Tucked away in Rose Standish Nichols’ parlor is a tiny, impish presence that often goes unobserved. Here, an ivory netsuke depicting a seated male figure has made his home on the top shelf of Rose’s Hepplewhite secretary. This nineteenth century Japanese figurine is clad in a robe or kimono, holding an unidentifiable object over his shoulder. Flowers and leaves adorn his head and backside. His expressive face and the sinuous folds of his robe evidence the rich tradition of skilled craftsmanship and culture at play in the art of netsuke.
Netsuke became prolific in the late seventeenth century during Japan’s Edo period (1603-1867) when kimonos were universal dress for both men and women. Devoid of pockets, men carried items of daily use (such as writing instruments) in tobacco-pouches and pipecases called inro which hung from their kimono sashes, or obi, by a double silk cord. At the opposite end of the cord, the netsuke firmly anchored the hanging inro in the kimono sash, much like a toggle or button. Evidencing this practice, two holes pierce the backside of the museum’s netsuke where the cord would have been threaded through. One might imagine a nineteenth century Japanese dandy accessorizing with this figurine.
Netsuke are highly decorative, miniature works of art carved from wood, ivory, stag-antler, lacquer and other materials that suggested the wearer’s social status and level of wealth. Netsuke take on a variety of forms, allowing wearers to accessorize according to season, occasion or mood. Themes of Japanese life and art are captured in the netsuke, such as nature, mythical beings, animals, the zodiac, theatrical masks and even the mundane. The Nichols House Museum’s netsuke exemplifies the personality they often possess; sometimes they are humorous or even erotic. Carvings of human figures fall into a category of netsuke called Katabori.
Netsuke embodied craft, cultural tradition and self-expression. While we unfortunately don’t have any information on how Rose Standish Nichols came to acquire this object, netsuke collecting was prolific in the early twentieth century and was again popularized during the US Occupation of Japan during WWII. At the turn-of-the-century, Boston was home to two well-respected dealers of Asian art, Bunkio Matsuki and Yamanaka Sadajirō. Archived receipts tell us that Rose was a customer of Yamanaka’s shop on Boylston Street, where she purchased the four Chinese export panels that adorn the walls of her library. The Detroit collector Charles Freer declared Yamanaka one of the most experienced critics of Japanese art in this country.
Women collectors like Rose Standish Nichols played an important role in locating Asian art in its proper art historical context. During Rose’s lifetime, women’s cultural aspirations were often relegated to the decorative arts—the domestic interior—while men dominated the arena of “fine art.” Because Eurocentric taxonomies marginalized Asian art as decorative art, women had increased access to it. Recognizing this, “[b]oth Yamanaka and Matsuki made a point of forging close relationships with female clients by offering them a broad spectrum of goods, from miniature gardens made of coral, ivory and precious gems, to large Buddhist icons from China.” At a time when the city’s cultural prowess was being eclipsed by New York, collecting Asian art was a way for Boston make its own cultural reach tangible. While there is no concrete evidence that suggests Rose purchased this Netsuke from Yamanaka’s shop, it is certainly pleasing for us to imagine this transaction taking place there.
By WWII, netsuke were being collected as souvenirs by US soldiers stationed in Japan. In 1951, the Japan Travel Bureau issued a guide on netsuke, which records “valuable help given by Rear Admiral Benton W. Dekker, former commander of the US Fleet Activities at Yokosuka, Japan and a most devoted connoisseur of Netsuke.” Ostensibly, US soldiers were delighted by the pocketsize charm of netsuke; outsiders who could not fully appreciate the rich cultural history that they embody, nor the stories these tiny objects carry with them.
Edmund de Waal (b. 1964) is a world-famous contemporary ceramicist who inherited a collection of 264 netsuke. In his family memoir, The Hare with Amber Eyes, de Waal reconstructs the history behind his family’s netsuke collection, exposing the many secret lives of these objects. For example, in an effort to carve a netsuke of a deer, a nineteenth century carver named Tomokazu disappeared into the mountains for days to observe the behavior of these animals; it was not rare for two months to be spent making a single netsuke.
Begun by a nineteenth century banking dynasty, de Waal’s netsuke collection was later hidden from the Nazis in Vienna. De Waal describes both the beauty and traumatic past of his netsuke, writing:
Netsuke are small and hard. They are hard to chip, hard to break: each one is made to be knocked around in the world…They hold themselves inward: a deer tucking its legs beneath its body; the barrel-maker crouching inside his half-finished barrel; the rats a tumble around the hazelnut. Or my favourite [sic], a monk asleep over his alms bowl; one continuous line of back. They can be painful: the end of an ivory bean-pod is sharp as a knife. I think of them [hidden] inside a mattress, a strange mattress where boxwood and ivory from Japan meet Austrian horsehair.
De Waal’s story proves the lasting endurance of these tiny objects, which are still being carved by contemporary craftsmen today.
Reflecting on our museum’s netsuke, there is no telling whose hands it fell into prior to Rose’s, nor the many lives it may have lead before arriving at 55 Mount Vernon Street. One thing is for sure, however, as much as it may evince the past, this netsuke holds onto a bright future.
 Madeline Tollner, Netuske: The Life and Legend of Japan in Miniature, (San Francisco: Fearon Publishers, Inc., 1960): 64.
 Michael Dunn, “Netsuke: Delicate Treats for the Dandies of Edo,” The Japan Times, April 24, 2009, http://www.japantimes.co.jp/culture/2009/04/24/arts/netsuke-delicate-treats-for-the-dandies-of-edo/#.WOaacRLyuCR.
 Tollner, 81.
 Christine M.E. Guth, “Asia by Design: Women and the Collecting and Display of Oriental Art,” in Journeys East, Isabella Stewart Gardner and Asia, (Boston: Isabella Stewart Gardner Museum): 55.
 Guth, 55.
 Guth, 53.
 Edmund de Waal, The Hare with Amber Eyes, (New York: Picador): 314.
 De Waal, 327.
 de Waal, 279.
By Laura Cunningham, Collections Associate