The Kura - Japanese Art Treasures
Robert Mangold has been working with Japanese antiques since 1995 with an emphasis on ceramics, Paintings, Armour and Buddhist furniture.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1950 item #1001983 (stock #MOR2833)
The Kura
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A set of 12 lacquered panels depicting scenes of the 12 months by 12 different and important artists including Living national Treasures Terai Naoji and Komo Kanzan as well as Pioneering female artist Tenno Bundo, all in the original wooden box signed individually by each artist and dated Showa 24 (1949) and stated to have been assembled under Honma Maika. A list of the artists by month follows: January-Katsuta Seisho, (1890-1975), February-Rokkaku Eiyu, March-Living National Treasure Terai Naoji (b. 1912), April-Living National Treasure Komo Kanzan, (b. 1882-1955), May-Murase Shunji (1911-1989) June-Shinmura Senkichi (1907-1983), July-Oguchi Masaji(1907-2000), August-Honma Maika, September-Tenno Bundo (the first female artist in Uwajima), October-Moriya Shotei (1890-1972), November-Yuki Tetsuo (1900-1970), and December-Omura Soho. Each piece is 9-1/2 by 10-3/4 inches (24.5 x 27.5 cm). The work for January has five stress cracks in the lacquer at the top of the panel, all others are in excellent condition. As they are shikishi (display plackard)-size, it is likely they were meant to be changed out of a frame, once every month. A very rare opportunity to own a representation of work from so many important modern lacquer artists.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1700 item #1163698 (stock #ANR4101)
The Kura
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A Momoyama-early Edo period gold screen depicting a happy god of fortune drinking while being pulled by deer in his elaborate wagon through a rocky landscape. The paper is wrinkled and creased with age, and the color worn, exuding a great sense of antiquity. The bold patterns and rich texture of the Edo period brocade border amplifies that feeling. The screen is 22-1/2 x 56 inches (57 x 142 cm) and has a shaped lacquered wood frame retaining antique paper backing with some repairs.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1700 item #1431009 (stock #MOR7969)
The Kura
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Tempestuous waves in fine gold lines splash between lightning shapes decorated with reed curtains on the sides of this singular lacquered wooden koro with woven silver lid dating from the Momoyama to opening of the Edo period, Later 16th to early 17th century. It is 8.5 cm (3-1/4 inches) high, 7.5 cm (3 inches) diameter. The worn base has been re-lacquered to protect the wood core from splitting or cracking otherwise is entirely original to the period.
All Items : Archives : Regional Art : Asian : Southeast Asian : Pre 1700 item #1280294 (stock #MOR4763)
The Kura
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A beautifully preserved 16th to 17th century Annan Bronze basin inscribed with the animals of the zodiac which had been used as a prayer bell at a Japanese Buddhist temple. It makes a beautiful ring when struck. It is roughly 12 inches (30 cm) diameter, 6-1/2 inches (16.5 cm) tall. An exceedingly rare find. The Japanese had extensive trade with the Kingdom of Annan (Vietnamese Annam) and in fact one of the most famous and still extant symbols of Hoi An is the Japanese bridge, built in the 1590s by the Japanese community there.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1700 item #327521 (stock #SAT1225 )
The Kura
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Here is a very rare early Edo period Ni-mai-do Gusoku prominently displaying a Christian cross like symbol on the front and back of the chest plate in gold. It has a simple kabuto of 6 vertically joined iron plates falling from a circular peak, with a three lame Shikoro. Displayed on front is a wooden crescent moon maedate covered in textured gold (likely a later reproduction). The mask is an unusual Hanpo with a very small mouth in the Momoyama style. The Sode consist of five pieces, the lowermost trimmed and covered in gold, which has largely worn away. The two piece iron Okegawa-do is covered in black lacquer and bears the cross symbol on both front and back. From the waste hang 7 rows of fluted Gessan in red Odoshi. The sangu (Kote, Suneate, Haidate) are made of heavy iron splints connected by chain mail over indigo dyed hemp. It comes with the box pictured, a quality kiri box much worn and often repaired over the centuries (the stand is not included).
All Items : Archives : Regional Art : Asian : Japanese : Pre 1700 item #1468648 (stock #Z047)
The Kura
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Namiamidabutsu sho (Praise to the name of Amiddha Buddha) is scrawled in faint verse down the upper right, while on the left is a warning, kono tori, minasama goyojin goyojin (all those on this path, be wary be wary…) The two scripts are separated by a grave marker at the base of which lies a skull and scattered bones among the unkempt dried grasses. A very unusual seal in the shape of a Buddhist ewer hugs the right edge. Early to mid Edo period in the style of Hakuin Eikaku (1686-1768). Ink on paper, it has been fully restored with a thin black border in a field of dark brown and retains the original bone rollers. The scroll is 42.5 x 165 cm and in excellent condition
All Items : Archives : Regional Art : Asian : Japanese : Pre 1700 item #674017 (stock #MOR2183)
The Kura
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Shishi prance across the mottled Kiri-wood surface of this Momoyama to early Edo period Koro in gold and silver maki-e and mother of pearl inlay. A copper insert contains the fragrant incense ash. There is a hand forged iron staple top and bottom of one ancient crack testament to age. It likely once had a silver hoya (cover) which has disappeared over the centuries. When we acquired this and another similar piece listed from a temple in Fukui prefecture, it was so covered in grime that the maki-e could not even be seen. Imagine our surprise when it surfaced during the slow cleaning process. This is a beautifully executed piece very much in the style of that long ago era. It measures 13-1/2 inches (34 cm) diameter, 7-1/4 inches (18.5 cm) tall.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1700 item #1065560 (stock #ANR2919)
The Kura
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An unusual 17th to early 18th century Screen featuring a koto harp and candle stand behind a screen under blossoming prunus, a spry group of pine in front and rushing water beyond. Incredible veining in the gold. Like much of Japanese art, the viewer is asked to interpret the scene as they see fit. Perhaps the remnants of a night of poetry and music under the plum blossoms. Perhaps the lonely Michizane playing to the moon, alone in exile with thoughts longing for Kyoto. All performed with heavy pigment on paper and genuine applied gold foil. It is framed with black lacquered wood. The screen is 47-1/2 by 106-1/2 inches (120 x 171 cm) and is in overall fine condition considering the age, with damage typical of the very heavy pigment used on the pine in the fore. The candle stand is performed in moriage technique and has lost some of the original black coating.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1800 item #1108605 (stock #ANR3041)
The Kura
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Heavy pigment on thickly veined gold creates a powerful collection of scenes from the Taiheiki, the 11th century story of the fall of the courtiers and usurpation of power by two military families, the Taira and the Genji. The screen dates to the 18th century, or middle Edo period. Many old repairs attest to age. We have had it completely remounted, with no painting restoration performed. On the left the famous scene of shooting a fan from horseback from the battle of Yajima. Center two famous riders charge into the waves, on the right a group of warriors bristling with arms, possibly the tragic hero Yoshitsune and his group of roughnecks. The screen measures 104 x 40 inches (264 x 102.5 cm) and is ready to display.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1800 item #1098326 (stock #ANR2976)
The Kura
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Item description:. The lead warrior charges headstrong into the frothing waves, a band of mounted warriors following across the six panels of this mid Edo period gilded screen. Cherry blossoms, symbol of impermanence and the life of the warrior, and pines, symbol of strength and long life, create teh back drop, with clouds of gold applied smoothly and over a pebble textured surface defining the characters. A well painted rendition of this famous scene from the epic Taiheiki . The screen has been restored at some point in the distant past. It is bordered in patterned blue silk with black lacquered wooden frame and features antique backing paper. Well painted and proportioned, in an easy to wall mount size. It measures 4 feet by 112-1/2 inches (122 x 286 cm) and is in fine condition, with only minor insect damage and fissures in the heavy pigment typical of age.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1800 item #1279517 (stock #MOR4753)
The Kura
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A mid Edo period carved woodn mask for Shishi-mai festival dance covered in red and black lacquer with gilded teath and eyes in rarely seen good condition. The mask is used with the hand, not worn over the head, the dancer usually hidden beneath a long flowing cape. It is 22 x 20 x 20 cm (8 x 8 x 9 inches) excluding the horn and ears. There is an old metal plate nailed over one hinged jaw inside (not visible from outside), where the wood had likely once given way. Overall it is in surprisingly good condition considering the age.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1800 item #353333 (stock #ANR1316)
The Kura
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A blossoming cherry occupied by two Birds of paradise spreads its arms over blue water flowing across the gold ground of this fine two panel screen by Kano Takanobu (d. 1794). The scene is depicted with mineral pigment on paper and gold foil. The artist has chosen a softer than traditional approach to the tree bark, almost boneless, all written with washes of dark color like that of the Rimpa school. The blossoms themselves are painted in slight moriage gofun, each heart shaped petal unique. It is quite spectacular. The screen has been fully restored at some point in the past, likely late 19th century, and touched up once more recently. There are two large areas of damage that were repaired, the first in the upper section along the border around the spine, where it appears the gold is much newer, and a 4 inch tear above the blossoming branch beside the birds. Also insect damage in the (must have been delicious) blue river has been repainted. Each panel is 34 by 69 inches (86.5 x 176 cm). There are faint water stains in rivulets running down the painting, however due to age and faint nature are not distracting. The screen is bordered in blue-green brocade separated from the painting by a white strip, and features a black lacquered wooden frame with high quality etched brass fittings. There are abrasions typical of age, but overall this is a very decorative screen in fine condition. Takanobu was the first born son of Kano Hidenobu, he achieved the rank of Hogan before his death in 1794.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1800 item #1342598 (stock #ANR5289)
The Kura
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Brilliantly colored riders charge into rushing water on the gold leaves of this 18th century six panel screen relating the famous charge at the Battle of Uji Bridge. Tatsuna and Kagesue charge forward into the waters riding toward the enemy lined up on the opposite shore of the Uji River; the skeleton of the bridge visible in the back-ground. The screen measures 173 x 377 cm. (68 x 148-1/2 inches) each and retains the original Edo backing paper, with strong hinges and a good brocade border. It does need some surface repairs and restoration, mostly cosmetic as the screen itself is solid. We are offering this screen as is to allow the buyer to choose the level and quality of restoration desired. See The Art of the Japanese Folding Screen (ISBN , 1 85444 103 5) image 2 for a similar composition held in the collection of the Victoria and Albert Museum, London.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1900 item #1317203 (stock #TCR4848)
The Kura
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A bakumatsu era (mid 19th century) Shishi Koro of dark red clay covered in a rich green glaze from the Banko kilns in Mie. It is 14 x 24 x 8 cm (9 x 5-1/2 x 3 inches) and is in fine condition but for one clawed toe which has been chipped. This squat style of facial expression was popular from the declining years of the Edo period into the early Meiji, and fits the date of this piece perfectly.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1900 item #1248536 (stock #MOR4556)
The Kura
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Three tough looking toads work together to support the base ring of this unusual leaf-shaped bronze Usubata flower basin enclosed in an antique wooden box. It is signed on the base simply “Oka”. Roughly 11 inches (27 cm) diameter, 8 inches (20 cm) tall.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1900 item #1408940 (stock #L079)
The Kura
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The golden orb shines out like the light of Buddhism from between the dark clouds on this exquisite 19th century image by Wada Gozan, priest of Jinko-in Temple. Ink and gold-pigment on silk in a patterned silk border with wood rollers in a period kiri-wood box titled Tsuki no ga Yokomono Ippuku (1 wide painting of moon) Wada Gozan koto (of Wada Gozan), annotated by Kuten. It is 25 x 48-1/2 inches (63.5 x 123.5 cm) and is in overall fine condition, with a minor wrinkle in the lower border. Wada Gozan (the art name of priest Gesshin 1800-1870) was a close associate of poet and artist Otagaki Rengetsu and they were known to collaborate on many occasions. She spent much of her final years in his temple Jinko-in.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1920 item #1423336 (stock #TCR7834)
The Kura
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An exceptional boxed set of sake cups made by Seifu Yohei III lined with silver by Nakagawa Joeki (IX or X) enclosed in the original compartmentalized kiri-wood box signed by both artists. Each cup is unique, silver on blue, gold on red, and green on yellow, each stamped by the artist and displaying the celebratory Plum, Pine and Bamboo (Shochikubai) motif. They are 2-12 inches (6.3 cm) diameter each and in excellent condition.
Seifu Yohei III (1851-1914) was the adopted son of Yohei II. Sent at the age of twelve to study painting under then the top Nanga artist Tanomura Chokunyu, he returned in 1865 due to illness. The next year he entered as an apprentice the Seifu studio, then under the control of the second generation. As so often happens in these situations, in 1872 he married the daughter, becoming a “Yoji” or adopted son of Yohei II and taking the family name, established himself as an individual artist. Within the year his genius was discovered, and works by him were sent to the Vienna World Exposition. Seifu II retires of illness in 1878, and III succeeds the family kiln. Once again he is honored as the new head of the kiln to produce the dinnerware for the former president of the US Ulysses Grant. His work was highly acclaimed, both domestically and abroad, drawing honors and prizes at the Naikoku Hakurankai (National Exhibition), Chicago and Paris World expositions and being named one of the first members of the Imperial Art Academy specializing in ceramics in 1893 (Tei shitsu Gigei In). Works by this rare artist are held in Museums and collections throughout the world. He was succeeded by the fourth generation Seifu (1871-1951) in 1914.
Likely by Nakagawa Joeki IX (1849-1911), he became the head of the Nakagawa family, a lineage of Kyoto artists who had specialized mainly in making utensils for the tea ceremony at a time when support for the Tea Ceremony reached unprecedented lows. This was due to the association of Tea with the former ruling class. Nakagawa Joeki received the support of the Mitsui family to compensate for the loss of traditional patronage during the Meiji era and is remembered for creating highly accomplished works. Nakagawa Junsaburo (Joeki X, 1880-1940) was the took the reins in 1911, He headed the line from1911-1940, covering the reign of 3 emperors, he was greatly favored by tea masters at the time.
All Items : Archives : Regional Art : Asian : Japanese : Pre 1920 item #1426926 (stock #TCR7894)
The Kura
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Iron laced with tinges of blue decorates the rim, flowing into the bowl of these five abalone shaped dishes from 19th century Takatori in central Kyushu enclosed in a beautiful age darkened kiri-wood box titled Awabi Mukozuke Go Kyaku Takatori Yaki (Five Abalone Shaped Dishes from Takatori). Each is roughly 9.5 x 12.5 cm (4 x 5 inches) and each bears the “Taka” stamp beneath. No post-firing damage. One has a pre-firing chip in the rim, another a firing flaw visible in the bottom, it does not go through.