Page 22 - Bonhams Royal Collection Fine Japanese Art London Nov. 2019
P. 22

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           SHIBATA ZESHIN 柴田是真 (1807–1891)
           URUSHI-E (LACQUER PAINTING) OF A POMEGRANATE
           BRANCH, FRUIT ON A TRAY, AND A WATER PITCHER
           柘榴水瓶図額装漆絵
           Meiji era (1868–1912), dated 1878

           Lacquer on paper, mounted as an album leaf and framed, depicting a
           pomegranate with its flowering branch resting on a seigaibon (circular
           metal serving tray) made from the alloy of copper and tin known as
           sahari, with a Chinese-style bronze mizutsugi (ewer) cast with low-relief
           ornament of hō-ō (phoenixes), these motifs executed in urushi-e in
           combination with a variety of kawari-nuri (special techniques) to convey
           the textures of the various utensils; signed Gyōnen nanajūni Zeshin 行年
           七十二是真 (Zeshin, aged 72) with seal Tairyūkyo 対柳居

           Overall: 53.7cm × 58.2cm (21⅛in × 22⅞in)
           Image: 31.9cm × 40.4cm (12½in × 15⅞in)

           With wood storage box (2)

           Provenance:
           Misumi Hisashi Collection
           三隅悠 旧蔵
           Sold in these Rooms, 5 November 2014, lot 11

           Exhibited:
           Museum of Fine Arts, Boston, 2017–2018

           Exhibited and Published:
           Nezu Bijutsukan (Nezu Museum) 2012, cat. no. 123

           £20,000 - 30,000
           JPY2,600,000 - 3,900,000
           US$24,000 - 36,000
           As noted by Tahira Namiko in her catalogue entry for the Nezu Museum
           exhibition held in 2012, Zeshin used very thick layers of lacquer to convey
           the colour and texture of the metalwork depicted here. This suggests that
           the present painting was always intended to be mounted as an album leaf
           rather than a hanging scroll, since rolling and unrolling might have caused
           the lacquer to crack. Zeshin’s skill in sahari-nuri, presumably imitating
           the exotic copper-tin alloy used to make the metal tray for tea-ceremony
           use shown here, was mentioned in a posthumous Imperial eulogy (Earle
           and Gōke 1996, p. 50). In addition to pictorial versions of sahari like
           the present example, he also made actual lacquer utensils that faithfully
           reproduce the metal’s colour and texture (see lot 19 in the present
           catalogue). This composition as a whole is an eloquent expression of
           Zeshin’s lifelong passion for the tea ceremony and its utensils.














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