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

ISSAI: A CHARMING WOOD NETSUKE OF THREE HORSESBy Issai, signed Issai 一哉Japan, 19th century, Edo period (1615-1868)A charming wood netsuke of three horses, one with its head down grazing, and another looking back while the third horse is delicately licking its body, the entire composition set on a shaped base. The details, such as tussled manes and bushy tails are finely incised. Singular himotoshi to the underside and signed within an oval reserve ISSAI.LENGTH 4.1 cmCondition: Excellent condition with minor wear and a fine, dark patina.

A RARE LACQUERED IRON MASK NETSUKE DEPICTING A TENGU SOMENUnsigned Japan, 19th centuryPublished: Rutherston, Max (2017) Japanese Masks, Peter E. Mueller, no. 203. Finely cast and assembled in sections with embossed eyebrows, wrinkles, prominent cheeks and chin, and an extended beak-like nose plate, the chin with two pegs, the exterior and interior lacquered black and reddish-brown to simulate rust. Natural himotoshi. The underside of the chin with a pierced inome (boar's eye).HEIGHT 5.1 cmWEIGHT 18.5 gCondition: Very good condition with minor and simulated wear. One rivet lost to the side. Provenance: Ex-collection Peter E. Mueller, no. 203. Matthew Barton Ltd., 6 June 2018, lot 217. European private collection P. Jacquesson, acquired from the above.The existence of somen (full masks) goes back to the Muromachi Period but quickly declined in popularity as the full-coverage of the face was found to be uncomfortable and impractical since it did not provide any functional advantage. They continued to be made as showpieces for high-ranking lords as opposed to practical armor accoutrements. Mask netsuke of this type are very rare, the present example being possibly unique.Literature comparison:Compare a wood netsuke depicting a menpo signed Sankyu, illustrated in Joly, Henri L. (1966) The W. L. Behrens Collection, Part 1, Netsuke, pl. III, no. 139, and in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 694, where Meinertzhagen mentions a similar netsuke by Hoichi in ebony in the T. Seligman and subsequently W.W. Winkworth collection. This netsuke is also mentioned in the MCI, Part A, p. 584, where it is described as a “Mask (minus the forehead) of a Man with large nose”, indicating it is a tengu menpo. The Sankyu netsuke was also sold at Kunsthandel Klefisch, 23 May 1981, lot 189.Museum comparison: Compare a lacquered iron mask inscribed by Myochin Muneakira, dated 1713, 21.7 cm high, in the Metropolitan Museum of Art, accession number 14.100.45.

A RARE MIXED METAL NETSUKE DEPICTING THE HEAD OF A NOBLEMANUnsigned Japan, 19th centuryThe face with a stern expression, marked by thick furrowed brows, intensely staring heavy-lidded eyes with pierced pupils, a long slender nose, the mouth slightly agape. The hair and eyebrows are neatly incised. The head is surmounted by a short cap with cross-hatched design, secured by a gold-inlaid cord. The back with two himotoshi.HEIGHT 5.8 cmCondition: Very good condition with minor wear, casting irregularities, few tiny nicks.Provenance: European private collection P. Jacquesson, acquired from Robert Fleischel in November 2014 during the Netsuke Convention in London.Auction comparison: Compare a related wood netsuke of the head of a samurai by Iwama Masayoshi, 4.2 cm, also dated 19th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part I, 9 November 2010, London, lot 123 (sold for 12,000 GBP).

A RARE AND UNUSUAL WOOD MASK NETSUKE OF A CICADAUnsigned Japan, 18th-19th century, Edo period (1615-1868)Published: Bushell, Raymond (1985), Netsuke Masks, pls. 288A and 288B.Well carved as a resting cicada, the veining of its folded wings carved in low relief, the antennae partly covering the eyes, the legs supposedly tucked in; the reverse, however, is hollowed out like a mask netsuke and fitted with a himotoshi crossbar. The wood of a particularly attractive grain and color with distinct markings.HEIGHT 5.5 cm Condition: Very good condition with minor wear, tiny nicks, light scratches.Provenance: Ex-collection Raymond Bushell. European private collection P. Jacquesson.In his book Netsuke Masks, Raymond Bushell chose to include this unusual netsuke in the chapter Trick Mask Netsuke, noting that the “actor who represents the spirit of an insect generally wears the Usofuki mask. In this case the carver apparently preferred a realistic portrayal of the insect to the symbolic Usofuki.”

AN UNUSUAL AND RARE ROOTWOOD NETSUKE DEPICTING USOFUKIUnsigned Japan, 18th-19th century, Edo period (1615-1868)The burled and knotted rootwood of an attractive grain and color, sparingly and yet expressively worked to depict the mask of a swine-like Usofuki with lips puckered in a whistle, the flattened, polished back with two asymmetrical himotoshi.HEIGHT 5.4 cmCondition: Excellent condition with minor wear and natural flaws.Provenance: Kunsthandel Klefisch, 14 June 2003, Cologne, lot 751 (illustrated on p. 197). European collection P. Jacquesson, acquired from the above.Usofuki (or Usobuki) is a Kyogen mask type which is not well standardized, but easily identifiable by the pursed or puckered lips, lending the mask (and the actor wearing it) a highly comical expression. The noun usobuki or usofuki is a gerund of the verb usobuku, which has many meanings: exhale sharply, whistle, hum, intone, howl or bay, pretend ignorance, and brag. A highly regarded ethnographer and linguist, the late Shinobu Orikuchi assigned a much earlier meaning to usobuku: taunt, oppose, and rebel. He specifically interpreted the pursed lips of old indigenous masks as signifying imminent speech, as the expression of seirei determined to speak out in defiance but constrained by the consequences of thereby acknowledging the authority of the kami.

A LACQUERED WOOD GIGAKU MASK NETSUKE OF CHIDOBy Kano Tessai (1845-1925), signed Tessai 銕哉 to 刀 and kakihan Japan, Nara, late 19th to early 20th centuryFinely carved, the smiling face with pierced narrowed eyes and mouth, centered by a long hook nose, his facial features, ears, and wrinkles neatly incised and elegant brows neatly incised, the wood lacquered in brown, black, and red with skillfully executed simulated wear to depict an ancient mask, the himotoshi bar to the reverse signed TESSAI to with a kakihan.HEIGHT 3.8 cmCondition: Very good condition with minor and simulated wear. Provenance: Marsha Vargas, San Francisco, USA. Dutch private collection, acquired from the above.Chido represents a man of impressive and dignified bearing who may have been the herald of the Gigaku pageant. See Bushell, Raymond (1985), Netsuke Masks, p. 68.Kano Tessai (1845-1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example. Tessai in particular made mask netsuke copied from the Gigaku masks within the Shoso-in repository, where around 225 examples are preserved representing 15 different roles.The Shoso-in is the treasure house of the Toda-ji temple in Nara, Japan. From the very beginning, the Shoso-in has been sealed by the Imperial family. One was permitted to enter only with explicit permission from the Imperial family. Ninety-five percent of the fine arts and crafts in the Shoso-in were produced in Japan around the 8th century, with the remainder imported from the Tang Dynasty, Central Asia, India, Iran, etc. during the same period. Although these collections are not open to the public, selections are shown at Nara National Museum once a year in autumn.

TETSURO: A LACQUERED WOOD GIGAKU MASK NETSUKE OF SUIKO-JUBy Ichikawa Tetsuro, signed Tetsuro 鉄琅 and kakihanJapan, Nara, late 19th to early 20th centuryWell carved, the smiling face with pierced narrowed eyes and mouth, centered by a long hook nose, his wrinkles neatly incised and elegant brows finely painted, the wood lacquered in brown, black, and red with skillfully executed simulated wear to depict an ancient mask, the himotoshi bar to the reverse signed TETSURO and kakihan.HEIGHT 5 cmCondition: Very good condition with minor and simulated wear.Provenance: Sachi Wagner, Midori Gallery, Miami, Florida, USA, 2 May 1990. Copy of the original invoice available. Canadian private collection, acquired from the above.Suiko-ju is the aide-de-camp to Suiko-o, according to Raymond Bushell; “both are drunken revelers. They are either Central Asian or Iranian, but the identification is uncertain.” See Bushell, Raymond (1985), Netsuke Masks, p. 68. Suiko translates to 'drunken barbarian'.Ichikawa Tetsuro was a student of Kano Tessai in Nara. Like his teacher, he engaged in the reproductions of old objects of art, such as the present lot.Literature comparison: Compare a closely related Gigaku mask netsuke by Tessai, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 866.Museum comparison:A carved wood mask of Suiko-ju, dated to the 7th century (Asuka period) is in the Tokyo National Museum, no. N-223, and described as follows: “This mask can really be considered to be a laughing drunk. As the back of the head is made of the same wood, the mask covers the back of the head rather shallowly. This mask is not only more excellent than the other four Suiko-ju (N-220, N-221, N-222 and N-223 [sic]),but is also one of the most excellent masks among all the Gigaku masks.”13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

TESSAI: A RARE LACQUERED WOOD GIGAKU MASK NETSUKEBy Kano Tessai (1845-1925), signed signed Tessai 銕哉 to 刀 with kakihan Japan, Nara, late 19th to early 20th centuryPublished: Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 174, no. 723.Sachi Wagner (December 1983) Okimono. Origins and Links to Netsuke, Journal of the International Netsuke Collector's Society, Vol. 11, No. 3, p. 37, no. 25.Finely carved as a man with a grim expression marked by furrowed brows, intense eyes, neatly incised deep wrinkles above the nose and around the mouth, which is pierced and slightly agape revealing teeth, wearing a tall cap surmounted by a very unusual winged feline creature. The mask lacquered black with accents in red and brown to simulate an ancient mask. The back with a waisted himotoshi bar signed TESSAI and kakihan.HEIGHT 4.2 cmCondition: Very good condition with minor and simulated wear.Provenance: Ex-collection Victor Topper. Michael Bernstein, New York, October 1997. European collection P. Jacquesson, acquired from the above.Kano Tessai (1845-1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art, such as the present example. Tessai in particular made mask netsuke copied from the Gigaku masks within the Shoso-in repository, where around 225 examples are preserved representing 15 different roles.The Shoso-in is the treasure house of the Toda-ji temple in Nara, Japan. From the very beginning, the Shoso-in has been sealed by the Imperial family. One was permitted to enter only with explicit permission from the Imperial family. Ninety-five percent of the fine arts and crafts in the Shoso-in were produced in Japan around the 8th century, with the remainder imported from the Tang Dynasty, Central Asia, India, Iran, etc. during the same period. Although these collections are not open to the public, selections are shown at Nara National Museum once a year in autumn.Literature comparison:The present mask is difficult to determine and shares some characteristics with the Ranryo-o Bugaku masks, as it shows a similar winged creature on the helmet, however this mask usually has a hinged jaw. A Gigaku mask netsuke illustrated in Bushell, Raymond (1985), Netsuke Masks, p. 70, fig. 8, provides a favorable comparison and is defined as 'Goko'.

A LACQUERED WOOD MASK NETSUKE OF KOJOUnsigned Japan, 19th centuryExpressively carved, the old man with an almost ghost-like appearance, with deeply incised wrinkles around his cheeks, elegantly arched brows, and tall forehead. The narrowed eyes are pierced, as is the open mouth with two buck teeth, above the prominent chin. The mask netsuke is skillfully lacquered and carved with simulated wear to depict an ancient mask.HEIGHT 4 cmCondition: Very good condition with minor and simulated wear, few small nicks to the back and around the himotoshi.The reverse with a vertically pierced himotoshi bar and a partly illegible inscription reading 'ko[…]'.The Kojo mask is worn by the actor portraying the old man in the first part of Takasago and in other Noh plays. The mask, embodying dignity and divinity, foreshadows the old man's appearance in the second part as a god.Museum comparison: Compare a Noh mask of Kojo, dated to the Muromachi period, 16th century, in the Brooklyn Museum, accession number 86.85.1.

HO RAKUMIN: A WOOD AND LACQUER MASK NETSUKE OF A SHOJOBy Ho Rakumin (1804-1877), signed Ho Hogen 鴇 法眼 with kakihanJapan, Edo/Tokyo, second half of 19th centurySkillfully carved as a young man, the pierced mouth opened in a charming smile revealing rows of teeth, the narrowed eyes with recessed pupils, the neatly incised eyebrows and parted hair as well as the thin lips lacquered red. The reverse with a himotoshi bar below the signature Ho Hogen with a kakihan. The artist is Ho Rakumin, for further examples bearing this signature see MCI p. 160.HEIGHT 4.1 cmCondition: Very good condition with minor wear. Provenance: Ex-collection John and Helen Mang. Quinn's Auction Galleries, The Mang Collection of Japanese Netsuke, 7 December 2012, Falls Church, Virginia, USA, lot 119. European collection P. Jacquesson, acquired from the above.Shojo is used exclusively for the play Shojo (The Dancing Orangutan). Despite the name, the mask is that of a smiling youth, certainly not an ape at all. The distinguishing feature of Shojo is his overall reddish color, the color which symbolizes the drunkard. Shojo's hair is painted downward on his forehead in thin separated strands or bangs. For his dance the actor always wears a wig of long red hair with the Shojo mask. The dance symbolizes a drunken orangutan. Some Noh schools use a group of seven dancers all wearing Shojo masks to represent the orangutan.Ho Rakumin (1804-1877) was born in Tsuchiura in Hitachi Province (now Ibaraki Prefecture). He received the honorary title Hogen and was, together with Hojitsu, one of the best netsuke carvers in Tokyo.Literature comparison: Compare a related wood netsuke, also with red hair, by Keizan, illustrated in Joly, Henri L. (1966) The W. L. Behrens Collection, Part 1, Netsuke, pl. IV, no. 186, and in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 321.Museum comparison: A polychrome wood mask of Shojo, dated to the Muromachi period, 15th-16th century, is in the Tokyo National Museum, collection reference no. C-1535.

HOKEI: A MASTERFUL TSUISHU (RED LACQUER) MASK NETSUKE OF A SHOJOBy Matsuki Hokei, signed Hokei 宝桂Japan, Tokyo, late 19th century, Meiji period (1868-1912)Published: Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 212, no. 899.Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 162, no. 485.Exquisitely and comically modeled with the face creased into a grimace as he stares upward with round eyes and recessed pupils, framed by long flowing hair with neatly incised strands, the mustache similarly incised, the various layers of lacquer clearly delineated and the reverse lacquered black save for the red-lacquered edges and himotoshi bar signed HOKEI.HEIGHT 5.2 cmCondition: Very good condition with minor wear to lacquer. Provenance: Ex-collection E. Evelyn Barron. Ex-collection Mark T. Hindson. Sotheby's, The M. T. Hindson Collection of Important Japanese Works of Art, Part VIII (Final), London, 20 October 1969, lot 253. Ex-collection Edward A. Wrangham, acquired from the above. Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 98 (sold for GBP 4,800). Ex-collection Robert Fleischel, acquired from the above. European collection P. Jacquesson, acquired from the above.Shojo is used exclusively for the play Shojo (The Dancing Orangutan). Despite the name, the mask is that of a smiling youth, certainly not an ape at all. The distinguishing feature of Shojo is his overall reddish color, the color which symbolizes the drunkard. This crucial feature to the mask obviously lends itself well to the medium of carved red lacquer. The present mask netsuke, however, presents Shojo in a rather unique way, with a distinctive grimace instead of the usual smile.Matsuki Hokei was perhaps the most famous and certainly one of the finest workers in tsuishu (carved red lacquer). His figures in this material are comparable to the finest wood and ivory Netsuke, the various layers of lacquer used to denote highlights in some cases. The work is always well-finished. He taught several pupils whose work was similar but lacking the finesse of the master. See Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 161.Literature comparison: Compare a related tsuishu mask netsuke of a grimacing male mask, 4.8 cm high, dated 19th century, illustrated in Eskenazi (1998) Japanese netsuke, ojime and inro from a private European collection, p. 63, no. 66.Auction comparison:Compare to a related tsuishu mask netsuke of a tengu, by Somin, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 283 (sold for 9,150 EUR).

JOKO: A RARE TSUISHU (RED LACQUER) BUGAKU MASK NETSUKE OF GENJORAKUBy Joko, signed Joko 如光Japan, Tokyo, second half of 19th centuryWell carved with staring eyes beneath heavy eyebrows, the mouth wide open in a scream showing teeth, the pupils, brows, and mustache neatly incised, the reverse lacquered black save for the waisted himotoshi bar signed to one side JOKO.HEIGHT 4.6 cmCondition: Excellent condition with only very minor wear to lacquer. Provenance: Ex-collection Edward Wrangham. Bonhams, The Edward Wrangham Collection of Japanese Art Part I, 9 November 2010, London, lot 180. A Princely Collection, acquired from the above.In the Bugaku dance known as Genjoraku, a barbarian dances around a wooden model of a snake, rejoicing at having caught one of his favorite delicacies. Thought to have originated in India, this dance eventually was regarded as an auspicious dance to perform upon the return of an emperor to his palace, and thus was named Genjoraku, meaning 'Return visit of a High Personage'. Performed as early as the Nara period, Genjkoraku developed as a companion to the Bato dance.Literature comparison: Compare a related tsuishu mask netsuke of an oni by Joko, dated late 19th century, illustrated in Davey, Neil K. / Tripp, Susan G. (1993) The Garrett Collection, p. 141, no. 105 (together with an inro and ojime), where the authors note that “[o]nly one other netsuke by Joko has been recorded, a red lacquer mask in the Brockhaus collection”.Auction comparison:Compare a related tsuishu maks netsuke from the same school, by Soyo, depicting Okame, at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 265 (sold for 5,056 EUR).

A FINE LACQUER MASK NETSUKE OF OKAMEUnsignedJapan 19th centuryPublished: Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 423, no. 1262.Eskenazi (1998) Japanese netsuke, ojime and inro from a private European collection, p. 58, no. 57.Finely modeled with characteristic plump cheeks and mirthful smile, her eyes narrowed in laughter. The silver-lacquered face framed by tresses of black lacquer, the lips and tongue lacquered red, the reverse brown with a bar pierced with a single himotoshi of circular form with a slightly raised rim.HEIGHT 3.5 cmCondition: Excellent condition with minor wear. Provenance: Ex Guest collection, no. 1315. Ex-collection Mark T. Hindson. Sotheby's, The M. T. Hindson Collection of Important Japanese Works of Art, Part VIII (Final), London, 20 October 1969, lot 170. Ex-collection Emiel Veranneman, acquired from the above. Eskenazi, London, 1998. Sotheby's, May 2007, London. European collection P. Jacquesson, acquired from the above.Okame (or Otafuku) represents a lovely, always smiling Japanese woman who brings happiness and good fortune to any man she marries. She is also known as the Goddess of Mirth and is a very popular image in Japanese culture. Otafuku literally means 'much good fortune', and Okame means 'tortoise', which is also an auspicious symbol of longevity, as tortoises lead long lives.

SOSHI: A FINE JOSO SCHOOL WOOD MASK NETSUKE OF A GROUP OF MASKSBy Soshi, signed Soshi 藻之 to 刀Japan, Tokyo, late 19th to early 20th centuryPublished: Bushell, Raymond (1985), Netsuke Masks, pls. 272A and 272B.Finely carved as an Okame mask and an upside-down Okina mask side by side, both with smiling expressions and of typical appearance, the Okina bucktoothed, the Okame with neatly incised strands of hair, backed by an oni mask with bulging eyes and a prominent wide nose, the large flaring nostrils forming the 'natural' himotoshi, the chin signed SOSHI to [carved by Soshi].LENGTH 3.3 cmCondition: Excellent condition with only very minor wear.Provenance: Ex-collection Raymond Bushell. Sotheby's New York, 21 March 2000, New York, lot 303. European private collection P. Jacquesson, acquired from the above.Soshi was a netsuke artist from the Joso school whose work is rarely seen. Most of his netsuke are masks, with his signature engraved on a himotoshi crossbar. The present netsuke, however, does not have a crossbar and is signed to the chin of the Oni mask. Literature comparison: Compare a related wood netsuke by Joso, depicting three masks representing Okame, Suguchi, and Akuso, 3.8 cm long, illustrated in Coullery, Marie-Therese / Newstead, Martin S. (1977) The Baur Collection, p. 260, C 763. Compare a closely related wood netsuke by Sokyu, also depicting masks of Okame, Okina, and Oni, and also with Oni's nostrils forming the himotoshi and the signature found on his chin, illustrated in Galerie Zacke, Netsuke. Die Sammlung Frank Pingotti, 1998, no. 120. Auction comparison: Compare a related wood group of three masks, depicting masks of Okame and Oni backed by that of Buaku, by Morita Soko, 3.5 cm, dated late 19th to early 20th century, at Sotheby's, The Swedlow Collection of Inro, Lacquer and Ojime, 31 March 1993, London, lot 83.

A LACQUER NETSUKE OF A CLUSTER OF MASKSUnsignedJapan, 19th centuryFinely carved and lacquered in gold, silver and red maki-e, depicting a cluster of masks including Okame, Hannya, kitsune, Hyottoko and a long-nosed tengu. Natural himotoshi.LENGTH 3.8 cmCondition: Excellent condition with minor wear to lacquer.Provenance: Canadian private collection, purchased from Orientations Gallery, New York.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

KOMA: A LARGE LACQUER MANJU NETSUKE WITH SARU MASKBy a member of the Koma school of lacquerers, signed Koma 古滿 and kakihanJapan, 19th century, Edo period (1615-1868)A large two-part manju netsuke, bearing a black-lacquered ground with sparsely sprinkled maki-e flakes, the front decorated with a fine iro-e takamaki-e saru mask, the eyes double inlaid in crystal with black pupils. The reverse shows a striking design of interlocking circles executed in gold takamaki-e. With a large silver-lined himotoshi to the back, the cord attachment to the nashiji interior.DIAMETER 4.9 cmCondition: Very good condition with minor wear to lacquer on the inside and a small loss to the interior silver-lined cord hole.Provenance: The Collection of Gloria and Joe Kurilecz, Westchester County, New York.

AN EXCEPTIONAL LACQUER NETSUKE OF A KONOHA TENGU MASK WRAPPED IN A FUROSHIKIUnsigned Japan, 19th centuryFinely modeled as a long-nosed tengu mask lacquered red with black and gold lacquer details, the back of the mask with ishime-nuri, the mask wrapped in a gold-lacquered furoshiki decorated with gold sprinkles and very fine takamaki-e maple leaves, the cloth tied in a meticulously executed bow below the nose, the back with good asymmetrical himotoshi, the larger of which is of oval shape.LENGTH 4.4 cmCondition: Excellent condition with minor wear.Provenance: Ex-collection Edward Wrangham. Ex-collection Edward Wrangham. Bonhams, The Edward Wrangham Collection of Japanese Art Part I, 9 November 2010, London, lot 178 (sold for 4,200 GBP). A Princely Collection, acquired from the above.Literature comparison: Compare a related, yet less fine lacquer netsuke depicting a Konoha Tengu mask wrapped in a furoshiki by Kokuzan, dated 18th century, illustrated in Davey, Neil K. / Tripp, Susan G. (1993) The Garrett Collection, p. 285, no. 402.

MORIKAWA TOEN: AN EXCEPTIONAL PAINTED WOOD NETSUKE OF AN ACTOR IN THE ROLE OF THE FOX PRIEST HAKUSOZUBy Morikawa Toen (1820-1894), signed with the artist's kakihanJapan, Nara, second half of 19th centuryPublished: Okada, Barbara Teri & Neill, Mary Gardner (1980) Real and Imaginary Beings: The Netsuke Collection of Joseph and Edith Kurstin, p.110, no.116.Kurstin, Joseph & Ortega, Maria (1986) Masterworks of Netsuke and Other Japanese Miniature Art from American Collections, p.57, no.70.Kurstin, Joseph & Lorin, Gilles Feather (2006) The Peacock's Gentlemen's Jewelry of Old Japan, Delray Beach, Art Media Resources, p.23, no. 10.Yoshida, Yukari & Kurstin, Joseph, Questions & Answers (2007) International Netsuke Society Journal (INSJ) vol.27, no.1, p. 13, fig.4. Exhibited: Yale University Art Gallery, February 28-April 12, 1980Morikami Museum and Japanese Gardens, Delray Beach, Florida, January 10-March 18, 2007A masterpiece of ittobori (single cut) technique, the actor in the guise of a fox priest, playing the role of Hakusozu, wearing a mask, almost completely enveloped in an elaborate robe with headdress, leaning against a cane and holding prayer beads. The netsuke is treated with various polychrome pigments which are in perfect harmony with each other. Asymmetrical himotoshi to the back and signed with the artist's kakihan.HEIGHT 8.9 cmCondition: Excellent condition with only very minor wear to exposed edges.Provenance: Ex-collection Joe Kurstin. Dr. M. Joseph 'Joe' Kurstin (1931-2021) was a prominent Miami ophthalmologist who arguably built one of the greatest netsuke collections of all time. He was known by netsuke and inro lovers worldwide and made many lifelong friends in this tight-knit community. He published several books and articles on the subject and generously lent his collection for exhibitions at the Yale University Gallery, Museum of Fine Arts, Boston, Epcot Center at Disney World, and The Tobacco and Salt Museum, Tokyo.Literature comparison:Compare to another netsuke depicting the same subject, by Morikawa Toen, however executed in a different style, in Bushell, Raymond (1993) An Introduction to Netsuke, p. 76, pl. 29.Museum comparison:A closely related netsuke depicting the same subject by Morikawa Toen, also signed with the artist's kao, is in the Los Angeles County Museum of Art (LACMA), accession number AC1998.249.159.Hakuzosu is the name of a popular kitsune character who shapeshifted into a priest in the Kyogen play Tsurigitsune.Morikawa Toen was known for his Nara ningyo (dolls) sculptures and as a noh actor. His work was admired by the Daimyo of Tosa, the magistrate of Nara, who awarded him with names from Japanese mythology. The Imperial household also became his patrons. He received many prizes throughout his career and was later commissioned by the newly founded Tokyo Imperial Museum to make copies of ancient works of art.

A RARE LACQUER NETSUKE OF A GOSHO NINGYO DOLL PERFORMERUnsignedJapan, late 19th centuryThe gosho ningyo performer lacquered in gold, silver, and red, the face typically enlarged and chubby with red lips, placing one hand on its head and the other holding a bell tree. The doll's robe is embellished with various ornate patterns such as geometric designs, leaves and plovers. Large, asymmetrical himotoshi to the back.HEIGHT 4.5 cmCondition: Chip to one foot, one loss to the knee and a repair to the bell tree. Otherwise fine condition with minor wear to lacquer.Gosho ningyo are characterized by their chubby figures, fair skin, small hands and legs, their large heads, and simple eyes and noses. Their history goes back some 400 years, when they were treasured in the Imperial court. Over time they became expressions of hope for happiness and prosperity in life.Literature comparison:A closely related lacquer netsuke depicting a Gosho ningyo is illustrated in Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 109, no. 111.Auction comparison:Compare to a lacquer netsuke of a boy from the same workshop, at Lempertz, Asian Art, 27 June 2020, Cologne, lot 317 (sold for 4,000 EUR). Another lacquer netsuke from the same workshop was sold at Bonhams, Netsuke from the Collection of Joseph and Elena Kurstin, 16 December 2022, New York, lot 17 (sold for 10,200 USD).

AN IVORY NETSUKE OF HOTEI AND DAIKOKU WRESTLINGUnsignedJapan, 18th century, Edo period (1615-1868)Published: Sagemonoya (2022), The Gabor and Georgina Wilhelm Collection, p. 23, no. 32.The lucky gods Hotei and Daikoku clad only in a fundoshi (loincloth), the two grimacing combatants locked in a fierce sumo battle, Hotei lifting Daikoku over his back, about to perform the shumoku-zori (backwards body drop) and win the match. The carving is remarkably three-dimensional, and the expressions are masterfully crafted, framed by thick pendulous earlobes. . Beautiful, deep honey patina. Natural himotoshi through Daikoku's left leg and Hotei's back.HEIGHT 6 cmCondition: Hotei's two feet are restored. Otherwise, fine condition with few natural age cracks.Provenance: The Gabor Wilhelm Collection, Paris.This representation of a wrestling match between Hotei and Daikoku also illustrates the victory of the spiritual (Hotei) over financial luck (Daikoku).Museum comparison:Compare to a closely related ivory netsuke of Hotei and Daikoku wrestling in the collection of The British Museum, accession no. 1945,1017.596.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207509861-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 AND UNUSUAL INLAID AND LACQUERED WOOD NETSUKE OF DAIKOKUUnsignedJapan, 19th centuryDepicting the lucky god seated, holding and marveling at a large two-pronged daikon (radish), the hands and vegetable inlaid in marine ivory, his iron-inlaid face with an amusing expression, the eyes of gilt. Some details such as his cap and the patterns on his robe are lacquered in gold kinji takamaki-e. The underside with large and generously excavated himotoshi.HEIGHT 3.7 cmCondition: Good condition, minor expected wear to lacquer. Structurally inherent crackling to the lacquer around the iron-inlay.Provenance: Austrian private collection, purchased from Max Rutherston Ltd., London.

A RARE TSUISHU LACQUER NETSUKE OF A CATUnsignedJapan, 19th century, Edo period (1615-1868)Finely carved and lacquered in tsuishu (red lacquer) as a fat reclining cat lifting its right front paw to its mouth and eating in a somewhat anthropomorphic manner. The domestic cat wears a knotted collar, its tail curls around over its back, and the fur is neatly incised. The circular base with a concentric band of asanoha incision work which is continued on the underside. Very large, asymmetrical himotoshi underneath.DIAMETER of base 2.8 cmCondition: Excellent condition with only very minor wear.Auction comparison:Compare to another tsuishu netsuke from the same artist/workshop at Van Ham, Netsuke & Japanische Kunst, 8 June 2017, Cologne, lot 1652 (sold for 2,064 EUR).

A RARE AND LARGE NEGORO LACQUER NETSUKE OF A SEA BREAMUnsignedJapan, 18th century, Edo period (1615-1868)The sea bream (tai) depicted with neatly incised scales, swimming through water as its tail fin sweeps to the left, the lateral fins held close to the body for compactness. The netsuke is covered in negoro lacquer, beautifully worn away from generations of handling. Two large, generously excavated himotoshi to one side.LENGTH 7.8 cmCondition: Good condition, the lacquer beautifully worn. An old, smoothed-out chip to the tail fin.Provenance: The Gabor Wilhelm Collection, Paris.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.

A FINE TSUISHU (CARVED RED LACQUER) MANJU NETSUKE WITH LILIESUnsignedJapan, late 18th to early 19th century, Edo period (1615-1868)The two-part manju decorated with beautiful tsuishu lacquer depicting a group of flowering lilies with some buds and tall grasses against a finely incised wave ground. Central himotoshi and looped cord attachment on the inside, which is lacquered in black.DIAMETER 4.3 cmCondition: Good condition with minor wear and a few minuscule cracks.Provenance: Ex-collection Teddy Hahn, Darmstadt.

A FINE TSUISHU LACQUER MANJU NETSUKE WITH PEONIESUnsignedJapan, 18th-19th century, Edo period (1615-1868)The two part manju netsuke executed in stunning tsuishu (carved red lacquer) featuring an intricately worked, dense design of flowering and budding peonies issuing leaves, all against a minutely incised asanoha ground, the reverse with continuing the imagery. Large central himotoshi through the back, the cord attachment in the form of a metal loop mounted to a kiku roundel. The interior lacquered in black.DIAMETER 4.2 cmCondition: The exterior in excellent condition with only very minimal wear along the edges. The interior with some flaking to black lacquer.

ZESHIN: A WOOD NETSUKE OF A REISHI FUNGUS WITH LACQUERED ANTSBy Shibata Zeshin (1807-1891), signed Zeshin 是眞Japan, Tokyo, late 19th centuryVery finely carved as four reishi stalks of various size, partially intertwining and overlapping, the surface treated with translucent lacquer, and further embellished with seven tiny ants delicately applied in black lacquer. Natural himotoshi. Signed in black lacquer ZESHIN.HEIGHT 5 cmCondition: Very good condition, the lacquered details slightly worn.Provenance: Leblanc Collection, purchased at Beaussant-Lefèvre, Hotel Drouot, 20 November 2009, lot 243. Sold at Bonhams, Fine Netsuke from a French Private Collection, 4 November 2020, London, lot 136.Literature comparison:Compare to two closely related netsuke with lacquered ants, one of a bamboo node and the other depicting mushrooms, each signed Zeshin, in Hurtig, Bernard (1977) Shibata Zeshin, International Netsuke Collectors Society Journal (INCSJ), vol. 5, no. 1, nos. 3 & 7, p. 25.

A FINE GOLD LACQUER NETSUKE DEPICTING CHERRY BLOSSOMSUnsignedJapan, 19th century, Edo period (1615-1868)A beautiful and densely crafted composition depicting two blossoming sakura flowers and one bud, all issuing several leaves. The largest cherry flower is worked in red lacquer sprinkled with dense nashiji and leaves are worked in various shades of gold lacquer embellished with nashiji, hiramaki veins, and kirigane flakes. The reverse with a looped metal cord attachment.LENGTH 3.8 cmCondition: Excellent condition with only very minor typical wear to lacquer.Provenance: Ex-collection Shep Brozman, New York.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A FINE GOLD LACQUER NETSUKE OF A PEONY FLOWERUnsignedJapan, 19th century, Edo period (1615-1868)Of stunning gold kinji lacquer, partially enriched with nashiji, and with drawn hiramaki veins, depicting a large peony flower which is about to bloom, its many petals densely packed and tense, as if wanting to unfold immediately. The underside shows the beautifully furling stem which forms the cord attachment.LENGTH 4.2 cmCondition: Excellent condition with only very minor typical wear to lacquer.Provenance: Ex-collection Shep Brozman, New York.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A VERY FINE LACQUER MANJU NETSUKE WITH BLOSSOMING UME (PLUM)UnsignedJapan, 19th century, Edo period (1615-1868)The two-part manju netsuke magnificently lacquered with a rich nashiji ground and decorated with a blossoming ume flower, the three leaves each executed in a different technique of nashiji, gold fundame, and greenish lacquer. The plum blossom is worked in lustrous silver takamaki-e with hiramaki-e veins and lacquered dots resembling the stamen of the flower. The reverse with a silver-lined himotoshi, the cord attachment within, the interior of densely sprinkled nashiji.DIAMETER 4.1 cmCondition: Very good condition with minor and typical wear to lacquer. One tiny repair to the edge of the bottom section, some light crackling to the interior.Provenance: Ex-collection Shep Brozman, New York.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A RARE AND UNUSUAL LACQUER NETSUKE WITH FLORAL DESIGNUnsignedJapan, late 19th centuryA manju-style netsuke exhibiting various different lacquer techniques in perfect harmony with each other. The front is decorated with a leafy flower issuing a bud and bloom, both inlaid in coral, the leaves executed in green takamaki-e with red hiramaki-e veins, all against a stunning green-gold nashiji ground. The sides and underside are executed in the remarkable seido-nuri (imitating black patinated bronze) technique, which was frequently used by Shibata Zeshin (1807-1891). One central himotoshi underneath and two large oval apertures through the mid-section.LENGTH 3.6 cmCondition: Excellent condition with only very minor wear.Provenance: Ex-collection Shep Brozman, New York.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

JOKA: A LACQUERED WOOD NETSUKE DEPICTING DAIKOKU AS A MANZAI DANCERBy a member of the Joka lineage, signed Joka 常嘉Japan, 19th century, Edo period (1615-1868)The rectangular manju-style netsuke bearing an ishime ground, simulating lightly rusted iron, and lacquered in iro-e takamaki-e with a design of Daikoku as a Manzai dancer, holding a fan before his face. The back engraved with towering ferns imitating kebori metal engraving. Large, asymmetrical himotoshi through the back and signed in gold-lacquered characters JOKA.LENGTH 3.4 cmCondition: Excellent condition with only very minor wear.Provenance: Ex-collection Gretchen Kroch Kelsch, sold at Sotheby Parke Bernet, 11 March 1981, New York, lot 7. Ex-collection Ted Wrangham, acquired from the above. Edward A. 'Ted' Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book 'The Index of Inro Artists' (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.Joka is listed on page 451, H 02141.0 in THE INDEX OF JAPANESE SWORD FITTINGS AND ASSOCIATED ARTISTS by Robert E. Haynes. The signature Joka indicated a group of artists who were active during the last two hundred years of the Edo period and into the Meiji period. There are various signatures and most artists are known for their lacquered metalwork and lacquerware imitating metalwork.

A RARE HIRAME-LACQUERED HAKO NETSUKE WITH TEA CEREMONY UTENSILS (CHADOGU)UnsignedJapan, 19th century, Edo period (1615-1868)The rectangular two-part hako (box) netsuke with a lavish gold hirame design, the underside and interior of nashiji, the top bearing a design of tea ceremony utensils including a kogo (incense box) executed in red and black lacquer, a haboki (feather broom) executed in gold and black lacquer and a storage box executed in variously colored lacquer and embellished with aogai (mother-of-pearl) floral medallions. Central himotoshi underneath, the cord attachment within.LENGTH 3.7 cmCondition: Very good condition, some losses to the hirame flakes consistent with age and use.Provenance: Ex-collection Shep Brozman, New York.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A GOOD KYOTO SCHOOL IVORY NETSUKE OF SHOKI, ATTRIBUTED TO OKATOMOAttributed to Yamaguchi Okatomo, unsignedJapan, Kyoto, 18th century, Edo period (1615-1868)Expressively carved, the demon queller grabbing his wide-brimmed hat, suspecting an oni hiding there, and unsheathing his sword in retaliation, his face marked by wildly flowing beard and intense gaze, the eyes inlaid in dark horn. Large generously excavated himotoshi through the back, the ivory bearing a super, deep-yellow patina.HEIGHT 7.4 cmCondition: Good condition with old wear and age cracks.Provenance: From an old Austrian private collection.Museum comparison:Compare to a closely related ivory netsuke of shoki and oni, by Okatomo, in the collection of The British Museum, accession no. F.693.Auction comparison:Compare to a related ivory netsuke of Shoki and oni, Kyoto school, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 42 (sold for 2,928 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0031).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 LACQUER HAKO NETSUKE OF A MANDARIN DUCK (OSHIDORI)UnsignedJapan, 19th centuryVery finely executed in gold nashiji with gold, silver, red and black hiramaki-e highlights, consisting of two parts, the mandarin duck shown as if swimming through water, the wings raised, the tail feathers folded in the back and the crest streamlined against the wind. The plumage is finely worked with gentle gold strokes, the feet underneath are lacquered in red. Central himotoshi through the underside, the cord attachment within, the interior of silver hirame.LENGTH 3.8 cmCondition: Excellent condition with only very minor wear.Auction comparison:Compare a closely related lacquer katabori netsuke of a mandarin duck, by Yokobue III, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 320 (sold for 3,172 EUR).

TOYO: A RARE AND UNUSUAL LACQUERED ROOT WOOD NETSUKE OF A SNAKE INSIDE A PINE TREEKanshosai Toyo lineage, signed Toyo 桃葉 and kakihanJapan, 19th century, Edo period (1615-1868)Formed as a natural section of root wood with beautiful natural veining, the surface all around neatly polished, the front carved to resemble the trunk of a pine tree and with gold takamaki-e branches issuing pine needles, a hollowed section in the center inlaid with a lurking snake. The back with a looped cord attachment and signed TOYO and kakihan.HEIGHT 5.2 cmCondition: Very good condition with few natural imperfections to the wood.The kakihan used on this netsuke best compares to the ones shown in the row 'E' illustrated in Wrangham, (1995) The Index of Inro Artists, p. 312.

IKESHIMA YOSHINORI: A LACQUER MANJU NETSUKE DEPICTING THE TONGUE CUT SPARROWBy Ikeshima Yoshinori, signed Ikeshima Yoshinori 池嶌義矩 with kakihanJapan, 19th century, Edo period (1615-1868)The two-part wood manju netsuke bearing an attractive grain, lacquered in gold, black, and silver takamaki-e with two fleeing sparrows, the reverse showing a pair of scissors issuing a blood droplet, and a bowl and stirring spoon. The netsuke references the tongue cut sparrow, when the old hag cuts the sparrow's tongue with a pair of scissors after the sparrow pecked at a bowl of starch which the woman left to cool. Signed to the interior IKESHIMA YOSHINORI with kakihan. Central himotoshi through the back, the cord attachment within.DIAMETER 3.4 cmCondition: Excellent condition with only very minor wear.Provenance: Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam, purchased from Max Rutherston Ltd., London, in 2018.As noted by Edward Wrangham (Wrangham, (1995) The Index of Inro Artists, p. 338) the artist belongs to the Kanshosai Toyo lineage as he utilizes a similar kakihan.

KOAMI TADAMITSU: A FINE AND RARE KOAMI SCHOOL GOLD LACQUER MANJU NETSUKE WITH CELESTIAL DRAGON LacquerNetsukeBy Koami Tadamitsu, signed Koami Tadamitsu 光阿弥 忠光Japan, 18th-19th century, Edo period (1615-1868)The two-part manju bearing a fine gold kinji ground and lacquered in predominantly gold takamaki-e with some red and brown lacquer, depicting a celestial dragon emerging from clouds, extending one claw, bright flames emanating from its body. Its eyes as well as some of the clouds are inlaid with gold foil. The back with further clouds, a central himotoshi and signed in gold lacquered characters KOAMI TADAMITSU.DIAMETER 4.3 cmCondition: Very good condition with minor wear to lacquer and minuscule losses to gold foil.The Koami name is one of the most famous dynasties of lacquerers, founded according to tradition by Docho (Michinaga, 1410-1479) in 1429. The family worked extensively for the court and the shogunate until well into the 19th century and had considerable influence on the development of lacquer art through its leadership of the teams of craftsmen that worked on important shrines and palaces and other national projects. The early family masters are recorded as having used the designs of such painters as Tosa Mitsunobu (1434-1525) and Sesshu (21420-15065). The present netsuke is in-line with this tradition, the image of the dragon resembling those featured in early Japanese ink paintings.The artist is recorded as a member of the Koami family in Wrangham, (1995) The Index of Inro Artists, p. 133.Literature comparison:Compare to another lacquer manju netsuke by a member of the Koami family, signed Nagataka, depicting bird and bamboo, in Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 208, no. 860.Auction comparison:Compare to another lacquer manju netsuke by a member of the Koami family, signed Nagaharu, depicting a tortoise, at Bonhams, The Last Treasures From the Edward Wrangham Collection of Japanese Art, 19 July 2021, London, lot 204 (sold for 8,287 GBP).

AN UNUSUAL LACQUERED AND INLAID KURUMI (WALNUT) NETSUKE OF RAKAN HANDAKA SONJAUnsignedJapan, 19th centuryIntricately carved, depicting the rakan Handaka Sonja blowing on a shell-inlaid conch, holding glass-inlaid prayer beads in one hand, conjuring a mighty writhing dragon which twist around the composition, its scales neatly incised and eyes inlaid with glass. Some details are lacquered in red, such as the rakan's robe and the flames emanating from the dragon's body. Two himotoshi, one of them florally rimmed.HEIGHT 3.3 cmCondition: Very good condition with typical wear and natural flaws to the material as are to be expected from kurumi netsuke.Auction comparison:Compare to a related kurumi netsuke depicting a dragon at Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 278 (sold for 2,781 EUR).

A RARE IVORY NETSUKE OF SHIROUnsignedJapan, late 18th century, Edo period (1615-1868)Published: Rutherston & Bandini (2013) Japanese Netsuke, no. 4.Depicting Emma-o's attendant Shiro, who was sent to steal Daikoku's bag of rice, being attacked with a branch of holly by one of the lucky god's rats. Shiro is shown here in a cowering posture, biting into his folded arms in front of him, signifying his defeat. He has long hair, large horns and wears a tiger skin loincloth. The underside shows the very large, generously excavated himotoshi, and a gorgeous, rich honey-yellow patina.LENGTH 4.7 cmCondition: Very good condition with minor wear and few age cracks.Provenance: A private collection, purchased from Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 13 (sold for 5,490 EUR).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 EXCEPTIONALLY RARE AND LARGE SOLID CORAL NETSUKE OF GAMA SENNINUnsignedJapan, 19th century, Edo period (1615-1868)Carved from a large and heavy branch of bright-red coral and depicting Gama Sennin, bent forwards following the natural orientation of the material, and holding a large pot, a huge toad clambering on his back. Gama's eyes are double inlays of bone and dark horn, and the eyes of the toad are inlaid in gold with dark horn pupils. This quite spectacular carving is of a somewhat grotesque nature, certainly helped by the peculiar and porous surface of the coral which the carver has utilized very skillfully. Himotoshi through the back.HEIGHT 11.5 cmCondition: Excellent condition with natural flaws to the material.Provenance: The Gabor Wilhelm Collection, Paris.A coral netsuke of this size has to be considered extremely rare.Literature comparison:A related coral netsuke depicting Tekkai Sennin is in the Linden Museum Stuttgart, inventory number OA 18599.

A HIRADO GLAZED PORCELAIN NETSUKE OF A BOY WITH SHISHIMAI MASKUnsigned Japan, 19th centuryWell potted as a boy holding a shishimai mask in front of him, the mask with a loose ball inside, the boy with one foot placed over the other in a dancing pose, the netsuke covered with deep blue and amber glazes for the boy's robes and the lion mask. The back with large asymmetrical himotoshi.HEIGHT 5 cmCondition: Excellent condition with minor wear and firing irregularities.The shishi masked dance (shishimai) is performed to ward off disease and calamity. It is thought to have been imported from China during the Tang dynasty, and became associated with the celebration of Buddha's Birthday, originating 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.This netsuke was fired in the Mikawachi kilns of Hizen province (current Nagasaki and Saga Prefectures) in Kyushu, the southernmost island of Japan. The official kiln of the Hirado clan was located there, and the area's kilns generally produced fine white porcelain, for both the domestic and European markets, from the later part of the seventeenth century to the present day.Museum comparison:Compare a closely related Hirado porcelain netsuke of a karako with a shishimai mask in the British Museum, registration number Franks.1462.+, illustrated in Tsuchiya (2014) Netsuke: 100 miniature masterpieces from Japan, p. 21, no. 1.Auction comparison: Compare a related Hirado porcelain netsuke of a karako with a Daikoku mask, 6.3 cm high, dated 19th century, Edo period, at Galerie Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 290 (sold for 2,402 EUR).

A VERY RARE MIXED-METAL AND LACQUER NETSUKE OF A RAT INSIDE AN ABUMI (STIRRUP)Unsigned Japan, 19th centuryThe shakudo stirrup of classic shitanaga abumi type with a silver buckle, the stirrup apparently fallen into disuse as there are 'losses' (clearly intended by the artist) to the red lacquer interior lining, and a small shibuichi rat with a gold ingot has made its home inside. The underside with a gilt-metal movable loop for the cord attachment.LENGTH 3.8 cmCondition: Good condition with minor and simulated wear, the lacquer lining possibly partly split (but at least mostly intentional). The end of the tail missing.While netsuke depicting metal abumi appear on the market from time to time, this is the only example this author has seen with a rat.

A DARK WOOD KAGAMIBUTA NETSUKE WITH A SHAKUDO PLATE DEPICTING SPARROWS IN BAMBOOUnsignedJapan, second half of 19th centuryOf circular form, the dark wood bowl of an attractive grain and color, fitted with a shakudo plate decorated with gilt highlights and depicting two sparrows perched on thin branches issuing from leafy bamboo stalks, one bird with the beak open as it sings. The reverse with a central himotoshi encircled by chrysanthemum petals in stag antler.DIAMETER 4 cmCondition: Very good condition, minor wear, the bowl with a small age crack, some rubbing to gilt, a small loss to the stag antler chrysanthemum himotoshi.Take ni Suzume ('Bamboo and Sparrow') is a popular theme in Japan that has been considered as a combination of auspicious symbols since ancient times. Bamboo is said to be auspicious because it grows straight and never breaks. Since sparrows make a lot of children, it is said to represent the prosperity of descendants and has been considered to be auspicious. When sparrows and bamboo are depicted together, they represent the idea of harmony and balance. The sparrow perched on a bamboo branch symbolizes the delicate balance of nature and the coexistence of all living creatures. Sparrows, with their ability to adapt to different environments, represent the transience of life and the impermanence of things. Bamboo, with its strength and flexibility, represents the ability to withstand and adapt to change. Together, they represent the idea of wabi-sabi, which emphasizes the beauty of imperfection, impermanence, and the natural cycle of life.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A RARE SENTOKU BRONZE NETSUKE OF A MINOGAMEUnsignedJapan, 18th century, Edo period (1615-1868)Cast as a minogame with a bekko-patterned shell and seaweed tail on the exterior, the interior showing the mythical animal with elongated neck retracted into its carapace. Large himotoshi through the underside.The style, particularly of the peculiarly shaped larger himotoshi, is reminiscent of Karamono Kyubei, who is mentioned in the Soken Kisho published in 1781. Kyubei is described as making ashtrays, Chinese-style cast netsuke and kuwara (rings used for a priest's kesa). Other designs include gourds, incense burners, eggs, and clams. Many other shapes were used for his netsuke. Sophisticated designs such as rain dragons, arabesques, flowers, clouds, and spirals were skillfully combined to create an openwork finish. They are very high-quality, perfect netsuke, not too heavy, not too light, and are very comfortable to the touch.LENGTH 4.1 cmCondition: Very good condition. Minor surface wear and few tiny dents to edges.

AN IVORY KAGAMIBUTA NETSUKE DEPICTING PILGRIMS CLIMBING THE GREAT BUDDHA OF NARAUnsigned Japan, late 19th centuryPublished: Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 419, no. 1245.The shibuichi plate cast in relief with gilt details to depict a man standing on the shoulder of the giant Buddha statue at Todai-ji, lowering some rope for his companion to grab, of whom we can only see one arm as his head is obscured by his hat, the Buddha also only partly visible, his neck wrinkles, earlobe, hair locks, and facial features neatly incised. The ivory bowl superbly polished, the reverse with a central himotoshi.DIAMETER 4.4 cmCondition: Very good condition with minor wear, light surface scratches, some rubbing to gilt.Provenance: Ex-collection S.X. Constantinidi. Sotheby's, 26 November 1935, London. Ex-collection Mark T. Hindson, acquired from the above. Sotheby's, The M. T. Hindson Collection of Important Japanese Works of Art, Part VIII (Final), London, 20 October 1969, lot 512. Ex-collection Edward A. Wrangham, acquired from the above. Bonhams, The Edward Wrangham Collection of Japanese Art Part III, 15 May 2012, lot 125. Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam, acquired from the above.The present netsuke depicts the giant statue of Buddha at Todai-ji, a Buddhist temple complex in Nara. The statue is the largest bronze seated Buddha in Japan at 15 m high and was completed in 751. The Great Buddha statue has been recast several times for various reasons, including earthquake damage. The current hands of the statue were made in the Momoyama Period, and the head was made in the Edo period. The Great Buddha Hall (Daibutsuden) has been rebuilt twice after fire. The current building was finished in 1709 and was the world's largest wooden building until 1998.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 22NL310832/20). 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.

GYOKUZAN: AN IVORY NETSUKE OF A KIRINBy Gyokuzan, signed Gyokuzan 玉山Japan, Kyoto, late 18th century, Edo period (1615-1868)Finely carved seated on its haunches, the head raised and turned to one side, the mouth agape showing teeth and tongue, the plumage, mane, beard, tail, and flames all meticulously incised and darkly stained, the muscles subtly carved, the hooves well detailed, the belly and back with the himotoshi, the eyes inlaid with ebony, one haunch signed GYOKUZAN.HEIGHT 3.8 cmCondition: Good condition, minor wear, expected age cracks, the horn repaired.Provenance: British private collection.The Kirin is derived from the Chinese mythical beast Qilin, one of the four divine creatures, the others being the dragon, phoenix, and turtle. The Japanese Kirin is something of wild mythical fantasy – its most characteristic feature is of course the horn, as it is also called the Japanese unicorn. It has four legs with hooves and the hindlegs are covered with very well-expressed fatty tissue, like that of a shishi. The rest of the body is covered in dense plumage, like that of a phoenix.Auction comparison: Compare a related ivory netsuke of a shishi by Gyokuzan, with a very similar signature, at Koller, 27 March 2010, Zurich, lot 280. Compare a related ivory netsuke of a shishi by Mitsuharu at Bonhams, 12 November 2008, London, lot 422 (sold for 4,200 GBP). Compare a closely related ivory netsuke of a kirin, described as “style of Mitsuharu”, at Bonhams, 19 March 2013, New York, lot 2145 (sold for 12,500 USD).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 22NL308313/20).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.

KATSUO: A MASTERFUL SOLID GOLD OJIME OF A SARUMAWASHIBy Katsuo, signed Katsuo 勝小 Japan, Meiji period (1868-19812)Superbly worked as a kneeling monkey trainer wearing finely incised and patterned robes, his monkey clambering over the large bag slung over his back. Both the cheerful sarumawashi and the monkey with well detailed faces, especially considering the minute size.. The underside incised with the signature KATSUHIRA to one leg beside the lower cord hole.HEIGHT 1.8 cmWEIGHT 6.8 gCondition: Excellent condition, minor wear. Provenance: Christie's, 4 July 1984, London, lot 573. A Distinguished Private Collection, acquired from the above.Literature comparison: Compare a related gold ojime of a sarumawashi by Masayoshi illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 1, p. 744.Auction comparison: Compare two related gold ojime from the same collection as the present lot and also previously at Christie's, 4 July 1984, London, lot 567, at Galerie Zacke, 29 October 2021, Vienna, lot 314 (sold for 17,696 EUR) and 315 (sold for 10,112 EUR).

DOUG MARSDEN: AN INLAID WOOD NETSUKE OF TURTLES AND OTHER MARINE LIFE, 'PACIFIC JEWEL'By Doug Marsden (b. 1958), signed with the artist's markNew Zealand, late 20th centuryIntricately carved in openwork with a towering coral reef surmounted by a large sea turtle, with a smaller turtle and a school of fish swimming around and amid the coral, the base in the form of with neatly incised algae. The turtles and all but the very smallest fish have ebony-inlaid eyes and the netsuke is further decorated with small mother-of-pearl inlays. The wood is superbly polished in some places, creating a striking contrast between different textures. An inlaid reserve to the coral with the artist's mark.HEIGHT 7.1 cmCondition: Excellent condition.With a wood storage box.Doug Marsden (b. 1958) began carving in 1982, making pendants and sculptures from cleaned cow leg bone, inspired by Maori art. He later found inspiration in the book The Art of Netsuke Carving by Masatoshi and began to pursue carving in a more serious manner, receiving personal encouragement from Raymond Bushell, Miriam Kinsey, and Bishu Saito, president of the Japan Netsuke Association. In 1985, he traveled to Tokyo with the assistance of the Queen Elizabeth II Arts Council of New Zealand and met with M. Yamada, who was one of the most reputed dealers of the time. In 1992, Michael Spindel Ltd. exhibited a number of his carvings in New York. His work depicts contemplative subjects with a focus on strong tactile appeal and the expression of emotion.

NICK LAMB: A WOOD NETSUKE OF TWO PUPPIES AT PLAYBy Nick Lamb (b. 1948), signed with the artist's markUnited Kingdom, c. 1990Published: Michael Spindel Ltd. (1992) Contemporary Netsuke, p. 33. Finely carved as two playful puppies engaged in a lively scuffle, the animals well detailed with long tails and floppy ears, their eyes inlaid with translucent and dark horn, their fur coats neatly incised, the back of one puppy with two asymmetrical himotoshi, its haunch signed with the artist's mark on a gold lozenge-shaped reserve.LENGTH 5.2 cmCondition: Excellent condition with minor wear. Provenance: Michael Spindel Ltd., New York, 1992. A noted private collection, USA, acquired from the above. Nick Lamb (b. 1948) is one of only a few non-Japanese netsuke carvers. Over the past three decades, he has built a reputation as being among the finest living practitioners of the art form and is known for his meticulous, graceful carvings, typically of animals. His work was exhibited in several museums, such as the British Museum, and became part of many important private and public collections, including that of the Imperial Family of Japan, the Robin Lehman Collection, the Robert O. Kinsey Collection, and the Tokyo National Museum.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

SHION: A WOOD NETSUKE OF A MONKEYBy Shion, signed Shion 紫苑Japan, Mie Prefecture, 21st centuryA well-carved compact netsuke depicting a young monkey seated with the feet placed in front and forming the himotoshi, the simian with neatly incised and finely stained fur, the eyes inlaid in translucent horn with dark pupils, the mouth slightly open, the expression conveying a childlike sense of wonder. Signed next to the short tail SHION.HEIGHT 3.3 cmCondition: Excellent condition. Shion is a Japanese contemporary netsuke carver who was born in Mie Prefecture and began carving netsuke in 2004 at the studio of Tadamine Nakagawa. The artist, hailing from the same prefecture as the Masanao family, has clearly incorporated this famous family's style into his work.

VADYM PYVOVAR: A WOOD NETSUKE OF A BAKU AFTER MASATOSHIBy Vadym Pyvovar, signed with the artist's initials Ukraine, 2023A wood netsuke of a lean young baku, standing foursquare with the feet close together like a circus elephant and turning its head back to look behind, its trunk touching its left haunch. The ridges of the underside of its trunk, recalling the softer skin of the neck of a crocodile, continue the full length of its neck and belly. The top of the trunk is wrinkled, as is the forehead and nape of the neck. The creature has the customary flames licking around the tops of its legs. The one visible eye is inlaid with amber. Natural himotoshi between the front legs and between the body and the trunk and the tail. One haunch incised with the artist's initials.LENGTH 4.5 cmCondition: Excellent condition.Baku are Japanese supernatural beings that are said to devour nightmares. According to legend, they were made from the spare pieces that were left after the gods had finished creating all other animals. Baku heads are commonly placed under the eaves of Japanese Buddhist temples and Shinto shrines to ward off bad spirits.Literature comparison: Compare to an example which inspired this model by Masatoshi, illustrated in Sydney L. Moss (2008) such stuff as dreams are made on. Japanese netsuke from the Willi G. Bosshard collection, p. 189, no. 96.

VADYM PYVOVAR: A WOOD NETSUKE OF A KIRIN AFTER SANKOBy Vadym Pyvovar, signed with the artist's initialsUkraine, 2023Finely carved standing foursquare with the feet close together, its head raised high and mouth agape in a snarl, revealing sharp teeth, the beast well rendered with finely incised fur, mane, and tail, the scales to the underside of its mouth, neck, and belly and the horn neatly detailed, the front legs with flames, the eyes inlaid with amber. Natural himotoshi between the legs and between the tail and body. One haunch incised with the artist's initials.HEIGHT 7.8 cmCondition: Excellent condition.Literature/Auction comparison: Compare the 'Meinertzhagen Kirin' which inspired this model, illustrated in color in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. v. Compare to another example which inspired this model, carved from ivory and dated 18th century, formerly in the Behrens, Mannstaedt, and Carré collections, at Van Ham, 7 December 2017, Cologne, lot 2242 (sold for 129,000 EUR).

ALEXANDER DERKACHENKO: A WOOD NETSUKE OF A CICADA ON A SKULLBy Alexander Derkachenko, signed with the artist's markUkraine, 2023Finely carved as a skull with cavernous eye sockets, several fine parietal lines covering the cranium, one tooth missing from the upper jaw. A large cicada is perched on top, the eyes inlaid in horn. The back and underside with asymmetrical himotoshi, the underside incised with the artist's signature.HEIGHT 3.6 cmCondition: Excellent condition.With an original mahogany storage box signed by the artist.Traditionally cicada netsuke were worn during the festival of Obon, honoring the dead.Memento mori (Latin for 'remember that you will die') is an artistic and symbolic reminder of the inevitability of death. Altogether sobering, and in some sense comforting, it's an epitaph for the masses – commoners and kings alike. Such art, which already appeared in ancient cultures, is also associated with festivals in remembrance and honor of the deceased, as held by many peoples throughout the world. Skulls in Japan are considered to be a positive representation of the natural circle of life and can also represent change. The cicada is considered a symbol of longevity, eternal youth and even immortality.Auction comparison: Compare a related wood netsuke of a snake and skull by Alexander Derkachenko, 3.8 cm high, dated 2021, at Galerie Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 265 (sold for 3,792 EUR).

ALEXANDER DERKACHENKO: A WOOD NETSUKE OF A HAKUTAKUBy Alexander Derkachenko, signed with the artist's markUkraine, 2023Finely carved as a hakutaku in a recumbent pose atop a mat, one hoof placed on a tama pearl carved from carnelian agate, the beast with the face of an elderly man with a cheerful expression marked by narrowed eyes, the mouth agape, the large earlobes reminiscent of a lucky god, the long beard and shaggy fur neatly incised, the horns inlaid with mammoth tusk, the large eye on its forehead and three additional eyes to the back double-inlaid with translucent and dark horn. The underside with two asymmetrical himotoshi and the artist's signature incised within a rectangular reserve.LENGTH 5 cmCondition: Excellent condition.With an original mahogany storage box signed by the artist.The hakutaku is a mythical beast of ancient Chinese origin (where it is known as bai ze) that is only rarely depicted in netsuke art. The common Japanese image generally depicts the hakutaku as a monstrous creature with nine eyes and six horns, arranged in sets of three and two on both its flanks and its man-like face. It is also commonly depicted as having the body of a lion and eight eyes, known for having a horn or multiple horns on their heads. However, the number of extra eyes actually varies depending on interpretation, and sometimes the creature is pictured with only one in the center of its head. It is considered to be intelligent, and well-read with the ability to understand human speech.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

ADAM BLAND: THE YEAR OF THE TIGERBy Adam Bland, signed with the artist's initialsUnited Kingdom, 2023Beautifully carved as a ferociously crouching tiger, the wood finely stained and the fur coat achieved with alternating incised and polished areas. The thick tail curls up over the animal's bulky body and the large chubby paws are inlaid with stag antler claws. Signed underneath the right hind paw with the artist's initials. Natural himotoshi.LENGTH 3.7 cmCondition: Excellent condition.Notes on the present piece by Adam Bland:“As a netsuke artist there is a temptation to sculpt a new zodiac animal to celebrate the start of each new year. Not only is this good for social media but there is also less stress in deciding your subject matter. Being as busy and poorly organised as I am, I managed to sculpt a tiger at the end of 2022, completing it as the year of the rabbit dawned. This retrospective approach to the tiger means the challenges of the year cannot help but influence the finished piece. My tiger takes up a defensive stance, crouched, bearing its fangs and claws, ready to fight the challenges which confront it. Carved from boxwood all the way from Japan, stained using walnut husks collected from my local village green in northern England and inlaid with antler and amber from the Ukraine.”The carving certainly draws inspiration from tiger netsuke by the Masanao family of Yamada (Masanao would be proud), though the expression is much more menacing, as the tiger looks back at the past year.Adam Bland is a contemporary netsuke artist from the north of England who has studied the craft of netsuke for several years. He has a qualifications in Fine Art and Design and first discovered netsuke accidentally following a career in architectural model making. He was drawn to the art of netsuke as they combine elements of design with fine art to create small, intricate sculptures rich with narrative and meaning. Adam Bland has recently exhibited at the International Netsuke Society Convention in Amsterdam in 2022 and his craft is constantly improving, making him one of the most exciting contemporary carvers to emerge in these past years.

A VERY RARE RYUKYU LACQUER THREE-CASE INRO DEPICTING FIGHTING BEARS AND CHRYSANTHEMUM, WITH A LACQUER HAKO NETSUKE ATTRIBUTED TO ZOKOKUUnsigned, the netsuke attributed to Tamakaji Zokoku (1806-1869) Japan, 18th century, Edo period (1615-1868)Of wide rectangular form, each side with a quadrilobed panel bearing a red-lacquered ground decorated in tsuikin (applied multi-colored lacquer) to one side with two bears fighting amid grasses under a craggy rock and to the other with blossoming chrysanthemums and rockwork, all against a neatly carved diapered shippo ground. The interior of red lacquer, the top case divided into three compartments and the middle case divided into two.The beautifully fitting 19th-century hako netsuke of rounded rectangular form, finely carved through an outer tsuikoku layer to the tsuishu ground with a meandering stream and leafy floral sprays, the sides with a rinzu (key fret) band, one short side with a hidden sliding cover. Unsigned, however attributed to Tamakaji Zokoku (1806-1869). The globular ojime with a marbled design.HEIGHT 8.5 cm, LENGTH 7.9 cmCondition: Very good condition, minor wear, few minor age cracks, some wear to lacquer.Provenance: Ex-collection Michael Tomkinson, no. 1109 (label to interior).Museum comparison: Compare two related lacquer inro in the Victoria & Albert Museum, accession numbers W.179:3-1922 and W.292-1921, the first signed Ikkan, dated 1750-1850, and attributed to the Ryukyu Islands.Auction comparison: Compare a related Ryukyu lacquer four-case inro, also dated 18th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 184 (sold for 3,840 GBP).

A FINE TSUISHU FOUR-CASE LACQUER INRO WITH CHORYO AND KOSEKIKO, WITH EN SUITE NETSUKE AND OJIMEUnsignedJapan, 19th century, Edo period (1615-1868)The four-case inro of upright form and oval section, lacquered in tsuishu (carved red lacquer) and finely worked in high relief depicting Choryo with his sword drawn, standing atop a water dragon amidst crashing waves, and presenting the fallen shoe to Kosekiko who is shown on the other side mounted on his horse striding across a bridge and holding a scroll. The scene is set beneath a neatly carved pine tree, the sides of the inro are incised with key fret borders, the top and bottom beautifully incised with floral designs. The interior lacquered in red. With a beautifully matching blue and white porcelain ojime decorated with underglaze blue waves and a fine tsuishu lacquer netsuke of unusual quatrefoil shape, the top carved with a chrysanthemum flower and with four panels to the side depicting literati, pine and craggy rocks, the underside with a central himotoshi and a finely incised asanoha ground.HEIGHT 8.2 cm, LENGTH 4.6 cmCondition: Very good condition, some tiny losses to lacquer.Provenance: German private collection. The interior with some old Japanese labels and remnants of incense.Zhang Liang (known as Choryo in Japanese) was a Chinese military strategist and politician who lived in the early Western Han dynasty. The present inro depicts the legend of when Choryo met the old man Kosekiko (Huang Shigong) on a bridge. The old man began to teach the art of war to Choryo and one day Kosekiko wanted to test Choryo and threw a shoe into the river where a powerful water dragon lived. The dragon seized the shoe and Choryo defeated it and gave the shoe back to Kosekiko.

A FINE MIXED-METAL-INLAID GOLD LACQUER FIVE-CASE INRO WITH A FINE INLAID AND LACQUERED STAG ANTLER MANJU NETSUKE BY JIYOSAIThe inro unsigned, the netsuke by Jiyosai, signed Jiyosai 慈羊斎Japan, 19th century, Edo period (1615-1868)Of rounded rectangular form, bearing a gold nashiji ground finely decorated in gold and aokin, takamaki-e, kirigane, and mixed-metal takazogan to depict a man standing on the thatched roof of a hut, carrying a basket and picking fruit from flowering prunus trees, while a young boy looks up toward him from below, the other side with further houses and trees.The two-part stag antler manju netsuke beautifully matching the inro and finely decorated in gold and black takamaki-e as well as gold and silver takazogan to depict a flying ho-o bird and a cluster of leaves and flowers amid scrolling vines, the underside and interior with the himotoshi, the underside signed JIYOSAI. The coral ojime of globular form.HEIGHT 9.8 cm (the inro), DIAMETER 3.2 cm (the manju) and 1.2 cm (the ojime)Condition: Excellent condition, minor wear, the stag antler manju with natural imperfections.Provenance: Sydney L. Moss Ltd., London, June 2010. A private collection in New York, USA, acquired from the above.

AN IVORY NETSUKE OF A PRANCING SHISHIUnsigned Japan, Kyoto, late 18th century, Edo period (1615-1868)Published: Gabor Wilhelm (Spring 2002) On the Continent, International Netsuke Society Journal, Vol. 22, No. 1, p. 48.Sydney L. Moss Ltd. (2004) Outside the Box, p. 56, no. 25.An exquisitely carved ivory netsuke of a shishi with its rump in the air, turning to snarl at its own tail. The eyes are inlaid in dark horn and there is a loose ball in its mouth. The low relief, well-polished lumpy excrescences to brow and haunches contrast nicely with the high relief whorls and curls of mane and tail, and with the deeply patinated smooth rounded surfaces of the body and legs. The carving is deep and bold throughout, and features some delicate textural stippling on the pads of the large feet. The himotoshi is cleverly positioned, with the larger of the two holes issuing through the rear legs. The ivory with a fine, honey-yellow patina.LENGTH 4.2 cmCondition: Very good condition, appealingly worn, few minor age cracks.Provenance: Rossini, Paris, 3 December 2001, lot 2. Sydney L. Moss Ltd., London, 2004. French private collection, acquired from the above.One curious aspect of this shishi netsuke is that it is slightly off balance when resting on all four legs, turning as if in surprise and shock at the sight of its own, admittedly rather scary tail rising up threateningly behind it. The animal appears to be in immediate danger of toppling over as it turns. This oddity is explained by a most unusual aspect: the beast is also designed to sit up on its rear legs with forepaws in the air, at which point it turns to look back on a level, horizontal plane and is a thoroughly coherent sculpture, with more movement and originality than most.The carving shares stylistic elements with both Tomotada and Mitsuharu of Kyoto, while the inherent wit of the carving is reminiscent of the Osaka school.Auction comparison:Compare to a related ivory netsuke of a shishi, by Tomoharu, at Bonhams, Netsuke from a European Private Collection, 8 May 2016, London, lot 79 (sold for 6,250 GBP).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2201700452-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 SUPERB SILVER SINGLE-CASE INRO DEPICTING PEONY, ATTRIBUTED TO UNNO SHOMINUnsignedJapan, Meiji period (1868-1912)The inro intricately crafted with blossoming peony to either side, the furled petals neatly incised, the back with a small leaf as well. Unsigned, however attributed to Unno Shomin (see auction comparison).The manju netsuke of rounded square form, of shakudo with a gilt border, decorated with a gold-inlaid cricket under flowers and grasses delicately carved in katakiri and kebori below a silver flat-inlaid moon, the reverse with a gold-inlaid seal reading Kakushi and a silver-inlaid foliate emblem. The signed ojime of globular form and inlaid in silver and copper with a fruiting prunus branch.LENGTH 4.6 cm (the inro), LENGTH 3.2 cm (the netsuke), DIAMETER 1.5 cm (the ojime)Condition: Good condition, minor wear, few small dents.Auction comparison:Compare a closely related silver two-case inro attributed to Unno Shomin and dated to the late Meiji period at Bonhams, Fine Japanese Art, 12 November 2008, London, lot 366 (sold for 4,200 GBP).