Catalog: Antiques: Regional Art: Asian: Japanese (183)

A fascinating Jar-shaped set of stacking food boxes known as a Jubako in multi-color dating from the early 20th century. Jubako were used to serve food to groups or family on festive occasions, where the food was presented in the box, and each person would take what they wanted, rather than have the meal served on individual dishes as in more formal Kaiseki meals. Assembled it is 20 cm (8 inches) diameter 32.5 cm (13 inches) tall and is in overall excellent condition.

A lacquered cabinet for storing Tea accoutrements by Koyama Kogetsu enclosed in the original signed wooden box dated 1931 and titled Tsukiyama Maki-e Kikkyoku (Mon and Hills Maki-e Tea Cabinet). On the door deer stand on the edge of a glade, gold, lead and Raden (mother of pearl) trees with branches of gold and silver maki-e above. The door lifts off to reveal the silver disc of a full moon rising over evening hills. It is signed in gold Kogetsu. The cabinet is 36 x 28 x 39 cm (11 x 14 x 15-1/2 inches) and is in excellent condition. Koyama Kogetsu (Rokuro, 1884-1937) was a Maki-e artist from Kashwaski City born the son of Koyama Kinpei (Tesse). He studied the art of Maki-e under Kawanobe Iccho and Uematsu Homin.　His work was exhibited at the Teiten National Art Exhibition and awarded at the Imperial Crafts Exhibition.

An elegant tall vase in signature soft blue by Shinjo Tozan III of Yamagata enclosed in the original singed wooden box dating from the early half of the 20th century titled Yohen Kabin. It is 15cm (6 inches) diametr, 41cm (16 inches) tall and in excellent condition.
Higashiyama (alternatively read Tozan) is the common name for the hilly area in the eastern part of Shinjo City, Yamagata prefecture, and the geology of the village is covered with a thick layer of clay. Yahei Wakui, (1801-1872) the founder of Higashiyama ware, was a potter from Kosugi in Echigo, modern day Toyama prefecture. While traveling the country for training, he fell in love with the clay of Higashiyama, and in 1841 opened a pottery as the official kiln for the Shinjo Tozawa clan.
The third generation Yahei was born on January 29, 1896, as the second son of Yahei II. From an early age, he learned pottery skills from his father and helped the family business. The era in which the third generation Yahei was active was a time of great change, including the global recession after World War I, the Sino-Japanese and the Pacific War. Utilizing the characteristics of Higashiyama's clay, he produced earthenware pots, yukihira, suribachi, blanched pots, kataguchi, and other miscellaneous everyday utensils, and laid the foundation for the fame of today's "Higashiyama ware." The folk-ware researcher Yanagi Soetsu, who was exposed to the pottery of the third generation of Yabe, writes in his book ``Japan of Handicrafts'' that ``They used a beautiful bluish sea cucumber glaze to fire earthenware pots...'' (Omitted) As an earthenware pot, it is said to be the most beautiful in Japan. Yahei III passed away on October 23, 1945 at the age of 73. Currently the 7th generation works alongside his father

A fabulous bowl by the first-generation Kato Keizan enclosed in the original signed wooden box titled Tenranji Zuicho Moyo Hachi (Bowl with Blue Glaze Decorated with Auspicious Birds). Tenran is a blue glaze made by the official kiln of the Qing Dynasty in China. On this in raised white auspicious birds with long tails like dragons circle the rim over archaic symbols reflecting continental taste popular from the Meiji through Taisho to early Showa period. It is 24.5 cm (9-1/2 inches) diameter 13 cm (5 inches) tall and in excellent condition.
Kato Keizan I (1886-1963) was born in Tajimi city, Gifu, a pottery center in its own right, however came to Kyoto to apprentice under Kiyomizu Rokubei IV (1848-1920). He established himself in 1912 in the same neighborhood in Kyoto, where he became well known for celadon and Chinese based porcelain forms. He was especially remembered for Tenryuji seiji (Chinese Long Quan celadon porcelain). Works by this artist are held in the National Museum of Modern Art, Kyoto among others.

Porcelain cranes in a lead tree decorate the lacquered top of this gilded wooden box enclosed in the original wooden box titled Romatsu Sokaku Zu (Ancient Pine Two Cranes) and signed Sekka, with signatures of Tozan II (porcelain decoration) and Suzuki Hyoetsu (lacquer artist) inside. In this case, Kamisaka Sekka produced the design, enlisting two of Kyoto’s then top artisans to complete the work, lacquer artist Miki Hyoetsu I who applied the lead, gold and lacquer and Ito Tozan who created the ceramic cranes and pine boughs. The box is in unused condition, containing the original stone and water-dropper and two brushes still wrapped in paper. It is 25.5 x 10 x 3.5 cm (10 x 4 x 1-1/2 inches) and is in excellent condition. Kamisaka Sekka (1866-1942) is the godfather of 20th century Japanese design and the Rimpa revival. He was born in Kyoto in 1866, one of six siblings. From 1882 he began his artistic career, however did not take-off until visiting the Paris Expo in 1901, where he was exposed to Art Nouveau and Western industrial design concepts. He was adept as a painter and designer in an assortment of other media, working with various artisans to bring to life his ideas. He was employed as a teacher at the Kyoto Municipal School of Art, and was widely exhibited and prized throughout his career, which ended in retirement in 1938. Ito Tozan I (1846-1920) began as a painter in the Maruyama school studying under Koizumi Togaku. In 1862 he became a pupil of Kameya Kyokutei, as well as studying under Takahashi Dohachi III and Kanzan Denshichi (who made the dishes for the imperial table). In 1867, with the fall of the Edo government, he opened his kiln in Eastern Kyoto. Much prized at home, he was also recognized abroad at the Amsterdam, Paris and Chicago World Expositions. With an emphasis on Awata and Asahi wares of Kyoto, he began to use the name Tozan around 1895. In 1917 he was named a member of the Imperial Art Academy, one of only five potters ever given that title, and like his teacher Denshichi, created the dishes from which the Imperial family would eat. He worked very closely with his adopted son, Ito Tozan II (1871-1937). He too began life as a painter, but his talent was seen by Tozan I, who adopted him and converted him to pottery, where he both succeeded and excelled as a member of one of Kyotos most well known pottery families. Miki Hyoetsu I was born in 1877, establishing a line of craftsman which lasts to this day. He was exhibited at the Shotoku Taishi Ten and Paris World Exposition among others.

Phoenix soar among golden clouds on this amazing Lacquer box made for holding a Tsuzumi drum by Miura Meiho (1900-1975) enclosed in the original signed wooden box titled Houn Maki-e Tuzumi Bako. It is bound with silk chord which is held to the box with solid silver hardware. Inside it is lined with brocade. The box is 30.5 x 24 x 24.5 cm (12 x 9-1/2 x 9-1/2 inches) an is in perfect condition.

A glistening incense burner in the shape of a court cap by Eiraku Zengoro enclosed in the original signed wooden box dating from the 19th century. Gold designs gleam on the regal plum surface. It is 15cm×10.5cm,18cm (6 x 4 x 7-1/4 inches) and appears to be in perfect condition.
The Eiraku family is one of Japan’s most important and historically significant lines of pottery artists in Kyoto, tracing back to the 16th century. The skill of Eiraku potters earned the honorific title of Senke-Jissoku, reserved for 10 families of artisans who produce tea ceremony utensils for the san-Senke, or Japanese tea schools. Records and information on early generations of the Nishimura family were destroyed in the Tenmei fire (1788). The name Eiraku began being used by the 11th generation Hozen. Eiraku Zengoro XII (Wazen, 1823-1896) was one of the most influential potters of his time, setting the stage for the revival of and modernization of Kyoyaki, based on models by Koetsu, Kenzan and Ninsei. Although named Sentaro, he was more commonly referred to by the name Zengoro, and used also the name Wazen after 1865. He was trained under his father, Hozen, who was a compatriot of Ninnami Dohachi and Aoki Mokubei, and rightfully one of the most famous potters of the later Edo. Wazen was given the reins to the family business quite early, in 1843, and managed the day to day running of the kiln while his father sought to perfect porcelain products in Kyoto. From 1852 to 1865 the family worked from a kiln at Ninnaji temple. Attracting the attention of a Daimyo from Kaga, from 1866-1870 he worked to revitalize a porcelain kiln in that area, coming to produce classic wares which are prized to this day. During this time of working divided from the family kiln, two workers who had been trained by his father shared the title of the 13th generation leader in Kyoto, however Wazen outlived both by decades. He returned to Kyoto in 1870, and also established a kiln in Mikawa in the 1870s to produce more common tableware. From 1882 until his death, it seems he worked from a large kiln in the Eastern Hills of Kyoto. Under both the 11th and 12 generations of this family the name Zengoro took on a life of its own, and came to symbolize the highest in porcelain and tea wares. XIV (Tokuzaen) was born the first son of Eiraku Wazen, the 12th generation head of the family in 1853. Best known for Aka-e and Gosu, with a strong hand, he died in 1909. Eiraku Myozen (1852-1927) was the wife of Eiraku Tokuzen and was a rarely accepted female potter of the Meiji to Early Showa eras, protecting and propelling the name of Eiraku into a new generation. She guided the family through the volatile years of the late Meiji and Taisho eras, and added a delicate touch to the Eiraku oeuvre. Her work was especially favored by 12th generation head of Omote Senkei Seisai. Pieces by her are held in the Seattle Art Museum and Freer Sackler Gallery among others.

A porcelain bowl made by Mokusen of Kyoto decorated in blue with waterbirds taking flight from a reed-dotted shore followed by a four character verse by Oyabu Shunko enclosed in the original wooden box signed by both artists dating from the early 20th century. It is 18 cm (7 inches) diameter, 9 cm 3-1/2 inches) tall and in excellent condition.
Mokusen was a prolific porcelain artist in Kyoto well known for his tea ware. Oyabu Shunko was born in Kyoto in 1901 and studied Nihonga under Yamamoto Shunkyo, exhibiting with the Bunten where his work was awarded Yusen.

Fish and water plants in blue with a crab in black decorate this vase by master of the subject Ono Bakufu enclosed in the original Tomobako wooden box from the Sosen Gama titled Sometsuke Kabin signed and sealed inside by Bakufu. The vase is 27 cm (roughly 11 inches) tall, 16.5 cm (6-1/2 inches) diameter and in excellent condition. Born in Tokyo, Ono Bakufu (1888-1976) relocated to central Japan after the great Kanto earthquake of 1923 where he became an honorary member of the Hyogo Prefectural Academy of Fine Arts. Often displayed at the Teiten National Exhibition, he is best known for paintings of fish, which were serialized in 72 woodblock prints from 1937-1942 (Dai Nihon gyorui gashu).

A beautifully crafted cast, carved, and parcel gilt bronze image of a samurai pulling back, arrow nocked, ready to let fly, signed in a metal cartouche on back Shunko-saku (made by Shunko). It is roughly 27.5 cm (11 inches) to the top of his hat, 25 cm (10 inches) from forefinger to elbow. The warrior is calm, determined, with a look of deep concentration in his inlaid eyes. He wears an eboshi, a formal type of hat, and is dressed in sumptuous, loose fitting robes with leggings and braces to protect his arms and legs. A short sword juts from his waist. The warrior's robes and pants feature large wagon wheel mon, known as genji guruma. The signed box identifies the figure as Minamoto no Tametomo (1139 - 1170) was a celebrated historical samurai of the Heian Period. Known for his impressive archery skills, he features as one of the epic warriors of the Hogen Rebellion, a precursor to the Genpei War. It is in excellent condition.

A classic vessel reflecting the grace of Song-Yuan period aesthetics by master of the genre Suwa Sozan II (Torako) enclosed in the original signed wooden box. It is 13 cm (5 inches) diameter, 25 cm (10 inches) tall and in excellent condition. A prime example of this early female Japanese potters work.
Suwa Sozan (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan II (Torako) was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

A white bronze sculpture of crashing waves supporting three glass orbs; an elegant form carrying good fortune from old Japan. It is 49 cm (19-1/4 inches) long and in overall excellent condition. Set it in the window and watch the orbs blow colorful prisms across the room.

An exquisite bronze image of an ancient sage, a gnarled staff supporting his crooked frame with a golden fan capped with silver feathers clutched in his right hand. The Detail is superb, from the evocative expression to the minute details on his robe and accoutrements. It is signed on the foot Seiun (Hara Souemon), a top quality bronze, expressive and detailed. The figure is 10 inches (25.5 cm) tall and in excellent condition.
The Seiun family began bronze casting by the lost wax method in the later Edo to Meiji period, receiving the technique directly from Hara Takusai. Each piece is unique, unlike many foundries which employ re-usable molds. They are currently in the 5th generation, and have been named an intangible cultural property of Niigata Prefecture.

The sage gazes out from his hermitage clinging to the hillside upon a sparse scene of falling water and precipitous climbing peaks dominating this painting by Shirakura Niho dating from the prime of his career. Ink and light color on silk mounted in blue cloth with thin piping terminating in white ceramic rollers. It is 40.5 x 187.5 (16 x 74 inches) and is in excellent condition; enclosed in a modern wooden storage box. A published version of the Niho Catalog will accompany the work.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A vase by Kiyomizu Rokubei V featuring auspicious calligraphic characters opposite a boy staring at the moon from atop his ox decorated by Domoto Insho enclosed in the original signed wooden box. It is 22 x 15 x 37 cm (9 x 6 x 14-1/2 inches) and is in excellent condition.
Kiyomizu Rokubei V (Shimizu Kuritaro, 1875-1959) initially studied painting and decorating technique under Kono Bairei, one of the foremost painters in Japan in the Meiji era. After graduating the Kyoto Municipal Special School of Painting, he took a position under his father at the family kiln however. That same year he exhibited his first work at the National Industrial Exposition. He was a co-founder of Yutoen with his father and Asai Chu, and worked ceaselessly to promote the pottery of Kyoto. He helped to establish the Kyoto Ceramics Research Facility (Kyoto Tojiki Shikensho) at the turn of the century which would be the proving ground for many young artist of the era. Doctor Maezaki Shinya has noted that Teishitsu-Gigei-in (Imperial Art Academy Member) Seifu Yohei III also fired his acclaimed works in the Rokubei kiln in the Taisho era. Due to his father’s poor health Rokubei V took the reins unofficially in 1902, commanding the helm until assuming the name Rokubei V in 1913. It was in 1928 that Rokubei changed the reading of the family name from Shimizu to Kiyomizu and applied it retroactively to previous generations. He exhibited constantly, and garnered a great many awards. He worked to get crafts added to the National Art Exhibition (Bunten/Teiten) and served as a judge in 1927, the first year crafts were allowed. In 1937 he was designated a member of the Imperial Art Council (Teishitsu Bijutsu Inkai). Despite changes in the world around him Rokubei persevered, working in all manner of materials and styles. He retired in 1945, perhaps as exhausted as Japan was with the end of the war, or perhaps seeing that capitulation would signal a new era in need of new leaders and a new aesthetic. He passed the name Rokubei to his son and took the retirement name Rokuwa. Uncontainable he continued to create pottery under that name until his death in 1959. His influence is so pervasive he was voted one of the most important potters of the modern era by Honoho magazine, the preeminent quarterly devoted to Japanese pottery. A multitude of works by him are held in the National Museums of Modern Art, both in Tokyo and Kyoto, the Kyoto Kyocera Museum, The Kyoto Hakubutsukan Museum and the Philadelphia Art Museum among others.
Domoto Insho (b. 1891) was a Kyoto artist, trained in the traditional Shijo manner, but not one to be bound by its rigidity. He studied at the Kyoto Municipal School of Fine Arts, and under the important artist Nishiyama Suishi. Consistently exhibitied at the large National exhibitions (Nitten, Bunten) while fighting for greater acceptance of artworks. He traveled to Europe in 1952, and was appointed a member of the Japan Art Academy and winner of the Imperial Fine Arts Academy Prize, ultimately receiving the Order of Cultural Merit (highest prize allocated to a civilian in Japan). His works moved steadily toward the abstract, as we will see with the next listing. A true Jiyu-gakka, he refused to be defined by any school and was incredibly influential in his time and perhaps even more so after. His works are held in the collection of many internationally renowned institutions including the Museum of Fine Art, Boston, Tokyo National Museum and Kyoto Municipal Museum of Art. And in fact there is a museum dedicated to him in Kyoto, the Domoto Insho Museum.

A work so compositionally striking we chose it for the cover of the exhibition catalog by Shirakura Niho titled Baika Shoin Zu (The Plum Blossom Retreat). Pigment on silk in a silk border enclosed in the original signed wooden box. It is 55.5 x 127.5㎝ (21-3/4 x 50 inches) and is in excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A peaceful cluster of homes blanketed in snow by Shirakura Niho enclosed in the original signed wooden box titled Kamo Sekkei (Kamo in Snow). This is likely an image from very close to the artists heart, he lived west of the Kamo River in Kyoto, and one can imagine this being one of the bridges spanning that river he has seen out on a winter day. Ink,Gofun & Light color on Silk bordered in light colored cloth. The scroll is 46.5 x 203.5 cm (18-1/4 x 80 inches) and is in overall excellent condition. Niho was from Niigata prefecture, where harsh winters are the norm, and he was well known for his winter imagery.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.

A quintessential image of a tiny bean-shaped figure lost in thought, perhaps staring out to sea on a sunny hillock before cascading water in lush Spring-green washes by Shirakura Niho enclosed in the original signed wooden box titled Enpokihan (Distant Sails Returning). Ink & Light color on Silk in fresh green extended with beige featuring bone rollers. It is 64 x 143.5 cm (25 x 56-1/2 inches) and is in overall excellent condition.
Shirakura Kinichiro (Kinro, Niho or Jiho, Kanyu, 1896-1974) was born the first son of lawyer and scholar Shirakura Shigeichi in Shibata city, Niigata. His father was a noted Kangakusha, the pre-modern Japanese study of China; the counterpart of Kokugaku (Japanese Studies) and Yōgaku or Rangaku (Western or “Dutch” Studies). He was initially inducted into the Nanga school of painting at the age of 12 under Hattori Goro. He moved to Tokyo at the age of 17, where he studied Western Oil painting with Oshita Tojiro and watercolor under Ishii Hakutei. Two years later his paintings were first accepted into the 8th Bunten National Exhibition under the name Kinro. That same year his work was honored in the Tokyo Taisho Hakurankai Exposition. In 1915 his paintings were again accepted into the Bunten where they were awarded Nyusen status. Despite his initial successes, he paled on Western painting and in 1917 decided to return to the Nanga school joining his initial teacher Hattori Goro who had relocated to Kyoto and it was from Goro that he received the name Niho which we know he was using by mid 1920 when Hattori fell ill, and Niho moved by introduction to study under Tajika Chikuson. In 1921, along with Komura Suiun, Ikeda Keisen, Yano Kyoson, Mizuta Chikuho, Mitsui Hanzan, and Kono Shuson he became a founding member of the Nihon Nanga-In society of literati artists. That same year his first collection of paintings was published, and he began a two year journey in China, which had become a Mecca for Japanese artists. He would consistently display at the Bunten/Teiten where he was consistently awarded, as well as the Nihon Nanga-In. In 1926 he would move to the tutelage of Komura Suiun in Tokyo, and be awarded at the Fist Shotoku Taishi Art Exhibition. He began exhibiting at the newly formed Nanga Renmei Exhibition in 1937 and in 1938 he established his own art salon. In 1940 he would change his name from Niho to Kanyu. Post war his participation in art expositions becomes sporadic. His final known painting, of Nijo castle, created in 1972 is held in the Kyoto prefectural Archives. Other work by him is held in the collections of the National Museum of Modern Art in Tokyo, the Kyoto Municipal Kyocera Museum, the Nîgata Prefectural Museum of Art, the Tenmon Museum in Osaka, the Korean National Museum in Seoul, the Smithsonian in Washington DC, the Metropolitan Museum of Art New York, the Minneapolis Institute of Art, the Honolulu Museum of Art and the Kaluz Museum in Mexico City among others.