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 positively mad netsuke mask of the Kyogen Oji type. Such wild expression was only to be seen in the highly animated theatrics of the celebrated Kyogen folk plays that were so popular amongst the people of Meiji period Japan. Signed Mitsuyuki.

Height: 6.1 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 kagamibuta depicting the legendary encounter of Yoko (Chin. Yang Hsiang) and the tiger, one of the 24 paragons of filial piety. Here the artist has brought legend to life as this young boy, fierce with the conviction of his love for his father, fearlessly wards off the advance of the tiger. By some accounts this act was startling enough for the tiger to retreat, in others Yoko sacrifices his life. This detailed married metalwork is some of the finest we've ever seen and the composition of the narrative on this contained surface is absolutely dynamic.

Diameter: 4.5 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. Okamé, Shinto Goddess of Mirth, gives us a broad smile that dimples her plump cheeks as her countenance beckons from within a ceremonial sake bowl. She invites us to celebrate the New Year the way the villages of old Japan would, where, as the evening progressed a ritual of passing the mammoth saké bowl around the gathering encouraged singing, dancing and what often lead to rather ribald displays of humor. The reverse is finely engraved with two sprigs of young pine, a symbol of strength and endurance for the year to come. Signed Masahiro, a near identical example is illustrated in Hindson, pg. 48, #109.

Diameter: 3.7 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 netsuke by Masakazu, who has rendered with adept skill one of the most celebrated subjects of the Yamada School of carvers. The discarded old wooden bucket, eroded with deep grooves of grain, represents 'Wabi Sabi' and the transient nature of all things. The frog is good luck, a harbinger of good fortune, as he could portend the coming of the rain (today recognized as an indicator species of a healthy environment). The skillful technique of 'Ukibori' (a challenging technique unique to this school) has been used to create the raised effect of amphibious skin. Meiji Period.

Height: 3.8 cm

52. A well-delineated, yet highly-functional netsuke of the Junishi – 12 Animals of the Zodiac: rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog, and boar. Each creature is defined in detail with an engaging presence and the sculptural composition maintains the structural integrity necessary to serve as a functional work of art. Signed Tokosai. 

Length: 5.2 cm

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