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Lot Essay
The artist Kaneyasu Masatoshi (1845–?) ranks high among the greatest of the Meiji period metalworkers. He apprenticed to the esteemed metal artist, Tanaka Kiyotoshi (1804-1876) before being adopted by Ito Katsumi (1829-1910), eleventh master of one of the most distinguished lineages of metal artists. Active in Tokyo, Kaneyasu produced works of exceptional refinement distinguished by crisp carving, balanced composition, and subtle finish of the patina. Commissioned by leading patrons and the celebrated Ozeki Company, his metalwork reflects the finest technics and aesthetic sophistication of Meiji-period craftsmanship.
Masatoshi signed this work with the term “shitajishi,” indicating that he personally crafted the body of the piece. It is highly unusual for an artist not only to shape the body by hammering but also to execute the chiseling and inlay decoration, as these require very different technical skills that only a master could achieve. By including the word “shitajishi” alongside his signature, Masatoshi proudly highlighted this rare accomplishment.
For the works by the artist in the collections of the Museum of Fine Arts, Boston, image accessible online under accession numbers 11.5336 & 11.5693. For the similar works by the artist in the collection of the Nasser D. Khalili Collection, see Oliver Impey and Malcolm Fairley, Metalwork Part I & II of Meiji no Takara, Treasures of Imperial Japan (London: Kibo Foundation, 1995), pl. 52, 53 & 80.
Masatoshi signed this work with the term “shitajishi,” indicating that he personally crafted the body of the piece. It is highly unusual for an artist not only to shape the body by hammering but also to execute the chiseling and inlay decoration, as these require very different technical skills that only a master could achieve. By including the word “shitajishi” alongside his signature, Masatoshi proudly highlighted this rare accomplishment.
For the works by the artist in the collections of the Museum of Fine Arts, Boston, image accessible online under accession numbers 11.5336 & 11.5693. For the similar works by the artist in the collection of the Nasser D. Khalili Collection, see Oliver Impey and Malcolm Fairley, Metalwork Part I & II of Meiji no Takara, Treasures of Imperial Japan (London: Kibo Foundation, 1995), pl. 52, 53 & 80.