Page 63 - Fine Japanese Art March 27, 2020 Galerie Zacke Netsuke and Okimono
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56 | KAGETOSHI: A VERY FINE IVORY
NETSUKE OF A ROSEI’S DREAM
By Kagetoshi, signed Kagetoshi
Japan, Kyoto, mid-19th century, Edo period (1615-1868)
Depicting a palace with several stories, architectural elements,
pine trees and pavilions, all upon a rocky cliff. Minutely carved
attendants are scattered all over, conversing in groups, walking
up the stairs and even within the courtyard. The setting appears
like from a dream and the netsuke is certainly an allusion to
Rosei’s dream, a popular subject by Kagetoshi who shows off his
superior workmanship in sukashi-bori (openwork technique) in
this incredibly detailed composition. The underside shows a tall
pagoda, pine trees and pavilions from afar below a mountainous
horizon. Florally rimmed himotoshi and signature within a raised
rectangular reserve KAGETOSHI 景利.
LENGTH 4 cm
Condition: Excellent condition, minor wear and discoloration to
ivory.
Provenance: European collection.
Literature comparison: A similar netsuke by Kagetoshi is in the
British museum (Accession number 1945,1017.634).
Auction comparison: Another similar ivory netsuke by Kageotoshi
of Rosei’s dream sold at Van Ham, Asian Art, 8 December 2016,
Cologne, lot 2387.
Estimate EUR 2.500,-
Starting price EUR 1.250,-
54 | KAGETOSHI: A FINE IVORY NETSUKE
OF A HO-O BIRD
55 | KAGETOSHI: AN IVORY
By Kagetoshi, signed Kagetoshi NETSUKE OF TWO QUAILS
Japan, Kyoto, mid-19th century, Edo period (1615-1868)
By Kagetoshi, signed Kagetoshi
Published: Katchen, Arlette (2010) Netsuke 7, Vol. 1, pp. 94f., Japan, Kyoto, first half of the 19th century, Edo period
no. K921. (1615-1868)
An intricately worked ivory netsuke by Kagetoshi, who became Two quails (uzura) and millet, a subject known primarily from
famous for his masterful use of sukashi-bori (openwork). Depicted Okatomo of Kyoto but executed here by Kagetoshi in his
is a Ho-o (phoenix) bird above a dense bed of kiri (paulownia) distinctive style, namely an ovoid spherical shape with much
blossoms, both important symbols of the Imperial house. The openwork, worked in sukashi-bori (a carving style which he
majestic bird’s left wing is raised, and its head is looking around to became famous for), the millet (awa) partly over the two quails.
the left, the tail feathers sweeping behind it and merging seamlessly The motif of quail and millet symbolizes the fall season. All details
with the bed of paulownia blossoms. The underside shows the are precisely carved, the netsuke has an optimally rounded
naturally worked himotoshi and the signature in the typical shape, natural himotoshi on the underside between the millet
rectangular reserve KAGETOSHI 景利. spikes, beside the signature KAGETOSHI 景利 within a rectangular
reserve.
HEIGHT 2.8 cm, LENGTH 4.2 cm
HEIGHT 2.7 cm, LENGTH 3.4 cm
Condition: Excellent condition.
Provenance: Anonymous sale, Sotheby’s London, 29 October 1980, Condition: Excellent condition.
lot 427. Then Julius and Arlette Katchen collection, Paris. Sold at Provenance: British private collection with two valuations from
their sale (part I), Sotheby’s London, 8 November 2005, lot 58 Sotheby’s, by Neil K. Davey, dated 1974 & 1984, inventory no.
(2.880 GBP). 141.
The Paulownia is considered an emblem of luck, since according to Auction comparison: For another quail and millet netsuke by
legend the phoenix only lands on this specific tree and blesses its Kagetoshi see Christie’s, Japanese Art and Design, London,
owner with wisdom, health and good fortune. 12 May 2010, lot 122.
Estimate EUR 3.000,- Estimate EUR 2.000,-
Starting price EUR 1.500,- Starting price EUR 1.000,-
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