29. 'Ama' or Sea Women are the pearl divers of Japan. When portrayed in netsuke and paired with octopus, there is the suggestion of intimacy of an erogenous nature. This Ama is leaning to her right hip appearing to be fending off his advances with her right forearm while holding a fleshy clam in her left hand. By her expression she is accustomed to his advances. Signed Mitsutoshi. Late 19th century.

Height: 4.1 cm

30. An 18th century traveling tanuki whose enormous scrotum has been employed to cover his head from inclement weather. With his left hand he holds back the tresses of his hair and with his right he carries a pail as he licks his lips, one presumes of his favorite libation saké. A rich patina turned orange on the reverse. Natural himotoshi.

Height: 5.1 cm

31. An amusing and rather animated study of a seated Daruma accompanied by an attentive Bijin as he tweezes his nose hairs. This netsuke is a charming example of the Japanese proclivity to depict even their most reverent spiritual icons as all too human. Well detailed, even at the bottom with toes and fingers folded beneath their robes. Signed Gyokuhosai.

Height: 3.6 cm

32. A stag antler sashi-style netsuke of a cucumber with natural himotoshi formed by the bend of its stem. Attractively patinated. Circa 1860.

Length: 13.1 cm

33. An extraordinary netsuke of the Bugaku Dance of the Dragon King - Ranryo, depicted here in the full regalia of the richly embroidered robes and dynamic dragon mask first imported during the golden age of Buddhism of Japan's Imperial Nara period (710-794). Isshu has created infinitesimal detail in his signature technique of inked engraving with designs of flaming pearls of wisdom amongst celestial clouds and a three-dimensional dragon headdress. 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.

Gagaku, literally "elegant music", are rhythmic and sophisticated music and dance performances supported by the Imperial Household since the 9th century and reserved for celebrations sponsored by the Imperial Household and the great temples and shrines of Japan. There are performances solely for voices, known as Mi-Kagura or god music, instrumental music played by the full orchestra called Kangen and masked dances accompanied only by a few instruments known as Bugaku dances.

Height: 5.2 cm

34. A tactile netsuke carved in a chock-full cluster of Auspicious Symbols. Mochi (rice cakes) for good fortune, Shimenawa (hemp rope) to hang over the door to ward off evil and bring good health, together with Omikuji (paper fortunes), Unagi (eel) for stamina, Warabi (ferns) for many future generations, Kurumi (chestnuts) for success and mastery over hard times, Tai Fish (red sea bream) in a reed bundle to represent bounty, and Mikan (mandarin orange) for wealth. Such a netsuke was certainly intended to serve as talisman, as well as a functional work of art. Signed Ippo. Late 1800's.

Length: 5.1 cm

35. A boxwood Hanasaka Jiji, the kindly farmer, seated on his resurrected tree stump with inlaid ivory buds that indicate that he has had the power to return this tree to life. A symbol of rejuvenation, this celebrated legendary subject was a favorite study of this artist. Signed Gyokkei. Late 19th century.

Length: 3.8 cm

36. An 18th century Sennin slaps the top of his head, as if to say "Oh no, not you again" to a clam ascending his robe, clamoring for his attention. The clam is a long held Japanese metaphor for the entrapment of the lure of the feminine mystic and one assumes our Sennin's thoughts have strayed from the austerity of his meditations to the cravings of the flesh. Playful innuendo is such a gift in Japanese traditional humor. Gyokusai's man with his fundoshi caught in the mouth of a mammoth clam is another interpretation of this charming subject.

Height: 3.7 cm

37. A boxwood netsuke mask of Okamé as Oto-Gozen, the young maiden Okamé, popular as a Kyogen mask, unlike the highly distorted masks of folk plays. Okamé is the Shinto goddess of mirth and joy. Taisho period, circa 1920.

Height: 4.1 cm

38. An antique tagua nut (vegetable ivory) netsuke of a happy farmer, the skin of the nut forming his winter head wrap. Signed Shogyoku. Circa 1870.

Height: 4.6 cm 

39. A kagamibuta with fine married metalwork of gilded shakudo takazogan and inlaid hirazogan depicting a portrait of the great actor Danjuro V, in his renowned portrayal of ‘Shibaraku’, the role of a legendary samurai warrior. Set within an ivory bowl. 19th century.

Diameter: 4.5 cm

40. A stained wood netsuke of a seated male tiger, his right paw lifts as he turns his head to look over his right shoulder. Brow knit, nostrils flared and teeth exposed with eyes inlaid with horn, bring life to his expression. Stripes rendered in delineated detail. Sandalwood. Late 19th century.

Length: 5.1 cm

41. The rat was associated with wealth in Japan's historically agrarian culture. This symbolism evolved as great stores of grain were held by the affluent and very clever rats were always improvising ways to get at it. The villagers of the rural countryside came to find charm in much of the common antics of these creatures which we see reflected in netsuke. They nibble on candle wax, devour chestnuts, gnaw through woven rice straw kasa, or in the case of this charming stag antler netsuke, a rat has gnawed a place to nest in a paper parasol. The handle of the parasol has been carved separately and inserts to facilitate a himotoshi much the way the interior ring of a two-part manju would function. Mid-19th century.

Length: 10.3 cm

42. A stag antler netsuke with a chunky mass and variety of texture that is very pleasing to the hand. There is a very indigenous quality to this functional work of art that qualifies it as true mingei. Two traditional symbols of abundance are represented in the ample fleshiness of the mollusk – as bounty of the sea and the presence of the rat – companion to the Shinto God of Prosperity, Daikoku. Early to mid-19th century.

Length: 6.1 cm