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HARUI KOMIN: A SUPERB LACQUER ‘SNOW MOON FLOWER’ NATSUME (TEA CADDY)
奥地利
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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HARUI KOMIN: A SUPERB LACQUER ‘SNOW MOON FLOWER’ NATSUME (TEA CADDY)

By Harui Komin (b. 1869), signed and sealed Komin
Japan, early 20th century, Meiji (1868-1912) to Taisho period (1912-1926)

Of typical form with a flush-fitting cover, the exterior bearing a lustrous roiro ground and superbly decorated in silver takamaki-e with an elegant array of snowflakes rendered in varied forms and patterns. The interior is similarly finished in finely polished roiro, richly embellished in gold togidashi maki-e: an encircling band of cherry blossoms set against a gyobu-nashiji ground, and, to the underside of the cover, a crescent moon emerging from nocturnal mist, completing the poetic triad of setsugekka (snow, moon, and flowers). The base signed in gold script and sealed KOMIN.

Provenance: Lesley Kehoe Galleries, Melbourne, Australia, 2005. Private collection of Eva and Aubrey Sweet, Melbourne, Australia, acquired from the above, thence by descent. A copy of the original invoice, dated 14 November 2005, addressed to Mr. Aubrey Sweet, and stating a purchase price of AUD 20,000 (or approx. EUR 21,500 converted and adjusted for inflation at the time of writing), accompanies this 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.

HEIGHT 6.5 cm, DIAMETER 6.3 cm

With the original silk carrying bag (shifuku) and wood storage box (tomobako).

The lid of the box inscribed by the artist Setsu getsu ka (Setsugekka), Chu-natsume 雪月花、中棗 [Snow, Moon, Flower; medium-sized tea caddy]. An old label affixed to one side of the box further inscribed Setsu getsu ka (Setsugekka), Chu-natsume, Harui Komin saku 雪月花、中棗、春井恒眠作 [Snow, Moon, Flower; medium-sized tea caddy, made by Harui Komin].

Harui Komin (Osaka, b. 1869) was a distinguished lacquer artist whose work exemplifies the highest level of refinement within late nineteenth- and early twentieth-century Japanese lacquer. He trained under Nakagawa Gyokushu, acquiring a rigorous technical foundation, and later moved to Kyoto at the invitation of the prominent dealer Ikeda Seisuke. Following the closure of Ikeda’s business and declining health, Komin settled in Suma, Hyogo Prefecture, where he continued his artistic practice.

Relatively little is known about Komin, partly due to his practice of leaving many works unsigned after reaching artistic maturity, a habit that has contributed to the rarity and mystique of his oeuvre. His authorship of a spectacular lacquer cabinet presented by Emperor Hirohito to the Prince of Wales in 1921—now in the Khalili Collection—was only confirmed through the discovery of a letter preserved at the Victoria and Albert Museum. In it, Baron Sumitomo praised Komin as “one of the few living masters whose name will be handed down to unborn ages,” ranking him among the greatest lacquer artists of his time.

Only a limited number of works by Komin are known today. His oeuvre is characterized by a classical and highly controlled aesthetic, typically employing gold, silver, and black lacquer, often enriched with inlays of shell, coral, and metal, as well as extensive use of kirigane. His production was largely focused on refined larger-scale objects such as writing boxes and document cases, making the present signed natsume an especially rare and intimate example of his work.

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