The Collection
As is frequently the case, it was originally about the one that got away. New York has long been considered the epicenter of many aspects of the art world. Great museums, great galleries, and great art fairs pepper the city not only geographically, but also in terms of the annual calendar of must-see events. Michael Ayervais is a habitué of that world, accustomed to attending the gallery openings, blockbuster museum shows and jawdropping art fairs. So it was a singular moment back in 1986 when he entered the famed Park Avenue Armory Fair and encountered his first Japanese ningyō. It was a dairi-bina imperial couple for the Girl’s Day display. Clad in rich silk brocades, with haunting white faces, delicate hands and elaborate headgear, they were conceptually stunning and visually arresting. But more importantly, what were they?
For all his years on “the scene” he had not encountered such a work of art. He went home, empty handed but intrigued and wrestled with them all night, trying to place them in what he knew and loved about art. The next day he raced back to the fair intent on purchasing them. Whatever they were, he decided,
they had to be his. But he was too late, sold the night before after he had left so entranced. So, again, he left the fair empty-handed, but with a new art-focus in his heart and soul. Ningyō.
And thus it has been for the last 36 years, a collecting journey of the soul. With virtually no written words to guide him, no lavish exhibition catalogues to peruse, no known authorities in his orbit to advise, and, initially, no Google search (!), it was through artistic instinct and dedicated passion that he began to amass what would become the greatest ningyō collection outside of Japan. By 1996 his collection had attracted the attention of the Japan Society there in New York which staged an ambitious first-ever exhibition of Japanese dolls, inviting acclaimed ningyō specialists from Japan to select and catalogue this truly ground-breaking exhibition. And the book published in conjunction with the exhibition: Ningyō: The Art of the Human Figurine, long remained the go-to source for those interested in ningyō history and culture.
Over the years, as the Ayervais Collection grew, it attracted even greater interest from Japan, with visits
from members of the imperial family, diplomats, heads of Japanese corporations, researchers, and even TV documentarians who were struck not only by the breadth and depth of the collection, but by the fact that it was NOT in Japan, but in New York City, and NOT in a museum, but in the private home of one passionate collector.
Over the succeeding years elements of the collection have been exhibited at the Metropolitan Museum of Art, the Mingei International Museum, the Morikami Museum, and many others. Selections of the Ayervais Collection have formed an important touchstone for a number of publications that have since emerged to help the collector and art enthusiast navigate and explore this fascinating world of ningyō.
And through it all Michael Ayervais has never lost the passion and intensity of feeling that he first felt on encountering his first ningyō those many years ago.
Above: Two of Alan Scott Pate’s well-researched books on the subject of Japanese dolls featuring many of the Ningyō in the Ayervais collection.
And that is the true essence of any great collection: passion, vision, dedication, and a soul-searching approach to what makes that piece, or that doll, a must have, worthy of being included in what is now and will forever remain a benchmark and storied collection: The Ayervais Collection. x
1. Gosho-Ningyō (Palace Doll) Depicting Otafuku and Fukusuke
7” (18 cm.) The pair of standing Gosho-Ningyō depict Otafuku and Fukusuke as a Meoto Wedded Couple; Otafuku dressed in a purple chirimen silk crepe kimono with a broad silk brocade obi tie belt with a red inner kimono, and Fukusuke wearing striped hakama trousers and a grey silk crepe kimono, both with well contoured heads, she with her signature bulging forehead and plump cheeks and an open smile revealing teeth, he with his enlarged pate, wire padded arms, fashioned of toso wood composite covered in a fine white gofun with painted features and silk fiber hair. Taisho Era, early 20th century. $3200/3800
Otafuku was a popular figure depicting mirth with a bawdy element, and Fukusuke was known as the happy merchant, paired together they represented happiness and success in marriage. Taisho Era, early 20th century.
2. Gosho-Ningyō (Palace Doll) Holding a Plover
3” (8 cm.) Gosho-ningyō (Palace Doll) holding a plover in his left hand, kneeling boy wearing a chirimen silk crepe harakage bib with painted details, with left arm outstretched and holding a painted chidori plover, symbolic of perseverance, longevity, and family security, fashioned of wood and covered in a fine gofun with painted details and a full head of human hair, positioned on a silk brocade zabuton cushion, Edo Period, mid-19th century. $800/1000
3. Mitate Gosho-Ningyō (Parody Palace Doll) Depicting Noh Drama
11” (28 cm.) The Mitate Gosho-Ningyō (parody Palace Doll) depicts the Noh drama Shakkyo (Stone Bridge), a young boy seated with both legs thrust forward with outstretched hands holding clusters of peonies which are symbolic of the field of
flowers located at the far end of the bridge of enlightenment; the gosho is wearing a rich purple chirimen silk crepe kimono with red lining, has attenuated limbs, is crafted of wood and covered in a fine white gofun with painted features, has an unusual head shape with expressive features and slightly open smiling mouth and with a painted mizuhiki presentation ribbon on his forehead, Edo Period, 19th century. $1500/2000
Gosho-Ningyō are frequently referred to as No-Ningyō due to their re-creation or imitation of popular Noh theatrical pieces. The auspicious lion dance from Shakkyo was a particularly popular form. In brief, Shakkyo is the tale of the Buddhist pilgrim Jakusho as he travels the world visiting important sites related to the Buddha. In China he encounters a massive stone bridge spanning a gorge that is said to lead to the Pure Land. As he approaches the bridge a woodcutter emerges and tells him that he must wait before crossing as it is too difficult, and, if he is patient, he will see a miracle. As Jakusho waits he sees a lion appear on the far side cavorting in a field of peonies.
4. Gosho-Ningyō of Young Girl
10” (25 cm.) Gosho-Ningyō depicting a young girl standing and wearing a light purple brown kimono with green trim secured at her waist by a simple silk obi tie belt, she is fashioned of wood with padded wire upper arms, well formed features with heavy eyelids and full cheeks, silk fiber hair, white tabi socks, and is mounted on an oval wood base, 20th century. $200/300
5. Gonin Bayashi (Musician Set) for Hina Matsuri Girl’s Day Display
8” (20 cm.) kneeling, 11” seated. Excellent group of musician dolls for the Girl’s Day display, each with finely formed head with expressive individualized features, wearing rich blue silk brocade textiles, with a beni-red silk crepe under-kimono with embroidered designs, featuring a chanter, a flautist, a taiko drummer and a tsuzumi shoulder drummer (missing the 2nd shoulder drummer), each with lacquered paper court caps. Circa 1800. Ex-collection Andy Warhol. $2200/2500
Embroidered pine tree design
Silk brocade with cloud and dragon motif
Fine individualized facial modeling
6. GoshoNingyō With Rice Bale
8” (20 cm.)
Gosho-Ningyō (Palace Doll) with rice bale depicts a young boy in an animated seated pose with right leg thrust forward and left leg slightly bent, arms raised, fashioned of papier-mache and covered in a white gofun with painted details, silk fiber hair, wearing a birodo black velvet haragake bib, posed with a papier-mache oblong rice bale and sake cup, Edo Period, 19th century. The gosho was exhibited: at the Japan Society (1996) and is shown in Ningyō: The Art of the Japanese Figurine, p. 79.
$900/1000
Rice was long the staple of the Japanese economy not only in terms of nutrition, but also served as a form of currency during the Edo period, with wealth being determined by how much rice, measured in koku, a landowner’s fields produced.
7. Gosho-Ningyō (Palace Doll) Holding a Crane
2 ½” (6 cm.) Gosho-Ningyō (Palace Doll) depicting a kneeling boy holding a large tsuru (crane), symbolic of longevity and good fortune, is wearing a haragake bib and sporting an eboshi court cap of lacquered paper secured by a silk cord tied at the chin, crafted of toso wood composite and covered overall in a fine white gofun with painted features and silk fiber hair, Edo Period, 19th century. $500/600
8. Gosho-Ningyō (Palace Doll)
Depicting Imperial Prince
14” (36 cm.) GoshoNingyō (Palace Doll) depicting a distinctive standing figure of a young imperial prince dressed in a purple kariginu court robe with red lining, silk laced sleeve closures, and waist tie belt, over silk hakama trousers, wearing zori sandals, figure of wood covered in gofun with painted features, padded wire upper arms, round gosho-style face with silk hair done in the distinctive mizura style with two side loops of hair (an archaic style frequently associated with the young Prince Shotoku 574-622), and with okimayu (skybrows) of the court nobility, Meiji Era, Circa 1900. The gosho is shown in Ningyō: The Art of the Human Figurine (1996), p. 74 and was exhibited at the Japan Society, NY (1996).
$2800/3000
and
Shotoku Taishi (Prince of Holy Virtue) was a seminal figure in Japanese history and seen as largely responsible for the mass importation of Chinese culture and political structure and the adoption of Buddhism as the national faith during the 7th century. Depictions of an infant Prince Shotoku praying and as a young prince at 16 years of age were two popular sculptural representations of Shotoku Taishi in Buddhist art. This Gosho-Ningyō appears to depict this later iteration of the prince commemorating his prayers for his ailing father.
Hair style
kikutoji (Chrysanthemum Ball) of court page
9. Armor detail of chased metal gentian crest of the Minamoto
9. Large-Scale Musha-Ningyō (Warrior Doll) and Bannerman
25” (64 cm.) h. Yoshitune excluding arrows and base, 19” bannerman. The Boy’s Day pair comprises an exceptionally well executed warrior doll of the celebrated tragic hero Minamoto Yoshitsune (1159-1189), with aggressive facial expression, dressed in a bronze gold lacquered paper armor with chased metal fittings and a central sigil bearing the rindo (gentian flower) crest of the Minamoto clan, silk lacing, over a silk brocade hitatare kimono and hakama trousers, head of wood covered in a fine gofun with painted details, silk fiber hair, wearing a lacquered paper kabuto helmet with lacings and a metal kuwagata horn flange, holding a saihai battle whisk in his right hand, arrow quiver and bow at his back, long sword at left hip, accompanied by a kneeling bannerman with exaggerated features, dressed in silk brocades, a simple black lacquered paper armor with a circular bow string winder crest, holding a banner pole, and wearing a round jingasa cap. Edo Period, Circa 1800. $12,000/15,000
9. Armor detail of circular bow-string winder crest common for bannerman
10. Kyoho-Bina Imperial Lord and Lady for the Hina Matsuri Girl’s Day
6” (15 cm.) The o-bina male attired in blue silk brocades with a banded front and broad shelf-like trousers in the Kyoho style, the me-bina female with full beanbag-like hakama trousers and six thickly padded outer robes over six thinner inner kimono to form the classic imperial junihitoe 12-layered gown, heads of wood covered in a fine white gofun, painted details with blackened teeth and okimayu (skybrows), silk fiber hair, positioned atop hardwood stands with tatami centers with banded silk front edges, Edo Period, 18th century. $2200/2500
11. Single Zuijin Minister for the Hina Matsuri Girl’s Day
9” (23 cm.) h. excluding base). Depicting the older Sadaijin (Minister of the Left), dressed in a silk brocade surcoat with sleeve drawstrings, heavy belt with birodo black velvet trim and embroidered detail, silk brocade hakama trousers and black lacquered shoes, the head of wood crafted with the wizened features of an old man, white hair, pigmented gofun, seated on a stool, clutching a cloth-capped arrow in his right hand, positioned atop a black lacquered stand, Edo Period, 19th century. The minister is shown in Ningyō: The Art of the Human Figurine (1996), p. 44 and was exhibited at Japan Society, NY (1996). $250/300
12. Powerful Tachi-Bina (Standing Imperial Lord and Lady) for the Hina Matsuri Girl’s Day Celebration
14” (36 cm.) and 18”. The Tachibina (standing Imperial Lord and Lady) are depicted wearing lavish silk brocade costuming with the T-shaped o-bina lord featuring two large and striking triple aoi (hollyhock) crests at the shoulders, emblematic of the Tokugawa family, over a field of botan peony blossoms, hakama trousers with a stylized Fuji wisteria cluster on center, and the more cylindrical mebina lady enveloped in coordinated silk brocade layers featuring cherry blossoms and secured at the waist with a narrow obi with a crane in fight design on center; each with head of carved wood with refined features, covered in gofun with painted details including blackened teeth and okimayu (skybrows) on the lady, silk fiber hair, he with a
lacquered court cap, set on wooden bases, Edo Period, 19th century. $4500/5500
12. Impressive brocade with bold aoi hollyhock crest
13. Karakuri Gosho-Ningyō Depicting the Lion Dance in the Noh Drama Shakkyo
5” (13 cm.) seated. Karakuri Gosho-Ningyō (mechanical palace doll) of papier-mache form covered in a white gofun with painted details, is wearing a silk crepe haragake bib and a sleeves outer coat, with separately
formed arms, depicted seated with his legs thrust forward, sporting a lion mask on his head and clusters of red peonies in his hands, a clear reference to the famed lion dance in the Noh drama Shakkyo; when the knob at the base of the back is turned his arms raise and lower separately, Edo Period, 19th century. $1800/2000
Gosho-Ningyō are frequently referred to as No-Ningyō due to their frequent recreation or imitation of popular Noh theatrical pieces. The auspicious lion dance from Shakkyo was a particularly popular form. In brief, Shakkyo is the tale of the Buddhist pilgrim Jakusho as he travels the world visiting important sites related to the Buddha. In China he encounters a massive stone bridge spanning a gorge that is said to lead to the Pure Land. As he approaches the bridge a woodcutter emerges and tells him that he must wait before crossing as it is too difficult, and, if he is patient, he will see a miracle. As Jakusho waits he sees a lion appear on the far side cavorting in a field of peonies.
14. Gosho-Ningyō (Palace Doll) Holding a Turtle
3 ½” (9 cm.) Kneeling Gosho-Ningyō (palace doll) is protectively holding a turtle, an auspicious symbol of longevity, wearing a haragake bib, fashioned of toso wood composite and covered in gofun with painted features, a mizuhiki presentation ribbon painted on his forehead, and silk hair in two sidelocks tied with gold-wrapped thread; the separately formed turtle has detailed painted shell and long seaweed “tail” denoting great age. Meiji Era, Circa 1900. $800/1000
13. Lion mask
15. Embroidery detail
Gosho-Ningyō (Palace Doll) with Mizuhiki Presentation Ribbon
14” (36 cm.) Elegant standing Gosho-Ningyō crafted of wood and covered in a fine white gofun with painted features including an elaborate mizuhiki presentation ribbon, expertly carved with classical features, silk fiber hair in two side locks, wearing a richly
embroidered haragaki bib and a matching chirimen silk crepe sleeveless vest with embroidered flower design with gold wrapped thread accents, depicted standing with weight on right leg with both arms raised and head turned slightly to the right, Edo Period, 19th century. $4500/5500
15. Painted hair and ribbon
15.
16. Petite Gosho-Ningyō (Palace Doll)
7” (18 cm.) Standing figure of Gosho-Ningyō in a dynamic pose with left hand raised high, fashioned of wood and covered in a fine white gofun with painted features and silk hair tied in side locks, wearing a haragake bib and a chirimen silk crepe sleeveless outer jacket with embroidered chrysanthemum designs, mounted on a wood base, Edo Period, 19th century. $600/800
17. Gosho-Ningyō (Palace Doll) Holding a Gumbai Battle Fan
13” (33 cm.) Standing figure of Gosho-Ningyō in a dynamic pose with left hand raised high, holding aloft a gumbai battle fan, fashioned of wood and covered in a fine white gofun with painted features and silk hair tied in side locks, wearing a haragake bib and a chirimen silk crepe sleeveless outer jacket with embroidered chrysanthemum designs, mounted on a (replaced) wood base, Edo Period, 19th century. $1200/1400
18. Exceptionally Rare Dangaeri Karakuri-Ningyō (Mechanical Doll) of Acrobat
5” (13 cm.) 5” doll. 2”-9” stands. 28”l. box. An articulated doll depicting a karako Chinese child performs a series of back flips down the set of staircase-like graduated stands, all housed in a wooden box which serves as its display and performance platform, silk brocade textiles in Chinese style with ruffled sleeves, head of wood covered in gofun with painted details and real hair. Edo Period, 19th century. $8000/10,000
Japan’s love affair with Karakuri-Ningyō began in the early 18th century with the establishment of the Takedaa karakuri-za, a mechanical puppet theater based in Osaka. The genius of Takeda’s inventions allowed his automota to compete for decades for the affections of the populace against Kabuki and Bunraku theaters in the area. Based on the popularity of Takeda’s work other karakuri-Ningyō makers focused on smaller scale and more simplistic automota known as zashiki karakuri-Ningyō (parlor karakuri) designed for use in the home throughout the late 18th century and early 19th century. In the 19th century makers such as Tanaka Hisashige (1799-1881, founder of Toshiba) and Ohno Benkichi (1801-1870) continued these traditions that ultimately helped fuel Japan’s economic rise in the Meiji era.
18. Clothing and hairstyle of a “karako” Chinese Child
18.
14” (36 cm.) Measures 20” including parasol and base. Delightful presentation of the famous 9th century poet and romantic hero
Ariwara Narihira (825-880) as he rides past Mt. Fuji with an attendant, Narihira in a blue silk brocade kariginu court robe and silk crepe hakama trousers, with sword at hip and wearing a gold lacquered paper eboshi court cap, astride a papier-mache piebald horse with silk mane and tail with silk trappings and metal bit with an expressive face, the attendant depicted walking holding a closed longhandled parasol, heads of wood covered in gofun with painted details and silk fiber hair, mounted on a broad black lacquered base with red end treatments and chased metal fittings raised on four inwardly curving feet that are brightly painted, Edo Period, mid-19th century. $3200/3500
19. Isho-Ningyō (Fashion Doll) Tableau of Poet Narihira on Horseback
19. Details
Ariwara Narihira is one of Japan’s beloved early classical figures. Noted as one of the thirtysix immortal poets, Narihira was also a skilled politician and almost equally renowned for his many love affairs, one of which led to his hasty departure from the capital during which he traveled east, passing near the slopes of Mt Fuji. One of his most famous poems captures the beauty of the early snow falling on Mt Fuji. The poem reads as follows:
Fuji is a mountain that has no sense of time. What season does it take this for That it should be dappled with newly fallen snow.
20. Elegant Isho-Ningyō (Fashion Doll) of an Evocative Dancer
11” (28 cm.) Measures 12” including base. Striking figure of a female dancer wearing many layers of kimono with large sections of supplemental embroidered floral sprays, with the sleeves of the top two layers thrown back revealing silk crepe inner kimono with embroidered details, broad black obi tie belt at waist, arms stretched out to the side and weight on left foot in an evocative dance position, head of wood covered in a fine white gofun with painted details, formed hair in a broad coiffure with comb accent, mounted on a red lacquered base, Edo Period, Late 18th century.
$4500/5500
21. Zuijn (Minister Pair) for the Hina Matsuri Girl’s Day Display
13” (33 cm.) The Ministers of Left and Right are depicted seated on stools sporting matching blue silk brocade surcoats with long sleeves covering hands, silk hakama trousers, black lacquered shoes, swords at hip, arrow quivers at back, lacquered paper kanmuri court caps, faces of wood with strong features covered in gofun; the Udaijin Minister of the Right is depicted as a younger man with white gofun
and bushy black eyebrows, the Sadaijin Minister of the Left is depicted as an old man with pigmented gofun, wizened features and white hair, lacquered base. Edo Period, 19th century. $600/800
20. Carved hair indicative of 18th century isho-Ningyō 20.
22. Exceptionally Large Gosho-Ningyō (Palace Doll) Holding a Falcon
16” (41 cm.) Measures 21” including cap. Elegant large-scale boy is depicted seated with both legs thrust forward and holding on his left arm a large realistically rendered falcon with right leg raised, carved of wood with finely detailed feathers in white with gold accents, the gosho attired in a finely embroidered chirimen silk crepe haragake bib with a purple blue silk brocade sleeveless vest, wearing a lacquered paper eboshi court cap, fashioned of wood and covered in a fine white gofun with painted details, silk fiber hair, Edo Period, 19th century. $18,000/20,000
Taka-gari (falconry) was an important sport long popular among both the imperial and samurai elites. In the Edo period it became more closely associated with the samurai class and considered a 22. Embroidered detail of a crane in flight
martial art. The falcon itself was a symbol of power, authority and martial skill, with the birds themselves being esteemed as valued gifts.
23. Large-Scale Gosho-Ningyō (Palace Doll) Holding a Takarabune (Treasure Ship)
16” (41 cm.) Measures 21” including cap. An exceptionally large gosho is depicted seated with right leg thrust forward and left leg tucked behind, holding an elaborate wood and papier-mache takarabune (treasure ship) in his outstretched left hand, the ship colorfully rendered in reds, greens and blues with gold accents, filled with sacred treasures including kagi (key to the treasure
vault of the gods) and the makimono (scroll of wisdom), with mast of painted silk crepe bearing the image of the chintamani (sacred jewel of wisdom); Gosho-Ningyō is wearing an elaborately embroidered chirimen silk crepe bib with a dramatic design of a carp leaping out of the water, is crafted of wood and covered overall in a fine white gofun with painted details, silk fiber hair, wearing a tall lacquered paper eboshi court cap. $20,000/25,000
The takarabune treasure ship is an especially auspicious image in Japanese culture. Tradition holds that if you sleep with an image of the treasure ship under your pillow and dream of it on New Year’s Eve, wealth and abundance will follow you in the coming year.
23.
23. Embroidered detail of a carp climbing a waterfall
24. Kesi-bina (Seed Hina) Imperial Couple for the Hina Matsuri Girl’s Day Display
5” (13 cm.) Miniature dairi-bina (Imperial Couple) seated atop a silk zabuton cushion, costumed in textiles of silk brocade, head of wood with delicately formed features, covered in gofun with painted details, including okimayu (skybrows), real hair, the mebina lady wearing a crown and the o-bina lord wearing a kanmuri
court cap, Edo Period, Mid-19th century. $1800/2200
25. Shicho (Footmen) Trio for the Hina Matsuri Girl’s Day Display
10” (25 cm.) The three attendant figures depicting a happy, sad, and angry drunk are attired with white silk sleeveless coats under
red silk crepe under kimono and green silk hakama trousers, bare feet, holding utensils for a picnic, water bucket, broom, and closed parasol on black lacquered wood bases, Meiji Era, Circa 1900. The set is shown in Ningyō: The Art of the Human Figurine (1996), p. 45, and was exhibited at Japan Society, NY (1996). $1500/1800
26. Amusing and Unusual Okanjo (Lady-in-Waiting) for the Hina Matsuri
7 ½” (19 cm.) The unusual style, known as the Fushimi Maiden, depicts a kneeling maid costumed in formal yusoku textiles with a figured futaeori double brocade uchikake outer kimono in gold with scattered roundels in purple and white and beni (safflower red) chirimen silk crepe nagabakama trousers, with well-formed head with bulging cheeks, buck teeth, and prominent forehead characteristic of Otafuku/Okame (goddess of mirth) that is covered in a fine white gofun with painted details including lower green lip, well articulated hands, delicate fingers, silk fiber hair drawn into a long single braid down the back, depicted kneeling on a hardwood dias with banded silk border. Original box (now missing) dated to 1842 and listing figure as a maid from an inn in Fushimi. Edo Period, 19th century. $3200/3500
Rather than a static display, the Hina Matsuri was constantly evolving with different elements introduced periodically. The practice of including an Okame-like figure as one of the three ladies-inwaiting became popular practice in the early 19th century. However, the specific reference to a Fushimi maiden is unusual. The depiction
of the lower lip in green was a reference to a deep seductive red as it appeared in candlelight and was an affectation applied to many Ningyō.
27. Chigo-Bina (Court Page Doll)
9” (23 cm.) The kneeling female figure is elegantly attired in silk brocade kimono featuring a long-tailed bird and kiri paulownia blossoms, large billowing hakama trousers, with head of wood covered in gofun with silk hair done in the chigowa hairstyle with two top loops, Edo Period, 19th century. $500/600
26. Exaggerated features of an Otafuku with painted lower green lip
28. Important Yusoku-Bina Pair with Imperial Provenance by Mensho Zenkichi
11” (28 cm.) Elegant Dairi-bina (Imperial Couple) pair for the Hina-matsuri Girl’s Day display by Mensho Zenkichi, supplier to the imperial family, dressed in silk textiles conforming to the yusoku etiquette manual, the o-bina male dressed wearing a kariginu overcoat in green and yellow with white roundels, the
me-bina female wearing a classic beni-red figured silk with green under kimono, holding a large painted fan with tassels, having refined faces of wood covered in gofun with painted details, including okimayu (skybrows) on the lady, silk hair, she with long besongi front braids, he wearing a kanmuri court cap and holding a shaku scepter, silk zabuton (replaced) cushions in green brocade with a bold kiku chrysanthemum pattern, original box
28. Box label of Mensho Zenkichi of Kyoto
28. Detail of futae orimono double brocade
with documentation indicating dolls were presented to Princess Nobuko Fuminomiya (1891-1933), eighth daughter of the Meiji Emperor, on the occasion of her first Hina Matsuri in 1892. Meiji Era, Late 19th century. The pair appeared in Ningyō: Art of the Japanese Doll, pp 80, 108, and were exhibited at the Mingei International Museum, 2005. $15,000/18,000
The Yusoku was a detailed etiquette manual outlining both behavioral and dress codes for the imperial nobility. During the evolution of hina-Ningyō, which depict an imperial lord and lady from the inner court, doll makers frequently ignored court dress protocols and attired hina-Ningyō in fashions not true to imperial practice. In the late 1700s, yusoku-bina emerged as a popular style and were noted for their strict adherence to textile patterns as dictated by the Yusoku manual and were seen as especially elegant and refined.
29. Takeda-Ningyō (Theatrical Doll) of the Taiko
14” (36 cm.) Measures 34” including base and standard. Dramatic Takeda-Ningyō depicting Toyotomi Hideyoshi (1537-1598), also known as the Taiko, costumed in rich silk brocades featuring a large sleeveless outer vest with embroidered birodo black velvet accents and rich blue silk brocade kimono with dragon and cloud motif with chirimen silk crepe sleeves densely embroidered with the image of a glaring crouching tiger with inlaid eyes, holding in his left hand a gumbai military fan, and holding aloft in his right hand his gourdshaped battle standard with red felt streamers, with head of wood covered in gofun with painted details and sporting his signature winged cap of Chinese design, two long swords at hip, mounted on a black lacquer base with embroidered silk front aperture cloth, and resting on a raised leg stand, Edo Period, 19th century. $3200/3800
Due to political sensitivities, the Tokugawa government prohibited the depiction of Toyotomi Hideyoshi and many other late 16th century figures in any form: painting, literature, theater, or dolls. Ultimately, in order to circumvent these restrictions, Hideyoshi was not referred to directly by name, but by the title Taiko. Thus, beginning in the early 1800s there was a boom in subject matter relating to the Taiko and his cohorts, all thinly veiled references to Hideyoshi and his exploits. Tigers are not native to Japan and the tiger on the sleeve hearkens to Hideyoshi’s attempted invasions and subjugation of the Korean peninsula in the 1500s, where tiger hunting became a favorite pastime of Japanese samurai as they moved across the peninsula. This Takeda-Ningyō likely commemorated one of the many Kabuki interpretations of Hideyoshi as the Taiko that were popular in the early 1800s.
30. Musha-Ningyō (Warrior Doll) of Kan’u
11” (28 cm.) Measures 16” including base and spear. Depicting Kan’u (Guan Yu, d. 220), the Chinese God of War, in a light blue outer jacket with his right sleeve thrown back to reveal military armor and shoulderplate featuring a lion head, is depicted seated with a Chinese style spear in his right hand and a fan in his left, with well-crafted face of wood in a heavily pigmented gofun with painted details, heavy eyebrows and defined cheeks, carved beard, wearing a Chinese style cap with wing-like flanges and a neck cowl, set on a black lacquered base with slightly raised legs, 20th century. $1000/2000
29. Face
29. Embroidered image of crouching tiger suggesting Hideyoshi’s Korea military campaigns
31. Pair of Chigo-Bina Court Page Dolls
7” (18 cm.) Pair of standing figures dressed in complimentary kimono, one red and one purple, with distinctive kikutoji (chrysanthemum pom-poms) on their hakama trousers, hair in the chigo-wa style with double loops, one with an open mouth expression, the other closed, padded wire upper arms, fashioned of wood and covered overall in a fine white gofun with painted details, Meiji Era, circa 1900. The pair is shown in Ningyō: The Art of the Human Figurine (1996), p. 88 and were exhibited at the Japan Society, NY (1996). $1200/1500
32. Isho-Ningyō (Fashion Doll) of Hotei
8” (20 cm.) Whimsical figure of the popular fat-bellied god of good fortune, depicted standing in silk brocade textiles with the front partially open exposing his chest and protruding belly, happy and expressive face
with large pendant earlobes symbolic of his divinity, holding a fan in his left hand, fashioned of wood and covered overall in a lightly pigmented gofun with painted details. Edo Period, 19th century. $1800/2000
Hotei is one of the shichifukujin (Seven Gods of Good Fortune). Of Chinese Buddhist origin, he is linked to the 10th century monk, Qici. Hotei, or Budai, was known for indulging in all the earthly pleasures, holding that they were not an impediment to enlightenment. He was also known for being particularly fond of children and for carrying a large sack (budai) from which he would distribute treats.
33. Gosho-Ningyō (Palace Doll) in Eboshi Court Cap
11” (28 cm.) Measures 12” including cap. Delightful little boy, depicted kneeling and clasping with both hands the cords of his court cap beneath his chin, is wearing a simple chirimen silk crepe haragake bib with painted designs; the gosho is wood covered in gofun with painted details including painted side locks, Edo Period, mid 19th century. $2500/3000
33. Elegant brocade designs
33.
34. Takeda-Ningyō (Theatrical Doll) Depicting a Warrior
13” (33 cm.) Measures 16” including base.Posed with left leg on a tree stump with right leg thrust forward, the takeda Ningyō is wearing a long sleeveless silk brocade surcoat with trailing fringed lapels accented in birodo black velvet 34.
with embroidered details, under kimono with chirimen silk crepe sleeves with embroidered kiri (paulownia) design, with additional black velvet details and a butterfly metal applique, long sword at hip; the Ningyō with head of wood covered in gofun with painted details, face set in a stern expression, silk fiber hair set in a formed topknot and wearing a lacquered paper eboshi cap, mounted on a black lacquered wood base with embroidered front aperture cloth, Edo Period, 19th century. $1800/2000
35. Musha-Ningyō (Warrior Doll) Pair of Samurai Retainers
7” (18 cm.) The matching pair of kneeling figures, wearing blue and white broad-shouldered kamishimo kimono and hakama trousers with the hanabishi (diamond flower) crest, over a simple black kimono, long swords at hip, have heads of wood covered in gofun with painted details, formed hair, one depicted as slightly youthful, possibly suggesting a gempuku coming of age ceremony, Edo Period, 19th century. $300/500
36. Takeda-Ningyō (Theatrical Doll) with Yari Soear
12” (30 cm.) Measures 20” including base and spear. The classic Takeda-Ningyō of a warrior in a dynamic, half-twisting position with his right foot on a rock and left leg thrust forward, is wearing layers of silk brocade featuring a sleeveless vest, under kimono with chirimen silk crepe sleeves with dramatic embroidered dragon design with inset eyes, holding aloft in his right hand a long-shafted spear, two swords tucked in at his belt; head of wood covered in gofun with exaggerated facial expression with deep creases around his down-turned mouth, high eyebrows and traces of kumadori style kabuki makeup, silk hair in a formed topknot with shaved pate, mounted on a black lacquered wood box-like stand with embroidered front aperture cloth. Edo Period, Mid 19th century. $1800/2000
Takeda-Ningyō were named for the Takeda family of doll makers who got their start making elaborate mechanical dolls for theatrical performances in Osaka in the late 17th century. They also specialized in large-scale mechanical dolls for festival floats in Nagoya and other areas in Japan.
In the 19th century, one branch of the family settled in Edo/ Tokyo where they operated a popular shop in the nakanomise section on the approach to Sensoji Temple near the thriving kabuki theater district. There, among other types, they developed a specialty of dolls depicting popular kabuki performances which are now known as Takeda-Ningyō, frequently focusing on aragoto or “rough stuff” über masculine characters, but also, less occasionally, softer feminine nagauta dance interlude figures, which were a popular punctuation throughout the long day of kabuki drama.
37. Takeda-Ningyō (Theatrical Doll) of Samurai Warrior
11” (28 cm.) Measures 13” including spear. The standing figure, dressed in a rich blue brocade outer kimono with sleeves thrown back to reveal silk crepe inner kimono with embroidered sleeve details and hakama trousers, has head of wood covered in gofun with painted details and hair formed into a topknot with light kumadori style Kabuki makeup, blue chin shading to show roughness of character, sword at hip, and is mounted on a lacquered wood base with front aperture cloth, Edo Period, 19th century. $1800/2000
38. Unusual and bold brocade pattern
38. Simulated painted gloves
38. Armor detail showing the two-doves symbol of Hachiman
37.
38. Large-Scale Musha-Ningyō of Ojin Seated on Camp Stool
18” (46 cm.) Measures 19” including cap. The young emperor, depicted in a rich silk brocade outer coat in a non-military style with bold peony bursts, over gold lacquered paper armor with silk lacing and metal fittings, the top with incised designs of the two dove symbol marking his identity, is wearing court trousers of a purple/blue with repeated roundels in white, with head of wood and covered in a fine white gofun, inset glass eyes and painted details including okimayu skybrows indicating his imperial status, the face expressively formed with full cheeks and an open mouth revealing blackened teeth, long hair arranged in a wrapped topknot and pulled into a braid down his back, hands with simulated painted gloves, wearing a gold lacquered paper court cap, a Chinese-style gumbai battle fan in his right hand, a finely
forged metal sword with lacquered scabbard at his left hip. Meiji Era, late 19th century. $2800/3000
Ojin is a complex character. Though a quasi-historical figure who reigned in the late 3rd century, he is also considered a Buddhist deity, but venerated in many Shinto shrines across the country, Ojin is deified as Hachiman, the god of war. He became the tutelary deity for the Minamoto Clan. His symbol is a pair of doves facing each other. While Ojin was originally included in the Boy’s Day pantheon as an infant cradled in the arms of Takenouchi no Sukune while his warrior/shaman mother, the Empress Jingu, stands impassively by following her subjugation of Korea, beginning in the Meiji era, Ojin was treated as a standalone warrior figure, though at times still accompanied by the Methuselah-like Takenouchi (sans infant). Though most often depicted seated cross-legged, here he is depicted on a camp stool.
39. Musha-Ningyō (Warrior Doll) Pair of Yoshitsune and Benkei
Musha-ningyō (Warrior Doll) pair of Yoshitsune and Benkei, the hero Minamoto Yoshitsune (1159-1189) depicted seated on a camp stool, wearing a green silk brocade hitatare surcoat with coiling dragon pattern under lacquered paper and silk crepe armor with chased metal fittings and a dragon roundel on his breast pate, kabuto helmet with metal details and a papier-mache dragon head maedate, long sword at hip, saihai
battle whisk in right hand, his stalwart companion and vassal Musashibo Benkei (d.1189) depicted standing with unusual lacquered armor with a Buddhist rinbo wheel on his breast plate, reflecting his status as a warrior monk, silk brocade textiles, straw sandals, wearing an arsenal of weapons on his
39. Head of Yoshitsune showing Dragon maedate
39. Head of Benkei showing fine facial modeling
back, heads of wood covered in a fine gofun with painted details, Benkei’s face rendered aggressively with furrowed brow, downturned mount, and silk fiber hair worn loose with shaggy sideburns, naginata spear in his right hand, Edo Period, 19th century. $5000/6000
Yoshitsune and Benkei form the original dynamic duo and their military exploits became the stuff of legends, with the elder Benkei guiding and protecting Yoshitsune as he grew into manhood and prowess as a military commander. Benkei died defending Yoshitsune as they were pursued by the forces of Yoshitsune’s jealous older brother, Minamoto Yoritomo.
40. Kyodai Haihai Gosho-Ningyō (Crawling Older Brother/Younger
Brother Palace Dolls)
6” (15 cm.) The pair depicts an older brother on his belly in a crawling position with the younger brother riding on his back, each is papier-mache covered in gofun with painted details, silk hair, both wearing a simple haragake bib, Meiji Era, Circa 1900. $600/750
Kyodai or older brother/ younger brother pairs were a popular motif within Gosho-Ningyō and are found in many different variations, from standing with the younger brother on the back, or even on top of the shoulders, as well as crawling examples such as this which emphasized their youth. In more elaborate examples, the two brothers are depicted as separate standing gosho wearing matching outfits but of slightly different scale. Kyodai in all of these forms symbolized longevity for the family with two healthy male heirs.
41. Kyodai Gosho-Ningyō (Older Brother/ Younger Brother Palace Doll)
5” (13 cm.) A standing figure of a young boy is depicted with his arms behind his back supporting his younger brother riding piggyback, each crafted of papier-mache with a silk haragake bib, covered overall in gofun with painted details, real hair side locks, mizuhiki presentation ribbon painted on his forehead, Taisho Era, early 20th century. $800/1000
42. Classic Gosho-Ningyō Clasping Hands
3” (8 cm.) Measures 5” including cap. The GoshoNingyō, depicting a kneeling boy wearing a haragake bib and a lacquered eboshi court cap of which his
is clutching the silk tie cords with both hands is of toso wood composite construction covered in a fine white gofun with painted details, Edo Period, mid 19th century. $400/500
43. Pair of Gosho-Ningyō (Palace Dolls) Pulling a Treasure Ship
11” (28 cm.) Dramatic pair of large Gosho-Ningyō in a mirrored standing position holding a silk cord attached to an elaborate wheeled takarbune treasure ship, the auspicious boat with an embroidered sail, laden with sacred treasures with blue and gold accents, the dolls fashioned of wood and covered in a fine white gofun with painted details, silk fiber hair side locks, smiling expressions, Edo Period, mid-19th century. $4500/5000
The takarbune treasure ship is an especially auspicious image in Japanese culture. Tradition holds that if you sleep with an image of the treasure ship under your pillow and dream of it on New Year’s Eve, wealth and abundance will follow you in the coming year.
44. Gosho-Ningyō (Palace Doll) Holding a Suzu Bell Tree
5” (13 cm.) The seated figure with left leg thrust forward and right leg thrust back, is wearing a haragake bib with a maple leaf on water design, crafted of toso wood composite covered in gofun with painted details and silk fiber hair, Edo Period, 19th century. $800/1000
45. Classic Edo Period Gosho-Ningyō (Palace Doll)
4” (10 cm.) Measures 6” including cap. The GoshoNingyō, depicting a kneeling boy wearing a haragake bib and a lacquered eboshi court cap of which he is clutching
the silk tie cords beneath his chin, is of toso wood composite construction covered in a fine white gofun with painted details, Edo Period, mid 19th century. $400/500
46. Classic Edo Period Gosho-Ningyō (Palace Doll)
4” (10 cm.) Measures 6” including cap. The Gosho-Ningyō, depicting a kneeling boy wearing a haragake bib with an embroidered kemari football design, wearing a lacquered eboshi court cap and clutching the silk tie cords beneath his chin, is of toso wood composite construction covered in a fine white gofun with painted details, Edo Period, mid 19th century. $400/500
47. Karakuri Gosho-Ningyō (Mechanical Palace Doll) Depicting a Sambaso Dance
13” (33 cm.) The papier-mache Gosho-Ningyō is depicted seated with both legs thrust forward, covered in a fine white gofun with painted details, wide mouth smiling expression, thick silk fiber hair, wearing a silk brocade haragake bib and a sleeveless chirimen silk crepe outer jacket with embroidered details, right hand holding a suzu bell tree and his left hand a fan, symbolic of the ritualistic Sambaso dance. When the wood knob at the small of his back is turned, his arms raise and lower independently, Edo Period, 19th century. $1800/2000
48. San’nin Kanjo (Ladies-inWaiting) for the Hina Matsuri Girl’s Day
10” (25 cm.)
The classic set of three standing female court attendants are wearing matching outfits consisting of beni safflower orange red nagabakama long trousers over white figured silk kimono with red lining, heads of wood covered in gofun with painted details, formed hair, carrying sake implements, Edo Period, Circa 1800. $800/1000
49.
Kimekomi-Ningyō Depicting Prince Shotoku
18” (46 cm.) Distinctive standing figure, carved of wood and finished in the kimekomi applied textile technique, is dressed in a rich silk brocade robe secured at the waist with a narrow obi tie belt, over hakama trousers and boots in the archaic style, mounted on a naturalist wood base with painted flower details, head well
carved and covered in a lightly pigmented gofun with inset glass eyes, carved hair done in the distinctive mizura style with two side loops of hair, an archaic style frequently emblematic of the young Prince Shotoku, and holding a shaku scepter in his left hand, Meiji Era, Circa 1900. $3500/4000
Shotoku Taishi (Prince of Holy Virtue) (574-622) was a seminal figure in Japanese history and seen as largely responsible for the mass importation of Chinese culture, political structure and the adoption of Buddhism as the national faith during the 7th century. Depictions of an infant Prince Shotoku praying and as a young prince at 16 years of age were two popular sculptural representations of Shotoku Taishi in Buddhist art. This kimekomiNingyō appears to depict this later iteration of the prince commemorating his successful prayers for his ailing father, proving his devout and holy nature.
49. Details of fine brocade over carved folds
48. Profile
48.
49. Profile
49. Back
50. Musha-Ningyō (Warrior Doll) Depicting Toyotomi Hideyoshio
10” (25 cm.) Measures 12” including cap. Depicted seated cross-legged, dressed in lacquered paper armor with metal fitting including his signature kiri paulownia crest, thick purple obi tie belt, gold lacquered paper cap with side wings in the Chinese style, finely formed head of wood covered in a white gofun with painted details, real hair, long sword at left hip, metal gumbai battle fan in his right hand. Edo Period, Circa 1850. $500/600
50. Detail of Signature Kiri Paulownia Crest on Breastplate
50. Detail of brocade
51. Musha-Ningyō (Warrior Doll) for the Boy’s Day Display
12” (30 cm.) The warrior doll is depicted kneeling and holding a halberd in his right hand, conical cap with a crescent moon crest, broad shouldered kamishimo silk brocade fastened in the front, vest over lacquered paper armor featuring dramatic demon faces, blue silk brocade trousers and wearing straw sandals, with head of wood covered in a lightly pigmented gofun, inset glass eyes, silk hair, long sword at hip, Meiji Era, late 19th century. $1800/2000
52. Exceptional and Singular Musha-Ningyō (Warrior Doll) of Kato Kiyomasa Slaying a Tiger
20” (51 cm.) Large scale figure of MushaNingyō (warrior doll) of Kato Kiyomasa, (1562-1611) depicted kneeling astride a giant tiger, wearing a red kamishimo wideshouldered surcoat with embroidered gold details and birodo black velvet lapel with repeated embroidered circles, over lacquered paper armor with metal fittings and silk lacing, larger circular bow string winder crest on cuirass, hands painted blue to simulate gloves, head of wood covered in a pigmented gofun with inset glass eyes set in a kabuki mie cross-eyed pose, painted details including chin beard, with a lacquered paper hikitate-eboshi with circular designs, long sword at hip, the massive tiger of papier mache and covered painted silk crepe, with large glass eyes, open mouth exposing fangs and teeth, paws with nail details, with hind legs raised and long tail, Edo Period, 19th century. The doll was exhibited at Mingei International Museum, 2005, and is shown in Ningyō: Art of the Japanese Doll, p. 159. $5500/6000
Among many of Kato Kiyomasa’s heralded exploits was his tiger hunting expeditions during the invasion of Korea (1592-1598). Tigers are not native to Japan and tiger hunting became a favorite pastime for Japanese samurai during the seven-year conflict. Tiger pelts became favored as covering for sword scabbards and tigers became one of the primary symbols of Boy’s Day display.
52. Armor detail
52. Detail
52. Details
53. Large-Scale Kanjo (Lady in Waiting) Pair for the Hina Matsuri
15” (38 cm.) Large-scale Kanjo (Lady in Waiting) pair for the Hina Matsuri Girl’s Day celebration are classically attired in long red silk nagabakama trousers with white silk kimono, depicted holding flowers, heads of wood covered in gofun with painted details including blackened teeth and okimayu (skybrows), silk hair in a long single braid down the back, well-formed hands, Edo Period, 19th century. $500/600
54. Tachibana Orange and Sakura Cherry Tree Set for the Hina Matsuri
15” (38 cm.) Silk fashioned trees set in an enclosed wood grid-like fence on a white wooden base, the cherry tree completely awash with white and pink blossoms, the greenleafed orange tree studded with oranges and white blossoms, Taisho Era, Circa 1920. $250/500
Traditionally a pair of these trees graced the entrance to the goten inner imperial palace courtyard, with the orange on the left and the cherry on the right. Though naturally blooming at different times of the year, small-scale versions of these trees in full flower were frequently used as furnishings for the Girl’s Day display to delight and amuse the imperial couple.
53.
55. Sandai-Chigo (Court-Visiting Doll) for the Hina Matsuri Girl’s Day
5 ½” (14 cm.) Seated figure wearing an unusual embroidered gauze robe over silk brocade trousers with kikutoji (chrysanthemum balls), head of wood covered in gofun with painted details, silk hair in the chigoawa style with two large top loops, Taisho Era, 1920s. $600/800
56. Unusual and Elegant Kokin-Bina Imperial Lord and Lady Pair for the Hina Matsuri Girl’s Day Display
9” (23 cm.) Measures 14” including base and crown. The unusual Kokin-bina Imperial Lord and Lady Pair includes o-bina male wearing a striking white figured silk surcoat with scattered delicately embroidered floral roundels, she wearing a more traditional kokin-style set of multi-layered silk brocade robes with embroidered silk crepe sleeve ends featuring a long-tailed bird in flight, embroidered kakeobi worn over the shoulders and secured at waist with elaborately knotted tassels, full hakama trousers, each with distinctively round head of wood and covered in gofun with painted features including blackened teeth, she wearing an elaborate crown and holding a painted fan with silk tassels, he a lacquered paper kanmuri court cap with a tall ei tail, seated on tatami bases with banded silk fronts. Late Edo Period, mid 19th century. $2200/2500
56. Layers of brocade on the Lady’s outfit
56. Unusual embroidered elements on Lord’s coat
56. Painted hiogi fan with “Three Friends of Winter” design
57. Haihai Gosho-Ningyō (Crawling Baby Palace Doll) With Toy Drum
7” (17 cm.) Haihai Gosho-Ningyō (crawling baby palace doll) wearing a haragake bib and holding a tall denden taiko toy drum, is depicted lying on his belly with his right arm thrust forward with drum and his left arm back along his side, crafted of toso and covered in a fine white gofun with painted details including a mizuhiki presentation ribbon, resting on a zabuton cushion, Edo Period, 19th century. $1800/2000
58. GoshoNingyō (Palace Doll) with a Mizuhiki Presentation Ribbon
7” (18 cm.) GoshoNingyō (palace doll) depicts a papiermache form of a seated boy with both legs thrust forward, covered in a white gofun with painted details including a
57.
58. Painted hair and ribbon
57. Painted hair and ribbon
mizuhiki presentation ribbon on his forehead, wearing a silk haragake bib, restored condition. Taisho Era, 1920s. $250/300
59. Gosho-Ningyō (Palace Doll) Holding Bell
9” (23 cm.) Measures 10 ½” including cushion. Gosho-Ningyō boy is depicted seated with right leg thrust forward and the other resting behind, holding in his left hand a bell attached to a tasseled cord and a ring held in his right hand, wearing a chirimen silk crepe bib with an embroidered design of a ship’s anchor resting beneath the waves, fashioned of wood and covered in a fine white gofun with painted details including a mizuhiki presentation ribbon on his forehead and painted tie ribbons on each of his side locks, seated on a zabuton cushion, Edo Period, 19th century. $3800/4200
59. Painted hair and ribbon
60. Elegant Yusoku-Bina Pair for the Hina Matsuri Girl’s Day Celebration
10 ½” (27 cm.) Measures 17” including base and cap. Elegant Yusoku-bina pair for the Hina Matsuri Girl’s Day celebration, each wearing a semi-formal noshi style, exceptionally well formed heads covered in a fine white gofun with painted details including okimayu skybrows, the o-bina lord wearing a
60. Detail of futae orimono double brocade design in Yusoku style
60. Embroidery details
white figured silk outer robe with the shochikubai three-friends of winter motif, a red shitagassane inner robe over purple uenohakama with a repeated roundel pattern in white; the me-bina wears a similarly informal set of robes consisting of a kouchi outer robe and a series of unlined inner robes, her hair which is secured by a metal pin and comb set is drawn into a
wide flared brow tapering to a single braid in back secured with paper ties, he holds a wood shaku scepter in his right hand with a long curved sword at his left hip and she an open painted wooden fan with long tassels, resting on tatami mat bases. Late Edo Period, Mid 19th century. $3200/3500
61. Takeda (Theatrical Doll) of a Warrior Wearing a Jingasa Cap
13 ½” (28 cm.) Measures 25” including base and spear. Takeda-Ningyō (Theatrical Doll) depicting a warrior with plover design, martial figure depicted standing with right leg on a stump and left leg thrust forward, wearing a long sleeveless silk brocade vest with ruffled ends and birodo black velvet accents, inner kimono with chirimen silk crepe sleeves with embroidered design of a plover flying over waves, head of wood covered in a fine white gofun with painted details, hair in a formed topknot with a broad cap-like cover, holding aloft in his right hand a spear, mounted on a black lacquer base with embroidered front aperture cloth and an additional raised-leg display base, Edo Period, 19th century. $1800-2000
62. Unusual Takeda-Ningyō (Theatrical Doll) of a Falconer
14” (36 cm.) Measures 18” including base. A warrior is depicted with right leg propped on a rock and left leg thrust to the side, holding a clutch of arrows in his raised right hand and a bow in his left, with a flying falcon depicted over his left shoulder by way of a metal coil attached to his body, wearing rich silk brocade sleeveless vest with ruffled ends, under kimono with silk crepe sleeves bearing a striking design of a dragon and a whirlwind, head of wood covered in gofun with painted details, wearing a falconers round cap, two long swords at hip, mounted on a black lacquered base with embroidered front aperture cloth. Edo Period, 19th century. $2200/2800
15 ½” (39 cm.) Measures 17 ½” including helmet. Musha-Ningyō (warrior doll) depicts Takeda Shingen (1521-1573), seated on a camp stool and wearing lacquer paper armor with metal fittings, blue silk brocade hitatare kimono, unusual embroidered silk obi tie belt, fur boots, head of wood covered in a pigmented gofun with painted details, aggressive features, wearing his signature kabuto helmet with white yak hair, positioned atop a circular deer skin mat, Late Edo Period, Mid 19th century. $1800/2000
63. Musha-Ningyō (Warrior Doll) of Takeda Shingen
63. Detail 63. Helmet detail
64. Classic Musha-Ningyō Boy’s Day Pair Depicting
15” (38 cm.) Measures 21” including arrows. The famous general Yoshitsune is shown seated on a camp stool in silk brocade hitatare surcoat under lacquer paper armor with metal fittings, a coiled dragon on his breastplate, metal and lacquered paper kabuto helmet with metal fittings featuring a large dragon head maedate, long sword at hip, saihai battle whisk in right hand, his head of wood covered in a fine white gofun with very well-formed features and painted details, silk hair, the kneeling bannerman with a shaved pate and long silk hair, blue silk brocade textiles and holding a silk brocade banner in his right hand. Edo Period, Circa 1830. $1800/2000
Minamoto Yoshitsune and Bannerman
64. Helmet detail
65. Musha-Ningyō (Warrior Doll) of a Standing Samurai
15” (38 cm.) The standing MushaNingyō (warrior doll) is wearing silk brocade hitatare surcoat over lacquered paper armor with silk facing and metal fittings, silk brocade hakama trousers, shin guards, faux fur boots, and is mounted on a wood stand, head of wood covered in gofun with inset glass eyes, painted details, human hair, long sword at hip, spear in both hands. Late Edo/Early Meiji Period, Mid 19th century. Exhibited at Japan Society in 1996 and shown in the book Ningyō: Art of the Human Figurine, p. 53. $1200/1500
66. Musha-Ningyō Depicting Toyotomi Hideyoshi
12” (30 cm.) Measures 13” including cap. The Musha-Ningyō depicting Toyotomi Hideyoshi, is seated cross-legged dressed in silk brocade textiles, under lacquered paper armor with metal fittings, gold brocade obi tie belt, gold lacquered paper cap with side wings in the Chinese style, having finely formed head of wood covered in a white gofun with painted details, well-modeled features, real hair, short sword at left hip, gumbai battle fan in his right hand. Edo Period, Circa 1850. $1000/1200
67. Musha-Ningyō (Warrior Doll) Depicting Ushiwakamaru and Bannerman
14” (36 cm.) Measures 21” including base. The standing Musha-Ningyō (Warrior Doll) depicting the young warrior, Ushiwakamaru, dressed in a large checkered outer kimono under a lacquered paper suit of armor with metal fittings and silk lacing with a thick obi
tie belt, sword at hip, long bow in right hand, arrow quiver at his back, wearing straw sandals and mounted on a black lacquered wood base, having head of wood covered in gofun with painted details, and fierce open mouth expression, silk hair arranged in a youthful style with forelocks tied back; accompanied by a standing attendant bannerman, wearing a round jingasa cap and holding aloft a silk banner with the katabami (wood sorrel) crest, heads of wood covered in gofun with painted details. Late Edo/Early Meiji Period, mid-19th century. $3200/3500
Ushiwakamaru was the childhood name of the fierce general Minamoto Yoshitsune (1159-1189). Due to his famed fighting skills and tragic death, many tales about his childhood became essential to his lore and legend.
Ushiwakamaru supposedly was trained by the mountain tengu demons who imparted the secrets of warfare and superhuman strength and agility which allowed him to defeat the mighty Warrior Monk Benkei without ever drawing a sword, all of which became fodder for further tales of future exploits which were often incorporated into Kabuki, literature, woodblock print and Ningyō form.
68. Takeda-Ningyō (Theatrical Doll) Depicting Sojobo, King of the Tengu Demons
11” (28 cm.) Measures 13” including base. The striking Takeda-Ningyō (theatrical doll) depicting Sojobo, king of the Tengu demons, dressed in layers of silk brocade kimono with outer sleeves thrown back to reveal inner kimono with chirimen silk crepe sleeves embroidered with a tatewaku undulating line pattern, has head of wood covered in gofun with painted details, depicting an old
man with wizened features, white hair and bushy white eyebrows, holding his signature fan of seven feathers in his left hand, and a tobacco tray in his right, mounted on a black lacquer base with embroidered front aperture cloth, Edo Period, 19th century.
$2800/3200
Sojobo is the mythological king of the tengu mountain demons and is most famous for teaching the young military lord Minamoto no Yoshitsune the art of warfare and imbuing him with supernatural strength and skills.
69. Rare Early 18th-Century Muromachi-Bina Imperial Lady for the Hina-Matsuri
4 ½” (11 cm.) Rare early 18th-century Muromachi-bina imperial lady for the Hinamatsuri (Girl’s Day) celebration depicts the me-bina seated with arms stretched to the side, wearing a silk brocade kimono tucked into billowing hakama trousers, rounded head of wood covered in gofun with painted features and hair, small diminutive facial features, Edo Period, early 18th century. $3200/3500
Although named after the Muromachi Period (13361573), Muromachi-bina are an early form of seated
hina that actually appeared in the opening decades of the 1700s and were appreciated for what was seen as their pure archaic style which featured the hikimekagihana (hook eye, dash nose) manner of facial depiction commonly found in early genre painting.
70. Gosho-Ningyō (Palace Doll) Mounted on a Horse
13” (33 cm.) Unusual presentation of a cherubic gosho, depicting a young boy from the buke samurai class on horseback, wearing a silk crepe outer kimono jacket with embroidered flower and cloud motif, and a yellow silk inner green kimono, silk brocade hakama trousers with a blue velvet cuff, figure of wood covered in a fine white gofun with inset glass eyes, painted features, silk fiber hair, padded wire upper arms, wearing a straw traveling cap, mounted on a black and white piebald papiermache horse with silk mane and tail, silk trappings, inset eyes, Edo Period, 1840. Exhibited at the Japan Society (1996) and shown in the book Ningyō: The Art of the Human Figurine, p. 82. $3500/4000
71. Unusually Large Haihai
Gosho-Ningyō (Crawling Baby Palace Doll)
11” (28 cm.) Unusually large and positioned doll shown on hands and knees in a naturalistic pose of a crawling baby, crafted of wood and covered in a fine white gofun with painted details, wearing a rich red chirimen silk crepe haragake bib with embroidered details, bright happy expression with well carved details, Meiji Era, Circa 1900. $8000/10,000
Haihai or crawling baby gosho are seen as being directly related to the ancient hoko or stuffed crawling baby doll placed at a child’s bedside for protection. While the hoko is made entirely of stuffed silk, the haihai is, generally, a fully rendered doll with the body carefully carved to depict a crawling baby or in more modern forms, a baby lounging on his stomach. In gosho form they lose their overtly talismanic properties and, instead, are adored for their kawaii (cute) aspects. The mizuhiki was a popular design element on gosho intended specifically as a gift. Simulating a forelock elaborately tied with a red ribbon, mizuhiki added an auspicious, giftgiving element to the dolls and is almost completely restricted to the gosho form.
72. Gosho-Ningyō (Palace Doll) Holding a Golden Box
6 ½” (17 cm.) Gosho-Ningyō depicting a kneeling boy wearing a silk crepe haragake bib with embroidered designs, exceptionally cute face, crafted of wood and covered in a fine white gofun with painted details, holding between his legs a golden box with wave designs in blue along the bottom edge, placed on a green silk zabuton cushion. Edo Period, 19th century. $1000/1200
72.1. Gosho-Ningyō (Palace Doll) with Drum
5” (13 cm.) with cap. Kneeling Gosho-Ningyō, depicted holding drumsticks with a colorful drum placed at his knees, wearing a golden eboshi court cap secured with silken cord tied at the chin and a red haragake bib with a simple embroidered flower design, fashioned of clay covered in a fine white gofun with painted features. 20th century. $300/400
73. Large-Scale Meiji-Period Mitsuore Triple-Jointed Doll
27” (69 cm.) Large well-crafted mitsuore articulated doll with jointed hips, knees and ankles allowing her to sit, kneel or stand, beautifully rendered head and face with open mouth expression revealing teeth, inset glass eyes, silk fiber hair, wearing a silk crepe kimono of dark grey with a blossoming tree pattern, contrasting shibori tie-dyed orange obi belt, hands finely rendered with tsumekiri fingernail details, Meiji Era, Circa 1900. $2500/3000
74. Large-Scale Mitsuore Triple-Jointed Doll
6” (15 cm.) Well-crafted articulated doll with jointed hips, knees and ankles allowing her to sit, kneel or stand, beautifully rendered head and face with open mouth expression revealing teeth, inset glass eyes, silk fiber hair, wearing a silk crepe kimono of dark grey with a blossoming tree pattern, contrasting shibori tie-dyed orange obi belt, hands finely rendered with tsumekiri fingernail details, Meiji Era, circa 1900. $2500/3000
75. Adorable Daki-Ningyō (Huggable Doll), Early Meiji Era
24” (61 cm.) Classic play doll with articulated wrists and ankles, crafted of toso (wood composite) covered in a lightly pigmented gofun, with inset glass eyes, painted details, open mouth, laughing expression, padded wire upper arms and soft upper legs covered in silk crepe, sexed figure, wearing a nicely patterned silk crepe kimono, finely formed fingers, Early Meiji Era, circa 1880. $1800/2000
Japanese Daki-Ningyō were first exhibited abroad in the Crystal Palace Exhibition in London in 1851, and from here doll makers in Germany copied the articulated construction technique of the Daki-Ningyō, ultimately developing what has become known as the Sonnenberg taufling doll.
76. Elaborate Full Hina-Dan for the Hina Matsuri Girl’s Day Display by Kashiwabara Magozaemon
87” (221 cm.) Display measures 55” wide and 63” deep. Cart measures 22” wide, 8” tall, and 7” deep. Imperial couple measures 6 ½” tall and 12” tall including base and headwear.
Elaborate full hina-dan for the Hina Matsuri Girl’s Day display by Kashiwabara Magozaemon of the Tokyo lacquer shop Kuroeya features six tiered shelves draped in red mosen felt fabric, consisting of over 60 individual finely crafted lacquer pieces each bearing a gold yama-zakura mountain cherry blossom crest on black lacquer, and includes an exquisite ox cart (gosho-guruma) with a finely rendered ox in the keuesaiku technique with silk trappings, a kago palanquin with an additional embroidered lacquer framed sun screen, a set of three kazari-dana display shelves with tasseled lacquer boxes containing writing implements and other necessities, a woman’s toilette with washing basin, makeup stand, mirrors, and kimono racks, an exceptional pair of
bonbori lanterns with finely painted silk shades depicting a cherry tree in full bloom, and including a full complement of 15 hinaNingyō comprised of the dairi-bina imperial couple, three ladiesin-waiting, the ministers of left and right, five musician figures and three footmen all with appropriate accessories, the musician set in particular including a richly decorated flame drum, topped by a pair of nicely painted hina-byobu screens on a gold foil background, all with original boxes from the Kuroeya lacquer atelier in the Nihonbashi section of Tokyo. Showa Era, 1930s. Exhibited at Rosalie Whyel Museum of Doll Art. $6000/7000
76. Details
77. Four Miniature Isho-Ningyō (Fashion Dolls)
6” (15 cm.) An assembled group of four isho-Ningyō (fashion dolls) depicting beautiful women in various poses, all dressed in silk brocade kimono, with colorful brocade obi tie belts, having heads with carved hair, gofun treatments, painted details, mounted on various wood bases. 20th century. $800/1200
78. Matched Pair of Folding Screens
11” (28 cm.) h. The matched pair of six panel folding screens with decorative borders feature scenes of blossoming trees and cranes.
$200/300
79.
Pair of Nagamochi (Futon Storage Trunks) for the Hina Matsuri Girl’s Day Display
5 ½” (14 cm.) (Measures 10” wide and 5” deep). Pair of lidded Nagamochi (futon storage trunks) for the Hina Matsuri Girl’s Day display, made of lacquered wood with a scroll foliate design around the rindo (gentian) crest, with chased metal fittings.
$250/500
Folding screens
77. Details
Known as dogu, lacquered furnishing used in the Hina Matsuri display closely mimicked in miniature the accessories and furnishings that were included in a traditional bridal trousseau, and in many displays the amount of dogu far exceeded the number of dolls indicating their importance and popularity as part of this annual festival.
80. Contemporary Saga-Style Doll Depicting a Laughing Boy
7 ½” (19 cm.) Depicting a laughing boy holding a small child in his arms who, in turn, is holding a gumbai Chinese-style battle fan, kubifuri nodder-type with floating tongue, depicted wearing Chinese style clothes with booted feet, fashioned of a wood composite and covered overall in a rich gold and colored lacquer, heads of wood covered in gofun with painted details. 20th century. $300/400
only to be aggressively revived in the Post war era through merchants on Shinmonzen Street in Kyoto.
81. Sandai-Chigo (Court-Visiting Doll)
Saga-Ningyō were an early Ningyō form developed by Buddhist carvers in the Saga/Arashiyama area of northwest Kyoto in the 17th century. Depicting Buddhist acolytes known as Doji, they became a highly coveted doll form with themes gradually expanding to include a wide range of subjects drawn from daily life. In general, Saga-Ningyō production ceased in the 19th century
7” (18 cm.) The elegant court page doll is depicted seated, wearing a kimono with a figured tortoise shell weave with white kiri paulownia blossoms, white hakama trousers with black silk kikutoji (chrysanthemum balls), head of wood covered in gofun with painted details, silk fiber hair done in the chigo-wa style with two large loops on top, Edo Period, 19th century. $300/400
Sandai-chigo were gift dolls given to children of the nobility on the occasion of their first presentation at court or at different rites of passage.
82. Kuge-Gyoretsu (Procession of Court Nobility)
16” (41 cm.) An elaborate lacquered cart (gosho-guruma) with repeated tri-foil chrysanthemum design and long trailing privacy curtains, hitched to a papier-mache ox done in the keuesaiku technique with silk trappings, is flanked by three shicho footmen attendants carrying shoes, a parasol and headgear, and escorted by a young ox tender and a retainer leading the way. Meiji Era, circa 1880. The procession is shown
in the book Ningyō: The Art of the Human Figurine (1996), p. 47 and was exhibited at Japan Society, NY (1996). $6000/7000
The gosho-guruma cart was the ultimate symbol of nobility, with severe restrictions placed on the use of wheeled vehicles, and limited exclusively to the highest echelons of society. A set such as this one would have been included in an elaborate hina display of a very high caliber.
82. Footmen
83. Takeda-Ningyō (Theatrical Doll) with Secondary Suit of
15” (38 cm.) (Measures 22” including base). Takeda-Ningyō (theatrical doll) as warrior figure depicted in dynamic position, clothed in a rich blue silk brocade with dragon and cloud motif, silk
crepe sleeves bearing the image of a dragon with inset eyes, with additional silk crepe armor plates with gold thread lacings and metal fittings, holding a bow in his left hand and clutch of arrows in his right, on his back a secondary suit of armor, having head of wood covered in gofun with painted details and hair formed into a topknot, mounted on a black lacquer base with embroidered front aperture cloth, resting atop a stand with raised legs, Edo Period, 19th century. $2800/3200
Armor
83. Embroidery detail
84. Takeda-Ningyō (Theatrical Doll) of Warrior Holding a Cannon
14 ½” (37 cm.) (Measures 20 ½” including base).
Takeda-Ningyō (theatrical doll) of a warrior is dramatically posed with left leg on a rock outcropping, right leg thrust forward, dressed in multiple layers of silk brocade kimono with the outer sleeves thrown back to reveal inner kimono with silk crepe sleeves bearing an elaborately embroidered design of the wedded rocks of Futamigaura with
streamers suspended from the shimenawa sacred rope that wraps around the rock, embroidered black velvet details, head of wood covered in gofun with painted details and formed top knot, holding in his right hand a large canon, mounted on a black lacquer base with embroidered front aperture cloth and resting atop a stand with raised legs, Edo Period, 19th century. $2200/2500
84. Embroidery detail
85. No-Ningyō Depicting
Hagoromo (The Celestial Feathered Robe)
10” (25 cm.) TsuchiNingyō clay doll of a standing figure depicted wearing a mask, and a phoenix crown, red robe decorated with the image of white-winged bird with trailing tail feathers, with right arm raised and holding a fan in an evocative dance posture, 20th century. $750/900
Hagaromo (The Celestial Feathered Robe) is one of the most popular plays in the Noh repertoire and tells the tale of a fisherman who finds a
finely feathered robe hanging on a pine tree. When he attempts to take it home with him a celestial maiden suddenly appears and begs him to return the robe to her so that she can return to the heavens. He complies on the condition that she performs a dance for him in the robe. As she finishes her dance she disappears into the mists.
85. Sleeve detail
85. Detail
86. Kimekomi Gosho-Ningyō (Palace Doll) of Momotaro the Peach Boy
12” (30 cm.) (Measures 13” including banner). Kimekomi Gosho-Ningyō (Palace Doll) depicting Momotaro the Peach Boy, a regal figure dressed in a vibrant orange silk kimono bearing painted images of peaches and sacred treasures with a silk brocade obi tie belt all done in the kimekomi (applied textile) technique, sword at his left hip, holding a chintamani sacred jewel in his right hand and holding a banner in his left, exposed bare feet with big toe uplifted in a symbolic gesture of power, classic round gosho-style face covered in gofun with painted details and silk fiber hair, wearing a gold eboshi cap with silk tie cords. 20th century. $1200/1500
87. No-Ningyō (Noh Theatrical Doll) of Carved Wood
15” (38 cm.) (Measures 17” including fan and base). The Noh theatrical doll, fashioned of wood and carved in the Nara-Ningyō style, is depicted in a rich textile with intricately painted designs of fans of flowers blossoming along a stream bank loosely belted at the waist, over red hakama trousers with white tabi socks visible at the hem, her left hand cupping the cuff edge of her sleeve, her right arm raised holding a separately formed, open fan, wearing a mask with
okimayu skybrows and blackened teeth, secured to the head with a sash, and wearing a black eboshi court cap, all indicative of the figure. 20th century. $900/1100
87. Back
88. Standing Gosho-Ningyō (Palace Doll)
8” (20 cm.) Delightful standing Gosho-Ningyō (palace doll) wearing a fine chirimen silk crepe textiles in orange and green with bold sacred treasure motif, carved wood figure with padded wire upper arms, large rounded head with narrow features, covered overall in a fine white gofun with painted details, Showa Era, 20th century. $1500/1800
89. Kimekomi Gosho-Ningyō (Palace Doll) of Drummer
3” (8 cm.) (Measures 4” including cap). Kimekomi Gosho-Ningyō is depicted kneeling with a tsuzumi hand drum in his left hand, his right hand tapping on his tympanum, wearing a kimekomi style haragake bib and sleeveless vest in chirimen silk crepe with painted elements, fashioned of clay and covered overall in a fine gofun with painted details, wearing a lacquered paper eboshi court-style cap, drum of painted lacquered paper with silk stays, seated atop a gold lacquered base, 20th century. $800/1000
88.
89. Detail
90. Gosho-Ningyō (Palace Doll) with Toy Plover
14” (36 cm.) Gosho-Ningyō (palace doll) is depicted seated with both legs thrust forward and hands extended, holding a goten-gangu papier-mache toy of a plover in his right hand, wearing a very refined silk haragake bib with a thickly embroidered design of two turtles, with long trailing “tails” of seaweed indicating a wish for longevity, carved of wood and covered in a very fine white gofun with painted details including a mizuhiki presentation ribbon on his forehead, mouth depicted slightly open exposing teeth, silk hair arranged in two side locks secured by gold wrapped thread, seated on a zabuton cushion. Showa Era, 20th century. $3000/4000
90. Ebroidery detail
90. Painted ribbon and hair
91. Musha-Ningyō (Warrior Doll)
Pair of Empress Jingu Kogo and Takenouchi no Sukune
27” (69 cm.) Unusual rendition of Musha-Ningyō pair of Empress Jingu Kogo and Takenouchi no Sukune; the Jingu depicted standing wearing a white silk outer jacket over a lacquered paper suit of armor covered in silk crepe with metal fittings including a large dragon medallion on her breastplate, hands painted to simulate gloves, gumbai battle fan in her right hand with long sword at hip, head of wood and covered in a lightly pigmented gofun with inset glass eyes, silk hair, headband; her minister Takenouchi shown sitting on a camp stool and holding the baby Ojin cradled in his arms, wearing matching suit of armor with a bamboo crest on his cuirass, over a blue silk brocade hitatare kimono, faux fur boots, face with wizened features, open-mouthed grimacing expression, white hair and wearing a court cap, Meiji Era Circa 1900. $3500/4500
Jingu Kogo is a quasi-legendary 3rd century empress and shaman who was reputed to have donned her husband’s suit of armor after his death and led a naval armada to subjugate the Korean peninsula. In this effort, she was aided by her faithful minister,Takenouchi, who was said to have lived to a very old age. The twist to the story is that Jingu was pregnant at the time and delayed the birth of her baby for 19 months by tying a girdle of rocks around her womb, only giving birth to the baby Ojin after her successful return to Japanese shores. Musha-Ningyō of Jingu and Takenouchi formed the bedrock of the early Boy’s Day pantheon, the only female figure to be regularly included.
91. Armor
92. Isho-Ningyō (Fashion Doll) Tableau of Prince Genji and Court Lady
13” (33 cm.) (Measures 17” including base). Isho-Ningyō tableau depicting a standing Prince Genji and a court lady, the beautifully rendered pair wearing silk textiles, Genji wearing a kariginu-style coat with a repeated pattern of chrysanthemum blossoms floating on water with a purple figured silk inner lining over purple hakama trousers, the princess wearing multiple kimono layers with outermost sleeves fancifully embroidered with images of a phoenix alighting in a paulownia tree, with additional embroidered kakeobi draped over the shoulders supporting a gauze train, head of wood with highly refined features, covered in goufun with painted details and silk hair, mounted on a black lacquered stand, Edo Period, circa 1850. $3000/3500
Hikaru Genji or the Shining Prince was the subject of the famous early 11th century novel by Murasaki Shikibu called the Genji Monogatari (Tales of Genji). Based on court life in the Heian Period, the novel traces the amorous adventures of Prince Genji. Considered an accurate reflection of daily life and customs during this period of Japanese history, the Genji Monogatari has been a staple of Japanese culture for centuries and has proven to be a fathomless source of inspiration for painters and artists of all media, including Ningyō.
92. Details
92. Brocade detail for Prince Genji
92. Embroidered sleeves on Lady
93. Mixed Kyoho-Bina Imperial Lord and Lady for the Hina Matsuri Girl’s Day
8” (20 cm.) (Measures 10” including crown). Kyoho-bina Imperial Lord and Lady for the Hina Matsuri Girl’s Day display, the o-bina male attired in beni safflower orange silk brocades with a banded front and broad, shelf-like trousers in the Kyoho style, the me-bina female in kokin-bina style with full beanbag-like hakama trousers and a blue brocade outer robe over layers of padded and unlined inner kimono, heads of wood covered in a fine white gofun with painted details with blackened teeth and okimayu (skybrows), silk fiber hair, Edo Period, 18th century. $800/1000
94. Gonin-Bayshi Musician Set for the Hina Matsuri Girl’s Day
8” (20 cm.) Group of five young noble boys with matching kamishimo wide-shouldered sleeveless coat and pants in silk brocade, over a silk crepe inner kimono with embroidered sleeves, set consisting of a chanter, a flautist, two hand drummers, and a
taiko drum player, having heads of wood covered in gofun with painted details, silk fiber hair arranged in children’s style, heads and hands positioned to play appropriate instruments, the hand drummer seated on lacquered wood stools, Edo Period, 19th century. $2000/2500
95. Musha-Ningyō (Warrior Doll) for the Boy’s Day Display
11” (28 cm.) Measures 13” including cap. Ojin is depicted seated cross legged with a rich blue brocade hitatare surcoat under lacquered paper armor with silk lacing and metal fittings, having head of wood covered in a fine white gofun with inset glass eyes, painted details, including dramatically arching eyebrows, real hair, wearing a lacquered eboshi court cap, long sword at hip, Meiji Era, Circa 1900. $800/1000
96. Musha-Ningyō of Kneeling Warrior with Bannerman
14 ½” (37 cm.) Measures 24” including banner. MushaNingyō warrior is depicted dressed in lacquered paper armor covered in birodo black velvet with silver chased metal fittings and lacing over a plaid hitatare surcoat, kneeling on left knee with right leg thrust forward revealing staved shin guards and faux fur boots, holding a yari spear in his right hand, long sword at hip, having head of wood covered in gofun with painted details, aggressive features, deeply furrowed eyebrows, silk fiber hair, wearing a kabuto helmet of lacquered paper
with purple silk crepe neck protector, chased silver metal fittings, antler-like prow, accompanied by a bannerman, Edo period, 19th century. $2800/3200
96.1. Shoki the Demon Queller for Boy’s Day Display
13” (19 cm.) Measures 14 ½” including base and cap. Shoki the Demon Queller, depicted with a dark red skin and thick beard and mustache, is wearing a purple grey silk brocade coat in the Chinese style with a high belted waist, left fist clenched, right hand clutching a sword, winged lacquered cap, stout boots, mounted on a wooden base. 20th century. $800/1000
97. Musha-Ningyō (Warrior Doll) of Shoki the Demon Queller
7 ½” (19 cm.) Measures 13” including base. MushaNingyō of Shoki the Demon Queller by Eitokusai III (Yamakawa Yasujiro, 1864-1941), depicting the mythical Chinese figure which protected the emperor from marauding demons in his dreams, depicted in Eitokusai’s signature style, in an animated position with right hand holding a broad sword and his left hand reaching out to grasp a demon, wild reddish hair, strong facial features with large glaring eyes, wearing a disheveled cap of a Chinese scholar/official with winged flanges, silk brocade coat with a high belt and sturdy boots, mounted on a tall Chinese-style wood display base, for Boy’s Day. Showa Era, 1930s.
$2800/3000
Yasujiro was the 3rd generation of Eitokusai operating a shop in Tokyo, supplier to the imperial family. He also had the added element of notoriety having lived in the United States for over 20 years creating hyper-realistic mannequin figures for the Commercial Museum in Philadelphia before returning to Japan to take over the family lineage in 1927.
Detail
96.1.
98. Musha-Ningyō (Warrior Doll) of Shoki
The Demon Queller 20” (51 cm.) Measures 22 ½” including base and cap. Standing Musha-Ningyō (Warrior Doll) of Shoki The Demon Queller, standing Boy’s Day doll depicting the fierce defender of the Emperor and subduer of demons, featuring a brocade kimono with a dark and dense pattern of dragons amidst whirlpools, high belted in Chinese style with a demon head clasp, stout boots, holding a sword in his right hand and a trussed demon in his left, hands and forearms realistically rendered with bulging veins, head of wood covered in a lightly pigmented gofun with inset glass eyes, full beard and moustache, wearing a disheveled Chinese official’s cap with side wings, Showa Era, 1930s. $1500/1800
Depictions of Shoki are remarkably consistent over time and media. His origins are in Chinese lore when the 8th-century Chinese emperor Xuanxong in a dream encountered a massive bearded figure patrolling the palace and dispatching marauding demons. When asked his identity, the apparition explained that his name was Zhong Kuei (Jp. Shoki), a failed scholar who had committed suicide on the palace steps in shame. One of the emperor’s forebearers had pardoned him and granted him a rank posthumously. In gratitude he had sworn to protect the emperor and all emperors to come from demons and malevolent forces. Upon awakening, the emperor had his court painter create a portrait of Shoki just as he had appeared in his dreams. Images of Shoki were believed to have talismanic powers and were widely popular in Chinese traditional culture. The Japanese also adopted his practice, with Shoki ultimately becoming a prominent Boy’s Day symbol, initially in banner form. With the Meiji Restoration in 1868, and a refocus on the office of emperor, MushaNingyō of Shoki became exceptionally popular and remained so until the modern era.
99. Gosho-Ningyō (Palace Doll) of a Sumo Wrestler
18” (46 cm.) Folk-style Gosho-Ningyō with unusually attenuated limbs, depicted kneeling on right knee with left leg to the side, wearing a densely embroidered keshomawashi sumo ceremonial apron, fashioned of papier-mache and covered overall in a white gofun with painted details, silk hair in two side locks, inset glass eyes, smiling expression, dimples, holding a gold lacquered gourd in his right hand, restored condition, Meiji Era, Circa 1900. $3500/3800
100.
Gosho-Ningyō Holding a Coin Purse
5” (13 cm.) Gosho-Ningyō (palace doll) depicting a seated boy with knees raised, right elbow resting on his right knee and holding a well-formed silver purse with green ties that extend to his left hand, and holding the silk cord tie closures in his left hand, wearing a haragake bib with a silver painted tatewaku undulating line pattern, crafted of wood and covered overall in a fine white gofun with painted details. Edo Period, 19th century. $400/500
99. Embroidery detail
99. Back
101. Group of Three Haihai Gosho-Ningyō (Crawling Baby Palace Dolls)
4” (10 cm.) Three Haihai Gosho-Ningyō (crawling baby palace dolls), in ascending scale, each with a haragake bib, are depicted lying on their bellies, supporting their weight on their front arms, with well formed heads and expressive features, fashioned of toso and covered in gofun with painted details and silk hair, Edo Period, 19th century. $600/800
102. Gosho-Ningyō (Palace Doll) Holding a Tachi-Bina
4” (10 cm.) Cherubic Gosho-Ningyō depicted with a bright and happy expression, his left hand on his knee and his right hand holding a tachi-bina (standing hina) Lord symbolizing the Hina Matsuri Girl’s Day display, fashioned of toso wood composite and covered overall in a fine white gofun, with painted details, hair depicted in a child’s style with forelock and two side locks, also wearing an applied chirimen silk crepe harakge bib with painted details. Meiji Era, 19th century. $500/600
103. LargeScale Gosho-
Ningyō (Palace
Doll) with Toy Drum
19” (48 cm.) Measures 22” including toy drum. Largescale GoshoNingyō (palace doll) with a Mizuhiki presentation ribbon, massive seated boy with both legs thrust out in front, with arms slightly extended and holding a finely formed dendentaiko toy drum in his left hand, fashioned of wood and covered overall in a fine white gofun with painted details including an elaborate mizuhiki presentation ribbon on his forehead, wearing an embroidered chirimen silk crepe haragake bib with the design of a longtailed turtle. Restored condition, Edo Period, 19th century. $12,000/15,000
103. Toy drum detail
103. Bib detail
103. Detail
103. Cushion detail
104. Isho-Ningyō (Fashion Doll) Tableau of a Kabuki Scene
8” (20 cm.) Measures 10” including base. Isho-Ningyō tableau of Kabuki scene depicts two figures facing each other in a dramatic confrontation, both clothed in rich silk brocades, right hand figure wearing a rich black birodo velvet outer coat with densely embroidered sleeves, the left figure with outer cloak sleeves thrown back to reveal inner kimono with chirimen silk crepe sleeves with embroidered details, with nagabakama extralong trousers in the Kabuki style, both having heads of wood covered in gofun with painted details including kumadori-style makeup, silk hair, mounted on a black lacquer base with front aperture cloth similar in style to a Takeda-Ningyō theatrical doll. Edo Period, 19th century. $1200/1500
105. Isho-Ningyō (Fashion Doll) of Bugaku Dancer
10 ½” (27 cm.) Measures 12” including cap and base. Standing Isho-Ningyō (fashion doll) dressed in a rich red costume featuring cloud designs and large repeated leaf and flower appliques, fur fringed skirt, over an embroidered maroon gauze under kimono, has head of tosa (wood composite) covered in a pigmented gofun with painted details,
104. Detail
inset glass eyes, silk hair arranged in a chamage tea whisk style, traditional cap, holding a shaku scepter, mounted on a fabric-clad wood base. 20th century.
$1200/1500
Bugaku and gagaku are two early forms of court music and dance that was performed largely for the imperial nobility. Both forms draw extensively on foreign sources including India, China and Korea. The exotic nature of his costume reflects these influences.
106. Zashiki
Karakuri (Parlor Mechanical Doll) Vignette of Drummer and Mouse Tower
18” (46 cm.)
Classic Edo period mechanical doll tableau depicting Doji drummer standing alongside a simulated rock-faced tower where a mouse runs up the side, the vignette with gold leaf base bearing longevity images of cranes; and with turning handle which propels the mouse to run up the papier mache tower which is capped by a red Shinto-style roof and flanked by papier-mache trees, while the drummer beats on the
drum and pivots his head slightly from left to right; drummer in silk brocade sleeveless vest and inner kimono with embroidered sleeves, silk brocade cap and having wood head covered in gofun with painted features wearinga zukin-style cap; the whole mounted on a wood base with inward curing legs, Edo Period, 19th century. $2500/3000
107. Musha-Ningyō (Warrior Doll) for Boy’s Day Display
12 ½” (32 cm.) Warrior doll Ushiwakamaru, the young Minamoto Yoshitsune, is depicted seated cross-legged with a red silk brocaded hitatare surcoat under lacquered paper armor with silk lacing and metal fittings, having head of wood covered in a fine white gofun with inset glass eyes, painted details including okimayu skybrows referencing his time as a court page during his youth, hair drawn into a top queue, Meiji Era, Late 19th century. $800/1000
108. Musha-Ningyō (Warrior Doll) of Minamoto Yoshitsune and Bannerman
15” (38 cm.) Measures 18” including helmet. Warrior doll Minamoto Yoshitsune (1159-1189), is depicted seated on a camp stool wearing chirimen silk crepe armor with metal fittings and silk lacings with birodo black velvet accents over a blue green silk brocade hitatare kimono and hakama trousers, faux fur boots, elaborate kabuto helmet with metal details and a dragon-shaped maedate prow, cuirass with dragon medallion on center, long sword at hip, holding a saihai battle whisk in his right hand, a long bow in his left, accompanied by a kneeling bannerman with rough lacquered paper armor, wearing a round jingasa helmet, holding aloft a banner in his right hand; heads of both figures are carved of wood and covered in gofun with painted details, Edo Period, early 19th century. $2000/2500
109. Zuijn (Minister Pair) for the Hina Matsuri Girl’s Day
10” (25 cm.) Measures 17” including bow. The Ministers of Left and Right are depicted seated on stools sporting matching lavish silk brocade surcoats in blue and gold featuring abstracted floral designs with purple lining, light blue green silk hakama trousers, black lacquered shoes, swords at hip, holding bows in left hand, lacquered paper kanmuri court caps with side flaps and a tall standing ei (tail), having faces of wood covered in gofun, the udaijin Minister of the Right depicted as a young man with white gofun and the sadaijin Minister of the Left depicted as an old man with pigmented gofun, wizened features and white hair, lacquered base. Meiji Era, circa 1900. $2200/2500
110. Hina-Ningyō in Unusual Seated Position
10” (25 cm.) Hina-Ningyō, depicted in an unusual seated position, is wearing a chirimmen silk crepe kimono with sleeve tie closures and an embroidered design of a pine tree at the hem, simulated five underlayers of kimono in blue, and saffron orange-red, green and white, softbody construction with hands and head made of wood that is covered in a fine white gofun with painted details and silk fiber hair. Edo Period, 19th century. $500/600
111. KokinBina Imperial Lord and Lady Pair for the Hina Matsuri Girl’s Day
10” (25 cm.)
Measures 13 ½” including crown and base. Unusual set of kokin-bina features the o-bina male wearing a light aquamarine satin silk surcoat with heavily embroidered sleeves and radiating embroidered bands across the middle, and she wearing a more traditional kokin-style set of multi-layered silk brocade robes with embroidered silk crepe sleeve ends featuring a long-tailed bird in flight, embroidered kakeobi worn over the shoulders and secured at waist with elaborately knotted tassels, full hakama trousers; each having head of wood covered in gofun with painted features including blackened teeth, she wearing an elaborate crown, he a lacquered paper kanmuri court cap, seated on tatami bases with banded silk fronts. Late Edo Period, mid 19th century. $2500/2800
111. Embroidery details
111. Detail
112. Iki-Ningyō (Living Doll) Head of a Samurai
12” (30 cm.) Hyper-realistically rendered, life-sized head of a samurai with expertly carved features, covered in a slightly pigmented gofun with inset glass eyes, human hair depicted with the shaved pate of a samurai male with shaded detailing, eyebrows, would have once graced a full sized iki-Ningyō, Meiji Era, Circa 1900. $1200/1500
113. Gosho-Ningyō (Palace Doll) Sumo Wrestling Pair
7” (18 cm.) Paper-mache form depicting two standing sumo wrestlers locked in combat, both wearing mawashi aprons with fringe, faces in an aggressive and strained expression as they struggle, covered in gofun with painted details, silk fiber hair in differing styles, Taisho Era, 1920s $200/300
114. Early Ichimatsu-Ningyō of a Young Boy
26” (66 cm.) Early Ichimatsu-Ningyō of a young boy wearing a kurume kasuri kimono, bearing the signature cloth and seal reading “Hogetsu,” wearing an unusual double ikat (kurume kasuri) silk kimono, traditional soft bodied construction, working voice box, head of toso (wood composite) covered in gofun with painted details, inset glass eyes, painted hair, hands with well individuated fingers, simple sash-style obi tie belt with suspended inro, with additional straw sandals. Late Meiji/Early Taisho Era, early 1900s. $900/1000
115. Unusual Takeda-Ningyō (Theatrical Doll) of a Court Minister Holding a Jewel
13 ½” (34 cm.) Measures 15 ½” including base. Dramatically positioned Takeda-Ningyō leaning far to the left, with his right hand thrust forward and holding a gem jewel, wearing a gold lacquered court minister’s cap with side flanges and extending ei tail, with richly layered costuming, nagabaka trousers covering feet and spilling over the edges of the stand, with matching brocade top coat with its sleeves thrown back and secured at the waist, to reveal a densely embroidered silk crepe under kimono bearing a dynamic flamiform cloud motif resembling a cloak, black trim, head of wood covered in a fine white gofun with painted features, mounted on a black lacquer wood base with front aperture cloth depicting roiling waves, Edo Period, 19th century. $2500/2800
116. Takeda-Ningyō (Theatrical Doll) of Tomoe Gozen
16” (41 cm.) Measures 29 ½” from the tip of the bow to the base. The standing Takeda-Ningyō (theatrical doll) of Tomoe Gozen (1157-1247), depicts the legendary onna musha female warrior dressed in a green silk brocade outer jacket with sleeves thrown back to reveal inner silk crepe kimono
116. Detail with embroidered sleeves, hakama trousers, paper armor with silk crepe covering and metal bosses depicting the chintamani pearl of wisdom, long sword at hip, holding an arrow in her right hand and a bow in her left, a full quiver of arrows at her back, positioned with right leg thrust forward, mounted on a black lacquer stand with front aperture cloth, head of wood covered in gofun with painted details, blackened teeth, silk fiber hair, wearing a lacquered paper eboshi court cap with silk tassel tie cords, Edo Period, 19th century. The Ningyō was exhibited at the Mingei International Museum (2005) and appears in the book Ningyō: The Art of the Japanese Doll, p. 260. $2800/3200
117. Karakuri GoshoNingyō (Mechanical Palace Doll) with Harukoma
Hobby Horse
8” (20 cm.) Measures 8 ½” including cap. Papier-mache Karakuri Gosho-Ningyō (mechanical palace doll) is depicted seated with both legs thrust forward, covered in a fine white gofun with painted details, smiling expression with two prominent front teeth, silk fiber hair and sporting a lacquered
117. Detail
paper cap, wearing a silk brocade haragake bib and a sleeveless chirimen silk crepe outer jacket with embroidered details, right hand holding a papiermache harukoma hobby horse and his left hand the attached silk sash; when the wood knob at the small of his back is turned, his arms raise and lower independently, Edo Period, 19th century.
$1800/2000
118. Haihai Gosho-Ningyō (Crawling Baby Palace Doll)
3 ½” (9 cm.) The Haihai GoshoNingyō (crawling baby palace doll), swathed in a white
silk kimono and wearing a red silk crepe haragake bib, resting on a silk zabuton cushion, is of toso wood composite covered overall in a fine white gofun with painted details and silk fiber hair, Taisho Era, early 20th century. $800/1000
119. Karakuri Gosho-Ningyō (Mechanical Palace Doll) Holding a Dendentaiko Drum
10” (25 cm.) Measures 11” including cap. Papier-mache Karakuri Gosho-Ningyō (mechanical palace doll) depicted seated with both legs thrust forward, covered in a fine white gofun with painted details, silk fiber hair and sporting a lacquered paper cap, wearing a silk brocade haragake bib and a sleeveless chirimen silk crepe outer jacket with embroidered details, his left hand holding a multi-tiered dendentaiko toy drum and his right hand holding the attached silk sash; when wood knob at the small of his back is turned, his arms raise and lower independently, Edo Period, 19th century. $2000/2200
120. Details
hitatare kimono and hakama trousers, elaborate kabuto helmet with metal details and a dragon-shaped maedate prow, cuirass with dragon medallion on center, long sword at hip, holding a saihai battle whisk in his right hand, a long bow in his left; accompanied by a kneeling bannerman with rough lacquered paper armor, green birodo velvet hakama trousers, wearing a round jingasa helmet, holding aloft a banner in his right hand; the heads of both figures carved of wood and covered in gofun with painted details, bannerman with exaggerated features and Yoshitsune with a stoic expression, positioned atop a tatami matt base, Edo Period, early 19th century. The pair were exhibited at Japan Society (1996) and appear in the book Ningyō: Art of the Human Figurine, p. 51. $8000/10,000
120. Musha-Ningyō (Warrior Doll) of Yoshitsune and Bannerman
17” (43 cm.) seated. Measures 41” from the tip of the banner to the base. Classic Edo period warrior doll for the Boy’s Day display depicting the ultimate tragic hero, Minamoto Yoshitsune (1159-1189), seated on a camp stool wearing purple chirimen silk crepe armor with metal fittings and silk lacings over a silk brocade
Unlike the Hina Matsuri Girl’s Day festival with its display of a stylized and imagined imperial couple, the Boy’s Day pantheon was peopled with figures largely drawn from Japan’s rich martial past. Minamoto Yoshitsune was known as a brilliant military tactician and vicious guerilla warrior engaging in numerous successful campaigns between the rival Genji (Minamoto) and Taira clans. A popular general and leader, he ultimately ran afoul of his older brother Minamoto Yoritomo (1147-1199) who feared Yoshitsune’s rising popularity, forcing Yoshitsune to flee north where he was ultimately surrounded and forced to commit seppuku (ritual suicide). Yoshitsune became a central figure in the Boy’s Day display early in its development in the 17th and 18th centuries. In popular culture many stories focus on Yoshitsune and his exploits (real and imagined) as well as adventures in his childhood when he was known as Ushiwakamaru.
121. Isho-Ningyō (Fashion Doll) Tableau of the Noh Drama Kokaji (The Swordsmith)
13” (43 cm.) Measures 16” including spear and base. Tableau of two figures including the kneeling figure of Sanjo no Kokaji Munechika holding a hammer in his right hand and a sword blade in his left, a smithing stone before him, making a special sword that had been commissioned by the emperor; and the standing figure holding a long handled hammer, is an incarnation of Inari, the rice goddess, who has come down to earth to aid Kokaji in his quest; each depicted in silk brocade costume, having head of wood covered in gofun with inset glass eyes and painted details, and mounted on a black lacquer wood base, Meiji Era, circa 1900. $1800/2000
The master swordsmith Munechika is commanded by the Emperor Ichijo (980-1011) to create a sword to match the one he has seen in a vision. Munechika
tries to refuse for lack of a worthy assistant to forge such a blade. The emperor insists. Munechika travels to Inaru Shrine to pray for guidance. A young boy appears and promises to be his assistant. As Munechika prepares to make the blade the spirit of Inari (the rice goddess) appears in the form of a fox and helps him forge a magnificent blade worthy of the emperor and his vision.
122. Isho-Ningyō (Fashion Doll) of a Kyoto Bijin (Beautiful Woman from Kyoto)
12 ½” (32 cm.) The standing Isho-Ningyō (fashion doll) depicting a Kyoto bijin (beautiful woman from Kyoto) is clothed in a light blue satin weave silk kimono with supplemental embroidery in the shochikubai (three friends of winter) motif featuring bamboo, plum and pine designs, golden silk brocade obi tie belt at waist, head of wood covered in gofun with painted details, inset glass eyes, real hair in a simple hairstyle secured by combs, mounted on a lacquered wood base, Meiji Era, circa 1900. $500/600
123. Isho-Ningyō (Fashion Doll) of a Standing Lady
11 ½” (29 cm.) Measures 12 ½” including base. The standing Isho-Ningyō (fashion doll) is dressed in a subdued black striped outer uchikake kimono with a green inner kimono visible through
the slightly open front, secured at the waist by a broad black obi tie belt, having well carved head fashioned of wood and covered in a fine white gofun with painted details, open mouth with exposed top teeth, silk fiber hair, mounted on a wood base, Meiji Era, late 19th century. $1000/1200
124. Elegant Isho-Ningyō (Fashion Doll) of Court Lady at Her Writing Desk
7” (18 cm.) Glass case measures 17” high, 17” wide, and 15” deep. Elegant Isho-Ningyō (fashion doll) of a court lady is attired in multiple kimono layers, with an outer silk brocade with a dragon and cloud motif design, and inner purple figured weave kimono with a dense repeated diamond pattern, red hakama trousers, posed kneeling on a yellow zabuton cushion before a lacquered tray bearing writing implements, padded arm rest set off to her right, a brush in her right hand and a narrow slip of poetry paper in her left, head of wood covered in gofun with inset glass eyes and painted details including okimayu (skybrows) of the court nobility, long silk fiber hair drawn into a long tail in back secured with a paper bow with side locks framing her face, mounted on a wooden stand with a glass cover, Meiji Era, circa 1900. $3200/3500
125. Large and Elegant Isho-Ningyō
28” (71 cm.) Large Isho-Ningyō of a standing lady is dressed in subdued tones of ivory and blue, featuring an outer unlined jacket done in a komon small pattern of peony, with the sleeves thrown back and secured at the waist, revealing a figured silk kimono with a tortoise shell pattern with an inserted four-petal flower, her right hand depicted cupping the cuff of her kimono, having a well formed head of wood covered in gofun with inset
glass eyes and painted details, her hair drawn up into a katsuyama mage hair style with beko pins and silk flower ornaments, mounted on a black lacquer base. 20th century.
$800/1000
126. Bunraku-Ningyō Puppet of a Samurai Youth
51” (130 cm.) Full-scale figure of a samurai youth depicted wearing a white silk brocade kamishimo wideshouldered vest, and belted pleated hakama trousers bearing large kiri (paulownia) crests at his shoulders, over a pink figured silk kimono of a repeated auspicious wanzi design, with silk brocade accents matching the vest, two swords with lacquered scabbards and silk wrapped hilts with metal tsuba guards, mounted on a traditional bamboo display pole, having a well fashioned head carved of wood covered with a fine white gofun with painted details, silk hair done in a youthful style with front bangs tied up and a topknot secured with a white tasseled cord, articulated wrists, classic bunraku construction with a guiding rod on both left and right arms, and well-carved feet with back hooks, 20th century.
$4500/5000
Bunraku puppet theater is one of Japan’s most elevated traditional art forms. Originating in the 17th century, bunraku evolved from simple, individually operated puppets supported from beneath, to large-scale complex affairs operated by three individuals, led by the main actor who operated the head and right arm, a secondary actor who helped support the body and guided the left arm, and a third who moved the feet and legs, creating a singular balletic interaction. Some of Japan’s greatest narrative fiction was developed for the Bunraku stage creating a myriad of characters and roles, some based on historic events and characters, others of pure fiction and fancy. These storyline and roles were frequently adopted by Kabuki. Although centered in Osaka today, originally a wide variety of bunraku-style theatrical troops operated the length and breadth of the Japanese archipelago. 125.
126. Crest
126. Hand
126. Back
126. Detail
127. Standing Gosho-Ningyō (Palace Doll) with Mizuhiki Presentation Ribbon
13 ½” (34 cm.) The standing GoshoNingyō (palace doll), in a dynamic posture with arms raised and head turned over his left shoulder, is wearing a chirimen silk crepe haragake bib with painted and embroidered designs, fashioned of wood, covered overall in a fine white gofun with painted details, including an elaborate mizuhiki presentation ribbon on his forehead and two side locks also decorated with painted ties, paired with a hobby horse. Early Meiji Era, late 19th century. $3200/3500
128. Gosho-Ningyō (Palace Doll) Holding a Giant Carp
13” (33 cm.) Exuberant kneeling Gosho-Ningyō (palace doll) depicted holding a massive carp, is executed in toso wood composite and covered overall in a fine white gofun with painted details, wearing a silk zukin cap with embroidered details, silk fiber side locks, holding a giant carp which is realistically painted
with scales of gold against black, Meiji Era, late 19th century. $2500/3000
Carp have rich symbolism in Japanese culture, signifying triumph over long odds, it also relates to childhood tales of Oniwakamaru who dove into a pond to capture a giant carp.
128. Embroidery featuring plum blossoms and sacred treasure motif
128.
129. Seated Gosho-Ningyō (Palace Doll) Holding Peach Blossoms
8 ½” (22 cm.) Gosho-Ningyō (palace doll) is depicted seated, holding a sprig of peach blossoms, both legs thrust forward, sexed figure, crafted of wood and covered overall in a fine white gofun with thick silk fiber hair, wearing and embroidered silk haragake bib, and a black lacquered paper eboshi court cap. Edo Period, 19th century. $250/500
130. Adorable Mitsuore Gosho-Ningyō (Triple-Jointed Palace Doll
11 ½” (13 cm.) Mitsuore Gosho-Ningyō (triple-jointed palace doll), fashioned of wood and covered overall in a fine white gofun with painted details and silk hair executed in a popular children’s style with shaved head leaving only two side locks, a forelock and a topknot secured with a cord, padded wire upper arms, with hip, knee and ankle joints allowing the figure to stand independently or be positioned kneeling of seated, wearing a turquoise blue/ green kimono with padded chirimen silk crepe hem in orange,
designed overall with a repeated flying crane design, over a red under kimono, secured at the waist with a red obi tie belt. Late Edo/Early Meiji Period, mid-19th century. $800/1000
131. Gosho-Ningyō (Palace Doll) Holding a Bird Cage
5” (13 cm.) The GoshoNingyō (palace doll) is depicted kneeling and wearing a haragake bid with painted designs of cherry blossoms and matching chirimen silk crepe zukin cap with chin strap, with a bird cage resting on his right knee, fashioned of toso wood composite and covered overall in a fine white gofun with painted details, dimpled cheeks, Edo Period, 19th century. $600/800
132. Pair of Seated Gosho-Ningyō (Palace Dolls)
5” (13 cm.) Pair of matching cherubic young boys are depicted seated, one on the ground with legs forward, the other on a zabuton cushion (replaced), both with their arms outstretched holding peach and cherry blossoms, wearing haragake bibs of which one is decorated with origami folded paper cranes, the other decorated with plum blossoms, covered overall in a fine gofun with painted details, Edo Period, 19th century. Exhibited at Metropolitan Museum of Art. $2000/2500
133. Group of Six Gosho-Ningyō (Palace Dolls)
3” (8 cm.) Each of the six small-scale Gosho-Ningyō (palace dolls) is seated, holding an auspicious object including a crane, a dog, a tortoise, an inu bako (fertility box), a box and a kemari (ball); each is fashioned of wood and covered in a white gofun with painted details, each with a different cap and/or hairstyle, Edo Period, 19th century. $300/500
These small-scale Gosho-Ningyō are sometimes referred to as good-luck prayer dolls (gofuku no inori gosho) and were popular gifts from both individuals and businesses to express thanks and gratitude.
134. Musha-Ningyō (Warrior Doll) of Shoki the Demon Queller
15 ½” (39 cm.) Measures 19” including cap and base. Classic Boy’s Day doll depicting the bearded warrior figure of Shoki the Demon Queller in Chinese-style robes of silk brocade, a demon-headed belt clasp, right hand grasping a drawn sword (missing), scabbard at his left hip, left hand with fingers splayed wide, head of wood covered in a red
pigmented gofun with inset glass eyes, wearing a disheveled Chinese scholar’s cap, mounted on a wood base. Showa Era, 1930s. $200/300
135. Musha-Ningyō (Warrior Doll) of an Oni Demon
7” (18 cm.) The warrior doll depicting an oni demon is associated with Shoki the Demon Queller, isolated figure depicted naked, kneeling his hands raised in offer/supplication, grimacing face turned slightly to the side, reddish hair, covered overall in a greyish tint gofun with painted details, 20th century. $200/300
136. Musha-Ningyō (Warrior Doll) of Jimmu Ten’no, Legendary First Emperor of Japan
12” (30 cm.) The standing Musha-Ningyō (warrior doll) depicting Jimmu Ten’no, the legendary first Emperor of Japan, is wearing archaic-style robes of silk brocade with dragon designs, cinched sleeves with long tassels, stiut fabric wrapped boots, and is mounted on a wooden base, long sword at hip, holding a wooden spear in his left hand capped by a golden eagle (missing), having head of wood covered in a pigmented gofun with inset glass eyes, with long beard. Showa Era, 1930s. $200/300
134.
Jimmu Ten’no became a popular Boy’s Day figure with the advent of the Meiji Era in 1868 and the reorientation of political and cultural forces around the emperor.
137. Musha-Ningyō (Warrior Doll) of a Mounted Samurai
15” (38 cm.) Measures 22” from the tip of the helmet to the base of the horse. Dramatic figure of a samurai warrior dressed in silk brocades and lacquered paper armor with metal fittings, is seated astride a running horse of molded plastic with flowing mane and streaming tail (formed separately) saddle with silk brocade
side panels and abumi stirrups, arrow quiver at his back, head of toso covered in a lightly pigmented gofun with painted details, attributed to Eitokusai III (Yamakawa Yasujiro, 1864-1941). Showa Era, 1930s. $2800/3000
The Eitokusai lineage was descended from the famous Hinaya Jirozaemon studio in Kyoto. Eitokusai I established himself in Edo/Tokyo and became supplier to the imperial family during the Meiji era. From their shop in Ningyō-cho they sold a wide variety of Ningyō and were noted for their precise renditions and attention to details. This is reflected here in details such as the way the long sword at his hip is additionally secured by wrapped silk cords to keep it secure while riding horseback.
138. MushaNingyō (Warrior Doll) Pair of Empress Jingu Kogo and Takenouchi no Sukune 14” (36 cm.) MushaNingyō pair depicting Empress Jingu Kogo and Takenouchi no Sukune, Jingu depicted standing wearing lacquered paper suit of armor covered in silk crepe with metal fittings and birodo black velvet accents, including a large chrysanthemum medallion on her breastplate, over yusoku-style textiles emphasizing her imperial nature, gumbai battle hand in her right hand with long sword at hip, faux fur boots and mounted on a wood base, head of wood and covered in a lightly pigmented gofun with inset glass eyes, silk hair, okimayu (skybrows); and her minister Takenouchi shown kneeling with a lacquered paper suit of armor with a mitsudome (three commas) crest on his cuirass, over a blue silk brocade hitatare kimono, straw sandals, face with wizened features, white hair and wearing a court cap, Early Meiji, Mid 19th century. $2000/2500
139. Musha-Ningyō of Takenouchi no Sukune Holding the Infant Ojin
12 ½” (32 cm.) Measures 14” including cap. MushaNingyō depicting kneeling Takenouchi no Sukune holding the infant Ojin in his arms, wearing a rich blue silk brocade hitatare outer surcoat over lacquered paper armor with black velvet details, straw sandals, having well executed face with wizened features of an aged man with white silk beard and hair, black lacquered paper eboshi court cap, lightly pigmented gofun; the baby Ojin in swaddling clothes, Edo Period, 19th century. $600/800
140. Musha-Ningyō of Toyotomi Hideyoshi with Bannerman
14” (36 cm.) 24” including banner. Musha-Ningyō of Toyotomi Hideyoshi shown seated cross legged with blue brocade surcoat featuring floating sacred treasure motif and dragon design, lacquered paper armor with chased metal fittings including a cavorting shishi lion dog at his neck and a coiled dragon on center, with thick purple obi tie belt at waist, shoulder and thigh guards gumbai Chinese style battle fan in right hand, long sword at hip, long bow, gold lacquered paper court cap, having head of wood covered in a lightly pigmented gofun with inset glass eyes and painted details, shaved pate with hair drawn into a topknot; attended by a kneeling bannerman with a well-formed and expressive face, jingasa cap, holding a banner in his left hand featuring a bold triple dot pattern. Late Edo/Early Meiji Era, 19th century. $1000/1200
Meiji Military Groupings
Beginning in the Meiji Era (18681912), in order to consolidate the power of the emperor in the popular mind and popular culture, Ningyō makers began producing figures for both the Boy’s Day and Girl’s Day display that accurately reflected the Meiji Emperor (Mutsuhito, 18521912), the Meiji Empress (Shoken, 1849-1914), the young Prince Yoshihito (1879-1926) as well as various generals. Dressed in western military garb, with relatively realistic features that generally reflected the faces of the various individuals, this represented a great departure for both festivals. In the Girl’s Day display the dairi-bina were symbolic stand-ins for the office of emperor and the divine lineage, but not one specific emperor. Similarly, the Boy’s Day display had never included a contemporary figure but drew from remote antiquity and legend.
142. Musha-Ningyō (Warrior Doll) of Meiji-Era General in Western Military Garb
14” (36 cm.) 15” with cap. The seated Meiji-era general, depicted in Western military garb, with dark blue/black wool trousers and coat, with heavy piping on the sleeves, a red sash around his waist with a western-style sword tucked in, simulated brown leather gloved hands, black lacquer boots, having head of wood covered in a reddish pigmented gofun with inset gless eyes, painted details, chin beard and moustache, western short cropped hair, wool cap with the Meiji imperial chrysanthemum on center, white plumes, seated on a fringed western Victorian-style chair with silk cushion and tassels. Meiji Era, circa 1900. $800/1000
143. Musha-Ningyō (Warrior Doll) Boy’s Day Set
11” (28 cm.) 15” with horse. Musha-Ningyō (Warrior Doll) Boy’s Day set of a mounted Meiji-era general flanked by two mounted soldiers and two additional
foot soldiers, having heads of wood composite covered in a lightly pigmented gofun, inset glass eyes, close cropped hair in the Western style, dressed in Western military outfits with dark wool pants and jacket, heavy gold piping on the general, red and white striped sash, metal sword at hip, wearing a cap, leather boots, seated on white stallion mount of papier-mache covered in a fine white gofun with inset glass eyes and painted details, fiber hair mane and tail, with English-style leather saddle with metal stirrups, leather reins and red felt blanket with embroidered trim detail; the other two mounts done in the keuesaiku style of silk fiber fur over a papiermache body (one white, one brown), the foot soldiers mounted on black wood bases holding backpacks and staffs capped with pennants. Meiji Era, Circa 1900. $800/1000
144. Musha-Ningyō (Warrior Doll) of Meiji Emperor Mutsuhito
16 ½” (42 cm.) 18” including cap and base. Musha-Ningyō depicting standing portrait of Meiji Emperor Mutsuhito, (1852-1912), wearing Western military garb of dark blue/black wool with heavy piping on lower sleeves and breast of coat including embroidered imperial kiku chrysanthemums, with an embroidered red silk sash diagonal across his chest with large kiku designs, wool trousers tucked into high leather boots, simulated brown gloves on hands, head of wood covered in a lightly pigmented gofun with inset glass eyes, painted details, long chin beard and moustache, short cropped hair, hat bearing kiku embroidered design and white plumes, medal at chest, mounted on an oval wood base. Meiji Era, circa 1900. $2200/2500
144. Detail
145. Musha-Ningyō of Meiji Era General
Along with Two Attendants
13” (33 cm.) 14” including cap. Musha-Ningyō of a seated Meiji-era general flanked by two standing attendants, the general depicted in Western military garb, with dark blue/black wool trousers and coat trimmed in red with metal button closures, with heavy piping on the sleeves, a striped red sash around his waist with a western-style sword tucked in, multiple medals pinned to
his chest, simulated brown leather gloved hands, black lacquer boots, having head of wood covered in a lightly pigmented gofun with inset glass eyes, painted details, chin beard and moustache, western short cropped hair, wool cap with the Meiji imperial chrysanthemum on center, white plumes; along with his two matching attendants with individualized faces, depicted standing with heavy red piping on their coats, mounted on stands. Meiji Era, circa 1900. $1800/2000
146. Cannon
146. Musha-Ningyō Presentation Set for Boy’s Day of Cannon Artillery Group 10” (25 cm.) 16”. including horse. Musha-Ningyō Boy’s Day presentation of a cannon artillery group comprising mounted general, standing general with binoculars, bugle attendant, four soldiers with rifles, each with individualized faces with a range of pigment tonalities, wheeled cannon with attendant; attired in Western military garb that is color coded based on
rank and function, ranging from a dark blue/black wool with heavy brocade piping for the generals to light ochre or olive wool with high collars in red for the riflemen, the metal cannon mounted on a wheeled wood cart with red silk tassels, the mounted figure riding a golden stallion with silk mane and tail, inset glass eyes, and leather trappings. Accessories include a pair of bone binoculars, a brass bugle, and wooden rifles. Meiji Era, circa 1900. $800/1000
147. Musha-Ningyō Boy’s Day Presentation
14” (36 cm.) 15”l. including horse. The Musha-Ningyō Boy’s Day set comprises two mounted Meiji-era generals flanked by two additional foot soldiers, each with head of wood composite covered in a lightly pigmented gofun, inset glass eyes, close cropped hair in the Western style, dressed in a Western military outfit with dark wool pants and jacket, red and white striped sash, metal sword at hip, wearing a cap, leather boots, seated on an Englishstyle saddle of leather with metal stirrups, leather reins, and a red felt blanket with embroidered trim detail; on one white stallion mount of papier-mache covered in a fine white gofun with inset glass eyes and painted details, fiber hair mane and tail, the other done in the keuesaiku style of silk fiber fur over a papier-mache body, the foot soldiers mounted on black wood. Meiji Era, circa 1900. $500/600
148. Musha-Ningyō (Warrior Doll) of Seated General with Bannerman
12 ½” (32 cm.) 23” including banner. Musha-Ningyō (warrior doll) depicting a seated general, with blue silk brocade surcoat over lacquered paper armor covered in silk crepe with metal fittings, a series of metal applique lozenges and a bold fuji (wisteria) crest on center, thick gold brocade obi tied at waist, and silk brocade hakama trousers, holding a gumbai battle fan in his right hand, seated cross-legged, long sword at hip, head of wood covered in gofun with painted details including okimayu (skybrows), lacquered paper eboshi cap, attended by a bannerman, Edo Period, 19th century. $1800/2000
Of a style usually associated with Toyotomi Hideyoshi, the skybrows painted on his forehead suggest an imperial peerage while the fuji (wisteria) crest on his breast plate argues for a different but undetermined identification.
149. Impressive Tenjin-Ningyō for the Tenjin Matsuri
22
½” (57 cm.) An elaborate display of the deified Sugawara Michizane, crafted of wood, depicted seated atop a series of raised dais in a manner similar to the imperial lord in the Hina Matsuri, Tenjin wearing a black court robe emblazoned with a large ume plum blossom crest, with sleeves flared to the side, head of wood covered in a pigmented gofun with painted details and inset glass eyes, sword at left hip, wearing a black kanmuri
court cap with a tall ei (tail), the bottom tier featuring a black lacquer frame and center panels bearing Tenjin’s signature ume plum blossom crest. 20th century. $2200/2500
Tenjin-Ningyō are closely connected with the annual Tenjin Matsuri festival held across Japan in midsummer. The festival dates from the 10th century and commemorates the Heian Period scholar, poet and politician who, after decades of power, was ultimately demoted and exiled. Following his death, a series of plagues and natural disasters hit the capital in rapid succession and these were attributed the wrathful spirit of Sugawara Michiazane. He was posthumously restored to his rank and a shrine built in his honor, and soon after deified as Tenjin, initially the god of storms but ultimately became known as the god of scholarship and learning. Shrines commemorating Tenjin soon spread across the country and annual celebrations and offering in his honor evolved into the Tenjin Matsuri. The public festival is
accompanied by the private display of Tenjin-Ningyō in the home.
149.1. Tsuchi-Ningyō Clay Doll Depicting Woman Holding a Doll
22” (56 cm.) The Tsuchi-Ningyō beautifully executed clay figure of a standing woman dressed in diagonally banded dress with kanoko (fawn spot) patterning, secured at the waist with an obi tie belt and obijime tie cords, an additional stylish yellow sash
tied jauntily around the waist, left arm slightly out from her side; in her right hand she cradles a doll depicting a young prince in formal jacket with family crests, his feet peeking out underneath his hakama trousers, her head tilted slightly to right and looking upwards with a bright smiling expression, hair elaborately arranged with pins and silk ties. Showa Era, 1930s. $800/1000
150. Carved Wooden Heads of Taisho Era
6” (15 cm.) Charming pair of heads fashioned of wood and covered in a lightly pigmented gofun with inset glass eyes, the faces executed with a high sense of realism, featuring different hairstyles, each with elaborate coiffure in real hair with assorted bekko combs and hair pins, mounted on shoulder armatures with kimono-like details. Taisho Era, 1920s. $1200/1500
151. Iki-Ningyō Head of a Bijin (Beautiful Woman)
7” (18 cm.) 8” including base. Iki-Ningyō (living doll) head of a Bijin (beautiful woman), realistically executed small-scale head of a woman with well carved features covered in a pigmented gofun with painted features, inset glass eyes, human hair arranged in a graceful coiffure, head and eyes positioned as if looking over her left shoulder, mounted on a wood base, restored condition, Meiji Era, circa 1900. $500/600
152. Hina-Ningyō Depicting Jo and Uba from the Noh Drama Takasago
11” (27 cm.) The elderly couple depicting Jo and Uba from the Noh drama Takasago are standing on wooden bases, with signature rake and broom in hand, wearing coordinated textile with Jo sporting a light green gauze hitatare surcoat with sleeve closures over silk brocade hakama trousers, while Uba wears a uchikake outer kimono over a silk brocade inner kimono that matches Jo’s hakama, each with head of wood covered in gofun with painted details, wizened features and white hair to convey their great age. Late Meiji/Early Taisho Era, Early 1900s. Exhibited at Japan Society (1996), and shown in the book Ningyō: The Art of the Human Figurine, p. 46. $1800/2000
152.
153. Shicho (Footmen) Pair for the Hina Matsuri Girl’s Day
9” (23 cm.) 10” with cap. Standing Shicho (footmen) pair for the Hina Matsuri Girl’s Day display, dressed in contrasting green and brown silk surcoats with sleeve drawstrings, and purple and green hakama trousers secured just below the knees, barefoot, heads of wood covered in gofun with painted details, one with a frowning expression and shaved pate, the other with a happy expression, mounted on wood bases, Edo Period, 19th century. $600/800
155. Kokin-Bina Imperial Lord and Lady Pair for the Hina Matsuri Girl’s Day
10 ½” (27 cm.) 15” including crown. Kokin-bina Imperial Lord and Lady Pair for the Hina Matsuri Girl’s Day display, attired in modified court-accurate yusoku textiles, the me-bina lady in futae-orimono double brocade robes of green with repeated hexagonal lozenge, kakeobi shoulder sash with elaborately knotted tassels, suspending a gauze train, holding a hiogi fan with silk tassels, the o-bina lord wearing a blue silk surcoat over sashinuki trousers with kani-arare checkerboard pattern, seated crosslegged, both with head of wood covered in gofun with painted details including okimayu (skybrows), blackened teeth, she wearing an elaborate crown, he a kanmuri court cap and holding a shaku scepter, seated on tatami bases with silk banded fronts, Edo Period, 19th century.
$1800/2000
156. Isho-Ningyō (Fashion Doll) of Hotei
9” (23 cm.) Isho-Ningyō (fashion doll) of Hotei, whimsical figure of the popular fat-bellied god of good fortune, is depicted seated in black silk jacket with brocade trim and a pasteresist dyed silk under kimono with purple hakama trousers and stout boots, the jacket front partially open exposing his chest and protruding belly, happy and expressive face with large pendant earlobes
symbolic of his divinity, holding a fan in his right hand, fashioned of wood and covered overall in a lightly pigmented gofun with painted details. Edo Period, 19th century. $800/1000
157. Pair of Hina-Ningyō Kashira Heads
6” (15 cm.) Pair of Hina-Ningyō kashira male and female heads for the dairi-bina imperial lord and lady, with long kiri paulownia wood necks, faces well rendered with slightly open mouth expression, covered in gofun with inset glass eyes and painted details
159.
including eyelashes, ohaguro blackened teeth and okimayu skybrows, painted hair details, necks bearing size indicator “schichi” (7), mounted in wood base. Meiji Era, circa 1900. $200/300
158. Isho-Ningyō (Fashion Doll) of a Young Boy
10” (25 cm.) Isho-Ningyō of a standing young boy, dressed in a brown silk crepe outer kimono with purple lining secured at the waist by a red sash belt, over a black birodo velvet inner kimono, head of wood covered in gofun with painted details, silk hair in a child’s style with two side locks and a topknot, mounted on a wood base. Late Edo/Early Meiji Period, Mid-19th century. $250/300
159. Chin-Biki (Court Lady) with Dog
9” (23 cm.) 11 ½” including base. The standing Chin-biki (court lady) wearing a junihitoe twelvelayer court gown with embroidered sleeve ends and long nagabkama trousers, is holding a silk cord attached to a chin dog done in papier-mache with fur done in the keuesaiku technique, her head of wood covered in gofun with painted details, silk hair. Edo Period, 19th century. $800/1000
159.1. Isho-Ningyō (Fashion Doll) of Kabuki Actor
13” (33 cm.) 15” including base. The standing Isho-Ningyō of a Kabuki actor, wearing a black outer robe with left sleeve thrown back to reveal inner purple chirimen silk crepe kimono, with head of wood covered in gofun with painted details, comical and exaggerated facial expression, with large carved eyes, and an open mouth revealing teeth, mounted on a lacquered wood base with front aperture cloth. Edo Period, 19th century. $300/400
160. Gosho-Ningyō (Palace Doll) with Dendentaiko Toy Drum
11” (28 cm.) 16 ½” including drum. Seated Gosho-Ningyō with legs thrust forward is holding aloft in his left hand a dendentaiko toy drum with silk brocade tympanums, wearing a haragake bib with embroidered designs, crafted of wood and covered in a fine white
gofun with painted details and silk fiber hair with a nakasori bald spot at top, positioned on a silk brocade zabuton cushion, restored condition, Edo Period, 19th century. Exhibited at the Japan Society, New York (1995) and shown in the book The Art of the Human Figurine, p.77. $3800/4000
160. Drum 160. Embroidery detail showing money mallet, scared pearl, and coin
161. Gosho-Ningyō (Palace Doll)
Holding a Bowl
3 ½” (9 cm.) Simple seated Gosho-Ningyō wearing a haragake bib with painted details, holding a colorful bowl, fashioned of wood between his legs, covered in gofun with painted details and real hair, Edo Period, 19th century. $200/300
162. Standing Clay Gosho-Ningyō
Depicting a Rotund Young Boy
8” (20 cm.) Standing clay Gosho-Ningyō depicting a rotund young boy holding a tasseled cord, wearing a sleeveless vest in blue with well painted floral designs on a lattice background, haragake bib of applied silk brocade, painted details including a mizuhiki presentation ribbon, silk fiber hair in two long side braids, old repairs, Showa Era, 20th century. $200/300
163. Gosho-Ningyō (Palace Doll) Holding a Lion Mask and
Small Rabbit
5” (13 cm.) Unusual depiction of a kneeling boy with a bright red shishimai lion dance mask in his right hand, with his left hand resting on the back of a small rabbit, wearing a haragake bib with white chrysanthemum blossom on center, the lion mask with a long head cloth bearing a floral pattern, the small rabbit recumbent at his left knee with painted designs, fashioned of toso wood composite and covered in gofun with painted details, happy expression, and long silk hair, Edo Period, 19th century. $ 800/1000
161.
164. Chigo-Bina (Court Page) Pair for the Hina Matsuri
5” (13 cm.) 7” including base. Unusual chigo-bina (court page) duo depicting young courtier youths wearing matching outfits of silk brocade, heads of wood covered in gofun with painted details, silk hair done in a chigo-wa hairstyle with double loops set atop the head typical of court pages, seated atop box-like bases with banded silk brocade fronts. Showa Era, 1930s, for Hina Matsuri Girl’s Day display. $800/1000
165. Shicho (Footmen) Trio for the Hina Matsuri
7” (18 cm.) Three shicho (footmen) as attendant figures are depicted as happy, sad, and angry drunks, attired with white silk sleeveless coats under silk crepe under kimono in green, orange and purple, and light blue green silk hakama trousers, bare feet, Meiji Era, circa 1900. $600/800
166. Gonin-Bayshi Musician
Set for the Hina Matsuri Girl’s Day Display
6” (15 cm.) 7” including base. Gonin-bayshi musician set for the Hina Matsuri Girl’s Day display features five young noble boys with matching blue silk brocade textiles, consisting of a chanter, a flautist, two hand drummers, and a taiko drum player (instruments not included), drummers with outer sleeves thrown back to reveal inner beni safflower, arranged red silk brocade kimono with tasseled sleeve tie closures, rounded heads of wood with individualized features and expressions, covered in gofun with painted details, silk fiber hair arranged in children’s styles, heads and hands positioned to play appropriate instruments, the hand drummer seated on lacquered wood stool, Edo Period, late 18th century. $2200/2500
167. Oshie-Ningyō Wall Hanging Depicting a Hina-Matsuri Display
23” (58 cm.) h. 28 ½” wide. Oshie-Ningyō wall hanging depicting a hina-matsuri display, consisting of ten well-executed flat dolls done in the oshie-style with padded stiffened paper
covered in silk and painted, depicting the dairi-bina imperial couple, three ladies-in-waiting and five musicians, each figure expressively rendered with the musicians in particular showing great enthusiasm for their performance, mounted on a tsudare bamboo screen and framed. Taisho Era, circa 1920 (mounting is contemporary). $800/1000
168. Tokushima Ningyō Puppet Head of Shutendoji
14” (36 cm.) Tokushima Awa Deko Ningyō Kashira puppet head of Shutendoji, the sake-loving demon, carved of kiri wood with movable mouth mounted on a wood block, lightly pigmented gofun finish with painted details, long silk hair. Showa Era, 20th century. $900/1000
Shutendoji was a mountain ogre who resided in the caves on Mount Oe outside of Kyoto. He brought terror on the capital by capturing maidens to serve in his “court” and eating them periodically. The famous warrior Minamoto Raiko (948-1021) was enlisted by the emperor to subdue the horrible creature. Raiko succeeds in subduing Shutendoji by getting him drunk and cutting off his head, which he presents to the emperor as proof. The tale of Shutendoji is particularly popular in the cycle of stories performed by the Tokushima puppet tradition known as Awa Deko Ningyō based on the island of Tokushima in the Inland Sea of Japan. Frequently the heads used for Shutendoji contain a karakuri or mechanical element, such as opening and closing mouth, eyes, and horns that pop out of the head.
169. Isho-Ningyō Depicting Fukurokuju, God of Longevity
11” (28 cm.) 12” including base. Isho-Ningyō depicting
Fukurokuju, one of the Shichigofukujin (Seven Lucky Gods) representing longevity, with his signature tall cranium and thick earlobes symbolizing his divinity, dressed in Chinese style robes, head of wood covered in a lightly pigmented gofun with a white silk beard and mustache, inset glass eyes, staff in his right hand. Showa Era, 1930s. $300/500
170. Pair of Mingei
Gosho-Ningyō (Folk-Style Palace Dolls) Depicting Drummers
8” (20 cm.) Pair of mingei Gosho-Ningyō (folk-style palace dolls) depicting two drummers, one seated and one standing, crafted of papier-mache covered in a white gofun with painted details, silk fiber hair, with attenuated limbs, wearing a silk haragake bib (replaced), one holding drum sticks in his hands, in front of a large drum, 20th century. $500/800
171. Iki-Ningyō (Living Doll) of Man With Two Large Brass Lanterns
29” (74 cm.) 30” including base. Iki-Ningyō (living doll) depicting a standing barefoot male figure holding two large brass lanterns, dressed in a simple kimono (replaced), his right hand extended, exaggerated facial details with a wide smiling expression, human hair and eyebrows, pigmented gofun, executed in a style often referred to as iki-Ningyō (living doll) implying a high level of realism in the carving, mounted on a red lacquered wood base. Early 20th century. $2200/2500
Iki-Ningyō emerged in the mid-19th century as life-sized hyper-realistic figures that were made for public exhibition. By the end of the 19th century they had morphed into smaller scale, but still realistically rendered figures designed for the burgeoning tourist trade, capturing scenes from “everyday” Japanese life, particularly samurai, geisha and tradespeople.
172. Gonin-Bayshi Musician Set for the Hina Matsuri Girl’s Day Display
13” (33 cm.) Gonin-Bayshi musician set comprises five young noble boys with matching silk brocade textiles, consisting of a chanter, a flautist, two hand drummers, and a taiko drum player, drummers with outer sleeves thrown back to reveal inner silk brocade kimono in green with dragon and cloud motif, each with head of wood covered in gofun with painted details, silk fiber hair arranged in children’s styles with mostly shaved heads, heads and hands positioned to play appropriate instruments (not included), the hand drummer seated on lacquered wood stool, Edo Period, 19th century. $2200/2500
and lady include the o-bina male wearing a kanmuri court cap with a standing gauze ei tail, attired in blue silk brocades with a dragon and cloud motif, with a banded front and broad, shelf-like trousers in the Kyoho style; the me-bina female wearing an elaborate crown, with full beanbag-like hakama trousers and six thickly padded outer robes over six thinner inner kimono to form the classic imperial junihitoe twelve layered gown, with a kake-obi shoulder sash secured at waist supporting a gauze train; both with head of wood covered in a fine white gofun with painted details with blackened teeth and okimayu (skybrows), silk fiber hair, Edo Period, 18th century. $2200/2500
173. Kyoho-Bina Imperial Lord and Lady for the Hina Matsuri Girl’s Day Display
12 ½” (32 cm.) 15” including crown. Kyoho-bina imperial lord
173. Embroidery detail
173. Crown
174. Mixed Dairi-bina (Imperial Lord and Lady) for the Hina Matsuri Girl’s Day Display
8” (20 cm.) 9” including crown. The o-bina male attired in beni safflower orange silk brocades with a banded front and broad, shelf-like trousers in the Kyoho style, the me-bina female with full beanbag-like hakama trousers and a blue brocade outer robe over layers of padded and unlined inner kimono, heads of wood covered in a fine white gofun with painted details with blackened teeth and okimayu (skybrows), silk fiber hair, Edo Period, 18th century. $800/1000
175. Bayashi Musician for the Hina Matsuri Girl’s Day Display
7” (18 cm.) Bayashi musician, depicting a noble boy, is wearing a silk brocade kamishimo wide-shouldered sleeveless coat and pants, over a silk crepe inner kimono with embroidered sleeves, having rounded head of wood covered in gofun with painted details, silk fiber hair arranged in children’s style, Edo Period, 19th century. Exhibited at Japan Society (1996), and shown in Ningyō: The Art of the Human Figurine, p. 45. $800/1000
174.
176. Zuijn (Minister Pair) for the Hina Matsuri Girl’s Day Display
11” (28 cm.) 16” from base to cap. The Zuijn (Ministers of Left and Right) are seated atop benches with painted draped tiger pelts, with apposing legs raised sporting matching blue silk brocade hakama trousers, silk brocade surcoats in green and gold with dragon and cloud motif, clutching arrows in their right hands, swords at hip, bow in left hand and arrow quivers at back, lacquered paper kanmuri court caps, each with face of wood with strong features covered in gofun, the udaijin Minister of the Right depicted as a younger man with white gofun and bushy black eyebrows, the sadaijin Minister of the Left depicted
as an old man with pigmented gofun, wizened features and white hair. Edo Period, 19th century. $2000/2200
Zuijin play a symbolically important role in many Japanese traditions. At Shinto shrines one finds zuijin flanking the entry gates to the shrine precincts serving as guardian figures. The zuijin were also an early addition to the Hina Matsuri display, protecting the dairi-bina imperial couple. This particular style of zuijin, seated atop benches with their one leg raised at the knee, is typically associated with the Tenjin Matsuri display of Ningyō, connected to the Heian Period courtier Sugawara Michizane (845-903), deified as Tenjin, the god of scholarship.
176. Detail
177. Unusually Elegant TakedaNingyō (Theatrical Doll)
14” (36 cm.) 17 ½” including base. The Takeda-Ningyō, depicting a standing male with right leg thrust to the side, left arm out to the side, is holding a fan in his right hand, standing next to a pine tree, wearing rich green silk brocade kimono with outer sleeved thrown back revealing embroidered silk crepe under kimono featuring the tachibana flowing orange crest and a growling bear, head of wood covered in w fine white gofun with painted features, with a shaved pate and long sidelocks, mounted on a black lacquer base with a fabric front aperture cloth. Late Edo Period, mid-19th century.
$900/1100
178. Delightful Miniature
KamoStyle Hina-Ningyō
Set
4 ½” (11 cm.) 6 ½” including base, screen measures 11”. Miniature Kamostyle Hina-Ningyō set for the Hina Matsuri Girl’s Day display features small wood dolls covered with applied textiles in the kimekomi technique depicting the dairi-
bina (imperial couple), elegantly rendered with the o-bina (lord) wearing a dark coat with tatewaku undulating line pattern holding a shaku scepter in his right hand, sword at his left hip, and sporting a gold kanmuri court cap, the me-bina (lady) wearing a light green coat with tortoise shell pattern, holding a painted fan with silk tassels, both with refined faces, painted details include hair and okimayu skybrows; gonin-bayashi musicians including a chanter with fan, two tsuzumi shoulder drums and two taiko drums (one missing), and finally a pair of shicho footmen holding game cocks, (screens included). Taisho Era, Early 20th century.
The set was exhibited at the Japan Society (1996) and published in Ningyō: The Art of the Human Figurine, p. 43. $2200/2500
Kamo-Ningyō were traditional miniature souvenir dolls produced at the Kamo Shrine in Kyoto beginning in the 18th century. Using the kimekomi technique of textiles groove-cut and applied over willow wood, they depicted typical individuals seen in and around Kyoto: peddlers, monks, Kabuki actors, courtesans, samurai, nobility, etc. Over time other areas of the country and individual artisans began producing similar styles of miniature dolls, though still retaining the general term “Kamo-Ningyō.”
10” (25 cm.) 14” including crown, dome measures 18”. Imperial lady, executed in an exceptionally lavish kokin-bina style, is wearing a junihitoe 12 layered gown set with finely embroidered sleeves featuring long tailed ho-o birds alighting in a kiri paulownia tree, a yusokustyle kake-obi draped over
179. Me-bina Imperial Lady for the Hina Matsuri Girl’s Day
179. Embroidery detail 179.
the shoulders, supporting a train in back, head of wood covered in gofun with painted features including okimayu skybrows, wearing a large metal crown, and displayed on an oval wood base under glass dome. Edo Period, circa 1850. $900/1100
180. San’nin Kanjo (Ladies-in-Waiting) for the Hina Matsuri Girl’s Day Display
7” (18 cm.) Classic set of court attendants wearing matching outfits consisting of red nagabakama long trousers over white figured silk kimono with red lining, two figures standing, one depicted kneeling, each with head of wood covered in gofun with painted details including okimayu (skybrows), inset glass eyes, silk hair in a long single braid down the back, Showa Era, 1930s. $100/150
181. Musha-Ningyō (Warrior Doll) or Takenouchi no Sukune
15” (38 cm.) 18” including cap. Takenouchi no Sukune, the faithful advisor to the Empress Jingu is depicted wearing gold embroidered gauze outer robe and paired with gold lacquered paper armor with silk lacings and gold lacquered paper eboshi court cap, head of wood with lightly pignmented gofun, wizened features expressing his great age, white silk fiber hair and chin beard. Meiji Era, circa 1900. $300/400
182. Standing Gosho-Ningyō with Presentation Ribbon
10” (25 cm.) Standing Gosho-Ningyō of papier-mache covered in a fine white gofun with painted details, depicted in an animated position with weight on his right leg, wearing a haragake bib and with well detailed presentation ribbon at crown. Meiji Era, circa 1900. $200/300
183. Gosho-Ningyō (Palace Doll) Holding a Hime-Daruma Toy Doll
4” (10 cm.) Diminutive kneeling boy depicted holding a princess daruma tumble toy between his knees, hands resting lightly on the sides of its head, classic Gosho-Ningyō fashioned of toso wood composite covered overall in a fine white gofun with painted features including an elaborate mizuhiki presentation ribbon on his forehead, silk fiber side locks. 20th century. $200/300
184. Gosho-Ningyō Holding a Colorful Dish
4” (10 cm.) Diminutive kneeling boy depicted holding a colorful bowl between his knees, hands clasping the sides of bowl, classic Gosho-Ningyō fashioned of toso wood composite covered overall in a fine white gofun with painted features including an elaborate mizuhiki presentation ribbon
184.
182.
183.
on his forehead, silk fiber side locks. 20th century. $200/300
185. Pair of GoshoNingyō (Palace Dolls) Depicting a Kyogen Performance
3 ½” (9 cm.) 4 ½” including cap. Two kneeling GoshoNingyō, one with his left leg raised holding a gourd liquor container, wearing differing styles of eboshi caps, fashioned of clay and covered overall in a fine white gofun with painted details, depicted with haragake bibs, 20th century. $300/400
186. Japanese Ichimatsu Boy by Toko (Iwamura Shokensai)
17” (43 cm.) Created by Toko (Iwamura Shokensai, 1892-1968, the Kyoto-style Ichimatsu of white gofun, has well formed features with heavy eyelids and full lips, inset glass eyes, painted details, silk fiber hair done in a chasen mage style for young boys, with long side locks and long back tuft, with finely formed hands with tsumekiri fingernails and creased details, wearing a blue silk outer haori with the mitsudome (triple jewel swirl) crest on his shoulders, elbows and yoke, lower hem and lower sleeve field in yellow with tsuzume hand drum designs, matching inner kimono secured at waist by a gold/brown silk brocade obi tie belt, Showa Era, 1930s. $800/1000
187. Clay Haihai GoshoNingyō (Crawling Baby Palace Doll)
5” (13 cm.)
Cherubic figure with overly large head and inflated arms and legs in classic gosho style, positioned on his belly with right hand raised to his chin, wearing a haragake bib, fashioned of toso wood composite and covered overall in a fine gofun with painted details including a mizuhiki presentation ribbon on his forehead, placed on a zabuton cushion made of kanoko chirmen (fawn spot silk crepe) in red, purple, and green simulating clouds on a blue ground. 20th century. $600/800
Haihai or crawling baby gosho are seen as being directly related to the ancient hoko or stuffed crawling baby doll placed at a child’s bedside for protection. While the hoko is made entirely of stuffed silk, the haihai is generally a fully rendered doll with the body carefully carved to depict a crawling baby or in more modern forms, a baby lounging on his stomach. In gosho form they lose their overtly
talismanic properties and, instead, are adored for their kawaii (cute) aspects. The mizuhiki was a popular design element on gosho intended specifically as a gift. Simulating a forelock elaborately tied with a red ribbon, mizuhiki added an auspicious, gift-giving element to the dolls and is almost completely restricted to the gosho form.
188. GoshoNingyō (Palace Doll) Holding a Treasure Sack
4” (10 cm.) Cute kneeling boy holding aloft in his left hand a treasure sack in gold with painted cloud designs, dressed in a red chirimen silk crepe haragake bib with embroidered flower designs and a matching red zukin cap also embroidered, positioned on a red zabuton cushion, classic GoshoNingyō fashioned of toso wood composite covered overall in a fine white gofun with painted feature, Taisho Era, early 20th century. $250/300
189. Gosho-Ningyō (Palace Doll) Holding a Tai Seabream
5” (13 cm.) Plucky kneeling Gosho-Ningyō, holding a red seabream symbolizing daily provision, is crafted of toso wood composite covered in a fine white gofun with painted details, wearing a fitted silk crepe haragake bib with painted and gold details and wearing a matching zukin cap, the tai painted a vivid red with gold details and blue eyes. Early 20th century. $150/200
190. Standing Gosho-Ningyō (Palace Doll)
8” (20 cm.) Clay Gosho-Ningyō covered overall in a fine white gofun with painted details and silk fiber hair side locks, wearing an embroidered silk haragake bib and a satin weave silk sleeveless outer jacket tied in front, holding red silk crepe cords between his outstretched hands, along with a fanciful rocking horse with large eyes and elaborate silk brocade and silk crepe trappings, 20th century. $800/1200
191. Gosho-Ningyō (Palace Doll) of a Falconer
4” (10 cm.) Kneeling Gosho-Ningyō of clay covered in a fine gofun with painted details,
wearing a small eboshi cap, red silk crepe haragake bib with painted designs, and depicted holding a falcon on a perch in his left hand tethered by a leash passing to his right hand. Showa Era, 20th century. $200/300
192. Kimekomi Gosho-Ningyō Depicting a Kyogen Performance
3” (8 cm.) 4 ½” including cap. Delightful contemporary gosho depicting two actors in a kyogen play, one holding a drum and the other an open fan, executed in what is sometimes referred to as the tomago (egg) style with slightly flattened oblong heads as opposed to the overtly round head of a classic gosho, the positioning on these figures is quite dramatic with drummer
holding his tsuzumi hand drum far to the side and his right hand pulled way back to give it a thump, the other actor using his fan to great effect, the silk crepe textiles are applied in the kimekomi style in which the base figure is well carved to simulate flowing robes and then the textile is tightly applied directly to the wood and secured in fine grooves along the contour lines, each wearing varying styles of eboshi caps, mounted on black lacquer bases. 20th century. $600/800
193. Sosaku-Ningyō (Art Doll) by Okamoto Gyokusui IV
5 ½” (14 cm.) 6” including base. Created by Okamoto Gyokusui IV (1898-1972). depicting a pair of young girls kneeling at their toilette staring intently into a hand mirror and applying makeup with their little finger, executed in Gyokusui’s signature gosho-like form, featuring formed hair secured with a painted ribbon, holding a mirror in left hand, on a black lacquered base, 20th century. $500/600
Gyokusui was an important artist in the Art Doll Movement that began in the late 1920s and sought to break out of the constraints of form and subject matter within traditional Ningyō categories, with Gyokusui working in the gosho palace doll form.
192.
194. Unusual Isho-Ningyō (Fashion Doll)
10” (25 cm.) 11 ½” from base to top of loom. Isho- Ningyō (fashion doll) of a maiden positioned at a complex and accurately rendered takabata treadle loom, with a partially woven bolt of silk fabric attached, dressed in a red and black striped kimono with a well-woven obi tie belt, head and hands of wood covered in a fine white gofun with inset glass eyes and painted details, silk hair dawn up into a refined coiffure with silk ties and a beko pin ornament. Showa Era, 20th century. $600/800
Dolls depicting weaving women are sometimes known as Hata-ori-me Ningyō (Weaving Goddess doll). Hata-ori-me is the star goddess, paired with Hikoboshi, the herder, representing the star systems of Vega and Altair, form the focus of the Tanabata Festival in the 7th lunar month, and dolls depicting weavers are a popular display during this period.
atrophied. Because of this in popular culture, Daruma is frequently depicted as a legless tumble toy wrapped deep in his cowl.
195. Pair of Daruma-Style Kobe-Ningyō
3” (8 cm.) Two Daruma-style Kobe-Ningyō are crafted of boxwood, the smaller with a body pigmented red to simulate Daruma’s famous red cowl, the larger with a red face, both with bone eyes that slide in and out as the figure is manipulated. $350/500
Kobe-Ningyō are simple mechanical trick dolls manufactured in the port of Kobe beginning in the late 19th Century. They tend to feature a box base with a small handle that propels the creature to various actions. Many of the figures depict obaka or ghosts. Daruma is the founding patriarch of Zen Buddhism and was said to have meditated in a single position for so long that his legs
196. Haihai Gosho-Ningyō (Crawling Baby Palace Doll)
4 ½” (11 cm.) Crawling Gosho-Ningyō, wearing a red silk haragake bib with painted sacred treasures motif, is made of toso wood composite covered in gofun with painted details, silk fiber hair, resting on a fawn spot chirimen, silk crepe zabuton cushion, 20th century. $200/300
197. Musha-Ningyō (Warrior Doll) Pair of Toyotomi Hideyoshi and Vassal
12 ½” (32 cm.) 20” including spear. Warrior doll Hideyoshi, depicted seated cross legged, wearing a blue silk brocade hitatare surcoat with repeated chrysanthemum blossoms, black velvet accents under lacquered paper armor with silk lacings and metal fittings with a large kiri (paulownia) crest on the cuirass, thick purple obi tie belt, long sword at hip, wearing his signature Chinese style cap with side wing flanges; accompanied by a kneeling vassal with a light blue sleeveless vest with black brocade lapels with embroidered designs, under kimono with left sleeve of black velvet covered with a wrapped thread lattice, kneeling on right knee, holding a yari spear in his right hand with a mother-of-pearl studded shaft, kabuto helmet with metal fittings, well carved face with aggressive features, furrowed brow, painted black facial hair. Late Edo Period, mid-19th century. Exhibited Japan Society (1996) and shown in Ningyō: Art of the Human Figurine, p. 54. $4000/5000
Tigers are not native to Japan and the tiger on the sleeve hearkens to Hideyoshi’s attempted invasions and subjugation of the Korean peninsula in the 1500s, where tiger hunting became a favorite pastime of Japanese samurai as they moved across the peninsula. This Takeda-Ningyō likely commemorated one of the many Kabuki interpretations of Hideyoshi as the Taiko that were popular in the early 1800s.
198. Gonin-Bayshi Musician Set for the Hina Matsuri Girl’s Day
13 ½” (34 cm.) Group of five young noble boys with matching blue silk brocade textiles, consisting of a chanter, a flautist, two hand drummers, and a taiko drum player, drummers with outer sleeves thrown back to reveal inner beni safflower arrange red silk brocade kimono with tasseled sleeve tie closures, rounded heads of wood with individuated features and expressions, covered in gofun with painted details, silk fiber hair arranged in children’s styles, heads and hands positioned to play appropriate instruments (not included), the hand drummers seated on lacquered wood stools, Edo Period, late 18th Century. $2200/2500
198. Detail
199. TakedaNingyō (Theatrical Doll) Depicting a Warrior
17” (43 cm.) 20 ½” including base. Takeda-Ningyō depicting a warrior is wearing a blue silk brocade outer jacket with sleeves thrown back to reveal inner silk crepe kimono with embroidered dragon design on sleeves, with the unusual addition of thigh guard armor of stiffened paper with a chirimen sik crepe cover, silk lacing and metal fitting, head of wood covered in gofun with painted details and a formed top knot (broken), mounted on a black lacquered stagelike base with a front aperture cloth bearing an embroidered chrysanthemum on center. Edo Period, 19th century. $800/1000
200. Musha-Ningyō (Warrior Doll) Duo Depicting the Gempuku (Coming of Age) Ceremony
10” (25 cm.) 13” including cap. MushaNingyō duo depicting the comimg of age ceremony wearing asa (bast fiber) suo kimono in blue with cranes, black with dragons and stylized lightning, over lacquered paper suits of armor with metal fittings and silk lacing,
199.
heads of wood covered in gofun with painted details, exaggerated eye brows, real hair, wearing hikitate-eboshi caps, Edo Period, 19th century. $1800/2000
The Gempuku coming of age ceremony was an important rite of passage for young samurai and included the adoption of an adult name, the cutting of the front bangs into an adult hairstyle with shaved pate, and the assumption of adult duties.
201. Powerful Musha-Ningyō (Warrior Doll) of Kato Kiyomasa
10 ½” (27 cm.) 13” including cap. Kneeling warrior figure of Kato Kiyomasa (1562-1611), dressed in a black asa (bast fiber) outer kimono with dramatic white circular crests on the shoulders and sleeves, with silk brocade lapel, wearing matching hakama trousers with circular crest on each knee, sleeves thrown back to reveal silk brocade hitatare kimono under a gold lacquered paper suit of armor breast plate with metal fittings and blue silk lacings, long sword at hip, head of wood and covered in a pigmented gofun with inset glass eyes and painted details, wearing a lacquered paper eboshi cap, Showa Era, 1930s. $1800/2000
Kato Kiyomasa was regarded as one of the most feared and fierce warriors in Japanese history. A vassal to Toyotomi Hideyoshi, Kiyomasa was one of Hideyoshi’s “Seven Spears,” and played a significant role in Japan’s invasion and attempted subjugation of Korea in the late 16th century. The circular crest, referring to a bow string winder, became his distinctive emblem and was often used a shorthand reference to Kiyomasa. He, along with Hideyoshi, became popular Boy’s Day figures in the 1st half of the 19th Century, following the relaxation of censorship rules that had prohibited the depiction of figures from that time period.
202. Kazari-Uma (Battle Horse) for May 5th Boy’s Day Display
16 ½” (42 cm.) Elaborately caparisoned horse with silk tassels, lacquered saddle, purple and white striped silk crepe reins, metal horse bit, nicely rendered papiermache form cover in silk hair in the keuesaiku technique, with mane decorated with silk ties, inset glass eyes, minor staining, fading, signs of wear. Meji Era, circa 1900. Exhibited at Japan Society of New York, 1996, and shown in the book, Ningyō: The Art of the Human Figurine, p. 50. $600/800
203. Standing Gosho-Ningyō Depicting an Ashigaru Foot Soldier
12 ½” (32 cm.) 13” including base. Standing GoshoNingyō depicting an ashigaru foot soldier with Jingasa helmet, is depicted in a wide stance holding a pole, dressed in silk brocades including a sleeveless vest, inner kimono, hakama trousers, and straw sandals, sword at left hip, mounted on a white wood base. Taisho Era, 1920s. $2000/2500
202.
204. Amusing Boy’s Day Child Warrior on Horse
11” (28 cm.) 20” from base to cap while seated on horse. The amusing Boy’s Day child warrior posed astride a horse has head of wood covered in a lightly pigmented gofun with additional shading around the eyes and cheeks, inset glass eyes, silk hair, depicted with a fleshly, rounded face
and wearing a samurai outfit complete with lacquered paper armor, a tall eboshi cap, long sword at hip, and bow in his right hand, arrow quiver on his back, mounted astride a papier-mache caparisoned white horse done in the keuesaiku technique with red silk tassels, mounted on a wooden base. Showa Era, 20th century. $800/1000
204. Detail
