43. A kagamibuta with takazogan portrait of Tenjin standing by meadow grass, his robes blowing in the wind, inspired by a pair of loons in flight. Tenjin is the Shinto deity of poets and scholars, his origin that of the deified personage Sugawara no Michizane (845-903). Mid 1800’s.

Diameter: 4.4 cm

44. A netsuke of a very young Kintaro (the boy Hercules) nursing at his mother Yama-Uba's breast. As a woman raising her child in exile, she is depicted disheveled and care worn. Kintaro was without human playmates, so he famously made the mountain creatures his friends, and is here joined by a young Saru (macaque) who offers his friend a peach and a long-eared mountain Usagi (hare). Yama-Uba is seated on a bench of gnarled root wood where the artist has found the opportunity to fashion a very natural yet highly functional himotoshi. Signed Gyokuso. Mid-19th century

Height: 4.3 cm

45. A cluster of six dynamic Noh and Kyogen masks carved with compelling presence. Kitsuné, Okina, Hannya, Sojobo, and forming the natural himotoshi are Okamé and her alter ego, the mischievous Oni. Theater was a passionate obsession of the historical Japanese and this artist has well represented the impact of this traditional art. Signed Hakuunsai. Mid-19th century.

Length: 3.9 cm

46. A highly refined netsuke depicting the performance of Okina, the serene, wise and happy old man. This ritual dance originated in the Nara period (710-94) and had once been performed exclusively by priests. For special performances of the Noh theater there is a ceremonial opening dance of Okina that is a ritual to bring health, happiness and longevity to all those in attendance. This is the only performance where the mask arrives carried by an attendant in a men-bako and the actor dons the mask while knelling at an altar on stage.

Kishi Isshu has replicated the elaborate traditional robes, mask and headdress with extraordinary detail. The precisely inked, engraved surface of this netsuke lends texture to the textiles and the sacred crane of wisdom and longevity features prominently in its design along with stylized pine, a symbol of strength and endurance. Signed Isshu with gold seal kanji to denote the artist's pride in his work. For a further example of his work see, NETSUKE - 100 Miniature Masterpieces from Japan by Noriko Tsuchiya, Illus. pg. 104 of a cluster of 15 Noh masks and a similar example of Noh masks from the Prince Takamado Collection, Illus. pg. 24, pl. 34 Tokyo National Museum 2011.

Height: 5.4 cm

47. The dragonfly was known as Akitsu in ancient times and Japan as Akitsushima 'Island of the Dragonfly'. Often referred to as the victory insect, its moment of triumph is here juxtaposed with cobwebs and a crumbling wall as a poetic expression of the transitory nature of all things. The tenets of Buddhism run deep in the cultural fabric of Japan and often were reflected in the arts. The unusual shape of this manju is that of edamame, which remains to this day an important staple of this island nation. Mid-19th century.

Length: 4.8 cm

48. A netsuke nature study of a stacked tortoise and young sunning themselves, a familiar sight on the rocks that surround forest lakes. Highly functional for its compact composition and attractively detailed with characteristic wear to the high points. Signed Sadamitsu on the base of the carapace.

Length: 4.5 cm

49. The skillful netsuke artist Kogyoku was inspired by the charm to be found in the intimate moments of daily life. Here a young beauty fresh from the bath is attending to grooming her toes while her loose yukata slips from supple shoulders to decolletage, and legs are exposed to keep the textile from impeding her task. The ease with which this keenly observed figure has been represented suggests that the model might be a familiar part of the artist's life. Signed Kogyoku.

Height: 3.5 cm

50. Gyokkei’s signature piece is this very well rendered seated figure of the sneezer who has tickled himself into sternutation. Compact and charming. Head tilts back and mouth agape. A netsuke intended to evoke a smile. Irregular himotoshi. Signed on an inlaid plaque Gyokkei. Early Meiji. 

Length: 3.9 cm

51. A most unusual netsuke conveying a stately portrait of Confucius (551-479 BCE), the wisdom master whose tenets governed Chinese society and influenced Asian cultures throughout the Far East. He is here depicted dressed in the formal Chinese robes of a scholar, his sophisticated countenance expressing both intelligence and compassion.

Height: 7.7 cm

52.

53. Over 300 years of Happiness is in this generous mass of a netsuke with its perfect scale to express the largess of spirit for which Hotei the Shinto God of Happiness is so revered. Characteristic of its great age is a very well-worn himotoshi that runs bottom to back and a rich lustrous patina that gives warmth to the entire netsuke. Early 1700s.

Height: 4.8 cm

54. Daikoku, Shinto God of Prosperity is here offered as a talisman to bring us health and longevity, symbolized by the enormous Daikon he carries tied across his back. Daikon (literally "big root") are a purifying food brought as an offering to Shinto Shrines of Prosperity, particularly during the January 7th Daikon Festival. This tactile netsuke is attractively rendered from all angles. Circa 1880.

Length: 4.4 cm

55. Seven Noh masks configured in a brilliant composition both functional and fascinating. Central is Okamé, Goddess of Mirth, who sets a tempo to enjoy each portrayal of the characters represented. Benke – strength and loyalty, Okina – great wisdom, Hannya – wrath and rage of a woman scorned, Oni – mischief and an expression of the Id, Jo – old man (the peace of a life well lived), Kurohige – Mythic Dragon King of the Sea 'Ryujin', protector of Japan. Signed on a tablet Tomochika.

Length: 4.5 cm

56. A netsuke in the form of two architectural end tiles for a gabled roof. The prominent tile is carved with a swirling tomoe, symbol of the balance of the elemental forces of creation. The artist has deliberately carved the effects of erosion along the edges of both tiles. 

Length: 4.1 cm