| 中文版 English

具体要求

其它要求

-
关闭
A CARVED WOOD NETSUKE OF A TIGER EDO PERIOD (LATE 18TH-EARLY 19TH CENTURY), SIGNED KOKEI
美国 北京时间
09月17日 晚上10点 开拍 / 09月15日 下午3点 截止委托
此拍品禁止/限制出入境
拍品描述 翻译
A CARVED WOOD NETSUKE OF A TIGER
EDO PERIOD (LATE 18TH-EARLY 19TH CENTURY), SIGNED KOKEI
The tiger seated with its head turned and one paw forward, its ears pricked and fangs visible, its long tail curved over its back forming the himotoshi; incised signature on underside
1 ? in. (4.5 cm.) wide

A CARVED WOOD NETSUKE OF A TIGER EDO PERIOD (LATE 18TH-EARLY 19TH CENTURY), SIGNED KOKEI The tiger seated with its head turned and one paw forward, its ears pricked and fangs visible, its long tail curved over its back forming the himotoshi; incised signature on underside 1 ? in. (4.5 cm.) wide Sotheby's, London, 9 June 1971, lot 32, by repute Mighty Miniatures: Netsuke from a Private European CollectionHollis Goodall, retired curator of Japanese Art, LACMAThe distinct priorities of netsuke collectors reveal themselves through the features of their assemblage of art: the intensity of expression, variety of subjects and the partiality towards cuteness or eccentricity, and the timespan of works acquired by them. The ability of the carver to create a netsuke that locks eyes with the beholder (fig 1), that sensitively evokes maternal love (fig 2), that humorously conveys a sense of resignation (fig 3), or that fills one with dread (fig 4), requires an equivalently perceptive collector whose keen insights allow them to recognize the value of works that surpass the bounds of virtuosic carving into mastery.The broad timespan of this collection reveals much about the moments in which these objects were made, as well as the breadth of the collector’s interest. Works in this collection cover the majority of the production period of functional netsuke used as counterweights for containers suspended from a man’s obi sash— through the eighteenth and nineteenth centuries— into the time when netsuke were collected mostly as works of art, from the adoption of Western clothing at the late nineteenth century to the present. In the late eighteenth and into the early nineteenth century, a penchant for exoticism piqued interest by the wearers of these netsuke in Daoist and other Chinese subjects, descriptions of mythical islands invisible beyond the sea, and tales from across the Asian continent (fig5, fig 6). As the nineteenth century progressed, one sees more compact versions of dragons, shachi (a dragon-type fish that can leap from northern seas to those of the south in a single bound, called “flying dragon”), Chinese lions, and inventive renditions of tigers, also not native to Japan.In the late Edo period, from 1800-1868, attention turned inward as threats from Western colonial powers grew. Local wildlife and plants were ever popular. One finds in this collection a preponderance of works from early in the nineteenth century, when approaches to anatomy were more creative than they would be later. (Witness that evolution by comparing the Tomokazu snake and turtle (fig 7) with the later snake and skull in the manner of Sukenaga (fig 8). Interest in natural science, and resultant naturalism in art, was a growing priority with the spread of Western scientific books and encyclopedias in Japan found in the libraries of feudal lords from the eighteenth century until the end of the Edo period in 1868 (fig 9). The proclivity for naturalism only increased upon the opening of Japan to the outer world (fig 10). In urban areas such as Edo (now Tokyo, among the most populous cities in the world in 1700) a fad grew for telling tales of ghosts and demons to produce shivers during the summer heat. Tales of transformation into monsters, such as those of foxes taking on the appearance of humans (fig 11) or the princess Kiyohime allowing jealousy to alter her into a dragon (fig 4), had been a staple of noh theater for hundreds of years, but particularly in the nineteenth and into the twentieth century, horror novels adopted as kabuki plays introduced popular subjects for netsuke (fig 12, fig 13). Japanese clothing fashion in the eighteenth century led to wider obi for men, so that a large netsuke would show against the obi fabric, and the netsuke functioned as a counterweight at times to a hefty tobacco bag or a purse for coins. Men’s obi shrank to about 3 inches in width in the nineteenth century and small lacquer inrō became the most fashionable item to suspend from them, as netsuke were commensurately reduced in size. The interest in delicate lacquer inrō meant that netsuke carvers produced works with a smooth surface as not to damage the lacquer, the obi or the kimono, and as such netsuke became relatively small, fitting into the palm of the hand, and having no protrusions (fig 14). As the nineteenth century progressed, competition between carvers resulted in a wider variety of subjects and greater virtuosity of carving. As Westerners gained entry to Japan after 1854 (and they purchased netsuke from the beginning), the fineness and originality displayed by carvers, particularly after Japan’s participation began at the world’s fairs from 1873, extended to exploration of new materials and their combinations, in ornamental feats of execution (fig 15, fig 16).Once netsuke lost their use as wearable art and their need to keep adjacent clothing intact waned— and particularly when Westerners showed up to collect them in large numbers— okimono (figurine) type netsuke with flat bottoms proliferated (fig 16, fig 17 fig 18). These were more comfortably displayed a shelf on than worn.This collection tends away from the cute— though I am personally amused by the boar by Yamada Masanao showing off his teeth and by the pensive stare of the lacquer reclining deer— and towards the eccentric taste widespread among urban Japanese during the Edo period, when people of brash personality stood among the “social influencers” of their day. Wearers of netsuke deployed them to represent their own sometimes unconventional personalities, and the collection emphasizes those bearing a quirky manner of personal expression. Property from an Important European Private Collection

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

价格信息

拍品估价:1,000 - 2,000 美元 起拍价格:1,000 美元  买家佣金:
落槌价 佣金比率
0 - 100,000 26.00% + VAT
100,000 - 6,000,000 20.00% + VAT
6,000,000 - 以上 14.50% + VAT
服务费:平台服务费为成交总金额(含佣金)的3%,最低200元

拍卖公司

Christie's
地址: 20 Rockefeller Plaza New York
电话: +1 212 636 2000
邮编: NY 10020
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士