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- Samurai and
warrior
- Traditional schools,
historical and natural subjects
- Bijin ga - pictures of
beautiful women
- Buddhist
Images
- Animals
- Recently SOLD
Information on the further range of paintings
including new arrivals and pieces not represented on this site is
always available upon request
CLICK IMAGES TO ENLARGE
SAMURAI AND WARRIOR
Painting of the famous Chinese generals Kanu
and Chohi seated on tigerskin draped chair
Signed: Genzo, C18th
Ink and colour on paper -
framed
H110cm x W52cm
Kanu &
Chohi read essay by Dr Gary Hickey
Enquire here

Kanu and Chohi
famous Chinese generals - framed (shown
unframed) framed in a square black profile - image
available
pigment and ink on paper
Late Edo period C1860
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H 90cm x W
156cm (one of triptych)
Chushingara read this essay by Dr Gary Hickey,
University of Queensland
Late C19th Meiji period, these paintings on
silk are unusually large, executed in the manner of an Edo
woodblock print - ink and pigment on silk -
unsigned.
The powerful play with perspective enhances
the drama of the subject matter and much is made of the action both
within and outside the frame. Perspective came relatively late to
Japanese art and it has been used here to great
effect.

H 90cm x W 90cm
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Handpainted kabuki posters by the Torii Family
- Osaka
Kamigata-e Read essay by Dr. Gary Hickey on the related
style of painting.
Kabuki posters by Torii Kiyotada VIII
(1900-1976)
Paint on paper
From the famous Torii family, the
primary lineage of artists and promoters associated with the Kabuki
Theatre houses since the early C17th. The family is partly
responsible for bringing the rich Kabuki culture from Osaka to Edo
(Tokyo) in the late C17th. The family's work had great influence on
the ukiyo-e woodblock print movement, and some kabuki posters are
still produced by members of the family today.
Kamigata-e click to read this essay by Dr. Gary Hickey on the related
style of painting.
"the heavy lines that delineate full rounded
figures are a unique characteristic of the Torii family of painters
who were responsible for this particular type of picture
signboard"Reference: A-31 Catalogue: The Waseda University
Theatre Museum Collection Kabuki Exhibition: The Japan
Foundation Australia, 1976.
Four signed paintings dating to the 1960s,
H150cm x W98cm each framed.

Kabuki posters attributed to the Torii family
Paint on
paper
Unsigned, early-mid C20th. H184cm x W112cm
framed (shown unframed).
Enquire here
TRADITIONAL SCHOOLS, HISTORICAL
& NATURAL SUBJECTS
Genji-e
Painted scenes from the tale of Genji C18th
Ink, colour pigments and gold leaf on paper
2 series
available
Series 1: 6 paintings, approximately H52cm x W25-35cm
each
The Tale of Genji (Genji monogatari) is the epic masterpiece of Japanese prose
literature written in the eleventh century by the court lady
Murasaki Shikibu (active c.1000). This romantic waka (Japanese poem) narrates the life and loves
of Prince Genji and two generations of his descendents. It found
its greatest visual expression in emakimono (illustrated handscrolls) with the most often
discussed example being the Genji Monogatari
Emaki dating from
about 1130. The Tale of Genji was also illustrated, sometimes with
accompanying text, in numerous albums, fans, books, screens, and
hanging scrolls.
Series 2: 8 paintings, approximately H33cm x
W28cm each
(detail)
Images of full series available on
request
Enquire here

Yamato-e (classical Japanese style developed in the
late Heian period, depicting daily scenes, places and
nature)
Paintings of everyday scenes around
Kyoto
Momoyama period, Late C16th / Early
C17th
Ink and colour on paper, quality handmade
frames
H 81cm x W 54cm
Enquire here
Traditional Chinese style painting of seasonal
flowers
Meiji/Tai Sho period, Early
C20th
Colour on silk, custom gesso and gilt
frame
H 157cm x W 56cm
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Exquistiely framed pair of Rinpa school flower
and grasses paintings
Mid Edo period, Early C18th
Colour and ink on gold leaf, custom gesso
quality frames
H 49cm x W 81cm

frame details
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Painting of a Winter scene: Bird in a Tree with Camellias,
C19th
Ink and colour on paper -
unframed
H100cm x W55cm
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Exquisitely framed - Paintings of Birds around
Peonies, C19th
Ink and colour pigment on
silk
H146cm x W68cm
Custom made water quilded
frames
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Painting of Shinto musicians in a leaf covered
boat, C18th
Ink and colour pigment on
paper
H36cm x W51cm
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BIJIN GA-
PICTURES OF BEAUTIFUL WOMEN

Kara
bijin-ga (Chinese beautiful woman picture), carrying a candle
Early/Mid C20th, Signed: Sujyaku
H 190cm x W 20cm (complete) |
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Bijin
seated on a zabuton by a window looking at a book
Early / Mid C20th, Signed
H 240cm x W 71cm
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Woman
carrying child
Edo period, signed and dated: 1793
H 158cm x W 41cm (complete)
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Ukiyo-e
painting of a bijin
Titled:
Oiran (courtesan for entertainment)
Signed:
Yoshitora Ichimosai (Utagawa) (d.1880)
Late Edo / Early Meiji period, C19th
H 148cm x W 31cm
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Enquire here
Bijin-gain
red kimono
Signed: Fukuharaan Sekka
Late Edo
/ Early Meiji period, C19th
H 176cm
x W 28cm (complete) |
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Bijin-ga
Circa Tai Sho period, Early / Mid C20th
H 195cm x W 28cm
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Enquire here
Titled: Morning Lotus
Signed: Nakamura Teii
(1900-1982)
Tai Sho period, Dated: 1926
H 216cm x W54cm
Born in Osaka in 1900 under the original name
KIYOSADA (清貞), he studied UKIYO-E painting under HASEGAWA SADANOBU II for about two years from the age of nine. He
then studied under KITANO TUNETOMIT (1880-1947), learning how to paint BIJIN-GA (picture
of beautiful women) from the age of 18 in 1919. In 1922 he won
first prize in the Osaka Art Exhibition, a title assumed to be a
young man's gateway to success in Osaka. The following year he was
selected to the 9th Japan Art Institute Experimental Exhibition
(Nihon Bijutsuin,INTEN ). Also in 1923 he was brought to the
attention of master painter YOKOYAMA TAIKAN (1868 - 1958) and decided to follow his
philosophies. In 1932, he was chosen for 19th Japan Art Institute
Exhibition(Nihon Bijutsuin,INTEN )and won an art prize in 1932. He established
The painting association SYUNDEIKAI in 1934. By 1936 he was in the highest ranks
of the Japan Art Institute(Nihon Bijutsuin,INTEN ). And in 1948 he took the role of
Nitten judge (The Japan Fine Arts
Exhibition).
He was awarded The Japan Art Academy Prize in
1966.
As a child he badly burnt his hands and lost
the use of several of his fingures. As a result he learnt to
produce paintings by placing the brush between both hands like a
gesture of prayer. He is one of the most important painters of
Bijin-ga (pictures of beautiful women) in modern Japanese
art.
Enquire here
BUDDHIST
IMAGES
Daruma sumi-e scroll
Signed: Unkoku Toeki
H163cm x W62cm
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Buddhist scroll of Dakiniten atop a white fox,
surrounded by four other riding figures
Muromachi period, C16th
Silk temple brocade and gilt copper scroll
ends
H 160cm x W 55.5cm
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RC6 Muromachi period Buddhist scroll,
C16th
Syakasanzou - Buddhist image enshrined and
flanked by two other deities, silk temple broccade mounts and
incised, gilt copper scroll ends
H163cm x W55cm
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ANIMALS
Tiger - a characteristic depiction typical of
the period - displaying fine brush stokes.
Edo period, C18th, faint artist
seals
Sumi ink on silk, faux bamboo
frame
H 100cm x W 55
cm
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Korean style tiger
scroll
Signed: Motonobu
H193cm x W49cm
Despite the tiger (tora) not being native to Japan it has become a
popular subject of Japanese art. It was particularly respected by
the samurai for its strength, nobleness and courage characteristics
that were part of its association with Buddhism. According to
legend the tiger is said to have leaped from the stars and as such
is closely associated with wind with its roar being a manifestation
of thunder. Under Taoist belief the tiger is a fearful, predatory
creature associated with hunger and the termination of life. This
later characteristic resulted in the tiger being associated with
autumn. This tiger, depicted menacingly with its head lowered and
its tail raised, seems to be in this latter predatory
mode.
Along with the dragon the tiger was a
favourite subject of the Kanō School of painting. The bold outlines
are indicative of this school but the creative use of the painterly
technique of tarashikomi used here to suggest the tiger’s fur is
reminiscent of Kyoto Rimpa painting. Tarashikomi was a technique in which black
sumi ink would be added to damp areas of
paper so that the ink pooled creating soft blurred edges. There may
also be an influence from the mainland for the compacted head and
bulging eyes of this tiger are reminiscent of Korean folk
paintings.
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Available
SOLD
Paintings of tigers; drinking from a
stream and amongst bamboo grove
Edo period, circa 1765. Signed: Yuhi Kumashiro
(c.1713 - 1972)
Ink and pigment on paper, fine quality gold
frames
H 162 x W 78cm
Born in Nagasaki, Yuhi Kumashiro became the
most prominent pupil of Shen Nan-p'in (a famous Chinese Qing
dynasty painter who taught iin Nagasaki) and was important member
of the Nagasaki school which introduced Western and Chinese
techniques to Kyoto and Edo. Considered a painter of considerable
quality he studied many Chinese styles which characterised his
work. Works by the artist can be found in major museums such as the
Museum of Fine Arts Boston, Nagasaki Municipal Museum, Stanford
university Art Museum California, Tokugawa Art Museum Nagoya, and
Tokyo National Museum.
Enquire here
Scroll of Deer by a
Stream
Signed, ink on paper
H 186cm x W 55cm
Enquire here
Koi (Carp) possibly nineteenth
century
ink
and colour on
silk
The carp is a favoured subject in Japanese art
appearing in paintings and as a motif in decorative art objects.
The fish is said to have first been brought to Asia by Genghis Khan
and subsequently arrived in Japan via China. First used as a food
source for farmers they were, from the early sixteenth century used
for ornamentation in garden ponds. This led to selective breeding
with a bright red fish adding variety to the standard black or
grey.
In both China and Japan koi are seen as representative of masculine
strength and perseverance and as such are usually depicted in art
works swimming up a waterfall (koinobori)
Enquire here
RECENTLY SOLD
Winter landscape
of birds and mandarin ducks
signed:
Heian Rosetsu with Gyo seal
H180cm x W88cm
The Edo period
(1600–1868) is characterised by the unconventional and sometimes
eccentric nature of its artists. In Kyoto, along with Soga Shōhaku
(1730–1781) and Itō Jakuchū (1716–1800), Nagasawa Rosetsu was
notorious for his idiosyncratic behaviour, indicative of a strong
personality that also created brilliantly imaginative
paintings.
The son of a low-ranking samurai
Rosetsu was one of the first disciples of Maruyama Ōkyo (1733–1795)
whose integration of realism marked him as one of the early
pioneers of Japanese modern art. The Maruyama School had more than
1000 pupils but unlike the others who directly followed Ōkyo’s
style Rosetsu’s paintings reflected his unorthodox and sometimes
wild nature sometimes fuelled by alcohol and a hot temper. For this
reason he was expelled from the Maruyama School by Okyo 3
times.
In 1787 Rosetsu was sent to
Muryoji Temple in Wakayama prefecture to take an artwork by Okyo
for installation following the temple completion. He began to live
in this area producing 270 artworks. It was at this time that he
developed his own unique style developed from the realism of his
teacher that employed bold expressive brushwork often utilising the
hakegaki technique of using a brush with a wide
flat straight edge rather than the usual brush with a fine
tip.
There are suspicions
surrounding his death at the age of 46 some saying that he was
poisoned.
SOLD - Wedding
Registry
Gecou Bosatsu and
Nicou Bosatsu (Moon and Sun Buddha) paintings
Edo period, dated
and signed: 1817
Ink and colour on
paper in quality gold frames
H 153cm x W
80cm
SOLD
Momoyama painting
of horsemen
Momoyama period,
Late C16th
Ink and colour on
gold leaf on paper, silk brocade mount, dark stained timber frame
and mount
H 86.5cm x W
77.5cm
SOLD
Large painting of
a samurai crossing a river on horseback
Titled:
Battle of Uji
River, Signed:
Banleisai
Ryuin
Late Edo period,
Dated: 1858
Ink and colour on
paper, quality oxidised silver frame and mount
H 179cm x W
110cm
SOLD
Maiko
- young apprentice
Geishas of Kyoto, Early C20th
Signed: Matsumoto Senkyo (1879 - 1932)
H220cm x
W120cm
In Japanese painting of the
modern era the conventional subject of beautiful women
(bijinga) in the context of changing seasons and
traditional customs was maintained by artists who worked in the
artistic style known as nihonga (Japanese-style painting). This style was
distinguished from western-style oil painting, not only by its
subject matter, but also by the use of traditional materials and
formats. Tokyo and Kyoto were the artistic centers for this
movement. One of the most successful Kyoto nihonga artists was Yamamoto Shunkyo (1871–1933), the
teacher of Matsumoto Senkyo(1879–1932). Senkyo was born in Ehime Prefecture
and studied art at Kyoto Municipal School of Arts and Crafts (Kyōto
Shiritsu Bijutsu Kōgei Gakkō, 1901).
During the Taisho
period (1912–26) the subject of bijinga was criticised as being out of date. However,
along with other Kyoto nihonga artists such as Uemura Shōen (1875–1949),
Senkyo embraced this time-honoured subject for its ability to
reveal female beauty and emotion. Thus, in Senkyo’s
painting of two beautiful young girls, dressed in their
finery after returning from a seasonal festival at a local shrine,
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