JAPANESE INRO, PIPECASES & NETSUKE

JAPANESE INRO, PIPECASES & NETSUKE

JAPANESE INRO, PIPECASES & NETSUKE www.willford-ja.co.uk robert@willford-ja.co.uk +44 7534 423 803

FOREWORD It’s with great excitement and a hint of trepidation that I publish my first catalogue. As a young dealer just starting out, I’ve been bowled over by the support and encouragement I’ve received both from experienced collectors and fellow dealers.

Inrō dominate the catalogue; it’s no coincidence that this is where my own passion lies. I’ve selected each because I believe it offers something interesting, such as the Victory Nuts, a piece which wonderfully demonstrates the combined skill of two masters; or Lobster Upon a Rock, a stunning subject so beautifully rendered. Another favourite is Sarumawashi and Monkey, by Shoami Masatsuna. This little known artist of the Masanari line is mentioned in early Japanese literature; however, my research has uncovered only two works signed in the artist’s name.

My personal favourite, Hotaru, showcases a subtle but interesting combination of techniques. The hotaru dance across the night sky above the beautiful yamimaki-e and brown lacquered floral scene below – a real delight (unless you’re my photographer, who I think is pleased to see the back of it).

Towards the back of the catalogue are a small group of pipecases and netsuke from my own stock, including two contemporary netsuke by the brilliant Adam Bland.

Thank you for taking notice of my first catalogue, and especially for reading the foreword. I hope you are delighted by the photography and that the descriptions provide clear and insightful information on each piece.

Robert Willford

ACKNOWLEDGEMENTS First, I’d like to thank Peter and Kerry Ayre. Growing up, family trips to their home was a source of inspiration and knowledge – as well as breakfast treats.

I remember my first experience of a netsuke was being handed Peter’s latest acquisition, a group of Karako hiding behind a screen, and my sheer disbelief at its value (I think I calculated that it ran into several years’ worth of pocket money). It must have made quite an impression, because here we are.

A mention must also go to Meiko Gray, who has been hugely helpful in the translation of inscriptions and signatures, along with subject meanings.

Adam Hovey is a talented graphic designer whom I worked with for many years in a previous life – it’s been a pleasure to be able to work with you again, my friend. Chris and Tom at Unique Capture, thank you for the wonderful photography and endless patience with my obsession over reflections.

And finally, to those who have entrusted me with the treasures within. I’m humbled by your generosity, both with your collections and your time. I only hope that in the coming months I can repay your faith.

Robert Willford

KORIN, FLOWERS WJA-0015

An early three-case inrō bearing a gold fundame ground with tiny, sparsely scattered gold flakes. The design is in the style of Korin with inlays of pewter, lead and shell.

Numerous 19th century and later reproductions of Korin style inrō exist, however, our example carries all the hallmarks of the late 17th century. Around the edges of the case, the worn fundame, revealing the black beneath, has formed a sumptuous patina. Even the chips appear to have significant age. In addition, the fundame ground with scattered gold flakes are all indicators that this inrō originates from the Korin studio.

Circa 1700 The inside of the top case is signed “Hokkyō Korin ga” (Design by Korin, Hokkyo) in scratched Kanji, along with a sumi ink Kanji “Zu” (a design).

Korin 1658–1716 Height: 6.2cm

BIRD RESTING IN AUTUMN WJA-0010

A two-case inrō depicting a chubby bird inlaid from various sections of shell, a glass eye and lacquered beak, perched on a tree branch in autumn, with nandina on the reverse and berries inlaid in coral. The risers are decorated with vegetation in chinkinbori. Both the style of the risers and the large shell inlays are typical of the artist Nomura Chohei, who worked between 1760–1810.

Circa 1780 Unsigned, attributed to Nomura Chohei Width: 7.2 cm Provenance Hôtel Drouot, Paris, 1 December 1987

DRAGON WJA-0006

A tall five-case inrĹ? in takamaki-e, depicting a gold dragon with glass eyes and highlights of red, twisting amongst gold clouds. To the verso, the body and tail of the dragon appear again in gold takamaki-e. The design set against a roiro ground with splashes of mura nashiji.

Circa 1800 Unsigned Height: 11.5cm

PLUM BLOSSOMS WJA-0014

A five-case inrĹ? in relief depicting a plum tree twisting and winding its way from the verso around the cord runner onto the front of the design. It continues its journey upwards over the top case and back to the verso. The blossoms are in various shades of gold and the branches embellished with kirikane. To the bottom of the design, flowers grow along the bank of a river. The design is set against a dense sprinkled gold ground.

Circa 1800 Signed, Tatsuke Takanori (1757–1833) Height: 9.5cm

LOBSTER UPON A ROCK WJA-0025

A brilliant five-case inrĹ? in togidashi with hiramaki-e accents. A lone lobster clings to a rock above wild crashing waves that spread around both cord runners and onto the verso in gold and oxidised silver. The design is set against a roiro ground with mura-nashiji embellishments. The lobster is realistic in form but the rocks he sits upon are somewhat abstract, formed with what resemble large brush strokes that burst out of the sea. This unusual style and the wild nature of the ocean together create a beautiful scene.

Circa 1800 Unsigned Height: 9.5cm

HOTARU WJA-0018

A five-case inrō depicting a night scene of iris, peony and hotaru (firefly). The heads of the flowers are rendered in brown lacquer and foliage in yamimaki-e (black on black lacquer). Above, twelve hotaru dance; a pair have fluttered their way onto the top case. Their wings are inlaid in shell and heads picked out with red lacquer. As they fly, a delicate sprinkling of gold trails behind, illuminating the night sky. The iris line a flowing river in various shades of sprinkled gold and silver, completing an exceptional inrō that, since it came into my possession, I’ve been unable to put down. The subtle colour change between the yamimaki-e and brown lacquer creates a beautiful contrast and gives depth which, when considering the choice of techniques, is a real testament to the artist’s skill. This, combined with the delicate river, makes the piece one of my absolute favourites.

Circa 1820 Signed, Jokasai Height: 8.7cm

INCENSE BURNER WJA-0007

A bold five-case inrĹ? in which a diverse range of techniques has been employed in its creation, depicting a Chinesestyle stand in various shades of lacquer and embellishments of aogai. Sat atop the stand is a lacquered incense burner designed to simulate bronze. At the bottom of the stand is a bottle vase, containing a camellia flower. To the verso, a wine ewer in green and gold textured lacquer and a fan with a delicate aogai pattern. The design set against a gold on gold hirame ground.

Circa 1820 Signed, Joka with kao Height: 9.8cm

TOKIWA GOZEN WJA-0033

A fine four-case inrō depicting Tokiwa Gozen, who was the wife or concubine of the military leader Minamoto no Yoshitomo.

She is shown fleeing with their three children through the depths of winter, following Yohitomo’s death in 1160. The youngest Minamoto no Yoshitsune carried in her arms would later go on to be considered one of the greatest and most popular warriors of his era. They battle through the cold, passing pine trees with snow-covered branches and wonderfully rendered bark. The design, against a gold fundame ground that fades into usu-nashiji, is rendered in gold and silver takamaki-e with embellishments of red, brown and grey to the quartet’s clothing.

Circa 1820 Signed, Seishi (Masayuki) saku with kao Seishi was one of the go (art names) of Yamamoto Shunsho VI (1774-1831).

Height: 9.2cm Provenance: F. Fedder, 1975.

Wrangham collection, no.1293.

Published: E. A. Wrangham, The Index of Inrō Artists, p.228, Seishi.

KAI-AWASE BOX WJA-0001

An incredibly intricate and fine four-case inrō in the form of a tied-up tiered box used for the kai-awase shell-matching game. The cords are meticulously lacquered to represent real strings, down to the reproduction of each cord’s individual threads. This refinement is present throughout the design, with the scene of pines trees, bamboo, blossoms and bright gold clouds all rendered in a brilliantly detailed fashion without becoming too busy or fussy.

The kai-awase shell-matching game was frequently a part of a bride’s trousseau, as it symbolises faithfulness. An inrō with this pattern as well as family mon (emblem), which adorns the bottom case, indicates that it may itself be intended as a wedding gift.

Circa 1820 Signed, Kyoryu, with red lacquer seal Height: 6.7cm Provenance Ex collection: Virginia Atchley, CA (1976).

Ex collection: Brooksie Koopman, VA.

SEVEN SAGES OF THE BAMBOO GROVE WJA-0005

A four-case inrō depicting the seven sages in high relief as they indulge in their literary pursuits.

The sages and bamboo forest are in shades of gold, silver and red lacquer with the addition of aogai and gold foil. The sages’ clothes are elaborately embellished with various patterns in hiramaki-e.

The seven sages, a band of poets and scholars also referred to as the seven worthies, would meet in the bamboo forest near the country estate of the writer and alchemist Ji Kang, in Shanyang (near the modern day Henan province).

Once there, they would write verses, enjoy copious amounts of wine and the freedom to express their opinions. Their retreat was typical of the Daoist-oriented Qīngtán (pure conversation) movement that advocated freedom of individual expression and hedonistic escape from the corrupt court of the day.

Circa 1820 Signed, Koma Koryu Height: 8.1cm

TREASURES OF THE RICE HARVEST WJA-0002

A splendid five-case inrō with an all-over design of rice in togidashi and takamaki-e against a very fine sprinkled gold ground. The design is embellished with a selection of rice stalks individually picked out in aogai. Scattered amongst the rice are treasures associated with a successful harvest. To the front is Daikoku’s wish-granting mallet, the striking face in aogai. Next to the mallet lies a stylised clover. To the verso, a fundo, again rendered in aogai, next to a pair of scrolls in gold togidashi. The scrolls are placed in such a way to allow us to read the Kanji for Rice 米.

A very fine inrō with the two main techniques of togidashi and takamaki-e exquisitely executed.

Circa 1830 Signed, Koma Yasutada Height: 8.3cm I would like to thank Yukari Yoshida, who kindly pointed out the association between the scrolls and the rice kanji.

SHELL-MATCHING GAME WJA-0003

A very fine four-case inrō by Yoyusai, depicting a gold-tiered box used in the shell-matching game and a pair of inubako. The tiered box continues around the side and onto the verso of the design, with a selection of shells scattered across the ground.

Each pair of upturned shells displays a different, delicately rendered scene. The design is in high relief against a roiro and gold hirame ground.

An inubako is a stylised dog-shaped box, inu meaning dog and bako meaning box. A pair of inubako is significant as a good luck charm for a woman getting married, and also during the Girl’s Day festival in March. Here this is combined with the shell-matching game which, as discussed earlier in this catalogue, often formed part of a bride’s trousseau and symbolises faithfulness. This inrō could well have been a wedding gift, or given by a wife to her husband.

Circa 1830 Signed, Yoyusai Height: 9.2cm Provenance Chiura Obata (1885-1975) Chiura Obata was an artist born in 1885 in Okayama Prefecture, Japan. At the age of 14 he went to Tokyo where he studied with Tanryo Murata, Kogyo Terasaki and Goho Hashimoto. In 1903 he moved to the USA. He spent much of the 1920s painting landscapes throughout California and helped establish the East West Art Society in San Francisco in 1921.

In 1965, Obata received the Order of the Sacred Treasure, Emperor’s Award, for promoting goodwill and cultural understanding between the United States and Japan. He died in 1975, aged 90.

Kanin family collection The Kan’in-no-miya (閑院宮家) was the youngest of the four shinnōke, branches of the Imperial Family of Japan who were eligible to succeed to the Chrysanthemum Throne in the event that the main line should die out. It was founded by Prince Naohito, the son of Emperor Higashiyama.

SHIBA ONKO WJA-0004

A four-case inrō depicting Shiba Onko, stood to the side of a large jar with a rock in hand. Shiba Onko has smashed open the vase to free his drowning friend. To the verso, their remaining friends run away in panic. Each of the boys’ clothes are sporting various patterns in gold hiramaki-e, enriched with aogai and gold kirikane. The water jar and four boys are rendered in takamaki-e and hiramaki-e, against a gold ground with splashes of muro nashiji.

Shiba Onko was a statesman, historian and scholar of the Northern Song dynasty, renowned for his intelligence. But his fame came at a much younger age. The scene depicted in this inrō tells the story of four friends who had climbed upon a large vase to watch fish swim within. One of the boys leaned in to get a better view but ended up head first in the vase and unable to escape; his friends feared him drowned. All but the young Shiba Onko ran away in fright. Shiba Onko picked up a rock and smashed the front of the vase, saving his friend from certain death.

Circa 1850 Signed, Jokasai saku Height: 8.9cm Provenance Ex-Chiura Obata (1885–1975) Ex-Kanin family collection

THREE FRIENDS OF WINTER WJA-0024

A five-case inrĹ? designed in gold takamaki-e, depicting the three friends of winter: pine, bamboo, and plum blossom.

All three show great resilience to the cold months of the year, symbolising steadfastness, perseverance, and resilience.

The pair of cranes further enhance the auspicious nature of the design.

To the verso, three Minogame, their carapace in gold foil, play under a waterfall. The Minogame and crane are partners of JurĹ?jin, the god of longevity.

The all gold design has been rendered using two shades of gold, with gold kirikane embellishing the highpoints.

Circa 1850 Unsigned Height: 10.8cm

SUMMER MOON WJA-0008

A gold and silver four-case inrō in takamaki-e and hiramaki-e. To the front, the summer moon (Natsu no Tsuki) dominates the night sky; to the verso, a lone cuckoo (hototogisu) flies above the pine trees. The two are connected by gold clouds that stretch across both sides and cover the top case.

The subject of a cuckoo and the moon has a long association with romance and has inspired many poems. Below is one such work by Ōtomo no Yakamochi (c. 718–785).

The poem was compiled in the Man’yoshu (“Collection of Ten Thousands Leaves”).

“Hototogisu, ko yo naki watare, tomoshibi o, tsukiyo ni nasoe, sono kage mo mimu.”

“Come and sing here, cuckoo. We would see you, with our lamplight for the moon.”

The depiction of pine (matsu in Japanese) symbolises waiting and longing for the beloved; it completes a very romantic composition.

Circa 1850 Signed, Kajikawa Bunryusai 7.5cm

MANDARIN DUCKS WJA-0035

A five-case inrō depicting a group of mandarin ducks. To the front, a male sits upon the bank looking down at a female duck below, her head turned looking back. The male’s wings and the female’s body are in gold foil. Reeds line the bank, with a selection of leaves rendered in aogai. To the verso, a lone male looks on at the scene unfolding to the front. The design is set against a brown sprinkled gold ground.

Circa 1850 Signed, Kajikawa with a red pot seal.

Height: 9cm

SARUMAWASHI AND MONKEY WJA-0012

A four-case inrō depicting a sarumawashi (monkey trainer) with his monkey dressed as a sambaso dancer holding a rattle.

The design is rendered in togidashi and hiramaki-e with aogai embellishments to the monkey’s hat and sarumawashi’s hat, trousers and shoes. The design is set against a greenish-silver mottled ground.

Circa 1850 Signed to the base, Shoami Masatsuna Shoami Masatsuna, a descendant of the Masanari school, is a little-recorded artist (I have located two inrō signed under this name). One must presume that most of his output was signed Shoami Masanari.

Height: 7cm

SHOKI AND ONI WJA-0009

An amusing four-case inrĹ?, depicting an inlaid metal Shoki looking confused and stood under a branch of a large pine tree rendered in gold takamaki-e. Our demon queller is searching for his quarry, but the oni is nowhere to be seen. As is often the case, it appears the oni has the upper hand. To the verso, the oni has scampered up the trunk of the pine and sits perched upon a branch, out of sight of Shoki.

Circa 1860 Signed, Koma Koryu Height: 7.7cm

SUMO CONTEST WJA-0011

A four-case saya inrō. To the front, a pair of sumo wrestlers inlaid in metal face off, stood in the centre of the dohyō (ring).

Above, a roof is suspended from four tree trunks, two of which form the cord runners.

The circumference of the dohyō is outlined with baled straw in gold lacquer with each twist delicately rendered. To the verso, a banner decorated in fretwork bears two mon, one a pair of circling ho-ho birds and the other the Katabami mon.

The removable internal compartments are decorated with an all over design of the Katabami mon in gold hiramaki-e.

Circa 1880 Unsigned Height: 7.9cm

VICTORY CHESTNUTS WJA-0013

A four-case inrō that was created out of a partnership between Shibata Zeshin and Bokusai, depicting kachiguri (victory chestnuts) split from their husks in gold, silver and reddish brown lacquer by the hand of Zeshin. The body of the inrō was constructed by Bokusai from paulownia wood with a masame-grain (straight grain), the cord runners and top and bottom crafted from ebony.

Kachiguri is a dried chestnut specially prepared for gifting and often eaten at New Year celebrations. It was particularly popular amongst Samurai households and eaten before battle. The word “kachi” literally means “to win” and “victory”, whereas “kuri” (guri) means chestnut.

Circa 1860–1891 Signed, Zeshin Height: 9cm

STORAGE BOX INSCRIPTIONS:

Top of lid

Inside lid

the design of Kachiguri.

genuine work by Zeshin, an old man.

Made by an old man, Zeshin, inrō with

This is to attest that this titled work is a The inrō is made of the paulownia wood

Fukuoka Bokusai I (active mid-late 19th c)

with masame-grains (straight grains); the

Bokusai I worked with Zeshin, Taishin

woodwork by Bokusai the first, and the

and

producing

sabi-maki-e finish, which was a specialty

woodwork, which they in turn lacquered.

of the old man Zeshin, authenticated by

He was reputed to be the number one

Shoji Hoshin. With a Hoshin seal.

Shibata

Shinsai

Sashimono-shi (woodwork craftsman) in

Edo.

Bokusai’s

most

famous

commission was a wood storage box

Shoji Hoshin (circa 1898-1993)

Hoshin was a follower of Chikushin, who

for a ceremonial cap/hat for the Meiji

in turn was a pupil of Shibata Zeshin.

Emperor. He was awarded numerous

Hoshin was born in Tokyo. He rose to

prizes and awards for his work.

become a senior restorer of important cultural fine art and crafts at the Agency for Cultural Affairs. He was a member of the Kyoto Koga bijyutsu kyokai and was awarded the Order of the Sacred Treasure by the Emperor.”

PUPS PLAYING IN THE SNOW WJA-0027

A very sweet four-case inrō depicting three playful pups frolicking in snow, their hair work well rendered. I’m especially taken with the lone pup; his two-tone body has a beautiful silky finish. A ground of textured silver lacquer with splashes of gold and silver hirame. Snow-covered nandina wrap around the cord runners connecting the front and rear scenes, the fruit delicately picked out in red lacquer. Each of the puppy’s eyes is inlaid in glass.

Circa 1870

Unsigned Height: 7.5cm

GRAPE VINES WJA-0034

A magnificent tonkotsu with matching pipe case, the tonkotsu features a sumptuous reddish-brown ground covered in grape vines and small gourdes.

A very creative use of materials and techniques, each group of leaves has been rendered using a different technique and/ or coloured lacquer. The grapes inlaid in mother of pearl and gourdes in coral.

The accompanying wood pipe case depicts three metal inlaid squirrels, lacquered vines wind their way down and onto the reverse.

Circa 1900 Tonkotsu Signed, Ippo Tonkotsu height: 9.3cm Pipe case height: 22cm

MAPLE LEAVES WJA-0019

A very fine Musozutsu style pipecase depicting five maple leaves against a roiro ground by Hashi-ichi. Each leaf is rendered using a technique called Namaha-surinuri, which refers to the process of creating a print from a real leaf. The leaf is first lacquered, then applied to the surface and left to cure. After several days the leaf is carefully removed, and the design embellished with additional colour and detail. When a maple leaf is used, the technique is known as Momiji-Maki-e.

Circa 1880 Hashimoto Ichizo (Hashi-ichi) 1817–1882 Hashimoto Ichizo was an eccentric of the highest order, holding his own funeral whilst still alive and afterwards referring to himself as the second Hashi-ichi.

Height: 22cm I’d like to thank Clive Hallam who discussed this technique in great detail with me and even created several examples of Namaha-suri-nuri as study pieces.

BIRDS AMONGST A SPRAY OF FLOWERS WJA-0028

A lacquered Musozutsu depicting a pair of small birds in gold and silver lacquer; they peck the ground amongst a spray of flowers and tall grass. The broad leaves are rendered in a typically Zeshin school texture. The design is set against an olive green ground.

Circa 1900 (late 19th early 20th century) Signed, Koshin Height: 22.5cm

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ITTAN DRAGON WJA-0026

A dark stained wood netsuke depicting a coiled dragon, the dragon a mesh of whiskers and flames that dance and twist over its scales. A well-refined netsuke, I especially like the stippling to the face and horns of the dragon. The himotoshi is formed by an opening under a claw and eyes inlaid with dark horn.

Circa 1850 Signed, Ittan with a Kakihan, Nagoya Width: 4.3cm

SANSUKUMI WJA-0032

A wood netsuke depicting the Sansukumi, the snake coiled around the body of a chubby toad, to the base, the himotoshi formed by one smaller and one larger hole. The larger hole has been treated in a rather unusual fashion.

It has been suggested that the rings of the larger himotoshi could represent the snail’s shell and, when you look between the toad’s rear legs, you can see the worn remains of what does appear to be the skin of the snail.

The netsuke is signed Naomasa, but he appears to be unrecorded. The style of the toad’s skin and his underside bear more than a strong resemblance to the toads of Yoshitada and the other Echigo carvers.

Circa 1810 Signed, Naomasa Width: 4.1cm

MASAYASU GOAT WJA-0023

A stocky goat sits with its head raised, looking alert; dense hairwork rolls off the goat’s strong backbone and its horse-like tail whips around its body. A gap between the hind leg and body forms the himotoshi.

Circa 1860 Signed, Masayasu Width: 5.2cm

CICADA ON A PILE OF LEAVES WJA-0021

A very well detailed netsuke carved from unimatsu. Depicted, a cicada resting on a pile of leaves, constructed from three sections. The thorax, wings and leaves make up one section, and the abdomen and head are plugged. The carver has made use of a piece of Unimatsu with a naturally occurring channel. A very beautiful design and clever use of material.

Circa 1820 Attributed to Tsuramitsu (Kanman, 1793–1859) Width: 5.1cm Published: Earle, Huthart, p.255, no.222

RECUMBENT OX WJA-0022

A fine Nagoya school netsuke depicting a very content looking ox in wood with a dark stain. The ox’s legs drawn in, tail wrapped around the hind and the head slightly raised. The fine hairwork, soft rolls of fat, well-defined backbone and strong neck form a lovely composition.

Circa 1850 Signed, Masajo Width: 4.3cm For similar, see The Met Museum’s collection, accession number 10.211.1998

SNAIL ON LEAVES WJA-0020

A beautifully rendered netsuke depicting a snail crawling over a grape vine. The veins of the leaves are carved in delicate low relief; a bunch of grapes hang below. The himotoshi, formed by an opening between the top and bottom set of leaves, completes a very well rendered netsuke; even the signature is rendered with great skill, perched upon an overhanging leaf at the opening of the himotoshi.

Circa 1800 Signed, Fujii Katsuyoshi Width: 5.1cm Provenance Ex Huthart Collection Published: Earle, Huthart, p.351, no.327 Burditt, ICLS, p.41, fig.13

URASHIMA TARO WJA-0029

A wood netsuke depicting the fisherman Urashima sat upon the back of the turtle that he has saved from death. As thanks for his good deed, the turtle has carried him to Ryūgū-jō, the Palace of the Dragon King of the Sea, Ryujin. Once there, he met a beautiful princess. He spent several days at the palace; when he left, he was given a tamatebako and made to promise never to open the box. The turtle duly carried Urashima back to his village but when he arrived, he found that in just the few days he had spent in the palace, back home many hundreds of years had passed and everyone he had known and loved was gone. Wanting to return to the palace, out of desperation he opened the box – he transformed into a white-haired, withered old man. His youth was taken.

Our netsuke depicts the age-ravaged Urashima upon the turtle’s back, his face drawn and pained. To one side, his basket still contains a fish with its head poking out. A netsuke that perfectly depicts the central pair of this Japanese fairytale.

Circa 1800 Signed, Gotei A near identical netsuke signed Goho was sold at Christie’s on Tuesday 5th July 1977 and is illustrated in the accompanying catalogue.

Height: 5.1cm Published: Lazarnick, NIA, p.1341 Rokusho 20, p.72, no.105 Earle, Huthart, p.382, no.356 Burditt, ICLS, p.42, fig.17

ARCHER WJA-0016

A wood netsuke depicting a seated courtier holding a large utsubo-type yebira (quiver), presumably practising archery. The himotoshi to the rear is formed by one larger hole and one smaller. The surface of the wood is stained reddish brown and has formed a warm patina.

Circa 1830 Unsigned Height: 5.1cm

GEISHA WJA-0017

A kagamibuta with wood bowl and shibuichi disk, inlaid with gold, silver, copper and shakudĹ?. Depicted is the silhouette of a geisha at night behind a window, plum blossoms outside.

Circa 1850 Unsigned Height: 4.5cm

SNAIL UPON A CHESTNUT WJA-0030

Snail on Chestnut, 2019. Boxwood, antler and urushi with horn inlay. Below you can read about Adam’s inspiration for this piece.

“Chestnuts in the autumn months are unavoidable in Japan. Their use in different Japanese art and crafts is frequent, with great variety in their interpretation and rendition. Having carved this subject matter before and having enjoyed the challenge, I wanted to revisit it using different techniques and materials. The end results are more delicate and refined, creating a harmonious and tactile sculpture.”

2019 Signed, Adam Bland Width: 3cm

REISHI FUNGI WJA-0031

A contemporary netsuke by Adam Bland depicting reishi fungi carved from mountain mahogany. The piece is carved and stained in a very traditional form, with several natural openings that would make suitable himotoshi. Below, you can read about Adam’s inspiration for this piece.

“During my visit to the Shosei-en garden in Kyoto one September I was inspired by the reishi fungi. The leathery fungi were well at home in the historic setting of the beautiful garden. A small bastion of peace and tranquillity nestled in the heart of the ancient capital. It’s been a work of many years, which is rather apt for the subject matter, symbolising longevity. Originally, I started this piece in 2016 but it never quite felt complete until now. Carved from mountain mahogany with a dark stain.”

2016 Signed, Adam Bland Width: 6.3cm

SIGNATURES

WJA0014 Tatsuke Takanori

WJA0008 Kajikawa Bunryusai

WJA0018 Jokasai

WJA0033 Seishi (Masayuki) saku with kao

WJA0007 Jokasai

WJA0001 Kyoryu

WJA0035 Kajikawa

WJA0013 Zeshin

WJA0034 Ippo

WJA0023 Masayasu

WJA0029 Gotei

WJA0026 Ittan

WJA0002 Koma Yasutada

WJA0012 Shoami Masatsuna

WJA0005 Koma Koryu

WJA0015 Korin

WJA0003 Yoyusai

WJA0004 Jokasai saku

WJA0009 Koma Koryu

WJA0028 Koshin

WJA0020 Fujii Katsuyoshi

WJA0022 Masajo

WJA0032 Naomasa

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