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One of a pair of 6-panel screen,with flora and fauna scenes.

W 3000mm H 1230mm

Ref: WEB58 (1622)

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Large six fold screen of blossoming peony riverscape signed Kei-i Hitsu

W 2700mm H 1150mm

Ref: WEB59 (3328)

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Two panel screen of firebirds and chrysanthemum in ink , mineral pigments and gold on paper

W 1900mm H 1700mm

Ref: WEB62 (2943)

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Watercolour of Nikko Temple signed G. Yokouchi

W 640mm H 480mm

Ref: WEB96 (K802)

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Unkoku to-eki school Six-panel folding screen paper, ink, watercolours, and gold leaf. This fabulous screen shows the best of the Unkoku school. The anonymous artist must have been well versed in Chinese ink painting with its subdued palette and delicate outlines. This is especially well visible in the parts of the stream and mountains emerging from clouds in the far distance. All this was juxtaposed with a local splash of colours and the Japanese love of gold. Worthy of note is the realism of the plants and birds contrasted with large areas of the painting covered with abstract gold clouds. The irregular placement of the gold foil squares is indicative of the age of the screen. The distant mountains are adorned with autumnal foliage, whereas camellias, bamboo and snow-clad willow branches evoke winter. It seems like this screen must have had another one to match, depicting spring and summer, thus making a pair. The changing season are a great way to underline the transience of nature and life. This idea is completed by the birds depicted here, all bearing deep symbolic meaning and complementing the iconographical program of the screen. Perched on the willow tree stump is a kingfisher. These birds breed in winter and are symbol of endurance, but also peace and prosperity. In Japanese art , the heron is one of the symbol of Buddihist purity. Furthermore, because of its habit of standing absolutely still with closed eyes, the heron is an example of meditation for Buddhist adepts. This particular painting also shows how to 'read' a Japanese screen. Typically the composition has three main faces points: the sides and the middle joining (if we are dealing with a pair). The side areas are painted as in close-up, the middle as from a far distance or a high vantage point. We continue reading from right to left according to the Asian custom of writing. Signatures, if any, are placed on the outside panels. This scheme is often used in seasonal landscapes like this one. * Provenance, The Manno art museum in Japan.

W 3720mm H 1700mm

Ref: WEB101 (2938)

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8-panel screen,painted on gold background with mineral pigments,scene of Chinese boys playing. Attributed to Kano Gyokuraku.

W 3600mm H 1060mm

Ref: WEB280 (3853)

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Wood block print by Sadao Watanabe (born 1913), depicting scenes from the life and Ministry of Jesus Christ, comprising The Annunciation; The Nativity; The Baptism of Christ by St.John The Baptist; Christ with two Children in a parody of "Suffer not the little children to come unto me"; The Good Shepherd; and Christ appearing to Mary Magdalene after The Resurrection. Each one inscribed by pencil Sadao Watanabe and dated 1965, 1966, 1967, 1968, 1971 and 1973.

W 230mm H 330mm

Ref: WEB306 (3875)

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A Wide 2-panel screen,painted with mineral pigment on paper,the scene of roses & bees. Signed & seal mark of Narasaki Tekkou(1898-1959). He was born in Yamaguchi prefecture and a pupil of Hashimoto Kansetsu in Kyoto.

W 1900mm H 1730mm

Ref: WEB322 (U)

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6-panel screen, painted with mineral pigments of a Chinese subject. Kano School. Signed Hokyo Takaiku.

W 3780mm H 1700mm

Ref: WEB333 (200)

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Two-panel screen. Calligraphy(Howling Phoenix amongst tree)

W 1880mm H 1710mm

Ref: WEB365 (4138A)

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