By Ryukosai Jugyoku II, signed Jugyoku 寿玉 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) Published: Museum für Ostasiatische Kunst Köln (2017) Netsuke & Sagemono, pp. 124-125, no. 210. Finely carved as a man on top of a large hamaguri shell, his loincloth caught in its jaws. In Japan, the opening of the shell usually represents the vulva, in clams it is more the lip-like bulges on the back. The netsuke shows us how the male reaches there, but at the same time we can observe how on the opposite side his loincloth is caught and how he tugs at it. A well-crafted netsuke, compact and executed with humor, the himotoshi underneath, between them the small signature JUGYOKU - this artist is certainly Ryukosai Jugyoku (Jugyoku II), who lived in Tokyo from about 1815 to 1877 and was an excellent carver. LENGTH 4.1 cm Condition: Good, undamaged condition. The ivory slightly worn. Provenance: Ex-collection Teddy Hahn, Darmstadt, purchased from Zacke.
By Ryukosai Jugyoku II, signed Jugyoku 寿玉 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) Published: Museum für Ostasiatische Kunst Köln (2017) Netsuke & Sagemono, pp. 124-125, no. 210. Finely carved as a man on top of a large hamaguri shell, his loincloth caught in its jaws. In Japan, the opening of the shell usually represents the vulva, in clams it is more the lip-like bulges on the back. The netsuke shows us how the male reaches there, but at the same time we can observe how on the opposite side his loincloth is caught and how he tugs at it. A well-crafted netsuke, compact and executed with humor, the himotoshi underneath, between them the small signature JUGYOKU - this artist is certainly Ryukosai Jugyoku (Jugyoku II), who lived in Tokyo from about 1815 to 1877 and was an excellent carver. LENGTH 4.1 cm Condition: Good, undamaged condition. The ivory slightly worn. Provenance: Ex-collection Teddy Hahn, Darmstadt, purchased from Zacke.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
