Ivory netsuke carving of a squirrel, with black ink(?) highlights throughout. Squirrel has an intricately carved face; its ears are flat to its head and it has a bushy tail, held upright. Shallow lines incised across entire body, imitating fur. Squirrel is crouched on its hind legs, holding a peanut with its forelegs; peanut tucked partially under body. Two circular openings on squirrel’s belly that connect inside figure, forming a passage; border incised around openings. Artist signature on base.

Small ivory netsuke carving of a monkey, with black ink(?) highlights throughout. It has an intricately carved face surrounded with fur; small circular ears protrude from the fur. The monkey is crouched on both legs, and shown in profile, with its head facing the side. One arm is touching the ground and the other is tucked behind its back, holding a bunch of fruit. Monkey’s tail is curved around front of carving. Shallow lines incised across entire figure, imitating fur. Two circular openings on monkey’s belly that connect inside figure, forming a passage; border incised around openings. Artist signature on base.

Head of a female Bunraku theatre puppet (part a) with stand (part b). She has a white oval-shaped face, long white neck and elaborate black coiffure. She has a wide nose, large light grey eyes and her eyebrows are light blue. Her lips are painted dark red, teeth are black. Her hair is pulled back into three buns. Front bun is secured with cord, and the centre bun is held in place with a kushi (comb) and kogai (hair tool). Both are made of black lacquered wood with iridescent plastic decorations embedded in them. Designs are floral and coloured red, light purple, white, light pink and light blue. The bottom bun is secured with a two-pronged, gold-coloured metal hair pin. The top has a circular medallion with a floral motif. The head is attached to a wooden rod with a handgrip. Two cords, with toggles, run through the grip, and into the head, to control neck and eye movement. The grip fits into a wooden stand (part b), supporting the head at an angle.

Stand for kicho screen. All pieces are made of wood and covered in high shine black lacquer. Base (part a) is a rectangular box with bevelled edges. Its bottom is slightly inset. Two squares on top surface are each surrounded by six-sided, filigree-style gold metal decorations, which hold the longer, squared ends of upright rods ‘d’ and ‘e’. Part ‘b’ is the top hanging bar. It curves upward slightly at the ends, which are covered in gold filigree-style metal casings. Two holes at its centre allow the insertion of rods ‘d’ and ‘e’. Part ‘c’ is a secondary hanging bar that is inserted into the screen itself through a horizontal pocket at top. Parts ‘d’ and ‘e’ are tall uprights that hold up hanging bar ‘b’. Each is squared at the ends, and top edges are scooped upwards to create a seamless look when inserted into hanging bar ‘b’.

Stand for kicho screen. All pieces are made of wood and covered in high shine black lacquer. Base (part a) is a heavy, rectangular box with bevelled edges. A black insert to contribute weight and stability has been added through the bottom. Two squares on top surface are surrounded by diamond shaped, filigree-style gold metal decorations with a flower motif, which hold the longer, squared ends of upright rods ‘d’ and ‘e’. Part ‘b’ is the top hanging bar. It curves upward slightly at the ends, which are covered in gold filigree-style metal casings. Two holes at its centre allow the insertion of rods ‘d’ and ‘e’. Part ‘c’ is a secondary hanging bar that is inserted into the screen itself through a horizontal pocket at top. Parts ‘d’ and ‘e’ are tall uprights that hold up hanging bar ‘b’. Each is squared at the ends, and top edges are scooped upwards to create a seamless look when inserted into hanging bar ‘b’.

Non-mounted, brown-black rectangular paper sample (c) 36 x 25 cm, with gold lines and rows of characters along the short axis, framed by gold lines across the long axis; straight edges. Separate protective tissue. Pebble finished, rectangular white card (b), 50 x 36 cm, with black printing in Japanese and English, describing the sample. Protective folder (a); light white-brown with irregular deckle edge on all sides. Sample has two faint black circular patches along one margin.

Five dyed washi samples (c-g) 31.2 x 24.2 cm, wrapped in folded white-brown translucent, fibrous machine made paper, 61.5 x 46 cm. Unfolded. The five rectangular samples have a watermark pattern of closely spaced horizontal and widely spaced vertical lines; lighter and darker fibres and specks. Three cut edges, one short edge retains irregular deckle edge. Black printed, pebble finished, white, machine made card (h), with information on samples in Japanese and English. 50.2 x 36 cm. Protective folder, light white-brown pebble finish, opaque with irregular deckle edges, slightly bunched in one corner.

Four reproductions from one million dharani charms mounted on labelled off-white card (b) which folds in half; protective tissue and outside paper (a) of very light brown/white. Label on right outside is thin brown paper strip with vertical black characters. Each sample is a very narrow light yellow/brown translucent paper strip printed with black characters, 5 per column, from one end of strip to the other. Third sample is darker, less translucent. Each sample has stamped number: 0 0683;0 1009; 0154; 01107.

Washi samples mounted on two off-white cards (b-c) labelled and interleaved with a protective tissue and covered with a card folder (a) with text on the inside cover. Part (b) has eight squares of paper made from unusual materials, ranging from off-white to light brown with one grey/green. Part (c) is labelled 'No. 5 Kagabosho' and is five squares of off-white to light white/brown paper.

Nine mounted and labelled samples on an off-white card (part b) in a labelled folder of the same material (part a). Six rectangular samples of three kinds of bark used in Japanese handmade paper; three samples include both brown outer and inner bark; three are inner bark only, lightest in centre. Remaining three samples are a small square of yellow-white parchment; a larger square of light brown pounded mulberry; and a rectangular sample of light brown pattra inscribed with black cursive writing.