Art by Medium: Rice Paper

"The Kaminarimon at the Kanseon Temple in Asakusa" - Original Japanese Print Japanese Print "The Kaminarimon at the Kanseon Temple in Asakusa", from the series "Famous Places in Ed...

‘Starting with a drawing of "real" flowers, I create layers of thinly veiled surfaces. They become abstracted through the process of multiple printings. The essence of flowers become...

‘Starting with a drawing of "real" flowers, I create layers of thinly veiled surfaces. They become abstracted through the process of multiple printings. The essence of flowers become...

‘Starting with a drawing of "real" flowers, I create layers of thinly veiled surfaces. They become abstracted through the process of multiple printings. The essence of flowers become...

‘Starting with a drawing of "real" flowers, I create layers of thinly veiled surfaces. They become abstracted through the process of multiple printings. The essence of flowers become...

Fabulous pair of mid 19th century Qing Dynasty hand painted watercolor Chinese Pith paintings; subjects attributed to Emperor Xianfeng and Consort Qing. Emperor Xianfeng was the 8th ...

"Chichen" after "Jaguar Eating Heart" Temple of the Eagles Detailed painting of a sculptural relief from the Platform of the Eagles and Jaguars at Chichen Itza by Walter Henry Willi...

Painted on rice paper depicting a Chinese dragon, with metal frame. He shipped himself without glass

Ten Framed 19th Century Chinese Pith Paintings of Courtly Entertainment Chinese, 19th Century Height 29cm, width 41cm, depth 2cm This striking suite of ten Chinese watercolours is p...

Mu I is a unique painting by contemporary artist Lumi Mizutani. The painting is made with India ink on rice paper mounted on paper, dimensions are 38 × 70 cm (15 × 27.6 in). The artw...

This contemporary mixed media graphic composition is by Mafu Jiang. Mafu Jiang’s striking contemporary artwork has been exhibited internationally and is rooted in his Chinese herita...

‘Starting with a drawing of "real" flowers, I create layers of thinly veiled surfaces. They become abstracted through the process of multiple printings. The essence of flowers become...

‘Starting with a drawing of "real" flowers, I create layers of thinly veiled surfaces. They become abstracted through the process of multiple printings. The essence of flowers become...

‘Starting with a drawing of "real" flowers, I create layers of thinly veiled surfaces. They become abstracted through the process of multiple printings. The essence of flowers become...

K. Laxma Goud - Untitled Mixed Media on Rice Paper 9 x 6 inches, 2021 (Framed & Door Delivered) This vibrant mixed-media work on rice paper by K. Laxma Goud is a powerful celebratio...

Original mixed media (acrylics, oil, watercolor) on handmade paper. Hand signed and dated lower right by Jiang Tiefeng. Dedicated - remarqued on frame verso by Jiang Tiefeng. Artw...

The delicate and poetic artworks of painter Frederic Paul reference his Asian roots in expressive and elaborate compositions. Inspired by the bold colors, spices, flora, and landscap...

"Enshoku Sanju-roku Kasen" (Thirty-six Enchanting Flowers) Woodblock on paper Elegant woodblock print by Toyohara Kunuchika (Japanese, 1835-1900). Three women are in talking with each other inside, while a man waits outside holding a bag of some kind. The colors in this piece are rich and saturated, primarily blues, greens, and purple. Mat size: 16"H x 20"W Paper size: 14.75"H x 9.88"W Born in 1835, Toyohara Kunichika grew up in the Kyobashi district of Edo in the midst of merchants and artisans. In 1848, at age 13, he was accepted as an apprentice into the studio of Utagawa Kunisada I...

Kiyomizu Temple, Scenes of Famous Places along Tôkaidô Road - Woodblock on Paper Full Title: Kyoto: Kiyomizu Temple (Kyô Kiyomizudera), from the series Scenes of Famous Places along...

Special edition of the artist made with an original and unique drawing for his exhibition "1 + 1 = infinity" at the Manolo Eirin Gallery. This tension between the unlimited and the c...

Edna Hibel (American, 1917-2015) Two Lithographs from the David Suite, 1978 Hand pulled original lithograph on Japanese rice paper Sheet: 26 x 20 in. Signed lower right: Hibel Number...

"Candy Seller" (飴売りうずまつ 市村羽左衛門) Japanese Woodblock on Rice Paper This piece depicts Ichimura Uzaemon as the Candy Peddler Uzumatsu. He is playing a stringed instrument (the shamisen) to attract people to come buy canbdy. The spiral on his clothing is the symbol of the candy seller, along with his crest of the mandarin orange. This Utagawa Yoshiiku print, titled "Umegoyomi mitate hachi shojin" (梅暦見立八笑人), depicts a scene from the Edo period. The print features a prominent male figure playing a shamisen, a traditional Japanese stringed instrument. The text on the print is in Japanese, and the overall style is characteristic of Ukiyo-e, a genre of Japanese woodblock prints. Utagawa Yoshiiku was a significant artist of the Meiji era, known for his contributions to woodblock printmaking. He was a student of Utagawa Kuniyoshi and worked alongside Tsukioka Yoshitoshi. His works often portray historical events, scenes from Kabuki plays, and contemporary life. This print, in particular, showcases the artist's skill in capturing the details of clothing, facial expressions, and the musical instrument. Presented in a new blue mat with foam core backing. Mat size: 18"H x 14"W Paper size: 16"H x 12"W Born the son of teahouse proprietor Asakusa Tamichi in 1833, Utagawa Yoshiiku (also known as Ochiai Yoshiiku) became a student of ukiyo-e artist Utagawa Kuniyoshi toward the end of the 1840s. His earliest known work dates to 1852 when he provided the backgrounds to some actor prints by his master. Yoshiiku's earliest works were portraits of actors (yakusha-e), beauties (bijin-ga), and warriors (musha-e). He later followed Kuniyoshi into making satirical and humorous pieces, and became the leading name in the field after Kuniyosh's death in 1861. He illustrated the Tokyo Nichi Nichi...

The delicate and poetic artworks of painter Frederic Paul reference his Asian roots in expressive and elaborate compositions. Inspired by the bold colors, spices, flora, and landscap...

This artwork depicts a marine landscape, a flat calm before sunset, with clouds hiding the sun. This piece was created with a mixed technique of acrylic painting on photograms on rice paper mounted on a wood panel. Some edges of the paper cuts are left visible. Philippe Saucourt...

"Various Himochi" Wagashi Festival Japanese Woodblock Print by Utagawa Toyokuni Rare oversized early 19th century 5-tiered woodblock by Utagawa Ichiyosai Toyokuni, (Japan, 1769-1825), a Japanese lord and wife oversee a sekku festival of food, music, and dolls or toys. '"oshi" is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. Many kinds of hishi-mochi appear in this picture of hina ningyo (dolls associated with Hinamatsuri, or the Girl’s Day) from Omochae. The custom of eating special dishes at events throughout the year and at milestones in people's lives has existed since ancient times. This paragraph specifically focuses on the annual event called sekku, and life events that involve eating sweets. Joshi is the first day of “Mi (Snake)” in the third month of the lunar calendar. This day, known in modern Japan as the Girls' Festival, originated in China as a form of purification ceremony in which water and drinking peach blossom wine were used to drive away evil. According to the Keiso saijiki, in ancient China, on the third day of the third lunar month, people ate “ryuzetsuhan,” which is the juice of gogyo (Jersey cudweed) mixed with rice flour and nectar. In Japan, there is a record in the Heian period history book Nihon Montoku tenno jitsuroku [839-5] that it was an annual event to make kusamochi using gogyo on the third day of the third month of the lunar calendar, which may have been influenced by Chinese customs. The tradition of eating kusamochi on the third day of the third month of the lunar calendar continued after that. By the Edo period, however, hishimochi had come to be used as a sweet to serve on the third day of the third month. A picture of a hishimochi is included in the Morisada manko , which we mentioned in Part 1. According to it, hishimochi in the Edo period were often three layers of green-white-green instead of the now common red-white-green. However, it is possible to see from our collection that not all hishimochi were made in this way. Omochae published in 1857, is a good example. Omochae is a type of ukiyoe print...

Mitate of a Daimyo's Procession Crossing Ryogoku Bridge - Woodblock Print Woodblock print of a procession by Keisai Eisen (Japanese, 1790–1848). Terrific triptych of a procession of...

Deutzia Flowers: The Wife of Kasamori - Original Woodblock Print Deutzia Flowers: The Wife of Kasamori, from the Series "Beauties of the Floating World Associated with Flowers" by S...

Wild boars, 69x68 cm, Rice paper, ink, mineral paints

Kabuki Actor in Water Lily Robe with Samurai Sword- Japanese Woodblock Print Finely detailed woodblock by Utagawa Toyokuni (Japanese, 1769-1825). A kabuki actor ("Master Haranyuki Sawamura") is standing on stage with mountainous backdrop, wearing a robe in a water lily pattern. He is wearing a samurai sword. Presented in a gold colored frame with a silk mat. Frame size: 20"H x 14.25"W Image size: 14"H x 9"W Utagawa Toyokuni (Japanese, 1769-1825) was born in Edo, the son of Kurahashi Gorobei, a carver of dolls and puppets...

Artist: Joe Tilson, British (1928 - ) Title: Water Year: 1972 Medium: Silkscreen and Collage on Rice Paper, signed and numbered in pencil Edition: 26/70 Size: 38 in. x 26.5 in. (96.5...

23" x 17" (sight) 30 3/4" x 25 1/4" in 22 kt gold leaf frame Signed lower right.

This is a pencil signed print based upon the original drawing which is illustrated in the catalogue raisonne of Richard Lindner's Paintings, Watercolors and Drawings, Edited by Werne...

Vibrant print of a coyote by Daniel Stolpe (American, 1939-2018). Titled, numbered ("Presentation Proof"), signed and dated along bottom edge. Presented in a black frame with a double mat. Sheet on verso with information about the piece, stating that only 5 Presentation Proofs were created, making this piece 1 of 5. Paper size: 24"H x 28"W. (2018) Master artist and Native Images lithographer Dan "Coyote" Stolpe slipped out of his non-functioning body, and is running free at last and howling in the hills. Born and raised in Los Angeles, Dan's father introduced him to Native American teachers of Art and Culture through the Woodcraft Rangers, who influenced Dan for the rest of his life. "Everything was patterned after a tribal structure," Stolpe said. We learned about Indian life and lore and we had Indian guys teach us how to make Indian costumes and about Indian dance and drums. That's what got me interested." Dan made his first drum when he was 14, and he was quietly playing that same drum during his final days of life. Stolpe attended LA Co. Art Institute (OTIS) on scholarship until 1962, when he dropped out to Apprentice with artist Don La Viere Turner in Glendora, and then with Master Printer Joe Funk in Venice until 1966. Commissioned by the Smithsonian Institute, he moved to Washington DC to illustrate extinct birds...

A contemporary color photograph by Roberta Fineberg, the image is an homage to great Italian cinema of the 1960s, capturing French actor Alain Delon and Italian actress Claudia Cardi...

This woodcut print was created by American artist Leonard Baskin. Baskin is well known for his somewhat grotesque, intricate, surreal drawings and natural subject matter. This print ...

Kabuki actor Nakamura Shikan II by Utagawa Kunisada Japanese Woodblock Print Wonderful portrait of Nakamura Shikan II, a prominent kabuki actor, in the role of Kisen Hoshi Toyokuni ...

The painting is a delicate Chinese export artwork rendered on rice paper, showcasing the refined detail and stylistic elegance characteristic of 18th to 19th-century export art made ...

Sumiyoshi: Dengaku dance performed during an Onda ceremony - Woodblock Print Bright woodblock print by Utagawa Hiroshige (Japanese, 1797-1858). In this scene, two dancers with swords and fans are facing each other, in the center of a courtyard. There are spectators surrounding them, including nobles in black clothing on a balcony. Presented in a new off-white mat with foamcore backing. Mat size: 16"H x 20"W Paper size: 9.63"H x 14.5W" Utagawa Hiroshige (1797-1858, sometimes called Ando Hiroshige) was the second of the two great masters of the Japanese landscape woodblock print...

Original mixed media (acrylics, oil, watercolor) on handmade rice paper. Hand signed and dated lower right by Jiang Tiefeng. Artwork size: 35.5 x 52 inches. Frame size: 45 x 62 in...

Wonderful vintage multi-media piece of sea cave by California artist Jim Kirwan (American, 20th Century), circa 1980. Signed lower left " Kirwan". Unframed. ...

One Hundred Prints Of The Noh - 1925 Original Japanese Woodblock Print Original Japanese woodblock print by Tsukioka Kogyo (Japanese, 1869...

Circle of Sunqua (active 1830-1870) Two Mandarin Ducks pith paper (rice paper) gouache c.1830-1870 China Also close to: Chincqua, Lam Qua, Youqua. Compare ...

Actor as Samurai - 18th Century Japanese Woodblock Print Woodblock print depicting an actor, possibly Nakamura Denkuro II, as a samurai. The actor stands with his sword unsheathed a...

Kiyomi Barrier & Seiken Temple Near Okitsu - Japanese Woodcut Print on Rice Paper Woodblock print of boats in a harbor by Utagawa Hiroshige (Japanese, 1797-1858). Originally publish...

Procession Of A Daimyo - Original Woodblock Print Original woodblock print depicting the procession of a Daimyo. Ten Japanese soldiers are seen as they aid in transporting the Daimy...

[China Export Water-colours on Pith Paper] A Set of Twelve Processions. China, ca. 1870]. Water-colour and gouache studies on pith paper, framed by blue silk ribbon, all mounted. ...

Annual Events for Young Murasaki (July) - Tales of Genji - Japanese Woodblock Rightmost panel a triptych, depicting monthly events for Wakamurasaki (Young Murasaki). This is the month of July. There appears to be a lesson taking place, possibly for writing or poetry. Artist: Toyokuni III/Kunisada (1786 - 1864) Publisher: Ebisu-ya Shoshichist Presented in a new blue mat. Mat size: 19"H x 13"W Paper size: 14.5"H x 10"W Commentary on the triptych: In the Edo period, Tanabata was designated as one of the five seasonal festivals, and became an annual event for the imperial court, aristocrats, and samurai families, and gradually came to be celebrated by the general public. Its origins are said to be a combination of the Kikoden festival, which originated from the Chinese legend of Altair and the Weaver Girl, and Japan's ancient Tanabata women's faith. Ink is ground with dew that has accumulated on potato leaves, poems and wishes are written on five colored strips of paper, which are then hung on bamboo branches to celebrate the two stars that meet once a year. Although the illustration is a Genji painting...

Ichimura Uzaemon XIII - actor as Okaji of Gion, 1862 "The Six Poetry Immortals" A Japanese Ukiyo-e woodcut print created circa 1862 by artist Utagawa Kunisada (Japanese, 1786-1864). ...

Taro Yamamoto Untitled Abstract Expressionist watercolor, ca. 1957 Watercolor wash, drips & splatter on rice paper Pencil signed on the front 12 × 16 inches Unframed Mid century mod...

Peter Halley Cell with Explosions I, 1993 Line Engraving on Japanese Wahon Creme Kozo Paper with glazed surface Hand signed and numbered 49/50 by the artist on lower front Original frame included: matted and framed in a wood frame Rarely to market, this hand signed and numbered 1993 Peter Halley print is held in its original 1990s vintage frame. It's on elegant Japanese Wahon cream paper which is 100% Kozo paper with glazed surface. The specs on the paper are part of the design process. Measurements: Frame: 19 x 19 x 1 inches Visible: 12 1/4 x 12 1/4 inches Sheet: 15 7/8 x 15 1/4 inches Peter Halley Biography Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

"Lady Holding a Baby" - Woodblock Print on Laid Rice Paper Elegant woodcut print by Stephen White (American, b. 1939). In an early example of White's signature style, a stylized, mi...

Route 10 - Abstract Collage Abstract mixed media collage which pulls on motifs from color-field painting, cubism, and geometric abstraction. This piece has a warm quality to the col...

In this black and white monotype on rice paper, geometric shapes complement a monochromatic background that transitions through a grayscale from gray at the bottom to pale gray, almo...

Superb quality to this mid 19th century Chinese watercolor pith painting depicting a consort (perhaps one of Emperor Xianfeng's), being served tea by her personal and loyal eunuch; b...

A beautiful, atmospheric forest scene by American artist Gary Hicks (American, 20th Century), c.1970's. A small trail invites the viewer into this misty forest landscape, where layer...

This circa 1855 Chinese hand painted pith painting portrays a Chinese tradition of a celebratory warrior dance to display fighting dominance; the two parties being a typical warrior ...

A truly immaculate work done with Korean Rice Paper to create a wave-like pattern. Artist Lee Ok-nam folds Korean rice paper and meticulously forms intrica...

Oil on rice paper on canvas on board, realized by Lea Monetti in 1997. Hand signed and titled. Very good condition.

Kumasaka Chōhan to Ushiwakamaru is a Japanese Ukiyo-e print created between 1848 and 1854 by artist Utagawa Kunisada (Japanese, 1786-1864). The print is a Diptych, and is part of the...

Jiang Tiefeng (China/Minnesota, 1938-) Mixed media gouache painting on rice paper with a gold tone Titled: "Mother and Child II." Artist is identified on Dyansen Gallery label on v...