105 106 107 108 109 110 49

KOREAN WORKS OF ART LOTS 111-122 111 112 113 114 111 112 A KOREAN BUNCHEONG IRON-PAINTED BOTTLE VASE A KOREAN SANGGAM SLIP-INLAID CELADON VASE PROBABLY JOSEON DYNASTY, 19TH CENTURY KORYO DYNASTY, 12TH/13TH CENTURY The pear-shaped body raised on a short foot, the surface with a creamy-white slip incised The elegant pear-shaped body decorated with four sprays with horizontal lines and with two large leafy sprays of ginseng painted to both sides, together of lotus, the neck with bands of ruyi heads, lappets, and with a wood box inscribed with Gyeryongsan (referring to the kiln where it was produced), scrolling tendrils, with kintsugi gold lacquer repairs, 27.8cm. 23.5cm. (2) £500-800 £300-500 114 Provenance: an English private collection, purchased in Japan. By repute, formerly in the collection A KOREAN FACETED BOTTLE VASE of Jun Itami (1937-2011), an architect renowned in Korea and Japan for his primitive-style buildings JOSEON DYNASTY OR LATER, 19TH OR 20TH and his use of raw materials. Itami Jun also collected Korean Joseon ceramics, and pieces from his CENTURY personal collection were offered at auction after his death. The globular body with a tall neck and painted with stylised See the University of Michigan Museum of Art, access. no. 2004/1.268, for a comparable vase leaves in underglaze brown, the creamy-white ground with similar ginseng leaf design. Also, the Minneapolis Institute of Art, access. no. 2015.79.494 peppered with black specks, together with a modern wood for another example from the Mary Griggs Burke Collection. box, 22.3cm. (2) 113 PLEASE NOTE THIS LOT IS TO BE OFFERED A TALL KOREAN CELADON BOTTLE VASE WITHOUT RESERVE. JOSEON DYNASTY, 19TH CENTURY OR EARLIER £100-200 The uneven pear-shaped body raised on a short foot, the surface covered with a blue-grey glaze with crackled areas and speckled with russet dots, the foot left unglazed, with a wood box inscribed ‘Aomori Collection’, probably for the Aomori City Collection, 33cm. (2) £400-600 Provenance: an English private collection, purchased in Kyoto, Japan. 50 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

115 A TALL KOREAN CELADON VASE, MAEBYEONG KORYO DYNASTY, 12TH/13TH CENTURY The elegant baluster-shaped body decorated to the side with three incised leafy flowerheads, possibly lotus; the shoulder with three scalloped lappets resembling clouds; the surface covered with a rich crackled celadon glaze, 31cm. £800-1,200 See the Cleveland Museum of Art, access. no.1921.628 for a Koryo wine pot with comparable lotus decoration, and access. no.1921.645 for another vase of the same size. Also, see Christie’s New York, Japanese and Korean Art, 22nd September 2020, lot 243, for another maebyeong with incised lotus. Provenance: from an English private collection, London. This type of vessel was once used to store alcohol and had a lid that would also serve as a cup. 51

116 A KOREAN SANGGAM SLIP-INLAID CELADON BOWL KORYO DYNASTY, 12TH/13TH CENTURY Decorated to the well with three cranes in flight amongst scrolling clouds, a ring of ruyi heads encircling the centre and with a band of chevrons to the rim; the exterior with three flowerheads and further concentric lines, 20.3cm. £800-1,200 117 A KOREAN BLUE AND WHITE FACETED JAR JOSEON DYNASTY, 18TH/19TH CENTURY Raised on a short foot and with a slightly flared rim, decorated in underglaze blue with stylised flowers and tendrils to the shoulder, the base with a paper label for Bluett London 15605, together with a fitted silk box with another paper label underneath reading Bluett \& Sons, 48 Davies Street, London W1, 9cm. (2) £1,000-2,000 See the Metropolitan Museum of Art, New York, access no. 2005.123 for another faceted jar with blue and white decoration. The piece is described as a good 116 example of late Joseon porcelain produced at the court kilns (Bunwon). 118 A KOREAN MOULDED CELADON BOWL KORYO DYNASTY, 12TH/13TH CENTURY label Raised on a short circular foot, with a foliate rim and the well faintly moulded on base with a spray of peony; the surface with an all-over crackled glaze, together with a fitted silk box, 17.7cm. (2) £800-1,200 See the Metropolitan Museum of Art, New York, access no.27.119.3 for another Koryo celadon bowl with foliate rim and peony. 119 A LARGE KOREAN IRON-PAINTED DRAGON JAR JOSEON OR LATER, 19TH OR 20TH CENTURY Of compressed ovoid form, raised on a short foot and with an everted rim, the body decorated with a large scaly dragon writhing amongst clouds and fire wisps, chasing a sacred pearl, a small butterfly fluttering above it, the iron-brown design painted on a creamy-white ground with minute brown specks, a paper label to the side reading ‘Joseon Dynasty / Nanryuinsama’ (Tokugawa Yorinobu) collection, 25.5cm. £400-600 117 Provenance: an English private collection, purchased in Japan. 118 119 52 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

120 120 A KOREAN MINHWA FOUR-FOLD HUNTING SCREEN JOSEON DYNASTY, 18TH CENTURY OR LATER Each panel painted in ink and colour on paper with horse riders hunting various quarries including deer, tiger, leopards and hares; one huntsman with two falcons, another holding a matchlock carbine, many others with woldo (halberds); the figures wearing colourful garments contrasting with the buff landscape; the painted panels mounted on yellow silk, each 72cm x 38.5cm, 176cm x 275cm overall. £2,000-3,000 Cf. V Reynolds, Korean Folk Painting in the Newark Museum, Korean Art - Articles from Orientations 1970-2013, pp.180-81 where a similar Folk art hunting screen is discussed. 121 A LACQUERED WOOD FIGURE OF A MONK 17TH CENTURY Possibly Korean, carved seated with his hand held before his chest, dressed in long flowing robes, with a tranquil expression upon his face, with a fitted wooden base, 47cm. (2) £300-500 Provenance: from the collection of the late Michael Sherrard QC CBE (1928-2012), purchased from Mandarin Art Galleries Pte Ltd, Singapore, on 15th February 1988. A copy of the invoice is available. 121 122 A KOREAN SILVER-INLAID IRON BOX JOSEON DYNASTY, 19TH CENTURY The rectangular body decorated with dense patterns of spirals and scrolls, with a small bat-shaped handle to the side, the sliding cover embellished with the double happiness and longevity symbol, shou; together with two leaf-shaped wooden saucers, the box 7cm x 6.8cm x 11cm. (4) £300-500 122 53

LACQUER, BAMBOO, \& OTHER MATERIALS LOTS 123-140 54

Lot 123 55

123 A TALL AND UNUSUAL JAPANESE LACQUERED WOOD ZUSHI (PORTABLE SHRINE) EDO OR MEIJI PERIOD, 19TH CENTURY The case lacquered black, the doors opening to reveal the tall figure of a Buddhist guardian deity, probably Gozanze Myo-o; the wrathful figure standing on two oni, the demons crouching underneath a tiger skin, all raised on a rocky outcrop; the God depicted with six arms and three eyes, holding various attributes including a bow and arrow, a sword and a halberd; another hand grasping the hair of a small human figure in prayer, probably the soul of a worshipper; wearing lose robes revealing his bare torso and a necklace made of three skulls; his crown and mandorla behind him made of soft metal; with details rendered in polychrome and gilt, the eyes inset in glass, 52.5cm overall. £2,000-3,000 124 A JAPANESE LACQUERED WOOD ZUSHI (PORTABLE SHRINE) EDO OR MEIJI, 19TH CENTURY The case lacquered black, the doors opening to reveal the Amida Triad comprising of Amida Buddha, Kannon Bosatsu and possibly Seishi Bosatsu, the figures seated on double lotus thrones raised on a tall base decorated with scrolling clouds, reishi heads, flowers and geometric patterns, the whole interior gilded, with two illegible lines of inscriptions to the base, 24.3cm x 11cm x 23.5cm. £200-300 56 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

125 AN EARLY JAPANESE NAMBAN CABINET FOR THE EXPORT MARKET MOMOYAMA PERIOD, C.1580-1620 Of rectangular form and with a hinged fall front opening to reveal nine drawers, the door and sides decorated with panels enclosing many fans embellished with bands of geometric designs and flowering branches of prunus, scrolling tendrils, and ume-bachi mon (family crests), in between borders of chevrons and other formal patterns, the decoration rendered in a multitude of raiden (mother of pearl) inlays and gold and black lacquer, the inside with further mother of pearl inlays and gilt decoration depicting panels of flowering prunus and peony, the copper fittings and side loop handles with designs of melons, flowers and tendrils, together with a key, 28cm x 37.5cm x 24cm. (2) £4,000-6,000 Provenance: from an English private collection, London. Formerly Sotheby’s London, 24th June 1982, lot 566. Cf. O Impey \& C Jörg, Japanese Export Lacquer (1580-1850), pp.123-24 where this very piece is illustrated and discussed. See the Brooklyn Museum, New York, access. no.84.69.1, for a comparable piece decorated with open fans. Also, see Christie’s, New York, An Inquiring Mind: American Collecting of Japanese and Korean Art, lot 33, for another namban cabinet with mother of pearl fans. The ume-bachi mon was notably used by the Hisamatsu and the Maeda clans. 57

Lot 125 front 58 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

126 A RARE JAPANESE LACQUER JEWELLERY BOX FOR THE EXPORT MARKET EDO PERIOD, C.1640-90 Of architectural form, the tall rectangular box raised on a shaped plinth and with a hinged cover, the top sliding to reveal a secret compartment; the two small doors to the front concealing six drawers of various sizes; the exterior decorated with shaped panels enclosing various depictions of flowers, figures at rest, houses in lush landscapes and scrolling tendrils, in silver and gold hiramaki-e, takamaki-e and nashiji lacquer on the black roiro ground, with some petals and leaves inlaid in mother of pearl and metal; the inside of the lid revealing a small mirror and a design featuring a pavilion on stilts, with large rocky outcrops beside it and tall trees rendered in hiramaki-e and kirikane; with pilasters to the corners and the metal mounts embellished with flowers, the edges with geometric borders inlaid with mother of pearl, 37.5cm x 27.7cm x 34.5cm. £4,000-6,000 Cf. O Impey \& C Jörg, Japanese Export Lacquer (1580-1850), pp.170-72 where comparable boxes are illustrated and discussed. The authors describe them as jewel boxes in pictorial style. 59

Lot 126 inside 60 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

127 A SMALL JAPANESE GOLD AND SILVER LACQUER KOGO (INCENSE BOX AND COVER) MEIJI PERIOD, 19TH CENTURY Of rounded rectangular form, decorated in gold and silver takamaki-e, hiramaki-e, and with silver inlays on the nashiji ground, the cover and sides embellished with a stream meandering amongst rocks, flowering prunus and pine to the side, some branches issuing from behind fences made of woven bamboo; with two raised characters reading tsuki o (the moon), possibly a reference to a chapter from the Tale of Genji, and with ai go mon crests for the Tokugawa clan repeated across the composition, 6.7cm x 7.5cm x 8.7cm. (2) £300-500 128 A JAPANESE GOLD LACQUER FUBAKO (LETTER BOX) AND COVER EDO PERIOD, 18TH CENTURY Of rounded rectangular form, the lid and sides decorated in gold and silver hiramaki-e and kirikane on a nashiji ground, embellished with flowering branches of prunus issuing from behind rocky outcrops, with a small stream meandering to the side and scrolling clouds above, two purple silk cords attached to metal rings on the sides, the paulownia kiri mon decorating the mounts, 5.2cm x 5.2cm x 22.5cm. (2) £600-800 129 A JAPANESE GOLD LACQUER MIRROR BOX AND COVER EDO PERIOD, 18TH CENTURY Of circular form, decorated with mitsu-tomoe (comma-like swirls) in gold fundame hiramaki-e lacquer on the roiro-nashiji ground, 12.3cm. (2) £400-600 61

130 A POLYCHROME WOOD EMA (VOTIVE PAINTING) EDO OR MEIJI, 19TH CENTURY Of rectangular form and painted in ink and pigments, the heavy wood panel decorated with Ono no Takamura, Emma-O, and a queue of demonic figures behind them, the tall scholar dressed in long black garments, holding a shaku tablet before him and looking up towards the King of Hell, the Lord of the Underworld depicted with ornate robes embellished with patterns of seashells; framed and glazed, a paper label on the back explaining Ono no Takamura’s story, 60.3cm x 46.5cm. £400-600 The label reads: […on thin wood panels illustrating the following legend: Ono no Takamura, a councillor of Saga, tenno (9th century A.D.) sentenced to exile in the Isles of Oki, took a certain holy monk with him to visit Yama the King of Hell, where he found Jizo among the damned in the lowest of the hot hells, undergoing torment to free some of the inmates and to mitigate the punishments of sinning mankind. Jizo besought the monk to describe his suffering so that the hearts of men should be turned to his worship. When the monk returned to earth, he carved a great figure of Jizo, which is still in the temple of Yata no Jizo at Koriyama near Nara.] 131 A JAPANESE SILK BUDDHIST PRIEST’S ROBE (KESA) EDO PERIOD, 18TH /19TH CENTURY Sewn from smaller sections of silk brocade, richly decorated with the Shimazu mon of the Satsuma clan, waves, scrolling clouds, wisteria, peony and scrolling tendrils, all embroidered in gold and polychrome threads on the cream ground, 182cm x 110cm. £500-1,000 Provenance: formerly the collection of Ricardo Rivera Schreiber (1892-1969), Peruvian Ambassador to the United Kingdom (1954-63), to Italy (1944-46), to Spain (1943-1944) and Minister Plenipotentiary to China and Japan (1936-41), and thence by descent. Ricardo Rivera Schreiber (1892-1969) 62 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

132 A RARE JAPANESE HASHIRA-KAKE (PILLAR HANGING) BY OGAWA HARITSU (RITSUO, 1663-1747) EDO PERIOD, 18TH CENTURY The tall rectangular panel made of cedar wood, decorated with a small hawk looking inquisitively at an insect flying before it, the elegant perch decorated with the head of a green oni and with a small feeder to the side, suspended from a fruiting branch of karin (Chinese quince); the decoration rendered in a variety of techniques including lacquer, ceramic and aogai (mother of pearl) inlays, an oval aperture with a bronze ring at the top for suspension, 128.3cm. £6,000-8,000 See Bonham’s London, 6th November 2012, lot 231, for a wood inro by Ritsuo with ceramic and aogai inlays and the same Naoyuki seals. Ogawa Haritsu (or Ritsuo) is famous for his practice of including inlays in a variety of materials into his lacquer pieces. His artworks often feature ceramic, metal, shell and other materials, giving his composition a three-dimensional effect. signature 63

133 134 A JAPANESE GOLD AND BLACK LACQUER AN EXTENSIVE JAPANESE ART DECO LACQUERED WOOD SERVICE KAZARIDANA (ORNAMENTAL SHELF) MEIJI OR TAISHO, 20TH CENTURY MEIJI PERIOD, 19TH OR 20TH CENTURY Each item with a gold lacquer ground, some bearing a monogram with the initials ‘WHM’, The rectangular shelves raised on four shaped legs, comprising: two large rectangular trays, two tall footed tazze, four middle size and six smaller decorated with morning glory on trellis in gold ones; eighteen small dishes, eighteen teacups and saucers, four bulbous sugar bowls and covers, and silver hiramaki-e on the deep black ground, three hexagonal boxes and covers, two large spoons and eighteen small spoons, seventeen bowls the sides with cut-out designs of quatrelobes, the and eleven small teabowls, four sake cups and twelve small footed cups. (146) metal fittings decorated with scrolling tendrils, 44cm x 35.3cm x 64cm. £200-300 £200-300 Provenance: from the collection of General Sir William Henry Manning GCMG, KBE, CB (1863-1932), and Lady Olga Manning (1897-1993), and thence by descent. According to the family, the service was gifted to Lady Manning by Emperor Hirohito when General Sir William Henry Manning, then Governor of Ceylon, visited Japan circa 1919-22. Lord and Lady Manning at Richmond Castle c.1920 135 136 TWO JAPANESE WOOD SCROLL-SHAPED STANDS TWO JAPANESE MASKS TAISHO OR LATER, 20TH CENTURY MEIJI PERIOD, 19TH/20TH CENTURY Each carved from a single piece of wood, the rectangular top extending at The largest a lacquered wood Noh mask of a Nio, the Buddhist guardian each end to form scrolled supports, one with the number 17 and a mark king depicted with a ferocious expression and an upturned nose, the surface underneath which may depict Mount Fuji, 5cm x 31.5cm x 51.5cm and in a lustrous red and black lacquer and with details of the eyes and teeth 7.5cm x 26cm x 45.2cm respectively. (2) in gilt, a two-character signature to the reverse; the other an iki-ningyo mask depicting a man with bushy hair, eyebrows and moustache; in wood PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. covered with gesso and pigments, and with glass eyes, 26.7cm and 19.5cm respectively. (2) £150-250 £250-350 Provenance: from an English private collection, London. Provenance: an English private collection, Somerset, purchased in Japan. 64 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

137 138 A CINNABAR LACQUER AND GILT BAMBOO TRAY, AN OCTAGONAL INK STONE POSSIBLY RYUKYU ISLANDS 19TH CENTURY PROBABLY EDO PERIOD, 19TH CENTURY The well decorated in low relief with six ascetics, the elderly sages wearing Of circular shape, with remnants of gilt and litharge decoration to the well ornate robes and holding various attributes, one with a vase of peonies; the depicting Chinese figures in a landscape, the rim embellished with bamboo reverse with a circular panel enclosing a large scaly dragon writhing amongst strips woven in loops, together with a fitted silk box, 33cm. (2) scrolling clouds, four characters above translating as ‘the dragon leaps from the clouds’, 26.5cm. £200-300 £500-800 Provenance: from an English private collection, London. See the Sen-oku Hakuko Kan Museum, Kyoto, for a related rectangular tray with similar woven bamboo rim and gold lacquer decoration. Also, see the Metropolitan Museum of Art, New York, access. no. 2015.500.2.5 for a Ryukyu footed tray also decorated with figures in a landscape. 139 140 TWO JAPANESE BAMBOO BASKETS (HANAKAGO) THREE JAPANESE WOVEN BAMBOO CHARCOAL BASKETS MEIJI OR TAISHO, 19TH OR 20TH CENTURY (SUMITORI) MEIJI OR TAISHO, 20TH CENTURY For ikebana (traditional flower arrangement), the largest of circular shape with a tall loop handle, a three-character mark underneath; the other with a The Chinese-style baskets for the sencha tea ceremony, two with a square bulbous body and a wide rim, a U-shaped handle above, together with a liner base and a wide oval mouth, the third with a hexagonal body and raised on made of a lacquered section of bamboo, 39cm and 46cm respectively. (3) short feet, the bamboo strips woven in a variety of techniques to produces diverse patterns, 31.5cm max. (3) £300-500 £250-300 Provenance: an English private collection, Somerset, purchased in Japan. Provenance: an English private collection, Somerset, purchased in Japan. 65

WORKS ON PAPER SCREENS, PAINTINGS, BOOKS \& PRINTS LOTS 141-204 66

Lot 149 detail 67

141 ANONYMOUS, TOSA SCHOOL MOMOYAMA OR EDO PERIOD, 17TH CENTURY Two Japanese album leaves depicting scenes from the Genji Monogatari (The Tale of Genji), in ink, colour and gold on paper, one depicting chapter 51, scene 12 (‘A Boat Upon The Waters’), the other with chapter 34, scene 6 (‘New Herbs II’), both framed and glazed, both approx. 29.5cm x 24.3cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £200-300 Provenance: from the Milne Henderson collection of Japanese art. 142 ANONYMOUS, TOSA SCHOOL EDO PERIOD, 17TH CENTURY OR LATER Two Japanese album leaves depicting scenes from the Genji Monogatari (The Tale of Genji), in ink, colour and gold on paper, one depicting chapter 39, scene 7 (‘Evening Mist’), the other with a group of monks, possibly for the funeral of Genji’s wife Aoi, both framed and glazed, both approx. 29.5cm x 24.3cm; together with a portrait of a woman wearing Heian garments, possibly the poetess Murasaki Shikibu (c.973-1031), mounted on board and framed, 27.5cm x 23cm. (3) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £200-300 Provenance: from the Milne Henderson collection of Japanese art. 68 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

143 A JAPANESE FOUR-FOLD BYOBU (PAPER SCREEN) MEIJI PERIOD, 19TH CENTURY Painted in gilt, polychrome, sumi ink and white gofun, each panel enclosing a female Kabuki dancer or musician, the beauties wearing ornate garments decorated with brocade patterns, one with a design of open fans, another with auspicious characters; all reserved on borders of gold and black squares, 104cm x 178cm. £800-1,200 69

144 TOTOKI BAIGAI (1749-1804) EDO PERIOD, DATED 1800 Twelve Japanese landscape paintings in ink and colour on paper, including depictions of fishermen in mountainous river landscapes, pavilions amongst trees, bridges, rocky outcrops, and other views; signed Baigai, Baigai sha and with seals Baigai Totoki Shi and Toki Shi noin, one painting dated spring of Kanoe-saru (1800); with four leaves of calligraphy, an introduction signed Rokumei doshi roku and dated the 10th month of Meiji 38 (1905), the pages bound as an album with a yellow silk cover, together with a blue silk sleeve and a tomobako wood box, the album 31.2cm x 16.5cm. (4) £1,500-2,500 See the British Museum, access. no.1988,1017,0.1 for another landscape painting by Baigai in comparable style. Totoki Baigai was an important artist from Osaka specialising in Nanga art, based on Chinese literati paintings and calligraphy. At first an impoverished artist, he travelled to Kyoto where he worked as an entertainer in the pleasure quarters of Gion. He later served Lord Masuyama Sessai of the Ise Nagashima domain, followed by the wealthy merchant Meshino Seiho, until his retirement in 1800, after which he established a Confucian training school. part lot illustrated 145 TOTOKI BAIGAI (1749-1804) EDO PERIOD, C.1800 A Japanese painting, ink on paper, possibly from a makimono (horizontal scroll) mounted as a kakejiku (scroll painting), depicting a small boat behind vegetation, with tall mountains in the background and calligraphy above, signed Baigai and with a red seal mark, together with a tomobako (wood box) with a label to the side inscribed Baigai, and a cardboard sleeve, 15cm x 13xcm. (2) £400-600 Totoki Baigai was an important artist from Osaka specialising in Nanga art, based on Chinese literati paintings and calligraphy. At first an impoverished artist, he travelled to Kyoto where he worked as an entertainer in the pleasure quarters of Gion. He later served Lord Masuyama Sessai of Ise Nagashima domain, followed by the wealthy merchant Meshino Seiho, until his retirement in 1800, after which he established a Confucian training school. 70 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

146 ATTRIBUTED TO SUMIYOSHI GUKEI (1631-1705) EDO PERIOD, 17TH/18TH CENTURY A set of sixteen Japanese paintings, ink and colour on paper with gold flakes, including eight leaves of calligraphy in chirashi-gaki (scattered writing) style with borders of stylised dragons, and eight paintings comprising: a view of pavilions in mountainous river landscapes; another painting depicting a flock of geese in flight above marshes; a third with two travellers on a rocky outcrop, with the moon above; sailing boats on a lake; a village in a rain storm; a multi-storey pagoda nestled amongst trees; fishermen with nets, and many figures in a village, each mounted on board separately, together with two silk covers, each picture approx. 20.4cm x 18.5cm. (18) £2,000-3,000 See the Metropolitan Museum, New York, access. no.2015.300.24 for an album depicting the Thirty-Six Poetic Immortals by Sumiyoshi Gukei, with the same decorative border of dragons used for the leaves of calligraphy in this lot. 71

147 ANONYMOUS MEIJI PERIOD, 19TH CENTURY A Japanese handscroll painting, ink and colour on silk, decorated with a myriad of flowers including chrysanthemums, peonies, irises and others, the front cover in silk with lotus patterns, in a tomobako wood box, the painting 360cm x 18cm. (2) £500-1,000 part lot illustrated 148 TWO JAPANESE PAINTINGS OF RAKAN EDO OR MEIJI, 19TH CENTURY Both in ink and colour on silk, each depicting an Immortal with an attendant, one holding a gokosho (pestle) and a gokorei (bell) and with a Buddhist Guardian God by his side; the other holding an egoro (ritual incense burner with a long handle), a monk by his side holding a vase of lotus flowers, both with gold-thread silk mounts, framed and glazed, both 94cm x 39.3cm. (2) £300-500 Provenance: from an English private collection, London, acquired prior to 2000. 72 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

149 A JAPANESE SIX-FOLD BYOBU (PAPER SCREEN) MEIJI PERIOD, C.1900 Painted in ink and colour on a ground sprinkled with gold, depicting a herd of deer at rest amongst pine trees, the largest animal with majestic antlers, a small fawn fast asleep beside it; signed Hosui hitsu and with a red seal mark, 136cm x 270cm. £800-1,200 150 ANONYMOUS, KANO SCHOOL EDO PERIOD, 18TH OR 19TH CENTURY A Japanese painting in ink and colour on paper depicting a farmer in a bamboo grove, the man using an adze to dig out bamboo shoots while snow falls around him, together with an ink painting of a monk holding a broom, possibly Jittoku, both framed and glazed, 50cm x 35cm max. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £150-250 Provenance: from the Milne Henderson collection of Japanese art. The larger painting may be a depiction of Moso, one of the Twenty-Four Paragons of Filial Piety often represented digging for bamboo shoots to feed his sick mother. 73

FROM THE COLLECTION OF DAVID AND PAULA NEWMAN LOTS 151-157 David Newman (1936-2012) was 151 a respected London Japanese art ANONYMOUS dealer, especially when it came MEIJI PERIOD, 19TH CENTURY to paintings. He discovered many artworks by renowned Japanese Two Japanese scroll paintings, the first in artists, and sourced pieces for ink and colour on paper and depicting a both private collectors and small piebald dog underneath branches of institutions. He helped the British bamboo, signed and with a red seal mark; Museum acquire a number of the other in ink on paper and depicting a Japanese artworks, including an large rabbit beneath a full moon, a large red ink painting (see lot 157) by Josiah seal mark underneath, both with a wood Conder (1852-1920) of an owl box, 118cm x 30.5cm and 38cm x 33cm on a tree-stump after his teacher, respectively. (4) Kawanabe Kyōsai (1831-1889). £200-300 David’s career in the art world started when he took a job as a porter in the Japanese Art department at Glendinnings. Soon after, he was asked to look after any Japanese painting brought to the auction house for valuation. In 1966, he moved on to work for the auctioneer Spink \& Son under Adrian Maynard in the Asian Art Department. Three years later, he and his partner Paula established their own shop in Camden Passage. Paula took care of the administrative side of the business, while David looked for Japanese art to sell. He spent many years researching old sale catalogues and other archives to trace the owners of lost collections, including the descendants of Josiah Conder, who were then living across Europe and the USA. Lot 157 is an extensive archive comprising many letters he exchanged with the Conder family, and a number of large photographic albums featuring many portraits of the famous architect and his family. Most pictures were taken in Japan, and they include many views of their house in Tokyo, then decorated with scroll paintings by Kyōsai. part lot illustrated part lot illustrated 152 153 NAKAJIMA RAISHO (1796-1871) MORI KANSAI (1814-1894) EDO OR MEIJI, 19TH CENTURY NAGASAWA ROHO (ACT. MID-19TH C.) KISHI GANTAI (1782-1865) Two Japanese fan paintings, both in otsu-e style, one depicting a dog trainer EDO OR MEIJI, 19TH CENTURY and the other, a figure holding a pole, both signed Raisho and with a red artist’s seal, framed and one glazed, both approx 15.7cm x 47cm. (2) Three Japanese fan paintings, in ink and colour on paper, the first with a sprig of pine, dated the second year of Meiji (1869), signed Kansai and with a red PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. seal mark; the second by Roho and depicting a spiny lobster amongst seaweed, signed and with a red seal mark, both framed and glazed; the third with £80-120 three ayu fish by Gantai, signed and with a red seal mark, mounted on board, 19.5cm x 51cm max. (3) £180-220 74 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

part lot illustrated part lot illustrated part lot illustrated 154 155 156 MURASE KOUTEI (1744-1819) KISHI GANKU (1794-1883) AFTER YAMAGUCHI SOKEN TANOMURA CHIKUDEN (1777-1835) KO FUYO (1722-1784) (1722-1784) SUZUKI NANREI (1775-1884) CHO GESSHO (1772-1832) AFTER KITAGAWA UTAMARO OHARA DONSHU (ACT. C.1850) SUZUKI NANREI (1775-1844) (1753-1806) AFTER MORI TETSUZAN Four Japanese scroll paintings; the first an ink Four Japanese paintings, the first in ink of the Three (1774-1841) painting of a peony by Koutei and sealed Chikuden, Heroes of the Han Dynasty by Ganku; another a MEIJI PERIOD, inscribed ‘a single peony is enough’; another a branch mountainous landscape with a sage in a retreat 19TH OR 20TH CENTURY of persimmon by Nanrei with a poem by Shimizu by Gessho; the third a landscape painting with Hamaomi (1776-1824); the third depicting a monkey two figures in a pavilion by Fuyo; together with a Three Japanese scroll paintings of bijin, on a rock by Donshu, and the last with two pumpkins farmer carrying baskets on a rod in a mountainous the first with a beauty standing by a and lychees, unsigned; each with a wood box, landscape by Nanrei, three with wood boxes, balustrade, gazing at sailing boats in 104.5cm x 33.5cm max. (8) 120cm x 56.5cm max. (7) the distance, signed and with a red seal mark; the two others with similar £300-500 £300-500 compositions, depicting a beauty writing a letter and with Okame behind her, all three paintings with a tomobako wood box, 111cm x 42.5cm. (6) £200-300 75

157 JOSIAH CONDER (1852-1920) KAWANABE KYŌSAI (1831-1889) DAVID NEWMAN (1936-2012) 19TH \& 20TH CENTURY An extensive collection of paper ephemera, letters, photographs and other material relating to Josiah Conder, his family, Kawanabe Kyōsai, and other subjects, including several albums comprising photographs of Conder and his relatives c.1910, many taken while they were living in Japan and featuring interiors decorated with artworks by Kyōsai, the archive assembled by David Newman (d.2012) in the 1980s-90s and including a large number of letters he exchanged with Conder’s descendants, showing his efforts to trace Kyōsai’s paintings once owned by the family. (a lot) £1,000-2,000 Provenance: formerly the David and Paula Newman collection, sold on behalf of the executors. Josiah Conder (1852-1920) was a British architect and an ‘oyatoi gaikokujin’, a foreign advisor to the Meiji Government, sometimes also referred to as the ‘Father of modern Japanese architecture’. Conder was hired in 1877 as Professor of Architecture at the Imperial College of Engineering, and Architect to the Public Works Department. The Meiji Government commissioned many European-style buildings as part of its aim to Westernize Japanese society and cities. Conder was hired to supervise the building work and train Japanese students in this European style of architecture. After his contract with the Japanese Government ended, Conder decided to remain in Japan and set up his own company. His most famous constructions include the Ueno Imperial Museum (Tokyo), the Rokumeikan (Tokyo), the Bank of Japan (Tokyo), the Mitsubishi Ichigokan Museum (Tokyo), Christ Church (Yokohama), and many other public structures and private houses in European style. Conder was fascinated by the arts and culture of his adopted country, and notably wrote books about Japanese landscape gardening and flowers. He enjoyed Kabuki theatre and ikebana (flower arrangement), and he studied traditional Japanese painting under the master painter Kawanabe Kyōsai (1831-1889). Kyōsai nicknamed Conder Kyôei (暁英), the second character meaning ‘Britain’. Conder was by the artist’s side when he died in 1889, and he later published in 1911 the first work in English dedicated to his art (‘Paintings and Studies by Kawanabe Kyōsai’). Conder owned a large number of paintings by his friend and mentor, and many of these are visible in the photographs offered as part of lot 157. Some of these paintings are now in museum collections around the world, and others are currently on display at the Royal Academy of Art, London, until 19th June 2022 as part of the exhibition Kyōsai: The Israel Goldman Collection. OPPOSITE: 1, 4, 5, 6, 9: Examples of paintings by Kawanabe Kyōsai displayed in Conder’s house. The photographic albums in this lot contain a large number of pictures featuring Kyōsai paintings Conder owned. 2, 8: Josiah Conder (1852-1920). 3: Helen Aiko Conder (1883-1974), Josiah Conder’s daughter, posing before a Kyōsai screen. 7: Conder’s residence in Mikawadai, Tokyo, a half-timbered Western-style building with an additional Japanese-style house beside it. 10: The Mausoleum of the Iwasaki Family designed by Conder in 1910 and still visible in Tokyo. The albums contain further images of buildings designed by Conder. Detail of a photograph in one of the albums. The painting is probably the one on the right by Josiah Conder, now at the British Museum (access. no. 2005,0810,0.1), purchased from David Newman. 76 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

1 2 3 4 6 5 7 8 10 9 Lot 157 detail See www.woolleyandwallis.co.uk for more pictures of this lot

Isabella Bird 158 three views (1831-1904) 159 158 ISABELLA L BISHOP / BIRD (1831-1904) MEIJI PERIOD, C.1890 Views in the Far East, an album of sixty collotype plates depicting views and people in Korea, Japan, and China, with a stitched silk cover, 1.8cm x 17.8cm x 25.3cm. £200-300 Isabella Bishop (née Bird) was a formidable English writer and photographer who travelled extensively around the world following an operation in 1850 to remove a tumor on her spine. She published several books with illustrations depicting the local populations and culture she encountered. 159 A JAPANESE COMMEMORATIVE FOLDING FAN MEIJI PERIOD, 1893 Made of paper, bamboo sticks, and a brass loop handle, printed to the inside with a panoramic view of the World’s Columbian Exposition held in Chicago in 1893, with minute figures amongst the tall buildings and Chicago’s skyline in the distance, 33.5cm. The World Fair was held to celebrate the 400th anniversary of Christopher Columbus’ arrival in the New World in 1492. Japan took part and built an authentic Japanese pavilion based on the Ho-o-Do (Phoenix Hall) in Kyoto. £50-80 160 three views 160 AN UNUSUAL JAPANESE CONCERTINA ALBUM OF PRINTS EDO AND MEIJI PERIOD, 19TH CENTURY One side of the book made of Japanese prints of European-style technical drawings, the sketches depicting guns, canons, and horse fittings; the other side used as a scrap book with 108 small engravings pasted on the paper sheets, some of banzuke type listing various professions in a specific town or region, the others of keidaizu type, the copper plates depicting bird’s-eye views, maps and other depictions of various locations including Arashiyama and Kiyomizudera, each picture with calligraphy identifying the view or the event depicted; the album with wooden covers, one side inscribed in ink with characters from a poem by Chinese Ming dynasty scholar Shixing Shen (1535-1614), referring to the shadow produced by low clouds, the sounds of rain and the deep roots of ancient trees, the album 25.2cm x 17.9cm. PLEASE NOTE THIS LOT IS TO BE OFFERED AT NO RESERVE. £200-300 78 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

161 LITERATURE A SMALL LIBRARY OF REFERENCE BOOKS Relating to Japanese art. (a lot) £2,000-3,000 Provenance: from the Milne Henderson collection of Japanese art. 162 LITERATURE A quantity of books relating to Japanese art and fiction. (a lot) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £300-500 Provenance: from the Milne Henderson collection of Japanese art. 79

163 164 LITERATURE LITERATURE CERAMICS OF JAPAN (NIHON NO TOJI) F BRINKLEY, JAPAN: DESCRIBED AND ILLUSTRATED BY THE JAPANESE, VOL.I-X (1897-98) Ten volumes, each dedicated to a different category of Japanese wares. (10) Imperial edition in ten volumes, n. 74 from a limited run of 100, including £200-300 over 200 illustrations (chromolithographs, collotype photographs and other printing techniques) of famous artworks, containing essays on Japanese art, all folios 37.2cm x 29.3mm. (10) £800-1,200 Captain Francis Brinkley (1841-1912) was an Anglo-Irish officer and newspaper owner who lived in Japan for more than forty years during the Meiji period. He created the newspaper The Japan Mail and later became the Tokyo correspondent for The Times of London, reporting on the Russo-Japanese War. He published several books on Japan and was the editor for the present publication, a general guide to Japanese culture. two views three views 165 166 TANAKA KIKUO (D.1884) KATSUSHIKA HOKUSAI (1760-1849) MEIJI PERIOD, C.1881 EDO PERIOD, C.1849 Iroha-biki mon cho (Album of Family Crests Arranged in Alphabetical Order), Hokusai gafu, vol.2, a Japanese album of prints variously depicting landscapes, a Japanese illustrated book in one volume, each page variously printed flowers, mythical figures and animals, with areas of the designs highlighted in with mon (coats of arm), the symbols representing each chapters of the light blue and pink ink, 22.7cm x 15.3cm. Genji Monogatari, or instructions on how to draw various patterns, approx. 278 pages, 3cm x 7.3cm x 15.7cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £80-120 £80-120 Provenance: from an English private collection, London. 80 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

part lot illustrated 167 UTAGAWA KUNIYOSHI (1798-1861) KATSUSHIKA HOKUSAI (1760-1849) WATANABE SEITEI (1851-1918) EDO PERIOD, 19TH CENTURY Four framed and glazed Japanese woodblock prints by Kuniyoshi, three from the series Tsuzoku Suikoden goketsu hyakuhachinin no hitori (108 Heroes of the Popular Water Margins, c.1827-30), each print depicting one of the eponymous characters, all approx. 37.5cm x 25.8cm; the fourth from the series Kisokaido rokujoku tsugi no uchi (Sixty-Nine Post Stations of the Kisokaido, c.1852) and depicting Princess Yaegaki with her fox friends, all approx. 31.7cm x 22.8cm; together with two printed albums, the first by Hokusai and entitled Denshin Kaishu, Hokusai Gaen (A Garden of Pictures by Hokusai, c.1820), vol.2, 22.6cm x 15.7cm; the other by Seitei, entitled Bijutsu sekai (Art World, 1892), vol.19, a publication produced to promote Japanese Art, with illustrations after Kuniyoshi, Okyo, Masanobu and others, 24.9cm x 16.1cm. (6) £300-500 Provenance: from the collection of John Peter Russell (1858-1930), purchased from Siegfried Bing by repute, and thence by descent. Russell was an Australian Impressionist and a friend of Van Gogh’s, painting the first oil portrait of the artist, now at the Van Gogh Museum in Amsterdam. He also painted with Claude Monet, and Henri Matisse credited Russell for introducing him to Impressionism. He married Anna Maria Antonietta Mattiocco, one of Rodin’s favourite models, in 1888. Cf. W Tunnicliffe, John Russell: Australia’s French Impressionist, pp.38-39 where Russell’s interest for Japanese art and his print collecting are discussed. The book was published as a guide to the exhibition dedicated to John Russell held at the Art Gallery of New South Wales, Sydney, in 2018. John Peter Russell (1858-1930) part lot illustrated 168 OGATA GEKKO (1859-1920) MEIJI PERIOD, 1897-98 Nihon Hanazu-e (Pictures of Japanese Flowers), an album containing twenty-one woodblock prints depicting legends, Noh plays and other stories associated with flowers, together with three further prints from the same series, the loose prints framed and glazed, oban tate-e, 35.5cm x 24.3cm max. (4) £200-300 81

169 NISHIKAWA SUKENOBU (1641-1750) KATUKAWA SHUNSHO (1762-92) EDO AND MEIJI PERIOD, 19TH AND 20TH CENTURY A collection of Japanese woodblock prints, including depictions of actors, historical figures, beauties and birds, two prints by Nishikawa Sukenobu (1641-1750) depicting women at their toilet, four portraits from the series ‘One Hundred Poets’ by Katukawa Shunsho (1762-1792), three pictures framed and glazed, 33cm x 23cm max. (12) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £200-300 Provenance: from the Milne Henderson collection of Japanese art. 170 UTAGAWA KUNISADA I / TOYOKUNI III (1786-1864) UTAGAWA HIROSADA (ACT. 1825-75) TAKAHASHI SHOTEI / HIROAKI (1871-1945) KO SUKOKU (1730-1804) EDO AND LATER, 19TH AND 20TH CENTURY Three Japanese prints and a painting, the first a woodblock print by Kunisada entitled ‘Mirror Mountain at Musa Station (with actor Onoe Shoroku I as Tsubone Iwafuji)’, from the series ‘The Sixty-Nine Stations of the Kisokaido Road’ (1852); another woodblock print by Utagawa Hirosada depicting a man holding a child (c.1849); the third a print on board by Shotei entitled ‘Rain on Izumi Bridge’ (c.1927); the ink painting by Ko Sukoku (1730-1804), depicting the drunk Chinese poet Li Bai (701-762) supported by two young boys, 42.5cm x 30cm max. (4) £200-300 Provenance: from an English private collection, London. 82 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

171 ATTRIBUTED TO KATSUSHIKA HOKUSAI (1760-1849) EDO PERIOD, 1832 A Japanese woodblock print, possibly a design for Soshu Isobe’ s illustrated book Hana fubuki en no shigarami (Snow-Blown Chains of Fate), depicting a bijin in a circular insert observing five fish in a stream, a cartouche top left with calligraphy referring to Isobe’s text, 17.7cm x 24.1cm. £150-250 Provenance: the Peter Hinton Collection, purchased in the 1960s-70s from Yamanaka \& Co, Kyoto. See the Museum of Art, Rhode Island School of Design, Providence, access. no.34.492 for another design by Hokusai of Isobe’s book, also featuring a beauty in an inset panel and with a basket of fish to the side. 172 OHARA KOSON / SHOSON (1878-1945) MEIJI PERIOD, C.1910 A Japanese woodblock print, entitled ‘Swallows and cherry blossoms’, framed and glazed, otanzakuban, 31.3cm x 16.9cm. £100-200 173 UTAGAWA KUNISADA I / UTAGAWA TOYOKUNI III (1786-1865) EDO PERIOD, 19TH CENTURY A Japanese woodblock print, depicting a beauty on a balcony playing the shamisen, framed and glazed, oban yoko-e, 34.4cm x 24cm. £100-200 83

174 KEISAI EISEN (1790-1848) UTAGAWA YOSHITORA (ACT. C.1830-1887) EDO AND MEIJI, 19TH CENTURY Two Japanese woodblock print diptychs, kakemono-e (vertical hanging prints), both depicting a standing bijin wearing ornate garments, one embellished with geometrical designs and the other with birds and bats, both signed, all approx. 37.3cm x 24.5cm. (4) £200-300 175 UTAGAWA YOSHITORA (ACT. C.1830-1887) EDO AND MEIJI, 19TH CENTURY Two Japanese woodblock print diptychs, kakemono-e (vertical hanging prints), both depicting a standing oiran wearing ornate garments, their robes decorated with patterns depicting puppies, one by Yoshitora, both signed, all approx. 35.8cm x 23.7cm. (4) £300-400 176 UTAGAWA YOSHIKAZU (ACT. C.1850-70) EDO PERIOD, C.1850 Two Japanese woodblock prints diptychs, kakemono-e (vertical hanging prints), the first by Yoshikazu and depicting the Gods of Good Fortune Hotei and Fukurokuju, each sheets approx. 35cm x 24cm; the other, possibly by Yoshikazu, of Sugawara no Michizane at Tengman-gu Temple, each sheet approx. 36.8cm x 23.6cm. (4) £200-300 84 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

177 UTAGAWA HIROSHIGE (1797-1858) KITAGAWA SHIKIMARO (ACT. 1804-20) KEISAI EISEN (1790-1848) KIKUGAWA YEIZAN (1787-1867) UTAGAWA YOSHIFUJI (1828-87) EDO PERIOD, 19TH CENTURY Five Japanese woodblock prints depicting beauties, the first by Hiroshige and entitled ‘Evening Cool at Ryogoku’, from the series ‘Famous Places in the Eastern Capital’ (c.1844-48); another by Shikimaro of ‘Hanazuma of the Ogiya, Kamuro Nioi and Kaoru’, from the series ‘Thirty-Six Female Poetic Immortals in the Modern Style’ (c.1813); the third by Eisen and entitled ‘Yui: Shigesaki of the Owariya’ from the series ‘A Tokaido Board Game of Courtesans: Fifty-Three Pairings in the Yoshiwara’ (c.1821-23); the fourth possibly by Utagawa Yoshifuji of a lady in an interior holding a fan, and another possibly by Kikugawa Yeizan depicting an oiran with a checkered kimono, 39cm x 26.4cm max. (5) £400-600 178 UTAGAWA SADAHIDE (C.1807-1873) YOSHIKAZU UTAGAWA (ACT.1850-70) EDO PERIOD, C.1861 Three Japanese Yokohama-e woodblock prints depicting Westerners, two from Utagawa Sadahide’s series ‘People of Foreign Nations’, the first entitled ‘Two Russians in Yokohama’, the foreigners with a long-haired goat; the second ‘Russians enjoying a Holiday in Yokohama’, one holding a telescope; the third print by Yoshikazu Utagawa entitled ‘English couple’ and depicting the figures with their pet dog, all three oban tate-e, all approx. 37cm x 25.5cm. (3) Foreigners settled in Yokohama often kept animals as pets and livestock, including dogs, and goats. Sadahide saw them as exotic subjects worth including in his woodblock prints. £300-500 85

179 UTAGAWA KUNISADA II / KUNIMASA III / TOYOKUNI IV (1823-80) EDO PERIOD, 1864 A collection of eight Japanese woodblock prints illustrating various chapters from the Genji Monogatari (Tale of Genji), each depicting figures wearing colourful garments underneath a large open fan with calligraphy relating to the poem, all signed, oban tate-e, all approx. 37cm x 25cm. (8) £100-200 180 KUNICHIKA TOYOHARA (1835-1900) MEIJI PERIOD, 19TH CENTURY A Japanese woodblock print triptych, entitled ‘New Kabuki Play, Mongaku Kanjincho’, published by Akiyama Buemon, framed and glazed, all sheets oban tate-e, each approx. 37.6cm x 25.1cm. £50-80 86 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

181 TSUKIOKA YOSHITOSHI (1839-1892) MEIJI PERIOD, 1885 A Japanese woodblock print triptych, entitled ‘Fudō Myōō Threatening a Novice’, signed Yoshitoshi and with a seal reading Taiso, published by Akiyama Buemon (Kokkeido), all three prints oban tate-e, all approx. 36.4cm x 24.8cm. (3) £6,000-8,000 See the Metropolitan Museum, New York, access. no.2005.350a-c for another example of this triptych. The prints illustrate a famous story describing how the Abbot Yuten (1637-1718) or Zojoji Temple prayed to the Buddhist Guardian God for his support to become a wise monk. He then dreamt that a statue of Fudō Myōō came to life and made him swallow one of his swords. The day after, the monk had become an excellent cleric. 87

182 UTAGAWA KUNISADA / UTAGAWA TOYOKUNI III (1786-1865) EDO PERIOD, 19TH CENTURY A Japanese woodblock print triptych, depicting the kabuki play Arigataya Oedo no Kagekiyo (commonly called “Biwa no Kagekiyo”), signed Shimoto no oju Toyokuni ga, framed and glazed, all oban tate-e, each approx. 35.5cm x 24cm. £200-300 183 UTAGAWA KUNISADA / UTAGAWA TOYOKUNI III (1786-1865) EDO PERIOD, 19TH CENTURY A Japanese woodblock print triptych, depicting the kabuki play Meiboku Sendai hagi, signed Kochoro/Ichiyosai Toyokuni ga, framed and glazed, all oban tate-e, each approx. 35cm x 24cm. £200-300 184 HOSAI UTAGAWA (1848-1920) MEIJI PERIOD, 1901 A woodblock print triptych, depicting the Kabuki play Yaoya Oshichi, signed, all oban tate-e, each sheet approx. 37cm x 25.4cm. (3) £200-300 88 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

185 YUKAWA SHODO (1868-?) MEIJI PERIOD, 19TH CENTURY A Japanese woodblock print triptych, depicting the Heian courtier Ariwara Yukihira watching the two sisters Matsukaze and Murasame on Suma Beach, signed Shodo, framed and glazed, oban tate-e, each sheet approx. 35cm x 23.5cm. £50-80 186 KUNICHIKA TOYOHARA (1835-1900) MEIJI PERIOD, 19TH CENTURY A Japanese woodblock print triptych, depicting five fashionable ladies wearing ornate garments, their richly decorated kimonos with patterns of birds in flight, four of them holding umbrellas, framed and glazed, each sheet oban tate-e, each approx. 35cm x 23.4cm. £50-80 187 UTAGAWA TOYOSAI (1848-1920) CHIKANOBU YOSHU (1838-1912) MEIJI PERIOD, C.1891 Two Japanese woodblock prints triptychs, the first by Toyosai and depicting figures observing two men landing with parachutes, one of them possibly Percival Spencer (1864-1913), a British parachutist; the other by Yoshu and depicting courtesans enjoying hanami, both mounted on board, all sheets oban tate-e, approx. 35.4cm x 23.2cm. (2) £100-200 89

188 UTAGAWA HIROSHIGE I (1797-1858) UTAGAWA HIROSHIGE II (1826-69) EDO PERIOD, C.1832-60 Six Japanese woodblock prints depicting various urban and rural views, five by Utagawa Hiroshige I entitled: ‘Fishing by torchlight on Lake Renko’ and ‘Satsuma Province: Bo Bay, the Two-sword Rocks’, both from the series ‘Sixty-odd Famous Places of Japan’ (1856); ‘The Jewel River in Musashi Province’, from the series ‘Thirty-Six Views of Mount Fuji’ (1858); ‘Suruga-cho’, from the series ‘One Hundred Views of Edo’ (1856); ‘Theatres in Nichomachi’, from the series ‘Famous Places in the Eastern Capital’ (c.1832-38), all oban tate-e, all approx. 35.8cm x 23.5cm; and one print by Hiroshige II entitled ‘Snow Scene’, from the series ‘Pictures of Famous Places in Edo’ (c.1860), oban yoko-e, 25.7cm x 37cm. (6) £500-800 189 KATSUSHIKA HOKUSAI (1760-1849) EDO PERIOD, C.1827-1832 Two Japanese woodblock prints by Hokusai, the first entitled Soshu Oyama Roben no taki (Roben Waterfall at Oyama in Sagami Province), the other entitled Kisokaido Ono no Bakufu (The Waterfall at Ono on the Kisokaido Road), both from the series Shokoku taki Meguri (A Tour of Waterfalls in Various Provinces), both oban yoko-e, framed and glazed, 37.9cm x 26cm and 37.5cm x 26.1cm respectively. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £80-120 90 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

190 UTAGAWA HIROSHIGE I (1797-1858) TAISHO OR LATER, 20TH CENTURY A Japanese woodblock print triptych entitled Buyo Kanazawa hassho yakei (Eight Views of Kanazawa at night, Province of Musashi), first published in 1857, with publisher’s mark reading Uchida han, oban tate-e, each sheet framed and glazed, all approx. 43.7cm x 27.4cm. (3) £300-500 191 KAWARAZAKI SHODO (1889-1973) KOTOZUKA EIICHI (1906-79) SHOWA ERA, C.1950 Three Japanese woodblock prints, the first by Shodo and depicting a large sunflower, from the series Nihon no hanagoyomi (Calendar of the Flowers of Japan), 37.7cm x 26cm; the two others by Eichii, the first entitled Tango no Sekku (Boy’s Day), and the other Koto Gosho (Imperial palace in Kyoto), both approx. 38.5cm x 24.8cm; all three framed and glazed. (3) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £200-300 91

192 TSUCHIYA KOITSU (1870-1949) SHOTEI TAKAHASHI (1871-1945) SHOWA ERA, C.1930 Two Japanese woodblock prints, the first by Koitsu and entitled ‘Evening at Hira’ (1936), framed and glazed, oban tate-e, 35.6cm x 23.6cm; the other by Takahashi and entitled ‘Night Scene at Itako’ (c.1930), mounted on board, 25.8cm x 17.2cm. (2) £200-300 193 YOSHIDA HIROSHI (1876-1950) SHOWA ERA, 1933-1935 Three Japanese woodblock prints, the first entitled Sarusawa ike (Saruwasa Pond) and dated 1933; the second Sankeien (Three Creeks Garden) from the series ‘Eight Scenes of Cherry Blossoms’ and dated 1935; the third (Evening in Nara) from the series ‘Kansai District’ and dated 1933; all three signed Hiroshi Yoshida in pencil underneath, Yoshida in sumi ink and the red seal for Hiroshi bottom right, with jizuri seal in the left margins; all oban tate-e, all approx. 39cm x 27cm each. (3) £300-500 Provenance: the collection of Vice-Admiral Reginald Vesey Holt, CB, DSO, MVO, (1884-1957), and thence by descent. 92 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

194 KAWASE HASUI (1883-1957) SHOWA PERIOD, DATED 1931 A Japanese woodblock print on paper entitled Sengaku-ji (Sengaku Temple) from the series Tokaido fukei senshu (Views of the Tokaido), signed lower left Hasui and with a red artist’s seal, with a further circular seal in the lower right corner, the title inscribed in the upper right margin and dated January Showa 6 (1931), oban tate-e, 39cm x 26.3cm. £800-1,200 See the museum of Art, Boston, access. no.50.2883, for another example of this print. 195 YOSHIDA HIROSHI (1876-1950) SHOWA ERA, 1933-1935 A Japanese woodblock print entitled Rozan, signed Hiroshi Yoshida in pencil underneath, Yoshida in sumi ink and with the red seal for Hiroshi bottom right, jizuri seal in the left margin; oban yoko-e, 26.9cm x 40.8cm. £150-250 93

196 PAUL JACOULET (1902-1960) SHOWA, 1936 AND 1937 Two Japanese woodblock prints, the first entitled La Chenille Verte, Corée (The Green Caterpillar, Korea) and the other Sur le Sable, Ouest Carolines, Yap (On the Sand, West Caroline Islands, Yap); both signed in pencil lower right corner above the red Good Luck Hammer seal; the first with a ground of mica, a carver’s seal for Maeda Kentaro and stamped with edition number 150/150 on the verso, and the other with edition number 82/150, 46.8cm x 35.6cm and 36.1cm x 46.7cm respectively. (2) £300-500 Paul Jacoulet was a French artist living in Japan, who learnt traditional ukiyo-e printing techniques and developed a personal style often featuring portraits of people he met on his voyages. He travelled extensively to Micronesia, Indonesia, China, Korean, Japan and the Philippines. part lot illustrated 197 JUNSUKE WATARAI (1936-) SHOWA ERA, 20TH CENTURY Two Japanese limited editions colour etchings, one entitled ‘The Marionette’s Travels’, numbered 5/60, the other entitled ‘On Stage (G)’, numbered 12/50, both signed in pencil underneath, framed and glazed; together with four loose sketches depicting musicians, possibly by Watarai, 36.1cm x 59.1cm max. (6) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £200-300 Provenance: from the Milne Henderson collection of Japanese art. 94 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices

198 ITO YUHAN / YOSHIHIKO (1867-1942) MEIJI OR TAISHO, 19TH OR 20TH CENTURY Two Japanese watercolour paintings in Yoga style, the largest depicting buildings nestled amongst woodlands and with mountains in the distance, the other with two sampans moored on a lake at twilight, the shadow of a building visible in the distance with a single light shining through the window, both pictures signed ‘Y.ITO’, framed and glazed, 49cm x 32cm and 43.5cm x 28.5cm respectively. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £300-500 Provenance: from an English private collection, London. Ito Yuhan studied at Kyoto Prefecture School of Painting and Harada Naojiro’s Shobikan art school in Tokyo. His paintings and woodblock prints are recognisable for their Western style, and he was one of the precursors of the shin-hanga art movement. 199 GINNOSUKE YOKOUCHI (1870-1942) AND T. YAMAMOTO (C.1900) MEIJI OR TAISHO, 19TH OR 20TH CENTURY Two Japanese paintings in Yoga style, the first a watercolour with a small building on stilts by a pond, the scene set in a luxuriant garden with many flowers in bloom, signed G.Yokouchi, framed and glazed; the other depicting two fishermen on a large boat purchasing persimmons from a third man on a smaller craft, with further boats visible in the distance, signed T. Yamamoto, framed, 32cm x 48cm and 46.5cm x 63.5cm respectively. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. £300-500 Provenance: from an English private collection, London. 95

TOKO SHINODA 篠田桃紅 (1913-2021) After spending years training in Japanese calligraphy with her father, Shinoda adopted a more personal approach based on the abstraction of Japanese characters, which led her to create an idiosyncratic form of abstract expressionism. She held her first solo exhibition in Tokyo in 1936, and she later moved to the USA where she immersed herself in the exciting New York art scene which then included Jackson Pollock and Mark Rothko. Lots 200 and 202 come from a private English collection and were originally purchased from the Tolman Collection in Tokyo, who represented the pioneering artist for decades. Shinoda executed this painting (opposite) aged 93 using traditional sumi ink and cinnabar pigments, which she obtained by crushing the Chinese lacquer pieces she collected. Her paintings and lithographs often feature these bright red elements and gold accents which give further depth and rhythm to her compositions. 200 Invoice from the TOKO SHINODA (1913-2021) Tolman Collection, Tokyo HEISEI ERA, 2006 An original Japanese painting entitled ‘Bright Moonlight’ in sumi ink and cinnabar red on Japanese paper, the composition with a central design of three intertwined strokes, a bright red square to the lower right and a diagonal stroke to the left, signed lower left in kanji and Roman letters Shinoda, framed and glazed, the painting 35.5cm x 27cm. £7,000-9,000 Provenance: an English private collection, London. Purchased from the Tolman Collection, Tokyo, in 2007. A copy of the original invoice is available. The frame was designed by the Tolman Collection especially for this picture.

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201 TOKO SHINODA (1913-2021) SHOWA ERA, DATED 1976 A Japanese limited edition colour lithograph entitled ‘Listen’, numbered 10/50, the composition with a tall vertical shape on the right-hand side resembling a branch of bamboo and a black diagonal stroke extending across the canvas, signed lower right Toko Shinoda in pencil, dated and titled, framed, the print 58cm x 42.5cm. £1,500-2,000 Provenance: a Japanese private collection, purchased in Japan in the 1970s. 202 TOKO SHINODA (1913-2021) HEISEI ERA, DATED 2004 A Japanese limited edition colour lithograph entitled ‘Felicity’, numbered 42/50, the abstract design featuring shapes reminiscent of a torii gate with details in gold and cinnabar pigments, signed lower left in pencil Toko Shinoda, framed and glazed, the print 26.5cm x 36.5cm. £1,500-2,000 Provenance: an English private collection, London. Purchased from the Tolman Collection, Tokyo, in 2006. A copy of the original invoice is available. 98 See paragraphs 4 \& 5 of our conditions of business at the back of the catalogue for additional charges on the final hammer prices