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28 avril 2012

Part III of the Edward Wrangham Collection @ Bonhams

seasonal_2

A rare and finely-lacquered suzuribako (writing box) and cover by Shibata Zeshin. Estimate: £150,000 – 180,000. Photo: Bonhams

LONDON.- A diverse selection of works by the famous artist Shibata Zeshin, including a rare and finely-lacquered suzuribako (writing box), will be sold in the Fine Japanese Art sale on May 17th at Bonhams, New Bond Street. 

Estimated to sell for £150,000 – 180,000, the writing box is decorated with motifs associated with the Five Seasonal Festivals. The exterior of the lid depicts a silk winder (itomaki) and chrysanthemums, which are emblems for the Tanabata Festival in the seventh month. This celebrates the one day of the year when, according to an early Chinese legend, a Herd boy and Weaving Girl are permitted to meet. Two paper dolls (kamibina) allude to the Girls' Festival on the third day of the New Year whilst a bunch of long leaves and a display of a helmet, mask and sword portrayed on the inside of the lid, represents the Boys' Festival, celebrated on the fifth day of the fifth month. 

The five main festivals and their associated images provided artists such as Zeshin with numerous commissions, as it was traditional to hang paintings and display boxes in the recesses within Japanese homes. 

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A rare and finely-lacquered suzuribako (writing box) and cover. By Shibata Zeshin (1807-1891), Meiji Period

The exterior and interior of the domed, overhanging cover decorated with motifs associated with the so-called 'Five Seasonal Festivals', the designs executed on a seido-nuri ground, in gold, silver and polychrome takamakie and hiramakie, accentuated by details in aogai, gyobu, keuchi and kakiwari; the inside of plain black lacquer containing a removable ink-stone and water-dropper, signed on the base with lightly-incised characters Zeshin; with wood storage box. 26.2cm x 23.7cm x 7cm (10¼in x 9 3/8in x 2¾in). (5). Estimate: £150,000 - 180,000, JPY 20,000,000 - 24,000,000, US$ 240,000 - 290,000

 五節句図蒔絵硯箱 銘「是真」 明治時代 

The exterior of the lid depicts an itomaki (silk winder) and sprays of chrysanthemums - despite the fact that the flower is more commonly used as a symbol of Autumn - which are emblems for the Tanabata Festival in the seventh month, celebrating the one day of the year when, according to an early Chinese legend, the Kengyu (Herd Boy) and Tanabata or Shokujo (Weaving Girl) are permitted to meet. The first month of the New Year is represented by a temari ball, often paired with a hagoita. Two kamibina (paper dolls) allude to the Girls' Festival on the third day of the month, whilst a bunch of long, narrow leaves (shobu - Japanese iris), resembling a sword in shape and a display of a helmet, mask and sword portrayed on the inside of the lid, represents Tango-no-sekku, the Boys' Festival, celebrated on the fifth day of the fifth month. The single sprig of kaji (paper mulberry), usually put between writing paper, brushes and thread bundles, shown on the left corner is also indicative of the Tanabata Festival.

The five main festivals and their associated images provided artists such as Zeshin with numerous commissions, for it was traditional to hang paintings and display boxes in the tokonoma, related to the calendar. Zeshin also appeared to have a particular fondness for this subject, since as well as this present piece he made several other boxes decorated with seasonal emblems. However, among his oeuvre, his output of suzuribako appears to have been small and these are seldom available on the open market. Compare with a striking suzuribako decorated with similar seasonal motifs in the Nasser D. Khalili collection, illustrated in Meiji no takara, Treasures of Imperial Japan, Shibata Zeshin, no.5; and another, illustrated by Goke Tadaomi, Bakamatsu kaikaki no shikko kaiga: Shibata Meihinshu (Lacquer and Painting in the late Edo and early Meiji: A Collection of Masterworks by Shibata Zeshin), Tokyo, 1981, nos.15-17.

Other works by Shibata Zeshin include an intricate inro (traditional sealed case) depicting floral patterns along with a lacquered sheath estimated to sell for £65,000 – 70,000 and a circular incense box estimated at £60,000 – 80,000. Zeshin currently holds the world record for an inro at auction, sold by Bonhams in 2011.

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A lacquer three-case saya inro By Shibata Zeshin (1807-1891), Meiji Period. Photo: Bonhams

The sheath of cylindrical form, decorated with an all-over design resembling netting in gold hiramakie, enclosing within a similarly-shaped, cylindrical three-case inro, each case lacquered on the exterior in coloured hiramakie with a band of different blossoms (chrysanthemums, white and red plum, maple leaves and paulownia) representing the four seasons, the bottom signed in gold lacquer Zeshin, with carved black-lacquered ojime, unsigned. 7.5cm (2 15/16in). (2). Estimate: £65,000 - 70,000 (JPY 8.5 million - 9.2 million) (US$ 100,000 - 110,000)

花文様色重図蒔絵網様鞘印籠 銘「是真」 明治時代

Provenance: Maurice Champoud collection.

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A lacquer kogo (incense box) and cover. By Shibata Zeshin (1807-1891), Meiji Period. Photo: Bonhams

Of circular form, the flush-fitting cover decorated on the seido-nuri ground with a large tied, unstoppered gourd, lying against cherry branches in gold and coloured takamakie with details of kakiwari and keuchi, the interior of rich nashiji, the underside signed with lightly-incised characters Zeshin; with wood storage box. 2cm x 7.4cm (13/16in x 2 15/16in). (3). Estimate: £60,000 - 80,000, JPY 7,900,000 - 10,000,000, US$ 97,000 - 130,000

桜に瓢箪図蒔絵香合 柴田是真作 明治時代

As well as the present piece, Zeshin made several other boxes decorated with seasonal emblems; the gourd (probably containing sake) and the cherry blossom motif illustrated here nostalgically evokes a cherry-viewing party celebrated in the third month.

Also by Zeshin, a striking red and gold Japanese scroll painting (kakejiku) in ink, colours and gold on silk depicts the legendary Shoki the demon-killer, holding the hilt of his sword, glaring menacingly at a fleeing demon (oni). Both demon-killers and demons were popular themes in Japanese art and was also a favourite for Zeshin, who painted many variations on the theme. 

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Shibata Zeshin (1807-1891), KakejikuPhoto: Bonhams

in ink, colour and gold on silk, painted with a round cartouche set against a red ground, in which Shoki the demon-queller, is holding the hilt of his sword, glaring menacingly at a fleeing oni that cowers in fright, signed Shibata Zeshin with jar-shaped seal Zeshin; with wood storage box. 160cm x 42.1cm (63in x 16½in). (2). Estimate: £25,000 - 30,000, JPY 3,300,000 - 3,900,000, US$ 40,000 - 48,000

鍾馗と鬼図 柴田是真筆 一幅 絹本着色 明治時代

Exhibited and published: Takahashi Setsuro Gallery in Toyota Municipal Museum of Art, Shibata Zeshin, from tradition to innovation, Exhibition Catalogue, Aichi, 2011, p.24, no.15.

Both demon-queller and demons were popular themes in Japanese art and such a combination was also a favourite for Zeshin who appeared to have painted many variations on the theme. Compare with a similar painting in the Daikomyoji Temple in Kyoto, where the round window inside which Shoki is shown is painted with gold paint, illustrated in the Exhibition Catalogue, published by the Mitsui Memorial Museum, The Art of Shibata Zeshin, Featuring the Edson Collection, Tokyo, 2009, p.175, no.J-38.

The gold flakes on a red ground are perhaps a reference to the colour scheme often seen on the interiors of lacquer boxes used at the New Year celebrations, for a similar treatment of Otafuku and a demon, see the Exhibition Catalogue, Japanese Masterworks from the Price Collection, Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C., in collaboration with Shogakukan Inc., Tokyo, 2007, p.151, no.79.

Zeshin is one of the most famous painters and lacquerers of the 19th century and works of this quality are in high demand by collectors at an International level.

A stunning 17th century six-panel folding screen depicting the Uji river, known in ancient times for its good fishing and outstanding beauty, is estimated to sell for £60,000 – 80,000. With the contrast of dramatic and pictorial forms, brilliant metallic shimmer and shades of gold, this screen represents the height of Momoyama Period decorative style.

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Anonymous, Edo Period, 17th century. A six-panel folding screenPhoto: Bonhams

painted in ink, colour, gold and silver on gilded paper, decorated with willow trees by a broad, arching bridge, with a waterwheel turning in the water beside stone-filled baskets; with extensive details enhanced in moriage, unsigned. 176.5cm x 368cm (69½in x 145in). Estimate: £60,000 - 80,000, JPY 7,900,000 - 10,000,000, US$ 97,000 - 130,000

 柳橋水車図屏風 無銘 六曲一隻 紙本金地着色 江戸時代(17世紀)

Originally the left screen of a pair, the image depicted is generally considered to represent the bridge spanning the Uji River. The willow trees placed either side of the bridge allude to the progression of seasons, three willows with small, delicate leaves at the right and centre hint at Spring, whilst the fuller, longer leaves at the left suggest Summer.

The bold, geometrically-conceived bridge is softened both by the round forms of a large waterwheel that turns in the stream and the three-stone-filled baskets (jakago) that protect the embankments. Further movement is provided by the tiny crests of waves stirred up by the turning wheel whilst the extensive use of small squares of pieces of gold (reminiscent of Japanese lacquer decoration) are pasted onto larger areas of gold foil that form the irregular-formed clouds - applied abundantly to allow light to create subtle changes of reflection. Furthermore, the design of the asymmetrical composition is made in such a way, so that dependent of how much of the screen is opened, each segment would capture the light differently, creating an overall powerful effect of a majestic golden glow to the room.

The Uji River was known in ancient times for its good fishing, and its surroundings were valued for their outstanding beauty. The rolling hills, clear water, and magnificent bridge were celebrated in the anthologies of court poetry such as the Manyoshu (Collection of Ten Thousand Leaves; eighth century) and the Kokinshu (Collection of Poems from the Ancient and Modern Times; early tenth century). Such screen paintings clearly belonged to the Yamato-e genre, as they depicted both a seasonal progression and the beauty of a famous scenic location (meisho-e). 

Uji was chosen as the site of several Autumnal episodes in the final chapters of the famous eleventh-century novel The Tale of Genji. In illustrated versions of this romantic tale, pictures for the Uji episodes invariably include the famous, broad bridge, willow trees, baskets and/or the waterwheel. About half a century later, the imagery associated with Uji took on religious connotations and it became home to the Pure Land (Jodo) Buddhist temple Byodoin and its famous Hoodo (Phoenix Hall). The temple and its grounds were a replica of Amida Buddha's Western Paradise, a three-dimensional construction based on the Kanmuryojukyo (Contemplation Sutra). Such literal manifestations of imaginary locations helped the aristocracy to envision Paradise, a place where they clearly hoped to return to after death; hence the reason why Uji was favoured by members of the Imperial Court who used the area as a retreat. Historic documents show a screen painting of Uji bridge in Autumn, which was displayed in the Imperial Palace in the ninth century. Perhaps the bridge was the metaphorical connection between this land and the Pure Land.

The Uji theme in painting therefore underwent several stages of transfomation before finally evolving into the magnificent decorative composition that is evident in the image presented here. With its contrasts of large dramatic and pictorial forms, brilliant metallic shimmer and shades of gold, this screen represents the height of Momoyama/Edo decorative style. The image has lost all former lofty associations with an actual place and has become, instead, a striking, bold, yet simple design that is just as attractive today as it was then.

At least eight more versions of this theme are known in American collections, and many others can be found in Japan. Most of these are virtually identical, except for minor variations in detail and quality. Compare with similar screens in The Art Institute of Chicago, The Mary Griggs Burke Collection at the Metropolitan Museum, The Nelson-Atkins Museum of Art, The Honolulu Academy of Arts, The Worcester Museum, Massachusetts, The Idemitsu Museum of Arts, and The Tokyo National Museum.

A number of extraordinary suits of Japanese armour will also be offered in the sale, including a suit made for a boy. Estimated to sell for £30,000 – 35,000 and consisting of iron plates laced together by cord, a facial mask, white hair and moustache, the suit appears to be an adult in every respect except size

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A warabe gusoku armour. Late Edo Period, 19th century

A forty-six-plate suji bachi kabuto in russet-iron with a five-stage mixed metal tehen kanamono, the russet-iron mabisashi with an elaborate haraidate on which is a maedate of a demon on a roof tile, Ko manju shikoro of iron kiritsuke kozane the fukigaeshi with a gold-lacquered mokko mon; russet-iron menpo with hair moustache and chin tuft, four-lame iron yodarekake, leather ko-sode of kiritsuke kozane black-lacquered shino gote; the ni mai tachi do laced in mongara style, the green kebiki lacing worked with a red sun on the front in red lacing and lacquer, the kusazuri trimmed with white hair; leather kawara haidate with a red sun worked in the centre of each, shino suneate and a pair of kutsu; laced overall with green kebiki odoshi, black-lacquered with gold karakusa on the edges of the fukigaeshi and do and around the cord holes on the do; although the armour is made for a boy it has in every respect been made as an adult suit; together with an armour box and wood stand. Estimate: £30,000 - 35,000, JPY 3,900,000 - 4,600,000, US$ 48,000 - 56,000

緑糸毛引紋柄威日入二枚立胴童具足 江戸時代後期(19世紀)

Suzannah Yip, Director of the Japanese Department, comments, “Following a successful year where Bonhams cemented its position as European market leader for Japanese Art, we are delighted to offer such a diverse range of Japanese works of art. The excellent examples of craftsmanship and design have already led to much interest at a global level.” 
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