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A RARE ANTLER NETSUKE OF A GRAZING HORSE, ATTRIBUTED TO TSUNEMASAAttributed to Tsunemasa, unsignedJapan, Kyoto, early to mid-18th century, Edo period (1615-1868)A simple, yet intrinsically charming and pleasingly tactile antler netsuke, bearing an attractive caramel patina and depicting a grazing horse, lowering its head with a twisting motion, the feet drawn together and tail kept close to the body for compactness. The material is brilliantly utilized, much of the spongiform and porous sections hidden away so that they are not visible when the netsuke is worn on the obi. Large and generously excavated himotoshi to the back.HEIGHT 4 cmCondition: Excellent condition with minor wear and few natural 'flaws' to the material.Literature comparison: Compare a closely related antler netsuke of a grazing horse, signed Tsunemasa, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 2, p. 1198.

KOKUSAI: A SUPERB ANTLER KISERUZUTSU WITH MON-CRESTS AND SHOCHIKUBAIBy Ozaki Kokusai (1835-1892), sealed Kokusai 谷齋Japan, Shiba, Tokyo, c. 1860-1880The muso-zutsu pipecase of slender form, carved in openwork and sunken relief (shishiaibori) with seven crests depicting a sinuous rain dragon, a bat with two cash coins (shippo), a tomo-e crest, and with pine, plum, and bamboo, together forming the Three Friends of Winter (Shochikubai). The rim decorated with scrolling design and a three-pronged reishi forming the cord attachment. Using the natural porous elements of the antler, the artist partly hides his seal KOKUSAI, as if emerging from a cloudy mist.LENGTH 19.9 cmCondition: Very good condition with minor wear and natural 'flaws' to the material.Provenance: Robert Fleischel, Paris, November 2010. 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.Not only does the artist subtly hide his signature using the natural shading of the antler, he also places the pine crest below the rim of the cap causing it only to appear when the cap is removed. Halfway down the body, the plum blossom medallion is carved in openwork, which is then sealed by the cap when fully closed. These elements point to this master's genius usage and understanding of the materials he chose.The 'Three Friends of Winter' motif is frequently used across various mediums in Japanese art. Comprising of pine, bamboo and prunus, this motif is emblematic of the Confucian virtues of fortitude and resilience. As the pine and bamboo are evergreen plants and the prunus a plant that has lived for a long time, the three together are also an auspicious symbol of longevity.Literature comparison:Compare a closely related musozutsu type kiseruzutsu with similar crest medallions, integrating the dark shading and porous material in a similar fashion to hide a rain dragon chasing a tama, signed Kokusai, illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, p. 358-359, no. 274. Compare a related musozutsu pipecase with a similar reishi-form cord attachment, signed Kokusai, illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, p. 360-361, no. 275.

OZAKI KOKUSAI: A RARE ANTLER KISERUZUTSU WITH COINSBy Ozaki Kokusai (1835-1892), sealed Koku 谷Japan, Shiba, Tokyo, c. 1860-1880The wari-zutsu pipe case carved with three old coins pierced through the center. The uppermost coin finely carved with the relief seal script characters Daquan wushi ['large coin, fifty'], the script of one coin of the Wang Man interregnum, and the second bears the characters Buquan ['spade coin'], an auspicious coin which was believed to grant women a son in childbirth if they wore it on their sash. The cord attachment is a playful rendition on an old Chinese coin carved in sunken relief within rounded-corner borders with a central aperture. The lowest square coin bears the artists signature KOKU. The unusually dark antler is of a deep red color with fine natural spongiform inclusions.LENGTH 20.1 cmCondition: Good condition with minor wear, natural flaws, and a chip to the upper rim.A wari-zutsu pipe case is slit at the sides, leaving two flexible leaves. Bamboo and wood are the usual materials, because of the need for flexibility, although occasionally antler is utilized. See Stratos, Milton (Spring 2016) Kiseruzutsu, the Other Sagemono. A Modest Appreciation, International Netsuke Society Journal, Vol. 36, No. 1, p. 19.Literature comparison:Compare two related antler otoshizutsu pipe cases with closely related antique coins, signed Kokusai, illustrated in in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, p. 352-353.

A FINE ANTLER KISERUZUTSU WITH BASHO LEAVES AND SNAILUnsignedJapan, Tokyo, Asakusa district, second half of the 19th centuryThe otoshi-zusu pipecase naturalistically carved as overlapping basho (banana) leaves with a single snail slithering across. The leaves splitting at the edges, carved using openwork, giving an added aspect of realism to the carving as well as remarkable three-dimensionality. The antler bearing a beautifully stained finish.LENGTH 20.2 cmCondition: Very good condition with minor wear and natural 'flaws' to the material.Literature comparison:Compare a related netsuke depicting a snail, crawling along an oak leaf, signed Kokusai, illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, p. 46-47, no. 88.

KOKUSAI: A FINE ANTLER RYUSA MANJU NETSUKE WITH PRUNUS BLOSSOMBy Ozaki Kokusai (1835-1892), sealed Koku 谷Japan, Shiba, Tokyo, c. 1860-1880Published: Sydney L. Moss Ltd. (2016) Kokusai The Genius and Stag-antler Carving in Japan, pp. 130-131. no. 141.A clever and visually pleasing antler ryusa netsuke carved in openwork within a simple triple ring outline with the design of a stylized five-petalled prunus blossom, most likely sakura (cherry), sitting above five stylized and neatly incised leaves. The reverse with the looped cord attachment, the seal signature KOKU, and a single kanji character kimi 君, which means, especially in a Chinese poetic-Confucian context, “the gentleman”; or in aristocratic circles is used as an honorific form of address; “you”, indicating this was likely a commission for an important and distinguished individual. The antler bearing a beautiful caramel tone.DIAMETER 3.9 cmCondition: Excellent condition with typical 'flaws' to the material.Provenance: Ex-collection Raymond Bushell. Christie's, The Raymond and Frances Bushell Collection of Netsuke Part II, 18 Ocxtober 1988, New York, lot 141. Ex-collection John and Donnie Hawley, Texas, USA, acquired from the above. Interestingly, the reverse of the five petals in combination with the Koku seal form a stylized outline of a dancer, the Koku seal forming the face, which was a stylistic element frequently used by this genius carver. See for example Sydney L. Moss Ltd. (2016) Kokusai the Genius: and Stag-antler Carving in Japan, vol. II, no. 225.Literature comparison:Compare a closely related antler manju by Kokusai of similar construction with a ring outline and a looped cord attachment illustrated in Sydney L. Moss Ltd. (2016) Kokusai the Genius: and Stag-antler Carving in Japan, vol. II, pp. 126-127, no. 138.

OZAKI KOKUSAI: A SUPERB ANTLER RYUSA KAGAMIBUTA NETSUKE WITH BATSBy Ozaki Kokusai (1835-1892), sealed Kokusai 谷齋 (谷山)Japan, Shiba, Tokyo, c. 1860-1880The circular bowl with the sides carved with openwork inome [boar's eye] designs encompassing the removable plate of four bats encircling a lotus medallion. The underside featuring superbly carved petals on curling cloud vines around a central floret. The central himotoshi carved through the floret, the cord attachment beneath the plate. With the rarely encountered anchor seal KOKUSAI (Kokuzan) carved in sunken relief to the interior.DIAMETER 4.2 cmCondition: Very good condition with minor wear, natural flaws, some fine cracks.Provenance: Collection of Gabor Wilhelm, Paris. Ex-collection Guy de Lasteyrie, acquired from the above in 1995. De Lasteyrie is a member of the Lasteyrie du Saillant family and is considered among the leading French collectors of netsuke.Literature comparison:Compare a related antler kagamibuta netsuke carved in a similar fashion, sealed with the anchor seal of Kokusai to the interior, illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, p. 182, no. 175.Auction comparisonCompare a related ivory ryusa netsuke of a double-dragon mokugyo, also signed with the anchor seal of Kokusai, at Zacke, Fine Netsuke & Sagemono, 22 April 2022, lot 267 (sold for EUR 5,056).

RITSUO: A MASTERFUL AND RARE INLAID TWO-CASE INRO DEPICTING THE YOKAI BOX FROM THE SHITAKIRI SUZUME, WITH EN SUITE NETSUKE AND OJIME, THE NETSUKE BY OHARA MITSUHIROBy Mochizuki Hanzan (1743-1790), signed Ritsuo 笠翁 and kakihanJapan, 18th century, Edo period (1615-1868)The remarkable two-case inro of box shape, acting as a trompe-l'œil optical illusion, with a 'hinged lid' opening to reveal several yokai creatures, inlaid in stained horn, antler, amber, ceramic, and various metals. A rokurokubi-esque snail creature with a single cycloptic eye is seen to the very left, poking its long neck through a hole in the box, next to a praying mantis with gilt eyes, and two anthropomorphic frog-creatures to the right. The ground is lacquered in an attractive reddish-brown, simulating a basketweave design, the front decorated with a gold sparrow crest, a metal-inlaid snail slithering through teared holes to either side of the inro and further with carved red lacquer flames emerging from within throughout the composition. A wasp and a butterfly are visible within the opening to the sides of the inro. With realistically modeled metal fittings posing as the hinges and closing mechanism of the box. Signed underneath in gold lacquer RITSUO with a red-lacquered kakihan, identifying the artist as Mochizuki Hanzan (Haritsu II, 1743-1790). The interior of dense nashiji with gold fundame rims.With an en suite bone ojime depicting a stylized sparrow and a beautifully matching, thick manju netsuke carved from walrus tusk and depicting a sparrow above bamboo, executed in sumi-stained kebori, signed MITSUHIRO (Ohara Mitsuhiro, 1810-1875) and with the artist's kakihan.HEIGHT 6.6 cm, LENGTH 7 cmDIAMETER (the netsuke) 4.5 cmCondition: Very good condition. Only minor wear and rubbing to lacquer, some typical minuscule losses along the edges, some light surface scratches to the underside.Mochizuki Hanzan, thought to have lived from 1743 to 1790, called himself Haritsu II and was a close follower of Ogawa Haritsu (1663-1747) though he was neither his son nor his pupil. The kakihan (artist's cursive monogram) on the present inro is a close match to a kakihan seen on an inro bearing his signature, the signature illustrated in Wrangham, E. A. (1995) The Index of Inro Artists, p. 67.The inro depicts the famous treasure box from the Tongue-Cut Sparrow (Shitakiri Suzume), which was opened by the story's culprit, Arababa, and contains a host of supernatural bakemono and yokai. The manju netsuke and ojime are matching as well, both depicting sparrows.

A STUNNING ANTLER RYUSA MANJU NETSUKE, ATTRIBUTED TO OZAKI KOKUSAIAttributed to Ozaki Kokusai (1835-1892), unsignedJapan, Shiba, Tokyo, c. 1860-1880Published & Exhibited: Association Franco-Japonaise, Netsuke Sagemono, Paris, 2019, p. 58, no. 83.The stunning ryusa netsuke formed as a stylized 12-petaled flower masterfully interlaced with curling vines, the central area of the flower formed as a shippo (cash coin) medallion. The reverse is, quite brilliantly, left unworked, showing the natural surface of the antler, with only a few vines, a reishi fungus and a furled leaf emerging from the cloudy 'mist' that is the natural spongiform surface of the antler. The brilliant use of the material, central shippo medallion, and the sensually pleasing design of interlocking vines, appearing woven rather than carved, strongly suggest Ozaki Kokusai as the carver of this deceptively simple netsuke.DIAMETER 4.4 cmCondition: Very good condition, few natural 'flaws' to the material as are to be expected. A tiny old repair to the one vine attached to the interior of one petal in the back.Provenance: Rosemary Bandini, London, November 1999. Ex-collection Guy de Lasteyrie, acquired from the above. De Lasteyrie is a member of the Lasteyrie du Saillant family and is considered among the leading French collectors of netsuke.Auction comparison:Compare a closely related ivory netsuke, also with a central shippo medallion and similar cresting vines and reishi, at Zacke, Fine Netsuke & Sagemono, 22 April 2022, Vienna, lot 266 (sold for EUR 8,848).

A FINE GOLD-INLAID RYUSA WALRUS TUSK MANJU NETSUKE REFERENCING THE TEN OX HERDING PICTURESUnsignedJapan, Tokyo, Asakusa district, second half of the 19th centuryFinely carved in openwork with a central gold-inlaid ox seated in a meadow next to a scythe and farmers basket beneath a pine tree. The pine is intricately detailed with needles and gnarled branches, while the back is detailed with swirling clouds. The walrus tusk has a lustrous finish and typical cloudy inclusions.DIAMETER 4 cmCondition: Very good condition with only very minor wear. Provenance: Ex-collection June Schuerch (1930-2009).The auspicious scene depicted here relates to the Ten Ox Herding Pictures and the Zen Buddhist parable of enlightenment regarding the ox and ox herder. This parable is most famously portrayed in the series of paintings (originally only eight) accompanied by a series of short poems by Kakuan Shien. In the story, the oxherd is separated from his ox. In his search for the ox, the herdsman reconciles his fundamental identity with the ultimate reality which transcends all distinctions. The oxherd symbolizes the self, who initially identifies with the individuated ego, separate from the ox, but who is progressively enlightened during his search. The ox symbolizes the ultimate, undivided reality, the Buddha-nature, which is the ground of all existence.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.

HAKUHAKUSAI: AN AMUSING WALRUS TUSK RYUSA MANJU NETSUKE DEPICTING A STRETCHING DARUMABy Hakuhakusai, signed Hakuhakusai 白々斎Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Of circular form, partly carved in openwork, poking fun at a yawning and stretching Daruma in front of iron bars – an allusion to a brothel window. The face is finely detailed with incised facial hair, hooped earrings, and sumi-stained chest hair. The reverse with an inscribed poem, 'Momo kuri sannen kaki hachinen, Daruma wa kyunen narikaneru' 桃栗三年柿八歳、達磨ハ九年成兼る ('Planted peach and chestnut trees take three years to bear fruit, persimmons take eight, and it took Daruma nine years [of facing the wall and meditating] to achieve enlightenment'). This humorous depiction of Daruma satirizes the enlightenment he achieved. The reverse with a single himotoshi, the cord attachment within. Signed on the back, HAKUHAKUSAI. The stained ivory has a rich yellow with a deep, honey-yellow hue.DIAMETER 3.8 cmCondition: Good condition with minor wear, some nibbling to the interior rim.Provenance: Tamenne Gallery, Brussels, 24 May 1968. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent in within the same family. 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 Université 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).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 ANTLER RYUSA MANJU NETSUKE DEPICTING A WATER DRAGON WITH A NYOI SCEPTREUnsignedJapan, Tokyo, Asakusa District, mid to late 19th centuryOf circular form, finely carved with a central dragon, twisting its body in an S-shape next to a large nyoi scepter on a foliate ground. The reverse, a part-openwork tripartite geometric arrangement resembling the tomo-e, with three sasa bamboo leaves around a central himotoshi. The antler is beautifully stained with fine, natural spongiform inclusions.DIAMETER 4.3 cmCondition: Good condition with minor wear, natural flaws, and a minor old filling likely inherent to manufacturing.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. Literature comparison:Compare a closely related ryusa manju netsuke depicting a sinuous dragon, decorated to the back with a similar tripartite geometric arrangement, illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. III, p. 414-415, no. 583.Auction comparisonCompare a related antler ryusa manju netsuke with two baku, at Zacke, Fine Netsuke & Sagemono, 22 April 2022, Vienna, lot 259 (sold for EUR 5,056).

TENMIN: A RARE KAGAMIBUTA NETSUKE DEPICTING A SCHOLAR AT WORKBy Asama Tenmin, signed Tenmin 天民 with kakihanJapan, Tokyo, late 19th centuryThe solid shibuichi plate flush fitted into a lustrous roiro lacquer bowl and engraved in katakiribori and kebori with a scholar at his desk composing a letter, a hand brazier detailed with gold hirazogan next to his desk. The reverse decorated in gold and silver hiramaki-e with shadow silhouettes of two dancing figures, both with elaborate hairstyles and ornate hairpins. Central himotoshi and looped cord attachment on the inside, which is lacquered in black.LENGTH 3.7 cmCondition: Very good condition with minor surface wear to the shibuichi disc and minor wear to the lacquer. The looped cord attachment to the interior repaired. A small touch-up to the rim.Literature comparison:Tenmin rarely worked in a combination of metal and lacquer. An example of a related metal and guri lacquer netsuke of a fly inside a bowl by Tenmin is illustrated in Eskenazi (1997) Japanese Netsuke, Ojime and Inro from a private European collection, p. 139, no. 164.

AN IVORY AND MIXED METAL KAGAMIBUTA WITH NIO GUARDIAN AND NESTING SPARROWSUnsignedJapan, c. 1860The shibuichi disc worked in gold and copper takazogan with the head of a Nio guardian statue, a small sparrow nesting within its mouth and calling up at its mother which is descending towards it. The disc is fitted into a superbly polished, shallow ivory bowl. Central himotoshi to the back, the cord attachment beneath the disc.DIAMETER 4.5 cmCondition: Excellent condition, only very few faint age cracks.Provenance: Kunsthandel Klefisch, 18 November 1989, Cologne, lot 704. 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.Literature comparison:Fuld's Netsuke and Ojime Index lists only one netsuke depicting this subject which was formerly in the Behrens collection and is signed Masayuki (Mitsuo). It is published (unillustrated) in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 388.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207506615-K). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A RARE COROZO NUT NETSUKE OF BLOOMING PEONYUnsignedJapan, probably Tokyo, second half of 19th centuryA pleasingly tactile and well-carved stained corozo nut netsuke depicting a blooming peony (botan). The individual petals are neatly incised and the furled stem issuing leaves functions as the 'natural' cord attachment.LENGTH 3.5 cmCondition: Excellent condition, minor wear.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. Corozo nut is also known as 'vegetable ivory' due to its similar appearance. The surface of the present netsuke is reminiscent of deeply stained, caramel-toned ivory from the 18th century.

MASATOMO: A NAGOYA SCHOOL WOOD NETSUKE OF A WASP NEST WITH LARVAEBy Sato Masatomo, signed Masatomo 正義Japan, Nagoya, first half of 19th century, Edo period (1615-1868)Finely and naturalistically carved as a deteriorating wasp nest, some of the larvae having already hatched and left the nest, a few bone-inlaid larvae still remaining, the largest carved from wood and movable in the central alveoli. The well-toned wood bearing a beautiful patina. The 'natural' himotoshi cleverly incorporated into the design. Signed in a rectangular reserve in slightly worn characters MASATOMO.HEIGHT 3 cmCondition: Very good with minor expected wear and traces of use consistent with age and handling.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 FINE UMIMATSU NETSUKE OF A LOTUS LEAF AND SPIDERUnsignedJapan, 18th century, Edo period (1615-1868)Finely carved as a folded lotus leaf with a spider delicately carved to the side. The veins of the leaf are naturalistically carved as are its uneven edges. The umimatsu having reddish inclusion and left partly uncarved underneath, drawing the eye to the natural form of this beautiful material. Large, generously excavated and asymmetrical himotoshi to the underside.LENGTH 5 cmCondition: Minor wear, expected age cracks, natural flaws, some losses to the area around the stem.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An old collector's label to base, 'Art Ancien Chine & Extr-Orient Geneva: 2631. RRA, XVIIIe' and a second label tied to the himotoshi, 'Rare Netsuke, umematsu (piu-d'eau) araiquee sur une feuille de lotus e duis, replice, et rouge per us verre.' An important part of this collection was on permanent loan and was exhibited over several decades at the Asia-Africa Museum in Geneva.Umimatsu (lit. 'sea pine'), commonly known as black coral, is a soft deep-water coral. Many patterns of growth are unique to black coral, growing in whips, trees, fans, or coils, and their size ranges from 10 to 300 cm. While it is commonly used in various forms of jewelry in Japanese art, it is also believed to have apotropaic power and is for this reason used in various medical treatments as well.

A RARE INLAID UMIMATSU NETSUKE OF A FROG ON LOTUSUnsignedJapan, 18th century, Edo period (1615-1868)Finely carved from umimatsu, the material bearing beautifuly reddish inclusions, depicting a furled lotus leaf with neatly incised veins and inlaid dew drops of coral, translucent horn and metal, a small frog seated on one side of the leaf. The underside with very large and generously excavated himotoshi.LENGTH 4.1 cmCondition: Good condition with typical crackling and natural flaws to the material. One small inlaid dew drop lost.Umimatsu (lit. 'sea pine'), commonly known as black coral, is a soft deep-water coral. Many patterns of growth are unique to black coral, growing in whips, trees, fans, or coils, and their size ranges from 10 to 300 cm. While it is commonly used in various forms of jewelry in Japanese art, it is also believed to have apotropaic power and is for this reason used in various medical treatments as well.

GESSAN: A FINE AND RARE EBONY WOOD NETSUKE OF EDAMAME BEAN PODSBy Gessan, signed Gessan 月山 with seal Gessan 月山Japan, 19th century, Edo period (1615-1868)Finely carved as three edamame pods borne on one stem, one of them split to reveal a single seed carved from pale wood. Each bean pod exhibits splendid curvatures and a high degree of naturalism, the surface covered in masterful ukibori veins. Natural himotoshi and signed GESSAN with seal Gessan.LENGTH 6.8 cmCondition: Very good condition with minor wear, a tiny nibble to the edge of the opening.Little is known about this carver and only few netsuke are recorded. From an inscription found on a fine netsuke of a chestnut one can deduce the Suo Province (which borders the Iwami province) as a likely workplace of Gessan. It is also believed that he was a pupil of Bazan of Nagoya.Literature comparison:A very similar example depicting three edamame pods is illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 77, where F. Meinertzhagen notes “Very clever example of plant subject”.

A WOOD NETSUKE OF REISHI FUNGIUnsignedJapan, 19th century, Edo period (1615-1868)Finely carved as a cluster of reishi consisting of nine individual fungi with beautifully carved, ridged caps and gnarled, smooth stems. Natural himotoshi.LENGTH 3.6 cmCondition: Good condition with some tiny old chips to the edges of the caps and some general minor wear consistent with age and handling.Provenance: OId French private collection, with an old label pasted to the underside '339'.

A FINE KURUMI (WALNUT) NETSUKE WITH CELESTIAL DRAGONUnsignedJapan, 19th century, Edo period (1615-1868)Of natural shape, the front finely carved with a celestial dragon emerging from billowing clouds, the back left uncarved save for the two himotoshi. Beautiful, dark brown patina.HEIGHT 4.5 cmCondition: Good condition with typical natural 'flaws' to the material. A chip to one himotoshi.Auction comparison:Compare a related kurumi netsuke with dragon design at Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 278 (sold for EUR 2,781).

SEIMIN: A RARE INLAID DOUBLE WALNUT (KURUMI) NETSUKEBy Seimin, signed Seimin 晴民Japan, Iwashiro, c. 1850, Edo period (1615-1868)A finely carved and attractively stained double-walnut with a design of The Queen Mother of the West, Seiobo, dressed in voluminous robes, wearing an ornate tiara, and holding a fan, a karako attendant handing her an immortality-granting peach. The carving is embellished with various stained inlays including antler, horn, mother-of-pearl, coral, and pewter. One of the himotoshi ringed in green-stained antler and signed to the back within a raised oval reserve SEIMIN.LENGTH 5 cmCondition: Good condition. Some typical losses to inlays with associated repairs. Some 'natural flaws' such as tiny pinholes and typical wear associated with kurumi netsuke.Provenance: Collection of Robert and Isabelle de Strycker, and thence by descent in the same family. 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 Université 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).Auction comparison:Compare a related Kurumi netsuke, attributed to Seimin, at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 285 (sold for 1,896 EUR).

A VERY FINE KURUMI (WALNUT) NETSUKE WITH SHISHI AND PEONYUnsignedJapan, 19th century, Edo period (1615-1868)Of natural shape, the surface minutely incised with an intricate asanoha pattern, much of the natural growths along the seam of nut retained and used to simulate craggy rockwork amongst waves, one side depicting a Shishi reclining with its head lowered curiously, the other side showing blooming peonies and a butterfly. The two large and asymmetrical himotoshi are mounted with silver.HEIGHT 3.5 cmCondition: Excellent condition with some typical natural flaws.Provenance: From an old Japanese private collection.

KOKUSUI: A FINE AND RARE KURUMI (WALNUT) HAKO NETSUKE DEPICTING RATS AND DAIKONBy Kokusui, signed Kokusui 谷水Japan, 19th century, Edo period (1615-1868)Very finely carved in shishiaibori (sunken relief) with a group of six rats, their eyes inlaid in dark horn and with neatly incised fur coats. The back carved with a daikon (radish) and incised with the signature KOKUSUI and kakihan. Central himotoshi through the back, the looped cord attachment to the interior. The two halves of the nut are fixed to each other with two pegs so that this netsuke also functions as a hako (box).LENGTH 4 cmCondition: Very good condition with minor wear and natural 'flaws' typical for this material. One inlaid eye is replaced.Both the rat and the daikon are attributes of the lucky god Daikoku.Museum comparison: Compare a closely related netsuke depicting the same subject by Kokusui in the Victoria & Albert Museum, London, accession no. A. 50 and illustrated in Hutt, Julia (2003) Japanese Netsuke, p. 40, no. 26.

A RARE AND LARGE BAMBOO NETSUKE OF FUKUROKUJUUnsignedJapan, 18th century, Edo period (1615-1868)Carved from a choice section of the hollow culm, the central node with a natural deformation appearing like burlwood, depicting the Lucky God swaying merrily, his body enveloped in voluminous robes, the first section of the node carved with his suggestively bulbous head covered in a veil, the face smiling warmly and the inlaid eyes gentle and inviting. The natural curvature of the smoothly polished material dictating the shape of the carving. Himotoshi to the back.HEIGHT 9 cmCondition: Very good condition with minor wear and natural flaws.Provenance: The Gabor Wilhelm Collection, Paris. The back with an old collector's number, '246.'Bamboo is extremely prolific, ubiquitous, and cheap. Most bamboo netsuke are carved from chikkon, a term that includes both the true root and the underground portion of the culm or stem, which are solid. Other bamboo netsuke are carved from the hollow culm or from certain species that have solid or partially solid culms. Netsuke-shi often selected rare and abnormal bamboo growths for their efforts. Since the price of the material is inconsequential, the product stands solely and squarely on the craftsmanship and artistry with which it is endowed. See Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 96.

A RARE EBONY WOOD NETSUKE OF AN INK CAKEUnsignedJapan, 18th-19th century, Edo period (1615-1868)Realistically modeled in the form of an ink stick with simulated cracks and fine craquelure. Inscribed to one side in raised seal script, the reverse with a relief design of scrolling clouds, one short side inscribed with 松雨 'Shou' ('rain in a pine forest'). Himotoshi to one side and with a silk cord secured with a coral ojime.HEIGHT 4.3 cmCondition: Excellent condition with minor wear.

A RARE METAL-INLAID UMIMATSU NETSUKE DEPICTING BUDDHA AMITABHA WITHIN A GROTTOUnsignedJapan, 19th centuryFinely carved from a thumb-size piece of black coral (umimatsu), a central section excavated to house the patinated copper figure of Buddha Amitabha, seated in dhyanasana atop a lotus pedestal with his hands resting in dhyana mudra. Two himotoshi to the back. The umimatsu has an attractive grain with fine reddish inclusions.HEIGHT 4.4 cmCondition: Very good condition with minor wear and natural flaws.Umimatsu (lit. 'sea pine'), commonly known as black coral, is a soft deep-water coral. Many patterns of growth are unique to black coral, growing in whips, trees, fans, or coils, and their size ranges from 10 to 300 cm. While it is commonly used in various forms of jewelry in Japanese art, it is also believed to have apotropaic power and is for this reason used in various medical treatments as well.The tradition of carving the image of Buddha in stone into cliff walls and natural caves began in India, where they carved out their gods from the rocks. This practice was transferred to China and then Korea and became a common icon of Buddhist hermitages across the far east. These grottos were key sites for pilgrimage for the devote followers of the Buddha.

A RARE KEMARI-SHAPED LACQUER NETSUKEUnsignedJapan, 18th-19th century, Edo period (1615-1868)Of spherical kemari shape, bearing an intricately worked and unusual design of slightly recessed uzumaki spirals varying in size and worked in stunning guri lacquer, the spaces in between lacquered in roiro and embellished with gold scrolling hiramaki-e vines. One large himotoshi, the cord attachment fitted under a circular inset which is seamlessly integrated into the composition.HEIGHT 3.5 cmCondition: Excellent condition with minimal traces of use.

A RARE AND LARGE NEGORO LACQUER NETSUKE OF THE INARI FOXUnsignedJapan, 18th-19th century, Edo period (1615-1868)The protective deity with a fierce expression, clutching a hoshi no tama pearl between its paws, its head turned back with pricked ears and licking its large tail. The wood surface is covered in carefully polished, thick negoro lacquer. Natural himotoshi.HEIGHT 8.9 cmCondition: Very good condition with intentional wear and some tiny losses to lacquer.Auction comparison: Compare a near-identical negoro lacquer netsuke of an Inari fox with tama pearl at Sotheby's, The George and Verna Lazarnick Collection of Netsuke, 14 November 2000, London, lot 38.Compare a related negoro lacquer netsuke of a bat at Zacke, Fine Netsuke & Sagemono, 27 March 2020, Vienna, lot 233 (sold for EUR 5,056).Negoro ware is characterized by relatively simple shapes and by a red lacquer surface rubbed to reveal an underlying layer of black. The name derives from that of a temple, Negoro-ji in present-day Wakayama Prefecture, where this technique was discovered by accident in the thirteenth century.

A RARE TSUISHU MANJU NETSUKE WITH SQUIRREL AND GRAPESUnsignedJapan, 18th-19th century, Edo period (1615-1868)The two-part manju decorated with beautiful tsuishu (carved red lacquer) depicting a squirrel munching on grapes among thick leafy vines, all enclosed by a rinzu band. Central himotoshi and looped cord attachment to the interior, which is lacquered in black.DIAMETER 4 cmCondition: Very good condition with minor wear and traces of age.

A TSUISHU LACQUER HYOTAN-FORM NETSUKEUnsignedJapan, 18th century, Edo period (1615-1868)Finely lacquered in tsuishu (carved red lacquer), with a revolving image of Chinese boys (karako) running and flying kites while others sweep and sieve rice, the landscape with scrolling clouds, shrubs, craggy rocks, and the moon's reflection, all against a fine wood ground incised with an asanoha design. Silver and patinated metal mounts serve as stopper and looped himotoshi.HEIGHT 6 cmCondition: Excellent condition, only very minor surface wear.Provenance: Wright Gallery, London, 23 October 1967. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent in the same family. A collector's label, 'N, 285.' 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 Université 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).This type of netsuke was part of a yatate sagemono set and was used to store powdered ink.Auction comparison:Compare a closely related tsuishu hyotan-form netsuke with kemari players at Zacke, Fine Netsuke & Sagemono, 22nd April 2022, Vienna, lot 332 (sold for EUR 2,022).

A TOKYO SCHOOL INLAID WOOD AND LACQUER NETSUKE OF A BOYUnsignedJapan, Edo/Tokyo, second half of the 19th centuryFinely carved, the seated boy holding a branch with takaramono (treasures) attached to its ends, including koban coins, tama, a single die of inlaid bone, and metal beads. Dressed in gold-lacquered robes decorated with karakusa in gold hiramaki-e along his robes and trousers, the boy's face wears a gleeful expression with eyes wide and mouth opened in elation. The himotoshi underneath ringed in bone.HEIGHT 3.2 cmCondition: Very good condition with minor wear.The branch with takaramono seen on the present netsuke is usually associated with the lucky dwarf Fukusuke, from when he returns home from the toro no itchi market.

MASATAMI: A CHARMING LACQUERED IVORY NETSUKE OF A BOY CLIMBING ATOP A DRUMBy Masatami, signed Masatami 正民Japan, Tokyo, Meiji period (1868-1912)The mischievous boy hiding behind a fox mask as he attempts to crawl on top of the drum, one hand holding a mallet, the other positioning the mask to obscure his face. The boy's robe decorated in gold hiramaki-e with karakusa and medallions inlaid with kirigane and mother of pearl. The mallet decorated with red lacquer and gilt, and the mask and drum similarly with gilt highlights and horn inlays. Himotoshi to the base and signed MASATAMI.LENGTH 2.7 cmCondition: Very good condition with minor wear, particularly to lacquer.Provenance: German private collection.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0365).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 AMUSING NEGORO-STYLE LACQUER NETSUKE OF A DRUNKEN SHOJO IN A SAKE CUPUnsignedJapan, 18th-19th century, Edo period (1615-1868)The drunken Shojo shown inside a large sakazuki (sake saucer), her hands on the rim and leaning her head over the cup as if to catch her breath after drinking, her face with a drunkenly bemused expression. She is dressed in a voluminous robe with hems adorned with carved wave designs, her long finely incised hair falling neatly down her back. Good, asymmetrical himotoshi through the underside of the saucer.LENGTH 3.6 cmCondition: Good condition with minor wear to lacquer. One chip to the edge.Provenance: Galerie Souquet, Paris, June 7, 1951. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent within the same family. 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 Université 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).A Shojo is a Japanese sea spirit with similarities to a ghost but differing from the latter in the fact that Shojo are tangible. It enjoys drinking alcohol, especially sake. Legend has it that workers at breweries in Japan have seen Shojo lurking about after indulging in their products.Negoro-ware is characterized by relatively simple shapes, and by a red lacquer surface rubbed to reveal an underlying layer of black. The name derives from that of a temple, Negoro-ji in present-day Wakayama Prefecture, where the technique for making the wares was discovered by accident in the thirteenth century.

FUKAGAWASAI: A FINE LACQUER MANJU NETSUKE DEPICTING SHOJO WITH A SAKE JAR AND SAUCERSigned Fukagawasai (Shinsensai) 深川斉 Japan, 19th centuryThe two-part wood manju netsuke bearing an attractive grain, lacquered in gold and red takamaki-e with a Shojo sleeping against an enormous jar filled with sake, her smiling face cradled in the palm of her hands, probably dreaming of drinking more sake. The reverse with a sakazuki (sake-saucer) lacquered in takamaki-e and nashiji and inscribed with the character ju 寿 ('long life'), which is usually associated with drinking sake. The Shojo's robe, accompanying ladle, and sake jar embellished with fine hiramaki-e patterns. Signed to the back FUKAGAWASAI – the artist appears to be unrecorded. Central himotoshi through the back, the cord attachment within. DIAMETER 3.6 cm Condition: Very good condition with minor wear to lacquer. 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: 2623, HAA, SHINSENSAI' and another inscribed label describing the manju netsuke. An important part of this collection was on permanent loan and was exhibited over several decades at the Asia-Africa Museum in Geneva. A Shojo is a Japanese sea spirit with similarities to a ghost but differing from the latter in the fact that Shojo are tangible. It enjoys drinking alcohol, especially sake. Legend has it that workers at breweries in Japan have seen Shojo lurking about after indulging in their products.

A FINE LACQUER MANJU NETSUKE WITH MARINE LIFEUnsignedJapan, 19th century, Edo period (1615-1868)The two-part manju netsuke bearing a highly attractive silver ground densely sprinkled with red lacquer, the front depicting a red sea bream, a saury, and an octopus, all rendered in gold and colored takamaki-e and hiramaki-e and with some kirigane. Central himotoshi to the back, the cord attachment to the interior, which is lacquered in roiro.DIAMETER 3.8 cmCondition: Very good condition with only very minor wear to lacquer and a microscopic nick to the edge.

A CHARMING LACQUER NETSUKE OF A TOY DOGUnsignedJapan, Meiji period (1868-1912)Charmingly carved, the silver-lacquered dog sitting on its haunches and looking straight ahead. The stylized pup decorated to the back with chrysanthemum (kiku) blossoms borne on leafy stems, executed in colored lacquer with gold hiramaki-e petals and further with nashiji and some kirigane. The himotoshi formed by a loop to the underside.HEIGHT 3.2 cmCondition: Good condition with minor wear and typical losses to some of the kirigane flakes.

A RARE SOMADA-STYLE MOTHER-OF-PEARL INLAID LACQUER MANJU NETSUKEUnsignedJapan, 18th-19th century, Edo period (1615-1868)The two-part manju decorated with geometric motifs inlaid in part with iridescent Somada-style aogai inlays separated by a thick hiramaki-e border. The interior of dense nashiji with silver rims and a looped metal kiku fitting with a cord attachment passing through a silver kiku himotoshi to the exterior.DIAMETER 4.2 cmCondition: Very good condition with minor typical losses to inlays.Provenance: Tamenne Gallery, Brussels, November 29, 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 286 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 Université 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).Lac Burgauté or Laque burgauté is a technique of decorating lacquer ware with inlaid designs by employing shaped pieces of the iridescent blue-green shell of the sea-ear (Haliotis). This shell inlay is sometimes engraved and occasionally combined with gold and silver. Workmanship is exquisite; therefore, laque burgauté is principally used to decorate small-scale objects like tiny boxes, miniature table screens, vases, and little silver-lined wine cups. Laque burgauté seems to have originated in China, with examples occurring as early as the Ming dynasty and was especially popular in the Qing dynasty. In Japan, it was widely used by craftsmen in the Tokugawa (Edo) period and is referred to as aogai and was often used by the Somada family.Auction comparison:Compare a related small Chinese lac burgauté box and cover, Kangxi period, at Zacke, Fine Chinese Art: Buddhism and Hinduism, 10 March 2023, Vienna, lot 283 (sold for EUR 10,400).

A FINE ROIRO LACQUER WOOD NETSUKE OF AN EGGPLANT (NASUBI)UnsignedJapan, 19th centurySuperbly modeled as an eggplant (nasubi) with an elegantly trimmed stem, the flesh of lustrous roiro lacquer with the area around the stems masterfully stippled with some red lacquer. The back with well-hollowed himotoshi.LENGTH 7.2 cmCondition: Very good condition with small wear and traces of use.Provenance: Galerie Duval, Brussels, 19 February 1949. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent within the same family. 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 Université 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).

A RARE BUFFALO HORN NETSUKE OF AN EGGPLANT (NASUBI)UnsignedJapan, 19th century, Edo period (1615-1868)The buffalo horn superbly modeled as an eggplant (nasubi) with an elegantly trimmed stem, the flesh cleverly incorporating the variations in tone with the area around the stems naturally stippled with lighter patches. The netsuke wonderfully tactile and ideally shaped. The back with good, functional himotoshi.LENGTH 5.8 cmCondition: Very good condition with minor wear, some natural flaws to the material.Provenance: Collection of Robert and Isabelle de Strycker. 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 Université 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).

A RARE LACQUER NETSUKE REFERENCING SOSHI DREAMING OF THE BUTTERFLYUnsigned Japan, 19th century, Edo period (1615-1868)Of foliate form, the stunning matte sabiji-nuri ground lacquered in rich gold hiramaki-e and nashiji with butterflies detailed with kirigane, the center reserve with the kanji character 'yume' 夢 (dream) raised in takamaki-e. Asymmetrical himotoshi to the back.LENGTH 3.3 cmCondition: Very good condition with minor wear and rubbings to the nashiji. The kirigane with typical wear and some losses.Provenance: Galerie Eymery, Paris, February 1944. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent in the same family. 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 Université 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).The present netsuke references Soshi (Zhuang Zhou, commonly known as Zhuangzi), who was an influential Chinese philosopher who lived around the 4th century BC during the Warring States period. He is credited with writing one of the foundational texts of Daoism, known by his name, the Zhuangzi. The most famous of all Zhuangzi stories – Zhuang Zhou Dreams of Being a Butterfly – appears at the end of the second chapter, On the Equality of Things: “Once, Zhuang Zhou dreamed he was a butterfly, a butterfly flitting and fluttering about, happy with himself and doing as he pleased. He didn't know that he was Zhuang Zhou. Suddenly he woke up and there he was, solid and unmistakable Zhuang Zhou. But he didn't know if he was Zhuang Zhou who had dreamt he was a butterfly, or a butterfly dreaming that he was Zhuang Zhou. Between Zhuang Zhou and the butterfly there must be some distinction! This is called the Transformation of Things.” (Zhuangzi, chapter 2 [Watson translation])

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 Université 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).

A RARE LACQUER AND CERAMIC HAKO NETSUKE WITH A VIEW OF MOUNT FUJIUnsignedJapan, 19th centuryThe two-part hako (box) netsuke with an overhanging cover bearing a highly attractive dark-brown ground. The cover inlaid with ceramic in a fan-shaped reserve decorated with a view of Mount Fuji in underglaze blue and further flanked by shaped reserves depicting camellia and nandina, rendered in gold and silver takamaki-e and nashiji. The interior of nashiji. Central himotoshi to the back, the cord attachment within.LENGTH 3.5 cmCondition: Good condition with minor wear to the edges, traces of use, and some minuscule losses to lacquer.Provenance: Tamenne Gallery, Brussels, November 29, 1967. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent in the same family. An old collector's label, 'N, 220.' 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 Université 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 AMUSING HIRADO PORCELAIN NETSUKE OF A FAT PUPPYUnsignedJapan, 19th centuryFinely modeled as a recumbent and very fat puppy, the head slightly raised and turned to one side, wearing a plain fabric collar tied in a bow, the short tail elegantly swung and curled to one side, the chubby animal further detailed with almond-shaped eyes, floppy ears, and neatly incised fur, the underside with two asymmetrical himotoshi.LENGTH 4.9 cmCondition: Excellent condition with minor wear and firing irregularities.Auction comparison:Compare a closely related Hirado ware porcelain netsuke of a puppy at Zacke, Fine Netsuke & Sagemono, 22 April 2022, Vienna, lot 311 (sold for EUR 1,696).

A PLAYFUL HIRADO PORCELAIN NETSUKE OF A CHILD CARRYING AN INFANTUnsignedJapan, 19th century, Edo period (1615-1868)Depicting a karako (Chinese boy) carrying an infant, one foot crossed, the other bent as he attempts to hoist the playful infant in the air. The boy dressed in a deep blue robe with brown highlights, his face partially covered by the child's hand, the infant with a wide smile on his face, the tongue sticking out, teasing the onlooker. The back with generously hollowed, asymmetrical himotoshi.HEIGHT 4.7 cmCondition: Very good condition with minor wear and firing irregularities including few darks spots and very minor pitting.The fragility of porcelain and utilitarian function of the netsuke form an incongruous combination. Yet, ceramic netsuke such as this piece depicting a Chinese boy (karako) carrying an infant were extremely popular.Museum comparison:A Hirado ware netsuke of a child carrying an infant is in the Metropolitan Museum of Art (The MET), New York, accession no. 23.225.81.Auction comparison:Compare a closely related Hirado ware netsuke of a boy with a Daikoku mask at Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 290 (sold for EUR 2,402).

AN INTRICATE HIRADO WARE NETSUKE OF THE CLAM'S DREAMUnsignedJapan, mid-19th century, Edo period (1615-1868)Beautifully modeled as a clam revealing within its depths the insides of a pavilion rendered in anabori, three figures are seated inside, two in a raised chamber and the third at the bottom of the stairs leading up to the rooms. The shell decorated to the top with an idyllic landscape detailed in polychrome enamel and to the bottom with some hills. The hollowed base with an asymmetrical himotoshi.LENGTH 4.8 cmCondition: Excellent condition with minor wear and firing irregularities. Very minor dark spots.Provenance: Tamenne Gallery, Brussels, 2 September 1967. Collection of Robert and Isabelle de Strycker, acquired from the above, and thence by descent within the same family. 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 Université 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).Museum comparison:A closely related Hirado-ware netsuke in the form of the Clam's Dream is in the Los Angeles County Museum of Art (LACMA), accession number M.2004.216.25. A closely related Imari ware netsuke of an embracing couple inside a clamshell is in the Toledo Museum of Art, Ohio, object no. 2009.73.

A RARE HIRADO PORCELAIN NETSUKE OF A SHOJOUnsignedJapan, 19th centuryFinely modelled as a drunken Shojo, wearing a large sake saucer as a hat and holding a ladle. The netsuke covered in an attractive, pure-white glaze. The back with large, asymmetrical himotoshi.HEIGHT 5.9 cmCondition: Very good condition with minor wear and firing irregularities.

A CELADON GLAZED PORCELAIN NETSUKE OF DARUMAUnsignedJapan, Kyoto, 19th centuryThe patriarch of Zen Buddhism seated enveloped in his voluminous robe bearing a resigned expression, his hands raised to his chin, the wrinkled face with gaunt eyes above a broad nose, covered overall in a lustrous sea-green glaze pooling at the recesses, stopping evenly before the foot to reveal the buff ware burnt to orange. The back with two himotoshi. HEIGHT 4.4 cmCondition: Very good condition with minor wear and firing irregularities.After nine straight years of meditation, Daruma's arms and legs atrophied and fell off.Museum comparison:A related porcelain netsuke of Daruma, also Kyoto ware, is in the Toledo Museum of Art, Ohio, object no. 2009.213.

A BIZEN-YAKI NETSUKE OF A DARUMA DOLLUnsignedJapan, 19th centuryThe patriarch of Zen Buddhism seated enveloped in his voluminous robe bearing a resigned expression, his hands raised to his chin, the grumpy face with highlights of gold to his eyes and round earrings. The body with three flaming jewels representing his enlightenment and place as one of the three sacred jewels, sanbo, of Buddhism. The back with a generously excavated asymmetrical himotoshi.HEIGHT 3.6 cmCondition: Very good condition with minor wear and firing irregularities. Minor wear to gilt.Provenance: Hotel Drouot, November 1999. 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. Introduced to the world of netsuke by his grandmother as a little boy, whose collection he would later inherit. At its peak the de Lasteyrie netsuke collection comprised more than two hundred pieces that not only represented one man's lifetime passion and informed taste but, also illustrated an elusive quality seen only in 'pure' collections. De Lasteyrie is a generous supporter and lender to various exhibitions including those organized by the International Netsuke Society and the Association Franco-Japanese.After nine straight years of meditation, Daruma's arms and legs atrophied and fell off.Museum comparison:A near-identical Bizen-yaki netsuke of Daruma with gold eyes is in the Toledo Museum of Art, Ohio, object no. 2009.262.

A PAINTED AND GLAZED CERAMIC NETSUKE OF A SOUTH SEA ISLANDER WITH A PORCELAIN JARUnsignedJapan, 19th centuryThe seated South Sea islander cradling a blue and white porcelain jar with one hand, the other resting on his lap, dressed in a loincloth, his eyes painted coral-red. The jar detailed with blue enamel. The underside with himotoshi.HEIGHT 3.3 cmCondition: Good condition with minor wear and firing flaws. Minor touch-ups.Provenance: Collection of Charles Rozenfeld, Antwerp, Belgium. Charles Simon Rozenfeld (1943-2020) was a Belgian diamond dealer and keen collector of Japanese art, particularly ivory.

TAKEYAMA MASAHIKO: A SUPERB AND RARE GOLD AND MIXED METAL NETSUKE OF A SNAIL ON A LOGBy Takeyama Masahiko, signed Masahiko 真彦 saku 作Japan, c. 1880, Meiji period (1868-1912)Superbly modeled and chiseled as a snail slithering across a textured 14K gold log, the mollusc with a shibuichi shell and extending its feelers, both the log and snail achieved with remarkable naturalism. Himotoshi through a cleverly placed opening of the log and through the underside. Signed in cursive script MASAHIKO saku [made by Masahiko].LENGTH 4.6 cmWEIGHT 42.6 gCondition: Very good condition with minor rubbing to the snail's body and light surface scratches to the underside.For more information on the artist Takeyama Masahiko, see Robert Haynes, The Index of Sword Fittings and Associated Artists, Ellwangen, Germany, Nihon Art Publishers, 2001, no. H03766. “Masahiko was a pupil of Wada Isshin (1814-1882) and may also have studied under Goto Ichijo (1791-1876). “Literature comparison:This appears to be the only recorded netsuke by the artist, who also made gold ojime. For some examples of his work see Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 1, p. 702.

A VERY RARE SOLID GOLD OJIME PORTRAYING DARUMAUnsigned Japan, late 19th century Bodhidharma, known as Daruma in Japan, is depicted here in a portrait-like manner, grasping his robe around himself, the characterful face sculpted with an extraordinary amount of detail. HEIGHT 2.1 cm WEIGHT 7.06 g Condition: Excellent condition, minor wear. Provenance: British private collection purchased from Christie's, London, 4 July 1984, lot 567. Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 315 (sold for EUR 10,112). A noted private collector, acquired from the above.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

RYUMIN: A VERY RARE SOLID GOLD OJIME OF SHOKIBy Serizawa Ryumin (born ca. 1836), signed Ryumin 立民Japan, late 19th centuryMasterfully worked with an astonishing amount of detail, depicting the demon queller Shoki brandishing his sword, ready to strike.HEIGHT 1.9 cmWEIGHT 6.20 gSerizawa Ryumin studied under Tenmin and was a talented metalworker focusing mostly on kanamono and kagamibuta. Condition: Excellent condition, minor wear.Provenance: British private collection purchased from Christie's, London, 4 July 1984, lot 567. Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 314 (sold for EUR 17,696). A noted private collector, acquired from the above.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A RARE MIXED METAL NETSUKE OF A MINIATURE TANEGASHIMA TEPPO (RIFLE), ATTRIBUTED TO BAITETSUUnsigned, attributed to BaitetsuJapan, late 19th century, Meiji period (1868-1912)The miniature replica with working mechanism, finely crafted from silver, soft metals, and sentoku bronze as a matchlock pistol (known as tanegashima, a firearm introduced to Japan through the Portuguese Empire in 1543 and used by the samurai class). The teppo chiseled with karakusa designs and silver-mounted floral aoi mons. The underside with a looped floral himotoshi.LENGTH 5.1 cmCondition: Very good condition with minor surface wear.Auction comparison:Compare a related silver-mounted bronze 'Tanegashima' yatate by Baitetsu at Zacke, Fine Japanese Art, 3rd December 2021, Vienna, lot 288 (sold for EUR 3,792).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

ZOKOKU: A REMARKABLE WARIZUTSU BAMBOO KISERUZUTSU DEPICTING RAKAN AND BUDDHABy Zokoku, signed Zokoku 象谷 to 刀Japan, 18th century, Edo period (1615-1868)The wari-zutsu pipecase intricately carved with 108 rakan (arhat) surrounding Buddha, seated beneath a large pine tree above which angelic figures, finely etched, are hovering in an open sky. The attention of some of the Buddha's disciples is captivated by the teachings of Buddha, while others yawn or engage in other discourse. The gaunt bodies of the rakan are illustrated by their emaciated ribs. On the reverse, the greater crowd of rakan pack together holding alms bowls and censers, one of the rakan conjuring a dragon. The cord attachment formed by two pierced himotoshi. The base signed ZOKOKU to [carved by Zokoku].LENGTH 21.9 cmCondition: Very good condition with minor wear.A wari-zutsu pipe case is slit at the sides, leaving two flexible leaves. Bamboo and wood are the usual materials, because of the need for flexibility, although occasionally antler is utilized. See Stratos, Milton (Spring 2016) Kiseruzutsu, the Other Sagemono. A Modest Appreciation, International Netsuke Society Journal, Vol. 36, No. 1, p. 19.Literature comparison:Compare a closely related bamboo warizutsu carved in relief with rakan and Buddha, by Masayuki, illustrated in Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. III, p. 132.

A FINE LACQUER FOUR-CASE INRO DEPICTING SHISHIMAI DANCERS, WITH EN SUITE NETSUKEUnsignedJapan, 19th century, Edo period (1615-1868)Of upright rectangular form and oval section, the four-case inro bearing a beautifully dense gyobu nashiji ground, finely decorated in red and gold takamaki-e with mother-of-pearl inlays to depict shishimai dancers. One side decorated with one dancer bent forward, the hands reaching to beat the drum, as his hips sway to the music. The drum-shell decorated with a manji-diapered ground, and the iridescent robe highlighted with foliate medallions in hiramaki-e. The reverse similarly decorated with another dancer, dressed in striped lacquer pants, as he peeks through the opening in the shishi mask. The interior cases of nashiji with gold fundame rims.With an amber ojime. The en suite Edo school wood netsuke carved as a seated shishimai dancer.HEIGHT 7.4 cm, LENGTH 6.8 cmCondition: Excellent condition with only minor wear.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.

A RARE FOUR-CASE LACQUER INRO DEPICTING UCHIWAUnsignedJapan, 17th century, Edo period (1615-1868)The well-sized inro bearing a roiro ground, finely decorated with gold and red hiramaki-e to depict uchiwa ( on either side. One enclosing stylized shishi and peonies detailed with iridescent raden and aogai, the sides issuing further floral blooms in red lacquer. The reverse similarly decorated within the outline of the fan with scholars in deep discussion next to a pavilion, their robes illuminated by iridescent shell and aogai. The interior compartments of nashiji with gold fundame rims. With a guri lacquer ojime. The accompanying 18th-19th century tsuishu lacquer manju netsuke carved with opulent flowers against a wood ground.HEIGHT 7.4 cm, LENGTH 6.5 cmCondition: Very good condition with minor typical wear and few losses to aogai inlays. Provenance: From the collection of Arend Louis Serné. An old collector's label to the interior, 'G 188.' Arend Louis Serné (1925-2021) was the fourth-generation owner of the firm A. Serné & Son, Costumiers, located on the Groenburgwal, Amsterdam, Netherlands, established in 1866. An avid piano player, he was also fond of modern literature, and a passionate collector of inro. He started his inro collection in the late 1970s. At that time, he entered the gallery Aalderink Oriental Art along the Spiegelgracht in Amsterdam and was immediately captivated by the beauty of inro. He began his collection with three simple specimens but hoped to own more. He remarked, “Oh that's nothing, a decent collection must be about a hundred pieces!” And collect he did. Arend was not concerned with the signature or the rarity, but with the intrinsic poetic beauty embodied in this very Japanese art form.

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.

SEKIFU: A FINE TWO-CASE LACQUER INRO DEPICTING CRABS ON THE SHORESIDEBy Sekifu, signed Sekifu 石風 saku 作Japan, 19th century, Edo period (1615-1868)Of short, rectangular form, the dense nashiji ground decorated with takamaki bamboo sprouts and a single crab on the shore detailed with kirigane flakes, the current of the water highlighted with hiramaki-e. The reverse with a small and large crab on the shoreside with delicately detailed grass in hiramaki-e; each crab has one thick pincer clamped while the other is opened. Signed underneath in gold lacquer SEKIFU saku [made by Sekifu]. The interior cases of nashiji with gold fundame rims.HEIGHT 5.7 cm LENGTH 7.9 cmCondition: Very good condition with minor wear, typical losses to the kirigane, and light rubbing.Provenance: From the collection of Vice-Admiral Edgar Humann, and thence by descent in the same family. Edgar Eugene Humann (1838-1914) was a French naval officer who rose through the ranks to Admiral. In 1892, he was placed in command of the Far East naval division. From 1894 to 1895, he served as Chief of Staff of the French Navy, and in 1898, he was made Inspector General and Grand Officer of the Legion of Honor. He retired from active duty in May 1903.Literature comparison:Compare a related inro depicting fish jumping swimming near the shoreside, signed Sekifu, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 929.

A FINE THREE-CASE WOOD INRO OF A TORTOISEUnsignedJapan, 19th century, Edo period (1615-1868)Naturalistically carved as a tortoise with its limbs almost entirely retracted within its carapace, which is carved with finely detailed plates. The reptile has its head reared slightly to the right and the eyes are double inlaid in pale and dark horn. The underside shows the finely carved wrinkly and scaly clawed feet. The cord is hidden well within the tortoise's carapace.LENGTH 10.5 cmCondition: Good condition with minor wear, natural flaws, traces of use, and a minor crack to the second case with associated old repairs.Literature comparison:For a discussion of this type of inro, probably offered as 60th birthday gifts, see Kress, Heinze and Elise: Tortoise-shaped Wooden Inrō Carved by the Left-handed (左 = Hidari) Ichizan (Issan) 一山, Resident of Aizu (Wakamatsu), North of Fukushimain. In: International Netsuke Society Journal, Vol. 38, no. 4, Winter 2019, pp. 47-51.Auction comparisonCompare a near identical three-case wood inro of a tortoise, at Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 281 (sold for 5,056).

SANDOKU: A SUPERB SHIBAYAMA INLAID SINGLE-CASE WOOD INRO WITH A COCKATOO AND BUTTERFLIESBy Sandoku, signed Sandoku 三獨Japan, Meiji period (1868-1912)Finely inlaid with Shibayama-style inlays of mother-of-pearl, bone, and stained horn, with a pearl white cockatoo seated on a blossoming prunus branch. The other side with a delicate wisteria branch with iridescent butterflies flying around its white blossoms which hang delicately from the branches. The interior of the case fitted with a miniature shelf complete with sliding door cabinets, storage boxes, and drawers, inlaid with bone handles and dark stained wood.With an en suite wood mandarin duck (oshidori) netsuke attached to the end of the cord above a small daruma doll ojime with copper inlaid eyes and a hirazogan nyoi scepter to the back.HEIGHT 6.6 cm, LENGTH 5.5 cmLENGTH (the netsuke) 4.1 cmCondition: Excellent condition with only very minor wear.Provenance: Ex-collection of His Royal Highness Prince Henry, Duke of Gloucester (1900-1974), by repute.