Catalog: Vintage Arts: Regional Art: Asian: Japanese (30)

An exquisite image of an emaciated man, the prominent bones about the eyes softly glowing pale white over the hollow cheeks. The mask is of the Yase-otoko type, and is signed on the back by the maker Iwasaki Hisahito in a carved seal above the eye. Superb craftsmanship!
Iwasaki Hisahito is a well known Mask carver currently 78 years old and still going. He was born in Oita prefecture, but moved to Nagoya then Yokohama at a youthful age. All processes are done by hand, from carving the wood and creating the shape, applying the gofun coating and drawing the hair with a brush then applying lacquer. “What I rely on is the memory of seeing many performances and the feeling of being struck by the many faces." He has created about 500 masks over his more than fifty year career. Having studied under a Noh actor himself, he has tried to create something that makes him think, ``I want to dance in this aspect,'' but no matter how much I try, I am never satisfied. "The more I do it, the more difficult it is. I want to make something that I don't want to give to anyone, even if it's just one aspect of my life."

A set of four large scrolls depicting seasonal landscapes by Shirakura Niho enclosed in the original signed double wood box exhibited at the 1936 Nangain-Ten and published in the book Shirakura Niho (page 127 figures 102-107). Ink & Light color on Paper in fine silk mountings, they have been completely cleaned and restored to original perfect condition retaining the original cloth by Kitaoka Hyboido of Kyoto. Each scroll is 66 x 138.5 cm (26 x 54-1/2 inches). A copy of the museum book and our catalog will accompany the set.
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 vibrant image of a paradisaical island over which soar white cranes by Shirakura Kanyu (Niho) enclosed in the original signed wooden box titled Horai Senkyo-zu. This scroll is signed Kanyu, placing it in or after 1940 , when he changed his art name. It is performed with pigment on silk in a fine silk border with solid ivory rollers (these will be changed if exporting). It is 145 x 65.5㎝ (57 x 26 inches) and is in excellent original condition. A similar scene on two six panel screens spread across 24 feet is held in the collection of the Minneapolis Institute of Art.
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.

Toast the new years with this solid silver sake set made for celebrations. 3 solid silver cups, as well as a beautifully shaped silver sake kettle with lid, each piece bearing the jun-gin (Pure or 100 percent silver) mark. They come enclosed in a wooden box titled Jungin-sei Shuki (Solid Silver Sake Set). The kettle is 13 cm diameter, 18 cm wide at the spout. The largest cup is 12 cm (4-3/4 inches) diameter. In total the set weighs 757 grams, or 1.65 pounds of pure silver!

The cormorant prepares to take flight, wings extended, captured in bronze in a moment of excitement, the shapr eyes focused ahead. Captivating realism with simple Art-deco overtones signed below the tail. It is 32 x 36.5 x 25 cm (14-1/2 x 13 x 10 inches) and is in excellent condition. The cormorant, known in Japanese simply as U, is a migratory bird native to the east Palearctic with a range from Taiwan to the Russian Far East. It has a black body with a white throat and cheeks and a partially yellow bill. It is one of the species of cormorant that has been domesticated by fishermen in a tradition known in Japan as ukai. This method of fishing is often depicted in art and is now a popular tourist attraction during the brief Ukai season.

A spiraling form in softly gleaming golden brown by Yajima Boshu enclosed in the original singed wooden box titled simply Jundo Kabin (Pure Bronze Vase). It is 8.5 cm (3-1/4 inches) diameter, 27.5 cm (11 inches) tall and in excellent condition signed on the base with a silver cartouche.
Yajima Boshu (1925-2001) was born in Takaoka, one of the most important bronze producing regions in Japan. He was first exhibited at the 13th National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) in 1966, and exhibited consistently with that venue. He received top prize in 1968 at the 7th Toyama Traditional Crafts Exhibition. He exhibited at the 1st National Traditional Ne Metal Artist Exhibition (Nihon Dento Kinko Shinsaku-ten) and was awarded top prize there in both 1973 and 1974, the start of a highly lauded career.

A beautiful early footed bowl of colored glass with sweeping clear glass handles by Iwata Toshichi enclosed in the rare original signed wooden box titled Sango-Iro Garasu Hachi (Coral Colored Glass Bowl). It is 17.5 cm (7 inches) diameter, 14cm tall (5-1/2 inches) tall and in excellent condition, bearing the artist seal in gold on the base.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emperor for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.

A glass Bowl by Iwata Toshichi enclosed in the very rare original signed wooden box titled Ryomimitsuki Kajutsumori (Fruit Dish with Two Handles). Inside the box lid is written: For the 2nd Emerging Glass Solo Exhibition Held at Takashimaya in the Early Summer of 1936. It is 28×24 x 8 cm (11 x 9-3/4 x 3 inches) and is in excellent condition. Acquiring a piece by Toshichi with such detail about its past is a decidedly rare opportunity.
Iwata Toshichi (1893-1980) is considered to be the founding father of Modern glass making in Japan. He graduated the Tokyo School of Fine Arts, metal-craft department, in 1918, then proceeded to garner a BA in Western (Oil) Painting in 1923 before moving to study glass under Imamura Shigezo at the Tachibana Glass Factory. He would exhibit his works with the Nitten National Exhibition both before and after the Second World War, serving as a judge there later in life. He received the Japan Art Academy Prize in 1951. In 1972 he established the Japan Glass Art and Crafts Association. He was awarded the Order of the Sacred Treasure in 1980 by the Emperor for his lifetime of devotion to the arts. Many of his works have been collected by the The National Museums of Modern Art, both Tokyo and Kyoto, and several pieces are held in the Metropolitan Museum of Art New York among many others.

A set of two incense items carved from blocks of dried lacquer, the surfaces polished to reveal the various layers and colors of lacquer used in a mottled pattern. Truly quite spectacular despite their diminutive size, the koro is 10 x 6 x 7.5 cm (4 x 2-1/4 x 3 inches), the kogo is 4 cm (1-1/2 inches) diameter and both are in excellent condition.

A solitary thatched hermitage rises on the top of this stony crag set onto a beautifully carved and signed rosewood stand. Together they are 7.5 x 11.5 x 13 cm (3 x 4-1/2 x 5 inches) and in excellent condition. The box is titled Yasegawa-ishi, inside signed Seicho and dated a fortunate day in the second month of 1936.

A beautifully sculpted image of a pheasant by Ogawa Yuhei enclosed in the original signed wooden box. It is 37 cm long and in excellent condition.
Yuhei Ogawa (1885-1945) was born in Takamatsu, Okayama prefecture an came to pottery a bit later than most. In 1923, while working part time at the Naval Hydrographic Department, he was deeply moved by seeing the solo exhibition of ceramic sculptor Kazumasa Numata. This gave him impetus to begin sculpting in his free time. Although he started his career as an artist late at the age of 37, he was selected for the opening exhibition of the newly established arts and crafts department at the Teiten National Exhibition in 1927, and frequently thereafter. He participated in the activities of the Totokai, a group of potters living in the Kanto region, with Itaya Hazan, Numata Kazumasa and Miyagawa (Makuzu) Kozan II serving as advisors, and played an active role as a central artist. In 1934 he was invited to Iwaki Glass Factory as an advisor and created pottery sculptures and glass works for the rest of his life. A sculpture of a black panther is held in the collection of the Tokyo National Museum of Modern Art.

A dynamic early porcelain work in vivid color by Kiyomizu Rokubei VI enclosed in the original signed wooden box titled Futatsuki Kajutu Mon Kashiki (Sweets dish decorated with fruit) bearing his real name, indicating it predates his taking the name Rokubei in 1945. The box bears the seal of the Hattori Tokeiten, purveyors of fine art in Pre-war Japan. The porcelain is 19.7 cm (8 inches) diameter and in excellent condition, signed on the bottom.
The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district throughout the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei IV. Rokubei V led the kiln into the 20th century, and his son, Rokubei VI (1901-1980), would assume lead in 1945, taking the kiln through the tumultuous years after the Second World War. He graduated the Kyoto Municipal School of Arts and Crafts, then the Kyoto Special School of Painting, before apprenticing under his father in 1925. He exhibited frequently and was often prized at the National Bunten, Teiten and Nitten Exhibits, where he later served as judge. He was also lauded abroad, in the USSR, France, Italy, Belgium and was appointed a member of the Japan Art Academy. In 1976 he was awarded the Order of Cultural Merit for his lifelong devotion to promoting Japanese pottery traditions. His works are held in numerous museums throughout the globe.