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113. A late 18th century guribori lacquer netsuke in the form of a hyotan that served the dual function as a container for powdered ink to accompany a sagemono of yataté. This is an exemplary work of the guri lacquer technique of alternating layers of black and red lacquer, here deeply carved and polished in stylized cloud patterns. Fitted with silver mounts to serve as himotoshi and stopper. Ex: Atchley Collection. Illustrated: The Virginia Atchley Collection of Japanese Miniature Arts, pg. 173, ills. N242.

Height: 5.7 cm

 

114. An antique tagua nut (vegetable ivory) netsuke of a happy farmer, the skin of the nut forming his winter head wrap. Signed Shogyoku. Circa 1870.

Height: 4.6 cm 

 

           
           

115. Kaeru, kaeru, kaeru:
A symphony of frogs, I can hear them now. Seimin, at his idiosyncratic best, created this cluster of eleven ‘good luck’ frogs on a pair of raffia sandals with lotus leaf and ceremonial drum. Is it a wonder that Seimin’s nickname was ‘Kaeru’? Meinertzhagen writes, “Seimin was an artist in the true sense, combining originality, even eccentricity in his designs and techniques, with fine craftsmanship. His work is always inspired with artistic feeling.” Marine ivory with lustrous patination. Mid-19th century. Ex: Hahn Collection. Illustrated: Netsuke from the Teddy Hahn Collection, Barry Davies Oriental Art, pg. 83, ills. 111. For similar, but smaller examples: Davey, pg. 262, ills. 812; The Baur Collection, pg. 311, ills. C947. 

Length: 5.0 cm

 

116. A powerful ball of double abundance; two rolling rats whose plump, supple bodies fill the hand and delight the eye from every angle. Skillfully carved with extraordinary realism, the natural himotoshi in obvious placement for functional efficiency. A remarkable netsuke whose largess is with fixed intention, to be a boon of prosperity for the wearer. Boxwood with umimatsu eyes. Signed Keimin. 

Length: 5.5 cm


           
           

117. The Junishi – 12 animals of the zodiac. The artist has adeptly arranged each beast comfortably in each other’s company to create a compact composition that is captivating from all directions. Signed Chokyusai.

Length: 4.9 cm

 

118. An extraordinary antique Japanese carved ivory study of the human skull, remarkably realistic in its every detail. The artist has carved his study to be in two sections, so that the cranium of the skull may be removed to reveal an equally detailed interior where he has also placed his carefully engraved signature. Signed Kyokumon. Circa 1880. 

Length: 5.4 cm


           
           

119. This remarkable netsuke is carved from the hard shell of a kurumi (walnut) with 37 distinctive Noh and Kyogen theatrical masks. Clustered to appear random, but each one skillfully arranged in this compact composition. Signed Seimin. Circa 1830-40. Ex: Bushell Collection, Illustrated: Netsuke, Familiar and Unfamiliar, pg. 147, ills. 319.

Height: 3.8 cm

 

120. A most unusual antique ivory netsuke of two lanky frogs in juxtaposition upon a lotus pad, in parody of the Yin Yang symbol of balance and harmony. Attractively worn and patinated with a natural form himotoshi in the stem of the lotus pad. Eyes inlaid in brass. Circa 1840. Illustrated: Netsuke Through Three Centuries, Barry Davies Oriental Art, pg. 131, ills. 151.

Diameter: 4.0 cm


           
           

 

 

 


           
           

 

 

 

 

           
           

 

 

 

 

           
           

 

 

 

 

 

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