Catalog: Archives: Regional Art: Asian (643)

Mountains crowned with white snow rise majestically over the misty waters of a winter lake surrounded in dark pine and cedar on this Superb landscape by Nomura Bunkyo. Ink and light color on silk with powdered gold mist. The mounting is all original and top quality, brilliant blue silk border on front in black lacquer frame with fine bronze hardware and entirely backed in patterned blue satin. The screen is 68 x 149 inches (173 x 373 cm )in excellent condition but for handling marks at the edges of the hinged panels.
Nomura Bunkyo (1854-1911) was born in Kyoto. He initially studied Ukiyo-e under Umekawa Tokyo, and was enrolled in the Kyoto Prefectural Special School of painting. Upon graduating he moved under the tutelage of Shiokawa Bunrin (1801-1877) and, following the death of Bunrin, Mori Kansai (1814-1894). He first garnered national attention at the 1877 Naikoku Hakurankai, where he received honourable mention, and from then on was consistently awarded at the Kyoto Hakurankai among others. The Imperial Household acquired one of his works in 1884, and in 1887 he moved to Tokyo. Without a break he was awarded in 1888 at the Nihon Bijutsu Kyokai Ten, and after the founding of the Nihon E-ga Kyokai received many awards. In 1898 he, along with Araki Kanbo, Taki Katei and Kawabata Gyokusho, established the Nihon Ga-kai. He was awarded at the first Bunten in 1908. But an overburdened schedule and many travels led to illness, and he died in 1911, only 58 years old. A two panel screen in poor condition sold at Bonnhams (London, 2011) for more than 3,000 USD

A ceramic cover for a tea room brazier in the shape of a devil dressed in priests robes dated and annotated within. Dating from the Ansei era, inside it is annotated by Daiko Sogen (1772-1860), 435th head of Daitokuji. Well known for his poetry and mastery of the Tea Ceremony, he taught Zen to Eiraku Hozen, and was compatriot to Gengensai. It is 34.5 x 34.5 x 30 cm (13-1/2 x 13-1/2 x 12 inches) and is in fine condition.

A delicate image of a Zari-gani fresh water shrimp by Oishi Junkyo enclosed in a period wooden box. The poem reads:
nanigotomo
naseba naratefu
kotono wa wo
Mune ni Kizamite
Ikite Kishiware.
Whatever happens, no matter the hardships and pain, Set it in your heart to live with Spirit! This little fellow looks up to the challenge, a stern look on his face and his dukes up, ready to battle giants. What a fitting image for this artist. Ink on silk in a fine brocade border with pottery rollers. It is 14 x 63 inches (36 x 160 cm) and is in excellent condition.
Junkyo’s life is a triumph over tragedy. Born into a low family, she was sent to a tea house where she became an apprentice Geisha. In a famous incident, the Tea House owner in a drunken rage murdered 5 of the Geisha, and cut off both of Junkyo’s arms. She survived. Becoming then a teller of stories and singer, she one day saw a bird feeding her young, and realized she could paint if she used her mouth to hold the brush. She enrolled into a studio, and became an accomplished painter in the Nihonga tradition. She then married and had two children, but later divorced, raising the two children alone. She became a nun, and opened a counseling/self-help center for the disabled. This was the war years, and the midst of Japans industrial revolution. Both mishaps in the machinations of industry and battle kept her half-way house filled with people in need. After the war she established a temple, and continued her philanthropic work.

A water-worn bowl of natural wood lacquered inside with black and gilded, leaving black lacquer on the rim, to create a startling contrast between the mirror like black, shining gold and ancient weathered wood. It is enclosed in a period wooden box titled Jidai Kihachi Sunabachi (antique Wooden Sunabachi Bowl). It measures 34.5 x 30 x 11 cm (14 x 12 x 4 inches). There are two hairline cracks in the gold (see photos).

A 19th century (Edo to Meiji periods) gilded bronze branch bearing three golden fruits, each of which opens to reveal a small compartment. It is 19 cm (7-1/2 inches) long, 6 cm (2-1/2 inches) tall and comes enclosed in an age darkened kiri-wood box. Certainly of Buddhist connotations, it likely held some small sweets or incense.

Hand formed copper vase with waves in annealed silver signed on the side and enclosed in the original signed wooden box dating from the 1950s. It is 20 x 15 x 21 cm (8 x 6 x 8 inches) and in excellent condition.

Autumn in the Mountains by Shirakura Niho Pigment on silk in a fine brocade border extended with beige and featuring ivory rollers enclosed in the original signed double wood box (nijubako). It is 26 x 56 inches (66 x 143 cm) and is in excellent condition. This is signed with his later art name Kanyu. We can see in the style as well, here he has adopted a very western watercolor approach, that this is one of his post-war works.
Shirakura Kinichiro (Niho or Jiho, Kanyu, 1896-1974) was born in Niigata, and initially was inducted into Nanga under Hatta Goro. Moving to Tokyo he began studies of Western oil painting following Ishii Hakutei. However, that was unfulfilling, and he soon moved to Kyoto, returning to the Nanga style under Tanabe Chikuson (also Tajika/Tachika Chikuson, 1864-1922). Following the death of Chikuson, he moved to Tokyo where he took up residence in the studio of Komura Suiun. He was consistently displayed at both the Teiten-Nitten National Exhibitions as well as the Nihon Nanga –In Ten. Like other individualistic artists of his generation, he was known for his very unique and easily discernible style and enjoyed immense popularity. He later changed his name to Kanyu. He was recognized in an English book published in 1958 as one of the most important artists to visit when in Japan.

A ghoulish character from the Otsu-e pantheon, the Oni no Nenbutsu, a devil in priests robes, stands grinning, hammer in one hand to bang his bell and a ledger in the other in which are noted all the peoples sins. This figure is carved of wood and covered in lacquer and mineral paints. Dating from the 19th century (Later Edo period) it is 13 inches (33 cm) tall. There are some losses to the pigments accentuating the antique feel.

A dragon rides in a swirl of movement atop this silver and damascened Koro incense burner by Chosa Yoshiyuki. The sides are decorated with images of plum and pine. The bottom is signed Yoshi-saku, and bears the stamp 900 delineating the silver content. It is 5-1/2 inches (14 cm) tall, 3-1/2 inches (9 cm) diameter and in fine condition, enclosed in a period heavy kiri-wood box.
Chosa Yoshiyuki (1915-2002) was a bronze artist and recipient of the Japanese Order of Cultural Merit. Born in Kagoshima, on the Southern Island of Kyushu, Chosa began his career studying under Kobayashi Shoun at the age of 15. In 1940 he would further his technique under the strict eye of future Living National Treasure Uno Kiyoshi. Two years later he would be first accepted into the ShinBunten National Exhibition. Following the Second World War he would exhibit consistently with the Nitten, and be awarded on numerous occasions and would serve as a judge there. In 1958 he helped to found the Japanese Metal Craft Society. In 1966 he received the Nihon Geijutsu In Prize, and in 87 the Order of Cultural Merit followed by the Order of Culture in 1993. Work by him is held by the Imperial Household Agency, the Museums of Modern Art in Tokyo and Kyoto (MOMAT and MOMAK respectively), The Sculpture Museum of Hakone, Todaiji Temple and many others.

An important work in the oeuvre of 20th century avant-garde oil painter Nakamura Yoshitane, his first exhibited work at the 1938 Dokuritsu Tenrankai (Independent Painters Exhibition) titled Canna and Cypress retaining the original gilt frame and published in Nakamura Yoshitane Gendai no Ningen Fukei (page 81). Thick application of pigment and very heavy texturing are key features to the work giving it a three dimensional quality. A copy of the book is included with the sale. According to the essay by Otsuro Sakazaki at the beginning of the book, "Canna and Cypress was selected as his first exhibit, but more significant than the fact of this selection is its position as a monument commemorating a turning point in Nakamura's life, from which proceed his later pictures with their new concept of space". The canvas is 57 x 44 inches ((145 x 112 cm). The frame is 65 x 52-1/2 inches (165 x 135 cm). There is some damage typical of age to the frame in the way of chips and losses to the gilding. There are also some very old repairs to the painting, where it appears to have been folded or deeply scratched near the bottom in two places, and a light blue chip more recently filled in the upper blue background about the size of a coin. Due to size the cost of shipping will be accrued separately.
Nakamura Yoshitane (1914-1995) was born in Wakayama city where he took a job as a teacher. Although he began painting much earlier, he first exhibited with an abstract image at the Dokuritsu Tenrankai (Independent Exhibition) in 1938, and shortly thereafter left his teaching position to devote himself full time to painting. In 1942 he was awarded the Grand prize at the Dokuritsu Tenrankai. His paintings were largely abstract until 1972, when he suddenly made a change to human imagery and mannequins. He later served as a professor at Kyoto University of Art and Otemae Women’s Univrsity. For his contributions to the Art World he was granted the Cultural Merrit Award from Kyoto Prefecture in 1984, from Kyoto city in 1986, and the same from Wakayama in 1987. Work by him is held in the Tokyo National Museum of Modern Art (MOMAT) as well as the National Museum of Modern Art Kyoto (MOMAK), and Shiga Prefectural Museum of Art among many others. Not yet well explored in the west, a chance to purchase a Post-war Japanese Abstract Painter for a reasonable price

A whimsical tiger exhales incense smoke, his body glimmering with gold on black ripples; an antique oki-koro incense burner enclosed in the original Kikko signed wooden box. The tiger bears the Kikko mark on his butt. The piece is 15 x 10 x 13 cm (6 x 4 x 5 inches) and is in excellent condition. The Kikko Kiln was established in Osaka in the opening years of the 19th century by Iyo native Toda Jihe, who had learned the ceramic arts in Kyoto under all of the great names of the time, Kiyomizu Rokubei I, Ryonyu the 9th generation head of the Raku family, and Ninnami Dohachi among others. He would be known as Jusanken Shogetsu. After being noticed by then Daimyo of Osaka area Mizuno Tadakuni, he received the kiln name Kikko. His works were distributed as gifts among the Daimyo, and he was called to work in many fiefs creating “Niwa Yaki” kilns throughout Japan. During the Meiji the kiln would be split into two continuing lineages, one using Jusanken stamp, the other Kikko Shogetsu.

A matching Edo period Myochin signed Go-mai-do Gusoku yoroi lacquered black and threaded with blue chord emblazoned with a seven star crest. It features a 24 plate suji kabuto with elaborate tehen kanamomo signed Myochin Ki Munemasa saku. The blossoming Shikoro features large back-turned Fukigaeshi and mabizashi covered in leather and also emblazoned with the seven star crest. Inserted in front is a sharp kuwa-gata maedate. The mask is a reisei ho with prominent flanges matching the design of the helmet and sode. Large five plate sode protect the shoulders, and the Do, made up of five hinged parts, supports 9 rows of gessan to protect the waist. The raw iron sangu is on all matching cloth dyed with the 7 star crest. The Haidate is of the Kawara style with leather plates lacquered black, and the suneate are signed, as is the helmet, Myochin Munemasa. It is in oveall fine condition. There are a few chips onteh mask typical of use, and the base of the maedate uke has been repaired. For more photographs please contact me.
Myochin Munemasa (Shahei) was a descendant (24th generation) of Myochin Munesuke active in Edo during the Tenwa era (later 17th century).

A lacquered and iron bound round lidded box called a kubi-oke made to carry the head of a man taken in battle or that of a man after committing ritual suicide for offering to the lord. It is 13 inches (33 cm) diameter, 11-1/2 inches (29 cm) tall with large handles from which it could be carried on a pole. There is mouse damage on one part of the bottom, but has not eaten through to the inside.

A very unusual Katana held in a saya (scabbard) made to look like a gnarled branch cut into a poor man’s cane. When pulled a spring-loaded mechanism releases two iron flanges creating a very effective tsuba hand guard. The blade is unsigned, measuring Nishaku nissun nibu {26-1/2 inches (67.3 cm)}. The remnants of a piece of paper remain glued to the saya with the name Masaaki Noma (?) written in cursive Roman letters, followed by UZUMASA, an area in Kyoto city. The end is capped in metal, and in fact, the Koiguchi and Fuchi (at the mouth of the scabbard and handle) are also metal, which blend perfectly with the carved wood.

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.

A bronze dragon water spout dating from the late Edo or early Meiji period (mid to later 19th century) in an unusual full body configuration. Most spouts appear climbing over the edge of a basin, and thus only the front of the dragon need be cast. This however writhes across the edge of the basin, the entire body exposed. A pipe extending from the stomach allows the water to be attached. It is 29-1/2 x 11 x 10 inches (75 x 28 x 25 cm). One horn has been repaired and there is some damage where the belly would have touched the stone surface of the water pool typical of age. Dragons are not only the gods of water, therefore a protective deity, but also are considered guardians of Buddhist doctrine, and, like the Buddha mind, are rarely seen in full form.

A lighting shaped dish decorated with karakusa and burning motifs by Seifu Yohei I (signed with his art name Baihin) enclosed in the rare original signed wooden box. It is 5 inches (13.5 cm) square, 4 inches (10 cm) tall and in fine condition.
Seifu Yohei I (1803-1861) founded the Seifu dynasty in Kyoto. He was born in powerful Kaga-kuni, modern day Kanazwa prefecture. After apprenticing with the second generation Ninnami Dohachi, he established his own kiln in the Gojo-zaka pottery district of Kyoto Specializing in Sometsuke, Seiji and Aka-e Kinsai/Kinran styles. He was succeeded by his son the second generation Seifu.

A beautifully shaped miniature bell with simulated chord looping through the top, half lifting off to reveal a compartment for storing incense. A ball inside the lower section actually rattles around like a real suzu-bell. This is a very unusual and superbly crafted from from the Mino area of Edo Japan. The inside white clay is darkened with age, and the outside infused with color gathered with time. It is 1-1/4 inches (4 cm) diamater, 2 inches (5 cm) tall and in excellent condition, enclosed in an old wooden box.