#1. A most unusual three case boxwood inro in the form of an old gnarled tree that has come to be inhabited by a family of tortoises. This piece has a very organic appeal with its highly stylized pronounced texture of the tree bark and the finely detailed studies of each tortoise. Circa 1870.

Height: 8.6 cm


#2. A four case roiro lacquer inro decorated with three takamaki√© archaistic coins of simulated metal with textured surface and intentional attrition. With gratitude to Heinz and Elsa Kress, the primary coin on the back of this inro was researched and found to have been issued in 707-715. Inscribed ‘Our Copper’ or ‘Copper of Japan’ and was exclusively circulated in the capital of Nara. Coins in Japanese art invariably symbolize wealth and prosperity. Mid-19th century.¬†

Height: 7.0 cm











#3. A most unusual inro with a roiro black lacquer ground implying a night scene of silver herons nestled among lotus blossoms in a pond. Executed in the finest togidashi with ao-urushi (green), shu-urushi (vermilion) and nezumi-iro-fun (silver gray with traces of vermilion) decoration. Mid-19th century. 

Height: 9.8 cm


#4. An 18th century gold lacquer on roiro ground four case inro of a literati style landscape executed in the techniques of hiramakié, takamakié and kirigané. Bronze repoussé ojimé.

Height: 6.9 cm


#5. A four case lacquer inro depicting five elegant sacred cranes in flight, executed in takamakie on a ground of layered nashiji over roiro. Signed Kajikawa. Early 1800’s. Together with a metalwork ojimé of pomegranate, symbol of abundance.

Height: 7.4 cm


#6. An 18th century four case lacquer inro depicting a boar sleeping amongst meadow grasses.

Height: 8.6 cm










#7. A most unusual antique bronze Inro decorated in well-executed katakiribori - an engraving technique of varying width and depth to emulate the strokes of a painter’s brush. One side depicts a mystic scene of the sage Kinko wearing scholar’s robes while riding on the King of the Koi. The opposing side is a nature study of rising Moon and a descending Loon above river reeds. The artist has most successfully made this very challenging media seem as effortless as brush strokes. Together with a six-sided iron ojimé with 23K gold inlaid geometric panels. Circa 1840.

Height: 7.8 cm


#8. A netsuké and inro en-suite of the deified founder of botanical medicine “Shinno”. The netsuké is 17th century and depicts Shinno as an immortal wearing a mugwort cape and holding an herb while seated on a stone boulder. The himotoshi of this early piece is extremely worn and the ivory is dense, lined and characteristically patinated. Together with a four case black and gold lacquer inro portraying Shinno in both his standing and seated iconic portraits. In each he is being deified in his role as founder of botanical and medical science. Variegated yellow, green and rose gold togidashi technique, the interior risers of nashiji. Late 1700’s. Ex: William du Pont Collection.

Height: 8.5 cm


#9. A late 17th to early 18th century four case carved guri lacquer inro, the pattern of which simulates Edo Period pressed cakes of fine quality sumi as used by scholars for calligraphy and ink painting. 18th century enamel ojimé.

Height: 8.4 cm


#10. A four case lacquer inro, the roiro ground decorated in silver, gold and red hiramakie, gold takamakie and details in mother of pearl, with a design of segments of watermelon in a bowl beside a cleaver, the remainder of the fruit lying under a cloth on the reverse. Signed Hasegawa Shigeyoshi. Circa 1780.

Height: 7.8 cm


#11. A three case lacquer inro depicting an autumn landscape of exceptional nuance in three color gold with techniques of hiramakie, takamakie, togidashi, nashiji & kirigane. One side illustrating pilgrims crossing a bridge over a rushing stream with floating autumn maple leaves. The other side reveals their destinationof a monastery compound. Signed Chikano, early 19th century. Ex: Monzino Collection.

Height: 7.5 cm


#12. An 18th century four case lozenge form inro with three color gold (yellow, rose and green) hiramakié and takamakié decoration of Kikujido seated beneath a pine next to a rushing stream in a sumptuous landscape of a valley profuse with chrysanthemums. Liege to the Emperor Muh Wang, he was exiled to spare his life from having gazed upon the emperor’s countenance, an act punishable by death. Before departing, the emperor gave him a Buddhist mantra of compassion, which legend has it, he wrote repeatedly upon the petals of chrysanthemum blossoms. Details of kirigané and fine nashiji on a roiro ground. Signed Hogyoku.

Height: 8.5 cm