Ɏ A SUPERB IVORY NETSUKE OF A SEATED TARTAR, ATTRIBUTED TO OTOMAN

拍品描述

Ɏ A SUPERB IVORY NETSUKE OF A SEATED TARTAR, ATTRIBUTED TO OTOMAN Attributed to Matsushita Otoman (d. 1862), unsigned Japan, Hakata, first half of the 19th century, Edo period (1615-1868) Finely carved, this netsuke depicts a squatting Tartar, adjusting his characteristic headgear with one hand while holding a bag with the other, resting it against his side. The figure’s face is skillfully rendered with a slight smile and broad cheeks, capturing the joyful, humorous expression that is a hallmark of Otoman’s work. His attire is elegantly depicted, with fine incisions of flowers and detailing in the folds of his clothing. The ivory bears an attractively warm patina. Large, asymmetrical himotoshi are pierced through the back. LENGTH 3.6 cm Matsushita Otoman (d. 1862) was born and lived in Kakemachi in Hakata. Widely regarded as one of the greatest netsuke carvers of the 19th century, Otoman studied his craft in Edo, Kyoto, and Osaka. He became famous during his lifetime and received numerous commissions from both Edo and Kyoto, particularly known for his expertise in ivory dyeing. Otoman is one of the most recognizable carvers, known for his distinct facial expressions and dynamic figures, which are almost always immediately identifiable and unmistakable. The charm of Otoman’s netsuke often lies in the expressions of his figures. The Tartar’s face is a prime example of Otoman's ability to carve faces full of life, capturing the nuances of joy and humor. These facial details, often marked by broad smiles, exaggerated cheeks, and lively eyes, are the defining characteristic of Otoman’s style. The playful, expressive quality of his figures, even in scenes of calm or repose, underscores Otoman’s unique ability to combine emotive realism with the humor that often permeates his work. Literature comparison: For an excellent analysis of the carver, see Val Dryagin (2025), Otoman and other Hakata Netsuke Carvers, where several comparable pieces are listed, both unsigned and signed. A particularly comparable example in the publication is an ivory netsuke of Yojo stabbing the King’s mantle, a carving of similar size and expression, also unsigned and attributed to Otoman, 3.4 cm long, illustrated on p. 36, no. 27. Auction comparison: Compare a related ivory netsuke of Asahina Saburo and Soga no Goro, with similar expressions, also unsigned attributed to Matsuhita Otoman, 4.5 cm wide, at Bonhams, Fine Japanese Art, 16 May 2013, London, lot 10 (sold for GBP 16,250 or approx. EUR 26,000 converted and adjusted for inflation at the time of writing). Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 26-B-0110). 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, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

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