Br. L 11.5 inches (29.2 cm).
Some dents and scratches, all attributed to use.
Comes with two pair of workman’s pants. Dark indigo blue on the outside (different from the jacket), lined with white/blue cotton and light blue waistband. Machine sown. Both stamped on the waistband with the word tokudai (oversize).
Some storage stains. Excellent condition never worn. Wrapped in the paper of Mitsukoshi Department store in Tokyo. On the wrapping paper is written ‘newly-tailored clothes made to order’ (gochou shitatemono).
The department store did not register its name Mitsukoshi until 1904. Before that it was called Mitsui. As the make and the colors indicate the coat and the pants were made and dyed in different workshops, as is usual.
If you wish to wear the pants, please, be advised that oversized for the Japanese body is the equivalent of our ladies' size 2 or 4.
Bushell Raymond, Questions & Answers, pp. 5-13 / 44-45, Kurstin, Joseph, Netsuke: Story Carvings of Old Japan, An Exhibit of Netsuke and Inro at EPCOT Center, pp. 14-24, Kres, Else, Zeshin Cake Box in the Collection of Harriet and Melvin Jahss, new York, pp. 25-31, Lewis, Edmund J. The Bekkoden Sennin Inro, pp. 32-26, Wilhelm, Gabor, On the Continent, Sales room news, from Paris, Cologne, and Orleans, France, pp. 37-41, Chappell, Sharen; Szeszler, Denis, Legends: Kyoyu and Sofu, pp. 42-43, Comee, Stephen, Tokyo Tidings, pp. 48-50, Spring 1994, 56 pp., 25.5 x 17.5 cm. Paper. English text. Numerous colour plates, b/w illustrations. Perfect condition.
On pp. 14 to 25 Elena and Joe Kurstin proudly introduce an Exhibition of their Netsuke at Epcot Center, a Walt Disney World Resort in Orlando, Florida, from May 11, 1993 to May 10, 1997. This is followed on pp. 25-31 by Else Kress’ description of a unique Cake Box by Zeshin, covered with leaf-shaped examples of a wide variety of sprinkled gold powders. Ed Lewis reflects on pp. 32-36 on a suitable naming of a hitherto obscure Japanese style of inro decoration.
This item is located in Europe.
Bushell Raymond, Questions & Answers, pp. 5-8, Ulak, James T., Namban, pp. 9-12, Lewis, Edmund J., When the Twain Met: The Namban Influence Upon Japanese Lacquer Art, pp. 13-24, Moss, Paul, Let’s go Dutch, Namban Netsuke, pp. 25-37, Kress, Else, Tobacco Smoking, Namban-jin and Their Pets in Old Japan, pp. 38-48, Dean, Michael, Four Groups of Japanese Namban Lacquer, pp. 49-61, Szeszler, Denis, Legends: Ashinaga and Tenaga, pp. 66-67, Comee, Stephen, Tokyo Tidings, pp. 70-71, Book reviews: Miss Maggie’s Whole New World, Davey, Neil K.; Netsuke on ‘Sunday Morning’, Cunningham Isabel, p. 74. Summer 1993,78 pp., 25.5 x 17.5 cm. Paper. English text. Numerous colour plates, b/w illustrations. Perfect condition.
James Ulak, at that time the Associate Curator of Japanese Art, The Art Institute of Chicago, gives us an in-depth information on Namban, as an ‘…romantically charged and regrettably imprecise term …’ while Ed Lewis cites Rudyard Kipling’s poem on the likelihood of East and West to meet (e.g. in Japanese art).
Item located in Europe.
Bushell Raymond, Questions & Answers, pp. 8-17, Davey, Neil K., Shibata Zeshin (1807-1891), A Centennial Celebration, pp. 18-22, Lewis, Edmund J., Shibata Zeshin and the Seventh Sense, pp. 23-30, Wrangham, E.A. Zeshin and the Art of Metal Imitation, pp. 31-36, Meech, Julia, Zeshin and the Demon Woman, pp. 37-39, An Album of Zeshin Art from Various Collections, pp. 40-46, Wilhelm, G. On the Continent, The Rouviere Sale, Paris, pp. 46-49, Gallery St. James’ Exhibition, Zurich, pp. 50-52, Sale at Klefisch, Sale at Lempertz, p. 53, Bandini, Luigi, Learning at the Auctions, pp. 56-63, Davey, Neil K., An Auctineer’s View, p. 64 Spring 1992,72 pp., 25.5 x 17.5 cm. Paper. English text. Numerous colour plates, b/w illustrations. Perfect condition.
In his Questions & Answers, on pp. 8-17, Raymond Bushell tells of an invitation to a meeting with a specialised group of U.S. Customs officials in San Francisco (1), of the derivation and calligraphy of the word tonkotsu (2), an auction house’s official and inofficial price (result) list (3), the use of a foolproof method (electronic scanning microscope) to discern elephant ivory from mammoth ivory (4), an oni netsuke hiding in the storage of the LACMA (5), and five more similarly interesting and unexpected questions.
Item location: Europe.
Length 8 1/8 inches (20.5 cm)
Needle missing, handle loose. Otherwise traces of usage, beautiful patina.
Length 9 ¾ inches (ca. 25 cm)
Needle missing, handle missing. Wheel is a lovingly copied replacement. Body with fine detail and very nice patina.
Length 13 7/8 in. (35.4 cm), depth at widest point 3 1/8 in. (7.8 cm), height 2 7/8 in. (7.3 cm).
One side exposed to sunlight, some dent and chips, but otherwise excellent condition.
Height 2 ¾ in. (7 cm); diameter 3 ¼ in. (8.3 cm)
Diameter: 3.75 in. (9.5 cm) each.
Glaze flaw at outer rim of one (bird). Otherwise excellent condition.
The enamels have a halo around them.
Painted area: 13 3/8 x 21 7/8 in. (34 x 55.5 cm). Total height: 53 3/8 in. (135.5 cm).
With plain wooden box, no inscriptions.
Unimportant thin stain in lower left corner, otherwise fine condition. Box with fair amount of insect damage.
Kano Seisen’in Yoshin (or Yasunobu) (ca. 1799-1846). Son and pupil of Kano Isen’in, painter-in-residence to the Edo castle. Made many copies of older paintings. In 1819 he became hogen, in 1834 he became hoin.
Overall height 9 in. (22.8 cm); width at widest point 5.5 in. (13.3 cm).
Four pieces of fretwork broken, three of which are glued and repainted. Some cracks in the lacquered frame along the seams of the wood, some of the gold and silver lacquer rubbed and chipped. The color on the fretwork dried out and crumbling. Damages due to age and use. All in all in rather good condition.
36 pp., 24.5 x 17.5 cm. Paper. English text. Numerous b/w illustrations.
Pulverer, Gerhard, Japanese woodblock prints and impressionism, pp. 31-42;
Groenewegen, Peter, Photography of prints and small objects, pp. 43-49;
Morse, Peter, Additional Drawings in Hokusai’s ‘Hundred Poets’ series, pp. 50-52;
Lane, Richard, Teenage mutant ninja: the book, p. 53;
Kress, Else, Travelling shrine in shape of an inro, p. 54/Front cover;
John Stevenson, Book reviews: Undercurrents in the Floating World, pp. 55-56.
In his very interesting article on Japanese woodblock prints and impressionism, Gerhard Pulverer cites examples from the Hokusai Manga over Edouard Manet and Whistler to Hiroshige, to Gustav Klimt, and to Aubrey Beardsley.
Item location: Europe.
14 pp., 23 x 15.5 cm. Paper. English text. 17 colour illustrations.
Almost perfect condition.
The brochure was produced in connection with an exhibition of Edo period (1615-1868) lacquer objects owned by the museum. Shown are writing boxes (suzuribako), a tray decorated with Daikoku’s hammer by Zeshin, a set of 12 incense containers of globular shape, each decorated and signed by another Taisho-period (1912-25) lacquer master, a sho flute, and a picnic-set.
Essay by Kakudo Yoshiko, entitled ‘Later Japanese Lacquers’, sub-titles ‘Surface Decoration’, ‘Writing Implements’, ‘Objects for Incense and Tea’, ‘Objects for Dressing’, etc., pp. 2-11.
Detailed list of the objects shown in the exhibition, measurements, inv.-no., etc., and Suggested Further Reading, pp. 12-14.
Item location: Europe.
104 pp., 30 x 21.5 cm. Hardboard. Japanese language only. 62 colour plates.
Outside cover very slightly soiled, otherwise perfect condition.
The 62 colour plates present excellent and detailed photographs of writing boxes (suzuri-bako), saddles, furniture, and other objects, produced during the past centuries by the best lacquer masters in the Kaga area. Among them are members of the Igarashi family, and their followers.
In an essay by Motoya Fumio (pp.11 - 18) of the Ishikawa prefecture Museum of Arts, style and technique of lacquer objects made by Igarashi Dôho and his followers are compared to Edo (Tokyo)-style lacquer objects. The Kaga province, at the Japan Sea coast, is famous for its high-quality lacquers.
Total 49 illustrations of lacquer objects by Igarashi masters, or also executed in Igarashi-style, are shown on pp. 19 – 50. This is followed by 18 illustrations of lacquer objects made by Shimizu Kuhei (1686 - ?) and his circle (pp. 52 – 61). Lacquered armour, writing boxes, and other Kaga lacquer objects are shown on pp. 62 – 70.
Pages 72 – 84 focus on works by less known Kaga lacquer masters active in the Meiji period and the 20th century. Shown are 26 illustrations of objects by such masters as Igarashi Zuiho (1852-1903), Yoneda Magoroku (? – 1874?), Sawada Sotaku (1830-1915), Shinoda Getsukyo (1883-1931), Ogaki Shokun (1865-1937), Awada Beizan (1881-1943), Fugaki Seiho (1884-1954), and others.
On pp. 85 – 88 are presented 32 enlarged examples of the various techniques seen on objects by Igarashi, and other lacquer masters. Explanations and commentaries concerning the objects shown are given on pp. 89 – 99.
List of plates with measurements and relevant information on pp. 100 – 101. A list of the association’s chairmen during the past 40 years, and photograph of the 12 present members of the board are found on pp. 102 – 103.
Item locations: Europe.
20 pp., 24 x 17 cm. Paper. French text. 9 b/w plates.
Designs produced by the Japanese lacquer Master Uzawa Shogetsu seem to grow out of smooth surfaces of the perfectly finished lacquer boxes and other items he produced. Shogetsu’s (probably 1877 - ?) specialty were subtly shaded lacquer (maki-e) decorations, painted in meticulous details.
With 26 items, the majority of works of this little known master is found today in the Collections Baur. Some of the objects were especially made to order for the collector Alfred Baur (1866 - 1951), who bought as many of Shogetsu’s objects as were available. As a consequence of Baur’s passion for this artist’s work, Shogetsu is comparatively unknown in Japan today.
Various Tables, Glossary, and Notes.
Item location: Europe.
160 pp., 29 x 21 cm. Paper. French / English text Alain Ducros. Japanese summary and list of netsuke, 7 pages, Alain Briot. Numerous colour plates.
Outside cover slightly worn, otherwise perfect condition.
The catalogue is filled with illustrations of approximately 200 netsuke, 50 inro, various pipe cases, tobacco pouches, kiseruzutsu pipe holders, and other items worn hanging from the belt. Also provided are reproductions of pages from design bases, such as the Soken Kisho (1781), and other woodblock-printed books. Enlarged details and signatures are shown separately.
With a preface (French language only) by Guy de Lasteyrie, and introduction by Alain Ducros.
Item location: Europe.
230 pp., 28 x 22 cm. Hardboard. English / German language. 16 colour plates, 154 b/w illustrations.
Outside cover very slightly rubbed, otherwise perfect condition.
The 99 lacquer objects, selected by Mr. Lee for this exhibition, are shown and discussed in the bilingual catalogue. The Lee Collection is famous for its quality and choice of materials. The entire text, including the description of each object, written in English by Mr. Lee himself, were translated into German by Heinz and Else Kress.
With an introduction and acknowledgments by Lee King Tsi, Hu Shih Chang (pp. 7 – 13). Preface by Roger Goepper, director of the exhibiting museum. Notes and bibliography to the introduction, pp. 14 -15.
Table of Chinese dynasties and periods, p. 16. Colour plates, pp. 17 – 32.
Black and white illustrations and descriptions, pp. 33 – 225.
Glossary of Chinese names and texts, pp. 226 – 227.
Selected Bibliography, pp. 228 –229.
Item location: Europe.