Holle Verlag, Baden-Baden, Germany, 1965, 375 pp., 25.5 x 21 cm. Cloth. German language. 37 colour plates, 256 b/w illustrations.
Dust cover faded and slightly worn at spine, slight foxing at page edges, otherwise perfect condition.
Lackkunst in Ostasien (East-Asian Lacquer Art) is one of the first overviews written in German language on the subject of lacquer. The book begins chronologically with illustrations of more than 2000 years old Chinese lacquer objects, continuing to Chinese, Japanese, and Korean lacquer boxes and screens of later epochs. Samples are shown of all kinds of techniques and styles, including lacquer paintings by Shibata Zeshin. The majority of objects shown here were owned by two rivalling industrial-lacquer producing companies: the Herberts and the Herbig-Haarhaus companies, in Wuppertal and Cologne, Germany. Owner and director of both companies were interested in lacquer art and began in 1937 to exhibit family treasures. Later they systematically bought lacquer objects at auctions and exhibitions. During the 2nd World War a large part of the Herberts collection, especially lacquered furniture, was destroyed. However, smaller items of Chinese and Japanese lacquer art, being easier to transport, and perhaps more precious, were stored in rural places and survived. Beatrix von Rague was responsible for the collection of one company during the years 1952-1959. Edith Straesser was responsible for the other company-owned lacquer museum from 1967 until 1987.
In 1982 the lacquer collections of Dr. Kurt Herberts were acquired by the BASF Lacke + Farben AG, who now exhibit them in their Museum of Lacquer Art in Muenster, Germany.
Appendix: Zeittafel (Table of Chinese dynasties, reigns of Japanese emperors, Korean eras, from 1600 B.C. to 1925 A.D.), pp. 356-359. Bibliography, pp. 360-364. Index, pp. 365-374, Museums and collections presented, p. 375. Table of contents, p. 376.
Rare early reference. Item location: Europe.
395 pp., 26 x 18.5 cm. Paper. Japanese text, English captions. 200 ills., 156 colour plates.
A lavishly illustrated overview of a variety of Japanese lacquer objects produced on the island of Shikoku, Kagawa prefecture. Colour illustrations present brilliantly carved lacquer objects decorated in the striking black and red sanuki technique, other objects and screens are decorated in the kinma technique, imported from Burma (today Myanmar) in the 17th century. Shown are also colourful incised zonsei lacquers. Many reading helps (furigana) for names, techniques, etc., found throughout the text.
Pages 16 – 84 focus on Tamakaji Zôkoku (1807 - 69), a brilliant master of carved lacquer, kinma-lacquers, and colourful zonsei-nuri. This is followed by examples of work and short biographies of various Kagawa Lacquer masters of the 20th century (see list below).
Pages 32-35 and 148- 157 deal with the well known Yamanaka lacquer shop in Osaka, the base of Yamanaka & Co., in New York (founded 1894), and its Boston branch (1899).
Illustrations of works by such craftsmen as (in alphabetical order): Akashi Bokkei, works dated from 1947 to1990, Bunkidô Kokusai, brother of Tamakaji Zôkoku, Bunkidô Ransai (kinma, zonsai), Gotô Tahei, 1913, Ishii Keidô (Sakamoto Sessai), 1926 – 1933, Isoi Joshin, kinma, carved lacquer,1922, 1933, 1946, 1959, Isoi Masami, 1964, 1974, 1988, 1994, Kagawa Sôseki, 1946, 1955, Kamada Kadô, 1941 - 1945, Kitahara Senroku, 1927, 1934, Kubota Tsune, 1982, Manago Jitsuya, 1967, Mori Zôdô, 1931, Takahashi Kanzan, 1920, Takagi Yoshitsugu, 1922, Sasa Chikusen, 1951, Tamakaji Zôkoku, works dated from 1839 to 1854, Tamakaji Tôsha, works dated from 1881 to 1895, Tanizawa Fujimatsu, 1933 – 1941, Ônishi Tadao, 1955 – 1963, Ôshima Tadashi, 1957, Ôta Hitoshi, 1983 – 1998, Otomaru Kôdô, 1924, 1929, 1934, 1975.
Bibliography, focusing on Tamakaji Zôkoku and his workshop. Citations from magazines (Shikkokai zasshi, etc.), readings of inscriptions on works and storage boxes, transciptions of notes by Tamakaji Zôkoku, pp. 326-355. (Zôkoku) Setsudô, pp. 355-359, Hyakku-kaen, Miki Hachigorô, pp. 360-361, Mori Zôdô, pp. 361-362, Kagawa-ken kôgei gakku (Kagawa pref. Handicraft school), Kagawa-ken bijutsu tenrankai (Kagawa pref. Fine Arts Exh. Assoc.), pp. 362-363, Isoi Joshin, pp. 363-365, Otomaru Kôdô, pp. 365-368, Akashi Bokkei, pp. 368-369, Ônishi Tadao, pp. 369-370, Kagawa Sôseki, p. 370, Isoi Masami, p. 370, Ôta Hitoshi, pp. 370-371, Tamakaji Zôkoku, abbreviated genealogies, pp. 371-372, Tamakaji Zôkoku, genealogy, p. 371. Conclusion, pp. 375-379.
Bilingual list of plates with measurements and relevant information, pp. 382-290. Index, in Japanese with furigana.
Item location: Europe. This is a low priced book
82 pp., 22 x 19 cm. Paper. 14 colour plates, 6 b/w plates. Bilingual, French / English.
Alfred Baur (1866 - 1951) was highly successful, both as a Swiss businessman in Ceylon, and as a collector of Japanese lacquer and Chinese ceramics. In a letter to his long-term supplier of Japanese lacquers he stated that …‘Although I have been successful in business, I am prouder still of my collection of Chinese and Japanese Art’.
On occasion of the 25th anniversary of the opening of the Collections Baur Museum in Geneva, Pierre-Francis Schneeberger, formerly Keeper of the Baur Collection, describes the person behind the collections. We learn that at the end of the 19th century Alfred Baur went to Ceylon where he amassed a fortune by selling natural manure especially adapted to the fertilizing of coconut plantations. In connection with his business he built a private railway, the first on the island, and established various companies before returning to Switzerland after 22 years in Ceylon. His remaining years were divided between the management of his companies and the planning of his purchases and their display in suitable surroundings. The museum’s archives contain a large proportion of Baur’s correspondence with dealers and collectors, establishing the development of his interests in Far Eastern Art. Alfred Baur left his fortune in a Foundation for the Housing and Administration of his Collection; which also takes care of the publishing of well-researched and richly illustrated collection catalogues.
With 6 black/white plates and 14 colour plates, showing examples from Baur’s collection of sword fittings, netsuke, woodblock prints, Japanese porcelain, Chinese ceramics, Jade, and Snuff bottles.
Item location: Europe.
136 pp., 39 colour ills., 86 b/w ills. 27.5 x 22 cm. Paper. German text.
The catalogue presents Korean embroidered objects from a private Korean collection. Shown are Buddhist banners, sutra covers and wrappers (kesa), as well as screens, badges of rank (hyungbae) and smaller items such as women’s accessories, various kinds of pouches, mainly from the 18th and 19th centuries.
The collector, Mr. Huh Dong Hwa describes the changing styles and materials seen in Korean embroidery over the centuries, as well as the materials and techniques used, and he gives hints concerning handling and care of old embroideries.
Including: Bibliography, Embroidery techniques, Glossary with translation of Korean characters, art-historical and technical terms.
Item location: Europe.
Painted silk: 9 ½ x 16 7/8 in. (42.7 x 23.6 cm).
Restored tear in the upper half of the Daiitoku-painting, otherwise good conditions.
Wooden storage box.
Height: 3 ¼ in.; diameter: 6 in. (8.3; 15.2 cm)
Box, inside of cover inscribed with authentication of piece as a mizusashi in the shape of a karako in ao-Oribe, made by Kato Shuntai from Seto. Authentication signed by Matsumori An.....
Kato Shuntai (1802-1877) worked in many ceramic styles. The splashes of flambé crackled glaze are very typical for his works (Shuntai-yaki). His works and the works of his ancestors can be found in museums around Japan and the US.
Height 4 7/8 inches (12.3 cm).
Spout broken and restored with silver band, few abrasions in enamels, otherwise very good condition.
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Height: 9.5 inches; width: 8.75 inches (24 x 22.2 cm).
On the back two old paper labels. One is the address label of B.H. Collins , Coins and Curios in Washington, DC. The other label is a catalogue description of this piece (with correction).
Inside: most attributes lost, otherwise very good condition. Box with finely engraved hardware: few traces of usage, mostly very good condition.
New, in original shrink wrap.
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Height 10 ¾ in. (27.8 cm); width 14 in. (35.6 cm). Height incl. ring and balls 15 in. (38.1 cm)
Some of the eyelets from which the balls were dangling broken and two balls per keman missing (one ball separately), gilding rubbed (on the reverse the gilding is better preserved than on the front), otherwise excellent condition.
Height to tip of mandorla: 14 in. (35.5 cm); length: 8 ¼ in. (21 cm) ; width: 4 7/8 in. (12.2 cm).
Some lacquer chips at the feet of the base, some tiny, old chips at the mane and at the clothes, unimportant repair at stick of mandorla. All in all very good condition.
Height 2 1/8 in. (5.7 cm), diameter 7 in. (17.6 cm).
Two repaired chips, some surface scratches and frittings in the glaze. Basically very good and stable condition.
Height 17 ½ in., length 21 in., depth 6 ½ in. (44.5 x 53 x 17 cm).
Some edges of the different blocks chipped, chip to lotus base, chips to the tips of mane on head and to hair tufts at legs. Basically very good and stable condition.
Circular base 1 inch diameter (2.5 cm), 1 ½ in. high (4 cm), 2 1/8 x 2 3/8 in. at the rim (5.3 x 6 cm).
In fitted wooden box (tomobako), 6.5 (H) x 15 (W) x 36.5 (L) cm. Inscribed, sealed and signed on the lid (TÔZAN tsukuru = made by) with red seal imprint. Each wrapping cloth stamped with 4 x 2.8 cm red seal imprint TÔZAN.
Items located in Europe.
Diameter: 6 ½ inches (16.5 cm).
In fitted wooden box, 7 ½ x 7 ½ x 4 inches (19 x 19 x 10.2 cm), inscribed on the lid KÔRIN-sai-gahen-maki-e, ichimonji meimei-sara (Dishes individually decorated in KÔRIN style). Signed and sealed inside the lid HEIANDÔ & seal Heiandô, and Wanyo (?) & seal Wanyo.
Items located in Europe.
Bottle A: h 4 1/8 in, diameter 2 7/8 in. (10.5 and 7.3 cm); bottle B: h 4 3/8 in. diameter 3 1/8 in. (11 and 7.8 cm).
Items located in Europe.
L 3 5/8”, w 2 5/8”, h 1 1/16” (9.2 x 6.8 x 2.5 cm).
Former paper labels on inside and bottom of lower compartment. Few minor traces of usage, as to be expected.
Inventory numbers in red lacquer: 84.113-A and –B. Ex coll. Toledo Museum of Art.
Height approx. 11 in. (28 cm), width 6 ¼ in. (16 cm), depth 6 in. (15 cm).
Lower jaw restored.