Japanese Single Wood Panel: Abstract Lines in Red and Gold Lacquer

Lacquer painting on wood.

Acrylic and gouache on paper, mounted on board and framed, by Minamisawa Hiroshi. Bearing a label from the Avant-garde Kodo Art Group Exhibition 1955.

Seven graceful Egrets perched upon very vibrant pine. Representing strength, luck, and longevity. A harmonious balance in nature. Mineral pigments on Mulberry paper with dark brown ...

Beige ground lacquer with black and grey lacquer penguins with small pieces of shell making up white areas. Lacquer on wood. Writing reads: Lacquer Screen By Izumi Atsuhiko. It was ...

Spectacular 19th century Japanese late Edo period six-panel byobu screen depicting Yoshitsune and Benkei, two heroes of Japanese folklore. Crafted in ink and natural color pigments on mulberry paper with thick gold leaf borders on each panel. The character Yoshitsune is seated under a blossoming cherry tree in full armor holding a fan. The warrior priest or monk Benkei is depicted kneeling on a leopard skin...

Dramatic Showa period two panel folding byobu screen depicting a large white goose in flight in an evening snow covered winter landscape. Made in the American school style watercolor...

19th century mid-Edo period Japanese four-panel miniature screen. Depicting a beautifully painted Chinese blue and green landscape in the Nanga School...

Tanaka Tessen (b.1890) Dahlias and Roosters Taisho period, circa 1920 Framed painting. Mineral pigments and ink on silk. Dimensions (framed): H. 159 cm x W. 97 cm x D. 2.5 cm (62.5” x 38” x 1”) An ornate and complex composition in which the artist explores almost the entire painting surface. The coloration is bold and evocative and the tinted silk ground recreates the warm golden glow of sunset. Soft, luminous brushwork details the black feathers of the roosters, which seem to cloud and blur in counterpoint to the sharper points of the eyes and beaks. Their brilliant red combs balance the composition, echoing the rich burgundy hues of the dahlias; the flowers exquisite and lifelike. Dahlias were an exotic subject favored by painters of the Taisho era. The painting belongs to the school of Kyoto Nihonga, exemplifying the principles of decorative elegance and consumate brush technique with which it was intimately associated. Painters of the time relied on the Shijo school method, basing the forms of the composition from life sketches. Sometimes they were then integrated with elements derived from Chinese bird and flower...