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Christie's London, 8.12.2016

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neilholton
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Re: Christie's London, 8.12.2016

Postby neilholton » Sun Dec 11, 2016 10:55 pm

I don’t think I am being clear, sorry.

Masatada was not good enough to go it alone. He probably did at some point (hence we know his name) but his work could not compete with his contemporaries, who are competitors for the same custom.

I think the Harutada studio display affinities with both Tomotada and Mitsuharu studios. In animals - Tomotada. In figures - Mitsuharu.

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Vlad
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Re: Christie's London, 8.12.2016

Postby Vlad » Sun Dec 11, 2016 11:27 pm

Thanks! Very interesting and insightful. Would it be fair to conclude than that some of the weacker works signed Tomotada, Mitsuharu or even Harutada were possibly carved by somewhat lesser carvers like Masatada and alike?

Still doesn't quite explain the very small production under Harutada mei, clearly deserving individual recognition and even 'following' as a carver...

I certainly buy into the idea of Oka- carvers often signing with bigger names including among themselves, but still with years developing and producing models of their own. But here, unless something has suddenly happened to an already fully developed carver... Which of course could've actually been the case.
And Masatada wasn't in the end such a bad of a carver. There were worse, I am sure.
"Man sieht nur, was man weiß" - "One sees only what one knows". Johann Wolfgang von Goethe (1749-1832)

neilholton
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Re: Christie's London, 8.12.2016

Postby neilholton » Mon Dec 12, 2016 11:03 am

Vlad wrote:Would it be fair to conclude than that some of the weacker works signed Tomotada, Mitsuharu or even Harutada were possibly carved by somewhat lesser carvers like Masatada and alike?

I think that would be fair Vlad yes.
Vlad wrote:Still doesn't quite explain the very small production under Harutada mei, clearly deserving individual recognition and even 'following' as a carver...

I think this displays just how difficult it was for a studio thats output was as good as Harutada's was, still needed to sign names like Tomotada to make a living.

neilholton
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Re: Christie's London, 8.12.2016

Postby neilholton » Mon Dec 12, 2016 11:08 am

While on the subject of this sale. The Tiger and pair of cubs really was marvellous.

I wouldn't exactly say one Kyoto netsuke was missed, but the reclining deer was equal in merit to the Tiger. A super netsuke of its type.

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Vlad
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Re: Christie's London, 8.12.2016

Postby Vlad » Mon Dec 12, 2016 2:53 pm

The two were absolutely fantastic indeed, and so were the two boars which had opened the sale. How could you say no to those four?

Well, I know exactly how! :cry:
"Man sieht nur, was man weiß" - "One sees only what one knows". Johann Wolfgang von Goethe (1749-1832)

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Vlad
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Re: Christie's London, 8.12.2016

Postby Vlad » Mon Dec 12, 2016 7:36 pm

So what about the Eskenazi's catalogue from the Carré Collection, London, June 1993? I am yet to see another example of Harutada work so highly praised by specialists and matching Tomotada quality. Is anybody possibly aware of other examples I can see? Thank you.
"Man sieht nur, was man weiß" - "One sees only what one knows". Johann Wolfgang von Goethe (1749-1832)

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Vlad
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Re: Christie's London, 8.12.2016

Postby Vlad » Sat Dec 17, 2016 5:06 pm

And while everybody goes through their enormous libraries looking for that Eskenazi catalogue, here are some other wonderful shishi studies supposedly from the same quarters of Kyoto for your amusement. First one is signed again Harudata and bearng some familiar features. Though not executed to the top of the carver's known skill, it still did pretty well at the last year's Van Ham auction...
Shishi Harutada signed, $20,000, Van Ham 2015.jpg

The second one was in the Bauer collection once and said to be signed Haruki (signature not provided). It clearly bears some similarities to the one previously shown above, signed Tomotada and sold at the Zake auction quite a few years back...
Shishi Haruki (Bauer).jpg
Shishi Tomotada Zake 87.jpg

And what about this signed Masanobu carving, which Paul suggested demonstrates certain features attributable to the Tomotada shop?
ShiShi Tomotada, signed Masanobu 2006.jpg

But the biggest puzzle of all for me is this once offered by Scholten unsigned and unusual piece. I have never seen anything like it to date!
unsigned Sholten.JPG
"Man sieht nur, was man weiß" - "One sees only what one knows". Johann Wolfgang von Goethe (1749-1832)

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AFNetsuke
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Re: Christie's London, 8.12.2016

Postby AFNetsuke » Sun Dec 18, 2016 3:39 am

Thanks, Vlad for posting these. Always good to compare in this way whether we can draw conclusions or not. Interesting that the first 3 pieces all have prominent tongues rather than balls in the mouth. Is there any literature discussing tongues in relating to artists or schools? I have to say I dont really like the stiff straight forelegs on the Scholten piece.
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Re: Christie's London, 8.12.2016

Postby carlomagno » Sun Dec 18, 2016 10:21 am

A shishi evolving to human or the opposite? Whatever the carver reason is a mutant very strange
Nec spe nec metu

neilholton
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Re: Christie's London, 8.12.2016

Postby neilholton » Sun Dec 18, 2016 11:12 am

The example signed Masanobu was a marvellous example! A better image is in "In a Nutshell" catalogue.

The artist paid great attention to excavating all areas. This extra attention to details reminds me of this Mitsuharu-Studio shishi where the same has been achieved.
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