AN IVORY NETSUKE OF A CHINESE MANJapan, early to mid-18th century, Edo period (1615-1868)Carved in tobori (Chinese style), depicting a man reclining on the rounded rectangular base, his head resting on his arm, holding a fan in the other hand, wearing a loose-fitting robe tied at the waist and a conical hat, the face with a calm expression, the long beard neatly incised. Himotoshi to the back and underside.HEIGHT 3.2 cm, WIDTH 3.5 cmCondition: Good condition, appealingly worn, natural age cracks, old chip to the hat smoothened over time. Fine, honey-gold patina.Provenance: French private collection.This item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.
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YOSHINAO: AN IVORY NETSUKE OF GAMA SENNINBy Yoshinao, signed 吉直 Yoshinao Japan, Kyoto, late 18th century to early 19th century, Edo period (1615-1868)The finely carved ivory netsuke depicting a reclining, bulky Gama Sennin, his loosely fitted robe revealing his bulging stomach and chest. The large three-legged toad with inlaid eyes clambering over the immortal. Good, well-hollowed himotoshi and signature underneath YOSHINAO.LENGTH 6.4 cm Condition: Very good condition with natural age cracks and wear. Provenance: German private collection.This item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.
KOKU: AN IVORY RYUSA MANJU NETSUKE WITH A STYLIZED FLORAL PATTERNSigned KokuJapan, late 19th centuryThe two-part ivory ryusa manju netsuke finely stained and carved in openwork depicting a stylized floral pattern. The central himotoshi and the circular cord attachment inside, with the signature to the center of the lower part of the netsuke - KOKU (for Kokusai).DIAMETER 4.7 cmCondition: Good condition with old wear and few minor nicks to edges. Provenance: French private collection.This item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.
AN IVORY OKIMONO OF A TEMPLE DRUMMERSignedJapan, Meiji period (1868-1912)Standing on a naturalistically carved base, a lantern and a branch with leaves and a flower on the ground before him, wearing a neatly incised robe and holding two mallets, striking a dynamic pose, his face showing a joyous expression.HEIGHT 6.9 cmCondition: Very good condition with minor traces of wear.Provenance: British collection.This item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.
A SMALL IVORY NETSUKE OF A FEMALE IMMORTALJapan, Edo (Tokyo), first half of 19th century, Edo period (1615-1868)Depicting a seated female immortal dressed in an elaborately worked robe and leaning with one arm on a rectangular low table. Her hair is arranged in a chignon, and she holds a rope with both hands. One himotoshi through the underside, the other one 'hidden' under the table.HEIGHT 3 cmCondition: Good condition with age-related wear and some old, smoothed-out chips. Provenance: French private collection.This item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.
A POWERFUL KYOTO SCHOOL IVORY NETSUKE OF A TIGER ON BAMBOOUnsignedJapan, Kyoto, late 18th to early 19th century, Edo period (1615-1868)Similar to no. 49, yet carved from ivory and bearing a deep-yellow patina. The mighty animal strides across the bamboo rod with a leafy sprig growing from the separation point of the two nodes, and turns its head to the left, baring its fangs and snarling. The fur markings are finely incised and inked. Himotoshi through the bamboo rod.LENGTH 5 cmCondition: Very good condition, appealingly worn, minuscule nick to the tail, natural age cracks.Provenance: English private collection.Auction comparisons:A related netsuke was sold by Van Ham, Asian Art, 7 December 2017, Cologne, lot 2336 (sold for 3,000 EUR). Another was sold by Bonhams, Fine Japanese Works of Art, 19 March 2013, New York, lot 2133 (sold for 6,875 USD). Another was recently sold by Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 66 (sold for 4,880 EUR).This motif is called take no tora, "tiger in bamboo". There are many different interpretations; the tiger has a strong nature, is flexible and resilient like the bamboo, but it is also said that the strong tiger is looking for shelter underneath the bamboo, as any earthly power is inferior to the forces of nature. Moreover, the tiger and bamboo represent the power of faith in Buddhism.This item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.
A RARE MARINE IVORY NETSUKE OF A RAT ON LEAFY DAIKONJapan, early 19th century, Edo period (1615-1868)The rat with inlaid eyes seated atop a two-forked radish with finely carved leaves. The underside shows a stunning color and the large himotoshi.LENGTH 5.3 cmCondition: Very good condition, minimal wear, fine patina.Provenance: German private collection, acquired from Kunsthandel Klefisch, Auktion 60, June 1996, Cologne, lot 583 (described as Narwhal tooth).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person.
UEDA KOHOSAI: AN IVORY NETSUKE OF A BIZEN WARE CERAMIC MODEL OF HOTEIBy Ueda Kohosai (died 1907), signed Kohosai Japan, Osaka, second half of 19th centuryThe finely stained ivory netsuke of a bizen ceramic model depicting Hotei, wearing a long flowing robe, revealing his bulging belly and chest, holding a fan in his right hand and his treasure sack in the left hand with a cheerful expression on his face. One single himotoshi through the back and the signature KOHOSAI.HEIGHT 4.2 cm Condition: Good condition with minor surface wear. Provenance: German private collection.This item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.
A BURMESE IVORY STATUE OF BUDDHABurma, 18th century. Carved seated in dhyanamudra on a stepped throne, the hands held in his lap, wearing long robes draped over the left shoulder.Condition: Good condition with natural age cracks and few small chips to exposed areas as well as minor flakes to applied varnish. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Weight: 144.5 g Dimensions: Height 13.5 cmThis item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.
AN IVORY NETSUKE OF A SINIU AND MONKEYJapan, early 18th centuryBoldly carved as a recumbent siniu with the legs drawn in and long neck raised high, a small monkey seated on its back and playing with its beard, their features well detailed and heightened with sumi (ink). Himotoshi to the body on one side and the underside.HEIGHT 5 cmCondition: Good condition with old wear and minor natural age cracks. Fine, honey-brown patina.Provenance: French private collection.Literature comparison:Compare a closely related ivory netsuke of a siniu with a monkey, dated late 18th century, illustrated in Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 327, no. 1000.Auction comparison:Compare a related ivory seal netsuke, carved with a siniu in a similar posture, dated late 18th century, at Christie's London in Japanese Ceramics & Works of Art on 8 November 2007, lot 7 (sold for 6,875 GBP).This item contains or is made from elephant ivory and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Please note that in compliance with EU regulation effective January 19th, 2022, all items carved from elephant ivory before 1947 must carry a legal trade permit issued by the Austrian ministry of trade, or any other appropriate authority within the European Union. For this reason, any sale of such item can only be concluded after such permit has been granted. All payments made prior to the issuance of the respective permit will be held in escrow until the application for the permit has been approved. Please note that according to EU regulation it may take up to 3 months until the permit has been granted. In case the permit is declined, or not granted after 3 months, the payment will be returned to the client immediately.
Royal blue satin silk polonaise or promenade style dress, ca. 1880s-1890s. The dress is one piece, but has been made to look like two pieces. There is an inset vest of shirred and brocade ivory satin with ruching at the neckline and cuffs. The blue satin silk is ruched along the hem.Shoulder: 15 in x bust: 34 in x waist: 30 in x arm: 21 in x dress length (shoulder to hem): 57 in.
Black and ivory chevron satin striped gown, made up of skirt and bodice, ca. 1900. Yellow and purple floral designs adorn the sleeves, bodice, and hemline. Additionally ornamented with black lace along the neck, sleeves, and hem.Shoulder: 14 in x bust: 33 in x waist: 24 1/2 in x arm: 17 in x skirt length: 40 in.
A large Grand Tour Naples Basilica San Petronio inlaid panel, depicting the Basilica interior, with fine ivory foliate inlay surround and original mahogany frame with handwritten labels verso dated 1895, overall 44 x 53cmGood overall condition, a few small cracks horizontally and a few small areas of inlay lifting, one tiny section of ivory chipped.
Indo-Portuguese school, ca.1600."Virgin and Child.Carved ivory.Rear pedestal.Measurements: 12 cm high figure; 7.5 cm high pedestal.Carved ivory sculpture. The characteristic way of carving the hair of the Indo-Portuguese school can be seen, consisting of making curls with symmetrical incisions marking the direction of the hair. Also typical of this school are the straight nose and the closed mouth with barely marked lips, as well as the almond-shaped eyes, which are clearly oriental.The trade routes linking Europe, America and the Indies brought various oriental products to the Iberian Peninsula, most of which were considered luxury items, including pieces made of ivory. Royal families, nobility and people of high social standing all desired exotic objects for their collections, and ivory carvings were among the most prized, both for the value and exoticism of the material itself and for the quality of the workmanship. These carvings also had a dual function. Firstly, they were precious and decorative objects, but they also had a didactic and evangelistic purpose, as carvings were made with Christian themes and iconography, using decorative motifs, elements and techniques typical of the Far East. Generally speaking, the missionaries commissioned local artists to make them, showing them European models to imitate. These types of pieces, intended for Portuguese clients, were made especially in Goa (India), which was also an important centre of furniture manufacture. The artists in that area had a long tradition of ivory sculpture, so the result was a synthesis of the local aesthetic heritage (emphasis on the textures of clothing and objects, the importance of animalistic representation, etc.), with Western iconography and taste.
Dutch school; first half of the 17th century."Portrait of a lady.Oil on copper.It has a noble coat of arms on the back.It has slight losses of the pictorial layer.Measurements: 4,5 x 4 cm.It is interesting to point out that in this miniature work the artist has covered the two spaces of the pictorial surface, the front and the back. It is for this reason that on one of the sides of the copper can be seen the presence of a sober female portrait, and on the other a heraldic coat of arms. From the Renaissance miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or a gift, when they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was lost from the second half of the 19th century onwards, in parallel with the development of photography.Portraiture, whether individual, group or even character portraits, embodies the relationship between the individual and society, and therefore the state. This genre accounts for a full third of the total output of the Dutch Baroque, and its main innovator in Holland was Frans Hals, who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portraiture, of virtuoso and elaborate execution, a general reaction was triggered at the beginning of the 17th century, based on compositional austerity and operational sobriety. Thus, in contrast to the previous century's desire for virtuosity, Dutch Baroque portraitists revived the earlier models in a more sober and solid manner, focusing on the characterisation of the sitters, the elegance of the poses and the delicate capturing of the qualities of the various objects.
Dutch school; second half of the 17th century."Portrait of a lady.Oil on copper.Measurements: 4,5 x 4 cm.Portrait of young girl in miniature, which represents the bust of the protagonist who is in the centre of the composition, arranged in a strict frontality. From the Renaissance, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or objects of gift as they were mounted like jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or card and, from the 18th century, watercolour on ivory. This delicate art was lost from the second half of the 19th century onwards, in parallel with the development of photography.Portraiture, whether individual, group or even character portraits, embodies the relationship between the individual and society, and therefore the state. This genre accounts for a full third of the total output of the Dutch Baroque, and its main innovator in Holland was Frans Hals, who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portraiture, of virtuoso and elaborate execution, a general reaction was triggered at the beginning of the 17th century, based on compositional austerity and operational sobriety. Thus, in contrast to the previous century's desire for virtuosity, Dutch Baroque portraitists revived the earlier models in a more sober and solid manner, focusing on the characterisation of the sitters, the elegance of the poses and the delicate capturing of the qualities of the various objects.
French or Italian school; second half of the 17th century."Portrait of a gentleman.Oil on copper.It presents losses on the pictorial layer.Measurements: 8 x 6 cm.From the Renaissance the miniature portraits, framed in a circle or oval, were pieces for the private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or a gift object, as they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century, in parallel with the development of photography.In the 17th century, the European portrait scene was varied and wide-ranging, with numerous influences and largely determined by the taste of both the clientele and the painter himself. However, this century saw the birth of a new concept of portraiture that would evolve throughout the century and unify all the national schools: the desire to capture the personality and character of the human being, beyond his external reality and social rank, in effigy. During the previous century, portraiture had become established among the upper classes and was no longer reserved solely for the court. For this reason, as the 18th century progressed, and even more so in the 18th century, the formulas of the genre became more relaxed and moved away from the ostentatious and symbolic official representations typical of the Baroque apparatus. On the other hand, the 18th century reacted against the rigid etiquette of the previous century with a more human and individual conception of life, and this was reflected in all areas, from furniture, which became smaller and more comfortable, replacing the large gilded and carved pieces of furniture, to the portrait itself, which came to dispense, as we see here, with all symbolic or scenographic elements in order to depict the individual rather than the personage.
Bargueño with archimetry. Mexico s.XVII.In red cedar. Inlaid with mother of pearl, shell, ivory.European archimedean late XIXth century.Measurements: 86,5 x 115 x 50 cm (bargueño); 181 x 127 x 59,5 cm (total).Mexican Baroque bargueño, in red cedar wood, with the front organised in a geometric and proportionate scheme following contemporary Spanish models, but with a great decorative development based on inlay and incrustations on shell sheets. A central niche with a round statuette between Solomonic columns and a venera-shaped vault is flanked by two drawer rails on each side, as well as two upper drawers. Mother-of-pearl inlays line the central oval of each drawer and border the keyholes with small rosettes. The upper gallery with baluster is also lined with mother-of-pearl on its openwork runner. The niche conceals drawers inside, with ivory plaques inlaid and chiselled with floral designs. Ebonised mouldings trim the lower ledge, which is also decorated with mother-of-pearl-embellished shell ovals. The bargue rests on ball-and-claw feet, a typical European Baroque motif.
A Royal Worcester blush ivory porcelain vase and cover date code for 1897, printed purple factory marks, shape no. 399, ovoid form with moulded swags, angular lion mask handles and fluted, waisted neck, the domed cover with cone finial, painted with a spray of garden flowers, 12in. (30.5cm.) high, finial repaired.
A FINE QUALITY JAPANESE MEIJI PERIOD CARVED IVORY FRAMED SECTIONS OF GODS AND CHILDREN, the mount housing 11 carved ivory panels, each panel carved with a varying native scene of children playing with animals, arranging ikebana, warriors with a parrot and spacing panels of flora and insects, the central panel depicting some of the seven lucky gods of japan including hotei, kwannon and ebisu, surrounded with children and other figures, framed 53cm diameter, the central panel 16cm.
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