JAPANESE NETSUKE: The Tie That Binds

Netsukes were toggles used to solve an apparel problem for Japanese men. Since the Kimoto, or gown, had no pockets, a pouch for keeping money, tobacco, medicine or tinder was necessary and was hung from the man’s girdle. The string attached to the pouch was fit with an end device to secure the string: the Netsuke. The first Netsukes appeared in the Japanese Edo Period (1600- 1867), about 350 years ago.

Netsuke became an increasingly popular focus for artistic expression, taking on a multitude of designs and forms. Later the simple carrying pouches evolved into a different accessory called the Inro, or medicine pouch. The bead between the Netsuke and Inro, used to secure the Inro, was the Ojimi.

The need for Netsukes evolved from exclusive upper class Japanese, such as the Samurai, to include everyday tradespeople and farmers. As the demand increased, and artisans began creating ever more fanciful Netsukes and the art became more formalized. Fine Netsukes detailed, in miniature, depictions of a variety of animals, ordinary people, folk heroes or Gods as well as everyday objects. Materials such as ivory, hardwoods, ceramics and even metal were used their making. As years passed, competition for creating these engaging miniatures grew, reaching its peak in the early to mid-1800s; but then as the Kimono costume was replaced due to Western wear influences, demand decreased.

Despite the decreasing demand for the useful aspects of these old fashioned devices, Netsuke are still eagerly sought today by art connoisseurs. In fact, the Japanese art of carving miniatures has become so popular that today fine ivory carving in miniature is still done, with recent examples lacking the telltale two connecting cord holes (known as himotoshi), one much larger than the other.

There three basic forms of Netuske art. A small carving in the Katabori form depicts figures, either human or animal. The Kagamibuta forms are Netsuke containers with lids, while the Manju form take on a bun shape depicting almost anything. Better quality items express the essence of the object being depicted and will have few or no appendages sticking out of the mass. High degree of detail, many times with incised engraving colored into the sculpture, is another sign of high quality in Netsuke. Still another feature sought after by collectors is the patination of wear, something which is very hard to fake and enhances the beauty of the object, while always offering proof of its substantial age. But probably the most important single feature for a desirable Netsuke is the charm, wittiness and amusement that still captures the fancy of a collector even hundreds of years after it was made. Many Netsuke are signed, often in small characters somewhere on the bottom or back of the items.

In this sale we offer over twenty carved ivory items, with six of which are Netsukes. The detail and workmanship on all is superb, and we invite you to go to the live auctioneers sight to examine these highly collectable items.

RARE WALTHAM GIRANDOLE SERIAL #1

“The most beautiful of all American clocks”

Last week, the consignor of our Waltham Girandole clock, called to point out that his clock was the first Girandole made by the Waltham Company. This was just confirmed with the discovery of the stamped serial # 1 on the case in at least four places, under the throat and on the throat. The Waltham Clock Company, associated throughout its corporate life with the better-known Waltham Watch Company, made relatively few clocks between 1897, when they were first established, and the 1930s when, after some name changes, they dissolved.

The Girandole clock design (Lemuel Curtis has been credited for making the first) has been copied over and over ever since they first appeared in the 1820s. Waltham tackled making this complex clock with high expectations, yet it is believed that Waltham made fewer than 50 of these Girandoles altogether. We know of the number 21 as the highest number.

Waltham produced a variety of highly decorative clocks that have become recognized as true hand craftsmanship more than manufactured timepieces. Although best known for their Hall clocks with tubular chimes (many of which we now know were obtained through Walter Durfee, the patentee of the tube chimes), Waltham also made a line of large wall regulators (we know of four different models). Also were reproductions of the Simon Willard banjos (we have one in our sale, lots # 352), smaller weight driven wall regulators including two marble front models, others styled after Howard Clock Company’s classic rosewood cased wall regulators, and even mantel clocks and ships clocks.

The word “Girandole” may come from the Italian “girandola” who’s archaic meaning is something like “around and around” or “pinwheel”, perhaps a fitting description for the swirl-like design and reflective qualities of the accouterments of this wall clock.

The Girandole has been described by some scholars as the most beautiful of all American clocks.

Traditionally the Waltham Girandole timepieces have brought the most money over other fine models made by Walter Durfee, Elmer Stennes, John Burleigh, Foster Campos and the like. The condition of our example is excellent, and there just are no restorations or replacements that we can see, although we do not promise the original key.

Having the opportunity to bid on this clock in this excellent condition is about as rare as the clock itself.