The Seven Treasures: Exhibition of Cloisonné from the V&A and the Edwin Davies Gift
Vase, Nagoya, mark of Hayashi Kodenji, c.1880-90, Height 25cm, width 12cm;
LONDON.- Edwin Davies OBE has donated one of the world’s finest collections of Japanese cloisonné enamels to the V&A. Thanks to his significant gift, the V&A is now able to show the most wide-ranging selection of cloisonné masterpieces existing in Europe. A special display is on view at the V&A, from June 14 through August 19, 2012, to celebrate the gift and tell the story of this exquisite craft.
The Edwin Davies Gift is made up nearly 90 objects, mostly dating from the period known as the Golden Age of Japanese cloisonné (c1880-1910). It complements the V&A’s existing collections of earlier works and enamel decorated sword fittings and includes pieces made at the peak of artistic and technological sophistication by makers such as the Ando Company which are not represented in the V&A’s existing collection.
Cloisonné is a way of enamelling an object, typically made of copper, where fine wires are used to outline the decorative areas and enamel paste is applied before the object is fired and polished. The Japanese term for enamelware directly translates as Seven Treasures, a reference to the seven treasures mentioned in Buddhist texts. These have been interpreted widely to include gold, silver, emerald, coral, agate, lapis lazuli, giant clamshell, glass and pearl – precious materials whose intrinsic qualities are reflected in cloisonné enamels.
Sir Mark Jones, V&A Director said: “Thanks to Edwin Davies’s generous gift, the V&A is now able to research and expand its collection of Japanese cloisonné and bring this superb art form to a wider national and international audience.
Highlights of the display include:
• Vase (c1880-90) by the influential maker Hayashi Kodenji depicting a design of butterflies whose curves have been defined with the use of fine wires
• Vase (c1912-26) by the Inaba Company, enamelled in blue and white floral motifs, reminiscent of Dutch Delft pottery
• Vases decorated with floral motifs by the two official imperial craftsmen to the court of the Emperor Meiji: Namikawa Sosuke (c1900) and Namikawa Yasuyuki (c1890)
• Unsigned bowl with floral decoration (1926-90) made in Nagoya using the French plique-a-jour technique to create a translucent enamelled vessel
• Unsigned vase (c.1910) probably made by the Ando Company of Nagoya using a highly developed technique where areas of the enamel are subtly raised to create a three-dimensional effect
• Vase made by the Ando Company of Nagoya (c.1950-60) depicting a sensuous-looking orchid on a matt-black enamel ground
In addition to this major gift, Edwin Davies has also made a substantial donation to the Museum to enable the research, study and audience development of the craft of cloisonné. This will fund the maintenance of the collection for a period of 25 years, a touring exhibition and accompanying publication, part of the curatorial post responsible for the collection, as well as a five year programme of educational activities.
Gregory Irvine, Senior Curator of the Asian Department at the V&A added, "This wonderful collection provides vital recognition to an aspect of Japan’s artistic legacy that has been the focus of increasing interest among museums and collections over the last 15 years."
Vases decorated with floral motifs, Namikawa Sosuke, c. 1900, Height: 19 cm, Width: 8.5 cm
Bowl, Unsigned, Nagoya, 1926-90, Height 6.5cm, width at rim 12.5cm
Cabinet en palissandre et bois exotique. Japon, fin XIXème siècle
Cabinet en palissandre et bois exotique. Japon, fin XIXème siècle. Photos Mercier & Cie & Interenchères
décor de semi-relief en laque, os ou ivoire et nacre d'objets de la vie quotidienne, ouvre à huit vantaux et trois tiroirs. (petits manques) 179x115x35 cm - Estimation : 6000/7000€
Mercier & Cie. DIMANCHE 12 JUIN à 11H00. 14 RUE DES JARDINS 59000 LILLE. CONTACT: Tél. : 03.20.12.24.24 - Email : contact@mercier.com
Top Prices Paid Once Again for Works of Art by Japanese Artist Shibata Zeshin @ Bonhams
A lacquer two-case inro By Shibata Zeshin. Sold for £120,000. Photo: Bonhams.
LONDON.- Considered one of Europe’s most important and comprehensive private collections of Japanese Gentleman’s accessories, Bonhams announces that Part Two of the Edward Wrangham collection realised £1.6 million on 10th May.
Top prices were paid for inro* and other works of art by Shibata Zeshin (1868-1912), one of the most famous painters and lacquerers of the 19th century Meiji period in Japan. The top lot of the sale was an exquisite two case inro, lacquered with metalwork tools in gold, silver and black, with a folkloric deity called Hotei lightly engraved behind the principle lacquer. Exceeding its pre-sale estimate of £10,000 – 15,000 by eight times, the inro realised £120,000.
A lacquer two-case inro. By Shibata Zeshin (1807-1891), Meiji Period. Photo: Bonhams.
Of wide form, bearing a shibuichi-nuri ground and lacquered with metalwork tools, in gold, silver and black takamakie and lightly engraved with Hotei leaning on his sack, in katakiri and kebori, the interior of rogin-nuri, inscribed Shokado utsusu Somin with kao, signed Zeshin; with lacquer hako-netsuke of oval form, lacquered on the olive-green ground with a large oak acorns over which walks an ant in delicate kebori, the interior of nashiji, signed Zeshin. 4.8cm (1 7/8in). Sold for £120,000
布袋に金物図蒔絵印籠 銘「松花堂写 宗珉（花押）」「是真」 明治時代
Provenance: Col. Lange collection, purchased at Hotel Drouot, Paris, 1972.
Wrangham collection, no.1156.
Published: E.A. Wrangham, The Index of Inro Artists, 1995, p.346, Zeshin, right column, top centre.
The decoration on the inro is deliberately chosen by Zeshin as a tribute to the great Yokoya School chiseller Somin.
Also by Shibata Zeshin, a roiro lacquer five-case inro decorated in gold, silver and black with a finch perched on a cherry branch realised £102,000 against a pre-sale estimate of £20,000 – 25,000.
A lacquer four-case inro. By Shibata Zeshin (1807-1891), Meiji Period. Photo: Bonhams.
The dark greenish-grey, matt seido-nuri ground decorated in orange and black takamakie with a haori hanging on a bamboo pole suspended from the branches of a plum tree, the design continuing on the reverse with two butterflies rendered in delicate kebori flitting beneath the plum branches, the interior of rich nashiji; the base signed with scratched characters Zeshin. 7.1cm (2¾in). Sold for £102,000
羽織に梅の木図蒔絵印籠 銘「是真」 明治時代
Provenance: John Harding collection, purchased at Christies London, 1968.
Wrangham collection, no.875.
Exhibited: Meiji, Japanese Art in Transition, The Haags Gemeentmuseum, The Hague, Holland, 1987, p.115, no.188.
Compare with an almost identical inro by the artist, illustrated by Pierre-F. Schneeberger, The Baur Collection Geneva, Japanese Lacquer (selected pieces), p.160, no.F 145.
An extremely rare early 20th century, roiro lacquer four-case inro by Shirayama Shosai (1853-1923) was also one of the top lots of the sale, exceeding the pre-sale estimate of £20,000 – 30,000 by realising £92,400. Finely lacquered in gold, the inro depicts a full-length portrait of the Kabuki actor Ichikawa Danjuro IX, a contemporary of the artist.
Ichikawa Danjuro was one of the most famous and successful Kabuki actors during the Meiji Period, and is widely credited with ensuring that the traditional art form remained vibrant as Japan struggled with Westernisation. Represented in a Shibaraku role, one of the most popular pieces in the Kabuki repertoire, he is showing off a fan, with the large square sleeves of the extravagant costume continuing on the reverse. Works by Shirayama Shosai, one the most important lacquer artists of the time,are very rare and highly sought after.
**An inro (literally meaning sealed case) is a traditional Japanese case consisting of a stack of small, nested boxes that were used to carry small objects such as seals, tobacco and medicines; the netsuke is a small carving in wood or ivory that keeps the inro securely closed. Japanese men wore traditional Kimono and the inro were worn suspended from the sash for all to see. After humble beginnings as functional items, between the 17th-19th centuries inro and netsuke were developed by some of Japan’s finest craftsmen into miniature works of art.
An extremely rare roiro lacquer four-case inro. By Shirayama Shosai (1853-1923), early 20th century. Photo: Bonhams.
Finely lacquered in gold, rogin and iroe togidashi with details of e-nashiji and kirikane, depicting a full-length portrait of the Kabuki actor Ichikawa Danjuro IX in a Shibaraku role, brandishing a fan, the fantastically large square sleeves of the extravagant costume continuing on the reserve, the interior of rich nashiji; signed with seal Shosai. 7.3cm (2 7/8in). Sold for £92,400
市川団十郎「暫」図蒔絵印籠 銘「松哉（方印）」 20世紀前期
Provenance: Dave Swedlow collection, sold at Sotheby's London 1972.
Purchased from Eskenazi Ltd., London, 1988.
Wrangham Collection no.1905.
Published: E.A. Wrangham, The Index of Inro Artists, p.255, Shosai, the first row, second from right.
See Jan Dees, Japanese Lacquer Artist, Shirayama Shosai (1853-1923), Arts of Asia magazine, March-April 2002, pp.92-104. In this article, the author lists only ten known inro by the artist. Appointed a Teishitsu gigein (Imperial Court Artist) in 1906, he is one of the most important lacquer artists of the Taisho period. Shosai's works of art are as highly valued as the work of the celebrated Shibata Zeshin but they are much rarer.
The Shibaraku scene is the ultimate confrontation between good and evil in Kabuki, and the most perfect display of the bombastic, stylised aragoto (rough stuff) acting style associated with the Ichikawa Danjuro line of actors. First performed by Danjuro I in 1697, it became obligatory from the early 18th century to include the scene in the opening-of-the-season (kaomise) productions held at every theatre in the 11th month of the year.
The actor portrayed here is probably Danjuro IX who would be contemporary with the lacquer artist Shirayama Shosai. He is wearing the characteristic Shibaraku costume: red-streaked sujiguma makeup, radiating 'cartwheel' wig, black lacquer court headdress (eboshi), pleated white paper 'strength' hair ornaments and a voluminous, distinctive persimmon red ceremonial jacket (suo) over armour.
Today, a lacquered tonkotsu (tobacco container) and cover by Shibata Zeshin was sold for £96,000 at Bonhams, Fine Japanese Art's sale.
A lacquered tonkotsu (tobacco container) and cover. By Shibata Zeshin (1807-1891), Meiji Period. Photo: Bonhams
The ishime ground decorated in gold, tan-urushi, keuchi and silver takamakie, hiramakie, kakiwari and sabi-nuri with a gardener's thatched hut with a bamboo blind hanging at the door partially obscuring the interior, where bonsai plants in pots are set on shelves, a pair of potted miniature trees stand to one side of the hut, whilst in the foreground a leaning shelter houses young plants, the reverse with hanging branches of yanagi (willow), signed on the base with lightly-incised characters Zeshin; the cover of mulberry wood; with en-suite lacquer hako-netsuke decorated in silver hiramakie with an egret in the driving rain, the reverse with a leaf drifting between pebbles, rendered in ishimei-ji, imitating stone, signed Zeshin; with wood storage box. 4.9cm x 6.7cm (1 7/8in x 2 5/8in). Sold for £96,000
温室盆栽図蒔絵とんこつ 柴田是真作 明治時代
The gently-rounded shape of this tonkotsu and superb execution of the lacquer is synonymous with Zeshin's craftmanship. A tobacco container with an identical design by the artist, and which may well be the piece offered here, is reproduced in volume 11 of a series of e-hon titled Shikki zuroku (Illustrated Inventory of Lacquer Works), published for members of the Japanese Lacquer Master Association (Nihon shikkokai) from 1891-1914. In these books, well-known lacquer Masters present almost two hundred objects which they especially admire, whilst at the same time providing detailed descriptions (or instructions) of materials and techniques used in the original.
The onshitsu bonsai design was a popular motif for Zeshin and he re-used it to adorn a number of different media from trays, boxes to sagemono as is presented here. A similar treatment of this design can be seen in a lacquer panel by the artist preserved in the collection of the Imperial Household Agency, Sannomaru Shozokan, published and illustrated in the Exhibition Catalogue, The Art of Shibata Zeshin Featuring the Edson Collection, curated by Yasumura Toshinobu (Director, Itabashi Art Museum), Nikkei Inc., 2009, p.118, pl.J-12.
Japon. Miroir en bronze
Japon. Miroir en bronze. Photo Auxerre Enchères
Ht 33,5 cm - Estimation : 90/100€
EURL AUXERRE ENCHERES - AUXERRE ESTIMATIONS. Samedi 14 mai à 14h39. 21, avenue Pierre Larousse, 89000 Auxerre. Tél. : 03.86.52.17.98 - Fax : 03.86.51.66.74 - Email : lefrancfr@wanadoo.fr
Rare Cosmetic Box by Imperial Artist A Highlight Bonhams Japanese Sale
An important documentary inlaid shirokiri (white paulownia) wood tebako (cosmetic box) and cover. By Asahi Gyokuzan (1843-1923), dated 1912. Photo Bonhams
LONDON.- A rare and important early 20th century cosmetic box by Asahi Gyokuzan is one of the highlights of the Fine Japanese Art sale, taking place on the 12th May at Bonhams, New Bond Street.
Asahi Gyokuzan was a designated Imperial Court Artist and one of the most famous and influential carvers in Japan during the Meiji Period (1868-1912).
The cosmetic box made of white paulownia wood, estimated to sell for £200,000 – 250,000, represents the hallmark of the finest Japanese art: the depiction of the transience of nature.
The decoration both on the outside and inside of the box encapsulates the changing seasons. Asahi Gyokuzan deliberately used the medium of a box, since it can be opened and closed, and in doing so creates a series of stories and movement: the stages of the flowering Chrysanthemums representing Autumn, the flying birds on the inside of the box, and the light droplets of water, inlaid in mother-of-pearl.
Furthermore, the basic five elements of nature are represented, the wood of the box itself, the birds that represent the wind, the earth from which the flowers grow, and the water represented by fine drops of water on top of pebbles and the metal used for the handles.
Other highlights of the sale include a rare 18th century finely-inlaid lacquer okimono (anaturalistic animal figure)of an elephant that has been in an English private collection for over a hundred years, estimated at £20,000 – 30,00. The artist Ogawa Haritisu was one of the first artists to incorporate diverse materials into his lacquerwares, including ceramic, metal and shell amongst others.
An English private collection of Japanese fans will also be offered by Bonhams. The exquisite collection includes twenty-five lots, ranging from tanto (dagger) fans that consist of a metal dagger and sheath in the form of a closed fan estimated at £300 -500 to an intricately carved ivory folding fan estimated at £15,000 – 20,000.
An important documentary inlaid shirokiri (white paulownia) wood tebako (cosmetic box) and cover. By Asahi Gyokuzan (1843-1923), dated 1912. Photo Bonhams
Decorated on the outside with flowering chrysanthemums, arranged in a diagonal composition across the domed cover, with the design of a single stalk continuing down one side, the inside of the cover with one plover in flight, the en-suite, fitted, detachable tray with two plovers in flight, the inside of the box embellished with drops of water inlaid in mother-of-pearl among pebbles, each side also applied with a shell and ring handle, all variously inlaid in wood, mother-of-pearl, pewter and coloured horn, set against the natural unpolished grain of white paulownia wood; the rim of silvered-metal, signed with circular seal Gyokuzan; with double tomobako dated and signed by the artist Meiji yonju-go nen go-gatsu (May in Meiji 45 [1912]), Asahi Gyokuzan saku with seal Gyokuzan. 7cm x 29.5cm x 21.5cm (2¾in x 11 5/8in x 8½in). (4). Estimate: £200,000 - 250,000, JPY 27,000,000 - 34,000,000, $ 330,000 - 410,000
菊に千鳥図象嵌白桐製手箱 旭玉山作 明治45年（1912年）
A hallmark of the finest Japanese art is the depiction of the magical transience of nature, and this is elegantly and poetically encapsulated in the subject matter of the changing season which is being depicted here. The chrysanthemums, quintessential symbol of Autumn, the coming to the end of the open beauty of Summer's flowering and the beginning of the seasonal change of colours and seeds back to the earth, like the box that can be open with its content showing or closed, holding within it many treasures, only to be opened again for the next cycle.
The chrysanthemums are placed very cleverly to the left and arranged diagonally across the cover, and to the one side using the space not as a flat surface, but as a miniature landscape. The chrysanthemums are designed to face different directions, some flowers facing out, others to the side and more to the back, thus giving the viewer the feeling of depth and space as if inside the box itself. More so, the artist created the flowers in different stages of blooming, so we can find buds appearing and fresh young curling petals; these are made exquisitely with assorted shell and mother of pearl that gives a life-like glow to the flowers.
The box, which is itself a static object, carries the most unusual feeling of movement. The artist deliberately used this medium since a box is to be opened and closed, to create a series of stories and movement of life concealed within: the changing colour of Autumn, the growing plants, the flying birds, and the light droplets of water, inlaid in mother-of-pearl - to contrast its weight and colour - among the pebbles. Furthermore, by virtue of a box's enclosed empty space, the viewer gets a sophisticated design of a three-dimensional object where the clever usage of space is manipulated to include the basic five elements of nature, the WOOD which is the box itself, the birds that represent the WIND, the EARTH from which the flowers grow, and the WATER represented by fine drops of water on top of pebbles (made again with mother-of-pearl) all three symbols of water, and the METAL used for the handles.
The selection of contrasting inlay is also deliberately chosen and is set off most effectively by the natural white paulownia-wood ground, on what is a utilitarian object, resulting in a creation which appeals as much to the recipient's intellect, as it does to the emotions. Furthermore, there is a fine contrast between the empty space and the engraved one, both by the placement of the subjects in their respective spaces, as well as by the virtuoso complex technique of inlay and engraving. There are over five shades of wood for the birds themselves, as well as the leaves and stems of the flowers, the details of which are of all of exceptional quality. At once, evocative, lyrical and dynamic, it is a tour-de-force in design, epitomising the height of craftmanship, representing the best of Japanese art during a period of great changes in this field.
Extremely Rare Portrait of Famous Kabuki Actor Highlights Important Private Collection at Bonhams
Bonhams presents part two of the Edward Wrangham Collection, after £2 million sale in November. Photo: Bonhams
LONDON.- Following the success of Part 1 of the Edward Wrangham Collection in November 2010, which realised over £2 million and included a world record price for an inro** sold at auction, Bonhams is delighted to announce the second sale of the collection that will take place at Bonhams, New Bond Street on 10th May.
Considered one of Europe’s most important and comprehensive private collections of Japanese Gentleman’s accessories, it was formed by the late environmentalist, mountaineer, scholar and collector Edward Wrangham OBE.
Wrangham’s first piece was given to him in 1936 when he was eight years old and was considered the last of the great British collectors. Wrangham continued to add to his collection until his death in 2009, sourcing works of art from all over the world. His collection, which was also published and written about by Wrangham himself, comprises over 1000 pieces of inro, netsuke and Japanese sword fittings assembled over many decades.
An extremely rare early 20th century, roiro lacquer four-case inro byShirayama Shosai (1853-1923) is one of the top lots in the sale and is estimated to sell for £20,000 – 30,000. Finely lacquered in gold, the inro depicts a full-length portrait of the Kabuki actor Ichikawa Danjuro IX, a contemporary of the artist.
Ichikawa Danjuro was one of the most famous and successful Kabuki actors during the late 19th century Meiji Period in Japan, and is widely credited with ensuring that the traditional art form remained vibrant as Japan struggled with Westernisation. Represented in a Shibaraku role, one of the most popular pieces in the Kabuki repertoire, he is showing off a fan, with the large square sleeves of the extravagant costume continuing on the reverse. Works by Shirayama Shosai, one the most important lacquer artists of the time,are very rare and highly sought after.
An extremely rare early 20th century, roiro lacquer four-case inro byShirayama Shosai (1853-1923) is one of the top lots in the sale and is estimated to sell for £20,000 – 30,000. Finely lacquered in gold, the inro depicts a full-length portrait of the Kabuki actor Ichikawa Danjuro IX, a contemporary of the artist.
Ichikawa Danjuro was one of the most famous and successful Kabuki actors during the late 19th century Meiji Period in Japan, and is widely credited with ensuring that the traditional art form remained vibrant as Japan struggled with Westernisation. Represented in a Shibaraku role, one of the most popular pieces in the Kabuki repertoire, he is showing off a fan, with the large square sleeves of the extravagant costume continuing on the reverse. Works by Shirayama Shosai, one the most important lacquer artists of the time,are very rare and highly sought after.
An extremely rare roiro lacquer four-case inro. By Shirayama Shosai (1853-1923), early 20th century. Photo: Bonhams
Finely lacquered in gold, rogin and iroe togidashi with details of e-nashiji and kirikane, depicting a full-length portrait of the Kabuki actor Ichikawa Danjuro IX in a Shibaraku role, brandishing a fan, the fantastically large square sleeves of the extravagant costume continuing on the reserve, the interior of rich nashiji; signed with seal Shosai. 7.3cm (2 7/8in). Estimate: £20,000 - 30,000, JPY 2,700,000 - 4,100,000, $ 33,000 - 49,000
市川団十郎「暫」図蒔絵印籠 銘「松哉（方印）」 20世紀前期
Provenance: Dave Swedlow collection, sold at Sotheby's London 1972.
Purchased from Eskenazi Ltd., London, 1988.
Wrangham Collection no.1905.
Published: E.A. Wrangham, The Index of Inro Artists, p.255, Shosai, the first row, second from right.
See Jan Dees, Japanese Lacquer Artist, Shirayama Shosai (1853-1923), Arts of Asia magazine, March-April 2002, pp.92-104. In this article, the author lists only ten known inro by the artist. Appointed a Teishitsu gigein (Imperial Court Artist) in 1906, he is one of the most important lacquer artists of the Taisho period. Shosai's works of art are as highly valued as the work of the celebrated Shibata Zeshin but they are much rarer.
The Shibaraku scene is the ultimate confrontation between good and evil in Kabuki, and the most perfect display of the bombastic, stylised aragoto (rough stuff) acting style associated with the Ichikawa Danjuro line of actors. First performed by Danjuro I in 1697, it became obligatory from the early 18th century to include the scene in the opening-of-the-season (kaomise) productions held at every theatre in the 11th month of the year.
The actor portrayed here is probably Danjuro IX who would be contemporary with the lacquer artist Shirayama Shosai. He is wearing the characteristic Shibaraku costume: red-streaked sujiguma makeup, radiating 'cartwheel' wig, black lacquer court headdress (eboshi), pleated white paper 'strength' hair ornaments and a voluminous, distinctive persimmon red ceremonial jacket (suo) over armour.
Provenance: Dave Swedlow collection, sold at Sotheby's London 1972.
Purchased from Eskenazi Ltd., London, 1988.
Wrangham Collection no.1905.
Published: E.A. Wrangham, The Index of Inro Artists, p.255, Shosai, the first row, second from right.
See Jan Dees, Japanese Lacquer Artist, Shirayama Shosai (1853-1923), Arts of Asia magazine, March-April 2002, pp.92-104. In this article, the author lists only ten known inro by the artist. Appointed a Teishitsu gigein (Imperial Court Artist) in 1906, he is one of the most important lacquer artists of the Taisho period. Shosai's works of art are as highly valued as the work of the celebrated Shibata Zeshin but they are much rarer.
The Shibaraku scene is the ultimate confrontation between good and evil in Kabuki, and the most perfect display of the bombastic, stylised aragoto (rough stuff) acting style associated with the Ichikawa Danjuro line of actors. First performed by Danjuro I in 1697, it became obligatory from the early 18th century to include the scene in the opening-of-the-season (kaomise) productions held at every theatre in the 11th month of the year.
The actor portrayed here is probably Danjuro IX who would be contemporary with the lacquer artist Shirayama Shosai. He is wearing the characteristic Shibaraku costume: red-streaked sujiguma makeup, radiating 'cartwheel' wig, black lacquer court headdress (eboshi), pleated white paper 'strength' hair ornaments and a voluminous, distinctive persimmon red ceremonial jacket (suo) over armour.
Further highlights include a stunningroiro lacquer five-case inro by the renowned lacquer artist Shibata Zeshin (1807-1891), also of the Meiji Period. Decorated in gold, silver and black, with a finch perched on a finely detailed cherry branch, with a mosquito; the exquisite inro is estimated to sell for £20,000-25,000. A lacquer four-case inro by Shibata Zeshin is also estimated to sell for £20,000 – 25,000.
A roiro lacquer five-case inro. By Shibata Zeshin (1807-1891), Meiji Period.
Decorated in gold, silver, black hiramakie and takamakie, with a finch perched on a cherry branch, with details in ishime, keuchi, harigaki and kakiwari, the flowering plant design continuing on the reverse with a mosquito executed in delicate katakiri hovering beneath, the interior of rich nashiji, signed with scratched signature Zeshin. 9.2cm (3 5/8in). Estimate: £20,000 - 25,000, JPY 2,700,000 - 3,400,000, $ 33,000 - 41,000
花鳥図蒔絵印籠 銘「是真」 明治時代
Provenance: F.A. Richards collection, purchased at Sotheby's London, 1964.
Wrangham collection, no.338.
Published: E.A. Wrangham, The Index of Inro Artists, 1995, p.346, Zeshin, left column, top centre.
Nominated as one of the first Teishitsu Gigeiin (Imperial Court Artist) in Meiji 23 (1890), Shibata Zeshin excelled in a number of art forms, including painting, lacquer-making, print design, and calligraphy. He had an outstanding studio with talented students specializing in lacquer, paintings and prints.
A lacquer four-case inro. By Shibata Zeshin (1807-1891), Meiji Period.
The dark greenish-grey, matt seido-nuri ground decorated in orange and black takamakie with a haori hanging on a bamboo pole suspended from the branches of a plum tree, the design continuing on the reverse with two butterflies rendered in delicate kebori flitting beneath the plum branches, the interior of rich nashiji; the base signed with scratched characters Zeshin. 7.1cm (2¾in). Estimate: £20,000 - 25,000, JPY 2,700,000 - 3,400,000, $ 33,000 - 41,000
羽織に梅の木図蒔絵印籠 銘「是真」 明治時代
Provenance: John Harding collection, purchased at Christies London, 1968.
Wrangham collection, no.875.
Exhibited: Meiji, Japanese Art in Transition, The Haags Gemeentmuseum, The Hague, Holland, 1987, p.115, no.188.
Compare with an almost identical inro by the artist, illustrated by Pierre-F. Schneeberger, The Baur Collection Geneva, Japanese Lacquer (selected pieces), p.160, no.F 145.
In addition to the exquisite collection of inro, netsuke and sword fittings, the Edward Wrangam Collection also includes works of art. A woven writing box, in gold and silver lacquer,by Mochizuki Hanzan in the 18th century, depicts the fable of Rosei. The figure of Rosei is reclining on a bench, beside the terrace of a pavilion framed by rocks and trees, holding a fan over his face as he dreams. The box is estimated to sell for£15,000-20,000.
A woven rattan suzuribako (writing box and cover). By Mochizuki Hanzan, 18th century
Of rectangular form, the cover with a brass-rimmed roiro lacquered shaped panel inlaid with Rosei reclining on a bench, holding a fan over his face as he dreams, beside the terrace of a pavilion framed by rocks and trees, in gold and silver takamakie and tsuishu, with inlays of soapstone, glazed ceramic and tortoiseshell, the interior of tsugaru-nuri, fitted with a suzuri and oval brass mizuire, signed Hanzan sei with seal Hanzan, with nunobukuro (textile storage bag). 24.7cm x 20.3cm x 4.2cm (9¾in x 8in x 1 5/8in). (2). Estimate: £15,000 - 20,000, JPY 2,100,000 - 2,700,000, $ 24,000 - 33,000
藤網代盧生の夢図蒔絵硯箱 銘「半山 半山（方印）」 18世紀
Provenance: Sir Trevor Lawrence collection, sold at Christie's London, 1916.
Purchased from Yamanaka & Co., Los Angeles, 1980.
Wrangham collection, no.1476.
Published: H.L. Joly, The Trevor Lawrence Collection of Japanese Lacquer, pl.K.
Exhibited: Sydney L. Moss Ltd., Eccentrics in Netsuke, London 1982, no.36.
**An inro (literally meaning sealed case) is a traditional Japanese case consisting of a stack of small, nested boxes that were used to carry small objects such as seals, tobacco and medicines; the netsuke is a small carving in wood or ivory that keeps the inro securely closed. Japanese men wore traditional Kimono and the inro were worn suspended from the sash for all to see. After humble beginnings as functional items, between the 17th-19th centuries inro and netsuke were developed by some of Japan’s finest craftsmen into miniature works of art.
Japon. Tabatière en corail
Japon. Tabatière en corail. Photo Enchères Côté d'Opale
à décor sculpté de paons. Socle en ivoire sculpté. Signé d'un cachet rouge. Hauteur : 9 cm (Manque) - Estimation : 800/1200€
Enchères Côté d'Opale SARL. Samedi 39 avril à 14h30. 12, rue du Pot d'Etain, 62200 Boulogne-sur-Mer . Tél. : 03.21.31.39.51 - Fax : 03.21.87.38.94 - Email : encheres-cotedopale@wanadoo.fr
Japon, Arita,. Petite coupe polylobée. XVIIe siècle.Japon, Arita,. Petite coupe polylobée. XVIIe siècle.
Japon, Arita,. Petite coupe polylobée. XVIIe siècle. Photo Pescheteau-Badin
à décor en léger relief de pétales et à décor polychrome Kakiemon de petits paysages, filet brun sur le bord. Diam. : 17,2 cm. Une infime égrenure sur le bord. Estimation : 1 000 / 1 200 €
Pescheteau-Badin - Paris. Vente aux enchères du Lundi 11 avril 2011 Drouot Richelieu - Salle 9 - 9, rue Drouot - 75009 Paris. Expert: Mr Cyrille Froissart (01 42 25 29 80). Téléphone pendant l'exposition et la vente : :+33 (0) 1 48 00 20 09
Miroir en bronze à patine brune à décor d'un cheval sous les pins. Signé Mitsushige. Japon, vers 1900
Miroir en bronze à patine brune à décor d'un cheval sous les pins. Signé Mitsushige. Japon, vers 1900. photo Piasa - Paris
(Petite restauration). Longueur : 24 cm - Estimation : 80 / 120 €
Piasa - Paris. Vente aux enchères du Lundi 4 avril 2011. Vente aux enchères du Lundi 4 avril 2011. Tel.: +33 (0)1 53 34 10 10
Erik Thomsen Asian Art Presents Golden Treasures: Japanese Gold Lacquer Boxes
Natsume Tea Caddy by Akihide, Autumn Flowers by Bamboo Fence; Meiji period; 19th century. Maki-e sprinkled gold and gold foil on black lacquer ground; H: 6.8 cm.
NEW YORK, N.Y.- Erik Thomsen Asian Art will present a select collection of Japanese lacquer boxes in Golden Treasures: Japanese Gold Lacquer Boxes, an Asia Week exhibition held at its new, purpose-built gallery in New York City. The exhibition will run from March 16 – May 28, 2011 at Erik Thomsen Asian Art, 23 E. 67th Street.
Thomsen’s exhibition focuses on small-scale boxes of the past two centuries, a period of exceptional artistry in Japan in the medium. During this period, Japanese artists mastered the technique of creating wafer-thin layers of lacquer that built up and, when infused with gold powder and other materials, created a luminous three-dimensional effect. As a whole, the boxes at Thomsen’s gallery present a virtual catalogue of Japanese lacquer techniques and design.
Among the highlights of Golden Treasures are natsume tea caddies, kogo incense boxes, tebako accessory boxes, and ryoshibako paper boxes, each ornamented with the highly polished, lustrous material. (Golden Treasures: Japanese Gold Lacquer Boxes is accompanied by an extensively illustrated catalogue, complete with entries about the works on view and a glossary of lacquer techniques.)
Also on view is a magnificent Writing Box with the Hundred Kings by Mikami Yokodo from the 1920s or 1930s. An internationally recognized master, Yokodo won honors at exhibitions in Chicago, Seattle, and Hanoi. Yokodo decorated the lid of Writing Box with the Hundred Kings with two dramatic shishi lions in gold, silver, red and black raised lacquer set amidst a background of stylized peonies in gold and silver.
Among the more recent works in the exhibition is a natsume tea caddy with a spring and autumn motif from the 1930s. The three-inch caddy is decorated with cherry blossoms and maple leaves. The background decoration is of gold and silver foil sprinkled on a black lacquer ground.
Erik Thomsen will also participate in the widely anticipated annual show, JADA 2011: An Exhibition by the Japanese Art Dealers Association, from March 19-23, 2001 at the Ukrainian Institute of America, 2 E. 79th St., New York City.
Writing Box with the Hundred Kings by Mikami Yōkōdō, 1920s – 30s. 11.5 x 27.5 x 21.2 cm.
