Catalog: Archives: Regional Art: Asian (588)

A lobed form by Nakajima Yasumi enclosed in the original signed wooden box. It is 12 inches (30.5 cm) tall and in fine condition. The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1950) was awarded at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions and was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 where he was subsequently prized. His work is held in the collection of the Imperial Household Agency as well as the V&A and he served as mentor to a generation of young bronze artists. His son, Nakajima Yasumi II (1905-1988) took the family name in 1951. Yasumi II graduated from the National Craft Institute of Sendai and was first exhibited in 1933 at the Export Crafts exhibition organized by the Ministry of Industry and Commerce. He exhibited several times abroad including Paris and Buenos Aires. He was also consistently accepted in the Nitten exhibitions, garnering the Hokutosho there in 1952. In 1969 he received an honor as a person of merit in Crafts from Osaka prefecture.

Feminine figures dive upwards, forming the handles on this large art-deco vase by Nakajima Yasumi II enclosed in the original signed wooden box titled Jundo Eikan Kabin. The vase is 13 inches (32.5 cm) tall and in excellent condition. Inside the box lid is an inscription stating it was given to commemorate the first run of a three year old thoroughbred Arabian Stallion at the Amagasaki Race course in 1958.
The name of Nakajima first came to notice in 1908, when the first generation Yasumi (1877-1951) was awarded at the Senkatsu Kinen Exhibition. He was a consistent exhibitor with the Teiten-Nitten national exhibitions and was also quite active abroad, being prized at the 1931 Belgian Exposition and serving as juror for the Japanese submissions to the Paris Exposition in 1925 where he was subsequently prized. His work is held in the collection of the Imperial Household Agency and he served as mentor to a generation of young bronze artists. His son, Nakajima Yasumi II (1905-1986) created this piece in 1958, and it was given as a memento for a horse race winning Arabian Stallion.

Flames of red flash form the bird resurrected on the side of this large Cloisonne vase by the Ando company of Nagoya; Japan’s premier cloisonne studio. The color is hard to describe, seeming to be lit from within. A combination of wire and wireless design using gold wire with silver rim. Ando mark on base, the vase measures 37 cm (14-1/2 inches) tall, 32 cm (12-1/2 inches) diameter and is in excellent condition. It comes enclosed in a fine, custom made kiri-wood box.

An incredible ivory netsuke of a Hannya devil mask with inlayed eyes. The detail in the Faust like features is absolutely superb. In this case I will let the photographs speak for us. Although not contemporary, this Netsuke dates from the mid 20th century. Due to certain features, we believe it was made in China prior to or during World War II, during Japans occupation (1932-1945). The, inlay in the eyes is consistent with this interpretation and the ivory appears to be of Indian origin. It is 1-1/2 inches (4 cm) long.

A young woman in rare western dress gazes across this early to mid 20th century Bijinga scroll signed Ikko (Furutani Fujio, b. 1891) enclosed in a period wooden box. Her bright western dress and short hair must have made quite an impression in conservative Japan. The silk painting is bordered in green brocade embellished with flowering vines, extended with beige and features bone rollers. The scroll measures 21-1/2 x 52-1/2 inches (54.5 x 133 cm), and is in fine condition. Fujio was born in Kyoto, and developed hiw approach to Nihonga under the tutelage of the great Yamamoto Shunkyo, and later became a member of the Nitten.

A superb elephant shaped incense burner by Miyanaga Tozan enclosed in the original signed wooden box titled Seiji Zo Koro. Extreme clarity in the fine details, I will let the photos speak for themselves. It is 6 x 4 x 6 inches (15 x 10 x 15 cm) and in excellent condition. It comes with a pamphlet dated Showa 16 (1941) the last year of the artists life.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. His kiln is now in the third generation, run by his grandson.

A delicate image of a Zari-gani fresh water shrimp by Oishi Junkyo enclosed in a period wooden box. The poem reads:
nanigotomo
naseba naratefu
kotono wa wo
Mune ni Kizamite
Ikite Kishiware.
Whatever happens, no matter the hardships and pain, Set it in your heart to live with Spirit! This little fellow looks up to the challenge, a stern look on his face and his dukes up, ready to battle giants. What a fitting image for this artist. Ink on silk in a fine brocade border with pottery rollers. It is 14 x 63 inches (36 x 160 cm) and is in excellent condition.
Junkyo’s life is a triumph over tragedy. Born into a low family, she was sent to a tea house where she became an apprentice Geisha. In a famous incident, the Tea House owner in a drunken rage murdered 5 of the Geisha, and cut off both of Junkyo’s arms. She survived. Becoming then a teller of stories and singer, she one day saw a bird feeding her young, and realized she could paint if she used her mouth to hold the brush. She enrolled into a studio, and became an accomplished painter in the Nihonga tradition. She then married and had two children, but later divorced, raising the two children alone. She became a nun, and opened a counseling/self-help center for the disabled. This was the war years, and the midst of Japans industrial revolution. Both mishaps in the machinations of industry and battle kept her half-way house filled with people in need. After the war she established a temple, and continued her philanthropic work.

Ducks are the only life in this landscape of frozen rice paddies by Shirakura Niho enclosed in the original double wood box (Nijubako) signed Kanyu (the name he used later in his career). Teh composition is very minimalist, relying on the diagonal lines of paddy walls to define the foreground, only a haze of color to intimate the hills beyond. Judging by the style this likely dates from the 1940s and is an exceptional work by this innovative artist. Ink and pigment on silk in a superb border of patterned silk featuring solid ivory rollers. It is 26 x 56 inches (66.5 x 142 cm) and is in excellent condition.
Shirakura Kinichiro (Niho or Jiho, Kanyu, 1896-1974) was born in Niigata, and initially was inducted into Nanga under Hatta Goro. Moving to Tokyo he began studies of Western oil painting following Ishii Hakutei. However, that was unfulfilling, and he soon moved to Kyoto, returning to the Nanga style under Tanabe Chikuson (also Tajika/Tachika Chikuson, 1864-1922). Following the death of Chikuson, he moved to Tokyo where he took up residence in the studio of Komura Suiun. He was consistently displayed at both the Teiten-Nitten National Exhibitions as well as the Nihon Nanga –In Ten. Like other individualistic artists of his generation, he was known for his very unique and easily discernible style and enjoyed immense popularity. He later changed his name to Kanyu. He was recognized in an English book published in 1958 as one of the most important artists to visit when in Japan.

At first glance this appears to simply be a large image of a burning tree, however, look again and find the tree like figure is in the from of two entwined lovers, flames leaping from their impassioned bodies. This was likely made as an exhibition work, as it certainly would be difficult to fit into even a large Japanese home. The piece is signed Yoneda Mio, (Yoneda Mionosuke), and likely dates from the 1930s. The canvas measures 49 x 61-1/2 inches (124 x 156 cm) the frame 52-1/2 by 65 inches (133 x 165 cm). Overall the painting is in good condition, with minor abrasions typical of age, the frame has sustained a great deal of damage.

A white pidgeon perches on a discarded or fallen roof tile decorated with calligraphy by Miyanaga Tozan enclosed in the original signed wooden box. It is 9 inches (23 cm) tall and in excellent condition. I believe this is likely by the second generation.
Miyanaga Tozan I (1868-1941) is one of the most important names in Kyoto ceramics. He was born in Ishikawa prefecture, and graduated from the (now) Tokyo University of Art. While a government employee, he represented Japan at Arts Expositions, and studied art in Europe before returning to Japan in 1902 to devote himself to the production of ceramics, with great emphasis on celadon, one of the most difficult of all ceramic wares. He was direct teacher or mentor to a number of prominent artists including Kitaoji Rosanjin and Arakawa Toyozo. He was succeeded by his adopted daughter who brought a refreshing variation of color and delicate touch to the porcelains they produced. The kiln is now in the third generation, run by his grandson.

An exquisitely formed sometsuke porcelain by important Seto porcelain artist Kawamoto Rekitei (1894-1975) with raised patterns of grapes forming on the vine. The delicate shades of the steadily browning grape leaves is easily conveyed by the masters touch, each leaf carefully bordered in a raised border, the dark grapes slowly growing plump in the shadows. The vase is 9 inches (23 cm) tall, over 7 inches (18 cm) diameter. Rekitei was born in Aichi prefecture, home of Seto-yaki and a long standing important production center for Japanese Sometsuke porcelains. In 1914, at the very young age of 20, he received the top prize at then National Ceramics Exhibition (Tojiki Hin Hyou Kai and later (1922) received the gold prize at the Peace Exposition. His works were featured at the Paris, San Francisco and Chicago World Expositions. He was contracted by the Japanese government in 1948 to create a vase for presentation to President Truman, and his work graces the collection of the Imperial Household. In 1972 he was named an Important Cultural Property of Aichi Prefecture (Ken Shitei Mukei Bunkazai).

A halo surrounds the emaciated figure of a Rakan (Arhat or Arahat) seated atop a stone draped in billowing robes clutching a nyoi scepter in his bony left fist. The holy figure is chiseled and polished with extreme care and attention to detail. The detail in the carving is striking, as bamboo is notoriously hard and difficult to work. Setting it apart from most bamboo carving is a complex pattern of extremely fine chiseled texture throughout. It comes enclosed in a wooden box signed Raizan and dated Showa 16 (1941). It is 19.5 x 6.5 cm (7-1/2 x 2-1/2 inches) and in excellent condition.
The Sago is a decorative spoon used in preparation of Steeped tea. For more see the definitive book Tea of the Sages: The Art of Sencha, by Patricia J Graham (1998).
In Buddhist lore the Rakan is one who has broken the chain of re-birth and overcome the three poisons of desire, hatred and ignorance. It is a popular theme in both Chinese and Japanese art.

An exquisite lacquer box by Imai Seitaro dating circa 1959 featuring multiple layers of colored lacques carved through with a design of grapes on the vine enclosed in the original signed double wood box (Niju-bako) titled Choshitsu Budo Moyo Shikishi Bako (Carved Lacquer Grape Design Poem Card Box). It is roughly 11 x 12 x 2 inches (27.5 x 30 x 4 cm) and is in fine condition.
Imai Seitaro was born in Kagawa prefecture in 1893, and was first exhibited with the Nitten National Exhibition in 1948, and was often acceptedthere as well as with the Nihon Kogei-kai Ten. He may have been living in Taiwan before that time, as with many records from that time his history has been lost.

A beautifully decorated lacquer box dating from the 1930s or 1940s enclosed in a signed wooden box. Inside silver flake on shiny black, outside what appears almost a matt finish, of dark soft orange-peel texture with brilliant designs in raised gold and silver maki-e wrapping around the edges. The artists signature can be discerned in the nashiji beneath. The storage box originally bore the title and signature in ink, which was later covered over with silver Maki-e (the original ink signature is still visible beneath). We have had it professionaly cleaned inside and out. It is roughly 8 x 10 x 5 inches (21 x 25 x 13 cm) and is in superb condition. Shimada Shunko (1910-1986) was active throughout the early to mid 20th century, and was displayed at the Nitten National Exhibition among others.

A superb Sajigawa stone of deep olive patina, completely natural, on a carved rosewood base and enclosed in a fine old straight grain wood box. Notice the entirely natural arch growing between the two spires. This is incredibly rare and a fine prize. This would be considered a house shaped stone, reminiscent of a farm-house and its adjoining out-building, a covered passage between. Saji stones come from the Saji river in Tottori prefecture. This is 3 x 4-1/2 x 3-1/2 inches (8 x 12 x 9.5 cm) and is in excellent condition, the base signed by the carver.

A massive celebratory image of Tai (sea bream) by important 20th century artist Imai Keiju in superb mounting enclosed in a wooden box signed Gorei. These fish have attitude! Sea Bream are an auspicious image in Japan due to their name (Tai) which is a homonym with medetai (celebration). The pigment on silk image is framed in patterned brocades and features bone rollers. The scroll is 51-1/2 x 78 inches (130 x 199 cm). There are two white points on the silk where it appears the silk was once bent, perhaps before mounting (see close-up photos). The box reads Onshi Keiju Sensei Kyoto Okazai Hoshoji-cho Jidai Kessaku (Earlier Work by the honorable Keiju of Hosho-ji-cho Kyoto) and is signed Gorei.
Imai Keiju (1891-1967) was born in Mie prefecture and lived his life in Kansai, cultural heart of Japan. After graduating the Kyoto School of Art, he studied Maruyama School technique under his to-be father in law, the great Imao Keinen (1845-1924), from whom he received his name. However he was later separated, and in 1953 moved his studio back to his birthplace of Mie.
Wakabe Gorei (1918-1987) was a landscape artist born in Mie prefecture who studied first under Nishimura Goun, then Imai Keiju.

A set of 12 lacquered panels depicting scenes of the 12 months by 12 different and important artists including Living national Treasures Terai Naoji and Komo Kanzan as well as Pioneering female artist Tenno Bundo, all in the original wooden box signed individually by each artist and dated Showa 24 (1949) and stated to have been assembled under Honma Maika. A list of the artists by month follows: January-Katsuta Seisho, (1890-1975), February-Rokkaku Eiyu, March-Living National Treasure Terai Naoji (b. 1912), April-Living National Treasure Komo Kanzan, (b. 1882-1955), May-Murase Shunji (1911-1989) June-Shinmura Senkichi (1907-1983), July-Oguchi Masaji(1907-2000), August-Honma Maika, September-Tenno Bundo (the first female artist in Uwajima), October-Moriya Shotei (1890-1972), November-Yuki Tetsuo (1900-1970), and December-Omura Soho. Each piece is 9-1/2 by 10-3/4 inches (24.5 x 27.5 cm). The work for January has five stress cracks in the lacquer at the top of the panel, all others are in excellent condition. As they are shikishi (display plackard)-size, it is likely they were meant to be changed out of a frame, once every month. A very rare opportunity to own a representation of work from so many important modern lacquer artists.

The soft blur of blossoming plum, as if viewed in a dream, by Murashiam Yuichi. The evocative form, rising up in an arc to dominate the paper, seems powerful in comparison to the delicate petals clinging to new branches rising from the gnarled limbs. Ink on paper in green silk border, the scroll is 216 × 45cm (85 x 18 inches) and in overall excellent condition.
Murashima Yuichi (1897-1983 born Yuichiro) also known as Ho-o, was born in Toyama and graduated the Tokyo Bijutsu Gakko (Mod University of Art) under Yuki Somei. He exhibited with and was awarded several times at the Teiten/Bunten Nitten National Exhibitions. His Painting Horses in Pasture from 1942 is held in the collection of the Tokyo National Museum of Modern Art