Original Japanese Woodblock Print of a Warrior by Gyokusei Tsukioka 月岡 玉瀞

Original Japanese woodblock print by Katsukawa Shunsen (Shunko II) (1762- circa 1830): five karako (Chinese boys) in traditional garments at play in a snow covered garden, making an ...

Striking low two-panel byôbu (folding screen) with a detailed painting of a dragon (ryû) leaping up from the sea holding a flaming pearl in his claws. He flies towards the rough sky,...

A marvellous, tall six-panel byôbu (folding screen) with a rare painting of a large white elephant standing under a blooming paulownia tree (kiri), with a monkey sitting on the ear o...

Rare and richly adorned wooden Kyûshû ishô'dansu (cabinet of drawers) in a single section, on a plinth. Fully restored, cleaned and waxed. The drawer faces are made of indigenous k...

Outstanding and large porcelain biomorphic abstract sculpture covered in clear glaze and regularly distributed opulent cobalt blue polka dots of varying sizes, titled ‘Twisting Back, Multiplying’, hand-built by the highly praised Japanese ceramic artist Harumi Nakashima (1950). Signed at the bottom in a dot '1104 Haru'. Made in 2011. Documented on the website of the artist himself. Born in 1950 in Ena, Gifu Prefecture, Harumi Nakashima is known for his biomorphic porcelain sculptures decorated with opulent blue dots. He excels in clay creations far removed from both tradition and functionality. Taking great care to achieve a flawless surface and form, each piece is created over the course of six months. Nakashima's early reputation was cemented as one of the leading teachers at the Tajimi Pottery Design and Technical Center, having trained and influenced many of the promising young ceramicists of Japan since 1976. Nakashima has received leading prizes and tributes. With works collected by 20 public institutions the world over, including the Museum of Arts and Design in New York and the Faenza Ceramics Museum in Italy, he is one of Japan's most celebrated porcelain artist. Influenced by the blue sometsuke (under-glaze) motifs of traditional Japanese porcelain, Nakashima's motifs also use cobalt blue over-glaze. Yet unlike traditional methods, Nakashima's blue dots are painted over the body of a work after the main firing, and then fired into the white glaze of the porcelain with a second firing using the technique of "in-glazing", thereby leading to the sinking of the dots upon the white overglaze. Perhaps more surprising is the fact that his organic, sprawling and fluid porcelain bodies are entirely hand-built. As porcelain is extremely difficult to manipulate by free-hand, Nakashima intentionally uses this method to create not only tension, but an epic "battle with clay". He is currently based in the port city of Nagoya, and some of his more recent exhibitions are; 2021 Art Market San Francisco, Duane Reed Gallery...

Heavy bronze temple bell (bonshô) of traditional shape with an appealing echoing sound when struck. Its surface is a rich brown, complemented by a hint of light green aged patina. ...

This Meiji-period color woodblock by Toyohara Chikanobu (1838-1912) depicts three elegant female courtiers in traditional dress taking refreshments. Th...

Faces (4 Faces), 1969 Tomio Kinoshita (1923-2014), Japan Woodblock print Paper, pigment, sumi ink Image: 27 high by 18.25 inches wide (68.5 by 46.4 cm) Paper size: 28 high by 19...

Tomio Kinoshita (1923 - 2014) Masks (No. 4), 1981 Woodblock print Image Size: 22 high by 31 inches wide (56 by 79 cm) Paper Size: 22.75 high by 31.5 inches wide (57.8 by 80 cm) ...

Tomio Kinoshita (1923 – 2014) Big Boys, 1960 Woodblock print Image size: 32.75 high by 22 inches wide (83 by 56 cm) Paper size: 35.5 high by 23.75 inches wide (90 by 60.3 cm) Signed: in pencil lower right, Tomio Kinoshita Titled: in pencil at lower left Edition: 30/50 Condition: Very good The woodblock for this large print was carved in 1958, just three years after Kinoshita’s began creating woodblocks. This print was signed and dated in 1960, but not numbered; prints were also pulled from this block in the 1970s, so it must have been one of more popular images. One of his students has written, “As time progressed further, the postwar era saw improvements in nutrition, and children became taller and heavier than in the past, but their lack of physical exercise and severely inferior physical abilities became a social problem; this is ironically depicted in Big Boys.” In 1963, Kinoshita told him that he had just finished pulling a print of this image in response to a request from Unichi Hiratsuka...

A vibrant antique Japanese wood block print of a samurai. The block print with broad sage green mat with ebonized Asian style frame with UV Glass. M...

Tomio Kinoshita (1923 – 2014) Face (Black), 1965 Woodblock print Image size: 25 high by 18 inches wide (63.5 by 45.7 cm) Paper size: 26.25 high by 19 inches wide (66.7 by 48.2 cm) Unsigned Condition: some wrinkling in the margins This print is from a woodblock that was carved in 1965; Kinoshita would often experiment with colors and sometimes not sign the test prints. A green and black version of this image can be found in volume one of the two-volume 44 Modern Japanese Print Artists by Gaston Petit...