Paravento Due Pannelli Bambù su Foglia d'Oro

Paravento giapponese a sei pannelli , opera di un pittore della prima metà del 19° secolo, di scuola Rinpa. Sei pannelli dipinti con inchiostro su foglia oro e "gofun" su carta veget...

Paesaggio primaverile di ignoto pittore della scuola Rinpa, XIX secolo, inchiostro a sei pannelli dipinto su foglia oro su carta di riso. I fiori sono realizzati con la tecnica del "...

Sempre alla ricerca di cose particolari abbiamo acquistato questo paravento giapponese da una collezionista di Osaka. Un esempio di arte del novec...

Paesaggio giapponese: paravento a sei pannelli dipinto a pigmenti minerali su foglia d'argento. Elegante e moderno esempio di arte orientale senza figure uccelli o fiori. Paravento b...

Paravento a due pannelli di scuola Tosa dipinto a pigmenti minerali su foglia d'oro e carta di riso. Raffigura nella Guerra di Genpei la Battaglia di Ichi-no-Tani tra i Clan Giappone...

Del periodo Edo questo grande paravento giapponese che riproduce l'antica città di Kyoto e i suoi sobborghi. Dipinto con inchiostri e pigmenti minerali, fin nei minimi dettagli su ca...

Coppia sculture leone in legno foglia oro e foglia argento

A Modern oil painting of a harbor town with the water and mountains views in the distance. It is signed on the bottom left hand corner Ataka and dated '30 (1930). The brushwork is ...

An impressionist painting of a trees in snow on a wooden board in period carved gilded frame. It is signed on the bottom right hand corner S Kitayama and dated 1912. Further inscription in Kanji on the back of the frame. Frame measures 17 x 20 1/2 inches Painting measures 9 1/4 x 12 3/4 inches Frame is original to the painting and of the period. The painter is most likely Seitaro Kitayama (Japanese, 1888-1945), an important figure in late Meiji period credited with being the father of Japanese animation before Walt Disney started his company. The painting style is impressionism which was keenly followed by a new generation of Japanese artists who either traveled to Europe for training or received Western publications on artists and gallery shows at home. Kitayama, Seitaro was born on March 3, 1888 in Wakayama, and died on February 13, 1945. In 1911, Kitayama became an apprentice to Tojiro Oshita and, while studying painting, also helped out with editing the art magazine Mizue. He soon moved to Tokyo and established the Western Art Guild of Japan and published Contemporary Western Art. He later joined the Fusain Art Group as a manager where he would support young western-style artists such as Ryusei Kishida and Sohachi Kimura by providing art supplies, in addition to holding exhibitions and publishing catalogues. On the other hand, he entered the Nikkatsu Mukojima Studio in 1916, proposed the inclusion of illustrations in intertitles, and made this his work. It was there that one of the first Japanese animations...

An expressionist oil painting of a seaside view from a balcony in carved gilded frame. It is signed on the bottom right hand corner Aoyama. Signed Aoyama circa 1960s-1970s Frame measures 16 x 19 1/4 inches Painting measures 9 1/2 x 13 inches This painting is likely a scene from the French Riviera or Cote d'Azur. Yoshio Aoyama...

A six-fold Japanese screen by Tosa Mitsusuke (1675-1710), Japan 17th-18th century, Edo period. The signature reads Shoroku-i ge Tosa sa Konoe Shogen Mit...

Pines and Cranes Anonymous. Kyoto Kano School. Late 17th/early 18th centuries, circa 1700. Pair of six-panel Japanese folding screens. Ink, gofun, pigment and gold leaf on paper. This bold composition presents two pine trees extending to the left and right across a gold leaf background. One tree is silhouetted against a green ground, golden clouds obscuring its true size, the other stretches across a stylized waterway. The pines are paired with Manchurian cranes with red crests and snow white plumage. Both have been highly auspicious motifs in East Asia since Chinese antiquity. Here the artist utilized fluid and instinctive ink brushstrokes to define the trunk, branches and tail feathers, in strong contrast to the precision and sharp angularity of the crane’s legs and beaks. The adoption of this vast metallic painting support required an unerring sense of design and composition, so that the negative space surrounding motifs could imply context for the otherwise floating pictorial elements. The brushwork detailing the trunks of the pines, the exaggerated dimensions of the pine trees and the strength and dynamism of the composition are all reminiscent of Kano Eitoku...