The sun. [volume] (New York [N.Y.]) 1833-1916, 1901-11-03
IVORY CARVINGS DONE HERE.
Work or A JAPANESE AND AN
ENTHUSIAST IN THE ART.

Taste Tor Iv0ry-A new Orkofe
Present 10 the Belgian King-sources
OF Ivory. Modern and Prehistoric.
Whatever the london Times may say
tina, is unfatterng to New York Mogi Mitsu
Toshi knows better than to believe II. He
sdores New York.
He adores the whole country. When ono
asks him whether he wouldn't like to 70
hack to Japan he smiles in a wholesome
fashion fairly ~bewtldering, and says with
fervor that he would rather be right here
than any place else In the world. 1t In re-
freshing to find such radiant satisfaction
and approval az Mogi's.
Mosi Niitsu Toshi was the first japanese
ivory carver to come to this country In the
interests OF his art. There were few expert
ivory carvers In the United States, and
those few were Germans, French. Italians.
with numbers In favor Of the Germans.
Japan. practically the stronghold Of livery
carving, kept her oarvers at home. Until
recently there was little demand In this
country for ivory carving.
Even now there are few workmen hero,
and most Of their work 10 lone upon toilet
articles, while other ivory carvings arc
chiefly imported: but appreciation Of carved
ivory art objects IL growing In America,
and many valuable ivory antiques have
found their way into the cabinets Of Ameri-
can collectors.
Years age F. r. Kallenbers went abroad
with the idea Of being . sculptor and lost
his heart to the ivory carving Of the earlier
centuries. The thing became . passion
with him.
He travelled. collected, studied, worked
and came home, enthusiastically dreaming
OF an ivory renaissance In America. The
renaissance hasn't arrived. but the artist
isn't discouraged, and he believes that faint
%auroral CLEANS Of the desired result may
be seen even now.
Most OF his time and thought and work
eoes to the stirring up Of that auroral rose
color. Mogi Mitsu Toshi Is one Of the dawn
promoters.
Mr.. KaIlenberg was full Of schemeS for
new effects in ivory work and for the re-
yival Of old effects, but he hadn't the time
nor, he says modestly. the skill to push his
experiments and carry out his ideas. He
wanted workmen.
The kind Of workmen he wanted were
not to be had here. He made up his mind
that the workman Of his heart must be
a japanese schooled In the traditions OF
Japanese ivory carving, skilled, ambitious
but not too old to learn new tricks.
He made the want known In Japan,
but nothing came OF II. for a time. Then
at last the Emperor himself heard that
there was a call from New York for an
ivory carver Of merit. He ordered the
matter investigated.
but he would not send q promising. young
artist and ornament OF his kingdom 70
far-of lands, unless he was sure that the
scheme was on the SQUARE.
The wheels Of government were set In
T TSss I. b 5%Pe, 1s s sSsuS Sea ~ Si,ss sA' TSssi.
Mogi comes Of a long line Of artists.
His father In an ivory carver Of rare merit
and much fame, being one Of the artists
OF his Imperial Highness, the Mikado OF
japan,
already, at 20, a credit to the family and the
art. He has been here two years, and he
frankly admits-always with that all en-.
bracink and adorable smile-he has learned
many things and improved greatly In his
work, since coming to America.
He is far from egotistical. but his general
attitude suggests that he believes. II be
should go home, he could teach the old
gentleman a thing or two.
When a SUN reporter met him he was
sitting at his work bench. surrounded by
more or less fragmentary representations
Of the seven household gods Of Japan.
bat working or the tiny ivory bow OF an
uncompromisingly Occidental ivory Cupid.
He got up at once folded his hands and
smiled.
When Mr.. Kallenberg asked him 70 show
some OF his finished work he few to obey.
Mogi has a deep n abiding reverence
and affection for the seven household
gods; but. II h. had to add another TO their
number he o unhesitatingly name Mr..
kallenberg.
He brought out a number Of boxes. and
from one Of them took a hand mirror which
be- showed with a naive satisfaction that
was delicious. What Is more. II was justi-
fable.
The mirror was a beauty. II was backed
with laurel root and the rich brown wood
was carved In flowing lotus leaf lines
around its edge. while In the centre OF the
back Il formed the cleverly designed and
carved draPery Of a figure OF ~luannon.
the all-mothsr, the japanese prototype
q the Virgin.
And such a ~Iuannonl The %softert.
roundest, most dimpled most bewitching
Of little JAPANESE women.
Her lead and face and arms and hands
were 81 ivory. exquisitely carved, colored
a. delicatsly as any miniature, set IN the
laurel ~ that one could not tell, save by
the texture. that the whole mirror hack
wa not carved Of one solid piece OF ivory.
Through the loft hair. rolling away
from the piquAnt faoe. we're tiny rial
I.ars, white a lustrous, pink and suft
gray A tAnd q the jewels crossed tbs
funh~ad and ended IA qusor pendAnts on
either side - tho bead 4
A n~eoklane q oolorsh p-arl- SURROUNDED
g." creamy carving throat Over the golden
tSIsu laurcl Wood gown fOldf huatsd
q ran Il smoky Tahln mpther-Df- rsAn
Ia her Tns, the goddess oarrlad lotus
..,Gs ~ gl"amins ysllo~ Manila psan
A urb-tAl LANG like that IuAnnon you'd
layr .liH-i thing ~ ~ Olympia and
latr gwen ~l.alpu- Juno al eA~o,"tinsly
l-si quarter II an hnuT