A GROUP OF THREE NETSUKEUnsignedJapan, 19th centuryThe first porcelain netsuke depicting a rotund Hotei seated wearing a finely painted robes with check patterns along the back. Two small himotoshi, one on the back and another on the base.The second made of finely patinated antler horn, smoothened in areas. The curving horns has naturalistic bumps with three himotoshi at the center.The third consists of a wood netsuke depicting a fisherman struggling with a giant carp. Panicked look finely detailed on the face of the fisherman as he attempts to wrestle the large fish into submission. Two small himotoshi to the base.LENGTH 3.8, 7.2 cm and 5.5 cmCondition: Overall good condition with surface wear, manufacturing irregularities, small scratches, light nicks, nibbling, and the foot of the fisherman lost.Provenance: Estate of Wolfgang Zacke (1942-2022), co-founder of Galerie Zacke, thence by descent.
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AN INLAID WOOD NETSUKE OF A COMIC PERFORMER, EDO PERIODJapan, 19th century, Edo period (1615-1868) The finely carved antler and coral-inlaid netsuke portraying a comic performer wearing a mask of Okame, one arm playfully held aloft, the other lifting his robe, a tobacco pouch and a pipe case tied around the waist. The backside with the two himotoshi. HEIGHT 5.8 cm Condition: Good condition with minor surface wear, feet potentially Provenance: Canadian private collection.
A MIXED METAL NETSUKE OF A POUCHUnsignedJapan, 19th centuryFinely worked, the oval pouch decorated with florets above crashing waves. A central flap linked to an upper hinge with a bronze blossom button. The back with a loose ring for suspension.LENGTH 4.6 cmCondition: Very good condition with minor wear, small nicks, and shallow dents.Provenance: Galerie Max, Brussels, 19 October 1939. Collection of Robert and Isabelle de Strycker, acquired from the above. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').
A RARE SILVER-INLAID IRON MANJU NETSUKEUnsignedJapan, 18th-19th century, Edo period (1615-1868)Of circular form, the two-part manju netsuke very finely worked in flat hirazogan inlay of rinzu, shippo, cash coins, and other formal designs in silver and gold. Himotoshi to the back, the cord attachment within. DIAMETER 4.5Condition: Very good condition with minor typical wear and minuscule losses to inlays.
A FINE EBONY WOOD NETSUKE OF A HAMAGURI CLAM WITH INLAYS, 19th CENTURYJapan, 19th centuryThe naturalistically carved clam is inlaid to the top with a smaller antler clam and a malachite insert, now partially lost and chipped. Generous asymmetrical himotoshi underneath, one lined in antler.LENGTH 4.3 cm Condition: With losses to the malachite inlay, otherwise good condition with minor wear and small notches. Provenance: From the collection of Gaston Lazard (1878-1956) and his wife Jane Levy (1886-1985) and thence by descent within the same family.
IKKO: A RARE INLAID WOOD NETSUKE OF KIKUJIDO BENEATH A MOONLIT SKYBy Hasegawa Ikko, signed Ikko 一光Japan, early to mid-19th century, Edo period (1615-1868)Of quadrilobed, manju-style, low table form, finely carved depicting a recumbent Kikujido wearing a mugwort leaf skirt, holding a brush, next to three reishi sprouts, all beneath a cloudy sky with a full moon. The moon and brush are inlaid with mother-of-pearl while the reishi and leaf skirt are inlaid with green stained antler and translucent horn respectively; the eyes are minute inlays of dark buffalo horn. Chrysanthemum leaves decorate the sides, which are carved in openwork, the underside pierced with a single floral himotoshi. Signed to the back IKKO on a mother-of-pearl inlaid tablet.LENGTH 4.1 cmCondition: Very good condition with minor wear and remnants of gold and red lacquer. Some wear to the cord hole.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and was exhibited over several decades at the Asia-Africa Museum in Geneva.Kikujido (the chrysanthemum boy) appears in Makurajido and remained youthful even with the passing of 700 years after writing the lines of the Lotus Sutra, graciously gifted to him by the Emperor, on the leaves of a chrysanthemum, when the dew drops from the chrysanthemum became an elixir for immortality.Literature comparison:Compare a related manju netsuke in the form of a nyoi sceptre, signed Ikko and with similar use of inlays, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 224.
SHIBATA ZESHIN: A FINE LACQUER ITOMAKI NETSUKEBy Shibata Zeshin (1807-1891), signed Zeshin 是眞Japan, c. 1860The two-part cushion-shaped netsuke serving as a silk spool (itomaki), silver thread wrapped tightly around it in one direction and gold in the other, a small section of loose gold thread visible near the bottom, all against a stunning red and black mokume ground. The interior with gold fundame edges and densely sprinkled nashiji, the looped cord attachment of silver. Signed to the reverse within a double-ringed oval reserve in carefully lacquered characters ZESHIN.LENGTH 4 cmCondition: Excellent condition.Provenance: Ex-collection Charles Greenfield, old collection label 'Greenfield Collection' pasted inside. Sold at Zacke, Fine Netsuke & Sagemono, 22 April 2022, Vienna, lot 239, for EUR 5,526.The subject references the Tanabata festival and enduring love.Literature comparison:A closely related example by Shibata Zeshin is illustrated in Bandini, Rosemary (2020) The Larry Caplan Collection of Japanese Netsuke, no. 53.
A FINE LACQUER HAKO NETSUKE DEPICTING AUTUMNAL FLOWERSUnsignedJapan, 19th century, Edo period (1615-1868)The two-part hako (box) netsuke bearing a highly attractive roiro ground and lacquered in rich gold takamaki-e and e-nashiji with blooming autumn flowers amongst leaves, the details embellished with kirigane flakes. The interior of dense nashiji with gold fundame rims. Central himotoshi to the back, the cord attachment within.LENGTH 3.2 cmCondition: Very good condition with minor wear, the kirigane with typical wear and some losses.Provenance: Tamenne Gallery, Brussels, December 26, 1967. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent within the same family. An old collector's label, 'N 289 bis.' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Asian art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938, they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976).
AN UNUSUAL TSUISHU HAKO NETSUKE WITH KARAKO MUSICIANSUnsignedJapan, 18th century, Edo period (1615-1868)The hako (box) netsuke of quatrefoil shape, consisting of two parts, worked in tsuishu (carved red lacquer), the front depicting a drumming karako, the horizon showing rocks issuing leaves, a pavilion and the moon, all against a finely incised asanoha ground. The reverse is similarly decorated with a karako playing a Chinese wind instrument below a towering pine tree. The sides are decorated with reishi clouds, further asanoha and various plants. Central himotoshi to the back, the looped cord attachment with kiku mount inside. The interior lacquered in black.LENGTH 3.6 cmCondition: Very good condition, some very minor chips and wear to edges. The interior with some wear and minor losses.Provenance: Ex-collection Raymond Bushell, sold at Sotheby's, Japanese and Korean Works of Art, 21 March 2001, New York, lot 145.
A RARE TSUISHU LACQUER MANJU NETSUKE WITH CHINESE SCHOLARS AND MULEUnsignedJapan, 18th century, Edo period (1615-1868)An early tsuishu lacquer netsuke of two-part manju type, the front decorated in relief with a Chinese scholar standing next to a mule below a pine tree, the ground bearing a fine asanoha design. The verso shows a further scholar and tree, reishi clouds, craggy rocks, and more of the beautifully incised asanoha ground. Central himotoshi to the back, the looped cord attachment to the black-lacquered interior which shows a finely worked design of a ho-o bird and clouds.DIAMETER 4 cmCondition: Very good condition with minor wear to exterior. The interior with a fine crack and some wear along the edges.Provenance: Austrian private collection, remnants of an old label to the interior.
A COROZO NUT NETSUKE OF DAIKOKUBy Gyokuzan, signed Gyokuzan 玉山Japan, 19th centuryA pleasingly tactile and well-carved, stained corozo nut netsuke depicting the lucky god Hotei. The laughing deity carved with a wrinkled and high forehead with crinkled eyes flanked by huge ears, a symbol of good luck, the outer skin of the nut surrounding the head like a headdress. Himotoshi to the back and signed in a sunken reserve GYOKUZAN.HEIGHT 3.9 cmCondition: Very good condition with minor wear and natural imperfections.Provenance: Collection of Robert and Isabelle de Strycker, acquired from the above. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').This material is rarely encountered in netsuke art as it is notoriously difficult to carve but was on occasion used by carvers of the Tokyo school. It was probably brought to Japan by the Dutch. Corozo nut is also known as 'vegetable ivory' due to its similar appearance.Museum comparison:Compare a closely related corozo netsuke of Fukurokuju, by Gyokuzan, formerly in the Trumpf collection and now in the Linden Museum Stuttgart, inventory number OA 18738.
A FINE WALRUS TUSK NETSUKE OF A MUSHROOM WITH LOTUS AND GINKGOUnsignedJapan, Tokyo, Asakusa district, second half of 19th centuryFinely carved as a mushroom cap with a ginkgo leaf on top of it, the underside with the neatly incised radial gills and a budding leafy lotus flower forming the cord attachment. The walrus tusk bearing an attractive color and with pleasing 'milky' inclusions throughout.LENGTH 3.8 cmCondition: Excellent condition, minor wear, few natural age cracks.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.
AN ANTLER NETSUKE OF A BOY WITH DRUM, 19th CENTURYJapan, 19th century, Edo period (1615-1868) Finely carved as a karako (Chinese boy) standing in a dynamic pose, one hand firmly grips and supports an hourglass drum on his shoulder, while the other skillfully plays the drum, note the finely carved cheerful expression. Plugged to the bottom and top, the back with two himotoshi. HEIGHT 4 cmCondition: Very good condition with expected wear and natural age cracks. Fine honey-yellow patina.
A LARGE ANTLER NETSUKE OF HOTEI INSIDE HIS TREASURE BAGJapan, 18th century, Edo period (1615-1868)Skillfully carved from a particularly large branch segment of the antler, depicting Hotei peeking out from his treasure bag, the face with a joyful expression, the mouth wide open to form a smile, his right hand holding a fan. Two himotoshi through the back and two antler plugs in the corners of the bag. Superb patina.HEIGHT 6.4 cmCondition: Very good condition, natural imperfections, minor age cracks:Provenance: German private collection.
A FINE ANTLER NETSUKE OF KAN'UUnsignedJapan, 19th centuryThe god of war standing, holding his halberd in the right hand and stroking his beard pensively, his armor and robe engraved in very fine detail with mail and floral medallions above stylized waves. The hat with a plug shaped as a rosette inlaid with dark horn. Good, asymmetrical himotoshi to the back.HEIGHT 6.2 cmCondition: Very good condition, minor wear.
A RARE ANTLER NETSUKE OF AN ISLANDERJapan, 18th century, Edo period (1615-1868)Carved as an islander sitting on a rocky plinth, the face with an joyful expression, his curly hair falling neatly down on his shoulders, and holding a coral branch in his right hand. Large himotoshi through the base and side of the body.HEIGHT 4.4 cmCondition: Very good condition, natural imperfections and with minor wear.Provenance: German private collection.
AN ANTLER RYUSA MANJU NETSUKE OF A KIRIN AND PHOENIXJapan, Asakusa, Tokyo, 19th centuryOf irregular form, carved in openwork and with natural openings at the side, the top depicting a fierce kirin, with a long horn, bushy curls, and a flaming tail. The reverse showing a phoenix with a feathery tail, its head turned backwards, and one central himotoshi. LENGTH 3.3 cm Condition: Very good condition with minor traces of wear and age and fine patina.
A FINE ANTLER RYUSA MANJU NETSUKE OF RAIJINUnsignedJapan, 19th century, Edo period (1615-1868)Finely carved in openwork, the front showing a powerful image of the Thunder God Raijin painting a tomo-e crest on one of his drums, dressed only in a loincloth and engulfed by a billowing shawl, his visible eye inlaid, the details stained in sumi (ink). The reverse is carved with two large, ringed cord holes, a bolt of lightning, and a second drum. The antler bearing a fine patina.LENGTH 4.8 cmCondition: Excellent condition with minor typical wear, few light age cracks, natural imperfections.Provenance: Lempertz, Netsuke-Sammlung Kolodotschko II, 6 December 2014, Cologne, lot 774 (sold for 2,728 EUR).
A RARE ANTLER RYUSA MANJU NETSUKE OF A STYLIZED 'BAT' DRAGONUnsignedJapan, 19th centuryFinely carved in openwork depicting a bat-like dragon in profile, its long curved beak screeching, surrounded by billowing clouds, the sides with neatly carved lotus leaves, the verso with stylized floral emblems and the himotoshi formed by one oval and one circular opening. The carving shares some characteristics with the famous Asakusa carvers but looks to be earlier of date.DIAMETER 4.1 cmCondition: Excellent condition with minor typical wear, natural imperfections.Literature comparison:A near-identical manju is illustrated in Joly, Henri L. (1966) The W. L. Behrens Collection, Part 1, Netsuke, pl. XXVII, no. 1498.
AN ANTLER NETSUKE OF GAMA SENNIN SITTING ON A TOADJapan, Edo period (1615-1868)Humorously carved, the hermit seated on a large toad, its warty skin detailed with incision work. Gama's expression is amusingly grim, as the toad usually sits on his shoulder, now their positions are reversed. Good himotoshi to the back. The antler bearing a fine yellowish patina.HEIGHT 3.7 cmCondition: Very good condition with wear, rubbing, and natural flawsProvenance: French private collection.
A FINE ANTLER NETSUKE OF SHOKI AND ONIJapan, Edo period (1615-1868)Finely carved, the fierce Shoki standing dragging a resistant oni by one leg, holding his sword in his other hand. Clad in armor, the Shoki's stern face with a large beard finely detailed with minute incised lines, his brows furrowed, eyes narrowed, and mouth grimacing. The thin oni's face dragging along the ground, his two paws humorously clawing at the ground in resistance. Two himotoshi to the back.HEIGHT 4.9 cmCondition: Very good condition with minor wear, natural flaws, and age cracks.Provenance: French private collection.
AN EARLY ANTLER NETSUKE OF A SHISHI ON A ROCK, 18th CENTURYJapan, 18th century, Edo period (1615-1868)Carved with the front legs placed onto a rock, the flaming tail and mane finely incised, the mouth agape in a roar, with a loose ball inside. One large, generously excavated himotoshi through the underside and another to one side. Appealing patina. LENGTH 5.5 cm Condition: Good condition with expected wear and natural flaws to the material. Provenance: Hungarian private collection.
AN ANTLER NETSUKE OF A BAMBOO SHOOT, EDO PERIODJapan, 19th century, Edo period (1615-1868)The antler netsuke finely carved in the form of a bamboo shoot with neatly incised geometrical patterns and adorned with coral inlays. The single suspension loop on the top functioning as the himotoshi. LENGTH 9.7 cm Condition: Excellent condition with minor wear. Provenance: French private collection.
A LOT WITH NINE ANTLER NETSUKE, EDO - MEIJIJapan, 19th century to early 20th centuryThree carved from the coronet of the antler, the outer part left uncarved to retain the natural beauty of the material. The other six depicting different motifs such as a cicada, clams, or a tortoise shell. HEIGHT 4.4 cm to 6.7 cm Condition: Overall good condition with associated surface wear, natural flaws to the materials and tiny nicks here and there. Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.
A LOT WITH SIX ANTLER NETSUKE, EDO - MEIJIJapan, 19th century to early 20th centuryThe first depicting a dutchman, himotoshi through the backside. The second a mask netsuke of Jurojin, the mouth pierced and with a single himotoshi through the bar at the back. The third depicting another dutchman, himotoshi through the back. The fourth depicting a sennin standing, wearing a loose-fitting robe tied at the waist and holding a broom with both hands, his face with a joyous expression, the hair arranged in two buns, two asymmetrical himotoshi to the back. The fifth carved as a fox priest, himotoshi through the back. The sixth and last depicting the lucky god Jurojin holding a scroll, himotoshi through the back. HEIGHT 4 cm to 7.2 cm Condition: Good condition with associated surface wear, natural flaws to the materials, tiny nicks here and there and natural age cracks. Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.
AN ANTLER NETSUKE OF A RECUMBENT OX WITH BOY, EDO PERIODJapan, 19th century, Edo period (1615-1868)Well carved, depicting a reclining ox with inlaid eyes, with a small boy dressed in a loose robe, holding the rope halter as he tries to climb onto the animals back. The underside with the two himotoshi. Appealing patina and wear. LENGTH 7.8 cm Condition: Very good condition with some surface wear, and natural imperfections to the material. One plug lost. Provenance: German private collection.
AN ANTLER MASK NETSUKE OF HANNYAUnsignedJapan, 18th century, Edo period (1615-1868)Boldly carved from a tubular section of naturally hollowed antler, the elongated face set with a devious expression with sharp fangs, and two small horns protruding from its finely incised hair. The eyes and nostrils pierced and the forehead extending in an exaggerated arch. Large central himotoshi to the thick bar in the back. The antler finely stained and bearing a superb, deep patina.HEIGHT 6 cmCondition: Very good condition with minor wear and typical natural flaws to the materialProvenance: Ex-collection Richard R. Silverman. European collection P. Jacquesson, acquired from the above on 29 September 2005. 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.Museum comparison:Compare a related antler mask netsuke, formerly in the Trumpf collection and now in the Linden Museum Stuttgart, inventory number OA 18928.
A WOOD MASK NETSUKE OF OKINA (HAKUSHIKIJO), 19th CENTURYJapan, 19th century The Okina (Old Man) mask, carved and stained in a characteristic manner showing the lower jaw and chin separated from the rest of the mask, attached with two straps. The beard flowing from the chin to the interior of the mask, the eyebrows in the form of circular tufts, the mouth slightly open revealing two teeth, and a broad nose. The beard in the back is forming the natural himotoshi, the back incised with the characters MAN NEN (10.000 years). HEIGHT 4.3 cm Condition: Excellent condition with minor wear. Provenance: Dutch private collection, acquired from Marsha Vargas, San Francisco.
YOSHITSUGU: A RARE SILVER-PATINATED BRONZE NETSUKE OF JUROJINBy Yoshitsugu, signed Yoshitsugu 美亜Japan, 19th century, Edo period (1615-1868)Published: Bushell, Raymond (1985), Netsuke Masks, p. 64, pls. 267.Finely cast depicting Jurojin with his large bushy beard, wrinkled forehead, and large ears with pendulous lobes. His mouth is upturned in a scowl and his brows are furrowed with small eyes, the large nose pierced with nostrils. Signed to the interior YOSHITSUGU. Looped himotoshi to the back. The bronze finely polished and patinated to a silverish tone.HEIGHT 4.3 cmCondition: Excellent condition with minor typical surface wear.Provenance: Ex-collection Raymond Bushell. Sotheby's, Netsuke from the Collection of Raymond and Frances Bushell, 21 March 2000, lot 301. European collection P. Jacquesson, acquired from the above.
SEKISEN: AN ONKO POTTERY MASK NETSUKE OF TENGUBy Sekisen, signed Sekisen 石仙Japan, late 19th to early 20th century, Meiji period (1868-1912)Finely modeled, the karasu tengu with a small beak with slanted nostrils and showing a frown, all below large bulging eyes painted in white enamel, and with pierced pupils and furrowed brows.HEIGHT 4.6 cmCondition: Repair to a section of the forehead. Otherwise good condition. Provenance: Denis Brugerolles of Galerie Yamato, Paris, 6 March 2004. European collection P. Jacquesson, acquired from the above.The largest number of ceramic mask netsuke are Onko ware. These netsuke are unglazed. The preparation of the clay and the way they were fired in the kiln created a unique texture that is very impressive. These masks were produced during the late 19th and early 20th century and are known for their robustness. The prominent signatures (or seals) are Sekisen (father and son) and Sekiho. Others such as Onko, Futaminoura, and Shinryoen are rarer. Some of the works are unmarked.
YOSHIHIDE: A WOOD MASK NETSUKE OF AN OLD MAN (JO), 19th CENTURYBy Yoshihide, signed YoshihideJapan, late 19th century Well carved, depicting the mask of an old man with a cheerful facial expression, with deep incised wrinkles on his forehead, a prominent nose, his mouth open in a subtle smile showing his teeth, flanked by a long mustache and a chin beard. The back with a himotoshi bar, bearing the incised artist signature YOSHIHIDE. Remnants of paint and fine patina. HEIGHT 4.2 cm Condition: Very good condition with traces of wear and age. Provenance: Dutch private collection.
DEME UMAN: A WOOD MASK NETSUKE OF BUAKU, EDO PERIODBy Deme Uman, signed Deme Uman 出目右滿 and Tenkaichi 天下一 Japan, Edo (Tokyo), early 19th century, Edo period (1615-1868)Finely carved as a Buaku mask with pierced eyes, bushy brows, a broad nose, accentuated cheeks, and biting his lower lip, hence showing the upper row of teeth. The back with a thick central bar housing the himotoshi and the artist signature DEME UMAN as well as a further carved inscription Tenkaichi (number one under the heaven). HEIGHT 3.8 cm Condition: Very good condition with minimal surface wear. Provenance: Dutch private collection. Deme Uman was the grandson of Deme Juman, who is credited as the originator of mask netsuke. He is regarded as the most celebrated of mask netsuke makers and worked almost invariably in wood. Like in the present lot, he often inscribed his work with the honorific title of Tenkaichi 天下一.
KOYOSAI TADATOMO: A WOOD NETSUKE OF A SHISHI HEADBy Koyosai Tadatomo, signed Koyosai TadatomoJapan, 19th century, Edo period (1615-1868)Superbly carved, the scowling face with a hinged jaw opening to reveal the tongue and sharp teeth, the eyes hollowed below furrowed brows, the broad nose with similarly hollowed nostrils, the neatly incised mane falling in heavy curls to the side and chin. Himotoshi to the base through the back and signed Koyosai TADATOMO.HEIGHT 3.5 cmCondition: Very good condition with minor wear and typical traces of use. Few tiny nick to the underside. Beautiful patina.The Shishi mask originated in the rites of exorcism of Japanese protohistory. The original Japanese mask was absorbed into dance and drama in the seventh and eighth centuries when Gigaku and Bugaku were introduced from the Asian mainland. Unlike most masks, Shishi masks enjoyed an unrestricted and natural development, free of the shackles imposed by the prototypes. The shishi masked dance (shishimai) is performed to ward off disease and calamity. It originated as a religious ceremony but the excitement of the dance, the music, and the rhythms increased over the centuries, so that over time it was performed for entertainment rather than ritualistic purposes.
SHUGETSU: A FINE WOOD MASK NETSUKE OF YASE-ONNA (EMACIATED WOMAN)By Shugetsu, signed Shugetsu saku with sealJapan, Edo (Tokyo), mid to late 19th centuryExpressively carved, the old, emaciated woman with deeply incised wrinkles around her mouth, eyes, and forehead, staring straight ahead with eyes inlaid in bone and the mouth slightly ajar. The reverse with a central himotoshi bar with asymmetrical himotoshi, one stained green, and signed SHUGETSU saku [Made by Shugetsu] with an inlaid seal.HEIGHT 4 cmCondition: Very good condition with minor wear and typical traces of use.Provenance: Klefisch, Cologne, 25 November 1995, lot 391. 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.
HO RAKUMIN: A WOOD AND LACQUER MASK NETSUKE OF A SHOJOBy Ho Rakumin (1804-1877), signed Ho Hogen 鴇 法眼 with kakihanJapan, Edo/Tokyo, second half of 19th centurySkillfully carved as a young man, the pierced mouth opened in a charming smile revealing rows of teeth, the narrowed eyes with recessed pupils, the neatly incised eyebrows and parted hair as well as the thin lips lacquered red. The reverse with a himotoshi bar below the signature Ho Hogen with a kakihan. The artist is Ho Rakumin, for further examples bearing this signature see MCI p. 160.HEIGHT 4.1 cmCondition: Very good condition with minor wear. Provenance: Ex-collection John and Helen Mang. Quinn's Auction Galleries, The Mang Collection of Japanese Netsuke, 7 December 2012, Falls Church, Virginia, USA, lot 119. European collection P. Jacquesson, acquired from the above.Shojo is used exclusively for the play Shojo (The Dancing Orangutan). Despite the name, the mask is that of a smiling youth, certainly not an ape at all. The distinguishing feature of Shojo is his overall reddish color, the color which symbolizes the drunkard. Shojo's hair is painted downward on his forehead in thin separated strands or bangs. For his dance the actor always wears a wig of long red hair with the Shojo mask. The dance symbolizes a drunken orangutan. Some Noh schools use a group of seven dancers all wearing Shojo masks to represent the orangutan.Ho Rakumin (1804-1877) was born in Tsuchiura in Hitachi Province (now Ibaraki Prefecture). He received the honorary title Hogen and was, together with Hojitsu, one of the best netsuke carvers in Tokyo.Literature comparison: Compare a related wood netsuke, also with red hair, by Keizan, illustrated in Joly, Henri L. (1966) The W. L. Behrens Collection, Part 1, Netsuke, pl. IV, no. 186, and in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 321.Museum comparison: A polychrome wood mask of Shojo, dated to the Muromachi period, 15th-16th century, is in the Tokyo National Museum, collection reference no. C-1535.
TOMOKAZU: A FINE IVORY MASK NETSUKE OF KARASU TENGUBy Tomokazu, signed Tomokazu 友一Japan, early 19th century, Edo period (1615-1868)Finely carved, the crow-beaked tengu with distinct human features, wearing a cloth tied around his head as if from a toothache. The expression on its face is stern, its furrowed brows set above inlaid buffalo horn eyes. The back carved with a simulated wood grain and with good functional himotoshi. Signed to the back TOMOKAZU. The ivory bearing a fine, glossy patina.HEIGHT 3.8 cmCondition: Very good condition with minor wear and expected age cracks.Provenance: European collection P. Jacquesson.Tengu were considered the embodiment of powerful and usually malevolent spirits who, in Japanese folk beliefs, inhabit the woodlands of high mountains. There are two principal forms of tengu: the karasa tengu and the konoha tengu. They are typically represented as having human bodies, wings, and sometimes talons in place of hands and feet. The karasu tengu has a birdlike head complete with a strong, sharp beak. The konoha tengu has a human face, distorted by an enormously long nose.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0336 ).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.
KIKUYAMA: A WOOD MASK NETSUKE OF A ONE-HORNED ONIBy Kikuyama, signed Ranjintei Kikuyama rofu 蘭人亭 菊山 老夫Japan, late 18th to early 19th centuryPublished: Welch, Mattew / Chappell, Sharen (1999) Netsuke: The Japanese Art of Miniature Carving, p. 51, no. 53.Boldy carved and depicting an oni with an amused expression, the sneering grin with antler-inlaid fangs piercing through the corners of the mouth, the eyes black inlay against a red ground, all under bushy, shabby brows surmounted by a single horn. The reverse with a central himotoshi bar and signed Ranjintei KIKUYAMA rofu [Kikuyama, an old man, the art name Ranjintei].HEIGHT 4.7 cmCondition: Very good condition with minor wear.Provenance: Sotheby's, 26 July 2007, London, lot 65. Robert Fleischel, Paris, 2007. European collection P. Jacquesson, acquired from the above.Literature comparison:Compare a closely related red lacquer netsuke of a one-horned oni illustrated in Bushell, Raymond (1985), Netsuke Masks, pl. 45.
SHOUNSAI JORYU: A RARE HONEN (HORNBILL) MASK NETSUKE OF AN ONIBy Shounsai Joryu, signed Shounsai 升雲齋 with kakihanJapan, Edo (Tokyo), first half of 19th century, Edo period (1615-1868)Published: Collectors' Encyclopedia of Antiques (1973), no. 568.Bushell, Raymond (1985), Netsuke Masks, pl. 46.The hornbill remarkably carved, thinning at the edges, depicting an oni with an amusing expression, the naturally red areas used for the hair, horns, eyebrows, and blushing cheeks. The reverse with a central himotoshi bar and signed SHOUNSAI (Joryu) with a red kakihan.HEIGHT 3.3 cmCondition: Very good condition with minor wear and few natural age cracks.Provenance: Ex-collection Raymond Bushell. Christie's, The Raymond and Frances Bushell Collection of Netsuke, Part I, 27 October 1987, New York, lot 187. Robert Fleischel, Paris, France. European collection P. Jacquesson, acquired from the above.The hornbill is a bird of the Bucerotidae family having a large bill with a basal bony protuberance partly colored bright orange, known as honen and often used for inlaying the eyes of netsuke depicting rats, rabbits, and other animals whose eyes are red. Netsuke entirely carved from honen are exceedingly rare.Auction comparison:Compare to a closely related oni mask by Joryu's contemproary Jugyoku at Sotheby's, The Katchen Collection of Netsuke, 8 November 2005, London, lot 65 (sold for 5,040 GBP).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 IVORY MASK NETSUKE OF A KARASU TENGUUnsignedJapan, Osaka, late 18th to early 19th century, Edo period (1615-1868)Finely carved, the exaggeratedly long beak of the tengu curving downwards, the large eyes set with heavy bags and a sorrowful expression. Its furrowed brows and beak finely detailed with small hairs. Good himotoshi to the back, which bears a simulated wood grain, and the nostrils pierced as well, so that the netsuke could also be worn as a pendant. The ivory bearing a fine, glossy patina.LENGTH 5.3 cmCondition: Very good condition with minor wear and expected age cracksProvenance: Ancient collection Albert Brockhaus (1855-1921). Kunsthandel Klefisch, Auction 50, September 1992, Cologne, lot 346. Lempertz, 10 June 2006, Cologne, lot 906. European collection P. Jacquesson, acquired from the above.Tengu were considered the embodiment of powerful and usually malevolent spirits who, in Japanese folk beliefs, inhabit the woodlands of high mountains. There are two principal forms of tengu: the karasa tengu and the konoha tengu. They are typically represented as having human bodies, wings, and sometimes talons in place of hands and feet. The karasu tengu has a birdlike head complete with a strong, sharp beak. The konoha tengu has a human face, distorted by an enormously long nose.Auction comparison:Compare a closely related ivory mask netsuke of karasu tengu, signed Garaku, with similar bags beneath the eyes, at Kunsthandel Klefisch, Auction 60, 15 June 1996, Cologne, lot 638.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0337). 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.
GYOKUIN: A SUPERB AND LARGE WOOD MASK NETSUKE OF A LAMENTING KARASU TENGUBy Gyokuin, signed Gyokuin 玉因Japan, 18th century, Edo period (1615-1868)Published:Brockhaus, Albert (1909) Netsuke. Versuch einer Geschichte der japanischen Schnitzkunst, p. 463, no. 889 (unillustrated).Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 95 (unillustrated).Wilhelm, Gabor (1992) Netsuke Kenkyukai Society Journal, vol. 12., no. 4, p. 37.Masterfully carved, the tengu's face set with a comically distraught expression. Its eyes, made of inlaid metal, looking woefully upwards beneath furrowed brows. Its beaked mouth is closed tightly, creating wrinkles around the edges, and its humanoid face has boy-like hair falling in strands to both sides. The nostrils are humorously carved with abnormally long nose hair. Pleasing to the touch, the smooth wood is finely polished and has a rich, unctuous patina. The central himotoshi bar to the back with the signature GYOKUIN - this appears to be the only recorded work by this artist.HEIGHT 6.4 cmCondition: Very good condition with minor wear. The back with an antique Japanese restoration to an old crack in the form of a metal staple.Provenance: Ancient collection Albert Brockhaus (1855-1921), Leipzig. Kunsthandel Klefisch, Auction 50, September 1992, Cologne, lot 347. European collection P. Jacquesson, acquired from the above.Tengu were considered the embodiment of powerful and usually malevolent spirits who, in Japanese folk beliefs, inhabit the woodlands of high mountains. There are two principal forms of tengu: the karasu tengu and konoha tengu. They are typically represented as having human bodies, wings, and sometimes talons in place of hands and feet. The karasu tengu has a birdlike head complete with a strong, sharp beak. The konoha tengu has a human face, distorted by an enormously long nose.
ALEXANDER DERKACHENKO: A BOXWOOD NETSUKE OF A BOAR WITH ACORNSBy Alexander Derkachenko, signed with the artist's signature Ukraine, 2023The finely carved boar (inoshishi) lying with its head raised and turned, the legs draw in for compactness, the mouth closed with sharp tusks peeking through, the eyes inlaid with dark horn. With a smug expression on his face, as he snuggles with acorns, dreaming in anticipation of his meal. Himotoshi to the base and signed with the artist's signature.LENGTH 3.4 cmCondition: Excellent condition.Auction comparison:Compare a closely related wood netsuke of a boar with acorn, by Alexander Derkachenko, at Zacke, Fine Netsuke & Sagemono, Vienna, lot 197 (sold for GBP 2,149).
VADYM PYVOVAR: A BOXWOOD NETSUKE OF TWO MONKEYS FIGHTING OVER A PEACH, AFTER NAITO TOYOMASABy Vadym Pyvovar, signed with the artist's initialsUkraine, September 2022Clambering one on top of the other, the two monkeys tussling over a peach. The eyes inlaid in amber, and the fur finely executed with incision work, inking, and staining. Natural himotoshi. One haunch to the base incised with the artist's initials.HEIGHT 4.9 cmCondition: Excellent condition.Auction comparison:Compare an example by Toyomasa of two monkeys fighting over a peach which inspired this model at Tessier Sarrou, Arts D' Asie, 13 December 2021, Paris, lot 60 (sold for 160,000 EUR).
VADYM PYVOVAR: A BOXWOOD NETSUKE OF A CARPBy Vadym Pyvovar, signed with the artist's initialsUkraine, 2023The plump carp of compact, tactile form with curled up tail and short fins, the body finely incised with scales and gills, the eyes inlaid, the wood typically stained. Asymeterical himotoshi to the base and incised with the artist's initials.LENGTH 4.3 cmCondition: Excellent condition.Auction comparison:Compare an example by Toyokazu which inspired this model at Zacke, Fine Netsuke & Sagemono, 4 November 2022, Vienna, lot 78 (sold for EUR 8,450).
VADYM PYVOVAR: A BOXWOOD NETSUKE OF A DANCING KITSUNE (FOX)By Vadym Pyvovar, signed with the artist's initialsUkraine, 2023Standing upright with its front paws held against its chest, its mischievous head with short, pointed ears and amber inlaid eyes turned to one side, as it shimmies and breaks into a dance, its long tail curling to the back and forming the naturalistic himotoshi, the back incised with the artist's initials.HEIGHT 6.3 cmCondition: Excellent condition.Museum comparison:A closely related ivory study of a dancing fox, which inspired this model, is in the Los Angeles County Museum of Art (LACMA), accession number AC1998.249.69.
A LOT WITH TWO KISERUZUTSU WITH POUCH AND TONKOTSU, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912)The first antler kiresuzutsu of muso-zutsu type, carved to one side with a lobed reserve containing a stylized long-snouted rain dragon, below a pierced lattice, surmounted by the cord attachment in the form of a reishi; together with a pipe (kiseru), a stone ojime, and a tobacco pouch (tabako-ire) crafted from leather and with a metal kanamono (pouch fitting) depicting a samurai feeding a dog. The second of muso-zutsu type, made from antler, carved with a lobed reserve enclosing flowers to the lower area and with a rain dragon forming the cord attachment below the rim, the (associated) top carved with a landscape; together with a pipe, a stone ojime, and a wood tonkotsu. Condition: With wear, and shallow surface scratches. The first with a crack to the backside and losses. The second with a crack to the rim and replaced top. Overall, still presenting very well. Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture. Dimensions: Length 20 cm and 21 cm
A GROUP OF FIVE LEATHER TABAKO-IRE SETS, EDO - MEIJIJapan, Edo period (1615-1868) - Meiji period (1868-1912)The first and second each crafted from leather and decorated with floral and ornamental designs, the metal kanamono (clasps) depicting peonies; a resin and metal floral kagamibuta netsuke is attached by a multi-strand chain secured by a metal dragon guard, the second missing the netsuke. The third of leather with a kanamono depicting chrysanthemums, with a glass ojime and an antler kiseruzutsu with metal fittings. The fourth crafted from leather and with an antler netsuke depicting a cicada. The fifth and last a leather pouch with woven decoration depicting a landscape, with an antler ojime and kiseruzutsu carved with pavilions.Condition: With traces of use and wear, small nicks, losses, breakages and soling. One kiseruzutsu missing the top part, another missing a metal fitting. Provenance: Collection of Ted Adameck, thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture. Dimensions: Length c. 9 cm to 13.5 cm
A MASTERFUL WALRUS TUSK FOUR-CASE INRO DEPICTING A SWALLOW AMONGST FLOWERSUnsigned Japan, Osaka/Tokyo, late 19th centurySuperbly carved in relief to one side with a swallow flying above a chrysanthemum blossom amid bamboo stalks and smaller aster blooms, the other side with flowering peony and bamboo stalks, each side framed by scrolling clouds to the top and craggy rockwork to the base, the top carved with a diapered wave design and the base carved with a leaf. The swallow's visible eye is inlaid. The narwhal tusk netsuke carved with a foliate rim and small openings, the center fitted with a gold-inlaid shibuichi kanamono in the form of a flowering branch. The bone ojime carved in openwork with a floral design. HEIGHT 10.2 cm (the inro), LENGTH 6.2 cm (the netsuke), DIAMETER 1.6 cm (the ojime)Condition: Very good condition with three tiny chips to the edge of three leaves. Few natural age cracks.The overall quality of the inro strongly suggest the master carver Kaigyokusai Masatsugu (1813-1892), or at the very least a close follower. Though rarely, Kaigyokusai was known to work in marine ivory and his inro usually featured floral decor carved in unparalleled relief. The artist of this superb inro clearly had a superior appreciation for this material, as the natural marbling and typical striations enhance the effect of the composition beautifully.Auction comparison:Compare to a closely related ivory inro by Kaigyokusai Masatsugu, with similar relief carving to the floral depiction, at Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 328 (sold for 24,000 GBP). Another related inro carved from ebony, by Kaigyokusai Masatsugu, was sold at Bonhams, The Edward Wrangham Collection of Japanese Art Part V, 5 November 2014, London, lot 203 (sold for 21,250 GBP).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 GURI-LACQUER THREE-CASE INROUnsigned Japan, 18th century, Edo period (1615-1868)Well carved on either side with scroll designs framed by borders of rinzu (key fret) in multiple layers of red and black lacquer in typical deeply-cut guribori, the top and bottom similarly carved with stylized nyoi, the interior of black lacquer. HEIGHT 8 cmCondition: Very good condition with minor wear and traces of use, little rubbing to lacquer, few minute nicks. Remnants of old labels. Provenance: From the collection of Gaston Lazard (1878-1956) and his wife Jane Levy (1886-1985) and thence by descent within the same family.Museum comparison: Compare a related guri-lacquer four-case inro, dated early or mid-18th century, in the Los Angeles County Museum of Art (LACMA), accession number M.39.2.310a-c.Auction comparison: Compare a closely related guri-lacquer three-case inro with en suite manju netsuke and ojime, at Bonhams, The Edward Wrangham Collection of Japanese Art Part V, 5 November 2014, London, lot 201 (sold for 2,000 GBP).
KAJIKAWA: A SUPERB FIVE-CASE GOLD LACQUER INRO WITH MINOGAME DESIGN AND WITH EN SUITE NETSUKEBy a member of the Kajikawa family, signed Kajikawa 梶川 saku 作Japan, 19th century, Edo period (1615-1868)Of upright shape and oval section, bearing a beautifully lustrous kinji ground, lacquered in gold takamaki-e and hiramaki-e with a design of four minogame and one young not having fully developed its seaweed tail yet, their carapaces realistically rendered and eyes inlaid. Signed underneath KAJIKAWA saku [made by Kajikawa]. The interior cases of nashiji with gold fundame rims.With a coral ojime and beautifully matching square two-part manju netsuke depicting a minogame on a craggy rock, the rock with some fine kirigane detailing, the interior of nashiji and with silver rims. Signed to the underside Koju 光寿 Sei 製 [made by Koju]. According to E. A. Wrangham the artist made inro for the shogunate.HEIGHT 9.3 cm, LENGTH 4.8 cmSIZE (the netsuke) 3.8 cm x 3.8 cmCondition: The inro with some minor losses along the edges of the cases. The netsuke with a fine crack to the upper area and with some typical losses to the kirigane flakes. Both inro and the netsuke generally presenting well.Provenance: A noted private collection, assembled by the previous owner's great-grandfather and thence by descent. With old collection labels to the interior of the top case.
A VERY RARE THREE-CASE TOGIDASHI LACQUER INRO DEPICTING A KITSUNE LURED INTO A FOX TRAPUnsignedJapan, 18th-19th century, Edo period (1615-1868)The wide-bodied three-case inro bearing a roiro ground with finely sprinkled silver and gold lacquer, decorated in superb togidashi-e with gold and silver takamaki-e and hiramaki-e, depicting a scene from the Kyogen play Tsurigitsune, the fox disguised as a priest, a hyotan (double gourd) tied to its waist, emerging from the mist amid tall grasses and ferns, looking towards a trap with a rat as the bait, all beneath the crescent moon. The interior cases of dense nashiji with gold fundame rims. With a polychromed wood ittobori-style netsuke.HEIGHT 7.8 cm, LENGTH 8.5 cmCondition: Very good condition with only very minor expected wear. Some light warping to the top case.Provenance: From an old Geneva collection, with an old collection number and label to the interior of the top case.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.The inro depicts a scene from the Kyogen play Tsurigitsune ('Fox trapping'), in which a fox hunter is visited by his uncle, the priest Hakuzosu, who lectures his nephew on the evils of killing foxes. The hunter is nearly convinced, but after the priest departs, he hears the cry of the fox and realizes it wasn't his uncle at all but a fox in disguise. The fox resumes his natural form and reverts to his wild ways, takes the bait in a trap, and is captured by the fox hunter.
KOMA SADAHIDE: A SUPERB INLAID FIVE-CASE LACQUER INRO DEPICTING DEERS IN NARA PARKBy Koma Sadahide, signed Koma Sadahide 古満貞榮Japan, 18th-19th century, Edo period (1615-1868)Of upright form and lenticular profile, bearing a lustrously polished roiro ground, the front decorated with a deer couple below temple lanterns and falling maple leaves, the stag executed in colored togidashi beautifully contrasting against his mother-of-pearl deer companion. The leaves are lacquered in gold hiramaki-e or inlaid with mother-of-pearl or horn. The lanterns are, like the stag, lacquered in gold togidashi-e. The verso similarily decorated with a large stag inlaid in buffalo horn with antler horns. Signed underneath in gold characters KOMA SADAHIDE. The interior cases of nashiji with gold fundame rims.With a reticulated metal ojime and a two-part ryusa manju netsuke, one side carved in antler with billowing clouds and reishi, and the other side of metal and depicting a ho-o (phoenix) with a kiri (paulownia) sprig in its mouth, the details gilt.HEIGHT 9 cm, LENGTH 4.5 cmDIAMETER (the netsuke) 4 cmCondition: Very good condition with minor typical wear, particularly along the edges of the risers. The manju netsuke with minor wear to gilt.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An old collector's label to the base, 'Art Ancien Chine & Extr-Orient Geneva'. An important part of this collection was on permanent loan and was exhibited over several decades at the Asia-Africa Museum in Geneva.
ARMIN MÃœLLER: A PORCELAIN (YAKIMONO) SAGEMONO SET OF A THREE-CASE INRO, NETSUKE AND OJIME, FROGS IN A LOTUS PONDBy Armin Müller (1932-2000), signed Müller A.J. '91 and sealed Sui 水Santa Barbara, California, USA, 1991Published: Virginia Atchley / Neil Davey, The Virginia Atchley Collection of Japanese Miniature Arts, 2006, p. 273, no. IN99.Of cylindrical shape finely glazed in celadon green, the inro bearing a design of lotus blossoms and frogs in a pond with narcissus growing along the bank. The similarly glazed circular ojime modeled with a dragonfly on each side and the netsuke in the form of a frog seated on a lotus pad. The inro signed MÃœLLER and A.J. '91 and signed with the artist's single character seal signature Sui 水 as is the netsuke.HEIGHT 7 cm, LENGTH 5.3 cmCondition: Excellent condition.Provenance: Ex-collection June Schuerch (1930-2000).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.Auction comparison:Compare a closely related porcelain sagemono set of a dragonfly amid aquatic plants and frogs by Armin Müller at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 325, (sold for EUR 1,952).
A MASSIVE JADE FIGURE OF A CAPARISONED HORSE, REPUBLIC PERIODChina, Republic period (1912-1949). Standing foursquare on a rectangular base with arched neck and agape mouth revealing a row of teeth, richly caparisoned with a saddle above a cloth and a chest strap incised and inked with rhomboids. The stone of a rich celadon tone with white inclusions.Condition: Good condition with some wear and few small chips along the saddle, the stone with natural fissures and encrustations.Provenance: The collection of Ted Adameck, USA, and thence by descent in the same family. Ted Adameck (1924-2019) was a legendary collector of Japanese Netsuke, active for many decades, operating two antique shops in Honolulu and writing countless articles and books on the subject as well as many others on Asian art and culture.Weight: 10.9 kgDimensions: Height 34 cm, Length 42 cm
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