IvoriesMany of the Lytham St Annes Art Collection treasurer are on display within the Town Hall. The Mahogany Cabinet c1905 and 21 carved ivory pieces were a bequest of Miss Dorothy Ward Mosedale, 'Burnsall', 185 St Andrew's Road South, Lytham St Annes on 11 November 1970. There has been little known about the ivory collection and the Tagging the Treasures Project is very grateful to Kunie Couch and Philip Bailey for their dedication and extensive research that has revealed interesting and important information about the origins of the artworks and the conditions they they are in. Extract from Kunie Couch Research Notes My first phase of researching the ivories was to identify each piece and its condition, trying not to go into too much detail but checking the signatures. This is a unique collection of ivories because of the quality, size and quantity. Two different quality levels exist, excellent and satisfactory. This could indicate the work of two collectors. How I identifed the signatures 漢字 Kanji (Japanese characters) The number of Kanji in Japanese is approximately 50,000! Tens of thousands of characters are infrequent and are only found in historical documents. In common usage there are 1,945 and most adults know some 3,000 characters. Most characters have several readings, for example 正明 Masaaki may be read as Shomei. Writing is seen in Japan and China as an art. When practising calligraphy Japanese people learn three ways of writing each character. Advanced calligraphers use many different ways. Finding the right way to read is an art in itself. As my research skills are not at the highest level, I met with some friends in Japan, who are experts, in January 2014. |
Conservation
In the summer of 2013 Kunie Couch began her detailed research into the ivories, identifying, measuring, recording their condition etc. Unfortunately, they were found to be in a poor condition due to the way in which they had been stored. Ivory responds to changes in temperature and moisture; if too warm and dry the material expands and contracts causing the ivory to crack and once cracked, ivory is not easy to repair. Strong sunshine UV can also discolour it. Dirt can accumulate in the gaps and hide the surface detail. After a workshop on Collection Care, provided by the Lancashire County Council (LCCMS) Conservation Studios, light, humidity and temperature checks were made at the storage location. It was discovered that the light and humidity were not ideal for the ivories and changes were implemented. Cleaning the Ivories In April 2015 the Collection ivories were cleaned by the Lancashire LCCMS. Conservation was initially carried out by light cleaning with a soft brush to dislodge the dust. The dust was directed towards a gauze covered low-suction vacuum cleaner. Ingrained dirt was then removed using cotton wool swabs moistened with water, or water mixed with a very small amount of industrial methylated spirits. The surface of the ivory was only slightly dampened and care was taken to dry the surface immediately with further cotton wool swabs. Only a few square centimetres were cleaned at any one time, so the ivory was never soaked. This made the process very time consuming. Because of the delicate nature of the ivory pieces, and the restricted access to their storage location, Kunie and Philip had to seek permission to view and handle the artworks. The larger pieces were transported to the Lancashire Museum Service Conservation Studios in Preston where they could be studied more closely using the special equipment and lighting available. |
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About the Ivory Collection
This is a unique collection of Japanese, Chinese and Indian ivory sculpture; there are 21 pieces in all, the figures are over 100 years old. The Japanese okimono (figures) are especially large with 8 of them over 25cm tall and weighing from 500g to nearly 4kg! The weight and height of ivory is most important because of the cost of this luxurious material. In Japan, during the Meiji period, respectable jobs, like teaching or the police force, paid 8-9 Yen monthly, £2000 to £2250 in modern UK currency. 1kg of ivory cost about 3 to 6 Yen, £750 to £1500, of which 30% had to be discarded from raw ivory to make it suitable for sculpture. Ivory, which comes from Africa, India and south-east Asia is a hard, white material from the tusks and teeth of various animals, particularly elephants; it was brought to Japan by Dutch and English ships. From the 13th to the early 20th century it was used all over Europe to produce highly treasured works of art based on many mythological and Christian subjects. It has always been a luxury material, however trade is now illegal or very restricted. In the nineteenth century international exhibitions introduced Eastern art to France and Britain. This influenced European artists inspiring Impressionism, Art Nouveau and Cubism. Early era Japanese artists made small ornamental Netsuke 根付 (around 5cm in size) from this ivory and other materials. A kimono does not have any pockets so netsuke were used to balance items hanging on the obi (sash) in a similar manner to a western watch fob. They were a practical items for daily wear with the kimono and became very fashionable. People enjoyed wearing something individual and, of course, the fashions changed with the seasons. This demand caused the creation of a huge number of artistic netsuke which can be viewed in many museums around the UK. |
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Previous Cataloguing
The close examinations and information gained from professional sources in the UK and Japan have revealed that the previous cataloguing of the ivory collection had been generalised -understandable given the specialised and detailed knowledge required. For example: Stephen Sartin’s Catalogue, August 2001
Kunie Couch Research: see Ivory Catalogue below:
In 1868 Japan ended 260 years of national seclusion and the Japanese economy opened up to the exchange of culture and trade with the rest of the world. Japanese lifestyles changed and from the Meiji era (1868-1912) men began wearing western clothes and the demand for Netsuke dropped sharply. Craftsmen adapted their skills and moved into developing overseas markets, where they found a demand for purely ornamental sculptures or 置物 okimono. Skilled artists were those who could create fine work from the shape of the tusk. Okimono vary in size from small (about 10cm) to medium (around 20cm) and large (over 40cm).
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Wanted! Hunt for two Stolen Ivories
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Please help us find these ivory figures stolen from the Art Collection on 16 July 2012. If you know anything connected with the theft please contact Blackpool Police on 01253 607042. Read the ITV report giving a full description of the man the police are looking for.
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The Ivory Catalogue
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No 1 and No 2 Carved Ivory Penholder on Stand Pair of Chinese hand carved ivory tusks on wooden stands No 1 H 11.3 cm x W 5 cm, Cir.18 cm, oval shape, weight 70g Stand H 4.5 cm x W 7.5 cm, Cir. 23 cm, oval shape, weight 65g No 2 H 11.5 cm x W 6 cm, Cir. 18.3 cm, oval shape, weight 90g Stand H 4.7 cm x W 6 cm, Cir. 24 cm, oval shape, weight 70g Signature: unsigned Period: unknown Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970 Carved tusks with trailing flowers, possibly peonies, which are a symbol of beauty; the surface pattern is Cloisonné. Matching black wooden bases. Condition: Both ivories have brown paper at the base as a seal. This paper has started to peel and some parts have stuck to the wooden base. No 1 has 3 cracks at the bottom about 1cm in length. No 2 has 2 cracks at the bottom also approximately 1 cm in length. |
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No 3 and No 4 Carved Ivory Penholder on Stand
Pair of Chinese hand carved ivory tusks on wooden stands No 3 H 12.8 cm x W 6 cm, Cir.19.3 cm, oval Shape, weight 75g Stand H 4.2 cm, W 7.5 cm, Cir. 25 cm, oval shape, weight 80g No 4 H 13 cm x W 6 cm, Cir. 18.3 cm, oval shape, weight 70g Stand H 4 cm x W 9.5 cm, Cir. 25.2 cm, oval shape, weight 70g Signature: unsigned Period: unknown Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970 Carved tusks with trailing flowers, possibly peonies; the surface is a diamond pattern. Matching black wooden bases. Condition: Both ivories have brown paper at the base as a seal. This seal has peeled and is stuck to the wooden base. No 3 not too bad. No 4 has one big crack from the bottom up to 1/3 of tusk, another crack from bottom up to 2cm. |
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No 5 Daikoku and a Child 大黒様と子供
置物 okimono/ decorative ornament Japanese hand carved ivory figure Size: H 11 cm x W 5.7 cm, Cir.13.3 cm, triangular shape, weight 100g Signed: 正之/ 丁乙/丁丑 (Masayuki/ Teiitsu/ Hinotousi) Hinotousi is a name for the year 1877 明治１０年 Meiji 10th. This could be the name of the artist or 1877 might be when the artist was born. Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970 Daikoku is a one of seven lucky gods from Buddhism in Japan and China. He represents the God of Wealth, Agriculture and Fertility. He is always happy and good humoured. He has an utideno kozuti (like a wooden hammer) in his hands that can produce many gifts. This is a good example of an early work by an artist who has picked a popular subject and used a small ivory. Ivory is an expensive and hard material and this carved figure has been hollowed out and the insides used to make something else. Lacking fine detail but an interesting piece. Condition: good |
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No 6 Small Carved Tusk
Size: H 10.8 cm x W 4 cm, Cir. 10.5 cm, weight 80g Signature: unsigned Origin: unknown Period: unknown Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970 No 7 Devotion 置物 okimono/ object of display Japanese hand carved ivory figure Size: H 17 cm x W 12.5 cm, Cir. 36.2 cm, weight 1.13kg Signed: 親明 Chikaaki / Shinmei who might be 佐藤金次郎 Kinjirou Satou (Member of the Tokyo Sculptors Society 1906-1910) On the base signed, incised and stained characters in a oval reserve Period: possibly Meiji era 1868-1912, unable to verify at the present time Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970 The lady is wearing a kimono in a style that means that she is already married. She is a middle class young mother sitting on a wooden bench in the garden peeling kaki (Sharon fruits) for her children on a fine autumn day. The dog is a Japanese Chin, which indicates that they are a middle class family; it would be unusual during this period to have this type of dog in an ordinary family. This figure is carved from one piece and displays beautifully detailed work. For example, one of the boy's sandals is under the bench and the other one is under the dog's tail. This is a lovely family group, you can almost hear them chatting! Condition: under the base is a crack measuring about 9cm; the middle of the crack is wider; some part of the crack passes from the bottom to the top of the base. |
No.6 Small Carved Tusk
Devotion
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No 8 Clam’s Dream- A Fishing Village Scene 貝の夢
置物 okimono/ object of display Japanese/Chinese? Hand carved ivory figure on wooden stand Size: Clam H 8.8 cm x W 11.0 cm, Cir. 39 cm, weight 799g Stand H 5.7 cm x W 15.6 cm Signed: 静申 or 龍申 (Seishin or Ryuushin) On the base signed, incised and stained characters Period: possibly Meiji era 1868 -1912, unable to verify at the present time Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970 A charming object from a single piece of ivory, the artist has delicately carved an everyday rural fishing village inside a clam shell. Deep in the left side is a thatched cottage with two people working in front. In the middle four people are stretching a fishing net. A pine tree is at the back. Two people are Sumo wrestling as another two people set sail in a boat as children wave goodbye. Condition: some cracks |
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No 9 Young Lady with Umbrella
置物 okimono/ decorative ornament Japanese hand carved ivory figure Stolen: 16 July 2012 from exhibition 'Treasures of the Lytham and St Annes Art Collection' Size: H 35.6 cm Signed: unknown Period: Meiji era 1868-1912 Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970 Location: Unknown An upper middle class lady, wearing formal furisode (long-sleeved kimono) meaning 'swinging sleeves', which is only worn by a young unmarried woman. 'Mon' (the family crest) on the upper chest suggests she might be dressed for a formal occasion. Where is she going on a rainy day? She is wearing wooden rain clogs. A beautiful young lady, expressing youth and liveliness. Classic Bijin work, Japanese term for a beautiful woman. Condition: unknown |
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No 10 Fisherman playing with Tortoise 漁師と亀
置物 okimono/ decorative ornament Japanese hand carved ivory figure Size: H 24 cm x W 8.3 cm x Dia. 6.8 cm Signed: 宗秀 (Munehide / Soushu) On the base signed, incised characters in a tsuishu (red lacquer) Period: Meiji era 1868-1912 Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970 A fisherman wearing a koshimino (short raincoat), holding a scale basket which a tortoise is playing with. The fisherman gazes at the tortoise with a gentle expression. Tortoises/turtles are symbolic of long life. Unusually, the fisherman's lips are coloured red. The fisherman's gentleness and the playing tortoise displays humour and communicative power. There is a distinct contrast between the softness in the fisherman's face and his strong foot. |
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No 11 A Young Lady carrying a Child おんぶ
置物 okimono/ decorative ornament Japanese hand carved ivory figure Size: H 24.5 cm x W 5.2 cm x Cir. 15 cm, weight 510g Signed: 釈良 Shakuryo On the base signed with incised, stained characters and kao (flowers imprint) rectangular reserve Period: Meiji era 1868 -1912 Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970 Young lady wearing a furisode (long–sleeved kimono). It is possibly May because her kimono pattern shows Kaede (Maple leaves) and waves. The figure and pose is a little off balance. To hold an umbrella and a child in that position would be quite difficult and uncomfortable. The sandals are too low to wear with a furisode and she does not wear tabi (socks), which means she is either a courtesan or the artist is immature or untrained, although he has signed his work (kao). |
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No 12 A Gust of Wind 突風
置物 okimono/ decorative ornament Japanese hand carved ivory figure Size: H 36 cm x W 10 cm, Dia. 29.5cm, weight 1.52kg Signed: 碧水刀(Hekisui/ Hyakusui) 刀 (tou) means carved. On the base signed, incised and stained characters in a tsuishu (red lacquer) rectangular reserve Period: Meiji era 1868-1912 Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970 A fisherman's hat is blown off by a gust of wind. Finely detailed carving. |
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No 13 An Elephant Bridge 5 elephant carved ivory tusk and wooden stand Size: L 30.5 cm, W 5.5 cm, weight 175g Stand: L 34.3 cm, W 6 cm, weight 120g Unsigned Made in China or Japan Period: unknown Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970 |
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No 14 An Entrance Gate
Tessellated mosaic-inlaid
Material: Bombay inlay, ebony, dyed samber or stag horn, ivory, tin, sappan or brazil wood
Base: possibly sandalwood
Size: H 25 cm x W 18.5 cm x Dia.10 cm, weight 320g
Unsigned
Possibly made in India
Period: unknown
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
These inlaid geometric designs were commonly used in Mumbai from the Mughal Period at the end of the 17th century when Muslims ruled India. Indian and Muslim art influenced each other and became an Indo-Islamic style. The white parts are ivory and the green parts are possibly dyed stag antler.
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No 15 Fisherman Serenity 静謐
置物 okimono/ decorative ornament
Japanese hand carved ivory figure
Size: H 42.5 cm x W 12.8 cm x Dia. 10.7 cm x Cir. 37 cm, weight 3.465kg
Unsigned
Period: possibly Meiji era 1868-1912, unable to verify at this time
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
Fisherman wearing a koshimino (waist raincoat), holding a net with his hat slung over his shoulder. A combination of strength in the body yet surrounded by peace and calmness. The fisherman gazes at the sea with a smile, an air of calm and serenity.
No 15 Fisherman Serenity 静謐
置物 okimono/ decorative ornament
Japanese hand carved ivory figure
Size: H 42.5 cm x W 12.8 cm x Dia. 10.7 cm x Cir. 37 cm, weight 3.465kg
Unsigned
Period: possibly Meiji era 1868-1912, unable to verify at this time
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
Fisherman wearing a koshimino (waist raincoat), holding a net with his hat slung over his shoulder. A combination of strength in the body yet surrounded by peace and calmness. The fisherman gazes at the sea with a smile, an air of calm and serenity.
No 16 Essence of Beauty 風雅
置物 okimono/ decorative ornament
Japanese hand carved ivory figure
Size: H 41 cm x W 9.7 cm x Dia.12 cm x Cir. 35 cm, weight 2.65kg
Signed: 正明 (Masaaki or Shoumei) He might be 濱田福蔵 Fukuzou Hamada (Member
of The Tokyo Sculptors Society 1904-1922)
On the base signed, incised and red stained characters in the oval reserve and with incised, stained kao in a tsishu (red lacquer) reserve. A phoenix is carved on the base.
Period: possibly Meiji era 1868-1912, unable to verify at this time
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
A lady is wearing layers of gorgeous kimono. Japanese ladies would express their style, taste, personality, wealth and status through the choice of fabric, colour, pattern, combination with obi (a sash) and accessories. Kimono patterns and fabric also show the season. Japanese seasons are more distinct and people wear clothes in keeping with the changes.
Unusually, her pattern contains three seasons. The uchikake (an over-kimono) is inscribed with chrysanthemum patterns and is normally worn in September and October. The kimono has cherry blossoms signifying March and early April. In addition the obi shows an umbrella, used in the rainy season of June and early July plus cherry blossoms and chrysanthemums. Sometimes Japanese ladies wear a two-season style, called 春秋Shunju, appropriate in both spring and autumn. However, the addition of the third season is a puzzle. The obi is tied in front and she is barefoot which suggests she might be a Tayuu (a high-ranking courtesan). They were educated in various arts from childhood and a payment of about £5000 per visit would be required if you wished to engage her services. She is elegant, graceful and poetic. A beautiful woman exuding a fragrant atmosphere.
Condition: Generally good, however a crack passes from the bottom of the base to the top, following the wings of the phoenix.
置物 okimono/ decorative ornament
Japanese hand carved ivory figure
Size: H 41 cm x W 9.7 cm x Dia.12 cm x Cir. 35 cm, weight 2.65kg
Signed: 正明 (Masaaki or Shoumei) He might be 濱田福蔵 Fukuzou Hamada (Member
of The Tokyo Sculptors Society 1904-1922)
On the base signed, incised and red stained characters in the oval reserve and with incised, stained kao in a tsishu (red lacquer) reserve. A phoenix is carved on the base.
Period: possibly Meiji era 1868-1912, unable to verify at this time
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
A lady is wearing layers of gorgeous kimono. Japanese ladies would express their style, taste, personality, wealth and status through the choice of fabric, colour, pattern, combination with obi (a sash) and accessories. Kimono patterns and fabric also show the season. Japanese seasons are more distinct and people wear clothes in keeping with the changes.
Unusually, her pattern contains three seasons. The uchikake (an over-kimono) is inscribed with chrysanthemum patterns and is normally worn in September and October. The kimono has cherry blossoms signifying March and early April. In addition the obi shows an umbrella, used in the rainy season of June and early July plus cherry blossoms and chrysanthemums. Sometimes Japanese ladies wear a two-season style, called 春秋Shunju, appropriate in both spring and autumn. However, the addition of the third season is a puzzle. The obi is tied in front and she is barefoot which suggests she might be a Tayuu (a high-ranking courtesan). They were educated in various arts from childhood and a payment of about £5000 per visit would be required if you wished to engage her services. She is elegant, graceful and poetic. A beautiful woman exuding a fragrant atmosphere.
Condition: Generally good, however a crack passes from the bottom of the base to the top, following the wings of the phoenix.
No 17 Fisherman with Headbandねじり鉢巻をした漁師
置物 okimono/ decorative ornament
Japanese hand carved ivory figure
Stolen: 16 July 2012 from exhibition 'Treasures of the Lytham and St Annes Art Collection'
Size: H 45.8 cm
Signed: unknown
Period: Meiji era 1868 -1912, unable to verify at the present time
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
Sublime. The artist shows the inner power and strength of a fisherman's life.
He is wearing a koshimino (waist raincoat) and a nejirihatimaki (headband), mainly
worn in Japan in order to improve morale and mental concentration but at the same
time has the practical use of absorbing sweat.
置物 okimono/ decorative ornament
Japanese hand carved ivory figure
Stolen: 16 July 2012 from exhibition 'Treasures of the Lytham and St Annes Art Collection'
Size: H 45.8 cm
Signed: unknown
Period: Meiji era 1868 -1912, unable to verify at the present time
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
Sublime. The artist shows the inner power and strength of a fisherman's life.
He is wearing a koshimino (waist raincoat) and a nejirihatimaki (headband), mainly
worn in Japan in order to improve morale and mental concentration but at the same
time has the practical use of absorbing sweat.
No 18 Fisherman Big Catch 大漁
置物 okimono/ decorative ornament
Japanese hand carved ivory figure
Size: H 45 cm x W 11.6 cm x Dia.14 cm x Cir. 41.5, weight 3.85kg
Signed: 正廣刀 (Masahiro ) 刀 (tou) mean carved who might be 金田正廣 (Masahiro Kaneda) (Member of The Tokyo Sculptors Society 1920-1922) on the base signed incised and stained characters reserve
Period: Meiji era 1868 -1912
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
Wonderfully sculptured with dynamic movement, elaborate net and humorous face. The fisherman is balanced on one leg on a rock close to a strong wave, emphasising the work of a fisherman. Wearing a koshimino (waist raincoat) with katasode (one sleeve off) means that he is carrying out a strong action. Complex movements. Inspired, joyfully catching fish. True to life. Exquisite, a wonderful use of the shape of ivory to make such a lively movement.
置物 okimono/ decorative ornament
Japanese hand carved ivory figure
Size: H 45 cm x W 11.6 cm x Dia.14 cm x Cir. 41.5, weight 3.85kg
Signed: 正廣刀 (Masahiro ) 刀 (tou) mean carved who might be 金田正廣 (Masahiro Kaneda) (Member of The Tokyo Sculptors Society 1920-1922) on the base signed incised and stained characters reserve
Period: Meiji era 1868 -1912
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
Wonderfully sculptured with dynamic movement, elaborate net and humorous face. The fisherman is balanced on one leg on a rock close to a strong wave, emphasising the work of a fisherman. Wearing a koshimino (waist raincoat) with katasode (one sleeve off) means that he is carrying out a strong action. Complex movements. Inspired, joyfully catching fish. True to life. Exquisite, a wonderful use of the shape of ivory to make such a lively movement.
No 19 Ivory Scissors
Size: L 17.5 cm x W 1.2 cm, weight 5g
Unsigned:
Made in China or India, mass produced
Period: c1930
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
Peacock and tear-drop shape handles
Size: L 17.5 cm x W 1.2 cm, weight 5g
Unsigned:
Made in China or India, mass produced
Period: c1930
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
Peacock and tear-drop shape handles
No 20 Ivory Cigarette Holder
Size: L 13 cm, weight 10g
Unsigned
Made in China, mass produced
Period: Unknown
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
No 21 Plastic Fan
Size: L 17.5 cm, W 1.8 cm
Unsigned
Made in Hong Kong, mass produced
Period: 1920s
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
Ivory fans were made in China exclusively for export - it was discovered that this fan was plastic. However, plastic and aluminium were very new materials in the 1920s and must have been expensive at that time.
Condition: One end of tick damaged
Size: L 17.5 cm, W 1.8 cm
Unsigned
Made in Hong Kong, mass produced
Period: 1920s
Provenance: bequest of Miss Dorothy Ward Mosedale, 11 November 1970
Ivory fans were made in China exclusively for export - it was discovered that this fan was plastic. However, plastic and aluminium were very new materials in the 1920s and must have been expensive at that time.
Condition: One end of tick damaged
