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Click here to subscribeof oval section, mounted with trompe l'oeil carved boxwood lion netsuke carved ivory ojime and trailing cords, drawer front inset with a carved ivory ruyi shaped panel and the underside inlaid with ivory lotus scroll decoration to centre, bears old paper collection label, 10cm wide, 8.5cm deep, 7.5cm high Ivory Exemption Reference - WQYHJHJC CITES permit is included. Exporting outside the EU will require an additional export permit.
SETTEI: A VERY FINE MINIATURE WOOD NETSUKE OF BENTEN HOLDING A BIWABy Settei (Setsutei), signed Settei 雪亭 and kakihanJapan, Echizen province, second half of 19th centuryExquisitely carved, the Goddess of Music standing with her voluminous robes falling in elegant folds, gripping a biwa with both hands. The goddess' expression is pleased, her lips forming a calm smile, her eyes minutely detailed, and her hair finely arranged. The well-toned wood attractively stained. Subtle himotoshi beneath the sash draped across her back. Signed to the base of her robes SETTEI and kakihan.HEIGHT 3.8 cmCondition: Very good condition with only minor wear.Provenance: Ex-collection Irene Segeler, Zurich. Irene Segeler specialized in collecting tiny children's netsuke, acquiring over 80 examples, which is quite remarkable as they are exceptionally rare. A few pieces from her collection are illustrated in Children's Netsuke (2001), The International Netsuke Society Journal (INSJ), vol. 21, no. 2, pp. 26-30.Settei, also known as Setsutei, was a pupil of the famous Hokkyo Shima Sessai (1820-1879) who served the lord of the Echizen clan.Museum comparison:Netsuke by Settei are rare, however interestingly the Metropolitan Museum of Art (The MET) houses four further lucky gods by this artist in their collection, likely belonging to the same set as the present netsuke, each bearing the same kakihan and each measuring 3.8 cm high. See the Metropolitan Museum of Art accession nos. 10.211.1963, 10.211.1967, 10.211.1969 & 10.211.1970.
SHOGYOKU: A WOOD NETSUKE OF A BOY POLISHING A MOKUGYOBy Shogyoku, signed Shogyoku to 正玉 刀Japan, Edo (Tokyo), early 19th century, Edo period (1615-1868)Boldly carved to depict a devout young boy, seated barefoot on the floor, with his legs cradling a large mokugyo, one hand holding the spherical bell while the other polishes it with vigor. The himotoshi placed in the natural hollow of the bell and a second aperture through the underside. Signed SHOGYOKU to [carved by Shogyoku].HEIGHT 3.8 cmCondition: Very good condition with minor surface wear.
SHOKASAI: A FINE INLAID GOLD LACQUER FOUR-CASE INROBy Shokasai, signed Shokasai 松花齋Japan, 19th century, Edo period (1615-1868)Of upright rectangular form and oval section, the four-case inro bearing a gold kinji ground and decorated in iro-e takamaki-e and hiramaki-e, as well as Shibayama-style inlays of stained bone and mother-of-pearl, to depict a continuous image of an elderly couple finding an immortality peach floating by in a stream. Signed to the underside SHOKASAI. The interior cases of nashiji with gold fundame rims.HEIGHT 8.2 cm, LENGTH 5.2 cmCondition: Very good condition with typical surface wear and rubbing to lacquer. Some minuscule nibbling to the edges of the cases and some light scratches throughout.There are a considerable number of lacquer inro and some manju netsuke that bear this signature. The inro are often lenticular and many are decorated with Shibayama style inlays, such as the present lot. See Earle, Joe [ed.] (1995) The Index of Inro Artists, p. 251.
A REMARKABLE AND EARLY WOOD NETSUKE OF A SLEEPING ACTORUnsignedJapan, 18th century, Edo period (1615-1868)A large and remarkably bold wood netsuke depicting a man, likely an actor or performer, dressed in a loose, well-carved kimono, his body hunched down over a cushion and resting his head and hands on a folded fan. His expression is superbly crafted, clearly worn-out and tired from his craft; a sagemono set including a gourd netsuke, ojime and inro is hung from his obi (sash). The well-worn wood bearing a superb, unctuous patina. Very large and asymmetrical himotoshi to the underside.LENGTH 4.3 cmCondition: Good condition. A few age cracks, surface scratches and tiny nicks here and there.Provenance: From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection over many decades.
ANDO RYOKUZAN: A SUPERB IVORY NETSUKE OF A FLOUNDER AND ROCKFISHBy Ando Ryokuzan (1885-1955), signed Ryokuzan 緑山Japan, Tokyo, c. 1920Finely stained and carved as a flounder and rockfish, naturalistically rendered with minute scales, layered gills, and spines. The mouth of the rockfish is open exposing very fine teeth, its eyes inlaid with mother-of-pearl irises and dark horn pupils. Two small himotoshi to the underside and signed with minutely incised characters RYOKUZAN.LENGTH 4.5 cmCondition: Very good condition with only very minor wear.Ando Ryokuzan (1885-1959) was born in Asakusa and is best known for creating superrealistic ivory carvings, painstakingly colored to suit the subject matter, using vegetables, fruits, plants, and animals as his subjects. However, little is known about his production activities, and it is said that his techniques and coloring methods were kept secret. He took no apprentices and worked alone, and his son did not take over the family business, therefore, his unique tusk carving and production techniques were likely cut off after only one generation.Literature comparison:Ryokuzan appears to have carved mostly hyperrealistic fruits and vegetables and the present netsuke appears to be a rare departure from his usual work, possibly indicating an early piece in this master's career. Compare a similarly unusual antler netsuke by the same artist of a tengu head with similar eyes inlaid in mother of pearl and dark horn, signed Ryokuzan, illustrated in Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 102, no. 377.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2301000016-K). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
KAIGYOKU MASATSUGU: A FINE IVORY NETSUKE OF JO AND UBA INSIDE A PINECONESchool of Kaigyokusai Masatsugu (1813-1892), signed Kaigyoku Masatsugu 懐玉 正次 Japan, Osaka or Tokyo, late 19th century, Meiji period (1868-1912)Depicting a pinecone, carved from two parts, hinged together and openable, the lustrous exterior superbly polished, naturalistically carved, and with pine needles, the inside revealing a densely carved and remarkably intricate depiction. The famous elderly couple Jo and Uba are nestled under an imposing pine tree, sharing tea. The other side of the pinecone is carved in relief with swirling clouds. Signed underneath KAIGYOKU MASATSUGU. HEIGHT 4 cm Condition: The hinged mechanism is repaired and a small section along the side with the crane skillfully reattached, otherwise in good condition and presenting very well. Provenance: Collection Gabor Orszagh, Budapest, Hungary. Jo and Uba, the pine spirits who were thought to inhabit two pines at Takasago and Sumiyoshi, are depicted here as an old couple. According to legend, Jo makes a trip to Sumiyoshi nightly to visit his love. The two spirits represent eternal fidelity, good fortune, and longevity.Auction comparison: Compare a near-identical ivory netsuke, attributed to Kaigyokusai Masatsugu, at Bonhams, Fine Japanese Art, 19 May 2009, London, lot 170 (sold for GBP 3,600).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 24-B-0069).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
JOBUN: A VERY RARE WOOD NETSUKE OF OKAME WITH A SAKE SAUCERBy Jobun, signed Jobun 如文Japan, Edo (Tokyo), late 18th century, Edo period (1615-1868)The Shinto goddess of mirth depicted here kneeling, with long, finely incised hair, jovially laughing, one hand holding the cowl of her neatly incised, voluminous robe, the other cradling a large, shallow sake saucer as she balances it on her raised knee, visibly inebriated, the expression carved with great humor in the typical manner of the artist. Large and generously excavated himotoshi underneath and signed JOBUN.HEIGHT 4 cmCondition: Very good condition with minor surface wear and occasional light scratches.This appears to be the only Okame recorded by Jobun (Fuld's Netsuke and Ojime Index only lists one example of an Okame mask, formerly in the Trumpf collection, and now in the Linden Museum Stuttgart, inventory number OA 18937).Auction comparison:Compare a related wood netsuke by Jobun, carved from the same type of light-toned boxwood and with similar facial features, at Bonhams, Netsuke from the Collection of Joseph and Elena Kurstin, 16 December 2022, New York, lot 5 (sold for USD 9,562.5).
A FINE KYOTO SCHOOL IVORY NETSUKE OF A SQUIRREL ON MUSHROOMUnsignedJapan, Kyoto, late 18th century, Edo period (1615-1868)Finely carved as a squirrel clambering on an upturned mushroom raising its hindleg to scratch an itch with satisfaction, its bushy tail swept under the thick mushroom stalk. The upturned fungi with naturalistically carved radial gills, its long stalk uncut and slightly curved in the center. The rodent with eyes inlaid in dark horn and fur finely incised and stained. Large and functional himotoshi through the stem and cap.LENGTH 5.4 cmCondition: Very good condition with minor, mostly intentional, wear and expected age cracks. Beautiful, deep patina.Squirrels are rarely seen in Japanese art and are usually depicted amongst grapes; the motif being imported from China where it is a highly auspicious subject signifying an abundance in fortune and offspring.Literature comparison:Compare a closely related ivory netsuke of a squirrel on a mushroom, illustrated in Barry Davies Oriental Art, The Netsuke Collection of W.G Bosshard Part 1, no. 73. Barry Davies notes on this piece: “This is undoubtedly a Kyoto School work, and probably by Okatomo, or a close follower. The upturned mushroom is very similar to those he carved with rats and monkeys.”Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2301000018-K). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
MIWA: A FINE WOOD NETSUKE OF A BOY AT SHISHIMAIBy Miwa, signed Miwa 三輪 with kakihanJapan, Edo (Tokyo), early 19th century, Edo period (1615-1868)A charming fine wood netsuke of a seated boy peeking out from underneath a large shishimai robe, his face alight with playful glee, his mouth opened showing his coral-inlaid tongue. The fierce shishi head with flattened ears, a carved mane, bold eyes beneath furrowed brows, and large teeth enclosing a loose ball. A single himotoshi lined with pale horn to the base, the cord channel running through the opening of the robe. Signed MIWA with the typical square 'seal' kakihan.LENGTH 3.4 cmCondition: A repair to the edge of the robe and a small crack to the back. Otherwise good condition with minor typical wear.Museum comparison:Compare a near identical wood netsuke of a boy beneath a shishimai robe, signed Miwa, in the Tokyo National Museum, illustrated in Arakawa, Hirokazu (1983) The Go Collection of Netsuke, p. 102-103, no. 185.
A VERY RARE SILVER NETSUKE OF A BLOOMING CHRYSANTHEMUM (KIKU)UnsignedJapan, second half of 19th centuryThe single bloom with tightly formed overlapping petals curled in over the gilt metal stamen to form a compact composition, the looped stalk on the underside forming the himotoshi.DIAMETER 4.5 cmWEIGHT 48.7 gCondition: Excellent condition with only very minor wear.Provenance: Blaeuer, Lugano, 1981. Private collection of Heidi Haupt-Battaglia (1921-2019), Switzerland, acquired from the above on 18 April 1981. A copy of the collector's notes, confirming the provenance above, and stating a purchase price of CHF 1,300 (or approx. EUR 2,500 converted and adjusted for inflation at the time of writing), accompanies this lot.The chrysanthemum symbolizes royalty, longevity, and rejuvenation. It is the Japanese Imperial Family's emblem, it appears on the 50-yen coin, and is often stylized with 16 petals in front, and the tips of 16 petals in back, on government seals, representing the Chrysanthemum Throne. The highest honor given by the Emperor of Japan is the Supreme Order of the Chrysanthemum.
A SUPERB INLAID BAMBOO TONKOTSU WITH SNAIL AND ANTS, ATTRIBUTED TO GANBUNAttributed to Jikan Ganbun, unsignedJapan, 19th century, Edo period (1615-1868)Carved from a choice section of warped bamboo, the surface beautifully lacquered to highlight the natural grain, the front decorated with a large snail, its body and shell inlaid in pewter (mitsuda) and pale horn. The idiosyncratic ants crawling on both elongated sides as well as on the lid, inlaid in various material including gilt bronze, copper (suaka), silver, and dark horn. The base with a black lacquer fill to add to the rustic appearance. With a bamboo ojime.LENGTH 8.8 cmCondition: Very good conditionn with minor, mostly intentional, wear and a few natural flaws to the material.Literature comparison:Compare a related wood tonkotsu with a snail and metal ant inlays, by Ganbun, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 1, p. 377.Auction comparison:Compare a related brown lacquer two-case inro decorated with a snail and metal-inlaid ants, signed Jikan Ganbun, at Bonhams, Fine Japanese Art, 16 May 2013, London, lot 162 (sold for GBP 18,750).
AN UNUSUAL KIRI (PAULOWNIA) WOOD SHUNGA MASK NETSUKE OF FUKUWARAI TYPEUnsignedJapan, 18th-19th century, Edo period (1615-1868)Published: Bushell, Raymond (1985), Netsuke Masks, pl. 316.Amusingly carved as the face of Okame with stylized, almost tribal features, her parted hair and broad nose evoking phallic imagery. Himotoshi through the central bar to the back.HEIGHT 5.3 cmCondition: Very good condition with minor surface wear and natural imperfections. One old chip to the back.Provenance: Ex-collection Raymond Bushell. Robert Fleischel, Paris, France, February 2012. European collection P. Jacquesson, acquired from the above.In his publication, Netsuke Masks, Bushell describes this mask as “Face of an Ugly Woman Used in the Game of Fukuwarai”. Fukuwarai is a Japanese children's game popular during New Year's celebrations. Players are led to a table which has a paper drawing of a human face with no features depicted, and cutouts of several facial features (such as the eyes, eyebrows, nose and mouth). While blindfolded, the players attempt to place the features onto the face in the correct positions. Much like with Pin the Tail on the Donkey, correct placement tends to be a stroke of luck and incorrect placement an amusing matter, perhaps explaining the name and its translation, 'lucky laugh'.
A POWERFUL WOOD NETSUKE OF A SOUTH SEA CORAL DIVERUnsignedJapan, 18th century, Edo period (1615-1868)Published: Joly, Henri L. (1966) The W. L. Behrens Collection, Part 1, Netsuke, no. 3371, illustrated on pl. XLIIICarved as an ecstatic coral diver, dancing on one leg, as he shouts out in glee at the large size of his catch. The multi-sectional coral running through his fist and underneath the locks of the islander's curly hair as he proudly displays the bright-red coral branch. Dressed in a simple loincloth, his face is carved with almond-shaped eyes above a broad nose and gaping mouth stained red, the hair to the back carved out in spirals. Good, functional himotoshi underneath the arm in the back.HEIGHT 9.6 cmCondition: Very good condition with old wear, a few scratches to the foot, a crack to the multi-sectional coral.Provenance: Ex-collection W. L. Behrens W. L. Behrens (1861-1913). St. James' Gallery, Zurich, 1998. Swiss private collection formed from the 1980s-2000s, acquired from the above on 19 August 1998. A copy of the folio from St James' Gallery, confirming the provenance above, accompanies this lot.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
MASATSUGU: AN AMUSING OSAKA SCHOOL IVORY NETSUKE OF GAMA SENNIN LIFTING HIS TOADBy Masatsugu, signed Masatsugu 正次Japan, Osaka, first half of 19th century, Edo period (1615-1868)The humorous duo finely carved, the stout toad looking obstinate as the elder sennin, with a jovial expression on his face, attempts to lift the rotund amphibian. Wearing loose robes decorated with karakusa and opening at the chest, his mouth opening in a smile exposing finely incised teeth. The toad's warty skin is finely stippled, its eyes double inlaid in reddish horn with dark pupils at the corners. Natural himotoshi and signed MASATSUGU within an oval reserve. The ivory is beautifully stained, typical for the Osaka school.HEIGHT 3.7 cmCondition: Very good condition with minor wear.Provenance: Collection of Fritz Niescher, and thence by descent in the same family. Fritz Niescher (1889-1974) was a Chemnitz entrepreneur who built an impressive collection comprised of Japanese works of art and modern art. His extensive collection included works by Ernst Barlach and Otto Dix. Pieces from his collection have been part of traveling exhibits since his death, and many are housed today in the Ernst Barlach Haus in Hamburg.Museum comparison:Compare a related ivory netsuke depicting a jovial Gama Sennin with the toad seated on his knee, by Kaigyokusai Masatsugu, in the Los Angeles County Museum of Art, accession number M.91.250.222, formerly in the Raymond and Frances Bushell Collection.Auction comparison:Compare a closely related ivory netsuke of Gama Sennin carrying his toad on his back, attributed to Masakazu, at Zacke, Fine Japanese Art, 16 June 2023, Vienna, lot 358 (sold for EUR 3,120).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number DE-DÃœS231016-115). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
HIDECHIKA: A CHARMING INLAID WOOD NETSUKE OF A MONKEY FEEDING YOUNG By Hidechika, signed Hidechika 秀親Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)The charming duo sitting in an endearing position, the father resting his young on its knee as he watches the small monkey devour a smooth fruit. Boldly carved, the superb grain of the wood is visible along the back of the monkeys. Their eyes double inlaid in dark horn and bone. Two himotoshi to the back. Signed within a wavy reserve to the back HIDECHIKA – a pupil of Chikuyosai Tomochika.HEIGHT 4 cmCondition: Very good condition with only minor wear.Provenance: Kyoto Gallery, Brussels, December 1984. Private collection in Belgium, acquired from the above. Lempertz Cologne, 16 December 2020, lot 886. German private collection, acquired from the above.
A RARE AND EARLY WOOD NETSUKE OF KOSHOHEISignedJapan, 18th century, Edo period (1615-1868)Beautifully worn and dynamically carved as the immortal Koshohei amusingly startled by a boulder before him in mid-transformation into a goat, causing him to raise his staff, as if to strike the animal on its head. Koshohei dressed in a large robe tied loosely at the waist, his face carved with a petrified expression as he jumps in horror. Large himotoshi to the back, the cord channel running through the sleeve and signed within a rounded rectangular reserve.HEIGHT 7 cmCondition: Good condition with old wear and traces of use. One smoothened old chip to the left foot.Koshohei is a sennin based on the Chinese Daoist immortal Wong Tai Sin, known also as the Red Pine Immortal, who had the power to turn rocks into goats. He is the divine form of Huang Chuping (c. 328-386), a Daoist hermit from Jinhua during the Eastern Jin dynasty.
A SUPERB IVORY NETSUKE OF A RECUMBENT OX, ATTRIBUTED TO OKATOMOAttributed to Yamaguchi Okatomo, signed Tomotada 友忠Japan, Kyoto, late 18th to early 19th century, Edo period (1615-1868)A fine and powerfully crafted ivory netsuke of a recumbent ox with his head turned to the left, the eyes carefully inlaid in dark horn giving life to the expression. The bulky animal has a pronounced spine, a finely incised fur coat, and a rope halter passes through the nose ring, over the horns and all the way around to its tail, ending in a little loop. The underside is beautifully carved as well, showing the hooves tucked beneath the body. Generously excavated and asymmetrical himotoshi through the underside. Signed within a rectangular reserve between the himotoshi TOMOTADA – however much more likely a work by his star pupil Okatomo.LENGTH 6 cmCondition: Very good condition with only minor wear and expected age cracks. Beautiful, deep patina.Provenance: Old Viennese private collection.Literature comparison:Compare a closely related, albeit more worn, ivory netsuke of a recumbent ox, signed Okatomo, illustrated in Ducros, Alain (1987) Netsuke & Sagemono 2, p. 52, no. 24.Auction comparison:Compare a closely related ivory netsuke of a cow, signed Tomotada, also probably by Okatomo, dated late 18th to early 19th century, at Zacke, Asian Art Discovers, 21 January 2021, Vienna, lot 346 (sold for EUR 8,848).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 24-B-0096).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
MINKO: A WOOD NETSUKE OF A CHESTNUT WITH A MOVEABLE MAGGOTBy Tanaka Juntoku Minko (1735-1816), signed Minko 岷江 and kakihanJapan, Tsu, late 18th to early 19th century, Edo period (1615-1868)Boldly carved as a chestnut, attractively stained and bearing a good polish, the natural knots to the wood used to great effect and adding to the naturalistic beauty of the netsuke, one side inlaid with a moveable bone maggot detailed with stained eyes. Generously excavated himotoshi to the superbly carved underside and signed in a polished reserve MINKO with the artist's characteristic kakihan.LENGTH 4.5 cmCondition: Very good condition with minor surface wear and tiny scratches.Tanaka Juntoko Minko (1735-1816) was one of the few names mentioned in the Soken Kisho of 1781, the first publication mentioning netsuke. He was famous during his lifetime and is widely regarded as one of the greatest netsuke carvers.Literature comparison:Compare a closely related wood netsuke of a chestnut with a moveable ivory maggot, by Minko, illustrated by Harris, Victor (1987) The Hull Grundy Collection in the British Museum, p. 99, no. 492.
HOKKYO SHIMA SESSAI: A RARE AND SUPERB WOOD SASHI NETSUKE OF FUKUROKUJU GETTING A SHAVE By Hokkyo Shima Sessai (1820-1879), signed Sessai 雪斎 to 刀Japan, Echizen province, mid-19th century, Edo period (1615-1868)Published:Joly, H. L. (1913) Catalogue of the H. Seymour Trower Collection of Japanese Art, no. 56, illustrated on pl. D.Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 266, no. 821.Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 724.Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 939.Kurstin, Joe (1994) Netsuke: Story Carvings of Old Japan, Epcot Centre, Disney World, p. 40.Earle, Joe (2001) Netsuke: Fantasy and Reality in Japanese Miniature Sculpture, p. 158, no. 124.Exhibited:Eskenazi Oriental Art, 19-24 September 1991, San Francisco International Netsuke ConventionEpcot Center, Disney World, Orlando, Florida, 11 May 1993-10 May 1997Museum of Fine Arts, Boston, September 2001-November 2002Carved with mastery and charm, the amusingly tall head of the seated Fukurokuju twisting up like a tree, wrapped by the rope scaffolding the barbers require to shave the highest point of his head. The body of Fukurokuju, only a fifth the size of the rest of his head, is enveloped in the front by his bushy beard, his face wearing a bemused look with full cheeks and elongated lobes. One barber summitting the god's tall head, leaning over the side with a razor as the other clings to the side of his head with a comb. Signed along the side of the head SESSAI to ['carved by Sessai']. The pale wood has a rich, dark patina in the recesses.HEIGHT 16 cmCondition: Very good condition with minor typical wear, a natural age crack to the side of Fukurokuju, and small repairs to the left hand and comb of one barber.Provenance: Ex-collection of H. Seymour Trower. Ex-collection of J. Bellhouse Gaskell. Glendining's Auction, 8 March 1926, lot 832. Ex-collection of G.E. Duveen, acquired from the above. Glendining's Auction, July 1952. Ex-collection of Isobel Sharpe, acquired from the above. Ex-collection of Mark T. Hindson, acquired from the above. Sotheby's London, 26 June 1967, lot 299. Ex-collection of Emiel Veranneman, acquired from the above. Ex-collection Joe Kurstin, acquired from the above. Dr. M. Joseph 'Joe' Kurstin (1931-2021) was a prominent Miami ophthalmologist who arguably built one of the greatest netsuke collections of all time. He was known by netsuke and inro lovers worldwide and made many lifelong friends in this tight-knit community. He published several books and articles on the subject and generously lent his collection for exhibitions at the Yale University Gallery, Museum of Fine Arts, Boston, Epcot Center at Disney World, and The Tobacco and Salt Museum, Tokyo.Hokkyo Shima Sessai (1820-1879) was an excellent carver who earned the honorary title of Hokkyo during his lifetime and served the lord of the Echizen clan. Sessai was a master of exaggeration, using his artistic license to endow his netsuke with humor. His work is scarce as he died at a relatively young age; only 15 netsuke from his hand have been documented. Using primarily wood, Sessai's works are powerful and original, never failing to display some point of artistry in each carving, often using distortion to bring the pieces to life.Literature comparison:Compare a related tall wood netsuke of Ashinaga, by Sessai and signed Sessai, in Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 265, no. 819..Also compare a related sashi netsuke of a hossu (Buddhist fly whisk), by Sessai and signed Sessai, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 940.
YOSHITADA: A FINE IVORY NETSUKE OF A CLUSTER OF MUSHROOMSBy Yoshitada, signed Yoshitada 吉忠Japan, Kyoto, early 19th century, Edo period (1615-1868)Finely carved, partially in openwork, as a cluster of six shimeji mushrooms, the undersides of the larger caps neatly incised with radial gills, arranged in a horizontal line, forming a pleasingly tactile and compact composition. Generously excavated himotoshi to the back and through the underside and signed YOSHITADA within a rectangular reserve. The ivory expertly polished and stained to highlight the highpoints of the stalks. Beautiful, deep patina.LENGTH 3.8 cmCondition: Good condition with minor surface wear and tiny nicks to the back. One smoothened old chip near the base of the central stalk. Mushroom and fungi are symbols of longevity. Their simple yet aesthetically appealing arrangement in a horizontal line emphasizes this association. Mushrooms became favored subjects of eccentric Edo period painters.Literature comparison:For a closely related ivory netsuke of a mushroom group, by Yoshitada, illustrated in Coullery, Marie-Therese / Newstead, Martin S. (1977) The Baur Collection, p. 285, C 859.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 257/23HH). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
A HUMOROUS OSAKA SCHOOL IVORY NETSUKE OF TANUKI DISGUISED AS A SAKE VENDORUnsignedJapan, Osaka, late 18th to early 19th century, Edo period (1615-1868)The mythical creature standing upright with its double gourd sake flask in one hand, holding a lotus leaf in the other. With a wry look on its face, the tanuki is wearing an oversized lotus-leaf hat, its curved tail nestled into a bulge of the hat. The large eyes are inlaid in lustrous dark horn. Himotoshi through the tail and the hat.HEIGHT 5 cmCondition: Very good condition with minor wear and expected age cracks. One inlaid eye is replaced.Provenance: Private collection in Denmark. Lempertz Cologne, 16 December 2020, lot 823. German private collection, acquired from the above.The tanuki possesses magical powers and can change forms, sometimes into Buddhist monks; they are jovial and love drinking sake, but are also dangerous, as they have been known to suffocate hunters with their enormous scrotums.Auction comparison:Compare a closely related ivory netsuke of a tanuki, 5.4 cm high, dated late 18th century, at Christie's, Japanese Ceramics & Works of Art, 8 November 2007, London, lot 9 (sold for GBP 7,500). Compare a closely related ivory netsuke of a tanuki disguised as a sake vendor, 4.5 cm high, dated 19th century, at Lempertz, Netsuke-Sammlung Kolodotschko II, 6 December 2014, Cologne, lot 928 (sold for EUR 4,960).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 24-B-0054).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
SHIBAYAMA: A FINE LACQUERED AND INLAID IVORY MANJU NETSUKE DEPICTING CRANES AND CLOUDSBy a member of the Shibayama family, signed Shibayama 芝山 saku 作Japan, Tokyo, late 19th century, Meiji period (1868-1912)Of rounded rectangular form, finely worked in lacquer, mother-of-pearl, and tortoiseshell, to depict three red-crowned cranes flying among scrolling clouds. The interior with a looped cord attachment, a central himotoshi to the back. Signed SHIBAYAMA saku [made by Shibayama] on an inlaid tablet.LENGTH 3.7 cmCondition: Minuscule losses to inlaid clouds and lacquer losses to one crane. Overall presenting well.Provenance: From an Italian private collection, acquired from Pierre-Eric Becker, Cannes, on 3 September 1996. Austrian private collection, acquired from the above. An old label to the interior and inscribed with a collector's number '92'. One old, inscribed label, '[…] signe Shibayama'. Fuld's Netsuke and Ojime Index records only one manju netsuke of a group of cranes among clouds, inlaid with aogai and bekkou, by Shibayama, formerly in the W. L. Behrens collection, published in Joly, Henri L. (1912) The W. L. Behrens Collection, Part 1, Netsuke, no. 2587 (unillustrated). The catalog entry reads: “Ivory manju, inlaid in pearl and tortoise-shell with cranes and clouds, signed Shibayama”. This may very well be the same piece as the present lot.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
JOBUN: A RARE WOOD NETSUKE OF SANKO-JO (OLD MAN)By Jobun, signed Jobun 如文Japan, Edo (Tokyo), late 18th century, Edo period (1615-1868)Well carved from pale boxwood, depicting the mask of an enlightened old man with a goatee, deep incised wrinkles on his forehead, sorrowful eyes with hollowed pupils and set with bags, a prominent nose, an agape mouth revealing the upper row of teeth, flanked by sunken cheeks. His full head of hair is finely incised and fashioned into an elegant style. Himotoshi through the central bar to the back and signed JOBUN – this artist dubbed as 'the master of expression' only rarely carved mask netsuke.HEIGHT 5 cmCondition: Very good condition with minor wear.Provenance: Ex-collection Dr. Walter Heihs, sold at Sotheby's, 17 June 1998, lot 585. European collection P. Jacquesson, acquired from the above.For a discussion of Jobun and his work, illustrating a few mask netsuke, see Milton Stratos, The Netsuke Carvings of Jobun, International Netsuke Society Journal, vol. 22, no.1, pp. 14-27.Literature comparison:Compare a related wood mask netsuke of Fukai by the same artist, signed Jobun, illustrated in Arakawa, Hirokazu (1983) The Go Collection of Netsuke, Tokyo National Museum, no. 266.
A RARE IVORY NETSUKE OF A KITSUNE (FOX) AND CUBUnsignedJapan, 18th centuryThe fox seated seated, her head turned down to the right and her brush erect as she rests one fore paw protectively on her recumbent offspring, resting and leaning against her forelimb. The curious faces carved with elongated eyes inlaid in dark horn, alert ears, and a slightly ajar mouth revealing the teeth within. Natural himotoshi.LENGTH 5.4 cmCondition: Very good condition with minor wear and age cracks. One small chip to the vixen's ear and minor nibbling to the cubs ears.Provenance: The Gabor Wilhelm Collection, Paris.The Japanese fox (kitsune) is believed to have magical powers. It has the ability to bewitch people and cast spells upon them. Foxes were supposed to live to a great age and to be able to assume human form on reaching one hundred, when they might appear in the guise of a priest or a woman. Possession by a fox (kitsune-tsuki) was a nervous disorder once common in Japan. The person possessed hears and understands everything that the fox inside says, or thinks, and the two often engage in a loud and violent dispute, the fox speaking in a voice altogether different from that of the individual. The spirits of the dead ride upon foxes, and they are said to haunt graves; they are also responsible for the foxfire (kitsune-bi) or will-o'-the wisp.Museum comparison:Compare a closely related ivory netsuke of a fox with ball, likely by the same artist or studio, formerly in the Trumpf collection and now in the Linden Museum Stuttgart, inventory number OA 19067.Auction comparison: Compare a closely related ivory netsuke of a fox and cub, likely by the same artist or studio, at Christie's, The Raymond and Frances Bushell Collection of Netsuke, Part I, 27 October 1987, London, lot 268 (sold for GBP 1,430 or approx. EUR 6,200 converted and adjusted for inflation at the time of writing). Compare a closely related ivory netsuke of a fox and cub, likely by the same artist or studio, at Sotheby's, Fine Netsuke and Ojime, 14 March 1984, London, lot 131 (sold for GBP 3,080 or approx. EUR 16,000 converted and adjusted for inflation at the time of writing).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2307513766-K). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
TAMETAKA: A FINE WOOD NETSUKE OF A PUPPYBy Tametaka, signed Tametaka 為隆Japan, Nagoya, late 18th century, Edo period (1615-1868)Published: Rouviere, Daniel (1978) My Twenty Favorite Netsuke and Inro, INCS 6/1, p. 15, no. 11.Bulletin Association Franco-Japonaise (1983), Vol. 2, p. 09.Superbly carved, the small floppy-eared puppy lifting one leg to scratch itself, its tail curled and head turned back as it sniffs its behind. The young pup's eyes are inlaid with dark horn, and it wears a rope collar tied in an intricate knot at the back. Asymmetrical himotoshi to the underside, the larger hole generously excavated to accommodate the knot. Signed within the typical raised oval reserve TAMETAKA.LENGTH 4.3 cmCondition: A filled repair to the lifted leg and two of the feet underneath restored. Otherwise good condition with minor expected wear.Provenance: Hotel Drouot Paris, 23 May 1952. Ex-collection of Charles Gillot, acquired from the above. Hotel Drouot Paris, 15 November 1991, lot 61. Ex-collection of Daniel Rouviere, acquired from the above.Literature comparisonCompare a closely related netsuke of a puppy by the same artist, signed Tametaka, illustrated in Contrasting Styles, A Loan Exhibition of Netsuke & Kiseruzutsu from Private English Collections, 25-30 May 1980, p. 28, no. 55.
GYOKURINTEI: A WOOD NETSUKE OF A FARMER TAKING A BREAKBy Gyokurintei, signed Gyokurintei 玉林亭Japan, Edo (Tokyo), c. 1820, Edo period (1615-1868)Expressively carved as a resting farmer, seated, one leg folded, the other raised, his hand on one knee as he leans against a rattan box. Asymmetrical himotoshi to the back through the base and signed underneath in boldly incised characters within an oval reserve GYOKURINTEI.HEIGHT 3.4 cmCondition: Very good condition with minor surface wear.Literature comparison:Compare a related wood netsuke of Jurojin, by Gyokurintei, in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 99.
A VERY RARE CLOUDY AMBER NETSUKE OF A RECUMBENT SHISHIUnsignedJapan, 18th century, Edo period (1615-1868)Finely carved from a choice piece of amber with speckles of cloudy inclusions, the recumbent shishi resting its head on its front paws, the curling mane and bushy tail neatly incised, the underside with generously excavated himotoshi.LENGTH 4.9 cmWEIGHT 15.7 gCondition: Good condition with surface wear and natural imperfections. Tiny nicks here and there.Literature comparison: For another example of this rare type of netsuke employing cloudy amber, depicting Fukurokuju, see Bushell, Raymond (1975) Netsuke Familiar & Unfamiliar, p. 151, no. 344.
KOKEISAI SANSHO: A SUPERB WOOD NETSUKE OF FUKUSUKE WITH AN OKAME MASKBy Kokeisai Sansho (1871-1936), signed Sansho and kakihanJapan, Osaka, early 20th centuryAmusingly carved from pale and lightly stained boxwood to depict the lucky dwarf Fukusuke joyfully laughing as his hands cradle an Okame mask. He is dressed in a long voluminous robe with pleats falling elegantly to the front and with two roundels to the back inlaid with red lacquer. His comically large head is detailed with finely incised and stained hair which is neatly secured near the nape. Himotoshi to the back and signed SANSHO with the artist's typical kakihan.HEIGHT 5 cmCondition: Very good condition with minor surface wear.Provenance: From an Italian private collection, acquired from Pierre-Eric Becker, Cannes, on 3 September 1996. Austrian private collection, acquired from the above.Fukusuke and Okame are often depicted together as they are both emblems of good luck.Kokeisai Sansho (1871-1936) was a brilliant Osaka carver. His life and work are discussed by Boris Filatov in Kokeisai Sansho: Mystery of the Genius (Spring 2012) International Netsuke Society Journal, vol. 32, no. 1, p. 12-25.Literature comparison:For a closely related wood netsuke of Fukusuke with Okame mask, by Sansho, see Joly, Henri L. (1966) The W. L. Behrens Collection, Part 1, Netsuke, no. 3781, illustrated on pl. LIII.Auction comparison:Compare a closely related netsuke of a man clutching an Okame mask, by Sansho, at Bonhams, Fine Japanese Art, 11 May 2017, London, lot 7 (sold for GBP 10,250). Also compare a wood netsuke of Okame by Kokeisai Sansho at Bonhams, Myth, Mirth and Magic - Important Netsuke and Sagemono from the Guy de Lasteyrie Collection, 14 June 2023, Paris, lot 4 (sold for EUR 40,960).
HOGYOKU: AN IVORY MANJU NETSUKE OF TWO MANZAI DANCERSBy Ikkeisai Hogyoku, signed Ikkeisai Hogyoku 一鶏齋 法玉Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Finely carved in shishiaibori (sunken relief) with two manzai dancers preforming their whimsical dance, one holding a fan in front of his face, while the hunched, senile boke beats his tsuzumi hand drum. The reverse finely stained and incised in katakiri and ke-bori with a sanbo stand and teapot. A central himotoshi to the underside, the cord attachment within. Signed IKKEISAI HOGYOKU – a talented manju maker from the Hojitsu school.DIAMETER 5 cmCondition: Very good condition with only very minor wear and slight warping as is to be expected. Provenance: Collection Gabor Orszagh, Budapest, Hungary.Manzai is a traditional style of comedy in Japanese culture involving two performers, one being a 'straight' man (tsukkomi) and a 'funny' man (boke). Their performances were originally for the New Year festival with the earliest mention of manzai performers dating to the Heian period. While their performances were traditional, poets like Takarai Kikaku mocked them. In a Haiku, Kikaku wrote, 'The New Year Dancers / Never miss a single step / Millet for the crane.' While other poets like Yosa Buson wrote, 'Yes, New Year's dancers / Pounding good and properly / The dirt in Kyoto.' The latter can be said of the dancers depicted on the present lot.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 24-B-0073).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
A FINE AND RARE MINIATURE SILVER SAGEMONO SETJapan, 19th centuryComprising of a miniature double dragon headed mokugyo with a loose ball inside and linked by a cord to a miniature netsuke depicting Ebisu, the god of fishermen, holding a large seabream. The scales of the dragons are finely worked, and the robes of Ebisu minutely decorated.LENGTH 2.4 cm (the mokugyo)Condition: Very good condition with minor wear.
SOKYU: A FINE SO SCHOOL WOOD NETSUKE OF A MAN CARRYING A LARGE TENGU MASKBy Sokyu, signed Sokyu to 藻丘 刀Japan, Tokyo, late 19th to early 20th centuryDepicting a man with a humorously large konoha tengu mask strapped to his back. The details very finely carved and the wood beautifully polished as is typical for this school. Two small himotoshi underneath. Signed underneath SOKYU to [carved by Sokyu]. The carver was a member of the So school who mostly made mask netsuke or katabori with masks.LENGTH 4 cmCondition: An old fill to the top of the tengu mask. Otherwise very good condition with minor typical wear.Museum comparison:Compare a closely related wood netsuke by the same artist depicting a mask carver, signed Sokyu to, in the Metropolitan Museum of Art (The MET), accession number 10.211.1826, and illustrated in Okada, Barbra Teri (1982) Netsuke: Masterpieces from The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, p. 104, no. 98.
A FINE WOOD NETSUKE OF A WOLF AND SKELETON, ATTRIBUTED TO SHOKO SUGONOYAAttributed to Shoko Sugonoya, unsignedJapan, Takayama, Hida province, mid to late 19th centuryThe okimono-style netsuke finely carved as a wolf and skeleton embroiled in a vicious fight, the skeleton with one of its hands at the wolf's neck, the other above his head ready to swing at the beast, while the wolf paws the skeleton's arm and jaw with a wild look in its eyes. The skeleton with superbly carved, openworked ribs and the wolf with finely incised fur and double-inlaid eyes of polished bone and dark horn. Natural himotoshi.LENGTH 5.1 cmCondition: Very good condition with only minor wear.The skeleton-and-wolf netsuke is an allusion to the tragic story of unrequited love between the military leader Fukakusa Shosho and the celebrated poetess Ono no Komachi. The former died while trying to convince the latter of his love for her. She was left to live the rest of her long life in solitude. Her pride is personified by the skeleton whilst the passion of Fukakusa is represented by the wolf.Literature comparison:Compare a closely related netsuke by Shoko in the collection of the Los Angeles County Museum, accession number AC1998.249.281.Auction comparison:Compare a closely related wood netsuke of a wolf and skeleton, also unsigned and attributed to Shoko, at Zacke, Fine Netsuke & Sagemono, 16 June 2023, Vienna, lot 347 (sold for EUR 6,500).
A TALL IVORY NETSUKE OF SEIOBOUnsignedJapan, 18th century, Edo period (1615-1868)Published & Exhibited: Association Franco-Japonaise, Netsuke Sagemono, Paris, 2019, p. 66, no. 111.A remarkably large and fine ivory netsuke of Seiobo, the Queen Mother of the West, holding a peach branch in one hand, the other enveloped by her sleeve. She is dressed in a flowing robe with billowing sleeves, incised at the hem with scrolling foliage, her coiffure finely carved with the hair piled up high and in loops. Asymmetrical himotoshi to the back, the larger hole generously excavated in the shape of a gourd. The ivory bearing a gorgeously lustrous, deep-yellow patina.HEIGHT 14 cmCondition: Very good condition with minor surface wear and age cracks. An old, smoothened chip to the edge of the top bun.Provenance: Rolf Schmoll, November 1994. Ex-collection Guy de Lasteyrie, acquired from the above. De Lasteyrie is a member of the Lasteyrie du Saillant family and is considered among the leading French collectors of netsuke.Auction comparison:Compare a closely related ivory netsuke of Seiobo, 18th century, 12.5 cm tall, at Lempertz, The Papp Collection of Netsuke, 16 June 2018, Cologne lot 1002, (sold for EUR 4,464).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207506628-K). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
UNRYUAN: A SUPERB CONTEMPORARY LACQUER NETSUKE OF A TAKOTSUBO, OCTOPUS POTBy Kitamura Tatsuo (Unryuan, born 1952), signed Unryuan 雲龍庵 saku 作 with the artist's sealJapan, late 20th centuryA technical masterpiece, this netsuke uses kawari-nuri to replicate the barnacle encrusted ceramic surface of the pot. Superbly rendered in iro-e takamaki-e and hiramaki-e with an octopus (tako) attempting to break out of a small pot trap (tsubo) and fending off a moray eel which bites into one of the octopus's many limbs. The enraged octopus attempting to locate its predator, its head comically poking out of the pot, while its limbs attempt to grab the slick intruder. Natural himotoshi and signed with the artist's mark underneath.HEIGHT 4.5 cmCondition: Very good condition with minor surface wear and very minor flaking to the lacquer to the eel's body behind the octopus.With the original wood tomobako storage box, inscribed takotsubo maki-e netsuke 蛸壷 蒔絵 根付 and signed to the hakogaki UNRYUAN saku [made by Unryuan] and with the artist's square seal UNRYUAN.The theme of an octopus on a ceramic octopus trap may have taken inspiration from a famous haiku by Matsuo Basho (1644-1694): Tako tsubo ya / hakanaki yume o / natsu no tsuki (On an octopus trap / Dreaming momentary dreams / The summer moon!).Unryuan (birth name Kitamura Tatsuo) is among the finest of the more conservative lacquerers working in Japan today. Born in 1952 in the traditional lacquering centre of Wajima, Ishikawa Prefecture, he set up his own studio in 1985. His work, which has a unique delicacy and level of detail, has been widely exhibited around the world and is included in several important Museums, including the Victoria and Albert Museum in London.Auction comparison: Compare a related gold-lacquer four-case inro, by Unryuan, at Bonhams, Fine Japanese Art, 10 November 2016, London, lot 312 (sold for GBP 10,000).
ITTOKUSAI: A SUPERB AND LARGE WOOD GIGAKU MASK NETSUKE OF KARURA (GARUDA)By Ittokusai, signed Ittokusai 一得齋Japan, Edo (Tokyo), first half of 19th century, Edo period (1615-1868)Published: Bushell, Raymond (1961) The Netsuke Handbook by Ueda Reikichi, p. 82, no. 65.Bushell, Raymond (1985), Netsuke Masks, p. 14, pl. 6.The International Netsuke Society Journal (INSJ), vol. 5, no. 3, p. 16, fig. 1.Boldly carved, the beaked face staring straight ahead with hollowed pupils on bulging eyes, a small ball enclosed in its mouth, the forehead with a beaded design in relief, and the cheeks covered in wattle-like crests. The half-bird, half-human creature is a representation of the divine bird of Buddhist lore, Garuda. Himotoshi through the central bar to the back and signed ITTOKUSAI.HEIGHT 5.8 cmCondition: Very good condition with minor wear.Provenance: Ex-collection Raymond and Frances Bushell. Sotheby's, Netsuke from the Collection of Raymond and Frances Bushell, 18 November 1999, London, lot 150. European collection P. Jacquesson, acquired from the above.In Indian mythology, the Kakura (Garuda) was a sacred bird that ate the poisonous snake. When this deity was taken into Buddhism, it became one of the gods who guard the Buddhist faith.Gigaku was the traditional music theatre, performed in silent mime, of the Japanese Court from the 7th to 10th centuries. Introduced in 612 from Korea, Gigaku reached great popularity in the Nara period (710‑794). Gigaku is a combination of Togaku, derived from China during the Tang dynasty, Komagaku from Korea, and original Japanese music.Literature comparison:Compare a related mask netsuke of Sojobo, by Ittokusai, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 254. Also compare a related wood mask netsuke of Kitsune, by Ittokusai, illustrated in Jirka-Schmitz Patrizia, The World of Netsuke, The Werdelmann Collection at the Museum Kunst Palast Duesseldorf, p. 216, no. 941.
OKAKOTO: A FINE IVORY NETSUKE OF A DUTCHMAN WITH CHILDBy Yamaguchi Okakoto, signed Okakoto 岡言Japan, Kyoto, late 18th century, Edo period (1615-1868)Powerfully carved as a Dutchman with typically exaggerated facial features, holding a Chinese trumpet (lapa) in one hand and supporting a boy on his shoulders with the other. The mischievous boy attempting to clamber on to the foreigner's shoulder, pulling on his curly lozenge wig in his pursuit to scale the tall man. The two figures are dressed in voluminous robes, incised with various decorative motifs; the foreigner's coat further detailed down the center with dark horn-inlaid buttons. Generously excavated, asymmetrical himotoshi to the back and signed OKAKOTO within the typical rectangular reserve.HEIGHT 5.8 cmCondition: Very good condition with minor typical wear and a plugged nerve channel to the robe.Provenance: Ex-collection Guy de Lasteyrie, acquired from the above. De Lasteyrie is a member of the Lasteyrie du Saillant family and is considered among the leading French collectors of netsuke.In the Edo period, Dutch merchants were the only Europeans admitted to Japan, where they were confined to the island of Deshima. Interestingly, the lapa (trumpet) in this Dutchman's hand is also foreign, being of Chinese origin.Okakoto was an important member of the Kyoto school, a pupil of Yamaguchi Okatomo, and teacher to Okatori. The subject of the Dutchman was rarely treated by this school.Auction comparison: Compare a closely related marine ivory netsuke of a Dutchman with child, by Okakoto, at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 42 (sold for EUR 2,781). Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207507621-K). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
MASAKAZU: A LARGE AND IMPRESSIVE OSAKA SCHOOL IVORY NETSUKE OF AN OCTOPUS WITH CLAMSBy Masakazu, signed Masakazu 正一Japan, Osaka, early 19th century, Edo period (1615-1868)The remarkably large ivory intricately carved, yet still retaining its compact and functional form, depicting a mighty octopus enclosing a large fish with is tentacles, all while straining to open the jaws of two hamaguri clams, revealing their fleshy interior. The scales of the fish and the octopus' suckers are superbly detailed. Natural himotoshi and signed to one clam MASAKAZU.LENGTH 7.1 cmCondition: Very good condition with minor wear and natural age cracks.The combination of octopus and clam has a hidden erotic meaning (shunga). Museum comparison:Compare a closely related ivory netsuke of an octopus with clams in a basket, signed Iekazu, dated 19th century, on display in the Asian Art Museum of San Francisco, accession number B70Y1297.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 24-B-0103).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
A CHARMING EDO SCHOOL WOOD NETSUKE OF A SEATED BOYUnsignedJapan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Finely carved, the boy with a surprised expression, bending forward expectantly while seated with his legs in a diamond shape in front of him. Placing his hands on his feet, he looks up with his mouth open, exposing his finely detailed teeth, brows raised, the eyes inlaid with dark horn. Natural himotoshi.LENGTH 3.8 cmCondition: Very good condition with minor wear and one of the eye inlays replaced.
HOSAI AND ROSETSU: A SUPERB INLAID WOVEN RATTAN KISERUZUTSU WITH A GOOSE DESCENDING IN THE RAIN, WITH EN SUITE LEATHER POUCH AND CORAL OJIMEThe lacquerwork by Hosai and the inlay by Rosetsu, signed Hosai 宝哉 and Rosetsu 芦雪Japan, Edo (Tokyo), ca. 1880, Meiji period (1868-1912)Of muso-zutsu type, the ground finely woven and decorated with a descending goose, its body masterfully inlaid in antler, wood, tortoiseshell, and the eyes and beak of inlaid mother-of-pearl and dark horn; the gold takamaki-e rain falling in streaks. The rim and ingot-shaped cord attachment made from gold. Signed to the back on a red lacquer tablet HOSAI and on a tortoiseshell-inlaid tablet ROSETSU.Together with a coral ojime and en suite tobacco pouch (tabako-ire) crafted from leather and with a shibuichi kanamono (pouch fitting) of three geese with gilt eyes. The reverse of the kanamono finely worked with gold hirazogan depicting lotus.HEIGHT 20.4 cm (the pipe case), LENGTH 13 cm (the pouch), DIAMETER 1.7 cm (the ojime)Condition: The pipe case in very good condition with minor wear, light rubbing to the takazogan rain, and traces of use. The leather pouch and pouch fitting in very good condition with minor wear, traces of use, loose seams to the interior, and some rubbing to the shibuichi kanamono.Provenance: Grace Tsumugi, London. Collection of James and Christine Heusinger, acquired from the above. James and Christine Heusinger started collecting Japanese art in the late 1970s. Their collection began with a modest piece by Seifu Yohei III and expanded into over 100 pieces. They donated the majority of their pieces to the Cleveland Museum of Art, which now houses the most important collection of ceramics by the Seifu Yohei studio. While their collection was mostly focused on modern Japanese ceramics, they also had a fondness for lacquer, purchasing select pieces from noted dealers such as Grace Tsumugi and Sharen Chappel.Paul Moss and Max Rutherston identified two near identical pipe cases in their book, They are All Fire and Every One Doth Shine. While these were the only two then known, Moss and Rutherston correctly postulated, “Given the unusually dynamic nature of the design, it seems likely that Rosetsu made more than two versions; another may yet manifest itself.” The present lot represents a third type of this same pipe case with an altogether new artist represented, Hosai.Literature comparison:Compare a near-identical woven rattan kiseruzutsu depicting a descending goose in the rain, signed Rosetsu, ca. 1880, illustrated in Paul Moss and Max Rutherston (2010) They are All Fire and Every One Doth Shine: The Elly Nordskog Collection of Japanese Inro, Pipecases and Netsuke, London, Sydney L. Moss, p. 308-309, no. 81. Compare a closely related rattan kiseruzutsu with an identical motif albeit lacking the gold lacquer rain, signed Rosetsu, formerly in the Raymond and Frances Bushell collection, illustrated in Bushell, Raymond (1980) Kiserzutsu: The Japanese Pipe Case, Arts of Asia, November to December, p. 88, no. 16.
AN ANTLER RYUSA MANJU NETSUKE WITH FLORAL DESIGNUnsignedJapan, Tokyo, Asakusa district, second half of the 19th centuryFinely carved in openwork (ryusa) with twisting vines and delicate bellflowers supported on thin stems, as well as maple and paulownia leaves, each detailed with small insect holes, all framed by scrolling clouds. The verso with stylized floral emblems. The antler of a very appealing color with most of the natural spongiform surface appearing around the central himotoshi in the back.DIAMETER 4 cmCondition: Very good condition, appealingly worn, expected natural imperfections.
JUGYOKU: A POWERFUL WOOD NETSUKE OF A NIO CRUSHING MOCHIBy Ryukosai Jugyoku, signed Jugyoku 壽玉 with kakihanJapan, Edo (Tokyo), first half of 19th century, Edo period (1615-1868)The powerful guardian grimacing, his facial muscles flexing, as he is pressing his full weight down on two mochi cakes which compress and crack beneath his strength. The musculature of his arms, back, and feet are nicely detailed, and his billowing robes fall in masterfully executed folds down his body. Two well-hollowed himotoshi to the base. The underside signed JUGYOKU with the artist's typical kakihan. LENGTH 3.3 cmCondition: Good condition with minor typical wear. Two toes of the right foot chipped.Provenance: Christie's New York, 21 September 2006, lot 355. Collection Gabor Orszagh, Budapest, Hungary.
TSUNEKAZU: AN IVORY NETSUKE OF A MONKEY EATING A PEACHBy Tsunekazu, signed Tsunekazu 常一Japan, Tokyo, second half of the 19th centuryFinely stained and carved as a seated monkey, dressed in a haori jacket incised with a diapered ground, taking a bite out of a succulent peach still attached to a leafy branch, all while clasping another ripe peach in his hand. The naturalistically carved monkey with finely incised and stained fur, a short stubby tail, inlaid eyes, and a large mouth which is wide open as it devours the peach with pleasure. Natural himotoshi and signed within an oval reserve TSUNEKAZU.HEIGHT 4.1 cmCondition: Good condition with minor surface wear. Minor nibbling to the hem of the jacket and the edge of one foot. One inlaid pupil with a small loss.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2307517142-K). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
A POWERFUL ANTLER NETSUKE OF A TARTAR ARCHERUnsignedJapan, 18th century, Edo period (1615-1868)Carved from a long, hollow tubular section of antler, plugged at the top and bottom, the well-worn figure standing with his feet together, wearing heavy robes with incised cloud designs and a broad-brimmed hat, carrying a quiver of arrows on his back, holding a bow tightly to his side, his right hand readying an arrow. Looking straight ahead, the beard of the hunter is blown to the sides, his eyes wide and mouth slightly open. Two generously excavated himotoshi through the back.HEIGHT 10.6 cmCondition: Good condition with typical wear, the feet and dome of the cap used to plug the hollow material are replaced. A loss to the arrow.Provenance: Italian private collection, acquired from Pierre-Eric Becker, Cannes, on 24 May 2003. Austrian private collection, acquired from the above.In her catalogue of the Bushell Collection Hollis Goodall distinguishes between two types of Mongolian archers. Those with a European appearance such as a broad-brimmed hat, curly hair and protruding eyes and those with obvious Chinese influence. The present netsuke belongs to the former type.Auction comparison:Compare a related antler netsuke of a Mongolian archer albeit of a different type, unsigned, dated late 18th century, at Lempertz, Asian Art, 27 June 2020, Cologne, lot 300, (sold for EUR 2,750).
A FINE NETSUKE OF A SEATED IMMORTAL, ATTRIBUTED TO MIWAAttributed to Miwa, unsignedJapan, Edo (Tokyo), early 19th century, Edo period (1615-1868)Finely carved, the seated figure portrayed tucking one leg beneath him, resting one hand on his raised knee and clinching the other, and looking ahead with an ominous expression. His brows are wrinkled in a frown, his mouth opened, and nostrils flared; his eyes are double inlaid in bone and dark horn. The polished, flattened base and backside with large, functional himotoshi. Unsigned, however confidently attributed to the Miwa workshop, the flattish base and idiosyncratic expression with inlays being characteristic of this important artist lineage hailing from Edo.HEIGHT 4.4 cmCondition: Very good condition with typical wear, light scratches to the back and base, and a small abrasion to the top of the neck.Provenance: Collection of Fritz Niescher, and thence by descent in the same family. Fritz Niescher (1889-1974) was a Chemnitz entrepreneur who built an impressive collection comprised of Japanese works of art and modern art. His extensive collection included works by Ernst Barlach and Otto Dix. Pieces from his collection have been part of traveling exhibits since his death, and many are housed today in the Ernst Barlach Haus in Hamburg.Museum comparison:Compare a related wood netsuke standing man with similar facial features, signed Miwa, in the Tokyo National Museum, illustrated in Arakawa, Hirokazu (1983) The Go Collection of Netsuke, p. 98-99, no. 177.
A SUPERB ANTLER NETSUKE OF A GRAZING HORSE, ATTRIBUTED TO TSUNEMASAAttributed to Tsunemasa, unsignedJapan, Kyoto, early to mid-18th century, Edo period (1615-1868)The intrinsically charming horse with its head lowered in a twisting motion grazing with its slender legs together and its tail delicately swished to one side. Its eyes are incised with a woeful expression, its ears laid back, and its mane finely detailed. The material is brilliantly utilized, much of the spongiform and porous sections hidden away so that they are not visible when the netsuke is worn on the obi. Large and generously excavated himotoshi to the back.HEIGHT 5 cmCondition: Very good condition with minor typical wear, and few expected 'natural flaws'.Literature comparison:Compare a closely related antler netsuke of a grazing horse, signed Tsunemasa, illustrated on the cover of the International Netsuke Society Journal, (2015) volume 35/2, and further discussed in Jiri M. Mestecky's article, The Enigmatic Tsunemasa, p. 27. Compare a closely related antler netsuke of a grazing horse, signed Tsunemasa, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 2, p. 1198.
A SUPERB WOOD NETSUKE OF A LEAPING CARP AMONGST TURBULENT WAVESUnsignedJapan, late 18th to early 19th century, Edo period (1615-1868)The violent waves boldly carved, crashing around the carp while it leaps out of the water twisting its body as the water catches it in its fall, wrapping around its body in bold swaths accentuated with black staining. The fish's skin finely detailed with overlapping scales and incised fins; its eyes inlaid in lustrous dark horn. The wood is finely stained and has a rich patina. Two generously excavated himotoshi to the back and underside engulfed in the waves. The crisp carving and black staining possibly suggest an early Tanba school carver.LENGTH 4.9 cmCondition: Very good condition with minor typical wear.Provenance: Bonhams London, 6 November 2012, lot 168. From the collection of Teddy Hahn, Darmstadt, acquired from the above. Theodor “Teddy” Hahn (1933-2012) was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting. He remarked once, “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.”The carp is associated with strength and resilience. In Chinese mythology, the Longmen (lit. Dragon Gate) is located at the top of a waterfall cascading from a legendary mountain. The legend states that while many carps swim upstream against the river's strong current, few are capable or brave enough for the final leap over the waterfall. If a carp successfully makes the jump, it is transformed into a powerful dragon.Auction comparison:Compare a related wood netsuke of a carp ascending a waterfall with similarly detailed, signed Masakatsu, at Van Ham's, Asiatische Kunst, 9 June 2016, Cologne, lot 2438 (sold for EUR 16,770).
A SUPERB 'DRAGON' TABAKO-IRE SETUnsignedJapan, late 19th century, Meiji period (1868-1912)The pouch finely woven with a leather interior featuring a hanabishi design, the exterior with a central dragon flying amid swirling clouds on a purple-ground sky, the silver kanamono (pouch clasp) in the form of a coiling dragon with a flaming tama gripped in its talons, the scales and details very finely worked. The silver two-part manju similarly worked with a writhing dragon with gilt eyes gripping a tama, the reverse with swirling clouds, attached to the pouch by a chain and an ojime with rounded sides worked with the Tokugawa mon to the center, likely indicating this was ordered and worn by a high-ranking official.LENGTH 14.8 cm (the pouch), DIAMETER 4.9 cm (the netsuke)WEIGHT 168 g (total)Condition: The netsuke in very good condition with minor wear. The pouch in very good condition with minor wear, traces of use, rubbing to the leather edges, and minor loose threads.The Tokugawa's clan symbol, known in Japanese as a mon, the "triple hollyhock" (although commonly, but mistakenly identified as "hollyhock", the aoi actually belongs to the birthwort family and translates as "wild ginger"—Asarum), has been a readily recognized icon in Japan, symbolizing in equal parts the Tokugawa clan and the last shogunate.
A FINE INLAID IVORY MANJU NETSUKE OF KACHO-GA TYPEUnsignedJapan, Tokyo, late 19th century, Meiji period (1868-1912)The two-part ivory manju netsuke superbly inlaid in Shibayama-style with shakudo, coral, green-stained horn, tortoiseshell, mother-of-pearl, and horn with a black crow flying towards a leafy branch bearing two ripe persimmons. The feathers of the crow are finely incised, its wings detailed in gold zogan. The verso with a wisteria vine, its blossoms inlaid in mother-of-pearl. The back with a central floral himotoshi, the cord attachment within.DIAMETER 4.4 cmCondition: Good condition with minor wear. One coral inlay replaced.This motif is known as kacho-ga 花鳥画, meaning 'birds and flowers,' and it was introduced to Japan from China during the 14th century around the Muromachi period (1336-1573). The motif was extremely popular in China, but it developed its own distinct style in Japan over the centuries.Museum comparison:Compare a related ivory manju netsuke with similar inlays depicting a goose with chrysanthemums and a swallow next to a wisteria vine on the verso, unsigned, dated 19th century, in the Metropolitan Museum of Art (The MET), accession number 10.211.1276.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2301000020-K). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
SARI: A SUPERB WOOD NETSUKE OF A PAIR OF BLOWFISH (FUGU)By Sari, signed Sari 左里Japan, Iwashiro province, c. 1800-1820, Edo period (1615-1868)A pleasingly tactile and ideally rounded group of two blowfish, their distended bodies curling around each other, head to tail, in the form of a double comma (tomoe). The bold and simple design is finely executed with clever use of staining, their underbellies being masterfully stippled in ukibori. Natural himotoshi through one of the tail fins. Signed to the base SARI within the typical raised elliptical reserve.LENGTH 4.1 cmCondition: Very good condition with minor surface wear and light scratches. Tiny chips along the fins, smoothened over time.Provenance: From an old German private collection.The fugu fish blows up like a ball when threatened and its white flesh is highly prized in Japan. However, a poison sac in the fish's entrails is so deadly that a chef must train for years before he can serve it, when it is traditionally arranged presented in paper-thin slices in the design of a chrysanthemum or a crane. Even so, deaths still occur as a result of fugu poisoning.Museum comparison:For a closely related pair of blowfish, by Sari, see Los Angeles County Museum of Art, accession number AC1998.249.22.Auction comparison:Compare a related wood netsuke of two fugu fishes by Sari, early 19th century, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke - Part I, 8 November 2016, London, lot 163 (sold for 5,000 GBP).
TEIJI: A MASTERFUL LACQUERED AND CERAMIC-INLAID MANJU OF DARUMA BEHIND IRON BARSBy Teiji, signed Teiji 貞二Japan, Nagoya, mid-19th century, Edo period (1615-1868)The netsuke of manju shape and lacquered in roiro with iro-e hiramaki-e, as well as inlaid with mother-of-pearl and horn, depicting a moveable ceramic Daruma seated behind iron bars — an allusion to a brothel, which the Bodhidharma reputedly frequented. The ceramic Daruma dressed in an red robe with a cowl covering his head, his face carved with an impish expression, caught red-handed, peering through the confines of a brothel with ishime bars, overgrown with leafy vines. The reverse with two himotoshi and signed TEIJI.DIAMETER 4.3 cmCondition: Very good condition with minor 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. From the 1970s onward, 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.Auction comparison:Compare a related lacquered and ceramic-inlaid manju of an octopus in a pot, by Teiji, at Galerie Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 318 (sold for EUR 6,100). Compare a related lacquered and pottery-inlaid manju netsuke of Daruma inside a cave, by Kan, at Galerie Zacke, Fine Netsuke & Sagemono, 4 November 2022, Vienna, lot 108 (sold for EUR 2,860).
MITSUTOSHI: AN AMUSING IVORY NETSUKE OF SHOKI AND ONIBy Mitsutoshi, signed Mitsutoshi 光俊Japan, Tokyo, Meiji period (1868-1912)Expressively carved and stained depicting the pot-bellied demon queller standing alert, one hand holding the hem of his voluminous robe, the other tightly clasped around the hilt of his sword, as he suspects movement to the top of his head. As usual, a mischievous oni is shown clambering on top of his hat, staying low, trying to avoid detection. Asymmetrical himotoshi to the back and signed underneath MITSUTOSHI.HEIGHT 5.8 cmCondition: Very good condition with minor surface wear.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 24-B-0074).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
ALEXANDER DERKACHENKO: TIGER WITH BUTTERFLYBy Alexander Derkachenko, signed with the artist's markUkraine, late 1990s to early 2000sA humorous mammoth tusk netsuke depicting a crouching tiger snarling at a gold-inlaid butterfly, sitting on the tip of its tail, the feline attempting to hold its tail down to be within reach of the fluttering insect, its body finely incised with fur and the scowling face detailed with emerald-green glass eyes. Himotoshi to the base and signed with the typical artist's signature within a reserve.LENGTH 3.6 cmCondition: Excellent condition.Provenance: From an Austrian private collection formed in the 1990s-early 2000s.
NOBUKAZU: A FINE WOOD NETSUKE OF AN EAGLE ATTACKING A MONKEYBy Nobukazu, signed Nobukazu 信一 to 刀Japan, 19th century, Edo period (1615-1868)Finely carved, the large bird, with wings partly spread, standing on its terrified prey as it prepares to feast. The monkey's mouth opening in a scream, reaching back with one arm to free itself from the predator's talons. The eagle's feathers are finely incised and stained, and its eyes inlaid in bone and red horn; the monkey's eyes inlaid with red and dark horn. Natural himotoshi, signed within a polished oval reserved NOBUKAZU.HEIGHT 4.8 cmCondition: Professional restorations and repairs to the beak and right wing of the eagle. Some general wear, presenting overall very well.Literature comparison:Compare a closely related wood netsuke of an eagle and monkeys similarly modeled, signed Nobukazu, illustrated in Scholten Japanese Art (2001) Expressions of Style: Netsuke as Art, p. 146, no. 182.Auction comparison:Compare a related wood netsuke of an eagle and monkey, unsigned, dated to the mid 19th century, at Bonhams, Fine Japanese Art, 10 November 2016, London, lot 249 (sold for GBP 2,500).
A POWERFUL WOOD NETSUKE OF KAN'U WITH HIS HALBERDUnsignedJapan, late 18th to early 19th century, Edo period (1615-1868)Boldly carved, the God of War standing holding his halberd in one hand, its blade issuing from a stylized dragon's mouth, pensively stroking his long beard with his other hand. His robes detailed with incised tiger skin stripes, tied at the waist by a sash with a central lion mask ornament. Generously excavated himotoshi to the back. The well-toned wood bearing a good patina.HEIGHT 7.8 cmCondition: Very good condition with only minor wear, small chip to the halberd's handle smoothened over time.
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