Catalog: Archives: Regional Art: Asian (588)

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.

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.

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.

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.

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 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.

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 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.

Hand formed copper vase with waves in annealed silver signed on the side and enclosed in the original signed wooden box dating from the 1950s. It is 20 x 15 x 21 cm (8 x 6 x 8 inches) and in excellent condition.

A spectacular orb hearkening to the Sputnick era created by Hasegawa Isamu and exhibited at the 11th Nitten in 1955, enclosed in the original signed wooden box. The circular form is cleft with two equal but opposite dimples, offering both a futuristic and archaic dimension. It is 38 cm (15 inches) Diameter and in excellent condition.
Due to size the cost of shipping will be accrued separately.
Hasegawa Isamu was born in 1925 in Kyoto, son of famed porcelain artist Hasegawa Hakuho. He studied under both his father and Kusube Yaichi from whom he may have received his propensity for form. He was first accepted into the Nitten in 1953, and exhibited there consistently garnering several awards. He received the Kyoto Shinbun Prize among others at the Kofukai Ten, and works were purchased by the Ministry of Foreign affairs as gifts to foreign dignitaries.

Autumn in the Mountains by Shirakura Niho Pigment on silk in a fine brocade border extended with beige and featuring ivory rollers enclosed in the original signed double wood box (nijubako). It is 26 x 56 inches (66 x 143 cm) and is in excellent condition. This is signed with his later art name Kanyu. We can see in the style as well, here he has adopted a very western watercolor approach, that this is one of his post-war works.
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.

A Nandina (Jap.Nanten) grows up in brilliant red hues over a dark garden stone on thie black panels of this unique painting by Ono Tosaburo. Heavy pigment on paper mounted as a two panel screen with light cloth border and hardwood frame. This was exhibited at the 12th Nitten in 1956, and is visible in the catalog for that year. It is 85 x 74 inches (188 x 216 cm) open. Ono Tosaburo was born in Osaka in 1917 and studied under Konoshima Keika, The war interrupted his career, and he was first accepted into the Nitten in 1947. He is fondly remembered for paintings of fish in his unique Nihonga style. For more see the book Ono Tosaburo Gashu (1988).

Autumn colors by Goto Shiro in thick pigment on silk in a superb patterned-silk frame with solid ivory rollers. It comes in the original signed wooden box with a Futo-maki rolling bar titled Yudonoyama Banshu (Late Autumn at Mt. Yudono). This is representational of Nihonga in the 1950s, a time when artists were seeking a new direction, breaking with the past and expanding the limits of the medium. It is 25-1/2 x 86 inches (65 x 218 cm) and in fine condition. Goto Shiro (1924－1992) was born in rugged Yamagata prefecture and studied under Maeda Seison, settling eventually in the mountainous region of Nagano. A member of the Nihon Bijutsu-in and much lauded at their exhibition, work by the artist is held in the Saku Municipal Museum of Modern Art.

A superbly rendered image of a golden-eyed monkey with prehensile tail curling upward in a fine mounting of golden striped brocade by Ota Issai. The scroll is 34 x 59 inches (86 x 150 cm) and is in excellent condition, completely remounted using quality materials without overpainting. Ota Issai (1892-1979) was born in Nishio city, Aichi prefecture near modern day Nagoya. He graduated the Kyoto E-ga Senmon Gakko (future Kyoto U of A) where he studied under Kawai Gyokudo, specializing in animal imagery.

Pastel rooftops march among the green foliage on this iconic mid-century painting by Miwa Chosei in the original frame bearing the artists “Tomo Seal” on back and in a box from Takashimaya Department Store dating from the 1950s titled Ieshima no Ienami (Rows of houses on Ieshima). A similar work was exhibited at the 11th Nitten. Pigment on silk it is in fine condition. The painting is 22 x 23 inches (56 x 58.5 cm). The frame is 30 x 28 x 2 inches (76 x 71 x 5 cm). The label of Takashimauya remains on both the frame and the box. Miwa Chosei (1901-1983) was born in Niigata prefecture, the son of a Western Style (oil) painter. He was sent to Kyoto to study at the age of fourteen, where he would graduate the Kyoto Municipal School of Arts (Mod Kyoto University of Fine Art). He entered the tutelage of Domoto Insho, a progressive and very talented young artist at that time. His work was first accepted into the Teiten (mod Nitten) in 1927, and he would subsequently be awarded there for the first time in 1934. He became the lead student at Insho’s school from its establishment. He was an important member of the progressive movement in the post war years.

This is a genuine theater puppet kashira representing the character Osome. It is not a souvenir. As you can see it is quite clean, however there are three faint vertical cracks in the gofun covering, beside the nose and up the right cheek. The gofun is stable. She wears her hair in an immaculate coiffure held with one unpretentious comb and a ribbon of chirimen silk. Two silver ornaments accent the very simple and attractive figure. The head comes with the bamboo stand shown, as well as the wooden tablet upon which is written Osome. There is a toggle on the neck for raising and lowering her chin. On the stand as pictured, the presentation is 18 inches (46 cm) high. The actual head is about 8 inches (22 cm) tall. Bunraku, or Japanese puppet theater, is probably the most highly developed form of puppetry in the world.