Filter collection by status:

Japanese folded four panels screen embroidered with cherry blossom tree and birds. Fitted in original box

W 1940mm H 1130mm

Ref: WEB955

View Images

Japanese scroll by Toko Shinoda ( 1912 -) Fitted in original box signed in ink by the artist. Depicting Japanese calligraphy So- Sho style, ”on the green field”. Accompanied with the original receipt sold to Mr Tanaka from the artist on 4th of June 1962 for 25.000 yen.

W 255mm H 1360mm

Ref: WEB945

View Images

Japanese painting on cedar wood, signed in the front and back, in the original cardboard case. (3321)

W 150mm H 220mm

Ref: WEB861

View Images

Six panel folding screen paper, ink, and watercolours Kacho-ga - birds and flowers. - popular subject in both Japan and China. Here sparrow, wagtails and wild quails are depicted in a misty gold landscape, among bamboo, chrysanthemums, morning glory, and other flowers and plants. The mixture of flora from different seasons is not unusual, and it reflects the transient passage of time. This early screen is a good example of the use of square hold leaf in the background. In later screens, the squares grow larger and are more regular. When depicting the hazy clouds, the artist used sunago (sprinkled gold) to obtain a dreamy and misty effect. Most popular forms of byobu are two-and six-fold screen, the latter more often that not produced in pairs. They were referred to as isso, one pair, treated as an identity. This screen probably had another one to match to its right, where the composition would continue with the following seasons. Only a large castle interior would be able to accommodate paintings of this size, each usually approximately 3.5 m long. From the early 20th century onwards, two-fold screens increased in popularity as the size of living quarters in modern day Japan decreased.

W 3780mm H 960mm

Ref: WEB839

View Image

Eiho Hirezaki (1881-1968) Signature and seal: Eiho Hirezaki Two-panel folding screen paper, ink, and watercolours Beauties have always been a favoured subject of painters the world over, not only the Japanese.This quite beauty portrait is typical work by Eiho, known for his woodblock prints of bijin - young girls and geishas. The artist's life was stretched over three eras: Meiji, Taisho and Showa. This was not an easy period for geishas: from trendsetters and fashion stars, they had to transform into guardians of the traditional arts. Eiho's specialty were kuchi-e (lit. mouth pictures), woodblock prints inserted into the front (kuchi) of a magazine. The girl's hair does bring the woodblock printing technique to mind: it is realistically painted, with few layers creating the effect of shining black lacquer, or real hair. The details of the face are also depicted with tender care. of a "Seated Beauty" , painted on paper. Signed and seal mark of Eiho Hirezaki (1881-1968)

W 1720mm H 1710mm

Ref: WEB838

View Image

Six-panel folding screen. paper, ink, colour pigments, and go fun. A stylized meandering river, asymmetrical composition and gold ground are all signature stylistic means of the Rimpa school, with its attempts to revive the best of the Yamato-e tradition. This bold, half-abstract decoration brings our focus to the design based on contrasts - dark river and bring gold, simple background and details of fans. The fans are decorated with Kiku (chrysanthemums), evocative of autumn. The flowers have been further highlighted using a technique called moorage - slightly raised relief obtained by painting with go fun, a paste of glue mixed with powder from baked and ground shells. Thanks to this suggestive volume, the flowers appear to 'pop out' of the painting.

W 3720mm H 1710mm

Ref: WEB835

View Image

Eight-panel folding screen paper, ink, watercolours, and gold. Signed; Hoitsu-Hitsu and red seal mark. Seven cranes in search of food are joined by two more. Four birds have raised their heads and watch the landing companions with interest. The one whose back is turned on them has also turned its head to look round. Cranes are known for forming couples which subsequently incubate the eggs and guard the younglings together, but mating is undertaken in large groups. They also gather into large flocks to fly to distant areas in picturesque V formations. In this excellent example of a Rimpa school painting, the artist strikes a harmonious balance between realism and decorative quality. He shows the cranes in motion, moving with tremendous grace. At the same time, the gold sprinkled on the background into shapes resembling small clouds makes the scene look unreal, taking the birds into an ideal space, undistracted - admires their beauty and picturesque dance. The seven cranes on the ground are captured in different poses but their wings resting on their side endow them with a static quality. And then the spread wings, bent legs and necks of the two birds flying in from the left add dynamism to the composition. As is the case with numerous Japanese works of art, harmony is attained here despite the asymmetry. The signature points to Hoitsu (1761-1828), a Rimpa master who skilfully combined various stylistic elements. Before he chose the Rimpa school, he had apprenticed with a number of workshops of the Kano and Maruyama schools, and also with Utagawa Toyoharu, an ukiyo-e artist, and So Shiseki of the Nanga school. His work made the Rimpa school's style more vivid in the late 18th and early 19th centuries, attracting many new students. They soon joined the movement aiming to revive traditional Japanese art.

W 5520mm H 1790mm

Ref: WEB836

View Image

Six-panel folding screen paper, watercolours. High and majestic with his top reaching above the clouds, the mouton was believed to be the abode of protective deities, and therefore pilgrimages to the top were made to request their blessing. In The Tales of Ise (Ise monogatari), a classical work of Japanese literature, one of the protagonists makes a stop during his trip to admire Fuji. He expects a springtime view but in fact notices some snow. He notes his surprise in a poem which was to inspire many artist, also those of the Rimpa school. Fuji is a mountain that knows no seasons What does it take this for that it should be dappled with fallen snow?* The six-panel depicting the Fuji shows it surrounded by billowy clouds, resembling roller waves in the sea. The seemingly static mountain is depicted dramatically, in a image full of undulating lines and shades of blue flickering in the viewer's eyes. Such as expressive, almost abstract rendition of nature had been characteristic of Rimpa school works since the Genroku period (1688-1704), specifically since Ogata Korin's (1658-1716) reform. *Quoted from: Tales of Ise, trans. Helen Craig McCullough, Tokyo, 1968, p.76.

W 3680mm H 1720mm

Ref: WEB834

View Image

Rimpa souka-zu Six-panel folding screen paper, natural pigment and ink, mounted on gold ground. Grass and flower painting, square seal mark of Inen and round seal mark of Sousetsu in each painting. Sosetsu was one of the best pupils of Tawaraya Sotatsu (early 17th century), and may have taken over the workshop after the master passed away. His favoured subjects were flowers and plants.

W 657mm H 286mm

Ref: WEB833

View Image

Imao Keinen (1845-1924) signature and seal: Imano Keinen pair of four-panel screen silk, ink and mineral pigments. A flock of geese are preparing to spend a winter night on a desolate lakes hose. on the right screen, two birds in flight struggle against the wind to join the rest of the group, depicted on the left screen. Some of the latter settle to sleep in the cold dusk, arranging their down and tucking beaks behind their wings. We cannot see the lake, shrouded with thick mist, but it is certainly there, lulling the birds to sleep with the quiet lapping of its waves. The inspiration of Maruyama Okyo (133-1795) and his students is clearly visible in tis striking painting: a very similar pair of screens depicting a flock of geese on a shore of a tumultuous sea was painted by a pupil of the old master in 1783. Keinen clearly admired his predecessors, but he did not simply copy their work. He added some of his own signature reeds painted with broad, dashing brush strokes. They make a striking contrast to the finely detailed depiction of the birds. Keinen was born and educated in Kyoto and his life always revolved around the old capital. He is most known for his series of woodblock prints published in books in the 1890s, portraying birds in four seasons. In the popular perception, this relatively small accomplishment overshadows the fact that he was one of the most prominent painters of his time. Keinen became a member of the Art Committee of the Imperial Household in 1904, and of the Imperial Art Academy in 1919.

W 3700mm H 1810mm

Ref: WEB837

View Image