netsuke and sagemono lounge : Disclaimer - Please click anywhere on this bar to expand/contract the content.
Sponsor Announcement:

Woolley & Wallis would like to take this opportunity to invite you to participate in their auction - Japanese & Korean Art, on the 23rd May 2018.

To access the on-line catalogue please click on the banner below.


Please Note: This sponsorship announcement will automatically disappear on the 24th May 2018.

Hare material help

Discussion of different types of materials used for netsuke.
Posts: 17
Joined: Wed Feb 26, 2014 9:53 pm
Location: buffalo new york

Postby CHOOSEGOODART » Fri Apr 01, 2016 11:32 pm

it is a modern copy of Masakazu
need help learning about netsuke thank you

Posts: 539
Joined: Thu Nov 08, 2012 6:32 pm
Location: Boston

Postby onimh » Sun Apr 10, 2016 9:12 pm

I received the following comments from a very qualified source. I received their permission to post it here. I believe it adds an interesting perspective to the discussion.

It's an intriguing piece for me for the reasons I list below.

I am looking at this piece from the perspective of why?

Your hare was inspired by a super example from the Masanao studio illustrated in the Hindson collection. 153. As soon as I saw it, I realised what the chap was trying achieve. He’s had a good idea but lacks the skill to realise the vision. The underside is a complete wrong-un and I suspect that’s why it’s been left unfinished. He/She realised this. The Masakazu signature intrigues me. The reason, perhaps you are correct about the Masatoshi/Masakazu association. However, maybe the maker is a bit brighter and also the work more recent. Rather than copying for commerce he’s copying for glory. Something Clive Hallam said on this forum a while back, when I quoted Bushell as saying forgery is always a commercial effort, Clive corrected me (quite rightly I have since learned) by saying this is not always the case. Some clever individuals copy for the sake of saying that it can be done and more importantly anyone can be fooled under the right conditions. Some will have you believe that Masanao of Kyoto was inimitable and that he fell from heaven with the ability to make masterpieces and that he only ever made masterpieces, done so on his own without help from anyone. However, I believe Masanao had a big studio and one of his pupils that gained independence was a chap that took the name of Masakazu, who subsequently went off to work in Osaka. My point, the individual who carved this hare, tried to make it look like a Masanao, but did they also do some really good netsuke study and say let’s not put Masanao’s signature here, this will set off alarm bells, let’s put his students name, Masakazu. If so, this demonstrates a more sophisticated level of period Kyoto studio knowledge than I have seen before from a forger.

Return to “Materials”

Who is online

Users browsing this forum: No registered users and 1 guest