57. A stag antler sashi-style netsuke, the surface of which has been rendered to simulate a woven bamboo basket. Meiji period. 

Height: 10.6 cm

58. A sashi-style netsuke carved both sides in cameo with gnarled pine and scholar's rock, symbols of strength and endurance. The reverse has a large-scale engraved signature reading Takayama with inscription Sozan below to the left. Hide Takayama School.  

Height: 15.7 cm

59. A 19th century kagamibuta (netsuke in the form of a mirror plate in a bowl) depicting Ebisu, the Shinto God of Abundance, kneeling before a mortar and pestle preparing a potion of wellbeing. Executed in the techniques of a shibuichi ground with takazogan (high relief) inlay in silver, gold and shakudo and a detail of his attribute, the fishing pole, in katakiribori. Signed Mingyoku.

Diameter: 4.2 cm

60. A very dynamic 19th century Japanese kagamibuta of an enlightened Sennin seated in a state of samadhi, symbolically represented by the countenance of the Buddha that he reveals in his heart space and the gilded nimbus that surrounds him. Like a painting in raised metalwork, there is presence in his intense gaze, the movement in his diaphanous robes and the smoke of his incense burner. Given the attribute of his very long eyebrows, this is likely a portrait of Sariputra, one of the most venerated disciples of the Buddha.

Diameter: 4.4 cm

61. A late 18th to early 19th century netsuke of a lively Chokwaro Sennin summoning his horse from a gourd. Sennin Chokwaro was a Taoist Immortal (Chin. Chang Kuolao) said to have lived from late 7th century to mid-8th century. His emblem is a gourd and there is an ancient expression amongst the Japanese: "Hyotan kara koma," a colt from a gourd, used to express a very unexpected event. This netsuke is a very refined carving with a well-worn irregular himitoshi and a beautiful lustrous patina throughout.

Height: 4.8 cm

62. A standing figure of a very amiable Shinto god 'Fukurokuju' with his large brow and pendulous earlobes that symbolize his great wisdom. In his hands, he offers a makimono wrapped in a simulated brocade of kiri blossoms bound in silver with a gold label. His benevolent countenance with laughing eyes conveys his warmhearted and boundless good-natured temperament. Rendered in various inlaid woods of Korean pine, sakura, boxwood, inlaid stag antler, ivory, gold and silver. Signed Yusho in an inlaid gold seal. (Midori INS Convention Catalog 2007, #38.)

Height: 4.8 cm

63. An early to mid-18th century Kyoto School sleeping boar on a bed of ferns and meadow flowers. The boar is a symbol of courage and the principles of bushido, but when so peacefully sleeping all this latent power rests and becomes a symbol of times of peace. Attractive patina retaining evidence of razor fine hair work. The base is deeply patinated with large irregular himotoshi.

Length: 4.8 cm

64. A fine example of Kogyoku's ingenious netsuke enactment of the legend of Rosei's dream. In Japanese folklore, "Rosei's Dream" refers to a story from a famous Noh play where the principle character named Rosei falls asleep at an inn and dreams he is invited to become the emperor, only to wake up and realize the dream was merely a fleeting illusion, signifying the impermanence of human desires and the importance of recognizing the vanity of empty dreams; this awakening is often interpreted as a spiritual realization. Here we see Rosei asleep beside a dragon tsuitate (single panel partition) before which a court procession is proceeding in his honor. His transparent fan shows that he is in a deep sleep and it is all an illusion. 19th century.

Length: 4.2 cm

65. An exquisite 18th century Kyoto school ivory netsuke of a tall standing, grazing horse. The scale of this netsuke is generous yet elegant, with attention given to the distribution of weight along the flanks and elements such as the swivel and extension of head and neck. When we look at the expression of the face of this lovely mare, we are aware that the artist experienced true sentience in the character of a horse. This brilliantly planned composition of a classic subject is moderately stylized without compromising the beauty of such a magnificent animal. Eyes inlaid in umimatsu. Large irregular himotoshi.

Height: 7.7 cm

66. Extremely rare is this magnificent tall and elegant 18th century netsuke of the Taoist Immortal Baifuku, standing wearing long flowing robes and the cap of a scholar. With an expression both benevolent and wise, he holds and strokes the feathers of his companion the mythical Ho-oh bird (Fenghuang throughout East Asia). Lustrous honey-amber patina and irregular himotoshi. For a comparative example of another 18th century standing Baifuku with Ho-oh see Behrens LIX, Illus. 4558 (this subject is very rare, but the Behrens example lacks what the present netsuke has in commanding scale and elegance of composition). (Midori INS Convention Catalog 2007, #3.)

Height: 13.3 cm

67. Great sensitivity has been expressed in this netsuke of peace, contentment and affection. A reclining Ox and Young are considered a symbol of times of peace, wherein lies the grace of a more gentle life. There is genius in the contours of this composition as the mother curves her massive body to look after what by scale is her infant calf. The patina of such early ivory is beautifully lustrous, the surface worn by a life of devoted appreciation from those who've cherished her. Irregular himotoshi. Signed Tomotada on the belly of the Ox (a renowned artist of the Soken Kisho reference pub. 1781). Early to Mid-1700's.

Length: 5.8 cm

68. A dual function guri lacquer double gourd netsuke with a bronze hasp and threaded stopper intended to also function to carry powdered ink for a tsuitaté. Late 1700's.

Height: 5.7 cm

69. Hidari Issan's Dragon is unlike any other. Powerful and wise while coiled in repose, having achieved the sacred task of capturing the pearl of wisdom. His intense gaze speaks volumes of the experience of this ancient beast, born of the primordial sea and rising as if by evolution into the celestial realms. With his open jowl as if to speak, we might wonder what profound wisdom he's expressed. Signed in an oval reserve.

Length: 4.1 cm

70. A wood netsuke of a playful Fukurokuju crawling on all fours, his cloak covered in a pattern to simulate the carapace of a tortoise. This subject may have found such favor with the artist Kigyoku because “ki” or “kame” means tortoise and “gyoku” or “tama” means jewel or enlightened spirit. Both the Shinto god Fukurokuju and the tortoise are mutual symbols of wisdom and longevity and their juxtaposition in this composition is a delightful play on their shared metaphors. Signed Kigyoko, Tokyo School. (A similar example is found in the permanent collection of the Museum of Fine Arts, Boston).

Length: 5.1 cm