Shigeyoshi Koyama (Osaka, Japan, 1940)
Isleta de Moro. Cabo de Gata I.
Shigeyos…

Description

Shigeyoshi Koyama (Osaka, Japan, 1940) Isleta de Moro. Cabo de Gata I. Shigeyoshi Koyama (Osaka, Japan, 1940) Isleta de Moro. Cape Gata I. Mixed media on paper. Signed and dated 2005. Label of the Sala Rusiñol, Sant Cugat del Vallès, Barcelona, on the back. 35 x 46 cm.

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Shigeyoshi Koyama (Osaka, Japan, 1940)

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Estim. 40 000 - 60 000 EUR

Georges ROUAULT 1871-1958 ROSALBA, 1949-1956 Oil and inks on paper mounted on canvas 42 x 28 cm On the back stamp of the Georges Rouault studio accompanied by the signature "Isabelle Rouault", daughter of the artist. Bibliography : This work is reproduced in the catalog "Rouault l'œuvre peint", volume 3 under n° OP 2800 Exhibitions: -Georges Rouault", Galerie Taménaga, Paris, France, 2007 - Georges Rouault", Galerie Taménaga, Tokyo, Osaka, Japan, 2008 - Georges Rouault/Makoto Fujimura: Soliloquies", Dillon Gallery, New York, USA, 2009 - Georges Rouault", Interart Galerie, Geneva, Switzerland, 2010 - Pinacothèque", Pinacothèque, Singapore, 2015 - Georges Rouault", Taménaga Gallery, Tokyo, Japan, 2016 - Georges Rouault", Taménaga Gallery, Osaka, Japan, 2017 - "Georges Rouault and the Expressionists: Painters and Passion", The Miyagi Museum of Art, Miyagi, Japan, 2017 - "Painters of Passion: Adventures in Color by Kandinsky, Rouault and Thier Contemporaries", Panasonic Shiodome Museum Rouault Gallery, Tokyo, Japan, 2017 Characteristic work of the last period with lots of materials and colors Remained in the Rouault family to this day A certificate of authenticity from the Rouault Foundation will be given to the buyer.

Estim. 1 100 EUR

() Venetian Moor polychrome ceramic lampstand with lamp: h cm 221X95 without lamp h cm 159X75 The Moor consists of three modular pieces: bust, legs and 10-light lamp. Missing at base, gluing on bust.The moro is composed of three modular pieces: bust, legs and 10-light lamp. Missing at base, gluing on torso.

() Three Moor heads, Caltagirone, Manifattura Iudici H cm 10

Estim. 2 000 - 4 000 EUR

KOYAMA MUNETSUGU: A WAKIZASHI IN SHIRASAYA, DATED 1831 BY INSCRIPTION KOYAMA MUNETSUGU: A WAKIZASHI IN SHIRASAYA, DATED 1831 BY INSCRIPTION By Koyama Munetsugu I (1802-1872), signed Koyama Munetsugu saku Japan, dated 1831 The slender curved blade is hira-zukuri with omaru boshi and iori mune, both sides with well carved horimono, one a sanko-no-kurikara dragon chasing the sacred jewel and rendai lotus and the other a sankozuka-ken (ken sword with vajra hilt). The hamon is gunome-midare in nioi deki with some ashi. The hada is itame with some masame. The silver habaki with diagonal file marks and dew drops. The nakago with one mekugi-ana, the tip is iriyamagate, the front with the mei reading KOYAMA MUNETSUGU saku, the back inscribed Tempo Ninen Hachigatsu Hi (‘A day in the eighth month of the second year of the Tenpo era [corresponding to 1831]’) NAGASA 40.8 cm and LENGTH 59.2 cm (total) Condition: Good condition with minor wear, light surface scratches, minor blemishes, all as visible on the images provided. Provenance: Hungarian private collection. With a Juho token rui torokusho registration paper issued by the Educational Committee of Tokyo, registration number Tokyo-to 160039, issued on 18 February Showa 46 (1971), with the seal Tokyo-to Kyoiku Iin-kai. Munetsugu’s given name was Koyama Sobei and he was born in 1802 in Shirakawa province in Oshu Prefecture. He was the younger brother of Koyama Munehira and Koyama Munetoshi. He was a member of the Kato Tsunahide Mon and he also studied sword making under Tsunahide’s younger brother Chounsai Tsunatoshi. Munetsugu went to Edo and worked as a retained swordsmith of Lord Matsudaira of the Kuwana family. In the second year of Koka (1845) he received the title of Bizen no Suke. It is believed that he was given this title because of his expertise in producing swords in the Bizen tradition. True to the Bizen tradition, most of his blades display a chôoi-gunome midare hamon done in nioi deki. There are also some works that are made in suguha to emulate the Ko-Aoe style of workmanship. He produced many fine blades from around 1830 up until the beginning of Meiji. His works done in the Tenpo era (1830-1845) are considered some of his best.

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