A FINE WOOD NETSUKE OF A RECUMBENT HORSE...
A FINE WOOD NETSUKE OF A RECUMBENT HORSE IN THE MANNER OF TAMETAKA
Unsigned, in the manner of Tametaka
Japan, Nagoya, late 18th to early 19th century, Edo period (1615-1868)
The horse is lying with its head lowered and turned back to the right, the body forming a circle with splendid curvature, and the legs and swinging tail drawn in, forming a compact composition. The horse is resting on its front legs, has a finely carved mane, pointed ears, and a face very much in the manner of Tametaka. The eyes are not inlaid, and the expression is charming – the features minimalistic, but powerful. The underside shows generous, large asymmetrical himotoshi. Fine, dark patina, again suggestive of Tametaka of Nagoya.
HEIGHT 2.3 cm, LENGTH 4.8 cm
Condition: Very good condition, one minor restored nick to the edge of one knee.
Provenance: European collection.
Auction comparison: For a comparable horse by Tametaka see Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 148.
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A FINE WOOD NETSUKE OF A RECUMBENT HORSE IN THE MANNER OF TAMETAKA
Unsigned, in the manner of Tametaka
Japan, Nagoya, late 18th to early 19th century, Edo period (1615-1868)
The horse is lying with its head lowered and turned back to the right, the body forming a circle with splendid curvature, and the legs and swinging tail drawn in, forming a compact composition. The horse is resting on its front legs, has a finely carved mane, pointed ears, and a face very much in the manner of Tametaka. The eyes are not inlaid, and the expression is charming – the features minimalistic, but powerful. The underside shows generous, large asymmetrical himotoshi. Fine, dark patina, again suggestive of Tametaka of Nagoya.
HEIGHT 2.3 cm, LENGTH 4.8 cm
Condition: Very good condition, one minor restored nick to the edge of one knee.
Provenance: European collection.
Auction comparison: For a comparable horse by Tametaka see Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 148.
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