Ohara Koson

'Carp and Water Chestnut' — Showa lifetime impression

1926

Ohara Koson (1877-1945), 'Eagle on Snow Covered Pine', color woodblock print, c. 1905. Signed 'Koson' with the artist’s red seal 'Koson'. A very fine impression, with fresh colors on cream Japan paper; embossing in the snow-laden branches and the falling snow rendered with hand-splashed ‘gofun.' The full sheet in excellent condition; stamped 'MADE IN JAPAN' lower left, verso. Published by Nishinomiya Yosaku; a pre-WWII impression. Image size 13 11/16 x 7 7/16 inches (348 x 189 mm); sheet size 14 1/2 x 8 1/8 inches (368 x 206 mm). Archivally sleeved, unmatted. Literature: 'Crows, Cranes, and Camellias: The Natural World of Ohara Koson', Newland, Amy R.: Jan Perree & Robert Schaap, Leiden: Hotei Publishing, 2001. pg. 86, pl. 67. ABOUT THE ARTIST Koson Ohara...

Shoko Uemura, 'Inside the Flowers (Java Sparrow and Peach Blossoms)', color woodcut, c. 1950s, edition 300. Signed in ink with the artist’s red seal beneath. A fine impression, with ...

'Wading Egret', color woodblock, c. 1900 - 1910. Signed 'Koson' in black ink with the artist’s red seal beneath, lower left. A superb, skillfully-inked impression, with fresh colors,...

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil. Signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). Archivally matted to museum standards, unframed. ABOUT THE ARTIST Born near Falling Waters, West Virginia on a plantation a year after the Civil War, and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the western landscape, admirers referring to him as ‘The Sagebrush Rembrandt’. The son of impoverished Southern aristocrats, Leigh took his first art training at age 14 from Hugh Newell at the Maryland Institute where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator in New York City for Scribner's and Collier's Weekly Magazine, and he also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he made an agreement with William Simpson, Santa Fe Railway advertising manager, to paint the Grand Canyon in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, his primary interest being the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926 he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in a number of popular magazines including Life, the Saturday Evening Post, and Colliers. For many years, his work was handled exclusively in New York by Grand Central Art Galleries at the Biltmore Hotel. In 1953 Leigh was elected into the National Academy of Design as an Associate member, becoming a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody in the early part of the century. These years, between 1910 and 1921, when he often painted in the Carter Mountain vicinity, were considered pivotal to his artistic development and his devotion to the western landscape. Leigh's work is held in many museum collections of American western art...

Théodore Géricault and Eugène Lami, 'Mazeppa' from the series 'Oeuvres de Lord Byron', lithograph, 1823, 2nd state of 3, Delteil 94. Rendered by Thé...

Théodore Géricault (after), 'Tigre dévorant un cheval' (Tiger Devouring a Horse), lithograph, 3rd state of 3, Clement 97, c. 1820. Lettered 'Volmar ...

White-Fronted Geese Flying above Reeds and Water. c. 1933. Shikishiban: 10 10/16 x 9 1/16 (sheet 10 14/16 x 9 12/16). Signed and sealed Shoson. Publisher: Watanabe Shozaburo. Illustrated: Crows, Cranes & Camellias, S11.6, p. 197. Stamped "made in Japan" verso, indicating that it was printed for the United States after 1921. A fine impression with subtle shading and gauffrauge in the 2 large birds' feathers. Based on the body markings, these actually appear to be mallard ducks, not geese. Good olor and condition Housed in a 20 x 16-inch archival mat. Koson Ohara...

untitled woodcut by Kjell Otterness from the early 2000s printed in an edition of 6. Pickachu Pokémon

This is a highly collectible woodcut print by Jacques Hnizdovsky. Plate number 64, as per book by Abe M. Tahir, Jr. It is in very good condition. Edition of 100 and individual numbe...

Gaston Suisse (1896-1988) Panthère noire dans les bambous, 1927 Gravure sur bois, sur papier Velin de Van Gelder. Rehaussé aux lavis d’encre de Chine par l’artiste Signé en bas à gauche et daté 1927 en bas à droite Black panther in a forest of bamboos, 1927 A handcolored woodcut on Velin de Van Gelder paper Signed and dated 1927 Bibliographie /Literature Gaston Suisse, splendeur du laque art déco. Emmanuel Bréon. Somogy Éditions d'art, Paris 2013, reproduite page 105 (un autre exemplaire reproduit) The artist made a wood engraving of which he made about twenty prints himself. These proofs were not marketed as is, Gaston Suisse reworked each of the proofs using Indian ink washes in order to obtain different effects for each proof, which are thus unique original works. Born in 1896 in a family of artists, his father Georges was a close friend of Siegfried Bing and a great lover of Japanese art and a bibliophile. He passed his taste for art to his son whom he often took to draw at the Botanic Garden . Around 1910, Gaston Suisse, who hasn't entered yet the artistic school, met Paul Jouve, then 18 years his elder, who was already famous. In 1911, at the age of 17, he entered the National School of Decorative Art where he followed the teachings of Paul Renouard. Thanks to his knowledge and taste for the Japanese art, he chose lacquer painting as his specialty. His practice of this noble and demanding subject were so much appreciated that he was awarded with two gold medals in 1913 and 1914. Mobilized during the war , he joined the army and go in Salonika where he found his friend Jouve. In 1918, he finished his studies at the School of Applied Arts in order to perfect his training. He learned in particular the techniques of gilding and oxidation of metals. The first productions of Gaston Suisse, furniture and objects in lacquer with geometrical patterns, were an instant success and Suisse was appointed as member of Salon d'Automne in 1924, the very year of his first exhibition. Considered as an artist-decorator, his sincere and deep friendship with Jouve linked him in parallel with the groups of the animaliers of the Jardin des Plantes and became a close friend of Edouard-Marcel Sandoz. When travelling to Maghreb and Middle-East between 1923 and 1925, he produced numerous drawings representing antelopes, apes and fennec foxes...

Blocky black and white depiction of a lamb, by German artist Leonhardt Wüllfarth, c.1950. Displayed in a white mat with a gold border and fits a standard-size frame. Archival plastic...

Blocky black and white depiction of a goat, by artist Leonhardt Wüllfarth, c.1950. Displayed in a white mat with a gold border and fits a standard-size frame. Archival plastic sleeve...