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OKUHARA SEIKO: MOON AND CHERRY BLOSSOMS OKUHARA SEIKO: MOON AND CHERRY BLOSSOMS By Okuhara Seiko (1837-1913), signed with seal Japan, 19 th century Color woodblock print on paper. Vertical shikishiban. Signed with seal. Titled Moon and Cherry Blossoms. Cherry blossoms under the moon, partially covered by thin clouds. Image SIZE 24.1 x 25.1 cm, SIZE incl. frame 36.6 x 37.1 cm Condition: Very good condition with minor wear and slight browning of paper. Good impression and colors. Slightly trimmed margins and minor foxing. Mounted on a paper with tape to the top, behind a passepartout. Okuhara Seiko was a Literati artist in Japan in the late 1800s. She became a leading artist in Japan founding an art school and displaying her art throughout the country. Seiko is notable for her established and well-recognized career during the Meiji period, as well as her reputation within the primarily male literati school. Early in her career, she changed her name from Setsuko to the gender-neutral Seiko. Her work has been characterized as "masculine" in both painting and calligraphy, which may be attributed both to the liberal lifestyle she maintained and the role of women painters at the time. Seiko was also noted for wearing masculine clothing and short hair, deliberately eschewing a feminine persona.

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OKUHARA SEIKO: MOON AND CHERRY BLOSSOMS OKUHARA SEIKO: MOON AND CHERRY BLOSSOMS By Okuhara Seiko (1837-1913), signed with seal Japan, 19 th century Color woodblock print on paper. Vertical shikishiban. Signed with seal. Titled Moon and Cherry Blossoms. Cherry blossoms under the moon, partially covered by thin clouds. Image SIZE 24.1 x 25.1 cm, SIZE incl. frame 36.6 x 37.1 cm Condition: Very good condition with minor wear and slight browning of paper. Good impression and colors. Slightly trimmed margins and minor foxing. Mounted on a paper with tape to the top, behind a passepartout. Okuhara Seiko was a Literati artist in Japan in the late 1800s. She became a leading artist in Japan founding an art school and displaying her art throughout the country. Seiko is notable for her established and well-recognized career during the Meiji period, as well as her reputation within the primarily male literati school. Early in her career, she changed her name from Setsuko to the gender-neutral Seiko. Her work has been characterized as "masculine" in both painting and calligraphy, which may be attributed both to the liberal lifestyle she maintained and the role of women painters at the time. Seiko was also noted for wearing masculine clothing and short hair, deliberately eschewing a feminine persona.

Estimate 150 - 300 EUR
Starting price 150 EUR

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For sale on Wednesday 04 Sep : 11:00 (CEST)
vienna, Austria
Galerie Zacke
+4315320452
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MAKI OZAN: A FINE SCROLL PAINTING OF AN EGRET AND PINE TREE MAKI OZAN: A FINE SCROLL PAINTING OF AN EGRET AND PINE TREE By Maki Ozan (active c. 1890-1920), signed Shunokaku Ozan with two seals Bokujitsu no in and Bokudo Japan, dated 1918, Taisho period (1912-1926) Ink, watercolors, and gouache on silk. Mounted on a silk brocade and paper frame, with ivory jikusaki (roller ends). Depicting an egret, illuminated by the light of the moon, perched on a craggy pine branch. Inscriptions: Signed to the bottom-right edge, ‘Shunokaku Ozan’ [Ozan, the studio name Shunokaku] 春王閣、桜山, two seals ‘Bokujitsu no in’ [The seal of Bokujitsu] 牧實之印 and ‘Bokudo’ 牧童. Inscribed to the tomobako by the artist, ‘Gekka shirasagi no zu, kinuhon hitahaba’ [Painting of a white egret under the moon, a hanging scroll in the vertical format on silk] 月下白鷺図、絹本直幅. Inscribed to the verso of the lid, ‘Toshi tsuchinoe-uma shigatsu kajo nite, Shunokaku Ozan mizukara daisu’ [Painted in April by the (Kitsuki) castle with cherry flowers, inscribed by myself Ozan, Shunokaku, in the year of the Taisho 7 (1918)] 歳在戊午四月於華城、春王閣桜山自題, with the seal ‘Shiso’ 子叟. Image SIZE 136 x 50.5 cm, SIZE incl. mounting 200 x 65 cm Condition: Very good condition with minor wear and foxing. The frame with usual traces of wear and age. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. With an inscribed tomobako storage box.

TSUKIOKA YOSHITOSHI: RAINY MOON - KOJIMA TAKANORI TSUKIOKA YOSHITOSHI: RAINY MOON - KOJIMA TAKANORI By Tsukioka Yoshitoshi (1839-1892), signed Yoshitoshi with seals Japan, dated 1889 Color woodblock print on paper. Vertical oban. Signed Yoshitoshi with seals; publisher Akiyama Buemon. Titled uchu no tsuki - Kojima Takanori (Rainy Moon - Kojima Takanori), number 78 from the series Tsuki no hyakushi (One Hundred Aspects of the Moon). The warrior Kojima Takanori kneeling by a budding cherry tree, praying for success in bringing Emperor Go-Daigo back to power, under the falling rain. SIZE of the sheet 35 x 24.1 cm Condition: Good condition with minor wear and slight browning of paper. The colors slightly faded. Tiny losses to the top-left and bottom-right corners. One stain to the left margin. Slightly trimmed margins. Backed with Japan paper. Provenance: From the estate of Sear Hang Hwie Pao (1937-2009). Pao was one of Canada’s leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto’s trendy Yorkville area from the 1980s to early 2000s. This print is part of Yoshitoshi's famous series One Hundred Aspects of the Moon, which consists of one hundred prints with the moon as a unifying motif and depicts scenes from traditional Chinese and Japanese history and lore. Prints from the series were released individually or in groups every few months, with the final image completed shortly before Yoshitoshi's death. The series proved tremendously popular, with patrons lining up to purchase the new releases as soon as they became available. Today, One Hundred Aspects of the Moon remains Yoshitoshi's most well-known work. Kojima Takanori, lord of the Bizen province, was not only known for his bravery but also for his deep knowledge of the Chinese classics. This designs illustrates his famous act of loyalty, which is recorded in the 14th-century chronicle Taiheiki (‘Chronicle of the Great Peace’). Takanori led a small group of loyal retainers to rescue Emperor Go-Daigo, who was sent into exile as a result of a power struggle between the court and the military leaders. Takanori lost his way, but eventually found the inn where the emperor was held. Disguised as a peasant, he carved a Chinese poem alluding to the rescue of an ancient Chinese king on the bark of a cherry tree in front of the inn, knowing that only the emperor would understand the underlying message of hope. Tsukioka Yoshitoshi was one of the leading woodblock print artists during the Meiji era (1868-1912) and one of the last to work in the traditional ukiyo-e manner. Born in Edo (today’s Tokyo), he showed a strong interest in classical Japanese literature and history. When he was 11, he became a student at Kuniyoshi Utagawa’s studio. Under his teacher’s guidance, he showed exquisite draftsmanship skills and learned how to draw from life, something not necessarily part of the training schools of painting and illustration in Japan. Museum comparison: A closely related print, with similar seals, is in the collection of the Art Gallery of New South Wales, accession number 258.2012.78.

A GROUP OF FIVE WOODBLOCK PRINTS A GROUP OF FIVE WOODBLOCK PRINTS Japan, 19th century and later Color woodblock prints on paper. 1. Depicting a sparrow perched on a budding cherry blossom branch. SIZE of the sheet 23 x 13.5 cm 2. Depicting a kingfisher bracing itself to take flight off the edge of a blooming yellow flower. SIZE of the sheet 23 x 16.7 cm 3. Depicting a blue bird perched on a cherry blossom. SIZE of the sheet 26.2 x 13.2 cm 4. Printed on an envelope. Depicting a bird as it swoops down under the light of the full moon. SIZE of the envelope 18 x 5 cm 5. By Utagawa Kunisada I (Toyokuni III) (1786-1864). Vertical oban. Signed Ichiyusai Kunisada. Titled Tora no asobi (Tiger Playing). Depicting a playful tiger crouching atop a gnarled rock. SIZE of the sheet 37 x 23.3 cm Condition: Overall presenting well. Wear, browning of paper, fading of colors, minor creasing, few tears, some losses, some staining, and few wormholes. Three mounted on paper. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world’s leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts. Museum comparison: Compare a closely related print by Utagawa Kunisada, in the collection of the British Museum, museum number 1908,0616,0.174.