Golden Age of Ningyo by Theriault's

Golden Age of Ningyō JAPANESE DOLLS FROM THE AYERVAIS COLLECTION the dollmasters

© Copyright 2022 Theriault’s Gold Horse Publishing. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by an information retrieval system, without permission, in writing, from the author or the publisher. To order additional copies contact: Florence & George PO Box 2319, Annapolis, MD 21404 Tel. 800-966-3655 Fax www.florenceandgeorge.com410-571-9605 This book is based upon an antique Japanese doll collection auctioned by Theriault’s of Annapolis, Maryland. Design: Travis Hammond Photography: Gerald Nelson Conservators: Hana Holbrook, Terry Lanford, Scott Netro ISBN:$75 978-1-944881-34-4 Printed in Hong Kong, China

Every Ningyō in my collection contains a soul and an aliveness that’s found in the most major works of figurative art. Ningyō derive their astonishing life force from the rare skills of the masters who created them and from the natural, living materials from which they’re made. Faces are coated in layers of oyster shell lacquer, the clothing is silk, the bodies contain wood, straw, and paper. Ningyō are both otherworldly and of this world. I prefer to gaze at Ningyō in a room lit by candles just as Japanese Royalty and householders did during the eighteenth and nineteenth centuries. They are the soul of Japan and whenever I look at them, I see something new.

It has been my honor to have been the custodian of these irreplaceable pieces for over three decades. I pass them on to you in anticipation of the pleasure they’ll bring. While you immerse yourself in their magic and majesty, their beauty and power will live on inside me.

later, on an ordinary Sunday in 1986, I made a casual visit to an antique show in New York City where, struck by the haunting beauty and transcendent facial expressions of a Japanese Edo period Emperor and Empress Ningyō, I was catapulted into a relationship with an exquisite art form that has brought me thirty odd years of immeasurable joy. I never thought of myself as a collector or sought to build an important collection. I’d come across a new piece and feel compelled to learn its specific history and mythology. With no prior plan, my collection grew. My life expanded in kind. I met other lovers of Ningyō who’ve become my dear friends. I traveled to Asia and across America to see more Ningyō. I was feted, happily attended celebrations for other connoisseurs, and was honored to exhibit part of my collection at the Metropolitan Museum of Art. In 1995, ninety pieces were shown at the Japan Society exhibition “Ningyō: The Art of the Human Figurine,” a display that’s been called the surprise event of Japanese Art in the twentieth century. All told, I’ve received more incredible joy from this astounding art form than I could ever have imagined since that fateful day in 1986.

Iam a person who lives through my eyes. As a young child growing up in New York City, my parents sensed that about me and helped develop my strong visual and emotional connection to art by bringing me to the city’s great Then,museums.manyyears

Michael Ayervais, September 2022

A Note from the Collector

And thus it has been for the last 36 years, a collecting journey of the soul. With virtually no written words to guide him, no lavish exhibition catalogues to peruse, no known authorities in his orbit to advise, and, initially, no Google search (!), it was through artistic instinct and dedicated passion that he began to amass what would become the greatest ningyō collection outside of Japan. By 1996 his collection had attracted the attention of the Japan Society there in New York which staged an ambitious first-ever exhibition of Japanese dolls, inviting acclaimed ningyō specialists from Japan to select and catalogue this truly ground-breaking exhibition. And the book published in conjunction with the exhibition: Ningyō: The Art of the Human Figure, long remained the go-to source for those interested in ningyō history and culture.

Over the years, as the Ayervais Collection grew, it attracted even greater interest from Japan, with visits

For all his years on “the scene” he had not encountered such a work of art. He went home, empty handed but intrigued and wrestled with them all night, trying to place them in what he knew and loved about art. The next day he raced back to the fair intent on purchasing them. Whatever they were, he decided,

they had to be his. But he was too late, sold the night before after he had left so entranced. So, again, he left the fair empty-handed, but with a new art-focus in his heart and soul. Ningyō.

The Collection

s is frequently the case, it was originally about the one that got away. New York has long been considered the epicenter of many aspects of the art world. Great museums, great galleries, and great art fairs pepper the city not only geographically, but also in terms of the annual calendar of must-see events. Michael Ayervais is a habitué of that world, accustomed to attending the gallery openings, blockbuster museum shows and jawdropping art fairs. So it was a singular moment back in 1986 when he entered the famed Park Avenue Armory Fair and encountered his first Japanese ningyō. It was a dairi-bina imperial couple for the Girl’s Day display. Clad in rich silk brocades, with haunting white faces, delicate hands and elaborate headgear, they were conceptually stunning and visually arresting. But more importantly, what were they?

Over the succeeding years elements of the collection have been exhibited at the Metropolitan Museum of Art, the Mingei International Museum, the Morikami Museum, and many others. Selections of the Ayervais Collection have formed an important touchstone for a number of publications that have since emerged to help the collector and art enthusiast navigate and explore this fascinating world of ningyō.

And through it all Michael Ayervais has never lost the passion and intensity of feeling that he first felt on encountering his first ningyō those many years ago.

And that is the true essence of any great collection: passion, vision, dedication, and a soul-searching approach to what makes that piece, or that doll, a must have, worthy of being included in what is now and will forever remain a benchmark and storied collection: The Ayervais Collection. x

from members of the imperial family, diplomats, heads of Japanese corporations, researchers, and even TV documentarians who were struck not only by the breadth and depth of the collection, but by the fact that it was NOT in Japan, but in New York City, and NOT in a museum, but in the private home of one passionate collector.

Above: Two of Alan Scott Pate’s well-researched books on the subject of Japanese dolls featuring many of the Ningyō in the Ayervais collection.

1. Adorable Retro Ichitmatsu-ningyō Boy with Red Tabi Socks, Taisho Era

His style is reflective of earlier aesthetics with larger gingko-nut-shaped eyes and completely shaved pate more common to examples from the late Edo and Meiji Eras.

by a silk brocade obi, red shibori dyed inner kimono with blue collar and red tabi socks with padded bottom. Taisho Era, early 1900s, maker unsigned. $1800/2400

27” (69 cm.) Of classic Ichimatsu construction, with head, hands and forearms, lower legs and feet of tōso wood composite covered overall by a lightly pigmented gofun, with inset glass eyes, silk fiber side locks, large bald pate, chin crease, well-formed hands with nicely delineated fingers, soft padded upper arms, and wearing a (replaced) fine vintage printed silk kimono with fan designs and embroidered kashiwa (oak) crest at the shoulders, secured

Mitsuore-BoneMiniatureEnchanting

3. Engaging Mitate Gosho-ningyō (Parody Palace Doll) of a Medicine Peddler, Edo Period

Carved bone figures such as this properly belong to a craft category known as okimono (display object) that, along with netsuke, became popular export and trade items to the West. Craftsmen working in okimono and netsuke were generally separate from ningyō makers, although a noted exception would be Hara Shugetsu III who was noted for both his stunning ningyō (see catalog #45) as well as for his finely rendered netsuke.

ningyō okimono articulated doll of a young child holding the mask of Daikoku (the god of daily wealth) is carved of bone with pegged arms, hip and knee joints, with sleeveless vest carved as part of the body, sweet childlike expression, simple black-tinted carved hair, well-delineated fingers and toes, with his hands holding silk cords that are attached to a carved mask of Daikoku with his signature cap and large earlobes and mustache. Meiji Era, 19th century. $900/1200

Uirō-uri is one of the great classics of Kabuki. The medicine peddler’s call touting the beneficial aspects of the medicine, consists of a 1,600 word-long tongue twister, gradually increasing in speed as the actor himself simulates the benefits of the medicine he is selling.

14” (36 cm.) Mitate Gosho-ningyō (parody palace doll), depicting a theme derived from the classic Kabuki drama Uirō-uri (The Medicine Peddler), having gosho-style round face with small centered features, smiling expression, white gofun finish with painted details, mizuhiki auspicious presentation ribbon painted on his forehead, finely-formed hands with long fingers, dressed in a blue striped silk kimono with a gold plaid brocade over vest, straw sandals of an itinerant peddler, a lacquered paper gourd slung around his neck, and mounted on a silk-clad base. Minor wear to vest and left hand. Edo Period, Mid-19th century.

ningyō of a Young EraMask,HoldingBoyaMeiji

Exhibited Mingei International Museum (2005), published in Ningyō: The Art of the Japanese Doll, page 78. $900/1200

2 ½” (6 mitsuore-Miniaturecm.)

Embroidered design of phoenix on her seleve.

4. Elegant and Stunning Machi-bina (Town Hina) for the Hina Matsuri Girl’s Day Festival, Edo Period

17” (43 cm.) man. 18 ½” woman including crown, 14” w. bases. Each with heads of wood covered in gofun with painted details including blackened teeth and okymayu skybrows, real hair, both mounted on exceptionally unusual tiered dais with lacquered base. Including the o-bina (imperial lord) dressed in a rich blue silk brocade robe with long sword, shaku scepter and kanmuri court cap; and the me-bina (imperial lady) dressed in a coordinated manner with the same rich blue silk brocade serving as her outermost kimono layer, with long silk crepe sleeves with supplemental embroidered designs of ho-o (phoenix) and flowering kiri (paulownia) blossoms, with birōdo black velvet collar trimming, kakeobi crossing over shoulders of stiffened silk crepe with black silk cording with decorative knotting, painted wood fan, and

Rare tiered dais base with laqured base.

elaborate metal and beaded crown with large ho-o detail at top. There is some loss of hair, and minor wear and fading to textiles. Late Edo Period, circa 1850. $9000/12,000

Part of the beauty and excitement with nontraditional machi-bina is that you never know what creative twist the ningyō artisan will put on a dairibina pairing. The extensive use of birōdo (black velvet) on both the dolls and the dais is singular and marks this as a high-quality production.

13” (33 cm.) h. including cap. Wood gosho-ningyō seated with legs thrust forward, nice detail to hands and feet, sexed figure, real hair, is covered overall in gofun with painted details and is wearing a lacquered paper eboshi court cap and an elaborately embroidered silk crepe haragake bib with dense floral sprays, holding a silken cord attached to a goten-gangu (palace toy) style papier mâché standing puppy covered in gofun with inset glass eyes and painted details including light shadowing around the ears, wearing a silk crepe bib. Light craquelure, loss of hair. Edo Period, 19th century. Exhibited Mingei International Museum (2005). Published in Ningyō: The Art of the Japanese Doll, page 35. $9000/12,000

Goten-gangu were elegantly-fashioned toys, frequently depicting animals such as dogs, birds and rabbits. Initially created largely for the nobility, they then became objects of desire in the Edo marketplace, being great companion pieces for the everevolving gosho-ningyō with its frequent pairing with auspicious objects. Dogs were especially held in great esteem and seen as symbols of protection and fertility.

5. Thoroughly Delightful Gosho-ningyō (Palace Doll) with Puppy, Edo Period

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Left: Gosho-ningyō came in a wide range of sizes. Shown here are 5”-13” in height.

5” (13 cm.) h. including cap. Small scale gosho-ningyō depicting a kneeling boy riding a stick hobby horse is crafted of wood and covered in a fine white gofun with painted details including a short forelock and side-locks, and is wearing a silk crepe haragarke bib with painted details and a black eboshi court cap with thick purple tie strings. There is a hole in his right hand for the silk crepe reigns to pass through to the papier mache horse which is decorated with painted details including a red bridle. Sidelocks replaced. Late Edo/Early Meiji Period, Mid-19th century. $1200/1500

Kyodai pairs were a popular subset of gosho-ningyō and copied the common practice of older children caring for their younger siblings. In gosho form the inclusion of two young boys conveyed a sense of numerous male progeny and fertility.

7. Charming Gosho-ningyō (Palace Doll) with Harukoma Hobby Horse, Early Meiji Period

The Harukoma or hobbyhorse was not only a popular toy, but it also served as symbol of good luck and protection. At New Year’s it was common for itinerant performers to travel around and perform a dance with the harukoma to bring in good luck and drive away evil for the coming year. This dance was also incorporated into Kabuki theater. Small-scale gosho-ningyō such as this were often referred to as gofukunoinori or good luck and prayer dolls. Rather than sumptuous art statements that some of the large gosho-ningyō had become, these smaller forms were simple, popular gifts to convey auspicious wishes.

7 ½” (19 cm.) Classic gosho pairing of a free-standing older brother carrying his younger brother piggyback, his both arms bent back to support the younger brother who is dressed in a long white silk crepe robe covering all but the head. The older brother, with laughing expression, is fashioned of wood and covered in a fine gofun with painted details, including a front forelock and two side locks with additional silk fiber hair, and is wearing a chirimen sleeveless vest with embroidered designs that is tied at the front over a silk brocade haragake bib with silver foil thread designs. Side locks replaced. Edo Period, 19th century. $2000/2500

6. Kyodai (Elder Brother/Younger Brother) Gosho-ningyō (Palace Doll) Pair, Edo Period

The legend of momotoro, the peach boy, was a popular tale depicted in early Japanese woodblock prints.

Momotarō the Peach Boy is one of Japan’s most famous fairy tales and ningyō artisans delighted in depicting the boy hero on his various exploits, frequently accompanied by a dog, a monkey and a pheasant. Here the pheasant is inexplicably absent from the scene.

6” (15 cm.) Momotarō the Peach boy is surrounded by his companions, the monkey and the dog; the unusual rendition depicts Momotarō, in classic clay gosho form covered overall in gofun with painted details, real hair, kneeling with silk brocade haragake bin with central panel bearing dragon design, holding a peach in his left hand while his right hand rests atop the head of the monkey who sits at his knee looking up attentively and wearing a silk brocade coat with chirimen silk crepe collar. Next to him sits a puppy with paw raised on Momotarō’s left thigh, his body decorated with colorful patterns and wearing a silk crepe haragake-like bib. There is light wear to textiles. Late Edo Period, mid-19th century. Exhibited Metropolitan Museum of Art (2002). $2000/3000

8. Delightful Mitate Gosho-ningyō (Parody Palace Doll) of Momotarō the Peach Boy

Above: Embroidery detail of sacred mushrooms on her chinese slippers. Below: Extensive luxury silks and brocades compose the gown.

9. Magical Ishō-ningyō of the Tragic Chinese Beauty Yōkihi, Edo Period

22” (56 cm.) including base. Tall standing figure of a woman depicting the famed 8th century Chinese beauty, Yang Kuei-fei (Jp. Yōkihi), having elegant and elongated face covered in gofun with painted details featuring wide set, narrow eyes, high forehead, real hair formed into an elaborate looped chignon and ornamented with a papier mâché phoenix crown, and clothed in a richly distinctive Chinese style consisting of layered silk brocade textiles with purple fringe, birōdo (black velvet) belt worn high, a broad silk brocade collar also fringed in purple silk crepe, large Chinese style shoes with detailed nyoi (sacred mushroom) shaped toe caps in red and gold, carrying an ewer in her hand, displayed on a black lacquered base. Minor losses to hair, minor wear to crown and ewer. Edo Period, 19th century. Exhibited Mingei International Museum (2005), published in Ningyō: The Art of the Japanese Doll, page 204. $5000/7000

The crown is centered by a well-detailed phoenix.

Many of the classics from Chinese literature were actively incorporated into Japanese culture as well. Yōkihi, Asia’s answer to Helen of Troy, is a historic beauty who so drove an emperor to distraction that she was executed to restore peace and stability to the kingdom, events immortalized by the Chinese poet Po Chu-i, in his Song of Everlasting Sorrow, published in 806.

Laquered paper-mache butterfly wings at the back torso.

Japanese woodblock print depicting the butterfly dance.

With commissioned pieces the specific crests of the family would be incorporated into the design of kago itself.

11. Exceptional Lacquered Hina Kago (Palanquin) for the Hina Matsuri Girl’s Day Celebration, Edo Period

When doors are slid back the rich interior of the palanquin can be seen.

In Japan, where wheeled vehicles were largely outlawed, kago palanquins were the vehicles of choice for the nobility and upper samurai families. Kago are occasionally found as supplemental accessories in expanded hina displays.

By tradition, this auspicious and ancient court dance would have been performed by boys; however, over time, the imagery associated with the kochōno-mai became increasingly feminine and its inclusion in the Hina Matsuri is therefore fitting.

11. 17

32” (81 cm.) overall l. poles, 12”h. 11”w. Miniature lacquered palanquin bearing the uroko (fish scale triangle) and hanabishi (diamond flower) crests in gold is borne by long carrying poles divided into three segments, and has a hinged lid with chased metal fittings also bearing the hanabishi crest on one side and the uroko crest on the other, sliding door panel to reveal interior with silk brocade and silk crepe zabuton cushion and the walls papered and painted with bird, flower and bamboo motif, side windows shaded by tsundere reed screens. Inside rests a small chigo-bina (page doll) with silk brocade kamishimo broad-shouldered vest

10. Exotic Kochō-no-mai ishō-ningyō Enacting Butterfly Dance) for the Hina Matsuri, Meiji Era

and trouser combination with chirimen silk crepe under kimono with embroidered designs of flowers, head and hands of wood covered in gofun with painted features, real hair. There is slight loss of hair to doll, fading and wear to paper interior. Edo Period, 19th century. $5000/7000

13” (33 cm.) Depiction of the early Gagaku court dancers with heads, hands, and feet of wood covered in gofun, painted facial details, in animated poses with left leg thrust to the side and toe up, dressed in exactly matching textiles consisting of a silk brocade hō (outer robe) with long train bearing tortoise shell and peony designs in various colors on a maroon ground, belted at waist, with silk brocade hakama trousers bearing the hanabishi (diamond flower) and stylized botan (peony) design, colorful lacquer paper keikō (cuirass), metal crowns with silk flower ornaments, real hair, holding flowering branches in their hands, and with dramatic lacquered paper butterfly wings at the back with banded colors. Light craquelure, slight hair loss. Meiji Era, Late 19th century. Exhibited Japan Society (1996) and published in Ningyō:The Art of the Human Figure, page 47. $2000/3000

12. Magical Mitate Gosho-ningyō (Parody Palace Doll) of Ursashima-tarō and the Turtle

Japanese woodblock print of the popular Ursashima-taro and the Turtle folk tale.

The mitate gosho-ningyō (parody palace doll) depicts the children’s folk tale of Urashima-tarō, a young fisherman who rescues a turtle. The turtle then reveals herself to be Otohime, the daughter of Ryûjin the Undersea Dragon God. She then takes Urashima-tarō to her undersea palace where he lives happily for many years. When he asks to be allowed to return home he is given a box with strict instructions never to open it. When he arrives home he discovers that he has been gone for centuries and all that he knew and loved are long gone. In despair he opens the box and he immediately ages and dies, for the box contained time itself.

12. 18

14” (36 cm.) The papier mâché single-piece form depicts a classic gosho with a chirimen silk crepe zukin cap and matching haragake bib bearing the sacred treasures motif, is covered in a white gofun with painted details, smiling expression, silk hair tuft side locks and silk ties, posed seated atop a turtle done in rich green and gold pigments with painted shell details, protruding head and legs. There is minor fabric fading. Late Edo/Early Meiji Period, Mid-19th century. Published in Japanese Dolls: The Fascinating World of Ningyō, page 108. $4000/6000

13. Delightful Gosho-ningyō (Palace Doll) holding a Takarabune (Treasure Ship). Edo Period

14. Diminutive Gosho-ningyō (Palace Doll) with Kemari Ball, Edo Period

image of the takarabune under your pillow and if you dream of the treasure ship that night you will have good fortune for the upcoming year.

6” (15 cm.) Diminutive Gosho-ningyō fashioned of wood is covered overall in a fine white gofun with painted details, silk fiber hair, and is wearing a silk crepe haragake bib with painted floral designs, with left hand resting on knee and right hand holding a colorful kemari ball. Restoration to gofun. Edo Period, 19th century. $1200/1500

Kemari is an ancient game similar to modern hacky-sack but played with a larger hollow deerskin ball stitched in the middle, creating a cinched shape. Initially imported from China, kemari was a favorite pastime amongst nobility during the Heian Period (794-1185), spreading to the samurai classes and onto society at large by the Edo Period. The kemari itself is a symbol of amusement and has been used as a decorative motif for everything from kimono designs to ceramic hand warmers.

The Takarabune is an especially popular symbol of happiness and good fortune, the subject of innumerable paintings, woodblock prints, poems and tales. It is also closely associated with Momotarō the Peach Boy and Ryûjin, the undersea dragon god. At New Year’s, it is traditional to sleep with an

8” (20 cm.) Gosho-ningyō posed in classic seated form with both legs to the front, is carved of wood and covered in a fine white gofun with painted details, smiling expression, thick silk fiber hair, dressed in a red chirimen silk crepe haragake bib with embroidered tachibana (mandarin orange) crest with details in gold thread. In his outstretched left hand, he holds an elaborate takarabune (treasure ship) crafted of papier mâché and decorated with fringed sails, and with both the mast and the prow ornamented by the sacred hōju pearl of enlightenment, which also appears in the hold along with other treasures such as the weight and the coin. Some craquelure, old repairs to takarabune. Edo Period, 19th century. Exhibited Mingei International Museum (2005). Published in Ningyō: The Art of the Japanese Doll, page 29. $3000/5000

16. Dramatic Ishō-ningyō Depicting the Chinese Warrior Gentoku Plunging Horseback into the Tan Gorge, Edo Period

15. Adorable Miniature Standing Gosho-ningyō (Palace Doll), Edo Period

15. 20

20” (51 cm.) h. including base.18”w. A stunning tableau, mounted on a raised black lacquer base, depicting a papier mâché horse plunging into the cresting carved wooden river currents which are defined by blue, white and gold pigments. The horse, with mane drawn into tied tufts, and decorated with multi-colored trappings, is turned to its left as it struggles with the force of the water, its hind feet kicking out high behind him. Seated on the horse is a mounted figure with round face of wood covered in gofun with painted details and silk hair, wearing rich silk brocade robes in the Chinese style with ruffled hem, silk brocade trousers, and Chinese style-cap. There is restoration to horse’s

4” (10 cm.) Miniature standing gosho-ningyō (palace doll) carved of wood and covered in a fine gofun with painted details, hair done with nakasori shaved spot on top, wearing richly-designed chirimen silk crepe kimono with fawn-spot patterning secured by a purple silk brocade obi tie belt, dark chirimen silk crepe vest, sword at hip, and with right hand closed to hold a fan. Some wear to textiles, broken right toe. Edo Period, Mid-19th century. Exhibited Japan Society (1996). Published in Ningyō: The Art of the Human Figure, page 89. $1000/2000

Above: Detail images of faces of Gentoku and the woodblockPerioddepictedofLeft:Horse.ThedramaGentokuisinEdoJapaneseprint.

One of the most dramatic scenes from the popular Sangokushi (Romance of

legs and waves. Late Edo/Early Meiji Period, Mid-19th century. Published in Japanese Dolls: The Fascinating World of Ningyō, page 141. $8000/10,000

the the Three Kingdoms) is when the great warrior Gentoku (Ch. Xuande) plunges with his horse into the deep Tan Gorge toward the swift flowing Caoqi River. The drama and the power of the event is beautifully captured here, in striking contrast to the youthful face of the warrior depicted almost in gosho form with rounded head and narrow features.

The pair were initially collected in Japan in the early 1950s through the curator of the Imperial Museum, Nishizawa Tekiho (1889-1965), by Colonel Robert and Eloise Thomas and part of their Yesteryear’s Museum in Sandwich, MA.

The Katabami (wood sorrel) crest appearing on each of the outer kimonos.

17. Important Wakagime-Himegime (Imperial Prince and Princess) Gosho-ningyō, Edo Period

Silk fiber hair done in Imperial style. Above is the tea whisk style on prince and below is the butterfly style shown on the princess.

18 ½” (47 cm.) Pair, Wakagime-Himegime (Imperial Prince and Princess) gosho-ningyō (palace dolls), each with carved wood bodies covered overall in a fine white gofun, painted features, silk fiber hair done in imperial style, he with a chasenmage tea whisk style and she with a chigowa butterfly style. Elegantly attired, he is wearing a broad-shouldered stencil-dyed bast fiber kamishimo jacket and trousers bearing the katabami (wood sorrel) crest, over a black silk kimono; she is wearing a fine figured silk uchigake outer kimono with matching gold embroidered katabami crest, over a white figured silk inner kimono secured by a broad green silk obi with fan, and silk brocade pouch. Minor wear and fading to kimono, overall fine condition. Edo Period, early 19th century. Exhibited Japan Society (1995), Mingei International Museum (2005). Published in Ningyō: The Art of The Human Figure, page 86. and Ningyō: The Art of the Japanese Doll, page 19. $25,000/30,000

19” (48 cm.) h, including cap. 18”w. Musha-ningyō (warrior doll) depicting Toyotomi Hideyoshi (the Taikō, 1536-1598) has head,

18. Lavish Musha-ningyō (Warrior Doll) of Toyotomi Hideyoshi, Edo Period

hands and feet of wood covered in a fine white gofun, well carved face with strong features, painted details, large inset glass eyes, silk fiber hair, hands painted to simulate leather gloves, wearing brilliant blue and gold kinran brocade surcoat with giant floral

Hideyoshi was introduced as a Boy’s Day figure in the first half of the 19th century as part of a cultural rediscovery of Hideyoshi and his period of history. He is usually depicted seated cross-legged, in great contrast to either the traditional kneeling vassal or a general seated on a military campstool. This new seated format of depiction would later be employed in ningyō of Ojin Tenno which became particularly popular during the Meiji Era.

9 ½” (24 cm.) seated. Musha-ningyō (warrior doll) for the May 5th Boy’s Day display depicting the influential 16th century tea master and political counselor Sen no Rikyû (1522-1591), head and hands of wood covered in a fine white gofun with painted details, light blue shading around chin and upper lip showing virility, depicted with the shaved head of a Buddhist monk, wearing a rich purple chirimen silk kimono and striped hakama trousers with a silk brocade sleeveless vest with birōdo black velvet trim, depicted kneeling in front of an array of tea utensils. Minor wear to textiles. Edo Period, 19th century. Exhibited Mingei International Museum (2005) and Fowler Museum (2022). Published in Ningyō: The Art of the Japanese Doll, pages 160-161; Steeped in History: The Art of Tea, page 89. $5000/7000

Historically, Sen no Rikyû was a trusted advisor to the war lord Toyotomi Hideyoshi (1536-1598) and held vast power during Hideyoshi’s rule. He ultimately ran afoul of Hideyoshi who ordered the tea master to commit ritual suicide. In popular culture Rikyû enjoyed a resurgence as part of the “Hideyoshi Boom” experienced during the first half of the 19th century following the lapse of political restrictions regarding discussions and portrayals of Hideyoshi [see catalog 18].

19. 25

burst design, with a beautiful lavish white silk brocade inner lining, lacquered paper armor, gold lacquered cuirass with blue silk lacing and bold dragon crest, dark metal details of flowering peonies echoing the design on his coat, shoulder and thigh guards, red felt accents, with a heavy metal gumbai Chinesestyle battle fan in right hand having sun and moon design and a nicely wrought metal chrysanthemum worked into the tine, long and short swords at hip, gold lacquered eboshi-style cap, and is posed seated atop a gold silk brocade zabuton cushion bearing Hideyoshi’s signature kiri (paulownia) crest, which is resting atop a black lacquered wooden base. Restoration of head, losses of hair. Edo Period, mid-19th century, circa 1850. $4000/6000

19. Powerful Musha-ningyō (Warrior Doll) of the Tea Master Sen no Rikyû, Edo Period

10” (25 cm.) Depicting a corpulent sumo wrester with body, head, lower arms and legs of a tōso wood composite with pigmented gofun treatment, inset glass eyes, painted details including beard, chest and belly hair, silk fiber hair, large belly and chest realistically rendered with folds and creases, belly button, nipples, and contoured musculature, hands with painted nail details, padded silk crepe upper arms, wearing a red velvet kesho-mawashi ceremonial apron, with couched thread bordering and long fringes. Hair replaced, loss of pigment, light wear to textile. Early Meiji Period, Late 19th century,Tokyo-made. Exhibited at the Japan Society (1996) and published in Ningyō: The Art of the Human Figure, page 65. $1000/2000

20. Amusing Mitsuore-ningyō (Triple-Jointed Doll) of a Sumo Wrestler, Meiji Period

Articulation details of the sumo wrestler.

20.

Japanese woodblock print of sumo wrestler.

12” (30 cm.) Pair, mitate gosho-ningyō (parody palace dolls) depicting sumo wrestlers engaged in a tug-of-war, one posed standing and the other kneeling on right knee. The corpulent figures are carved of wood and covered in a fine white gofun with painted details, silk fiber hair arranged in different boy styles, wearing complimentary silk fringed keisho-mawashi sumo aprons done in an orange chirimen (silk crepe) with resist dyed and embroidered blossom designs and metal rabbit-shaped bosses at the hem and secured by a thick purple silk crepe obi tie belt. Edo Period, 19th century. Exhibited: Mingei International Museum (2005), Published in Ningyō: The Art of the Japanese Doll, page 62. $12,000/15,000

Sumo wrestling evolved over centuries from shrine ritual to an iconic national sport followed the world over. Beginning in the Edo era, especially popular wrestlers were treated like stars and were depicted in woodblock prints and ningyō alike. Ningyō depicting sumo wrestlers, both specific and generic, can be found in every media, from clay to gosho to ishō and mitsuore. As a mitsuore-ningyō, sumo wrestlers were particular amusing and engaging as individuals could move the ningyō through the various poses of the actual sumo bout.

21. Whimsical Mitate Gosho-ningyō (Parody Palace Dolls) of Sumo Wrestlers, Edo Period

23. Charming Mitsuore gosho-ningyō (Triple-Jointed Palace Doll) of a Young Boy, Edo Period

6” (15 cm.) Charming Mitsuore gosho-ningyō (triple-jointed palace doll) of wood construction covered overall with a fine gofun, joints at the hips, kneels and ankles that allow it to be positioned sitting, kneeling or standing, painted details with particularly richly detailed hair, with a small birōdo black velvet patch at the top of head, wearing a chirimen silk crepe kimono with embroidered floral designs with gold-wrapped thread elements and fuji wisteria family crest at the shoulders, and a tasseled silk crepe mamori-bako (charm bag) attached to his obi tie belt. Fading and wear to flocking of kimono, line in gofun at chin. Edo Period, circa 1800. Exhibited Japan Society (1996). Published in Ningyō: The Art of the Human Figure, page 88. $5000/7000

22. Exquisite Mitsuore Gosho-ningyō (Triple-jointed Palace Doll), Edo Period

8” (20 cm.) Mitsuore Gosho-ningyō (triple-jointed palace doll), carved of wood and covered overall in a fine white gofun with painted details such as an enigmatic undulating line smile, triple jointed construction with articulated hips, knees and ankles allowing him to stand, sit or kneel independently, padded wire upper arms, sexed figure, thick silk fiber hair, a nakasori shaved spot at the top of his head, dressed in a very fine and high quality colorful silk brocade kimono with white under kimono, painted paper folding fan tucked in at his lapel. Minor fading of textiles. Edo Period, 19th century. $11,000/14,000

Mitsuore gosho-ningyō are among the most coveted traditional doll forms in Japan, combining the allure and noble aesthetic of the gosho-ningyō with a more interactive, playful aspect.

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Small mitsuore such as this, known as “kogata,” are believed to have been used as play dolls by children of the nobility, military elite and wealthy merchant families.

Mitsuore goshoningyō in a range of sizes. Shown here are 6”, 8” and 18”.

in Sandwich, MA. Exhibited Japan Society (1996). Published in Ningyō: The Art of the Human Figure, pages 22 and 90, and in Japanese Dolls: The Fascinating World of Ningyō, page 243. Records indicate that this doll originally came with a box with a personal inscription from Nishizawa Tekiho to Eloise Thomas. $4000/6000

18” (46 cm.) Mitsuore-ningyō (triple-jointed doll) of a merchant’s child from Edo, in classic mitsuore construction with articulated hip, knees and ankles done in a flat-joint style allowing the doll to be positioned kneeling or standing independent of support, all wood construction covered in a fine white gofun, some restoration, large shaved pate with two side locks, padded silk and wire upper arms, right hand slightly closed to allow for a fan, sexed figure, wearing a plaid kimono and light green sash-style obi. Restored condition, wear to textiles. Edo Period, 19th century. Initially collected in Japan in the early 1950s through the curator of the Imperial Museum, Nishizawa Tekiho 1889-1965) by Colonel Robert and Eloise Thomas and part of their Yesteryear’s Museum

24. Special Mitsuore-ningyō (Triple-jointed Doll) of a Merchant’s Child, Edo Period

costume.Detailarticulation.ofof

Ningyō artisans experimented with many different styles of joint construction beginning in the late 18th century. The flat-joint style, often referred to as gosho-style, represented the most stable, providing broad flat surfaces for the doll to rest on in its standing position and with hollowed out areas at the back of the thighs which allowed

Detail

the lower legs to nestle in tightly, providing exceptional stability both kneeling and standing.

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25. Whimsical Mitate Ishō-ningyō (Parody Doll) of Ebisu, Edo Period

Ebisu, along with his companion god, Daikoku (the god of daily wealth) are two of the most popular gods in Japanese traditional culture, assuring daily wealth and provision to a family throughout the year. Dances specifically featuring Ebisu and his giant fish were popular New Year festivities.

26. Lovely Okimono Hina-ningyō Made of Boxwood, Meiji Era

2” (5 cm.) Small-scale Muromachi-style dairibina (imperial couple) with bodies each carved of a single piece of a well-patinated boxwood, and heads of bone with lightly carved features and painted details, include the o-bina (imperial lord) depicted seated with arms down, flaring robe sleeves and front apron, and the me-bina (imperial lady), interestingly carved with arms wide spread with flowing sleeves, obi tie belt and full hakama trousers, and having long side braids. Meiji Era, late 19th century. $1000/2000

14” (36 cm.) Mitate isho-ningyō (parody fashion doll) depicting Ebisu, the god of daily provision, wrangling a large tai (sea bream), the beloved god depicted with head of wood covered in gofun with painted hair and details, round cherubic face, clothed in silk brocades with long chirimen silk crepe sleeves with embroidered designs, sporting a lacquered paper eboshi court-style cap, his left foot placed upon a papier mâché boulder, his right hand holding a rod from which dangles a giant red sea bream, mounted on a black lacquer base with a painted front. Edo Period, circa 1800. $2000/3000

Okimono are carved objects designed for display. They were generally decorative objects rather than components of festival rituals. Tsuge boxwood was a popular wood used in both okimono and netsuke toggles and was prized not only for its carvability, but also its deep patina that developed through repeated handling. This particular set appears to be a direct copy of the early 18th century hina form known as a Muromachi-bina. The whiteness of the bone used here is a wonderful approximation of gofun.

27. Spectacular Large-Scale Kyōho-bina Imperial Couple, Edo Period

knot and securing a mo gauze train behind and billowing hakama court trousers, sporting a metal crown ornamented with a phoenix; and he seated with feet pressed together, the front of his kimono depicted as a layered series of panels secured at the shoulder with brocade wrapped buttons, wearing a gold eboshi court cap with a tall ei tail extended upward, long curving sword at hip and shaku scepter in right hand. Old repairs to faces, fading to textiles, losses to hair, shaku replaced. Edo Period, mid-18th century. Exhibited Mingei International Museum (2005). Published in Ningyō: The Art of the Japanese Doll, page 99. $40,000/50,000

23” (58 cm.) h. with crown woman. 33” with crown man. Largescale Kyōho-bina imperial couple for the Hina Matsuri Girl’s day celebration, each with well carved wood head covered in gofun with painted details including blackened teeth and okimayu skybrows, real hair in a long single braid for her and in a tight topknot for him, hands with long attenuated fingers. Wearing matching blue silk brocade textiles featuring bold dragon roundels and stylized flowers, she in a simulated junihitoe twelve-layered robe with a large kake-obi sash closed by an elaborately rendered

Kyōho-bina emerged in the first half of the 18th century as a flamboyant manifestation of the growing popularity of the Hina-matsuri among the merchant class. Restricted from lavish outward displays of wealth by social norms and government policy, the merchant class thus enjoyed demonstrating their wealth more privately. Ultimately the government also put restriction on the size and materials used in Hina dolls in order to curb this “unseemly” tendency.

Tortoise shell pattern on armor.

Early woodblock print depicting Benkei.

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28. Captivating 18th Century Ishōningyō of the Warrior Monk Benkei

17” (43 cm.) The venerated warrior monk Saitō Musashibō Benkei (d. 1189) is gloriously depicted in a jaunty pose with left foot forward and turned outward, sporting gold lacquered paper armor with repeated tortoise shell pattern with auspicious raised kuyō nine star design, over a finely embroidered chirimen silk crepe kimono

29. Enigmatic Inu-bako (Dog Boxes) for the Hina Matsuri Display

cultures. Large-scale inu-bako along with hōko and amagatsu-ningyō were frequently included in the ubuya birthing chamber as well as being placed by the child’s bedside to protect the infant from malevolent forces.

with embroidered flower designs tucked into silk brocade hakama trousers bearing the sacred treasures motif, a long well-rendered sword at his hip with red scabbard and gold detailing, at his back his signature array of weapons including battle ax, halberd, hook, rake, saw, hammer, and battle flag contrasting with his delightfully youthful face of wood covered in gofun with painted details, smiling expression, human hair, mounted on a gold lacquered wood display stand with red detailing. Some loss of hair, wear to textiles. Edo Period, Late 18th century. $5000/6000

2” (5 cm.) - 2 ½”. The Daruma-ningyō set, depicting a kyōgen theatrical performance of Tsurigitsune (Fox Trapping), includes three figures, each fashioned of tōso wood composite with gofun faces, bodies wrapped in various silk textiles with kinran highlights, well depicted faces with pigment details, and internal rattles. Including the kitsune (fox), dressed as a Buddhist priest with a patchwork silk brocade robe called a kesa; the hunter wearing a silk brocade headscarf secured pinched at the top with gold wrapped thread; and an attendant. Edo period. 19th century. $500/1000

Initially collected in Japan in the early 1950s through the curator of the Imperial Museum, Nishizawa Tekiho (18891965) by Colonel Robert and Eloise Thomas and part of their Yesteryear’s Museum in Sandwich, MA. Inu-bako, whose stylized faces often appear more feline than canine, are frequently included as display items in the hina-matsuri. Dogs have long been a symbol of protection and fertility within East Asian

30. Entertaining Daruma-ningyō of Tsurigitsune (Fox Trapping), Edo Period

4” (10 cm.) l. A small-scale stylized Inu-bako set of boxes in the shape of dogs made of papier mâché with curled tails, and covered in gold pigment with raised painted details including fans, flying cranes, pine, and plum trees, faces with white gofun, mizuhiki presentation ribbons, banded color tied in a knot at the back, and interior covering of white gofun. Late Edo/Early Meiji Period. Mid 19th century. $1000/2000

Daruma-ningyō were similar to tumble-toys and featured armless and legless rounded bodies that were weighted at the bottom and contained rattles inside. They are named after the Zen patriarch the Bodhidharma (Jp. Daruma) who was said to have stayed seated in meditation so long that his limbs atrophied. Tsurigitsune is a popular kyōgen interlude performance and recounts the tale of the shape-shifting fox who pretends to be the Buddhist priest Hakuzōsu who lectures his nephew, the trapper, on the evils of fox hunting.

Benkei, as steadfast companion to Minamoto Yoshitune (1159-1189), received acclaim during his 12th century military campaigns, but became a veritable super hero in popular culture as the Yoshitsune myth expanded over the centuries. Ishō-ningyō, though translated as “fashion doll,” were far from limited to displays of popular fashion, but in their great variety served as three-dimensional woodblock prints and treated nearly all of the same themes found in other popular media of the day.

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14” (36 cm.)

31. Ultimate Momotarō Musha-ningyō (Warrior Doll) Set for the Boy’s Day Display, Edo Period

Exceptionally rare and engaging doll tableau for the May 5th Boy’s Day display depicting the classic fairy tale character Momotarō,The Peach Boy, as a samurai warrior, having well-executed head in wood with full cheeks and a smiling expression, covered in a fine gofun with inset glass eyes, hair drawn into a youthful topknot, dressed in lacquered paper armor with silk lacing, green and red velvet accents, silk brocade

hitatare kimono with sleeves drawn tightly closed, silk brocade hakama trousers, silk brocade shin guards with metal accents, simulated leather tabi socks with straw sandals, seated on a camp stool with battle signal fan in hand and long sword at hip. He is accompanied by the seated monkey depicted as an advisor, having silk face with monkey features and inset glass eyes, and wearing a rich gold silk brocade jimbaori military sleeveless surcoat, and figured green silk kimono and silk brocade trousers; the dog as a vassal depicted in a fighting stance with dog face done in

While Momotarō was a long established fairy tale, his popularity as a Boy’s Day figure dates from the mid-19th century when his exploits against the ogres on the island of Onigashima were clearly likened to the mounting external threats Japan was facing by Western powers.

the keueisaiku technique of silk fiber fur, with inset glass eyes, wearing lacquered paper breast plate, and with long sword at hip; and finally the pheasant depicted as a bannerman, kneeling and holding aloft a small silk banner, red and green face done in silk crepe and green silk feathers, claw-like hands done in silk wrapped wire, dressed in military garb. There is some wear to textile and loss of hair. Late Edo Period, Mid-19th century. Exhibited Mingei International Museum (2005), Morikami Museum (2012). Published Ningyō: The Art of the Japanese Doll, p. 164-165 and

Entertaining the God’s and Man: Japanese Dolls and the Theater, p. 113. $9000/12,000

Noh theater was an exceptionally rich field for gosho makers to draw upon. So common were Noh themes that gosho-ningyō were frequently referred to as nō-ningyō (Noh dolls). The Noh drama Ataka was part of an extensive cycle of dramas centered on the exploits of Benkei and his young charge Yoshitsune, all loosely based on historical events of the 12th century.

32. Captivating Pair, Mitate Gosho-ningyō (Parody Palace Doll) depicting a Noh Drama, Edo Period

33. Rare 18th Century Hadaka Saga-ningyō (Naked Saga Doll), Edo Period

7” (18 cm.) The exquisitely executed gosho-ningyō, depicting a scene from the classic Noh drama, Ataka (The Ataka Barrier), are carved of wood and covered overall in a fine white gofun, with overly large heads, narrow set eyes, and bald except for side lock tufts of silk fiber hair, posed standing, wearing rich silk brocade kimonos with overly long sleeves featuring silk drawstrings at cuff, matching obi tie belts featuring red felt sashes with gold metal bosses. Depicted are the warrior monk Benkei wearing the small tokin cap of a yamabushi (Buddhist mountain ascetic) and his nemesis, Togashi, wearing a tall lacquered paper cap of an official. Edo Period, 19th century. $11,000/15,000

9” (23 cm.) Hadaka saga-ningyō (naked Saga doll) was an early precursor to the gosho-ningyō, having large round head with lightly carved and painted hair, nicely formed facial features including classic, early, narrow eyes and well-formed mouth, and

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was notable for its attenuated arms and legs, here with right hand held in front of chest with left arm resting on his knee, well-formed fingers, sexed figure, wearing haragake bib. Some soiling to gofun. Edo Period, Mid-18th century. Exhibited Mingei International Museum (2005). Published Ningyō: The Art of the Japanese Doll, p. 23. $9000/12,000

Saga-ningyō were all-wood, richly lacquered and decorated doll figures that originated in the late 17th century and are believed to have been carved by Buddhist sculptors based in the SagaArashiyama area of Kyoto. Saga-ningyō frequently depicted seated Buddhist acolytes known as Dōji that often held animals tucked under their arms. Scholars point to this form as an early inspiration for gosho-ningyō. Hadaka-saga represent an early interpretation of gosho-ningyō before they evolved into the classic “chubby” child form by the end of the 1700s.

A gosho holding a military fan would have symbolized a wish for martial success for a boy born into a samurai family, Considering the size and lavishness of the presentation, it would have been gifted to a very high ranking samurai clan.

In the modern era, clay substrata for gosho-ningyō became increasingly popular, allowing artisans to greatly increase production. The manufacturing technique is similar to that of tōso (wood composite) requiring an initial base mold, but with clay the dolls also have to be fired. This ultimately reduced shrinking and expansion in the finished product creating a more stable surface for the gofun to adhere to and ultimately greater longevity for the doll itself.

23 ½” (60 cm.) excluding cap. Exceptionally large all-wood gosho covered in a fine gofun with painted details and silk fiber hair, wearing a rich layered silk brocade kimono with detailed hōō phoenix design, depicted seated with legs thrust forward, wearing a large black lacquered eboshi court style cap and holding a large metal and wood gumbai Chinese-style battle fan in his right hand, sword at hip with real metal blade. Overall fine condition, few minor gofun repairs. Edo Period, 19th century. Exhibited Mingei International Museum (2005), published Ningyō: The Art of the Japanese Doll, p. 25-26. $35,000/45,000

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34. Monumental Gosho-ningyō (Palace Doll) with Chinese Battle Fan, Edo Period

35. Gosho-ningyō (Palace Doll) with Zukin Cap and Box, Showa Era

4” (10 cm.) The Gosho-ningyō, fashioned of clay and covered in a fine gofun with painted features, is depicted seated with right leg thrust forward and holding a painted black box with gold ends having raised nodes and a thick purple silk tie cord.on his right shoulder, and wearing an applied chirimen silk crepe haragake bib and zukin cap, with painted designs of the shochikubai (three friends of winter) motif of bamboo, pine and plum. Retouch of lips. Showa Era, early 20th century. $1000/2000

Left: Tortoise shell embroidery on sleeves, symbolizing her roll in Japanese Above:theater.The red coral pot held in Otohime’s left hand symbolized the sacred jewels of Buddhist

print depicting Otohime.

Japaneseknowledge.woodblock

Otohime is a very layered character in Japanese theatre. In addition to playing a central role in the Urashima-tarō story, referenced here in the powerful tortoise shell patterning on her sleeves, she is also seen as possessing the sacred jewels of Buddhist knowledge and enlightenment symbolized here by the coral. In kabuki, the focus of all Takeda-ningyō, Otohime was the subject of numerous plays as well as being featured in the very popular early 19th century henge mono (quick-change dance) roles.

20” (51 cm.) figure. 27” including stand. The large-scale Takedaningyō (theatrical doll) of Otohime, the Undersea Princess, having head and hands made of wood covered in gofun with painted details including lower green lip, and hair in an elaborate chignon with trailing long braid and capped by flowered crown is wearing green silk brocade kimono with sleeves thrown back to reveal chirimen silk crepe under kimono with densely-embroidered sleeves bearing interlocked kikkō tortoise shell pattern accented by wisteria blossoms, holding a Chinese style fan in her right hand and a pot containing red coral in her left. Mounted on a shelf base fronted by crashing waves made of stiffened paper that is painted blue with white sea froth exploding around her, resting atop a Takeda-style black lacquered base with embroidered front aperture cloth atop tall legs. Restoration to painting of waves. Edo Period, 19th century. Exhibited Mingei International Museum (2005). Published in Ningyō: The Art of the Japanese Doll, p. 258. $8000/10,000

36. Impressive Takeda-ningyō (Theatrical Doll) of Otohime, the Undersea Princess. Edo Period

Takeda-ningyō were Edo-made dolls designed to commemorate popular scenes from Kabuki. While the vast majority of takeda-ningyō are male, female images do occur, usually tied to nagauta dance interludes found within the Kabuki schedule. This example, Shiokumi, was first interpreted in Noh theater, and is a classic tale telling of two sisters, Matsukaze and Murasame, who both fall in love with Ariwara no Yukihira, a courtier/poet who has been temporarily exiled to Suma Bay where the two sisters work collecting sea brine to make salt. When called back to court he leaves them his robe and cap with the promise to send for them soon. He never returns and Matsukaze takes to donning his robe and court cap and dancing in them imagining their reunion as she slowly descends into madness.

38. Classic Tachi-bina (Standing Imperial Couple) for the Hina Matsuri, Late Edo Period

37. Dramatic Takeda-ningyō (Theatrical Doll) of Shiokumi, the Salt Maiden

Japanese woodblock print depicting Shiokumi.

Tachi-bina represent an early stage of development in the hina-ningyō of the Hina Matsuri. Although full-figured seated forms later came to dominate, beginning in the 18th century, the popularity of tachi-bina continued unabated through successive generations down to the present day.

20” (51 cm.) figure. 27” including stand. The large-scale Takeda-ningyō (theatrical doll) depicting Shiokumi, the Salt Maiden, having head and hands of wood covered in a fine white gofun, with painted features including green lower lip, silk fiber hair in an elaborate coif with bekko hair pin. is mounted on an elaborate wood base with a papier mâché simulated rock outcrop with crashing waves, dressed in silk brocade kimono featuring banded flower and autumnal leaf design, with outer sleeves thrown back to reveal stunning densely-embroidered silk crepe under kimono with flower and cloud design with couched gold-wrapped thread outlines and accents, her right hand holding a fan and her left holding a carrying pole suspending two papier mâché buckets for collecting sea brine. Repairs to papier mâché waves, fading to textiles. Edo Period, 19th century. $8000/10,000

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14” (36 cm.) The classic Tachi-bina (standing Hina) couple for the Hina Matsuri Girl’s Day display, are formed of silk over stiffened paper, wood heads covered in a fine gofun with painted details including blackened teeth and okymayu skybrows, silk fiber hair closely pulled back in a braid for her and a top knot for him. The o-bina (imperial lord) appears in a t-shape with wide stretched arms revealing a rich red silk covered in densely embroidered designs of pine trees and flowering wisteria with painted gold cloud patterns, hakama trousers in a green silk brocade with scrolling flower design with sacred treasure motif and lacquered paper kanmuri court cap the me-bina (imperial lady), in a more diminutive cylindrical form, wears matching red silk kimono secured by a silk brocade obi matching the o-bina’s hakama, Late Edo/Early Meiji Era, Mid-19th century. $2000/4000

Ito-bina are one of the earliest forms of hina in the evolution of the Girl’s Day festival in the Edo Period. They are a form of kami-bina (paper hina) which ultimately evolved into the more sophisticated tachi-bina (standing hina) [see catalogue #40].

Details of facial images of Jo and Uba.

17” (43 cm.) The Ito-bina pair have bodies fashioned of stiffened paper and elongated paper-wrapped necks topped by strands of silk representing hair. The bodies, with painted images of Jo and Uba raking and sweeping the pine needles along the shores of Suma Bay, depict the Takasago legend and symbolize longevity and marital bliss. Minor wear to paper and losses to pigment. Edo Period, late 17th century. $2000/3000

39. Exceptionally Rare 17th Century Ito-bina Pair, 17th Century Edo Period

7” (18 cm.) and 9”. Each crafted of stiffened paper covered in silk crepe and silk brocade with supplemental embroidered images of pine boughs and dangling wisteria blossoms, and with heads of wood covered in gofun with painted details including blackened teeth and okymayu skybrows; the o-bina (imperial lord) in the defining t-shape with a bold diagonal design to his front, and green silk brocade hakama trousers; and the me-bina (imperial lady) in a cylindrical shape with matching textiles, silk fiber hair. Some loss of hair, some soiling at left sleeve of male. Edo Period, 18th century. $400/800

41. Classic Large-scale Tachi-bina (Standing Hina) for the Hina Matsuri, Edo Period

11” (28 cm.) and 15 ½”. The pair with finely formed heads of wood with painted details including blackened teeth and okymayu skybrows, and full rounded cheeks are dressed in coordinated combination of figured silk and chirimen silk crepe over stiffened paper, with unusual painted wisteria and pine bough designs with couched silk thread surrounds, and o-bina (imperial lord) hakama trousers done in a silk brocade featuring long tailed birds and flower blossoms; the me-bina (imperial lady) with obi tie belt of a blue silk brocade coordinating with her inner kimono which matches that of the o-bina (imperial lord); and he wearing a kanmuri court cap formed as part of his head. The set is complete with kiri (paulownia) wood storage box and silk wrapping cloth. 15-½” and 11”, Edo Period, Late 18th century. Exhibited Mingei International Museum (2005). Published Ningyō: The Art of the Japanese Doll, p. 92. $2000/3000

Pines draped with wisteria was a popular design motif during the Edo Period, seen as a union of male (pine) with female (wisteria) and symbolic of love and marital bliss. It was a particularly popular motif for tachi-bina beginning in the 18th century. Given the lack of incised groves along the hairline and the formed cap it is likely that neither of these dolls ever had attached silk or human hair, but hair effect was achieved through simple black painting.

40.

40. Diminutive Tachi-bina (Standing Hina) with Wisteria Blossoms for Hina Matsuri Girl’s Day, Edo Period

Originally the term “hina” was defined as something “small and lovely” and many of the earliest hina-ningyō were, indeed, quite small. However,over time, as the festival gained in popularity and a consumer and commercial one-up-man-ship took hold, sizes began to increase dramatically. This 18th century set retains the more pure sense of the festival with its focus on the simple dairibina (imperial couple). Small and lovely, indeed!

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42. One Hundred Peoples of Edo Wood Set by Tessen, Showa Era

1 ½” (4 cm.) “- 2 ½” figures. 24” x 25” case. Finely rendered miniature wood set depicting of one hundred examples of people, each hand carvedpeoples Edo set.

Original labeled boxes for 100

with tinted details of costume and posed on a wood base with gold leaf treatment with inscription. The persons depict courtier nobility, samurai lords and retainers, townspeople, folk dancers, street performers, sumo wrestlers, toy sellers, and children, and are displayed on a 6-tiered lacquered wood display stand with a painted imperial palace at top. Included with the dolls are their original signed wooden storage boxes. Well preserved with minor loss of implements, missing 9 from original 100 persons. Showa

The set was carved over an 18-month period in 1934-1935 at the Buddhist Temple Naka-in by Ikeno Tekkan (Tessen). Tessen, along with Hirata Gōyō II, was a founding member of the Japanese Art Doll Movement of the 1930s and was noted for his finely painted all wooden dolls. The dolls are a copy of the famous “Hyaku-nin isshu” by Shimizu Ryukei (1659-1732) dated 1711 and in the collection of the Kyoto National Museum.

Era, 1934-1935. $12,000/15,000

The historic Tachi-bina Kinen-ningyō (Memorial Standing Hina Doll Pair) commemorated the 1924 Sekon-no-gi (Imperial Wedding) of Michinomiya Hirohito (1901-1989) to Princess Nagako Kuni (1903-2000). The

43. Historic Pair, Kinen-ningyō Commemorating the 1924 Imperial Wedding of Hirohito and Nagako, Taischo Era

wedding of Hirohito and Nagako came less that six months after the Great Kanto Earthquake of September 1923 which devastated much of Yokohama and huge swaths of Tokyo, including the doll making area of Ningyō-cho in the Nihonbashi district. This set, however, appears to have been made in Kyoto. Their wedding provided a much needed uplift for the country and was widely commemorated in paintings, photographs, postcards, souvenir objects and, of course, ningyō. This set was possibly done for the March 1924 Hina Matsuri Season which would have come soon after their wedding.

16 ½” (42 cm.) Pair, full-formed tachi-bina (standing hina) with heads of wood and covered in gofun with painted details including okymayu skybrows, and dressed in formal yûsoku textiles. Including Nagako dressed in a long uchiki (outer robe) in the futae orimono (double brocade) technique with a hishi (diamond) ground and scattered roundels of kikyo (bellflowers) over layers of hitoe unlined kimono, with nagabakama long trousers, holding a bone ōgi fan, and having silk fiber hair arranged formally in the sasegami style with small metal crown; and Hirohito in a formal black sukotai hō outer robe with dragon roundels, and sashinuki trousers with the kani-arare checkerboard pattern, holding a shaku scepter in his right hand, long sword at hip and formal kanmuri court cap, each posed on tatami mat base stands. Minor fading and loss of silk hair fibers. Taisho Era, 1924. Exhibited Japan Society (1996). Published in Ningyō: The Art of the Human Figure, p. 72. $5000/7000

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Early photograph of Emperor Meiji.

9” (23 cm.) -10” seated. Created for the Girl’s Day Display, the rare pair, depicting Japan’s 122nd Emperor, Mutsuhito (1852-1912) and the empress Shōken (Haruko, 1849-1914), are presented in almost portrait-like fashion; he in Western naval regalia sitting on a Victorian style chair, wool coat with heavy supplemental gold wrapped thread embroidery, sash, metal sword with blade, Western style haircut with chin beard and mustache, slightly pigmented gofun, white felt gloves, white felt trousers with side piping, gold lacquered western-style shoes, and she, seated in a western-style chair, wearing a classic yûsoku court robe in red figured silk with repeated white embroidered design roundels, her gofun skin left white, holding fan, both with inset glass. Meiji Period, circa 1900. $3500/4500

44. Historical Meiji Tennō Dairi-bina Pair of the Emperor Meiji and Empress Haruko, Meiji Period

The Meiji emperor ruled over Japan in a time of immense social and political changes, all brought about by Japan’s opening to the West after some 200 years of isolation. His push to modernize along Western models is reflected in his adoption of Western style naval and military clothing as his official “uniform.” His supportive empress also adopted Western style clothing for a time but later reverted to classical attire for public audiences. The use of a living emperor and empress to serve as the dairi-bina for the Girl’s Day display was unique in Japan’s ningyō history and reflect how the institution of emperor was made central to Japanese culture and society during this period.

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45. Important Musha-ningyō Warrior by Hara Shûgetsu III, Early Meiji Era

44”h. (112cm.) seated x 29”w. The warrior doll with finely carved wood head with fine white gofun finish, inset glass eyes, carved hair, large, well-formed ears, neck post bearing Hara Shûgetsu signature, well carved hands covered in stenciled leather, is depicted seated on folding wood and leather camp stool, wearing heavy armor, metal fittings, helmet with face mask, saihai battle whisk with gold lamellae paper streamers, silk brocade textiles, faux fur boots, shin guards with mail, and leatherwrapped bow and arrows with leather quiver bearing gold trefoil crest. A wood signature plaque bears Hara Shûgetsu name. Overall fine condition with wear to textiles of upper kimono, restoration to head. Early Meiji Era, Late 19th century. $35,000/40,000

The finely carved wood head features carved hair and well formed ears.

Detail of faux fur boots.

From what is considered Japan’s most important pre-modern doll making lineage, Hara Shûgetsu III (1826-1899) was renowned for his iki-ningyō (living dolls) created for festival floats, and for his large-scale and elaborate warrior dolls for Boy’s Day.

Guilt dragon on helmet.

Stenciled leather covers the hands.

signatureWoodplaque. 53

Applique of flying crane on sleeve of princess.

Also known as nannyo warawara (noble boy and girl), these stunning pairings of children of the buke or kuge (noble) classes are among the most prized ningyō forms of the Edo Period. Traditionally gosho-ningyō focused almost exclusively on male children as symbols of health, with only a few mitate parody forms depicting females. So, as a gosho form, himegime were quite exceptional in that they were one of the few female styles of gosho created during the Edo Period.

21” (53 cm.) Depicting children of the buke (military) class, each has rounded gosho-style head and hands of wood covered in gofun with painted details, silk fiber hair with her’s done in an okappa banged style and his with a chassen mage (tea whisk style) appropriate for youth of their class, and is depicted barefoot and mounted on fabric covered stands. The wakagime (young prince) wears an orange silk brocade sleeveless jacket tied with a purple silk crepe closure over a bold green and orange plaid kimono tucked into equally gold, green, blue and white plaid hakama trousers, with a fan in his right hand and two finely wrought swords at his hip; and the himegime (young princess) is also dressed in a sleeveless jacket, but of green figured silk with supplemental embroidery over a fine orange figured silk kosode kimono with embroidered designs of shochikubai (three friends of winter) motif of bamboo, plum and pine trees, and is holding a tsuzumi small drum in her right hand and has a fan tucked into her broad silk brocade obi tie belt. Light fading of textiles, minor soiling of gofun. Edo Period, 19th century. Published in Japanese Dolls: The Fascinating World of Ningyō, p. 116. $16,000/20,000

46. Prized Pair Gosho-style Wakagime-himegime (Prince and Princess), Edo Period

Detail of textiles on the costume of the young prince.

The jacket of the princess in embroidered with three friends of winter motif (bamboo, plum, and pine trees).

11” (28 cm.) x 14”. Dressed in the Chinese fashion with a ruffleedged vest, black velvet trim, hair drawn into a tall single topknot, is Ishō Hata-ori-me ningyō (Weaving Goddess Doll), positioned at a complex and accurately rendered takabata treadle loom with foot pedals and partially woven bolt of silk fabric attached, and with a metal shuttle in her left hand, the arrangement resting on an attached base. Edo Period, Mid-19th century. $2000/3000

14” (36 cm.) Classic Mitsuore-ningyō (triple-jointed doll) with articulated hip, knee and ankle joints, made of wood and

Matsuri (Star Festival) it tells the tale of the silk weaving goddess Orihime (the star Vega) and the ox herder Hikoboshi (the star Altair). These celestial beings became so entranced with each other that Orihime stopped weaving and Hikoboshi allowed the oxen to wander. In anger, Tentei, the Sky King, formed a rift in the Milky Way separating the two lovers. But hearing their grief he relents and allows them to meet once a year. Dolls directly relating the Tanabata legend are rare.

47. Rare and Interesting Ishō-ningyō of the Tanabata Weaving Goddess, Edo Period

Hataori-me was the star goddess, when paired with the Ox Herder, of the Tanabata Festival in the 7th lunar month, one of the go-sekku (five principal festivals) that punctuate the Japanese calender. Also known as the Hoshi

48. Highly Desirable Late 18th Century Mitsuoreningyō (Triple-jointed Doll) with Kimono Display Rack

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Massachusetts. The original purpose of the development of articulated dolls was to facilitate the changing of clothing. And “playing with dolls” in the traditional Japanese context consisted of the arrangement and changing of kimono. Body details

covered overall in a fine gofun with painted details, silk fiber hair arranged in a tall takamage arrangement with hair pin, right hand posed to hold a fan, wearing a purple chirimen silk crepe kimono with lightly embroidered designs of flying crane and pine boughs secured by a gold silk brocade obi tie belt, is posed kneeling on a long silk zabuton cushion. Along with lacquered miniature kimono rack displaying a light blue under kimono with matching design and a figured silk uchikake outer kimono with longevity turtle pattern and supplemental embroidery. Minor craquelure, hair replaced. Edo Period, late 18th century. Exhibited Japan Society (1996). Published Ningyō: Yesteryear’s Doll Museum Collection (1983), p. 30-31 and Ningyō: The Art of the Human Figure , p. 69. $5000/5000

Initially collected in Japan in the early 1950s through the curator of the Imperial Museum, Nishizawa Tekiho (1889-1965) by Colonel Robert and Eloise Thomas and part of their Yesteryear’s Museum in Sandwich,

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Mitsuore-ningyō evolved in stages over the latter decades of the 18th century, functioning as te-asobi ningyō or dolls meant to be manipulated as opposed to dolls created purely for display. “Anesama” or elder sister is the name generally given to this category of mitsuore-ningyō depicting young women simply clad, possibly indicating their use as a play doll specifically intended for young girls.

49. Classic Anesama Mitsuore-ningyō (Triple-jointed Elder Sister Doll), Edo Period

50. Refined Pair, Shunga-ningyō (“Spring Picture” Erotic Doll), Edo Period

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7” (18 cm.) Extremely rare erotic ningyō pair of separately carved figures fashioned out of wood and covered in gofun with painted features, including kneeling male figure wearing loincloth partially covering well-carved genitalia, and female wearing silk crepe skirt, the pair positioned in a sexual embrace with ecstatic expression on their faces, feet arched, resting atop silk pillow. Old repairs, minor soiling of gofun. Edo Period, 19th century. Exhibited Mingei International Museum (2005). Published in Ningyō: The Art of the Japanese Doll, p. 275. $5000/7000 Detail of body articulation.49.

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11” (28 cm.) Mitsuore-ningyō of wood composite (tōso) with fine white gofun covering, painted details, including smiling expression, human hair with silk crepe tie, jointed hip, knee, and ankles, right hand formed closed to hold either a fan or a floral spray, wearing a rich purple chirimen silk crepe kimono with vertical striping secured by a thick gold silk brocade obi, with chirimen silk crepe back collar. Minor soiling, abrasion to hand. Edo Period, Early 19th century. $1000/2000

“Shunga” or “spring pictures” was a well-developed art form within the world of Japanese woodblock print and painting. Shunga-ningyō, however, are much more rare and, typically, much more crude or rudimental. These figures are surprisingly refined for the genre and could have been lifted directly from a woodblock print image with natural positioning and expressiveness in body language and facial expression.

51. Classic Iki-ningyō (Living Doll) of a Bijin (Beautiful Woman), Meiji Era

25” (64 cm.) Hyperrealisticallyrendered head and hands carved of wood and covered in a pigmented gofun, inset glass eyes, painted details with real hair arranged in an elaborate coif with bekko (shell) hair pins, clad in an elegant brown silk outer kimono open at neck revealing figured silk brocade inner kimono, and with narrow sleeve openings revealing inner white figured silk and red silk lining, with densely embroidered designs of crashing waves at the hem, silk brocade obi tie belt with fan tucked in at waist, hand mirror accessory, white tabi socks, and mounted on a wooden base. Minor fraying to inner kimono, over painting and restoration to hands and face. Meiji Era, circa 1900. $7000/9000

Iki-ningyō were popular souvenir items for wealthy Europeans on the extended Asian grand tour and were sold at the treaty ports through shops such as Deakin Bros and Kuhn & Komar in Yokohama.

52. Iconic Mid-18th Century Large-Scale Kyoto-Bina Imperial Couple, Edo Period

31” (79 cm.) male overall. 29 ½” female overall. Kyōhobina imperial couple from the Hina-matsuri Girl’s Day Display, each with well-formed wood head and hands covered in gofun with painted details, silk fiber hair, with blackened teeth and okymayu skybrows indicative of their imperial status, she wearing a fanciful and ornate crown with elaborate tendrils and beadwork, and he wearing a black lacquered eboshi court cap with ei tail, dramatically curved long sword at hip. Overall fine condition, married pair, minor fading and repairs. Edo Period, circa 1750. Exhibited Japan Society (1995), Metropolitan Museum of Art (2002), Mingei International Museum (2005), Published: Ningyō: The Art of the Human Figure, p. 3738, 48; Ningyō: The Art of the Japanese Doll, p. 100-101. $40,000/55,000

Kyōho-bina were largely made for the newly rich merchant class and were frequently the subject of sumptuary laws restricting their size and the materials used in their construction.

Side profile.Back detail.

53. Adorable Standing Gosho-ningyō (Palace Doll) in a Purple Kimono, Edo Period

Left: Though the name gosho-ningyō literally translates as “palace doll,” as the form increased in popularity over the course of the Edo Period, it became a style beloved by all classes of Japanese society and came to reflect a wide variety of themes and individuals far removed from the imperial court in Kyoto. Gosho were made in a variety of sizes shown here sizes 5 ½” - 15”.

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9” (23 cm.) Gosho-ningyō (palace doll) depicted as a standing child (tachiko) of the merchant class, fashioned of wood and covered overall in a fine white gofun with painted details, full cheeks, large eyes and a satisfied smile, silk fiber hair arranged in a boy’s layered style, well-formed hands with right hand shaped to hold a fan in the Kyoto style, and the left hand lightly-cupped, red painted finger and toenail details, wearing a purple chirimen silk crepe kimono typical of the merchant class, subtle with paste-resist dyed and embroidered designs along the hem and a bright blue silk brocade obi tie belt. Minor soiling, smudge on nose, craquelure inside legs. Late Edo Period, Mid-19th-century. Exhibited Japan Society (1996) and published in Ningyō: The Art of the Human Figure, p. 89. $4000/6000

The harukoma (or spring horse) was a traditional game played at New Years and was a symbol of fertility.

15” (38 cm.) Classic wood gosho-ningyō covered with gofun, painted details, sexed figure, well-carved with nice feet and hand details, silk fiber hair arranged in two thick side locks and a broad fringe of top hair with bare middle spot (nakasori) is depicted seated with both legs thrust forward, wearing a sleeveless vest with embroidered designs and black silk-trimmed collar over a chirimen silk crepe haragake bib with a chrysanthemum and water motif, symbolizing longevity. His right hand is holding aloft a harukoma (hobby horse) with a papier mâché head, tufted silk mane, and painted designs which is mounted on a green shaft with fawn-spot chirimen silk crepe cuff and a wheeled end with long purple silk crepe reins. Replaced vest, light craquelure on legs and arm joints, mended little right finger, wear to textile of hobby horse cuff. Edo Period, 19th century. Exhibited Japan

Society (1995), published in Ningyō: The Art of the Human Figure, p. 78. $8000/10,000

55. Whimsical Karako Mitate Gosho-ningyō (Parady Palace Doll of Chinese Boy), Edo Period

54. Delightful Gosho-ningyō (Palace Doll) with Harukoma (Hobby Horse)

11” (28 cm.) The parody palace doll depicting a Chinese boy is posed standing, of wood covered overall in a fine white gofun with painted details and birōdo black velvet patches of hair at the temples, dressed in what was thought of as “Chinese” style with purple chirimen silk crepe pleated ruffle cuffs, short vest jacket with pleated ruffle shoulders, silk brocade trousers and kimono secured with a purple silk obi, with a silk brocade mamoriboko

5 ½” (14 cm.) Gosho-ningyō (Palace Doll) with Mizuhiki presentation ribbon, carved of wood and covered in a fine white gofun with painted details, including smiling expression and side locks, well rendered hands and feet, is depicted seated with both legs thrust forward and hands holding a cord with left hand higher than right, wearing a chirimen silk crepe haragake bib with embroidered designs, accompanied by a western style mokuba rocking hobby horse of wood and painted with silk fiber mane and tail and tethered by a twisted silken cord. Horse is a later edition. Edo Period, 19th century. $2000/3000

56. Cute Gosho-ningyō (Palace Doll) with Mokuba Hobby Horse, Edo Period

8 ½” (22 cm.) The mitate gosho-ningyō (parody palace doll), depicting Ryûjin (the undersea dragon god), of wood composite covered overall in a white gofun with silk fiber hair, is depicted kneeling, holding a clam shell in his right hand, with the undersea palace resting between his knees, sporting a painted Chinese-style cap secured by a silk tie cord, clothed with a simple silk-crepe haragake bib bearing painted images of blue plover and flowers, Overall fine condition, replaced silk fiber hair. Edo Period, 19th century. Exhibited: Mingei International Museum (2005), published Ningyō: The Art of the Japanese Doll, p. 76. $1000/2000

Small-scale gosho-ningyō such as this, often referred to a good-luck prayer dolls (gofukunoinori-ningyō), were popular gifts to convey auspicious wishes. Ryûjin was considered a particularly powerful god, and his daughter, Otohime, is part of the Urashima-tarō legend and also considered the mother of Japan’s first emperor, Jimmu Ten’no.

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charm bag at his right hip, arms and hands positioned to hold a long staff with a dangling kusudama flower ball made of silk. Craquelure at back of head by left ear, minor wear to textiles. Edo Period, 19th century. $4000/5000

The karako or “Chinese boy” was a felicitous symbol, conveying not only the sense of the exotic, but also conferring happiness and fertility. During Japan’s prolonged period of isolation, few ever actually saw foreigners, and so no attempt was made at accuracy. In order to depict Chinese subjects, a textile shorthand was used, frequently entailing the extensive use of pleated ruffles. Kusudama (medicine balls) were ornamental aromatic or herbal flower balls, frequently adorned with silken tassels and strings that were suspended within the home to protect the inhabitants from evil.

Hobby horses and toy horses have a long history in Japan with nearly every region having their own region version of a horse using a tremendous variety of materials and structures. Harukoma (hobby horses) in Japan were traditionally either wheeled or a simple stick horse. The rocking-style horse was introduced by the West and became popular as a new alternative to older styles. The horse here is a later addition.

57. Intriguing ParodyGosho-ningyōDoll of Ryûjin, Edo Period

Gosho-ningyō were considered display objects as well as auspicious gifts. Frequently they were given grand accessories and set-like elements for display. Here this doll is seated on a lavish cart of which a similar example is in the Kyoto National Museum collection and is holding a buriburi-gitcho toy. The toy was

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58. Haihai Gosho-ningyō (Crawling Baby Palace Doll) in Purple Kimono, Edo Period

59. Fine lacquered paper Chinese cap.

59. Rare wooden Buriburi-Gitcho wheeled toy.

8” (20 cm.) Of carved wood covered in a fine white gofun with painted details, posed in crawling manner, sexed figure, open mouth, smiling expression and with a small hair patch at the crown, the Haihai Gosho-ningyō (crawling baby Palace Doll) is dressed in a purple chirimen silk crepe kimono with resist dye white patterning, over layers of white silk and red chirimen kimono, Fading to kimono, lift of gofun at left cheek. Edo Period, 19th century. An unusually proportioned doll with a bigger head, evoking the alternative name for gosho-ningyō: zudai-ningyō or big headed dolls. $1000/2000

59. Spectacular Gosho-ningyō in Festival Cart holding a Buriburi-Gitcho, Edo Period

26” (66 cm.) Overall. 13” doll including hat. Marvelously sculpted seated gosho with right leg forward and left leg tucked behind, carved of wood and covered overall in a fine white gofun with painted details, happy expression, open mouth, silk fiber hair, wearing a chirimen silk crepe bib with densely embroidered flower designs with gold-wrapped thread accents, and a fine lacquered paper Chinese-style cap. He is holding in his extended left hand a finely formed wooden buriburigitcho wheeled toy covered in gofun with gold and painted details and pulling tether of silk crepe passing through his right hand, and is seated atop a tall wheeled yama festival cart with a Chinese style throne back, railings and a purple silk zabuton cushion. Old repairs, minor craquelure, silk cord replaced. Late Edo Period, Mid 19th century. Published in Japanese Dolls: The Fascinating World of Ningyō, p. 110. $14,000/18,000

mouth with exposed teeth. Both are wearing combat armor of lacquered paper with silk lacing, one with additional metal chain mail at arms and metal blade with metal tsuba hand guard, and both are mounted on wood bases, depicting two warriors in mid combat, having dynamic posturing with one figure in an extended

18” (46 cm.) h. 24” overall extended length. Japanese iki-ningyō (living doll) samurai pair, each fashioned of wood and covered in a pigmented gofun, inset glass eyes, painted details, real hair, open

60. Dramatic Pair of Iki-ningyō (Living Doll) Samurai, Meiji Era

run with bared naginata halberd, the other in a crouched running position with sword blade already drawn, right arm cocked and ready to execute the blow. Overall fine condition, minor repairs and in-painting, slight wear to textiles. Meiji Era, circa 1900. $23,000/28,000

Iki-ningyō were popular souvenir items for wealthy Europeans on the extended Asian grand tour and were sold at the treaty ports through shops such as Deakin Bros and Kuhn & Komar.

61. Delightful Matched Pair of Kobe-ningyō (Mechanical Dolls), Showa Era

62. Fascinating Iki-ningyō (Living Doll) of a Peddler, Meiji Period

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3 ½” (9 cm.) The coordinated pair of kobe-ningyō depicting a sake drinker and melon eater, are posed as though seated in wood boxes, the boxes with inlays of Buddhist manji symbol of universal harmony and eternity on side and with diamond lozenge on front, and with side turn knob which activates simple movements. The sake drinker tips bottle into sake bowl and lifts bowl to head while head bobs back and forth and mouth opens and closes; while, similarly, the meloneater chops melon slices with a knife and lifts melon to mouth while head tips back and forth with mouth opening and closing as if eating; to further the effect, bite-like sections have been carved out of the top of the melon slice in his right hand, The figures are painted black with inset bone eyes and painted irises. Showa Era, 20th century. $500/800

loss of hair. High Meiji Period, Late 19th century. Exhibited Morikami Museum (2012); Published: Japanese Dolls: The Fascinating World of Ningyō, p.144 and Entertaining the Gods and Man: Japanese Dolls and the Theater, p. 57. $5500/6500

Artisans used black pigments on softer woods such as hō-no-hi (magnolia). The ghost like faces of the kobe-ningyō earned them the sobriquet obaka-ningyō (ghost dolls). There were a number of production centers in and around Kobe and the inclusion of a Buddhist symbol of the side may indicate that they were souvenir items from one of the temple in the area.

22” (56 cm.) Iki-ningyō (Living Doll), depicting a standing workman, is fashioned of wood and covered overall in a pigmented gofun, with inset glass eyes, and individually inserted real hair strands, depicted with a bushy mustache and chin beard, open mouth with individually realized teeth, finely detailed musculature executed in a hyperrealistic manner, and is clothed only in a loincloth with left arm raised and right hand gesturing to a now-missing object, mounted on a flat wood stand, Some old repairs,

Though originating as exhibition pieces in the late Edo Period, iki-ningyō became exceptionally popular in the late 19th century for the export market, fulfilling the demand for Japanese “exotica”, following Japan’s opening to the West in the mid-19th century. Affluent Western travelers viewed them as something akin to 3-D postcards capturing “true Japan,” and were sold in the ports through important shops such as Deakin Bros. and Kuhn and Komar.

13” (33 cm.) Small-scale karakuri-ningyō depicts Hotei (the happy god) shown with his signature big belly exposed, simply formed head with large ears, painted beard stubble, bald head of a monk, wearing a green silk brocade outer kimono with sleeves thrown back to reveal inner chirimen silk crepe kimono with embroidered designs and blue

Zashiki karakuri were not designed to be overly elaborate or complicated and, as a general rule, they feature a limited set of actions, usually accompanied by twanged-string music. The most common character is the dōji or karako boy who frequently beats a drum or engages in some other limited performance. They provided simple amusements during a simpler time.

64. Entertaining Karakuri-ningyōZashiki(Parlor Mechanical Doll) of Mouse Tower, Edo Period

63. Captivating Zashiki Karakuri-Ningyō (Parlor Mechanical Doll) of Hotei Holding a Jack-in-the-Box, Edo Period

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silk cuffs, In his right hand he holds a Chinese-style fan and, in his left, a jackin-the-box type figure; as the side handle is turned, Hotei turns around and the jack-in-the-box extends and contracts, Hotei stands upon an unusual silver foil base with front aperture bearing a painted image of a lotus blossom, on raised papier mâché legs. Some wear to textiles and repair to legs of base. Edo Period, 19th century, in rare unusual small-scale for karakuri-ningyō. $3000/4000

22” (56 cm.) The mechanical vignette depicting a Dōji drummer and a mouse tower, resting upon an elaborate base with gold treatments and a painted front aperture bearing auspicious longevity symbols of crane, tortoise and shochikubai (three friends of winter) pine, plum, and bamboo. A side turncrank activates the mechanisms hidden within the base that move the doll’s head from left to right as his arms raise and lower to beat a raised taikō drum while mice scurry up a track to a watch tower, and music faintly plays. The classic dōji boy having head and hands of wood covered in gofun with painted features, wears a silk brocade sleeveless vest, purple silk zukin-style cap over long silk hair, chirimen silk crepe under kimono with embroidered sleeve designs; and the mice are of papier mâché covered in gofun with painted details. There is a silk brocade entry cloth at top of tower, with a papier mâché pine tree back drop. Edo Period, 19th century. $16,000/20,000

wood covered in a fine white gofun, with inset glass eyes, silk fiber hair, open mouth expression, painted details, sexed figure, and is depicted seated with legs thrust forward, wearing a sleeveless

65. Significant Karakuri Gosho-ningyō (Mechanical Palace Doll) with Fox Mask, Late Edo Period (48 cm.) The unusual large-scale karakuri gosho-ningyō is all-

19”

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chirimen silk crepe vest with black silk collar and supplemental embroidery over a silk brocade haragake bib with bold dragon and cloud motif. The gosho is holding a dramatic and well-carved mask of a fox whose open mouth exposes fierce rows of teeth; when the small knob at the gosho’s back is activated, the arms raise and lower the mask to the his face. Some light craquelure, replaced collar on vest. Late Edo/Early Meiji, Mid-19th century. Exhibited Morikami Museum (2012), Published Nihon no Ningyō (1955) p. 15; Entertaining the Gods and Man: Japanese Dolls and the Theater, p. 101. $12,000/15,000

The rare standing type Kobe-ningyō (Mechanical Doll), crafted of tsuge boxwood, and having round head with inset bone eyes, depicts a samurai warrior with armor cuirass and thigh guards, with carved details to simulate lacing, latches, obi belt as well as layers of kimono with sleeve ends drawn tight, hakama trousers closed at knees, shin guards and heavy boots, holding a signal fan in his right hand and a sword in his left, and with kanmuri court-style cap with bone finial. His tongue pops in and out, Meiji Era, late 19th century, Published in Japanese Dolls: The Fascinating World of Ningyō, p. 309. $1000/2000

Kobe-ningyō are souvenir mechanical dolls that were made in the port city of Kobe largely for the tourist trade. Their unadorned wood surfaces, comedic elements, penchant for ghost-like images and simple mechanics make them readily identifiable. Dezaki Fusamatsu was one of the more celebrated Kobe-ningyō makers and was active from 1923-1950. His figures are noted by two strong vertical lines next to the nose and overall fine craftsmanship. Fox mask on face.

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Foxes occupy a rich and important place in Japanese culture. Serving as a messenger for Inari, the rice goddess, they are also tricksters and shape-shifters that can create both magic and mayhem. As the vast majority of karakuri gosho-ningyō were made of papier mâché, this all-wood example, particularly in this scale, is exceptionally rare.

There are three general types of Kobe-ningyō: wheeled, box, and free standing. The free-standing types are the rarest, requiring the most handling. Rather than a knob or wheel-activation, the delightful and amusing effects are achieved by holding the figure and tilting it this way or that.

67. Entertaining Kobe-ningyō of a Buddhist Monk in a Cart, Taisho Era

7” (18 cm.) Carved of tsuge boxwood, seated in a threewheeled cart, is a Buddhist monk, having head with shaved pate of a monk, lightly crafted ears, carved mouth depicting exposed teeth and tongue, two strong vertical lines on side of nose and with carved flowing robes with lightly incised lines. The monk is holding a mokugyo Buddhist bell in his lap, and has eyes of loosely inserted bone. As the cart moves along, the right hand flips back and forth striking the bell with a bone mallet, and the eyes pop in and out. Taisho Era, 1920s, attributed to Dezaki Fusamatsu (1883-1967). $500/800

66. Amusing Kobe-ningyō (Mechanical Doll) of a Samurai, Meiji Era

69. Engaging KarakuriNingyō Mechanical Doll of an Acrobat, Edo Period

The large-scale example bears the hallmarks of a work by Eitokusai II (Yamakawa Keijirō, 1858-1928).

68. Elegant Ichimatsu-ningyō Attributed to Eitokusai II, Taisho Era

Though unsigned, the facial depiction and the use of pure white gofun on an Ichimatsu is very much in keeping with the artistic practices of Eitokusai, who was a supplier to the imperial family. Though more noted for his mitsuore-ningyō (triple jointed dolls), Eitokusai also produced high-quality Ichimatsu from his atelier in the Nihonbashi section of Tokyo.

21” (53 cm.) h. 10” x 10” base. The Zashiki karakuri-ningyō (parlor mechanical doll) depicts a seated Dōji Drummer with wood head covered in gofun with painted features, wearing silk brocade sleeveless vest and inner kimono with embroidered sleeves, and silk brocade cap; and spinning acrobat wearing Chinese-style clothing of silk crepe and sporting a small cap. When the handle is turned, faint music plays and action begins: the acrobat slowly spins and travels along a track transiting from an elevated pole to a raised stand, while the drummer beats on the drum while his head pivots slightly from left to right. The tableau is arranged on an elaborate wood base with

28” (71 cm.) Tokyo-made doll of Ichimatsu construction with soft upper legs, soft torso and padded upper arms, covered overall in a fine pure white gofun, with wide-set almond-shaped glass eyes, slightly open mouth exposing teeth, large pendant ears, hands well formed with nicely delineated fingers, wearing a rich figured satin weave silk outer kimono with scattered designs of phoenix, paulownia and peonies with rich gold inner lining, a fawn-spot chirimen silk crepe bib and an unusual tasseled silk cap, white tabi socks, The kimono is replaced. Taisho Era, circa 1920. Published Japanese Dolls: The Fascinating World of Ningyō, p. 242. $3500/4500

Beginning in the late 18th century, zashiki-karakuri was a popular home entertainment option for the wealthy, either possessing their own dolls or hiring entertainers who brought examples for the household’s viewing pleasure.

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inward-curving legs and bearing longevity images of cranes, pine trees and tortoises, while a papier mâché pine tree provides a back drop. Repair to legs of base. Edo Period, circa 1800. Exhibited Mingei International Museum (2005), Morikami Museum (2012). Published Ningyō: The Art of the Japanese Doll, pp. 225, Japanese Dolls: The Fascinating World of Ningyō, p. 192. $16,000/20,000

70. Amusing Chirimen-ningyō (Silk Crepe Dolls) of the Seven Gods of Good Fortune, Showa Era

Hotei, god of happiness. Daikoku, god of daily wealth.

goddessBenzaitenofmusicandbeauty.

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Chirimen-ningyō, also known as chirimen saiku (fine craft of chirimen) has a long, though less-documented tradition than classic ningyō. Simple figures made from scraps of this extremely popular, and therefore, ubiquitous fabric, have doubtless been around for many centuries. Then, during the Meiji and Taisho Eras chirimen-ningyō began to evolve into a studied form

4” (10 cm.) -6” figures. 40” full length case. The unusual and whimsical set of chirimen-ningyō (silk crepe dolls) of the Shichigofukujin (Seven Gods of Good Fortune), arranged in original display case, comprise Daikoku (the god of daily wealth) in a blue cap with his treasure sack and money mallet; Hotei (the god of happiness) with his bared belly, shaved head of a monk, treasure sack and fan; Benzaiten (the goddess of music and beauty), with long, flowing Chinese-style robes and a billowing scarf; Jurōjin (god of wisdom) with his staff and fan; Ebisu (the god of daily provision) with a giant red tai (sea bream) under his left arm and a fishing pole in his right; Fukurokuju (the god of longevity) with his tall cranium, scroll in left hand and a staff in his right; and finally the warrior god Bishamonten (protector from evil), shown with spear in his right hand and a sword in his left with a large helmet on his head. Each is done in colorful chirimen silk crepe, with large, pendant ears indicative of their divinity, and with additional silk fiber hair. Showa Era, early 20th century.

Published Japanese Dolls: The Fascinating World of Ningyō , p. 132. $3000/5000

and truly skilled artisans began making ishō-ningyō type character studies. The Shichigofukujin are among Japan’s most recognized icons and with their exotic natures and quirky attributes lend themselves admirably to chirimen-ningyō. This is a rare set with their original hinged glass and wood display box.

protectorBishamonten,fromevil.

Fukurokuju,godoflongevity.

that was noted for its unusual round head and diminutive features that were said to hearken back to Heian period painted images. Referred to as hikime kagihana (line-eyesdash nose), this minimalist style already existed in tachibina and other very early hina. But Jirōzaemon paired this with a toned-down version of the Kyōhobina that more closely resembled pure court style known as yûsoku. His creations were an immediate success rendering this as one of the dominant hina forms throughout the late 18th and into the early 19th centuries.

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Jirōzaemon-bina (Imperial Couple) for the Hina Matsuri

17” (43 cm.) h. including crown. The dairi-bina imperial couple, with heads of wood that is covered in gofun with painted details, diminutive features, real hair with the me-bina arranged in a long single braid trailing down the back with silk and paper cuffs, includes the o-bina (imperial lord) wearing a black sokutai hō of great formality, seated cross-legged with sashinuki trousers with the kani-arare checkerboard pattern and formal kanmuri court cap with tall ei tail, and holding a shaku scepter in his right hand and long sword at hip; and the me-bina (imperial lady) whose costume of slightly less formal textiles comprises a series of silk brocade outer kimono over her nagabakama trousers, briōdo black velvet accents, and a silk brocade kakeobi suspending a beautiful gauze mo train in the back with a large ho-o phoenix design. Wear and degradation to black hō, fading to textiles, replaced nagabakama on female, loss to hair. Late 18th/Early 19th century, circa 1800. Exhibited Mingei International Museum (2005). Published in Ningyō: The Art of the Japanese Doll, p. 107. $11,000/14,000

Jirōzaemon-bina was the creation of Ohinaya Jirōzaemon, an important Kyoto-based atelier that also had established branches in Edo. Supplier to the imperial family, Jirōzaemon was noted for his high quality ningyō. In the late 18th century he created a new hina form

71. Distinctive Late 18th Century

“Sandai” as a verb means attending court and “chigo” means page boy. Sandai chigo-ningyō were typically given as a gift when a young noble boy is presented at court or shrine for the first time. Over time sandi chigo-ningyō also became popular elements of the Hina Matsuri display.

72. Elegant Sandai chigo-ningyō (Court Page Doll), Edo Period

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9” (23 cm.) The Sandai chigo-ningyō court page doll, with rounded head and hands of wood, covered overall in a fine gofun with painted details, smiling expression, depicts a seated court page with imperial court costuming and binboku doublelooped hairstyle, sometimes referred to as a chigowa (page boy style), and is wearing embroidered chirimen silk crepe kimono with designs of floral burst and scroll foliate vines in couched gold-wrapped paper thread, white hakama trousers with black kikutoji (chrysanthemum balls). Losses to kikutoji, repair to hair, soiling and wear to textiles. Edo Period, early 19th century. $800/1000

16” (41 cm.) Refined Ishō-ningyō (Fashion Doll) depicting an imperial courtier, is posed standing, having a finely rendered head of wood covered in a lustrous gofun with formed hair in a simple topknot, narrow eyes and a slightly open-mouth expression, dressed in a yûsoku-style kariginu silk brocade robe featuring a tortoise shell pattern with silk drawstrings at the cuff, over simple chirimen silk crepe shashiniku trousers. Minor fading of textiles. Edo Period, 18th century. Exhibited Mingei International

Museum (2005). Published Ningyō: The Art of the Japanese Doll, p. 177. $8000/10,000

73. Carved wood hair on the imperial courtier.

73. Refined 18th Century Ishō-Ningyō of an Imperial Courtier

The Yûsoku was the etiquette manual that determined acceptable modes of dress for the imperial nobility. Male clothing was generally ranked in a formal to semi-formal based on the jacket style: sukotai, nōshi, konōshi, kariginu and ikan. The kariginu, worn here, was known as a hunting jacket. Although most ishō-ningyō focused on samurai, merchant, and popular culture, it was also an effective way to represent members of the imperial classes for the Hina Matsuri.

11” (28 cm.) The stylish townsman has hands and feet covered in gofun with painted details, silk hair beneath the distinctive foppish zukin (mop cap) and elegantly attired in a green silk brocade outer cloak over a beni (safflower red) silk brocade kimono secured at the waist by a broad birōdo black velvet obi with a long sword tucked in at hip, mounted on a wood stand with gravelly surface on four papier mâché legs, with papier mâché autumnal tree at the back. Minor wear to textiles. Edo Period, Late 18th century. $3000/4000

Edo popular culture as reflected in Kabuki theater and woodblock print lionized the stylish revelers that spent their leisure time in the pleasure quarters of Edo, Kyoto and Osaka. Because many plays chose this as their setting and artists zeroed in on this particular backdrop. the machi yakko or otokodate (chivalrous commoner)

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74. Expressive 18th Century Ishō-ningyō of a Machi Yakko (Stylish Townsman)

14” (36 cm.) The Ishō-ningyō (fashion doll) of a Bijin (beautiful woman), is posed standing, her head and hands of wood covered in gofun with painted details, hair formed as part of the head, narrow eyes, bee-sting lips, and full face with chin crease; and wearing a beautifully embroidered chirimen silk crepe kimono with embroidered flower designs on her long flowing sleeves and a blue silk brocade short sleeveless jacket secured at the waist, holding a silk flower stem in her right hand, and mounted on a black lacquer base with a painted front aperture. Wear to textiles, minor soiling of facial gofun. Edo Period, Late 18th century. $2000/3000

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75. Carved painted hair of the “beautiful woman” Isho-ningyō.

75. Elegant 18th Century Bijin Ishō-ningyō of a Beautiful Woman, Edo Period

became the peoples’ heroes, usually noted for their stylish outfits designed for wooing the ladies of the pleasure quarters. Here there is an additional animated almost seductive element to his swaggering posture.

Bijin ishō-ningyō became an exceptionally popular subject beginning in the 18th century and are the ancestors of today’s ubiquitous Japanese “Geisha Doll.” 18th century examples frequently featured carved hair as opposed to silk or human hair which came to dominate around 1800.

38” (97 cm.) The large-scale bunraku-ningyō (puppet), with a Bunshichi-style head used for depicting male characters of great strength but with deeply hidden sorrow, and having pigmented gofun with silk fiber hair, is constructed with draw levers that allow the eyebrows to raise and lower and the eyes to shift from side to side, mouth carved in an intense scowl, articulated hands with fingers and thumbs operating off

of a trigger, costumed as warrior in full armor with light metal fittings, holding a heavy metal gumbai Chinese-style battle fan in his right hand, silk brocade kimono and hakama trousers with a thick obi tie belt, silk tabi socks, shin guards, forearm guards, and posed on a traditional bamboo and wood display base. Some fading of textiles, soiling of hands. Edo Period, 19th century. Exhibited: Mingei International Museum, Morikami Japanese Museum. Published Ningyō: Art of the Japanese Doll, p. 232. $16,000/20,000

76. Powerful Bunraku-ningyō (Puppet) of Bunshichi, Edo Period

Draw levers allow the eyebrows to raise and lower and the eyes to shift from side to side.

Articulated fingers and thumbs operating off of a trigger.

76. Back

Shakkyō was and remains exceptionally popular in both the Noh and 77.

77. Precocious Mitate Gosho-ningyō (Parody Palace Doll) of Lion Dancer, Edo Period

holding silk peony blossoms while resting atop his head is a well formed papier mâché lion mask with red silk mane, chirimen silk crepe mane cover, and hinged jaw. Light craquelure to arms and legs, repair to big toe. Edo Period, 19th century. Exhibited Mingei International Museum (2005). Published Ningyō: The Art of the Japanese Doll, p. 51 and back cover. $4000/6000

11” (28 cm.) All-wooden mitate gosho-ningyō (parody palace doll) of the noh drama Shakkyō, covered in gofun with painted details, real hair, well formed hands and feet with big toe curved upward in a position of power, wearing a silk crepe haragake bib with embroidered designs of chrysanthemums floating on water as a reference to longevity. His hands are in an animated position

78. Adorable Pair of Goten-gangu Usagi (Palace Toy Rabbits), Meiji Era

Kabuki repertoire and describes the journey of a pilgrim seeking enlightenment. He comes across a stone bridge and on the other side he sees lions cavorting in a field of peonies.

79. Large-Scale Classic Maneki Neko Beckoning Shop Cat

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Named “palace toys” in honor of their close connection as amusements for the imperial aristocracy, goten-gangu were popular across many social strata, serving as accessories to ningyō as well as desirable objects in their own right. Rabbits were popular symbols of luck and perseverance. The white hare is believed to inhabit the moon, with the West’s “man in the moon” replaced by Asia’s “rabbit pounding mochi rice cakes” and thus the white rabbit is closely connected with Tsukimi moon-viewing parties.

Maneki neko, also known as the lucky cat, is one of Japan’s many contributions to universal popular culture and you find these cats gracing the cash registers of Asian restaurants around the world, sometimes with mechanized arms or holding golden coins. The original maneki neko, however, is purely Japanese, and evolved slowly as a potent good luck symbol. A raised right paw is usually seen as benefitting the home and domestic life, while the left paw was seen as favorable towards businesses and professional endeavors. Many kilns across Japan specialized in maneki neko, each adding their own distinctive element. The Mikawa kilns, located in central Japan, were famous for their largescale and bold figures.

5” (13 cm.) Goten-gangu (Palace Toys) of a pair of rabbits, crafted of papier mâché covered in a white gofun with painted red eyes, nose, whisker and toe details, backs with raised design of leafed chrysanthemums done in blue/green and gold, long felt ears, Meiji Era, Late 19th century. $500/1000

25” (64 cm.) Beautiful large-scale example of the classic maneki neko beckoning shop cat from the Mikawa kilns, low fired clay figure of a seated cat on its haunches with a fat, full body, with its left paw raised, good facial modeling with yellow eyes, whiskers, bright expression, pert ears, rolled collar with gold painted designs, small diminutive tail in back, depicted with red and black spots, hollow clay structure done in the nagashikomi (poured mold) technique. Minor wear to pigments. 20th century. $1500/2500

80. Classic Gosho-ningyō (Palace Doll) of Superb Quality in Green Kimono, Edo Period

81. Larger Haihai Gosho-ningyō (Crawling Baby Palace Doll) on a Yogi Comforter, Meiji Era

11” (28 cm.) The gosho-ningyō is carved of wood and covered in a fine white gofun with painted details, silk hair arranged in a child’s style forelock pulled back and two long side locks with silk ties, well formed fingers with painted nail details, is depicted seated with right leg thrust forward and turning slightly over his left shoulder giving him a decidedly animated energy, wearing a rich silk brocade kimono with large explosions of peonies, and secured by a knotted silk tie cord, white inner kimono, all over a classic silk brocade haragake bib with Chinese dragon and cloud patterning, seated on a silk crepe zabuton cushion. Minor wear to kimono. Edo Period,

19th century. Exhibited Japan Society (1996). Published Ningyō: The Art of the Human Figure, p. 75-76. $12,000/15,000

10” (25 cm.) l. gosho. 16”l. yogi. The larger scale Haihi Goshoningyō (crawling baby palace doll) lying on a winter yogi (padded bedding kimono), is carved of wood and covered in a white gofun with painted details, smiling expression, sexed figure, head looking forward and slightly up, with white silk kimono (not original) and bib. Some restoration of gosho, white kimono not original. Meiji Era, circa 1900. $1600/2000

3” (8 cm.) l. gosho. 4 ½” x 5” base. Wood-carved Haihai Goshoningyō depicting a crawling baby is covered in gofun with painted details, smiling expression, small velvet patch of hair at the crown of his head, swathed in a long white silk robe covering hands, with broad collar, red silk outer jacket, posed on a gold lacquered stand. Minor craquelure, wear to red jacket. Edo Period, 19th century. $1200/1500

Haihai or crawling baby dolls are believed to be derived from the all silk hōko baby of the aristocratic court in Kyoto. The image of a crawling baby in a long silk gown has been used in poetic imagery and prose since the Heian Period. Haihai were created in all sizes, from life-sized to truly miniature. Irrespective of size they retain their irresistible allure.

82. Extra Small Haihai Gosho-ningyō (Crawling Baby Palace Doll) on Gold Stand, Edo Period

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Yogi were thickly padded bedding comforters shaped like an oversize kimono, frequently decorated with auspicious images done in a tsutsugaki paste resist design. Doll-sized yogi are exceptionally rare and unusual, adding to this figure’s allure and desirability.

83. Fascinating Pair Dolls),(AcupunctureKeimyaku-ningyōofEdoPeriod

19” (48 cm.) and 26”. The papier mâché figures, covered overall in gofun, are posed standing straight legged with palms facing slightly forward, each with square-jawed face with lightly-formed nose and eyebrow ridge with painted facial details, visible rib cage, slightly-distended belly, elevated spine along back, painted hair. A series of red dots and black and red lines connect the various acupoints with detailed calligraphic labeling, the keimyakuningyō (acupuncture doll) pair trace the 14 kei (meridians) and 365 acupoints(tsubo)usedin the traditional practice of acupuncture. Overall fine condition, repair at neck and left arm of smaller figure, and ankle of larger figure. Edo Period, early 19th century. Exhibited: Mingei International Museum (2005). Published Ningyō: The Art of the Japanese Doll, p. $14,000/18,000272.

Woodblock print of Hisayoshi in a kabuki scene. Detail

10” (25 cm.) The unusual Takeda-style ishō-ningyō with head, hands and feet of wood, covered in a fine white gofun with painted details including light blue shadowing around the chin, is posed dramatically with leg thrust out to the left and head twisted to look over left shoulder. Depicting Hisayoshi with his iconic asagi zukin (blue cap) and light blue short coat over rich layers of costuming including blue and black velvet, chirimen silk crepe with supplemental embroidery, plaid silk, all secured by a silk brocade obi with an additional silk sash-style closure, blue wrapped silk leggings and blue feet, and is mounted on a black lacquer stand with a Takeda-style front aperture cloth. Left ankle repaired. Edo Period, 19th century. $2000/3000

The combination of clothing makes this figure’s identification as Mashiba Hisayoshi fairly certain. In this guise the actor is playing what is known as a waijitsu (young problem solver). Ironically, Mashiba Hisayoshi is a clever convoluted stage name for Toyotomi Hideyoshi (the 16th century warlord). But in the expansive world of Kabuki, this ruthless historic generalissimo is transformed into a softer sympathetic character, and appears more as an otodake (chivalrous commoner) than a fearsome martial figure.

84. 83.

84. Unusual Takeda-style Ishō-ningyō of Kabuki Actor, Mashiba Hisayoshi, Edo Period

85. Humorous Ishō-ningyō Tableau of Daikoku and Fukurokuju Wrestling, Edo Period

9” (23 cm.) The mitate isho-ningyō (parody fashion doll) tableau with dolls, each made of papier mâché and covered overall in a fine white gofun with painted details, wearing silk loin cloths, depict standing Daikoku (the god of daily wealth) grasping the elongated cranium of Fukurokujo (god of longevity), Fukurokujo shown leaning far over with a distressed facial expression while Daikoku grasps his head with a look of satisfaction. Mounted on a black lacquer stand in the takedastyle with a circular purple silk arena cloth. Minor loss of pigment in Daikoku’s cap, repairs to feet. Edo Period, 19th century. $2000/3000

The Seven Gods of Good Fortune were frequently interpreted in humorous ways. Rather then evoking fear or demanding honor, these gods were often known for their eccentricities and foibles, and were all the more beloved for it.

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The kikkō tortoise shell shape was considered an auspicious design conveying wishes for longevity and was a popular shape for many storage and presentation containers.

14” (36 cm.) Isho-ningyō fashion doll of Fukurokuju, one of the Seven Gods of Good Fortune, carved of wood and covered in a fine white gofun with painted details, has enormous bald head, large ear lobes as a sign of his divinity, laughing expression, creased features suggesting his advanced age, long gray silk mustache, chin bead and eyebrows, wearing Chinese-style costume consisting of blue silk brocade outer robe with a high belt and trailing silk brocade front sash bearing auspicious cloud and nyoi (sacred fungus) design, lobe-toed lacquered boots, holding a Chinese style fan and with a tall blue silk brocade cap that conceals his elongated cranium. Minor wear to textiles. Edo Period, 19th century. $6000/8000

87. Entrancing Isho-ningyō of Fukurokuju, God of Good Fortune, Edo Period

86. Auspicious Hexagonal Box with Genji Design

Fukurokuju, along with Jurōjin represent the quality of longevity and wisdom. While Jurōjin is marked by his aged face and companioned by a deer, Fukurokuju is unmistakable with his protruding cranium.

87. Detail 93

8” (20 cm.) Beautifully rendered lidded box of wood with gofun and painted designs and gold leaf accents, in the auspicious kikkō tortoise shell hexagon shape with leather hinges and securing cord, top painted with images taken from the 11th century Genji Monogatari (Tale of Genji) with scenes of courtiers and ladies seated in a room with a young page seated on the verandah all engaged in conversation, the sides decorated with a outdoor privacy curtain with blossoming cherry trees and a flowing screen, executed in rich natural pigments with a golden cloud design, simple interior covered in white gofun. Light wear to pigments. Late Edo/Early Meiji Era, Mid-19th century. $300/500

20” (51 cm.) An exuberant dairi-bina (imperial couple), each with head carved of wood and covered in a fine gofun with painted details including blackened teeth and okymayu skybrows, and human hair. The o-bina (lord) is depicted in a dramatic tatewaku (undulating line) pattern robe with twelvelobed chrysanthemum bursts, paneled front apron with a stylized dragon design, gold lacquered paper kanmuri cap and sword; and the me-bina (lady) in an arresting junihitoe (twelve-layered) robe with long chirimen silk crepe sleeves covering the hands and bearing a robust rabbits jumping over waves pattern and elaborate metal and beaded crown with a mirror front and chintamani sacred jewel at top; each seated atop a double wide dais with tatami mat center and banded silk edging. There is some wear to silk crepe sleeves. Edo Period, 19th century. Published Japanese Dolls: The Fascinating World of Ningyō, p.73. $12,000/15,000

Imperial Couple for the Hina Matsuri, Edo Period

Machi-bina or “town hina” is an umbrella term used to describe hina styles that were not made, typically, in either Kyoto or Edo and which generally reflect strong, idiosyncratic elements and features. The image of white rabbits jumping over waves is taken from the ancient tale of Inaba no Shiro Usagi (the white rabbit from Inaba) that used backs of sharks/ crocodiles to travel over the ocean waves to get from the mainland to an island. Rabbits and waves became a popular decorative motif in nearly every media.

88. Exceptional Machibina (Town Hina)

89.

89. Superlative Takeda-ningyō (Theatrical Doll) of the Taikō, Edo Period

33” (84 cm.) h. 21” x 15” base. The large-scale Takeda-ningyō (theatrical doll) depicting Toyotomi Hideyoshi (1536-1598), also known as the Taikō, a quintessential Takeda-style iconic figure has wooden head covered in gofun with finely molded features, painted details, silk fiber hair, is depicted with left leg thrust to the side, body twisted, right hand holding aloft his signature gourd standard with red felt tailings, and a gumbai battle fan in his left, wearing a Chinese-style cap, a silk brocade sleeveless outer vest, layered silk brocade kimono with chirimen silk crepe sleeves bearing a bold embroidered image of a dragon, birōdo black velvet details, silk brocade hakama trousers bearing his signature kiri paulownia crest, long sword at hip, mounted on a lacquered wood base with an embroidered front aperture cloth. Minor fading and wear. Edo Period, 19th century. Exhibited Mingei International Museum (2005) and Morikami Museum (2012). Published Ningyō: Art of the Japanese Doll, p. 25-251 appearing as cover image. $15,000/18,000

In early times Hideyoshi was known as the “Great Unifier” of Japan, but during the succeeding age all references and images of Hideyoshi were banned. Then In the early 19th century censorship lagged and he surged in popularity creating a veritable “Hideyoshi Boom” in popular culture with plays, novels, woodblock prints, and ningyō being created to commemorate his life and accomplishments.

18” (46 cm.) The isho-ningyō (fashion doll) depicting the legendary Chinese sage Huangshi Gong (Jp. Kōseki Kō) features a carved wood youthful face covered in gofun with painted details, open mouth in laughing expression, posed in a jaunty manner with left foot turned to the side, long staff in hand and holding a bound scroll containing the ultimate secrets of warfare in his left hand, attired in elaborate Chinese style garments with fringed lapels and sleeves, silk tasseled sleeve closures, with silk crepe trousers with embroidered stream designs, gold shoes, and a Chinese style tall cap of purple silk crepe with silk brocade banding; mounted on a black lacquer base with silk creep front aperture cloth. Minor fading and loss of hair. Edo Period, 19th century. Exhibited Mingei International Museum (2005). Published: Ningyō: The Art of the Japanese Doll, p. 190-191. $8000/10,000

90. Enchanting Ishō-ningyō (Fashion Doll) of Kōseki Kō, the Chinese Sage, Edo Period

13” (33 cm.) Dramatic ishō-ningyō

Woodblock print of Masahige.

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91. Dramatic 18th Century Ishō-ningyō of the Warrior Kusunoki Masashige, Edo Period

(fashion doll) of the 14th century warrior Kusunoki Masashige (1294-1336) has a head of wood covered in a fine gofun with painted details, hair formed as part of the head in a tall topknot, dressed in an elegant gold silk brocade jimbaori sleeveless surcoat with green silk brocade trousers, and a hitatori kimono with embroidered sleeves, and with a lacquered paper breast plate with silk crepe, birōdo black velvet and metal cutouts of peony and Masashige’s signature crest of a fan on waves, silk brocade shin guards, and heavy boots, his left arm with hand upraised. The ningyō is mounted on a black lacquered base with painted front aperture. Loss of fur on boots, fading to textiles. Edo Period, Late 18th century. Exhibited Mingei International Museum (2005). Published Ningyō: The Art of the Japanese Doll , p. 189. $6000/7000

Ishō-ningyō covered a wide array of subject mater, frequently reflective of popular cultural trends, particularly successful Kabuki performances. Many of the various Kabuki and bunraku puppet renditions of the great warrior tales known as the Taiheiki would have potentially featured Masashige in a dramatic turn.

Within Edo society the upper echelons of the samurai class (buke) constituted its own noble class apart from the imperial nobility (kuge). Their customs and costuming were distinctive. Their hairstyles and clothing indicates that this pair represent the nobility of the samurai class rather than imperial nobility.

93. Evocative Ishō-ningyō of an Oiran High Ranking Courtesan, Edo Period

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18” (46 cm.) Ishō-ningyō of an Oiran high ranking courtesan with head of wood covered in a fine white gofun with painted details and silk fiber hair arranged in an elaborate coiffure is attired in six layers of kimono secured with a birōdo black velvet obi tied in front with an embroidered fan design and a fan tucked into the front, over a blue silk brocade kimono followed by a chirimen silk crepe kimono with a repeated cherry blossom pattern done in a paste resist technique, posed on a flat black lacquered base. Wear to fabrics. Edo Period, 19th century. $500/800

92. Rare Pair of Mitsuore Gosho (Triple-jointed Palace Dolls) as Prince and Princess, Edo Period

12” (30 cm.) The Wakagime-Himegime mitsuore gosho-ningyō (prince and princess triple-jointed dolls) pair are of wood construction covered overall in a fine white gofun, each with rounded faces with painted details, real hair ranged in a looped chigowa style for the girl, and he a chasen mage tea whisk style arrangement, with flat-jointed articulation at hips, knees and ankles. She is wearing a chirimen silk crepe uchikake outer kimono with padded him and subtle embroidered details, with a purple silk obi tie belt; and he with a formal kamishimo broad shouldered vest with purple hakama and a black silk under kimono. Kimono of boy very worn, losses of hair on girl. Edo Period, 19th century. Exhibited Japan Society (1996). Published in Ningyō: The Art of the Human Figure , p. 87. $15,000/18,000

Woodblock print of Oiran high ranking courtsean.

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Courtesans from the pleasure districts of Edo, Kyoto and Osaka were the superstars of their day, with guidebooks published over the years indicating crests, houses of assignation and even pricing. Courtesans were ranked with the highest levels being the tayû and orian. The numbers of tayû over the years declined and by the 19th century the oiran was considered the highest level. The subject of innumerable woodblock prints, they were also popular studies for ishōningyō artisans beginning in the 18th century. This figure is marked by the extravagant use of birōdo, which was considered quite an expensive fabric and seen as a luxury item. Ningyō using birōdo or birōdo accents were typically of higher quality. The way the artisan here has layered the fabrics and presented them in stacked lines at the hem is striking.

94. Three 18th Century Rare Miniature Ishō-ningyō

Each of heads and hands of natural wood with painted details including two merchant gentleman and a street performer with a monkey, the gentlemen dressed in a ribbed silk kimono tucked into silk brocade hakama trousers with a fan tucked into the lapel, and mounted on lacquered wood stands with gold treatment and knob feet; and the monkey trainer with creases on his forehead and dressed in a silk brocade sleeveless outer coat over a chirimen silk crepe kimono with staff in right hand, and a monkey tied to his back which is also holding a small staff, and has monkey-like facial features, wearing purple chirimen kimono tucked into silk brocade trousers with ankle ties and a blue obi, on a wooden stand. Extensive wear to textiles, monkey trainer has replaced base. Edo Period, mid-18th century. $1000/2000

Early ishō-ningyō of this scale are quite rare, being convincing small character studies, while highlighting typical garb of the period. One can easily imagine two dandies strolling through the brothel district and stopping to watch a monkey trainer street side. Though similar in feel, scale and subject matter to kamo-ningyō, their textiles are not applied in the kimekomi style, but actually dressed with layers.

20” (51 cm.) Large seated goshoningyō, all of carved wood covered in a fine white gofun, is depicted seated with both legs thrust forward, smiling facial expression with silk fiber hair arranged in a young boy’s style with side locks and a long forelock, finely carved details with creases on bottom of foot and well delineated fingers and toes, holding aloft a lacquered yari saya spear-tip cover with orange silk tie cord, wearing a stunning green satin weave silk outer kimono of exceptional quality with intricately embroidered silk flowers and gold wrapped thread highlights, orange silk padded hem and sleeve lining, over a white silk under kimono. Kimono replaced, wear to yari spear cover. Edo Period, 19th century. $16,000/20,000

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95. Stunning Large Goshoningyō (Palace Doll) with Yari Spear Cover, Edo Period

Detail of green satin kimono with embroidered silk flowers and gold wrapped thread.

The rich textile and the military symbolism of the spear cover indicate that this would have been presented to a young boy from a samurai family, conveying wishes of martial prowess.

Painted presentation ribbon on pate.

96.

5” (13 cm.) Classic gosho-ningyō with wood body covered overall in a fine gofun with painted details including okymayu sky brows of the nobility, and silk fiber hair patch, depicted in a prone/crawling position, with rich silk crepe kimono with long trailing sleeves, a white silk front bib and

KeuesaikuAdorable97. Puppy, Showa Era 2” (5 butearscoveringonshockwhitethesimulatehairwithseatedPapiercm.)mâchépuppysilkcovertofur,silkdyedwithaofblacktheheadtheandeyesleavingthe

96. Adorable Haihai Gosho-ingyō (Crawling Baby Palace Doll) with Signature

a tasseled silk mamori-boko charm bag, and resting atop a purple silk cushion. Script signature on foot bottom translates to “crossing the river”, apt description of the ningyō’s pose. Edo Period, 19th century. Exhibited Mingei MuseumInternational(2005).Published

Ningyō: The Art of the Japanese Doll, p. 24. $1000/2000

The creation of papier mâché animals covered in fine silk fur was a Kyoto specialty, and can be seen as an expansion of the earlier goten-gangu papier mâché animals covered in gofun with painted details. The puppy, a long-standing theme expressing fertility and happiness, was frequently included in the Hina Matsuri display as well as serving as stand-alone gangu toys. Silk kimono of Haihai along with mamori-boko charm bag. “Crossing the river” signature on foot.

nose area white, modeled pink nose and black bead eyes, sporting a red silk crepe collar. Showa Era, 20th century. $50/100

Haihai or crawling baby gosho are seen as being directly related to the ancient hōko or stuffed crawling baby doll placed at a child’s bedside for protection. While the hōko is made entirely of stuffed silk, the haihai is, generally, a fully rendered doll with the body carefully carved to depict a crawling baby raised up on its arms. In gosho form they loose their talismanic properties and, instead, are adored for the kawaii (cute) factor. Okymayu skybrows are a beauty affectation employed by both women and men of the nobility to indicate noble status. The natural eyebrows were completely shaved and two small smudges were painted much higher on the forehead. Okymayu are frequently found on hina-ningyō and also on Boy’s Day dolls depicting an imperial character, but the use of okymayu skybrows on an infant is unusual and here serves to underline its nobility.

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Although Kintarō and his relationship with his adopted mother Yamauba was a popular subject matter in both print and theater, few ningyō from the Edo Period exist. The sexualized maternal nature of their bond was frequently depicted in woodblock prints of the period, and was explored by the celebrated artist ningyō Hirata Gōyō II (1903-1981) as part of the sōsaku-ningyō (art doll movement) of the 1930s. Whether this was used as a Boy’s Day doll or as an ishō-ningyō display doll is uncertain.

16” (41 cm.) woman. 8” baby. Both fashioned of wood and covered overall in a fine gofun with inset glass eyes, painted details, silk hair, the rare ishō-ningyō tableau is an unusual rendering of Hag and her young adopted charge, Kintaro (the Golden Boy); she depicted kneeling with kimono thrown back to reveal breasts and Kintarō depicted as an infant resting on her thigh, his head cradled in her right hand, a peach stalk held in her left hand, wearing a gold silk brocade kosode kimono bearing dense concentric square patterns with floating kiri paulownia blossoms, secured at the waist by a purple silk brocade obi with embroidered fuji wisteria blossoms, Kintarō sports a silk brocade

98. Compelling and Exceptionally Rare Ishō-ningyō of Yamauba and Kintarō, Edo Period

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haragake bib with figured silk crepe ties, the fleshly folds of his skin suggesting his future great musculature and strength. Restored, wear to textiles. Late Edo Period, mid-19th century. $9000/12,000

Ishō-ningyō were effectively used to portray the fûzoku or customs of the age. This trio depicts the world of the Edo entertainment district where clients whiled away the hours being entertained by musicians, singers, dancers and purveyors of other pleasures.

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11” (28 cm.) Each of the three Ishōningyō female entertainers has head and hands of wood covered in a fine gofun, silk fiber hair delicately arranged with silk tie ribbons, inset glass eyes, and painted details including two samisen players and one koto (zither) player, all in matching attire consisting of green silk brocade uchigake outer kimono bearing dragon and cloud motif with padded hem over simple beni (safflower red) inner chirimen silk crepe kimono secured by blue brocade obi tie belts. Each is positioned to play her respective instrument, the samisens well fashioned with bone plectrums and facing, and the koto with bone string separators on well-fashioned wood case. Some wear to textiles, repair to hair. Late Edo Period, mid19th century. Exhibited Japan Society (1996). Published Ningyō: The Art of the Human Figure, p. 69. $8000/11,000

99. Elegant Trio of Ishō-ningyō Female Entertainers, Late Edo Period

$1500/2500 100. 107

6” (15 cm.) Refined and beautiful example of a sandai-chigo (court-visiting doll) dressed in a rich chirimen silk crepe kimono with elaborately embroidered sleeves tucked into white hakama trousers, depicted kneeling on a silk brocade zabuton cushion, head and hands of wood covered in gofun with painted details, real hair would have originally been arranged in a chigo-wa or binboku looped hairstyle, Edo Period, Circa 1800. Exhibited Japan Society (1996). Published Ningyō: The Art of the Human Figure as the cover image as well as page 60. This exceptional doll was selected by Sumie Kobayashi of Yoshitoku to grace the cover of this important early exhibition catalog.

Sandai-chigo were gift dolls given to children of the nobility on the occasion of their first presentation at court or at different rites of passage. The delicate embroidery of the sleeves matches the patterning on the zabuton cushion.

100. Beautifully Elegant Sandai-Chigo (Court-Visiting Doll), Edo Period

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The crown of me-bina is topped by a phoenix with trailing bead and metal pendants.

101. Elegant Kokin-bina (Imperial Lord and Lady) for the Hina Matsuri Celebration, Late 1800s

auspicious painted shochikubai (Three Friends of Winter) design of pine, plum and bamboo, her long human hair in a single braid trailing down the back with paper cuffs and ties, dramatic phoenix-topped crown with trailing bead and metal pendants, with a delicately-painted folding fan splayed between her two hands; and o-bina (lord) wearing a formal black sokutai robe with a tatewaku undulating line pattern and red inner lining, he holds a shaku scepter in his right hand a long sword at his left hip, and with a black lacquered eboshi court cap and tail ei (tail). Soiling to gofun faces, fading and wear to textiles, wear, staining and fading to silk banding on bases. Early Meiji Era, late 19th century. Exhibited Japan Society (1996). Published Ningyō: The Art of the Human Figure, p. 42. $8000/10,000

20” (51 cm.) Each having head of wood covered in a fine gofun with inset glass eyes and painted details including okimayu skybrows and blackened teeth befitting their imperial rank, the pair posed resting atop separate silk banded tatami mat bases. Including a luxuriously attired me-bina (lady) wearing a layered robe of silk brocade and silk crepe with richly embroidered sleeves featuring a flying crane design, a silk brocade kake-obi draped over her shoulders supports a gauze mo train in back bearing

As a distinct style of hina, Kokin-bina were created by the Edo/Tokyo artisan Hara Shûgetsu and by the end of the Edo Period were the dominant style of hina.

Hand painted designs decorate the folded fan.

Flying crane design embroidered on sleeve of me-bina robe.

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103. Endearing Ishō-ningyō of a Karako Chinese Child, Edo Period

102. Entertaining Mitate Gosho Pair with Hobby Horse

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Gosho-ningyō vignette featuring two figures wearing Chinese-style vests with ruffled trim over coordinated silk crepe trousers and silk brocade kimono featuring roundels with a scroll-foliate design, one figure riding a harukoma hobby horse with left foot raised in mid action, the other looking on laughingly, mounted on a black lacquered wood base with silk front cloth with tachibana orange designs. Separately formed heads of wood covered in a fine white gofun with painted details and silk fiber hair. Overall excellent, damage to one foot. $500/1000

20 ½” (52 cm.) Isho-ningyō, depicting a seated Karako Chinese Child, is posed in a dynamic manner, his head slightly uplifted and tilted to one side and his hands animatedly gesturing, having head and hands carved of wood and covered in a fine white gofun with painted details, open-mouth, laughing expression, deep dimples, carved hair gathered into balls in a distinctive style, hands sensitively rendered with well individuated fingers, wearing a rich silk brocade kimono with silk crepe frilled collar, blue silk brocade trousers featuring a bold dragon and cloud motif, secured at waist by an orange silk tie cord, Chinese-style boots with silk brocade and wrapped silk binding, seated atop a base covered in a gold flecked paper. Minor wear and soiling to textiles, frailty of outer kimono sleeves. Edo Period, circa 1800. Exhibited International Museum (2005). Published: Ningyō: The Art of the Japanese Doll, p. 6. $9000/12,000

The wooden carved hair is shaped into balls in a distinctivestyle.

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22” (56 cm.) h. without platform. Large-scale Musha-ningyō (warrior doll) of Benkei wielding a club, with eyebrows,accenteddeeplyainsetpaintedpigmentedofwell-renderedexceptionallyheadwood,coveredinagofunwithdetails,largeglasseyes,faceingrimacingexpression,furrowedbrowbyup-sweepingwideopen

mouth exposing teeth and tongue, shaved head of a warrior monk with a twisted cord hachimaki head cloth tied at the front, is depicted in an aggressive stance lunging on his left leg, his right hand holding a massive club, wearing lacquered paper armor with silk lacing, silk brocade textiles, straw sandals, hands and feet painted to simulate blue leather gloves and tabi socks, and is mounted on a large tatami mat base with wood frame. Wear to textiles and base, repair to left hand. Late Edo Period, mid-19th century. $8000/10,000

105. ningyōLarge-scaleImpressiveMusha-(Warrior Doll) of Benkei, Edo Period

14” (36 cm.) Warrior doll with wooden carved head having well-formed grimacing features of an aramusha (rough stuff) warrior, gofun finish with painted features including shadowed beard scruff, and real hair drawn into a tall military topknot, is depicted as a kneeling vassal with left leg thrust forward, wearing a silk brocade jimbaori military campaign vest with stiffening wire support, black birōdo velvet trim, couched gold-wrapped thread circles, lacquered paper armor with metal fittings, inner birōdo black velvet hitatare kimono with sleeves drawn closed and a mesh sleeve, silk brocade hakama trousers, shin guards, simulated leather tabi socks, straw sandals, and is holding aloft a sword. Wear to textiles, losses to hair. Edo Period, 19th century. Exhibited Japan Society (1996). Published Ningyō: The Art of the Human Figure, p. 52. $4000/6000

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104. Fierce Musha-ningyō (Warrior Doll) of the General Katō Kiyomasa For Boy’s Day, Edo Period

As a musha-ningyō, Katō Kiyomasa (1562-1611) came into cultural vogue as part of the Hideyoshi boom of the early 19th century. Prior to this time, his depiction would have been illegal. The circular wa crest represents a bowstring winder and is closely associated with Katō Kiyomasa. His fearsome disposition is well depicted in the intense expression with furrowed brows, down-turned mouth and bared teeth.

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The warrior monk Musashibo Benkei (d. 1189) was known for his irascible temper and was a stalwart companion/defender of the young warrior Minamoto Yoshitsune. However, in popular lore and theatrical tradition many stories centered on Benkei alone and his various exploits, revealing his near superhuman strength. He was also a popular Boy’s Day figure where he was depicted both as vassal as well as solo hero.

106. Fushimi (ClayTsuchi-ningyōDollfrom Fushimi) of a Sumo Wrestler, Meiji Era

6 ½” (17 cm.) The small simply-rendered cold painted tsuchiningyō (earthen doll) depicting a Sumo wrestler is covered in gofun with painted details depicting a standing fleshy sumo wrestler with rounded belly, stylized flowerlike belly button, hair in a top knot, wearing a red goldapronkeishomawashiwithblueandbandandfringe. Wear to gofun finish. Meiji Era, late 19th

Woodblock print of sumo wrestler.

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23” (58 cm.) h. body. 29” h. case. The Zubōshiningyō (chart monk) medical model for the study of anatomy is constructed as a papier mâché form designed to depict ever-deeper layers of the human anatomy, from skin to bone, consisting of a series of hinged compartments with metal latches, each containing various organs all numbered. The model is suspended on a metal tripod base, within its original wood case with metal label bearing the Asahi trademark for the Hasegawa Machinery Company in the Tamachi district of Hamamatsu City in Shizuoka Prefecture. Minor pigment rubs. Meiji Era, circa 1900. $6000/8000

107. Fascinating Zubōshi-ningyō (Chart Monk) Anatomical Study Doll

In traditional Japanese belief, smallpox and measles were caused by the hōsōgami (demon of small pox). The color red was believed to attract the demon away from the child, protecting him from these virulent afflictions. Dolls of red fabric were seen as particularly effective. Among the elite, dolls depicting the sake-loving red-faced Shōjō were used as a particularly elegant way to protect children. Because frequently these dolls were burned after the danger had passed, very few examples remain today.

Beginning in the 16th century the Fushimi area just south of Kyoto was home to a robust clay doll-making center which initially focused on figures designed to be donated to the Fushimi-Inari Shrine which was located there or to be taken home as sacred talismans. But their popularity spread and by the 19th century this area was producing a wide range of souvenir type dolls, still accompanied by the belief that dolls made from the soil around Fushimi would have special protective powers. Tsuchi-ningyō can be found in all regions of Japan, each with its distinctive style and range of signature-like figures; another example is the popular hakata-ningyō in Kyûshû.

century. Published Japanese Dolls: The Fascinating World of Ningyō. $100/200

century. Exhibited Mingei International Museum (2005), Published Ningyō: The Art of the Japanese Doll, p. 266-269. $9000/12,000

108. Rare and Important Hōsō-ningyō (Talismanic Doll) of a Shōjō Sea Imp, Edo Period

20” (51 cm.) including stand. The Hōsō-ningyō (talismanic doll) depicting a red faced Shōjō (sea imp) with red silk fiber hair, redtinted gofun, red painted eyebrows, and red silk brocade textiles, holding a sake bowl and ladle, is mounted on an elaborate stand with raised legs and a finely painted front, featuring plum trees, pine and a flying crane. Fading and wear to textiles. Edo Period, 19th

In contrast to the the stylized keimyaku-ningyō acupuncture dolls (see catalog lot #83), the zubōshi-ningyō strove for realism in every detail and exactitude in depicting organs and veins as an aid to studying human anatomy. Zubōshi-ningyō were originally received from the Dutch during the late 17th century where they were accepted with both scholarly interest and popular curiosity. Chart monks, while aiding Japanese doctors in advancing their knowledge of human anatomy, also became popular misemono sideshow attractions that would tour the country and charge for admission.

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Seated at the back of the car is Daikoku the god ofwealth.daily

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Well-realized model of one of the gigantic wheeled festival carts used in the Mikuruyama Festival in Toyama Prefecture, noted for its gigantic butterfly hokodome perched on top of a canopy festooned with silk flowers. At the front of the cart rides a karakuri-ningyō of a karako (mechanical Chinese child) who beats a drum and whose head turns from one side to the other as the cart moves forward; and seated behind and largely obscured by the parasol is a ningyō of Daikoku, the god of daily wealth, holding his signature money mallet in his right hand. The lower tier is draped in rich purple silk brocade curtains with a gold lotus design and silk tassels, and the cart rides upon heavy wooden wheels with metal strapping and decorative bosses. Restoration to butterfly and karako face. Late Edo Period, Mid-19th century, Exhibited Morikami Museum (2012). Published Entertaining the Gods and Man: Japanese Dolls and the Theater, p. 47 and Japanese Dolls: The Fascinating World of Ningyō, p. 190, 197. $16,000/20,000

Spectacular Miniature Flowered Festival Cart from the Mikuruyama Festival, Edo Period

Since the 1800s many communities around Japan have celebrated festivals which feature large-scale wheeled carts which are paraded around the town throughout the festival. Miniature models of the most popular carts were also sometimes created and put on display in homes and shops as way to celebrate and invite the beneficial elements into the home.This particular miniature festival float, well over a century old, represented the Kifune-machi area outside of Nagoya and is a miniature model of the grand-sized float that was designed for the Mikuruyama Festival held in Takaoka, actually still celebrated at the end of April each year.

The turns.andbeatsChineseningyōkarakuri-ofchildadrumhead

Silk flowers form a canopy on the cart.

The cart has gold lotus design with silk tastles.

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As a pilgrim, however, Otsuru wears tight leggings and her feet are revealed. It is rare for Bunraku narratives to feature young girls; the character of Otsuru is perhaps the most famous. In the play Awa no naruta (Whirlpools of Awa), Otsuru’s parents left her behind as an infant to embark on a quest to recover a lost sword. Years later Otsuru sets out on her own quest to find her parents, travelling as a Buddhist pilgrim. In her long journey she happens to stop at the house where her parents are in hiding while

Woodblock print of pilgim and child.

110. Unusual Fushimi Manek-neko (Beckoning Cat) with a Red Fish, Meiji Era

111. Poignant Bunraku-ningyō of the Child, Otsuru as a Buddhist Pilgrim, Early Meiji Era

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30” (76 cm.) Unusual large-scale puppet with head, hands and feet carved of wood and covered in gofun with painted details, silk fiber hair in the short style of a young girl with silk crepe hair ribbon, wearing silk crepe textiles bearing a water and chrysanthemum pattern with drawn-up lower hem, a bast fiber belt and silk pilgrim’s bib, Early Meiji Era, late-19th century. Exhibited Mingei International Museum (2005) and published Ningyō: The Art of the Japanese Doll, p. 238. $6000/8000

Structurally, female bunraku puppets are never depicted with feet, which always remain hidden behind the folds of their kimono.

Maneki-neko have long been popular symbols in Japan welcoming in good luck and fortune; in this instance the iconic form is paired with a giant sea bream which is typically associated with Ebisu the god of daily provision and a New Year’s symbol of good fortune.

fleeing authorities. Ultimately her mother recognizes Otsuru and is then faced with the choice of leaving the child in ignorance or reuniting and thereby forcing her child into the life of a fugitive. Reluctantly she lets the child go. In a cruel twist of fate, Otsuru’s father later stumbles upon her and tries to steal her coin purse. In the struggle he accidentally and unwittingly kills his own daughter. Such is the stuff of bunraku.

5” (13 cm.) The clay figure of a cat is covered in gofun with painted details including diamond shaped yellow eyes, whiskers and spotted ears, and is depicted grasping a red tai sea bream in its mouth with its right paw resting on the base of the sea bream tail fin. Soiling of finish, loss of pigment. Meiji Era, circa 1900. $100/200

111. Otsuru’s costume is a Buddhist pilgrim includes a bast fiber belt and silk pilgrim’s bib.

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112. Bold, Largescale Takedaningyō (Theatrical Doll) Depicting the Martial Dandy Sukeroku. Edo Period

Top: The carved wooden head of Sukeroku is detailed with traces of kuamdori style actor’s makeup.

Takeda-ningyō were deeply intertwined with Edo Kabuki culture, featuring themes and posturing directly related to their theatrical subjects. The tall geta sandals and the snake-eye parasol were typical props used in depictions of Soga no Gōro as Sukeroku, a martial dandy who frequented the brothel districts of Edo, fighting villains.

30” (76 cm.) h. including umbrella and stand.20” x 12” base. exceptionallyAnbold and engaging takeda-ningyō depicting a martial figure in a wide-legged stance has head and hands of wood, covered with a fine white gofun, painted details with traces of kuamdori style actor’s makeup, and blue shading to chin to accent virility, exaggerated features with deeply furrowed brow and down turned mouth, hair in a formed topknot, wearing rich blue silk brocade kimono with dragon and cloud motif shown with sleeves thrown back to reveal inner chirimen silk crepe kimono with embroidered dragon designs on sleeve, birōdo black velvet accents on collar and inner breast plate, metal bosses, tall wooden geta sandals, lacquered paper eboshi cap, and two red scabbard long swords at hip, holding aloft a janomegasa paper parasol with a snake-eye pattern, and posed on a black lacquered base with embroidered silk crepe aperture cloth. Edo Period, 19th century. Exhibited Mingei International Museum (2005), Morikami Museum (2012). Published Ningyō: The Art of the Japanese Dolls p.245, Entertaining the Gods and Man: Japanese Dolls and the Theater, p. 76. $14,000/18,000

Bottom: The silk crepe kimono is enhanced with embroidered dragon designs on the sleeves.

Woodblock print Sukeroku.depicting

consisting of a short over coat in white with chrysanthemum bursts, secured at the waist with a silk belt and brocade end caps, over a red inner kimono tucked into wide hakama trousers bearing a lightening design, and mounted on a wood base. Showa Era, mid20th century. $1000/2000

16” (41 cm.) including hat. The Keuesaiku-ningyō Saru (Monkey) dancing the auspicious Sanbasō, is realistically executed in keuesaiku (fine hair planting technique using silk fiber to simulate animal fur), standing with his left hand holding a rattle, wearing a tall gold lacquered cap emblazoned with a red sun, and with personality-filled face of painted chirimen silk crepe with inset glass eyes, clay ears, hands and feet, and a clay penis, wearing a silk crepe vest done in a shibori, displayed on original kiri paulownia wood stand. Meiji Period, circa 1886. Published Japanese Dolls: The Fascinating World of Ningyō, p. 249. $1000/2000

The Sanbasō is an important ritual dance closely associated with New Year, but is also performed to ritually inaugurate many activities from theatrical seasons to political campaigns. The depiction of children imitating various activities or historical personages had its beginnings in mitate (parody) conceits in woodblock print in the 18th century, but became a very popular theme in ningyō in the Meiji era and is now considered a genre unto itself.

23” (58 cm.) including hat. The large-scale figure depicting a child performing the Sanbasō with left leg raised in a dance posture and right hand holding a fan, has head and hands of tōso (wood composite) covered in a lightly pigmented gofun with painted details, inset glass eyes, silk hair, and is sporting the tall striped cap of the Sanbasō, dressed in silk brocade textiles

Papers found in his vest date him to Meiji 19 (1886), based on similar examples, probably done by the Kyoto artist Kichimonzaemon, specially designated supplier to the imperial

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113. Striking Mitate ishō-ningyō (Parody Fashion Doll) of a Sanbasō Performer, Showa Era

114. Engaging Keuesaikuningyō of a Monkey Dancing the Sanbasō

Woodblock print of Sanbaso dance.

6 ¼” (16 cm.) Each of the sarubobo monkeys, made of red silk crepe and depicted with feet and hands joined in the center, is dressed as a Sambasō dancer with tall gold-banded hat and large red disk and clothed in silk coats. Late Meiji/Early Taisho Era. Early 20th century. Exhibited Morikami Museum (2012). Published Entertaining the Gods and Man: Japanese Dolls and the Theater, p. 34. $500/600

The survival of a pair is rare, and their condition is exceptionally good for this category of object. The red monkey was believed to protect children from disease, particularly small pox and measles. Sarubobo were used as talismans and hung in the house for protection, generally seen as particularly auspicious and potent. The Sanbasō is a particularly sacred and ancient ritual dance in Japan, often used to welcome in the New Year. Monkey trainers often dressed their charges as Sanbasō and would charge onlookers to watch them and receive the protective blessings this was thought to bring.

115. Rare Sarubobo Monkey Talisman Doll Pair as Sanbasō Dancers, Late Meiji Era

household. The Sanbasō is an ancient ritual dance, originating in Shrine rituals but later deeply incorporated into Noh, Kabuki and Bunraku theater traditions. It was also an important street theater ritual performed at New Years and became a specialty of monkey trainers who would dress their charges up in Sanbasō attire and perform either in private homes or on the streets. Keuesaiku evolved during the Edo period as a popular toy form and examples were even collected in the late 18th century by Dutch officials living in Nagasaki.

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Sado Island, located in the Sea of Japan off the coast of Niigata, was used for centuries as a place of exile for the nobility in Kyoto; hence, it has long maintained a surprisingly sophisticated culture despite its remote locale, and artisans, working to meet the expectations of the exiled nobility far surpassed many of their peers on the mainland. Bunya puppetry is considered a “pure” form of puppetry and closely tied to the origins of Japanese puppetry known as ningyō-jōruri out of which the more sophisticated puppet traditions of Bunraku and Awaji also emerged. Despite their simplistic structure, their heads are noted for their well-crafted beauty.

36” (91 cm.) h. including base. Rare Sado Island bunya-ningyō (puppet), with well carved wooden head and shoulder armature, covered in gofun with painted details including red lips, blackened teeth, wide eyes and arching eyebrows, hair pulled back into a single braid, high forehead, female figure with no arms, wearing a red silk brocade kimono with a hexagonal tortoise shell ground and repeated bands of floral bursts, a

116. Simple and Elegant Bunya-ningyō (Puppet) from Sado Island, Taisho Era

Monkeys have long been considered as a potent talisman and protective symbol in Japan, particular when paired with the color red. Sarubobo, frequently appearing as an amulet or charm, would be attached to children’s clothing or placed in the house to ward away malevolent

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117. Esoteric Jingasa Sarubobo Talsimanic Monkey Doll, Edo Period

figured green silk obi sewn as part of the garment, mounted on a contemporary simple wood frame stand. Wear to textiles, restored head. Taisho Era, early 20th century. $1000/1400

9 ½” (24 cm.) The Jingasa Sarubobo talismanic doll of a monkey, fashioned in direct imitation of the imperial hōko crawling baby, is crafted of stuffed red silk crepe with its arms and legs tied together in front, wearing a ruffled jimbaori military coat of silk brocade secured by a thick purple obi tie belt, over a silk brocade haragake bib, with an additional small ruffled chin bib and a round jingasa military campaign hat. Extensive wear to textiles and hat. Edo Period, early 19th century. Exhibited Mingei International Museum (2005). Published Ningyō: The Art of the Japanese Doll, p. 214. $1000/2000

Kamo-ningyō were a specialty souvenir item around the Kamo Shrine in Kyoto during the Edo Period and are prized for the outsized personalities contained in these small forms.

influences. Weighted versions also served as furidome weights on banners for Boy’s Day and ultimately came to be seen as a Boy’s Day symbol in it own right.

Ayatsuri or stringed marionette puppetry was a popular tradition in Japan beginning in the Edo Period, but was more restricted to street theater. On New Year’s in particular, itinerant puppeteers would travel from house to house and perform the ayatsuri sanbasō as a purifying and entertaining ritual. This popular interpretation of Sanbasō was even incorporated as a distinct Kabuki performance towards the end of the Edo Period with an actor pretending to be an ayatsuri sanbasō.

1 ½” (4 cm.) - 2 ½”. The kamo-ningyō set depicting a kyogen theatrical performance of Tsurigitsune (Fox Trapping), includes the kitsune (fox) dressed as a Buddhist priest with a robe wearing a fox mask atop his head revealing his face; the hunter/trapper depicted seated with right knee raised, wearing a silk brocade kamishimo wide shouldered vest; and a third unrelated figure which depicts a larger scale chigo court page with a binboku or chigowa court page looped hairstyle. Loss of hands. Edo Period, circa 1800. $300/400

Woodblock print of Sanbaso performer.

119. Entertaining Kamo-ningyō Group Depicting Tsurigitsune (Fox Trapping), Edo Period

118. Entertaining Ayatsuri-ningyō (Marionette) of a Sanbasō Perfomer, Showa Era

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18” (46 cm.) The Ayatsuri-ningyō (marionette) depicting a young boy as a Sanbaso performer, has well carved wood head with painted details, silk fiber hair, and is dressed in silk brocade kimono with large peony pattern and rich blue silk brocade hakama trousers with leg strings drawn closed and secured with blue silk brocade bands, tall striped cap of the Sanbasō with sun and moon pattern in red on opposing sides and stitched silk headband at base of cap, and is holding a suzu rattle in his right hand and a fan in his left; 7 strings run andlegs,frombodyarms up to a $2000/3000century.earlyShowapaddle.lacqueredblackEra,20th

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120. Glorious 18th Century Kyōho-bina Pair for the Hina Matsuri Display

15” (38 cm.) and 16”. Opulently rendered dairi-bina (imperial lord and lady) in the distinctive Kyōho style, with heads of wood covered in a fine gofun with painted features, including blackened teeth and okymayu skybrows, silk fiber hair, wearing matching silk brocade textiles featuring a dramatic dragon and

cloud motif, the me-bina (imperial lady) wearing a stylized junihitoe (twelve-layer ensemble) with silk crepe sleeve ends, balloon like chirimen silk creep hakama trousers, silk brocade over the shoulder kakeobi securing a gauze mo train in back, painted wood fan, and elaborate metal crown; and the o-bina (male) with a multi-panel front bib consisting of layers of silk brocade, silk crepe, birōdo black velvet with gold lamellae

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paper banding, holding a bone shaku scepter, long sword at hip, kanmuri court cap, and with his front feet pressed together; the pair seated atop wood frame dais with banded silk and tatami covering. Wear and fading of textiles, hair replaced, wear to stands. Edo Period, 18th century. $10,000/12,000

The Kyōho-bina emerged in the mid-18th century as the dominant form of hina. Already wearing a fantastical ensemble with no relationship with real court wear, over the course of the late 18th century, the hina continued to evolve, most notably in the increased decorative panel element on the o-bina costume.

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121. Surprising Hina-ningyō of Tori-awase (Cockfights) from Hina Matsuri Display, Meiji Era

10” (25 cm.) The Hina Matsuri vignette depicts two shichō footmen with heads and hands of wood covered in gofun with painted details and highly individualized expressions, silk hair, wearing matching green silk gauze outer jackets with their sleeves thrown back to reveal purple chirimen silk crepe kimono tucked into silk brocade hakama trousers and lacquered paper eboshistyle caps, swords at hips, mounted on wood stands, watching two papier mâché roosters engaged in battle, each with silk crepe head, real feathered body and perched on silk-wrapped wire legs. Meiji Era, circa 1900. $1000/2000

122. Delightful Small-scale Kokin-bina (Imperial Couple) for the Hina Matsuri, Edo Period

8” (20 cm.) and 9”. Each of the small-scale Kokin-bina Imperial Couple for the Hina Matsuri Girl’s Day Display has head and hands of wood covered in a fine gofun with painted details including blackened teeth and okymayu skybrows. The o-bina male is wearing a formal sokutai black ho outer robe, elaborately embroidered waist cloth and lacquered paper kanmuri court cap with tall ei tail, and is holding a shaku scepter in his right hand; she (me-bina) is wearing an elaborate series of robes in the kokin style with densely embroidered sleeves bearing a flying crane design, kakeobi with elaborately knotted tassels, painted fan, and metal crown. Edo Period, 19th century. $800/1000

Tori-awase cock fights were, for many centuries, an integral part of the Girl’s Day festival, considered an important component in the ritual purification and cleansing symbolized by the festival. Although an essential rite, very few ningyō capturing this specific theme are extant. Shichō footmen were typically located on the bottom row of the doll display holding items helpful to the comfort of the dairi-bina (imperial couple) and their faces, rather than neutral, are frequently given expressions of happiness, anger and sadness. So the expressiveness of this shichō pair is in keeping with that tradition.

Lovely attention to detail despite small size, Kokin-bina were developed by the Edo-based doll artisan Hara Shûgetsu I in the late 18th century. “Ko-kin,” sometimes translated as “old-new,” was a hybrid style that preserved the formality of the o-bina’s (imperial lord) garment, while letting the me-bina (imperial lady) step out with oversized sleeves, elaborate embroidery, fantastical crowns that satisfied the consumer market for luxurious beauty, even if it did not accord with formal court attire. The immense success of the kokin-bina style led them to dominate the market for generations.

123. Standing Gosho-ningyō (Palace Doll) Wearing a Kimono, Edo Period

8” (20 cm.) Gosho-ningyō (palace doll), carved of wood and covered in a fine white gofun, with painted details, smiling expression, real hair, with exceptionally broad and round face and diminutive features, is posed standing wearing a silk kimono. Minor craquelure, loss of hair, fading of kimono. Edo Period, circa 1800. $1200/1500

Gosho-ningyō were sometimes also referred to as zudai-ningyō (big head dolls) because of the relatively large size of their heads in relation to their bodies. Gosho-ningyō were intended to depict chubby boys as an auspicious sign of health and well-being. To achieve this, gosho artisans early arrived at a 3-part proportion where the head section, middle section and legs were each of three equal proportions, resulting in exceptionally large heads, but deftly conveying the sense of corpulent health.

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Kamo-ningyō were a specialty souvenir item around the Kamo Shrine in Kyoto during the Edo Period and are prized for the outsized personalities contained in these small forms. For miniature collectors, the field of kamo-ningyō is truly rich.

¾”. Each rendered in the kamo style, the diminutive carved wood figures with painted details and with silk textiles applied in the kimekomi technique, the set depicts the Shichigofukujin (Gods of Good Fortune), each figure clearly reflective of its personality with Hotei (the god of happiness) with his bared belly and shaved head of a monk, Benzaiten (the goddess of music), with elaborate coiffure; Jurōjin (god of wisdom) with long beard; Ebisu (the god of daily provision) with his signature cap and smiling expression; Fukurokuju (the god of longevity) with his tall cranium; and finally the warrior god Bishamonten (protector from evil), wearing a helmet. (Missing Daikoku, the god of daily wealth). Late Edo/Early Meiji Period, Mid-19th century. $400/600

Ningyō of this scale are an exceptional rarity. Her identity is elusive, although she has long been named as the Lady Murasaki Shikibu, the famous late 10th/ early 11th century novelist and author of the Genji Monogatari (Tale of Genji). The superlative figure is thus posed with brush and poem card, her hand curled to hold a brush or pen.

124. Miniature Kamo-ningyō Set of the Shichigofukujin (Gods of Good Fortune), Edo Period

125. Grand-Sized Ishō-Ningyō of a Seated Woman, Possibly Depicting Lady Murasaki Shikibu, Edo Period

Realistically rendered hands with detailed fingernails and palm creases designed for holding poem card.

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35” (89 cm.) seated. 27” x 26” seated. The grand-sized Ishō-ningyō depicting a seated female figure with well-formed head carved of wood and covered in gofun with painted details, silk fiber hair gathered into a single long back braid, realistically rendered hands with detailed fingernails and palm creases, wearing a silk brocade kimono featuring chrysanthemum floral bursts, thick obi tie belt, with five additional simulated under kimono layers, all-over beni (safflower red) chirimen, silk crepe hakama trousers, fan tucked into kimono, and posed seated atop a large gold leafed Buddhist altar stand with inset tatami mat bordered by silk matting. Fading and wear to trousers, stiffening of textiles, wear to right foot. craquelure on right hand. Edo Period, 19th century. $12,000/15,000

Poemcard.

The evolution of the Gosho-ningyō is shown in fromwithdifferentcomparisonthisofthreeexamplesvariationsinsize8½”-13”.

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13” (33 cm.) h. gosho. 20” with parasol. 16” w. Unusual largescale hadaka-saga type gosho-ningyō is carved wood figure covered overall in a fine white gofun with a painted mizuhiki auspicious presentation ribbon on his forehead, happy facial expression with narrow eyes, posed in a kurui or contorted style with legs spread wide, crimped toes, upper body twisting to the left, face tilted upwards, with the arms strikingly positioned, holding a red parasol (replaced) in his right hand, wearing a silk haragake bib with embroidered designs. Restoration of gofun, replaced parasol. Edo Period, late 18th century. $7000/10,000

126. Dramatic Hadaka-saga Style Gosho-ningyō with Red Parasol, Edo Period

Presentation ribbon painted on forehead.

Hadaka-saga (or naked saga) dolls, an important step in the evolution of gosho-ningyō, were a relatively short-lived phenomenon during the mid-late 18th century.

9” (23 cm.) Classic all-wood Gosho-ningyō (Palace Doll) covered overall in a fine gofun with painted details and real hair, is posed seated with both legs thrust forward, wearing a lacquered paper eboshi court cap and silk haragake bib with embroidered designs; his left arm is extended and in his left upturned palm rests a papier mâché turtle with long tail of silk threads and an elaborate arrangement of silk pine trees, peach blossoms, and plums symbolizing Mount Hōrai, the island of the Taoist immortals. Some lifting of gofun, loss of hair, minor wear to turtle. Edo Period, 19th century. $2000/3000

chirimen, silk crepe textiles consisting of an overcoat and a bib, his left hand holding a drum stick. The gosho is executed in a wide legged stance allowing him to be positioned atop the puppy. Repairs to puppy’s legs. Edo Period 19th century. $2000/3000

129. Powerful Ishō-ningyō of Daikoku (the God of Daily Wealth), Edo Period

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127. Auspicious Gosho-ningyō (Palace Doll) with Longevity Turtle, Edo Period

23” (58 cm.) Powerful large-scale ishō-ningyō representing Daikoku (the god of daily wealth), is depicted as a wealthy merchant, his head of 127.

Gosho-ningyō were designed to delight their audiences and ningyō makers were extraordinarily creative in their wide-ranging depictions. The contrast between the stern looking little boy and the bright expression of the puppy is particularly effective. The puppy itself falls into the large goten-gangu (palace toy) category of gofun-covered papier mâché animals that served as toys for the upper classes and were frequently employed as companion animals for gosho-ningyō.

8 ½” (22 cm.) The classic gosho-ningyō depicting a stern-expressioned young boy, riding a bright-eyed Akita puppy with light brown spots and short curled tail, is covered overall in a fine white gofun with painted details, and with silk fiber hair formed in two long side locks with silk ties, and clothed in

Turtles often served as symbols of longevity and it was believed that the oldest turtles had long tails of seaweed that stuck to them in their advanced age; the longer the tail, the older the turtle, here represented by long colorful silk threads.

128. Adorable Gosho-ningyō (Palace Doll) Astride a Puppy, Edo Period

carved wood covered in a fine white gofun, with laughing expression and deep creases, large pendant earlobes (indicating his divinity), lightly painted moustache and chin beard, unusual grey blue hair pulled into a topknot exposing an expansive pate, well formed hands, and wearing a fine silk haori overcoat with a tatewaku undulating line pattern and flying cranes with velvet trim at the collar, his hakama trousers of a sophisticated futae orimono (double brocade) with a sacred treasures motif, and a rich purple silk brocade kimono secured by a silk brocade obi and an additional white silk sash, short sword at hip, right hand holding a fan. Some wear to silk brocade. Edo Period. The doll was Initially collected in Japan in the early 1950s through the curator of the Imperial Museum, Nishizawa Tekiho (1889-1965) by Colonel Robert and Eloise Thomas and became part of their Yesteryear’s Museum in Sandwich, MA. Exhibited Mingei International Museum (2005). Published Ningyō: Yesteryear’s Doll Museum Collection (1983), p. 30-31 and Ningyō: The Art of the Japanese Doll , p. 194. $12,000/15,000

Daikoku was one of the shichigofukujin (seven gods of good fortune) and his close association with money made him particularly appealing to the merchant classes. His depiction as an affluent Edo merchant can be seen as both aspirational and satiric as the merchant class was held in low esteem within the traditional Confucian hierarchy, but was also the most powerful class economically.

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16” (41 cm.) h. seated. 21”w. of gown. The Noh presentation doll, depicting a young kneeling male performer, with well-formed head of wood covered in gofun, painted details, silk fiber hair with a nakasori shaved spot atop the head and the hair drawn into a tea whisk style on top, with contoured bangs and the sides and back left long indicative of a young male, is wearing blue silk brocade broad-shouldered kamishimo sleeveless vest and trousers with roiling dragons and floral burst patterns, over a beni safflower orange silk crepe inner kimono and is holding a fan in his right hand. Wear to textiles and losses to hair, overall fine condition. Edo Period, 18th century, Exhibited: Mingei International Museum (2005), Morikami Museum (2012). Published: Ningyō: The Art of the Japanese Doll, p. 265; Entertaining the Gods and Man: Japanese Dolls and the Theater, p. 90. $12,000/15,000

131. Rare Uizan-ningyō Noh Presentation Doll, Edo Period

6” (15 cm.) The wood-carved doll depicting a crawling baby that is raised slightly up on his arms with head looking slightly to the left, and is covered in gofun with painted details including, smiling expression and painted forelock and side locks, and is swathed in a long white figured silk robe which covers her hands, accented with a flying crane pattern, broad ruffled red silk crepe collar, resting on a silk zabuton cushion. Edo Period, 19th century. $1000/2000

Uizan-ningyō were traditional gift dolls presented on the occasion of a young Noh performer’s first public performance for a patron.

130. Irresistible Haihai Gosho-ningyō (Crawling Baby Palace Doll) on Silk Cushion, Edo Period

Detail of trouser’s textile with roiling dragons and floral burst patterns.

Haihai or crawling baby dolls are believed to be derived from the all silk hōko baby of the aristocratic court in Kyoto. The image of a crawling baby in a long silk gown has been used in poetic imagery and prose since the Heian Period and is part of a national aesthetic reveling in the innocent beauty of children. Haihi were created in all sizes, from life-sized to truly miniature. Irrespective of size they retain their irresistible allure.

Anatomical Study of a Pregnancy, Edo Period

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(ChartZubōshi-ningyōMesmerizingMonk)

26” (66 cm.) Unusual large-scale anatomical doll of wood body, legs, arms, and head, all separate and fitted together with pegs, finely formed limbs and hands, all covered in gofun with painted details, large inset glass eyes, blackened teeth, silk hair in long braid down the back, depicting a seated female with an open interior cavity revealing rib cage, internal organs, and a small fetus, with organs being painted different colors and the fetus rendered as a small child clasping its hands in front. Late Edo/ Early Meiji Period. mid 19th century. Exhibited Mingei Museum (2005) and Morikami Museum (2012). Published Entertaining the Gods and Man: Japanese Dolls and the Theater, p. 51. $9000/12,000

Among the different styles of zubōshi-ningyō, anatomical studies of the different stages of gestation were particularly popular. This model is highly stylized but generally accurate on anatomy although not nearly as anatomically accurate as some other zubōshi-ningyō. It is not clear whether this piece was more prized for entertainment value or its potential for medical instruction.

Saga-ningyō are differentiated by their use of rich pigments over the wood, rather than using textiles. Sosaku-ningyō are contemporary (20th century) art doll traditions that either closely emulate traditional forms or take traditional techniques and apply them to new and imaginative figures and subjects. While Saga-ningyō originated in the 17th century, artisans across Japan have been drawn to the form of Saga-ningyō as a way to capture time and evoke by-gone eras. The Japanese traditional cultural landscape is peppered with an astonishing array of traditional folk dances referred to as odori. Some are performed solo, some in large groups. And genre paintings from the period help to convey what festive and joyous occasions these were.

134. Intriguing Group of Six Tiny Kamo-ningyō

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133. Engaging Sōsaku Saga-style Tableau Set of Odori Folk Dancers, Showa Era

14” (36 cm.) l. of base. 2 ½”- 4 ½” figures. Seven figures, carved of wood with separately formed heads, intentionally darkened gofun to give a sense of age, narrow eyes, form a lovely vignette depicting five adults and one child engaged in an odori folk dance. The female figures are all in richly patterned kimono with obi tie belts and hair in tall chignon with combs; the men are wearing swords at their hips positioned with arms to the side revealing the details of their kimono and haori outer coat, one with open fan; and the child delightfully depicted in red kimono and obi with a uchiwa summer fan in her hand; all mounted on a long wooden stand with two front apertures. Showa Era, 20th century. $800/1000

1” (3 cm.) -4”. Each of the six wood carved figures is dressed in silk crepe and silk brocade textiles done in the kimekomi technique of applied textiles, with painted features; including a pair of actors in the roles of samurai as part of a Kyogen performance, a Sanbasō dancer with conical hat bearing sun and moon pattern with painted mizuhiki presentation ribbon on his forehead, a small seated maid with a full Okame-like face with a tall carved hairstyle, a boy proffering a silk sack dressed in an outer sleeveless coat in green and a blue kimono mounted on a small base, and a slightly taller courtier figure wearing a tall hat with painted mizuhiki presentation ribbon with white silk brocade hakama trousers and a chirimen silk crepe outer jacket and kimono. Edo-Meiji Eras, 19th century. Exhibited Japan Society (1996). Published: Ningyō: The Art of the Human Figure , p. 23 Japanese Dolls: The Fascinating World of Ningyō , p. 156-157. $1000/2000

During the Meiji Era Jingû remained one of the most popular musha-ningyō themes, one that reinforced the institution of the emperor. The bold use of the 16-petal chrysanthemum here serves to accentuate that connection. The infant Ojin is typically included in these tableaux, but with Takenouchi’s right hand closed, here he is positioned to hold a fan rather than the baby, pointing to the continuing value of Jingû herself as a member of the Boy’s Day pantheon.

The sleeves of Jingu’s coat are embellished with 16-petal chrysanthemums accentuates her connection to the emperor.

23” (58 cm.) including hat, and 14”. The pair depicting Jingû Kōgō and her minister Takenocuhi no Sukune for the Boy’s Day display. The Empress Jingu, with head and hands of wood covered in a pure white gofun, inset glass eyes, open mouth, painted details including blackened teeth and okymayu skybrows indicating her imperial status, long real hair drawn into a single braid down the back, is depicted standing on a wood base, wearing a white gauze hitatare coat with silk drawstrings at the sleeves, embellished with 16-petal chrysanthemums done in purple, with gold lacquered paper armor with heavy metal fittings, silk brocade hakama trousers, heavy fur boots, a long sword at hip with simulated shark skin handle and lacquered scabbard, Chinese style gumbai battle fan in right hand, bow in her left, and wearing a tall lacquered paper eboshi cap; and Takenouchi, depicted kneeling and wearing a coordinated purple gauze hitatare with silk drawstrings on the sleeves, face with a pigmented gofun with highly creased, wizened features expressing his great age, inset glass eyes, white hair, mustache and chin beard, with right hand closed. Meiji Era, circa 1900. $5000/7000

135. Refined Musha-ningyō (Warrior Doll) pair of Jingû and Takenocuhi, Meiji Era

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Top: The silk banner with the Genji/Minamoto clan rindo (gentian) crest.

28” (71 cm.) Depicted is the 12th century general Minamoto no Yoshitsune (1159-89), accompanied by a kneeling bannerman. Yoshitsune, with head and hands carved of wood and covered in a fine white gofun with painted details, well-carved and expressive features with down-turned mouth, large painted eyes, and silk fiber hair worn long with shaved pate is wearing eye-popping gold lacquer paper armor with dense silk lacing with a gold brocade obi at waist, blue silk brocade hitatare over gold brocade inner kimono, thick padded silk brocade thigh guards with metal chain and plates, thick faux fur boots, battle whisk in his right hand, lacquered paper kabuto helmet with metal studs, fittings and a papier mâché dragon maedate finial, bow, arrow quiver and sword. The kneeling bannerman with a comedic face, black birōdo velvet accents, is holding aloft a silk banner with the Genji/Minamoto clan rindo (gentian) crest. Edo Period, early 19th century. $16,000/20,000

136. Impressive Large-scale Musha-ningyō (Warrior Doll) of Yoshitsune, Edo Period

Yoshitsune was for well over a century the preeminent Boy’s Day figure. Large-scale figures such as this formed the centerpiece of lavish displays that point to the significance and importance of this festival, though now largely overshadowed by its feminine counterpart, the Hina Matsuri.

Bottom: Yoshitsune has eye popping gold laquered paper armor with dense silk lacing.

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13” (33 Depictedcm.)like a seated simpledressedgeneralintheattireof a yamabushi mountain ascetic with head, hands and feet covered in a lightly red pigmented gofun, face with long nose, very large carved eyes, facial creases, light colored bushy eyebrows, long chin beard and hair in a simple topknot topped by a tokin small cap worn by the yamabushi. Wearing subtle silk robes including an unadorned chirimen silk crepe outer robe belted at the waist over plain weave blue silk inner kimono tucked into white silk hakama trousers that are drawn in at the ankles exposing long-toed feet with nails, with signature carved wooden feather fan in his left hand with lacquered and painted decorations. Fading of textiles. Late Edo/Early Meiji Era, mid-19th century. Exhibited Japan Society (1996). Published Ningyō: The Art of the Human Figure, p. 57. $800/1000

Mysterious137. of(WarriorMusha-ningyōDoll)Sōjōbō, King of the Tengu for the Boy’s Day Festival, Late Edo Period

15” (38 cm.) Created in the keuesaiku technique of papier mâché body covered in silk and cotton threads and red silk trappings, the horse has a well-formed head with ears pitched forward, inset glass eyes, open mouth revealing teeth and tongue, and posed solidly with right rear leg slightly forward giving it a sense of forward movement, decorated with purple and white striped silk crepe reigns, lacquered saddle with stenciled leather covering and lacquered abumi stirrups, gold lacquered paper side flaps, long silk tassel ornamentation, silk hair mane and tail, traditional umugatsu woven horse shoes. Meiji Era, circa 1900. $300/500

Tengu were long-nosed mountain demons. Sōjōbō was king of the Tengu, known for his fighting skills, and had in his possession a scroll containing the ultimate secrets of warfare. In the myths surrounding the life of Minamoto Yoshitsune (11591189) it is said that as a youth he was trained by Sōjōbō and that is how he became such a brilliant military leader.

29” (74 cm.) The large-scale Musha-ningyō (warrior doll) of Kintarō, the Golden Boy, depicted as an infant, is carved of wood and covered

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138. Classic Kazariuma (Caparisoned Horse) for the Boy’s Day Display, Meiji Era

Sojobo is depicted in the upper right of this early woodblock print.

139. Adorable Musha-ningyō (Warrior Doll) of the Child Hero Kintarō, Taisho Era

Since ancient times it was customary to present to shrines a white horse as a gesture of gratitude. The traditional name for Boy’s Day is Tango-no-sekku which literally translated means “first horse day of the month.” So in addition to being a classic military symbol, the horse was zodiacally linked to the holiday itself, while also carrying strong votive connotations. Although white horses were the most common, black, pinto and other colorations were also created for the Boy’s Day kazariuma.

Kintarō became an important figure in the Boy’s Day display over the course of the Meiji Era and into the 1900s, when child heroes such as Momotarō and Kintarō were aligned with Japan’s national aspirations. Here, rather than a serious child-warrior of prodigious strength, he is depicted like a babbling baby delighted in a new toy.

overall in pigmenteda gofun, with inset glass eyes, formedcrease,dimplesandrevealingopenexpressiondetails,paintedhappywithmouthteethtongue,deepandchinlargewell-ears,and silk fiber hair. He is posed standing on a wood base with right leg kicked forward and both arms raised, holding his signature battle ax in his right hand, and wearing a rich figured silk with ho-o (phoenix) and kiri (paulownia) pattern and a fine silk embroidered figure of a minogame (longtailed turtle) on a rock with $4000/6000earlywaves.TaishocrashingEra,20thcentury.

140. Classic Bunraku-ningyō of the Tragic Heroine, Osome, Meiji Era

The cherry blossom pattern inner kimono visible at the neck.

36” (91 cm.) The classic Bunraku-ningyō of Osome, theatrical puppet depicting the starcrossed shop keeper’s daughter Osome, has head of wood covered in gofun with an exquisitely rendered face with slightly open mouth expression, painted details, silk hair in an elaborate coiffure with silk and metal foil hair ornaments, silk ties and tassels, momijite articulated hands, classic construction with rudimental shoulder armature, and wood support to operate left arm, and is dressed in her signature tiedyed shibori silk crepe kimono with vibrant red under gowns, and shibori obi, cherry blossom patterned inner kimono visible at the neck, with black silk lapel, posed on bamboo stand, Meiji Era, late 19th century, Exhibited Mingei International Museum (2005). Published Ningyō: The Art of the Japanese Doll, p. 234. $2000/3000

Momijite articulated hand.

The tragic character of Osome comes from a series of sewamono plays that captured contemporary real-life events and transformed them into compelling dramas for the bunraku and kabuki theaters. The love-suicide of Osome and Hisamatsu is one of the great classics of the theater and tells the tragic tale of Osome, the pawnbroker’s daughter, and Hisamatsu, a lowly apprentice.

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Woodblock print depicting the tragic tale of Osome.

Maruhei Ohkiheizo depicts the story of the old man who is given a basket full of treasure by a sparrow family, symbolized here by a woman dressed in a red kimono with a sparrow mask, bidding good-bye to the man who is carrying a large basket on his back. Each with fine details to the clothing, straw sandals for the man, silk fiber hair, gofun covered faces with painted features, inset glass eyes, she with white gofun, he slightly pigmented, each figure separately mounted on small wood bases, Taisho Era, early 20th century. $700/900

141. Enchanting Ningyō tableau depicting The Tale of the Tongue-Cut Sparrow, Taischo Era

10” (25 cm.) Extremely well rendered set by the Kyoto atelier

Fairytales such as Shitakiri-Suzumei, Takasago, Hagoromo (The Celestial Feather Robe) and others became popular display elements for the Hina Matsuri in the early Taisho Era, significantly expanding what was considered appropriate for this important doll festival. This particular set was created by Maruhei Ohkiheizo of Kyoto, a supplier to the imperial family, well known for his particularly high quality of workmanship.

143. Diminutive Saga-style Ningyō of Seiōbo (Queen Mother of the West), Meiji Era

Woodblock print of Jurojin.

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142. Mystical Ishō-ningyō depicting Jurōjin, God of Longevity, Edo Period

20” (51 cm.) Ishō-ningyō depicting Jurōjin, one of the Seven Gods of Good Fortune, having finely-carved head of wood covered in gofun with painted details displaying features of an old man with heavy wrinkles, smiling expression, grey/white silk hair and flowing chin beard, is posed standing, swathed in Chinese-style textiles featuring layers of silk brocades, long flowing sleeves with tasseled wrist tie closures, extensive use of ruffled fringes, chirimen silk crepe trousers with gold-wrapped thread embroidery, lacquered boots, tall cap, and with a staff in hand,

Seiōbo was a figure taken from Chinese mythology and is said to reside over the garden of immortality, home to the peaches of immortality, where the gods of longevity congregate. Saga-ningyō developed in the late 17th century in the Saga area to the north and west of Kyoto and were crafted by Buddhist carvers as a profitable sideline. The Buddhist carvers were noted for whimsical carvings of Buddhist acolytes called dōji as well as gods

The Shichigofukujin (Seven Gods of Good Fortune) permeated popular culture with their positive messaging and were an exceptionally popular motif for doll artisans, with these figures appearing singly or in pairs as well as depictions of the entire group. Jurōjin represented longevity and is invariably shown in the company of a deer, believed to turn black after 2,000 years.

5” (13 cm.) Saga-style ningyō of Seiōbo (Queen Mother of the West), carved of wood and covered in rich lacquered pigments, gofun face with carved hair and crown, mounted on a gold lacquer base, full cheeks, bee-sting mouth. Extensive craquelure to face, rubbing to base. Meiji Era, circa 1900. $100/200

accompanied by a deer made of papier mâché, all mounted on a lacquered wood stand with front aperture cloth. Deer is repainted with repair to legs. Edo Period, 19th century. $7000/8000

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18” (46 cm.) and 24”. Comprising the pair, Amagatsu (Heavenly Child) and Hōko (Crawling Baby) doll, of which Amagatsu, the male, is constructed of silk and paper-wrapped wood dowels formed into a T-shape and mounted on a gold leafed paper covered wooden base, having a stuffed silk head with lightly formed features and blue tint to symbolize the closely shaved head of a baby, wearing a safflower orange outer kimono with padded hem and a white silk under kimono. And Hōko, the female, crafted of

of good fortune and the various types of people one would see in and around Kyoto. Over time, other makers in other areas of Japan capitalized on their popularity and cachet. Not officially “saga-ningyō”, they are usually referred to as a “saga-type” or “saga-style.”

white silk sewn into a a simple shape with the addition of a stuffed silk head with lightly formed and painted features with black silk applied in two long braids with gold leafed paper cuffs. Soiling and extensive wear to textile of kimono. Edo Period, 18th century. Initially collected in Japan in the early 1950s through the curator of the Imperial Museum, Nishizawa Tekiho (1889-1965) by Colonel Robert and Eloise Thomas, the pair of dolls were importantly featured in their Yesteryear’s Museum in Sandwich, MA. Exhibited Japan Society (1995), Mingei International Museum (2005). Published in Ningyō: The Art of The Human Figure, p. 86, Ningyō: The Art of the Japanese Doll, p. 91. $14,000/18,000

Amagatsu and hōko are considered particularly powerful objects designed to protect infants from malevolent influences. The vast majority were burned as part of an individual’s funerary rights for women and at the coming-of-age ceremony for boys, rendering extant examples very rare.

144. Rare Amagatsu and Hōko Talismanic Doll Pair, Edo Period

145. Delightful 18th Century Ishō-ningyō of a Kabuki Actor

12” (30 cm.) The Kabuki actor, depicted in a dramatic pose with left leg thrust to the side, having head and hands of wood covered in gofun with painted details including kumadori makeup of a kabuki actor and with formed hair arranged in a wakashu-mage with forelocks pulled back and incorporated in the topknot to indicate a youthful character, is wearing formal nagabakama (long trousers) covering his feet with the kani-arare checkerboard pattern of the nobility, multiple layers of kimono with the sleeves of the top two layers thrown back creating a robust layering of silk brocades at the waist but leaving exposed the chirimen silk crepe under kimono with couched thread embroidery, and with sword tucked in at hip, mounted on a black lacquered wood base with painted front aperture cloth. Minor fading. Edo Period, 18th century. $6000/7000

In Kabuki, artisans found a never-ending source of inspiration as well as an ever-hungry audience, always eager to find commemorative elements of their favorite actors whether that be through woodblock prints, painted fans, or ningyō. In prints we usually find colophons or glyphs that clearly indicate the actor, the role, and sometimes even the specific theatrical performance. In ningyō we typically have to rely on storage boxes for that type of information. But once separated from their boxes a doll’s specific identity can become lost forever.

145.

145. Profile 150

151

146. Classic Musha-ningyō (Warrior Doll) set of Jingû Kōgō (Empress Jingû), Edo Period

long chin beard, posed kneeling as he cradles the baby Ojin in his arms; while the bannerman, with an exceptionally wellrendered face, is also depicted kneeling. Signs of wer and fading to textiles. Edo Period, 19th century, Exhibited Japan Society (1996), Mingei International Museum (2005). Published Ningyō: The Art of the Human Figure , p.55 and Ningyō: The Art of the Japanese Doll , p. 146-147. $4000/5000

The legend of Jingû Kōgō is a complex one and plays deep into Japan’s sense of nationalism. Jingû Kōgō is one of the few female figures to be included in the Boy’s Day pantheon. Although the group typically features Jingû and Takenouchi holding the baby Ojin (to whom Jingû gave birth after delaying the pregnancy 19 months so that she could successfully complete her conquest of Korea), here there is the additional element of the fish which refers to Jingû as shaman using the catching of fish to augur the success of her ventures to Korea.

23” (58 cm.) Musha-ningyō set for the May 5th Boy’s Day display depicting Jingû Kōgō (Empress Jingû), her vassal Takenouchi no Sukune holding the baby Ojin and a bannerman, The 3rd century empress/shaman, with okymayu skybrows, long silk fiber hair gathered into a single braid down the back, depicted in full military array with lacquered paper armor with silk lacing and metal fittings including a large chrysanthemum boss on her breastplate, wearing rich silk brocade textiles, black velvet accents. tall gold lacquered eboshi court cap, and with a long sword at hip, arrow quiver, a Chinese-style gumbai battle fan in her right hand and a long bow with detached string from which is suspended a papier-mâché fish. mounted on lacquered wood stand, Takenouchi is depicted as a wizened old man with deeply creased features, white silk hair, mustache and

148. Rare and Specific Takeda-ningyō (Theatrical Doll) depicting Kataoka Nizaemon VII, Edo Period

15” (38 cm.) Takeda-ningyō depicting Kataoka Nizaemon VII (1788-1837), artfully positioned study of this important actor, with left leg thrust to the side with slightly twisted posture and gazing over his left shoulder, having head and hands of wood covered in gofun with painted details including the kumadori makeup of a kabuki actor, well molded head with top knot and hair contours, and with additional human hair, wearing dark silk brocade nagabakama trousers that cascade over the side of the stand, a light green silk brocade outer kimono with sleeves thrown back to reveal chirimen silk crepe inner kimono bearing the bold hikiryo (lines in circle) crest of the Katakoka Nizaemon acting lineage formed of couched silver wrapped thread, with birōdo black velvet cuff treatment, long sword tucked in at left hip, mounted on a Takeda-

33” (84 cm.) Bunraku-ningyō (puppet) depicting the young tragic hero Minamoto Yoshistune from the play Yoshitsune Senbon Zakura (Yoshitsune and the Thousand Cherry Trees), has head carved of wood and covered in a fine white gofun with painted details, face of a handsome youth with trigger mechanism allowing for the eyebrows to raise and lower and the eyes to shift from side, is wearing military costume with signature dragon worked into his breastplate and also in the brocade patterning of his thick obi tie belt, silk brocade kimono and brocade hakama trousers with the Minamoto Clan rindo (gentian) pattern, silk tabi socks with straw sandals, and matching hachimaki headband. Minor wear to textiles, minor lifting of gofun above right temple, Meiji Era, late 19th century. Exhibited Morikami Museum (2012). Published in Japanese Dolls: The Fascinating World of Ningyō, p. 214. $14,000/18,000

Yoshitsune and The Thousand Cherry Trees, written in 1747 by Takeda Izumo II, is considered one of the great classics of Japanese theater, and was often adapted to the Kabuki stage.

147. Fine Bunraku-ningyō (Puppet) of Yoshitsune

153

Takeda-ningyō emerged in the 19th century as a distinct sub-genre of ishōningyō, devoted to depicting kabuki-related themes. Takeda-ningyō are readily

style black lacquer base with front aperture cloth, that is furnished with a papier mâché pine tree with twisted metal branches, and simulated stone base. Repair to topknot, wear and fading to textiles. Edo Period, circa 1837. $2500/3500

identifiable by their dynamic postures, distinctive bases and a predilection for embroidered silk crepe sleeves and birōdo accents. However, usually Takedaningyō are role/character-specific rather than actor-specific. Here the oversized crest that forms a focus of the design points not to a role but to the specific actor. Katakoa Nizaemon VII was a beloved actor who passed away in 1837. A figure such as this might have been done in memorial similar to memorial prints that were produced at the time of his death.

150. Powerful Musha-ningyō (Warrior Doll) of Ryûjin, The Undersea Dragon God, Edo Period

149. Humorous Ishō-ningyō of a Komusō (Travelling Monk)

In the Boy’s Day context, Ryûjin is most noted for supplying to Empress Jingû the tide-shifting gems which allowed her armada to sweep in and decimate the Korean navy, paving her way to victory.

Ryujin, the undersea dragon, has red pigmented gofun, fierce expression, rare red hair under a papier mache dragon which extends down his back. 149.

154

Woodblock print of Komuso.

15” (38 cm.) Ishō-ningyō of a Komosu (travelling monk) with head, hands and feet of wood, covered in gofun with painted details and silk fiber hair, is done in a comedic style with the monk appearing a bit intoxicated with a wild-eyed expression, wearing a silk kimono with large silk crepe sleeve cuffs and a broad stuffed sash style obi, distinctive tengai (deep sedge hat) made of lacquered paper with pigments and birōdo black velvet trim, and with natural walking stick and portable shrine on his back, mounted on lacquer wood base. Repair to left ankle. Exhibited Japan Society (1996). Published in Ningyō: The Art of the Human Figure, p. 63. $800/1000

22” (56 cm.) Musha-ningyō (warrior doll) depicting Ryûjin, the Undersea Dragon God, for the Boy’s Day Display, having head and hands made of wood and covered in a red pigmented gofun with a fierce grimacing expression, bared teeth, overly large inset glass eyes, and vibrant red hair capped by an elaborate papier mâché dragon which extends down his back, is wearing a sea green silk brocade outer coat secured at the waist by a formal court style belt with brocade capped ends, over a gold silk brocade inner kimono tucked into white figured silk hakama trousers, holding the tide-shifting jewel in his right hand and exotic spear in his left, and mounted on a wooden platform base with an elaborately carved frontispiece. Minor wear to textiles, repair to left hand. Late Edo Period, mid 19th century. Exhibited Mingei International Museum (2005). Published in Ningyō: The Art of the Japanese Doll, p. 149. $9000/12,000

Heroes disguising themselves as travelling Buddhist monks was a standard trope in Japanese performances, with the deep bowl-like sedge hat covering their faces and thereby shielding their identity.

nagabakama long-legged trousers of unlined asa hemp bast fiber, a leather band flanking the jacket opening, hikitate eboshi cap with an additional white hachimaki headband tied in the back which is typically reserved for ceremonial contexts. The central figure represents a young boy participating in this important rite ushering him into manhood, flanked by two of his trusted advisors. Minor wear to textiles, lacquer accessories are replaced. Edo Period, circa 1800, Exhibited: Japan Society (1996) Mingei

Left: crestsSymbolicappearing on the jacket shoulders of each figure.

156

15” (38 cm.) seated. Significant musha-ningyō set depicting the gempuku (coming of age) ceremony featuring three figures, each with exceptionally rendered faces with exaggerated and concentrated features, painted details and silk fiber hair, and each dressed in suō style kimono of the samurai nobility, consisting of a wide sleeved outer hitatare jacket and matching

151. Significant Musha-Ningyō Set Depicting Gempuku (Coming of Age), Edo Period

The gempuku is one of the most important rituals in a young man’s life. Held typically between the ages of 12-15, it was actually performed when the boy reached a height of 4’6”. Although coming of age ceremonies were held in all of the different social classes (nobility, samurai, farmer, artisan,

International Museum (2005). Published Ningyō: The Art of the Human Figure, p. 61, Ningyō: The Art of the Japanese Doll, p. 161-162. $20,000/30,000

merchant), it was deemed exceptionally important within the world of the samurai and held with great reverence. At this time his forelock is shaved to create the long shaved pate of the samurai male and he is deemed ready to assume his duties as a fully participating adult in samurai society. Ningyō tableau depicting the gempuku are exceptionally rare and this is the only documented set outside of Japan.

157

154. Dramatic Mitate Gosho-ningyō (Parody Palace Doll) of Yanone, Edo Period

158

15” (38 cm.) Mitate Gosho-ningyō (parody palace doll), depicting Yanone from the famous arrow-sharpening scene from the Kabuki play standing with right leg thrust forward grasping in both hands the shaft of an oversized arrow, with wooden head covered overall in a fine white gofun with painted details including mizuhiki presentation ribbon on his forehead, 152.

18” (46 cm.) including perch. Keusesaikuningyō (thread doll) depicting a majestic tethered falcon for the Boy’s Day display, of well-executed papier mâché covered in silk fiber hair to simulate feathers, positioned with wings dramatically spread and head turned slightly to the right, silk wrapped wire talons gripping a wood stand with a silk brocade perch and tethered by a silk cord tied to right leg and attached to base, Meiji Era, late 19th century Published in Japanese Dolls: The Fascinating World of Ningyō, p. 249. $800/1000

153.

153. Classic Tora (Tiger) for Boy’s Day Festival, Meiji Era

Keuesaiku-ningyō became popular add-ons to both the Girl’s Day and Boy’s Day display over the course of the 19th century. For the Boy’s Day, horses, tigers, and falcons were three of the most popular images. Falconry

Tigers were not native to Japan and images of tigers were used to evoke the exotic as well as a reference to the famed tiger hunts of the warrior Katō Kiyomasa (1562-1611) during the Korea invasions of the late 16th century.

152. Powerful Keuseusaiku-ningyō (Thread Doll) of a Majestic Falcon, Meiji Era

7” (18 cm.) The well-formed papier mâché figure of tiger with a silk fur covering in a technique known as keuesaikû, is depicted seated on his haunches with shoulders hunched and ears pressed back, long tail and fierce, menacing expression, painted eyes, protruding fangs, formed claws tinted blue. Minor wear. Meiji Era, circa 1900. $1100/1300

was a feudal sport and closely associated with the samurai classes. Too, Jimmu Tennō, the legendary first emperor of Japan was said to have been aided by a golden falcon and he is typically shown with a falcon perched atop his staff or bow. Jimmu Tennō’s falcon was actually a kin-no-tobi (Golden Hawk) while the birds for the Boy’s Day display tend to be gray and white falcons.

laughing expression with mouth slightly open revealing teeth, and is wearing outer silk brocade kimono with sleeves thrown back (a convention to indicate vigorous activity) and inner kimono of chirimen silk crepe with a pattern of repeated embroidered pentagons. Wear to textiles. Edo Period, mid-19th century. Exhibited Japan Society (1996). Published in Ningyō: The Art of the Human Figure, p. 85. $5000/7000

Yanone was a staple of the Ichikawa Danjurō lineage of Kabuki performers and focused on the heroic and superhuman exploits of the 12th century warrior Soga no Gorō.

159

155. Enchanting Kakakuri Gosho-Ningyō (Mechanical Palace Doll) with Otafuku Mask. Edo Period

12” (30 cm.) Karakuri gosho-ningyō (mechanical palace doll) of papier mâché covered in gofun with silk fiber hair arranged in a male style with two long side locks and a long forelock pulled back, painted details, depicted seated with left leg thrust out to the side, wearing a sleeveless chirimen silk crepe vest with embroidered details over a green silk brocade haragake bib, sexed figure, holding a mask depicting Otafuku/Okame (the goddess of mirth) with full cheeks and bulging forehead adorned with okimayu skybrows and blackened teeth and painted hair. When knob at the back torso is turned the arms raise in unison pulling the mask to the face. Minor staining. Edo Period, 19th century. Exhibited: Mingei International Museum (2005). Published Ningyō: The Art of the Japanese Doll, p. 39. $6000/8000

155. Mask 160

161

Fox Mask, Edo Period

sleeveless vest with dense embroidered flower designs over a simple silk brocade haragake bib in green, and sporting a silk brocade cap, holding silk cords attached to a papier mache mask of a fox. When a knob at his back is turned, his arms rise in unison placing the fox mask over his face. Replaced mask strings, minor in-painting on fox ears. Edo Period, 19th century, Exhibited Mingei International Museum (2005), Morikami Museum (2012). Published in Ningyō: The Art of the Japanese Doll, pp 36-37. $5000/7000

Karakuri gosho-ningyō (mechanical palace doll) holding a fox mask, of papier mâché covered overall in a fine gofun with painted details, depicted seated with legs thrust forward with big toes slightly flexed, wearing a chirimen silk crepe

Palace(MechanicalGosho-ningyōDoll)with

156.

While most gosho-ningyō were display dolls meant to be admired but seldom handled, karakuri gosho were toys meant to be used and enjoyed. By fashioning them out of papier mâché, doll artisans created a form that was both more affordable as well as more durable than the more sophisticated all-wood forms. Mask

156. KarakuriEntertaining

Okame/Otafuku is one of the most beloved images in the Japanese pantheon of gods and goddesses, bestowing mirth and merriment. It was Okame who danced a ribald jig, bringing sunlight back into the world after Amaterasu, the sun goddess, had petulantly hid herself away in a cave.

10 ½” (27 cm.)

14 ½” (37 cm.) A paper mache mechanical palace doll depicting a parody of the lion dance from the Noh drama Shakkyō (Stone Bridge), is depicted seated with both legs thrust forward revealing soles of feet with creases and good toe delineation, covered overall in gofun with painted details, wearing a sleeveless vest with birōdo (black velvet trim) over a simple haragake bib with red silk lining, holding in his right hand a shishi mai (lion dance mask), on his left hand the trailing lion mane cover, and on his head he wears an enormous silk and paper peony. When the knob at his back is turned, his arms raise and lower in imitation of a lion dancing amongst the peonies. Soiling of gofun, replaced side locks. Edo Period, 19th century. Exhibited Japan Society (1996). Published Ningyō: The Art of the Human Figure, p. 80. $5000/7000

157. Classic Karakuri Gosho-Ningyō (Mechanical Palace Doll) of a Lion Dance

Shakkyō is a seminal work originally written for Noh theater but was later adapted to Kabuki. The most famous scene is a dynamic dance of lions cavorting in a field of peonies.

14” including hat (36 cm.) Goshoningyō (palace doll) crafted of wood with coveredfeetfeatures,well-carvedhandanddetails,andoverallin a fine white gofun with painted details, thick silk fiber hair, smiling expression, is depicted standing with right leg thrust forward and body turned to the side, with kusudama (decorative flower ball) made of silk crepe with thread netting and trailing silk flowers with a lengthy multicolored silk thread tail extended between his two outstretched hands. He is wearing a large black eboshi court cap, long sleeved outer coat of chirimen silk crepe with embroidered designs of flowers in purple and green thread with gold highlights, over a silk crepe haragake bib with embroidered designs and tied at the back. Surface craquelure next to nose, some textile fading, kusudama augmented. Edo Period, 19th century. $12,000/15,000

Kusudama are decorative flower balls created from aromatic and propitious flowers and plants that were seen as talismans to prolong life and were originally closely connected with the 5th Month Boy’s Day display. 157.

158. Elegant (PalaceGosho-ningyōDoll) holding Kusudamaa (Flower Ball), Edo Period

162

3” (8 cm.) l. shells. 6”h. box. The Awase-gai (shell matching game) consists of nine natural shells with luxuriously painted images on the inside of each shell depicting peaceful scenes of courtiers reclining by a river, a fountain and sand tray, birds perched on a summer fence, courtiers lounging by a verandah, and birds resting in a blossoming tree; with raised lacquer details, the lacquer box in traditional octagon shape is decorated with a scroll-foliate design and a large gold chrysanthemum blossom on the center of the lid. Meiji Era, circa 1900. $500/1000

160. Intriguing Awase-gai (Shell Matching Game) in Lacquered Box, Meiji Era

tucked into nagabakama (long trousers) with their extended legging trailing behind. Loss of hair, wear to textiles. Edo Period, circa 1800. Exhibited

Mingei MuseumInternational(2005).Published

This set originally would have had attached silk or human hair and the insert groove can be seen along the painted hairline. The flared shape of the formed head would have helped the ningyō artist achieve the wide-flaring hairstyle with long single back braid typical of san’nin kanjo. The san’nin kanjo typically occupied the first tier below the dairi-bina (imperial couple) and would have held tea implements to help insure the comfort and contentment of the imperial lord and lady.

Ningyō: The Art of the Japanese Doll, p. 127.

9” (23 cm.) San’nin Kanjo (Ladies-in-waiting) trio for the Hina Matsuri Girl’s Day display, each with head and hands of wood covered in gofun with painted details including blackened teeth and okymayu skybrows, and wide hair framing, comprising classic head-wearing court attire for attendants, wearing white figured silk kosode kimomo

160. 159. 164

159. Elegant San’nin Kanjo (Ladies-in-waiting) Trio for the Hina Matsuri, Edo Period

$200/400

Awase-gai is a traditional game played among the nobility where 360 painted shells make a full set. Similar to the Western card game “Concentration”, all of the shells were placed face down. A single shell known as a “calling shell” was placed face up in the center and players tried to find the matching shell. The interior surfaces of the shells were often luxuriously decorated with scenes form famous poems or from such literary works as the “Tale of Genji.” Miniature awase-gai sets were frequently included in the Hina Matsuri display to amuse the dairi-bina (imperial couple).

12” (30 cm.) and 14”. Machi-bina (Town Hina) for the Hina Matsuri Girl’s Day celebration, each with head and hands of wood covered in gofun with inset glass eyes, painted details including okymayu sky brows and blackened teeth, dressed in coordinated blue silk brocade textiles. The me-bina (imperial lady) featuring robe with overly long sleeves with woven hanabishi (diamond flower) pattern, a silver gray silk brocade kake-obi with purple silk cords with decorative knots, back with full padded layers of kimono topped by a gauze mo train with painted designs, hiogi (wood fan) and elaborate metal crown; the o-bina (imperial lord) in unusual rich purple nagabakama (long trousers), with coordinated purple inner sleeve lining, shaku (scepter) and kanmuri court cap with tall ei tail. Wear and fading of textiles, shaku replaced, lips repainted. Late Edo Period, Mid-19th century. $1200/1800

161. 165

The use of glass eyes dates to the 1850s and ningyō artisans were quick to add this new feature to their works. These early efforts were marked by slightly oversized eyes that create a very distinct, time-specific impression and are evocative of the very end of the Edo Period and the beginning of the Meiji Era.

161. Evocative Machi-bina (Town Hina) for the Hina Matsuri, Edo Period

162. Engaging Ishō-Ningyō of the Warrior Monk Benkei, Edo Period

Kami-bina in the tachi-bina style are the earliest forms of hina-ningyō and the precursor to all of the sumptuous forms to follow. Given their fugitive materials examples from this early date and in this state of preservation are exceedingly rare.

7” (18 cm.) and 10”. Kami-bina (paper hina) pair for the Hina Matsuri Girl’s Day display, in tachibina (standing hina) form, each crafted out of lacquer stiffened paper, with separately formed head of papier mâché covered in gofun with painted details including a minimalist hikime kagihana (line eyes-dash nose) treatment, with a small red dot for a mouth, and stylized okimayu skybrows. The o-bina (lord) with his arms spread wide is wearing green hakama trousers with traces of a design and gold paper eboshi court-style cap with traces of hair; and the more diminutive me-bina (lady) in a cylindrical shape, with coordinated painted designs of peonies on a blue field and grasses, an additional band of raised dots in the auspicious kuyō (nine star) design and an obi tie belt bearing a tortoise shell pattern. Extensive wear, folking, loss of pigment. Edo Period, 17th century. Perhaps the oldest ningyō being offered in this catalog. $2000/2500

163. Rare 17th Century Kami-bina (Paper Hina) Pair

163. 162. 166

13” (33 cm.) Isho-ningyō of the warrior monk Musashibo Benkei (d. 1189), depicted in animated standing pose with left shoulder raised, head tilted, and right foot thrust forward, face and heads of tōso (wood composite) covered in a red-pigmented gofun with painted details including feet painted blue to simulate tabi, wearing birōdo black velvet outer kimono with sleeves thrown back to reveal chirimen silk crepe under kimono, secured at waist with obi, papered gauze hakama trousers with purple silk crepe cuffs, and with arsenal of weapons strapped to his back, arrow in right hand, and two long swords tucked in at hip with red scabbard mounted on a wood base. Replaced textiles on forearms, repair to right ankle, wear to birōdo velvet, Edo Period, 19th century. $400/800

In clear imitation of takeda-ningyō, the doll incorporates many elements of the more prominent tradition, with dynamic pose, black velvet textiles, grimacing features.

164. Delightful Mitate Gosho-ningyō Pair of a Kyōgen Performance, Taishoi Era

9” (23 cm.) Mitate gosho-ningyō (parody palace doll) pair of a Kyōgen performance comprising clay figures covered in gofun with sleeveless vest and haragake bib formed as part of sculpture, the haragake with a painted repeated tortoise shell pattern, the vests with a dynamic painting of pine trees against a red field over a cloud pattern bearing tortoise shell patterns and kiri (pawlownia) blossoms, both with a fuji (wisteria) crest painted at the yoke, one in white, one in black, one holding a fan bearing a split design of iris leaves and a blue field bearing the wisteria crest, the other playing a tsutsumi (shoulder drum) done in a fine black and gold lacquer with silk straps, both with painted mizuhiki presentation ribbon details on the head and wear black lacquered paper eboshi-style caps, happy, laughing expressions, formed sandals with woven silk ties, mounted on simulated wood bases, Minor soiling, craquelure on left temple of chanter. Taisho Era, circa 1920. $3500/4500

Kyōgen was an interlude companion performance art frequently featuring a storyteller and a drummer reciting ribald and humorous tales between more formal acts within a round of Noh dramas.

164. Back 167

theidentifyingplaqueWooddollandartist. 165. 168

165. Powerful Sōsaku Musha-Ningyō (Art Warrior Doll) of Shōki by Hara Beishu, Showa Era

Derived from Chinese legend, Shōki has been an important symbol of the Boy’s Day display from its earliest inception in the 1600s, initially being featured prominently on banners. But it was not until the mid-19th century that ningyō of this powerful icon became a focus as part of an increasing cultural emphasis on the emperor. In brief, the tale of Shōki the Demon Queller goes back to a fever dream by the Chinese emperor Xuanxong in the 8th century. In his nightmare he saw demons running rampant in the

with a high-waist belt with front section bearing enlarged kiri (Paulownia) blossoms all done in blue, gray and mauve tones, lacquered cap in the Chinese style, heavy Chinese style boots in silk brocade with metal bosses, his right hand holding a broadblade sword and his left fist clenched in nameplaque)withlacqueredaandscabbarddetermination,atback,mountedtosilver/blackbaseakifuda(woodbearingthe“Beishu”and a red Mukei Bunkazai (Intangible Cultural Property) inscription and seal. Created by Hara Beishu (1893-1989), who was bestowed this important cultural honor by the Japanese government in 1966. $2500/3500

21” (53 cm.)

Sōsaku musha-ningyō (art warrior doll) depicting Shōki the Demon Queller, the classic and iconic figure within the Boy’s Day display, with realistically rendered hands and head made of wood and covered in a red pigmented gofun, painted features and inset glass eyes, heavily modeled features with an intensely furrowed brow and scowling expression, long hair and a thick beard, wearing rich silk brocade robes with stylized cloud

red inscription and stamp of Mukei bunkazai (Intangible Cultural Property). Created by Hara Beishu (1893-1989, who received this cultural honor in 1966. Showa Era, Post War. $2000/3000

artist.theidentifyingplaqueWooddolland

166. 169

In this figure, the artist Beishu has depicted Kan Butei (Han Wudi) in a manner usually associated with Jimmu Ten’no, the legendary first emperor of Japan. Han Wudi was the seventh emperor of the Han Dynasty and reigned from 141-87 BCE. He established Confucianism as the state doctrine and is held as a paragon of filial piety.

166. Intriguing Sōsaku musha-ningyō (Art Warrior Doll) of Kan Butei by Hara Beishu, Showa Era

palace, pillaging his treasures. Out of the mayhem he hears the thudding of heavy boots and looks up to see a giant man with a heavy beard, wielding a broad sword and dispatching the demons with relish. Upon inquiring as to the name of this savior, the apparition responds that his name is Zhong Kui (Shōki) and that he has pledged his existence in the afterlife to defending the emperor. Upon awakening the emperor had his court artist paint a portrait of Zhong Kui (Shōki) that was given a place of honor and used as a protective talisman.

20” (51 cm.) Sōsaku mushaningyō (art warrior doll) for the Boy’s Day display depicting the Chinese Emperor Han Wudi (Japanese name Kan Butei) for the Boy’s Day display, with finely detailed and realistic head and hands of wood covered in a pigmented gofun with inset glass eyes, hair done in elaborate side loops with long chin beard and mustache, clothed in archaic style with white silk brocade robes, gold and white brocade trousers secured below the knees by a silk tie cord, heavy silk brocade boots with lacing, finely wrought metal sword at his hip, natural wood staff in his left hand, full arrow quiver at his back, and mounted on a black lacquered stand, accompanied by a kifuda (name plaque) with title: “Butei” and artist name “Beishu” with

16” (41 cm.) The pair of ishō-ningyō depict a pair of actors from a Kyōgen drama, each with lively youthful faces of wood covered in gofun with large inset glass eyes and silk fiber hair arranged in differing child styles, portraying a samurai lord and his retainer (frequent foils in Kyōgen dramas), the young lord with an open mouth expression, deep dimples and exposed teeth and tongue, white

16 ½” (42 cm.) Mushaningyō (warrior doll) of Jimmu Tennō by Yamakawa Eitokusai II depicting the legendary first emperor shown in a classic standing position, having head and hands of wood covered in a pigmented gofun with painted details, silk hair left long and wild, realistic facial features and hand detailing, with simple lacquered paper armor and green silk lacing, matching kimono and hakama trousers done in a silk brocade with hexagonal lozenges, faux fur thigh guards, wood carved boots, sword at left hip, and with long bow in hand capped by a kin no tobi (golden hawk), Taisho Era, early 20th century. Initially collected in Japan in the early 1950s through the curator of the Imperial Museum, Nishizawa Tekiho (1889-1965) by Colonel Robert and Eloise Thomas and part of their Yesteryear’s Museum in Sandwich, MA. Exhibited Japan Society (1996). Published Ningyō: Yesteryear’s Doll Museum Collection (1983), p. 19 and Ningyō: The Art of the Human Figure, p. 58. $3000/4000

Golden hawk at the tip of his long bow.

167. Fine MushaNingyō (Warrior Doll) of Jimmu Tennō by Eitokusai II, Taischo Era

Jimmu Tennō was introduced as a Boy’s Day figure during the Meiji Era as part of the emphasis on the emperor. This example was created by Eitokusai (Keijirō, 1858-1928), who operated a well-known shop in the Nihonbashi section of Tokyo and was a supplier to the imperial family. He greatly popularized images of Jimmu Tennō and Shōki the Demon Queller and was noted for the sense of realism he brought to his ningyō.

168. Entertaining Pair of Ishō-ningyō Depicting a Kyōgen Drama, Meiji Era

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gofun, and sporting a keshibō hairstyle with forelock, two side locks and a “chestnut” top, wearing a rich silk brocade kamishimo wide-shouldered vest and matching trousers combination bearing a repeated design of long-tailed birds and sacred treasures over an under kimono of silk crepe with an unusual silk brocade hem; and the retainer with a slightly darker gofun face and a yakko hairstyle with shaved head and two long side locks, wearing a more modest black silk kimono with a green obi tie belt; both mounted in wood stands and wearing straw sandals. Minor craquelure and wear to textiles. Early Meiji Era, late 19th century. $1000/2000

Kyōgen was a popular interlude performance art, often performed tangentially with the more austere Noh dramas. Typically comedic and improvisational in nature, they featured stock characters enmeshed in situations that often times subverted social norms, and included ribald humor and body comedy, which delighted the audiences. The two figures here are from an as-yet unidentified early Meiji atelier that specialized in Noh and Kyōgen figures, all bearing the same distinctive youthful countenances and child hairstyles.

Gosho-ningyō (Palace Dolls)

Cherubic, fat even, gosho-ningyō present us with happy children bearing delightful expressions, animated postures and proffering cherished objects.

By Alan Scott Pate

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Originating as gift dolls within the imperial court in the 18th century, gosho-ningyō occupy a special and storied position in the world of Japanese dolls. Crafted generally of wood and covered overall in a fine white gofun (shell white), their shocks of black hair and rich costuming are a treat for the eye, while their winning countenances and auspicious wishes are a treat for the heart and soul. Gosho-ningyō were classically depicted seated or kneeling and holding an object conveying wishes for health, longevity, good fortune, etc. Their rapid rise in popularity across all sectors of society led to tremendous creativity and innovation with dolls being depicted crawling, standing, and dancing; imitating classic drama with props and accessories; articulated and poseable; matched pairs of noble children gifted for weddings; and even mechanical versions with masks that transform their identities or rattles and fans that add to the general merriment. Within this collection you will find a wide variety of gosho-ningyō ranging from palm-sized to childsized, as well as some rare immediate precursors to the gosho form, the more attenuated-limbed hadakasaga from earlier in the 18th century.

CategoriesNingyōExplained

With a strong focus on ningyō from the Edo Period (1615-1868), the Golden Age of Japanese Dolls, this auction presents some truly iconic ningyō from all of the important Japanese doll categories. While each one is visually engaging and desire-inducing, the names and natures of some of these doll forms may be unfamiliar. So we present here a short description of each of the principal types of dolls represented in this singularly important collection.

The Ayervais Collection of Japanese dolls is unquestionably a Collector’s Collection. With a studied and discerning eye, over the course of thirty plus years, Michael Ayervais has assembled a powerhouse grouping of ningyō. This collection has historically been regarded as unparalleled outside of Japan, with important exhibitions at the Japan Society, the Metropolitan Museum of Art, the Mingei International Museum and the Morikami Museum all drawing extensively from this true treasure house of ningyō, even eliciting TV coverage from Japan. A number of pieces also boast additional provenance coming originally through the celebrated ningyō scholar and curator to the Imperial Museum (now Tokyo National Museum), Nishizawa Tekiho (18991965) as he worked in the late 1940s and early 50s with the American doll-collecting couple Colonel Ronald and Eloise Thomas, founders of the beloved Yesteryear’s Museum in Sandwich, MA, guiding them and counseling them on their ningyō purchases as well as helping them access old family collections.

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Girl’s Day, will be familiar to many. Held on the 3rd day of the 3rd month, this ancient rite featured the display of dolls (hina-ningyō) representing a stylized imperial court headed by the dairi-bina (imperial lord and lady), often mistakenly called the emperor and empress. Dolls depicting ladies-in-waiting, musicians, ministers and footmen were gradually added over time, visually augmenting the display and intended to keep the primary pair happy and content, purifying and conferring blessings on the household. Evolving gradually from the 10th century, the Girl’s Day display took on renewed importance during the Edo Period with both the imperial and samurai nobility along with the newly affluent merchant class embracing with gusto this annual display of dolls. Artisans were empowered to create ever more stunning and lavish figures for the festival. The result was an exceptional array of dolls not only creatively interpreting the imperial lord and lady, but all of their attendants as well. The Ayervais Collection is home to a number of well-published and wellrecognized hina-ningyō all of which are being offered here for the first time.

Sekku-ningyō (Festival Dolls)

The central focus of the 5th month, 5th day Boy’s Day festival is on the display of fearsome and powerful musha-ningyō (warrior dolls) depicting figures drawn from Japanese history and lore. Some of these impressive dolls are taken from legend, like the great 3rd century Empress Jingû who led a naval armada to invade Korea (while pregnant!) accompanied by her faithful minister Takenouchi. Some are well-documented figures from military

history such as Minamoto Yoshitsune, the 12th century samurai and general noted for his brilliant exploits and valiant acts of daring do! And some are from fairy tales like the ogre-subduing Momotarō the Peach boy and his notable companions: the monkey, the dog and the pheasant. The canvas is rich, with spectacular silk brocades, real metal armor, menacing faces, bristling arrow quivers, and mighty personalities. Included are examples from the important ningyō atelier of Maruhei Ohkiheizo in Kyoto, supplier to the imperial family, as well as a stunning large-scale example by the important doll artisan and netsuke craftsman Hara Shûgetsu III (1826-1899).

A bit of a mouthful, but very accurate, for these dolls, emerging in the early 18th century, evolved into a stunning form, replicating, documenting and celebrating many aspects of Japanese popular culture. Drawing on theatrical themes, celebrated courtesans from the pleasure quarters, historical personages, and even foreigners, ishō-ningyō offer a breath-taking array of subject and styles all swathed in superb silk brocade textiles and finely rendered gofun faces. A few of the important sub-groups

Ishō-ningyō is generally translated as “fashion dolls.” And while it is true that their costuming and accessories were an early focus, a better translation might be “dolls of popular culture.”

Japan is a land of festivals, many dating back over 1,000 years. Two of these festivals traditionally centered on the elaborate display of luxuriously crafted dolls: the Hina Matsuri (Girl’s Day) and the Tangu-no-sekku (Boy’s Day) festivals.

Ishō-ningyō (Fashion Dolls)

• Iki-ningyō (living dolls) are hyper-realistic figures depicting many of the same subjects found in classic ishōningyō, beautiful women, samurai and peddlers, for example, but rendered in such exquisite and

• Takeda-ningyō are kabuki-themed dolls depicted in dynamic poses on black lacquered stands with dramatic expressions. Though predominantly male, holding accessories or placed in settings that make them easily identifiable, some of the more compelling takeda-ningyō are actually female, drawn from kabuki’s layered dance performances.

• Ichimatsu-ningyō are Japan’s greatest doll ambassadors, recognized the world over. Evolving in the late 19th, but coming into their own in the opening decades of the 20th century, they depict young boys or girls dressed in their finest, with bright gofun faces and inset glass eyes. Though many inexpensive dolls were made for play, ichimatsuningyō also evolved into a very sophisticated and coveted doll form in their own right with important ningyō artisans making this their specialty.

that can be included within this category and well represented in this auction are:

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• Kamo-ningyō are the smallest of the group: small but mighty. Traditionally fashioned of willow wood, they depict scenes from everyday life rendered in delightful miniature. Their faces and hands are unusually left devoid of gofun, letting the wood itself shine through with practiced carving and fine painted details. Their silk brocade and crepe textiles are applied through the kimekomi technique with grooves cut into the wood and the textiles deftly

• Mitsuore-ningyō (triple-jointed dolls) are essentially play dolls designed for adults. Their carved wood bodies with jointed hips, knees, and ankles allowed for the subtle positioning of these dolls into a number of becoming poses, enhancing the viewer’s enjoyment as they tried on various kimono or an array of wigs. Mitsuore-ningyō are also found in the gosho style described above.

accurate detail they appear almost alive. Though originating as life-sized exhibition pieces in the mid 19th century, they evolved into a very successful souvenir item for wealthy Westerners doing the Grand Tour in Asia at the end of the 19th century, with the majority of extant examples being only found outside of Japan.

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dominant position giving these puppets the name bunraku-ningyō. However, regional variations such as Awaji and Sado Island, make the term “bunraku” a bit misleading. Full-scale puppets require three people to operate them: the lead controlling the head and the right arm, an attendant operates the left arm, while a second attendant is responsible for moving the feet on a male or the kimono hem for a female. It is a complicated ballet as these three maneuver their individual puppet on stage, sometimes amidst a dozen or so other puppets, engaging in battles, court intrigue, tragic lover suicides, temple burnings and even skybound funiculars! As part of a dynamic and frequently highly physical theatrical form, few puppets can survive the ravages of time and the demands of the stage, so extant examples are rare and highly desirable. x

festival floats drawn through various cities across Japan were frequently crowned with karakuriningyō performing complex feats and wowing the crowds with their antics. Some of the dolls still operational today date from the late 18th and early 19th century. Historically, karakuri-ningyō were water powered, spring driven, or marionette types with complicated string manipulation by dozens of operators. While these larger-scale ningyō provided amusement for the masses, more private, at-home versions were created for the affluent. Called zashiki karakuri-ningyō or parlor mechanical dolls, these miniaturized figures presented to their viewer a more limited array of movements. Mounted on a gilded lacquered box housing the mechanisms, a small crank on the side would bring the doll to life, beating a drum, turning its head, pivoting on the base, while carp ascended waterfalls or acrobats spun over head. Enchanting!

Alan Scott Pate is the leading authority on antique Japanese dolls outside of Japan, having authored four important books on the subject including “Ichimatsu: Japanese Play Dolls”. He can be followed at com/antiquejapanesedolls/.www.facebook.

Bunraku-ningyō is the term generally used to describe the puppets used in Japanese traditional theater.

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inserted then glued to the overall surface, creating surprisingly subtle and evocative characters, ranging from Noh themes to courtesans to street urchins to court nobility.

More than dolls, large-scalethese figures are considered an important part of 18thsinceoperationhasinpuppetBunraku-zastage.thewrittenliteratureJapaneseworksofwithpatrimony,culturalJapanesemanythefinestinbeingforpuppetThetheaterOsakabeeninthecentury,its

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Bunraku-ningyō (Puppets)

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Ningyō, The Art of the Japanese Doll. Japan: Tuttle Publishing, 2005.

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Pate, Alan Scott. Ichimatsu, Japanese Play Dolls. 2021.

Pate, Alan Scott. Art As Ambassador, The Japanese Friendship Dolls of 1928. 2016.