We found 24840 price guide item(s) matching your search

A CHARMING LACQUERED WOOD NETSUKE OF HOTEI LEANING ON HIS BAG UnsignedJapan, 19th century, Edo period (1615-1868)Depicting the pot-bellied lucky god Hotei leaning against his takarabukuro, the wood netsuke covered in silver lacquer with red lacquer used for Hotei’s skin. The treasure bag is embellished in very fine gold hiramaki-e lacquer depicting kiku flowers, formal designs and scrolling vines. The underside with very good asymmetrical himotoshi.LENGTH 3.5 cmCondition: Excellent condition with hardly any wear to lacquer.Provenance: Ex-collection Jury Kolodotschko. Furthermore, old collection label ‘765’ pasted on the bottom.

TEIJI: A MASTERFUL LACQUERED AND CERAMIC-INLAID MANJU OF AN OCTOPUS IN A POT (TAKO TSUBO) By Teiji, signed Teiji 貞二Japan, Nagoya, mid-19th century, Edo period (1615-1868)Published: Chappell and Welch (1999) Netsuke, The Art of Japanese Miniature Carving, no. 239.The netsuke of manju shape and lacquered in almost black, dark green, the interior revealing a masterful ceramic-inlaid octopus, one of the suckered tentacles breaking through an opening in the wicker structure and extending towards the reverse. The octopus has a fierce expression with veins on his forehead and a pressed forward funnel-shaped mouth, the eyes are highlighted in gold. The ceramic cephalopod is glazed in red with black accents brilliantly imitating negoro-lacquer. The reverse with the gold-lacquered two-character signature TEIJI and the two asymmetrical himotoshi.The depiction here is likely a variation of the tako tsubo motif, the pot here shown from the top view. The manju could also represent a submerged object which the octopus uses as its lair, as these animals preferred dark crevices or caves as their hiding spots (hence they were also trapped in pots). The design of this netsuke is very clever, one wonders how the octopus entered his lair (or how the artist managed to inlay this netsuke!).DIAMETER 4 cmCondition: Good condition, some wear to lacquer including tiny hairlines and surface scratches. Some expected firing flaws and a crack through one of the octopus’ tentacles.Provenance: Ex-collection Richard R. Silverman, purchased from Konishi Gallery, LA, in 1993. 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. Teiji, pupil of Seiji, was originally a potter and made unique netsuke with ceramic inlays. The quality of his ceramic inlay is arguably unequaled in netsuke. Teiji made several netsuke depicting octopi, most like the one cited in the literature comparison. The present model appears to be unique.Literature comparison:Compare to a related netsuke in the Toledo Museum of Art (gifted by the former owner of the present netsuke, Richard R. Silverman), accession no. 2009.154.

HOJUSAI: A RARE LACQUERED WOOD KAGAMIBUTA NETSUKE DEPICTING A RAKAN By Hojusai, signed Hojusai 宝珠齋 with kakihanJapan, 19th centuryThe plate with black, dark brown, and gold lacquer, depicting a rakan with typically long eyebrows, the ears with a long pendulous lobes and circular earrings, the face with an intense expression, the bowl covered in a light translucent lacquer coating heightening the grain of the wood. Central himotoshi through the back and cord attachment on the reverse of the lid.DIAMETER 4.2 cmCondition: Good condition, some old wear to the lacquer, a minor split to the rakan’s cheek, and a minor flake to his chin.Provenance: Richard R. Silverman, acquired from Eskenazi Ltd. in 1982. Two collector’s labels to the interior, one inscribed in Japanese. 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. Literature comparison:A closely related kagamibuta netsuke by the same carver, but with a shunga depiction to the interior, is illustrated in Ducros, Alain (1994) Paris Edo, no. 29b. Note the translucent lacquer coating heightening the wood grain, which is executed in the same manner in the present netsuke.

KIYOSHI: A LARGE EBONY NETSUKE OF GAMA SENNIN AND HIS TOAD By Kiyoshi, signed Kiyoshi 精Japan, 18th century, Edo period (1615-1868)Published: Katchen (2010) Netsuke 7, vol. 2, p. 249, no. K942 (erroneously transcribed as Seibei)The sennin kneeling and holding his toad in front of him with both hands. The sennin’s facial features, hair, muscles, and emaciated rib cage are well-carved, as are the toad’s features. Two large himotoshi to the back. Signed in seal form KIYOSHI to the side of the immortal’s belly.Condition: Good condition with minor wear, few minuscule nicks, and occasional light scratches.Provenance: Ex-collection Julius and Arlette Katchen, Paris.HEIGHT 6.6 cmLiterature comparison: This rare maker is recorded on a netsuke of a carp in Bushell (1961) The Netsuke Handbook of Ueda Reikichi, p. 185, no. 191 and Lazarnick (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 1, p. 626, with a large illustration of his signature. The carp is now in the Los Angeles County Museum of Art, accession number M.91.250.34.

YOKOBUE III: A RARE LACQUERED WOOD NETSUKE OF A MANDARIN DUCK (OSHIDORI) By Yokobue III, signed Yokobue 横笛Japan, Kyoto, late 19th century, Meiji period (1868-1912)The duck preening itself, finely painted in gold, red, and black lacquer, the gold lacquer dominating, with hiramaki-e, togidashi-e, kirikane flakes, mother-of-pearl (aogai) inlays, and some nashiji. The underside with two slightly asymmetrical himotoshi above the signature YOKOBUE within an oval reserve.LENGTH 4.2 cmCondition: Excellent condition with only minor surface wear.Provenance: Ex-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. According to Edward Wrangham (EW), “[Yokobue III] carried on the family business in Kyoto from the late Edo into the Meiji period, after which it virtually disappeared. The Tomkinson inro (now EW) is dated 1871 […]; the EW netsuke is lacquered […] and inlaid with a copper and gold snail.” (Earle, Joe [ed.], 1995, The Index of Inro Artists, p. 330-331)Auction comparison:Compare a lacquered wood and metal netsuke of a snail on driftwood by Yokobue at Bonhams, The Edward Wrangham Collection of Japanese Art Part III, 15 May 2012, London, lot 118 (sold for 4,375 GBP).

A RARE LACQUERED AND CERAMIC-INLAID NETSUKE OF A BUGAKU HELMET (TORIKABUTO) UnsignedJapan, 19th century, Edo period (1615-1868)The wood netsuke lacquered in gold with glazed ceramic inlays, depicting a torikabuto in the shape of a suzume (sparrow) used for the traditional Bugaku dance. Large himotoshi through the back.LENGTH 4.8 cmCondition: Very good condition with minor associated wear to lacquer.Provenance: Collection of Richard R. Silverman, old collection no. to the 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.Bugaku is a Japanese traditional dance. The defining elements of this dance were introduced through Southeast Asia to the Chinese Tang court and its use in Japan dates back to the Heian period (794-1185) and is still performed today.

A FINE HIRADO PORCELAIN NETSUKE OF A KARAKO RESTING Unsigned Japan, second half of 19th centuryThe boy lying on the ground with his legs crossed and one hand supporting his head as he shows a pensive expression with finely detailed facial features. The boy’s robe is glazed ochre with grayish shadings, his trousers are glazed white, the shoes and hair tufts are black, and his head and the underside are left unglazed. Two asymmetrical himotoshi to the underside.LENGTH 5.6 cmCondition: Very good condition with minor wear and firing flaws.Provenance: Collection of Louis Lawrence, author of Hirado: Prince of Porcelains (Chicago 1997, part of the Encyclopedia of Japanese Art Series).

ARMIN MÃœLLER: A PORCELAIN (YAKIMONO) SAGEMONO SET OF A THREE-CASE INRO, NETSUKE AND OJIME By Armin Müller (1932-2000), signed with the artist’s monogramUSA, late 20th centuryThe inro depicting a dragonfly amid aquatic plants in a pond to either side, the netsuke naturalistically molded as a frog perched on a lotus leaf, a small snail underneath, with ‘natural’ himotoshi between the frog’s limbs and the leaf, the ojime in the form of a carp with the mouth wide open, each covered overall in an attractive sea-green glaze thinning at the edges, the interior and risers of the inro left unglazed. The underside of the netsuke and inro each with the artist’s monogram, the monogram on the inro left unglazed as well. All attached with a brown fabric cord. With the original wood tomobako (storage box), which shows the artist’s monogram as well.HEIGHT 7.6 cm (the inro), LENGTH 4.1 cm (the netsuke), LENGTH 2.2 cm (the ojime)Condition: Excellent condition.Provenance: Ex-collection Jacques Carré.Armin Müller (1932-2000) was an American contemporary netsuke artist who specialized in porcelain netsuke, inro, and ojime. A very moving tribute to Armin, written by David Carlin, was printed in the Fall 2000 issue of the INS Journal.Literature comparison: Two porcelain sagemono sets by Armin Müller, one with a similar green glaze and the other with a very similar frog netsuke, are illustrated in Atchley, Virginia / Davey, Neil (2006) The Virginia Atchley Collection of Japanese Miniature Arts, p. 273, nos. IN98 and IN99.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

SHOHOSAI: A GOLD LACQUER FIVE-CASE INRO ENSEMBLE WITH EBI AND VARIOUS DELICACIES By Shohosai, signed Shohosai 松甫斎 with kakihanJapan, early 19th century, Edo period (1615-1868)A very appealing ensemble showing various delicacies – the five-case inro with a gold kinji ground lacquered in gold and red takamaki-e depicting an ebi (spiny lobster) amongst yurine (lily bulbs), the verso beautifully lacquered with a komatsu (pine seedling) and a berry bush with three inlaid coral berries. The interior compartments and risers of fine and dense nashiji. With an agate ojime and an early wood netsuke of a group of leafy nasubi (eggplants). Signed underneath SHOHOSAI and with a red kakihan – probably the artist listed on page 248 of the Wrangham Index of Inro Artists.HEIGHT (inro) 9 cm, LENGTH (netsuke) 4.1 cmCondition: Good condition. Some minor wear to lacquer here and there, tiny chips to the edges of the compartments as visible on the images provided. Provenance: Swedish private collection.

TAKETATSU: A VERY RARE WOOD NETSUKE OF TWO CAMELS By Taketatsu, signed Taketatsu 孟辰Japan, late 18th century, Edo period (1615-1868)The two dromedaries finely carved side by side, their heads resting on each others’ humps. The underside showing all eight legs in a well-executed composition, along with two himotoshi and the signature TAKETATSU.LENGTH 4.2 cm, HEIGHT 2.7 cmCondition: Very good condition with only minor surface wear.Provenance: European collection.The subject of two camels is a very rare one in netsuke art. Several other examples in wood are recorded (see Literature comparison), and likely all from the same hand, however they are all unsigned as opposed to the present netsuke.During the Edo period (1615-1868), Dutch traders occasionally brought large and exotic animals as gifts for the shogun. Drawing on their Indian Ocean trading networks, these exotic animals included tigers, parrots, ostriches, elephants, and camels.Auction comparison:Compare a similar netsuke of two camels by Yoshitomo, dated to the early 19th century, but carved from ivory in a more naturalistic manner than the present netsuke, at Bonhams, Fine Japanese Art, 11 May 2010, London, lot 211 (sold for 7,200 GBP).Literature comparison: A closely related but unsigned netsuke is illustrated with a line drawing in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 1020. A closely related but unsigned netsuke is in the collection of the British Museum, museum number 1945,1017.533, and two more, once in the collection of Raymond and Frances Bushell, are now in the collection of the Los Angeles County Museum of Art, nos. AC1998.249.2 and AC1998.249.19.

SHIBATA REISAI: A RARE GOLD LACQUER THREE-CASE INRO WITH BATS By Shibata Reisai (1850-1915), signed Reisai 令哉Japan, Tokyo, late 19th to early 20th century, Meiji period (1868-1912)Of rounded rectangular form, the rich kinji ground to one side with two bats in flight and to the other with one bat flying beneath the crescent moon, all executed in takamaki-e with hiramaki-e details, such as the neatly detailed fur, the interior with nashiji. The underside signed REISAI, the eldest son of famed lacquer artist Shibata Zeshin. With a matching copper ojime in the form of a hanging bat.HEIGHT 8 cmCondition: Good overall condition, old wear, minor dents to the top case, probably from contact with an ojime, all as visible on the images provided.Provenance: German private collection, acquired at Van Ham, Asian Art, 7 December 2017, lot 2421 (sold for 2,193 EUR).According to Edward Wrangham, “[Reisai] worked as one of his father’s [Shibata Zeshin] many pupils, lacquering both inro and netsuke. Zeshin himself used the name Reisai as a go until he was twenty-six, which has caused some confusion. However Zeshin used this go in seal form, on paintings and prints; Reisai signed with his name written in script on his lacquer wares. Moreover Reisai’s works have a style of their own: they are often smallish […] and decorated with a Rimpa design.” (Earle, Joe [ed.], 1995, The Index of Inro Artists, p. 252)Not only is the work of Shibata Reisai extremely scarce, but the subject of bats is also rarely seen on inro.

KOMA KYUHAKU: A RED AND GOLD LACQUER FOUR-CASE INRO DEPICTING THE SEVEN SAGES OF THE BAMBOO GROVE By Koma Kyuhaku, signed Koma Kyuhaku saku 古滿休伯作Japan, late 18th to early 19th century, Edo period (1615-1868)Of rounded rectangular form and finely decorated in togidashi-e on a red lacquer ground with gold kirikane flakes as well as mother-of-pearl inlays, depicting the Seven Sages of the Bamboo Grove, with four on one side and three on the other, all surrounded by bamboo. The inside of dense nashiji and the underside with the signature KOMA KYUHAKU saku within an oval gold lacquer reserve. With a coral ojime.HEIGHT 9.3 cmCondition: Excellent condition with minor surface wear.Provenance: Ex-collection Melvin and Betty Jahss.Auction comparison: Compare a similar netsuke of the same subject, signed Shiomi Masanari, dated to the 18th century, at Bonhams, A Private Collection of Japanese Art, 6-20 October 2015, New York, lot 7 (sold for 4,000 USD).

A FIVE-CASE LACQUER INRO WITH LANDSCAPE SCENE UnsignedJapan, 19th century, Edo period (1615-1868)The five-case inro of oval shape, worked in stunning gold takamaki-e and hiramaki-e with some kirikane flakes, against a roiro ground, depicting a continuous image on both sides of an idyllic landscape scene including pine trees, little huts, and bridges over a meandering river, the waves crashing against the shore finely worked in silver lacquer. Some sprinkled nashiji throughout the roiro surface, densely sprinkled in the interior cases. With a walrus tusk netsuke of a shishi on an oval base and a coral ojime.HEIGHT 8.5 cmCondition: Very good condition, some light surface scratches.Provenance: Hungarian private collection.

A GOOD IVORY NETSUKE OF A FOX PRIEST (HAKUZOSU) UnsignedJapan, late 18th to early 19th century, Edo period (1615-1868)Depicting a kitsune (fox) disguised as a priest, almost completely enveloped in its robe, only the characteristic long face peeking out, and leaning on a cane, the hands certainly that of a human. The fox priest wears a hood in the shape of a veiny lotus leaf, and its body is unusually thick, especially when compared to the usually flattened examples of this type. Good himotoshi through the back. The ivory slightly worn with a natural and appealingly glossy patina.HEIGHT 6.6 cmCondition: Very good condition, nerve channels are visible at the top and bottom.Provenance: German private collection, acquired in Japan c. 1980.Hakuzosu is the name of a popular kitsune character who shapeshifted into a priest in the Kyogen play Tsurigitsune. Kitsune are creatures imbued with magical powers and are known to have the ability of shapeshifting. They are also believed to be animated by the devils.

SHIOMI MASANARI: A CHARMING SMALL TWO-CASE GOLD LACQUER INRO WITH A HERDBOY AND OX By a member of the Masanari family, signed Shiomi Masanari 鹽見政誠Japan, mid to late 19th centuryPublished: Eskenazi Ltd. (1996), Japanese Inro and Lacquer-ware from a Private Swedish Collection, pp. 36-37, no. 30.The two-case inro lacquered in brilliant iro-e togidashi-e against a gold kinji ground, depicting a herdboy hauling on the halter of an ox which tries to free itself from him. The inside compartments with coarse nashiji.HEIGHT 5.7 cmCondition: Good condition. There are some light surface scratches and a tiny area of discoloration to the boy’s silver robe.Provenance: Segal collection. Then collection Ankarcrona, sold at Christie’s, Netsuke and lacquer from the Japanese department of Eskenazi Limited, 17 November 1999, London, lot 41 (sold for 3,220 GBP).The imagery plays on a Zen Buddhist parable which draws a parallel between the herdboy and ox and the attainment of enlightenment. It is most famously portrayed in the series of ten ox herding pictures (originally only eight) accompanied by a series of short poems by Kakuan Shien. The motif is often associated with the Shiomi Masanari family of lacquer artists founded at the end of the seventeenth century, whose name was passed down by successive generations of pupils and descendants.Sten Ankarcrona (1861-1936) began collecting Asian works of art upon his first visit to Japan in the late 1880s – a golden age of travel and European collecting. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. This love of Asian art was later passed down to the admiral’s children and grandchildren, who have enriched the ensemble during their own visits to Japan, through specialist dealers and at auction houses throughout the second half of the 20th century, continuing into the early 21st century.Auction comparison: For a related inro by the Masanari family see Bonhams, Fine Japanese Art, 11 May 2017, London, lot 84 (sold for 8,750 GBP).

TACHIKAWA TOMITANE: A RARE CARVED KUROGAKI (BLACK PERSIMMON) WOOD THREE-CASE INRO WITH DRAGON AND KIRIN By Tachikawa Tomitane (1817-1887), signed Tachikawa Tomitane 立川 富種Japan, Suwa, Shinan province, mid-19th century, Edo period (1615-1868)Finely carved in relief to one side with a fierce dragon amid crashing waves and scrolling clouds and to the other with a kirin standing foursquare and surrounded by similar scrolling clouds. Signed TACHIKAWA TOMITANE (the artist is also known as Takusai) within a raised rectangular reserve to the underside. With a sealed metal ojime with vines and flower buds in relief.HEIGHT 8.1 cmCondition: Excellent condition with minor wear.Provenance: Old Swiss private collection, purchased in 1989.Auction comparison: Compare a related ebony wood netsuke by the same artist, carved with a stag and doe as well as quail and millet, at Bonhams, The Edward Wrangham Collection of Japanese Art Part IV, 6 November 2013, London, lot 296 (sold for 2,750 GBP).

TOMOCHIKA: A RARE IVORY THREE-CASE INRO IN THE FORM OF A TEMPLE BELL AND DEPICTING BENKEI, WITH IVORY NETSUKE AND OJIME The inro by a member of the Tomochika family, signed Tomochika 友親Japan, Tokyo, late 19th century, Meiji period (1868-1912)The inro impressively carved in the form of the bell of Mii-dera, with Benkei trying to carry the massive bell and a young Yoshitsune running behind him, likely they are being chased by the shrouded samurai on the other side of the inro, all surmounted by a coiled dragon writhing around a magic jewel (tama) inlaid in coral, cleverly masking the nerve plug and natural cracks. With a finely carved ivory ojime in the form of Daruma and an ivory netsuke of a resting farmer.HEIGHT 8 cm (the inro), HEIGHT 4.2 cm (the netsuke), HEIGHT 1.6 cm (the ojime)Condition: Very good condition with minor wear, few minuscule chips to edges, small natural age cracks.Provenance: British collection.According to legend, the bell of Mii-dera temple in Kyoto was stolen once by the famous warrior monk Benkei, who dragged it up to the summit of Mount Hiei. There, he tried to strike it and was angered when the bell rang, “eeno eeno”, which means “I want to go back” in the Kansai dialect. Benkei then threw the bell down to the bottom of the valley, causing it quite some damage which has remained to this day.Accurate biographical information about Benkei's career is difficult to obtain, mainly because the legends of his exploits are so deeply entrenched in Japanese Mythology. Benkei will forever be the companion of Japan's greatest folk hero, Minamoto no Yoshitsune (1159-1189) and the passing years will enhance rather than diminish his status, further clouding his role during the political intrigue between Yoshitsune and his brother, Yoritomo.

A CHARMING SMALL IVORY NETSUKE OF CHOKARO'S HORSE IN A GOURD UnsignedJapan, late 18th century, Edo period (1615-1868)A charming old ivory netsuke showing Chokaro Sennin’s horse emerging from a hyotan (double gourd), half of its well-carved body shown. Note the fine yellowish patina, with spots of amber color, and the large, asymmetrical, and generously excavated himotoshi underneath.LENGTH 3 cmCondition: Very good condition with old natural age cracks.Provenance: German private collection, acquired in Japan c. 1980. Old, faded museum number on the underside.

A FINE WOOD TONKOTSU WITH THE SEVEN SAGES OF THE BAMBOO GROVE UnsignedJapan, 18th (the netsuke) and 19th century (the tonkotsu and ojime), Edo period (1615-1868)The tobacco case of flattened ovoid shape and finely carved with a continuous scene of the Seven Sages of the Bamboo Grove under a dense canopy of leaves, some of the sages only partly visible through the many individually carved bamboo stalks, some of the individual stalks carved in openwork, the underside with a smoothly polished oval recess, the top of the domed cover with an oval reserve containing a wave pattern. With a gilt brass ojime in the form of a leaf with a small copper bug on top, and a wood netsuke carved with two lady immortals by a flowerbed with longevity peaches, the underside with two large asymmetrical himotoshi.HEIGHT 9.3 cm (the tonkotsu), WIDTH 4 cm (the netsuke), LENGTH 2 cm (the ojime)Condition: Very good condition with old and minor wear, the tobacco case and cover with few minuscule nicks along the edges, the netsuke attractively worn.Provenance: The collection of Sir Richard Wells (1879-1957), thence by descent.

AN OLD IVORY NETSUKE OF A TURTLE WITH YOUNG UnsignedJapan, c. 1800, Edo period (1615-1868)The adult turtle retreated inside its carapace, the young climbing up onto its back. The ivory of an appealing yellowish color with many age cracks. Large himotoshi underneath.LENGTH 5.4 cmCondition: Several natural age cracks. There is an added signature underneath. Generally, in good age-related condition.

YOSHITOMO: AN IVORY NETSUKE OF TWO FROGS WRESTLING ON A LOTUS LEAF By Yoshitomo, signed Yoshitomo 吉友Japan, Kyoto, late 18th century, Edo period (1615-1868)Published: Barry Davies Oriental Art (2002) Netsuke & Inro from European Collections, p. 16, no. 7.Two frogs locked in combat on a veiny and crumpled lotus leaf, their long legs straining to maintain grip on the slippery surface. Their markings are boldly stippled, and the large eyes are inlaid in dark-reddish horn. The ivory bearing a very good patina. The himotoshi formed by the stalk of the lotus leaf underneath and signed within a typical oval reserve YOSHITOMO.LENGTH 6.4 cmCondition: One leg restored. Otherwise good condition with few age cracks and a fine patina.Provenance: Sotheby's, 19 June 2001, London, lot 27 (sold for 7,680 GBP). Purchased by Barry Davies Oriental Art.Auction comparison:A related netsuke by Yoshinaga was recently sold at Zacke, Fine Netsuke & Sagemono, 27 March 2020, Vienna, lot 28 (sold for 4,204.80 EUR).Literature comparison:Compare with a single frog on lotus by Yoshitomo in Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 60, no. 146.

YOSHINAGA: A LARGE AND EXCEPTIONAL IVORY NETSUKE OF A RECLINING SARUMAWASHI WITH MONKEY By Yoshinaga, signed Yoshinaga 吉長Japan, Kyoto, late 18th century, Edo period (1615-1868)A larger than usual model, sprawling on the ground and leaning on one elbow, with his monkey seated on his sack. His kimono is incised with a typical check pattern, his surcoat with characteristic chrysanthemums, the jacket of his monkey with clouds. The underside is particularly attractive, with very delicately carved feet, distinctive of the master. The trainer's eyes are inlaid in dark horn. Two asymmetrical himotoshi to the underside, the larger one generously excavated, signed YOSHINAGA within an oval reserve to the underside of the sack.LENGTH 7.5 cmCondition: Very good condition with minor surface wear, natural age cracks.Provenance: Nio Gallery, England (advertised in the INCS Journal, vol. 24, no. 2 (2004), p. 23), then in private Japanese and UK collections.Literature comparison: A related ivory netsuke by the same carver is illustrated with a line drawing in Meinertzhagen / Lazarnick (1986) MCI, Part B, p. 990. The quality and size best compares to a similar netsuke by Yoshinaga in Sydney Moss Ltd. (1993) Zodiac Beasts and Distant Cousins: Japanese Netsuke for Connoisseurs, no. 10.

YOSHITOMO: AN IVORY NETSUKE OF JUROJIN AND DEER By Yoshitomo, signed Yoshitomo 吉友Japan, Kyoto, late 18th to early 19th century, Edo period (1615-1868)Jurojin is laughing jovially whilst leaning on a proudly reclining deer. Both pupils are inlaid at the corners, creating a comical effect, typical for the artist. Jurojin’s robe is incised with floral patterns and the cord attachment runs through one of the deer’s finely carved legs, which are neatly tucked underneath its body. Signed within an oval reserve YOSHITOMO.LENGTH 4.3 cmCondition: The ivory slightly worn, more so in the front than in the back.Provenance: Ex-collection Jury Kolodotschko.Jurojin is the lucky god of longevity, thus often accompanied by a deer, also a symbol of longevity.Literature comparison: A very similar netsuke is illustrated with a line drawing in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 996.

OKAKOTO: AN IVORY NETSUKE OF HOTEI WITH KARAKO By Okakoto, signed Okakoto 岡言Japan, Kyoto, late 18th century, Edo period (1615-1868)Smiling and facing ahead, supporting a small boy on his back, his loose robe belted at the waist, baring his chest and distended stomach, holding a fan in his left hand, the ears with long pendulous lobes, two asymmetrical himotoshi to the back, beside the signature OKAKOTO within a rectangular reserve.HEIGHT 6.8 cmCondition: Good condition, fine patina to back, attractively worn, the feet with old repairs (as is often the case with this type).Provenance: German private collection, acquired at Van Ham, Asiatische Kunst, 9 June 2016, Cologne, lot 2332 (sold for 1,226 EUR).Auction comparison:Compare to a related netsuke by Okanobu at Bonhams, The Bluette H. Kirchhoff Collection of Netsuke and Sagemono, 16 September 2009, New York, lot 2003 (sold for 5,368 USD).

A POWERFUL KYOTO SCHOOL IVORY NETSUKE OF SHOKI AND ONI UnsignedJapan, Kyoto, late 18th century, Edo period (1615-1868)The demon queller standing, stroking his beard inquisitively as he suspects the presence of a mischievous oni, which is hiding on his large hat. His sword is drawn and swiftly pointing downwards, ready to strike, his sleeve flowing upwards as a result. The ivory bearing a gorgeous honey-yellow patina, particularly in the back. Typical and large himotoshi. Unsigned but attributed to the Kyoto school, most likely from the circle of hands around Okatomo or Okakoto.HEIGHT 7.5 cmCondition: Very good condition with expected age cracks.Provenance: Ex-collection Robert Sandfort, France (by repute). Ex-collection Jury Kolodotschko, sold at Lempertz, 5 June 2015, Cologne, lot 1052 (sold for 1,922 EUR).Auction comparison:Compare to a related ivory netsuke by Okakoto sold at Christies, Japanese Art and Design, 12 May 2010, London, lot 1 (sold for 10,625 GBP).

OKATOMO: A RARE SHITAN WOOD NETSUKE OF A MONKEY By Yamaguchi Okatomo, signed Okatomo 岡友Japan, Kyoto, early 19th century, Edo period (1615-1868)The monkey seated and grasping a bowl with his two feet while turning the grindstone in the bowl with both hands, wearing a vest neatly incised with scrolling and floral designs to the back, the eyes double-inlaid with bone and dark horn, several ‘natural’ himotoshi between the monkey and grindstone, the underside of the bowl signed OKATOMO.LENGTH 3.6 cmCondition: Very good condition with only minor surface wear.Provenance: French private collection, purchased at Hotel Drouot, 15 May 1991, lot 118.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A FINE KYOTO SCHOOL IVORY NETSUKE OF A SMALL RAT ON A STRAW HAT UnsignedJapan, Kyoto, 18th century to early 19th century, Edo period (1615-1868)The small rat with dark inlaid eyes emerging from a straw hat (kasa), having gnawed its way through from the underside with its tail and part of its body still visible, the straw, fur, and other details finely incised, the himotoshi to the underside cleverly incorporated into the design.DIAMETER 4.5 cm, HEIGHT 1.5 cmCondition: Excellent condition with a fine patina, attractively worn.Provenance: German private collection.

OKATOMO: A FINE IVORY NETSUKE OF A RAT WITH CANDLE By Yamaguchi Okatomo, signed Okatomo 岡友Japan, Kyoto, early 19th century, Edo period (1615-1868)A charming ivory netsuke of a rat holding a candle between its front paws, the wick inlaid in dark horn, and raising its left hind paw to scratch its ear. The fur is neatly incised and the very well-carved tail curls around underneath, functioning as the cord attachment. The large eyes are inlaid in lustrous black horn, giving life to the little rodent. The slightly worn ivory with a fine, glossy patina.LENGTH 3.8 cmCondition: Good condition. Some natural age cracks and a small chip to the right hind paw which grabs the tail.Provenance: German private collection, acquired in Japan c. 1980.

OKATORI: A SUPERB IVORY NETSUKE OF A RAT EATING A CANDLE By Yamaguchi Okatori, signed Okatori 岡隹Japan, Kyoto, early 19th century, Edo period (1615-1868)Finely carved and stained, the rat crouching and gnawing at a candle held in its front paws, the wick and eyes inlaid with dark buffalo horn, the fur neatly incised, the tail curling to the underside and forming the himotoshi, the signature OKATORI to the back at the base of the tail within a rectangular reserve.HEIGHT 2.6 cm, LENGTH 3.9 cmCondition: Excellent condition with minor surface wear.Provenance: Collection of Collingwood ‘Cherry’ Ingram (1880-1981), and thence by descent in the same family to the present owner. Cherry Ingram was a famous British ornithologist, plant collector, and gardener, who became renowned for his knowledge of Japanese cherry trees. He is the subject of a biography by Naoko Abe, published in 2019, titled ‘Cherry’ Ingram, The Englishman Who Saved Japan’s Blossoms.Auction comparison:Compare a related netsuke by the same carver, depicting a rat nibbling at fruit, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke Part II, 10 May 2017, London, lot 48 (sold for 13,750 GBP).

OKAKOTO: A SUPERB IVORY NETSUKE OF TWO MONKEYS By Yamaguchi Okakoto, signed Okakoto 岡言Japan, Kyoto, late 18th century, Edo period (1615-1868)The two monkeys seated, one male and the other female, grooming themselves and each other, their fur finely incised and inked, their legs and feet well placed to the underside, forming many ‘natural’ himotoshi, their facial features neatly detailed, one of the legs with the signature OKAKOTO to the underside. Superb golden-brown patina.LENGTH 4.4 cmCondition: Very good condition with minor surface wear and natural age cracks.Provenance: Ex-collection Karl-Ludwig Kley.Okakoto was an important member of the Kyoto school, a pupil of Yamaguchi Okatomo, and teacher to Okatori.Literature comparison: A closely related netsuke by Okatori is illustrated in Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 77, no. 203. The same netsuke is illustrated in Sydney Moss Ltd (1993) Zodiac Beasts and Distant Cousins: Japanese Netsuke for Connoisseurs, no. 23, and Sydney Moss Ltd (2004) Outside the Box, pp. 60-61, no. 28.

OKATOMO: AN IVORY NETSUKE OF TWO QUAILS ON MILLET By Yamaguchi Okatomo, signed Okatomo 岡友Japan, Kyoto, early 19th century, Edo period (1615-1868)A classic model by Okatomo depicting two quails, side by side and facing in different directions, perched on two large heads of leafy millet, one of the leaves forming the himotoshi underneath and housing the signature OKATOMO. Both birds with neatly incised plumage and minutely inlaid eyes of dark horn.LENGTH 4.1 cmCondition: Excellent condition.Provenance: Ex-collection Adrienne Barbanson, purchased in Kyoto in 1956 and sold at Bonhams, Fine Netsuke from the Adrienne Barbanson Collection, 13 May 2013, London, lot 30 (sold for 7,250 GBP).

A SUPERB WOOD NETSUKE OF A COCKEREL AND HEN UnsignedJapan, possibly Kyoto, late 18th century, Edo period (1615-1868)The rooster and hen resting side by side, the large and proud male with long tail feathers (onagadori) preening itself, the plumage of both very well carved. The underside shows the equally well-carved feet and the large, generously excavated himotoshi through the underside of the rooster. The wood of a very good color and bearing a fine, natural patina.LENGTH 4.4 cmCondition: Very good condition, one small worn-down and old chip to the crest of the rooster.Provenance: German private collection, acquired in Japan c. 1980.Auction comparison:The netsuke is somewhat reminiscent of a fine example of a rooster and hen by Masanao of Kyoto, sold at The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 174 (sold for 28,750 GBP).

TOMOTADA: AN IVORY NETSUKE OF A RECUMBENT OX Signed Tomotada 友忠Japan, Kyoto, late 18th century, Edo period (1615-1868)A fine and powerfully crafted ivory netsuke of a recumbent ox with its head turned to the right, the eyes carefully inlaid in dark horn giving life to the expression. The bulky animal has a powerfully ridged spine and thick, curved horns. A rope halter passes through the nose ring, over the horns and up around over its back, pleasingly worn at the highest points. The underside shows a gorgeous deep yellow-honey patina, smooth to the touch and appealingly glossy. Generously excavated and asymmetrical himotoshi on the underside, in-between the signature in a rectangular reserve TOMOTADA.LENGTH 5.8 cmCondition: Several natural age cracks. A section of the left ear and the tail is restored.Provenance: German private collection, acquired in Japan c. 1980.Auction comparison:Compare to a netsuke signed Tomotada, described as carved from sperm whale tooth, showing very similar age cracks and an almost identical underside, was sold at Van Ham, Asian Art, 3 December 2015, Cologne, lot 2320 (sold for 10,320 EUR).

TOMOTADA: A FINE IVORY NETSUKE OF A WOLF WITH HAUNCH OF VENISON By Tomotada, signed Tomotada 友忠Japan, Kyoto, late 18th century, Edo period (1615-1868)Carved as an emaciated wolf seated snarling as he traps the haunch of a deer beneath his paw, the fur rendered with finely etched lines and stained dark, the eyes inlaid in dark horn, the signature TOMOTADA finely incised within a rectangular reserve to the underside of one of the hind paws.HEIGHT 3.5 cm, LENGTH 4.6 cmCondition: Very good condition with minor surface wear, natural age cracks.Provenance: German private collection.Literature comparison: A closely related netsuke by Tomotada is in the collection of the Metropolitan Museum of Art, accession number 29.100.918, and another is illustrated with a line drawing in Meinertzhagen / Lazarnick (1986) MCI, Part B, p. 917.Auction comparison: Compare a closely related ivory netsuke by Tomotada, of slightly larger size, at Christie’s, Japanese and Korean Art, 16 September 2003, New York, lot 247 (sold for 9,560 USD), and a related netsuke by Tomotada of a wolf with a clam at Bonhams, Fine Japanese Art, 17 May 2018, London, lot 92 (sold for 9,000 GBP).

TOMOTADA: AN EXCEPTIONAL IVORY NETSUKE OF A TIGRESS AND CUB By Izumiya Tomotada, signed Tomotada 友忠Japan, Kyoto, late 18th century, Edo period (1615-1868)A powerful and superb carving. The adult tigress with dark horn-inlaid eyes resting her right foreleg on her cub as it licks one of its hind paws, her tail elegantly curved over her arched back, the fur, muscles, and spine finely inked and incised. Many natural himotoshi due to the openwork nature of the netsuke, one of the tigress’ hind paws incised with the signature TOMOTADA within a faint rectangular reserve.HEIGHT 3.8 cm, LENGTH 4.6 cmCondition: Very good condition with minor surface wear, natural age cracks, the ivory attractively worn with a fine patina.Provenance: Australian private collection (with a valid CITES export license), acquired from Rosemary Bandini.Literature comparison: A closely related ivory netsuke by the same carver is illustrated with a line drawing in Meinertzhagen / Lazarnick (1986) MCI, Part B, p. 918, and another is illustrated in Neil Davey (1974) Netsuke, p. 67, no. 172. Two further examples are illustrated in Barry Davies Oriental Art (1990) Netsuke Classics, nos. 23 and 24. For other examples, see Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 58, no. 163, and Nihon Netsuke Kenkyukai ed. (2005) Netsuke: Condensed Culture of Edo, p. 27, no. 16.Auction comparison:Compare a related netsuke depicting a tiger and two cubs by the same carver at Christie’s, Art of Japan, 8 December 2016, London, lot 3 (sold for 42,500 GBP). Compare also with a closely related netsuke by the same carver at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 126 (sold for 27,500 GBP).

RANICHI: A FINE IVORY NETSUKE OF A TIGER WITH YOUNG By Ranichi, signed Ranichi 蘭一Japan, Kyoto, late 18th to early 19th century, Edo period (1615-1868)A finely carved ivory netsuke, very similar to no. 55 by Hakuryu, depiciting a tiger protectively placing a paw on its young, looking backwards and snarling. The eyes of both are inlaid in pale translucent horn with the pupils placed wide apart. The fur is neatly incised, attractively worn, and both tails are swinging dynamically along the adult tiger’s back. Note also the powerfully carved shoulder bones. Signed within an elliptical reserve RANICHI – a pupil of Hogen Rantei and evidently close to Unsho Hakuryu I. The ivory bearing a very fine patina.LENGTH 3.5 cmCondition: Very good condition with a stunning patina and some expected natural age cracks.Provenance: French private collection.

HAKURYU I: A SUPERB IVORY NETSUKE OF A TIGER AND CUB By Unsho Hakuryu I, signed Hakuryu 白龍Japan, Kyoto, early 19th century, Edo period (1615-1868)Finely carved, the adult resting one large paw protectively over its cub and baring its very sharp teeth with the mouth wide open. The stripes are stained black, appearing like running black paint somewhat similar to the Otoman tiger’s fur coats, and the eyes are inlaid in buffalo horn, those of the adult double inlays in pale and dark horn. The eye pupils are placed typically wide apart, resulting in the idiosyncratic ‘crazed’ expression. Natural himotoshi and the underside with the signature HAKURYU within an oval reserve. The ivory bearing a stunning color with a fine orange-yellow patina.LENGTH 3.7 cm, HEIGHT 3 cmCondition: Very good condition with minor surface wear, some loss to staining, attractively worn with a fine honey-gold patina.Provenance: Elly Nordskog Collection, sold by Sydney Moss Ltd., then Australian private collection (with a valid CITES import license).Auction comparison: Compare a closely related ivory netsuke by the same artist at Sotheby’s, Japanese and Korean Works of Art, 14 July 2005, London, lot 1090 (sold for 11,040 GBP). Also compare to a similar netsuke recently sold at Zacke, Fine Netsuke & Sagemono, 27 March 2020, Vienna, lot 47 (sold for 15,990 EUR).Literature comparison: A closely related ivory netsuke by the same carver is illustrated with a line drawing in Meinertzhagen / Lazarnick (1986) MCI, Part A, p. 120.

HORAKU: A FINE WOOD NETSUKE OF A SEATED BAT By Horaku, signed Horaku 宝乐Japan, Kyoto, early 19th century, Edo period (1615-1868)Finely carved as a seated bat resting on its large, naturalistically chiseled wings, one folded and hidden underneath its body and the other folded beside its body and forming a pleasing curl at the end. The fur is minutely incised with immaculate precision and the facial expression is amusingly whimsical with tiny inlaid eyes of lustrous dark horn. Large, generously excavated himotoshi through the underside and signature within a typical recessed reserve HORAKU.LENGTH 3.5 cmCondition: Good condition, tiny chip inside one ear and one inlaid eye is a later replacement.Provenance: British private collection.Horaku carved a great number of bats, each one different, however each also immediately recognizable as a Horaku bat and each arguably better than any other netsukeshi’s bat. Some are depicted with one or multiple young, and most singular bats are shown with their wings ‘hanging’ together. This bat, with its whimsical expression looking upwards, is quite unusual as it appears to use its wings as a cushion.Auction comparison:For a related netsuke by Horaku depicting a bat with young, see Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 205 (sold for 7,500 GBP).

A POWERFUL AND RARE WOOD NETSUKE OF A COILED DRAGON, ATTRIBUTED TO MITSUHARU Attributed to Mitsuharu, unsigned Japan, Kyoto, late 18th century, Edo period (1615-1868)Boldly carved as a powerful and fierce one-horned dragon with dark inlaid pupils atop an openworked base in the form of scrolling clouds, which along with further openwork (sukashibori) elements form the many ‘natural’ himotoshi. The wood netsuke of a good size and forming an ideally shaped, compact composition.HEIGHT 3.2 cm, Length 4.3 cmCondition: Restored crack to the snout. Otherwise fine condition. Provenance: British private collection.As with no. 58, the netsuke displays all the signature traits of Mitsuharu. The dragon has inlaid eyes of dark horn, an upturned snout as it ferociously snarls, and typically carved upwards pointing flames emanating from its body.Literature comparison:There does not appear to be any netsuke of dragons which are in fact signed Mitsuharu, however a number can be confidently attributed to the artist. See for example two dragons (one in wood) in the International Netsuke Society Journal (Spring 2019), Vol. 39, no.1, p. 20, nos. 25-26.

A POWERFUL IVORY NETSUKE OF A DRAGON, ATTRIBUTED TO MITSUHARU Attributed to Mitsuharu, unsignedJapan, Kyoto, late 18th century, Edo period (1615-1868)Displaying all the signature traits of Mitsuharu and depicting a two-horned coiled dragon on an upturned alms bowl with dense clouds carved on the surface in high relief. The dragon has inlaid eyes of dark horn, an upturned snout as it ferociously snarls, and typically carved flames emanating from its body. The underside is generously excavated so that the netsuke could also be used as an ashtray. Natural himotoshi.LENGTH 3.3 cmCondition: Very good, undamaged condition with some natural age cracks and fine, yellowish patina.Provenance: Ex-collection Jury Kolodotschko.Literature comparison:There does not appear to be any netsuke of dragons which are in fact signed Mitsuharu, however a number can be confidently attributed to the artist. See for example two dragons in International Netsuke Society Journal (Spring 2019) Vol. 39, no.1, p. 20, nos. 25-26.

A FINE WALRUS TOOTH MANJU NETSUKE OF A COILED DRAGON UnsignedJapan, first half of 19th century, Edo period (1615-1868)Finely carved as a coiled dragon, partially executed in sukashi-bori (openwork), its twisted body forming an ideally shaped netsuke. The two-horned dragon has inlaid eyes of dark horn and minutely incised scales, as well as flames emanating from its body. The surface with a lustrous, glossy patina. Natural himotoshi.LENGTH 3.7 cmCondition: Superb condition, stunning patina, expected surface wear.Provenance: Ex-collection Jury Kolodotschko, purchased at Kunsthandel Klefisch, Cologne, Auction 89, 27 September 2008, lot 11.

AN EARLY IVORY NETSUKE OF A HERMIT CRAB AND SHELLS Unsigned Japan, 18th century, Edo period (1615-1868)The functional netsuke of compact form, depicting a crab emerging from a hamaguri clam supported on two closed shells, the underside with two asymmetrical himotoshi, one of which is particularly large. The ivory with a fine and deep yellow patina.LENGTH 3.8 cmCondition: Very good condition, minor surface wear, small natural age cracks, few minuscule nicks.Provenance: European collection.

AN IVORY NETSUKE OF A DOG WITH BALL, ATTRIBUTED TO MITSUHARU Attributed to Mitsuharu, unsignedJapan, Kyoto, late 18th century, Edo period (1615-1868)A dynamically crafted ivory netsuke of a male dog wearing a large collar, twisting its body and turning its head backwards with an upturned snout. The expression is quite whimsical with minutely inlaid eyes of lustrous dark horn. It holds a large smooth ball between its front paws and has a short curling tail. The fur is neatly incised and inked, heavily worn from generations of handling. The ivory bearing a fine yellowish patina. Natural himotoshi.HEIGHT 4.4 cmCondition: Good condition, the inked details worn, some natural age cracks.Provenance: European collection.Auction comparison:Compare with a related ivory netsuke of a bitch with pup, signed Mitsuharu, sold at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke Part I, 8 November 2016, London, lot 113 (sold for 9,375 GBP).Literature comparison:See a discussion of the artist and his netsuke of dogs see INSJ, vol. 39, no. 1, pp. 14.-15. Three typical traits are noted: a dynamically twisted neck, rubbery legs and very particular eyes. These characteristics are all present in this netsuke, note also the two slits carved at the edges of the eyes and the small pupils.

A RARE NARWHAL TUSK NETSUKE OF A BAYING KIRIN, ATTRIBUTED TO GARAKU Unsigned Japan, Kyoto or Osaka, second half of 18th century, Edo period (1615-1868)Finely and powerfully carved as a kirin, pupils inlaid in dark horn, the body and neck turned backwards, the head and snout turned upwards and letting out a hearty roar. The flaming, bushy tail curls upwards and touches the kirin on the chin. The fatty tissue on the mythical animal’s haunches and the scales covering the body are neatly detailed. Asymmetrical himotoshi through the side and underside. The oban-shaped reserve to one of the hind legs is an invention of Garaku. Raymond Bushell writes, “Garaku preserved a section of the spirally grooved bark in the shape of an oban (gold coin) on which he carved his signature – an innovation – […] The signed oban-shaped reserve in narwhal is distinctively the work of Garaku of the Soken Kisho. Unsigned narwhal netsuke with this characteristic oban-shaped reserve, and otherwise consistent, may be attributed to Garaku with the utmost confidence.” (Collector’s Netsuke, 1971, p. 44).HEIGHT 5 cmCondition: Excellent condition with only minor surface wear and some tiny age cracks.Provenance: European collection.Auction comparison: Compare a related netsuke by Mitsuharu at Van Ham, Asiatische Kunst, 12 June 2019, Cologne, lot 2233 (sold for 25,800 EUR).Literature comparison: A related narwhal tusk netsuke attributed to Garaku I or II and depicting a herdboy and ox, with the same unsigned oban-shaped reserve as on the present netsuke, is illustrated in Moss (2008) Such Stuff As Dreams Are Made On, p. 56-57, no. 20.

GECHU: AN IVORY NETSUKE OF A SHISHI WITH BALL Signed Gechu 牙虫Japan, Kyoto or Osaka, late 18th to early 19th century, Edo period (1615-1868)Carved seated, with dark inlaid pupils, the flaming tail and mane finely incised and the muscles and spine neatly detailed, its head turned to the left with a loose ball in its open mouth as it protects a large smooth ball beneath its forepaws. Many ‘natural’ himotoshi between the limbs or tail and the ball, one hind paw signed GECHU to the underside. The ivory of a very appealing color with a fine patina.HEIGHT 4.8 cmCondition: Very good condition with minor surface wear, occasional light scratches, small natural age cracks, and one plugged nerve channel.Provenance: German private collection, acquired from Bonhams, Fine Japanese Art, 11 May 2017, London, lot 30 (sold for 2,500 GBP).Gechu is a somewhat enigmatic carver of netsuke, in that little is known of him, including his residence. For many years he has been thought to have lived in Osaka, mainly based upon the similarity of his work to that of Risuke Garaku of that city. Recently it has been suggested by Alain Ducros that he may well have been domiciled in Satsuma Province on the island of Kyushu (Alain Ducros, Satsuma Ivory Netsuke, INSJ, Vol. 36, no. 2, Summer 2016, pp. 20-29). The present netsuke also shows affinities with Shishi carved by Mitsuharu (see Auction comparison).Auction comparison: Compare with a related ivory netsuke of a shishi by Mitsuharu, dated to the early 19th century, at Bonhams, Fine Japanese Art, 10 November 2011, London, lot 56 (sold for 8,750 GBP).Literature comparison: A related ivory netsuke of a shishi by Gechu, dated to the 18th century, is in the collection of the Los Angeles County Museum of Art, accession number AC1998.249.136.

A RARE AND SUPERB IVORY NETSUKE OF RYUJIN WITH TAMA, ATTRIBUTED TO SANKO Unsigned Japan, Osaka, late 18th century, Edo period (1615-1868)Finely carved standing on both feet with the knees slightly bent as he lifts a pierced tama with a loose ball inside (magic jewel) with both hands over his head, his loose-fitting robe neatly incised with geometric decorations and scrolling cloud designs, the face with an enigmatic expression and well detailed features, the mouth slightly open showing two central teeth, the back with two asymmetrical and generously excavated himotoshi.HEIGHT 7.5 cmCondition: Very good condition with minor wear, few natural age cracks.Provenance: European collection.Auction comparison: Compare an ivory netsuke of Seiobo, inscribed Tametaka and attributed to Sanko, dated to the early 19th century, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke Part I, 8 November 2016, London, lot 16 (sold for 6,875 GBP).Literature comparison: An ivory netsuke attributed to Sanko and depicting the same subject, though smaller and considerably less fine, is illustrated in Rutherston & Bandini (2013) Japanese Netsuke, no.10. Also compare to a signed netsuke by Sanko, showing very similar faces, of Ikkaku Sennin and Lady of Benares, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 693.

KOGYOKU: AN OSAKA SCHOOL IVORY NETSUKE OF A LUNAR HARE POUNDING MOCHI By Kogyoku, signed Kogyoku 光玉Japan, Osaka, 19th century, Edo period (1615-1868)Depicting a lunar hare or moon rabbit diligently pounding mochi inside a mortar. The mythical animal is wearing jacked and a hachimaki (headband), the large eyes inlaid in dark horn. The ivory finely stained and attractively worn. Himotoshi through the back and signed within a wavy reserve on the mortar KOGYOKU – possibly corresponding to Anrakusai, who used the go Kogyoku according to Ueda Reikichi. HEIGHT 4 cmCondition: Very good condition with some wear to incised and inked details.Provenance: Belgian private collection, acquired at Kyoto Gallery, Brussels, September 1987.This popular motif originates in China, where the rabbit is often portrayed as a companion of the Moon goddess Chang’e, constantly pounding the elixir of life for her. In the Japanese variation, the lunar hare is often seen pounding mochi, as in the present netsuke.

A CHARMING OSAKA SCHOOL IVORY NETSUKE OF A SQUIRREL ON A LEAF UnsignedJapan, Osaka, c. 1800, Edo period (1615-1868)The squirrel leaning against a branch and sitting on a large veiny leaf. The head is turned back inquisitively, the large eye-cabochons inlaid in dark lustrous horn. The fur is minutely incised and inked, appealingly worn. A second darker stained leaf curls around on the underside where the himotoshi are located. The pine bark pattern on the branch is very typical of Osaka animal netsuke.LENGTH 5.2 cmCondition: Very good condition with age cracks and surface wear.Provenance: Private collection, purchased at Sotheby’s, 20 June 2002, London, lot 633.

GARAKU: A SUPERB IVORY NETSUKE OF A FISHERGIRL WITH GIANT AWABI By Risuke Garaku, signed Garaku 雅乐Japan, Osaka, late 18th century, Edo period (1615-1868)Published: Katchen, Arlette (2010) Netsuke 7, Vol. 1, pp. 184-185, no. K690.A superbly carved ivory netsuke of a fisher girl or ama, naked but for a skirt, leaning on a gigantic awabi shell, a small hook in her right hand. She is visibly pleased with her find, laughing and fondling the shell. The awabi is carved naturalistically, showing the typical openings and finely incised lines stained with sumi-e (ink). The underside shows a deep yellow-orange and lustrous patina, as well as the ear-shaped structure which give the awabi the nickname “ear shell”. One himotoshi underneath the fisher girl and the other larger one next to the signature within an irregular oval reserve GARAKU.LENGTH 4.9 cmCondition: Superb condition with a stunning lustrous patina. Some natural age cracks and wear to sumi-e stained details.Provenance: Julius & Arlette Katchen collection, Paris. Then sold by Rutherston & Bandini to an English private collector.Netsuke of human figures are exceptionally rare by this Soken Kisho artist.

RAKU: A FINE IVORY NETSUKE OF JUROJIN WITH DEER By Raku, signed Raku 乐Japan, Osaka, early 19th century, Edo period (1615-1868)Published: Katchen, Arlette (2010) Netsuke 7, Vol. 1, pp. 186-187, no. K756.The lucky god smiling, holding a cane and the antler of his companion stag which lies before him, nestling close and looking up, the large eyes inlaid in dark lustrous horn. The ivory is lightly stained and smoothly polished – both very typical for the Osaka school around Risuke Garaku. Himotoshi through the back and signature RAKU within a wavy reserve underneath.HEIGHT 5.9 cmCondition: Very good condition. Some minor surface wear and natural age cracks.Provenance: Ex-collection Julius and Arlette Katchen, Paris.Literature comparison:The name Raku is associated with artists trained by, or associated with, Risuke Garaku of Osaka, working around 1800 and later. For a very similar example, see, Victor Harris (1987) Hull Grundy Collection in the British Museum, p. 26, no. 24.

GYOKUSEN: AN IVORY NETSUKE OF THE FUKURA SUZUME (PUFFED-UP SPARROW) By Gyokusen, signed Gyokusen 玉仙Japan, probably Kyoto, 18th century, Edo period (1615-1868)Of typical form, with short stubby wings and short erect tail, the eyes inlaid in black horn, the clawed feet carved in shishiaibori (sunken relief), the signature GYOKUSEN between one of the feet and wings, the underside with two asymmetrical himotoshi, the larger generously excavated.LENGTH 4.5 cmCondition: Very good condition, minor surface wear, natural age cracks.Provenance: European collection. Auction comparison: Compare a closely related ivory netsuke of a sparrow, by Tomoharu and of larger size, at Bonhams, Netsuke from a European Private Collection, 8 May 2016, London, lot 40 (sold for 3,000 GBP).

DORAKU: AN IVORY NETSUKE OF A DANCING DRUNKARD By Doraku, signed Doraku 道乐Japan, Osaka, early 19th century, Edo period (1615-1868)Standing in a dynamic posture with one foot raised, holding a small striking stick in one hand and an emptied upturned double gourd in the other, his expression revealing his advanced state of inebriation. The wide-apart eyes, lustrous staining, and use of sumi-e (ink) are typical of Osaka school netsuke. The reverse with two asymmetrical himotoshi and the signature DORAKU within an oval reserve.HEIGHT 7 cmCondition: Good condition with minor surface wear, few natural age cracks, one chip to the collar.Provenance: German private collection.

DORAKU: A SUPERB IVORY NETSUKE OF TWO WRESTLING DRUNKS By Doraku, signed Doraku 道乐Japan, Osaka, mid-19th century, Edo period (1615-1868)Published: Bandini, Rosemary (2001) Expressions of Style, Netsuke as Art, Scholten Japanese Art, New York, p. 27, no. 25.Bandini, Rosemary (2006) Tiny Titans, p. 58, no. 67.Lightly stained and finely carved depicting two kneeling drunks, slumped up against each other as they lock themselves in a sumo-like struggle. They are only wearing a fundoshi and their tonsured hair is drawn up into knotted mage. Each has a stubble stippled chin, and their hairy limbs are enhanced with light sumi-e stain. Their left hands have both secured a belt grip, but one has also clinched his opponent’s neck in a headlock, the unfortunate underdog grimacing at his predicament. The overwhelming impression, though, is that neither really has the strength to bring their competition to a conclusion, their rather skinny bodies betraying an alcohol-induced lassitude. Natural himotoshi and signed within a wavy oval reserve – DORAKU.HEIGHT 3.4 cm, LENGTH 3.7 cmCondition: Very good condition. Some age cracks and wear to inked details.Provenance: Ex-collection Karl-Ludwig Kley.Whereas the sumo wrestler is only permitted to touch the ground with his feat, this pair grapples with each other in a kneeling position. This along with their severely inebriated expressions points to this being a drunken game.

ANRAKU: AN IVORY NETSUKE OF A PIGEON ON A ROOFTILE By Shukosai Anraku, signed Anraku 安乐Japan, Osaka, mid-19th century, Edo period (1615-1868)Published: Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 32, no. 55.Rutherston & Bandini (2013) Japanese Netsuke, no. 42.A lightly stained ivory netsuke of a pigeon perched on a rooftile, the end carved in sunken relief with a triple comma, mitsutomo-e. The feathers are neatly engraved and stained with sumi-e, providing an appealing contrast to the smooth, carefully polished body of the bird. The large eyes are inlaid in lustrous dark horn. Himotoshi through the rooftile and signed underneath in neatly incised characters ANRAKU.LENGTH 4 cmCondition: Excellent condition.Provenance: Ex-collection M. M Hepworth and M.T. Hindson, sold at Sotheby’s, 25 November 1968, London, lot 738. Then collection B. Gilbert and Raymond and Frances Bushell, sold at Sotheby’s, Japanese Works of Arts, Prints and Paintings, 20 June 2002, London, lot 633 (sold for 3,055 GBP).

ANRAKU: A SUPERB IVORY NETSUKE OF A SHISHI WITH BALL By Shukosai Anraku, signed Anraku 安樂Japan, Osaka, first half of 19th century, Edo period (1615-1868)Published: Illustrated with a line drawing in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 4.The Buddhist lion standing in an alert stance on top of a large ball, its curly mane and bushy tail boldly carved and stained with sumi (ink), the eyes inlaid in dark horn. The ball is engraved with two further shishi amongst rockwork, snarling up at the shishi on top. The ivory is lightly stained, and the surface is elaborately worked with stippling and sumi, typical for the artist. Natural himotoshi and signed within a rectangular reserve framed by a cross-etched circle – ANRAKU.HEIGHT 4 cmCondition: Superb condition with hardly any wear.Provenance: Old Viennese private collection assembled within the same family over three generations.Auction comparison: Another shishi by Anraku was recently sold at Lempertz, Netsuke from the Albert Brockhaus Collection, 27 June 2020, Cologne, lot 524 (sold for 5,500 EUR).

MITSUHIRO: AN IVORY NETSUKE OF AN OKAME MASK INSIDE AN EARTHENWARE BOWL By Ohara Mitsuhiro (1810-1875), signed Mitsuhiro 光廣 saku 作Japan, Osaka, mid-19th century, Edo period (1615-1868)The mask of characteristic form carved in relief with full cheeks dwarfing the eyes, nose, and mouth in size, beside the incised and inked inscription [prosperity and long life] followed by a seal [virtue]. The exterior of the bowl (or underside of the netsuke) with a leaf-shaped decoration finely executed in ishime, with two symmetrical himotoshi, the central one below the signature MITSUHIRO saku (made) within a rectangular reserve.DIAMETER 3.4 cmCondition: Very good condition with minor surface wear, natural age cracks, most likely already present during carving and intentionally obscured by the ink.Provenance: German private collection.The masterful use of sumi-e (ink), cleverly hiding two age cracks, is used here to simulate the leaf decorations seen on earthenware bowls from the Jizhou kilns during the Song dynasty (960-1279), is highly characteristic of this important artist. The design of this netsuke was recorded by Mitsuhiro in his notebook and later published in Mitsuhiro / Mikoshiba, Misao (transl.) (2001) Takarabukuro: A Netsuke Artist Notebook, p. 39, no. 30:“Earthenware Vessel and Ofuku. Carve the mask of Ofuku tilted slightly to one side. Inscribe the following on the earthenware vessel: “Prosperity and Long Life.” Carve a seal reading “Virtue” inside the vessel. A place for a cord-knot can be opened at the back of the mask.”Literature comparison:A related ivory netsuke by the same carver is in the collection of the British Museum (not illustrated, described as “Netsuke. Okame mask inside a dish. Made of ivory.”), museum number HG.544. A related ivory netsuke by Masahiro, dated to the mid-19th century, is illustrated in Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on The M.T. Hindson Collection, p. 48, no. 109.

MITSUHIRO: A FINE IVORY NETSUKE OF FUKUROKUJU Signed Mitsuhiro 光廣Japan, Osaka, mid-19th century, Edo period (1615-1868)Depicting the lucky god Fukurokuju almost completely enveloped in his robe, except for his large, phallic forehead. A natural crack in the ivory is cleverly disguised with a piece of folded paper running along his cranium. The ivory lightly stained, the details finely rendered, and the robe incised with scrolling patterns, attractively worn. Large himotoshi through the underside and back, the larger one generously excavated to accommodate the knot. Signed in the back with neatly incised characters MITSUHIRO – most likely a very able pupil of Ohara Mitsuhiro (1810-1875).HEIGHT 4.2 cmCondition: Very good condition with minor wear and age cracks.Provenance: Ex-collection Jury Kolodotschko.

OHARA MITSUSADA: A FINE IVORY NETSUKE OF DARUMA By Ohara Mitsusada, signed Mitsusada 光定Japan, Osaka, mid-19th century, Edo period (1615-1868)Carved from a choice piece of ivory, lightly stained and depicting the Zen patriarch Daruma standing with his hands clasped before him and enveloped in his voluminous robe, looking forward with a disgruntled expression. He is bald apart from the sparsely stippled and stained stubble above his huge ears. Himotoshi and signature MITSUSADA through the back.HEIGHT 4.3 cmCondition: Excellent condition, fine and barely noticeable age cracks.Provenance: Australian private collection (with a valid CITES import license).Ohara Mitsusada was one of the most accomplished students of Ohara Mitsuhiro (1810-1875). He used a similar stain, and his works are of comparative quality, however much rarer than those of the master. This is the only netsuke of Daruma recorded by Mitsusada.Auction comparison:For a similar netsuke by Ohara Mitsuhiro see Bonhams, Fine Japanese Art, 15 May 2014, London, lot 27 (sold for 12,500 GBP).

AN EXCEPTIONALLY LARGE IVORY NETSUKE OF A CICADA ON A FOLDED TARO LEAF UnsignedJapan, Osaka or Iwami, late 18th to early 19th century, Edo period (1615-1868)Published: Sydney Moss Ltd. (2006) More Things in Heaven and Earth, pp.72-73, no. 28.The life-sized and anatomically precise cicada (semi) sitting on a thick folded taro leaf, its wings drawn together, the venation of the wings and the leaf naturalistically achieved. The head is inset with three little horn studs. The ivory bearing a very good color, attractively worn particularly to the underside. Large and generously excavated himotoshi through the underside.LENGTH 7.9 cmCondition: Excellent condition with surface wear and age cracks.Provenance: Australian private collection (with a valid CITES import license), purchased from Sydney Moss Ltd.Auction & Literature comparison:One is immediately reminded of the Iwami school by the design, a similar example is provided by a large ebony netsuke of a cicada on a leaf by Seiyodo Tomiharu, sold at Bonhams, The Robert S. Huthart Collection of Iwami Netsuke Part I, 15 May 2019, London, lot 41 (sold for 9,437 GBP). Also compare to an ivory netsuke of a cicada by Kaigyokusai Masatsugu in Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 72, no. 227. Another similar, yet much smaller, example was recently sold at Zacke, Fine Netsuke, Sagemono & Okimono, 25 September 2020, Vienna, lot 83 (sold for 4,514 EUR).All three comparisons listed above show a strikingly similar execution of the wings, particularly in the ridge-like cuts along the edges of the veins.

KAIGYOKUSAI MASATSUGU: A SUPERB AND RARE IVORY NETSUKE-OKIMONO OF THE ZODIAC WITH SECRET INTERIOR By Kaigyokusai Masatsugu, signed Kaigyokusai 懐玉齋Japan, Osaka, second half of 19th centurySuperbly carved in openwork with each of the twelve animals of the Japanese zodiac, with multiple rats and two rabbits, the smaller animals’ eyes inlaid in dark horn and the larger ones’ double-inlaid with amber and dark horn. The circular base to the underside, carved in the form of the dragon’s coiled body, is attached to the outer carving with two pegs and can be removed, revealing a second composition of several monkeys mounting two horses, an allusion to rising in rank. The underside with the signature KAIGYOKUSAI within a shaped reserve.HEIGHT 3.6 cm, WIDTH 4.5 cmCondition: Very good condition with only minor surface wear, no losses to the many inlays whatsoever.Provenance: European collection.Kaigyokusai and his followers made several similar netsuke depicting the zodiac, which were obviously popular during his lifetime. A netsuke of such high quality and with a secret compartment, as the present lot, must however be considered extremely rare, if not unique. Auction comparison:Compare a related ivory manju netsuke of the twelve zodiac animals from the school of Kaigyokusai Masatsugu at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke Part I, 8 November 2016, London, lot 47 (sold for 15,000 GBP).Literature comparison: A related temari (ball-shaped) netsuke of the zodiac by Kaigyokusai Masatsugu is illustrated in Coullery, Marie-Therese and Newstead, Martin S. (1977) The Baur Collection, p. 377, no. C 1199, and another is described in Joly, Henri L. (1966) The W. L. Behrens Collection, Part 1, Netsuke, p. 184, no. 5095 (not illustrated).