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国内拍卖首页 > Lempertz > 亚洲艺术 > Lot 372

A Nagasaki lacquer and mother of-pearl inlaid cutlery urn. Around 1800

德国

2022年12月09日开拍

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拍品描述: On a square base with cabriole feet, surmounted by a slender shaft and a tapering body with a stepped lid lifting vertically, covered all over with black lacquer with faux-fluting and flower sprays inlaid in aogai, and flower and vase panels in hiramakie on the straight border of the lid. Lock plate of silver, the interior lined with green velvet. Restorations, especially to the edges of the lid, feet replaced.These Neo-Classical style cutlery urns - often appearing in pairs - enjoyed great popularity in Europe and the United States, as evidenced by the number of pieces in museum collections and circulating in the trade. For example, the Ashmolean Museum in Oxford houses an urn inscribed with the name of Kiyotomo, others are in the Royal Trust Collection, the Peabody Essex Museum, Salem, Mass. and the Ky?shu National Museum in Daizafu.In the last years of the eighteenth century the Dutch East India Company started to charter American ships in order to ensure that they would be able to send the correct number of vessels to Nagasaki each year in accordance with their exclusive agreement with the Japanese authorities. The first of these ships, the Eliza of New York, was wrecked in 1797, but another ship, the Franklin of Salem, made it to Japan in 1799, reaching Nagasaki on 19 July. The personal account books of the Captain of the Franklin, James Devereux, record that he brought back a considerable quantity of lacquer, all of it apparently in contemporary European shapes, including '22 lacked knife boxes' (Charles H.P. Copeland, 'Japanese export furniture', in: Antiques, LXVI, July 1954, pp. 50-1); some of these might have been knife-cases like those, in the shape fashionable in about 1770, in the Clive collection at Powis Castle (Mary Archer and others, Treasures from India: The Clive Collection at Powis Castle, London, 1987, cat. no. 193), but others were most likely knife-urns like the present example. Another American vessel, the Margaret, visited Nagasaki in 1801 and her co-owner and Captain, Samuel Gardner Derby, is known to have acquired a Japanese knife-urn that is now preserved in the Peabody-Essex Museum, Salem, Mass. Regarding the Sasaya workshop and the wood turner Kiyotomo from the Sanjo-Teramachi district in Kyoto see Oliver Impey, Sasaya Kisuke, Kyoto 'Nagasaki' Lacquer and the woodworker Kiyotomo, in: Oriental Art, vol. XLIV, no. 2 (Summer 1998), pp. 28-32)Height 74.5 cmProvenancePrivate collection, RhinelandExhibitionsBrückenschlag von Ost nach West. Japanischer Exportlack aus vier Jahrhunderten, Museum für Lackkunst, Münster, 10.4.3.7.2016LiteratureIllustrated in: Antje Papist Matsuo, Brückenschlag von Ost nach West, Japanischer Exportlack aus vier Jahrhunderten, Ausstellungskatalog, Museum für Lackkunst Münster, 2016, p. 106-107, no. 34 Besteckurne. Holz, Lack, Perlmutter und Textil. Nagasaki. Ca. 1800über einem quadratischen, profilierten Sockel erhebt sich auf dünnem Fu? ein nach oben sich erweiternder Korpus mit einem gestuften, von einem profilierten Knauf bekr?nten Deckel, der sich hochziehen l?sst. Allseitig Schwarzlack, mit zierlichen Blütenzweigen in aogai-Einlagen auf Fu?, dem in 16 vertikale Felder unterteilten Korpus und dem Deckel. In hiramakie Blüten- und Vasendekor am Deckelrand. Schlossbeschlag aus Silber. Innen mit dunkelgrünem Samt ausgekleidet. Rest., vor allem an den Kanten des Deckels, Fü?e erg?nzt.Diese Besteckk?sten im neo-klassizistischen Stil - oft auch als Paare - erfreuten sich in Europa und den Vereinigten Staaten gro?er Beliebtheit, wie aus der Zahl der in Museumsbesitz befindlichen und im Handel kursierenden Stücken hervorgeht. So findet sich im Ashmolean Museum in Oxford eine Urne, die mit dem Namen des Holzdrechslers Kiyotomo versehen ist, und weitere in der Royal Trust Collection, dem Peabody Essex Museum, Salem, Massachusetts und im Ky?shu National Museum in Daizafu.In den letzten Jahren des 18. Jahrhunderts begann die Niederl?ndische Ostindien-Kompanie, amerikanische Schiffe zu chartern, um sicherzustellen, dass sie gem?? ihrem Exklusivvertrag mit den japanischen Beh?rden jedes Jahr die richtige Anzahl von Schiffen nach Nagasaki schicken konnte. Das erste dieser Schiffe, die ?Eliza“ aus New York, erlitt 1797 Schiffbruch, aber ein anderes Schiff, die Franklin aus Salem, erreichte Japan 1799 und kam am 19. Juli in Nagasaki an. Aus den Gesch?ftsbüchern des Kapit?ns der Franklin, James Devereux, geht hervor, dass er eine betr?chtliche Menge an Lack mitbrachte, die offenbar alle zeitgen?ssische europ?ische Formen aufwiesen, darunter "22 fehlende Messerk?sten" (Charles H.P. Copeland, Japanese export furniture, in: Antiques, LXVI, Juli 1954, S. 50f); bei einigen davon k?nnte es sich um Messerk?sten handeln, wie sie in der um 1770 modischen Form in der Clive-Sammlung auf Powis Castle zu finden sind (Mary Archer und andere, Treasures from India: The Clive Collection at Powis Castle, London, 1987, Kat.-Nr. 193), aber bei anderen handelte es sich h?chstwahrscheinlich um Messerurnen wie das vorliegenden Beispiel. Ein anderes amerikanisches Schiff, die ?Margaret“, besuchte Nagasaki im Jahr 1801, und ihr Miteigentümer und Kapit?n, Samuel Gardner Derby, erwarb bekannterma?en eine japanische Messerurne, die heute im Peabody-Essex Museum, Salem, Massachusetts, aufbewahrt wird. Zu der Sasaya-Werkstatt in Nagasaki und dem Holzdrechsler Kiyotomo aus dem Sanj?-Teramachi-Viertel in Kyoto siehe Oliver Impey, Sasaya Kisuke, Kyoto 'Nagasaki' Lacquer and the woodworker Kiyotomo, in: Oriental Art, Vol. XLIV, no. 2 (Sommer 1998), S. 28-32).H 74,5 cmProvenienzPrivatsammlung, RheinlandAusstellungenBrückenschlag von Ost nach West. Japanischer Exportlack aus vier Jahrhunderten, Museum für Lackkunst, Münster, 10.4.3.7.2016LiteraturAbgeb. in: Antje Papist Matsuo, Brückenschlag von Ost nach West, Japanischer Exportlack aus vier Jahrhunderten, Ausstellungskatalog, Museum für Lackkunst Münster, 2016, S. 106-107, Nr. 34
---以下为第三方软件翻译，仅供参考---

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Auction House will ship, at Buyer's expense

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1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
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14. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
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Buyers Premium
A premium of 29 % calculated (24% + 5% live bidding fee) on the hammer price plus 19 % value added tax calculated on the surcharge only is levied (margin scheme). On the lots which are characterized by an *, the buyer shall pay a premium of 29% (24% + 5% live bidding fee) on the hammer price; onto this (hammer price and premium) the statutory VAT of 19% will be added. (Regelbesteuerung = regular scheme). For original works of art and photographies whose author died after 31.12.1945, a charge of 1.8% on the hammer price will be levied fort he droit de suite.