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国内拍卖首页 > Galerie Zacke > 日本藝術集珍 > Lot 226
A SUPERB LACQUER ‘TAGASODE AND SAGEMONO’ SUZURIBAKO (WRITING BOX)
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06月12日 晚上7点 开拍 / 06月10日 下午3点 截止委托
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A SUPERB LACQUER ‘TAGASODE AND SAGEMONO’ SUZURIBAKO (WRITING BOX)

Japan, mid-19th century, Edo period (1615-1868)

The rectangular cover is exquisitely decorated in gold, silver, and black takamaki-e and hiramaki-e techniques against a dense nashiji ground, depicting a luxurious kimono draped over an elegant iko (kimono stand). The robe is richly adorned with various mon (family crests), some inlaid in gold foil, and scattered maple leaves, flowing over stylized waves that evoke the Tatsuta river. The stand itself is intricately rendered with pine, plum, and bamboo motifs, and the silver lacquer is enhanced with chrysanthemums and scrolling karakusa, beautifully replicating the silver fittings traditionally found on such kimono stands.

The interior continues the refined decorative scheme, displaying an arrangement of a four-case inro and a fan, both set against a mura nashiji ground. The inro is decorated in togidashi-e with waves, embellished with kirigane flakes, while the fan depicts a cherry tree in bloom. Attached to the inro is a gold-lacquered cord that extends along the rim and leads to an additional sagemono set, consisting of a kinchaku-shaped inkstone (suzuri) and a yatate netsuke, crafted in the form of a gourd, serving as the water dropper (suiteki). Two raised brackets function as holders for additional implements, such as a brush or paper cutter. The rims are finished in gold fundame.

SIZE 4.5 x 23 x 22 cm

Provenance: Rosemary Bandini, 2016, London. From the collection of Eva & Aubrey Sweet, Melbourne, Australia, acquired from the above. A copy of the receipt from Rosemary Bandini, dated to 28 April 2016, stating a purchase price of GBP 9,000 (or approx. EUR 14,500 converted and adjusted for inflation at the time of writing), accompanies the lot. Eva and Aubrey Sweet devoted over six decades to the formation of a distinguished private collection of Asian art, with particular strength in Chinese jade, Japanese lacquer, and netsuke. Their collecting began in the 1950s and was refined through sustained travel, scholarship, and long associations with leading dealers, curators, and artists internationally. Aubrey, a Melbourne physician who also studied acupuncture in Beijing, and Eva developed a discerning connoisseurship that balanced intuitive appreciation with systematic study, supported by an extensive reference library and active participation in scholarly circles. They acquired works of historic importance as well as contemporary pieces by artists such as Susan Wraight and Unryuan (Kitamura Tatsuo), demonstrating a commitment both to tradition and to the continuity of craft. The collection, housed in their Melbourne residence and affectionately referred to by the family as “the Museum,” stands as a testament to their lifelong dedication to the aesthetic and cultural values of Asian art.
Condition: Excellent condition with only very minimal wear including light rubbing to lacquer and minor typical traces of use. One of the bracket holders is re-attached to the interior.

With a wood tomobako (storage box)

The motif of a kimono draped over a rack or stand is a significant symbol in Edo period art, representing femininity, social status, and refinement. Known as Tagasode (Whose Sleeves?), this imagery began in the early seventeenth century and evolved over time. Early screens depicted kosode (early kimono) draped against simple gold backgrounds, but by the mid-seventeenth century, artists began introducing domestic elements like shelves and shoji screens, creating more immersive scenes. In these works, sumptuous kimonos casually draped on maki-e (lacquer decorated with gold and/or silver powder) lacquer racks intimately evoke their unknown wearer and prompt the question, "Whose sleeves?" This phrase, taken from a classical poem in the Kokin wakash? (the tenth-century poetry anthology Collected Japanese Poems of Ancient and Modern Times), emphasizes how possessions can express personality and presence more powerfully than a conventional likeness. The suzuribako (writing box) reflects this evolution, with a kimono stand adorned with family crests and seasonal motifs, reinforcing the kimono as a symbol of wealth and social standing.

The kimono in these works not only displayed personal taste but also conveyed social position. The suzuribako, with its arrangement of a kimono and sagemono set, mirrors the private world of Edo women, where the presentation of clothing and accessories spoke to their wealth and status. The intricate detailing on the stand and lacquer work underscores the object’s connection to sophistication. These works reflect the refined, private spaces of women in the Edo period, where the kimono’s design served as a marker of cultural and social identity.

Museum comparison:
Compare a related suzuribako with a kimono rack, dated second half of the 19th century, in the Metropolitan Museum of Art, New York, object number 1982.244.4a–e.

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拍品估价：5,000 - 10,000 欧元 起拍价格：5,000 欧元  买家佣金：

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