Toyohara Kunichika Art

Japanese Woodblock Print by Utagawa Toyokuni I (1769~1852), original and unframed. ABOUT THE ARTIST Utagawa Toyokuni (Japanese: ????; 1769 in Edo – 24...

Japanese Meiji period framed set of three woodblock prints from the 'Plum Garden' series, made by Toyohana Chikanobu (1838-1912). An example of this print is at the Kanagawa Prefecture Museum in Yokohama. The set dates from circa 1880. The first signature on the lower left corner is the publishers' name and address (Takegawa Unokichi), the second one in the upper right corner is the date 1889 and the third one in the lower right corner is 'Japanese Plum...

Rare and complete antique Japanese carved stone architectural model of a traditional Folk Cottage. The front of the cottage has an entrance doo...

Rare and complete Antique Japanese carved stone architectural model of a traditional Folk Cottage. Having a doorway and grid window at the fron...

Contemporary Japanese woodblock print (Sosaku hanga) by the female artist Reika Iwami (b. 1927, Tokyo) titled “Water Fantasy A”of a setting full moon on th...

A beautifully and serenely composed woodblock print by famed Japanese printmaker Kiyoshi Saito. Many consider Saito to be one of the most important, if not the most important, contem...

A Japanese carved sculpture of Daikoku. Magnificent sculpture of the god of the fortune Daikoku, created in Japan during the Meiji period, circa 1890. The carving depicts the Japane...

Lynd Ward, 'Madman's Drum, Plate 41', wood engraving, 1930, edition small. Signed in pencil. A fine, black impression, on off-white tissue-thin Japan paper; the full sheet with margins (1 5/8 to 2 1/2 inches); a small paper blemish in the upper right margin, away from the image, otherwise in excellent condition. Scarce. Matted to museum standards, unframed. Image size 5 1/2 x 3 3/4 inches (140 x 95 mm); sheet size 9 5/8 x 7 1/8 inches (244 x 181 mm). From Lynd Ward’s book of illustrations without words, 'Madman’s Drum', Jonathan Cape and Harrison Smith, New York, 1930. Illustrated in 'Storyteller Without Words: The Wood Engravings of Lynd Ward', Harry Abrams, New York, 1974. Reproduced in 'Storyteller Without Words, the Wood Engravings of Lynd Ward', Harry N. Abrams, New York, 1974. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage...

Japanese Okimono sculpture of a father and son. Very rare and highly detailed sculpture, created during the meiji period (1868-1912) in the imperial Japan, circa 1890. This sculptural Okimono is very well realized and exceptionally proportionate. Show the figures of a father and a son playing, with happiness and smiling. The father hold a big basket at his back and both personages are wearing kimonos richly engraved. This piece was made from a carving with exceptional craftsmanship and intricate details. This sculpture stand itself on his own base and have all retain of the applied ochre ink accents. Measures: 130 mm by 45 mm by 53.3 mm (5.1 x 1.75 x 2.1 inches). Weight: 81.30 grams. Note: This kind of family scene is very rare to seen in nineteenth century japanese iconography. Okimono Is a Japanese term meaning for display an ornament; art object; or decorative object, usually displayed in a tokonoma or butsudan "Buddhist altar". It is an ornament or figure, especially one placed in a guest room. An okimono may be a small Japanese carving, similar to but larger than a netsuke. Unlike the netsuke, which had a specific purpose, the okimono is exclusively decorative and was displayed in the tokonoma. During the Meiji period, many okimonos were made for export to the West. Meiji Period This is an era of Japanese history that extended from October 23, 1868 to July 30, 1912.The Meiji era was the first half of the Empire of Japan, when the Japanese people moved from being an isolated feudal society at risk of colonization by Western powers to the new paradigm of a modern, industrialized nation state and emergent great power, influenced by Western scientific, technological, philosophical, political, legal, and aesthetic ideas. As a result of such wholesale adoption of radically different ideas, the changes to Japan were profound, and affected its social structure, internal politics, economy, military, and foreign relations...

A vibrant antique Japanese wood block print of a samurai. The block print with broad sage green mat with ebonized Asian style frame with UV Glass. M...

Bretherton, James (After Rembrandt van Rijn). Christ and the Woman of Samaria Among Ruins. London: c 1775. Etching on light cream laid paper, 4 3/4...

Japanese Woodblock Triptych Scene Of A Kabuki Theatrical Performance Toyohara Kunichika (1835 - 1900) Framed, each woodblock print: 23 ...