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Zwei Sennin-Netsuke aus Elfenbein mit schöner AlterspatinaJapan, 18. Jh.H. 5,8 - 6 cmAus einer alten süddeutschen Privatsammlung, durch Erbschaft in den 1950er und Erwerbungen in den 1960er bis in die 1980er Jahre ergänzt - Best. - Verkaufsgenehmigung für Elfenbein-Objekte liegt vor

Schreibzubehör in Döschen aus Bronze als NetsukeJapan, Meiji-PeriodeL. 6 cmAus einer deutschen Diplomatensammlung, 1998 und 1999 erworben - Etwas berieben

Netsuke einer Hannya-Maske aus HirschhornJapan, 19. Jh.H. 5 cmDie Hanny-Maske mit grimmigem Gesichtsausdruck und geöffnetem Mund mit langen Fangzähnen.Aus einer deutschen Privatsammlung, vor 2007 erworben - Minim. berieben, partiell alte Rep. 

A GROUP OF THREE INROS one brass and enamel with abalone shell and mother of pearl cockerel, and a three-case example carved with birds, signed to the base, with ojime and netsuke, 8cm high, and another in the form of a monkey, signed to the base, with ojime and monkey netsuke, 8cm high (2)

A collection of late 20th century Japanese Netsuke carved wood figures. Comprising of a frog riding a fish, a crab in half walnut shell, ebonised carved figure of two people underneath a blanket and a carved figure of a wild cat tiger / lion. Measures approx. With makers mark signatures to items. Measures approx. 6cm tall. 

An onyx netsuke, hardstone and other models

A collection of seven Japanese carved boxwood netsuke to include an example in the form of a coiled cobra, signed to the underside, height 4cm

Kleines Inrô - Japan, späte Edo-Zeit, 19.Jh., fünfteilig mit abgesetzter Schnurführung, (Gold-)Lackmalerei und Perlmutteinlagen auf schwarzem Fond, glückverheißende Eule (Fukurō) und Aoi-Blätter auf einem Strohdach, Nashiji im Inneren, Ojime-Perle mit Melonenrippen aus gerilltem violettem Glas, Kagamibuta-Netsuke mit feiner Goldlackmalerei, 6,8cm x 5,3 cm, Dm. Netsuke 4,5 cm, Gewicht ca. 51 g

KOSEI: A FINE TOKYO SCHOOL IVORY OKIMONO OF A HUNTER HOLDING A HAREBy Kosei, signed Kosei and kakihanJapan, Tokyo, Meiji period (1868-1912)Naturalistically carved, the elderly hunter proudly holding a rabbit by the ears which hangs tensely with its legs drawn up. A matchlock rifle (tanegashima) carved with a long barrel and thick stock is visible behind, slung over the hunter's back and resting in a woven holster. The hunter clothed in thick robes with his powder bag suspended from his belt with a reishi-head netsuke. Signed to the base KOSEI and with the artist's kakihan utilizing the natural nerve channel plug.HEIGHT 27.2 cmCondition: Good condition with minor wear, natural age cracks, the rifle end restored. Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no. 48.Tanegashima, most often called hinawaju ('matchlock gun') in Japanese and sometimes in English, was a type of matchlock-configured arquebus firearm introduced to Japan through the Portuguese Empire in 1543. Tanegashima were used by the samurai class and their ashigaru 'foot soldiers', and within a few years, the introduction of the tanegashima in battle changed the way war was fought in Japan forever. After Tokugawa Ieyasu destroyed the Toyotomi clan in the siege of Osaka and established the Tokugawa shogunate, the relatively peaceful Edo period arrived, and the use of tanegashima declined. Isolation did not eliminate the production of guns in Japan—on the contrary, there is evidence of around 200 gunsmiths in Japan by the end of the Edo period. However, the social life of firearms had changed: as the historian David L. Howell has argued, for many in Japanese society, the gun had become less a weapon, but rather a farm implement for scaring off animals. With no external enemies for over 200 years, tanegashima were mainly used by samurai for hunting and target practice, the majority were relegated to the arms store houses of the daimyo.Auction comparison:Compare a closely related Tokyo school ivory okimono of a hunter holding a monkey in a similar pose, signed Kozan, at Bonhams, Fine Japanese Art, 17 May 2012, London, lot 174 (sold for GBP 7,500).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2022/BE04319/CE). 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.

TOSHIMUNE: A FINE IVORY OKIMONO DEPICTING A RESTING FLOWER SELLERBy Toshimune, signed ToshimuneJapan, Meiji period (1868-1912)Exquisitely carved with naturalistic detail, the flower seller seated on a carrying pole (tenbinbo), propped between his two baskets, leaning forward with an amused look. Holding his narrow tobacco pipe (kiseru) in one hand and his inro with manju netsuke in the other, wearing several layers of elaborately patterned robes. Large peony and hibiscus blossoms wrapped in reed mats, one resting in a finely carved basket, are attached to both ends of his carrying pole. The man rests on a reed mat set on a naturalistically rendered ground. The base signed within an engraved and stained rope on a red lacquer tablet TOSHIMUNE.LENGTH 10.7 cmCondition: Very good condition with only minor wear and a plugged natural nerve channel.Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no. 37. The base with several old labels.Auction comparisonCompare a related signed ivory okimono of a flower seller, at Christie's, Asian Art, 23 February 2006, London, lot 2413 (sold for GBP 4,560).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2023/BE00398/CE). 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.

KIKUMASA: A FINE IVORY OKIMONO OF A WOMAN SCOLDING A DRUNKARDBy Kikumasa, signed KikumasaJapan, Meiji period (1868-1912)Finely carved, the woman towering above a drunk temple servant, holding a rag as if ready to strike him for his indolence. Extremely perturbed by the woman's intrusion, the drunkard's face set with a distorted frown, holding a full cup of sake in one hand and a flask in the other. The autumnal scene apparent by the finely incised maple leaves which litter the ground around and beneath the figures. The man's eboshi fallen behind the woman next to his tobacco pouch with its manju netsuke, his untouched bento box with a large squid tentacle at the center resting beside him. The woman holds a spare eboshi and a broom, readying both for the man to get back to work. Signed to the underside KIKUMASA.HEIGHT 6 cmCondition: Very good condition with only minor wear.Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no. 98.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2023/BE00203/CE). 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.

OTOKAWA YASUCHIKA: A FINE WALRUS TUSK OKIMONO OF KAN'U AND CHOHIBy Otokawa Yasuchika (art name Meiryusai), signed Otokawa kore o horu Japan, Tokyo, mid to late 19th centuryFinely carved and stained from a remarkably large section of walrus tusk, depicting the God of War Kan'u and Chohi standing next to each other discussing the battle plan that will eventually lead to the restoration of the Han Dynasty. The frowning Kan'u stroking his beard with one hand, the other tightly clasped around his Dragon Crescent Blade, Chohi similarly holding on to his polearm as he points animatedly towards Kan'u. Both men dressed in voluminous robes decorated with scrolling motifs. Signed within two raised oval reserves oju (on commission/by request) and OTOKAWA kore o horo [This is carved by Otokawa]. The artist Otokawa Yasuchika was a talented carver from the Tomochika studio in Edo (Tokyo).HEIGHT 11.4 cmCondition: Very good condition with minor wear. Literature comparison:Compare a closely related ivory netsuke depicting Kan'U and Chohi, by Tomochika, illustrated in Zacke, Japanische Netsuke - Ausstellung 1990, Vienna, no. 108.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.

CHOGETSU: A FINE AND RARE INLAID WALRUS TUSK OKIMONO OF A SMOKERBy Shunkosai Chogetsu, signed Shunkosai Chogetsu Japan, Edo (Tokyo), c. 1850, Edo period (1615-1868)Finely carved and stained, the seated man taking a smoke break. Dressed in an indigo-blue stained robe with the horn-inlaid obi secured at the back, the cross-legged figure holding a tobacco pouch in one hand and an inlaid kiseru (pipe) in the other. The man's face carved in a cheerful smile, the full cheeks under wrinkled eyes framing his almost toothless grin, the insides of the mouth blackened over the course of his habitual smoke breaks. Signed to the back SHUNKOSAI CHOGETSU – the artist was renowned for his carvings, okimono and netsuke, made from walrus tusk.HEIGHT 7 cmCondition: Old repair to the edge of one foot, some losses to staining, few expected age cracks. Generally in good condition and presenting well.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.

HIDEKAZU: A FINE WOOD NETSUKE OF A DRAGON COILING AROUND A TAMABy Hidekazu, signed HidekazuJapan, 19th century, Edo period (1615-1868)Finely carved and marvelously stained, the writhing dragon lifting its curled snout skywards. The dragon covered in elaborately detailed scales, its clawed feet and twisting tail encapsulating the movable tama at its center. Natural himotoshi. Signed to the base of the dragon's leg HIDEKAZU.LENGTH 4.8 cmCondition: Excellent condition with only minor wear.

A FINE WOOD NETSUKE OF A FISH WITH AOGAI-INLAID EYESUnsignedJapan, 19th century, Edo period (1615-1868)Finely carved, the underbelly of the boney fish opened, exposing the inside of the gutted fish. The scales are finely detailed, its mouth agape exposing a row of teeth, and its wide eyes formed by inlaid mother-of-pearl irises and buffalo horn pupils. A single himotoshi to the side, exiting through the open mouth or belly.LENGTH 6.6 cmCondition: Very good condition with minor surface wear throughout.This somewhat stylized carving with its inlaid mother-of-pearl eyes closely resembles carvings by the artist Hidari Issan (see both comparisons below). While the pose of the fish appears lively, the gutted underside elucidates the gaunt, boney form of a fish that has met its demise.Literature comparison:Compare a closely related wood netsuke of a fish, formerly in the collection of M.T. Hindson, illustrated in Bandini, Rosemary (2019), The Larry Caplan Collection of Japanese Netsuke, no. 41.Auction comparisonCompare a related wood netsuke of a pile of desiccated fish, at Zacke, Fine Netsuke & Sagemono, 4 November 2022, Vienna, lot 28 (sold for EUR 6,500).

TSUSEN: A FINE WOOD NETSUKE OF A HORSEBy Tsusen, signed TsusenJapan, 19th century, Edo period (1615-1868)Published: Katchen, Arlette (2010) Netsuke 7, Vol. 2, pp. 232-233, no. K150.Finely carved, the horse facing ahead with its head drawn in and its hooves together, its mane parted and carved with fine incision work, the tail sweeping around the right flank to form the natural himotoshi, forming a compact composition in well-patinated wood. Signed to the underbelly TSUSEN. HEIGHT 5.7 cmCondition: Very good condition with minor wear.Provenance: Sydney L. Moss Ltd., London, 1960. Ex. Mark Fletcher Collection. Ex Julius and Arlette Katchen Collection. Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke, 10 May 2017, London, lot 86.

SOSAI: A FINE SO SCHOOL WOOD NETSUKE OF A SHISHIMAI DANCERBy Sosai, signed Seiseido Sosai and kakihanJapan, Tokyo, late 19th century to early 20th century, Meiji period (1868-1912)Finely carved, the jubilant boy dancing with his shishimai mask lifted above his head. The mask carved with an animated shishi face attached to a long, scaled robe which the dancer steps on. The face of the performer bearing an exuberant expression with a large smile, narrowing eyes, and raised brows. Two himotoshi to the back. Signed to the base Seiseido (a studio name) SOSAI and kakihan.HEIGHT 5 cmCondition: Very good condition with only minor wear.Museum comparison:Compare a related wood netsuke of a boy playing a drum, signed Sosai, in the Los Angeles County Museum of Art, accession number AC1998.249.285.Literature comparison: Compare a closely related boy holding a crane by Sosai, ascribed to the style of Joso, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 1035.

A RARE WOOD NETSUKE DEPICTING A KARAKO BOY DURING SHICHI-GO-SANUnsignedJapan, late 18th to early 19th century, Edo period (1615-1868)Finely carved, the cheerful boy holding the sides of his hifu (sleeveless jacket) in a jubilant posture. The young boy turning his head to the right, his face bearing an expression of confident gravitas. The hifu carved with stylistic designs. Good, functional himotoshi to the back. The wood covered in a fine, lustrous patina.HEIGHT 5.9 cmCondition: Good condition with minor expected wear, the edges of the feet with old, smoothened chips. Shichi-Go-San (七五三) is a traditional Japanese rite of passage and festival day for three- and seven-year-old girls and five-year-old boys (literally translating 'three, five, seven'). On this day, the children dress in traditional hifu garments and undergo three ceremonies. The tradition dates back to the Heian period as a means of celebrating a child's survival during a time when child mortality rates were extremely high.

A RARE IVORY NETSUKE OF AN ONI HIDING IN A BOX DURING SETSUBUNUnsignedJapan, 18th century, Edo period (1615-1868)Crammed into a large box, the oni peeking out a small hole with a panic-stricken expression as soybeans pelt his hindquarters. Very good himotoshi, generously excavated to the side and base. The ivory bearing a superb, yellowish patina.LENGTH 3.9 cmCondition: Very good condition with minor wear and expected age cracks.Provenance: Zacke, Netsuke von Meistern, Ausstellung 1989, no. 35. From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, acquired from the above, 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.This motif is commonly seen carved from wood and should be considered exceedingly rare carved from ivory. The Setsubun festival is celebrated during the first day of spring and includes the rite of oni-yarai or mame-maki, where roasted beans are thrown at oni to rid the coming year of any demons and disease-bringing spirits.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 OSAKA SCHOOL IVORY NETSUKE OF A MONKEY WITH A SARU MASKUnsignedJapan, Osaka, late 18th century, Edo period (1615-1868)Of early triangular sankaku type, finely carved to depict a seated monkey cradling a Saru (monkey) mask against its chest, the tie from the mask straying close to its foot. The primate looking upwards with a grin across its face, the eyes inlaid and its fur naturalistically incised and stained. Generously excavated himotoshi to the back and through the base.HEIGHT 3.8 cmCondition: Very good condition with minor wear and expected age cracks.Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke aus seinem Nachlass Marcel Lorber - Ausstellung 1988, Vienna, no. 70. Collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, acquired from the above, 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.Literature comparison:Compare a related ivory netsuke depicting a monkey by Garaku, illustrated by Harris, Victor (1987) The Hull Grundy Collection in the British Museum, p. 61, no. 247.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 NETSUKE DEPICTING THE SPY ONCHI SAKON MITSUKAZU WITH A MONKEY, ATTRIBUTED TO OKATOMOAttributed to Yamaguchi Okatomo, unsignedJapan, Kyoto, late 18th century, Edo period (1615-1868)Finely carved, the man holding the ornery monkey by an arm and leg as it tries to remove his hood. The disguised spy glancing over his shoulder with an angry expression, his mouth open exposing his gritting teeth, and his eyes glaring daggers at the monkey, which pushes off his back with one leg in impish resistance. Onchi Sakon is clothed in a large robe with a tiger-stripe pattern to the back with his sword tucked into his obi. Generously excavated, asymmetrical himotoshi to the back. The well-worn ivory has a rich patina with a deep-yellow tone.HEIGHT 5.7 cmCondition: Very good condition with minor wear and few expected age cracks.Provenance: From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, acquired at Galerie Zacke on 30 May 1994, 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.Sakon, the retainer of Kusunoki Masashige (1294-1336), with a sword on his back, has disguised himself as a monkey performer (sarumawashi) to penetrate the fortress of the enemy Ashikaga as a spy. The characteristic headdress, as worn by hunters, is a common prop of people who camouflage or hide. Literature comparison:Compare a closely related ivory netsuke, by Okatomo, depicting the same subject, illustrated in Jirka-Schmitz Patrizia, The World of Netsuke, The Werdelmann Collection at the Museum Kunst Palast Duesseldorf, p. 82, no. 256.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 EDO SCHOOL WOOD NETSUKE OF GAMA SENNIN AND HIS TOADBy Miwa, signed Miwa with sealJapan, Edo (Tokyo), late 18th century, Edo period (1615-1868)Gama sennin is depicted seated with his legs outstretched, his head raised high above as he smiles, his hands reaching out to hold the large toad who tries to crawl onto his lap as the sennin's foot gives it a boost. The sennin dressed in loose robes with an artemisia cloak wrapped around his shoulders. To the rear, a cavernous oval opening forms the entrance to the himotoshi, the exit a small hole to the base. Signed MIWA with a square seal. LENGTH 3.8 cmCondition: Very good condition, appealingly worn, with a few light surface scratches. Literature comparison:Compare a closely related wood netsuke of a seated Gama sennin and his toad by Miwa in Sotheby's, Fine Japanese Netsuke, Inro, Lacquer Wares and Ceramics, 1 June 1981, London, lot 43.

A WOOD NETSUKE OF GAMA SENNIN WITH TOADJapan, c. 1800, Edo period (1615-1868)The charming netsuke finely carved as Gama sennin standing under the weight of the heavy toad clambering atop his head. The large toad with eyes inlaid in pale horn hoisting its speckled body up the hunched back of sennin as the immortal all but resists. His face set with a charming smile, his hair and long beard finely detailed. The immortal wearing a long robe tied at the waist with two himotoshi to the back. With a square seal to the reverse reading Masu 増. The composition is finely balanced and the wood is covered in a fine patina.HEIGHT 6.5 cmCondition: Very good condition with minor wear.

MASATOMO: A WOOD NETSUKE OF FUKUROKUJUBy Masatomo, signed MasatomoJapan, c. 1800, Edo period (1615-1868)The God of Longevity carved standing with his arms together in the front, enveloped in his loose-fitting robe with voluminous folds, secured at the waist with a belt, a small fan attached to it, and wearing a cowl over his characteristically elongated head, the face with a cheerful expression as he lets out a hearty laugh, the facial features neatly detailed, the patina dark and polished, asymmetrical himotoshi to the back passing through the base.HEIGHT 5.6 cmCondition: Very good condition with minor wear.Auction comparison:Compare a closely related wood netsuke signed Masatomo at Lempertz, Netsuke aus der Sammlung Kolodotschko II, 6 December 2014, lot 686 (sold for 4,464 EUR).

TOMOCHIKA: A FINE IVORY NETSUKE OF A GROUP OF SEVEN RATSBy a member of the Tomochika school, signed TomochikaJapan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Carved in the round and intricately stained, seven rats huddled together, some grooming each other with tails curling around. Some rats are stained with dark hair or piebald spots while others are completely white, each rat with eyes inlaid in dark horn. Natural himotoshi formed by the open spaces between the rats' bodies. Signed within the typical wavy reserve TOMOCHIKA.LENGTH 3.8 cmCondition: Excellent condition with minor wear and natural flaws including a plugged nerve channel. Museum comparison:Compare a closely related ivory netsuke depicting a group of rats by the same artist, signed Tomochika, in the Los Angeles County Museum of Art, accession number M.87.263.116.Auction comparison:Compare a closely related ivory netsuke depicting a group of rats by the same artist, signed Tomochika, at Christie's, Japanese Art & Design Including Arts of the Samurai, 9 November 2011, London, lot 170 (sold for GBP 2,250).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 INGYO (SEAL) NETSUKE OF A STAGUnsignedJapan, 18th century, Edo period (1615-1868)Finely worked from antler bearing a rich patina, the stag finely carved standing on its long, slender legs atop a circular, open-worked base and turning its well-worn head backwards. Natural himotoshi.HEIGHT 5.1 cmCondition: Very good condition with minor wear and few natural flaws as are to be expected.

MINKO: A FINE WOOD HIBASHI-IRE SAGEMONO IN THE FORM OF AN EDAMAME BEAN POD WITH HORN-INLAID SNAILBy Tanaka Juntoku Minko (1735-1816), signed Minko with seal Minko Japan, Tsu, late 18th to early 19th century, Edo period (1615-1868)Finely and naturalistically carved as an edamame bean pod with high relief of a leafy vine with undercutting just below the cover providing for cord attachment, with further himotoshi trough the looped stem. The lower end of the bean pod with a small snail exquisitely inlaid in pale translucent horn, beside the signature MINKO with seal Minko. The interior with two metal hibashi. LENGTH 33 cmCondition: Good condition, minor wear, few tiny nicks, the undercut section of the vine with minor old repairs. The present lot is a case for hibashi (lit. 'fire chopsticks'), metal chopsticks used to arrange pieces of charcoal during the tea ceremony. 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.

MINKO: A SUPERB EBONY PUMPKIN-FORM TONKOTSU AND INLAID BAMBOO KISERUZUTSU WITH SNAIL AND BAMBOOBy Tanaka Juntoku Minko (1735-1816), the kiseruzutsu signed Tsuhan no naka no hito, Minko choko with seal, the tonkotsu signed Minko with seal Japan, Tsu, late 18th to early 19th century, Edo period (1615-1868)The tobacco box naturalistically carved as an oblong pumpkin, the stem slightly curled, the leaves finely detailed with 'worm holes', the surface finished to reveal the natural texture of the vegetable's skin. Himotoshi at the tip of the stem. The reverse with two rectangular reserves with the signature and seal MINKO. The bamboo pipecase of cylindrical form and fitted with a bone-inlaid cap, finely decorated to the exterior with a superbly inlaid antler snail slowly crawling inches closer to two leafy bamboo stalks inlaid in greenstained horn. Signed Tsuhan no naka no hito, MINKO choko [Carved by Minko, the retainer artist at the Tsu Domain] with seal Minko. With a globular agate ojime.HEIGHT 10.5 cm (the tobacco box), LENGTH (kiseruzutsu) 24.6 cm (the pipecase) and 21 cm (the pipe)Condition: Overall good condition with wear and traces of use, the pipecase with few minor age cracks, few minor losses to inlays, some inlays loose and two replaced, the tobacco box with few small chips, a repair to the cover, and occasional light 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.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

NARA TOSHINORI: A FINE NARA SCHOOL SHAKUDO FUCHI DEPICTING KANZAN AND JITTOKU By Nara Toshinori (ca. 1750-1775), signed Nara Toshinori and kakihanJapan, Nara school, 18th century, Edo period (1615-1868)The shakudo fuchi finely worked on a nanako ground with takazogan of gold, shibuichi, and shakudo depicting Kanzan and Jittoku laughing together as they read a long scroll spread between the two of them. Jittoku wears a double-gourd netsuke of suaka (copper) takazogan tied at the belt; both are robed in finely decorated robes of gold with a long broom lying next to them. Signed NARA TOSHINORI.HEIGHT 3.7 cmWEIGHT 25.1 gCondition: Excellent condition with only minor wear.The artist is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on p. 2065 (H 10530.0). Toshinori is said to have been a student of the second Nara Toshinaga and is believed to be the grandson of the first Toshinaga.

A SMALL TWO-CASE LACQUER INRO WITH DRAGONFLIESUnsignedJapan, 19th centuryThe small two-case inro of upright form and oval sectional, the two-case inro bearing an unusual roughly textured ground highlighted by aogai specks and decorated in gold takamaki-e with five dragonflies and two smaller insects. The interior compartments of roiro with gold fundame rims. With a wood netsuke modelled as a shishi seated on a base, clutching a ball.HEIGHT 6.2 cm, LENGTH 5.1 cmCondition: Good condition with minor typical wear to the lacquer.

A FINE FOUR-CASE GOLD LACQUER INRO WITH YOKO AND THE TIGERUnsignedJapan, 19th centuryOf upright oval form with lenticular profile, the four-case inro bearing a fine kinji ground and worked with gold takamaki-e which is further detailed in gold and black hiramaki-e and kirigane, as well as embellished with minute inlays of aogai, mother-of-pearl, and bone, depicting Yoko and his father under a pine tree, the young boy running after the prancing tiger who attempts to flee the scene, frightened by the ferocity of the young boy's attack. The interior compartments of nashiji with gold fundame edges.With a globular bone ojime. The wood netsuke carved as a tortoise peeking out of its shell.HEIGHT 8.8 cm, LENGTH 6.7 cmCondition: Good, worn condition, with surface scratches and losses to lacquered ground, the bottom case with a restoration possibly obscuring the signature.Yoko is the tale of a boy known for saving his father from a tiger. One day, as the 14-year-old Yoko accompanied his father to the fields, a tiger interrupted their harvest. The beast leapt towards Yoko's father and clenched the man in his jaws. With no thought but to rescue his father from mortal danger, and completely forgetting about his own safety, the boy ran headlong after the tiger. He leapt up on the tiger' s back and using every ounce of strength, he choked the animal tightly by the throat. Throttled in a death-grip by Yoko, the tiger fought for its breath. He had to drop the man he carried in his fangs and fled into the woods. Yoko watched the tiger disappear into the forest, and then carried his father back home to recover. When news of the incident reached the neighbors, they heaped praise on the boy, calling him a heroic, filial child.

A BRILLIANT FOUR-CASE BLACK LACQUER INRO WITH KIKU AND KOTOBUKIUnsignedJapan, 19th century, Edo period (1615-1868)The four-case inro of rounded upright form and oval sectional, lacquered in yamimaki-e (black on black lacquer) with Kotobuki kanji characters 壽 (Ju), which mean felicity and long-life, interspersed with leafy kiku flowers. The interior compartments of nashiji with gold fundame edges.HEIGHT 8.7 cm, LENGTH 5.6 cmCondition: A few chips along the edges of the top case. Otherwise in good condition and presenting well.Provenance: Duval Gallery, Brussels, February 2, 1949. Collection of Robert and Isabelle de Strycker, acquired from the above. An old collector's label to the interior, 'L,652'.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 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').The black relief on a black background, 'black on black' as Raymond Bushell calls it in his book 'The Inro Handbook', is a very rare technique. On the one hand difficult to execute, on the other hand not so popular, because the exquisite skills of the artist are not revealed at first sight.Auction comparison:Compare a closely related three-case lacquer inro depicting insects on fern, signed Koma Kansai, with similarly rendered yamimaki-e, at Lempertz, Netsuke, Inro and Sagemono from a Rhenish Collection, 7 December 2018, Cologne, lot 550 (sold for EUR 13,125).

A RARE MINIATURE IVORY SAGEMONO SET DEPICTING SHISHI AMONG PEONY, WITH EN SUITE NETSUKE AND OJIMEThe netsuke signed KoichiJapan, 19th centuryThe three case miniature inro of upright rectangular form with rounded edges and oval section, finely carved in relief with three shishi among blossoming peonies and scrolling clouds. With a matching bone or antler ojime carved in the form of a seated shishi cub and the similarly carved ivory netsuke in the form of a recumbent shishi with a long flowing mane and scrolling tail, signed at the base KOICHI.HEIGHT 4.1 cm, LENGTH 2.8 cmCondition: Very good condition with minor wear and light staining.Provenance: Old German private collection, collected in the 1970s and 1980s.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number DE-K-221108-381). 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.

SOZAN: AN IVORY OKIMONO OF A FARMER DRINKING TEABy Sozan, signed SozanJapan, Meiji period (1868-1912)Seated on a raised wood cover next to a bundle of radishes (daikon) holding the teapot in his right hand and his cup in his left, the farmer looking up with a cheerful expression as a fly alights on his bald head. His calm, smiling lips and eyes are finely carved, and his robes are finely detailed with floral medallions. His belt tied with a kiseruzutsu and tobacco pouch, detailed with a double-gourd netsuke and a small ojime, and a short, handled scythe tucked within his belt behind his back. The teapot is finely stained and etched with a rocky landscape and a single traveler crossing a bridge. Signed to the underside within a red lacquer tablet SOZAN.HEIGHT 6.7 cmCondition: Good condition with only minor wear and natural age cracks.A minor old repair to one foot.Provenance: From a private collection in Belgium, published in the commissioned private catalogue 'The Nibajama collection' no. 154. Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 2023/BE00859/CE). 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 EDO SCHOOL WOOD NETSUKE DEPICTING ASHINAGA WITH DRUMUnsignedJapan, Edo (Tokyo), Edo school, 19th century, Edo period (1615-1868)Finely carved, the long-legged Ashinaga standing with humorously short arms, holding his drum's mallet and placing the other hand atop his head in an exacerbated pose. The figure wears a short skirt delicately carved with floral designs belted below his distended belly suspending his small drum, and is naturalistically carved with an emaciated torso, his ribs clearly visible from all sides. Two functional himotoshi hollowed to the reverse. The composition is finely balanced, and the wood bears a lustrous patina. Unsigned, however attributed to the studio of Tomochika.HEIGHT 13 cmCondition: The legs and drum with repairs. Otherwise good condition with minor expected wear.

A FINE EDO SCHOOL WOOD NETSUKE OF A SLEEPING TEMPLE SERVANT UnsignedJapan, Edo (Tokyo), late 18th to early 19th century, Edo period (1615-1868)Finely carved as a standing figuring leaning on a parasol in a slumped position. The eyes closing peacefully in sleep, the figure gives the weighty feel of an exhausted temple servant with his long robes wrapped around him, drooping heavily to the floor. Two functional himotoshi to the back.HEIGHT 8.1 cmCondition: Minor wear and some old repairs.

A FINE CYPRESS WOOD (HINOKI) NETSUKE OF SHOKI AND ONIUnsignedJapan, late 18th to early 19th century, Edo period (1615-1868)Boldly carved, the large demon queller Shoki lifting a fierce little oni by the scruff of its neck, the helpless demon wriggling to get free, while holding a sword in his right hand. The rotund Shoki has a fierce expression with large, furrowed brows and upturned lips. Two well-hollowed himotoshi to the back.HEIGHT 8.6 cmCondition: Good condition with minor wear and few minuscule losses. Auction comparisonCompare a related painted Saishiki netsuke of Shoki holding oni in a similar pose holding his sword, at Zacke, Fine Japanese Art, 16 June 2023, Vienna, lot 310 (sold for EUR 1,820).

A FINE ITTOBORI WOOD NETSUKE OF SHOKI, CARVED FOR THE TANGO-NO-SEKKU FESTIVALJapan, Meiji period (1868-1912)The finely stained and polished wood well carved to depict the demon queller Shoki, his face in a characteristic grimace, one hand holding his drawn sword to the back, the other lifting the hem off the floor, in preparation to ford a stream.Inscription: Inscribed to the back, 'Tango ni kore o tsukuru, go' 于端午作之、五 [This is made for the Tango-no-sekku (Boy's Festival), Five].HEIGHT 4.8 cmCondition: Very good condition with minor wear.In Japan, Shoki became associated with the Boy's Festival which is held on the fifth day of the fifth month. On that day, Shoki's image is placed in a position of honor in the household so that the sons of the family are protected from evil and grow up to be strong, like him.

KOKEI: A FINE WOOD NETSUKE OF AMA STRUGGLING WITH AN OCTOPUSSigned Kokei 虎溪Japan, Kuwana, Ise province, early 19th century, Edo period (1615-1868)Intricately carved, the intertwined couple forming an unlikely pair and compact netsuke. The diver girl ensnared in the octopus' tentacles, with one hand she feebly pushes the face of the octopus away who presses its funnel shaped mouth forward, the other hand while armed with an awabi (an erotic allusion), appears hesitant to strike the octopus as its limbs reach forth to caress and support Ama as she leans back in pleasure. Naturalistic himotoshi formed by the crashing waves and tentacles to the base.HEIGHT 3.7 cmCondition: Good condition with minor wear. Restoration to foot.Provenance: From the collection of Teddy Hahn, Darmstadt. Theodor “Teddy” Hahn 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, remarking “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.”Literature comparison:Compare a closely related wood netsuke of Ama struggling with an octopus, the only other documented example signed Kokei, illustrated in the International Netsuke Society Journal (INSJ), 1999, vol. 19, no. 3, p. 60: 9.

A WOOD NETSUKE OF ISE-EBI (SPINY LOBSTERS)UnsignedJapan, 18th century, Edo period (1615-1868)The two crustaceans presented together with leaves on top of a mat, the flat-polished back with a large, generously excavated himotoshi, the cord attachment formed by a bar inside the cord hole.These types of spiny lobsters are popular delicacies which are enjoyed during New Year's celebrations.HEIGHT 2.3 cm, LENGTH 4 cmCondition: Good condition with traces of use and wear consistent with age and handling. Some tiny nicks and scratches here and there. Beautiful, deep patina.

A FINE IVORY NETSUKE DEPICTING THREE FIGHTING SHISHIUnsignedJapan, 18th century, Edo period (1615-1868)Finely carved and pleasingly tactile, depicting in a playful manner two smaller shishi atop a large one whose back legs flail in the air under the weight. The faces are animated with bulging eyes, finely incised hair, and large teeth. The ivory is stained a beautiful yellow and bears a deep honey patina to the underside.LENGTH 5.2 cmCondition: Minor expected wear and an old repair to the upper jaw of the top Shishi, overall presenting very well.Auction comparison:Compare a related ivory netsuke depicting a Shishi with young, unsigned, at Van Ham, Asian Art, 7 December 2017, Cologne, lot 2304 (sold for 3,870 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0335). 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 GOOD IVORY NETSUKE OF EDAMAME BEANSUnsignedJapan, c. 1800, Edo period (1615-1868)Finely carved, the ivory attractively stained, depicting a group of three edamame beans, their stalks forming the cord attachment, and showing the undulations of the beans within.LENGTH 5.5 cmCondition: Very good condition with only very minor and typical wear. Provenance: From a French private collection, acquired at Hotel Drouot, Paris, in 2015. 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.

TADASHIGE: A WOOD KARAKURI (TRICK) NETSUKE OF A KARAKO CRAWLING THROUGH THE LUCKY PILLAR AT TODAJIBy Tadashige, signed Tadashige 忠重Japan, 19th century, Edo period (1615-1868)Published: Atchley, Virginia / Davey, Neil (2006) The Virginia Atchley Collection of Japanese Miniature Arts, p. 151, no. N205.The charming netsuke carved in the shape of the enormous pillar at the Great Buddha Hall (Daibutsuden) of the Todaiji temple, Nara. One boy attempting to pass through the square hole near the base, as shown here by the trick mechanism. A karako to the exterior attempts to measure the scope of the column with his arms, amazed at its sheer size. Climbing through the square opening is believed to bring luck and fortune. Asymeterical himotoshi to the base and signed TADASHIGE.HEIGHT 3.5 cmCondition: Very good condition with minor wear and tiny surface scratches to the base.Provenance: Ex-collection Virginia Atchley, California, USA.Museum comparison:A closely related wood netsuke of a karako crawling through the Nara pillar, by Hidetama, in the Victoria & Albert Museum, London, accession number A.853-1910.

A KURUMI (WALNUT) NETSUKE OF A ROLY POLY DARUMAUnsignedJapan, Iwashiro, 19th century, Edo period (1615-1868)A fine and humorous kurumi (walnut) netsuke depicting a Daruma doll completely enveloped in its robe, only the well-carved face is visible, as he looks upwards, the eyes of inlaid in horn. Two himotoshi through the back, one florally rimmed. HEIGHT 3.9 cmCondition: Good condition with minor typical flaws and losses to the material. One inlaid eye is replaced.Auction comparison:Compare a closely related kurumi netsuke of Daruma, unsigned and attributed to Hidari Issan, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 300 (sold for 1,830 EUR).

A RARE LACQUER HAKO NETSUKE OF AN EGGPLANT (NASUBI)UnsignedJapan, 19th centuryThe two-part hako (box) netsuke finely modeled as an eggplant (nasubi) with an elegantly trimmed stem, the flesh of lustrous roiro lacquer applied with a crawling insect inlaid in mother-of-pearl, the interior lacquered in red, the lid with a metal cord attachment looped through the back.HEIGHT 4.9 cmCondition: Good condition with wear and traces of use. Minimal losses to lacquer at the edges.Provenance: Duval Gallery, Brussels, February 2, 1949. Collection of Robert and Isabelle de Strycker, acquired from the above. An old collector's label, 'N 259.' 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 SATSUMA EARTHENWARE AND TAGAYASAN KAGAMIBUTA NETSUKE WITH A BIJINUnsignedJapan, 19th century, Meiji period (1868-1912)Of circular form, the satsuma ceramic plate intricately painted in gold and bright enamels with a bijin surrounded by a variety of flowers, the tagayasan bowl stained to heighten the grain of the wood. The himotoshi in the back florally rimmed in antler and the cord attachment on the reverse of the disc.DIAMETER 5.4 cmCondition: Excellent condition with minor wear.Museum comparison:A closely related earthenware kagamibuta netsuke with floral motif is in the Toledo Museum of Art, Ohio, object number 2009.130.

YOSHIHISA: A VERY RARE WOOD MASK NETSUKE OF A HORNED KAPPABy Yoshihisa, signed Yoshihisa at 74 years of ageJapan, Edo (Tokyo), 18th-19th century, Edo period (1615-1868)The unusual face set with a comically distraught expression, its eyes looking woefully upwards beneath furrowed brows, the two-horned head with finely incised sparse hair. Himotoshi bar to the reverse and signed YOSHIHISA at 74 years of age. From the style and material this carver belonged to the Deme family of mask carvers.HEIGHT 4.1 cmCondition: Good condition with minor wear and traces of use. A chip to the right brow.

DEME UMAN: AN UNUSUALLY LARGE WOOD NOH MASK NETSUKE OF O-BESHIMIBy Deme Uman, signed Deme Uman 出目右滿Japan, Edo (Tokyo), 19th century, Edo period (1615-1868)Boldly carved as a large O-Beshimi mask with prominent nose under furrowed brows with teeth baring. The back with a thick central bar housing the himotoshi and signature DEME UMAN. The wood bearing a fine, dark patina. HEIGHT 8.1 cmCondition: Very good condition with minor expected wear and traces of use. 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.

MASAKAZU: A WOOD NETSUKE OF AN ONI SEATED ON A RATBy Masakazu, signed MasakazuJapan, 19th centuryFinely carved in the form of a seated oni, reaching his three-clawed hand beneath him to extract a rat which has snuck beneath the unsuspecting demon. The face of the oni with a pained expression, his open mouth exposing two large fangs, and his bulging eyes beneath bushy brows with eyes of dark horn inlays and two small horns. The oni is finely carved with naturalistic detailing to its spine and ribs along his back. Good himotoshi to the base and back. Signed to the base in an inlaid oval reserve MASAKAZU.HEIGHT 3.9 cmCondition: Good condition with minor wear, the wood with remnants of oil residue on the surface.The subject likely alludes to Emma-o's attendant Shiro, who was sent to steal Daikoku's bag of rice, being attacked by one of the lucky god's rats.

GYOKKEI: A WOOD NETSUKE OF AN ONI INSPECTING A SHOKI MASKBy Gyokkei, signed Gyokkei 玉圭Japan, Edo (Tokyo), mid to late 19th centuryThe oni seated cross-legged with a scowl on its face as it inspects the mask of its arch nemesis, Shoki. Dressed in a short loincloth with gold-lacquered highlights, the muscular oni with long curling locks and two horns. The face of the Demon Queller with a menacingly grim expression, gold-lacquered eyes, and a finely incised beard flowing to one side. Asymmetric himotoshi to the base and signed GYOKKEI.LENGTH 3.1 cmCondition: Very good condition with minor wear and traces of use. Minor rubbing to gold lacquer. Beautiful patina.

A CHARMING WOOD NETSUKE OF A KARAKO WEARING A KITSUNE MASKUnsignedJapan, mid to late 19th centuryThe boy seated cross-legged, his hands raised within the folds of his billowing sleeves to hold the kitsune (fox) mask in place, the mask covering his entire head spare his tonsured hair which is neatly incised. Himotoshi to the base.HEIGHT 3.3 cmCondition: Very good condition with minor wear and traces of use. Beautiful patina.

AN OLD IVORY NETSUKE OF A TEA GRINDER NAPPING BESIDE A MILLSTONEUnsignedJapan, 18th century, Edo period (1615-1868)The fatigued monk fast asleep next to a tea-grinder, his tired head resting on one hand while the other clutches the pestle inside the mortar. Large asymmetrical himotoshi to the base. Smooth honey-yellow patina overall.LENGTH 3.5 cmCondition: Good condition with a few chips to the mortar base.Provenance: Estate of an Austrian collector, the collection was assembled in the 1980s – 1990s through purchases at Galerie Zacke and other specialized galleries in Vienna.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0247). 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.

YOSHITOMO: AN IVORY MANJU NETSUKE OF OTA DOKANBy Yoshitomo, signed YoshitomoJapan, c. 1860-1880Published: Atchley, Virginia / Davey, Neil (2006) The Virginia Atchley Collection of Japanese Miniature Arts, p. 151, no. N160.Of circular form, the thick manju netsuke finely carved in shishiaibori and painted in sumi, one side depicting the military commander, Ota Dokan, standing and clutching a bow to his side and about to don his jingasa, a quiver strapped to his back, the reverse with a young woman kneeling on the ground and extending him a sprig of yamabuki (yellow wild rose) as she respectfully bows, their garments decorated with foliate motifs. The cord attachment through the eyelet peg housed inside the central himotoshi. Signed to the back YOSHITOMO.DIAMETER 5 cmCondition: Very good condition with minor wear and tiny surface scratches. Beautiful patina.Provenance: Ex Max Hauter collection. Ex-collection Virginia Atchley, California, USA.The story of Ota Dokan is based on a well- known pun. The hero, caught in a sudden heavy rainstorm, stopped at a farmhouse and asked a country girl for a raincoat (mino). She withdrew briefly and returned, offering him a spray of yellow roses (yamabuki) on a fan. Infuriated, Ota Dokan rushed away and only later did he remember the well-known poem and marvelled at the girl's knowledge and subtleness. The poem is of Japanese love and translates, "Though the yamabuki has many petals, I grieve that it has no seed (mino)," implying she had no raincoat to spare.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 22NL305849/20). 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 OLD WOOD NETSUKE OF A RECUMBENT CATUnsignedJapan, 18th century, Edo period (1615-1868)An appealingly worn, tactile, and charming wood netsuke of a recumbent cat (neko) with its head slightly raised and tail curled to the back. The feline with a collar around its neck, secured into a knot at the back, as it awaits its next meal. Generously excavated, asymmetrical himotoshi to the base. The well-toned wearing a superb, dark patina.LENGTH 4.1 cmCondition: Good condition with typical wear. A split to the wood near one hind paw to the front.

A GOOD EBONY WOOD NETSUKE OF AN OXInscribed Masanao 正直Japan, 19th century, Edo period (1615-1868)Lying with its head lowered to the right and its legs drawn in for compactness, the ox carved with a harness secured on its nose which trails over its back, below curved horns. Asymmetrical himotoshi to the base and with a later added bone-inlaid signature plaque inscribed Masanao.LENGTH 5.7 cmCondition: Very good condition with minor wear.

AN ANTLER CHASEN NETSUKE (TEA WHISK)UnsignedJapan, Meiji period (1868-1912)The antler netsuke naturalistically modelled as a chasen (tea whisk). Himotoshi to the side and through the base.HEIGHT 5.8 cmCondition: Good condition with minor wear and traces of use.Today, most matcha whisks are mass-produced outside of Japan. However, the highest quality chasen are still painstakingly made from locally grown bamboo in the small village of Takayama in northwest Nara prefecture, where they have been produced for over 500 years. Today, there are only 18 chasen masters remaining, who are carrying on their families' traditions.

A FINE HIRADO PORCELAIN NETSUKE OF FUKUROKUJUUnsignedJapan, 19th century, Edo period (1615-1868)The God of Longevity carved standing with his arms together in the front, enveloped in his loose-fitting blue glazed robe with voluminous folds, secured at the waist with a belt, and wearing a cowl over his characteristically elongated head, the face with a cheerful expression as he lets out a hearty laugh. Large himotoshi to the back.HEIGHT 5.7 cmCondition: Excellent condition with minor wear and firing irregularities.Museum comparison:A closely related Hirado ware netsuke of Fukurokuju is in the Toledo Museum of Art, Ohio, object number 2009.100.

A FINE TSUISHU LACQUER NETSUKE OF A CHINESE LOW TABLE DEPICTING KARAKO UNDER PINEUnsignedJapan, 18th century, Edo period (1615-1868)Carved as a Chinese low table in tsuishu (carved red lacquer), supported on a flat circular base and rising to a circular top decorated in sunken relief with a pair of karako under a pine tree, next to a river, all against a finely incised asanoha ground. One pierced himotoshi underneath, the cord channel running through “naturally” under the tabletop.HEIGHT 3.3 cmCondition: Very good condition with minor wear and traces of use.Provenance: Wright Gallery, London, March 20, 1967. 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 FINE TSUISHU LACQUER MANJU NETSUKE DEPICTING SHISHI NO SAKA OTOSHIUnsignedJapan, 19th centuryThe zabuton (cushion) shaped netsuke in tsuishu (carved red lacquer) decorated within a sunken relief panel with a shishi mother throwing her offspring off a cliff, the scrappy cub having survived its trial and snarling at its mother, both standing on rocky outcrops and surrounded by large flowering peonies.LENGTH 3.9 cmCondition: Good condition with minor typical wear. The eyelet peg for himotoshi lost.Provenance: Kevorkian Gallery, October 1947. 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').Legend has it that the shishi tested the vigor of their young by throwing the young ones from the top of a cliff (shishi no saka otoshi). Longevity was assured if the animal survived.

A RARE TSUISHU LACQUER ASHTRAY NETSUKE DEPICTING THE THREE FRIENDS OF WINTER (SHOCHIKUBAI)UnsignedJapan, 18th century, Edo period (1615-1868)The netsuke in the shape of a bowl decorated in tsuishu (carved red lacquer) with the Three Friends of Winter – pine, bamboo, and plum—carved with symmetrical panels separated by sections of hanabishi, asanoha, and geometric designs, the interior lined in metal so that the netsuke could be used as an ashtray. Himotoshi through the center.DIAMETER 3.5 cmCondition: Wear and losses to lacquer, the disc housing the cord attachment lost. Overall presenting well.Provenance: Tamenne Gallery, Brussels, December 26, 1967. 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').