Namikawa, each applied used these facilities to create a carefully orchestrated private retail
with a silver rim and foot; with two separate ivory bases. experience that was described in admiring detail by American and
Each vase 16.8cm x 7.5cm (6 5/8in x 3in). (4). European travel writers, selling many of his finest wares directly to
private clients, as well as carrying out imperial commissions and
£50,000 - 80,000 participating in international expositions. Between 1876 and 1904
JPY9,200,000 - 15,000,000 he won 11 overseas awards and in 1896, along with his unrelated
US$77,000 - 120,000 namesake the Tokyo enameler Namikawa Sosuke (the two family
names are written with different characters), was among the first
Provenance: an English private collection. individuals to be appointed to the ranks of Teishitsu Gigeiin (Artist-
Craftsmen to the Imperial Household). Such was his reputation that
Compare a very similarly decorated larger cloisonné vase by at the 1900 Paris Exposition Universelle his wares were snapped up
Namikawa in the collection of the Namikawa Cloisonné Museum of the moment they were unpacked and sold for up to ten times the
Kyoto, published and illustrated in Shippo: Iro to saimitsu no sekai amount anticipated. For a detailed biography of Namikawa Yasuyuki
(Japanese Cloisonné: a World of Colour and Exquisite Detail), Tokyo, see Frederic T Schneider, The Art of Japanese Cloisonné Enamel:
Lixil Gallery, 2009, p.6. History, Techniques and Artists, 1600 to the Present, Jefferson NC,
McFarland, 2010, pp.86–87.
184 | BONHAMS
(reverse) 288
288 *
A CLOISONNÉ-ENAMEL JAR
WITH EN-SUITE COVER
By Namikawa Yasuyuki (1845-1927),
early Meiji era (1868-1912), circa 1880’s
Worked in silver wire, the body decorated with
three panels enclosing either a bird or butterflies in
flight over autumnal plants and flowers including
chrysanthemums, rose mallows and kobushi (Kobus
magnolia) on pale-blue grounds, all reserved on a
speckled reddish-brown ground of chrysanthemum
heads and stylised foliage, the shoulder and foot with
a band of formal lappets, applied with a gilt-bronze rim
and foot, the cover surmounted by a finial in the form
of a chrysanthemum bud, the base with engraved
signature Kyoto Namikawa; with silk brocade-covered
storage box. 12.3cm (4 13/16in) high. (3).
£4,000 - 5,000
JPY740,000 - 920,000
US$6,100 - 7,700
(reverse) 289
186 | BONHAMS
(reverse)
290
289 * 290 *
A CLOISONNÉ-ENAMEL MINIATURE OVOID VASE A CLOISONNÉ-ENAMEL SMALL OVOID VASE
By Namikawa Yasuyuki (1845-1927), Meiji era (1868-1912) WITH EN-SUITE COVER
Intricately worked in gold wire with two butterflies hovering over By Namikawa Yasuyuki (1845-1927), Meiji era (1868-1912)
flowering purple and white kikyo (Chinese bellflowers) and red nogiku Intricately worked in silver and gold wire with an all-over design of
(wild chrysanthemums), the neck and foot with a band of matching overlapping stylised foliate roundels and scrolling floral vines scattered
repeat lappets, signed on the base with chiselled cursive characters over eight differently coloured vertical panels, the neck and foot with
on a silver plaque Kyoto Namikawa, applied with a silver rim and foot; matching bands of arabesque motifs, the shoulder with formalised
with wood storage box. 7.6cm (3in) high. (2). buds, the domed cover decorated with repeat stylised floral motifs and
surmounted by a finial in the form of a gilt-metal chrysanthemum bud,
£6,000 - 8,000 the base signed with chiselled cursive characters on a silver plaque
JPY1,100,000 - 1,500,000 Kyoto Namikawa, applied with a gold rim and foot;
US$9,200 - 12,000 with wood storage box. 11.2cm (4 3/8in) high. (3).
£15,000 - 20,000
JPY2,800,000 - 3,700,000
US$23,000 - 31,000

BRONZE, SILVER, IRON AND
OTHER INLAID METALWORK
Lots 291 - 335
291
BRONZE VESSELS AND OTHER WORKS OF ART

Various Properties
291
A PAIR OF INLAID BRONZE OVOID VASES
By Murakami, probably of Kyoto, Meiji era (1868-1912)
Each worked in gold, silver, copper takazogan and shishiaibori with
a matching design, one vase decorated with a moonlit autumnal
scene of two geese flying past branches of flowering kobushi (Kobus
magnolia), the other with one egret in flight and two perched on a
flowering plum branch; the base of both vases signed in a gilt oval
reserve Murakami sei. Each vase 25.5cm (10in) high. (2).
£1,500 - 2,500
JPY280,000 - 460,000
US$2,300 - 3,800
292
AN INLAID BRONZE SMALL BALUSTER VASE
Meiji era (1868-1912)
Decorated on both sides in gilt and iro-e takazogan and kebori with a
solitary dragonfly hovering over tall stalks of lotus; unsigned.
18.7cm (7¼in) high.
£1,500 - 2,000
JPY280,000 - 370,000
292 US$2,300 - 3,100
190 | BONHAMS
293
293
A PAIR OF INLAID BRONZE OVOID VASES
Attributed to Jomi Eisuke I (1839-1900), 1880s
Each vase decorated in gold, silver, shibuichi and shakudo honzogan
and takazogan, forming a matching design depicting blooming
autumnal plants and flowers issuing from behind a simulated latticed
fence in the moonlight, one vase with windwept susuki (pampas
grass) and flowering hagi (bush clover), a large radiant moon
behind, the other vase with two butterflies hovering over stalks of
chrysanthemums, ominaeshi (valerian) and susuki (pampas grass),
the neck of both vases with a paulownia and chrysanthemum crest
interweaved among karakusa (‘Chinese grasses’); the base of both
vases signed in seal form Jomi sei. Each vase 25.5cm (10in) high. (2).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
Provenance: an English private collection.
Jomi Eisuke (1839-1899) was a craftsman-entrepreneur from Kyoto

who exhibited extensively at the Domestic Industrial Expositions
in 1881, 1890 and 1895 and also won many prizes abroad at the
international expositions in Philadelphia (1876), Paris (1878, 1889 and
1900), Chicago (1893), St Louis (1904) and the Great Britain-Japan
Exposition in London (1910).
294 *
A TALL BRONZE VASE
By Hidekazu/Shuichi, Meiji era (1868-1912)
Of straight-sided form with short everted neck, cast with two uguisu
(bush warblers) perched on the branch of an ancient paulownia tree, one
greedily eyeing a snail slithering on the ground beneath, signed on the
base Hidekazu/Shuichi; with wood storage box. 30.2cm (11¾in) high. (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300 294
295
295
FIVE BRONZE AND CERAMIC SUITEKI (WATER-DROPPERS)
AND A SMALL BRONZE POT AND COVER
18th to 19th century
The first suiteki in the form of a three-legged toad standing with raised
head, 11.1cm (4 3/8in) wide; the second in the form of a ewer with
hinged cover, dragon spout and loop handle, the sides cast with
panels of peonies, 7.6cm (3in) high; the third cast as a fruit with trailing
stem and foliage, 11.1cm (4 3/8in) wide; the fourth in the form of a
seated dog, 8.5cm (3 3/8in) high; the fifth of stoneware, in the form
of a boy clambering on a recumbent ox, 10.5cm (4 1/8in) wide; the
small bronze pot of globular form with loose handle, cast with dragons
among clouds, 8.5cm (3 3/8in) high; all unsigned. (7).
£500 - 700
JPY92,000 - 130,000
US$770 - 1,100
Provenance: Salomon Fuld collection.
296
AN INLAID BRONZE KORO (INCENSE BURNER) AND COVER
By Hiroshi, 20th century
The spherical body worked in silver, bronze and copper takazogan with a
flock of doves in flight, the cover pierced with three heart-shaped apertures
and surmounted by a finial in the form of a standing dove, the base signed
with seal Hiroshi; with wood storage box.
16cm (6¼in) high. (3).
£1,000 - 1,500
JPY180,000 - 280,000
296 US$1,500 - 2,300
192 | BONHAMS
297 298
297 * Shokaken is possibly an alternative go (art name) of Oshima Joun

AN INLAID BRONZE ROUNDED CYLINDRICAL (1858-1940), who was the one of the great sculptors of the late Meiji,
KORO (INCENSE BURNER) AND COVER Taisho and early Showa eras.
By Shokaken, Meiji era (1868-1912)
Supported on three feet in the form of shishi heads, the body 298 *
decorated with gold, silver, shibuichi and copper takazogan, the AN UNUSUAL BRONZE VESSEL IN THE FORM OF AN ONI
shoulder with a band of stylised clematis and green foliage above (DEMON) AND A GIANT KINE (PESTLE)
tasselled lappets inset with silvered-metal shaped rectangular By Hakushin, Meiji era (1868-1912)
panels enclosing rain dragons, all reserved on a ground of carved Cast in three different coloured bronze patinas, the oni (demon) shown at
archaic patterns, the lower body with a band of repeat silvered-metal the foot of the giant pestle, grimacing as it tries with all its force to move
chrysanthemum heads applied in high relief, the cover surmounted by the large implement, two edamame (stem soybeans) with insect-eaten
a knop in the form of Fujin, the God of Wind, standing atop a bed of leaves draped over the upper edge of the pestle, signed at the bottom
clouds holding a gourd and carrying his customary bag of wind across with chiselled characters Hakushin within an oval reserve; with wood
his shoulders, the base signed in a rectangular reserve Shokaken kore storage box, titled Hana o ikeru utsuwa (Vessel for displaying flowers),
o iru (cast by Shokaken) with kao. 38.7cm (15¼in) high. (2). the inside of the lid possibly signed Shoun. 28.6cm (11¼in) high. (2).
£3,000 - 5,000 £4,000 - 5,000

JPY550,000 - 920,000 JPY740,000 - 920,000
US$4,600 - 7,700 US$6,100 - 7,700

299 300
194 | BONHAMS
301
299
A TALL BRONZE OVOID KORO (INCENSE BURNER) handles issuing from the mouths of two slender mythological
AND COVER creatures, the cover pierced with a border of circular apertures and
By Tanaka Yukichi, Meiji era (1868-1912), circa 1880-1912 surmounted by a finial in the form of the demonic figure Bunshosei
The body cast in relief with two large panels, one with a boy carrying an ink stone and brush seated astride a winged dragon-fish
supporting a drunken old man and two pheasants perched on a borne above spumy waves, the whole raised on four exaggeratedly tall
maple branch on the other, reserved on a ground cast in low relief dragon-form legs, themselves resting on a circular base decorated in
with archaic patterns and takaramono (auspicious objects), the tall high relief with a winged dragon writhing among clouds; signed on the
inverted-’U’-shaped handles similarly decorated, the neck adorned underside Dai Nippon Kandagawa atari no ju Shokaken kore o iru
with bands of geometric motifs and formalised butterflies, the shoulder with kao. 64cm (25¼in) high. (2).
with nyoi borders, the cover cast with a hollow rock surmounted by a
detachable finial in the form of Agyo holding up a vajra and humorously £4,000 - 6,000
carrying a rat, the whole raised on a separate globular support on four JPY740,000 - 1,100,000
legs in the form of formalised ho-o (phoenixes), all resting on a circular US$6,100 - 9,200
base; signed with seal Seiunsai Tanaka Yukichi chu with kao.
87cm (34¼in) high. (4). For Shokaken, please refer to the footnote to lot 297.
£1,000 - 1,500 301

JPY180,000 - 280,000 AN INLAID BRONZE DISH
US$1,500 - 2,300 By the Nogawa company, Meiji era (1868-1912)
The centre decorated in gold, bronze, shibuichi and copper takazogan
300 with Gyoran Kannon (Fish-Basket Kannon) holding stalks of lotus riding
A LARGE BRONZE KORO (INCENSE BURNER) AND COVER on the back of a giant carp with two oni (demons) balancing on foamy
By the workshop of Shokaken, Meiji era (1868-1912) waves beseeching her, bordered by a band of fragmented key-fret;
The spherical body cast around the centre with the complete the underside signed with the mark of Nogawa. 30.5cm (12in) diam.
12 animals of the zodiac in low relief on an archaic motif ground, the
neck similarly cast with a pair of confronting rain dragons holding a £2,000 - 3,000
jewel, all between horizontal bands of geometric motifs and shippo- JPY370,000 - 550,000
tsunagi (linked-cash), the shoulder applied with two tall ‘U’-shaped US$3,100 - 4,600

302 BRONZE FIGURES
A FINE PAIR OF INLAID BRONZE VASES
By Kajima Ikkoku II (1846–1925), Meiji era (1868-1912),
Various Properties
circa 1890-1900
303
Each of baluster form with waisted neck and outturned mouth and
A BRONZE FIGURE OF A SAMURAI
base, the separate stands each supported on six lappet feet, the
By Gyokko, Meiji era (1868-1912)
bronze bodies of the vases intricately worked in gold and gilt inlay and
Standing in defiant attitude and dressed in full armour, poised in a
slight relief with details in silver, shibuichi and shakudo, each with a
belligerent stance with feet apart and wielding a sheathed katana
continuous design of rocks, insects and birds (peacock and peahen
(long sword) aloft with both hands, a wakizashi (short sword) strapped
on one and male and female pheasant on the other), the necks and
at his belt, his wind-blown coat cast with kuruma-mon, signed in a
stands with floral, butterfly and ho-o (phoenix) roundels against a
rectangular reserve Gyokko; on a wood stand. The figure 28cm
shippo-tsunagi (linked cash) ground, the rim with leaves and tendrils,
(11in) high, the wood stand 7.7cm x 25cm (3in x 9 7/8in).
the bases with floral ornament above a band of key-fret ornament,
both signed on the side in cursive characters incised through a gold
£1,500 - 2,000
plaque, the peacock vase signed Mitsutaka with kao and the pheasant
JPY280,000 - 370,000
vase signed Ikkokusai. Each 38.7cm (15¼in) high incl. stand. (4).
US$2,300 - 3,100
£16,000 - 18,000
JPY3,000,000 - 3,300,000
US$25,000 - 28,000
304 *
A GILT-BRONZE FIGURE OF AN ARCHER
Kajima Mitsutaka or Ikkoku II was especially renowned for his work
By Yoshimitsu, Meiji era (1868-1912)
in the nunome-zōgan overlay technique but was also skilled in the
Dressed in full armour decorated with elaborate crests, kneeling on
more conventional technique of gold inlay in bronze. From 1890,
one leg, leaning back with his left arm taut as he prepares to loose
he exhibited frequently both domestically and internationally at
an arrow, a sword suspended from his belt at the left side (implements
major events including the Louisiana Purchase Exposition, St. Louis
missing); signed at the back in a rectangular reserve Yoshimitsu.
(1904–5) and the Japan-British Exhibition held in London in 1910, see
27.8cm (11in) high.
Oliver Impey and Malcolm Fairley, The Nasser D. Khalili Collection of
Japanese Art, Vol. 2, Metalwork, London, Kibo Foundation, 1995, cat.
£800 - 1,000
no. 45 and Office of the Imperial Japanese Government Commission
JPY150,000 - 180,000
to the Japan-British Exhibition, An Illustrated Catalogue of Japanese
US$1,200 - 1,500
Modern Fine Arts Displayed at the Japan-British Exhibition, London,
1910, Tokyo, The Shimbi Shoin, 1910, cat. nos. 199, 200.
305
A GILT-BRONZE SMALL MODEL OF HANDAKA SONJA
By Miyao Eisuke of Yokohama, Meiji era (1868-1912)
The rakan seated and holding aloft an alms bowl in one hand and
caressing a dragon coiled around his feet with the other; the reverse
signed in a rectangular reserve Miyao.
7.7cm x 6.6cm (3in x 2 5/8in).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
196 | BONHAMS
(signatures)
302

304
303
305
198 | BONHAMS
306
306 *
A BRONZE OKIMONO FIGURE OF MONJU BOSATSU
By Katsura Mitsuharu (1871-1962), Meiji era (1868-1912)
Represented as a youth, seated in a relaxed pose on the back of a
large shishi holding a detachable bronze reishi fungus sceptre in his
right hand and the Hannyakyo (Perfection of Wisdom Sutra) scroll in
his left hand, the jewels adorning his body inlaid in gilt and silvered
metal, the lion’s eyes of gilt silver with dark pupils; signed on the base
in chiselled characters Koryusai Mitsuharu saku. 24.3cm x 30.7cm
(9 5/8in x 12 1/8in). (2).
£3,500 - 5,500
JPY650,000 - 1,000,000
US$5,400 - 8,400
Katsura Mitsuharu, one of the great metalworkers of the modern era,

was a student of Toyokawa Mitsunaga II (1851‐1923). He exhibited at
the Paris (1937) and Chicago (1933) International Expositions and his
work is included in the collection of the National Museum of Modern
Art, Tokyo.1
Notes:
1. Wakayama Takeshi, Kinko jiten (A Dictionary of Metalworkers),

Tokyo, Token Shunju Shinbunsha, 1999, p.408.
307
A GILT-BRONZE FIGURE OF AN ONI (DEMON)
Meiji era (1868-1912)
Kneeling and affixed to a rocky base, wearing an elaborately decorated
loincloth with one hand resting on his left knee and the other holding
aloft a vessel in the form of a large inverted lotus leaf; unsigned.
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300 307
309
308
310
200 | BONHAMS
311
308 310
A BRONZE OKIMONO OF AN ITINERANT BLIND MUSICIAN A TALL BRONZE OKIMONO OF A PEASANT GIRL
By Atsuyoshi, Meiji era (1868-1912) By Ryoko, Meiji era (1868-1912)
Standing in geta (wooden clogs), wearing a wide straw conical hat and Seated barefoot with a serene expression in repose on a rock over
crying out, his biwa (East Asian lute) wrapped in a cloth and strapped rough ground, wearing a loose robe and a hat, a large basket resting
on his back, his belt suspended with a tobacco pouch and manju at her side, signed Ryoko chuzo, Bikoku/Yoshitani kansei (cast by
netsuke; signed in an oval reserve Atsuyoshi saku with seal. Ryoko, supervised by Bikoku/Yoshitani); with separate wood stand.
41cm (16in) high. 40cm (15¾in) high. (2).
£1,200 - 1,800 £3,000 - 5,000

JPY220,000 - 330,000 JPY550,000 - 920,000
US$1,800 - 2,800 US$4,600 - 7,700
309
A BRONZE OKIMONO OF A WOMAN
BRONZE ANIMALS
By Jonan, Meiji era (1868-1912) Various Properties
Affixed to a bronze base, standing and smiling, wearing geta (wooden
clogs), the sleeves of her kimono swept by the wind as she stops to 311
adjust her hairpin, her other hand leaning gently on a gnarled tree trunk A BRONZE OKIMONO OF A MACAQUE
surmounted by a large rectangular street lantern with latticed sides, By Genryusai Seiya, Meiji era (1868-1912)
fitted inside with a light bulb socket, the removable bronze lampshade Naturalistically cast crawling on all fours with a persimmon clutched in
cast as a roof with wood panels and rope-bound bamboo stalks, each one forepaw; signed on its belly in seal form Genryusai Seiya zo.
side pierced with a cloud, signed at the base of the tree trunk 27cm x 44.5cm (10 5/8in x 17½in).
in chiselled characters Jonan;
with a detachable wood stand. £3,000 - 5,000
The lamp 63.5cm x 28.5cm (25in x 11¼in), JPY550,000 - 920,000
the wood stand 34cm US$4,600 - 7,700
(13 3/8in) long. (3).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
312
A BRONZE SPHERICAL OKIMONO IN
THE FORM OF THE SANBIKI NO SARU
(THREE APES)
By Genryusai Seiya, Meiji era (1868-1912)
The three apes interlocking with and grasping each other
to form a compact spherical composition, with ‘Iwazaru’
concealing his mouth behind ‘Kikazaru’s’ back, the latter’s
left ear covered by ‘Mizaru’s’ foot, whose left eye is in turn
shielded by Iwazaru’s hand; signed on the base in hiragana
script Seiya sei in a square cartouche.
12cm (4 3/4in) high.
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
313
A BRONZE OKIMONO OF A MONKEY
PLAYING A SHAMISEN
By Kyoi Masatsune, Meiji era (1868-1912)
Seated and clad in a simple tunic, holding the musical
instrument in its left hand and strumming it with a bachi
(plectrum) in its right hand, signed on the base with a seal
Kyoi Masatsune; with a separate wood stand.
The monkey 30.5cm (12in) high,
the wood stand 21cm (8¼in) long. (2).
312
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
313
202 | BONHAMS
314
314
A GILT-BRONZE OKIMONO OF A PHEASANT
By Masatsune, Meiji era (1868-1912)
Elegantly strutting and spreading its left wing to conceal its body,
the head partially ungilded with a red patina intended for the animal’s
recognisable red wattle, the eyes inlaid in silver with painted dark
pupils, signed in a rectangular reserve Masatsune chu; with separate
wood stand. The bird 58.3cm (23in) long,
the wood stand 47.8cm (18 7/8in) long. (2).
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100
315 *
A BRONZE OKIMONO OF A COCKEREL AND HEN
PERCHED ON A TAIKO (DRUM)
By Genryusai Seiya, Meiji era (1868-1912)
The cockerel naturalistically cast, standing as he looks down while
the hen sits with its head turned to look back in the same direction,
both atop a large taiko (drum) cast all over with stylised flowerheads
and scrolling foliage, its skin adorned on each side with a mitsudomoe
in relief within a circular border of angular lappets, supported on an
attached tall stand with four splayed lobed feet, signed on one foot with
seal Seiya saku; with a wood storage box.
45.1cm (17¾in) high. (4).
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100
315
316
317
204 | BONHAMS
318
316 Y Ф SILVER, SHIBUICHI AND

A BRONZE GROUP OF AN ELEPHANT
OTHER METAL WORKS OF ART
ATTACKED BY TWO TIGERS
By Tsunemitsu, Meiji era (1868-1912) Various Properties
The large trumpeting beast modelled fending off two snarling tigers,
stamping one tiger underfoot at the front, whilst another attacks from 318
behind clambering over its back, the elephant’s skin naturalistically A SILVERED METAL OKIMONO OF AN EAGLE
textured; signed in a rectangular reserve Tsunemitsu. By Masatsune, Meiji era (1868-1912)
48cm x 38.5cm (19in x 15 1/16in). (3). Perched with wings drawn in as it looks down with an intense
expression in search of prey, the eyes and beak of gilt metal and
£1,000 - 1,500 shakudo, signed Masatsune iru; on a modern marble stand.
JPY180,000 - 280,000 29.2cm x 35.5cm (11½in x 14in).
US$1,500 - 2,300
£2,000 - 3,000
317 JPY370,000 - 550,000
A LARGE BRONZE JIZAI US$3,100 - 4,600
(FULLY ARTICULATED) OKIMONO
MODEL OF A SPINY LOBSTER
Meiji era (1868-1912)
The reddish-brown body formed from individually cast, hammered and
carved sections crafted to resemble the lobster’s shell with well-chiselled
details, assembled with fully articulated joints to allow lifelike mobility;
unsigned. 50.5cm (19 7/8in) long with fully extended antennae.
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600

319
319
FOUR METAL PLAQUES
Showa era (1926-1989), 20th century
The first engraved and inlaid with a mountain range
seen above swirling mist, signed Seisaku, 23.7cm x
35.8cm (9 3/8in x 14 1/8in); the second illustrating a
carp swimming among fallen leaves, signed Seisaku,
23.7cm x 35.8cm (9 3/8in x 14 1/8in); the third
engraved and inlaid with a peony bloom and foliage,
signed Seisaku, 14.7cm x 17.8cm (5¾in x 7in); the
fourth decorated in similar style with a pine branch,
signed Shuko koku, 11.9cm x 14.8cm
(4¾in x 5 7/8in); all framed and glazed. (4).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
320
206 | BONHAMS
321
320 * 321 *
A MISCELLANEOUS GROUP OF SILVER ACCESSORIES A SILVERED AND GILT-METAL MODEL OF A TREE
FOR A LADY’S DRESSING TABLE Taisho era (1912-1926), circa 1914
Meiji era (1868-1912) A miniature model of the Ukon no Tachibana and Sakon no Sakura,
Comprising a matching compact and perfume bottle, each engraved the base of gilt metal and the two conjoined trees modelled in silvered
on the exterior with karakusa (‘Chinese grasses’), the compact opening and gilt wirework and metal foil, unsigned. 22cm (8 5/8in) high.
to reveal within two fitted mirrors, a gauze sifter and a powder puff,
8.2cm (3¼in) diam., the perfume bottle en suite, 6.9cm (2¾in) high, £1,500 - 2,000
with a small silver funnel, all unsigned and contained inside a fitted JPY280,000 - 370,000
leather storage box; the fourth another cosmetic case inlaid on both US$2,300 - 3,100
sides in gilt silver with lily of the valley, signed on the reverse Yoshitoyo
saku, 8.5cm x 5.9cm (3 3/8in x 2 3/8in), with wood storage box. (6). Provenance: The sculptor Sano Akira (see above); thence by descent.
For further details please refer to the footnote to lot 189.
£800 - 1,000
JPY150,000 - 180,000 The mandarin orange tree named Ukon no Tachibana and the cherry
US$1,200 - 1,500 tree named Sakon no Sakura stand separately on either side of the
southern stairs of the Shishinden, the most important structure of
the old Imperial Palace in Kyoto. Replicas of the two trees played
an important role in the enthronement ceremonies for the Taisho
Emperor that took place in Kyoto in 1915 and were featured on
the commemorative cancellation stamp used by the Imperial Post
Office to mark the event. It is likely that the present ornament was
commissioned as an imperial gift to the dignitaries, including Sano,
who had played leading roles in the proceedings.

322
322 *
A TALL INLAID SHIBUICHI OKIMONO OF A NOH ACTOR
IN THE ROLE OF OKINA
By Hoshino Mitsuyoshi, Taisho (1912-1926) or Showa (1926-1989) era rectangular shibuichi stand, signed in chiselled characters Mitsuyoshi
Standing with his left arm raised enveloped within voluminous with kao; with tomobako titled on the cover Okina and signed Hoshino
sleeves, wearing a removable Noh mask of Okina, a fan of gilt and Mitsuyoshi saku with seal Mitsuyoshi, the inside of the lid signed Osaka
silvered metal incised with a pine tree resting in one hand, attired Shobido kan (Examined by Shobido, Osaka) with seal Shobido in.
in gilt and silvered typical costume engraved and gilt with formal 49.6cm x 33.5cm x 26.5cm (19½in x 13¼in x 10 3/8in). (3).
chrysanthemum heads within hexagonal borders, the wide trousers
of hammered metal, inlaid in gold and silver with foliate roundels, the £4,000 - 6,000
feet of silvered metal, the eboshi (hat) of darker metal, affixed to a JPY740,000 - 1,100,000
US$6,100 - 9,200
208 | BONHAMS
323
324
323 324 *
A SILVER BOX WITH ENAMEL DECORATION A SILVER KORO (INCENSE BURNER) AND COVER
By Shomin, Meiji era (1868-1912) IN THE FORM OF A SHISHI
Raised on four bracket feet, the hinged cover decorated in Probably by Hata Zoroku III (1882-1944), dated 1912
relief with a profusion of windswept autumnal plants and flowers Cast as a sleeping shishi, recumbent with its legs and tail drawn in for
comprising peonies, rosemallows, hydrangea, bush clover, pinks and compactness, its nostrils and mouth pierced, the small detachable
chrysanthemums, all picked out in brightly coloured enamels, the sides partially perforated cover on its back modelled as coiling locks of fur,
of the box plain silver and engraved with sprays of peony, cherry and the base signed in chiselled characters Mizunoe-ne no fuyubi Zoroku zo
magnolia, the front side of the box signed with chiselled characters (Made by Zoroku on a winter day in the Mizunoe-ne year [probably 1912]);
Shomin koku beside a silver hallmark gin. (2). with tomobako inscribed inside the lid Fusejishi koro, Heian Zoroku zo
3cm x 8.1cm x 5.5cm (Incense burner of a Recumbent shishi made by Heian Zoroku) with two
(1¼in x 3¼in x 2 1/8in). seals. 6.8cm x 18.3cm x 11.9cm (2 5/8in x 7¼in x 4 3/8in). (3).
£2,000 - 3,000 £1,500 - 1,800

JPY370,000 - 550,000 JPY280,000 - 330,000
US$3,100 - 4,600 US$2,300 - 2,800
The first Hata Zoroku (1823-1890) of Kyoto was renowned for his
bronze vessels imitating Chinese wares which he made after learning the
techniques of casting metal from the Ryubundo Company. Famous for
their skill in the lost-wax casting technique, the metal artists of the Hata
family were patronised by the Kunaisho (Imperial Household Ministry).

325 *
AN INLAID SILVER VASE
By Yamaguchi Issho, Meiji (1868-1912)
or Taisho (1912-1926) era
Of ovoid form with everted neck, delicately engraved
and inlaid in gold and shibuichi with scholars within
thatched huts nestled amid various trees including
willow and prunus, beside a lake with three sailing
boats and mountains in the distance, signed Issho
koku, with a two-line inscription on the base and
stamped Jungin (pure silver); with separate wood
stand and storage box. 27.4cm (10¾in) high. (3).
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100
326 *
AN UNUSUAL COPPER-ALLOY KASHIKI
(CONFECTIONERY BOX) AND COVER
Late 19th century
The exterior hammered and carved to imitate
the skin and texture of a pumpkin, the cover
surmounted by a finial in the form of the vegetable’s
stalk, the interior red-lacquered, unsigned; with
wood storage box. 21cm x 25cm (8¼in x 9¾in). (3).
325 £2,000 - 3,000

JPY370,000 - 550,000
US$3,100 - 4,600
Provenance: Nara family.
This lot is said to have come from the collection

of the Nara family of Akita Prefecture (formerly
Dewa and Mutsu Provinces). This remote part
of Honshu, Japan’s main island, was ruled from
the seventeenth century by the Satake clan, who
cultivated friendly relations with local families such
as the Nara and often presented them with works
of art commissioned from local craftsmen such as
the Shoami School of metalworkers. In addition, the
banker and statesman Nara Iwamatsu (1879-1961),
a recent prominent member of the family, amassed
a large and varied collection of Japanese art on his
own account. The Nara family home, built during
the Edo period (1615–1868), is today designated
a Juyo Bunkazai (Important Cultural Property) and
preserved as an annex of Akita Prefectural Museum.
326
210 | BONHAMS
(reverse)
IRON AND INLAID IRON WORKS OF ART

Various Properties
327
AN INLAID TETSUBIN (IRON KETTLE)
WITH EN-SUITE IRON COVER
By the Kinjudo Company, Meiji era (1868-1912)
Of tapering globular form, the iron body decorated in silver and gold
takazogan with a spray of chrysanthemums on one side and two
butterfiles on the reverse, the side of the body signed Kinjudo zo; the
overhead handle inlaid in typical Komai style in silver and gold nunome-
zogan with a band of kiri-mon (paulownia crests) interwoven among
karakusa (‘Chinese grasses’), the en-suite iron cover surmounted with
a knop in the form of two interlocking circles similarly inlaid with a
single cherry blossom among fragmented geometric designs.
20.5cm (8in) high including handle. (2).
£8,000 - 12,000
JPY1,500,000 - 2,200,000
US$12,000 - 18,000

328
328 *
AN INLAID HAMMERED IRON KORO
(INCENSE BURNER) AND COVER
Attributed to Suikodo, Meiji era (1868-1912)
The globular squat russet iron body, unadorned, raised on
three short integral feet, the cover pierced and carved with
overlapping chrysanthemums and foliage, all the stamens
inlaid in gold, the leaves partially applied with gold and
silver foil, unsigned; with tomobako titled on the cover Tetsu
uchidashi koro futa kiku sukashi (Incense burner cover made
using the repoussé hammered technique and pierced with
chrysanthemums), the inside of the lid signed Suikodo
with seal Yo. 8.3cm (3¼in) high. (3).
£5,000 - 6,000
JPY920,000 - 1,100,000
US$7,700 - 9,200
329
212 | BONHAMS
(reverse) 330
329 * 330
AN ARTICULATED IRON OKIMONO OF A LOBSTER AN INLAID TETSUBIN (IRON KETTLE)
By Myochin Muneharu, Meiji era (1868-1912) WITH EN-SUITE INLAID IRON COVER
Naturalistically rendered with fully articulated limbs, antennae, body By the Kinjudo Company, Meiji era (1868-1912)
and tail, signed Myochin Muneharu saku; with an inscribed wood Of tapering globular form, the iron body decorated in typical Komai-
storage box. 41.5cm (16¼in) long with fully extended antennae. (2). style silver and gold nunome-zogan with a continuous design of a
dragon emerging from clouds above tumultuous waters, the side of the
£2,000 - 3,000 kettle signed Kinjudo zo; the overhead handle simlarly inlaid with ho-o
JPY370,000 - 550,000 (phoenixes) among wisps of cloud and cherry blossoms, the en-suite iron
US$3,100 - 4,600 cover worked with three ho-o in flight and surmounted with a knop with
fragmented key-fret designs attached to a chrysanthemum-head base.
22.2cm (8¾in) high including handle (2).
£12,000 - 15,000
JPY2,200,000 - 2,800,000
US$18,000 - 23,000

331
331 332
AN IRON CYLINDRICAL HIBACHI (BRAZIER) AND COVER AN INLAID IRON BOX AND COVER
By the Ryubundo workshop, 19th century Attributed to Komai Otojiro, Kyoto, Meiji era (1868-1912)
The entire upper section of the brazier pierced and sculpted all around Decorated in typical gold and silver nunome-zogan, the removable
with crabs peering from within the crevices, the sides applied with the cover inset with a rectangular panel worked in silver, shakudo and gold
heads of mythological creatures from each of which hangs a large takazogan with a maiko standing and leaning over the balustrade of
ring handle, the cover carved with four Chinese characters in low relief a verandah, her head resting on her hands lost in thought, against a
Juzan fukukai (Auspicious mountain and blessed sea) and surmounted backdrop of the Togetsukyo Bridge at Arashiyama within a border of
by a copper floral finial, the inside of the lid signed Ryubundo zo; maple leaves and other blossoms, the narrow sides of the cover inlaid
with a separate gotoku (kettle stand). with a repeat design of sparrows in flight, the inside of the cover finely
16cm x 23.6cm (6¼in x 9¼in). (3). engraved in kebori and katakiri-bori with famous places in Kyoto; the
cover with the precincts of the Imperial Palace in Kyoto and the Heian
£1,000 - 1,500 Shrine, the box with the Kinkakuji (Golden Pavilion), the sides of the box
JPY180,000 - 280,000 worked with different seasonal flowering stalks of chrysanthemums,
US$1,500 - 2,300 peonies, hydrangea, irises, rose mallows and daffodils reserved on a
plain matt-black damascened ground, the elaborate feet similarly inlaid
with carp leaping among waves; the base inlaid in gold hirazogan with
three ho-o (phoenixes), signed Nippon koku Kyoto no ju Komai sei.
7.5cm x 13.6cm x 10.5cm (2 7/8in x 5¼in x 4 1/8in). (2).
£6,000 - 8,000
JPY1,100,000 - 1,500,000
US$9,200 - 12,000
214 | BONHAMS
(332 - interior)
332

333
A PAIR OF INLAID IRON SLENDER
OVOID VASES
Komai style, Kyoto, Meiji era (1868-1912)
Each worked throughout in gold and silver nunome-
zogan and forming a matching design, each vase
with two elaborately lobed panels, one depicting
thatched huts on the shores of a lake set within
a landscape of fields and pine trees and a male
or female pheasant perched on the branch of a
blossoming cherry tree on the other, all reserved
on a ground of chrysanthemum crests floating on
a formalised geometric ground, the shoulder with
a wide lobed cartouche enclosing tightly clustered
fruiting vine, the neck and lower body with a repeat
pattern of chrysanthemum heads and kiri-mon
(paulownia crests) interwoven among karakusa
(‘Chinese grasses’), the foot with a band of chidori
(plovers) in flight above waves; each vase inscribed
on the base in katakana script Orino.
Each vase 13.6cm (5 3/8in) high. (2).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
333
334
216 | BONHAMS
(another view) 335
334 335 *
AN INLAID IRON OCTAGONAL BOX AND COVER AN INLAID IRON BULBOUS HEXAGONAL
IN THE FORM OF THREE OVERLAPPING FAN LEAVES JAR AND COVER
By Komai of Kyoto, Meiji era (1868-1912) Attributed to Komai of Kyoto, Meiji era (1868-1912)
Worked throughout in the typical Komai-style of silver and gold nunome- Worked all over in typical silver and gold nunome-zogan with six
zogan, the cover decorated with three different scenes including a panels, each enclosing a different scene, respectively depicting the
cockerel and hen foraging among autumn grasses, a kacho no mai Kinkakuji (Golden Pavilion), the Chion-in Temple, the Kiyomizudera
(butterfly dance) from the Bugaku court dance and sailing boats on the Temple, a flock of migrating cranes with Mount Fuji looming in the
lakes of Miho no Matsubara, the sides of the box with seven narrow distance, a lady in a garden breaking off a cherry branch, a fleet of
continuous bands of repeat geometric motifs; the base signed in silver ships sailing on Lake Biwa, all on a ground of vine leaves, the neck
low relief Nippon koku Saikyo no ju Komai sei within a square reserve. applied with upswept split slab-handles, the cover inlaid with a flock
4.5cm x 11.5cm (1¾in x 4½in). (2). of cranes in flight and surmounted by a tama-shaped knop decorated
with grapes in silver takazogan amid vine leaves, raised on four bracket
£3,000 - 5,000 feet, unsigned; with cloth-bound storage box.
JPY550,000 - 920,000 13.2cm (5¼in) high. (3).
US$4,600 - 7,700
£8,000 - 12,000
JPY1,500,000 - 2,200,000
US$12,000 - 18,000

218 | BONHAMS
EARLY AND LATE
CERAMICS
Lots 336 - 383

336
CERAMICS
Various Properties
336 *
The overall form of this jar shares some characteristics with examples
A POTTERY JAR
excavated in the Nara/Osaka area, see for example Tanabe Shozo,
Yayoi period (c.300BC-c.300AD), 1st-2nd century AD
Nihon genshi bijutsu taikei (Compendium of Japanese Primitive Art),
The powerfully modelled hand-built and paddled yellowish-brown
vol.2, Yayoi doki, Sueki (Yayoi ware, Sueki ware), Tokyo, Kodansha,
earthenware jar rising from a narrow base, reaching its greatest
1978, nos.134 (Osaka City, Funahashi site), 135 (Nara Prefecture,
diameter just above its middle point and then narrowing toward a
Karako site) and 150 (Osaka City, Ama site).
splayed mouth, the body with stone inclusions and burn marks.
31.5cm x 19cm (12 3/8in x 7½in).
The result of an Oxford Authentication Ltd. thermoluminescence test (sample
no. N113f12, dated 24 June 2013) is consistent with the dating of this lot.
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
Provenance: Nelson Rockefeller Collection
220 | BONHAMS
337
337 *
A RARE HANIWA FIGURE OF A FIGURE WITH A JAR Although the present lot gives no indication as to gender, it may be
Kofun period (3rd-7th century), circa 500-600 assumed to represent a woman on the basis of its resemblance to
The hand-built and paddled reddish earthenware hollow figure of other identifiably female figures excavated in the Kanto Region and
typical form, rising from a circular base, the skirt and lower body with datable to the final phase of the Kofun period. For an illustration of a
vertical striations, a belt around the waist, circular openings in the similar example, see Miki Fumio, Haniwa, Nihon no bijutsu, 19, Tokyo,
sides below the arms, the face represented by three openings for the Shibundo, November 1967, pl.7 and p.51, excavated in Takado,
eyes and mouth, the nose and forehead simply modelled, bearing a Ibaraki Prefecture, in the collection of the Department of Anthropology,
truncated jar on its head, the reverse of the head with the remains Tokyo University of Fine Arts and Music. The same example, along
of a hairknot, with black-lacquered stand. with another from the Niwatorizuka tomb in Tochigi Prefecture with
57.2cm (22½in) high, 64.3cm (25¼in) high incl. stand. (2). a child on its back as well as a jar on its head, is reproduced in
Nagamine Koichi and Mizuno Masayoshi, Nihon genshi bijutsu taikei
£3,000 - 5,000 (Compendium of Japanese Primitive Art), vol.3, Dogu haniwa (Pottery
JPY550,000 - 920,000 Figures and Haniwa), Tokyo, Kodansha, 1978, nos.181, 182. For a
US$4,600 - 7,700 lively recent discussion of haniwa and their use in and around the
monumental tombs of the Kofun period, see Yoko Hsueh Shirai,
Provenance: Excavated in Ibaragi Prefecture. ‘Funerary Objects Meant to Be Seen’, https://www.khanacademy.org/
humanities/art-asia/art-japan/kofun-period/a/haniwa-warrior.
As noted by Professor Fumio Miki, formerly Chief of Primitive Art,
Department of Archaeology, Tokyo National Museum, relatively few The result of a thermoluminescence test by the Research Laboratory
haniwa figures with jars on their heads have been excavated. for Archaeology at Oxford University (sample no. 281d90, dated
15 February 1977) is consistent with the dating of this lot.
NABESHIMA PORCELAIN
(Lots 338-341)
338 * 339 *
A NABESHIMA POLYCHROME SAUCER DISH A NABESHIMA POLYCHROME SAUCER DISH
Late 17th/early 18th century Late 17th/early 18th century
Decorated with a flowering mokusei (Osmanthus asiaticus), the Painted with falling cherry blooms among plank rafts on swirling water,
gnarled trunk divided by a band of mist, in underglaze blue, iron-red, in underglaze blue, iron-red, green and ochre enamels, the underside
green and ochre enamels, the underside painted with three groups of with three formalised flowerheads and scrolling foliage above a high
shippo-tsunagi (linked-cash) in underglaze blue above a deep foot rim foot with a typical combed design.
with a typical combed design. 5.6cm x 20.2cm (2½in x 8in).
5.7cm x 20.1cm (2¼in x 7 7/8in).
£20,000 - 30,000
£20,000 - 30,000 JPY3,700,000 - 5,500,000
JPY3,700,000 - 5,500,000 US$31,000 - 46,000
US$31,000 - 46,000
Provenance: purchased at Christie’s, New York, 1997.
Provenance: Private collection, Japan. A Swiss Private Collection, and thence by descent to the present owners.
Purchased from Eskenazi Ltd., London, 1999.
A Swiss Private Collection, and thence by descent to the present owners. For the design, see the exhibition catalogue, Les Cadeaux au Shogun,
Porcelaine Precieuse des Seigneurs de Nabeshima, Paris, Espace des
Exhibited and Published: Les Cadeaux au Shogun, Porcelaine Arts Mitsukoshi Étoile, Mitsukoshi, 1997-98, p.140, no.54. Another,
Précieuse des Seigneurs de Nabeshima, Paris, Espace des Arts from the Idemitsu Museum of Art, is illustrated in Nabeshima Ware,
Mitsukoshi Étoile, 1997-98, p.149, cat.no.70. Designs that Inspire Pride, Tokyo, Suntory Museum of Art, 2010, p.26,
no.11; and in Seki Kazuo Nabeshima kozara: Ai-nabeshima kozara to
For the design, see Japanese Ceramics in the Toguri Collection, sono shuhen (Nabeshima small dishes: underglaze blue small dishes
Tokyo, Toguri Museum, 1988, p.241, no.329 and the exhibition and others), Osaka, Koimari Kankokai, 1995, p.64, no.16.
catalogue Nabeshima Ware, Designs that Inspire Pride, Tokyo,
Suntory Museum of Art, 2010, p.171, no.130. Illustrated on page 224.
For a fine example of one of the classic Nabeshima designs, which 340 *
was also produced in underglaze blue, see Seki Kazuo, Nabeshima A NABESHIMA POLYCHROME SAUCER DISH
kozara: Ai-nabeshima kozara to sono shuhen (Nabeshima Small Late 17th/early 18th century
Dishes: Underglaze Blue Small Dishes and Others), Osaka, Ko-Imari Painted with peony blossoms and foliage afloat on seigaiha (stylised
Kankokai, 1995, p.24, no.58. waves), in underglaze blue, iron-red, green and ochre enamels, the
underside painted with three groups of shippo-tsunagi (linked-cash)
The mokusei or Osmanthus asiaticus, a fragrant tree native of China, above a high foot decorated with a combed design.
was imported and cultivated in Japan during the Edo period (1615- 5.3cm x 19.9cm (2 1/8in x 7 7/8in).
1868). Bearing clusters of many small flowers and fruit, it is a symbol
of fertility and plenty. £20,000 - 30,000
JPY3,700,000 - 5,500,000
US$31,000 - 46,000
Provenance: purchased at Christie’s, South Kensington,

London, 2013.
A Swiss Private Collection, and thence by descent to the present owners.
For the design, see Fujio Koyama, Toji Taikei (Complete Collection of
Far Eastern Ceramics), vol.21, Nabeshima, Tokyo, Heibonsha, 1974,
illustrated on the front cover and on p.16, no.24; Imari, Nabeshima,
Tokyo, Kurita Bijutsukan, 1985, p.136, no.127; Nihon no Toji, vol.10,
Nabeshima, Tokyo, 1988, pp.38/9, no.20; Japanese Ceramics in the
Toguri Collection, Tokyo, Toguri Museum of Art, 1988, p.243, no.331;
and the exhibition catalogues, Iro Nabeshima, commemorative
exhibition, Fukuoka, Asahi Shinbun, 1982, p.42; Les Cadeaux au
Shogun, Porcelaine Précieuse des Seigneurs de Nabeshima, Paris,
Espace des Arts Mitsukoshi Étoile, 1997-98, p.143, nos.58 and 59;
Nabeshima Ware, Designs that Inspire Pride, Tokyo, Suntory Museum
of Art, 2010, pp.156-7, nos.119 and 120.
222 | BONHAMS
338

339
224 | BONHAMS
340

341
341
A NABESHIMA BLUE AND WHITE SAUCER DISH
Painted in underglaze blue with a curved alignment of five jars on a
ground of seigaiha (stylised waves), the underside painted with three
groups of shippo-tsunagi (linked-cash), supported on a high foot
painted with a combed design; unsigned.
4.4cm x 7.6cm (1¾in x 3in).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
For a very similarly painted dish with an identical design in underglaze

blue and enamels, see Barbara Brennan Ford and Oliver R. Impey,
Japanese Art from the Gerry Collection in The Metropolitan Museum of
Art, New York, The Metropolitan Museum of Art, 1989, p.111, no.89a.
Another property
342
A SMALL NABESHIMA DISH
Early 18th century
Moulded in the form of an open peony bloom and foliage, covered
with a white glaze, the foliage painted in underglaze blue, the foot
decorated with a typical comb pattern in underglaze blue.
12cm (4½in) wide.
342 £1,000 - 1,500

JPY180,000 - 280,000
US$1,500 - 2,300
226 | BONHAMS
(mark on base)
343
KAKIEMON PORCELAIN
Various properties
343
A KAKIEMON TEAPOT AND COVER
17th century
Of decagonal lobed form with wide rounded handle, painted in blue, A handwritten note in Czech inside this Kakiemon teapot indicates that it
iron-red, green and black enamels with flowering plum trees issuing was purchased by an antique dealer directly from the Royal Collection in
from behind rocks and formalised clouds, decorated in red on the Dresden, who in turn sold it to a collector. For another similar Kakiemon
shoulder with nyoi borders and on the neck with lappets, the handle teapot in the Victoria and Albert Museum, see John Ayers, Oliver Impey
and short curved spout with green karakusa (‘Chinese grasses’), the and J. V. G. Mallet, Porcelain for Palaces: The Fashion for Japan in
floriform decagonal cover decorated with a similar design; inscribed Europe, 1650-1750, London, Oriental Ceramic Society, 1990, p.142,
inside the lid and on the teapot base N=112 with a rectangular mark. no.103. Three Meissen teapots of almost identical form and motif and
8.5cm x 14cm (3 3/8in x 5½in). (2). with Japanese Palace collection mark N=295-w, (recorded in the 1770
inventory), were produced circa 1730 after a Japanese Kakiemon teapot
£1,500 - 2,000 from the Royal Collection, which was possibly this very teapot. For an
JPY280,000 - 370,000 example of the Meissen teapot, see Maureen Cassidy-Geiger,
US$2,300 - 3,100 The Arnhold Collection of Meissen Porcelain, 1710-50, New York,
The Frick Collection, 2008, p.357, no.125.
Provenance: The Royal Collections of August II, Elector of Saxony
and King of Poland, Japanese Palace, Dresden, collection no.112.

344
344
A KAKIEMON-STYLE SAUCER DISH
Circa 1700
Of moulded multi-lobed form, painted in coloured enamels with
three asymmetric medallions, of which two overlapping, of a
dragon, a tiger amid bamboo and a spray of plum blossoms,
the exterior and underside undecorated.
22.9cm (9in) diam.
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
345
A KAKIEMON LARGE DEEP OCTAGONAL BOWL
Early 18th century
Decorated in underglaze blue, coloured enamels and gilt,
the interior with a continuous design of two peacocks in a
landscape, one in flight and the second standing, among
flowering plum and fruiting pomegranate trees issuing from
rocks and bamboo fences, the rim with a band of tasselled
treasures, the exterior similarly decorated with four horses
in a field amid wild flowers above a foot painted with a
band of weaving pattern.
11.1cm x 23.5cm (4 3/8in x 9¼in).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
For slightly earlier bowls with similar designs and with the variation
of overglaze blue enamel see Complete Catalogue of Shibata
Collection, Arita, The Kyushu Ceramic Museum, 2003, p.227,
no.1755/5-169; Idemitsu Museum, Nihon Toji: Idemitsu Bijutsukan
zohin zuroku (Japanese Ceramics in the Idemitsu Collection),
Tokyo, Heibonsha, 1990, pl.541; and Oliver Impey, Japanese
Export Porcelain: Catalogue of the collection of the Ashmolean
Museum, Oxford, Amsterdam, Hotei, 2002, p.148, no.207.
345
228 | BONHAMS
346
A KAKIEMON LARGE DEEP OCTAGONAL BOWL
Late 17th century
Decorated with coloured enamels, the interior with a central medallion For another octagonal Kakiemon bowl with a somewhat similar
of two confronting ho-o (phoenixes) surrounded by dragons alternating decoration, see the exhibition catalogue, Zaidan Hojin Toguri
with flowering sprigs of plum, the rim with a band of geometric motifs, Bijutsukan zohin senshu: Seireki 2000nen kinen zuroku (Selected
the exterior similarly decorated with ho-o (phoenixes), one in flight and Works from the Toguri Museum of Art Foundation: Commemorative
the second perched on a branch of flowering plum among stands of Catalogue of the Year 2000 CE), Toguri Museum of Art, Tokyo, 2000,
bamboo issuing from rocks. 11.5cm x 25.4cm (4½in x 10in). p.82, no.113.
£8,000 - 12,000
JPY1,500,000 - 2,200,000
US$12,000 - 18,000

347
TWO KAKIEMON OVOID OCTAGONAL BOTTLES
Late 17th century
Each with a tall thin octagonal neck and painted on the body in coloured For the type, see Kakiemon no sekai: Genryu kara gendai made:
enamels and gilt, one with the shochikubai (pine, prunus and bamboo), Jusandai tsuito juyondai shumei kinen (The World of Kakiemon from
22.7cm (9in) high; the second with chrysanthemums and wild plants, Its Origins to the Present: Commemorating the Succession from the
23.1cm (9 1/8in) high, both painted on the neck with simple formalised Thirteenth to the Fourteenth Generation), Tokyo, Asahi Shinbunsha,
scrolling foliage in red enamel and gilt; with a wood storage box. (3). 1983, p.63, nos.78 and 79. See also, for comparison, C. J. A. Jörg,
Fine and Curious, Japanese Export Porcelain in Dutch Collections,
£4,000 - 6,000 Amsterdam, Brill, 2003, p.82, nos.72 and 73.
JPY740,000 - 1,100,000
US$6,100 - 9,200 For a bottle of identical form and similar decoration, see the memorial
exhibition catalogue Eastern Ceramics and other Works of Art from
Provenance: Sir John Figgess collection, possibly sold at Christie’s, the collection of Gerald Reitlinger, London, Ashmolean Museum and
London, 1997. Sotheby Parke Bernet, 1981, p.84, no.224.
230 | BONHAMS
348
IMARI AND OTHER PORCELAIN

Various properties
348
A PAIR OF IMARI CHARGERS
circa 1700
Each painted in the centre with an elaborate arrangement of flowers
in a triple gourd-shaped vase on a lotus stand, within a wide border
of panels of cherry trees and pavilions, bamboo and plum blossom,
divided by clumps of chrysanthemums, all in iron red enamel and
underglaze blue with gilt highlights, the underside painted
in similar style with sprays of peonies.
Each 55.3cm (21¾in) diam. (2).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
349
A TALL IMARI CYLINDRICAL TRUMPET-SHAPED VASE
Circa 1700
Painted in underglaze blue and typical Imari-style enamels and gilt
with the overarching branches of a flowering cherry tree forming a
canopy over a house and garden between bands of large formalised
cartouches enclosing repeat seasonal flowers alternating with quails
among grasses, the neck with a broad horizontal band painted with
peony heads above a narrow band of stylised chrysanthemums
and other floral motifs.
61cm (24in) high.
£1,200 - 1,800
JPY220,000 - 330,000
US$1,800 - 2,800
350
No lot 349
351
232 | BONHAMS
352
351 352
TWO IMARI LARGE STANDING FIGURES AN UNUSUALLY LARGE IMARI CHARGER
Circa 1700 19th century
Each painted in underglaze blue, gilt, iron-red and green enamels, Painted in the well with a scene of three women walking and
consisting one of a bijin (beauty), walking and holding up the hems conversing beneath a flowering cherry tree, predominately in iron
of her kimono, the other of a man, possibly an actor, with one hand red and green enamels and gilding with black enamel details, within
raised on the lapel of his short overcoat and the other resting on his a broad rim, painted with panels of ho-o (phoenixes), peonies and
waist. Each figure 48.2cm (19in) high. (2). archetypal treasures among formal designs, in coloured enamels,
gilding and underglaze blue; the underside with peony sprays, the
£2,000 - 2,500 base inscribed with a four-character mark Fukikaki.
JPY370,000 - 460,000 58.5cm (23in) diam.
US$3,100 - 3,800
£1,200 - 1,800
JPY220,000 - 330,000
US$1,800 - 2,800

353
A KO-IMARI TOKKURI (SAKE BOTTLE)
Late 18th century
The bulbous body decorated all over in underglaze
blue with a continuous design of stylised spiralling
karakusa (‘Chinese grasses’) covering the body
and neck above a band of tall comb motifs, the tall
slender neck with slightly everted mouth.
37.8cm (14 7/8in) high.
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
For another Ko-Imari tokkuri of similar form and

somewhat similar design see Imari, Nabeshima,
Tokyo, Kurita Bijutsukan, 1985, p.99, no.87. For the
typical foliate design in underglaze blue, see a group
of later Imari wine pitchers illustrated in the collection
catalogue Old Imari Ware, Tokyo, Toguri Museum
of Art, 1991, p.68, nos.140-142; and a Ko-Imari
jar and cover illustrated in the Complete Catalogue
of the Shibata Collection, Kyushu, The Kyushu
Ceramic Museum, 2003, p.448, no.3522/8-365.
353
354
234 | BONHAMS
355
354 355
TWO HIRADO-STYLE MODELS OF A BAKU AND A TIGER A SETO PORCELAIN BALUSTER VASE
Early/mid 19th century By Kato Shigeju II and painted by Koyama Ryuhozan,
The baku sitting with its head turned back to gaze at the sky, its trunk Meiji era (1868-1912)
raised and coiled at the tip, with the tail and mane highlighted in Decorated in coloured enamels with a dramatic historical scene
underglaze blue and black, 24.8cm (9¾in) high; the tiger sitting with depicting possibly Tomoe Gozen at Awazu holding a naginata
its tail wrapped close to its body and looking up, the eyes, ears and (polearm) and her retainers in a violent snow storm, the neck and foot
mouth highlighted in black, 21cm (8¼in) long. (2). painted with a band of formal designs; signed on the side Koyama
Ryuhozan ga with two seals and on the underside Kato Shigeju sei.
£1,000 - 1,500 29.5cm (11½in) high.
JPY180,000 - 280,000
US$1,500 - 2,300 £1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
Kato Shigeju was a leading kiln master and ceramic innovator based
in Seto, Aichi Prefecture; his work and that of his three successors
was the subject of a special exhibition held at the Setogura
Museum in 2013 (see http://www.seto-cul.jp/information/index.
php?s=1358507233). Developing a range of new glazes, kiln designs
and firing technique, he was particularly active in the manufacture of
wares with pictorial decoration intended for the export market.

356
356 * 358 *
A LARGE IMARI-STYLE VASE IN THE FORM OF A CARP A CELADON PORCELAIN CONICAL BOWL
By Kawamoto Eizan, circa 1910-1930 By Suwa Sozan I (1851-1922), Meiji (1868-1912)
Shown leaping from swirling water with its mouth open as it gasps or Taisho (1912-1926) era
for air, its tail appearing from the water to one side and encircled by Modelled in low relief and painted in underglaze grey and red
two smaller carp, all painted in brown, blue and black enamels with with a shoal of sturgeon-like fish swimming beneath the surface,
gilt scales and fins, signed on the base with seal Kawamoto Eizan; with lightly incised in the well with water weeds and on the rim with two
tomobako titled on the cover Koi hanaike (Flower vase in the form of continuous lines, the base signed with impressed seal Sozan; with
a carp) with seal Kawamoto, and signed inside the lid Eizan tomobako titled on the cover Seiji kogyobachi (Celadon porcelain dish
with seal Eizan. 35.2cm (13 7/8in) high. (2). with a design of red fish) and signed Sozan with two seals.
7.7cm x 19.7cm (3in x 7¾in). (2).
£800 - 1,200
JPY150,000 - 220,000 £1,200 - 1,500
US$1,200 - 1,800 JPY220,000 - 280,000
US$1,800 - 2,300
357 *
A CELADON OVOID VASE The first Suwa Sozan (1851-1922) specialised in celadon-glazed
By Fukami Sueharu (b. 1947), Showa (1926-1989) ceramic carving and was appointed Teishitsu Gigeiin (Artist-Craftsman to
or Heisei (1989-present) era the Imperial Household) in 1917. He also made important contributions
Decorated with an abstract design of four pale vertical raised lines to the revival of the Korean celadon industry through government
continuing slightly further from the rim, each surrounded by two pale commission. Compare with a vase attributed to Suwa Sozan I with
dots in relief near the rim, the underside signed with chiselled character similar design, in the Nasser D. Khalili Collection, Oliver Impey and
Sue; with tomobako titled on the cover Seihakuji ryusen kabin (White others, Meiji no Takara, Treasures of Imperial Japan, Ceramics Part I,
porcelain vase with pale-blue glaze with sand ripples) and signed Porcelain, London, Kibo Foundation, 1995, cat. no.106.
Sueharu saku (made by Sueharu) with two seals, one reading Sueharu,
and a fabric bag with seal Fukami. 20.7cm x 23cm (8 1/8in x 9in). (3).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
236 | BONHAMS
357
358

359
SATSUMA EARTHENWARE
Various Properties
359 *
THREE SATSUMA VASES
One by Kinkozan and two by Choshuzan,
Meiji era (1868-1912)
All decorated in enamels and gilt, the pair with a
matching scene set on the shores of a lake, one with
a pair of peacocks among spring/summer flowers
and the other showing quails among autumnal
flowers and grass, both signed on the base with seal
Choshuzan, each vase 22.5cm (8¾in) high; the third
vase decorated with three hanging scrolls depicting
assorted bird-and-flower scenes, the horizontal
scroll suspended above tea-ceremony implements
consisting of vases, ikebana (flower arrangment) and
a cabinet containing a tea service, the neck encircled
by a profusion of peonies and chrysanthemums, the
base with impressed seal Kinkozan zo, 24.2cm (9½in)
high; with wood storage box. (4).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
360
A PAIR OF SATSUMA CYLINDRICAL VASES
Meiji era (1868-1912)
Each supported on three bracket feet and with a
short everted neck, painted in enamels and gilt with
numerous butterflies of differing sizes and species,
the sides of each vase moulded with gilt handles
in the form of elaborate tassels, the shoulder with
simulated brocade enclosing formal designs;
unsigned. Each vase 32.5cm (12¾in) high. (2).
£1,000 - 1,500
JPY180,000 - 280,000
360 US$1,500 - 2,300
238 | BONHAMS
361
TWO SATSUMA VASES
One by Kinkozan and one by Nanpo,
Meiji era (1868-1912)
Both painted in enamels and gilt, the ovoid vase with
two large rectangular panels enclosing outdoor figural
genre scenes, one of two groups of women on a
hanami (cherry-blossom-viewing) outing along the
shores of a river and six women gathered by a lake
beneath flowering wisteria branches, signed on the 361
base Koyama Nanpo, 24.8cm (9¾in) high; the other
vase of rectangular section, each face decorated
with bird-and-flower scenes representing the four
seasons, including cherry-blossoms and pheasant,
maple leaves and shijukara (Japanese tit), signed on
the base Kinkozan zo, 24.2cm (9½in) high. (2).
£1,500 - 1,800
JPY280,000 - 330,000
US$2,300 - 2,800
362 *
TWO SATSUMA SMALL OVOID VASES
One by Kinkozan and one by Shoun,
Meiji era (1868-1912)
Each vase decorated in enamel and gilt, the larger
vase with a rectangular panel enclosing two ladies
with a dog resting in a garden beneath maple
branches between six overlapping fan-shaped
cartouches enclosing flowers and geometric motifs
reserved on a ground of trailing wisteria, signed on
the base with seal Kinkozan zo, 11cm (4¼in) high;
the smaller vase with a continuous scene of a family
of chickens and chicks foraging for food among
autumnal flowers and grass, butterflies and small
birds flying overhead, the base signed with seal
Kyoto Shoun, 9cm (3½in) high. (2).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
362

363
363 *
SIX SATSUMA VASES
Two by Shuzan, two by Kinkozan and one by Gyokushu,
Meiji era (1868-1912)
Each decorated in enamels and gilt, comprising one pair painted with
branches of maple trailing from the short everted neck of the vase
and extending across the cream-coloured crackled glazed body, each
signed with gilt seal Shuzan, 17.1cm (6¾in) high; the second pair, each
painted with two wide spiral panels issuing from the neck enclosing
Chinese figures on one and bird-and-flower scenes on the other, all
reserved on a sparse geometric motif ground, one signed Nippon
Gyokushu, both vases 23.5cm (9¼in) high; the fifth vase with two
large elaborate panels depicting seasonal flowers and birds of spring
and autumn alternating with smaller panels of butterflies, reserved on
a ground of tightly clustered hexagonal motifs, signed on the base
Kinkozan zo, 23.5cm (9¼in) high; the sixth vase with a long flaring
neck, the flattened shouldered body encircled by seven medallions
of ho-o birds on a formalised ground, the base signed with gilt seal
Kinkozan zo, 24.8cm (9¾in) high; with two wood storage boxes. (8).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
364 *
A SATSUMA OVOID VASE
By Kinkozan, Meiji era (1868-1912)
Finely decorated in enamels and gilt, the body raised on three integral
short feet and painted with a continuous scene of a profusion of
peonies and stands of bamboo between irregularly shaped bands of
swirling arabesque designs on a blue ground, the shoulder moulded
on each side with two gilt chrysanthemums and foliage in relief, the
364 neck with a band of shippo-tsunagi (linked-cash), the base signed with
impressed mark of Kinkozan zo; with wood storage box.
15.2cm (6in) high. (2).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
240 | BONHAMS
365
A FINE AND EXCEPTIONALLY LARGE BALUSTER
SATSUMA VASE
By Kinkozan, Meiji era (1868-1912)
Finely painted in enamels and gilt with two rectangular gold-sprinkled
grey enamel panels enclosing two contrasting scenes, one depicting
a peacock strutting with its tail feathers partially on display beside a
peahen nibbling seeds among magnolia shrubs and other wild flowers,
the other panel with shijukara (Japanese tit) in flight and 13 ducks
approaching a stream beneath a flowering cherry tree, the panels
framed by stylised butterflies and bands of formalised gilt ginkgo
leaves, all reserved on a dark blue ground, the neck similarly decorated
with formalised roundels of birds and flowers interwoven among
shippo-tsunagi (linked cash); the base signed in gilt seal Kinkozan zo.
46cm (18in) high.
£10,000 - 15,000
JPY1,800,000 - 2,800,000
US$15,000 - 23,000

(reverse) 366
366
A SATSUMA GOURD-SHAPED VASE
By Okamoto Ryozan, Meiji era (1868-1912)
Painted in enamels and gilt, the body decorated with two large
rectangular panels containing contrasting scenes separated by vertical
bands of maple-leaf and fan-shaped cartouches enclosing a variety
of floral and geometric motifs, one panel with several figures from
different walks of life including travellers, families and samurai crossing
a bridge to visit a shrine during the hanami (cherry-viewing) season
spanning over a lake, two moored boats with passengers in the
foreground, the other panel depicting a pair of geese standing on the
shores of a lake beside stalks of bamboo and other seasonal flowers
including chrysanthemums and yabukoji (Ardisia japonica), the neck
with swirling brocade-shaped overlapping cartouches each enclosing
geometric and floral motifs, the base signed Ryozan no shirushi
beneath the Yasuda Company trade mark with the Satsuma mon of
the Shimazu family; with separate wood stand.
31cm (12¼in) high. (2).
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100
367 *
A SATSUMA HEXAGONAL VASE
By Kyozan, Meiji era (1868-1912)
Decorated in enamels and gilt, the body with six long oval panels
each enclosing a different scene, three depicting birds of prey among
seasonal flowers separated by three figural scenes respectively of a
noble woman and her four sons outdoors engaged in the custom of
wakana tsumi (picking spring greens), three karasu tengu with their
master Sojobo, the last possibly depicting Susano-o no Mikoto and
Prince Nagasunehiko, standing on beds of swirling clouds, the base
signed with seal Kyozan; with wood storage box. 18cm (7in) high. (2).
367 £800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
242 | BONHAMS
(reverse) 368
368
A SATSUMA TALL CYLINDRICAL PEAR-SHAPED VASE
By Okamoto Ryozan, Meiji era (1868-1912)
Finely decorated in enamels and gilt with a continuous scene of Sanno
Festival depicting numerous people mainly women and children
participating in a parade alongside three ornate dashi (ceremonial floats),
each adorned with elaborate tapestries and surmounted by a different
paper sculpture on the roof, three banners in the distance inscribed
Hiyoshi jinja (Hiyoshi Shrine), the neck and foot encircled with a band
of assorted swirling brocade; the base signed with seal Ryozan kore o
tsukuru beneath the mon of the Shimazu family.
31cm (12¼in) high.
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100
369 *
A SATSUMA OVOID VASE
By Ryokuzan, Meiji era (1868-1912)
Decorated in enamels and gilt, painted on one side with 12 maiko
(trainee geisha) performing a dance against the backdrop of Kiyomizu
Temple, the reverse with a profusion of trailing branches of purple and
white wisteria and peony above shrubs of flowering peony and rindo
(Japanese gentian), the shoulder with shield panels enclosing repeat
formalised foliate motifs and geometric patterns, the base signed
Satsuma-yaki Kokaen ni oite Ryokuzan tsukuru (Satsuma ware,
made by Ryokuzan in Kokaen); with wood storage box.
25.5cm (10in) high. (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300 369
370
370
A PAIR OF LARGE SATSUMA OVOID COVERED
VASES WITH EN-SUITE STANDS
Each vase boldy decorated in enamels and profuse
gilt, the body painted with an identitical design
of a continuous scene of ‘The Hundred Boys’
engaged in various scholarly pursuits between
bands enclosing formalised flowers and motifs, the
shoulders of each vase moulded with a standing
karako (Chinese boy) at each side looking up, the
high domed covers surmounted by a finial in the
form of a seated boy holding a fan, the integral
removable stand partially pierced with three groups
of four lozenges; unsigned. Total height of each vase
48.2cm (19in). (6).
£1,000 - 1,500
371 JPY180,000 - 280,000
US$1,500 - 2,300
244 | BONHAMS
372
371
TWO SATSUMA VESSELS AND COVERS
One by Setsuzan, Meiji era (1868-1912)
Both in the form of an insect cage wrapped with a furoshiki (cloth),
modelled with a simulated bow-tied cloth at the top for the handle,
each vessel with the cover and body reticulated and decorated in
enamels and gilt, one pierced with vertical, narrow slats, decorated all
over with tightly clustered peony and morning glory blooms, the base
signed with rubbed signature, 14.7cm (5¾in) high; the other pierced
with a basket-weave pattern and decorated with two figural genre
scenes of women on both sides of the handle, signed Setsuzan,
14cm (5½in) high. (4).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
372 *
A SATSUMA SMALL VASE FOR A SINGLE FLOWER
By Yabu Meizan, Meiji era (1868-1912)
Finely decorated in enamels and gilt, the shouldered body with three
kidney-shaped panels, respectively depicting a shijukara (Japanese tit)
perched on wisteria branches, thatched dwellings set on the shores
of a lake with boats sailing in the distance and a group of children
gathered at a New Year party, in front of New Year’s decorative pine
trees playing a board game, all reserved on a ground of numerous
chrysanthemum heads beneath the sloping circular shoulder with a
(372 - details) radiating band of differently coloured lilies, the neck encircled with
trailing flowering wisteria; signed on the base with gilt seal Yabu Meizan.
7cm (2¾in) high.
£7,000 - 9,000
JPY1,300,000 - 1,700,000
US$11,000 - 14,000

373 374
375
246 | BONHAMS
376
375
373 A LARGE SATSUMA CIRCULAR KASHIKI (CONFECTIONERY
A TALL SATSUMA CYLINDRICAL BULBOUS VASE BOX) WITH EN-SUITE HANDLED COVER
By Taizan, Meiji era (1868-1912) By Kinkozan, Meiji era (1868-1912)
Decorated in enamels and gilt with long waisted rectangular panels, Painted in enamels and gilt, raised on three tall feet, the cover
each enclosing a different scene, one with a pair of tanchozuru decorated with two fan-shaped panels enclosing women and children
(Japanese red-crested cranes) wading beside ashi (reeds) in a river, the separated by a daimyo procession, the inside of the cover and box
other with four ayu (sweetfish) swimming in the sea as five cherry petals painted with a sprig of peony blooms, the upper section of the body
drift over them, all reserved on a ground of dragons writhing among with a band of repeat lappets; signed on the base Kinkozan with the
stylised foliage, the shoulder with geometric and floral motifs, the foot original shop seal. 14cm x 21.2cm (5½in x 8¼in). (2).
decorated with nogiku (wild chrysanthemums) scattered over stylised
waves; the base signed Dai Nippon Taizan sei. £800 - 1,200
46.5cm (18 1/8in) high. JPY150,000 - 220,000
US$1,200 - 1,800
£1,000 - 1,500
JPY180,000 - 280,000 376
US$1,500 - 2,300 TWO SATSUMA COVERED VESSELS
AND ONE KUTANI PORCELAIN KORO AND COVER
374 Meiji era (1868-1912)
A PAIR OF TALL SLENDER SATSUMA VASES Comprising two Satsuma pieces painted in enamels and gilt, the first
Attributed to Taizan, Meiji era (1868-1912) of lobed circular form supported on three feet, the cover decorated
Each vase decorated in enamels and gilt with an almost identical scene with a daimyo gyoretsu (procession) and all its paraphernalia, the sides
of four gagaku (traditional court music and dance) performers, two of the box with flowering wisteria, maple leaves and bamboo, signed
wearing eboshi (court hats) and dancing to the accompaniment of two Satsuma beneath the Shimazu crest, 8cm x 15.5cm (3 1/8in x 6 1/8in);
musicians each wearing a torikabuto (court cap in the shape of a bird) the second a Satsuma rectangular reticulated box, the cover and body
and two figures beating a tsuzumi (portable drum), all reserved on a blue inset with oval panels enclosing different figural, bird-and-flower and
ground, the neck and shoulder covered with a swirling brocade band landscape scenes, the inside of the cover with a sprig of rose mallow
enclosing floral and geometric motifs: unsigned. and camellia, signed on the base Shozan Seizo with two seals of the
Each vase 40.7cm (16in) high. (2). painter Shun and Zan, 8.5cm x 13.2cm x 10cm (3 3/8in x 5 1/8in x 4in);
the last a Kutani porcelain incense burner, decorated in Satsuma style,
£1,000 - 1,500 the body finely painted with four landscape scenes, the en-suite cover
JPY180,000 - 280,000 pierced and surmounted by a finial in the form of a seated shishi, signed
US$1,500 - 2,300 on the base Kutani Kaburagi sei, 14.5cm x 11cm (5¾in x 4½in). (6).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100

377
378
(378 - interior)
377 378 *
A MISCELLANEOUS GROUP OF SIX SATSUMA PIECES A SATSUMA BOWL
The teapot by Kyozan, two saucers and a sugar bowl by Kizan By Kinkozan, Meiji era (1868-1912)
and one sake cup by Kitamura, Meiji era (1868-1912) Decorated in enamels and gilt, the exterior with a band of peonies,
Each decorated in enamels and gilt, comprising a flattened circular chrysanthemums and irises, the interior with two overlapping square
teapot decorated with four oval panels enclosing two figural genre panels enclosing two different figural scenes, one of attendants and
scenes and two coastline views, the base signed Kyozan zo, 13cm servants inside a wealthy household engaged in the preparations for a
(5 1/8in) wide; the second a squat shouldered vessel, probably a banquet and the other showing an outdoor summer scene of several
sugar-pot, with en-suite cover, decorated on the upper body with children in a garden, reserved on a ground of tightly clustered minute
spiral bands of figures alternating with flowers and vegetables above butterflies and assorted blossoms, signed Kinkozan zo; with wood
a profusion of minute butterflies, signed Kizan, 6.5cm (2½in) high; storage box. 5.8cm x 15.2cm (2¼in x 6in). (2).
two small sake cups decorated on the exterior with a wide band of
millefleurs and on the interior with a roundel enclosing two children £1,000 - 1,500
surrounded by minute butterflies, one signed Kitamura, 4cm (1½in) JPY180,000 - 280,000
high; the fifth and sixth, two saucers decorated at the centre with a US$1,500 - 2,300
circular cartouche enclosing children at play surrounded by a profusion
of seasonal flowers, each signed on the base with seal Kizan,
8.3cm (3¼in) diameter. (8).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
248 | BONHAMS
379
379 *
THREE SATSUMA PIECES
Two by Hankinzan, Meiji era (1868-1912)
Each decorated in enamels and gilt, comprising two plates, the
larger one depicting two birds perched among stalks of peonies, the
base signed Hankinzando, 19.6cm (7¾in) diam.; the smaller plate
decorated with birds amongst flowering stalks of seasonal flowers
including peonies, daffodils and wild chrysanthemums bordered
by a band of shippo-tsunagi (linked cash), signed Hankinzando,
13.1cm (5 1/8in) diam.; the third a small deep bowl, decorated on
the outside with three spiral bands of fragmented key-fret separating
three different species of birds, unsigned, 6.5cm x 10.6cm
(2½in x 4 1/8in; with three wood storage boxes. (6).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
380
A SATSUMA SQUAT SPHERICAL KORO
(INCENSE BURNER) AND COVER
Meiji era (1868-1912)
Decorated in enamels and gilt, the shoulder with a wide band of
repeat stylised butterflies beneath a horizontal band of formalised
chrysanthemum heads, the lower body just above the foot rim
with lobed cartouches of repeat foliate crests, the remainder of the
cream-coloured crackled body unadorned, supported on three tall
stylised mythological creature-head legs, the domed cover partially
pierced on the ishime ground with a band of repeat butterfly motifs
corresponding to the decoration on the shoulder and surmounted
by a finial in the form of inlaid bronze and shakudo takaramono
(auspicious objects); unsigned.
22cm (8 5/8in) high. (2).
£800 - 1,200 380

JPY150,000 - 220,000
US$1,200 - 1,800
381
382
250 | BONHAMS
383
381
A LARGE SATSUMA CHARGER depicting four women and a young girl outdoors enjoying the first signs
By Kinzando and Kinzan, Meiji era (1868-1912) of spring, some cherry blossoms still not in full bloom, the second plate
Finely painted in coloured enamels and gilding with numerous karako similarly titled Rokugatsu, minazuki (the sixth month), depicting another
(Chinese boys) acting out elite life associated with the imperial court, group of women with a young girl strolling amongst peony blooms in a
several are shown enacting a procession within the precincts of the garden, each plate signed with seal Ryozan kore o tsukuru beneath the
palace grounds, others depicted being leisurely ferried on Chinese Satsuma mon; with two custom-made walnut wood stands.
boats whilst some are shown seated inside and/or standing on the Each plate 21cm (8¼in) diam. (4).
verandah, overlooking a lake with mountains in the distance, a flock of
tanchozuru (Japanese red-crested cranes) flying overhead, all within a £1,500 - 2,000
narrow key-fret border; signed with seal Kinzando sei and impressed JPY280,000 - 370,000
signature Kinzan. US$2,300 - 3,100
40.5cm (16in) diam.
383
£2,000 - 3,000 A LARGE SATSUMA OKIMONO FIGURE GROUP
JPY370,000 - 550,000 Meiji era (1868-1912)
US$3,100 - 4,600 Comprising a tall bearded statesman or general, possibly intended for
Takenouchi no Sukune, seated on a richly patterned brocade cloth
382 on a rocky base, looking down while two warriors kneel before him,
TWO SATSUMA PLATES one holding a suzuri (ink stone), the other probably proffering a brush
By Okamoto Ryozan, Meiji era (1868-1912) (missing), all their robes and armour painted in coloured enamels and
Each plate decorated in enamels and gilt with a floral-shaped panel gilt with elaborate designs of flowers and formal motifs; unsigned.
enclosing a figural genre scene associated with one of the 12 months 42.8cm x 43cm x 28.9cm (16 7/8in x 16 7/8in x 11 3/8in).
on a ground of millefleurs, one plate with two overlapping shikishi
(square-shaped poem-cards) titled Sangatsu yayoi (the third month) £1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
LACQUER, WOOD AND
OTHER WORKS OF ART
Lots 384 - 440
384
LACQUER WORKS OF ART 385 W

A NANBAN LACQUER COFFER
Various Properties
The chest Japanese, Momoyama period (1573-1615),
the stand English, early 19th century
384 *
Of conventional form, the domed, hinged lid, body and sides divided
A NEGORO-STYLE RED- AND BLACK-LACQUER
into panels separated by horizontal and vertical bands of shell-inlaid
RECTANGULAR SASHI-DARU (SAKE CASK)
patterns of shippo-tsunagi (linked cash), semi-circular waterwheel
18th century
and other geometric motifs, the cover with two front panels depicting
The large-size sake vessel raised on four wide bracket feet, the narrow
respectively pheasants and confronting fighting cockerels, the front of
bands at the top, bottom and sides lacquered red contrasting with
the chest with two panels of grazing and frolicking deer with birds in
the remainder of the body and feet lacquered black, the top with an
flight above three integral drawers, the interior of plain black lacquer
off-centre cylindrical spout and red-black detachable diamond-faceted
and fitted with an en-suite removable compartmentalised tray, the
knop in a chrysanthemum-shaped base, the underside inscribed
inside of the lid embellished in gold hiramaki-e, and inlaid in shell with
Amidadera (Amida Temple); with wood storage box.
two long-tailed exotic birds among clematis scrolls, the remaining
36cm x 41cm x 12cm (14 1/8in x 16 1/8in x 4¾in) including knop. (3).
panels, sides and reverse lacquered with typical Nanban tendrils, on a
detachable, later rectangular wood stand.
£600 - 800
The chest 60cm x 100.5cm x 48.1cm (23¾in x 39½in x 19in),
JPY110,000 - 150,000
the stand 36cm x 104cm x 50cm (14 1/8in x 41in x 19¾in). (3).
US$920 - 1,200
£6,000 - 8,000
JPY1,100,000 - 1,500,000
US$9,200 - 12,000
Nanban coffers were among the first export objects crafted in Japan
and this form was only produced for a short period, since the fashion
in Europe later evolved towards more compact chests with flat covers.
The inclusion of drawers close to the base is also one of the more
unusual features of Nanban coffers.
A similar coffer also with three integral drawers in the Peabody Essex
Museum, Salem, MA is illustrated by Oliver Impey and Christian Jörg,
Japanese Export Lacquer, 1580-1850, Amsterdam, Hotei Publishing,
2005, p.148, no.320. For other examples of similarly decorated
Nanban coffers from the same period, see Impey and Jörg, ibid.,
p.286, no.565, in the Monasterio de las Descalzas Reales, Madrid and
p.321, no.623, in the Royal Collections, Gripsholm Castle, Stockholm.
254 | BONHAMS
385

(interior)
386
(interior)
387
256 | BONHAMS
(interior)
388
386 * 387 *
AN INLAID GOLD- AND BLACK-LACQUER SUZURIBAKO A SMALL GOLD-LACQUER SUZURIBAKO (WRITING BOX)
(WRITING BOX) AND COVER AND COVER
20th century 19th century
Of rounded rectangular form with domed overhanging cover, the The fundame ground decorated with a cabin boat moored by a
black- and gold-lacquer ground decorated with a stag inlaid in pewter rocky promontory, set with pine and willow trees, a flaming drum
with shell antlers, the inside of the lid of gold lacquer inlaid with the full on its stern, an oshidori (mandarin duck) perched on a rock in the
moon in silver and six characters from a poem in shell, the interior of foreground and the full moon in metallic gold above, all in gold
the box of gold lacquer, with a two-line inscription in pewter inlay, takamaki-e with profuse highlights of kirikane, the interior of subdued
fitted with a suzuri (ink stone), bronze suiteki (water-dropper), and nashiji, lacquered with three pigeons pecking on the tiled roof of a
a gold-lacquered fude (brush); with a round seal-type mark fence, with a removable divider, containing a suzuri (ink stone) and
Inen underneath the suzuri; with wood storage box. engraved silver suiteki (water-dropper); unsigned.
7.5cm x 23.8cm x 21.5cm (3in x 9 3/8in x 8½in). (8). 3.5cm x 15.9cm x 14cm (1 3/8in x 6¼in x 5½in). (5).
£1,000 - 1,500 £2,000 - 3,000

JPY180,000 - 280,000 JPY370,000 - 550,000
US$1,500 - 2,300 US$3,100 - 4,600
The seal Inen was originally used both by the important early Provenance: a Swiss private collection.
seventeenth-century painter Tawaraya Sotatsu and his younger
brother or follower Sosetsu. While neither of these artists was a
lacquerer, this lot is in the style of suzuribako traditionally said to have
made under the direction of their contemporary Hon’ami Koetsu
(1558-1637).
(389 - Hakurakuten on his voyage to Japan, from Sakai Hoitsu (1761-1828), reproduction from
Korin hyakuzu (One Hundred Designs by Korin), vol. 2, Edo, 1816.)
388 * 389 *
A GOLD-LACQUER SUZURIBAKO (WRITING BOX) A DOCUMENT BOX AND SUZURIBAKO (WRITING BOX)
AND COVER AND COVER
19th century Early 19th century
The flush-fitting cover decorated with a family of chickens, comprising A ryoshibako or bunko (document box) and suzuribako (writing box),
a cockerel, a hen and three playful chicks, one clambering over with dramatically domed flush-fitting lids, both with roiro ground,
the back of its mother, in gold, silver, red, black, grey and brown decorated inside, outside and on the bases in gold hiramaki-e with a
takamaki-e and hiramaki-e, the inside of the cover with two shikishi- wave design and in thick lead sheet, shell, gold nashiji, gold hirame
ban (square poem-cards) enclosing fenced thatched huts on the banks and other techniques with (on the ryoshibako) the poet Hakurakuten
of a stream within a landscape of hills and flowering plum trees and (in Chinese, Bo Juyi) travelling to Japan by boat, his ship propelled
a quail amid kikyo (Chinese bellflowers) on the other, lying diagonally by a long oar operated by a sailor standing at the stern, a dolphin
over a branch of trailing wisteria, the interior of nashiji, lacquered with leaping over, and (on the suzuribako) an old fisherman (in reality, the
a winding stream and cherry blossoms, with a removable divider, deity Sumiyoshi Myojin) in a smaller boat, the other decoration in lead
containing a suzuri (ink stone) and gilt-metal and cloisonné suiteki sheet consisting of the islands of Japan’s Inland Sea, the interiors of
(water-dropper) in the form of overlapping chrysanthemums and the lids inscribed in gold hiramaki-e characters Koke-goromo kitaru iwa
foliage, unsigned; with lacquered wood storage box. o ba samonakute kinuginu yama no obi o suru kana (see below), the
5cm x 24.3cm x 21.6cm (2in x 9 5/8in x 8½in). (6). interior of the suzuribako in typical Rinpa style with integral platform for
the suzuri (ink stone) and suiteki (water-dropper), the suzuri with gold-
£2,000 - 3,000 lacquered rim, the suiteki of gilt brass, inscribed in gold hiramaki-e
JPY370,000 - 550,000 underneath the ink stone Hokkyo Korin with seal Hoshuku; with
US$3,100 - 4,600 lacquered storage box for ryoshibako.
The ryoshibako 25.5cm x 35cm x 44cm (10in x 13¾in x 17 3/8in);
Illustrated on page 257. the suzuribako 17cm x 24cm x 27cm (6 5/8in x 9½in x 6 5/8in). (7).
£15,000 - 20,000
JPY2,800,000 - 3,700,000
US$23,000 - 31,000
258 | BONHAMS
(389 - inscription)
389

(389 - interior of the ryoshibako)
(389 - interior of the suzuribako)
The design of this set of boxes is based on a screen by Ogata Korin than the great god Sumiyoshi Myojin in disguise. The poem inscribed
(1658-1716) in the Nezu Museum, Tokyo, which was later reproduced across the lids of both boxes is the fisherman’s Japanese version
by Sakai Hoitsu (1761-1828) in his influential woodblock-printed book of a Chinese poem previously recited by Hakurakuten in an effort to
Korin Hyakuzu published in 1816 on the hundredth anniversary of demonstrate the superiority of continental literature. Hakurakuten’s
Korin’s death (see http://kindai.ndl.go.jp/info:ndljp/pid/850491 and original version was translated by Arthur Waley as follows:
Edmund J. Lewis and Joe Earle, Shadows and Reflections: Japanese “Green moss donned like a cloak
Lacquer Art from the Collection of Edmund J. Lewis at the Honolulu Lies on the shoulders of the rocks;
Academy of Arts, Honolulu, Honolulu Academy of Arts, 1996, White clouds drawn like a belt
cat. no. 17). Surround the flanks of the mountains.”
The scene depicted comes from the Noh play Hakurakuten, which Hearing the Japanese version, Hakurakuten comments
narrates an apocryphal episode in the life of the eponymous Tang- “How strange that a poor fisherman should put my verse
dynasty poet (Chinese name: Bo Juyi). In the play Hakurakuten is into a sweet native measure!”
sent to Japan by the Emperor of China to subdue Japan with the
genius of his poetic art but is eventually driven back by a host of (Arthur Waley, The Nō Plays of Japan, London, George Allen and
Japanese deities assembled by an old fisherman who is none other Unwin, 1921, p.252-3).
260 | BONHAMS
(390 - interior)
390
(391 - interior)
391
392
390 * 392 *
A BLACK-LACQUER SUZURIBAKO (WRITING BOX) A BLACK-LACQUER NANDO SUZURIBAKO
AND COVER (WRITING BOX WITH EN-SUITE STORAGE) AND COVER
By Yoshitada, Meiji (1868-1912) or Taisho (1912-1926) era Meiji era (1868-1912)
The rich roiro ground lacquered with a copse of six ancient pine trees The scalloped edged overlapping cover decorated in gold takamaki-e
and delicately rendered in gold togidashi maki-e, the interior of nashiji, and silver and gold togidashi maki-e with three cranes flying above
lacquered with five formalised flying cranes in gold hiramaki-e, fitted tumultuous waves lapping against rocks, with detachable fitted en-
with a suzuri (ink stone) within a nashiji-lacquered frame, a silver suiteki suite tray for containing a removable circular suzuri (ink stone) and
(water-dropper), two fude (brushes), a kogatana (paper-cutting knife) lobed form gilt-metal suiteki (water-dropper) above a lower integral
and a kiri (auger), signed inside the cover Yoshitada saku with kao; with compartment, the interior of rich nashiji, unsigned; with wood storage
tomobako titled on the cover Rosho suzuribako (Old Pine writing box), box inscribed Ontabi ryoshi suzuribako (Document and writing box for
signed inside in the lid Yoshitada saku with seal. travel). 8.2cm x 24.6cm x 21.8cm (3¼in x 9 5/8in x 8 5/8in). (6).
4.5cm x 23.5cm x 21.5cm (1¾in x 9¼in x 8½in). (11).
£1,000 - 1,500
£2,000 - 3,000 JPY180,000 - 280,000
JPY370,000 - 550,000 US$1,500 - 2,300
US$3,100 - 4,600
393 *
Illustrated on page 261. A LARGE BLACK-LACQUER RYOSHIBAKO (DOCUMENT BOX)
Taisho era (1912-1926)
391 * Of rectangular form with rounded corners, the rich roiro ground
A SEIDO-NURI LACQUER SUZURIBAKO (WRITING BOX) lacquered with numerous butterflies of differing species and size, in
AND COVER gold takamaki-e with highlights of kirikane and inlaid shell, the interior
19th century of nashiji, lacquered with warabi (fern saplings) and omodaka (water
The overlapping cover painted in gold, silver and variously coloured plantain) among rocks, in gold takamaki-e, unsigned; with wood storage
pigments with two New Year entertainers dancing in front of box with inscriptions. 14.3cm x 42.3cm x 35cm (5 5/8in x 16 5/8in x
shochikubai (pine, plum and bamboo) in a woven basket planter all 13¾in). (3).
reserved on the seido-nuri ground imitating bronze, decorated inside
the cover with playing cards from the Hyakunin isshu (One Hundred £2,500 - 3,500
Poets) game, with integral compartmentalised tray for a removable JPY460,000 - 650,000
suzuri (ink stone) and silvered-metal suiteki (water-dropper), the interior US$3,800 - 5,400
similarly decorated with butterflies, chrysanthemum heads and kirimon,
unsigned; with wood storage box. 394
4.8cm x 25.9cm x 23.3cm (1 7/8in x 10¼in x 9 1/8in). (5). A BLACK-LACQUER LARGE RECTANGULAR RYOSHIBAKO
(DOCUMENT BOX) AND COVER
£1,000 - 1,500 Meiji era (1868-1912)
JPY180,000 - 280,000 The flush-fitting cover decorated in gold takamaki-e and hiramaki-e
US$1,500 - 2,300 with butterflies hovering over a peacock and peahen perched among
flowering peonies beside a waterall, the details highlighted in kirikane
Illustrated on page 261. and shell, the design extending over the sides of the box, with
removable en-suite fitted interior tray, the inside of the cover lacquered
with three turtles swimming in calm waters; unsigned. 18.5cm x
42.5cm x 32.5cm (7¼in x 16¾in x 12¾in). (3).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
262 | BONHAMS
393
394

395
(395 - interior of the ryoshibako)

264 | BONHAMS
396
395 * 396 *
A MATCHING BLACK-LACQUER RYOSHIBAKO (DOCUMENT A GOLD-LACQUER RECTANGULAR KODANSU
BOX) AND SUZURIBAKO (WRITING BOX) AND COVER (SMALL CABINET)
Taisho era (1912-1926) 19th century
The bunko or ryoshibako and suzuribako with flush-fitting lids, Decorated in gold takamaki-e, hiramaki-e and kirikane, the exterior
bevelled edges and angled corners, the suzuribako with two ledges with a rich nashiji lacquered with a continuous landscape with
at top and bottom separated by the suzuri (ink stone), the silver sparrows in flight above rocks amid reeds and pine trees growing on
suiteki (water-dropper) in the form of a ewer with a swing handle; a shore, the hinged door opening to reveal three drawers within, the
the exterior of both lids with an ajiro-ami (twill plaiting) pattern inside of the door embellished with the ocean amid stylised bands
partially concealed under the polished brown-black roiro ground, of clouds, the interior of nashiji, the drawers and door applied with
the bevelled edges with stylised swallows and birds of prey inlaid silvered-metal knop handles in the form of stylised buds and mounts
in shell, the interiors of both profusely decorated in gold hirame engraved with karakusa (‘Chinese grasses’); unsigned.
and togidashi maki-e with autumn plants including hagi bush 10.9cm x 12.7cm x 8.8cm (4¼in x 5in x 3½in).
clover, fujibakama (thoroughwort), nogiku (wild chrysanthemums),
ominaeshi (valerian), kikyo (Chinese bellflower) and nadeshiko (wild £1,500 - 2,000
pinks), the other surfaces polished black lacquer, both unsigned; JPY280,000 - 370,000
each with a black-lacquered storage box. US$2,300 - 3,100
The ryoshibako 12cm x 31cm x 40cm (4¾in x 12¼in x 15¾in),
the suzuribako 1½cm x 18.8cm x 24.6cm Provenance: a Swiss private collection.
(4in x 7 3/8in x 9 5/8in). (10).
£10,000 - 15,000
JPY1,800,000 - 2,800,000
US$15,000 - 23,000

397 *
A SET OF BUNDAI (WRITING TABLE) AND
SUZURIBAKO (WRITING BOX) AND COVER
Meiji (1868-1912) or Taisho (1912-1926) era,
early 20th century
A matching set of bundai (writing table) and suzuribako
(writing box), the bundai of standard form with
fudegaeshi (raised sections to left and right); the
suzuribako with kabusebuta (overhanging) lid and
bevelled chiri-i (narrow ledges between the top and
the sides), the interior of the suzuribako with a tray and
platform, fitted with a circular copper-lined opening
containing a copper suiteki (water-dropper) chiselled
with a chrysanthemum design; the bundai and the
exterior and interior of the suzuribako lid covered in
black roiro lacquer and decorated in gold and aokin
hiramaki-e and takamaki-e with gold kirikane and nashiji,
the other surfaces finished in black lacquer with gold
hirame, the fittings of the bundai in copper; the design
of the bundai consisting of a hanaguruma (flower cart)
containing peonies and branches of cherry, the exterior
of the suzuribako lid with a hanaguruma containing
chrysanthemums and camellia, the interior of the lid with
two courtly garden buildings with pine and plum trees, a
mountain in the background, unsigned, the suzuribako
containing an associated letter dated Bunka 10 [1813];
each with wood storage box.
The bundai 13.6cm x 64cm x 37cm (5 3/8in x 25¼in x
14½in); the suzuribako 4.6cm x 22.7cm x 25.4cm
(1¾in x 8 7/8in x 10in). (10).
£2,500 - 3,000
JPY460,000 - 550,000
US$3,800 - 4,600
266 | BONHAMS
398 *
A SET OF BUNDAI (WRITING TABLE) AND
SUZURIBAKO (WRITING BOX) AND COVER
Meiji era (1868-1912), late 19th century
The suzuribako with flush-fitting lid, chiri-i (narrow ledges
between the top and the sides), the interior frame and
baseboard fitted with suzuri (ink stone) and suiteki (water-
dropper); the bundai of standard form with fudegaeshi
(raised sections to left and right); all decorated on a dense
gold nashiji ground in gold, silver and coloured hiramaki-e,
very high takamaki-e and togidashi maki-e with shell inlay
and some kirikane, the fittings on the bundai of gilt metal
engraved with floral designs; the desk and box each with
an open sensu (folding fan) in high relief, the sticks in silver,
and semi-folded fans in togidashi-maki-e and hiramaki-e,
the fans decorated respectively with racing horsemen at
the Kamo River, Kyoto, chrysanthemums, plum blossom
and fence, autumn plants, and a flaming sacred pearl,
the bundai and suzuribako each also with three aoi-mon
(hollyhock crests); the legs of the bundai with lotus plants,
the interior of the lid of the suzuribako with iris plants, the
interior of the suzuribako with butterflies, the rims of the
suzuri finished in gold lacquer, the suiteki of silver gilt, in the
form of birds flying over waves, the other surfaces finished
in gold hirame, unsigned; with lacquer storage box for the
bundai and wood storage box for the suzuribako.
The bundai 13.5cm x 61cm x 32cm
(5¼in x 24in x 12 5/8in); the suzuribako 6cm x 22cm x
24½cm (2 3/8in x 8 5/8in x 9 5/8in). (8).
£3,500 - 4,500
JPY650,000 - 830,000
US$5,400 - 6,900

268 | BONHAMS
399 *
A SET OF BUNDAI (WRITING TABLE) AND SUZURIBAKO with silver fittings; the design of the bundai consisting of a group of
(WRITING BOX) AND COVER rustic dwellings by a river with pines, willows and other trees, bands of
Meiji (1868-1912) or Taisho (1912-1926) era, cloud and hills in the background, the design extending over the four
early 20th century legs, the design on the exterior and interior of the suzuribako similar to
A matching set of bundai (writing table) and suzuribako (writing box), that on the bundai, unsigned; each with inner plain wood storage box
the bundai of standard form with fudegaeshi (raised sections to left and outer lacquered-wood storage box.
and right); the suzuribako with kabusebuta (overhanging) lid and The bundai 13.2cm x 62cm x 36.5cm (5¼in x 24 3/8in x 14 3/8in);
bevelled chiri-i (narrow ledges between the top and the sides), the the suzuribako 5cm x 22.4cm x 24.2cm (2in x 8¾in x 9½in). (15).
interior of the suzuribako with a frame and two integral platforms, the
upper platform fitted with a two-stage gold- and silver-lined opening £12,000 - 15,000
containing a silver suiteki (water-dropper) in the form of a branch of JPY2,200,000 - 2,800,000
pine, the central opening of the frame holding a suzuri (ink stone), US$18,000 - 23,000
the suzuribako also with two fude (brushes), one sumitori (ink-stick
holder), one kogatana (paper knife) and one kiri (auger), and three
plain silk bags; both bundai and suzuribako covered in black roiro
lacquer and decorated in gold and aokin hiramaki-e and takamaki-e
with gold kirikane and nashiji, the underside of both bundai and
suzuribako in black lacquer with sparse gold hirame, the fittings
of the bundai in silver nanako, the four legs lined with plain
silver, the writing implements finished in gold lacquer
400
401
402
403
400 * 401 *
A GOLD-LACQUER CIRCULAR KOGO (INCENSE BOX) A BLACK-LACQUER BOX AND COVER IN THE FORM
AND COVER OF TWO OVERLAPPING CHERRY BLOSSOMS
Meiji era (1868-1912) 19th century
The cover decorated in gold takamaki-e with details highlighted in Decorated on the lid within one blossom in gold and slight-coloured
kirikane with young pine saplings issuing from behind rocks, the hiramaki-e, e-nashiji and kirikane with a fisherman standing on a rock
design extending over the sides of the box, the interior of rich nashiji; waiting to cast his net in the tumultuous waters, decorated in gold
unsigned. 8.8cm (3 3/8in) diam. (2). and silver takamaki-e and hiramaki-e with chrysanthemums, the sides
embellished with scattered sprays of windblown cherry blossoms,
£500 - 600 hagi (bush clover), ominaeshi (valerian) and maple leaves, the interior
JPY92,000 - 110,000 and underside of plain black lacquer, unsigned; with wood storage
US$770 - 920 box. 5.2cm x 17.2cm x 10.8cm (2in x 6¾in x 4¼in). (3).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
270 | BONHAMS
404
402 * 404 *
AN INLAID BLACK-LACQUER FOUR-LOBED KOBAKO A BROWN-LACQUER NANDO SUZURIBAKO
(SMALL BOX) AND COVER (WRITING BOX WITH EN-SUITE STORAGE) AND COVER
Meiji era (1868-1912) Meiji era (1868-1912)
Decorated in gold hiramaki-e, takamaki-e and nashiji and inlaid in The wide rectangular body incorporating six drawers of assorted
shell with cherry blossoms and two pigeons, one bird standing and sizes and two hinged doors at the top which open to reveal two
the other in flight, above overlapping lilies and leaves, all reserved compartments, one fitted with a detachable tray with a suzuri (ink
on a round of mura-nashiji, the sides inlaid with butterflies in shell stone) and a silvered-metal butterfly suiteki (water-dropper), above six
and ladybirds amid windswept dew-covered susuki (pampas grass) drawers possibly including two for ink brushes and one for a scroll,
and ominaeshi (valerian), with an interior detachable tray inlaid with the exterior decorated on all sides with butterflies hovering above
a sparrow, a bee hovering above narcissi and sakuraso (Japanese blooming peonies issuing from hollow rocks all embellished in gold,
primrose) in Shibayama style on a red-lacquer ground; unsigned. silver and slight coloured takamaki-e, hiramaki-e and nashiji with
5.3cm x 10.3cm x 9.1cm (2 1/8in x 4in x 3 5/8in). (3). details of gold and silver leaf and kirikane, the reverse of the doors
similarly decorated with coloured butterflies, decorated inside with
£1,500 - 2,000 slight nashiji, the top corners and hinges with silver fittings engraved
JPY280,000 - 370,000 with karakusa, the five top drawers applied with silver butterfly knops
US$2,300 - 3,100 and the bottom drawer with a silver bracket handle, unsigned;
with wood storage box. 18.2cm x 25.9cm x 21.4cm
Provenance: Walter and Edith Haas collection, no.87. (7 1/8in x 10¼in x 8 3/8in). (6).
403 * £6,000 - 8,000

A GOLD-LACQUER KOBAKO (SMALL BOX) CONVERTED JPY1,100,000 - 1,500,000
INTO A JEWELLERY BOX US$9,200 - 12,000
Meiji era (1868-1912)
Decorated in gold, silver and copper takamaki-e with a ho-o (phoenix)
in flight before kiri (paulownia) branches on a ground of nashiji, the
design extending over the sides, the interior of the box applied with
gold-lacquer edges and silver, the interior fitted with a red velvet lining
and a removable velvet cushion; unsigned.
3.7cm x 11.8cm x 8.7cm (1½in x 4 5/8in x 3 3/8in).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
405
406
272 | BONHAMS
405 *
TWO GOLD-LACQUER KOBAKO (SMALL
BOXES) AND COVERS WITH EN-SUITE TRAY
Meiji era (1868-1912)
Comprising two rectangular boxes with flush-fitting
covers, decorated all over in gold and coloured
hiramaki-e and togidashi maki-e with a profusion
of stylised overlapping flowerheads on a ground of
nashiji, the inside of rich nashiji with fundame rims,
the tray similarly decorated, raised on four short
bracket feet, the underside of sparse nashiji on
a black-lacquer ground, all unsigned; with wood
storage box. Each box 4.6cm x 10cm x 7cm
(1¾in x 4in x 2¾in), the tray 2cm x 17.3cm x
12.9cm (¾in x 6¾in x 5 1/8in). (6).
£4,000 - 5,000
JPY740,000 - 920,000
US$6,100 - 7,700
406 *
A PAIR OF BLACK-LACQUER TAKATSUKI
(STEM TABLES) 407
Circa 1892
Both decorated in gold hiramaki-e with an identical
design of gagaku (traditional court music and
dance) instruments and costumes including daiko
(drum), drumsticks, wagon (an early form of the
koto), sho (vertical panpipes), biwa (East Asian lute),
tsuzumi (hand-drum), torikabuto (cap), and maple
leaves, unsigned; with two wood storage boxes,
both inscribed inside Meiji nijugonen mizunoe-tatsu
rokugatsu nijugonichi kaimotome Namase shoji shozo
(Ordered and owned by Namase, twenty-fifth day
of the sixth month of the twenty-fifth year of Meiji,
mizunoe-tatsu [1892]).
Each 25.1cm (9 7/8in) high. (4).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
407 *
A GOLD-LACQUER KOBAKO (SMALL BOX)
AND COVER IN THE FORM OF A CHIDORI
(PLOVER)
Meiji era (1868-1912)
The cover divided into three irregular panels, each
enclosing a different pattern, respectively a triangular
geometric design, cherry blossoms and scrolling
chrysanthemum blooms, all in gold hiramaki-e with
highlights of gold and silver foil and inlaid shell,
the sides similarly embellished with small boats,
one in gold takamaki-e, afloat on stylised waves
amid jakago (stone-filled basket breakwaters), the 408
interior and base of nashiji, unsigned; with a wood
storage box titled on the cover chidori maki-e kashiki
(chidori-shaped confectionery box with maki-e) and
a silk brocade bag. 4.7cm x 11.2cm x 10.8cm
(1 7/8in x 4 3/8in x 4¼in). (4).
£6,000 - 8,000
JPY1,100,000 - 1,500,000
US$9,200 - 12,000

(reverse) 409
408 * 410
THREE LACQUER KOBAKO (SMALL BOXES) AND COVERS A PAIR OF GOLD-LACQUER FLATTENED
19th century LOZENGE-SHAPE VASES
Comprising a gold-lacquer circular kogo (incense box) decorated in Meiji era (1868-1912)
iroe takamaki-e and hiramaki-e with two propped-up Noh masks of Each embellished in gold and slight-coloured takamaki-e and
Okame and an oni (demon), the eyes inlaid in pewter with dark pupils, hiramaki-e with a matching design, one vase with two faces depicting
unsigned, 8.2cm (3¼in) diam., with wood storage box with inscriptions a group of seven monkeys, two wearing haori frolicking in an interior,
indicating that the kogo was made in Wajima with maki-e decoration one group admiring a landscape painting whilst the other plays
by Shunpo; the second a black-lacquer kogo (incense box) of rounded with masks in front of a folding screen, the reverse decorated with
rectangular form decorated in gold hiramaki-e with broken shippo- a peacock and its offspring perched on a flowering shidarezakura
tsunagi (linked-cash), the cover inset with a tanzaku (vertical poem- (weeping cherry) branch, the other vase depicting another humorous
card), unsigned, 3.3cm x 7.1cm x 3.7cm (1¼in x 3¾in x 1½in), with group of monkeys beneath a kusudama (decorative tasselled ball) of
wood storage box; the third a rounded rectangular kogo (incense box) hydrangea suspended from a bamboo blind releasing small birds from
decorated in gold and silver hiramaki-e with falling cherry blossoms a cage whilst their companions cavort around a standing screen, the
on a ground of mura-nashiji, unsigned, 3cm x 6.1cm x 5.3cm (1 1/8in reverse with a pair of pheasants and other birds in flight, one pheasant
x 2 3/8in x 2 1/8in), with wood storage box titled on the cover Jidai perched on a cherry tree, all separated by thin borders of shippo-
maki-e kogo (Historic Lacquer Incense Box) and inside the lid with seal tsunagi (linked cash), the necks of both vases lacquered
Shokodo saku (Made by Shokodo). (9). in gold togidashi maki-e with a writhing dragon on one side and
£1,500 - 1,800 elaborate roundels on a ground of geometric designs on the
JPY280,000 - 330,000 other, both vases unsigned; each vase affixed to a lacquered
US$2,300 - 2,800 wood lozenge-shaped stand.
Each vase 36.2cm (14 1/8in) high. (2).
£5,000 - 8,000
409 * JPY920,000 - 1,500,000
A GOLD-LACQUER FLATTENED OVOID VASE US$7,700 - 12,000
Meiji era (1868-1912)
Decorated on each side with a sunken panel of kinji-nuri, one lacquered Provenance: purchased at Liberty’s of London and presented to the
with chickens perched on an overturned mortar among flowering plum grandfather of the currrent owner as a retirement gift from his position
trees and two fish in human attire masquerading as a sarumawashi of Works Manager at W. T. Henley’s Telegraph Works Company,
(monkey-trainer) and his performing monkey on the other, all in gold Woolwich in 1952.
and slight-coloured takamaki-e on a ground of formal designs, the
everted neck and spreading foot of okibirame embellished with
formalised flowers in gold lacquer; unsigned. 21.2cm (8 3/8in) high.
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100
274 | BONHAMS
410
(410 - reverse)

411
412
276 | BONHAMS
413
411 * 413 *
A COMPLETE SET OF FIVE BLACK-LACQUER DISHES A COLLECTION OF ASSORTED DECORATIVE HAIR
Meiji era (1868-1912) ACCESSORIES
Each decorated with an identical design, lacquered in gold and slight- 19th century
coloured togidashi maki-e, hiramaki-e and nashiji with a border of trailing Comprising 17 kushi (combs), 18 kogai (hair pins) and 29 kanzashi
flowering and fruiting yugao (calabash), the underside of plain black (hair pins) of various materials including lacquer, silvered metal and
lacquer, unsigned; with wood storage box. wood, one kushi signed Shuka and six kogai signed respectively
Each 26.9cm (10 5/8in) diam. (6). Kasho, Gyokusho with kao, Shinsai, Shosai, Komin and Koshin; the
majority embellished with different designs; contained in a lacquered
£1,000 - 1,500 wood storage box inscribed Toin with five trays fitted with a velvet
JPY180,000 - 280,000 protection mat. The storage box 32.8cm x 21.6cm x 23.3cm
US$1,500 - 2,300 (12 7/8in x 8½in x 9 1/8in). (65).
412 * £3,000 - 4,000

TWO CIRCULAR LACQUER DISHES JPY550,000 - 740,000
Taisho era (1912-1926) US$4,600 - 6,100
Each variously decorated in gold takamaki-e and hiramaki-e, the first
embellished with uguisu (bush warblers) in flight over dwellings set within
a Chinese mountainous landscape, a waterfall, pine trees and flowering
cherry trees in the foreground, with details highlighted in kirikane and
inlaid coloured horn and shell, within a narrow band of formalised
ho-o (phoenixes) amid clouds, the underside of rich nashiji, unsigned,
24.8cm (9¾in) diam.; the sakazuki (sake cup) decorated with a large
chrysanthemum head, the underside lacquered with okibirame on
a red-lacquer ground, unsigned, 14.3cm (5 5/8in) diam. (2).
£1,200 - 1,800
JPY220,000 - 330,000
US$1,800 - 2,800
413 (part lot)
278 | BONHAMS
414
415
280 | BONHAMS
414
A GOLD-LACQUER WIDE RECTANGULAR CABINET
Meiji era (1868-1912)
Decorated on the top with a ho-o (phoenix) in flight amid paulownia
branches in gold and coloured takamaki-e, hiramaki-e and nashiji, the
two doors inlaid in porcelain with birds flying among gold-lacquered
flowering cherry trees, above a drawer similarly inlaid with gulls floating
on a stream amid fallen cherry blossoms, the six interior drawers inlaid
with various porcelain medallions on formal gold-lacquer grounds, the
door interiors embellished with butterflies hovering above peonies with
shell stamens, the back and sides lacquered with various birds amid
flowering plants and the corners with metal mounts; unsigned.
38.9cm x 41.7cm x 26cm (15¼in x 16 3/8in x 10¼in).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
415 *
A LACQUERED-CLOTH-GROUND CABINET
After Shibata Zeshin, Meiji (1868-1912) or Taisho (1912-1926) era
Rectangular, with three asymmetric drawers, covered with black-
lacquered hemp and applied with fireflies in black- and red- lacquer
relief among gold-lacquered grasses, the edges of dark red lacquer,
inscribed Zeshin; with wood storage box inscribed Shibata Zeshin
saku hotaru kago tedansu, dated inside Meiji nijuichinen sangatsu
kichijitsu (a lucky day in the third month of 1888) and signed Asano-shi.
28.5cm x 28.5cm x 20.3cm (11in x 11in x 8in). (2).
£3,500 - 4,000
JPY650,000 - 740,000
US$5,400 - 6,100
416
A PAIR OF LACQUER SLENDER RECTANGULAR PANELS
After Shibata Zeshin, Meiji (1868-1912) or Taisho (1912-1926) era
The domed tops with a roiro ground, one lacquered with two fish
hanging to dry on scales, the other with geese flying past the full
moon, seen beyond a creeper-clad tree, in coloured takamaki-e;
each inscribed Zeshin with seal Zeshin. 132cm (52in) high. (2).
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300
416

417
418
282 | BONHAMS
419
417 *
A SET OF TEN BLACK-LACQUER BON (TRAYS)
Taisho era (1912-1926)
Each of square form, with raised sides, supported on four bracket
feet, the roiro ground lacquered in gold hiramaki-e with an uguisu
(bush warbler) perched on a flowering prunus branch, unsigned;
each contained within a cotton bag with a descriptive inscription;
with a wood storage box with inscriptions.
2.4cm x 24.1cm x 24.1cm (1in x 9½in x 9½in). (21).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
The uguisu (bush warbler) on a branch of prunus is a reference to

Chapter 23, Hatsune (The First Warbler), of Genji monogatari (The Tale
of Genji), sometimes described as the world’s first novel, which was
completed about 1,000 years ago.
418 *
A WAJIMA LACQUER BENTO BAKO (LUNCH BOX) 419 *
AND A RED-LACQUER SAKAZUKI (SAKE CUP) A BLACK-LACQUER KAZARIDANA (DISPLAY CABINET)
20th century Taisho (1912-1926) or Showa (1926-1989) era
The box of black lacquer, comprising a four-tiered food container The rectangular body incorporating a lower shelf and flat top with
with cover, a sake jar, a deep rectangular receptacle and a box for scalloped cut outs at each side, decorated on the black-lacquer
sakazuki (sake cup), above a covered dish and chopstick compartment ground in gold hiramaki-e, sparse e-nashiji and gold togidashi maki-e
containing six small rounded rectangular dishes, the interior of sparse with a close-up view of a coastline with shrines overloooking a lake and
nashiji, unsigned; containing a sakazuki embellished with a turtle in gold small inshore pine-clad islands with mountain peaks rising from clouds
hiramaki-e, inscribed Okyo ga with seal; with lacquered wood storage in the distance, unsigned; with inscribed wood storage box.
box. 25.9cm x 26.1cm x 17.6cm (10¼in x 10¼in x 6 7/8in). (19). 22.5cm x 54.6cm x 32cm (8¾in x 21½in x 12½in). (2).
£1,000 - 1,500 £1,000 - 1,500

JPY180,000 - 280,000 JPY180,000 - 280,000
US$1,500 - 2,300 US$1,500 - 2,300

420
421
284 | BONHAMS
422
420 * 422 *
A BLACK-LACQUER WIDE RECTANGULAR BOX A LACQUER LARGE RECTANGULAR TEBAKO
AND A TANZAKUBAKO (POEM-SLIP BOX) AND COVERS (BOX FOR ACCESSORIES) AND COVER
The tanzaku box by Shosho, 20th century By Honma Shunka (1894-1991), Showa era (1926-1989)
The first of roiro lacquer, the flush-fitting cover and sides variously inlaid The overlapping cover decorated in gold and orange takamaki-e with
in shell with formalised chrysanthemum heads and paulownia, with seven stylised goldfish swimming among aquatic plants, the design
an integral tray similarly decorated with two chrysanthemum heads, extending down the sides of the cover and box, the interior of plain
unsigned, 13.3cm x 21.5cm x 14.4cm (5¼in x 8½in x 5 5/8in), with a black lacquer, the underside signed Shunka saku; with tomobako titled
wood storage box; the tanzaku box similarly decorated and inlaid with Kingyo-mon tebako (box for accessories with design of goldfish), the
an uguisu (bush warbler) perched on a branch of a flowering magnolia inside of the lid signed Shunka saku with two seals Honma Ken no in
embellished in takamaki-e, signed on the cover with seal Shosho, 5.3cm and Shunka. 16cm x 33.5cm x 24.5cm (6¼in x 12 3/8in x 9 5/8in). (3).
x 40.2cm x 10.9cm (2 1/8in x 15 7/8in x 4¼in), with a wood storage box
and wrapping cloth. (8). £2,000 - 3,000
JPY370,000 - 550,000
£1,000 - 1,500 US$3,100 - 4,600
JPY180,000 - 280,000
US$1,500 - 2,300 Shunka (birth name Honma Kenzo), was born in Yamagata Prefecture
and was a member of the Nitten exhibition association and Nihon
421 * Shikko Kyokai (Japan Lacquer Craft Association). After graduation
A BLACK-LACQUER RECTANGULAR TEBAKO from secondary school, he was apprenticed to Tamura Seiho (dates
(BOX FOR ACCESSORIES) AND COVER unknown) and studied under Tsujimura Shoka (1867-1929), a
By Takamitsu, Taisho era (1916-1926) professor at the Tokyo School of Fine Arts. He received many prizes
Decorated on the rich roiro ground in gold and coloured takamaki-e including the Silver Prize at the Paris International Exhibition in 1923,
and hiramaki-e scattered with ten variously sized circular overlapping the First Prize at the Philadelphia International Exhibition in 1926 and
panels enclosing the shochikubai (pine, plum and bamboo), one on the Monbu Daijin Prize (Prize awarded by the Minister of Education) at
the cover inlaid with a gold uguisu (bush warbler) from Chapter 23, the Bunten in 1937.
Hatsune, of Genji monogatari (The Tale of Genji), some with highlights
of coloured shell, the interior inlaid with formalised birds and butterflies
in shell on a green-lacquer ground, signed on the base Takamitsu
saku with seal; with tomobako titled on the cover Maki-e shochikubai
marumon tebako (Box for accessories with roundels of pine, plum and
bamboo in maki-e) and signed inside the lid Takamitsu saku with seal
Seiyo. 11cm x 23.2cm x 18.2cm (4 3/8in x 9 1/8in by 7 1/8in). (3).
£1,500 - 1,800
JPY280,000 - 330,000
US$2,300 - 2,800
423
BUDDHIST WORKS OF ART

Various Properties
423
A WOOD FIGURE OF AMIDA BUDDHA
Of yosegi (jointed) construction, standing on a lotus pedestal above a
tiered octagonal base, fitted with a vertical kohai (mandorla), draped
in crisply folding robes, with lowered eyes and compassionate gaze,
inlaid with crystal byakugo in the centre of the forehead, the right hand 424
raised in raigo-in or semui-in (gestures of reassurance and welcome),
the left hand lowered in yogan-in (wish-granting gesture), extensively
gilded and lacquered. The figure 38cm (15in) high,
the total 57cm (22½in) high incl. base. (2).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
286 | BONHAMS
(reverse) 425

424 425
A GILT-WOOD FIGURE OF AMIDA NYORAI A GILT-WOOD FIGURE OF AMIDA BUDDHA
16th-18th century 13th/14th century
Of yosegi (jointed) construction, standing serenely on an elaborate Of yosegi (jointed) construction, standing on a detachable tiered
stepped lotus pedestal before a large vertical kohai (mandorla) carved lotus base draped in softly folding robes, with lowered eyes and
with cloud scrolls, draped in crisply folding robes, with lowered eyes compassionate gaze, inlaid with crystal byakugo in the centre of the
and compassionate gaze, the right hand raised in raigo-in or semui- forehead and crystal nikkei in the centre of the rahatsu (topknot), his
in (gestures of reassurance and welcome), the left hand lowered in right hand raised in raigo-in (a gesture of reassurance and welcome),
yogan-in (wish-granting gesture), extensively gilded and lacquered. the reverse with traces of textile patterning. The figure 35.8cm
The figure 50.5cm (19 7/8in) high, 104cm (41in) high incl. base. (3). (14 1/8in) high, the total 45cm (17 3/4in) high incl. base. (2).
£3,000 - 5,000 £15,000 - 20,000

JPY550,000 - 920,000 JPY2,800,000 - 3,700,000
US$4,600 - 7,700 US$23,000 - 31,000
Provenance: Purchased at Sotheby’s, New York, 4 June 1992, lot 50.

426
Other Properties
426 *
A MINIATURE ZUSHI (PORTABLE SHRINE)
WITH A FIGURE OF DAIKOKU BY MURATA SEIMIN (1761-1837)
Dated 1830
The boxwood cylindrical shrine with engraved gilt-metal fittings and
containing a removable figure of Daikoku, typically modelled standing
atop two rice bales, the base signed with chiselled characters Bunsei
jusan-nen tora shogatsu mikka nanajuichi-o Seimin haiju (Respectfully
cast by old man Seimin, aged 71, on the third day of the first month of
Bunsei 13 [1830]); with wood storage box, inscribed Daikokuten zushi
iri Seimin saku (Daikokuten, contained in zushi, made by Seimin), the
inside of the lid dated Bunsei jusan-nen (Bunsei 13 [1830]). The shrine
6.5cm x 6cm (2½in x 2 3/8in), the figure of Daikoku 2.7cm (1in) high.
£2,500 - 3,000
JPY460,000 - 550,000
US$3,800 - 4,600
Seimin worked predominantly in Edo and was renowned for his flower
vases and Buddhist altar fittings. He excelled at making an okimono of
turtles, using the lost-wax method and cast the 500 arhats
(disciples of the Buddha) at Kenchoji Temple in Kyoto.1
Notes:
1. Wakayama Takeshi, Kinko jiten (A Dictionary of Metalworkers),

Tokyo, Token Shunju Shinbunsha, 1999, p.910.
427
288 | BONHAMS
MASKS
(Lots 427-429)
427
A MASK REPRESENTING AN OLD MAN
Probably 17th/18th century
Carved sugi (Japanese cypress), with traces of pigment;
unsigned. 22.5cm (8 7/8in) high.
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
Provenance: a European private collection, acquired by the

grandfather of the present owner and thence by descent.
Although clearly intended to represent an elderly male character, the

present lot does not conform to any known Noh-drama type and
was perhaps intended for use in a regional genre of masked dance,
possibly of a religious character.
428
A NOH MASK OF THE MANBI (YOUNG WOMAN) TYPE
By Deme Mitsunori (1664-1729), probably late 17th/early 18th century 428
Carved sugi (Japanese cypress), the face painted white with black
centrally parted hair, wispy eyebrows and red-painted lips;
signed with a burnt seal Deme Mitsunori. 21.5cm (8½in) high.
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600

A specialist in the appraisal of earlier masks, Deme Mitsunori was the

fifth master of the Ono Deme line.
429
A NOH MASK OF THE O-BESHIMI
(LARGE GRIMACING TENGU) TYPE
Probably late 18th/early 19th century
Carved sugi (Japanese cypress), with a scowling face painted in flesh
tints with black and red details, the left eye of gilt copper;
inscribed [...] utsushi (Copy). 21cm (8¼in) high.
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600

During the later Edo period (1615-1868), masks were often carved in
express imitation of treasured earlier masterpieces, as indicated by
the word utsushi (copy) inscribed on this example.
429

430
431
432
290 | BONHAMS
433
WOOD WORKS OF ART 432

A WOOD OKIMONO OF A DRIED SALMON AND MICE
Various properties By Chikushun, Meiji era (1868-1912)
Consisting of eight mice clambering over a large salmon and gnawing
430
at a smaller desiccated fish lying on the side, a section of coarse straw
A PAIR OF WOOD OKIMONO OF QUAILS
rope still attached to the salmon’s mouth, the wood lightly stained and
Meiji era (1868-1912)
the eyes inlaid in pale amber with black pupils; the reverse inscribed on
Each standing, one with head raised and turned to the right, the other
a simulated paper label Nenmatsu mono (end-of-year gift); signed in a
lowered and pecking at the ground, the plumage well delineated and
rectangular reserve Chikushun. 21cm (8½in) long.
the eyes of pale translucent horn with dark pupils; unsigned.
10.2cm x 10.2cm and 7.6in x 12cm (4in x 4in and 3in x 4¾in). (2).
£2,000 - 3,000
JPY370,000 - 550,000
£1,800 - 2,200
US$3,100 - 4,600
JPY330,000 - 410,000
US$2,800 - 3,400
433
A WOOD OKIMONO OF A CARP
431
By Suketsugu, Meiji era (1868-1912)
A WOOD OKIMONO OF A MONKEY AND CHILDREN
Naturalistically carved with its body slightly curved to the right and its
By Nobukazu, Meiji era (1868-1912)
tail thrashing in the water, its eyes double-inlaid with pale amber and
The parent seated, turning to the left as she clutches one of her
dark pupils, signed on the base in a rectangular reserve Suketsugu;
offspring with her hands and feet while another clambers on her back,
with wood storage box, titled on the cover Koi Suketsugu saku
the wood stained and the eyes of pale translucent horn with dark
(Carp carved by Suketsugu). 39.5cm (15½in) long. (2).
pupils; signed in a rectangular reserve Nobukazu to. 11.52cm (4½in).
£3,000 - 5,000
£1,500 - 1,800
JPY550,000 - 920,000
JPY280,000 - 330,000
US$4,600 - 7,700
US$2,300 - 2,800

434
434 *
A SUZURI (INK STONE) WITH EN-SUITE BOX AND COVER
Late 19th century
Carved as an irregular section of bamboo, with a firefly on one side and
smaller stems and leaves on the other, contained within a box of dark-
stained tagayasan (kassod tree, Senna siamea) continuing the bamboo
and firefly motif, unsigned; with wood storage box with descriptive
inscription. The ink stone 10cm x 8cm x 2.5cm
(3 15/16in x 3 1/8in x 1in), the box 12.3cm x 10cm x 5cm (4 7/8in x
3 15/16in x 2in). (4).
£1,800 - 2,000
JPY330,000 - 370,000
US$2,800 - 3,100
435 *
AN INLAID AND LACQUERED-MULBERRY-WOOD TWO-TIERED
OVAL CYLINDRICAL KOBAKO (SMALL BOX) AND COVER
Meiji era (1868-1912)
The thin outer wood frame decorated with metal staples simulating a
repair on one side, the cover inlaid in shell with a geoduck shell and
lacquered in gold and iro-e takamaki-e and hiramaki-e with seashells
and seaweed, the sides similarly embellished, the interior decorated
all over in gold okibirame, unsigned; with a wood storage box titled on
the cover Mirugai maki-e kuwa kashiki (Mulberry confectionery box with
435 inlay of a geoduck and maki-e) and a silk brocade bag.
5.1cm x 6.7cm x 4.4cm (2in x 2 5/8in x 1¾in). (5).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
292 | BONHAMS
436
436 *
A MISCELLANEOUS SET OF UTENSILS FOR AN OUTDOOR
CHANOYU (TEA CEREMONY)
Edo period (1615-1868) with Meiji-era (1868-1912) components
Comprising a wide rectangular woven basket with cover and silver
foliate fittings, lacquered on the lid and sides with sparrows flying
above and nearby naruko (bird-scarers) and sheaves of rice, the cover
interior and base of red-grey lacquer and the interior fitted with green
silk brocade, titled inside the cover Oboroyo (A night with a hazy moon)
and signed with a dovetail seal; a silver Chinese-style cha-ire (tea jar)
and cover, signed with seal Teppei; a copper futaoki (lid-rest) incised
with Mount Fuji and forest, inscribed rokujukyu-o (at the age of 69)
and signed Yogetsu; a silver dogu-tate (implement stand) pierced with
tama (jewels); a small globular lacquer natsume (tea caddy) decorated
with flowering cherry branches; a black-lacquer kogo (incense box) of
irregular shape embellished with spring flowers; a stoneware mizu-ire
(water jar) with a cork; and a chawan (teabowl) of wide baluster form,
the cream glaze crackled and irregular with an unglazed crescent
moon and the rim partially gilt; with four silk brocade storage bags
and two woven silk cord bags; with wood storage box inscribed
Takatsukasa Sukenobu ko gonomi chakago, Shunshu maki-e
(Tea basket in the taste of [18th-century tea master] Takatsukasa
Sukenobu, spring and autumn maki-e design), the inside of the lid
signed with a kao. The basket 11.8cm x 15.5cm x 13.5cm
(4 5/8in x 6 1/8in x 5¼in). (20).
£4,000 - 5,000
JPY740,000 - 920,000
US$6,100 - 7,700

437
INLAID WOOD WORKS OF ART AND FURNITURE 438 W Y Ф

AN INLAID IVORY, SHIBAYAMA STYLE AND LACQUERED
Various Properties
WOOD CABINET
Circa 1900
437 Y Ф
Of conventional form, constructed in two sections with a symmetrical
A PAIR OF LARGE LACQUERED AND INLAID WOOD PANELS
arrangment of sliding doors, drawers, hinged double cupboard and
Meiji era (1868-1912)
single doors and open shelves, each door and drawer inset with
Each decorated with birds flying about a hanging flower bowl formed
a gold-lacquer panel applied in typical Shibayama inlay depicting
from a kabuto (helmet) of gold and coloured takamaki-e, filled with a
different figural scenes of Chinese scholars, dancers, rakan, Chinese
variety of flowers inlaid in bone, iovry and shell, two smaller Chinese-
boys, the whole supported on a detachable elaborate four cabriole-
style flower containers beneath, inlaid in similar style, each contained
legged rectangular wood stand carved with dragon heads and
within a wood frame, lacquered with scrolling medallions; unsigned.
seasonal flowers; unsigned. 230cm x 168.5cm x 49cm
89cm x 61cm (35in x 24in). (2).
(90½in x 66 3/8in x 19¼in).
£1,000 - 1,500
£4,000 - 6,000
JPY180,000 - 280,000
JPY740,000 - 1,100,000
US$1,500 - 2,300
US$6,100 - 9,200
294 | BONHAMS
438

439 W
A PAINTED ITADO (A SLIDING WOOD DOOR)
Painted in ink and colours on wood, depicting a
majestic bird of prey perched on a wave-splashed
craggy rock; unsigned. Overall 175cm x 88cm x
4cm (68 7/8in x 34 5/8in x 1 5/8in);
image 157cm x 72cm (61¾in x 28 3/8in).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
440 W Y Ф
A TWO-PANEL FOLDING LACQUERED-WOOD
INLAID SCREEN
Meiji era (1868-1912)
Both panels decorated in high relief with a
continuous scene of an ornate tasselled basket
containing an ikebana (flower arrangement) of spring
and autumnal blooms suspended above a stream
on the left panel and three sparrows flying beneath
trailing branches of cherry blossoms, with rose
mallows and lilies issuing from the banks of a stream
in the foreground, framed within a blue-lacquered
ground border decorated in gold hiramaki-e with
floral and stylised bird medallions, above smaller
wood panels carved with carp; the left panel signed
with ivory seal, the reverse painted with a flowering
cherry tree on a red-lacquered ground.
184cm x 171cm (72½in x 67¼in).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
439
296 | BONHAMS
(440 - reverse)
440

IVORY OKIMONO FIGURES AND
WORKS OF ART INCLUDING A
PRIVATE COLLECTION OF STAINED
FRUITS AND VEGETABLES
Lots 441 - 504
441
IVORY OKIMONO FIGURES

Property from an English Private Collection
(Lots 441-445)
441 Y Ф
TWO IVORY OKIMONO FIGURES
One by Moritoshi and one by Seigyoku, Meiji era (1868-1912)
The first of a man seated and preparing to eat his meal, pouring sake
into a sakazuki (sake cup), in front of food resting on a serving tray,
his smoking set comprising a kiseruzutsu (pipe case) and attached
tabako-ire (tobacco pouch) lying on the ground beside him, signed
in a red lacquer reserve Moritoshi, 11cm (4 3/8in) wide; the second
figure of a drunken man seated and leaning over slightly on a bear
pelt, smiling with an empty sakazuki (sake cup) loosely held in his right
hand and clutching a kiseruzutsu (pipe case) in the other, a sake bottle
resting on a stump table before him, signed in a red lacquer reserve
Seigyoku, 10.3cm (4in) wide.(2).
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300
442 Y Ф
AN IVORY OKIMONO OF A STREET VENDOR
By Joseki, Meiji era (1868-1912)
Standing in his waraji (straw sandals), carrying over his shoulder a
bamboo pole from which numerous wares are suspended, comprising
various baskets and drums of assorted size and shape, with slight
lacquer details, signed in a carved red lacquer reserve Joseki.
17.8cm (6 5/8in) high.
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
442
300 | BONHAMS
443
443 Y Ф
AN IVORY OKIMONO OF A FERRYBOAT
By Okawa Seishu, Meiji era (1868-1912)
The long open boat with a ferryman at the stern, a man preparing
food, a seated lady and a musician kneeling and playing a shamisen,
signed on a red-lacquer tablet Okawa Seishu; on a hardwood stand
carved with swirling water.
37.5cm (14¾in) long; the stand 45.7cm (17 5/8in) long. (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
444 Y Ф
AN IVORY OKIMONO FIGURE OF A SEATED MAN
By Toshihisa, Meiji era (1868-1912)
Finely attired, seated on a patterned carpet and examining a partly
drawn tanto blade, with the blade’s wooden storage box, an incense
burner on a stand and a planter of mushrooms on a table before him;
signed in a red lacquer oval reserve Toshihisa to.
10.8cm (4¼in) wide.
£800 - 1,000
JPY150,000 - 180,000
US$1,200 - 1,500
445 Y Ф
THREE IVORY OKIMONO FIGURES
One by Seikoku, one by Toshiyuki and one by Toshinobu,
Meiji era (1868-1912)
The first of a seated itinerant musician tuning his shamisen, a bachi
(plectrum) resting over a book on a wood stand in front, signed Seikoku,
8.5cm (3 3/8in) high; the second of a scholar seated on an animal pelt,
his elbow leaning against a desk, lost in thought with a brush in his right
hand, signed Toshiyuki, 10cm (4in) wide; the third of a carpenter knelt
on one leg on an ornate carpet, clutching a saw in his right hand and
balancing a plane in his left, flanked by other implements and tools,
signed in a black rectangular reserve Toshinobu, 10.8cm (4¼in) high.(3).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100 444

445
Other Properties
446 Y Ф
AN IVORY OKIMONO-NETSUKE OF A DISAPPOINTED
RAT CATCHER
By Yoshisada, Meiji era (1868-1912)
Crouching in a typical attitude, his head turned back and wearing an
agonised expression as he holds a large club and presses down on a
trap while a rat escapes over his back, the ivory lightly stained; signed
in a red-lacquer reserve Yoshisada. 4.7cm x 6.5cm (1 7/8in x 2¾in).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
447 Y Ф
FOUR IVORY OKIMONO
Meiji era (1868-1912)
The first of a scholar kneeling on a mat and holding aloft a terrapin to the
amusement of a young boy, as he paints on a scroll on a low table, signed
Shomin with kao, 6cm (2 3/8in) high; the second of a man standing on
a food stand and drawing a sword, a boy kneeling at his feet, holding a
short sword and fan, signed Gyokushi, 17.5cm (6 7/8in) high; the third
of a flute-player standing beside a table with a jar on the top, his robe
engraved with scattered flowers and clouds, unsigned, 12cm (4¾in) wide;
the fourth of Okame standing with one arm raised and with a performing
monkey at her feet, unsigned, 9.5cm (3¾in) high. (4).
446
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
302 | BONHAMS
447
448 (part lot)
448 Y Ф and another drinking sake, signed Muneaki, 5.4cm (2 1/8in) high; the
AN IVORY OKIMONO OF BENKEI AND FOUR IVORY third of two men playing shogi, signed Shofu, 5.7cm (2¼in) wide; the
OKIMONO-STYLE NETSUKE fourth a singing man, unsigned, 7.6cm (3in) high; the fifth a family in a
Meiji era (1868-1912) thatched hut with an overhanging pine tree, signed Hosai,
The first of Benkei dressed as a yamabushi priest, standing with head 5.3cm (2 1/8in) high. (5).
raised as he blows a large conch shell, accompanied by three winged
tengu, his oi (travelling pack) at his side, signed Hoshu (Yoshihide), £1,000 - 1,500
16.2cm (6 3/8in); the second a smaller okimono of three drunken JPY180,000 - 280,000
revelers, one beating a gourd, one playing a biwa (East Asian lute) US$1,500 - 2,300

449 450
449 Y Ф 450 Y Ф
AN IVORY FIGURAL OKIMONO GROUP OF A PEASANT AN IVORY OKIMONO OF A SHELL FISHER
AND CHILDREN WITH HIS WIFE AND SON
By Mitsumasa, Meiji era (1868-1912) By Koshi, Meiji era (1868-1912)
Comprising a woodcutter resting with a large bundle of twigs strapped The man standing, holding a basket of shells slung over one shoulder
over his shoulder, one hand holding an axe, the other leaning over a and supporting his young son on his back with the other, a basket
shallow tub overbrimming with corn and renkon (lotus root), carried on of shells at his feet, while his wife sits below proffering up a hermit
its head by a child standing at the front, a second child seated on a crab, their robes engraved with various formal designs, the man’s
bale of corn and restraining his boisterous younger brother on his lap with waterwheels and his wife’s with formalised chrysanthemums and
as he plays with his puppy; the base signed Mitsumasa to. diaper patterns; signed Koshi to. 28.9cm (11 3/8in) high.
22.2cm (8¾in) high.
£4,000 - 6,000
£2,000 - 3,000 JPY740,000 - 1,100,000
JPY370,000 - 550,000 US$6,100 - 9,200
US$3,100 - 4,600
304 | BONHAMS
(451 - reverse) 451
451 Y Ф
A LARGE IVORY OKIMONO OF A FARMER AND CHILD
By Tomotaka, Meiji era (1868-1912)
Standing on an oval base, holding a bunch of small gourds and
looking down affectionately at a small boy who reaches up, tugging
at his grandfather’s sleeve, the man’s loose short coat worn over
an undercoat tied at the waist, signed in seal form Tomotaka. 37cm
(14½in) high.
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100

452 453
452 Y Ф
TWO IVORY FIGURE OKIMONO OF FISHERMEN
One by Shogetsu, Meiji era (1868-1912)
The first standing barefoot, wearing a straw hat carrying a basket
overbrimming with assorted seashells, another smaller basket of fish
at his feet, the base signed in a carved rectangular reserve Shogetsu,
18.3cm (7¼in) high; the second standing barefoot, smiling as he
empties a wide shallow basket of three fish and an octopus onto the
ground, unsigned, 18.7cm (7 3/8in) high. (2).
£1,200 - 1,800
JPY220,000 - 330,000
US$1,800 - 2,800
453 Y Ф
AN IVORY OKIMONO FIGURE GROUP
By Chozan, Meiji era (1868-1912)
Comprising two street vendors, the man seated on a tree stump and
holding a fan and a pair of saibashi (chopsticks used for cooking),
bending over a bowl of sazae (horned turban shell), cooking over a
bed of charcoal, his young son seated beside him on tied bundles
of brushwood preparing to eat, the underside signed Chozan in a
rectangular reserve; with separate wood stand.
10.5cm x 13.1cm (4 1/8in x 5¼in), the stand 16.1cm (6¼in) wide. (2).
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300
454 Y Ф
AN IVORY OKIMONO OF A STREET VENDOR
By Toshimasa, Meiji era (1868-1912)
Standing and wearing warabi (straw sandals), balancing a bamboo
pole on his right shoulder from which various objects of assorted size
and shape are suspended, including baskets, drums, hats and toys,
some inlaid with agate and mother-of-pearl, a small taiko drum and a
basket resting at his feet; signed in a red lacquer reserve Toshimasa.
24cm (9½in) high.
£1,200 - 1,800
454 JPY220,000 - 330,000
US$1,800 - 2,800
306 | BONHAMS
455
455 Y Ф
A TOKYO SCHOOL IVORY FIGURE OKIMONO GROUP OF Provenance: an English private collection.
FRUIT GATHERERS
By Udagawa Kazuo, Meiji era (1868-1912) Udagawa Kazuo (dates unknown) exhibited his larger sculptural pieces
Comprising an old man seated on the rung of a ladder handing down at the international expositions of the Meiji Era from 1900 until 1910.
a large basket overbrimming with biwa (loquats) to a boy with arms He is known for works executed in a combination of materials: wood
outstretched standing on an overturned basket, a young girl beneath the and ivory and cast bronze with ivory and iron.1
ladder carrying an infant on her back, and another full basket of loquats
lying beside them, signed on the base Nihon Tokyo Udagawa with seal Notes:
Kazuo; with en-suite detachable wood stand.
The ivory group 30.9cm x 39.7cm (12 1/8in x 15 5/8in), 1. Tokyo Kokuritsu Bunkazai Kenkyujo (Tokyo National Research
the wood stand 49cm (49¼in) long. (2). Institution of Cultural Properties) (ed.), Meijiki bankoku hakurankai
bijutsuhin shuppin mokuroku (Catalogues of Objects Exhibited at
£3,000 - 4,000 International Expositions in the Meiji Era), Tokyo, Chuo Koron Bijutsu
JPY550,000 - 740,000 Shuppan, 1997, p.142, etc.
US$4,600 - 6,100

456 (part lot)
456 Y Ф
EIGHT IVORY FIGURE OKIMONO AND NETSUKE
Meiji era (1868-1912)
Comprising: three okimono figures, the first a woodcutter seated on a
tree stump, taking respite drinking sake, his knife resting against the
large tied bundle of brushwood leaning against his side, signed in a
carved red-lacquer reserve Shizutaka, 8.2cm (3¼in) high; the second
of three rakan gathered beneath a pine canopy, signed Tamafumi,
6.9cm (2¾in) high; the third a painter seated, holding a paintbrush
and startled to see the characters come to life from his painted
scroll, signed Mitsumasa, 5.6cm (2¼in) high; the fourth and fifth two
okimono-netsuke, one of three farmers threshing rice, unsigned, 5.4cm
(2 1/8in) wide; the other a Chinese scholar seated with a child, signed
in an oval reserve Ryugyoku, 4.8cm (1 7/8in) wide the sixth a netsuke
of Jurojin depicted with an exaggeratedly high forehead, unsigned,
9.5cm (3¾in) high and two other netsuke figures of seated tradesmen,
both unsigned, each 3.2cm (1¼in) high. (8).
£1,200 - 1,500
JPY220,000 - 280,000
US$1,800 - 2,300
457 Y Ф
Meiji era (1868-1912)
Comprising a Chinese maiden holding a biwa (East Asian lute)
wrapped in a cloth, her robes decorated with butterflies inlaid with
shell, signed Shizuyuki, 19.1cm (7½in) high, with wood stand; the
second an old man holding a bunch of grapes and carrying his
grandchild on his back, standing on a Chinese-style square ivory
pedestal, unsigned, 22cm (8 5/8in) high, with wood stand. (4).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
457
308 | BONHAMS
458 459
458 Y Ф
AN IVORY OKIMONO OF A FARMER
By Kyosai, Meiji era (1868-1912)
Smiling as he stands, holding a large struggling cockerel in his arms,
a pouch sling at his waist and a fallen fruit with leaves on the base
below; signed Kyosai. 26cm (10in) high.
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
459 Y Ф
AN IVORY OKIMONO FIGURE OF A BIJIN (BEAUTY)
By Fumio, Meiji era (1868-1912)
Standing and elegantly attired in a formal kimono with her hair dressed
with a comb and a flower-shaped kanzashi (hair ornament), holding a
fan with one arm raised as she peers at the korogi (cricket) crawling up
her sleeve on a summer’s evening, signed on the base with red seal
Fumio; with separate wood stand. 27cm (10 5/8in) high. (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
460 Y Ф
AN IVORY FIGURE OF A BIJIN (BEAUTY)
By Hogyoku, late Meiji era (1868-1912)
Standing, looking to the left as she opens her parasol, her kimono
carved with scattered large chrysanthemums and formal designs and
her obi with large lilies; signed Hogyoku. 25.5cm (10in) high.
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
460

461 462
461 Y Ф 462 Y Ф
A SECTIONAL IVORY OKIMONO OF A FRUIT SELLER AN IVORY OKIMONO FIGURE OF A HUNTER
By Mitsutoshi, Meiji era (1868-1912) By Kyosai, Meiji era (1868-1912)
Standing and leaning to the right as he proffers a persimmon with one Finely carved, wearing a short fur jacket and straw hat, carrying a gun
hand and holds a small basket of fruit with the other, one fruit with attached with slain game slung around his back, standing with one
leaves having fallen at his feet; signed Mitsutoshi. bare foot resting on a rock, holding a rope tied around a captured
30cm (11¾in) high. cormorant as a second bird lands on his shoulder, the base signed
Kyosai in a rectangular reserve; with separate wood stand.
£1,500 - 1,800 28cm (11in) high. (2).
JPY280,000 - 330,000
US$2,300 - 2,800 £2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
310 | BONHAMS
(463 - reverse) 463
463 Y Ф Suzuki Jubun was a member of the Tokyo Chokokai

A TOKYO SCHOOL IVORY OKIMONO OF A YOUNG BOY (The Tokyo Carvers’ Association) in 1906.1
By Suzuki Jubun, Meiji era (1868-1912)
Standing on a circular base and wearing geta (wooden clogs), pulling a Notes:
winter sleeved coat over his shoulders, a woven basketwork container
slung at his left hip; signed Jubun/Toshifumi. 25.5cm (10in) high. The Shoto Museum of Art (ed.), Nihon no zoge bijutsu: Meiji no zoge
chokoku o chushin ni (History of Japanese Ivory Carving: Gebori-
£1,500 - 2,000 Okimono and Shibayama of Meiji Period), Tokyo, The Shoto Musuem
JPY280,000 - 370,000 of Art, 1996, p.242.
US$2,300 - 3,100

(464 - reverse) 464
464 Y Ф
AN IVORY OKIMONO FIGURE OF A FISHERMAN
By Munehide, Meiji era (1868-1912)
Standing with one knee resting on a wave-lashed tall rocky stump,
blowing a horagai (triton shell), his left hand clutching a cane bound
with rope, a rattan container and tonkotsu (tobacco pouch) suspended
from his waist and slung around to his left hip; the base signed in a
red-lacquer reserve Munehide.
26.5cm (10½in) high.
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
465 Y Ф
A SECTIONAL WALRUS IVORY TALL OKIMONO
OF A WOODSMAN
By Tomeido Gyokushi, Meiji era (1868-1912)
Walking on a plank over rocky ground and gazing up, holding a full cup
of sake in one hand and a gnarled staff and gourd flask in the other, a
large bundle of brushwood and lilies slung on his back over a basket
and a knife, a tobacco pouch and pipe with a gourd-shaped netsuke
hanging from his belt, signed Tomeido Gyokushi to with seal; with a
separate wood stand.
The figure 47cm (18½in) high, the stand 24.4cm (9 5/8in) wide. (2).
£1,200 - 1,800
JPY220,000 - 330,000
US$1,800 - 2,800
465
312 | BONHAMS
466 Y Ф
A TOKYO SCHOOL IVORY OKIMONO OF A SARUMAWASHI
(MONKEY TRAINER) AND MONKEY
By Ishikawa Komei (1852-1913), Meiji era (1868-1912)
Seated and leaning back against his partially cloth-covered drum
decorated with several strips of ritual paper, and teasing his performing
pet sprawled asleep across his lap with the split ends of the rope to
which the monkey is tethered, signed on the drum Ishikawa within a
circular cartouche and on the base with chiselled characters Komei
with kao; with separate wood stand.
The figure 16cm x 19.5cm (6¼in x 7 5/8in),
the stand 3.5cm x 20.7cm (1 3/8in x 8 1/8in). (2).
£5,000 - 8,000
JPY920,000 - 1,500,000
US$7,700 - 12,000
A key figure in the early history of modern Japanese sculpture,

Ishikawa Komei was born into a family of temple craftsman and from
the age of ten studied painting for a time under Kano Kazunobu
(1816–1863) before training as an ivory carver in the workshop of
Kikugawa Masamitsu, a netsuke maker. Starting in 1876 he exhibited
his work widely at home and abroad and participated in the interior
decoration of imperial palaces. In 1890 he was named Teishitsu Gigeiin
(Artist-Craftsman to the Imperial Household) and in 1891 he was appointed
Professor in the Sculpture Department of the Tokyo School of Art.

467 468
469 (part lot)
314 | BONHAMS
470
467 Y Ф 469 Y Ф
AN IVORY FIGURE OF A YOUNG WOMAN FIFTEEN IVORY OKIMONO AND NETSUKE
By Meido, Meiji era (1868-1912) Meiji era (1868-1912)
Standing, holding an open chrysanthemum in one hand and a Comprising: seven ivory okimono, the first a monkey holding a conch
tasselled parasol with the other, her kimono carved in low relief with shell, unsigned, 9cm (3½in) high; the second an oni (demon) riding a
blossoming branches and her obi with a large peony bloom, her hair large toad and trampling on a monkey, unsigned, 11.6cm (4½in) high;
unusually dressed with a miniature tsuzumi (hand drum); signed Meido. the third of two men startled by a monkey, signed in a rectangular
24.1cm (9½in) high. reserve Shunzan, 13.5cm (5¼in) high; the fourth of two monkeys
and an octopus, 11.5cm (4½in) long, signed Meigyoku; the fifth of a
£1,200 - 1,800 fox and hare, signed Joshu to, 11.2cm (4 3/8in) high; the sixth of a
JPY220,000 - 330,000 monkey with two frogs, signed Ichigyoku, 7cm (2¾in) high; the seventh
US$1,800 - 2,800 of a boy holding a mask, signed Yoshitaki, 8.5cm (3 3/8in) high; also
comprising six ivory netsuke, the first of two women aboard a small
468 Y Ф boat with a turtle swimming amid tumultuous waters, 5.2cm (2in)
TWO IVORY OKIMONO OF YOUNG WOMEN wide, signed Masanobu; the second of Daikoku and Ebisu aboard
Late Meiji era (1868-1912) the Takarabune (Treasure Ship), signed Yasuchika, 4cm (1 5/8in) wide;
The first of a young girl in formal attire, adjusting her hair with the aid the third of an oni (demon), signed Minkoku, 6cm (2 3/8in) high; the
of a tasselled mirror, her kimono and obi carved with formal designs, fourth of a shishimai dancer and two musicians, unsigned, 3.2cm
unsigned, 17.8cm (7in) high; the second standing, holding a peony- (1¼in) high; the fifth of Jurojin and a karako (Chinese boy) holding a
decorated fan with one hand and a pipe with the other, unsigned, turtle, signed Shusai, 3.8cm (1½in) high; the sixth of a tennyo (nymph)
17.5cm (6 7/8in). (2). and fisherman, signed Kogyoku, 3.7cm (1½in) wide; also comprising
an ivory ball carved with cranes, chickens and various other birds,
£1,000 - 1,500 unsigned, 4.8cm (1 7/8in) high; and a small oval box and cover in the
JPY180,000 - 280,000 shape of leaves with a grasshopper and bee, unsigned, 5.5cm
US$1,500 - 2,300 (2 1/8in) wide. (16).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100

470 Y Ф
A LARGE IVORY OKIMONO OF A BIJIN (BEAUTY)
By Gyokuzan, Meiji era (1868-1912)
Standing and elegantly attired in a formal kimono, leaning to one side,
looking down and holding a small basket of peonies with one hand
and a tasselled folding fan in the other, her hair dressed with a comb
and a peony bloom, her kimono finely engraved with seagulls flying
over breaking waves, the base signed on a carved red-lacquer tablet
Gyokuzan; with separate wood stand.
42.5cm (16½in) high. (2).
£2,500 - 3,500
JPY460,000 - 650,000
US$3,800 - 5,400
471 Y Ф
AN IVORY OKIMONO FIGURE OF TOBOSAKU
By Munemasa, Meiji era (1868-1912)
The Chinese immortal standing typically represented, wearing scholarly
robes, carrying a long-handled basket of peaches in one hand and a
fan draped with a hossu (fly whisk) in the other; the base signed in a
471 carved red-lacquer reserve Munemasa.
20.5cm (8in) high.
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
472 Y Ф
Meiji era (1868-1912)
The first of Gama Sennin covered in a mugwort cloak supporting his
large pet toad on his shoulder with his right hand and holding a tiny
frog in the palm of his left hand, signed on the base in a carved red-
lacquer reserve Sosai, 17.5cm (6 7/8in) high; the second a model of
the poet Hattori Ransetsu (1654-1707) standing behind a shrub of
flowering plum with a calligraphy brush inscribing his haiku poem Ume
ichirin / ichirin zutsu no / atatakasa (When the plum trees bloom / each
and every flower makes it / get a bit warmer) on to a tanzaku (poem
card), signed on the base in a carved red-lacquer reserve Hokoku,
26.5cm (10½in) high. (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
472
316 | BONHAMS
(473 - reverse) 473
473 Y Ф
AN IVORY AND SHIBAYAMA-INLAID OKIMONO
OF A SCHOLAR WITH TWO BOYS
By Komin, late Meiji era (1868-1912)
The scholar seated on a tall rock, holding a book on his lap with
the pages open and his forefinger pointing out one of the Chinese
characters to a small boy standing on a ledge at his right side, a
second boy standing below, clutching a book and looking up beside
a gnarled staff tied with a bundle of suspended scrolls, their robes
engraved with formal designs with details inlaid in shell, a kettle on
the ground; signed in a carved red-lacquer reserve Komin.
£2,500 - 3,000
JPY460,000 - 550,000
US$3,800 - 4,600
474 Y Ф
AN IVORY OKIMONO FIGURE OF A CHINESE IMMORTAL
By Masaaki, Meiji era (1868-1912)
Possibly intended for Tobosaku, standing beside lotus leaves on which
a toad is crouched, holding a stalk of fungus in one hand and a basket
overbrimming with persimmons, grapes, biwa (loquats) and trailing
vine, a monkey perched on his shoulder eating a persimmon fruit,
signed on the base Masaaki in a rectangular reserve; with separate
wood stand. 22cm (8 5/8in) high, the wood stand 4.5cm x 13cm
(1¾in x 5 1/8in). (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
474

475
INLAID IVORY FIGURAL OKIMONO 477 Y Ф

A WOOD AND IVORY OKIMONO FIGURAL GROUP
Various Properties
OF A YOUNG WOMAN WITH FOUR CHICKENS
By Masayuki, Meiji era (1868-1912)
475 Y Ф
The woman (detachable) shown wearing straw sandals and smiling,
AN IVORY AND BOXWOOD OKIMONO GROUP
slightly bending over as she ushers the ivory family group of chickens
OF THE THREE SAKE TASTERS
comprising a cockerel, chicken and two chicks all affixed to the wood
By Shizumasa, Meiji era (1868-1912)
base; signed on the wood stand in a rectangular red lacquer reserve
Consisting of Shaka (The historical Buddha), Koshi (Confucius) and
Masayuki koku (carved by Masayuki).
Roshi (Laozi) standing around a large jar filled with sake, the jar boldy
The figure 38.9cm (15¼in) high, the stand 37.5cm (14¾in) long. (2).
carved with a dragon writhing among clouds, Roshi holding a large
filled cup in both hands, all on a wood stand, inlaid around the sides
£3,500 - 4,500
with thin ivory panels of formalised foliage; the base signed on a
JPY650,000 - 830,000
carved red-lacquer tablet Shizumasa saku. 8.9cm x 22.2cm x 14cm
US$5,400 - 6,900
(7 3/8in x 8¾in x 5½in).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
476 Y Ф
A GOLD-LACQUER AND IVORY OKIMONO OF A WOODSMAN
By Koshi (Mitsuyuki), Meiji era (1868-1912)
Seated on a large bundle of tied brushwood, smiling as he relaxes
with a cup of sake, his belted coat decorated in gold hiramaki-e
and okibirame, with a butterfly crest on the reverse, worn over an
undercoat of gold lacquer embellished with brushwood medallions,
the base signed Koshi (Mitsuyuki) in a carved red-lacquer reserve; with
separate rectangular cabriole-legged wood stand. 17.1cm x 15.2cm
(6¾in x 6in), the stand 7cm x 19.7cm (2¾in x 7¾in). (2).
£2,800 - 3,500
JPY520,000 - 650,000
US$4,300 - 5,400
318 | BONHAMS
476
477

478
IVORY BIRDS, FLOWERS, FRUIT AND OTHER

WORKS OF ART
Various Properties
478 Y Ф
A PAIR OF IVORY AND BRONZE CRANES
Meiji era (1868-1912)
Naturalistically carved with fine plumage, their eyes inlaid in shell with
dark pupils and their legs of bronze, the first immobile with its head
and neck lowered drawn in at its left side to look behind, 21.8cm
(8 5/8in) high; the second marching forward, its head raised and facing
ahead, 17.6cm (6 7/8in) high; both unsigned, each standing on a
wood base. (2).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
The pair of cranes is an auspicious theme typically celebrating the New

Year, as one crane looks back at the past year, while the other looks to
the year ahead.
320 | BONHAMS
479
479 Y Ф
A TOKYO SCHOOL IVORY OKIMONO OF A TOBI (BLACK KITE)
By Asahi Meido, Meiji era (1868-1912)
The naturalistically and delicately carved bird of prey standing on its
two legs as it gazes to the right into the distance, its eyes double-inlaid
shell and pale horn pupils, the plumage well rendered; signed Meido.
23.6cm (9¼in) long.
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100
Asahi Meido, also known as Asahi Akira, was a member of the Tokyo
Chokokai (The Tokyo Carvers’ Association) between 1904 and 1906.1 It
is highly likely that he enjoyed a master-pupil relationship with two other
renowned carvers of the Meiji era, Asahi Gyokudo and Asahi Kodo, who
were also members of the Tokyo Chokokai and regular exhibitors.
Notes:
1. The Shoto Museum of Art (ed.), Nihon no zoge bijutsu: Meiji no

zoge chokoku o chushin ni (History of Japanese Ivory Carving: Gebori-
Okimono and Shibayama of Meiji Period), Tokyo, The Shoto Musuem
of Art, 1996, p.240.

480 Y Ф
AN ARTICULATED IVORY OKIMONO
OF A CRAB
Meiji era (1868-1912)
The resting crab naturalistically carved with incised
well-rendered details, movable limbs, claws and
eyes; unsigned. 7.6cm x 16.8cm x 3.9cm
(3in x 6 5/8in x 1½in).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
481 Y Ф
AN IVORY OKIMONO OF THREE NARCISSI
By Nakagawa Ryuei, Meiji era (1868-1912)
The three bulbs and shoots delicately carved and
coloured, two of them well-grown, with a flower in
full bloom emerging from the central bulb and five
other closed buds, the sprouts and buds stained in
pale green and the corona stained in ochre; signed
on the base Ryuei. 18cm (7 1/8in) high.
480 £2,000 - 3,000

JPY370,000 - 550,000
US$3,100 - 4,600
Nakagawa Ryuei (see also lot 489) was a pupil of

Kaneda Kenjiro (fl. mid/late Meiji era), who together
with Ishikawa Komei (1852-1913), Shimamura
Shunmei (1853-1896) and Asahi Gyokuzan (1843-
1923), was a member of the first generation of
sculptural ivory carvers in the Meiji era.1 From 1906 to
1910 he was also a member of Tokyo Chokokai (The
Tokyo Carvers’ Association), a group dedicated to
developing and improving the art of carving, as well as
promoting members’ works and exchanging ideas.
Notes:
1. Fukui Yasutami, ‘Meiji no geboriokimono seisui-

shi’, in The Shoto Museum of Art (ed.), Nihon no
zoge bijutsu: Meiji no zoge chokoku o chushin ni
(History of Japanese Ivory Carving: Gebori-Okimono
and Shibayama of the Meiji Era), Tokyo, 1996,
pp.210-217.
481
322 | BONHAMS
482
482 Y Ф Kaneda Ki refers to Kaneda Kenjiro (fl. mid/late Meiji era), who was known
A FINELY STAINED IVORY OKIMONO GROUP OF FRUIT for his exceptional ivory carving; several pieces by him were exhibited at
By Ando Rokuzan (1885-1955), Taisho Era (1912-1926) the St. Louis Exposition in 1904, and other examples of his work were
Comprising a naturalistically carved and coloured group of half a illustrated by Harada Jiro in ‘Japanese Art and Artists of To-day IV:
sliced apple on top of which rests a small bunch of grapes lying over a Wood and Ivory Carving’, The Studio, XLII (December 1910), pp.103-
bifurcated stalk attached with a large leaf that trails over the side; 119. In 1878, Kaneda had co-founded the Kankokai (Industrial Promotion
the underside signed Rokuzan saku with seal Kaneda ki. Association) with several prominent ivory carvers, including Ishikawa Komei
10.2cm x 9cm (4in x 3½in). (1852-1913) and Asahi Gyokuzan (1843-1923). The following year the
group changed its name to Chokokukai (Society of Sculptors) and by 1886
£4,000 - 6,000 it was sponsoring annual sculpture competitions. In 1907 Kaneda, Komei
JPY740,000 - 1,100,000 and Gyokuzan were among the founding members of the influential
US$6,100 - 9,200 Tokyo Chokokukai (Tokyo Sculptor Association), see Hirakushi Denchu
Chokoku Bijutsukan (Hirakushi Denchu Sculpture Museum), Okakura
Ando Rokuzan is known for his lifelike ivory carvings of fruits and Tenshin to Nihon Chokokukai (Okakura Tenshin and the Japan Sculpture
vegetables. He studied with Otani Mitsutoshi, a pupil of Hisamatsu Association), Kodaira, Hirakushi Denchu Chokoku Bijutsukan, 2010.
Harutoshi. His works are preserved in the Sannomaru Shozakan
Museum of the Imperial Collections. Ivory carving in Japan reached its peak of artistry in the late nineteenth
century. Kaneda’s group studied foreign demand in order to formulate
a response to the declining netsuke market. The seal Kaneda Ki
reproduced here probably indicates that Kaneda approved this piece
by Rokuzanm either for exhibition or for sale.

Property from an Irish
Private Collection
(Lots 483-489)
483 Y Ф
A STAINED IVORY OKIMONO OF A RED APPLE
Late Meiji era (1868-1912), early 20th century
The bruised fruit naturalistically carved with the skin
partially peeled at the top revealing the fleshy pulp
within; unsigned. 5.5cm x 6cm (2 1/8in x 2 3/8in).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
Provenance: Property of a descendant of

483 Sir Thomas Jackson, 1st Baronet (1841-1915),
Private Collection, Ireland, since 1910.
484 Y Ф
A STAINED IVORY OKIMONO OF A PEACH
Naturalistically carved with well-rendered details, the
fruit sliced in half with one section showing the stony
pip within; unsigned.
6.5cm x 11cm (2½in x 4¼in). (2).
£2,500 - 3,500
JPY460,000 - 650,000
US$3,800 - 5,400

Sir Thomas Jackson, 1st Baronet (1841-1915),
484
324 | BONHAMS
485
486 486
485 Y Ф 486 Y Ф
A STAINED IVORY OKIMONO OF A GROUP OF PEANUTS ONE STAINED IVORY OKIMONO OF TWO FIGS
Late Meiji era (1868-1912), early 20th century AND ONE OF A WALNUT
Naturalistically carved with well-rendered details, forming an elongated Late Meiji era (1868-1912), early 20th century
composition of a pile of eleven peanuts, one pod open to reveal a Both naturalistically carved with well-rendered details, the hollow
loose mature red seed within; unsigned. pear-shaped fruits shown resting against each other, the larger fig
12.5cm (4 7/8in) long. ripened and exposing its sweet pulpy flesh containing seed-like fruits,
unsigned, 6.5cm (2½in) long; the walnut finely carved with its shell
£2,000 - 3,000 realistically incised and textured enclosing the seed within; unsigned,
JPY370,000 - 550,000 3.8cm (1½in). (2).
US$3,100 - 4,600
£1,500 - 2,000
Provenance: Property of a descendant of Sir Thomas Jackson, JPY280,000 - 370,000
1st Baronet (1841-1915), Private Collection, Ireland, since 1910. US$2,300 - 3,100
Provenance: Property of a descendant of Sir Thomas Jackson,

1st Baronet (1841-1915), Private Collection, Ireland, since 1910.

487
487 Y Ф
AN IVORY OKIMONO OF A BANANA
Naturalistically carved with two strips of skin peeled
back to the brown stalk, revealing the fleshy interior,
the skin stained a pale yellow, unsigned; with
separate wood stand.
The banana 15.5cm (6 1/8in) long,
the stand 19cm (7½in) long. (2).
£4,000 - 6,000
JPY740,000 - 1,100,000
US$6,100 - 9,200

Sir Thomas Jackson, 1st Baronet (1841-1915),
488
326 | BONHAMS
488 Y Ф
A SMALL IVORY OKIMONO OF A BANANA
Naturalistically carved with its skin partially peeled back to the brown
stalk, revealing the fleshy interior, the skin stained a pale yellow,
unsigned; with separate wood stand.
The banana 9.5cm (3¾in) long, the stand 12.7cm (5in) long. (2).
£2,500 - 3,500
JPY460,000 - 650,000
US$3,800 - 5,400

489 Y Ф
A LARGE IVORY OKIMONO OF SWEETCORN
By Nakagawa Ryuei, late Meiji era (1868-1912), early 20th century
Finely carved and coloured with well-rendered details of the grains,
natural ripping of the skin and texture of the stalk, a smaller half section
of cob resting against the larger model of the sweetcorn, signed Ryuei;
with separate wood stand. 38.1cm (15in) long. (2).
£8,000 - 12,000
JPY1,500,000 - 2,200,000
US$12,000 - 18,000

Nakagawa Ryuei (see also lot 481) was a pupil of Kaneda Kenjiro
(fl. mid/late Meiji era), who together with Ishikawa Komei (1852-1913),
Shimamura Shunmei (1853-1896) and Asahi Gyokuzan (1843-1923),
was a member of the first generation of sculptural ivory carvers in
the Meiji era.1 From 1906 to 1910 he was also a member of Tokyo
Chokokai (The Tokyo Carvers’ Association), a group dedicated to
developing and improving the art of carving, as well as promoting
members’ works and exchanging ideas.
Notes:
1. Fukui Yasutami, ‘Meiji no geboriokimono seisui-shi’, in The Shoto

Museum of Art (ed.), Nihon no zoge bijutsu: Meiji no zoge chokoku o
chushin ni (History of Japanese Ivory Carving: Gebori-Okimono and
Shibayama of the Meiji Era), Tokyo, 1996, pp.210-217.
489

490
IVORY VESSELS 491 Y Ф

AN IVORY TUSK BOX AND COVER
Property from the Salomon Fuld Collection
By Yoshikiyo, Meiji era (1868-1912)
(Lots 490-494) Of broad form, carved in shishiaibori (sunk relief) with a continuous
design of numerous townspeople engaged in various pursuits,
490 Y Ф including a sword seller, a strolling samurai, various tradesmen and
A PAIR OF IVORY TUSK VASES several men and children playing games while men and women walk
Meiji era (1868-1912) by, stopping to observe the action, among houses and trees, with
Each carved in low relief with numerous monkeys arguing over food, swirling clouds above, the cover engraved and carved with a stylised
one clutching a corn cob, another holding a captured butterfly and bird and pomegranate amid scrolling foliage surrounded by a band of
others clutching nuts, while butterflies and dragonflies hover overhead, lappets; signed in an oval reserve Yoshikiyo with seal, the cover also
unsigned; on elaborate two-part wood stands, gold-lacquered with signed with seal. 15.8cm (6¼in) high. (2).
trailing foliage, butterflies and formalised ho-o (phoenixes). Each vase
34cm (13 3/8in) high; 61cm (24in) high incl. stand. (4). £1,200 - 1,500
JPY220,000 - 280,000
£1,500 - 2,000 US$1,800 - 2,300
JPY280,000 - 370,000
US$2,300 - 3,100
328 | BONHAMS
(491 - reverse) 491
492

493
492 Y Ф
AN IVORY VASE AND A TUSK BOX
Meiji era (1868-1912)
The first supported on three scrolled bracket feet, carved in shishiaibori
(sunk relief) with an elaborate design of Takenouchi no Sukune seated
and Empress Jingo standing by castle walls, the former cradling
the Empress’s infant son Prince Ojin, with a pine tree to one side,
accompanied by warriors and attendants, unsigned, 14.3cm (5 5/8in)
high; the box, lacking cover and base, carved in shishiaibori
(sunk relief) with Okame laughing behind her hand, while she and
a lascivious man sit, examining a giant phallus on a stand, signed
Yasuchika with kao, 12.9cm (5 1/8in) high. (2).
£1,400 - 1,600
JPY260,000 - 300,000
US$2,100 - 2,500
493 Y Ф
A PAIR OF IVORY TUSK VASES
Meiji era (1868-1912)
Each of slightly curved form, carved in relief with a family of monkeys,
one holding a lotus seed pod, others disputing a fruit, while butterflies
and a dragonfly hover overhead, beneath swirling clouds, unsigned;
on low detachable wood stands, lacquered with scrolling foliage. Each
36cm (14 3/8in) high. (4).
£1,500 - 2,000
JPY280,000 - 370,000
US$2,300 - 3,100
494
330 | BONHAMS
495 (495 - reverse)

494 Y Ф
AN IVORY TUSK VASE
By Shinryusai Chikahiro, Meiji era (1868-1912)
Carved in shishiaibori (sunk relief) with a scene of Nitan Tadatsune,
on the lower slopes of Mount Fuji, seated astride a large running wild
boar and preparing to slay the creature, while a hunter falls on his
back, a dog running past a pine tree in pursuit of a young stag, signed
Shinryusai Chikahiro with seal; with a detachable wood stand.
20.7cm (8 1/8cm) high incl. stand. (2).
£800 - 1,000
JPY150,000 - 180,000
US$1,200 - 1,500
Other properties
495 Y Ф
AN IVORY TUSK VASE
By Mitsumasa, Meiji era (1868-1912)
Carved in shishiaibori (sunk relief) with a continuous scene of
496 Minamoto no Yoritomo hiding within the hollow of a tree as he
is pursued by the warriors of the Taira clan, while the battle of
Ishibashiyama rages around him, the canopy of the large tree partially
hidden among clouds above, on a low wood stand; signed with
chiselled characters Mitsumasa with a kao.
32.4cm (12¾in) high.
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
For the battle of Ishibashiyama, please refer to the footnote to lot 146.
496 Y Ф
AN IVORY-INLAID LACQUERED WOOD
CYLINDRICAL VESSEL AND COVER
Meiji era (1868-1912)
The body decorated with roundels enclosing assorted designs scattered
over a brown-lacquered ground carved with horizontal raised bands, the
cover surmounted with a finial in the form of a Noh mask of Okina lying
over a tasselled fan; unsigned.
12.8cm x 10.6cm (5in x 4 1/8in). (2).
£800 - 1,200
JPY150,000 - 220,000
US$1,200 - 1,800
497
332 | BONHAMS
SHIBAYAMA-INLAID WORKS OF ART
Various properties
497 Y Ф
AN IVORY AND SHIBYAMA-INLAID
TUSK VASE AND COVER
By Tomohisa, Meiji era (1868-1912)
Decorated in typical Shibayama style with a continuous design of
flock of tanchozuru (Japanese red-crested cranes) on the banks of a
river amongst flowering cherry blossoms, peonies and shrubs of bush
clover, the en-suite cover inlaid with sprays of camellia, plum, peonies
and irises and surmounted by a silver finial in the form of an eagle on
a rock, the inside of the lid with a butterfly hovering over a fan lying
among autumnal flowers, the base of wood signed in a rectangular
reserve Tomohisa; with a separate wood stand. The vase and cover
24.4cm (9 5/8in) high, the stand 20.5cm (8in) wide. (3).
£1,500 - 2,500
JPY280,000 - 460,000
US$2,300 - 3,800
498 Y Ф
AN IVORY, SILVER-MOUNTED AND SHIBAYAMA-INLAID
KOSHIRA-E (MOUNTING) FOR A SHORT SWORD
By Masayasu, Meiji era (1868-1912)
Of exaggerated curved form with mokko form tsuba and applied with
silver mounts, decorated in typical Shibayama style with two pigeons
perched on a flowering cherry tree above trailing wisteria on one side and
a butterfly hovering over peonies above shrubs of chrysanthemums on the
reverse, the silver mounts engraved with karakusa (‘Chinese grasses’);
signed in a shell reserve Masayasu.
43.2cm (17in) long.
£1,500 - 2,500
JPY280,000 - 460,000
US$2,300 - 3,800
498

(499 - reverse) 499
499 Y Ф
AN IVORY AND SHIBAYAMA-INLAID KENBYOBU
(TABLE SCREEN)
Meiji era (1868-1912)
The rectangular panel decorated in typical Shibayama style, one side
depicting two confronting cockerels fighting besides a stream, the
reverse with a sparrow flying over trailing morning glories and Chinese
bellflowers, all within an ivory frame carved in shishiaibori (sunk relief)
with seasonal flowers including irises, chrysanthemums, magnolias,
peonies and Chinese bellflowers, the two feet intricately carved with a
stylised bat lying over a pile of roof tiles; unsigned.
24.6cm x 20.5cm (9 5/8in x 8 1/16in).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
500 Y Ф
A SILVER FILIGREE AND IVORY INLAID TRAY
By Kosen, Meiji era (1868-1912)
Of lobed circular form, supported on three bracket feet, the silver frame
pierced with elaborate filigee scrolls, the centre inset with an ivory
panel inlaid in Shibayama style with an eagle perched on a post among
lotus plants in a stream beneath an overhanging flowering cherry
tree, surrounded by eight smaller ivory panels similarly decorated with
flowering plants, the reverse lacquered with nashiji; signed in a shell-
inlaid reserve Kosen. 5.5cm x 23.8cm (2 1/8in x 9 3/8in).
£2,000 - 3,000
JPY370,000 - 550,000
US$3,100 - 4,600
500
334 | BONHAMS
(501 - reverse)
501

502
(502 - reverse)
336 | BONHAMS
501 Y Ф
AN IVORY AND SHIBAYAMA-INLAID TWO-PANEL
FOLDING TABLE SCREEN
By Masakazu, Meiji era (1868-1912)
Inlaid with various materials in Shibayama style with a continuous
design of birds among flowering cherry trees, the right hand panel with
two pheasants perched on a branch above wakamatsu (pine saplings),
the left hand panel with four birds in flight, each above smaller carved
and partially pierced ivory panels of dragons coiled among clouds,
the reverse incised and stained on one side with a scene of thatched
houses and a pagoda on a black ground; signed in a shell-inlaid
reserve Masakazu. Each fold 25.1cm x 13.3cm (9 7/8in x 5¼in).
£5,000 - 8,000
JPY920,000 - 1,500,000
US$7,700 - 12,000
502
AN IVORY-MOUNTED PAINTED FOLDING FAN
Meiji era (1868-1912)
Consisting of a double-sided leaf, each side painted in ink and colour with
with five cartouches enclosing birds amid seasonal flowers including lilies
and mukuge (Hibiscus syriacus), an exotic long-tailed bird among fuyo
(rose mallow), peonies and wisteria, morning glories and chrysanthemum,
the reverse with a large spray of large and small chrysanthemums and
grasses, the bamboo sticks with scalloped edges, the ivory guards
decorated in Shibayama style with an uguisu (bush warbler) perched on
plum on one and a swallow flying among wisteria, swallow and irises on
the other, with a gilt rivet, unsigned; with a brocade-covered storage box.
27cm (10 5/8in) long, 48cm (18 7/8in) wide. (2).
£1,000 - 1,500
JPY180,000 - 280,000 503
US$1,500 - 2,300
503 Y Ф
A PAIR OF GOLD-LACQUER AND SHIBAYAMA-INLAID
HEXAGONAL VASES
By Shibayama Yasumasa, Meiji era (1868-1912)
Each vase decorated on the kinji ground in typical Shibayama style
with a matching and almost identical design of swallows in flight
and perched on flowering wisteria branches, the neck lacquered in
gold togidashi maki-e with clumps of paulownia among karakusa
(Chinese grasses); the base of one vase signed with red-lacquer seal
Shibayama, the other signed with red-lacquer seal Yasumasa.
Each vase 25.5cm (10in) high. (2).
£1,000 - 1,500
JPY180,000 - 280,000
US$1,500 - 2,300
504
A SILVER, CLOISONNÉ-ENAMEL AND SHIBAYAMA-INLAID
KORO (INCENSE BURNER) AND COVER
By Yasuhide, Meiji era (1868-1912)
The body inset with eight long oval gold lacquer panels, each
enclosing assorted scenes of a different species of bird alternating
with an elaborate ikebana (flower arrangment) display, the silver cover
surmounted with a finial in the form of a silver eagle perched on a
rock, the cover, shoulder and foot applied with formal floral motifs in
coloured enamel; the base signed in a gold-lacquer reserve Yasuhide.
24.2cm (9½in) high. (2).
£3,000 - 4,000
JPY550,000 - 740,000
US$4,600 - 6,100
END OF SALE
504

SELECTED NETSUKE SIGNATURES
4 5 6 7 8 9 10
10 10 11 12 14 15 16
16 17 19 20 22 22 23
23 23 24 24 24 25 25
26 27 28 29 29 29 30
32 32 33 33 33 34 34
34 34 34 35 35 35 36 37
38 38 39 40 42 43 44 44
45 45 46 49 50 51 51 52
52 53 53 57 58 58 58 59
59 60 61 62 62 63 63 64
66 67 68 69 69 70 70 71
71 73 73 96 96 96 97
97 97 98 98 98 98 99 99
100 100 100 101 101 102 103 104

105 106 106 107 108 109 109 110
111 112 113 114 114 115 115 115
116 116 116 117 117 117 118 120
122 123 124 124 124 128 129 129 129

SELECTED METALWORK SIGNATURES
291 293 293 294 296 297 298
299 300 301 302 302 303 304 305
306 308 309 310 311 312 313
314 315 317 318 320 322 323 324
325 327 329 330 331 332 333 334

SELECTED IVORY SIGNATURES
441 441 442 443 444 445 445
445 446 447 447 448 448 448
449 450 451 452 453 454 455
456 456 456 456 457 458 459
460 461 462 463 464 465 466

467 469 469 469 469 469 470
471 472 472 473 474 475 476
477 479 481 482 489 491 491
492 494 495 497 498 500 501
503 503 504

An ExcEptionAl EuropEAn A mAGnificEnt impEriAl ru-tYpE prEviEWs
‘EiGht triGrAms’ moonflAsk 16 to 18 October, Shanghai
privAtE collEction of Qianlong seal mark and of the period 24 to 25 October, Beijing
chinEsE cErAmics And 51.5cm high 31 October to 1 November, Taipei
Works of Art 7 to 8 November, Singapore
HK$5,000,000-8,000,000 29 November to 3 December, Hong Kong
Thursday 3 December 2015
Bonhams Hong Kong Gallery An ExcEptionAllY rArE impEriAl EnQuiriEs
Suite 2001, One Pacific Place flAmBÉ-GlAZEd ‘EiGht triGrAms’ Hong Kong
Hong Kong moonflAsk +852 2918 4321
Yongzheng seal mark and of the period [email protected]
34.5cm high
HK$3,500,000-5,000,000
INTERNATIONAL ASIAN ART
AUCTION CALENDAR 2015/2016
2015 2016
ASIAN ART ASIAN DECORATIVE ART CHINESE WORKS OF ART

Monday 9 November Tuesday 8 March Tuesday 13 September
London, Knightsbridge San Francisco New York
THE EDWARD WRANGHAM INDIAN, HIMALAYAN & SOUTHEAST INDIAN, HIMALAYAN & SOUTHEAST
COLLECTION OF JAPANESE ART: ASIAN ART ASIAN ART
PART VI Monday 14 March Tuesday 13 September
Tuesday 10 November New York New York
London, New Bond Street
CHINESE WORKS OF ART FINE JAPANESE WORKS OF ART
THE MISUMI COLLECTION OF Tuesday 15 March Wednesday 14 September
IMPORTANT WORKS OF LACQUER New York New York
ART AND PAINTINGS: PART II
Tuesday 10 November FINE JAPANESE WORKS OF ART HOME & INTERIORS INCLUDING
London, New Bond Street Wednesday 16 March ASIAN ART
New York Tuesday 20 – Wednesday
FINE JAPANESE ART 21 September
Thursday 12 November HOME & INTERIORS INCLUDING London, Knightsbridge
London, New Bond Street ASIAN ART
Tuesday 5 – Wednesday 6 April ASIAN DECORATIVE ARTS
FINE CHINESE ART London, Knightsbridge Tuesday 18 October
Thursday 12 November San Francisco
London, New Bond Street ASIAN ART
Monday 9 May ASIAN ART
ASIAN ART London, Knightsbridge Monday 7 November
Wednesday 18 November London, Knightsbridge
Edinburgh FINE CHINESE ART
Thursday 12 May FINE CHINESE ART
FINE CHINESE CERAMICS AND London, New Bond Street Thursday 10 November
WORKS OF ART London, New Bond Street
Thursday 3 December FINE JAPANESE ART
Hong Kong Thursday 12 May FINE JAPANESE ART
London, New Bond Street Thursday 10 November
EXCEPTIONAL CHINESE ART FROM A London, New Bond Street
EUROPEAN PRIVATE COLLECTION FINE CHINESE CERAMICS AND
Thursday 3 December WORKS OF ART HOME & INTERIORS INCLUDING
Hong Kong Date to be advised ASIAN ART
Hong Kong Tuesday 15 November
IMPERIAL SPLENDOUR London, Knightsbridge
Thursday 3 December FINE CHINESE WORKS OF ART
Hong Kong Tuesday 21 June FINE CHINESE CERAMICS AND
San Francisco WORKS OF ART
Date to be advised
HOME & INTERIORS INCLUDING Hong Kong
ASIAN ART
Tuesday 21 June FINE CHINESE WORKS OF ART
London, Knightsbridge Tuesday 13 December
San Francisco
ASIAN DECORATIVE ARTS
Wednesday 22 June ASIAN DECORATIVE ARTS
San Francisco Wednesday 14 December
San Francisco
オークションご参加方法
オークションご参加方法

67(3 67(3 67(3 67(3 67(3 67(3
ご登録
67(3 情報入手
67(3 ｵｰｸｼｮﾝ
67(3 落札
67(3 支払
67(3 お引渡し
67(3
ご登録情報入手ｵｰｸｼｮﾝ落札支払お引渡し
．ご登録
．ご登録
オークションに参加される方は、事前にご本人確認書類をご提出いただき、弊社のアカウント登録をお願いいたします。
オークションに参加される方は、事前にご本人確認書類をご提出いただき、弊社のアカウント登録をお願いいたします。
 個人：①身分証明書（運転免許証・パスポート等のコピー） ②公共料金等の領収済領収書

 個人：①身分証明書（運転免許証・パスポート等のコピー）
法人：ご登録者の上記①② ②公共料金等の領収済領収書
③法人証明書類（登記簿謄（抄）本代表者事項証明書等）
 法人：ご登録者の上記①② ③法人証明書類（登記簿謄
（登記簿謄（抄）本代表者事項証明書等）
（抄）本/代表者事項証明書等）
ご参加いただくオークションによっては、銀行照会（銀行詳細、口座番号等）をお願いする場合があります。
ご参加いただくオークションによっては、銀行照会（銀行詳細、口座番号等）をお願いする場合があります。

．情報入手
．情報入手
弊社ウェブサイト（%RQKDPVFRP）で各オークションの詳細、電子カタログ等をご覧いただけます。また、ご興味のある品物がございま
弊社ウェブサイト（%RQKDPVFRP）で各オークションの詳細、電子カタログ等をご覧いただけます。また、ご興味のある品物がございま
したら、お品物の詳しい状態やカタログには掲載されていない詳細写真等を掲載したコンディション・レポートをお送りいたします。製本版
したら、お品物の詳しい状態やカタログには掲載されていない詳細写真等を掲載したコンディション・レポートをお送りいたします。製本版
カタログはオークション開催の約週間前から購入可能となります。年間を通じ、定期購読をお申込いただけます。
カタログはオークション開催の約
週間前から購入可能となります。年間を通じ、定期購読をお申込いただけます。

．オークション
．オークション
会場でのパドル入札のほか、書面、電話、ウェブによる入札を行っております。入札にご参加される場合は、事前に各開催地の入札参
会場でのパドル入札のほか、書面、電話、ウェブによる入札を行っております。入札にご参加される場合は、事前に各開催地の入札参
加条件（&RQGLWLRQRI6DOH1RWLFHWRELGGHU）をご一読いただき、ご希望オークションへの登録申込をお願いいたします。
加条件（&RQGLWLRQRI6DOH1RWLFHWRELGGHU）をご一読いただき、ご希望オークションへの登録申込をお願いいたします。
 会場でのパドル入札（$WWHQGHH%LGGLQJ）：会場内の登録カウンターでお申込いただきます（必ず身分証明書等をご
 会場でのパドル入札（$WWHQGHH%LGGLQJ）：会場内の登録カウンターでお申込いただきます（必ず身分証明書等をご
持参ください）。ご登録後、番号が付いたパドルをお貸出いたします。オークションはカタログに掲載されたロット順に行われますの
持参ください）。ご登録後、番号が付いたパドルをお貸出いたします。オークションはカタログに掲載されたロット順に行われますの
で、ご希望のお品物が登場した際、パドルをあげて入札の意思表示をお願いいたします。落札に成功されましたら、オークショニ
で、ご希望のお品物が登場した際、パドルをあげて入札の意思表示をお願いいたします。落札に成功されましたら、オークショニ
アがお客様のパドル番号を間違いなく読み上げたことをご確認ください。
 アがお客様のパドル番号を間違いなく読み上げたことをご確認ください。
書面入札（$EVHQWHH%LGGLQJ）電話入札（7HOHSKRQH%LGGLQJ）：事前の書面入札、当日の電話入札を受
 書面入札（$EVHQWHH%LGGLQJ）電話入札（7HOHSKRQH%LGGLQJ）：事前の書面入札、当日の電話入札を受
け付けております。カタログ巻末の「%LGGLQJ)RUP」に必要事項をご記入いただき、オークション開催時間前までに郵送、
け付けております。カタログ巻末の「%LGGLQJ)RUP」に必要事項をご記入いただき、オークション開催時間前までに郵送、
)D[、( メールにて弊社までお送りください（開催地、東京オフィスのいずれかで受付可）。電話入札の場合は、各部門スタッ
)D[、( メールにて弊社までお送りください（開催地、東京オフィスのいずれかで受付可）。電話入札の場合は、各部門スタッ
フが会場よりご指定の電話番号にご連絡いたします。
 フが会場よりご指定の電話番号にご連絡いたします。
ウェブによる /LYH 入札：事前（オークション開催時間前まで）にオンライン入札にご登録申込いただくと、ネット環境の
 ウェブによる /LYH 入札：事前（オークション開催時間前まで）にオンライン入札にご登録申込いただくと、ネット環境の
ある所であれば、どこからでもリアルタイムで入札が可能となり、画面を見ながらご自身で入札していただけます。
ある所であれば、どこからでもリアルタイムで入札が可能となり、画面を見ながらご自身で入札していただけます。

．落札
．落札
落札に成功されますと、インボイス（ご請求書）とお支払方法の確認書類等をお送りいたします。記載された金額をお確かめの上、お
落札に成功されますと、インボイス（ご請求書）とお支払方法の確認書類等をお送りいたします。記載された金額をお確かめの上、お
支払手続きをお願いいたします。なお、落札後のキャンセルはお受けできません。
支払手続きをお願いいたします。なお、落札後のキャンセルはお受けできません。
．お支払
．お支払
落札日の翌日から日以内に落札金額（+DPPHUSULFH）と落札手数料（%X\HU’s premium）の合計額をお支払ください。
落札日の翌日から日以内に落札金額（+DPPHUSULFH）と落札手数料（%X\HU’s premium）の合計額をお支払ください。
現金、銀行送金、クレジットカード等によるお支払が可能です。お品物によっては、日本に持ち込む際の関税や輸入消費税等の支払
現金、銀行送金、クレジットカード等によるお支払が可能です。お品物によっては、日本に持ち込む際の関税や輸入消費税等の支払
が必要となる場合がございます。
が必要となる場合がございます。
．お引渡し
．お引渡し
ご入金の確認がとれた後、お品物の引渡しが可能となります。お品物の輸送は、ご自身にて直接輸送会社をご手配いただくか、ボナム
ご入金の確認がとれた後、お品物の引渡しが可能となります。お品物の輸送は、ご自身にて直接輸送会社をご手配いただくか、ボナム
ズの輸送部を通じてお手続きを行うことができます。お品物によっては、輸出・輸入許可が必要になる場合がございます（例：象牙品
ズの輸送部を通じてお手続きを行うことができます。お品物によっては、輸出・輸入許可が必要になる場合がございます（例：象牙品
等ワシントン条約規制のお品物等）。
等ワシントン条約規制のお品物等）。
《お問合せ》ボナムズ東京オフィス〒105-0003 東京都港区西新橋 1-2-9 日比谷セントラルビル 14 階
Tel 03-5532-8636 / 〒105-0003
《お問合せ》ボナムズ東京オフィス Fax 03-5532-8637 / Email [email protected]
東京都港区西新橋 1-2-9 日比谷セントラルビル 14 階
NOTICE TO BIDDERS
This notice is addressed by Bonhams to any person who doing so. Such items which are unsuitable for connection or as to the anticipated or likely selling price of any Lot. No
may be interested in a Lot, including Bidders and potential are sold as items of interest for display purposes only. If you statement or representation by Bonhams or on its behalf in any
Bidders (including any eventual Buyer of the Lot). For ease of yourself do not have expertise regarding a Lot, you should way descriptive of any Lot or any Estimate is incorporated into
reference we refer to such persons as “Bidders” or “you”. Our consult someone who does to advise you. We can assist in our Buyer’s Agreement.
List of Definitions and Glossary is incorporated into this Notice arranging facilities for you to carry out or have carried out more
to Bidders. It is at Appendix 3 at the back of the Catalogue. detailed inspections and tests. Please ask our staff for details. Alterations
Where words and phrases are used in this notice which are in Descriptions and Estimates may be amended at Bonhams’
the List of Definitions, they are printed in italics. Any person who damages a Lot will be held liable for the discretion from time to time by notice given orally or in
loss caused. writing before or during a Sale.
IMPORTANT: Additional information applicable to the Sale
may be set out in the Catalogue for the Sale, in an insert in 3. DESCRIPTIONS OF LOTS AND ESTIMATES THE LOT IS AVAILABLE FOR INSPECTION AND YOU MUST
the Catalogue and/or in a notice displayed at the Sale venue FORM YOUR OWN OPINION IN RELATION TO IT. YOU ARE
and you should read them as well. Announcements affecting Contractual Description of a Lot STRONGLY ADVISED TO EXAMINE ANY LOT OR HAVE IT
the Sale may also be given out orally before and during the The Catalogue contains an Entry about each Lot. Each Lot EXAMINED ON YOUR BEHALF BEFORE THE SALE.
Sale without prior written notice. You should be alert to the is sold by its respective Seller to the Buyer of the Lot as
possibility of changes and ask in advance of bidding if there corresponding only with that part of the Entry which is 4. CONDUCT OF THE SALE
have been any. printed in bold letters and (except for the colour, which may
be inaccurately reproduced) with any photograph of the Lot Our Sales are public auctions which persons may attend and
1. OUR ROLE in the Catalogue. The remainder of the Entry, which is not you should take the opportunity to do so. We do reserve the
printed in bold letters, represents Bonhams’ opinion (given on right at our sole discretion to refuse admission to our premises
In its role as Auctioneer of Lots, Bonhams acts solely for behalf of the Seller) about the Lot only and is not part of the or to any Sale without stating a reason. We have complete
and in the interests of the Seller. Bonhams’ job is to sell the Contractual Description in accordance with which the Lot is discretion as to whether the Sale proceeds, whether any
Lot at the highest price obtainable at the Sale to a Bidder. sold by the Seller. Lot is included in the Sale, the manner in which the Sale is
Bonhams does not act for Buyers or Bidders in this role and conducted and we may offer Lots for Sale in any order we
does not give advice to Buyers or Bidders. When it or its Estimates choose notwithstanding the numbers given to Lots in the
staff make statements about a Lot or, if Bonhams provides In most cases, an Estimate is printed beside the Entry. Catalogue. You should therefore check the date and starting
a Condition Report on a Lot it is doing that on behalf of the Estimates are only an expression of Bonhams’ opinion made time of the Sale, whether there have been any withdrawals
Seller of the Lot. Bidders and Buyers who are themselves on behalf of the Seller of the range where Bonhams thinks the or late entries. Remember that withdrawals and late entries
not expert in the Lots are strongly advised to seek and obtain Hammer Price for the Lot is likely to fall; it is not an Estimate may affect the time at which a Lot you are interested in is put
independent advice on the Lots and their value before bidding of value. It does not take into account any VAT or Buyer’s up for Sale. We have complete discretion to refuse any bid,
for them. The Seller has authorised Bonhams to sell the Lot Premium payable. Lots can in fact sell for Hammer Prices to nominate any bidding increment we consider appropriate,
as its agent on its behalf and, save where we expressly make below and above the Estimate. Any Estimate should not be to divide any Lot, to combine two or more Lots, to withdraw
it clear to the contrary, Bonhams acts only as agent for the relied on as an indication of the actual selling price or value of a any Lot from a Sale and, before the Sale has been closed,
Seller. Any statement or representation we make in respect Lot. Estimates are in the currency of the Sale. to put up any Lot for auction again. Auction speeds can
of a Lot is made on the Seller’s behalf and, unless Bonhams exceed 100 Lots to the hour and bidding increments are
sells a Lot as principal, not on our behalf and any Contract for Condition Reports generally about 10%. However these do vary from Sale to
Sale is between the Buyer and the Seller and not with us. If In respect of most Lots, you may ask for a Condition Report Sale and from Auctioneer to Auctioneer. Please check with
Bonhams sells a Lot as principal this will either be stated in the on its physical condition from Bonhams. If you do so, this will the department organising the Sale for advice on this. Where
Catalogue or an announcement to that effect will be made by be provided by Bonhams on behalf of the Seller free of charge. a Reserve has been applied to a Lot, the Auctioneer may,
the Auctioneer, or it will be stated in a notice at the Sale or an Bonhams is not entering into a contract with you in respect in his absolute discretion, place bids (up to an amount not
insert in the Catalogue. of the Condition Report and accordingly does not assume equalling or exceeding such Reserve) on behalf of the Seller.
responsibility to you in respect of it. Nor does the Seller owe or We are not responsible to you in respect of the presence or
Bonhams does not owe or undertake or agree to any duty agree to owe you as a Bidder any obligation or duty in respect absence of any Reserve in respect of any Lot. If there is a
or responsibility to you in contract or tort (whether direct, of this free report about a Lot, which is available for your own Reserve it will normally be no higher than the lower figure for
collateral, express, implied or otherwise). If you successfully bid inspection or for inspection by an expert instructed by you. any Estimate in the Catalogue, assuming that the currency of
for a Lot and buy it, at that stage Bonhams does enter into an However, any written Description of the physical condition of the Reserve has not fluctuated adversely against the currency
agreement with the Buyer. The terms of that contract are set the Lot contained in a Condition Report will form part of the of the Estimate. The Buyer will be the Bidder who makes the
out in our Buyer’s Agreement, which you will find at Appendix Contractual Description of the Lot under which it is sold to highest bid acceptable to the Auctioneer for any Lot (subject
2 at the back of the Catalogue. This will govern Bonhams’ any Buyer. to any applicable Reserve) to whom the Lot is knocked down
relationship with the Buyer. by the Auctioneer at the fall of the Auctioneer’s hammer. Any
The Seller’s responsibility to you dispute as to the highest acceptable bid will be settled by the
2. LOTS The Seller does not make or agree to make any representation Auctioneer in his absolute discretion. All bids tendered will
of fact or contractual promise, Guarantee or warranty and relate to the actual Lot number announced by the Auctioneer.
Subject to the Contractual Description printed in bold letters undertakes no obligation or duty, whether in contract or in An electronic currency converter may be used at the Sale. This
in the Entry about the Lot in the Catalogue (see paragraph 3 tort (other than to the eventual Buyer as set out above), in equipment is provided as a general guide as to the equivalent
below), Lots are sold to the Buyer on an “as is” basis, with respect of the accuracy or completeness of any statement amount in certain currencies of a given bid. We do not accept
all faults and imperfections. Illustrations and photographs or representation made by him or on his behalf, which is in any responsibility for any errors which may occur in the use of
contained in the Catalogue (other than photographs forming any way descriptive of any Lot or as to the anticipated or the currency converter. We may use video cameras to record
part of the Contractual Description) or elsewhere of any Lots likely selling price of any Lot. Other than as set out above, no the Sale and may record telephone calls for reasons of security
are for identification purposes only. They may not reveal the statement or representation in any way descriptive of a Lot and to assist in solving any disputes which may arise in relation
true condition of the Lot. A photograph or illustration may not or any Estimate is incorporated into any Contract for Sale to bids made at the Sale. At some Sales, for example, jewellery
reflect an accurate reproduction of the colour(s) of the Lot. between a Seller and a Buyer. Sales, we may use screens on which images of the Lots will be
Lots are available for inspection prior to the Sale and it is for projected. This service is provided to assist viewing at the Sale.
you to satisfy yourself as to each and every aspect of a Lot, Bonhams’ responsibility to you The image on the screen should be treated as an indication
including its authorship, attribution, condition, provenance, You have the opportunity of examining the Lot if you want to only of the current Lot. It should be noted that all bids tendered
history, background, authenticity, style, period, age, suitability, and the Contract for Sale for a Lot is with the Seller and not will relate to the actual Lot number announced by
quality, roadworthiness (if relevant), origin, value and with Bonhams; Bonhams acts as the Seller’s agent only (unless the Auctioneer. We do not accept any responsibility for any
estimated selling price (including the Hammer Price). It is your Bonhams sells the Lot as principal). errors which may occur in the use of the screen.
responsibility to examine any Lot in which you are interested. It
should be remembered that the actual condition of a Lot may Bonhams undertakes no obligation to you to examine, 5. BIDDING
not be as good as that indicated by its outward appearance. investigate or carry out any tests, either in sufficient depth or at
In particular, parts may have been replaced or renewed and all, on each Lot to establish the accuracy or otherwise of any We do not accept bids from any person who has not
Lots may not be authentic or of satisfactory quality; the inside Descriptions or opinions given by Bonhams, or by any person completed and delivered to us one of our Bidding Forms,
of a Lot may not be visible and may not be original or may be on Bonhams’ behalf, whether in the Catalogue or elsewhere. either our Bidder Registration Form, Absentee Bidding Form or
damaged, as for example where it is covered by upholstery Telephone Bidding Form. You will be asked for proof of identity,
or material. Given the age of many Lots they may have been You should not suppose that such examinations, investigations residence and references, which, when asked for, you must
damaged and/or repaired and you should not assume that or tests have occurred. supply if your bids are to be accepted by us. Please bring
a Lot is in good condition. Electronic or mechanical parts your passport, driving licence (or similar photographic proof of
may not operate or may not comply with current statutory Bonhams does not make or agree to make any representation identity) and proof of address. We may request a deposit from
requirements. You should not assume that electrical items of fact, and undertakes no obligation or duty (whether in you before allowing you to bid. We may refuse entry to a Sale
designed to operate on mains electricity will be suitable for contract or tort) in respect of the accuracy or completeness to any person even if that person has completed a Bidding
connection to the mains electricity supply and you should of any statement or representation made by Bonhams or on Form.
obtain a report from a qualified electrician on their status before Bonhams’ behalf which is in any way descriptive of any Lot
NTB/MAIN/09.15
Bidding in person require proof of the agent’s client’s identity and residence in G Gold bullion exempt from VAT on the Hammer Price
You should come to our Bidder registration desk at the Sale advance of any bids made by the agent on his behalf. Please and subject to VAT at the prevailing rate on the Buyer’s
venue and fill out a Bidder Registration Form on (or, if possible, refer to our Conditions of Business and contact our Customer Premium
before) the day of the Sale. The bidding number system is Services Department for further details. • Zero rated for VAT, no VAT will be added to the Hammer
sometimes referred to as “paddle bidding”. You will be issued Price or the Buyer’s Premium
with a large card (a “paddle”) with a printed number on it. This 6. CONTRACTS BETWEEN THE BUYER AND a Buyers from within the EU: VAT is payable at the
will be attributed to you for the purposes of the Sale. Should SELLER AND THE BUYER AND BONHAMS prevailing rate on just the Buyer’s Premium (NOT the
you be a successful Bidder you will need to ensure that your Hammer Price). Buyers from outside the EU: VAT is
number can be clearly seen by the Auctioneer and that it is On the Lot being knocked down to the Buyer, a Contract for payable at the prevailing rate on both Hammer Price and
your number which is identified as the Buyer’s. You should not Sale of the Lot will be entered into between the Seller and the Buyer’s Premium. If a Buyer, having registered under
let anyone else use your paddle as all Lots will be invoiced to Buyer on the terms of the Contract for Sale set out in Appendix a non-EU address, decides that the item is not to be
the name and address given on your Bidder Registration Form. 1 at the back of the Catalogue. You will be liable to pay the exported from the EU, then he should advise Bonhams
Once an invoice is issued it will not be changed. If there is Purchase Price, which is the Hammer Price plus any applicable immediately.
any doubt as to the Hammer Price of, or whether you are the VAT. At the same time, a separate contract is also entered into
successful Bidder of, a particular Lot, you must draw this to between us as Auctioneers and the Buyer. This is our Buyer’s In all other instances no VAT will be charged on the Hammer
the attention of the Auctioneer before the next Lot is offered for Agreement, the terms of which are set out in Appendix 2 at the Price, but VAT at the prevailing rate will be added to Buyer’s
Sale. At the end of the Sale, or when you have finished bidding back of the Catalogue. Please read the terms of the Contract Premium which will be invoiced on a VAT inclusive basis.
please return your paddle to the Bidder registration desk. for Sale and our Buyer’s Agreement contained in the Catalogue
in case you are the successful Bidder. We may change the 9. PAYMENT
Bidding by telephone terms of either or both of these agreements in advance of
If you wish to bid at the Sale by telephone, please complete a their being entered into, by setting out different terms in the It is of critical importance that you ensure that you have readily
Telephone Bidding Form, which is available from our offices or Catalogue and/or by placing an insert in the Catalogue and/ available funds to pay the Purchase Price and the Buyer’s
in the Catalogue. Please then return it to the office responsible or by notices at the Sale venue and/or by oral announcements Premium (plus VAT and any other charges and Expenses to us)
for the Sale at least 24 hours in advance of the Sale. It is before and during the Sale. You should be alert to this in full before making a bid for the Lot. If you are a successful
your responsibility to check with our Bids Office that your possibility of changes and ask if there have been any. Bidder, payment will be due to us by 4.30 pm on the second
bid has been received. Telephone calls will be recorded. The working day after the Sale so that all sums are cleared by
telephone bidding facility is a discretionary service and may not 7. BUYER’S PREMIUM AND OTHER CHARGES the eighth working day after the Sale. Unless agreed by us in
be available in relation to all Lots. We will not be responsible PAYABLE BY THE BUYER advance payments made by anyone other than the registered
for bidding on your behalf if you are unavailable at the time of Buyer will not be accepted. Payment will have to be by one of
the Sale or if the telephone connection is interrupted during Under the Buyer’s Agreement, a premium (the Buyer’s the following methods (all cheques should be made payable to
bidding. Please contact us for further details. Premium) is payable to us by the Buyer in accordance with the Bonhams 1793 Limited). Bonhams reserves the right to vary
terms of the Buyer’s Agreement and at rates set out below, the terms of payment at any time.
Bidding by post or fax calculated by reference to the Hammer Price and payable in
Absentee Bidding Forms can be found in the back of this addition to it. Storage charges and Expenses are also payable Sterling personal cheque drawn on a UK branch of a bank or
Catalogue and should be completed and sent to the office by the Buyer as set out in the Buyer’s Agreement. All the sums building society: all cheques must be cleared before you can
responsible for the Sale. It is in your interests to return your payable to us by the Buyer are subject to VAT. For this Sale the collect your purchases;
form as soon as possible, as if two or more Bidders submit following rates of Buyer’s Premium will be payable by Buyers
identical bids for a Lot, the first bid received takes preference. of Lots: Cash: you may pay for Lots purchased by you at this Sale
In any event, all bids should be received at least 24 hours with notes, coins or travellers cheques in the currency in which
25% up to £50,000 of the Hammer Price
before the start of the Sale. Please check your Absentee the Sale is conducted (but not any other currency) provided
20% from £50,001 to £1,000,000 of the Hammer Price
Bidding Form carefully before returning it to us, fully completed that the total amount payable by you in respect of all Lots
12% from £1,000,001 of the Hammer Price
and signed by you. It is your responsibility to check with our purchased by you at the Sale does not exceed £3,000, or
Bids Office that your bid has been received. This additional the equivalent in the currency in which the Sale is conducted,
The Buyer’s premium is payable for the services to be provided
service is complimentary and is confidential. Such bids are at the time when payment is made. If the amount payable
by Bonhams in the Buyer’s Agreement which is contained in
made at your own risk and we cannot accept liability for our by you for Lots exceeds that sum, the balance must be paid
the Catalogue for this Sale and for the opportunity to bid for
failure to receive and/or place any such bids. All bids made otherwise than in coins, notes or travellers cheques;
the Lot at the Sale.
on your behalf will be made at the lowest level possible
subject to Reserves and other bids made for the Lot. Where Bank transfer: you may electronically transfer funds to our
On certain Lots, which will be marked “AR” in the Catalogue
appropriate your bids will be rounded down to the nearest Trust Account. If you do so, please quote your paddle number
and which are sold for a Hammer Price of €1,000 or greater
amount consistent with the Auctioneer’s bidding increments. and invoice number as the reference. Our Trust Account details
(converted into the currency of the Sale using the European
New Bidders must also provide proof of identity and address are as follows:
Central Bank Reference rate prevailing on the date of the Sale),
when submitting bids. Failure to do this will result in your bid
the Additional Premium will be payable to us by the Buyer to Bank: National Westminster Bank Plc
not being placed.
cover our Expenses relating to the payment of royalties under Address: PO Box 4RY
the Artists Resale Right Regulations 2006. The Additional 250 Regent Street
Bidding via the internet
Premium will be a percentage of the amount of the Hammer London W1A 4RY
Please visit our Website at http://www.bonhams.com for
Price calculated in accordance with the table below, and shall Account Name: Bonhams 1793 Limited Trust Account
details of how to bid via the internet.
not exceed €12,500 (converted into the currency of the Sale Account Number: 25563009
using the European Central Bank Reference rate prevailing on Sort Code: 56-00-27
Bidding through an agent
the date of the Sale). IBAN Number: GB 33 NWBK 560027 25563009
Bids will be accepted as placed on behalf of the person named
as the principal on the Bidding Form although we may refuse Hammer Price Percentage amount
If paying by bank transfer, the amount received after the
to accept bids from an agent on behalf of a principal and From €0 to €50,000 4%
deduction of any bank fees and/or conversion of the currency
will require written confirmation from the principal confirming From €50,000.01 to €200,000 3%
of payment to pounds sterling must not be less than the
the agent’s authority to bid. Nevertheless, as the Bidding From €200,000.01 to €350,000 1%
sterling amount payable, as set out on the invoice.
Form explains, any person placing a bid as agent on behalf From €350,000.01 to €500,000 0.5%
of another (whether or not he has disclosed that fact or the Exceeding €500,000 0.25%
Debit cards: there is no additional charge for purchases made
identity of his principal) will be jointly and severally liable with
with personal debit cards, issued by a UK bank. Debit cards
the principal to the Seller and to Bonhams under any contract 8. VAT
issued by an overseas bank, deferred and company debit
resulting from the acceptance of a bid. Subject to the above,
cards and all credit cards will be subject to a 2% surcharge;
please let us know if you are acting on behalf of another The prevailing rate of VAT at the time of going to press is 20%,
person when bidding for Lots at the Sale. but this is subject to government change and the rate payable
Credit cards: Visa and Mastercard only. Please note there is
will be the rate in force on the date of the Sale.
a 2% surcharge on the total invoice value when payments are
Equally, please let us know if you intend to nominate another
made using credit cards. It may be advisable to notify your
person to bid on your behalf at the Sale unless this is to be The following symbols are used to denote that VAT is due on
card provider of your intended purchase in advance to reduce
carried out by us pursuant to a Telephone or Absentee Bidding the Hammer Price and Buyer’s Premium:
delays caused by us having to seek authority when you come
Form that you have completed. If we do not approve the † VAT at the prevailing rate on Hammer Price and Buyer’s
to pay. If you have any questions with regard to payment,
agency arrangements in writing before the Sale, we are entitled Premium
please contact our Customer Services Department.
to assume that the person bidding at the Sale is bidding on Ω VAT on imported items at the prevailing rate on Hammer
his own behalf. Accordingly, the person bidding at the Sale will Price and Buyer’s Premium
China UnionPay (CUP) debit cards: No surcharge for using
be the Buyer and will be liable to pay the Hammer Price and * VAT on imported items at a preferential rate of 5%
CUP debit cards will apply on the first £100,000 invoiced
Buyer’s Premium and associated charges. If we approve the on Hammer Price and the prevailing rate on Buyer’s
to a Buyer in any Sale; a 2% surcharge will be made on the
identity of your client in advance, we will be in a position to Premium
balance over £100,000.
address the invoice to your principal rather than you. We will
NTB/MAIN/09.15
10. COLLECTION AND STORAGE indirectly) our liability or excluding or restricting any person’s Original Gun Specifications Derived from
rights or remedies in respect of (i) fraud, or (ii) death or Gunmakers
The Buyer of a Lot will not be allowed to collect it until payment personal injury caused by our negligence (or by the negligence The Sporting Gun Department endeavours to confirm a gun’s
in full and in cleared funds has been made (unless we have of any person under our control or for whom we are legally original specification and date of manufacture with makers who
made a special arrangement with the Buyer). For collection and responsible), or (iii) acts or omissions for which we are liable hold their original records.
removal of purchased Lots, please refer to Sale Information at under the Occupiers Liability Act 1957, or (iv) any other liability
the front of the Catalogue. Our offices are open 9.00am – 5pm to the extent the same may not be excluded or restricted as Licensing Requirements
Monday to Friday. Details relating to the collection of a Lot, the a matter of law or (v) our undertakings under paragraphs 9 (in Firearms Act 1968 as amended
storage of a Lot and our Storage Contractor after the Sale are relation to specialist Stamp or Book Sales only) and 10 of the Bonhams is constantly reviewing its procedures and would
set out in the Catalogue. Buyer’s Agreement. The same applies in respect of the Seller, remind you that, in the case of firearms or shotguns subject to
as if references to us in this paragraph were substituted with certification, to conform with current legislation, Bonhams is
11. SHIPPING references to the Seller. required to see, as appropriate, your original registered firearms
dealer’s certificate / shot gun certificate / firearm certificate /
Please refer all enquiries to our shipping department on: 15. BOOKS museum firearms licence / Section 5 authority or import licence
Tel: +44 (0)20 8963 2850/2852 Fax: +44 (0)20 8963 2805 (or details of any exemption from which you may benefit, for
Email: [email protected] As stated above, all Lots are sold on an “as is” basis, subject instance Crown servant status) for the firearm(s) you have
to all faults, imperfections and errors of Description save as purchased prior to taking full payment of the amount shown
12. EXPORT/TRADE RESTRICTIONS set out below. However, you will be entitled to reject a Book on your invoice. Should you not already be in possession of
in the circumstances set out in paragraph 11 of the Buyers such an authority or exemption, you are required to initially
It is your sole responsibility to comply with all export and Agreement. Please note that Lots comprising printed Books, pay a deposit of 95% of the total invoice with the balance of
import regulations relating to your purchases and also to unframed maps and bound manuscripts are not liable to VAT 5% payable on presentation of your valid certificate or licence
obtain any relevant export and/or import licence(s). Export on the Buyer’s Premium. showing your authority to hold the firearm(s) concerned.
licences are issued by Arts Council England and application
forms can be obtained from its Export Licensing Unit. The 16. CLOCKS AND WATCHES Please be advised that if a successful Bidder is then unable
detailed provisions of the export licencing arrangements can to produce the correct paperwork, the Lot(s) will be reoffered
be found on the ACE website http://www.artscouncil.org.uk/ All Lots are sold “as is”, and the absence of any reference to by Bonhams in the next appropriate Sale, on standard terms
what-we-do/supporting-museums/cultural-property/export- the condition of a clock or watch does not imply that the Lot is for Sellers, and you will be responsible for any loss incurred by
controls/export-licensing/ or by phoning ACE on +44 (0)20 in good condition and without defects, repairs or restorations. Bonhams on the original Sale to you.
7973 5188. The need for import licences varies from country Most clocks and watches have been repaired in the course of
to country and you should acquaint yourself with all relevant their normal lifetime and may now incorporate parts not original In the case of RFD certificates and Section 5 authorities, we
local requirements and provisions. The refusal of any import or to them. Furthermore, Bonhams makes no representation or wish to keep an up-to-date copy on file. Please supply us with
export licence(s) or warranty that any clock or watch is in working order. As clocks a Fax or photocopy. It would be helpful if you could send us an
any delay in obtaining such licence(s) shall not permit the and watches often contain fine and complex mechanisms, updated copy whenever your certificate or authority is renewed
rescission of any Sale nor allow any delay in making full Bidders should be aware that a general service, change of or changed.
payment for the Lot. Generally, please contact our shipping battery or further repair work, for which the Buyer is solely
department before the Sale if you require assistance in responsible, may be necessary. Bidders should be aware Lots marked ‘S1´ and bearing red labels are Section 1 firearms
relation to export regulations. that the importation of watches such as Rolex, Frank Muller and require a valid British Firearms certificate, RFD Licence or
and Corum into the United States is highly restricted. These import licence.
13. CITES REGULATIONS watches may not be shipped to the USA and can only be
imported personally. Lots marked ‘S2’ and bearing blue labels are Section 2
Please be aware that all Lots marked with the symbol Y are firearms and require a valid British Shotgun certificate, RFD
subject to CITES regulations when exporting these items 17. FIREARMS – PROOF, CONDITION AND licence or import licence.
outside the EU. These regulations may be found at CERTIFICATION
http://www.defra.gov.uk/ahvla-en/imports-exports/cites/ or Lots marked ‘S5´ and bearing specially marked red labels are
may be requested from: Proof of Firearms Section 5 prohibited firearms and require a valid Section 5
The term “proof exemption” indicates that a firearm has been Authority or import licence.
Animal Health and Veterinary Laboratories Agency (AHVLA)
examined at a Proof House, but not proved, as either (a) it was
Wildlife Licencing
deemed of interest and not intended for use, or (b) ammunition Lots marked with a ‘S58´ and bearing yellow labels are for
Floor 1, Zone 17, Temple Quay House
was not available. In either case, the firearm must be regarded obsolete calibres and no licence is required unless ammunition
2 The Square, Temple Quay
as unsafe to fire unless subsequently proved. Firearms is held.
BRISTOL BS1 6EB
proved for Black Powder should not be used with smokeless
Tel: +44 (0) 117 372 8774
ammunition. Unmarked Lots require no licence.
14. THE SELLERS AND/OR BONHAMS’ LIABILITY

The term “Certificate of Unprovability” indicates that a firearm Please do not hesitate to contact the Modern Sporting Gun
has been examined at a Proof House and is deemed both Department should you have any queries.
Other than any liability of the Seller to the Buyer of a Lot
unsuitable for proof and use. Reproof is required before any
under the Contract for Sale, neither we nor the Seller are
such firearm is to be used. Taxidermy and Related Items
liable (whether in negligence or otherwise) for any error or
As a Seller of these articles, Bonhams undertakes to comply
misdescription or omission in any Description of a Lot or any
Guns Sold as Parts fully with Cites and DEFRA regulations. Buyers are advised to
Estimate in respect of it, whether contained in the Catalogue or
Barrels of guns sold as parts will only be made available for inform themselves of all such regulations and should expect
otherwise, whether given orally or in writing and whether given
sleeving and measurements once rendered unserviceable the exportation of items to take some time to arrange.
before or during the Sale. Neither we nor the Seller will be
according to the Gun Barrel Proof Act of 1968 to 1978 and the
liable for any loss of Business, profits, revenue or income, or
Rules of Proof. 18. FURNITURE
for loss of reputation, or for disruption to Business or wasted
time on the part of management or staff, or for indirect losses
Condition of Firearms Upholstered Furniture
or consequential damages of any kind, irrespective in any
Comment in this Catalogue is restricted, in general, to Whilst we take every care in cataloguing furniture which has
case of the nature, volume or source of the loss or damage
exceptional condition and to those defects that might been upholstered we offer no Guarantee as to the originality
alleged to be suffered, and irrespective of whether the said
affect the immediate safety of a firearm in normal use. An of the wood covered by fabric or upholstery.
loss or damage is caused by or claimed in respect of any
intending Bidder unable to make technical examinations
negligence, other tort, breach of contract (if any) or statutory
and assessments is recommended to seek advice from a 19. JEWELLERY
duty, restitutionary claim or otherwise. In any circumstances
gunmaker or from a modern firearms specialist. All prospective
where we and/or the Seller are liable in relation to any Lot or
any Description or Estimate made of any Lot, or the conduct
Bidders are advised to consult the ˚ of bore and wall-thickness ͌ Ruby and Jadeite
Ruby and jadeite gemstones of Burmese (Myanmar) origin
measurements posted in the saleroom and available from the
of any Sale in relation to any Lot, whether in damages, for may not be imported into the US. Rubies and jadeite of
department. Bidders should note that guns are stripped only
an indemnity or contribution, or for a restitutionary remedy or non–Burmese origin require certification before import
where there
otherwise, our and/or the Seller’s liability (combined, if both into the US and it is the Buyer’s responsibility to obtain all
is a strong indication of a mechanical malfunction. Stripping
we and the Seller are liable) will be limited to payment of a sum relevant and required export/import licences, certificates
is not, otherwise, undertaken. Guns intended for use should
which will not exceed by way of maximum the amount of the and documentation before shipping. Failure by the Buyer to
be stripped and cleaned beforehand. Hammer guns should
Purchase Price of the Lot irrespective in any case of the nature, successfully import goods into the US does not constitute
have their rebound mechanisms checked before use. The
volume or source of any loss or damage alleged to be suffered grounds for non payment or cancellation of Sale. Bonhams
safety mechanisms of all guns must be tested before use.
or sum claimed as due, and irrespective of whether the liability will not be responsible for any additional costs in this regard
All measurements are approximate.
arises from any negligence, other tort, breach of contract (if howsoever incurred.
any) or statutory duty or otherwise. Nothing set out above will
be construed as excluding or restricting (whether directly or
NTB/MAIN/09.15
Gemstones 21. PICTURES It is not our policy to inspect every unopened case. In the case
Historically many gemstones have been subjected to a variety of wines older than 20 years the boxes will usually have been
Explanation of Catalogue Terms
of treatments to enhance their appearance. Sapphires and opened and levels and appearance noted in the Catalogue
The following terms used in the Catalogue have the following
rubies are routinely heat treated to improve their colour and where necessary. You should make proper allowance for
meanings but are subject to the general provisions relating to
clarity, similarly emeralds are frequently treated with oils variations in ullage levels and conditions of corks, capsules
Descriptions contained in the Contract for Sale:
or resin for the same purpose. Other treatments such as and labels.
• “Jacopo Bassano”: in our opinion a work by the artist.
staining, irradiation or coating may have been used on other
When the artist’s forename(s) is not known, a series of
gemstones. These treatments may be permanent, whilst Corks and Ullages
asterisks, followed by the surname of the artist, whether
others may need special care or re-treatment over the years Ullage refers to the space between the base of the cork
preceded by an initial or not, indicates that in our opinion
to retain their appearance. Bidders should be aware that and the wine. Ullage levels for Bordeaux shaped bottles are
the work is by the artist named;
Estimates assume that gemstones may have been subjected only normally noted when below the neck and for Burgundy,
• “Attributed to Jacopo Bassano”: in our opinion probably
to such treatments. A number of laboratories issue certificates Alsace, German and Cognac shaped bottles when greater
a work by the artist but less certainty as to authorship is
that give more detailed Descriptions of gemstones. However than 4 centimetres (cm). Acceptable ullage levels increase with
expressed than in the preceding category;
there may not be consensus between different laboratories on age; generally acceptable levels are as follows:
• “Studio/Workshop of Jacopo Bassano”: in our opinion a
the degrees, or types of treatment for any particular gemstone.
work by an unknown hand in a studio of the artist which Under 15 years old – into neck or less than 4cm
In the event that Bonhams has been given or has obtained
may or may not have been executed under the artist’s 15 to 30 years old – top shoulder (ts) or up to 5cm
certificates for any Lot in the Sale these certificates will be
direction; Over 30 years old – high shoulder (hs) or up to 6cm
disclosed in the Catalogue. Although, as a matter of policy,
• “Circle of Jacopo Bassano”: in our opinion a work by
Bonhams endeavours to provide certificates from recognised
a hand closely associated with a named artist but not It should be noted that ullages may change between
laboratories for certain gemstones, it is not feasible to obtain
necessarily his pupil; publication of the Catalogue and the Sale and that corks may
certificates for each Lot. In the event that no certificate is
• “Follower of Jacopo Bassano”: in our opinion a work by a fail as a result of transporting the wine. We will only accept
published in the Catalogue, Bidders should assume that the
painter working in the artist’s style, contemporary or nearly responsibility for Descriptions of condition at the time of
gemstones may have been treated. Neither Bonhams nor
contemporary, but not necessarily his pupil; publication of the Catalogue and cannot accept responsibility
the Seller accepts any liability for contradictions or differing
• “Manner of Jacopo Bassano”: in our opinion a work in the for any loss resulting from failure of corks either before or after
certificates obtained by Buyers on any Lots subsequent to
style of the artist and of a later date; this point.
the Sale.
• “After Jacopo Bassano”: in our opinion, a copy of a known
work of the artist; Options to buy parcels
Estimated Weights
• “Signed and/or dated and/or inscribed”: in our opinion the A parcel is a number of Lots of identical size of the same wine,
If a stone(s) weight appears within the body of the Description
signature and/or date and/or inscription are from the hand bottle size and Description. The Buyer of any of these Lots has
in capital letters, the stone(s) has been unmounted and
of the artist; the option to accept some or all of the remaining Lots in the
weighed by Bonhams. If the weight of the stone(s) is stated
• “Bears a signature and/or date and/or inscription”: in our parcel at the same price, although such options will be at the
to be approximate and does not appear in capital letters, the
opinion the signature and/or date and/or inscription have Auctioneer’s sole discretion. Absentee Bidders are, therefore,
stone(s) has been assessed by us within its/their settings,
been added by another hand. advised to bid on the first Lot in a parcel.
and the stated weight is a statement of our opinion only. This
information is given as a guide and Bidders should satisfy
22. PORCELAIN AND GLASS Wines in Bond
themselves with regard to this information as to its accuracy.
Wines lying in Bond are marked Δ and VAT is payable by the
Damage and Restoration purchaser, at the standard rate, on the Hammer Price, unless
Signatures
For your guidance, in our Catalogues we detail, as far as the wines are to remain under Bond. Buyers requiring their
1. A diamond brooch, by Kutchinsky
practicable, recorded all significant defects, cracks and wine to remain in Bond must notify Bonhams at the time of
When the maker’s name appears in the title, in Bonhams’
restoration. Such practicable Descriptions of damage cannot the Sale. The Buyer is then himself responsible for all duty,
opinion the piece is by that maker.
be definitive, and in providing Condition Reports, we cannot clearance VAT and other charges that may be payable thereon.
Guarantee that there are no other defects present which have All such Lots must be transferred or collected within two
2. A diamond brooch, signed Kutchinsky
not been mentioned. Bidders should satisfy themselves by weeks of the Sale.
Has a signature that, in Bonhams’ opinion, is authentic but
inspection, as to the condition of each Lot. Please see the
may contain gemstones that are not original, or the piece may
Contract for Sale printed in this Catalogue. Because of the Buyers outside the UK must be aware that any forwarding
have been altered.
difficulty in determining whether an item of glass has been agent appointed to export their purchases must have a
repolished, in our Catalogues reference is only made to visible movement certificate for Lots to be released under Bond.
3. A diamond brooch, mounted by Kutchinsky
chips and cracks. No mention is made of repolishing, severe
Has been created by the jeweller, in Bonhams’ opinion, but
or otherwise. Bottling Details and Case Terms
using stones or designs supplied by the client.
The following terms used in the Catalogue have the following
23. VEHICLES meanings:
20. PHOTOGRAPHS
CB – Château bottled
Explanation of Catalogue Terms The Veteran Car Club of Great Britain DB – Domaine bottled
• “Bill Brandt”: in our opinion a work by the artist. EstB – Estate bottled
• “Attributed to Bill Brandt”: in our opinion probably a work by Dating Plates and Certificates BB – Bordeaux bottled
the artist, but less certainty to authorship is expressed than When mention is made of a Veteran Car Club Dating Plate or BE – Belgian bottled
in the preceding category. Dating Certificate in this Catalogue, it should be borne in mind FB – French bottled
• “Signed and/or titled and/or dated and/or inscribed”: in that the Veteran Car Club of Great Britain using the services of GB – German bottled
our opinion the signature and/or title and/or date and/or Veteran Car Company Ltd, does from time to time, review cars OB – Oporto bottled
inscription are in the artist’s hand. already dated and, in some instances, where fresh evidence UK – United Kingdom bottled
• “Signed and/or titled and/or dated and/or inscribed in becomes available, the review can result in an alteration of owc – original wooden case
another hand”: in our opinion the signature and/or title and/ date. Whilst the Club and Veteran Car Company Ltd make iwc – individual wooden case
or date and/or inscription have been added by every effort to ensure accuracy, the date shown on the Dating oc – original carton
another hand. Plate or Dating Certificate cannot be guaranteed as correct and
• The date given is that of the image (negative). Where no intending purchasers should make their own enquiries as to the
further date is given, this indicates that the photographic date of the car.
print is vintage (the term “vintage” may also be included in
the Lot Description). A vintage photograph is one which 24. WINE
was made within approximately 5-10 years of the negative.
Where a second, later date appears, this refers to the date Lots which are lying under Bond and those liable to VAT may
of printing. Where the exact printing date is not known, but not be available for immediate collection.
understood to be later, “printed later” will appear in the Lot
Description. Examining the wines
• Unless otherwise specified, dimensions given are those of It is occasionally possible to provide a pre-Sale tasting for
the piece of paper on which the image is printed, including larger parcels (as defined below). This is generally limited to
any margins. Some photographs may appear in the more recent and everyday drinking wines. Please contact the
Catalogue without margins illustrated. department for details.
• All photographs are sold unframed unless stated in the Lot
Description.
NTB/MAIN/09.15
SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any
undertaking, whether implied by the Sale of Goods
THE FOLLOWING SYMBOLS ARE USED TO 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality
DENOTE of the Lot or its fitness for any purpose.
2.1.1 the Seller is the owner of the Lot or is duly authorised
Y Subject to CITES regulations when exporting these items
to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE
outside the EU, see clause 13.
W Objects displayed with a w will be located in the
2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked
Bonhams Warehouse and will only be available for
Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s
collection from this location.
guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will
≈ Please note that as a result of recent legislation ruby and
liquidator, receiver or administrator, with whatever not be responsible thereafter for the Lot prior to
jadeite gem stones of Burmese (Myanmar) origin may
right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage
not be imported into the US. Rubies and jadeite of non-
Contractor, with whom you have separate contract(s)
Burmese origin require certification before import into the
2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the
US.
liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims,
Δ Wines lying in Bond.
legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in
AR An Additional Premium will be payable to us by the Buyer
of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the
to cover our Expenses relating to payment of royalties
and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until you
under the Artists Resale Right Regulations 2006. See
the terms implied by the Sale of Goods Act 1979, obtain full title to it.
clause 7 for details.
Sections 12(1) and 12(2) (see the Definitions and
○ The Seller has been guaranteed a minimum price for the
Glossary); 5.2 Title to the Lot remains in and is retained by the
Lot, either by Bonhams or a third party. This may take the
Seller until the Purchase Price and all other sums
form of an irrevocable bid by a third party, who may make
2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot
a financial gain on a successful Sale or a financial loss if
otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared
unsuccessful.
and all duties and taxes in respect of the export or funds by, Bonhams.
▲ Bonhams owns the Lot either wholly or partially or may
import of the Lot have (unless stated to the contrary
otherwise have an economic interest.
in the Catalogue or announced by the Auctioneer) 6 PAYMENT
Ф This lot contains or is made of ivory. The United States
been paid and, so far as the Seller is aware, all third
Government has banned the import of ivory into
parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises
the USA.
the past; when the Lot is knocked down to you on the fall of
the Auctioneer’s hammer in respect of the Lot.
•, †, *, G, Ω, a see clause 8, VAT, for details.
2.1.5 subject to any alterations expressly identified as such
made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment of
DATA PROTECTION – USE OF YOUR INFORMATION
or by the Notice to Bidders or by an insert in the the Purchase Price and all other sums payable by
Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you
Where we obtain any personal information about you, we
Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case
shall only use it in accordance with the terms of our Privacy
about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement),
Policy (subject to any additional specific consent(s) you may
letters and (except for colour) with any photograph of all such sums must be paid to Bonhams by you
have given at the time your information was disclosed). A
the Lot in the Catalogue and the contents of in the currency in which the Sale was conducted
copy of our Privacy Policy can be found on our Website www.
any Condition Report which has been provided to by not later than 4.30pm on the second working
bonhams.com or requested by post from Customer Services
the Buyer. day following the Sale and you must ensure that
Department, 101 New Bond Street, London, W1S 1SR or by
the funds are cleared by the seventh working day
email from [email protected]
3 DESCRIPTIONS OF THE LOT after the Sale. Payment must be made to Bonhams
by one of the methods stated in the Notice to
APPENDIX 1
3.1 Paragraph 2.1.5 sets out what is the Contractual Bidders unless otherwise agreed with you in writing
Description of the Lot. In particular, the Lot is not by Bonhams. If you do not pay any sums due in
CONTRACT FOR SALE
sold as corresponding with that part of the Entry in accordance with this paragraph, the Seller will have
the Catalogue which is not printed in bold letters, the rights set out in paragraph 8 below.
IMPORTANT: These terms may be changed in advance of
which merely sets out (on the Seller’s behalf)
the Sale of the Lot to you, by the setting out of different terms
Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT
in the Catalogue for the Sale and/or by placing an insert in the
part of the Contractual Description upon which the
Catalogue and/or by notices at the Sale venue and/or by oral
Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by
announcements before and during the Sale at the Sale venue.
than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your
You should be alert to this possibility of changes and ask in
2.1.5 (together with any express alteration to it order only when Bonhams has received cleared
advance of bidding if there have been any.
as referred to in paragraph 2.1.5), including any funds to the amount of the full Purchase Price and
Description or Estimate, whether made orally or in all other sums owed by you to the Seller and to
Under this contract the Seller’s liability in respect of the quality
writing, including in the Catalogue or on Bonhams’ Bonhams.
of the Lot, it’s fitness for any purpose and its conformity with
Website, or by conduct, or otherwise, and whether
any Description is limited. You are strongly advised to examine
by or on behalf of the Seller or Bonhams and 7.2 The Seller is entitled to withhold possession from you
the Lot for yourself and/or obtain an independent examination
whether made prior to or during the Sale, is not part of any other Lot he has sold to you at the same or
of it before you buy it.
of the Contractual Description upon which the Lot is at any other Sale and whether currently in Bonhams’
sold. possession or not until payment in full and in cleared
1 THE CONTRACT
funds of the Purchase Price and all other sums due
3.2 Except as provided in paragraph 2.1.5, the Seller to the Seller and/or Bonhams in respect of the Lot.
1.1 These terms govern the Contract for Sale of the Lot
does not make or give and does not agree to
by the Seller to the Buyer.
make or give any contractual promise, undertaking, 7.3 You will collect and remove the Lot at your own
obligation, guarantee, warranty, or representation expense from Bonhams’ custody and/ or control or
1.2 The Definitions and Glossary contained in Appendix
of fact, or undertake any duty of care, in relation to from the Storage Contractor’s custody in accordance
3 in the Catalogue are incorporated into this Contract
any Description of the Lot or any Estimate in relation with Bonhams’ instructions or requirements.
for Sale and a separate copy can also be provided
to it, nor of the accuracy or completeness of any
by Bonhams on request. Where words and phrases
Description or Estimate which may have been made 7.4 You will be wholly responsible for packing, handling
are used which are in the List of Definitions, they are
by or on behalf of the Seller including by Bonhams. and transport of the Lot on collection and for
printed in italics.
No such Description or Estimate is incorporated into complying with all import or export regulations in
this Contract for Sale. connection with the Lot.
1.3 The Seller sells the Lot as the principal to the
Contract for Sale, such contract being made
4 FITNESS FOR PURPOSE AND 7.5 You will be wholly responsible for any removal,
between the Seller and you through Bonhams which
SATISFACTORY QUALITY storage or other charges or Expenses incurred
acts in the sole capacity as the Seller’s agent and not
by the Seller if you do not remove the Lot in
as an additional principal. However, if the Catalogue
4.1 The Seller does not make and does not agree accordance with this paragraph 7 and will
states that Bonhams sells the Lot as principal, or
to make any contractual promise, undertaking, indemnify the Seller against all charges, costs,
such a statement is made by an announcement
obligation, guarantee, warranty, or representation of including any legal costs and fees, Expenses and
by the Auctioneer, or by a notice at the Sale, or an
fact in relation to the satisfactory quality of the Lot or losses suffered by the Seller by reason of your
insert in the Catalogue, then Bonhams is the Seller
its fitness for any purpose. failure to remove the Lot including any charges
for the purposes of this agreement.
due under any Storage Contract. All such sums
due to the Seller will be payable on demand.
1.4 The contract is made on the fall of the Auctioneer’s
hammer in respect of the Lot when it is knocked
NTB/MAIN/09.15
down to you.
8 FAILURE TO PAY FOR THE LOT 9 THE SELLER’S LIABILITY 10.3 If either party to the Contract for Sale is prevented
from performing that party’s respective obligations
8.1 If the Purchase Price for a Lot is not paid to 9.1 The Seller will not be liable for any injury, loss or under the Contract for Sale by circumstances
Bonhams in full in accordance with the Contract for damage caused by the Lot after the fall of the beyond its reasonable control or if performance of its
Sale the Seller will be entitled, with the prior written Auctioneer’s hammer in respect of the Lot. obligations would by reason of such circumstances
agreement of Bonhams but without further notice to give rise to a significantly increased financial
you, to exercise one or more of the following rights 9.2 Subject to paragraph 9.3 below, except for breach of cost to it, that party will not, for so long as such
(whether through Bonhams or otherwise): the express undertaking provided in paragraph 2.1.5, circumstances prevail, be required to perform such
the Seller will not be liable for any breach of any term obligations. This paragraph does not apply to the
8.1.1 to terminate immediately the Contract for Sale of the that the Lot will correspond with any Description obligations imposed on you by paragraph 6.
Lot for your breach of contract; applied to it by or on behalf of the Seller, whether
implied by the Sale of Goods Act 1979 or otherwise. 10.4 Any notice or other communication to be given
8.1.2 to resell the Lot by auction, private treaty or any under the Contract for Sale must be in writing and
other means on giving seven days’ written notice to 9.3 Unless the Seller sells the Lot in the course of a may be delivered by hand or sent by first class
you of the intention to resell; Business and the Buyer buys it as a Consumer, post or air mail or fax transmission, if to the Seller,
addressed c/o Bonhams at its address or fax
8.1.3 to retain possession of the Lot; 9.3.1 the Seller will not be liable (whether in negligence, number in the Catalogue (marked for the attention of
other tort, breach of contract or statutory duty or in the Company Secretary), and if to you to the address
8.1.4 to remove and store the Lot at your expense; restitution or under the Misrepresentation Act 1967, or fax number of the Buyer given in the Bidding Form
or in any other way) for any lack of conformity with, (unless notice of any change of address is given in
8.1.5 to take legal proceedings against you for any sum or inaccuracy, error, misdescription or omission in writing). It is the responsibility of the sender of the
due under the Contract for Sale and/or damages for any Description of the Lot or any Entry or Estimate in notice or communication to ensure that it is received
breach of contract; relation to the Lot made by or on behalf of the Seller in a legible form within any applicable time period.
(whether made in writing, including in the Catalogue,
8.1.6 to be paid interest on any monies due (after as well or on the Website, or orally, or by conduct or 10.5 If any term or any part of any term of the Contract
as before judgement or order) at the annual rate otherwise) and whether made before or after this for Sale is held to be unenforceable or invalid,
of 5% per annum above the base rate of National agreement or prior to or during the Sale; such unenforceability or invalidity will not affect the
Westminster Bank Plc from time to time to be enforceability and validity of the remaining terms or
calculated on a daily basis from the date upon which 9.3.2 the Seller will not be liable for any loss of Business, the remainder of the relevant term.
such monies become payable until the date of actual Business profits or revenue or income or for loss of
payment; reputation or for disruption to Business or wasted 10.6 References in the Contract for Sale to Bonhams will,
time on the part of the Buyer or of the Buyer’s where appropriate, include reference to Bonhams’
8.1.7 to repossess the Lot (or any part thereof) which has management or staff or, for any indirect losses or officers, employees and agents.
not become your property, and for this purpose consequential damages of any kind, irrespective in
(unless the Buyer buys the Lot as a Consumer from any case of the nature, volume or source of the loss 10.7 The headings used in the Contract for Sale are for
the Seller selling in the course of a Business) you or damage alleged to be suffered, and irrespective convenience only and will not affect its interpretation.
hereby grant an irrevocable licence to the Seller by of whether the said loss or damage is caused by
himself and to his servants or agents to enter upon or claimed in respect of any negligence, other tort, 10.8 In the Contract for Sale “including” means “including,
all or any of your premises (with or without vehicles) breach of contract, statutory duty, restitutionary claim without limitation”.
during normal Business hours to take possession of or otherwise;
the Lot or part thereof; 10.9 References to the singular will include reference to
9.3.3 in any circumstances where the Seller is liable to the plural (and vice versa) and reference to any one
8.1.8 to retain possession of any other property sold to you in respect of the Lot, or any act, omission, gender will include reference to the other genders.
you by the Seller at the Sale or any other auction statement, or representation in respect of it, or
or by private treaty until all sums due under the this agreement or its performance, and whether in 10.10 Reference to a numbered paragraph is to a
Contract for Sale shall have been paid in full in damages, for an indemnity or contribution or for paragraph of the Contract for Sale.
cleared funds; a restitutionary remedy or in any way whatsoever,
the Seller’s liability will be limited to payment of a 10.11 Save as expressly provided in paragraph 10.12
8.1.9 to retain possession of, and on three months’ written sum which will not exceed by way of maximum the nothing in the Contract for Sale confers (or purports
notice to sell, Without Reserve, any of your other amount of the Purchase Price of the Lot irrespective to confer) on any person who is not a party to the
property in the possession of the Seller and/or of in any case of the nature, volume or source of Contract for Sale any benefit conferred by, or the
Bonhams (as bailee for the Seller) for any purpose any loss or damage alleged to be suffered or sum right to enforce any term of, the Contract for Sale.
(including, without limitation, other goods sold to claimed as due, and irrespective of whether the
you) and to apply any monies due to you as a result liability arises from any negligence, other tort, breach 10.12 Where the Contract for Sale confers an immunity
of such Sale in satisfaction or part satisfaction of any of contract, statutory duty, bailee’s duty, restitutionary from, and/or an exclusion or restriction of, the
amounts owed to the Seller or to Bonhams; and claim or otherwise. responsibility and/or liability of the Seller, it will also
operate in favour and for the benefit of Bonhams,
8.1.10 so long as such goods remain in the possession 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will Bonhams’ holding company and the subsidiaries
of the Seller or Bonhams as its bailee, to rescind be construed as excluding or restricting (whether of such holding company and the successors and
the contract for the Sale of any other goods sold to directly or indirectly) any person’s liability or excluding assigns of Bonhams and of such companies and of
you by the Seller at the Sale or at any other auction or restricting any person’s rights or remedies in any officer, employee and agent of Bonhams and
or by private treaty and apply any monies received respect of (i) fraud, or (ii) death or personal injury such companies, each of whom will be entitled to
from you in respect of such goods in part or full caused by the Seller’s negligence (or any person rely on the relevant immunity and/or exclusion and/or
satisfaction of any amounts owed to the Seller or to under the Seller’s control or for whom the Seller is restriction within and for the purposes of Contracts
Bonhams by you. legally responsible), or (iii) acts or omissions for which (Rights of Third Parties) Act 1999, which enables the
the Seller is liable under the Occupiers Liability Act benefit of a contract to be extended to a person who
8.2 You agree to indemnify the Seller against all legal 1957, or (iv) any other liability to the extent the same is not a party to the contract, and generally at law.
and other costs of enforcement, all losses and other may not be excluded or restricted as a matter of law.
Expenses and costs (including any monies payable 11 GOVERNING LAW
to Bonhams in order to obtain the release of the 10 MISCELLANEOUS
Lot) incurred by the Seller (whether or not court All transactions to which the Contract for Sale
proceedings will have been issued) as a result of 10.1 You may not assign either the benefit or burden of applies and all connected matters will be governed
Bonhams taking steps under this paragraph 8 on the Contract for Sale. by and construed in accordance with the laws of
a full indemnity basis together with interest thereon that part of the United Kingdom where the Sale
(after as well as before judgement or order) at the 10.2 The Seller’s failure or delay in enforcing or exercising takes place and the Seller and you each submit to
rate specified in paragraph 8.1.6 from the date upon any power or right under the Contract for Sale will the exclusive jurisdiction of the courts of that part
which the Seller becomes liable to pay the same until not operate or be deemed to operate as a waiver of of the United Kingdom, save that the Seller may
payment by you. his rights under it except to the extent of any express bring proceedings against you in any other court of
waiver given to you in writing. Any such waiver will competent jurisdiction to the extent permitted by
8.3 On any resale of the Lot under paragraph 8.1.2, the not affect the Seller’s ability subsequently to enforce the laws of the relevant jurisdiction. Bonhams has a
Seller will account to you in respect of any balance any right arising under the Contract for Sale. complaints procedure in place.
remaining from any monies received by him or on
his behalf in respect of the Lot, after the payment of
all sums due to the Seller and to Bonhams, within
28 days of receipt of such monies by him or on his
behalf.
NTB/MAIN/09.15
APPENDIX 2 3 PAYMENT 4.4 If you have not collected the Lot by the date
specified in the Notice to Bidders, you authorise us,
BUYER’S AGREEMENT 3.1 Unless agreed in writing between you and us or as acting as your agent and on your behalf, to enter
otherwise set out in the Notice to Bidders, you must into a contract (the “Storage Contract”) with the
IMPORTANT: These terms may be changed in advance of pay to us by not later than 4.30pm on the second Storage Contractor for the storage of the Lot on the
the Sale of the Lot to you, by the setting out of different terms working day following the Sale: then current standard terms and conditions agreed
in the Catalogue for the Sale and/or by placing an insert in the between Bonhams and the Storage Contractor
Catalogue and/or by notices at the Sale venue and/or by oral 3.1.1 the Purchase Price for the Lot; (copies of which are available on request). If the Lot
announcements before and during the Sale at the Sale venue. is stored at our premises storage fees at our current
You should be alert to this possibility of changes and ask in 3.1.2 a Buyer’s Premium in accordance with the rates set daily rates (currently a minimum of £3 plus VAT per
advance of bidding if there have been any. out in the Notice to Bidders, and Lot per day) will be payable from the expiry of the
period referred to in paragraph 4.2. These storage
1 THE CONTRACT 3.1.3 if the Lot is marked [AR], an Additional Premium fees form part of our Expenses.
which is calculated and payable in accordance with
1.1 These terms govern the contract between Bonhams the Notice to Bidders together with VAT on that sum 4.5 Until you have paid the Purchase Price and any
personally and the Buyer, being the person to whom if applicable so that all sums due to us are cleared Expenses in full the Lot will either be held by us as
a Lot has been knocked down by the Auctioneer. funds by the seventh working day after the Sale. agent on behalf of the Seller or held by the Storage
Contractor as agent on behalf of the Seller and
1.2 The Definitions and Glossary contained in Appendix 3.2 You must also pay us on demand any Expenses ourselves on the terms contained in the Storage
3 to the Catalogue for the Sale are incorporated payable pursuant to this agreement. Contract.
into this agreement and a separate copy can also
be provided by us on request. Where words and 3.3 All payments to us must be made in the currency 4.6 You undertake to comply with the terms of any
phrases which are defined in the List of Definitions in which the Sale was conducted, using, unless Storage Contract and in particular to pay the
are used in this agreement, they are printed in italics. otherwise agreed by us in writing, one of the charges (and all costs of moving the Lot into storage)
Reference is made in this agreement to information methods of payment set out in the Notice to due under any Storage Contract. You acknowledge
printed in the Notice to Bidders, printed in the Bidders. Our invoices will only be addressed to the and agree that you will not be able to collect the Lot
Catalogue for the Sale, and where such information registered Bidder unless the Bidder is acting as an from the Storage Contractor’s premises until you
is referred to it is incorporated into this agreement. agent for a named principal and we have approved have paid the Purchase Price, any Expenses and all
that arrangement, in which case we will address the charges due under the Storage Contract.
1.3 Except as specified in paragraph 4 of the Notice to invoice to the principal.
Bidders the Contract for Sale of the Lot between you 4.7 You will be wholly responsible for packing, handling
and the Seller is made on the fall of the Auctioneer’s 3.4 Unless otherwise stated in this agreement all and transport of the Lot on collection and for
hammer in respect of the Lot, when it is knocked sums payable to us will be subject to VAT at the complying with all import or export regulations in
down to you. At that moment a separate contract is appropriate rate and VAT will be payable by you on connection with the Lot.
also made between you and Bonhams on the terms all such sums.
in this Buyer’s Agreement. 4.8 You will be wholly responsible for any removal,
3.5 We may deduct and retain for our own benefit from storage, or other charges for any Lot not removed
1.4 We act as agents for the Seller and are not the monies paid by you to us the Buyer’s Premium, in accordance with paragraph 4.2, payable at our
answerable or personally responsible to you for any the Commission payable by the Seller in respect current rates, and any Expenses we incur (including
breach of contract or other default by the Seller, of the Lot, any Expenses and VAT and any interest any charges due under the Storage Contract), all of
unless Bonhams sells the Lot as principal. earned and/or incurred until payment to the Seller. which must be paid by you on demand and in any
event before any collection of the Lot by you or on
1.5 Our personal obligations to you are governed by 3.6 Time will be of the essence in relation to any your behalf.
this agreement and we agree, subject to the terms payment payable to us. If you do not pay the
below, to the following obligations: Purchase Price, or any other sum due to us in 5 STORING THE LOT
accordance with this paragraph 3, we will have the
1.5.1 we will, until the date and time specified in the Notice rights set out in paragraph 7 below. We agree to store the Lot until the earlier of your
to Bidders or otherwise notified to you, store the Lot removal of the Lot or until the time and date set out
in accordance with paragraph 5; 3.7 Where a number of Lots have been knocked down in the Notice to Bidders, on the Sale Information
to you, any monies we receive from you will be Page or at the back of the catalogue (or if no date
1.5.2 subject to any power of the Seller or us to refuse to applied firstly pro-rata to pay the Purchase Price of is specified, by 4.30pm on the seventh day after the
release the Lot to you, we will release the Lot to you each Lot and secondly pro-rata to pay all amounts Sale) and, subject to paragraphs 6 and 10, to be
in accordance with paragraph 4 once you have paid due to Bonhams. responsible as bailee to you for damage to or the
to us, in cleared funds, everything due to us and the loss or destruction of the Lot (notwithstanding that it
Seller; 4 COLLECTION OF THE LOT is not your property before payment of the Purchase
Price). If you do not collect the Lot before the time
1.5.3 we will provide guarantees in the terms set out in 4.1 Subject to any power of the Seller or us to refuse and date set out in the Notice to Bidders (or if no
paragraphs 9 and 10. to release the Lot to you, once you have paid to us, date is specified, by 4.30pm on the seventh day
in cleared funds, everything due to the Seller and after the Sale) we may remove the Lot to another
1.6 We do not make or give and do not agree to make to us, we will release the Lot to you or as you may location, the details of which will usually be set out
or give any contractual promise, undertaking, direct us in writing. The Lot will only be released on in the relevant section of the Catalogue. If you have
obligation, Guarantee, warranty, representation of production of a buyer collection document, obtained not paid for the Lot in accordance with paragraph 3,
fact in relation to any Description of the Lot or any from our cashier’s office. and the Lot is moved to any third party’s premises,
Estimate in relation to it, nor of the accuracy or the Lot will be held by such third party strictly to
completeness of any Description or Estimate which 4.2 You must collect and remove the Lot at your own Bonhams’ order and we will retain our lien over the
may have been made by us or on our behalf or by expense by the date and time specified in the Notice Lot until we have been paid in full in accordance with
or on behalf of the Seller (whether made orally or in to Bidders, or if no date is specified, by 4.30pm on paragraph 3.
writing, including in the Catalogue or on Bonhams’ the seventh day after the Sale.
Website, or by conduct, or otherwise), and whether 6 RESPONSIBILITY FOR THE LOT
made before or after this agreement or prior to or 4.3 For the period referred to in paragraph 4.2, the Lot
during the Sale. No such Description or Estimate is can be collected from the address referred to in the 6.1 Only on the payment of the Purchase Price to us
incorporated into this agreement between you and Notice to Bidders for collection on the days and will title in the Lot pass to you. However under the
us. Any such Description or Estimate, if made by us times specified in the Notice to Bidders. Thereafter, Contract for Sale, the risk in the Lot passed to you
or on our behalf, was (unless Bonhams itself sells the Lot may be removed elsewhere for storage and when it was knocked down to you.
the Lot as principal) made as agent on behalf of the you must enquire from us as to when and where you
Seller. can collect it, although this information will usually be 6.2 You are advised to obtain insurance in respect of the
set out in the Notice to Bidders. Lot as soon as possible after the Sale.
2 PERFORMANCE OF THE CONTRACT FOR
SALE
You undertake to us personally that you will

observe and comply with all your obligations and
undertakings to the Seller under the Contract for
Sale in respect of the Lot.
NTB/MAIN/09.15
7 FAILURE TO PAY OR TO REMOVE THE LOT 7.3 If you pay us only part of the sums due to us such 9.3 Paragraph 9 will not apply in respect of a Forgery if:
AND PART PAYMENTS payment shall be applied firstly to the Purchase Price
of the Lot (or where you have purchased more than 9.3.1 the Entry in relation to the Lot contained in the
7.1 If all sums payable to us are not so paid in full at one Lot pro-rata towards the Purchase Price of each Catalogue reflected the then accepted general
the time they are due and/or the Lot is not removed Lot) and secondly to the Buyer’s Premium (or where opinion of scholars and experts or fairly indicated
in accordance with this agreement, we will without you have purchased more than one Lot pro-rata to that there was a conflict of such opinion or reflected
further notice to you be entitled to exercise one or the Buyer’s Premium on each Lot) and thirdly to any the then current opinion of an expert acknowledged
more of the following rights (without prejudice to any other sums due to us. to be a leading expert in the relevant field; or
rights we may exercise on behalf of the Seller):
7.4 We will account to you in respect of any balance we 9.3.2 it can be established that the Lot is a Forgery only
7.1.1 to terminate this agreement immediately for your hold remaining from any monies received by us in by means of a process not generally accepted for
breach of contract; respect of any Sale of the Lot under our rights under use until after the date on which the Catalogue was
this paragraph 7 after the payment of all sums due to published or by means of a process which it was
7.1.2 to retain possession of the Lot; us and/or the Seller within 28 days of receipt by us of unreasonable in all the circumstances for us to have
all such sums paid to us. employed.
7.1.3 to remove, and/or store the Lot at your expense;
8 CLAIMS BY OTHER PERSONS IN RESPECT 9.4 You authorise us to carry out such processes and
7.1.4 to take legal proceedings against you for payment OF THE LOT tests on the Lot as we in our absolute discretion
of any sums payable to us by you (including the consider necessary to satisfy ourselves that the Lot
Purchase Price) and/or damages for breach of 8.1 Whenever it becomes apparent to us that the Lot is is or is not a Forgery.
contract; the subject of a claim by someone other than you
and other than the Seller (or that such a claim can 9.5 If we are satisfied that a Lot is a Forgery we will (as
7.1.5 to be paid interest on any monies due to us (after reasonably be expected to be made), we may, at our principal) purchase the Lot from you and you will
as well as before judgement or order) at the annual absolute discretion, deal with the Lot in any manner transfer the title to the Lot in question to us, with
rate of 5% per annum above the base lending rate which appears to us to recognise the legitimate full title guarantee, free from any liens, charges,
of National Westminster Bank Plc from time to time interests of ourselves and the other parties involved encumbrances and adverse claims, in accordance
to be calculated on a daily basis from the date upon and lawfully to protect our position and our legitimate with the provisions of Sections 12(1) and 12(2) of
which such monies become payable until the date of interests. Without prejudice to the generality of the the Sale of Goods Act 1979 and we will pay to you
actual payment; discretion and by way of example, we may: an amount equal to the sum of the Purchase Price,
Buyer’s Premium, VAT and Expenses paid by you in
7.1.6 to repossess the Lot (or any part thereof) which has 8.1.1 retain the Lot to investigate any question raised or respect of the Lot.
not become your property, and for this purpose reasonably expected by us to be raised in relation to
(unless you buy the Lot as a Consumer) you hereby the Lot; and/or 9.6 The benefit of paragraph 9 is personal to, and
grant an irrevocable licence to us, by ourselves, our incapable of assignment by, you.
servants or agents, to enter upon all or any of your 8.1.2 deliver the Lot to a person other than you; and/or
premises (with or without vehicles) during normal 9.7 If you sell or otherwise dispose of your interest in the
business hours to take possession of any Lot or part 8.1.3 commence interpleader proceedings or seek any Lot, all rights and benefits under this paragraph will
thereof; other order of any court, mediator, arbitrator or cease.
government body; and/or
7.1.7 to sell the Lot Without Reserve by auction, private 9.8 Paragraph 9 does not apply to a Lot made up of or
treaty or any other means on giving you three 8.1.4 require an indemnity and/or security from you in including a Chinese painting or Chinese paintings, a
months’ written notice of our intention to do so; return for pursuing a course of action agreed to by motor vehicle or motor vehicles, a Stamp or Stamps
you. or a Book or Books.
7.1.8 to retain possession of any of your other property in
our possession for any purpose (including, without 8.2 The discretion referred to in paragraph 8.1: 10 OUR LIABILITY
limitation, other goods sold to you or with us for Sale)
until all sums due to us have been paid in full; 8.2.1 may be exercised at any time during which we have 10.1 We will not be liable whether in negligence, other
actual or constructive possession of the Lot, or at tort, breach of contract or statutory duty or in
7.1.9 to apply any monies received from you for any any time after such possession, where the cessation restitution or under the Misrepresentation Act 1967
purpose whether at the time of your default or at any of such possession has occurred by reason of any or in any other way for lack of conformity with or
time thereafter in payment or part payment of any decision, order or ruling of any court, mediator, any inaccuracy, error, misdescription or omission in
sums due to us by you under this agreement; arbitrator or government body; and any Description of the Lot or any Entry or Estimate
in respect of it, made by us or on our behalf or by
7.1.10 on three months’ written notice to sell, Without 8.2.2 will not be exercised unless we believe that there or on behalf of the Seller (whether made in writing,
Reserve, any of your other property in our exists a serious prospect of a good arguable case in including in the Catalogue, or on the Bonhams’
possession or under our control for any purpose favour of the claim. Website, or orally, or by conduct or otherwise) and
(including other goods sold to you or with us for whether made before or after this agreement or prior
Sale) and to apply any monies due to you as a result 9 FORGERIES to or during the Sale.
of such Sale in payment or part payment of any
amounts owed to us; 9.1 We undertake a personal responsibility for any 10.2 Our duty to you while the Lot is at your risk and/or
Forgery in accordance with the terms of this your property and in our custody and/or control is to
7.1.11 refuse to allow you to register for a future Sale or to paragraph 9. exercise reasonable care in relation to it, but we will
reject a bid from you at any future Sale or to require not be responsible for damage to the Lot or to other
you to pay a deposit before any bid is accepted by 9.2 Paragraph 9 applies only if: persons or things caused by:
us at any future Sale in which case we will be entitled
to apply such deposit in payment or part payment, 9.2.1 your name appears as the named person to whom 10.2.1 handling the Lot if it was affected at the time of Sale
as the case may be, of the Purchase Price of any Lot the original invoice was made out by us in respect of to you by woodworm and any damage is caused as
of which you are the Buyer. the Lot and that invoice has been paid; and a result of it being affected by woodworm; or
7.2 You agree to indemnify us against all legal and other 9.2.2 you notify us in writing as soon as reasonably 10.2.2 changes in atmospheric pressure; nor will we be
costs, all losses and all other Expenses (whether or practicable after you have become aware that the liable for:
not court proceedings will have been issued) incurred Lot is or may be a Forgery, and in any event within
by us as a result of our taking steps under this one year after the Sale, that the Lot is a Forgery; and 10.2.3 damage to tension stringed musical instruments; or
paragraph 7 on a full indemnity basis together with
interest thereon (after as well as before judgement or 9.2.3 within one month after such notification has been 10.2.4 damage to gilded picture frames, plaster picture
order) at the rate specified in paragraph 7.1.5 from given, you return the Lot to us in the same condition frames or picture frame glass; and if the Lot is or
the date upon which we become liable to pay the as it was at the time of the Sale, accompanied by becomes dangerous, we may dispose of it without
same until payment by you. written evidence that the Lot is a Forgery and details notice to you in advance in any manner we think fit
of the Sale and Lot number sufficient to identify the and we will be under no liability to you for doing so.
Lot.
NTB/MAIN/09.15
10.3.1 We will not be liable to you for any loss of Business, the Entry in the Catalogue in respect of the Lot 12.7 The headings used in this agreement are for
Business profits, revenue or income or for loss of reflected the then accepted general opinion of convenience only and will not affect its interpretation.
Business reputation or for disruption to Business or scholars and experts or fairly indicated that there
wasted time on the part of the Buyer’s management was a conflict of such opinion; or 12.8 In this agreement “including” means “including,
or staff or, if you are buying the Lot in the course of without limitation”.
a Business, for any indirect losses or consequential it can be established that the Lot is a non-
damages of any kind, irrespective in any case of conforming Lot only by means of a process not 12.9 References to the singular will include reference to
the nature, volume or source of the loss or damage generally accepted for use until after the date on the plural (and vice versa) and reference to any one
alleged to be suffered, and irrespective of whether which the Catalogue was published or by means gender will include reference to the other genders.
the said loss or damage is caused by or claimed of a process which it was unreasonable in all the
in respect of any negligence, other tort, breach of circumstances for us to have employed; or 12.10 Reference to a numbered paragraph is to a
contract, statutory duty, bailee’s duty, a restitutionary paragraph of this agreement.
claim or otherwise. the Lot comprises atlases, maps, autographs,
manuscripts, extra illustrated books, music or 12.11 Save as expressly provided in paragraph 12.12
10.3.2 Unless you buy the Lot as a Consumer, in any periodical publications; or nothing in this agreement confers (or purports to
circumstances where we are liable to you in confer) on any person who is not a party to this
respect of a Lot, or any act, omission, statement, the Lot was listed in the Catalogue under agreement any benefit conferred by, or the right to
representation in respect of it, or this agreement “collections” or “collections and various” or the Lot enforce any term of, this agreement.
or its performance, and whether in damages, for was stated in the Catalogue to comprise or contain a
an indemnity or contribution or for a restitutionary collection, issue or Books which are undescribed or 12.12 Where this agreement confers an immunity
remedy or in any way whatsoever, our liability will be the missing text or illustrations are referred to or the from, and/or an exclusion or restriction of, the
limited to payment of a sum which will not exceed relevant parts of the Book contain blanks, half titles responsibility and/or liability of Bonhams, it will also
by way of maximum the amount of the Purchase or advertisements. operate in favour and for the benefit of Bonhams’
Price of the Lot plus Buyer’s Premium (less any holding company and the subsidiaries of such
sum you may be entitled to recover from the Seller) If we are reasonably satisfied that a Lot is a non- holding company and the successors and assigns
irrespective in any case of the nature, volume or conforming Lot, we will (as principal) purchase the of Bonhams and of such companies and of any
source of any loss or damage alleged to be suffered Lot from you and you will transfer the title to the Lot officer, employee and agent of Bonhams and such
or sum claimed as due, and irrespective of whether in question to us, with full title guarantee, free from companies, each of whom will be entitled to rely
the liability arises from negligence, other tort, any liens, charges, encumbrances and adverse on the relevant immunity and/or exclusion and/or
breach of contract, statutory duty, bailee’s duty, a claims and we will pay to you an amount equal to restriction within and for the purposes of Contracts
restitutionary claim or otherwise. the sum of the Purchase Price and Buyer’s Premium (Rights of Third Parties) Act 1999, which enables the
paid by you in respect of the Lot. benefit of a contract to be extended to a person who
You may wish to protect yourself against loss by is not a party to the contract, and generally at law.
obtaining insurance. The benefit of paragraph 10 is personal to, and
incapable of assignment by, you and if you sell or 13 GOVERNING LAW
10.4 Nothing set out above will be construed as excluding otherwise dispose of your interest in the Lot, all rights
or restricting (whether directly or indirectly) any and benefits under this paragraph will cease. All transactions to which this agreement applies
person’s liability or excluding or restricting any and all connected matters will be governed by and
person’s rights or remedies in respect of (i) fraud, or 12 MISCELLANEOUS construed in accordance with the laws of that part
(ii) death or personal injury caused by our negligence of the United Kingdom where the Sale takes (or
(or any person under our control or for whom we 12.1 You may not assign either the benefit or burden of is to take) place and we and you each submit to
are legally responsible), or (iii) acts or omissions for this agreement. the exclusive jurisdiction of the courts of that part
which we are liable under the Occupiers Liability Act of the United Kingdom, save that we may bring
1957, or (iv) any other liability to the extent the same 12.2 Our failure or delay in enforcing or exercising any proceedings against you in any other court of
may not be excluded or restricted as a matter of law, power or right under this agreement will not operate competent jurisdiction to the extent permitted by
or (v) under our undertaking in paragraph 9 of these or be deemed to operate as a waiver of our rights the laws of the relevant jurisdiction. Bonhams has a
conditions. under it except to the extent of any express waiver complaints procedure in place.
given to you in writing. Any such waiver will not affect
11 BOOKS MISSING TEXT OR ILLUSTRATIONS our ability subsequently to enforce any right arising DATA PROTECTION – USE OF YOUR INFORMATION
under this agreement.
Where the Lot is made up wholly of a Book or Books Where we obtain any personal information about you, we
and any Book does not contain text or illustrations (in 12.3 If either party to this agreement is prevented from shall only use it in accordance with the terms of our Privacy
either case referred to as a “non-conforming Lot”), performing that party’s respective obligations Policy (subject to any additional specific consent(s) you may
we undertake a personal responsibility for such a under this agreement by circumstances beyond its have given at the time your information was disclosed). A
non-conforming Lot in accordance with the terms of reasonable control or if performance of its obligations copy of our Privacy Policy can be found on our Website www.
this paragraph, if: would by reason of such circumstances give rise bonhams.com or requested by post from Customer Services
to a significantly increased financial cost to it, that Department, 101 New Bond Street, London W1S 1SR, United
the original invoice was made out by us to you in party will not, for so long as such circumstances Kingdom or by email from [email protected].
respect of the Lot and that invoice has been paid; prevail, be required to perform such obligations. This
and paragraph does not apply to the obligations imposed APPENDIX 3
on you by paragraph 3.
you notify us in writing as soon as reasonably DEFINITIONS AND GLOSSARY
practicable after you have become aware that the 12.4 Any notice or other communication to be given
Lot is or may be a non-conforming Lot, and in any under this agreement must be in writing and may Where these Definitions and Glossary are incorporated, the
event within 20 days after the Sale (or such longer be delivered by hand or sent by first class post or following words and phrases used have (unless the context
period as we may agree in writing) that the Lot is a air mail or fax transmission (if to Bonhams marked otherwise requires) the meanings given to them below. The
non-conforming Lot; and for the attention of the Company Secretary), to the Glossary is to assist you to understand words and phrases
address or fax number of the relevant party given which have a specific legal meaning with which you may not
within 20 days of the date of the relevant Sale (or in the Contract Form (unless notice of any change be familiar.
such longer period as we may agree in writing) you of address is given in writing). It is the responsibility
return the Lot to us in the same condition as it was of the sender of the notice or communication to LIST OF DEFINITIONS
at the time of the Sale, accompanied by written ensure that it is received in a legible form within any
evidence that the Lot is a non-conforming Lot and applicable time period. “Additional Premium” a premium, calculated in accordance
details of the Sale and Lot number sufficient to with the Notice to Bidders, to cover Bonhams’ Expenses
identify the Lot. 12.5 If any term or any part of any term of this agreement relating to the payment of royalties under the Artists Resale
is held to be unenforceable or invalid, such Right Regulations 2006 which is payable by the Buyer to
but not if: unenforceability or invalidity will not affect the Bonhams on any Lot marked [AR] which sells for a Hammer
enforceability and validity of the remaining terms or Price which together with the Buyer’s Premium (but excluding
the Entry in the Catalogue in respect of the Lot the remainder of the relevant term. any VAT) equals or exceeds 1000 euros (converted into
indicates that the rights given by this paragraph do the currency of the Sale using the European Central Bank
not apply to it; or 12.6 References in this agreement to Bonhams will, where Reference rate prevailing on the date of the Sale).
appropriate, include reference to Bonhams’ officers, “Auctioneer” the representative of Bonhams conducting
employees and agents. the Sale.
356 | BONHAMS NTB/MAIN/09.15

“Bidder” a person who has completed a Bidding Form. “Loss and Damage Warranty” means the warranty described “artist’s resale right”: the right of the creator of a work of art
“Bidding Form” our Bidding Registration Form, our Absentee in paragraph 8.2 of the Conditions of Business. to receive a payment on Sales of that work subsequent to the
Bidding Form or our Telephone Bidding Form. “Loss and Damage Warranty Fee” means the fee described original Sale of that work by the creator of it as set out in the
“Bonhams” Bonhams 1793 Limited or its successors or in paragraph 8.2.3 of the Conditions of Business. Artists Resale Right Regulations 2006.
assigns. Bonhams is also referred to in the Buyer’s Agreement, “Lot” any item consigned to Bonhams with a view to its Sale “bailee”: a person to whom goods are entrusted.
the Conditions of Business and the Notice to Bidders by the at auction or by private treaty (and reference to any Lot will “indemnity”: an obligation to put the person who has the
words “we”, “us” and “our”. include, unless the context otherwise requires, reference to benefit of the indemnity in the same position in which he would
“Book” a printed Book offered for Sale at a specialist Book individual items comprised in a group of two or more items have been, had the circumstances giving rise to the indemnity
Sale. offered for Sale as one Lot). not arisen and the expression “indemnify” is construed
“Business” includes any trade, Business and profession. “Motoring Catalogue Fee” a fee payable by the Seller to accordingly.
“Buyer” the person to whom a Lot is knocked down by the Bonhams in consideration of the additional work undertaken “interpleader proceedings”: proceedings in the Courts to
Auctioneer. The Buyer is also referred to in the Contract for by Bonhams in respect of the cataloguing of motor vehicles determine ownership or rights over a Lot.
Sale and the Buyer’s Agreement by the words “you” and and in respect of the promotion of Sales of motor vehicles. “knocked down”: when a Lot is sold to a Bidder, indicated by
“your”. “New Bond Street” means Bonhams’ saleroom at 101 New the fall of the hammer at the Sale.
“Buyer’s Agreement” the contract entered into by Bonhams Bond Street, London W1S 1SR. “lien”: a right for the person who has possession of the Lot to
with the Buyer (see Appendix 2 in the Catalogue). “Notional Charges” the amount of Commission and VAT retain possession of it.
“Buyer’s Premium” the sum calculated on the Hammer Price which would have been payable if the Lot had been sold at the “risk”: the possibility that a Lot may be lost, damaged,
at the rates stated in the Notice to Bidders. Notional Price. destroyed, stolen, or deteriorate in condition or value.
“Catalogue” the Catalogue relating to the relevant Sale, “Notional Fee” the sum on which the Consignment Fee “title”: the legal and equitable right to the ownership of a Lot.
including any representation of the Catalogue published on payable to Bonhams by the Seller is based and which is “tort”: a legal wrong done to someone to whom the wrong
our Website. calculated according to the formula set out in the Conditions doer has a duty of care.
“Commission” the Commission payable by the Seller to of Business.
Bonhams calculated at the rates stated in the Contract Form. “Notional Price” the latest in time of the average of the SALE OF GOODS ACT 1979
“Condition Report” a report on the physical condition of a Lot high and low Estimates given by us to you or stated in the
provided to a Bidder or potential Bidder by Bonhams on behalf Catalogue or, if no such Estimates have been given or stated, The following is an extract from the Sale of Goods Act 1979:
of the Seller. the Reserve applicable to the Lot.
“Conditions of Sale” the Notice to Bidders, Contract for Sale, “Notice to Bidders” the notice printed at the back or front of “Section 12 Implied terms about title, etc
Buyer’s Agreement and Definitions and Glossary. our Catalogues.
“Consignment Fee” a fee payable to Bonhams by the Seller “Purchase Price” the aggregate of the Hammer Price and (1) In a contract of sale, other than one to which subsection
calculated at rates set out in the Conditions of Business. VAT on the Hammer Price (where applicable), the Buyer’s (3) below applies, there is an implied term on the part of
“Consumer” a natural person who is acting for the relevant Premium and VAT on the Buyer’s Premium and any Expenses. the seller that in the case of a sale he has a right to sell
purpose outside his trade, Business or profession. “Reserve” the minimum price at which a Lot may be sold the goods, and in the case of an agreement to sell he
“Contract Form” the Contract Form, or vehicle Entry form, as (whether at auction or by private treaty). will have such a right at the time when the property is to
applicable, signed by or on behalf of the Seller listing the Lots “Sale” the auction Sale at which a Lot is to be offered for Sale pass.
to be offered for Sale by Bonhams. by Bonhams.
“Contract for Sale” the Sale contract entered into by the “Sale Proceeds” the net amount due to the Seller from the (2) In a contract of sale, other than one to which subsection
Seller with the Buyer (see Appendix 1 in the Catalogue). Sale of a Lot, being the Hammer Price less the Commission, (3) below applies, there is also an implied term that-
“Contractual Description” the only Description of the Lot any VAT chargeable thereon, Expenses and any other amount
(being that part of the Entry about the Lot in the Catalogue due to us in whatever capacity and howsoever arising. (a) the goods are free, and will remain free until
which is in bold letters, any photograph (except for the colour) “Seller” the person who offers the Lot for Sale named on the time when the property is to pass, from any
and the contents of any Condition Report) to which the Seller the Contract Form. Where the person so named identifies on charge or encumbrance not disclosed or known
undertakes in the Contract of Sale the Lot corresponds. the form another person as acting as his agent, or where the to the buyer before the contract is made, and
“Description” any statement or representation in any person named on the Contract Form acts as an agent for a
way descriptive of the Lot, including any statement or principal (whether such agency is disclosed to Bonhams or (b) the buyer will enjoy quiet possession of the
representation relating to its authorship, attribution, condition, not), “Seller” includes both the agent and the principal who goods except in so far as it may be disturbed by
provenance, authenticity, style, period, age, suitability, quality, shall be jointly and severally liable as such. The Seller is also the owner or other person entitled to the benefit
origin, value, estimated selling price (including the Hammer referred to in the Conditions of Business by the words “you” of any charge or encumbrance so disclosed or
Price). and “your”. known.
“Entry” a written statement in the Catalogue identifying the “Specialist Examination” a visual examination of a Lot by a
Lot and its Lot number which may contain a Description and specialist on the Lot. (3) This subsection applies to a contract of sale in the
illustration(s) relating to the Lot. “Stamp” means a postage Stamp offered for Sale at a case of which there appears from the contract or is
“Estimate” a statement of our opinion of the range within Specialist Stamp Sale. to be inferred from its circumstances an intention that
which the hammer is likely to fall. “Standard Examination” a visual examination of a Lot by a the seller should transfer only such title as he or a third
“Expenses” charges and Expenses paid or payable by non-specialist member of Bonhams’ staff. person may have.
Bonhams in respect of the Lot including legal Expenses, “Storage Contract” means the contract described in
banking charges and Expenses incurred as a result of paragraph 8.3.3 of the Conditions of Business or paragraph (4) In a contract to which subsection (3) above applies there
an electronic transfer of money, charges and Expenses 4.4 of the Buyer’s Agreement (as appropriate). is an implied term that all charges or encumbrances
for loss and damage cover, insurance, Catalogue and “Storage Contractor” means the company identified as such known to the seller and not known to the buyer have
other reproductions and illustrations, any customs duties, in the Catalogue. been disclosed to the buyer before the contract is
advertising, packing or shipping costs, reproductions rights’ “Terrorism” means any act or threatened act of terrorism, made.
fees, taxes, levies, costs of testing, searches or enquiries, whether any person is acting alone or on behalf of or in
preparation of the Lot for Sale, storage charges, removal connection with any organisation(s) and/or government(s), (5) In a contract to which subsection (3) above applies
charges, removal charges or costs of collection from the Seller committed for political, religious or ideological or similar there is also an implied term that none of the following
as the Seller’s agents or from a defaulting Buyer, plus VAT if purposes including, but not limited to, the intention to influence will disturb the buyer’s quiet possession of the goods,
applicable. any government and/or put the public or any section of the namely:
“Forgery” an imitation intended by the maker or any other public into fear.
person to deceive as to authorship, attribution, origin, “Trust Account” the bank account of Bonhams into which all (a) the seller;
authenticity, style, date, age, period, provenance, culture, sums received in respect of the Purchase Price of any
source or composition, which at the date of the Sale had a Lot will be paid, such account to be a distinct and separate (b) in a case where the parties to the contract intend
value materially less than it would have had if the Lot had not account to Bonhams’ normal business bank account. that the seller should transfer only such title as a
been such an imitation, and which is not stated to be such “VAT” value added tax at the prevailing rate at the date of the third person may have, that person;
an imitation in any description of the Lot. A Lot will not be a Sale in the United Kingdom.
Forgery by reason of any damage to, and/or restoration and/ “Website” Bonhams Website at www.bonhams.com (c) anyone claiming through or under the seller or
or modification work (including repainting or over painting) “Withdrawal Notice” the Seller’s written notice to Bonhams that third person otherwise than under a charge
having been carried out on the Lot, where that damage, revoking Bonhams’ instructions to sell a Lot. or encumbrance disclosed or known to the buyer
restoration or modification work (as the case may be) does not “Without Reserve” where there is no minimum price at which before the contract is made.
substantially affect the identity of the Lot as one conforming to a Lot may be sold (whether at auction or by private treaty).
the Description of the Lot. (5A) As regards England and Wales and Northern Ireland, the
“Guarantee” the obligation undertaken personally by GLOSSARY term implied by subsection (1) above is a condition and
Bonhams to the Buyer in respect of any Forgery and, in the the terms implied by subsections (2), (4) and (5) above
case of specialist Stamp Sales and/or specialist Book Sales, a The following expressions have specific legal meanings with are warranties.”
Lot made up of a Stamp or Stamps or a Book or Books as set which you may not be familiar. The following glossary is
out in the Buyer’s Agreement. intended to give you an understanding of those expressions
“Hammer Price” the price in the currency in which the Sale is but is not intended to limit their legal meanings:
conducted at which a Lot is knocked down by the Auctioneer.
NTB/MAIN/09.15
Bonhams Specialist Departments To e-mail any of the below use the first name dot second
name @bonhams.com eg. [email protected]
19th Century Paintings British & European Furniture & Works of Art Motor Cars Scientific Instruments
UK Porcelain & Pottery UK UK Jon Baddeley
Charles O’ Brien UK Guy Savill Tim Schofield +44 20 7393 3872
+44 20 7468 8360 John Sandon +44 20 7468 8221 +44 20 7468 5804 U.S.A.
U.S.A +44 20 7468 8244 U.S.A U.S.A Jonathan Snellenburg
Madalina Lazen U.S.A Andrew Jones Mark Osborne +1 212 461 6530
+1 212 644 9108 Peter Scott +1 415 503 3413 +1 415 503 3353
+1 415 503 3326 EUROPE Scottish Pictures
20th Century British Art Greek Art Philip Kantor Chris Brickley
Matthew Bradbury California & Olympia Pappa +32 476 879 471 +44 131 240 2297
+44 20 7468 8295 American Paintings +44 20 7468 8314
Scot Levitt Automobilia Silver & Gold Boxes
Aboriginal Art +1 323 436 5425 Golf Sporting UK UK
Francesca Cavazzini Memorabilia Toby Wilson Michael Moorcroft
+61 2 8412 2222 Carpets Kevin Mcgimpsey +44 8700 273 619 +44 20 7468 8241
UK +44 131 240 2296 Adrian Pipiros U.S.A
African, Oceanic [email protected] +44 8700 273621 Aileen Ward
& Pre-Columbian Art U.S.A. Irish Art +1 800 223 5463
UK Hadji Rahimipour Penny Day Motorcycles
Philip Keith +1 415 503 3392 +44 20 7468 8366 Ben Walker South African Art
+44 2920 727 980 +44 8700 273616 Giles Peppiatt
U.S.A Chinese & Asian Art Impressionist & +44 20 7468 8355
Fredric Backlar UK Modern Art Native American Art
+1 323 436 5416 Asaph Hyman UK Jim Haas Sporting Guns
+44 20 7468 5888 India Phillips +1 415 503 3294 Patrick Hawes
American Paintings U.S.A +44 20 7468 8328 +44 20 7393 3815
Alan Fausel Dessa Goddard U.S.A Natural History
+1 212 644 9039 +1 415 503 3333 Tanya Wells U.S.A Travel Pictures
HONG KONG +1 917 206 1685 Claudia Florian Veronique Scorer
Antiquities +852 3607 0010 +1 323 436 5437 +44 20 7393 3962
Madeleine Perridge AUSTRALIA Islamic & Indian Art
+44 20 7468 8226 Yvett Klein Claire Penhallurick Old Master Pictures Urban Art
+61 2 8412 2222 +44 20 7468 8249 UK Gareth Williams
Antique Arms & Armour Andrew Mckenzie +44 20 7468 5879
UK Clocks Japanese Art +44 20 7468 8261
David Williams UK UK U.S.A Watches &
+44 20 7393 3807 James Stratton Suzannah Yip Mark Fisher Wristwatches
U.S.A +44 20 7468 8364 +44 20 7468 8368 +1 323 436 5488 UK
Paul Carella U.S.A U.S.A Jonathan Darracott
+1 415 503 3360 Jonathan Snellenburg Jeff Olson Orientalist Art +44 20 7447 7412
+1 212 461 6530 +1 212 461 6516 Charles O’Brien U.S.A.
Art Collections, +44 20 7468 8360 Jonathan Snellenburg
Estates & Valuations Coins & Medals Jewellery +1 212 461 6530
Harvey Cammell UK UK Photography HONG KONG
+44 (0) 20 7468 8340 John Millensted Jean Ghika U.S.A Nicholas Biebuyck
+44 20 7393 3914 +44 20 7468 8282 Judith Eurich +852 2918 4321
Art Nouveau & Decorative U.S.A U.S.A +1 415 503 3259
Art & Design Paul Song Susan Abeles Whisky
UK +1 323 436 5455 +1 212 461 6525 Portrait Miniatures UK
Mark Oliver AUSTRALIA UK Martin Green
+44 20 7393 3856 Contemporary Art Anellie Manolas +44 20 7393 3986 +44 1292 520000
U.S.A UK +61 2 8412 2222 U.S.A
Frank Maraschiello Ralph Taylor HONG KONG Prints and Multiples Joseph Hyman
+1 212 644 9059 +44 20 7447 7403 Graeme Thompson UK +1 917 206 1661
U.S.A +852 3607 0006 Rupert Worrall HONG KONG
Australian Art Jeremy Goldsmith +44 20 7468 8262 Daniel Lam
Merryn Schriever +1 917 206 1656 Marine Art U.S.A +852 3607 0004
+61 2 8412 2222 UK Judith Eurich
Alex Clark Entertainment Veronique Scorer +1 415 503 3259 Wine
+61 3 8640 4088 Memorabilia +44 20 7393 3962 UK
UK U.S.A Russian Art Richard Harvey
Australian Colonial +44 20 7393 3844 Gregg Dietrich UK +44 (0) 20 7468 5811
Furniture and Australiana U.S.A +1 917 206 1697 Daria Chernenko U.S.A
+1 415 861 7500 Catherine Williamson +44 20 7468 8334 Doug Davidson
+1 323 436 5442 Mechanical Music U.S.A +1 415 503 3363
Books, Maps & Jon Baddeley Yelena Harbick HONG KONG
Manuscripts +44 20 7393 3872 +1 212 644 9136 Daniel Lam
UK +852 3607 0004
Matthew Haley Modern, Contemporary
+44 20 7393 3817 & Latin American Art
U.S.A U.S.A
Christina Geiger Alexis Chompaisal
+1 212 644 9094 +1 323 436 5469
British & European Glass Modern Design

UK Gareth Williams
Simon Cottle +44 20 7468 5879
+44 20 7468 8383
U.S.A.
Suzy Pai
+1 415 503 3343
SD30/9/15
International Salerooms, Offices and Associated Companies (• Indicates Saleroom)
UNITED KINGDOM Representatives: Scotland The Netherlands Representatives: ASIA

Dorset De Lairessestraat 154 Arizona
London Bill Allan Edinburgh • 1075 HL Amsterdam Terri Adrian-Hardy Hong Kong •
101 New Bond Street • +44 1935 815 271 22 Queen Street +31 (0) 20 67 09 701 +1 (480) 994 5362 Suite 2001
London W1S 1SR Edinburgh [email protected] One Pacific Place
+44 20 7447 7447 East Anglia EH2 1JX California 88 Queensway
+44 20 7447 7400 fax +44 131 225 2266 Portugal Central Valley Admiralty
Bury St. Edmunds +44 131 220 2547 fax Rua Bartolomeu Dias nº David Daniel Hong Kong
Montpelier Street • 21 Churchgate Street 160. 1º +1 (916) 364 1645 +852 2918 4321
London SW7 1HH Bury St Edmunds Glasgow Belem +852 2918 4320 fax
Suffolk IP33 1RG 176 St. Vincent Street, 1400-031 Lisbon Southern California [email protected]
+44 20 7393 3900
+44 1284 716 190 Glasgow +351 218 293 291 Christine Eisenberg
+44 20 7393 3905 fax
+44 1284 755 844 fax G2 5SG [email protected] +1 (949) 646 6560 Beijing
South East +44 141 223 8866 Hongyu Yu
Colorado
England Norfolk +44 141 223 8868 fax Russia – Moscow Suite 511
Julie Segraves
The Market Place Anastasia Vinokurova Chang An Club
+1 (720) 355 3737
Brighton & Hove Reepham Representatives: +7 964 562 3845 10 East Chang An Avenue
19 Palmeira Square Norfolk NR10 4JJ Wine & Spirits [email protected] Florida Beijing 100006
Hove, East Sussex +44 1603 871 443 Tom Gilbey Palm Beach +86(0) 10 6528 0922
BN3 2JN +44 1603 872 973 fax +44 1382 330 256 Russia - St. Petersburg +1 (561) 651 7876 +86(0) 10 6528 0933 fax
+44 1273 220 000 Marina Jacobson Miami [email protected]
+44 1273 220 335 fax Midlands Wales +7 921 555 2302 +1 (305) 228 6600
[email protected] Ft. Lauderdale Japan
Knowle Cardiff +1 (954) 566 1630 Akiko Tsuchida
Guildford
The Old House 7-8 Park Place, Spain - Barcelona Level 14 Hibiya Central
Millmead,
Station Road Cardiff CF10 3DP Teresa Ybarra Georgia Building
Guildford,
Knowle, Solihull +44 2920 727 980 +34 930 087 876 Mary Moore Bethea 1-2-9 Nishi-Shimbashi
Surrey GU2 4BE
West Midlands +44 2920 727 989 fax [email protected] +1 (404) 842 1500 Minato-ku
+44 1483 504 030
B93 0HT Tokyo 105-0003
+44 1483 450 205 fax Illinois
+44 1564 776 151 Spain - Madrid +81 (0) 3 5532 8636
Ricki Blumberg Harris +81 (0) 3 5532 8637 fax
Isle of Wight +44 1564 778 069 fax EUROPE Nunez de Balboa no 4-1A
+1 (312) 475 3922
28001 Madrid akiko.tsuchida@bonhams.
+44 1273 220 000 +1 (773) 267 3300
Oxford • Austria +34 915 78 17 27 com
Representative: Banbury Road Tuchlauben 8 [email protected] Massachusetts
Kent Shipton on Cherwell 1010 Vienna Boston/New England Singapore
George Dawes Kidlington OX5 1JH +43 (0) 1 403 0001 Spain - Marbella Amy Corcoran Bernadette Rankine
+44 1483 504 030 +44 1865 853 640 [email protected] James Roberts +1 (617) 742 0909 11th Floor, Wisma Atria
+44 1865 372 722 fax +34 952 90 62 50 435 Orchard Road
West Sussex Belgium [email protected] Nevada Singapore 238877
+44 (0) 1273 220 000 Yorkshire & North East Boulevard David Daniel +65 (0) 6701 8038
England Saint-Michel 101 Switzerland +1 (775) 831 0330 +65 (0) 6701 8001 fax
South West 1040 Brussels Rue Etienne-Dumont 10 bernadette.rankine@
England Leeds +32 (0) 2 736 5076 1204 Geneva Oregon bonhams.com
30 Park Square West [email protected] +41 (0) 22 300 3160 Sheryl Acheson
Bath Leeds LS1 2PF [email protected] +1(503) 312 6023 Taiwan
Queen Square House +44 113 234 5755 Denmark Summer Fang
+44 113 244 3910 fax Henning Thomsen Pennsylvania 37th Floor, Taipei 101 Tower
Charlotte Street
+45 4178 4799 MIDDLE EAST Margaret Tierney Nor 7 Xinyi Road, Section 5
Bath BA1 2LL
North West England [email protected] +1 (610) 644 1199 Taipei, 100
+44 1225 788 988
+44 1225 446 675 fax Dubai +886 2 8758 2898
Texas +886 2 8758 2897 fax
Chester France Deborah Najar
2 St Johns Court, Amy Lawch summer.fang@
Cornwall – Truro 4 rue de la Paix +971 (0)56 113 4146
Vicars Lane, +1 (713) 621 5988 bonhams.com
36 Lemon Street 75002 Paris [email protected]
Truro Chester, +33 (0) 1 42 61 10 10 Washington
Cornwall Ch1 1QE [email protected] Israel Heather O’Mahony
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FINE JAPANESE ART

Thursday 12 November 2015

Suzannah Yip Yoko Chino Masami Yamada

Jeff Olson Caroline Gill

Neil Davey Joe Earle

VIEWING ENQUIRIES CUSTOMER SERVICES Please see page 2 for bidder

Jomon period ca.10,000BC - ca.300BC

Yayoi period ca.300BC - ca.300AD

Kofun period ca.593 - 710

Nara period 710 - 794

Heian period 794 - 1185

Kamakura period 1185 - 1333

Muromachi period 1333 - 1573

Nanbokucho period 1336 - 1392

Momoyama period 1573 - 1615

Bunroku era 1592 - 1596

Edo period 1615 - 1868

Kan’ei era 1624 - 1644

Meiji era 1868 - 1912

Taisho era 1912 - 1926

Showa era 1926 - 1989

Heisei era 1989 - present

Lots 277 – 504 (from 14:30)

1945年、ホロコーストが終焉を迎えたとき、Sal Fuldは父 1970年代になり、彼の事業がいよいよ軌道にのると、Salは

FINE JAPANESE ART | 11

FINE JAPANESE ART | 13

FINE JAPANESE ART | 15

FINE JAPANESE ART | 17

£800 - 1,000 £800 - 1,000

FINE JAPANESE ART | 25

£900 - 1,200 £800 - 1,000

FINE JAPANESE ART | 29

FINE JAPANESE ART | 31

FINE JAPANESE ART | 33

FINE JAPANESE ART | 35

£800 - 1,000 £1,000 - 1,500

Illustrated on page 39.

YATATE (PORTABLE BRUSH AND INK OTHER INRO

Provenance: Louis Cartier (1875-1942) collection

FINE JAPANESE ART | 41

Illustrated on page 43.

Provenance: J. Prieur collection.

For a hako netsuke by Shibata Zeshin of similar form and design,

FINE JAPANESE ART | 45

FINE JAPANESE ART | 47

Provenance: a Dutch private collection.

FINE JAPANESE ART | 49

Provenance: a Dutch private collection.

Provenance: Michael Tomkinson collection, no.550.

101 (part lot)

FINE JAPANESE ART | 53

From the few readable characters of the poem, it appears to be a

FINE JAPANESE ART | 55

£3,000 - 5,000 £1,500 - 2,000

Several examples of the subject by Toyomasa are recorded. A similar 115

(reverse) 113 114

115 (part lot)

116 (part lot)

118 (part lot)