SHIBATA ZESHIN: A MASTERFUL ‘TROMPE L’OEIL’ LACQUERED WOOD TSUBA By Shibata Zeshin (1807-1891), signed Zeshin 是真 Japan, Tokyo, late 19th century, Meiji period (1868-1912) Of aorigata form, superbly lacquered in dark brown lacquer to simulate a rough iron metal ground (tetsusabi-nuri), subtly worked in takamaki-e to depict a continuous barren winter landscape with a lone swallow perched on a thin withering twig of a gnarled willow tree, continuing onto the reverse where a willow shoot slightly dips into a meandering stream. The reverse with the incised signature ZESHIN. HEIGHT 7.1 cm, LENGTH 6.3 cm WEIGHT 13.8 g Condition: Excellent condition with minor wear. Provenance: Ex-collection Edward Wrangham (no.1070). Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 359 (sold for GBP 25,200). A noted private collection, acquired from the above. Edward A. ‘Ted’ Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important English-language studies on Japanese lacquer ever published. With a modern presentation stand. Shibata Zeshin (1807-1891) was a Japanese painter, lacquer artist, and printmaker of the late Edo period to early Meiji era. He has been called ‘Japan's greatest lacquerer.’ His works, unlike the oils being used by so many of his contemporaries, never need re-touching and never faded. He was a master of emulating oil or ink painting with lacquer and combined groundbreaking techniques with traditional subjects. His studio was situated on the bank of a river, providing him with ample opportunity to observe nature, and the creatures that inhabited the natural world. Like many painters of the 19th century, he was eclectic in his sources and would have been exposed to traditional styles. However, Zeshin's skill level was such that he could fluidly mix techniques, ideas, and stylistic options, thus painting part of a composition in one manner and including elements of another to add variety and dynamics unheard of at the time. Museum comparison: Compare a closely related lacquered wood tsuba by Zeshin in the Victoria and Albert Museum, accession number M.341-1911. Literature comparison: Compare a tsuba lacquered with a dragonfly by Shibata Zeshin in the Nezu Museum in Tokyo, illustrated in Nihon bijutsu 2, no. 93, p. 92, pl. no. 119. Compare a related tsuba by Shibata Zeshin decorated with a beetle, in the Nasser D. Khalili collection, illustrated in Meiji no takara, Treasures of Imperial Japan, no. 74.
ZESHIN: A LACQUERED KASHIBAKO (CONFECTIONERY BOX) AND COVER IN THE FORM OF A KABOCHA School of Shibata Zeshin (1807-1891), signed Zeshin with seal Ze Japan, Meiji period (1868-1912) Formed from a natural, round orange squash, the skin and stem of the vegetable superbly preserved with natural scratches, blemishes, and spots. Applied to one side in roiro takamaki-e with a kabutomushi (rhinoceros beetle) and a koganemushi (scarab beetle), the body of the latter inlaid in horn. The interior lacquered in roiro with rogin-nuri rims. Signed to the side ZESHIN with a silver lacquered seal Ze. HEIGHT 18 cm Condition: Excellent condition with minor wear and natural imperfections. Provenance: From a noted private collection. Auction comparison: Compare a closely related lacquered kashibako, by Umezawa Ryushin, the youngest son of Shibata Zeshin, dated early 20th century, 11.5 cm long, at Bonhams, The Edward Wrangham Collection of Japanese Art, Part IV, 6 November 2013, London, lot 349 (sold for GBP 3,125).
SHIBATA ZESHIN (1807-1891): AN IMPRESSIVE PAIR OF MAKIMONO WITH CHINESE AND JAPANESE FIGURES By Shibata Zeshin (1807-1891), authenticated by Shoji Chikushin with seal Japan, late 19th century, Meiji period (1868-1912) Ink and watercolor on paper. Both mounted as makimono handscrolls within a paper and silk brocade frame. The first scroll titled on the backside, by Shoji Chikushin, 是真翁筆和人巻物 ‘Zeshin o hitsu Wajin makimono [A handscroll painting depicting Japanese figures, painted by an old venerable Zeshin], depicting selected aspects of daily activities, scenes and contemporary customs set within the rural landscape of Edo, comprising: Mother planting rice in Spring, her child playing nearby Child blowing a kusabue (leaf whistle) beside a scythe and basket Horishi (temple carver) with chisel and hammer, adding the finishing touches to a large sculpture of the Buddhist protector Nio, his apprentice sharpening tools beside him Seated Oni no nenbutsu Recumbent deer Peasant woman beating cloth with a kinuta Grazing boar Parading courtesan seen from behind Servant leading a packhorse Two warriors clad in full armor, one reading out the contents of a scroll The second scroll also titled on the backside, by Shoji Chikushin, 是真翁筆漢人巻物 ‘Zeshin o hitsu Kanjin makimono’ [A handscroll painting depicting Chinese figures, painted by an old venerable Zeshin], comprising: Jurojin carrying karako Five karako playing Tamaasobi beside a large pine tree during the New Year festivities Pine trees Jurojin fallen asleep with deer and turtle Chok'waro sennin, holding a gourd from which his horse has just emerged Seated Gama sennin with pet toad Demon queller Shoki on the chase for demons Inscriptions: The handwritten title inscriptions on both makimono hand scrolls: 先師是真翁真筆無疑者也、竹真鍳 ‘Senshi Zeshin o shinpitsu utagai naki nari ya’ [This is without doubt a genuine work painted by my former venerable Master Zeshin, certified by Chikushin] with the seal ‘Chikushin Yukei 竹真有敬’ [Chikushin, Yukei (Aritaka)]. The box cover 柴田是真翁筆、和漢人物画巻、貮巻 ‘Shibata Zeshin o hitsu, Wakan jinbutsu emaki, nikan’ [A pair of handscroll paintings, picture scrolls depicting the Chinese and Japanese figures, painted by an old master Shibata Zeshin], the inside of the cover signed 竹真識, with the seal 有敬 ‘Chikushin shirusu’, [Authenticated and attested by Chikushin, with the seal Yukei (Aritaka)]. SIZE (image) 28 x 496 cm (first scroll), 27 x 413 cm (second scroll) SIZE (incl. mounting) 31 x 723.6 x cm (first scroll), 31 x 643 cm (second scroll) Condition: Presenting very well with minor traces of wear such as creases and slight staining. Material loss and tears, hardly noticeable due to the mounting and with associated touchups. Roller ends removed. Provenance: Bonhams, The Edward Wrangham Collection of Japanese Art part II, London, 10 May 2011, lot 366, (sold for GBP 24,000). A noted private collection acquired from the above. Edward A. ‘Ted’ Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book ‘The Index of Inro Artists’ (1995) is considered one of the most important English-language studies on Japanese lacquer ever published. Both contained within an inscribed tomobako storage box. Shibata Zeshin (1807-1891) was a Japanese painter, lacquer artist, and printmaker of the late Edo period to early Meiji era. Nominated as one of the first Teishitsu Gigeiin (Imperial Court Artist) in Meiji 23 (1890), Shibata Zeshin excelled in several art forms, including painting, lacquer-making, print design, and calligraphy. He had an outstanding studio with talented students specializing in lacquer, paintings and prints. He has been called ‘Japan's greatest lacquerer.’ His work, unlike the oils being used by so many of his contemporaries, never needed re-touching and never faded. He was a master of emulating oil or ink painting with lacquer and combined groundbreaking techniques with traditional subjects. His studio was situated on the bank of a river, providing him with ample opportunity to observe nature, and the creatures that inhabited the natural world. Like many painters of the 19th century, he was eclectic in his sources and would have been exposed to traditional styles. However, Zeshin's skill level was such that he could fluidly mix techniques, ideas, and stylistic options, thus painting part of a composition in one manner and including elements of another to add variety and dynamics unheard of at the time. Shoji Chikushin (1854-1936), also known as Yukei or Aritaka, the name literally means ‘with respect, respectfully’, was a dedicated pupil of Shibata Zeshin, well-versed in authenticating his teacher's works after his passing. His expertise was recognized at the National Industrial Exposition in 1877, where he received an award of merit. Auction comparison: Compare an emaki handscroll of choju-giga turtles by Shibata Zeshin, at Zacke, 1 September 2022, Vienna, lot 312 (sold for EUR 32,864).
SHIBATA ZESHIN (1807-1891) A Lacquered and Rattan-Textured Kashibako (Confectionery Box) Meiji era (1868-1912), circa 1880-1891 The exterior, underside, and interior of the box lacquered and finished to resemble woven bamboo and decorated in iro-e takamaki-e with two aubergines on the sides, the design of the larger aubergine continuing down onto the underside, the cover covered with black-lacquered hemp to simulate cloth, signed inside the lid in gold lacquer Zeshin; with a wood tomobako storage box inscribed outside the lid, Zeshin-o saku, nasu maki-e kashiki ( Maki-e confectionary box with aubergine design made by the venerable Zeshin), the inside of the lid with an inscription by Shoji Hoshin, Zeshin's grandson, attesting this box as a work by Zeshin, dated summer, Showa 51 (1976), signed Shoji Hoshin kan (Examined by Shoji Hoshin) with seal Hoshin. 6.5cm x 16cm x 9.5cm (2½in x 6¼in x 3¾in). (3).
Artist: Kobayashi Kiyochika / Zeshin Shibata (1807 - 1891) Title: Morning After Snow by the Old Inner Keep of Edo Castle / Three travelers caught in the wind Publisher: Fukuda Kumajiro Date: 1877 / late 19th century Dimensions: 36.3 x 24.1 cm / 23.5 x 22.7 cm Condition:Faint stain on the border. Slight misregistration of pigment lower right part of the print. / Slightly trimmed. Light creases and minor brown stains. Ref: kiyochika_morning_snow / JG0511B16
A lot of two antique Japanese Ukiyo E ink and watercolor paintings. The first painting is titled Praying Mantis on Vine and was created by Shibata Zeshin, 1807 to 1891. The second painting depicts three white chrysanthemums. Antique and Vintage Asian and Oriental Hand Painted Wall Art, Home Decor, and Collectibles.
SHIBATA ZESHIN (1807-1891) Squirrel on a Grapevine Meiji era (1868-1912), dated 1880 A painting mounted as a hanging scroll in ink on silk depicting a squirrel frantically grasping a grapevine during a rainstorm, signed Kōnen nanajūyon-ō Zeshin, sealed Shin, with a wood tomobako storage box 44 5/8 x 16in (113.3 x 40.6cm)
SHIBATA ZESHIN: CROWS IN FLIGHT AT SUNRISE By Shibata Zeshin, signed Hachijuichi okina Zeshin Japan, 20th century edition Color woodblock print on paper. Shikishiban. Signed Hachijuichi okina Zeshin. Titled Crows in Flight at Sunrise. Two crows fly against a brilliant orange sky, the tail of a third glimpsed to the left. SIZE of the sheet 24.5 x 26 cm Condition: Very good condition with minor wear and minuscule soiling. This image of crows against a sunrise was originally published in the upper corner of a large Shijo surimono that was printed in 1887 and consisted mostly of rows of poetry. It was then made into a shikishiban print in about 1900. Museum comparison: Compare a related but earlier print in the collection of the Brooklyn Museum, accession number 2007.32.102.
SHIBATA ZESHIN (1807-1891): RUSU MOYO (ABSENT MOTIF) FOR FUKUROKUJU Japan, 19th century. Ink, watercolor, and gouache on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame with wooden handles. Finely painted depicting a peaceful, autumnal scene of two monkeys hanging from the vine-clad branches of a pine tree, peering down towards a wasps' nest, guarded by other wasps, two bats hovering around a stag and a deer grazing beside a stream, abundant reishi fungi, grasses, and bamboo growing from behind rocks in the foreground. Inscriptions: Signed, ‘Zeshin utsusu, 是真寫 (‘painted by Zeshin’), and sealed with a pot seal, ‘Zeshin’ 是真, and a square seal, ‘Koma’ 古満. Condition: Excellent condition with minor wear, very light creasing, and microscopic staining. The silk brocade shows minor wear and soiling. Dimensions: Image size 123.7 x 55 cm, Size incl. mounting 214.5 x 70 cm With a fitted tomobako storage box. (2) The combination of a bat (fuku), stag (roku), and pine (ju) are not only symbolic motifs for prosperity and longevity but also make up the reading for Fukurokuju, the god of longevity, whose image is intentionally omitted from this painting. Shibata Zeshin (1807-1891) was a Japanese painter and lacquer artist of the late Edo period and early Meiji era. He studied under the great artists of the Kyoto school, including Maruyama Okyo, Okamoto Toyohiko, and Goshin. Though he would later be known primarily for his work with lacquers, Zeshin excelled at traditional ink painting, and produced many works of traditional subjects such as tigers and waterfalls. He inherited the Koma School workshop after his old teacher, Koma Kansai, died in 1835. It was here that he experimented with the technical aspects of lacquer. Along with Nakayama Komin and Shirayama Shosai, he is considered one of the three great late lacquerers of Japan. Shibata Zeshin's studio was situated on the bank of a river, providing him with ample opportunity to observe nature, and the creatures that inhabited the natural world. Like many painters of the 19th century, he was eclectic in his sources and would have been exposed to traditional styles. However, Zeshin's skill level was such that he could fluidly mix techniques, ideas, and stylistic options, thus painting part of a composition in one manner and including elements of another to add a style and variety unheard of at the time.
SHIBATA ZESHIN: A MASTERFUL LACQUER PAINTING OF A CARP ASCENDING A WATERFALL By Shibata Zeshin (1807-1891), signed Shibata Zeshin and seal Shin Japan, 19th century The bright-red ground painted in thick, flawless strokes of silverish lacquer depicting a carp, its fins outspread, ascending the waterfall next to a craggy rock cliff. The artist masterfully used the negative space to form the waterfall, its stream running over and splashing out to the sides of the fish’s head. The lacquer is embellished with small specks of mother-of-pearl throughout the composition. Signed to the lower right ZESHIN with seal Shin, a seal frequently used by this master. SIZE 30.4 x 28.8 cm (image), 34.9 x 32.3 cm (incl. frame) Condition: Excellent condition. One small nick to the frame and minor expected wear to the back of the panel. Shibata Zeshin (1807-1891) was a Japanese painter, lacquer artist, and printmaker of the late Edo period to early Meiji era. He has been called ‘Japan's greatest lacquerer.’ His work, unlike the oils being used by so many of his contemporaries, never need re-touching and never faded. He was a master of emulating oil or ink painting with lacquer and combined groundbreaking techniques with traditional subjects. His studio was situated on the bank of a river, providing him with ample opportunity to observe nature, and the creatures that inhabited the natural world. Like many painters of the 19th century, he was eclectic in his sources and would have been exposed to traditional styles. However, Zeshin's skill level was such that he could fluidly mix techniques, ideas, and stylistic options, thus painting part of a composition in one manner and including elements of another to add variety and dynamics unheard of at the time. The carp is associated with strength and resilience. In Chinese mythology, the Longmen (lit. Dragon Gate) is located at the top of a waterfall cascading from a legendary mountain. The legend states that while many carps swim upstream against the river's strong current, few are capable or brave enough for the final leap over the waterfall. If a carp successfully makes the jump, it is transformed into a powerful dragon. Museum comparison: Compare a related painting by the same artist, signed Zeshin, in the Metropolitan Museum of Art, New York, accession no. 2019.193.78. Auction comparison: Compare a related set of three sake cups bearing a similar ground and similarly lacquered, by Shibata Zeshin, at Bonhams, The Misumi Collection of Important Works of Lacquer Art and Paintings, 8 November 2017, London, lot 12 (sold for GBP 37,500), today on display in the Metropolitan Museum of Art, accession number 2019.193.43a–c.
Shibata Zeshin (1807-1891) attr. Japan, late 19th c. 65,9 x 25,3 cm Bamboo under a full moon. Inscribed Zeshin sha and seal: Shin. Ink on silk, mounted as a hanging scroll. Wooden box, inscribed on the lid: Zeshin ō hitsu tsuki shita taka no zu (picture of bamboo under a moon, painted by the old man Zeshin), on the reverse of the lid signature of the expert: Kakakuan Chikushin senhei dai 司寛庵竹真 筌并題 and seal (= Shôji Chikushin, 1854-1936). With a second lacquered wooden box. Assembled from an old German private collection since the 1950s - Slight water damage upper right Shibata Zeshin (1807-1891) attr. Japan, spätes 19. Jh. 65,9 x 25,3 cm Bambus unter Vollmond. Bez. Zeshin sha und Siegel: Shin. Tusche auf Seide. Als Hängerolle montiert. Holzkasten, auf dem Deckel beschriftet: Zeshin ō hitsu tsuki shita taka no zu (Bild von Bambus unter einem Mond, gemalt vom alten Zeshin), auf der Deckelinnenseite Signatur des Gutachters: Kakakuan Chikushin senhei dai 司寛庵竹真 筌并題 und Siegel (= Shôji Chikushin, 1854-1936). Zweiter, rotbraun lackierter Holzkasten. Aus einer alten deutschen Privatsammlung seit den 1950er Jahren gesammelt - Leichter Wasserschaden rechts oben
SHIBATA ZESHIN (1807 - 1891) attr. Japan, late 19th c. 54,1 x 29,3 cm Ox and boy tying his sandals. Inscribed and sealed in gold: Zeshin. Lacquer (urushi) and a little blue on paper, mounted as a hanging scroll. Wooden box, inscribed on the lid: Zeshin ō hitsu keidō no zu (picture of a herding boy painted by the old man Zeshin), on the reverse of the lid signature of the expert: Kakakuan Chikushin senhei dai 司寛庵竹真 筌并題 and seal (= Shôji Chikushin 荘司竹真, 1854-1936). Assembled from an old German private collection since the 1950s Enclosed a photocopy from an auction catalogue of the collection of the famous politician Tsuzuki Keiroku 都築馨六 at the Tokyo bijutsu kurabu on 16.3.1925. Lot 86 is not the present hanging roll - Wear, tracss of age Shibata Zeshin (1807-1891) attr. Japan, spätes 19. Jh. 54,1 x 29,3 cm Ochse und Hirtenjunge, der sich die Sandalen bindet. Bez. und Siegel in Gold: Zeshin. Lack (urushi) und etwas Blau auf Papier. Als Hängerolle montiert. Holzkasten, auf dem Deckel beschriftet: Zeshin ō hitsu keidō no zu (Bild eines Hütejungen gemalt vom alten Zeshin), auf der Deckelinnenseite Signatur des Gutachters: Kakakuan Chikushin senhei dai 司寛庵竹真 筌并題 und Siegel (= Shôji Chikushin 荘司竹真, 1854-1936). Aus einer alten deutschen Privatsammlung seit den 1950er Jahren gesammelt Beiliegend eine Photokopie aus einem Versteigerungskatalog der Sammlung des berühmten Politikers Tsuzuki Keiroku 都築馨六 im Tokyo bijutsu kurabu am 16.3.1925. Bei dem Lot 86 handelt es sich aber nicht um die vorliegende Hängerolle - Altersspuren, etwas berieben
Artist: Zeshin Shibata (1807 - 1891) Title: Three travellers caught in the wind Date: late 19th century Size: 23.5 x 22.7 cm Condition: Slightly trimmed. Light creases and minor brown stains. Ref: JG0511B16
AFTER SHIBATA ZESHIN (1807-1891) A Lacquered Kashibako (Confectionery Box) and Cover Meiji era (1868-1912), late 19th/early 20th century Formed from a natural, round gourd, the polished surface boldly applied in high relief of respectively shakudo and horn with a kabutomushi (rhinoceros beetle) and a koganemushi (scarab beetle) crawling over the surface, the interior of plain black lacquer and the inside rims of the box and lid of rogin-nuri; inscribed along one side in lacquer Zeshin with a silver-lacquered seal Ze. 17.5cm x 18cm (6 7/8in x 7 1/16in). (2).
STYLE OF SHIBATA ZESHIN (1807-1891) A Reddish-Brown Lacquer Large Rectangular Coffer Decorated with Sword Fittings Meiji era (1868-1912), late 19th/early 20th century Of conventional form, applied with a total of 18 tsuba (hand guards) and six kozuka (knife handles) lacquered in gold, silver, and coloured takamaki-e and hiramaki-e imitating metalworking techniques, consisting of five tsuba and two kozuka scattered on the top surface of the lid, four tsuba and two kozuka at the front of the box, four tsuba and one kozuka on the reverse, three tsuba on the right side, and two tsuba and one kozuka on the left side, the whole mounted with elaborate gilt-copper floral-etched fittings, the interior lined with gold paper, with two gilt bronze large bracket handles; unsigned; with a yellow wrapping cloth. 38cm x 62cm x 42.2cm (15in x 24 3/8in x 16 5/8in). (3).
ATTRIBUTED TO SHIBATA ZESHIN (1807-1891) Pictures of Chinese and Japanese figures Pair of handscrolls; ink and color on paper The first scroll: 11x 195 1⁄8 in. (27.9 x 495.6 cm.) The second scroll: 10 5⁄8 x 162 ½ in. (27 x 412.7 cm.) (2)
Shibata Zeshin (Japanese, 1807-1891) Rock and Flower lacquer on paper, framed signed Zeshin, one artist's seal Image 7 x 5 1/2 in., 17.78 x 13.97 cm. Property from a Private Collection, Chicago, Illinois
Shibata Zeshin (Japanese, 1807-1891) Landscape ink and slight color on paper, hanging scroll signed and sealed Image 7 3/4 x 8 in. Property from a Private Collection, Chicago, Illinois
Shibata Zeshin (1807-1891) and Ikeda Taishin (1825-1903) Late 19th Century A Set of Five Japanese Wood Cake Trays with various designs on walnut feet, Zeshin on tsula, Koma on walnut shell design, and Zeshin signature, fan design signed Zeshin. Length of each tray 12 x width 12 x height 1 5/8 in., 30.48 x 30.48 x 4.13 cm. Property from a Private Collection, Chicago, Illinois
SHIBATA ZESHIN (1807-1891) A Wave-Textured Three-Case Inrō Meiji era (1868-1912), circa 1870-1891 Of rectangular plan with integral cord runners, rounded rectangular profile, the brown-black surface worked with a meticulous, regular wave pattern, decorated in gold and silver hiramaki-e and takamaki-e with embellishments of gold and silver hirame depicting a boat, pine trees, spits of land, a broken folding fan, a pole, and an arrow, alluding to the archery of Nasu no Yoichi at the sea battle of Yashima, signed in subori (scratched) characters Zeshin; with one netsuke in the form of a boat, signed in scratched signature Zeshin, and another en-suite manjū netsuke with the same wave-pattern ground as the inrō, decorated in similar techniques with suhama (stylized spits of land) and two boats laden with brushwood, signed Koma Bunsai 2 3/4in (7cm) high
SHIBATA ZESHIN (1807-1891) A Black-Lacquer Three-Case Inrō Meiji era (1868-1912), circa 1870-1891 Of rounded rectangular plan with applied cord runners, the black-lacquer ground decorated in black, red, and gold hiramaki-e and takamaki-e with Fūjin and Raijin, Gods of Wind and Thunder, the clouds textured in typical Zeshin sabiage style, signed in subori (scratched) characters Zeshin 2 1/2in (6.2cm) high
SHIBATA ZESHIN (1807-1891) A Gold-Lacquer Four-Case Inrō Meiji era (1868-1912), circa 1870-1891 Of ovoid plan with applied cord runners, tall rectangular profile with rounded top and base, the fine gold kinpun lacquer ground decorated in gold, silver, and colored hiramaki-e and takamaki-e and shell inlay with an oni (demon) sheltering under Shōki the Demon Queller's hat and fleeing from beans thrown out of the window of a rustic dwelling, a tiny mouse peering out, the reverse with two of the Gods of Good Fortune, Ebisu with his fishing rod and Daikoku with his mallet and money bag, celebrating the New Year with a cooked tai (bream) and sake, signed in subori (scratched) characters Zeshin and in gold hiramaki-e on the interior of the top case Kansai, with a kaō (cursive monogram), with a mixed-metal ojime depicting Daikoku with his mallet and rice bales, the reverse with Ebisu, and a wood katabori netsuke carved as Daikoku with two rats running into his sack, signed Shōko tō (carved by Shōko; pupil of Morita Sōko, born 1915) 3 7/8in (9.8cm) high
Artists: Zeshin Shibata (1807-1891) Title: Cherry Blossom Publisher: Not Sealed Date: c.1880s Size: 23.1 x 22.9 cm Condition Report: Light wear, minor spots on the back. Ref: JG0511B15
SHIBATA ZESHIN (school of 1807 – 1891) Bear Late 19th Century A Japanese hanging scroll painting, kakejiku, ink and colour on paper, depicting a grey bear resting on his side, signed Zeshin and sealed, together with a wood tomobako box 105.5cm high, 30.5cm long (3) - PROVENANCE: An English private collection, acquired from John Harding in the 1990s. - THIS LOT IS OFFERED WITHOUT RESERVE
Shibata Zeshin - woodblock colour print - A cockerel, hen & chicks on a straw hanging with auspicious New Year's decoration, 9" x 9" and one other - a/f. (2)
SHIBATA ZESHIN (1807-1891): RUSU MOYO (ABSENT MOTIF) FOR FUKUROKUJU Japan, 19th century. Ink, watercolor, and gouache on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame with wooden handles. Finely painted depicting a peaceful, autumnal scene of two monkeys hanging from the vine-clad branches of a pine tree, peering down towards a wasps' nest, guarded by other wasps, two bats hovering around a stag and a deer grazing beside a stream, abundant reishi fungi, grasses, and bamboo growing from behind rocks in the foreground. Inscriptions: Signed, 'Zeshin utsusu, 是真寫 ('painted by Zeshin'), and sealed with a pot seal, 'Zeshin' 是真, and a square seal, 'Koma' 古満. Condition: Excellent condition with minor wear, very light creasing, and microscopic staining. The silk brocade shows minor wear and soiling. Dimensions: Image size 123.7 x 55 cm, Size incl. mounting 214.5 x 70 cm With a fitted tomobako storage box. (2) The combination of a bat (fuku), stag (roku), and pine (ju) are not only symbolic motifs for prosperity and longevity but also make up the reading for Fukurokuju, the god of longevity, whose image is intentionally omitted from this painting. Shibata Zeshin (1807-1891) was a Japanese painter and lacquer artist of the late Edo period and early Meiji era. He studied under the great artists of the Kyoto school, including Maruyama Okyo, Okamoto Toyohiko, and Goshin. Though he would later be known primarily for his work with lacquers, Zeshin excelled at traditional ink painting, and produced many works of traditional subjects such as tigers and waterfalls. He inherited the Koma School workshop after his old teacher, Koma Kansai, died in 1835. It was here that he experimented with the technical aspects of lacquer. Along with Nakayama Komin and Shirayama Shosai, he is considered one of the three great late lacquerers of Japan. Shibata Zeshin's studio was situated on the bank of a river, providing him with ample opportunity to observe nature, and the creatures that inhabited the natural world. Like many painters of the 19th century, he was eclectic in his sources and would have been exposed to traditional styles. However, Zeshin's skill level was such that he could fluidly mix techniques, ideas, and stylistic options, thus painting part of a composition in one manner and including elements of another to add a style and variety unheard of at the time.
SHIBATA ZESHIN: A FINE LACQUER ITOMAKI NETSUKE By Shibata Zeshin (1807-1891), signed Zeshin 是眞 Japan, c. 1860 The two-part cushion-shaped netsuke serving as a silk spool (itomaki), silver thread wrapped tightly around it in one direction and gold in the other, a small section of loose gold thread visible near the bottom, all against a stunning red and black mokume ground. The interior with gold fundame edges and densely sprinkled nashiji, the looped cord attachment of silver. Signed to the reverse within a double-ringed oval reserve in carefully lacquered characters ZESHIN. LENGTH 4 cm Condition: Excellent condition. Provenance: Ex-collection Charles Greenfield, old collection label 'Greenfield Collection' pasted inside. Sold at Zacke, Fine Netsuke & Sagemono, 22 April 2022, Vienna, lot 239, for EUR 5,526. The subject references the Tanabata festival and enduring love. Literature comparison: A closely related example by Shibata Zeshin is illustrated in Bandini, Rosemary (2020) The Larry Caplan Collection of Japanese Netsuke, no. 53.
Shibata Zeshin (1807-1891) A group of fifty-two surimono Edo period, 19th century each a woodblock print, surimono, most signed Zeshin, various seals, forty-six with paper wrappers Various sizes: most sheets approx. 21.5 x 28.5 cm., 8½ x 11¼ in. Please contact the department for further images of this lot.
Shibata Zeshin (1807-1891) A group of fifty-two surimono Edo period, 19th century each a woodblock print, surimono, most signed Zeshin, various seals, forty-five with paper wrappers Various sizes: most sheets approx. 21.5 x 28.5 cm., 8½ x 11¼ in. Please contact the department for further images of this lot.
Shibata Zeshin Japanese, (1807-1891) Carp Going Up Stream Meiji lacquer painting signed lower right. Biography from the Archives of askART: Shibata Zeshin was a Japanese artist who is most well-known for his innovative use of lacquer. He was born in 1808 in the city of Edo, present-day Tokyo. At the time, the Japanese had not yet adopted the Gregorian calendar and one biographer listed Zeshin's date of birth as February 31st. Both his father and grandfather, Izumi Chobei, were shrine carpenters and wood carvers. His father had assumed his wife's family name of Shibata and was an Ukiyo-e painter, who had studied under Katsukawa Shunsho. By the age of 11, young Zeshin was on his way to becoming an artist. He began his study of art with an apprenticeship to the well-known local lacquer artist Koma(n) Kansai. At 13, Zeshin dropped his own name, Kametaro, and called himself Junzo. His first teacher, perhaps realizing the talent in Zeshin, sent his student to study under Suzuki Nanrei to learn how to sketch, paint and create original designs. Adopting portions of his teacher's names, Junzo was dropped and Zeshin began signing his works "Reisai", the same name he would later give to his son. While studying with Nanrei, this "true artist" was given the name Zeshin, a reference to an Old Chinese tale of a king who held an audience with a great number of painters. In the story, the painters afforded the king the respect his position deserved. One artist reported before the king half-naked and without bowing to the king, sat down and commenced licking his paintbrush. The king, most likely to the great shock of everyone present, exclaimed "now, this is a true artist!" In 1830, Nanrei sent his student to his own teacher, Toyohiko Okamoto in Kyoto. He spent two years studying under Okamoto and it was during that period that he met Rai Sanyo. Sanyo was the author of a well-known book on Japanese history. Perhaps influenced by that meeting, Zeshin studied the Japanese tea ceremony, waka poetry, haiku, history, philosophy and literature. In later years his seemingly simple but well-thought out paintings would be compared to the simple and compact beauty of the haiku. Under Okamoto's tutelage, Zeshin completed a number of fan paintings. Okamoto introduced Zeshin to many eminent artists who granted him access to many old treasures residing in a number of Kyoto's famous temples. He copied the famous works to further develop his skills and began making a name for himself as a painter. In 1835, Zeshin inherited the Komo School workshop upon the death of his teacher Kansai and began taking in his own students. He is remembered as being a great teacher who only took in the best students including such well-known artists as Koami-ise, Inomote Chikugo, Nara Tosa and Matsuno Oshiu. The 1830s were a period of great turmoil in Japan. Many areas were suffering from famine, epidemic disease outbreaks, riots, peasant uprisings, and religious pilgrimages all of which illustrated the need for change in Japan. In 1839, he was commissioned to paint Ibaraki for a panel to be placed in a Shinto Shrine. The Famous Artists has included the left-side of this painting, Ikbaraki. 10th century Japanese folklore tells the story of a female demon, Ibaraki, who haunted Kyoto's Rashomon gate and the courageous young samurai named Watanabe no Tsuna who was sent to slay the demon. Ibaraki was harrassing people and animals traveling through the gate and Watanabe's superior sent him to deal with the demon. When Watanabe approached the gate, the demon attacked him from behind and the samurai survived by cutting off the demon's forearm. The loyal retainer, presented the severed arm to his superior, Minamoto no Raiko. Raiko placed the arm in a locked chest. The demon, in the guise of his aunt, asked Raiko to see the arm. When he opened the chest, the demon showed her true form, snatching her arm and disappearing. Zeshin had his young student Ikeda Taishin wear a kimono and pose for the painting while holding a large daikon radish to represent the severed arm. Zeshin's painting is considered by some to be something of an allegory of the merchant class's desire to end the reign of the shoguns. While the turmoil in Japan had little impact on Zeshin's personal life, it did begin to impact his art. Laws now limited the use of silver and gold for artistic use. Up to this time, most lacquered items were decorated with precious metals, ivory, coral and shell. These laws against conspicuous consumption led to a number of innovations in the use of lacquer by Zeshin. Zeshin added cereal starch, charcoal, bronze dust, vinegar and iron oxide filings to create a number of new techniques while continuing to honor the traditional styles. History has preserved many of his innovative techniques, but some unfortunately died with the artist. In 1854, the United States Navy forced the opening of Japan to the outside world with the Convention of Kanagawa. Additional treaties with foreign governments opened up the country even further. In 1855, a major earthquake (the Ansei Eathquake of 1855) destroyed much of Edo, the bakufu capital. The government offices were severely damaged. In Japanese culture, giant catfish symbolized earthquakes. Consequently, much of the art during this period included catfish images. Civil unrest and worsening conditions led to the Boshin War, a civil war from 1868-1869 between the ruling Tokugawa shogunate and those seeking to return political power to the Imperial Court. The new government, wanting to expand Japan's influence and grow trade, hoped to use art as a way to introduce their culture to the rest of the world. In 1869, Zeshin was given a major role in the new government. His Imperial Majesty, the Emperor of Japan, honored Zeshin by commanding him to paint several pictures that would be included in the Austrian Exhibition. In 1873, he painted a number of pictures on silk, also through a commission of the young government. In 1876, Zeshin was given the position of public examiner of fine art and became a member of the Oriental Art Society. He was Japan's official representative at a number of international exhibitions. In 1890, Zeshin was granted membership in the newly-created Imperial Art Committee. Only 53 artists were honored as Imperial Commissioned Artists between 1890 and 1944. Zeshin lived in interesting times. While his country and other Japanese artists were opening up to Western influence, he remained true to his traditional roots both personally and artistically. He was considered modern for his innovative techniques in the use of lacquer but also old-fashioned for his style. He held fast to many of the values his mother taught him as a child. She used to tell him that as art is the expression of thought, so the artists should be pure-hearted and noble-minded; and to run after fashion is unworthy of an artist. He famously refused a commission simply because it was to be displayed with work by a contemporary artist who did not meet his standards of morality and who had been imprisoned for drawing indecent pictures. Shibata Zeshin invented techniques for creating lacquered pictures on paper that were flexible and able to be rolled for transport. His work, unlike the oils being used by so many of his contemporaries, never need re-touching and never fade. Sei Kai Nuri (blue sea lacquer) and Sei do Nuri (Bronze lacquer) were among his inventions. It's believed he used a scratching tool made with a rat's tooth to imitate the grain of Chinese rosewood. Many in the art world identify Zeshin as the greatest Japanese lacquer artist who ever lived. He married in 1849 and had a son, Raisai, but his wife and mother died shortly after the child's birth. Zeshin lived simply in a small house originally owned by his parents. When Zeshin died in 1891, one account claimed he left "little more than the materials for the work he had in hand." Source; Website of The Famous Artists, 2020
SHIBATA ZESHIN: SURIMONO OF A MAGNOLIA BRANCH, CENSER, AND INCENSE ENVELOPE By Shibata Zeshin (1807-1891), signed Shibata Zeshin and sealed Tairyukyo Japan, 19th century Haikai color woodblock print and blind stamping on paper. Obosho format. Signed Shibata Zeshin and sealed Tairyukyo to the lower right corner. Titled A Magnolia Branch, Censer, and Incense Envelope. The right register depicting a magnolia branch with purple blossoms and green leaves borne on a stem next to a bronze koro (censer) on a red tray next to an incense envelope with kirigane decorations. Three rows of vertical text stretch from the center to the left edge. SIZE of the sheet 44.5 x 58.2 cm Condition: Good impression and vivid colors, light creasing, folding lines, some foxing, and minimal staining, overall presenting very well. Provenance: Collection of Robert and Isabelle de Strycker. Inside the passepartout inscribed, ’Enveloppe contenant des pastilles de parfum. Koro (brule parfum) et branche Me Kulen (magnolia).’ Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France’s post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven’s museum for an exhibition titled Oude kunst in Leuvens Privébezit (‘Old Art in Private Collections in Leuven’), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen (‘Japanese Art in Belgian Private Collections’). Shibata Zeshin (1807-1891) was a Japanese painter, lacquer artist, and printmaker of the late Edo period to early Meiji era. He has been called ‘Japan's greatest lacquerer.’ His work, unlike the oils being used by so many of his contemporaries, never need re-touching and never faded. He was a master of emulating oil or ink painting with lacquer and combined groundbreaking techniques with traditional subjects. His studio was situated on the bank of a river, providing him with ample opportunity to observe nature, and the creatures that inhabited the natural world. Like many painters of the 19th century, he was eclectic in his sources and would have been exposed to traditional styles. However, Zeshin's skill level was such that he could fluidly mix techniques, ideas, and stylistic options, thus painting part of a composition in one manner and including elements of another to add variety and dynamics unheard of at the time. Museum comparison: Compare a related surimono with two rows of vertical inscription and a hat and bundle printed on the lower right-hand corner, by Shibata Zeshin, in the Los Angeles County Museum of Art, accession number M.79.152.291. Compare a related surimono with three rows of vertical inscription with a monumental rock surrounded by foliage on the right-hand register, by Shibata Zeshin, in the British Museum, accession number 2021,3013.322.
SHIBATA ZESHIN (1807-1891): RUSU MOYO (ABSENT MOTIF) FOR FUKUROKUJU Japan, 19th century. Ink, watercolor, and gouache on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame with wooden handles. Finely painted depicting a peaceful, autumnal scene of two monkeys hanging from the vine-clad branches of a pine tree, peering down towards a wasps' nest, guarded by other wasps, two bats hovering around a stag and a deer grazing beside a stream, abundant reishi fungi, grasses, and bamboo growing from behind rocks in the foreground. Inscriptions: Signed, ‘Zeshin utsusu, 是真寫 (‘painted by Zeshin’), and sealed with a pot seal, ‘Zeshin’ 是真, and a square seal, ‘Koma’ 古満. Condition: Excellent condition with minor wear, very light creasing, and microscopic staining. The silk brocade shows minor wear and soiling. Dimensions: Image size 123.7 x 55 cm, Size incl. mounting 214.5 x 70 cm With a fitted tomobako storage box. (2) The combination of a bat (fuku), stag (roku), and pine (ju) are not only symbolic motifs for prosperity and longevity but also make up the reading for Fukurokuju, the god of longevity, whose image is intentionally omitted from this painting. Shibata Zeshin (1807-1891) was a Japanese painter and lacquer artist of the late Edo period and early Meiji era. He studied under the great artists of the Kyoto school, including Maruyama Okyo, Okamoto Toyohiko, and Goshin. Though he would later be known primarily for his work with lacquers, Zeshin excelled at traditional ink painting, and produced many works of traditional subjects such as tigers and waterfalls. He inherited the Koma School workshop after his old teacher, Koma Kansai, died in 1835. It was here that he experimented with the technical aspects of lacquer. Along with Nakayama Komin and Shirayama Shosai, he is considered one of the three great late lacquerers of Japan. Shibata Zeshin's studio was situated on the bank of a river, providing him with ample opportunity to observe nature, and the creatures that inhabited the natural world. Like many painters of the 19th century, he was eclectic in his sources and would have been exposed to traditional styles. However, Zeshin's skill level was such that he could fluidly mix techniques, ideas, and stylistic options, thus painting part of a composition in one manner and including elements of another to add a style and variety unheard of at the time.
Shibata Zeshin (1807-1891) A fine lacquer painting on lacquered paper, study of a leafy branch with chestnuts, signed Zeshin-Sei (made by Zeshin), and with one red seal, 27.5cm x 31cm, mounted in glazed frame. Provenance: Private collection. Acquired at Mayuyama, Tokyo 1968, and thence by descent to the current owner.
SHIBATA ZESHIN: A FINE LACQUER ITOMAKI NETSUKE By Shibata Zeshin (1807-1891), signed Zeshin 是眞 Japan, c. 1860 The two-part cushion-shaped netsuke serving as a silk spool (itomaki), silver thread wrapped tightly around it in one direction and gold in the other, a small section of loose gold thread visible near the bottom, all against a stunning red and black mokume ground. The interior with gold fundame edges and densely sprinkled nashiji, the looped cord attachment of silver. Signed to the reverse within a double-ringed oval reserve in carefully lacquered characters ZESHIN. LENGTH 4 cm Condition: Excellent condition. Provenance: Ex-collection Charles Greenfield, old collection label ‘Greenfield Collection’ pasted inside. Sold at Zacke, Fine Netsuke & Sagemono, 22 April 2022, Vienna, lot 239, for EUR 5,526. The subject references the Tanabata festival and enduring love. Literature comparison: A closely related example by Shibata Zeshin is illustrated in Bandini, Rosemary (2020) The Larry Caplan Collection of Japanese Netsuke, no. 53.
SHIBATA ZESHIN (1807-1891) An Album of Eight Small Urushi-e (Lacquer Paintings) Meiji era (1868-1912), late 19th/early 20th century Bound in orihon (concertina) style, the blank pages covered in gold-painted paper, the cover of silk brocade with stylised cranes among clouds, the title paper slip inscribed Urushi-e (Lacquer Paintings), the paintings as follows: 1) Dragon emerging from storm clouds against Mount Fuji looming in the distance, signed Zeshin with seal Shin. 2) Bat flying between trailing shidare yanagi (weeping willow), signed Zeshin with seal Zeshin. 3) Crow perched on a twisted branch of a withered tree, signed Zeshin with seal Ze 4) Suzumushi (bell cricket) on strands of susuki (pampas grass) curving against the full moon, sterile stems of sugina (mare's tail) growing on the banks in the foreground, signed Zeshin with seal Zeshin. 5) White egret standing on one leg on the rocky shores of a river, signed Zeshin with seal Zeshin 6) Autumnal branch of red and brown foliage trailing from the left corner, signed Zeshin with seal Shin 7) Clumps of fungus growing against rocks, signed Zeshin with seal Zeshin 8) Maple tree with its branches overhanging a river, signed Zeshin with seal Ze The last page also covered in gold-painted paper and brushed in sumi ink with a calligraphic inscription Tairyukyo Zeshin-o hitsu urushi-e tateyoko hachiyo shinseki mugi mono nari (Eight leaves of vertical and horizontal lacquer paintings; this is without doubt a genuine work brushed by the venerable Tairyukyo Zeshin), signed Chikushin shiki (Recorded by Chikushin) with a gourd seal Yukei. Contained inside a fitted wood tomobako storage box, with a wrapping cloth, the box inscribed on the outside Zeshin-o hitsu urushi-e cho (Album of lacquer paintings by the venerable Zeshin), inside the lid signed Chikushin kan hei dai (Certified and inscribed by Chikushin) with a seal Kakan'an. Overall: 16.6cm x 12.7cm (6½in x 5in); each painting: 10.5cm x 8.3cm (4 1/8in x 3¼in). (3).
