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Fine Netsuke & Sagemono AUCTION Friday, 9 May 2025

Fine Netsuke & Sagemono AUCTION Friday, 9 May 2025, 1 pm CET

CATALOG NE0525

EXHIBITION IN OUR NEW SHOWROOM 5 - 8 May 10 am – 6 pm 9 May 10 am – 12 pm as well as by appointment

GALERIE ZACKE Zelinkagasse 6 1010 VIENNA AUSTRIA

Tel +43 1 532 04 52 Fax +20 E-mail office@zacke.at www.zacke.at

IMPORTANT INFORMATION

According to the general terms and conditions of business of Galerie Zacke Vienna, Founded 1968, SZA Versteigerungen & Vertriebs GmbH, 1010 Wien, online at www.zacke.at ABSENTEE BIDDING Absentee bids are carried out under the regulations of the terms of business of Galerie Zacke, SZA Versteigerungen & Vertriebs GmbH, which requires written submission of your purchase limit. Orders without purchase limits cannot be processed. Only the submitted lot number of the auction lot is binding for the processing of the absentee bid. The place of jurisdiction is Vienna, Austrian Law and Austrian jurisdiction are exclusively applicable for all legal questions arising from the business relationship. Absentee bids for this auction will be accepted until the day of auction by 10:00 a.m. We regret that absentee bids received after the time stated above will not be processed until after the auction. PLEASE SEND ABSENTEE BIDS FOR THIS AUCTION TO: Fax: +43 1 532 04 52 20 or Email: office@zacke.at or Mail: Galerie Zacke, Zelinkagasse 6, 1010 Wien, Austria, Europe WE ACCEPT THE FOLLOWING METHODS OF PAYMENTS: • Cash • Certified or personal check • Bank transfer (please inquire to receive our bank account information) • Credit card (Visa, MasterCard, Amex) up to EUR 5.000 - higher amounts require prior approval and are subject to service fees TELEPHONE BIDDING It is generally possible to bid by telephone during the auction. Please fill out the absentee bidding form enclosed in this catalog and include your telephone number at which you can be reached during the auction. In the “bid in euro” column please write “TEL” and then send us the completed absentee bidding form. Galerie Zacke will call you on the day of the auction, on the telephone number provided, 5 lots before the lot you are bidding on and the bidding will commence at the starting price, as stated in the catalog. If Galerie Zacke cannot reach you during the auction, Galerie Zacke will bid the starting price on your behalf. ESTIMATES AND STARTING PRICES The auction will begin with the starting price and written bids will be accepted only with a minimum amount equivalent to the starting price.

COLOR AND CONDITION Auction lots will be exhibited for viewing prior to the auction, thus offering all interested customers the opportunity to examine the quality and condition of the works exhibited. The catalog illustrations are intended to assist customers during such preview. In illustrations, printed colors do not correspond exactly to the originals. The printed catalog images are not representative for the condition of the illustrated pieces. Hidden flaws and damages are indicated in the condition report. The illustrations in our online catalogs can be strongly magnified, so that most damages and restorations are well recognizable. ENDANGERED SPECIES / CITES INFORMATION Some items in this catalog may for example consist of ivory, rhinoceros-horn, tortoise shell, or some types of tropical wood, and are subject to the Convention on International Trade in Endangered Species of Wild Fauna and Flora [CITES]. Such items are marked with the symbol Ɏ on www.zacke.at and may only be exported outside the European Union after an export permit in accordance with CITES has been granted by the Austrian authorities. We would like to inform you that such licenses are typically not granted. COMPLAINTS At its auctions, Galerie Zacke sells consigned lots on behalf of third-party consignors. For this reason, any complaints related to purchased lots must be in accordance with §32-48 of the general terms and conditions of business of Galerie Zacke, which can be found on www.zacke.at IMPORTANT INFORMATION Whenever making a bid, whether personally or via an agent, in writing, online, telephone, or in any other way, the bidder fully and unconditionally accepts the Terms of Auction, the ‘Important Information’ section in the auction catalog, the Terms and Conditions (AGB) of Galerie Zacke, §1-50, the Fee Tariff, and the Bidding Increments table, all as published on www.zacke.at on the day of the auction THE ART LOSS REGISTER All items starting above EUR 2,000 have been checked by the Art Loss register.

SHIPPING AND TRANSPORT INSURANCE For domestic shipping Galerie Zacke (hereinafter called “the company”) charges in average Eur 15,- to Eur 50,- per item, depending on size and weight. These fees cover the costs of packing and shipping. Fees for bulky or fragile items, or international shipping will be quoted upon request. The purchased goods are transported at the risk of the customer following handover of the packaged item to the post office or another carrier which the customer agrees to through his/her submission of the purchase order. According to the specific wish of the customer, the auctioned goods may be insured for the value of the purchase price (highest bid and all surcharges). This insurance fee is 3% of the purchase price. For any lots with a purchase prices exceeding EUR 350,- the transport insurance will be automatically arranged by the company if it does not expressively receive the purchaser’s written denial of this service and signed waiver of claims. Payments due to the company under the insurance contract will be charged to the customer. The company is also entitled to assign claims under the insurance contract to the customer providing the terms of the insurance contract do not prevent this. In any case, the company is only required to make payment to the customer specifically if payment has effectively been received from the insurance company.

PEFC Certified This product is from sustainably managed forests and controlled sources PEFC/06-39-10

www.pefc.at

printed according to the Austrian Ecolabel criteria for printed matter (UZ 24), UW-Nr. 715

ABSENTEE BIDDING FORM

FOR THE AUCTION Fine Netsuke & Sagemono NE0525 ON DATE 9 May 2025

LOT NR.

LOT TITLE

BID IN EURO

PLEASE RAISE MY BID BY ONE BIDDING INCREMENT (ca. 10%) IF NECESSARY IMPORTANT NOTICE: Bids do not include buyer’s premium and VAT. Margin taxation applies. Items with added VAT are marked in the online catalog.

PLEASE CALL ME WHEN A HIGHER BID THAN MINE HAS BEEN RECEIVED MY PHONE NUMBER

TELEPHONE BIDS: If you like to bid by telephone, please state ‘TEL’ in the ‘BID IN EURO’ column instead of a Euro amount. Galerie Zacke will call you on the day of the auction, on the telephone number provided, 5 lots before the lot you are bidding on and the bidding will commence at the starting price, as stated in the catalog. If Galerie Zacke cannot reach you during the auction, Galerie Zacke will bid the starting price on your behalf. TERMS OF PAYMENT, SHIPPING AND COLLECTION:

NAME

ADRESS CITY, COUNTRY

With the signature on this form, the client instructs the auctioneer to bid on his behalf. The Euro amount up to which the auctioneer shall bid on behalf of the client is either stated in this form or will be communicated to the auctioneer via telephone during the auction. All absentee bidding shall be governed by the terms and conditions [AGB] of Galerie Zacke.

POSTCODE

The client agrees with his signature that he has read, understood and fully accepted the AGB of Galerie Zacke. Galerie Zacke, founded 1968, is a registered brand of SZA Versteigerungen & Vertriebs GmbH, Vienna, Austria.

PHONE NUMBER

DATE & SIGNATURE

CREDIT CARD PAYMENT PLEASE CHECK THE DESIRED CARD COLLECTION BY CLIENT WITH PAYMENT ON THE PREMISES IN CASH, BY CERTIFIED CHEQUE OR CREDIT CARD INVOICE PAYMENT VIA BANK WIRE AFTER RECEIPT OF INVOICE SHIPPING AFTER RECEIPT OF PAYMENT EXPRESS PARCEL SERVICE REQUIRED (ACCORDING TO TERMS AND CONDITIONS OF GALERIE ZACKE) SHIPPING INSURANCE REQUIRED (ACCORDING TO TERMS AND CONDITIONS OF GALERIE ZACKE)

GALERIE ZACKE Zelinkagasse 6, 1010 Vienna, Austria Email: office@zacke.at Tel: +43-1-532 04 52 Fax: +43-1-532 04 52 20

AMEX

MASTERCARD

VISA

NAME ADDRESS CARD NUMBER EXPIRY DATE

SECURITY CODE

IMPORTANT NOTICE: Whenever making a bid, whether personally or via an agent, in writing, online, telephone, or in any other way, the bidder fully and unconditionally accepts the Terms of Auction, the ‘Important Information’ section in the auction catalog, the Terms and Conditions (AGB) of Galerie Zacke, §1-48, the Fee Tariff, and the Bidding Increments table, all as published on www.zacke.at on the day of the auction.

TERMS OF AUCTION § 1) The auction shall be carried out in accordance with the provisions of the rules of procedure of GALERIE ZACKE©, SZA VERSTEIGERUNGEN UND VERTRIEBS GMBH, Zelinkagasse 6, 1010 WIEN (hereinafter referred to as the company) as well as in accordance with sections 244-246 of the GEWERBEORDNUNG [Industrial Code] of 1994. The auction shall be carried out on commission. The auctioneer shall be entitled to withdraw lots exceptionally, to conduct the auction deviating from the order of the catalog numbers and to offer lots jointly. In the event of any dispute concerning a double bid or if the auctioneer has missed a bid, the auctioneer shall be entitled to revoke acceptance of a bid and to continue auctioning the item. The figures stated in the catalog shall be the highest bid in Euro (€) expected by the respective expert. As a rule, the bid shall be increased by 10% of the last bid. (See table of the bidding increments). § 2) The acceptance of a bid shall be granted to the highest bidder unless a hidden reserve has been agreed upon with the consignor of the item in question. Such a hidden reserve (also called limit or just reserve) shall be the minimum price under which the item will not be sold during the auction. This reserve will be disclosed upon request and after the auction only and may exceed the estimate. The auctioneer will in this case bid on behalf of the seller against all other bidders until the reserve has been reached. If a reserve is not reached during the auction, the auctioneer will knock down the item to the highest bidder at the final bid, but the sale will be conditional of the acceptance of this final bid by the seller. In this case the highest bidder shall be bound to his/her last bid for a term of 8 days starting with the day of the knockdown. If the winning bidder does not receive a written cancellation notice within this term of 8 days, the knockdown becomes unconditional and the sale is final. Typically, only a minority of all items in an auction have a hidden reserve. § 3) Most items shall be subject to differential taxation. A uniform surcharge of 25% plus the value added tax applicable to the surcharge to the amount of 20% shall be added to the achieved highest bid (final and highest bid). Thus, the surcharge shall be 30% of the final and highest bid in total. Items with added VAT are marked † in the online catalog. § 4) In the event of sales abroad, the value added tax will be repaid if the item is sold to a country which is not a member country of the European Union (third country), the legal requirements are met, and the proof of exportation is provided. The value added tax shall not be shown separately on the invoice. § 5) The auction buyer must pay the purchase price immediately upon acceptance of the bid (final and highest bid plus 25% surcharge, plus the value added tax applicable to the surcharge to the amount of 20%, or the added VAT on top of the final price, when a lot is highlighted accordingly in the auction catalog). The company may grant an auction buyer a term of payment for the purchase price in whole or in part when this has been formally applied for in writing before the auction. § 6) In the event of a term of payment, or any payment delay, in whole or in part, the company shall be entitled to charge default interest (12% p.a.) as well as storage charges (2.4% pf the final and highest bid per month commenced) after 14 days upon acceptance of the bid. The item purchased at auction shall be handed over exclusively upon full payment of the purchase price including all costs and charges accrued since the acceptance of the bid. § 7) The buyer should take acquired items into possession, as far as possible, immediately or after the end of the auction. Items which have been fully paid for shall be handed over in our show rooms in GALERIE ZACKE, Zelinkagasse 6, 1010 VIENNA. If a deferred purchase price is not paid within the set period, the company shall be entitled to auction the item again in order to recoup its claim from the defaulting auction buyer. In this case, the defaulting auction buyer shall be liable to the company for the total loss of commission incurred by the company due to the re-auctioning as well as for any default interest and storage charges. § 8) The company shall be entitled to a lien on all items of the buyer irrespective of whether the buyer bought them within the scope of an auction or in free sale or the company secured ownership of these items otherwise. This lien shall serve to secure all current and future, qualified, limited and unmatured claims to which the company is entitled and which result from all legal transactions concluded with the buyer. § 9) The items received for auction will be exhibited and may be viewed prior to the auction. In doing so, the company shall give everyone the opportunity to check the nature and the condition of the exhibited items to the extent deemed possible within the scope of the exhibition. Every bidder shall be deemed to act on its own behalf unless it provides a written confirmation saying that it acts as a representative or agent of a well-known principal. The company may refuse bids; this shall particularly apply if a bidder who is unknown to the company or with whom the company has no business connections yet does not provide a security deposit before the auction. However, in principle there shall be no claim to accept a bid. If a bid has been refused, the previous bid shall remain effective. § 10) The company’s experts evaluate and describe the items received for auction and determine the starting prices unless otherwise stated in the catalog or expert opinion. The information concerning production technique or material, state of preservation, origin, design and age of an item is based on published or otherwise generally accessible (scientific) findings concluded by the company’s expert with the necessary care and accuracy. The company shall warrant to the buyer according to §34-38 of the AGB (Terms and Conditions) that properties are correct provided that any complaints referring to this are made within 45 days after the auction day. Subsequent complaints shall be excluded in principle. The company shall not be liable for any further information in the catalog and expert opinion as well. This shall also apply to illustrations in the catalog. The purpose of these illustrations is to guide the potential buyer during the preview. They shall not be authoritative for the condition or the characteristics of the pictured item. The published condition reports shall only mention defects and damage affecting the artistic or commercial value significantly. Complaints concerning the price shall be excluded upon acceptance of the bid. The company reserves the right to amend the catalog online prior to the auction. These amendments shall also be made public orally by the auctioneer during the auction. In this case, the company shall be liable for the amendment only. All items offered may be checked prior to the auction. These items are used. Any claims for damages exceeding the liability named above and resulting from other material defects or other defects of the item shall be excluded. When making the bid, the bidder confirms that he/she has inspected the item prior to the auction and has made sure that the item corresponds to the description.

§ 11) If a customer is not able to participate in an auction personally, the company shall accept purchase orders. These orders may be placed in writing via mail, e-mail, fax, www.zacke.at or a third party bidding platform. In the case of a purchase order placed by phone or orally, the company shall reserve the right to make the performance dependent on a confirmation from the principal communicated in writing. Furthermore, the company shall not be liable for the performance of purchase orders. Equal purchase orders or live bids will be considered in the order of their receipt. Bids which below the estimate shall be exhausted completely. Bids which do not correspond to the increments determined by the company (see bidding increment table) will be rounded up to the next higher increment. The table of these increments can be sent upon request. The written bid (purchase order) must include the item, the catalog number and the offered top bid limit which is quoted as the amount of the acceptance of the bid without buyer’s commission and without taxes. Ambiguities shall be carried by the bidder. A purchase order which has already been placed may only be cancelled if the written withdrawal is received by the company at least 72 hours prior to the beginning of the auction. § 12) The company may refuse a purchase order without explanation or make its execution dependent on payment of a security deposit. In the event of an unsuccessful order, such a deposit will be reimbursed by the company within 5 working days. Processing of purchase orders is free of charge. § 13) Every seller shall in principle be entitled to withdraw the items offered for auction until the start of the auction. Therefore, it is impossible to assume liability or to give warranty for the actual offering. § 14) Paid items must be collected within 30 days after payment. Items which have not been collected may be re-offered without further communication at the starting price from the recent auction reduced by 50%. Items which have not been collected within 30 days after the auction or for which the company does not receive any proper shipping instructions stating the type of shipping and the address of dispatch (independent of a possibly placed purchase order) shall be stored at the owner’s risk. Furthermore, the company shall be entitled to store items which have been purchased at auction and paid but not collected at the buyer’s risk and expense, including the costs for an insurance, with a forwarding agency. It shall be understood that the provision concerning the re-auctioning of unpaid and paid but not collected items must also apply to items not exhibited or stored on the premises of the company. The ownership shall be transferred to the buyer at the time of handing over the issuing note. § 15) In the case of mixed lots with a starting price of less than EUR 350.00, the company shall not warrant for the completeness or correctness of the individual items within a mixed lot. § 16) A registration for a bid by telephone for one or several items shall automatically represent a bid at the starting price of these items. If the company cannot reach a bidder by telephone, it will bid the starting price on behalf of this bidder when the respective lot is up for auction. § 17) Payments made to the company by mistake (through the payer’s fault) (e. g. due to miscalculation of the exchange rate by the payer) or payments made to the company for the same invoice several times shall be compensated in form of a credit note for goods for an indefinite period of time. The repayment of such payments in cash shall be excluded. § 18) Certain auction lots may exist several times (multiples). In such a case, the auctioneer may accept a second, third or even more bids from the underbidder(s). In this case, the text in the catalog and not the illustration shall be exclusively binding with regard to the warranty. § 19) The company reserves the right to assign to the buyer all rights and obligations resulting from the contractual relationship between the company and the seller by way of a respective declaration, as well as to assign to the seller all rights and obligations resulting from the contractual relationship between the company and the buyer by way of a respective declaration, in each case in terms of a complete assignment of contract with the result that the contractual relationship - following the submission of the aforementioned declarations by the company – shall exclusively be between the seller and the buyer, all of which is in accordance with the basic model of the commission agreement. Buyers and sellers shall already now give their explicit consent to this contract assignment. § 20) The place of performance of the contract brought about between the company on the one hand and the seller as well as the buyer on the other hand shall be the place of business of the company. The legal relationships and contracts existing between the company, the sellers and the buyers shall be subject to Austrian law. The company, the sellers and the buyers shall agree to settle all disputes resulting from, concerning and in connection with this contract before the territorially competent court of Vienna. § 21) The export of certain art objects from Austria shall require a permit from the Bundesdenkmalamt [Federal Monuments Office]. The company will orally provide information about art objects for which such export permit will probably not be granted at the beginning of the auction. § 22) Whenever making a bid, whether personally or via an agent, in writing, online, telephone, or in any other way, the bidder fully and unconditionally accepts the Terms of Auction, the ‘Important Information’ section in the auction catalog, the Terms and Conditions (AGB) of Galerie Zacke, §1-50, the Fee Tariff, and the Bidding Increments table, all as published on www.zacke.at on the day of the auction.

Dear Collectors, We are thrilled to share some exciting news – our auction and showroom are moving to a new location in Vienna! Starting 5 May you’ll be able to explore the exceptional pieces featured in our upcoming auction at: Zelinkagasse 6 1010 Vienna Please note: our consignment and production team will remain at our original address on Sterngasse 13.

9 May 2025 at 1 PM CET

HOW TO FIND OUR NEW AUCTION & SHOWROOM

Attend in person at our new auction room at Zelinkagasse 6 or participate online via Zacke Live – and enjoy premium buyer’s terms with no additional online bidding fees.

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Our new auction and showroom is conveniently located in Vienna’s 1st district at: Zelinkagasse 6 1010 Vienna Easily accessible by public transport or car (a parking garage is located nearby). By Public Transport: SCHOTTENRING station (U2, U4, tram lines 1, 31, 71, D, and bus 3A)

1 SOHAKU: AN EARLY FOUR-CASE LACQUER INRO WITH A SCENE FROM THE BATTLE OF THE UJI RIVER Signed Sohaku 宗泊 saku 作 Japan, early 17th century, Edo period (1615-1868) Of upright rectangular shape, finely decorated with polychrome takamaki-e on a dark brown ground. The composition depicts a scene from the Genpei Gassen (The battles between the Taira and Genji clans), depicting Sasaki Takatsuna and Kajiwara Kagesue at the Battle of the Uji River. Both figures are elaborately attired, their garments adorned with kirigane flakes and delicate mother-of-pearl inlays, attractively worn. Signed to the underside SOHAKU saku [made by Sohaku] and with a kakihan. The interior of nashiji with gold fundame rims. With a small, turquoise-glazed ceramic ojime. LENGTH 6.5 cm, HEIGHT 7.7 cm

Condition: Good age-related condition, with typical old wear and losses to the mother-of-pearl inlays, dents to the top and bottom, chips to a riser. Provenance: Beaussant Lefèvre, Archeologie Art d’Asie, 7 July 2020, Paris, lot 169. French private collection, acquired from the above. AUCTION COMPARISON Compare a closely related three-case inro with a similar scene, also dated to the early 17th century, at Bonhams, The Edward Wrangham Collection of Japanese Art part I, 9 November 2010, London, lot. 191 (sold for GBP 840, or approx. EUR 1,500 converted and adjusted for inflation at the time of writing). Estimate EUR 2,000 Starting price EUR 1,000

2 AN EARLY FOUR-CASE GOLD AND BLACK LACQUER INRO WITH LUNAR RABBITS Unsigned Japan, 17th to 18th century, Edo period (1615-1868) Of upright rectangular form, finely decorated in gold and black takamaki-e and hiramaki-e against a gold-sprinkled roiro ground. The design features a hare on each side, each captured mid-leap across a body of water, framed by rocks, their surfaces delicately highlighted with kirigane flakes. The interior of nashiji with gold fundame rims.

LENGTH 5.1 cm, HEIGHT 6.3 cm Condition: Very good age-related condition, with small chips to one bottom riser and a cord hole, small nibbles to the edges, as well as typical losses to the kirigane. Hares or rabbits seen leaping across water usually allude to the legend of the lunar hare, a popular motif originating in China, where the rabbit is often portrayed as a companion of the Moon goddess Chang’e, constantly pounding the elixir of life for her. Estimate EUR 1,500 Starting price EUR 800

3 TANIZAKI EITEI: A LARGE BLACK LACQUERED TWO-CASE INRO WITH CHINKINBORI DESIGN By Tanizaki Eitei, signed Seisha Tanizaki uji 製者谷嵜氏 with seal Eitei 榮棣 Japan, 18th century, Edo period (1615-1868) Published: Joly, Henri L. (1912) The W. L. Behrens Collection, Part 2, Lacquer and Inro, p. 42, no 593 and illustrated on plate XXXIII. E. A. Wrangham (1995) The Index of Inro Artists, p. 49-50, bottom right and top left.

Of elongated rectangular form with oval section, finely decorated in chinkinbori featuring a water and mountain landscape with three figures at a shore watching a fisherman on a boat, framed by pine trees. The reverse with a pavilion hidden by trees and rockwork, and with a farmer crossing a bridge. Signed to the underside Seisha TANIZAKI uji with seal EITEI. HEIGHT 7 cm, LENGTH 11 cm Condition: Repairs to the bottom case, otherwise in good condition with minor wear and traces of use. Provenance: Ex-collection Walter Lionel Behrens (1861-1913), no. 593. Sotheby’s London, 1982. Gordon Bois collection, acquired from the above. E. A. Wrangham collection, no. 1585, acquired from the above. Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 268 (sold for GBP 1,920). Collection of Drs. Edmund and Julia Lewis, acquired from the above. Chinkin-bori is a technique whereby the surface is incised with a design and then filled with a colored powder or leaf that stands out against the background. AUCTION COMPARISON Compare a closely related black lacquer three-case inro worked in chinkinbori with a bird perched on a rock beside flowering peonies, by Fujikawa Zokoku, at Bonhams, The Edward Wrangham Collection of Japanese Art, 6 November 2013, London, lot 280 (sold for GBP 4,375). Estimate EUR 2,000 Starting price EUR 1,000

4 AN EARLY GOLD OVER BLACK LACQUER SINGLE CASE INRO WITH TEA CEREMONY UTENSILS Unsigned Japan, 17th-18th century, Edo period (1615-1868) The inro of rounded square form, the interior fitted for the transportation of seals, characteristic of early inros. Finely decorated with sado (tea ceremony) utensils in takamaki-e, the front depicts a kama (tea kettle), hishaku (ladle), chawan (tea bowl), kans (kettle rings), and a chasen (tea whisk). The reverse shows a finely carved chaire (tea caddy) chasaku (tea scoop), mizusashi (cold water container), haboki (feather duster), natsume (tea caddy) and a tea ceremony shelf. The interior cases of nashiji and gold fundame rims. With a carved kurumi (walnut) ojime signed Ganseki. HEIGHT 6.3 cm, LENGTH 7.5 cm Condition: Good condition with typical age-related wear including dents on the top from contact with an ojime, as well as very minor traces of use. Estimate EUR 3,000 Starting price EUR 1,500

5 A LARGE POTTERY AND METAL-INLAID TWO-CASE INRO, ATTRIBUTED TO RITSUO Attributed to Ogawa Haritsu (Ritsuo, 1663-1747) or a follower, unsigned Japan, 18th century, Edo period (1615-1868) The very large two-case inro elegantly decorated with polychrome takamaki-e and intricate inlays of mitsuda and mixed metal on a kiri wood ground. The design features a gracefully cascading wisteria vine with leaves rendered in various lacquer techniques, the blossoms inlaid in white-glazed pottery, and with a swallow and crow inlaid in shakudo and gold and depicted in mid-flight. Some details are embellished with mother-of-pearl inlays and kirigane flakes. The interior and rims of gold fundame. With a fine enameled porcelain ojime. LENGTH 8.4 cm, HEIGHT 10.3 cm Condition: Very good condition with natural flaws to the material, minor age cracks, and minor typical wear. Provenance: Ex-collection of Drs. Edmund and Julia Lewis, Chicago, Illinois, United States. Ogawa Haritsu (1663–1747), also known as Ritsuo, was a pioneering Japanese lacquer artist renowned for his distinctive Ritsuo-style, which revolutionized traditional maki-e techniques. His work blended relief carving, inlays of diverse materials such as metal, ceramic, and mother-of-pearl, and bold polychrome lacquer applications, creating highly textured, almost sculptural surfaces. Inspired by both Chinese and Japanese aesthetics, Haritsu’s innovative approach introduced painterly compositions and three-dimensional effects to lacquerware, departing from the delicate, flat designs of earlier periods. His mastery of mixed-media inlays and naturalistic motifs, often depicting birds, flowers, and poetic landscapes, set a new standard in Edo-period lacquer art, influencing generations of artisans.

AUCTION COMPARISON Compare a closely related inro, sealed kan and by Ogawa Haritsu, at Sotheby’s, A Collection of Netsuke, Inro and Lacquer Wares. The Property of a European Collector, 16 November 1983, London, lot 195. Estimate EUR 4,000 Starting price EUR 2,000

6 AN UNUSUAL RITSUO-STYLE TWO-CASE ‘INK CAKE’ INRO WITH A HO-O BIRD Unsigned Japan, 18th century, Edo period (1603-1868) Shaped in the form of a round ink cake, finely decorated in relief against a black and green lacquered ground. The design is both skillful and refined, featuring masterfully simulated cracks and deliberate signs of wear that enhance its antique aesthetic. One side displays a majestic ho-o (phoenix), portrayed in the traditional style with its head turned gracefully. The reverse bears the inscription 太平有象 (Taihei uzo), which translates to “When there is peace, there are signs.” The interior is finished in roiro. With a carved wood ojime. HEIGHT 7.5 cm Condition: Very good condition with mostly simulated wear and typical, age-related traces of use. This type of inro, based on old Chinese ink cake designs were first created by Ogawa Haritsu (Ritsuo, 1663-1747) and his followers, and later perfected by Shibata Zeshin (1807-1891). MUSEUM COMPARISON Compare a closely related two-case inro with a ho-o and a maxim, dated to the mid-19th century, in the collection of the Metropolitan Museum of Art, New York, accession number 91.1.714.

AUCTION COMPARISON Compare a related round ink-cake inro, by Shibata Zeshin, dated to the Meiji period, at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, lot 358, (sold for GBP 18,750). Estimate EUR 4,000 Starting price EUR 2,000

7 A FINE FIVE-CASE YAMIMAKI LACQUER INRO DEPICTING THE FIFTY-THREE STATIONS OF THE TOKAIDO ROAD Unsigned Japan, 19th century, Edo period (1615-1868) Of upright rectangular form, superbly decorated with gold and yamimaki-e (black on black lacquer) and with gold hiramaki-e. The 53 Tokaido station signs are spread across the entire inro from the front and back side to the top and bottom of the case. The interior of nashiji with gold fundame rims. With an amber ojime. LENGTH 4.6 cm, HEIGHT 9.1 cm Condition: Very good condition. A fine hairline to the fourth case. Very minor wear and light traces of use. Provenance: Maurice Champoud Collection, collection no. 157 (according to label to the interior top case). Subsequently de-accessioned from the Kiyomizu Sannenzaka Museum, Kyoto, Japan. Founded in 2000 by Masayuki Murata, the Kiyomizu Sannenzaka The Kiyomizu Sannenzaka Museum aims to increase the Museum, Kyoto, Japan appreciation of Japanese art from the 19th to early 20th century and provide a source of inspiration for contemporary artisans. The 53 Stations of the Tokaido (Tokaido Gojusan-tsugi) were the key post stations along the historic Tokaido road, the vital route connecting Edo (modern Tokyo) and Kyoto during the Edo period. Established by the Tokugawa shogunate, these stations provided rest stops for travelers, merchants, and feudal lords making their mandated journeys between the two cities.

AUCTION COMPARISON Compare a closely related five-case gold lacquer inro depicting the same subject, by the Kajikawa family, dated to the 19th century, at Bonhams, The Edward Wrangham Collection of Japanese Art part 2, 10 May 2011, London, lot 203 (sold for GBP 2,520). Estimate EUR 3,000 Starting price EUR 1,500

8 A FIVE-CASE BLACK ON BLACK LACQUER INRO WITH A MINOGAME By a member of the Kajikawa family, signed Kajikawa 梶川 saku 作 and with a red pot seal Ei 英 Japan, 19th century, Edo period (1615-1868) Of upright rectangular form, brilliantly lacquered in yamimaki-e (black on black lacquer). The design features a minogame (mythical long-tailed turtle) gracefully extending across both sides of the inro, positioned behind the Three Friends of Winter (pine, bamboo, and plum), and a crane, together symbolizing resilience and longevity. Signed to the underside KAJIKAWA with a red pot seal. The interior of nashiji with gold fundame rims.

With a solid gold ojime depicting chrysanthemums, signed Kazunori saku [made by Kazunori]. LENGTH 4.5 cm, HEIGHT 8.6 cm Condition: Very good condition with only age-related traces of use and minor wear. Provenance: From a noted private collection, with an auction label ‘3824’ to the top case. Estimate EUR 4,000 Starting price EUR 2,000

9 A FINE INLAID THREE-CASE LACQUER INRO WITH HYDRANGEAS AND A DRAGONFLY Unsigned Japan, 18th century, Edo period (1615-1868) Of square form, finely decorated in gold, silver, brown, and black takamaki-e on a lustrous roiro ground, elegantly accentuated with aogai flakes reflecting against the roiro, creating a beautiful blue night scene. The design shows delicate hydrangeas in full bloom, with one blossom exquisitely inlaid in aogai with gold hiramaki-e details. The leaves are adorned with kirigane flakes. On the reverse, a gracefully rendered dragonfly is depicted. The interior of nashiji with gold fundame rims. LENGTH 7 cm, HEIGHT 7 cm Condition: Very good condition, with a small chip to one cord hole underneath. Typical traces of use and minor age-related wear. Provenance: Auctionart, Arts d’Asie, 24 June 2016, Paris, lot 337. French private collection, acquired from the above. AUCTION COMPARISON Compare a related four-case lacquer inro with aogai inlays and depicting hydrangeas, by Kajikawa Hidetaka, dated to the late 18th or 19th century, at Bonhams, Japanese and Korean Art, 21 September 2022, New York, lot 508, (sold for USD 3,187). Estimate EUR 2,000 Starting price EUR 1,000

10 A RARE BLACK LACQUER THREE-CASE INRO WITH SPIDERS AND THEIR WEB Unsigned Japan, 18th century, Edo period (1615-1868) Of upright rectangular form with rounded edges, finely decorated with gold hiramaki-e and aogai inlays on a lustrous roiro ground. The front shows a spider with an iridescent mother-of-pearl body behind a web that spins over the bottom and top case. A single spider’s web extends to the back where another finely decorated aogaI-inlaid spider is rappelling. The risers are finely decorated with gold takamaki-e foliage. The interior of roiro with gold fundame rims. LENGTH 6.8 cm, HEIGHT 9.2 cm Condition: Good condition. Some light crackling and losses to edges. Minor wear to the gold lacquer details as are to be expected. Provenance: Ex-collection Albert Maroni. Albert Maroni (1852-1923) began collecting in the 1880s and is best known for his collection of Japanese prints, recognised by art historian Richard Lane in his book Images from the Floating World. He also assembled a collection of samurai art, netsuke, and inro. MUSEUM COMPARISON Inro with spiders are exceedingly rare. Compare a related five-case roiro inro with aogai dragonfly, a spider and a web, dated to the 19th century, in the collection of the Musée Guimet, Paris, accession number EO 2226. Estimate EUR 3,000 Starting price EUR 1,500

11 A SUPERB AOGAI-INLAID FOUR-CASE LACQUER INRO WITH TWO CARPS Unsigned Japan, late 18th century, Edo period (1615-1868) Of upright rectangular form, exquisitely decorated with takamaki-e against an iridescent irregularly flaked aogai ground. The design features two elegantly rendered carps, one in tsuishu (carved red lacquer) and the other in gold lacquer, their dynamically swinging bodies moving across both sides. The eyes are inlaid in pale horn with dark pupils. Textured, green-lacquered takamaki-e seaweed rises from below the two carps across both sides. The risers lacquered in gold fundame. The interior of nashiji with gold fundame rims and with an inscription on the top case indicating the medicine originally contained within. LENGTH 5.3 cm, HEIGHT 7.4 cm Condition: Good condition, some rubbing to lacquer and minor wear and expected traces of use as visible in the image provided. MUSEUM COMPARISON Compare a related three-case inro with fish on an aogai-flaked ground, dated to the 19th century, from the collection of Metropolitan Museum of Art, New York, accession number 1982.244.10a-c. Estimate EUR 6,000 Starting price EUR 3,000

12 A LARGE THREE-CASE LACQUER INRO WITH A WILD BOAR AND AUTUMN GRASSES Unsigned Japan, 18th century, Edo period (1615-1868) Of rounded square form, the lustrous silver-metallic ground decorated in gold and brown takamaki-e and hiramaki-e. The design beautifully depicts a wild boar sleeping among autumn flowers and foliage, one of the leaves on the reverse is subtly inlaid with mother-of-pearl. The interior of nashiji with gold fundame rims. HEIGHT 8.3 cm, LENGTH 8.5 cm

Condition: Good age-related condition, some losses to corners, discoloration, a small age crack to the underside, expected traces of use and wear. Provenance: Jean-Marc Delvaux, 12 June 2013, Paris, lot 270. French private collection, acquired from the above. An old label to the interior: “17 e siècle, Shiomi Masasane, Kioto”. AUCTION COMPARISON Compare a closely related lacquer four-case inro depicting a sleeping boar with autumn grasses, by Shiomi Masanari, also dated 18th century, at Zacke, Fine Netsuke & Sagemono, 28 April 2023, Vienna, lot 333 (sold for EUR 4,680). Estimate EUR 2,500 Starting price EUR 1,200

13 SHIBUYA: A FINE INLAID FOUR-CASE BLACK LACQUER INRO WITH DEER AND AUTUMN GRASSES By Shibuya, signed Shibuya 渋谷 and kakihan Japan, late 18th century, Edo period (1615-1868) Of rectangular form and oval section, finely worked in predominantly gold takamaki-e and hiramaki-e as well as aogai inlays, all against a roiro ground. The front depicts two deer, one in gold and one executed in fine mother-of-pearl, behind autumn grasses and e-nashiji which extends to the underside. The reverse shows another stag in aogai. Signed to the underside SHIBUYA and with the artist’s kakihan. The interior of roiro with gold fundame rims. LENGTH 5.2 cm, HEIGHT 7.6 cm Condition: Good condition with expected wear and traces of use including tiny losses to the aogai inlays and cord holes. A few minor repairs to the aogai inlays, the largest to the stag’s rump.

Shibuya was a lacquer artist of the late 18th century. His work is rare and usually shows fine aogai inlays, the designs executed in the Rinpa and Koetsu styles. MUSEUM COMPARISON Compare a related lacquer inro by the same artist, with similar inlays, signed Shibuya, in the collection of the Victoria and Albert Museum, London, accession number W.412-1910. Estimate EUR 3,000 Starting price EUR 1,500

14 KANSHOSAI TOYO: A SUPERB STITCHED CHERRY BARK THREE-CASE LACQUER INRO WITH DEER By Kanshosai Toyo (Iizuka Toyo), signed Toyo 桃葉 and kakihan Japan, late 18th to early 19th century, Edo period (1615-1868)

Of upright rectangular form and oval section, made of clear lacquered cherry bark, stitched on both edges. One side is decorated with two magnificently lacquered, thick takamaki-e deer and a stone lantern finished in ishimeji-nuri. The other side is beautifully inlaid with mother-of-pearl depicting fallen cherry blossoms and a single butterfly. Signed to the underside KANSHOSHAI TOYO. LENGTH 5.1 cm, HEIGHT 7.7 cm Condition: Good condition with replaced mother-of-pearl inlays to the back, small losses to the cord holes and underside, as well as age-related minor wear. Provenance: Ex-collection Arthur Kay (1860-1939), according to the old label on the bottom case and stuck to the interior. Arthur Kay was a British industrialist and important collector, one of the earliest European collectors of Japanese lacquerware. Iizuka (Kanshosai) Toyo was a distinguished lacquerer and inro decorator during the second half of the 18th century in Edo. He had many followers and used a wide range of techniques. The boldness and originality of the design may indicate an original work by this artist. For more information on the artist see Wrangham, E. A. (1995) The Index of Inro Artists, pp. 312-313. As indicated by the closely related example listed in the literature comparison below, the design for this inro was taken from a painting by Kano Terunobu (1717-1763), who was an Edo painter very much favored by the Shogun Ieharu. Japanese mountain cherry, Yamazakura, is a wild species which has a strong vitality and bark that regenerates after being carefully stripped. The collected bark is dried for more than three years before it is whittled and polished by hand, cut to the appropriate shape, and glued to the surface of a wooden base using nikawa animal glue. Other techniques entail carving pre-assembled layers of cherry bark into small shapes and polishing them for jewelry and other uses. LITERATURE COMPARISON Compare a closely related inro by Kanshosai Toyo featuring similarly posed deers, illustrated in Sydney L. Moss Ltd., Lac Lacquer Lacquest, 2014, p. 190191, no. 65. Estimate EUR 10,000 Starting price EUR 5,000

15 SHIOMI MASANARI: A LARGE FOUR-CASE LACQUER INRO WITH CHERRY BLOSSOMS By Shiomi Masanari (1647-1722), signed Shiomi Masanari 鹽見政誠 Japan, 18th century, Edo period (1615-1868) Of upright rectangular form, superbly decorated in gold and red togidashi-e, with delicate e-nashiji, against a lustrous roiro ground. The design features a small bird perched on a stack of hay, gazing up at a cherry tree in full bloom. The hay and the elegantly rendered cherry tree extend seamlessly onto the other side. Signed to the bottom case within the typical, red-lacquered cartouche SHIOMI MASANARI. The interior of nashiji and the risers decorated with gold lacquered cherry blossoms. With a coral ojime as well as a wood manju netsuke with gold and silver takamaki-e grasses highlighted with kirigane flakes, signed SHUSAI. LENGTH 7.3 cm, HEIGHT 9 cm Condition: Very good condition with only minor wear and light rubbing to the ground. The netsuke with some typical losses to kirigane. Provenance: Ex-collection of Fritz & Lucy Fritz and Lucy Jewett Jewett, San Francisco, California. Shiomi Masanari (1647-1722) was a talented painter of the Kano school, however he is better known for his lacquerwork and the important family of lacquerers that he founded. Whether or not he was a pupil of Yamamoto Shunsho (1610-1682) as is widely believed, the Shiomi family also specialized in togidashi-e (‘brought out by rubbing’) lacquer of extremely high quality, as is exhibited in the present piece.

MUSEUM COMPARISON Compare a related togidashi-e inro with Autumn Flowers, by the same artist Shiomi Masanari, dated to the early 18th century, in the collection of the Metropolitan Museum of Art, New York, accession number 13.67.99.

AUCTION COMPARISON Compare a related seven-case togidashi-e inro with cranes flying over cherry, maple and pine trees, by the same artist Shiomi Masanari, dated to the 19th century, at Bonhams, The Edward Wrangham Collection of Japanese Art, 9 November 2010, London, lot 292 (sold for GBP 13,200). Estimate EUR 4,000 Starting price EUR 2,000

16 A FINE FOUR-CASE TOGIDASHI LACQUER INRO WITH A SHINTO SHRINE AMONG CEDAR TREES Unsigned Japan, 18th-19th century, Edo period (1615-1868) Of upright, rounded, and slender form, finely decorated with gold, silver, and green togidashi-e and e-nashiji on a lustrous roiro ground. The front depicts a serene Shinto shrine nestled among towering cedar trees, with a gracefully arched drum bridge spanning the landscape. Above, a crescent moon casts a gentle glow. The reverse presents a continuation of the natural setting, featuring trees and a flowing river. The interior of nashiji with gold fundame. With a black lacquer ojime. LENGTH 6.3 cm, HEIGHT 9.3 cm Condition: Very good condition with only tiny losses to one cord hole. Otherwise, minor wear. Estimate EUR 3,000 Starting price EUR 1,500

17 SHIOMI MASANARI: A FINE TOGIDASHI FOUR-CASE LACQUER INRO DEPICTING THE TURBULENT CROSSING OF THE RIVER OI By Shiomi Masanari (1647-1722), signed Shiomi Masanari 鹽見政誠 Japan, late 17th to early 18th century, Edo period (1615-1868) Of upright rectangular shape, bearing a fine roiro ground, masterfully decorated in polychrome togidashi-e. The dynamic composition depicts a chaotic, turbulent crossing of the river Oi, with workers, samurai, and horses engulfed by the crashing waves, some nearly drowning, while others help each other to reach the shore, a large group in the center surrounding a palanquin. Some details are embellished with kirigane flakes, and the shore is dotted with large rocks and pine trees. Signed to the lower side within the typical, red-lacquered cartouche SHIOMI MASANARI. The interior of roiro with gold fundame rims. LENGTH 7.2 cm, HEIGHT 8.5 cm Condition: Very good condition with small dents to the top and bottom case, nibbles to the rims, and expected traces of use as well as light rubbing to the lacquered details. Provenance: De-accessioned from the Kiyomizu Sannenzaka Museum, Kyoto, Japan. Founded in 2000 by Masayuki Murata, the Kiyomizu Sannenzaka Museum aims to increase the appreciation of Japanese art from the 19th to early 20th century and provide a source The Kiyomizu Sannenzaka of inspiration for contemporary Museum, Kyoto, Japan artisans.

AUCTION COMPARISON Compare a related four-case inro in togidashi-e, by Shiomi Masanari, dated to the 19th century, at Bonhams, Fine Japanese Art, 17 May 2012, London, lot 96 (sold for GBP 5,625). Estimate EUR 4,000 Starting price EUR 2,000 During the Edo period, the crossing of the Oi River in presentday Shizuoka Prefecture symbolized both the challenges Triptych by Utagawa Horishige depicting the of travel and crossing of the river Oi the Tokugawa shogunate’s strict control over movement. Unlike other rivers, the Oi had no bridge or ferry service for much of the period, forcing travelers along the Tokaido road to wade or be carried across by bearers when the water levels permitted. This regulation served both as a natural checkpoint and as a means of restricting the flow of people, especially preventing unauthorized travel by daimyo or potential rebels. As such, the river crossing became an iconic and often frustrating experience, frequently depicted in ukiyo-e prints as a moment of struggle and patience in the journey between Edo and Kyoto.

18 YOYUSAI: A RARE TOGIDASHI GOLD LACQUER FIVE-CASE INRO DEPICTING EBISU Lineage of Hara Yoyusai (1772-1845/6), signed Yoyusai 羊遊斎 saku 作 Japan, 19th century, Edo period (1615-1868) Of a rounded rectangular shape, bearing a beautiful and lustrous gold kinji ground, superbly lacquered in iro-e togidashi-e and e-nashiji. The inro depicts the Lucky God Ebisu on one side, manipulating the strings tied around a red tai (sea bream) as it performs a New Year’s dance wearing a sambaso hat. The amusingly depicted fish holds a fan and a cluster of suzu (bells). Signed to the underside YOYUSAI saku [made by Yoyusai]. The interior cases of nashiji with gold fundame rims. With a gourd-shaped lacquered bone ojime. LENGTH 5.1 cm, HEIGHT 7.6 cm

Condition: Very good condition including light scratches throughout the surface and a tiny hairline above Ebisu’s head, as well as very minor typical wear. Provenance: Ex-collection E. A. Wrangham, no.1041 (with a label to the interior top case). Bonhams, The Edward Wrangham Collection of Japanese Art, 9 November 2010, London, lot 304. Edward A. ‘Ted’ Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important English-language studies on Japanese lacquer ever published. Ebisu, one of the Seven Lucky Gods (Shichifukujin), is revered as the patron of fishermen, merchants, and prosperity. Often depicted with a sea bream, a symbol of good fortune, he embodies abundance and success. Unlike the other Lucky Gods, Ebisu is unique in being purely of Japanese origin, and his jovial nature makes him a particularly cherished figure in folklore. Hara Yoyusai (1772-1845/6) lived in Edo and worked under the patronage of Lord Matsudaira. Estimate EUR 3,000 Starting price EUR 1,500

19 KAJIKAWA: A FINE TOGIDASHI FOUR-CASE LACQUER INRO WITH HERONS BY A WILLOW TREE

increase the appreciation of Japanese art from the 19th to early 20th century and provide a source of inspiration for contemporary artisans.

By a member of the Kajikawa family, signed Kajikawa 梶川 saku 作 Japan, 19th century, Edo period (1615-1868)

Gold on silver togidashi really ought to be in theory one of the most luxurious technical approaches to the creation of a richly impressive inro. In fact, it is relatively rarely employed as a combination, presumably because the gold does not stand out dramatically enough against the rogin background, other than with a very strong ink outline. Here the coppery gold provides a muted poetic effect against the silver background, both elements somewhat oxidized.

Of upright rectangular form with rounded edges, finely decorated in marvelous gold togidashi-e on a silver ground. Beautifully decorated with an idyllic winter scene of two herons under a bare willow tree on the front. The reverse depicts a heron flying over a stream. Signed to the underside KAJIKAWA saku [made by Kajikawa]. The interior of nashiji with gold fundame rims.

LITERATURE COMPARISON Compare a closely related gold on silver togidashi lacquer inro with an identical design, by Koma Kansai II or III, illustrated in Sydney L. Moss Ltd., Lac Lacquer Lacquest, 2014, p. 198-199, no. 69.

LENGTH 6 cm, HEIGHT 8 cm Condition: Excellent condition with only minor wear and very light traces of use. Provenance: De-accessioned from the Kiyomizu Sannenzaka Museum, Kyoto, Japan. Founded in 2000 by Masayuki Murata, the Kiyomizu Sannenzaka Museum aims to

The Kiyomizu Sannenzaka Museum, Kyoto, Japan

Estimate EUR 4,000 Starting price EUR 2,000

20 SHIOMI MASANARI: A FINE FOUR-CASE TOGIDASHI GOLD LACQUER INRO WITH KINGFISHERS, DATED 1717 Lineage of Shiomi Masanari (1647-1722), signed Shiomi Masanari 鹽見政誠 tsukuru kore 造之 Japan, dated 1765, Edo period (1615-1868) Of upright, rounded rectangular form, superbly decorated with gold hiramaki-e and polychrome togidashi-e on a lustrous roiro ground. The dynamic scene features on one side a kingfisher perched gracefully on a willow branch amidst bamboo, while the other side shows a kingfisher in flight. Surrounding the scene is a beautifully detailed representation of a reed-covered riverbank, reinforced with stone-filled baskets (jakago). Signed to the underside kinototori shi chushun gyonen nanajuni sai SHIOMI MASANARI tsukuru kore [This is made by Shiomi Masanari, in the mid-spring of the year of the kanoto-tori (1765), at the age of 72]. The interior cases of nashiji with gold fundame rims. With a rock crystal ojime. LENGTH 6.1 cm, HEIGHT 7.9 cm Condition: Very good condition with only minor wear and very light traces of use. Provenance: Ex-Collection of Dr. Reinhard Lohrberg (1943-2024), Hanover, purchased from Robert Fleischel (Sagemonoya), Tokyo, on 29 November 2005. Shiomi Masanari (1647-1722) was a talented painter of the Kano school, however he is better known for his lacquerwork and the important family of lacquerers that he founded. Whether or not he was a pupil of Yamamoto Shunsho (1610-1682) as is widely believed, the Shiomi family also specialized in togidashi-e (‘brought out by rubbing’) lacquer of extremely high quality, as is exhibited in the present piece.

MUSEUM COMPARISON Compare a related inro with a phoenix, showing a similar design and ground, by the same artist Shiomi Masanari, dated to the 18th – 19th century, in the collection of Victoria and Albert Museum, London, accession number W.404-1910.

AUCTION COMPARISON Compare a related togidashi-e inro with egrets, by the same artist Shiomi Masanari, dated to the 19th century, at Bonhams, Fine Japanese Works of Art from the Edward Wrangham Collection, 18 June – 9 July 2018, London, lot 296 (sold for GBP 9,375). Estimate EUR 4,000 Starting price EUR 2,000

21 TOYO: A SUPERB FOUR-CASE LACQUER INRO WITH GEESE AND AUTUMN GRASSES Lineage of Iizuka (Kanshosai) Toyo, signed Toyo 桃葉 with kakihan Japan, late 18th to early 19th century, Edo period (1615-1868) Of upright, rounded rectangular form, lacquered in sublime colored and gold togidashi-e, as well as e-nashiji and gold kinpun, all against a lustrous roiro ground. The scene depicted is an iconic autumnal scene, much represented in Ukiyo-e, of descending geese and delicate autumn grasses in gold and silver. Signed to the underside TOYO with kakihan. The interior cases of nashiji with gold fundame edges. LENGTH 6.3 cm, HEIGHT 8 cm

Woodblock print depicting flying geese, in the collection of the British Museum, London, accession number 1980,1022,0.239

Condition: Excellent condition with only very minor wear. Provenance: Bonhams, Fine Japanese Art, 13 May 2008, London, lot 296. From the private collection of Alan and Simone Hartman, New York, acquired from the above. Alan Alan & Simone Hartman Hartman (1930-2023) was an Wedding Day, 1977 influential American art dealer, who took over his parents’ antique business in Manhattan and established the legendary Rare Art Gallery on Madison Avenue, with further locations in Dallas and Palm Beach. His wife Simone (née Horowitz) already served as assistant manager of the New York gallery before the couple were married in 1975, and together they built a renowned collection for over half a century and became noted art patrons, enriching the collections of important museums including the Museum of Fine Arts, Boston (which opened the Alan and Simone Hartman Galleries in 2013) as well as the Metropolitan Museum of Art and Brooklyn Museum in New York. Estimate EUR 4,000 Starting price EUR 2,000

22 A FINE GOLD AND BLACK LACQUER TOGIDASHI FOUR-CASE INRO WITH A CHIDORI AND A TORII GATE Unsigned Japan, 18th century, Edo period (1603-1868) Of upright rectangular form, this exquisite inro is masterfully adorned with fine togidashi-e and subtle takamaki-e on a lustrous roiro ground. The serene composition features a chidori (plover) gracefully flying among trees and a torii (Shinto gate), evoking a tranquil landscape scene. A tree trunk rendered in a soft red togidashi hue introduces gentle warmth and contrast, while the lower section is delicately dusted with kinpun (gold powder). The base is finished in kinji, the interior lacquered in roiro with gold fundame rims. Though unsigned, the refined togidashi technique and overall aesthetic strongly suggest the hand of an artist from the Shiomi Masanari lineage.

With a coral ojime. LENGTH 6.2 cm, HEIGHT 7 cm Condition: Very good condition, with a small chip to the bottom riser. Minor expected wear and light traces of use. Provenance: Gros & Delettrez, Arts du Japon, 30 October 2019, Paris, lot 187. French private collection, acquired from the above. Estimate EUR 3,000 Starting price EUR 1,500

23 SHIOMI MASANARI: A CHARMING FOUR-CASE BLACK LACQUER INRO WITH THREE RATS By a member of the Masanari family, signed Shiomi Masanari 鹽見政誠 Japan, 18th century, Edo period (1615-1868) The large square four-case inro painted in brilliant gold, silver and black togidashi-e with three rats on a lustrous roiro background. The front shows two finely painted rats, as well as the rat’s tail from the verso, which extends to the lower part of the inro. Signed to the lower side with a red seal SHIOMI MASANARI. The interior cases of roiro with gold fundame rims. With a fine square-shaped gold-lacquer kinji ojime with a snowflake design. LENGTH 7.5 cm, HEIGHT 9.5 cm Condition: Excellent condition with only very minor typical wear to edges. Provenance: De-accessioned from the Kiyomizu Sannenzaka Museum, Kyoto, Japan. Founded in 2000 by Masayuki Murata, the Kiyomizu Sannenzaka Museum aims to increase the appreciation of Japanese art from the 19th to early 20th century and provide a source of inspiration for contemporary The Kiyomizu Sannenzaka artisans. Museum, Kyoto, Japan

Shiomi Masanari (1647-1722) was a talented painter of the Kano school, however he is better known for his lacquerwork and the important family of lacquerers that he founded. Whether or not he was a pupil of Yamamoto Shunsho (1610-1682) as is widely believed, the Shiomi family also specialized in togidashi-e (‘brought out by rubbing’) lacquer of extremely high quality, as is exhibited in the present piece.

LITERATURE COMPARISON Compare a closely related gold on black lacquer togidashi inro, depicting rats in a similar manner, Shiomi school and signed Shiomi Masanari, illustrated in Barry Davies Oriental Art (1993) Inro: One Hundred Selected Masterpieces, no. 70.

AUCTION COMPARISON For a closely related four-case inro, by the same artist and depicting rats, at Christie’s, The Japanese Aesthetic, 15 May 2013, London, lot 292 (sold for GBP 23,750). Estimate EUR 8,000 Starting price EUR 4,000

24 SHIOMI MASAKAGE: A VERY RARE BLACK LACQUER FOUR-CASE INRO WITH TWO SUISEI By Shiomi Masakage, signed Shiomi Masakage 鹽見政影 Japan, c. 1800, Edo period (1615-1868) Published: Earle, Joe [ed.] (1995) E. A. Wrangham, The Index of Inro Artists, p. 164 (only the signature is illustrated). Of upright rectangular form, the four-case inro very finely painted in brilliant gold and silver togidashi-e on a lustrous brown and black-lacquered roiro ground. The inro depicts a superbly painted suisei, a mythical creature attributed with the cloven hooves of a deer, the head of a horse, two horns on its head and a turtle shell on its back on both sides. Both creatures stand behind a seashore background detailed with waves. The interior cases of roiro and with gold fundame rims. Signed to the edge of the right riser in red lacquer SHIOMI MASAKAGE – a direct pupil of Shiomi Masanari, who founded the Shiomi school of lacquerers, who were renowned for the brilliance of their togidashi-e work, in the late 17th century. HEIGHT 6.1 cm, LENGTH 7.5 cm Condition: Very good condition. Only a tiny touchup to the edge of the top riser and very minor areas of discoloration to the ground. Provenance: Eskenazi Ltd., London, 1983. Ex-collection Melvin and Betty Jahss, acquired from the above. Ex-collection Edward ‘Ted’ Wrangham Edward Wrangham, collection with Her Majesty Queen no. 1630, acquired from the above. Edward A. ‘Ted’ Wrangham Elizabeth II, 1980 (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important Englishlanguage studies on Japanese lacquer ever published. Bonhams, Elena and Joseph Kurstin The Edward Wrangham Collection of Japanese Art Part IV, London, 6 November 2013, lot 214 (sold for GBP 9,375), The Joseph and Elena Kurstin Collection, acquired from the above. Estimate EUR 10,000 Starting price EUR 5,000

The Suisei (also known as Suisai) is a rare and enigmatic mythical creature in Japanese folklore, believed to embody strength, wisdom, and protection. With the cloven hooves of a deer, the head of a horse, two horns, and a turtle shell on its back, it is a composite being symbolizing resilience and auspicious fortune. Often associated with water and the natural world, the Suisei is thought to appear as a guardian spirit, bringing harmony and balance to its surroundings. Compare the present lot to an illustration with a Suisei amid waves by Tachibana Morikuni, dated to the 18th century, in the collection of Los Angeles Country Museum of Art, Los Angeles, accession number M.2000.104.25

25 A MASTERFUL YAMIMAKI-E LACQUER FOUR-CASE INRO DEPICTING MINAMOTO NO YORIMITSU AND THE EARTH SPIDER CONJURING A PARADE OF MONSTERS Unsigned Japan, mid-19th century, Edo period (1615-1868) Published: Kurstin, Joe (1999) Miniature Masterpieces: The Storytelling Art of Japanese Inro, pp. 77-78. The four-case inro of lenticular profile bearing a lustrous roiro ground and lacquered in brilliant gold and iro-e hiramaki-e and takamaki-e, as well as keuchi and kinpun, with highlights in red lacquer, depicting Tsuchigumo (Earth Spider) entering the chambers of Minamoto no Yorimitsu, holding the hems of a blanket that the spider attempts to slowly pull over the peacefully sleeping retainer. Yorimitsu is attended by his bodyguards, Watanabe no Tsuna and Sakata no Kintoki, who are busy playing a game of go, blissfully unaware of the looming shadows of the monsters which are brilliantly executed in fine yamimaki-e, and are slowly gathering around the Raiko. The attendants Urabe no Suetake and Usui no Tadamitsu look in the distance, puzzled expressions on their face, as they search the dark for an answer to the disturbance. The interior cases in gold fundame. HEIGHT 8.9 cm, LENGTH 7.6 cm Condition: Very good condition with only very minor wear, particularly along the edges. Provenance: Collection of Joseph and Elena Kurstin. Dr. M. Joseph ‘Joe’ Kurstin (1931-2021) was a prominent Miami ophthalmologist who arguably built one of the greatest netsuke collections of all time. He was known by netsuke and inro lovers Elena and Joseph worldwide and made many lifelong friends Kurstin in this tight-knit community. He published

This design draws heavily from a satirical woodblock print by Utagawa Kuniyoshi (1797–1861), published in late 1842. The original artwork depicts the Earth Spider conjuring demons within the mansion of Minamoto no Yorimitsu, also known as Raiko. An anonymous yet clearly masterful lacquer artist has adapted Kuniyoshi’s three-panel composition across the curved surface of the inro, with remarkable skill and imagination.

several books and articles on the subject and generously lent his collection for exhibitions at the Yale University Gallery, Museum of Fine Arts, Boston, Epcot Center at Disney World, and The Tobacco and Salt Museum, Tokyo. On one side, the Earth Spider looms ominously over Raiko’s sickbed. On the other, his loyal retainers—Watanabe no Tsuna and Sakata no Kintoki—are shown calmly playing a game of go. In the background, Urabe no Suetake and Usui no Tadamitsu glance upward toward a ghostly procession, sensing the approaching threat. These apparitions range from the bizarre to the terrifying—a parade of yōkai, bakemono, and tsukumogami—rendered in exquisite yamimaki-e (black-on-black lacquer). They appear to be locked in battle, crossing swords and loosing arrows, as if vying for the chance to descend upon the unsuspecting humans below. Kuniyoshi’s clever use of negative space to suggest flickering candlelight and lurking shadows is translated here into subtle shifts of black lacquer. When the inro is tilted, these forms emerge with haunting clarity—a striking example of how the lacquer artist transformed the medium itself to mirror the print’s spectral atmosphere. Likely a contemporary of Kuniyoshi, this anonymous craftsman has created a tour de force of narrative and technical mastery. Estimate EUR 20,000 Starting price EUR 10,000

See the woodblock print from which the design of the inro was taken, by Utagawa Kuniyoshi (1797-1861), titled Minamoto Yorimitsu ko no yakata ni tsuchigumo yokai o nasu zu (The Earth Spider generates monsters at the Mansion of Lord Minamoto Yorimitsu). Christie’s, Japanese and Korean Art, 16 March 2021, New York, lot 180 (sold for USD 17,500).

26 KOMA KANSAI: A SUPERB GOLD LACQUER FOUR-CASE INRO DEPICTING WATANABE NO TSUNA AND THE DEMON IBARAKI By Koma Kansai, signed Koma Kansai 古滿寛哉 saku 作 Japan, Edo (Tokyo), 19th century, Edo period (1615-1868) Published: Barry Davies Oriental Art (1993) Inro: One Hundred Selected Masterpieces, no. 63. Sydney L. Moss (2010) they are all fire and every one doth shine. The Elly Nordskog Collection of Japanese Inro, Pipecases and Netsuke, London, p. 168-171, no. 38. Of upright form and oval section, the four-case inro bearing a lustrous kinji ground, masterfully worked in iro-e takamaki-e and hiramaki-e, to depict Ibaraki reaching over to grab Watanabe no Tsuna’s collar, partially concealed by the foggy whirlwind, the swirls of the mist-tornado sweeping straw leaves and represented in powerful bands of sumi-outlined e-nashiji to add volume to the relatively low relief maki-e composition. The reverse anticipating for the viewer the swift, violent flurry of action which is about to follow, destined to result in one arm less for the demon. The interior compartments of nashiji with gold fundame rims. With a glass ojime imitating coral. HEIGHT 9.3 cm, LENGTH 5.9 cm

Condition: Excellent condition with only very minor wear. Provenance: Ex-collection Elinor “Elly” Nordskog (1919-2013), with Sydney Moss Ltd., London. The interior with an old inventory label, ‘4332’. Koma is the family name of one of the most famous dynasties of lacquer artists, founded by Kyui who worked in Edo in the 17th century; members of the family continued as lacquerers to the court and shogunate until well into the 19th century. Probably all the family lacquered inro among other objects, starting with Kyui I who was recorded as having lacquered inro for the Shogun Iemitsu. LITERATURE COMPARISON Compare a related inro with a similar design of Watanabe no Tsuna and the Rashomon demon, which must share a common source, in Weber, Victor Frédéric (1975) Ko-ji ho-ten: Dictionnaire à l’usage des Amateurs et Collectionneurs d’Objets d’Art japonais et chinois, Vol. II, pl. LXVII (opposite p. 448). Estimate EUR 10,000 Starting price EUR 5,000 Curiously, the demon’s cloak as it billows out reveals a delicate spider’s web design in gold maki-e. There is even an outside chance that the swirling leaves might be intended to combine with the suggestion implicit in the spider’s webbed cloak of a large lotus leaf hat that the pair represent the mitate interpretation of Jizo Bosatsu and Kannon fishing for souls, once they’ve made up. It is a common perception that spiders transform into oni after dark. For a woodblock print showing the same scene as on the present inro, by Utagawa Kuniyoshi, c. 1820-1830, see the National Museum of Asian Art, Smithsonian Institute, accession number S2004.3.147

LENGTH 6.2 cm, HEIGHT 8 cm Condition: The inro in very good condition with nibbles to edges, minor wear and traces of use. The netsuke with some light rubbing and losses to gold foil inlays. Provenance: Ex-collection W. L. Behrens (1861-1913). A private collection in Southern Europe. With an old auction label.

Portrait of Walter Lionel Behrens (1861-1913)

In The Tale of the Heike, during Yoshitsune’s attack at Ichi-noTani, the Taira clan scattered. Kumagai no Jiro Naozane, scanning the beach, spotted young Atsumori swimming towards escaping vessels. Beckoning him with a fan, Kumagai taunted Atsumori for showing his back to the enemy. They grappled on the beach, and Kumagai, stronger, pinned him to the ground, knocking off his helmet; however, he was moved by the beauty of the young boy, the same age as his son. Kumagai, aware that other Minamoto warriors would likely kill him, decided to be the one to end Atsumori’s life. In tears, he beheaded the youth, reasoning it was better if he killed Atsumori, because he could offer prayers on his behalf for his afterlife. It is said that the beheading of Atsumori is what led Kumagai to take priestly vows and become a Buddhist monk. The present inro shows the aftermath of this scene, depicting Kumagai Naozane pensively looking at Atsumori’s kabuto. AUCTION COMPARISON Compare a related three-case lacquer inro by the same artist, signed Koma Yasutada saku, at Bonhams, The Edward Wrangham Collection of Japanese Art Part I, 9 November 2016, London, lot 273 (sold for GBP 3,840). Estimate EUR 3,000 Starting price EUR 1,500

27 KOMA YASUTADA: A SUPERB THREE-CASE BLACK AND GOLD LACQUER INRO Lineage of Koma Yasutada, signed Koma Yasutada 古満安匡 saku 作 Japan, 18th-19th century, Edo period (1615-1868) Of upright rectangular shape, the three-case inro bearing a fine roiro ground, decorated in gold, black and silver takamaki-e, hiramaki-e, togidashi-e, e-nashiji, and with some kirigane. The front depicts Kumagai Naozane pensively looking at Atsumori’s kabuto, the verso with two warriors seated below a horse. Signed to the underside KOMA YASUTADA saku [made by Koma Yasutada]. The interior of nashiji with gold fundame rims. With a carved walnut ojime and a kagamibuta netsuke, the bowl decorated with takamaki-e peonies and the lid depicting a sumitogidashi-e shishi in the manner of a Kano school painting.

28 KOMA KYUI II: A FOUR-CASE LACQUER INRO DEPICTING BOATS IN A HARBOR By Koma Kyui II, signed Koma Kyui Yasutsugu 古満休意安次 saku 作, Do (Koma) Kyuhaku Yasuaki 同休伯安章 kiwame kore 極之 Japan, 19th century, Edo period (1615-1868) Of upright form and oval section, bearing a lustrous roiro ground, finely decorated in iro-e hiramaki-e and takamaki-e, as well as kirigane and aogai, to depict two large treasure ships anchored in a harbor, a large full moon to the back, the harbor with small boats and overgrown tall grasses, and with geese descending in the night sky. The interior compartments of nashiji with gold fundame rims. Signed to the underside KOMA KYUI YASUTSUGU saku, Do (Koma) Kyuhaku Yasuaki kiwame kore [This is made by Koma Kyui Yasutsugu, certified by Koma Kyuhaku Yasuaki]. With a wood ojime in the form of a repentant oni seated with one hand clasped around a fan and a large carved nut netsuke decorated with a branch of nanten berries, the leaves inlaid in silvered and gilt metal. Metal-ringed, asymmetrical himotoshi to the back. HEIGHT 9.2 cm (inro), 4.9 cm (netsuke) Condition: The inro in very good condition with only very light wear to edges. The netsuke with losses to inlays, cracks, and natural flaws. The family name Koma belongs to one of the most famous dynasties of lacquer artists, founded by Koma Kyui I who worked in Edo in the 17th century; members of the family continued as lacquerers to the court and shogunate until well into the 19th century. Probably all the family lacquered inro among other objects, starting with Kyui I who was recorded as having lacquered inro for the shogun Iemitsu. See Earle, Joe [ed.] (1995) The Index of Inro Artists, p. 141, which records two masters Koma Kyui I and Koma Kyui II.

AUCTION COMPARISON Compare a closely related threecase case lacquer inro with boats and pines by a beach, at Christie’s, Arts of Asia Online, 29 March 2023, New York, lot 16 (sold for USD 6,930). Estimate EUR 3,000 Starting price EUR 1,500

29 A FINE GOLD AND SILVER LACQUER FOUR-CASE ‘SENBA-ZURU’ (ONE THOUSAND CRANES) INRO Unsigned Japan, 19th century, Edo period (1603-1868) Of almost square shape, bearing a fine roiro ground, masterfully decorated in togidashi-e as well as gold and silver takamaki-e. The intricate design depicts a dense landscape scene, centered around a meandering river, where a gathering of cranes adds a sense of movement. Some cranes are standing gracefully along the riverbank, while others soar towards the top case, enhancing the dynamic composition. The landscape is further enriched with delicate kirigane flakes and e-nashiji. The interior of nashiji with gold fundame rims and with an inscription on the top case indicating the medicine originally contained within. LENGTH 6 cm, HEIGHT 6.8 cm Condition: Very good condition with a tiny nick and dent to the top case, typical nibbles to the rims, and expected traces of use. In Edo-period Japan (1603–1868), cranes (tsuru) were revered as symbols of longevity, wisdom, and good fortune, deeply rooted in Shinto and Buddhist traditions. Believed to live for a thousand years, cranes were associated with immortality and divine protection, often appearing in lacquerware, textiles, and paintings as auspicious motifs. Estimate EUR 2,000 Starting price EUR 1,000

30 KOMA KYUHAKU: A FINE THREE-CASE LACQUER INRO WITH CRANES AMIDST WAVES By Koma Kyuhaku, signed Koma Kyuhaku 古滿休伯 saku 作 Japan, 18th century, Edo period (1615-1868)

Of rounded square form, magnificently decorated with gold and silver takamaki-e and gold togidashi-e on a silver ground. Beautifully depicting cranes soaring gracefully with their wings widely spread, above the turbulent waves of the sea. One crane is featured on each side, while a third extends across both sides. The waves beautifully stretch to the top and bottom, enhancing the dynamic movement. Signed to the underside KOMA KYUHAKU saku [made by Koma Kyuhaku]. The interior cases of nashiji with gold fundame rims. With an openwork metal ojime depicting cranes and clouds. HEIGHT 7.5 cm, LENGTH 7.6 cm Condition: Excellent condition with only minor wear. Provenance: Ex-collection Hayashi Tadamasa (1853–1906), sold at his Drouot Sale in 1902, lot 347. Ex-collection Baron J. Vitta (18601924), sold at his Drouot sale in 1924, lot 84. Ex-collection Maurice Feuillet (1873-1968), Med Baudoin et Ader, 23 – 24 June 1938, Paris lot 75. Piasa, 14 December 2010, Paris, lot 258. From a French private collection, acquired from the above. MUSEUM COMPARISON Compare a related inro with cranes, by the same artist Koma Kyuhaku, dated to the 18th century, in the collection of the Metropolitan Museum of Art, New York, accession number 36.100.206. Estimate EUR 4,000 Starting price EUR 2,000

31 A RARE FOUR-CASE MOSS-GREEN LACQUER INRO OF A SNAKE ATTACKING A SPARROW Unsigned Japan, 19th century, Edo period (1615-1868) Of upright rectangular form with rounded edges, finely decorated with gold and silver takamaki-e and hiramaki-e on a rather unusual moss green ground. The front is finely decorated with a snake biting into a sparrow, the bird visibly in distress with its mouth open, frantically trying to escape and losing some of its feathers in the process. The reverse shows the snake’s thick body wrapped around a beautifully textured branch. The interior of nashiji with gold fundame rims and an old label inside. With a wood and bone ojime, as well as a carved wood netsuke in shape of a shishi on a mokugyo. LENGTH 5.6 cm, HEIGHT 7.5 cm Condition: Very good condition with small losses to a cord hole and minor expected wear. Provenance: From an American private collection, an old label with inscribed collection no. 2659 to the interior. AUCTION COMPARISON Compare a related five-case mossgreen lacquer inro, also depicting a snake, dated to the early 19th century, at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 253 (sold for GBP 55,250). Estimate EUR 5,000 Starting price EUR 2,400

32 SHUN’YO: A FINE INLAID FOUR-CASE LACQUER INRO WITH A SEA EAGLE AND A QUAIL, AFTER A DESIGN BY HANABUSA ITCHO By Shun’yo, after a design by Hanabusa Itcho, signed Shun’yo 春葉 and with a pot seal Japan, 19th century, Edo period (1603-1868)

Of upright rectangular form, finely decorated in gold, silver, and red takamaki-e and hiramaki-e, with e-nashiji accents on a lustrous roiro ground. The front features a majestic sea eagle in mid-swoop, its powerful form rendered in intricate detail above a flowing stream, foliage and pine saplings set on mother-of-pearl inlays. The reverse shows a quail perched on a rock highlighted with kirigane flakes. Signed to the underside SHUN’YO. The interior of red lacquer and fundame rims. With a tsuishu (carved red lacquer) ojime inlaid with mother-ofpearl depicting chrysanthemums and a black and red carved lacquer manju netsuke of square shape depicting leafy vines. LENGTH 5 cm, HEIGHT 6.7 cm Condition: Very good condition, with only slight rubbing and agerelated traces of use. The artist Shun’yo appears to be unrecorded, however considering the use of a red tsubo (pot) seal was likely affiliated with the Kajikawa lacquerers of Edo. Estimate EUR 4,000 Starting price EUR 2,000 Hanabusa Itcho (1652-1724) was a Japanese painter, calligrapher, and haiku poet. He originally trained in the Kano style, under Kano Yasunobu, but ultimately rejected that style and became a literato (bunjin). He was also known as Hishikawa Waō and by several other names. Compare the present lot to a design showing an eagle fishing, by Hanabusa Itcho

33 A SUPERB FOUR-CASE LACQUER INRO WITH A SEA EAGLE IN A TSUITATE By a member of the Kajikawa family, signed Kajikawa 梶川 saku 作 Japan, 19th century, Edo period (1615-1868) Of upright rectangular form and oval section, bearing a lustrous roiro ground, lacquered in tsuishu (carved red lacquer) and gold and silver takamaki-e, hiramaki-e and with some kirigane highlights. The front shows a tsuishu-framed tsuitate (table screen) depicting a sea eagle perched on a rock amidst wafting waves all against a fine, gold-sprinkled ground. The reverse is decorated with a large owl tethered to a perch suspended on a hook. Signed to the underside KAJIKAWA SAKU [made by Kajikawa]. The interior cases of roiro with gold fundame rims. With a blue glass ojime. LENGTH 5.5 cm, HEIGHT 8 cm

Condition: Good condition with minor typical wear, traces of use, light rubbing to edges and few minuscule losses to the edge of the tsuishu frame. Provenance: De-accessioned from the Kiyomizu Sannenzaka Museum, Kyoto, Japan. Founded in 2000 by Masayuki Murata, the Kiyomizu Sannenzaka The Kiyomizu Sannenzaka Museum aims to increase the Museum, Kyoto, Japan appreciation of Japanese art from the 19th to early 20th century and provide a source of inspiration for contemporary artisans. MUSEUM COMPARISON Compare a related lacquer inro with a hawk on its perch, also by Kajikawa, dated to the early 19th century, in the collection of the Walters Art Museum, Baltimore, accession number 67.457. Estimate EUR 4,000 Starting price EUR 2,000

34 YAMADA JOKASAI: A SUPERB INLAID FOUR-CASE LACQUER INRO WITH A PHEASANT AND PEONIES Lineage of Yamada Jokasai, signed Joka 常如 saku 作 Japan, 19th century, Edo period (1615-1868) Of upright rectangular form, superbly decorated with inlaid raden (mother-of-pearl), small kirigane flakes, gold hiramaki-e and iro-e takamaki-e on a kinji ground. The front depicts an inlaid bekko (tortoiseshell) pheasant with very finely incised plumage. The pheasant stands in front of a beautiful foliage of white and red peonies, also found on the backside extending to the top case. Signed to the underside JOKA saku [made by Joka(sai)]. The interior of nashiji with gold fundame rims. LENGTH 5.3 cm, HEIGHT 8.1 cm Condition: Good condition with losses to the risers, traces of use and minor wear. A small repair to the side of the third case near the pheasant’s tail. Provenance: Vente Ader, 10 March 1964, Paris, lot 101 (an old auction label inscribed ‘101’ in the top case). Tessier-Sarrou, Arts du Japon, 20 February 2019, Paris, lot 139. French private collection, acquired from the above.

The Yamada Jokasai lineage lasted until the end of the Edo period. The first Yamada Jokasai lived in Tokyo in the late 17th century and worked for the shogunate, originally at the Kajikawa school. He crafted inro and kobako alongside the famous Koami Choho, later breaking off to establish his own school in Tokyo. AUCTION COMPARISON Compare a related mother-of-pearl inro with a cockatoo, peonies and magnolia, by the same artist Jokasai, dated to the 19th century, at Bonhams, The Edward Wrangham Collection of Japanese Art Part 2, 10 May 2011, London, lot 219 (sold for GBP 5,760). Estimate EUR 4,000 Starting price EUR 2,000

35 JOKASAI: A FINE SOMADA-STYLE BLACK LACQUER FIVE-CASE INRO WITH A SHISHI Lineage of Yamada Jokasai, signed Jokasai 常嘉齋 Japan, 19th century, Edo period (1615-1868) Of upright slender rectangular form, superbly decorated with gold hiramaki-e and aogai (mother-of-pearl) inlays on a roiro ground executed in the Somada-style. The front depicts a lively shishi in a dynamic pose with a wildly curling mane, a raised tail, and sharp claws. The reverse depicts a finely decorated aogai pine branch. The interior of nashiji with gold fundame rims, the top of each case lacquered in silver. With a shibuichi ojime with a tiger by a stream executed in kebori and katakiri-bori and signed Masayuki, as well as a netsuke in shape of a mask box incised with the character Ju (Kotobuki) and fitted with a painted miniature mask, signed Shosai (Masakuni) saku [made by Shosai]. LENGTH 4 cm, HEIGHT 9.6 cm Condition: Very good condition with minor typical losses to aogai inlays, as well as minor traces of use including tiny losses to the cord holes and a few dents to the top from contact with an ojime. Provenance: Ex-Collection of H. J. van Gils. Paul Brandt B.V., Amsterdam, 27 May - 31 May 1974, lot 910. Kunsthandel Klefisch, 27 September 2008, Cologne, lot 370. Collection of Dr. Reinhard Lohrberg, Hannover acquired from the above (copy of the Klefisch invoice is available). The Yamada Jokasai lineage lasted until the end of the Edo period. The first Yamada Jokasai lived in Tokyo in the late 17th century and worked for the shogunate, originally at the Kajikawa school. He crafted inro and kobako alongside the famous Koami Choho, later breaking off to establish his own school in Tokyo. The ornate decoration to the interior risers, as seen on the present inro, is typical for this school. Estimate EUR 2,500 Starting price EUR 1,200

Compare the present lot to an illustration in Hishikawa, Moronobu (1685), Wakobu Shoshoku E-Zukushi

36 WASHUSAI: A FINE FIVE-CASE GOLD LACQUER INRO WITH FIGHTING SHISHI By Washusai, signed Washusai 和秀斎 with kakihan Japan, 19th century, Edo period (1615-1868) Of upright cylindrical form, finely decorated with gold and silver takamaki-e and hiramaki-e on a kinji ground, and subtly inlaid with gold foil. The front depicts a lively shishi lion in a dynamic pose, well detailed with painted mother-of-pearl eyes, wild curling mane and sharp claws. The reverse similarly decorated with two fighting shishi. The interior of nashiji with gold fundame rims. The base with the gold-lacquered seal signature WASHUSAI and a red-lacquered kakihan. LENGTH 4.5 cm, HEIGHT 9.5 cm

Condition: Very good condition with typical losses to the gold leaf inlays and minor expected traces of use. Provenance: Koller Auktionen, Auktion 50/3, June 1983, Zurich, lot 501. From a noted Swiss private collection, acquired from the above. The artist appears to be unrecorded, however the red kakihan suggests a relation to the Kajikawa school in Edo. AUCTION COMPARISON Compare a closely related five-case gold lacquer inro with shishi among rocks and waterfall, by Hirai Masatsune, dated to the 19th century, at Bonhams, The Edward Wrangham Collection of Japanese Art, 15 May 2012, London, lot 327 (sold for GBP 2,250). Estimate EUR 4,000 Starting price EUR 2,000

37 KOMA KOKAKUSAI: A SUPERB FIVE-CASE GOLD LACQUER INRO WITH AN EAGLE ON A CHERRY BRANCH By Koma Kokakusai, signed seki Kokakusai 関古鶴斎 Japan, 19th century, Edo period (1615-1868) Of upright rectangular form, finely decorated with gold takamaki-e and hiramaki-e on a lustrous kinji ground. The front depicts a Hokusai-esque eagle, portrayed with character and charm, perched on a cherry branch highlighted with kirigane flakes. The eagle’s eye is inlaid in painted crystal. The back shows an atmospheric red togidashi-e sun rising behind two sparrows fleeing from the eagle. Signed to the underside seki KOKAKUSAI. The interior of nashiji with gold fundame rims. LENGTH 4.8 cm, HEIGHT 9.5 cm Condition: Good condition, one small dent to the top from contact with an ojime, a fine age crack to the side of the top two cases, minor rubbing to edges, and typical losses to kirigane. Koma Kokakusai is recorded to have worked for the Shogunate in Edo during the 19th century. MUSEUM COMPARISON Compare a related gold lacquer inro with an eagle, dated to the 18th century, in the collection of the Metropolitan Museum of Art, New York, accession number 29.100.880. Estimate EUR 5,000 Starting price EUR 2,400

Woodblock print depicting a hawk and cherry blossoms, by Katsushika Hokusai, dated to the 19th century, in the collection of Museum of Fine Arts, Boston, accession number 11.19656

38 JOKASAI: A SUPERB INLAID FOUR-CASE GOLD LACQUER INRO WITH A CROW AND A SQUID Lineage of Yamada Jokasai, signed Jokasai 常嘉齋 Japan, 19th century, Edo period (1615-1868) Of upright rectangular form, exquisitely adorned in gold, silver, and black takamaki-e, with accents of hiramaki-e, all set against a richly sprinkled kinji ground. The dynamic scene depicts a screaming crow in mid-attack, grasping a raden-inlaid squid and pulling it from the water, while the squid fiercely resists, its tentacles coiling around the crow’s head and talons. The crow’s plumage is rendered with exceptional delicacy, achieved through meticulously placed, minute incisions. Beneath the struggle, turbulent waves crash against jagged rocks, enhanced with kirigane flakes. Signed to the underside JOKASAI. The interior of nashiji with gold fundame rims. LENGTH 5.1 cm, HEIGHT 7.7 cm Condition: Very good condition with a small loss to one of the cord holes and very minor wear including typical losses to the kirigane flakes. Estimate EUR 8,000 Starting price EUR 4,000

39 A FINE INLAID SINGLE-CASE LACQUER WOOD INRO WITH PIGEONS Unsigned Japan, 19th century, Edo period (1603-1868) Published: Tomkinson, Michael (1898) A Japanese Collection, no. 604 (unillustrated). The carved wood body finely decorated in thick gold and red takamaki-e, as well as aoagai inlays. The front features a superbly rendered scene of two pigeons perched on a rock, delicately accented with kirigane flakes. One pigeon is exquisitely inlaid in aogai (mother-of-pearl), adding a luminous contrast to the composition. The rock formation seamlessly extends to the reverse, where it is met by red prunus blossom branches. The interior of nashiji with gold fundame rims. HEIGHT 5.8 cm, LENGTH 8 cm

Condition: The mother-of-pearl inlay reattached. With a circumferential crack to the wood case. Otherwise, good condition and presenting very well. Provenance: Ex-collection Michael Tomkinson (1841-1921), no. 604. With an old label pasted to the underside. Thierry de Maigret, Archeologie, Art Asiatiques, 11 December 2015, Paris, lot 178. French private collection, acquired from the above.

AUCTION COMPARISON The design executed with thick lacquer and the quality of the mother-of-pearl are reminiscent of the work of Nomura Chohei. Compare a related mother-of-pearl inlaid two-case wood inro, attributed to Nomura Chohei, dated to the late 18th century, Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 327, (sold for EUR 1,830). Estimate EUR 2,000 Starting price EUR 1,000

Michael Tomkinson (1841-1921)

40 A FINE FOUR-CASE ROIRO LACQUER INRO WITH DRAGONFLY AND SPRING FLOWER BASKET Unsigned Japan, 19th century, Edo period (1615-1868) The four-case inro bearing a lustrous roiro ground and finely lacquered in iro-e takamaki-e depicting a dragonfly approaching a basket filled with a sumptuous floral composition, the details further embellished with gold foil, mother-of-pearl, coral, carnelian agate, jade, malachite, and translucent horn. The image continues to the reverse where a butterfly is seen approaching the same basket. The interior cases are of nashiji with gold fundame edges. Unsigned but certainly in the style of Yamada Jokasai who excelled in integrating subtle, yet beautiful, inlays into his designs. With a finely carved fruit nut ojime.

Provenance: Formerly the property of the Strong Museum, donated by Margaret Woodbury Strong (1897-1969), a prolific collector and founder and namesake of the museum. The interior of the bottom case with accession no. ’75.5334’. Zacke, Fine Netsuke & Sagemono, 4 November 2022, Vienna, lot 190 (sold for EUR 2,600). A private collection, acquired from the above.

Margaret Woodbury Strong (1897-1969)

MUSEUM COMPARISON Compare to a related inro by Jokasai in the Metropolitan Museum of Art (MET), New York, accession no. 29.100.875.

SIZE 7.2 x 5 cm Condition: Very good condition. Some tiny non-distracting losses to inlays and lacquered details. Some light surface scratches consistent with age and use. Minor wear to the exterior of the cord runners, microscopic chips along the edges of the cases, and one small nick to the underside. Presents very well.

AUCTION COMPARISON Compare to a related inro by Jokasai sold at Bonhams, Fine Japanese Art, 13 May 2008, London, lot 294 (sold for 3,000 GBP).

Estimate EUR 3,000 Starting price EUR 1,500

41 A SUPERB AOGAI-INLAID BLACK LACQUER FIVE-CASE INRO WITH A BIRD OF PREY Unsigned Japan, second half of the 19th century The five-case inro of upright rectangular form, bearing an elegant roiro ground, the front magnificently inlaid in iridescent aogai (mother-of-pearl) depicting a bird of prey on a thick takamaki-e branch. The reverse shows a large chrysanthemum in its foliage. The interior cases of nashiji with gold fundame rims. LENGTH 5.2 cm; HEIGHT 10 cm Condition: Restoration to the mid-section of mother-of-pearl. Otherwise in excellent condition with only very minimal surface wear. Provenance: Ex-collection G. E. Lang (according to the label to the exterior bottom case). MUSEUM COMPARISON Compare a related threecase roiro inro also with an aogai-inlaid bird of prey, in the collection of the British Museum, London, accession number 1981,0203.5. Estimate EUR 4,000 Starting price EUR 2,000

42 KOMA KORYU: A FINE INLAID FOUR-CASE GOLD LACQUER ‘MOMIJI NO GA’ INRO By Koma Koryu, signed Koma Koryu 古満巨柳 saku 作 Japan, late 19th century Of upright rectangular form, exquisitely decorated with red, black, silver and gold takamaki-e and hiramaki-e on a rich kinji ground. The front depicts two elegantly attired courtiers walking on a floor adorned with kirigane flakes, their faces inlaid in raden (motherof-pearl) and robes beautifully textured. The reverse shows a red maple tree, the trunk enriched with delicate kirigane flakes. Signed to the underside KOMA KORYU. The interior cases of nashiji with gold fundame rims. With a green glass ojime and a wood netsuke carved as a guardian lion atop a pedestal. HEIGHT 5.4 cm, LENGTH 6.4 cm Condition: Excellent condition with only minor wear and very few typical losses to the kirigane flakes. Momiji no Ga is a recurring theme in both The Tale of Genji and Noh theatre, where autumn leaves symbolize fleeting beauty and the passage of time, evoking mono no aware (the awareness of impermanence) and reinforcing the connection between nature and human emotion in classical Japanese aesthetics. Detail from the woodblock print ‘Momiji no ga’ from the series Genji Incense Pictures (Genji ko no zu) by Utagawa Kunisada (Toyokuni III), in the collection of the Museum of Fine Arts, Boston, accession number 11.22971

43 KOMA YASUTOMI: A SUPERB FOUR-CASE LACQUER INRO OF KIKUJIDO By Koma Yasutomi, signed Koma Yasutomi 古満安譡 saku 作 Japan, 19th century, Edo period (1615-1868) Published: Sydney Moss Ltd (1998) Odd Men Out, pp. 142-143, no. 47. Sydney Moss Ltd (2014) Lac Lacquer Lacquest, pp. 176-177, no. 58.

Of upright slender rectangular form, delicately decorated with polychrome takamaki-e and hiramaki-e on a sprinkled gold and red-brown e-nashiji ground. Kikujido, the chrysanthemum boy, is superbly portrayed, seated with long roiro hair in his fine court robes. He holds a spray of two bright red tsuishu-inlaid kiku flowers. The outline of his robe, consisting of baggy pants and shoes, is cleverly outlined in iridescent aogai. Kikujido’s robe is finely decorated with an overall scrolling kiku design. Above his head are large chrysanthemum leaves highlighted with kirigane flakes, which are also depicted on the reverse. Signed to the underside KOMA YASUTOMI SAKU [made by Koma Yasatomi]. The interior of gold fundame. LENGTH 6 cm, HEIGHT 9 cm Condition: Excellent condition with only very minor wear. Provenance: Christie’s, London, 16 June 1992, lot 296. Koma Yasutomi was an obscure member of the Koma family of lacquerworkers, active toward the end of the Tokugawa period, in the early to mid 19th century. Often referred to by the alternative reading of his name, Koma Anto, he is not infrequently mentioned in inro literature, but only about ten works by him are known. He was a skilled lacquerer in maki techniques, in togidashi-e, and used inlaid material with some sensitivity. Kikujido was of Chinese origin, a court attendant and favorite of Emperor Mu of Chou, who one day, while passing the monarch’s couch, accidentally kicked a cushion with his foot. A rival won his exile to a distant valley for this deadly insult, but before he left, the Emperor taught him a magic formula. Alone for many years in his distant valley, Kikujido wrote his magic phrase repeatedly on the only materials available to him: chrysanthemum (kiku) leaves. According to one version, the dew that washed the ink from the leaves became the elixir of eternal youth. The Emperor finally reconciled and brought him back to court, where he discovered that after many years Kikujido had not aged at all. Estimate EUR 6,000 Starting price EUR 3,000

44 KAJIKAWA: A FINE INLAID FOUR-CASE LACQUER INRO WITH A MONKEY AND A HORSE By a member of the Kajikawa family, signed Kajikawa 梶川 saku 作 with seal Ei 榮 Japan, 19th century, Edo period (1603-1868) Of upright rectangular shape, decorated in gold, silver, and red takamaki-e against a lustrous roiro ground. The front depicts a monkey wearing a red eboshi (ceremonial hat) and holding an aogai-inlaid whip as well as a gold leash, which gracefully extends to the reverse. On the opposite side, a horse, restrained by the monkey’s leash, is depicted with mother-of-pearl-inlaid hooves. Signed to the underside KAJIKAWA saku [made by Kajikawa] and sealed. The interior of nashiji with gold fundame rims. LENGTH 6.2 cm, HEIGHT 6.5 cm

Condition: Good condition with nibbles to the rims, losses to cord holes, expected traces of use. Some inlays likely replaced and light rubbing to lacquer as visible in the image provided. Provenance: Ex-collection Maurice Garçon, collection no. 120. An old label pasted to the interior ‘Collection Maurice Garçon 120’. Maurice Garçon (1889-1967) was a French novelist, historian, essayist and lawyer, known for his works ‘Le destin exécrable de Guillemette Babin’ (1948) and ‘Avec André Gide’ (1951) among others. He assembled an impressive collection of Japanese art including fine lacquerware and inro. The Kajikawa family is a famous dynasty of lacquerers founded in the 17th century in Edo. MUSEUM COMPARISON For a related design of a performing monkey and horse, signed Shiomi Masanari, see the Museum of Fine Arts Boston (MFA), accession no. 11.9888. Estimate EUR 2,000 Starting price EUR 1,000

45 KAJIKAWA: A FINE INLAID FOUR-CASE LACQUER INRO WITH A MONKEY TRAINER By a member of the Kajikawa family, signed Kajikawa 梶川 saku 作 with seal Ei 榮 Japan, 19th century, Edo period (1615-1868) Of upright rectangular form with rounded edges, superbly decorated with chinkinbori and red hiramaki-e on a lustrous roiro ground, depicting a foreign monkey trainer on one side, holding a cane and a red rope that extends to the reverse, where it is securely tied to his monkey. The trainer is dressed in a finely textured mino (traditional straw raincoat), his robe adorned with aogai (mother-of-pearl) inlays, while his pants are inlaid with kirigane. On the reverse, the monkey, characterized by a red face and aogai-inlaid eyes, is shown holding a sprig of leafy bamboo over its shoulder. Signed to the lower side KAJIKAWA saku [made by Kajikawa] with a large pot seal. The interior of nashiji with gold fundame rims. LENGTH 5.5 cm, HEIGHT 7.5 cm

Condition: Good condition. Light rubbing, as well as typical traces of use and minor age-related wear as visible in the images provided. Provenance: Ex-collection Georges Weil. Georges Weil (b. 1938) was a jewelry designer and sculptor of precious metals who formed an important collection of netsuke in the 1960s and also started carving netsuke in the 1970s. His works have been featured in many important exhibitions throughout the world, and are in the collections of many noted museums, such as the British Museum. Christie’s, A Private Collection of Japanese Art, 20 October 2014, New York, lot 42 (part lot). The Kajikawa family is a famous dynasty of lacquerers founded in the 17th century in Edo. AUCTION COMPARISON Compare a related motherof-pearl inlaid five-case inro showing a very similar scene, also by Kajikawa, dated to the 19th century, Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 333, (sold for EUR 6,320). Estimate EUR 1,500 Starting price EUR 800

46 KOMA KORYU AND ISHIGURO MASATSUNE: A FINE METAL-INLAID FOUR CASE INRO WITH A RANRYO-O DANCER The lacquerwork by Koma Koryu and the metalwork by Ishiguro Masatsune, signed Koma Koryu 古満巨柳 and Ishiguro Masatsune 石黒政常 Japan, 19th century, Edo period (1615-1868) The four-case inro of upright form with rounded edges bearing a roiro ground decorated with polychrome lacquer hiramaki-e and takamaki-e, e-nashiji, kirigane clouds and superbly inlaid in gold and silver with a Ranryo-o dancer and bugaku accessories as well as a pine tree. Signed to the underside within a silver cartouche ISHIGURO MASATSUNE beside the gold signature KOMA KORYU. The interior cases of nashiji with gold fundame rims. With a cylindrical coral ojime. LENGTH 6.5 cm, HEIGHT 9.5 cm Condition: Excellent condition with minor wear and typical losses to the kirigane flakes. Provenance: Maurice Champoud Collection, collection no. 157 (according to label to the interior top case). Subsequently de-accessioned from the Kiyomizu Sannenzaka Museum, Kyoto, The Kiyomizu Japan. Founded in 2000 by Masayuki Sannenzaka Museum, Murata, the Kiyomizu Sannenzaka Kyoto, Japan Museum aims to increase the appreciation of Japanese art from the 19th to early 20th century and provide a source of inspiration for contemporary artisans. Bugaku is a Japanese traditional dance. The defining elements of this dance were introduced through Southeast Asia to the Chinese Tang court and its use in Japan dates back to the Heian period and is still performed today. Detail from a six-panel screen with a Bugaku dance scene by Kano Yasunobu, in the collection of the Metropolitan Museum of Art, New York, accession number 2000.453

Koma is the family name of one of the most famous dynasties of lacquer artists. The dynasty was founded by Koma Kyui who worked in Edo in the 17th century, and his descendants were lacquerers of the court and shogunate until well into the 19th century. Ishiguro Masatsune is listed in the Haynes Index of Japanese Sword Fittings and Associated Artists on p. 983 (H 04752.0). Ishiguro Masatsune III used the art name Moritsune and succeeded the second Masatsune in 1829. AUCTION COMPARISON The Koma family frequently collaborated with famous metalworkers to create these types of inro during the 19th century. For a related example signed Koma Kyuhaku and Ishiguro Masatsune see Bonhams, The Edward Wrangham Collection of Japanese Art Part I, 9 November 2010, London, lot 282 (sold for GBP 13,200). For a closely related gold lacquer metalinlaid inro depicting the same subject, by Higashiyama Motonobu, dated to the 19th century, see Bonhams, Fine Japanese Art, 16 May 2013, London, lot 228 (sold for GBP 16,250). Estimate EUR 6,000 Starting price EUR 3,000

47 HARA YOYUSAI AND HAMANO NORIYUKI: A MAGNIFICENT GOLD LACQUER AND METAL-INLAID FOUR-CASE INRO DEPICTING KIKUJIDO The lacquerwork by Hara Yoyusai (1772-1845) and the metal inlays by Hamano Noriyuki (1771-1852) II, signed Yoyusai 羊遊齋 saku 作 and Hamano Noriyuki 濱野矩隨 Japan, 19th century, Edo period (1615-1868) Published: Virginia Atchley and Neil Davey, The Virginia Atchley Collection of Japanese Miniature Arts, p. 250, no. IN70.

Of rectangular form with oval section, finely decorated in gold hiramaki-e and takamaki-e, as well as inlaid in shakudo and shibuichi with gold details, to depict a continuous scene with Kikujido seated among flowering kiku besides a turbulent stream. Details of the landscape with kirigane and e-nashiji, the interior of nashiji with gold fundame rims. Signed below YOYUSAI saku [made by Yoyusai] in gold lacquer and HAMANO NORIYUKI incised in a gold-inlaid reserve. HEIGHT 9 cm, LENGTH 5.1 cm Condition: Excellent condition with only very minor wear. Provenance: Ex-collection Virginia Atchley, California, USA. Sydney Moss Ltd., London. An old inventory number ‘400’ lacquered to an interior rim. Hara Yoyusai (1772-1845) is listed in Virginia Atchley and Neil Davey, The Virginia Atchley Collection of Japanese Miniature Arts, p. 355. He lived in Edo and worked for Lord Matsudaira. He had many apprentices who produced a large number of finely lacquered inro and other wares, often with his signature. Like other lacquerers, he used the designs of Rimpa painters, including Sakai Hoitsu. The inlays were most likely done by Hamano Noriyuki II (17711852), listed in Virginia Atchley and Neil Davey, The Virginia Atchley Collection of Japanese Miniature Arts, p. 354. The Hamano family was well known for their sword fittings, while later generations produced kanagu as well as metal inlays for inro lacquerers. Kikujido was an attendant of the Emperor Mu Wang and exiled to a forgotten valley where he painted sacred characters on the petals of the kiku that grew there. The dew that washed away his work thence became the elixir of everlasting youth. AUCTION COMPARISON Compare a related lacquer inro, by Kajikawa and Hamano Noriyuki, depicting the same subject, yet arguably less fine, at Christie’s Japanese Art & Design, 11 May 2011, London, lot 259 (sold for GBP 3,500 or approx. EUR 6,000 converted and adjusted for inflation at the time of writing). Estimate EUR 10,000 Starting price EUR 5,000

48 YOYUSAI: A SUPERB AND RARE GOLD-INLAID FIVE-CASE GOLD LACQUER INRO DEPICTING RAIKO’S DREAM AND A DRUNKEN SHOJO By Hara Yoyusai (1772-1845/6), signed Yoyusai 羊遊斎 saku 作 Japan, 19th century, Edo period (1615-1868) Of upright and oval shape, bearing a beautiful and lustrous gold kinji ground, superbly lacquered in iro-e takamaki-e with hiramaki-e details, and inlaid with gold, showing two scenes set in a rectangular “scroll painting” kirigane frame. The verso shows the demonic earth spider in its web below Minamoto no Yorimitsu. The recto shows a sleeping shojo, visibly drunk, reclining behind a large red sake jar decorated with fine clouds, all below a towering pine tree. Signed to the underside YOYUSAI saku [made by Yoyusai]. The interior cases of nashiji with gold fundame rims. With a fine green and gold glass ojime. LENGTH 4.9 cm, HEIGHT 9.3 cm Condition: Excellent condition with only very minor wear and typical losses to kirigane flakes. Provenance: Christie’s, Japanese Art & Design, 4 November 2009, London, lot 118 (sold for GBP 3,750). Known as Raiko, Minamoto no Yorimitsu (948–1021) was a nobleman who worked with his associate Watanabe no Tsuna to rid Kyoto of its many demons. One night, a feverish Raiko believed he was being attacked by monsters and called for protection, but his attendants fell asleep, and Raiko was attacked by a giant earth spider. His weak cries and a trail of blood attracted Watanabe who used an uprooted tree trunk to kill the enormous spider. Once the spider was vanquished, Raiko made a full recovery. Hara Yoyusai (1772-1845/6) lived in Edo and worked under the patronage of Lord Matsudaira.

Compare the woodblock triptych print, oban tate-e, depicting a related scene of the Earth Spider at the chambers of Minamoto no Yorimitsu, in the collection of the British Museum, London, accession number 2008,3037.20906.

AUCTION COMPARISON Compare a closely related gold lacquer and metal-inlaid five-case inro by the same artist and signed Yoyusai saku, depicting the monk Saigyo at Mount Fuji at Christie’s, Japanese Art and Design, 11 November 2008, London, lot 105 (sold for GBP 3,250). Also compare a related gold lacquer and metal-inlaid two-case inro by the same artist and signed Yoyusai saku, depicting mandarin ducks inlaid in gold, silver, copper and shakudo at Bonhams, Japanese Art and Design, 10 May 2011, London, lot 255 (sold for GBP 18,000). Estimate EUR 4,000 Starting price EUR 2,000

49 A FINE METAL-INLAID FOUR-CASE INRO DEPICTING THE TWELVE ANIMALS OF THE ZODIAC (JUNISHI)

(junishi) scattered in a landscape with rockwork, bamboo, prunus, peach, and a pavilion. The interior of the compartments of nashiji and with gold fundame rims.

Unsigned Japan, 18th to 19th century, Edo period (1615-1868) to Meiji period (1868-1912)

With a metal-gilt and iron-wire wrapped ojime.

The inro of oval section, finely decorated in iro-e takazogan and gold, silver, and red lacquer takamaki-e and hiramaki-e, with kirigane flakes as well as mother-of-pearl inlays, all above a dark brown lacquered ground, to depict the twelve zodiac animals

Condition: Very good condition with minor wear, a small bruise to the top, and few typical losses to the kirigane flakes. Provenance: Arthur & Bond, Yokohama. An English private collection, acquired from the above. Three old labels to the interior, ‘Arthur & Bond Yokohama, No. 5233, USD 69.00’, ‘Substantially identified with SK 1456 Shunsho’, and ‘474 8/11/49 Si/-/-‘. Arthur & Bond was The Arthur & Bond store at 38 founded by Horace Frank Water street, Yokohama (left side) Arthur and William Robert Bond in 1889 and based in Yokohama. Their high-quality silverware and statement pieces were particularly sought after especially by foreign travelers and English gentlemen living in Japan. They retailed and manufactured not just silverware but also gold lacquer, chased, hammered and inlaid metal works, ivory carvings, embroideries, cloisonné, porcelain, furniture and domestic items as stated in their business cards.

HEIGHT 8 cm, LENGTH 5.4 cm

Estimate EUR 4,000 Starting price EUR 2,000

50 KAJIKAWA AND MASAYOSHI: A SUPERB AND VERY RARE GOLD LACQUER AND METAL-INLAID SEVEN-CASE INRO DEPICTING THE KACHI-KACHI YAMA STORY By a member of the Kajikawa family (for the lacquerwork) and by Ishiguro Masayoshi (for the metalwork), signed Kajikawa 梶川 saku 作 with red ‘tsubo’ seal Ei 榮 and Masayoshi 政美 with kakihan Japan, 19th century, Edo period (1615-1868) Published: Eskenazi (1984) Japanese Netsuke, Ojime, Inro, Lacquer-ware, pp. 54-55, no. 114. The seven-case inro of upright form with rounded edges, featuring a gold kinji and mura nashiji ground, beautifully lacquered in gold and silver takamaki-e and hiramaki-e, as well as masterfully inlaid in shakudo, silver, and gold, depicting the Kachi-Kachi yama legend. The front shows the rabbit standing triumphantly towards the prow of his metal-lined boat, raising its oar about to strike down the tanuki, who clings on to the barge of his mud-boat, which is inlaid in pewter. The reverse with the full moon inlaid in silver, rising above the turbulent sea and the interior of rich gyobu; signed for the lacquer KAJIKAWA saku with a red ‘tsubo’ (pot) seal Ei and for the metalwork, MASAYOHI with a kakihan within a rectangular gold reserve. With a black horn ojime. HEIGHT 8.8 cm Condition: Excellent condition with hardly any wear. Provenance: Ex-collection Gretchen Kroch Kelsch. Ex-collection Ted Wrangham, collection no.1839, purchased from Eskenazi Ltd., London, in 1987. Zacke, Asian Art Discoveries, 27 January 2022, Vienna, lot 620 (sold for EUR 15,168). A French private collection, acquired from the above. Edward A. ‘Ted’ Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.

A masterfully lacquered and metal-inlaid inro, not only featuring a very rare design but also with seven compartments (!).

The name Kachi-Kachi yama (meaning fire-crackle mountain) comes from the especially painful trick that the rabbit played, prior to the scene depicted on the inro. While the tanuki was carrying a heavy load of kindling on his back to make a campfire for the night, he was so burdened that he did not immediately notice when the rabbit set fire to the kindling. Soon, the crackling sound reached its ears and it asked the rabbit what the sound was. “It is Kachi-Kachi Yama” the rabbit replied. “We are not far from it, so it is no surprise that you can hear it!”. Eventually, the fire reached the tanuki’s back, burning it badly, but without killing it. Estimate EUR 10,000 Starting price EUR 5,000 The Kachi-Kachi yama story, also known as the Farmer and the Badger, is one of the few Japanese folktales in which a badger (tanuki) is a murderous villain rather than the boisterous, corpulent alcoholic. The episode depicted here is when the tanuki challenged the rabbit to a life and death contest to prove who was the better creature. They were each to build a boat and race across The aftermath of the a lake in them. The rabbit carved its Kachi-Kachi yama boat out of a fallen tree trunk, but the story, from a Japanese foolish tanuki made a boat of mud. At painting, Meiji period first, the two competitors were evenly matched, but the badger’s mud boat began to dissolve in the middle of the lake and instead of saving the badger, the rabbit strikes him with an oar, and proclaimed his friendship with the innocent human couple whom the wicked badger had earlier inflicted its horrible deeds - thus revealing his revenge.

51 GYOKUZAN: AN UNUSUAL SINGLE-CASE LACQUER INRO IN THE FORM OF A JAKAGO BASKET By Tachibana Gyokuzan after a design by Kuwagata Keisai, signed Keisai Shoshin 蕙斎紹真 and Gyokuzan sei 玉山製 and with the artist’s kakihan Japan, first half of the 19th century, Edo period (1615-1868) Published: Stern, Harold P. (1972) The Magnificent Three: Lacquer, Netsuke, and Tsuba, no. 45 (unillustrated). Ingeniously formed as a rattan jakago basket, applied with woven strips of lacquered bamboo and beautifully decorated in gold takamaki-e with a bank of reed plants. Signed to the right corner GYOKUZAN sei [made by Gyokuzan] and further with an inscription Keisai Shoshin, the pot seal containing the character Sho 紹. The interior of roiro. LENGTH 5.7 cm, HEIGHT 6.2 cm Condition: Very good condition with only one tiny insect hole, and typical minor wear and traces of use. Provenance: Ex-collection Greenfield, collection no. 179 (with an old label to the top case).

Tachibana Gyokuzan was active in Edo in the 19th century. He made inro, ojime and netsuke, and excelled in simulating various materials, such as in the present piece, where the artist has brilliantly emulated a woven jakago. Kuwagata Keisai (1764-1824), also known as Kuwagata Shorin, was a Japanese artist active during the late Edo period. He is best known for his innovative and dynamic simplified painting style (Ryakuga-shiki), which emphasized speed, fluidity, and minimal brushstrokes. His work bridged the gap between formal Kano school painting and the more expressive Ukiyo-e traditions. MUSEUM COMPARISON Compare a related single-case tortoiseshell and basketry inro, dated to the 17th century, likely the original model for the present inro, in the collection of the Metropolitan Museum of Art, New York, accession number 91.1.2153a-c. Estimate EUR 2,000 Starting price EUR 1,000

52 KOSHIN: A RARE LACQUERED BAMBOO AND MARQUETRY INRO By Maeyama Koshin, signed Ko 光 saku 作 Japan, c. 1900, Meiji period (1868-1912) Of upright rectangular form, the exterior is veneered with mottled bamboo and decorated with gold, black and silver takamaki-e and hiramaki-e. One edge is hinged and opens to reveal two drawers. One side depicts a kuzu (arrow root plant), one of the seven grasses of autumn (Aki no Nanakusa), and an iridescent agoai bumblebee. The richly decorated leaves and vines extend to the other side, where a mother-of-pearl inlaid butterfly is fluttering above. Signed KO saku [made by Ko(shin)]. With a coral ojime, as well as a plain wood manju netsuke with a mother-of-pearl butterfly and polychrome details. LENGTH 5.3 cm, HEIGHT 9.5 cm Condition: Good condition, a few insect holes, two missing drawers, as well as age-related minor wear. Provenance: Jean-Marc Delvaux, Extreme-Orient, 12 June 2013, Paris, lot 280. French private collection, acquired from the above. Maeyama Koshin was a lacquer artist who worked during the Meiji-Taisho periods, possibly being involved in or at least influenced by the school of Zeshin and Taishin. See Earle, Joe [ed.] (1995) The Index of Inro Artists, p. 150. AUCTION COMPARISON Compare a related kiseruzutsu by the same artist, signed Koshin, note the similar execution of the leaf, at Zacke, Fine Netsuke & Sagemono, 22 April 2022, Vienna, lot 365 (sold for EUR 2,781). Compare a related bamboo and marquetry inro, by Shibata Zeshin, dated to the Meiji period, at Bonhams, Fine Japanese Art, 12 May 2016, London, lot 283 (sold for GBP 18,750). Estimate EUR 2,000 Starting price EUR 1,000

53 A FINE SHIBAYAMA INLAID LACQUER SAYA (SHEATHE) FOUR-CASE INRO

The two-part ivory manju netsuke is a perfect complement, depicting the Thunder God Raijin clutching his head in concern — having, once again, summoned too much lightning. Signed Koryusai.

The insert inro signed Isshin 一信 with a seal Japan, late 19th century, Meiji period (1868-1912)

With an ivory ojime depicting an eagle, pine, and Mount Fuji.

Of slender rectangular form, exquisitely decorated with sublime takamaki-e and hiramaki-e on a kinji ground. The outer case presents a dramatic and finely executed scene. A samurai, his figure elegantly inlaid in ivory, is depicted removing his straw hat as aogai-inlaid thunderbolts as well as kirigane clouds loom above him. Trapped beneath the enchanted woven hat are Fujin and Raijin, the revered gods of wind and thunder. On the reverse, the scene takes a humorous turn - the two ivory-inlaid oni-like gods are shown fleeing from the raging thunderstorm, one of them holding his backside as he was struck by a bolt of lightning. The removable inner four-case section is decorated with magnificent togidashi-e fan paintings with delicate designs on a roiro ground, further enriched by e-nashiji. The top and bottom are finished in kinji. Signed to the underside ISSHIN (for the artist see Wrangham, (1995) The Index of Inro Artists, p. 92). The interior cases of nashiji with gold fundame rims.

HEIGHT 7.5 cm, LENGTH 7.6 cm Condition: Repairs to the mother-of-pearl inlays. Otherwise overall good condition with a crack to the underside of the insert, a small hairline near the top of the backside, as well as rubbing to the edges. Small scratches, typical losses and traces of use. AUCTION COMPARISON Compare a related shibayama inro raijin in a spider web, by Shingo, at Bonhams, Fine Japanese Art, 8 November 2018, London, lot 48 (sold for GBP 3,125). Estimate EUR 4,000 Starting price EUR 2,000

54 A SUPERB GOLD-LACQUER SHIBAYAMA-INLAID FOUR-CASE SAYA (SHEATH) INRO DEPICTING A KARAKO AND HANAKAGO (FLOWER BASKET) Unsigned Japan, late 19th century, Meiji period (1868-1912)

Published: Ducros, Alain (1987) Netsuke & Sagemono 2, p.160. The sheath bearing a lustrous kinji ground richly inlaid in mother-ofpearl, stained bone, tortoiseshell, and wood, depicting to one side a karako dressed in patterned robes detailed with peony blossoms and a neckerchief with scrolling clouds, holding aloft a fan and looking down at a turtle standing foursquare with its head raised, the animal neatly detailed with finely incised carapace, tail, and limbs, and to the other side a flower basket atop a wood stand filled with blossoming chrysanthemum, peony, and morning glory. The removable internal compartments are decorated with a densely gold-sprinkled roiro ground painted in gold hiramaki-e with shapes of maple leaves and blossoms enclosing brocade patterns. The interiors of nashiji with gold fundame rims. LENGTH 5.7 cm, HEIGHT 8.6 cm Condition: Superb condition with minimal wear, the upper right cord hole with a minuscule nick. The inlays are perfectly preserved with no losses whatsoever, which is extremely rare for this type. Provenance: From a private collection in France. The lower compartment with an old Japanese label inscribed ‘no. 3’ and with a seal mark. AUCTION COMPARISON Compare a related gold lacquer and Shibayama inlaid saya inro, dated to the Meiji period, 8.1 x 9.5 cm, at Bonhams, Fine Japanese Art, 12 May 2016, London, lot 286 (sold for GBP 9,375 or approx. EUR 16,500 adjusted for inflation at the time of writing). Estimate EUR 6,000 Starting price EUR 3,000

55 NANKEI AND MUNEAKI: A SUPERB SHIBAYAMA FOUR-CASE LACQUER INRO WITH MAPLE AND CHRYSANTHEMUMS The lacquerwork by Nankei and the inlays by Shibayama Muneaki, signed Nankei 南溪 with seal rishi 李氏 and Muneaki 宗明 Japan, late 19th century, Meiji period (1868-1912) Of upright almost square form, bearing a bright gold kinji ground, finely worked with Shibayama inlays of raden (mother-of-pearl), stained horn and wood, depicting a maple tree above white chrysanthemums and their leaves, both emblematic of Autumn. Signed to the underside in gold lacquer NANKEI with a seal rishi and with a second inlaid signature tablet MUNEAKI. The interior compartments of nashiji with gold fundame rims. LENGTH 6.5 cm, HEIGHT 8 cm Condition: Very good condition, two tiny losses to inlays, slight wear to the upper and lower corners. The Shibayama family began work in the late 1700s. Typical Shibayama work is encrusted with tiny pieces of ivory, pearl-shell, tortoiseshell, horn, and many other materials. These materials were often intricately carved or incised to produce the three-dimensional effect you can see here. Shibayama Muneaki was active during the latter half of the 19th century, during the Meiji era. AUCTION COMPARISON Compare a related four-case lacquer inro in Shibayama-style depicting birds and flowers, unsigned, dated to the Meiji Period, at Bonhams, Fine Japanese Art, 10 November 2016, London, lot 179 (sold for GBP 7,500). Estimate EUR 3,000 Starting price EUR 1,500

56 A FINE SILVER TWO-CASE INRO WITH KANO SCHOOL PAINTINGS Unsigned Japan, c. 1830, Edo period (1615-1868)

Of almost square shape, exquisitely engraved kebori, simulating vivid brushstrokes, and detailed with flush inlays of shakudo, suaka, and gold on a fine silver ground. The design, copied from famous Kano school paintings, features a gracefully rendered crane, standing elegantly on one leg. Beside it, a tiny minogame (mythical long-tailed turtle) gazes up at the crane. The reverse presents a delicately carved pine sapling, set against the iconic rising sun inlaid in gold hirazogan, partly obscured by clouds. Together the imagery presented on this inro is evocative of new beginnings and longevity. Each side bears an inscription indicating that the designs were copied from paintings by Kano Isen’in Naganobu (1775-1828) und Kano Seisen’in Osanobu (1796-1846), inscribed Genshosai Hogen 玄賞斎法眼 and kakihan and Kaishinsai Hogen 會心斎法眼 and kakihan. With a fine silver ojime shaped as a lotus pod. LENGTH 5.3 cm, HEIGHT 5.7 cm Condition: Very good condition with minor tarnishing and surface scratches, minor abrasions to the area around the rising sun. Estimate EUR 2,000 Starting price EUR 1,000

Crane and the rising sun by Kano Isen’in Naganobu (1775-1828)

57 A SUPERB SILVER SINGLE-CASE INRO OF A PEONY, ATTRIBUTED TO UNNO SHOMIN Attributed to Unno Shomin, unsigned Japan, late Meiji period (1868-1912) The inro intricately crafted with the front and back view of a peony blossom, the furled petals neatly incised, and the back with the stem. Unsigned, however attributed to Unno Shomin (see auction comparison). The inro suspending a silver butterfly-shaped ojime. HEIGHT 3 cm, LENGTH 3.9 cm

Condition: Very good condition with minor surface wear. AUCTION COMPARISON Compare a closely related silver two-case inro, also attributed to Unno Shomin and dated to the late Meiji period, at Bonhams, Fine Japanese Art, 12 November 2008, London, lot 366 (sold for 4,200 GBP). Estimate EUR 2,000 Starting price EUR 1,000

58 A FINE WOOD TONKOTSU WITH DRAGONS AND A TIGER Unsigned Japan, 19th century, Edo period (1615-1868)

The tobacco box of rounded square form, exquisetely carved from boxwood. One side is adorned with two sinuous dragons and the other with a majestic tiger, depicted in motion and looking back, its fur meticulously striped. The dramatic scene is set against a carved ground of bamboo and clouds. The eyes of each are double inlaid in pale horn with gilt pupils. HEIGHT 7.7 cm, LENGTH 8.5 cm Condition: Excellent condition with only minor wear. Provenance: Ex-collection M. Mauger und M. Baudoin (with an attached old auction label ‘Acquin v. le Portier le 24 Janvier 1922 280 + 17,50 = 329.‘). Sold at Hotel Drouot, Objets d’Art d’ExtremeOrient – Ceramique de la Chine et du Japon, 24 – 25 January 1922, Paris lot 218. Sold at Hotel Drouot, 18 October 1960, Paris, lot 31 (with an attached old auction label ’In-niku-baku no. 31 du catalogue du 18 oct. 1960 bois naturel – dragons affrontes a une chimère XVIII siecle’ and an old auction label inside the box ‘31’). Tiger and dragon are Chinese cosmological symbols of the balancing forces in the world, yin (the feminine aspect) and yang (the masculine aspect). The tiger’s roar is also said to generate wind, and the dragon clouds. The screens may have originally been meant to express the fluctuating nature of the world as envisioned in the practice of military divination, or forecasting, based on the Yijing (Book of Changes). Estimate EUR 3,000 Starting price EUR 1,500

59 A FINE WOOD TONKOTSU WITH FIVE TURTLES Unsigned Japan, 19th century The tobacco box of upright rounded form, finely carved in relief with five turtles, with intricately rendered textured shells and finely sculpted feet. On one side, three turtles stand atop one another forming a pyramid. The reverse features two turtles, one of which is retracting into its carapace. LENGTH 6.7 cm, HEIGHT 8 cm Condition: Very good condition with only very minor wear and light traces of use. Estimate EUR 1,500 Starting price EUR 800

60 A FINE INLAID WOOD TONKOTSU WITH A SPARROW, CRANE AND INSECTS, STYLE OF HASEGAWA IKKO Unsigned Japan, 19th century Of square form, finely carved and inlaid in two types of wood and with mother-of-pearl details, one side features a soaring crane, its wings elegantly spread, and the other side presents an exquisitely carved sparrow. The top case is delicately adorned with mother-ofpearl-inlaid insects. The cord holes are ringed in buffalo horn. HEIGHT 8 cm, LENGTH 9 cm

Condition: Excellent condition with only very minor wear and natural flaws to the wood. AUCTION COMPARISON Compare a closely related inlaid wood tonkotsu, Style of Hasegawa Ikko, dated to the 19th century, at Bonhams, The Julius & Arlette Katchen Collection of Fine Netsuke Part II, 6 November 2018, London, lot 188. Estimate EUR 1,500 Starting price EUR 800

61 A RARE LACQUERED ‘SIMULATED EUROPEAN LEATHER’ TONKOTSU WITH A HO-O Unsigned Japan, 19th century Of oval form, the finely carved tobacco box expertly lacquered in gold and green and skillfully imitating the texture of a European leather pouch. The surface is adorned with a cash-coin pattern, intricately rendered in the Kamakura-bori lacquer technique. At the center of each side, a majestic ho-o (phoenix) is elegantly depicted, symbolizing nobility, renewal, and prosperity in Japanese tradition. With a carved and finely polished malachite ojime. HEIGHT 8.7 cm, LENGTH 11 cm

Condition: Excellent condition with small scratches and only minor wear. Provenance: German private collection. The interior with the original auction description and a further label stuck to the interior case ‘6/3 G23/7/52 Y12x1’. AUCTION COMPARISON Compare a related wood tonkotsu simulating a leather pouch, by Masaharu, dated to the 19th century, at Bonhams, Asian Art Discoveries – Japanese & Korean Art, 10 September 2021, Vienna, lot 540, (sold for EUR 3,539). Estimate EUR 1,500 Starting price EUR 800

62 A RARE LEATHER TABAKO-IRE (TOBACCO POUCH) WITH A TANEGASHIMA TEPPO KANAMONO (POUCH CLASP) Unsigned Japan, second half of the 19th century The large red leather tobacco pouch adorned with an unusual and large kanamono, exquisitely crafted in iron and sentoku in the shape of a Tanegashima teppo (matchlock rifle). Attached to the pouch is a large wood and sentoku ashtray netsuke. The ensemble is connected by three linked silver chains and an ojime. HEIGHT 9.5 cm (the pouch), LENGTH 14 cm (the pouch), HEIGHT 27.4 cm (total) Condition: Very good condition. Minor typical wear and crackling to the pouch. Typical traces of use to the ashtray netsuke. Provenance: Ex-collection of Dr. Reinhard Lohrberg (1943-2024), Hanover.

The Tanegashima teppo was a Japanese matchlock firearm, introduced to Japan by Portuguese traders in 1543 on the island of Tanegashima, from which it takes its name. This firearm revolutionized samurai warfare, gradually replacing traditional weapons like the bow and spear. The Japanese adapted and refined the design, producing highly decorated matchlocks with intricate metalwork and lacquered stocks. Though eventually phased out with the modernization of weaponry in the 19th century, it remains an icon of Japan’s feudal era. AUCTION COMPARISON Compare a closely related teppo netsuke at Zacke, Fine Netsuke & Sagemono, 3 May 2024, Vienna, lot 296 (sold for EUR 7,150). Estimate EUR 1,500 Starting price EUR 800

63 ISSHAKUSAI: A LACQUERED WOVEN RATTAN KISERUZUTSU (PIPE CASE) AND TABAKO-IRE (POUCH) By Issakusai, signed Issakusai 一勺斎 Japan, late 19th century The pipe case of musozutsu form, finely lacquered in takamaki-e against a meticulously executed rattan ground. The design depicts a strikingly expressive Hannya mask, its gold eyes, grimacing smile, and sharp horns exuding an intense and dramatic presence. Surrounding the mask are delicately rendered maple leaves, referencing the renowned Japanese Noh play Momiji-gari, in which a demon, disguised as a noblewoman, is ultimately revealed in its true terrifying form. Signed ISSAKUSAI within an oblong reserve. With a gold rim and cord attachment. With a silver, shakudo and bamboo pipe (kiseru), a turquoise-glazed ceramic ojime and a leather tobacco pouch, fitted with an iron and silver kanamono (clasp) depicting a floral bouquet. LENGTH 20.2 cm Condition: Very good condition with only very minor wear. Estimate EUR 2,000 Starting price EUR 1,000

64 NAKAYAMA KOMIN: A SUPERB LACQUER SAGEMONO SET By Nakayama Komin, signed Hokkyo Komin 法橋胡民 zo 造 Japan, late 19th century, Meiji period (1868-1912) Consisting of a tonkotsu (tobacco) box, muso-zutsu form kiseruzutsu (pipe case), and ojime (cord fastener). The continous design is finely decorated in black, brown, and red takamaki-e on a mottled textured ground, skillfully crafted to imitate the appearance of patinated bronze. Depicted are tortoiseshell colored vines, as well as broken carriage wheels and a praying mantis, delicately rendered, associated with determination in Japanese symbolism. The pipe case signed HOKKYO KOMIN [made by Hokkyo Komin] on a lacquered plate, designed to mimic the appearance of solid gold inlay. With a silver rim and cord attachment. With a mother-of-pearl-inlaid and guri-lacquered ojime. HEIGHT 7.5 cm (the tonkotsu), LENGTH 21.8 cm (the kiseruzutsu) Condition: Excellent condition with only very minor wear and light traces of use. Nakayama Komin was a distinguished lacquer artist of the late Edo period, renowned for his sophisticated technique and elegant designs inspired by the Rinpa school. He was awarded the honorary title of Hokkyo, a mark of his artistic excellence. Komin maintained close connections with prominent cultural figures of his time, including the painter Sakai Hoitsu (1761–1828) and the tea master Matsudaira Fumai (1751–1818). Like his contemporary Shibata Zeshin (1807–1891), Komin mastered a diverse array of lacquer techniques, often skillfully simulating the appearance of other materials, as exemplified in the present work. Today, he is celebrated as one of the three great lacquerers of the period, alongside Zeshin and Shirayama Shosai. The broken carriage wheel symbolizes impermanence and the decline of power, while the praying mantis represents courage, perseverance, and strategic patience in East Asian culture. A famous tale from the Spring and Autumn period (770–476 BCE) tells of the Duke of Qi, who saw a mantis fearlessly trying to stop a carriage. Impressed by its unwavering determination, he declared it a virtue worthy of a warrior. Estimate EUR 4,000 Starting price EUR 2,000

65 BUNSAI: A LACQUERED WOOD KISERUZUTSU (PIPE CASE) WITH LEAFY VINES AND A MANTIS By Bunsai, signed Bunsai 文哉 Japan, late 19th century, Meiji period (1868-1912) Of muso-zutsu form, exquisitely crafted with gold, silver, and black takamaki-e on a roughly treated wood ground, simulating treebark, creating a striking contrast between texture and refinement. The design features delicately trailing leafy vines, their graceful tendrils meandering across the surface. A meticulously rendered golden mantis extends from the side to the front. Signed to the side BUNSAI. With a shibuichi rim and cord attachment. LENGTH 21.7 cm Condition: Very good condition with minor mostly intentional wear to the simulated wood ground. Provenance: From the private collection of Maybelle Dore. A label to the interior: ‘Bunsai, 3/11/6 K/C 1800’. Maybelle (Betty) Dore started collecting Japanese antiques in the postwar years, during the 1950s and 1960s, when interest in Japanese art was generally very low. For her business she ventured to Japan on her own to assemble netsuke and related works of art, including pipe cases and kogo (incense containers). Betty was also a founding member and the first Chairwoman of the International Netsuke Society, Northern California Chapter. The design follows the artistic style of the Zeshin school, suggesting that Bunsai was likely a member. This connection may also extend to Fukushima Taisai, as they share the kanji character Sai 哉 in their names (see auction comparison for a similar work). AUCTION COMPARISON Compare a related kiseruzutsu with similarly executed leaves, by Fukushima Taisai, at Zacke, Asian Art Discoveries, 20 january 2023, Vienna, lot 1605 (sold for EUR 3,640). Estimate EUR 2,000 Starting price EUR 1,000

66 IKEDA TAISHIN AND OONISHI YUSAI: A FINE INLAID AND LACQUERED WOOD KISERUZUTSU (PIPE CASE) By Ikeda Taishin (1825-1923) and Oonishi Yusai, signed Taishin 泰真 and sealed Yusai 勇斎 Japan, late 19th century, Meiji period (1868-1912) Of muso-zutsu type, exquisitely executed with intricate mitsuda-inlays and fine gold lacquer details on a wood body bearing a beautiful grain, heightened by translucent lacquer. The design shows a gracefully meandering ingenmame (snap bean) plant, its delicate tendrils curling across the surface, while aogai (mother-of-pearl) inlaid flower buds begin to bloom. Signed TAISHIN and sealed YUSAI to the lower back. With a buffalo horn-inlaid rim and looped cord attachment. LENGTH 21 cm Condition: Very good condition with minor wear and a few light scratches. Ikeda Taishin (1825-1903) was the leading pupil of Shibata Zeshin who worked in the Meiji period. He was born in Edo and became Zeshin’s first lacquer apprentice in 1835 at the age of eleven. He became an independent artist around 1870, approximately 35 years later. Together with Kawanobe Itcho (Genjiro; 1830-1910), Taishin was appointed an Artist to the Imperial Household (Teishitsu gigeiin) in 1896. His pupils included Umezawa Ryushin, a member of the Art committee of the Imperial Fine Arts Academy and the Imperial Household. Oonishi Yusai was a lacquer artist, who worked in the mid- to late 19th century, possibly in the Zeshin school. He is recorded to have worked in gold lacquer, producing netsuke and other unspecified artefacts. He exhibited at the Paris (1900) and Chicago (1933) World Exhibitions. The Yusai studio continues their family business to this day, based in Nara. Estimate EUR 2,000 Starting price EUR 1,000

67 A VERY LARGE RINPA-STYLE KISERUZUTSU (PIPE CASE) WITH LEAFY VINES AND GOURDS Unsigned Japan, late 19th century, Meiji period (1868-1912) Of senryu-zutsu form, crafted from a thick section of bamboo and adorned with a harmonious blend of materials. The rustic, yet sophisticated decoration features inlays of mitsuda (pewter), iron, and sentoku, seamlessly integrated with colored takamaki-e, depicting leafy vines, blossoms, and gourds. The interior of coarse red lacquer. The cord attachment is formed by the iron gourd. LENGTH 25.8 cm Condition: Very good condition with minor expected traces of use and age-related wear. AUCTION COMPARISON Compare a related bamboo kiseruzutsu depicting leafy vines, by Shibata Zeshin, 21 cm high, at Bonhams, The Bluette H. Kirchhoff Collection of Netsuke and Sagemono, 16 September 2009, New York, lot 2249 (sold USD 9,150). Estimate EUR 2,000 Starting price EUR 1,000

68 KAITO: A FINE GOLD-INLAID EBONY WOOD KISERUZUTSU (PIPE CASE) WITH MAGNOLIA By Kaito, signed Kaito (Eto) 槐東 Japan, late 19th century, Meiji period (1868-1912) Of muso-zutsu form, carved from ebony wood and finely inlaid with gold. The surface is beautifully engraved with a kebori magnolia branch and gold-inlaid blossoms that extend to the reverse. With a gold and shakudo rim and cord attachment. Signed to the lower part KAITO within a gold-inlaid plaque. LENGTH 19 cm Condition: Excellent condition with only agerelated minor wear. Although Kaito does not seem to be recorded, he appears to have been very skilled in both wood carving and metalwork. AUCTION COMPARISON Compare a closely related black wood kiseruzutsu with a chrysanthemum branch, by the same artist and signed Kaito, at Lempertz, Auction 1101, 8 December 2017, Cologne, lot 553 (sold for EUR 1,240). Estimate EUR 1,500 Starting price EUR 800

69 A FINE WOOD KISERUZUTSU (PIPE CASE) OF A SNAKE ENCIRCLING AN EDAMAME BEAN POD, WITH A MATCHING ‘TORTOISESHELL’ KISERU (PIPE) Unsigned Japan, 19th century Of senryu-zutsu form, exquisitely carved from lightly stained boxwood as an edamame bean pod, naturalistically worked to show the undulations of beans. A finely sculpted snake winds sinuously around the pod, its head poised near the upper part of the case, the eyes inlaid. With two pierced cord holes to the upper side. With a beautifully matching kiseru (pipe) with a silver top and mouthpiece, connected by a bamboo segment stained with a tortoiseshell pattern. The kiseru’s décor, reminiscent of a tortoise, may carry a hidden symbolic meaning. In traditional belief, snakes and tortoises were thought to have been from the same species due to their similar head shape. Therefore, rather than being engaged in confrontation, these two creatures are depicted in a loving embrace. LENGTH 21 cm (without pipe) Condition: Very good condition with minor typical wear. A minor repaired crack to the snake’s head. Estimate EUR 2,000 Starting price EUR 1,000

70 A SUPERB GOLD AND BLACK LACQUER KISERUZUTSU (PIPE CASE) WITH A CARP Unsigned Japan, late 19th century, Meiji period (1868-1912) Of muso-zutsu form, exquisitely decorated in fine gold and silver takamaki-e on a lustrous roiro ground. The design features a gracefully rendered and majestically leaping carp, its scaly body intricatetly detailed, its visible eye inlaid in aogai. Below is a finely lacquered aquatic plant with large leaves, the kinpun (gold dust) ground further detailed with silverlacquered dew drops. With a gold rim and cord attachment. LENGTH 21 cm Condition: Excellent condition with only minor wear. The carp is associated with strength and resilience. In Chinese mythology, the Longmen (lit. Dragon Gate) is located at the top of a waterfall cascading from a legendary mountain. The legend states that while many carps swim upstream against the river’s strong current, few are capable or brave enough for the final leap over the waterfall. If a carp successfully makes the jump, it is transformed into a powerful dragon. Estimate EUR 5,000 Starting price EUR 2,400

71 MATSUKI HOKEI: A SUPERB TSUISHU LACQUER KISERUZUTSU (PIPE CASE) WITH AN EAGLE CHASING BIRDS By Matsuki Hokei, signed Hokei 豊慶 to 刀 Japan, Tokyo, late 19th century, Meiji period (1868-1912) Of muso-zutsu form, masterfully executed in tsuishu (carved red lacquer). The design features a majestic eagle mid-flight, its wings spread wide as it pursues a flock of birds against a backdrop of towering pine trees above prunus, peonies, bamboo and a meandering stream. Signed to the underside HOKEI to [carved by Hokei]. With a gold rim and cord attachment. LENGTH 20.8 cm Condition: Very good condition with only very minor wear, three small holes to the body, a very minor dent below the rim. Provenance: From the private collection of Maybelle Dore. A label to the interior: ‘K/C 5/19/82 3800’. Maybelle (Betty) Dore started collecting Japanese antiques in the postwar years, during the 1950s and 1960s, when interest in Japanese art was generally very low. For her business she ventured to Japan on her own to assemble netsuke and related works of art, including pipe cases and kogo (incense containers). Betty was also a founding member and the first Chairwoman of the International Netsuke Society, Northern California Chapter. AUCTION COMPARISON Compare a closely related tsuishu kiseruzutsu, with a pouch and ojime, the kiseruzutsu by Matsuki Hokei, at Bonhams, Fine Japanese Art, 9 November 2017, London, lot 70 (sold GBP 3,750). Estimate EUR 5,000 Starting price EUR 2,400

72 HOGYOKU: A FINE TSUIKOKU LACQUER KISERUZUTSU (PIPE CASE) WITH CRANES By Hogyoku, signed Hogyoku 法玉 Japan, Tokyo, late 19th century, Meiji period (1868-1912) Of muso-zutsu form, very finely worked in tsuikoku (carved black lacquer), the surface beautifully polished and subtly accented with brown and gold highlights. Decorated with five cranes soaring gracefully across clouds in negative space, their wings widely spread, evoking a sense of movement. The insert is further adorned with two additional cranes. With a gold rim and cord attachment. Signed HOGYOKU. LENGTH 21.3 cm Condition: Very good condition, minor wear, a few small hairline age cracks to the lower part. Hogyoku was a pupil of Matsuki Hokei. Hokei was a lacquerer working in Tokyo in the early Meiji era and is widely recognized for his superb craftsmanship in tsuishu lacquer. Hokei was a professor at the Tokyo Academy of Fine Arts. AUCTION COMPARISON Compare a related tsuikoku kiseruzutsu with birds, by Hogyoku’s teacher Matsuki Hokei, at Bonhams, Art of Japan Online, 3 May 2017, London, lot 142 (sold for GBP 2,250). Estimate EUR 2,000 Starting price EUR 1,000

73 A FINE GURI LACQUER WOOD KISERUZUTSU (PIPE CASE) OF DARUMA, DATED 1922 Attributed to Kano Tessai (1845-1925) or a follower, signed with a kakihan Japan, dated to Taisho 11 (1922) Of muso-zutsu form, portrait of Daruma (Bodhidharma) lacquered in guri style, and with a lengthy inscription. The inscription, dated Taisho 11 (1922), executed in teppitsu (iron brush) references the Zen Buddhist concept of direct transmission beyond words, describing Daruma (Bodhidharma) holding a single lotus flower, symbolizing silent enlightenment. It also alludes to his legendary nine-year meditation facing a wall, which led to his Satori (enlightenment). The signature can be read as Rokunen Senso 六年仙叟, which literally means “Six years, an old immortal man” Signed with an unidentified kakihan, likely relating to Kano Tessai (1845-1925). LENGTH 22.1 cm Condition: Very good condition with typical traces of use and minor wear. Provenance: Ex-collection of Maybelle Dore. Maybelle (Betty) Dore started collecting Japanese antiques in the postwar years, during the 1950s and 1960s, when interest in Japanese art was generally very low. For her business she ventured to Japan on her own to assemble netsuke and related works of art, including pipe cases and kogo (incense containers). Betty was also a founding member and the first Chairwoman of the International Netsuke Society, Northern California Chapter. Estimate EUR 2,000 Starting price EUR 1,000

74 ASANO BOKKOKU: A FINE BAMBOO KISERUZUTSU (PIPE CASE) WITH MASKS By Asano Bokkoku, signed Shuchikusai Bokkoku 修竹斎墨谷 to 刀 and sealed Bokkoku 墨谷 Japan, late 19th century Meiji period (1868-1912) Of round muso-zutsu form, finely carved from a choice segment of bamboo. The design depicts an array of theatrical and mythical masks, including Saru (monkey), Hyottoko, Okina, Tengu, Kitsune (fox), Ebisu, and Okame, each meticulously rendered. Signed Shuchikusai BOKKOKU to [carved by Shuchikusai Bokkoku] and sealed BOKKOKU. With pierced cord holes to the upper side, one ringed in green-stained horn. LENGTH 21 cm Condition: Good condition, possibly one lost inlay to a cord hole, a few fine age cracks and typical old wear. LITERATURE COMPARISON For a discussion of the artist see Moss, Paul (2002) Bokko, Bokkoku, Bokuboku, The International Netsuke Society Journal (INSJ) vol. 22, no. 4, pp. 18-44. Similar examples are illustrated as fig. A. & pl. 7. Estimate EUR 1,500 Starting price EUR 800

75 A FINE ANTLER KISERUZUTSU (PIPE CASE) DEPICTING AN ONI CLIMBING A PLIER Sealed Wataru 渡 and Kabe 壁 Japan, Tokyo, Asakusa district, late 19th century Published: Rokusho magazine, no. 28, 1999, p. 30, no. 75. Sydney L. Moss Ltd. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, Vol. III, p. 319, no. 527. Of senryu-zutsu type, skillfully carved in the form of a plier. An oni is depicted climbing up the tool, wielding a giant hammer as if to loosen or tighten the screw, evoking chilling tales told to misbehaving children about Emma-O, the King of Hell, a fearsome figure said to remove tongues, teeth, or limbs as punishment for lies. The carver masterfully utilizes the natural properties of the material, the antler remarkably hollowed to emulate the pliers’ mobility.

With two seals Wataru and Kabe, which may also be read as Toheki or relates to the phrase “wataru kabe ni oniari” (an oni climbs over the wall). Very likely, the subject matter is a parody of a folk saying: wetaru seken ni oni wa nashi, “not everybody is evil; don’t distrust everyone”. LENGTH 20.5 cm Condition: Excellent condition with minor surface wear. Fine patina. Provenance: Ex-collection Jean Verwilghen, Beligum. LITERATURE COMPARISON Compare a near-identical kiseruzutsu, with the same seals (unread) on the opposite side, illustrated in Contrasting Styles, A Loan Exhibition of Netsuke & Kiseruzutsu from Private English Collections, 25-30 May 1980, p. 67, no. 136. Estimate EUR 3,000 Starting price EUR 1,500

76 AN ANTLER KISERUZUTSU (PIPE CASE) OF AN ONI WITH AN OKAME MASK Unsigned Japan, mid to late 19th century Of senryu-zutsu form, carved from an elongated section of hollow antler near the corona. The design depicts a standing oni perched atop a rock, pensively holding an Okame mask, its eyes inlaid with metal. The oni’s hairdo is uniquely finished with tufts of deer corona hair, seamlessly emerging from the scalp where the antler transitions. The cord attachments are formed by the oni’s hands which are clenched into fists. LENGTH 20.5 cm Condition: Excellent condition, minor wear and expected natural flaws. LITERATURE COMPARISON Compare a related related antler kiseruzutsu of a kappa, by Ozaki Kokusai, mid to late 19th century, illustrated in Sydney Moss Ltd. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, pp. 324-325, no. 253. Estimate EUR 1,000 Starting price EUR 500

77 A LARGE AND IMPRESSIVE ANTLER KISERUZUTSU (PIPE CASE) OF TENAGA WITH AN OCTOPUS Unsigned Japan, 19th century Carved from a remarkably large and solid section of antler, of senryu-zutsu form, depicting Tenaga, shown with amusingly stubby legs, seated atop a rock, extending his enlarged arms to hold up a pot (tsubo). A large octopus emerges from behind, its bulbous head following the natural curvature of the material, with tentacles boldly textured and wrapping around Tenaga, extending up his lanky arms, towards the pot. The eyes of both are inlaid with gilt metal. LENGTH 21.5 cm Condition: Very good condition with minor wear and few expected age cracks. In Japanese folklore, Tenaga is a mythical creature known for its extraordinarily long arms, often paired with Ashinaga, a being with elongated legs. The duo is said to inhabit remote coastal regions, where Tenaga uses its extended reach to catch fish while Ashinaga wades through deep waters. Their presence in art and storytelling symbolizes strength, adaptability, and the ability to overcome physical limitations. Estimate EUR 3,000 Starting price EUR 1,500

78 A FINE ANTLER KISERUZUTSU (PIPE CASE) WITH A KAPPA Unsigned Japan, mid to late 19th century Of senryu-zutsu form, superbly carved from a piece of antler to resemble a gnarled tree trunk. A kappa climbs up the top of the trunk, its form meticulously rendered with scaly skin and a distinct turtle shell, capturing the mythical creature’s hybrid nature. Two pierced cord holes to the top section. With a fine bamboo, iron and silver kiseru (pipe), worked in silver takazogan depicting a minogame (thousand-year tortoise). LENGTH 20.5 cm Condition: Very good condition with expected flaws and age cracks. Estimate EUR 1,000 Starting price EUR 500

79 A RARE DARK WOOD ‘DRAGON’ BOKUTO (DOCTOR’S SWORD) Unsigned Japan, 18th century, Edo period (1615-1868) Published: Joly, Henri L. (1912) The W. L. Behrens Collection, Part 3, SwordFittings, Tsuba, Metal, no. 2949-A (unillustrated). Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 1037. Boldly carved as a dragon, its fierce expression marked by large bulging eyes, a prominent chin, and wide snout above a snarling mouth exposing two sharp fangs, its long body with wave-like scales, the short feet with claws tucked beside the body forming the cord attachment and terminating in a curled tail. LENGTH 26.3 cm

Condition: Very good condition with minor wear, few natural age cracks, minor nicks here and there. Provenance: Ex-collection W. L. Behrens (1861-1913). Portrait of Walter During the Edo period, with the end Lionel Behrens of the civil rivalry between the Shogun (1861-1913) and his enemies, carrying arms became obsolete in Japan. The wearing of small dummy swords by the Samurai was imitated by doctors, artists, and other professionals as a symbol of social and professional status. During the 18th and 19th centuries the bokuto lost its sword-like appearance and size and took on a more abstract and decorative form, continuing into the Meiji period. Estimate EUR 5,000 Starting price EUR 2,400

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Fine Netsuke Lots 80 to 387

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80 A RARE DARK WOOD NETSUKE OF A SUMO WRESTLING FROG Japan, 18th century, Edo period (1615-1868)

A very unusual and wonderfully tactile, old wood netsuke depicting a smooth frog, crouching, ready to leap at a moment’s notice, humorously dressed as a sumo wrestler in a simple mawashi, the details rendered in a somewhat stylized manner, the limbs of the amphibian tucked under its rounded belly. Very large, generously excavated himotoshi to the underside and signed, possibly reading Kazumoto 一本. LENGTH 4.2 cm Condition: Good condition with minor wear. Smoothened old chips The most notable to three of the limbs. One nick to the neck. account showing anthropomorphic animals are the Chojujinbutsu-giga scrolls (literally “Animal-person Caricatures”), commonly shortened to Scene from Choju-jinbutsu-giga Choju-giga handscrolls, Tokyo National Museum (literally “Animal Caricatures”), a famous set of four picture scrolls, belonging to Kozan-ji temple in Kyoto, which dates to the mid-12th century and is credited as the oldest manga in history. The scrolls are the earliest in a linear monochrome drawing style illustrating anthropomorphic frogs, rabbits, and monkeys engaging in human activities. The scrolls are now entrusted to the Tokyo National Museum of Japan. Estimate EUR 3,000 Starting price EUR 1,500

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81 A VERY RARE WOOD NETSUKE OF A SINIU Unsigned Japan, 18th century, Edo period (1615-1868)

Boldly carved as a youthful, recumbent siniu with the comically small legs drawn in and long neck raised high. Rather unusually, this mythical animal is sporting a set of antlers rather than horns. Generously excavated, asymmetrical himotoshi to the side and underside. HEIGHT 6 cm Condition: Good condition with expected surface wear, small nicks, and light scratches.

The siniu (Chinese xiniu) is a goat-like creature with horns, often regarded as one of the varied types of kirin. The present netsuke appears to be a variation of this subject, recorded in the Soken Kisho. All netsuke of siniu are loosely based on the drawing in the Soken Kisho, published in 1781 AUCTION COMPARISON The present subject is very rare in wood and much more commonly seen carved from antler or ivory and invariably of seal-type. Compare a related ivory seal netsuke of a siniu, also with antlers, dated to the late 18th century, 6.8 cm high, at Christie’s, Japanese Ceramics & Works of Art, 8 November 2007, London, lot 7 (sold for GBP 6,875). Estimate EUR 4,000 Starting price EUR 2,000

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82 A RARE AND UNUSUAL (TRICK) NETSUKE OF A MONKEY WITH YOUNG Unsigned Japan, 17th-18th century, Edo period (1615-1868) Humorously carved, the monkey seated with its young standing between its raised knees, the large head turned to the side and mouth carved with a comically wide grin, and literally bulging eyes which pop out when the netsuke moves. The young male, with his hands pressed together, flaunts his manhood, slyly concealing it at a moment’s notice. Large himotoshi through the back and underside. HEIGHT 5.3 cm Condition: Old wear and natural imperfections including age cracks and splits, some with associated fills. Small nicks and scattered scratches. Old fire damage to one side. Overall presenting very well. A very unusual and early carving, possibly not originally intended as a netsuke but certainly converted into one in Japan, sometime during the 17th to 18th century. Estimate EUR 2,500 Starting price EUR 1,200

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83 AN UNUSUAL AND RARE COCONUT NETSUKE OF MONKEYS AND A TOAD ON A PINE TREE Unsigned Japan, 17th-18th century, Edo period (1615-1868) Superbly modeled as a pine tree trunk, its interior generously excavated and finely carved to the exterior with branches of pine and pierced hollows. The larger of the two hollows inhabited by a pair of mischievous monkeys while the other provides shelter for a small toad which curiously pokes its head out of its sanctuary. Natural himotoshi. The coconut superbly stained and polished to enhance its grain.

HEIGHT 7.3 cm Condition: Good condition with wear and natural imperfections. Scattered nicks and scratches. Repairs with associated fills to one section of the branch. It is likely that the present netsuke was originally of Chinese origin and subsequently converted into a netsuke in Japan, sometime during the 17th to 18th century. Estimate EUR 2,500 Starting price EUR 1,200

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84 A SUPERB AND EARLY WOOD NETSUKE OF ROSHI SEATED ON HIS OX Unsigned Japan, 17th to early 18th century, Edo period (1615-1868)

The large wood netsuke boldly carved as Roshi seated at ease on top of a recumbent ox, holding a rope halter tied to the ox’s muzzle in one hand and a scroll in the other, a minutely carved hyotan (double gourd) secured to his belt in the back, his expression sensitively crafted and radiating with wisdom and benevolence. The bulky animal is well-carved with large horns, its legs tucked under the body for compactness. One extraordinarily large and irregularly cut himotoshi to the back, the slightly smaller hole to the underside. The well-toned wood bearing a superb patina, the surface with remnants of gold lacquer, attractively worn throughout. LENGTH 4.7 cm, HEIGHT 5 cm Condition: The left horn and ear restored. Wear and traces of use, and an age crack near the himotoshi. Generally, in good condition. The present netsuke is heavily influenced by the wood and bamboo carvings of the late Ming Dynasty (1368-1644) and early Qing Dynasty (1644-1912), which were key sources of inspiration for netsuke-shi. A comparison with the next lot (number 85) is highly educational, as it highlights the subtle differences between the distinctly Chinese and Japanese carving styles, illustrating the evolution of netsuke from the 17th to the 19th centuries. Given the carving styles of these two netsuke, as well as the closely related himotoshi, it is likely that the carver of the present lot influenced the carver of lot 85. Roshi, the ancient philosopher, the venerable Prince, is the founder of the Taoist system of philosophy. According to legend, Roshi’s mother conceived at the sight of a falling star and carried Roshi for eighty-one years in her body. He was born with a grey beard, with a white and yellow face. He had large eyes, fine eyebrows, ragged teeth in a square mouth, a double ridge to his nose, ten toes on each foot, and ten lines in each hand, and his enormous ears had three passages each. Artistic representations, however, do not adhere to this depiction and Roshi is usually shown as an old Chinese man, seated upon an ox on which he is miraculously carried to paradise. MUSEUM COMPARISON Compare to a related Chinese bamboo carving, dated to the 18th century, in the collection of the National Palace Museum, Taiwan, accession number 故雕 000001N000000000. Estimate EUR 3,000 Starting price EUR 1,500

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85 A FINE WOOD NETSUKE OF A HERDBOY SLEEPING ON AN OX Unsigned Japan, 18th century, Edo period (1615-1868) The large ox recumbent, its head lowered to the left, with a rope halter passing over its side, the herdsman seated atop the ox, his dangling feet resting against the hooves of the cattle, as he takes a nap, the young boy’s head gently placed over his hands. The body of the animal is remarkably carved with articulated ribs and spine, the fur beautifully incised, the head detailed with curved horns, and the eyes polished black. The large himotoshi are formed by one irregularly cut hole to the back and a second hole to the underside. LENGTH 4.8 cm

Condition: The right horn and ear restored. Otherwise good condition with typical wear and light traces of use. The imagery plays on a Zen Buddhist parable which draws a parallel between the herdboy and ox and the attainment of enlightenment. It is most famously portrayed in the series of ten ox herding pictures (originally only eight) accompanied by a series of short poems by Kakuan Shien. Literature comparison: It has been suggested that this artist may have been related to the rare Soken Kisho master Satake Soshichi, see Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 2, p. 1037, for a related wood netsuke of a goat with a similar himotoshi roughly cut through the belly. Estimate EUR 6,000 Starting price EUR 3,000

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86 AN IVORY NETSUKE OF A BOY ON A HORSE Unsigned Japan, early 18th century, Edo period (1615-1868) Of early tobori type, finely carved to depict a young boy riding a horse, holding the reins while carrying a rattan basket on his back. The horse, intricately detailed, lowers its head and stands foursquare on textured rockwork. Central himotoshi underneath. The ivory bearing a warm, yellowish patina. HEIGHT 4 cm Condition: Very good condition with minor wear and few natural age cracks. Estimate EUR 1,500 Starting price EUR 800

87 AN AMUSING IVORY NETSUKE OF A GROUP OF MONKEYS CARRYING A BAMBOO POLE Unsigned Japan, 18th century, Edo period (1615-1868) An early and humorous ivory netsuke of a group of monkeys carrying a bamboo pole, two of the simians with the pole slung over their shoulders, while a “base” of four monkeys supports them – a mysterious and rather amusing task, though surely packed with symbolism - the monkey being symbolic of intelligence and a successful career, while the bamboo symbolizes strength and resilience. The ivory bears a fine, warm patina. Natural himotoshi. LENGTH 4.1 cm Condition: Very good condition, minor expected wear and natural age cracks. Provenance: From an Austrian private collection. Estimate EUR 1,500 Starting price EUR 800

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88 AN EARLY IVORY NETSUKE OF A YAMABUSHI WARRIOR Unsigned Japan, 18th century, Edo period (1615-1868) Finely carved, the seated man (possibly Benkei) dressed in yamabushi attire and blowing on a horagai-conch, the traditional instrument used by these ascetic warrior monks. The long flowing folds of his robe are well-carved and decorated with finely incised karakusa scrolls. The face modeled with a strained expression, one cheek puffed as he blows forcefully into the conch, the neatly incised hair swept back, all topped by a tokin cap. Asymmetrical himotoshi from the back to the underside. The ivory with a beautifully grown honey-amber patina.

HEIGHT 5 cm Condition: Very good condition with minor wear and natural imperfections including age cracks. Estimate EUR 2,500 Starting price EUR 1,200

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89 A VERY LARGE AND UNUSUAL WOOD NETSUKE OF SHOKI AND ONI Unsigned Japan, 18th century, Edo period (1615-1868) Published: Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 394, no. 1175. A remarkably large and bold netsuke, carved from a single, heavy block of wood, attributable to the illustrious Kyoto artist Seibei, who worked during the mid-18th century and made only very large and powerful netsuke. The demon queller is depicted standing in mighty boots, his robe accentuated with large folds, the wood bearing a rich deep patina. Shoki’s back is slightly arched, glancing upwards in a frightened manner, his large eyes amusingly widened, while grabbing the legs of a mischievous oni which pulls at his hat in laughter. The expressions are powerfully carved and imbued with humor and life. Very large himotoshi to the back, the cord channel running through one sleeve. HEIGHT 13.8 cm

Condition: Very good condition. Some light wear and traces of use. Minuscule nibbling to the edge of the sleeve where the cord channel runs through. Beautiful, deep patina. Provenance: Ex-collection Roan. Excollection Mark T. Hindson (1883-1968). Sold at Sotheby’s, London, 1967-1968. Ex-collection I. S. Freiman. Sold at Sotheby’s, London, 28 June 1978, lot 148. A German private collection, acquired from the above. Mark T. Hindson LITERATURE COMPARISON As noted by Neil Davey in the above publication, the present netsuke can be attributed to Seibei of Kyoto, mentioned in the Soken Kisho of 1781. For a related wood netsuke of similar prowess and size, dated 1750 and now in the Musée d’Ennery, Paris, see Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 2, pp. 917-918. There it is noted that this is the most remarkable netsuke in the Musée d’Ennery, furthermore Seibei was so very famous that a style of carving is known as Seibei-bori. Estimate EUR 8,000 Starting price EUR 4,000

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90 A SUPERB TALL WOOD NETSUKE OF AN EMACIATED SOUTH SEA ISLANDER Unsigned Japan, 18th century, Edo period (1615-1868) Published: Bandini, Rosemary (2001) Expressions of Style, Netsuke as Art, Scholten Japanese Art, New York, no. 5. The islander standing tall, wearing a short sarong skirt, lifting his lanky hands to his head as he turns to the side, smiling broadly with his tongue sticking out, the eyes inlaid with dark buffalo horn. The expressively carved face shows distinct features with prominent eyes, heavy cheeks, a broad nose, and long hair swept backwards and terminating in thick curls. The back shows the expressed spine and very large himotoshi. The darkened wood bearing a superb natural hand patina. HEIGHT 12 cm Condition: Very good condition with minor typical wear and expected traces of use. The present islander is different in concept to most other recorded netsuke of islanders, here imbued with movement and depicted in a ghastly manner, emaciated, much akin to depictions of gaki (hunger ghosts) or hags such as Shozuka no Baba. MUSEUM COMPARISON Compare a closely related wood netsuke of an islander, likely derived from the same source material and carved by the same hand or studio, formerly in the Raymond and Frances Bushell Collection, in the Los Angeles County Museum of Art (LACMA), accession no. 1998.249.291. Estimate EUR 8,000 Starting price EUR 4,000

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91 A LARGE HINOKI WOOD NETSUKE OF A SHISHIMAI DANCER Unsigned Japan, late 18th century, Edo period (1615-1868) Boldly carved from hinoki wood (cypress) in the manner of Yoshimura Shuzan, depicting a boy wearing a festive cloak finely incised with large blossoms, languorously lifting his Shishimai mask. The chubby face of the boy with incised eyes, a broad nose, and gently open mouth. The Shishi mask at the top is equally wellcarved with expressive features and finely carved tufts of fur, the attached robe cascading down the back, decorated with geometric blossoms, and terminating in a short tail. Generously excavated, asymmetrical himotoshi to the back. HEIGHT 9.2 cm Condition: Good condition with expected wear and old, smoothened chips to the verso. Provenance: Ex-collection David White, former president of the International Netsuke Society. Estimate EUR 4,000 Starting price EUR 2,000

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92 A LARGE SAISHIKI NETSUKE OF RYUTOKI, STYLE OF YOSHIMURA SHUZAN Unsigned Japan, late 18th-early 19th century, Edo period (1615-1868) Published: Östasiatiska Museet (1999) Netsuke, p. 57. (described as Karu no Daijin) Exhibited: Östasiatiska Museet, Sweden, Stockholm, 16 October 1999 – 9 January 2000. The hinoki (cypress) wood finely carved and painted in gesso with polychrome pigments, depicting Ryutoki, the design illustrated in the Soken Kisho. The demon with his hands folded across his stomach and balancing a lantern on his head. He is dressed in voluminous robes tied at his waist with a short cape around his shoulders. The comically threatening face is carved in a frown, appearing to pout like an errant child, a thick beard, and two horns jutting up on either side of the lantern. Chimney himotoshi to the back. HEIGHT 13.9 cm Condition: Very good condition with expected wear and losses to polychrome pigments. Provenance: Ex-collection Mrs. Gunvor Bjorkman. A private collection in Luxembourg, acquired from the above. Estimate EUR 3,000 Starting price EUR 1,500 Ryutoki is one of the four jaki, the miniature demons who support statues of the Shitenno (Four Kings). Often just two are represented: Ryutoki with the lantern on his head and Tentoki who holds a lantern aloft in one hand. Legend recounts that the pair were evil mischiefmakers, but the trampling feet of the gods crushed out the Drawing of bad spirits and caused Ryutoki, Soken them to repent. The Kisho of 1781 lanterns offer light for by Inaba Tsuryu the road ahead of the Buddha and testify that the Four Kings are capable of banishing evil. A renowned pair of sculptures representing the pair is at the Kofukuji in Nara, the Ryutoki was carved in 1215 by Koben, one of the four sons of the great Kamakura sculptor, Unkei.

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93 A POWERFUL SAISHIKI NETSUKE OF RYUJIN, ATTRIBUTED TO YOSHIMURA SHUZAN Attributed to Yoshimura Shuzan, unsigned Japan, Osaka, 18th century, Edo period (1615-1868) Finely carved from hinoki (cypress) wood, vividly painted, depicting a confidently smiling Ryujin twirling a stray lock of hair. He is wearing a long, loose-fitting robe cascading in voluminous folds, his dragonfish shaped scabbard strung to his back. The face with an animated expression, square jaw, sunken eyes and a broad nose above a wide grin, the long hair cascading to the back in curls. Good, functional himotoshi finely excavated to the back. HEIGHT 8.7 cm Condition: Good condition with old wear, the colors well preserved. The left foot repaired. Provenance: From the Collection of Dr Reinhard Lohrberg (19432024), Hanover. Yoshimura Shuzan (died 1776) was a Kano school painter honored with the title hogen, who made netsuke invariably carved from hinoki wood and painted, and never signed his netsuke, which makes it difficult to authenticate any of his works. Shuzan was an avid Kano school painter, and his paint did not wear off so easily as suggested by some of the later works painted in the Shuzan style. MUSEUM COMPARISON Compare a related saishiki netsuke described as a rakan, though also depicting Ryujin with a sword in the back, attributed to Yoshimura Shuzan, 9.5 cm high, in the Los Angeles County Museum of Art (LACMA), formerly in the Bushell collection, accession no. M.90.186.11.

AUCTION COMPARISON Compare a related saishiki netsuke of Ryujin, also with a fish-shaped scabbard in the back, attributed to Yoshimura Shuzan, 18th century, 10.8 cm high, at Bonhams, Fine Japanese Art, 16 May 2013, London, lot 40 (sold for GBP 5,000). Estimate EUR 4,000 Starting price EUR 2,000

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94 A TALL WOOD NETSUKE OF A DUTCHMAN WITH CHILD Unsigned Japan, 18th century, Edo period (1615-1868)

Typically depicted with shoulder-length, curling hair and exaggerated features, clad in a coat of finely detailed texture with a pleated collar, carrying a boy on his back and a trumpet in his right hand. The expression of each is very finely crafted, the eyes with minutely carved pupils. The wood bearing a fine patina, large himotoshi through the back. HEIGHT 8.8 cm Condition: Very good condition with minor wear, few natural age cracks, the joints of the feet filled. Provenance: From the collection of Mike Thaler, former president of the Oregon Netsuke Society Chapter. Michael Charles Thaler (1936 - 2024) was an American author and illustrator of children’s books. He published over 220 books between 1961 and 2020. His story, The Teacher from the Black Lagoon, blossomed into a favorite scholastic series consisting of 66 titles and selling over 26 million books. In the Edo period, Dutch merchants were the only Europeans admitted to Japan, where they were confined to the island of Deshima. Netsuke representing foreigners were popular in this period, and a number of examples in ivory are in museum collections, including the Metropolitan Museum of New York (no. 10.211.1506) and the British Museum (F.558). Interestingly, the lapa (trumpet) in this Dutchman’s hand is also foreign, being of Chinese origin. AUCTION COMPARISON Compare a closely related wood netsuke of a Dutchman, unsigned, 8.7 cm high, dated to the 18th century, at Zacke, 29 October 2021, Fine Netsuke & Sagemono, Vienna, lot 4 (sold EUR 3,286). Estimate EUR 3,000 Starting price EUR 1,500

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95 AN IVORY NETSUKE OF A DUTCHMAN WITH COCKEREL

Published: Zacke (1986) Netsuke Inro und andere Sagemono, no. 85.

Unsigned Japan, late 18th century, Edo period (1615-1868)

The Dutchman depicted in a characteristic manner with an elongated body, grotesque expression, curled hair, and a large hat, holding a long-tailed cockerel (onagadori) in both hands, the boots with black horn-inlaid studs to the back. Two large asymmetrical himotoshi to the back. The details all very finely carved, the ivory bearing a warm, yellowish patina. HEIGHT 8.4 cm Condition: Very good condition with minor wear. Replacements and losses to the inlaid boot studs. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, no. 85. From an Austrian private collection, acquired from the above. Dutch merchants were the only Europeans permitted to live in Japan during most of the Edo period (1615-1868). They were confined to Dejima, a small man-made island in Nagasaki Bay. The “Southern Barbarian” (Nanban) Dutchman netsuke were developed at a time when few Japanese had encountered foreigners. The cock is a possible reference to the Dutch colony’s pastime of cockfighting.

AUCTION COMPARISON A closely related ivory netsuke of a Dutchman with cockerel was sold at Zacke, Fine Japanese Art, 4 June 2021, Vienna, lot 223 (sold for EUR 4,803).

Estimate EUR 3,000 Starting price EUR 1,500

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96 A SUPERB WOOD NETSUKE OF A DANCING KUMOSUKE (ROAD PORTER) Unsigned Japan, 18th century, Edo period (1615-1868)

The porter standing on one foot, scantily clad in a loincloth and short jacket, open at the waist, exposing his protuberant abdomen and drooping chest, turning into a pirouette, posing with one hand raised to his head, grinning broadly as he performs the ‘sparrow’ dance, his other hand hangs pendant to the side. The wood with a naturally grown patina. Generously excavated asymmetrical himotoshi to the back. HEIGHT 8.8 cm Condition: Overall good condition with some wear, an old worn chip to the raised hand, a few nicks around the himotoshi, the legs with old restorations. Provenance: From the collection of Mike Thaler, former president of the Oregon Netsuke Society Chapter. The kumosuke were men from a rough background who carried daimyo inside a palanquin along the Tokaido road, which connected Edo (Tokyo) and Kyoto during the Tokugawa era. They had to be strong, but also needed to know how to sing to entertain the feudal lords.

Manga by Katsushika Hokusai showing the sparrow dance

AUCTION COMPARISON Compare a closely related wood netsuke depicting the same subject, 8.2 cm high, at Zacke, Fine Netsuke & Sagemono, 8 November 2024, Vienna, lot 70 (sold for EUR 5,850).

Estimate EUR 4,000 Starting price EUR 2,000

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97 A FINE AND EARLY WOOD NETSUKE OF SEIOBO Unsigned Japan, 18th century, Edo period (1615-1868) Published: Katchen, Arlette (2010) Netsuke 7, Vol. 2, p. 417, no. K936. Finely carved as Seiobo (Xiwangmu), The Queen Mother of the West, standing and holding a large rattan basket filled with leafy peaches in front of her, dressed in a loosely fitted robe with long draping sleeves, her face with a sensitively crafted, benevolent expression. The back with generously excavated himotoshi, the larger hole cut in a peculiar irregular manner. The well-toned wood bearing a superb, deep patina. HEIGHT 8.7 cm Condition: Excellent condition with minor expected wear and traces of use. Provenance: Ex-collection Julius and Arlette Katchen, Paris. Ex-collection David White, former president of the International Netsuke Society. For a closely related style of himotoshi see lots 84 & 85.

MUSEUM COMPARISON Compare a related seal-type wood netsuke of Seiobo formerly in the Trumpf collection and now in the Linden Museum Stuttgart, inventory number OA 18596.

Estimate EUR 3,000 Starting price EUR 1,500

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98 AN EARLY WOOD NETSUKE OF KANZAN AND JITTOKU Unsigned Japan, 18th century, Edo period (1615-1868) Finely carved to depict the two famous immortals Kanzan (Hanshan) and Jittoku (Shide), the latter holding a broom to the back as he drapes his other arm around his dear friend who chuckles contentedly, one hand raised to conceal his boisterous laugh. Each dressed in voluminous robes with long draping sleeves, their expression radiating with wisdom and humor as they unfurl a scroll, holding it taut on either side. Good himotoshi to the back. The well-worn wood bearing a superb, unctuous patina. HEIGHT 6.8 cm Condition: Good, worn condition with typical traces of use. One old fill to the handle of the broomstick. The feet with old, smoothened chips. Provenance: From the Collection of Dr Reinhard Lohrberg (19432024), Hanover, acquired from Robert Fleischel in Tokyo, on 17 July 2013. Estimate EUR 2,500 Starting price EUR 1,200

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99 AN UNUSUAL WOOD NETSUKE OF TEKKAI SENNIN EMERGING FROM A HYOTAN (DOUBLE GOURD) Unsigned Japan, 18th century, Edo period (1615-1868) Boldly carved as a large, finely polished double gourd dimpled to the underside so that the netsuke stands, the opening to the top releasing a ghost-like Tekkai dressed in an artemisia leaf robe and leaning against a cane, his sleeves billowing and smiling benevolently. Natural himotoshi. HEIGHT 7 cm Condition: Very good condition with minor expected wear and traces of use. Provenance: St. James Gallery, Zurich, 1983. Ex-collection M. Leitner, Stuttgart, acquired from the above. Auktionshaus Michael Zeller, 26 June 2022, lot 254.Ex-collection Collection of Dr Reinhard Lohrberg (1943-2024), Hanover, acquired from the above. The subject is quite unusual as one would usually expect a horse to emerge from the hyotan, relating to the Japanese saying hyotan kara koma (lit. ‘a horse in the gourd’), referring to a completely unexpected event that actually comes to pass. Here however, rather amusingly, and even more unexpectedly, the immortal Tekkai, who was known for leaving his body behind to enter the spirit realm, emerges from the same gourd. Estimate EUR 2,000 Starting price EUR 1,000

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100 A RARE WOOD NETSUKE OF A CHINESE IMMORTAL WITH AN ONI

Condition: Both feet restored. Otherwise good condition with minor surface wear and light traces of use, as are to be expected. Provenance: From the collection of Mike Thaler, former president of the Oregon Netsuke Society Chapter.

Unsigned Japan, 18th century, Edo period (1615-1868) The Chinese immortal standing, dressed in voluminous robes slightly open at the chest and falling in generous folds, his body slightly leaning forwards as he supports the grimacing, largeheaded oni clambering over his shoulders, the immortal laughing as the oni pulls at his cap. Large, generously excavated and asymmetrical himotoshi to the back.

LITERATURE COMPARISON As indicated by Luigi Bandini in INSJ vol. 15, no. 3, p. 48, the subject may refer to a meeting of a Taoist and a Buddhist. A related example carved in ivory is illustrated in the same article.

HEIGHT 8.9 cm Estimate EUR 2,500 Starting price EUR 1,200

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101 A TALL IVORY NETSUKE OF A SARUMAWASHI AND MONKEY Unsigned Japan, 18th century, Edo period (1615-1868) The tall and flattened ivory netsuke finely carved as a monkey trainer (sarumawashi) dressed in a neatly incised robe, turning to his right, his mouth agape, one hand placed on his food basket as the monkey on his shoulder pensively strokes its chin. Large, asymmetrical himotoshi through the back. The ivory bearing a superb, deep patina. HEIGHT 10 cm Condition: Very good condition with expected natural age cracks. Minor wear to the edge of one foot.

AUCTION COMPARISON Compare a related tall figure of a sarumawashi with monkey, unsigned, 9.7 cm high, at Zacke, Fine Netsuke & Sagemono, 3 November 2023, Vienna, lot 104 (sold for EUR 2,340).

Estimate EUR 2,500 Starting price EUR 1,200

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102 A SUPERB AND RARE WOOD NETSUKE OF FUKUROKUJU TAKING A NAP Unsigned Japan, 18th century, Edo period (1615-1868) Humorously depicted, the Lucky God taking a nap, one hand resting on his bent knee, clasped around an uchiwa, while the other is tucked behind and supporting his phallically enlarged head, threatening to tip over and wake him from his deep slumber. Fukurokuju is draped in voluminous robes, the deity’s face with a relaxed expression, deep in slumber, framed by a finely incised scrolling beard. Generously excavated himotoshi to the back and signed with a two-character signature possibly reading 斗宙 (Tochu). LENGTH 9.1 cm Condition: Excellent condition with minor surface wear. Estimate EUR 8,000 Starting price EUR 4,000

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103 AN EARLY IVORY NETSUKE OF OKAME WITH CHILD Unsigned Japan, early 18th century, Edo period (1615-1868) Published: Zacke (1988) Marcel Lorber, Japanische Netsuke aus seinem Nachlass, no. 34. Finely carved to depict the Goddess of Mirth Okame reclining, her head resting on one hand while the other cradles an infant to her strong breast. The child firmly grasps both breasts with both hands while vigorously feeding at one. She wears a loose kimono tied with a broad sash, her incised hair styled in a topknot, and her finely rendered face bearing a blissful expression. The surface is almost entirely smooth, except for the finely incised hair and karakusa décor on the sash. The underside with two very large, asymmetrical himotoshi. This type of netsuke belongs to a group of early tobori (Chinese style) netsuke which were likely modeled on Chinese doctor’s ladies from the 17th century.

LENGTH 7.2 cm Condition: Good condition with minor wear, expected natural age cracks, and a small restoration to the tip of one foot. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke aus seinem Nachlass - Marcel Lorber Ausstellung 1988, Vienna, no. 34. A noted private collection, acquired from the above. A copy of an old expertise from Galerie Zacke, dated June 1988, accompanies this lot.

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Literature comparison: For a closely related ivory netsuke depicting the same subject see Davey, Neil K. (1982) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 354, no. 1067. For another tobori ivory netsuke depicting Kikujido, executed in similar style, see Bandini, Rosemary (2001) Expressions of Style, Netsuke as Art, Scholten Japanese Art, New York, no. 16. Marcel Lorber (1900-1986)

Estimate EUR 4,000 Starting price EUR 2,000

104 A FINE IVORY NETSUKE OF A NAKED MAN TYING HIS FUNDOSHI Unsigned Japan, Osaka, early 19th century, Edo period (1615-1868) Carved from a perfectly smooth and shimmering section of ivory and depicting a naked man tying his fundoshi (loincloth), presumably after a bath, a second delicate cloth draped over his large head. He is visibly delighted; his facial features are carved expressively, and the perfection of the material used conveys his cleanliness very well. One foot is raised, the toes are crisply carved, and the arm which ties the fundoshi in the back forms an arch, which functions as the cord attachment.

Condition: Excellent condition. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, no. 90. From an Austrian private collection, acquired from the above.

MUSEUM COMPARISON Compare a closely related ivory netsuke depicting the same subject in the Los Angeles County Museum of Art (LACMA), formerly in the Bushell collection, accession no. 91.250.167.

HEIGHT 6.5 cm LITERATURE COMPARISON Several versions of this model are known, and they were likely carved by an anonymous studio in Osaka working in the late 18th to early 19th century. They all share similar characteristics with particular attention devoted to the humorous expression and staining and polishing of the ivory. For a closely related example signed Garaku see Joe Earle (2001) Netsuke, Fantasy and Reality in Japanese Miniature Sculpture, Boston, MFA Publications, p. 201, no. 164.

AUCTION COMPARISON Compare a closely related sperm whale tooth netsuke depicting the same subject at Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 255 (sold for EUR 3,286).

Estimate EUR 3,000 Starting price EUR 1,500

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105 A SUPERB IVORY NETSUKE OF A SUMO WRESTLER Unsigned Japan, Osaka, 18th century, Edo period (1615-1868) The superbly carved figure stands with one knee slightly bent, one hand raised into a fist, and the other grasping his loincloth, his hair tied back and finely inked. The loincloth (mawashi) carved with a fierce shishi mask detailed with large fangs, flared nostrils and wild hair, the eyes inlaid in reddish horn. The eyes of the wrestler are inlaid in dark horn. The ivory is smoothly polished and attractively worn, the back with beautiful asymmetrical himotoshi to the back, the larger hole generously excavated to accommodate the knot. An excellent study of movement, power and expression by anonymous hand, though almost certainly related to Garaku of Osaka.

LITERATURE COMPARISON Compare a closely related ivory netsuke depicting the same subject, unsigned but likely by the same studio or hand, measuring 8.9 cm, illustrated in Kyoto Netsuke – Masters & Myths, p. 182, no. 50. Furthermore, there are two netsuke illustrated in Davey, Neil K. (1982) Netsuke: A comprehensive study based on the M.T. Hindson Collection, nos. 1061 and 1086, which feature the same shishi mask carved to the robe. Both are executed in a similar style and likely come from the same Osaka studio or hand.

HEIGHT 7.7 cm Condition: Very good condition with appealing wear and expected natural age cracks. Provenance: St. James’ Gallery, Zurich, 1991. A noted private collection, acquired from the above. A copy of the attest from St. James’s Gallery, along with an invoice dated 21 October 1991, indicating a sale price of CHF 14,000 (or approx. EUR 19,500 converted and adjusted for inflation at the time of writing), accompanies this lot.

Estimate EUR 8,000 Starting price EUR 4,000

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106 A LARGE AND SUPERB IVORY NETSUKE OF KAN’U Unsigned Japan, 18th century, Edo period (1615-1868) The large ivory netsuke of early triangular sankaku type, depicting the God of War Kan’u (Guan Yu) standing stroking his beard with one hand, and holding his dragon-bladed halberd down with the other. His loosely fitted robe, tied at the waist with a belt, and with billowing sleeves is neatly incised with cloud patterns. The details neatly engraved and stained. The back with generously excavated, asymmetrical himotoshi. The ivory bearing a super yellowish patina and polish. HEIGHT 9.2 cm Condition: Very good condition with minor wear and expected age cracks. Provenance: Ex-collection Jury Kolodotschko. Lempertz, The Kolodotschko Collection of Netsuke II, 6 December 2014, Cologne, lot 762. A private collection in Luxembourg, acquired from the above.

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Kan’u, the Chinese hero Guan Yu, epitome of the loyal warrior, deified as the God of War, first appeared as one of the Three Heroes of Han in the early Chinese novel Shui-hu chuan, “The Water Margin”. He was a popular subject for Japanese netsuke carvers, especially during the early, most robust phase of development.

AUCTION COMPARISON Compare a closely related tall ivory netsuke of Kan’u, 11.8 cm high, at Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 26 (sold for EUR 7,584).

Estimate EUR 6,000 Starting price EUR 3,000

107 A GOOD IVORY NETSUKE OF OMORI HIKOSHICHI ENCOUNTERING THE DEMONESS Unsigned Japan, c. 1800s, Edo period (1615-1868) The legendary 14th-century hero Omori Hikoshichi shown standing, sustaining the weight of the female demon on his back. According to legend he thought he was carrying a beautiful lady across a stream, but in the ripples of the moonlight reflected on the water he discovered her true demonic form. In this netsuke, he is shown gazing upward, one hand poised on the hilt of his sword, the other grasping the demoness’s robe, trying to uncloak her. The facial expressions are superbly captured, and the robes display the dipping and pivoting motion. The well-toned ivory bearing a fine patina, particularly to the back which also shows the perfectly functional himotoshi to the side and under the demoness’s robe. HEIGHT 7.8 cm Condition: Very good condition with minor wear and expected natural age cracks. Provenance: Ex-collection Jury Kolodotschko, sold at Lempertz, 14 June 2014, Cologne, lot 122. A private collection, Luxembourg, acquired from the above. With a collector’s number to the back ‘106’.

AUCTION COMPARISON Compare a related wood netsuke depicting the same subject, unsigned, at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 151 (sold for EUR 12,008).

Omori Hikoshichi, a loyal vassal of Ashikaga Takauji (1305-1358), was rewarded with governorship of a large territory after his assistance in the defeat of Kusunoki Masashige (1294-1336). To celebrate his improved status, Hikoshichi sponsored a large party that lasted for several days. One night while on his way to the festivities, Hikoshichi came upon a beautiful girl distressed after having lost her way. Carrying her on his back for some distance, they finally came to a river. As they crossed it, Hikoshichi saw the girl’s face Woodblock print of Omori reflected in the water and he Hikoshichi encountering a realized she had transformed demon, by Tsukioka Yoshitoshi herself into a terrible demon. In some versions of the story, the demon is supposed to be the daughter of Kusunoki Masashige trying to avenge her father’s death. This dynamic composition captures the moment after Omori HIkoshichi realizes the true identity of the maiden when he moves to draw his sword and kills the demoness. Estimate EUR 6,000 Starting price EUR 3,000

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108 A REMARKABLE TALL IVORY NETSUKE OF A YOUTHFUL CHINESE FIGURE Unsigned Japan, 18th century, Edo period (1615-1868) A striking tall ivory netsuke of a youthful Chinese figure dressed in a loose-fitting robe incised with scrolling floral vines, holding a large leafy peony, and extending his hand backwards to fix his hair which is tied into a large, elaborate single curl. Well-hollowed, asymmetrical himotoshi through the back, the ivory beautifully worn with a fine patina.

HEIGHT 12.3 cm Condition: Excellent condition with expected wear and light traces of use. Provenance: From an important European private collection. In INSJ, Vol. 36, no. 2, Summer 2016, pp. 20-29, Alain Ducros supposes that these early tall ivory netsuke, invariably unsigned and mostly depicting foreigners, were actually produced in Kyushu rather than in Osaka or Kyoto.

LITERATURE COMPARISON Compare a related tall ivory netsuke of a Chinese lady with a dog, formerly in the Behrens collection, illustrated in Davey, Neil K. (1982) Netsuke: A comprehensive study based on the M.T. Hindson Collection, no. 1037.

AUCTION COMPARISON Compare a related tall ivory netsuke of a Chinese court noble at Bonhams, 13.7 cm high, The Jamese A. Rose Collection of Netsuke and Sagemono, 17 September 2013, New York, lot 2066 (sold for USD 86,500). Also compare a related ivory netsuke of a Chinese figure with a basket, 12 cm high, at Van Ham, Asiatische Kunst, 3 December 2015, Cologne, lot 2302 (sold for EUR 9,030). Estimate EUR 10,000 Starting price EUR 5,000

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109 A LARGE IVORY NETSUKE OF TOBA ON HIS MULE Unsigned Japan, Edo (Tokyo), 18th century, Edo period (1615-1868) Depicted is Toba, characteristically mounted on his mule, holding a rope attached to his large hat in his left hand while grasping the reins with his right. The charming caparisoned mule is depicted with elongated legs, one leg raised and bent lending movement to the composition, and its head turned backwards. The netsuke of triangular section and with a fine honey-colored patina, both indicative of an early work. Large ‘chimney-type’ himotoshi to the back and underside. HEIGHT 9.6 cm Condition: Good condition with minor wear, a small repair to the top of the hat, and expected natural age cracks. Toba is a historic figure, who lived in China, where he is called Su Shi, during the 11th century as a high official and calligrapher, and was banished twice due to court intrigues, the second time to the island of Hainan. Estimate EUR 3,000 Starting price EUR 1,500

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110 A RARE TALL IVORY NETSUKE OF AN IMMORTAL WITH AN OCTOPUS Unsigned Japan, 18th century, Edo period (1615-1868) The tall ivory netsuke shows an immortal with an octopus slung over his right shoulder, holding its tentacles in both hands, and with an ecstatic expression, signifying his enlightenment. He is dressed in a loose robe with wide sleeves, open at the chest to reveal his emaciated body, the rib cage vividly expressed. The backside shows a fine honey patina and the asymmetrical, generously excavated himotoshi. HEIGHT 11 cm Condition: Both legs are restored. Otherwise good condition with minor wear and few natural age cracks. AUCTION COMPARISON Compare a related tall ivory netsuke of the prawn sennin Kensu, unsigned, dated to the 18th century, at Zacke, Fine Netsuke & Sagemono, 3 November 2023, Vienna, lot 108 (sold for EUR 9,824). Estimate EUR 5,000 Starting price EUR 2,400

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111 A POWERFUL IVORY NETSUKE OF RYUJIN’S ATTENDANT Unsigned Japan, 18th century, Edo period (1615-1868) A powerful ivory netsuke, dynamic and bold in its execution, depicting one of the two attendants of Ryujin - the Dragon King of the Sea and Ruler of Seas and Tides. The attendant is shown standing upright, his face expressively carved with furrowed brows and a square jaw, wearing only a neatly incised and tied loincloth, his exposed muscular arms and ribcage powerfully sculpted. An octopus sits plump on his head, as the attendant firmly grips one of its tentacles, the other hand raised into a fist. The ivory bearing a rich, honey-gold patina. HEIGHT 8.4 cm Condition: Very good condition with minor wear and expected natural age cracks. Provenance: European Fine Art Fair ‘TEFAF Basel’, 1998, Basel, Switzerland. St. James’ Gallery, Zurich. A noted private collection, acquired from the above. A copy of an old invoice from TEFAF Basel, dating to 1998, accompanies this lot. A copy of a folio from St. James’s Gallery, Zurich, accompanies this lot.

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MUSEUM COMPARISON Compare a related ivory netsuke depicting the same subject in the Los Angeles County Museum of Art (LACMA), accession number M.87.263.8.

AUCTION COMPARISON Compare a related ivory netsuke depicting Ryujin, also unsigned but likely carved by the same studio, at Bonhams, The James A. Rose Collection of Netsuke and Sagemono, 17 September 2013, New York, lot 2081, (sold for USD 50,000). Note the closely related square jaw and furrowed brows. Estimate EUR 4,000 Starting price EUR 2,000

112 A FINE IVORY NETSUKE OF GAMA SENNIN WITH TWO TOADS Unsigned Japan, Osaka, 18th century, Edo period (1615-1868) Of early triangular (sankaku) type, superbly carved, depicting Gama Sennin seated in a relaxed pose, wearing a loosely fitted mugwort leaf robe, two toads clambering onto him. His hair flows elegantly over his back and shoulders, two curled tufts of hair at the top appearing like horns, and his bearded face with an amusing expression, mouth agape, as if attentively listening to the toad resting on his shoulder. The back and underside with generously excavated himotoshi. The ivory bearing a warm yellowish patina. HEIGHT 4.2 cm

Condition: Very good condition with expected natural age cracks and traces of use and wear, including some light abrasions to the side. Provenance: Galerie Zacke, 1994. A noted private collection, acquired from the above. A copy of an old expertise from Galerie Zacke, dated October 1994, accompanies this lot. The expressive face imbued with humor and the boisterously curling hairstyle are idiosyncratic of Gechu and his circle.

AUCTION COMPARISON Compare a related larger ivory netsuke of Gama Sennin, unsigned but attributable to Gechu, at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 6 (sold for EUR 22,752).

Estimate EUR 3,000 Starting price EUR 1,500

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113 A SUPERB OSAKA SCHOOL IVORY NETSUKE OF AN AMA (DIVING GIRL) Unsigned Japan, 18th century, Edo period (1615-1868) Published & Exhibited: Red Cross Exhibition, London 1915, published in the Red Cross Catalogue, no. 148, illustrated on pl. LIV. Japan House Gallery, 1972, published in the accompanying catalog, no. 12. A large and pleasingly worn ivory netsuke depicting an ama, standing and facing forward, naked except for a loincloth, which she reaches for with both hands to wring out the water, her wet hair falling neatly in strands over her shoulders. The ivory is beautifully aged, bearing a fine yellowish patina, and very much adding to the softness of the carving. Asymmetrical himotoshi to the back, the larger hole generously excavated to accommodate the knot. HEIGHT 9.1 cm Condition: Very good condition with minor wear and expected natural age cracks. Provenance: Seymour Trower Collection. J. Thacher Clarke Collection. W. W. Winkworth Collection. Demaree & D. Bess Collection. Ex-collection Charles Greenfield. Sotheby’s, Japanese works of art from the collection of the late Charles A. Greenfield, Part II, 1998, New York, lot 12. St. James Gallery, Zurich, 1999. A noted private collection, acquired from the above. A copy of an inventory card from St. James’s Gallery, dated 12 March 1999, indicating a sale price of CHF 23,600 (or approx. EUR 29,000 converted and adjusted for inflation at the time of writing), accompanies this lot. Estimate EUR 8,000 Starting price EUR 4,000

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114 A FINE IVORY NETSUKE OF A SWIMMING NINGYO (MERMAID) Unsigned Japan, Osaka, 18th century, Edo period (1615-1868) Superbly carved as a swimming ningyo, delicately depicted with long, wet hair flowing backward, narrowed eyes, and arms pressed tightly beneath, protectively grasping a tama pearl in both hands. The lower body is covered in finely carved scales and terminates in a triple tail fin, a characteristic trait of this anonymous studio which specialized in ivory carvings of mythical beings such as ningyo and tennin. Good asymmetrical himotoshi underneath, the larger hole generously excavated to accommodate the knot. The beautifully smooth ivory bearing a fine, yellowish patina. LENGTH 7 cm Condition: Good condition with minor wear, expected natural age cracks, and a chip to the tail fin. Provenance: Galerie Zacke, 1990. A noted private collection, acquired from the above. A copy of an old expertise from Galerie Zacke as well as an invoice, dated 28 February 1990, indicating a price of ATS 80,000, (or approx. EUR 13,000 converted and adjusted for inflation at the time of writing), accompany this lot. LITERATURE COMPARISON Compare a closely related ivory netsuke of a ningyo with tama, unsigned and dated to the 18th century, 6.3 cm long, illustrated in Bandini, Rosemary (2001) Expressions of Style, Netsuke as Art, Scholten Japanese Art, New York, no. 37.

AUCTION COMPARISON Compare a closely related ivory netsuke of a merman with a tama, unsigned and dated to the 18th century, 6.7 cm long, similarly carved, at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 72 (sold for GBP 15,000). Estimate EUR 4,000 Starting price EUR 2,000

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115 AN IVORY NETSUKE OF A FISHERGIRL (AMA) ON A LARGE CLAM Unsigned Japan, Osaka, late 18th to early 19th century, Edo period (1615-1868)

An old and spirited carving, attractively worn, depicting a diving girl (ama), dressed only in a straw skirt, her long finely incised hair flowing down her back, and proudly pressing down her entire body against the half of an oversized hamaguri clam. Two himotoshi to the underside. The ivory bearing a superb honey patina. LENGTH 4.5 cm Condition: Good condition with old wear, traces of use, and natural age cracks. Superficially incised two-character signature to the underside of the clam. Provenance: From the Collection of Dr Reinhard Lohrberg (19432024), Hanover, acquired from Robert Fleischel (Sagemonoya), Tokyo, on 6 April 2016. While there is a spurious signature reading ‘Shigemasa’ to the underside, this is likely by an Osaka studio belonging to the circle of Garaku, and while the features are largely rubbed away from centuries of handling, one can still see the profound humor imbued into the expression by this anonymous Osaka carver. AUCTION COMPARISON Compare a related ivory netsuke of a diving girl with a large awabi clam, by Garaku, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 68 (sold for EUR 13,420). Estimate EUR 3,000 Starting price EUR 1,500

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116 A SUPERB IVORY NETSUKE OF A DANCING FOX PRIEST (HAKUZOSU) Unsigned Japan, Osaka, 18th century, Edo period (1615-1868) The dancing fox is shown enveloped in a long, finely decorated and inked robe, with a large cowl draped over its head, the two ears visible through the cloth at the top. One arm is raised, grasping a bamboo cane that curves along the shoulders and back, following the fluid lines of the body, while the other hand holds the opposite end at the front. The face has a sly expression, with the mouth slightly agape. The dynamic pose balanced on one leg with the head tilted downward. The asymmetrical himotoshi to the back are well hollowed. HEIGHT 6.8 cm Condition: Good condition with minor wear and expected natural age cracks. An old restoration to the raised foot. Provenance: St. James’ Gallery, Zurich. A noted private collection, acquired from the above. A copy of the attest from St James’ Gallery, dated 15 December 1990, accompanies this lot. Hakuzosu is the name of a popular kitsune character who shapeshifted into a priest in the Kyogen play Tsurigitsune. Kitsune are creatures imbued with magical powers and are known to have the ability to shapeshift. They are also believed to be animated by the devils.

This particular model, imbued with movement and character, is a welcome departure from the more commonly seen static fox priest which stands upright leaning against a cane. It is supposed that these “dancing fox priests” were carved in Osaka in the circle of Gechu (see auction comparison). AUCTION COMPARISON Compare a closely related ivory netsuke of the same subject attributed to Gechu, signed Gechu, measuring 8.3 cm, in Sotheby’s, Art d’ Asie, 12 June 2013, Paris, lot 245 (sold for EUR 39,900). Also compare a closely related netsuke of a dancing fox priest, unsigned, the bamboo cane lost, measuring 7.6 cm, at Christie’s, Asian Art, 11 December 2024, Paris, lot 213 (sold for EUR 10,710). Estimate EUR 10,000 Starting price EUR 5,000

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117 A SUPERB WOOD NETSUKE OF A FEMALE DEMON Unsigned Japan, probably Osaka, 18th century, Edo period (1615-1868) Depicting a female demon such as Hannya, Namanari or more likely Yama-uba, the Mountain Witch, standing tall, both hands resting on her waist as she looks forward with a bemused scowl, in the manner of a half-resigned mother amused at her child’s antics – which may very well be directed at Kintoki, who was Yama-uba’s adoptive son. The demoness is dressed in voluminous robes falling in elegant sweeps to her feet, her billowing sleeves fluttering in the wind lending further movement to this masterful netsuke. The long hair modeled in thick tufts, falling gracefully over the hunched back with two inlaid horns poking through the top. The very large himotoshi formed by oval and one circular hole to the back. HEIGHT 7.2 cm Condition: Very good condition with minor expected wear. A tiny nick to the jaw. Provenance: Ex-collection Raymond and Frances Bushell. Christie’s, The Raymond and Frances Bushell Collection of Netsuke, Part I, 27 October 1987, London, lot 175. An important private collection in Europe.

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Raymond Bushell postulated that the present netsuke should be attributed to Shugetsu I, however there are also distinct similarities to the netsuke of the early Osaka carvers, such as Sanko, particularly the manner of the disheveled, intwined hair and boldly carved flowing sleeves. This anonymous carver, sometimes referred to as the “figure-eight” carver, due to the idiosyncratic shape of the mouth, may have been related to both Shugetsu and the early Osaka carvers. AUCTION COMPARISON Compare a related wood netsuke carved by the same studio or hand, unsigned, at Bonhams, Myth, Mirth and Magic - Important Netsuke and Sagemono from the Guy de Lasteyrie Collection, 14 jUne 2023, Paris, lot 46 (sold for EUR 20,800). Note the closely related himotoshi and carving of the face. Estimate EUR 10,000 Starting price EUR 5,000

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118 SANKO: A SUPERB IVORY NETSUKE OF YAMA-UBA AND KINTOKI By Sanko, signed Sanko 三小 Japan, Osaka, mid to late 18th century, Edo period (1615-1868) The mountain hag adorned with horns and fangs, lending her a demonic, yet brilliantly caricatured countenance. She is shown walking at a vigorous pace, her garment folds finely flowing in the wind, and she holds a gnarled staff in one hand and a sickle in the other. The plump and naked Kintoki is seated on her shoulder, facing the other way, playing with a rope tied with a mushroom at one end, and a branch of peaches at the other. Natural himotoshi through the openings of the beautifully flowing robe. HEIGHT 6.6 cm Condition: Good condition with minor expected wear and expected natural age cracks. A few fine cracks, some possibly repaired. Provenance: From a noted private collection in Munich, Germany. The abandoned son of a samurai, Kintoki was adopted by the mountain witch and grew to be a prodigiously powerful child, taking part in many famous adventures.

LITERATURE COMPARISON Compare a closely related ivory netsuke depicting the same subject, signed Sanko, 8.3 cm high, illustrated in Eskenazi, Japanese netsuke from the Carré collection, 1993, p. 76-77, no. 62.

AUCTION COMPARISON Although they are very rare to come by, Sanko made about half a dozen variants of this subject, none being exactly the same and ranging in heights between 5.7 and 8.3 cm. Compare a closely related ivory netsuke of the same subject, by the same artist and signed Sanko, 6.5 cm high, at Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 73 (sold for EUR 21,488). Estimate EUR 8,000 Starting price EUR 4,000

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119 A SUPERB IVORY NETSUKE OF A DUTCHMAN WITH CHILD Unsigned Japan, Osaka, 18th century, Edo period (1615-1868) Published: Katchen, Arlette (2010) Netsuke 7, Vol. 2, pp. 320-321, no. K706. A remarkably striking rendition of this well-known and frequently treated subject, the Dutchman standing in a typical pose, with shoulder-length, curling hair and exaggerated features, clad in a coat with a pleated collar, carrying a boy on his back and a Chinese trumpet (lapa) in his right hand. Each carved with a beaming face, the Dutchman detailed with inlaid eyes pointing downwards, a curling beard, and mouth agape in a toothy laugh. The boy’s robe is incised with clouds and the Dutchman’s robe is textured with sumistained dots. Large, asymmetrical himotoshi through the back. The ivory bearing a superb, deep patina.

The present execution of this frequently seen model stands out, evoking the style of early Osaka carvers such as Sanko. Notably, the manner of expression, nose shape, and the curling of the beard and hair bear a striking resemblance to two ivory netsuke by Sanko (fig. 1 & fig. 2).

Fig.1, signed Sanko, formerly with Max Rutherston Ltd.

Fig. 2 attributed to Sanko, unsigned, sold in these rooms (16 April 2021, lot 65)

HEIGHT 8.6 cm Condition: Excellent condition. Few expected natural age cracks. Provenance: Ex-collection Julius & Arlette Katchen, Paris. Max Rutherston Ltd, London, 2013. A private collection in Luxembourg, acquired from the above.

MUSEUM COMPARISON For the same model, executed with less detail, see the Minneapolis Institute of Art, accession no. 98.105.60.

Estimate EUR 8,000 Starting price EUR 4,000

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120 A SUPERB WOOD NETSUKE OF FUKUROKUJU WITH A KARAKO, ATTRIBUTED TO TSUJI Attributed to Tsuji, unsigned Japan, mid-18th century, Edo period (1615-1868) Published: Sydney L. Moss Ltd. (2010) They are all fire and every one doth shine. The Elly Nordskog Collection of Japanese Inro, Pipecases and Netsuke, London, pp. 428-429, no. 157. The God of Longevity carved standing with his arms together in the front, enveloped in a loose-fitting robe with voluminous folds secured at the waist with a belt, a small fan suspended to the side, slightly straining under the weight of his young acolyte clambering over the treasure sack strung around his decidedly phallic shaped head. Lasciviously tongued, the Lucky God chortles with a thoroughly debauched-looking laugh, as the boy scales his domed scalp, hauling on a rope which, passed over the top of the head, pulls the knotted neck of the sack into an unmistakable prepuce shape. Generously excavated asymmetrical himotoshi to the back.

HEIGHT 6.2 cm Condition: A restoration to the back and underside which encompasses the himotoshi and underside which bears the later added Kyoto Masanao signature. Otherwise good condition with minor surface wear and light traces of use, as are to be expected. Provenance: Ex-collection Elinor “Elly” Nordskog (1919-2013). A noted private collection in Munich, Germany, purchased from Sydney Moss Ltd., London, on 1 December 2010. Alain Ducros’ recent research demonstrates that Tsuji, listed in the Soken Kisho of 1781, came not from Osaka as had been surmised, but from the southern island of Kyushu. He worked for a daimyo of the Hosokawa family and his approximate period of activity is confirmed as about 1750. LITERATURE COMPARISON For a closely related wood netsuke depicting the same subject, by Tsuji, mid-18th century, 6.3 cm high, see Sydney L. Moss, Ltd. (2000) Myth, Reality and Magical Transformation, no. 19.

AUCTION COMPARISON Compare a closely related wood netsuke depicting the same subject, by Tsuji, late 18th century, 5.2 cm high, at Bonhams, Myth, Mirth and Magic, 14 June 2023, Paris, lot 8 (sold for EUR 10,880). Estimate EUR 5,000 Starting price EUR 2,400

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121 A WOOD NETSUKE OF RIHAKU Unsigned Japan, 18th century, Edo period (1615-1868) The poet dressed in a loosely fitted robe, seated resting against a bundle of sticks, laughing as he reads from a book. The well-toned wood bearing a fine, dark patina. Large, asymmetrical himotoshi underneath. HEIGHT 4 cm, LENGTH 4.6 cm Condition: One foot restored and small chip to the book. Otherwise good condition with minor expected wear and traces of use. Provenance: From the collection of Mike Thaler, former president of the Oregon Netsuke Society Chapter. Li Bai (701-762), known as Rihaku in Japan, was a Chinese poet acclaimed from his own day to the present as a genius and a romantic figure who took traditional poetic forms to new heights. His life has taken on a legendary aspect, including tales of drunkenness, chivalry, and the well-known fable that Li drowned when he reached from his boat to grasp the moon’s reflection in the river while drunk. Estimate EUR 1,500 Starting price EUR 800

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122 A WOOD NETSUKE OF A TEMPLE SERVANT (EJI) Unsigned Japan, 18th century, Edo period (1615-1868) The temple servant (eji) resting on top of a large parasol, his head raised high and mouth opened as he chants vigorously, the effort producing deep crinkles in his expressively carved face. He is dressed in voluminous robes incised to the hems with a geometric band and wears an eboshi on his head. Generously excavated himotoshi to the back and underside. LENGTH 5.1 cm Condition: Good condition with wear and light traces of use. A section of the parasol repaired. Estimate EUR 1,500 Starting price EUR 800

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123 YOSHINAGA: AN IVORY NETSUKE OF A SARUMAWASHI AND HIS MONKEY

Condition: Good condition with expected wear and age cracks. Provenance: Ex-collection Dr. Jay Hopkins, Lynchburg, Virginia. A private collection in Luxeumbourg, acquired from the above.

By Koyoken Yoshinaga, signed Yoshinaga 吉長 Japan, Kyoto, late 18th century, Edo period (1615-1868)

Koyoken Yoshinaga is listed in Soken kisho. The only information given is that he is a ‘Kyoto master’, and that Yoshinaga’s netsuke, mostly figural subjects, are well-known.

Humorously carved, the sarumawashi sprawling on the ground and leaning on one elbow, his monkey to the side seated on a wicker basket, trying to open the trainer’s food bag. The sleeping man’s kimono is incised with a typical checkered pattern, his surcoat with scrolling clouds. The underside is particularly attractive, with delicately carved feet, distinctive of the master. The trainer’s eyes are inlaid in dark horn. Asymmetrical himotoshi to the underside, the larger hole generously excavated to accommodate the knot, and signed YOSHINAGA within an oval reserve. LENGTH 5.9 cm

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AUCTION COMPARISON Compare a closely related larger ivory netsuke of a reclining Sarumawashi with monkey, by Yoshinaga, late 18th century, 7.5 cm wide, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 39 (sold for EUR 10,980). Estimate EUR 3,000 Starting price EUR 1,500

Hotei’s head. Good, asymmetrical himotoshi to the back, next to it the signature in a rectangular reserve – OKATOMO - who like his teacher Tomotada, is mentioned in the Soken Kisho and is one of the most important masters of the 18th century. The deeply stained ivory bearing a beautiful, lustrous patina. HEIGHT 5.8 cm Condition: Excellent condition. Few expected natural age cracks. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke (1987) Japanische Netsuke aus dem 18. und 19. Jahrhundert Inro und andere Sagemono, no. 3. From an Austrian private collection, acquired from the above.

124 OKATOMO: A FINE IVORY NETSUKE OF HOTEI WITH A KARAKO By Yamaguchi Okatomo, signed Okatomo 岡友 Japan, Kyoto, late 18th to early 19th century, Edo period (1615-1868) Published: Zacke (1987) Japanische Netsuke aus dem 18. und 19. Jahrhundert, no. 3.

LITERATURE COMPARISON Fuld’s Netsuke and Ojime Index lists only three other netsuke signed Okatomo and depicting Hotei. One is illustrated in Kunsthandel Klefisch, Japanische Kunst, May 1988, no. 447.

AUCTION COMPARISON Netsuke of Hotei with a child in this attitude were made by several members of the Kyoto group of carvers, though it was likely Tomotada who originated the model. For a closely related ivory netsuke signed Tomotada, 6.4 cm high, see Bonhams, Fine Japanese Art, 6 November 2014, London, lot 41 (sold for GBP 3,500).

The lucky god standing, holding a fan and wearing a loose-fitting robe revealing his potbelly, the jolly face framed by magnificent earlobes, a karako (Chinese boy) clambering up on his shoulder supported by Hotei’s hand in the back. Note the detailed etching to the robe and fine floral incisions to the cloth draped over

Estimate EUR 2,500 Starting price EUR 1,200

125 AN IVORY NETSUKE OF TEKKAI SENNIN, STYLE OF MIURA YOSHINAGA

Style of Miura Yoshinaga, unsigned Japan, Kyoto, late 18th to early 19th century, Edo period (1615-1868) Boldly carved, the hermit standing slightly hunched over his bamboo cane, wearing voluminous robes tied around the waist and detailed with typical artemisia leaves, the face appealingly worn, yet still preserving the disgruntled expression, crossed eyes, and mouth open in a discontented groan. Generously excavated, asymmetrical himotoshi to the back. HEIGHT 7.2 cm Condition: Good condition with expected old wear and age cracks. The edge of the left foot restored. Provenance: A private collection in Northern Germany. Kunstauktionshaus Schloss Ahlden, 15 May 2010, Ahlden, lot 2661. German private collection, acquired from the above. AUCTION COMPARISON Compare a closely related ivory netsuke of a sennin and karako, by Miura Yoshinaga, 7.6 cm high, at Sotheby’s, Fine Netsuke including Property from the Collection of Alan R. Liss, 2 September 1993, Chicago, lot 231 (sold for USD 2,500 or approx. EUR 5,068 converted and adjusted for inflation at the time of writing). Estimate EUR 1,000 Starting price EUR 500

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126 A POWERFUL KYOTO SCHOOL IVORY NETSUKE OF SHOKI AND ONI Unsigned Japan, Kyoto, late 18th century, Edo period (1615-1868) Published: Zacke (1986) Netsuke Inro und andere Sagemono, no. 71. The demon queller standing, his head slightly turned inquisitively as he suspects the presence of a mischievous oni, which is hiding on his large hat. His sword is drawn to his chest, both hands clasping the hilt, ready to strike. Shoki is dressed in a finely incised robe decorated with geometric designs. The ivory bearing a gorgeous honey-yellow patina, particularly to the back. Typical and large asymmetrical himotoshi. Unsigned but attributed to the Kyoto school, most likely from the circle of hands around Yamaguchi Okatomo.

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HEIGHT 7.8 cm Condition: Very good condition with minor wear and few expected natural age cracks. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, no. 71. From an Austrian private collection, acquired from the above. AUCTION COMPARISON Compare a closely related Kyoto school ivory netsuke of Shoki and oni, unsigned, late 18th century, 7.5 cm high, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 42 (sold for EUR 2,928). Estimate EUR 2,500 Starting price EUR 1,200

127 A POWERFUL KYOTO SCHOOL IVORY NETSUKE OF SHOKI AND ONI Unsigned Japan, Kyoto, 18th century, Edo period (1615-1868) Published: Zacke (1987) Japanische Netsuke aus dem 18. und 19. Jahrhundert, no. 2. Shoki is depicted in a classic manner with his sword drawn, ready to strike at the oni in his clutches, his sleeve flowing upwards as a result. The second oni clambers over his hat and tugs at Shoki’s shoulder, in a desperate attempt to free his comrade. Shoki is depicted with a grim expression, a wild, windswept beard, and wearing a beautifully carved robe engraved with various sumistained patterns. The back with generously excavated, asymmetrical himotoshi, the ivory bearing a fine yellow patina. HEIGHT 7 cm

Condition: Restoration to the front of the hat and to both feet. Otherwise good condition with old wear, few age cracks, and old smoothened chips. Provenance: Galerie Zacke, 1987. A noted private collection, acquired from the above. A copy of an old expertise from Galerie Zacke, indicating a price of ATS 65,500, (or approx. EUR 12,000 converted and adjusted for inflation at the time of writing) accompanies this lot.

MUSEUM COMPARISON Compare a closely related ivory netsuke of Shoki and oni, by Okatomo, in the collection of The British Museum, accession no. F.693.

Estimate EUR 4,000 Starting price EUR 2,000

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128 MASATOMO: AN AMUSING OSAKA SCHOOL IVORY NETSUKE OF A KARAKO PLUCKING HOTEI’S BEARD By Masatomo, signed Masatomo 正友 Japan, Osaka, late 18th to early 19th century, Edo period (1615-1868) Humorously depicted, the Lucky God seated with one knee raised, the hands supporting his weight as he raises his head, a small karako slowly grooming him, plucking one hair at a time. The young boy crouching, one hand gripping the collar of the deity’s robe, while he goes about the herculean task, undaunted. Both figures are dressed in voluminous robes finely etched and stained with foliate scrolls. Generously excavated himotoshi to the back and underside and signed within an oval reserve MASATOMO. LENGTH 5.4 cm Condition: Excellent condition with very minor wear and expected age cracks.

129 AN EARLY OSAKA SCHOOL WOOD NETSUKE OF HOTEI AND A KARAKO Unsigned Japan, 19th century Hotei standing, smiling broadly, holding his treasure bag containing a small boy slung around his neck, his long loose robe lightly engraved with karakusa vines in the typical manner of the Osaka school and cascading in elegant, deeply cut folds. The young boy appearing fast asleep, his hands pressed together close to his chest, and his characteristic hair modeled with double knots inlaid with dark buffalo horn. Generously excavated, asymmetrical himotoshi to the back.

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AUCTION COMPARISON Compare a closely related Kyoto-school ivory netsuke of Hotei, 18th century, 5.5 cm wide, at Lempertz, NestukeSammlung Kolodotschko I, 14 June 2014, Cologne, lot 32 (sold for EUR 5,124). Estimate EUR 2,000 Starting price EUR 1,000

HEIGHT 5.2 cm Condition: Very good condition, very minor wear and traces of use. AUCTION COMPARISON Compare a closely related wood netsuke of Hotei and karako, by Masakazu, 19th century, 5.5 cm high, at Christie’s, Japanese Art and Design, 12 May 2010, London, lot 91 (sold for GBP 1,375 or approx. EUR 2,893 converted and adjusted for inflation at the time of writing). Estimate EUR 2,000 Starting price EUR 1,000

Hokusai: Matano Goro Kunihisa and Kawazu no Saburo Sukeyasu

Published: Zacke (1986) Netsuke Inro und andere Sagemono, no. 95. Carved as two sumo wrestlers locked in combat, Sukeyasu in the front executing the kawazu gaku technique (one leg entanglement drop), as he coils his leg around the leg of Kagehisa, effectively using his weight to topple him. The lifelike and humorous expressions appear to have come to life directly from a Hokusai print. Natural himotoshi. HEIGHT 6.2 cm

130 AN IVORY NETSUKE OF THE TWO SUMO WRESTLERS KAGEHISA AND SUKEYASU

Condition: The feet restored. Otherwise good condition with minor wear, traces of use and expected natural age cracks. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, Vienna, no. 95. Austrian private collection, acquired from the above.

Unsigned Japan, early 19th century, Edo period (1615-1868)

Estimate EUR 1,500 Starting price EUR 800

131 NIRAKU: AN OSAKA SCHOOL IVORY NETSUKE OF A DUTCHMAN WITH A TRUMPET By Niraku, signed Niraku 二乐 Japan, Osaka, first half of the 19th century, Edo period (1615-1868) Published: Zacke (1986) Netsuke Inro und andere Sagemono, no. 94. The Dutchman standing, wearing a conical hat and typical coat with horn-inlaid buttons. He looks up with a joyful expression, his hearty laugh framed by a long beard. In one hand he holds a Chinese trumpet (lapa), while the other fixes his hat, the eyes inlaid with dark horn. Asymmetrical himotoshi to the back, the larger hole generously excavated to accommodate the knot. The lower back signed within a wavy reserve NIRAKU – a rare artist from the Raku lineage of Osaka, likely active around the same time as Hidemasa.

AUCTION COMPARISON The incised thorned vine décor to the robe as well as the humorous expression are comparable to the works of Hidemasa. See a related ivory netsuke by Hidemasa, at Zacke, Fine Netsuke and Sagemono, 28 April 2023, Vienna, lot 47 (sold for EUR 5,200). Estimate EUR 1,500 Starting price EUR 800

HEIGHT 6.1 cm During the Edo period, Dutch merchants were the only Europeans allowed in Japan, though they were confined to the island of Deshima. Many netsuke carvers never actually encountered the Dutch, relying instead on second hand accounts, which often led to confusion in their depiction of European features and characteristics. Condition: Very good condition with minor wear and expected natural age cracks. One inlaid button and one eye pupil lost. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, no. 94. From an Austrian private collection, acquired from the above.

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132 HIDEMASA: A WOOD NETSUKE DEPICTING A CHINESE MAN SCARING A KARAKO By Hidemasa, signed Hidemasa 秀正 Japan, Osaka, late 18th century, Edo period (1615-1868) Humorously carved, the Chinese immortal dressed in voluminous robes with his hair secured neatly to the top, gently hunched over as he places his head inside an oni mask, attempting to terrify the young karako clinging to his robes. The young boy gleaming as he looks up at the old man, attempting to grab the mask, stepping on the man’s foot as he tugs at the cords hanging to the sides. Asymmetrical himotoshi to the back of the man’s robes and signed to the side HIDEMASA.

HEIGHT 4.2 cm Condition: Excellent condition with only very minor wear. Provenance: Ex-collection C.H.W. Mander. Sotheby’s, The Very Fine and Extensive Collection of Netsuke with Other Japanese Carvings, Inro, Lacquer, Books of Reference &c.: The Property of C.H.W. Mander Esq., 12 February 1930, London, lot 127 (group lot, sold for GBP 10). Blairman (H. Blairman & Sons Ltd), acquired from the above. Estimate EUR 1,500 Starting price EUR 800

133 A RARE WOOD NETSUKE OF ROCHISHIN Unsigned Japan, 19th century, Edo period (1615-1868) An animated and well-carved wood netsuke depicting the hero from the Suikoden, Rochishin (in Chinese Lu Zhishen), firmly grabbing an iron war club (kanabo) with both hands behind his back and stomping his foot on the head of a Nio temple guardian. The eyes of the Nio and Rochishin are inlaid, and their expressions are exceptionally carved, imbued with humor. Two himotoshi through the back. HEIGHT 4.8 cm Condition: Good condition with minor expected wear and traces of use. A few tiny nicks to the hem of the loincloth and to the himotoshi. One foot is restored. The novel Suikoden (Chinese: Shuihu zhuan, English: The Water Margin) from around 1330 depicts the heroic deeds of social outsiders under their leader Song Jiang. They fought for social justice and against corrupt officials of Emperor Huizong in the 12th century. The novel enjoyed great popularity in Japan in the early 19th century. LITERATURE COMPARISON For another netsuke of this rare subject see Joly, Henri (1975) Catalogue of the H. Seymour Trower Collection of Japanese Art, no. 190, illustrated on pl. VI. Estimate EUR 2,000 Starting price EUR 1,000

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Rochishin is also one of the most important figures in Suikoden. His original name was Rotatsu. He murdered a butcher and then fled to a monastery, where he became a monk and took the name Kaosho Rochishin. But his impetuous temper broke out again and again. Chapter 2 describes how Rochishin beheading a he destroyed the statue of a temple Nio temple guardian, School of Katsushika guardian and this account relates Hokusai to the present netsuke.

134 MASAKAZU: A RARE WOOD NETSUKE OF AN ONI HIDING IN A TREE STUMP By Masakazu, signed Masakazu 正一 Japan, Osaka, first half of the 19th century, Edo period (1615-1868) A finely carved and compact netsuke depicting an oni hiding within a hollow tree stump as he evades his eternal enemy Shoki, gripping the edge as he peeks out with a cheeky expression. The stump is finely textured with deep grooves and a twisted branch with star-shaped leaves extending along the side. One himotoshi carved through the side, the other naturally formed through the tree stump opening. Signed within an oval reserve to the lower end of the stump MASAKAZU – not to be confused with the artist working in Nagoya, this was a pupil of Hidemasa of Osaka. HEIGHT 5.5 cm Condition: Very good condition with minor wear, an old nick to the himotoshi, a tiny loss to the tip of a branch, and a thin crack to the lower part of the stump. Estimate EUR 2,500 Starting price EUR 1,200

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135 HIDEMASA: AN IVORY NETSUKE OF A FUKURA SUZUME WITH MILLET By Shuosai Hidemasa I, signed Hidemasa 秀正 Japan, Osaka, c. 1800, Edo period (1615-1868) Finely carved in motion, the stylized lucky bird looking to the side and holding a spray of millet in its beak. The feathers are meticulously carved and stained, the eyes are double inlaid in two-toned reddish horn. Generously excavated, asymmetrical himotoshi through the underside and signed within a wavy reserve HIDEMASA.

LENGTH 4.9 cm Condition: Very good condition with minor wear to edges and expected natural age cracks. Provenance: From the Estate of Madelyn Hickmott. Sotheby’s New York, 8 February 1989, lot 259, sold for USD 2,200 (or approx. EUR 5,500 converted and adjusted for inflation at the time of writing). St. James Gallery, Zurich, 1991. A noted private collection, acquired from the above. A copy of the attest from St. James’s Gallery, along with an invoice dated 21 October 1991, indicating a sale price of CHF 15,600 (or approx. EUR 21,800 converted and adjusted for inflation at the time of writing), accompanies this lot. Hidemasa I, Osaka (and possibly Kyoto), is believed to have been a pupil of an earlier carver of the same name in Osaka, who primarily worked in wood. His pupil and successor was Shuosai Hidemasa II. Other artists associated with the same school in terms of style and subject included Masakazu, Masatomo, Masatsugu, and Natsuki. Both the sparrow and millet carry positive symbolic meanings. Fukura suzume literally means “puffed-up sparrow”. Its meaning as a symbol of happiness is based on the homonym “fuku”, which means both happiness and swelling. Grains, including corn, millet, and wheat, were regarded in Chinese culture as auspicious symbols of fertility and prosperity with their many seeds and kernels. It is common for Japanese artists to borrow such symbolism from the Chinese visual vocabulary. LITERATURE COMPARISON Compare a closely related ivory netsuke of a sparrow with millet, signed Hidemasa and attributed to Hidemasa I, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 141. Estimate EUR 4,000 Starting price EUR 2,000

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136 AN IVORY NETSUKE OF EDAMAME BEAN PODS Unsigned Japan, 18th century, Edo period (1615-1868) Naturalistically carved depicting a group of three edamame beans, their stalks forming the cord attachment, and showing the undulations of the beans within. The lightly stained ivory bearing a beautiful, deep patina. LENGTH 6 cm Condition: Very good condition with minor wear and expected natural age cracks. MUSEUM COMPARISON Compare a closely related ivory netsuke of bean pods, dated to ca. 1775-1850, in the Victoria and Albert Museum, accession number A.46-1920. Estimate EUR 1,000 Starting price EUR 500

137 A KYOTO SCHOOL IVORY NETSUKE OF AN EMACIATED WOLF Unsigned Japan, Kyoto, early 19th century, Edo period (1615-1868)

Finely carved as a voracious wolf, or yama-inu (mountain dog), the lean animal shown seated on its haunches, its tail tucked between the legs, head sharply turned to the back as it looks over its shoulder, warding off imminent danger, mouth wide agape in a growl revealing sharp teeth. The body of the wolf with articulated ribs and spine, its fur minutely incised. The eyes inlaid in dark. Good himotoshi through the underside. LENGTH 3.6 cm Condition: Very good condition with minor wear and few expected natural age cracks. Provenance: From a noted private collection in Munich, Germany. LITERATURE COMPARISON For a related ivory netsuke of a wild dog, by Rantei, 19th century, 2.8 cm high, see Zacke, Japanische Netsuke - Ausstellung 1982, Vienna, lot 109.

AUCTION COMPARISON Compare a closely related ivory netsuke of a wolf, by Ransui, 18th19th century, at Christie’s, Fine Netsuke including Property from the Collection of Alan R. Liss, 2 September 1993, Chicago, lot 254 (estimated at USD 2,000 or approx. EUR 4,000 converted and adjusted for inflation at the time of writing). Estimate EUR 1,500 Starting price EUR 800

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138 A CHARMING KYOTO SCHOOL IVORY NETSUKE OF A RAT ON A BAMBOO SHOOT Unsigned Japan, Kyoto, late 18th to early 19th century, Edo period (1615-1868) Finely carved to depict a rat on a large bamboo shoot, the eyes and rhizomes inlaid in dark horn and the hairwork of the rat and the skin of the shoot neatly incised with fine lines. Generously excavated, asymmetrical himotoshi to the underside. LENGTH 5.6 cm Condition: Very good condition, some inlays possibly renewed and one lost. Typical natural age cracks and old wear. Provenance: From a noted private collection in Munich, Germany. AUCTION COMPARISON Compare a related Kyoto school ivory netsuke of a rat and candle, by Ranseki, dated to the 19th century, at Bonhams, Fine Netsuke from the Adrienne Barbanson Collection, 13 May 2013, London, lot 3 (sold for GBP 5,625). Estimate EUR 1,500 Starting price EUR 800

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139 A RARE IVORY NETSUKE OF A PIEBALD CAT ON A CUSHION Unsigned Japan, Osaka, late 18th to early 19th century, Edo period (1615-1868) Contrary to expectations, the cat (neko) is considerably rare in netsuke art. Here it is depicted seated atop a rectangular cushion with its forepaws flexed, staring straight ahead, the large eyes inlaid in dark horn, a collar around its neck, and the long tail curling to one side. The hairwork of the spotted cat is finely incised and appropriately worn. The underside is decorated with sprigs of pine and houses the himotoshi. LENGTH 3.7 cm Condition: Very good condition with minor wear and natural imperfections including age cracks. Provenance: Lempertz, Asian Art Online, 25 November-15 December 2021, Cologne, lot 718. A Dutch private collection, acquired from the above. Estimate EUR 1,200 Starting price EUR 600

140 A FINE KYOTO SCHOOL WOOD NETSUKE OF A RAT Unsigned Japan, Kyoto, early 19th century, Edo period (1615-1868) Forming a compact composition with the feet and tail tucked below the body, the face with a pointed nose flanked by whiskers, and with large eyes inlaid in dark wood. The hairwork is beautifully incised, as is typical for the Kyoto school. Two generously excavated and asymmetrical himotoshi to the underside. LENGTH 4.5 cm Condition: Very good condition with minor wear, tiny nicks, and other light traces of use as are to be expected. Estimate EUR 2,000 Starting price EUR 1,000

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141 A WOOD NETSUKE OF TWO PUPPIES AT PLAY, ATTRIBUTED TO MASANAO OF KYOTO Attributed to Masanao of Kyoto, unsigned Japan, Kyoto, late 18th century, Edo period (1615-1868) Finely carved as two playful puppies engaged in a lively scuffle, the animals well detailed with short, curled tails and floppy ears, the droopy eyes finely incised and lending to the overall somnolent nature of the composition, the lightly stained wood bearing a fine patina. Generously excavated, asymmetrical himotoshi to the underside. LENGTH 4 cm Condition: Very good condition with minor wear and scattered nicks and scratches. The idiosyncratic manner of the carving of the faces paired with the lightly stained, pale wood used are typical for Masanao of Kyoto, whom this work can be attributed to. Masanao’s place as one of the greatest of all netsuke carvers is justified by the outstanding genius displayed in his work. His netsuke, from their daring originality, bold design, beautiful modeling and living spirit stand in a class of their own. Such is the outstanding character of an exceptional Masanao netsuke that it immediately attracts the eye. Combined with a free and bold style it has a fine and delicate finish. Perhaps to a greater degree than with any other netsuke carver, Masanao’s netsuke strike one instantly as the creation of an inspired master and with the power of direct expression. Notably, Masanao is listed in the Soken Kisho, the first publication on netsuke published in 1781. AUCTION COMPARISON Compare a related wood netsuke of a dog with closely related features, by Masanao of Kyoto, late 18th century, 5.4 cm wide, at Bonhams, The Edward Wrangham Collection of Japanese Art, 9 November 2010, lot 118 (sold for GBP 38,400). Estimate EUR 15,000 Starting price EUR 8,000

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142 YOSHINOBU: A RARE WOOD NETSUKE OF A BROODING SPARROW By Yoshinobu, signed Yoshinobu 芳信 Japan, Kyoto, late 18th to early 19th century, Edo period (1615-1868) A charming carving of a large puffed-up sparrow, an emblem of luck, with eyes inlaid in dark horn, brooding over its three eggs, its chest puffed as it protectively guards its offspring, one wing slightly extended, its plumage minutely incised and stained. Large, asymmetrical himotoshi to the underside and signed to one egg YOSHINOBU. LENGTH 5.5 cm Condition: Very good condition with surface wear and light expected traces of use. LITERATURE COMPARISON Little is known about this artist and only very few works are recorded. It is likely that he was a follower of Masanao of Kyoto. For a related wood netsuke of a sparrow, by Masanao of Kyoto, circa 1760, 4.8 fig. 1 cm wide, see Sydney L. Moss (1989) Japanese Netsuke: Serious Art. Outstanding Works Selected from American Collections, no. 9 (fig. 1). For another work by this artist, depicting a goat, signed Yoshinobu, see Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 2, p. 1242. Estimate EUR 6,000 Starting price EUR 3,000

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143 MASATOMO: A RARE WOOD NETSUKE OF A HARE WITH MUSHROOM By Masatomo, signed Masatomo 正友 Japan, Kyoto, c. 1800, Edo period (1615-1868) Published: Joly, Henri (1975) Catalogue of the H. Seymour Trower Collection of Japanese Art, no. 204 (unillustrated). Well carved as a rabbit seated on its haunches and nursing a mushroom between its front paws, the animal detailed with small eyes inlaid with buffalo horn, long floppy ears, and a short curled tail, the fur neatly incised. The underside with asymmetrical, generously excavated himotoshi, the right haunch with the signature within a rectangular reserve MASATOMO. LENGTH 3.9 cm Condition: Very good condition with minor traces of use and age cracks. Provenance: Ex-collection H. Seymour Trower. H. Seymour Trower was an early English collector (comparable to the German Albert Brockhaus) who acquired his pieces between 1876 and 1910. Although his important collection had already come under the hammer at Glendining in London in 1913 (prices at that time averaged 1-3 pounds), it is easy to follow his traces because of the precise cataloging he later made available for research in the field of netsuke and other Japanese arts. AUCTION COMPARISON Compare a near-identical netsuke by the same artist, albeit carved from ivory, signed Masatomo, at Zacke, Fine Netsuke & Sagemono, 28 April 2023, Vienna, lot 34 (sold for EUR 8,450). Estimate EUR 6,000 Starting price EUR 3,000

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144 A SUPERB IVORY NETSUKE OF A MONKEY ON AN UPTURNED MUSHROOM, ATTRIBUTED TO OKATOMO Attributed to Yamaguchi Okatomo, unsigned Japan, Kyoto, late 18th century, Edo period (1615-1868) A humorous depiction of a monkey crouching on an upturned mushroom, the thick stalk sinuously curved over the finely incised radial gills, stippled to the foot, the monkey gently shifting its trailing hindleg as it ducks for cover behind the stem, the cap of the fungi subtly indented, further lending movement to the superbly stained study. The primate’s coat minutely worked and inked for detail, attractively worn to the high points. Generously excavated, asymmetrical himotoshi to the underside, the larger hole of oval shape. LENGTH 4.9 cm Condition: Very good condition with minor wear to the high points. LITERATURE COMPARISON For a closely related ivory netsuke of a monkey crouching on an upturned mushroom, signed Okakoto, late 18th-early 19th century, formerly in the Museum of the University of Pennsylvania, see Christie’s, Fine Netsuke from an Important American East Coast Museum, Part III, 5 July 1977, London, lot 66. Also compare an unsigned ivory netsuke depicting a rat on a mushroom in Cohen, George (1974) In Search of Netsuke & Inro, p. 34, no. 41, illustrated on pl IV.

AUCTION COMPARISON Compare a related ivory netsuke of a monkey seated on a zabuton at Lempertz, Asian Art, 18 June 2024, Cologne, lot 428 (estimate EUR 12,00014,000). Estimate EUR 12,000 Starting price EUR 6,000

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145 A FINE KYOTO SCHOOL WOOD NETSUKE OF A PUPPY BALANCING ON A KEMARI BALL, ATTRIBUTED TO OKATOMO Attributed to Yamaguchi Okatomo, unsigned Japan, Kyoto, late 18th century, Edo period (1615-1868)

Finely carved, the curious puppy attempting to clamber atop a kemari ball as it rolls away from it. The puppy is detailed with droopy eyes and a gently protruding snout, framed by floppy ears, its fur minutely incised; the ball in contrast is smoothly polished giving it a lustrous surface. Very large, asymmetrical himotoshi to the side, the larger hole of oval shape. LENGTH 4.4 cm Condition: Very good condition with minor surface wear. One old age crack with associated fills. LITERATURE COMPARISON Compare a related wood netsuke of a puppy playing with a piece of string on an awabi shell, by Okatomo, Kyoto school, 18th century, 3.7 cm wide, see Eskenazi (1984) Japanese Netsuke, Ojime, Inro, Lacquer-Ware, no. 69. Also compare to a wood of a rat on a kemari ball, by the Kyoto master Ransen, at Bonhams, Asian Art, 5 December 2017, Edinburgh, lot 61. Estimate EUR 4,000 Starting price EUR 2,000

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146 A FINE WOOD NETSUKE OF A WOLF WITH HAUNCH OF VENISON, ATTRIBUTED TO OKATOMO Attributed to Yamaguchi Okatomo, signed Tomotada 友忠 Japan, Kyoto, late 18th to early 19th century, Edo period (1615-1868)

Carved as an emaciated, snarling wolf with neatly incised spine and fur, pricked ears, and pupils inlaid in dark horn, the tail tucked underneath, guarding a haunch of venison under its front paw. Natural himotoshi, signed underneath TOMOTADA - however much more likely a work by his star pupil Okatomo. LENGTH 4.7 cm Condition: Very good condition with minor wear, tiny nibbles, and light surface scratches. Provenance: From a noted private collection in Munich, Germany. AUCTION COMPARISON This model, often signed Tomotada but actually by a member of the Okaschool, is much more frequently seen in ivory. Compare a closely related ivory netsuke of a wolf with venison, by Okanobu, at Van Ham, Asiatische Kunst, 8 December 2016, Cologne, lot 2452 (sold for EUR 9,030). For a related model in wood, signed Tomotada but likely by Okatomo, see Bonhams, The Julius & Arlette Katchen Collection of Fine Netsuke Part II, 6 November 2018, London, lot 91 (sold for GBP 7,500). Estimate EUR 3,000 Starting price EUR 1,500

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147 A SUPERB WOOD NETSUKE OF A RECUMBENT OX, ATTRIBUTED TO OKATOMO Attributed to Yamaguchi Okatomo, signed Tomotada 友忠 Japan, Kyoto, late 18th century, Edo period (1615-1868) Lying in a typical attitude with its lowered head turned to the right, the body remarkably well carved with a minute rope halter passing over its back in swinging motions. The body with subtly carved ribs and spine, the fur beautifully incised, the head detailed with curved horns, and the eyes double inlaid in bone with dark horn pupils giving life to the expression. The underside with generously excavated, asymmetrical himotoshi, and signed within a rectangular reserve to the haunch TOMOTADA - however much more likely a work by his star pupil Okatomo. LENGTH 6.5 cm Condition: Restoration to the left horn and ear, and to a section of the tail. Otherwise good condition with minor expected wear and traces of use. Fine patina. AUCTION COMPARISON Compare a near-identical wood netsuke of a recumbent ox, also signed Tomotada, 18th century, 5.7 cm, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke, 6 November 2018, London, lot 42 (sold for GBP 7,500). Estimate EUR 6,000 Starting price EUR 3,000

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148 A GOOD KYOTO SCHOOL IVORY NETSUKE OF A RECUMBENT OX Japan, Kyoto, late 18th century, Edo period (1615-1868) Published: Zacke (1986) Netsuke Inro und andere Sagemono, no. 84.

A fine and powerfully crafted ivory netsuke of a recumbent ox with its head turned to the right, the eyes carefully inlaid in dark horn giving life to the expression. As always, a rope, precisely represented with its twisted form, coils from the mouth over the skull and back to the tail. The ivory shows a pronounced age color. On the underside, the ever-interesting positioning of the legs is visible. The generously excavated himotoshi are formed by one oval and one circular hole. There are remnants of a signature reserve to the haunch, though the characters are entirely worn away. LENGTH 5.5 cm Condition: Very good condition with minor expected wear, traces of use and age cracks. Gorgeous honey patina. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, Vienna, no. 84. Austrian private collection, acquired from the above.

Marcel Lorber (1900-1986)

AUCTION COMPARISON Compare a closely related ivory netsuke of a recumbent ox, similarly worn, signed Tomotada, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 51 (sold for EUR 6,100). Estimate EUR 3,000 Starting price EUR 1,500

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149 TOMOTADA: A SUPERB AND LARGE IVORY NETSUKE OF A SHISHI AND YOUNG Signed Tomotada 友忠 Japan, Kyoto, late 18th century, Edo period (1615-1868)

A strikingly bold carving, set on an irregular base that mirrors the natural contours of the tusk supplied to the artist, its material masterfully utilized. At the heart of the composition, a powerful adult shishi roars fiercely into the sky while pausing to scratch an itch, a loose ball clutched in its mouth, its two paws pushed afore in a stretching motion. Its piercing eyes, inlaid with dark-red horn, add to its commanding presence. Behind it, a cub is meticulously carved, its head lowered and rump raised in a tense, watchful stance—poised, alert, and ready to react to an imminent threat. Perhaps that threat is none other than the collector who dares to pick it up. The adult, in contrast, appears less agitated, its focus divided—its left eye wandering in the same direction as the cub’s, yet its immediate concern remains the persistent itch that demands to be scratched. The fur of each is beautifully incised and stained, the boisterous curls and bushy tails carved with remarkable dynamism. Two large, asymmetrical himotoshi underneath next to incised signature TOMOTADA. LENGTH 7 cm Condition: Very good condition, a few light scratches to the base and expected natural age cracks. Provenance: From an Austrian private collection. LITERATURE COMPARISON For the same maker see a large ivory netsuke of a shishi, also signed Tomotada, 8.8 cm high, sold by Max Rutherston Ltd. Compare to a closely related ivory netsuke of a shishi with ball, also signed Tomotada and very likely by the same hand, illustrated in F. Meinertzhagen Lazarnick (1986) MCI, Part B, p. 915. Compare to a closely related ivory netsuke of a shishi, also signed Tomotada and very likely by the same hand, illustrated in Ducros, Alain (1987) Netsuke & Sagemono 2, p. 51, no. 6. Estimate EUR 40,000 Starting price EUR 20,000

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150 A SUPERB KYOTO SCHOOL IVORY NETSUKE OF A TIGER WITH CUB Unsigned Japan, Kyoto, 18th century, Edo period (1615-1868) A remarkably powerful and superbly carved ivory netsuke of a tiger placing one paw protectively on its young cub which attempts to climb up on the adult’s side somewhat half-heartedly. The adult tiger’s thick tail curls around its body, terminating underneath the cub, while the cub’s tail curls around the parent’s left front paw, forming a compact and pleasingly tactile composition. What really sets this netsuke apart, however, is the gorgeous, lustrous honeyyellow patina, clearly being handled lovingly by several generations, the tiger’s fur coat markings and hairwork heavily worn down, though still clearly visible in the crevices and at irregular intervals throughout the carving. The underside shows the superbly carved, chubby paws and the large, generously excavated himotoshi, tucked away underneath the adult tiger’s belly. LENGTH 4.7 cm, HEIGHT 3.1 cm Condition: Very good, undamaged condition. The heavily worn ivory bearing a stunning patina. Provenance: Old Viennese private collection, purchased in 1993. The netsuke is unsigned, however can be confidently attributed to the hand of Tomotada, but it is our opinion that this netsuke requires neither signature nor attribution and stands strongly very much by itself.

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The tiger (tora) is the third animal of the Asian zodiac and represents courage, resilience, and strength. It also plays an important role in Daoist philosophy providing a counterpoint to the dragon (tatsu). The tiger is not native to Japan; therefore, images of tigers were only known from Chinese paintings or on rare occasions when the tiger’s fur was imported into Japan. This brings to mind a Japanese proverb - “When the tiger dies, he leaves his skin, the man his name”. AUCTION COMPARISON Compare to a closely related ivory netsuke by Tomotada sold at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 53 (sold for 37,920 EUR). Another closely related ivory netsuke by Tomotada was sold at Bonhams, Fine Japanese Works of Art, 19 March 2013, New York, lot 2140 (sold for 31,250 USD). Estimate EUR 15,000 Starting price EUR 7,500

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151 A POWERFUL OSAKA SCHOOL IVORY NETSUKE OF A CROUCHING TIGER Unsigned Japan, Osaka, early 19th century, Edo period (1615-1868) Boldly carved and deeply stained, with particular attention devoted to the fur coat, achieved by alternating stripes and circles against the neatly incised hairwork. The bulky creature does its very best to look fierce, its head turned back, the eyes inlaid, the fangs showing at the corners of the mouth. The thick tail curls over the back and the massive, chubby paws are firmly pressed against the ground. Small himotoshi underneath, the cord channel generously excavated. LENGTH 3.8 cm Condition: Very good condition with minor wear and expected natural age cracks. Provenance: Christie’s, Japanese Art & Design, 16 May 2012, London, lot 70 (sold for GBP 3,500). A German private collection, acquired from the above. The tiger (tora) is the third animal of the Asian zodiac and represents courage, resilience, and strength. It also plays an important role in Daoist philosophy providing a counterpoint to the dragon (tatsu). The tiger is not native to Japan; therefore, images of tigers were only known from Chinese paintings or on rare occasions when the tiger’s fur was imported into Japan. This brings to mind a Japanese proverb - “When the tiger dies, he leaves his skin, the man his name”.

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AUCTION COMPARISON Compare a closely related ivory netsuke, unsigned but described as being in the style of Sadayoshi, at Bonhams, Fine Japanese Works of Art, 22 March 2022, New York, lot 3019 (sold for 4,636 USD). Estimate EUR 3,000 Starting price EUR 1,500

152 HAKURYU: AN IVORY NETSUKE OF A TIGER AND CUB By Unsho Hakuryu, signed Hakuryu 白龍 Japan, 19th century, Edo period (1615-1868) Published: Zacke (1986) Netsuke Inro und andere Sagemono, no. 98. Finely carved, the adult resting one clumsy, large paw protectively over its cub and snarling, revealing its sharp fangs, the eyes typically inlaid in mother-of-pearl, the pupils pierced to the sides resulting in an amusing expression. The cub below sleeps blissfully unaware of its mother’s antics. The hairwork is neatly incised and attractively worn; the lustrous, yellowish ivory gleaming through. The contorted body of the adult tiger almost forms a complete circle, the tail swings wildly up over the back resting on the pronounced shoulder bones – a characteristic trait of the artist. Natural himotoshi and signed within a gourd-shaped reserve HAKURYU. LENGTH 4 cm Condition: Very good condition, attractively worn with a fine patina. Expected age cracks. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, no. 98. From an Austrian private collection, acquired from the above.

Marcel Lorber (1900-1986)

AUCTION COMPARISON Compare a related netsuke by Hakuryu depicting a tiger with two cubs, the staining less worn than in the present example, at Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 64 (sold for EUR 3,792). Estimate EUR 2,000 Starting price EUR 1,000

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153 ANRAKU: AN INGENIOUS IVORY NETSUKE OF A TIGER TAKING SHELTER WITHIN A BAMBOO SECTION By Shukosai Anraku(sai), signed Anraku 安樂 Japan, Osaka, 19th century, Edo period (1615-1868) Superbly carved and stained to depict a tiger taking shelter under a thick section of bamboo. The ferocious feline crouching to fit under the undulating form of the node, its bony paws firmly planted, the head sharply turned to the back, detailed with large eyes, crisply carved ears, and a long tail swung to the front. The characteristic tiger stripes are rendered alternating between finely etched and smoothly polished areas and the bamboo is similarly polished with a naturalistically carved, raised node encircling the section with a shoot sprouting from the side. Natural himotoshi and signed to the side ANRAKU. LENGTH 5.6 cm Condition: Very good condition with minor expected surface wear. Provenance: The private estate of Gerty von Gottberg (1934-2024), Düsseldorf, Germany, acquired from the Lesley Kehoe Galleries. This motif is called take ni tora, “tiger in bamboo”. There are many different interpretations; the tiger has a strong nature, is flexible and resilient like the bamboo, but it is also said that the strong tiger is looking for shelter underneath the bamboo, as any earthly power is inferior to the forces of nature. Moreover, the tiger and bamboo represent the power of faith in Buddhism. Anraku was a student of Doraku and showed a strong affinity to the Osaka School master Ohara Mitsuhiro (1810-1875). Anraku’s work is characterized by skilled craftsmanship and individual character. Primarily working in ivory, Anraku, like others of the Osaka School, made free use of engraving, the deeply blackened lines of which made effective contrast with the ivory ground.

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MUSEUM COMPARISON Compare a related ivory netsuke of a tiger in a bamboo segment, 1850-1860, formerly in the Trumpf collection and now in the Linden Museum Stuttgart, inventory number OA 19062. Estimate EUR 8,000 Starting price EUR 4,000

154 RAKU: A SUPERB OSAKA SCHOOL IVORY NETSUKE OF A PUPPY AND BUTTERFLY By Raku, signed Raku 乐 Japan, Osaka, early 19th century, Edo period (1615-1868)

Superbly carved, depicting a decidedly chubby puppy seated with its head lowered, looking down with a drowsy, indifferent expression. A butterfly has landed on its back, an uninvited guest in its personal space, yet the lazy dog is too sluggish to react. The fur is finely incised and stained, the large eyes are inlaid in black lustrous horn. Himotoshi to the side, the cord channel generously excavated, and signed RAKU within a wavy reserve. LENGTH 5 cm Condition: Very good condition with minor wear and expected natural age cracks. AUCTION COMPARISON Compare a closely related ivory netsuke depicting the same subject, by Garaku, at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 160 (sold for GBP 5,625). Also compare a closely related ivory netsuke, by Ohara Mitsuhiro, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke Part II, 10 May 2017, London, lot 130 (sold for GBP 13,750). Estimate EUR 5,000 Starting price EUR 2,400

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155 MITSUHARU: AN IVORY NETSUKE OF A DOG ON A CUSHION By Mitsuharu, signed Mitsuharu 光春 Japan, Kyoto, late 18th to early 19th century, Edo period (1615-1868) Published: Zacke, Netsuke von Meistern, 1989, Vienna, no. 59.

A lively depiction of a dog on a large, round cushion, scratching its chin with its hind paw, its ribs and fur are neatly incised and inked, and its thin, curved tail is curling. The bell (suzu), possibly a former plaything, now lies still beside it. The signature is placed within an oval reserve on the underside, with the single himotoshi running vertically through the center of the cushion. The underside bears the convincingly cut signature MITSUHARU within an oval reserve. The ivory bearing a fine patina. Condition: Excellent condition with minor wear and rubbing to high points. Provenance: Galerie Zacke, 1989. A noted private collection, acquired from the above. A copy of an old expertise from Galerie Zacke, dated June 1989 and stating a purchase price of 39,500 ATS (or approx. EUR 6,100, converted and adjusted for inflation at the time of writing) accompanies this lot. DIAMETER 3.7 cm LITERATURE COMPARISON For a discussion of the carver see INSJ, vol. 39, no. 1, pp. 11-23. In the article, Max Rutherston illustrates two dogs with their pup (figs. 10 & 11) and a tiger with a pup (fig. 12), in each case the young pup is comparable with the present piece.

Estimate EUR 3,000 Starting price EUR 1,500

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156 MITSUHARU: AN IVORY NETSUKE OF A SNARLING SHISHI WITH BALL By Mitsuharu, signed Mitsuharu 光春 Japan, Kyoto, late 18th century, Edo period (1615-1868) Published: Katchen, Arlette (2010) Netsuke 7, Vol. 1, pp. 82-83, no. K429. The powerful shishi with a fierce expression, its head turned back in a typical attitude as it protects a large, smooth ball with all four paws, the mouth agape in a roar revealing sharp fangs, the eyes formed by encircled inlaid pupils of dark horn. The back with one large himotoshi, the other cord hole hidden in the bushy tail underneath, and signed within an oval reserve MITSUHARU. The well-toned ivory bearing a beautiful, warm patina.

Condition: Very good condition with minor wear and natural age cracks. Some minuscule nibbling around the himotoshi. Provenance: Ex-collection Julius and Arlette Katchen, Paris. AUCTION COMPARISON Compare a closely related ivory netsuke of a shishi by the same artist, the hairwork less worn, at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 17 (sold for GBP 11,250). Estimate EUR 8,000 Starting price EUR 4,000

HEIGHT 4.8 cm

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157 A RARE UMIMATSU NETSUKE OF A GOAT Unsigned Japan, probably Kyoto, late 18th to early 19th century, Edo period (1615-1868) Recumbent with its head lowered, the body carved and textured throughout to denote the variance in the overcoat and undercoat, further magnified by the skillful utilization of the variegated purpleblack umimatsu (black coral or seapine) with pale lacquer striations, lightly polished to show the grain. The face finely incised with elongated eyes above a broad snout, flanked by curved horns. The base carved with cloven hooves and with asymmetrical himotoshi.

Umimatsu (lit. seapine) is a species of black coral with dense texture, concentric growth rings, and amber or reddish colored inclusions in the otherwise brown-black material. True coral is a hard calcareous substance secreted by marine polyps for habitation; umimatsu, on the other hand, is a colony of keratinous antipatharian marine organisms. As a material, it was considered risky for carvers as it was prone to crack, crumble, or chip.

LENGTH 4.8 cm

The goat (hitsuji) is the eighth zodiac animal and is responsible for the 6th month and the hours between 1pm and 3pm. Goats and sheep were not originally indigenous to Japan and were introduced there. Netsuke representations of these animals do not allow an exact distinction between goat and sheep or ram.

Condition: Very good condition with wear and natural imperfections including fissures and age cracks.

Estimate EUR 3,000 Starting price EUR 1,500

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158 A FINE KYOTO SCHOOL IVORY NETSUKE OF A BOAR RESTING ON AUTUMN PLANTS Unsigned Japan, Kyoto, 18th century, Edo period (1615-1868) Depicting a boar resting on a bed of autumn leaves, its eyes closed as it enjoys a peaceful slumber, the legs drawn in forming a compact composition. The ivory bears a rich, honey-gold patina. Very generously excavated, asymmetrical himotoshi to the underside. LENGTH 4.8 cm Condition: Good condition with wear and expected natural age cracks. Some old, smoothened losses to the leaves on the body. Provenance: Formerly with Hans-Martin Schmitz, Cologne. A Dutch private collection, acquired from the above. Such autumn leaves, alongside a boar in a pose similar to this one, are shown in a version of the painterly theme of ‘Akikusa ni fusuru inoshishi’ (A Wild Boar Lying Wild boar sleeping beneath bushes Amidst Autumn during autumn, by Tachibana, Morikuni Plants) that was published in 1720 in an instructional picture book by Tachibana Morikuni.

MUSEUM COMPARISON Compare a closely related ivory netsuke depicting the same subject, unsigned, in the collection of The Metropolitan Museum of Art, object number 1985.399.11.

AUCTION COMPARISON Compare a closely related ivory netsuke depicting the same subject, unsigned, in Bonhams, Netsuke from a European Private Collection, 8 May 2016, London, lot 52 (sold for GBP 3,750). Estimate EUR 3,000 Starting price EUR 1,500

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159 OHARA MITSUSADA: AN IVORY NETSUKE OF AN OX-FORM OMAMORI By Ohara Mitsusada, signed in seal form Japan, Osaka, mid-19th century, Edo period (1615-1868)

Finely carved in imitation of pottery, with a seam running through the middle, the ivory beautifully stained and detailed with sumi (ink) as is typical for this artist, who was a pupil of famous Ohara Mitsuhiro (1810-1875). Signed in seal form within a square cartouche to the underside. LENGTH 4.6 cm Condition: Excellent condition. Provenance: From a Dutch private collection. While Bushell describes this present model as a toy cow (ushiningyo), it is more likely an omamori (amulets sold by Shinto and Buddhist shrines for good luck and protection). The Kitan Tenmangu shrine in Kyoto for example sells clay omamori shaped as oxen. MUSEUM COMPARISON Compare a near-identical ivory netsuke by the same artist, also signed in sela form, in the Los Angeles County Museum of Art (LACMA), formerly in the Bushell collection, accession no. M.91.250.47. Estimate EUR 1,500 Starting price EUR 800

160 MITSUHIRO: A FINE WOOD AND IVORY MANJU NETSUKE DEPICTING A SPARROW AMONGST BAMBOO By Ohara Mitsuhiro (1810-1875), signed Mitsuhiro 光廣 with kakihan Japan, Osaka, mid-19th century, Edo period (1615-1868)

The square bowl carved from tagayasan wood and inset with an ivory plaque, finely incised in kebori and katakiribori with tall bamboo stalks and a sparrow ascending in flight, all in the manner of an ink painting. The cord attachment through an eyelet to the back. Signed to the front MITSUHIRO with the artist’s typical kakihan. LENGTH 4.5 cm Condition: Very good condition, minor wear to the inked features as visible in the images provided. Provenance: From the Collection of Dr Reinhard Lohrberg (19432024), Hanover. LITERATURE COMPARISON Compare a closely related ivory manju netsuke by the same artist with a near-identical motif, signed Mitsuhiro with kakihan, illustrated in Ducros, Alain (1987) Netsuke & Sagemono 2, p. 156-157, no. 252/254.

AUCTION COMPARISON Compare a closely related walrus tusk manju with identical motif, by Mitsuhiro, at Zacke, Fine Japanese Art, 14 June 2024, Vienna, lot 444 (sold for EUR 5,200). Estimate EUR 3,000 Starting price EUR 1,500

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161 UNSHO HAKURYU: A FINE IVORY NETSUKE OF A PERSIMMON WITH INLAID SNAIL By Unsho Hakuryu, signed Unsho Hakuryu 雲松白龍 Japan, c. 1860 The persimmon (kaki) of compact design and carved naturalistically, with gentle curvature and superbly carved leafage and stem underneath, the top of the fruit inlaid with a snail in dark buffalo horn, the stigma inlaid as well. Natural himotoshi through the stem, signed in neatly incised characters UNSHO HAKURYU. A simple yet perfectly executed design, the artist has cleverly utilized a natural nerve channel to simulate worm rot near the stem. LENGTH 3.5 cm Condition: Excellent condition with minor wear. Provenance: European Fine Art Fair ‘TEFAF Basel’, 1998, Basel, Switzerland. St. James’ Gallery, Zurich. A noted private collection, acquired from the above. A copy of an old invoice from TEFAF Basel, dating to 1998, accompanies this lot. A copy of a folio from St. James’s Gallery, Zurich, accompanies this lot.

Unsho Hakuryu was a carpenter working for Asano Naritaka (1817-1868), a Daimyo ruler of Hiroshima. Alain Ducros supposes that Unsho Hakuryu was at first a pupil of Mitani Goho, carving predominantly in wood, and later met up with Ohara Mitsuhiro (1810-1875) around 1857, when Mitsuhiro was already famous and came back to his native Onomichi. Only then did Hakuryu start carving in ivory, some of his works very much resembling those of Mitsuhiro (see Museum comparison). LITERATURE COMPARISON Compare a closely related ivory netsuke of a Persimmon signed Unsho Hakuryu, note the similarly worked underside and the absence of the snail, illustrated by Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 121. Another related ivory netsuke of a persimmon, by Unsho Hakuryu, is illustrated in Barry Davies Oriental Art (1996), Netsuke Through Three Centuries, no. 132.

MUSEUM COMPARISON For a closely related ivory netsuke of a persimmon, by Mitsuhiro, see the Victoria and Albert Museum, London, accession number 4471904. Estimate EUR 3,000 Starting price EUR 1,500

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162 KAIGYOKUSAI MASATSUGU: A SUPERB IVORY NETSUKE OF A PUPPY By Kaigyokusai Masatsugu (1813-1892), signed Kaigyokusai Masatsugu 懐玉齋正次 Japan, Osaka, second half of 19th century

Superbly carved as a reclining puppy, the front paws overlapping in a naturalistic manner as the young pup curiously looks into the distance, its eyes double-inlaid in reddish and dark horn. The charming animal is further detailed with subtly carved whiskers, floppy ears, and a curved tail which is raised in excitement. The hairwork is slightly worn, revealing the beautifully gleaming ivory underneath, however what remains of the hairwork is truly a spectacular sight, especially when viewed under a magnifying glass – not a single stroke is misplaced, each minutely incised line complements the other perfectly, adding to the sublime color, gleam, and overall feel of the material. Neatly incised and inked signature to the underside KAIGYOKUSAI MASATSUGU. Natural himotoshi. LENGTH 3.6 cm Condition: Very good condition with expected wear and natural age cracks. Provenance: Zacke, Japanische Netsuke - Ausstellung 1990, no. 80. From an Austrian private collection, acquired from the above. Kaigyokusai only chose the best pieces of ivory for his carvings, this being pure white tokata ivory, which the artist has lightly stained yellow. AUCTION COMPARISON Compare a closely related ivory netsuke of a puppy with a toy bird, by Kaigyokusai Masatsugu, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke Part II, 10 May 2017, London, lot 129 (sold for 30,000 GBP). Estimate EUR 10,000 Starting price EUR 5,000

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163 A MASTERFUL AND RARE IVORY NETSUKE OF KOSHOHEI’S GOAT, ATTRIBUTED TO KAIGYOKUSAI MASATSUGU Attributed to Kaigyokusai Masatsugu (1813-1892), unsigned Japan, Osaka, second half of the 19th century Published: Joly, Henri L. (1912) The W. L. Behrens Collection, Part 1, Netsuke, no. 1283 and illustrated on pl. XXIV. Weber, V. -F. (1965), Koji Hoten, illustrated on pl. XXXII, no. 9. (La Chevre de Koshohei). Zacke (1985) Netsuke und Inro aus Japan, no. 38 and illustrated on the cover. A masterfully carved, gem-like ivory netsuke, sculpted from purewhite tokata ivory and enhanced with sumi for striking contrast, depicting a goat caught mid-transformation, referencing the legend of Koshohei, who wielded the power to turn rocks into goats. The mythical creature’s fur is rendered with exceptional detail, its short beard grazing the rock beneath. Ingeniously, the craggy texture of the stone seamlessly merges with the finely incised fur, creating a mesmerizing interplay of texture and form. The underside reveals two meticulously carved feet, tucked beneath the body for compactness. The eyes, inlaid with bright-red amber and dark horn pupils, lend the figure a vivid, almost lifelike presence. Two small himotoshi are discreetly positioned at the back and underside.

LENGTH 3.8 cm Condition: Excellent condition with very minor wear and a few tiny hairline age cracks. Provenance: Ex-collection W. L. Behrens (1861-1913). Zacke, Netsuke und Inro aus Japan, no. 38. An Austrian private collection, acquired from the above.

Portrait of Walter Lionel Behrens (1861-1913)

Koshohei is a sennin based on the Chinese Daoist immortal Wong Tai Sin, known also as the Red Pine Immortal, who had the power to turn rocks into goats. He is the divine form of Huang Chuping (c. 328-386), a Daoist hermit from Jinhua during the Eastern Jin dynasty. When he withdrew into a cave for years of meditation, his brother sought him out, found him, and was astonished to see no trace of his goats. Koshohei simply touched the rock with his staff, and immediately, a goat grew from it. He repeated this until his entire herd stood around him.

Yanagawa Shigenobu I (1787–1832), The Daoist Immortal Huang Zhuping Turning Rocks into Goats, 1835

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Kaigyokusai has interpreted the goat emerging from the rock in his own way—without any pathos, yet in a quietly magnificent manner. The structure of the rock is not so rigid that it would not harmonize with a particularly shaggy coat; the transition between the appearance of both materials is masterfully executed. The rock transforms into fur, and vice versa. The enlarged color image on the cover of the catalog shows the same phenomenon that is characteristic of Kaigyokusai’s work. With an eminently confident and clear form, the viewer’s gaze is drawn all the more to the inner life present in truly astonishing quality. Since the execution is altogether delicate, even minimal movements significantly alter the composition, such as the extremely sensitively rendered lines around the inlaid eyes. These are positioned in an almost perfect manner, dominating the entire expression. They define the entire expression, appearing minuscule and subtle, yet undeniably intentional, forming the very essence of this masterpiece.

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AUCTION COMPARISON Compare a closely related ivory netsuke of a recumbent goat by the same artist, signed Kaigyokusai, at Bonhams, The Harrriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 142 (sold for GBP 23,750, or approx. EUR 41,000 converted and adjusted for inflation at the time of writing). Estimate EUR 40,000 Starting price EUR 20,000

164 MASATSUGU: A FINE IVORY NETSUKE OF MONKEYS ON A STRAW HUT School of Kaigyokusai Masatsugu (1813-1892), signed Masatsugu 正次 Japan, Osaka, mid to late 19th century

Published: Zacke (1997) Netsuke von großen alten Meistern und modernen, no. 60. A rather unusual and amusingly carved ivory netsuke of a traditional hut, the sliding doors to either side in a half-opened and opened position, three mischievous monkeys clambering up on the roof and tearing at the straw structure. The incision work to the fur and hut is remarkably fine, the eyes of each minutely carved monkey are inlaid in mother-of-pearl with dark pupils. The central himotoshi underneath formed by a mother-of-pearl floral rosette and signed in neatly incised characters MASATSUGU – either an early work by Kaigyokusai Masatsugu (1813-1892) or by an accomplished pupil. LENGTH 4 cm Condition: Excellent condition. Provenance: Zacke, Netsuke von großen alten Meistern und modernen - Ausstellung 1997, no. 60. From an Austrian private collection, acquired from the above. AUCTION COMPARISON Compare a related ivory netsuke of a monkey with similar hairwork, signed Masatsugu, at Zacke, Fine Netsuke, Sagemono & Okimono, 2 November 2019, Vienna, lot 131 (sold for EUR 4,800). Estimate EUR 2,000 Starting price EUR 1,000

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165 RANTEI: A SUPERB AND LARGE IVORY NETSUKE OF A COCKEREL WITH TWO HENS AND YOUNG Signed Rantei 蘭亭 Japan, second half of the 19th century Published: Joly, Henri (1975) Catalogue of the H. Seymour Trower Collection of Japanese Art, no. 765 (unillustrated). Zacke (1984) Netsuke und Inro, no. 112. A large and superbly carved ivory okimono style netsuke depicting a crowing rooster (tori) fluffing itself in an attempt to appear bigger, its densely carved plumage finely stained and meticulously incised. The two hens accompanying the cockerel both appear startled, one meekly cowering, its wing protectively sheltering its chick, the second crouching, its right leg pulled in, ready to lash out, perhaps at a collector who wants to pick up this fine netsuke. Natural himotoshi through the base and signed to the underside RANTEI. LENGTH 5.3 cm

Condition: Excellent condition with minor wear. Provenance: Ex-collection H. Seymour Trower, collection no. 77 (recorded in Henri Joly’s catalog, no. 765). Zacke, Netsuke und Inro-Ausstellung 1984, lot 112. A private collection in Vienna, Austria, acquired from the above. H. Seymour Trower was an early English collector (comparable to the German Albert Brockhaus) who acquired his pieces between 1876 and 1910. Although his important collection had already come under the hammer at Glendining in London in 1913 (prices at that time averaged 1-3 pounds), it is easy to follow his traces because of the precise cataloging he later made available for research in the field of netsuke and other Japanese arts. MUSEUM COMPARISON The present piece is certainly later than the work of Hogen Rantei of Kyoto who was active during the late 18th century to the early 19th century and is likely a work of a follower. Stylistic similarities to the work of Kaigyokusai Masatsugu may suggest that this was created for export around the same time the Osaka master had set up shop in Tokyo in the late 19th century. For a related ivory netsuke of a rooster, signed Masatsugu, from the Avery Brundage Museum, see the Asian Art Museum, San Francisco, object number B70Y134. Estimate EUR 8,000 Starting price EUR 4,000

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166 ANRAKUSAI NOBUKUNI: A SUPERB INLAID IVORY NETSUKE OF SEIOBO By Anrakusai Nobukuni, signed Anrakusai Nobukuni 安樂齋国信 Japan, Osaka, late 19th century Published: Zacke (1986) Netsuke Inro und andere Sagemono, no. 61.

Very finely carved and embellished with various inlays and polychrome details; depicting Seiobo, The Queen Mother of the West, seated at ease on a Chinese bench, a fan slung over her shoulder. Her robe and coiffeur are adorned with coral, jadeite and gilt metal, and an elegant ten-e (celestial scarf) frames her face which shows a sensitively crafted expression marked by a mirthful smile. The Chinese bench and sections of the robe are further engraved with karakusa and craquelure. Himotoshi through the back and under the table and signed within a shaped reserve ANRAKUSAI NOBUKUNI. HEIGHT 5 cm Condition: Very good condition, expected minor age cracks. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, no. 61. From an Austrian private collection, acquired from the above. LITERATURE COMPARISON For a related work signed Anrakusai Kuninobu see Davies, Barry (1998) The Robert S. Huthart Collection of Non-Iwami Netsuke, pp. 90-91, no. 65. Estimate EUR 5,000 Starting price EUR 2,400

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Marcel Lorber (1900-1986)

167 DORAKU: A SUPERB IVORY NETSUKE OF A FISHERMAN AND TORTOISE By Doraku, signed Doraku 道乐 and kakihan Japan, Osaka, mid-19th century, Edo period (1615-1868)

Published: Joly, Henri (1975) Catalogue of the H. Seymour Trower Collection of Japanese Art, no. 747 (unillustrated). Zacke (1984) Netsuke und Inro, no. 111. Superbly carved and stained, depicting a determined fisherman wearing a headcloth and apron, plunging his knife into the back of a tortoise. The carving is embellished with sumi (ink) for the fisherman’s hairs and ornate floral tattoo covering his left arm. The tortoise’s back and body is worked in ishime. The well-carved underside shows the two asymmetrical himotoshi and signature DORAKU and kakihan within the typical wavy reserve. LENGTH 4.3 cm Condition: Very good condition with light wear. A tiny chip to the edge of the tortoise’s carapace. Provenance: Ex-collection H. Seymour Trower, collection no. 70 (recorded in Henri Joly’s catalog, no. 747). This early English collector (comparable to the German Albert Brockhaus) acquired his pieces between 1876 and 1910. Although his important collection had already come under the hammer at Glendining in London in 1913 (prices at that time averaged 1-3 pounds), it is easy to follow his traces because of the precise cataloging he later made available for research in the field of netsuke and other Japanese arts. Zacke (1984) Netsuke und Inro, no. 111. From an Austrian private collection, acquired from the above. The artist Doraku belongs to the talented group of Osaka carvers including Ohara Mitsuhiro and Shukosai Anraku. This group of carvers excelled in the use of staining and often used sumi and ishime, as in the present piece, to finish their work. AUCTION COMPARISON Compare a related ivory netsuke of two wrestling drunks by the same artist, signed Doraku, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 71 (sold for 10,980 EUR). Estimate EUR 5,000 Starting price EUR 2,400

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168 ANRAKUSAI: A FINE IVORY NETSUKE OF HENMEISANRO SEKISHU AND THE MONK HAIJOKAI By Shuko(sai) Anrakusai, signed Anrakusai 安樂齋 Japan, Osaka, c. 1860, Edo period (1615-1868) Published: Klompmakers, Inge (1998) Of Brigands and Bravery, Kuniyoshi’s heroes of the Suikoden, Leiden, pp. 94-95. Bandini, Rosemary (2010) Japanese Netsuke, Inro and Works of Art, no. 7. Superbly carved and stained to depict Henmeisanro Sekishu (Shi Xiu) restraining the adulterous monk Haijokai with his foot, right before he stabs him to death for having an affair with the wife of prison chief Byokansaku Yoyu. Shi Xiu is dressed in loose-fitting monk’s garbs, gently tapping a mokugyo strapped around his neck, mocking the foiled plan of Haijokai and his accomplice who would beat the drum to signal when it was safe to leave Yoyu’s house. The repentful monk with a pleading expression, wearing robes incised

Following a turn of bad luck, Henmeisanro Sekishu is forced to sell grass for a living. As he had at one point saved the prison chief Byokansaku Yoyu from a street robber, he is invited to spend a couple of days as Yoyu’s guest. During his stay Sekishu notices that Yoyu’s wife is having an affair with a monk, Haijokai, who always drops by for an amorous rendezvous when Yoyu is absent. One night, Sekishu awaits him outside Yoyu’s house and upon the priest’s arrival stabs him several times with his knife, killing him. Anrakusai portrays Sekishu at the A woodblock print of moment he has caught the secret Shi Xiu, the Reckless Third Son (Henmeisanro lover Haijokai. He restrains him Sekishu), from the series with his right foot and carries a One Hundred and Eight drum which belongs to another Heroes of the Popular priest who assisted Haijokai by beating his drum every morning as Shuihuzhuan, by Utagawa a signal when it was safe to leave Kuniyoshi (1797–1861), in the Museum of Fine Yoyu’s house. Sekishu kills this Arts Boston, accession priest first, dons his clothes and number 64.836 then lies in wait for Haijokai. with scrolling clouds and asanoha, cascading down in voluminous folds, full of movement. The ivory with a rich, amber-honey stain, the details embellished with sumi (ink). Himotoshi through the back and underside and signed within a wavy blade-shaped reserve ANRAKUSAI. HEIGHT 5.3 cm Condition: Excellent condition. Provenance: Rutherston & Bandini, 2011. A private collection in Luxembourg, acquired from the above. This highly detailed and powerful work by Anraku(sai) echoes some of his other later works, which are dramatic representations of legenadary tales. He uses a dark stain and black sumi-e details to reinforce the powerful nature of the carving. Estimate EUR 8,000 Starting price EUR 4,000

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169 AN AMUSING LACQUERED WOOD NETSUKE OF DARUMA BALANCING A DARUMA DOLL, ATTRIBUTED TO ANRAKU Attributed to Shukosai Anraku(sai), unsigned Japan, Osaka, second half of the 19th century

The Zen-patriarch dressed in a voluminous robe with deeply incised folds, lacquered in red, precariously balancing a roly-poly Daruma doll in his hand. The face twisted in a concentrated expression, the mouth pursed as he gently exhales, careful not to drop the doll. The chubby face and extended arms minutely incised with hair. The underside with two himotoshi. This unsigned work can be attributed to the circle of Anraku of Osaka (see comparison), who sometimes used red lacquer in his netsuke. HEIGHT 3.5 cm Condition: Very good condition with minor wear to lacquer.

LITERATURE COMPARISON Compare a related wood netsuke by Anraku depicting Daruma, illustrated in the Netsuke Kenkyukai Study Journal, Vol. 6, No. 1, p. 22, fig. 6.

AUCTION COMPARISON Compare a closely related lacquered and inlaid Osaka school wood netsuke of Daruma and rat, unsigned, late 19th to early 20th century, 3.9 cm high, at Zacke, Fine Netsuke & Sagemono, 8 November 2024, Vienna, lot 106 (sold for EUR 3,640). Estimate EUR 4,000 Starting price EUR 2,000

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170 ANRAKU: A FINE AND HUMOROUS WOOD NETSUKE OF TANUKI DISGUISED AS A PRIEST By Shukosai Anraku(sai), signed Anraku 安乐 Japan, Osaka, second half of the 19th century The mythical creature seated in meditation with its hands folded in its lap, almost completely enveloped in its loosely fitted robe secured by a kesa ring to the shoulder, the amusingly carved expression detailed with glaring eyes inlaid in pale horn with incised pupils. Two horn-ringed himotoshi to the underside next to the inlaid signature tablet ANRAKU. LENGTH 3.6 cm Condition: Very good condition with minor wear and traces of use. Provenance: Ex-collection William H. Smith (1853-1923). Town of Framingham, 1923. Framingham History Center Museum, Massachusetts, transferred in 1966, inventory no. 63.147. Tremont Auction, Fall Asian Works of Art: Day I, 14 October 2017, Sudbury, lot 287 (sold to benefit the Museum’s fund). The tanuki possesses magical powers and can change forms, sometimes into Buddhist monks; they are jovial and love drinking sake, but are also dangerous, as they have been known to suffocate hunters with their enormous scrotums. AUCTION COMPARISON Compare a closely related wood netsuke of a tanuki disguised as a priest, by Anraku, second half of the 19th century, 4.2 cm wide, at Zacke, Fine Netsuke & Sagemono, 3 May 2024, Vienna, lot 59 (sold for EUR 4,680). Estimate EUR 4,000 Starting price EUR 2,000

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171 A SUPERB WOOD NETSUKE OF THREE FIGHTING BLIND MEN, ATTRIBUTED TO KOKEISAI SANSHO Attributed to Kokeisai Sansho (1871-1936), unsigned Japan, Osaka, early 20th century Superbly carved as a humorous and animated group of three blind men pulling at each other’s faces and limbs, each believing he is attacked, their expressions amusingly crafted and robes typically inlaid with small roundels of mother-of-pearl. Natural himotoshi. LENGTH 4 cm Condition: Excellent condition. The humorous composition, pale wood used, typical inlays and incision work to the robes, are all typical of Kokeisai Sansho (18711936) whom this work is confidently attributed to.

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Kokeisai Sansho (1871-1936) was a brilliant Osaka carver. His life and work are discussed by Boris Filatov in Kokeisai Sansho: Mystery of the Genius (Spring 2012) International Netsuke Society Journal, vol. 32, no. 1, p. 12-25.

AUCTION COMPARISON Compare a related inlaid wood netsuke of man pulling a grimace by the same artist, signed Sansho, at Bonhams, Fine Japanese Art, 12 November 2015, London, lot 27 (sold for GBP 9,375).

Estimate EUR 6,000 Starting price EUR 3,000

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172 A SUPERB AND LARGE WOOD NETSUKE OF SHOKI WITH ONI, CIRCLE OF TAMETAKA Circle of Tametaka, unsigned Japan, Nagoya, late 18th to early 19th century, Edo period (1615-1868) The demon-queller standing, dressed in superbly carved, looselyfitted robes, holding his broad ken sword drawn to his side, his head almost hidden by his oversized head which droops from the weight of three oni crouching in a tight group above, trying not to be seen, two of the mischievous devils daring to peek through the holes of the tattered hat, while Shoki looks up threatening to meet their gaze. One large himotoshi through the back of the hat. HEIGHT 6.8 cm Condition: Restorations to a section of the hat, the right hand and both feet. Otherwise good condition with minor expected wear and light traces of use. AUCTION COMPARISON Compare a closely related wood netsuke of Shoki and oni, signed Tametaka, 7.3 cm high, dated to the mid-19th century, at Bonhams Fine Japanese Art, 10 November 2016, London, lot 292 (sold for GBP 13,750). Estimate EUR 10,000 Starting price EUR 5,000

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173 A WOOD NETSUKE OF KINTARO WITH TWO RABBITS, CIRCLE OF TAMETAKA By a follower of Tametaka, unsigned Japan, Nagoya, first half of the 19th century, Edo period (1615-1868)

Finely carved depicting Kintaro seated, his muscular torso leaning over to pet the larger of the two rabbits before him, the right hand holding his axe, his boldly carved hair falling in tresses, a cloth tied around his neck and waist, and the eyes of both Kintaro and the rabbits inlaid. Natural himotoshi. HEIGHT 4.3 cm Condition: Very good condition with minor wear and light traces of use. LITERATURE COMPARISON Compare a closely related wood netsuke of Kintaro on a boar, School of Tametaka, 5.2 cm high, illustrated in The International Netsuke Society Journal (INSJ), vol. 17, no. 2, p. 14, lot 2.

AUCTION COMPARISON Compare a related earlier wood netsuke of Yama Uba and Kintoki, by Tametaka, Nagoya, dated to the 18th century, at Bonhams Fine Japanese Art, 6 November 2007, London, lot 114 (sold for GBP 12,000). Estimate EUR 2,000 Starting price EUR 1,000 Kintaro (金太郎) is a popular hero from Japanese folklore. A child of superhuman strength, he was raised by a Yama-uba, a mountain witch residing on Mount Ashigara. He became friendly with the animals of the mountain, and later, after catching Shuten-doji, the terror of the region around Mount Oe, he became a loyal follower of Minamoto no Yorimitsu under the new name Sakata no Kintoki. Kintaro umpiring a wrestling match between a hare and a monkey, a demon and a tengu watch from behind him. Ichiyusai Kuniyoshi, c. 1840. British Museum, registration number 2008,3037.13501

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174 ICHIUN: A WOOD NETSUKE OF A SLEEPING SHOJO By Ichiun (Ikkan), signed Ichiun 一雲 Japan, Nagoya, c. 1860 An excellent cherry (sakura) wood netsuke depicting a shojo in a deep slumber after drinking a hefty amount of sake. Her head is resting on her upturned hand, nestled inside her robe, her expression conveying her fatigue from all the drinking very well. Her knees are bent towards her body, and her robe is carved with minute detail showing brocade and cloud patterns. One of her distinctive attributes is her full long hair, which was crimson and said to contain a much sought-after dye. Here it is delicately carved, flowing down her back and all the way to the underside. The side and underside with asymmetrical himotoshi and signed within an oval reserve ICHIUN. LENGTH 3.9 cm Condition: Excellent condition with only very minor wear. Jairus K. Hammond discusses Ichiun and Ikkan in length in WHODUNIT? Ikkan or Ichiun, International Netsuke Society Journal (INSJ), vol. 10, no. 3, p. 14-23. In the article it is noted that the Ichiun 一雲 is the sosho variant of the kaisho signature Ikkan 一貫. Due to the fact that both signatures were used in combination with the same kakihan and often with the prefix Chofu (Nagoya), Hammond postulated that these two signatures are engraved by the same carver.

AUCTION COMPARISON Compare a closely related cherry wood netsuke of a sleeping shojo, by Ikkan, dated to the mid-19th century, at Lempertz, 5 December 2012, Asiatische Kunst III - Japanische Kunst inkl. Netsuke Slg. Kolodotschko IV, Cologne, lot 683 (sold for EUR 4,712). Estimate EUR 2,000 Starting price EUR 1,000

175 HIDEHARU: A NAGOYA SCHOOL WOOD NETSUKE OF A DRUNKEN SHOJO BALANCING A SAKE SAUCER By Hideharu, signed Hideharu 秀晴 Japan, Nagoya, late 19th century An amusing wood netsuke of a drunken shojo leaning against a sake ladle as if it were a canea and looking up at a large sakazuki (sake saucer) which it balances on its head, the long finely incised hair swept to the side from the motion. The hakama shows elaborate, deeply engraved wave patterns and cross-etched designs. Signed underneath HIDEHARU. Natural himotoshi. HEIGHT 4.9 cm Condition: Excellent condition with very minor expected wear. Literature comparison: Compare a closely related wood netsuke of a reclining shojo by the same artist, signed Hideharu, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 1, p. 458. AUCTION COMPARISON Compare a closely related wood netsuke of a shojo by the same artist, by Hideharu, at Zacke, Fine Japanese Art, 16 June 2023, Vienna, lot 371 (sold for EUR 3,900). Estimate EUR 1,500 Starting price EUR 800

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176 MASAKAZU: A FINE NAGOYA SCHOOL WOOD NETSUKE DEPICTING TAIRA NO TSUNEMASA PLAYING THE BIWA By Masakazu, signed Masakazu 正一 Japan, Nagoya, c. 1830-1840, Edo period (1615-1868) Minutely carved to depict the warrior Taira no Tsunemasa sitting atop a craggy rock, waves cresting to the sides, as the kami (local deity) of Chikubushima appears to him in the form of a white dragon, sinuously coiling around. The dragon’s body is superbly executed in openwork with finely carved scales and flaming scrolls. Himotoshi to the underside and signed within a rectangular reserve MASAKAZU. LENGTH 4.1 cm Condition: Excellent condition with minor wear. Provenance: Previously sold at Glendining’s auction on 31 May 1934. Piasa, Paris, 1 June 1999, lot 472. A French private collection, acquired from the above. Bonhams, Fine Netsuke from a French Private Collection, 4 November 2020, London, lot 20. A private collection, acquired from the above. LITERATURE COMPARISON For a closely related wood netsuke depicting Bashiko and the sick dragon, by Masakazu, see Joly, Henri (1975) Catalogue of the H. Seymour Trower Collection of Japanese Art, no. 307, pl. IX. Estimate EUR 5,000 Starting price EUR 2,400

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The present netsuke depicts the scene from the classic fourteenthcentury war epic The Tale of the Heike (Heike monogatari), in which the twelfthcentury warrior Taira no Tsunemasa goes on a pilgrimage to the island of Chikubushima in Lake Biwa and plays the biwa for the local deity. Tsunemasa was For a related two-panel folding a nephew of the late screen depicting Taira no Heian period (794– Tsunemasa Playing the Biwa at 1185) general Taira no Tsukubusuma Shrine, by Suzuki Kiyomori and a master Shuitsu, 19th century, in the of the biwa. Traveling Feinberg Collection, and exhibited from Kyoto to join the in the Metropolitan Museum of Art, punitive force against 1 February – 7 September 2004 the Minamoto army in eastern Japan, he stopped at the Tsukubusuma Shrine on the island and sat down to play the biwa as a form of offering. The kami of Chikubushima was so deeply impressed that he appeared to Tsunemasa in the form of a white dragon.

177 A FINE OPENWORK ASAKUSA SCHOOL WOOD INSHO (SEAL-TYPE) NETSUKE OF A DRAGON SEAL By Sekisai, signed Sekisai 石齋 to 刀 Japan, first half of the 19th century, Edo period (1615-1868) Finely carved and reticulated to depict two sinuous dragons wrapping around the inner section finely carved with swirly clouds and himotoshi, their faces with a ferocious expression, one with a single horn, the other with two horns, a dragon’s tail terminating in a ken blade. All atop a circular seal incised to the bottom with the characters Hofu 圃富 (Garden and Wealth) and the signature Sekisai to [carved by Sekisai] in the sunken surface, all enclosed by further rain dragons. The sides incised with a band of key-fret. HEIGHT 3.9 cm Condition: Very good condition. Minor wear and minuscule nibbling to edges. AUCTION COMPARISON Compare a related earlier wood netsuke insho (seal-type) sashi-netsuke, inscribed Kita Yasunori, dated to the 18th century, at Christie’s, Japanese and Korean Art, 17 September 2024, New York, lot 151 (sold for USD 37,800). Although the netsuke in the comparison is clearly from an earlier period, there are some intriguing similarities to note, such as the carving style of the lower dragon and the overall refinement of the composition. Estimate EUR 4,000 Starting price EUR 2,000

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178 A SUPERB WOOD NETSUKE OF A RECUMBENT TIGER, ATTRIBUTED TO TAMETAKA Attributed to Tametaka, unsigned Japan, Nagoya, late 18th century, Edo period (1615-1868) The tiger’s body forming a compact composition as it rests its head on its large paws, gently cushioned by the long, curling tail. The face carved with a menacing expression, bulging eyes, and the mouth furled in a growl as it gently warns against any intrusion. The spine of the feline finely rendered, and its fur minutely incised in the typical manner of Tametaka. Generously excavated, asymmetrical himotoshi to the underside. The wood bearing a fine, unctuous patina. The netsuke is apparently unsigned, however confidently attributed to Tametaka, who is mentioned in the Soken Kisho of 1781, and is known for his idiosyncratic, bold style, his carvings appearing rugged but still possessing all necessary fineness and character, as in the present example. LENGTH 4.2 cm Condition: Very good condition with minor expected wear.

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LITERATURE COMPARISON Compare a closely related wood netsuke of a tiger, by Tametaka, 18th century, 5 cm, illustrated in Gould, Irving (1987) The Gould Collection of Netsuke, p. 130-131.

AUCTION COMPARISON Compare a closely related wood netsuke of a tiger, by Tametaka, 4.5 cm, at Bonhams, Fine Netsuke from the Adrienne Barbanson Collection, 13 May 2013, London, lot 9 (sold for GBP 10,625 or approx. EUR 19,500 converted and adjusted for inflation at the time of writing). Estimate EUR 15,000 Starting price EUR 7,500

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179 TOMOTSUNE: A SUPERB NAGOYA SCHOOL WOOD NETSUKE OF A HEN WITH TWO CHICKS By Tomotsune, signed Tomotsune 友常 Japan, Nagoya, c. 1800, Edo period (1615-1868) The brooding hen squatting, her head sharply turned to the left as she glares at her mischievous chick who precariously balances on the edge of her wing, a second chick safely tucked under her thick plumage, poking its head out inquisitively. The mother hen with carefully incised plumage, brushed comb, and clawed feet. All eyes are inlaid in dark horn. The cord attachment formed by the joined feet underneath and signed within a polished oval reserve TOMOTSUNE. LENGTH 4.6 cm Condition: Very good condition with minor wear and an appealing worn patina. Provenance: Christie’s, Fine Japanese Ivories, Lacquer, Bronzes, Prints and Other Works of Art, 1 October 1974, London, lot 56 (sold for Gns. 400 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing). Eskenazi Ltd., acquired from the above. An important private collection in Europe, acquired from the above.

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Literature comparison: This clearly very talented artist has only very few works recorded. Fuld’s Netsuke and Ojime Index lists only three other netsuke by Tomotsune. A wood netsuke of a shojo, carved in the Nagoya style and dated early 19th century, is illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 925. Estimate EUR 10,000 Starting price EUR 5,000

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180 A FINE NAGOYA SCHOOL WOOD NETSUKE OF AN OWL WITH MOVABLE OWLET Unsigned Japan, Nagoya, mid-19th century, Edo period (1615-1868) Finely carved, the large bird seated on a creeper-clad branch, the head turned to one side, with a small movable wood owlet emerging from a hole in the branch at its side, the owl’s large round eyes double-inlaid in bone and horn, while the tiny eyes of the owlet are also inlaid, the plumage of both neatly detailed, each feather carefully delineated. In contrast to the very fine plumage, the trunk is deftly rendered complete with flaws and insect bites. Natural himotoshi through the branch openings. Condition: Very good condition with minor wear. One inlaid eye pupil replaced. HEIGHT 4.3 cm Literature comparison: Compare a closely related wood netsuke of an owl, also unsigned, illustrated in Chappell, Welch (1999) Netsuke: The Japanese Art of Miniature Carving, no. 184. AUCTION COMPARISON Compare two closely related wood netsuke of an owl with movable owlets, each described as being in the style of Ikkyu, at Bonhams, Fine Japanese Art, 12 November 2008, London, lot 388 (sold for GBP 5,760) and at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke Part I, 8 November 2016, London, lot 145 (sold for GBP 4,000). Estimate EUR 4,000 Starting price EUR 2,000

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181 KANO TOMOKAZU: A SUPERB WOOD NETSUKE OF AN OWL WITH MOVABLE OWLETS By Kano Tomokazu, signed Tomokazu 友一 Japan, Gifu, c. 1840, Edo period (1615-1868)

Finely carved, the large bird detailed with superbly carved plumage, seated on a creeper-clad branch, looking straight ahead, flanked by two small movable owlets which pop in and out from tiny openings to either side, their eyes minutely inlaid. The adult owl’s large glaring eyes double inlaid in pale translucent and dark horn. A forked branch to the back forming the himotoshi and signed to the underside TOMOKAZU within the typical elliptical reserve. LENGTH 4.5 cm Condition: Excellent condition with minor expected wear. MUSEUM COMPARISON Compare a closely related wood netsuke of an owl on a branch, 19th century, in the collection of the Metropolitan Museum of Art, Object number 10.211.1707.

AUCTION COMPARISON Compare a closely related wood netsuke depicting the same subject by the same artist, signed Tomokazu, at Quinn’s Auction Galleries, The Helen and Jack Mang Collection of Netsuke, 7 December 2012, Falls Church, lot 283 (sold for USD 5,500 excl. fees). Estimate EUR 4,000 Starting price EUR 2,000

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182 A LARGE EARLY NAGOYA SCHOOL WOOD NETSUKE OF A SNAKE Unsigned Japan, Nagoya, 18th century, Edo period (1615-1868)

A remarkably bulky and powerfully executed sculptural masterpiece – the snake coiling around itself, its body entirely naturalistically represented, varying in thickness, covered almost entirely in boldly incised scales. The majestic reptile’s large head is resting at the top of the composition, its glaring eyes double inlaid in pale horn with dark wood pupils. Natural himotoshi. LENGTH 5 cm Condition: Very good condition with expected old wear and traces of use. The snake (hebi or mi), the sixth sign of the zodiac, is assigned to the 4th month and the hours between 9am and 11am. In popular belief, a living snake is considered a good omen, while a dead snake announces misfortune. In Buddhism, the snake is a symbol of sensuality, jealousy and hatred. In netsuke art it is also often depicted because of the elegant curves of its body and the creative possibilities. AUCTION COMPARISON Compare a closely related wood netsuke of a snake, by Tametaka, 18th century, 3.8 cm wide, at Bonhams, Netsuke from a European Private Collection, 8 May 2016, London, lot 23 (sold for GBP 12,250). Estimate EUR 4,000 Starting price EUR 2,000

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183 SANGETSU: A RARE EBONY WOOD NETSUKE OF A WASP IN A PEAR By Sangetsu, signed Sangetsu 山月 Japan, Nagoya, mid-19th century, Edo period (1615-1868) Naturalistically carved, the rotting fruit speckled with very fine ukibori pimples and detailed with a wasp with dark-horn inlaid eyes picking at the pear’s flesh inside a large, rotted section. The minutely carved legs and wings of the wasp are realistically rendered, its curved feelers touching the fruit as it eats. The wellcarved stem remains intact. Asymmetrical ringed himotoshi to the backside and signed on an oval raised reserve SANGETSU.

AUCTION COMPARISON Compare a cloesely related wood netsuke depicting the same subject, from the same school, signed Kogetsu, at Zacke, Fine Netsuke & Sagemono, 8 November 2024, Vienna, lot 175 (sold for EUR 4,680). Estimate EUR 4,000 Starting price EUR 2,000

HEIGHT 4.9 cm Condition: Good condition with some minor wear, a few light scratches and very fine age cracks. Provenance: Bonhams, Tradition Travel Transition, 4 November 2021, lot 4. A private collection, acquired from the above. While this subject has been treated numerously by various members of the Nagoya school including Sangetsu, Kogetsu and Gekko, this appears to the only known netsuke of this type carved from ebony. LITERATURE COMPARISON For a related wood netsuke of a wasp in a pear, by Sangetsu, see Bandini, Rosemary (2001), also published in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, p. 691.

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184 MASAKAZU: A FINE NAGOYA SCHOOL WOOD NETSUKE OF TWO CHESTNUTS By Masakazu, signed Masakazu 正一 Japan, Nagoya, 19th century, Edo period (1615-1868) The two chestnuts skillfully carved to deceive the eye (trompe-l’œil), the surface covered in translucent lacquer, superbly polished to a high luster, and the top of the shell worked with a coarse patch where the cluster was attached to the cupule. Two himotoshi underneath and signed within a rectangular reserve MASAKAZU. LENGTH 4.5 cm Condition: Very good condition with minor wear and a minuscule nick to one himotoshi. Provenance: Galerie Zacke, Vienna, 1983. Private collection of Heidi Haupt-Battaglia (1921-2019), Switzerland, acquired from the above on 26 May 1983. A copy of the collector’s notes, confirming the provenance above, and stating a purchase price of CHF 3,000, (or approx. EUR 5,300 converted and adjusted for inflation at the time of writing), accompanies this lot. The chestnut (kuri) is an emblem of success and can be found amongst the traditional gifts for the New Year. Buddhists believe that chestnuts are inhabited by the souls of departed people. Estimate EUR 1,500 Starting price EUR 800

185 YUZAN: AN UNUSUAL WOOD NETSUKE OF A SNAIL EMERGING FROM ITS SHELL By Yuzan, signed Yuzan 友山 Japan, 19th century Finely carved as a snail depicted mid-glide, its body fully extended outside of its shell, the various textured surfaces naturalistically carved and stained. The shell is further inlaid with darker sections of wood and the eye tentacles are inlaid in horn. The underside with two asymmetrical himotoshi, one to the snail’s body and the other to the shell, the snail’s body incised with the signature YUZAN. LENGTH 4.9 cm Condition: One of the inlaid tentacles is probably replaced. Otherwise excellent condition. Provenance: From a German private collection, with a collection no. 77 pasted to the underside. AUCTION COMPARISON Very little is known about this rare artist who seemed to exclusively carve snails in this position. See a closely related wood netsuke by the same artist at Zacke, Fine Japanese Art, 16 June 2023, Vienna, lot 338 (sold for EUR 1,300). Estimate EUR 1,500 Starting price EUR 800

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186 TOMONOBU: A WOOD NETSUKE OF TWO FROGS ON LOTUS By Arima Tomonobu, signed Tomonobu 友信 Japan, Nagoya, 19th century, Edo period (1615-1868) The two frogs clambering on top of each other on top a large lotus leaf, each naturalistically carved and detailed with fine ukibori, the underside with a second smaller furled leaf and a bud, the curved stem forming the cord attachment. Signed within a raised rectangular reserve TOMONOBU. LENGTH 4.5 cm

Condition: An old repair to one frog’s nose. Otherwise good condition with minor expected wear and light traces of use. AUCTION COMPARISON Compare a closely related wood netsuke of a single frog on a lotus leaf, by Tomonobu, at Christie’s, Japanese Art and Design, 13 May 2010, London, lot 210 (sold for GBP 1,375, or approx. EUR 2,500 converted and adjusted for inflation at the time of writing). Estimate EUR 1,500 Starting price EUR 800

187 MASATAMI: A WOOD NETSUKE OF A COCKEREL ON A WAR DRUM By Masatami, signed Masatami 正民 to 刀 Japan, Nagoya, mid-19th century, Edo period (1615-1868) A larger than usual netsuke of a rooster with carefully incised wings, plumage, tail and finely stippled comb and wattle seated on a war drum with studs to the sides inlaid with dark horn and finely carved in low relief with a fierce dragon amid scrolling clouds to the underside with two asymmetrical himotoshi and the signature MASATAMI to [carved by Masatami]. LENGTH 3.8 cm Condition: Excellent condition with minor expected wear. Provenance: Ex-collection Jury Kolodotschko. Lempertz, NetsukeSammlung Kolodotschko III, 5 June 2015, Cologne, lot 1220. A Dutch private collection, acquired from the above. A rooster on a redundant war drum symbolizes peace and this scene of bucolic contentment reinforces that sense of tranquility. AUCTION COMPARISON Compare a closely related wood netsuke depicting the same subject, by Masatami, at Lempertz, Asian Art, 21 June 2023, Cologne, lot 499 (sold for EUR 2,394). Estimate EUR 2,000 Starting price EUR 1,000

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188 ICHIMIN: A FINE NAGOYA SCHOOL WOOD NETSUKE OF A TOAD ON A KASA HAT By Ichimin, signed Ichimin 一岷 to 刀 Japan, Nagoya, c. 1840, Edo period (1615-1868) Finely carved as a large, warty toad clambering on top of an old kasa hat, the amphibian’s textured skin and the tattered surface of the hat both achieved with remarkable realism. The beautifully carved underside shows the chin straps and halters, which also function as the cord attachment, and the minutely incised signature ICHIMIN to [carved by Ichimin]. LENGTH 3.8 cm Condition: Good condition with minor expected wear, some nibbling and small chip to the edge of the hat. Remarkably, this subject appears to be unrecorded for Ittan. MUSEUM COMPARISON Compare a related wood netsuke depicting the same subject, signed Issan (Ryusansai), in the collection of the Metropolitan Museum of Art, object number 91.1.1000. Estimate EUR 3,000 Starting price EUR 1,500

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189 ITTAN: A SUPERB WOOD NETSUKE OF A COWERING ONI DURING SETSUBUN By Kyoryusai Ittan (died 1877), signed Ittan 一旦 with kakihan Japan, Gifu/Nagoya, c.1850, Edo period (1615-1868) The oni cowering underneath a broken kasa (straw hat) trying to shield himself from a barrage of roasted beans being thrown at him during the oni-yarai ceremony on Setsubun day. His attempt is somewhat futile as one of the beans has hit his head, two further ones being carved on top of the hat. The heavily worn kasa is executed with intricate detail and the body of the oni underneath shows extremely fine carving with powerfully accentuated muscles and a neatly incised tiger skin loincloth. The squinting eyes are inlaid in dark wood. Natural himotoshi and signed to the underside within a polished reserve ITTAN – a talented Nagoya carver and pupil of Ikkan. LENGTH 3.1 cm

Condition: Some losses to the straw hat, likely mostly intentional. Good condition and presenting well. Provenance: From the private collection of an industrialist in Dordrecht, Netherlands, collected during the first half of the 20th century. LITERATURE COMPARISON Compare a closely related wood netsuke of a crouching oni, by Ittan, see Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 250 (bottom left). Also compare a closely related wood netsuke of a crouching oni, by Ittan, illustrated in Cohen, George (1974) In Search of Netsuke & Inro, p. 51, no. 210. Estimate EUR 4,000 Starting price EUR 2,000

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190 ICHIMIN: A SUPERB WOOD NETSUKE OF A TIGER By Ichimin, signed Ichimin 一岷 to 刀 Japan, Nagoya, 19th century, Edo period (1615-1868) Published: Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 1, p. 500. Ducros, Alain (1987) Netsuke & Sagemono 2, p. 83, no. 116. Very finely carved as a plump tiger, its mouth opened in a yawning roar, revealing minutely carved teeth and tongue, as it lazily lifts itself up from a deep slumber. The carving is worked meticulously, every detail accounted for and finished with perfection, such as the tiger’s fur coat which is rendered with carefully incised lines alternating with polished areas. The form of the netsuke is remarkably compact, the docile beast’s ears laid back, paws held close to the body, and tail winding around and resting against the tiger’s haunches. Natural himotoshi and signed underneath within a polished reserve ICHIMIN to [carved by Ichimin]. LENGTH 3.5 cm

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Condition: Excellent condition. Provenance: From the private collection of Alan and Simone Hartman, New York. AUCTION COMPARISON Ichimin, likely a pupil of Ittan and/ or Ikkan, was a talented Nagoya carver, mostly focusing on animals of the zodiac (junishi). For a related example by Ichimin, depicting a recumbent horse carved in a similar manner, see Bonhams, Fine Japanese Art, 15 May 2014, London, lot 8 (sold for GBP 11,250). Estimate EUR 4,000 Starting price EUR 2,000

Alan & Simone Hartman Wedding Day, 1977

191 ITTAN: A FINE WOOD NETSUKE OF A RECUMBENT OX By Ittan, signed Ittan 一旦 with kakihan Japan, Nagoya, 19th century, Edo period (1615-1868) Of compact form, depicting a recumbent ox with the right foreleg bent and slightly extended forwards and the other legs drawn in, the tail flung to one side, and the finely carved rope halter, attached to the ox’s muzzle, extending into a sinuous rope flowing over the body. The animal well-detailed with almond-shaped eyes with inlaid pupils and curved horns, its fur neatly incised and spine subtly carved. Natural himotoshi under the left leg and signed within an oval reserve ITTAN with the artist’s kakihan. LENGTH 4.4 cm Condition: Excellent condition with minor wear. Ittan’s oxen are not as numerous as one might imagine. Fuld’s Netsuke and Ojime Index lists only six netsuke by the artist depicting oxen. The connections between Nagoya and Gifu artists have recently been investigated by Kentaro Akatsu, who points out that these two centers, only thirty kilometers apart, should really be considered as one netsuke-producing area. Akatsu’s genealogical chart shows Tomokazu as a founding father of the Nagoya group of artists which included Ikkan and Ittan, who produced similar netsuke. Lot no. 214 in the present sale as well as the auction comparison listed below illustrate this connection very well. AUCTION COMPARISON Compare a related wood netsuke of an ox by Ikkan, similarly carved, 4.6 cm long, at Zacke, Fine Netsuke & Sagemono, 28 April 2023, lot 83, (sold for EUR 13,000). Estimate EUR 4,000 Starting price EUR 2,000

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192 A SUPERB NAGOYA SCHOOL WOOD NETSUKE OF RAT ON A CHAUSU TEA MILL Unsigned Japan, Nagoya, c. 1840, Edo period (1615-1868) Superbly carved with refined movement to depict a rat seated on a tea grinder, one foot raised over the coiling tail as it extends its forelimbs and snout to scratch an itch. The bony fingers of the paws tightly clasped around the leg. The fur is minutely incised, and the bulging eyes are inlaid in lustrous, dark horn. The barrel-shaped stone carved to imitate granite. Himotoshi through the natural apertures in the millstone. LENGTH 3.2 cm Condition: Very good condition with minor wear and expected traces of use. One eye replaced. AUCTION COMPARISON Compare a related wood netsuke of a rat with its head turned back, by Ikkan, at Bonhams, Fine Netsuke from a French Private Collection, 4 November 2020, London, lot 44 (sold for GBP 11,312). Estimate EUR 4,000 Starting price EUR 2,000

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193 ITTAN: A SUPERB WOOD NETSUKE OF TWO PLAYING RATS By Kyoryusai Ittan (died 1877), signed Ittan 一旦 with kakihan Japan, Gifu/Nagoya, first half of the 19th century, Edo period (1615-1868) Published: Hurtig, Bernard (1973) Masterpieces of Netsuke Art: One Thousand Favorites of Leading Collectors, p. 148, no. 593. The tumbling rodents intimately intertwined, one curling to the ground as it tries to reach over its companion’s body, each vying to reach the top. The eyes inlaid in dark horn and the incisors inlaid in bone. The hairwork is masterfully incised against the deeply polished wood, giving the netsuke a marvelously tactile feel in the hand. The underside shows both thick tails curling around and the finely carved paws. Natural himotoshi. The underside signed within a polished reserve ITTAN with kakihan. HEIGHT 3.7 cm Condition: Very good condition with minor wear. One minuscule nick to one ear.

Provenance: Ex-collection Martin S. Newstead. Sotheby’s, The Martin S. Newstead Collection of Netsuke, 24 October 1984, London, lot 59 (sold for GBP 2,750 or approx. EUR 14,500 converted and adjusted for inflation at the time of writing). Ex-collection Alan R. Liss, acquired from the above. Sotheby’s, Fine Netsuke Including Property from the Collection of Alan R. Liss, 2 September 1993, Chicago, lot 67 (sold for USD 8,050 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing).

Alan R. Liss, publisher of the Meinertzhagen Card Index (MCI)

MUSEUM COMPARISON Compare a closely related wood netsuke of two rats, by Ittan, formerly in the Trumpf collection and now in the Linden Museum Stuttgart, inventory number OA 19100. Estimate EUR 8,000 Starting price EUR 4,000

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194 ITTAN: A WOOD NETSUKE OF TWO SUMO WRESTLERS By Ittan, signed Ittan sanjin 一旦山人 to 刀 Japan, Edo (Tokyo), c. 1860 Finely carved as two wrestlers locked in combat, Sukeyasu in the front executing the kawazu gaku technique (one leg entanglement drop), as he coils his leg around the leg of Kagehisa, effectively using his weight to topple him. Each dressed in loincloths and their neatly detailed faces showing intense, strained expressions; the eyes minutely inlaid in dark horn. Signed to the back ITTAN sanjin to [carved by the old man Ittan]. HEIGHT 5 cm Condition: Restorations to the feet. Otherwise excellent condition with minor expected wear.

The kawazu gaku technique was named after the renowned wrestler Kawazu no Saburo Sukeyasu. When his opponent, Matano Goro Kunihisa (Kagehisa), attempted to lift him by the loincloth, Sukeyasu countered by entangling his leg and bringing him down. In this netsuke, the wrestler in the back appears poised for victory, but the leg entanglement is already in motion—within moments, he will be lying on the ground, defeated. Kyoryusai Ittan was reputedly born in Gifu, of Toba clan samurai blood. The connections between Nagoya and Gifu artists have recently been investigated by Kentaro Akatsu, who points out that these two centers, only thirty kilometers apart, should really be considered as one netsuke-producing area. LITERATURE COMPARISON For a closely related wood netsuke of two sumo wrestlers, by Ittan, see Eskenazi (1973) Japanese Netsuke formerly in the Collection of Dr Robert L Greene, p. 18, no. 31. For a closely related wood netsuke depicting two wrestlers, by Ittan, mid-19th century, see The International Netsuke Society Journal (INSJ), vol.12, no. 3, p. 28.

AUCTION COMPARISON Compare a closely related wood netsuke of two sumo wrestlers, by Hokyudo Itsumin, 19th century, 6.5 cm, at Christie’s, Japanese Art & Design, 4 November 2009, London, lot 54 (sold for GBP 32,450). Estimate EUR 4,000 Starting price EUR 2,000

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195 HOKYUDO ITSUMIN: A FINE IVORY NETSUKE OF TWO NIO GUARDIANS By Hokyudo Itsumin, signed Hokyudo Itsumin 逢丘堂逸民 to 刀 Japan, Edo (Tokyo), c. 1860 Published: Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 114, no. 328. Eskenazi (1993) Japanese Netsuke from the Carré Collection, p. 78-79, no. 67. Minutely carved to depict the two Nio guardians Agyo and Ungyo. Agyo seated, his feet pressed together, one hand clasped around a kongosho (thunderbolt) and the other resting on his knees. His companion, Ungyo, stands close, one hand raised to his chest, the other clutched in a fist to his waist. Each with exaggerated musculature and faces with fierce and forbidding expressions. The pupils minutely inlaid in dark horn. Natural himotoshi and signed to the back HOKYUDO ITSUMIN to [carved by Hokyudo Itsumin]. HEIGHT 5 cm Condition: Very good condition with minor wear Provenance: Ex-collection M.T. Hindson. Sotheby’s, M.T. Hindson Collection Part V, 25 November 1968, London, lot 769. Ex-collection Jacques Carré, acquired from the above. It is supposed that Hokyudo Itsumin was a pupil of Koryusai Ittan, their work sharing remarkable similarities, both when carving in the Nagoya style and Tokyo style. A comparison between the present lot and lot 194 is highly instructive.

AUCTION COMPARISON Compare a related wood netsuke of two nio wrestling on a waraji, 19th century, 4.7 cm, at Sotheby’s, Fine Japanese Works of Art, 13 March 1987, London, lot 44 (sold for GBP 1,045 or EUR 4,900 converted and adjusted for inflation at the time of writing). Estimate EUR 4,000 Starting price EUR 2,000

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196 HASEGAWA IKKO: A LARGE AND SUPERB DARK WOOD NETSUKE OF SHOKI TRAPPING ONI By Hasegawa Ikko, signed Ikko 一光 and Minko 岷江 Japan, Tsu, c. 1820, Edo period (1615-1868) Published: Joly, Henri L. (1912) The W.L. Behrens Collection, Part 1, Netsuke, no. 3292, illustrated on pl. XXXIX. Meinertzhagen, Frederick (1975), The Art of the Netsuke Carver, p. 64, no. 93, illustrated on pl. XI. Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 219. A remarkably powerful and bulky wood netsuke depicting the Demon Queller holding down a large hat which partially covers a struggling oni whose humorously squashed head pokes from underneath. Wearing his iconic sword, Shoki squats over the recumbent figure, the fierce struggle visible on Shoki’s face, while the oni grits its teeth. The eyes double inlaid in pale horn with dark pupils. Large himotoshi through the back and underside. The boldly incised signature IKKO underneath the oni’s jaw and further signed near the himotoshi, slightly tucked away, MINKO. LENGTH 7.2 cm

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Condition: Very good condition with minor wear and typical traces of use including a few tiny nicks around the himotoshi. Provenance: Ex-collection W. L. Behrens (1861-1913). Ex-collection W.W. Winkworth, acquired in 1936. Collection Charles F. Stein (1900–1979), Baltimore, and thence by descent. According to Meinertzhagen, the engraved name Minko is “apparently done at the same time by the same hand, perhaps signifying ‘after a design by Minko’”. Another possibility is that this was a rare collaboration between these two Tsu masters, as it has been supposed that Minko and Ikko have had a master-pupil relationship early in Ikko’s career. Hasegawa Ikko was unquestionably among the greatest, most original in his designs and technique, most versatile, Japanese artists of his time. His style in general followed the traditions of the early masters Korin and Ritsuo. Although his exquisitely inlaid pipecases and bokuto are widely recognized as masterpieces, his netsuke, in this author’s view, have not received the acclaim they deserve. This may be due to the inconsistent quality of works bearing the Ikko signature, but if one were to consider only a selection of his finest pieces—such as the present example—they would undoubtedly rival the design, craftsmanship, and execution of his most acclaimed pipecases. Estimate EUR 15,000 Starting price EUR 7,500

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197 A WOOD NETSUKE OF ASHINAGA WITH A DRUM, ATTRIBUTED TO MINKO Attributed to Tanaka Juntoko Minko (1735-1816), unsigned Japan, Tsu, late 18th to early 19th century, Edo period (1615-1868)

Finely carved from plum or isu wood, the surface superbly polished, bringing out the natural grain to great effect, Ashinaga standing tall with elongated legs, wearing only a loincloth, his distended stomach bulging over, his arms muscular, the right extended to the side and clasped around a mallet, the left holding a small hand drum to the shoulder. The features are superbly crafted, the cheek bones are powerfully sculpted, and the mouth is opened revealing minutely carved teeth, the pierced eyes surmounted by arched brows, and the hair formed by boldly carved, swirling curls. The back shows the expressed spine and the himotoshi formed by a large hole to the back and a ‘chimney-style’ opening underneath the loincloth. HEIGHT 9.3 cm Condition: Restorations to both feet. Otherwise good condition with minor surface wear and light traces of use, as are to be expected. Tanaka Juntoko Minko (1735-1816) was one of the few names mentioned in the Soken Kisho of 1781, the first publication mentioning netsuke. He was famous during his lifetime and is widely regarded as one of the greatest netsuke carvers. At first, he was a carver of Buddhist shrines, and only carved netsuke later, setting up a school in Tsu. His figures, such as the present piece, possess remarkable power and sculptural quality. AUCTION COMPARISON Compare a related larger wood netsuke of a drumming Ashinaga, by Tanaka Juntoku Minko, late 18th century, 13 cm high, at Zacke, Fine Japanese Art, 27 March 2022, Vienna, lot 229 (EUR 5,056). Estimate EUR 3,000 Starting price EUR 1,500

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198 MINKO: A RARE AND UNUSUAL WOOD NETSUKE OF A HATCHING TENGU (TENGU NO TOMAGO) By Tanaka Juntoku Minko (1735-1816), signed Minko 岷江 with kakihan Japan, Tsu, late 18th century, Edo period (1615-1868) Emerging from its egg, the chimera-like tengu’s body partially fledged, its lanky muscular left arm extended over the shell, and the beak wide open in a tormented expression enhanced by glaring eyes inlaid in bone with dark pupils. The plumage and hair finely carved, the animated face topped by a tokin cap. The egg is smoothly polished and hollowed with large, generously excavated, asymmetrical himotoshi and signed MINKO with the artist’s typical kakihan. LENGTH 6.1 cm Condition: Very good condition with minor surface wear and expected traces of use. Tanaka Juntoko Minko (1735-1816) was one of the few names mentioned in the Soken Kisho of 1781, the first publication mentioning netsuke. He was famous during his lifetime and is widely regarded as one of the greatest netsuke carvers. At first, he was a carver of Buddhist shrines, and only carved netsuke later, setting up a prolific school in Tsu. LITERATURE COMPARISON The carving is certainly reminiscent of the famous ‘chimera’ netsuke by Tomin and Kokei and may very well be the predecessor to this type. See a related example by Tomin offered by Rosemary Bandini Ltd (Japanese Netsuke – Summer 2020, no. 8.).

AUCTION COMPARISON Compare a related wood netsuke of a mythical beast, attributed to Tanaka Juntoku Minko (1735-1816) or a pupil, unsigned, second half of the 18th century, at Zacke, Fine Netsuke & Sagemono, 22 April 2022, Vienna, lot 148 (sold for EUR 6,000). Estimate EUR 3,000 Starting price EUR 1,500

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199 MINKO: A RARE WOOD NETSUKE OF A COILED SNAKE By Tanaka Juntoku Minko (1735-1816), signed Minko 岷江 with kakihan Japan, Tsu, late 18th to early 19th century, Edo period (1615-1868) Finely carved, the compact snake coiling around itself, its body naturalistically represented, varying in thickness, covered in incised and grooved scales. The slender head resting at the top of the composition, waiting patiently for the perfect moment to strike. Natural himotoshi and signed to the underside MINKO with kakihan LENGTH 4.3 cm Condition: Very good condition with only minor wear. Provenance: Ex-collection Raymond Bushell, 1964. Sotheby’s London, 2 July 1964, lot 22. Sotheby’s, A Collection of Netsuke, Inro and Lacquer Wares: The Property of a European Collector, 16 November 1983, London, lot 55. Zacke, Netsuke und InroAusstellung 1984, Vienna, no. 79. A private collection in Vienna, Austria, acquired from the above. An old inventory label to the underside inscribed ‘Minko 79, ex R. Bushell coll., BL8 32 T’. The snake (hebi or mi), the sixth sign of the zodiac, is assigned to the 4th month and the hours between 9am and 11am. In popular belief, a living snake is considered a good omen, while a dead snake announces misfortune. In Buddhism, the snake is a symbol of sensuality, jealousy and hatred. In netsuke art it is also often depicted because of the elegant curves of its body and the creative possibilities. Tanaka Juntoko Minko (1735-1816) was one of the few names mentioned in the Soken Kisho of 1781, the first publication mentioning netsuke. He was famous during his lifetime and is widely regarded as one of the greatest netsuke carvers. At first, he was a carver of Buddhist shrines, and only made netsuke later, setting up a prolific school in Tsu with a varied output, though focusing mostly on animals of the zodiac. The snake is considered one of the rarer models from this school. Estimate EUR 3,000 Starting price EUR 1,500

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200 MINKO: A RARE WOOD NETSUKE OF A TURTLE WITH SIX YOUNG By Tanaka Juntoku Minko (1735-1816), signed Minko 岷江 with kakihan Japan, Tsu, late 18th to early 19th century, Edo period (1615-1868) Of compact form, the largest turtle almost entirely retreated into its shell as the young attempt to climb over each other to get to the top where the sun is the strongest. Asymmetrical himotoshi underneath and signed MINKO with kakihan. LENGTH 3.7 cm Condition: Very good condition with minor wear and a tiny chip to the plastron of the larger turtle. LITERATURE COMPARISON Fuld’s Netsuke and Ojime Index records no netsuke of groups of turtles by Minko. For a related wood netsuke depicting the same subject, by Minko’s pupil Kokei, see Joly, Henri L. (1912) The W. L. Behrens Collection, Part 1, Netsuke, no. 2848, illustrated on pl. XXXIII. Estimate EUR 4,000 Starting price EUR 2,000

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201 MINKO: A RARE WOOD NETSUKE OF A RAT CATCHER By Tanaka Juntoku Minko (1735-1816), signed Minko 岷江 and kakihan Japan, Tsu, early 19th century, Edo period (1615-1868) Boldly carved, the rat catcher squatting before a box, the left hand opening the cover as he discovers that the rat has escaped, his left hand holding a bamboo stick which reaches back to the rat that is clambering up his back. His face with a humorous expression, the mouth in a strenuous grin and showing his tongue. Natural himotoshi through the arms and legs and with the signature MINKO and the artist’s kakihan. HEIGHT 3.6 cm

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Condition: Good condition with minor wear, a small repair to the corner of the loin cloth at the base, tiny nicks, and light surface scratches. Provenance: From a private collection in Northern Germany. AUCTION COMPARISON The subject appears to be rare by Minko. Compare a related wood netsuke of an oni as a rat catcher, by Tanaka Minko, dated to the late 18th century, at Bonhams, Fine Japanese Art, 12 November 2015, London, lot 17 (sold for GBP 2,750). Estimate EUR 2,500 Starting price EUR 1,200

202 MINKO: A WOOD NETSUKE OF AN ONI AT SETSUBUN By Tanaka Juntoku Minko (1735-1816), signed Minko 岷江 Japan, Tsu, late 18th to early 19th century, Edo period (1615-1868) Amusingly carved in the form of a crouching oni, his dark horn-inlaid eyes wide with alarm as he shields his head from the wrath of the crowd pelting him with beans during the New Year festival. A few stray beans, having struck their mark, remain visible on his back and side. His contorted, muscular body is intricately detailed, clad only in a short loincloth. Natural himotoshi and signed MINKO. HEIGHT 3.5 cm Condition: Very good condition with minor wear, expected traces of use, a tiny old chip to one of the fingers on the upper hand. Estimate EUR 2,000 Starting price EUR 1,000

203 MINKO: AN EBONY WOOD KARAKURI (TRICK) NETSUKE OF A DARUMA DOLL By Tanaka Juntoku Minko (1735-1816), signed Minko 岷江 and kakihan Japan, Tsu, early 19th century, Edo period (1615-1868)

A beautifully rounded and compact netsuke, the ebony wood superbly polished and attractively tactile, depicting a Daruma doll with stern expression, the inset movable eyes painted and switching when lightly tapped. Large, asymmetrical himotoshi underneath, the smaller hole ringed in pale horn, and signed MINKO with the artist’s characteristic kakihan inked in red. HEIGHT 3.1 cm Condition: Very good condition with minor wear, tiny nicks, few light surface scratches. Provenance: Ex-collection Julius & Arlette Katchen Paris. Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke, 10 May 2017, London, lot 11. A private collection, acquired from the above. Estimate EUR 2,000 Starting price EUR 1,000

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204 TOMIN: A RARE WOOD NETSUKE OF TWO DRUNKEN SHOJO By Tomin, signed Tomin 東岷 Japan, Tsu, mid-19th century, Edo period (1615-1868)

The two drunken sprites depicted side by side, one cradling its face in both hands as it sleeps off the effects of too much sake, and the other crouching beside its companion, one hand wrapped around a sake bottle as it tries to wake its companion so that they can keep drinking. Each dressed in voluminous robes adorned with typical cloud patterns, the typical long hair neatly incised. Signed to the sake bottle TOMIN - a brilliant student of Minko from the Tsu school. The himotoshi are well-hidden behind the sake bottle and under the feet. LENGTH 3.2 cm Condition: Good condition with minor surface wear and light traces of use. Provenance: A noted private collection in Munich, Germany. Shojo are usually depicted on their own in netsuke art. Netsuke of two or more shojo are considerably rare. AUCTION COMPARISON Compare a closely related wood netsuke of a single drunken Shojo, by Tomin, 19th century, 3.3 cm high, at Zacke, Fine Netsuke, Sagemono & Okimono, 27 April 2019, Vienna, lot 229 (sold for EUR 3,539). Estimate EUR 2,000 Starting price EUR 1,000

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205 KOKEI: A WOOD NETSUKE OF A RECUMBENT OX By Kokei, signed Kokei 虎溪 Japan, Kuwana, Ise province, early 19th century, Edo period (1615-1868) A compact study of a recumbent ox, its legs tucked underneath its bulky body and the eyes inlaid in umimatsu. The hairwork is finely incised and wonderfully worn at the high points through generations of handling. Natural himotoshi through the legs and signed underneath KOKEI. LENGTH 4.5 cm Condition: Good condition with associated surface wear including some small nicks. Stunning patina. Provenance: French private collection, purchased at Sotheby’s, 20 December 1983, London, lot 23. Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 106. A private collection in Luxembourg, acquired from the above. Estimate EUR 4,000 Starting price EUR 2,000

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206 SUKENAGA: A WOOD NETSUKE OF A DARUMA DOLL By Matsuda Sukenaga, signed Sukenaga 亮長 Japan, Takayama, Hida province, first half of 19th century, Edo period (1615-1868) Of compact form, finely carved to depict a Daruma doll fully enveloped in a cloak except for his expressive face, which displays an exaggerated yawn with an open mouth framed by a stippled beard, hollow eye sockets below bushy brows, and a wide nose. The back with two asymmetrical himotoshi beside the signature SUKENAGA.

HEIGHT 3.3 cm Condition: Very good condition with minor wear and typical light traces of use. LITERATURE COMPARISON Compare a related wood netsuke of a yawning Daruma doll, by Sukenaga, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 825, no. 1853d.

AUCTION COMPARISON Compare a related wood netsuke of a yawning Daruma doll, by Sukenaga, dated to the early 19th century, at Sotheby’s, Fine Netsuke Inro and Lacquer from the Estate of Madelyn Hickmott, 8 February 1989, New York, lot 32 (sold for USD 1,540 or approx. EUR 3,700 converted and adjusted for inflation at the time of writing). Compare a related boxwood netsuke of a yawning Daruma doll, attributed to Matsuda Sukenaga, dated to the 19th century, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke, 6 November 2018, London, lot 6 (sold for GBP 2,750 or approx. EUR 4,189 converted and adjusted for inflation at the time of writing). Estimate EUR 5,000 Starting price EUR 2,400

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207 SUKENAGA: A FINE ITTOBORI WOOD NETSUKE OF DARUMA DOLL Signed Sukenaga 亮長 Japan, Takayama, Hida province, 19th century A charming ichii wood (Japanese yew tree) carving of a Daruma doll, the body fully enveloped by the cloak except for the face which shows a disgruntled expression with large eyes, wide nose, and downturned corners of the mouth. The reverse with two himotoshi and the signature SUKENAGA. HEIGHT 4.5 cm Condition: Very good condition with minor wear and typical light traces of use. The composition is reminiscent of the early 20th century cubism art movement pioneered by Pablo Picasso and Georges Braque, who were heavily influenced by Japanese art. Estimate EUR 1,500 Starting price EUR 800

208 A RARE ITTOBORI SANDALWOOD NETSUKE OF BENKEI Unsigned Japan, 19th century, Meiji period (1868-1912) Published: Bushell, Raymond (1975) Netsuke Familiar & Unfamiliar, Tokyo, p. 129-130, no. 215. Finely carved to depict Benkei standing with his right arm holding a naginata, the face with a wide nose below narrowed eyes and dressed in wide robes tied around the waist. The reverse with two asymmetrical himotoshi. HEIGHT 4.3 cm Condition: Very good condition with minor wear and light traces of use. Provenance: Ex-collection Raymond Bushell.

AUCTION COMPARISON Compare a related ittobori wood netsuke of Shoki, unsigned, at Zacke, Fine Japanese Art, 1 December 2023, Vienna, lot 369 (sold for EUR 1,430).

Estimate EUR 1,500 Starting price EUR 800

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209 SUKEYUKI: A FINE WOOD NETSUKE OF A PERFORMING MONKEY By Kawashiri Sukeyuki (died 1915), signed Sukeyuki 亮之 Japan, Takayama, Hida Province, late 19th to early 20th century, Meiji period (1868-1912) Finely carved as a monkey in the role of an actor, gripping a double gourd (hyotan) with one hand while attempting to extract a finger from its mouth with the other. The monkey’s face is expressively rendered, with wide eyes double-inlaid in dark and pale horn and a slightly opened mouth baring teeth. Wearing a detailed obi decorated with incised diapered patterns and a wig, the fur below is finely incised. The lower back and underside with asymmetrical himotoshi and signed within a rectangular reserve SUKEYUKI. HEIGHT 3.6 cm Condition: Excellent condition with minor wear. Matsuda Sukenaga, the founder of the Hida school, is credited as the creator of this particular model and this appears to be the only recorded variant by one of his pupils.

LITERATURE COMPARISON Compare a closely related wood netsuke of a monkey eating a peach, by Sukenaga, illustrated in F. Meinertzhagen Lazarnick (1986) MCI, Part B, p. 824. Another related wood netsuke of a performing monkey biting one of its toes, by Sukenaga, is illustrated in Coullery, Marie-Therese / Newstead, Martin S. (1977) The Baur Collection, p. 236237, no. C664. AUCTION COMPARISON Compare a closely related wood netsuke of a monkey with gourd, by Sukenaga, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke, 10 May 20217, London, lot 106 (sold for GBP 30,000). Estimate EUR 8,000 Starting price EUR 4,000

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210 KANO TOMOKAZU: A SUPERB WOOD NETSUKE OF A MONKEY TEASING A TORTOISE By Kano Tomokazu (circa 1765-1840), signed Tomokazu 友一 Japan, Gifu, 19th century, Edo period (1615-1868) The darkly stained wood finely carved to depict a seated monkey teasing a tortoise out of its shell. The playful ape is shown sitting cross-legged, the limbs tightly clasped around the reptile’s carapace, as it inquisitively prods at its head which has almost entirely retracted into its shell. The eyes of the monkey are double inlaid in pale and dark horn. Natural himotoshi and signed within an oval reserve TOMOKAZU. HEIGHT 3.7 cm Condition: Excellent condition with minor surface wear. The subject matter here references a famous legend: “This combination of creatures refers to the folk tale of the monkey and the jellyfish. Ryujin, Dragon King of the Sea, asked Kurage, a servant in the form of a turtle, to fetch him the liver of a monkey to cure an ailment. Kurage found a monkey for this purpose and transported him on his back, but the wily simian jumped off and escaped, leaving him to return empty-handed. Ryujin was so furious with his servant that he lashed him until his shell and bones were all reduced to jelly”.

AUCTION COMPARISON Compare a closely related wood netsuke of a monkey on a turtle, by Tomokazu, at Bonhams, The James A. Rose Collection of Netsuke and Sagemono, 17 September 2013, New York, lot 2021 (sold for USD 16,250). Compare a closely related wood netsuke, by Tokmokazu, the subject identical, 3.5 cm high, at Christie’s, A Private Collection of Japanese Art, 20 October 2015, New York, lot 54 (sold for USD 15,000). Estimate EUR 10,000 Starting price EUR 5,000

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211 KANO TOMOKAZU: A FINE WOOD NETSUKE OF A PERFORMING MONKEY By Kano Tomokazu (c. 1765-1840), signed Tomokazu 友一 Japan, Gifu, 19th century, Edo period (1615-1868) The darkly stained wood finely carved to depict a statue-like monkey wearing an eboshi hat and a short haori jacket decorated with fine asanoha, clutching a gohei wand with shide paper streamers in its hands. The pupils of the primate are inlaid in dark horn and its fur is carefully etched and stained. Generously excavated, asymmetrical himotoshi to the back and side and signed within the typical oval reserve TOMOKAZU. HEIGHT 5.9 cm Condition: Excellent condition. Provenance: Ex-collection Julius & Arlette Katchen. Sotheby’s, Netsuke, Inro and Lacquer, 21 September 1983, Washington, lot 75. Zacke, Netsuke und Inro aus Japan - Ausstellung 1985, Vienna, no. 64. Mark and Elizabeth Harding Collection, South Africa. Sarumawashi and their performing monkey companions can still occasionally be found in Shinto shrines in Japan. The monkey is believed to be a protective spirit who watches over horses and a famous transom of the sanbikisaru (three wise monkeys) surmounts the stable of the white horse at Nikko Toshogu shrine. Kano Tomokazu (c. 1765-1840), one of the earliest artists from Gifu, worked primarily in wood (mostly tsuge), which he treated with various stains. At 17, he began working for the Shibata family, where he developed a passion for carving. Despite his master’s initial disapproval, he secretly practiced at night and improved his craft. Once his master recognized his talent, he received full support. Tomokazu later moved to Kyoto, gaining recognition for his intricate netsuke carvings. Eventually, he returned to Gifu, where he built a secluded hermitage near Kinkazan Mountain, living a life of celibacy. Dedicated to his art, he once spent three days studying deer in the wild to perfect his carvings.

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LITERATURE COMPARISON Compare a related wood netsuke depicting the same subject, by Inada Ichiro, c. 1940, illustrated in Euronetsuke no. 65, Spring 2024, fig. 7.

Estimate EUR 4,000 Starting price EUR 2,000

212 NAITO TOYOMASA: A WOOD NETSUKE OF KIKAZARU (‘THE HEAR NO EVIL MONKEY’) By Naito Toyomasa (1773-1856), signed Toyomasa 豊昌 Japan, Sasayama, Tanba Province, early 19th century, Edo period (1615-1868)

Finely carved to depict a crouching monkey holding its ears shut, the large eyes finely inlaid in pale translucent horn with dark pupils. The hairwork is beautifully incised and darkly stained, as is typical for this celebrated carver. Natural himotoshi through the arms and between the feet and signed TOYOMASA within a polished reserve. LENGTH 3.5 cm Condition: Both feet are restored. Otherwise good condition with minor expected wear and traces of use. Provenance: From the Mark and Elizabeth Harding Collection, South Africa. AUCTION COMPARISON Compare a closely related wood netsuke of a seated monkey, by Naito Toyomasa, 3.9 cm high, at Zacke, Fine Netsuke & Sagemono, 28 April 2023, Vienna, lot 54 (sold for EUR 20,800) Compare a closely related wood netsuke depicting the same subject, by Naito Toyomasa, 3.2 cm wide, at Bonhams, New York, Netsuke from the Collection of Joseph and Elena Kurstin, 16 December 2022, lot 43 (sold for USD 10,200). Estimate EUR 6,000 Starting price EUR 3,000

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213 NAITO TOYOMASA: A SUPERB WOOD NETSUKE OF A COILING DRAGON By Naito Toyomasa (1773-1857), signed Toyomasa 豊昌 Japan, Sasayama, Tanba Province, first half of the 19th century, Edo period (1615-1868) Superbly carved as a tightly wound dragon with crisply carved scales and flaming whiskers, forming a dramatic, dynamic, and compact composition. The visible eye is inlaid in pale, translucent horn. Natural himotoshi and signed within an oval reserve TOYOMASA. LENGTH 4.1 cm Condition: Very good condition with minor wear and typical traces of use. A small repair to the whisker and to one tooth. Presenting beautifully. MUSEUM COMPARISON Compare a related wood netsuke of a dragon, by Naito Toyomasa, dated to the first half of the 19th century, in the Los Angeles County Museum of Art, object number M.87.263.102.

AUCTION COMPARISON Compare a closely related wood manju netsuke of a dragon, by Naito Toyomasa, dated to the mid-19th century, at Bonhams, Myth, Mirth and Magic, 14 June 2023, Paris, lot 53 (sold for EUR 25,600). Estimate EUR 10,000 Starting price EUR 5,000

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214 KANO TOMOKAZU: A SUPERB WOOD NETSUKE OF A RECUMBENT OX By Kano Tomokazu (c. 1765-1840), signed Tomokazu 友一 Japan, Gifu, first half of the 19th century, Edo period (1615-1868) Finely carved and beautifully stained to depict a recumbent ox lying with its head slightly raised and turned to the left, its legs drawn in for compactness, the eyes carefully double inlaid in pale translucent horn with dark pupils giving life to the expression. The bulky animal has a pronounced spine, a finely incised fur coat, and a rope halter which passes through the nose, over the horns and all the way around to its haunches. Natural himotoshi and signed to the underside within an oval reserve TOMOKAZU. LENGTH 4.8 cm Condition: Excellent condition with minor surface wear. Provenance: Bonhams, Fine Japanese Art, 11 May 2017, London, lot 4. A private collection, acquired from the above.

Kano Tomokazu (c. 1765-1840), one of the earliest artists from Gifu, worked primarily in wood (mostly tsuge), which he treated with various stains. At 17, he began working for the Shibata family, where he developed a passion for carving. Despite his master’s initial disapproval, he secretly practiced at night and improved his craft. Once his master recognized his talent, he received full support. Tomokazu later moved to Kyoto, gaining recognition for his intricate netsuke carvings. Eventually, he returned to Gifu, where he built a secluded hermitage near Kinkazan Mountain, living a life of celibacy. Dedicated to his art, he once spent three days studying deer in the wild to perfect his carvings. LITERATURE COMPARISON Compare a closely related wood netsuke of a recumbent ox, by Kano Tomokazu, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 2, p. 1155. Compare a closely related wood netsuke of an ox with inlaid eyes, by Tomokazu, illustrated in Katchen, Arlette (2010) Netsuke 7, Vol. 2, p. 116-117, no. K253. Compare a closely related wood netsuke of an ox with inlaid eyes, by Masakazu, illustrated in Katchen, Arlette (2010) Netsuke 7, Vol. 2, p. 116-117, no. K254.

AUCTION COMPARISON Compare a closely related wood netsuke of a recumbent ox, by Kano Tomokazu, Gifu, 19th century, 4.8 cm wide, at Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 117 (sold for GBP 15,000). Estimate EUR 10,000 Starting price EUR 5,000

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215 MASANAO: A MASTERFUL EBONY WOOD NETSUKE OF A RECUMBENT COW WITH CALF By a member of the Masanao family, signed Masanao 正直 Japan, Yamada, Ise province, first half of 19th century, Edo period (1615-1868) A large and powerful, yet remarkably delicate ebony wood netsuke depicting a recumbent cow with her head raised, the face with a sensitively crafted expression, as her calf mischievously attempts to clamber atop her back, her flattened ears revealing her discomfort. The hairwork of the mother is neatly incised and the ridged spine and ribs are subtly expressed; the calf has no fur markings but is smoothly polished revealing the wood grain and providing an appealing contrast to the mother. The curved horns as well as the folds to the skin are achieved with exceptional detail. The eyes of the cow are double inlaid in pale and dark horn. The underside shows the well-carved hooves, as well as the himotoshi, and the signature within a polished oval reserve MASANAO – considering the remarkable power of the carving, this is likely by an early member of the famous family.

LENGTH 4.8 cm Condition: Excellent condition. Provenance: Ex-collection H. I. H. Princess Takamado. LITERATURE COMPARISON The choice of material is quite unusual for Masanao. The only other recorded ebony ox was sold at Sotheby’s, The Swedlow Collection of Inro, Lacquer, Netsuke and Ojime, 31 March 1993, London, lot 73. Estimate EUR 10,000 Starting price EUR 5,000

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216 RYUSETSU: A FINE WOOD NETSUKE OF A RAT EMERGING FROM A CHESTNUT By Ryusetsu, signed Ryusetsu 柳雪 Japan, first half of the 19th century, Edo period (1615-1868)

Of appealingly compact form, the rat burrowing its way through a chestnut, its haunch gently protruding, the tail carved with gentle movement as it wiggles its way deeper into the nut. The curious face peering out, cautious as it gazes at the viewer intently with eyes inlaid dark. The skin of the smooth nut speckled with incisor marks and the bottom worked with a coarse patch to denote where the nut was attached to the cupule. Good himotoshi to the back and signed with a rectangular reserve RYUSETSU. LENGTH 4.1 cm Condition: Very good condition with wear and minor typical traces of use. Provenance: Ex-collection Albert Maroni. Albert Maroni (18521923) began collecting in the 1880s and is best known for his collection of Japanese prints, recognised by art historian Richard Lane in his book Images from the Floating World. He also assembled a collection of samurai art, netsuke, and inro. Auction comparison: This type of model is typically associated with the Tanba school. Compare a related wood netsuke of a monkey in a chestnut, by Naito Toyomasa, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke Part III, 6 November 2018, London, lot 85 (sold for GBP 5,625). LITERATURE COMPARISON For a related wood netsuke of a rat emerging from a chestnut, unsigned, see Joly, Henri L. (1912) The W. L. Behrens Collection, Part 1, Netsuke, p. 190, no. 5344, pl. LXIX. Estimate EUR 2,000 Starting price EUR 1,000

217 MASAKAZU: A WOOD NETSUKE OF TWO RATS ON DAIKOKU’S BAG By Masakazu, signed Masakazu 正一 Japan, Yamada, Ise Province, mid-19th century, Edo period (1615-1868) Finely carved as two rats clambering on top of lucky god Daikoku’s treasure bag, one disappearing into the tied neck while the other watches its companion. The details are meticulously rendered, the rats with finely incised fur. The eyes are inlaid in black horn. The underside with asymmetrical himotoshi and signed MASAKAZU. LENGTH 5.2 cm Condition: Very good condition with minor wear and light traces of use. Provenance: Christie’s, Asian Art, 29 March 2007, London, lot 13. A private collection, acquired from the above. AUCTION COMPARISON Compare a closely related wood netsuke depicting the same subject and from the same school, signed Masanao, at Sotheby’s, 17 March 1982, London, lot 56. Estimate EUR 2,500 Starting price EUR 1,200

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218 MASAKAZU: A FINE WOOD NETSUKE OF A COILED RAT By Masakazu, signed Masakazu 正一 and kakihan Japan, Nagoya, first half of the 19th century, Edo period (1615-1868) Similar to no. 219, yet larger and stained dark, depicting a balled rat with neatly incised fur, its bony paws and thick, curling tail well detailed, the eyes inlaid in lustrous dark horn. Large, asymmetrical himotoshi through the back and signed within an oval reserve MASAKAZU. HEIGHT 3.4 cm Condition: Very good condition with minor wear and expected traces of use. A filled age crack above the right ear. Provenance: Ex-collection of His Royal Highness Prince Henry, Duke of Gloucester. Christie’s, Japanese art and design including netsuke from the estate of his Royal Highness the Prince Henry, Duke of Gloucester, KG., KT., KP, London, 13 July 2006, lot 607. The coiled rat is arguably one of the most ingenious designs in netsuke art and has been treated by various members of the Nagoya and Yamada schools. AUCTION COMPARISON Compare a related Nagoya school wood netsuke of a coiled rat, by Ittan, at Zacke, Fine Netsuke & Sagemono, 28 April 2023, Vienna, lot 77 (sold for EUR 4,160). Estimate EUR 4,000 Starting price EUR 2,000

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219 MASAKAZU: A FINE SMALL WOOD NETSUKE OF A COILED RAT By Masakazu, signed Masakazu 正一 and kakihan Japan, Nagoya, first half of the 19th century, Edo period (1615-1868) An exquisitely small and finely carved wood netsuke of a balled rat with neatly incised fur, its bony paws and thick, curling tail well detailed, the large eyes inlaid in lustrous dark horn. Large, asymmetrical himotoshi through the back and signed within an oval reserve MASAKAZU. HEIGHT 2.8 cm Condition: Excellent condition. Provenance: Ex-collection L. and Y. Laufer. Sotheby’s, Paris, 18 December 2012, lot 269, acquired from the above. French private collection, acquired from the above. Bonhams, Fine Netsuke from a French Private Collection, 4 November 2020, London, lot 42. Dutch private collection, acquired from the above. The coiled rat is arguably one of the most ingenious designs in netsuke art and has been treated by various members of the Nagoya and Yamada schools. Estimate EUR 2,000 Starting price EUR 1,000

220 MASASHIGE: A YAMADA SCHOOL WOOD NETSUKE OF A COILED RAT By Sakai Masashige, signed Masashige 正重 Japan, Yamada, Ise Province, mid to late 20th century A finely carved wood netsuke of a rat (nezumi) tightly coiled into a ball. A genius design when considering the functionality as a netsuke. This model is believed to originate from the Masanao family of Ise-Yamada and was executed in different variations and sizes across members of the school/family. The details are meticulously rendered, and the large beady eyes are inlaid in dark, lustrous wood, and the teeth in bone. Natural himotoshi through one of the legs and signed within a polished reserve in sosho (cursive script) MASASHIGE – a pupil from the Masanao lineage. HEIGHT 3.5 cm Condition: Very good condition with minor wear and a tiny old fill to the back. Provenance: Purchased from Helmut Laudenbach, Berg, October 1978. Sakai Masashige (born 1908) is the second son of Sakai Masakiyo (1875-1955) and the younger brother of Sakai Shinzan (1904-1968). AUCTION COMPARISON Compare a near-identical Yamada school wood netsuke of a coiled rat, by the same artist and signed Masashige, at Zacke, Fine Netsuke & Sagemono, 28 April 2023, Vienna, lot 130 (sold for EUR 2,860). Estimate EUR 3,000 Starting price EUR 1,500

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Condition: Very good condition with minor wear. The artist was a member of the Yamada school. The present model is one of this school’s most popular subjects, executed here with remarkable detail. AUCTION COMPARISON Compare a related ebony wood netsuke of a toad on a waraji, by Masatada, dated to the early 19th century, at Zacke, Fine Netsuke & Sagemono, 29 October 2021, lot 114 (sold EUR 3,539). Estimate EUR 2,000 Starting price EUR 1,000

221 MASATADA: A FINE WOOD NETSUKE OF A TOAD ON A WARAJI By Masatada, signed Masatada 正忠 Japan, Ise-Yamada, early 19th century, Edo period (1615-1868) Carved seated, facing slightly to the left, on a discarded straw sandal (waraji), its rope thong forming the himotoshi, the toad’s warts and the sandal’s various textures neatly detailed. Signed to the underside within a rectangular reserve MASATADA. LENGTH 4.7 cm

222 MASATSUGU: A FINE YAMADA SCHOOL WOOD NETSUKE OF A RECUMBENT SIKA DEER By Masatsugu, signed Masatsugu 正次 Japan, Yamada, Ise province, second half of the 19th century A finely carved wood netsuke of a recumbent deer, its head raised and its antlers drawn back for compactness, the skin mottled and with finely incised hairwork, the eyes inlaid dark. Natural himotoshi through the legs and signed MASATSUGU – a pupil of Masanao of Yamada. LENGTH 4.1 cm Condition: Excellent condition with minor wear. Provenance: From the Mark and Elizabeth Harding Collection, Kimberley, South Africa, acquired at Paul Champkins in 2015. MUSEUM COMPARISON Compare a closely related wood netsuke of a deer, unsigned, dated to the 19th century, in the Metropolitan Museum of Art, object number 10.211.1999. Estimate EUR 2,000 Starting price EUR 1,000

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223 SHUJI: A FINE WOOD NETSUKE OF A TORTOISE AND YOUNG By Shuji, signed Shuji 秋次 Japan, Echigo Province, 19th century, Edo period (1615-1868) Naturalistically carved, the parent moving its legs in a walking movement, while its offspring hitches a ride on its back, the carapaces neatly incised. The eyes of both reptiles are inlaid with dark horn pupils. Signed to the underside within an inlaid tortoiseshell plaque SHUJI, the typical himotoshi running through a rear limb to the center of the plastron. LENGTH 4.7 cm Condition: Very good condition with minor expected wear and very light nibbling to edges. Provenance: From the Mark and Elizabeth Harding Collection, South Africa. The artist belongs to the enigmatic group of Echigo carvers, other noted members being Shuzan Yasusada and Shuya. Furthermore, comparisons to Hidari Issan’s work further strengthen the connection between the carvers of Echigo and Iwashiro, which are neigboring provinces. LITERATURE COMPARISON For a closely related wood netsuke of a walking turtle, by Shuya, see Barry Davies Oriental Art (1994) The Netsuke Collection of W.G Bosshard Part 1, no. 60. For a closely related wood netsuke of a turtle and young, by Hidari Issan, see Bandini, Rosemary (2020) The Larry Caplan Collection of Japanese Netsuke, no. 40. Note the similar carving style and the identical style of himotoshi running through the rear limb. Estimate EUR 4,000 Starting price EUR 2,000

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224 HIDARI ISSAN: A FINE WOOD NETSUKE OF A TORTOISE By Hidari Issan, signed Hidari Issan 左一山 Japan, Iwashiro province, early 19th century, Edo period (1615-1868) Naturalistically carved as a tortoise with its limbs almost entirely retracted within its carapace, its shell rendered with finely plated scoots, the lower plastron showing superb incision work. The pupils are inlaid in dark horn. Signed to the underside within an oval reserve Hidari ISSAN, the typical himotoshi running through a rear limb to the center of the plastron. The carver was known for his masterful netsuke and inro depicting tortoises. LENGTH 5.2 cm

Condition: A few restorations to the edges of the carapace. Otherwise good condition with minor expected wear. LITERATURE COMPARISON Compare a closely related netsuke of a turtle withdrawn into its shell, by Hidari Issan, illustrated in Barry Davies Oriental Art, The Robert S. Huthart Collection of Non-Iwami Netsuke, p. 236-237, lot 176. Estimate EUR 3,000 Starting price EUR 1,500

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225 TADAKAZU: A FINE WOOD NETSUKE OF TWO TURTLES By Tadakazu (Chuichi), signed Tadakazu 忠一 Japan, Osaka, late 19th century, Meiji period (1868-1912) Finely carved as a group of two turtles, the smaller reptile clambering on top of its larger companion, liftings its upper body and stretching its head outwards to enjoy the view from the top. The netsuke is carved from lightly stained boxwood engraved with delicate details and imbued with a heightened sense of naturalism; all eyes are inlaid in dark horn. Asymmetrical himotoshi ringed in horn underneath and signed within a recessed oval reserve TADAKAZU. LENGTH 5 cm Condition: Very good condition with minor wear and minuscule nibbling to the ringed himotoshi. Tadakazu (Chuichi) is best known for his carvings of turtles, and it is evident that he spent much time studying these animals and their movements. The artist carved this subject much more frequently as a group of three or more and often forming a pyramid, though it is suspected that many of the pyramids are later carvings intended for export. Ueda Reikichi records that he died in Port Arthur, Manchuria in the early 20th century. LITERATURE COMPARISON Compare a closely related wood netsuke of two turtles by Tadakazu illustrated in Harris, Victor (1987) The Hull Grundy Collection in the British Museum, p. 72, no. 328.

AUCTION COMPARISON Compare a closely related wood netsuke of five turtles by Tadakazu at Bonhams, Fine Japanese Art, 10 November 2016, London, lot 247 (sold for GBP 3,500). Estimate EUR 4,000 Starting price EUR 2,000

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226 A FINE WOOD NETSUKE OF A MONKEY AND OCTOPUS WRESTLING, ATTRIBUTED TO MASACHIKA Attributed to Masachika, unsigned Japan, Osaka, 19th century, Edo period (1615-1868)

A charming and amusingly carved wood netsuke depicting a monkey engaged in an epic struggle with Ryujin’s octopus-physician, the cephalopod wrapping his tentacles around the simian who in return grabs the octopus’ tentacles, attempting to wriggle free. The hairwork of the monkey is neatly incised and provides an appealing contrast to the smoothly polished surface of the octopus. The eyes inlaid in pale translucent and black horn. Natural himotoshi. LENGTH 4 cm Condition: Very good condition with minor surface wear and few light traces of use. Provenance: Ex-collection Bullier. Hotel Drouot, Paris, 9-12 March 1924, lot 127. Hotel Drouot, Paris, October 1989. A private collection in France, acquired from the above. Bonhams, Fine Netsuke from a French Private Collection, 4 November 2020, London, lot 123. A private collection in the Netherlands, acquired from the above. According to the scholar F. M. Jonas, Masachika was the adopted son and successor of Kaigyokusai Masatsugu and the father of Kaigyokudo Masateru. The subject of a monkey fighting an octopus references a legend in which the octopus-physician of Ryujin, the Dragon King of the Sea, prescribes a monkey’s liver to heal the king’s daughter. LITERATURE COMPARISON Compare a closely related wood netsuke of an octopus and monkey fighting, by Masachika, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 1, p. 700. Estimate EUR 4,000 Starting price EUR 2,000

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227 KANMAN: A KUROGAKI WOOD NETSUKE OF AN EAGLE CLUTCHING A MONKEY By Kanman (1793-1859), signed Kanman 貫満 Japan, Iwami province, early 19th century, Edo period (1615-1868) Published: Earle, Joe (2000) The Robert S. Huthart Collection of Iwami Netsuke, Vol. II, p. 293, no. 263. Burditt, David, The Iwami Carvers: Kanman (Spring 2000) International Netsuke Society Journal, vol. 20, no. 1, p. 50, fig. 7. Ducros, Alain, Tatekawa Family of Wood Carvers (Summer 2000) International Netsuke Society Journal, vol. 20, no. 2, p. 25, fig. 4. The great bird of prey grasping the pitiful ape with its powerful talons, its wings folded at the back, drawn in for compactness, the plumage well rendered. The eyes of the bird and primate are double inlaid in pale translucent horn with dark pupils. The eyelet cord attachment is ingeniously formed as a detachable diamondshaped fitting in the bird’s chest accessed through a large cord hole to the back. Signed within a rectangular reserve to the inside of the tail fan KANMAN.

Kanman (1793-1859) was a Japanese netsuke carver of the Iwami school, which was founded by Seiyodo Tomiharu. Most of his work was designed in the first three decades of the 19th century. According to Anne Hull Grundy, “His netsuke […] are extremely rare.” David Burditt has described him as one of the greatest of the Iwami carvers. A hallmark of Kanman’s work is his understanding of the materials he uses. His woods demonstrate wonderful undercutting, deep incisions, copious ukibori, and detailed overall carving. As noted by David Burditt in INSJ vol. 20, no. 1, pp. 49-50, this particular piece is the most successful of Kanman’s eagles and is not only one of Kanman’s best, but also one of the greatest Iwami netsuke.

LITERATURE COMPARISON Compare a closely related kurogaki wood netsuke of an eagle and monkey, by Kanman, illustrated in Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 253, no. 781.

HEIGHT 6.8 cm Condition: Very good condition with minor old wear. Provenance: Ex-collection Robert S. Huthart. Bonhams, The Robert S. Huthart Collection of Iwami Netsuke, Part II, 6 November 2019, London, lot 95. A private collection, acquired from the above.

AUCTION COMPARISON Compare a closely related kurogaki wood model of an eagle and monkey, Kanman of Iwami, 19th century, 7.3 cm high, at Sotheby’s, Japanese Paintings, Prints, and Works of Art, 16-17 June 1994, London, lot 222 (sold for GBP 7,000 or EUR 22,500 converted and adjusted for inflation at the time of writing). Also compare a closely related ebony wood netsuke of an eagle and monkey, by the same artist, signed Iwami-no-kuni Kanman, 7.3 cm high, at Bonhams, The Robert S. Huthart Collection of Iwami Netsuke Part I, 15 May 2019, London, lot 125 (sold for GBP 8,812). Estimate EUR 10,000 Starting price EUR 5,000

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228 SEIYODO TOMIHARU: A SUPERB EBONY WOOD NETSUKE OF A CRAB ON DRIFTWOOD By Seiyodo Tomiharu (1733-1810), signed Seiyodo Tomiharu 青陽堂富春 Japan, Iwami province, dated 1792 Published: Katchen, Arlette (2010) Netsuke 7, vol. 2, p.180, K534. Finely carved to depict a crab resting on a section of driftwood, the surface of the wood already worn to the point that only a section of the tree bark is visible, the remainder shows deep recesses between the annular rings. The underside with an inscription and the signature SEIYODO TOMIHARU. The base incised: ‘Iwami no kuni (Iwami shu), Enokawa, Seiyodo Tomiharu, kyonen rokujussai ni chokoku kore [This is carved by Seiyodo Tomiharu, at the age of sixty, by the Eno River, Iwami Province]’. LENGTH 4 cm Condition: Very good condition with minor wear, a faint hairline to one side. Provenance: Ex-collection Julius and Arlette Katchen. Ex-collection H. I. H. Princess Takamado, acquired from the above.

With a wood storage box commissioned by H. I. H. Princess Takamado and inscribed ‘crab on driftwood’ and ‘by Seiyodo Tomiharu’. Seiyodo Tomiharu (1733–1810) was the founder of the Iwami school of netsuke carvers. AUCTION COMPARISON Compare a closely related ebony wood netsuke of a crab on driftwood, by Seiyodo Tomiharu, 5.3 cm long, at Bonhams, The Robert S. Huthart Collection of Iwami Netsuke, 15 May 2019, London, lot 36 (sold for GBP 5,687, or approx. EUR 8,537 converted and adjusted for inflation at the time of writing). Also compare a related larger kurogaki wood netsuke of a crab on driftwood, by Seiyodo Tomiharu, 8.9 cm long, at Bonhams, The Robert S. Huthart Collection of Iwami Netsuke, 15 May 2019, London, lot 35 (sold for GBP 11,937, or approx. EUR 17,923 converted and adjusted for inflation at the time of writing). Estimate EUR 10,000 Starting price EUR 5,000

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229 AN EBONY WOOD NETSUKE OF A TOAD ON A ROOF TILE Unsigned Japan, late 18th- early 19th century, Edo period (1615-1868) Boldly carved, the warty toad seated in an alert position on top of a broken roof tile, the textured skin realistically rendered with textured warts and very fine ukibori to the hind and underbelly, the broken edges of the roof tile masterfully emulated. The front of the tile is finely incised with scrolling vines and a mitsutomo-e (triple comma). The captivating eyes inlaid in pale horn and detailed with a slit pupil. Asymmetrical himotoshi to the underside.

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LENGTH 5.2 cm Condition: Very good condition with only very minor expected wear. AUCTION COMPARISON Compare a related wood netsuke of a frog on a roof tile, by Matsuda Sukenaga, with similarly inlaid eyes, at Zacke, Fine Netsuke & Sagemono, 25 September 2020, Vienna, lot 124 (sold for EUR 4,550). Estimate EUR 4,000 Starting price EUR 2,000

230 KAKUSEN: A RARE KUROGAKI (BLACK PERSIMMON) WOOD NETSUKE OF A RECUMBENT OX

Condition: The right horn reattached. Otherwise very good condition with minor wear and light traces of use. Provenance: From the collection of Mike Thaler, former president of the Oregon Netsuke Society Chapter.

By Kakusen, signed Shunan Fushino-gawa (Sawara-gawa) nishi Kakusen 周南椹川西鶴仙 Japan, Iwami province, late 18th to early 19th century, Edo period (1615-1868)

The artist is a rare carver from the Iwami province (Fuld’s Netsuke and Ojime Index records only one netsuke by this artist). George Lazarnick (LNIA p. 572) notes he was a follower of Seiyodo Tomiharu and illustrates a typical Iwami netsuke in the form of a boar tusk decorated with a spider, signed “Sawara no sho Kakusen kore Kizamu”.

Finely carved as a recumbent ox slightly extending its tongue and looking up towards the rope halter which is fastened to its nose ring and twists along its back. The flattened underside shows the well-carved feet tucked under the body and the large, asymmetrical himotoshi, as well as the neatly incised signature and inscription: Shunan Fushino-gawa nishi KAKUSEN [made by Kakusen, resident at the west of the Fushino River (Sawara River), in the Shunan region]. The two-toned wood bearing some lighter patches to the back and underside. LENGTH 5.8 cm

AUCTION COMPARISON Compare a related kurogaki wood netsuke of a recumbent ox, similarly carved, by Seiyodo Tomiharu, at Bonhams, The Robert S. Huthart Collection of Iwami Netsuke Part II, 6 November 2019, London, lot 26 (sold for GBP 5,687). Estimate EUR 3,000 Starting price EUR 1,500

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231 A SUPERB WOOD NETSUKE OF A FISH ON A BAMBOO WRAPPER Unsigned Japan, 19th century, Edo period (1615-1868) Very finely carved, the large fish presented on folded wrapping paper incised with bamboo leaves, its body flattened and skin opened at the belly, the many scales beautifully incised and individually delineated, the eyes double inlaid in pale translucent and dark horn. The underside shows the hanging rope still attached to the mouth and the two himotoshi. The representation of this delicacy is remarkably lifelike, especially when considering that it represents an inanimate, deceased object. The well-toned wood is beautifully worn. LENGTH 7.9 cm Condition: Very good condition with minor wear and some light nibbling to the tail fin. Estimate EUR 4,000 Starting price EUR 2,000

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232 SUKETADA: A FINE WOOD NETSUKE OF A KAPPA ON HAMAGURI CLAM By Eguro Suketada, signed Suketada 亮忠 Japan, Takayama, Hida province, mid-19th century, Edo period (1615-1868) A very finely carved study of a kappa with one hind foot caught in the jaws of a hamaguri clam as it climbs over it. The warty skin of the kappa is masterfully rendered, the eyes are inlaid in polished dark wood, the shell is finely carved, and the long hairs surrounding the kappa’s swirling vital fluids on the head are minutely incised. The surface of the clam is highly polished and attractively stained. Large, asymmetrical himotoshi ringed in bone through the underside and signed SUKETADA. The present netsuke is much more worn than other examples of this subject by Suketada and shows a distinctly beautiful patina. It is likely that this is one of the earliest netsuke of this type. LENGTH 3.6 cm Condition: Good condition with old wear and fine patina. A few light scratches, a small loss to the inlaid himotoshi, and other minor traces of use. The subject references, quite humorously, a parody of the seduction of feminine wiles, the clam representing the female here.

AUCTION COMPARISON Compare to a closely related wood netsuke of a kappa, by Suketada, exhibiting similar wear, at Zacke, Fine Netsuke & Sagemono, 28 April 2023, Vienna, lot 155 (sold for EUR 3,120). For another closely related wood netsuke of a kappa, by Suketada, see Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 54 (sold for 8,125 GBP). Estimate EUR 3,000 Starting price EUR 1,500

233 SUKETADA: AN AMUSING WOOD NETSUKE OF A TANUKI BEATING A MOKUGYO By Eguro Suketada (1852-1915), signed Suketada 亮忠 Japan, Takayama, Hida province, mid-19th century, Edo period (1615-1868) Humorously carved as the shape-shifting tanuki dressed as a fox-priest beating his scrotum-form mokugyo with a beater. The tanuki’s transfiguration is imperfect, evident from his muscular legs which are carved adhering to human physiognomy. The eyes inlaid in dark horn. Asymmetrical himotoshi to the underside, one ringed in bone, the other in stained horn, and signed within a polished reserve SUKETADA.

LENGTH 3.7 cm Condition: Very good condition with minor surface wear and two tiny nicks to the legs. The himotoshi rings and one eye pupil are replaced. Eguro Suketada (1852-1915) was a pupil of Matsuda Sukenaga (1800-1871) from Takayama in Hida (Gifu Prefecture). Estimate EUR 2,000 Starting price EUR 1,000

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234 YASUSADA SHUZAN: A WOOD NETSUKE OF GAMA SENNIN ON A TOAD By Yasusada Shuzan, signed Shuzan 秋山 Japan, Echigo province, first half of 19th century, Edo period (1615-1868) Published: International Netsuke Society Journal (INSJ) vol. 26, no. 1, p. 22. Depicting Gama Sennin sleeping blissfully on the back of a massive toad, looking upwards, dressed in the typical mugwort cape and girdle. The toad with its head raised in an expression of irritated dismay, its body amusingly flattened, the eyes inlaid dark, its masterfully carved warty skin contrasting with the smooth underside, the feet tucked neatly under its body. Two himotoshi underneath below the signature SHUZAN. LENGTH 4.5 cm Condition: Very good condition, minor wear and expected traces of use. Few natural age cracks. Provenance: Ex-collection Hanns Jatzlau, Steinkrug bei Hannover, Germany. Lempertz, Asian Art, 9 June 2006, Cologne, lot 997 (sold for EUR 5,174). A private collection in Luxembourg, acquired from the above.

Two toads, signed Hanns Jatzlau 1996

The Japanese legend of Gama Sennin (English ‘Toad Immortal’) is based on the legendary Chinese figure Liu Hai, who is generally shown accompanied by a toad. According to legend, he can assume the shape of a toad himself. Chinese prototypes of this theme sometimes represent the immortal sitting on or resting his foot on the animal and holding a string of gold coins.

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LITERATURE COMPARISON Compare a closely related wood netsuke of Gama Sennin on a toad by the same artist, signed Shuzan, circa 1820, illustrated in Rutherston and Bandini, The Sheila M. Baker collection of Japanese netsuke and inro, 2011, no. 5. Another closely related wood netsuke by Shuya, the face similarly carved, is illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 1013. Estimate EUR 3,000 Starting price EUR 1,500

235 MUSETSU: A FINE AND RARE WOOD NETSUKE OF A RECLINING NINGYO By Musetsu (Busetsu), signed Musetsu 無節 Japan, late 18th to early 19th century, Edo period (1615-1868)

Superbly carved, clutching her tail with both hands close to her body, forming a compact composition, her long, wet hair and scaly body meticulously worked. Natural himotoshi and signed to the underside within a polished reserve MUSETSU (Busetsu). The artist appears to be unrecorded. LENGTH 3.6 cm Condition: Very good condition with minor wear. Ningyo are half-human, half-fish sea creatures that equate with the mermaid of Western traditions. Most likely inspired by the sighting of dugongs in the ocean, folklore transforms them into alluring females, usually depicted cradling a baby to their naked breasts as in the present example, or holding a tama, the sacred jewel of the dragon king of the sea. LITERATURE COMPARISON For a closely related wood netsuke of a mermaid, by Ryusenshi, see Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 228, no. 703. Estimate EUR 3,000 Starting price EUR 1,500

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HEIGHT 16 cm

236 HOKKYO SHIMA SESSAI: A RARE AND SUPERB WOOD SASHI NETSUKE OF FUKUROKUJU GETTING A SHAVE By Hokkyo Shima Sessai (1820-1879), signed Sessai 雪斎 to 刀 Japan, Echizen province, mid-19th century, Edo period (1615-1868) Published: Joly, H. L. (1913) Catalogue of the H. Seymour Trower Collection of Japanese Art, no. 56, illustrated on pl. D. Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 266, no. 821. Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 724. Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 939. Kurstin, Joe (1994) Netsuke: Story Carvings of Old Japan, Epcot Centre, Disney World, p. 40. Earle, Joe (2001) Netsuke: Fantasy and Reality in Japanese Miniature Sculpture, p. 158, no. 124. Exhibited: Eskenazi Oriental Art, 19-24 September 1991, San Francisco International Netsuke Convention Epcot Center, Disney World, Orlando, Florida, 11 May 1993-10 May 1997 Museum of Fine Arts, Boston, September 2001-November 2002 Carved with mastery and charm, the amusingly tall head of the seated Fukurokuju twisting up like a tree, wrapped by the rope scaffolding the barbers require to shave the highest point of his head. The body of Fukurokuju, only a fifth the size of the rest of his head, is enveloped in the front by his bushy beard, his face wearing a bemused look with full cheeks and elongated lobes. One barber summitting the god’s tall head, leaning over the side with a razor as the other clings to the side of his head with a comb. Signed along the side of the head SESSAI to [‘carved by Sessai’]. The pale wood has a rich, dark patina in the recesses.

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Condition: Very good condition with minor typical wear, a natural age crack to the side of Fukurokuju, and small repairs to the left hand and comb of one barber. Provenance: Ex-collection of H. Seymour Trower. Ex-collection of J. Bellhouse Gaskell. Glendining’s Auction, 8 March 1926, lot 832. Ex-collection of G.E. Duveen, acquired from the above. Glendining’s Auction, Mark T. Hindson July 1952. Ex-collection of Isobel Sharpe, acquired from the above. Ex-collection of Mark T. Hindson, acquired from the above. Sotheby’s London, 26 June 1967, lot 299. Excollection of Emiel Veranneman, acquired from the above. Ex-collection Joe Kurstin, acquired from the above. Dr. M. Joseph ‘Joe’ Kurstin (1931-2021) was a prominent Miami ophthalmologist who arguably built Elena and Joseph one of the greatest netsuke collections of Kurstin all time. He was known by netsuke and inro lovers worldwide and made many lifelong friends in this tightknit community. He published several books and articles on the subject and generously lent his collection for exhibitions at the Yale University Gallery, Museum of Fine Arts, Boston, Epcot Center at Disney World, and The Tobacco and Salt Museum, Tokyo. Hokkyo Shima Sessai (1820-1879) was an excellent carver who earned the honorary title of Hokkyo during his lifetime and served the lord of the Echizen clan. Sessai was a master of exaggeration, using his artistic license to endow his netsuke with humor. His work is scarce as he died at a relatively young age; only 15 netsuke from his hand have been documented. Using primarily wood, Sessai’s works are powerful and original, never failing to display some point of artistry in each carving, often using distortion to bring the pieces to life. LITERATURE COMPARISON Compare a related tall wood netsuke of Ashinaga, by Sessai and signed Sessai, in Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 265, no. 819. Also compare a related sashi netsuke of a hossu (Buddhist fly whisk), by Sessai and signed Sessai, illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures, vol. 2, p. 940. Estimate EUR 30,000 Starting price EUR 15,000

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237 SHUGETSU: AN EBONY WOOD NETSUKE OF A CHINESE BOY WITH HIS DOG By Shugetsu, signed Shugetsu 舟月 Japan, Edo (Tokyo), late 18th to early 19th century, Edo period (1615-1868) Finely carved as a laughing Chinese boy dressed in traditional robes with large, draping sleeves, one hand clenched into a fist, while the other gently scratches a playful dog under its chin as it eagerly clambers up his robe. Large, asymmetrical himotoshi through the back. Signed underneath the feet SHUGETSU. The ebony wood of an attractive grain and variegating color and bearing a fine patina. HEIGHT 6.2 cm Condition: Very good condition with minor wear and light traces of use. LITERATURE COMPARISON Compare a related wood netsuke of a dog with a peony by the same artist, signed Shugetsu, illustrated in Davey, Neil K. (1982) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 102, no. 287. Estimate EUR 3,000 Starting price EUR 1,500

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238 HARA SHUGETSU: AN EBONY WOOD NETSUKE OF EBISU By Hara Shugetsu, signed Hara Shugetsu 原舟月 with a kakihan Japan, Edo (Tokyo), late 18th to early 19th century, Edo period (1615-1868) Finely carved, the deity dressed in a traditional Shinto robe as he tightly clutches a writhing seabream (tai) in his hands. The Lucky God with an amused expression, finely incised eyes, and a mouth wide open in a laugh. One pierced himotoshi to the back, the larger himotoshi formed by the unusually wide opening of Ebisu’s robe underneath. The full signature is incised to the back HARA SHUGETSU and with the artist’s kakihan.

HEIGHT 6.5 cm Condition: Very good condition with minor wear and light traces of use. Provenance: The collection of Charles F. Stein (1900–1979), Baltimore, and thence by descent. Estimate EUR 3,000 Starting price EUR 1,500

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239 KAGETOSHI: A RARE EBONY WOOD NETSUKE OF TEKKAI SENNIN By Kagetoshi, signed Kagetoshi 景利 Japan, Kyoto, early 19th century, Edo period (1615-1868) Amusingly carved as the Taoist immortal Tekkai leaning against his gnarly cane, wearing voluminous and elaborately flowing robes detailed with artemisia leaves, a sugegasa (straw hat) to his back, and a hyotan (double gourd) to his waist. The immortal is depicted here as a youthful figure looking upwards, pressing his lips forward and exhaling his soul. His expression is profoundly comical, marked by a twisted nose, and squinted eyes. Large, asymmetrical himotoshi to the back and signed to the hat within a rectangular reserve KAGETOSHI. HEIGHT 5.9 cm Condition: The feet and staff with old repairs, a few tiny nicks to the hem of the robe. Otherwise good condition with old typical wear. Provenance: Ex-collection Alan R. Liss. Sotheby’s, Fine Netsuke Including Property from the Collection of Alan R. Liss, 2 September 1993, Chicago, lot 294.

Alan R. Liss, publisher of the Meinertzhagen Card Index (MCI)

Kagetoshi was born in Kyoto and his earlier works very much resemble those by Horaku, who also carved in ebony. An analysis of rats by the artists Kagetoshi, Horaku, Kiyokatsu and Masanao of Kyoto suggests there is a connection between these talented netsuke-shi. While Kagetoshi is best known for his later intricate designs in sukashi-bori, the rare and earlier figural netsuke are perhaps the most exciting of his oeuvre.

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AUCTION COMPARISON Compare a closely related ivory netsuke of Tekkai sennin, by Kagetoshi, first half of the 19th century, 5 cm high, at Zacke, Fine Netsuke, Sagemono & Okimono, 2 November 2019, Vienna, lot 148 (sold for EUR 3,539). Estimate EUR 5,000 Starting price EUR 2,400

240 KAGETOSHI: A FINE IVORY NETSUKE OF THREE DRUNKEN SHOJO By Kagetoshi, signed Kagetoshi 景利 Japan, mid-19th century, Edo period (1615-1868) A fine and compact netsuke depicting three drunken shojo, one holding a barrel of sake and the other two playing instruments. Each shojo has long hair, an elaborately adorned robe and their expressions convey their drunkenness very well. Signed in a rectangular reserve underneath KAGETOSHI. The himotoshi through the underside are cleverly worked into the composition. LENGTH 3.6 cm Condition: Very good condition. Provenance: Ex collection Edward Wrangham. Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 140. A private collection in Luxembourg, acquired from the above. Edward Edward ‘Ted’ Wrangham A. ‘Ted’ Wrangham (1928-2009) formed one of the most important with Her Majesty Queen Elizabeth II, 1980 collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.

LITERATURE COMPARISON A related netsuke depicting three shojo inside a sake barrel is pictured in Hurtig, Bernard (1973) Masterpieces of Netsuke Art, p. 116, no. 451.

Estimate EUR 2,000 Starting price EUR 1,000

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241 NOBUSHIGE: A FINE AND RARE WOOD NETSUKE OF DARUMA DISTURBED IN HIS MEDITATION By Nobushige, signed Nobushige 信重 horu 彫 Japan, c. 1800, Edo period (1615-1868) Boldy carved and of pleasingly compact design, depicting the Zen-patriarch almost completely enveloped in his robe, the surface of which is neatly textured and polished, highlighting the natural grain of the wood. Daruma’s grimacing face is superbly carved with deeply cut features, his brows furrowed and lower lip engulfing his upper lip, straining to keep still in his meditation as his hossu (Buddhist flywhisk) emerges from within his robe, curling along the front, ready to unfurl into action. Large himotoshi underneath and signed NOBUSHIGE horu [carved by Nobushige]. LENGTH 4.2 cm

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Condition: Excellent condition with minor expected traces of use. Provenance: Ex-collection Marius Taudin Chabot (1884-1966) and Maria Veder (1889-1979), Rotterdam. LITERATURE COMPARISON Fuld’s Netsuke and Ojime Index records only one netsuke by Nobushige. Formerly in the W. L. Behrens collection (recorded by Joly as no. 3740 and illustrated on pl. L), this is illustrated in color in Sotheby’s, Japanese Works of Art from the Collection of the late Charles A. Greenfield, Part II, 18 September 1998, lot 85. The fineness and powerful carving style are certainly comparable, and one wonders why there are not more signed netsuke by this clearly talented, but apparently scarce carver. Estimate EUR 2,500 Starting price EUR 1,200

242 MIWA: A SUPERB WOOD NETSUKE OF FUJIN SMOKING A PIPE By Miwa, signed Miwa 三輪 with ‘seal’ kakihan Japan, Edo (Tokyo), 18th century, Edo period (1615-1868) Published: Meinertzhagen, Frederick (1956), The Art of the Netsuke Carver, p. 60, no. 20, pl. III. Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 568.

Condition: Excellent condition with minor surface wear. Provenance: Ex-collection Edward Gilbertson. Ex-collection Frederick Meinertzhagen. Ex-collection Charles F. Stein (1900– 1979), Baltimore, acquired from the above, and thence by descent. The ‘seal’ kakihan on the present netsuke corresponds to kakihan number ‘B’ in the list of kakihan by Miwa, presented by F. Meinertzhagen in MCI, Part A, p. 560. This kakihan corresponds with those found on other early and often large Miwa carvings. Estimate EUR 5,000 Starting price EUR 2,400

A remarkably powerful netsuke carved from plum or isu wood, of an attractive grain and color, depicting the God of Wind seated cross-legged, leaning against his large wind bag propped to the side, toying with the clasp of his tabako-ire as he takes a drag from his kiseru (pipe), appearing worn-out from a hard day’s work. The face with a displeased expression, deep wrinkles, and eyes with pierced pupils under furrowed brows. Very generously excavated, asymmetrical himotoshi to the underside and signed MIWA with ‘seal’ kakihan. LENGTH 5 cm

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243 A RARE WOOD NETSUKE OF RAIJIN AND FUJIN Unsigned Japan, 19th century, Edo period (1615-1868) An amusing and unusual wood netsuke depicting Fujin massaging Raijin’s leg. The Wind God is seated, his bag of wind tied around his shoulders, and the Thunder God is reclining next to him, holding a drumstick and resting his head on his drum. The wood bearing a fine patina. Himotoshi through the back and underside. LENGTH 5.5 cm Condition: Excellent condition. Provenance: Ex-collection Richard Hieronymus. Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 166 (sold for EUR 3,904). A private collection in Luxembourg, acquired from the above. Estimate EUR 4,000 Starting price EUR 2,000

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244 SHOJUSAI: A FINE WOOD NETSUKE OF FUJIN By Shojusai, signed Shojusai 松壽齋 Japan, 19th century, Edo period (1615-1868) Published: Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 744 (unillustrated). Finely carved, depicting the Wind God in a dynamic pose, holding his wind bag over his shoulder as it transforms into a reticulated cloud base on which Fujin stands. The deity is dressed only in a loincloth, his muscular body well defined, the face expressively carved. The underside signed SHOJUSAI within an oval reserve. Natural himotoshi. HEIGHT 3.9 cm Condition: Very good condition with minor wear. Provenance: Sotheby’s, The Carlo Monzino Collection of Netsuke, Inro and Lacquer, 21 June 1995, London, lot 244, sold for GBP 1.380 (or approx. EUR 4,500 converted and adjusted for inflation at the time of writing). Estimate EUR 4,000 Starting price EUR 2,000

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245 A RARE KARAKURI (TRICK) WOOD NETSUKE OF MIKOSHI NYUDO SCARING A BLIND MAN, ATTRIBUTED TO SHUGETSU Attributed to Shugetsu, unsigned Japan, Edo (Tokyo), first half of the 19th century, Edo period (1615-1868) The towering bakemono carved with an extendable neck and head, holding out its hand in the manner of a scarecrow and attempting to frighten an old blind man, who looks back, completely unaware of the looming yokai, gently smiling. Well-hollowed, asymmetrical himotoshi through the back. HEIGHT 6 cm, HEIGHT (neck extended) 7.7 cm

Mikoshi Nyudo is one of the many ghostly monsters of Japan that are generally known as bakemono or yokai. This monster is usually portrayed with a bald head and a jutting tongue. Although there are many variations of this ghost story across the different regions of Japan, the plots are roughly similar. Essentially, when a person is walking alone at night, the form of a monk suddenly appears. The ghost grows taller every time the person looks up at it and gazing at it for too long Mikoshi (見越) from invariably results in death. The word Mikoshi 見越し means to “look over” or the Gazu Hyakki “tower over” and the word Nyudo 入道 is Yagyo by Sekien Toriyama a common slang name for a priest.

Condition: Excellent condition.

LITERATURE COMPARISON Compare a closely related wood netsuke by Shugetsu, described as Rokurokubi, illustrated in Earle (2001) Netsuke, Fantasy and Reality in Japanese Miniature Sculpture, Boston, MFA Publications, p. 172, no. 137.

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AUCTION COMPARISON Compare a related ivory netsuke by Shuraku, described as Rokurokubi, at Zacke, Fine Japanese Art, 16 June 2023, Vienna, lot 300 (sold for EUR 5,200). Estimate EUR 4,000 Starting price EUR 2,000

246 KOKUZAN: A RARE WOOD NETSUKE DEPICTING A WARRIOR STRUGGLING WITH A YOKAI By Kokuzan, signed Kokuzan 谷山 Japan, Edo (Tokyo), early 19th century, Edo period (1615-1868)

Finely carved as a samurai squatting over a long-necked yokai as he attempts to restrain it. The warrior half-dressed, his armor partially covering the recumbent yokai who is dressed in a robe incised with spider-webs. The warrior, likely Minamoto no Yorimitsu, tightly grips the long-necked rokurokubi’s hand while one foot presses down against the yokai’s second hand, the ghastly being’s long, winding neck snaking its way around the warrior’s body and resting against his shoulder, its central eye mockingly gazing sideways, as it slides its tongue down the length of the warrior’s muscular arm. Large, asymmetrical himotoshi underneath and signed to the side KOKUZAN. HEIGHT 3.3 cm Condition: Good condition with expected wear, rubbing, and minor nibbling around the edge. An old repair to the warrior’s scabbard. Estimate EUR 4,000 Starting price EUR 2,000

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247 A TALL AND IMPRESSIVE CORAL, LACQUER AND WOOD NETSUKE OF A SOUTH SEA ISLANDER Unsigned Japan, Edo (Tokyo), early 19th century, Edo period (1615-1868) Depicting a South Sea islander, standing with one hand raised pulling his eyelid down in a bekkako gesture and mischievously hiding a bright red coral branch behind his back. The islander is dressed only in a gold-lacquered loincloth, his head bald except for a few short curls, his emaciated body well-carved and detailed with ribs and folds to the side of his belly. Generously excavated and asymmetrical himotoshi through the back. HEIGHT 10.2 cm Condition: Good condition with minor wear. Repairs to the index finger of the right hand and to the coral branch. AUCTION COMPARISON The only other recorded netsuke depicting an islander making the bekkako gesture is illustrated in Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 2, p. 1181. This netsuke by Tosui, similarly designed, was recently sold at Christie’s (there described as a kappa), Japanese and Korean Art, 17 September 2024, New York, lot 160 (sold for USD 7,560). Estimate EUR 6,000 Starting price EUR 3,000

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248 A RARE AND LARGE CORAL AND WOOD NETSUKE OF A SOUTH SEA ISLANDER ON A RAFT Unsigned Japan, Edo (Tokyo), mid to late 19th century An impressive and large netsuke, amusingly crafted, depicting a South Sea islander on an irregularly shaped raft which he uses to transport a gigantic piece of coral, attached via gold and silver wire to the ebony wood base. He is holding onto a silver wire and stretches his legs out for stability as his raft is floating above turbulent waves. The figure of stained boxwood, dressed in a short loin cloth with incised karakusa, the eyes inlaid in mother-of-pearl centered by dark horn pupils, and framed by bushy eyebrows. The himotoshi formed by a silver loop to the underside. LENGTH 8.8 cm Condition: Very good condition with minor expected wear and traces of use.

AUCTION COMPARISON Compare a closely related ebony, coral, and ivory netsuke of two South Sea islanders, by Jugyoku Ryukosai II, dated to circa 1880, at Bonhams, Fine Japanese Art including two masterpieces by Kitaoji Rosanjin (1883-1959), 7 November 2013, London, lot 81 (sold for GBP 6,000, or approx. EUR 9,855 converted and adjusted for inflation at the time of writing). Note the similar use of gold wire and the much smaller size (5.7 cm). Estimate EUR 10,000 Starting price EUR 5,000

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249 A WOOD NETSUKE OF EBISU STRUGGLING WITH AN OCTOPUS Unsigned Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) Dynamically carved to depict Ebisu struggling with an octopus which has tightly ensnared the Lucky God’s foot. The deity pressing his weight down with full force as he attempts to squash the cephalopod’s efforts, the octopus adamant, not yet ready to give up its valiant attempts to trap the deity despite being amusingly flattened under his weight. The deity smiles as he looks straight ahead, his face framed by a tall eboshi and flowing beard. Natural himotoshi through one tentacle to the underside. HEIGHT 3.7 cm

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Condition: Very good condition with minor surface wear. AUCTION COMPARISON The Lucky God Ebisu, patron of fishermen, is much more commonly depicted with a sea bream, and the octopus here could be interpreted as shunga. See for example an ivory netsuke of Ebisu and an octopus, where this shunga dynamic is more obvious, at Lempertz, Netsuke-Sammlung Kolodtoschko II, 6 December 2014, Cologne, lot 729 (sold for EUR 3,720). Estimate EUR 2,000 Starting price EUR 1,000

250 A WOOD NETSUKE OF A TANUKI CRUSHING A HUNTER Unsigned Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) The magical shapeshifting creature suffocating a hunter with its gigantic, veiny scrotum. The hunter peering out in the front with an agonized facial expression, the underside showing his amusingly flattened body and tanegashima teppo rifle which he tightly clutches in vain. Natural himotoshi to the underside. LENGTH 3.9 cm

Condition: Excellent condition with minor surface wear. AUCTION COMPARISON Compare a closely related wood netsuke of a tanuki crushing a hunter, by Kigyoku, mid-19th century, 3.9 cm wide, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 215 (sold for EUR 1,952). Estimate EUR 2,000 Starting price EUR 1,000

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251 SHUZAN: A FINE WOOD NETSUKE OF A PRIEST WITH THE BUNBUKU CHAGAMA By Shuzan, signed Shuzan 舟山 Japan, Edo (Tokyo), early to mid-19th century, Edo period (1615-1868) Finely carved to depict the scene of the popular folktale Bunbukuchagama (literally “Bunbuku tea-kettle”), in which a priest is holding a kettle that turns into a tanuki. The kettle is inscribed ‘Bunbuku’ and fitted with two gilt-metal loop handles. The priest dressed in a long robe, has a charmingly carved expression with a gentle smile, clearly delighted with his fortune. Asymmetrical and generously excavated himotoshi to the underside beside the signature SHUZAN. LENGTH 3.7 cm Condition: Good condition with minor wear, tiny nibbles, light surface scratches, few minuscule losses, the handles replaced, and one section at the edge of the kettle repaired. LITERATURE COMPARISON Compare a related wood netsuke of the badger tea kettle legend, by the same artist and signed Shuzan, illustrated in The International Netsuke Society Journal (INSJ), vol. 25, no. 1, p. 25, lot 1373. Estimate EUR 2,000 Starting price EUR 1,000

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252 SHUMIN: A WOOD NETSUKE OF A BLIND MASSEUR LIFTING A STRENGTH STONE By Shumin, signed Shumin 舟民 Japan, Edo (Tokyo), early 19th century, Edo period (1615-1868) Published: Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 774. The wood netsuke finely carved to depict a crouching blind man trying to lift a boulder before him, wearing only a loincloth, his emaciated rib case visible, the bone-inlaid eye popping out as a result of the strain of the weight, and with inlaid teeth biting his lower lip as he makes a grimace. Two asymmetrical himotoshi at the underside and signed SHUMIN. LENGTH 3.8 cm Condition: Excellent condition with only very minor wear. Massage plays an important role in Japanese medicine. Mainly practiced by the blind, who strengthened their muscles in between with the help of chikaraishi or strength stones, chikaraishi have been used since at least the 8th century and even today can be found at some Shinto shrines, where they were used for competitions of strength, or for divination purposes. Today some have been designated as Important Cultural Assets. Estimate EUR 2,000 Starting price EUR 1,000

253 RAKUMIN: A FINE WOOD NETSUKE OF A YAMABUSHI By Ho Rakumin, signed Rakumin 樂民 and kakihan Japan, Edo (Tokyo), late 18th to early 19th century, Edo period (1615-1868) Published: Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 163. Finely carved to depict a seated Yamabushi, holding a conch shell to his mouth to use as a horn, the left hand holding a shakujo, the face with a strenuous expression as he blows, and displaying tenguesque features including a pointed nose, eyebrows with curled tips above a pair of inlaid eyes painted behind thin mica sheets. The hair neatly arranged in a short tail and with a bracelet of shells hanging around his neck. The polished and flattened underside with deeply excavated asymmetrical himotoshi and signed in a rectangular mother-ofpearl plaque RAKUMIN and with a kakihan. HEIGHT 3.5 cm Condition: Good condition, minor repairs to the shakujo rattle. Estimate EUR 2,000 Starting price EUR 1,000

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254 HOMEI: A FINE WOOD NETSUKE OF A SAMBASO DANCER By Homei, signed Uryusai Homei 有竜斉法明 Japan, Edo (Tokyo), early to mid-19th century, Edo period (1615-1868) Published: Tomkinson, Michael, A Japanese Collection (1898), Volume I, p. 161, no. 630 (unillustrated). Finely carved as a Sambaso dancer depicted in a dancing posture, standing on one foot, wearing a characteristic striped eboshi tied with a ribbon under his chin and a voluminous robe with finely engraved cranes and pines. The left hand holds a fan while the right hand is raised backwards, the oval face with a charmingly carved expression and neatly incised mouth and eyes. Two himotoshi to the back, signed underneath HOMEI with the studio name Urysuai. HEIGHT 3.8 cm Condition: Very good condition with minor wear, few minor natural age cracks, tiny nibbles, light surface scratches, and a small dent to the sleeve. Provenance: Ex-collection Michael Tomkinson (1841-1921), Kidderminster, UK. Ex-collection Armand Basi, No. 515. A private collection in Barcelona, Spain, acquired from the above. A copy of a collector’s card from Armand Basi accompanies this lot. Armand Basi (1924-2009) was a Catalan businessman and fashion designer, the co-founder of the fashion firm bearing his name. In 1948, along with his brother Josep, Michael Tomkinson Basi founded a small knitting company (1841-1921) inspired by their mother Mercé Sabi’s

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knitted sweaters. By the end of the 1950s, the business had expanded into a large textiles company, opening a factory in 1958, and by 1962 the Basis were exclusive manufacturers and distributors of Lacoste products in Spain. In 1986, Basi launched his eponymous fashion brand, which produced accessories, perfume, jewelry and watches, as well as clothing. Homei was a pupil of Meikeisai Hojitsu (c. 1790-1873) who was ranked among the great netsuke masters of the 19th century. He specialized in netsuke of figures and animals. The Sambaso dance derived from Noh theatre and was traditionally performed in Kabuki plays to open the new season of performances. The ritual dance was short and was designed to purify the performance area. LITERATURE COMPARISON Compare a closely related wood netsuke of a sambaso dancer, by Hojitsu, in the Tokyo National Museum, illustrated in Arakawa, Hirokazu (1983) The Go Collection of Netsuke, p. 73, no. 118.

AUCTION COMPARISON Compare a closely related wood netsuke of a sambaso dancer, by Hojitsu, dated mid-19th century, Zacke, Fine Netsuke & Sagemono, 8 November 2024, lot 239 (sold for EUR 7,800). Estimate EUR 2,000 Starting price EUR 1,000

255 HOJITSU: A FINE WOOD NETSUKE OF NABE KABURI

Published: Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 171.

By Meikeisai Hojitsu, signed Hojitsu 法實 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)

Finely carved as a lady carrying three stacked pots on her head, dressed in long, flowing robes decorated with lozenge patterns, mitsutomo-e emblems, as well as floral sprays. Himotoshi to the back and signed below HOJITSU. HEIGHT 4.9 cm Condition: Excellent condition with only very minor wear. This strange representation, called nabe kaburi or hachi katsugi (bowl-carrying), illustrates a custom in Tsukuma, Omi Province (now Shiga Prefecture). There, unfaithful wives were only allowed to participate in the local temple festival on the 1st day of the 4th month if they carried as many iron pots on their heads as the number of their lovers or affairs. Painting after Katsushika Hokusai, illustrating women carrying pots for the Tsukuma Festival, in the Metropolitan Museum of Art (The MET), New York, Object no. 2021.398.40 Estimate EUR 2,500 Starting price EUR 1,200

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256 HOSHUNSAI MASAYUKI: A RARE EBONY WOOD NETSUKE OF A CARVER CHISELING A GIANT FOOT By Hoshunsai Masayuki, signed Masayuki 正之 and kakihan Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) Finely carved as a temple sculptor seated atop a gigantic foot, dressed in a loose-fitting, neatly incised robe, the head covered with a cap, and holding a hammer in one hand. The foot, belonging to a huge temple sculpture such as a Nio guardian, naturalistically carved with a gently undulating arch and toes. One himotoshi through the underside, the other naturally formed by the foot’s opening at the top. The underside signed MASAYUKI with kakihan. LENGTH 3.7 cm Condition: Very good condition with minor surface wear. Hoshunsai Masayuki used ebony only very rarely in his netsuke, with Fuld’s Netsuke and Ojime Index listing only one other netsuke by Masayuki carved from ebony (kokutan). AUCTION COMPARISON Compare a closely related boxwood netsuke depicting the same subject, by Hoshunsai Masayuki, 3.6 cm long, at Zacke, Fine Netsuke & Sagemono, 8 November 2024, lot 230 (sold for EUR 2,600). Estimate EUR 2,000 Starting price EUR 1,000

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257 HOSHUNSAI MASAYUKI: A FINE WOOD NETSUKE OF HOTEI IN HIS TREASURE BAG By Hoshunsai Masayuki, signed Hoshunsai Masayuki 寳春齋正之 with kakihan Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) A wood netsuke of a takarabukuro (treasure bag), the inside brilliantly hollowed out and showing the lucky god Hotei seated inside reading a sutra. The wood is finely stained and polished, and the details are finely rendered, particularly Hotei’s face. The bag finely incised with blossoms, and the underside with typically asymmetrical himotoshi. Signed with the full signature HOSHUNSAI MASAYUKI and with the artist’s typical kakihan. LENGTH 3.5 cm Condition: Very good condition with only very minor wear and typical traces of use. AUCTION COMPARISON Compare a closely related wood netsuke of Hotei in his treasure bag, by Hoshunsai Masayuki, mid-19th century, 3.7 cm, at Zacke, Fine Netsuke & Sagemono, 8 November 2024, lot 229 (sold for EUR 4,160). Estimate EUR 3,000 Starting price EUR 1,500

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258 KOMIN: A FINE INLAID WOOD NETSUKE OF A KAPPA WITH HAMAGURI CLAM By Komin, signed Komin 光珉 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) Depicting a kappa (water goblin) climbing over a hamaguri clam, one foot stuck inside, alluding to the kappa’s female troubles. Its expression is grotesquely amusing, the eyes double-inlaid, the corner of its mouth drawn downwards. The hinge of the shell and a smaller hamaguri clam found on the underside are inlaid in stained bone. The carapace of the kappa is worked with meticulous detail, and the bare body parts are worked in precisely spaced ukibori pimples. The hollow section on the kappa’s head, which according to legend holds its vital fluids, is filled with pewter. The himotoshi underneath are lined in green-stained antler and the signature KOMIN and the artist’s kakihan are found on a rectangular motherof-pearl plaque. LENGTH 3.4 cm Condition: Very good condition with minor wear. AUCTION COMPARISON Compare a closely related inlaid netsuke depicting the same subject, by the same artist and signed Komin, at Bonhams, Fine Japanese Art, 16 May 2013, London, lot 38 (sold for 4,375 GBP). Estimate EUR 3,000 Starting price EUR 1,500

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259 TOMOMASA: AN AMUSING AND RARE WOOD NETSUKE OF A SMOKING KAPPA By Tomomasa, signed Tomomasa 友正 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) Published: Joly, Henri L. (1912) The W. L. Behrens Collection, Part 1, Netsuke, no. 5391 (unillustrated). Zacke, Netsuke und Inro – Ausstellung, 1984, no. 56 (and illustrated on the front cover). Amusingly carved as a kappa relaxing on a giant cucumber, clearly content with his haul as he takes a drag from his small kiseru (pipe) whilst holding a tobacco pouch attached to an ashtray netsuke. The pouch, as always, is inscribed “hi yoshin” (beware of the fire). The large eyes are inlaid in dark horn. Two himotoshi underneath and signed TOMOMASA. LENGTH 4.8 cm Condition: Excellent condition. Provenance: Ex-collection W. L. Behrens (1861-1913). Zacke, Netsuke und Inro, 1984, no. 56. An Austrian private collection, acquired from the above. Two old labels pasted underneath.

Portrait of Walter Lionel Behrens (1861-1913)

Estimate EUR 3,000 Starting price EUR 1,500

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260 CHIKUYOSAI TOMOCHIKA: A SUPERB WOOD NETSUKE OF A COILED DRAGON By Chikuyosai Tomochika I, signed Tomochika 友親 Japan, Edo (Tokyo), early 19th century, Edo period (1615-1868) A remarkably strong and finely carved wood netsuke, brilliantly worked in sukashibori (openwork) as a dragon curled in tight loops and forming a compact composition with its horned head at the top, grasping a tama pearl in its claw, the scales allover finely incised, the eyes inlaid in dark horn. Signed underneath within a polished oval bridge reserve – TOMOCHIKA – the bridge also forming the natural himotoshi. LENGTH 4.8 cm Condition: Very good condition with minor wear. One claw with an old repair. Chikuyosai Tomochika, who moved to Edo and founded one of the most prolific studios, is said to have begun his carving life in Kyoto, possibly under the tutelage of Okatomo. His dragons in particular have a distinct Kyoto style. AUCTION COMPARISON Compare a closely related wood netsuke of a coiled dragon, by Tomochika, 4.4 cm wide, at Zacke, Fine Netsuke & Sagemono, 4 November 2022, Vienna, lot 10 (sold for EUR 7,150). Estimate EUR 8,000 Starting price EUR 4,000

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261 A FINE IVORY NETSUKE OF A DRAGON EMERGING FROM AN ASH POT (HAIFUKI KARA RYU) Unsigned Japan, Edo (Tokyo), first half of the 19th century, Edo period (1615-1868)

Of triangular sankaku type and compact design, finely carved as a dragon emerging from an ash container and resting its head on the handle of the tabako-bon. Two small himotoshi to the underside of the cloudy smoke base. Unsigned, however stylistically this is from the early Tomochika school in Edo (Tokyo). LENGTH 4.4 cm Condition: Very good condition with minor expected wear and natural age cracks. The present netsuke illustrates the proverb haifuki kara ryu (‘a dragon issuing from an ash container’), which is analogous to the expression hyotan kara koma (‘a horse out of a gourd’), both conveying the idea of something unexpected happening. AUCTION COMPARISON For a related ivory netsuke of a coiled dragon, by Chikuyosai Tomochika, 4.5 cm wide, see Bonhams, The Harriet Szechenyi Sale of Japanese Art, 8 November 2011, London, lot 104 (sold for GBP 3,000). Estimate EUR 2,500 Starting price EUR 1,200

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262 A RARE IVORY NETSUKE OF THE FOUR HOLY BEASTS (SHIJIN) Unsigned Japan, Edo (Tokyo), early 19th century, Edo period (1615-1868) Finely carved and incised, depicting the Four Holy Beasts intertwined in a dynamic composition. The dragon, minogame, ho-o, and kirin are clustered together, with the large dragon twisting and coiling around the base and clutching a tama pearl. Each creature is captured in motion, interacting with one another. Natural himotoshi. LENGTH 3.9 cm

Condition: Good condition with minor wear. A few small repairs including one to a dragon’s whisker and to the kirin’s horns. The Four Holy Beasts are benevolent Chinese astronomical and cultural animals that are spread throughout the East Asian culture sphere. They are mentioned in the Chinese classic Book of Rites and include the Dragon in the East, the Qilin in the West, the Turtle in the North, and the Phoenix in the South. The Four Holy Beasts differ from the Four Symbols in that the Qilin replaces the White Tiger. Estimate EUR 4,000 Starting price EUR 2,000

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263 TOMOCHIKA: AN IVORY NETSUKE OF BENTEN AND DRAGON By a member of the Tomochika school, signed Tomochika 友親 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)

Finely carved depicting Benten playing a one-stringed koto while a dragon is curled around her feet, curiously listening to the music, its head resting on her right knee, the long tail rising to meet the deity’s scarf in the back, the details picked out in sumi (ink). Natural himotoshi through the dragon’s sinuous body and signed TOMOCHIKA underneath Benten’s robe. HEIGHT 4.3 cm Condition: Good condition with minor wear, a small loss to one dragon horn, and few expected natural age cracks. LITERATURE COMPARISON Compare a closely related ivory netsuke of Benten with a dragon, signed Tomochika, see Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, no. 420.

AUCTION COMPARISON Compare a closely related ivory netsuke of Benten with a dragon, by Tomochika, dated to ca. 1830, at Zacke, Fine Netsuke & Sagemono, 22 April 2022, Vienna lot 219 (sold for EUR 2,781). Estimate EUR 2,500 Starting price EUR 1,200

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264 TOMOCHIKA: A RARE IVORY NETSUKE OF KANNON WITH A LOTUS SCEPTRE By a member of the Tomochika school, signed Tomochika 友親 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) Superbly carved as Kannon (Guanyin), seated in a relaxed position, with one hand holding the stem of a curled lotus leaf and the other resting on her knee, cradling her face as she sleeps, the bakugyo (urna) inlaid in jadeite. Her face with a serene expression surmounted by a high chignon covered by a draping cowl. She wears a finely detailed necklace, complementing her loose robe and cowl, which are finely incised and inked with clouds. Signed TOMOCHIKA underneath and with two small himotoshi to the lower back. HEIGHT 4.2 cm Condition: Very good condition with minor wear and a few light scratches to the back of the cowl. Provenance: St. James’ Gallery, Zurich. A noted private collection, acquired from the above. A copy of the attest from St James’ Gallery, dated 20 March 2001, accompanies this lot. The subject appears to be unrecorded from the Tomochika netsuke and the present netsuke is an unusually individual personification of this much revered deity which is very rarely, (if ever) seen in netsuke form. Estimate EUR 1,500 Starting price EUR 800

265 TOMOCHIKA: AN IVORY NETSUKE OF A COCKEREL AND HEN By a member of the Tomochika family, signed Tomochika 友親 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) The rooster and hen standing side by side in a dustpan, their wings, plumage, and tails finely incised. The rooster with a neatly stippled comb and wattle, a single himotoshi to the underside, beside the signature TOMOCHIKA within an irregularly shaped reserve. HEIGHT 3.5 cm Condition: Good condition with minor surface wear and natural age cracks. Provenance: German private collection. Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 196. A Dutch private collection, acquired from the above. LITERATURE COMPARISON For a similar netsuke by Tomochika, depicting a cock and hen seated on shimenawa, see Marie-Therese Coullery and Martin S. Newstead (1977) The Baur Collection, p. 324, C 993. Estimate EUR 1,200 Starting price EUR 600

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266 TEIGETSU: A RARE IVORY NETSUKE OF A COURT LADY WASHING HER HAIR By Teigetsu, signed Teigetsu 提月 Japan, mid to late 19th century

Finely carved as a lady kneeling, her long, delicately incised and inked hair tied with a ribbon, one hand raised to stroke her hair, the other resting on her raised knee, holding a basin on a towel, her voluminous robe finely decorated with floral reserves and cloud motifs, the face carved with a serene expression. Asymmetrical himotoshi underneath and signed TEIGETSU. HEIGHT 3.6 cm Condition: Very good condition with minor wear and expected natural age cracks. Provenance: Ex collection Otto Taussig, Malmö, Sweden. Sotheby’s, A Collection of Fine Netsuke, 9 May 1979, London, lot 111. Galerie Zacke 1990. A noted private collection, acquired from the above. A copy of an old expertise from Galerie Zacke, dated November 1990, accompanies this lot.

MUSEUM COMPARISON Compare a related ivory netsuke depicting the same subject in the Metropolitan Museum of Art, object Number 10.211.317.

Estimate EUR 2,000 Starting price EUR 1,000

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267 IKKOSAI: A FINE IVORY NETSUKE OF THE BUNBUKU CHAGAMA By Ikkosai Saito Itaro, signed Ikkosai 一光斎 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) Finely carved as an amusing variation of the popular folktale Bunbuku-chagama, depicting the seated priest removing the lid of a kettle, revealing a charmingly carved tanuki jolting towards him, the visibly shocked man pulling his hand away. Two small himotoshi to the back and signed underneath IKKOSAI within a raised oval reserve. HEIGHT 3.8 cm

Condition: Very good condition with minor wear and expected age cracks. For a discussion of the artist, see International Netsuke Society Journal (Spring 2019) Vol. 39, no. 2, pp. 13-20. Estimate EUR 1,500 Starting price EUR 800

268 GYOKUSAI: AN IVORY NETSUKE OF HANASAKA JIJI AND THE MAGICAL DOG SHIRO By Gyokusai, signed Gyokusai 玉齋 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) Finely carved as a scene from the popular folktale Hanasaka Jiji, showing the old man leaning against a mortar overflowing with coins and treasure, holding a large pestle, the magical dog Shiro looking up towards him with a coin in his mouth. Two himotoshi to the back and signed to the underside within a scroll-shaped reserve GYOKUSAI – a pupil of the Tomochika school in Edo (Tokyo). HEIGHT 4.5 cm Condition: Very good condition with minor wear and expected natural age cracks. Provenance: Galerie Zacke, November 1989. A copy of a certificate of an old expert’s report from Galerie Zacke, dated 15 November 1989, accompanies this lot. Estimate EUR 1,500 Starting price EUR 800

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269 GYOKUYOSAI: A FINE IVORY NETSUKE OF ASHINAGA WITH A DRUM By Mitsuhina Gyokuyosai (1781-1868), signed Gyokuyosai 玉陽齋 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) Published: Zacke (1986) Netsuke Inro und andere Sagemono, no. 86. Depicting the folkloric figure Ashinaga (long-legs) with a drum slung over his back, a drumstick tucked into his obi, one of his legs raised in a startled manner as he looks to his right, mouth agape and eyes widened. Two himotoshi to the back and signed GYOKUYOSAI. The lightly worn ivory bearing a fine patina.

LITERATURE COMPARISON Compare a related ivory netsuke by the same artist, depicting Ashinaga and Tenaga, signed Gyokuyosai, illustrated in Barry Davies Oriental Art, Netsuke from the Teddy Hahn Collection, London, 1996, no. 23.

HEIGHT 8 cm Condition: Very good condition with minor wear and expected age cracks. The left foot with a small abrasion to the edge. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, no. 86. From an Austrian private collection, acquired from the above.

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Mitsuhina Gyokuyosai (1881-1868) lived in Asakusa, Tokyo, and was a teacher of Ozaki Kokusai (1835-1892).

Marcel Lorber (1900-1986)

Estimate EUR 2,000 Starting price EUR 1,000

270 TOMOCHIKA: AN EXQUISITE IVORY NETSUKE OF A TENNIN By a member of the Tomochika school, signed Tomochika 友親 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) A small and delicately carved netsuke of a Tennin shown flying, head turned to the right, her neatly incised and stained hair elegantly arranged and held by a chrysanthemum tiara. She is holding a large lotus bud with both hands like a scepter, as she flies, her robe fluttering in the wind, a soft scarf encircling her head and flowing back towards her feet. Two himotoshi underneath, beside the signature within the typical wavy reserve TOMOCHIKA. LENGTH 4 cm

Condition: Very good condition with minor wear and a small age crack to the lotus stalk. Provenance: Galerie Zacke, 1983. A noted private collection, acquired from the above. A copy of an old expertise from Galerie Zacke, along with a copy of an invoice dated 4 October 1983. Tennin (meaning literally ‘heavenly being’) are derived from Apsaras, which are female spirits of the clouds and water in Hindu and Buddhist culture. AUCTION COMPARISON Compare a closely related ivory netsuke of a Tennin, by Tomochika, at Lempertz, Asiatische Kunst, 9 June 2017, Cologne, lot 563 (sold for EUR 2,728). Estimate EUR 3,000 Starting price EUR 1,500

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271 GYOKKOSAI: A SUPERB IVORY NETSUKE OF THREE ONI AT SETSUBUN By Gyokkosai, signed Gyokkosai 玉光齋 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) A remarkably fine and animated ivory netsuke depicting three oni being pelted with beans during the Setsubun festival. One oni is lying on its side grabbing its head, the face distorted with pain, while another attempts to shield the group with a kasa (straw hat) from the relentless onslaught. Some of the beans are inlaid in gilt metal. The ivory lightly stained and the details finely engraved and inked. Natural himotoshi. Signed within an oblong reserve GYOKKOSAI – the artist was a pupil of Ikkosai Saito Itaro (1804-1876) of Edo. HEIGHT 3.9 cm, LENGTH 4.3 cm

The Setsubun festival is celebrated during the first day of spring and includes the rite of oni-yarai or mame-maki, where roasted beans are thrown at oni to rid the coming year of any demons and disease-bringing spirits. Condition: Excellent condition with minor expected wear. Provenance: Ex. H Seymour Trower Collection, no. 625. Sotheby’s, The Carlo Monzino Colllection of Netsuke, Inro, and Lacquer, 21 June 1995, London, lot 297. A private collection in Luxembourg, acquired from the above. LITERATURE COMPARISON Compare a closely related ivory netsuke depicting the same subject, by Gyokkosai’s teacher Ikkosai, in the Tokyo National Museum, illustrated in Arakawa, Hirokazu (1983) The Go Collection of Netsuke, p. 165, no. 320. Estimate EUR 5,000 Starting price EUR 2,400

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272 A RARE IVORY NETSUKE DEPICTING MINAMOTO NO YORIMITSU AND THE EARTH SPIDER Unsigned Japan, 19th century, Edo period (1615-1868) The large netsuke boldly carved to depict Minamoto no Yorimitsu reclining on a goban (go-board), the left hand supporting his chin as he tries to sleep off his fever, the right hand clasped around a folding fan. Entranced by his fever dreams, Yorimitsu is indifferent to Mitsume Kozo, the three-eyed yokai, offering tea, and the large Tsuchigumo (Earth Spider) that has clambered over his side, grazing the nobleman’s ear with one leg. The yokai with its tongue dangling and dressed in a robe decorated with spiderwebs, Yorimitsu is dressed in voluminous robes with an eboshi secured to his head. Large, asymmetrical himotoshi to the back.

Known as Raiko, Minamoto no Yorimitsu (948–1021) was a nobleman who worked with his associate Watanabe no Tsuna to rid Kyoto of its many demons. One night, a feverish Raiko believed he was being attacked by monsters and called for protection, but his attendants fell asleep, and Raiko was attacked by a giant earth spider. His weak cries and a trail of blood attracted Watanabe who used an uprooted tree trunk to kill the enormous spider. Once the spider was vanquished, Raiko made a full recovery.

HEIGHT 3.8 cm, WIDTH 4.5 cm, LENGTH 5.2 cm Condition: Very good condition with expected wear and natural imperfections including age cracks and cracked nerve channels. Provenance: A noted private collection in Munich, Germany. This subject lends itself much more to two-dimensional techniques like woodblock prints or flat manju netsuke (see auction comparison). This subject executed in three-dimensional katabori is quite unusual and rare. LITERATURE COMPARISON For a closely related ivory netsuke depicting the same subject see Joly, Henri (1975) Catalogue of the H. Seymour Trower Collection of Japanese Art, no. 757, illustrated on pl. VI.

AUCTION COMPARISON Compare a related walrus tusk manju netsuke depicting the same subject at Zacke, Fine Netsuke & Sagemono, 8 November 2024, Vienna, lot 262 (sold for EUR 9,100). Estimate EUR 3,000 Starting price EUR 1,500

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For a triptych depicting Minamoto no Yorimitsu and his retainers defeating the Earth Spider, by Utagawa Kuninaga, c. 1804-1818, see Harvard Art Museums, object number 1933.4.789.-791

273 GYOKUZAN: A VERY RARE IVORY NETSUKE OF A KAPPA STEALING EBISU’S SHIRIKODAMA By Gyokuzan, signed Gyokuzan 玉山 Japan, Tokyo, late 19th century, Meiji period (1868-1912) Amusingly carved as the lucky god Ebisu seated holding a knife and looking back towards a kappa who points suggestively at the shirikodama (mythical anus ball) which the water goblin has just removed from Ebisu’s behind, a basket filled with fish between them. The details are superbly picked out, some red staining is used for the mouths and the ivory is lightly stained. Asymmetrical himotoshi and signed underneath Ebisu’s foot GYOKUZAN considering the fineness of the carving this is very likely Asahi Gyokuzan (1843-1923). LENGTH 4.3 cm Condition: Very good condition, minor age cracks and a possible loss to the object held in Ebisu’s hand. Provenance: From an Austrian private collection.

Kappa (lit. “river-child”) are amphibious yokai found in traditional Japanese folklore. They are usually seen as mischievous troublemakers or trickster figures. They Kappa with a A way to catch a are often shirikodama, by kappa by Katsushika accused of Jippensha Ikku Hokusai (1860-1849) assaulting humans in water and removing a mythical organ called the shirikodama from their victim’s anus. Here, in a rare and humorous representation imbued with character and wit, the God of Fishermen, Ebisu, has fallen victim to such an attack. Estimate EUR 3,000 Starting price EUR 1,500

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274 MASATAMI: A FINE IVORY NETSUKE OF A RAT ON A FAN By Masatami (Shomin), signed Masatami 正民 Japan, Tokyo, mid to late 19th century Very finely carved as a rat (nezumi) clambering on top of a fan and looking over the edge, its large eyes inlaid in lustrous, black horn, the underside of the open fan finely engraved with a blossoming plum branch and pierced with two himotoshi. Signed on the handle MASATAMI. LENGTH 4.4 cm Condition: Excellent condition, very light wear and typical fine age cracks. Provenance: From an Austrian private collection. AUCTION COMPARISON Compare a closely related ivory netsuke of a rat on a chestnut at Zacke, Fine Netsuke & Sagemono, 28 April 2023, Vienna, lot 184 (sold for EUR 4,160). Estimate EUR 4,000 Starting price EUR 2,000

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275 CHOKUSAI: A FINE IVORY NETSUKE OF A WASP IN A GOURD By Miyagi Chokusai (born 1877), signed Chokusai 直齋 with kakihan Japan, Tokyo, Meiji period (1868-1912) A pleasingly tactile and compact ivory netsuke of a large gourd attached to a twisting stem, the front hollowed out to house a red-stained wasp eating through the gourd’s flesh. The back with two himotoshi next to a segment of curling vine and the neatly engraved signature CHOKUSAI and kakihan. The ivory is superbly polished and cleverly stained throughout. HEIGHT 4.5 cm Condition: Excellent condition. Davey writes on Miyagi Chokusai, “a fine artist whose work is rarely encountered. It is invariably of ivory, stained and with intricate details”. LITERATURE COMPARISON Fuld’s Netsuke and Ojime Index records only one further netsuke with a wasp. Compare a related ivory netsuke of a chestnut with a monkey and two wasps, by Chokusai, illustrated in Coullery, Marie-Therese / Newstead, Martin S. (1977) The Baur Collection, p. 293, no. C 881. Estimate EUR 4,000 Starting price EUR 2,000

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276 A FINE EBONY WOOD NETSUKE OF AN INK CAKE STICK WITH DRAGON DESIGN Unsigned Japan, 19th century Realistically modeled in the form of an ink stick with simulated cracks and wear. Inscribed to one side in raised seal script Tomisachi [Fortune and Happiness], the reverse with a relief design of a sinuous dragon. Generously excavated, asymmetrical himotoshi from the short side to the underside. LENGTH 6 cm Condition: Very good condition with two small, possibly intentional, nicks to the edge. The solid ink called sumi is made from the soot produced by burning pine wood or oil. This is mixed with glue extracted from fish bones and pressed into sticks which are carved with various designs. LITERATURE COMPARISON For a related ebony wood netsuke of an ink cake decorated with a dragon, by Kyusai, see Bushell, Raymond (1961) The Netsuke Handbook by Ueda Reikichi, p. 103, no. 113. Estimate EUR 2,500 Starting price EUR 1,200

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277 KIKUGAWA: A LARGE IVORY MANJU NETSUKE OF ONIWAKAMARU SLAYING THE CARP By Kikugawa Ryukoku, signed with the artist’s kakihan Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) Of circular form, the thick manju finely carved in shishiaibori (sunken relief) and painted in sumi (ink) with Oniwakamaru about to slay the giant carp with his knife. The eye pupil of the carp inlaid in black horn with a metal rim. The reverse depicting rockwork and signed with the artist’s kakihan. DIAMETER 6.2 cm

Condition: Very good condition, minor wear and few expected natural age cracks. Provenance: Lempertz, Asian Art, 6 December 2014, Cologne, lot 879. A private collection in Luxembourg, acquired from the above. LITERATURE COMPARISON Compare a closely related ivory manju netsuke of Oniwakamaru slaying the carp, by Kikugawa, dated to the mid-19th century, illustrated in Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, no. 406. Estimate EUR 2,000 Starting price EUR 1,000

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278 SEIMIN: A LARGE WALRUS TUSK SHUNGA RYUSA MANJU NETSUKE DEPICTING AN AMA AND OCTOPUS By Seimin, signed Seimin 晴珉 Japan, Iwashiro province, mid-19th century, Edo period (1615-1868) Intricately carved in openwork, depicting a diving girl ensnared in the octopus’ sinuous tentacles, each adorned with meticulously rendered circular suckers. With one hand, she pushes against the cephalopod’s soft head, while she struggles to free the other—her movements set against the dynamic backdrop of thrashing, cresting waves. Her expression conveys curiosity, seemingly intrigued by the octopus’ advances as it presses its funnel-shaped mouth forward, lifting her loincloth to reveal her genitalia. The octopus’ eyes are triple-inlaid in raden, with gilt-rimmed pupils that add depth and intensity to its gaze. The back with an anchor-form himotoshi and signed SEIMIN – this talented artist was better known for his groups of frogs in marine ivory and carved nut netsuke. DIAMETER 6.4 cm Condition: Very good condition with minor wear and expected natural age cracks, minuscule nibbling to edges. Estimate EUR 2,500 Starting price EUR 1,200

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279 A LARGE AND RARE WALRUS TUSK RYUSA MANJU NETSUKE DEPICTING A KARYOBINGA AND TENNIN Unsigned Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)

Superbly carved in openwork to depict a pair of Buddhist angels mid-flight, their celestial scarves swaying gracefully in the wind as they fly high among dense clouds. One holds the sho (mouth organ), while the other beats an otsuzumi (drum) suspended from her neck. Each carved sensitively, their facial features reflect their beauty and divinity as they smile gracefully, and the hair fashioned into an elaborate chignon backed by a tiara centered by an inlaid medallion. The walrus ivory bearing a lovely, warm, and lustrous patina. Large, asymmetrical, ringed himotoshi to the back. DIAMETER 5.8 cm Condition: Very good condition with minor wear and expected natural age cracks. The karyobinga (kalavinca in Sanskrit) is a fantastical immortal creature in Buddhism, with a human head and a bird’s torso, with long flowing tail. It is known for its heavenly music, its voice being a descriptor of the Buddha’s voice, and is said to sing while still unhatched within its eggshell. Tennin (apsara in Sanskrit) are celestial maidens or nymphs in Hindu and Buddhist mythology. They are divine female spirits known for their ethereal beauty and grace, often depicted as dancers or musicians in the heavenly courts of the gods. LITERATURE COMPARISON Compare a closely related large ryusa ivory manju netsuke depicting the same subject, by Ono Ryomin, illustrated in in Davey, Neil K. (1982) Netsuke: A comprehensive study based on the M.T. Hindson Collection, no. 321. Estimate EUR 2,000 Starting price EUR 1,000

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280 GENRYOSAI MINKOKU: A RARE MARINE IVORY NETSUKE WITH OTSU-E DESIGN OF FUJIHIME AND ONI NEMBUTSU By Genryosai Minkoku, signed Genryosai 玄了齋 Japan, Edo (Tokyo), 19th century, Edo period (1615-1868) Published: Katchen, Arlette (2010) Netsuke 7, Vol. 1, pp. 298-299, no. K938. The marine ivory glossy and of a very appealing color, deep yellow to the back. The form may be a stylized image of a scroll on which Otsu-e motifs were depicted, as the netsuke shows a pronounced curvature, in part also due to the natural orientation of the material used. The front side is decorated with an image of Fujihime carrying a branch wisteria and her hat, the finial inlaid in mother-of-pearl. The reverse shows a repenting oni holding a gong, a mallet, and a Buddhist subscription list. Himotoshi through the reverse, above the signature GENRYOSAI. HEIGHT 5.1 cm Condition: Very good condition, with minor wear to inked features. Small crack through the mother-of-pearl inlay. Provenance: Julius and Arlette Katchen collection, Paris, sold in their sale at Sotheby’s London, 8th November 2005, Part I, lot 63 (sold for 6.720 GBP). A private collection in Luxembourg, acquired from the above. Otsu-e were popular woodblock prints or paintings during the Edo period, which were sold in the town of Otsu and featured Buddhist and humoristic images, often depicting Oni nembutsu and Fujihime, as in the present netsuke. Estimate EUR 4,000 Starting price EUR 2,000

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281 A SUPERB AND LARGE WOOD NETSUKE OF A CHINESE BEAUTY Unsigned Japan, Tokyo, late 19th to early 20th century Published: Zacke (1988) 7. Ausstellung Japanische Netsuke Inro u. a. Sagemono, no. 85. Naturalistically carved, the beauty standing on one foot, crossing her other leg over, lifting her right hand up to her face and holding a cloth in the other. Her serene face set with full cheeks, and her hair finely painted black and arranged in a bun with ornate hair ties. Excellent himotoshi to the back, the larger hole generously excavated to accommodate the knot. The pale wood superbly polished and finished very much in the manner of the So school in Tokyo. HEIGHT 10.4 cm Condition: Very good condition with minor wear and slight rubbing to the black staining of the hair. Provenance: Galerie Zacke, Vienna, 19 May 1988. Private collection of Heidi Haupt-Battaglia (1921-2019), Switzerland, acquired from the above for CHF 9,960 or approx. EUR 15,773 converted and adjusted for inflation at the time of writing. A copy of the collector’s note accompanies this lot. MUSEUM COMPARISON This subject appears to be very rare; for a related earlier wood netsuke of a Chinese lady, dated early 19th century, see Jirka-Schmitz, Patrizia (2005), The World of Netsuke: The Werdelmann Collection at the Museum Kunst Palast Düsseldorf, p. 46, no. 107. Estimate EUR 5,000 Starting price EUR 2,400

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282 SHOKO SUGONOYA: A RARE WOOD NETSUKE-OKIMONO OF A CAT GEISHA AND CLIENT By Shoko Sugonoya, signed Shoko 尚古 Japan, Takayama, Hida province, late 19th century, Meiji period (1868-1912)

Finely carved as a cat geisha, standing on two legs, striking a dancing pose, one forepaw raised, as it masquerades as a woman, wearing a fine kimono with well-carved folds, the belt neatly incised with a geometric design. Her cat client curled up around her feet as he gapes in awe, mesmerized by the beguiling movement of the seductress, one paw resting against his head and the second placed on a set consisting of pipe case (kiseruzutsu) and tobacco pouch (tabako-ire). The eyes are inlaid with dark horn pupils. Natural himotoshi and signed to the underside SHOKO. HEIGHT 5.5 cm Condition: Repairs to the ears and edge of the robe. Otherwise good condition and presenting very well. MUSEUM COMPARISON Compare a closely related wood netsuke of a cat prostitute and client, dated to the mid to late 19th century, 5.8 cm high, in the Metropolitan Museum of Art, accession number 47.681.

AUCTION COMPARISON Compare a closely related wood netsuke-okimono of a cat geisha and client, unsigned, second half of the 19th century, 5.5 cm high, at Zacke, Fine Netsuke & Sagemono, Vienna, lot 154 (sold for EUR 14,300). Compare a closely related wood okimono of a cat geisha, by Shoko Sugonoya, late 19th century, 30.4 cm high, at Zacke, Fine Japanese Art, 2 December 2022, Vienna, lot 167 (sold for EUR 10,230). Estimate EUR 4,000 Starting price EUR 2,000

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283 CHIKUSEN: A FINE WOOD OKIMONO NETSUKE OF A SAMURAI WITH TWO ATTENDANTS By Chikusen, signed Chikusen 竹仙 Japan, Tsu, second half of the 19th century The samurai standing and tying his kamishimo as one kneeling attendant holds the shimo in place, the second seated, holding up his sword before handing it over to her master. Natural himotoshi and signed to the underside CHIKUSEN. LENGTH 4.6 cm Condition: Good condition with minor surface wear. Loss to the edge of two hairpins. The hilt repaired. Provenance: Sotheby’s, Japanese Works of Art, Screens and Painting, 19 March 1992, London, lot 132. A private collection in the UK, acquired from the above.

Chikusen’s work is extremely rare; he lived at Tsu during the early Meiji period and was a fine draughtsman and poet. LITERATURE COMPARISON Compare a closely related netsuke of two samurai, by Chikusen, illustrated in Zacke, Netsuke und Inro, 1984, no. 128. Compare also a related wood okimono of six Rakkan, by Chikusen, see Davey, Neil K. (1974) Netsuke: A Comprehensive Study Based on the M.T. Hindson Collection, p. 216, no. 662. Estimate EUR 3,000 Starting price EUR 1,500

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Ouchi Sosui (1911-1966) was the eldest son of Ouchi Gyokuso (1879-1944). His real name was Jiro, and he was the only pupil of Morita Soko’s who completed his apprenticeship, becoming independent in 1932. Sosui was inspired by ancient Chinese and Japanese art. He began creating netsuke in the form of bronze vessels, terracotta guardian statues (Chinese and Haniwa), and animal figurines. Similar artists, like Nakamura Tokisada and Nishino Shotaro (Shoko), also carved netsuke in the forms of antiquities from China and Japan.

284 OUCHI SOSUI: A FINE SO SCHOOL WOOD NETSUKE OF AN ARCHAIC CHINESE TOMB FIGURE By Ouchi Sosui (1911-1966), signed Sosui 藻水 Japan, Tokyo, c. 1950 Published: Bushell, Raymond (1982) Random Thoughts on Netsuke Aesthetics, Netsuke Kenkyukai Study Journal, Vol. 2, No. 4, p. 23, fig. 2. Superbly carved in the form of a tomb figure modeled after a Western Han dynasty earthenware model, the wood carefully chosen and its surface minutely textured in imitation of the real object, which was carefully studied by the artist. The kneeling lady is dressed in voluminous robes, her hands clasped tightly and raised to her chest in a greeting gesture, the billowing sleeves elegantly pooling in ribbed pleats to the center. The face modeled with a sensitive expression, heavy-lidded eyes, a broad nose, and lips forming a gentle smile; the hair neatly secured away from the face in a long braid. Himotoshi to the back and signed to the underside SOSUI. HEIGHT 5.7 cm Condition: Excellent condition.

An earthenware figure of a kneeling lady in greeting gesture, Western Han dynasty, at the Metropolitan Museum of Art, object number 2000.662.10

AUCTION COMPARISON Compare a related wood netsuke of a maiden immortal derived from a Tang pottery model, by Ouchi Sosui, 20th century, 7 cm high, at Sotheby’s, Fine Netsuke, Ojime and Inro, 28 January 1985, Honolulu, lot 68. Estimate EUR 5,000 Starting price EUR 2,400

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285 OUCHI SOSUI: A FINE SO SCHOOL WOOD NETSUKE OF AN ARCHAIC CHINESE BRONZE BUFFALO By Ouchi Sosui (1911-1966), signed Sosui 藻水 Japan, Tokyo, c. 1950 Published: Bushell, Raymond (1971) Collector’s Netsuke, p. 176, no. 321. Superbly carved in the form of a buffalo modeled after a Western Zhou dynasty bronze figure with the wood carefully chosen and surface minutely textured in imitation of bronze. The archaic animal standing on all fours, its head turned to the right and horns twisting to the back. Himotoshi through the side and underside, the larger hole generously excavated to accommodate the knot. Signed between the himotoshi SOSUI. LENGTH 5.6 cm Condition: Excellent condition. Provenance: Ex-collection Raymond & Frances Bushell. Offered at Christie’s, The Raymond and Frances Bushell collection Part II, London, 18 October 1988, lot 160.

The present lot is inspired by an archaic bronze buffalo which originated during the Western Zhou dynasty (1046-771 BC). These stylized figures had long necks and were cast A Bronze buffalo from the with S-shaped lines along Western Zhou dynasty, the body, which Sosui captures masterfully in this at Sotheby’s London, 13 September 2017, lot 72 present carving.

LITERATURE COMPARISON Compare a near identical wood netsuke by the same artist of an archaic Chinese bronze buffalo, signed Sosui, illustrated in Sagemonoya, So School Netsuke, p. 27, no. 81.

Estimate EUR 6,000 Starting price EUR 3,000

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286 TOSHICHIKA: AN INLAID WOOD NETSUKE OF HANDAKA SONJA By Toshichika, signed Toshichika 俊親 Japan, Tokyo, late 19th century, Meiji period (1868-1912) Finely carved, the rakan is seated in monastic robes and holding his alms bowl aloft from which his dragon companion emerges. The dragon slithers out of the vessel, appearing as a sinuous line of smoke, its head resting in the hands of its master who strokes its beard gently; the mighty dragon with minutely incised scales. The deity’s face is carved with a stern expression, wide eyes under furrowed brows, and a grim smile, flanked by ears suspending metal hoop earrings, further adorned with an aogai amulet suspended on a metal chain. Asymmetrical himotoshi to the underside and signed on an inlaid lacquer reserve TOSHICHIKA. HEIGHT 3 cm Condition: Very good condition with minor wear. A small gold leaf fill to the chest. Provenance: From the private collection of Maybelle Dore. Maybelle (Betty) Dore started collecting Japanese antiques in the postwar years, during the 1950s and 1960s, when interest in Japanese art was generally very low. For her business she ventured to Japan on her own to assemble netsuke and related works of art, including pipe cases and kogo (incense containers). Betty was also a founding member and the first Chairwoman of the International Netsuke Society, Northern California Chapter.

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AUCTION COMPARISON For another work by the artist, depicting kannon inside a lotus leaf signed Toshichika, see Zacke, Fine Netsuke & Sagemono, 8 November 2024, Vienna, lot 275 (sold for EUR 4,680). Estimate EUR 4,000 Starting price EUR 2,000

287 YOSHIHIDE: A VERY FINE WOOD NETSUKE OF A PRIEST STARTLED BY A TANUKI KETTLE By Yoshihide (Hoshu), signed Yoshihide 芳秀 Japan, Tokyo, late 19th to early 20th century, Meiji period (1868-1912) Intricately carved and depicting a scene from the folktale BunbukuChagama (literally “Bunbuku tea-kettle”) with the tanuki first revealing itself at the temple, the kettle sprouting a head, tail, and legs, with the back still in the form of the vessel, the startled priest swinging his ladle back behind his head. Generously excavated, asymmetrical himotoshi to the underside and signed YOSHIHIDE.

LENGTH 2.9 cm Condition: Very good condition with minor expected wear. An old repair to the raised right arm. Provenance: Sotheby’s New York, 2 October 1985, lot 546. A private collection, Kansas City, acquired from the above. Christie’s, Edo to Post War: 500 Years of Japanese Art and Design, 17 November 2016, New York, lot 66. A private collection, acquired from the above. Yoshihide carved at first exclusively in wood, in the manner of the So school, and only later added elaborate inlays to his compositions, which he became famous for. The artist is thought to have been affiliated with his contemporary Suzuki Tokoku, however Neil Davey also notes a mask carved by Yoshihide that bears the kakihan of Kodama Yasuaki (Homei). The popular folktale Bunbuku-Chagama tells of a tanuki being mistreated as a teakettle at a temple, before being sold off and bringing great wealth to its new owner using its shapeshifting powers. LITERATURE COMPARISON For a closely related wood netsuke of a rakan by the same artist, signed Yoshihide, see Bandini, Rosemary (2020) The Larry Caplan Collection of Japanese Netsuke, no. 59. Estimate EUR 5,000 Starting price EUR 2,400

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288 TETSUGENDO KYUSAI: A FINE WOOD NETSUKE OF A SPLITTING CHESTNUT By Tetsugendo Kyusai (1879-1938), signed Kyusai 汲哉 to 刀 Japan, Osaka, early 20th century The netsuke masterfully stained and skillfully carved to deceive the eye (trompe-l’œil) as a chestnut splitting open at the tip, revealing the waxy nut inlaid in bone within. The surface simulated with natural imperfections, subtly indented grooves, and with masterful ukibori to the top of the shell where the cluster was attached to the cupule. Himotoshi to the underside and signed KYUSAI to [carved by Kyusai]. LENGTH 3.5 cm Condition: Excellent condition. Kyusai was born in Osaka on 29 March 1879. His real name was Hirai Shin and he learned carving from his father Hansen. He presented an incense case in the shape of a mokugyo to Prince Songaku Konoe. He was requested by the Ministry of Commerce and Industry to enter the International Exhibition held in Paris in 1895 where he won a bronze prize for a bamboo flower vase titled “Goddess of Peace”. He died on 30 March 1938 at the age of 60 and is buried at the Hakugo-ji in Nara. He is widely regarded as one of the great netsuke carvers of the 20th century. AUCTION COMPARISON Compare a closely related wood netsuke group of beans, by Tetsugendo Kyusai, the skin similarly splitting, 3.8 cm wide, at Bonhams, Fine Japanese Works of Art, New York, lot 2177 (sold for USD 8,125). Estimate EUR 4,000 Starting price EUR 2,000

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289 TSUKAMOTO KYOKUSAI: A SUPERB SO SCHOOL WOOD NETSUKE OF A FLOWERING CHRYSANTHEMUM

The single bloom with tightly formed overlapping petals curled in over the stamen to form a compact composition, the looped stalk on the underside forming the himotoshi and signed KYOKUSAI.

By Tsukamoto Kyokusai, signed Kyokusai 旭齋 Japan, Tokyo, early 20th century

LENGTH 3.8 cm Condition: Excellent condition. Provenance: Mark and Elizabeth Harding Collection, South Africa. Tsukamoto Kyokusai was a contemporary of Gyokuso and Morita Sоkо. Born and raised in Kyoto, he settled in Tokyo in 1923. In his younger days he signed Hoshu as his chomei, changing it to Kyokusai and occasionally Kyokudo later in his life. Wood is the predominant material of Kyokusai’s netsuke, though he occasionally used ivory. His subjects are frequently tradesmen and craftsmen at their tasks, but he is most noted for his superb representations of baskets and flowers. Not only are these baskets and flowers marvels of mechanical and technical proficiency, but some attain an incredible loveliness of design and composition as well. AUCTION COMPARISON Compare a closely related wood netsuke of a chrysanthemum, by Kyokusai, 3.5 cm wide, see Sotheby’s, Netsuke from the Collection of Raymond and Frances Bushell, 21 March 2000, New York, lot 53. Compare a closely related wood netsuke of a chrysanthemum, by Kyokusai, 3.9 cm wide, at Christie’s, The Raymond and Frances Bushell Collection of Netsuke: Part I, 27 October 1987, London, lot 42 (sold for GBP 4,400 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing). Estimate EUR 4,000 Starting price EUR 2,000

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290 OUCHI GYOKUSO: A MASTERFUL INLAID SO SCHOOL WOOD NETSUKE OF A CORN COB By Ouchi Gyokuso (1879-1944), signed Gyokuso 玉藻 to 刀 Japan, Tokyo, early 20th century, Edo period (1615-1868) Naturalistically carved as a corn cob wrapped inside its finely detailed husk, open to one side to reveal three rows of kernels inlaid in stained bone, and terminating in silks that form the natural himotoshi. The reverse with two generously excavated himotoshi above the signature GYOKUSO to [carved by Gyokuso]. LENGTH 5.2 cm Condition: Good condition with minor wear and light traces of use. Minuscule nibbling to edges.

Ouchi Gyokuso (1879-1944) was the father of Ouchi Sosui (1911-1966) and together with Morita Soko (1879-1942) the most important pupil of Miyazaki Joso (1835-1910), the founder of the important So school in Tokyo. LITERATURE COMPARISON Compare a related wood netsuke of a corn cob and a winter cherry by Morita Soko, dated circa 1930, see Sydney L. Moss Ltd. (1993) Zodiac Beasts and Distant Cousins, no. 97. Estimate EUR 8,000 Starting price EUR 4,000

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291 TSUKAMOTO KYOKUSAI: A SUPERB WOOD NETSUKE OF A BASKET WITH FISH By Tsukamoto Kyokusai, signed Kyokusai 旭齋 Japan, Tokyo, early 20th century Ingeniously designed and very finely carved as a rattan basket, the removable cover carved to imitate old wood that has warped over time, the basket neatly incised to simulate woven bamboo, tied with a rope around it, and filled with fish and bamboo leaves, one leafy sprig emerging from within, trailing down one side. The weave of the basket, the grain of the wood, and the twist of the rope are meticulously delineated. A central himotoshi through the base, the cord attachment to the back of the cover, and signed KYOKUSAI within a square reserve. LENGTH 3.6 cm Condition: Excellent condition. Provenance: From the private collection of Maybelle Dore. Maybelle (Betty) Dore started collecting Japanese antiques in the postwar years, during the 1950s and 1960s, when interest in Japanese art was generally very low. For her business she ventured to Japan on her own to assemble netsuke and related works of art, including pipe cases and kogo (incense containers). Betty was also a founding member and the first Chairwoman of the International Netsuke Society, Northern California Chapter. LITERATURE COMPARISON Compare a closely related wood netsuke of a basket with fish and bamboo, signed Kyokusai, illustrated in Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 126, no. 199.

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Auction comparison: Compare an ivory netsuke of a cherry blossom by the same artist, signed Kyokusai, at Quinn’s Auction Galleries, The Helen and Jack Mang Collection of Netsuke, 7 December 2012, Falls Church, lot 170 (sold for USD 21,060). Estimate EUR 8,000 Starting price EUR 4,000

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292 SHUZAN: A RARE KARAKURI (TRICK) WOOD NETSUKE OF AN EAGLE CLAW CLUTCHING A SPARROW EGG By Shuzan, signed Shuzan 舟山 Japan, Tokyo, Meiji period (1868-1912) Published: Zacke (1986) Netsuke Inro und andere Sagemono, no. 83. A rare and finely carved wood netsuke of an eagle’s claw tightly gripping a large, smooth egg. A small movable sparrow emerges from an opening in the front, its head peeking out, with minutely inlaid eyes and neatly detailed plumage. The eagle’s claw with incised scales and sharp, curved talons. Natural himotoshi between the claw and egg and signed to the underside SHUZAN. HEIGHT 4.5 cm Condition: Excellent condition with minor wear. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, no. 83. From an Austrian private collection, acquired from the above. Estimate EUR 2,500 Starting price EUR 1,200

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Marcel Lorber (1900-1986)

293 A FINE WOOD NETSUKE OF MOSO INSIDE BAMBOO SHOOTS, ATTRIBUTED TO YOSHIKAZU Attributed to Yoshikazu, unsigned Japan, Tokyo, late 19th century Depicting two very finely carved bamboo shoots side-by-side, one curling underneath the other, the larger one with wormholes, through which one can see the minutely carved figure of the bamboo-farming Moso, one of the Twenty-four Filial Exemplars, wearing a wide hat and leaning against his hoe. The nodules are embellished with tiny beads of ebony. Natural himotoshi between the two bamboo shoots. LENGTH 4.8 cm

Condition: Excellent condition with only very minor wear and traces of use. Provenance: From the collection of Elizabeth and Mark Harding, South Africa. Purchased on 6 July 1991 from BCI Fine Art, Johannesburg (copy of the invoice is available). This model seems to have two variations: one with a removable figure of Moso and another where the carving is exclusively confined to the interior. The present netsuke belongs to the latter category. Literature comparison: Compare a closely related wood netsuke depicting the same subject, by Yoshikazu, illustrated in Meinertzhagen / Lazarnick (1986) MCI, Part b, p. 152. AUCTION COMPARISON Compare a closely related wood netsuke depicting the same subject, by Yoshikazu, at Bonhams, Fine Netsuke from a French Private Collection, 4 November 2020, London, lot 138 (sold for 1,912 GBP). Estimate EUR 2,500 Starting price EUR 1,200

Through a wormhole one can see the minutely carved figure of the bamboo-farming Moso

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294 A FINE TOKYO SCHOOL INLAID WOOD NETSUKE OF HOTEI AND HIS TREASURES Unsigned Japan, Tokyo, second half of the 19th century Finely carved as Hotei resting on a rectangular box carved to the sides with lobed cartouches enclosing his treasure bag inlaid in stained antler with gold wire, a tama inlaid in coral, his fan inlaid in mother-of-pearl and wood, and the hossu (Buddhist flywhisk) inlaid in stained buffalo horn with gold wire details. Central himotoshi through the ebony box, the cord attachment carved in the form of an eyelet under the removable figure of Hotei. LENGTH 3.5 cm Condition: Very good condition. Minor typical wear and few light surface scratches. LITERATURE COMPARISON Compare a closely related ivory and ebony netsuke of Hotei sleeping on a quatrefoil base, by Jugyoku, see Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 2, p. 548. Estimate EUR 1,500 Starting price EUR 800

295 A FINE TOKYO SCHOOL INLAID EBONY WOOD NETSUKE OF A COURTIER Unsigned Japan, Tokyo, Meiji period (1868-1912) Finely carved to depict a standing courtier dressed in a long robe carved from ebony wood and neatly inlaid with ivory roundels, holding a parasol in his right hand, with a silver metal inlaid tanto and baton tucked into his belt. The ivory head is delicately painted in red and black pigments. Good, asymmetrical himotoshi through the back. HEIGHT 5.1 cm Condition: Very good condition with minor wear and a minuscule nick to the lower hem of the robe. MUSEUM COMPARISON Compare a related ivory inlaid wood netsuke of Gyoji, by Shuji, in the British Museum, museum number F.171. Estimate EUR 2,000 Starting price EUR 1,000

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296 CHIKUSAI: A FINE TOKYO SCHOOL INLAID WOOD NETSUKE OF HOTEI ON A THRONE By Chikusai, signed Chikusai 竹齋 Japan, Tokyo, Meiji period (1868-1912) Hotei, one of the Seven Lucky Gods of Japan (Shichi Fukujin), is depicted here with his characteristic joyful expression, bald head, and prominent, bare belly. He holds a hand fan intricately inlaid with tortoiseshell and pale horn. Seated on a Chinese-style chair with back and armrests lacquered in red and further adorned with inlays of antler and wood. On the underside are two bone-ringed himotoshi, centered by a rectangular tortoiseshell plaque finely incised with the signature Chikusai. HEIGHT 3.9 cm Condition: Very good condition with minor wear. LITERATURE COMPARISON Compare a related ivory netsuke of Hotei on a throne, by Chikusai, dated to the mid-19th century to early Meiji period, see Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 25. Estimate EUR 2,500 Starting price EUR 1,200

297 HIDEKAZU: A FINE TOKYO SCHOOL IVORY NETSUKE OF A SMOKER By Hidekazu, signed Hidekazu 秀一 Japan, Tokyo, Meiji period (1868-1912) Published: The International Netsuke Collector’s Society Journal (INCSJ), Vol. 12, No. 4, March 1985, p. 38, no. 24. Depicting a man taking a smoking break, a pipe held in his mouth as he leans against a double-gourd (hyotan) vessel. The clothing dyed with polychrome pigments and embellished with silver inlays, the upper part of his garment is adorned with an intricate, scale-like pattern, while his trousers are dyed in ishimeji. He is barefoot and wears a traditional maruzu-kin (round cap) with an incised leaf-like pattern. The underside with two small horn-ringed asymmetrical himotoshi, beside the signature HIDEKAZU within a red lacquerinlaid rectangular tablet. LENGTH 3.2 cm Condition: Very good condition with minor wear and few expected natural age cracks. Provenance: Galerie Zacke, 1986. A noted private collection, acquired from the above. A copy of an old expertise from Galerie Zacke, dated July 1986, and indicating a price of ATS 32.000 (or approx. EUR 6,000 converted and adjusted for inflation at the time of writing), accompanies this lot Estimate EUR 2,500 Starting price EUR 1,200

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298 AN IVORY SHUNGA NETSUKE OF OKAME WITH MUSHROOM, ATTRIBUTED TO HIDEMASA Attributed to Hidemasa, unsigned Japan, Osaka, first half of the 19th century, Edo period (1615-1868) Finely carved with neatly engraved details. Okame is shown seated, both hands gently holding a large phallic mushroom against her left cheek, her body covered in a loose robe, which reveals to the underside her private parts. The lightly stained ivory bearing a beautiful yellowish patina. HEIGHT 3.6 cm Condition: Very good condition with minor wear and few natural age cracks. AUCTION COMPARISON Compare a related ivory shunga netsuke of Okame with a harikata, also attributed to Hidemasa, dated to the early 19th century, at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 97 (sold for EUR 7,584). Estimate EUR 2,500 Starting price EUR 1,200

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299 TOMOMASA: AN IVORY SHUNGA NETSUKE OF AN AMA AND OCTOPUS By Tomomasa, signed Tomomasa 友政 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)

The unlikely couple sat side by side, the diving girl coyly hiding her laugh behind her raised hand, half-heartedly repelling the advances of the amorous octopus which wriggles its tentacles around her, the cephalopod’s mouth pressed forward in excitement and the large eyes inlaid in polished dark wood. Natural himotoshi under the many suckered tentacles and signed within an oval reserve TOMOMASA – a pupil of the Tomochika school in Edo. LENGTH 3.5 cm Condition: Very good condition with minor typical wear to the inked features. Provenance: A noted private collection, acquired from Galerie Zacke in 1985. A copy of an old expert’s report by Galerie Zacke, dated 20 June 1985, accompanies this lot. LITERATURE COMPARISON Compare a closely related ivory netsuke depicting the same subject, by Tomoaki, illustrated in Davey, Neil K. (1982) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 145, no. 434.

AUCTION COMPARISON Compare a closely related ivory netsuke from the same school, by Tomochika, in Sotheby’s, Fine Netsuke Inro and Lacquer from the Estate of Madelyn Hickmott, 8 February 1989, New York, lot 191. Also compare a related ivory netsuke from the same school, unsigned, at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 99 (sold for EUR 8,216). Estimate EUR 2,500 Starting price EUR 1,200

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300 ASAHI GYOKUZAN: A FINE LACQUERED WOOD SHUNGA NETSUKE OF OKAME CARESSING A TENGU MASK Published: Zacke (1986) Netsuke Inro und andere Sagemono, no. 56. By Asahi Gyokuzan (1843-1923), signed Asahi 旭 and with the artist’s seal Japan, Tokyo, second half of 19th century Carved with a healthy dose of humor, depicting the Shinto goddess of mirth Okame squatting against the long nose of a tengu mask, her skirt riding up over her knees, as she wraps her arms around the phallic long nose of a konoha-tengu mask. In contrast, the redlacquered mask bears an irritated expression, seeming to object to this unwanted attention. The roiro lacquered reverse with a central himotoshi through the thick bar and signed in gold ASAHI, with the artist seal within an inlaid bone plaque. HEIGHT 3.6 cm Condition: Very good condition with minor wear, the lacquer with few tiny flakes along the edges. Provenance: Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, no. 56. From an Austrian private collection, acquired from the above. Estimate EUR 2,500 Starting price EUR 1,200

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301 ONO SHORAKU: A WOOD SHUNGA NETSUKE OF OKAME AND TENGU MASK By Ono Shoraku, signed Shoraku 正樂 Japan, Edo (Tokyo), late 18th to early 19th century, Edo period (1615-1868) Published: Joly, Henri (1975) Catalogue of the H. Seymour Trower Collection of Japanese Art, no. 463 C (unillustrated). Okame, dressed in an open robe, revealing her chest, kneeling and smiling while holding in her right hand the phallically long nose of a konoha-tengu mask. Her hair tied in an elaborate coiffure and the face with dimpled cheeks. The back with generously excavated himotoshi and signed underneath SHORAKU. HEIGHT 3.9 cm Condition: Very good condition with minor expected wear and fine age cracks. Provenance: Ex-collection H. Seymour Trower. Collection of Armand Basi, No. 749. A private collection in Barcelona, Spain, acquired from the above. A copy of a collector’s card from Armand Basi accompanies this lot. The long-nosed tengu is sometimes identified with the male Shinto deity Sarutahiko no Mikoto, who was captivated by Uzume, the Shinto goddess of mirth, with whom Okame has become associated. Estimate EUR 2,000 Starting price EUR 1,000

302 A WOOD SHUNGA NETSUKE OF OKAME Unsigned Japan, Edo (Tokyo), 18th century, Edo period (1615-1868) Finely carved as a seated Okame, her face with a joyful, almost mischievous smile, the long hair neatly incised and combed backwards, dressed in a loose robe opening below showing her legs and one hand pleasuring herself. Two large himotoshi through the back. The well-toned wood bearing a fine patina. LENGTH 4.1 cm Condition: Very good condition with minor wear and light expected traces of use. Provenance: From a noted private collection in Munich, Germany. LITERATURE COMPARISON Compare a related wood shunga netsuke of Okame, by Hoen, illustrated in The International Netsuke Society Journal (INSJ), vol. 23, no. 2, p. 51, lot 22. Estimate EUR 1,500 Starting price EUR 800

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303 KOGETSUSAI: AN IVORY SHUNGA MANJU NETSUKE OF OKAME WITH TENGU MASK By Naomasa Kogetsusai, signed Kogetsusai 光月齋 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)

The two-part manju netsuke of circular form, finely carved in shishiaibori (sunken relief) and with sumi (ink) details to depict Okame stroking the elongated phallic nose of an outsized tengu mask, her face with a coy laugh behind her hand. The reverse finely carved and incised to depict a feathered fan (hauchiwa), the handle suspending a braided band terminating in a tassel, with the signature KOGETSUSAI and a central himotoshi. The stained ivory bearing a fine color. DIAMETER 4.1 cm Condition: Very good condition with minor wear to sumi, few tiny nibbles to the edges and to the interior, light warping.

MUSEUM COMPARISON Another manju netsuke by the artist is in the collection of the LACMA, accession no. M.87.263.24.

Estimate EUR 2,000 Starting price EUR 1,000

304 KOUNSAI: AN IVORY SHUNGA MANJU NETSUKE OF DARUMA AND COURTESAN By Naosada Kounsai, signed Kounsai 光雲齋 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) The two-part ivory manju netsuke, carved in shishiaibori to depict an erotic subject with a young courtesan kneeling, Daruma appearing behind her in an opening of the wall, his face with a joyful expression and the lips accented in red, his flywhisk suggestively poking through to the reverse of the manju netsuke. With a central himotoshi and signed KOUNSAI.

DIAMETER 4.3 cm Condition: Very good condition with minor wear to sumi, few tiny nibbles to the edges, light warping. During the Edo period, people used ‘Daruma’ as a vernacular word for courtesan, and ‘Darumaya’ for brothel. Daruma is the Japanese name for Bodhidharma, a semi-mythic Buddhist monk credited with founding Zen Buddhism. Images of sex workers with Daruma indicted societal hypocrisy but also suggested that the sensual is part of the sublime. Literature comparison: Compare a related ivory manju netsuke of Benkei, by the same artist, signed Naosada Kounsai, illustrated in Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part B, p. 600. Estimate EUR 2,000 Starting price EUR 1,000

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305 TOSHINSAI MITSUHIRO: A FINE IVORY NETSUKE OF A DAIKOKU MASK WITH A HIDDEN SHUNGA INTERIOR By Toshinsai Mitsuhiro, signed Toshinsai 東心斎 to 刀 Japan, Osaka, mid to late 19th century Expertly carved in two sections, portraying Daikoku with a mischievous grin, framed by elongated earlobes, a short beard, and his characteristic hat. Upon opening, the interior reveals an intimate erotic scene—a passionate couple rendered with sumi and polychrome pigments—likely the source of Daikoku’s amused expression. Central himotoshi to the back framed by a chrysanthemum (kiku) blossom, the cord attachment formed by the extended leg of the female figure. The ivory displays a rich patina, typical of the Osaka school, and bears the signature TOSHINSAI to [carved by Toshinsai]. HEIGHT 3.8 cm Condition: Very good condition with minor wear, minor nibbling to the inner rim and minor expected traces of use. The artist Toshinsai Mitsuhiro was very likely a pupil of Ohara Mitsuhiro (1810-1875), Osaka, working in a similar style and using a similar stain with sumi details. LITERATURE COMPARISON For another netsuke by the artist bearing the full signature Toshinsai Mitsuhiro, dated mid to late-19th century, see Barry Davies Oriental Art (1996) Netsuke Through Three Centuries, p. 82, no. 75.

AUCTION COMPARISON Compare a related ivory netsuke of an Okame mask, by Ohara Mitsuhiro, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 76 (sold for EUR 3,660). Estimate EUR 2,500 Starting price EUR 1,200

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306 A LARGE AND UNUSUAL WOOD MASK NETSUKE OF USOFUKI Unsigned Japan, 18th century, Edo period (1615-1868) Amusingly carved as the face of Usofuki with stylized, tribal features, the bulging eyes flirtatiously winking as he puckers his lips, twisting them suggestively to one side. The head covered with a turban. Himotoshi through the central bar in the back. HEIGHT 6.8 cm

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Condition: Very good condition with wear, small nicks, and old smoothened chips. Provenance: European collection P. Jacquesson. This very unusual mask was likely modeled after an African tribal mask, though with unique Japanese features, the puckered lips clearly identifying the depicted character as Usofuki. Estimate EUR 2,000 Starting price EUR 1,000

307 AN UNUSUAL WOOD MASK NETSUKE OF OKAME Unsigned Japan, early 19th century, Edo period (1615-1868) The mask netsuke depicting the Shinto goddess of mirth Okame with an unusually disgruntled expression, with typical puffed cheeks and a large forehead, the mouth twisted into a frown, and parted hair lacquered black. The verso lacquered in roiro and housing the himotoshi through the central bar. HEIGHT 5 cm Condition: Good condition with surface wear and flaking to lacquer. Provenance: European collection P. Jacquesson, acquired in the French art market in 2004.

MUSEUM COMPARISON For a closely related lacquered wood Okame mask, Osaka, late 19th century, see the State Hermitage Museum, St. Petersburg.

Estimate EUR 2,000 Starting price EUR 1,000

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308 A LARGE ANTLER MASK NETSUKE OF AN ONI Unsigned Japan, Tokyo, Asakusa district, mid to late 19th century Finely carved with a fierce expression, the intense eyes with raised and pierced pupils, the demon’s face sneering and upturned in a smirk, the mouth agape revealing jagged teeth and sharp fangs. Himotoshi through the irregularly shaped central bar to the back.

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HEIGHT 5.1 cm, LENGTH 4.7 cm Condition: Very good condition with minor wear and typical natural imperfections. Provenance: Ex-collection Dr. Walter Heihs. European collection P. Jacquesson, acquired from the above. Estimate EUR 4,000 Starting price EUR 2,000

309 MASAKAZU: AN UNUSUALLY LARGE WOOD MASK NETSUKE OF A DEMON By Masakazu, signed Masakazu 正一 Japan, 19th century, Edo period (1615-1868) Boldly carved as a demonic mask, most likely depicting an oni, though with an unusually human-like appearance aside from the two small horns peeking through the thick, curly hair. The mouth open in an exaggerated frown, the flaring nostrils and menacing eyes pierced, all under raised, furrowed brows. The back with a central himotoshi bar and signed MASAKAZU. HEIGHT 9.8 cm

Condition: Very good condition with minor expected wear and traces of use. Provenance: European collection P. Jacquesson, purchased from Robert Fleischel (Sagemonoya) on 15 March 2005. AUCTION COMPARISON Compare a related large wood netsuke of an oni mask, also signed Masakazu, 7.4 cm high, at Sotheby’s, The Carlo Monzino Collection of Netsuke, Inro, and Lacquer. The Property of a Private Trust, 21 June 1995, London, lot 230. Estimate EUR 4,000 Starting price EUR 2,000

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310 CHIKKO: A SUPERB WOOD MASK NETSUKE OF BUAKU By Chikko, signed Chikko 竹江 and kakihan Japan, Osaka, late 19th to early 20th century, Meiji period (1868-1912) Superbly carved as a Buaku mask with pierced eyes, a broad nose with pierced flaring nostrils, plump cheeks, and biting the lower lip revealing the top row of teeth. The surface of the mask simulated with wear and flaking, revealing the fabric lined hinoki ground underneath. Himotoshi through a loop cord attachment to the back which is signed CHIKKO with the artist’s kakihan.

The style of carving and the kakihan (see figs.1 & 2) are closely related to the famous Osaka master Kokeisai Sansho (1871-1926)

Fig. 1 Kokeisai Sansho’s kakihan

Fig. 2 The kakihan on the present netsuke

HEIGHT 5.8 cm Condition: Very good condition with minor wear. One age crack to the right jaw. Provenance: European collection P. Jacquesson, acquired in the French art market in 2005. Chikko is mentioned in The Netsuke Handbook of Ueda Reikichi, p. 218, no. 35, as a pupil of Kaigyokusai Masatsugu and evidently must have worked with Sansho (also Osaka) as well. Bugaku is an ancient form of dance and drama that draws on Chinese, Korean and Shinto traditions and is associated with the Imperial Court. The Buaku mask is used in Kyogen plays to portray demons. It is possible that the origins lie in a caricature of the Noh character O-Beshimi. While he appears to be ferocious, he is actually rather timid and weak, as expressed in his sorrowful eyes. Buaku masks are typically painted with drooping eyes and a prominent jaw. He is usually biting his lower lip, exposing his top row of teeth. LITERATURE COMPARISON For a related wood mask netsuke of a grotesque face, by Kokeisai Sansho, see Willhelm, Gabor (1994) On the Continent, INSJ, Vol. 14, no. 3, p. 47, no. 49. For further examples of wood mask netsukes attributed to and signed by Kokeisai Sansho, see Boris Filatov (Spring 2012) Kokeisai Sansho: Mystery of the Genius International Netsuke Society Journal, vol. 32, no. 1, p. 25-26. Estimate EUR 10,000 Starting price EUR 5,000

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311 A RARE ANTLER ‘SILK SEAL’ TYPE NETSUKE OF A FOREIGNER Unsigned Japan, late 17th to early 18th century, Edo period (1615-1868) Carved from a section of antler near the coronet, depicting an enraged foreigner, leaning forward as he expresses his displeasure, cleverly modeled to follow the natural curvature of the material. Dressed in a finely incised collar and elaborate ruff, the face with a grotesque, grim expression, all above an openworked structure, the underside with a long cut seal. Several natural openings for the cord attachment. The antler bearing a beautiful patina. HEIGHT 4 cm Condition: Excellent condition with expected wear and natural flaws to the material. LITERATURE COMPARISON Compare a closely related antler silk seal netsuke, 17th-early 18th century, see Sydney Moss Ltd. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. I, no. 1. Estimate EUR 2,000 Starting price EUR 1,000

312 A RARE ANTLER ‘SILK SEAL’ TYPE NETSUKE OF A FOREIGNER Unsigned Japan, late 17th to early 18th century, Edo period (1615-1868)

Carved from a section of antler near the coronet, depicting a foreigner, decorated with a finely incised collar and elaborate ruff, the face with a grotesque, grim expression. Three large himotoshi for the cord attachment and the underside with a long cut seal. HEIGHT 4.2 cm Condition: Excellent condition with expected wear and natural flaws to the material. During the Muromachi, Momoyama, and Edo periods, Japan imported large quantities of raw silk from China through the port of Nagasaki. The Chinese merchants attached metal seals known as itoin (literally, ‘fiber seals’) to their shipments where they were used to verify a transaction and subsequently returned to China. During the Edo period internal silk shipments were identified by seals which were modeled after the Chinese itoin, though instead of metal, stag antler was the preferred medium. This distinct type is commonly known as a ‘silk seal’. LITERATURE COMPARISON Compare a closely related antler silk seal netsuke, 17th-early 18th century , illustrated in Sydney Moss Ltd. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. I, no. 7. Estimate EUR 2,000 Starting price EUR 1,000

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313 AN IMPRESSIVE AND LARGE ANTLER SEAL NETSUKE OF AN ELEPHANT Unsigned Japan, 18th century, Edo period (1615-1868) Published: Sydney Moss Ltd. (2016) Kokusai The Genius: and Stagantler Carving in Japan, vol. I, p. 192-193, no. 51. Boldy carved, standing foursquare on a thick oval seal base, the majestic head lowered with the trunk hanging pendant, the tail flicked to one side, and the stout legs incised with carved grooves imitating creased folds of the skin. Central himotoshi through the seal face.

The seal face crisply carved in sunken relief with the seal character Seiju koshu [Star Longevity Prospers One’s Clan]; but other readings are more than plausible. One more interpretation might be ‘seiju’, the name for one of the ninety intersection points on a go board, and thus an auspicious nomenclature of a 90-year-old. An elephant-knop seal would be highly appropriate for the use of a nonagenarian. HEIGHT 4.8 cm, LENGTH 5 cm Condition: Very good condition with minor wear and typical natural flaws to the material. Provenance: June Schuerch Collection, Santa Barbara, California. Estimate EUR 2,500 Starting price EUR 1,200

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314 A LARGE ANTLER SEAL NETSUKE OF A BAYING KIRIN Unsigned Japan, 18th century, Edo period (1615-1868) Published: Moss, Sydney L. (2016) Kokusai The Genius: and Stagantler Carving in Japan, vol. I, p. 176-177, no. 44. Carved from a large branch section of antler, the mythical beast sitting upright on an oval seal base and baying at the moon, its body slightly twisted to the right and decorated with dense curls in relief against engraved bull’s-eye concentric circles. Natural himotoshi. Seated on an oval base inscribed with the seal character ho [phoenix]. The antler bearing a fine patina. The seal face and final whorl in its curly tail are plugged. HEIGHT 7.7 cm

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Condition: Very good condition with expected wear and natural irregularities to the material. Provenance: Ex-collection June Schuerch, Santa Barbara, California. While this netsuke was described as a baying shishi in the above publication, it is much more likely a kirin, as indicated by the incised plumage to the belly. The kirin is derived from the Chinese mythical beast qilin, one of the four divine creatures, the others being the dragon, phoenix and turtle. The Japanese kirin is something of a wild mythical fantasy – its most characteristic feature is of course the horn, as it is also called the Japanese unicorn. It has four legs with hooves and the hindlegs are covered with very well-expressed fatty tissue, like that of a shishi. The rest of the body is covered in dense plumage, like that of a phoenix. Estimate EUR 3,000 Starting price EUR 1,500

315 AN ANTLER NETSUKE OF A SHISHI WITH BALL Unsigned Japan, 19th century, Edo period (1615-1868) Finely carved, the shishi crouching low, its hind limbs raised, possessively clutching a large brocade ball, its head resting on top, appearing to conceal the ball under its voluminous mane. The body is positioned in an animated stance, following the natural curvature of the material, and is finely incised with large, stylized curls. Generously excavated himotoshi through the ball. LENGTH 4.3 cm Condition: Very good condition with minor wear and natural flaws. Estimate EUR 1,500 Starting price EUR 800

316 A LARGE AND UNUSUAL ANTLER NETSUKE DEPICTING A PILE OF MUSHROOMS Unsigned Japan, 18th century, Edo period (1615-1868) Boldly carved as a large, upturned mushroom, doubling as a basket for smaller mushrooms which are neatly piled to one side. The artist has brilliantly utilized the natural flaws of the antler, several flaws to the surface doubling as insect activity and worm holes. The cord attachment running through under the thick stem. The antler bearing an attractive patina. DIAMETER 5 cm Condition: Excellent condition with typical surface wear and natural imperfections. Estimate EUR 2,500 Starting price EUR 1,200

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317 ITTEI: AN ANTLER (TRICK) NETSUKE OF A LOTUS POD WITH THE MAKINO CLAN MON By Ittei, signed Hizen Matsura Ittei 肥前松浦一亭 saku 作 Japan, dated Tenpo 11 (1840) Naturalistically carved as a downturned lotus pod housing several movable seeds, the surface of the pod finely textured with thin grooves and decorated to one side with the mitsu kashiwa (oak) mon, associated with the Makino clan. A fly and spider enter confrontation next to a finely carved snail which touches its antennae against the signature reserve reading Hizen Matsura ITTEI saku [Made by Ittei, Matsura (Matsuura) of Hizen Province]. With a second plaque inscribed Tenpo juichi toshi, kanoe-ne, sangatsu, Ichifu [Made in the third month of Tenpo 11 (1840), Ichifu]. The cord attachment is formed by the beautifully curving stem which shows a fine spongiform surface.

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HEIGHT 4.9 cm Condition: Excellent condition with minor wear and natural flaws. In the Edo period, the Makino were identified as one of the fudai or insider daimyo clans which were hereditary vassals of the Tokugawa clan, in contrast with the tozama or outsider clans. Family crest (kamon) of main Makino line Estimate EUR 2,500 Starting price EUR 1,200

318 A FINE WALRUS TUSK RYUSA MANJU NETSUKE OF A PERSIMMON, SNAIL AND WASP Unsigned Japan, Tokyo, Asakusa district, second half of 19th century Ingeniously conceived as an openworked ryusa manju netsuke of a thick, ripened persimmon attached to a network of branches with leaves riddled with insect bites. A snail and a wasp emerge from the thicket of foliage, extending their tentacles and antennae along the soft flesh of the fruit. Natural himotoshi. The netsuke has been beautifully polished in some areas and stained in others, creating varying textures and planes, and all the details are superbly carved, yet the natural material still remains the star of the composition, showing fine marbling and a beautiful gleam. LENGTH 4.6 cm Condition: Excellent condition. Provenance: Ex-collection Arno & Sharon Ziesnitz. Estimate EUR 2,500 Starting price EUR 1,200

319 A FINE ANTLER NETSUKE OF A SNAIL ON A MUSHROOM Unsigned Japan, Tokyo, Asakusa district, second half of 19th century Superbly carved from a caramel-toned section of antler, bearing beautifully blackened porous areas, depicting a snail gliding across the smooth cap of a mushroom, raising its tentacles to feel across a leafy chrysanthemum flower. The underside shows the neatly incised radial gills and the short stem functioning as the cord attachment. Unsigned, however bearing stylistic resemblance to the work of Ishikawa Rensai. LENGTH 4.5 cm Condition: Good condition with minor wear and few tiny materialinherent losses to the porous areas around the chrysanthemum leaf. LITERATURE COMPARISON Compare a related antler netsuke of a mushroom with a chrysanthemum and toad, by Ishikawa Rensai, illustrated in Sydney L. Moss Ltd. (2016) Kokusai The Genius and Stagantler Carving in Japan, vo. III, no. 347. Estimate EUR 2,000 Starting price EUR 1,000

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320 A RARE ANTLER NETSUKE OF A MONKEY COLLECTOR WITH A MONKEY DOLL NETSUKE Unsigned Japan, second half of the 18th century, Edo period (1615-1868) The simian dressed in a haori jacket, the hem billowing to one side in the back and revealing a diapered pattern, holding a pair of spectacles up while lifting up a sagemono set consisting of a tobacco pouch and netsuke in the shape of a monkey doll (saru ningyo). Large himotoshi through the back and underside. The antler bearing a soft caramel patina, the spongiform material utilized to great effect. HEIGHT 4 cm Condition: Good condition. A few tiny losses to the glasses and sagemono cord. Monkey dolls (saru-ningyo or sarubobo) are made of cloth, stuffed with cotton and in ancient times were sometimes sewn into the clothing of children, as monkeys were thought to ward off diseases. The motif of a monkey examining a sagemono set is more commonly seen in Meiji-era netsuke. This particular example, however, is a rare 18th-century piece, offering a unique twist: the monkey holds a doll of itself (rather than the typical fruit) and wears a pair of fashionable Edo-period spectacles, which were imported from Europe and primarily worn by wealthy merchants. Estimate EUR 2,000 Starting price EUR 1,000

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321 A VERY RARE ‘HIDDEN BLADE’ ANTLER NETSUKE OF A RIDER ON A HORSE Unsigned Japan, early 19th century, Edo period (1615-1868) Published: Lazarnick, George (1981) Netsuke & Inro Artists, and How to Read Their Signatures (LNIA), Vol. 2, p. 1310. Sydney Moss Ltd. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. I, p. 164-165, no. 38. The tall antler netsuke depicting a removable rider sitting atop a stylized horse, which doubles as the hilt of the blade, likely used for shaving an inkstick in conjunction with a yatate, which is cleverly concealed within the body. The rider dressed in a finely incised suit of armor with one hand holding a war fan (tessen). The eyes of the horse inlaid. The cord attachment formed by a loop under the horse’s long tail. HEIGHT 13.9 cm Condition: Very good condition with minor wear and natural flaws. The warrior, of haunted expression, may well be intended as Watanabe no Tsuna, off to confront ogres at the Rashomon Gate armed only with his sword; or in this case an ironically junior version of it. Estimate EUR 3,000 Starting price EUR 1,500

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322 A LARGE ANTLER NETSUKE OF KAN’U Unsigned Japan, 18th century, Edo period (1615-1868) Published: Zacke (1986) Netsuke Inro und andere Sagemono, no. 72. Carved from a remarkably thick section of hollow antler, plugged at the top and bottom, depicting the God of War Kan’u (Guan Yu) stroking his beard pensively and holding his halberd by his side. Large, generously excavated himotoshi to the back. The antler bearing a fine, deep patina.

356

HEIGHT 10 cm Condition: Two small chips to the hem of the robe. Otherwise excellent condition. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, no. 72. From an Austrian private collection, acquired from the above. Estimate EUR 3,000 Starting price EUR 1,500

Marcel Lorber (1900-1986)

323 A RARE ANTLER NETSUKE OF A SAMURAI IN BATTLE Unsigned Japan, late 18th to early 19th century, Edo period (1615-1868) Depicting a samurai standing in a combative stance as he draws his sword, dressed in a finely incised suit of armor with sode (spaulders) blowing in the wind, following the natural curvature of the material. The face of the warrior with a fierce expression, squinting eyes, and finely incised hair falling on either side of the face. Two small himotoshi to the back. HEIGHT 5.4 cm Condition: Very good condition with minor wear and expected natural imperfections. Estimate EUR 2,000 Starting price EUR 1,000

324 A FINE ANTLER NETSUKE OF SHOKI AND ONI, CIRCLE OF TOMOHISA Circle of Tomohisa, unsigned Japan, Kyoto, 18th century, Edo period (1615-1868) Carved from a branch point of thick antler, plugged at the bottom, depicting a vengeful Shoki grabbing a desperately writhing oni by the wrist, his right hand holding his sword, the sleeves billowing in the wind, following the natural curvature of the material. The demon queller carved with a defiant expression on his face as the oni looks up towards his captor with a pitiable expression on his face, surely a trick to aid his request for mercy. Generously excavated, asymmetrical himotoshi through the back. HEIGHT 7 cm Condition: Good condition with expected wear and natural imperfections. One nick to the underside of the foot.

The present lot is attributed to the circle of Tomohisa, who belongs to an important group of 18th-century figure carvers, which also includes Mototada. About this group, Jay Hopkins writes, “Working in staghorn, they primarily produced large figures ranging from 3 to 6 inches in height. Subject matter usually involved Chinese legends, including Shoki, sennin, Kann’u, guardians and entertainers.” (Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, p. 30). AUCTION COMPARISON Compare a related stag antler netsuke of Kan’u, attributed to Tomohisa, unsigned, mid-18th century, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 257 (sold for EUR 4,880). Estimate EUR 1,500 Starting price EUR 800

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325 A FINE ANTLER RYUSA MANJU NETSUKE OF A WATER DRAGON Unsigned Japan, Tokyo, Asakusa district, second half of the 19th century Finely carved in openwork, the slender rain dragon soaring through ribbon-like clouds, its body twisted in an S-shape, looping through the meandering clouds, its mouth opened in a roar. The cord attachment formed by a beautifully spongiform horizontal cloud bar in the back. LENGTH 4.3 cm Condition: Very good condition with minor wear and natural flaws. LITERATURE COMPARISON For a related netsuke attributed to Kokusai depicting a water dragon, mid to late 19th century, 3.5 cm wide, see Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. II, p. 82-83, no. 108. Estimate EUR 3,000 Starting price EUR 1,500

326 A FINE ANTLER RYUSA MANJU NETSUKE OF A WATER DRAGON WITH TWO YOUNG Unsigned Japan, Tokyo, Asakusa district, second half of the 19th century The two-part antler manju netsuke finely executed in openwork to depict a pair of young rain dragons intertwined with one other, their chubby bodies terminating in short tadpole tails, and their

mouth open in a roar, all against beautifully carved, scrolling clouds. The verso in contrast depicts the fierce parent, its sinuous body having lost all its childlike demeanors, as it twists in a C-shape, coiling around the central himotoshi, its tail terminating into a pomegranate blade. The antler is beautifully stained, and bearing fine, natural spongiform inclusions. DIAMETER 4.2 cm Condition: Very good condition with minor wear and expected natural imperfections. Estimate EUR 3,000 Starting price EUR 1,500

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327 A FINE ANTLER NETSUKE OF A SASA (BAMBOO GRASS) MON, ATTRIBUTED TO OZAKI KOKUSAI Attributed to Ozaki Kokusai (1835-1892), unsigned Japan, Shiba, Tokyo, c. 1860-1880

Finely carved as a sasa family crest with a configuration of 3-5-3 flowers, encircled by a segmented stalk of bamboo, the verso with four bamboo nodes attached to a thick roundel showing the beautifully spongiform material and forming the cord attachment. The simple design combined with the forceful and clever execution is very much in the style of Ozaki Kokusai, whom this work can be attributed to. LENGTH 4.4 cm Condition: Excellent condition. Typical ‘natural flaws’ to the material. Provenance: Ex-collection Arno & Sharon Ziesnitz. LITERATURE COMPARISON Compare two related netsuke, each by Kokusai and sealed koku, depicting family crests executed in a similar style, illustrated in Sydney L. Moss Ltd. (2016) Kokusai The Genius and Stag-antler Carving in Japan, vo. II, nos. 138 & 172.

AUCTION COMPARISON Compare a related antler netsuke of similar design, depicting an encircled prunus blossom, by Kokusai and sealed Koku, at Zacke, Fine Netsuke & Sagemono, 3 November 2023, Vienna, lot 298 (sold for EUR 5,200). Estimate EUR 4,000 Starting price EUR 2,000

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328 AN AMUSING ANTLER RYUSA MANJU NETSUKE OF RAIJIN Unsigned Japan, Tokyo, Asakusa District, second half of the 19th century

Boldly carved as the Thunder God Raijin engulfed in swirling clouds scattered with thunder drums engraved with tomo-e designs. Rather amusingly, the deity is grabbing his buttocks, having fallen victim to one of his own thunderbolts, wispy clouds of smoke rise from his behind as Raijin looks on disgruntledly. The back beautifully designed with further clouds and a floral medallion forming the himotoshi. The heavily porous surface used, along with the charming and characterful depiction, suggests a talented Asakusa carver such as Hoshino Hakusai. DIAMETER 4.5 cm Condition: Excellent condition. Typical ‘natural flaws’ to the material. Provenance: Ex-collection Arno & Sharon Ziesnitz. LITERATURE COMPARISON Compare a related antler netsuke of Raijin, by Hoshino Hakusai, illustrated in Sydney L. Moss Ltd. (2016) Kokusai The Genius and Stag-antler Carving in Japan, vo. III, no. 418. Estimate EUR 3,000 Starting price EUR 1,500

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329 A FINE WALRUS TUSK RYUSA MANJU NETSUKE OF RAIJIN Unsigned Japan, Tokyo, Asakusa District, second half of the 19th century Depicting Raijin hunched over and enveloped in finely carved, reishi-headed clouds, discharging bolts of thunder, his timid expression amusingly crafted. The back with a central floral rosette, one petal and the central section hollowed to form the cord attachment. The surface lightly stained and showing a fine polish, the sides exhibiting the typical ‘marbling’ of this precious material. LENGTH 4.1 cm Condition: Very good condition with minor wear and few natural age cracks. Provenance: Ex-collection Arno & Sharon Ziesnitz. Estimate EUR 2,000 Starting price EUR 1,000

330 JU’UN: A STAINED ANTLER NETSUKE OF A DEMON-FACED ROOF TILE (ONI KAWARA)

LENGTH 5.5 cm

Attributed to Ryukosai Jugyoku II, signed Ju’un 寿雲 Japan, Edo (Tokyo), mid-late 19th century

Condition: Excellent condition with expected wear and natural flaws to the material.

Published: Sydney Moss Ltd. (2016) Kokusai The Genius: and Stagantler Carving in Japan, vol. III, p. 392-393, no. 570. Finely carved in high relief to depict a roof tile decorated with a demonic face at the center of an implausible haircut arrangement, the face with a fierce expression, large bulging eyes, and mouth open in a growl revealing teeth within, all framed by dramatic curls. The facial features and the curlicues below appearing to owe quite a bit of the inspiration of Kokusai’s motifs and manners. Large, generously excavated himotoshi to the back and signed on a red lacquer seal to the base JU’UN.

AUCTION COMPARISON Compare a closely related antler of an oni-kawara, by Jugyoku, also signed with a red-lacquered seal, at Zacke, Fine Netsuke, Sagemono & Okimono, 24 November 2018, Vienna, lot 136 (sold for EUR 4,800). Estimate EUR 2,500 Starting price EUR 1,200

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331 A SUPERB WALRUS TUSK RYUSA MANJU NETSUKE, ATTRIBUTED TO SUZUKI TOKOKU Attributed to Suzuki Tokoku (1846-1913), unsigned Japan, Tokyo, Asakusa district, c. 1860-1880

Superbly carved as a grouping of auspicious plants including pine, orchids, chrysanthemum, plum and bamboo emerging from behind craggy rocks and framed by clouds, the central area of the pine leaves and kiku inlaid with gold droplets. The verso is finely carved with further stylized, whorling clouds, a leafy chrysanthemum, bamboo leaves, and a central himotoshi. The section of walrus tusk used is remarkably pure, with only a few small areas of the typical marbling of the material visible on the sides of the carving. DIAMETER 4.7 cm Condition: Very good condition, one gold inlay lost. Provenance: Ex-collection Arno & Sharon Ziesnitz. Suzuki Tokoku (1846-1913) is regarded as one of the finest netsuke carvers, distinguished by the masterful use of inlay. His earlier works are in the Asakusa style of manju or ryusa type and often using fine metal inlays. It seems plausible his art name Tokoku 東谷 is derived from Kokusai 谷齋, and although Tokoku was apparently self-taught, he must have worked with Kokusai at some point in his life. AUCTION COMPARISON Compare a closely related ivory ryusa manju netsuke, by Suzuki Tokoku, dated to the late 19th century, at Bonhams, The Julius and Arlette Katchen Collection of Fine Netsuke, 10 May 2017, lot 190 (sold for GBP 6,875). Estimate EUR 4,000 Starting price EUR 2,000

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332 A FINE WALRUS TUSK RYUSA MANJU NETSUKE OF A TENNIN Unsigned Japan, Tokyo, Asakusa district, c. 1860-1880 On the front side of the ryusa manju, a floating tennin in a long robe with a fluttering scarf band is depicted holding a lotus flower in her right hand. The back is decorated with lotus leaves, some of which are pitted and curled at the edges, a symbol of transience. The himotoshi are formed by one central hole rimmed with further lotus leaves and a larger oval hole near the bottom. The lightly stained tusk is beautifully hollowed and carved with great detail. LENGTH 3.6 cm LITERATURE COMPARISON Compare a related stained ivory ryusa manju netsuke depicting a tennin, by Ozaki Kokusai, signed Koku, illustrated in Sydney L. Moss Ltd. (2016) Kokusai The Genius and Stag-antler Carving in Japan, vo. II, no. 134.

MUSEUM COMPARISON Compare a related antler ryusa manju netsuke depicting a tennin, by Suzuki Tokoku, in the Ashmolean Museum, Oxford, accession number EAX.626.

AUCTION COMPARISON Compare a related ryusa manju netsuke depicting Monju Bosatsu, unsigned, at Zacke, Fine Netsuke, Sagemono & Okimono, 24 November 2018, Vienna, lot 59 (sold for EUR 5,056). Estimate EUR 3,000 Starting price EUR 1,500

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333 RENSAI: A FINE IVORY NETSUKE OF CUCKOO ON A SUGEGASA By Ishikawa Rensai, sealed Ren 蓮 Japan, Tokyo, Asakusa district, Meiji period (1868-1912) Superbly carved, the songbird sitting atop an old sugegasa (straw hat) that has deteriorated over time and now supports a nasubi vine whose tendrils have attached themselves to the withering straw. The slender bird with finely incised feathers and eyes inlaid in dark wood. The straw hat similarly worked and dotted with holes and simulated losses, all raised on a rounded square base housing the central himotoshi and sealed to the underside REN. LENGTH 3.6 cm Condition: Excellent condition with minor wear and natural imperfections including age cracks. LITERATURE COMPARISON For a related ivory netsuke by Rensai depicting a kingfisher, mid to late 19th century, 3.7 cm wide, see Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. III, p. 62-63, no. 365. Estimate EUR 3,000 Starting price EUR 1,500

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334 A FINE WALRUS TUSK RYUSA MANJU NETSUKE OF CRANES AND PINES IN CLOUDS Unsigned Japan, Tokyo, Asakusa District, second half of the 19th century Finely carved and imbued with auspicious symbolism, the cranes flying juxtaposed in a yin-yang manner above a bed of finely incised pines, all framed by thick clouds, their visible eyes inlaid. The back with further pines and clouds and a central kiku-framed himotoshi. LENGTH 4.1 cm Condition: Excellent condition. Provenance: Ex-collection Arno & Sharon Ziesnitz. Estimate EUR 2,500 Starting price EUR 1,200

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335 OSAI: A RARE IVORY RYUSA MANJU NETSUKE DEPICTING BUSHISHI SENNIN By Osai, signed O 翁 Japan, Tokyo, Asakusa district, mid to late 19th century

Superbly carved in openwork to depict the immortal Bushishi (Wu Zhishi) floating atop a spread-out scroll extending towards the sky, framed by dense clouds and the tops of the pine trees. The immortal’s robe is finely incised with karakusa, against a stippled ground. The verso decorated with curling vines, cleverly incorporating the asymmetrical himotoshi in its design, and signed within a polished reserve O(sai). DIAMETER 4.2 cm Condition: Very good condition with minor wear and natural imperfections including age cracks. Two small cracks to the back. The depiction of Bushishi, who is not represented as a netsuke in the 18th century, was possibly inspired by an illustration in the book Hokusai manga (vol. 3, p. 13a). LITERATURE COMPARISON For a related ryusa manju netsuke by Osai depicting Daruma holding a hossu, late 19th century, 4.2 cm wide, see Moss, Sydney L. (2016) Kokusai The Genius: and Stag-antler Carving in Japan, vol. III, p. 224-225, no. 470. Estimate EUR 2,000 Starting price EUR 1,000

336 AN IVORY NETSUKE OF AN OCTOPUS INSIDE A MORTAR Unsigned Japan, Tokyo, Asakusa district, late 19th century

The octopus (tako) shown with a pronounced head and bundled tentacles, starkly contrasting to the finely ribbed surface of the concave mortar (suribachi). The underside of the mortar is smooth, finely stained and with intentionally carved cracks, showing the age of the mortar which has been lying on the seabed offering a home to the octopus. Asymmetrical oval and circular himotoshi. DIAMETER 4 cm Condition: Very good condition, the pupils of the octopus are possibly lost. Provenance: The Gabor Wilhelm Collection, Paris. Zacke, Fine Netsuke, Sagemono & Okimono, 24 November 2019, Vienna, lot 11. A Dutch private collection, acquired from the above. The tako is also called the physician of the sea and the suribachi was used to grind herbs and medicine – therefore this netsuke serves as a charm of good health.

AUCTION COMPARISON Compare to an almost identical netsuke sold at Van Ham, Asiatische Kunst, 8 December 2016, Cologne, lot 2453 (sold for EUR 2,200).

Estimate EUR 1,500 Starting price EUR 800

366

337 SEIMIN: AN AMUSING WALRUS TUSK NETSUKE DEPICTING A KAPPA AND FROG By Seimin, signed Seimin 晴珉 Japan, 19th century Published: Museum für Ostasiatische Kunst, Cologne (1982-1983), no. K3, p. 97. The mythical creature crouching low and clinging closer to a large mokugyo as a frog attempts to clamber over its shell, tightly clutching the kappa’s shirikodama (anus ball). The unsuspecting kappa with an alarmed expression, its head sharply turned back, as it realizes what the thieving frog has done. The skin of both creatures is naturalistically carved and finely stained. Large, asymmetrical himotoshi to the underside and signed SEIMIN. The artist is best known for his depictions of frogs and is therefore also referred to as ‘kaeru Seimin’. While many unsigned works are attributed to him, signed examples are rather scarce. LENGTH 3.9 cm Condition: Very good condition with minor wear and few age cracks. Provenance: Ex-collection Martin S. Newstead. Sotheby’s, The Martin S. Newstead Collection of Netsuke, 24 October 1984, London, lot 95 (sold for GBP 1,650 or approx. EUR 8,600 converted and adjusted for inflation at the time of writing). Ex-collection Alan R. Liss. Sotheby’s, Fine Netsuke Including Property from the Collection of Alan R. Liss, 2 September 1993, Chicago, lot Alan R. Liss, 23 (sold for USD 4,830 or approx. EUR 9,800 converted and adjusted for inflation at the time publisher of the Meinertzhagen of writing). A private collection in Luxembourg, Card Index (MCI) acquired from the above. Kappa (lit. “river-child”) are amphibious yokai found in traditional Japanese folklore. They are usually seen as mischievous troublemakers or trickster figures. They are often accused of assaulting humans in water and removing a mythical organ called the shirikodama from their victim’s anus. Here, in a rare and humorous representation imbued with character and wit, the kappa gets a taste of his own medicine when the stealthy frog swipes its shirikodama in a surprising turn of events. Estimate EUR 4,000 Starting price EUR 2,000

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338 MASATADA: A FINE KURUMI (WALNUT) NETSUKE OF BUNBUKU CHAGAMA (BADGER TEA-KETTLE) By Masatada, signed Masatada 正忠 Japan, Yamada, Ise province, early 19th century, Edo period (1615-1868)

Finely carved, the natural shape of the nut brilliantly utilized to convey the bulbous form of the metamorphosizing badger, the face of the tanuki carved at the apex and its feet and tail on the underside. The surface both stippled to imitate iron and incised to show fine fur, all surmounted by a fitted boxwood lid. The lid housing the loop-cord attachment and base with the central himotoshi, signed to the tail within a polished reserve MASATADA. The imaginative carving cleverly incorporates the natural properties of the nut whilst preserving the partially hollowed interior. LENGTH 3.7 cm Condition: Good condition with minor wear and expected natural imperfections and related minuscule losses. The lid replaced. Presenting beautifully. AUCTION COMPARISON Compare a related kurumi (walnut) netsuke depicting Bunbuku Chagama, by Masatada, 19th century, at Sotheby’s, Netsuke, Inro, Lacquer, 19 April 1980, New York, lot 27 (sold for USD 1,100 or EUR 4,000 converted and adjusted for inflation at the time of writing). Estimate EUR 4,000 Starting price EUR 2,000

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339 A FINE KURUMI (WALNUT) NETSUKE OF A TIGER AND DRAGON Unsigned Japan, Iwashiro province, mid-19th century, Edo period (1615-1868) The kurumi netsuke very finely carved to depict a dragon confronting a tiger, the scaly body of the mythical beast writhing and twisting around the composition in a dramatic manner, and the feline’s characteristic stripes are rendered with alternating finely etched and smoothly polished areas, all framed by turbulent waves and scrolling clouds. With two himotoshi rimmed with kiku blossoms. HEIGHT 3.7 cm Condition: Very good condition with minor wear and expected natural imperfections including related minuscule losses and age cracks. LITERATURE COMPARISON Compare a related kurumi doublewalnut shell depicting a tiger and dragon, by Seimin, mid-19th century, illustrated by Meinertzhagen / Lazarnick (1986) MCI, Part B, p. 712. Auction comparison: Compare a related kurumi netsuke of a dragon, also unsigned, 3.7 cm high, at Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 278 (sold for EUR 2,781). Estimate EUR 1,500 Starting price EUR 800

340 A FINE KURUMI (WALNUT) NETSUKE OF HANDAKA SONJA WITH HIS DRAGON Unsigned Japan, mid-19th century, Edo period (1615-1868) The kurumi netsuke very finely carved to depict Handaka Sonja with his hands clasped around a staff, dressed in voluminous robes, with a stern expression on his face. His dragon (tatsu) writhing to the other side, its scaly body twisting around the composition, flames emanating from its body. The back with ringed himotoshi. HEIGHT 3.8 cm Condition: Very good condition with minor wear and expected natural imperfections and related minuscule losses. Provenance: From the private collection of Maybelle Dore. AUCTION COMPARISON Compare a related kurumi netsuke of a dragon, also unsigned, 3.7 cm high, at Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 278 (sold for EUR 2,781). Estimate EUR 1,500 Starting price EUR 800

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341 A RARE ABSTRACT ROOTWOOD NETSUKE OF JUBOKKO Signed with a kakihan Japan, 19th century

Of abstract form, the rootwood cleverly picked and manipulated to depict Jubokko devouring a warrior. The branches of the yokai tree engulf the deceased soldier, forming a tube around his corpse, as it sucks the blood out of the victim. Chimney himotoshi to the side and signed to the underside with a kakihan. HEIGHT 5.6 cm Condition: Very good condition with wear and expected natural imperfections. The Jubokko is a fearsome yokai tree from Japanese folklore, said to emerge on battlefields soaked with the blood of countless fallen warriors. Transformed into a supernatural entity by absorbing the blood of the dead, the Jubokko sustains itself on human blood. When an unsuspecting person wanders too close, the tree is said to ensnare its victim, transforming its branches into tube-like structures to drain their blood. Thanks to this gruesome feeding method, the Jubokko is believed to retain a perpetually fresh and healthy appearance. If cut, the tree is said to bleed like a living being. Curiously, despite its malevolent nature, a branch from a Jubokko is rumored to possess healing and purifying properties when used on the injured. LITERATURE COMPARISON Compare a related rootwood netsuke of Daruma, unsigned, illustrated in Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 93, no. 25. Estimate EUR 2,000 Starting price EUR 1,000

370

342 A LARGE AND UNUSUAL DRIFTWOOD NETSUKE OF A DRIED FISH Unsigned Japan, 17th-18th century, Edo period (1615-1868) Carved from a piece of natural flattened driftwood to depict a desiccated fish, its eyes inlaid with a wood peg. The material is almost left untouched save for the eye, mouth, and himotoshi. The surface with a fine polish. LENGTH 17.3 cm Condition: Very good condition with minor expected wear.

It is well documented that the earliest netsuke were often improvised from everyday objects suitable as sagemono, such as natural gourds, pieces of wood, and other simple materials. The present netsuke belongs to this rare and highly significant category and is among the earliest known examples in existence. LITERATURE COMPARISON Compare a related rootwood netsuke of a fish, unsigned, illustrated in Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 93, no. 20. Estimate EUR 1,500 Starting price EUR 800

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343 A RARE UMIMATSU NETSUKE OF A DRIED SALMON (HIMONO) Unsigned Japan, 18th century, Edo period (1615-1868) Finely carved as a section of dried fish (himono), a classic dish during Japanese New Year (Shogatsu), with an open mouth revealing rows of sharp teeth, its shriveled skin adhering to its partially visible bones and meticulously incised with scales which are smooth or rough to touch depending on whether the finger is moved in the direction of the tail fin or head. Natural himotoshi. The carving fully exploits the variegated purple-black umimatsu (black coral or seapine) with pale lacquer striations, lightly polished to show the grain. LENGTH 7.2 cm Condition: Repair to the lower jaw. Otherwise good condition with expected wear. Provenance: A noted private collection in Munich, Germany. Umimatsu (lit. seapine) is a species of black coral with dense texture, concentric growth rings, and amber or reddish-colored inclusions in the otherwise brown-black material. True coral is a hard calcareous substance secreted by marine polyps for habitation; umimatsu, on the other hand, is a colony of keratinous antipatharian marine organisms. As a material, it was considered risky for carvers as it was prone to crack, crumble, or chip. LITERATURE COMPARISON For a closely related umimatsu netsuke of a dried salmon, signed Tomotada, 6.3 cm wide, see Bushell, Raymond (1961) The Netsuke Handbook by Ueda Reikichi, p. 102, no. 108.

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AUCTION COMPARISON Compare a closely related umimatsu netsuke of a dried salmon, unsigned, early 19th century, 9.1 cm, formerly in the H. Seymour Trower collection, at Sotheby’s, Japanese Works of Art from the Collection of the Late Charles A. Greenfield Part II, 18 September 1998, New York, lot 68. Estimate EUR 1,500 Starting price EUR 800

344 A SUPERB AND RARE RHINOCEROS HORN AND UMIMATSU (SEA PINE) NETSUKE OF A KUMOSUKE (ROAD PORTER) Unsigned Japan, late 18th century, Edo period (1615-1868) The amused porter standing sheepishly with hands clasped to the back as he looks sideways, scantily clad in a short loincloth and shoes carved from rhinoceros horn, an impish expression on his face as he grins widely, nostrils flaring, and eyes gleaming. Generously excavated himotoshi to the back. The carving fully exploits the variegated purple-black umimatsu (black coral or sea pine) with pale lacquer striations, lightly polished to show the grain. HEIGHT 7.2 cm Condition: Very good condition with minor wear, the material with typical natural fissures and flaws. One chip to the foot. The kumosuke were men from a rough background who carried daimyo inside a palanquin along the Tokaido road, which connected Edo (Tokyo) and Kyoto during the Tokugawa era. They had to be strong but also needed to know how to sing to entertain the feudal lords. Estimate EUR 4,000 Starting price EUR 2,000

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345 A RARE MOTHER-OF-PEARL NETSUKE OF A SQUID Unsigned Japan, 19th century Carved from a thick section of brightly shimmering and iridescent mother-of-pearl, bearing fine bright-yellowish inclusions, depicting a squid with a notched, tapering head, its body gently curved, the tentacles forming a compact bundle below, and the glaring doubleinlaid eyes of pale and dark horn appearing cautious as it moves through the depths of the ocean. Generously excavated himotoshi through the back. HEIGHT 8.1 cm Condition: Very good condition with minor wear and typical natural flaws. A small crack to one inlaid eye.

Provenance: From the estate of Clemens Merkelbach van Enkhuizen. Clemens Merkelbach van Enkhuizen (1937-2023), was a Dutch portrait painter characterized as an Impressionist. Together with his partner Gerard Spruyt (1922-2011), they Clemens Merkelbach collected religious artifacts, Chinese and van Enkhuizen at an Japanese porcelain, as well as Japanese opening in April 2013 woodcuts and netsuke. Clemens built up this extensive collection of Asian art from the 1970s to the early 21st century. AUCTION COMPARISON Compare a near-identical motherof-pearl netsuke of a squid, of slightly smaller size (7.7 cm high), at Zacke, Fine Netsuke & Sagemono, 8 November 2024, Vienna, lot 358 (sold for EUR 5,200). Estimate EUR 2,000 Starting price EUR 1,000

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346 SAKO: AN AMUSING MARINE IVORY NETSUKE OF A KAPPA ON A CLAM By Sako, signed Sako 左光 Japan, 19th century, Edo period (1615-1868) Published: Sagemonoya (1996) Netsuke, no. 47. Amusingly carved as a large kappa on top of a hamaguri clam, raising its head, its skin neatly textured and detailed with a hair crest and incised shell. The mythical being, depicted here in a boyish manner, has a whimsical expression and inlaid eyes of pale translucent horn. The underside with large, asymmetrical himotoshi and the signature SAKO. HEIGHT 4.8 cm Condition: Excellent condition with few material-inherent age cracks. Provenance: From the Collection of Dr Reinhard Lohrberg (19432024), Hanover, acquired from Robert Fleischel (Sagemonoya), Tokyo, on 6 April 2016. Estimate EUR 3,000 Starting price EUR 1,500

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347 A WALRUS TUSK NETSUKE OF A MINOGAME AND TURTLE ON A ROCK Unsigned Japan, 18th century, Edo period (1615-1868) Carved from a beautiful section of walrus tusk, with beautiful cloudy inclusions of the interior to the top and an ivory-like smoothened outer section to the underside. The netsuke is formed as a large rock with waves crashing over its surface, further detailed with auspicious plants such as bamboo and pine. Two turtles, one of them a mythical thousand-year-tortoise (minogame), are seen crawling across the top, their features minutely carved and eyes inlaid. One single, large himotoshi to the underside, the cord running through the ‘natural’ openings of the rock. Beautiful, deep patina. LENGTH 4.1 cm Condition: Very good condition with natural age cracks and one loss to an inlaid eye. Provenance: Ex-collection Marcel Lorber (1900-1986). Zacke, Japanische Netsuke, Inro und andere Sagemono - Ausstellung 1986, no. 76. From an Austrian private collection, acquired from the above.

Marcel Lorber (1900-1986)

Estimate EUR 1,500 Starting price EUR 800

348 A RARE COROZO NUT NETSUKE OF TWO NASUBI (EGGPLANTS) Japan, late 19th century Finely carved as two joined eggplants, the dark brown skin of the nut cleverly incorporated in the design, the stem and leaves neatly incised with fine lines, and two himotoshi to one eggplant. Illegibly signed. LENGTH 4.5 cm Condition: Excellent condition with minor wear. Provenance: From the collection Louis C. Kalff, Waalre, Netherlands. Louis C. Kalff (1897-1976) was an architect, designer and art director at Philips for commercials, products, exhibitions and stands. Kalff has also built several villas, gave lectures, was involved in KIO (Association of Industrial Designers) and the Eindhoven Academy of Industrial Design. He further authored the book Kunstlicht en architecture (Artificial light and architecture’) Louis Kalff in 1941. This material is rarely encountered in netsuke art as it is notoriously difficult to carve. Corozo nuts are also known as ‘vegetable ivory’ due to their similar appearance. The present netsuke is a remarkably fine example of this type. Estimate EUR 1,000 Starting price EUR 500

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349 A RARE CARVED AMBER NETSUKE OF A SKULL Unsigned Japan, 19th century Depicting a skull with cavernous eye sockets, naturalistically carved, the transparent amber of a fine golden-brown color. Natural himotoshi. LENGTH 4.2 cm Condition: Good condition with expected flaws to the material, some traces of use including surface scratches and minuscule losses. Provenance: From an old German private collection, assembled before 1950. Carved amber netsuke are rare and most recorded examples were imported from China and re-functioned as netsuke during the Edo period, like lot 350. Estimate EUR 1,500 Starting price EUR 800

350 A RARE CARVED AMBER NETSUKE OF A LEAFY PERSIMMON Unsigned China and Japan, 18th century Depicting a leafy persimmon attached to a thick branch, the thick ripened fruit beautifully polished and the branch and leaves textured and incised. Large himotoshi under the branch. The semitranslucent amber of a beautiful caramel gold tone. LENGTH 4.2 cm Condition: Very good condition with minor expected wear and typical natural flaws to the material. Provenance: From the private collection of Maybelle Dore. Maybelle (Betty) Dore started collecting Japanese antiques in the postwar years, during the 1950s and 1960s, when interest in Japanese art was generally very low. For her business she ventured to Japan on her own to assemble netsuke and related works of art, including pipe cases and kogo (incense containers). Betty was also a founding member and the first Chairwoman of the International Netsuke Society, Northern California Chapter. LITERATURE COMPARISON This wonderful example of carved amber was likely a Chinese toggle created for the Imperial court during the Qianlong era (1736-1795). Some time after that it was re-functioned as a netsuke. For a related carved amber netsuke, depicting a Buddha’s hand fruit, see Bushell, Raymond Netsuke (1975) Familiar & Unfamiliar, p. 150, no. 334. Estimate EUR 1,500 Starting price EUR 800

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351 A RARE IVORY AND SHIBUICHI KAGAMIBUTA NETSUKE WITH A NEKOMATA Unsigned Japan, late 19th century Of circular form, the shibuichi plate finely decorated in gold, shibuichi, suaka, and shakudo takazogan with a dancing bakeneko wearing a cloth on its head, the tail bifurcated, under a flat-inlaid crescent moon, with a bundle of straws, flowers, and grasses carved in katakiri and kebori. The bowl with a central himotoshi, the cord attachment to the back of the plate. DIAMETER 4.5 cm Condition: Very good condition with minor wear, a small natural age crack to the side of the ivory bowl. It is thought that a cat that is several years of age will come to have two tails and become the yokai called nekomata. MUSEUM COMPARISON Compare a related kagamibuta netsuke depicting a nekomata by Shuraku, 4 cm diameter, dated c. 1860-1890, formerly in the Trumpf Collection and now in the Linden-Museum Stuttgart, inventory number OA 18841. Estimate EUR 2,000 Starting price EUR 1,000

352 AN IVORY AND SHIBUICHI KAGAMIBUTA NETSUKE WITH EGRETS IN A LOTUS POND Unsigned Japan, late 19th century Of circular form, the ivory bowl fitted with a shibuichi plate very finely worked in high relief and decorated in gold, suaka, and shakudo takazogan and hirazogan to depict a pair of egrets wading through a pond, all below a large lotus leaf. The bowl with a central himotoshi, the cord attachment to the back of the plate. DIAMETER 4.5 cm Condition: Very good condition with minor surface wear and traces of use. LITERATURE COMPARISON Compare a related kagamibuta netsuke of cranes in a lotus pond, dated to the 19th century, 4.1 cm diameter, in the Metropolitan Museum of Art, object number 91.1.948. Estimate EUR 1,500 Starting price EUR 800

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353 RYUMIN: A TORTOISESHELL AND SHIBUICHI KAGAMIBUTA NETSUKE OF SUSANOO NO MIKOTO By Serizawa Ryumin, signed Ryumin 立民 and kakihan Japan, Tokyo, late 19th century The shibuichi plate set into an unusual bowl carved from bekko (tortoiseshell), the plate decorated in iro-e takazogan and hirazogan to depict Susanoo no Mikoto standing atop a cliff, holding a sword, and looking down towards the crashing waves. Signed to the back of the plate RYUMIN and with the artist’s kakihan. The bowl with a central himotoshi, the cord attachment to the back of the plate. DIAMETER 4.5 cm Condition: Good condition with minor wear, a few light scratches to the bowl and slight tarnishing to the bowl. Provenance: From the private collection of Maybelle Dore. Maybelle (Betty) Dore started collecting Japanese antiques in the postwar years, during the 1950s and 1960s, when interest in Japanese art was generally very low. For her business she ventured to Japan on her own to assemble netsuke and related works of art, including pipe cases and kogo (incense containers). Betty was also a founding member and the first Chairwoman of the International Netsuke Society, Northern California Chapter. Estimate EUR 1,500 Starting price EUR 800

The subject can be seen on an ukiyo-e by Keisai Eisen, dated 1832, titled ‘Susanoo no mikoto preparing to slay an eightheaded dragon’, in the Spencer Museum of Art, accession number 0000.1624

354 A FINE WOVEN SILVER AND SHAKUDO MANJU NETSUKE Unsigned Japan, 19th century Of cushion shape, the two-part manju netsuke finely woven in silver and shakudo to create a fine herringbone pattern. Central himotoshi through the back, the looped cord attachment within. LENGTH 3.5 cm Condition: Very good condition with minor expected wear. Provenance: From the private collection of Maybelle Dore. Maybelle (Betty) Dore started collecting Japanese antiques in the postwar years, during the 1950s and 1960s, when interest in Japanese art was generally very low. For her business she ventured to Japan on her own to assemble netsuke and related works of art, including pipe cases and kogo (incense containers). Betty was also a founding member and the first Chairwoman of the International Netsuke Society, Northern California Chapter. Literature comparison: Compare a closely related netsuke showing the same design and technique in the Linden Museum Stuttgart, inventory number OA 19367.

AUCTION COMPARISON Compare a closely related netsuke showing the same design and technique at Zacke, Fine Netsuke & Sagemono, 29 October 2021, Vienna, lot 300 (sold for EUR 1,074). Estimate EUR 1,000 Starting price EUR 500

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355 A FINE MIXED METAL AND GOLD LACQUER KAGAMIBUTA NETSUKE WITH HORSES Unsigned Japan, 19th century, Edo period (1615-1868)

The gold-lacquered bowl bearing a lustrous kinji ground, fitted to the top with a small shakudo nanako plate, beautifully decorated in shakudo and gold takazogan with two horses, one prancing and looking back and the other grazing. Central himotoshi to the back, the cord attachment to the back of the shakudo plate. DIAMETER 4.1 cm Condition: Good condition. A small touchup to the lacquer and minor wear to the area of contact between the plate and lacquered bowl, a few light surface scratches throughout. Overall presenting beautifully. Provenance: Ex-collection Julius & Arlette Katchen. Sotheby’s, The Katchen Collection of Netsuke Part II, 13 July 2006, London, lot 332 (sold for GBP 1,920). From the private collection of Alan and Simone Hartman, New York, acquired from the above. Alan Hartman Alan and Simone (1930-2023) was an influential American Hartman art dealer, who took over his parents’ antique business in Manhattan and established the legendary Rare Art Gallery on Madison Avenue, with further locations in Dallas and Palm Beach. His wife Simone (née Horowitz) already served as assistant manager of the New York gallery before the couple were married in 1975, and together they built a renowned collection for over half a century and became noted art patrons, enriching the collections of important museums including the Museum of Fine Arts, Boston (which opened the Alan and Simone Hartman Galleries in 2013) as well as the Metropolitan Museum of Art and Brooklyn Museum in New York. Estimate EUR 2,000 Starting price EUR 1,000

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356 A FINE LACQUER MANJU NETSUKE WITH A ROOSTER AND PRUNUS TREE Unsigned Japan, 19th century, Edo period (1615-1868) The two-part manju netsuke bearing a beautifully lacquered sabijinuri (imitating textured iron) ground, the front with a circular gold kinji medallion worked with iro-e takamaki-e depicting a rooster below a blossoming prunus tree and a wickerwork basket, the tree continuing to the side. The interior of silver with fundame rims. Central himotoshi to the back, the circular pierced peg cord attachment within. DIAMETER 4.1 cm Condition: Excellent condition with only very minor wear to the interior. Provenance: From the private collection of Alan and Simone Hartman, New York. With an old Japanese label pasted to the back and a collector’s label to the interior: “ATTR KOMA CXEX”. Estimate EUR 1,500 Starting price EUR 800

357 A LACQUER MANJU NETSUKE WITH A SWALLOW, BRUSH AND POEM SLIP Unsigned Japan, 18th century, Edo period (1615-1868) The two-part manju netsuke bearing a black over red lacquered ground sprinkled with sparse gold flakes, finely decorated to the front in gold takamaki-e with a poetic scene of a swallow flying above a paintbrush and poem slip. The back with a large central himotoshi, the cord attachment in the form of a circular pierced peg to the black-lacquered interior. DIAMETER 3.6 cm Condition: Excellent condition with only very minor wear to the interior. Provenance: From the private collection of Alan and Simone Hartman, New York. Estimate EUR 1,000 Starting price EUR 500

381

Condition: Excellent condition with only very minor typical wear. Provenance: From the private collection of Suzanne Braley, thence by descent. Suzanne Henriette Marguerite Braley (1893-1970) was a banker based in Monte Carlo, Monaco. She also lived in Shanghai between around 1910 and 1920, where she began collecting Chinese and Japanese antiques. The netsuke is unusually heavy, which suggests the base material may be some form of tusk rather than the more commonly used boxwood. This is further confirmed by lustrous white areas shimmering through the worn areas of the netsuke.

358 A FINE LACQUER NETSUKE OF A BLOOMING CHRYSANTHEMUM Unsigned Japan, Meiji period (1868-1912) Lavishly lacquered in lustrous gold kinji, the large leaves applied with coarse green lacquer, one leaf with gold veins, the stem twisting below forming the cord attachment. LENGTH 3.5 cm

359 A RARE RINPA STYLE LACQUER NETSUKE OF A HYOTAN (DOUBLE GOURD) Style of Ogata Korin (1658-1716), unsigned Japan, c. 1800, Edo period (1615-1868) The hyotan-shaped netsuke bearing a lustrous kinji ground, embellished with a gold takamaki-e poppy flower issuing hiramaki-e vines and large mitsuda (pewter) leaves further detailed with gold veins. The two himotoshi are separated by a second smaller hyotan. LENGTH 4.5 cm Condition: Excellent condition with only very minor typical wear. Provenance: From the private collection of Suzanne Braley, thence by descent. Suzanne Henriette Marguerite Braley (1893-1970) was a banker based in Monte Carlo, Monaco. She also lived in Shanghai between around 1910 and 1920, where she began collecting Chinese and Japanese antiques.

Suzanne Henriette Marguerite Braley (1893-1970)

This particular lacquerware with thick pewter inlays is often referred to as ‘Rinpa style’ or ‘Korin style’. While numerous lacquered inro exist in this style, netsuke are exceedingly rare. Estimate EUR 1,500 Starting price EUR 800

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AUCTION COMPARISON Compare a related lacquer netsuke of a blossoming peony at Zacke, Fine Netsuke & Sagemono, 28 April 2023, Vienna, lot 285 (sold for EUR 2,600).

Estimate EUR 1,500 Starting price EUR 800

360 NOMURA CHOHEI: A RARE LACQUERED AND INLAID CERAMIC NETSUKE OF MORTAR WITH SHELLS By Nomura Chohei(sai), signed Chohei 樗平 Japan, late 18th to early 19th century, Edo period (1615-1868) The ceramic netsuke beautifully lacquered in burgundy red, formed as a suribachi (mortar), the glaze pooling around the sides, the interior lacquered and inlaid with aogai to depict a variety of shells including a trumpet shell and two awabi (abalone) surrounded by seaweed. Remarkably, the sides are detailed with simulated cracks which are “repaired” in a traditional manner with metal clips. Two himotoshi underneath and signed CHOHEI. DIAMETER 3.5 cm Nomura Chohei(sai) was an important Japanese lacquer artist, appointed as an official lacquerer to the Shogun in 1776. His works often feature intricate designs and the application of various materials, including ceramic, lacquer, mother-of-pearl, as well as other materials, similar in conception to the works of Ogawa Haritsu (Ritsuo, 1663-1747) and his followers. LITERATURE COMPARISON Compare three related manju netsuke by Chohei in the Tokyo National Museum, illustrated in Arakawa, Hirokazu (1983) The Go Collection of Netsuke, nos. 247-249.

Estimate EUR 4,000 Starting price EUR 2,000

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361 A FINE INLAID AND LACQUERED WOOD MANJU NETSUKE DEPICTING CHERRY BLOSSOMS Unsigned Japan, late 19th century

Published: Tomkinson, Michael, A Japanese Collection (1898), Volume I, p. 159, no. 302 (unillustrated). The two-part tagayasan wood manju netsuke decorated to the front with a blossoming cherry branch, the branch and leaves inlaid in horn and tortoiseshell and the flowers lacquered in thick gold takamaki-e and inlaid with mother-of-pearl. Central himotoshi to the back, the cord attachment within. DIAMETER 4 cm Condition: Good condition. Small repair to the gold lacquer and one mother-ofpearl inlay re-attached. Provenance: Collection Michael Tomkinson (1841-1921), Kidderminster, UK, paper label, no. 302. Dr. Franz Weber, Vienna, March 1967. The Papp Collection (no. 850), acquired from the above.

Michael Tomkinson (1841-1921)

MUSEUM COMPARISON Compare a closely related manju netsuke with chrysanthemums in the Los Angeles County Museum of Art (LACMA), formerly in the Bushell collection, accession no. M.87.263.36. Estimate EUR 1,500 Starting price EUR 800

362 A FINE LACQUERED AND INLAID MANJU NETSUKE WITH A DRAGONFLY Unsigned Japan, 18th-19th century, Edo period (1615-1868) The two-part manju netsuke of four-lobed mokko shape, the front finely decorated with a dragonfly curling its abdomen and spreading its wings, the design executed in red and gold takamaki-e, hiramaki-e and inlaid with carnelian and gold foil. The nashiji interior decorated with two butterflies, the rims of silver. Central himotoshi to the back and the cord attachment in the form of a metal loop within. LENGTH 4.2 cm Condition: Very good condition. Typical wear and natural flaws to the wood, including a very fine crack to the back. Minor wear to the inlaid gold foil. Provenance: From the private collection of Alan and Simone Hartman, New York. Alan Hartman (1930-2023) was an influential American art dealer, who took over his parents’ antique business in Manhattan and established the legendary Rare Art Gallery. His wife Simone (née Alan and Simone Horowitz) already served as assistant Hartman manager of the New York gallery before the couple were married in 1975, and together they built a renowned collection for over half a century. Estimate EUR 1,500 Starting price EUR 800

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363 TACHIBANA GYOKUZAN: A FINE LACQUER MANJU NETSUKE OF A RAT By Tachibana Gyokuzan, signed Gyokuzan 玉山 sei 製 and kakihan Japan, Edo (Tokyo), 19th century, Edo period (1615-1868) The two-part manju bearing a beautiful, lustrous silver ground and decorated in gold and black takamaki-e with a rat (nezumi), its tail curling and fur neatly detailed. Central himotoshi to the back, beside it the neatly lacquered signature GYOKUZAN sei [made by Gyokuzan] and with the artist’s kakihan in red. The interior of gold fundame and with a metal eyelet peg for the cord attachment.

DIAMETER 4 cm Condition: Very good condition with only very minor wear. For the artist see Earle, Joe [ed.] (1995) The Index of Inro Artists, p. 63 (see farthest left bottom row signature for an identical Gyokuzan 玉山 signature). The artist made netsuke, inro and ojime and may have been affiliated with the Kajikawa workshop. Estimate EUR 2,000 Starting price EUR 1,000

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364 A RARE GURI LACQUER MANJU NETSUKE Unsigned Japan, 18th century, Edo period (1615-1868) Of typical design, the two-part manju netsuke beautifully lacquered in alternating red and black layers, the red revealed by careful polishing of the black layer. Central himotoshi to the back, the black-lacquered interior housing the looped cord attachment in the form of a copper kiku fitting. DIAMETER 4 cm Condition: Excellent condition with only very minor wear to the interior. Provenance: From the private collection of Alan and Simone Hartman, New York. Alan Hartman (1930-2023) was an influential American art dealer, who took over his parents’ antique business in Manhattan and established the legendary Rare Art Gallery. His wife Simone (née Alan and Simone Horowitz) already served as assistant Hartman manager of the New York gallery before the couple were married in 1975, and together they built a renowned collection for over half a century. The guri lacquer technique comes from China and can be traced back to the Tang dynasty (618-907 AD). The word guri refers to sword pommel scroll, which these designs are thought to resemble. Estimate EUR 1,000 Starting price EUR 500

365 AN UNUSUAL LACQUER HAKO NETSUKE Unsigned Japan, 18th-19th century, Edo period (1615-1868) The large square hako (box) netsuke fitted with a cover inlaid in tsuishu (carved red lacquer) with two Chinese sages above a wood ground sparsely decorated with gold leaves, the sides of the box lavishly lacquered in takamaki-e with various autumnal plants above a densely inlaid kirigane ground. The underside and interior of nashiji, the himotoshi formed a silver kiku floret, the cord attachment underneath the flush-fitted cover. An unusual netsuke, exhibiting a variety of different lacquer techniques. SIZE 2.3 x 3.4 x 4.1 cm Condition: Minor expected wear to the kirigane flakes, some light rubbing and tiny losses to edges. Overall very good condition. Estimate EUR 2,000 Starting price EUR 1,000

386

366 A FINE TSUISHU LACQUER MANJU NETSUKE OF A KARAKO WITH SHISHIMAI COSTUME Unsigned Japan, 18th-19th century, Edo period (1615-1868) The two-part manju netsuke finely worked in tsuishu (carved red lacquer) depicting a lively scene of a Chinese boy dressed in traditional robes, crouching with his shoulders broadened in a standoffish manner, holding a shishimai costume, the mask appearing to bite into his side, and holding a brocade ball attached to a string. The verso is finely carved with a large fan in front of a kiku flower issuing leaves, and a bundle of tied poem slips. The interior of bright yellow nashiji. Central himotoshi to the back, the looped metal cord attachment within. DIAMETER 4 cm Condition: Excellent condition with only very minor wear to the interior. Estimate EUR 1,500 Starting price EUR 800

367 AN EXQUISITE TSUISHU LACQUER MANJU NETSUKE WITH KIKU DESIGN Unsigned Japan, 18th-19th century, Edo period (1615-1868) The two-part manju netsuke finely worked in tsuishu (carved red lacquer), bearing a design of five large blossoming kiku (chrysanthemums), with large leaves and two budding flowers, all against neatly incised brocade-diamond ground. Central himotoshi to the back, the cord attachment in the form of a loop to the blacklacquered interior. DIAMETER 3.5 cm Condition: Excellent condition with only very minor typical wear. Provenance: From the private collection of Alan and Simone Hartman, New York. Estimate EUR 1,500 Starting price EUR 800

387

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368 MATSUKI HOKEI: A SUPERB TSUISHU LACQUER NETSUKE OF A BUTTERFLY DANCER, KOCHO NO MAI By Matsuki Hokei, signed Hokei 豊慶 Japan, Tokyo, late 19th century, Meiji period (1868-1912) Published: Davey, Neil K. (1982) Netsuke: A comprehensive study based on the M.T. Hindson Collection, p. 162, no. 486. Delicately carved and lacquered in tsuishu red, typical for the artist who invariably used and mastered this traditional technique, depicting a performer of the Kocho no Mai. The dancer has one foot and arm raised dynamically, the long hair in the back neatly incised and the robes decorated with various roundels, floral arrangements and asanoha. The back shows the elaborate butterfly wings above a large sash which houses the himotoshi and flows underneath forming the base of the netsuke. Signed HOKEI. HEIGHT 4.7 cm Condition: Very good condition with very minor wear. Provenance: Ex-collection W. Guest, no. 1647. Ex-collection V. F. Weber. Ex-collection M. T. Hindson (1883-1968). Sotheby’s, M. T. Hindson Collection of Important Netsuke, 1967-1969, London, lot 793. Matsuki Hokei was a lacquerer who worked in Tokyo in the early Meiji era and is widely Mark T. Hindson recognized for his superb craftsmanship in tsuishu. Hokei was a professor at the Tokyo Academy of Fine Arts in 1887. Fuld’s Netsuke and Ojime Index records only one netsuke of this subject, which is the present piece. While this work is certainly very typical for the artist, the subject is to be considered rare and the carving shows more delicate finesse than many of his larger netsuke. For the Butterfly Dance (Kocho no mai), performers don ornate crowns and colorful costumes resembling butterfly wings. Originally performed as a court dance (bugaku), the Butterfly Dance was eventually incorporated into the Noh and Kabuki repertoires. AUCTION COMPARISON Compare a related tsuishu netsuke depicting a Noh actor at Bonhams, Netsuke from the Collection of Joseph and Elena Kurstin, 16 December 2022, New York, lot 18 (sold for USD 8,287). Estimate EUR 8,000 Starting price EUR 4,000

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369 A FINE GOLD LACQUER NETSUKE OF A MANZAI DANCER Unsigned Japan, 19th century, Edo period (1615-1868) The left leg dynamically raised and head turned, wearing a blacklacquered eboshi and holding an open fan before him. The dancer’s robe is adorned with a hiramaki-e hanabishi crest to the back and the fan is subtly lacquered with pines. Two himotoshi to the back. HEIGHT 5.3 cm

Condition: Very good condition with minor typical wear and light rubbing revealing the black and red lacquer layers underneath. Provenance: From the private collection of Alan and Simone Hartman, New York. Alan Hartman (1930-2023) was an influential American art dealer, who took over his parents’ antique business in Manhattan and established the legendary Rare Art Gallery on Madison Alan and Simone Avenue, with further locations in Dallas Hartman and Palm Beach. His wife Simone (née Horowitz) already served as assistant manager of the New York gallery before the couple were married in 1975, and together they built a renowned collection for over half a century and became noted art patrons, enriching the collections of important museums including the Museum of Fine Arts, Boston (which opened the Alan and Simone Hartman Galleries in 2013) as well as the Metropolitan Museum of Art and Brooklyn Museum in New York. Estimate EUR 2,500 Starting price EUR 1,200

390

370 MEIKEISAI HOJITSU: A SUPERB LACQUERED AND INLAID WOOD NETSUKE OF A MANZAI DANCER WEARING AN OKINA MASK By Meikeisai Hojitsu, signed Hojitsu 法實 Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868) The dancer with one leg slightly raised and stepping forwards, holding the closed fan before him with both hands, his robes luxuriously lacquered with various floral crests and karakusa worked in subtle hiramaki-e. The performer is wearing an Okina mask and an eboshi, both carved from buffalo horn and embellished with stained bone inlays. The hands and feet are lacquered in silver. Signed to the back below the two himotoshi within a mother-of-pearl inlaid plaque HOJITSU. HEIGHT 5.1 cm

Condition: Excellent condition with only very minor typical wear. Provenance: Property of a Lady. Christie’s, Japanese Ivory Carvings and Netsuke, 16 May 1979, London, lot 97 (illustrated on pl. 7). Ex-collection Maybell Dore, acquired from the above. Maybelle (Betty) Dore started collecting Japanese antiques in the postwar years, during the 1950s and 1960s, when interest in Japanese art was generally very low. For her business she ventured to Japan on her own to assemble netsuke and related works of art, including pipe cases and kogo (incense containers). Betty was also a founding member and the first Chairwoman of the International Netsuke Society, Northern California Chapter. AUCTION COMPARISON Hojitsu only rarely utilized lacquer in his netsuke. For a related example of a boy holding a fan see Lempertz, Asian Art, 21 June 2023, Cologne, lot 474 (sold for EUR 5,418). Note the similar lacquered décor and inlays. Estimate EUR 4,000 Starting price EUR 2,000

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371 A FINE AND LARGE LACQUER NETSUKE OF A GOSHO NINGYO DOLL HOLDING A FAN Unsigned Japan, late 19th century, Meiji period (1868-1912) Finely carved and lacquered in gold and silver hiramaki-e and takamaki-e, to depict a young boy dressed in an elaborate kimono with lozenge patterns embellished with aoi-mon, the sleeves with blossoms on turbulent waves, and holding a fan in his right hand. The face typically enlarged and chubby with red lips. The back with two large himotoshi hidden away in the kimono. HEIGHT 5.2 cm Condition: Very good condition with only very minor wear. Gosho ningyo are characterized by their chubby figures, fair skin, small hands and legs, their large heads, and simple eyes and noses. Their history goes back some 400 years, when they were treasured in the Imperial court. Over time they became expressions of hope for happiness and prosperity in life.

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´´ AUCTION COMPARISON Compare a related lacquer netsuke from the same workshop, dated to the 19th century, at Bonhams, Netsuke from the Collection of Joseph and Elena Kurstin, 16 December 2022, New York, lot 17 (sold for 10,200 USD). Compare a related lacquer netsuke of a gosho ningyo doll holding a flowerpot, dated to the late 19th century, at Zacke, Fine Japanese Art, 6 December 2024, Vienna, lot 526 (sold for EUR 6,500). Estimate EUR 5,000 Starting price EUR 2,400

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372 YOYUSAI: A FINE LACQUER NETSUKE OF A HORSE By Hara Yoyusai (1772-1845/6), signed Yoyusai 羊遊斎 Japan, Edo (Tokyo), 19th century, Edo period (1615-1868) Published: Ducros, Alain (1994) Netsuke & Sagemono, no. 27 (attached to an inro). The horse (uma) beautifully lacquered in silver with roiro spots, its mane neatly incised, the eyes lacquered in gold and the mouth lacquered red. The charming animal is depicted in motion, its tail swinging to the front, one leg slightly bent, its head lowered to graze, its ears pricked curiously as it shifts its attention towards the viewer. The netsuke is set on an irregular base sprinkled with gold flakes. Signed underneath in gold lacquer YOYUSAI.

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LENGTH 4.1 cm Condition: Excellent condition with only very minor typical wear. Hara Yoyusai (1772-1845/6) lived in Edo and was a highly skilled lacquerer whose patrons included aristocrats like Lord Matsudaira. Katabori lacquer netsuke by this artist are rare; Fuld’s Netsuke and Ojime Index lists a total of 9 examples including the present piece. Estimate EUR 4,000 Starting price EUR 2,000

373 KAJIKAWA: A SUPERB AND LARGE LACQUER NETSUKE OF A RECUMBENT DEER By a member of the Kajikawa family, signed Kajikawa 梶川 saku 作 with seal Ei 榮 Japan, Edo (Tokyo), late 18th to early 19th century, Edo period (1615-1868)

Published: Reikichi, Ueda (1934) Netsuke for Tate (Shumi no Netsuke), no. 9 and illustrated in color on pl. 1. H. Batterson Boger, The Traditional Arts of Japan, illustrated on p. 271. Meinertzhagen, Frederick / Lazarnick, George (1986) MCI, Part A, p. 305. Exhibited: Shinjuku Department Store, Tokyo and Umeda Hankyu Department Store, Osaka in 1981, catalog no. 104. Shown in a stylized manner, its body hunched together forming a well-rounded composition, the deer’s eyes amusingly widened in amazement at its compact posture. The surface is finely lacquered in various shades of gold with some red and black, and further dusted with gold powder. The underside of kinji-nashiji, with two large, asymmetrical himotoshi and signed in gold takamaki-e KAJIKAWA with a red pot seal Ei. LENGTH 5.4 cm Condition: Very good condition with minor wear and very light rubbing to lacquer. Provenance: Ex-collection Ueda Reikichi. Ex-collection Charles A. Greenfield, sold at Sotheby’s, Japanese Works of Art from the Collection of the late Charles A. Greenfield, Part II, 18 September 1998, lot 124. AUCTION COMPARISON Compare a closely related smaller lacquer netsuke of a deer, also signed Kajikawa with red pot seal Ei, 4.5 cm wide, at Bonhams, Fine Netsuke from the Adrienne Barbanson Collection, 13 May 2013, London, lot 38 (sold for GBP 6,000, or approx. EUR 9,800 converted and adjusted for inflation at the time of writing). Estimate EUR 8,000 Starting price EUR 4,000

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374 KAJIKAWA: A FINE LACQUER MANJU NETSUKE DEPICTING A CRANE AND SPARROWS By a member of the Kajikawa family, signed Kajikawa 梶川 saku 作 with seal Ei 榮 Japan, Edo (Tokyo), 19th century, Edo period (1615-1868)

The two-part manju netsuke bearing a roiro ground embellished with sparse silver and gold flakes, beautifully lacquered to the front in iro-e takamaki-e with a design of a large red-crested crane flying with its wings spread above three squawking sparrows. The back with the gold-lacquered signature KAJIKAWA saku [made by Kajikawa] and with the classic red ‘tsubo’ (pot) seal Ei. The interior of nashiji with gold fundame rims. Central himotoshi to the back, the circular pierced peg cord attachment within. DIAMETER 4.1 cm Condition: Very good condition. A few light scratches to the back and minor typical wear to the interior. Provenance: From the private collection of Alan and Simone Hartman, New York. Alan Hartman (1930-2023) was an influential American art dealer, who took over his parents’ antique business in Manhattan and established the legendary Rare Art Gallery on Madison Alan and Simone Avenue, with further locations in Dallas Hartman and Palm Beach. His wife Simone (née Horowitz) already served as assistant manager of the New York gallery before the couple were married in 1975, and together they built a renowned collection for over half a century and became noted art patrons, enriching the collections of important museums including the Museum of Fine Arts, Boston (which opened the Alan and Simone Hartman Galleries in 2013) as well as the Metropolitan Museum of Art and Brooklyn Museum in New York. Estimate EUR 2,500 Starting price EUR 1,200

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375 SHUNSHO: A FINE AND LARGE LACQUER HAKO NETSUKE OF AN OSHIDORI (MANDARIN DUCK) Lineage of Yamamoto Shunsho, signed Shunsho 春正 Japan, Meiji period (1868-1912) The kinji ground beautifully lacquered with gold, silver, red, and brown hiramaki-e highlights, consisting of two parts, the mandarin duck (symbol of marital fidelity) with its head sharply turned to the left, shown as if swimming through water, the wings raised, and the tail feathers folded in the back. The plumage is finely worked with gentle gold strokes, embellished with kirigane, the feet flat against the sides. The base and interior in nashiji with gold fundame rims. Central himotoshi through the underside, the looped cord attachment within. Signed to the base within an oblong reserve in sosho (cursive script) SHUNSHO. LENGTH 6.4 cm Condition: Excellent condition with only minor surface wear. Provenance: Ex-collection Maybell Dore, acquired from the above. Maybelle (Betty) Dore started collecting Japanese antiques in the postwar years, during the 1950s and 1960s, when interest in Japanese art was generally very low. For her business she ventured to Japan on her own to assemble netsuke and related works of art, including pipe cases and kogo (incense containers). Betty was also a founding member and the first Chairwoman of the International Netsuke Society, Northern California Chapter.

The Shunsho line of lacquerers started with Jirosaburo Shuboku, the son of Yamamoto Toshimasa, who began producing lacquers as an amateur but turned professional and founded the Shunsho family of lacquer masters. The present netsuke is likely by Shunsho X or Shunsho XI, see E. A. Wrangham, The Index of Inro Artists, 1995, p. 265, bottom row, third and fourth from the left, for a similar signature written in cursive script. AUCTION COMPARISON Compare a related lacquer hako netsuke, also by Shunsho and from the Betty Dore collection, at Bonhams, Netsuke from American Collections, 17 October 2024, New York, lot 13 (sold for USD 2,816). Estimate EUR 2,500 Starting price EUR 1,200

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376 MICHAEL BIRCH AND TOMIZO SARATANI: A VERY RARE LACQUER HAKO NETSUKE OF A TENGU

Published: International Netsuke Society Journal (1996) vol. 16, no. 2, p. 40, no. 7. Exhibited: New York Netsuke Convention, September 1995.

The carving by Michael Henry Birch (1926-2008), signed with the artist’s initials ‘MHB’, the lacquer by Tomizo Saratani (born 1949), signed Tomizo England, c. 1990

The hako netsuke consisting of two parts, the lid crafted as an amusingly large-browed karasu tengu, very much possessing the usual vitality and self-portrait character of Michale Birch’s carvings; the eyes inlaid in ruby. The lower compartment is decorated with feathers detailed with gold hiramaki-e. The interior of dense nashiji and textured black lacquer. A central himotoshi underneath, the looped cord attachment within. Signed to the interior MHB and further with a gold lacquered signature to the side TOMIZO. HEIGHT 3.6 cm, LENGTH 4.2 cm Condition: Excellent condition. Provenance: Ex-collection Tomizo Saratani. Michael Henry Birch (1926-2008) was a potter, painter, writer and contemporary netsuke carver, holding his first one-man show at the Eskenazi Gallery in London in 1976. He was designated a master carver by Japan’s artists’ guild, the first such honor for a non-Japanese artist. He was versatile in many materials and his work showed undeniable vitality and character. Some collectors consider many of the faces to be self-portraits, a notion which the artist strongly denied.

The present netsuke is a very rare collaboration between the two talented contemporary artists Michael Birch and Tomizo Saratani. Only two netsuke of this type were created, both hako netsuke, one being the present piece and the second a tanuki illustrated as fig. 18 in the same article as the tengu hako. One was kept by Tomizo Saratani (the present piece) and the other by Michael Birch.

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Tomizo Saratani was born in 1949 in Kyoto and has spent his life working on traditional Japanese lacquer (urushi). After his studies under various teachers, in 1975 he moved to Vienna as an instructor and restorer for the MAK - the Austrian Museum of Applied Arts - where he supervised the restorations of lacquered furniture in Austrian public collections for eight years. He then worked as lacquer restorer and netsuke artist in London, Chicago and his hometown in Hokkaido and in 2003 he decided to dedicate himself solely to his original works. The subjects Tomizo picks are very often animals, which he is able to render with impressive naturalism. Estimate EUR 3,000 Starting price EUR 1,500

377 A FINE CONTEMPORARY GOLD LACQUER MANJU NETSUKE OF A TIGER, ATTRIBUTED TO TOMIZO SARATANI Attributed to Tomizo Saratani (born 1949), unsigned Japan, c. 2000 The two-part manju netsuke bearing an elegant kinji ground, worked in iro-e takamaki-e and hiramaki-e, to depict the ferocious beast turned slightly to the back as it growls. The tiger’s fur realistically rendered with stripes and precise hairwork, the visible eye double-inlaid in gold and shakudo. Central himotoshi to the back, the cord attachment to the interior which is lacquered in black. DIAMETER 4 cm Condition: Excellent condition. Provenance: Midori Gallery, Miami, Florida, USA, 2017. A private collection in Vienna, Austria, acquired from the above. Tomizo Saratani was born in 1949 in Kyoto and has spent his life working on traditional Japanese lacquer (urushi). After his studies under various teachers, in 1975 he moved to Vienna as an instructor and restorer for the MAK - the Austrian Museum of Applied Arts - where he supervised the restorations of lacquered furniture in Austrian public collections for eight years. He then worked as lacquer restorer and netsuke artist in London, Chicago and his hometown in Hokkaido and in 2003 he decided to dedicate himself solely to his original works.

LITERATURE COMPARISON Compare the tiger on the present netsuke to a tiger on an incense box (2005, “Bato”) listed on Tomizo Saratani’s website. Estimate EUR 2,000 Starting price EUR 1,000

378 FUJI ANGO: A FINE CONTEMPORARY WOOD NETSUKE OF AN ONIGAWARA ROOF TILE By Fuji Ango (born 1960), signed Ango 安剛 Japan, late 20th to early 21st century Finely carved to depict an onigawara roof tile, the oni’s face with large open mouth revealing sharp fangs, a wide nose and circular eyes below bushy eyebrows, and two horns. The tile surmounted by maple leaves, some lacquered in red, and with a dragonfly at the top. The reverse with two generously excavated himotoshi and the signature ANGO. LENGTH 4 cm

Condition: Excellent condition. Estimate EUR 2,000 Starting price EUR 1,000 Onigawara are a type of Japanese ogre- or goblin- gargoyle and roof tile ornamentation found in Japanese architecture. Literally translated as ‘ogre tile’, the roof tile ornaments traditionally depict an oni or a fearsome beast, but also commonly include many other motifs such as floral and animal designs.

An onigawara goblin gargoyle or roof tile ornament

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379 A RARE CONTEMPORARY BAMBOO NETSUKE OF A MOKUGYO YOKAI Unsigned Japan, 20th century

Finely carved as the tsukumogami (animate household object) of a mokugyo temple bell with a large, curved handle and swirling curls underneath, the front formed as a monster head with floppy ears, furrowed brows and broad nose. The hollowed bell makes the appropriate sound when struck. Natural himotoshi through the handle. HEIGHT 5.5 cm Condition: Excellent condition. Provenance: Collection Gabor Orszagh, Budapest, Hungary, purchased from Michael Strone. Zacke, Fine Netsuke & Sagemono, 4 November 2022, Vienna, lot 159 (sold for EUR 1,950). US private collection, acquired from the above. This netsuke is likely inspired by the Tsukumogami Emaki, (Illustrated Scroll of Animated Utensils, 16th century) which features as its protagonists a band of used utensils that have turned into monsters (yokai). This work belongs to a genre of such tales composed between the 14th and 16th centuries, known as otogizoshi, or Muromachi tales. The Tsukumogami Emaki also inspired the famous Night Parade of One Hundred Demons by Kawanabe Kyosai. Tsukumogami are animate household objects. After a service life of nearly one hundred years, utsuwamono or kibutsu (containers, tools, and instruments) receive souls (kami). Estimate EUR 2,000 Starting price EUR 1,000

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380 HIDEYUKI: A SUPERB BOXWOOD NETSUKE OF A MOTH ON A PEONY BLOSSOM By Hideo Sakurai (Kosei Hideyuki, born 1941), signed Hideyuki 秀之 Japan, Tokyo, c. 1970s

Exquisitely carved, the insect perched on one end of the bloom, its wings folded around the petals which overlap in a naturalistic manner, the eyes inlaid in bone, a curled stalk beneath forming the himotoshi. Signed within an inlaid gold plaque HIDEYUKI. LENGTH 4 cm Condition: Excellent condition with only minor wear. Provenance: Ex-collection Floyd Segel. Sotheby’s, The Floyd Segel Collection of Netsuke, 7 July 1999, Chicago, lot 118. The collection of Edward and Marilyn Flower. Sakurai Hideyuki, born as Sakurai Hideo (1941), learned carving from his father Sakurai Hirokichi who worked under the art name Kosei. Miriam Kinsey (1977), arguably THE authority on contemporary netsuke during the 20th century, notes: “[…] his netsuke are executed with his own original ideas and with delicate, detailed, and meticulous workmanship.”

Sakurai Hideo (Hideyuki)

AUCTION COMPARISON Compare a closely related boxwood netsuke of a butterfly on a peony blossom, by Hideyuki, dated 1976, 3.9 cm wide, at Sotheby’s, The Martin S. Newstead Collection of Netsuke, 24 October 1984, London, lot 120 (sold for GBP 1,980 or approx. EUR 10,500 converted and adjusted for inflation at the time of writing). Estimate EUR 3,000 Starting price EUR 1,500

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381 HIDEYUKI KOSEI: A CONTEMPORARY WOOD NETSUKE OF SUSANOO NO MIKOTO AND THE SNAKE By Sakurai Hideo (born 1941), signed Kosei 廣晴 with seal Hideyuki 英之 Japan, Tokyo, c. 1975 Finely carved to depict Susanoo-no-Mikoto standing atop a snake, its body coiling beside his left leg, holding a short taming stick to contain it, dressed in richly decorated robes incised with medallions, and the hair surmounted by a band and a cherry blossom headdress. The eyes of the snake inlaid in dark horn. The back with two himotoshi above the signature KOSEI engraved into the wood and with a rectangular plaque of pale horn incised with the seal HIDEYUKI. HEIGHT 5 cm Condition: Excellent condition. Provenance: Sotheby’s, Fine Japanese Works of Art, 12 November 1985, London, lot 582. A private collection, acquired from the above.

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Sakurai Hideyuki, born as Sakurai Hideo (1941), learned carving from his father Sakurai Hirokichi who worked under the art name Kosei. Miriam Kinsey (1977), arguably THE authority on contemporary netsuke during the 20th century, notes: “[…] his netsuke are executed with his own original ideas and with delicate, detailed, and meticulous workmanship.”

Sakurai Hideo (Hideyuki)

In Japanese mythology, Susanoo-no-Mikoto is the powerful storm god, famed for his fierce temperament and immense strength. Among the many tales surrounding him, none is more iconic than his epic battle with Yamata no Orochi, a terrifying eightheaded, eight-tailed serpent. In contrast to the drama of that legendary confrontation, the present netsuke offers a playful reinterpretation—depicting Susanoo not in the heat of battle, but gently taming the serpent in a far more lighthearted and whimsical manner. Estimate EUR 3,000 Starting price EUR 1,500

382 ADAM BLAND: A SUPERB WOOD NETSUKE OF SANSUKUMI AND CHESTNUT By Adam Bland, signed with the artist’s initials United Kingdom, 2024 Superbly carved to depict the sansukumi gathered on a half-eaten chestnut, the toad perched on the far side, its eyes inlaid in pale horn, facing the snake that emerges from a hole in the chestnut, the snake’s eyes and tongue inlaid in dark horn. The underside reveals the remarkably carved interior of the chestnut, housing a snail and the coiling tail of the snake which ingeniously forms the cord attachment. The side signed with the artist’s initials AB. LENGTH 3.4 cm Condition: Excellent condition. With a wooden storage box, inscribed ‘Sansukumi and chestnut 2024’ beside the artist’s initials.

Adam Bland is a contemporary netsuke artist from the north of England who has studied the craft of netsuke for several years. He has a qualification in Fine Art and Design and first discovered netsuke accidentally following a career in architectural model making. He was drawn to the art of netsuke as they combine elements of design with fine art to create small, intricate sculptures rich with narrative and meaning. Adam Bland has recently exhibited at the International Netsuke Society Convention in Amsterdam in 2022 and his craft is constantly improving, making him one of the most exciting contemporary carvers to emerge in these past years. AUCTION COMPARISON Compare a related wood netsuke of a tiger by Adam Bland, dated 2023, at Zacke, Fine Netsuke & Sagemono, 28 April 2023, Vienna, lot 319, (sold for EUR 7,150). Estimate EUR 4,000 Starting price EUR 2,000

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383 CLIVE HALLAM: AN ANTELOPE HORN NETSUKE OF A STYLIZED FOX By Clive Hallam (born 1965), signed with the artist’s initials United Kingdom, 1991 Finely carved following the curved shape of the antelope horn to depict a stylized fox with long pointed nose, the eyes inlaid in pale horn, with flattened ears and paws, the curved tail wrapping around the himotoshi, and signed with the artist’s initials to the interior of the tail. LENGTH 11.7 cm Condition: Excellent condition. Provenance: Ex-collection June Schuerch, California.

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Clive Hallam, born in 1965, has been a professional netsuke artist and restorer for over three decades. His creative journey began in the veld of Southern Africa, where, as a boy, he crafted toys for himself and his friends from discarded cola cans and scraps of old wire. Today, his intricately carved pieces are held in Clive Hallam, esteemed collections such as the born 1965 Toledo Museum of Art and have been featured in publications like the International Netsuke Society Journal (INSJ), recently on the front page of INSJ, Vol. 42, No. 1. Estimate EUR 2,000 Starting price EUR 1,000

384 BISHU: A FINE RHINOCEROS HORN NETSUKE OF A SWAN By Katsutoshi Saito (Bishu, born 1943), signed Garyu Bishu 臥竜美洲 with seal Bishu 美洲 Japan, Tokyo

Finely carved in openwork as a swan curving its long neck towards its stylized wing which is wrapped around one side of the beautifully polished body, the underside detailed with feet and two himotoshi, beside the signature Garyu BISHU and the artist’s seal BISHU. LENGTH 4.2 cm Condition: Excellent condition. Bishu (actual name Katsutoshi Saito) was born 1943 in Tokyo. He was born into a family of netsuke carvers dating back to the Edo period. Bishu studied sculpture at the Taiheyo Art Academy and learned carving from his father, Shosai Saito. In the “contemporary netsuke movement” that aimed to create new artistic work starting in the 1970s, Bishu was one of the central artists who exhibited new and novel contemporary netsuke. In 1981 his work was acquired by the British Bishu, born in 1943 Museum.

LITERATURE COMPARISON Compare a closely related rhinoceros horn netsuke by the same artist, depicting a stylized goose, illustrated in Chiba Museum of Art (2011) Contemporary Netsuke, no. 37. Estimate EUR 3,000 Starting price EUR 1,500

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385 KOMA: A CONTEMPORARY EBONY WOOD NETSUKE OF A CAT By Hitomi Koma, signed Koma 狛 Japan, 21st century The feline naturalistically carved in a crouching position, tiptoeing towards its prey, the fur neatly incised, the ears pricked, the face with large eyes inlaid in pale horn centered by lacquered pupils. Two generously excavated himotoshi to the underside beside the artist’s signature KOMA. LENGTH 5.8 cm Condition: Excellent condition. Hitomi Koma, born in 1985 in Shimane prefecture, Japan, began carving netsuke after meeting Shinya Nagashima, who introduced her to contemporary netsuke. She specializes in animal netsuke designs and became passionate about Yokai from the influence of Shigeru Mizuki. Her pieces were displayed in several exhibitions, including the Netsuke and Imperial Costumes from the Takamado Imperial Family Kure Municipal (2014) in the Museum of Art, the Transmission // Itabashi // 2016 Edo to Modern (2016) in the Itabashi Art Museum, and the Netsuke Exhibition (2018) in the Hiroshima Museum of Art. Her works are, amongst others, in the collection of HIH Prince Takamado (1954-2002). Estimate EUR 3,000 Starting price EUR 1,500

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386 YIREN: A CONTEMPORARY ANTLER NETSUKE OF A SHISHI AND ZORI By Yiren, signed Yiren 屹人 China, Chongqing, 21st century Finely carved in the round as a shishi gnawing on a zori (Japanese thonged sandal). The face with a comical expression, large eyes inlaid in mother-of-pearl with dark pupils, a wide snout, and bushy brows, the finely carved tail curling upwards along the spine and overlapping with its wavy mane. With asymmetrical himotoshi to the side and underside and signed YIREN. LENGTH 4.6 cm Condition: Excellent condition. With a wooden storage box inscribed to the exterior ‘Zori Shishi’ and the artist’s signature ‘Yiren’ and seal mark to the interior. Yiren, born in Chongqing province in 1989, is a Chinese netsuke carver. During the early 2000s he carved inkstones, but later began to carve netsuke specializing in gods, monsters, and animal subjects. He joined the Yuan Qi Zao Wu as a carving artist in 2017 and participated in the Yuan Qi Netsuke seminar in 2018 and 2019. Estimate EUR 1,500 Starting price EUR 800

387 YIREN: A CONTEMPORARY ANTLER NETSUKE OF A BAKU By Yiren, signed Zhonghu 冢虎 China, Chongqing, 21st century Finely carved, the elephant-like animal seated on its hind legs, the head raised and twisting backwards, its face with inlaid eyes, mouth ajar revealing sharp teeth and terminating in a curled trunk. The mane and bushy tail neatly incised, one pierced himotoshi to the back, the other cord hole ‘natural’ through the hollow of the antler, and signed below ZHONGHU. HEIGHT 6.4 cm Condition: Excellent condition. With a wooden storage box inscribed to the exterior ‘噩噬Eshi (chin. ‘to swallow the nightmare’) and the artist’s signature ‘Zhonghu’ to the interior. Estimate EUR 1,500 Starting price EUR 800

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ARTIST SIGNATURES

1 Sohaku 宗泊

3 Tanizaki Eitei 谷嵜氏榮棣

8 Kajikawa 梶川

13 Shibuya 渋谷

14 Toyo 桃葉

15 Shiomi Masanari 鹽見政誠

17 Shiomi Masanari 鹽見政誠

18 Yoyusai 羊遊斎

19 Kajikawa 梶川

20 Shiomi Masanari 鹽見政誠

21 Toyo 桃葉

23 Shiomi Masanari 鹽見政誠

24 Shiomi Masakage 鹽見政影

26 Koma Kansai 古滿寛哉

27 Koma Yasutada 古満安匡

28 Koma Kyui Yasutsugu 古満休意安次

30 Koma Kyuhaku 古滿休伯

32 Shun’yo 春葉

33 Kajikawa 梶川

34 Joka 常如

35 Jokasai 常嘉齋

36 Washusai 和秀斎

37 Kokakusai 古鶴斎

38 Jokasai 常嘉齋

42 Koma Koryu 古満巨柳

43 Koma Yasutomi 古満安譡

44 Kajikawa 梶川

45 Kajikawa 梶川

46 Koma Koryu 古満巨柳 & Ishiguro Masatsune 石黒政常

47 Yoyusai 羊遊齋 & Hamano Noriyuki 濱野矩隨

48 Yoyusai 羊遊斎

50 Kajikawa 梶川 & Masayoshi 政美

51 Gyokuzan 玉山

52 Ko(shin) 光

53 Isshin 一信

55 Nankei 南溪 & Muneaki 宗明

63 Issakusai 一勺斎

64 Hokkyo Komin 法橋胡民

65 Bunsai 文哉

66 Taishin 泰真 & Yusai 勇斎

68 Kaito 槐東

71 Hokei 豊慶

72 Hogyoku 法玉

73 Artist’s kakihan

74 Bokkoku 墨谷

75 Wataru 渡 & Kabe 壁

80 Kazumoto 一本

102 Tochu 斗宙

118 Sanko 三小

123 Yoshinaga 吉長

ARTIST SIGNATURES

124 Okatomo 岡友

128 Masatomo 正友

131 Niraku 二乐

132 Hidemasa 秀正

134 Masakazu 正一

135 Hidemasa 秀正

142 Yoshinobu 芳信

143 Masatomo 正友

146 Tomotada 友忠

147 Tomotada 友忠

149 Tomotada 友忠

152 Hakuryu 白龍

153 Anraku 安樂

154 Raku 乐

155 Mitsuharu 光春

156 Mitsuharu 光春

159 Mitsusada 光定

160 Mitsuhiro 光廣

161 Unsho Hakuryu 雲松白龍

162 Kaigyokusai Masatsugu 懐玉齋正次

164 Masatsugu 正次

165 Rantei 蘭亭

166 Anrakusai Nobukuni 安樂齋国信

167 Doraku 道乐

168 Anrakusai 安樂齋

170 Anraku 安乐

174 Ichiun 一雲

175 Hideharu 秀晴

176 Masakazu 正一

177 Sekisai 石齋

179 Tomotsune 友常

181 Tomokazu 友一

183 Sangetsu 山月

184 Masakazu 正一

185 Yuzan 友山

186 Tomonobu 友信

187 Masatami 正民

188 Ichimin 一岷

189 Ittan 一旦

190 Ichimin 一岷

191 Ittan 一旦

193 Ittan 一旦

194 Ittan sanjin 一旦山人

195 Hokyudo Itsumin 逢丘堂逸民

196 Ikko 一光

198 Minko 岷江

199 Minko 岷江

200 Minko 岷江

201 Minko 岷江

202 Minko 岷江

ARTIST SIGNATURES

203 Minko 岷江

204 Tomin 東岷

205 Kokei 虎溪

206 Sukenaga 亮長

207 Sukenaga 亮長

209 Sukeyuki 亮之

210 Tomokazu 友一

211 Tomokazu 友一

212 Toyomasa 豊昌

213 Toyomasa 豊昌

214 Tomokazu 友一

215 Masanao 正直

216 Ryusetsu 柳雪

217 Masakazu 正一

218 Masakazu 正一

219 Masakazu 正一

220 Masashige 正重

221 Masatada 正忠

222 Masatsugu 正次

223 Shuji 秋次

224 Hidari Issan 左一山

225 Tadakazu 忠一

227 Kanman 貫満

228 Seiyodo Tomiharu 青陽堂富春

230 Kakusen 鶴仙

232 Suketada 亮忠

233 Suketada 亮忠

234 Shuzan 秋山

235 Musetsu 無節

236 Sessai 雪斎

237 Shugetsu 舟月

238 Hara Shugetsu 原舟月

239 Kagetoshi 景利

240 Kagetoshi 景利

241 Nobushige 信重

242 Miwa 三輪

244 Shojusai 松壽齋

246 Kokuzan 谷山

251 Shuzan 舟山

252 Shumin 舟民

253 Rakumin 樂民

254 Uryusai Homei 有竜斉法明

255 Hojitsu 法實

256 Masayuki 正之

257 Hoshunsai Masayuki 寳春齋正之

258 Komin 光珉

259 Tomomasa 友正

260 Tomochika 友親

263 Tomochika 友親

264 Tomochika 友親

ARTIST SIGNATURES

265 Tomochika 友親

266 Teigetsu 提月

267 Ikkosai 一光斎

268 Gyokusai 玉齋

269 Gyokuyosai 玉陽齋

270 Tomochika 友親

271 Gyokkosai 玉光齋

273 Gyokuzan 玉山

274 Masatami 正民

275 Chokusai 直齋

277 Kikugawa (kakihan)

278 Seimin 晴珉

280 Genryosai 玄了齋

282 Shoko 尚古

283 Chikusen 竹仙

284 Sosui 藻水

285 Sosui 藻水

286 Toshichika 俊親

287 Yoshihide 芳秀

288 Kyusai 汲哉

289 Kyokusai 旭齋

290 Gyokuso 玉藻

291 Kyokusai 旭齋

292 Shuzan 舟山

296 Chikusai 竹齋

297 Hidekazu 秀一

299 Tomomasa 友政

300 Asahi 旭

301 Shoraku 正樂

303 Kogetsusai 光月齋

304 Kounsai 光雲齋

305 Toshinsai 東心斎

309 Masakazu 正一

310 Chikko 竹江

317 Hizen Matsura Ittei 肥前松浦一亭

330 Ju’un 寿雲

333 Ren(sai) 蓮

335 O(sai) 翁

337 Seimin 晴珉

338 Masatada 正忠

341 Artist’s kakihan

346 Sako 左光

348 Unread

353 Ryumin 立民

360 Chohei 樗平

363 Gyokuzan 玉山

368 Hokei 豊慶

370 Hojitsu 法實

372 Yoyusai 羊遊斎

373 Kajikawa 梶川

ARTIST SIGNATURES

374 Kajikawa 梶川

375 Shunsho 春正

376 Tomizo Saratani & Michael Birch

378 Ango 安剛

380 Hideyuki 秀之

381 Kosei Hideyuki 廣晴英之

382 Adam Bland

383 Clive Hallam

384 Bishu 美洲

385 Koma 狛

386 Yiren 屹人

387 Zhonghu 冢虎

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