NETSUKE: SITTING KIRIN Japan | Edo Period

Home , Autumn Moon, Breast milk jewelry, Dha (sword), Ebisu (mythology), Holy Key, Kadomatsu

ASIAN ART 7.12.2017 亚洲古董珍玩 2017年12月7日 Auktionstermine Herbst 2017 Asian Art Europäisches Kunstgewerbe 16. November 2017 Schmuck und Uhren 17. November 2017 Alte Kunst 17. November 2017 Vorbesichtigung: 10.– 14. November 2017 Asiatische Kunst Modern 29. November 2017 Post War 29. November 2017 Contemporary 29. November 2017 Vorbesichtigung: 24.– 27. November 2017 7.12.2017 Rheingold 6. Dezember 2017 Discoveries 6. Dezember 2017 Vorbesichtigung: 2.– 4. Dezember 2017

Asiatische Kunst 7. Dezember 2017 Vorbesichtigung: 2.– 6. Dezember 2017 Preview

Auktionstermine Vorbesichtigung Frühjahr 2018 Dekorative Kunst 31. Jan. + 1. Feb. 2018 2. – 6.12.2017 Vorbesichtigung: 27. – 29. Januar 2018

Europäisches Kunstgewerbe 16. Mai 2018 Schmuck und Uhren 17. Mai 2018 Alte Kunst 18. Mai 2018 Vorbesichtigung: 11. – 14. Mai 2018 亚洲古董珍玩 Modern 30. Mai 2018 Post War 30. Mai 2018 Contemporary 30. Mai 2018 第406屆拍卖会 Vorbesichtigung: 25. – 28. Mai 2018 Discoveries 6. Juni 2018 2017年12月7日 Vorbesichtigung: 1. – 5. Juni 2018

Asiatische Kunst 7. Juni 2018 Vorbesichtigung: 1. – 5. Juni 2018 預展時間 2017年12月2日–6日

Einlieferungen von Sammlungen, Nachlässen und Einzel Abbildung Titel: stücken sind bis zwei Monate vor den Auktionen möglich. Nr. Nr. 2242 NETSUKE: SITTING KIRIN Japan | Edo period. 18th c. Kyôto Unsere Experten informieren Sie gerne über die aktuelle Marktsituation und geben Ihnen kostenlose Einschätzungen Abbildung Rückseite: für Ihre Kunstwerke. Wir freuen uns auf Ihren Anruf, Ihre Nr. 2000 IMPORTANT FEMALE BODHISATTVA E-Mail bzw. Ihre Post. China | Ming dynasty Unsere Experten Unser Service Our Specialists Our Service

Christoph Bouillon Katalogbestellungen Geschäftszeiten nach der Auktion Live bieten Auktion Vorbesichtigung Katalogredaktion Nicole Burkhard Business hours after the sale Über unsere Website können Sie sich Sale Preview Tel. +49 (221) 925862-32 Tel. +49 (221) 925862-13 Montag bis Freitag 10 bis 17 Uhr zu den Auktionen anmelden und live [email protected] [email protected] Samstag 10 bis 13 Uhr mitbieten. Alle Infos finden Sie auf: Donnerstag, 7. Dezember 2017 2. bis 6. Dezember 2017 www.van-ham.com/kaufen/wie-biete-ich ab 10.00 Uhr Samstag 10 bis 16 Uhr Natalie Alfers Schriftliche / Telefonische Gebote Adresse Sammlung Graf-Pfaff 2000 – 2015 Sonntag 11 bis 16 Uhr Tel. +49 (221) 925862-85 Anja Bongartz address Auktionen live mitverfolgen China 2016 – 2085 Montag 10 bis 18 Uhr [email protected] Tel. +49 (221) 925862-17 Van Ham Kunstauktionen Wenn Sie die Auktion nur live mitver- Buddhistische Kunst 2086 – 2134 Dienstag 10 bis 18 Uhr [email protected] Hitzelerstraße 2 folgen möchten, benötigen Sie keine Sammlung Rosen 2135 – 2171 Mittwoch 10 bis 18 Uhr Walter Bruno Brix 50968 Köln Anmeldung. Südostasien 2172 – 2195 Tel. +49 (221) 925862-28 Versand Tel.: +49 (221) 925862-0 Japan 2196 – 2241 [email protected] Anja Bongartz Fax: +49 (221) 925862-4 Tel. +49 (221) 925862-17 [email protected] ab 14.00 Uhr Iris Hekeler [email protected] www.van-ham.com LIVE AUKTION Netsuke & Inro 2242 – 2433 Tel. +49 (221) 925862-21 Sammlung Braunbehrens 2434 – 2442 [email protected] Warenausgabe Am Ende des Kataloges finden Sie Asiatische Kunst, Part II 2443 – 2645 Tobias May You will find at the end of the Hua Yan Tel. +49 (221) 925862-23 catalogue: Tel. +49 (221) 925862-80 [email protected] Erläuterungen zum Katalog [email protected] Einliefererverzeichnis Buchhaltung Geschäftsbedingungen Di Xing Birgit Uttendörfer Impressum Chinesische Katalogtexte Tel. +49 (221) 925862-58 Tel. +49 (221) 925862-85 [email protected] Explanations to the catalogue [email protected] List of Consignors Sekretariat Conditions of sale Eva Seidel Nicole Burkhard Legal notice 拍賣流程： Tel. +49 (221) 925862-85 Tel. +49 (221) 925862-13 2017年12月7日週四 [email protected] [email protected] 上午10點開始

Trudel Klefisch Rechnungen 圖錄第一部分預展時間： Netsuke aus einer Olga Patriki 蔡彩麗和奧斯卡格拉夫-法夫 2017年12月2日-6日 italienischen Privatsammlung Tel. +49 (221) 925862-15 Cäcilie & 12月2日 10 – 16點 Tel. +49 (221) 925862-21 [email protected] Oscar Graf-Pfaff 收藏 2000 – 2015號 12月3日 11 – 16點 [email protected] 中國藝術品 2016 – 2085號 12月4日-6日 10 – 18點佛教藝術 2086 – 2134號迪特里夫柔曾拍賣會後營業時間： Auktionatoren Detlef Rosen 收藏 2135 – 2171號週一至週五 10 – 17點 Markus Eisenbeis, öffentl. best. 東南亞藝術 2172 – 2195號週六 10 – 13點 und vereidigter Kunstversteiger er 日本藝術品 2196 – 2241號 Reinhard Singer, öffentl. best. 德國科隆 VAN HAM（範∙漢姆） und vereidigter Kunstversteigerer 下午2點開始藝術拍賣公司根附和印籠 2242 – 2433號 Hitzeler Str. 2, Cologne, Germany 漢斯馮布勞恩貝倫斯教授電話：+49 (221) 925862-0 Braunbehrens 收藏 2434 – 2442號傳真：+49 (221) 925862-4 郵箱：[email protected] 圖錄第二部分 2443 – 2645號網址：www.van-ham.com Our Specialists Unsere Experten Asian Art, Part I

v.r.n.l. Christoph Bouillon Hua Yan Natalie Alfers Walter Bruno Brix Iris Hekeler The Cäcilie and Oscar Graf-Pfaff Collection

Alongside painting, Oscar Graf (1873 – 1958) also mastered Neben seiner Malerei beherrschte Oscar Graf (1873 – 1958) various techniques of etching and lithography. Especially regar- meisterhaft verschiedene Techniken der Radierung und Lithogra- ding the difficult art of aquatint he performed outstandingly. phie. Besonders in der schwierigen Kunst der Aquatinta leistete In 1904, he participated in the first exhibition organised by the er Hervorragendes. 1904 nahm er an der ersten, vom Deutschen Deutscher Künstlerbund (German Artists Association). He was Künstlerbund organisierten Ausstellung teil. Vom Hause Wit- named ‚Royal Professor‘ by the House of Wittelsbach. For his telsbach wurde er zum ‚Königlichen Professor‘ ernannt. Für sein art print ‘Pietà‘ he was awarded the Golden Medal and later Kunstblatt ‚Pietà‘ erhielt er die goldene Medaille und später die the Goethe Medal. Goethemedaille. 1902 heiratete er die bekannte Künstlerin Cäci- In 1902, he married well-known artist Cäcilie Bader-Pfaff lie Bader-Pfaff (1868 – 1939), die sich danach Graf-Pfaff nannte. (1868 – 1939), who then changed her name to Graf-Pfaff. She Sie war eine ebenso bekannte Malerin, die sich als Grafikerin was an equally renowned painter, who distinguished herself as und Illustratorin auszeichnete. Während ihres Studiums an der graphic artist and illustrator. During her studies at Akademie Akademie der bildenden Künste lernte sie den Japaner Harada der bildenden Künste she met Japanese artist Harada Naojirô Naojirô (1863 – 1899) kennen. Von diesem lernte Cäcilie Graf- (1863 – 1899). He thought her the techniques of Japanese ink Pfaff die Technik der japanischen Tuschmalerei. Seitdem sammel- painting. She would collect Japanese and East Asian art ever te sie japanische und ostasiatische Kunst und konnte auch Oscar since and could also interest Oscar Graf in it. Writer Mori Ôgai Graf dafür interessieren. Zu dem Bekanntenkreis der beiden (1862 – 1922) also ranked among their acquaintances. gehörte auch der Schriftsteller Mori Ôgai (1862 – 1922). Owing to their extensive network of important collectors and art Aufgrund ihrer weitreichenden Kontakte zu wichtigen Samm- dealers, the artist couple could organise an impressive exhibition lern und Kunsthändlern gelang es dem Künstlerpaar 1909 eine titled ‚Japan und Ostasien in der Kunst‘ (Japan and East Asia in beeindruckende Ausstellung mit dem Titel ‚Japan und Ostasien the Arts) in 1909 in Munich. The elegant poster designed by in der Kunst‘ in München zu organisieren. Oscar Graf (1873 – 1958) Cäcilie Graf-Pfaff (1868 – 1939)

Oscar Graf uses a Japanese woodcut. Covering 18 halls at Das elegante, von Oscar Graf entworfene Plakat verwendet the exhibition park at Theresienhöhe, the exhibition im- einen japanischen Holzschnitt. Die Ausstellung in 18 Sälen des pressed and inspired many artists. Largely written by Cäcilie Ausstellungsparks auf der Theresienhöhe beeindruckte und in- Graf-Pfaff, the informative catalogue displays her tremendous spirierte viele Künstler. Der informative, größtenteils von Cäcilie interest in Japanese art. In 1925, she and Oscar Graf pub- Graf-Pfaff verfasste Katalog zeigt ihre intensive Beschäftigung lished the now widely appreciated ‚Japanisches Gespenster- mit der japanischen Kunst. Zusammen mit Oscar Graf gab sie buch‘ (Japanese Ghost Book), which was issued as a facsimile 1925 die heute als hervorragend gerühmte Publikation ‚Japa- reprint in 2010. nisches Gespensterbuch‘ heraus, die 2010 als Faksimile-Nach- druck erschien. In seinen Privaträumen umgab sich das Paar In their private apartments the couple lived amid a collection of mit einer Sammlung ausgesuchter Kunst aus Ostasien. Fotos selected artworks from East Asia. Photographs clearly convey vermitteln deutlich die Freude, sich mit ostasiatischer Kunst zu the pleasure derived from being surrounded by East Asian art. umgeben. In dieses Bild passt auch die Sammlung von Masken, The collection of masks in the photographs perfectly fits into die auf den Fotos zu finden ist. Aus dieser Sammlung sind in this picture. From this very collection three women’s masks are der Auktion drei Frauen-Masken (Kat. Nr. 2008) aufgelistet. listed in the auction (cat. no. 2008). As well as a collection of Zudem eine Sammlung von Miniaturmasken nach historischen miniature masks based on historical models (cat. no. 2007). Vorbildern (Kat. Nr. 2007). Hochbedeutend ist die große chine- Highly important is the large Chinese Buddhist sculpture (cat. sische buddhistische Skulptur (Kat. Nr. 2000). Diese stand eben- no. 2000). As photographs show, it was likewise in the apart- falls in den Wohnräumen, wie Fotos zeigen. Dort hing auch das ment. This was also where the Chinese scroll painting (cat. no. chinesische Rollbild (Kat Nr. 2001), das dem berühmten Maler 2001) was hung, which is attributed to famous Ming dynasty der Ming-Dynastie Cui Zizhong (1574 – 1644) zugeschrieben painter Cui Zizhong (1574 –1644). From the same private coll- werden konnte. Ebenfalls aus der privaten Sammlung stammen ection are a tea bowl (chawan) of Oribe stoneware, a tea caddy eine Teeschale (chawan) aus Oribe-Steinzeug, eine Teedose für for powdered tea (chaire) of Bizen ceramic and various objects Pulvertee (chaire) aus Bizen-Keramik und verschiedene Gegen- made of Japanese lacquer (cat. no. 2009 – 2015) as well as stände aus japanischem Lack (Kat. Nr. 2009 – 2015) und andere other objects not listed here. hier nicht aufgezählte Objekte.

Walter Bruno Brix Walter Bruno Brix

Sources: Text unter Verwendung folgender Quellen: -Gerhard Halm: Oscar Graf – -Gerhard Halm: Oscar Graf – Der Radierer und Maler. Munich 1953. Der Radierer und Maler. München 1953. -Andrea Hirner: Wie sich Japan und Bayern kennen -Andrea Hirner: Wie sich Japan und Bayern kennen lernten, pp. 15-31. In: Einsichten und Perspektiven – lernten. S. 15-31. In: Einsichten und Perspektiven – Themenheft 1/14, Munich. Themenheft 1/14, München. The figure at the collectors home.

2000 IMPRESSIVE FIGUR OF A FEMALE BODHISATTVA. BEEINDRUCKENDE FIGUR EINES WEIBLICHEN BODHISATTVA. China. Ming dynasty (1368-1644) or earlier.

Wood with residue of lacquer and the reinforcement fabric. Standing lady in somewhat twisted stance, here hands held in front of her chest, maybe offering once an object. The garment shows the elegant style of the Tang dynasty with a wide skirt, which is fastened high over the waist with a long dangling band. Com- bined with a jacket with wide sleeves, which she has pushed back in folds on her arms. According to the fashion of the period, she is shown as a lady who has put on bit of weight with an oval face and her hair put up in a complicated hairdo.

Obviously the figure was part of a group, 大型令人印象深刻的觀音菩薩木刻立像 as her attitude is focused to somewhat 明 (1368-1644) 或者更早期 else. Because of the missing attributes, 高94cm/寬31,5cm/深24cm it is not possible to ascribe her exactly. 木刻立像殘有彩漆和修復時加固用織 Height 94cm, width 31.5cm, depth 24cm. 物.菩薩身體輕轉,雙手疊交於胸前,似以 Condition B. Restored. 前手持貢品.身着廣袖長裙。此立像應為群雕像中之一. Provenance: 經過修復. -Collection of Oskar Graf 1873-1958 來源: and Cäcilie Graf-Pfaff 1862-1939. - Oskar Graf 1873-1958 和 Cäcilie -Rhenish collection by inheritance. Graf-Pfaff 1862-1939 收藏. - 德國萊茵地區通過遺產繼承的 € 60.000 – 70.000 | $ 70.800 – 82.600 私人收藏.

The Cäcilie & Oscar Graf-Pfaff Collection 2001 CUI, ZIZHONG (1574 – 1644) – attributed.

ELEGANT LADY WITH ATTENDANCE STROLLING IN EARLY SPRING. ELEGANTE DAME IN BEGLEITUNG BEIM SPAZIERGANG IM FRÜHLING.

China. Late Ming dynasty. Colors and ink on silk. Mounted as hanging scroll. Length 265cm, width 69.5cm, picture size 128 x 49.8cm. In a wide landscape a lady dressed in costly silk robes with a jade pendant at her waist and elaborately made up hair is strolling at a water bank.

She turns to her attendant, who is likely dressed in silk robes and carries a flower basket on her back. Near to a rock ar- rangement with a railing, which shows that this is rather a garden or park, a slender weeping willow is growing. This tree is compared to the beauty and elegance of ladies. In the foreground some prunus are flowering near rocks.

The painting is accomplished skillfully and with much detail. The ladies are shown with bright faces, delicate hands and slender, stretched bodies. The landscape conveys width and the season is transmit- ted by detail. Sign.: Qing Yin Cui Zi Zhong Xie – painted by Qingying Cui. Seal: Cui Zi Zhong Yin – Seal of the painter. On the outside of the scroll: Cui Qing Yin Xian Sheng Xie Zhen Ren Wu Zhen Ji - Portrait of a lady by Cui Qingyin. Condition B/C. Restored, traces of use according to age, darkened, blemished and folded.

Provenance: -Collection Oskar Graf 1873-1958 and Cäcilie Graf-Pfaff 1862-1939. -Rhenish private collection by inheritance.

€ 3.000 – 5.000 | $ 3.540 – 5.900

仕女春遊圖崔子中款（1574 - 1644）明晚期長265cm/寬69,5cm/畫面128x49,8cm 絹本設色掛軸. 款識: [青吲崔子中寫] 鈴印: [崔子中印] 有修復,年代久遠色變,有破損,折痕. 來源: - Oskar Graf 1873-1958 和 Cäcilie Graf-Pfaff 1862-1939 收藏. -德國萊茵地區通過遺產繼承的私人收藏

The Cäcilie & Oscar Graf-Pfaff Collection 2002 2004 2005 2006 LOTOS LEAF WITH SHADAKSHARI ATTENDANT BOY HOLDING A BOX. GUANYIN ON LION. SHANCAI, AN ATTENDANT OF LOKESHVARA. BEGLEITFIGUR, EINEN KASTEN GUANYIN AUF LÖWE. GUANYIN. LOTOSBLATT MIT SHADAKSHARI HALTEND. China. 18th/19th c. SHANCAI, EIN BEGLEITER DER LOKESHVARA. Japan. Edo period. 17th/18th c. GUANYIN. Sino-Tibetan. 16th/17th c. Boxwood. Height 11.2 cm. Condition B. China. Late Ming Dynasty. 17th c. Wood with lacquer. Height 20cm. Chipped. Supplement: Miniature face. Copper bronze in repoussé with residue Condition B. Lacquer flaking. papier-mâché mass with glass eye. China, Bronze with dark patina. Condition A/B. of gilding. Sitting in padmasana on a lotus 19th/20th c. H.3,8cm. Condition B. Left big toe is missing. Supplement: throne. The two central hands in front of € 1.200 – 1.500 | $ 1.416 – 1.770 Small covered box with lotus scrolls in his chest in anjali mudra, the other two € 1.100 – 1.500 | $ 1.298 – 1.770 bas-relief. Bronze with dark patina. China. raised. The right holding prayer beads, the Condition A/B. left the stem of a now lost lotus flower. 黃楊木觀音駕乘金毛吼雕像 € 400 – 600 | $ 472 – 708 The aureole of large figures of high qual- 中國18/19世紀高11,2cm ity was surrounded by such figurative 附小面形,近似紙漿材質配玻璃雙目. lotus leaves. Height 16.5cm, width 7.2cm, 中國19/20世紀.高3,8cm 有撞擊痕. depth 4cm. Condition A/B. 來源: - Oskar Graf 1873-1958 和 € 2.000 – 3.000 | $ 2.360 – 3.540 Cäcilie Graf-Pfaff 1862-1939 收藏. -德國萊茵地區通過遺產繼承的私人收藏.

銅蓮葉四臂六音節觀音像漢藏式16/17世紀高16,5cm/寬7,2cm/深4cm 青銅雕模,殘留鎏金.跏趺坐于蓮花寶座.雙手合十于胸前,另外兩手高舉光環. 大型佛像高貴光環是由此種觀音蓮葉像組成. 來源: - Oskar Graf 1873-1958 和 Cäcilie Graf-Pfaff 1862-1939 收藏. -德國萊茵地區通過遺產繼承的私人收藏.

2002

2003 CENSER WITH LION HANDLES. WEIHRAUCHBRENNER MIT LÖWENHENKELN. China. 17th/18th c.

Bronze with a shiny patina and residue of gilding. Underneath a six-partite mark: Da Ming Xuande nian zhi, but later. Height 8.5cm, Ø 12.5cm. Condition B. Smaller dents.

€ 2.200 – 2.500 | $ 2.596 – 2.950

獅首雙耳銅香爐中國 17/18世紀高8,5cm/直徑12,5cm 銅器淺色泛金包漿,殘留鎏金. 六字底款: [大明宣德年制].但是更晚. 有小的撞擊痕來源: - Oskar Graf 1873-1958 和 Cäcilie Graf-Pfaff 1862-1939 收藏. 2004 -德國萊茵地區通過遺產繼承的私人收藏. 2005 2006 2003 The Cäcilie & Oscar Graf-Pfaff Collection 2007 TEN MINIATURE MASKS OF BUGAKU, Provenance: GYÔDÔ AND TSUINA. -Collection of Oskar Graf 1873-1958 and ZEHN MINIATUR-MASKEN DES Cäcilie Graf-Pfaff 1862-1939. BUGAKU, GYÔDÔ UND TSUINA. -Rhenish private collection through Japan. Meiji period (1868-1912). inheritance. Ca. 1900. € 1.200 – 1.400 | $ 1.416 – 1.652 Wood, carved and painted with pigments. In the Meiji period the masks of the collections in the imperial treasure house Shôsôin and from temples like Hôryû-ji where exhibited the first time to a wider audience. In this period faithful copies were produced, sometimes in miniature format, like these. Supplement: Original tomobako box from cedar wood.

2008 b) Mask in the style of a ko omote. tective padding (menate), silk damask, THREE MASKS FOR THE PORTRAYAL 19th/20th c. Height 21.4cm, width padded, lining with inscription: ‘Douji’, OF YOUNG WOMEN. 13.4cm. On the back in red lacquer and meaning ‘Young Boy’, not corresponding DREI MASKEN ZUR DARSTELLUNG ink: ‘ko omote’. Condition A/B. to the masks. JUNGER FRAUEN. c) Mask in the style of a ko omote for Japan. Edo to Meiji period. Kagura. On the back an unread seal. Late Provenance: 19th/early 20th c. Height 21.2 cm, width -Collection of Oskar Graf 1873-1958 and Wood, painted with gofun and pigments. 13.3 cm. Condition B. Some chips in the Cäcilie Graf-Pfaff 1862-1939. a) Mask of the type fukai, literally: “Deep color. -Rhenish private collection by inheritance. Fountain”. On the lacquered back in gold lacquer the kao of the Daimyô family We would like to thank Stephen Marvin, See photo with masks in the collector’s Kaga Maeda. Probably 18th century. author of “Heaven Has a Face; So Does home. Height 20.5cm, width 13.3cm. Condition Hell: The Art of the Noh Mask”, for the B. Colors somewhat rubbed. friendly indications. Supplement: Pro- € 3.000 – 8.000 | $ 3.540 – 9.440

b a c The Cäcilie & Oscar Graf-Pfaff Collection 2009 2010 2011 ORIBE CHAWAN AND MIMITSUKI FLAT BOX IN THE SHAPE OF LOTUS A MODEL OF A PRAYING MANTIS IN CHAIRE. LEAVES AND BUDS. NATURAL SIZE. ORIBE CHAWAN UND MIMITSUKI FLACHE DOSE IN FORM VON LOTOS- MODEL GOTTESANBETERIN IN ORIGI- CHAIRE. BLÄTTERN MIT KNOSPEN. NALGRÖSSE. Japan. 18th/19th c. Japan. Meiji period. Ca. 1900. Japan. 19th c.

Chawan: Oribe stoneware, underglaze Bamboo and wood, carved and stained Japanese alloy. Length 7,4cm. Condition painting with iron oxide, glazed transpar- dark. Lid handle from bone, inside the lid B. Part of the left foot broken. Supple- ent and green. Height 5.5cm, 12x10cm a lotus pod inlaid in bone. Height 6,3cm, ment: Menuki in the shape of a crawfish Inside the footring owner’s mark in ink: Ø 11cm. Underneath a seal which is only as brooch. Kashira with oni. Kanamono Hayashiguchi. Condition C. Glaze flaking. partly legible: En or Honoo. Condition with kiri mon. Different alloys. Japan. Chaire: Bizen stoneware with wood ash A/B. Condition A/B-B. deposit. Height 6.7cm, Ø 6cm. Matching lid from ivory. Supplement: Each with a Provenance: Provenance: matching silk bag (shifuku). -Collection of Oskar Graf 1873-1958 and -Collection of Oskar Graf 1873-1958 and Cäcilie Graf-Pfaff 1862-1939. Cäcilie Graf-Pfaff 1862-1939. Provenance: -Rhenish collection by inheritance. -Rhenish collection by inheritance. -Collection of Oskar Graf 1873-1958 and Cäcilie Graf-Pfaff 1862-1939. € 400 – 600 | $ 472 – 708 € 300 – 400 | $ 354 – 472 -Rhenish collection by inheritance.

€ 1.200 – 1.500 | $ 1.416 – 1.770 | ‡

2010

2011

The Cäcilie & Oscar Graf-Pfaff Collection 2014 RAKAN. RAKAN. Japan. 18th/19th c.

Wood with dark lacquer and a few patterns in gold lacquer. Height 32cm. Condition B. Left foot missing toes. Repairs.

Provenance: -Collection of Oskar Count 1873-1958 and Cäcilie Graf-Pfaff 1862-1939. -Rhenish collection by inheritance.

€ 700 – 900 | $ 826 – 1.062

2012

2012 2013 SUZURIBAKO WRITING BOX WITH FIVE LACQUER BOXES. Provenance: CHRYSANTHEMUMS. FÜNF LACKDOSEN. -Collection of Oskar Graf 1873-1958 and SCHREIBKASTEN SUZURIBAKO MIT Japan. Edo to Meiji period. Cäcilie Graf-Pfaff 1862-1939. CHRYSANTHEMEN. -Rhenish collection by inheritance. Japan. Meiji period (1868-1912). Wood with gold, silver and black lacquer in taka- and hiramaki-e, partly with gold € 900 – 1.100 | $ 1.062 – 1.298 Wood with gold and silver lacquer in foil. Kobako with mon and two copper hiramaki-e. Inside flowering prunus and cord eyelets. Height 7cm, 8 x 8cm. Small young pines on nashiji ground. Bronze jûbako height 3.1cm, 3.5 x 3.5cm. Round water dropper with gilding. Height 4.5cm, jûbako height 7.3cm, Ø 5.5cm. Chaire 24 x 22cm. Condition B. Cover with height 6.7cm, Ø 7cm, lid with old staple dents. Suzuri missing. repair, fitting shifuku. Round kobako 2014 height 5.5cm, Ø 9.5cm. Condition A/B. Provenance: -Collection of Oskar Graf 1873-1958 and Cäcilie Graf-Pfaff 1862-1939. -Rhenish collection by inheritance.

€ 900 – 1.200 | $ 1.062 – 1.416

2015 KÔRO CENSER WITH TAOTIE MASKS. KÔRO WEIHRAUCHBRENNER MIT TAOTIE-MASKEN. Japan. 17th/18th c.

Iron with dark patina and lighter colored inlays, maybe from silver. Height 16.5cm, Ø 15cm. Condition A/B.

Provenance: -Collection of Oskar Graf 1873-1958 and Cäcilie Graf-Pfaff 1862-1939. -Rhenish collection by inheritance.

2013 € 3.000 – 5.000 | $ 3.540 – 5.900 2015

The Cäcilie & Oscar Graf-Pfaff Collection China

2016 PAIR OF ELEGANT TABLE SCREENS. Condition A/B. One of the stands a bit 青玉描金銀漆仕女遊桌屏 (一對) PAAR ELEGANTE TISCHSTELLSCHIRME. damaged. 清18/19世紀 China. Qing dynasty. 18th/19th. c. 高31,3cm/寬18,6cm/深12cm Provenance: 屏面 20,7x16,4cm Thin, polished panels of light green jade. -Private collection Southern Germany. 薄打磨云紋青玉.描金銀漆,細節墨色繪 Painted with gold and silver lacquer, detail From an ancestor who was in honorary 製.相配精雕木座固定. in ink. The panels decorated each on one diplomatic service for Japan acquired 木雕立座有損壞 side with two ladies in a landscape garden locally in the 1920s. 來源:南德私人收藏.1936年以前在當地 with palace and water. The back of each 獲得.是收藏家父母的結婚禮物. panel with two songbirds in flowering € 5.000 – 7.000 | $ 5.900 – 8.260 peonies between Taihu stones.

Panels each set into a stand, carved in openwork from wood with archaizing lattice and large vases on both sides. Height 31.3cm, width 18.6cm, depth 12cm. Size of each panel: 20.7 x 16.4cm.

backside China 2017 2018 2019 2020 2021 2022 MYTHOLOGICAL WINGED HORSE BOWL IN LOTUS SHAPE WITH SEVEN FELINE HEAD. HAT FINIAL WITH DEER AND CRANE. LARGE SEAL WITH THE SEVEN SAGES LUDUAN – MYTHOLOGICAL ANIMAL. WITH FOAL. LAMA. KOPF EINES KATZENTIERS. HUT-BEKRÖNUNG MIT HIRSCH UND OF THE BAMBOO GROOVE. LUDUAN – MYTHOLOGISCHES TIER. MYTHOLOGISCHES GEFLÜGELTES LOTOSFÖRMIGE SCHALE MIT SIEBEN China. Qing dynasty. KRANICH. GROSSES SIEGEL MIT DEN SIEBEN China. 19th/20th c. PFERD MIT FOHLEN. LAMA. China. Ming dynasty (1368-1644). WEISEN IM BAMBUSHAIN. China. Qing dynasty. Tibet. 19th c. Pale green and russet jade, probably China. 18th/19th c. Green jade partly with brown inclusions. Hetian jade. Expressively carved stylized Seladon green, opaque jade with black Height 7.5cm, length 11.5cm, width Light green jade with brownish inclusions, Light green jade with brown inclusions. features with slightly bulbous eyes, set brown inclusions. From oval shape and Black Hetian jade, cut in bas-relief 3.5cm. Condition A/B. Supplements: probably Hetian jade. The recumbent Finely carved. The bowl consists of four- back ears and teeth bared. On the back a rounded on top. In fine open work a pair with many detail and polished. Pendent with two catfishes. Light green mother animal caresses the foal lying in teen leaves, the outer seven are decorated bore hole, probably the former fastening. of deer beside lingzhi mushrooms, on the Height 10.5cm, 4.9 x 2.9cm. jade. China. 19th/20th c. 6 x 5cm. Two front of her. Darker parts of the stone are with each a lama sitting on a lotus throne Height 4.5cm, length 5cm, width 4.1cm. other side cranes in dense reed and lotus. Underneath without engraving. Guanyin, one with shizi lion, the oth- skillfully employed to render the represen- in bas-relief. Lama sitting in padmasana Condition A/B. The concave underside polished and Condition A/B. er one puring water. Green jade with tation alive. The elegantly shaped plinth and have the hands in dhyana mudra, with three pairs of mounting holes. brown inclusions. China. 20th c. Height in the form of stylized waves or clouds. on their heads wearing five-leaved Provenance: Height 5.6cm, width 4.5cm. € 500 – 700 | $ 590 – 826 18.5/20.5cm. Wooden bases. Length 9.6cm. Condition A/B. tantra-crowns. The footring consists -Acquired at Alexis Renard Gallery, Paris, Condition A/B. of a double ring of each seven leaves. 2009. Provenance: € 1.500 – 1.800 | $ 1.770 – 2.124 Height 5cm, Ø 9.5cm. Condition A/B. € 4.000 – 5.000 | $ 4.720 – 5.900 -Private collection Westphalia. € 1.500 – 1.800 | $ 1.770 – 2.124 € 3.000 – 3.500 | $ 3.540 – 4.130 € 400 – 600 | $ 472 – 708 神話馬及馬駒圖玉珮鹿靈芝鶴圖玉帽飾清長9,6cm 貓頭玉珮明(1368-1644) 高5,6cm/寬4,5cm 淺綠色玉雜棕色細紋,可能為和田玉. 精雕七喇嘛淺浮雕蓮形玉碗清高4,5cm/長5cm/寬4,1cm 淺綠雜黑棕色紋瑪瑙.打磨光滑凹形下方西藏 19世紀高5cm/直徑9,5cm 綠色玉雜棕色細紋.可能為和田玉.背面有有用於固定的小孔. 淺綠玉雜棕色紋.精工雕製.玉碗由十四片可能以前固定用一洞. 重疊蓮花瓣雕成.外面七層蓮花瓣上各有來源:2009年購於巴黎喇嘛蓮花寶座淺浮雕坐像.喇嘛跏趺坐, Alexis Renard Gallery畫廊. 手結禪定印.戴冠.玉碗足飾花瓣.

2018

2019 2021

2020 2022

2017 China 2023 2025 RECTANGULAR PENDANT WITH BOY. LARGE VASE WITH THE NINE RECHTECKIGER ANHÄNGER MIT SONS OF THE DRAGON. KNABE. GROSSE VASE MIT DEN NEUN China. Qing dynasty or Republic period. SÖHNEN DES DRACHEN. China. 20th c. Almost white jade, maybe muttonfat-jade. The laughing boy stands beside Green jade with brownish inclusions, a lingzhi mushroom and stretches out his carved in high relief. Weight 9,88kg, hand for a flying bat. On the back four height 26cm. Condition A/B. characters. The upper, although rounded Supplement: Fitting box and carved part in the form of stylized clouds in a soft wooden base. bas-relief. Length 5.5cm, width 4.1cm, thickness 0.9cm. Condition A. Provenance: -Private collection Lower Rhine. Provenance: Acquired locally middle 20th c. -Acquired from an important private collection in Spain, 2011. € 900 – 1.200 | $ 1.062 – 1.416

€ 2.000 – 2.500 | $ 2.360 – 2.950 青白玉龍之九子浮雕大瓶 2025 20世紀重量9,88公斤/高26cm 小童靈芝四方玉佩件青白玉雜棕色紋,鏤雕。清或民國 2023 附:相配的木雕底座和保存盒。長5,5cm/寬4,1cm/厚0,9cm 來源:下莱茵州私人收藏,20世纪中旬于近白玉,似羊脂玉. 當地获得。來源:購於著名的西班牙私人收藏.

2026 TALL CENSER. GROSSES RÄUCHERGEFÄSS. China. 19th c.

Dark green jadeite, partly translucent with dark brown inclusions and whitish calcifi- 2024 cations. Semi-spherical, rather thin-walled LANTERN-SHAPED PENDANT WITH bowl with handles in the shape of lion TWO DRAGONS. heads with tendrils and a loose ring. The LATERNENFÖRMIGER ANHÄNGER MIT high and heavy foot separately worked ZWEI DRACHEN. with an openwork central part with four China. Qing dynasty. eyelets with loose rings. The lid although a thin-walled bowl in openwork with ten- Nearly white jade, maybe mutton-fat- drils and four medallions with four-footed jade. The middle section with ruyi-shaped, animals: horse, gazelle, Quilin and anoth- archaizing motifs, composed to depict er mythological animal. The separately taotie masks in flat, soft relief. The lantern worked knob in the shape of a dragon shape at the top and below each ending with four eyelets with loose rings. with with rolled sides. On each side of the Height 42.5cm. Condition A/B. lantern a lively, slender dragon, looking back over the shoulder. Length 7.5cm, Provenance: width 4.2cm, thickness 0.8cm. -Private collection Northern Germany. Condition A. According to the previous owner acquired in the middle of the 20th c. in an auction Provenance: at Sotheby’s in London. -Acquired from an important private collection in Spain, 2011. € 6.000 – 8.000 | $ 7.080 – 9.440

€ 2.000 – 2.500 | $ 2.360 – 2.950 玉獅首雙耳大香爐 2026 中國 19世紀高42,5cm 雙龍燈籠形玉珮深綠硬玉,部分半透明,雜深棕色紋,表面清長7,5cm/寬4,2cm/深0,8cm 有淺鈣化點.薄壁,獅首活環雙耳.高足分近白玉,似羊脂玉.中間如意過渡至開製作,配活環.龍活環蓋鈕單獨製作. 饕餮面具浮雕. 來源:德國北部私人收藏.據收藏家稱于來源:2011年購於著名的西班牙私人收藏. 20世紀中葉倫敦蘇士比拍賣購得.

China 2024 2027 2030 BI DISK WITH A PAIR OF QILONG EXCEPIONAL LARGE BI DISK. and where only found in the possession 罕見大型玉璧 DRAGONS. AUSSERGEWÖHNLICH GROSSE of kings and emperors due to the precious 中國 BI-SCHEIBE MIT EINEM BI-SCHEIBE. material and the elaborate techniques of 重量 28,7公斤/直徑73,3cm/厚1,8cm QILONG-DRACHENPAAR. China. making them. Decorations like rows of 深綠玉.部份火焰形紋路,夾不同綠色紋. China. In the style of the Warring States small humps or other motifs have started 來源:北德私人收藏,從1850年起獲得 period, but later. Dark green, spotted jade with flame mostly after the neolithic period (3400- shaped inclusions of other green shades, 2250 BC). Weight 20.7kg, Ø 73.3cm, Celadon green, opaque jade. Weight partly opaque. The central hole of the thickness 1.8cm. Condition A/B. Some 300g, length 23.4cm, Ø 12cm, thickness impressive object is cut conical, typical for chips at the rim. Supplement: Fitting 0.9cm. Condition A. the earliest type. The interestingly colored base. Provenance: and structured stone was cut and pol- -Private collection Northern Germany, ished with uttermost care. Provenance: acquired since the 1850s. -Private collection Northern Germany, The bi disk is a symbols of heaven and acquired since the 1850s. € 700 – 900 | $ 826 – 1.062 was used as funerary object. But although they have been a symbol of high status € 3.000 – 5.000 | $ 3.540 – 5.900

2029 BI DISC. BI-SCHEIBE. China. 2028 2027 BI DISC. Dark green serpentine. Weight 457g, Ø BI-SCHEIBE. 17.2cm, thickness 0.6cm. Condition A/B. China. Small chips at the rim, softened by use. Supplement: Vase with decorations in Light green, partially opaque jade. Weight the style of the Han dynasty. Soapstone. 269g, Ø 16cm, thickness 0.5cm. Con- China. Height.12cm. Wooden base. dition B. Material cracks and two older Provenance: chips at the edge, worn soft by age. -Private collection Northern Germany, Provenance: acquired since the 1850s. -Private collection Northern Germany, acquired since the 1850s. € 400 – 600 | $ 472 – 708

€ 400 – 600 | $ 472 – 708

2028 2029

China 2031 2032 RIGHT FOOT OF A MONUMENTAL About the posture of the figure can only 銅佛像右腳 BUST OF A BODHISATTVA. BUDDHIST FIGURE. be speculated. It might have been shown 明或更早期 BÜSTE EINES BODHISATTVA. RECHTER FUSS EINER in motion with the foot attempting to be 重量9,38公斤/高20cm/長約38cm China. Eastern Wei dynasty. 6th c. MONUMENTALEN BUDDHISTISCHEN set on a separate lotus base or it might 銅胎殘鎏金. FIGUR. be the stretched foot of a figure in raja Dense, light grey limestone. Height 29 China. Ming dynasty or earlier. lalitasana. The size, the skillful design and cm, width 15.5cm, depth 8.5cm. The the high-quality bronze suggests a figure Bodhisattva is compassionately leaning Bronze with residue of gilding. The foot in from an important workshop. Height forward towards the viewer. Carved from good proportions with detailed toenails is 20cm, length about 38cm. Condition A/B. a dense, light grey limestone, the sculp- shown with the big toe raised. The ankle ture wears a four-lobed petal-shaped and the instep are decorated with bands € 12.000 – 15.000 | $ 14.160 – 17.700 crown on his beautifully coiffed hair. The with strings of beads and the instep fur- Bodhisattva is dressed in a thick, pleaded thermore with a border of hanging lotus robe over a thinner under garment, and leaves. adorned with long and heavy beaded necklace. His face has a fine, serene expression. This sublime and masterfully carved bust of a Bodhisattva can stylistically be asso- ciated with the important archaeological discovery in 1996 of a large group of Buddhist stone sculptures in Qingzhou, Shandong province.

Provenance: -Private Collection Germany (since 1970s). -Art Loss Register Certificate ref. S00092562. Compare: -A stylistically similar, complete Bodhisattva is in the Musée Guimet, Paris.

€ 5.500 – 7.000 | $ 6.490 – 8.260

菩薩半胸石像東魏六世紀高39cm/寬15,5cm/深8,5cm 緊密淺灰石灰石.這尊石像表現神性崇高, 雕刻技藝高超,風格相似于1996年山東青州龍興寺發現的石雕. 來源:德國始於1970年的私人收藏. -Art Loss Register Certificate ref S00092562.世界遺失藝術品檔案號 S00092562. 參見比較:法國巴黎吉美國立亞洲藝術博物館Musee Guimet in Paris收藏有相似的完整雕像.

China 2033 IMPRESSIVE LOKAPALA WORLD 木漆金護法神雕像 GUARDIAN. 明高65cm/寬約63,5cn/深約25cm BEEINDRUCKENDER LOKAPALA 雕像背後可見兩個封閉的開口.經過放射 WELTENWÄCHTER. 檢測顯示內有相連兩洞.上方小洞可能已 China. Ming dynasty (1368-1644). 被開啟, 下方大洞仍封閉.洞內可能有供奉紙條,應 Wood, carved, with gilding and lacquer. 為裝藏洞. Adorned with a marvelous armor standing 雕像身體部分由整木雕成,頭部單獨雕制 in sidestep with his right arm stretched to 并組合.左臂後期更新加上. the back and the left raised with clenched 來源: fist. Because of the powerful stance and -德國萊茵地區工業家私人收藏, the pose of his right hand, which might 于1980/1990年購得 have clenched a halberd, he might be the -德國萊茵地區私人收藏 guardian of the North. In the expressive 參見:相似的雕像見於MET大都會藝術博物 face the eyebrows and the beard are 館收藏.館藏號碼47,74. painted with ink and the beard was once 此坐像經過放射檢測.如對檢測結果有需 additionally set in with real hair. His armor 求,請通過郵件聯繫我們 is decorated at the upper body with a E-Mail:[email protected]. three dimensional lion mask. The sweeping cloak emphasizes his body tension and movement, likewise the swinging, struck back wide sleeves.

At the back of the figure two sealed cavities are visible. A radiological investigation showed that they are connected and the upper, smaller one was opened before. In such cavities scrolls, smaller figures and other holy objects were placed, when the figure was consecrated. In the x-ray it got visible, that the figure is carved from one block of wood, except the head, which was worked separately and set in. Height 65cm, width ca. 63.5cm, depth ca. 25cm. Condition B. Left arm glued back.

Provenance: -Private collection of a Rhenish captain of industry. Acquired in the 1980s/90s. -Rhenish private collection.

Compare: -A similar figure is located in the collection of the MET as Accession no 47.74.

€ 4.000 – 7.000 | $ 4.720 – 8.260

For the x-ray pictures please contact us via e-mail: [email protected]

China 2034 2036 BUDDHA ON A HIGH THRONE HELD Provenance: LAOTSE WITH LONG LEAF FAN. BY THE FOUR LOKAPALA. -Rhenish private collection. LAOTSE MIT BLATTFÄCHER. BUDDHA AUF HOHEM THRON China. Ming dynasty. Ca. 16th/17th c. GETRAGEN VON DEN VIER € 1.100 – 1.500 | $ 1.298 – 1.770 WELTENWÄCHTERN. Bronze with some residue of lacquer Northern China. Yuan to Ming dynasty. gilding, inside with red color. Lotus base 銅佛高坐于四方護法神抬寶座像 separately cast. Height 31.5cm. Bronze with dark patina. Height 35.5cm. 元代至明代高35,5cm Condition A/B. Condition B. A small figure and a back 銅胎深色包漿. foot at the throne missing. Supplement: 附藥師佛小銅像,銅胎殘鎏金. € 900 – 1.000 | $ 1.062 – 1.180 Small Medicine Buddha. Bronze with 中國或朝鮮.17世紀.高15,5cm residue of gilding. China or Korea. 17th c. 有瑕疵. 小藥師佛銅像後腳遺失. Height 15.5cm. Condition A/B. Guanyin. 來源:德國萊茵地區私人收藏. 銅老子持扇坐像 China. Bronze. Height 19,5 cm. 明可能16/17世紀高31,5cm 銅像殘留少量漆金,內壁紅漆.蓮花座單獨澆鑄。

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2034

2037 2035 CENSER IN THE SHAPE OF A FANG THE DAOIST DEITY MAZU. DING WITH LID. DIE DAOISTISCHE GÖTTIN MAZU. RÄUCHERGEFÄSS IN FORM EINES China. Qing dynasty (1644-1911). FANG DING MIT DECKEL. China. Qing dynasty (1644-1911). Bronze with dark patina. Shown as a sitting venerable dame, her right hand Bronze with dark patina. On four high raised, holding a bowl of fruits with her legs in the shape of fish dragons. On left hand. The hair tied up, attached with the body in relief taotie masks, the high a hairpin and adorned with flowers. On domed lid with a shizi lion with brocade the back a later support is screwed on. ball as handle. The openwork of the lid in Height 24.5cm. Condition A/B. shape of the eight bagua triagrams. The two handles on the edge stand vertically. Provenance: Height 45cm. Condition A/B. -Private collection Southern Germany. Provenance: € 1.500 – 2.000 | $ 1.770 – 2.360 -Private collection Southern Germany.

€ 1.200 – 1.500 | $ 1.416 – 1.770 道教媽祖銅坐像清(1644-1911) 高24.5cm 銅胎深色包漿.端重婦人右手上揚，左手銅四足雙耳饕餮紋出戟方鼎香爐捧仙果盆。梳高髻,身著三重褶衣端坐，清(1644-1911) 高45cm 背面支座後加。銅胎深色包漿.龍形高足,爐身饕餮浮雕. 來源:德國南部私人收藏. 爐蓋鏤空雕八卦紋,頂飾繡球雄獅鈕. 2037 來源:德國南部私人收藏.

2035 China 2038 2039 2040 JARDINIÈRE WITH FOUR YELLOW PAIR OF CANDLESTICKS. ALTAR RETABLE IN THE SHAPE DRAGONS. PAAR KERZENLEUCHTER. OF A MYTHOLOGICAL ANIMAL JARDINIÈRE MIT VIER GELBEN China. WITH RITUAL EWER. DRACHEN. ALTARAUFSATZ IN FORM EINES China. Qing dynasty. 18th/19th c. Copper with cloisonné and gilding. The FABELTIERS MIT RITUALKANNE. bell shaped foot holds a large bowl with China. 19th c. Copper with cloisonné and gilding. On a column separated by a flattened sphere. each side a dark blue medallion with a Beneath the bigger bowl prunus flowers Copper with cloisonné and gilding. yellow dragon with a flaming pearl amidst on crackled ice. Height 44cm. Condition Height 31.5cm. Condition A/B. clouds. The space is filled with large lotus A/B. Supplement: Censer in the shape of tendrils on a turquoise blue background. a quail. Copper with cloisonné and gild- Provenance: Inside a fitting zinc basin. Complete ing. China. Height 15cm. Condition A/B. -Rhenish private collection. height 23.5cm, 49 x 24.5cm. Wooden base carved in openwork. Condition A/B. € 1.400 – 1.600 | $ 1.652 – 1.888 € 400 – 600 | $ 472 – 708

€ 1.500 – 2.000 | $ 1.770 – 2.360 銅鎏金鑲琺瑯蠟燭台 (一對) 中國高44cm 銅鎏金鑲掐絲琺瑯黃龍花瓶附銅鎏金鑲琺瑯鵪鶉形香爐清 18/19世紀總高度23,5cm/49x24,5cm 中國高15cm 花瓶內有鋅池.木雕底座.

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China 2041 IMPRESSIVE PAIR OF CARVED ELEPHANT TUSKS. IMPOSANTES PAAR GESCHNITZTER ELEFANTENZÄHNE. China. Qing dynasty. 19th c.

Ivory, carved in openwork. Each tusk Provenance: stands upright on a base made of dark, -Private collection. Acquired at Lempertz heavy wood in form of dragons on as Lot 340/340a, March 1920. Estate of clouds. The story of Guo Ziyi (697-781), a Prof. Dr. Kocks-Geyr von Schweppenburg, general in the Tang dynasty who success- Bonn. fully ended the An-Lushan-rebellion and participated in fights against the Uighurs € 5.000 – 8.000 | $ 5.900 – 9.440 | ‡ and Tibetans. Various warriors are shown, as well as a banquet and other scenes. On the underside of each tusk a river 生動逼真象牙雕 (一對) with fish, at the ends each with a dragon 清 19世紀重量1260/1340克 in stylized clouds. Underneath of one 每個象牙雕總高78cm/象牙長70cm dragon a sign with four characters (Long 精雕鏤刻象牙.各立於深色厚重硬木云龍 Qian Ju Hai), originally an inscription from 形底座. a temple in Southern China meaning ‘A 象牙雕封閉底部有損壞 dragon dives deep into the sea’. Weight 來源:私人收藏.購於Lempertz拍賣行 1260/1340 g. Each height 78cm, length 1920年3月拍賣號340/340a.德國波恩 teeth 70cm. Condition B. Damages at the Prof. Dr. Kocks-Geyr von Schweppenburg sealed thicker end of each tusk. 教授博士收藏遺產拍賣.

China 2042 2043 2044 CADDY WITH DRAGONS AND THE BRUSH POT AND BUSINESS CHAO ZHU COURT PRAYER BEADS. HUNDRED BIRDS ADMIRING THE CARD CASE. CHAO ZHU HOFKETTE. FENGHUANG. PINSELBECHER UND China. Qing dynasty. 19th c. DECKELDOSE MIT DRACHEN UND VISITENKARTENETUI. DEN HUNDERT VÖGELN DIE DEN China. 19th c. 108 amber beads, rings from ivory stained FENGHUANG BEWUNDERN. green and green jade, amethyst beads. China. Canton. Ca. 1900. Ivory with golden yellow age patina, Condition A/B. Supplement: Large bead finely carved with landscape and figures. for chao zhu from ivory. Summer garment Ivory, carved in detailed relief, partly Height 11.5cm, Ø 7.7-8.3cm. for a man from silken gauze with shou undercut. Height 16,5cm, Ø 10,3cm. Case 8.3 x 4.7 x 1.1cm. Condition A/B. medallions. Thumb ring from black grey- Supplement: Two bitong brush pots. Supplement: Wooden base. ish jade. Another thumb ring. Small box China. Canton. Ca. 1900. Ivory. In from ivory. China. 19th c. relief carved with figures in landscape. € 400 – 600 | $ 472 – 708 | ‡ Height 21/14.3cm. Condition A/B. Provenance: Two wooden bases. -Private collection Northern Germany. The family lived in China from 1925-35. Provenance: -Private collection Westphalia. € 900 – 1.200 | $ 1.062 – 1.416 ‡

€ 900 – 1.200 | $ 1.062 – 1.416 | ‡ 朝珠清 19世紀象牙祥龍百鳥朝鳳圖浮雕蓋盒 108個琥珀珠,綠色象牙環和青玉環, 中國廣東約1900年紫水晶珠. 高16,5cm/直徑10,3cm 附朝珠用大粒象牙珠.男絲紗壽圖夏服. 2044 附兩個象牙人物山水圖浮雕筆筒兩個護指環,一個玉質.小象牙罐, 中國廣東約1900年高21/14,3cm 中國,19世紀. 木座兩個來源:北德私人收藏.收藏家庭來源:德國威斯特法倫私人收藏從1925至1935生活在中國.

2045 IMPORTANT BRUSH POT (BITONG) WITH MOUNTAIN LANDSCAPE. BEDEUTENDER PINSELBECHER (BITONG) MIT GEBIRGSLANDSCHAFT. China. Qing dynasty. Gu Yu (active in the 17th/18th c.), but attributed.

Bamboo carved in fine relief and with shiny patina from use. A revolving scene with numerous persons in a mountain landscape. On one side celebrating a reception underneath willow trees, on the other side standing on a bridge beneath pines resp. sitting in a pavilion next to bamboo. Height 17cm Ø 12.3cm. Seal: Zong Yu, sign.: Gu Yu, attributed. Condition A/B.

€ 3.000 – 3.500 | $ 3.540 – 4.130

竹雕人物山水筆筒清顧鈺款活躍于17和18世紀高17cm/直徑12,3cm 款識: [顧鈺] 鈴印: [宗玉]

2042 2042 2042 2043 2045 China Frantisek Pilat 1987

2045A PEONIES, DAFFODILS AND LINGZHI MUSHROOMS. PÄONIEN, NARZISSEN UND LINGZHI-PILZE. China. In the style of Jiang Tingxi (1669-1732), but probably later.

Colors and ink on silk. Large tree peonies between heavily rugged, green-covered rocks. On the ground beneath flowering tazetta daffodils, at the left side large lingzhi mushrooms. The peonies are flowering in strong red, white, pink and a delicate light blue.

The composition in a strong movement from right to left shows much detail and contrasting structures. Between the densely packed petals of the peonies the stamina is shown in viscous color in a granular manner, the twigs end in swelling buds. The daffodils with clouds of white flowers over the crowded knife- like leaves growing from the bulbs. The mushrooms pick up the gnarled structure of the branches. 90 x 153cm. Signed and seal: Jiang Tingxi, but in the style of. Seal on the lower right: Huaiyin Shanfang, workshop and shop in Peking. Condition B. Glued onto cardboards, scratched and some blemishes. Supplement: Framed with glass. 牡丹水仙花靈芝圖中國蔣廷錫(1669-1732)款但是更晚期 Provenance: 90x153cm -Official gift to Frantisek Pilat (1910-1987) 絹本設色.鏡框鑲嵌.有劃痕,有損壞. as appreciation for his work in setting up 題銘: 臣蔣廷錫恭繪款 the laboratories for the film studios in 印: 槐蔭山房 Peking 1954-1959. He was technical Di- 來源: rector of the Czech State Film, commissi- - 作為感謝 Frantisek Pilat(1910-1987) oner of the Minister of Culture, chairman (捷克國家電影技術總監,文化部長, of UNIATEC and INTERKAMERA. UNIATEC和INTERKAMERA 主席) -North Rhine-Westphalian private collec- 1954-1959在北京幫助建立電影廠實驗室 tion, by inheritance. 的正式禮物. - 德國北萊茵威斯特法輪地區通過遺產 € 8.000 – 10.000 | $ 9.440 – 11.800 繼承的私人收藏.

China 2046 2048 FOLDING FAN WITH EIGHT TIGERS TEN BAMBOO STUDIO LETTER AND THE BAGONG. PAPER (SHIZHUZHAI JIANPU). FÄCHER BEMALT MIT ACHT TIGERN BRIEFPAPIER AUS DER ZEHN-BAMBUS- UND DEN BAGONG. HALLE (SHIZHUZHAI JIANPU). China. Zhang Daqian (1899-1983) and China. Reprint from 1952. Zhang Shanzi (1882-1940), in the style of. Woodblock prints in color and Gonghua Colors and ink on yellowish mica paper. imprint on paper. Four volumes in Chinese Covers of dark hardwood. The eight binding in slipcase with silk. Reprint of the scholars among trees, painted in the style famous work of the 17th century, pub- of Daqian alternating with eight tigers lished by Rongbao Zhai with a colophon nest to rocks and grass in the style of by Zheng Zhenduo. On a vignette on the Shanzi. To the outside on the cover sheets inside of the slipcase the numbering ‘No. in flat relief the eight horses of the king 80-70’, which probably suggests a limited Mu of the Zhou. Length 33.8cm, width edition. Condition A/B. open 58.5cm. Matching fabric pouch. Condition A/B. Provenance: -Private collection Rhineland. 2046 € 2.000 – 4.000 | $ 2.360 – 4.720 € 1.000 – 1.200 | $ 1.180 – 1.416

八虎人物圖扇面十竹齋箋譜四卷本張大千(1899-1983)和張善子(1882-1940) 中國 1952年版風格. 長33,8 cm/扇面展開寬58,5cm 紙板設色拱花木刻.絲質書套,榮寶齋出版. 紙本設色.泛黃雲母紙扇面.精刻淺雕深色內頁有鄭振鐸序[重印十竹齋箋譜序硬木扇骨.扇面可能為淮南八公圖, 一九五一年五月十四日鄭振鐸序于北京.] 扇骨可能為穆王八駿雕刻圖. 編號 80/70 附相配扇套. 來源:德國萊茵地區私人收藏. 款識:[壬申秋九月寫於海上大千居士爰] [壬申秋九月張善子寫於大風堂中] 鈴印:[大千] 鈴印:[張善子]

2047 SMALL CUP WITH LANDSCAPE. KOPPCHEN MIT LANDSCHAFT. China.

Glass, meticulously painted with enamel. A way through a gate leads into a wide mountainous landscape with a temple complex with pagoda and a huge river with fishing men. The poem is about the tranquility of the mountains and the re- flections of light on the water of the river. Height 4,2cm, Ø 8,2cm. Underneath in light blue enamel: Yongzheng Yu Zhi – For imperial use, Yongzheng, but later. Condition A.

€ 3.000 – 6.000 | $ 3.540 – 7.080

小杯中國高4,2cm/直徑8,2cm 精繪山水詩詞琺瑯彩玻璃小杯. 底淺藍琺瑯款:雍正御用.但是更晚期.

China 2047 2049 SCREEN WITH FOUR EMBROIDERED PANELS. STELLSCHIRM MIT VIER BESTICKTEN PANELEN. China. Qing dynasty. 18th/19th c.

Dark, heavy hard wood (maybe huang- huali or zitan), carved in open work with leaves and gourds in scrolls. Panels with satin silk, finely embroidered with many detail. Covered with glass. Theme: ‘The Hundred Birds Admiring The Fenghuang’. Shown are numerous birds in pairs, most of them also to be found on rank badg- es. They dwell in the flowering branches of the flowers of the four seasons. The theme is symbolic for the emperor amidst his nobles and officials.

Each backside is closed with wooden panels. Each 162 x 57cm, embroidery 109 x 44.5cm. Condition A/B. A few missing parts, silk a little bit bleached, hinges missing.

Provenance: -Private collection Rhineland.

€ 6.000 – 8.000 | $ 7.080 – 9.440

刺繡百鳥朝鳳圖屏風 (四扇) 清18/19世紀每扇屏風尺寸162x57cm/ 繡品尺寸109x44,5cm 深色重硬木框,可能為黃花梨或紫檀. 框上精雕葫蘆藤,絲緞刺繡鑲玻璃. 屏風背面木板封閉. 有瑕疵,絲緞褪色,合頁遺失. 來源:德國萊茵地區私人收藏.

China 2050 2052 GARMENT (AO) FOR A YOUNG LADY. RARE BIRDFEEDER IN LOTUS SHAPE. 罕見青瓷荷花形鳥食罐 GEWAND (AO) FÜR EINE JUNGE SELTENER VOGELNAPF IN LOTOS- 宋/元代高3,3cm/直徑4,7cm DAME. FORM. 龍泉青瓷.棕色胎體,厚重亞光青釉. China. Qing dynasty. Ca. 1900. China. Song/Yuan dynasty. 邊緣有細小釩紅色.少許凹形平底. 環為把手. Silk satin, embroidered with silk in graded Longquan celadon. Brownish stoneware 來源:德國埃森私人收藏,約1970年 tones of blue. Condition A/B. with matte, opaque celadon glaze. At the 在當地獲得. edge of the glaze a narrow iron-colored Provenance: discoloration. In a compressed spherical -Private collection Rhineland. shape, covered with four rows of lotus leaves in relief. Underneath flat, slightly € 1.200 – 1.400 | $ 1.416 – 1.652 concave bottom. The attachment in the form of a small ring. Height 3.3cm, Ø 4.7cm. Condition A. 絲緞刺繡藍女襖清代約1900 Provenance: 來源:德國萊茵地區私人收藏. -Private collection Essen, acquired ca. 1970s locally.

€ 1.200 – 1.500 | $ 1.416 – 1.770 2051 PARTS OF A LARGE ALTAR DRAPING. TEILE EINES GROSSEN ALTARBE- HANGS. China. Qing dynasty. 18th/19th c.

Thin split leather, sewn from several parts, 2050 painted with pigments. Length 138cm, width 280cm. Condition B. 大神龕彩繪薄皮質掛件部分 € 1.500 – 2.000 | $ 1.770 – 2.360 清 18/19世紀長138cm/寬280cm

2051

China 2053 2054 2055 2056 2057 PLATES AND BOWLS FROM Provenance: PAIR OF BOWLS WITH CLOUD SIX PLATES AND BOWLS OF ELEGANT BRUSH POT. TWO CENSER. QINGBAI AND CELADON. -Private collection Essen, ca. 1970s PATTERN. LONGQUAN CELADON. ELEGANTER PINSELBECHER. ZWEI WEIHRAUCHBRENNER. KONVOLUT QINGBAI- UND acquired locally. PAAR SCHALEN MIT WOLKENMUSTER. SECHS TELLER UND SCHALEN China. Ming dynasty. 15th c. China. Ming dynasty. 15th/16th c. SELADON-KERAMIK. China. Late Song/Yuan dynasty. LONGQUAN SELADON. Longquan kiln. Longquan kiln. China. Song dynasty and maybe € 500 – 700 | $ 590 – 826 China. Ming Dynasty or later. Longquan Daoguang. Light colored, slightly ferrous stoneware kilns. Cream-colored thick walled stoneware, Ferrous stoneware with green, crazed with thin, transparent Qingbai glaze. at the footring iron red from firing. celadon glaze. Wheel thrown, each with Stoneware with different celadon Wide bowl with straight walls on a small Celadon stoneware. A plate with twin Completely covered with a transparent, three modeled feet, the lip thicker at glaze, Qingbai and probably Dingyao foot with shallow footring. Inside elegant fish in relief. Golden brown glaze. Height crazed celadon glaze. The cylindrical pot the inside. One with combed leaves and glaze. Two thin walled bowls mit fine combed cloud pattern and an offset ring 4.5cm, Ø 21cm. A large plate. Transpar- rutted distinctly by throwing, which gives waves, the other with a diamond pattern relief, Qingbai glaze. One flower-shaped in the center. Height 5.5-6.1cm, ent green glaze. Height 7.7cm, Ø 33cm. vividness to the body. Inside with a thin, with clouds. a) Height 7.7cm, Ø 12.5cm. small bowl, probably Dingyao. Two Ø 16.5-17cm. Underneath each with ink Two small plates. Matte light green glaze. transparent glaze, only in the upper part b) Height 8.5cm, Ø 13cm. Underneath plates Jingdezhen porcelain with celadon an owner inscription. Condition A. Height 3.3cm, Ø 11.5/12cm. A lotus with celadon, on the outside completely. inscribed with ink with family names and glaze, underneath in underglaze blue bowl, another bowl. Transparent grey At the foot the body is thick, resulting in a a later cyclical dating (ca. 18th c.). Tongzhi mark, but probably Daoguang. Provenance: green glaze. Height 6.7/7cm, firing crack. Condition B. Height 2.8/3.4cm, Ø 15.1/18.4cm. Con- -Private collection Northern Germany, Ø 16.5/17cm. Condition A. dition B/C. Supplement: Two bowls acquired since the 1850s. Probably this bitong was made from Provenance: Sawankhalok celadon. Thailand. Height Provenance: another shape, like a vase. Height 15cm, -Private collection Northern Germany. 6.8/7cm, Ø 11.4/13.7cm. € 1.500 – 1.800 | $ 1.770 – 2.124 -Private collection Essen, acquired about Ø 9.4cm. Condition C. Rim cut and Condition A/B. 1970s locally. polished, footring worked with some € 1.200 – 1.400 | $ 1.416 – 1.652 imperfections, as typical for this kiln. 青白釉雲紋碗 (一對) € 1.200 – 1.500 | $ 1.416 – 1.770 Supplement: Exactly fitting, hexagonal 晚宋至元代高 5,5-6,1cm/直徑16,5-17cm wooden base with traces of use. 青瓷香爐(兩個) 淺色含微量鐵質炻器胎,青白透明薄釉. 明15/16世紀龍泉窯 a)高7,7cm/ 廣口,直身小足,平足圈,碗內有雅緻雲紋龍泉青釉炻器盤碗 (六件) Provenance: 直徑12,5cm b)高 8,5cm/直徑13cm 裝飾,碗底外面墨書碗的主人姓氏. 明龍泉窯 -Private collection Northern Germany, 含鐵炻器胎,綠色冰裂紋青釉.圓柱形, 來源:北德私人收藏,1850年獲得. 青釉炻器.一件雙魚浮雕盤.高4,5cm/ acquired since the 1850s. 各有三隻腳,唇向內加厚. 直徑21cm, 爐底墨書姓氏年代. 一件荷花水波紋透明青釉大盤.高7,7cm/ € 600 – 800 | $ 708 – 944 來源:德國北部私人收藏. 直徑33cm, 兩件亞光淺綠青釉小盤.高3,3cm/ 直徑11,5/12cm, 一件荷葉碗. 一件荷葉透明青釉碗.高6,7/7cm/ 直徑16,5/17cm. 來源:德國埃森私人收藏,約1970年在當地獲得.

2056 2053

2054 2055

2057 China 2058 2059 2060 2061 IMPORTANT CENSER. GU VASE. BOTTLE VASE. LARGE VASE WITH LIONS’ HEADS AND BEDEUTENDER WEIHRAUCHBRENNER. GU-VASE. FLASCHENVASE. RINGS. China. Probably Southern Song/Yuan China or Japan. China. First half Ming dynasty or later. GROSSE VASE MIT LÖWENKÖPFEN dynasty, or later. Longquan kiln. Longquan kiln. UND RINGEN. Porcelain with a shiny, blue green celadon China. 19th c. The shard changed to a strong iron red glaze. The elegant shape with a slightly Stoneware, color changed to iron red in in firing, completely covered with a wide bulbous middle section from which foot firing, with a matte green celadon glaze Stoneware with dark red, partly bluish crazed, bluish shimmering, opaque and neck are flaring in funnel shape. The (Japanese: Tenryûji seiji). Bulbous bottle flambé glaze. Height 54.3cm, Ø ca. celadon glaze (Japanese: kinuta seiji). wide footring is set apart from the vase with horizontal lip, on a wide footring. 21.5cm. Condition A. Glaze chipped at The compressed body adorned with a and adds to the elegance of the form. The only decoration are four pairs of the footring, as typical for this type of circumferential ridge, which is continued Height 29.7cm, Ø 12.4cm. Condition A. horizontal notches, where the glaze ceramic and period. into the feet. The drawn-in neck is ending Supplement: Chinese older box from looks darker. Height 22.6cm, Ø 12cm. in a horizontal lip. Height 9cm, Ø 11cm. dark, heavy hardwood with sliding cover Condition A. Supplement: Lacquered Provenance: Condition A. Supplement: Japanese and a double handle from paktong metal. Japanese wooden box (urushibako) with -Rhenish private collection. cedar wood box (sugibako) with silk bag hooded lid. (shifuku). Japanese incense ash. Provenance: € 900 – 1.200 | $ 1.062 – 1.416 -Private collection Northern Germany, Provenance: Provenance: acquired since the 1850s. -Private collection Germany. -Private collection. Acquired in Japan. 獅首雙耳環炻器大瓶 € 1.200 – 1.500 | $ 1.416 – 1.770 € 2.400 – 2.800 | $ 2.832 – 3.304 中國 19 世紀高54,3cm/直徑約21,5cm € 2.500 – 3.000 | $ 2.950 – 3.540 濃重紅色炻器,部分藍色窯變釉.足部有此時代典型的流釉特色. 青瓷鼓瓶青釉龍泉瓷瓶來源:德國萊茵地區私人收藏. 重要的香爐中國或日本高29,7cm/直徑12,4cm 明前半葉或者更晚期龍泉窯可能為南宋至元或者更晚期龍泉窯此種風格青瓷瓷瓶由中國為日本市場燒高22,6cm/直徑12cm 高9 cm/直徑11cm 製,但是日本本土也燒製. 釩紅胎體,亞光青釉.鼓腹. 釩紅胎體,發藍冰裂紋青釉,厚重青釉. 附舊中式深色硬木推拉蓋白銅雙把手附滑蓋漆盒薄唇. 木箱來源：德國私人收藏. 附日本雪松木盒和絲袋.香灰. 來源:北德私人收藏,1850年獲得. 來源:德國私人收藏.在日本購得. 2061

2062 TWO VASES WITH DARK RED GLAZE. ZWEI VASEN MIT DUNKELROTER GLASUR. China. 18th/20th c.

Stoneware/porcelain. Yuhuchun ping vase with oxblood-glaze (lang yao hong). Fitting wooden base. Guanyin ping with flambé glaze (yao bian) and six-partite underglaze blue Qingdezhen mark underneath (20th c.). a) Height 22cm. b) Height 16.5cm. Condition A/B. Supplement: Guanyin ping vase. Stoneware with flambé glaze (yao bian). China. 19th c. Height 17cm. Condition B/C. Lip cut and polished.

Provenance: -Private collection Northern Germany, acquired since 1850s.

€ 600 – 900 | $ 708 – 1.062

2059 2062 2060 China 2058 2063 2064 PAIR OF INCISED YELLOW GLAZED BULBOUS VASE WITH GO PLAYERS. DRAGON BOWLS IN QIANLONG BAUCHIGE VASE MIT GO-SPIELERN. STYLE. China. Ming Dynasty. PAAR GRAVIERTE GELBE DRACHEN- SCHALEN IM STIL VON QIANLONG. Porcelain, painted in underglaze blue. Provenance: China. Three boys at play in a mountain land- -Private collection Northern Germany, scape with bridge, a banana tree and a acquired since the 1850s. Porcelain, incised and glazed on the out- decorative lingbi rock. On the backside side in yellow. Bowl with steep walls and more boys on a garden terrace with fence € 5.000 – 7.000 | $ 5.900 – 8.260 flared lip on a high footring. Incised on and a large blooming shrub of peonies. the outside a pair of dragons with flaming On the shoulder ruyi medallions on a pearl amidst clouds and over waves with background of geometric patterns, a 青花弈圍棋罐 stepped rocks. Height 6.2-6.5cm, leiwen border beneath the lip and banana 明高28.5cm/直径26cm Ø 13cm. Underneath in underglaze blue leaves at the foot. Underneath unglazed 釉下青花瓷瓶,鼓腹.底部未施釉,少許釩紅. a six-partite apocryphal Qianlong mark, and a faint hue of iron red discoloration. 来源:北德私人收藏,始於1850年的收藏。 but later. Condition A. Height 28.5cm, Ø 26cm. Condition B/C.

€ 6.000 – 7.000 | $ 7.080 – 8.260

乾隆風格黃釉龍紋碗 (一對) 中國高6,2-6,5cm/直徑13cm 瓷胎,浮雕龍紋,外面黃釉.斜腹,敞口,高足. 底款釉下青花六字大清乾隆年制,寄託款.但更晚期.

China 2065 2067 HUGE PLATE WITH SUMMER PALACE BALUSTER VASE WITH FLOWERS OF 五彩四季八卦紋瓷罐 IN THE MOUNTAINS. THE FOUR SEASONS AND THE EIGHT 成化/嘉靖時期風格但是更晚期高29cm GROSSER TELLER MIT PALAST IN DEN TRIAGRAMS. 釉下青花,釉上五彩瓷.底部未施釉, SOMMERLICHEN BERGEN. BALUSTERTOPF MIT BLÜTEN DER 有瑕疵,细裂纹. China. 19th c. VIER JAHRESZEITEN UND DEN ACHT TRIAGRAMMEN. Porcelain, painted in underglaze blue. China. In the style of the Chenghua/ Height 7cm, Ø 48cm. Condition A. Jianjing period, but maybe later.

Provenance: Porcelain, painted in wucai with under- -Private collection Northern Germany, glaze blue and green, yellow, red and since the 1850s. violet as enamel colors. In four medallions prunus, peonies, lotus and chrysanthe- € 600 – 900 | $ 708 – 1.062 mums alternating with the character for Long Life. The Eight Triagramms (bagua) on the foot and on the shoulder, here alternating with treasures. Borders with ruyi and leaves. Underneath unglazed. Height 29cm. Condition C. Hairline crack.

€ 4.000 – 5.000 | $ 4.720 – 5.900

2065

2066 LARGE HU VASE WITH THE EIGHT BUDDHIST TREASURES. GROSSE HU-VASE MIT DEN ACHT BUDDHISTISCHEN KOSTBARKEITEN. China.

Porcelain, painted in underglaze blue. The hu-shaped vase with dragon handles is painted with lotus scrolls with the Eight Buddhist Treasures flanked by billowing bands. At the lip borders with waves, lingzhi mushrooms and ruyi, at the foot with scroll and leaves. Height 45,5cm, Ø ca. 35cm. Underneath in underglaze blue an apocryphal six-partite Qianlong mark, but later. Condition A.

€ 2.000 – 2.500 | $ 2.360 – 2.950

釉下青花瓷吉祥八寶壺瓶中國高45,5cm/直徑約35cm 壺形瓶身,鼓腹,低足.龍形雙耳繪蓮枝紋. 底款釉下青花六字大清乾隆年制寄託款, 但更晚期

2066 China 2068 2070 ROLLEAU VASE WITH DANCING BULBOUS VASE WITH SCHOLARS CRANE AND SCHOLARS. AND CRANE IN MOUNTAINOUS ROLLEAU-VASE MIT TANZENDEM LANDSCAPE. KRANICH UND GELEHRTEN. BAUCHIGE VASE MIT GELEHRTEN UND China. Qing dynasty. KRANICH IN GEBIRGSLANDSCHAFT. China. Porcelain painted in famille verte. In a large cartouche a dancing crane admired Porcelain in famille verte. Height 31.4cm, by some scholars. This is a homonym for Ø ca. 31cm. Underneath in underglaze festive occasions (Song He Yan Nian). blue a double ring. Condition A. On the back a landscape with scholars beneath the full moon. In six smaller me- € 800 – 1.000 | $ 944 – 1.180 dallions landscapes and scholars in the garden. The background with peony, the shoulder with border with ruyi and the 五彩人物仙鶴山水圖瓷瓶 neck with leiwen borders. Height 44.5cm. 中國高 31,4cm/直徑約31cm Condition A. 鼓腹,足底釉下青花雙環.

€ 1.500 – 2.000 | $ 1.770 – 2.360

粉彩瓷開光鶴舞棒槌瓶清高44,5cm

2068 2070

2069 2071 LARGE HU VASE WITH THE ONE LAVABO WITH THE HUNDRED HUNDRED DEER. ANTIQUES AND FLOWERS OF THE GROSSE HU-VASE MIT DEN FOUR SEASONS. EINHUNDERT HIRSCHEN. LAVABO MIT DEN HUNDERT AN- China. TIQUITÄTEN UND BLÜTEN DER VIER JAHRESZEITEN. Porcelain, painted in famille rose, iron red China. Qing dynasty. 18th/19th c. and gold. The vase in hu shape with cloud handles is painted with a mountainous Porcelain, painted in famille rose. landscape with the One Hundred Deer Height 12cm, Ø 37cm. Condition A. (bai lu) and lingzhi mushrooms. Height 46cm, Ø ca. 33cm. Underneath in iron Provenance: red an apocryphal six-partite Qianlong -Private collection Essen, acquired locally mark, but later. Condition A. ca. 1970s.

€ 3.500 – 4.000 | $ 4.130 – 4.720 € 900 – 1.200 | $ 1.062 – 1.416

粉彩百鹿圖壺形大瓷瓶粉彩四季百寶瓷洗手盆中國高46cm/直徑33cm 中國 19/20世紀高12cm/直徑37cm 粉彩釩紅描金瓷瓶.壺形瓶身,鼓腹,敞口, 來源:德國埃森私人收藏,約于1970年低足.祥雲雙耳. 在當地購買. 底款釩紅六字大清乾隆年制寄託款但更晚期.

China 2069 2071 2072 2073 TEA SERVICE WITH LOVERS PLATE WITH MOTHER AND SONS. AND CUPIDS. TELLER MIT MUTTER UND KINDERN. TEESERVICE MIT LIEBESPAAREN UND China. In the style of the AMORETTEN. Yongzheng period, but later. China. Qing dynasty. 18th c. Thin-walled porcelain, inside painted in Porcelain painted in Encre de Chine with famille rose with gold, outside in raspber- black stain, gold and a little bit of red. At ry red. A scene in the palace showing a the tea pot and milk jug the lid mounted mother with her three boys. She is sitting with blackened metal chain. For sugar a in an armchair. Next to her large porcelain bowl with lid. Six cups, seven saucers. A jars, books and a table with a vase with small hexagonal plate in flower shape. Tea peonies next to a censer. The boys gaze pot height 14cm, Ø ca. 11cm. Condition in amazement to a pair of rabbits, which A-C. Some chips, partly rubbed. can be seen as a symbol of fertility. Height 3.8cm, Ø 20cm. Condition A/B. Supple- € 1.800 – 2.000 | $ 2.124 – 2.360 ment: Plate export porcelain in famille rose with flower basket. China. 18th c. Height 3.8cm, Ø ca. 22cm. Condition A/B. 愛神圖茶具套組 (十八件) 清 18世紀茶壺高14 cm/直徑約11cm € 1.500 – 1.700 | $ 1.770 – 2.006 描金少許紅色.茶壺蓋和奶盅蓋上有金屬鏈.共有茶壺,奶盅,茶罐和糖罐,六個小杯,七個杯碟.一個小六角食盤. 粉彩描金母子圖瓷盤有瑕疵. 中國雍正風格但是更晚期高3,8cm/直徑20cm 薄瓷,盤內粉彩描金,盤外莓紅釉附粉彩花籃圖外銷瓷盤.中國 18世紀.高3,8cm/直徑約22cm. 2073

2074 EXCEPTIONAL PLATE WITH PEONIES. EXZEPTIONELLES TELLERCHEN MIT PÄONIEN. China. Daoguang period (1820-50). Dated 1850.

Porcelain, painted in famille rose. The small plate is finely painted with peonies in pink, whith the stems stretching over the lip rim to the footring. Two butterflies hovering over the flowers. At the foot fine grass and blue chrysanthemum. Height 3cm, Ø 14cm. Underneath in iron red a nine-partite mark: Daoguang Geng Xu Hang You Heng Zang Zhi – Made for the Hall of Consistency in the Geng Xu year of Daoguang (1850) and period. Condi- tion A.

€ 500 – 700 | $ 590 – 826

2074 China 2075 2076 2077 2078 VASE IN MEIPING SHAPE WITH WIDE SMALL PLATE WITH TEA POEM IN VASE IN SHANGPING FORM WITH VASE WITH A PAIR OF PHEASANTS NECK AND TWO LION HANDLES. JIAQING STYLE. LANDSCAPES. IN BLOSSOMING PEONIES. VASE IN MEIPING-FORM MIT WEITEM TELLERCHEN MIT TEEGEDICHT IM VASE IN SHANGPING-FORM MIT VASE MIT FASANENPAAR IN HALS UND ZWEI LÖWENMASKEN. JIAQING-STIL. LANDSCHAFTEN. BLÜHENDEN PÄONIEN. China. 20th c. Probably Republic period. China. China. 20th c. China. Qing dynasty. 19th c.

Thin walled porcelain, painted in famille Porcelain, painted in famille jaune and Porcelain painted in famille jaune. In the Porcelain, painted in famille jaune. The jaune. In two cartouches each a pair of gold. Inspired by similar plates from Jia- leaf-shaped cartouches wide mountainous baluster-shaped vase with flared lip. ladies fishing under a willow tree resp. qing period (1796-1820). Height 2.6cm, landscapes with scholars. Height 31.3cm, Painted with a pair of pheasants sitting gossiping in a palace. Height 25cm, Ø ca. 16 x 11.9cm. Underneath spur marks and Ø ca. 18cm. Underneath on turquoise on a rock beneath flowering peony and 12.5cm. Underneath a four-partite apoc- in iron red a six-partite apocryphal Jiaqing ground in iron red an apocryphal, six-par- magnolia with hovering butterflies above. ryphal Qianlong mark, but later. Condition mark, but later. Condition A. tite Qianlong mark, but later. Condition A. Height 46.3cm. Underneath in iron red A. on a turquoise background an apocryphal Literature: € 1.000 – 1.200 | $ 1.180 – 1.416 six-partite Kangxi mark, but later. Condi- € 1.800 – 2.200 | $ 2.124 – 2.596 -Lucy Huang (pb): Ch’ing Official and Pop- tion C. Lip rim with old restoration. ular Wares, A Survey of Chinese Ceramics. Taipei 1991. P 265. 黃釉如意雙耳山水賞瓶 Provenance: 黃釉獅面瓷梅瓶中國 20世紀高31,3cm/直徑約18cm -Private collection Southern Germany. 約民國時期 20世紀高25cm/直徑12,5cm € 2.000 – 2.500 | $ 2.360 – 2.950 底款孔雀藍色底釩紅六字 From an ancestor who was in honorary 薄胎,黃釉.藍釉雙獅首描金環. [大清乾隆年制]寄託款但是更晚期. diplomatic service for Japan acquired 底款釉上青花四字乾隆寄託款但更晚期 locally in the 1920s. 嘉慶風格黃釉描金詩詞圖案小瓷盤中國高16cm/寬11,9cm/深2,6cm € 2.500 – 3.000 | $ 2.950 – 3.540 似嘉慶年間(1796-1820)的相似款.花邊盤,盤內釩紅書詩詞并寄託款(1797). 底款六字釩紅嘉慶寄託款,但是更晚期. 黃釉雉雞牡丹瓶參見文獻: 台北1991年出版Lucy Huang 清 19世紀高46,3cm (pb):Ch’ing Official and Popular Wares, A 底款孔雀藍色底釩紅六字康熙寄託款, Survey of Chinese Ceramics,Taipei 1991. 但是更晚. 第265頁. 口沿有老舊修痕. 來源:南德私人收藏.約于1936年購於 2078 亞洲之行.

2079 LARGE PILGRIM FLASK WITH COURT SCENES. GROSSE PILGERFLASCHE MIT ROMANSZENEN. China. Probably Guangxu-Periode (1875-1908).

Porcelain, painted in famille jaune. Large moon-shaped vase with dragon handles at the cylindrical high neck. Painted with large medallions with scenes from the novel ‘Water Margin’. Height 45cm, Ø 28cm. Underneath in underglaze blue a four-partite apocryphal Kangxi mark, but later. Condition A.

Provenance: -Private collection Rhineland.

€ 1.500 – 2.000 | $ 1.770 – 2.360

黃釉開光抱月大瓷瓶. 2077 約光緒時期 (1875-1908) 2075 高45cm/直徑28cm 開光黃釉.龍形雙耳,長頸.底款釉下青花四字[康熙年制]寄託款,但是更晚期. 來源: 德國萊茵地區私人收藏.

2076 2079 China 2080 2081 PLATE WITH RIVER LANDSCAPE. 釉上彩山水圖瓷板 FOUR ROUND PLATES WITH Painted with enamel colors in the style of 淺絳釉上彩黃山圖圓瓷盤(四個) PLATTE MIT FLUSSLANDSCHAFT. 中國 20世紀或更晚期 53x31,7cm LANDSCAPES OF THE HUANGSHAN Qianjiang. Showing the rugged and pine 中國 1975年春景德鎮直徑20cm China. 20th c. or later. MOUNTAINS. covered peaks of the famous mountains, 題銘[鄭國鈞畫于景市] VIER RUNDE PLATTEN MIT which are quoted in numerous paintings. Porcelain painted with enamel colors. LANDSCHAFTEN DES One of the plate shows a typical welcom- 53 x 31.7cm. Condition A. HUANGSHAN-GEBIRGES. ing pine. Ø 20cm. Sign.: Zheng Guojun. China. Dated to spring 1975. Jingdezhen. Condition A. € 800 – 1.000 | $ 944 – 1.180 € 1.200 – 1.500 | $ 1.416 – 1.770

China 2082 2083 PORCELAIN PLATE WITH LANDSCAPE. 淺絳釉上彩山水圖瓷盤 FOUR LARGE PANELS WITH PAIRS. 釉上彩人物四條屏大瓷板(木框) PORZELLANPLATTE MIT LANDSCHAFT. 中國 20世紀高24,5cm/寬38cm/ VIER GROSSE PANELE MIT PAAREN. 中國王大凡風格(1888-1961),但是更晚. China. 20th c. In the style of Wang Ye 框31x43cm China. Style of Wang Dafan (1888-1961), 長106,5cm/寬28cm/畫面尺寸73,5x21cm Ting, one of the Eight Friends of Zhu 钤印:未讀 but later. 釉上彩大瓷板鑲木框.木框上部木板涂 Shan, but later. 紅漆,上下部分木板雕刻, Porcelain, painted in enamel colors. Porcelain painted in enamel colors in the Framed with wood. Each panel shows a style of Qianjiang. In the wide landscape scholar accompanied by a lady in a gar- the lake is belted with mountains with den, a palace or a boat. Each with a poem pines. Over a bridge an older person is at the side. passing, two men are sitting at the shore and another person is coming in a boat. Each frame with a smaller carved panel Between the trees some plain house are at the lower part and another one with ducked, further up in the mountains the red lacquer on the upper part. Length roof a red temple. Height 24.5cm, width 106,5cm, width 28cm, picture size: 38cm, wooden frame: 31 x 43cm. Seal: 73.5 x 21cm. Condition A/B. Wang Ping. Condition A. € 2.000 – 2.500 | $ 2.360 – 2.950 € 1.800 – 2.000 | $ 2.124 – 2.360

China 2084 2085 PAIR OF LARGE PLATES WITH 浅绛彩猴鹿圖大瓷板画(一对) SMALL FOLDING SCREEN WITH 釉上彩瓷板画小屏风(四件) MONKEYS AND DEER. 中國辛卯年/1951年但是更晚期 FOWLS. 中國 20世紀高55cm/寬63.5 cm PAAR GROSSER PLATTEN MIT AFFEN 55x37cm KLEINER STELLSCHIRM MIT HÜHNERN. 釉上彩,木框鑲嵌,四件套屏風. UND HIRSCHEN. 釉上彩，瓷板邊緣未施釉. China. 20th c. 落款和钤印:[刘雨岑]款. China. Cyclical dated to 1951, 落款和钤印:[毕渊明]款(1907-1991) but probably later. Porcelain with enamel colors. Fitted in wooden frames as a four-partite screen. Porcelain, painted with enamel colors, a Pairs of cock and hen – each in different narrow frame unglazed. On the plates positions between chrysanthemums, with drawn-in corners a representation peonies and berry bushes. Height 55cm, of a meeting of macaques and deer. The width 63.5cm. Signed and sealed by Liu animals watch each other curiously and Yucen, but attributed. Condition A/B. make carefully contact. € 2.500 – 2.800 | $ 2.950 – 3.304 Both animals are also read as rebus in Chinese. Deer (lu) can be considered as a salary from the state, the word for monkey (hou) means a high government office. 55 x 37cm. Sign. and seal: Bi Yuanming (1907-91), but attributed. Condition A.

€ 2.000 – 3.000 | $ 2.360 – 3.540

China 不同尋常的銅阿閦佛蓮花坐像西藏 13/14 世紀重量481克/高14cm/ 寬10,2cm/深6,8cm Buddhist Art 淺色銅像殘有鎏金,鑲銅.佛金剛坐姿于雕金剛蓮花座,手結禪定印和觸地印. 底座封閉. 有兩處老舊修復. 來源:德國萊茵地區私人收藏.約1990年購於香港Hollywood畫廊. 此坐像經過放射檢測.如對檢測結果有需求,請通過郵件聯繫我們 E-Mail:[email protected].

2086 IMPORTANT FIGURE OF BUDDHA AKSHOBHYA. AUSSERGEWÖHNLICHER BUDDHA AKSHOBHYA. Tibet. 13th/14th c.

Light-colored bronze with thin residue of gilding, with inlays of copper and some residue of pigments. Sitting in vajra pose on a lotus base with an engraved vajra before him, his hands in dyana and bhu- msparsha mudra. His expressive face and the taut body tension convey the imper- turbable countenance he is symbolizing. The kasaya garment, draped on his left shoulder and in front of his feet falls in elegant folds. It is adorned with a border inlaid in copper with engraved patterns. The earlobes are elongated from wearing heavy earrings, the urna is distinctly accentuated. In the face at the mouth and eyes as well as at the leaves of the base traces of a vivid red pigment, maybe cin- nabar, are preserved, the hair is painted in lapis lazuli.

The plate, which closes the base, is probably original and shows a finely engraved stylized lotus blossom including the eight The figure underwent a radiologic investigation. For the x-rays Buddhist treasures with a double vajra in please contact us via e-mail: [email protected] the center. The base is filled with strips, which might be paper or fabric, or probably straw. Other objects might be embedded, but these do not clearly show in the X-ray images. Weight 481g, height 14cm, width 10,2cm, depth 6,8cm. Condition A/B. Two older repairs from the casting.

The careful workmanship and the exceptional quality of the design clearly show that this piece stems from a major workshop.

Provenance: -Private collection Rhineland. Acquired ca. 1990 at Hollywood Galleries, Hong Kong.

€ 17.000 – 22.000 | $ 20.060 – 25.960

Buddhist Art 2087 2089 RARE FIGUR OF A BUDDHA. WHITE TARA (SITATARA) WITH THE Compare: 銅七目白度母坐蓮像 SELTENE FIGUR EINES BUDDHA. SEVEN EYES. -G.-W. Essen/T.T. Thingo: Die Götter des 西藏/印度東北地區帕拉風格 India. Probably 11th/12th c. WEISSE TARA (SITATARA) MIT DEN Himalaya, Buddhistische Kunst Tibets. 可能為12世紀重量223克/高9,6cm SIEBEN AUGEN. München 1990, p. 59, no 115 und 116. 銅胎鑲銀和銅.殘黑色包漿.跏趺坐與 Bone, carved and polished. With residue Tibet/Northeast India. Pala style, -B. Khanna, et al.: Human and Divine, 雙蓮,右手結與愿印.底座封閉. of pigments and an expressive patina of probably 12th c. 2000 Years of Indian Sculpture, 2000, no. 參見：-慕尼黑1990年出版 age. Sitting in padmasana and with the 29. G.-W.Essen/T.T.Thingo: Die Götter des hands in anjali mudra. At the base small Bronze with inlays from silver and copper, Himalaya,Buddhistische Kunst Tibets. pictures of Hanuman, Ganesha and other residue of black patina. Sitting on a dou- € 12.000 – 15.000 | $ 14.160 – 17.700 München 1990,第59頁第115和116號. Hinduistic deities. ble lotus in padmasana, her right hand -B.Khanna,et al.:Human and Divine, stretched out in the mudra of generosity, 2000 years of Indian Sculpture, At the back, the figure is as detailed as the left raised to her heart. She wears the 2000年出版第29號. at the front. Height 9.2cm, width 9.2cm, seven-partite jewels of a Bodhisattva and depth 3.5cm. Condition A/B. a three-leaf crown. The silver inlays are in the jewels and as pearl row on the lotus Provenance: base, which is closed underneath. -Private collection Germany.

€ 3.500 – 5.000 | $ 4.130 – 5.900

罕見骨雕佛像印度約11/12世紀高9,2 cm/寬9,2 cm/ 深 3,5 cm 骨雕打磨光滑.正反兩面精雕細作,生動逼真.表面殘留色彩,包漿.佛像跏趺坐, 2087 雙手合十. 來源:德國私人收藏.

2088 STANDING MAITREYA. STEHENDER MAITREYA. Tibet/Nepal. 12th/13th c. Pala style.

Yellowish bronze with inlays of silver and copper and residue of dark patina. The future Buddha in his Bodhisattva form standing in tribhanga. In the left hand he holds the water pot and along his right arm a lotus rises. His highly tied up hair conveys the form of a stupa. Both his jewelry and his eyes and mouth adorned with fine inlays of silver and copper. Weight 661g, height 18.5cm, width ca. 7.3cm. Condition A/B.

Provenance: -Private collection Austria, Salzburg area. Collected in the 1970s to 90s.

€ 1.500 – 2.000 | $ 1.770 – 2.360

彌勒菩薩銅立像西藏/尼泊爾 12/13世紀帕拉風格重量661克/高18,5cm/寬約7,3cm 黃銅鑲銀和銅,殘深色包漿.菩薩三屈姿勢站立. 來源:奧地利薩爾斯堡地區于1970年到 1990年期間私人收藏.

2088 Buddhist Art 2090 2091 2092 KNEELING GARUDA. SITTING GANESHA. AMITAYUS. KNIENDER GARUDA. SITZENDER GANESHA. AMITAYUS. Nepal. 16th c. or later. India. Ca. 14th c. Nepal. Ca. 13th-15th c.

Black stone. Kneeling on a lotus pedestal, Sandstone with patina. He is sitting in Bronze with dark, shining patina and holding his hands in anjali mudra. The lotus position on a base. With his right residue of gilding. Sitting in padmasana, long curled hair spread on the back down hand he holds the broken tusk, with his crowned and with both ends of his stole to the wings. The tail feathers extend to left hand he once held a now lost attri- swinging up to his shoulders, his hands the back of the pedestal. Height 13.5cm. bute. He is crowned with a jewelled band, on his lap once held the amrita vessel. Condition B. Rubbed by ritual use. ending in a conical peak. Only at the back Weight 284g, height 9.7cm. Condition visible is the pleated and belted dhoti. A/B. Supplement: Wooden base. € 1.600 – 2.000 | $ 1.888 – 2.360 Height 24cm. Condition A/B. € 1.800 – 2.000 | $ 2.124 – 2.360 € 2.500 – 3.500 | $ 2.950 – 4.130 石迦樓羅大鵬金翅鳥跪像尼泊爾 16 世紀或者更晚期高13,5cm 銅無量壽佛坐像黑石. 迦樓羅大鵬金翅鳥跪于蓮座, 石象頭神盤腿坐像尼泊爾可能13-15世紀雙手合十. 印度約14世紀高24cm 重量284克/高9,7cm 有供奉使用摩擦痕跡. 砂石包漿. 銅明亮深色包漿,殘留鎏金.跏趺坐,戴冠, 手持甘露容器. 附木座.

2092

2093 PADMAPANI LOKESHVARA. PADMAPANI LOKESHVARA. Nepal/Tibet. 12th c.

Dark grey stone cut with fine detail. Sit- ting in lalitasana with his right foot on a separate base and with his hands in varada mudra. With his left hand he is holding a lotus, to the right side of his head a stupa. He is crowned and adorned with jewelry. Height 8.2cm. Condition A/B.

€ 1.000 – 1.300 | $ 1.180 – 1.534

蓮華手菩薩石雕坐像尼泊爾/西藏 12世紀高8,2 cm 黑灰色石.蓮華手菩薩手結與愿印.

2091

2090 2093 Buddhist Art 2094 2096 HEAD OF A TATHAGATA BUDDHA. IMPORTANT AND LARGE THANGKA KOPF EINES TATHAGATA-BUDDHA. OF PADMASAMBHAVA. Nepal. Early Malla period. BEDEUTENDES UND GROSSES Ca. 13th-15th c. THANGKA DES PADMASAMBHAVA. Nepal/Tibet. 19th/20th c. Bronze with dark patina and residue of cultic painting. The elegant face features Colors and gold on fabric. Mounted with a gentle smile. The hair is pinned up and Gyaser brocade (Varanasi, Benares, India). adorned with a five-leaved crown. At Side knobs from silver. The founder of the both sides ribbons are swinging high and Tibetan Buddhism is revered also as Guru large creoles are attached to the ears. All Rinpoche (Precious Master). He is shown these features are characteristic of the here with Amithaba above his head and period. Height 13.5cm. On a pedestal. surrounded by some of his eight manifes- Condition B. tations. Depicted below are stages of his life. At the right upper part he is shown Compare: in the seldom form as the healer Orgyen -A figure of an Amoghasiddhi Buddha Menla, surrounded by the Eight forms with similar features is present in the of the Medicine Buddha. Orgyen Menla collection of the Alain Bordier Foundation. is not one of the Eight Manifestations of Padmasambhava. € 3.500 – 4.500 | $ 4.130 – 5.310 The Thangka might come from the entourage of the present Dalai Lama. 銅如來佛頭像 On the back of the central figure a 西藏/尼泊爾瑪拉早期約13/15世紀 consecration inscription in red. The fabric 重量738克/高13,5cm of the mounting was imported from India 銅深色包漿,殘彩繪.有底座. and used by the highest ranks of the No- 參照比較:Alain Bordier Foundation bility in the Himalayan region. 83 x 64cm, 基金會收藏中有一不空成就佛的佛頭與之 2094 overall dimensions 150 x 98cm. Fitted 相似. large wooden box with glass available. Condition A/B.

Provenance: -According to a paper on the back acquired from the Dalai Lama in 2095 Dharamsala, India, 1962. HUGE RITUALE EWER IN MONK‘S CAP -Private collection Dr. Braun-Angott, SHAPE (SENGMAOHU). Hagen. GROSSE RITUALKANNE IN FORM EI- -Private collection Rolf Sachse, as a NER KOPFBEDECKUNG FÜR MÖNCHE present. (SENGMAOHU). -Private collection Lower Saxony, Tibet. Ca. 15th c. by inheritance.

Copper bronze with dark patina. The € 2.500 – 3.000 | $ 2.950 – 3.540 bulbous shape with two handles and a pair of movable rings at the side of the ample dimensioned spout. The body and 重要的大幅蓮花生大士唐卡 the upper part each adorned with a flow- 尼泊爾/西藏 19/20世紀 ering plant in bas-relief 畫面83x64cm/整150x98cm 織布設色描金,印度迦尸國瓦拉納西進口 Weight 5.85kg, height 44cm, Ø ca. 絲紗織錦裝裱.銀扣. 24.5cm. Condition B. Some older repairs, 此唐卡應是直接來源於當今第十四世達賴 chips at the footring and smaller ones at 喇嘛的身邊. the lip. 來源: -德國下薩克森經過遺產繼承的私人收藏 € 1.500 – 1.800 | $ 1.770 – 2.124 -Rolf Sachse的私人收藏,作為禮物獲得. -德國哈根Dr.Braun-Angott博士的私人收藏 -據固定在唐卡背面字條記錄達賴喇嘛千佛冠形祭祀大銅壺 1962年購於印度Dharamsala達蘭薩拉. 西藏約15世紀重量5850克/高44cm/ 直徑約24,5cm 銅深色包漿.鼓腹,雙把手,寬大壺口兩邊各兩個活環. 多處舊的修復.足部.口部瑕疵. 2095

Buddhist Art 2097 2098 2099 STANDING LOKESHVARA. Provenance: STANDING BUDDHA SHAKYAMUNI. GREEN TARA. STEHENDER LOKESHVARA. -Private collection Austria, Salzburg area. STEHENDER BUDDHA SHAKYAMUNI. GRÜNE TARA. Nepal. 16th c. Collected in the 1970s to 90s. Tibet. 18th/19th c. Tibet/Himalaya region. Ca. 16th c.

Copper bronze, finely engraved, fire-gilt € 2.800 – 3.500 | $ 3.304 – 4.130 Copper bronze, fire-gilt and with gold Bronze with residue of gilding, dark pa- and with residue of gold painting and pig- painting and pigments. The historical Bud- tina with green spots. Sitting on a lotus ments. Standing on a double lotus pedes- dha with his right hand in varada mudra. throne with her hands in varada and vi- tal, he holds in his left hand a blooming 銅圣觀音雙蓮立像 The left hand raised to shoulder height tarka mudra, to the sides of the shoulders lotus and in his right hand a water pot. 尼泊爾 16世紀重量1966/高29cm. and holding the edge of his samghati lotus flowers. The right foot placed on a His head adorned by an impressive richly 銅胎精雕鎏金,殘彩繪痕跡. garment. The hands as well as the face separate lotus as a symbol of her willing- ornamented crown and surrounded by 來源:奧地利薩爾斯堡地區于1970年到 with gold painting. The urna marked with ness to act. Weight 471g, height 13.2cm. an aureole. Weight 1966g, height 29cm. 1990年期間私人收藏. a character. Base sealed. Weight: 1368g, Condition B. Base somewhat dented. Condition A/B. height 21.8cm. Condition A/B. Supple- ment: Base originally cast separately, now € 1.800 – 2.000 | $ 2.124 – 2.360 connected with figure. Rubbed.

Provenance: 銅綠度母蓮花坐像 -Private collection Austria, Salzburg area. 西藏/喜馬拉雅地區約16世紀 Collected in the 1970s to 90s. 重量471克/高13,2cm/寬10,5 cm. 銅胎殘有鎏金,深色和綠色包漿.坐于蓮花 € 800 – 1.100 | $ 944 – 1.298 寶座,手結與愿印和說法印. 底座壓痕.

銅釋迦摩尼立像西藏 18/19世紀重量1368克/高21,8cm. 銅胎鎏金,彩繪.右手結與愿印.手部和面部鎏金.底座封閉. 附底座分開澆鑄,和銅像相連.有摩擦痕跡. 來源:奧地利薩爾斯堡地區于1970年到 1990年期間私人收藏. 2099

2100 GREEN SHYAMA TARA. GRÜNE SHYAMA TARA. Tibet. 15th/16th c.

Copper alloy with fire-gilding. Sitting on a lotus base, her right foot in moving attitude, showing her willingness to get into action. Her right hand placed on the leg, her left hand raised in front of the chest. She is dressed in flowing ribbons with rich jewelry and she is also crowned. At each shoulder an Utpala flower.

The plate of the probably originally sealed base engraved with an lotus flower, rather than the usual double vajra. The figure shows traces of long time of use and worship. Height 9cm. Condition A/B.

Provenance: -Private collection Germany.

€ 2.600 – 2.900 | $ 3.068 – 3.422

銅綠度母坐蓮像西藏 15/16世紀高9cm 2098 銅合金胎鎏金.封底,底座罕見刻蓮花. 2097 銅像有供奉痕跡. 來源:德國私人收藏.

2100 Buddhist Art 2101 2103 TSONGKHAPA. BUDDHA SHAKYAMUNI. 銅釋迦牟尼坐蓮像 TSONGKHAPA. BUDDHA SHAKYAMUNI. 西藏約16世紀高24.5cm Tibet. 17th/18th c. Tibet. Ca. 16th c. 銅胎鎏金,精細紋路.坐于雙蓮佛身與底座分體澆鑄,底座未封. Bronze with dark patina, residue of gild- Gilded bronze with fine chasing, residue 鑒於銅像的大小和質量,應為寺廟供奉 ing and a black layer (prob. soot patina). of painting. The historical Buddha sitting 造像. The great teacher with his characteristic on a double lotus, with his right hand in 有摩擦痕跡. headgear as an incarnation of Maitreya the mudra of calling the earth to witness 來源:德國私人收藏. with the sword and the book of knowl- his enlightenment, his left hand holding edge on lotus flowers at his shoulders. He the patra bowl. He wears all three jiasha sits in padmasana on a double lotus. The robes, each adorned with a fine lotus face is shaped with much ability and very border. His face is cut with contoured fea- lively. Base open, figure lacquered inside. tures, showing a concentrated expression. Weight 401g, height 14.3cm. Condition A/B. The figure was cast separately and is mounted on the open base. Due to its € 1.500 – 2.500 | $ 1.770 – 2.950 size and quality it can be concluded that this figure was used in a temple. Height 24.5cm. Condition A/B. Somewhat 宗喀巴銅像 rubbed. 西藏 17/18世紀重量401克/高14.3cm/寬10cm Provenance: 銅胎深色包漿,殘有鎏金,黑色煙灰層.跏 -Private collection Germany. 趺坐與雙蓮.底座未封.像體內壁涂漆. € 14.000 – 16.000 | $ 16.520 – 18.880

2101

2102 MAHASIDDHA. MAHASIDDHA. Himalaya region. Ca. 16th/17th c. Old Pala style.

Bronze with dark patina, residue of a black coating and red pigments. In relaxed position sitting on a tiger skin on a lotus throne. He is clad with a dhoti around his hips and wears jewels on his breast. His hair is done up high and held with ribbons. Weight 1070g, height 17cm. Condition A/B.

€ 2.500 – 3.500 | $ 2.950 – 4.130

銅大成就者坐蓮像喜馬拉雅地區約16/17世紀舊帕拉風格. 重量1070克/高17cm/寬 12cm 銅胎深色包漿,殘有黑紅色斑.

2102 Buddhist Art For the complete x-ray please contact us via e-mail: [email protected]

2104 THE JEWELED BODHISATTVA The lotus base is filled and sealed, the 銅彌勒菩薩變身普賢菩薩坐蓮像 MAITREYA. double vajra underneath is very finely 西藏約16/17世紀高20,5cm BODHISATTVA MAITREYA IM engraved. 銅胎鎏金,面部鎏金彩繪.鑲石.菩薩金剛 JUWELENSCHMUCK. 坐姿于雙蓮.雙手結說法印. Tibet. Ca. 16th/17th c. In a radiological examination, it got visible 放有供奉物的蓮花寶座封閉,精雕雙金剛. that the base is filled with smaller round- 通過放射檢測顯示底座裡面充斥紙,織物 Bronze with fire gilding, in the face ed forms, which may be cereals, probably 或者稻草.有可能還有其他供奉物,但從檢 painted with gold and pigments. Inlaid barley. These are embedded in some sort 測圖片不能清楚確定. with semi-precious stones. Sitting in vajra of wadding or fibers. Height 20,5cm. 如果對完整的檢測結果有需求,請通過郵 position on a double lotus, both hands in Condition A/B. 件聯繫我們 E-Mail:[email protected]. dharmachakra mudra holding the stems of the lotus flowers at his shoulders. The € 6.000 – 8.000 | $ 7.080 – 9.440 richly jeweled figure is adorned with an eight-leaved crown. The borders of the garments, the crown and the leaves of the lotus flowers finely engraved.

Buddhist Art 2105 2106 IMPORTANT FIGURE OF THE 重要的大成就者湯東傑布銅坐像 LARGE SHADBHUJA MAHAKALA. MAHASIDDHA THANGTONG GYALPO. 西藏 16世紀高8,1cm/寬5,2cm/深2,8cm. GROSSER SHADBHUJA MAHAKALA. BEDEUTENDE FIGUR DES MAHASID- 銅胎鎏金.底座上銘文可能是供奉者的尊 Tibet. 18th c. DHA THANGTONG GYALPO. 稱. Tibet. 16th c. 湯東傑布生活在14世紀,主持,資助建造了 Bronze, partly fire-gilt and with painting 108座鐵橋,(也有記載58座或者114座鐵 in gold and pigments. The wrathful deity Copperbronze with gilding. Sitting in 橋)稱鐵橋活佛,也是藏戲的奠基人. with six arms and three heads, each with relaxed pose on a goat with saddle cloth, 底座背面銘文Ma 1ha a third eye. He is adorned with jewels and lying on a rocky base. He wears his hair a snake collier, he is crowned with a skull pinned up and is adorned with jewels. crown. His hair is red like fire and around He is dresses with a cloth at his legs and his body a long scarf is fluttering. The va- around his shoulders. In his left he holds jra and katrika cutting knife he is holding a kapala bowl with flames, which might are cast separately. At his back a cavity for be meant to be a vase of long life. The the consecration. Weight 4637g, height inscription on the base might be a donor 28,5cm, width 22cm. Condition A/B. name. Supplement: Wooden base.

Thangtong Gyalpo lived in the 14th c. Provenance: and is famous for building 108 iron chain -Private collection Hamburg. suspending bridges (in other legends only 58). He raised the money for this by es- € 2.100 – 2.500 | $ 2.478 – 2.950 tablishing a song and dance group of seven sisters. He is also revered as the ‘God of Drama’. The goat might be a reference 大型六臂大黑天護法神銅像 to one of his reincarnations. Height 西藏 18世紀重量4637克/高28,5cm/ 8.1cm, width 5.2cm, depth 2.8cm. On 寬22cm the back of the sealed base a engraved 銅胎部分鎏金,彩繪.金剛和刀具分開製 inscription ‘Ma lha’. Condition A/B. 作.銅像背後有放置貢品裝藏洞. 附木座 € 6.500 – 7.500 | $ 7.670 – 8.850 來源:德國漢堡私人收藏. 2106

2107 IMPRESSIVE VAJRAYOGINI. EINDRUCKSVOLLE VAJRAYOGINI. Tibet. 18th c.

Fire-gilt copper bronze with residue of gold painting and pigments. Standing in dynamic posture – one leg slightly bent, the other stretched out – she appears powerful and likewise very graceful. With her left hand she holds a blood filled scull cup up high to drink from it. In her right hand is a flaying knife. Her head adorned with a five-part scull crown. Weight 554g, height 17.8cm. Condition A/B. Supple- ment: Wooden base.

Provenance: -Private collection Austria, Salzburg area. Collected in the 1970s to 90s.

€ 800 – 900 | $ 944 – 1.062

2107 Buddhist Art 2108 2109 LARGER THAN LIFE HEAD Provenance: 大於真人佛教王子銅頭像 LARGER THAN LIFE HEAD Provenance: 大於真人竹巴昆烈銅頭像 OF A BUDDHIST PRINCE. -According to a former owner from the 不丹或者尼泊爾 18世紀高41cm / OF DRUKPA KUNLEY. -According to a former owner from the 不丹或者尼泊爾 18世紀高54,2cm/ ÜBERLEBENSGROSSER KOPF EINES collection of Barbara S. Adams (1931- 寬包括耳部約27cm/深約22cm ÜBERLEBENSGROSSER KOPF DES collection of Barbara S. Adams (1931- 寬包括耳部約35cm/深約30cm BUDDHISTISCHEN PRINZEN. 2015), consort of the Nepalese Prince 銅鎏金雕模工藝製作,料繪. DRUKPA KUNLEY. 2015), consort of the Nepalese Prince 銅鎏金雕模工藝製作,料繪. Tibet or Nepal. 18th c. Basundhara (1921-77). 前後兩部份鑄成頭像.耳部頭飾分開製作 Tibet or Nepal. 18th c. Basundhara (1921-77). 頭部由兩部份鑄成.耳部髮結和支腳分開 -Collection of the artist Robert Jacobsen 組合.長耳下墜活動耳環. -Collection of the artist Robert Jacobsen 製作組合. Copper bronze in repoussé with gilding (1912-93). 來源: Copper bronze in repoussé with gilding (1912-93). 極有風格的鬍鬚證明此頭像可能為生活在 and painted with pigments. The stylized -Private collection Northern Germany, -據前收藏所有者稱來自於尼泊爾王子 and painted with pigments. The impres- -Private collection Northern Germany, 西藏的傳承竹巴葛舉瑜伽修煉者竹巴昆烈 facial features of this head show a youth- acquired in Copenhagen. Basundhara (1921-77) 的伴侶,收藏家 sively large head shows stylized, overstat- acquired in Copenhagen. (1455-1529). ful face, probably that of a prince with Barbara S. Adams (1931-2015)的收藏. ed facial features and an elaborate hair- 來源: a stylish moustache and an elegantly Published: -藝術家Robert Jacobsen (192-93) 的收藏 style. The head is composed of two parts. Compare: -據前收藏所有者稱來自於尼泊爾王子 slung turban. The head is composed of -Karsten Ohrt & Lise Seisboll: Roberts -北德私人收藏,購於哥本哈根. The ears and the chignon are separately -Karsten Ohrt & Lise Seisboll: Roberts Basundhara (1921-77) 的伴侶,收藏家 two parts. The ears and head cover are Jacobsens Univers. Denmark 1992. 參見: worked and riveted to the head, as well Jacobsens Univers. Copenhagen 1992. Barbara S. Adams (1931-2015)的收藏. worked separately and riveted to the Photo p. 118. -丹麥1992 年出版Karsten Ohrt & Lise as the stand in shape of the shoulders. Compare photos p. 118/119. -藝術家Robert Jacobsen (192-93) 的收藏 head. The earlobes are pierced and elon- Seisboll 合著的Roberts Jacobsens Univers. The Vandyke beard gives the idea, that -北德私人收藏,購於哥本哈根. gated by heavy, moveable creoles from € 8.000 – 10.000 | $ 9.440 – 11.800 第118頁圖片. this might be a portrait of Drukpa Kunley. € 9.000 – 12.000 | $ 10.620 – 14.160 參見: twisted metal. Height 41cm, width (ears) He lived 1455-1529 in Tibet and was -丹麥1992 年出版Karsten Ohrt & Lise ca. 27cm, depth ca. 22cm. Condition A/B. made immortal in the oral tradition of Seisboll 合著的Roberts Jacobsens Univers. Bhutan as ‘holy madman’. The some- 第118/ 119頁圖片. times erotic stories featuring him have unconventional themes and are teaching about the problems of carnal desires in the Buddhist world. Height 54.2cm, width (including the ears) ca. 35cm, depth ca. 30cm. Condition A/B.

Buddhist Art 2110 2111 LARGER THAN LIFE HEAD Provenance: 大於真人佛教和尚銅頭像 KIRA – WOMEN’S DRESS PIECE. OF A BUDDHIST MONK. -According to a former owner from the 不丹或者尼泊爾 18世紀高48,5cm / KIRA – TUCHGEWAND FÜR FRAUEN. ÜBERLEBENSGROSSER KOPF EINES collection of Barbara S. Adams (1931- 寬約38cm /深約27cm Bhutan. 20th c. BUDDHISTISCHEN MÖNCHS. 2015), consort of the Nepalese Prince 銅鎏金雕模工藝製作,料繪. Tibet or Nepal. 18th c. Basundhara (1921-77). 頭部由兩部份鑄成.耳部,領部分開製作 Plant fibers, probably cotton, maybe -Collection of the artist Robert Jacobsen 組合. mixed with rayon. Woven in stripes, tabby Copper bronze in repoussé with gilding (1912-93). 附帶有此藏品圖像的Robert Jacobsen 收 weave patterned with supplementary and painted with pigments. The stylized -Private collection Northern Germany, 藏目錄 warps and wefts. The stripes with dark facial features of the big head show acquired in Copenhagen. 來源: red background with a woven pattern great concentration and determination. -據前收藏所有者稱來自於尼泊爾王子 with a supplementary warp in yellow The head is composed of two parts, the Published: Basundhara (1921-77) 的伴侶,收藏家 (aikapur) show a mirror-inverted pattern ears are separately worked and riveted -Karsten Ohrt & Lise Seisboll: Roberts Barbara S. Adams (1931-2015)的收藏. on both sides. They are alternating with to the head as well as the collar, which Jacobsens Univers. Denmark, 1992. Photo -藝術家Robert Jacobsen (192-93) 的收藏 stripes with green, blue and dark red forms a foot ring around the neck. Height p. 119. -北德私人收藏,購於哥本哈根. background with weft brocaded patterns. 48.5cm, width approx. 38cm, depth ap- 參見: The colors of the background are from prox. 27cm. Condition A/B. Supplement: € 8.000 – 10.000 | $ 9.440 – 11.800 -丹麥1992 年出版Karsten Ohrt & Lise Seisboll natural sources, while the weft brocaded Catalog of the collection Robert Jacobsen 合著的Roberts Jacobsens Univers.第119 patterns seem to be dyed with chemical with photo of the head. 頁圖片 dyes. In one part the brocaded patterns are in the shape of small medallions, in the other part as diamond patterns in alternating colors. Sewn from three panels. The ends with warp fringe. Length 233cm, width 125cm. Condition A/B.

Provenance: -Collection of Barbara S. Adams (1931- 2015), consort of the Nepalese Prince Basundhara (1921-77).

Compare: -Barbara S. Adams: Traditional Bhutanese Textiles. Bangkok 1984. P. 16-17. This publication is part of the lot.

€ 1.200 – 1.500 | $ 1.416 – 1.770

Buddhist Art The figure was radiologically examined. For the x-ray please contact us via e-mail: [email protected]

2112 THE TRANSCENDENT BUDDHA it became visible that the base is filled 普明大日如來佛銅像 VAIROCANA. with smaller rounded forms, which are 西藏約16/17世紀高25cm /寬14cm / DER TRANSZENDENTE BUDDHA probably cereals, possibly barley. 深11,5cm VAIROCANA. 澆鑄銅像,鎏金精細彩繪.底座鎏金雕模工 Tibet. Ca. 16th/17th c. Vairocana as the central of the five big 藝製作.蓮花底座封閉. Tathagata Buddha symbolizes the ab- 可見鎏金下多處舊修復痕跡. Figure from cast copper bronze, gilt and solute wisdom and radiates throughout 來源:南德私人收藏,于1960/1970年代 painted with pigments. Base in repoussé, the whole universe. His mudra resembles 購得. gilt copper bronze. The well-proportioned the teaching gesture, as he is revered as 此坐像經過放射檢測.如對檢測結果有需 face shows a fine smile and residue of a great teacher. Height 25cm. Condition 求,請通過郵件聯繫我們 the detailed painting, especially at the left A/B. Some older repairs beneath the gild- E-Mail:[email protected]. eye. The hands held in front of the heart ing. in a mirrored bodyangi mudra, which symbolizes the unification of opposites. Provenance: The kasaya garment draped in elegant -Private collection Southern Germany, folds over the left shoulder and arm and acquired in the 1960s/70s. in front of his feet. The base closed underneath. In the radiological examination, € 5.000 – 7.000 | $ 5.900 – 8.260

Buddhist Art 2113 2114 BUDDHA WITH DHARMACHAKRA THANGKA WITH SAMANTHABADRA painted on a lapis lazuli blue background, scher Totenbuecher – Jenseitswelten und MUDRA. AND THE PEACEFUL AND WRATHFUL the Wrathful Deities are shown. Wandlung nach dem Tode (Freiburg im BUDDHA MIT DHARMCHAKRA DEITIES OF THE BARDO. Breisgau, 1975), Tafel 8. MUDRA. THANGKA DES SAMANTHABADRA The brilliant lapis lazuli blue and malachite Tibet. 18th c. MIT DEN FRIEDVOLLEN UND ZORN- green as well as the striking orange colors € 20.000 – 25.000 | $ 23.600 – 29.500 VOLLEN GOTTHEITEN DES BARDO. are classic of the finest paintings of the Copper bronze with fire gilding and pig- Tibet, 19th c. late 18th and 19th c. The graphic ren- ments. Sitting on a double lotus, the tips dering of the Wrathful Deities reveals the 華嚴三聖之象征理得行得的普賢菩薩唐卡 of the petals engraved with spiral tendrils. Colors and gold on fabric. Mounted with hand of a master painter. Painting 西藏 19世紀長68cm/寬54cm/ The kasaya robe draped in elegant folds. Chinese silk. In the center of this Thang- 68 x 54 cm. With textile frame 總長125x90cm Hands and face as like as the complete ka, the Adi Buddha Samantabhadra is 125 x 90 cm. 設色描金織布.中國絲綢裝裱. figure are masterfully worked and refer depicted in yab-yum. On a bright green 來源:德國1975年之前的私人收藏 to a workshop of high rank. background, in the lower half of the Provenance: 參見:Detlef Ingo Lauf著:Geheimlehren -Private collection Germany (before 1975). Tibetischer Totenbuecher – Jenseitswelten Bottom of the base sealed. Weight painting, we see the Peaceful Deities of Published: und Wandlung nach dem Tode. Freiburg 1260g, height 17.4cm, width 10.6cm. the Bardo, while on the upper half, -Detlef Ingo Lauf, Geheimlehren Tibeti- im Breisgau, 1975.出版 Abb.Tafel 8. Condition A/B.

€ 6.000 – 8.000 | $ 7.080 – 9.440

銅手結說法印菩薩坐蓮像西藏 18世紀重量1260克/17,4cm/寬10,6cm 銅胎鎏金,有斑痕.端坐于雙蓮之上. 底座封閉.

Buddhist Art 2115 2116 2117 LAMA OF BÖN RELIGION, TRETON PADMASAMBHAVA. SHADAKSHARI LOKESHVARA. This form of Avalokiteshvara (Bodhisattva TSEWANG TSULTRIM. PADMASAMBHAVA. SHADAKSHARI LOKESHVARA. of compassion) embodies the well-known LAMA DER BÖN-RELIGION, TRETON Bhutan. 18th c. Tibet. Ca. 18th/19th c. mantra ‘om mani padme hum’. This six TSEWANG TSULTRIM. syllables correspond to the six realms Tibet. 18th/19th c. Copperbronze with engraved details. The Copper bronze with dark patina and of existence, whose residents he brings Buddhist Master as Guru Rinpoche sitting gilding. Sitting in padmasana on a double enlightenment. The realms are that of Copper bronze finely engraved. On a in padmasana on a lotus throne. The lotus. Both major hands in anjali mudra the gods, the half gods, the humans, the double lotos base sitting in padmasana. design of the lotus leaves is characteristic holding the wish-granting jewel which animals, the hunger spirits and finally His monk’s robe draped in elegant folds for Bhutan. symbolizes enlightenment. In his raised the realm of hell. Weight 1780g, height and he wears the characteristic lotus hat right hand he once held prayer beads, 24.2cm, width 15.7cm. Condition A/B. of lamas of the Bön religion, consisting of Padmasambhava is connected to Bhutan in his left he holds a lotus bud at his eight petals. The left hand holds the vase through his intervention when the deity shoulder. He wears seven-partite Bodhi- € 6.000 – 8.000 | $ 7.080 – 9.440 of longevity, the right one a manuscript. Shelging Karpo was threatening king sattva jewels and a high crown, which is The figure is finely worked. Base sealed Sendharkha. Weight 928g, height 19cm, adorned with a small picture of his spiritu- and plate with engraved Swastika sym- width 12,6cm. Condition A/B. al father Buddha Amithhaba. Face, hands, 銅四臂六音節觀音坐蓮像 bol. Weight 374g, height 12.5cm, width feet and the lotus throne are not gilt and 西藏可能18/19世紀 8.5cm. Condition A/B. Base plate slightly € 3.000 – 4.000 | $ 3.540 – 4.720 make a pleasing contrast. Base sealed 重量1780克/高24,2cm /寬15,7cm dented. underneath. 銅胎深色包漿鎏金. 跏趺坐與雙蓮, 雙手合十.底座封閉. Provenance: 蓮花生大士銅像 -Private collection Hamburg. 不丹 18世紀重量928克/高19cm/ 寬12,6cm € 800 – 900 | $ 944 – 1.062 銅胎細雕.蓮花生大士跏趺坐去蓮花寶座.

2116

2115 Buddhist Art 2118 2119 2120 ACHALA. 銅不動明王蓮花立像 SITTING MEDICINE BUDDHA HUGE GARUDA MASK. 嘎魯達大面具 ACHALA. 漢藏式 18/19世紀重量1565克/ BHAISAJYAGURU. GROSSE GARUDA MASKE. 尼泊爾/西藏 19世紀高42cm Sino-tibetan. 18th/19th c. 高16,5cm/寬約13,5cm SITZENDER MEDIZIN-BUDDHA Nepal/Tibet. 19th c. 銅片鎏金彩繪. 銅胎鎏金,殘有彩繪. BHAISAJYAGURU. Fire-gilt copper bronze with residue of 附中式收藏盒. Tibet. 18th/19th c. Bronze plate with gilding and pigments. pigments. Standing on a narrow lotus 來源:德國漢堡私人收藏. Designed with flaming hair and a small base and with wrathful face he bran- Copper bronze in repoussé with fire skull as an ornament between the bull dishes a large sword above his head. On gilding, residue of painting with gold horns. Eyebrows and cheeks are also his head he wears a five-leaved crown, and pigments. On a double lotus sitting shown flame-like. his body adorned with a scull garland. in padmasana. His left hand in dhyana The scarf fluttering around his body in mudra and his right hand showing the Garuda is common throughout Asia and multiple loops is showing the Chinese inside. Maybe both hands once where is used in the Hindu, like Buddhist con- influence. Weight 1565g, height 16.5cm, ecquipped with attributes. The border of text. Masks of this kind hung as protector width ca. 13.5cm. Condition A/B. the garment adorned with small punched in houses, palaces and temples. Height Supplement: Chinese box. flowers. Weight 398g, height 18.5cm, 42cm. Condition A/B. width 12.5cm. Condition A/B. Provenance: € 2.500 – 3.500 | $ 2.950 – 4.130 -Private collection Hamburg. Provenance: -Private collection Hamburg. € 1.500 – 2.000 | $ 1.770 – 2.360 € 1.200 – 1.500 | $ 1.416 – 1.770

銅合金藥師佛坐蓮像西藏 18/19世紀重量398克/高18,5cm/ 寬12,5cm/深6,7cm 銅合金雕模工藝鎏金,殘彩繪.跏趺坐與雙蓮,左手結禪定印.右手手掌向外伸開, 可能佛像最初雙手持法器. 來源:德國漢堡私人收藏.

2118

2119 Buddhist Art 2121 2122 2123 2124 STANDING FOUR-ARMED BUDDHA AMITABHA. WHITE TARA ON LOTUS THRONE. THANGKA OF KING GESAR LING. AVALOKITESHVARA. BUDDHA AMITABHA. WEISSE TARA AUF LOTOSSOCKEL. THANGKA DES KÖNIGS GESAR LING. STEHENDER VIERARMIGER Tibet/Nepal. 19th c. Nepal. 19th c. Tibet. 19th c. AVALOKITESHVARA. Nepal. In the style of the Licchavi period Bronze with residue of pigments. Sitting Bronze with residue of gilding and pig- Colors and gold on fabric. Mounted with (400-750), but probably later. in padmasana and in both hands holding ments. Figure cast, base in repoussé. silks as hanging scroll with curtain. Sur- a bowl. The lotus pedestal in open-work She is adorned with the seven-partite rounded by clouds is he riding a horse in Iron with fine patina. The figure stands on and sealed with a piece of wood, on top Bodhisattva jewels and her dhoti is draped armour and holding the vessel with the an elegant lotus base with the two main textile painted with the characteristic in folds around her legs. Weight 825g, water of life. Above him the blue skinned arms facing forward and the lateral arms double vajra. The figure is filled, at the height 14.8cm, width 10.9cm. Vajrapani in a fire halo. In the lower part hold both hands at the level of the shoul- edge some paper rolls are visible. Weight Condition A/B. three armed riders with Buddhist trea- ders. The crowned head is surrounded by 1785g, height 24cm, width 13.3cm. sures. a flaming halo with pointed top. Weight Condition A/B. Provenance: Lenght 42cm, width 30cm, complete size 219g, height 11.8cm. Condition B. Single -Collection Dr. Wolfgang Schumann, 74 x 46.5cm. Condition A/B. fingers broken off on both lower hands. Provenance: Indologist and author of numerous ref- -Private collection Hamburg. erence books on Buddhism and India. € 2.000 - 3.000 | $ 2.360 - 3.540 € 2.000 – 3.000 | $ 2.360 – 3.540 Lived in India from 1960, German Consul € 900 – 1.000 | $ 1.062 – 1.180 General in Bombay 1988-93. Got 2000 awarded with the Rabindranath Tagore 格薩爾王唐卡鐵四臂圣觀音蓮花立像 Culture Price for Literature. 西藏 19世紀尼泊爾尼波羅時期(400-750)風格銅無量光佛坐蓮像長42cm/寬30cm/整幅唐卡74x46,5cm 但是可能更晚期. 重量219克/高11,8cm 西藏/尼泊爾 19世紀重量1785克/ € 1.100 – 1.300 | $ 1.298 – 1.534 織布設色描金鐵胎包漿. 高24cm/寬13,3cm 下方兩手有單個手指折斷. 銅胎殘有彩繪. 跏趺坐于蓮花,蓮座雕刻, 木底封閉,上有描雙金剛織物.從坐像邊緣白度母蓮花銅像可見坐像內紙卷貢物. 尼泊爾 19世紀重量825克/高14,8cm/ 坐像和底座最初分體製作,后連接. 寬10,9cm 來源:德國漢堡私人收藏. 銅胎殘有鎏金.銅像澆鑄, 底座雕模工藝製作. 2124 來源: 印度學專家和大量的佛教及印度專著的作者Dr.Wolfgang Schumann博士收藏. 從1960 起生活在印度,1988年至1993 年在孟買任德國總領事.2000年獲得 Rabindranath Tagore 羅賓德拉納特泰戈爾文學獎.

2125 PADMAPANI. PADMAPANI. Himalaya region. Ca. 19th c.

Cast iron with thin patina. Standing in tribhanga, with the left hand holding a lotus flower, the right raised to abhaya mudra. The hips dressed with a thin dhoti with finely engraved pattern and an elegant central fold. Weight 4643g, height 37.7 cm, total height 42.5cm. On a wooden base. Condition A/B.

€ 5.000 - 6.000 | $ 5.900 - 7.080

蓮華手菩薩鑄鐵立像喜馬拉雅地區約19世紀重量 4643克/ 高37.7cm/總高42,5cm/寬12,7cm 鑄鐵淺包漿.三屈姿勢立於木座之上, 左手持蓮花,右手結無畏印. 2121 2123 2122 2125 Buddhist Art 2126 2127 2128 VASUDHARA, GODDESS 銅持世菩薩坐蓮像 THREE-HEADED HEVAJRA IMPRESSIVE LARGE VAJRAYOGINI. OF ABUNDANCE. 西藏 19世紀高20cm IN YAB-YUM. BEINDRUCKEND GROSSE VASUDHARA, GÖTTIN DER FÜLLE UND 銅胎鎏金繪.底座封閉. DREIKÖPFIGER HEVAJRA IN YAB-YUM. VAJRAYOGINI. DES ÜBERFLUSSES. 來源: Nepal. 19th c. Nepal. Ca. 1900. Tibet. 19th c. 印度學專家和大量的佛教及印度專著的作者Dr.Wolfgang Schumann博士收藏. Heavy yellowish bronze, in parts finely Bronze with gilding and pigments. Multi- Bronze with gilding and pigments. Sitting 從1960起生活在印度,1988年至1993年 engraved. Figure cast, base in repoussé. piece: Lower arms set in, lotus base with on a lotus with her right foot on a smaller 在孟買任德國總領事.2000年獲得 The Heruka deity is represented with two separate figures and separate katvan- separate lotus is she offerings symbols Rabindranath Tagore羅賓德拉納特泰戈爾 three heads and six arms, of which two ga staff. She is standing on Kalaratri and of abundance with her six hands. On her 文學獎. are holding his consort Nairatmya in yab- Bhairava on a lotus base. With her raised left hand she holds the overflowing jew- yum. In two of his hands he holds a scull left hand she drinks from a kapala bowl, eled vase. She is clothed in a beautifully bowl and a chopper, just as his partner. in her right hand she wields a kathriki adorned dhoti and wears the seven-par- His head with flamming hair adorned by a chopper with vajra. Around her shoulder tite Bodhisattva jewels. The base is closed. scull crown. Height 24cm. Condition A/B. and reaching to her thighs she is adorned Height 20.4cm. Condition A/B. with a chain of thirty freshly chopped € 1.500 - 1.700 | $ 1.770 - 2.006 skulls. Provenance: -Collection Dr. Wolfgang Schumann, Vajrayogini, or Naro Khechari (tibet: dor je Indologist and author of numerous ref- 三面六臂喜金剛雙身佛銅像 nal jor ma, na ro kha cho) belongs to the erence books on Buddhism and India. 尼泊爾 19世紀高24cm group of Dakini and this representation Lived in India from 1960, German Consul 厚重黃銅,部分精雕.銅像身澆鑄製作, symbolizes the entire Buddhas in female General in Bombay 1988-93. Got 2000 底座雕模工藝製作. form. She is also seen as wisdom or as awarded with the Rabindranath Tagore mother. She was introduced to the Hima- Culture Price for Literature. layan region through the Indian master Naropa and is still revered in the Gelug € 1.200 - 1.500 | $ 1.416 - 1.770 school. Height overall 110cm, figure 78cm. Condition A/B.

€ 3.000 - 4.000 | $ 3.540 - 4.720

大金剛瑜伽母銅像尼泊爾約1900 總高110cm/銅像身高78cm 銅胎鎏金繪.多件套:臂是插上去的. 底座上有兩個單獨的雕像.

2127

2126 Buddhist Art 2129 2130 THANGKA WITH AMITAYUS STANDING AVALOKITESHVARA. AND OFFERINGS. STEHENDER AVALOKITESHVARA. THANGA MIT AMITAYUS UND Nepal. OPFERGABEN. Central Tibet. 19th c. Bronze with gilding, painted with pigments and gold, inlaid with stones. In Colors and gold on fabric. In front of the Provenance: 無量壽佛和祭品唐卡 elegant tribhanga contrapposto, his red Buddha Amitayus is a table with sacri- -Rhenish private collection, acquired in 西藏中部 19世紀長67,4cm/寬47,5cm/ right raised in the gesture of fearlessness fices, including a bowl with rice, elephant Lhasa. 畫面41x33cm abhaya mudra. Dressed in a sheer dhoti tusks, coral twigs and pearls. Above the 織布設色描金.鏡框裝裱. clinging to his legs, ending in dense folds. main figure the Bodhisattva Manjushri, € 1.500 - 2.000 | $ 1.770 - 2.360 來源:德國萊茵地區私人收藏.購於拉薩. Draped over his left shoulder is the ‘Black flanked by the green and white tara.To Antelope Skin’ krishnasara, symbolizing the right of the sacrificial table is the yel- his love, compassion and tenderness. low god wealth Jambala, to the left the Weight 5.36kg, height including separate six-armed Ushnishavijaya. Length 67.4cm, base 41cm. Condition A/B. width 47.5cm, picture size 41 x 33cm. Condition A/B. Supplement: Framed Provenance: with glass. -Collection Dr. Wolfgang Schumann, Indologist and author of numerous reference books on Buddhism and India. Lived in India from 1960, German Consul General in Bombay 1988-93. Got 2000 awarded with the Rabindranath Tagore Culture Price for Literature.

€ 4.500 - 5.000 | $ 5.310 - 5.900

銅圣觀音立像尼泊爾重量5,36公斤/ 高包括單獨底座41cm 銅胎鎏金,斑,鑲石.優雅的三屈姿勢站立, 右手結無畏印. 來源: 印度學專家和大量的佛教及印度專著的作者Dr.Wolfgang Schumann博士收藏. 從1960起生活在印度,1988年至1993年在孟買任德國總領事.2000年獲得 Rabindranath Tagore羅賓德拉納特泰戈爾文學獎.

Buddhist Art 2131 2132 2133 VAJRAKILAYA WITH DIPTA CHAKRA. YAMA. CHANDI. 準提佛母銅像 VAJRAKILAYA MIT DIPTA CHAKRA. YAMA. CHANDI. 西藏 20世紀早期重量16,26公斤/ Tibet. 19th c. Tibet. 18th c. Tibet. Early 20th c. 高53,3cm/寬約46cm 銅胎部分鎏金,彩繪.鑲石.準提佛母 Bronze with fire-gilt and residue of gold Bronze with fire-gilt, residue of pigments Copper bronze, partly fire-gilded and with 跏趺坐于雙蓮,罩綠色光暈. painting and pigments. The three-headed and inlaid stones. The wrathful deity with cold gold painting and pigments as well 傘和光暈可取下.底座封閉. wrathful deity with wings and in yab-yum buffalo head and flaming hair. In typical as inlaid stones. The buddhist deity sitting 來源:奧地利薩爾斯堡地區于 with his consort Dipta Chakra. Four of posture standing on a buffalo, beneath in padmasana on a double lotus base. 1970年到1990年期間私人收 his six hands hold attributes, including a corpse. His body richly adorned with Characteristic for Chandi, also named 藏. two vajra, with the remaining two hands jewelry, scull necklace and scull crown. Cundi Bodhisattva, are the third eye and he holds a three-blade knife (kila) at Figure removable. Weight 1613g, height her eighteen arms, which either hold an chest level. The three heads with flaming 20.2cm, width 11cm. Condition A/B. instrument or form a mudra. hair and adorned with a multi-part scull crown. Pedestal and upper body of con- Provenance: The eighteen arms resp. the instruments sort cast separately. Weight 1167g, height -Private collection Hamburg. and mudra, are symbolizing an activity 16.3cm, width 13cm. Condition B. One characteristic of an enlightened being. wing missing. € 1.600 - 2.000 | $ 1.888 - 2.360 Parasol and aureole are removable. Base sealed. Weight 16.26kg, height 53.3cm, Provenance: width ca. 46cm. Condition A/B. -Private collection Austria, Salzburg area. 閻魔銅像 Collected in the 1970s to 90s. 西藏 18世紀重量1613克/高20,2cm/ Provenance: 寬11cm -Private collection Austria, Salzburg area. € 900 - 1.100 | $ 1.062 - 1.298 銅胎鎏金,殘有彩繪,鑲石.銅像身可取下. Collected in the 1970s to 90s. 2133 來源:德國漢堡私人收藏. € 2.300 - 2.800 | 普巴金剛佛母雙身銅像 $ 2.714 - 3.304 西藏 19世紀重量1167克/高16,3cm/ 寬13cm 銅胎鎏金殘有彩繪.底座和銅像分體鑄造. 2134 缺一翅. LARGE SAHASRABHUJA- 來源:奧地利薩爾斯堡地區于1970年到 LOKESHVARA. 1990年期間私人收藏. GROSSER SAHASRABHUJA- LOKESHVARA. Tibet. Late 19th c.

Copper bronze, partially fire-gilded and partly finely engraved, with gold painting and pigments. Impressive large figure of the thousand-armed and eleven-headed manifestation of Avalokiteshvara. The nine Bodhisattva heads are topped with a Mahakala head and the head of Budhha Amitabha. The multi-part pedestal cast separately and in open-work. Height figure 58cm, total height 72.3cm, width ca. 29cm. Condition A/B. Attachment under the left foot broken off, figure is bending to the back.

Provenance: -Private collection Austria, Salzburg area. Collected in the 1970s to 90s.

€ 2.500 - 3.000 | $ 2.950 - 3.540

大千手十一面觀音菩薩銅像西藏 19世紀後期高58cm/總高72,3cm / 寬約29cm 銅胎部分鎏金精雕,彩繪. 底座單獨鑄造. 左腳下固定折斷,銅像稍后傾. 來源:奧地利薩爾斯堡地區于1970年到 1990年期間私人收藏.

2131 2132 2134 Buddhist Art The Detlef Rosen Collection

Detlef Rosen (1941–2017)

Detlef Rosen (1941–2017) was an excepti- Chamber of Commerce. With a stuck-up modern carpets. For more than 25 years Detlef Rosen (1941–2017) war ein außer- Vorreiter auf dem Gebiet der Mode und für sein neues Feriendomizil ein besonders onal adventurer and aesthete. As the son smile it was pointed out to him that he Detlef Rosen produced modern hand- gewöhnlicher Abenteurer und Ästhet. Rosen fiel auf, dass die Menschen dort großes Exemplar explizit in blau und gelb. of famous gallerist and antiquarian Gerd was not the first to come up with the made carpets and home textiles, also Als Sohn des berühmten Galeristen und bunte und bedruckte T-Shirts trugen – ein Zuvor hatte Rosen immer alte original Rosen (1903–1961), he grew up amid art idea of producing t-shirts for the German in cooperation with designers like Ulf Antiquars Gerd Rosen (1903–1961) wuchs Kleidungsstück das in Deutschland noch Teppiche mitgebracht, aber um diesem and old books. In 1945, his father ope- market and that all factories were fully Moritz, Christine Kröncke, Ermenegildo er umgeben von Kunst und alten Büchern nicht verbreitet war. Mit einem Koffer vol- Auftrag gerecht zu werden, suchte er zum ned Germany‘s first post-war gallery on booked for the next two years. Slightly Zegna, and the artist Petrus Wandrey. He auf. Sein Vater eröffnete 1945 auf dem le Samples flog er darauf hin nach Bang- ersten Mal Teppichfabriken in Indien auf Berlin‘s Kurfürstendamm and presented downcast, Rosen wandered the streets of had factories all over the world for the Kurfürstendamm in Berlin die erste Nach- kok und fragte bei der Deutsch-Thailändi- und ließ einen Teppich passgenau auf die artworks, which had hitherto been con- Bangkok, and he noticed a store for old production of his products and insisted kriegsgalerie Deutschlands und zeigte schen Handelskammer nach Textilfabriken Wünsche seines Kunden produzieren. Von sidered ‘degenerate‘. The Rosens‘ home furniture and craftsmanship. Fascinated on paying them regular visits. On these Kunstwerke, die zuvor als „entartet“ an. Mit einem hochnäsigen Lächeln wurde da an häuften sich die Anfragen dieser Art was decorated with masterworks by by the foreign aesthetic he bought ge- occasions he also visited local markets galten. Zuhause bei Rosens schmückten er darauf aufmerksam gemacht, dass er und auch sein persönliches Interesse für Picasso, Matisse, Nolde, and Klee. Detlef nerously - there and on a first trip through and antiques dealers - although he pro- Meisterwerke von Picasso, Matisse, Nol- nicht der erste sei, der auf die Idee kommt Teppich Design war geweckt. Dies war der Rosen‘s sense of quality and his eye for the country - to bring back to Düsseldorf fessionally engaged in the latest designs de und Klee die heimischen Wände und T-Shirts für den deutschen Markt zu pro- Beginn einer Karriere als Teppichdesigner, authenticity thus formed early on in his a container fully laden with Asian art and and trends, his apartment was the exact prägten schon in jungen Jahren Detlef duzieren und dass die entsprechenden die maßgeblich das heutige Selbstver- life. Nevertheless, the eldest of the three antiques. This was the beginning of his opposite. Within more than 40 years he Rosens Gespür für Qualität und seinen Fabriken schon für die kommenden zwei ständnis für moderne Teppiche prägte. children never considered to follow in his career as a fine art and antiques dealer of had brought together a personal private Blick für Authentizität. Trotzdem kam Jahre ausgebucht seien. Etwas niederge- Über 25 Jahre produzierte Detlef Rosen father‘s footsteps. He felt an urge to see artworks and curiosities from all over the museum, which was reminiscent of a ca- es für den erstgeborenen Sohn von drei schlagen spazierte Rosen durch Bangkok moderne handgemacht Teppiche und the world. Already in his schooldays he world. With his friend Dieter Ladwig he binet of curiosities. This collection was his Kindern nicht in Frage, in die Fußstapfen und ihm fielen ein Geschäft mit alten Wohntextilien unter anderem in Zusam- attended the German school in Rome for opened the shop ‘Curios‘ on Düsseldorf‘s very personal life’s work and it included des Vaters zu treten. Detlef Rosen war Möbeln und Handwerkskunst auf. Faszi- menarbeit mit Designern wie Ulf Moritz, a year, and upon graduation he signed Königsallee. To stock his shore, he was al- objects from China, Tibet, India, as well neugierig auf die große weite Welt. Schon niert von der fremden Ästhetik kaufte er Christine Kröncke, Ermenegildo Zegna on as a ship-boy in order to see distant ways – and almost obsessively - in search as ethnologic treasures from Oceania and zu Schulzeiten besuchte er für ein Jahr die großzügig dort und auf einer ersten Rund- und Künstler Petrus Wandrey. Für die Her- continents. The early death of his father in of the finest pieces from the most remote Africa. He was intrigued by the bizarre, deutsche Schule in Rom und gleich nach reise durchs Land ein und brachte einen stellung seiner Produkte hatte er weltweit 1961 brought him back to Germany and parts of the entire southern hemisphere. the partly abstract or naive designs, the der Schule heuerte er als Schiffsjunge an, Container voll mit asiatischer Kunst und Fabriken und ließ es sich nicht nehmen by chance he came to Frankfurt. Detlef To this end, he did not shy away from gloss of patina, and the aura of objects um ferne Kontinente zu bereisen. Der Antiquitäten zurück nach Düsseldorf. Das diese regelmäßig zu besuchen und bei Rosen was instructed to conduct the sale dangers, such as going to Vietnam during with a past. frühe und plötzliche Tod seines Vaters war der Beginn einer Karriere als Kunst- der Gelegenheit auch immer die lokalen of his father‘s house in Frankfurt and the war only to rescue cultural treasu- 1961 holte ihn zurück nach Deutschland und Antiquitätenhändler für Asiatika und Märkte und Antiquitätenhändler aufzusu- apparently handled it quite professionally. res from the turmoil. While he sold the It is a great pleasure to announce that und ein Zufall brachte ihn nach Frankfurt. Kuriositäten aus aller Welt. Mit seinem chen, denn obwohl er beruflich sich mit The new owners set up a market research majority of his acquisitions, he always the second part of this collection will be Detlef Rosen war mit der Veräußerung Freund Dieter Ladwig eröffnete er das den neusten Designs und Trends befass- institute in the building and - impressed kept the finest pieces for himself and his offered in our rooms in June 2018. eines Hauses seines Vaters in Frankfurt Ladengeschäft „Curios“ auf der König- te, war seine Wohnung das komplette with his negotiating skills - offered him an personal collection. Among other things, beauftragt und stellte sich dabei offen- sallee in Düsseldorf. Zur Bestückung des Gegenteil. In über 40 Jahren hatte er ein apprenticeship. Thereafter, market re- Detlef Rosen also brought thin carpets, kundig sehr professionell an. Die neuen Geschäfts war er wie ein Besessener stets persönliches Privatmuseum zusammen- search - then still a young discipline - took known as Dorri, from India which became Hausbesitzer gründeten in dem Gebäude auf der Suche nach den besten Stücken getragen, das an ein Kuriositätenkabinett Rosen to the advertising metropolis of immensely popular. One client requested ein Marktforschungsinstitut und boten aus den entlegensten Winkeln der gesam- erinnerte. Diese Sammlung war sein ganz Düsseldorf. Soon, however, Rosen felt the a particularly large model expressly in ihm, beeindruckt von seinem Verhand- ten südlichen Halbkugel. Dafür schreckte persönliches Lebenswerk mit Objekten aus need to travel again. Feeling constrained blue and yellow for his holiday residence. lungsgeschick, dort einen Ausbildungs- er auch nicht vor Gefahren zurück und China, Tibet, Indien bis zu ethnologischen by his job at an advertising company, he Hitherto, Rosen had always brought old platz an. Die damals noch junge Disziplin war zum Beispiel zu Zeiten des Krieges Schätzen Ozeaniens und Afrikas. Ihn fas- quit and left for America in search of a original carpets, but in order to comply der Marktforschung brachte Rosen im in Vietnam unterwegs, um Kulturschätze zinierte das Skurrile, die zum Teil abstrakte business idea for future self-employment. with this order he visited carpet factories Anschluss in die Werbemetropole Düs- vor den Wirren des Krieges zu retten. oder naive Formsprache, der Glanz von Then as much as today, the USA pionee- in India for the first time and had a carpet seldorf. Schon bald lockte Rosen wieder Während er den Großteil seiner Errungen- Patina und die Ausstrahlung von Objekten red the modern and Rosen noticed that made exactly according to the client‘s das Reisefieber. Die Festanstellung in einer schaften verkaufte, behielt er immer die mit Geschichte. people were wearing colorful, printed t- wishes. From then on, similar orders came Werbeagentur engte ihn ein, er kündigte besten Stücke für sich und seine persön- shirts - a piece of clothing not yet popular pouring in, sparking his personal interest und machte sich auf den Weg nach Ame- liche Sammlung. Unter anderem brachte Es ist uns ein großes Vergnügen an dieser in Germany. A suitcase filled with samples in carpet design. This was the beginning rika auf der Suche nach einer Geschäfts- Detlef Rosen auch dünne Teppiche, ge- Stelle darauf aufmerksam zu machen, in hand, he flew to Bangkok and inquired of a career as a carpet designer, which idee, mit der er sich selbstständig machen nannt Dorri, aus Indien mit, die auf große dass ein zweiter Teil dieser Sammlung im for textile factories with the German-Thai deeply influenced today‘s conception of konnte. Damals wie heute waren die USA Beliebtheit stießen. Ein Kunde brauchte Juni 2018 zum Aufruf kommt.

The Detlef Rosen Collection In the room of the collector.

2135 RARE AND IMPRESSIVE LARGE layer around a firmer trunk. The carefully clear that this figure was not exposed to GRADE FIGURE. applied and painted earth layer is amaz- the weather for a long period of time. SELTENE UND BEEINDRUCKEND ingly well preserved. Height approx. 260cm. Condition A/B. GROSSE INITIATIONS-FIGUR. Supplement: Literatur. Margaret Dono- Oceania. Vanuatu, Malampa Province, These figures, called Maghe ne Naun or van: Oceanic Images. Coll. MET. New York Ambrym Island. Probably the first third of Maghe ne Hivir were used for the com- 1978. the 20th c. Group of Ni-Vanuatu. plex rites, which gradually introduced persons into political and religious power. Provenance: Tree fern (Cycadophyta) with a smoothed This is probably the figure for a man. For -Dutch collector and insurance agent of layer of earth, painted with white pig- the rites the figure was dug partly into the Lloyd’s London in Port Villa, Vanuatu. Di- ment. The anthropomorphic male figure soil of the dancing ground and symbol- rectly acquired in Abrym Island, Malampa is equipped with a helmet-like enlarged ized the spirit of the stage of the grade. province, circa 1940s. head. Both arms are placed at the sides The slowly rotting of the material was -Collection Detlef Rosen, Düsseldorf, with the hands next to the genitals. The identified with the slowing influence of acquired 1979. figure was cut from the brittle, inter- the spirit. The very good preservation of twined root hairs, which build the outer the extremely sensitive material makes € 12.000 - 15.000 | $ 14.160 - 17.700

The Detlef Rosen Collection 2136 2137 FIGURE OF A MAN WITH RARE AND EXTREMELY LARGE worked separately and appliquéd. There Height 146cm, width 123cm, depth MOVEABLE ARMS. TUMBUAN GABLE MASKS. are five ear-like arches at the sides and 53cm. Condition A/B. FIGUR EINES HERRN MIT SELTENE UND AUSSERGEWÖHNLICHE below. Unusual is the good condition BEWEGLICHEN ARMEN. GROSSE TUMBUAN-GIEBELMASKE. of the overpainting, which is likely to be Provenance: Africa. 20th c. Papua New Guinea, Middle Sepik region, rubbed off due to the flexibility of the -Since the middle of the 20th c. in the Sangriman at the junction of the rivers woven material. collection of Gerd Rosen (1903-61), Wood carved and with pigments. Arms Krosmeri and Blackwater. First half of the Berlin. Acquired locally. separate and attached with leather. Shirt 20th c. Abelam people group. For the Abelam the cultivation and pro- -Collection Detlef Rosen, Düsseldorf. from cotton. This figure was kept in the cessing of yams is central. The various family as an alter ego of the collector and Rotang frame, braided with reddish climb- stages are celebrated. This also included Compare: was nicknamed “The Canny Det”. ing fern (Lygodium) and painted with dances in robes and masks. Such large -A similar, but slightly smaller piece Height 92cm. Condition A/B. earth pigments. The flat, bowl-shaped masks, however, where fixed on the is located in the Rockefeller Memorial mask shows a stylized face with a ridge pediment of the up to 25 meters high. collection at the Metropolitan Museum Provenance: for the nose, which is elongated until the of Art, New York. -Collection Detlef Rosen, Düsseldorf. mouth. The eyes are € 3.000 - 5.000 | $ 3.540 - 5.900 € 1.000 - 1.200 | $ 1.180 - 1.416

In the room of the collector.

The Detlef Rosen Collection 2138 2139 RARE MBOTGOTE HELMET MASK RARE ANCESTOR SKULL AND TEMES MBALBAL. NAMPUGI MASK. SELTENE MBOTGOTE HELM-MASKE SELTENER AHNENKOPF UND TEMES MBALBAL. NAMPUGI-MASKE. Vanuatu, Southwestern Malakula. Oceania, Vanuatu, Malukula resp. 19th/20th c. Tomman Island. Ca. middle 20th c. Folk group of Letemboi. Wood, plant fibers, earth pigments, boar tusks. In the complex structured groups Skull, plant fibers, earth pigments, feath- of men of the Vanuatu numerous and ers, shells, spider webs. The elongated stepped nalawan rituals are typical for occipital of the skull was covered with fur, introducing individuals in political and reli- the face coated with earth pigments and gious power structures. This is celebrated plant fibers. The elongated calotte speaks in festivals, in which masks like this where of the fact that this was a person from used. This type, also called Vimpuri, higher social standing. To the side the shows the cannibalistic giant Nevinbum- skull is decorated with long feathers and baan, carrying her son or husband Ambat three shells as reference to the status of Malondr on her shoulders. The mask is the person. The Nampugi mask with her attributed to the Nimangki Society and protruding eyes symbolizes death and rep- used in various ceremonies. Height 43cm, resents the deceased until his own skull is width 50cm, depth 41cm. Condition B. ready for processing. Supplement: Small model of the Asaro Mudmen with detachable Helmet mask. The reworked skulls were placed on life- Clay, wooden stick. Papua New Guinea. In the room of the collector. size figures called ramparamp. In many 20th c. H. approx. 19cm. Repaired. cultures in the Pacific, the head is considered the seat of the soul and is for this Provenance: reason as a relic after death. Skull/mask: -Collection Detlef Rosen, Düsseldorf Height 17/33cm, width 13/15cm, depth 22/27cm. For the skull an old stand, for Compare: the mask a bamboo stick as support. -Bradford D. Kelleher (pl): The Pacific Is- Condition A/B. lands, Africa, and the Americas. New York 1987, Fig. 33 shows a similar piece (No. Provenance: 1979.206.1697) in the Rockefeller -Collection Detlef Rosen, Düsseldorf. Collection of MET. Literature: € 2.000 - 3.000 | $ 2.360 - 3.540 -Joachim Schliesinger: Traditional Head- hunting in Southeast Asia and Beyond. Digitized, White Elephant Press. 2017, p. 77-79. -Antony JP Meyer: Oceanic Art., Cologne, 1995, p. 425, No. 481.

€ 2.000 - 3.000 | $ 2.360 - 3.540

The Detlef Rosen Collection 2140 IMPRESSIVE PAIR OF GUARDS ON Wood carved, partly worked separately Guards like this have been placed in front HORSEBACK. and assembled. Covered with fabric, of the sanctum sanctorum of temples. BEEINDRUCKENDES PAAR BERITTENE painted with pigments. The horses are Height ca. 138cm, length 156cm. Condi- WÄCHTER. equipped with beautiful bridle. The riders tion A/B. Ears and tails restored. India. From a temple in Thanjavur, Tamil are sitting on saddles and are detachable. Nadu. Ca. 2. half 19th c. The horses are mounted on a base. Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 6.000 - 8.000 | $ 7.080 - 9.440

The Detlef Rosen Collection 2141 2142 MIDDLE AND SMALL SHIVA LARGE SHIVA LINGA STONE LINGAM-STONE. WITH RED MARKINGS. GRÖSSERER UND KLEINERER GROSSER SHIVA LINGAM-STEIN MIT SHIVA LINGAM-STEIN. ROTER MARKIERUNG. Indien, Narmada river, India, Narmada River, Mardhata mountain ridge. Mardhata mountain range.

Natural stone with grey and red parts, Natural stone, grey with red inclusions. forming an abstract drawing on the sur- Base from white marble. These naturally face of the stone. Each with an acryl glass shaped banalinga stones are found in a base. Height 10.7cm/20cm. River in India and are used as a tantric Condition A/B. object, named Brahmanda, ‘cosmic egg’, symbolizing the universe in rituals since Provenance: ancient times. Especially stones with -Collection Detlef Rosen, Düsseldorf. markings of round and elongated shaped are sought for. Height 40cm, Ø 34cm. € 1.000 - 1.500 | $ 1.180 - 1.770 Condition A/B.

Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 5.000 - 6.000 | $ 5.900 - 7.080

The Detlef Rosen Collection 2143 Trantric paintings show the cosmological HUGE AND UNUSUAL NANDI BULL. perceptions of the Jain. They where pro- GROSSER, UNGEWÖHNLICHER duced in Ahmedabad and Patan in Gu- NANDI-STIER. jarat on order of Svetambara, the white North India, Bihar. 18th/19th c. clad Jain as illustrations for manuscripts and for the Temple libraries. This was Dark grey chlorite, partly with repaired considered as an act of merit. cracks. The stylized animal covered by Hinduistic symbols and erotic representations in relief, including a snake wrapped 2144 around a Shiwa Lingam symbol and a TANTRIC MANUSCRIPT WITH THE hermaphroditic figure standing in from of CHAKRA IN THE SUBTLE BODY. the bull. In various places signs of ritual TANTRISCHES DIAGRAMM MIT DEN use over a longer period of time. Length CHAKRA IM DIAMANTKÖRPER. 70cm, height 49,5cm, width 25cm. India/Nepal. Ca. 17th/18th c. Condition B. Pigments on fabric. Sewn from two parts. Provenance: Framed with glass. In the center a stand- -Collection Detlef Rosen, Düsseldorf. ing yogi, a male practitioner of yoga. The seven chakra are drawn inside, seven € 12.000 - 15.000 | $ 14.160 - 17.700 more over his head and seven to his sides. In the room of the collector. Each chakra in the shape of a medallion with lotus flower leaves and one resp. two figures inside. Length 97cm, width 42.5cm. Framed with glass. Condition B/C.

Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 2.500 - 3.000 | $ 2.950 - 3.540

The Detlef Rosen Collection 2145 2147 COSMOLOGICAL MANDALA OF TRANTRIC DIAGRAM VAHNIVASINI the nights of the waxing moon. The name THE ROSE APPLE TREE CONTINENT NITYA. vahnivasani means ‘The dweller in the JAMBUDVIPA. TRANTRISCHES DIAGRAMM fire’ and she is thought of as a beautiful KOSMOLOGISCHES MANDALA DES VAHNIVASINI NITYA. young woman in golden color, dressed in ROSENAPFELBAUM-KONTINENTS India. 20th c. yellow and adorned with rubies. JAMBUDVIPA. 41 x 29cm. Condition B. Western Inda, Gujarat. 19th c. Red, black and yellow ink on paper. The diagram consists of two hexagonal stars, Provenance: Pigments on paper, laminated with fabric. set into each other inside a lotos flower, -Collection Detlef Rosen, Düsseldorf. The fine and detailed painting shows a surrounded by a square (bhupura) with stylized map of a region of the terrestial four doorways. All parts are inscribed in € 600 - 900 | $ 708 - 1.062 world. On the outside it is divided by the devanagari. In this picture the sixth night salt ocean with fish and kalasha-vessels of sixteen nitya of the Tantric deity Lalita is and a range of mountains from the dark shown as yantra. The nitya symbolize world of nothingness. The continent on the inside is divided by nine horizontal mountain ranges. The inner part is Ma- havideha, the land of wonder, divided into 32 provinces with the mountain Meru in the center. Here the Universal Kings meet and the Jinas are preaching. 37,5 x 36cm. 2147 Condition A/B.

Provenance: -Collection Detlef Rosen, Düsseldorf. 2148 SMALL ALCOVE WITH TWO PILLARS € 900 - 1.200 | $ 1.062 - 1.416 AND CHECQUERBOARD PATTERN. ALTARNISCHE MIT ZWEI SÄULEN UND SCHACHBRETTMOTIV. 2145 India. Jain.

Light colored lime sandstone. Height 25.5 cm, width 22.5 cm, depth 18.5 cm. Condition B.

Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 900 - 1.200 | $ 1.062 - 1.416

2148

2146 TANTRIC PAINTING. YANTRA WITH LOTUS. TANTRISCHE MALEREI. YANTRA MIT LOTOS. India. 19th/20th c. 2149 Pigments on paper. The inner sixteen-pet- TANTRIC PAINTING VIDAN YANTRA. Provenance: al lotus is called Sarvasa Paripuraka (ful- BINDU. -Collection Detlef Rosen, Düsseldorf. filler of all desires), the outer eight-petal TANTRISCHE MALEREI VIDAN lotus is called Sarva Sankshobahana (the YANTRA. BINDU. € 400 - 600 | $ 472 - 708 all cleanser). A square field with four India, Rajasthan. 20th c. doorways frames the lotus. 24 x 24cm. Condition B. Pigments on paper. Harihara is the perfect synthesis as the union of the opposing Provenance: deities Vishnu and Shiva in combination -Collection Detlef Rosen, Düsseldorf. with the wisdom of Brahma. Here shown in abstract form. 27.5 x 21cm. € 600 - 900 | $ 708 - 1.062 Condition A/B. 2146 2149

The Detlef Rosen Collection 2150 2152 DOWRY CHEST - DAMCHIYA. YUN, SUN (Ji Sui) TRUHE FÜR EINE MITGIFT - DAMCHI- active 19th/20th c. YA. India. Jodhpur, Rajasthan. Ca. 1800. THE REASONS FOR MY LIFE IN THE HERMITAGE FOR 56 YEARS. Cedar wood with dark patina from use. DIE GRÜNDE FÜR MEIN LEBEN IN DER The front follows the typical three-partite KLAUSE FÜR 56 JAHRE. segmentation. The central door with a bigger, symmetrical scroll and flower me- China. Spring 1915. Ink and light colors dallion, the sides with a flower grid. At on paper. Length 151cm, width 70.5cm. the upper part a cornice with larger leaf The painting in a traditional manner scrolls, the narrower bands between with shows a scholar in long dress (pao) and tulip-like flowers. Height 108cm, width jacket (magua) at the shore in a wide 120 cm, depth 60cm. Condition A/B. garden landscape with trees. It portrays probably the cousin Wang Zhaoquan Provenance: (1859-1929) of the author and politician -Collection Detlef Rosen, Düsseldorf. Wang Zhaoyoung (1861-1939), who made the calligraphy. The two grew up € 2.500 - 3.000 | $ 2.950 - 3.540 together and met again after more than 50 years. In his right hand he holds an orchid risp. This flower symbolizes scholarship and represents nobility, integrity and friendship. 2150 His face is portrayed in the Western manner, in contrast to the landscape in traditional Chinese style. The calligraph- ic inscription is from Wang Zhaoyong, the seals were cut by Xi Nong ‘Jin De’. Whether the landscape and the portraits are from one hand or by different artists, cannot be derived from the inscription and signatures. All in all, it could be the collaboration of several artists. The portrait is almost photographically repro- duced, although in the depiction of the dressed figure, a certain three-dimension- ality was achieved by using shadows. The landscape, on the other hand, is entirely 2151 painted in traditional Chinese style. DAMCHIYA DOWRY CHEST ON WHEELS. Wang Zhaoyong is the elder brother of DAMCHIYA AUSSTEUERTRUHE AUF Wang Jinwei (1883-1944), Premier and RÄDERN. First President of the Chinese Republic. India, Rajasthan. Probably 1st half 19th c. Sign.: Yun Sun ‘Ji Sui’ (painter), Xi Nong ‘Jin De’ (seal cutter). Longer dated Heavy wood, possibly oak or teak, cov- inscription: Yi Mao Zhongchun Wu Wang ered with brass sheet. Fittings of iron. Zhaoyong Jing Ti - In the middle of spring These chests served not only the transfer 1915 respectfully written by Wang. of the dowry to the family of the groom, Framed with glass. Condition A/B. but also as a permanent storage for valuables. Textiles and other treasures are Provenance: protected by the solid construction and -Collection Detlef Rosen, Düsseldorf. the durable material against pests and thieves. Characteristic are the double lock, € 3.000 - 4.000 | $ 3.540 - 4.720 the wheels and axles made of wood and the secret boxes inside the bottom of the chest. Height 103cm, width 134cm, depth 79cm. Condition A/B.

Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 2.500 - 3.000 | $ 2.950 - 3.540

2151 The Detlef Rosen Collection 2153 2154 2155 SHI FENG NAN. Provenance: ANCESTOR PORTRAIT. CHEN YULIN. PA PO TU - IMITATION OF A COLLAGE -Collection Detlef Rosen, Düsseldorf. AHNENPORTRAIT. WITH FRAGMENTS OF PAINTINGS AND China. Qing dynasty. 18th/19th c. PAIR OF PAINTING WITH CALLIGRAPHY. Compare: BEAUTIFUL LADIES. PA PO TU - IMITATION EINER COLLAGE -Until 26 October 2017 a significant exhi- Paint and ink on paper. Side knobs from PAAR GEMÄLDE MIT SCHÖNEN MIT FRAGMENTEN VON MALEREIEN bition with images on the subject ‘China’s horn. Picture size 140 x 79,5cm, total DAMEN. UND KALLIGRAFIEN. Eight Brokens’, curated by Dr. Nancy Ber- dimension 190 x 98cm. The summer court liner was shown in The Museum of Fine hat (chaoguan) is rendered transparent China. Qing dynasty or later. Cyclically China. Guang Xi Shi Nian Ji Dong Jian Arts in Boston. and is crowned with a golden pearl, dated in the last month of summer 1883. - cyclically dated in the winter of 1884. which denotes the eighth or ninth rank. Colors and ink on paper. Laminated with Ink and colors on paper. Laminated and € 1.000 - 1.200 | $ 1.180 - 1.416 Mounted as a hanging scroll. Condition paper and framed with glass. On each framed behind glass. Length 1021cm, A/B. painting a beauty standing in elegant silk width 66cm, picture size 107 x 53.5cm. robe with jade pendants at the girdle. Refined composition of different frag- Provenance: One is carrying a book, the other one a ments of paintings and various forms of -Collection Detlef Rosen, Düsseldorf. flowering plant. Above the ladies a peom calligraphy. Sign.: Shi Feng Nan. Incom- praising their beauty. Each 128 x 33cm. plete signature, therefore not to deter- € 700 - 900 | $ 826 - 1.062 Sign.: Chen Yulin. Seal: Shao Shu. mine. Condition B. Condition B.

Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 1.800 - 2.200 | $ 2.124 - 2.596

2153 2154

The Detlef Rosen Collection 2156 TRUNK FOR CLOTH AND CERAMIC HEAD REST. KLEIDERTRUHE UND KERAMIK- NACKENSTÜTZE.

China. 19th c. Trunk from leather stretched over wooden frame, painted with gold, lined with white leather. Height 25cm, 66 x 44cm. Headrest, long and square. Ceramic with green blue Flambé glaze. 10 x 10cm, length 40cm. Condition A/B. Supplement: Print on paper. A map of Hong Kong. Framed with glass. Frame size: 52 x 94cm. 2158

Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 600 - 800 | $ 708 - 944 2158 CALLIGRAPHIE WITH FOUR CHARACTERS. 2156 KALLIGRAPHIE MIT VIER SCHRIFTZEICHEN. China. 19th/20th c.

Wood, carved in sunken relief. 23 x 91cm. Sign.: Yuan Tang. Condition A/B.

Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 300 - 500 | $ 354 - 590

2157 LARGE MARTABAN JAR. 2159 GROSSES MARTABAN PAIR OF PANELS WITH POEM. VORRATSGEFÄSS. PAAR PANELE MIT GEDICHT. Philippines or China for South East Asia. China. 19th/20th c.

Ferrous red ceramic with mustard Bamboo cut in half. Carved in sunken yellow, matte glaze. Height 49cm, relief each with seven characters, each in Ø 34cm. Condition C. At the neck a miss- a rondel. With residue of lacquer. Length ing part replaced. each 141cm. Condition C.

Provenance: Provenance: -Collection Detlef Rosen, Düsseldorf. -Collection Detlef Rosen, Düsseldorf.

€ 300 - 400 | $ 354 - 472 € 800 - 1.000 | $ 944 - 1.180

2157 2159 The Detlef Rosen Collection In the room of the collector.

2160 MEDICINE CABINET YAOCHU. Provenance: FEINER APOTHEKERSCHRANK -Collection Detlef Rosen, Düsseldorf. YAOCHU. China. 19th/20th c. € 9.000 - 11.000 | $ 10.620 - 12.980

Front from ebony wood (wumu), other parts from other woods, maybe conifer wood. Fittings from bronze. The upper part with 81 small, two-partite drawers with original paper labels. In the lower part a compartment with two doors, two small drawers and six more.

The drawers where used to store the countless ingredients of the traditional Chinese medicine. Partly the wood shows a staining from the content and sometimes a hint of the scent is left. Height 116.5cm, width 100cm, depth 26cm. Condition A/B.

The Detlef Rosen Collection 2161 2163 KAGURA-MASK: SOKO TSUTSUNO O KYOKUROKU FOLDING CHAIR. The kyokuroku chair form originally im- NO MIKOTO, DEITY FOR THE SEA AND KYOKUROKU EHRENSITZ. ported from China was mainly used as a SHIPPING. Japan. Edo period (1603-1868). seat of honor for high Buddhist abbots. KAGURA-MASKE: SOKO TSUTSUNO O Height 62cm, width 53cm, depth 50cm. NO MIKOTO - GOTTHEIT DER SEE UND Wood, painted red. Mounting from Condition B. Somewhat rubbed, traces SCHIFFFAHRT. bronze. Seat covered with leather. Fold- of use. Japan. 18th/19th c. ing chair with curved back rest ending in floral scrolls and a swing-up foot rest. Provenance: Wood with black lacquer, eye brows The back board is adorned with a wisteria -Collection of Detlef Rosen, Düsseldorf. and beforehand the beard inserted in coat of arms. horse hair. Length 22cm, width 15.7cm. € 5.000 - 7.000 | $ 5.900 - 8.260 Sumiyoshi taimeisha (shrine in Hakata, Fukuoka), Soko Tsutsuno o no mikoto (one of the three Sumiyoshi sanshin deities revered in the shrine). Condition B/C. Lacquer brittle and partly flaked off, repainted.

Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 800 - 1.200 | $ 944 - 1.416

2162 2161 TWO GUNSEN FANS FOR SAMURAI. ZWEI GUNSEN-FÄCHER FÜR SAMURAI. Japan. Edo period. 18th/19th c.

The outside from bronze, one with inlaid scrolls and a family coat of arms. Inside bamboo with lacquered paper. Length 36.8cm; length 29.9cm. Condition A/B. Supplement: Each with fitting acrylic glass frame.

Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 1.500 - 2.000 | $ 1.770 - 2.360

2162

The Detlef Rosen Collection 2164 2166 THREE KAMBAN SHOPS SIGN. ISHO DANSU - TWO-PARTITE DREI KAMBAN-SCHILDER FÜR GARMENT CHEST. GESCHÄFTE. ISHO DANSU - ZWEITEILIGE Japan. Edo or Meiji period. 18th/19th c. KLEIDERTRUHE. Japan. 19th/20th c. Wood carved and partly lacquered. a) Horizontal format in the shape of a Ceder wood (sugi). Lacquered black, soroban with yellow beads. 29 x 107cm. drawers lined with paper. Fittings from b) With Tengu and Okame mask. At the metal. Each part with two large drawers. corner metal fittings. 86 x 39cm. c) From At the sides handles for transport and a kiseru pipe shop. With residue of eyelets for connecting the two parts. lacquer. 75.5 x 22.5cm. Height 48.5cm, width 87cm, depth 41.5cm. Condition A/B. Provenance: -Collection Detlef Rosen, Düsseldorf. Provenance: -Collection Detlef Rosen, Düsseldorf. € 800 - 1.200 | $ 944 - 1.416 € 1.200 - 1.500 | $ 1.416 - 1.770

2167 BIG BUSINESS TANSU WITH 34 DRAWERS. GROSSER GESCHÄFTS-TANSU MIT 34 SCHUBLADEN. Japan. 19th/20th c. 2166

Paulownia (kiri) and cedar (sugi) wood. Partially painted. Fittings of iron. Height 90cm, width 151.5cm, depth 39cm. Condition B. Backboard repaired.

Provenance: 2164 -Collection Detlef Rosen, Düsseldorf.

€ 900 - 1.200 | $ 1.062 - 1.416

2165 FOUR KANBAN SHOP SIGNS IN THE SHAPE OF CHARACTERS. VIER KANBAN LADENSCHILDER IN DER FORM VON SCHRIFTZEICHEN. Japan. 19th/20th c.

Wood with lacquer gilding. The bigger one in the shape of a pair of cranes with young sitting on a nest. The three smaller ones to read as name. a) Length 77cm, width 61.5cm, b/c/d) each length ca. 43cm, width ca. 42cm. Condition A/B.

Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 900 - 1.200 | $ 1.062 - 1.416

2167

2165 The Detlef Rosen Collection 2170 LION WITH BROCADE BALL. LÖWE MIT BROKATBALL. Korea. Joseon dynasty. 18th/19th c.

Wood, carved. Tail from iron. Residue of pigments. Height 57cm, length 58cm, width 18cm. Condition A/B. Supple- ment: Crouching tiger. Ink on paper. 90 x 42cm. Korea, 19th/20th. Framed with glass. Condition B.

Provenance: -Collection Detlef Rosen, Düsseldorf.

€ 1.400 - 1.900 | $ 1.652 - 2.242

2168

2169 2168 LOW, TWO SIDED MERCHANT DESK. NAGA HIBACHI TANSU IN EDO STYLE. FLACHER, ZWEISEITIGER HÄNDLER- NAGA HIBACHI TANSU IM EDO-STIL. SCHREIBTISCH. Japan. 19th c. Japan. 19th c.

Lacquered zelkova wood (keyaki), inside Wood with dark lacquer. On each side lined with copper sheet, fittings from two drawers. Fittings in bronze. Height bronze (two loose). Height 36,5cm, length 25cm, width 90.5cm, depth 75cm. 58cm, depth 39cm. Condition B. Condition A/B.

Provenance: Provenance: 2170 -Collection Detlef Rosen, Düsseldorf. -Collection Detlef Rosen, Düsseldorf.

€ 500 - 700 | $ 590 - 826 € 900 - 1.200 | $ 1.062 - 1.416

2171 BULBOUS BOTTLE VASE. BAUCHIGE FLASCHENVASE. Korea. 18th/19th c.

Heavy porcelain with transparent, light greenish blue glaze, painted in underglaze blue. Height 18.5cm, Ø 17cm. Condition A/B.

Provenance: -Collection Detlef Rosen, Düsseldorf.

2169 € 300 - 400 | $ 354 - 472

The Detlef Rosen Collection 2171 South East Asia

In the room of the collector.

2172 IMPORTANT BUDDHA MUCHALINDA. The depiction shows a mythological epi- MUSEALER BUDDHA MUCHALINDA. sode from the life of the historic Buddha. Khmer. Angkor period. 11th/12th c. Bay- Someday, when he was meditating a on style. thunderstorm with heavy rain occurred. Muchalinda, the king of Naga (snakes), Grey sandstone with natural patina and came out of a nearby lake and invited residue of lacquer gilding. Unrestored Buddha to sit on his coiled-up body. He condition. The crowned Buddha with his then put up his seven heads above the hands in dhyana mudra, seating in ardha head of Buddha to protect him from rain. padmasana on the coiled-up body of After the rain, Muchalinda changed back Muchalinda, the Naga-king, whose seven to his royal appearance, bowed and re- heads form a aureole behind the pate of turned to his kingdom. Buddha. Weight 257.2kg, height 126cm, width 55cm, depth 29cm. On a triangular € 40.000 - 50.000 | $ 47.200 - 59.000 wood base. Condition A/B.

Provenance: -From a German private collection, acquired before the 1960s.

South East Asia 2173 2174 BODHISATTVA LOKESHVARA. TORSO OF FEMALE GODDESS. BODHISATTVA LOKESHVARA. TORSO EINER WEIBLICHEN GOTTHEIT. Khmer. Bayon style. 12th/13th c. Khmer. Baphuon style. 11th c.

Sandstone. Standing with four arms Sandstone with dark patina. The finely (these largely missing) clad in a short pleated sampot is drawn in an elegant pleated sampot with a short fishtail fold in bow high on both hips. It is knotted at front and a wide belt with flowers around the front and falls from here into a fish the hips. His hair is braided, pinned up tail fold. Shortly below the hips it is gath- and decorated in the front with a small ered by a wide belt. The body of the god- representation of Amitabha. Height 81cm. dess is shown as a young, sensual woman On base. Condition B. who conveys great vitality and freshness. The fragment tapers elegantly downwards Provenance: and appears as a masterpiece of the typi- -Private collection Singapore, since 1990s. cally slender and graceful baphuon style. -Private collection Paris, since 2006. Height 44.5cm. Condition B.

€ 28.000 - 32.000 | $ 33.040 - 37.760 Provenance: -Compagnie de la Chine et des Indes, Paris. Since ca. 2005. -Private Collection Paris.

€ 20.000 - 23.000 | $ 23.600 - 27.140

South East Asia 2175 2177 HEAD OF HANUMAN. RARE AND LARGE FIGURE OF KOPF DES HANUMAN. GANESHA. Northeastern Thailand. Khmer. SELTENE UND GROSSE DARSTELLUNG 12th/13th c. DES GANESHA. Java. Ca. 10th/11th c. Sandstone. With lively face expression. The canines visible in the slightly opened Bronze with very fine green patina. This mouth. He is adorned with an elegant rare and comparatively large bronze diadem, his ears are elongated from the Ganesha image is a tour-de-force of heavy earrings and on his forehead a workmanship. Ganesha sits in the posture flower shaped ornament is set in deep- of Royal Ease (rajalalitasana) on a lotus ened relief. Height 20cm, width 18cm. throne, his trunk mischievously dipped Mounted on a wooden base. into the bowl with sweets. His hands hold Condition A/B. his classic attributes: the broken tusk, the battle axe, and a (fragmentary) rosary. His Provenance: crown is decorated with Shiva’s crescent -Collection Robert Piccus, San Francisco. and a skull. The elaborate halo is decorated with lotus flowers and leaves, and a € 2.700 - 3.000 | $ 3.186 - 3.540 group of worshipping figures.

Ganesha, the son of Shiva and Parvati, is the most popular Hindu deity. Known to be the remover of obstacles, offerings are made to him prior to the beginning of any venture, be it an exam, a long journey or 2175 the beginning of a new business. Not surprisingly, Ganesha was not only venerated in India itself, but also in the distant trad- ing outposts in Southeast Asia. Mostly of small size, a number of Ganesha bronze images are known from Java, and some rather spectacular stone sculptures com- manded prime positions in early Javanese temples. Height 35cm. Condition A/B.

Provenance: -Private collection Singapore, since 1980s. -Private collection Belgium, since 2014.

€ 32.000 - 40.000 | $ 37.760 - 47.200

2176 THREE MONKEYS FROM ARMY OF HANUMAN. DREI AFFEN AUS DER ARMEE DES HANUMAN. Khmer. Bayon period. 12th/13th c.

Sandstone. The monkeys wear pleated sampot around the hips and jewelry around their necks. They are shown as strong animals with expressive faces. Two are kneeling, the third is standing. Height 25cm, width 51cm. Condition A/B.

Provenance: -Private collection Germany, since 1970s.

€ 1.100 - 1.200 | $ 1.298 - 1.416

2176 South East Asia 2178 2180 TWO LADLES. BODHISATTVA LOKESHVARA. ZWEI SCHÖPFKELLEN. BODHISATTVA LOKESHVARA. Khmer. Ca. 15th-18th c. Khmer. Ca. 10th c.

Bronze with green patina. Both with Bronze with reddish and green patina. round, flat bowl. Both handles with Four arms, standing on a square base curled ends and decorated with applied plate. The hair put up elegantly and finely twisted cords and spirals. The sec- adorned with jewels, the ears with large ond with two small animals at the end earrings. At the hips a sampot from a and the applied cord in the shape of an sheer fine fabric and secured with a belt. eight knot continued in the bowl. Length 25.5/26.5cm. Condition A/B. Supple- The jewel-like temple of Banteay Srei, ment: Fitting bases and storage boxes. some 40 kilometers north of Angkor Thom was, unlike most other temples in Provenance: Angkor, not a royal foundation. A conse- -Private collection Singapore, since the cration inscription, dated 967/968, credits 1980s. Yajnyavaraha, a Brahmin and royal guru to the future King Jayavarman V, with its € 900 - 1.000 | $ 1.062 - 1.180 construction. Only a handful of bronzes can firmly be attributed to this style which is considered to be one of the most refined of Angkorian sculpture; less than twenty stone sculptures of this style are 2178 published. The fragmentary Bodhisattva Lokeshvara from Tuol Chi Thep, now in the Musée Guimet, Paris (see literature), is arguably one of the finest stone sculptures of the Banteay Srei period.

This remarkable bronze sculpture, depicting the Bodhisattva Lokeshvara, is closely related to the Tuol Chi Thep image. The sculpture is exquisitely modeled, with a sense of sublime realism that is the magic of Banteay Srei works. The volumes of the muscular body are well balanced and the powerful chest seems to be filled with the dynamic energy of the inner prana. Separately modeled attributes, possibly in precious metal, and now lost, were fitted into the four hands. The coiffure is a typical 10th century style jatamukuta, which originally probably included a tiny seated Amithaba Buddha.

Its sculptural finesse and rarity make this delightful bronze Lokeshvara an important addition to the small body of known Banteay Srei style sculptures. Height 37.7cm. Condition A/B. Supplement: On a base. Fitting storage box. 2179 A PAIR OF EAR ORNAMENTS WITH Provenance: GARUDA. -Private collection Hong Kong. PAAR OHRGEHÄNGE MIT GARUDA. -Art Loss Register certificate ref. North East Thailand, Khmer. Angkor Wat S00029010. style. 12th c. Literature: Bronze. Length each 7cm. Condition A/B. -Baptiste, Pierre., and Zéphir, Thierry, L'Art khmer dans les collections du Provenance: Musée Guimet. Paris 2008. Compare fig. -Belgian private collection, since 1970s. 48, p.166-170.

2179 € 900 - 1.000 | $ 1.062 - 1.180 € 22.000 - 23.000 | $ 25.960 - 27.140

South East Asia 2181 2182 BODHISATTVA MAITREYA. HEAD OF A MAN. BODHISATTVA MAITREYA. KOPF EINES MANNES. Gandhara. 2th/3th c. Probably Central Asia, Hellenistic. 2nd c.

An exquisite grey schist sculpture of a Marble with reddish crust. With con- standing Bodhisattva in an elegant and centrated and solemn expression on the animated posture. His sensuous expres- face. The hair at the forehead shaped into sion on his face, with the head slightly spiral curls, at the back of the head falling bending towards the onlooker, is one of long in the neck. Height 22cm. On base. compassion and attentiveness. His missing Condition B. Nose damaged. right hand would have been raised in abhayamudra (have no fear gesture) while Provenance: his left hand would have held the fold -Collection of parents of Count Simon du of his robe or Maitreya's flask. He stands Chastel de la Howardie, Brussels, Belgium, feet apart on a pedestal base with stylized before the 1950s, preserved in the Cha- lotus flowers. teau de Harveng, Belgium. -Art Loss Register certificate no. His long pleated robe wraps elegantly S00083609. around his body and shoulders in cascad- -Registered in Belgium as Cultural Proper- ing folds reminiscent of the Greco-Roman ty 30.06.2009. influence, while his underskirt is slightly visible around his lower legs. The simple € 5.500 - 6.000 | $ 6.490 - 7.080 monastic robe draping his powerful body contrasts superbly with the lavish ornaments on the Bodhisattva's chest, ears and in his elegant, wavy hairdo. Three small holes under the arms and between the feet indicate that the sculpture was originally fixed into a niche or on a wall.

While numerous Bodhisattva images are known of the Gandharan period, only few depict the extraordinarily sublime realism and finesse of this delightful sculpture. Height 52cm. Condition B.

Provenance: -Private collection Japan, since 1980s. -Private collection Belgium since 2012.

€ 9.000 - 10.000 | $ 10.620 - 11.800

South East Asia 2183 2186 BUDDHA HEAD. THREE ARCHITECTURAL ELEMENTS BUDDHAKOPF. (VEDIKA). East India. Gupta period. 5th/6th c. DREI ARCHITEKTURELEMENTE (VEDIKA). Shaped by hand, low-fired ceramic (ter- India, Mathura. Kushan period. 1st/2nd c. racotta). The hair in the shape of spirals, which also cover the ushnisha on the Red sandstone. With different patterns, cranial region. Expressive designed facial some with floral, or C-shapes in trellis. features. Height 7cm. Condition A/B. Height 83cm, 62cm, 64cm. Condition A/B. Provenance: -Private collection Hong Kong, since Provenance: 1990. -Private collection Hong Kong, since 1980s. € 1.100 - 1.200 | $ 1.298 - 1.416 -Art Loss Register certificate no. S00042716.

€ 6.000 - 7.000 | $ 7.080 - 8.260

2184 STANDING FEMALE DEITY. STEHENDE WEIBLICHE GOTTHEIT. India. Gupta period. 5th/6th c.

Hand-formed from low-fired ceramics (terracotta). The lady standing in contrapposto (tribhanga) is wearing around her hips a light cloth and a chain. She wears jewelry, and behind her head is an aureole. Height 44.5cm. Condition A/B.

Provenance: 2183 -Private collection Hong Kong, since 1990.

Expertise: -Thermoluninescence test of Oxford authentification Ltd. ref. N112m42.

€ 1.300 - 1.500 | $ 1.534 - 1.770

2184

2185 TILE WITH ELEPHANT. KACHEL MIT ELEFANT. India. Gupta period. 5th/6th c.

Modelled by hand, terracotta. Lively fron- tal depiction with ears folded forward and rolled up trunk. 14.2 x 15.5cm. On base. Condition A/B.

Provenance: -Private collection Hong Kong since 1990.

€ 1.700 - 1.900 | $ 2.006 - 2.242

2185 South East Asia 2187 2188 STELE OF VISHNU AS VAMANA. IMPRESSIVE LARGE FIGURE OF THE STELE DES VISHNU ALS VAMANA. MOTHER GODDES PARVATI. India, possibly Sarnath. 10th/11th c. or BEEINDRUCKEND GROSSE FIGUR DER later. MUTTERGÖTTIN PARVATI. India. Ca. 19th c. or earlier. Possibly Chunar reddish sandstone with very finely worked detail. Shown standing Bronze with residue of gilding. Standing in abhanga, the two main arms lowered in elegant tribhanga on a lotus base. A in varada mudra and holding the prayer sheer dhoti clings in wavy folds to her wreath and the conch, the second pair of legs. Her hips are adorned with numeru- arms raised and holding the chakra (resp. ous belts and perl strings, which hang to a discus) and the club. To the right and her thighs. Her hair is pinned up high and left to his aureole each a sitting figure, decorated with jewels and pearls, likewise with four further standing figures at his her arms and feet. Her youthful body is feet. shown in sensuous forms, her face is cut expressive. Weight 19.76kg, height 75cm. The shaft introduces the reincarnation Condition A/B. of the god Vishnu as the small Vamana, who however grew to an incredible size Provenance: and could cover heaven and earth with -Collection Dr. Wolfgang Schumann, two steps. Height 53 cm, width 26cm. Indologist and author of numerous ref- Condition B. erence books on Buddhism and India. Lived in India from 1960, German Consul Provenance: General in Bombay 1988-93. Got 2000 -Sold as no 177 at Christie’s London, July awarded with the Rabindranath Tagore 2, 1980. Culture Price for Literature.

€ 6.000 - 8.000 | $ 7.080 - 9.440 € 5.000 - 7.000 | $ 5.900 - 8.260

South East Asia 2189 IMPRESSIVE LARGE FIGURE OF THE the validity and effectiveness of the relic the work of merit of U Yan Htar and Ma ENLIGHTENED BUDDHA. objects, teachings and monks are deter- Baung, [in the] year 1876” (4). We do BEEINDRUCKEND GROSSE FIGUR DES mined by how ‘close’ they are to the his- not have any information on the donors, ERLEUCHTETEN BUDDHA. torical Buddha. This search, then, for pure but the superlative quality of this bronze Myanmar/Burma. Mandalay. Dated 1876. and true texts, monks and relics, initiated suggests that it was produced in a royal primarily under Aniruddha’s reign, became workshop. Bronze with traces of gilding and lacquer. characteristic of Burmese and Thai Bud- Height 114cm. Condition A/B. This life- dhism” (1). Buddha sits in the lotus position on a size bronze sculpture depicts Buddha plain base. Inserted iron pegs with rings Shakyamuni in the moment before his Robert Brown (2) recounts how import- indicate that this image might have been Enlightenment. After defeating the fierce ant Bodhgaya remained for Burmese carried in festive processions. His eyes are assaults of the armies of Mara, god of Buddhists until the 19th century: “In half-closed in meditation, his head slightly death and desire, and resisting the se- 1830 the king of Burma sent a diplo- tilts forward. His body is draped in a heavy ductions of Mara’s sensuous daughters, matic mission to India, then governed by monk’s robe covering his left shoulder Shakyamuni’s right hand touches the the British who had successfully waged while leaving the right bare. His right hand earth (bhumisparsha mudra) to call her as several military campaignsin Burma. The is in the earth-touching gesture, while his witness to his victory. delegation remained in India for three left, separately cast, rests in his lap. The years, during which they visited Bodhgaya, noble calmness and sublime spirituality The origins of this image can be traced discovering the Burmese inscription of make this sculpture one of the great back to a famous Buddha sculpture in the the thirteenth-century Burmese mission., masterpieces of Buddhist sculpture from Mahabodhi temple at Bodhgaya. By the witnessing a miracle and taking several Burma. 11th century, Bodhgaya had become the sprouts from the bodhi tree. Later inCal- most important site for Buddhists in India. cutta they requested a Pala period sculp- (1) Brown, R.L. (1988). “Bodhgaya and After all, this was the place where Buddha ture of the Buddha from Bodhgaya. The Southeast Asia”. In: Leoshko, J.(ed.). Shakyamuni experienced enlightenment. mission returned to Burma having failed Bodhgaya - The site of Enlightenment. to negotiate a favourable political agree- Bombay. P. 104. The great King Aniruddha of Pagan (ruled ment with the British, but the mission was 1044-1077), a devoted Buddhist, so ad- considered a great success by the Burmese (2) Brown, R.L. (1988). As above. P. 123. mired the Mahabodhi temple, that he had becausethey returned with the tree cut- his royal seals engraved with an image tings and the Buddha image”. (3) Herbert, P. (1998). “An Illustrated Re- of this temple. In the early 13th century cord of Royal Donations”. In: Pichard, P. et a temple was founded in Pagan that Soon afterwards, in 1857, the rulers of the Robinne, F., Études birmanes en hommage closely resembles the temple in Bodhgaya. Konbaung dynasty established the new à Denise Bernot. Études thématiques 9. Aniruddha also commissioned numerous capital of Burma in Mandalay. Its founder, Paris. P.89. stone and bronze images of the Buddha, King Mindon (ruled 1853 - 1878) was a many of them in bhumisparsha mudra. pious royal patron of the highest order. A (4) We appreciate the translation by the Stylistically these 11th century sculptures treatise upon royal administration since late Henry Ginsburg, British Library, Lon- closely follow their Bodhgaya models. 1044singles out only seven monarchs don. Henceforth this image became one of over an 800 year period as “having distin- the most popular depictions of Buddha in guished themselves to an exceptional de- Provenance: Burma and throughout Southeast Asia. gree by truly following their kingly duty of -Private collection, Hong Kong. supporting and promoting Buddhism” (3). -Art Loss Register Certificate, ref. The Burmese Buddhists follow the Ther- King Mindon was amongst the selected. S00028976. avada tradition. “Relics, their finding, propagation and use, became a constant This supremely beautiful bronze sculpture Published: feature of later Theravada Buddhism in is dated by an inscription on the front of -Michael Woerner, Oriental Art 2009, Southeast Asia. The desire for primary its base to the last years of King Mindon’s p. 28-33. texts, correctly ordained monks and Bud- reign: “We make reverent offering of the dha relics is based on the notion that image of Buddha of copper. This is € 43.000 - 50.000 | $ 50.740 - 59.000

South East Asia 2190 2191 2192 THREE BUDDHA ON HIGH BASES. MEDICINE BUDDHA. BUDDHA IN ROYAL REGALIA. DREI BUDDHA AUF HOHEN SOCKELN. MEDIZINBUDDHA. BUDDHA IN KÖNIGLICHEM ORNAT. Burma/Myanmar. Ca. 16th-18th c. Burma/Myanmar. 17th/18th c. Ava style. Myanmar/Burma. 18th/19th c. Ava style.

Bronze with dark patina and residue of Bronze with dark patina and residue of Wood with lacquer and residue of gilding. gilding. Height 37/35.5/22.5cm. Condi- gilding. Height 26.7cm, width ca. 13cm. Sitting on high double lotus throne with tion A/B. Condition A/B. his hands in bhumisparsa mudra. Height 51cm, width 25.5cm, depth 17cm. Provenance: Provenance: Condition B. -Rhenish private collection. -Private collection Southern Germany, acquired in the 1970s locally. Compare: € 600 - 900 | $ 708 - 1.062 -Collection of Northern Illinois University, € 900 - 1.200 | $ 1.062 - 1.416 Center for Burma Studies. Object no. BC97.2.10.

€ 1.200 - 1.500 | $ 1.416 - 1.770

2191

2192

2193 BUDDHA SHAKYAMUNI. BUDDHA SHAKYAMUNI. Myanmar/Burma. 19th/20th c.

Bronze with residue of red lacquer and gilding, eyes with inlays. Seated on a throne with the hands in bhumisparsa mudra and swaying sanghati robe. Height 43cm, width 34cm, depth 25.5cm. Condition A/B.

2190 € 1.900 - 2.100 | $ 2.242 - 2.478

2193 South East Asia 2194 2195 WALKING BUDDHA. SELDOM AND RARE BUDDHA. SCHREITENDER BUDDHA. SELTENER UND BEDEUTENDER Thailand. Sukhothai style. 15th/16th c. BUDDHA. Thailand. Dvaravati style. 8th c. Goldfoil, probably worked over a wooden core. In a walking stance on a slightly oval Bronze with shining, dark silver patina. lotus base. His left hand raised in the ges- Sitting on a lotus base, hands in dhyana ture of bestowing fearlessness, his right mudra. The garment covers the whole hanging to his side in an elegant curve, in body and is visible at the neck and hands. the Buddhist scripts compared to an ‘ele- It seems to be made from a sheer ma- phants trunk’. The coat-like kasaya robe terial, which clings to and reveals the elegantly swaying. Weight 33g, height asexual body. In the face the somewhat 11.6cm. Condition A/B. protruding eyes and the elegant eyebrows rooting at the nose bridge in the shape The walking Buddha was introduced by of ‘flying swallows’ are the prominent the Sukhothai artists. It is representing features. a time when the Buddha was returning to earth after delivering a sermon on The culture of the Mon from the 6th the Dharma in Heaven. This small figure to 11th century in the basin of today’s possesses great elegance and grace in Chao-Phraya river in central Thailand is the proportions. It conveys the beauty of called Dvaravati. The works of art show dignified movement and determination at a strong imprint through India. The Dvar- the same time. avati empire played an important role in the introduction of Buddhist culture in Provenance: the region. Bronze figures are rather rare. -Private collection Germany. Height 11.4cm. On a base. Condition A/B.

€ 4.200 - 4.500 | $ 4.956 - 5.310 Provenance: -Collection Michael Phillips, Los Angeles, acquired at Spink & Son Ltd, London, 1980s.

Published: -Stephen Little: Images of Buddha from the Michael Phillips Collection. In: Arts Of Asia, Jan-Feb 2013, p. 110, Fig. 22.

€ 9.000 - 10.000 | $ 10.620 - 11.800

South East Asia Japanese Arts and Crafts From the Meiji era (1868–1912)

When in the 19th c. Japan opened up to engage in Cloisonné on a broader scale. and could be much larger than netsuke Japanisches Kunsthandwerk in der Werkstücken vor der Edo-Zeit (1603-1868) Elfenbein zu einem wichtigen Gebiet. Net- the world again after more than 200 years Gottfried Wagener (1831-92), a German (cat. no. 2200). But other objects were Meiji-Zeit (1868–1912) bekannt. Man nannte die Arbeiten 'shippô', suke wurden schon länger im Westen ge- of isolation, this had astonishing effects. scientist hired by the Meiji government, made from ivory as well. Inspired by the wörtlich 'Sieben Schätze', nach jenen, die sammelt, aber in der pompösen Gestaltung On the one hand in Japan, which was contributed to further refining this art. He design of brush pots made for export Als Japan sich im 19. Jh. nach mehr als 200 in buddhistischen Schriften aufgezählt wer- der westlichen Wohnräume im späten 19. getting ready to claim its rightful place founded a workshop and trained Japa- in Canton, China, yet far more sophisti- Jahren Abschottung der Welt wieder öffne- den. Dazu gehören außer Gold, Silber und Jh. dekoriert mit zahllosen Nippes waren sie among the other states of the world; and nese artisans. cated, is the impressive section of a tusk te, hatte dies erstaunliche Wirkungen. Einer- Koralle auch Glas und Perlen. Aber erst im doch recht klein und gingen in dem ge- on the other hand in the West, which (cat. no. 2199), the intricate carvings of seits in Japan, das sich bereit machte, einen frühen 19. Jh. begann man sich in Japan füllten Durcheinander eher unter. In Japan celebrated the exotic beauty of Japan and A known Japanese master, who devel- which display a crowded celebration at a gleichwertigen Platz unter den Staaten der mit Cloisonné intensiver zu beschäftigen. reagierte man mit der Erfindung des 'oki- the East. oped new techniques and stunned with shrine in great detail. Another exceptional Welt einzunehmen, andererseits im Westen, Gottfried Wagener (1831-92), ein deutscher mono', wörtlich 'Ding zum Hinstellen'. Diese Cautiously, and initially with only a few his designs, was Namikawa Sôsuke (1847- format is the bipartite screen (cat. no. der die exotische Schönheit Japans und des Wissenschaftler, angestellt von der Meiji-Re- okimono hatten nicht mehr eine Funktion, objects, the country presented itself at the 1919). Owing to his skill and considerable 2197) - even though screens certainly had Ostens feierte. gierung, trug dazu bei, die Kunst weiter zu wie einst die netsuke, was an den bei den early world fairs. The strange and charm- reputation, he was appointed artisan to a traditional place in Japanese rooms they Zaghaft und anfangs mit wenigen Objekten verfeinern. Er gründete eine Werkstatt und okimono fehlenden Schnurdurchzuglöchern ing items were met with great enthusi- the court by Emperor Meiji as early as were neither of this size nor decorated präsentierte sich das Land auf den frühen bildete japanische Kunsthandwerker aus. (himotoshi) erkennbar ist. Sie waren reine asm. Collectors and museums competed 1896. One of his significant inventions with ivory. The flowers in the traditional Weltausstellungen. Die fremden und bezau- Ein bekannter japanischer Meister, der neue Zierstücke und konnten bedeutend größer for pieces for their collections. One was was to remove the separators in between motifs are carved in remarkably high and bernden Dinge wurden mit großer Begeiste- Techniken entwickelte und auch mit seinen sein als netsuke (Kat. Nr. 2200). Aber auch enchanted by the fineness and aesthetics the colors during the process, increasing fragile relief from ivory and are in skilful rung aufgenommen. Sammler und Museen Entwürfen erstaunte, war Namikawa Sôsuke andere Objekte wurden aus Elfenbein her- of the works. The artisans were showered an impression of painting (cat. no. 2217). contrast to the empty surface. rissen sich darum, Stücke für ihre Sammlung (1847-1919). Aufgrund seiner Fähigkeiten gestellt. An die Gestaltung der in Kanton, with awards. Back in Japan, the work- This technique was also used by other ar- zu kaufen. Man war von der Feinheit und und seiner großen Reputation wurde er be- China für den Export hergestellten Pinsel- shops responded to the demand. tisans, like at the Andô Cloisonné Compa- The Meiji era objects convey the enthu- Ästhetik der Arbeiten begeistert. Die Kunst- reits 1896 vom Meiji-Kaiser zum kaiserlichen becher angelehnt, aber ungleich raffinierter ny (cat. No. 2215) in Nagoya, which was siasm and optimistic mood of the time. handwerker wurden mit Preisen überhäuft. Handwerker ernannt. Eine seiner großen Er- gestaltet, ist der imposante Stoßzahnab- In Japan, working processes were already founded in 1880. This workshop was also Some are awe-inspiring in their perfec- Zurück in Japan reagierten die Werkstätten findungen war, die Trennstege zwischen den schnitt (Kat. Nr. 2219), der mit dem dichten early divided into smaller sections, which honored by the emperor - since around tionism, others testify to the exciting auf die Nachfrage. Farben im Laufe des Prozesses zu entfernen, Treiben bei einem Schreinfest detailreich were performed by specialised artisans. 1900 it supplied imperial gifts. processes of trial and learning. In the 19th so dass verstärkt der Eindruck einer Malerei beschnitzt ist. Ein weiteres, ungewöhnliches The pride of each artisan lies in perform- and early 20th c., Japan became an icon In Japan wurden Arbeitsprozesse im Werk- entstand (Kat. Nr. 2217). Diese Technik Format ist der zweiteilige Stellschirm (Kat. ing his part with the greatest possible pre- Known and performed early on was the of Eastern exoticism and artisanal skill in stätten schon früh in kleinere Abschnitte wurden ebenso von anderen Handwerkern Nr. 2197). Wobei Stellschirme durchaus cision. The finished product is then care- decoration of cast metal works with mol- the Western world. aufgeteilt, die von speziellen Handwer- eingesetzt, wie in der 1880 gegründeten einen traditionellen Platz im japanischen fully examined by the workshop manager, ten glass, known as Champlevé (shippô kern ausgeführt werden. Der Stolz jeden Werkstatt Andô Cloisonné Company (Kat. Wohnraum haben, allerdings weder in as to ensure that only the best examples zogan). In the metal grooves were cut for Walter Bruno Brix Handwerkers liegt darin, seinen Teil in Nr. 2215) in Nagoya. Auch diese Werkstatt dieser Größe, noch mit einer Dekoration are delivered to the customers. the molten glass. The large moon-shaped größtmöglicher Perfektion auszuführen. Das wurde vom Kaiser hervorgehoben und zwar mit Elfenbein. Die Blüten der Motive im Innovations and improvements are always vase (cat. no. 2221) was made using this fertige Produkt wird abschließend durch den stammen von dort ab ca. 1900 kaiserliche traditionellen Stil sind in erstaunlich hohem adopted and integrated into the work technique. Bronze casting and the treat- Werkstattleiter streng geprüft, um auch nur Geschenke. und fragilem Relief aus Elfenbein geschnitzt process. It is a Japanese particularity that ing of surfaces with various acids and lyes Sources: wirklich die besten Stücke an die Kunden und sitzen in gekonntem Kontrast zur freien - after some time - innovations acquire a to produce artful shades of patina be- -Martha Chaiklin: Politicking Art : Ishika- zu liefern. Bereits früher bekannt und eingesetzt ist Fläche. Japanese touch, making them seem like came a pinnacle of craftsmanship during wa Kômei and the Development of Meiji Neuerungen und Verbesserung werden im- die Dekoration von Metallgussarbeiten mit they naturally and originally belong there. the Meiji era. Several censers are featured Sculpture. Montreal 2014. mer aufgenommen und in den Arbeitspro- geschmolzenem Glas, bekannt als Chample- Die Objekte aus der Meiji-Zeit vermitteln die Moreover, the Japanese are willing to in this auction - some surprisingly large -Jennifer Harris: The Formation of the zess integriert. Eine japanische Besonderheit vé (jap. shippô zogan). In der dickeren Wan- Begeisterung und Aufbruchsstimmung der quickly adapt to new conditions. and rich in detail (cat. no. 2218-2220). Japanese Art Collection at the Art Gallery ist dabei, dass Neuerungen nach einiger Zeit dung wurden Gruben für das geschmolzene Ära. Manche machen uns in ihrem Perfek- Although Chinese models were a source of South Australia 1904-1940: Tangible eine japanische Prägung bekommen, dass Glas ausgehoben. Die große Vase in Mond- tionismus staunen, andere zeigen die span- Even before the Meiji era, the Japanese of inspiration, the Japanese style becomes Evidence of Bunmei Kaika. Adelaide 2012. sie als etwas erscheinen, was ganz natürlich form (Kat. Nr. 2221) ist in dieser Technik nenden Prozesse des Ausprobierens und government and non-governmental apparent. und ursprünglich dazu gehört. Zudem ist ausgeführt. Der Guss von Bronzen und die Lernen. Im Westen wurde Japan im 19. und bodies had invited Western scientists and Ivory carving also became an important man in Japan in der Lage, sich schnell an Oberflächenbehandlung mit verschiedenen zu Beginn des 20. Jh. Sinnbild für Exotik und experts to pass on their knowledge in the material of art during the Meiji era. Al- neue Gegebenheiten anzupassen. Säuren und Laugen, um raffinierte Patina- kunsthandwerklichem Können des Ostens. country. An interesting example of how though netsuke were already collected töne hervorzurufen, wurde in der Meiji-Zeit external impulses and Western knowledge in the West, they were small and tended Schon vor der Meiji-Zeit waren von der zu einem Höhepunkt des Kunsthandwerks Walter Bruno Brix were integrated, developed, and brought to get lost in the jumble of countless japanischen Regierung und außerstaatlichen entwickelt. In der Auktion finden sich meh- to perfection is enamel art. Cloisonné knickknacks in the pompous decorations Stellen westliche Wissenschaftler und Exper- rere, teils erstaunlich groß dimensionierte Quellen: was already known from Chinese pieces of late 19th c. Western living rooms. In ten eingeladen worden, ihre Kenntnisse im und detailreich gestaltete Weihrauchbrenner -Martha Chaiklin: Politicking Art : Ishikawa imported before the Edo period (1603- Japan, the response was the invention of Land weiter zu geben. Ein interessantes Bei- (Kat. Nr. 2218-2220). Dabei dienten teils Kômei and the Development of Meiji Sculp- 1868). They were called 'shippô', 'seven 'okimono' - objects to display. The oki- spiel dafür, wie äußere Anstöße und west- chinesische Vorbilder als Inspiration, doch ture. Montreal 2014. treasures', after those mentioned in Bud- mono no longer had a function like the liches Wissen integriert, weiterentwickelt der japanische Stil wird in der Gestaltung -Jennifer Harris: The Formation of the Ja- dhist writings. These also include gold, netsuke used to have, which becomes und auf die Spitze getrieben wurden, findet deutlich. panese Art Collection at the Art Gallery of silver, coral, glass, and pearls. Yet, it was apparent in their lack of cord runners sich in Arbeiten der Email-Kunst. Cloisonné South Australia 1904-1940: Tangible Evi- not until the 19th c. that Japan began to (himotoshi). They were purely ornamental war bereits von importierten chinesischen In der Meiji-Zeit wurde die Schnitzerei mit dence of Bunmei Kaika. Adelaide 2012.

Japan

2196 TWO PANELS WITH FLOWERS AND BIRDS. ZWEI PANELE MIT BLUMEN UND VÖGELN. Japan. Meiji period. Ca. 1900.

Wood with black lacquer, inlays in high relief with ivory and bone. Frame from brushed paulownia (kiri). The panels with butterflies hovering over flowering peony and chrysanthemums. The frame carved with stylized chrysanthemums. Height 106.5cm, width 64cm. Condition A/B.

Provenance: -Private collection Hesse, shown in a long term exhibition until summer 2017 in the Deutsches Elfenbeinmuseum in Erbach.

€ 1.500 - 2.000 | $ 1.770 - 2.360 | ‡

2197 IMPRESSIVE TWO-FOLDED SCREEN. BEEINDRUCKENDER ZWEIFLÜGLIGER STELLSCHIRM. Japan. Meiji period. Ca. 1900.

Panels probably persimmon wood with motifs in high relief from ivory, bone and some mother-of-pearl. Frame black lacquered wood, open work carved, eyes of dragons inserted. In very high relief on the left panel a songbird over flowering

peonies (botan) and on the right panel irises (kakitsubata) with a kingfisher. The two representation in high relief of more than 8cm are adjusted so that the screen can be closed. The broad frame made of black lacquered wood is carved with dragons in clouds. On the outside, sparrows flutter between flower and maple leaves, which fall on sasa bamboo and aoi plants. Height 211cm, width per wing 93.5cm. Panel height 111cm, width 64cm. Condition A/B.

Provenance: -Private collection Hesse, shown in a long term exhibition until summer 2017 in the Deutsches Elfenbeinmuseum in Erbach.

€ 5.000 - 6.000 | $ 5.900 - 7.080 | ‡

Japan 2198 ing bands. These tennin, like the Western and jewels. A masterpiece of art of the 2199 PAIR OF LARGE PANELS WITH HEAV- angels, are living in heavenly realms and Meiji period. Each height 181cm, width IMPORTANT SEGEMENT OF AN ENLY LADIES MAKING MUSIC. make music. Here they are shown with 88.5cm. Sign.: Mizu. Seal: Naitô. Condi- ELEPHANT TUSK WITH THE DEPICTION PAAR GROSSE PANELE MIT HIM- drums, a flute and a mouth organ, one is tion A/B. OF A SHRINE FESTIVAL. MLISCHEN MUSIKANTINNEN. holding a large lotus flower. Above them BEDEUTENDER STOSSZAHNAB- Japan. Meiji period. Ca. 1900. on each panel a large hôô bird and flow- Provenance: SCHNITT MIT DARSTELLUNG EINES ering twigs of paulownia (kiri) - a symbol -Private collection Spain. SCHREINFESTES. Wood with dark blue resp. green lacquer, of peace. -Private collection Germany, since ca. Japan. Meiji period, middle 19th c. inlays in Shibayama style with ivory, moth- 2002. er-of-pearl and coral. Framed in Western The motifs are worked with much and Ivory, in undercut and very detailed relief type with gold frames. On each panel fine detail in costly materials. The faces € 5.000 - 7.000 | $ 5.900 - 8.260 | ‡ with fine engraving, eyes painted black. three elegant ladies dressed in the elabo- of the ladies are portrait-like, their hair A torii gate with an plaque names the rate style of the Tang dynasty with flutter- is done up elaborately with hairpins shrine as one of Tenmangû. Among the more than sixty persons strolling under pines and flowering cherry trees a falcon- er and other samurai, merchants, jugglers and musicians, gamblers and mongers for tea tools, insects and fans are found. Many children are playing between the adults. One of the persons is Suguwara Michizane (845-903) himself, holding a flowering plum branch and a folded letter. He is deified and worshiped in Tenmangû shrines as the god of scholarship. Height 47cm, Ø bottom 16.3cm, top 15cm. Signed on an inlaid red lacquer plate: Kaikaya Sôshû. Condition A/B.

Provenance: -German private collection. -Attached a collector’s label with the no 22635.

€ 14.000 - 16.000 | $ 16.520 - 18.880 | ‡

Japan 2200 2201 2202 2203 OKIMONO: HANDAKA SONJA. OKIMONO: FARMER WITH BATS. LARGE OKIMONO OF A FISHERMAN OKIMONO OF A YOUNG WOMAN OKIMONO: HANDAKA SONJA. OKIMONO: BAUER MIT FLEDERMÄU- AND HIS SON. WITH CHILD AND CHICKEN. Japan. Meiji period. SEN. GROSSES OKIMONO EINES FISCHERS. OKIMONO EINER JUNGEN FRAU MIT Japan. Meiji period. Japan. Meiji period. About 1900. KIND UND HÜHNERN. Ivory with finely engraved details. The Japan. Meiji period. Around 1900. Sennin in moved pose and with wafting Ivory with finely carved and darkened, Ivory, carved and finely engraved, the sleeves, holding a begging bowl in his engraved details. A farmer with four eyes highlighted with black pigment. Ivory, carved and delicately engraved. left hand over his head, from which the giant Daikon (white radish) on his back, The fisherman is holding a turtle with a Eyes of the chicken inlaid. Height 20.5cm. dragon coils with splashing water. Hold- is attacked by two bats. With a horrified long algae tail (minogame), in front of Underneath sign.: Nobumasa and red ing a Ruyi sceptre in his right hand, an facial expression he tries to pull one from him his little son has caught a crab with lacquer seal: Nobu. Condition B. Right Okimono with a tiger by his feet. Height his head by its wing. Height 16cm, width his fishing rod. Maybe a mitate depiction arm of child, fan and baseplate separate. 17.5cm, width 6.5cm. Sign.: Gyokuzan on 5.8cm. Sign.: in red lacquer reserve, un- of Ebisu. A tabako pouch with pipe case Cocks tail broken. the base of the tiger. Condition A/B. Age read. Condition A/B. (kiserzutsu) on a netsuke at the belt of the cracks. fisherman is a nice detail. Height 33.8cm, € 250 - 300 | $ 295 - 354 | ‡ € 1.200 - 1.500 | $ 1.416 - 1.770 | ‡ Ø 10.5cm. Sign. underneath: Ikido. Con- € 1.200 - 1.500 | $ 1.416 - 1.770 | ‡ dition A/B.

Provenance: -German private collection.

€ 5.000 - 7.000 | $ 5.900 - 8.260 | ‡

2203 2200 2201 2202 Japan 2204 2206 WHITE HANNYA MASK. IMPRESSIVE MASK OF A DECEASED WEISSE HANNYA-MASKE. PERSON. Japan. 20th c. AUSSERGEWÖHNLICHE MASKE EINER VERSTORBENEN PERSON. Paulownia wood (kiri) painted detailed Japan. 19th c. with pigments. Height 29.5cm, width 15.5cm. On the back burning mark: Ro- Cedar (sugi), carved and delicately paint- shu. Condition A/B. Supplement: Mask ed. Real hair, knotted to delicate stripes. bag with batting. Teeth carved of bone. Rare portrayal of a deceased person with closed eyes and Provenance: eyeballs sunken deeply in the holes. The -Private collection Southern Germany. partly open mouth with yellow, uneven teeth. Under uncombed hair dark veins € 1.200 - 1.500 | $ 1.416 - 1.770 and short hair are painted on the forehead.

As it is an overly realistic portrayal, the mask dates back to the 19th c. Similar to the Nô mask Kagekiyo, the portrayal is not stylized as usual but very realistic. A masterpiece painting by Hokusai with similiar theme, two cut off heads, was sold in December 2014 by Van Ham (A. 347, lot 249). Length 24cm, width 15cm, depth ca. 7cm. Condition A/B. Surface of chin and right cheek restored.

Provenance: -Rhenish private collection, acquired ca. 1977 as lot 97 in Klefisch auction no. 12.

€ 3.000 - 4.000 | $ 3.540 - 4.720

2204

2205 SITTING AMIDA NYÔRAI. SITZENDER AMIDA NYÔRAI. Japan. Edo period.

Wood with lacquer and residue of gilding. Seated on a high, multi-part lotus pedestal and the hands in mida no jô-in (gesture of meditation). The garment draped in elegant folds around his body. Aureole and parts of the pedestal removable. Height 37cm. Condition A/B.

Provenance: -Private collection Rhineland.

€ 1.300 - 1.600 | $ 1.534 - 1.888

2205 Japan 2207

2207 2208 IMPORTANT ÔDACHI CEREMONIAL KATANA KAKE - SWORD STAND FOR SWORD. SEVEN SWORDS. BEEINDRUCKENDES SCHWERTSTÄNDER FÜR SIEBEN ÔDACHI-ZEREMONIALSCHWERT. SCHWERTER. Japan. Dated: Genroku 13th year = 1700, Japan. Edo period (1603-1868). 2nd month. Red carved lacquer (Kamakura bori) on Tachi mounting later, maybe Meiji period blade length (nagasa) 111.6cm, width at wood. On the cross-board on the front a with bronze and lacquer. Shinto ôdachi, the back (kasane) 1.1cm, width (mihaba) medallion with two Chinese scholars and tori sori, nakago 3.4cm, shinogi-zukuri, 4.2cm. Sign.: Mei: Awataguchi Ikkanshi a boy among pines and bananas, on the hikue iori mune, without bo hi, hada and Tadatsuna hori-dôsaku. Engraved on the back another with a pair of cranes under hamon not visible, hamachi and mune blade on each side a dragon with ken at a big pine tree. As background dense machi, nakago jiri futsu with two meku- the tail. Condition A/B. Later polished, diamonds with flowers. The remaining gi ana. Tsuba iron in mokkugata shape, maybe about 1900. parts covered with sweeping leaf tendrils signed: Yamashiro no Kuni Fushimi Kaneie with peonies, pomegranates and Chinese and Kao, framed with bronze, seppa and Provenance: lingzhi mushrooms, on the inside of the ô seppa bronze with engraved scrolls, -Rhenish private collection, acquired 1964 side parts dense plum blossoms. Height large menuki in bronze with the butterfly at Lempertz. 60cm, width 48.5cm, depth 26cm. Con- mon of the families Ikeda and Daidôji. dition A/B. Complete length with mounting 166cm, € 4.000 - 6.000 | $ 4.720 - 7.080 blade length complete 148.5cm, € 6.000 - 7.000 | $ 7.080 - 8.260 2208

Japan 2209 2210 2211 2212 2213 2214 MON-SUKASHI TSUBA. MARUGATA. SUKASHI TSUBA. MARUGATA. FUCHI-KASHIRA. PAIR OF MENUKI FOR A TACHI. STANDING BODHISATTVA. IMPRESSIVE LARGE TETSUBIN. MON-SUKASHI TSUBA. MARUGATA. SUKASHI TSUBA. MARUGATA. FUCHI-KASHIRA. PAAR MENUKI FÜR EIN TACHI. STEHENDER BODHISATTVA. BEEINDRUCKEND GROSSER TETSUBIN. Japan. Momoyama period. Yoshiro school. Japan. Momoyama or early Edo period. Japan. Edo period. Japan. 18th c. Japan. Meiji period. Japan. Meiji period. Kyo-shoami school. Iron with inlays of brass. In hira-zogan Shakudô with gold and copper alloy. On a Bronze, gilt. Chasing dragons. The escap- Bronze, finely engraved and with a few Cast iron, lid from copper alloy, handle technique with kebori engraving eight Iron with gold. Enclosed in a golden rim fine nanako base a tiger and a leopard are ing one turns his head and the chasing inlays in silver. Lotus and aureole gilt. with silver and gold inlay. Round shape different family emblems (mon). An old (kin-fukurin) are five noshi bundle depict- shown in delicate engraving. The kashira one with a sword’s peak in the tip of his Standing on a two-partite lotus pedestal. with short spout. The rim of the kettle is inscription is dedicated to the deity Hachi- ed. Noshi-bundles are symbolizing good is decorated with bamboo. H.3.8cm. tail keeps a wish-granting jewel clasped. In his left hand he holds a long lotus bud, rugged like rocks and depicts a mountain man. D.4.5mm, Ø 8.3cm. Condition A/B. wishes for a long life. Besides, playing Sign.: Fusatsune & kao. Condition A/B. W.8.1cm. Condition A/B. the right hand points with the index fin- chain. On a revolving band in flat relief Supplement: Wooden box and NBTHK with the number five is characteristic for Supplement: Wooden box. ger to the bottom. He wears Bodhisattva Daikoku (Okuninushi-no-kami) riding on certificate. the Shoami school. D.5.1mm, Ø 8.3cm. € 1.300 - 1.500 | $ 1.534 - 1.770 jewelry and his hair is tied up into a high a horse accompanied by two attendants Condition A/B. € 500 - 600 | $ 590 - 708 elegant chignon. His head is surrounded in front of pine trees. Behind the pine € 1.100 - 1.300 | $ 1.298 - 1.534 by a golden halo with leaves. Pedestal trees the Fuji-san rises. On the other side € 700 - 900 | $ 826 - 1.062 cast separately, halo removable. Total a poem in cursive script (sôsho). Height height: 57.cm, Buddha: 36.2cm, pedestal: 16cm, Ø 21cm. Sign. on the kettle: Ko- 17.5cm. Condition A/B. tobuki and seal. On the inside of the lid: Ryobundo tsukuri. Condition A/B. Provenance: -Private collection Rhineland. Provenance: -Private collection Rhineland. € 1.500 - 2.000 | $ 1.770 - 2.360 € 1.500 - 2.000 | $ 1.770 - 2.360

2211

2212

2209 2210 2214 2213 Japan 2215 2216 2217 GREEN VASE WITH PEONY BORDER. SMALL VASE WITH WHITE HERONS. workmanship. Only the eyes and beaks of SQUARE PLATE WITH A COCK AND Provenance: KUGELVASE MIT PÄONIENBORDÜRE. KLEINE VASE MIT WEISSEN REIHERN. the birds are defined with bridges of fine TWO HENS. -According to the owner this plate has Japan. 1st half 20th c. Japan. Meiji period. In the style of Nami- strips of silver. These technique was used RECHTECKIGER TELLER MIT HAHN been exhibited 1902 at the world exhibi- kawa Sôsuke. for the stylized Kanzenami waves at the UND ZWEI HENNEN. tion in Paris. Enamel without bridges (musen shippô foot, too. Height 16.5cm. Underneath a Japan. Meiji period. Designer: Watanabe -Rhenish private collection. Acquired in yaki) on copper, rims framed with silver. Enamel without bridges (musen shippô) graved mark: Probably Suzuki Seiichiro, Seitei or Shôtei (1851-1918). the 1960s in Hamburg. Height 26cm, Ø ca. 17cm. Mark of the and some cloisonné (yusen shippô) on active ca. 1860. Condition B. Hairline Ando Shippôyaki company. Condition A. copper. Underneath and lip lined with crack in the enamel at the shoulder. Copper with musen shippô (without € 7.000 - 10.000 | $ 8.260 - 11.800 blackened silver. The twelve herons in bridges) and yusen shippô. Rim framed € 500 - 700 | $ 590 - 826 white are reserved from the graded (bo- Provenance: with lacquered copper. The cock and hens kashi) grey background. A special detail -According to the former owner this vase in white, finely structured with shades of showing the high skills of the maker is has been exhibited 1902 at the world grey on a grey background. In contrast the shadow-like reed between the birds, exhibition in Paris. comb and wattles in shades of red. Only made without bridges. The mastering of -Rhenish private collection. Acquired in here are found very fine gilt metal bridg- the flow of the enamel and the final pol- the 1960s in Hamburg. es. 23 x 16.8cm, height 0.8cm. Front: ishing by firing shows the high level of the Sign. Seitei and seal (Designer). Back with € 3.000 - 4.000 | $ 3.540 - 4.720 scattered cherry blossoms in shades of brown. In the center in silver the sakigake seal of the atelier of Namikawa Sôsuke. Condition A/B. Supplement: Japanese catalog with works of Namikawa Sôsuke with photos, descriptions and commen- taries. Japanese watoshi bookbinding.

2215 2216 Japan 2218 2219 IMPORTANT CENSER WITH DRAGONS MONUMENTAL CENSER. AND HÔÔ-BIRDS. MONUMENTALES RÄUCHERGEFÄSS. BEDEUTENDER WEIHRAUCHBRENNER Japan. Meiji period. Ca. 1900. MIT DRACHEN UND HÔÔ-VÖGELN. Japan. Edo. Bunsei period, 1818-30. Bronze with finely worked surface. The Murata Seimin (1761-1837), worked for bottom closed with a mirror with silver several museums and for the emporer inlays. The bulbous body with six car- Ninko. touches with birds and trees in high, partly undercut relief. Between the medallions Bronze with dark patina. The melon pines and flowering prunus in fine bas-re- shaped body compressed and on high lief. At the shoulder eight lion heads, at feet with dragons. The lid in openwork each side a baku as handle. The lip with with scrolls and a large bird of prey as dragons, the foot with carps and water handle. The handles of the body vertical plants. As typical the mirror with char- and in openwork with swastika. The body acters for luck and long life with several with six cartouches showing dragons, treasure objects. Height 55cm, Ø 53cm. hôô birds, birds of prey and kirin. Height Condition A/B. 53cm, Ø 30cm. Underneath a nine-partite mark: Dai Nippon Bunsei nen Semin chû. Provenance: Condition B. At one foot the dragon miss- -Private collection North ing, repaired. Rhine Westphalia.

Provenance: € 3.000 - 3.500 | $ 3.540 - 4.130 -Private collection North Rhine Westphalia.

€ 1.900 - 2.500 | $ 2.242 - 2.950 2220 CENSER WITH KIRIN. RÄUCHERGEFÄSS MIT QILIN. Japan. 17th/18th c.

Bronze with dark, shining patina. The kirin 2218 on the lid sits on his hind feet between waves and has turned his dragon head to the rear. The detail of the animal, such as the deer antlers, the hooves and the polka dots on his back are finely depicted. The bulbous compressed vessel on three high legs. Under the mouth a wide border with dragons in pairs with flaming pearls above waves. The high handles twisted. Weight 12.96 kg, height 59cm, Ø 25cm. Condition A/B. Antlers of kirin damaged and repaired.

Provenance: -Private collection Southern Germany. From an ancestor who was in honorary diplomatic service for Japan acquired locally in the 1920s.

€ 9.000 - 12.000 | $ 10.620 - 14.160

Japan 2219 2221 2223 2224 MOON-SHAPED VASE WITH DRAGONS APPLE SHAPED (MARUTSUBO) TEA CADDY (CHAIRE) WITH ANGULAR AND PHOENIX. TEA CADDY (CHAIRE). SHOULDER (KATAZUKI). MONDVASE MIT DRACHEN UND APFELFÖRMIGER (MARUTSUBO) TEEBEHÄLTER (CHAIRE) MIT KANTIG PHÖNIX. TEEBEHÄLTER (CHAIRE). ABGESETZTER SCHULTER (KATAZUKI). China or Japan. 19th c. Japan. Edo period or earlier. Ca. Japan. Edo period. 17th/18th century. 16th/17th century. Seto kiln. Bronze with enamel champlevé. The flat, moon-shaped body on a high angular Thin and dark brown stoneware with a Light colored stoneware with brown glaze base and with a cylindrical opening. The brown and black glaze containing much and nougat brown overglaze. Fitting ivory two handles in the form of big dragons. iron. Fitting ivory lid. Height 6.5cm Ø ca. lid with gilding. Height 10cm, Ø ca. 7cm. In the center, each side with a hôô bird 6.5cm. Underneath with itokiri lines clock- Underneath clockwise itokiri lines. Con- in a medallion, surrounded by eight wise. Condition A. dition A. large lotus blossoms. On the outside a hexagon pattern in flat relief, neck and Provenance: Provenance: foot with different borders. Height 61cm. -Private collection Southern Germany. -Private collection Southern Germany.. Underneath a Chinese four-partite mark: Baizheng jin zhi. Condition A/B. € 450 - 600 | $ 531 - 708 | ‡ € 550 - 700 | $ 649 - 826 | ‡

Provenance: -Private collection Southern Germany. Acquired in the 1960s/70s.

€ 1.200 - 1.500 | $ 1.416 - 1.770

2221

2222 BOX FOR WRITING UTENSILS FOR USE ON A SHIP. SCHIFFSKASTEN FÜR SCHREIBUTEN- SILIEN. Japan. Edo period.

Kakesuzuri funadansu. Keyaki wood lacquered and with iron fittings, interior drawers from paulownia wood. The iron plating on the lockable door decorated with pine trees. Inside five drawers, two larger ones over the entire width and three smaller ones at the bottom. Height 44.5cm, width 39.5cm, depth 47cm. Condition A/B. Patina of use.

Provenance: -Private collection Rhineland.

€ 1.200 - 1.500 | $ 1.416 - 1.770 2224 2222 2223 Japan 2225 2226 CABINET CHEST. EARLY OVOID JAR WITH DECORATION KABINETTSCHRÄNKCHEN. IN CHINESE STYLE. Korea. Joseon dynasty (1392-1897). FRÜHE BAUCHIGE VASE IM CHINESI- 18th/19th c. SCHEN STIL. Japan. Edo period. Ca. 1700. Different woods, among them rosewood (chin. Huali), persimmon (Ebenaceae) Porcelain, painted in Wanli style with wood and ironwood (mesua ferrea, chin. underglaze blue (sometsuke) with digni- Tieli). Brass fittings. Behind the two doors taries accompanied by servants holding six smaller and four larger drawers. The each a three-tired umbrella of honor. The chest is mounted to the tall, four-legged bearded jubilarian is sitting in an open base. The large fittings in elegant shapes pavilion. On the shoulder of the vase four are richly engraved with flower scrolls medallions with flowers on a background and they contribute to the beauty of the of a swastika pattern. Height 24.5cm. furniture like the exceptional pattern of Underneath a leaf mark (peach leaf, grain of the various types of wood. Height momo). Condition C. Cracks at the neck 75cm, width 84.5cm, depth 36.5cm. and mouth. Condition A/B. Provenance: € 2.000 - 2.500 | $ 2.360 - 2.950 -Private collection Northern Germany, acquired since the 1850s.

€ 1.200 - 1.500 | $ 1.416 - 1.770

2226

2227 HUGE OVAL PLATE WITH CHINESE MOUNTAIN LANDSCAPE. GROSSER OVALER TELLER MIT CHINE- SISCHER BERGLANDSCHAFT. Japan. Ca. 1900.

Porcelain, painted underglaze blue. Height 6.5cm, 55 x 45.5cm. Underneath four-partite apocryphal Kangxi mark. Condition A/B.

Provenance: -Private collection Northern Germany, acquired since the 1850s.

€ 1.000 - 1.200 | $ 1.180 - 1.416

2227 Japan 2228 2230 KAWAI, GYOKUDÔ FUKUDA, HEIHACHIRÔ Fukuda Heihachirô is noted in particular (1873 – 1957). (1892 – 1974). for his paintings in the Nihonga style. But his works of art also show influence of a COAST WITH BOATS (ISOBUNE). WILD GEESE AND REED (ROGAN ZU). realistic and decorative style. Throughout KÜSTE MIT BOOTEN (ISOBUNE). WILDGÄNSE UND SCHILF (ROGAN ZU). his career, flowers and birds remained a favored motif of the artist. Sign.: Hei- Japan. Ink and color on silk. 46 x 39.5cm. Japan. Ink and color on stained silk. 52 hachirô (on the painting). On the back of In the foreground a cliff with closely x 44.5cm. A pair of wild geese between the frame the title ‘Rogan zu’ and signed standing pine trees with the open sea in snow-covered reeds. The artist skillfully Heihachirô. Seal: unread (same seal on the background. At the flat shore, some incorporates the unpainted area of the front and back each). Condition A. Sup- fishermen bring their boats to the water. silk into his motif, by using partly washed plement: Framed behind glass. The pink-colored sky and the calm sea colors the silk shines through and thus suggest the morning silence before the becomes a part of the painting. € 5.000 - 6.000 | $ 5.900 - 7.080 fischermen start their work.

In the painter’s usual manner, the characteristic landscape of Japan is in the focus, in which man fits in naturally. The soft brown, blue and green tones as well as the partly flowing color transition empha- size the calm and nostalgia, which the motif suggests. Sign.: Gyokudô (on the painting). On the back of the frame the title ‘Isobune’ and signed Gyokudô. Seal: Gyokudô (on front and back each). Con- dition A/B. Supplement: Framed behind glass, with passe-partout. 2228

€ 2.800 - 3.200 | $ 3.304 - 3.776

2229 MUKAI, JUNKICHI (1901 – 1995).

LAKE ASHI (ASHINOKO). ASHI-SEE (ASHINOKO).

Japan. Oil on canvas. 40 x 31cm. Lake Ashi in Hakone in Kanagawa prefecture. Framed by some weatherbeaten pine trees, the view is focused on the winding great crater lake in the background.

Mukai Junkichi was inspired by European style landscape paintings and developed a realistic painting style, which is shown in this picture. The paste-like paint applica- tion creates structure und the landscape appears more natural. Sign.: Junkichi (on the painting). On the back of the frame the title ‘Ashi-no-ko’ and signed Mukai Junkichi. Seal: Junkichi (on the back of the frame). Condition A. Supplement: Framed behind glass.

€ 2.500 - 2.800 | $ 2.950 - 3.304 2229

Japan 2231 TOKUOKA, SHINSEN (1896 – 1972).

PERSIMMON (KAKI). KAKI.

Japan. Gouache on paper. 40 x 31.5cm. A twig with four ripe persimmons. The fine and powdery colors applied in multiple layers gives the painting depth. The simple and decorative motif is typical for works by the artist.

In Japan persimmons are a symbol for the autumn in the countryside. For the Jap- anese, today mostly living in large cities, the fruit conveys a feeling of innocent youth. Sign.: Shinsen (on the painting). On the back of the frame the title ‘Kaki’ and signed Shinsen. Seal: Shinsen (on the painting). On the back of the frame the seal ‘Sen’. Condition A. Supplement: Framed behind glass and with matching 2233 box. 2231 2233 2234 2235 € 2.200 - 2.500 | $ 2.596 - 2.950 YOSHIDA, HIROSHI YOSHIDA, HIROSHI YOSHIDA, HIROSHI (1876 – 1950). (1876 – 1950). (1876 – 1950).

Japan. Taishô period. 1925. Watercolor FUJIYAMA FROM OKITSU. OBATAN PARROT. and ink on paper. Ôban, yoko-e. Study OKITSU. OBATAN SITTICH. for the sheet “Lugano machi” (The City of Lugano) of the Europe-series. Verso Japan. Shôwa period. 1928. Nishiki-e. Japan. Taishô period. 1926. Nishiki-e. a pencil sketch with colored pencil with Ôban, yoko-e. Series: Fuji jikkei (Ten views Ôban, tate-e. Series: Dôbutsuen (Zoo- Koinobori (carp banner), which are posi- of Fuji). Sheet: Okitsu. The English title is logical Garden). Sheet: Ohobatan ômu tioned on the 5th May for Children’s Day noted in pencil. Sign.: Yoshida. Seal: Hiro- (Obatan Parrot). The English title is noted (Kodomo no hi). Seal: Hiroshi. Condition shi & red collector’s seal, Hiroshi Yoshida in pencil. Sign.: Yoshida. Seal: Hiroshi, A. (pencil, lat.). Publisher: Yoshida (brown Hiroshi Yoshida (pencil, lat.). Publisher: Jizuri seal). Condition A/B. Minor foxing, Yoshida (brown Jizuri seal). Thin spot on 2232 € 1.200 - 1.500 | $ 1.416 - 1.770 remains of glue in the upper corners. the upper left edge. UEMURA, SHÔKÔ (1902 – 2001). € 900 - 1.200 | $ 1.062 - 1.416 € 900 - 1.200 | $ 1.062 - 1.416

SNOW-CAPPED PEAK (KANSETSU). SCHNEEHAUBE (KANSETSU).

Japan. Colors on paper. 53.5 x 40cm. A snow-covered twig is rising into the ice- blue sky and a small bird flies through the falling snow. Following the tradition of Japanese painting, the classic theme ‘Flowers and Birds’ (kachô) is interpreted in a modern way. By giving only a detail of the twig, Uemura Shôkô’s composition radiates an innovative dynamic. This cre- ativity and dynamic is additionally empha- sized by the fresh color contrast with the white and the shining blue-green. Sign.: Shôkô (on the painting). On the back of the frame the titel ‘Kansetsu’ and signed Shôkô. Seal: Shôkô (on front and back each). Condition A. Supplement: Framed behind glass, with passe-partout.

€ 2.500 - 3.500 | $ 2.950 - 4.130 2232 2234 2235

Japan 2236 2237

2238 2239 2240 2241

2236 2237 2238 2239 2240 2241 YOSHIDA, HIROSHI YOSHIDA, HIROSHI YOSHIDA, HIROSHI YOSHIDA, HIROSHI KAWASE, HASUI KAWASE, HASUI (1876 – 1950). (1876 – 1950). (1876 – 1950). (1876 – 1950). (1883 – 1957). (1883 – 1957).

THE JUNGFRAU. THE YOSHIDA VILLAGE (YOSHIDA NIAGARA FALLS. THE AQUARIUM HONOLULU (HONO- EVENING MOON NEAR NAKANOSHI- STARRY NIGHT NEAR MIYAJIMA DER BERG JUNGFRAU. MURA). DIE NIAGARA-WASSERFÄLLE. LULU SUIZOKUKAN). MA (NAKANOSHIMA NO YÛZUKI). (HOSHIZUKIYA, MIYAJIMA). DAS YOSHIDA-DORF. DAS AQUARIUM, HONOLULU. ABENDLICHER MOND BEI NAKANO- STERNENNACHT BEI MIYAJIMA. Japan. Taishô period. 1925. Nishiki-e. Japan. Taishô period. 1925. Nishiki-e. SHIMA. Ôban, tate-e. Sheet: Yungufurau-zan (The Japan. Taishô period. 1926. Nishiki-e. Ôban, tate-e. Sheet: Naiyagara Bakufu Japan. Shôwa period. 1925. Nishiki-e. Japan. Shôwa period. 1928. Nishiki-e, Jungfrau). Sign.: Yoshida. Seal: Hiroshi, Ôban, tate-e. Series: Fuji jikkei (Ten (The Niagara Falls). Sign.: Yoshida. Seal: Ôban, yoko-e. The sheet is the first one Japan. Shôwa period. 3rd month of 1933. Mokumezuri. Ôban, tate-e. Series: Tabi Hiroshi Yoshida (pencil, lat.). Publisher: views of Fuji). Sign.: Yoshida. Seal: Hiro- Hiroshi, Hiroshi Yoshida (pencil, lat.). that he produced as a self-publishing. The Nishiki-e, Mokumezuri. Ôban, tate-e. Se- miyage dai sanshû (travel souvenirs, Yoshida (black Jizuri seal). Condition A. shi. Publisher: Yoshida (brown Jizuri seal). Publisher: Yoshida (brown Jizuri seal). red Jizuri seal stands for a more intensive ries: Nihon fûkei higashi Nihon hen, Sap- third series). Sign.: Hasui. Seal: Kawase. Slightly yellowed. Condition A/B. Binding hole on the upper Condition A/B. Binding holes at the upper color version of the print. The missing poro (Collection of landscape prospects Publisher: Watanabe Shôzaburô (seal B). right edge, slightly yellowed. edge, slightly yellowed, recto labeled with English labelling as well as signature sug- of Japan, East Japan). Sign.: Hasui. Seal: Condition A/B. Binding hole in the upper € 900 - 1.200 | $ 1.062 - 1.416 pencil. gest that it was produced exclusively for Kawase. Publisher: Watanabe Shôzaburô left corner. € 900 - 1.200 | $ 1.062 - 1.416 the Japanese market. Sign.: Yoshida. Seal: (seal D). Condition A/B. Binding hole in Provenance: Hiroshi. Publisher: Yoshida (red Jizuri sea, the upper left corner, remains of cellotape Literature: -Collection (red collector’s seal). very rare). Condition A/B. Thin spots in in the upper corners. -Brown, Kendall H.: Kawase Hasui, 2003, the paper in both upper corners (caused p. 352, ill. 140. € 900 - 1.200 | $ 1.062 - 1.416 by former mounting). Literature: -Brown, Kendall H.: Kawase Hasui, 2003, € 1.500 - 1.800 | $ 1.770 - 2.124 € 900 - 1.200 | $ 1.062 - 1.416 p. 437, ill. 294.

€ 1.500 - 1.800 | $ 1.770 - 2.124

Japan Netsuke An Italian Private Collection

2242 NETSUKE: SITZENDER KIRIN. aller Pracht, Schönheit, Würde und Ma- NETSUKE: SITTING KIRIN. ruler then in office. Ivory, with beautiful Japan. Edo-Zeit. 18. Jh. jestät ausgestattet worden, die bei seinen Japan. Edo period. 18. c. Kyôto. golden-yellow in parts amber patina. The seltenen Besuchen auf Erden solche Tu- marked difference in color between the Mächtiges Kirin (Einhorn) sitzend, den genden eines gerade regierenden großen, Powerful Kirin (unicorn), seated with its front and back proves it was worn a lot: Kopf rückwärts gewandt, konzentriert idealen Herrschers aufzeigen sollten. head turned back, gazing at the sky. The the back - not being exposed to sunlight gen Himmel schauend mit leicht geöff- Elfenbein mit wunderschöner, gold-gelber mouth slightly open, showing its carved, - has a wonderful iridescent and partly netem Maul, in dem die frei geschnitzte Gebrauchspatina. Komposition, Haltung completely free, upturned tongue, and transparently shiny surface, while the Zunge mit aufwärts zeigender Spitze zu und Details lassen darauf schließen, dass curved corner teeth in the upper jaw much paler front was evidently exposed sehen ist, ebenso die gebogenen Eck- dieses Stück vom selben Schnitzer stammt framing short, pointed middle teeth in to the bleaching sun. Composition, pose, zähne im Oberkiefer, welche die beiden wie das sog. „Meinertzhagen-Kirin“, vgl. the lower jaw. The horn, as typical for and details suggest this piece was carved kurzen, spitzen Mittelzähne des Unter- MCI, Farbtafel Seite V. Der große Farbun- the species, is bent back onto the mane, by the same artist as the “Meinertzha- kiefers umrahmen. Das Horn arttypisch terschied zwischen Vorder- und Rückseite since having a soft tip it is not used for gen-Kirin”, cf. MCI, color plate Vol. I, p.V. zurückgebogen bis auf die Mähne, nicht bestätigt die ausgiebige Nutzung, denn thrusting, because the virtuous Kirin will H.9cm. Condition A. zum Stoßen geeignet und mit weicher die - der Sonne nicht ausgesetzte - Rück- harm no creature. The elegant mane with Spitze, weil das tugendhafte Kirin keinem seite hat eine wunderschöne, goldgelbe, tight curls and strands reaches halfway Provenance: Wesen Leid zufügt. Die elegante Mähne stellenweise bernsteinfarbene, changie- down the back to where flames blaze -Behrens Collection, no. 1371, sold in the fällt in kleinen Locken und Strähnen auf rende und teils transparent glänzende horizontally from its shoulders as signs 1. Auction, 1.-8-12.1913, Cat. no. 611, den Rücken bis zu den bewegt lodernden Oberfläche, während die deutlich hellere of its celestial provenance. Tiny flames plate XXV, for 3 pounds 5 shillings. Flammen, die zum Zeichen seiner himmli- Vorderseite offenbar der bleichenden Son- also issue from the foreleg-knees. An -Mannstaedt Collection (1882-1968), sold schen Herkunft aus den Schultergelenken ne ausgesetzt war. H.9cm. Zustand A. impressive large tail reaches up its back, by Klefisch, Auction no. 36, May 28th, lodern. Kleinere Flämmchen entspringen curls and strands of hair alternating 1988, lot 518, hammer price DM den vorderen Kniegelenken. Den Rücken Provenienz: symmetrically up either side of the spine, 130 000.- hinauf bis zur Mähne führt ein prachtvol- -Sammlung Behrens, abgebildet auf Tafel with openwork twice showing the Kirin’s -Jacques Carré Collection. See ler Schwanz in plastischer Fülle aus seiten- XXV, verkauft in der 1. Auktion zwischen back. All the locks and flames are shown Eskenazi-Catalogue, Nr. 130. gleich angeordneten Locken, im Wechsel dem 1.-8. Dez. 1913, Kat. Nr. 611, für 3 in lively movement. The body is otherwise -Italian Collection. mit Strähnen und zweimal durchbrochen. Pfund 5 Shilling. smooth and hairless, with a few muscles, Alle Locken und Flammen sind äußerst -Sammlung Mannstaedt (1882-1968), a segmented neck, and a few vertebrae Literature: lebendig und bewegt dargestellt, Der Kör- versteigert bei Klefisch Auktion 36 am 28. showing. Its four strong hooves are held -H.L. Joly “Legend in Japanese Art”, per ist sonst glatt mit leicht angedeuteten Mai 1988, Nr. 518, Zuschlag DM together, one slightly raised, since this London, 1908, S. 176. Muskeln, segmentiertem Hals und eini- 130 000.- mythical creature flew rather than ran, so gen sichtbaren Rückenwirbeln. Die Hufe -Sammlung Jacques Carré, Eskenazi-Kat. lightly that it could neither bend a blade € 100.000 - 120.000 | sind hoch und kräftig, dicht beisammen Nr. 2000. of grass nor hurt even the tiniest creature, $ 118.000 - 141.600 | ‡ gestellt, einer angewinkelt, da das Fabel- and said to leave only the slightest trace wesen mehr flog als lief, so leicht, dass es Literatur: in snow. The unknown Kyôto-carver has keinen Halm krümmte oder Lebewesen -H.L. Joly „Legend in Japanese Art“, Lon- endowed this highest-ranking mythical zertrat, nur die ihm nachgesagten leichten don, 1908, abgebildet auf S. 176. animal of Japan with all the power, beau- Spuren im Schnee hinterlassend. Dieses in -Ausgestellt in Kyôto & Tôkyô 2010 ty, dignity, and majesty which on its rare Japan ranghöchste aller Fabeltiere ist von anlässlich der 150 Jahre Freundschaft visits to earth were to reflect and extol the dem namenlosen Kyôto-Schnitzer mit Deutschland - Japan. great virtues and power of a great

Netsuke An Italian Private Collection Netsuke An Italian Private Collection 2243. 2244 NETSUKE: HOTEI MIT FÄCHER. NETSUKE: HOTEI WITH STIFF FAN NETSUKE: EBISU. NETSUKE: EBISU. Japan. Edo-Zeit. 18. Jh. Japan. Edo period. 18th c. Japan. Edo-Zeit. Japan. Edo period.

Glücksgott Hotei, stehend in gegürte- Hotei, the god of good fortune, standing Jugendlicher, fröhlich strahlender Glücks- Juvenile Ebisu, smiling cheerfully, with his tem Gewand mit weiten, schwingenden in a belted robe with wide, swinging gott Ebisu, sein Gewand bis über die Knie garment pushed up over his knees and Ärmeln, seinen steifen Fächer in der er- sleeves, his stiff fan in his raised right und Ellenbogen hochgeschoben, seine elbows, baring his stumpy legs and strong hobenen Rechten, das Ende des Gürtels, hand, holding the belt with his left nackten stämmigen Beine sowie kraft- arms as he struggles to hold down a huge der seinen vorgewölbten Bauch frei lässt, hand, exposing his prominent belly. Ivo- vollen Arme und großen Hände zeigend carp with his large hands. The fish is on mit der Linken haltend. Elfenbein, fein ry, well-carved and polished, the robe beim Versuch, einen riesigen Karpfen its side, fighting back with fin and tail up geschnitzt und graviert, das Gewand dicht embellished with a minutely engraved niederzudrücken, der seitwärts liegend and around the god, who is digging his und reich mit gravierten, geschwärzten and lightly stained, dense pattern of in Abwehr Flosse und Schwanz um ihn drawn up right knee into it, curling the Chrysanthemen-Blüten und geometrisch chrysanthemum-blossoms and borders legt. Ebisu drückt sein angewinkeltes toes of his right foot with the effort. Ivory, verzierter Bordüre geschmückt. Auf with geometric ornaments. Signed on a rechtes Knie gegen den Fisch, die Zehen finely carved and engraved, details partly rechteckiger Reserve signiert: Masamori. rectangular reserve: Masamori. See MCI, vor Anstrengung eingerollt, während stained darker. Signed on a fold of the Kyôto-Schule. Vgl. MCI S. 435/6, der p. 435/6, who states he has seen 6 net- er auf dem linken Fuss steht. Elfenbein, garment between his feet: Shigemasa. neben den 6 ihm bekannten Netsuke suke by this carver, and classifies him as fein geschnitzt und graviert, Details teils None of the four carvers of this name dieses Schnitzers, den er unter die Schüler a pupil of Yoshinaga or Yoshitomo, yet dunkel akzentuiert, signiert auf Stofffalte mentioned in MCI. H.4cm. Condition A. von Yoshinaga oder Yoshitomo einordnet, our piece was not one of them. Beautiful, zwischen den Füßen: Shigemasa. Keinem dieses nicht kannte. Schöne, teils goldgel- partly golden-yellow, shiny natural patina. der vier im MCI genannten Meister dieses € 1.800 - 2.200 | $ 2.124 - 2.596 | ‡ be, glänzende Gebrauchspatina. H.6,8cm. H.6.8cm. Condition A. Namens eindeutig zuzuordnen. H.4cm. Zustand A. Zustand A. € 1.600 - 1.800 | $ 1.888 - 2.124 | ‡

Netsuke An Italian Private Collection 2245 2246 NETSUKE: ONI. NETSUKE: ONI. Provenance: NETSUKE: SENNIN GAMA. Provenienz: listed in the Soken Kisho. This netsuke, Japan. Edo-Zeit. Mitte 18. Jh. Japan. Edo period. Mid 18th c. -B. Drake Collection, sold in London Japan. Edo-Zeit. 18. Jh. -Sammlung J.A. Fairley, Nr. 8. illustrated in MCI p. 912, belongs to the 1928. -Sammlung Hindson, Nr. 756 (Part V, 25. small group of human or divine figures Muskulöser Oni, hockend mit entschlos- Muscular Oni, squatting with a fierce -F. Meinertzshagen Collection. Jugendlicher Sennin Gama, fröhlich la- 11. 1968). by the artist who is famous for his animal senem Gesichtsausdruck und mehrfach expression, armed manifoldly against -Hindson Collection. Auction VI, chend über die kleine Kröte, die zutraulich -Sammlung Martin Newstead, versteigert carvings. H.4.4cm, W.4,.5cm. gegen Teufelsjäger gewappnet: Er trägt demon-quellers. He is wearing Shôki’s 11.3.1969. See N.Davey, ‘Hindson Col- auf seiner rechten Hand auf seinem Schoß in London. Condition A. Shôki’s Riedgrashut, dessen breite, wellige broad-rimmed sedge hat, with a wavy rim lection’, p. 105, no. 297, he dates it late sitzt und neugierig den Kopf hochreckt. Krempe umlaufend mit drei feinen Orna- circled by three fine ornamental bands, 18th/early 19th century. Er sitzt in gegürtetem Gewand mit dich- NETSUKE: SENNIN GAMA. € 4.000 - 4.600 | $ 4.720 - 5.428 | ‡ mentbändern geschmückt, über dem lin- yet broken, a piece is missing above the -Topper Collection. tem, doppeltem Blätterkragen, die weiten Japan. Edo period. 18th c. ken Auge aber eingekerbt und kaputt ist. Oni’s right eye. Maybe he found it, dis- Ärmelsäume sich bauschend, während Vielleicht hat er ihn entsorgt gefunden? carded? The hat harbours a surprise: If Literature: das rechte Bein angewinkelt hochgestellt Juvenile Sennin Gama, gleefully laughing Der Hut birgt eine Überraschung: Unter prised open, the top reveals the second -Illustrated in MCI, p. 78, who dates the ist. Elfenbein, fein und bewegt geschnitzt, at the small toad confidently seated on his dem herausnehmbaren glatten Mittelteil himotoshi inside as a carved loop. For piece late 18th/early 19th century. poliert und mit fein gravierten, dunkel right hand on his lap, head raised inquis- ist als Öse das zweite Himotoshi ver- additional protection, Oni is clutching -Albert Brockhaus, Netsuke 1909, p. 124, akzentuierten Details. Beide Augen einge- itively. The Sennin, wearing a belted robe steckt. Er hält zur Abwehr auch Daikoku’s Daikoku’s mallet across his body with depicts 4 netsuke which he describes as legt aus dunklem Horn. Schöne, glasige, with double collar of dense leaves, wide Hammer mit beiden Händen vor seinen both hands. A long-haired fur cloak of four netsuke following illustrations by stellenweise goldgelbliche, teils bräunli- sleeves billowing, his right leg drawn up Bauch. Ein langer Fellumhang soll ihn invisibility covers his back, engraved and Yoshimura Shuzan from Soken Kisho, che Gebrauchspatina. Auf rechteckiger at an angle. Ivory, lively and fine carving, unsichtbar machen und bedeckt seinen stained in fine detail. His protection is 1781’. No. 144 is very like this piece. Reserve sign.: Tomotada. Von dem be- polished and finely engraved with detailed Rücken, fein graviert und getönt. Sein completed by his impressive muscles: His rühmten Schnitzer aus der Kyôto-Schule, darker accents. Both eyes inlaid in dark Schutz wird durch eindrucksvolle Muskeln legs are truly sturdy, the right one folded Sample illustrations of Shôki wearing such tätig zwischen 1750-1800, aufgeführt horn. Beautiful glossy, in parts golden-yel- und Krallen vervollständigt: Stämmige under, both ankles circled with two deco- Chinese sedge hats, e.g.: im Soken Kisho. Dieses Stück, abgebildet low or brownish patina from use. Signed Beine, das rechte untergeschlagen, beide rative hoops each - as is the wrist - above -Hindson Collection, no. 1177. im MCI auf S. 912, gehört zu der kleinen on a rectangular reserve: Tomotada. The mit doppelten Schmuckreifen - wie am strong feet armed with awesome claws. -Eskenazi, Carré Collection, no. 50. Gruppe von menschlichen, bzw. göttli- famous carver from the Kyôto-School, Handgelenk - über den mit mächtigen Teeth and fangs are bared snarling, carved -Kolodotschko Collection, Lempertz Auc- chen Darstellungen dieses für seine Tiere active between 1750-1800, Klauen bewehrten Füßen. Gebiss und in meticulous detail. This Oni is not going tion 9.6.2017, no. 515, no. 657. berühmten Schnitzers. H.4,4cm, B.4.5cm. Reißzähne sind gefletscht und in feinen to get caught, if he can help it. Boxwood, Zustand A. Details geschnitzt. Dieser Oni wird sich finely carved and engraved, with darker € 2.500 - 2.800 | $ 2.950 - 3.304 gewiss nicht fangen lassen! Buchsbaum, staining. Signed on top of the hat: Ges- detailliert geschnitzt, graviert und dunkel sen. H.4.2cm. Condition A. eingefärbt. Auf dem Hut signiert: Gessen. H.4,2cm. Zustand A.

Provenienz: -Sammlung B. Drake, verkauft in London 1928. -Sammlung F. Meinertzhagen. -Sammlung Hindson Nr. 966. Auktion VI, 11.3.1969. -Vgl. Davey ‘Hindson-Coll.’ Nr. 297, S. 105 mit einer Dat. spätes 18. / frühes 19. Jh. -Sammlung Topper.

Literatur: -Abgebildet im MCI, S. 78, der das Stück Mitte des 18. Jhs. datiert. -Abgebildet Hindson Coll. Nr 297. -Abgebildet Hurtig, Masterpieces S. 174, Nr. 717. -Albert Brockhaus, Netsuke, bildet auf S. 124 vier Netsuke ab, die er wörtlich so beschreibt: ‚Abbildungen nach Netsuke des Yoshimura Shuzan, aus dem Soken Kisho, 1781‘. Nr. 144 ist diesem hier sehr ähnlich.

Shoki mit solchem chinesischem Strohhut: -Sammlung Hindson, Nr. 1177. -Eskenazi, Sammlung Carré, Nr. 50. -Sammlung Kolodotschko, Lempertz Auk- tion v. 9.6.2017, Nr. 515, Nr. 657.

Netsuke An Italian Private Collection 2247 NETSUKE: MÄCHTIGER SHÔKI. Provenienz: engraved with a cloud pattern with black Japan. Edo-Zeit. Spätes 18. Jh. -Sammlung Brockhaus, Nr. 249, ganzseitig details. Signed on a large, oval reserve: abgebildet auf Tafel 38. Yoshinaga (Yoshinaga Koyoken, men- Elfenbein. Mächtiger Shôki in langem, -Ausgestellt in Kyôto/Tôkyô 2010 anläss- tioned in the Soken Kisho, according gegürtetem Gewand mit einer Art Kürass lich der Feiern über 150 Jahre Freund- to MCI p. 988/9 active ca. 1740-80). aus Tigerfell, einem Ken in der auswärts schaft Deutschland-Japan, S. 55. H.8,8cm. Condition A. gedrehten Rechten unter weiten, aus- schwingenden Ärmeln. Die Scheide hängt NETSUKE: POWERFUL SHÔKI. Provenance: diagonal über seinem Rücken, während Japan. Edo period. Late 19th c. -Brockhaus Collection, no. 249, illustrated das von ihm gejagte Teufelchen unbe- in full color plate 38, p. 282 in his book merkt siegesgewiss auf seinem Schulter- Ivory. Powerful Shôki in a long, belted “Netsuke”. tuch sitzt und sich auf Shôkis flachen Hut robe with a sort of breastplate made -Kyôto and Tôkyô 2010, Celebrating the gestützt nachdenklich sein rechtes kurzes of tiger skin, holding a ken in his out- 150th Anniversary of Friendship between Horn kratzt. Shôki trägt Fellstiefel unter ward-turned right hand protruding from Germany and Japan, catalogue p. 55. seinem langen, mit feinem Wolkendekor a wide, billowing sleeve. His sheath hangs gravierten Gewand. Elfenbein mit fein ge- diagonally across his back, while the Oni € 7.500 - 8.500 | $ 8.850 - 10.030 | ‡ schnitzten und schwarz eingefärbten Gra- he is hunting crouches confidently on vuren. Auf großer, ovaler Reserve signiert: the back of his wide collar, leaning onto Yoshinaga (Yoshinaga Koyoken, erwähnt Shôki´s flat hat, thoughtfully scratching im Soken Kisho, laut MCI S. 988/9 tätig his short right horn. Shôki is wearing fur ca. 1740-80). H.8,8cm. Zustand A. boots under his finely carved robe

Netsuke An Italian Private Collection 2248 2249 NETSUKE: KRIEGER. NETSUKE: WARRIOR. may even be by a third carver of the same NETSUKE: ANGLER MIT OKTOPUS. Japan. Edo-Zeit. Um 1800. Japan. Edo period. About 1800. name, but Soken Kisho seems to refer to Japan. Edo-Zeit. Um 1800. our piece which was made around 1800. Krieger, stehend mit nacktem Oberkör- Warrior, standing with bare torso, as his Some traces of wear. H.9,1cm. Kensu als Fischer, mit konzentrierter Mie- per, weil sein Umhang von den Schultern cloak slipped off his shoulders, billowing Condition A/B. Two old repairs: the tip of ne, kahlköpfig, mit dichtem Lockenkranz gerutscht ist und sich über dem Lenden- over his loincloth, and wearing tabi on his the tachi, and a fault on the edge of the unter hoch gewölbtem Schädel und schurz bauscht, sowie mit Tabi an den Fü- feet. In his right hand he holds a bared tsuba renewed. deutlichen Sennin-Ohren, sehr langbeinig ßen. In der rechten Hand bei angewinkelt tachi, his arm drawn up at an angle, and und hoch gewachsen in einem kurzen, hochgezogenem Arm ein blankes Tachi his head turned to the left with an angry Provenance: gegürteten und kurzärmeligen Gewand. haltend, die linke Hand angespannt in der expression on his face. His left hand is -Marcel Lorber Collection. Er steht hinter einem hohen Fangtopf, aus als aragato bekannten Geste der Heraus- tensed in the gesture of defiance known -Martin Newstead Collection, Illustrated dem der gefangene Oktopus ängstlich forderung. Der Kopf ist nach links ge- as aragato. His strange hairdo may in- Hurtig, Masterpieces p. 152, no. 613. zu ihm aufschaut, kleinere Tentakel mit wandt, mit grimmigem Gesichtsausdruck. dicate that he usually wears his hair in -Hindson Collection, p. 73, no. 187, and Saugnäpfen schauen hervor, während der Die sonderbare Frisur könnte darauf hin- the ‘mage’ style, that is tied up over the colorplate facing p. 76, no. 187 Auction Fischer mit beiden Händen angestrengt weisen, dass er die Haare in der ‚Mage‘ parting, though now come loose. Box- 23.6.1969. an dem längsten Tentakel zerrt, so dass er genannten Weise = über dem Scheitel wood, boldly carved and engraved, with sich nach hinten biegt. Marines Elfenbein zusammengebunden trägt, sie jetzt aber a fine, shiny patina, and with inlaid black Literature: mit wunderschön glasiger Oberfläche, die offen sind. Buchsbaum, kräftig geschnitzt eyes. Signed on the back of the left leg: -Illustrated in an article by M.T. Hindson in eine warme, sehr gute, teils glänzende und graviert, mit schöner, glänzender Tomotane. According to MCI, p. 921, it The Connoisseur, Nov. 1965. natürliche Patina hat. Das lange, geboge- Gebrauchspatina, die Pupillen eingelegt might be a carver born 1781 in Kyôto and -Illustrated in color on jacket of Neil Dav- ne Netsuke steht auf den kleinen Füßen aus schwarzem Horn. Auf dem linken mentioned in the Soken Kisho, yet there is ey, Netsuke, revised ed. 1982. im Gleichgewicht. Kensu wird meist mit Bein hinten signiert: Tomotane. Laut MCI another carver of that name, though only einer Garnele auf der Schulter dargestellt, gab es einen solchen Schnitzer aus Kyôto, known for ivory work. The piece € 1.600 - 2.000 | $ 1.888 - 2.360 aber laut Koji Hoten, II, S.171f. „Pieuvre“, dort geboren 1781 und im Soken Kisho hat er als Sennin manchmal einen Ok- erwähnt. Es gibt einen 2. Künstler dieses topus. Band I, S.480, Tafel XXVII, Nr. 12 Namens, der ist jedoch nur für Elfenbein- zeigt Kensu als Priester, der Kopf unserem Netsuke bekannt. Das vorliegende Stück Netsuke ähnelnd dargestellt, mit beiden könnte auch von einem dritten Künstler Tieren zugleich. H.12,1cm. Zustand A. desselben Namens stammen, wenngleich die Erwähnung im Soken Kisho eher auf NETSUKE: FISHER WITH OCTOPUS. unser Stück hinweist, dessen Entstehung Japan. Edo period. Ca. 1800. um 1800 anzusetzen ist. H.9,1cm. Zu- stand B. Zwei alte Reparaturen: Spitze Kensu as a fisherman, with a concentrat- des Tachi und eine Fehlstelle am Rand des ed expression, bare head surrounded by Tsuba erneuert. a semicircle of dense locks and with the typical ear-lobes of a Sennin. He is very Provenienz: tall and long-legged, wearing a short, -Sammlung Marcel Lorber. belted, and short-sleeved garment, stand- -Sammlung Martin Newstead, Abb. Hur- ing behind a tall catching-pot from which tig, Masterpieces, S. 152, Nr. 613. an anxious little octopus is peering up at -Sammlung Hindson, S. 73, Nr. 187 so- him, surrounded by a few small tentacles wie Farbtafel bei S. 76, Nr. 187, Auktion with suction cups, while the fisherman is 23.6.1969 hauling a huge long tentacle with both hands and all his might, bending back Literatur: with the effort. Marine ivory, with a beau- -Im Artikel von M.T. Hindson in The Con- tiful glossy surface and very good, warm, noisseur, Nov. 1965. in parts shiny, natural patina. The long, -In Farbe auf Schutzumschlag von N. Da- curved netsuke stands in balance on its vey, Netsuke from the Hindson Collection, small feet. Kensu is usually shown with a revidierte Ausgabe 1982. large shrimp on his shoulder, though as a Sennin the octopus too is his companion creature, (see Koji Hoten, “pieuvre”, vol. II, p. 171/72. Vol.I, p. 480, plate XXVII, no. 12 shows Kensu as a priest with a head very like ours, holding both creatures, shrimp and octopus. H.12,1cm. Condition A.

€ 2.800 - 3.200 | $ 3.304 - 3.776 | ‡

Netsuke An Italian Private Collection

2250 NETSUKE: WEIBLICHES GESPENST. NETSUKE: FEMALE GHOST. Japan. Edo-Zeit. 18. Jh. Japan. Edo period. 18th c.

Saishiki-Figur, den Geist einer Frau vor- Saishiki-figure of a female ghost emerging stellend, aufsteigend aus züngelnden from darting flames, holding a long strand Flammen, mit der knochigen Rechten eine of hair in her bony right hand. Boxwood, lange Haarsträhne haltend. Buchsbaum, finely carved and engraved, with vestiges fein geschnitzt und graviert mit Resten of red and green lacquer in the folds of roten und grünen Lacks in den Gewand- the robe. H.6,9cm. Condition A. falten. H.6,9cm. Zustand A. Provenance: Provenienz: -Isobel Sharpe Collection. -Sammlung Isobel Sharpe. -J.A. Fairley Collection, no 900. -Sammlung J.A. Fairley, Nr. 900. -Hindson Collection, no 1293, Auction VII, -Sammlung Hindson, Nr. 1293, Auktion June 23rd 1969. VII, 23.6.1969. Abgebildet in einem Arti- kel von M.T.Hindson in The Connoisseur, Literature: April 1955. -Illustrated in an article by M.T.Hindson in The Connoisseur, April 1955. Literatur: -Cologne 2017 MOA, for the 2017 Net- -Ausgestellt im MOK, Köln zur Netsuke suke Convention, Cat. no. 96. Convention 2017, Nr. 96. € 5.000 - 6.000 | $ 5.900 - 7.080

Netsuke An Italian Private Collection 2251 NETSUKE: HOLLÄNDER MIT NETSUKE: DUTCH WITH RABBIT. KANINCHEN. Japan. Edo period. 18th c. Japan. Edo-Zeit. 18. Jh. Rare and grandiose ivory figure of a tall Elfenbein. Seltene, großartige Figur eines Dutch sailor, wearing a “pantalon á pont” holländischen Matrosen, eine Hose tra- as designed in 17th century France and gend des sog. Typs ‚pantalon à pont‘, wie typical garb for sailors. His pantaloon sie in Frankreich im 17. Jh. perfektioniert is fastened at one side below the nar- wurden. Diese diagonal geknöpfte Hose row belt with two agate buttons. The wird seitlich unter dem schmalen Gürtel brimmed hat has a pom-pom dangling mit zwei aus Achat eingelegten Knöpfen from the top. The unknown carver must gehalten. Der unbekannte Schnitzer muss have seen a European sailor before he also einen so gekleideten Europäer gese- could carve all these details, and that was hen haben. Er trägt einen Hut auf dem only possible around Nagasaki/Deshima. Kopf. Er steht in eleganter Haltung, den The sailor is standing in elegant posture, Kopf mit lachendem Gesicht umgewandt head turned back, with smiling face, hold- und hält ein erlegtes Kaninchen mit bei- ing a rabbit diagonally across his front. den Händen. Der unbekannte Schnitzer Procuring such a rabbit was believed to muss also einen so gekleideten Europäer ensure plentiful progeny. See for the in- gesehen haben, um diese Details so terpretation of this netsuke and the place korrekt wiedergeben zu können. Dies of its creation the chapter ‘Netsuke from war nur in der Umgebung von Nagasaki/ Satsuma’ in the catalogue ‘Netsuke & Deshima möglich. Siehe für die Interpre- Sagemono’, Netsuke Convention Cologne tation dieses Netsuke und den Ort seiner 2017, cat. no. 140 and Alain Ducros’ Entstehung das Kapitel ‚Netsuke aus Sat- introduction to this group. H.13,8cm. suma‘ im Katalog ‚Netsuke & Sagemono, Condition A. Netsuke Convention Cologne 2017, Kat. Nr. 140 und die Einführung von Alain Literature: Ducros zu dieser Gruppe. H.13,8cm. Zu- -Kyôto and Tôkyô 2010 Celebrating the stand A. 150th Anniversary of Friendship between Germany and Japan, catalogue p. 19. Literatur: -Cologne MOA 2017, Catalogue no.140, -Kyôto and Tôkyô 2010 Celebrating the p. 91. 150th Anniversary of Friendship between Germany and Japan, Katalog S. 19. € 26.000 - 30.000 | $ 30.680 - 35.400 | ‡ - Ausgestellt im MOK, Köln zur Netsuke Convention 2017, Katalog Nr. 140, S. 91.

Netsuke An Italian Private Collection 2252 2253 NETSUKE: SHISHI. NETSUKE: SHISHI. NETSUKE: SHISHI MIT BALL. NETSUKE: SHISHI WITH BALL. Japan. Edo-Zeit. Um 1800. Japan. Edo period. Ca. 1800. Japan. Edo-Zeit. Mitte 18. Jh. Japan. Edo period. Mid 18th c.

Shishi in typischer Siniu-Gestalt als Sie- Shishi in typical Siniu pose as a seal net- Mächtiger Shishi sitzend, den Kopf um- Powerful Shishi sitting upright, its head gelnetsuke. Es trägt wie das Siniu kein suke. The lion-dog, bare-bodied without gewandt. Seine Vorderpfoten liegen auf turned, mouth open and snarling. It is Fell, sitzt wie dieses mit auf langem Hals fur and long-necked like a Siniu, is sitting dem riesigen Ball, den er mit der rechten holding a huge ball with both impressively hochgerecktem, umgewandtem Kopf on a flat oval plinth with a seal, its head Hinterpfote, dem linken Bein und Fuß strong front-paws and its right hind-paw. und leicht geöffnetem Maul mit den gut stretched up and turned back, mouth festhält, dabei mit weit offenem Maul Ivory, boldly carved and polished, beauti- sichtbaren Reißzähnen auf einem flachen, slightly open baring its fangs. The tip of agressiv umschauend. Elfenbein, kräftig ful, heavy mane-curls with dark accents, ovalen Sockel, der ein Siegel trägt. Die its short tail reaches up to the small Shishi geschnitzt und poliert, die teils lockigen pupils inlaid in black horn. Signed on Spitze des kleinen Schwanzes führt bis zu curls growing one row each side along its Haarsträhnen fein graviert und dunkel ak- rounded rectangular reserve: Mitsuharu, den kurzen Shishi-Locken, die beidseits spine up to the short curly mane. Small zentuiert, die Pupillen eingelegt aus dunk- cf. MCI, p. 532, illustrated there with a der Wirbelsäule in geschwungener Linie flames blaze from the joints. Ivory, finely lem Horn. Auf rechteckiger, gerundeter similar model by this Kyôto artist, though bis zur Mähne aus zwei Löckchenreihen carved and engraved with darker details Reserve signiert: Mitsuharu. Vgl. MCI, S. in comparison it shows less overall plastic reichen. Aus den Gelenken seiner Beine and bearing a wonderfully shiny, rich 532, der dort ein ähnliches Modell eines strength and quality of details. But Mein- lodern kleine Flämmchen. Elfenbein, fein golden-yellow, in parts amber-colored, Kyôto-Künstlers zeigt, allerdings nicht ertzhagen does mention two Karashishi geschnitzt und graviert, dunkel akzentu- natural patina. The seal may be read “bô” von der runden, plastischen Kraft und with a ball among his eight pieces by iert mit wunderschön glänzender, goldgel- (or kômuru), which means to “receive” or Qualität in den Details wie das hier ange- this Soken Kisho carver, one of which ber, teils bernsteinfarbener Gebrauchspa- “enjoy”. H.6,6cm. Condition A. botene; immerhin erwähnt er unter den may well be our piece. The signatures tina. Das Siegel kann „bô“ (oder kômuru) acht Stücken dieses Soken Kisho Künst- and reserves he shows are all different. gelesen werden, was „erhalten“ oder € 1.500 - 1.800 | $ 1.770 - 2.124 | ‡ lers zwei Karashishi mit Ball, wohl eines The Catalogue of the Cologne Netsuke „bekommen“ bedeutet. H.6,6cm. könnte unseres hier sein. Die gezeigten Convention 2017, “Netsuke & Sagemo- Zustand A. Signaturen mitsamt ihren Kartuschen sind no”, no.149, p.96, shows a very similar, alle von einander abweichend. Im Kata- though unsigned netsuke, which however log „Netsuke & Sagemono“ zur Kölner Alain Ducros attributes to Gechu because Ausstellung im MOA unter Nr. 149, S. 96 it has six claws per paw. Even though, ist ein sehr ähnliches Modell abgebildet, the similarity of posture and details of das Alain Ducros jedoch Gechu zuschreibt design with our piece are striking, and I wegen der sechs Klauen pro Tatze, aber am tempted to believe that Mitsuharu is a die Ähnlichkeit von Position und Details more likely artist. H.5cm. Condition A. der Ausführung mit diesem Stück hier ist frappierend. H.5cm. Zustand A. € 4.500 - 5.500 | $ 5.310 - 6.490 | ‡

Netsuke An Italian Private Collection 2254 2255 NETSUKE: ZWEI RATTEN. NETSUKE: TWO RATS. NETSUKE: MÄCHTIGER TIGER. NETSUKE: MIGHTY TIGER. Japan. Edo-Zeit. Spätes 18. / Frühes 19. Jh. Japan. Edo period. Late 18th / early 19th c. Japan. Edo-Zeit. 2. H. 18. Jh. Japan. Edo period. 2nd half 18th c.

Zwei Ratten mit aufgeblähten Backen und Two rats with puffed cheeks and typical Mächtiger Tiger, den Kopf mit den si- Mighty tiger, its head, with ears pricked den typischen fleischigen Ohren, auf dem fleshy ears sitting on Daikoku’s mallet chernd hochgestellten, spitzen Ohren up warily, turned licking the underside Hammer des Glücksgottes Daikoku sit- which has a tama-design on its sides. Ivo- umgewandt und dabei die Unterseite of its left hind paw. Its long, pointed tail zend, dessen Seiten mit einem Tama-Mus- ry. Signed Okatori. See MCI, p. 622, who seiner linken Hinterpfote leckend. Der flung animatedly over its left flank and up ter geschmückt sind. Elfenbein. Signiert assigns Okatori´s animals striking realism lange, spitze Schwanz schwingt bewegt the back as far as the shoulder. Boxwood, Okatori. Vgl. MCI, S. 622, der Okatori and considers him the most brilliant of über seine linke Flanke und den Rücken boldly carved with many fine details, such einen bemerkenswerten Realismus attes- Okatomo’s pupils, praising his great origi- bis zur Schulter. Buchsbaum, kräftig und as the toes of all four paws, or the stripes tiert und ihn für den brillantesten Schüler nality. W.3,9cm. Condition A. teils sehr detailliert geschnitzt wie die of its coat, vigorously engraved and with von Okatomo hält und zudem für seine Zehen aller vier Pfoten, die gestreifte darker accents. The eyes are highlighted Originalität rühmt. B.3,9cm. Zustand A. Literature: Fellzeichnung kräftig graviert und dunkel with brass onlay without pupils. Signed - Museum of East Asian Art Cologne, for akzentuiert. Die Augen akzentuiert mit below the left hind paw on an indicated Literatur: the Cologne Netsuke Convention 2017. Messingauflage ohne eingelegte Pupillen. rectangular reserve: Minko. Undoubtedly -Ausgestellt im MOK, Köln zur Netsuke Catalogue p. 116, no. 137 Auf der Unterseite der linken Hinterpfote the Juntoku Minko mentioned in the Convention 2017, Nr. 137. auf angedeuteter, rechteckiger Reserve Soken Kisho (see MCI, p. 505). L.5,5cm. € 4.500 - 5.500 | $ 5.310 - 6.490 | ‡ sign.: Minko. Zweifelsohne der im Soken Condition A. Kisho erwähnte Juntoku Minko. Vgl. MCI S. 505. L.5,5cm. Zustand A. € 7.000 - 8.000 | $ 8.260 - 9.440

Netsuke An Italian Private Collection 2256 2257 NETSUKE: VIER WÄCHTER NETSUKE: GROUP OF FIVE ANIMALS. NETSUKE: WOLF MIT AFFE. NETSUKE: WOLF WITH MONKEY. DER HIMMELSRICHTUNGEN. Japan. Edo period. Probably early 19th Japan. Edo-Zeit. 2. H. 18. Jh. Japan. Edo period. 2nd half 18th c. Japan. Edo-Zeit. Wahrscheinlich frühes cent. 19. Jh. Sitzender, magerer Wolf mit durchschei- Gaunt wolf seated, ribs showing, tail Group of five animals: tiger, tortoise, nenden Rippen, Schwanz zwischen den drawn in between its haunches, between Eine Gruppe von fünf Tieren, nämlich snake, dragon, and Ho-Ho bird, natu- Hinterläufen eingezogen, zwischen seinen its front paws holding down a frightened Tiger, Schildkröte, Schlange, Drache ralistically and harmoniously composed Vorderpfoten ein auf dem Rücken lie- little monkey. Lying on its back, the mon- und Ho-Ho-Vogel, sehr naturgetreu und around a rock. Ebony, boldly carved with gendes ängstliches Äffchen, das ihn mit key is clinging to the wolf’s jaw with its harmonisch komponiert auf und um very finely engraved details. Signed under rechten Hand am Unterkiefer fasst, right hand, and with its left at the latter’s einen hohen, fast ovalen Felsen-Sockel. derneath: Retsuchosai Matsushige koku während es sich mit der Linken an dessen right front leg. Ivory, very finely carved, Ebenholz, sehr fein und detailliert ge- (carved by.). An unknown artist, our piece Unterschenkel festhält. Elfenbein, fein fur very delicately engraved and stained schnitzt und graviert, signiert: Retsucho- illustrated without comment on the carv- geschnitzt und mit sehr fein graviertem, dark. Partly rubbed, the ivory softly pol- sai Matsushige koku (geschnitzt von...) er in MCI, p. 498. Neil Davey, Hindson dunkel eingefärbtem Fell. Stellenweise ished and patinated. The wolf’s pupils are - unbekannter Künstler. Kommentarlos Catalogue p. 297 points out that there scheint das durch viel Tragen polierte El- minutely inlaid in dark horn. Signed on abgebildet MCI, S. 498. N. Davey im are 5 instead of 4 guradians of the four fenbein durch, die Pupillen des Wolfs sind a rectangular reserve under the left hind Hindson-Katalog, S. 297, verweist darauf, directions because it was once thought eingelegt aus dunklem Horn. Auf recht- paw: Tomotada. MCI p. 917, illustrates dass es 5 statt 4 Tiere für die 4 Wächter that tortoise and snake were the female eckiger Reserve unter linkem Hinterlauf four wolves, each with prey. L.5,2cm. der Himmelsrichtungen gibt, weil einst and male versions of one and the same signiert: Tomotada. MCI bildet auf S. 917 Condition A. Schildkröte und Schlange für die weibli- animal. W.5,8cm. Condition A. vier Wölfe jeweils mit Beute ab. L.5,2cm. che und männliche Version ein und des- Zustand A. € 5.500 - 6.000 | $ 6.490 - 7.080 | ‡ selben Tieres gehalten wurden. B.5,8cm. Provenance: Zustand A. -Gunther Collection, no. 52. -F. Meinertzhagen Collection, illustrated Provenienz: with color sketch in his Card Index. -Sammlung Gunther, Nr. 52. -Hindson Collection, no. 904. -Sammlung F. Meinertzhagen, mit einer Farbskizze in seinem Card Index. € 4.500 - 5.500 | $ 5.310 - 6.490 -Sammlung Hindson, Nr. 904.

Netsuke An Italian Private Collection 2258 NETSUKE: HIRSCHKUH MIT JUNGTIER. NETSUKE: RECLINING HIND. Japan. Edo-Zeit. 18. Jh. Japan. Edo period. 18th c.

Hirschkuh liegend mit untergeschlagenen Reclining hind, its legs folded under and Beinen, den Kopf mit leicht geöffnetem head raised with mouth slightly open, Maul seitlich hochgereckt, während ihr while her offspring lies nestled head to Junges gegenläufig angeschmiegt in tail at her side, its head resting tenderly zärtlicher Haltung seinen Kopf auf ihre on her flank. Ivory, excellent and animated Flanke legt. Elfenbein, fein und bewegt carving with finely engraved, stained fur, geschnitzt mit detailliert graviertem, dunkel the spots typical for the fur of fallow deer akzentuiertem Fell, die typischen Punkte are lightly outlined, the eyes inlaid in dark im Fell des Dam-Wilds fein angedeutet, die horn. Signed on a rectangular reserve: Augen eingelegt aus dunklem Horn. Auf Tomotada. This piece shows all the quali- rechteckiger Reserve signiert: Tomotada, ties characteristic for the famous carver of Das Stück zeigt alle typischen Besonder- the Kyôto-School. W.4,8cm. Condition A. heiten des berühmten Schnitzers aus der Kyôto-Schule. B.4,8cm. Zustand A. Literature: -MOA Cologne 2017 for the Cologne Literatur: Netsuke Convention, Cat. p. 84, no. 133. -Ausgestellt im MOK, Köln zur Netsuke Convention 2017, Kat. Nr. 133. € 7.500 - 8.500 | $ 8.850 - 10.030 | ‡

Netsuke An Italian Private Collection 2259 NETSUKE: LIEGENDE KUH MIT KALB. NETSUKE: COW WITH CALF. Japan. Edo-Zeit. 18. Jh. Japan. Edo period. 18th c.

Prächtige, wohlgenährte Kuh, liegend mit Magnificent, well-fed cow lying down langem Zugseil in natürlichen Schwüngen with a long tether undulating across her über ihren Rücken gelegt und auf der back to her left flank, ending in a little Flanke in einer kleinen Schlaufe endend. loop. Her male calf lies snuggled at her Ihr männliches Kälbchen liegt an sie side, tenderly licking the cheek its moth- geschmiegt und leckt zärtlich ihre leicht er turns towards it. The undersides and zugeneigte linke Lefze. Die Unterseiten hooves of both cattle are smooth, and und Hufe der Rinder sind einschließlich the cow’s teats are shown, with a shiny, der feinen Zitzen detailliert dargestellt golden, natural patina. The finely twist- und goldgelb glänzend patiniert. Der aus ed double rope artfully tied to form the feinst gedrehtem doppeltem Seil kunstvoll tackle, the loose short mane between the geknüpfte Halfter, die lockere Stirnmähne, horns which curl around the ears, the soft das weiche Maul, die um die Ohren ge- muzzle and dark inlaid eyes all make visi- bogenen Hörner und dunkel eingelegten ble the different haptic qualities involved. Pupillen des Muttertieres sind im Detail Ivory, carved very naturalistically, fur finely fast haptisch spürbar unterschiedlich wie- engraved and tinted dark where it has not dergegeben. Elfenbein, sehr naturgetreu been worn smooth due to long use. Beau- geschnitzt, das Fell fein graviert und dun- tiful patina, amber underneath. Unsigned, kel akzentuiert, die glatt abgeriebenen Kyôto-School. There are very similar mod- Partien zeigen langen Gebrauch und eine els by Tomotada. L.7,5cm. Condition A. wunderschöne, auf der Unterseite bernsteinfarbene Patina. Unsigniert. Kyotô- Literature: Schule. Es gibt sehr ähnliche Modelle von -Hindson owned a very similar model, Tomotada. L.7,5cm. Zustand A. though of an ox and calf. See N. Davey’s Catalogue no. 170, carver no. 560. Literatur: -Hindson besaß ein sehr ähnliches Modell, € 5.500 - 6.500 | $ 6.490 - 7.670 | ‡ jedoch einen Ochsen mit Kalb, signiert Tomotada. S. Kat. Nr. 560.

Netsuke An Italian Private Collection 2260 2261 NETSUKE: LIEGENDES RIND. NETSUKE: RECLINING COW NETSUKE: STEHENDES PFERDCHEN. NETSUKE: STANDING HORSE. Japan. Edo-Zeit. 19. Jh. Japan. Edo period. 19th c. Japan. Edo-Zeit. Um 1800. Japan. Edo period. Ca. 1800.

Liegendes Rind, den Kopf umgewandt, Reclining young cow, its head turned Elfenbein. Stehendes, graziles Pferd, das Standing graceful horse, its right front mit Halfter und minutiös geschnitztem back, with halter and rope lying in waves rechte Vorderbein leicht angezogen, leg slightly lifted, head tilted and mouth und graviertem Zugseil, das in Wellenlini- over its back, the rope extremly well den Kopf gebeugt mit offenem Maul, open, probably irritated by a fly, its ears en über seinem Rücken liegt mit Schlaufe carved and engraved ending in a loop. vermutlich irritiert durch eine Fliege, die laid back. The tail, undulating almost am Ende. Gleichmäßig weißliches, dicht Evenly grained whitish ivory with dense Ohren angelegt. Der bewegte, fast waa- horizontally, suggests it is chasing off flies. gemasertes Elfenbein, gleichmäßig und structure, exquisitily well carved and en- gerecht geschwungene Schweif scheint Ivory, expressive and lively carved, fur and sehr fein geschnitzt mit subtil gravierten graved, the eyes inlaid amber with black auch Fliegen zu vertreiben. Elfenbein, tail finely engraved with darker accents. Details, die Augen eingelegt aus Bern- pupils, the bent horns with fine tips show ausdrucksstark und bewegt geschnitzt, The attentive eyes have pupils inlaid with stein mit schwarzen Pupillen, die glasig a glossy polish so does the rectangular, Fell und Schweif fein graviert und dunkel black horn. Natural himotoshi. The cen- polierten Hörner mit spitzen Enden. Auf slightly raised reserve giving the signature: akzentuiert, die aufmerksam blickenden tre of the tusk visible on left hind flank. rechteckiger, leicht erhabener, polierter Kaigyokusai with seal: Masatsugu on a Augen eingelegt aus schwarzem Horn. H.5,5cm. Condition A. Reserve signiert: Kaigyokusai & Siegel Ma- slightly raised, square reserve. See MCI Natürliche Himotoshi. Das Zentrum des satsugu.Vgl. MCI, S. 297. Schöne, kom- pg. 297. Beautiful, compact form, at the Zahnes sichtbar an einer Flanke. H.5,5cm. € 6.500 - 7.500 | $ 7.670 - 8.850 | ‡ pakte Form, Unterseite glänzend poliert. bottom well polished. L.4,2cm. Zustand A. L.4,2cm. Zustand A. Condition A.

€ 5.500 - 6.500 | $ 6.490 - 7.670 | ‡

Netsuke An Italian Private Collection 2262 2263 NETSUKE: LIEGENDER KEILER. NETSUKE: ASLEEP BOAR. NETSUKE: WELPE MIT HALSBAND. NETSUKE: PUPPY WITH COLLAR. Japan. Edo-Zeit. Frühes 19. Jh. Japan. Edo period. Early 19th c. Japan. Edo-Zeit. Mitte 19. Jh. Japan. Edo period. Mid 19th c.

Grazile Figur eines jungen Keilers, der Graceful figure of a young wild boar, Welpe mit Stummelschwänzchen, Kopf Puppy with a stumpy tail, seated with its ruhig schlafend auf einem Bett aus u.a. peacefully asleep on a bed of maple and nach Links gewandt sitzend, mit hinten head turned left, wearing a collar knotted Ahornblättern bei kleinen Felsen sitzt, other leaves near small rocks, with blades geknotetem Halsband, an dem vorne ein at the back from which hangs a bib with zwischen denen Gräser sprießen, stel- of grass sprouting between them, some Lätzchen mit eingraviertem Stern-Muster an engraved star-pattern. It is holding lenweise bedeckt von Tautropfen, die partly covered with dew drops which are hängt. Unter den beiden linken Pfoten a ‘hato’, a pidgeon-shaped toy whistle akzentuiert sind durch Einlagen aus Silber, picked out by inlays of silver, shakudô, eine sog. Hato (Spielzeugtaube als Flöte). under its two left paws. Very fine, pure Shakudô und Kupfer. Elfenbein, sehr fein and copper. Ivory, very delicately carved. Sehr feines, gleichmäßig weißes Elfen- white ivory, the minutely engraved fur left geschnitzt, das Fell, die Blattnarben und Fur, veins of the leaves, and tufts of grass bein, fein geschnitzt, minutiös graviert, unstained, eyes inlaid in tortoise-shell with Grasbüschel subtil graviert und dunkel subtly engraved with darker details. die Augen eingelegt aus Schildpatt mit dark pupils. Underneath, on the flank of akzentuiert. Auf der Unterseite der Felsen Signed under the rocks: Kaigyo Masat- dunklen Pupillen. Unten, auf der Flanke its right hind-leg, signed on a long, rect- sign.: Kaigyo Masatsugu. Abgebildet in sugu. Illustrated in MCI, p. 296. An early des rechten Hinterbeines auf langer, angular, polished reserve: Kaigyokusai, MCI S. 296. Frühe Arbeit des für seine piece by the carver who became famous rechteckiger, glatt polierter Reserve si- and on a separate square cartouche with fein eingefärbten und modellierten Tier- for his delicately modelled and tinted an- gniert: Kaigyokosai, und auf separater, seal: Masatsugu. Cf. MCI, p. 289f. Accor darstellungen bekannten Schnitzers aus imal figures. Born in Ôsaka 1818, where quadratischer Kartusche das Siegel: Masa- ding to Hindson (catalogue VI), one of the Ôsaka, wo er 1818 geboren wurde und he lived until he moved to Tôkyô in 1887 tsugu. Vgl. MCI, S.289/90. Laut Hindson best examples of Kaigyokusai’s work from wohnte bis zu seinem Wechsel 1887 nach to the centre of foreign exports, he yet (Katalog VI) eines der besten Beispiele für his later, mature period. Apparently Julius Tôkyô in das Zentrum des Exports an Aus- soon returned to his native town where ein Werk aus Kaigykosai‘s später, reifer Katchen owned an almost identical mod- länder, jedoch bald wieder zurückkehrte he died on January 21st, 1892 aged 74, Schaffensperiode. Offenbar besaß auch el. W.3,6cm. Condition A. und am 21. Jan. 1892 im Alter von 74 and was buried there. H.2,5cm, W.4cm. Julius Katchen ein fast identisches Modell. Jahren in Osaka starb und auch begraben Condition A. B.3,6cm. Zustand A. Provenance: ist. H.2,5cm, L.4cm. Zustand A. -Henderson Collection. € 3.800 - 4.800 | $ 4.484 - 5.664 | ‡ Provenienz: -M. M. Hepworth Collection. -Sammlung Henderson. -Hindson Collection, no. 126, and color -Sammlung M. M. Hepworth. plate p. 45; Auction VI, 11.03.1969, lot -Sammlung Hindson, Nr. 944, Farbtafel S. 944. 45. Auktion VI am 11.3.1969. -Exhibited: Contrasting Styles Exhibition, -Ausgestellt: Contrasting Styles Exhibition, London, May 1980, no. 14. London, Mai 1980, Nr. 14. € 3.500 - 4.000 | $ 4.130 - 4.720 | ‡

Netsuke An Italian Private Collection 2264 2265 OJIME ÄFFCHEN. OJIME MONKEY. NETSUKE: AFFE. NETSUKE: MONKEY. Japan. Edo-Zeit. Japan. Edo period. Japan. Edo-Zeit. Japan. Edo period.

Ojime in Form eines zur Kugel gerollten Ojime in the shape of a monkey, curled Hockender Affe in stilisierter Kugelform Seated monkey, curled into a tight ball, Äffchens, sich mit Händen und Füßen into a tight ball with its hands and feet und sich mit Händen und Füßen Augen, its hands and feet covering eyes, mouth, Augen, Mund und Ohren zuhaltend und covering eyes, mouth, and ears, thus Mund und Ohren zuhaltend. Diese Kom- and ears, thus all at once representing the so in einer Gestalt die ‚Drei Weisen Affen‘ representing the Sanbiki Saru’ ´Three bination stellt die sogenannten Sambiki Sanbiki Saru’ Three Wise Monkeys’- see darstellend. Elfenbein, sehr fein geschnitzt Wise Monkeys’. Ivory, well polished and Saru, die ‚Drei Weisen Affen‘ dar. Elfen- no evil, hear no evil, speak no evil. Ivory, und minutiös graviert. Auf polierter patinated, light amber-colored on the bein, sehr fein geschnitzt, graviert und very finely carved, smooth without hair- rechteckiger Reserve signiert: Kaigyoku. back from wear. Signed in a polished poliert mit wunderschöner, glasiger, teils work, engraved, and polished, with a fine, Ø 2cm. Zustand A/B. Haarriss zu beiden rectangular reserve: Kaigyoku. Ø 2cm. crèmefarbener Gebrauchs-Patina, mit creamy, natural patina and a beautiful Seiten des Himotoshi. Identische Position Condition A/B. Hair crack on both sides of golden bis bernsteinfarbenem, kreisrun- golden to amber-colored, circular area on wie bei dem vorhergehenden Netsuke. the himotoshi. Identical position as on the dem Bereich auf dem Rücken. Signiert: the back. Signed: Kaigyoku & seal: Masat- preceding netsuke. Kaigyoku & Siegel: Masatsugu in Doppel- sugu in a fine rectangular double frame, Rahmen, abgebildet bei MCI, S. 295. illustrated by MCI p. 295. H.3cm. Condi- € 1.300 - 1.500 | $ 1.534 - 1.770 | ‡ H.3cm. Zustand A/B. Rund-Risse. tion A/B. Round cracks.

Provenienz: Provenance: -Sammlung Isobel Sharpe. -Isobel Sharpe Collection. -Sammlung Duveen. -Duveen Collection. -Sammlung Reiss. -Hindson Collection, no. 120, sold in part -Sammlung Hindson, Nr. 120, Auktion VII, VII, no. 1130. Nr. 1130. -Reiss Collection.

€ 4.200 - 4.800 | $ 4.956 - 5.664 | ‡

Netsuke An Italian Private Collection 2266 2267 NETSUKE: PÄONIE. NETSUKE: PEONY. NETSUKE: SCHILDKRÖTE. NETSUKE: TURTLE. Japan. Meiji-Zeit. Japan. Meiji period. Japan. Edo-Zeit. Anfang 19. Jh. Japan. Edo period. Early 19th c.

Große, lebendige Päonienblüte an Blät- Large, lifelike peony blossom on a leafy Schildkröte, kaum sichtbar unter ihrem Tortoise, almost hidden inside its cara- terzweig. Elfenbein, sehr fein geschnitzt twig. Ivory, very delicately carved and Panzer, Details sehr fein geschnitzt in pace, details very finely carved from box- und graviert mit schöner, glasiger Ge- engraved with beautiful glossy patina ukibori aus Buchsbaum, die großen Au- wood in ukibori, the large eyes inlaid in brauchspatina, die Blattsäume so dünn from use. The petals and leaves are carved gen eingelegt aus schwarzem Horn. Sig- black horn. Signed: Goho, a very talented geschnitzt und poliert, dass sie transpa- and polished so thinly at the edges, that niert: Goho, ein sehr talentierter Schnitzer carver from Hiroshima, according to MCI rent wirken. Päonien gelten als Symbol they look transparent. Peonies are con- aus Hiroshima, tätig laut MCI zwischen active between 1804-17. Meinertzhagen des Frühlings und stehen für Freude, sidered as a symbol of spring and signify 1804-17, der 10 Netsuke von ihm kannte. said he had seen 10 netsuke carved by Glück und einen edlen Geist. Signiert: joy, good luck, and a noble spirit. Signed: Nähere Informationen und Unterlagen zu him. Further information and documents Yoshiyuki. Vgl. MCI, S. 999/1000, s. auch Yoshiyuki. See MCI, p. 999/1000, and also ihm sind bei dem Atomschlag auf Hiro- about Goho were lost during the nuclear Reikichi Nr. 1316, nach dessen Kommen- Reikichi, Netsuke Handbook, no.1316, shima Ende des 2. Weltkriegs verloren attack on Hiroshima at the end of World tar es sich um diesen Künstler handeln whose comment indicates it is this artist gegangen. L.5cm. Zustand A. War II. L.5cm. Condition A. könnte, denn er schreibt: „late, did beau- of whom he writes: “late, did beautiful tiful work in ivory“. B.4,5cm. Zustand A. work in ivory”. W.4.6cm. Condition A. Literatur: Literature: -Ausgestellt im MOK, Köln zur Netsuke -MOA Cologne 2017 for the Cologne Literatur: Literature: Convention 2017, S. 114, Abb. 192. Netsuke Convention, Cat. p. 114, no. -Ausgestellt im MOK, Köln zur Netsuke -MOA Cologne 2017 for the Cologne 192. Convention 2017, Nr. 193, Abgebildet auf Netsuke Convention, Cat. p. 116, no. S. 116. 193. € 3.500 - 4.200 | $ 4.130 - 4.956

€ 3.400 - 3.800 | $ 4.012 - 4.484 | ‡

Netsuke An Italian Private Collection Netsuke

2268 NETSUKE: MIGHTY BAKU. NETSUKE: MÄCHTIGER BAKU. Japan. Edo period. 18th/19th c.

Ivory with expressively carved, reddish colored details. The impressive animal with raised head sitting on a base. Height 7,8cm, width 5cm. Condition B. Hole of the nerve channel on the forehead of the animal, age cracks.

Literature: -Cf. Davey, Neil K.: Netsuke, 1982, p. 327, ill. 998, a very similar model.

€ 10.000 - 12.000 | $ 11.800 - 14.160 | ‡

Netsuke 2269 2270 2271 2272 NETSUKE: SENNIN GENKEI. NETSUKE: SENNIN SHOSEN. NETSUKE: SENNIN WITH ONI. NETSUKE: SENNIN CHOKWARÔ. NETSUKE: SENNIN GENKEI. NETSUKE: SENNIN SHOSEN. NETSUKE: SENNIN MIT ONI. NETSUKE: SENNIN CHOKWARÔ. Japan. Edo period. Early 19th c. Japan. Edo period. Ca. 1800. Japan. Edo period. Late 18th c. Japan. Edo period. 19th c. Hakata-School.

Ivory with finely carved details and Ivory, finely carved and engraved, slightly Ivory with carved and stained details. Ivory with extremely fine carved and en- beautiful, partly golden-yellow patina. accentuated through coloring with beau- Beautiful golden-yellow to amber patina. graved details, darkened. Beautiul golden- The standing Sennin in belted leaf-robe, tiful, shiny, golden-yellow patina. The A laughing Sennin with an Oni sitting on yellow patina, the cork of the gourd inlaid leaning on a long knotted wooden stick. Sennin, also called Kozen, the bundle his shoulder. Holding a bamboo basket dark horn. The Sennin with a leaf-gown A basket with flowers hanging from his of brushwood on his shoulder, holding with his right hand, the little devil’s foot in moved posture. With wild expression, right arm. According to the legend, he a rope with both hands. He is wearing with his left. Height 9.6cm. Condition wide-eyed and his hair blown in his face, got lost in the Tendai mountains with his the characteristic, belted robe with a leaf A/B. he is reaching for the still closed gourd on friend Ryushin and was saved by two fe- collar, his head turned sideways. Height Age cracks. his back. Height 7.1cm. Condition A. male immortals. Height 7.6cm. Condition 8.5cm. A/B. Age cracks. Condition A/B. Age cracks. € 1.500 - 2.000 | $ 1.770 - 2.360 | ‡ Provenance: -Collection Dupont. € 650 - 750 | $ 767 - 885 | ‡ Provenance: -Collection Karl M. Schwarz, ill. Netsuke € 3.000 - 4.000 | $ 3.540 - 4.720 | ‡ Subjects, 1992, no. 69.

€ 600 - 700 | $ 708 - 826 | ‡

2272

2273 NETSUKE: SENNIN TOHAKKUKA. NETSUKE: SENNIN TOHAKKUKA. Japan. Meiji period. 19th c.

Ivory with allround beautiful, glazed golden-yellow patina, the details finely engraved. The rarely portrayed Sennin with two Karako. To earn his living, he sold paintings that came to life in his hands, here implied by a cloud of smoke and lightning coming from the tips of his fingers. Height 6.8cm. Condition A/B. A few age cracks.

Provenance: -Collection Behrens, no. 786, ill. Joly, Henry: W.L. Behrens Collection, 1966, plate XVI. -Collection Karl M. Schwarz, ill. Netsuke Subjects, 1992, no. 67.

Literature: -Joly, Henry: Legend in Japanese Art, ill. p. 533.

€ 1.400 - 1.800 | $ 1.652 - 2.124 | ‡

2269 2270 2271 Netsuke 2273 2274 2275 2276 2277 NETSUKE: SENNIN KOKO. NETSUKE: SENNIN KOKO. NETSUKE: SENNIN TSURU. NETSUKE: STANDING CHOKWARÔ. NETSUKE: SENNIN KOKO. NETSUKE: SENNIN KOKO. NETSUKE: SENNIN TSURU. NETSUKE: STEHENDER CHOKWARÔ. Japan. Edo period. 19th century. Japan. Edo period. 18th c. Japan. Edo period. 19th c. Japan. Edo period. 18th c.

Boxwood with stained details. The Sennin Ivory with finely engraved, dark accentu- Grey-whitish Hirado porcelain, partly with Boxwood, with rests of former black lac- getting out of his pot, in which he goes to ated details, and beautiful, golden-yellow brown-white glaze. The bearded Sennin quering. The Sennin in leaf dress leaning rest at night. Height 4.2cm. Sign.: Masa- patina. Sennin Koko with head, shoulder, with long curls, in a belted, wide-sleeved on a gnarled branch, looking after his tomo in oval reserve. Condition A/B. and both arms in wide sleeves, looking robe. Holding the claw of a crane in his horse that has just fled from the gourd on out from a bowl. The old man who, to left hand. Height 7.1cm. Sign.: Masakazu his belt. Scratching the back of his head, € 800 - 1.000 | $ 944 - 1.180 his neighbours’ surprise, vanishes into (seal), not the artist listed under MCI p. his sleeve wafting over his neck and the a bowl, which is sometimes shaped like 420 no. 6. Condition A/B. Old chip on the back of his head. Height 8.4cm. Condi- a pumpkin, every evening, because he foot. tion A/B. spends the night in there, shrunk to a matching size. Rare Sennin depcited as a € 350 - 450 | $ 413 - 531 Provenance: Netsuke. Ø 3.4cm, height 2.1cm. Condi- -Collection Taudin Chabot, no. 304. tion A/B. Age cracks. € 500 - 600 | $ 590 - 708 Provenance: -Collection Karl M. Schwarz, ill. Netsuke Subjects, 1992, no. 71.

€ 700 - 850 | $ 826 - 1.003 | ‡

2277

2278 NETSUKE: ARHAT. NETSUKE: ARHAT. Japan. Edo period. 18th c.

Fang of a boar with stained details and amber-colored, glazed patina. The emaciated ascetic with a stick in his right hand and a gourd in his left, smoke rising out of it. Height 9.3cm. Condition A/B. Tiny imperfection at the sleeve of the gown.

€ 3.000 - 4.000 | $ 3.540 - 4.720 2274 2275 2276 2278 Netsuke 2279 2280 2281 2282 2283 2284 NETSUKE: SITTING OKAME. NETSUKE: ONNA DARUMA. NETSUKE: SITTING HOTEI. NETSUKE: KARAKO WITH DRUM. NETSUKE: KARAKO WITH MASK. NETSUKE: TWO KARAKO WITH PUPPY. NETSUKE: SITZENDE OKAME. NETSUKE: ONNA DARUMA. NETSUKE: SITZENDER HOTEI. NETSUKE: KARAKO MIT TROMMEL. NETSUKE: KARAKO MIT MASKE. NETSUKE: ZWEI KARAKO MIT WELPE. Japan. Edo period. 1st half of the 19th c. Japan. Edo period. 19th c. Japan. Edo period. 2nd half of the 19th c. Japan. Edo period. Early 19th c. Japan. Edo period. Early 19th c. Japan. Meiji period. 2nd half of the 19th c.

Cherrywood with beautiful shiny patina. Ivory, finely carved and engraved, the Boxwood with very finely carved and Dark-brown wood, finely carved and en- Tightly grained, dark-brown wood, finely Ivory, with finely carved details. Two Okame as a jealous bride, kneeling in a eyebrows inlaid black horn. Beautiful engraved details. The god of luck, Hotei, graved, the eyes and buttons of the drum carved and engraved, the back-painted Karako with puppy, standing on an Awa- rich kimono with opened fan in her right golden-yellow patina. In phallic shape, with a stiff fan in his left hand, sitting on inlaid light horn. Karako, sitting behind eyes inlaid glass, the tongue red coral. bi-shell. The right Karako hiding a skewer hand. Height 3cm. Sign.: Shumin saku, completely wrapped in her robe. In the a Chinese chair. The fan inlaid tortoise a drum, which he beats with visible joy, Karako, sitting in festive gown, a devil’s with so-called Dango (rice cake) behind cf. MCI p. 775, Shumin II, Tôkyô-School. seam of the robe a stylised inscription is shell, the Himotoshi framed by mother- lateral lies a Shishi-mask. Width 3.5cm. mask hiding behind his back and using his back and pulling down the lid of the Condition A. hidden “A jewel of the night”. Height of-pearl, various details partly made of Sign.: Miwa, cf. MCI p. 559f.f. Condition the so-called Bekkako-gesture (pulling right eye in the so-called Bekkako-ges- 4.5cm. Signed: Hidemasa & Kakihan, cf. colored mother-of-pearl, inlay of the chair A/B. one lid down) in order to challenge his ture (equivalent to our “Keep your eyes Provenance: LA p. 460f. Condition A/B. Tiny age crack made of stained ivory. Height 3.5cm, counterpart to be alert. Width 3.2cm. peeled”). Height 3.2cm. Condition A/B. -Collection Somerwil, Amsterdam. on the face. width 2.8cm. Sign.: Chikusai on rectan- € 700 - 800 | $ 826 - 944 Sign.: Miwa & Kakihan, cf. MCI p. 559f.f. gular tortoise shell reserve, cf. MCI p. 25, Kakihan “d”. Condition B. One horn of € 650 - 750 | $ 767 - 885 | ‡ € 1.200 - 1.500 | $ 1.416 - 1.770 Provenance: that depicts a very similar piece made of the mask broken off. -Collection Karl M. Schwarz, ill. Netsuke ivory. Ôsaka, active 1850-75. Condition Subjects, 1992, no. 38. A/B. Inscription in ink on the bottom. € 600 - 650 | $ 708 - 767 | ‡

€ 1.200 - 1.400 | $ 1.416 - 1.652 | ‡ € 1.800 - 2.100 | $ 2.124 - 2.478 | ‡

2284 2279 2280 2281 2282 2283 Netsuke 2285 2286 2288 2289 NETSUKE: SITTING ONI. NETSUKE: ONI. NETSUKE: SMALL ONI. NETSUKE: SITTING SHÔKI. NETSUKE: SITZENDER ONI. NETSUKE: ONI. NETSUKE: KLEINER ONI. NETSUKE: SITZENDER SHÔKI. Japan. Edo period. Mid-19th c. Japan. Edo period. 1st half of the 19th c. Japan. Edo period. Early 19th c. Japan. Edo period. 19th c.

Ivory, finely and detailed carved with dark Ivory with finely carved and engraved Ivory with finely carved and engraved, Boxwood with stained details. Unusual accentuated details. Beautiful, golden-yel- details. Partly stained. Oni hiding from the dark accentuated details. Beautiful, depiction of the sitting demon hunter. low patina. Oni with one horn, sitting beans under a large hat. The beans inlay golden-yellow patina. One small devil, In a large bag on his back three Oni are with his face twisted in pain, holding his of black horn and lacquered. Height 2cm, climbing over the detached arm of the visible who try to free themselves. Height bottom with his right hand. The one- length 3.6cm. Sign.: Mitsumasa, cf. Oni Ibaraki Dôji (the demon of Rashômon 3.8cm, width 3.8cm. Sign.: Toki Hachijuso horned devil is very rare and does not MCI p. 547. Condition A. gate), which was cut off by Watanabe no Jugyoku, cf. MCI p. 267. Presumably sold have its own name. Height 3cm, width Tsuna. Height 2.6cm, length 4cm. Condi- by Meinertzhagen, mentioned on page 3.2cm. Signed: Hirotada, cf. MCI p. 155- Provenance: tion B. Age cracks, right horn of the Oni 277. Condition A. 56. Condition B/C. Loss on the back foot -Collection Bushell. replaced. and veil. Provenance: € 800 - 1.200 | $ 944 - 1.416 | ‡ Provenance: -Collection Somerwil, Amsterdam. Provenance: -Collection Karl M. Schwarz, ill. Netsuke -Collection Karl M. Schwarz, ill. Netsuke Subjects Addendum, 2001, no. A 75. € 2.500 - 3.000 | $ 2.950 - 3.540 Subjects Addendum, 2001, no. A 31. -Collection Caskell no. G438. 2287 € 600 - 700 | $ 708 - 826 | ‡ NETSUKE: ONI WITH DRUM. 2289 € 800 - 900 | $ 944 - 1.062 | ‡ NETSUKE: ONI MIT TROMMEL. Japan. Edo period. Mid-19th c.

Ivory with very finely carved, engraved, and dark accentuated details. Little devil dressed only in tiger fur, crouching behind a large Mokugyo, which it polished with a broad tassel. Height 2.6cm, length 4.1cm. Sign.: Gyokusen, cf. MCI p. 103. Con- dition A/B. Age cracks, carving mistakes next to the signature.

€ 1.200 - 1.500 | $ 1.416 - 1.770 | ‡

2286

2288 2290 NETSUKE: SHÔKI WITH ONI. NETSUKE: SHÔKI MIT ONI. Japan. Edo period. 19th century.

Ivory stained, with engraved and darkly accentuated details. The demon-tamer in moved posture, with the devilkin in tiger-loincloth struggling on his shoulder. Height 7.7cm. Condition B. Age cracks, one Himotoshi rebored.

€ 5.000 - 6.000 | $ 5.900 - 7.080 | ‡

2287 Netsuke 2285 2290 2291 2292 2293 2294 NETSUKE: GOKI WITH GHOST. NETSUKE: SAMURAI AND DRAGON. NETSUKE: HAN KWAI. NETSUKE: KIRIN WITH SOLDIERS. NETSUKE: GOKI MIT GEIST. NETSUKE: SAMURAI UND DRACHE. NETSUKE: HAN KWAI. NETSUKE: KIRIN MIT KRIEGERN. Japan. Meiji period. Late 19th c. Japan. Meiji period. Japan. Meiji period. Late 19th c. Japan. Edo period. Early 18th c.

Ivory. The Chinese soldier Goki trying to Ivory with engraved details, colored in Boxwood. The minister of Emperor Kan Ivory with golden-yellow patina and push his wife’s ghost back into the grave. black and red. A soldier, with grim expres- no Kôso, who forced open his door in stained details. A chinese soldier with To prove his loyalty to China, he killed her sion, thrusts his sword into the pharynx of order to prevent an assassination attempt long beard, as well as a fan and sword in because she was Japanese. Height 5.1cm. a dragon while holding the head of the on the emperor. In his hand a wing of the his hands riding on a Kirin. He is accom- Signed: Shokyokuken, redened, cf. Ueda dragon by its ear. Height 4.1cm, width destroyed door. Height 4cm. Signed: panied by soldiers on both sides, which Reikichi: The Netsuke Handbook, p. 52, ill. 3cm. Sign.: Ikkosai, cf. MCI p. 226 no. 3, Shoto, cf. Davey, p. 2522. Condition A/B. are carrying a standard and a flag with 56. Condition A/B. Meiji period-artist. Condition A/B. them. Height 4.8cm, width 5cm. Age cracks. € 1.200 - 1.500 | $ 1.416 - 1.770 Condition A/B. Age cracks. Provenance: -Collection Bushell. € 3.500 - 4.500 | $ 4.130 - 5.310 | ‡ € 8.000 - 10.000 | $ 9.440 - 11.800 | ‡

€ 2.000 - 2.500 | $ 2.360 - 2.950 | ‡

2291 2292 2293 Netsuke 2295 2296 2297 2298 NETSUKE: TWO NIÔ. NETSUKE: NIÔ ON SANDAL. NETSUKE: KIYOHIME AND ANCHIN. NETSUKE: KIDOMARU UNDER OX FUR. NETSUKE: ZWEI NIÔ. NETSUKE: NIÔ AUF SANDALE. NETSUKE: KIYOHIME UND ANCHIN. NETSUKE: KIDOMARU UNTER Japan. Edo period. Mid-19th c. Japan. Edo period. Late 18th c. Japan. Edo period. 19th c. OCHSENFELL. Japan. Edo period. 1st half of the 19th c. Boxwood with finely carved and engraved Cherrywood wood finely carved details. Ivory, very finely carved, engraved, and details, partly darkened. Two Niô with The grimly looking guard sitting on a large stained. Kiyohime, with agressively Coral and ivory. Young Kidomaru hiding grim facial expression while arm wrestling sandal (waraji), holding the lacing like a opened mouth, winding around the bell under an ox fur carved from an evenly on a giant bowl. Height 2.5cm, width rope in both hands. This forms an elegant of the Miidera Temple. She is holding a red piece of coral. The boy’s face, and 4cm. Signed: Rakumin, Tôkyô-School, frame around a Himotoshi on the bottom. hammer in her left hand to toll the bell, the ox’ head and one leg follow the form 1804-1877. Condition A/B. Crack on the Height 2.7cm, length 4.4cm. Signed: Is- in order to entice the hidden Anchin, of the coral with very finely engraved loincloth of one Nio. shinsai, cf. MCI p. 446, Masanao Isshinsai. of whom only the feet and the kimono fur. This composition rests on a flat ivory Condition A/B. Chip on the forehead. are visible beneath. Height 4.8cm, width base, carved and subtly colored with en- € 1.400 - 1.600 | $ 1.652 - 1.888 4.4cm. Sign.: Tomochika, cf. MCI p. graved details from leaves and blossoms, € 1.800 - 2.300 | $ 2.124 - 2.714 885ff. Condition B/C. Handle of the ham- accentuated by inlaid dewdrops of vari- mer broken off. ous materials like coral, mother-of-pearl, and silver. Very harmonic composition. € 1.500 - 1.800 | $ 1.770 - 2.124 | ‡ One of the Himotoshi heart-shaped, the bottom finely polished. Height 2.4cm, width 4.9cm. Condition A/B. Tiny loss and breakage in the grass on the base.

€ 2.400 - 3.400 | $ 2.832 - 4.012 | ‡

2296

2295 2297 Netsuke 2299 2300 2301 2302 NETSUKE: SHÔJÔ. OKIMONO: SKELETON. NETSUKE: SON GOKU. NETSUKE: HAKUTAKU. NETSUKE: SHÔJÔ. OKIMONO: SKELETT. NETSUKE: SON GOKU. NETSUKE: HAKUTAKU. Japan. Edo period. 19th c. Japan. Meiji period. 2nd half of the 19th c. Japan. Edo period. 1st half of the 19th c. Japan. Edo period. 19th c.

Ivory with finely carved and engraved, Ivory, finely carved and engraved and Ivory with finely carved and engraved Powerful Hakutaku sitting on a large, oval stained details. Beautiful, partly golden- stained details. Beautiful glazed, golden- details, stained, the eyes inlaid black horn. base, head bowed down open-mouthed yellow patina. Shôjô crouching on the yellow patina. A skeleton coyly resting The Monkey King flying on his cloud, over its impressive paws. This rare unicorn shoulders of a Tokkuri (Sake bottle). He his foot on a rolled up lotus leaf, holding propping on his staff, which he could has differing features compared with the is looking deep into the emptied bottle it like a spear. A frog by its feet, watch- shrink and enlarge as he wished. Height highest-ranking Kirin which is mute, has while rubbing his hurting head. Height ing the scene interestedly. Height 6cm. 4.1cm. Sign.: Naokazu in oval reserve, cf. hooves not paws, and barely touches 4.4cm. Signed: Anraku, cf. MCI p. 3ff., Signed: Hidemasa. Condition A/B. Age LA p. 821. Condition A/B. the ground to avoid hurting even the Ôsaka-School. Condition A. Age cracks. cracks, chip on the foot. tiniest creature. The Hakutaku can speak € 2.000 - 2.500 | $ 2.360 - 2.950 | ‡ and discern anything evil, creatures or € 1.400 - 1.600 | $ 1.652 - 1.888 | ‡ € 900 - 1.200 | $ 1.062 - 1.416 | ‡ thoughts, and pounces on them, destroy- ing them. Which is what our Hakutaku appears to have just done, with an excla- mation or comment, judging by its open mouth. A long, almost straight mane sur- rounds its shoulders. Its tail is composed of whirls of curls and sideward whisps of hair, finely engraved, and stained dark. Ivory. Boldly carved, engraved, with dark staining, in parts softly polished from long wear. Behrens, no. 1378, owned another such very rare Hakutaku, as did Hindson a comparable one, Cat. no. 1002. Height 5.3cm, width 5.6cm. Condition A/B. Age cracks.

Provenance: - Collection Behrens, no. 1401. ill. plate XXVI. - Collection Brockhaus. - Collection Isobel Sharpe.

Literature: - H. Joly: Legend in Japanese Art, p. 278.

€ 10.000 - 12.000 | $ 11.800 - 14.160 | ‡

2299 2300 2301 Netsuke 2303 2304 2305 2306 2307 2308 NETSUKE: SHISHI WITH BALL. NETSUKE: SHISHI WITH CUB. NETSUKE: SHISHI. NETSUKE: TANUKI. NETSUKE: KAIBUTSU. OKIMONO: TANUKI AND SKELETON. NETSUKE: SHISHI MIT BALL. NETSUKE: SHISHI MIT JUNGEM. NETSUKE: SHISHI. NETSUKE: TANUKI. NETSUKE: KAIBUTSU. OKIMONO: TANUKI UND SKELETT. Japan. Edo period. 19th c. Kyûshû. Japan. Edo period. 18th c. Japan. Edo period. 2nd half of the 19th c. Japan. Edo period. Late 18th c. Japan. Meiji period. Late 19th c. Japan. Edo period. 19th century. Mitsuhara attributed. Ivory expressively carved and with stained Shishi sitting on a rounded, rectangular Ebony wood, the fur finely engraved. Stag antler. A mythical creature (kaibutsu) Ivory dark colored, with golden-yellow pa- Ivory with finely carved, engraved and details. Beautiful, golden-yellow patina. base, head turned, its left front paw rest- The sitting animal with high-raised paw with the body of a monkey, but a rep- tina, the details finely engraved and dark stained details, the dark eyes inlaid horn. Large Shishi lying on leaves, playing with ing on a large ball. Ivory, the carefully en- in order to drum on its huge scrotum. tile-like head. In standing posture, holding accentuated. The raccoon dog and the Mighty animal, orb can be moved freely. its cub. At its paws a blossoming peo- graved curls along its spine with dark pa- Height 3.1cm. Sign.: Tomin, cf. MCI p. its cheek and stomach. Height 4.3cm. skeleton at neck-drawing (kubihiki) sit- According to Alain Ducros, the crowns of ny. With versatile orb between its jaws. tination, in contrast to the reddish-brown 882, Minko-School. Condition A. Sign.: Tetsugen. Condition A/B. ting on top of a rotten lotus leaf. Height the mane are typical for the works from Height 2.6cm, width 5.3cm. Condition B. patina on the other parts, including the 2.5cm, width 4.6cm. Sign.: Yugyoku Kyûshû. Height 4.1cm. Condition A. Age cracks, imperfection at the leaves. base. Sign: Gyokuyosai Mitsuo & Kakihan Provenance: € 1.500 - 1.800 | $ 1.770 - 2.124 to (carved by Yugyoku), cf. LA p. 1251. accentuated in red. This artist is not regis- -Private collection Southern Germany Condition B. Restored fracture at the arms Provenance: € 3.000 - 4.000 | $ 3.540 - 4.720 | ‡ tered. The patination and signs of rubbing and rope. -Collection Prince Henry, Royal Duke of suggest dating it in the 2nd half of the € 800 - 1.000 | $ 944 - 1.180 Gloucester (Christies Auction no. 7256, 19th century. Height 3.3cm, width 4cm. Provenance: lot 661, Condition A/B. -Private collection Southern Germany 2006). € 2.500 - 3.000 | $ 2.950 - 3.540 | ‡ € 1.100 - 1.100 | $ 1.298 - 1.298 | ‡ € 4.500 - 5.500 | $ 5.310 - 6.490 | ‡

2304 2307

2303 2305 2306 2308 Netsuke 2309 2310 2311 2312 NETSUKE: ONO NO KOMACHI. NETSUKE: ONO NO KOMACHI. NETSUKE: SOUTH SEA ISLANDER. NETSUKE: DUTCHMAN WITH COCK. NETSUKE: ONO NO KOMACHI. NETSUKE: ONO NO KOMACHI. NETSUKE: SÜDSEEINSULANER. NETSUKE: HOLLÄNDER MIT HAHN. Japan. Meiji period. Late 19th c. Japan. Meiji period. Late 19th c. Japan. Edo period. 2nd half of the 19th c. Japan. Edo period. 18th c.

Boxwood with finely carved and engraved Ivory with very finely carved and engraved Ivory, finely carved and engraved with Ivory with finely carved, engraved and details, stained eyes inlaid with black details, finely patinated. The old poetess golden-yellow patina. Strongly haired stained details. Beautiful golden-yellow horn. The old poetess sitting on a grave- Ono no Komachi, very gaunt with a hat South Sea islander with muscular legs, patina, the buttons of the galoshes in- stone, leaning on a bamboo stick. A large on her back, shoulder bag, and leaning one sleeve of the robe lowered, exposing layed dark horn. Standing dutchman straw hat on her back. Height 4.2cm. on a bamboo staff with her left hand. his stomach. A long knife in his right with typical wide-brimmed hat, the coat Signed: Masanori, cf. MCI p. 464, with an Height 6.2cm. Signed: Soraku in rectan- hand, a captured coral in his left, hanging decorated with expressive wave pattern. ill. of this piece. Condition A. gular reserve, cf. LA p. 1034, student of over his shoulder. Height 5.2cm. Signed: In his arms a cock. Height 9.1cm. Anraku. Condition A. Masatsugu, cf. MCI p. 481, presumably Condition A/B. € 1.400 - 1.800 | $ 1.652 - 2.124 the 6th of this name. Condition A. € 700 - 800 | $ 826 - 944 | ‡ € 5.500 - 6.500 | $ 6.490 - 7.670 | ‡ Provenance: -Collection Bushell.

€ 800 - 1.000 | $ 944 - 1.180 | ‡

2309 2310 Netsuke 2311 2313 2314 2315 2316 2317 NETSUKE: TREASURE COLLECTOR. NETSUKE: KANNINBUKURO. NETSUKE: OIL THIEF. NETSUKE: AMA. NETSUKE: COURT LADY. NETSUKE: SCHATZSAMMLER. NETSUKE: KANNINBUKURO. NETSUKE: ÖLDIEB. NETSUKE: AMA. NETSUKE: HOFDAME. Japan. Edo period. 19th c. Japan. Edo period. Mid-19th c. Japan. Meiji period. Late 19th c. Japan. Edo period. 18th c. Japan. Edo period. 18th c.

Ivory with beautiful, shiny, partly golden- Ivory with finely carved, engraved, and Ivory with stained details, beautiful gold- Ama (pearl-diver), standing and wearing Ivory with engraved and stained details, -yellow patina. With finely engraved and stained details. Beautiful, golden-yellow en-yellow patina. The so-called oil thief a rush skirt, her long, straight hair dan- on reverse with golden-yellow patina. The dark accentuated details, the Tabakoire patina. An old man who is tying up the with a strawhat on his head and the jug gling, holding the domed kama-knife lady in wide gown, pulling at her hem in with silver inlay. The friendly smiling man so-called “bag of patience” (Kannin- containing the stolen goods in his hand, is she needs to open the clams in her right order to free it from a little dog, which with a rake in his hand, with various trea- bukuro) with some effort. This represents being caught by the guard from behind. hand, her head turned left with a strained bites on it. Height 7.3cm. Condition sures inside. On the rake the sign “Taka- the patience he has to muster when he is Height 5cm. Condition A/B. Age cracks. expression, perhaps looking for the best A/B. Age cracks, the hem of the gown ra” (treasure). This depiction is a symbol being humiliated and has to put away in spot for her next dive? Ivory, delicately chipped. of the accumulation of treasures. Height an invisible bag. On the front is the sign € 3.000 - 4.000 | $ 3.540 - 4.720 | ‡ carved, engraved and with details such as 7.7cm. Signed: Kosho. Condition A. for “Kannin” (patience). Height 3.8cm, hair and rush skirt stained dark. Signed € 5.000 - 6.000 | $ 5.900 - 7.080 | ‡ width 3.6cm. Signed: Kokura, in curved on an oval cartouche: Yoshitami or Kimin Provenance: reserve, cf. MCI p. 926, Ogura Tomoyuki. (not clearly legible, the first character is -Collection Karl M. Schwarz, ill. Netsuke Condition A/B. Gnaw mark on the rear badly rubbed). Natural himotoshi. Height Subjects Addendum, 2001, no. A 121. robe hem. 7.8cm. Condition A/B. Age cracks, left foot slightly bumped. € 300 - 400 | $ 354 - 472 | ‡ Provenance: -Karl M. Schwarz, ill. Netsuke Subjects, € 3.800 - 4.400 | $ 4.484 - 5.192 | ‡ 1992, no. 239.

€ 700 - 800 | $ 826 - 944 | ‡

2315 2313 2316 2317 Netsuke 2314 2318 2319 2320 2321 2322 2323 NETSUKE: BLIND MASSEUR. NETSUKE: COURT OFFICIAL. NETSUKE: FARMER ON SHELL. NETSUKE: YAKUHARAI. NETSUKE: CROUCHING BLIND MAN. NETSUKE: RATCATCHER. NETSUKE: BLINDER MASSEUR. NETSUKE: HOFBEAMTER NETSUKE: BAUER AUF MUSCHEL. NETSUKE: YAKUHARAI. NETSUKE: HOCKENDER BLINDER. NETSUKE: RATTENFÄNGER. Japan. Edo period. Mid-19th c. Japan. Edo period. 19th c. Japan. Edo period. Early 19th c. Japan. Edo period. Japan. Edo period. Japan. Edo period. 19th c.

Boxwood, stained, with beautiful shiny Boxwood with beautiful glossy patina. A Boxwood with finely carved details Boxwood with finely carved details. The Boxwood with finely carved and engraved Boxwood, very finely carved and en- patina. A blind masseur (amma) with a court official in brilliant gown sunk in his and beautiful, shiny patina. Residues of eyes of the hunter and the pupils of the details. Beautiful, shiny patina. Eye, car- graved, eyes inlaid black horn. Ratcatcher large bump on his head, treating his cus- scroll so deeply that his face disappears dark painting. Farmer sitting on a clam, Oni inlaid black horn, eyes, teeth, and touche, and Himotoshi (green coloring) holding a mallet in his hand, with expres- tomer with the ellbow, who is twisting into it. Height 3.3cm, width 4.6cm. Sign.: trying to pull the end of his loincloth (fun- horns of the Oni inlaid ivory. The Oni inlaid bone. Blind man, dressed only in sively angry facial expression looking at his face in agony. Height 4.7cm, width Bishôsai Kazumasa. Condition A/B. Old doshi) out from between the clamshells. hunter Yakuharai is hunting the demons a loincloth, holding his pathologically the fleeing rat on his shoulder that escape 3.8cm. Signed: Masayuki & Kakihan, cf. imperfection at the back of the hem of Height 4.1cm. Signed: Gyokusai, cf. MCI on Setsubun day. Here sitting with his (gyahydroelic) swollen scrotum with his from his Masu. Width 3.5cm. Signed: MCI p. 491-494, Hoshunsai Masayuki, the gown. p. 100. Condition A/B. Few scratches on loot in a bag on his back. The caught left arm. Height 3.4cm. Signed: Ryukei, Masayoshi, cf. LA p. 742f. Condition B. active 1820-1860. Condition A/B. Floccu- the bottom. devils looking out from a slit. Height 3cm, cf. MCI p. 674-676, presumably Ryukei II. Restored breakage on the left foot. lated area on the back of the masseur. € 2.000 - 2.500 | $ 2.360 - 2.950 length 3.7cm. Signed: Toyomasa (aki) in Condition B. € 1.200 - 1.500 | $ 1.416 - 1.770 rectangular cartouches made of ivory. € 1.200 - 1.500 | $ 1.416 - 1.770 € 1.400 - 1.800 | $ 1.652 - 2.124 Condition A. € 1.400 - 1.800 | $ 1.652 - 2.124

€ 1.200 - 1.500 | $ 1.416 - 1.770 | ‡

2318 2319 2320 2321 2322 2323 Netsuke 2324 2325 2326 2327 2328 2329 NETSUKE: CLOTH VENDOR. NETSUKE: TOSHIOTOKO. NETSUKE: PILGRIM WITH NARA NETSUKE: THIEF BEHIND FOLDING NETSUKE: BLIND MUSICIAN. NETSUKE: SARUMAWASHI. NETSUKE: STOFFHÄNDLER. NETSUKE: TOSHIOTOKO. COLUMN. SCREEN. NETSUKE: BLINDER MUSIKANT. NETSUKE: SARUMAWASHI. Japan. Edo period. 2nd half of the 19th c. Japan. Meiji period. 2nd half of the 19th c. NETSUKE: PILGER VOR NARA-SÄULE. NETSUKE: DIEB HINTER STELLSCHIRM. Japan. Edo period. 19th c. Japan. Edo period. Early 19th c. Japan. Edo period. 19th c. Japan. Edo period. 19th c. Ivory with finely carved, engraved, and Ivory, very finely carved and engraved with Ivory with finely carved and engraved Ivory with finely carved and engraved, stained details. Beautiful, glazed patina. delicate colored details and beautiful, Walrus tooth with finely carved, engraved, Ivory with finely engraved and dark accen- details, lightly colored. Blind musician stained details. Beautiful, golden-yellow Standing cloth vendor in a belted robe golden-yellow patina. The landlord Tosh- and dark accentuated details. Beuatiful, tuated details. Blind thief after bathing, with large bump on the head crawling on patina. Sarumawashi sitting, one leg erect and a bundle with three bales of cloth iotoko with raised right hand with beans golden-yellow patina. One pilgrim mea- only dressed in a loincloth (fundoshi), all fours with a stick in his left hand and and sleeping with his head tilted left, over his shoulder. Height 4.7cm. Signed: he intends to throw during the so-called suring the scope of the column with his looking out from behind a folding screen a packed lute on his back. Length 4.2cm. while a small monkey on his back is trying Tomomune in curved reserve. Cf. MCI p. Oni Yarai ceremony for New Year’s to arms in amazement. This can be found in with his loot. Height 2.5cm, width 4.9cm. Condition B. Finger of the right hand to free itself from the rope. Height 3.1cm. 906. Condition A. dispel the devils. One scared specimen is the Todaiji in Nara, climbing through the Signed: Toshinaga, cf. MCI p. 932. Con- broken off. Signed: Rantei, cf. MCI p. 640-645. Con- sitting by his feet. He wears the ceremo- square opening is supposed to bring luck. dition A/B. dition A/B. Age cracks. Provenance: nial robe and holds a Dai table in his left Height 4.8cm. Signed: Mitsumasa, cf. MCI Provenance: -Collection Karl M. Schwarz, ill. Netsuke hand, with the Masu full of beans on it. p. 547. Condition A. Provenance: -Collection Karl M. Schwarz, ill. Netsuke Provenance: Subjects Addendum, 2001, no. A 145. Height 4.2cm. Signed: Issai. Condition A. -Collection H. Seymour Trower, ill. Joly, Subjects, 1992, no. 243. -Collection Karl M. Schwarz, ill. Netsuke Provenance: H.: Catalogue of the H. Seymour Trower Subjects, 1992, no. 275. € 400 - 500 | $ 472 - 590 | ‡ Provenance: -Collection Karl M. Schwarz, ill. Netsuke Collection, 1975, no. 854, panel XI. € 300 - 400 | $ 354 - 472 | ‡ -Collection Karl M. Schwarz, ill. Netsuke Subjects, 1992, no. 293. -Collection Karl M. Schwarz, ill. Netsuke € 400 - 500 | $ 472 - 590 | ‡ Subjects Addendum, 2001, no. A 33. Subjects Addendum, 2001, no. A 163. € 400 - 450 | $ 472 - 531 | ‡ Literature: € 300 - 400 | $ 354 - 472 | ‡ -Cf. for a similar Netsuke, Baur Coll. No. C 199 & 200.

€ 800 - 900 | $ 944 - 1.062 | ‡

2327

2324 2325 2328 2326 2329 Netsuke 2330 2331 2332 2333 NETSUKE: CARTWRIGHT. NETSUKE: ACTOR. NETSUKE: SAMBASO DANCER NETSUKE: RAT WITH CANDLE. NETSUKE: WAGENBAUER. NETSUKE: SCHAUSPIELER NETSUKE: SAMBASO TÄNZER. NETSUKE: RATTE MIT KERZE. Japan. Meiji period. Late 19th c. Japan. Meiji period. Late 19th c. Japan. Meiji period. Last third of the 19th c. Japan. Edo period. Late 18th c.

Ivory with finely carved and engraved Cherrywood with finely engraved hair and Boxwood with very finely carved and Ivory with golden-yellow patina, finely details, evenly colored. Cartwright, with patterns on the robe. Actor with Hann- engraved details. Feet inlaid ivory. Samba- engraved and stained details, the eyes hammer and chisel working on the nave ya mask with a large silver peony in his so dancer in vivid posture, the right arm and candlewick inlaid dark horn. The rat of the wheel. Next to the wheel is a bas- hand. The belt buckle made of carved red with the Suzu rattle stretched out. Height nibbles at its prey, which it is holding with ket with tooles. Width 4.1cm. Signed: Yo- lacquer, the leaves of the peony made of 3.5cm. Condition A/B. Residue of glue on its fore-paws. Height 2.4cm, width 4cm. shikazu in curved reserve, colored red. Cf. malachite, mask and Tabi made of ivory. the feet. Sign.: Okatomo in rectangular reserve, cf. LA p. 1234. Condition A/B. Three small Height 3.6cm. Sign.: Ryukei & Kakihan on MCI p. 619, Kyôto-School. Condition A/B. closings on the edge of the wheel. inlaid mother-of-pearl plates, cf. MCI. p. € 700 - 900 | $ 826 - 1.062 | ‡ Age cracks, the tip of the tail missing and 673, Ryukei II., Tôkyô-Schule, active 1830- repolished. Provenance: 1870. Condition A. -Collection Karl M. Schwarz, ill. Netsuke Provenance: Subjects Addendum, 2001, no. A 139. € 1.200 - 1.500 | $ 1.416 - 1.770 | ‡ -Collection Storno.

€ 450 - 550 | $ 531 - 649 | ‡ € 6.500 - 7.500 | $ 7.670 - 8.850 | ‡ 2333

2334 NETSUKE: RECLINING OX. NETSUKE: LIEGENDER OCHSE. Japan. Edo period. 19th c.

Ivory with finely engraved details, stained, the eyes inlaid dark horn. Animal with extremely finely engraved fur. Presumably the work of a talented student of Tomota- da. Height 2.3cm, width 6.1cm. Sign.: Tomotada in rectangular cartouche, cf. MCI p. 909f.f. Condition B. Age cracks, pegged part at the hindquarters.

Provenance: -Private collection Southern Germany

€ 3.500 - 4.000 | $ 4.130 - 4.720 | ‡

2331

2334

2330 Netsuke 2332 2335 2337 NETSUKE: SITTING TIGER. NETSUKE: RECLINING TIGER. NETSUKE: SITZENDER TIGER. NETSUKE: LIEGENDER TIGER. Japan. Meiji period. Late 19th c. Japan. Meiji period. 19th c. Ôsaka-School.

Boxwood with engraved details, the eyes Ivory with finely engraved and stained inlaid black horn. The witting animal details. The bottom with golden-yellow with ears set back close to the head, the patina, the eyes inlaid brown horn. The tail energetically draped across the back. spitting animal with turned head. Width Height 3.6cm. Sign.: Shûzan, cf. MCI p. 4.7cm. Condition A/B. Age cracks, few 797, the 5th of his name. Condition A/B. scratches.

€ 1.500 - 1.800 | $ 1.770 - 2.124 € 3.500 - 4.500 | $ 4.130 - 5.310 | ‡

2337 2335

2338 YAKIMONO: HARE. 2336 YAKIMONO: HASE. NETSUKE: TIGER ON BAMBOO. Japan. Edo period. Presumably Hirado NETSUKE: TIGER AUF BAMBUS. work. Japan. Edo period. Late 18th c. Kyô- to-School. Seal netsuke in the form of a sittig hare with long ears, on an oval plate with seal, Ivory with golden-yellow patina, with read as ‘ju’, also identified as such by finely engraved and stained details, the Shinkichi Hara for Brockhaus. Finely mod- eyes inlaid black horn. The spitting animal elled, white porcelain, the eyes, toes, and lurking on a hollow piece of bamboo. the inside of the ears reddish glazed, the A symbol for the inability of raw force fur finely engraved and the edge of the to compete with the power of nature. seal is glazed blue and accentuated with Height 2.9cm, width 4.4cm. Condition finely engraved triangle patterns. Height A/B. Age cracks. 2.5cm, width 3cm. Condition A.

Provenienz: Provenance: -Private collection Southern Germany -Collection Albert Brockhaus, no. 700, acquired in 1900 from Rex. € 1.800 - 2.500 | $ 2.124 - 2.950 | ‡ -Collection Otto Heinrich Noetzel, ill. Yaki- mono Netsuke, 1985, p. 84, no. 39.

€ 600 - 800 | $ 708 - 944 2336 2338

Netsuke 2339 2342 NETSUKE: DRAGON WITH TAMA. NETSUKE: RECLINING HORSE. NETSUKE: DRACHE MIT TAMA. NETSUKE: LIEGENDES PFERD. Japan. Edo period. 19th c. Japan. Edo period. 19th c.

Ivory with finely carved details, darkened Boxwood with glossy patina, the eyes with golden-yellow, shiny patina. Coral inlaid black horn. Stallion with finely Tama. A dragon winding itself around a engraved details and darkened. Height Tama (fulfilling jewel). Height 2cm, width 2.4cm, width 5.1cm. Condition B/C. Right 5.9cm. Condition B/C. Age cracks, re- foreleg replaced. stored capsule around the Tama. € 2.500 - 3.000 | $ 2.950 - 3.540 € 3.700 - 4.000 | $ 4.366 - 4.720 | ‡

2339

2342 2340 NETSUKE: SERPENT WITH SKULL. NETSUKE: SCHLANGE MIT SCHÄDEL. Japan. Edo period. 19th c.

Kaki wood with finely engraved details. A serpent winding through the left eye socket of a skull. Natural Himotoshi. Height 3cm. Sign.: Enyuki. Condition A.

Provenance: -Private collection Southern Germany.

€ 400 - 600 | $ 472 - 708

2340

2343 NETSUKE: ROOSTER ON DRUM. NETSUKE: HAHN AUF TROMMEL. Japan. Edo period. Ca. 1800. 2341 NETSUKE: GRAZING HORSE. Ivory, very finely carved and engraved, NETSUKE: GRASENDES PFERD. slightly colored. Inlays black horn. Rooster Japan. Edo period. looking around, sitting on a drum. With highly domed, long tail feathers. Height Ivory, very finely carved, polished, the 4.5cm, width 3.1cm. Condition A/B. Age mane fine engraved and darkly accentuat- cracks. ed. Horse in grazing position with wafting tail. Height 5.6cm. Age cracks. € 1.700 - 2.100 | $ 2.006 - 2.478 | ‡

€ 800 - 900 | $ 944 - 1.062 | ‡

2341 Netsuke 2343 2344 2345 2346 2347 2348 NETSUKE: MONKEY WITH OCTOPUS. NETSUKE: DELOUSING MONKEYS. NETSUKE: TWO MONKEYS. OKIMONO: MONKEY FAMILY. NETSUKE: MONKEY AND OCTOPUS. NETSUKE: AFFE MIT OKTOPUS. NETSUKE: LAUSENDE AFFEN. NETSUKE: ZWEI AFFEN. OKIMONO: AFFENFAMILIE. NETSUKE: AFFE UND OKTOPUS. Japan. Meiji period. 19th c. Japan. Edo period. Mid-19th c. Japan. Meiji period. Last quarter of the Japan. Edo period. 19th c. Japan. Meiji period. Late 19th c. 19th c. Ivory very delicately carved and engraved, Ivory with finely engraved, darkly accen- Ivory with finely engraved details, the eyes Ivory with finely engraved and carved slightly colored. The eyes of the animals tuated details, brownish colored. Partly Boxwood with finely engraved details, inlaid light horn with black pupils. Sitting details, slightly colored. The eyes of the of inlaid black horn. Screaming monkey in golden-yellow glossy patina. The father reddish colored, the eyes inlaid light horn monkey mother, eating a peach with plea- animals inlaid black horn. The two ani- moved posture lying on top of a mortar, watches the found louse between its fin- with black pupils. Monkey mother tam- sure. Six tussling young climbing around mals entwined in fighting. The monkey underneath which an octopus is hiding. gers thoughtfully, while its young clings to ing her impetuous young. Height 3.4cm. her, trying to alienate the topmost one biting the inferior octopus in the head. In Height 2.4cm, width 3.2cm. Sign.: Masa- him in its sleep. With natural Himotoshi. Sign.: Ikko in concave reserve, cf. MCI p. from its captured peach. Height 4.8cm, the style of the Ikkosai, cf. MCI p. 226, tami (Shomin), cf. MCI p. 468. Condition Height 2.9cm, width 3.1cm. Sign.: Ikkosai 225, who mentions this piece as no. 6. width 4cm. Sign.: Hoichi koku (carved by) the 6th of his name. Height 3.1cm. Con- B. Small imperfection on the arm. in oval reserve, cf. MCI p. 226, Ikkosai Condition A. in rectangular reserve, cf. MCI p. 166, also dition B. Age cracks, the tips of the tenta- Toun, active early to mid-Meiji period. called Yoshikazu. Condition B. Two re- cles repolished. € 3.000 - 4.000 | $ 3.540 - 4.720 | ‡ Condition A. € 2.000 - 2.500 | $ 2.360 - 2.950 stored imperfections and crack on reverse. € 1.800 - 2.000 | $ 2.124 - 2.360 | ‡ Provenance: € 3.500 - 4.500 | $ 4.130 - 5.310 | ‡ -Private collection Southern Germany.

€ 3.000 - 4.000 | $ 3.540 - 4.720 | ‡

2344

2347 2348 Netsuke 2345 2346 2349 2350 2351 2352 NETSUKE: MONKEY WITH NETSUKE: LITTLE MONKEY ON ROCK. NETSUKE: LITTLE GLEEMAN-MONKEY. NETSUKE: LITTLE DOG WITH BALL. PERSIMMON. NETSUKE: ÄFFCHEN AUF FELSEN. NETSUKE: GAUKLERÄFFCHEN. NETSUKE: HÜNDCHEN MIT BALL. NETSUKE: AFFE MIT KAKI. Japan. Meiji period. Beginning of the Japan. Meiji period. 2nd half of the Japan. Edo period. Late 18th c. Japan. Meiji period. Late 19th c. 20th c. 19th c. Dark, reddish wood, the eyes inlaid black Ivory with finely carved, engraved and Monkey made of ivory with engraved and Boxwood with finely engraved details, horn. Very beautiful, glossy patina. A stained details. The little monkey clings to stained details, the rock made of wood. darkly accentuated. The little glee- small sitting little dog with a bell-collar the giant fruit, which is bigger than itself. The little monkey, with a fruit in its hands, man-monkey with the turned mask of and a ball between its paws. Height With natural Himotoshi. Height 3.1cm, is sitting on a rock. Both parts are con- Okame in one hand, a bell tree in the 4.5cm. Condition B. Pegging next to the width 4.2cm. Sign.: Kôgyoku on twig, cf. nected through a string. Height 2.9cm, other. Height 4.1cm. Sign.: Hojitsu, cf. LA Himotoshi, slight scratches. MCI p. 352. Condition A/B. Age cracks. width 2.6cm. Sign.: Tomochika in oval p. 477, Tôkyô, 1872 gest. Condition A. reserve on the rock, cannot be matched € 1.200 - 1.500 | $ 1.416 - 1.770 € 1.800 - 2.000 | $ 2.124 - 2.360 | ‡ to any of the artists listed in the MCI. Provenance: Condition A. -Private collection Southern Germany.

Provenance: € 800 - 1.000 | $ 944 - 1.180 -Private collection Southern Germany.

€ 600 - 800 | $ 708 - 944 | ‡ 2352

2353 NETSUKE: SITTING DOG. NETSUKE: SITZENDER HUND. Japan. Edo period. 19th c.

Ivory with golden-yellow patina, finely engraved and stained details, the eyes inlaid black horn. Sitting, young male Akita, looking attentively ahead. Height 5.5cm, width 3.9cm. Condition C. The paws restored, age cracks.

€ 3.000 - 4.000 | $ 3.540 - 4.720 | ‡

2353

2354 NETSUKE: LITTLE DOG. NETSUKE: HÜNDCHEN. Japan. Edo period. Ca. 1800.

Ivory with beautiful golden-yellow patina, the eyes inlaid black horn. The reclining animal with a rope as a collar. Between its paws a haunch of venison. Height 2.6cm, width 3.8cm. Condition A/B. Age cracks.

Provenance: -Private collection Southern Germany

€ 1.200 - 1.500 | $ 1.416 - 1.770 | ‡

2349 2351 2354 Netsuke 2350 2355 2357 2358 2359 NETSUKE: PUPPY. NETSUKE: SITTING PUPPY. NETSUKE: TWO PUPPIES. NETSUKE: WOLF WITH TORTOISE. NETSUKE: WELPE. NETSUKE: SITZENDER WELPE. NETSUKE: ZWEI HÜNDCHEN. NETSUKE: WOLF MIT SCHILDKRÖTE. Japan. Meiji period. Late 19th c. Japan. Edo period. Mid-19th c. Japan. Edo period. 19th c. Japan. Edo period. 19th c. Toyomasa- School. Marine ivory with engraved and darkly Boxwood, finely carved and engraved, the Black persimmon wood, finely carved and accentuated details. Resting puppy on eyes inlaid black horn. Puppy sitting, the engraved. Two puppies lying down on a Wood, the eyes inlaid bone, the pupils plate with a so-called paddy straw Ta- head thrusting out curiously. Width 4cm. so-called Zabuton (hassock). Sign.: San- blackened. The bony animal with its prey washi-brush, which is lying between its Condition A. sha, MCI on p. 695 mentioned with an between the paws. Height 3.3cm, width front paws. Width 3.3cm. Sign.: Masayu- almost identical piece in the British Mu- 4.2cm. Condition A. ki, cf. MCI p. 491. Condition A/B. Ring € 650 - 750 | $ 767 - 885 seum, dated early 19th century. See also crack around the Himotoshi. La. p. 913, depicting a similar subject, but € 7.000 - 9.000 | $ 8.260 - 10.620 accounting it for the 18th century. Width € 750 - 850 | $ 885 - 1.003 | ‡ 3.8cm. Condition A/B.

€ 600 - 700 | $ 708 - 826

2356 NETSUKE: PUPPY. NETSUKE: WELPE. Japan. Edo period. Earls 19th c. Na- goya-School.

Boxwood with finely engraved details, stained. Puppy scratching itself with its hind paw. Natural Himotoshi. Height 2.5cm, widht 3.1cm. Sign.: Kagetoshi in rectancular reserve, cf. MCI p. 282ff. Condition A.

-Private collection Southern Germany.

€ 800 - 1.200 | $ 944 - 1.416

2359

2360 NETSUKE: WOLF WITH HAUNCH OF VENISON. NETSUKE: WOLF MIT HIRSCHKEULE. Japan. Edo period. Late 18th century. 2356 2358 Boxwood with finely engraved details, dark colored. The eyes inlaid bone, the pupils black horn. Beautiful glossy patina. The emaciated animal crouching over its prey, which lies between its paws. Natural Himotoshi. Height 2.8cm, width 4.7cm. Sign.: Masatomo in rectangular reserve, cf. MCI p. 470. Condition A/B. Fine crack at the right eye of the animal.

Provenance: -Private collection Southern Germany.

€ 1.100 - 1.500 | $ 1.298 - 1.770 2357 2360 2355 Netsuke 2361 2364 NETSUKE: WASP ON LOTUS. NETSUKE: MANDARIN DUCK. NETSUKE: WESPE AUF LOTOS. NETSUKE: MANDARINENTE. Japan. Edo period. Japan. Edo period. Ca. 1800.

Boxwood, stained, with finely engraved Ivory, the eyes inlaid amber. Resting and carved details. The eyes inlaid black mandarin duck, the symbol for a hap- horn. A large wasp sitting on a withered py marriage. With precisely carved and lotus leaf. Natural Himotoshi formed engraved details of the feathers, darkly by the bent stem. Height 1.8cm, width accentuated. Height 2.7cm, width 4.5cm. 5.7cm. Condition C. Restored crack on Sign.: Mitsutomo, Ôsaka-School, not the the antenna. same artist as mentioned in MCI on p. 555. Condition B. Age cracks, restored € 1.200 - 1.500 | $ 1.416 - 1.770 imperfection at the beak.

€ 4.500 - 5.500 | $ 5.310 - 6.490 | ‡

2361

2362 NETSUKE: BAT. NETSUKE: FLEDERMAUS. Japan. Edo period. 19th c.

Maritime ivory, presumably tooth of a sperm whale, brown coloring with engraved details, and dark accentuations. Expressive depiction of a bat in mid- air. Height 3.9cm, width 6.7cm. Sign.: Tomokoto, cf. MCI p. 904. Condition A/B. Age cracks.

Provenance: -Private collection Southern Germany.

€ 500 - 700 | $ 590 - 826 | ‡ 2362

2363 NETSUKE: FALLOW DEER. NETSUKE: DAMHIRSCH. Japan. Edo period. 18th c.

Ivory with finely carved antlers. Beautiful, soft, partly golden yellow-brownish patina. Resting fallow deer, the head turned. Width 4.1cm. Condition B. Age cracks, at the foreleg an old chipping.

€ 750 - 850 | $ 885 - 1.003 | ‡ 2363

Netsuke 2365 2368 2369 2370 NETSUKE: TURTLE. NETSUKE: YAKIMONO SHIOZAKE. NETSUKE: AWABI SHELL. NETSUKE: FUGU. NETSUKE: SCHILDKRÖTE. NETSUKE: YAKIMONO SHIOZAKE. NETSUKE: AWABI MUSCHEL. NETSUKE: FUGU. Japan. Edo period. 2nd half of the 18th c. Japan. Edo period. 2nd half of the 19th c. Japan. Edo period. 1st half of the 19th c. Japan. Edo period.

Ivory, finely carved and engraved, partly Porcelain glazed in colors. The head of Boxwood. Awabi (Abalone) with finely Light wood with fine details, eyes inlaid darkened. Turtle, the head stretched the salmon in naturalistic shades of silver- carved and engraved details, inlaid ivory. black horn. With beautiful shiny pati- forward and so sticking out of the shell. grey-blue and salmon pink inside. Width On the other side in the open bowl the na. The swimming blowfish with wide Length 4.4cm. Sign.: Garaku, cf. MCI p. 4.2cm. Sign.: Kozan, Tôkyô. Condition head of a fish, the eyes in black lacquer, opened mouth. Height 2.5cm, height 68, Ôsaka-School. Condition A/B. A/B. Tiny chip on the mouth. the toothlets inlaid ivory. Height 3.3cm, 4.3cm. Condition A. width 4.6cm. Sign.: Masanobu, cf. MCI p. € 850 - 950 | $ 1.003 - 1.121 | ‡ Literature: 461. Condition A. € 1.200 - 1.500 | $ 1.416 - 1.770 -Noetzel, Otto Heinrich: Yakimono Net- suke, 1985, ill. 27, p. 73. Provenance: -Private collection Southern Germany. € 800 - 1.000 | $ 944 - 1.180 € 1.400 - 2.000 | $ 1.652 - 2.360 | ‡ 2365

2366 OJIME: KRABBE. OJIME: KRABBE. Japan. Edo period. 19th c.

Dark wood. Inlaid copper crab between rocks on one side, on the back finely engraved a riverscape with reed, individual stones inlaid in silver. Ø1.2cm. Sign.: Manbun. Condition A/B.

Provenance: -Private collection Southern Germany.

€ 250 - 300 | $ 295 - 354 2366

2369

2367 NETSUKE: TURTLE. NETSUKE: SCHILDKRÖTE. Japan. Edo period. 19th c.

Boxwood with finely engraved details and beautiful glossy patina. Shell of a turtle, almost completely hidden. The animal underneath, with only the beak visible. Height 1.6cm, width 4.3cm. Sign.: Masayoshi.

Provenance: -Private collection Southern Germany.

€ 400 - 500 | $ 472 - 590 2367 2368 2370 Netsuke 2371 2372 2373 2374 2375 2376 NETSUKE: ASAGAO. NETSUKE: MUSHROOMS. TWO NETSUKE. NETSUKE: MOKUGYO. NETSUKE: TAKARAMONO. NETSUKE: SUMI (CHARCOAL). NETSUKE: ASAGAO. NETSUKE: PILZE. ZWEI NETSUKE. NETSUKE: MOKUGYO. NETSUKE: TAKARAMONO. NETSUKE: SUMI (HOLZKOHLE). Japan. Meiji period. Late 19th c. Japan. Edo period. Japan. Edo period. Japan. Edo period. 19th c. Japan. Edo period. 19th c. Japan. Edo period. 1st half of the 19th c.

Ivory with finely engraved and colored Boxwood, boldly carved with finely A) Large chestnut, with a second, smaller Boxwood. Wooden drum with handles as Walnut finely carved and engraved. Accu- Boxwood, the ends darkened to suggest details. Beautiful golden-yellow patina. engraved lamellae and roots. Beautiful one on top. Darkened Boxwood. Height two dragons’ heads , the sides decorated mulation of lucky things like the invisibility charcoal. Six stens with charcoal, wrapped Large blossom of a little bell (Asagao) patina. Group of four large and two small 3.6cm, width 4.9cm. Wormholes. Condi- with a cloud-pattern. Height 4.7cm. Con- hat, the lucky raincoat (kakure-gasa), Dai- in a fine strawmat, tied with strong lying on a large leaf with twig and bud. Reishi-mushrooms. Height 5cm. Sign.: tion B. B) Gourd. Ivory with golden-yellow dition A/B. koku’s hammer, the holy key, and such. ropes. The finely engraved top of the Height 2.1cm, width 3.6cm. Signed: Kar- Masanao on rectangular reserve. Ise- patina. Provenance: Collection Taudin Height 3cm, width 3.3cm. Sign.: Masaya stems suggests that they were meant for aku, cf. MCI. p. 310-311, student of An- School, later generation. Condition A/B. Chabot, no. 271. Height 4cm. Few age € 500 - 700 | $ 590 - 826 in oval reserve. Condition A/B. Crack due the tea ceremony. Height 1.2cm, width raku. Condition B. Bumping on the edge Old chip at one cap of the mushrooms. cracks, two drill holes. Condition B/C. to the material. 4.1cm. Sign.: Shuzan. Condition A/B. Few of the leaf. scratches and gnaw marks. € 750 - 900 | $ 885 - 1.062 € 200 - 250 | $ 236 - 295 | ‡ Provenance: Literature: -Collection Somerwil, Amsterdam. € 600 - 800 | $ 708 - 944 -Lazarnick depicts an almost identical piece on p. 592, and Brockhaus owned a Literature: piece by this artist as well. -Brockhaus, Albert: Netsuke, 1925, p. 415, no. 891. Provenance: -Collection Dr. Schwarz, Vienna. € 900 - 1.200 | $ 1.062 - 1.416

€ 500 - 600 | $ 590 - 708 | ‡

2375 2372

2371 2376

2373 2374 Netsuke 2377 2379 2381 NETSUKE: OKAME MASK. NETSUKE: BUAKU MASK. MANJÛ: NÔ- AND KYÔGEN-MASKS. NETSUKE: OKAME MASKE. NETSUKE: BUAKU MASKE. MANJÛ: NÔ- UND KYÔGEN-MASKEN. Japan. Edo period. 19th c. Japan. Edo period. Mid-19th c. Japan. Edo period. 1st half of the 19th c.

Wood, lacquered in Negoro style with Ivory with finely carved and engraved Ivory, very finely and detailed carving mat Kinji. The friendly smiling goddess darkened details, the eyes inlaid mother- and engraving lightly colored. Beautiful of merriment; the various layers of the of-pearl. Beautiful golden-yellow patina. yellow-gold patina. Men-zukushi, com- Negoro lacquer wonderfully accentuates One demon-like distorted Kyôgen mask posed by seven Nô- and Kyôgen-masks: her chubby face. Height 4.6cm. Condition with frown look and wide inflated nasal Hannya, Oni, Okame, Chujo, Okina, Hy- A/B. wings. Caricature of O-Beshimi, a figure ottoko, and Buaku. Height 1.8cm, width that is powerful on the outside but shy on 3.8cm. Signed: Tadachika, cf. LA p. 1058. € 350 - 400 | $ 413 - 472 the inside. Height 3.8cm. Signed: Meikei- Condition A/B. Crack and tiny loss on the sai Ho & Kakihan (Tama-form) of Homin, mask of Chujo. cf. MCI p. 187-188, Tôkyô, active 1840- 60. Condition A. Provenance: 2378 -Collection Beasley. NETSUKE: KO-OMOTE MASK. Provenance: -Collection Karl M. Schwarz, ill. Netsuke NETSUKE: KO-OMOTE MASKE. -Collection Karl M. Schwarz, ill. Netsuke Subjects, 1992, no. 320. Japan. Edo period. 19th c. Subjects Addendum, 2001, no. A 185. € 900 - 1.100 | $ 1.062 - 1.298 | ‡ Ivory with finely engraved dark accentu- € 400 - 500 | $ 472 - 590 | ‡ 2377 2378 ated hair and beautiful shiny surface. The so-called “Small Mask” shows a beautiful young woman, who is not yet 20 years of 2382 age. Height 4.3cm, width 3.9cm. Sign.: 2380 NETSUKE: SET OF MASKS. Shigechika on the jetty on the back, not NETSUKE: KIJO MASK. NETSUKE: MASKENGRUPPE. the artist mentioned in MCI. Condition A. NETSUKE: KIJO MASKE. Japan. Edo period. 19th c. Japan. Edo period. 19th c. Provenance: Ivory with finely engraved and darkly -Collection Bushell. Ivory with finely carved details, pupil inlaid accentuated detail, the eyes inlaid black metal. Kijo, the mask of a female demon, horn. Unusual composition with five € 800 - 1.200 | $ 944 - 1.416 | ‡ similar to the Hannya mask, but smaller. eccentrically arranged bearded masks. Height 4.2cm. Condition A/B. Height 5cm, width 3.6cm. Sign.: Mo- motani in pot-shaped cartouche. Condi- Provenance: tion A/B. -Collection Behrens, no. 197, ill. Joly, Henry: W.L. Behrens Collection, 1966, Provenance: plate IV. -Collection Somerwil, Amsterdam. -Collection Karl M. Schwarz, ill. Netsuke Subjects Addendum, 2001, no. A 186. € 600 - 800 | $ 708 - 944 | ‡

€ 300 - 400 | $ 354 - 472 | ‡

2379 2380

2381 2382 Netsuke 2383 2385 2387 MANJÛ: SHÔJÔ. NETSUKE: FOLDED OBI. MANJÛ: GREEN BEANS. MANJÛ: SHÔJÔ. NETSUKE: GEFALTETER OBI. MANJÛ: GRÜNE BOHNEN. Japan. Meiji period. 2nd half of the 19th c. Japan. Edo period. 19th c. Japan. Edo period. Mid-19th c. Kyôto-School. Ivory with beautiful, shiny golden-yellow Ivory with finely engraved and darkened patina, simulating a Kagamibuta, one- details, with beautiful yellow-gold patina. Presumably hippopotamus tooth, finely part round. On the ‘plate’ in recessed, Four times folded Obi with various bro- carved and polished, beautiful yellow-gold very finely engraved and darkened relief cade pattern in recessed relief. One fan patina. Two climbing beans (Ingen) lying a Shôjô in dancing pose with a trowel on with lotus leaves, one Genji mon (chapter next to each other, hanging from a stalk. his shoulder, next to a large sake a barrel. 12 Suma), one Kiri mon (Paulownia blos- Height 0.6cm, width 5.8cm. Signed: Ø 4.4cm. Condition A. som), and a wave pattern. Height 1cm, Kiyokatsu, cf. MCI p. 343-345, that also width 3.6cm. Condition A/B. Age cracks. depicts a group of beans on p. 344. Con- Provenance: dition A. -Collected in Japan from 1938-60. Provenance: -Collection Karl M. Schwarz, ill. Netsuke Provenance: € 300 - 350 | $ 354 - 413 | ‡ Subjects Addendum, 2001, no. A 175. -Collection Karl M. Schwarz, ill. Netsuke Subjects Addendum, 2001, no. A 224. € 450 - 550 | $ 531 - 649 | ‡ € 600 - 700 | $ 708 - 826 | ‡ 2384 2383 2384 RYUSA-MANJÛ: RAIN DRAGON. RYUSA-MANJÛ: REGENDRACHE. 2386 Japan. Edo period. Ryusa style. MANJÛ: TIGER UNDER BAMBOO. 2388 MANJÛ: TIGER UNTER BAMBUS. RYUSA-NETSUKE: THREE TADPOLES. Presumably walrus tooth, with finely Japan. Edo period. 19th c. Ryusa. RYUSA-NETSUKE: DREI KAUL- carved and stained details. Rain dragon QUAPPEN. winding in front of stylised clouds and Ivory with beautiful golden-yellow patina. Japan. Meiji period. Ca. 1900. foliage. Ø 3.9cm. Condition A/B. Crack on In a rounded, rectangular frame in bold the back of the Himotoshi. relief a sitting, spitting tiger in a bamboo Ivory with finely carved details, the eyes grove. Height 3.5cm, width 4.1cm. inlaid dark horn. Very rare depiction of € 1.200 - 1.500 | $ 1.416 - 1.770 | ‡ Condition A/B. three tadpoles (Otama Jakushi) swimming between stylised wave swirls. A similar € 800 - 1.000 | $ 944 - 1.180 | ‡ piece of wood can be found in the collection Bushell, ill. 429. Length 4.7cm, width 3.1cm. Condition A/B. Age cracks.

Provenance: -Collection Karl M. Schwarz, ill. Netsuke Subjects Addendum, 2001, no. A 207.

€ 1.200 - 1.500 | $ 1.416 - 1.770 | ‡

2385 2386

2387 2388 Netsuke 2389 2391 2392 MANJÛ: DRAGON AMONG CLOUDS. MANJÛ: DANCER. MANJÛ: SHÔKI. MANJÛ: DRACHE ZWISCHEN WOLKEN. MANJÛ: TÄNZER. MANJÛ: SHÔKI. Japan. Edo period. Early 19th c. Japan. Edo period. Ca. 1860-70. Japan. Edo period. Early 19th c.

Ivory. Beard, claws, and scales very subtly Ivory with beautiful golden-yellow patina. Ivory, beautiful golden-yellow patina. engraved and darkened. A kind of Man- Finely engraved and subtly colored details. One-piece, rectangular rounded with jû, depicting a dragon winding through Round, bipartite. In recessed relief the lowered edge. In recessed relief with very stylised clouds. Finely polished on the so-called “Oba ga sake” (The wine of the finely engraved details the devil hunter back. Natural Himotoshi. This appears to aunt) Kyôgen dance. The dancing nephew Shôki with drawn sword looking out be a commissional work. Ø ca. 5.6, diam- with fan and Kanobo (war club), who from behind a post, while the devil he is eter 0.5cm. Sign.: Toyomasa, rokuyyukyo pretended to be an Oni to get the newly hunting is fleeing through a slide door, sai (at the age of 69) on the flat back, cf. made sake from his aunt. Here quite un- its back and one leg visible on the front, MCI p. 948ff. Condition A. usually with a devil sitting behind him. On while his head and shoulder are already the back sake bowl and bucket. Ø 5.3cm. visible through the torn paper wall on the € 1.200 - 1.500 | $ 1.416 - 1.770 | ‡ Signed: Ono Ryomin & Kakihan, Tôkyô- back. Ø 3.6cm. Signed: Ryukei & Kakihan, School. Condition A/B. cf. MCI p. 671. Student of Hokei, an artist from Kyôto, who later worked in Tôkyô. Provenance: Condition A. 2390 -Collection Karl M. Schwarz, ill. Netsuke MANJÛ: HUNTER. Subjects Addendum, 2001, no. A 152. € 900 - 1.200 | $ 1.062 - 1.416 | ‡ MANJÛ: JÄGER. Japan. Edo period. Early 19th c. € 550 - 700 | $ 649 - 826 | ‡

Ivory with beautiful golden-yellow patina. Bipartite, round with high sides. In recessed relief with very finely carved, engraved, darkened details one Ryôshi (hunter) with a cap on his head carefully crawling towards a trap. On the back a tree with windbells tied to it. Ø 4.3cm. Signed: Naosada & Kakihan, cf. MCI p. 600. Condition A. 2390 2391

€ 800 - 1.000 | $ 944 - 1.180 | ‡

2392 2389 2392

Netsuke 2393 2395 2397 KAGAMIBUTA: TWO RAKAN. MANJÛ: SHÔKI. NETSUKE: ASHTRAY NETSUKE. KAGAMIBUTA: ZWEI RAKAN. MANJÛ: SHÔKI. NETSUKE: ASCHENBECHERNETSUKE. Japan. Edo period. Mid-19th c. Japan. Meiji period. Late 19th c. Japan. Edo period.

Bowl ivory, disc Shibuichi with details in Walrus tooth with beautiful, shiny, am- In very finely carved red lacquer, zither gold. Unusual rectangular form. Half-por- ber-colored patina. In mokkô shape. In player. Below blooming cherry tree, one traits of two Rakan, one with a Yui (Ruyi) recessed relief with finely engraved and standing man, listening carefully. Inside sceptre. Height 2.2cm, width 5.6cm. Con- darkly accentuated details. Half figure of silver. Ø 3.7cm. Condition A/B. dition A/B. Gold rubbed. the standing Shôki with picture scroll in his hand. The back with the mineralized € 800 - 1.000 | $ 944 - 1.180 Provenance: centre of the walrus tooth decorated with -Collection Somerwil, Amsterdam. cloud pattern. Height 5.3cm, width 4cm. Condition A. € 500 - 600 | $ 590 - 708 | ‡ 2398 Provenance: MANJÛ: SCHOLARS UNDER PINE. -Collection Somerwil, Amsterdam. MANJÛ: GELEHRTE UNTER KIEFER. Japan. Meiji period. 2nd half of the 19th c. 2393 2394 2394 € 300 - 400 | $ 354 - 472 | ‡ MANJÛ: RINZU-PATTERN. Red lacquer. Two-parts, round and con- MANJÛ: RINZU-MUSTER. vex. In fine relief with engraving two Japan. Edo period. 19th c. scholars playing Go under pine; on the 2396 bottom an approaching servant with a Akagane and Shakudô. Bipartite domed, MANJÛ: TWO KARAKO. tray of rice cake. Ø 4.3cm. Condition A/B. rectangularly rounded. In very finely wick- MANJÛ: ZWEI KARAKO. erwork dense Sayagata-pattern in black Japan. Edo period. Early 19th c. € 600 - 700 | $ 708 - 826 and brown. Height 3.3cm, width 3.5cm. Condition A. Wood with finely carved and engraved, darkened details. Beautiful, shiny patina. Provenance: Bun and drum fittings inlaid horn. Two -Collection Behrens, no. 2205. Karako, one holding a large drum stand- -Collection Hindson, no. 1247. ing up, the other seated. Height 3.2cm, length 4.2cm. Signed: Masatsugu, cf. € 600 - 700 | $ 708 - 826 MCI p. 481. Nagoya artist, who always worked with wood. Active between 1800 to 1830. Condition A.

€ 1.500 - 2.000 | $ 1.770 - 2.360

2395 2396

2397 2398 Netsuke 2399 2401 2403 KAGAMIBUTA: AMATERASU. KAGAMIBUTA: NITTA YOSHISADA. KAGAMIBUTA: SENNIN WITH DRAG- KAGAMIBUTA: AMATERASU. KAGAMIBUTA: NITTA YOSHISADA. ON. Japan. Edo period. 19th c. Japan. Edo period. 19th c. KAGAMIBUTA: SENNIN MIT DRACHE. Japan. Edo period. 19th c. Bowl ivory, disc Shibuichi with gold Bowl ivory, disc Shibuchi with details in and silver. The gods tried to elicit the gold and silver. Very finely cut Takabori Bowl ivory, disc Sentoku with details in Sun-Goddess Amaterasu, sulking in a rock Nitta Yoshisada, the famous general, gold and silver. In Takabori with finely cave, by making music with the help of a before the battle of Kamakura, praying to engraved details, a Sennin praying, sitting cock. The curious Amaterasu peeped out the sea god. After finishing his prayer, he cross-legged, sitting above the flying from behind the rock, which at that was threw his precious Tachi as a sacrifice into dragons, surrounded by clouds. Ø 5cm. lifted away by Tajikarao-no-Mikoto so that the floods. Ø 5.2cm. Condition A/B. Crack Condition B. Bowl damaged. it became bright again. Ø 5.2cm. Condi- on the bowl, gold and silver rubbed. tion B. Capsule partly torn. € 800 - 1.000 | $ 944 - 1.180 | ‡ € 800 - 1.000 | $ 944 - 1.180 | ‡ € 950 - 1.100 | $ 1.121 - 1.298 | ‡

2404 2402 KAGAMIBUTA: AWATO SAEMON 2399 2400 2400 KAGAMIBUTA: GYÔJA BUSHÔ. FUJITSUNA. KAGAMIBUTA: EMPRESS KAGAMIBUTA: GYÔJA BUSHÔ. KAGAMIBUTA: AWATO SAEMON JINGÛ-KÔGÔ. Japan. Edo period. 19th c. FUJITSUNA. KAGAMIBUTA: KAISERIN Japan. Edo period. 19th c. JINGÛ-KÔGÔ. Bowl ivory, disc Shibuichi with details in Japan. Edo period. 1830-1894. gold and copper. In Takabori with gold Bowl ivory, disc Shibuichi with details in the warrior Bushô from Seikaken, one gold, silver, and copper. The clerk with Bowl ivory with beautiful, golden-yellow of the Suikoden heroes, in armour with a torch standing on the bridge of the patina. Disc Shibuichi with details in gold. raised fists about to kill a tiger. Ø 4.3cm. Nameri river. Below the bridge two men, In Iroe-Takabori made of Shakudô with Condition A/B. searching for his 10 lost coins. This epi- gold and silver the empress Jingû-kôgô sode is known as the “Story of the lost in armour with the characteristic ribbon Provenance: coins”, because he paid 50 coins to the around her forehead, standing with her -Collection Karl M. Schwarz, ill. Netsuke men in order to retrieve the 10. Ø 4.7cm. bow in both hands with which she will Subjects Addendum, 2001, no. A 62. Signed: Haruoki (Kakihan). Condition A/B. write ‘Koku O’ on a rock after her return Crack in the bowl. from the expedition to Korea. By her side € 600 - 700 | $ 708 - 826 | ‡ kneels her old companion, the general Provenance: Takeuchi no Sukune. Ø 4.6cm. Shuraku & -Collection Karl M. Schwarz, ill. Netsuke Kakihan, Edo artist, cf. Eijer: Kagamibuta, Subjects Addendum, 2001, no. A 92. 1994, p. 90. Condition A. € 750 - 900 | $ 885 - 1.062 | ‡ € 1.000 - 1.200 | $ 1.180 - 1.416 | ‡ 2402 2401

2403 2404 Netsuke 2405 2407 2409 KAGAMIBUTA: JURÕJIN. KAGAMIBUTA: OX BOY. KAGAMIBUTA: ASAGAO. KAGAMIBUTA: JURÕJIN. KAGAMIBUTA: OCHSENJUNGE. KAGAMIBUTA: ASAGAO. Japan. Edo period. Early 19th c. Japan. Edo period. 19th c. Japan. Edo period. 19th c.

Bowl ivory, disc Shibuichi with details in Bowl ivory, disc Shibuichi. The ox boy Bowl ivory with yellow-gold patina, disc gold and copper. In Takabori with finely (ushidôji) riding on his buffalo. The body Shibuichi with details in gold, silver and engraved details the god of luck Jurôjin of the boy made of copper, the hair in copper. In Takabori made of Shakudô with knotted wooden staff in his right Shakudô. In his hand a staff made of blooming Asagao (little bell) with snail, hand, stroking his long beard with the silver. The horns, eyes, and rope of the ox wasp, and beetle. Ø 4.3cm. Condition other hand. Ø 4.3cm. Signed: Tenmin gilt, the fur well engraved in fine kebori. A/B. yoshi, cf. Reikichi p. 98, active 1830- Ø 3.9cm. Condition A/B. The bowl made 1843. Condition A/B. of two pieces. € 500 - 600 | $ 590 - 708 | ‡

Provenance: Provenance: -Collection Somerwil, Amsterdam. -Collection Raymond Bushell, depicted in Netsuke Familiar & Unfamiliar, 1975, p. 2410 € 600 - 750 | $ 708 - 885 | ‡ 131, ill 221. KAGAMIBUTA: WILD GOOSE. KAGAMIBUTA: WILDGANS. € 700 - 800 | $ 826 - 944 | ‡ Japan. Edo period. 19th c. 2405 2406

2406 Bowl ivory, disc Shibuichi with details in KAGAMIBUTA: DARUMA. gold and silver. In Takabori a wild goose KAGAMIBUTA: DARUMA. 2408 (kari) in front of autumn grasses, framed Japan. Edo period. 19th c. KAGAMIBUTA: BUFFALO. by a crescent moon. Ø 4.8cm. Condition KAGAMIBUTA: BÜFFEL. A/B. Red discoloration. Bowl ivory with beautiful, shiny, yel- Japan. Edo period. 19th c. low-gold patina, disc iron with gold Provenance: inlay. In Takabori the half-portrait of the Bowl Sentoku, disc silver. In Takabori an -Collection Karl M. Schwarz, ill. Netsuke meditating Daruma, wrapped in his robe. ox with finely engraved details, on the Subjects Addendum, 2001, no. A 197. The lid-less eyes inlaid gold, as well as the back two butterflies in gold and silver. Ø earring of the Zen patriarch. Ø 4.2cm. 2.9cm. Signed: Mitsuhara. Condition A. € 600 - 700 | $ 708 - 826 | ‡ Signed: Minfuku & Kakihan. Condition B. Traces of rust on the plate and bowl. Provenance: -Collection Somerwil, Amsterdam. Provenance: -Collection Raymond Bushell, depicted in € 800 - 1.200 | $ 944 - 1.416 Netsuke Familiar & Unfamiliar, 1975, p. 132, ill. 226.

€ 250 - 300 | $ 295 - 354 | ‡ 2407 2408

2409 2410 Netsuke 2411 2413 2415 KAGAMIBUTA: WASOBIOE. KAGAMIBUTA: YAMA UBA KAGAMIBUTA: JÔ AND UBA. KAGAMIBUTA: WASOBIOE. AND KINTOKI. KAGAMIBUTA: JÔ UND UBA. Japan. Edo period. 19th c. KAGAMIBUTA: YAMA UBA Japan. Meiji period. Last third of the 19th c. UND KINTOKI. Bowl ivory, disc with details in gold, silver, Japan. Edo period. Mid-19th c. Bowl ivory. Disc Shibuichi. In very fine and copper. In Takabori the Japanese engraving with Shishiaibori and Kebori Gulliver Wasobioe with a Naginata in his Bowl ivory with beautiful golden-yellow the old couple Jô and Uba in ceremonial hand, raised against the bearded giant patina, disc Shibuichi with details in gold, robe by a large pine. Uba is kneeling with Kochi. This keeps him on a rack like a doll. silver and copper. In Takabori with finely a bowl in her hand in front of a Minog- Ø 4cm. Condition A/B. engraved details Yama Uba with her fos- ame, offering a drink. Ø 3.8cm. Signed: ter-son Kintoki, playing with a Den-den Mitsuhiro to, cf. Eijer: Kagamibuta, 1994, Provenance: daiko (taboret). Ø 4.4cm. Signed: Hirochi- p. 86. Condition A. -Collection Karl M. Schwarz, ill. Netsuke ka & Kakihan. Condition A. Subjects Addendum, 2001, no. A 80. € 600 - 700 | $ 708 - 826 | ‡ Provenance: € 800 - 1.000 | $ 944 - 1.180 | ‡ -Collection Somerwil, Amsterdam.

€ 1.000 - 1.200 | $ 1.180 - 1.416 | ‡ 2416 KAGAMIBUTA: ANCHOR. 2412 KAGAMIBUTA: ANKER. 2411 2412 KAGAMIBUTA: ONI. Japan. Edo period. KAGAMIBUTA: ONI. 2414 Japan. Edo period. 19th c. KAGAMIBUTA: TEMPLE SERVANT Bowl ivory, disc Shibuichi with details in WITH LANTERN. silver and gold. In Takabori a giant anchor Bowl ivory, disc Shibuichi with details in KAGAMIBUTA: TEMPELDIENER MIT with waves washing around it. In the gold and silver. In Takabori with some LATERNE. background in fine engraving a boy with gold an Oni, on a Kanabô (war club) over Japan. Edo period. 19th c. a large spoon in front of a bowl. Ø 4.4cm. his shoulder the giant bell of Miidera, car- Condition A/B. rying on the back and front each a paper Bowl ivory, browned, disc Shibuichi with lantern as counter weight. This depiction details in gold and copper. In strong relief € 800 - 900 | $ 944 - 1.062 | ‡ represents the saying “Chochin ni tsurig- a temple servant with lantern and umbrel- ane” (Lantern against bell), an allusion to la, startled by an owl sitting on a Torii. Ø the unlike pair, that can only bring bad 4.1cm. Condition A/B. luck. Ø 4.8cm. Condition A/B. 2416A € 550 - 650 | $ 649 - 767 | ‡ BOOK: ALBERT BROCKHAUS NETSUKE. Provenance: BUCH: ALBERT BROCKHAUS NETSUKE. -Collection Karl M. Schwarz, ill. Netsuke Subjects Addendum, 2001, no. A 30. Brockhaus, Albert: „Netsuke, Versuch einer Geschichte der Japanischen Schnitz- € 650 - 800 | $ 767 - 944 | ‡ kunst“, Leipzig 1909. Second Edition. German. Gray leather cover. Condition A/B. Slight traces of use. 2414 2413 € 1.200 – 1.500 | $ 1.416 - 1.770

Netsuke 2415 2416 Inrô & Lacquer

2417

2417 2418 2419 INRÔ: DRAGON. INRÔ: FLAT. INRÔ: SHELLS. INRÔ: DRACHE. INRÔ: FLACH. INRÔ: MUSCHELN. Japan. Edo period. Japan. Edo period. Japan. Edo period. 19th c.

Lacquer. Three-part, in the form of a bell. Five-part. In several layers alternating red Four-part with offset string-guide. On Suggesting red carved lacquer, the re- and black lacquer, cut in guri pattern with dark green ground in takamaki-e in gold cesses darkened. A mighty dragon coiling stylised tendril pattern. Inside fine nashiji. various shells and coral twigs. Two shells through clouds, waves in the background. Supplement: Lacquer Ojime with rhom- inlaid mother-of-pearl. Inside dense The top of the bell decorated with maple bus pattern. Manjû en suite in same tech- Nashiji. Height 7cm, width 5.3cm. Sign.: pattern. Inside dense nashiji. Supple- nique and tendril pattern. Height 6.3cm. Toyo. Condition A/B. Supplement: ment: Manjû, red lacquer, guri technique. Condition A/B. Coral-Ojime. Slightly rubbed. Ø 3cm. Two musicians and a dancer, framed by tendrils. Height 5cm. Condition € 700 - 800 | $ 826 - 944 Provenance: B/C. The handle of the bell broken off. -Private collection Southern Germany.

€ 700 - 800 | $ 826 - 944 € 500 - 700 | $ 590 - 826 | ‡

2418

2419

Inrô & Lacquer 2420 2421 2422 INRÔ: TSURU-NO-ONARI. INRÔ: BATS. INRÔ: NAILS. INRÔ: TSURU-NO-ONARI. INRÔ: FLEDERMÄUSE. INRÔ: NÄGEL. Japan. Meiji period. Late 19th c. Japan. Meiji period. Japan. Edo period.

Five-part, rounded. F: Kinji, changing into Four-part with distinct cord runners. Over Miniature Inrô, bipartite with angular, a very fine Nashiji towards the bottom. Kinji in golden Takamakie with grey- rounded corner, separate cord runners. In Hira-to Takabori, details in fine gold, black and matt gold two flying bats in Ground matt Kinji. In strong relief all- black, and red, depiction of the so-called opposite directions, while on the other round covered with nails, some made of ‘Tsuru-no-Onari’ hunt, as it was only side another one is seen in front of a big lead, mother-of-pearl, and brownish lac- done in the presence of the Shôgun, who moon sickle in Tsugarunuri. Signed Reisai, quer, partly suggesting wood grain. Inside together with his entourage, is watching according to WraIndex, p. 209, Shibata Fundame. Small Ojime made of red coral. the approaching five cranes from below Reisai, the oldest of the three sons of Height 5.7cm. Condition B. a large conifer, just being released from Zeshin, 1850-1915. Inside: Nashiji. Ojime: a large cage by a servant on the back coral glass. Height 8cm. Condition B/C. € 380 - 420 | $ 448 - 496 | ‡ and now flying towards freedom. Signed: Edges rubbed, pressure marks on top. Shôkyôsai. According to WraIndex p. 252 a good artist of the late 19th c. Inside € 1.900 - 2.200 | $ 2.242 - 2.596 2423 2421 Nashiji. Ojime: Kinji with red blooming INRÔ: ROOSTER AND HEN. Nanten twigs. Characteristic work of INRÔ: HAHN UND HENNE. Tomizo Saratani. Height 8.6cm. Condition Japan. Edo period. A/B. Five-part, arched. Ground: dense Nashiji. € 3.800 - 4.200 | $ 4.484 - 4.956 In Iroe-Takabori with Kinji and Heidatsu two roosters with hen and two chicks on one side, another couple with chicks on the back. I: Nashiji. Sign.: Kajikawa saku & red pot seal, cf. WraIndex, p. 107. Glass- Ojime. H.7,6cm. Condition A/B.

€ 1.600 - 1.800 | $ 1.888 - 2.124

2422

2423

2420

Inrô & Lacquer 2424 2425 2426 INRÔ: SHIKISHI. INRÔ: TWO HERONS. INRÔ: SHIBAYAMA WITH CREST. INRÔ: SHIKISHI. INRÔ: ZWEI REIHER. INRÔ: SHIBAYAMA MIT WAPPEN. Japan. Edo period. Late 18th/19th c. Japan. Edo period. Japan. Meiji period.

Bipartite with distinct cord runner made Six-part with distinct cord runner. F: Roirô. Four-part with distinct cord runner. Ivory. of boxwood. The short ends each deco- D: in fine Hiramakie with gold, silver, and In Shibayama pattern on both short ends rated with three Shikishi, depicting char- Aogai inlay heron on the branch of a four, respectively three round crest forms, acteristic lacquer motives in fine, partly weeping willow, looking down at a crow- depicting in very fine, colored relief made high relief on very finely scattered ground, ing rooster on the branch of a peony over of mother-of-peare, malachite, red coral, like a wagon under the blooming twigs a river, while the second heron is walking and other medallions with various birds of a cherry tree, with clouds denoted in away through shallow water on the back. on blooming twigs like chrysanthemum, Okibirame; red blooming Nadeshiko in The distinct cord runner - like jo and ge peony, camellia etc., one made only of front of the silvery full moon, ferns on - are decorated with various applied, so- daffodils in the round. On rectangular grey ceramic ground, shells on the beach called treasures made of silver, gold, and mother-of-pearl reserve signed: Shibay- from the natural bowl between clouds on Aogai. Inside Nashihi. Ojime as well Roirô ama. Cf. WraIndex p. 234 f. Height 8cm. red ground and poem in old seal script with plants in rubbed Kinji. Somada style. Condition A/B. Minimal traces of use. on ground with slightly scattered mother- Height 9.7cm. Condition A/B. of-pearl particles. Inside Roirô with Gyo- € 4.400 - 4.800 | $ 5.192 - 5.664 | ‡ bu spots and strong gold and silver foil € 1.500 - 1.800 | $ 1.770 - 2.124 particles. On the bottom in gold lacquer signed: Kansai kore o tsukuru & Kakihan. Cf. WraIndex, p. 112. Height 5.7cm. Con- dition A/B. Old clasp repair.

Provenance: -Dutch estate. -70th Klefisch auction, cat. no. 372.

€ 2.800 - 3.400 | $ 3.304 - 4.012 2425

2424

2426

Inrô & Lacquer 2427 2428 COVERED BOX WITH TSUBA & KASHIRA. LIDDED BOX: HANNYA. DECKELDOSE MIT TSUBA & KASHIRA. DECKELDOSE: HANNYA. Japan. Edo period. Japan. Edo period. About 1900.

Covered box, presumably for paper, rec- Lidded box, flat round - possibly for a tangular with hooded lid with slanted mirror - the lid slightly bevelled with lead edges. Over a Fond of Roirô (black lac- strengthened edges. Fond: Roirô, reddish quer) in high relief of onlaid iron, copper brown on the clearly restored edge. On and Sentoku two Tsuba and one Kashira. the lid decorated with a Hannya mask The iron Tsuba shows in high brass-relief with long, slightly curved horns lying on a a large bark beetle on the trunk of a brocade cloth. The face of greenish glazed large pine in undulating landscape with ceramics, the other details painted. The umbrella-like twigs. Sign.: Masamichi mask with long cords of carved red lac- (Yamashiro). The Sentoku-Tsuba, sign.: quer is on a Furoshiki, adorned with silver Yamashiro ju, shows Chidori in colored brocade on one side and reliefed flowers relief over a stream. Kashira copper, de and pomegranate in colored enamel relief corated with a Shishi jumping over waves with gold and silver, four maple leaves in Katakiri. On the inside Nashiji, in the made of Tsuishu, green lacquer and Aogai cover Mura-Nashiji. A pair of cranes on mother-of-pearl. This is probably an al- the reed-vegetated bank in gold Hiram- lusion to the Nô drama 'Adachigahara'. akie. Sign. with a archaic, unread seal on Interior and floor dense Nashiji. In Kinji green Fond in Kinji-frame. 18.5 x 21.3cm, signed: Nakanishi Ryukiku Kinsei & Kaki- height 3.5cm. Condition A/B. han in red lacquer. Cf. Kress archive, there were 4 artists named Nakanishi Shoryusai, € 1.400 - 1.800 | $ 1.652 - 2.124 the last was a well-known artist from the Meiji/Taishô period, probably the creator of this box. Ø 16.3cm, H.3.3cm. Condi- tion C.

€ 1.200 - 1.500 | $ 1.416 - 1.770

Inrô & Lacquer 2429 2430 SMALL TRAY. TRAY IN THE SHAPE OF A HUNDÔ. KLEINES TABLETT. TABLETT IN FORM EINES HUNDÔ. Japan. Edo period. Japan. Meiji period. Shibata Zeshin (1807-1891). Small tray with short edge, rectangular with notch on the upper left edge, follow- Tray in the shape of a so-called Hundô ing the vein of the Kiri-wood. In Takabori (bronze-weight used for scaling) Koban lacquer, ceramic and lead lining and green (silver money used in the Edo period). The colored stag antler a small, ready-to-jump flat bottom, completely covered by dark frog sitting in front of a meleagrina moth- olive-green lacquer with short, vertical er-of-pearl lotus-bud (slightly chipped) on edge. According to inscription on the box a large lotus-leaf, out of which a whitely “Zeshin o saku hundo-makie, getsuroku blossom is springing up. Another green- (monthly chronicle) - bon” (tray), on the glazed ceramic lotus-leaf is swimming on inside: kakanan Chikushin kan (confirma- the waves hinted at in the engraving. On tion of the Zeshin-student ‘Chikushin’, the bottom inlaid seal: Kan (of Ritsuô). 20 who has seen this piece). According to x 14.8 cm. Wooden box, sign.: Yamashi- WraIndex p. 345, he is rather known as a ro-jû Masamichi (according to Hara p. 82 surveyor for the works of Shibata Zeshin. 1st half of the 19th c., presumably apply- Hundô is the shape of the tray, which re- ing to the on-laid metal). 20 x 14.8cm. peats itself in the decoration in Roirõ with Condition A/B. fine, brushed-in waves, Sabiji and three crests of Kinji & Roirõ, decorated with € 1.200 - 1.500 | $ 1.416 - 1.770 silver ribbons, this is presumably believed to emphasise its function as a present. 16.8 x 11.5cm, height 1cm. Condition A/B.

Provenance: -Old auction-catalogue-no. 456.

€ 2.200 - 2.500 | $ 2.596 - 2.950

Inrô & Lacquer 2431 2432 2433 BOX AND COVER WITH DRAGON. WRITING BOX (SUZURIBAKO). SMOKING EQUIPMENT TABAKOBON DECKELDOSE MIT DRACHE. SCHREIBKASTEN (SUZURIBAKO). WITH NOBE KISERU PIPE. Japan. Edo period. 19th c. Japan. Meiji period. RAUCHKÄSTCHEN TABAKOBON MIT NOBE KISERU PFEIFE. Box and cover, rectangular curved Shitan- Wood. Black lacquer with hira- and Japan. 19th c. wood. On the flat cover on sparseley takamaki-e with gold foil and details of recessed Roirô-fond, framed by a key silver and red lacquer, inside with thin Wood, carved with openwork and lac- edging in mat black lacquer in Takamakie nashiji. On the lid two New Year decora- quered: hiramaki e, mokume, takamaki with gold, silver, black and a bit of red a tions (kadomatsu) with a small curtain of e with goldfoil. Hibachi, mountings and two-horned dragon with reverse-painted straw threads (nawa noren), decorated pipe from Japanese bronze alloys. The glass eyes. On the sidewalls each two with citrus (tachibana) and fern. Inside upper part with flying cranes, at the lower resp. Three silver-wire inlaid, round forms the lid decorated with flowering prunus part they are shown at their courtship of a coat of arms suggesting the shape and three hototogisu-birds (Cuculus po- dance between high reeds. Height 27cm, of waves and clouds. The curved edges liocephalus). The decoration is meant to width 22,5cm, depth 17,5cm. clasped with thin silver ribbons. 22 x evoke the New Year and the time of the Condition C. 18cm, height 5.2cm. Condition A/B. late winter afterward. Height 23.5cm, width 22.5cm. Condition B. On the up- Provenance: Provenance: per side a few scratches and one dent. -Private collection Southern Germany. - Collection Tomkinson, no. 520, auction- Supplement: Inside with an ink stone cat. no. 919. (suzuribako) and water dropper (suiteki) € 1.000 - 1.200 | $ 1.180 - 1.416 from copper. € 1.400 - 1.800 | $ 1.652 - 2.124 Provenance: -Private collection Southern Germany.

€ 1.500 - 2.000 | $ 1.770 - 2.360

2433

2432 Inrô & Lacquer 2434 PANEL WITH OFFERING OF A YUE CUP. The Prof. Hans von PLATTE MIT DARREICHUNG EINES JUE-BECHERS. China. Qing dynasty. Cyclically dated: 1843 or 1903.

Braunbehrens Porcelain, painted in overglaze colors. 43 x 26cm. Condition B.

Provenance: Collection -Private collection Hans von Braunbehrens (1901-83).

€ 500 - 700 | $ 590 - 826

2434

Prof. Dr. Hans von Braunbehrens (1901- mermann after 1986. Ever since its foun- Radiologie. Im Laufe seines Lebens wur- 83) was born in Dortmund. He initially dation, the gallery has hosted more than den ihm zahlreiche Ehrungen zuteil und studied mechanical engineering in Darm- 150 individual and themed exhibitions er war Ehrenmitglied in verschiedensten stadt, but soon turned to study medicine with renowned artists and represented Vereinigungen und Gesellschaften. in Heidelberg and Munich. In 1935, Prof. them at major national and international von Braunbehrens took over the Depart- art fairs. Mit großem Engagement ging er im Ru- ment of Radiology and Radium at the (With excerpts from the press release of hestand seinen künstlerischen Ambitionen Medical University of Freiburg im Breis- the Ludwig Maximilian University, Munich, nach. 1978 eröffnete er zusammen mit gau. In 1954, he was appointed successor dated 8.2.1983) seiner Frau Rita in München die 'Galerie to Gottfried Boehm at the Ludwig Maxi- von Braunbehrens für Kunst der Gegen- milian University of Munich and became wart'. Nach dem beide Gründer der Ga- 2435 the director of the Clinic and Polyclinic Prof. Dr. med. Hans von Braunbehrens lerie gestorben waren, führte Axel Zim- STANDING BUDDHA WITH LOTUS AND for Physical Therapy and Radiology. In the (1901-83) wurde in Dortmund geboren. mermann die Galerie von Braunbehrens PRAYER BEADS. course of his life, he received numerous In Darmstadt studierte er zunächst Ma- ab 1986 weiter. Die Galerie veranstaltete STEHENDER BUDDHA MIT LOTOS UND honours and he was an honorary member schinenbau, wandte sich aber bald einem seit der Gründung mehr als 150 Einzel- GEBETSKETTE. of various associations and societies. Medizinstudium in Heidelberg und Mün- und Themenausstellungen und vertrat die China. 1st half 20th c. chen zu. 1935 übernahm Prof. von Braun- Künstler auf bedeutenden nationalen und After his retirement, he went about his behrens die Röntgen- und Radiumabtei- internationalen Kunstmessen. Ivory. Height 28.5cm. Condition A/B. artistic ambitions with great commitment. lung der Medizinischen Universitätsklinik In 1978, he and his wife Rita opened Freiburg im Breisgau. 1954 wurde er als (Mit Auszügen der Pressemitteilung der Provenance: 'Galerie von Braunbehrens für Kunst der Nachfolger von Gottfried Boehm an die Ludwig-Maximilians-Universität München -Private collection Hans von Braunbehrens Gegenwart' - a gallery for contemporary Ludwig-Maximilian-Universität München vom 8.2.1983) (1901-83). art - in Munich. Upon the passing of both berufen und zum Direktor der Klinik und founders, it was continued by Axel Zim- Poliklinik für Physikalische Therapie und Walter Bruno Brix € 700 - 900 | $ 826 - 1.062 | ‡

2435 The Prof. Hans von Braunbehrens Collection 2437 2439 2440 2436

2436 2437 2438 2439 2440 2441 DRAGON BI DISC, WATERFOWL AND HEAD REST WITH SLANTING SIDE. PAIR OF PORCELAIN PAINTINGS WITH THREE SNUFFBOTTLE WITH FLOWERS JAMBIYA-DAGGER WITH PORTRAIT OBENTO BOX. PIG. NACKENSTÜTZE MIT SCHRÄGER SEITE. SCHOLARS. AND BIRDS. ON THE HANDLE. OBENTO-KASTEN MIT TELLERN IM DRACHEN-BI-SCHEIBE, WASSERVOGEL China. PAAR PORZELLANBILDER MIT GE- DREI SNUFFBOTTLE MIT BLUMEN UND JAMBIYA-DOLCH MIT PORTRAIT AUF DECKEL. UND SCHWEIN. LEHRTEN. VÖGELN. DEM GRIFF. Japan, Wajima. China. Stoneware with transparent glaze and China. Qing dynasty. 19th c. China. 19th/20th c. Persia. 17th/18th c. painted with green glaze. Height 13,5cm. Kiri wood lacquered and with fittings of Brown and green jade resp. soapstone. Condition B. Supplement: Flower shaped Porcelain with overglaze colors. Each in Cut overlay glass. Height 5.6-6.5cm. Con- Steel. Finely worked handle in bas-relief copper alloys. Four drawers with food Ø 11,5cm, Lenght 6.3-11.3cm. Condition mirror with inscription. Bronze. China. Ø a frame of dark wood. Ca. 26.5 x 29cm. dition A/B. Supplement: Covered box. with gold inlay. Length 42.5cm. Condition boxes, lacquered inside, and a sake bottle A/B. 13.2cm. Condition A. China. Porcelain, painted with enamel A/B. Supplement: Two painted marble made of tin. In a separate drawer six red colors. Height 11cm. Condition A. reliefs. India. Height 13.5cm. Buddhist lacquer plates and a pair of chopsticks. Provenance: Provenance: Provenance: manuscript. Wood and paper, painted. Height 28cm, width 26.3cm, lenght -Private collection Hans von Braunbehrens -Private collection Hans von Braunbehrens -Private collection Hans von Braunbehrens Provenance: Nepal. 23 x 6.3cm. Condition A/B. 17cm. Condition A/B. (1901-83). (1901-83). (1901-83). -Private collection Hans von Braunbehrens (1901-83). Provenance: Provenance: € 600 - 900 | $ 708 - 1.062 € 200 - 300 | $ 236 - 354 € 800 - 1.000 | $ 944 - 1.180 -Private collection Hans von Braunbehrens -Private collection Hans von Braunbehrens € 150 - 200 | $ 177 - 236 (1901-83). (1901-83).

€ 800 - 900 | $ 944 - 1.062 € 200 - 300 | $ 236 - 354

2442 NETSUKE OF A DOG ON A SEAL PLATE BASE. NETSUKE EINES HUNDES AUF SIEGELPLATTE. Japan. 19th c.

Probably maritime ivory. Height 4.5cm. Condition A/B. Supplement: Netsuke of a Daruma in lotus flower. Asia. Mid 20th c. Ivory with pigmented carvings. Ø 4cm. Condition A/B.

Provenance: -Private collection Hans von Braunbehrens (1901-83).

€ 350 - 500 | $ 413 - 590 | ‡ 2438 2441 2442

The Prof. Hans von Braunbehrens Collection Asian Art Part II

2443 2444 2445 2446 BOWL WITH FOUR-CLAWED Provenance: JAR WITH SEVEN LION HEADS. SMALL FLOWERSHAPED VASE. TEAPOT WITH POEM AND BITONG DRAGONS. -Rhenish private collection. Ca. 1952/53 TOPF MIT SIEBEN LÖWENKÖPFEN. KLEINE BLÜTENFÖRMIGE VASE. BRUSH POT WITH LANDSCAPE. SCHALE MIT VIERKLAUIGEN acquired from an art dealer in Eastern China. China. End 19th/beg. 20th c. TEEKANNE MIT GEDICHT UND DRACHEN. Friesland. PINSELBECHER MIT LANDSCHAFT. China. Republic period or later. Heavy shard with chamotte and thick, Porcelain, imitating wintergreen glaze. China. In the style of Bao Shuchang and € 300 - 400 | $ 354 - 472 opaque green celadon glaze. H.20cm. Underneath engraved Yongle, but later. Shao Guang Li. Extremely thin walled ceramic with Condition A/B. H.14.5cm. Condition A. modeled decor, glazed in honey yellow Zishia stoneware. The teapot with incised (su sancai). Ø ca. 19.3cm, H.7cm. Inside € 600 - 900 | $ 708 - 1.062 Provenance: poem and a detachable tea filter inside. modeled four-partite mark: Xian de Nian -French private collection. Teapot H.10.4cm, Ø 10cm, Brushpot zhi (954-960), a mark which was used Height 12.4cm, Ø 12.7cm. Both with art- only in the Republic period. € 300 - 350 | $ 354 - 413 ist seal, but in the style of . Condition A. Condition A. € 1.200 - 1.500 | $ 1.416 - 1.770

2447 2448 2449 TEAPOT WITH THE EIGHT IMMORTALS. THREE GUANYIN AND LARGE STANDING GUANYIN AND A TEEKANNE MIT DEN ACHT UNSTERB- SAMANTABHADRA. PAIR OF SHIZI LIONS. LICHEN. DREI GUANYIN UND GROSSE STEHENDE GUANYIN UND China. Yixing. 20. C. In the style of Xu, SAMANTABHADRA. SHIZI-LÖWENPAAR. Han Tang (*1932), a famous student of China. China. Gu Jing Zhou. Blanc de Chine porcelain, sitting Guan- Blanc de Chine porcelain. H.36/80cm. Dark purple brown Zisha stoneware with yin with qingbai glaze, Samantabhadra Condition A/B. partly cut, partly modelled decoration. glazed light blue. H.25.5-47cm. Large H.8cm, Ø 9.5cm. Seal: Xu Han Tang Zhi, standing Guanyin: Boji Yuren, Samantab- Provenance: but in the style of. Condition A/B. hadra: Dehua und Boji Yuren. Condition -Private collection Westphalia. A/B. The smallest Guanyin with left hand € 120 - 150 | $ 142 - 177 worked separately. € 600 - 900 | $ 708 - 1.062 Provenance: -Private collection Westphalia.

Asian Art Part II € 600 - 900 | $ 708 - 1.062 2450 2451 2452 2456 2457 2458 JARDINIERE WITH SAUCER. WUCAI DRAGON BOX WITH LID. FOUR PLATES WITH PEONIES. ONE MONTH CUP AND THREE OTHER PLATE WITH LOTUS. GARLIC VASE WITH FLOWERS AND PFLANZGEFÄSS MIT UNTERTELLER. DECKELDOSE MIT DRACHEN. VIER TELLER MIT PÄONIEN. CUPS. TELLER MIT LOTOS. BIRDS OF THE FOUR SEASONS. China. China. 20th c. or later. China. Qing dynasty. 18th c. EIN MONATSBECHER UND DREI China. Qing dynasty. 18th c. KNOBLAUCHVASE MIT BLUMEN UND WEITERE BECHER. VÖGELN DER VIER JAHRESZEITEN. Porcelain, finely painted with famille rose Heavy porcelain, painted in wucai colors. Porcelain in famille rose with black stain China. 19th c. and early 19th c. Export porcelain painted in underglaze China. and gold on turquoise background, on H.10.5 cm, 24 x 14.5 cm. Underneath in and gold. H.3.5cm, Ø 23cm. Condition A. blue and famille rose. H.3.2cm, Ø 20.7cm. the rim with yellow background. H.9.6cm. underglaze blue a six-partite Jiajing mark, Thin walled porcelain painted in under- Condition B. Crack in the rim. Porcelain, painted in famille rose. Condition A. but later. Condition A/B. € 400 - 500 | $ 472 - 590 glaze blue and famille rose. a-c) H.4.1cm, H.35.5cm. Underneath in iron a red Ø 7cm. d) H.5cm, Ø 6.7cm. Three cups € 200 - 250 | $ 236 - 295 six-partite Guangxu mark and probably € 500 - 700 | $ 590 - 826 € 500 - 700 | $ 590 - 826 with iron red four-partite apocryphal Qian- from the period. Condition C. Drilled long mark, but early 19th c. Month cup underneath. with underglaze blue apocryphal Kangxi mark, but 19th c. Condition A. € 800 - 1.000 | $ 944 - 1.180

€ 500 - 700 | $ 590 - 826

2453 2454 2455 2459 2460 2461 PLATE AND LARGE MUG. SIX PLATES WITH PEONIES. RECTANGULAR VASE WITH THE RECTANGULAR VASE WITH BLOSSOMS BOWL WITH LADIES MAKING MUSIC PAIR HEXAGONAL VASES WITH THE TELLER UND HENKELBECHER. SECHS TELLER MIT PÄONIEN. HUNDRED ANTIQUES. OF THE FOUR SEASONS. IN THE GARDEN. TOUHU GAME. China. 18th/19th c. China. Qing dynasty. 18th c. RECHTECKIGE VASE MIT DEN ECKIGE VASE MIT BLÜTEN DER VIER KUMME MIT MUSIZIERENDEN DAMEN PAAR HEXAGONALE VASEN MIT DEM HUNDERT ANTIQUITÄTEN. JAHRESZEITEN. IM GARTEN. TOUHU-SPIEL. Export porcelain, painted in underglaze Porcelain in famille rose with gold. China. 19th c. China. 19th/20. c. Neck from an older vase. China. Probably Republic period. 20th c. China. 20th c. or later. blue and overglaze colors with gold. H.2.2cm, Ø 23.5cm. Condition A-C. Plate with handle made from silver plate, Linglong porcelain painted in over glaze Porcelain, painted in famille noir. Porcelain, painted on the inside with un- Porcelain, painted in wucai. On the body Ø 22.5cm, mug H.13.5cm. Condition € 400 - 500 | $ 472 - 590 color and gold, the outer vase in open H.35.5cm. Underneath in underglaze blue derglaze blue, on the outside in famille on each vase four elegantly dressed ladies B/C and C. Lip of the mug chipped. work with relief. H.35.6cm. Condition A. a six-partite apocryphal mark: Da Ming rose. H. 6.8cm, Ø 14.7cm. Underneath in with boys in the garden at the Touhu Supplement: Cadogan wine ewer in Jiajing nian zhi (1522-66), but later. Con- underglaze blue a six-part Qianlong mark. game. On the neck a wide mountainous peach shape. Zisha stoneware with ochre Provenance: dition C. Neck glued in, two chips, one Condition C. Damaged at the lip. landscape with scholar and fisherman. colored slip. China, Yixing. H.11cm. Con- -Acquired at Christie’s. Original paper repaired. H. 45cm. Condition A. dition A. label preserved. Provenance: Provenance: -Private collection Northern Germany, -Private collection Essen, acquired locally € 2.000 - 2.500 | $ 2.360 - 2.950 € 400 - 500 | $ 472 - 590 € 600 - 800 | $ 708 - 944 acquired since the 1850s. ca. 1970s.

Asian Art Part II € 900 - 1.200 | $ 1.062 - 1.416 € 200 - 300 | $ 236 - 354 2462 2463 2464 2468 2469 2470 CHARGER WITH DRAGONS. LARGE CHARGER WITH THE NINE DISH WITH MAGPIES IN FLOWERING PAIR CYLINDRIC VASES WITH SQUARE PANEL WITH SONGBIRDS BOWL WITH SNOWY LANDSCAPE. TELLER MIT DRACHEN. DRAGONS. PLUM TREE. SNOWY LANDSCAPE. IN BLOSSOMING BRANCHES. SCHALE MIT SCHNEELANDSCHAFT. China. 20th c. or later. GROSSE SCHALE MIT DEN NEUN TELLER MIT ELSTERN IN BLÜHENDEN PAAR ZYLINDERVASEN MIT PLATTE MIT SINGVÖGELN IN China. 1st half 20th c. DRACHEN. PFLAUMEN. WINTERLANDSCHAFT. BLÜHENDEN ZWEIGEN. Porcelain, painted in underglaze blue, China. 20th c. or later. China. 20th c. or later. China. 1st half 20th c. China. 20th c. or later. Porcelain painted with enamel. Condition background in iron red with golden con- A. Supplement: Wooden base. tour lines. H.6cm, Ø 33.5cm. Underneath Porcelain, painted in underglaze blue and Porcelain with overglaze colors. H.4cm, Porcelain, finely painted. H.17cm. Under- Porcelain with enamel colors. in underglaze blue a six-partite Guangxu overglaze iron red. H.10cm, Ø 48.5cm. Ø 20.5cm. Underneath in underglaze neath an underglaze blue Qianlong mark, 38.3 x 25cm. A copy of the style of Jin Provenance: mark, but later. Condition A. Underneath in underglaze blue a six-par- blue a six-partite Guangxu mark, but later. but later. Condition A. Supplement: Pingqing. Condition A. -Rhenish private collection. tite Qianlong mark, but later. Condition A. Condition A. Wooden bases and silk clad box. Acquired ca. 1950. € 1.200 - 1.500 | $ 1.416 - 1.770 € 800 - 1.000 | $ 944 - 1.180 € 800 - 1.200 | $ 944 - 1.416 € 500 - 700 | $ 590 - 826 Provenance: € 500 - 700 | $ 590 - 826 -Private collection Lower Rhine. Acquired locally middle 20th c.

€ 500 - 700 | $ 590 - 826

2465 2466 2467 2471 2472 2473 VASE AND COVERD VASE WITH PAIR OF BEAKER VASES AND TWO TIANQIUPING VASE WITH 26 VASE WITH WILLOW, BLOSSOMING LARGE TIANQIUPING VASE IN TIGER FIGHTER. FIGURES. LIDS WITH SHIZI. MANCHURIAN CRANES. PEACHES AND SWALLOWS. MILLEFLEUR DESIGN. TIGERBEZWINGER. INGWERTOPF UND DECKELTOPF MIT PAAR STANGENVASEN UND ZWEI TIANQIUPING-VASE MIT 26 VASE MIT WEIDEN, BLÜHENDEM GROSSE TIANQIUPING-VASE IN Asia. 19th c. FIGURENSTAFFAGE. DECKEL MIT SHIZI. MANDSCHURENKRANICHEN. PFIRSICH UND SCHWALBEN. MILLEFLEUR-DESIGN. China. 20th c. China. Qing dynasty, Guangxu period China. Middle 20th c. China. 20th c. China. Stoneware slip colored and glaze in the (1875-1908). style of the Chinese Shiwan. Condition C. Porcelain painted in underglaze blue. a.) Porcelain with enamel colors. H.39cm. Porcelain with overglaze colors in Porcelain, painted with enamel colors and Tip of the tail glued. H.13cm, b) with lid H.14cm. Conditions: Porcelain, painted in underglaze blue. Jiangxi Taoci Gongsi. The Jingdezhen Qianjiang style. H.24cm. Condition A. famille noir. H. 53cm, Ø 36cm. Under- Covered A; uncovered B/C. Supplement: H.30cm. Underneath of one vase a four- Porcelain Company was founded 1950 neath in enamel blue a six-partite Qian- Provenance: Wooden base. partite mark: Guangxu and maybe from and five years later renamed in Jiangxi € 400 - 600 | $ 472 - 708 long mark, but later. Condition A. -Rhenish private collection. the period. Condition A. Supplement: Ceramic Industry Company. Condition A. € 300 - 400 | $ 354 - 472 Square vase. Porcelain. Monochrome € 1.500 - 2.000 | $ 1.770 - 2.360 € 400 - 600 | $ 472 - 708 strong powder blue. China. H.29cm. € 900 - 1.200 | $ 1.062 - 1.416 Provenance: -Private collection Northern Germany, acquired since the 1850s. Asian Art Part II € 900 - 1.200 | $ 1.062 - 1.416 2474 2475 2476 2480 2481 2482 VASE WITH PEONIES, BUTTERFLY GUANYIN WITH PARROT. JUE. JAR WITH LOTOS LEAVES AND TWO SMALL JARDINIERE WITH DRAGON STANDING WENCHANG WANG. AND LEAF BORDERS. GUANYIN MIT PAPAGEI. JUE. DRAGONS. AND BAMBOO. STEHENDER WENCHANG WANG. VASE MIT PÄONIEN UND China. Late Ming dynasty. China. Ming dynasty. 17th c. KUGELTOPF MIT LOTOSRAND UND KLEINE JARDINIERE MIT DRACHEN China. 17th c. BLÄTTERBORDÜREN. ZWEI DRACHEN. UND BAMBUS. China. Bronze with green patina. Sitting on a Bronze with shiny, dark patina. H.19cm. China. China. Ca. 1900. Bronze with dark and green patina. lotus throne on a high base with voluted Condition A/B. H.29cm. Condition B. Base partly broken, White glass with powerful green overlay. feet. At her left shoulder a parrot with a Bronze with dark patina. H.9.2cm, Ø Silver in repoussé. H.9.7cm, closed with wood. Supplement: Vase H.25cm. Condition B. Supplement: leaf stalk. H.24cm, W.15cm. Condition B. € 500 - 700 | $ 590 - 826 12.5cm. Underneath a four-partite mark. 19.5 x 16.5cm. Cracked chinese silver in gourd shape with engraved patterns. Fitting wooden base. Condition A/B. punches in the ground. Condition A. Bronze. China. H.24.5cm. Conditon A/B. € 600 - 800 | $ 708 - 944 Vase with Xuyou and Chaofu. Bronze. € 300 - 400 | $ 354 - 472 € 200 - 250 | $ 236 - 295 € 800 - 1.200 | $ 944 - 1.416 Japan. H.17cm Condition A/B.

Provenance: -Rhenish private collection.

€ 800 - 1.000 | $ 944 - 1.180

2477 2478 2479 2483 2484 2485 GU. CENSER WITH DRAGONS AND WATERBASIN FOR A WASH STAND. BOWL AND VASE WITH FIGURES. PLATE AND WATER BASIN WITH LARGE BOWL AND WINE EWER. GU. LIONMASKS. WASSERBECKEN FÜR EINEN SCHALE UND VASE MIT FIGÜRLICHEN DRAGONS. GROSSE SCHALE UND China. Ming dynasty. 17th c. WEIHRAUCHBRENNER MIT DRACHEN WASCHSTAND. SZENEN. TELLER UND WASSERSCHALE MIT WEIN-KÄNNCHEN. UND LÖWENMASKEN. China. Qing dynasty. 18th c. China. 19th c. DRACHEN. China. Bronze with dark patina. H.22cm. Asia. China. Ca. 1900. Condition A/B. Bronze, embossed pattern of figures, Silver in repoussé. H.14.5/6.3cm, Copper with cloisonné and gilding. Ewer Bronze. H.11cm, Ø 14cm. Dragonmark animals and plants. H.9.2cm, Ø 37cm. Ø 12.3cm. Condition C. Supplement: Cloisonné on copper, partly gilt. H.7cm, with inner ewer made of tin for keeping the € 500 - 700 | $ 590 - 826 underneath. Conditon A/B. Condition B. Two old repairs. Cigarette case with dragons. Copper with Ø 37.5cm, H.9cm, Ø 28. Beneath the wine warm. Bowl H.12cm, Ø 29cm. Ewer cloisonné and residue of gilding. China. plate a six-partite Qianlong mark, but H.12cm, Ø 9.5cm. Condition A/B. Supple- € 300 - 400 | $ 354 - 472 € 400 - 600 | $ 472 - 708 19th c. 9 x 7cm. Condition B. later. Condition A/B. Plate damaged. ment: Pair of covered boxes in the shape Condition C. of mythical animals. China, 19th/20th c. Provenance: H.8cm, L.14cm. Condition A/B. -Private collection Northern Germany, Provenance: acquired since the 1850s. -Private collection Southern Germany, Provenance: acquired in the 1960s/70s. -Private collection Westphalia. € 400 - 500 | $ 472 - 590 Asian Art Part II € 800 - 1.000 | $ 944 - 1.180 € 600 - 900 | $ 708 - 1.062 2486 2487 2488 2492 2493 2494 PAIR OF VASE AND A EWER WITH GARLIC VASE WITH DRAGONS AND SHOULAO ON DEER BENEATH PINE DUCK AND TURTLE WITH LOTUS. BRUSH WASHER AND BRUSH REST. TABLE SCREEN WITH SCHOLAR AND RAMS HEADS. LOTUS. WITH TWO CRANES. ENTE UND SCHILDKRÖTE MIT LOTUS. PINSELWASCHER UND PINSELABLAGE. TWO LADIES. PAAR VASEN UND EINE KANNE MIT KNOBLAUCHVASE MIT DRACHEN UND SHOULAO AUF HIRSCH UNTER EINER China. 18th/19th c. China. 18th/19th c. TISCHSTELLSCHIRM MIT HERR UND WIDDERKÖPFEN. LOTOS. KIEFER MIT ZWEI KRANICHEN. ZWEI DAMEN. China. 19th/20th c. China. China. 1st half 20th c. Jade. 4x3.3x1.7cm. Condition A/B. Soapstone/spinach jade. Brush washer China. Supplement: Gourd as pendant. Green H.10cm / brush rest L.3.3cm. Condition Copper with cloisonné and partly gilt. Copper with cloisonné and gilding. Ivory, carved pattern dyed in black. jade. China. L.5.4cm. Square shaped A/B. Supplement: Boy on a lotus leaf. Dark green jade carved in high relief. Vases H.26.5cm. Ewer L.19cm. Condition H.21.5cm. Condition B. Chipped. H.23cm. Condition A/B. pendand with poem and landscape. Jade. Jade. China. 8x7.3cm. Light green jade in openwork. Wooden A/B. Supplement: Covered box. Copper China. 6.5x4.8x0.6cm. Condition A/B. base with metal inlay. H.23.2cm, B.25cm. with cloisonné. China. 20th c. H.5.6cm, € 400 - 500 | $ 472 - 590 Provenance: Provenance: Condition A/B. Ø 10.6cm. Condition A/B. -Private collection Westphalia. € 200 - 300 | $ 236 - 354 -Brush rest: Private German collection, gift -CITES certificate present, DE ME from Dr. Cheng, Hong Kong 1969. Provenance: Provenance: 02043029 date: 30.04.2002. -Privatsammlung Westfalen. -Private collection Westphalia. € 300 - 400 | $ 354 - 472 € 400 - 600 | $ 472 - 708 | ‡ € 300 - 500 | $ 354 - 590 € 600 - 900 | $ 708 - 1.062

2489 2490 2491 2495 2496 2497 SHOULAO WITH SCROLL. LYING SHIZI LION. BIXIE - MYTHICAL ANIMAL THAT RUYI SCEPTER WITH LINGZHI BOY WITH PEACHES. 13 FIGURAL DEPICTIONS. SHOULAO MIT SCHRIFTROLLE. LIEGENDER LÖWENHUND. ATTRACTS AND KEEPS WEALTH. MUSHROOMS. KNABE MIT PFIRSICHZWEIG. 13 FIGURENDARSTELLUNGEN. China. 18th/19th c. China. BIXIE - WEIBLICHES FABELWESEN, DAS RUYI-SZEPTER MIT LINGZHI-PILZEN. China. 18th/19th c. China. 19th/20th c. WOHLSTAND ANZIEHT UND HÄLT. China. 19th/20th c. Green soapstone with red inclusions, Soapstone. H.10.5cm, L.18.5cm. Condi- China. Qing dynasty. 18th/19th c. White, partially opaque muttonfat jade. Different jades and steatite. Largest finely carved. H.30cm, W. ca. 10cm. Con- tion A/B. Supplement. Wooden base. Wood with three plates from soapstone, H.6.5cm. Condition B. At the back a H.18.5cm. Condition A/B. Steatite figures dition A/B. Partly dark brown soapstone. H.7cm, carved in bas-relief. L.49.5cm. Condition broken part. with traces of use. € 800 - 1.200 | $ 944 - 1.416 L.15.5cm. Condition A/B. Supplement: B. First plate somewhat loose. Provenance: Matching wooden base. Provenance: € 500 - 900 | $ 590 - 1.062 -Private collection Northern Germany. Provenance: -Private collection Northern Germany, € 250 - 300 | $ 295 - 354 -Private collection Westphalia. acquired since the 1850s. € 600 - 800 | $ 708 - 944 € 400 - 600 | $ 472 - 708 € 350 - 500 | $ 413 - 590

Asian Art Part II 2498 2499 2500 2504 2505 2506 PENDANT WITH MOUNTAIN ELEVEN BANGLES. EIGHT BELT CLASPS. SEVEN PENDANTS IN FISH SHAPE. TWO BROOCHES WITH BUTTERFLY ELEVEN FRUIT SHAPES. LANDSCAPE AND TWO SEALS WITH ELF ARMREIFEN. ACHT GÜRTELSCHLIESSEN. SIEBEN ANHÄNGER IN FISCHFORM. RESP. GOURD. ELF FRUCHTFORMEN. ANIMALS. China. China. China. 19th/20th c. ZWEI BROSCHEN MIT SCHMETTERLING China. ANHÄNGER MIT GEBIRGSLAND- BZW. KALEBASSE. SCHAFT UND ZWEI SIEGEL MIT TIEREN. Jade and steatite. Ø 4.7-8.9cm. Condition Jade, one with a metal mounting. Jade. L.5-10.5cm. Condition A/B. China/Europe. 18th-20th c. Jade. L.4-8cm. Condition A/B. China. 19th/20th c. A/B. Supplement: Two smaller rings. L.ca. 3.2-11.6cm. Condition A/B. Supplement: One fish pendant with Jade. China. Condition A/B. other pendants, beads and rings. Different Green jade, partly in openwork. Mounting € 500 - 900 | $ 590 - 1.062 Amber. Pendant L.7cm. Condition A/B. € 300 - 500 | $ 354 - 590 stones. China. Condition A/B. from gilt silver with enamel. Ca. 4-6cm. € 800 - 1.500 | $ 944 - 1.770 Condition A/B. € 400 - 500 | $ 472 - 590 € 250 - 400 | $ 295 - 472 € 150 - 300 | $ 177 - 354

2501 2502 2503 2507 2508 2509 TWO BI DISCS. 24 ANIMAL DEPICTIONS. LUOHAN WITH SCROLL. TWELFE PENDANTS. LAUGHING BUDAI WITH PRAYER BRUSHWASHER WITH GOATS AND ZWEI BI-SCHEIBEN. 24 TIERDARSTELLUNGEN. LUOHAN MIT SCHRIFTROLLE. ZWÖLF ANHÄNGER. BEADS. LINGZHI MUSHROOM. China. China. 19th/20th c. China. 1st half 20th c. China. 19th/20th c. LACHENDER BUDAI MIT GEBETSKETTE. PINSELWASCHER MIT ZIEGEN UND China. LINGZHI-PILZEN. Black, green and light colored jade. A Different jades. Condition A/B. Green jade with partly brownish Different jades and steatite. L.5.3-8.1cm. China. 19th/20th c. wooden base. Ø 5/6.1cm. Condition A/B. inclusions. H.13.5cm. Condition A/B. Condition A/B. Black-green serpentine, finely cut and Supplement: Three ovale plates for ruyi € 1.200 - 1.500 | $ 1.416 - 1.770 Supplement: Box. polished. H.7.5cm. Condition A/B. Greenish gray jade with brownish sceptres. Jade, one covered with wood. € 600 - 900 | $ 708 - 1.062 Supplement: High wooden base with inclusions. H.8.3cm, B.20cm. China. Condition A/B. Provenance: collection label. Condition A/B. -Private collection Lower Rhine. € 400 - 900 | $ 472 - 1.062 Acquired mid 20th c. locally. Provenance: € 200 - 300 | $ 236 - 354 -Collection of Feudalmuseum Schloss € 600 - 900 | $ 708 - 1.062 Wernigerode.

€ 250 - 300 | $ 295 - 354

Asian Art Part II 2510 2511 2512 2516 2517 2518 TWENTY SNUFFBOTTLE. TWO SNUFFBOTTLE, ONE CUP. COLLIER. NIGHTSOIL COLLECTOR. POMMEGRANATE TWIGS WITH CROW ON ROCK AND FLOWERING ZWANZIG SNUFFBOTTLE. ZWEI SNUFFBOTTLE, EIN BECHER. KETTE. FÄKALIENSAMMLER. FLOWERS AND FRUITS. PEONY. China. China. 19th/20th c. China. In the style of the Song period, China. 20th c. Inscription dated: Minguo GRANATAPFELZWEIGE MIT BLÜTEN KRÄHE AUF FELSEN UND BLÜHENDE but later. 29 = 1940. UND FRÜCHTEN. PÄONIE. 8x cloisonné, 5x stone, 4x porcelain, White glass/ice glass with cut overlay. China. 20th c. Inscription cyclically dated: China. Inscription dated to a day in spring 1x gourd with metal (one piece missing), H.5.8cm / 6.6cm / big snuffbottle with Blue green glass. Central bigger bead Ink and a few light colors on paper. Jiwei = 1919 or 1979. 1957. Tian Denwu (1897-1973). 1x amber, 1x glass with overlay. Ca. stopper made from silver with stones marbled and with gold. L.ca. 70cm. 68.3x43,2cm. Signed:Ren Lianzhong. 5-8cm. Condition A/B. 13.5cm. Condition A/B. Condition A/B. Seal: Lianzhong. Condition A/B. Ink and colors on paper. 64.1 x 34cm. Ink and colors on paper. 96.5 x 44cm. Lin Yanhui and seal. Condition A/B. Signed Denwu, painted in the high school Provenance: Provenance: Provenance: Provenance: for European medicine in Xi’an and seal. -Private collection Westphalia. -Private collection Munich, acquired in the -Private collection Southern Germany, -Collection Hans Jürgen Lochow € 450 - 600 | $ 531 - 708 Condition A/B. 1970s/80s. acquired in the 1970s locally. (1902-1989), from 1934 till 1950 Provenamce: Collection Pommer- € 700 - 1.000 | $ 826 - 1.180 counselor of the railways in China. antz-Liedtke (1909-74). € 400 - 600 | $ 472 - 708 € 150 - 250 | $ 177 - 295 € 500 - 700 | $ 590 - 826 € 450 - 600 | $ 531 - 708

2513 2514 2515 2519 2520 2521 ARMCHAIR. LOT ANTIQUITIES. OFFICIAL OR JUDGE IN RITUAL ROBE AUTUMN LANDSCAPE. PAIR OF CROWS ON A FLOWERING SIDDHA BAHUBALI AND CHAUBISI. ARMLEHNSESSEL. KONVOLUT ANTIQUITÄTEN. WITH HONORARY FAN. HERBSTLICHE LANDSCHAFT. PRUNUS TWIG. SIDDHA BAHUBALI UND CHAUBISI. China. Qing dynasty. 19th c. China. Qing dynasty. 18th/19th c. BEAMTER ODER RICHTER IN OFFIZIEL- China. 20th c. Inscription dated 1978. PAAR RABENKRÄHEN AUF India. Jain. LER ROBE MIT EHRENFÄCHER. BLÜHENDEM PRUNUSZWEIG. Rosewood (huali). The armchair in straight Covered bowl, porcelain with overglaze China. 19th/20th c. Ink and some red brown on paper. China. Dated: Peking 1721, but later. Bronze, chaubisi with inlays of other shape and with wide armrests made of colors. Twelve paintings on pith paper in 66.5x46cm. Sign. and seal: Linyun. In the style of Jian Tingxi. metals. Weight 2134g/1026g, elegantly grained wood. The backrest is two frames, female musicians. Censer, Colors on fabric. Framed with glass. Condition A/B. H.22.5/20.5. Condition A/B. carved in openwork. H.99cm, W.65cm, bronze. Snuffbottle, agate. Belt hook and H.121.5cm, B.64.5cm. Condition A/B. Ink and light colors on silk. Framed with D.47.5cm. Condition A/B. pendant, jade. Two hair pins, jade, silver. Provenance: glass. 82 x 36cm. Jiang Tingxi (1669- Provenance: Small bamboo box. Condition A/B. € 700 - 900 | $ 826 - 1.062 -Collection Christian Roll (1915-?), Ger- 1732), Nansha (artists name) two seals, -Rhenish private collection. € 600 - 700 | $ 708 - 826 man journalist in Hong Kong 1953-1984. but in the style of. Inscription: After a Provenance: Tang period painting. Condition B/C. € 500 - 800 | $ 590 - 944 -Private collection Northern Germany. The € 350 - 500 | $ 413 - 590 Crack. family lived in China from 1925-35. € 200 - 300 | $ 236 - 354 € 500 - 700 | $ 590 - 826 Asian Art Part II 2522 2523 2524 2528 2529 2530 TWO KRISHNA STANDING ON THE TWO SITTING GODS, DANCING KRISH- BOX WITH HIGH DOOMED LID. SHAKYAMUNI IN TRANSCENDENT VASUDHARA, GODDESS OF ABUN- VAJRASATTVA WITH AMITABHA IN HIS SNAKE AND A STANDING GODDESS. NA AND TWO STANDING GODDESSES KASETTE MIT HOCH GEWÖLBTEM FORM. DANCE. CROWN. ZWEI KRISHNA AUF DER SCHLANGE ZWEI SITZENDE GÖTTER, TANZENDER DECKEL. SHAKYAMUNI IN TRANSZENDENTER VASUDHARA, GÖTTIN DER FÜLLE UND VAJRASATTVA MIT AMITABHA IN DER STEHEND UND EINE STEHENDE KRISHNA UND ZWEI STEHENDE India, Gujarat. 19th/20th c. FORM. DES ÜBERFLUSSES. KRONE. GÖTTIN. GÖTTINEN. Nepal. Nepal. 19th c. Tibet. Ca. 18th c. India. 19th/20th c. India. 19./20. c. Heavy wood completely covered with ivory plates. Fittings from metal. Bronze with black lacquer. Sitting in Copper bronze with gilding and pigments. Copper bronze with dark patina and res- Bronze with dark patina. H.9.2-16.7cm. Bronze with partly dark patina. H.22.5cm, B.30.8cm, D.20.7cm. ardhapadmasana with his hands in dhar- Figure cast, base in repoussé. Weight idue of gilding and pigments. H.11cm. Condition A/B. H.7.4-13.5cm. Condition A/B. Condition A/B. machakra mudra. H.43cm, W.29cm, 1213g, H.18.5cm, W. ca. 12.5cm. Conditon A/B. With shiny surface, maybe Supplement: Vase with figures D.25cm. Condition A/B. Minor casting Condition B. lacquered. (H.14.5cm), two small mortars and small Provenance: Provenance: blemishes, paint slightly rubbed. Provenance: vase. Bronze. India. Condition A/B. -Private collection Essen, acquired locally -Private collection Hesse, shown in a long -Collection Dr. Wolfgang Schumann, € 800 - 1.000 | $ 944 - 1.180 in the 1970s. term exhibition until summer 2017 in the Provenance: indologist and author of numerous refer- Provenance: Deutsches Elfenbeinmuseum in Erbach. -Private collection Germany, 1985 import- ence books on Buddhism and India. -Rhenish private collection. € 300 - 500 | $ 354 - 590 ed from Nepal. € 1.200 - 1.500 | $ 1.416 - 1.770 | ‡ € 800 - 1.200 | $ 944 - 1.416 € 450 - 600 | $ 531 - 708 € 2.100 - 3.000 | $ 2.478 - 3.540

2533 LOT WITH BUDDHIST IMPLEMENTS AND FIGURES. KONVOLUT BUDDHISTISCHER GERÄTE UND FIGUREN. Nepal.

2525 2526 2527 2531 2532 Bronze, partly with dark patina and res- FLOWERSHAPED BOWL. KRISHNA MEETS RADHA IN THE THREE PAINTINGS WITH MAHARADHA TARA, AMITAYUS AND VAJRAPANI. LARGE THANGKA OF THE BUDDHA idue of gilding, parts of iron. Spangle BLÜTENFÖRMIGE SCHALE. GARDEN. PROCESSIONS. TARA, AMITAYUS UND VAJRAPANI. SHAKYAMUNI WITH STATIONS OF HIS and knife sheath from white metal with Mughal India. 18th c. or later. KRISHNA TRIFFT RADHA IM GARTEN. DREI MALEREIEN MIT MAHARAD- Tibet/Nepal. LIFE. bone. Figure of Durga Mahishamardini Mughal India. Late 18th/early 19th c. SCHA-PROZESSIONEN. SEHR GROSSES THANGKA DES BUD- (H.16.7cm). Altar lamp with Manjushri Finely cut from lavender-colored agate, Mughal India. 19th/20th c. Bronze with dark patina and residue of DHA SHAKYAMUNI MIT STATIONEN (H.16cm). Ritual ewer with lid (H.29cm). decorated with gemstones. H.3cm, Colors and gold on paper, partly with very gilding. H.14.5/16/18cm. Condition A/B. SEINES LEBENS. Bag with metall fittings. (B. 23.5cm). Hook 10.5 x 7.5cm. Condition A/B. fine details. 27.5 x 19cm. Framed with Pigments on paper. Two papers framed Nepal. with vajra (L.32cm). Knife (L.30.7cm). glass. Condition A/B. behind glass. 22 x 48.5 cm / 16 x 27 cm / Provenance: Two phurbu, two vajra, one gantha-bell, Compare: 10.5 x 21 cm. Condition A/B. -Rhenish private collection. Colors and gold on fabric. Framed with a kathriki-knife. Vajrakila phurbu as attri- - A similar bowl, nearly identically Provenance: Chinese woven fabrics. With frame: bute (L.7.8cm). Condition A/B. designed is located in the National -1935 given to the parents of the present € 350 - 600 | $ 413 - 708 € 800 - 900 | $ 944 - 1.062 256 x 170cm, picture size: 157 x 122cm. Museum Taipei, Taiwan. owner as a wedding present. Condition A/B. Supplement: Thangka of Provenance: Buddha Shakyamuni. Nepal. -Rhenish private collection, collected in € 400 - 600 | $ 472 - 708 € 600 - 800 | $ 708 - 944 41,5 x 54,5cm. Condition A/B. the 1960s/70s locally. Provenance: -Rhenish private collection. € 700 - 900 | $ 826 - 1.062 Asian Art Part II € 700 - 1.200 | $ 826 - 1.416 2534 2535 2536 2540 2541 2542 LARGE THANGKA WITH MANDALA. BUDDHISTIC RITUAL TOOLS. STANDING PADMAPANI. THANGKA WITH THE FOUR-HEADED MAHAKALA. SITA-TARA. GRÖSSERES THANGKA MIT BUDDHISTISCHE RITUALWERKZEUGE. STEHENDER PADMAPANI. 35 CONFESSIONS BUDDHA. VIERKÖPFIGER MAHAKALA. SITA-TARA. MANDALA. Tibet/Nepal. Tibet. 18th/19th c. THANGKA MIT DEN Nepal. 19th c. Tibet. 18th/19th c. Tibet/Nepal. 19th/20th c. 35 BEKENNTNISBUDDHA. Bronze and copper, some with gilding. Fire-gilt copper bronze with residue of Tibet/Nepal. 18th/19th c. Bronze, finely engraved. Base in Bronze, lotos base in repoussé. On new Pigments and gold on fabric. Fitted A cutting blade of iron. Three vajra pigments. Weight: 457g, H.18cm. open-work. H.25.5cm. Condition B/C. wooden base. Figure and base connected. with Chinese fabrics as a hanging scroll. (L.12/20/42cm), a katrika-chopper knife, a Condition A/B. Pigments and gold on fabric. Upper body of the consort missing. Weight 450g, H.13.5cm. Condition A/B. 91 x 74cm, complete size 145 x 97cm. cup with figures. Condition A/B. Mounted with Chinese silk as hanging Condition A/B. Provenance: scroll. 76.5 x 47.5cm, Complete size € 500 - 800 | $ 590 - 944 Provenance: Provenance: -Private collection Austria, Salzburg area. 116 x 69cm. Condition A/B. -Private collection Hamburg. Provenance: -Rhenish private collection. Collected in the 1970s to 90s. -Private collection Essen, acquired Provenance: € 500 - 700 | $ 590 - 826 ca. 1970s locally. € 700 - 900 | $ 826 - 1.062 € 700 - 900 | $ 826 - 1.062 -Private collection Essen, acquried ca. 1970s locally. € 700 - 900 | $ 826 - 1.062 € 500 - 900 | $ 590 - 1.062

2537 2538 2539 2543 2544 2545 SEATED SAKYA LAMA THARTSE LARGE AND SMALLER VAJRAKILA VAJRAYOGINI. PAIR OIL LAMPS. RITUAL TOOL WITH MAKARA HEAD, THANGKA OF SAMANTABHADRA IN JAMPA NAMKA CHIME (1765-1820). PHURBU. VAJRAYOGINI. PAAR ÖLLAMPEN. VAJRA AND FLAMING SWORD. YAB-YUM. SITZENDER SAKYA LAMA THARTSE GROSSER UND KLEINER VAJRAKILA Nepal. 20th c. Bijendra Bajracharja Tibet/Nepal. RITUALWERKZEUG MIT MAKA- THANGKA DES SAMANTABHADRA IN JAMPA NAMKA CHIME (1765-1820). PHURBU. (*1977). RA-KOPF, VAJRA UND FLAMMENDEM YAB-YUM. Tibet. 18th/19th c. Tibet/Nepal. Copper with bronze and silvery metal. SCHWERT. Nepal/Tibet. 19./20. c. Color on canvas. Miniature painting in H.25.3cm. Condition A/B. Supplement: Nepal. 19th c. Bronze, partly with dark patina and res- Bronze. L.20.5 / 38cm. Condition A/B. Newari style. 9.8 x 7.1cm, overall Large and small kundika water vessel. Pigment and gold on fabric. With idue of gold painting. Figure probably dimensions with frame: 33.5 x 31.1cm. Bronze. India. H.29.5/13cm. Condition Iron and bronze. Weight 501g, L.36.5cm. chinese cloth mounted as a roll picture. originally sealed. Weight 696g, H.14.8cm. Provenance: Sign.: Bijen Bajracharya. Condition A. A/B. Condition A/B. 67 x 44cm, overall 120 x 68cm. Condition A/B. -Rhenish private collection. Supplement: Framed behind glass. Condition A/B. Provenance: € 500 - 600 | $ 590 - 708 Provenance: € 600 - 900 | $ 708 - 1.062 Provenance: -Rhenish private collection. Provenance: -Private collection Hamburg. -Private collection Hamburg. -Private collection Essen, acquried ca. € 500 - 700 | $ 590 - 826 1970s locally. € 600 - 800 | $ 708 - 944 € 600 - 700 | $ 708 - 826 € 400 - 800 | $ 472 - 944 Asian Art Part II 2546 2547 2548 2552 2553 2554 SITTING BUDDHISTIC FIGURE. FOURARMED GANAPATI AND MA- SHANKA CONCH SHELL TRUMPET. THREE VAJRA. BUDDHA, WHITE TARA AND GANESHA. MOLD FOR TSATSA WITH MAHAKALA. SITZENDE BUDDHISTISCHE FIGUR. HAKALA ON DRAGON. SHANKA MUSCHELHORN. DREI VAJRA. BUDDHA, WEISSE TARA UND GANESHA. FORM FÜR TSATSA MIT MAHAKALA. Nepal. VIERARMIGER GANAPATI UND MA- Tibet/Nepal. Tibet. Ca. 16th-19th c. Asia. Tibet. 16th c. HAKALA AUF DRACHEN. Copper bronze with a cultic painting and Nepal. 20th c. Conch shell mounted with silvery metal Bronze and copper bronze with a dark, Bronze with dark, resp. greenish patina. Bronze with dark patina. L.6.9cm. Condi- the eyes inlaid in silver. H.18cm. Base with stones. L.22cm. Condition A/B. glossy patina. L.5.7-11cm. Condition A/B. a) Ganesha: Weight 998g, H.18.7cm b) tion A/B. oringinally sealed. Condition A/B. Bronze with gilding and pigments. One with a casting defect. Tara: Weight 953g, H.16.9cm c) Buddha: H.20.8/20cm. Both bases originally closed. € 400 - 700 | $ 472 - 826 Weight 3061g, H.37.3cm. Condition A/B. € 300 - 400 | $ 354 - 472 Provenance: Condition A/B. € 350 - 450 | $ 413 - 531 -Rhenish private collection. € 350 - 400 | $ 413 - 472 Provenance: € 400 - 700 | $ 472 - 826 -Private collection Westphalia.

€ 400 - 600 | $ 472 - 708

2549 2550 2551 2555 2556 2557 PAIR BUDDHA AKSHOBHYA WITH TANTRIC FIGURE IN YAB-YUM AND FIVE TSATSA. MOLD FOR TSATSA AS STUPA. PADMASAMBHAVA AND YAMANTAKA AND BUDDHA VAJRA ON THRONE. STUPA. FÜNF TSATSA. FORM FÜR TSATSA ALS STUPA. FOUR-ARMED WRATHFUL GOD. SHAKYAMUNI. PAAR BUDDHA AKSHOBHYA MIT TANTRISCHE FIGUR IN YAB-YUM UND Nepal/Tibet. 19th c. Nepal/Tibet. 16th c. PADMASAMBHAVA UND VIERARMIGE YAMANTAKA UND BUDDHA VAJRA AUF THRON. STUPA. ZORNVOLLE GOTTHEIT. SHAKYAMUNI. Asia. Tibet/Nepal. Terracotta, partly with residue of rital Silvery shining bronze. H.10.6cm. Tibet/Nepal. Tibet/Nepal. pigments. H.4.4-11cm. Condition A/B. Condition A/B. Bronze with partly dark patina. H.20cm. Bronze and copper bronze. H.22.5cm Bronze with dark patina. Padmasambha- Bronze with dark patina and cultic Bottom of the base sealed. Condition A/B. / 23.5cm. Base of the Stupa originally € 400 - 500 | $ 472 - 590 € 300 - 400 | $ 354 - 472 va H.12cm, base originally closed. God. painting. Yamantaka H.14.7cm, Buddha sealed. Condition A/B. Supplement: H.15.3cm. Condition A/B. H.11cm. Condition A/B. Provenance: Janus-like figure of a yellow hat lama. -Rhenish private collection. Bronze. Tibet/Nepal. H.6.5cm. Base Provenance: Provenance: originally closed. Condition A/B. -Private collection Essen, acquried ca. -Private collection Essen, acquried ca. € 400 - 600 | $ 472 - 708 1970s locally. 1970s locally. Provenance: -Rhenish private collection. € 300 - 500 | $ 354 - 590 € 300 - 500 | $ 354 - 590

Asian Art Part II € 400 - 600 | $ 472 - 708 2558 2559 2560 2564 2565 2566 THANGKA OF BUDDHA SHAKYAMUNI SHIVA AND PARVATI. SMALL CRYSTAL STUPA. DOUBLE SADDLEBAG. THREE BUDDHA MARAVIJAYA. TWO BOWLS WITH FLOWER SCROLLS. AND JATAKA. SHIVA UND PARVATI. KLEINE KRISTALLSTUPA. DOPPELTE SATTELTASCHE. DREI BUDDHA MARAVIJAYA. ZWEI SCHALEN MIT THANGKA DES BUDDHA Nepal. 19th c. Tibet/Nepal. 19th c. Ladakh, India. 20th c. Burma/Myanmar, Shan. BLÜTENARABESKEN. SHAKYAMUNI UND JATAKA. Burma/Myanmar. 19th/20th c. Nepal. 20. c. Dark Bronze. Weight 1046g, H.19.8cm. Chrystal with polished surface, at the base Leather, painted with pigments. 126 Wood with lacquer gilding. H.36-50cm. Condition A/B. residue of green pigment. H.6.5cm. Con- (without fringes) x 41cm. Condition A/B. Condition A/B. Silver in repoussé. H.6cm, Ø 8.5/11.7cm. Color and gold on fabric. Consecrated dition A/B. Condition A/B. Supplement: Two Bud- on the back with red, With chinese cloth Provenance: Provenance: Provenance: dha. Ratanakosin style. Bronze with lac- installed as a roll picture. 47.5 x 34cm, -Private collection Austria, Salzburg area. € 250 - 350 | $ 295 - 413 -Private collection Essen, acquired ca. -Private collection Essen, acquired ca. quer gilding and small mirrors. Thailand. overall 80 x 52cm. Condition A/B. Collected in the 1970s to 90s. 1970s locally. 1970s locally. 19th/20th c. H.48/18.5. Condition A/B.

Provenance: € 300 - 500 | $ 354 - 590 € 150 - 250 | $ 177 - 295 € 800 - 1.200 | $ 944 - 1.416 Provenance: -Private collection Essen, acquried ca. -Private collection Northern Germany, 1970s locally. acquired since the 1850s.

€ 300 - 500 | $ 354 - 590 € 400 - 600 | $ 472 - 708

2561 2562 2563 2567 2568 2569 THANGKA WITH THE WHITE TARA THANGKA OF SADBHUJA MAHAKALA. SEAL. LARGER BUDDHA WITH TWO STUPA FOR RELICS. STANDING BUDDHA. AND MANJUSRI. THANGKA DES SADBHUJA SIEGEL. ATTENDANT FIGURES AND TWO STUPA FÜR RELIQUIEN. STEHENDER BUDDHA. THANGKA DER WEISSEN TARA UND MAHAKALA. Tibet. Ca. 18./19. c. or earlier. SMALLER BUDDHA. Thailand. 19th c. Thailand. MANJUSRI. Tibet/Nepal. 19./20. c. GROSSER BUDDHA MIT BEGLEITFIGU- Tibet/Nepal. 19th/20th c. Silver colored metal. H.5.3cm. Condition REN UND ZWEI KLEINERE BUDDHA. Sandalwood, ivory. Turned and polished. Bronze with residue of lacquer gilding. Pigments and gold on fabric. With chinese A/B. Thailand. 16th/18th c. The lower part of sandalwood with a H.122cm. Condition B. Ketumala-tip is Pigments and gold on fabric. Consecrated cloth installed as a roll picture. 27 x 18cm, cavity for sacred objects, the upper part as missing. on the back with red, with chinese silk overall 64 x 34.5cm. Condition A/B. € 100 - 150 | $ 118 - 177 Bronze with dark patina and residue of cover of ivory with dark patina. H.20cm. mounted as a hanging sroll. 35 x 20cm, gilding. H.50.5/22/15.5cm. Condition A/B. Condition A/B. Provenance: overall 91 x 36cm. Condition A/B. Provenance: Ketumala tip of the bigger Buddha bent. -Rhenish private collection. Acquired be- Provenance: -Private collection Essen, acquried ca. Provenance: fore 1976. -Private collection Essen, acquried ca. 1970s locally. Provenance: -Private collection Belgium. 1970s locally. -Rhenish private collection. € 900 - 1.200 | $ 1.062 - 1.416 € 200 - 300 | $ 236 - 354 € 800 - 900 | $ 944 - 1.062 | ‡ € 200 - 300 | $ 236 - 354 € 900 - 1.500 | $ 1.062 - 1.770

Asian Art Part II 2570 2571 2572 2576 2577 2578 SITTING BUDDHA IN VITARKA MUDRA. STANDING BUDDHA. ACINTYA. TWO CENSERS. PAIR OF CENSERS IN THE SHAPE OF A ONI WITH DRUM AND BELLS. SITZENDER BUDDHA IN VITARKA STEHENDER BUDDHA. ACINTYA. ZWEI RÄUCHERGEFÄSSE. CRANE RESP. A DUCK ON LOTUS. ONI MIT TROMMEL UND SCHELLEN. MUDRA. Thailand. Indonesia. Bali. Japan. Meiji period. Ca. 1900. PAAR RÄUCHERGEFÄSSE IN FORM Japan. Ca. 1900. Thailand. EINES KRANICHS BZW. EINER ENTE Bronze with gilding. H.85cm. Condition Bronze with dark patina. H.37.5cm. Bronze with dark, shining patina. a) Shishi AUF LOTUS. Copper colored bronze. H.31.5cm. Bronze with green patina. H.58cm. Con- A/B. lion with brocade sphere under the front Japan. Meiji period. Condition A/B. dition A/B. Provenance: paws. Small lid on the back. b) High cy- Provenance: -Rhenish private collection. lindrical vessel on three feet, with shishi Bronze with silver and gold inlays. Provenance: € 500 - 600 | $ 590 - 708 -Rhenish collection. Acquired 1998 at among peonies and a sitting Kirin on the H.20.5cm. Condition B. One beak re- -Rhenish private collection. VAN HAM Art Auctions. € 300 - 500 | $ 354 - 590 lid. H.a) 12.5cm, b) 18cm. Condition A/B. paired. € 400 - 600 | $ 472 - 708 € 400 - 700 | $ 472 - 826 € 1.200 - 1.400 | $ 1.416 - 1.652 € 400 - 600 | $ 472 - 708

2573 2574 2575 2579 2580 2581 DANCING MASK PAIR OF SITTING SHISHI. SMALL VASE WITH DRAGON AND PAIR OF VASES WITH BIRDS ON BELL WITH LONG-RUNNING SOUND. EWER WITH FLOWERS AND BIRDS. TANZ-MASKE. PAAR SITZENDER SHISHI. CRANES IN WAVES. FLOWERING TWIGS. GLOCKE MIT LANG ANDAUERNDEM KÄNNCHEN MIT BLUMEN UND Papua Neuguinea. Probably Sepik. Japan. Meiji period (1868-1912). About KLEINE VASE MIT DRACHE UND VASENPAAR MIT VÖGELN AUF KLANG. VÖGELN. Oceania. 20th c. 1900. KRANICHEN IN WELLEN. BLÜHENDEN ZWEIGEN. Japan. Japan. Meiji period. Japan. Edo period. 19th c. Japan. Meiji period. Wood, pigments, kauri shells, raphia, Bronze with dark patina. H.17cm, Bronze with dark patina. Condition A/B. Silver, partly punched ground and finely feathers, boars tusks. H.51cm B. 34cm. L.14.5cm, D.8,5cm. Condition A/B. Sup- Bronze with dark patina. Motifs in relief Bronze with inlays from copper, silver and Supplement: Purple silken cord. engraved, with gold damascening, han- Condition B. plement: Seal with two shishi. Bronze. with finely cut detail. H.15.5cm. Condi- gold. H.30.5cm. Underneath sign.: Kyo dle from ebony wood. A small pine twig China. H.8cm, 5.6 x 5.6cm. Condition ton A/B. Supplement: Large chachepot. ichi. Condition B. Partly polished, dented. Provenance: forms the handle of the lid. H.15.5cm. Provenance: A/B. Bronze with enamel champlevé. Japan. -Private collection Southern Germany. Condition A/B. -Private collection Southern Germany, Meiji period. Ca. 1900. H.24/27.5cm. € 600 - 900 | $ 708 - 1.062 Acquired on a Japan travel in the 1970s. acquired in the 1970s locally. € 1.300 - 1.500 | $ 1.534 - 1.770 Condition A/B. Provenance: € 600 - 800 | $ 708 - 944 -Private collection Rhineland. € 800 - 1.200 | $ 944 - 1.416 € 400 - 600 | $ 472 - 708 € 300 - 500 | $ 354 - 590

Asian Art Part II 2582 2583 2584 2588 2589 2590 FLASK WITH TIGER IN BAMBOO. HUGE PLATE WITH BIRD OF PREY. SMALL CENSER. PAIR OF MINIATURE SCREENS WITH NETSUKE: KANZAN AND JITTOKU. NETSUKE: DEVICES OF THE TEA FLACHMANN MIT TIGER IN BAMBUS. GROSSER TELLER MIT RAUBVOGEL. KLEINER WEIHRAUCHBRENNER. PINES. NETSUKE: KANZAN UND JITTOKU. CEREMONY CHADOGU. Japan. Ca. 1920. Japan. Meij period. Ca. 1900. Japan. 19th/20th c. PAAR MINIATUR-STELLSCHIRME MIT Japan. Edo period. Ca. 1800. NETSUKE: GERÄTE DER KIEFERN. TEEZEREMONIE CHADOGU. Silver with engraved. Condition A/B. Cloisonné on bronze, bridges from silber. Copper with cloisonné and gilding. Japan. 19th/20th c. Boxwood with beautiful patina. The Sen- Japan. Meiji period. Late 19th c. H.6.5cm, Ø 45cm. Condition B. H.12.5cm. Underneath a Chinese mark: nin Jittoku and Kanzan standing close Style of the Kyokatsu. € 150 - 200 | $ 177 - 236 Da Ming, but later. Condition A/B. Paper with colors and gold on wooden together. H.10.8cm. Condition A/B. Provenance: frame, framed with silk fabric. H.46.9cm, Ivory. W.7.7cm. Condition A/B. -Private collection Southern Germany, € 400 - 600 | $ 472 - 708 W.111.3cm. Condition A/B. Supplement: Provenance: acquired in the 1960s/70s. Set for chanoyu, ceramic and bamboo -Collection Taudin Chabot. € 200 - 300 | $ 236 - 354 | ‡ in sugi bako cedar box. Japan, 20th c. € 400 - 600 | $ 472 - 708 H.50.1cm, 17 x 17cm. Condition A/B. € 500 - 700 | $ 590 - 826

€ 1000 - 1.200 | $ 1.180 - 1.416

2585 2586 2587 2591 2592 2593 GIGAKU MASK OF A THICK-LIPPED TWO-PARTITE SCREEN WITH WILD THE EXCENTRIC ZEN MONK IKKYU NETSUKE: SITTING COURTIER. THREE OKIMONO. OKIMONO: FATHER AND SON. MONK. GEESE AMONG THE REEDS. SÔJUN. NETSUKE: SITZENDER HÖFLING. DREI OKIMONO. OKIMONO: VATER UND SOHN. GIGAKU-MASKE EINES MÖNCHS MIT ZWEITEILIGER STELLSCHIRM MIT DER EXZENTRISCHE ZEN-MÖNCH Japan. 19./20. c. Japan. Meiji period. Japan. Meiji period. AUFGEWORFENEN LIPPEN. WILDGÄNSEN IM SCHILF. IKKYU SÔJUN. Japan. 19th century Japan. 19th/20th c. Fujishima Seison Japan. Wood with lacquer and traces of usage in Ivory. A) Boy with basket filled with peach- Ivory with finely engraved and darkened (1863-1935). the type of the negoro lacquer. H.4.2cm. es. H.5cm, W.2.5cm. B) A lying down details. The son sitting next to his father, Wood, presumably sugi-cedar, carved, Ink and light colors on paper. 137 x 22cm. Condition A/B. Tanuki in attentive posture. H.2.6cm, presenting a Tabakorie with Kiseruzutsu. with residue of pigments. L.28cm. Condi- Ink on browned silk, mounted with silk Condition A/B. Framed with glass. W.7.8cm. C) A vendor sitting on a rush Between them on the ground is further tion B. Supplement: Metal base. and wooden frame. H.154cm, B.161cm. € 200 - 300 | $ 236 - 354 mat, advertising the rattle in his hand. smoking equipment. H.6.5cm, W.11cm. Condition C. Provenance: H.6.1cm, W.5.9cm. Signed: Muneyuki in red lacquer reserve. Condi- € 400 - 500 | $ 472 - 590 -Private collection Hannover, acquired Shizuyoshi & seal on red lacquer reserve. tion A/B. Age cracks. € 250 - 300 | $ 295 - 354 partly on travels 1970s. Condition A/B. € 700 - 850 | $ 826 - 1.003 | ‡ € 300 - 500 | $ 354 - 590 € 800 - 1.000 | $ 944 - 1.180 | ‡

Asian Art Part II 2594 2595 2596 2600 2601 2602 OKIMONO: HOTEI. OKIMONO: BLIND MAN WITH CANE. OKIMONO: RATCATCHER. THE EIGHTEEN LUOHAN WITH PAIR OF MINIATURE BRUSHPOTS WITH PAIR OF TUSKS WITH MACAQUES. OKIMONO: HOTEI. OKIMONO: BLINDER MIT STOCK. OKIMONO: RATTENFÄNGER. ATTRIBUTES. MONKEYS IN PINE AND MAPLE TREES. PAAR STOSSZAHNABSCHNITTE MIT Japan. Meiji period. Japan. Edo period. Mid-19th c. Japan. Edo period. 19th c. DIE ACHTZEHN LUOHAN MIT AT- PAAR MINIATUR-PINSELBECHER MIT MAKAKEN. TRIBUTEN. AFFEN IN KIEFER UND AHORN. Japan. 1st half 20th c. Ivory with finely engraved details, robe Cherrywood, the eyes and teeth finely Boxwood with fine engraved details, the Japan. Ca. 1900s. Japan. Meiji period Ca. 1900. and fan browned. The god of luck happily carved and inlaid ivory. Blind landlord try- eyes inlaid black horn. The gaunt ratcatch- Ivory, in bas-relief craved. Mounted on laughing, rubbing his big belly with his ing to remove a stone that got stuck in his er furiously screaming at the escaped rat. Ivory, carved on both sides with undercut. Ivory, very finely carved in bas-relief, wooden bases with brass. H.without base right hand. H.10.7cm, W. 7.5cm. Shûget- Geta with his cane. Sign.: Katsu (missing) H.8.5cm, W. 7.5cm. Jigaku. Condition Fine engraved accents with black color. eyes colored black. Base and lip worked 24.5cm. Condition A/B. su (autumn moon) in red lacquer reserve. on small plates made of bone. Placeholder A/B. L.75cm. Signed on a red plate. Wooden seperately. H.7cm, Ø 4.5cm. Condition B. Condition A/B. Age cracks. because the original is lost. Condition A/B. base. Condition A/B. Cracks. Provenance: Provenance: -Private collection Hesse, shown in a long € 700 - 800 | $ 826 - 944 | ‡ Provenance: -South German private collection. Provenance: Provenance: term exhibition until summer 2017 in the -Collection Somerwil, Amsterdam. -Private collection Northern Germany. -Private collection Northern Germany. Deutsches Elfenbeinmuseum in Erbach. € 450 - 600 | $ 531 - 708 € 450 - 550 | $ 531 – 649 | ‡ € 900 - 1.200 | $ 1.062 - 1.416 | ‡ € 400 - 600 | $ 472 - 708 | ‡ € 400 - 500 | $ 472 - 590 | ‡

2597 2598 2599 2603 2604 2605 OKIMONO: FUJIWARA SADATOSHI. OKIMONO: SIX BLIND. ROOSTER WITH LONG TAIL LIDDED BOX. PLATE WITH FLOWERING LOTUS. BALUSTER VASE AND OKIMONO: FUJIWARA SADATOSHI. OKIMONO: SECHS BLINDE. FEATHERS (ONAGADORI) IN DECKELDOSE. TELLER MIT BLÜHENDEM LOTUS UND FAN-SHAPED PLATE. Japan. Meiji period. Late 19th c. Japan. Meiji period. Ca. 1900. FLOWERING PRUNUS. Japan. Edo period. STILISIERTEN WELLEN. BALUSTERVASE UND HAHN MIT LANGEN SCHWANZFEDERN China. Ming dynasty. Chenghua period FÄCHERFÖRMIGER TELLER. Ivory with partly yellow-gold, shiny patina. Ivory with fine engraved details, dark ac- (ONAGADORI) IN BLÜHENDER PFLAU- Round, domed standing on fine, thin rim (1465-87). Japan. 19th c. The aristocrat unpacking a lute (Biwa), centuated and brownish coloured. Group ME. with slightly concave bottom. Outside that was sent to him by the Chinese proof six traveling blind people. H.3.8cm, Japan. 1st half 20th c. matted kinji. The centre of the lid deco- Porcelain, painted underglaze blue. Arita porcelain, decorated in underglaze fessor Renjobo. H.5.1cm. Yoshio on red W.5.6cm. Sign.: Ryôya. Condition A/B. rated with a pair of stylised sparrows in Underneath a six-partite Changhua blue and overglaze with iron red, green cartouche. Condition A. Age crack. Shibayama. Ivory with coral, mother-of- hiramaki-e with details in roirô and grey mark. H.5.8cm, Ø 27.6cm. Condition C. and gold. Vase: H.45.5cm, plate: 28.5 Provenance: pearl and lacquer. H.23.2cm, W.16.6cm, lacquer. Inside loose Nashiji made of silver Rubbed, two restorations, one chip. x 35.5cm. Condition A. Supplement: -Collection Karl M. Schwarz, ill. Netsuke € 150 - 200 | $ 177 - 236 | ‡ D.1.3cm. Condition A/B. and gold particles. Ø 8.8cm. Condition Plate in chrysanthemum shape. Japan. Subjects Addendum, 2001, No. A 105. A/B. Supplement: Rectangular bow and € 400 - 600 | $ 472 - 708 Arita porcelain. Ø 30.7cm. Condition A/B. € 600 - 800 | $ 708 - 944 | ‡ lid. Slightly rubbed. € 300 - 400 | $ 354 - 472 | ‡ € 650 - 750 | $ 767 - 885 Provenance: -Rhenish private collection. Asian Art Part II € 600 - 800 | $ 708 - 944 2606 2607 2608 2612 2613 2614 SITTING DARUMA. SMALL PLATE. MINIATURE SHELF WITH SIX SATSUMA WOODBLOCK PRINT: AKASHI NO WOODBLOCK PRINT: FUJI FROM WOODBLOCK PRINT: SUZUKAWA. DARUMA SITZEND. KLEINER TELLER. CERAMICS. MINATO (THE PORT OF AKASHI). MUSASHINO. HOLZSCHNITT: SUZUKAWA. Japan. Japan. LACKETAGERE MIT SECHS HOLZSCHNITT: AKASHI NO MINATO HOLZSCHNITT: FUJI VON MUSASHINO Japan. Shôwa period. 1935. SATSUMA-KERAMIKEN. (DER HAFEN VON AKASHI). AUS. Porcelain, glazed, painted and enameld in Kutani porcelain painted with aka-e over- Japan. Meiji period. Ca. 1900. Japan. Shôwa period. Japan. Shôwa period. 1928. Yoshida Hiroshi (1876-1950). Nishiki-e. the style of Ko Kutani. Condition A. Sup- glaze colors in the style of the Ishikawa The Fuji seen from the Suzu-riverside. plement: Two censers. Satsuma stone- Prefecture. H.3.5cm, Ø 19cm. Underneath Wood with lacquer, fittings of metal. Sat- 3rd month of 1938 (here post-war print). Yoshida Hiroshi (1876-1950). Nishiki-e. Ôban, tate-e. Sign.: Yoshida & Seal: Hiro- ware. Plate. Kutani porcelain. Altar crown. an unread signature. Condition A/B. suma stoneware painted with overglaze Tsuchiya Koitsu (1870-1949). Nishiki-e. Ôban, tate-e. The English title is noted shi, Hiroshi Yoshida (pencil, lat.). Publisher: Wood lacquered, bronze mirror. Japan. Somewhat warped in firing. colors and gold. Étagère H.38cm, 26.5 x Ôban, yoko-e. From the series Setonaikai in pencil. From the series Fuji jikkei (Ten Yoshida (grey Jizuri seal) Condition A. Condition A/B to C. 14cm. Some of the ceramics with signa- (The Inland Sea). Sign.: Koitsu & Seal: views of Fuji). Sign.: Yoshida & Seal: Hiro- Slightly yellowed. € 90 - 120 | $ 106 - 142 ture. Condition C. Shin. Condition A/B. Two binding holes in shi, Hiroshi Yoshida (pencil, lat.). Publisher: Provenance: the upper right corner. Yoshida (grey Jizuri seal). Condition A/B. € 500 - 600 | $ 590 - 708 -Rhenish Private collection. € 300 - 400 | $ 354 - 472 Slightly yellowed, minor foxing. € 500 - 600 | $ 590 - 708 € 400 - 600 | $ 472 - 708 € 500 - 600 | $ 590 - 708

2609 2610 2611 2615 2616 2617 BOTTLE VASE WITH PEONIES AND SCROLL PAINTING OF TWO QUAILS. SCROLL PAINTING NEHANZU. WOODBLOCK PRINT: KINOE. WOODBLOCK PRINT: FUJIYAMA FROM WOODBLOCK PRINT: HIROSAKI PRUNUS. ROLLBILD MIT ZWEI WACHTELN. ROLLBILD NEHANZU. HOLZSCHNITT: KINOE. OKITSU. CASTLE (HIROSAKIJÔ). FLASCHENFÖRMIGE VASE MIT Japan. Meiji period. Japan. Meiji period. Japan. Shôwa period. 1930. HOLZSCHNITT: FUJIYAMA VON OKIT- HOLZSCHNITT: SCHLOSS HIROSAKI. PÄONIEN UND PFLAUMEN. SU AUS. Japan. Shôwa period. 1935. Japan. Ca. 1970s. Kakiemon. Light colours, india ink, white and light Wet india ink and light colour on yellowy Yoshida Hiroshi (1876-1950). Nishiki-e. Japan. Shôw period. 1928. colours on cream-coloured silk. Two quails paper. So-called Nehanzu (Picture of Ôban, tate-e. From the series Setonaikai Yoshida Hiroshie (1876-1950). Nishiki-e. Porcelain, painted in underglaze blue and (Uzura) near Sasa-bamboo (arrow bam- Nirvana). Overhead inscription ‘Over Nir- (The Inland Sea). Sign.: Yoshida & Seal: Yoshida Hiroshi (1876-1950). Nishiki-e. Ôban, tate-e. From the series Sakura ha- enamel colors. H.20,5cm. Underneath in boo), Kikyo (balloon flower), Susuki-grass vana’, sign.: Man (Mitsu) kawa & 2 red, Hiroshi, Hiroshi Yoshida (pencil, lat.). Pub- Ôban, tate-e. Yoshida. Hiroshi, Hiroshi chidai (Eight Cherry-subjects). Publisher: underglaze blue sign.: Tadayama, from (Chinese reed). Sign.: E-Dokoro azukari ju- unread seals. Sign.: Kawanabe Gyôsai & lisher: Yoshida (grey Jizuri seal). Condition Yoshida (printed, lat.). Condition A. Post- Yoshida (grey Jizuri seal). Sign.: Yoshida & Kashimaki. Condition A. yon’i (14th rank) jo Tosa no kami Fujiwara two seals. Kawanabe Gyôsai, 1831-1889. A/B. Slightly yellowed, minor foxing on humous release, slightly yellowed. Seal: Hiroshi, Hiroshi Yoshida (pencil, lat.). Mitsusada (1738-1806) and identical seal. 102.5 x 30cm. Condition A/B. Supple- the upper edge, Recto numbered in pencil Condition A/B. Slightly yellowed. € 400 - 600 | $ 472 - 708 Schoolwork. L.173cm, width 48cm, mea- ment: Wooden box with inscription: Ne- “138”. € 300 - 400 | $ 354 - 472 surements of the picture 36.3 x 96.2cm. han no zu (Picture of Nirvana) and Gyosai € 600 - 700 | $ 708 - 826 Condition A/B. hitsu. € 500 - 600 | $ 590 - 708

€ 500 - 600 | $ 590 - 708 € 700 - 900 | $ 826 - 1.062 Asian Art Part II 2618 2619 2620 2624 2625 2626 WOODBLOCK PRINT: LITTLE HARBOUR WOODBLOCK PRINT: TAKINOO SHRINE WOODBLOCK PRINT: HIRAKAWA WOODBLOCK PRINT: SUZUKAWA. WOODBLOCK PRINT: NABESHIMA. WOODBLOCK PRINT: OSAKA CASTLE (KOMINATO). (TAKINOO JINJA). BRIDGE (HIRAKAWABASHI). HOLZSCHNITT: SUZUKAWA. HOLZSCHNITT: NABESHIMA. (OSAKAJO). HOLZSCHNITT: KLEINER HAFEN (KOM- HOLZSCHNITT: TAKINOO SCHREIN. HOLZSCHNITT: HIRAKAWA BRÜCKE. Japan. Shôwa period. 1935. Japan. Shôwa period. 1930. HOLZSCHNITT: SCHLOSS OSAKA. INATO). Japan. Shôwa period. 1941. Japan. Shôwa period. 1929. Japan. Shôwa period. 1935. Japan. Shôwa period. 1941. Yoshida Hiroshi (1876-1950). Nishiki-e. Yoshida Hiroshi (1876-1950). Nishiki-e. Yoshida Hiroshi (1876-1950). Nishiki-e. Yoshida Hiroshi (1876-1950). Nishiki-e. Ôban, tate-e. Sign.: Yoshida & Seal: Hiro- Ôban, tate-e. From the series Setonaikai Yoshida Hiroshi (1876-1950). Nishiki-e. Yoshida Hiroshi (1876-1950). Nishiki-e. Chûban, tate-e. The design is from 1941, Ôban, tate-e. From the series Tôkyô jûnid- shi, Hiroshi Yoshida (printed, lat.). Con- (The Inland Sea). Sign.: Yoshida Seal: Hi- Ôban, tate-e. Sign.: Yoshida & Seal: Hiro- Chûban, tate-e. Publisher: Yoshida (grey the print itself was only published post- ai (Twelve Tôkyô Scenes). The English title dition A/B. Posthumous release. Binding roshi, Hiroshi Yoshida (printed, lat.). Con- shi, Hiroshi Yoshida (printed, lat.). Con- Jizuri seal). Sign.: Yoshida & Seal: Hiroshi, humously in 1986. Sign.: Yoshida & Seal: is noted in pencil. Sign.: Yoshida & Seal: hole on the upper right edge. dition A/B. Posthumous release. Binding dition A/B. Posthumous release. Binding Hiroshi Yoshida (pencil, lat.). Condition A. Hiroshi, Hiroshi Yoshida (printed, lat.). Hiroshi, Hiroshi Yoshida (pencil, lat.). Pub- holes on the upper edge. holes on the left edge. Condition A. lisher: Yoshida (grey Jizuri seal). Condition € 300 - 400 | $ 354 - 472 € 300 - 400 | $ 354 - 472 A. Slightly yellowed. € 300 - 400 | $ 354 - 472 € 300 - 400 | $ 354 - 472 € 300 - 400 | $ 354 - 472 € 400 - 500 | $ 472 - 590

2621 2622 2623 2627 2628 2629 WOODBLOCK PRINT: CALM WIND WOODBLOCK PRINT: HIMEJIJÔ - YÛ WOODBLOCK PRINT: KURA IN WOODBLOCK PRINT: KAGURAZAKA WOODBLOCK PRINT: WAITING FOR WOODBLOCK PRINT: SARUSAWA (KAZE SHIZUKA). (THE CASTLE IN HIMEJI - EVENING). TOMONOURA (WAREHOUSES). DORI. THE TIDE (SHIOMACHI). POND (SARUSAWAIKE). HOLZSCHNITT: RUHIGER WIND. HOLZSCHNITT: HIMEJIJÔ - YÛ (DAS HOLZSCHNITT: KURA IN HOLZSCHNITT: KAGURAZAKA DORI. HOLZSCHNITT: WARTEN AUF DIE GE- HOLZSCHNITT: DER TEICH VON Japan. Shôwa period. 1937. SCHLOSS IN HIMEJI - ABEND). TOMONOURA. Japan. Shôwa period. 1929. ZEITEN. SARUSAWA. Japan. Shôwa period. 1928. Japan. Shôwa period. 1930. Japan. Shôwa period. 1930. Japan. Shôwa period. 1933. Yoshida Hiroshi (1876-1950). Nishiki-e. Yoshida Hiroshi (1876-1950). Nishiki-e. Ôban, tate-e. Embossed printing of an Yoshida Hiroshi (1876-1950). Nishiki-e. Yoshida Hiroshi (1876-1950). Nishiki-e. Ôban, tate-e. The print Kagurazakadôri Yoshida Hiroshi (1876-1950). Nishiki-e. Yoshida Hiroshi (1876-1950). Nishiki-e. unread seal. Sign.: Yoshida & Seal: Hiroshi, Ôban, tate-e. Sign.: Yoshida. Condition A. Ôban, yoko-e. From ther serie Setonaikai ugo no yo (The Kagurzakadôri by night in Ôban, yoko-e. From the serie Setonaikai Ôban, tate-e. Sign.: Yoshida & Seal: Hiro- Hiroshi Yoshida (printed, lat.). Condition Posthumous release. Slightly yellowed. (The Inland Sea). Sign.: Yoshida & Seal: rain). Sign.: Yoshida & Seal: Hiroshi, Hiro- (The Inland Sea). Sign.: Yoshida & Seal: shi, Hiroshi Yoshida (pencil, lat.). Publisher: A. Posthumous release. Hiroshi, Hiroshi Yoshida (printed, lat.). shi Yoshida (printed, lat.). Condition A/B. Hiroshi, Hiroshi Yoshida (pencil, lat.). Pub- Yoshida (grey Jizuri seal). Condition A. € 400 - 500 | $ 472 - 590 Condition A/B. Posthumous release. Minor Posthumous release. Binding holes on the lisher: Yoshida (grey Jizuri seal). Condition € 300 - 400 | $ 354 - 472 foxing. left edge. A/B. Binding holes on the upper edge. € 600 - 700 | $ 708 - 826

€ 300 - 400 | $ 354 - 472 300 - 400 | $ 354 - 472 € 400 - 500 | $ 472 - 590

Asian Art Part II 2630 2631 2632 2636 2637 2638 WOODBLOCK PRINT: KINKAKU. WOODBLOCK PRINT: PEACEFUL WOODBLOCK PRINT: YOZAKURA IN WOODBLOCK PRINT: WOODBLOCK PRINT: YODO RIVER. WOODBLOCK PRINT: ROCK GARDEN HOLZSCHNITT: KINKAKU. RIISHIRI (HOKKAI NAMI SHIZUKA RAIN (HARUSAME). HAWAIIAN FISHES B. HOLZSCHNITT: FLUSS YODO. WITH LANTERN. Japan. Shôwa period. 1933. - RISHIRI-SAN). HOLZSCHNITT: YOZAKURA IM REGEN. HOLZSCHNITT: HAWAIIANISCHE FI- Japan. Shôwa period. 1942. HOLZSCHNITT: STEINGARTEN HOLZSCHNITT: FRIEDVOLLES RIISHIRI. Japan. Shôwa period. 1935. SCHE B. MIT LATERNE. Yoshida Hiroshi (1876-1950). Nishiki-e. Japan. Shôwa period. 1938. Japan. Shôwa period. 1955. Yoshida Toshi (1911-1995). Nishiki-e. Japan. Shôwa period. Ôban, tate-e. Sign.: Yoshida & Seal: Hiro- Yoshida Hiroshi (1876-1950). Nishiki-e. Chûban, yoko-e. Publisher: Yoshida (Jizuri shi, Hiroshi Yoshida (pencil, lat.). Publisher: Yoshida Hiroshi (1876-1950). Nishiki-e. Ôban, tate-e. From the series Sakura ha- Yoshida Toshi (1911-1995). Nishiki-e. seal). Sign.: Toshi & Seal: Yoshida Toshi, Sekino Jun’ichirô (1914-1988). Nishiki-e, Yoshida (grey Jizuri seal). Condition A/B. Ôban, yoko-e. Sign.: Yoshida & Seal: Hiro- chidai (Eight Cherry-subjects). Sign.: Yoshi- Ôban, tate-e. Second colour variety in Toshi Yoshida (pencil, lat.). Condition A. Mokumezuri. 63.1 x 22.8cm. Sign.: Jun. Binding holes on the left edge, yellowed shi, Hiroshi Yoshida (pencil, lat.), red col- da & Seal: Hiroshi, Hiroshi Yoshida (pencil, blue shades. The title is noted in pencil. Sekino & Seal: Sekino. Condition A/B. Few except for the upper left corner. lector’s seal. Publsiher: Yoshida (grey Jizuri lat.). Publisher: Yoshida (black Jizuri seal). Sign.: Toshi & Seal: Yoshida Toshi, Toshi € 300 - 400 | $ 354 - 472 slight creases. seal). Condition A/B. Stains of glue in the Condition A/B. Binding holes on the left Yoshida (pencil, € 400 - 500 | $ 472 - 590 upper corners. edge, defect in material on the upper lat.). Condition A. € 500 - 600 | $ 590 - 708 edge in the paper. € 600 - 700 | $ 708 - 826 € 200 - 300 | $ 236 - 354 € 500 - 600 | $ 590 - 708

2633 2634 2635 2639 2640 2641 WOODBLOCK PRINT: SANKEIEN. WOODBLOCK PRINT: NIKKO. WOODBLOCK PRINT: WOODBLOCK PRINT: HONGKONG WOODBLOCK PRINT: SEMBON WOODBLOCK PRINT: TSUBAKI NO4 HOLZSCHNITT: SANKEIEN. HOLZSCHNITT: NIKKO. HAWAIIAN FISHES A. BOATS VI. - KYOTO. (CAMELLIA NO. 4). Japan. Shôwa period. 1935. Japan. Shôwa period. 1940. HOLZSCHNITT: HAWAIIANISCHE FI- HOLZSCHNITT: HONGKONG BOATS VI. HOLZSCHNITT: SEMBON - KYOTO. HOLZSCHNITT: TSUBAKI NO4 (KAME- SCHE A. Japan. Shôwa period. 1969. Japan. Shôwa period. 1970. LIE NR. 4). Yoshida Hiroshi (1876-1950). Nishiki-e. Yoshida Toshi (1911-1995). Nishiki-e. Japan. Shôw period. 1955. Japan. Shôwa period. 1981. Ôban, tate-e. From the series Sakura Chûban, tate-e. The Yômei-mon (entrance Karhu Clifton (1927 Duluth - 2007 Karhu Clifton (1927 Duluth - 2007 hachidai (Eight Cherry-subjects). Plum-gar- gate) of the Tôshô-gû shrine in Nikkô. Yoshida Toshi (1911-1995). Nishiki-e. Kanazawa). Nishiki-e. Sheat no. 69/100. Kanazawa). Nishiki-e. Sheat no. 81/100. Sugiura Kazutoshi (1938 Kyôto). Screen- den in the Ueno Park. Sign.: Yoshida & Sign.: Toshi & Seal: Yoshida Toshi, Toshi Ôban, tate-e. Second colour variety in 18.5 x 29.3cm. Sign.: C. Karhu. Condition 18.2 x 29.5cm. Sign.: C. Karhu (pencil). print with leaf gold. Sheet no. 69/70. 48.3 Seal: Hiroshi, Hiroshi Yoshida (pencil, lat.). Yoshida (pencil, blue shades. The title is noted in pencil. A/B. Mat window yellowed. Condition A/B. Mat window yellowed. x 32.2cm. Sign.: K. Sugiura (pencil, lat.) & Publisher: Yoshida (grey Jizuri seal). Con- lat.). Condition A. Sign.: Toshi & Seal: Yoshida Toshi, Toshi Seal: Sugiura. Condition A. dition A. Yoshida (pencil, lat.). Condition A. € 300 - 400 | $ 354 - 472 € 300 - 400 | $ 354 - 472 € 200 - 300 | $ 236 - 354 € 400 - 500 | $ 472 - 590 € 600 - 700 | $ 708 - 826 € 200 - 300 | $ 236 - 354

Asian Art Part II 2642 2643 2644 WOODBLOCK PRINT: HANASHÔBU WOODBLOCK PRINT: NINGYÔ (DOLL). WOODBLOCK PRINT: KAZE (WIND). NO7 (IRIS NO. 7). HOLZSCHNITT: NINGYÔ (PUPPE). HOLZSCHNITT: KAZE (WIND). HOLZSCHNITT: HANASHÔBU NO7 Japan. Shôwa period. 1978. Japan. Shôwa period. Ca. 1970s. (IRIS NR. 7). Japan. Shôwa period. 1980. Sugiura Kazutoshi (1938 Kyôto). Yoshida Tsukasa (1949). Nishiki-e. Screenprint with leaf gold. Sheet no. 24.5 x 28.2cm. Verso labeled with Sugiura Kazutoshi (1938 Kyôto). 1/100. 23.3 x 35.5cm. Sign.: K. Sugiura pencil “Jizuri 1”, as a notice to the Screenprint with leaf gold. Sheet no. (pencil, lat.) & Seal: Sugiura. Condition A. self-publishing of the print. Sign.: 59/60. 36.5 x 24.5cm. Sign.: K. Sugiura Tsukasa Yoshida (pencil, lat.). (pencil, lat.) & Seal: Sugiura. € 200 - 300 | $ 236 - 354 Condition A. Condition A/B. Minor foxing. € 200 - 300 | $ 236 - 354 € 400 - 500 | $ 472 - 590

2645 TWO NETSUKE. ZWEI NETSUKE. Japan. Meiji period. Late 19th c. Dekorative Kunst Ivory. A) Two Oni with a big kettle. Sign.: Tomomasa. W. 4cm. B) Ashinaga 31. Januar + 1. Februar 2018 and Tenaga. Sign.: Tomohiro or Tomoyuki. H.5,9cm. Condition A/B. Vorbesichtigung:

€ 300 - 400 | $ 354 - 472 | ‡ 27. – 29. Januar 2018

Sicher online kaufen durch Den Auftakt machte im April eine Offer- VAN HAM führt seine erfolgreichen Transparenz te mit ausgewählten Grafiken aus dem Online-Auktionen u.a. mit den folgenden Echtheitsgarantie Bereich der deutschen und internationalen Themen fort: Rückgaberecht Nachkriegskunst, die auf überaus großes Interesse stieß. Über 800 registrierte Bieter • Conceptual Art VAN HAM hat in diesem Frühjahr das steigerten im Netz die Verkaufsquote auf • Contemporary Editions ONLINE Format der Online-Auktionen erfolgreich mehr als 120% nach Wert. Die erfolgreiche • documenta-Artists etabliert und ergänzt das traditionelle Auk- Premiere wurde nur wenige Wochen später • Editions ONLY tionsprogramm nun mit kuratierten Online mit der Online-Auktion German Post War • Informel Sales, die für einen Zeitraum von ca. 14 fortgesetzt. • Outsider Art Tagen fürs Bieten freigeschaltet sind. Mit Die erfreulichen Ergebnisse bestärken • Photography einer unkomplizierten Registrierung und VAN HAM in der Entscheidung, auch den • Pop-Art einem speziellen Rückgaberecht garan- Bereich der Online-Auktionen fest im • Zeichnungen der Romantik tieren wir dabei einfaches und sicheres Programm des Hauses zu integrieren. Mitsteigern. Die Online-Kataloge enthalten Mit Startgeboten, die schon im unteren Über die genauen Termine informieren aussagekräftige Abbildungen, detaillierte dreistelligen Bereich beginnen, bieten die wir Sie per Newsletter, für den sie sich Lot-Beschreibungen sowie Zustandsberichte Online-Auktionen auch jungen Sammlern schnell und einfach auf www.van-ham.com und Versandkosten (s.u.). und Einsteigern die Möglichkeit ihr eige- registrieren können. nes Kunstwerk online zu kaufen.

Ansicht des Online-Katalogs

ONLINE-AUKTION PHOTOGRAPHY 12.01.2018 – 25.01.2018 Sarah Morris (1967) KTMSS | 2000 C-Print auf Papier 31,5 x 21 cm Ex. 11/100 Einfache Registrierung | Echtheitsgarantie | Rückgaberecht Professionelles Management von Künstlernachlässen

Impressionen aus unserem Archiv

Bei der Verwaltung und Vermarktung künstlerischer Nach- Aufarbeiten, Bewerben und Vermarkten.VAN HAM ist das wissenschaftliche Arbeit ist VAN HAM Art Estate durch die Für weitere Informationen und Termine besuchen Sie lässe ist ein kompetenter Partner unverzichtbar. VAN HAM einzige deutsche Auktionshaus, das maßgebliche Werk- Nutzung der Software HIDA, entwickelt von Foto Marburg uns im Internet unter www.van-ham.com bietet mit der Gründung von VAN HAM Art Estate eine verzeichnisse zu international bekannten Künstlern wie und der Volkswagen-Stiftung, zur Archivierung von Muse- umfassende Betreuung, die auf der langjährigen Erfahrung Fritz Klimsch, Franz Roubaud und Karl Hofer publiziert hat. umsbeständen, dem Kölner Museumsverbund angeschlossen. Mara Wallat im Kunsthandel und dem traditionell großen, wissenschaft- Zudem wurde 2012 das Karl Hofer Archiv übernommen Durch das Engagement von VAN HAM Art Estate kam die Tel.: +49 (221) 925862-51 lichen Engagement beruht. Das richtige Management eines und das Karl Hofer Komitee gegründet. Auch der gesamte Kooperation mit der bundesgeförderten gemeinnützigen [email protected] Künstlers, auch posthum, entscheidet über dessen öffent- künstlerische und dokumentarische Nachlass der Becher- Stiftung Kunstfonds in Brauweiler zustande. Die Stiftung liche Präsenz und damit über seine Reputation und seinen Schülerin Tata Ronkholz wird von VAN HAM betreut. betreibt ein Archiv für Künstlernachlässe, um sie für Ausstel- Nikolaus Biedermann Stellenwert auf dem Kunstmarkt. VAN HAM Art Estate sieht es als seine Aufgabe an, die lungsprojekte und die kunsthistorische Forschung anzubieten. Tel.: +49 (221) 925862-53 Als Kunstauktionshaus besitzt VAN HAM entscheiden- öffentliche Präsenz eines Künstlers durch die Nachlassverwal- Die Zusammenarbeit zwischen VAN HAM und der Stiftung [email protected] de Vorteile: eine dominante Marktstellung, eingehende tung zu stärken und auszubauen: nicht nur durch Auktionen, Kunstfonds bildet eine einmalige Schnittstelle zwischen wis- Fachkenntnisse, eine prominente Medienpräsenz, aufla- sondern auch durch Leihverkehr mit Museen und Zusammen- senschaftlicher Arbeit und Kunsthandel. genstarke Publikationen, eine eigene PR-Abteilung, einen arbeit mit Galerien, um dadurch seine öffentliche Wahrneh- In vielen Fällen fehlt bei den nachfolgenden Generatio VAN HAM Art Estate modernen Internetauftritt sowie eine entsprechende Logis- mung und Position auf dem Markt zu steigern. Den Verkauf nen das Wissen, wie die Präsenz des verstorbenen Künstlers Hitzelerstraße 2 | 50968 Köln tik mit ausreichend Lagerkapazitäten für die Kunstwerke und Leihverkehr von Kunstwerken organisiert VAN HAM Art angemessen bewahrt wird. Mit den Stärken von VAN HAM Tel.: +49 (221) 925862-0 | Fax: -4 und Archiv-Dokumente. Die Schlüsselqualifikationen von Estate, denn auch hier bedarf es Experten mit dem entspre- Art Estate hingegen werden künstlerische Nachlässe profes- [email protected] VAN HAM Art Estate liegen durch die jahrelange Erfah- chenden Wissen, sowie eines ausgebildeten Netzwerks mit sionell gemanagt, so dass die Bedeutung des Künstlers und rung als Auktionshaus auf der Hand: Sichten, Bewerten, Kuratoren, Restauratoren, Galeristen und Sammlern. Für die dessen Werk hochgehalten wird. Erläuterungen zum Explanations to the Export Export Katalog Catalogue

Jeder Zustandsbericht, der von VAN HAM Kunstauktionen Each condition report which has been made available by VAN Umsatzsteuer Export vorliegt, ist die Meinung unserer Experten und kann nicht als HAM Fine Art Auctions is the opinion of our experts and does not Von der Umsatzsteuer (USt) befreit sind Ausfuhrlieferungen Exports to third (i.e. non-EU) countries will be exempt from zugesicherte Eigenschaft geltend gemacht werden. constitute any claim of guarantee by VAN HAM Fine Art Auctions. in Drittländer (d.h. außerhalb der EU) und – bei Angabe der VAT, and so will be exports made by companies from other EU USt.-ldentikations-Nr. – auch an Unternehmen in anderen member states if they state their VAT identification number. Zustandsbeschreibungen für Möbel und Kunstgewerbe Descriptions of condition for furniture and works of art EU-Mitgliedstaaten. Nehmen Auktionsteilnehmer ersteigerte Persons who have bought an item at auction and export it as Zustand A Guter Zustand, kleine Ergänzungen, Condition A in good condition, minor additions, Gegenstände selber in Drittländer mit, wird ihnen die USt er- personal Luggage to any third country will be refunded the leichte Gebrauchsspuren, minimale Beschädi- slight signs of wear, very minor damage stattet, sobald dem Versteigerer der Ausfuhr- und Abnehmer- VAT as soon as the form certifying the exportation and the gungen Condition B in working order, surface abrasions, nachweis vorliegen. exporter’s identity has been returned to the auctioneer. Our Zustand B gebrauchsfähig, Oberflächenbeschädigungen, additions, minor repairs and minor damage, staff will be glad to advise you on the export formalities. Ex- Ergänzungen, bestoßen, leicht repariert und scratched, chipped, dented Ausfuhr aus der EU: port to countries outside the European Community is subject beschädigt, gedellt, zerkratzt Condition C in need of restoration, additions, Bei Ausfuhr aus der EU sind das Europäische Kulturgüter- to the restrictions of the European Agreement for the Protec- Zustand C restaurierungsbedürftig, Ergänzungen, major repairs and major damage schutzabkommen von 1993 und die UNESCO-Konvention von tion of Cultural Heritage from 1993 and the Unesco conven- stark repariert und beschädigt 1970 zu beachten. Bei einem Gesamtwarenwert ab € 1.000 tions from 1970. ist die Vorlage von Ausfuhrgenehmigungen beim Zoll zwin- Zusatzabbildungen und Kodierung zu Zustands- You will find additional illustrations for many objects gend erforderlich. Für die Erstellung dieser Papiere berechnen Export from the EU: beschreibungen bei japanischen Holzschnitten finden and the Codes for the description of Japanese prints on: wir € 25. Proof of lawful export at the customs is obligatory if the ove- Sie unter: www.van-ham.com www.van-ham.com Bei Kunstwerken, die älter als 50 Jahre sind und folgende rall value is € 1,000 or more. For preparing the documents of Wertgrenzen übersteigen, ist zusätzlich eine Genehmigung des proof we will charge € 25. Art work that are older than 50 Gemälde Paintings Landeskultusministeriums erforderlich: years and exceed the following values need an additional per- Maßangaben gelten in folgender Reihenfolge: Höhe, Breite, Specification of measurements are given in the following mit by the State Ministry of Culture: Tiefe. Maße für Arbeiten auf Papier beziehen sich auf die Blatt order: height, width, depth. Specification of measurements on • Gemälde ab einem Wert von € 150.000 größe, sofern nicht anders angegeben. paper refer to the size of the sheet, if not noted differently. • Aquarelle, Gouachen und Pastelle ab € 30.000 • Paintings with a value of € 150,000 or more • Skulpturen ab € 50.000 • Water colours, gouaches und pastels with a value Zustand Condition • Antiquitäten ab € 50.000 of € 30.000 or more Da die Katalogtexte i.d.R. keine Angaben über den Zustand von Since the catalogue text normally contains no particulars about • Sculptures with a value of € 50.000 or more Medium, Träger und Rahmen enthalten, erteilen wir Ihnen gerne the condition of medium, substrateand frame, we will be hap- Ausfuhr innerhalb der EU: • Antiques with a value of € 50.000 or more einen Zustandsbericht auf Anfrage. Für Rahmen kann keine Haf- py to provide you a condition report information upon request. Seit 6.8.2016 gilt das neue deutsche Kulturgutschutzgesetz tung übernommen werden. No liability can be accepted for frames. (KGSG) für Exporte auch in ein anderes EU-Land. Bei Kunst- Export within the EU: werken, die älter als 75 Jahre sind und folgende Wertgrenzen The new Act to Protect German Cultural Property against Name ohne Zusatz Unserer Meinung nach ein zweifelsfreies Name without addition In our opinion undoubtedly a work übersteigen, ist eine Genehmigung des Landeskultusminis- Removal (Kulturgutschutzgesetz, hereafter KGSG) has come Werk des angegebenen Künstlers. of the stated artist. teriums erforderlich: into effect on 6 August, 2016 also for exports into another EU country. Art works that are older than 75 years and exceed the zugeschrieben Unserer Meinung nach wahrscheinlich in Gänze zugeschrieben (attributed) In our opinion probably wholly or • Gemälde ab einem Wert von € 300.000 following values need an additional permit by the State Minis- oder in Teilen ein Werk des angegebenen Künstlers. partly a work of the stated artist. • Aquarelle, Gouachen und Pastelle ab € 100.000 try of Culture: • Skulpturen ab € 100.000 Werkstatt/Schule Unserer Meinung nach aus der Werkstatt des Werkstatt/Schule (workshop/school) In our opinion from • Antiquitäten ab € 100.000 • Paintings with a value of € 300,000 or more angegebenen Künstlers, vermutlich unter seiner Aufsicht. the workshop of the stated artist, presumably under his super- • Water colours, gouaches und pastels with a value vision. Ausfuhrgenehmigungen werden durch Van Ham beim Landes- of € 100.000 or more Umkreis Unserer Meinung nach ein zeitgenössisches Werk, das kultusministerium NRW beantragt und sollen lt. KGSG binnen • Sculptures with a value of € 100.000 or more den Einfluss des angegebenen Künstlers zeigt. Umkreis (circle) In our opinion a contemporary work showing 10 Tagen erteilt werden. Bei Fragen wenden Sie sich bitte an • Antiques with a value of € 100.000 or more the influence of the stated artist. Frau Anja Bongartz ([email protected]; Nachfolge Unserer Meinung nach ein Werk im Stil des genann- Tel.: +49 (221) 925862-17). Van Ham will apply for the export license at the State Ministry ten Künstlers, aber nicht notwendigerweise von einem seiner Nachfolge (follower) In our opinion a work in the style of the of Culture which according to the KGSG shall be approved Schüler. Ohne verbindliche Angabe der Zeit. stated artist, but not necessarily by a pupil of his. Without a Cites within 10 days. If you have further questions, please binding statement about the time of creation Mit einem ‡ gekennzeichnete Objekte wurden unter contact Anja Bongartz ([email protected]. Art des Unserer Meinung nach ein Werk im Stil des angegebe- Verwendung von Materialien hergestellt, für die beim Export in phone: +49 (221) 925862-17). nen Künstlers zu späterer Zeit. Art des (style of) In our opinion a work in the style of the Länder außerhalb des EU-Vertragsgebietes eine Genehmigung stated artist from a later period. nach CITES erforderlich ist. Wir machen darauf aufmerksam, Cites nach Unserer Meinung nach eine Kopie eines Werkes des ange- dass eine Genehmigung im Regelfall nicht erteilt wird. Objects marked with a ‡ are made of materials, for whose gebenen Künstlers. nach (after) In our opinion a copy of a work of the stated export into countries outside the EU contract area a permission artist. due to Cites regulations is necessary. We point out that such a Gemäldetitel in „...“ Unserer Meinung nach ist das Werk von permission is usually not given. der Hand des Künstlers betitelt. Painting title in ”...“ In our opinion the work was personally titled by the artist. Signiert/datiert Unserer Meinung nach ist das Werk von der Hand des Künstlers signiert und/oder datiert. signed/dated In our opinion the work was personally signed and/or dated by the artist. Bezeichnet Unserer Meinung nach ist das Werk von anderer Hand signiert/datiert. described In our opinion the work was signed/dated by someone else later.

Stand: 1.11.2017 Stand: 1.11.2017 Käufe Purchases

Katalogversand Folgerechtsumlage Catalogue mailing Artist’s Resale Right Wir schicken Ihnen gern unseren aktuellen Katalog zu, den VAN HAM ist gemäß § 26 UrhG zur Zahlung einer gesetzlichen We will be happy to send you our latest catalogue which you In accordance with § 26 of the German Copyright Law / UrhG Sie über das Internet (www.van-ham.com) oder telefonisch Folgerechtsgebühr auf den Verkaufserlös aller Originalwerke may order by telephone +49 221 925862-13 or via our home VAN HAM is legally obligated to pay droit de suite (artist’s unter 0221 925862-13 bestellen können. Auf gleichem Wege der bildenden Kunst und der Photographie verpflichtet, deren page (www.van-ham.com) and pay by credit card. You may resale right) on all original works of art as well as original können Sie auch ein Katalogabonnement bestellen. Urheber noch nicht 70 Jahre vor dem Ende des Kalenderjahres also order a catalogue subscription. photographic works, whose authors have not been deceased des Verkaufs verstorben sind. Der Käufer ist an dieser Gebühr at least 70 years before the end of the legal year of purchase. Vorbesichtigung mit 1,5 % auf den Zuschlag beteiligt. Preview The buyer is currently required to contribute 1.5 % of the Während unserer Vorbesichtigung sind sämtliche zum Aufruf All items to be auctioned may be inspected at our premises hammer price for this purpose. kommenden Gegenstände in unseren Räumen zu besichtigen. Zahlung during our preview. Our experts will be available for any Für Fragen stehen Ihnen unsere Experten zur Verfügung. Käufe müssen in bar, mit Scheck oder mit EC-Karte während questions you might have. Payment der Auktion bzw. bis spätestens zwei Wochen nach Rech- Purchases must be paid in cash, by cheque or EC card during Schriftliche/telefonische Gebote nungsstellung bezahlt werden. Während oder unmittelbar Commission/telephone bids the auction resp. two weeks after invoicing at the latest. Bitte beachten Sie, dass Gebote schriftlich, per Fax oder über nach Auktion ausgestellte Rechnungen unterliegen der Nach- Please note that written or faxed bids or bids via our online Invoices made during or immediately after the auction are unseren Online-Katalog, spätestens 24 Stunden vor der Aukti- prüfung und können berichtigt werden. Bei Überweisungen catalogue must be received at least 24 hours before the subject to review and may be corrected. on, bei uns eintreffen müssen, da wir sonst deren Ausführung oder Zahlungen in anderer Währung gehen Kursverlust und auction commences. Otherwise we will not be able to In case of remittance or payment in other currencies, exchange nicht zusichern können. Die angegebenen Höchstgebote Bankspesen zu Lasten des Käufers. Bei Zahlungsverzug können warrant consideration. The stated maximum bid will only be losses and bank expenses go to the account of the purchaser. werden nur so weit in Anspruch genommen, bis die Mindest- auf den Rechnungsbetrag Zinsen in Höhe von 1% pro ange- exploited until the reserve has been achieved or a bidder at In case of payment delay, interest to the amount of 1% per preise erreicht oder bis die Saalbieter bzw. andere schriftliche brochenen Monat berechnet werden. the auction resp. other written quotations are outbid. On lots started month may be added to the invoice total. Aufträge überboten sind. Bei Schätzpreisen ab € 500 haben Sie with estimates exceeding € 500 you are also able to bid by auch die Möglichkeit, telefonisch mitzusteigern. Abholung telephone. Pick-up Bezahlte Objekte können während der Auktion abgeholt wer- Paid objects may be picked up during the auction. In case of Ausruf und Steigerung den. Bei späterer Abholung bitten wir um kurze Nachricht, um Offer for sale and auctioning pick-up at a later date, we kindly request notification in order Die im Katalog aufgeführten Objekte werden ca. 20 % un- Wartezeiten zu vermeiden. Objekte, die nicht spätestens drei The objects listed in the catalogue will be offered for sale to avoid waiting times. Objects not picked up three weeks after terhalb des Schätzpreises, damit i.d.R. unterhalb des Limits, Wochen nach Rechnungslegung abgeholt wurden, können auf approximately 20 % below the estimated price i.e. usually invoicing at the latest may be stored at the purchaser’s expenses. ausgerufen. Gesteigert wird in max. 10 %-Schritten, wobei sich Kosten des Käufers eingelagert werden. below the reserve. Auctioning will progress in max. der Auktionator Abweichungen vorbehält. 10 %-steps; the auctioneer reserves the right to deviations. Shipment/Export licence Versand/Zoll Upon receipt of a written shipment notification, shipment will be Aufgeld Nach Erhalt einer schriftlichen Versandanweisung wird der Buyers premium made to the best conditions possible and will be insured upon Auf den Zuschlag wird ein Aufgeld von 28 % auf die ersten Versand bestmöglich durchgeführt und auf Wunsch versichert. For objects sold under the margin scheme a buyers premium of request. For shipment to a NON-EU-country in case of invoices € 250.000 und auf die darüber hinausgehenden Beträge von Bei einem Versand in ein Nicht-EU-Land ist bei einem Gesamt- 28 % on the first € 250,000 and 25 % on all monies in excess of more than € 1,000 export documents have to be presented at 25 % inkl. MwSt. (ohne Ausweis) berechnet. Objekte mit warenwert ab € 1.000 die Vorlage von Ausfuhrgenehmigungen thereof including VAT will be added on the bid award. Lots costumes which we will prepare for your for a fee of € 25. Sternchen (*) werden mit MwSt-Ausweis berechnet. D.h. beim Zoll zwingend erforderlich. Für die Erstellung dieser Papiere marked with * will be sold with VAT and are calculated in line auf den Zuschlag wird ein Aufgeld von 24 % auf die ersten berechnen wir € 25. with standard taxation, i.e. statutory turnover tax is levied on Auction results € 250.000 und auf die darüber hinausgehenden Beträge von the bid price plus 24 % premium on the first € 250,000 and Auction results are transferred in real time to the online 21% berechnet. Auf die Summe von Zuschlag und Aufgeld Auktionsergebnisse 21% on all monies in excess thereof. VAT currently amounts to catalogue. No responsibility is taken for the correctness of the wird hierbei die gesetzliche Umsatzsteuer von z.Zt. 19 % erho- Auktionsergebnisse werden in Echtzeit in den Onlinekatalog 19 %. Dealers who are entitled to prior-tax deduction generally results. List of results and unsold items will be mailed upon ben. Für Personen, die vorsteuerabzugsberechtigt sind, besteht übertragen. Diese bedürfen der Nachprüfung und sind ohne have the option of regular taxation. We kindly request these request. Starting the first workday after the auction, you may generell die Möglichkeit des MwSt.-Ausweises. Wir bitten um Gewähr. Auf Wunsch schicken wir Ihnen Ergebnis- und Restan- dealers to inform us before invoicing. enquire about the results and find them at www.van-ham.com schriftliche Mitteilung vor Rechnungsstellung. tenlisten zu. Ab dem ersten Werktag nach Auktion können Sie (telephone: +49 221 925862-0). bei uns die Ergebnisse erhalten und unter www.van-ham.com Acquisition from third countries Einlieferungen aus Drittländern einsehen (Telefon: 0221 925862-0). Objects, that have been imported from outside the EU to be After sale Objekte, die temporär aus einem Drittland eingeführt wur- sold at auction under Temporary Admission, marked with Starting the first day after the auction, the unsold objects may den, sind im Katalog mit einem „N“ gekennzeichnet. Bei Nachverkauf “N”. When VAN HAM releases such property to the buyer, be inspected at our premises and may be purchased at the der Übergabe dieser Kunstwerke durch VAN HAM an den In der Woche nach der Auktion können die unverkauften Objek- he/she will become the importer and must pay VAN HAM’s estimate plus premium. Käufer wird dieser zum Importeur und schuldet VAN HAM te bei uns besichtigt und zum Schätzpreis plus Aufgeld erworben import VAT of currently 7 % to VAN HAM. These lots will be die Einfuhrumsatzsteuer in Höhe von z.Zt. 7 %. So gekenn- werden. invoiced under the margin scheme and are thus offered under One Euro is equivalent to 1.18 US $ concerning the estimates. zeichnete Kunstwerke werden differenzbesteuert angeboten on-charging the import VAT as apportionment in the amount und die Einfuhrumsatzsteuer wird als Umlage in Höhe von 8 % Ein Euro entspricht 1,18 US $ bei den Schätzpreisen. of 8 %. By the recharging of the import sales tax the buyer’s weiterberechnet. Durch die Weiterberechnung der Einfuhrum- premium increases to 36 % for the first € 250,000 and to satzsteuer erhöht sich das Aufgeld für die ersten € 250.000 33 % for the exceeding amount. The import sales tax as such auf 36 % und für die darüber hinausgehenden Beträge auf is not separately identified. Upon request immediately after 33 %. Die Einfuhrumsatzsteuer wird als solche nicht getrennt the auction the invoice for these objects can be made out ausgewiesen. Auf Anfrage unmittelbar nach der Auktion, kann with regular taxation. The value added tax can then entitle to die Rechnung für diese Objekte regelbesteuert ausgestellt deduct pre-tax or be refunded with an export certificate for a werden. Der Mehrwertsteuerausweis kann dann zum Vorsteu- third country. erabzug berechtigen bzw. kann bei einem Ausfuhrnachweis in ein Drittland erstattet werden.

Stand: 1.11.2017 Stand: 1.11.2017 Einlieferung Consignment Sie möchten wissen,

Schätzungen Estimates Wir geben Ihnen gerne kostenlose und unverbindliche münd- We will gladly give you free and non-committal oral estima- was Ihre Kunst wert ist? liche Schätzungen für Ihre Objekte, die Sie während unserer tions for your objects, which you may bring onto our premises Geschäftszeiten präsentieren. during our business hours. Sollten Sie nicht die Möglichkeit haben, persönlich zu kom- Should you be unable to come personally, we will gladly mail men, geben wir gerne eine Schätzung anhand von Photos, you an estimate based upon photographs which you kindly will die Sie uns bitte mit zusätzlichen Informationen über Größe, send to us by post or email along with additional information Signaturen, Zustand etc. per Post oder Email zuschicken. on size, signatures, condition, etc. Bei größeren Sammlungen kommen unsere Experten auch gern For larger collections, our experts will also visit you at home, if auf Wunsch zu Ihnen nach Hause. you wish.

Provision Commission Unsere Provision beträgt 15 % vom Zuschlagpreis, bzw. 25 % Our commission is 15 % of the hammer price resp. 25 % in bei Zuschlägen bis € 2.000. Sollte ein Objekt unverkauft case of a hammer price up to € 2.000. Should an object not be bleiben, entstehen für Sie keine Bearbeitungs- bzw. Versiche- sold, you will not incur any handling resp. insurance cost. rungskosten. Artist´s Resale Right (Droit de Suite) Folgerechtsumlage In accordance with § 26 of the German Copyright Law / UrhG JETZT Der Einlieferer ist gemäß § 26 UrhG zur Zahlung einer gesetz- the consigner is legally obligated to pay droit de suite (artists’ lichen Folgerechtsgebühr auf den Verkaufserlös aller Original- resale rights) on all original works of art as well as original BEWERTEN werke der bildenden Kunst und der Photographie verpflichtet, photographic works, whose authors are not dead or did not deren Urheber noch nicht 70 Jahre vor dem Ende des Kalen- decease 70 years before the end of the legal year of purchase. LASSEN derjahres des Verkaufs verstorben sind. The consignor is currently required to contribute 1% of the Der Einlieferer wird für diese Gebühr pauschal mit 1 % vom hammer price plus statutory VAT, if applicable, for this purpose Hammerpreis, ggf. zuzüglich gesetzlicher Mehrwertsteuer, be- and is therefore released from all personal obligations to pay lastet und ist damit von der eigenen Verpflichtung zur Zahlung the droit de suite. des Folgerechts befreit. Illustrations Abbildungen The illustration costs for colour are graduated depending upon Die Kosten für Farbabbildungen sind gestaffelt nach Größe size (from € 65 and € 600 net). (von € 65 bis € 600 netto). Transport Transport We will gladly take over pick-up including packaging of your Gerne organisieren wir Ihnen günstige Transporte auf Anfrage. items to be brought to our premises. Please enquire about our favourable conditions also for a collect transport. In case of Versicherung visits to your house, we will gladly transport your items to be Die uns anvertrauten Gegenstände sind auf unsere Kosten brought to our premises to the extent possible free of charge. versichert. Insurance Restaurierung The items entrusted to us will be insured at our expenses. Wir vermitteln Ihnen fachgerechte Restaurierungen, die bei Verkäufen empfehlenswert erscheinen. Restoration We will procure favourably-priced restoration services for you, Abrechnung which appear recommendable for sales. Fünf bis sechs Wochen nach Auktion erhalten Sie Ihre Abrech- nung zusammen mit einem Verrechnungsscheck, vorbehaltlich Accounting des Zahlungseingangs vom Käufer. Für andere Zahlungsmetho- Five to six weeks after the auction you will receive your settle- VAN HAM bewertet Ihre Kunst kostenlos den bitten wir um kurze Nachricht. ment statement together with a collection-only check subject und unverbindlich – vor Ort, per Post, to receipt of payment from the buyer. Please inform us of any per E-Mail oder ganz einfach über: other desired payment modes. www.van-ham.com/objektbewertung Markus Eisenbeis geschäftsführender Gesellschafter öffentl. best. u. vereidigter Kunstversteigerer Markus Eisenbeis Im Online-Formular Managing Director | General Partner | Publicly appointed, müssen Sie nur: sworn auctioneer for arts and antiques 1. Kontaktdaten hinterlegen 2. Objektinformationen eingeben 3. Fotos hochladen Unsere Experten melden sich zeitnah mit einer Bewertung bei Ihnen.

Stand: 1.11.2017 Allgemeine Geschäftsbedingungen

V1. Versteigerung des Gegenstandes in das von ihm erstellte Werkverzeichnis Auktionssaal sowie bei Abwesenheit schriftlich, telefonisch V4.2 Wird ein Gebot abgelehnt, so bleibt das voran- den Transport der versteigerten Gegenstände zum Kunden verlangen. Der Erwerber hat das Recht zum Nachweis eines („Catalogue Raisonné“) verweigert. oder mittels Internet über den Online-Katalog auf der Home- gegangene Gebot wirksam. Wenn mehrere Personen das nur auf dessen schriftliche Anweisung hin und auf seine geringeren oder keines Schadens. V1.1 VAN HAM Kunstauktionen GmbH & Co. KG (nach- page von VAN HAM oder einer von VAN HAM zugelassenen gleiche Gebot abgeben und nach dreimaligem Aufruf kein Kosten und Gefahr. Da der Kaufpreis sofort fällig ist und folgend VAN HAM) versteigert in einer öffentlichen Verstei- V2.6 Schadensersatzansprüche gegen VAN HAM Plattform abgegeben werden. höheres Gebot erfolgt, entscheidet das Los. VAN HAM kann der Erwerber zur unverzüglichen Abholung verpflichtet ist, Tritt VAN HAM vom Vertrag zurück und wird der Gegen- gerung gemäß §§ 474 Abs.1 Satz 2, 383 Abs. 3 Satz 1 BGB wegen Rechts- und Sachmängeln sowie aus sonstigen den Zuschlag zurücknehmen und die Sache erneut ausrufen, befindet er sich spätestens 14 Tage nach Zuschlagserteilung stand in einer neuen Auktion nochmals versteigert, so haftet als Kommissionär im eigenen Namen und für Rechnung der Rechtsgründen (inkl. Ersatz vergeblicher Aufwendungen, V3.9 Für die im gedruckten Katalog aufgeführten wenn irrtümlich ein rechtzeitig abgegebenes höheres Gebot oder Annahme des Nachgebotes in Annahmeverzug, so dass der säumige Kunde außerdem für jeglichen Mindererlös Auftraggeber, die unbenannt bleiben. entgangenen Gewinn sowie Ersatz von Gutachterkosten) Katalognummer n, welche mit „+“ gekennzeichnet sind, übersehen worden ist oder wenn der höchstbietende Kunde spätestens dann auch, unabhängig von der noch ausstehen- gegenüber der früheren Versteigerung sowie für die Kosten sind ausgeschlossen, soweit sie nicht auf vorsätzlichem oder gelten die Bestimmungen der sog. „Stillen Auktion“ (vgl. sein Gebot nicht gelten lassen will oder sonst Zweifel über den Übergabe, die Gefahr auf den Kunden übergeht. der wiederholten Versteigerung; auf einen etwaigen V1.2 Die zur Versteigerung kommenden Gegenstände grob fahrlässigem Handeln von VAN HAM oder auf der Ziffer V10). den Zuschlag bestehen. Wenn trotz abgegebenen Gebots Mehrerlös hat er keinen Anspruch. VAN HAM hat das Recht, können vor der Versteigerung besichtigt und geprüft Verletzung wesentlicher Vertragspflichten durch VAN HAM ein Zuschlag nicht erteilt wird, haftet VAN HAM dem jewei- V6.2 Hat der Kunde die erworbenen Gegenstände nicht den Kunden von weiteren Geboten in Versteigerungen werden. Dabei haften die Kunden für von ihnen verursachte beruhen. V3.10 Alle Gebote beziehen sich auf den sog. Hammer- ligen Kunden nur bei Vorsatz oder grober Fahrlässigkeit. Bei spätestens drei Wochen nach erfolgtem Zuschlag bzw. nach auszuschließen. Schäden an den ausgestellten Objekten. preis und erhöhen sich um das Aufgeld, Umsatzsteuer sowie einem unter Vorbehalt erteilten Zuschlag bleibt der jeweilige Mitteilung hierüber bei VAN HAM abgeholt, wird VAN HAM V2.7 VAN HAM haftet nicht auf Schadensersatz (inkl. ggf. Folgerecht und Zollumlage. Bei gleich hohen Geboten, Kunde einen Monat an sein Gebot gebunden. Ein unter den Kunden zur Abholung der Gegenstände binnen einer V8.3 Einen Monat nach Eintritt des Verzuges ist VAN V2. Beschaffenheit, Gewährleistung Ersatz vergeblicher Aufwendungen, entgangenen Gewinn unabhängig ob im Auktionssaal, telefonisch, schriftlich oder Vorbehalt erteilter Zuschlag wird nur wirksam, wenn VAN Woche auffordern. Nach Ablauf dieser Frist hat VAN HAM HAM berechtigt und auf Verlangen des Auftraggebers oder dem Ersatz von Gutachterkosten) im Falle einfacher per Internet abgegeben, entscheidet das Los. Schriftliche HAM das Gebot innerhalb eines Monats nach dem Tag der das Recht, nach eigener Wahl die nicht abgeholten Gegen- verpflichtet, diesem Namen und Adressdaten des Kunden zu V2.1 Die zur Versteigerung gelangenden und im Rahmen Fahrlässigkeit sowohl eigener als auch seiner Organe, gesetz- Gebote oder Gebote per Internet werden von VAN HAM nur Versteigerung schriftlich bestätigt. stände auf Kosten und Gefahr des Kunden nennen. der Vorbesichtigung prüfbaren und zu besichtigenden lichen Vertreter, Angestellten oder sonstigen Erfüllungsge- mit dem Betrag in Anspruch genommen, der erforderlich ist, Gegenstände sind ausnahmslos gebraucht. Sie haben einen hilfen, soweit es sich nicht um eine Verletzung vertrags- um ein anderes abgegebenes Gebot zu überbieten. V5. Kaufpreis und Zahlung • an den Kunden zu versenden oder V9. Einwilligungserklärung Datenschutz ihrem Alter und ihrer Provenienz entsprechenden Erhaltungs- wesentlicher Pflichten handelt. Vertragswesentlich sind die • bei einem Lagerhalter einlagern zu lassen oder zustand. Beanstandungen des Erhaltungszustandes werden Verpflichtung zur Übergabe des Gegenstandes nach Eingang V3.11 Gebote in Abwesenheit werden in der Regel V5.1 Neben der Zuschlagssumme ist vom Kunden, der • selbst einzulagern. Der Kunde ist damit einverstanden, dass sein Name, seine im Katalog nur erwähnt, wenn sie nach Auffassung von VAN des vollständigen Verkaufspreises in dem Zustand in dem der zugelassen, wenn diese mindestens 24 Stunden vor Beginn den Gegenstand gekauft hat, für die ersten € 250.000,00 Adresse und Käufe für Zwecke der Durchführung und HAM den optischen Gesamteindruck des Gegenstandes Gegenstand zum Zeitpunkt der Versteigerung war, Angaben der Versteigerung bei VAN HAM eingehen und, sofern ein Aufgeld von 28 % und auf die darüber hinausgehen- Vor einer Aufbewahrung unterrichtet VAN HAM den Kun- Abwicklung des Vertragsverhältnisses, sowie zum Zwecke maßgeblich beeinträchtigen. Das Fehlen von Angaben zum über die Urheberschaft des Gegenstandes sowie Beratungs-, erforderlich, die weiteren Informationen gemäß Ziffer den Beträge von 25 % zu zahlen. Hierin ist die gesetzliche den. Bei einer Selbsteinlagerung durch VAN HAM wird 1 % der Information über zukünftige Auktionen und Angebote, Erhaltungszustand hat damit keinerlei Erklärungswirkung Schutz- und Obhutspflichten, die den Schutz von Leib oder V3.5 vorliegen. Das Gebot muss den Gegenstand unter Umsatzsteuer bereits enthalten, welche jedoch wegen Diffe- p.a. des Zuschlagpreises für Versicherungs- und Lagerkosten elektronisch von VAN HAM gespeichert und verarbeitet und begründet insbesondere keine Garantie oder Beschaf- Leben des Kunden oder dessen Personal bezwecken. Aufführung von Katalognummer und Katalogbezeichnung renzbesteuerung nach § 25a UStG nicht ausgewiesen wird. berechnet. Unabhängig davon kann VAN HAM wahlweise werden. Sollte der Bieter im Rahmen der Durchführung und fenheitsvereinbarung im kaufrechtlichen Sinne. Kunden benennen. Im Zweifel ist die Katalognummer maßgeblich; Bei regelbesteuerten Objekten, die im gedruckten Katalog Erfüllung des Vertrages verlangen oder die gesetzlichen Abwicklung dieses Vertragsverhältnisses seinen vertraglichen können einen Zustandsbericht für jeden Gegenstand vor der Bei einfach fahrlässiger Verletzung wesentlicher Vertrags- Unklarheiten gehen zu Lasten des Bieters. Die Bearbeitung mit einem „*“ gekennzeichnet sind, wird auf den Zuschlag Rechte wegen Pflichtverletzung geltend machen. Zur Pflichten nicht nachkommen, stimmt der Kunde zu, dass die- Auktion anfordern. Dieser Bericht, mündlich oder in Schrift- pflichten ist die Haftung von VAN HAM begrenzt auf den der Gebote in Abwesenheit ist ein zusätzlicher und kostenlo- auf die ersten € 250.000 ein Aufgeld von 24 % und auf die Berechnung eines eventuellen Schadens wird auf Ziffern V5 se Tatsache in eine Sperrdatei, die allen Auktionshäusern des form, enthält keine abweichende Individualabrede und Ersatz des vertragstypischen, vorhersehbaren Schadens, pro ser Service von VAN HAM, daher kann keine Zusicherung für darüber hinausgehenden Beträge von 21 % erhoben. Auf und V8 dieser Bedingungen verwiesen. Bundesverbands Deutscher Kunstversteigerer e.V. zugänglich bringt lediglich eine subjektive Einschätzung von VAN HAM schadensverursachendem Ereignis bis zu einer Höhe von deren Ausführung bzw. fehlerfreie Durchführung gegeben die Summe von Zuschlag und Aufgeld wird die gesetzliche ist, aufgenommen werden kann. Der Datenerhebung und zum Ausdruck. Die Angaben im Zustandsbericht werden maximal dem Doppelten der vom Kunden für den Gegen- werden. Dies gilt nicht, soweit VAN HAM einen Fehler Umsatzsteuer von z.Zt. 19 % erhoben. V6.3 VAN HAM trägt in keinem Fall eine Haftung für weiteren Nutzung kann durch Streichen dieser Klausel oder nach bestem Wissen und Gewissen erteilt. Sie sind keine stand, auf den sich die verletzte Vertragspflicht bezieht, zu wegen Vorsatzes oder grober Fahrlässigkeit zu vertreten hat. Verlust oder Beschädigung nicht abgeholter oder mangels jederzeit durch spätere Erklärung gegenüber VAN HAM mit Garantien oder Beschaffenheitsvereinbarungen und dienen zahlenden Vergütung. Insbesondere mittelbare Schäden Die in Abwesenheit abgegebenen Gebote sind den unter V5.2 Objekte, die temporär aus einem Drittland einge- Bezahlung nicht übergebener Gegenstände, es sei denn, Wirkung für die Zukunft widersprochen werden. ausschließlich der unverbindlichen Information. Gleiches gilt werden nicht ersetzt. Anwesenden in der Versteigerung abgegebenen Geboten führt wurden, sind im gedruckten Kataloge mit einem „N“ VAN HAM fiele Vorsatz oder grobe Fahrlässigkeit zur Last. für Auskünfte jedweder Art, sei es mündlich oder schriftlich. bei Zuschlag gleichgestellt. gekennzeichnet. Bei der Übergabe dieser Gegenstände durch V10. Stille Auktion In allen Fällen ist der tatsächliche Erhaltungszustand des Ge- V2.8 Die vorstehenden Haftungsausschlüsse und VAN HAM an den Kunden wird dieser zum Importeur und V6.4 VAN HAM weist darauf hin, dass bestimmte Gegen- genstands zum Zeitpunkt seines Zuschlages die vereinbarte -beschränkungen gelten in gleichem Umfang zugunsten der V3.12 Das schriftliche Gebot muss vom bietenden Kunden schuldet VAN HAM die Einfuhrumsatzsteuer in Höhe von z. stände (wie insbesondere Elfenbein, Rhinozeroshorn und VAN HAM führt für die im gedruckten Katalog aufgeführten Beschaffenheit im Sinne der gesetzlichen Bestimmungen Organe, gesetzlichen Vertreter, Angestellten und sonstigen unterzeichnet sein. Bei schriftlichen Geboten beauftragt der Zt. 7 %. So gekennzeichnete Gengestände werden diffe- Schildpatt) Im- bzw. Exportbeschränkungen (insbesondere Objekte, die mit „+“ gekennzeichnet sind, eine sog. „Stille (§§ 434ff BGB). Der Gegenstand wird verkauft, wie er zum Erfüllungsgehilfen von VAN HAM. Kunde VAN HAM, für ihn Gebote abzugeben. renzbesteuert angeboten und die Einfuhrumsatzsteuer wird außerhalb der Europäischen Union) unterliegen, die einer Auktion“ durch. Für diese „Stille Auktion“ gelten diese Zeitpunkt der Versteigerung steht und liegt. als Umlage in Höhe von 8 % weiterberechnet. Auf Anfrage Versendung der Gegenstände in Drittstaaten entgegen- Versteigerungsbedingungen entsprechend, jedoch mit der V2.9 Die Einschränkungen der Ziffern V2.6 und V2.7 V3.13 Bei Schätzpreisen ab € 500,00 können telefonische unmittelbar nach der Auktion kann die Rechnung für diese stehen können. Der Kunde ist selbst dafür verantwortlich, Maßgabe, dass Kunden nur in schriftlicher Form sowie über V2.2 Alle Angaben im Katalog beruhen auf den bis zum gelten nicht für die Haftung von VAN HAM wegen vor- Gebote abgegeben werden. Hierbei wird ein im Saal Objekte regelbesteuert und ohne diese Umlage ausgestellt sich darüber zu informieren, ob ein von ihm erworbener das Internet mitbieten können. Die Objekte der „Stillen Auk- Zeitpunkt der Drucklegung veröffentlichten oder sonst allge- sätzlichen Verhaltens, für garantierte Beschaffenheitsmerk- anwesender Telefonist beauftragt, nach Anweisung des am werden. Gegenstand einer solchen Beschränkung unterliegt und ob tion“ werden nicht aufgerufen, so dass keine persönlichen mein zugänglichen wissenschaftlichen Erkenntnissen. Wird male, wegen Verletzung des Lebens, des Körpers oder der Telefon bietenden Kunden, Gebote abzugeben. Telefonische sowie wie diesbezüglich eine entsprechende Genehmigung oder telefonischen Gebote abgegeben werden können. Die zusätzlich ein Internet-Katalog erstellt, sind dennoch die Gesundheit oder nach dem Produkthaftungsgesetz. Gebote können von VAN HAM aufgezeichnet werden. Mit V5.3 Der Veräußerer des Gegenstandes ist gemäß § 26 eingeholt werden kann. Beauftragt der Kunde VAN HAM Gebote für eine „Stille Auktion“ müssen der Gültigkeit we- Angaben der gedruckten Fassung maßgeblich; nur in den dem Antrag zum telefonischen Bieten erklärt sich der Kunde Abs.1 UrhG zur Zahlung einer gesetzlichen Folgerechtsge- mit dem Versand eines Gegenstandes, so werden, soweit gen mindestens 24 Stunden vor Auktionsbeginn schriftlich Fällen, in denen kein gedruckter Katalog vorliegt, bzw. die V2.10 Alle Ansprüche gegen VAN HAM verjähren ein Jahr mit der Aufzeichnung von Telefongesprächen einverstanden. bühr auf den Verkaufserlös aller Originalwerke der bildenden nicht ausdrücklich etwas anderes vereinbart wurde, die ggf. bei VAN HAM vorliegen. Gegenstände im Rahmen einer sog. stillen Auktion verstei- nach Übergabe des zugeschlagenen Gegenstandes, soweit VAN HAM haftet nicht für das Zustandekommen und die Kunst und der Photographie verpflichtet, davon trägt der hierfür erforderlichen Genehmigungen (z.B. nach den CITES- gert werden, ist der Internetkatalog maßgeblich. VAN HAM sie nicht auf einer vorsätzlichen Rechtsverletzung beruhen Aufrechterhaltung von Telekommunikationsverbindungen Kunde anteilig in Form einer pauschalen Umlage von: Bestimmungen) sowie sonstige Zulassungen und Dokumente V11. Sonstige Bestimmungen behält sich vor, Katalogangaben über die zu versteigernden oder gesetzlich unabdingbare, längere Verjährungsfristen oder Übermittlungsfehler. vom Kunden eingeholt und VAN HAM zum Zwecke des Ver- Gegenstände zu berichtigen. Diese Berichtigung erfolgt vorgegeben sind. • 1,5% auf einen Hammerpreis bis zu € 200.000 sandes des Gegenstandes zur Verfügung gestellt. Etwaige V11.1 Diese Versteigerungsbedingungen regeln sämtliche durch schriftlichen Aushang am Ort der Versteigerung und/ V3.14 Für die aktive Teilnahme an der Versteigerung über • 0,5% für den übersteigenden Hammerpreis Kosten, Zölle oder Abgaben etc., die im Zusammenhang mit Beziehungen zwischen dem Kunden und VAN HAM. oder mündlich durch den Auktionator unmittelbar vor der V3. Durchführung der Versteigerung, Gebote das Internet ist eine Registrierung sowie eine anschließende von € 200.001 bis € 350.000 bzw. der Aus- und Einfuhr des Gegenstandes entstehen, trägt der Allgemeine Geschäftsbedingungen des Kunden haben Versteigerung des einzelnen Gegenstandes. Die berichtigten Freischaltung durch VAN HAM erforderlich. • 0,25% für einen weiteren Hammerpreis Kunde. Soweit bekannt, sind diese Objekte im gedruckten keine Geltung. Mündliche Nebenabreden bestehen nicht. Angaben treten an die Stelle der Katalogbeschreibung. V3.1 Die im Katalog angegebenen Schätzpreise sind von € 350.001 bis € 500.000 sowie Katalog mit einem „‡“ gekennzeichnet. Dieser Hinweis Änderungen bedürfen zu ihrer Gültigkeit der Schriftform. keine Mindest- oder Höchstpreise, sondern dienen nur als Internet-Gebote können sowohl als sog. „Vor-Gebote“ vor • 0,125% für den weiter übersteigenden Hammerpreis befreit den Käufer jedoch nicht von der Verantwortung, V2.3 Unabhängig von der Regelung unter Ziffer V2.1 Anhaltspunkt für den Verkehrswert der Gegenstände ohne Beginn einer Versteigerung als auch als sog. „Live-Gebo- bis zu fünf Millionen; maximal insg. € 6.250. sich selbst über die Exportbedingungen sowie die weiteren V11.2 Erfüllungsort ist Köln. Ist der Auftraggeber Kauf- sind Teil der mit dem Käufer vereinbarten Beschaffenheit nur Gewähr für die Richtigkeit. Andere Währungsangaben als te“ während einer im Internet live übertragenen Verstei- Importbedingungen zu informieren. Ein Fehlen eines solchen mann, eine juristische Person des öffentlichen Rechts oder diejenigen Katalogangaben, die sich auf die Urheberschaft Euro dienen lediglich der Information und sind unverbind- gerung sowie als sog. „Nach-Gebote“ nach Beendigung sofern die Urheber noch nicht 70 Jahre vor dem Ende des Hinweises zu etwaigen Exportbedingungen enthält keine ein öffentlich-rechtliches Sondervermögen oder hat er in der des Gegenstandes beziehen. Eine besondere Garantie, lich. Gegenstände von geringem Wert können als Konvolute der Versteigerung nach Maßgabe der nachstehenden Re- Verkaufes verstorben sind. Aussage und bedeutet insbesondere nicht, dass hier keine Bundesrepublik Deutschland keinen allgemeinen Gerichts- aus der sich darüber hinausgehende Rechte (§§443, 477 außerhalb des Katalogs versteigert werden. gelungen abgegeben werden. Gebote, die bei VAN HAM Im- oder Exportbeschränkungen bestehen. stand, so ist Gerichtsstand für alle etwaigen Streitigkeiten BGB) ergeben, wird von VAN HAM nicht übernommen. während einer laufenden Versteigerung via Internet einge- V5.4 Soweit der Kunde den Gegenstand per Live-Gebot aus der Geschäftsbeziehung zwischen VAN HAM und dem Weitere Beschaffenheitsmerkmale als die Urheberschaft des V3.2 VAN HAM behält sich das Recht vor, während hen, werden im Rahmen der laufenden Versteigerung nur ersteigert hat, hat er wegen der hierdurch VAN HAM entste- V7. Eigentumsvorbehalt, Aufrechnung, Auftraggeber Köln. Zwingende gesetzliche Bestimmungen Gegenstandes sind auch dann nicht vertraglich vereinbart, der Versteigerung Nummern des Katalogs zu vereinen, zu dann berücksichtigt, wenn es sich um eine live im Internet henden Kosten eine zusätzliche Gebühr in Höhe von drei Zurückbehaltungsrecht über ausschließliche Gerichtsstände bleiben von dieser wenn der Gegenstand aus Gründen der Werbung heraus- trennen, außerhalb der Reihenfolge anzubieten oder zurück- übertragene Versteigerung handelt. Im Übrigen sind (3) % vom Zuschlag an VAN HAM zu entrichten. Regelung unberührt. gestellt wird. Der Katalog enthält insoweit nur Angaben zuziehen. Internet-Gebote nur dann zulässig, wenn der Kunde von V7.1 Das Eigentum am ersteigerten Gegenstand geht und Beschreibungen, ohne dass damit eine Beschaffenheit VAN HAM zum Bieten über das Internet durch Zusendung V5.5. Für Unternehmer, die zum Vorsteuerabzug berech- erst mit vollständigem Eingang aller nach Ziffern V5 und V11.3 Es gilt deutsches Recht; das UN-Abkommen über vereinbart wird. Das gleiche gilt für die im Katalog befindli- V3.3 Alle Gebote gelten als vom Kunden im eigenen eines Benutzernamens und eines Passwortes zugelassen tigt sind, kann die Rechnung auf Wunsch (nach vorheriger V8 geschuldeten Zahlungen auf den Kunden über. Für den Verträge des internationalen Warenkaufs (CISG) findet keine chen Abbildungen. Diese Abbildungen dienen dem Zweck, Namen und für eigene Rechnung abgegeben. Will ein worden ist. Internet-Gebote sind nur dann gültig, wenn sie Mitteilung) nach der Regelbesteuerung ausgestellt werden. Fall, dass der Kunde diesen Gegenstand veräußert, bevor Anwendung. dem Interessenten eine Vorstellung von dem Gegenstand Kunde Gebote im Namen eines Dritten abgeben, so hat er durch den Benutzernamen und das Passwort zweifelsfrei Von der Umsatzsteuer befreit sind Auslieferungen in Drittlän- er sämtliche Forderungen von VAN HAM erfüllt hat, tritt zu geben; sie sind weder Bestandteil der Beschaffenheits- dies 24 Stunden vor Versteigerungsbeginn unter Nennung dem Kunden zuzuordnen sind. Die über das Internet der (d.h. außerhalb der EU) und – bei Angabe der USt.-ID-Nr. der Kunde bereits jetzt sämtliche Forderungen, die aus dem V11.4 Vorstehende Bestimmungen gelten sinngemäß auch vereinbarung noch eine Garantie für die Beschaffenheit. Im von Namen und Anschrift des Vertretenen und unter Vorlage übertragenen Gebote werden elektronisch protokolliert. – auch an Unternehmen in EU-Mitgliedsländer. Verbringen Weiterverkauf entstehen, zur Sicherheit an VAN HAM ab. für den freihändigen Verkauf der zur Auktion eingelieferten Rahmen der Auktion werden ausschließlich die jeweiligen einer schriftlichen Vollmacht mitzuteilen. Andernfalls kommt Die Richtigkeit der Protokolle wird vom Kunden anerkannt, Auktionsteilnehmer ersteigerte Gegenstände selbst in Dritt- VAN HAM nimmt die Abtretung hiermit an. Gegenstände und insbesondere für den Nachverkauf, auf Gegenstände, nicht jedoch die Rahmen, Passepartouts der Kaufvertrag bei Zuschlag mit dem bietenden Kunden dem jedoch der Nachweis ihrer Unrichtigkeit offen steht. länder, wird ihnen die Umsatzsteuer erstattet, sobald VAN den, da er Teil der Versteigerung ist, die Bestimmungen über sowie Bildglas versteigert. Für Teile, die kein Bestandteil des zustande. Live-Gebote werden wie Gebote aus dem Versteigerungs- HAM der Ausfuhr- und Abnehmernachweis vorliegt. V7.2 Der Kunde kann gegenüber VAN HAM nur mit Käufe im Fernabsatz keine Anwendung finden. versteigerten Gegenstandes sind, übernimmt VAN HAM saal berücksichtigt. Auch bei Internet-Geboten haftet VAN unbestrittenen oder rechtskräftig festgestellten Forderungen keine Haftung. V3.4 Jeder Kunde erhält nach Vorlage eines gültigen Per- HAM nicht für das Zustandekommen der technischen V5.6 Während oder unmittelbar nach der Auktion ausge- aufrechnen. V11.5 Sollte eine der vorstehenden Bestimmungen ganz sonaldokuments und Zulassung zur Auktion von VAN HAM Verbindung oder für Übertragungsfehler. stellte Rechnungen bedürfen der Nachprüfung; Irrtum bleibt oder teilweise unwirksam sein, wird die Gültigkeit der V2.4 Eine Haftung von VAN HAM wegen etwaiger eine Bieternummer. Nur unter dieser Nummer abgegebene insoweit vorbehalten. V7.3 Ein Zurückbehaltungsrecht des Kunden aufgrund übrigen davon nicht berührt. Die unwirksame Bestim- Mängel wird ausdrücklich ausgeschlossen, sofern VAN HAM Gebote werden auf der Auktion berücksichtigt. V3.15 Der Nachverkauf ist Teil der Versteigerung. Bei von Ansprüchen aus einem anderen Geschäft mit VAN mung ist durch eine wirksame zu ersetzen, die in ihrem seine Sorgfaltspflichten erfüllt hat. Die Haftung für Leben, Nachgeboten kommt ein Vertrag erst dann zustande, wenn V5.7 Die Zahlung des mit dem Zuschlag fälligen Gesamt- HAM ist ausgeschlossen. Soweit der Kunde Kaufmann ist, wirtschaftlichen Gehalt der unwirksamen Bestimmung am Körper- und Gesundheitsschäden bleibt davon unberührt. V3.5 Von Kunden, die VAN HAM noch unbekannt sind, VAN HAM das Gebot annimmt. betrages ist in bar, per Electronic Cash, per Überweisung verzichtet er auf seine Rechte aus §§ 273, 320 BGB. nächsten kommt. Entsprechendes gilt, wenn der Vertrag benötigt VAN HAM spätestens 24 Stunden vor Beginn oder durch bankbestätigten Scheck zu entrichten. Schecks eine ergänzungsbedürftige Lücke aufweist. In Zweifelsfällen V2.5 Weist der Käufer jedoch innerhalb eines Jahres nach der Auktion eine schriftliche Anmeldung mit gültigem V3.16 Das Widerrufs- und Rückgaberecht bei Fernabsatz- werden nur erfüllungshalber angenommen. Alle Steuern, V8. Verzug ist die deutsche Fassung der Versteigerungsbedingungen Übergabe des Gegenstandes nach, dass Katalogangaben Personalausweis. VAN HAM behält sich das Recht vor, eine verträgen findet auf Schrift-, Telefon- und Internetgebote Kosten, Gebühren der Überweisung (inklusive der VAN HAM maßgeblich. Übersetzungen in andere Sprachen dienen nur über die Urheberschaft des Gegenstandes unrichtig sind zeitnahe Bankauskunft, Referenzen oder ein Bardepot für keine Anwendung, sofern die Versteigerung nicht im in Abzug gebrachten Bankspesen) gehen zu Lasten des Kun- V8.1 Der Kaufpreis ist mit dem Zuschlag fällig. Zahlungs- der inhaltlichen Orientierung. und nicht mit der anerkannten Meinung der Experten die Zulassung zur Auktion anzufordern. Rahmen einer sog. stillen Auktion erfolgt. Die Widerrufsbe- den. Persönlich an der Versteigerung teilnehmende Kunden verzug tritt 14 Tage nach Vertragsschluss, also Zuschlags- am Tag der Drucklegung übereinstimmten, verpflichtet lehrung finden Sie am Ende der vorliegenden Versteige- haben den Kaufpreis unverzüglich nach erfolgtem Zuschlag erteilung oder Annahme des Nachgebotes ein. Zahlungen sich VAN HAM unabhängig von Ziffer V2.4, seine Rechte V3.6 Bietet der Auftraggeber oder ein von diesem beauf- rungsbedingungen. an VAN HAM zu zahlen. Bei Geboten in Abwesenheit gilt sind in Euro an VAN HAM zu leisten. Entsprechendes gilt gegenüber dem Auftraggeber geltend zu machen. Im Falle tragter Dritter auf selbst eingelieferte Ware und erhält den unbeschadet der sofortigen Fälligkeit die Zahlung binnen 14 für Schecks, die erst nach vorbehaltloser Bankgutschrift als Van Ham Kunstauktionen GmbH & Co. KG der erfolgreichen Inanspruchnahme des Auftraggebers Zuschlag, so ist er jedem anderen Kunden gleichgestellt. Für V4. Zuschlag Tagen nach Rechnungsdatum noch nicht als verspätet. Erfüllung anerkannt werden. Hitzelerstraße 2, 50968 Köln erstattet VAN HAM dem Erwerber das von dem Auftrag- den selbst bietenden Auftraggeber gelten die Bestimmun- Amtsgericht Köln HR A 375 geber selbst tatsächlich Erlangte bis maximal zur Höhe des gen der Versteigerungsbedingungen daher gleichermaßen. V4.1 Der Zuschlag erfolgt nach dreimaligem Aufruf an V5.8 Die Gegenstände werden erst nach vollständiger V8.2 Bei Zahlungsverzug werden Verzugszinsen in Höhe phG: Van Ham Kunstauktionen Verwaltung GmbH gesamten Kaufpreises. Darüber hinaus verpflichtet sich den Höchstbietenden. Mit dem Zuschlag kommt zwischen Bezahlung aller vom Kunden geschuldeten Beträge ausge- von 1 % pro Monat berechnet. Der Erwerber hat das Recht Amtsgericht Köln HR B 80313 VAN HAM für die Dauer von einem Jahr bei erwiesener V3.7 VAN HAM kann für den Auftraggeber bis zu einem VAN HAM und dem Kunden, dem der Zuschlag erteilt händigt. zum Nachweis eines geringeren oder keines Schadens. Im Geschäftsführer Markus Eisenbeis Unechtheit zur Rückgabe der vollständigen Kommission. Betrag unterhalb des Limits auf dessen eingeliefertes Los wird, ein Kaufvertrag zustande. Ein Anspruch auf Annahme Übrigen kann VAN HAM bei Zahlungsverzug wahlweise (von der IHK Köln öffentlich bestellter und vereidigter Voraussetzung ist jeweils, dass keine Ansprüche Dritter bieten, ohne dies offenzulegen und unabhängig davon, ob eines Gebotes besteht nicht. VAN HAM kann den Zuschlag V6. Abholung, Gefahrtragung und Export Erfüllung des Kaufvertrages verlangen oder nach angemes- Versteigerer für Kunst und Antiquitäten) an dem Gegenstand bestehen und der Gegenstand am anderweitige Gebote abgegeben werden oder nicht. deshalb verweigern oder unter Vorbehalt erteilen. Dies sener Fristsetzung vom Vertrag zurücktreten. Im Fall des Sitz von VAN HAM in Köln in unverändertem Zustand gilt insbesondere dann, wenn ein Kunde VAN HAM nicht V6.1 Der Zuschlag verpflichtet zur Abnahme. Abwesende Rücktritts erlöschen alle Rechte des Kunden am ersteigerten zurückgegeben wird. Der Unrichtigkeitsnachweis gilt u.a. V3.8 Der Preis bei Aufruf wird von Van HAM festgelegt; bekannt ist oder der Kunde nicht spätestens bis zum Beginn Kunden sind verpflichtet, die erworbenen Gegenstände Gegenstand und VAN HAM ist berechtigt, Schadensersatz in als geführt, wenn ein international anerkannter Experte gesteigert wird im Regelfall um maximal 10 % des vorange- der Versteigerung Sicherheit in Form von Bankauskünften unverzüglich nach Mitteilung des Zuschlages bei VAN HAM Höhe des entgangenen Gewinns für den nicht versteiger- für den im Katalog angegebenen Urheber die Aufnahme gangenen Gebotes in Euro. Gebote können persönlich im oder Garantien geleistet hat. abzuholen. VAN HAM organisiert die Versicherung und ten Gegenstand (Einliefererkommission und Aufgeld) zu

Stand: 13.3.2017 Conditions of Sale

V1. Auction V2.6 Claims for damages against VAN HAM based on V3.9 The provisions regarding silent auctions (cf. Clause time was accidentally overlooked, if the highest bidder does consequently the risk shall be transferred to the buyer at be liable for any shortfall in proceeds compared to the prior legal and material defects and on other legal grounds V10) apply to the catalogue numbers marked in the print not want the bid to stand, or if there are other doubts as to this time at the latest, irrespective of the fact that the item auction and for the costs of the repeated auction; the buyer V1.1 VAN HAM Kunstauktionen GmbH & Co. KG (including compensation for futile expenses, lost proceeds catalogue with “+”. the acceptance. If no bid is accepted even though a bid was has not yet been handed over. shall not be entitled to receive any surplus proceeds. VAN (hereinafter referred to as VAN HAM) sells in a public or costs of expert opinions) shall be excluded, unless they placed, VAN HAM shall be liable to the bidder only in case HAM shall be entitled to exclude such a buyer from making auction pursuant to §§ 474 (1) Sent. 2, 383 (3) Sent. 1 of are based on VAN HAM acting intentionally or grossly V3.10 All offers shall be based on the so-called of intent or gross negligence. A bidder shall remain bound V6.2 If the buyer has not collected the items from VAN further bids at auctions. the German Civil Code (BGB), acting as a commissioner on negligently, or on VAN HAM breaching material contractual hammer price and shall be exclusive of the premium, by a bid that has been conditionally accepted for a period HAM three weeks after acceptance of the bid and/or its own behalf and for the account of the Consignors who duties. VAT (Umsatzsteuer) and, where applicable, resale of one month. A conditionally accepted bid shall only relevant notification at the latest, VAN HAM shall request V8.3 One month after default has occurred, VAN remain unnamed. right (Folgerecht, droit de suite) and customs charges become effective if VAN HAM confirms the bid in writing that the buyer collect the items within one week. At the HAM shall be entitled and, upon the Consignor’s request, V2.7 VAN HAM shall not be liable for damages (including (Zollumlage). When there are equal bids, irrespective within one month from the date of the auction. end of said period VAN HAM shall be entitled to have the required to disclose the buyer’s name and address to the V1.2 Prior to auction the items consigned to be compensation of futile expenses, lost proceeds or costs of of whether they are submitted in the auction hall, by items at the cost and risk of the buyer Consignor. auctioned may be inspected and examined. Here the expert opinions) in case of simple negligence of itself or its telephone, in writing or over the internet, a decision shall V5. Purchase Price and Payment potential buyers will be liable for any damages to the bodies, legal representatives, employees or other vicarious be made by drawing lots. Written bids or bids submitted • delivered to the buyer, or V9. Privacy Statement exhibited objects caused by them. agents, unless in case of breach of material contractual via the internet shall only be drawn on by VAN HAM to the V5.1 The buyer shall pay the bid price plus a premium • stored in a contract warehouse, or duties. Material contractual duties shall be (i) the duty of extent required to outbid another bid. of 28 % on the first € 250,000.00 and a premium of 25 % • store the uncollected items itself. The bidder hereby agrees to the bidder’s name, address and V2. Condition, Representations and Warranties handing over the item in its condition at the time of the on all sums exceeding this amount. This includes statutory purchases being stored electronically and processed by VAN auction upon receipt of the full sales price, (ii) providing V3.11 Bids in absence shall be generally permitted if VAT, which will, however, not be listed separately due to the VAN HAM shall inform the buyer prior to storage. If VAN HAM for the purpose of performing and implementing the V2.1 The items that are up for auction and available information regarding the authorship of the item, as well they are received by VAN HAM at least 24 hours prior to margin scheme as per § 25a UStG (German Sales Tax Act). HAM stores the items in its own warehouse, up to 1 % contractual relationship, and for the purpose of providing for examination and viewing during the advance viewing as (iii) the duties of advice, protection and care which serve the start of the auction and any additional information In case of items marked in the print catalogue with “*” as p.a. of the hammer price shall be charged for insurance information about future auctions and offers. Should the are, without exception, used items. These items are in a the purpose of protecting life and body of the buyer or its pursuant to Clause V3.5 has been provided. Bids shall subject to standard taxation a premium of 24 %, on the and storage costs. Irrespective of this, VAN HAM may bidder fail to meet its contractual duties within the scope state of preservation that is consistent with their age and personnel. specify the relevant item, along with its catalogue number first € 250,000.00 of the bid price and of 21 % on all sums alternatively demand performance of the contract or assert of performance and implementation of this contractual provenance. Objections to the state of preservation shall and catalogue description. In case of doubt, the catalogue exceeding this amount shall be levied on. Statutory VAT of statutory rights for breach of duties. For the purpose of relationship, the bidder consents to this fact being included only be indicated in the catalogue if VAN HAM believes In case of a simply negligent breach of material contractual number shall be decisive; the bidder shall bear the currently 19 % shall be levied on the total of the hammer calculating any damage, reference is made to Clauses V5 in a blacklist accessible to all auction houses of the German that they significantly affect the overall visual impression duties, the liability of VAN HAM shall be limited to the consequences of any ambiguities. VAN HAM provides the price and the premium. and V8 of these Terms. Association of Art Auctioneers (Bundesverband Deutscher of the item. The absence of information on the state compensation of any damage typical and predictable for service of processing bids in absence for the convenience Kunstversteigerer e.V.). The future collection and use of of preservation has thus no effect of declaration and such a contract, per event causing the damage up to a of clients free of charge. VAN HAM therefore makes no V5.2 Items which have been temporarily imported from V6.3 VAN HAM shall under no circumstances be liable data may be objected to by deleting this clause or by does, in particular, not establish any warranty or quality maximum of twice the amount which the buyer had to representations regarding the effectuation or error-free a fiscal third country are marked in the print catalogue with for loss of or damage to items that have not been collected submitting a subsequent declaration to VAN HAM, with agreement as defined by the sale of goods laws. Potential pay for the item to which the breached contractual duty processing of bids. This does not apply where VAN HAM “N”. When VAN HAM hands over such items to the buyer, or handed over due to non-payment, unless VAN HAM effect for the future. buyers may request a condition report for every item prior relates. In particular any liability for indirect damage shall is liable for mistakes made intentionally or through gross he/she will become the importer and owes VAN HAM’s acted with intent or gross negligence. to the auction. Such a report, be it verbal or in writing, be excluded. negligence. Bids in absence shall be deemed equivalent import VAT of currently 7 %. Items identified like this are V10. Silent Auction shall not contain any diverging individual agreement, and to bids made in person during the auction when bids are subject to margine scheme and are thus offered under on- V6.4 VAN HAM points out that specific objects (such shall express VAN HAM’s subjective assessment only. The V2.8 The aforementioned exclusions and limitations of accepted. charging the import VAT as apportionment in the amount as, in particular ivory, rhinoceros horn and tortoise shell) VAN HAM shall conduct a so-called “silent auction” for information contained in the condition report shall be liability shall apply to the same extent for the benefit of the of 8 %. Upon request immediately after the auction the are subject to import and export restrictions (especially the items marked in the print catalogue with “+”. These provided to the best of VAN HAM’s knowledge and belief. bodies, legal representatives, employees and other vicarious V3.12 Written bids must be signed by the bidder. In case invoicing for these objects can be issued with standard outside the European Union) which may prevent the General Auction Terms shall apply accordingly to such It shall not constitute any warranty or quality agreement agents of VAN HAM. of written bids, the interested party shall authorise VAN taxation and without such apportionment. shipment of such objects to third countries. It is the buyer’s “silent auction”; however, bidders may only bid in written and shall serve the purpose of providing non-binding HAM to submit bids on its behalf. own responsibility to find out whether an acquired object form or via the internet. Since the items in “silent auctions” information only. The same applies to general information V2.9 The limitations of Clauses V2.6 and V2.7 shall V5.3 Pursuant to § 26 (1) of the German Copyright Act is subject to such a restriction, and whether it is possible are not called out, no bids can be made in person or by of any kind, be it verbal or in writing. The actual state not apply to VAN HAM’s liability for intentional acts, for V3.13 Telephone bids are possible for estimates of € 500 (UrhG), the seller is obliged to pay the statutory resale rights to obtain any necessary authorisation in respect of the telephone. Bids for a “silent auction” must be submitted of preservation of the item at the time the relevant bid guaranteed qualities, for injury to life, body or health or and above. In this case a telephone operator present in fee on the sales proceeds of all original works of art and object in question. Should the buyer instruct VAN HAM to VAN HAM in writing at least 24 hours before the start of is accepted shall, in all events, be its agreed condition as under the product liability law. the auction room shall be authorised to submit bids as per original photographic works whose creators died less than with the shipment of the object, unless explicitly provided the auction in order to be valid. defined by statutory regulations (§§ 434 et seq. German the telephone bidder’s instructions. Telephone bids may be 70 years before completion of the sale, whereof the buyer for otherwise, the customer shall procure the necessary Civil Code (BGB)). The item is sold in its actual condition at V2.10 Any claims against VAN HAM shall come under recorded by VAN HAM. By applying for telephone bidding, shall bear a proportionate lump-sum charge amounting to: authorisations (e.g. pursuant to the CITES rules), if any, as V11. Miscellaneous Provisions the time of the auction. the statute of limitations, expiring one year after the item applicants accept that telephone conversations may be well as any other permits and documents and make these awarded by bid has been handed over, provided that they recorded. VAN HAM accepts no liability for establishing • 1.5 % of the hammer price up to € 200,000 available to VAN HAM for the purpose of shipment of V11.1 These General Auction Terms shall govern all V2.2 Any information contained in the catalogue is are not based on an intentional violation of rights, or longer and maintaining telecommunication connections or for • 0.5 % of the hammer price in excess of € 200,001 the object. Any costs, duties or charges etc. related to the relations between the client and VAN HAM. The client’s based on available data published at the time of publication periods of limitation are stipulated by statutory law. transmission errors. up to € 350,000, respectively import or export of the object shall be borne by the buyer. general commercial terms and conditions shall not be valid. of the catalogue or other generally available scientific • 0.25 % of the further hammer price of € 350,001 If known, such objects are identified by “‡” in the printed No oral side agreements are valid. Any amendments shall insights. If an additional internet catalogue is prepared, the V3. Conduct of Auctions, Bids V3.14 To actively participate in an auction via internet a up to € 500,000, and catalogue. Such reference, however, does not release the be made in writing. information in the printed version shall nevertheless prevail; registration and a subsequent activation by VAN HAM is • 0.125 % of the further hammer price in excess of buyer from his responsibility to gather information on the internet catalogue shall only prevail in the event that V3.1 The estimates stated in the catalogue do not required. this price up to five million, with an overall export terms and other regulations for import by himself. V11.2 Place of performance is Cologne. If the client is a no printed catalogue exists or the items are auctioned by constitute minimum or maximum prices, but shall serve maximum of € 6,250. The absence of such a reference to any export terms does merchant, an entity under public law or a fund under public a so-called silent auction. VAN HAM reserves the right to merely as an indication of the market value of the respective Bids made via the internet may be submitted as “pre- not have any meaning and does under no circumstances law or if the client has no general place of jurisdiction in correct catalogue information on the items that are to be items, without any warranty being given as to their bids” prior to the beginning of an auction, as “live V5.4 When the buyer has purchased an item at a live indicate that there are no such import or export restrictions. the Federal Republic of Germany, the Courts of Cologne auctioned. Said corrections shall be made by written notice accuracy. Information as to the value in currencies other bids” during a live web-cast auction, or as “post-bids” webcast auction, he/she shall indemnify VAN HAM for any shall have jurisdiction over any disputes between VAN HAM at the auction site and/or announced by the auctioneer than euros is provided for information purposes only and after conclusion of the auction in accordance with the costs incurred by paying an additional fee in the amount of V7. Retention of Title, Set-off, and the client. Mandatory statutory provisions on exclusive immediately before the specific item is to be auctioned. The shall not be binding. Low-value items may be auctioned as following provisions. Bids received by VAN HAM via three (3) % of the accepted hammer price to VAN HAM. Right of Retention places of jurisdictions shall remain unaffected by this corrected information shall replace the description in the group lots outside the catalogue. internet during an auction shall only be considered for provision. catalogue. the ongoing auction if it is a live web-cast auction. Apart V5.5. For buyers entitled to deduct input tax V7.1 The title to an item acquired by auction shall only V3.2 VAN HAM reserves the right to combine, separate, from that, internet bids shall only be admissible if VAN (Vorsteuerabzug), the invoice may, upon request (and pass to the buyer upon full receipt of all payments owed V11.3 German law shall apply; the United Nations V2.3 Irrespective of the provisions of Clause V2.1, only offer out of sequence or withdraw numbered lots during an HAM has approved the bidder for internet bidding by after prior notification) be made out in line with standard as per Clauses V5 and V8. In the event that the buyer sells Convention on Contracts for the International Sale of the catalogue information regarding the authorship of auction. providing the bidder with a user name and password. taxation (Regelbesteuerung). VAT is not levied on shipments such an item without having satisfied all of VAN HAM’s Goods (CISG) shall not apply. the item shall form part of the condition agreed with the Internet bids shall only be valid bids if they can be to third countries (i.e. outside the EU) nor on shipments claims, the buyer hereby already assigns by way of security buyer. VAN HAM does not provide any special warranties V3.3 All bids shall be considered as made by the bidder unequivocally matched to the bidder by means of the to companies in EU member states, provided the VAT ID (Sicherungsabtretung) to VAN HAM any claims arising from V11.4 The aforementioned provisions shall also apply that may establish any additional rights (§§ 443, 477 on its own behalf and for its own account. If a bidder user name and password. Internet bids shall be recorded number is stated. If participants in an auction transfer the resale. VAN HAM hereby accepts such assignment. mutatis mutandis to the private sale of items consigned German Civil Code (BGB)). No characteristics other than intends to bid on behalf of a third party, a respective electronically. The accuracy of the corresponding purchased items to third countries themselves, they shall be for auction and, in particular, to post-sales, which are not authorship of the item shall be contractually agreed, even notification shall be given not later than 24 hours prior to records shall be accepted by bidders/buyers, who shall reimbursed for VAT as soon as proof of export and purchase V7.2 The buyer shall only be entitled to set off claims governed by the provisions on distance sales as they form if the item is presented for advertising purposes. The the start of the auction, stating the name and address of nevertheless be free to furnish evidence to the contrary. (Ausfuhr- und Abnehmernachweis) has been provided to against VAN HAM that are unchallenged and that have part of the respective auction. catalogue thus contains only information and descriptions the represented party and submitting a written power of Live bids shall be considered equivalent to bids made VAN HAM. been recognised by declaratory judgement. without agreeing on the condition of the item. The same attorney. Otherwise the contract of sale shall be made with in the auction hall. VAN HAM accepts no liability for V11.5 In the event that any of the above provisions are applies to reproductions contained in the catalogue. The the bidder when the bid is accepted. establishing technical connections or for transmission V5.6 Invoices issued during or immediately after an V7.3 The buyer shall have no right of retention based on invalid in whole or in part, the validity of the remaining purpose of said reproductions is to give potential buyers errors in case of internet bids. auction must be verified; errors remain reserved to this claims arising from any prior transactions with VAN HAM. provisions shall remain unaffected. The invalid provision an idea of the item; they form neither part of the quality V3.4 VAN HAM provides each bidder with a bidder extent. Insofar as the buyer is a merchant (Kaufmann), the buyer shall be replaced by a valid provision which most closely agreement nor do they warrant the condition of the item. number following presentation of a valid identification V3.15 Subsequent sales form part of the auction. In the waives its rights under §§ 273, 320 of the German Civil resembles the commercial content of the invalid provision. During the auction procedure only the respective items document and admission to the auction. Only bids made event of post-bids, a contract shall only be made once VAN V5.7 Payment of the total amount due upon acceptance Code (BGB). This applies correspondingly if the contract contains a gap are sold but not the frames, mounts and picture glass. using this number shall be considered during the auction. HAM accepts a bid. of a bid shall be made in cash, via Electronic Cash, by wire in need of amendment. In cases of doubt the German VAN HAM assumes no liability for parts that are not part transfer or by bank certified cheque. Cheques shall only be V8. Default version of the General Auction Terms shall prevail. of the auctioned item. V3.5 Bidders previously unknown to VAN HAM need to V3.16 In case of distance contracts (Fernabsatzverträge), accepted on account of performance (erfüllungshalber). Translations into other languages merely support the textual submit to VAN HAM a written registration accompanied by the right of return and rescission shall not apply to written, Any taxes, costs, transfer or encashment fees (including V8.1 The purchase price shall be due upon acceptance orientation. V2.4 VAN HAM expressly excludes any liability for a valid identification card no later than 24 hours before the telephone or internet bids unless the bid was made in a so- any bank fees charged to VAN HAM) shall be borne by the of the bid. The buyer shall be considered in default 14 potential defects, provided that VAN HAM has complied start of the auction. VAN HAM reserves the right to request called silent auction. Please refer to the cancellation policy buyer. Buyers who participate in the auction in person shall days from conclusion of the contract, i.e. acceptance of with its duties of care. The liability for injury to life, body or a current bank reference or other references or a cash (Widerrufsbelehrung) at the end of the present General pay the purchase price to VAN HAM immediately after their the bid or post-bid. Payment is to be made to VAN HAM health remains unaffected. deposit before admitting bidders to the auction. Auction Terms. bid has been accepted. Without prejudice to the fact that in Euros. The same shall apply to cheques which shall only payment is due immediately, bids made in absence may be recognised as fulfilment of the payment obligation Van Ham Kunstauktionen GmbH & Co. KG V2.5 However, if the buyer is able to prove, within V3.6 If the Consignor, or a third party instructed by V4. Acceptance of Bids be paid within 14 days of the invoice date without being once they have been unconditionally credited to the bank Hitzelerstraße 2, 50968 Cologne, Germany one year from handing over of the item, that catalogue the Consignor, submits a bid on an item consigned by the deemed to be in default. account. Local Court Cologne HR A 375 information regarding authorship of the item was incorrect Consignor, and this bid is accepted, the Consignor’s status V4.1 A bid is accepted after the auctioneer has called the General Partner: Van Ham Kunstauktionen and did not correspond to the generally accepted expert shall be equivalent to that of any other bidder. The General highest bidder’s bid three times. When a bid is accepted, V5.8 Auctioned items shall, as a matter of principle, only V8.2 In the event of a default in payment, default Verwaltung GmbH opinion at the date of publication, VAN HAM undertakes Auction Terms therefore apply accordingly to the Consignor a contract of sale is concluded between VAN HAM and be handed over after receipt of full payment of all amounts interest shall be charged at a rate of 1 % per month. The Local Court Cologne HR B 80313 to assert its rights vis-à-vis the Consignor, irrespective of making a bid for its own items. the bidder whose bid was accepted. There shall be no owed by the buyer. buyer shall be entitled to furnish evidence that a lesser Managing Director Markus Eisenbeis Clause V2.4. Where successful recourse is taken against the entitlement to have a bid accepted. VAN HAM may refuse or no loss was incurred. Apart from that, in the event (auctioneer for art and antiques, officially appointed Consignor, VAN HAM shall reimburse the buyer for up to V3.7 VAN HAM shall be entitled to place a bid below to accept the bid or accept it conditionally. This applies V6. Collection, Assumption of Risk and Export of a default in payment VAN HAM may at its discretion and sworn by the Cologne Chamber of Commerce a maximum of the full purchase price which the consignor the limit for the consigned lot on behalf of the Consignor, in particular where a bidder who is not known to VAN choose to demand performance of the contract of sale or and Industry) has achieved. VAN HAM additionally undertakes to return without being required to disclose such procedure and HAM or with whom no business relationship has yet been V6.1 Acceptance of a bid establishes an obligation to rescind the contract after setting a reasonable period for its commission in full within a period of one year, if the item irrespective of whether or not other bids are placed. established fails to provide security in the form of bank collect the item. Absent buyers shall collect their items performance. In the event of rescission, all of the buyer’s proves not to be authentic. This is subject to there being no references or guarantees by the start of the auction at the without undue delay after VAN HAM has notified them that rights to the item acquired by auction shall lapse, and VAN third party claims to the item, and the item being returned V3.8 The initial bid price shall be determined by VAN latest. their bid has been successful. VAN HAM shall organise the HAM shall be entitled to claim damages in the amount of to the VAN HAM head office in Cologne in an unaltered HAM; bids are generally submitted in Euros at a maximum insurance and shipment of the auctioned items to the buyer the lost proceeds from the non-auctioned item (Consignor’s state. Inaccuracy shall be considered to have been proven of 10 % above the previous bid. Bids may be made in V4.2 Where a bid is rejected, the previous bid shall only upon the buyer’s written instruction and at the buyer’s commission and premium). The buyer shall be entitled to if an internationally recognised expert on the author listed person in the auction hall or, in case of absence, in writing, remain valid. If several individuals place equal bids and no cost and risk. Since the purchase price is due immediately furnish evidence that a lesser or no loss was incurred. in the catalogue refuses to have the item included in the by telephone or over the internet via the online catalogue higher bid is made after three calls, the decision shall be and the buyer is obliged to collect the items without undue catalogue of works (Catalogue Raisonné) prepared by the on VAN HAM’s homepage or via a platform approved by made by drawing lots. VAN HAM may revoke acceptance delay, the buyer shall be in default of acceptance no later If VAN HAM rescinds the contract and the item is re-offered expert, among others. VAN HAM. of a bid and re-offer the item if a higher bid made in due than 14 days after acceptance of the bid or post-bid, and at another auction, the defaulting buyer shall additionally

Stand: 13.3.2017 Einliefererverzeichnis Gebotsformular | Bidding form List of consignors Auktion Nr. | Sale no: 406

101269: 2206, 2585 - 101374: 2050 - 101443: 2089, 2090, 2091, 2092, 2093, 2094, 2099, 2101, 2102, 2105, 2116, Firma | Company Name Telefon für Auktion | Telephone for the sale 2120, 2121, 2124, 2125, 2128, 2530, 2544, 2551, 2552, 2553, 2554, 2555, 2560, 2563, 2570 - 101579: 2204, 2223, 2224, 2306, 2308, 2334, 2336, 2340, 2345, 2350, 2351, 2354, 2356, 2360, 2362, 2366, 2367, 2369, 2419, 2432, 2596 - 102411: 2035, 2037, 2511 - 102931: 2026 - 102971: 2045A - 103152: 2475 - 103178: 2497, 2498, 2499, Vorname, Nachname, Titel | First, Last name, Title Telefon für Auktion | Telephone for the sale 2500, 2501, 2502, 2504, 2505, 2506, 2507 - 103266: 2044, 2514 - 103294: 2433 - 103338: 2018, 2063, 2066, 2069, 2070, 2073, 2074, 2076, 2077, 2081, 2082, 2446, 2450, 2456 - 104084: 2212, 2574 - 104187: 2022, 2042, 2448, 2449, 2471, 2485, 2486, 2488, 2494, 2495, 2510, 2547, 2591 - 104297: 2242, 2243, 2244, 2245, 2246, 2247, Straße | Street Tel.| Fax 2248, 2249, 2250, 2251, 2252, 2253, 2254, 2255, 2256, 2257, 2258, 2259, 2260, 2261, 2262, 2263, 2264, 2265, 2266, 2267, 2428 - 104490: 2040, 2041, 2043, 2203, 2584, 2590, 2645 - 104523: 2027, 2028, 2029, 2030, 2054, 2056, 2059, 2062, 2064, 2065, 2108, 2109, 2110, 2111, 2226, 2227, 2453, 2459, 2466, 2483, 2496, 2566, 2575, PLZ, Ort | Postcode, city E-Mail 2588, 2600 - 104530: 2034, 2190, 2473, 2482, 2521, 2522, 2531, 2532, 2535, 2538, 2543, 2546, 2549, 2550, 2567, 2571, 2572, 2578, 2606 - 104544: 2200, 2201, 2269, 2270, 2271, 2273, 2275, 2276, 2277, 2279, 2280, 2281, 2285, 2286, 2287, 2288, 2289, 2291, 2293, 2295, 2296, 2297, 2298, 2299, 2300, 2309, 2310, 2311, 2313, 2314, 2318, Bitte keine Rechnung vorab per E-Mail Land | Country Please do not send invoice in advance via e-mail. 2320, 2321, 2322, 2323, 2324, 2325, 2326, 2327, 2328, 2329, 2330, 2331, 2332, 2338, 2343, 2361, 2368, 2370, 2371, 2373, 2375, 2376, 2377, 2378, 2379, 2380, 2381, 2382, 2383, 2384, 2385, 2387, 2388, 2389, 2390, 2391, 2392, 2393, 2394, 2395, 2396, 2397, 2400, 2401, 2402, 2403, 2404, 2405, 2406, 2407, 2408, 2409, 2410, 2411, 2412, 2413, 2414, 2415, 2416, 2417, 2418, 2589, 2592, 2593, 2594, 2595, 2597 - 104560: 2052, 2053, 2055, 2071, Wir bitten Neukunden, uns eine Kopie ihres Personalausweises sowie das Erstbieterformular zukommen zu lassen. 2460, 2479, 2523, 2534, 2540, 2545, 2556, 2557, 2558, 2561, 2562, 2564, 2565 - 104565: 2000, 2001, 2002, 2003, We ask new clients to provide us with a copy of their ID card or passport as well as the firt-time bidders registration form.. 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015 - 104582: 2533 - 104601: 2443, 2470, 2607 - 104602: 2548 - 104607: 2526 - 104609: 2434, 2435, 2436, 2437, 2438, 2439, 2440, 2441, 2442 - 104615: 2207, 2467 - 104631: 2525 - 104643: 2083, 2520 - 104709: 2196, 2197, 2524, 2602 - 104715: 2455 - 104734: 2586 - 104764: 2509 - 104770: 2127, 2541 - 104811: 2191, 2512, 2573 - 104816: 2036 - 104830: 2112, 2221, 2484, ANGABEN BITTE IN DRUCKBUCHSTABEN | PLEASE WRITE CLEARLY 2515, 2583 - 104831: 2016, 2078, 2220, 2576, 2580 - 104906: 2048 - 104907: 2113, 2117 - 104933: 2020, 2031, Gebote müssen 24 Stunden vor Auktion für Bestätigung eingehen. Bei identischen Geboten wird das als erstes eingegangene akzeptiert. 2045, 2075, 2095 - 104942: 2017, 2019, 2023, 2024 - 104982: 2599 - 104991: 2057, 2489, 2601 - 105071: 2135, Bids must arrive 24 hours prior to the auction for confirmation. In the event of identical bids, the earliest bid received will take precedence. 2136, 2137, 2138, 2139, 2140, 2141, 2142, 2143, 2144, 2145, 2146, 2147, 2148, 2149, 2150, 2151, 2152, 2153, 2154, 2155, 2156, 2157, 2158, 2159, 2160, 2161, 2162, 2163, 2164, 2165, 2166, 2167, 2168, 2169, 2170, 2171 - 401803: 2046, 2047, 2444, 2447 - 402040: 2049, 2205, 2213, 2214, 2222, 2581, 2605 - 402382: 2233, 2234, 2235, Lot Titel Tel. Gebot Max.Gebot (Gebot ohne Aufgeld) 2236, 2237, 2238, 2239, 2240, 2241, 2427, 2429, 2430, 2431, 2610, 2611, 2612, 2613, 2614, 2615, 2616, 2617, Title Tel. bid Max.bid (Bid without premium 2618, 2619, 2620, 2621, 2622, 2623, 2624, 2625, 2626, 2627, 2628, 2629, 2630, 2631, 2632, 2633, 2634, 2635, 2636, 2637, 2638, 2639, 2640, 2641, 2642, 2643, 2644 - 402432: 2208 - 402444: 2476, 2477 - 402478: 2209, € 2210, 2211 - 45358: 2587 - 45867: 2472 - 49355: 2416A - 49807: 2061, 2216, 2217, 2569 - 50449: 2086 - 50699: 2033 - 50738: 2051 - 57900: 2282, 2283, 2284, 2302, 2305, 2316, 2341, 2355, 2357, 2358, 2363, 2365, 2372, 2398, 2399, 2420, 2421, 2422, 2423, 2424, 2425, 2426, 2603 - 60922: 2039, 2604 - 69596: 2072 - 72860: 2021, € 2225, 2457, 2458, 2465, 2474, 2478, 2487, 2490, 2491, 2492, 2493, 2508, 2513, 2527, 2577, 2598, 2608 - 73065: 2087, 2104 - 73765: 2516, 2517, 2518, 2519 - 75605: 2068 - 77082: 2528 - 81596: 2038 - 81759: 2079, 2452, 2454, 2579, 2582 - 81975: 2481 - 82259: 2058, 2060, 2228, 2229, 2230, 2231, 2232 - 87295: 2199, 2202 - 87343: € 2218, 2219 - 90210: 2445, 2480, 2609 - 90259: 2187 - 92082: 2268, 2272, 2274, 2278, 2290, 2292, 2294, 2301, 2303, 2304, 2307, 2312, 2315, 2317, 2319, 2333, 2335, 2337, 2339, 2342, 2344, 2346, 2347, 2348, 2349, 2352, 2353, 2359, 2364, 2374, 2386 - 92178: 2123, 2126, 2130, 2188, 2529 - 94602: 2025, 2468, 2503 - 94735: 2129 - € 94737: 2172, 2192, 2193 - 94951: 2088, 2097, 2098, 2106, 2107, 2115, 2118, 2119, 2122, 2131, 2132, 2133, 2134, 2536, 2537, 2539, 2542, 2559 - 95166: 2032, 2114, 2173, 2174, 2175, 2176, 2177, 2178, 2179, 2180, 2181, 2182, 2183, 2184, 2185, 2186, 2189, 2195, 2568 - 95884: 2067, 2080, 2084, 2085, 2451, 2461, 2462, 2463, 2464, 2469 - Nur für Kunst-Händler | For art dealers only: Bitte mit MwSt-Ausweis Please use my VAT-No. for my invoice (VAT-identification number) 96275: 2215 - 96522: 2198 - 96758: 2100, 2103, 2194 - 97060: 2096.

Bitte beachten Sie, dass die Ausführung von schriftlichen und telefonischen Geboten ein Service unseres Hauses ist. VAN HAM kann daher keine Zusicherung für deren Ausführung bzw. fehlerfreie Durchführung geben. Hiermit erkenne ich die im Katalog abgedruckten Geschäftsbedingungen an. I understand that VAN HAM provides the service of executing absentee bids for the convenience of clients and that VAN HAM is not responsible for failing to execute bids or for errors related to the execution of bids. I accept the standard business conditions (see catalogue).

Impressum Legal notice Digitale Photographie: Sasˇa Fuis Titelbild: Sasˇa Fuis Unterschrift | Signature Digitale Bildbearbeitung: Sasˇa Fuis Ort, Datum | Place, date Netsuke und Inro, Photographie und Bildbearbeitung: Jean-Marie Colrat, Paris Van Ham Kunstauktionen GmbH & Co. KG Tel. +49 (221) 925862-0 Persönlich haftender Gesellschafter: Expertenfoto: © Meike Wirsel Hitzelerstraße 2 | 50968 Köln Fax. +49 (221) 925862-4 Van Ham Kunstauktionen Verwaltung GmbH Layout: MWK Zimmermann & Hähnel GmbH USt-ID Nr. DE 122 771 785 [email protected] Amtsgericht Köln HR B 80313 Druck: VD Vereinte Druckwerke Amtsgericht Köln HR A 375 www.van-ham.com Geschäftsführer Markus Eisenbeis

Köln, 4.4.2016 Mitgliedschaften Unsere Repräsentanzen

Hamburg Dr. Katrin Stangenberg Magdalenenstr. 18 20148 Hamburg Tel.: +49 40 41 91 05 23 Fax: +49 40 41 91 05 24 Lot Titel Tel. Gebot Max.Gebot (Gebot ohne Aufgeld) Title Tel. bid Max.bid (Bid without premium Mobil: +49 172 14 81 800 Van Ham ist Partner von The Art Loss Register. Sämtliche Gegenstände [email protected] in diesem Katalog, sofern sie eindeutig identifizierbar sind und einen € Schätzwert von mindestens € 1.500 haben, wurden vor der Versteigerung München mit dem Datenbestand des Registers individuell abgeglichen. Dr. Barbara Haubold Elly-Ney-Str. 15 € Bundesverband deutscher Kunstversteigerer e.V. (BDK) 82327 Tutzing Kunsthändlerverband Deutschland (KD) Tel.: +49 81 58 99 712 88 Fax: +49 81 58 90 34 61 € [email protected]

Belgien und Niederlande € Dr. Petra Versteegh-Kühner Sterrenlaan 6 3621 Rekem | Belgien € Tel.: +32 89 71 60 04 Fax: +32 89 71 60 05 Mobil: +31 620 40 21 87 € [email protected]

Luxemburg € Marina Gräfin von Kamarowsky MvK Fine Art 2, Rue Nicolas Braunshausen € 1257 Luxemburg Tel.: +352 44 04 95 Fax: +352 44 04 92 Mobil: +352 691 16 88 22 Hinweise für nicht anwesende Bieter | Information for absentee bidders [email protected] Schriftliche / telefonische Gebote | Absentee / Telephone bids Die umstehend und hier eingetragenen Gebote sind bindend und werden nur soweit in Anspruch genommen, wie andere Gebote überboten werden müssen. Das Aufgeld ist nicht enthalten; maßgeblich sind die eingetragenen Katalognummern. Bei Schätzpreisen ab € 500 haben Sie auch die Möglichkeit, telefonisch mitzusteigern. Per Fax geschickte Gebote müssen uns mit Original-Unterschrift bestätigt werden. Telefonische Gebote werden wie schriftliche Gebote behandelt. Bitte geben Sie uns statt des Höchstgebotes Ihre Telefon-Nr. an, unter der Sie zum Zeitpunkt der Auktion zu erreichen sind. Gespräche beim telefonischen Bieten können aufgezeichnet werden. Im Interesse der Einlieferer können Gebote unter zwei Drittel der Schätzpreise nicht berücksichtigt werden. Ausfuhrlieferungen sind von der Mehrwertsteuer befr eit, innerhalb der EU jedoch nur bei branchengleichen Unternehmen mit Umsatzsteuer-Identifikations-Nr.

The overleaf and here inscribed bids are binding and will only be utilized to the extent necessary to overbid other bids. The buyer’s premium is not included. Decisive are the inscribed lot numbers. You have the possibility to bid for lots from € 500 upwards. Bids sent via fax have to be confirmed with the original signature. Telephone bids are treated like absentee bids. Telephone bidders should provide the telephone number at which they can be reached instead of a maximum bid. Phone calls during the telephone bidding can be recorded. Bids below 2/3rds of the estimate price cannot be accepted. Exported purchases are free of VAT and within the EU only for art dealers with a VAT number.

Abholung | Transport Bezahlte Objekte können während der Auktion abgeholt werden. Bei späterer Abho lung bitten wir um kurze Nachricht vorab, um Wartezeiten zu vermeiden. Objekte, die nicht spätestens drei Wochen nach Rechnungslegung abgeholt wurden, können auf Kosten des Käufers eingelagert oder zugesandt werden. Paid objects can be collected during the auction. In case of a later pick-up, please inform us to avoid delays. Objects not collected within three weeks of the invoice‘s issue date can be shipped or stored at the buyer‘s expense.

Auktionsergebnisse | Auction results Ab dem ersten Werktag nach Auktion können Sie die Ergebnisse im Internet unter www.van-ham.com einsehen. Hauptsitz You find our results one day after the auction on www.van-ham.com. Van Ham Kunstauktionen Beirat Hitzelerstraße 2 50968 Köln Tel.: +49 221 92 58 62-0 Wilhelm Karl Prinz von Preußen Vorsitzender Fax: +49 221 92 58 62-4 Ort, Datum | Place, date Unterschrift | Signature Kommerzialrat Prof. Ottmar Braun Sprecher [email protected] Prof. Dr. Albert Mayer www.van-ham.com ASIAN ART 7.12.2017 亚洲古董珍玩 2017年12月7日