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A ‘Korean War’ casualty pair awarded to Private D. J. Williams, Duke of Wellington’s Regiment (West Riding), who successfully managed to shoot his way out of a Chinese ambush whilst barely 20 years of age Korea 1950-53, 1st issue (22636254 Pte. D. J. Williams. D.W.R.); U.N. Korea 1950-54, unnamed as issued, nearly extremely fine (2) £160-£200 --- David John Williams was born around 1933 and spent his childhood living in the Rhondda Valley village of Trehafod in South Wales. Serving with the 1st Battalion, Duke of Wellington’s Regiment, he displayed gallant service in Korea, the details of which were later relayed by a contemporary newspaper: ‘In May, 1953, David and six of his colleagues were sent out on a patrol and they were ambushed by more than thirty Chinese. During the firing, David was wounded in the leg and two of his companions were also wounded, but helping one another along, they managed to shoot their way out of the ambush. They returned to base with the valuable information urgently needed. For some months David lay in a base hospital, but as soon as he was recovered he was back in the front line. His commanding officer at Singapore has seen fit to recognise him for “Outstanding service in [the] face of outstanding odds.”’ Sold with two original newspaper cuttings and the official letter from 1st Battalion, D.W.R. Headquarters, Moorish Castle, Gibraltar, dated 30 August 1954, forwarding Williams his certificate relating to the above event (the certificate now missing).

An extremely well-documented United States of America Silver Star and Purple Heart group of ten awarded to Staff Sergeant J. W. Wilson, United States Army United States of America, Silver Star (James W. Wilson); Purple Heart (James W. Wilson); Army Good Conduct Medal (2), both named ‘James W. Wilson’; National Defense Medal, with oak leaf cluster; Armed Forces Expeditionary Service Medal; Korean Service Medal, with two bronze stars on riband; U.N. Medal for Korea; Vietnam Service Medal, with two bronze stars on riband; Humanitarian Service Medal; together with the recipient’s Combat Medical Badge; two Marksman’s Badge, one with Rifle Bar, the other with Grenade Bar; and various riband bars and other riband devices, good very fine (lot) £140-£180 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- James W. Wilson served with the United States Army overseas in Korea from 6 March 1953 to 1 July 1954; and in Vietnam from 13 August 1965 to 10 August 1966, and again from 3 March 1968 to 15 January 1969. Sold with the recipient’s Army Commendation Medal Certificate, named to Staff Sergeant James W. Wilson, 415404753, United States Army, for Meritorious Service 12 January 1969 to 30 September 1969; President of the United States of America Certificate for Outstanding Community Achievement of Vietnam Era Veterans; a vast quantity of contemporary photographs, mainly service related, some with annotations to the reverse; other ephemera; and copied research.

A pair of early 20th century Korean elm stacking cabinets. Of rectangular form and elm wood construction with four short paralel drawers to top with central twin door cupboard cabinet, with further sectional pattern to front. Plinth base with brass pulls and mounts. Measures approx. 70cm x 73cm x 38cm.

ACADEMY; ten scale model kits, comprising 'Curtis P-40B Tomahawk', 'Grumman F4F-4 Wildcat', 'P-51 Mustang "North Africa"', 'F4U-4B Corsair', 'Hawker Hurricane Mk11C', 'F-51D Mustang with Ground Vehicle "Korean War"', 'Grumman F6F-3/5 Hellcat WWII US Navy Fighter', 'Spitfire Mk.XNC', 'F8F-1/2 Bearcat "French Air Force"' and 'F-86E Sabre "El Diablo"', all boxed (10).Condition Report: - These all belonged to the vendor's father. The vendor states that to the best of their knowledge, none of these have had items removed, and they should be complete. However, this is no guarantee that all components are present. Some boxes will also have white labels with writing on, with extra description.

Sixteen mixed and various boxed scale model aeroplane kits, to include a 'Frog Typhoon I.B. Fighter-Bomber', 'an Airfix Shorts 'Tucano T1', 'Supermarine Spitfire Mk. I', ''North American F-51D Mustang Korean War', 'Shackleton Anti-Submarine Aircraft', etc (16).Condition Report: - These all belonged to the vendor's father. The vendor states that to the best of their knowledge, none of these have had items removed, and they should be complete. However, this is no guarantee that all components are present. Some boxes will also have white labels with writing on, with extra description.

Audition Korean acoustic guitar, and a Gear 4 Music acoustic guitar, and a guitar stand. (3)

Wanli mark and period (1573-1620) With shallow rounded sides and painted in vibrant shades of cobalt blue. The central medallion depicting a scene of three qilins and a tiger within a landscape, with a dragon above, emerging from rockwork beneath ruyi-shaped clouds. All encircled by a continuous border depicting a lotus pound with ducks, cranes and other birds. The underside with six branches of pomegranate, persimmon, peach, morning glory, hibiscus and prunus.Diam.: 15,9 cmNote: A dish with identical decoration, formerly from the Riesco Collection, was included in the Oriental Ceramic Society Exhibition, 'Loan Exhibition of Chinese Blue and White Porcelain 14th to 19th Centuries,' London, 1953/1954, no. 173; Another identical dish was auctioned by Sotheby's on September 11, 2019, 'A Noble Pursuit: Important Chinese and Korean Art from a Japanese Private Collection,' lot 501. SPECIAL SALE NOTICERestricted BiddingTo register and bid at this auction you will need to provide proof of identity and of address and provide photographic ID. You may be asked to pay a deposit of €5.000. Fund must be cleared in VERITAS Art Auctioneers account no later than 11am on Monday, December 4th, 2023. If you are not the winning bidder, you will be refunded within seven working days. Online bidders may be required to pay a €5.000 deposit, which will allow the online bidder to bid up to a maximum of €50.000 in total. For higher bids, different deposits apply.Bank Transfers should be sent to: Beneficiary PERIHASTA Bank BPI Branch Saldanha IBAN PT 50 0010 0000 4626 3080 0018 2 SWIFT/BIC BBPIPTPLCondition of LotsPlease note that the condition of lots is not stated in the catalogue descriptions. Reports on condition may be available on request. The absence of condition reports in the catalogue does not imply that the lot is free from imperfections or faults.

Four acoustic guitars to include a classical guitar labelled Rojos Carl, an early 20th century nylon string guitar, a German small bodied nylon string guitar branded 'Florida' to the table and a small bodied Korean made Audition nylon string guitar (4)

1950s Silvertone by Harmony H1427 Espanada electric guitar, USA; Body: black finish, light checking, light buckle marks and other dings but generally very good for age; Neck; heavy play wear to edges; Fretboard: heavy groove wear to first position; Frets: mild wear throughout; Electrics: working (Gibson P13 pickups); Hardware: good; Case: later Korean made hard case; Weight: 2.68kg; Overall condition: good for age

A COLLECTION OF KOREAN CERAMICS mostly celadon and mostly modern

TWO EXOTIC PUPPETS with a collection of linen, two cushions, a hanging tapestry and a Korean flag

A COLLECTION OF PERSIAN MANUSCRIPT PAGES in leather folders, some with illuminated panels, probably 19th century, with a cardboard containing an early Korean painting on linen

11 BOTTLES BRANDYSt. Agnes Perpetual; Korean Premium Distilled Spirits Hone (37.5cl); Bass + Flinders Distillery Ochre Fine Aged and Noble Stranger; Hammersmith Grape Distilled + Oak Matured; Maison Brillet Belle de Brillet; Wolfberger Fleur de Bière 2 x Fût de Chêne; Twenty Third Street Distillery Not Your Nanna's Brandy; Adelaide Hills Distillery Apple; Osborne Carlos I Amontillado

A collection of 115 military cloth shoulder badges, comprising (as numbered per bag) Shoulder Titles: 1 - ILH. With Historical background.2 - Loyals. Chief Inspectorate of Clothing.3 - Seaforth Highlanders. 5 Div, tartan flash, 2 x AOS4 - Printed Buffs Matching pair, Printed East Surrey, Printed Fusiliers, 5 - 2 x KRR. WWI. RWK Black on Khaki. WWI Lincoln. Black on Khaki. Interwar. See sale paper. Liverpool Rifles. Red on Green. Kensington. Red on Grey. Queen’s Westminster’s. Red on Black. Matching pair. Queen’s Westminster’s. Black on Red. 16 th L Regt. Worn 1938 – 50, 6 - 7H Matching pair. WW1.V111H. WW1.Queen’s. White on Khaki. Background info. !6 th London. Royal Scots Fusiliers. 1WW. Rare. Hallamshire. W & C YEO. See background info. Royal Artillery/QOD & WSY. See background. Surrey Yeomanry Q.M.R. Background. 7 - Royal Horse Artillery. Red on Dark blue. Very Rare. 8 - Sussex. White on Red. Yeomanry title. Info. Durham L.I. Officer’s title. Korean War era. No9 Commando, White on Black. London Scottish. North Somerset Yeo/44 R.T.R. Matching pair. 9 - XIV West Yorkshire Regt. Worn WW2 by 2/5 & 11 th Bns. XXIV South Wales Borderers. 7 th Gurkha Rifles. White/Green. Worn 1954-57 only. 7 th Gurkha Rifles. Black/Green. Pre 1954 & post 1957, Transferred to British Army 1947. Service in WW2, Malaya, Indonesian action and Falklands, Gurkha Engineers, Queen’s Royal Rifles. Post 1961. Leeds Rifles. 10 - Grenadier Guards. Large title. Coldstream Guards x 2, The Life Guards. Matching pair. Straight ends., The Life Guards. Matching pair. Rounded ends., Irish Guards. Matching pair., Welsh Guards., The Blues And Royal x 2, 3, 11 - Matching Pairs, Loyals. Cheshire. Leicestershire. Foresters. Queens. Royal West Kents. Queen’s. Essex. Yellow on Purple. Authorised 31 October 1953.King’s Own. Bedford and Hertford. with photo. Hereford L.I. From October 1950.Rifle Volunteers. R.A.S.C. R.A.O.C. R.A.M.C. R.A.E.C. 2 pairs. Cumberland & Westmorland / ACF.12 - S.E.A.C. Gold on Black. South East Asia Command .S.E.A.C. Red on Dark Blue. Royal Navy. S.E.A.C. White on Dark Blue. RAF.S.E.A.C. Gold on Black. Large title.13 - Royal Engineers/32. Corporal chevrons, Brassard.14 – (Singles Line Regiments) Border. Inniskillings. King’s. Early pattern; see attached slip. Gloucestershire. Rounded ends. ACI 1593 Oct 1943 to replace ‘Gloster’ K.R.R.C. Red on Green. Royal Lincolnshire. See attached slip. Royal Sussex. Suffolk. Royal Fusiliers. Rounded ends. S.W.B. Essex. Loyals. Queen’s Surreys. Middlesex. East Lancashire. King’s Own. Fusiliers. Worn on UN Peacekeeping 1986 – 1988 in Cyprus by 1 st & 2 nd Bns South Lancashire. Lincoln. Lancashire. Cut down?15 - Royal Northumberland Fusiliers. Royal Anglian. Worn by volunteer Bns post 1967, The Hampshire Regiment. Yellow on Black. Initially worn in 128 th Infantry Brigade by 1/4, 2/4 & 5 th rom 1940. Royal Berkshire. Royal Ulster Rifles. Black on Green. Worcestershire .Royal Norfolk. Black on Yellow. Royal Hampshire. Yellow on Black. Post 1946.Q.O.H. White on Khaki. Post 1960. Essex. Yellow on Purple. Authorised 31.10. 1953.Beds.And Herts. See attached slip. Royal West Kent. Prince Of Wales Own/Yorkshire. Staffordshire. Yellow on Black.2 x Dorset .One small title, officers. Hertfordshire. Worn post 1947.3 x The Welsh Regiment, different sizes Bedford And Hertford.16 - C.M.P. See Attachment. ACI 905 12.06.43.Army Physical Training/Corps Devon Territorials. Red on Yellow, worn in 1960 by Devon Territorials Infantry and Yeomanry. Second Fusiliers. Modern. Royal Engineers. Large title. Royal Engineers/32Royal Engineers. Black on Khaki. Matching pair. 6 - R.A.E.C. Light Blue on medium Blue, R.A.E.C. Light Blue on Dark Blue. R.A.S.C. x3, R.A.P.C. Black on Yellow. Introduced 12.06. 43, ACI 905. Replaced by full letter version 5.5.45, ACI 510. A.C.C. Yellow on Grey. Royal Army Pay Corps. Yellow on Dark Blue. Mobile Defence Corps. Blue on Red. Matching pair. Q.A.R.A.N.C. Women’s Transport Service/F.A.N.Y. Women’s Royal Army/Corps A.C F. White on Red. A.C.F. Yellow on Black. Matching pair. R.E. Slip On. R.A. Slip On.(Formation Signs)17 - 54 th Division. British Army Hong Kong. Hong Kong Regiment also wore. 8 th Army 48 th Gurkha Brigade, North Midland District Forester Brigade. War Office Controlled Units x 3. RE Bomb Disposal. Australian Eastern Command (NSW) 1950’s x 3 (altogether in 1 bag)

A Chinese blue and white box and cover, decorated a dragon, 11 cm diameter, seven others, a Chinese cup, converted to a lighter, a blue and white caddy, a green glazed vase, and a Korean celadon glazed vase, decorated flowers, 34 cm high (12)

AN AMUSING BRONZE OKIMONO OF A KAPPA WITH CUCUMBER, ATTRIBUTED TO SHOKAKENAttributed to Shokaken (Oshima Yasutaro), unsignedJapan, Meiji period (1868-1912)The bronze finely cast and bearing an attractive sentoku finish, set on an oval base with four lobed feet, depicting a kappa dancing on top of a large, leafy cucumber, and wearing a tattered lotus leaf hat, the details finely incised and chiseled.HEIGHT 19 cmWEIGHT 1,330 gCondition: Good condition with minor expected wear and few casting irregularities. Minor losses to the tips of the leaves.Oshima Yasutaro (artist name: Shokaken) was born to a prominent family of metalworkers in 1849 and was the son of Oshima Takajiro. Together with his younger brother Oshima Joun (1858–1940), he successfully ran a studio called Sanseisha and produced bronzes of the finest quality. In Recollections of Oshima Joun, by Katori Hozuma published in 1941 by Tokyo Chukin-kai (Tokyo Cast Metalwork Association), he talked of his older brother who died young as being of the first rank of bronze metalwork artists in 1878, producing works of the very highest quality and commissioned for the world exhibitions. Shokaken indeed exhibited his works at numerous international expositions, including a metalwork incense burner at the Vienna World Exposition in 1873, which is now housed in the Austrian Museum of Applied Arts and Contemporary Art, Vienna (Illustrated in Arts of East and West from World Expositions 1855-1900: Paris, Vienna and Chicago (Commemorating the 2005 World Exposition, Aichi, Japan), (Osaka, 2004), p. 20, plate l-16).Auction comparison: Compare a closely related bronze okimono of a kappa, by Shokaken and signed Shokaken, at Christie's, Japanese and Korean Art, 18 September 2002, New York, lot 341 (sold at USD 1,673).

SHIZAN: A MAGNIFICENT SATSUMA CERAMIC TRAY WITH TEMPLE SCENEBy Shizan, signed Shizan seiJapan, Meiji period (1868-1912)The rectangular satsuma tray finely potted and magnificently painted with bright polychrome enamels and rich gilt against a creamy-white crackled glaze, depicting a lively scene inside a temple complex with ladies engaged in various festive activities, the scenes separated by byobu screens beautifully painted with butterflies, flowers, and birds, the temple garden visible in the distance. The inner rim is decorated with a superbly painted millefleur motif, and the outer rim decorated with gilt scroll against a black ground. Signed to the back within a gilt cartouche SHIZAN sei [made by Shizan].SIZE 14.2 x 22.6 cmCondition: Excellent condition with only very minor wear and rubbing to gilt.Provenance: From an old Parisian private collection. Auction comparison:Compare a closely related satsuma tray with similarly decorated rim, measuring 24.5 cm across, at Bonhams, Fine Japanese and Korean Art, 15 March 2017, New York, lot 6249 (sold for 16,250 USD).

UTAGAWA HIROSHIGE: TILE KILNS AND HASHIBA FERRY, SUMIDA RIVERBy Utagawa Hiroshige I (1797–1858), signed Hiroshige gaJapan, dated 1857 (Ansei 4), 4th monthColor woodblock print on paper. Vertical oban. Signed Hiroshige ga, censor's seals: aratame, Snake 4; publisher Uoya Eikichi. Titled Sumidagawa Hashiba no watashi kawaragama (Tile Kilns and Hashiba Ferry, Sumida River), number 37 in the series Meisho Edo hyakkei (One Hundred Famous Views of Edo).A scene at the Sumida River with the billowing smoke of the Imado ceramic tile kilns, by the Hashiba crossing.SIZE of the sheet 37 x 24.6 cmCondition: Good condition with some mounting residue, creasing, minor material loss, slight fading of colors, otherwise presenting well.Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as a master of the ukiyo-e woodblock printing tradition, having created 8,000 prints of everyday life and landscape in Edo-period Japan. Much of Hiroshige's work focuses on landscape. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833–34), completed after traveling that coastal route linking Edo and Kyoto. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856–58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison:A closely related print is in the collection of the British Museum, museum number 1906,1220,0.649. Another closely related print is in the collection of the Art Institute Chicago, reference number 1925.3749.Auction comparison:Compare a closely related print sold at Christie's, Japanese and Korean Art Including the Collection of David and Nayda Utterberg, 22 March 2022, New York, lot 181 (sold for USD 4,410). Compare an identical print sold at Christie's, Japanese and Korean Art, 20 September 2022, New York, lot 215 (sold for USD 2,772).

UTAGAWA HIROSHIGE: SEA BREAM AND SANSHO PEPPERBy Utagawa Hiroshige (1797-1858), signed Hiroshige gaJapan, c. 1832-1833Color woodblock print on paper. Oban yoko-e. Signed Ichiryusai Hiroshige ga with Nishimuraya Yohachi (Eijudo) publisher's seal. Titled Sea Bream and Sansho Pepper with two kyoka poems by Shizugaki Namiyasu and Toshigaki Maharu, from an untitled series known as Large Fish (Uozukushi), circa 1832-33.The impression retaining most of its bright colors, the sharp teeth of the sea bream sharply detailed with thorny sansho pepper prunings with a light blue ground fading to white then to dark blue in the upper part.SIZE of the sheet 25 x 35 cmCondition: Good condition and impression, very few small wormholes, colors slightly faded, and minor soiling. Firmly mounted at the upper margin to a paper mat.Provenance: From the collection of Adolphe Stoclet, and thence by descent in the Stoclet family. Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father's death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet's famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian painting and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Auction comparison:Compare a set of nine woodblock prints from the same series including an identical Sea Bream and Sansho Pepper, at Christie's, Japanese and Korean Art, 19 March 2019, New York, lot 226 (sold for USD 30,000).

KATSUSHIKA HOKUSAI: THE MANSION OF THE PLATESBy Katsushika Hokusai (1760-1849), signed Saki no Hokusai hitsuJapan, Meiji period edition (1868-1912)Color woodblock print on paper. Vertical chuban. Signed Saki no Hokusai hitsu; publisher Tsuruya Kiemon (Senkakudo). Titled Sara yashiki (The Mansion of the Plates), from the series Hyaku monogatari (One hundred ghost tales).The ghost of Okiku rises from the well breathing out a wisp of smoke, having the body of the Okiku worm after her namesake. Grape vines surround the wooden well.SIZE of the sheet 25.7 x 18.7 cmCondition: Good impression and colors with slightly trimmed margins and minor browning of paper. Very minor material loss to the edges. Mounted with tapes on a paper mat.Provenance: From an Austrian private collection. The reverse inscribed with the number, '1.'The legend from the 17th century tells the story of a maid named Okiku who breaks a valuable set of Korean plates. For her mistake, her enraged master throws her into a well and she dies, turning into a Yurei. The neighbors begin hearing her voice in the well every night, repeating "One... Two... Three... Eight... Nine... I can't find the last one..." After the rumors of her death spread, the house is confiscated from the master. A monk dispels her spirit after uttering the word, “ten” as she counted.This is a well-known ghost story in Japan. The most popular version was established in 1795, when Japan suffered an infestation of a type of worm found in old wells that became known as the Okiku bug (Okiku mushi). This worm covered with thin threads made it look as though it had been bound. It was widely believed to be a reincarnation of Okiku, having been bound before being thrown into the well.Katsushika Hokusai (1760 – 1849) is one of the most renowned and influential artists in Japanese history. Born in Edo (now Tokyo), Hokusai began his career as an apprentice in a woodblock print shop before venturing out on his own to pursue his passion for art. Over the course of his career, Hokusai created a vast body of work that included not only woodblock prints but also paintings, sketches, and illustrated books. His oeuvre is characterized by a relentless experimentation with style and technique, as well as a deep appreciation for the natural world and the beauty of everyday life.Museum comparison:A near identical reprint with a similar seal and printed by the same publisher, dated ca. late 19th century, is in the British Museum, accession number 1921,0511,0.18.

OHARA KOSON: A CROW ON A SNOWY BRANCHBy Ohara Koson (1877-1945), signed KosonJapan, first half of 20th century, late Meiji (1868-1912) to early Showa period (1926-1989)Color woodblock print on paper. Vertical oban. Signed Koson. Titled A Crow on a Snowy Branch.A large black crow stands with its taloned feet on a snowy pine branch, his mouth wide open as it crows, exposing its pink mouth and tongue.Inscriptions: The reverse inscribed in English, 'All rights reserved, Y Nishinomiya Tokyo, Made in Japan.'SIZE of the sheet 24 x 41 cmCondition: Good condition and impression with slightly faded colors, very minor material loss and glue residue along the margins, light foxing, and staining. Mounted with tapes on a paper mat.Ohara Koson (1877-1945) was a Japanese painter and woodblock print designer of the late 19th and early 20th centuries, part of the shin-hanga (“new prints”) movement. He is famous as a master of kacho-e (bird-and-flower) designs. Throughout a prolific career, in which he created around 500 prints, he went by three different titles: Ohara Hoson, Ohara Shoson, and Ohara Koson.Museum comparison:Compare a closely related print by Koson of a crow on a snow-covered branch, in the Rijksmuseum, accession number RP 1999-515.Auction comparison:Compare a closely related print of a crow on a snow-covered branch, at Bonhams, Fine Japanese and Korean Art, including the Crawford Collection of Suimono, 22 September 2021, New York, lot 921 (sold for USD 2,040).

A RARE LACQUERED PAULOWNIA WOOD KOTO WITH PEACOCKSJapan, late 19th century, Meiji period (1868-1912)Superbly decorated in gold and iro-e takamaki-e and aogai inlay against a wood grain ground with a dense and colorful composition of two peacocks above a gushing stream amid rocks and flowering peony below two fluttering butterflies, the ends with brocade as well as gold takamaki-e prunus blossoms with bone-inlaid centers, one end further lacquered in gold hiramaki-e with waterwheels.LENGTH 122 cmCondition: Overall good condition, minor wear, traces of use, small chips and nicks, light scratches, few small losses and holes due to worm or insect activity, flaking and minor losses to lacquer, one foot and some bridges (ji) lost, the underside with few minor old repairs. Provenance: From an old French private collection. The koto is a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is derived from the Chinese zheng and se, and similar to the Mongolian yatga, the Korean gayageum and ajaeng, the Vietnamese dan tranh, the Sundanese kacapi and the Kazakhstan jetigen. Koto are made from Paulownia wood (Paulownia tomentosa, known as kiri). Museum comparison: Compare a closely related koto, dated c. 1891, from the Wakamura workshop, similarly decorated in takamaki-e with roosters and flowers, in the collection of the Metropolitan Museum of Art, accession number 69.271.3.Auction comparison:Compare a closely related koto, similarly lacquered with roosters, chrysanthemum, and butterflies, 105 cm long, at Galerie Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 178 (sold for 10,112 EUR).

A RARE VOTIVE BRONZE OF AN AMIDA TRIAD, MAEDACHI HONZON, ZENKOJI STYLEJapan, 18th century, Edo period (1615-1868)Finely cast as a zushi (travelling shrine) and patinated to a silverish tone, superbly carved in relief with an Amida Triad with Kannon and Seishi, each standing on lotus pedestals and framed by images of seated Buddhas amidst foliate designs and clouds, and with two worshippers below presenting offerings. The reverse with a superb, naturally grown patina.HEIGHT 9.9 cmWEIGHT 150.7 gCondition: Very good condition with minimal wear and few casting irregularities. Provenance: From an Irish private collection. The present bronze zushi is superbly cast in the style of the 18th century, being more or less an exact copy, save for the addition of the two worshippers below, of the Amida Triad, Maedachi Honzon, in the Zenkoji temple. The Maedachi Honzon is a duplicate of the 6th century central image of the Zenkoji temple, which are the first images of Buddha brought to Japan from the Korean Kingdom of Kudara.

A CYPRESS WOOD FIGURE OF AMIDA NYORAI, HEIAN TO EARLY KAMAKURAJapan, 11th-12th century, late Heian (794-1185) to early Kamakura period (1185-1333)Finely carved from a hollowed section of hinoki (cypress) wood in yosegi-zukuri with traces of lacquer and gilding in a classic Heian standing pose with his right arm raised and left arm lowered in what was likely raigo-in (vitarka mudra). Amida is wearing monastic robes, his fukuken'e descending from the shoulders and forming a series of folds over the abdomen, the kun with typical Y-shaped and vertical pleats. The soft features of his face bearing a serene expression, subtly smiling lips, elongated lobes, and hair arranged in spiral curls; his eyes were once decorated with inlays and now open to the hollow interior giving the piece a striking presence combined with the well-worn nature of the wood.HEIGHT 51.5 cmCondition: Extensive wear commensurate with age, the wood with natural imperfections including signs of insect activity, expected age cracks, losses, remnants of old repairs and resin residue, the hands and feet lost.Provenance: From a French private collection.The present figure has characteristics of both Heian and early Kamakura sculptures. Yosegi-zukuri was a technique adopted in Japan from Indian and Chinese artists and became popular during the 10th century. The elegant folds of the robes and the inlaid eyes come from techniques which became widely used during the Kamakura period. The combination of these two elements suggests a dating to a period of overlap between the two periods.The sculpture represents Amitabha, known in Japanese as Amida Nyorai, or the Buddha of Limitless Light. Amitabha reigns over the Western Pure Land, a paradise to which anyone is welcomed if they faithfully and sincerely incant his name. This place of salvation became central to the Jodo [lit. Pure Land] sect of Buddhism. Propounded in 1175 by the monk Honen, the accessibility of such tenets of redemption allowed this form of Buddhism to proliferate across the nation and feudal classes of Japan. Often depicted with an elaborate mandala, the boat-shaped halo is said to remind his followers that he serves as a guide for them to cross the ocean of suffering which contaminates the living.Yosegi-zukuri, or the joined wood-block construction, is a sculpting method in which several rectangular blocks of wood are individually selected and carved into shapes. Yosegi-zukuri, together with ichiboku-zukuri (single block construction), are the two main techniques associated with wood sculpture in Japan. There were several advantages to a sculpture made from multiple blocks of wood. It was much lighter than one carved out of a single block of wood. The technique also helped to minimise the cracking of the wood caused by the outside layer drying faster than the core of the sculpture. In addition, it was faster, as it allowed the individual blocks to be carved simultaneously by several artisans specialising in particular kinds of carving, which in turn led to the development of an assembly-line production and a true studio.Museum comparison:Compare a closely related gilt and lacquer wood figure of amida with preserved inlaid eyes, 96 cm high, dated to the 13th century, in the British Museum, accession number 1945,0419.1Auction comparison:Compare a related gilt-lacquer wood figure of amida standing slightly taller on a lotus base, dated to the late Heian period, at Christie's, Japanese and Korean Art, 18 April 2018, New York, lot 5 (sold for USD 150,000).

A FINELY PAINTED POLYCHROME WOOD FIGURE OF KICHIJOTEN, MUROMACHIJapan, 16th century, Muromachi period (1338-1573) Finely carved and painted in polychrome pigments, seated in royal ease (lalitasana) on a wood pedestal surrounded by gnarled roots above a two-tiered base with gilt chased-metal fittings and a central plaque with a gilt-wood rinpo (dharma wheel) flanked by blossoms. The goddess clothed in elaborate red and black robes with gilt hems decorated with foliate designs and floral medallions, adorned with two gilt ho-o (phoenixes) birds and floral medallions on each sleeve. Her face bearing a serene expression with heavy-lidded eyes, and sinuous brows, her hair tied in a high topknot with a tiara. HEIGHT 46.7 cm (figure), 76.7 cm (incl. stand)Condition: Good condition with expected wear and age cracks, some flaking, losses, and repairs. Generally presenting very well. Provenance: From a Dutch private collection.Associated with harvest, fertility, and fortune, Kichijoten is one of the female deities derived from religious syncretism of Laksmi, the wife of Vishnu, worshipped as the goddess of fortune in the Indian Hindu pantheon. She is sometimes depicted together with Bishamonten, to whom she is wife or sister. She is often depicted in Chinese robes from the Tang dynasty.Museum comparison:Compare an earlier wood polychrome figure of Kichijoten, dated to the 14th century, in the Nara National Museum, accession number 1209-0. Compare a much earlier standing wood figure of with polychrome pigments in the Jyoruri Temple in Kyoto, dated to the Kamakura period.Auction comparisonCompare a later polychrome wood figure of Kichijoten, dated to the 18th century, at Christie's, Japanese & Korean Art, 24 March 2010, New York, lot 595 (sold for USD 10,000).

A FINE AND RARE LACQUERED AND INLAID PAULOWNIA WOOD MINIATURE KOTOJapan, 19th centuryFinely decorated on the sides in iro-e hiramaki-e and takamaki-e on dark wood fittings which frame the light kiri (paulownia) wood body of the instrument. Each side depicts an idyllic ocean view, one with several boats coming into the harbor and the other with a bridge from a palatial structure extending over a peninsula. Each end decorated with tortoise shell inlays within elaborately patterned enamel and bone-inlaid frames with an exterior band of gilt foliate decorations. The thirteen strings extend over the arched body across a bridge on either side.LENGTH 33 cmCondition: Good condition with minor wear, three trim feet lost.Provenance: From an old French private collection.The koto is a Japanese plucked half-tube zither instrument, and the national instrument of Japan. It is derived from the Chinese zheng and se, and similar to the Mongolian yatga, the Korean gayageum and ajaeng, the Vietnamese dan tranh, the Sundanese kacapi and the Kazakhstan jetigen. Koto are made from Paulownia wood (Paulownia tomentosa, known as kiri). The most common type uses 13 strings strung over movable bridges used for tuning, different pieces possibly requiring different tuning.Museum comparison:Compare a related miniature koto, 49.5 cm long, dated to the mid to late 19th century, in the Metropolitan Museum of Art, accession number 89.4.112.

FUJIWARA KATSUNORI: A SUPERB IRON TSUBA DEPICTING SCENES FROM NOH THEATRE By Fujiwara Katsunori, signed Fujiwara Katsunori sakuJapan, Tokyo, Meiji period (1868-1912)The iron tsuba in the shape of a Buddhist temple bell crowned with kirin heads, finely worked in iro-e takazogan of gold, silver, copper, shibuichi, and shakudo, depicting a pair of Noh actors from the play Takasago in conversation, the old couple with fans in hand and dressed in mizugoromo decorated with foliate motifs. The reverse alluding to another Noh play, Kiyohime, depicting a Hannaya mask and striker. Signed FUJIWARA KATSUNORI saku [made by Fujiwara Katsunori].HEIGHT 9.5 cm, LENGTH 7.5 cmWEIGHT 124.6 gCondition: Very good condition with minor wear, some light malachite encrustations. This tsuba cleverly juxtaposes the eternal love and devotion imagined in Takasago to the pain of rejection and jealousy in Kiyohime. The two sides of the gong, where Anchin also faces his untimely death, present the range of emotions experienced in love to the viewer. On the one hand, the old couple in Takasago personify divine devotion to each other and on the other hand, Kiyohime alludes to the dangers of jealousy, infatuation, and revenge as if to warn one of the perils of love.The artist is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on pp. 594 (H 02858.0).Auction comparison:Compare a closely related iron tsuba with similar inlays, by the same artist, signed Fujiwara Katsunori koku, at Christie's, Japanese and Korean Art Online, 27 September 2022, New York, lot 9 (sold for EUR 3,276).

AN EAST ASIAN CELADON GLAZED PORCELAIN EWER, POSSIBLY KOREAN. Of baluster form with incised handle and s from spout, with cover. Covered in a green glaze pooling in areas around the foot. 20cm tall. Good overall condition with no signs of damage or repairs.

A Woods and Sons England decorative fruit bowl, Korean design

KAIHO YUSHO (1533-1615): 'KAKU SHIGI'Japan, 16th century. Ink on paper. Mounted as a hanging scroll, on a silk brocade coated paper frame, with ivory handles. Displaying the classical aesthetics of the Kano School, depicting Kaku Shigi dressed in voluminous robes with billowing sleeves holding a banana leaf.Inscriptions: Two seals, ‘Kaihō’ 海北 and ‘Yushō’ 友松. The tomobako storage box further inscribed in English and Japanese.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his first own gallery in Berlin. The entire family survived the Holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa.Condition: Shows few tears, material loss, and associated touch-ups, but still presenting well. The brocade frame with usual traces of wear and creasing.Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer.Dimensions: Image size 104 x 50 cm, Size incl. mounting 188 x 52.5 cmWith an inscribed tomobako storage box. (2)Kaihō Yushō (1533-1615) was a Japanese painter of the Azuchi–Momoyama period. He was born in Omi province to Kaiho Tsunachika, who was a vassal of Azai Nagamasa. At an early age he became a page at the Tofuku-ji in Kyoto and later a lay priest. He served there under the abbot and associated with the leading Zen priests of Kyoto. In his forties, Yusho turned to painting and became a pupil in the Kano School, either under the famous Kano Motonobu or his grandson Kano Eitoku. He then worked at Jurakudai, under the patronage of Toyotomi Hideyoshi and the Emperor Go-Yozei. At first, he patterned his work after Song painter Liang Kai, producing only monochrome ink paintings, using a ‘reduced brush stroke,’ relying more on ink washes than sharp hard strokes. Later, he worked with fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tohaku and Kano Eitoku, he gave his name Kaiho to the style of painting he and his followers practiced.Kaku Shigi or Guo Ziyi (697-781) was a Tang dynasty general, known for his military conquests and progeny. He rose to fame when he led the Chinese army on several central Asian campaigns and then crushed the An Lushan rebellion of 755-63. Guo's eight sons and seven daughters produced so many grandchildren that, reportedly, he could not remember all their names. He became a symbol of longevity, wealth, and fatherhood in China and was popular with Japanese merchants of the Edo period. Auction result comparison: Type: RelatedAuction: Christie’s, New York, Japanese & Korean Art, 15 September 2010, lot 526Price: USD 30,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: Kaiho Yusho (1533-1615), Kaiho Yusho (1533-1615) Gibbon grasping at the reflected moon and Sofu (Ch'cao-fu) leading his oxAuction result comparison: Type: Closely relatedAuction: Bonhams, The Ethereal Brush, 10 November 2016, London, lot 13Estimate: GBP 20,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writingDescription: Attributed to Kaihō Yushō (1533-1615) and Karasuma Mitsuhiro (1579-1638) Kinkō Riding a CarpExpert remark: Note the very similar expression of Kinko sennin.

A KOREAN BLUE AND WHITE PORCELAIN BOWLthe exterior with vertical line motifs, 7cm high x 18.5cm diameter

Nine boxed Tamiya 1/48 plastic model kits to include 44 North American F-51D Mustang Korean War, 27 Mitsubishi A6M5c Zero Fighter, 36 Kawanishi NIK1 Kkyofu Type 11, 86 Republic P-47D Thunderbolt Razorback, 66 De Havilland Mosquito, 58 Douglas A-1H Skyraider US Navy, 94 Brewster B339 Buffalo Pacific Theatre, 120 Lockheed P-38 F/G Lightning and 28 A-10A Thunderbolt II, all unbuilt & complete, ex

A Korean elm altar cabinet, with brass mounts, two cupboards and five drawers. 66x66x30cm.

A Korean two-section cabinet, with two bi-fold doors, eight drawers, two fall-front doors and two cupboards. 131x202x47cm.

KOREAN SCHOOL A tiger with a magpie perched in the branches of a pine tree above, watercolour and wash on parchment paper, 95cm x 57cm, in a modern glazed frame.Provenance: The collection of the late Roger Peers, FSA (1932-2023)

A KOREAN CELADON BOWL probably Joseon, the exterior moulded with overlapping stylised leaves, 17cm diameter; and a collection of seven other Korean celadon bowls and dishes of varying sizes (8)Provenance: The collection of the late Roger Peers, FSA (1932-2023)

Gemini Jets-A collection of 8 commercial diecast model aircraft, 1:400 scale to include Korean Air, Delta, El Al, Air New Zealand, BA and Allgiant, all appear to be in good condition and unopened.

A Korean mid 20th centaury vase in jade green with a Celedon crackle glaze. Decorated with chrysanthemum in a continues pattern. stands 18 cm tall , and 18 cm diameter. Condition: Good

A group of Vintage cameras and binoculars, including a pair of Boots Empire Made 10x50 binoculars, in associated case, a pair of Korean Hanimex 8x30 binoculars, in associated case, a Kodak Brownie movie camera, a Stylophone pocket electronic organ etc

A contemporary , Korean wooden chest, 103 x 47 x 115cmH, and another similar one with smaller dimensions 103 x 47 x 90cm H SEE BOTH IMAGES

The Impressive group of Orders and Medals to Commander Sir Philip John Row, K.C.V.O., O.B.E., R.N., Deputy Treasurer to Queen Elizabeth II (1958-1968): The Royal Victoria Order, Knight Commander's Neck Badge and Star, reverses numbered 1012, cased, extremely fine; The Most Excellent Order of the British Empire, Officer's Breast Badge; 1939-45 Star; Atlantic Star; Arctic Star, in box of issue, extremely fine; War Medal 1939-45; Korea Medal 1950-53 (CDR. (S). P. J. ROW R.N.); Jubilee Medal 1935; Coronation Medal 1935; Jubilee Medal 1977; Sweden: Order of the North Star, Knight's Badge; Portugal: Order of Christ, Officer's Badge; France: Legion d'Honneur, Officer's Badge; Federal Republic of Germany: Order of Merit, Grosses Verdienstkreuz; Italy: Order of Merit, Officer's Badge; Iran: Order of the Crown (Taj), Grand Cross; Iraq: Royal Order of El Rafidain; Ethiopia: Imperial Order of the Emperor Menelik II, Knight's Badge; Thailand: Order of the White Elephant, 3rd Class Badge; the O.B.E. and the British medals - except the Artic Star - mounted for wearing, the order insignia cased, all in high grades, [20]; together with two photograph albums - the first recording the Empire Cruise of 1922-23, and the other with wartime studies including H.M.S. Kent in Northern waters, candid studied of General Montgomery addressing naval personnel on deck, officers (including the recipient) preparing a Christmas Cake, views of the vessel's frozen superstructure during the Russian runs, and studies of H.M.S. Glory including waves breaking over her flight deck; all accompanied by a large quantity of associated documents, including Grants of Dignity or equivalent for the K.C.V.O. (and for the preceding C.V.O.), the O.B.E., the North Star, the Legion d'Honneur, the Italian Order of Merit, BRD Merit Cross, the Crown of Iran and the White Elephant; permits to wear the North Star, the Order of Christ, the Legion d'Honneur, the BRD Merit Cross, the Crown of Iran, the El Rafidain, the Order of Menelik II and the White Elephant; transmission slips for the Coronation and Jubilee Medals; official correspondence confirming the awards of the Order of the North Star, the White Elephant, and the Emperor Menelik II; the recipient's invitation and ticket to the 1953 Coronation, a circular pictoral letter of thanks from the Queen in a named envelope; and much other material. Philip John Row followed his father into the Royal Navy in July 1922, when his appointment as Paymaster Cadet was approved; and he was sent to join H.M.S. Thunderer in July of the following year. He served as a Paymaster Midshipman in H.M.S. Repulse during the great 'Empire Cruise' of the Special Service Squadron, which circumnavigated the globe between 1923 and 1924, visiting many of the nations that had fought alongside Britain in the Great War. Rising to Paymaster Lieutenant, he served (as had his father before him) on the staff of the Commander in Chief America and West Indies during 1930. A period in the Royal Yacht Victoria & Albert followed, between 1933 and 1935, during which time he advanced to Paymaster Lieutenant Commander; and in 1937 he went to the Far East as secretary to a Captain on the staff of the Commander in Chief China Station.The outbreak of the Second World War found the recipient back in the UK, serving in H.M.S. Victory and at the Admiralty, and in June 1940 he went to sea in the net laying ship H.M.S. Guardian, before transferring to the heavy cruiser H.M.S. Kent in August 1941. He spent the remainder of his Second World War seagoing service in Kent, during which time he was promoted to Paymaster Commander and made O.B.E. It was in Kent that he endured the privation and dangers of the Artic Convoys. Kent also formed part of the escort for the Aircraft Carriers engaged in Operation Mascot - one of the many attempts to destroy the German battleship Tirpitz. Row went on to serve as Supply Officer in the aircraft carrier H.M.S. Glory during her first two deployments of the Korean War.Following his seagoing service Commander Row's career continued, in the Royal Household. He became Secretary of the Privy Purse on the 26th of November 1952 (L.G. 27/02/1953), and Deputy Treasurer to Her Majesty Queen Elizabeth II on the 18th July 1958 (via the post of Assistant Keeper of the Privy Purse) remaining in this position for the next decade. In 1969, having been made K.C.V.O. in the New Year Honours, he was appointed Extra Equerry to the Queen. He died in Berkshire on the 28th November 1990.Sir Philip's remarkable group of orders of chivalry reflects the important role that he played in the Royal Household, as does the collection of Royal Christmas Cards offered in this catalogue. His collection of Maundy Money, also offered herein, was formed in the course of his work in the offices of the Privy Purse. Together with his campaign awards, these represent a long and distinguished career in which his physical courage, conscientious application to duty, and great mental acuity were all devoted to the service of his crown and country. See lot 18 for the orders and medals to this officer's fathyer. Also see lots 73 - 91 and lots 352 - 367.

British Mk11 steel helmet with late Second World War granular brown interior paint finish, green external paint finish, complete with liner, chinstrap and original net. Service number 23407973 inscribed on chinstrap. Believed also used in Korean War 1950-1953

A Korean elm low chest, length 156cm, depth 45cm, height 49cm

A group of CORGI diecast military tanks, vehicles and helicopters in 1:43, 1:48 and 1:50 scales from the 'Unsung Heroes' and 'Forgotten Heroes' ranges covering the Korean and Vietnam wars - VG/E in VG boxes (14)

A collection of Chinese and Asian items, to include a marriage jar with Shou characters, a Japanese lidded sugar bowl and jug and a Korean bowl 

Stik,British b. 1979-Stik (Grey Poster and Paperback Book), 2018;offset lithographic poster on wove,together with paperback book (Korean Translation), edition of 5000,published by Serif, Paju, Korea,sheet: 76 x 24 cm,book: 26 x 21.3 cm,(unframed)(ARR)

* China & Far East. Two cabinet cards of a Chinese nurse and her European charges, by Hughes & Mullins, c. 1909, together with a cabinet card of an unidentified Korean temple and a small group of other China, Burma and Japan photographs, plus a photographically-illustrated booklet on JavaQTY: (10)

MADONNA - LPs / 12" PACK. A pack of 12 x LPs to include a few 12". Titles are Get Together (Ex+/ Ex+), Burning Up/ Physical Attraction (626015599532), Hollywood, Like A Virgin (Korean Pressing), Like A Virgin (2 x copies), You Can Dance, Interview With Madonna (picture disk), Madonna (812279736, sealed) and Causing Commotion (12"). The condition is generally VG+ to Ex+/ sealed with many records/ sleeves grading Ex or higher.

Two Korean ceramic water droppers, 19th century

A group of Japanese Imari and other Japanese and Korean ceramics, tallest Imari vase and cover

A Korean Red Lacquer Cabinet, Joseon dynasty, with extensive decorative metal mounts on the hinged lid and at the front, which opens to reveal two drawers, H: 24cm.,L: 33cm.

A Korean underglaze red and blue decorated PeachWaterdropper, Joseon dynasty, the upright fruit rising from a bough form openwork ring base picked out in dark red, from which rise three moulded and carved underglaze blue leaves and the twig shaped spout, picked out in dark copper red, H: 13cm., good condition, small chip tip of spout. Footnote: A closely comparable peachwaterdropper in the collection of the Brooklyn museum, dated to the last half of the 18th century, is illustrated in their online catalogue, no. 1993.185.3.,the Gift of Robert S.Anderson. Similar Korean peach water droppers have been sold at Christie's New York, lot 772, 14September 2011; and lot 99, 25April 2017.

A Korean Celadon Conical Bowl, Goryeo period, of conical form, glazed overall in transparent crackled olive-green, four firing adhesions on the foot rim. W:14cm. A 6cm crack from the mouth rim, some firing imperfections.

A Korean lobed Jar, Joseon period,with flared short foot, lobed body and everted rim, and with a milky white glaze over brown slip, stopping above the foot revealing the dark brown stoneware body, ink calligraphy on the base. H:10.5cm. Relatively good condition with wear and stain, fritting at mouth rim

Three Korean Ovoid Jars, Joseon period, the bigger white jar of ovoid shape with splayed mouth, covered with a creamy white glaze, the mouth and foot rims left unglazed; the smaller white jar of ovoid shape with two handles on the upper shoulder, with ivory white glaze except on base and mouth rim; the blue and white jar with circular body and splayed mouth, two branches of bamboo and fruit painted on each side. H:8.5cm, 6cm, 10.2cm. Good condition, wear and tear, firing imperfections.

A Korean White Glazed Bowl, Joseon period, H: 9.5cm, W: 15cm. Relatively good condition, see photo.

A Korean Brown-glazed jar, Joseon period good condition

Decorated with enameled Korean symbol on handle. Hallmarked 700, Korean character marks and makers marks. Total weight: 54 grams total. Dimensions: 8"L x 1.5"WCondition: Age related wear.

A TALL KOREAN BLUE AND WHITE 'DRAGON' VASE JOSEON DYNASTY, 19TH CENTURYThe tall baluster-shaped body decorated in underglaze cobalt blue with two writhing dragons, the beasts writhing amongst scrolling clouds, wispy whorls and bullocho fungi, their jaws open and baring their fangs, the rim with further clouds, 38.5cm. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from the collection of Phillip Allen (1938-2022). See Brooklyn Museum, access. no.80.120.1 for a comparable vase.

LITERATUREA SMALL COLLECTION OF REFERENCE BOOKSRelating to Japanese and Korean works of art. (a lot)PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.Provenance: from the collection of Phillip Allen (1938-2022).