Lot details Attributed to Suzuki Tokoku (1846-1913), signed with a kakihan Japan, Tokyo, Asakusa District, second half of 19th century The ryusa manju netsuke consisting of two separately carved parts, the front very finely carved with a double dragon-headed mokugyo sharing a tama in their mouths, the curling manes and scales neatly incised, the reverse with a central floral himotoshi framed by openworked petals. The interior with a nyoi-scepter forming the cord attachment above a kakihan (artist’s monogram). LENGTH 3.8 cm Condition: Excellent condition. Provenance: Dutch private collection. Suzuki Tokoku (1846-1913) is regarded as one of the finest netsuke carvers, distinguished by masterful use of inlay. His earlier works are in the Asakusa style of manju or ryusa type and often using fine metal inlays. It seems plausible his art name Tokoku 東谷 is derived from Kokusai 谷齋, and although Tokoku was apparently self-taught, he must have worked with Kokusai at some point in his life. Literature comparison: A similar example by Tokoku, the signature hidden within, is in Sydney L. Moss Ltd. (2016) Kokusai the Genius: and Stag-antler Carving in Japan, vol. III, pp. 182-183, no. 183.
Lot details Attributed to Suzuki Tokoku (1846-1913), signed with a kakihan Japan, Tokyo, Asakusa District, second half of 19th century The ryusa manju netsuke consisting of two separately carved parts, the front very finely carved with a double dragon-headed mokugyo sharing a tama in their mouths, the curling manes and scales neatly incised, the reverse with a central floral himotoshi framed by openworked petals. The interior with a nyoi-scepter forming the cord attachment above a kakihan (artist’s monogram). LENGTH 3.8 cm Condition: Excellent condition. Provenance: Dutch private collection. Suzuki Tokoku (1846-1913) is regarded as one of the finest netsuke carvers, distinguished by masterful use of inlay. His earlier works are in the Asakusa style of manju or ryusa type and often using fine metal inlays. It seems plausible his art name Tokoku 東谷 is derived from Kokusai 谷齋, and although Tokoku was apparently self-taught, he must have worked with Kokusai at some point in his life. Literature comparison: A similar example by Tokoku, the signature hidden within, is in Sydney L. Moss Ltd. (2016) Kokusai the Genius: and Stag-antler Carving in Japan, vol. III, pp. 182-183, no. 183.
Try LotSearch and its premium features for 7 days - without any costs!
Be notified automatically about new items in upcoming auctions.
Create an alert
.jpg "Source: Christie's")
.jpg "Source: Christie's")
