Paintings and Screens

Mineral pigments on gold leaf. Not signed, by: Baikei Hitsu.

Mineral pigments on gold leaf on mulberry paper with a silk brocade border.

Nicely painted mineral pigments on silk with a silk brocade border. Signature reads: Kosho.

Ink and color on buff ground, on paper. reads: Nankaino omoide (memory of south sea) signature and seal read: Katsuyuki. Very unusual subject matter.

Antique Japanese Woodblock - William Lee Inventor of the Knitting Machine “Lives of Great People of the Occident ca. 1870 William Lee : Inventor of the Knitting Machine (Ueuremu ...

Antique Japanese Woodblock - Lives of Great People of the Occident James Watt (1736–1819) ca. 1873 attributed to Utagawa Kuniteru II The Englishman James Watt Experimenting with st...

Jorge CAMACHO, signed. Mixed technique on paper, entitled “Chaman : La langue de la Corde”, representing a totem, or a shamanic subject, on a background in blue tones and in its blond oak frame. Work realized in 1992. Provenance: Galerie Vallois...

< The frame for this work is made of paulownia wood taken from antique Kiritansu - chest-of-drawers for kimono. I use antique kiritansu that can’t be used as furniture anymore to create basis and frames for my works. It adds them even more authentic atmosphere of traditional wabisabi spirit. Can you feel it? The piece uses the concept of "kintsugi" - it "unites" the pieces of antique kimono back together with golden leaf to give it a second wind as art work. << Period / Story The kimono used in this piece was originally crafted during the late Showa period (1960-80ies). << Explanation and meaning of pattern and colors The Japanese saying goes, "A crane lives a thousand years, a tortoise lives ten thousand years," making cranes a symbol of longevity. Cranes are also known for staying with the same partner for their entire lives, which is why they are often used at weddings and other celebrations to symbolize "marital bliss" and the desire for harmony between husband and wife. On this particular piece, cranes are flying through snow woven on the fabric, as if they are overcoming all the disasters to get to their beloved ones. The color scarlet, or deeply dyed red, used for the most of the cranes here, has long been associated with the meaning of "warding off evil." It is believed to possess the power to repel malevolent forces and invite good fortune. During the Heian period, scarlet was reserved for sacred buildings and ceremonial objects that held great significance. Ordinary people were prohibited from wearing scarlet-red kimonos, which made it a highly special color. << Characteristics of the fabric Cranes, going up and down, are generously decorated by kimpaku here. "Kimpaku" (金箔) refers to gold leaf/foil in Japanese. Gold leaf is a traditional material used in various aspects of Japanese culture, including art, crafts, and even in culinary applications. In traditional Japanese art, gold leaf is often applied to religious objects, sculptures, paintings, and lacquerware to create a luxurious and decorative effect. The use of gold leaf in art dates back centuries and is associated with a sense of wealth, prestige, and the divine. Traditional kimpaku technique is used here to make an accent decoration in the middle. << About the frame This artwork frame is crafted from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos, and it serves to convey the refined beauty of Japanese nature. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. Paulownia wood is closely linked to kimono culture. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

A beautiful set of four Chinese lacquer painted screens. The front includes inlaid pearl vases and flowers and a set of four hard stone characters on each. The back side (indicated b...

We are delighted to offer for sale this lovely pair of antique circa 1920’s Chinese Export hand painted on silk paintings depicting a Geisha girl and a floral scene with butterfly. A very good looking and beautifully painted pair, they were made for the export market during the British colonialism...

Each panel polychrome painted, decorated with Chinoiserie figurative scenes, incorporating interior and exterior settings, within a border of flowers and blue and white vases of flow...

This work is inspired by traditional Japanese nature colors symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. It is filled with storytelling ...

Furosaki (tea ceremony screen) Mineral pigments on mulberry paper with oxblood lacquer trim. Signature and seal read: Katsutoshi. On back it is titled: Irises (Kakitsubata) with a ...

Antique 19th century hand painted floral motifs on silk Chinese fans Qing dynasty, the fan in silk with silk fringe and giltwood handles, housed within a conforming paper covered box...

Material: paper, wooden frame One sheet: W580×H1750mm, unfolded size: W3520mm, 10kg Folded size: W600×H1750×D105mm Estimated packaging (sandwiched with 5-10mm plywood): 21cm x 70cm x...

Japanese two-panel screen, deco landscape with river fans. Modern scene of a 12th century festival in Kyoto in which fans are sent down the Kamo River and caught downstream. Taisho (...

Chinese gouache painting on paper of farmers tending the land. Signed on the reverse, comes framed.

M. V. Bouttet (XX), Untitled Still Life, Watercolor on Paper, signed lower right. Provenance: From a New York City collection. Provenance: From a New York City collection.

Unusual subject matter of cherry blossoms in the moonlight on dyed silk and applied gold in a grey lacquer trim. Signature and seal read: Adachi Masakazu. ...

With young bamboo and winter berry in the foreground and footprints in the snow. Mineral pigments and mica on paper. Seal reads: Seikan.

This artwork uses antique fabric from Taisho era (early 1920ies) kimono and paulownia wood taken from antique kiritansu - chest-of-drawers used initially to keep kimonos. It is el...

HV Pollak (XX), Figural Landscape, Watercolor on Paper, signed lower right and still-life watercolor to verso. Provenance: From a New York City colle...

< This artwork creatively uses tree bark to evoke the imagery of woods and mountains during both the morning and nighttime on left and right. It is elegantly framed with paulownia wood, a tree closely connected to kimono culture, and is filled with storytelling and sense of luxury. By incorporating both the front and back sides of the same obi fabric woven in different colors, the play of light and shadow on the mountains is depicted through the contrasting appearances of these surfaces. The intention behind this piece is to convey the exquisite beauty of Japanese mountains and the lush forests that inhabit them. To achieve this, traditional elements of Japanese culture, such as obi textiles and craftsmanship involving wood, were used. The outer side and inner linings of the same obi, no longer suitable for clothing, along with bark material that would normally be discarded, have been repurposed to create this exceptional upcycle artwork. The fusion of Japanese natural materials – silk, paulownia wood, and pine bark for the central decoration – along with the so-called "Tozan" pattern, a unique Japanese natural design showing mountains from far-away point, captures the magnificent beauty of Japanese nature from various perspectives. The central bark decoration stands out as a distinctive feature of this work. Pine, oak, and other tree barks are interwoven among the mountains woven into the obi, creating a tangible and authentic natural atmosphere. << Period / Story The obi used in this piece was originally crafted during the late Showa period (1960-80ies). << Explanation and meaning of pattern and colors This upcycle artwork uses an obi with a tozan pattern woven in two colors. The design is inspired by a distant mountain range, a motif that has been used in paintings and crafts since ancient times. However, in this particular design, the mountains are depicted not as distant peaks but as graceful semicircles giving it a mild atmosphere. << Characteristics of the fabric This upcycled Fukuro-obi (two-side obi) showcases a festive color pattern of mountains intricately woven with gold threads against a beige front and red on the back. The way this obi interacts with light allows it to shift in expression, much like a mountain revealing different facets over time. It can transform from deep shades of color to the appearance of gold shimmering against bright hues, depending on the lighting and viewing angle. << About the frame Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

It is a work of landscape maps and four width pairs in the four seasons of Shenzhen, China. It is a tasteful work that makes each one feel the taste of the season. Additional inform...

Beautifully painted by Kido So (1899 - 1984). Born in Kyoto So studied painting at the Kyoto Municipal School of Painting under Yamamoto Shunkyo (1871...

Japanese two-panel screen: Ikebana on gold. Meiji period (1868-1912) painting of a basket with beautifully arranged spring flowers in the style of ikebana (Japanese traditional flowe...

Fine Kano School painting on silk with silk brocade border.

Three Chinese Watercolors 19th Century each titled on verso Inferior Mandarin Governer General, his lady Prime Minister size with frame 9 by 12 inches ...

This is an exceptionally powerful and evocative four-panel screen depicting a sprawling Tibetan monastery set against a backdrop of massive, towering mountains. Executed in ink on pa...

< This work is inspired by traditional Japanese natural symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. It is elegantly framed with...

< This textile artwork uses a vintage obi dated around 1980ies, with a feather motif, and arranges it so that it looks like a vase. Antique obi, just as it is a broken vase, is united back again with black obijime - a string used to tie up obi when it’s worn. Framed in kiritansu (antique chest) paulownia wood. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation and meaning of pattern and colors Feathers hold various meanings and symbolism in Japanese traditional culture, often reflecting themes of spirituality, symbolism, and folklore. Here are some of the meanings associated with feathers in Japanese tradition: ・Divine Protection: Feathers are often seen as symbols of divine protection and spiritual guidance. Feathers, especially those from birds, are considered to be imbued with the protective energy, offering spiritual guardianship and safeguarding against negative forces. ・Connection to the Spirit World: Feathers are sometimes associated with the spirit world and the realm of the divine. In folklore and mythology, feathers are depicted as messengers between the earthly realm and the celestial realms. ・Symbol of Beauty and Elegance: Feathers are admired for their natural beauty, grace, and elegance. In traditional Japanese arts such as Noh theater, Kabuki, and dance performances like Kagura, actors and performers often use feathered costumes or accessories to enhance their appearance and convey a sense of refinement and sophistication. ・Sign of Good Luck and Prosperity: In Japanese folklore, certain birds like cranes and pheasants are considered symbols of good fortune, longevity, and prosperity. Feathers from these birds are often depicted in art and craftwork as auspicious symbols believed to bring blessings and positive energy to the bearer. < Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

Very beautiful draw made in graphite, pastel and pen dating from 1867 and signed "Cinarie" at the bottom right. Represents a French countryside landscape. Very well framed in a gilde...

Pair Antique 19th Century Chinese Teakwood and Porcelain Table Screen Plaques. Per the last 4 photos, these screens can be removed from their bases and hung as a wall decoration.

Pair of decorative panel encrusted with Asian mother-of-pearl with fish signed. many gaps on one of the two panels. Dimension height 106 cm for a width of 54 cm. Additional inform...

In Japan, it is a Shinto belief that the deer is a treasured and sacred animal. This admirable scene captures this gentle creature in its natural habitat with beautiful detail in bot...

< This work uses a vintage kimono fabric with marble pattern, that makes it look like a real piece of marble. The line in the middle symbolizes “kintsugi” - concept of wabi-sabi, which values imperfection, impermanence, and the beauty of aging. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation and meaning of pattern and colors Kintsugi (金継ぎ), which translates to "golden joinery" or "golden repair," is a traditional Japanese art form of repairing broken pottery with lacquer mixed with powdered gold, silver, or platinum. I used this tecnique here to "repair" antique kimono by transforming it into art work. Beyond its literal meaning of mending broken ceramics, kintsugi carries profound philosophical and cultural significance in Japanese tradition: ・Embracing Imperfection: Kintsugi celebrates imperfection and impermanence. Rather than disguising or concealing flaws, it highlights them, treating the breakage as part of the object's history. This philosophy encourages acceptance of imperfection as an essential aspect of life, beauty, and human experience. ・Wabi-Sabi Aesthetic: Kintsugi embodies the principles of wabi-sabi, an aesthetic worldview centered on the acceptance of transience and imperfection. Wabi-sabi values simplicity, authenticity, and the beauty of things that are imperfect, impermanent, and incomplete. Kintsugi exemplifies these principles by turning what might be considered flaws into features that enhance the object's beauty and character. ・Resilience and Transformation: The act of repairing broken things with precious metals symbolizes resilience and transformation. Instead of discarding or replacing the broken object, kintsugi honors its history and transforms it into something new and valuable. This reflects broader philosophical themes of overcoming adversity, finding beauty in imperfection, and embracing change. ・Honoring the Past: Kintsugi preserves and honors the history of the object. Rather than erasing or ignoring its past, it acknowledges and celebrates it. This aspect of kintsugi can be seen as a metaphor for honoring our own personal histories, including the challenges and setbacks we have faced, and recognizing how they have shaped us into who we are today. ・Spiritual and Philosophical Symbolism: Kintsugi has spiritual and philosophical implications, reflecting concepts such as the interconnectedness of all things, the cycle of life and death, and the pursuit of harmony and balance. The process of repairing broken objects with precious metals is seen as a metaphor for spiritual growth, enlightenment, and the journey towards wholeness. Overall, kintsugi represents not only a practical technique for repairing ceramics but also a profound philosophical and cultural perspective on life, beauty, and the human experience. It embodies values such as resilience, acceptance, and the transformative power of embracing imperfection. << Characteristics of the fabric This vintage textile is hand-painted with a traditional painting technique where the colors are added on wet surface, which creates an effect of marble. << About the frame Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

Suiboku is a style of ink painting that is reminicent of the way calligraphers paint. Masterfully painted Muromachi Period (1336-1573) painting, unique in style and strength for the period with very bold lines. Sesshu Toyo...

With the vibrant colors, and fine attention to detail and surface typical of a Rimpa painting. Using Rimpa style tarashikomi painting technique with mineral pigments on mulberry pape...

Fabrics featuring iconic Japanese plants like chrysanthemum, maple, and bamboo were gathered from various long underwear and kimono pieces to create a set of canvases (diameter 30, 25 and 20cm) showcasing exquisite gradations. The top canvas, in pristine white, originates from long under-kimono, while the middle and bottom canvases are skillfully upcycled from kimono fabrics. << Period / Story The long under-kimono and kimono fabrics used in these canvases were originally crafted and worn during the late Showa period (1960-80ies). << Explanation and meaning of pattern and colors The pattern on the top canvas features a chrysanthemum, an auspicious emblem symbolizing longevity. It is affectionately referred to as the "raccoon dog chrysanthemum" due to the large, overlapping petals resembling the fur of a muzina, a creature similar to a raccoon dog or badger. This motif is highly popular in various plant-inspired designs and frequently seen in Edo komon, katazome, and jimon textiles. The top canvas naga-juban under-kimono, being entirely white and devoid of any additional dyes, suggests its use as formal wear. Its pristine white hue accentuates the silk's luster when exposed to light and highlights the beauty of the woven patterns. The fabric used here is rinzu, a type of fabric thinner than crepe de chine, characterized by its soft, smooth texture and subtle sheen. This particular lintel distinguishes itself with the way its ground pattern emerges and also incorporates a woven chrysanthemum pattern. The central canvas showcases a maple tree, symbolizing longevity, which changes its colors with the seasons, bringing joy and happiness to people's lives. The bamboo featured on the lower canvas has been regarded as a symbol of good fortune since ancient times, given its straight and vigorous growth, along with the Chinese legend that a phoenix consumes its fruit. It embodies concepts such as "immortality," "longevity," and "strength" because it remains green even in winter. The hollow stem also signifies "innocence," suggesting that there are no hidden agendas. All three canvases are adorned with ground patterns that, when viewed from a distance, appear as modern works of art, yet upon closer inspection, they reveal a distinct Japanese ambiance. << Characteristics of the fabric All three canvases are made of fabrics with jimon. The unique and high level of Japanese weaving...

Moon and bamboo in ink on gold paper with red and black lacquered negoro frame. (Meiji period) Calligraphy reads: Beauty in ink painting with standing woods and branches, like in par...

Sparrows ravish freshly harvested rice, drying on stakes, beyond wild chrysanthemum. Mineral pigments on silk. Signed in the lower left corner, signature reads: Soetsu. With a simple...

This framed Hindu Calendar is a 'Kamasan' cotton textile painting from Bali, Indonesia. It features a black wood frame and glass front. Along the bottom there are two "Naga" dragons ...

This product is a set of French 18th century oil on canvas paintings depicting courting scenes. Each painting captures romantic moments from the era, showcasing intricate details and...

This work uses an antique tomesode (festive kind of kimono) with fern design to evoke feelings of tranquility, harmony, and appreciation for the beauty of the environment. Can be used both vertically and horizontally. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. << Explanation of colors and patterns In Japanese traditional culture, ferns, particularly the Japanese painted fern (Athyrium niponicum), hold several meanings and symbolisms: ・Elegance and Beauty: Ferns are admired for their graceful, delicate appearance and intricate leaf patterns. In Japanese aesthetics, they are appreciated for their natural beauty and are often used in gardens, landscapes, and floral arrangements to add a sense of refinement and elegance. ・Resilience and Perseverance: Ferns are known for their ability to thrive in diverse environments, including shady forests, rocky cliffs, and damp soil. Their resilience in the face of challenging conditions is seen as a symbol of endurance and perseverance. In Japanese culture, ferns may represent the ability to overcome adversity and flourish despite obstacles. ・Connection to Nature and Tranquility: Ferns are native to forested areas and are often associated with the natural world. In Japanese traditional culture, they symbolize a deep connection to nature and the importance of maintaining harmony with the environment. The lush green foliage of ferns evokes feelings of tranquility and peacefulness, making them popular motifs in Zen gardens and traditional landscape paintings. ・Purity and Simplicity: Ferns are emblematic of simplicity and purity in Japanese aesthetics. Their unassuming beauty and understated elegance reflect the principles of wabi-sabi, an aesthetic worldview that values imperfection, impermanence, and simplicity. Ferns may be used in tea ceremonies, Ikebana (flower arranging), and other traditional arts to evoke a sense of tranquility and appreciation for life's fleeting moments. Overall, ferns in Japanese traditional culture symbolize elegance, resilience, connection to nature, purity, and simplicity. Their presence in art, literature, and landscape design underscores their enduring significance as symbols of natural beauty and spiritual resonance. << Characteristics of the fabric This vintage textile is hand-painted with a traditional Japanese technique called "yuzen". << About the frame Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

This work is inspired by traditional Japanese nature motifs symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. It is elegantly framed with pau...

[Story behind the work] This work is inspired by traditional Japanese nature motifs symbolism, and is framed in paulownia wood originally used for a kimono chest-of-drawers. It is elegantly framed with paulownia wood originally used for kimono chest-of-drawers, and is filled with storytelling and sense of luxury. In this artwork, the aim was to capture the the auspicious symbol of camellia used in antique kimono. Traditional Japanese culture, represented by the kimono, and wood, an integral element of Japanese craftsmanship, were used to bring this vision to life. I used pieces of kimono that could no longer be used as clothing and kiritansu chest-of-drawers that would normally be discarded to create the ultimate upcycled piece. [Explanation and meaning of pattern and colors] This delicate piece features hand-drawn camellia motifs flowing gracefully on a softly brightened grayish background. Camellias, native to Japan, bloom from winter to early spring. As an evergreen tree with green leaves throughout the year, it symbolizes the anticipation of spring and is considered an auspicious plant. Due to its seasonal significance and auspicious meanings, camellias have been used as motifs symbolizing good fortune. Additionally, they were highly valued for their use in oil, cosmetics, and medicine, representing nobility. Believed to possess the power to ward off misfortune, camellias also carry the meaning of "protection from calamity" and have strong ties to traditional ceremonies. In this artwork, camellias are delicately depicted alongside flowing branches, subtly representing good fortune with their pale pink and white hues. "Sora-iro nezumi 空色鼠" refers to a light grayish color with a hint of blue, reminiscent of the slightly brightened sky on a lightly cloudy day. Popular during the late Edo period (19th cent.), it elegantly captures the slightly brighter sky pattern seen on lightly overcast days. Notably, the term "nezumi-iro" (mouse gray), popular during the late Edo period, was paired with brown tones, collectively known as "Forty-eight Teas and a Hundred Mice 四十八茶百鼠." Colors within the "nezumi" (gray) spectrum, particularly "sora-iro nezumi," were favored by young people for their cool and sophisticated appeal. [Characteristics of the fabric] The fabric features intricately woven patterns that reveal subtle gradations through dyeing, creating a grid pattern that transforms depending on the light conditions. Originally, this fabric was part of a formal kimono known as a "hōmongi 訪問着," featuring motifs along the hem, shoulders, and sleeves. These motifs have been carefully selected and combined to create a unified piece of artwork. [About the frame] Kiritansu - chest-of-drawers for kimono, is traditionally made from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. During the Edo period, it became customary to store cherished kimonos in paulownia chests...

Houdini - Outdoor screen The Houdini Screen is a modular partition that blends privacy with striking design. Composed of customizable panels in stainle...

An ink painting on the fan surface by Japanese Zen artist Hidaka Tetsuo (1791-1871), now framed in a traditional Japanese carved wood frame with silk fabric mat and decorative hangin...

< The art piece uses two sides - front and reverse - of the same kimono, to show beautiful sea surrounding Japan, in hues and in late sunset, as a timelapse. The frame for this work is made of paulownia wood taken from antique Kiritansu - chest-of-drawers for kimono. I use antique kiritansu that can’t be used as furniture anymore to create basis and frames for my works. It adds them even more authentic atmosphere of traditional wabisabi spirit. Can you feel it? << Period / Story The kimono used in this piece was originally crafted during Showa period (around 1960ies). << Explanation and meaning of pattern and colors Sea waves, depicted in two color variations here, are a symbol of transience and Impermanence in Japanese culture. The ebb and flow of the tides, the ever-changing currents, and the relentless motion of the waves serve as reminders of the fleeting nature of life. This artwork featuring the sea convey themes of impermanence, reminding viewers to cherish the present moment and appreciate the beauty of life's fleeting moments. The theme of impermanence is strengthen by two colors of the sea - the lighter in early hues and the darker when the sun is just about to set in the sea. << About the frame This artwork frame is crafted from paulownia wood, a uniquely Japanese material closely tied to the world of kimonos, and it serves to convey the refined beauty of Japanese nature. Paulownia wood is known as the lightest wood in Japan, prased for its natural luster, resistance to moisture, and resilience against cracking. Since ancient times, it has been used in crafting furniture, chests, and musical instruments. Paulownia wood is closely linked to kimono culture. During the Edo period (17th cent.~), it became customary to store cherished kimonos in paulownia chests...

Very Lovely painting.  

Japanese two panel screen: Painting of stallions. Kano school of painting. Mineral pigments on mulberry paper.

Ribbons of 17th century calligraphy poems are mounted on an 18th century screen with a woven bamboo motif. These poems are aristocratic Waka poem...

Ken Warneke Face Painting "Male looking Forward" Oil on Masonite Signed and dated to verso of all three works ‘K. Warneke 1984’.

As you can see, it is a Japanese painting "Lake Suwa Asaharu" figure / co-box. It is a "Lake Suwa Asaharu" figure with gentle sunlight, and it is a very tasty work combined with a ...

Indian miniature doors, Folk Art shutters These Beautiful framed doors are beautifully and brightly hand painted with Indian Characters in traditiona...

It is a high-class craft of the work drawn by Kawagoe Tamado as you can see. It is the "late autumn in the highlands" where you can feel the taste of autumn, and it is a work in which the trees and flowers that sway in the wind shine well. «Kawagoedado» [1873-1957] Japanese painter. Born in Aichi. His real name is Hosaburo. Another issue, Ikuan. At the beginning, he studied under the Shijo school and then Masakuni Hashimoto to...

Japanese Two Panel Screen: Women in Western Dress, Nihonga style painting of two young women in Western style summer clothing, sitting at water's edge and cooling off by putting their feet in the water. Showa period painting...

Meiji period (1868 - 1912) painting of a family of deer exploring the grassy and rocky shoreline of a meandering creek under the moonlight. Shijo School ink painting with minimal pi...

A beautiful and interesting original antique oil painting signed by the artist A. Michaelis. This is dated from 1937, it is in the impressionist manner. It is beautifully executed...

Modern painting in mineral pigments on mulberry paper with a silk brocade border.