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Pair of 2-panel screen, Sparrow and bamboo. Signed: Konishi Fukunen(1887-1959) & seal mark. Maruyama school painter. Pupil of Suzuki Shounen.

W 1420mm H 1720mm

Ref: WEB472 (U)

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2-panel screen, misty mountain.

W 1860mm H 1520mm

Ref: WEB473 (4127A)

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2-panel screen, gold sprinkled.

W 1420mm H 1520mm

Ref: WEB474 (4148A)

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2 panel, Shoji door,

W 1520mm H 1520mm

Ref: WEB475 (4148A)

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6-panel screen,painting of four seasons flower in blossom on paper. Signed; Moe.

W 500mm H 1400mm

Ref: WEB478 (2800)

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A 6-panel screen depicting an old pine tree on a gold background.

W 2640mm H 1120mm

Ref: WEB719 (U)

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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 (P144)

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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 (4106)

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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 (3855)

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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 (7J101)

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