Hotei Japanese Prints catalog autumn 2014

hotei

Samples of Japanese beauty Prints, paintings and design from three centuries.

1. Kitagawa Utamaro (1753-1806)

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2

2. Katsukawa Shunshô (1729-1792)


3. Utagawa Toyokuni (1769-1825)

on page 4 and 5

4 and 5. Katsushika Hokusai (1760-1849)

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6. Utagawa Kunisada (1786-1865)

next page

7. Utagawa Kunisada (1786-1865)

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8

8a & b. Keisai Eisen (1786-1865)


9. Utagawa Kuniyoshi (1797-1861)

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10

10. Utagawa Kuniyoshi (1797-1861)


11. Utagawa Hiroshige (1797-1858)

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12

12. Hashimoto Sadahide (1807-1879)


13. Anonymous Nagasaki-e

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14

14. Utagawa Yoshitora (act. c. 1830s-1880s)


15. Toyohara Chikanobu (1838-1912)

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16. Tsukioka Yoshitoshi (1839-1892)


17. Toyohara Kunichika (1835-1900)

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18. Toyohara Kunichika (1835-1900)


19. Konishi Hirosada (fl. c. 1819-1863) 20. Konishi Hirosada (fl. c. 1819-1863) 21. Utagawa Kunihiro (fl. c. 1816-1841)

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22. Hiroshi Yoshida (1876-1950)


23. Kitano Tsunetomi (1880-1947)

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24a & b. Komura Settai (1887-1940)


24c & d. Komura Settai (1887-1940)

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25a & b. Sakamoto Hanjirô (1882-1969)

two illustrated from a set of five


26. Kawase Hasui (1883-1957)

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26

27. Kawase Hasui (1883-1957)


28. Kawase Hasui (1883-1957)

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29. Katsukawa Shunrin (act. 1784-1800)


30a & b. Sakai Hoitsu (1761-1828)

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31. Fukuda Hankô (1804-1864)

32. Anonymous

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33. Hashimoto Seisui (1876-1943)

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34. Watanabe Seitei (1851-1918)

next page

35a, b & c. Watanabe Seitei (1851-1918)

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36. Otani Kubutsu (1875-1943)

37. Fujii Tatsukichi (1884-1961)

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38. Ushida Keison (1890-1976)

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39. Takamura Toyochika (1890-1972) 40. Hiramatsu Kôshun (1896-1971)

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41. Neya Chûroku (1897-1987) 42. Aida Tomiyasu (1901-1987)

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43. Nakajima Yasumi II (1905-1986) 44. Nakajima Yasumi II (1905-1986)

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45. Nakajima Yasumi II (1905-1986) 46. Tsuda Eiju (1915-2001)

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47. Keiten Takahashi (1920-2009) 48. Yoshino Takeji (1920-)

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49. Kôji Hatakeyama (1956-) 50. Kôji Hatakeyama (1956-)

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51. Kôji Hatakeyama (1956-) 52. Kise Hiroshi (1980-)

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53. Kiyomizu Rokubei VI (1901-1980)

& Nishiyama Suishô (1879-1958)

54. Katô Shunpû (1914-)

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55. Kayoko Hoshino (1946-)

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56. Inaba Chikako (1974-) 57. Ôno Yoshinori (1978-)

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58. Yokoyama Hakutei (1901-1972)

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59. Nakamura Sôsetsu (n.d.)

& Ôshita Kôsen saku (n.d)

60. Imao Keinen (1845-1924)

a set of 10 trays

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61. Shinmura Senkichi (1907-1983)

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62. Koshida Bizan (1874-?)

63. Hiraishi Kôshô (1910-1989)

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64. Akashi Bokkei (1911-1992) 65. Iwamura Sadao (1912-1944)

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Prints

1. Kitagawa Utamaro 喜 多 川 歌 麿 (1753-1806)

Ômu Komachi (Parrot Komachi), from the series Fûryû nana

Komachi (Fashionable seven Komachi). A young girl grabs the

hand of her mother. Published by Tsuruya Kinsuke in

1802-3. Signed Utamaro hitsu. Ôban.

Very good impression, colour and condition. A rare print, only

three other copies known to exist. This one carries the print title

which is lacking in other (later) versions.

2. Katsukawa Shunshô 勝 川 春 章 (1729-1792)

Arashi Sangoro II in the role of Ito Kuro disguised as

Banta in the play Izu-goyomi shibai no ganjitsu, performed

at the Morita theatre in eleventh month of 1772. Signed:

Shunshô ga. Hosoban

Very good impression, colour and condition.

3. Utagawa Toyokuni 歌 川 豐 國 (1769-1825)

A surimono showing Ichikawa Danjûrô VII in a Shibaraku

role, holding a tray of New Year’s decorations. Signed:

Toyokuni ga. Poems by Sakuragawa Jihinari and Gaikenju

Kaijo. Shikishiban.

Very good impression, colour and condition.

4. Katsushika Hokusai 葛 飾 北 斎 (1760-1849)

The sacred fountain at Jôgaku (Jôgaku reisan), from the series

Eight views of the Ryûkyû islands (Ryûkyû hakkei). Published

by Moriya Jihei in 1832. Signed: Zen Hokusai I-itsu. Ôban.

Very good impression, colour and condition. Full size. This is the

only design that also bears the publisher's seal of Murataya Jirobei.

5. Katsushika Hokusai 葛 飾 北 斎 (1760-1849)

Sangi Takamura. From the series One hundred poems

explained by the nurse. Published by Iseya Sanjiro in 1835-36.

Signed: zen Hokusai manji. Ôban.

Very good impression, colour and condition. Oxidized orange

pigment towards the top.

6. Utagawa Kunisada 歌 川 国 貞 (1786-1865)

Koya Tamagawa in Kishû, from the series Mu Tamagawa no

uchi (The six Jewel rivers). A beauty looking at textile

pattern books. Ôban. Published by Yamaguchiya Tôbei in

1843-45. Signed: Kunisada aratame nidaime Toyokuni ga, plus

toshidama seal.

Very good impression, colour and condition. Full size.

7. Utagawa Kunisada 歌 川 国 貞 (1786-1865)

A fan print Nakamura Shikan II on an outing to view the

summer fireflies. Ukiyo hotarugari (Firefly viewing in the

Floating World). Published by Ibaya Kyubei in 1831.

Signed: Kôchôrô Kunisada ga. Aiban.

Very good impression, colour and condition.

8a & b. Keisai Eisen 渓 斎 英 泉 (1790-1848)

Two surimono style prints from the series Tôsei

sanjûrokkasen (A series of fashionable 36 poets). Date: 1824.

Unsigned. Koban.

Fine Impression, colour and condition.

9. Utagawa Kuniyoshi 歌 川 国 芳 (1797-1861)

Lady Kayô shoots Saiki in the eye, thus entertaining

prince Hansoku. From the series Sangoku yoko zue (The

magic fox of the Three Kingdoms). Published in 1849-50 by

Iseya Chûsuke. Signed: Ichiyûsai Kuniyoshi ga. Ôban.

Very good impression, colour and condition. Cf. Schaap, Heroes &

Ghosts, p. 99.

10. Utagawa Kuniyoshi 歌 川 国 芳 (1797-1861)

Dragon Palace: the dragon king presents three gifts to

Tawara Tôda Hidesato. Published by Maruya Kyûshirô in

1858. Signed: Ichiyûsai Kuniyoshi ga with yoshikiri seal.

Ôban triptych.

Very good impression, colour and condition. Full size.

One of Kuniyoshi’s finest last triptychs.

11. Utagawa Hiroshige 歌 川 広 重 (1797-1858)

The Nunobiki waterfall in Settsu province (Sesshû Nunobiki no

taki), from the series Famous places of our country (Honchô

meisho). Published by Fujiokaya Hikotarô in c. 1837.

Signed: Hiroshige ga. Ôban.

Very good impression, colour and condition. Very faint centerfold.

12. Hashimoto Sadahide 橋 本 貞 秀 (1807-1879)

A Yokohama hexaptych titled The foreign trading

establishments in Yokohama. Published by Sanoya Kihei in

1861. Signed: Gountei Sadahide ga. Ôban hexaptych.

Very good impression, colour and condition. In the 2008

catalogue for the exhibition Designed for pleasure published by the

Asia Society and JASA in New York, this six sheet composition

was published for the first time, giving us a view of the two

stories within the establishment. Until then the two constituting

triptychs were always considered separately.

See Meech & Oliver, Designed for pleasure, p. 220 (this impression).

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13. Anonymous Nagasaki-e

A horizontal print in Nagasaki style showing six foreign

boats. Top right: Chinese vessel; top middle: Korean

vessel; top left: Siamese vessel; bottom right: Dutch vessel;

bottom middle: Russian vessel; bottom left: foreign paddle

streamer. Unsigned, no publisher’s mark, c. 1860. Tanzaku.

Very good impression, colour and condition.

14. Utagawa Yoshitora 歌 川 芳 虎 (act. c. 1830s-1880s)

A Yokohama triptych titled People of five nations - Sunday.

Published by Yamashiroya Jinbei in 1861. Signed: Yoshitora

ga on three panels. Ôban triptych.

Very good impression, colour and condition. Unbacked, full size.

15. Toyohara Chikanobu 豊 原 周 延 (1838-1912)

A triptych showing Court ladies sewing Western clothing.

Signed: Yoshû Chikanobu, with toshidama seal. Published by

Hayashi Kichizô in 1887. Ôban triptych.

Very good impression, colour and condition.

16. Tsukioka Yoshitoshi 月 岡 芳 年 (1839-1892)

Soga Tokimune galloping bareback in Ôiso. Published by

Fukuda Kumajirô in 1885. Signed: Ôju Yoshitoshi ga. Ôban

triptych.

Very good impression, colour and condition. Full size, unbacked.

17. Toyohara Kunichika 豊 原 国 周 (1835-1900)

The actor Ichikawa Sadanji I in the role of Miyamoto

Musashi. Published in 1888 by Sasaki Toyokichi. Signed:

Toyohara Kunichika hitsu. Ôban triptych.

Fine impression, colour and condition. Full size.

18.Toyohara Kunichika 豊 原 国 周 (1835-1900)

The actor Ishikawa Sadanji in the role of Koganojo, from

the series Mitate Hakkenden no uchi (A parody of the the

Eight dog heroes). Published by Fukuda Kumajirô in 1883.

Ôban.

Fine impression, colour and condition.

19. Konishi Hirosada 小 西 廣 貞 (fl. c. 1819-1863)

The actor Nakamura Shikan III (1810-1847) in his last role

as yakko Ippei in the play Tôkaidô koi no sekifuda. Published

in 1847. Signed: Hirosada ga. Chûban.

Very good impression, colour and condition. Unbacked.

20. Konishi Hirosada 小 西 廣 貞 (fl. c. 1819-1863)

An unidentified actor in the role of Kumagai Jirô in the

play Ichinotani futaba gunki. Published in 1848. Signed:

Hirosada ga. Chûban.

Very good impression, colour and condition. Unbacked.

21. Utagawa Kunihiro 歌 川 国 広 (fl. c. 1816-1841)

The actor Arashi Rikan II in the role of Hirai Gonpachi.

Published by Tenki in 1835. Signed: Ganjôsai Kunihiro ga.

Ôban

Fine impression, colour and condition. Heavy deluxe paper.

22. Yoshida Hiroshi 吉 田 博 (1876-1950)

A calm day. From the series: Inland sea-second series. Self

published in 1930. Pencil signed in right bottom corner,

with jizuri seal in left top margin. Ôban.

Fine impression, colour and condition.

23. Kitano Tsunetomi 北 野 恒 富 (1880-1947)

Woman before the mirror. Winter, from the series Four seasons

of the Licensed quarters. Published by in 1919. Signed:

Tsunetomi hitsu. Ôban.

Fine impression, colour and condition.

24a-d. Komura Settai 小 村 雪 岱 (1887-1940)

The complete series A legend from hell (Oden jigoku)

Privately published in circa 1935, commissioned by

Kunieda Kanji. These four works (Rickshaw, Umbrella, Man

and woman under an umbrella and Tattoo) were picked by

Kunieda among the illustrations that Settai made for the

serialized novel Oden Jigoku. The texts in the background

are taken from the novel.

Fine impressions, colour and condition.

25. Sakamoto Hanjirô 坂 本 繁 二 郎 (1882-1969)

The complete series of five landscapes in original folder

from the series Nihon fukei hanga (Japanese scenery prints).

Published in 1918 by Nakajima Jûtarô. With original

portfolio, table of contents and colophon. Chûban.

Very good impression, colour and condition. Two designs show a

slight brownish discoloration in the central area. This is for some

reason the case with most sets.

26. Kawase Hasui 川 瀬 巴 水 (1883-1957) Snow on Miyajima.

From the series Souvenirs of travel, third series. Published by

Watanabe Shôzaburô in 1928. Signed Hasui, with seal: Sui.

Ôban.

Fine impression, colour and condition. Ex Gookin collection.

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27. Kawase Hasui 川 瀬 巴 水 (1883-1957)

Snow at Tsukushima, from the series Twenty views of Tokyo.

Published by Watanabe Shôzaburô in 1930. Signed Hasui,

with seal: Sui. Ôban.

Fine impression, colour and condition.

28. Kawase Hasui 川 瀬 巴 水 (1883-1957)

Starry night, Miyajima. From the series Souvenirs of travel,

third series. Published by Watanabe Shôzaburô in 1928.

Signed Hasui, with seal: Sui. Ôban.

Fine impression, colour and condition.

Paintings

All measurements give the image size excluding the mount

29. Katsukawa Shunrin 勝 川 春 林 (act. 1784-1800)

An ukiyo-e style painting on silk by one of Shunsho’s

pupils, showing two beauties on the veranda of a tea

house. Signed: Katsu Shunrin, with seal reading ‘Superb

painting by Shunrin’, c. 1792. Image size 27.5 x 78.7 cm.

Formerly in the collection of the well known Shiga collector

Shibata Genshichi active in the late Meiji and Taishô periods. It

carries a tag of the Kyoto National Museum where it was once

exhibited. A stylistically similar painting can be found in the

MFA, Boston (a triptych), with the same signature and seal. See

Morse, Drama and desire, Japanese paintings from the Floating World

1690-1850, pl. 35, p. 134-35.

30. Sakai Hoitsu 酒 井 抱 一 (1761-1828)

A pair of paintings on silk of spring and autumn flowers.

Each signed Hoitsu plus seal.

Old box, with authentification by Kohitsu Ryôshin (1876-1953) the

last generation of a famous family of Kyoto connoisseurs, dated 1933.

31. Fukuda Hankô 福 田 半 香 (1804-1864)

A large snow landscape painted in sumi and slight colour

on silk, in nanga style. Signed: Hankô Fukuda sha, dated

1846. Image size 86 x 176 cm.

Box signed, guaranteed by Tachika Chikuson (1864-1922), an

important Kyoto nanga artist.

32. Anonymous

A painting on silk of the bay of Nagasaki showing a large

ship anchored in front of Deshima, the fan-shaped Dutch

trading post, c. 1860. Seal in bottom right corner (unread).

Image size 38 x 116 cm.

33. Hashimoto Seisui 橋 本 静 水 (1876-1943)

An enormous painting on silk titled on the box Hakusa

seishô, white sand and green pines. Signed Seisui. Image

size 83 x 198 cm.

With original inside box and deluxe lacquered outer box. This

painting was exhibited at the 1914 Inten exhibition. It was shown

again in the Shiga Museum of Art in 1999, when prize winners of

previous Inten exhibitions were shown. See Taishoki saiko inten no

kagayaki, Shiga Museum of Modern Art, Tokyo 2009.

34. Watanabe Seitei 渡 辺 省 亭 (1851-1918)

A painting on silk of swimming carp among water plants.

Signed Seitei with seal. Image size 49 x 125 cm.

Original box, signed and sealed by the artist.

35. Watanabe Seitei 渡 辺 省 亭 (1851-1918)

A triptych consisting of three paintings, the two outer

ones depicting wisteria and the central panel numerous

small turtles. Each signed and sealed by the artist. Image

size 41 x 108 cm each.

Original signed and sealed triple box.

36. Otani Kubutsu 大 谷 句 仏 (1875-1943)

A large painting on paper of a crane, with calligraphy in

gold ink. Signed and sealed by the artist. Image size 47 x

141 cm.

Original box.

37. Fujii Tatsukichi 藤 井 達 吉 (1884-1961)

Mountainous landscape, painting on paper. Artist seal in

right bottom corner. Image size 60 x 91 cm.

Original box.

38. Ushida Keison 牛 田 雞 村 (1890-1976)

A two panel screen showing geese in flight against a

landscape with pine trees and temples, c. 1930. Sumi on

paper. Dim. 72 cm (h) x 165 cm (w)

Born in Kanagawa prefecture. He was a student of Matsumoto

Fûko (1840-1923). Together with Hayami Gyoshû (1894-1935),

Omoda Seiju (1891-1933) and Imamura Shikô (1880-1916)

founded the Sekiyôkai in 1914. The group disbanded in 1916 after

the death of Shikô. After the war, he stopped entering works into

competitive exhibitions and was involved in stage designs for

traditional Kyoto dance performances

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Bronzes

purchased by Japanese governmental ministries for gifts to dignitaries.

No box.

39. Takamura Toyochika 高 村 豊 周 (1890-1972)

Bronze single flower vase with a stylized ear and seal in

bottom of vase, 33.5 cm (h) x 8.5 cm (w).

Including original wooden box, with signature and seal in lid.

Named a Living National Treasure in 1964 for his skills in

metalworking, Takamura Toyochika was the son of a famous

sculptor, Takamura Kôun (1852-1934). A 1915 graduate of the

Tokyo School of Fine Arts, he was influenced by the ideas of his

brother Kôtarô, who had studied Western art in New York and

Paris and opened the first independent art gallery in Tokyo in

1910. Toyochika became a specialist in the lost-wax method of

metal casting, and in 1926 helped establish the craft group called

Mukei (Formless), which sought to uphold the ideal of handmade

crafts. He was among those who worked to include crafts in the

Teiten exhibitions. Invited to exhibit at the 1927 Teiten, the first to

have a section for crafts, he garnered top prizes that year and in

the next two. He experimented with Constructivist works and in

1935 cofounded the Real Craft Art Association, which espoused

functionalist Bauhaus ideals.

40. Hiramatsu Kôshun 平 松 宏 春 (1896-1971)

A classical bronze flower vase, sealed at bottom and on

inside of lid of box. The vase has a deep red, slightly mottled

patina typical of the era. Dim. 22 cm (h) x 10.5 cm (w).

Born in Nagano, Hiramatsu Kôshun was one of the top rated bronze

artists of the Shôwa period. He learned the art of metalwork

under Katsura Kôshun (Mitsuharu) and Umino Kiyoshi. His work

was represented at the Nitten where he received the Hokutô-shô

prize among many others and was bequeathed to the Nitten and

41. Neya Chûroku 根 箭 忠 緑 (1897-1987)

A large open bronze vase, decorated with stylized waves

and flying fish. Sealed on the bottom Chûroku, c. 1930.

Dim. 35 cm (h) x 17.5 cm (w).

Including original box signed Chûroku saku (made by Chûroku).

42. Aida Tomiyasu 会 田 富 康 (1901 - 1987)

A stylized bronze flower vase, with two handles. Signed

Tomiyasu on bottom. 29.5 cm (h) x 9 cm (w).

Title on original box: Bronze ikebana vase with handles, signed

by Tomiyasu with seal.

43. Nakajima Yasumi II 二 代 中 島 保 美 (1905 - 1986)

(2nd generation, personal name: Mitsuo)

A stylized flower vase in red bronze. Signed: Yasumi on

the bottom. Dim. 34 cm (h) x 20 cm (w).

New box.

44. Nakajima Yasumi II 二 代 中 島 保 美 (1905 - 1986)

(2nd generation, personal name: Mitsuo)

A stylized flower vase in red bronze, with square handles.

Signed Yasumi on the bottom. Dim. 26 cm (h) x 10.5 cm (w).

Original box, signed and seal ( 保 美 ) on the inside of lid.

45. Nakajima Yasumi II 二 代 中 島 保 美 (1905 - 1986)

(2nd generation, personal name: Mitsuo)

A flower vase in red bronze in the shape of a budding

flower. Signed Yasumi ( 保 美 ) on the bottom. Dim. 29.5 cm

(h) x 16.5 cm (w).

46. Tsuda Eiju 津 田 永 寿 (1915 - 2001)

Bronze apple shaped vase, sealed in the bottom of the

vase. 18 cm (h) x 12 cm (w).

Original box with signature and seal. Eiju is considered one of the

most influential Japanese bronze casters in the second half of the

20th century. He was the pupil of Tsuda Daiju (1875-1946), a

member of the Imperial Art Academy and professor at Tôkyô

School of Fine Arts.

47. Keiten Takahashi 高 橋 敬 典 (1920-2009)

Bronze olive-shaped vase. Sealed in the bottom of the vase.

Signed: Keiten on the inside of lid. Text outside of the box:

red bronze flower vase (shudô hanabin). Dim. 19 cm (h) x

21 cm (w).

Original box with signature and seal. Keiten Takahashi was

designated by the Japanese government as ‘Living National

Treasure’ in 1996 for his excellent metalworking skills.

48. Yoshino Takeji 吉 野 竹 治 (1920-)

Large oval shaped vase, Takaoka dôki style. Dim. 22 cm (h)

x 25 cm (w)

Original box. Yoshino Takeji was born in Takaoka in Toyama

prefecture in Japan. He is the fourth generation of metal casters of

his family, which has been dedicated to this craft since 1800. His

father, Yoshino Takejirô taught him the techniques of casting, but

he also graduated from the Toyama Industrial Art School in 1938.

He prefers traditional bronze casting techniques over modern

methods. In 1975 he was recognized by the Japanese government

for his efforts of traditional metal making techniques. He received

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the 7th Blue Medal of Honour from the Japanese government in 1989.

49. Kôji Hatakeyama 畠 山 耕 治 (1956-)

‘Eight Faces’. Octagonal lidded bronze box with gold-leaf

interior. Date: 2014. Dim. 14.5 cm (h) x 10.5 cm (w).

With original box, signed and seal Koji Hatakeyama. Born in

Takaoka, Toyama, Hatakeyama studied metalwork at Kanazawa

College of Art, and chose the method of metal casting –pouring

molten metal into a mold. He decorated this octagonal box with

abstract patterns resembling a landscape.His works are in various

international museums, for example in the V&A in London and

the Philadelphia Museum of Art.

50. Kôji Hatakeyama 畠 山 耕 治 (1956-)

‘Six Faces’. Hexagonal lidded bronze box with gold-leaf

interior. Date: 2013. Dim. 16 cm (h) x 15.5 cm (w).

With original box, signed and seal Koji Hatakeyama.

51. Kôji Hatakeyama 畠 山 耕 治 (1956-)

‘Eight Faces’. Octagonal lidded bronze box with gold-leaf

interior. Date: 2014. Dim. 14.5 cm (h) x 11.5 cm (w)

With original box, signed and seal Koji Hatakeyama.

52. Kise Hiroshi 木 瀬 浩 詞 (1980-)

Hammered copper bowl with a gold leaf interior. Dim. 14

cm (h) x 24 cm (w).

Kise is an independent artist after receiving his training at The

Tohoku Art and Design School. He has been the recipient of

several prestigious awards.

Ceramics

53. Kiyomizu Rokubei VI 六 代 清 水 六 兵 衛 (1901–1980) and

Nishiyama Suishô 西 山 翠 嶂 (1879-1958)

A ceramic bowl made by Kiyomizu Rokubei VI, decorated

with bamboo and blossom by Nishiyama Suishô. Signature

in bottom of bowl. Dim. 10 cm (h) x 23.5 cm (w).

Including original wooden box, with signature and seal of both

artists. Rokubei VI graduated from the Kyoto City School of Art

and Craft and Kyoto Municipal College of Painting before

apprenticing with his father from 1925. In his successful career he

received numerous awards at the government sponsored

exhibitions and was later appointed as a judge. He received the

Cultural Merit Award in 1976. Now the eigth generation of the

Rokubei lineage of potters works in Kyoto.

Nishiyama Suishô was a Kyoto painter, briefly a pupil of Kono

Bairei and later of Takeuchi Seihô, who was his father-in-law. He

was also influenced by Asai Chû, learning Western decoration

techniques and like Seihô and Asai Chû often worked together with

Kyoto craftsmen such as Rokubei to add decorations to ceramics.

54. Katô Shunpû 加 藤 順 風 (1914-)

A ceramic tea bowl (chawan), Seto ware. Distorted shoe

shape (kutsugata) signed at the side of the foot, c. 1960.

Dim. 8 cm (h) x 14 cm (w).

Including original wooden box, with signature and seal. Katô

Shunpû exhibited at Nihon dentô kôgei ten in 1966 as a member

of the Seto Dentô Tôgei-Kai.

55. Kayoko Hoshino 星 野 佳 世 子 (b. 1949)

An open stoneware bowl with pink glaze. A typical

example of Hoshino’s style, suggesting a shape of folded

paper. Incised decorations, applied by straw. Dim. 10.5 cm

(h) x 32 cm (w).

Hoshino’s work is present in several museums a.o. Museum Boymans

van Beuningen, Rotterdam and the Chazen Museum, in Madison

Wisconsin.

56. Inaba Chikako 稲 葉 周 子 (b. 1974)

Open ribbed ceramic bowl. Dim. 18 cm (h)x 24 cm (w).

Inaba was born in Yokohama city, Graduated at the design

section of the Musashi no Bijutsu Daigaku in 1996 and the Tajimi

City Pottery Design Institute in 2001. Currently she works in

Otsu, Shiga prefecture.

57. Ôno Yoshinori 大 野 佳 典 (1978-)

A contemporary white porcelain water container (mizusashi)

with black lacquer lid. Dim. 15 cm (h) x 14.8 cm (w).

Including original signed box. Ôno’s work has been exhibited

throughout Japan and his work was selected for an exhibition for

the Musée Picasso in Paris in 2012.

Lacquer

58. Yokoyama Hakutei 横 山 白 汀 (1901-1972)

A large black bull, made in dried black lacquer (koku shitsu

nuri). Seal at bottom. Dim. 20 cm (h) x 40 cm (l).

With original signed box.

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59. Nakamura Sôtetsu 中 村 宗 哲 (n.d.)

Ôshita Kôsen 大 下 香 仙 作 (n.d.)

Lacquer tea caddy (natsume), with gold decorations of

stylized ivy leaves (tsuta no ha). Dim. 7cm (h) x 6.5 (w).

Including original box, titled Makie of ivy leaves ( 蔦 蒔 絵 ).

60. Imao Keinen 今 尾 景 年 (1845-1924)

A set of ten lacquer trays decorated by Imao Keinen.

Wrapped in original paper envelopes with a seal of the

producer Hida Shunkei, dated Taishô itakurankai, Taishô 2

(1913). Diam. 36 cm.

With original box, signed by Keinen himself as: Yôsôsai kore wo

konomu, ‘Keinen taking delight in these (plates). Imao Keinen was

born in Kyoto and studied Ukiyo-e style with Umegawa Tôky.

Later he became a pupil of Suzuki Hyakunen, studying painting

and calligraphy. In 1888 he became professor at the Kyoto

Prefectural School of Painting. Keinen was a frequent exhibitor

and prize-winner at many shows and exhibitions in Japan and in

Paris and an important figure in Kyoto art circles. His recurring

themes are flowers, birds and landscapes. The lacquer producer

Hida Shunkei has included its labels on each individual plate. It

lists its performances and medals at various industrial expositions,

such as for example a bronze medal at the Exposition Universelle

de Paris 1889. They were based in Hida province in Gifu prefecture.

61. Shinmura Senkichi 新 村 撰 吉 (1907-1983)

Low two-panel lacquer screen (furoksaki byobû) for use in

tea ceremony. Produced for the Teiten exhibition of 1932,

in art deco style, with metal ornamentation around the

screen frame. 2x 86 cm (w) x 49 cm (h).

In original box. Illustrated in the Teiten catalogue for 1932. In

perfect condition. This was Senkichi’s debut piece in the Teiten at

the young age of 25. He trained in Kanazawa and went on to the

Tokyo Art Academy and later exhibited many times in the Teiten

and Shin Bunten exhibitions. In 1972 he became professor at the

Tokyo Art Academy. An important piece and a highlight of deco

style lacquer art.

62. Koshida Bizan 越 田 尾 山 (1874-?)

A round writing box (maru suzuribako) decorated with a

camellia flower ( 椿 tsubaki), the interior is decorated with

autumn grasses in nashiji lacquer, c. 1915.

Dim. 4.5cm (h) x 21 cm (w).

With original box. Koshida Bizan was born in 1874 in Kanazawa.

He was a student of Takahashi Kôji and Tanaka Hatsutarô. He

worked as an independent artist in Osaka.

63. Hiraishi Kôshô 平 石 光 祥 (1910-1989)

Tray in red lacquer (shu urushi) decorated with a vine

design. Diam. 36 cm.

Original box with signature and seal. Kôshô was born in Kaga

city, Ishikawa prefecture. He was a student of Okumura Kajô 奥 村

霞 城 (1893-1937). His original name was Hiraishi Takashi. Between

1940 and 1946 he changed his artist name to Hiraishi Kôshô,

which dates this lacquer tray among his earlier work. He received

the Kyôto Art Prize in 1979 and the Kyôto cultural prize in 1982.

64. Akashi Bokkei 明 石 朴 景 (1911-1992)

A small incense box (kôgô) decorated with a cicada (semi).

Interior is decorated with gold leaf. Dim. 2.5 cm (h) x 5.5

cm (w).

Original box signed Bokkei saku (made by Bokkei) and seal on the

inside of lid. Bokkei learned urushi making at the Kagawa Craft

School. He later taught urushi in Wakayama.

65. Iwamura Sadao 岩 村 貞 雄 (1912-1944)

Lacquer tray with decorations of flowers in mother-ofpearl

(raden). Diam. 42.5 cm.

Original box. Iwamura Sadao was the son of Iwamura Tetsusai

who made many makie objects for the imperial family. Sadao

exhibited at Teiten, Bunten and at the Chicago expo.

Inside back cover

66. Suzuki Hyôsaku II 鈴 木 表 朔 二 代 (1905-1991)

Small lacquered chest which opens in the middle

revealing two drawers and compartments. Dim. 35 cm (h)

x 34.5 cm (w).

Original box with signature and seal. Suzuki Hyôsaku II learned

urushi making from his father the famous Suzuki Hyôsaku.

Hyôsaku II was a member of Ryûkei-ha (founded in 1934), a

group of artists who were fascinated by streamlining and speed.

In 1937 he received a silver award at the Expositions Universelles

de Paris.

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