7th Nov, 2025 13:00
Fine Netsuke & Sagemono
44
A SUPERB AND LARGE EBONY WOOD THREE-CASE INRO DEPICTING TURTLES, WAFTING WAVES, AND A ROCK CRYSTAL BALL (YASAKI NO NAGATAMA)
Sold for €7,150
including Buyer's Premium
Unsigned
Japan, 19th century, Edo period (1615-1868)
Of remarkable size and presence, this inro is superbly carved from ebony wood, the surface deeply incised with wafting waves framed by swirling clouds, the crests highlighted with large silver dew drops. On either side, a turtle rests upon a rocky outcrop, each gazing toward the magnificent rock crystal ball secured in the central case upon red felt, which forms the dramatic centerpiece of the composition. The subject, occasionally encountered in Meiji-period metalwork, alludes to Ryujin, the Dragon King of the Sea, and his sacred crystal ball (tide jewel), believed to govern the ebb and flow of the tides.
The ensemble is completed by a fine tsuishu lacquer ojime, inlaid with mother-of-pearl and incised with a butterfly, and an exceptionally well-matched ebony wood netsuke. The latter, formed in two sections as a sphere, is carved with further rolling waves and a dragon with gilt eyes, a fitting companion piece since the dragon amidst waves is another potent emblem of Ryujin.
HEIGHT 10 cm, LENGTH 6 cm, WIDTH 3.6 cm (the inro)
HEIGHT 3.5 cm (the netsuke)
Provenance: From the collection of Arend Louis Serné. Arend Louis Serné (1925-2021) was the fourth-generation owner of the firm A. Serné & Son, Costumiers, located on the Groenburgwal, Amsterdam, Netherlands, established in 1866. An avid piano player, he was also fond of modern literature, and a passionate collector of inro. He started his inro collection in the late 1970s. At that time, he entered the gallery Aalderink Oriental Art along the Spiegelgracht in Amsterdam and was immediately captivated by the beauty of inro. He began his collection with three simple specimens but hoped to own more. He remarked, “Oh that's nothing, a decent collection must be about a hundred pieces!” And collect he did. Arend was not concerned with the signature or the rarity, but with the intrinsic poetic beauty embodied in this very Japanese art form.
Condition: Excellent condition with only very minor wear and light traces of use including occasional nicks to the wood ground.
Unsigned
Japan, 19th century, Edo period (1615-1868)
Of remarkable size and presence, this inro is superbly carved from ebony wood, the surface deeply incised with wafting waves framed by swirling clouds, the crests highlighted with large silver dew drops. On either side, a turtle rests upon a rocky outcrop, each gazing toward the magnificent rock crystal ball secured in the central case upon red felt, which forms the dramatic centerpiece of the composition. The subject, occasionally encountered in Meiji-period metalwork, alludes to Ryujin, the Dragon King of the Sea, and his sacred crystal ball (tide jewel), believed to govern the ebb and flow of the tides.
The ensemble is completed by a fine tsuishu lacquer ojime, inlaid with mother-of-pearl and incised with a butterfly, and an exceptionally well-matched ebony wood netsuke. The latter, formed in two sections as a sphere, is carved with further rolling waves and a dragon with gilt eyes, a fitting companion piece since the dragon amidst waves is another potent emblem of Ryujin.
HEIGHT 10 cm, LENGTH 6 cm, WIDTH 3.6 cm (the inro)
HEIGHT 3.5 cm (the netsuke)
Provenance: From the collection of Arend Louis Serné. Arend Louis Serné (1925-2021) was the fourth-generation owner of the firm A. Serné & Son, Costumiers, located on the Groenburgwal, Amsterdam, Netherlands, established in 1866. An avid piano player, he was also fond of modern literature, and a passionate collector of inro. He started his inro collection in the late 1970s. At that time, he entered the gallery Aalderink Oriental Art along the Spiegelgracht in Amsterdam and was immediately captivated by the beauty of inro. He began his collection with three simple specimens but hoped to own more. He remarked, “Oh that's nothing, a decent collection must be about a hundred pieces!” And collect he did. Arend was not concerned with the signature or the rarity, but with the intrinsic poetic beauty embodied in this very Japanese art form.
Condition: Excellent condition with only very minor wear and light traces of use including occasional nicks to the wood ground.
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