TEN FUCHI

MID/LATE EDO PERIOD (LATE 18TH/EARLY 19TH CENTURY)

Details

TEN FUCHI
Mid/late Edo period (Late 18th/early 19th Century)
Shakudo nanako depicting a fisherman seated and listening to karako playing a drum beside a pine, in shakudo and iroe takazogan, signed Yamazaki Ichiga and kao; depicting a cockerel, hen and chick in iroe takazogan and gilt, signed Shokatei Motohiro and kao; sentoku depicting an isolated pavilion in shakudo and sentoku takazogan and takabori, signed Nara Toshimitsu saku; Iwama school shibuichi migaki-ji depicting Fujin emptying a bag in shibuichi takazogan and takabori, signed Oju Tsunoda kun, gyonen rokuju yattsu Masayoshi; shibuichi migaki-ji depicting reeds in a stream in takabori, shakudo and gilt takazogan, the details of the reflection in gold hirazogan, signed Sekienshi Yasuchika [5th Yasuchika, Tsuchiya Kunichika] and kao; Kikugawa school shibuichi depicting a scene of figures moving a large bell in waves in takabori, gold, silver and copper zogan, signed Kikugawa Nampo kocho with a seal; shakudo nanako depicting Kanzan and Jittoku reading a scroll in takabori, gold and shibuichi zogan, signed Nara Toshinori and kao; Hamano school shibuichi migaki-ji depicting a toro [lantern] beside a tree, signed Hamano Yasuyuki; shibuichi nanako decorated with a bird perched on a flowering tree in takabori and gold zogan, the reverse with another bird in flight, signed Jugakusai Ishiguro Masayoshi and kao; and Nomura school shakudo nanako depicting oni in takabori, gold and copper zogan, signed Nomura Masamitsu and kao (10)

Provenance

The 6th; Seymour Tower Collection, 1695, no. XXXII.

Literature

Lundgren Collection, nos 238, 222, 59, 71, 107, 263, 245, 243, 254 and 257 respectively

Lot Essay

The first probably by the first Yamazaki Ichiga. The details of the inlay and style is similar to Goto.
The artist of the third, Nara Toshimitsu was a student of Toshinaga.
The artist of the fourth, Iwama Masayoshi was a student of Toyama Chokuzui, (see no. 63 and 64). As his carving was bold, he was compared with Shozui.
Nampo is a later name of Hisahide and was a student of Chizuka Hisanori. It is said that he was related to the print artist Kikugawa Eizan, having some technical exchange.
For the seventh see Yasuchika, (Chugoku paal, Heisei 3), p. 127, pl. 87.
The artist of the eighth, Hozui [Yasuyuki] was a brother of Chokuzui. He was well travelled, studying in both Osaka and Akashi. Eventually, settling at Tokushima in Awa Province, he became a master metalworker to the Hachisuka clan and was given a rice stipend.
For the artist of the ninth, Ishiguro Masayoshi, see lot no. 254.
The last artist Nomura Masamitsu succeeded the 6th master after Masatsugu. He lived in Tokushima in Awa province.

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