Netsuke: Small Carvings, Big Appeal
Bonhams specialists discuss the artistry, collectability, and enduring charm of netsuke ahead of the auction of selections from the Joseph and Elena Kurstin collection.
Tiny in scale but immense in artistry, netsuke occupy a unique place in the world of Japanese art. Originally carved as practical toggles worn with traditional dress, these miniature sculptures have become prized collectibles celebrated for their craftsmanship, storytelling, and tactile beauty.
Bonhams will offer an important group of these works during Asia Week New York, in Netsuke from the Collection of Joseph and Elena Kurstin, Part II. In an email interview with Kovels Antique Trader editor, Kele Johnson, Bonhams specialists Dessa Goddard, Senior VP and US Head of Asian Art at Bonhams and Jeff Olson, Director of Japanese & Korean Art, US at Bonhams, discuss the strength of the Asian art market, what continues to draw collectors to netsuke today, and how newcomers can begin building meaningful collections.
Kovels Antique Trader: Bonhams is presenting several auctions during Asia Week, New York. How does this year’s lineup reflect current trends in the Asian art market?
Dessa Goddard: This Asia Week New York, Bonhams is presenting six live sales across Chinese Ceramics and Works of Art; Fine Chinese Snuff Bottles from the Francine and Bernard Wald Collection Part III; Fine Chinese Paintings, Calligraphy and Prints; Indian, Himalayan and Southeast Asian Art; Fine Japanese and Korean Art; and Netsuke from the Collection of Joseph and Elena Kurstin, Part II — each of which closely mirrors current collecting tastes in its respective field.
From the splendid Qianlong/Jiaqing Imperial pair of zitan corner-leg tables, the brilliant Qianlong Imperial Yangcai blue-ground “lotus’ vase, the Zhang Daqian “Red Lotus’ from the Paul Mao Collection, the superb 16th century Gold-ground Thangka of Amitabha, the 18th century Rare and Important Korean White Porcelain Moon Jar, the two recently discovered rare Park Soo Keun (1914-65) paintings, and, of course, the early impression of the iconic “Great Wave” by Katsushika Hokusai (1760-1849) — this year’s lineup showcases works that are actively sought after by today’s collectors.
KAT: Asia Week has become a major gathering point for collectors and institutions. What role do these auctions play in shaping the global market for Asian works of art?
DG: As a collaboration of top-tier international Asian art galleries, 23 highly esteemed galleries, 27 museums, and six major auction houses, Asia Week New York drives the top collectors in all fields of Asian art to New York.
The auction houses provide the engine, as each of us has the breadth of masterpieces in all areas to attract our collectors, museum curators, and members of the trade, to complement the great museum exhibitions which are on display during this 10-day period.
KAT: With collectors coming from around the world, what types of objects or categories are you seeing the strongest demand for this season?
DG: Great Chinese mark and period porcelains are among the top attractions for collectors of Chinese art, as well as rare classical zitan and huanghuali furniture. Rare gilt bronzes from the Yongle (1402-24) period are also in high demand. Bonhams, the only auction house in the US that holds dedicated sales of Chinese paintings and works by Zhang Daqian, showcased in our auction on March 24th, are among the most desirable paintings among seasoned collectors. Japanese prints, particularly Ukiyo-e masters, are again selectively highly coveted, led by the world's enthusiasm for the Hokusai “Great Wave”.
There are strong markets in this great field of Asian art, and we at Bonhams enthusiastically welcome new and seasoned collectors to join us to celebrate Asia Week in our splendid new galleries at 111 West 57th Street.
KAT: Netsuke have moved from functional objects to highly prized collectibles. What continues to draw collectors to these small carvings today?
Jeff Olson: In most cases, collectors are looking for netsuke that are successful as sculpture. The fact that they are miniature and once had a practical function—working as a toggle to hold a suspended medicine case—seems to be of little consequence. Even in their original functional role, netsuke designs often worked in a complementary visual role to the ensemble (the suspended medicine case and the ojime, the small fastener). A successful netsuke is powerful, balanced, and exhibits kinetic energy, just as a larger sculpture would. An additional attraction for netsuke collectors is the fact that these pieces are meant to be handled—they are highly tactile and can take on a patina and show pleasing surface wear the more they are handled over time. This is considered a positive enhancement by successive handling.
KAT: For readers who may be encountering netsuke for the first time, what should they look for when evaluating quality or artistry?
JO: First, the netsuke has to work as a sculpture: Does it exhibit proper balance and proportion? Does it realistically convey the characteristics of the subject, whether they be realistic, such as an animal or plant study, or a fantasy or mythical animal? It is essential that the piece expresses the essence of the subject.
Second, is the work well finished? The composition must work from all angles, and the underside, that is not normally exposed, should be finished to the same degree as all proper sides.
Third, does the piece feel good in your hand? That is sometimes the final criterion that separates a good netsuke from a masterpiece.
KAT: The sale includes works from notable collections. How does provenance influence collector interest and value in the netsuke market?
JO: Netsuke collectors put great stock in provenance. To own a piece of a legendary collection is considered a coup to many serious netsuke collectors. A number of famous collections were formed in the early 20th century in Europe and the UK, and collectors today have developed their eye and their passion for collecting by studying works from these great collections of past generations. When examples from these collections do come to market, people are eager to try to acquire them.
KAT: Netsuke often depicts animals, folklore figures, and humorous scenes. Are there particular themes or subjects that tend to resonate most strongly with collectors?
JO: Collectors have varied tastes. Some collectors prefer animal subjects, others look for supernatural beings, and some collectors will try to collect varied subjects from one particular artist. There are as many preferences as there are collectors.
KAT: Materials vary widely—from wood to ivory and other natural materials. How do collectors approach these different mediums today?
JO: With the international ban on elephant ivory, most collectors have focused on wood. There are some good examples carved in stag antler, but these are less prevalent. Perhaps because the material is so hard to work with, most carvers selected ivory and wood as their medium of choice. As a result, these are the materials that have come down to us today in the greatest quantities. Other materials are even less prevalent.
KAT: Some netsuke were carved by well-known masters. How important are signatures and artist attribution when assessing a piece?
JO: Signatures of certain artists do make a difference in market value. However, there is always the risk of whether these signatures are genuine or not, especially the big names. The vast majority of netsuke historically were not signed.
KAT: For someone new to collecting netsuke, what advice would you give about entering the market and building a meaningful collection?
JO: Join a study group or society of collectors near you. They are a great resource, and they are a studious group. The passion for netsuke among these societies is nothing short of amazing. A new collector will learn what to look for and watch out for by joining groups of like-minded collectors much quicker than wading into the waters on their own. I would also advise new collectors to follow auctions both in the US and abroad.
KAT: Among the netsuke in this auction, is there one that stands out as a personal favorite? What makes it particularly special to you?
JO: I like the man-faced kirin netsuke. I like the way it feels in the hand, and I also like its playful, almost taunting expression, both on its face and in its body language.
All images courtesy of Bonhams.
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