A Touch of The Past Antiques Paintings and Screens

A set of two Japanese paintings, each with a hand gilt background depicting a Japanese Magnolia painted sans traverse across the two panels. The originals Japanese, circa 1900. Di...

Large Japanese Meiji period six-panel screen depicting a winter landscape with a Chinese sage visiting friends in a country villa. Ink and vivid color pigments on mulberry paper mounted to a gilt background. Painted in the 19th century Kano school...

Chinese painting by Qu Jian Xiong Fantastic original painting by noted Chinese artist Qu Jian Xiong. Original mixed media with paints and inks. Dimensions 23" x 23". The fra...

Deer under maples Late Taisho period, circa 1925-1930 Pair of two-panel screens. Ink and pigment on silk. Signature: Goho Seal: Goho A pair of two-fold Japanese silk screens...

A two-fold Japanese screen by the Rimpa school artist Sakai Hoitsu (1761-1828), Japan, 19th century, Edo period. This small Japanese folding screen pai...

A Korean four-panel folding screen circa 1830s, from the late Joseon Dynasty. The painting depicts a vivid hunting scene on four vertical scroll panels mounted with brocade borders. The four panels are related to each other in narrative but not in an absolutely continuous fashion, therefore they could be viewed individually and independently, which was not uncommon in the screen paintings as they are meant to be folded and unfolded as needed. The pictures show a general on the far left panel seated on a low platform bed...

Cherry Blossoms Kano Sanrakuki (1898-1981) Showa period, circa 1930 2-panel Japanese Screen Color, gofun and gold leaf on paper Against a backdrop of gold-leafed ground, the lichen covered trunk and branches of the life-sized cherry blossom tree reach out and beyond the confines of the pictorial surface. The overall composition has a feeling of flatness which draws emphasis to the surface and the three-dimensionality of the cherry blossoms. Painstakingly built-up layers of thickly applied shell-white gofun detail the voluminous blossoms and cover large areas of this tour-de-force of Japanese Nihonga painting. By simplifying the background, minimizing the number of colors and depicting the blossoms with such heavy relief, the artist has emphasized the stunning presence of the cherry tree. The type of tree depicted is the Yae-Zakura; a double-layered type of cherry blossom famed for its beauty and strength. When we think of Japanese cherry blossoms, the first thing that comes to mind is Somei Yoshino variety, which has a single flower with five almost white petals. This type is fragile and easily blown away by strong wind or rain. Most of the double-flowered cherry blossoms begin to bloom when the Somei-Yoshino falls, and the flowering period lasts longer than that of the Somei-Yoshino. Kano Sanrakuki originally studied painting at the Kyoto City Arts and Crafts School under the tutelage of Yamamoto Shunkyo...

A nice pair of Chinese ancestor family group portraits, 19th century, on paper, framed in teak frames under glass. Twelve characters total in per...

A rare striking 18th century Tibetan Thangka depicting the Green Tara seated on a lotus throne ready to step down to offer comfort and pro...

Japanese two-panel screen: Three Jewels of Buddhism. Meiji period (1868-1912) painting. The three jewels of Buddhism are the teacher, the lesson, and the ...

An antique Tibetan Thangka with polychrome pigments on cloth, circa mid to late 19th century. It depicts Yamantaka, also known as Vajrabhairava, who is a wrathful manifestation of Manjusri, the bodhisattva of wisdom, and in other contexts he also functions as a dharmapala, or 'Dharma-protector'. The buffalo head deity Vajrabhairava is one of the three principal meditation deities of the Gelug School. He is shown with nine faces in the Yab Yum...

Beautiful, large two-panel byôbu (room divider) with a serene painting of red-leaved bamboo and rocks on an oxidized silver leaf background. Silver leaf continuously undergoes the process of oxidation, which creates a beautiful aged patina. On the left an inscription from a ‘Zekku’ poem by the Chinese poet Yang Zai (1271?1323), titled: Shan shang zhu (bamboo (painted) on a fan). Translated as : Why would people plant a lot of bamboos? The shade of a single culm is also beautiful. In the autumn night it rocks on the wind, And the fresh sound echoes in my dream. Dated: Shôwa, the year kôshin (1938). Signature unknown...