(SOLD) Naito Toyomasa was born in 1773 in Soji (Tanba) moving to Sasayama (Tanba) when he was still young. The artist was 36 years old (1809) before he begun using the chomei; Toyomasa.
It is with surety that the years of his career that were his anonymous stage, encompassed a period of maturity and that the output from those years were; experimental and innovative, resulting in a founding of the Toyomasa way. Some of these anonymous years were likely the prime of the artists life. Netsuke that are encountered with the signature of Toyomasa are post 1809, likely many are the results of collaborations between master and his large number of helpers, some who subsequently became fine craftsmen, signing their own art name.
The 'bamboo' series, (like the gourd, mikan, chesnut and peach series) encompasses alternative components rather than a frog and a bamboo shoot. For instance, Tigers (found half contained within the node), the monkey (found sprawled over the node) and even busts of sages, poking out of two apertures, conversing enthusiastically with each other, like two neighbours over the fence. (This latter netsuke alludes to the sages in the bamboo grove).
Bamboo was an influential contributor to Naito Toyomasa, in fact Sasayama means; Mountain of Bamboo leaves.
Of the aforementioned varied series (bamboo) only the Tiger, to my knowledge bore the signature of Toyomasa, the others were either anonymous, or like in the case of the Monkey, firstly made anonymous, a signature was added after the fact.
If the above cross section is anything to go on, as they were predominantly made anonymously, does this indicate that the series was an early innovation by Toyomasa during his early career? In contrast the other series mentioned above are predominantly encountered with the artists chomei? Thus post 1809.
The anonymity found within netsuke-art, of which approximately half of all encountered specimens are still found without a signature, furthermore many of the signed proportion have been spuriously signed after the fact, means anonymity prevailed for a great measure of the history of our art. A signed netsuke, should be considered the exception, though it is often considered a harbourer of quality. If only it was that easy!
An anonymous netsuke receives a great measure more scrutiny than its signed counterpart, when in fact, the reverse operation should prevail.
Can we be confident of a work by a master without a signature?
Only if, those 'masterful' touches are on display.
Initially I point your attention to that outstretched leg, rippled and undulated. The limb is an anatomical study in itself, conveying a sense of elasticity when examined.
What would a student have done?
Perhaps mounted the frog onto the node, with all its legs tucked beneath the body, perhaps with toes poking out. This would have simplified the task, which probably would have produced a good netsuke, but not a great one.
Examine the shoot and one will discover that each overlapping sheath is domed and undulated to best convey the appearance of a tapering affect.
Again, what would a student have done?
Likely carve a conical form, attempt a measure of detailing on each sheath, though certainly the results would be markedly inferior.
This leads me nicely to the most masterful 'touch' of all on display.
Which part of this composition is superior?
In the overwhelming majority of cases when examining a netsuke (with more than a single element present in the composition) with a Toyomasa signature, one will find that composition balance is not in equilibrium. This is particularly important when one examines the host of Gama Sennin that were made by the studio. Many are good netsuke, a small proportion are masterful netsuke. In fact, the finest Gama sennin I have ever examined was, like our toad, an anonymous standing example, in addition, it lived for a good many years in the same collection as our anonymous toad and bamboo shoot.
Creating equilibrium in a multi-element composition was a task achieved by so few exponenets of netsuke-art. Otomitsu (formerly Otoman) perhaps had the most consistent success. Ogasawara Issai and Natsuki (Sai) Hidemitsu were other brilliant multi-element composition carvers, as was; Masanao and of course the master Toyomasa. To circumvent this challenge, many a fine craftsman simply refused to enter this race, preferring to carve netsuke subjects isolated from another element, which perhaps explains why so many lone zodiac animals exist.
Our Bamboo and Frog is confidently attributed to Naito Toyomasa prior to 1809. (which in 25 years of dealing netsuke, I have only claimed on one other specimen).
Video link
5.1cm
For comparison, the above mentioned alternatives from the 'bamboo' series are included:
INSJ. Volume 21. No 1. Spring 2001. Bamboo & Tiger, Virgina Atchley collection.
Daruma magazine. 41. Winter 2004. Bamboo & Monkey. Sagemonoya. 2004. Sleeping Beauties. Number 54.
