A journey of discovery: Creatures, gods and demons by Willford Japanese Art

www.willford-ja.co.uk robert@willford-ja.co.uk +44 7534 423 803

Foreword

The past 12 months have been very difficult for us all, but it’s starting to feel like the good news is outweighing the bad, with regular announcements of new approvals for vaccines. Hopefully it won’t be much longer before we are able to meet and enjoy each other’s company once again. I’ve put my time in lockdown to good use and produced this catalogue for your enjoyment. I’m excited to be able to offer for sale a collection of 33 inro and netsuke that are contained within the following pages. The main body of the inro come from a single collection, formed in Europe and marked with, “Private European collection”, at the foot of each description. The rest of the catalogue contains pieces from my own stock, mostly assembled over the past six months, it’s been great fun discovering them. From the netsuke it is hard to choose a favourite as I’ve enjoyed them all in their own way, however number 22, Children at Play, has spent the most time in my hands. It makes me smile and reminds me of my own boys’ hijinks. From the inro my favourite is number 1, it is quite unique and the subject has me well and truly confused. It’s one I don’t think I’ll stop trying to discover more about even after it has moved on to its new home. I hope that you enjoy viewing the pieces within and also the new style layout. Warm regards Robert Willford

Acknowledgements

Thank you to all my consigners and clients. Your support means a huge amount. I would like to include a special thank you to Peter and Claire Burton. Peter only lives 20 minutes from my home, we spend a good deal of time together, enjoying netsuke and sharing books. Peter has an impressive library and his knowledge of what his books contain is equally impressive. Peter is always on hand to help check a reference and even gave the following pages a proofread for me. Mieko Gray, I really enjoy working with you. When your emails arrive, they are little parcels of knowledge and I’m continually blown away by the information you uncover. You help me to unlock hidden meanings and provide interesting details that embellish my descriptions, along with helping translate inscriptions and signatures. Adrian Franks of Creative Wisdom, the designer, our first project together, and I don’t really need to say anything other than thank you. Your work speaks for itself. Abi Willford has, as always, taken my notes and scribbles and tried her best to turn them into coherent English.

Contents

Kusudama 8 Ox and Herd Boy 10 Ox and Wheel 12 Samurai 14 Shoki and Oni 16 Fudō Myō-ō 18 Hanami 20 Peonies 22 Cockerel and Drum 24 Roosters Fighting 26 Hawk and Pine 30 Take ni Suzume 32 Snake and Cicada 36 Bamboo Scraps Box 38 Ink Cake 40 Monkey and Persimmon Fruit 42 Coiled Dragon 44 Shishi and Peony 46 Fighting Shishi 48 Mikoshi Nyudo 50 li no Hayata Slaying the Nue 52 Children at Play 54 Toyotomi Hideyoshi 56 Gama Sennin 58 Carving Daikoku 60 Toad on a Sandal 62 Seated Tiger 64 Mother and Pup 66 Sambiki Saru 68 Octopus 70 Saramuwashi 7 1 Fukurokuju 72 Okame Mask 73

Signatures 74

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Kusudama An unusual four-case inro, the subject of which had me completely bamboozled. I’ve searched my own archives, books and other sources to find a similar piece, but to no avail. The ground is in a repeating zigzag pattern in shades of gold and silver. In high relief are takamakie cartouches, three to each side, with various designs that I at first thought could be mon. Two probably are, but one contains a monkey, which could allude to a zodiac theme of the Year of the Monkey. The cord runners are decorated with scrolling tendrils in gold hiramakie. I turned to a trusted source of information, Mieko Gray – you will find her mentioned in the acknowledgements page of many a catalogue. She has helped me and others to unlock hidden meanings in art and can translate even the most obscure signatures. We went back and forth on this one for some time. Mieko came forward with the theory below, which is by far the best we have. Kusudama are ornamental scented balls for good luck. Originally, they were woven from very high-quality materials such as silk, satin and various other textiles. The traditional ones are treated as auspicious objects and are very much sought-after. Today, they are produced from cheaper materials such as origami paper. Our theory is that the zigzag pattern ground represents the thread weaving of a Kusudama ball and the cartouches are the balls themselves. Several other lacquered inro, trays and also a handful of prints exist depicting these balls. The internal compartments are lacquered in old style nashiji and gold fundame.

Unsigned Early 18th century Height: 6.4cm Width: 4.9cm Depth: 2cm Additional note: I purchased this inro from a lovely lady in Ireland and her mother. Sadly, their father had recently passed away. This was the only inro he owned – clearly, he was a man of very good taste! Although modestly priced compared to some within this catalogue – a sad testament to the under-collecting of older inro – it is without question my favourite, for its unusual ground and difficult subject. Older inro rarely give you their secrets easily; they make you work for them and often a bit of good luck or guess work is required. I hope our theory above is challenged. I would be very interested to see other similar examples, in the hope of adding more information to the story it tells.

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Ox and Herd Boy A four-case togidashi inro, depicting a herd boy sleeping against a basket while his ox rests besides him. Rendered in gold, black, red and green togidashi. The large recumbent ox fills one side, with its head lowered and turned back looking towards the boy. The face of the ox is beautifully lacquered with large eyes and ears and a detailed halter. The outline of the animal is drawn with a black line, other than the tops of the head and ears, which are defined by fine and soft hairwork. The black of the body is sprinkled with a sparse covering of gold and the inner ear in red. To the verso, the boy cradles an openwork basket as he sleeps, his features simply but well drawn. I’m particularly impressed by the boy’s visible foot and the fringe of his hair, lifting the inro. The subject is a firm f avourite o f t he Masanari school. In the Heinz and Else Kress archive they record 74 Masanari inro depicting this subject, in various forms. In their book, A Gift of Inro, Ojime and Netsuke, they illustrate an ink drawing depicting a walking ox and herd boy by Shiomi Masanari from 1739, a possible source for these later inro. The subject is linked to Zen Buddhism; for an interesting in-depth explanation, read the account by S.L. Moss in, They Are All Fire and Every One Doth Shine: The Elly Nordskog Collection, number 21. Signed, Shiomi Masanari 19th century Height: 8.2cm Width: 6.7cm Depth: 2.4cm Similar examples: The Trumpf Collection, number 151. An almost carbon copy of our example is illustrated.

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Ox and Wheel A three-case wide-bodied inro in gold takamakie against a dense orange nashiji ground. To the front, a lone ox is seated, lacquered in two shades of gold with dense hairwork covering the body. The animal is well proportioned and against the bright ground makes for an unusual but interesting composition. To the verso, a section of a wheel from an ox-drawn cart is in gold. The internal compartments are lacquered in gold fundame to the risers; red lacquer lines each compartment. Signed, Hakuzan Mid 19th century Height: 8.1cm Width: 6.7cm Depth: 2cm Provenance: To the inside lid is an old collection label G 430

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Samurai A four-case inro in gold, grey, red and brown takamakie. Various objects associated with the samurai and horse-riding are scattered on top of a roiro and muro nashiji ground. To the front, a kabuto in shades of gold is decorated with the Kuyo mon and a grey menpo lacquered to simulate iron. The maedate of the kabuto features a large dragon, whose claws, face and scales are all nicely detailed and well executed. Below the kabuto sits an ebira (quiver), the body of which is decorated in a textured brown lacquer to simulate hair or fur. A grey banner flutters to the bottom, decorated with Sasa-mon. To the verso, a brilliant kura (saddle) is decorated with scrolling tendrils and nashiji. Beneath the saddle are stirrups and a yumi (bow). The internal compartments are lacquered in nashiji and gold fundame. Signed, Kajikawa, with a red pot seal 19th century Height: 8.5cm Width: 5cm Depth: 2.3cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Shoki and Oni A four-case inro depicting Shoki and Oni in various shades of takamakie against a roiro and dense goldsprinkled ground. To the front, Shoki is depicted in a sunken gold panel. The main body of his clothes is lacquered in a similar fashion to the ground. The collar and hem are embellished in a gold hiramakie pattern and his belly is decorated with gold clouds against red background, with flashes of his underclothes visible in blue. Shoki’s face is in gold with strong features, his beard and hair in black. He sports a cap typical of a Chinese official, with a formal baton in his left hand. Shoki’s stern gaze is trained on the young oni that flees to the verso. The fleeing oni is in gold with a dense red covering to the surface, which has been partially polished away to the high points. The oni is wearing a tiger-skin loincloth; trailing behind him, a long thin sash is decorated with a repeating cloud pattern, a small section wrapping around the cord runners onto the front, connecting the two sides. The internal compartments are lacquered in nashiji and gold fundame. The subject is encountered in both paintings and inro from Zeshin and his school. A scroll by Zeshin was sold in 2019 at Bonhams and another inro, unsigned but lacquered in the manner of Zeshin, was published in Lac Lacquer Lacquest by S.L. Moss. Both are identical to our inro in subject matter and in the way the two characters are depicted. The inro I publish here technically has nothing to do with Zeshin or his school, but our artist was clearly inspired by either a painting or inro by Zeshin to create his own version.

Signed, Jokasai Saku Late 19th century circa 1870–1900 Height: 8.8cm Width: 5.7cm Depth: 1.7cm Provenance: Ex-Chiura Obata (1885–1975) Ex-Kanin family Similar examples: Bonhams London, Masterpieces of Japanese Art from a Royal Collection, lot 11 S.L. Moss, Lac Lacquer Lacquest, number 114 The Virginia Atchley Collection of Japanese Miniature Art, Number IN65

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Fudō Myō-ō A rare and powerful inro by Hara Yoyusai in takamakie. To the front, the imposing figure of Fudō Myō-ō stands in gold against a red ground. To the verso are his attendants, Kongara and Seitaka. Fudo is stood in a typical pose, a subject that is more common to Buddhist sculpture and painting than inro design. Fudo is wearing a skirt-like garment known as a johaku, which wraps over one shoulder leaving most of his chest bare. The top half of the johaku is decorated in a repeating swastika pattern, which in Sanskrit means “conducive to wellbeing”. The bottom half is gold on gold hiramakie tendrils and flowers, which provides a delicate counterpoint to the powerful composition. Fudo holds in his right hand a kurikara (devil-subduing sword), the hilt of which has been inlaid in aogai. In his left hand is a rope used to bind demons. In the middle of Fudo’s head he has a third, all-seeing eye. Fudo stands against his aureole of flames, rendered in gold, dramatically working their way up the front of the inro, touching the top case. The contrast between the design and ground is striking, the artist has walked a tightrope; it would have been easy to have made the inro garish and busy. But in his use of only three shades of gold and well-sculpted takamakie, the composition contrasts beautifully against the strong red polished ground. To the verso, Kongara and Seitaka – who are companions of Fudo and often depicted in artwork – are flanking him. They stand in gold takamakie wearing elaborate, loose-fitting clothes full of movement. Their clothes are decorated in detailed hiramakie tendrils and cloud patterns. One holds a sword concealed within its scabbard. The other is performing the Dharmachakra (Mudra of turning the wheel of teaching), where the thumbs and forefingers of each hand form circles. The left hand 18

faces inward, the right hand, out. The hands are held on a level with the heart. I believe that it is Seitaka who is depicted holding the sword, as he is often shown in red with a fierce appearance, and that Kongara is performing the Dharmachakra. He is a contrast to Seitaka, with a serene and peaceful appearance. The internal compartments lacquered in gold fundame. Signed, Yoyusai, with a Kakihan (Hara Yoyusai 1772–1846) Early 19th century, circa 1820 Height: 9.6cm Width: 7.3cm Depth: 1.7cm

are

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Hanami A four-case inro decorated in various shades of togidashi against a roiro ground. To the front, a lone woman wearing a kimono decorated with flowers stands under a cherry tree, with a river flowing behind and mountains in the distance. To the verso, two other women look on, wearing long capes, enjoying the display of cherry blossoms. The scene is possibly set on the banks of the river in Arashiyama, Kyoto. Arashiyama has long been a popular location for hanami (flower viewing); its banks and the lower sections of the mountain are covered with beautiful cherry trees, which burst into life in April. Unsigned Mid 19th century Height: 8cm Width: 5.1cm Depth: 2.1cm Provenance: Ex-Swedish Rear Admiral, Sten Ankarcrona (1861–1936) Published: Eskenazi London (1996), Japanese Inro and Lacquer-ware from a Private Swedish Collection, number 45, pages 46–47

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Peonies A five-case gold inro in takamakie against a densely sprinkled ground. A rocky outcrop emanates from the bottom corner of the inro, decorated with dense gold kirakane. The rocks wrap around one of the cord runners, creating a continuous scene both sides. A group of six peony flowers in varying stages of bloom grow from the rocks. The leaves and detail are in shades of gold, with the heads of the two main flowers decorated in gold foil along with sections of the unopened flower heads and selected leaves. Added detail to the foil in gold hiramakie. The internal compartments are in orange nashiji, with gold fundame to the risers. The inro comes complete with an unsigned metal ojime depicting a matching scene of peonies growing from a rocky outcrop with a small bird flying overhead. Unsigned Early 19th century Height: 8.9cm Width: 4.5cm Depth: 2.7cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Cockerel and Drum A five-case inro in various shades of takamakie and hiramakie against a sparse black nashiji ground. A cockerel sits atop an old war drum, its brilliant plumage on full display. The skin of the drum is elaborately decorated with a dragon, and the body with a cloud pattern. The area around the drum is overgrown with dense foliage. The cockerel’s grand plumage is rendered in various layers of different coloured feathers that rise up onto one of the cord runners and spill over onto the verso. The bird’s face is well executed, with a stippled effect covering the red lacquer. The cockerel on a war drum is a symbol of peace and tranquillity. An old tale tells of a drum placed at a village gate to sound an alarm during an attack. As the years passed, the drum was never used as a long peace ensued. The war drum forgotten, hens and roosters began to live inside it, and this image became an emblem of contentment and peace. Signed, Kajikawa Saku with a red pot seal First half of the 19th century Height: 9.3cm Width: 4.8cm Depth: 2.7cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Roosters Fighting A four-case togidashi inro. To the front, a pair of roosters fight: one leaps into the air, its feathers standing up on end, pointed and wild looking, several feathers lay scattered on the ground beneath. The eyes of the birds are lacquered in black hiramakie. Their elaborate tails spill over from the front onto the verso, visible one to each side. To the centre of the composition is a pair of bird baskets, one in gold togidashi and one created in brightly coloured sections of green, blue and purple aogai. The design is set against a silver ground with the top and bottom of the inro lacquered in black with sparse gold nashiji. The internal risers are lacquered in silver, the internal compartments in red. Unsigned Early to mid 19th century Height: 8.5cm Width: 5.7cm Depth: 2.5cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Hawk and Pine A fine four-case togidashi inro by Nakaoji Moei.

Signed, Moei, with a seal (Nakaoji Moei)

To the front, a hawk sits on a twisted and gnarled pine branch, head dipped, its gaze fixed on a target in the distance as heavy rain falls. The branch continues around one of the cord runners onto the verso. The image is set against a brown ground and various shades of nashiji.

Late 18th/early 19th century

Pine, hawks and other birds of prey were symbols of strength and longevity. This was a popular subject among the 16th century military class, for whom hawking was a favoured and noble pursuit. A painting by Kano Yukinobu held in the MET Museum New York bears a strong resemblance to our inro. It is probable that one of these paintings provided the inspiration for this inro. The internal compartments are lacquered in gold nashiji and fundame.

Height: 7.5cm Width: 5.5cm Depth: 2.4cm Provenance: Private European collection

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Take ni Suzume A five-case night and day style inro featuring a flock of sparrows flying above a bamboo grove. To the front, the flock, lacquered in gold, appear to dodge and dart amongst one another feeding on insects; one bird has its head turned back, beak open, squawking at the group. To the bottom right, a pair sit on the edge of the bamboo grove with another bird coming in to land. To the verso is the night scene. The small section of the bamboo grove visible on the gold side carries over onto one of the cord runners and expands into a large bamboo forest. Many of the birds have found a perch for the night, sitting in groups of twos and threes, with a handful still darting around in the night sky. The top case is lacquered in black and the bottom in gold. The subject of the sparrows and bamboo is Take ni Suzume. Sparrows eat harmful insects and are considered beneficial to agriculture and when paired with bamboo are considered an auspicious theme of good luck and fortune. The internal compartments are lacquered in orange nashiji and gold fundame. This is a simple composition well executed. I really enjoy yamamaki inro; they are the opposite of the bright beauties that instantly catch your eye. Yamamaki hides the treasure beneath the depths of its black-polished surface and won’t reveal it unless you sit and carefully study the scene. Rolling it in the light gradually brings it into focus.

Signed, Toju, with a kao (Kanshosai Toju (Toyo II) First half of the 19th century Height: 9cm Width: 4.7cm Depth: 2.3cm Provenance: Private European collection Bonham’s London, The Edward Wrangham Collection of Japanese Art Part I, Lot 297 Wrangham collection, no. 195 Acquired from D. J. K. Wright, London, 1963

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Snake and Cicada A four-case inro lacquered in takamakie against a matsukawa-nuri ground. An all-over continuous design depicts two snakes stalking a pair of cicadas on the trunk of a pine tree. The cicadas’ heads and bodies are lacquered with their wings and eyes inlaid in a translucent horn backed with gold foil, which adds a lovely depth of colour that can’t be captured properly in a photo. The larger snake is raised up ready to strike, its red tongue almost touching one of the cicadas. Both snakes’ eyes are inlaid with what appears to be a blue shell and the pupils lacquered. The second snake, to the verso, is coiled, looking away from the cicada. The bodies of the snakes, in brown and silver lacquer, work their way across both sides of the case, round the cord runners and over the top and bottom of the inro. The top and bottom of the inro are lacquered in gold to represent a cross-section of the trunk. Signed, Ganshosai, with a kao (Ganshosai Shunsui) Late 19th century Height: 9.7cm Width: 4.9cm Depth: 3cm Provenance: Ex-Shep Brozman collection Ex-Roger L. Weston collection Similar examples: Eskenazi London, 1997, Japanese Netsuke, Ojime and Inro from the Dawson Collection Bonham’s London, 6 Nov 2012, Fine Japanese Art, lot 43

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Bamboo Scraps Box A bamboo and lacquer Zansai-Ire (scraps box) by Ikeda Taishin.

Signed, Taishin (Ikeda Taishin 1825–1903)

The beautiful section of bamboo is decorated in bamboo leaves in black and gold polished lacquer with various sections in a black ishime textured lacquer. The leaves roll from the lid down onto the body of the container. The bamboo, in ovoid form, displays a consistent, tight grain and good colour.

Second half of the 19th century

Several scraps boxes exist signed Zeshin, but I’ve not encountered another with Taishin’s name attached to it. One signed Zeshin in the MET Museum’s collection is a brilliant example, slightly rounder than the one I offer here but with the similar pressed appearance to the bottom internal wall. Another signed Zeshin, in the Royal Ontario Museum, is decorated with a beautiful bird and has very similar leaves to ours. I believe it is probably from the hand of Ikeda Taishin. Recently, the partner netsuke for our box was sold at Bonhams New York, a little Hako depicting the same leaves as our box, signed Taishin.

By Zeshin, Bonham’s London, Fine Japanese Art 16 May 2013, lot 230

Height: 6.8cm Width: 6.6cm Depth: 3.3cm Similar examples: By Zeshin, held in the MET Museum New York, Accession Number: 29.100.830

Royal Ontario Museum, Accession Number: 958.27

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Ink Cake A black lacquered tonkotsu simulating a used ink cake by Shibata Zeshin. The surface of the ink cake is crackled, matte to the low points with simulated dirt built up in the corners; the high points of the design are polished. The outside edge simulates the chips and wear that one would expect from a real, well-used ink cake. The bottom third is already used. Cut at an angle, an unusual part of the illusion that previously I’ve only encountered in Zeshin ink cake netsuke. To the front, Jurojin stands reading the book of knowledge, under the Southern Polar Star constellation. His messenger deer to one side looks over his shoulder; to the other side is an incense burner on a table. Jurojin is believed to be the personification of the Southern Polar Star. The verso is decorated with a Chinese poem with two characters missing, 主 and 安. It is perhaps a kind of rebus for the viewer to figure out. “Lord of longevity and prosperity” “Peace and order in the world” The poem is from a longer Chinese saying, “The Southern Polar Star, seeing all principles, Lord of longevity and prosperity, Peace and order in the world”. “南極見則人主寿昌天下治安” Another ink cake by Zeshin in the Museum of Fine Arts Boston depicts the same subject encountered here, rendered in a near identical way. It is catalogued as having a ten-character inscription to the rear, but sadly this isn’t pictured. The visible difference between the two is that in my example the cake has been cut; the MFA example is uncut.

Signed, Zeshin, in scratch characters to the side (Shibata Zeshin 1807–1891) Mid to late 19th century Length: 6cm Width: 3.7cm Depth: 1.5cm Provenance: Private European collection Jahass collection. I’ve been told of Melvin’s fondness for Zeshin ink cake, apparently at one point having no fewer than eight in the collection. He only kept two, his favourite pair, the one published in his and his wife Betty’s book, Inro and Other Miniature Forms of Japanese Lacquer Art, and this one. After his death, both were sold together to the same collector.

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Monkey and Persimmon Fruit A rare and nice sized wood monkey by Gyokusen Tomochika. Seated, the monkey was presumably resting under a tree – unfortunately for her, she picked a persimmon tree ready to drop its ripe fruit. The monkey’s well-carved hands search on top of her head and she bears a startled look on her face. The poor thing is trying to find the large persimmon that has fallen and landed square on her head. Gyokusen monkeys are rare, I know of only two; one, identical to this, in a private US collection and the other published in Scholten’s Expressions of Style, in my opinion one of the great monkey netsuke. Our monkey has a deeply carved face, wide-open mouth displaying minutely detailed teeth and deeply set eyes, which give the netsuke a sense of life. The surface of the wood is detailed with fine hairwork and a silky gloss polish that accentuates the light stain. The himotoshi is formed by one larger and one smaller hole to the underside.

Signed, Tomochika, in a square reserve Gyokusen Tomochika was a pupil of Tomotada, who moved from Kyoto to Tokyo. (Not connected with Chikuyosai Tomochika) Late 18th century Height: 3.8cm Width: 3.6cm Depth: 3.1cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Coiled Dragon A powerful, coiled wood dragon with inlays by Sari. The dragon’s large head sits atop the compact pile with the beast’s claws tucked into its sides. Whiskers trail down the sides onto the body, emanating from a large bulbous nose. Flames curl out from behind the arms, running over the bold scales. The eyes are inlaid in translucent horn and two small teeth in ivory. To the underside, a thick tail forms a cavernous himotoshi and a large claw is stretched open to one side. Good examples by Sari are relatively rare. He had a distinct style, taking mainly animal themes such as tigers, boars, horses and dragons and creating netsuke that were individual and full of character with an animated appearance.

Signed, Sari, Iwashiro Early 19th century Length: 4.5cm Width: 4cm Height: 3.1cm Similar examples: MCI, page 703 Netsuke by Neil Davey. Number 797 Netsuke and Sagemono by Alain Ducros. Number 174

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Shishi and Peony An unusual and large shishi and peony in the style of a finial from an altar. When I first acquired this netsuke, I believed it had been removed from an altar or large piece of furniture and adapted for use as a netsuke. That may well be the case, but over time I have developed another theory. Since purchasing it, I’ve come back to it several times as my original theory didn’t feel correct. For one, the back shows a large and well-carved peony. If it had been removed from an altar and adapted for use as a netsuke, then you would expect the back to be plain or at least not more impressive than the front image. Second, on the base, where it wants you to believe that it has been removed, the knife marks are very visible but seem over worked. It feels like they are there to make sure you think it had a previous life, but the stain across the netsuke is consistent. It is possible that the entire piece was restained when it was removed, but why re-stain it and not smooth the cut marks?

I believe the piece was originally made to be a netsuke. A netsuke that imitates an alter finial. The himotoshi is drilled behind the shishi and opens just under the head of the peony. Unsigned 18th century or earlier Height: 8.5cm Width: 5.5cm Depth: 2.5cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Fighting Shishi A pair of powerful wood shishi fight, the dominant on top with its paw pinning the other by its neck. The shishi that appears to be beaten shouldn’t be counted out just yet, it has both front paws and one rear pressed under the dominant animal’s chin, ready to push back. Every part of both animals’ bodies is worked, showing bulging muscles and wild rolls of hair. The surface of the wood has a lovely light brown stain with a pleasing polish and good patina. A number of natural openings between the pair would form good himotoshi. Signed, Issai Early 19th century Length: 4.5cm Height: 3.3cm Depth: 2.9cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Mikoshi Nyudo A large dramatic wood netsuke depicting the yokai Mikoshi Nyudo, with a movable head and eyes inlaid in shell, towering over a petrified man. The man’s mouth is wide open, screaming as he tries to push away the advancing terror. His face is exceptional, capturing the moment perfectly. The apparition rises from a wisp at the base of the petrified man’s feet. The body of the Mikoshi Nyudo is smooth and perfect in the hand, undecorated other than a bolt of lightning incised down each side of its body. The massive head, bearing a wonderful expression with deeply furrowed brow and huge eyes, wobbles and turns freely. The himotoshi is formed of two holes, one above the other. I know of two other published examples of this subject by Hasegawa Ikko. One in dark wood from the Bushell Collection. Another, much closer to our example, is illustrated with a brilliant write-up by Joe Earle, number 135 in, Netsuke: Fantasy and Reality in Japanese Miniature Sculpture. Joe provides an insightful description, quoting an image of a similar subject in the 1713 encyclopaedia, Wakan Sansei Zue.

Signed, Ikko (Hasegawa Ikko) Early 19th century Height: 5.8cm Depth: 5cm Width: 28cm Similar examples: Christies, Bushell Collection part 1991/04/23 lot – 231 also published in MCI, page 220 Joe Earle, 2001, Netsuke: Fantasy and Reality in Japanese Miniature Sculpture, number 135

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Ii no Hayata Slaying the Nue A large and dynamic composition of Ii no Hayata slaying the nue, in wood.

Signed, Shoraku, in an oval reserve (Osaka)

The hero has the nue pinned, his knee firmly placed on the back of the creature. His free arm is raised ready to strike the fatal blow. The nue looks up, ferocious, mouth open with eyes fixed on the blade.

Early 19th century

A nue is a mythical beast with the head of a monkey, body of a tiger and a snake’s head at the tip of the tail. In our netsuke, the monkey’s head has long flowing hair rolling down onto the tiger’s body. The tail is a complete snake, scales beautifully carved and inked. The body twists around the hero’s saya, its head doubled back, looking down with one eye double inlaid. The himotoshi is formed in a stovepipe arrangement, with a large hole to the underside and smaller exit in the base of Ii no Hayata’s back.

Height: 4.4cm Width: 3.6cm Depth: 3.5cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Children at Play A wood group of three boys playing. The boy stood with the mask has surprised his companions; one has fallen to the floor and covers his head with his hands, the other recoils, one hand covering his face and the other reaching out in an attempt to fend off the advancing demon. The moment of surprise has been captured brilliantly; the prankster appears to have just jumped out, I imagine he has just unleashed an almighty roar on his unsuspecting friends and is very pleased with the result. This is a netsuke that has intrigue from every angle. The boy holds the mask around 2mm away from his face; behind, it is just possible to make out a perfectly carved face. The two other boys have delicately carved plump features. The boys’ clothes hang down, the rolls and folds add a real sense of frozen motion to the netsuke. The himotoshi is formed by a large square opening to the bottom and circular exit to the side on one of the boys. Tametaka carved and signed a handful of pieces depicting this and similar subjects. Two very similar netsuke are illustrated in MCI and Paris Edo: Convention Netsuke & Sagemomo 1994. Another is published in Eccentrics in Netsuke, by S.L. Moss. The Moss example has a beautiful Ukibori floral pattern to the boy’s robes.

Another take on boys playing by Tametaka is seen in two netsuke, one sold at Bonhams in 2014 and another in a private British collection that depicts boys playing blind man’s bluff behind a screen. All these signed Tametaka groups and other netsuke by him that depict children have the same delicately carved soft faces, loose rolling clothes and many have the same distinctive square opening of the himotoshi. They convey a real sense of adolescent innocence. When I look at this netsuke, I can see my two boys, Henry and Thomas, at play. Boisterous and completely absorbed in the moment. Unsigned, attributed to Tametaka, Nagoya Late 18th century Height: 3.8cm Width: 4.6cm Depth: 2.5cm Similar examples: Paris Edo: Convention Netsuke & Sagemomo 1994 MCI, page 856 Bonhams London, Fine Japanese Art, 15th May 2014 – Lot 50 S.L. Moss, Eccentrics in Netsuke, number 58

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Toyotomi Hideyoshi A wood netsuke depicting a humorous moment between Hideyoshi and a child. Hideyoshi, a rag to riches character who went on to become one of Japan’s greatest warriors and military leaders. He was also the Regent of Japan for a very short time. Riding on his back is the child of Oda Nobunaga. Hideyoshi is on all fours with bottom on display, pretending to be a horse. The child sits on his back holding onto a pair of makeshift reins. Hideyoshi’s facial expression is hilarious. It looks like a great deal of fun is being had. Unsigned, Tsu school Early 19th century Height: 4.1cm Length: 3.8cm Width: 2.6cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Gama Sennin A sprightly wood Gama Sennin standing on one foot with his robes hanging open to expose his bare chest and little pot belly. His ribs and distinctive face are deeply carved in contrast to the rest of his body and the toad, which has a much softer appearance. The giant threelegged toad on Gama’s back has its remaining hind leg resting on his obi, its opposing front leg hangs over Gama’s shoulder, with Gama supporting the toad with both hands. The toad appears quite content, smiling as the pair travel. The dark surface of the wood has formed an attractive polish and deep patina.

Unsigned Early 19th century Height: 6cm Width: 2.6cm Depth: 2cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Carving Daikoku A seated wood Daikoku holds a chisel in one hand and mallet in the other, readying himself to strike. Between his feet, he grips a halfcarved rat with wood shavings strewn. Typical of Tokoku’s early work, the netsuke is carved in ultra-fine detail with the only inlay being a ring of shell to the small hole of the himotoshi. The face is full of joy, his chubby cheeks stretching to meet his enlarged earlobes, which peek out from under the hat. The tassel that hangs down from his mallet is a wonderful piece of carving; pierced with open work, so life-like it looks as if it would be soft to the touch. The pattern carved to the cuffs of the jacket and hem of the trousers pops and draws the eye. For such a small area, which can only measure 3mm wide, it has such depth and precision. This subject was extensively carved by Tokoku and his followers, available in all degrees of quality. Most notable is the ex-Winkworth/Hindson version, which was carved later, when Tokoku had fully embraced his mosaic style of carving. It employs an array of inlays, but unlike many, it retains the ultra-fine carving to the wood and beautifully expressive face.

Another very good example in which the same style of lighter stain is used as ours is pictured in the Sotheby’s catalogue for the Madelyn Hickmott sale – number 3.

Signed, Fuzui, with a kakihan (Tokoku I 1846–1913) Circa 1880 Height: 3.5cm Width: 3.4cm Depth: 2.4cm Similar examples: For a colour photo of the Winkworth/ Hindson version, see “The netsuke hall of fame’s record breakers”, Bernard Hurtig Sotheby’s, “Fine Netsuke, Inro and Lacquer from the Estate of Madelyn Hickmott” Wednesday, 8th February 1989 The Baur Collection, Netsuke C-46

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Toad on a Sandal A wonderful example of an oftenencountered theme. A large toad sits on top of a contorted and worn out old sandal in wood with inlaid eyes. The toad’s back is covered with bumpy textured skin that falls away from a strongly defined channel running down the centre of the creature’s back. The chubby flank is left smooth, polished in contrast to the extensively worked sandal and the rest of the toad’s body. The straw sandal is exceptional and unusual in its composition. The strap twists over forming a section of openwork to the front that continues onto the underside. To the underside the rope forms a bar for the himotoshi and rings the smaller exit hole. The sandal is twisted and broken, symbolic of the long journey its owner has undertaken. The Yamada Masaneo school were famous for toad on a sandal netsuke, but others also carved them, including Ryusai Issan from Iwashiro. The way that Ryusai carved the skin, eyes and the distinctive channel that runs down the back of the toad bears strong similarities to this unsigned example, but this one feels much better than the signed examples I’ve handled and owned. More refined, the skin is not as deeply carved but the lines are accentuated and rounder, giving the toad a more lifelike appearance. Combined with the unusual composition, it makes this a rare netsuke among the many examples.

The word “toad” (Kaeru) is pronounced the same as the verb “return home” (Kaeru). During the Edo period the movement of ordinary people was strongly controlled. Pilgrimage was one of the few exceptions where the average person was allowed to leave their home and see other parts of the country. The Ise Jingu shrine is an important place in the Shinto religion and was a popular pilgrimage site. The toad on a sandal netsuke made a perfect souvenir for a visitor to remember the long journey they had completed. Unsigned, Iwashiro First half of the 19th century Height: 2cm Width: 3.2cm Length: 4cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Seated Tiger A smooth and tactile seated tiger, head turned back licking its paw, in prunus wood with inlays to the eyes and teeth. The tiger’s body is left smooth other than the faint remnants of black stain/ inking to the back marking the animal’s stripes. Instead of incised hairwork I believe the grain of the wood has been used to simulate the hair. When looking at the tiger’s head and the line carved down the middle, the grain rolls off each side of the line. The strong grain of the wood that covers the rest of the body appears to give the same hair-like effect. The himotoshi formed by a natural opening between the animal’s body and tail. The tiger was acquired by its current owner in the late ‘70s from Eskenazi London. At that time, they were very confident that the tiger was from the hand of Miwa I. The current owner and I are not so sure it is quite old enough to date from the lifetime of Miwa I and is probably closer to the turn of the century.

Signed, Miwa, with a kao Circa 1800 Length: 4.5cm Height: 3.1cm Width: 3cm Provenance: Eskenazi, Netsuke from Private collection 1979 number 9 Christies 9th October 1973 lot 41 W.L. Behrens Collection: Part I Netsuke 1912 number 2672 Ex-R.J. Stallard Ex-C.E.F. Beasley Ex-Walter L. Behrens

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Mother and Pup A cherry wood netsuke depicting a plump mother and puppy, the pup nestled under the mother with the mother’s front paw resting on the pup’s back. Both dogs’ bodies are covered in fine hairwork along with delicately carved faces and paws. The surface of the wood is stained to depict piebald fur, with the lighter areas displaying a warm reddish-brown tone contrasting against the darker sections. The himotoshi is formed by a natural opening between the mother’s legs and the pup’s body. Signed, Masatoshi – Isshinsai Masatoshi, Nagoya Second half of the 19th century Length: 3.8cm Height: 2.7cm Width: 2.1cm Provenance: Private British collection, purchased prior to 1974 Published: MCI, Part A, page 478

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Sambiki Saru A delicate and fine wood grouping of five monkeys in and around a rotten nut. To the front are three monkeys; one laid on its back, eyes covered by the monkey leaning out of the nut, whose other hand is covering an ear of the third monkey, who reciprocates by covering the mouth of the monkey leaning out of the nut. The monkey laid on his back uses an outstretched foot to cover the other ear of the third monkey. Confusing, I know, but it makes for a fun and unusual composition of the old Japanese maxim, Sambiki Saru (see no evil, speak no evil, hear no evil). To the back of the nut, a monkey pokes its head out and peers up at the final and best-rendered monkey of the group, who clings to the side of the nut looking down at his companion. The bottom of the nut is realistically carved with the himotoshi formed by one small and one larger circular hole.

The carver, Kaigyokudo Masateru, was the grandson of Kaigyokusai Masatsugu and worked from Osaka. Signed, Masateru (Kaigyokudo Masateru, Osaka 1871–1946) Late 19th century Height: 3.2cm Width: 3.5cm Depth: 3.1cm Similar examples: MCI, page 294. A similar example in ivory by Kaigyokusai Masatsugu

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Octopus A good sized, wood netsuke depicting an octopus emerging from a tetsubin (traditional Japanese iron kettle). Two of the octopus’s tentacles feel their way outside of the pot, one wrapped around the spout and the other the handle. The creature’s face is well detailed with large eyes, its mouth just peaking over the rim. The himotoshi to the base is formed by two equal holes. Signed, Rakumin Second half of the 19th century Height: 2.9cm Width: 4cm Depth: 3.6cm

Saramuwashi A Sarumawashi (monkey trainer) and his monkey in stag antler. A monkey trainer would train his monkey to perform tricks entertaining townsfolk as they went about their business. Our trainer stands, bent forward slightly with his monkey perched on his shoulder. In one hand he holds a rope that connects to the monkey’s harness and in the other a training cane. The himotoshi is formed by two equal holes one above the other. Unsigned 18th century Height: 6.5cm Width: 2.2cm Depth: 1.4cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

Fukurokuju A kurumi (walnut) netsuke in the form of Fukurokuju, by Hidari Issan. Fukurokuju’s face is very sweetly carved with chubby cheeks that peek out from behind his raised hands, which are concealed within his long robes. To the back, a knot is tied at the base of his elongated cranium. The himotoshi is formed by two equal holes, one above the other, with the signature placed between them in an oval reserve. Signed, Hidari Issan, Iwashiro Mid 19th century Height: 3cm Width: 1.7cm Depth: 1.6cm

Okame Mask A small mask, measuring just over 3cm tall. Depicting Okame in wood with applied pigments by Kano Tessai. Although small, it is a very nice example. The skin is in brown over a white base, the brown has been rubbed back to the high points. Her lips are in a dark shade of red and hair in black. The himotoshi is formed by a bar, which also bears the signature. Signed, Tessai, with a kao (Kano Tessai, 1845–1925) Late 19th early 20th century Height: 3.2cm Width: 2.2cm Depth: 1.3cm

A journey of discovery: Creatures, gods and demons – Willford Japanese Art

5 – Jokasai Saku

11 – Moei, with a seal (Nakaoji Moei)

12 – Toju, with a kao (Kanshosai Toju (Toyo II)

13 – Ganshosai with a kao (Ganshosai Shunsui)

16 – Tomochika

17 – Sari, Iwashiro

19 – Issai

20 – Ikko (Hasegawa Ikko)

21 – Shoraku, in an oval reserve (Osaka)

29 – Masateru (Kaigyokudo Masateru, Osaka 1871–1946)

30 – Rakumin

32 – Hidari Issan, Iwashiro

33 – Tessai, with a kao (Kano Tessai, 1845–1925)

25 – Fuzui, with a kakihan (Tokoku I 1846–1913)

28 – Masatoshi – Isshinsai Masatoshi, Nagoya 4 – Kajikawa with a red pot seal

15 – Zeshin (Shibata Zeshin 1807–1891)

14 – Taishin (Ikeda Taishin 1825–1903)

3 – Hakuzan

2 – Shiomi Masanari

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