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GENRYOSAI MINKOKU: A RARE WOOD NETSUKE OF TWO MONKEYS ON A PINE BRANCHBy Genryosai Minkoku I, signed Genryosai 玄了齋Japan, Edo (Tokyo), 18th century, Edo period (1615-1868)Carved as two monkeys clambering on a gnarled branch issuing leaves, one monkey on top scratching his behind and the other climbing downwards playfully and facing the one on top. A boldly executed, humorous and dynamic design, the wood bearing a fine, dark patina. The underside with one large himotoshi and signed GENRYOSAI (Minkoku). The subject appears to be unique for this celebrated early Edo carver.LENGTH 4.8 cmCondition: Very good, typically worn condition. Few age cracks and minor surface wear. Beautiful, deep patina.Provenance: Old Irish private collection, Dublin, purchased from Christie's, 17 February 1981, London, lot 113.

SHUGETSU: A FINE WOOD NETSUKE OF THE SAMBIKI SARU (THREE WISE MONKEYS)By Shugetsu, signed Shugetsu 舟月Japan, Edo (Tokyo), first half of 19th century, Edo period (1615-1868)A compact and finely carved netsuke of the sambiki saru, also referred to as the three wise monkeys. The three primates are huddled together, each using their hands to cover the others' ears, eyes, or mouth. Their fur is neatly incised and their features, such as the eyes, fingers, and toes, are well-detailed. Signed on one of the monkeys' backs SHUGETSU – probably Shugetsu II. Himotoshi underneath between one of the paws.HEIGHT 3.8 cmCondition: One foot with old repair to the toes, otherwise in excellent condition with minor wear.Literature comparison: Monkeys appear to be a rare subject for the Shugetsu line of carvers. For an example of a single monkey performing the sambiki saru by Shugetsu I, see Scholten Japanese Art (2001) Expressions of Style, p. 123, no. 152.

HOKYUDO ITSUMIN: A FINE WOOD NETSUKE OF A BLIND MAN CLEANING HIS TEETHBy Hokyudo Itsumin (active 1830-1870), signed Hokyudo Itsumin 逢丘堂丘堂 to 刀 Japan, Edo (Tokyo), c. 1830, Edo period (1615-1868)The blind man of slender stature, wearing geta sandals and a long robe opening at the chest, tied at his waist with a broad obi suspending a kinchaku (pouch) and kiseruzutsu (pipe case), supporting himself on a cane, and cleaning his teeth using a fusayoji (tufted toothpick). The back with asymmetrical himotoshi, the larger hole of oval shape. The wood with a fine, dark patina.HEIGHT 8 cmCondition: Excellent condition with minor wear.Provenance: Max Rutherston Ltd., London, United Kingdom. A noted private collection, USA, acquired from the above. Chew sticks are twigs or roots of certain plants that are chewed until one end is frayed. This end can be used to brush against the teeth, while the other end can be used as a toothpick. The earliest chew sticks have been dated to Babylonia in 3500 BC and an Egyptian tomb from 3000 BC. They are mentioned in Chinese records dating from 1600 BC, in the Ayurvedas around the 4th century BC and in Tipitaka, in the Buddhist Canon around the 5th century BC in India. The custom came to Japan with Buddhism and became popular during the mid-Edo period. Fusayoji (tufted toothpicks) were made from fragrant trees such as willow and black letters and were sold at shrine precincts.Everyday figural subjects are rare in Itsumin's work and this is likely an early work by the Edo school netsukeshi.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A MASTERFUL AND VERY RARE LACQUERED WOOD NETSUKE OF IZUMO NO OKUNIUnsignedJapan, 18th century, Edo period (1615-1868)Published: Stern, Harold P. (1972) The Magnificent Three: Lacquer, Netsuke, and Tsuba; Selections from the Collection of Charles A. Greenfield, New York, Japan Society, no.13 (unillustrated).Kurstin, Joseph & Lorin, Gilles (2006) The Peacock's Feather, Gentlemen's Jewelry of Old Japan, no. 9.Yoshida, Yukari & Kurstin, Joseph, Questions & Answers (2007) International Netsuke Society Journal (INSJ) vol.27, no.1, p.12, fig.3.Exhibited: Japan House Gallery, New York, 1972.Morikami Museum and Japanese Gardens, Delray Beach, Florida, January 10-March 18, 2007.Izumo no Okuni, the foundress of the kabuki theatre, depicted here dancing elegantly, one hand touching her head and the other holding a fan, an eboshi placed in a peculiar position on her head, a long katana and a set of shide (Shinto ritual paper streamers) thrust in her obi (sash), visible in the back. Her expression is carved sensitively, signifying her beauty which she was famous for, and her kimono is adorned with various mon-roundels and neatly engraved patterns. The well-toned wood is superbly polished and lacquered in gold, the surface beautifully worn with a dark, warm patina. Asymmetrical himotoshi through the back, above and below the katana.HEIGHT 8.2 cmCondition: Very good condition, the gold lacquer beautifully worn.Provenance: Ex-collection T. Tsuruoka and Charles A. Greenfield. 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.As Joe Kurstin writes in INSJ vol. 27, no. 1, the subject was identified by Yukari Yoshida. Izumo no Okuni (1572-1610) is credited as being the foundress of the kabuki theatre. She was a shrine virgin (miko) of Izumo Taisha Shrine and was well known for her skills in dancing and acting, as well as for her great beauty. It was the custom of the time to send priests and miko out to solicit contributions for the shrine and thus she was sent to Kyoto to perform sacred dances and songs. Her original and exotic style of dance, known for its sultriness and sexual innuendo, became hugely popular and was labeled Kabuki, which derived from a 16th century colloquial expression, She is thought to have begun performing her new art style of kabuki theatre in the dry riverbed of the Kamo River in Kyoto. Okuni's troupe quickly gained immense popularity, and were known for their performers, who were often lower-class women Okuni had recruited to act in her all-female theatre group.

MUGAI: A RARE WOOD NETSUKE OF A BLIND FISHERMAN TAMING THE NAMAZUBy Mugai, signed Mugai 夢外Japan, late 18th to early 19th century, Edo period (1615-1868)An unusual and spirited carving, depicting a blind fisherman clad only in a fundoshi, his enlarged testicle slipping out, his face with an amusingly distorted expression, one eye closed and the other bulging, as he tries to tame the namazu with his tiny gourd – an amusingly futile attempt. The gigantic namazu appears to be smiling, the expressions of the two providing a humorous contrast. The namazu's eyes are inlays of black wood. Large, asymmetrical, and generously excavated himotoshi underneath and signed MUGAI - The artist is exceedingly rare with only very few examples recorded. The well-toned wood bearing a beautiful, dark patina.LENGTH 5.2 cmCondition: Very good condition, some fine age cracks and light surface scratches. Good patina.Provenance: From an old Swiss private collection, Geneve, purchased at Sotheby's, 16 July 1973, London, lot 153.Legend has it that certain types of catfish (namazu) are responsible for the earthquakes that plague the islands of Japan. When aroused, these creatures would contort their bodies in such a way that gigantic tremors shook the area for miles and miles. The Shinto deity Kadori Myojin usually attempts to prevent such catastrophe with the help of his magic gourd.

MASATAMI: A VERY FINE IVORY NETSUKE OF A RAT ON CHESTNUTBy Masatami (Shomin), signed Masatami 正民Japan, Tokyo, mid to late 19th centuryVery finely carved and beautifully stained to depict a rat awkwardly clambering on a chestnut, the nut realistically rendered with various polished and stippled textures, as well as simulated worm rot. The rat is exquisitely carved with superbly incised fur and large inlaid eyes of dark buffalo horn. The well-carved tail curves around the underside and touches the rodent's body to the side. Himotoshi on either side of the tail and signed MASATAMI – the carver is best known for his idiosyncratic carvings of monkeys, but did occasionally carve rats as well, this is the finest example we have encountered.LENGTH 3.2 cmCondition: The tips of the ears repaired. Otherwise very good condition with minor wear and few fine age cracks.Provenance: From the collection of Dr. Ferdinand and Dr. Gudrun Thaler-Szulyovsky, and thence by descent in the same family. The couple, who had both been practicing law, met in 1967 through their mutual passion for art. Together they built a substantial and diverse art collection including many fine netsuke.Museum comparison:Masatami carved several netsuke depicting monkeys with chestnuts, however the present model of a rat with chestnut appears to be rare. Compare to an ivory netsuke of a monkey with chestnut, by Masatami, in the collection of The Metropolitan Museum of Art, New York, accession no. 10.211.1065.Auction comparison:Compare to a closely related ivory netsuke of two rats on a fan, by Masatami, sold at Lempertz, Netsuke und Sagemono inkl. Sammlung Kolodotschko V, 9 June 2017, Cologne, lot 602 (sold for 2,728 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0456).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.

IKKOSAI: AN IMPORTANT AND LARGE IVORY NETSUKE OF IDATEN CAPTURING AN ONIBy Ikkosai Toun, signed Ikkosai 一光齋Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Published: International Netsuke Society Journal (Spring 2019) Vol. 39, no. 3, p. 21, fig. 5.Sagemonoya (2022), The Gabor and Georgina Wilhelm Collection, p. 36, no. 52.A remarkably powerful and superbly carved, tall ivory netsuke of Idaten, protector of monasteries and monks, dressed in full Tang Chinese armor, carrying a sheathed sword on his back, capturing the oni shoshitsuki who has stolen a Buddhist reliquary containing one of Buddha's teeth, the protective deity grabbing the oni's mouth and forcefully removing the stolen tooth. The lightly stained ivory is carved with incredible detail – note the finely incised beard of Idaten and the hair of the oni, the various incised patterns to the armor, and the billowing celestial scarves which move seamlessly around the composition. The signature is located within an oval reserve IKKOSAI between the two himotoshi.HEIGHT 8.8 cmCondition: Excellent condition with minor surface wear and only very few natural age cracks. Fine patina.Provenance: The Gabor Wilhelm Collection, Paris.This carver Ikkosai, who also used the art name Toun, was likely a direct pupil of Ikkosai Saito Itaro, who also treated this rare subject. Considering the quality and size, the present netsuke has to be regarded as the figural masterpiece of this school. Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207511105-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.

JUGYOKU: A FINE IVORY MANJU NETSUKE DEPICTING A SCENE FROM THE KYOGEN PLAY TSURIGITSUNEBy Ryukosai Jugyoku, signed Jugyoku 壽玉Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Of circular form, the two-part manju finely stained and carved to one side in shishiaibori (sunken relief) with Hakuzosu holding a fox mask in his right and a staff in his left hand, to his right the fox hunter kneeling, cleverly carved in high relief to give a three-dimensional feel to the scene. The reverse engraved with a fox trap below the central himotoshi and signed JUGYOKU.The combination of the techniques of sunken and high relief is quite rare and cleverly utilized here as it ties into the subject matter of the manju, as the sly fox is depicted in the background, almost lurking in the shadows.DIAMETER 4.9 cmCondition: Excellent condition, minor surface wear.Provenance: Collection Gabor Orszagh, Budapest, Hungary.The manju depicts a scene from the Kyogen play Tsurigitsune ('Fox trapping'), in which a fox hunter is visited by his uncle, the priest Hakuzosu, who lectures his nephew on the evils of killing foxes. The hunter is nearly convinced, but after the priest departs, he hears the cry of the fox and realizes it wasn't his uncle at all but a fox in disguise. The fox resumes his natural form and reverts to his wild ways, takes the bait in a trap, and is captured by the fox hunter.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0497).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.

ITTO: A RARE OBIDOME-FORM IVORY NETSUKE OF A WRITHING RAIN DRAGON By Itto, signed Itto 一東Japan, Nagasaki, late 19th century, Meiji period (1868-1912)Finely carved in openwork, the netsuke of obidome form, yet also able to stand with the body and signed claw forming the base. The four-clawed, two-horned rain dragon with a sinuously writhing body carved with flickering flames, densely arranged scales, and neatly incised mane, further detailed with almost hand-like claws and a long baku-like snout. Several natural himotoshi due to the openwork. One paw carved with a raised oblong reserve incised with the signature ITTO – the artist was born in Kyoto but studied sculpture in Nagasaki.HEIGHT 6.3 cmCondition: Very good condition, microscopic nibbling to edges. Provenance: Ex-collection Étienne de Villaret, Paris. With an old handwritten and illustrated description of the present netsuke by the previous owner.Literature comparison: Compare a walrus ivory obidome manju depicting a rain dragon, illustrated in Sydney L. Moss Ltd. (2016) Kokusai the Genius: and Stag-antler Carving in Japan, vol. III, p. 380-381, no. 561.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207510849-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 SHIBAYAMA-INLAID WOOD NETSUKE OF A CAPARISONED ELEPHANTUnsigned Japan, Tokyo, late 19th centuryFinely carved with a caparisoned elephant standing foursquare on a quadrilobed oval base, the animal well detailed with narrowed eyes, a long curled trunk, curved tusks, long ears, and subtly carved wrinkles, the saddlecloth incised with a peony design within a cross-hatched border, suspending beads inlaid with coral and pale horn, the elephant's forehead similarly decorated with coral and pale beads surrounding a larger central jewel in mother-of-pearl, the base with a central ojime.LENGTH 4 cmCondition: Very good condition, minor wear.The subject of the present netsuke with Shibayama inlay is considerably rarer in wood than it is in ivory. Auction comparison: Compare a related inlaid ivory netsuke, signed Shibayama, 4.2 cm long, dated late 19th century, at Galerie Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 189 (sold for 3,792 EUR).

A LARGE AND RARE IVORY TOBORI NETSUKE OF A MYTHICAL BEASTUnsignedJapan, 17th century, Edo period (1615-1868)Published: Sagemonoya (2022) A Selection of Netsuke & Sagemono from the Collection of Georgina & Gabor Wilhelm, p. 44, no. 64.Boldly carved as a one-horned mythical beast standing foursquare atop a shaped base, its long tail furcated in neatly incised scrolling strands with one swept up to its side, the feet with further 'winged swirls', its mane and beard boldly carved with further curls. The ivory bearing a superb, deep honey-brown patina. HEIGHT 6.5 cmCondition: Good condition, appealingly worn, expected age cracks, many losses and chips, most which have smoothened over time.Provenance: The Gabor Wilhelm Collection, Paris.While Gabor Wilhelm suggests the mythical being can be identified as a kaichi (xiezhi), a divine beast from Chinese mythology which symbolizes justice and fairness, the mythical creature is rather difficult to positively identify as it also shares characteristics with a kirin and a luduan.These type of tobori (Chinese carvings) belong to earliest type of netsuke known. They were either carved in China and re-purposed as netsuke in Japan or carved in Japan using Chinese source materials.Auction comparison: Compare a Chinese ivory seal with a mythical beast finial at Bonhams, 21 December 2011, San Francisco, lot 8549 (sold for 6,875 USD). Compare an ivory seal netsuke of a hakutaku at Bonhams, 15 May 2014, London, lot 14 (sold for 7,500 GBP).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207511128-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.

HIDEYUKI: A RARE IVORY AND LACQUER NETSUKE OF BATHING SKELETONSBy Hideyuki, signed Hideyuki 秀之Japan, Tokyo, Meiji period (1868-1912)A rare ivory netsuke depicting a skeleton sitting in a contemplative pose inside a small silver-lacquered tub, a washing rag in its hand, another skeleton seated behind and washing his companion's back. The underside carved with a lotus leaf, two asymmetrical himotoshi, the smaller one florally rimmed, and the signature HIDEYUKI within an aogai inlaid plaque. The artist favored skulls and skeletons as a subject and usually signed within an inlaid aogai plaque. The present composition is quite unusual and possibly unique for the artist.LENGTH 3.8 cmCondition: Excellent condition, minor wear.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2200600397-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.

SHOUNSAI: AN EXCELLENT AND RARE WOOD AND IVORY NETSUKE OF DARUMABy Shounsai Joryu, signed Shounsai 升雲齋Japan, Edo (Tokyo), early 19th century, Edo period (1868-1912)Published: Illustrated in F. Meinertzhagen, MCI Part A, New York, 1986, page 263.Depicting the Zen patriarch Daruma with a pensive expression. Daruma is almost entirely covered in a priestly robe flowing in the wind, carved from wood with a stunning patina and grain. His face and bare torso are inlaid in ivory, with incised beard and chest hair, and his facial features are crafted very well. Daruma was of either Persian, central Asian or south Indian descent, which is reflected in this netsuke – making it a rare portrait of this important and historical Buddhist monk, who is often caricaturized in netsuke art. His sandaled feet and the thin reed which he floats on are also carved from a single piece of ivory. The backside with good himotoshi above the signature SHOUNSAI.HEIGHT 6.3 cmCondition: Very good condition.Provenance: Anonymous sale, Glendining, 31st May 1935, then Jay Hopkins and hence British collection.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 22NL305882/20). 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.

A RARE TOKYO SCHOOL COROZO NUT AND STAG ANTLER NETSUKE OF A FROG INSIDE A CHRYSANTHEMUMUnsignedJapan, Edo (Tokyo), mid to late 19th century, Edo period (1615-1868)Deeply stained to resemble wood, the chrysanthemum finely carved with neatly incised individual petals, the hollowed section in the center inlaid with a green-stained frog carved from stag antler. The underside shows the curved stem which forms the cord attachment.The carving can be attributed to circle of hands around Jugyoku, Ryukei, Gyokko, and Gyokkei who excelled in carving netsuke from exotic materials and often used green-stained antler to embellish their carvings.LENGTH 4.1 cmCondition: Excellent condition with natural flaws to the material.Provenance: A noted private collection, USA.Auction comparison:Compare to a wood netsuke with similar green-stained inlay, by Jugyoku, at Bonhams, Fine Netsuke from a French Private Collection, 4 November 2020, London, lot 149 (sold for 4,812 GBP). Also compare to a corozo nut netsuke by Gyokkei, with a green-stained antler signature plaque, erroneously described as wood, at Gros-Delettrez, Art D' Asie, 7 December 2021, Paris, lot 20 (sold for 3,000 EUR).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

GYOKUZAN: A MASTERFUL MINIATURE WOOD NETSUKE OF A BLINDMAN BEING TRAPPED BY A CLAMBy Gyokuzan, signed Gyokuzan 玉山Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)Published: Eskenazi (1997) Japanese Netsuke, Ojime and Inro from the Dawson Collection, pp. 30-31, no. 41.Exquisitely carved, the blindman with a distinct bump on his head, one eye closed and one eye opened, the tiny pupil minutely inlaid in dark horn, clambering over a giant clam and struggling with all his might to pull his fundoshi from the jaws of the bivalve. The subject references, quite humorously, a parody of the seduction of feminine wiles, the clam representing the female here. The expression of the man is masterfully crafted with incredible detail, which holds up even to extreme magnification. The well-toned wood bearing a good patina. The underside with florally rimmed himotoshi and signature GYOKUZAN and kakihan.HEIGHT 2.9 cm, LENGTH 2.7 cmCondition: Excellent condition.Provenance: Ex-collection Irene Segeler, Zurich, acquired from Eskenazi Ltd., London, in 1997. Irene Segeler specialized in collecting tiny children's netsuke, acquiring over 80 examples, which is quite remarkable as they are exceptionally rare. A few pieces from her collection are illustrated in Children's Netsuke (2001), The International Netsuke Society Journal (INSJ), vol. 21, no. 2, pp. 26-30.

TOSAI: AN EXQUISITE MINIATURE BAMBOO NETSUKE OF MONJU BOSATSUBy Tosai, signed Tosai 東采Japan, Tokyo, late 19th centuryA truly miniature-sized carving, likely intended as a gift for a child, the protective deity seated on a shishi and holding a scroll. The boddhisattva is dressed in a voluminous robe with billowing scarves, the details such as her urna and the shishi's eyes and fangs are inlaid in dark horn or wood. The underside shows two ringed himotoshi and the signature within a square silver tablet TOSAI – this rare artist is associated with Suzuki Tokoku (1846-1913) who carved similar fine works with inlays.HEIGHT 2.6 cm, LENGTH 2.3 cmCondition: Excellent condition with minor natural imperfections to the material, as are to be expected.Provenance: Ex-collection Irene Segeler, Zurich, purchased at Kunsthandel Klefisch, 26 November 1994, Cologne, lot 135. Irene Segeler specialized in collecting tiny children's netsuke, acquiring over 80 examples, which is quite remarkable as they are exceptionally rare. A few pieces from her collection are illustrated in Children's Netsuke (2001), The International Netsuke Society Journal (INSJ), vol. 21, no. 2, pp. 26-30.Literature comparison:Compare a related wood netsuke, by Jujo (school of Jugyoku), in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 279.

HAKUSAI: A RARE COROZO NUT AND STAG ANTLER NETSUKE OF A KAPPA HEADBy Hoshino Hakusai, signed Haku はクJapan, Asakusa, Tokyo, second half of 19th centuryExquisitely carved, the head surmounted by a natural deer coronet with horsehair tufts, the round eyes double-inlaid in translucent and dark horn, the head itself carved from corozo nut, the finely textured skin of the nut still visible to the cheeks, chin, and back, the face well detailed with neatly incised wrinkles and grimacing mouth slightly agape revealing teeth, the back with two asymmetrical himotoshi beside the signature HAKU executed in a mixture of hiragana and katakana characters within an oval reserve.Corozo nut is rarely used in netsuke art as it is notoriously difficult to carve. The artist here exhibits tremendous skill, the surface of the nut brilliantly utilized to emulate antler.HEIGHT 4.3 cmCondition: Excellent condition with minor wear.Provenance: Ex-collection Dr. Walter Heihs. Sotheby's, 17 June 1998, London, lot 752 (described as a tengu mask).Auction comparison: Compare a related Asakusa school stag antler netsuke of a kappa head by Gyokusai, also previously in the collection of Dr. Walter Heihs, sold at Sotheby's, 17 June 1998, lot 732, and later at Galerie Zacke, 29 October 2021, Vienna, lot 257 (sold for 6,320 EUR).

A SUPERB STAG ANTLER MASK NETSUKE OF HANNYAUnsigned Japan, probably Asakusa, Toyko, second half of 19th centuryFinely carved with a fierce expression, the intense eyes with raised and pierced pupils, the nose bridge and forehead with cranial bump well-detailed, the hooked nose with pierced nostrils, the mouth wide open showing teeth and tongue, the back with a himotoshi bar, the stag antler with a rich, deep staining.HEIGHT 3.5 cmCondition: Very good condition, minor wear, natural imperfections with possible associated small loss to back of tongue.As evidenced by the museum comparison below (and many further examples in private and public collections), stag antler netsuke are most commonly of a rather rustic design, especially compared to the present netsuke, which boasts well-detailed and finely carved features that make this a particularly rare example.Museum comparison: Compare a related stag antler mask netsuke, formerly in the Trumpf collection and now in the Linden Museum Stuttgart, inventory number OA 18928.Auction comparison: Compare a stag antler netsuke of an oni, attributed to Kokusai, at Sotheby's, 19 June 2001, London, lot 43 (sold for 3,840 GBP), illustrated in Wright, Douglas J. K. (Fall 2001) Auctions, International Netsuke Society Journal, Vol. 21, No. 3, p. 36. Also compare a related stag antler mask netsuke of Hotei, with a similar patina, 4.7 cm high, dated early 19th century, at Galerie Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 220 (sold for 4,803 EUR).

MITSUHIRO: A RARE AND IMPORTANT IVORY NETSUKE OF THE GHOST OF OIWA AS A CHOCHIN (LANTERN)By Ohara Mitsuhiro (1810-1875), signed Mitsuhiro 光廣Japan, Osaka, mid-19th century, Edo period (1615-1868)Published: The Honolulu Academy of Arts Netsuke Exhibit (1975) INCS Journal Vol. 3, No. 1, p. 31, no. 70.Lazarnick, George (1976) The Signature Book of Netsuke, Inro and Ojime Artists in Photographs, p. 286.Hurtig, Helen (1980) Grotesqueries in Netsuke, INCS Journal Vol. 8, No. 1, p. 32, no. 26A.Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 1, p. 72 (in color) and p. 779.Eskenazi (1990) Japanese netsuke from the Lazarnick collection, p. 53, no. 30.Eskenazi (1998) Japanese netsuke, ojime and inro from a private European collection, p. 34, no. 26.Finely carved, the paper lantern baring the open-mouthed face of the ghastly heroine, the pupils inlaid with dark horn, her neatly incised long hair brushed back and her eyes inlaid, the incised details and inscriptions on the ivory skillfully stained for effect. The forehead bears a bonji (Sanskrit character). The back of the lantern bears an inscription Namu Amida butsu zokumyo Oiwa-jo (save us merciful Buddha, the woman commonly known as Oiwa), beside the asymmetrical himotoshi and below the signature MITSUHIRO. The staining and extensive use of sumi-e, as well as the minutely incised signature, is certainly coherent with the work of Mitsuhiro, while the size and subject matter are a departure from this celebrated artist's usual work. It is likely that the present netsuke was a one-off commission.HEIGHT 5.1 cmCondition: Very good condition with minor wear, natural flaws including expected age cracks. Provenance: Ex-collection George Lazarnick. Eskenazi, London, 1990. Ex-collection Emiel Veranneman, acquired from the above. Eskenazi, London, 1998. Sotheby's, May 2007, London, lot 785 (described as “after Ohara Mitsuhiro; sold for GBP 6,600). European collection P. Jacquesson, acquired from the above.Oiwa died in 1636 and even today it is believed that she haunts the place of her death as well as anyone who performs her story which was adapted into the famous kabuki play Tokaido Yotsuya Kaidan (Ghost story of Yotsuya in Tokaido) in 1825. The story is a tale of betrayal, murder, and ghostly revenge which features Tamiya Iemon who poisoned his loving wife Oiwa, who in turn haunted him and drove him mad. The design of the present netsuke is taken from a woodblock print by Katsushika Hokusai (1760-1849) titled Oiwa-san from the series Hyaku monogatari (One Hundred Ghost Stories), circa 1831-1832.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.

HIDARI ISSAN: A RARE WOOD MASK NETSUKE OF SOJOBO, THE TENGU KING OF MOUNT KURAMABy Hidari Issan (1804-1857), signed Hidari Issan 左一山 with kakihanJapan, Iwashiro, c. 1840, Edo period (1615-1868)A well-sized wood netsuke, boldly carved as the Tengu King wearing the characteristic tokin cap of the yamabushi, his face with a stern expression, his bulging eyes with round gilt-ringed pupils, his prominent nose with recessed nostrils, flanked by strong cheeks, his long beard neatly incised and curling back to the reverse below the broad himotoshi bar signed HIDARI ISSAN with a kakihan based on the character Toku 篤. The well-toned wood bearing a fine, dark patina.HEIGHT 4.6 cm, LENGTH 4 cmCondition: Good condition with some wear, few light scratches, one larger scratch to the back of the himotoshi bar.Provenance: Ex-collection Dr. Walter Heihs. Sotheby's, 17 June 1998, London, lot 712. European collection P. Jacquesson, acquired from the above.Sojobo is the mythical king and god of the tengu. He has the appearance of a yamabushi and is often depicted wearing their tokin cap. The other distinctive physical characteristics of Sojobo include his long, white hair and unnaturally long nose. Sojobo is said to live on Mount Kurama. He rules over the other tengu that inhabit Mount Kurama in addition to all the other tengu in Japan. He is extremely powerful, and one legend says he has the strength of 1,000 normal tengu. He is perhaps best known for the legend of his teaching the warrior Minamoto no Yoshitsune (then known by his childhood name Ushiwaka-maru or Shanao) the arts of swordsmanship, tactics, and magic.Literature comparison:Mask netsuke by Hidari Issan are rare with only very few examples recorded. A mask netsuke of Okame bearing a similar kakihan is illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 1, p. 519. Another mask netsuke depicting a comical mask of Emi-men is illustrated in Davey, Neil K. / Tripp, Susan G. (1993) The Garrett Collection, p. 293, no. 426.

CHIKUSAI: A RARE WOOD NETSUKE DEPICTING THE HEAD OF A DOGBy Chikusai, signed Chikusai 竹齋Japan, Edo (Tokyo), mid to late 19th centuryPublished: Bushell, Raymond (1985), Netsuke Masks, pl. 304.Well carved in the round, the eyes double-inlaid with pale and dark horn, the fur finely incised, the floppy ears relaxed, the mouth and eyes conveying a pleading look, trying to gain the viewer's sympathy. The underside with a horizontally pierced himotoshi bar, signed CHIKUSAI.LENGTH 4.5 cmCondition: Very good condition with minor wear, old restoration to one eye. Provenance: Ex-collection Raymond Bushell. Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam.Netsuke depicting dog heads are rare, and are possibly inspired by European carvings and models, such as dog-shaped silver stirrup cups or figural walking sticks.Literature comparison: Compare a related ivory netsuke depicting the head of a dog, signed Ishikawa Komei, also formerly in the collection of Raymond Bushell, illustrated in Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 218, no. 698, and later sold at Christie's, The Raymond and Frances Bushell Collection of Netsuke Part II, 18 October 1988, London, lot 270, where it is noted to be “[p]robably a copy of a European ivory carving”.

OKATOMO: A VERY RARE EBONY WOOD MASK NETSUKE OF AN OLD MAN (JO)By Yamaguchi Okatomo, signed Okatomo 岡友Japan, Kyoto, late 18th to early 19th century, Edo period (1615-1868)Powerfully carved, the narrowed eyes with incised and raised lids, the furrowed brows well carved and sparingly incised, the mouth slightly open in a subtle smile showing teeth, the long mustache and chin beard neatly incised, the chin beard continuing to the reverse up to the himotoshi bar and forming part of the cord channel, the bar signed OKATOMO.HEIGHT 5.1 cmCondition: Very good condition, minor wear, few tiny nicks.The Noh masks that served as the inspiration for the present netsuke and others like it were fitted with natural hair (usually horsehair) to indicate the mustache and beard, and sometimes also the eyebrows. The ingenious detail of the beard leading up to the himotoshi bar and forming part of the cord channel is thus a departure of the usual mode of adhering closely to the actual Noh mask that was copied in miniature by the carver.The term Jo denotes a large corpus of indigenous masks that portray old men. These masks were worn, and still are, for a myriad of agrarian fertility rituals, rites for propitiating the gods of nature, and ceremonies associated with folk festivals. They usually represent an aged deity or an apotheosized elder. In the early days of Noh, there was only a single type of Jo mask which satisfied the need for any play requiring the role of an old man, but as new plays were written there was an increasing need for a variety of masks.Literature comparison:Mask netsuke by Okatomo are extremely rare. The only recorded example is an ivory netsuke of the face of oiwa as a lantern ghost, illustrated in Harris, Victor (1987) The Hull Grundy Collection in the British Museum, p. 36, no. 92.

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.

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'.

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 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).

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 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.

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.

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.

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).

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 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 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.

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).

TATSUKE KOKOSAI: A RARE LACQUER FOUR-CASE INRO DEPICTING A CAT AND BUTTERFLYBy Tatsuke Kokosai II, signed Tatsuke Kokosai 田附交々齋 Japan, 18th-19th century, Edo period (1615-1868)Bearing a reddish-brown ground, finely decorated in mostly gold and silver togidashi-e and hiramaki-e with nahiji and hirame to depict a cat teasing a butterfly while another flutters around a clump of wild flowers on the reverse, the interior of nashiji with gold fundame edges. Each case is inscribed to the interior in black lacquer with a character, reading 'Shi', 'So', 'Cho', and 'Mei'. The base signed in gold lacquer TATSUKE KOKOSAI. HEIGHT 9 cmCondition: Good, worn condition with minuscule losses to edges and risers, minor rubbing throughout. Provenance: Kunsthandel Klefisch, 11-12 October 2013, Cologne, lot 873. A private collection in Rhineland, Germany, acquired from the above. Cats and butterflies are symbols of longevity. The word for cat in Chinese (mao) is a homophone for the word for octogenarian, and the word for butterfly (die) sounds the same as that for a septuagenarian. Thus, the combination of the cat and butterflies here conveys the wish that the recipient might live a long life of seventy or eighty years. It is common for Japanese artists to borrow such symbolism from the Chinese visual vocabulary.Auction comparison: Compare a closely related four-case inro by Tatsuke Kokosai II, decorated with the same design on a roiro ground, 7.6 cm high, dated 19th century, formerly in the collections of Michael Tomkinson (no. 1152) and Edward A. Wrangham (no. 1516), at Bonhams, The Last Treasures from the Edward Wrangham Collection of Japanese Art, 19 July 2021, London, lot 83 (sold for 5,100 GBP). This inro is also recorded in Wrangham, E. A. (1995) The Index of Inro Artists, p. 140.

A RARE LACQUER FOUR-CASE SAYA INRO WITH HO-O BIRDS AND KIRI MONUnsigned Japan, 17th century, Edo period (1615-1868)The saya of roiro and nashiji decorated in gold hiaramaki-e with scrolling foliage interspersed by kiri mon (paulownia crests). The inro bearing a roiro ground similarly decorated with dense foliage and kiri mon as well as a flying ho-o bird to each side. The interior of nashiji with gold fundame edges. With a small lacquered wood ojime. HEIGHT 6.7 cmCondition: Very good condition considering age and use. The saya with typical associated wear from contact with the frame. The kiri mon is one of the five major family crests in Japan, and one of the two imperial crests, along with the kiku (chrysanthemum) mon. More than 140 designs of the kiri mon exist, the most common one being known as the 5-3 Paulownia (Go-san no Kiri), consisting of three leaves and an inflorescence of 3–5–3 flowers, as found on the present lot. Originally, the paulownia seal was the private symbol of the Japanese Imperial Family, from as early as the sixteenth century. The Toyotomi clan, led by Toyotomi Hideyoshi, later adopted the paulownia seal for use as the crest of his clan. After the Meiji Restoration, the seal was eventually adopted as the emblem of the Japanese government.Both the ho-o bird and the paulownia (kiri) tree are imperial symbols of Japan. According to legend, the ho-o, a bird similar to the phoenix that represents the eternal rebirth of the soul, only settles on the Kiri tree. In the hope of attracting this auspicious bird that blesses people with wisdom, health and happiness, the trees are planted in courtyards and gardens.Literature comparison:Compare to a near-identical saya inro with kiri and ho-o, dated 17th century, illustrated in Kurstin, Joseph & Lorin, Gilles (2006) The Peacock's Feather, Gentlemen's Jewelry of Old Japan, no. 58.

A RARE METAL-INLAID GOLD-LACQUER FOUR CASE SAYA (SHEATH) INRO DEPICTING SUMO WRESTLERSUnsigned Japan, 19th centuryThe saya bearing a kinji ground, finely decorated in gold and colored takamaki-e with kirikane, nashiji, and iro-e takazogan to depict a pair of sumo wrestlers facing off in the center of the dohyo (ring), both standing in dynamic poses with the arms extended and legs spread, their feet planted firmly on the floor. The circumference of the dohyo is outlined with bailed straw in gold lacquer with each twist delicately rendered. To the verso, a banner decorated in fretwork bears two mon, one a pair of circling ho-ho birds and the other the Katabami mon. The removable internal compartments are decorated with an all over design of the Katabami mon in gold hiramaki-e, the interiors of rich nashiji with gold fundame edges.HEIGHT 7.7 cmCondition: Very good condition with minor typical wear and traces of use.

MASATOMO: A RARE IVORY NETSUKE OF A HARE WITH MUSHROOMBy Masatomo, signed Masatomo 正友 Japan, Kyoto, c. 1800, Edo period (1615-1868)Published: Joly, Henri (1975) Catalogue of the H. Seymour Trower Collection of Japanese Art, no. 204 (unillustrated).Bulletin Franco-Japonais (2002) no. 78, p. 2.Wilhelm, Gabor (2002) Bulletin Franco-Japonais, no. 79, p. 42. Wilhelm, Gabor (Spring 2003) On the Continent, International Netsuke Society Journal, Vol. 23, No. 1, p. 18.Well carved as a rabbit seated on its haunches and nursing a mushroom between its front paws, the animal detailed with oval eyes inlaid with pale buffalo horn, long floppy ears, and a short curled tail, the fur neatly incised and darkly stained, the underside of the mushroom cap with incised radial gills creating an appealing contrast to the smooth cap and stem, the underside with asymmetrical, generously excavated himotoshi, the right haunch with the signature within a shaped reserve MASATOMO.LENGTH 5.2 cmCondition: Very good condition, minor wear, few minor age cracks.Provenance: Ex-collection H. Seymour Trower (recorded in Henri Joly's catalog, no. 204). Piasa, 23 October 2002, Paris, lot 235 (sold for 8,200 EUR). French private collection, acquired from the above.Museum comparison: Compare a related ivory netsuke of a hare with mushroom by Okatomo, dated late 18th to early 19th century, in the Museum of Fine Arts, Boston, accession number 47.925.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2201700456-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.

KAJIKAWA: A VERY RARE GOLD LACQUER FIVE-CASE INRO DEPICTING DUTCHMENBy a member of the Kajikawa family, signed Kajikawa 梶川 saku 作Japan, 19th century, Edo period (1615-1868)Of lenticular section, the lustrous bright kinji ground superbly decorated in iro-e takamaki-e with hiramaki-e detailing to depict two Dutchmen, both typically dressed, one holding a long clay pipe and leaning against a cherry tree with a pensive expression, his head resting in his hand, and to other supporting himself on his walking stick. The interiors of nashiji with gold fundame edges. The base signed KAJIKAWA saku [made by Kajikawa]. With a reticulated metal ojime bearing a shippo pattern.HEIGHT 9.7 cmCondition: Excellent condition with minor wear, mostly to interior lacquer, few microscopic nibbles to edges as is to be expected.Provenance: A private collection in New York, USA. The interior with an inscribed label, 'No, 7 – 350 Kajikawa'.Auction comparison: Compare a related gold lacquer four-case inro by Koma Kyuhaku depicting Dutchmen at Bonhams, 6 November 2012, London, lot 40 (sold for 37,250 GBP). Compare a related silver lacquer five-case inro by Hara Yoyusai depicting Portuguese traders at Bonhams, 6 November 2012, London, lot 37 (sold for 46,850 GBP).

YAMAGUCHI OKATOMO: A SUPERB WOOD NETSUKE OF A HARE AND YOUNGBy Yamaguchi Okatomo, signed Okatomo 岡友Japan, Kyoto, late 18th century, Edo period (1615-1868)Published: Bushell, Raymond (1971) Collector's Netsuke, p. 32, no. 24.Wilhelm, Gabor (1988) Netsuke Kenkyukai Society Journal, p. 42 and 44.Wilhelm, Gabor (1989) Bulletin Franco-Japonais, p. 22. Sydney L. Moss (1989) Japanese Netsuke: Serious Art. Outstanding Works Selected from American Collections, no. 10.Birch, Michael (Summer 1989) Netsuke Kenkyukai Society Journal, p. 26, fig. 3.Superbly carved as a rabbit and young huddled close together, the mother resting a paw protectively on the back of the buck leveret, which is snuggling to its mother's side. Their fur and other details are neatly incised and darkly stained for effect. Their eyes are double-inlaid with bone and pupils of reddish, mid-toned translucent buffalo horn. The underside is well detailed with the animals' paws and genitals, with many natural himotoshi due to the openwork.LENGTH 5.2 cmCondition: Very good condition with minor expected wear and few minuscule age cracks. Tiny old repair to the edge of the left ear. Provenance: Ex- collection B.K. Denton, Yokohama and St. Louis, 1971. St. James' Gallery, Zurich, 1988. Sydney L. Moss Ltd., London, 1989. European collection, acquired from the above. Sydney L. Moss Ltd., London, 2005. French private collection, acquired from the above.Okatomo's later animals, at the end of the 18th century, are smaller and more precious than his earlier works, but share his characteristic smiling features and charming, well-fed naturalism, in contrast to his teacher Tomotada's reptilian features and bony, massive bulk. Other known Okatomo rabbits are ivory, smaller, and later. This group corresponds to Tomotada's style in composition and size, but betrays Okatomo's hand unmistakably in the hairwork, underside, and face with idiosyncratic inlays to eyes. It is a rare, early work from the period when Okatomo was strongly influenced by Tomotada.The Okatomo signature is generally considered to have been added later. Nonetheless, the present netsuke is doubtlessly the artist's work.Literature comparison:Compare a closely related, yet later ivory netsuke depicting the same subject by Okatomo, illustrated in Cohen, George (1974) In Search of Netsuke & Inro, p. 35, no. 44. Compare also a wood netsuke of a wolf by Okatomo, signed Tomotada, with similar double-inlaid eyes in bone and horn, formerly in the collection of E. Hobbs and offered by Max Rutherston Ltd.Auction comparison:Compare to a related wood netsuke of a recumbent ox, signed Tomotada, but certainly by Okatomo, at Christie's, An Important European Collection of Netsuke, 14 November 2001, London, lol 31 (sold for 15,863 GBP).

A RARE WOOD KISERUZUTSU DEPICTING A SINIOUS DRAGONUnsignedJapan, 19th centuryOf senryu-zutsu type, of clever conception and skillfully carved as a sinuous dragon with curled tail, neatly incised scales, roughly textured horns, trailing whiskers, and inlaid dark pupils, its body elegantly writhing around the pipe.LENGTH 22.8 cmCondition: Very good condition, minor wear, traces of use to wear the pipe is inserted, few tiny nicks.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

RENSAI: A RARE MARINE IVORY KISERUZUTSU WITH A BASKET OF FRUITBy Ishikawa Rensai, signed Rensai 蓮齋Japan, Tokyo, Asakusa District, second half of 19th century, circa 1860s-1880sOf wari-zutsu form, the marine ivory of pure color, finely carved in shishiaibori with a neatly incised woven basket filled with loquats, eggplant, peach, pomegranate, and berries, some fruit attached on leafy stems, one open pomegranate showing the seeds is borne on a towering branch, a loquat and worm-eaten leaf are lying on the ground before the basket. The cord attachment is formed by a reishi fungus carved in high relief, surrounded by cleverly stippled shading. The base carved in shishiaibori with a Buddha's Hand citron. The reverse incised with the signature RENSAI.LENGTH 20 cmCondition: Very good condition, minor wear, a small nick near the base.Provenance: Ex-collection Gabor Wilhelm, Paris.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 stag 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. A wari-zutsu pipe case carved from marine ivory is extremely rare and shows great skill from the artist.In Chinese art, the pomegranate symbolizes the wish for many children, and in particular, sons. The fruit is full of seeds, and the word for seeds in Chinese is also that for children. Together with the double-happiness symbol, pomegranates feature prominently as wedding gifts. The Chinese rebus, liu kai bai zi, translates as 'the pomegranate brings you a hundred seeds'. The Buddha's Hand citron, which can be interchangeable with other citrons, together with the peach and pomegranate, are known collectively as 'The Three Abundances' (sanduo) which express the wish for abundant blessings, long life, and many sons. It is common for Japanese artists, particularly Asakusa carvers, to borrow such symbolism from the Chinese visual vocabulary.Literature comparison: Compare a stag antler kiseruzutsu by Rensai decorated with a ho-o bird, clouds, and blossoms, illustrated in Sydney Moss Ltd. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, Part 3, p, 74-75, no. 374. Compare an ivory netsuke by Rensai of a frog on a gourd, with a very similar signature, illustrated ibid., p. 40, no. 350, where the author notes that “[i]t might be that the unusual signature proposes the hand of Ishikawa Rensai II.” Compare another ivory netsuke by Rensai of a frog on a gourd, illustrated in Davey, Neil K. (1974) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 181, no. 539, where the author notes that “[t]he carving and the signature differ from Rensai's work in staghorn and this piece is probably by Rensai II.”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 EXCEPTIONAL AND LARGE WOOD NETSUKE OF A SNAKE, ATTRIBUTED TO OKATOMO Attributed to Yamaguchi Okatomo, unsignedJapan, Kyoto, late 18th century, Edo period (1615-1868)A remarkably bulky and powerfully executed sculptural masterpiece – the snake coiling around itself, its body entirely naturalistically represented, varying in thickness, covered almost entirely in boldly incised scales. The majestic reptile's large head is resting at the top of the composition, its eyes inlaid with dark horn pupils, its tongue extended and slithering down along the tail. Natural himotoshi. Unsigned, however confidently attributed to the Kyoto master Yamaguchi Okatomo, the manner of the expression and inlaid eyes idiosyncratic of this celebrated artist. The well-toned wood bearing a fine patina.SIZE 3 x 4.2 x 4.9 cmCondition: Excellent condition, minor wear. Fine, dark patina.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.Snakes from the Kyoto school are to be considered extremely rare. Only one other netsuke depicting a snake is recorded by Okatomo (see Museum comparison), however the present netsuke is the only one carved from wood. There are no recorded examples from other members of the Oka-school, such as from Okakoto or Okatori.Literature comparison:Compare to a related wood netsuke of a coiled snake by Tomotada illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 916.Museum comparison:Compare to a closely related ivory netsuke, signed Okatomo, in the collection of The British Museum, accession no. 1945,1017.603. Compare the manner of the head, inlaid eyes and the manner of the scales, which are more elaborate on the present wood netsuke, however show the same incised line at the intersection point of the individual scales.

A RARE MARINE TOOTH NETSUKE OF KIYOHIMEUnsignedJapan, 18th century, Edo period (1615-1868)The serpentine, wrathful monster Kiyohime tightly wrapped around the Dojo-ji bell, her snake-like tail encircling the top and her body surmounting the bell, the face with an enigmatic smile, holding a striker and a loose strand of her long, finely incised hair. Very large himotoshi through the side of the bell. The marine tooth bearing a beautiful lustrous polish.HEIGHT 6 cmCondition: Very good condition, some natural age cracks and few inlaid nerve channel plugs.In this tragic story, Kyohime fell in love with a Buddhist monk named Anchin but was rejected. In despair she pursues the monk and transforms herself into a Hannya-like demon with a snake body and horned head. The pursued Anchin hides under a temple bell. When she discovers him there, she wraps her snake body around the bell and the glow of her passion melts the metal and burns the monk hiding in the bell.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.

GYOKUMIN: A FINE AND RARE NAGOYA SCHOOL WOOD NETSUKE OF RAIJIN CUTTING A CUCUMBERBy Gyokumin, signed Gyokumin 玉珉 and kakihanJapan, Nagoya, late 18th to early 19th century, Edo period (1615-1868)Published: Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 97 (unillustrated).A remarkably bold and compact netsuke, the darkened wood bearing a superb, unctuous patina, the thunder god Raijin seated before his taiko drum, one leg folded underneath, the other supporting the drum, and cutting a cucumber issuing a cloud-like vine. Raijin, dressed only in a tiger skin loincloth, is depicted in a typical manner with two horns, pronounced musculature, and long finely carved hair terminating in curls on his back. The eyes are inlaid in dark horn and the studs on the drum are inlaid in pale horn. The underside with generously excavated himotoshi and signature within an oval reserve GYOKUMIN and kakihan.HEIGHT 4 cmCondition: Very good condition, the surface beautifully worn. No notable damages. Provenance: Formerly collection Henri T. Reiss, sold at Glendinning & Co., February 1918, London, lot 200 (part lot).The subject is highly unusual, the thunder god here engaging in the business of a kappa. Fuld's Netsuke and Ojime Index lists only one other netsuke depicting this subject, which is by the Asakusa artist Eisai, sold at Sotheby's in 1980.

ISSAI: A RARE NARWHAL TUSK NETSUKE OF KADORI MYOJIN TAMING THE NAMAZUBy Ogawasara Issai, signed Issai 一齋Japan, Wakayama, 18th century, Edo period (1615-1868)Superbly carved from a circular cross-section of a narwhal tusk as Kadori Myojin, clad in a fundoshi, placing his gigantic hyotan (double gourd) on a namazu, trying to tame the mythical catfish. The namazu's eyes are inlays black wood. The typical outer bark-like rind is visible on the edges of the netsuke and the other side shows the typical beautiful marbling and striations of this coveted material. Himotoshi through the underside and inside of the namazu and signed underneath ISSAI.LENGTH 4.6 cmCondition: The right arm restored. Some tiny repairs and losses to exposed areas. Otherwise, fine condition with minor wear and few natural age cracks.Provenance: From the collection of the German conductor Ferdinand Leitner (1912–1996), purchased from Kunsthaus Lempertz, Cologne, in 1972 (copy of the original invoice available). Leitner studied under Franz Schreker, Julius Pruewer, Artur Schnabel and Karl Muck. Among his more than 300 recordings is a celebrated recording of Ferruccio Busoni's Doktor Faust. He also conducted the Berlin Philharmonic for Wilhelm Kempff's 1961 cycle of Beethoven's piano concertos.Ogawasara Issai, mentioned in the Soken Kisho of 1781, was said to be one of the most famous carvers of his time, his work much in demand and difficult to obtain even during his lifetime. His works are rarely signed and he excelled in the use of marine and narwhal tusk.Legend has it that certain types of catfish (namazu) are responsible for the earthquakes that plague the islands of Japan. When aroused, these creatures would contort their bodies in such a way that gigantic tremors shook the area for miles and miles. The Shinto deity Kadori Myojin usually attempts to prevent such catastrophes with the help of his magic gourd.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.

MASASADA: A POWERFUL WOOD NETSUKE OF RAIJIN WITH DRUMBy Masasada (Masakazu), signed Masakazu 昌貞Japan, probably Tanba, early 19th century, Edo period (1615-1868)A powerful wood netsuke of the thunder god Raijin squatting, wearing a large drum strapped to his back and holding a geta with both hands in front of him. The oni-like deity is portrayed with boldly carved musculature and well-defined anatomy. In contrast, his facial features are humoristic, animated and imbued with originality and character – very typical for this rare artist. Raijin has inlaid horns, teeth and fangs, and the studs on the drum and his eyes are inlaid in dark wood. Good himotoshi through the deity's back and underside and the signature in a rectangular reserve underneath - MASAKAZU, however the artist is known as Masasada 昌貟.LENGTH 3.4 cmCondition: Very good condition with minor wear including some tiny nicks and a small loss to one inlay of the drum.Provenance: Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam, purchased from Nohara Japanese Art, Belgium.Literature comparison:For a similar model of a Raijin see Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 430. For a discussion on the artist see International Netsuke Society Journal, Vol. 30, no. 3, pp. 22-26, where Jay Hopkins suggests that the artist is probably of Tanba origin.Auction comparison:A closely related wood netsuke, by Masasada, was sold at Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 93 (sold for 5,688 EUR).

MASANAO: A RARE WOOD NETSUKE OF AN ONI TRAPPING SHOKIBy a member of the Masanao family, signed Masanao 正直Japan, Yamada, Ise Province, 19th century, Edo period (1615-1868)Finely carved, the oni spread out over a neatly detailed straw basket, peering backwards, the pupils minutely inlaid in dark horn at the corners of the eyes, the mischievous devil pressing his weight down in an effort to contain the demon queller Shoki who is trapped underneath. Shoki in return tries to push himself off the ground, sword drawn, his scabbard piercing through to the other side. The himotoshi are cleverly integrated into the design, underneath Shoki's feet, and the signature is located within a fold of the robe – MASANAO.LENGTH 3.9 cmCondition: Very good condition, minor wear. Fine, dark patina.Provenance: Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam, purchased from Paul Rutten Asiatic & Tribal Art, Amsterdam, in 2010.The subject appears to be unrecorded for the Masanao family and is usually associated with Kano Tomokazu of Gifu.Auction comparison:A related wood netsuke by Tomokazu was sold at Zacke, Fine Netsuke, Sagemono & Okimono, 27 April 2019, Vienna, lot 266 (sold for 12,640 EUR). Another related wood netsuke by Masakazu was sold at Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 237 (sold for 6,952 EUR).

TAMETAKA: A SUPERB WOOD MASK NETSUKE OF A SHISHIBy Tametaka, signed Tametaka 爲隆 with kakihan Japan, Nagoya, late 18th century, Edo period (1615-1868)Published: Sydney L. Moss Ltd. (2004) Outside the Box: Further Explorations in Japanese Netsuke and Lacquer, 2004, p. 34-35, no. 13.Superbly carved, the scowling face with a hinged jaw opening to reveal the tongue and sharp teeth, the eyes with pupils inlaid in dark horn below furrowed brows, the broad nose with deeply hollowed nostrils, the neatly incised mane falling in heavy curls over the back of the head, the chin beard similarly carved, the forehead with eleven distinct star-shaped whorl designs, the underside with three square apertures, presumably a feature of the temple sculpture from which this netsuke is derived, forming the cord attachment behind the signature TAMETAKA with a kakihan.LENGTH 4.2 cmCondition: Very good condition with minor wear, few tiny nicks to the back, the underside with few microscopic chips near the hinge.Provenance: Max Rutherston, London, 2004. European collection P. Jacquesson, acquired from the above.The Shishi mask originated in the rites of exorcism of Japanese protohistory. The original Japanese mask was absorbed into dance and drama in the seventh and eighth centuries when Gigaku and Bugaku were introduced from the Asian mainland. Unlike most masks, Shishi masks enjoyed an unrestricted and natural development, free of the shackles imposed by the prototypes. The shishi masked dance (shishimai) is performed to ward off disease and calamity. It originated as a religious ceremony but the excitement of the dance, the music, and the rhythms increased over the centuries, so that over time it was performed for entertainment rather than ritualistic purposes.Tametaka is the earliest recorded netsuke artist from Nagoya and is listed in the Soken Kisho, the first publication on netsuke published in 1781. He is credited with the invention of the relief-carving technique (ukibori) associated with the Nagoya school.Literature comparison:Shishi are a popular subject of Tametaka, mask netsuke by this carver are however extremely rare. A wood mask netsuke of an oni, also with a movable jaw, is recorded in Joly, Henri L. (1966) The W. L. Behrens Collection, Part 1, Netsuke, no. 88, however is unillustrated. Another wood mask netsuke by Tametaka, depicting Buaku, is illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 857.

A SUPERB AND VERY RARE WOOD NETSUKE OF AN OX AND CALF, ATTRIBUTED TO TAMETAKAAttributed to Tametaka, unsignedJapan, Nagoya, 18th century, Edo period (1615-1868)Superbly carved in dark-reddish wood as an ox with curved horns and realistically rendered spine, the hairwork executed in bold strokes, the high points beautifully worn and bearing a superb, unctuous patina, the young calf nestling up to the parent seeking warmth and pressing its muzzle into its parent's side. The underside very finely carved, the legs tucked underneath the body for compactness, and with large, generously excavated himotoshi.There appears to be some illegible remnants of kanji characters on the haunch where the signature is usually located. The boldly executed design, strong character, and idiosyncratic 'ruggedness', coupled with a clear 18th-century patina, strongly suggest the artist Tametaka, whom this netsuke is confidently attributed to.LENGTH 5.1 cmTametaka is the earliest recorded netsuke artist from Nagoya and is listed in the Soken Kisho, the first publication on netsuke published in 1781. Oxen are to be considered extremely rare by this artist with only few examples recorded and this would be the only recorded example of an ox and calf.Condition: Excellent condition with typical, old surface wearProvenance: A noted private collection, USA.Literature comparison:Compare to two wood netsuke depicting oxen by Tametaka in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 2, p. 1075.Auction comparison:Compare to a related ebony wood netsuke of a recumbent ox by Ikkan, dated 19th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part I, 9 November 2010, London, lot 130 (sold for 10,200 GBP).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

A VERY RARE IVORY NETSUKE OF A MERMANUnsignedJapan, 18th century, Edo period (1615-1868)Finely carved as a merman, half man and half fish, depicted in motion, swimming through water, one hand touching his tail fin, which curls underneath and is held close to the body for compactness, and the other hand holding a branch of coral before him. The scales are meticulously rendered, formed by large, connected half-circles and the long hair, which flows down the shoulders and arms, is neatly incised. Natural himotoshi between the arm and body. The ivory bearing a beautifully lustrous patina, the details are stained with sumi (ink).LENGTH 5.3 cmCondition: Very good condition with minor wear, few natural age cracks and natural imperfections. Literature comparison:Compare to a closely related wood netsuke of a mermaid with tama, ex-Behrens collection, illustrated in Barry Davies Oriental Art (2002) Netsuke and Inro from European Collections, no. 137. Auction comparison:Compare to a closely related wood netsuke of a merman with tama, at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 63 (sold for 4,375 GBP). Also compare to an ivory netsuke of a mermaid, style of Ogawasara Issai, at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 70 (sold for 6,875 GBP).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A RARE DARK WOOD NETSUKE OF A DOG SCRATCHING ITS JOWLUnsigned Japan, probably Nagoya, 18th century, Edo period (1615-1868)Finely carved in dark-reddish wood as a dog seated on his haunches, scratching his jowl with his right front paw, the animal well detailed with neatly incised fur, short floppy ears, narrowed eyes, a long snout, and a curled tail. Natural himotoshi between his left front and hind legs as well as his right front leg and neck.LENGTH 4.5 cmCondition: Small chip to the left front paw. Otherwise, good condition with minor expected wear and traces of use including a few tiny nicks.Provenance: A noted private collection, USA.The wood used, overall power and earthiness of the design, as well as the rugged yet fine execution, are reminiscent of Tametaka of Nagoya.Literature comparison:Compare to a closely related dark wood netsuke of a puppy scratching its ear, signed Goto, illustrated in Barry Davies Oriental Art (2002) Netsuke and Inro from European Collections, no. 120.Auction comparison:Compare to a related wood netsuke of a dog, by Tametaka, at Bonhams, The Julius & Arlette Katchen Collection of Netsuke Part II, 10 May 2017, London, lot 117 (sold for 9,375 GBP).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

KANO TOMOKAZU: A FINE WOOD NETSUKE OF A RAT BITING INTO A SHOGI PIECEBy Kano Tomokazu, signed Tomokazu 友一Japan, Gifu, c. 1820, Edo period (1615-1868)Exhibited: Netsuke, Edo Saimitsu Kogei no Hana ('Netsuke, Flowers of Miniature Carving of the Edo Period'), Exhibition of the Nihon Netsuke Kenkyukai, 20th anniversary, Tokyo, 1995, no. 116.The cherry (sakura) wood finely carved and stained to depict a rat nibbling on a shogi piece, which is inscribed with the kanji for horse (keima 桂馬, the equivalent of a knight in Western chess). Both front paws grasp the game piece, with one hind paw gripping its tail and the other only visible on the underside. Natural himotoshi between the neatly incised tail, the body, and the game piece. The eyes are inlaid with dark buffalo horn and the incisors with bone. The belly of the rat signed within an oval reserve TOMOKAZU.LENGTH 4.1 cmCondition: Very good condition, minor wear, few tiny nicks, few light scratches. Provenance: Japanese private collection. Sotheby's, 14 July 2005, London, lot 1033. French private collection, acquired from the above. With its reference to a horse, the shogi piece neatly makes the netsuke into a joint representation of two zodiac animals. The rat and the horse represent opposite signs in the Asian zodiac and as such are considered incompatible. However, if the 'younger' of the two signs (the horse) submits to the 'older' (the rat), then the pairing can be successful.The present netsuke appears to be a rare variation of this popular subject executed by Tomokazu and Ikkan.