Catalog: Antiques: Regional Art (345)

Japanese Late Edo Period very large rare pair of Musha Ningyo representing Empress Jingū (Jingū Kōgō) and the old minister Takenouchi no Sukune. He is holding the baby Ōjin (a son of the Empress Jingū who later became Emperor Ōjin) and is seated on a camp stool. These are among the largest examples and are of the highest quality and artistic workmanship. The heads and hands are carved of wood, covered with many layers of tinted gofun (oyster shell lacquer), creating exceptionally expressive faces, with glass eyes and silk hair. They are dressed in sumptuous silk brocade costumes. The armor is made of lacquered paper with gilt metal fittings. Empress Jingū is standing regally, hair tied back by a band, holding a fan and a bow, and a quiver with arrows. Both have swords. Altogether an extraordinary presence. According to the Nihonshoki, Jingū was empress from 201 A.D. to 269 A.D. She is known for her invasion of Korea while she was bearing her child. In order to delay her childbirth, a piece of rock was wrapped to her stomach. Jingu 29.5 inches (75cm), Takenouchi 27 inches (68.5cm), Ojin 10 inches (25.5cm).

Spectacular Early Meiji Period (circa 1880) Japanese Lion Mask used on the head of a float for the Gion Festival. This huge mask is an arresting image to behold. This fabulous carving is heavily lacquered in red, black and gold. The head can be raised to show his open mouth, creating a very impressive and imposing presence to behold. 38 inches (96.5 cm)w x 25 inches (63.5 cm)h x 24 inches (61 cm)d. From a widely renowned and published collection that has been exhibited at the Metropolitan Museum and Japan Society.

Japanese Oshi-e Ningyô of a High-Ranking Oiran Geisha. 12 x 8.75 inches, 30.5 x 22.25 cm. These were very popular during the Meiji Period; over 400 million dollars in sales (in current currency) was recorded in 1888. The characteristics of Matsumoto Oshi-e Ningyô are that the design is stuffed heavily with cotton and the faces are painted in Ukiyo-e (the floating world of Edo period) style. It is very rare to find old Oshi-e Ningyô in this quality and size today. The popularity of Oshi-e Ningyô declined when steam engines spread throughout Japan and made more goods (Hina Ningyô in this case) accessible to the local regions. The production of Matsumoto Oshi-e ended in the late Meiji period (1868-1912).

Japanese Keto Kyomasa Iki Ningyo. 21 inches (with helmet; 27 inches with staff and stand.

Pair of Japanese Meiji Period Wood Kitchen Gods, Daikoku and Ebisu. 8 inches, 20 cm and 7.5 inches, 19 cm. Daikoku, God of Earth and Agriculture, stands on bales of rice and wields his magic mallet. Ebisu, God of Ocean and Prosperity, holds a large red sea bream tucked under his arm. This fish is an ancient symbol of good luck in Japan. Daikoku and Ebisu often appear together in the Japanese kitchen. This is a fine example of the pair of gods that Japanese have relied on for centuries to bless and protect the kitchen. From the collection of Irwin Hersey, renowned author on Asian and primitive art, and publisher of the Primitive Art Newsletter in the 1970s. Irwin Hersey was an advisor to museums and prominent collectors, and vetted pieces for many of the international tribal art fairs and Asian art fairs.

Beautifully Carved, Large Japanese Boxwood Okimono of a Perched Hawk. Finely carved with naturalistic rendering. Signed by Miyamori. Height: 11 inches, 28 cm.

Japanese Bronze Sculpture of a Mermaid in a Whirlpool. An exquisite example by the important artist Isihara of the type of Japanese art that was having a major influence on Art Nouveau. A rare example of this artist's work. 9.5 inches (24 cm) long. Excellent Condition. From a prominent and widely exhibited collection.

Ningyo of Young Lady Looming Textile. 15 inches (38cm) wide x 10 inches (25.5cm) high.

Large Meiji Period (circa 1900) Japanese Arita Porcelain Charger. Blue and white with gold accents, featuring an elegant stylized landscape and using sticking glazes to create a wonderful work of art. 16 inches, 41cm. From a widely renowned and published collection that has been exhibited at the Metropolitan Museum and Japan Society. Pristine Condition.

A prominent Japanese dealer is currently offering a Kawabata Gyokusho painting of similar size for $21,500. You can find this painting online. Kawabata Gyokusho is considered the last great representative of the Shijo school of Japanese painting. His work is quite delicate, making use of Japanese technique in a realistic manner. He had many pupils who later became well known. His paintings are in the permanent collections of many major museums, including Oxford's Ashmolean Museum, New York's Metropolitan Museum, Boston's Museum of Fine Arts, Tokyo's National Museum, and London's Victoria and Albert Museum. This beautiful painting of his will make even the non-Japanese share the feeling that the Japanese have long had for Mount Fuji, that Fuji is a god and her surrounding waters and trees pay tribute to her. Silk Canvas. 48 x 20 inches, 122 x 50.5 cm, unmounted. cf. Nagatake Asano, Yukio Kobayashi, and Moritatsu Hosokawa, eds. Genshoku Meji Hyakunen Bijutsukan (Color Reproductions of Meiji Centennial Exhibition), Tokyo: Asahi Shinbunsha, 1967; Serge Eliseev's La Peinture Contemporaine au Japon, Paris: E. de Boccard, 1923; Mosho Kawabata, ed. Gyokusho-o Iboku-shu (collection of Gyokusho's Paintings), Tokyo: Kogeisha, 1931; Kurashina Zuroku Kindai Nihonga (Catalog of Japanese-Style Paintings Owned by The Tokyo University of Arts), Tokyo: Tokyo Geijutsu Daigaku, 1954; Arthur Morrison's The Painters of Japan, 2 volumes, London and Edinburgh: T.C. and E.C Jack, 1911; C.H. Mitchell's The Illustrated Books of the Nanga, Maruyama, Shijo, and other Related Schools of Japan: A Bibliography, Los Angeles: Dawson's Book Shop, 1972; Laurence P. Roberts' A Dictionary of Japanese Artists, New York, Weatherhill, 1976; and Naoteru Uyeno, ed. Japanese Arts and Crafts in the Meiji Era (English adaption by Richard Lane), Tokyo: Pan-Pacific Press, 1958. See also the following journals and serial publications: Kokka #7 (illustrated monthly journal of Oriental art), Tokyo: Kokkasha; Museum #202 (monthly publication of the Tokyo National Museum); Nihon no Bijutsu #17 (Japanese Art), Tokyo National Museum, Kyoto National Museum, and Nara National Museum, eds., Tokyo: Shibundo; Nihon Bijutsu Zenshu volume 6 (Collection of Japanese Fine Art), 6 volumes, Tsuneo Fujita, ed., Tokyo: Bijutsu Shuppan-sha, 1969.

Kimikomi Ningyo by Jinku-ru. 9.25 inches, 23.5 cm.

Japanese Standing Female Isho Ningyo of a Bijin, Meiji Period. 15.75 inches (40 cm).

Late Meiji Period (circa 1900) Japanese Signed Okimono Sculpture of a pair of Mandarin Ducks, symbols of life long faithfulness and one of Japan's most beautiful birds. Original artist signed box is included. Beautifully carved of Poloma wood, one of the finest woods used in Japanese sculpture, and gorgeously painted with vivid colors. They can be exhibited in an endless variety of positions and make a wonderful object of art. 3.5 x 8 inches, 9 x 20 cm. From a widely renowned and published collection that has been exhibited at the Metropolitan Museum and Japan Society.

A signed classic Kakiemon Japanese Porcelain Vase by Meiji Period artist, Ucho, featuring a wonderful flower image with gorgeous, brilliant under glaze red on pure white glaze. This vase has the wonderful global shape of perfection. 8.5 inches (21.5 cm) tall. Excellent Condition. From a prominent and widely exhibited collection.

Very Rare early 20th Century Anatomically Correct Pair of Clay and Gofun Nude Figures in a Bath House Hakata Ningyô. Male: 6.5 inches (16.5cm), Female: 6 inches (15cm).

Japanese Oshi-e Ningyô of Two Kabuki Actors. 12 x 8.75 inches each, 30.5 x 22.25 cm each. These were very popular during the Meiji Period; over 400 million dollars in sales (in current currency) was recorded in 1888. The characteristics of Matsumoto Oshi-e Ningyô are that the design is stuffed heavily with cotton and the faces are painted in Ukiyo-e (the floating world of Edo period) style. It is very rare to find old Oshi-e Ningyô in this quality and size today. The popularity of Oshi-e Ningyô declined when steam engines spread throughout Japan and made more goods (Hina Ningyô in this case) accessible to the local regions. The production of Matsumoto Oshi-e ended in the late Meiji period (1868-1912).

Rooster and Hen Sculpture, wonderfully and finely detailed bronze over white metal with accents of red lacquer. This Art Nouveau pair is from a London collection. Japanese Art Nouvaeu flourished in Europe in the late 19th and early 20th Century. The Rooster and Hen is a popular subject in Japanese art. Symbolic of Yin and Yang, male and female. Rooster: 8 inches, 20.5 cm tall. Hen: 4.5 inches, 11.5 cm tall. Excellent Condition. From a prominent and widely exhibited collection.

A most unique pair of Chinese Pig Skin Trunks, obviously painted by a Japanese screen artist who made these wonderful decorative, rare creations, featuring a marvelous crane and flowers painted in the Japanese style. Late 19th to early 20th Century. 22w x 9.5h x 13.5d inches, 56 x 24 x 34 cm.