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YUMEHACHI: AN UNUSUAL WOOD NETSUKE OF CHOKARO SENNIN By Yumehachi, signed Yumehachi 夢八Japan, late 19th centuryDepicting Chokaro Sennin, dressed as a warrior, a sword attached to his obi, fiercely riding on his horse which emerges from a large hyotan (double gourd). The pale wood finely carved and the eyes inlaid in dark horn. Natural himotoshi and signed underneath YUMEHACHI – a rare artist, somewhat in the style of the late Tokyo/So school.LENGTH 4.5 cmCondition: Very good condition. There is a tiny hole behind the sleeve of Chokaro, indicating something may have been inlaid there.Provenance: British private collection.Literature comparison:Another netsuke by this artist depicting a dragon is in the Metropolitan Museum of Art, accession no. 10.211.2190.

A FINE INLAID SO SCHOOL WOOD NETSUKE OF A MAN APPLYING MOXA UnsignedJapan, Tokyo, early 20th centuryDepicting a seated man, holding his leg with both hands, a little red pellet inlaid on his knee, his aggravated expression indicating the use of moxibustion. A finely inlaid tobacco-ire set is resting on his leg. His robe is incised with a leaf pattern and the underside shows the neatly arranged himotoshi ringed in green-stained horn. Note the extremely fine and detailed carving to the expression, fingers, and toes. Though the work is unsigned, it is certainly from the So school and most likely by Egawa Sokoku (born 1920) or his master Morita Soko (1879-1942).HEIGHT 3.6 cmCondition: Two small chips, one to the right sleeve and the other to the hem of the robe on the underside. Otherwise in perfect condition.Provenance: From the collection of Oscar Gustaf Björck (1860-1929), Stockholm, painter and professor at the Royal Swedish Academy of Arts.Moxibustion is a traditional Chinese medicine therapy used to heat particular points of the body by using burning dried mugwort.

RYUHEI: AN IVORY AND WOOD NETSUKE OF A FOX PRIEST BEATING A MOKUGYO By Asada Ryuheisai, signed Ryuhei 隆平 and kakihanJapan, Kyoto, first half of 20th centuryPublished: Lazarnick, George (1976) The Signature Book of Netsuke, Inro and Ojime in Photographs, p. 324 (only the signature is illustrated).The fox (kitsune) finely stained and carved from ivory, wearing a loose-fitting monastic robe, the eyes inlaid with horn, holding a beater in his right hand and striking the wood mokugyo with twin dragon handle and neatly incised decorations, a small rat emerging from the black and red lacquered mokugyo base, the back and underside of the fox with red lacquer-ringed himotoshi, the underside of the lacquered base with the signature RYUHEI and kakihan.LENGTH 3.8 cmCondition: Excellent condition with only minor surface wear.Provenance: European collection.

ICHIRO INADA: AN INLAID IVORY NETSUKE OF DAIKOKU By Ichiro Inada (1879-1979), signed Ichiro 一郎Japan, Tokyo, early 20th centuryCarved seated, leaning against his treasure bag, which he holds in his left hand, the mallet held in his right, his loose-fitting robe finely inlaid with horn and stained bone, the hat centered by a mother-of-pearl inlay, his face with a cheerful expression, flanked by long pendulous earlobes, the underside with two small ornamental himotoshi and the signature ICHIRO within a red-lacquered rectangular reserve.LENGTH 4.1 cmCondition: Excellent condition with only minor surface wear. Provenance: European collection.Literature comparison:A similar netsuke by Inada Ichiro, formerly in the collection of George Lazarnick, is in INCS, Vol. 2, no. 3, p. 36.

MICHAEL BIRCH: A WALRUS IVORY SHUNGA NETSUKE OF FUKUROKUJU By Michael Henry Birch (1926-2008), signed with artist’s initials ‘MHB’1979Published: Birch, JKL (2013) The Art & Life of Michael Birch, p. 13 (including an old sketch of the design).Exhibited: Netsuke by Birch, London Netsuke Convention, 1980.Carved from the middle section of a large and very old tusk, the walrus ivory showing the rich color and markings of old age, while the eyes are drawn in crystal rod. Fukurokuju is depicted with a characteristically elongated head, the entire netsuke of decidedly phallic shape, with two asymmetrical himotoshi and the signature ‘MHB’ within a gold-inlaid rectangular reserve.HEIGHT 7 cmCondition: Excellent condition with only minor surface wear, natural age cracks, fissures, and veins.Provenance: From the collection of Jonathan Birch, son of Michael Henry Birch.

A SUPERB IVORY NETSUKE OF A DUTCHMAN WITH DEER CARCASS Unsigned Japan, 18th century, Edo period (1615-1868)An unusually expressive ivory netsuke of a Dutchman, boldly carved standing on one foot, the other leg slightly raised, jumping up with joy as he carries the carcass of a young deer over his back, the poor animal’s tongue stretched out, the Dutchman’s face with an exuberant look, the mouth wide open and revealing his tongue, the large bulging eyes inlaid with dark horn, as are the shirt buttons and hat finial, the back with two asymmetrical himotoshi.HEIGHT 7.5 cmCondition: Good condition with minor wear, natural age cracks, occasional light scratches, one of the (original) legs has been reattached.Provenance: Old Viennese private collection.According to Neil Davey, “There was probably a shortage of meat on Deshima, the Dutch settlement, hence the frequency of these models of Dutchmen carrying game” (Netsuke, 1974, p. 347)

MICHAEL BIRCH: THE SAMURAI By Michael Henry Birch (1926-2008), signed with artist’s initials ‘MHB’1994Published: Birch, JKL (2013) The Art & Life of Michael Birch, p. 95.Exhibited: The Carvings of Michael Henry Birch, N.K.C., New York, 1995.Michael Birch, Netsuke Carver and Sculptor, National College of Art & Design, Dublin, 1997.Exhibited & Illustrated: Tactiles by Michael Henry Birch, I.N.S.C., Boston, 2001.Netsuke Sculptures by Michael Henry Birch, I.N.S.C., Honolulu, 2004.Of flattened form, the head expressively carved from Siberian mammoth ivory, the features finely detailed in an exaggerated manner with aquiline nose, wide nostrils, slender lips pursed into a frown, deep slanted eyes, and furrowed brows. The natural patina of the outer bark has been retained on the back surface of the carving and the thickness of the tooth enamel is clearly visible. Two symmetrical himotoshi to the back, the signature ‘MHB’ within a gold-inlaid rectangular reserve to one side.HEIGHT 3.7 cmCondition: Excellent condition with natural veining and age cracks.Provenance: From the collection of Jonathan Birch, son of Michael Henry Birch.Some collectors consider many of the faces carved by Birch to be self-portraits, a notion which the artist strongly denied.

KODO: A SUPERB INLAID AND LACQUERED WOOD NETSUKE OF A SNAIL ON DRIFTWOOD By Okuda Kodo (born 1940), signed Uma 馬Japan, c. 1979Published: Atchley, Virginia / Davey, Neil (2006) The Virginia Atchley Collection of Japanese Miniature Arts, p. 71, no. N78.Masterfully carved as a snail extending its feelers and slithering across a piece of driftwood. The piece of driftwood is accentuated with gold and silver lacquer. Himotoshi and signature UMA underneath. The artist is regarded as a national living treasure of Japan, several works are in the collection of the British Museum.LENGTH 11 cmCondition: Excellent condition.Provenance: Ex-collection Virginia Atchley.Kodo’s genius is best expressed through the words of the late Michael Birch: “Kodo is primarily a painter, and his unique carvings are, in a sense, his canvas. With a carefully controlled palette of lacquer colors, of dyes, gold leaf, platinum, and mother of pearl inlays – skillfully applied in a variety of techniques – together with meticulous carving, a true appreciation of form, and a microscopic knowledge of the anatomy of his subject, he sometimes creates a startling momentary of illusion of realism, but the consciously subtle elements of subjective stylization are what reveals his mastery of the medium.”

DERKACHENKO: A BOXWOOD NETSUKE OF A MOUSE ON A KINCHAKU By Alexander DerkachenkoUkraine, 2020Carved as a mouse clambering atop a pouch (kinchaku), its eyes inlaid in dark horn, the wallet carved with an ancient Chinese character for ‘wealth’. Asymmetrical himotoshi through the underside next to the artist signature within a rectangular reserve. With original felted wood box.LENGTH 5.1 cmCondition: Excellent condition.The mouse (or rat) is one of the attributes of Daikoku and symbolizes wealth, prosperity, and wisdom.

DERKACHENKO: A BOXWOOD NETSUKE OF TWO WASPS ON A PEAR By Alexander DerkachenkoUkraine, 2020Carved as two wasps with dark horn-inlaid eyes on a partly rotten pear, the skin executed in ukibori, one of the wasps within a recess and a small movable worm inlaid with mammoth ivory peeking out of the fruit. Asymmetrical himotoshi to the reverse next to the artist signature within an oval reserve. With original felted wood box.HEIGHT 3.3 cm, WIDTH 4 cmCondition: Excellent condition.The motif carved by Derkachenko in the present netsuke is a popular subject in netsuke art and one of the favorites of the netsuke-shi Bazan, a carver of the Nagoya school active during the 19th century (see Auction comparison).Auction comparison:Compare a wood netsuke of a decayed pear by Bazan at Bonhams, Fine Japanese Art, 14 May 2015, London, lot 38 (sold for 5,250 GBP).

DERKACHENKO: A BOXWOOD NETSUKE OF A KINCHAKU, NETSUKE AND OJIME By Alexander DerkachenkoUkraine, 2020Carved as a sagemono ensemble of a pouch (kinchaku), tied with a cord fastened with an ojime in the form of a wasp in a rotten fruit and a netsuke in the form of a reishi fungus with a small beetle in dark horn, the underside with a Chinese cash coin. Asymmetrical himotoshi through the underside next to the artist signature within a raised oval reserve. With original felted wood box.HEIGHT 4 cmCondition: Excellent condition.

A POWERFUL STAG ANTLER NETSUKE OF KAN'U, ATTRIBUTED TO TOMOHISA Unsigned Japan, Kyoto, mid-18th century, Edo period (1615-1868)The Chinese military general finely carved standing, wearing a coat with voluminous folds, the hem sweeping to one side, following the natural curvature of the material, secured with a belt, a sword attached to it, with neatly incised armor underneath, his right hand lowered and holding his halberd, the left hand at his waist, the face with a fierce expression and eyes inlaid with dark horn. The back with two symmetrical himotoshi.HEIGHT 7.5 cmCondition: Good condition with minor surface wear, some inlays likely lost, superb patina.Provenance: Richard R. Silverman, acquired from I.M. Chait in 2003. Old collector’s label to back. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie’s, Sotheby’s, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA’s Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture. The present lot is attributed to Tomohisa, who belongs to an important group of 18th-century figure carvers, which also includes Mototada. About this group, Jay Hopkins writes, “Working in staghorn, they primarily produced large figures ranging from 3 to 6 inches in height. Subject matter usually involved Chinese legends, including Shoki, sennin, Kann’u, guardians and entertainers. They effectively used black horn to inlay eye pupils, buttons and other details – perhaps the earliest cavers to use this technique.” (Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, p. 30)Literature comparison: Four similar netsuke from the Tomohisa group, though depicting different subjects, are illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, Vol. I, p. 31, fig. 13.

A RARE STAG ANTLER SILK SEAL NETSUKE UnsignedJapan, late 17th – early 18th century, Edo period (1615-1868)The seal surmounted by an expressively carved and monstrous head of a foreigner with an elaborately carved ruff above an open-worked structure, the underside with a long cut seal. The antler bearing a beautiful patina. Several natural openings for the cord attachment.HEIGHT 4.5 cmCondition: Excellent condition with ‘natural flaws’ to the material.Provenance: US private collection.During the Muromachi, Momoyama, and Edo periods Japan imported large quantities of raw silk from China through the port of Nagasaki. The Chinese merchants attached metal seals known as itoin (literally, ‘fiber seals’) to their shipments where they were used to verify a transaction and then subsequently returned to China. During the Edo period internal silk shipments were identified by seals which were modelled after the Chinese itoin, though instead of metal, stag antler was the preferred medium. This distinct type is commonly known as a ‘silk seal’.Literature comparison:For a discussion of this type and for similar examples see Bushell, Raymond (1975) Netsuke Familiar & Unfamiliar, pp. 204-205.

AN EARLY STAG ANTLER NETSUKE OF AN ONI PLAYING THE SAMISEN UnsignedJapan, 18th century, Edo period (1615-1868)The oni seated cross-legged and holding a bachi (plectrum), strumming on a samisen with a fierce, concentrated expression. The stunning color and patina are indicative of an early piece. Large, generously excavated himotoshi through the back and underside.HEIGHT 3. 4 cmCondition: Good condition with ‘natural flaws’ to the material.Provenance: British private collection.The Samisen (Shamisen) is a traditional three-stringed instrument. Oni are frequently depicted playing it, usually next to Emma-O, the king of hell. This oni plays his instrument with an impressive vigor, almost appearing like a rock star.

AN EARLY IVORY NETSUKE OF HOTEI AND FUKUROKUJU UnsignedJapan, early to mid-18th century, Edo period (1615-1868)Depicting the two lucky gods performing mimikaki, a gesture of affection. Hotei is kneeling behind a recumbent Fukurokuju, cleaning his ear with an earpick, while the latter rests his large, elongated head on an uchiwa fan. A charming and well-carved netsuke with a phenomenal and unctuous golden-yellow patina, turning into a caramel-brown in some areas. Asymmetrical and generously excavated himotoshi underneath.LENGTH 5 cmCondition: Good age-related condition with some wear to details and an old chip to the edge of Fukurokuju’s robe.Provenance: Ancient and important collection Albert Brockhaus (1855-1912), acquired from ‘Levin’ on 25 February 1906.

A STAG ANTLER NETSUKE OF A DUTCHMAN WITH COCKEREL Unsigned Japan, late 18th century, Edo period (1615-1868)Carved from a hollow branch of stag antler, the Dutchman with elongated body following the curvature of the material, the boots with black horn-inlaid buttons to the back, the face with grotesque expression, wearing a characteristically large hat, holding a long-tailed cockerel (onagadori) in his arms, two asymmetrical himotoshi to the back.HEIGHT 8.4 cmCondition: Good condition with only minor surface wear, occasional light scratches, the plug at the top of the netsuke is lost.Provenance: German private collection.Auction comparison: Compare a closely related but slightly larger stag antler netsuke, dated to the 18th century, at Van Ham, Asiatische Kunst, 8 December 2016, Cologne, lot 2411 (sold for 2,580 EUR).Literature comparison: A related boxwood netsuke of a Dutchman holding a rooster, dated to the 18th century, is in the collection of the Los Angeles County Museum of Art, accession number M.87.263.2.

A STAG ANTLER INGYO NETSUKE OF A SHISHI WITH STAG ANTLER OJIME UnsignedJapan, Tokyo, Asakusa, late 19th century, Meiji period (1868-1912)The circular seal surmounted by a finely carved shishi standing foursquare and looking upwards with a quizzical expression, its flaming mane finely incised, the seal face showing a stylized bat, the ovoid ojime with a bat enclosing the kanji character gyoku/tama (‘jewel’, ‘pearl’).HEIGHT 4.8 cmCondition: Excellent condition with only minor surface wear.Provenance: European collection.

KOGETSU: A RARE STAG ANTLER NETSUKE OF A BAT By Kogetsu, signed Kogetsu 耕月Japan, Tokyo, Asakusa, second half of 19th centuryCarved as a bat with a whimsical expression, the large eyes inlaid in dark horn. It has its wings stretched out in a dynamic manner. Good, generously excavated himotoshi through the back and signed KOGETSU.LENGTH 4.5 cmCondition: Superb condition with ‘natural flaws’ to the material.Provenance: German private collection, acquired in Japan c. 1980.Auction comparison:Compare with a similar netsuke by Kogetsu at Bonhams, Fine Japanese Art, 16 May 2016, London, lot 240 (sold for 1,500 GBP).Literature comparison:Compare with another bat by the artist in Sydney Moss Ltd. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, Part 3, pp. 270-271, no. 500.

HOMIN: A STAG ANTLER NETSUKE OF THE BUNBUKU CHAGAMA By Homin, signed Homin 法民Japan, Tokyo, Asakusa, late 19th centuryVery finely carved from the coronet of a branch of deer antler, the natural features brilliantly incorporated into the design by this master carver. Depicted is a tanuki tea kettle from the famous tale Bunbuku Chagama. The tanuki has two handles, a fixed lid at the top, a bushy tail which curls around the side, and a whimsical face with large ears, a curiously upturned snout, a red-colored mouth, and inlaid eyes of pale horn. The underside shows the beautifully porous and caramel-colored surface of the antler material. Himotoshi underneath and signature within an oval reserve - HOMIN.LENGTH 4 cmCondition: Excellent condition.Provenance: Old Viennese private collection assembled within the same family over three generations.Literature comparison: Another netsuke by this rare artist is illustrated in Sydney Moss Ltd. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, Part 3, pp. 244-245, no. 480.

ISSHIN: A SUPERB STAG ANTLER NETSUKE OF AN ENTANGLED OCTOPUS By Isshin, signed Isshin 一心Japan, Tokyo, Asakusa, second half of 19th centuryAn elaborately worked stag antler netsuke of an octopus (tako), who rather amusingly seems to have entangled itself in a convoluted mess of its own tentacles. Several of its suckered arms are interlocking, forming pleasing curls at the ends, and one tentacle even pulls at its funnel-shaped beak, stretching it to the right, causing some strain to the octopus as thick veins stand out at the top of its head. The deeply furrowed brows of the cephalopod are another indication of its discomfort. The abundance of cumbersomely carved, spongiform material on the edges give evidence to the superior skill needed to carve this netsuke in this manner. Note also the rather elaborate triangular himotoshi and the signature within a raised pot-shaped reserve – ISSHIN – which translates to “one heart”.LENGTH 3.8 cmCondition: Superb condition.Provenance: European private collection.Literature comparison: Compare to three similar netsuke in Sydney Moss Ltd. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, Part 3, pp. 370-373, nos. 555-557. No. 556 is signed Isshin, while the other two are attributed to a follower of Kokusai.

HOSHUNSAI MASAYUKI: A FINE WOOD NETSUKE OF HOTEI IN HIS TREASURE BAG By Hoshunsai Masayuki, signed Masayuki 正之 with kakihanJapan, Tokyo, Asakusa, second half of 19th centuryA wood netsuke of a takarabukuro, the inside brilliantly hollowed out and showing the lucky god Hotei seated inside writing a sutra. The wood is finely stained and polished, and the details are finely rendered, particularly Hotei’s face. The underside with typically asymmetrical himotoshi, the larger one in the shape of an uchiwa fan with finely incised tassels and a handle. Signed MASAYUKI with kakihan.LENGTH 3.7 cmCondition: Excellent condition.Provenance: German private collection.Auction comparison:A related netsuke by Hoshunsai Masayuki, yet less fine and without the fan-shaped himotoshi, was sold at Bonhams, Fine Japanese Works of Art, 20 March 20212, New York, lot 2167 (sold for 2,125 USD).

ISHIKAWA RENSAI: A FINE WOOD NETSUKE OF EBISU By Ishikawa Rensai, signed Rensai 蓮齋Japan, Tokyo, Asakusa, second half of 19th centuryDepicting the lucky god Ebisu holding a sake bottle and saucer in his hands, a sea bream presented on a platter below him. Ebisu is wearing an eboshi and Shinto ceremonial robes, a tasuki tied into a huge knot at the back. The lucky god is visibly enjoying his feast. Himotoshi through the underside, the larger one of oval shape, and signature within a raised rectangular reserve RENSAI.HEIGHT 3.5 cmCondition: Very good condition, one tiny nick to the underside of the platter.Provenance: German private collection, purchased at Kunsthandel Klefisch, 80. Auktion, 19 June 2004, Cologne, lot 542 (there listed as Rensai’s son, Rensai II, though it is not possible to distinguish between the two).Wood netsuke by Rensai are extraordinarily rare and at first glance this netsuke is very much reminiscent of the wood netsuke by Hoshunsai Masayuki. However, the superb carving and flawless finish are typical of Ishikawa Rensai.

AN IVORY SHUNGA NETSUKE OF OKAME HOLDING A MUSHROOM UnsignedJapan, c. 1800, Edo period (1615-1868)Published: Barbanson, Adrienne (1961) Fables in Ivory, pp. 72-73.Bandini, Rosemary (2014) Japanese Netsuke of the Collection of Teddy Hahn, no. 5.The Shinto goddess of mirth standing bare-chested, one foot playfully raised, holding up her skirt and a mushroom, suggestively smiling. Her hair is neatly incised and tied up, resembling another mushroom. The face is expressively carved. Large himotoshi through the back, the ivory bearing a lustrous golden patina.HEIGHT 5.8 cmCondition: Excellent condition, minor wear.Provenance: Ex-collections Carlo Monzino, Adrienne Barbanson and Teddy Hahn.

A FINE IVORY RYUSA MANJU NETSUKE WITH HO-O BIRD AND LOTUS UnsignedJapan, Tokyo, Asakusa, second half of 19th centuryThe ho-o (phoenix) bird shown in profile flying amongst dense grasses and holding a lotus sprig in its mouth. The sides densely carved with veiny lotus leaves and the reverse with an intricate geometric pattern surrounding the central himotoshi. The staining and execution are very much in the style of Rensai.DIAMETER 4.1 cmCondition: Superb condition with one age crack near the himotoshi.Provenance: Ex-collection Jury Kolodotschko.

A STAINED IVORY RYUSA MANJU NETSUKE WITH A SHISHI EMERGING FROM A MOKUGYO Unsigned, but carved in the manner of RensaiJapan, Tokyo, Asakusa, second half of 19th centuryThe front side with a shishi emerging from a mokugyo (temple bell) with a handle in the form of two confronting dragons with a tama, a long stem with lotus flower to one side, the reverse with a large lotus leaf, pierced in the center with the ringed himotoshi above an elegantly cuved nyoi scepter.DIAMETER 3.8 cmCondition: Very good condition with minor surface wear, natural age cracks.Provenance: British private collection.

A FINE STAG ANTLER RYUSA NETSUKE OF THE THREE FRIENDS OF WINTER, ATTRIBUTED TO RENSAI Attributed to Ishikawa Rensai, unsignedJapan, Tokyo, Asakusa, second half of 19th centuryThe front elaborately worked in sukashi-bori (openwork) depicting the three friends of winter or shochikubai, the design showing overlapping bamboo (take) and pine (matsu) leaves, framed by a ‘cloud-ribbon’ outline of a five-petaled plum (ume) blossom. The reverse shows two further outlines of a plum blossom, the central one ingeniously forming the himotoshi. The stag antler of a very appealing color.LENGTH 4.4 cmCondition: Excellent condition with natural age cracks.Provenance: British private collection.Literature comparison: Compare with a very similar ryusa netsuke attributed to Rensai in Sydney Moss Ltd. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, Part 3, pp. 72-73, no. 372.

A STAG ANTLER RYUSA NETSUKE WITH RAIN DRAGON UnsignedJapan, Tokyo, Asakusa, second half of 19th centuryAn elaborately carved ryusa manju netsuke depicting a rain dragon in profile amongst billowing clouds, its thin, slender body furcating, some of the ends terminating into clouds. The reverse continuing the image and showing much of the beautifully porous section of the material. The stag antler of a stunning color.DIAMETER 4 cmCondition: Superb condition.Provenance: British private collection.

A LARGE METAL-INLAID WALRUS TUSK RYUSA MANJU NETSUKE WITH A SCENE FROM THE BATTLE OF UJI UnsignedJapan, Tokyo, Asakusa, second half of 19th centuryThe walrus tusk manju worked in elaborate sukashi-bori (openwork) with a scene from the famous battle of Uji in 1184. Many warriors are inlaid in shakudo with gilt details. The front shows several samurai fighting on a bridge, below are two further warriors on horseback above a banner flowing in the wind. There are many pine trees and reishi-shaped clouds surrounding the scene. Himotoshi through the large pine tree in the reverse.LENGTH 4.9 cmCondition: A section of clouds and pine leaves in the back is restored. Otherwise, fine condition.Provenance: German private collection.

A WALRUS TOOTH RYUSA MANJU NETSUKE WITH AUSPICIOUS SYMBOLS UnsignedJapan, Tokyo, Asakusa, second half of 19th centuryPublished: Schwarz, Karl M. (2001) Netsuke Subjects Addendum, pp. 60-61 no. A187.The manju brilliantly pierce-carved with various auspicious symbols including a reishi fungus, a manji, a flaming tama pearl, a komori (bat), and a himono (dried fish). The reverse with a central florally rimmed himotoshi surrounded by elaborate swirling cloud designs.DIAMETER 3.9 cmCondition: Excellent condition.Provenance: Ex-collection Dr. Karl Schwarz, Vienna. Then Ex-collection Jury Kolodotschko, purchased at Kunsthandel Klefisch, Cologne, Auction 92, 27 March 2010, lot 10.

A FINE IVORY RYUSA MANJU NETSUKE WITH HO-O BIRD UnsignedJapan, 19th century, Edo period (1615-1868)Very finely carved and stained, the details highlighted in sumi-e (ink). Depicting a ho-o (phoenix) bird amongst billowing clouds, holding a sprig of lotus in its mouth, the visible eye inlaid in bone. The reverse showing the mythical bird’s elaborately crafted tail and a fine golden-brown patina.LENGTH 4.1 cmCondition: Excellent condition.Provenance: Ex-collection Jury Kolodotschko.

AN ASAKUSA STYLE STAG ANTLER OBIHASAMI NETSUKE OF TENAGA CATCHING AN OCTOPUS UnsignedThe obihasami finely stained and carved as the long-armed yokai fisherman Tenaga, usually accompanied by his long-legged friend Ashinaga, but here alone and in the process of catching a startled octopus (tako), the two figures looking at each other with dark inlaid pupils, their features neatly detailed, such as Tenaga’s spine and ribcage as well as the tako’s suckered tentacles.LENGTH 13.2 cmCondition: Excellent condition with minor surface wear. Provenance: European collection.Literature comparison: A closely related, mirrored but slightly larger (14.6 cm) piece is in the Trumpf collection in the Linden Museum Stuttgart, inventory number OA 18674.

SOMIN: A SUPERB TSUISHU (CARVED RED LACQUER) MASK NETSUKE OF A KARASU-TENGU By Somin, signed Somin 藻民 to 刀Japan, Tokyo, late 19th century, Meiji period (1868-1912)Finely carved, the ‘crow tengu’ with a large prominent beak with slanted nostrils and showing a frown, large bulging eyes with pierced pupils, furrowed brows, and wearing a tokin cap on his forehead surrounded by neatly incised hair, the interior lacquered black, the bridge with the signature SOMIN to.HEIGHT 5.2 cmCondition: Very good condition with minor surface wear, few minuscule nicks, the lacquer lightly worn in some areas.Provenance: Ex-collection Peter E. Müller, no. 151, acquired from Eskenazi. European collection P. Jacquesson, acquired from Matthew Barton Ltd 6 June 2018, London, lot 174 (sold for GBP 4,500).Somin was a netsuke carver active during the late 19th century, related to the carvers Homin and Hokei, who share an affinity for tsuishu mask netsuke.

MITSUNOBU: A MASTERFUL LACQUERED WOOD MASK NETSUKE OF A FOX (KITSUNE) By Mitsunobu, signed Mitsunobu 光信Japan, first half of 19th century, Edo period (1615-1868)Well carved with a movable jaw, the mouth opening to reveal rows of sharp teeth and a red tongue. The mask has pierced slanted eyes, semi-pricked ears with the tops hanging slightly down, the features overall neatly detailed and very expressive, one small pierced aperture to either side of the mask, as if to be worn, the mask probably representing a faithful copy of an old Kitsune mask. The mask is covered in cream-colored lacquer, purposely worn to simulate age. The bridge on the reverse with a single himotoshi and the signature MITSUNOBU.HEIGHT 4 cmCondition: Very good condition with minor surface wear, occasional light scratches, and few minuscule nicks, much of the wear intended by the artist.Provenance: Ex-collection Arthur Kay (1860-1939), with old labels, collection no. 258. Then European collection P. Jacquesson, acquired in 2005.Literature comparison: A closely related wood mask netsuke of a fox by Mitsunobu, also with a movable jaw, is illustrated in Joly, Henri L. (1912) The W. L. Behrens Collection, Part 1, Netsuke, pl. 1, no. 163.

DEME UMAN: A RARE WOOD MASK NETSUKE OF FUJIN By Deme Uman, signed Deme Uman 出目右滿Japan, Edo (Tokyo), early 19th century, Edo period (1615-1868)Published: International Netsuke Society Journal (Spring 2020), Vol. 40, no. 1, p. 40.Expressively carved, depicting Fujin, the God of Wind (also known as Futen), as indicated by his hair swept up by the winds, with pierced large bulging eyes, thick eyebrows, a broad nose with wide nostrils, and an open mouth revealing rows of teeth flanked by sharp fangs, the bridge with a single himotoshi and the signature DEME UMAN.HEIGHT 5.7 cmCondition: Very good condition with minor surface wear.Provenance: Drouot, 9 May 1968. French private collection, acquired from the above. Piasa, 16 December 2004. European collection P. Jacquesson, acquired from the above.Deme Uman was the grandson of Deme Juman, who is regarded as the originator of mask netsuke. He is regarded as the most celebrated of mask netsuke makers and worked almost invariably in wood.

AN EARLY WOOD NETSUKE OF A KARAKO WITH KIKU FLOWER AND TREASURE SACK UnsignedJapan, 18th century, Edo period (1615-1868)The tactile, ideally shaped, and large wood netsuke depicting a Chinese boy sleeping and leaning against a large tied up bag, presumably Hotei’s treasure sack. In his right hand he holds a finely carved, leafy kiku (chrysanthemum) flower, possibly identifying the boy as Kikujido (the chrysanthemum boy). The boy’s facial expression is serene, the folds of his robe and the sack are well-carved. The wood of a very good color with a fine patina, the asymmetrical himotoshi underneath are very large and generously excavated, indicative of an early piece.LENGTH 5 cmCondition: Excellent condition with minor associated surface wear, particularly in and around the himotoshi.Provenance: Ex-collection Richard R. Silverman purchased from Jeffrey Moy, Chicago, in 1997. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie’s, Sotheby’s, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA’s Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

DEME UMAN: A SUPERB AND LARGE WOOD MASK NETSUKE OF A HORNLESS DRAGON By Deme Uman, signed Deme Uman 出目右滿Japan, Edo (Tokyo), early 19th century, Edo period (1615-1868)Published: International Netsuke Society Journal (December 1976), Vol. 4, no. 3, p. 10.International Netsuke Society Journal (Spring 2020), Vol. 40, no. 1, p. 36.Exhibited: Bonhams, Paris, during the International Netsuke Collector’s Society Convention October 2019.Expressively carved, with pierced eyes, ears, and mouth, the dragon with a fierce expression, sharp fangs, and neatly incised brows and beard. The bridge with a single himotoshi and signed DEME UMAN.HEIGHT 5 cmCondition: Very good condition with minor surface wear, occasional light scratches.Provenance: Sotheby Parke Bernet, 9 November 1976, London, lot 128. Sotheby’s, Chinese and Japanese Works of Art (Part 2), 9-10 November 2005, London, lot 1233. European collection P. Jacquesson, acquired from Robert Fleischel in March 2006. Deme Uman was the grandson of Deme Juman, who is regarded as the originator of mask netsuke. He is regarded as the most celebrated of mask netsuke makers and worked almost invariably in wood.

HOZAN: A FINE PALE WOOD MASK NETSUKE OF OKINA (HAKUSHIKIJO) By Hokkyo Hozan (active c. 1880), signed Hozan 寶山 o with kakihanJapan, Hida-Takayama, late 19th century, Meiji period (1868-1912)Published: Bushell, Raymond (1985) Netsuke Masks, pl. 62 (also illustrated on the front of the slip case).Finely carved, depicting Okina (Old Man), carved in characteristic manner to show the lower jaw and chin as separate from the rest of the mask and attached with two straps, the beard flowing from the chin to the interior of the mask, the eyebrows in the form of circular tufts. The mouth with two teeth is pierced, as are the nostrils and eyes. The bridge is signed HOZAN o [Hozan as an old man] with a kakihan.HEIGHT 4 cmCondition: Excellent condition.Provenance: Ex-collection Raymond Bushell. European collection P. Jacquesson, acquired from Sotheby’s, 21 March 2001, New York.This popular mask is worn in the Noh play Okina. The character here is called Hakushikijo, literally ‘white-colored old man’. He is distinguished from the black-colored old-man mask worn in the Sambaso dance.The third character in the signature, O, means ‘old man’, indicating the artist was at an advanced age at the time of carving, a particularly interesting detail given that the character portrayed by the mask is himself an old man.Literature comparison: A closely related mask netsuke by the same carver is illustrated in Coullery, Marie-Therese and Newstead, Martin S. (1977) The Baur Collection, p. 252, no. 732, and another is in the collection of the Seattle Art Museum, no. 91.189.

A LARGE AND UNUSUAL WOOD SHUNGA MASK NETSUKE OF OKAME Unsigned Japan, 19th centuryThe unusual, rather rustic netsuke carved from a light, fine-grained wood, probably paulownia (kiri), depicting an Okame mask with heavy shunga overtones, such as the plump cheeks, long slender nose, and rounded head and chin, the reverse, with a vertical bridge, reminiscent of female genitalia. The bridge with a single himotoshi, with an old cord still attached, and a black-lacquered single-character inscription.HEIGHT 7.6 cmCondition: Good condition with minor wear, small nicks, light scratches.Provenance: European collection P. Jacquesson, acquired from Robert Fleischel in New York, September 2005.

SHINRYOEN: A CERAMIC MASK NETSUKE OF OKAME By Shinryoen, signed Shinryoen 神陵園Japan, late 19th to early 20th centuryPublished: Bushell, Raymond (1985) Netsuke Masks, pl. 140.The Okame mask of characteristic design, with large full cheeks, a broad nose with wide nostrils, small eyes, the mouth with full lips and a row of six teeth. The ceramic unglazed and painted with black and white enamels. A single himotoshi through the bridge with the impressed mark SHINRYOEN within an oval reserve.HEIGHT 4.9 cmCondition: Excellent condition with minor wear and firing irregularities, such as small firing cracks to the interior.Provenance: Ex-collection Raymond Bushell. European collection P. Jacquesson, acquired from Sotheby’s, 21 March 2001, New York.The largest number of ceramic mask netsuke are Onko ware. These netsuke are unglazed. The preparation of the clay and the way they were fired in the kiln created a unique texture that is very impressive. These masks were produced during the late 19th and early 20th century and are known for their robustness. The prominent signatures (or seals) are Sekisen (father and son) and Sekiho. Others such as Onko, Futaminoura, and Shinryoen are rarer. Some of the works are unmarked.

AN IWAMI STYLE BOAR TUSK NETSUKE DEPICTING A RECUMBENT OX UnsignedJapan, probably Iwami, 19th century, Edo period (1615-1868)Carved in low relief with a recumbent ox, its head lowered to the left and its tail trailing, the underside with a single himotoshi.LENGTH 7.8 cmCondition: Excellent condition with only minor surface wear and natural age cracks.Provenance: German private collection.Auction comparison:Compare a closely related netsuke of larger size (12 cm long), signed with an unidentified seal, at Bonhams, The Robert S. Huthart Collection of Iwami Netsuke Part II, 6 November 2019, London, lot 66 (sold for 1,211 GBP).

A RARE IWAMI SCHOOL BOAR'S TOOTH NETSUKE OF A CRAB ON LOTUS LEAF UnsignedJapan, Iwami province, late 18th to early 19th century, Edo period (1615-1868)The boar’s tooth hollowed and carved as a crumpled-up lotus leaf, a finely carved crab on top with extended legs and readied pincers. The lotus leaf with incised veins and a curved stem. The slightly translucent material showing a beautiful color with some attractive marbling, by this rare material mainly used by Iwami carvers. One large himotoshi, the other ‘natural’ through the opening of the leaf.LENGTH 6.5 cmCondition: Natural age cracks and ‘flaws’ to material. One old fill to a crack at the edge. Generally, in very good age-related condition.Provenance: European collection.Auction comparison:For another boar’s tusk netsuke by an Iwami carver showing a very similar marbling to material see Bonhams, The Robert S. Huthart Collection of Iwami Netsuke Part I, 15 May 2019, lot 42 (sold for 8,812 GBP).

SHOSAI: A HONEN (HORNBILL) NETSUKE OF HOTEI Signed Shosai 勝齋Japan, 20th centuryThe lucky deity kneeling on the ground and holding a basket in one hand, the other clutching his loose-fitting robe, the face with a characteristically cheerful expression. The signature SHOSAI 勝齋finely incised to the hyotan (double gourd) at the back flanked by two symmetrical himotoshi. The hornbill of an attractive cream and honey-golden tone, the different shadings as well as the natural striations to the material skillfully utilized by the carver.HEIGHT 4.3 cmCondition: Very good condition with minor surface wear, the hornbill with natural fissures, some of which may have developed into small hairline cracks over time.Provenance: Ex-collection Jury Kolodotschko, purchased at Lempertz, 8 December 2006, Cologne, lot 556.Literature comparison: A rosewood netsuke of a Dutch settler, showing the same signature as the present lot, is illustrated in Atchley, Virginia / Davey, Neil (2006) The Virginia Atchley Collection of Japanese Miniature Arts, p. 156, no. N215.

A VERY RARE SAIKAKU (RHINOCEROS HORN) NETSUKE OF A DUTCHMAN AND CHILD UnsignedJapan, late 18th century, Edo period (1615-1868)The dutchman carved standing, wearing a long flowing robe secured with a belt at the waist, holding a trumpet in one hand and carrying a small boy on his back, the material of very attractive color and grain, the different shadings utilized skillfully by the carver. Two asymmetrical himotoshi to the back, the larger one excavated generously.HEIGHT 6.5 cmCondition: Excellent condition with minor surface wear.Provenance: Spanish private collection.

AN IVORY NETSUKE OF A SLEEPING SARUMAWASHI WITH MONKEY UnsignedJapan, 18th century, Edo period (1615-1868)The sarumawashi (monkey trainer) was a street artist who performed tricks with his monkey. In this very classic netsuke, the monkey trainer is depicted sleeping, with a serene facial expression, gently smiling (perhaps dreaming of an obedient monkey), while the monkey is grabbing the basket of the food behind his back. The ivory bearing a very good patina and the large himotoshi on the underside, one of them generously excavated to accommodate the knot.LENGTH 4.4 cmCondition: Very good, undamaged condition with natural age cracks.Provenance: German private collection, acquired in Japan c. 1980.

A WOOD NETSUKE OF A NAKED MAN TYING HIS FUNDOSHI UnsignedJapan, early 19th century, Edo period (1615-1868)The naked man visibly struggling to tie his fundoshi, presumably after a bath, one hand holding it in place to the front and the other grabbing the other end to the back. The wood of an appealing color with a good patina. One leg is slightly lifted, yet the netsuke stands perfectly as the endpiece of the towel supports it. Natural himotoshi.HEIGHT 7.5 cmCondition: Excellent condition.Provenance: US private collection. Purchased at Sotheby's, Fine Japanese Works of Art, 13 November 1985, London, lot 625.Literature comparison:This model is rather uncommon in wood, a related netsuke in ivory is in the Los Angeles County Museum of Art, formerly in the Bushell collection, accession no. 91.250.167.

A KURUMI (WALNUT) NETSUKE OF DARUMA, ATTRIBUTED TO HIDARI ISSAN Attributed to Hidari Issan, unsignedJapan, Iwashiro, early 19th century, Edo period (1615-1868)A fine and humorous kurumi (walnut) netsuke depicting Daruma completely enveloped in his robe, only his well-carved face is visible, as he looks upwards, his eyes inlaid in dark horn with brass surrounds.Very similar to no. 301, yet decidedly different. Daruma’s face is cut deeper and slightly more expressive, also there is no beard. The patina of the walnut is richer and darker. Furthermore, the netsuke stands on its own, one himotoshi is florally rimmed in the back, and the other is in the shape of a keyhole underneath. HEIGHT 4 cmCondition: Excellent condition. Natural flaws to the walnut.Provenance: German private collection, acquired in Japan c. 1980.

A KURUMI (WALNUT) NETSUKE OF A ROLY-POLY DARUMA, ATTRIBUTED TO HIDARI ISSAN Attributed to Hidari Issan, unsignedJapan, Iwashiro, early 19th century, Edo period (1615-1868)A fine and humorous kurumi (walnut) netsuke with much of its natural beauty retained all around and depicting a rolling Daruma completely enveloped in his robe, only his well carved face with minutely incised beard is visible, as he looks upwards, his eyes inlaid in dark horn with brass surrounds. Himotoshi to the reverse, one of them decorated florally rimmed in the typical manner of Hidari Issan and his followers.HEIGHT 4 cmCondition: Excellent condition. Natural flaws to the walnut.Provenance: German private collection, acquired in Japan c. 1980.

ISSEKI: AN EXCEPTIONAL KURUMI (WALNUT) NETSUKE WITH MOUNT FUJI By Isseki, signed Isseki 一石Japan, Iwashiro, 19th century, Edo period (1615-1868)The walnut retaining much of its natural beauty and carved on the main side with a bean-shaped reserve containing an idyllic landscape scene depicting a man inside a boat below an imposing pine tree, the towering Mount Fuji visible in the distance in-between clouds. Himotoshi through the back, one florally rimmed, and signed within an oval reserve – ISSEKI.LENGTH 4 cmCondition: Superb condition with ‘natural flaws’ to the material.Provenance: British private collection.The manner of the signature, quality of carving and florally rimmed himotoshi all strongly suggest this unrecorded carver was a pupil of Hidari Issan.

AN UNUSAL BURLWOOD NETSUKE OF A TOAD Japan, 19th century, Edo period (1615-1868)A minimalistic, yet considerably fine and irresistibly charming burlwood netsuke of a toad, the warty skin masterfully rendered by the natural structure of the wood. The toad sits in an alert position, its hindfeet ready to spring upwards. The underside with himotoshi. Another very unusual feature of the netsuke is that there appears to be an ukibori signature underneath, however we were not able to decipher it.LENGTH 3.8 cmCondition: Excellent condition.Provenance: From the collection of Oscar Gustaf Björck (1860-1929), Stockholm, painter and professor at the Royal Swedish Academy of Arts.

AN UNUSUAL MIXED METAL AND ROOT WOOD NETSUKE UnsignedJapan, 19th century, Edo period (1615-1868)The gnarly, beautiful piece of root wood inlaid in mixed metal (shibuichi, copper, and silver) depicting the lucky god Daikoku holding a box from which a fox emerges.LENGTH 4.6 cmCondition: Superb condition with only minuscule wear to metal inlay.Provenance: British private collection.

SHIBAYAMA SOICHI: A FINE INLAID AND LACQUERED BURLWOOD NETSUKE By Shibayama Soichi, signed Soichi 宗一Japan, Tokyo, second half of 19th centuryFinely lacquered and inlaid in horn with a centipede and three ants on a natural, desiccated piece of burlwood showing a beautifully marbled structure. Himotoshi through the back and signature SOICHI within a rectangular mother-of-pearl reserve.LENGTH 4.1 cmCondition: Very good condition with ‘natural flaws’ to the burlwood.Provenance: Ex-collection Robert S. Huthart. Old museum number to the underside. Then collection Richard R. Silverman. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie’s, Sotheby’s, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA’s Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture. Auction comparison:A very similar netsuke was sold by Christie’s, Chinese & Japanese Art, 15 May 2008, London, lot 22 (sold for 1,125 GBP).

A FINE SHIBAYAMA STYLE INLAID AND LACQUERED TAGAYASAN WOOD MANJU NETSUKE OF HOTEI AS A CHILD Unsigned Japan, second half of 19th centuryDepicting a young Hotei completely enveloped in his robe, inlaid in mother-of-pearl and red lacquer, the shoes in green-stained ivory, the head inlaid in ivory, the tagasayan ground subtly carved with a shrine or temple gate, the reverse with hiramaki-e and shishiaibori inlays of gold and red lacquer as well as ivory depicting Hotei’s sack and fan.DIAMETER 4 cmCondition: Excellent condition with only minor surface wear.Provenance: German private collection.A leguminous tree native to South-East Asia, from the medieval period onwards the tagayasan was prized in Japan for its fine-grained, durable timber.

A RARE BRONZE NETSUKE OF A SEATED DUTCHMAN UnsignedJapan, 19th century, Edo period (1615-1868)Depicting a seated Dutchman pressing his lips forwards to blow out smoke and holding a long kiseru (pipe) in both hands. Large himotoshi through the back.HEIGHT 3.7 cmWEIGHT 47 gCondition: Very good condition, minor wear.Provenance: German private collection.

A RARE SILVER-INLAID IRON MANJU NETSUKE UnsignedJapan, 19th century, Edo period (1615-1868)The two-part manju cast from iron and decorated in the front with bellflowers (kikyo) inlaid in silver. The reverse with a central himotoshi lined in silver.DIAMETER 4.1 cmCondition: Good condition with minor associated surface wear.Provenance: German private collection.

A TSUISHU AND SHIBUICHI KAGAMIBUTA NETSUKE WITH BENTEN, QUAILS AND MILLET UnsignedJapan, 19th century, Edo period (1615-1868)The shibuichi plate crafted in sukashi-bori (openwork) with two quails amid leafy stocks of millet, the impressive tsuishu (red lacquer) bowl carved in relief with Benten riding a sinuously coiled dragon and playing the koto amid craggy rockwork and reishi-shaped clouds on a finely incised ground of waves, the rim with a key-fret (rinzu) border.DIAMETER 4.6 cmCondition: Good condition with minor wear, chips and associated losses to the bowl as expected, some wear to metal.Provenance: Swedish private collection.Auction comparison: Compare a related tsuishu and metalwork kagamibuta, depicting Hanshan and Shide, the plate with a hawk and butterfly amid foliage, of slightly smaller size, at Christie’s, Crafted Landscapes: The Ankarcrona Collection of Japanese Lacquer and Asian Works of Art, 10 September to 1 October 2020, New York, lot 28 (sold for 2,125 USD).

A RARE DARK WOOD NETSUKE OF A RONIN DRAWING HIS SWORD Unsigned Japan, 18th century, Edo period (1615-1868)Carved standing with the feet and legs together, the back slightly arched, bending forwards with the head, wearing the characteristic mino (straw cape), the muscles of his arms and legs powerfully sculpted, the vengeful warrior about to draw his sword, his face with a fierce, snarling, almost evil expression with intense eyes, furrowed brows, and a nasty smile. Two large asymmetrical himotoshi to the back.HEIGHT 7.2 cmCondition: Good condition with minor surface wear. Tiny repair to the very edge of one foot.Provenance: European collection.The revenge of the forty-seven ronin is an 18th-century historical event in Japan in which a band of ronin (leaderless samurai) avenged the death of their master. The incident has since become legendary. The story tells of a group of samurai who were left leaderless after their daimyo (feudal lord) Asano Naganori was compelled to perform seppuku (ritual suicide) for assaulting a court official named Kira Yoshinaka, whose title was Kozuke no suke. After waiting and planning for a year, the ronin avenged their master’s honor by killing Kira on the night of December 14th, in the year of 1702. They were then obliged to commit seppuku for the crime of murder. This true story was popularized in Japanese culture as emblematic of the loyalty, sacrifice, persistence, and honor that people should display in their daily lives. The present netsuke, however, appears to highlight some of the more nefarious motivations behind such a violent act.

A TSUISHU LACQUER NETSUKE WITH SHISHI AND PEONY UnsignedJapan, 19th century, Edo period (1615-1868)The netsuke in the shape of a lobed hako (container), lacquered in tsuishu (carved red lacquer) and with a black-lacquered shishi amongst incised peonies in the front. The underside carved with chrysanthemum flowers against an asanoha ground and the sides carved with two bands featuring a key fret border design. Himotoshi underneath.LENGTH 3.6 cmCondition: Overall very good condition. Minor wear and scattered losses to lacquer.Provenance: Spanish private collection.

A FINE TSUISHU LACQUER HAKO NETSUKE WITH PLUM AND PINE UnsignedJapan, 18th century, Edo period (1615-1868)The two-part hako (container) of octagonal shape and lacquered in tsuishu (carved red lacquer), finely incised on both sides with branches of a plum tree, with blossoms and buds, in front of pine leaves. The sides are decorated with two concentric bands featuring a finely carved asanoha pattern. The two sides are perfectly fitted together and are held in place when turned. Central himotoshi through the underside and looped cord attachment in the interior, which is lacquered in black.HEIGHT 2 cm, LENGTH 3.3 cmCondition: Very good condition, some wear to the inside.Provenance: British private collection.

A VERY RARE GURI LACQUER NETSUKE WITH A MERMAID UnsignedJapan, 19th century, Edo period (1615-1868)The manju-style netsuke of lobed rectangular shape, the front with a lobed reserve containing a finely incised image of a ningyo (mermaid) with her head turned backwards and swimming amongst waves. The design is executed in stunning guri lacquer and the sides are decorated with a continuous central band featuring densely sprinkled lacquer of black, green, gold, and red. The reverse with two centrally placed himotoshi.SIZE 4.5 x 3.3 x 1.7 cmCondition: Good condition with some minor wear to lacquer, including a few tiny nicks, surface scratches, and microscopic hairlines.Provenance: Ex-collection Jury Kolodotschko.The guri lacquer technique comes from China and can be traced back to the Tang dynasty (618 BC - 907 AD). Guri and tixi lacquerwares are some of the rarest and most sought-after works in Chinese art.

A LACQUERED WOOD NETSUKE OF A NOH ACTOR UnsignedJapan, second half of 19th centuryIn the role of Hannya, standing in a dynamic posture with one leg slightly raised and the arms spread outwards, wearing formal attire, his long gold and red-lacquered wig trailing over his stiff robe lacquered with formal designs in gold takamaki-e, the back with two symmetrical himotoshi.HEIGHT 4 cmCondition: Good condition with minor wear, minimal losses to lacquer as visible in the images provided.Provenance: German private collection.