Catalog: Archives (589)

White Robed Kannon by Zen Wako (also Chon Fua Fan/Chow Wha Whang), Oil on panel, 22 x 27,5 cm (9 x 11 inches) in the original frame.
Zen Wako was born in Pyongan (modern day North Korea) in 1909, while that country was under Japanese Influence, and one year before it was officially annexed by Japan. He was first recognized in 1929 when his work was accepted into the Korean national Art Exhibition. In 1933 he came under the influence of Nishida Tenko (1872-1968), a spiritual figure in Japan who founded the Ittoen (Garden of One Light) Society. He began studies under Suda Kunitaro in 1945, and came to exhibit with the Kohdo Art Organization, taking top prize there in 1948. He would help to establish an art organization for Korean peoples living in Japan (Zai Nichi Chossen Bijutsukai) in 1953, and would serve as head of the Kansai area branch. His work would be exhibited in Europe, Japan and Korea. It currently is held in the National Museum of Modern and Contemporary Art, Korea, Gwangju Museum of Art, and a Painting of Kannon in the National Museum of Modern Art, Kyoto. He died in 1994. Unfortunately, due to the lack of consensus on how to spell Korean names in English, his name can be written Chon Fua Fan or Chow Wha Whang or any combination thereof.

A furosaki tea room screen made of a very large hanga woodblock print in the fashion of Inui Tai mounted within a simple wooden frame and stamped in the lower left corner. An intriguing work, village roofs are visible over a sea of rice containing all manner of small country scenes. A cat glares at two frogs, boys pluck small fish from irrigation ditches, uniformed students ride on their way to school, a farmer carefully cares for his plants… The screen is entirely black and white, accentuating its primitive charm. Each panel is 16 by 35 inches (41.5 x 88.5 cm). The screen is backed in red patterned paper, with one scratch in the back, the front in perfect condition but for a shadow in the white paper reflecting the cloth from long exposure (see pictures).

A Chawan tea bowl by Goho with calligraphy work by Yamada Mumon enclosed in the original signed wooden box. The calligraphy reads Mi-Do, The Way of Taste, followed by Mumons artistic signature (Ka-o). The bowl is 4-1/2 inches (11 cm) diameter, 3 inches (8 cm) tall and in perfect condition. Mumon (1900-1988) studied law in his youth, but was converted to the life of Buddhism by a statement of Confucian theory which says, rather than become a lawyer, create a world where there is no need for courts. After taking the tonsure, he initially studied under Kawaguchi Ekai, the first Japanese Zen priest to visit Tibet. However after several years in isolation battling tuberculosis, he emerged to receive his certificate of enlightenment from Seisetsu Genjo, and went on to head a number of prominent Zen temples. Later in life Mumon traveled the world, working hard to spread to light of Rinzai Zen.

A large and elegant Wa-gumi basket by Yufu Shohaku signed on the base made up of alternating strips of finely braided bamboo rope and bands of raw bamboo. This is a dramatic work measuring 22 x 20 x 14 inches (56 x 50 x 35 cm).
Yufu Shohaku (b. 1941) is a second-generation bamboo artist from Beppu, the son of Yufu Chikuryu, putting him in the lineage of Sato Chikuyusai. Shohaku began making bamboo baskets in elementary school and achieved mastery by middle school. With his father, he created many styles of flower baskets that made Beppu famous. Today he is known for traditional Beppu rough-plaited baskets that blend plant roots and bamboo chunks. An independent artist, he is the leader of the local bamboo art association and the recipient of numerous prizes including Chairman’s Prize at All Japan Traditional Crafts Exhibition in 1985 and has been named a holder of intangible cultural skill (Dento Kogeishi). His works have been exhibited many times in the United States and England and he is held in the permanent collection of the San Francisco Asian Art Museum and Beppu City Traditional Bamboo Museum.

A silver inlayed bronze incense burner by Inami Keishu enclosed in the original signed wooden box. It is 5-1/2 inches (14 cm) tall and in fine condition. Inami Keishu worked in metal for more than 60 years. He has been often exhibited and prized with the Nihon Kogei Kai (National Crafts Association) among many other National Events.

Exceptional rendering of the character Moon by one of Zens most important 20th century leaders Yamada Mumon. The ink on paper image is framed in patterned copper silk and features black lacquer wooden rollers. Some faint staining, the scroll measures 17-1/2 x 59 inches (44 x 150 cm) and is in excellent condition, enclosed in a kiri-wood box. Mumon (1900-1988) studied law in his youth, but was converted to the life of Buddhism by a statement of Confucian theory which says, rather than become a lawyer, create a world where there is no need for courts. After taking the tonsure, he initially studied under Kawaguchi Ekai, the first Japanese Zen priest to visit Tibet. However after several years in isolation battling tuberculosis, he emerged to receive his certificate of enlightenment from Seisetsu Genjo, and went on to head a number of prominent Zen temples.

14 images spanning two pages each are sandwiched between the silk binding of this two sided accordion album by Zen Priest Inaba Shinden enclosed in the original storage sleeve. The images span from Mount fuji to the Daruma to Zen Circles, each annotated with some verse or Buddhist anecdote. It is in excellent condition, the album (closed) measuring 8-1/4 x 12 inches (21 x 30 cm).
Inaba Shinden (1906-1986) was an important priest of the Rinzai sect of Japanese Buddhism. Born in Aichi, he began his studies under Yamazaki Taiko at the age of 14, then later moved under Seki Seisetsu. After nearly 25 years as head priest for a Subtemple of Tenryuji in Kyoto, he became the head priest of Kokutaiji Temple at the age of 58. For more on this artist see Zenmi—a Taste of Zen: Paintings, Calligraphy, and Ceramics from the Riva Lee Asbell Collection.

An unusual modern art vase in robbins-egg-blue dating circa 1970 enclosed in the original signed wooden box by Kyoto artist Kumakura Junkichi (1920-1985).. The blue metallic glaze flows down the sides leaving a distinct pattern in the smooth surface, collecting in oil drop pools around the thickened base. Notches cut in the surface are turned out at various points to allow the insertion of flowers and twigs on all surfaces. One could make a variety of very interesting arrangements with this attractive piece. Signed on the base Jun, it is a little less than 5 inches (12 cm) square. The vase is in fine condition but the box appears to have been wrapped in a red cloth which was once wet, allowing the die to seep into the box surface. Junkichi began working in ceramics in the 1940s, his works submitted to innumerable National and International Exhibitions including the Japan Art Festival, New York and the international Arts and Crafts Exhibition in Florence Italy. He also submitted to the Brussels World Exposition and helped design murals for the World Exposition Osaka. At the International Ceramics Exhibition, Prague in 1962 he took a silver prize. He was also often exhibited and is in the permanent collection of the Japanese National Museum of Modern Art as well as the National Museum of Modern Art, Kyoto.

Sakura blossoms begin to open among the draping branches of a weeping willow soughing in the breeze on this beautiful lacquer box by Inami Kirokusai enclosed in the original signed wooden box titled Wajima Nuri Soshun Maki-e Suzuri Bako (Ink Stone Box of Early Spring Design from Wajima). The design is performed over highly polished black, the interior in nashiji with pine saplings in raised design around the ink stone and water dropper. It is 24.5 x 13 x 3 cm (10 x 5 x 1-1/2 inches) and in excellent condition.
The four generations of the Inami family spanning the Meiji to contemporary were the subject of a major retrospective at the Ishikawa Wajima Lacquer Museum in 2013.

White cranes soar from the black water of a lake tucked in the shadow of orange hills on this lovely mid 20th century scroll enclosed in the original signed and stamped wooden box by Takazaki Ko (b. 1910). Extremely delicate yellow trees reflect off the dark surface of the lake, contrasting with the thick ranks of orange marching up the hillside. Painted in the audacious style of Banka, the painting retains a quiet charm in the singular movement of the graceful birds. It measures 19-1/4 by 78-1/2 inches (49 x 199 cm) and is in excellent condition. Oki apprenticed twice, both under Nakamura gakuryo (1890-1969) and Maeda Seison

A fabulous Koro covered in damascened gold by Ibuse Keisuke enclosed in the original signed wooden box titled Nunome Zogan Jungin Koro (Damascene Pure Silver Incense Burner). It is 11 cm (4-1/2 inches) tall, 9.5 cm (3-3/4 inches) diameter and in excellent condition.
Ibuse Keisuke was born in Tokyo in 1930, and began his studies of metal arts in 1950 under Unno Takeo. By the late fifties he was exhibiting with the Kofukai (where he would later be awarded) as well as the Nitten National Art Exhibition, and in the early sixties would begin exhibiting at the Gendai Kogeiten Modern Crafts Exhibition. In 1974 he would be awarded at the Dento Kogei Shinsaku Ten (New Traditional Crafts Exhibition), and in ’76 at the Dento Kogei Musashino Ten, followed by awards at the Dento Kogei Kinko Shinsaku Ten and Dento Kogei Ten with his work being collected by the Imperial Household Agency in 1981. The following years Hiroshima Prefectural Museum, Fukuyama Museum as well as again The Imperial Household Agency would purchase pieces for their permanent collections.

A male peacock struts proudly before a gorgeous plume of color on this mid 20th century hand painted screen signed and stamped Yushin. The colors are slightly muted, in a typical Japanese way, the background awash in mottled silver-gray, presenting the brilliant greens and blues of the birds fabulous attraction. It is bordered in a wooden frame covered in Negoro lacquer, unusual green over red, matching the painting perfectly. Each panel measures 32 inches by five feet (82 x 152.5 cm) and is in excellent condition, even retaining the original backing cloth.

There is incredible detail in all aspects of this huge bronze sculpture of a jacketed monkey and his elder handler resting on a bronze base signed Shojun (also read Katsunori), dating from the mid 20th century (1935-1965). Taking a break between performances, the aged man pulls out his pipe and tobacco pouch, his wizened countenance seeming as if speaking some soothing words to the creature, perhaps otsukare-sama. A chain runs from his wrist to a collar around the animals neck. It is signed on the back of the elder figure in a silver tablet. The massive display weighs 29 pounds (13.5 kg) and stands 14 inches (34 cm) tall, 15 inches (39 cm) across the base. Monkey handlers have been popular entertainers for centuries in Japan, and in fact I saw a pair performing in a park in Yamaguchi prefecture just two years ago. A superb piece of bronze! The cost of shipping to Western Europe, Australasia or North America is included in the item price.

This is a superb Bunraku puppet of the historical figure Minamoto Yoshitsune, one of the lead characters from the Tale of the Heikei and legendary fighter in Japan. The doll is incredibly mobile. Head moving up and down, his eyes open and close and move left to right. His eyebrows can be raised and lowered, and mouth opened or closed, all from toggles inside his kimono on the extended neck piece. The puppet is in perfect condition and stands 43 inches to the top of his topknot, complete with a bamboo display stand as pictured. Called Ushiwakamaru as a youth, Yoshitsune was the orphaned son of an enemy of the victorious Taira. He was raised on Kurama Mountain by monks, where he learned swordsmanship from the Tengu (crow-demons). His status as a fighter was sealed when he defeated the great warrior Benkei on the Gojo Bridge as a young man without drawing his weapon. The puppet dates circa 1970, at the height of resurgence in interest in traditional Japanese Theater. It comes with a wooden tablet upon which is written the characters name, the back signed by the artisan who created this fine doll.

An oil on canvas by Ono Sue titled “Inaka no Kyokai, Paris” or Rustic Church in Paris set into a double wood frame. The canvas is 15-1/2 x 18 inches (40 x 45 cm), the frame 24 x 27 inches (61 x 69 cm) and all is in excellent condition.
Ono Sue (1910-1985) was born in Niigata prefecture, and after serving as a school teacher for one year, moved to Kyoto in 1934 to pursue a career in oil painting under Yasui Sotaro. He began exhibiting with the Issuikai in 1938, garnering a number of awards there over the next 15 years starting with the Issui-kai Prize in 1943. In 1955 he would go on the first of his travels, returning in 1958, and in 1959 he would help to found the Kokusai Gushoha Kyokai. The next year would find him abroad again for an extended journey. He travelled extensively, documenting his travels in oil and canvas, Egypt, Mexico, Europe, South East Asia, all of these would become subjects for his method. In 1963 he returned to Japan. He was purchased by the Imperial Household Agency that same year. He would be honored with several exhibitions in major Japanese museums, including the Tokyo Central Museum, Umeda Museum of Modern Art, and his home of Niigata with the Niigata Art Museum. In 1982 he would receive the Geijutsu Sensho Award for the arts from the Minister of Cultural Affairs. Work by him is held in the Museum of Modern Art in Niigata, Museum of Modern Art in Toyama, Okawa Museum, Sakuma Municipal Museum of Modern Art and Kita-Kyushu Municipal Museum of Art among others.

A bronze vase dating from the mid Showa period by Ono Tsuneo of Takaoka enclosed in the original signed wooden box. It is 26 cm (10 inches) tall and in perfect condition.

An oil on canvas painting by famed artist Waki Shiro depicting the Moss Temple (Koke-dera) in Matsuo, Arashiyama. It is performed with unreasonably thick pigments and textures, rising 1/2 an inch (1 cm) of the canvas surface. This use of extreme texture was his signature style, and makes his work easily identifiable. The canvas is F4, 24.5 x 34 cm (9-1/2 x 13-1/2 inches) and it comes with the orginal frame.
Wake Shiro (also Wake Ciro, 1925-1988) was born in the last year of the Taisho period in Tochigi Prefecture, North of Tokyo. After graduating once from the Utsunomiya Shihan Gakko, the artistic branch of the Prefectural University, he then enrolled in the Tokyo University of Art, graduating their oil painting department in 1952 and taking up in the atelier of Yasui Sotaro. He was first exhibited at the Dokuritsu Bijutsu Kyokai Ten (Independent Artists Society Exhibition) in 1955 with his painting “Onna” (Woman), and was awarded there the following year for his set of paintings “Yoru no Yuwaku” (Temptation of Night) and “Yoru no Taiwa” (Night Dialogue). In 1957 his paintings “Bunretsu” (Division) and “Teiko” (Resistance) received the Dokuritsu Prize, Top prize for the venue and a very important offering to such a young artist. 1958 found him honored there again for his two submissions, and he became a member of the Dokuritsu Bijutsu Kyokai in 1959, exhibiting there consistently. Around this tme he also moved to Kansai, and was awarded at the 1958 Regional exhibition with the Asahi New Artist Award. Much of his work focuses on the contrast between light and shadow, and later in life he would be heavily taken with that theme in Noh theater depictions. Texture, shadow and intimation would be a defining character of his paintings throughout his career and the space between perception and existence. His life work can be summed up in his expression at one interview “Things that are heartfelt but lack entities are my reality”.

Ink on paper in a fine brocade border with ivory rollers and enclosed in the original signed double wood box (nijubako). It is 26 x 56 inches (66 x 143 cm) and is in overall fine condition. The rollers will be changed in event it is being shipped overseas.
Born in Yamanashi Prefecture, Kondo Koichiro (1884-1962) studied at the Tokyo school of Fine Arts and started his career as a Western-style painter. After graduation, he took a position as a cartoonist at the Yomiuri Newspaper for a living. Gradually moving his work towards Japanese-style painting, his works started entering the exhibitions of the Japan Art Institute (Inten) from 1919 until 1936. After he traveled to Europe and China in 1922, he became increasingly aware of being Japanese, which affected his works thereafter. The artist's works are in the collection of the Yamanashi Prefectural Museum of Art and the National Museum of Modern Art, Tokyo among others.