Yoshitoshi one hundred views by moon light, The Moon's Four Strings

Anonymous

Edo period, 18/19th century

1615-1868

Bunko Box

A bunko paper box depicting a bamboo screen window and Biwa instrument. Gold and silver takamakie on a roiro ground interior in nashiji. The moon can be seen casting its light through the bamboo screen in silver lacquer with a beautifully wood grained Biwa in togidashi sitting on a black ground.

Unsigned

304mm x 223mm x 56mm

This bunko box could be a reference to Semimaru, he was a tenth-century blind poet and musician of noble birth. He mastered the arts while having a melancholy existence making him a popular subject of theatre productions centuries later. A well-known print by Yoshitoshi shows him here tuning a string on a biwa under the moonlight.

Zohiko Studio

Store item No:5235

Meiji/Taisho period, 19/20th century

1868-1912

Kobako

A lacquer kobako box in the form of five chapters of the Tale of Genji. Beautifully worked in gold hiramaki-e & takamaki-e with highlights of blue, red lacquer and kirigane, aogai inlay, interior in nashiji. The incense box carries the label and store item number of the piece No:5235 for the zohiko lacquer studio in Kyoto. The tomobako box has inscribed on the lid “flower lacquer work, pear skin (nashiji), cigar box” obviously not corresponding to the Kobako box, but has the corresponding item number on the inside lid. The zohiko studio have informed us from their records that this incense box had no tomobako box to house it and is highly likely that this being a suitable size tomobako would be given to protect it in transit.

The box cover has dragons and shishi panels known as titu with the book title Genji Monogatari, two small clasps are detailed and extremely fine lines representing pages have been made to create realism. 

The inner tray depicts a scene from chapter 24 where Genji invites Lady Murasaki to visit his home for a garden party where water music is played on ornate barges. A huge flaming drum can be seen in the bottom right corner.

Four small interior boxes are decorated with nine flowers and fruit: camellia, morning glory, chrysanthemum, paulownia, pomegranate, bellflower, narcissus, patrinia (golden laces) and comfrey representing the exchange of poems between Genji and Lady Murasaki in the garden while at its best.

This kobako box was made by the famous Zohiko lacquer studio in Kyoto. The Zohiko family line stated in 1661 with Nishimura Hikobei III being given the title of master of maki-e. By 1918 the Zohiko studio created its first store whereupon Nisimura Hikobei VIII began exporting lacquer and entering world Expositions becoming highly desirable and well known. This box could possibly be made under Nishimura Hikobei VI (1884) who specialised in the tea ceremony and poetry. He often made specific items to order with unique designs and requests. Or very probably under Nisimura Hikobei VIII around the early 20th century.

The Lacquer Workshop in the Early Days, Kyoto lacquer ware

Photo © Zohiko

130mm x 99mm x 48mm

Label Zohiko studio No:5235

Signed unknown maker

Meiji / Taisho period, 19/20th century

1868-1926

Kanzashi Hair Set

A fine tortoiseshell and lacquer kanzashi hair set. Bearing a kinji ground with gold takamakie and details in aogai. Decorated in sun flowers and chrysanthemums.  

Hairpin 140mm x 12mm

Hair comb 100mm x 35mm

Signed unknown maker

The international Art Series, Japanese art. Artisit Kano Naonobu.

Anonymous

late Edo/Meiji period, 19th century

1615-1912

Okimono

Gold lacquer okimono figure, most possibly the Bodhisattva Fugen seated on an elephant holding a staff of ivory. Fugen was brother to Monju often both seen beside the buddha in Buddhist art. Fugen encourages people to diligently practice the Buddhist precepts of charity, moral conduct, patience, and devotion. He sits on an elaborately-caparisoned elephant with ivory tusks. Details in gold and silver hiramakie, gold takamkie with hirame surrounding red sabi lacquer. Different tones of gold have been used to distinguish between the skin and fabric of his clothes.

Unsigned

87mm x 70mm

Anonymous

Meiji / Taisho period 19/20th century

1868-1926

Screen

A large lacquer on wood screen with gilt bronze fittings. The screen depicts a dragon emerging from a swirling storm done to look like a painting. On the reverse is a setting sun with a turbulent sea. The screen edges in gold clouds on a silver-grey ground.

Japan is often referred to as the land of the rising sun. The image of the sun is found all over Japanese works of art and is a strong symbol for the country.

Size 490mm x 395mm

Unsigned

Anonymous

Edo period 18th century

1615-1868

Kobako

A small rectangular Kobako (incense box) in gold takamakie, hiramakie on a roiro ground, interior in nashiji lacquer. The lid is decorated in chrysanthemums with a delicate scrolling pattern around the edge on the lid.

Unsigned

Size 147mm x 97mm x 75mm

Signed unknown maker

Meiji period, 19/20th century

1868-1912

Charger

An enormous lacquer charger depicting a chicken and rooster at a riverbank. The charger has a black roiro ground border with three hiramakie gold dragons circling a stunning kinji ground centre with kirigane details on raised takamakie. The three-dimensional chicken and rooster are carved out of mother of pearl and ivory.

Signed unknown maker

510mm x 510mm

Signed unknown maker

Late Edo/Meiji period, 19/20th century

1615-1912

kimono Tray

A stunning kimono tray with designs of chrysanthemums and grass. In gold and silver takamakie with details of nashiji on a roiro ground with a silver mounted rim. The most honorable of all flowers the Chrysanthemum, symbolizing a gentle disposition, happiness, virtue, and repose. Associated with longevity because of the extraordinary life of its bloom.

Signed box

Unknown maker

518mm x 858mm x 60mm

Teijosai

Meiji period, 19th century

1868-1912

Kobako

A small kobako box with rounded corners, bearing a roiro ground. Two tsuba are presented on the lid one of which wraps over the edge. One is of simulated iron openwork design of a carp in water, inscribed Masaharu. The other imitating shibuchi. With Jurojin one of the lucky gods, inscribed konkan with a kao. The interior and base with sparse hirame flakes.

Signed Teijosai with Kao

Size 64mm x 136mm x 105mm

Anonymous

Late Edo/ Meiji period, 18/19th century

1615-1912

Kobako

A highly fine Japanese lacquer kobako depicting a male and female mandarin duck (oshidori) on a water's edge with flowering Japanese narcissus or sumire. Finished in beautiful gold and silver togidashi makie and gold hirame on a roiro ground.

Like much of Japanese culture and traditions the symbolism of mandarin ducks (oshidori) had been adopted from the Chinese. The imagery of mandarin ducks symbolized conjugal fidelity and joy. When written in calligraphy the characters read male mandarin and female mandarin duck signifying their pairing. Mandarin ducks have been used in the decorative arts since the Asuka period to the present. Often used in weddings to represent the pairing for life it is highly likely this kobako box would have been given as a wedding gift to represent the unity of the wedding couple.

Unsigned

125mm x 47mm