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Catalogue: Antiques: Regional Art: Asian: Japanese: Netsuke and Related (10)

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Edo Period Stag Antler Netsuke of a Monkey

Catalogue: Antiques: Regional Art: Asian: Japanese: Netsuke and Related: Pre 1900   item# 118066 (stock# GK-1029)

Edo Period Stag Antler Netsuke of a Monkey
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B & C ANTIQUES
203-929-7312


$725 

Unusual early 19th century stag antler netsuke of a tiny monkey carrying a giant mushroom and two chestnuts on his back. Unsigned. Many early carvers, in accordance with prevailing custom, did not sign their netsuke. Early netsuke were often carved from stag antler, an inexpensive and readily available material in Japan. When the monkey is placed on its feet, this netsuke does balance and stand up. Monkeys are among the most popular of netsuke subjects in part because they are heroes of so many stories, and their human qualities permit netsuke carvers to depict them in amusing situations. Monkeys have been a natural focus of religious and ritual matters in Japan. The common denominator is the monkey’s role in engaging the powers of the deities to heal, ensure good harvests and promote human fertility. Mushrooms are emblems of longevity, as well as fertility symbols. Their prominent use in the symbol-rich netsuke art form often reflects their sexual symbolism. Some artists of the Edo period also used the chestnut as a fertility symbol. (See page 104 of “Netsuke: The Netsuke Collection of the Peabody Museum of Salem” for a similar netsuke of a tiny monkey carrying a huge mushroom on its back.) Condition is perfect. This netsuke has a beautiful patina reflecting many years of handling. Overall dimensions: 2 3/8” x 1 ½.”


Hirado Porcelain Netsuke in Chestnut Form

Catalogue: Antiques: Regional Art: Asian: Japanese: Netsuke and Related: Pre 1900   item# 384326 (stock# K-26)

Hirado Porcelain Netsuke in Chestnut Form
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B & C ANTIQUES
203-929-7312


$425 

This iron brown glazed porcelain netsuke, molded in the form of a chestnut surmounted by a wasp in high relief, is very likely a product of the Hirado kilns. Meiji period (1868-1912) The brown glazed wasp rests atop of the chestnut with its wings and legs extended. The top section of the chestnut is glazed all around, and the bottom section was left unglazed and molded to resemble the stem base of a real chestnut. There are two holes (himetoshi) on the back side for the connecting cord. A similar Hirado example dating to the early 19th century is illustrated in Figure 74 in “Hirado-Yaki Saikumono” (“Small Hirado Porcelain Netsuke and Ornament of the Edo Period”) by Toshio Noda. Hirado wares were produced at Mikawachi near Arita, and for much of its history was made under the patronage of the lords of Hirado. Aristocratic patronage ended in the 1830’s with the commercialization of the kilns. Hirado ware consists of a pure, fine-grained and high-quality white porcelain that would be fired to high temperatures. The production of netsuke was widely exploited for commercial reasons by the Hirado potters in the latter years of the 19th century, when large quantities were produced. Condition is excellent with only normal surface wear and scratches, and the patina is very appealing. What looks like a mark on the back is a firing flaw. Dimensions: 2 5/8” x 2” x 1 1/8” deep.


Japanese Black Lacquer Inro

Catalogue: Antiques: Regional Art: Asian: Japanese: Netsuke and Related: Pre 1920   item# 149870 (stock# SB-18)

Japanese Black Lacquer Inro
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B & C ANTIQUES
203-929-7312


$395 

This simple four case black lacquer inro has a leathery sharkskin-like texture which is decorated with etched designs of scrolling vines (karakusa). Meiji period (1868-1912). Plain black lacquer interior. The ojime consists of a simple mottled turquoise glass bead. Inro are small Japanese containers made in several sections which are fitted on top of each other so perfectly that the joints are hardly noticeable. They required great skill to craft. They were carried on the right hip, suspended from the obi with a double silk cord attached to a netsuke. A small bead (ojime) held the cords together just below the obi. The earliest inro were used for containing seals; however, in later they were used as medicine boxes. Condition is excellent, with just a couple areas of minor roughage on the edge of the top. Dimensions: 3” x 1 3/4” x ¾” deep.


Staghorn Antler Sashi Netsuke Depicting Ruyi Scepter

Catalogue: Antiques: Regional Art: Asian: Japanese: Netsuke and Related: Pre 1837 VR   item# 389685 (stock# GK-368)

Staghorn Antler Sashi Netsuke Depicting Ruyi Scepter
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B & C ANTIQUES
203-929-7312


$780 

This unusual early 19th century stag antler netsuke was carved in the form of two sacred ruyi fungus scepters. Unsigned. Many early carvers, in accordance with prevailing custom, did not sign their netsuke. Early netsuke were often carved from stag antler, an inexpensive and readily available material in Japan. A sashi is much longer than the more typical sized netsuke. Part of a sashi netsuke – the curved ruyi fungus heads in this case -- would be tucked into the obi in order to provide better balance and support for the sagemono. Use of the scepter known as ju-i in China and ruyi or nyoi in Japan dates back several millennia. In connection with Chinese Buddhism, the scepter has been used for many centuries as a symbol of authority. Over time, it was produced in both China and Japan primarily as a presentation gift. The scepter is itself an auspicious symbol, and its use associates the owner with the cultured life of a scholar. The popularity of the ruyi scepter is linked to the fact that the scepter’s head is shaped to resemble the auspicious Fungus of Immortality. (A similar wood ruyi sashi netsuke is illustrated on page 228 of “Symbols of Japan: Thematic Motifs in Art and Design” by Merrily Baird.) Condition is excellent. This netsuke has a beautiful patina reflecting many years of handling. Dimensions: 5 3/8” long, 2” wide.


Signed Ivory Netsuke of Priest with Mokugyo

Catalogue: Antiques: Regional Art: Asian: Japanese: Netsuke and Related: Pre 1920   item# 112556 (stock# GK-1348)

Signed Ivory Netsuke of Priest with Mokugyo
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B & C ANTIQUES
203-929-7312


$2,850 

A wonderfully carved ivory and wood netsuke in the form of a Buddhist priest sleeping on his hands against a mokugyo gong. Meiji period (1869-1912). The dark wooden gong is intricately inlaid with tsuishu lacquer. It is signed, but we do not recognize the artist. A mokugyo is a small Buddhist temple gong. The Japanese word “mokugyo” means “wooden fish” and first applied to long fish-shaped drums that were hung in Zen temples and struck with wooden poles. The more spherical, hollow wooden gong known today as a mokugyo was brought to Japan in the seventeenth century. Carvings of animals often decorate the handles of these spherical gongs, with a design of two dragons holding a sacred jewel between them especially common. The round hollow body produces a mellow sound when struck. Chanting a Buddhist sutra, a priest strikes the gong with a padded stick for emphasis. This version of the mokugyo is a favorite subject of netsuke carvers. Condition is excellent with wonderful patina. Overall dimensions: 1 ¾” x 1” x 1 3/8” high.


Edo Period Wood Netsuke of Gama Sennin

Catalogue: Antiques: Regional Art: Asian: Japanese: Netsuke and Related: Pre 1800   item# 794936 (stock# GK-1381)

Edo Period Wood Netsuke of Gama Sennin
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B & C ANTIQUES
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$2,350 

Japanese wood netsuke showing a beautifully detailed three-legged toad with inlaid eyes resting on the back of Gama Sennin, who also had inlaid eyes. This unsigned piece, which has been dated to the18th century, has a beautiful patina. (Netsuke carved in the 18th century were generally unsigned.) He holds one of the toad’s legs in his left hand, and in the other hand he holds a branch. He is wearing a cape of mugwort leaves.

Gama Sennin is a Taoist sennin who usually has a toad on his shoulder. Sennin are the immortals, fairies and wizards of the Taoist tradition that evolved in ancient China. They are typically depicted as recluses living in mountainous areas. They often appear dressed in tattered robes or in cloaks of mugwort leaves. Chinese tradition holds that a three-legged toad inhabits the moon and causes lunar eclipses by swallowing the celestial body. The amphibian is reputed to have stunning powers of escape and a formidable knowledge of healing plants, and the toad is associated with Taoists who seek to develop these talents. Although Taoism never took hold as a formal religion in Japan, large numbers of sennin are represented in Japanese art.

CONDITION is perfect. DIMENSIONS: 2” (5.1 cm) high, 1 ½” (3.8 cm) wide, 1 ¼” (3.3 cm) deep.


Carved Wood Netsuke, Shishi and Pup

Catalogue: Antiques: Regional Art: Asian: Japanese: Netsuke and Related: Pre 1920   item# 407583 (stock# K-18)

Carved Wood Netsuke, Shishi and Pup
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B & C ANTIQUES
203-929-7312


$450 

This stained wooden netsuke has been carved in the shape of a mother karashishi (Chinese lion) with pup and dates to the early 20th century. Unsigned. The mother’s front paw rests on a ball with cutout coin motif. The pup is curled against the mother’s body. The space carved between the pup’s front paw and the ball serves as the himotoshi , i.e., the opening carved to attach the cord from the sagemono. Legendary Chinese lions figure prominently in Buddhist art. Their distinctive features include a characteristic square head, broad nose and large eyes topped by a row of tight curls across the brow. Karashishi are typically depicted as a mother and pup or as a single animal with its front paw on a ball. This netsuke includes both the pup and the ball. Condition and patina are excellent. Dimensions: 1 ½” x 1 1/8” x 1 ½” high.


Japanese Leather Tobacco Pouch, Meiji

Catalogue: Antiques: Regional Art: Asian: Japanese: Netsuke and Related: Pre 1920   item# 105542 (stock# 15-207)

Japanese Leather Tobacco Pouch, Meiji
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B & C ANTIQUES
203-929-7312


$975 

A fine embossed and polychromed leather tobacco pouch (“tobako-ire”) with large silver clasp (“kanemono”) depicting a karashishi with peony in relief. Late 19th century. The 10-strand brass chain, held together by a brass ojime-type fitting with relief work dragon, is fitted to a large kagamibuta (mirror lid) netsuke with a gilded silver top, also worked with a dragon in low relief, within an ivory colored manju. The front of the embossed leather pouch is decorated with Japanese irises, and the back has seabirds on a plank bridge. The interior is covered with embossed suede decorated with flowers and vines. The pouch has two pockets: one large one and a smaller hidden one secured by an ivory clip. (We found a business card, probably of the owner, dated October 4, 1903, in the small inner pocket along with a leather match striker.) This beautifully crafted and nicely aged pouch is a wonderful example of a sagemono or hanging object. Sagemono were an essential storage item as the kimono did not have pockets. Raymond Bushell tells us that the Meiji era (1868-1912) was the golden age of the smoker’s sagemono. Fashion and skilled craftsmen collaborated to produce costly tobacco pouches with clasps made by the best metal artists. This pouch, from an old Seattle estate, is well worn; however it is in very good condition considering its age and daily usage. The leather shows some age wear and is dry, and the right side of the larger pocket needs to be re-stitched. Overall dimensions: pouch measures 5 ½” wide by 3 ¾” high; chain is 4 ½” long; netsuke is 2” in diameter.


Black Lacquer Inro with Rabbits in Zeshin Style

Catalogue: Antiques: Regional Art: Asian: Japanese: Netsuke and Related: Pre 1920   item# 357233 (stock# SB-42)

Black Lacquer Inro with Rabbits in Zeshin Style
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B & C ANTIQUES
203-929-7312


$1,495 

This charming three case inro has a rich black roiro-nuri lacquer ground decorated with two rabbits simply executed in gold and pewter takamakie (raised) lacquer in the style of Shibata Zeshin. Meiji period (1868-1912). The reverse is subtly decorated with a large inlaid pewter sliver of a crescent moon in relief. The elegant simplicity of this piece is remarkable. The rabbit in the forefront is artfully executed in coarsely-textured dark gray lacquer imitating pewter, and the second rabbit is similarly finished in dark gold lacquer imitating bronze. Both have red lacquer eyes and accents of brown lacquer. The black roiro background is created by a technique using the highest quality black urushi lacquer, applied and polished in several layers. It is only used on the highest quality inro. Given the quality of this piece, it is surprising it is not signed. The interior is finished in red and gold lacquer, and the ojime consists of a simple turquoise bead. The rabbit is commonly associated with the moon in art and legend, and the design and subject matter of this inro are quite typical of Zeshin’s unique style.

Shibata Zeshin (1807-1891), usually considered to have been one of the finest of the master Japanese lacquer artists, was noted for his originality, versatility and expert craftsmanship. Zeshin was fond of creating lacquer which simulated the texture of other materials, such as metal, leather, pottery, etc. He paid strict attention to the details of small things, and his designs were usually simple and frequently humorous. In general, his works were bold, artistic, imaginative, well planned and meticulously executed, with great emphasis on finish and realistic detail. While his subject matter was quite diverse, Zeshin is perhaps most noted for his whimsical portrayal of the small animal and insect aspects of nature, and the positioning of the two rabbits on this inro is clearly in his style. (See “Inro and Other Miniature Forms of Japanese Lacquer Art” by Melvin and Betty Jahss.) Inro are small Japanese containers made in several sections which are fitted on top of each other so perfectly that the joints are hardly noticeable. They required great skill to craft. They were carried on the right hip, suspended from the obi with a double silk cord attached to a netsuke. A small bead (ojime) held the cords together just below the obi. The earliest inro were used for containing seals; however, in later they were used as medicine boxes. Condition is excellent, with only a minor dent on the bottom. Dimensions: 2 ¾” wide, 2 ¼” high, 7/8” deep.


19th Century Lacquer Netsuke, Lion Dancer

Catalogue: Antiques: Regional Art: Asian: Japanese: Netsuke and Related: Pre 1900   item# 108502 (stock# GK-1388)

19th Century Lacquer Netsuke, Lion Dancer
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B & C ANTIQUES
203-929-7312


$1,250 

An unusual lacquered wood netsuke in the form of a lion dancer with outstretched arms, embellished with flowing red hair, a gold mask and a black and gold lacquer costume. 19th century, unsigned. With the influx of Buddhism to Japan in the 7th century came an early dance form called “gigaku.” Gigaku means “skill-music,” and it included a type of dance called the “shishi-mai,” a dance portraying a mythical lion. The early gigaku dances occurred at the New Year. The legacy of this dance form can be found in the street lion dancers and in the lion dance play, Shakkyo, of the Noh theater. Several Kabuki versions are derived from the Noh play. This Shakkyo lion dance is represented by a pair of dancers, one with flowing red hair and the other with flowing white hair. Typically, the Noh dancers wear the shishigushi mask for the spirit of the lion, which has a ferocious face. Condition is excellent. Overall dimensions: 1 ½” high, 1 ½” wide.

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