JAPANESE NETSUKE AND PIPE CASES
NETSUKE & PIPE CASES, JULY 2020 www.willford-ja.co.uk robert@willford-ja.co.uk +44 7534 423 803
FOREWORD It has been six months since I published my first catalogue that focused on inro. I am excited to publish my second with a shift from inro to netsuke. The following pages showcase a beautiful collection of 41 netsuke and pipe cases, the majority from one private British collection, topped up with my own stock. 2020 has certainly not been an average year, tainted with much sadness across the globe. However, the opportunity to spend an extended period at home with my family has proved to be a lot of fun. My wife and I have juggled a full-time job and the running of a business with the schooling of my five-yearold, Henry, along with caring for our 17-month-old son, Thomas. A lot has been achieved: Henry learnt to ride his bike, and Thomas (who has overcome some serious health issues in his short life) has learnt to walk. I’m incredibly proud of both of them and my wife, Nicola, for putting up with a house of three very loud boys! In between my new teaching duties, I’ve been able to escape to my garden with my laptop and create what I hope is an enjoyable and informative catalogue of interesting collectors’ netsuke. My favourites from the collection are the “Toad and Young” by Tametaka – its size and sumptuous surface have meant it has spent many an hour in my hands. One from my own stock, and a latecomer to the catalogue is the bamboo pipe case “Weaves, Strips & One Knot”. It is my hope to, in the not too distant future, hold an exhibition of Japanese bamboo art, both antique and contemporary. It’s something I’ve collected for a while and for me it embodies a lot of what is beautiful about Japan and its culture. The pipe case really connects my love of both sagemono and bamboo art. I hope you enjoy the catalogue and I look forward to being able to meet with many of you again in the near future.
ACKNOWLEDGEMENTS Thank you to Chris and Tom at Unique Capture. My debut catalogue was the first time Chris had shot sagemono; over the past 6 months, he has refined the process and I believe the quality of photography in this catalogue is an impressive step up from what was already a wonderful collection of images. Adam Hovey of Wize Guy Design, who has again created the layout, thank you for your patience in helping me to put the collection on paper. Thank you also Abi Willford, a brilliant copywriter who proofs my words and pulls my notes together into what you read on these pages. My final thanks must be made to the collector whose netsuke I offer in this catalogue. I met you properly for the first time in Paris at the International Netsuke Society convention, and we’ve spent a good amount of time together since. Your support, knowledge and time are appreciated more than you know. Thank you, my friend.
AWABI AND OCTOPUS 202006-220
A large awabi (abalone) shell has become home to an octopus and pair of molluscs. The trio sit snuggled together atop the awabi shell, the shell is well detailed with darkly stained stippling to the surface, the respiratory pores that define the ridge of the awabi are particularly well carved. The octopus’s chubby tentacles extend across the surface, encircling its two companions – or lunch, as they may well be – the eyes inlaid. The underside shows the flesh of the awabi, with the himotoshi formed from a larger and a smaller circular hole. Signed to the base Kigestu, a rare artist with only two netsuke recorded in the MCI, one being this piece and the other depicting a crab atop an awabi shell. At least one other netsuke by this hand exists, again depicting an awabi with sea life on top. Clearly, Kigetsu, a talented carver, was very fond of seafood but not so fond of carving, with so few netsuke recorded to his name. Circa 1810 Signed, Kigetsu 5.1cm long 3.7cm deep 3.5cm tall Provenance: Sold at Sotheby’s 11/12/2003 lot 163 Ex-Carlo Monzino collection Recorded in the MCI with no illustration Sold at Sotheby’s December 1955
MONKEY AND CLAM 202006-229
An unsigned wood netsuke depicting a seated monkey holding a clam. The monkey is hunched over the clam, poking at the flesh of the mollusc. The monkey’s body is covered in soft and silky hairwork, his hands are very well rendered and eyes deeply carved and double-inlaid. Circa 1840 Unsigned, Gifu school 4cm long 3.1cm tall 2.9cm wide
SARU KANI GASSEN 202006-230
A monkey lays on his stomach, hand feeling around his back but unable to reach his visitor; the crab has climbed up and sits in the middle of the monkey’s back. To the underside, the himotoshi is formed by one large and one small hole. The ivory, well worn, has taken on a beautiful warm yellow patina. The Crab and the Monkey, also known as Monkey-Crab Battle (saru kani gassen) is a Japanese folktale. In the story, a sly monkey kills a crab, and is later killed in revenge by the crab’s offspring. Retributive justice being the main theme of the story. Circa 1780 Unsigned 5.6cm long 2.3cm wide 1.5cm deep
CAT WITH KITTEN 202006-234
A wood and lacquered netsuke depicting a cat and kitten seated on a base. The mother pulls her tiny kitten close into her body, her foreleg draped over the back of the kitten in a very affectionate manner. To the underside, the himotoshi is formed by two circular holes. Circa 1820 Signed to the base with what I believe to be Joten, however, the first kanji is very stylised. 4.2cm long 2.9cm tall
SEATED OX 202004-154
A rare recumbent ox in ebony with various inlays by Masayoshi. A content looking seated ox, his backbone and hips prominent and face beautifully rendered, his horns inlaid in stag antler. The double-inlaid eyes bestow a calm and gentle look on the animal and to the recesses, delicately incised hairwork. The underside is very well rendered with strong, well-proportioned limbs and a pleasing line to the neck, the hairwork more visible to the base. In my opinion, the lack of hairwork to the body is not due to use; I believe that Masayoshi intended for the body to be smooth and the hairwork has been applied selectively to accentuate the curves and lines of the netsuke. The himotoshi is formed by two equal-sized holes to the base. 1820–1840 Signed, Masayoshi, Echigo 5.5cm long 3.1cm wide 2.2cm tall
TOAD AND YOUNG 202006-221
A wide toad with two young, by Tametaka. The mother toad sits with one of her little toads safely on her back and the other still making the ascent. The surface of the wood is worn and a sumptuous patina has formed. The bumps of the mother toad’s skin run over her head onto the back, her bulbous flanks bulging and smooth. Her face and front legs are exceptionally rendered. The eyes of the large toad are double-inlaid, the dark pupils rimmed with metal. Both the young toads’ eyes are inlaid with tiny dark dots. The underside is again simple but beautiful, with rolls of fat that define the mother toad’s neck from the rest of the body, the rear feet curled inwards towards the cavernous himotoshi formed from one large oval and one smaller vertical oval. Although worn, the netsuke is full of feeling. I’m not sure it’s an accepted way to describe a netsuke but when I look at this piece, the surface appears almost like melted chocolate, in the most pleasing way. Although early, it is my opinion that the wear and its current appearance, for the most part, is the way Tametaka intended it to look. Circa 1780 Signed, Tametaka 4.8cm long 4.3cm wide 2.8cm tall Ex-Teddy Hann collection
FAMILY OF FROGS 202005-193
A walrus ivory netsuke depicting a family of five frogs on a worn-out waraji (straw sandal). The two parents fill the waraji, leaving their three young to climb on top of them. The eldest and largest of the three young has made the ascent and sits astride both its mother and father; his two younger siblings are still working their way up. The space between the frogs and the waraji is fully excavated, the frogs stained and polished to form a sumptuous colour, enhancing the natural depth of the material. To the bottom, the waraji is carved in detail with various holes, one forming the opening for the himotoshi. The frogs’ eyes inlaid in brass. Circa 1860 Unsigned, attributed to Seimin 4.1cm long 3cm wide 2.1cm tall Similar examples: Collection of Raymond and Frances Bushell, Los Angeles County Museum of Art – Accession number M.91.250.125
SNAKE AND TORTOISE 202005-186
A snake encircles a tortoise, tightly wrapping itself around the tortoise’s carapace. Both the snake’s and the tortoise’s heads are turned slightly to the left, they appear to be looking at the same point in the distance. The snake’s scales are delicately incised, especially the larger ones to its head. The tortoise’s limbs, neck and feet are all well carved. The carapace is carved in realistic form with nice linework. To the underside, the himotoshi is formed by two circular holes on either side of the snake’s body. Both creatures’ eyes are double-inlaid with yellow horn and black pupils. The pairing of snake and tortoise symbolises the north and winter. Owing to the similarities in the form of their heads, it was believed that they were male and female of the same species. It was also believed that they procreated via thought alone. This could explain why our carver has placed the head of the snake perfectly above and central to the tortoise’s head. Maybe it’s not that they are simply looking at the same point in the distance, but that this symbolises the joining of their thoughts. Circa 1880 Unsigned 5.4cm long 5cm wide 4cm tall
PLAYING PUPS 202006-232
A very well toned ivory netsuke, a pair of chubby pups roll and play. The smaller is laid on his back with the larger pup laying across his belly, pinning him. The smaller pup reaches back to give his playmate a nip, and the larger pup’s foot is raised against the neck of the smaller, poised to push him away. The pups’ bodies are chubby and plump, their faces gentle and full of life. The hairwork is worn in places but the whiskers to the inside protected areas are visible and formed of strong bold strokes. The underside reveals both the sumptuous colour of the ivory and also the excellent openwork, the space between the pups is fully excavated and the arm of the smaller pup is visible within, along with the well-preserved hairwork. The himotoshi is formed of one large and a smaller circular hole. Circa 1770 Unsigned, Kyoto 4.1cm long 2.7cm tall Similar example: Bonhams, London – Fine Japanese Art – lot 100 16 May 2013
PLAYING PUPS 202003-62
A fine wood netsuke depicting a pair of chubby playful pups. The delicately incised hairwork gives the surface a glossy, silky appearance. One pup’s mouth is open, revealing tiny carved teeth. The himotoshi is formed by the leg of one pup. Circa 1850 Signed, Ittan, Nagoya school 3.3cm long 2.7cm tall 2.6cm wide Similar examples: For a very similar netsuke by Ikkan, see Bonhams, The Harriet Szechenyi Sale of Japanese Art 8 Nov 2011, lot 171 Two are recorded with line drawings in the MCI page 252
SNAIL ON FOLDED LOTUS LEAF 202006-219
A snail slithers across a folded young lotus leaf. The flesh of the flower is incised with dense linework that contrasts nicely with the highly polished opening of the flower and shell of the snail. The himotoshi is formed by a large and a smaller circular hole. Circa 1820 Unsigned 5.3cm long 4.4cm deep 2.7cm tall Similar examples: Victoria and Albert Museum, accession number A.999-1910
MASK HYOTTOKO 202004-166
A large stag antler Hyottoko mask. The natural grain of the antler is used well to accentuate the character’s face. Circa 1860 Unsigned 4.7cm tall 3.9cm wide 2.4cm deep Similar examples: Netsuke Masks by Raymond Bushell
GAMA SENNIN 202006-213
A worn and warm old netsuke depicting a very happy Gama Sennin. A toad sits on Gama’s upturned foot, looking up at him. Gama strokes the toad with one hand and holds its front leg with the other. To the rear, a cavernous oval opening forms the entrance to the himotoshi, the exit a small hole to the base. Signed Miwa, to the base. Circa 1770 Signed, Miwa – a square kakihan/kao 3.7cm long 3.6cm tall 2.5cm wide
ISLANDER 202005-208
A bulky netsuke, the subject had long frustrated its previous owner, who was undecided as to who he is and what he holds in his arms. I’ve certainly enjoyed my hours of studying this netsuke. It feels bulky in the hand and is really enjoyable to handle – I’m clearly not the first to feel this way about him, the surface is nicely worn and bears a fine patina. In my opinion, the bald scalp and curls of hair along with loincloth point towards an islander, more precisely a Kurombo diver. He is depicted seated; wearing nothing but his loincloth, he clings to his prize. It’s my belief that he holds a large piece of coral, and he seems to be very proud of his find. Circa 1800 Unsigned, Tsu school 4.9cm tall 4.2cm wide 3.6cm deep Provenance: Ex-Sheila M. Baker collection Published in Rutherston and Bandini, “The Sheila M. Baker Collection of Japanese Netsuke and Inrō”.
BLIND MAN 202004-133
A wood figure depicting a blind man leaning over his box, the feeling conveyed in the netsuke is striking for such a small sculpture; with a gentle twist in the figure’s torso and dropped left shoulder, the carver conveys a sense of pain and toil. Circa 1820 Unsigned 3.6cm tall 2.7cm wide 2.2cm deep
SEATED DARUMA 202006-217
A wood netsuke depicting a seated daruma, by Hara Shumin. The wood is lightly stained with inked hair covering the daruma’s face and chest, the chest also bearing Shumin’s hallmark giant nipples. The folds of the daruma’s robe are defined with perfectly carved lines that outline each fold. To the bottom, the himotoshi is formed from one very large oval and one small circular hole, both ringed and stained green. I’m a big fan of the Shumin carvers; their chosen subject matter is by no means original, but their take adds a sense of humour and personality. One netsuke that always springs to mind is a resting duck that sold at Bonhams on 8th May 2016, lot 42 – a common enough subject, but the face conveys a cartoonish rage with its comical beak and eyes, while the rest of the body conforms to the norm. When I look at this daruma, I see bags of personality in the face – it’s subtle and not as obvious as the resting duck, but still there. Circa 1840 Signed, Shumin 4.1cm tall 4.2cm wide 2.9cm deep Similar examples: MCI – Several pictured with line drawings attributed to both Shumin I & II – pages 775, 777 Victoria and Albert Museum accession number CIRC.27-1918 Barry Davies, Netsuke from The Teddy Hann Collection, 1996 - Number 31
BOY CARRYING A DARUMA DOLL 202006-225
A boxwood trick netsuke depicting a boy carrying a very large and grumpy daruma doll. The boy’s head wobbles and moves from side to side. His facial expression strained, he appears to be struggling under the weight of the massive doll. The daruma’s eyes are double-inlaid with yellow and black horn, and the boy’s inlaid with dark dots. The himotoshi is formed by a natural opening between the boy’s arm and body. Circa 1900 Unsigned, attributed to Homin 4.9cm tall 4.3cm deep 3cm wide Similar example: An almost identical netsuke signed Homin was sold at Christie’s on 20th October 2015, lot 64.
FUKUSUKE 202006-224
An amusing netsuke of Fukusuke. Standing holding a fan, his head and ears are massively out of proportion to his small body, making for a humorous composition. The body is inlaid with ivory dots and the himotoshi ringed with black-stained ivory. Kokeisai Sansho was a celebrated carver of the Meiji period. Producing both figures and masks, he worked in a distinctive and recognisable style leaving behind a large body of work, both signed and unsigned. When one looks at the figures produced by Sansho, there is a distinct group typically rendered with Sansho’s trademark expressive faces and comparatively simplified bodies, as we see in the example I offer. For a similar subject and style, see MCI page 700, a Fukusuke holding an Okame mask, signed Sansho.
Circa 1900 Unsigned, attributed to Kokeisai Sansho, Osaka (1871–1926) 5.1cm tall 2.4cm wide 2.2cm deep Old accession number inked to the base A 3680-476 Similar examples in this style: Bonhams London, 12th November 2015 – Fine Japanese Art – lot 27. Christie’s London, 12th May 2010 - Japanese Art and Design – lot 219. (MCI) The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum page 700 and published in the Behrens Catalogue, number 3781.
RYUJIN 202003-v
A fine wood netsuke depicting Ryujin and his dragon. Ryujin stands, foot raised slightly; he holds a tama jewel in one hand and strokes his beard with the other. Ryujin’s clothes are decorated in panels of stylised blossoms; his beard, both arms, and the dragon’s body and whiskers are carved to expose openwork in a composition that is full of movement and life. The dragon’s scales are delicately incised and a natural opening between the dragon and Ryujin forms the himotoshi. The signature to the foot is not to be trusted. Several mid 19th century figures by the artist Yoshikane have strong similarities with the netsuke I offer, one such a Gama Sennin published in Netsuke and Inrō Artists, and how to Read Their Signatures, has the same pronounced cheeks and similarities between the body, feet, and clothes. Inscribed to the foot, Miwa Circa 1850 9.1cm tall 2.2cm wide 2.1cm deep Similar examples: Netsuke and Inrō Artists, and how to Read Their Signatures, by George Lazernick
BUSHO SLAYING THE TIGER 202006-210
A large ivory netsuke of Busho slaying a tiger. The tiger’s head is down and turned away from Busho, his rear legs raised attempting to pull himself away. Busho, who has the upper hand, has one arm around the tiger’s neck, the other driving a sword into the tiger’s body. His robes hang down around his waist, dishevelled from the struggle, the rolls of cloth forming the two holes of the himotoshi. The sword is an unusual addition to this legend and one that I have spent much time considering. Normally, we would expect the addition of a sword to point toward the legend of Hadesu, but the lack of armour and style of the figure’s hair and clothes make me believe that Busho is the intended legend and that some artistic licence was employed. Circa 1780 Unsigned, Kyoto 7.4cm long 3.5cm tall 3.3cm deep
MITSUHARU DRAGON 202005-199
An ivory ashtray netsuke depicting a single-horned dragon by Mitsuharu. Head turned back, its long face is nestled into its tail. Flames lick up both sides of the dragon’s body, its backbone a strong ridge that runs from the neck to the ball of the tail. The dragon is sitting atop a mass of clouds but the underside is carved into the bowl of the ashtray. The himotoshi is formed by an opening between the rear leg of the dragon and the clouds. Circa 1790 Unsigned, attributed to Mitsuharu 3.8cm long 2.7cm tall 3.0cm deep
TENGU NO TOMAGO 202006-218
A lightly stained wood netsuke depicting a tengu no tamago by Hoshunsai Masayuki. The tengu seems very pleased to be getting free from the confines of its egg, the pleasure evident in his cheerful expression. I’m particularly fond of the eyes, which really convey the tengu’s delight. The top is covered with leaves and broken shell along with one half-freed wing. To the underside, one claw has pierced the shell just about to break a chunk off. The himotoshi is formed by one large rimmed oval and a small circular hole. Circa 1870 Signed, Masayuki with a kao 3.2cm wide 3.8cm deep 2.3cm tall Similar examples: For a similar example in ivory, see Sydney Moss, ‘Kokusai the Genius’, vol. III, pp. 84–85.
TENGU NO TOMAGO 202006-227
A large wood netsuke depicting a tengu no tomago hatching. Only just starting to break free from its shell, the creature’s beak and face are all that is visible. Unlike our Masayuki tengu, he looks less than pleased with the situation. The surface of the shell is smooth, lightly stained and highly polished to accentuate the beautiful grain of the wood. His eyes and Tokin headwear are inlaid in either dark horn or umimatsu. Circa 1850 Unsigned 4.8cm tall 4cm wide 3.7cm deep
SHISHI AND PEONY 202006-228
A stag antler ryusa netsuke depicting a shishi seated on a rock, the shishi sporting a rather cheeky grin. A lone peony grows behind it and the rocks are pierced with openwork. To the reverse, a fivepetaled flower radiates out from the central himotoshi, delicately carved in openwork with a warm yellow colour. Circa 1870 Unsigned 4.4cm wide 2cm deep
SHISHI AND PEONY 202006-216
A cylindrical piece of beautifully coloured umimatsu full of yellows, reds, oranges and browns. The top is carved in low relief, with a lone shishi surrounded by a peony. The ends of the material display rings of colour that bear a resemblance to annual tree rings. The back of the netsuke has been left uncarved allowing the colour and beauty of the umimatsu to be enjoyed, only broken by the deeply excavated himotoshi formed by one large oval and one smaller circular hole. Circa 1790 Unsigned 4.3cm long 3.2cm wide
SEATED ONI 202006-222
A muscular oni, seated holding a vessel in both hands, his eyes wide and teeth gritted, legs pulled up and feet pressed together forming a compact composition. The surface of the wood is nicely worn, displaying a beautiful deep patina. To the underside, the oni’s loincloth forms the bar for the himotoshi. It has previously been suggested that the vessel the oni holds is a shrine that the oni had stolen from Bishamon Ten. This could be the intended subject, although in all the netsuke I’ve encountered of that subject the oni is on a cloud escaping, or Bishamon himself is present and the shrine looks, well, more shrine-like. If you look into the top of the vessel you can see what appears to be liquid – perhaps our oni is drunk and fears losing his sake, so clings to it with all his might? Circa 1790 Unsigned 4.6cm tall 3.5cm wide 3.3cm deep Similar example: The Julius and Arlette Katchen Collection of Fine Netsuke Part III, lot number 19
SHOKI AND ONI 202006-231
An oni spread atop a basket, pinning it to the ground. A saya (scabbard) of a sword has broken though and pokes out, giving a hint of what lay trapped within. Poor old Shoki, with a rather perturbed look on his face, has been outwitted by the oni and trapped under the basket. The oni’s eyes, teeth and back are inlaid, as are the eyes and buttons of Shoki’s clothes. Circa 1850 Signed, Tomoakazu, Gifu 4.4cm long 3cm tall 3cm wide
RAIDEN 202005-197
A stag antler manju-style netsuke depicting Raiden, the surface a fantastic dark caramel colour. Raiden holds a drumstick in one hand and a large drum sits snugly under his arm, surrounded by swirls of clouds. The design is carved in low relief with the dark crevasses adding to the sense of the storm he is in the midst of creating. To the rear, several drums are carved amongst the clouds, with the himotoshi formed by a section of the central cloud. The subject and interesting colour of this netsuke are very similar to signed examples from the Asakusa carver, Hoshino Hakusai. In the excellent recent publication on the artist by Yukari Yoshida and Gabor Wilhelm, the authors discuss a netsuke of the same subject by Hakusai and highlight the “toasted aspect, which seems to be one of the hallmarks of this talented Asakusa carver�. Circa 1860 Unsigned, attributed to Hoshino Hakusai 4.8cm long 1.8cm deep Similar examples: Hoshino Hakusai, A Rare Asakusa Netsuke Carver, Sagemonoya, Yukari Yoshida and Gabor Wilhelm.
SAVE US, MERCIFUL BUDDHA 202006-215
A wood netsuke depicting a skeleton leaning against a sotoba (grave post), the post inscribed with “save us, merciful buddha”. With one hand, the skeleton holds a lantern, the other is resting on the post; the body of the skeleton is boldly carved. A natural himotoshi is created by the opening between the post and the skeleton’s abdomen. Circa 1850 Signed, Gyokko 7.2cm tall 3.6cm wide 2.8cm deep Similar example: An almost identical netsuke by Gyokko is pictured in Netsuke and Inrō Artists, and how to Read Their Signatures by George Lazarnick.
KAPPA GRAVEYARD ATTENDANT 202006-214
A kagamibuta with stag antler bowl. A gold kappa dressed in robes and hat, and holding a lantern, masquerades as a graveyard attendant against a moon partially obscured by clouds. Aside from the interesting subject and fine nature of the metalwork to the front, two other elements of this netsuke I find particularly interesting. First, the well-rendered stylised blossoms in openwork cover the entire back of the bowl and, when one removes the lid, the bar that forms the himotoshi is in the form of a gourd. A netsuke of the same subject is published in Raymond Bushells Collectors Netsuke. However, the more common theme is for a graveyard monster (Bakemono) to be the creature hidden under the hat, the lantern having been stolen from a freshly covered grave often bearing an inscription. Two such netsukes are illustrated in the 1993 Eskenazi catalogue, Japanese Netsuke from the CarrÊ collection. It does raise the question, who is the little kappa actually attempting to disguise himself as, is he indeed masquerading as a graveyard attendant or in fact trying his best to be a Bakemono? Circa 1870 Unsigned 3.8cm wide 1.6cm deep Similar examples: Raymond Bushell - Collectors Netsuke, number 300. Eskenazi 1993 – Japanese Netsuke from the CarrÊ collection, numbers 94, 95 and 107.
CHRYSANTHEMUMS 202005-183
A Ryusa-style ivory netsuke. Delicately carved chrysanthemums cover the surface; to the verso, the petals radiate from the centre, where the himotoshi has been carved to look like the base of the stem. A very well carved netsuke, completely hollow with openwork between petals and around the edge. Circa 1860 Unsigned 5cm wide 1.8cm deep
PLUM BLOSSOM 202005-200
A fine and delicate two-part lacquered manju-style netsuke. The ground is covered in dense gold nashiji with a surface decoration of plum blossoms in gold and silver. Circa 1860 Unsigned 3.8cm wide 1.8cm deep
WEAVES, STRIPS & ONE KNOT 202006-236
A very unusual musozutsu-style pipe case: some of the five techniques used in the construction of its seven sections are more familiar to basketry than pipe cases. Bamboo is a material embedded in Japanese daily life and culture, and it’s also one of the most versatile materials used in Japanese art. From the bottom upwards, the first section features a tight vertical weave followed by long, vertical strips that have been lightly smoked. Then follows a very unusual weave constructed of horizontal thin strands with dark V-shape sections woven into them. Dark, vertical, long-lacquered strips complete the bottom section and start the top of the pipe case, followed by my favourite section, where six strands meet in the centre to form a tight circular knot, something I’ve never seen on a pipe case, being more commonly used to decorate baskets. The top ends as the bottom began, with a tight vertical weave. This pipe case never made its way to a lacquer artist’s hands for further decoration; it’s a piece that was created to show off the brilliance of the anonymous bamboo artist’s skill. Circa 1870 Unsigned 22cm long 2.3cm wide 1.8cm deep
COURTIER PLAYING KEMARI 202004-152
A bamboo brush case. A lone courtier plays kemari under a willow tree, his foot raised having just kicked the ball into the air, he looks up in its direction. The bamboo is of very high quality with a beautiful tight pattern at the top and bottom of the case; also, the details are finely carved into the surface of the bamboo, especially those that adorn the courtier’s clothes. The top and bottom of the case are plugged with ebony wood, the himotoshi is inlaid in ivory and the courtier’s eyes are inlaid in dark horn. 1800–1820 Signed, Ikko (Hasagawa Ikko) 26.5cm long 2.9cm wide 2.3cm deep
RAKAN & CHILD 202005-175
A wood musozutsu depicting a rakan seated under an old twisted tree; to the rear, a boy sits holding a vessel with one hand and a vine in the other. The details of the tree, rakan and boy have been embellished with coloured pigments, the clothes of both the boy and rakan have been decorated in a matching floral gold pattern. The pipe case is signed Tesso. The pipe case comes complete with coral ojime and tooled tobacco leather pouch with a design of various leaves, fruits and feathers. The metal clasp is formed from a menuki depicting two oxen. Circa 1900 Musozutsu signed Tesso (Nagigawa Tesso) 21.1cm long 2.7cm wide Provenance Ex. Milton Stratos
AUTUMN FLOWERS 202005-185
A wood and lacquer musozutsu. The body of the case is made from wood with very open pores that have been filled and smoothed using a technique called mokume ni shu urushi surikomi (wood grain rubbed with red lacquer). This, combined with the distinctive grain, has created a fascinating surface that has been excellently lacquered with the flowers of autumn and clouds in grey ishime (stone surface). The various other leaves and flowers are lacquered in black roiro, gold, and a spray of silver flowers. A pipe case that employs several interesting techniques in its construction. I have seen two other pipe cases constructed in the same form and that employ mokume ni shu urushi surikomi, both signed Zeshin. Circa 1880–1900 School of Zeshin 20.5cm tall 2.7cm wide 1.7cm deep
LOTUS AND BIRD 202006-211
A light and delicately woven musozutsu, constructed of long strips of pale bamboo, each strip running vertically down the case forming an attractive plait to the bottom and top of the case. The surface of the case is decorated with a lone bird in gold and a silvery blue lacquer. The bird stands next to a lotus, its leaves extend up the case and around both sides onto the verso, the flesh of the lotus leaves rendered in gold and brown isime with strong gold veins. Signed Eiseisai, who appears previously unrecorded, yet the quality of the lacquer and delicacy of the weave shows a very talented artist and I’d certainly like to see more work from this hand. Circa 1900 21.5cm long 2.9cm wide 1.4cm deep
YAMABUSHI 202006-223
A walrus ivory musozutsu-style pipe case. A pair of finely carved Yamabushi (Japanese mountain ascetics) decorate the front, one seated holding an axe and the other blowing on a very large conch shell. The himotoshi is formed by a group of swirling clouds. The reverse of the case is uncarved, allowing for the beauty of the material to be fully appreciated. Circa 1880 Unsigned – a blank mother of pearl signature tablet has been inlaid, presumably to replace the lost original 20.5cm long 2.6cm wide 1.7cm deep
OCTOPUS AND FISHER GIRL 202005-181
A stag antler kiseruzutsu in the form of an octopus and fisher girl. The pair intertwine, the octopus’s tentacles wandering and encircling the girl’s body. The girl holds onto one of the tentacles; her face doesn’t seem to give the impression that the octopus’s advances are unwelcome, she rather seems to be enjoying the situation. To the rear, the tentacles group together to form an opening at the bottom, along with a carved opening in the head of the octopus that would allow a pipe to be safely transported within. The face of the octopus forms the Koku seal – I don’t believe our example to be from Kokusai’s hand, but rather that of a follower. Circa 1870 Asakusa region Unsigned 19.6cm long 2.7cm wide
KAN’U BENEATH A CHERRY TREE 202005-172
A stag antler musozutsu pipe case, Kan’u stands beside a waterfall and beneath a cherry tree holding his dragon-headed halberd. His face and clothes are wonderfully carved, full of life and movement. The cherry tree works its way up the case, partially obscured by mist, the trunk of the tree forming the himotoshi. Circa 1860 Unsigned 20.5cm long 2.8cm wide 2.5cm deep Provenance Ex. Milton Stratos
SCHOLAR & CHILD 202005-177
A stag antler musozutsu, showing a scholar sat next to a child reading. Above, a lamp hangs from a pine tree branch. The tree works its way up the case with clouds obscuring it. The himotoshi is formed by a branch of pine and swirling clouds. To the top section of the case, a pair of birds fly against a background of clouds. Signed Masayuki in a gourd-shaped reserve to bottom of the case. Circa 1880 Signed, Masayuki 22.8cm tall 2.7cm wide 1.8cm deep Provenance Ex. Milton Stratos
SIGNATURES
202006-220
202006-234
202004-154
202006-221
202003-62
202005-177
202006-217
202006-218
202006-231
Kigetsu
Tametaka
Shumin
Joten
Ittan, Nagoya school
Masayuki with a kao
Masatoshi, Echigo
Masayuki
Tomoakazu, Gifu
202006-215 Inscription -
202006-215 Gyokko
Save us, merciful buddha
202005-175 Tesso
202006-211 Eiseisai
202004-152
Ikko (Hasagawa Ikko)
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