Anonymous

Edo period 18th century

1615-1868

Zushi

A large wooden zushi (travelling shrine) in black lacquer exterior. Copper alloy fittings cover the box, hinged doors reveal painted lotus flowers on bright gilding inside. In the centre stands a wooden carving of the Shaka Buddha. The figure has been beautifully painted in fine gold geometric patterns and floral designs.

Shaka Buddha can be identified by a number of attributes. Most commonly seen is the rounded head representing usnis (all knowing), elongated ears representing (all hearing) and a boss on the forehead representing urna (all seeing). Other key characteristics such as standing on a lotus flower, standing with one palm and three fingers pointing up and one palm with three fingers pointing down.

Unsigned

410mm x 150mm x 110mm

Victoria and Albert Museum Department of Woodwork

Catalogue of Japanese Lacquer parts 1 & 2

1924-1925

Books

Two volumes of Japanese Lacquer in the position of the V&A in 1924 and 25. Produced by Edward F. Strange, one of the first home-grown scholars of the V&A. He was head of the woodworking department during 1914-1926 and become more well known for his work on Japanese prints.

At the time the V&A separated its collection into departments of design and these items were put under the furniture and woodworking department. It was later discovered that high-quality items such as some inro in the collection had no wood in their construction at all. They are comprised of layers of leather, paper, cloth or any combination of these. There is indeed inro made with a core of wood but this was considered a cheaper construction and led to a chance of cracking.

Now the V&A has all the Japanese works of art comprised in one collection but these books are an interesting snapshot into the collection at the time.

This book was from the Charles A Greenfield Collection. The book consists of two volumes bound together on a red canvas with gilt writing and red ink flecks applied to the paper edges. Charles A Greenfield Collection was a collector of Japanese art for over 60 years living in New York with a vast library on the subject Mostly focusing on Japanese lacquer.

Size 247mm x 189mm

Anonymous

Meiji period, 19th century

1868-1912

Kogo

A finely carved ivory kogo box. Two circling tora (tigers) around a central head of a roaring tiger.

Tigers in Japanese art come mostly from China and Korea. Tigers have not been in Japan for thousands of years. Seen as supreme among the land animals often representing strength and courage the tiger was often used in the art for great families as home wall screens, panels and paintings.

Tigers in Japanese art often look odd to the eye either looking like dogs or domestic cats. In the case of this kogo the image is extremely lifelike, the artist had most likely seen a tiger in person at the zoological gardens of Tokyo in the Meiji period.

68mm x 40mm

unsigned  

Signed Unknown Artist

Meiji/Taisho period 19th/20th century

1868-1926

Tonkotsu

A worked bamboo Tonkotsu (Tobacco box). Inlaid pewter lotus leaves with mother-of-pearl flower buds cover the case. The lid has been carved to represent the holes of a lotus seed pod.

These containers were used to hold tobacco leaves attached like most Sagamono by a cord with ojime bead and netsuke or in the case of a Tonkotsu would have a Kiseruzutsu (pipe holder)

Signed Unknown Artist

Size 90mm x 72mm

Underwood & underwood

Early 20th century

1904

Stereoview photo cards

49 Stereoscope photo cards of old Japan during the start of the 20th century made by Underwood & Underwood of Ottawa, Kansas, and the Keystone View Company, of Meadville, Pennsylvania.

These stereoview cards are a fascinating insight into Japan as it was making a transition between the isolated Japanese culture of the Edo period to the opening up to the west in the Meiji restoration. Photos were taken all over Japan, from Buddhist temples to tea rooms, busy streets and workshops.

Underwood & Underwoods stereoview cards gave the western public a snapshot of distant foreign lands that only the wealthiest could see first-hand. Many of these photos show a time in Japan that would soon come to an end with the beginning of WW2 and the enormous cultural changes that would create the Japan we know today.

Imprinted copyright 1904 Underwood & Underwood.

Each card Size 177mm x 88mm

Anonymous

Meiji/Taisho period 19th/20th century

1868-1926

Kobako

A Hakone yosegi zaiku marquetry Kobako (incense box) in the form of a chest. Finely cut wood pieces worked into patterns and inlaid into a surface of larger wood sections cover the chest with gold highlighted edges. Inside a large removable tray with four small boxes are inserted. Different incense would be housed in the boxes. The inner lid is worked in gold lacquer plants, flowers and insects on black ground.

Yosegi zaiku is a centuries-old art and crafts tradition that started in the Edo period and settled in Hakone town of Odawara City in the Western Kanagawa Prefecture.  

Unsigned

Size 250mm x 190mm x 100mm

Anonymous

Meiji / Taisho, 19th/20th century

1868-1926

Sagemono tobacco pouch

A deer leather and brocaded textile tobacco pouch. A silver and ivory manju netsuke of a dragon is attached to a multi-chain and clasp also decorated in a dragon motif. The pouch its self is decorated in a dragon design flying through clouds and a silver menuki dragon fitting in the centre. The interior is lined with deer leather printed in red and black ink flower paters and a silver clasp.

Unsigned

Pouch Size 142mm x 89mm

Monju netsuke size 51mm x 51mm

JAPANESE ART & HANDICRAFT by Henri L. Joly & Kumasaku Tomita first edition 1916.

Book

An Illustrated Record of the Loan Exhibition Held in Aid of the British Red Cross in October-November, 1915. London, Yamanaka & Co., MCMXVI. Thick heavy folio, 2 parts bound in one, half morocco gilt with 8 colour plates, 162 black and white plates, 1,376 items illustrated.

This catalogue shows the exhibited items collected from the biggest collectors of Japanese art at the time including pieces from the royal collection. The exhibition was to raise funds for the Red Cross Charity during WWI.

Only 175 copies were made this being number 46.