Kano Artists - Volume 4

The Art of the Kano School – Volume 4 A Collection of Japanese Scrolls from the Early 1500’s to the Late 1800’s- Screens, Fans and other Lost Treasures

By John P. Westfall 1st Edition

Introduction It is true that the greatest of all Japanese two dimensional ancient art sprang forth in the form of the full screen, whether a “fusuma” (sliding door) or a “byobu” (folding screen). Countless great works adorned the halls of the ancient castles of Osaka, Nijo, Himeji, Nara, Nagoya and more. But most of those pieces have been spirited away, either into private collections and museums, or destroyed over time by Mother Nature or in the many wars that fell upon their walls. Many of these works were painted by great artists such as Motanobu, Tanyu, Naganob, Eitoku or others, each of whom started their studies on a much smaller scale, on either paper or silk, which were then mounted into the more readily available or affordable form of the Japanese scroll called “kakemono” or “kakejiku”. Each of these artists spent years in their respective schools as young apprentices, studying the collections of paintings done in house by their mentors or by the works of Chinese masters generations before. Each element that was to find its way into a larger fasuma or byobu, was studied, painted and repainted until it was deemed worthy by their masters. Painting after painting was produced in the smaller and sometimes more intimate form of the “makuri” or “honshi” (unmounted painting). Finally, with a trove of smaller paintings left behind, these students were allowed to participate in the larger commissions of the halls of the great palaces under the watchful eyes of their masters.* Is it possible that this process may have left behind paintings available not to just the elite, but to the general population as well?

The Rise of the Kano School Beginning with Kano Motanobu, a family of artists sprang up in Kyoto that dominated the art scene in Japan for over a dozen generations, spanning from the mid-16th century until its last great master, Kano Hogai died in the late 1800’s. Earlier in the Muromachi period, Zen scholars from China brought their collections of paintings and beliefs to Japan, influencing artists such as Tenson Shubun, Sesshu Toyo, Sesson Shukei and others. Their designs were influenced by these early Chinese paintings, synthesizing monochrome traditions and styles from the Sung and Yuan dynasties and concepts from the Che school of the Ching dynasty. Motanobu followed the footsteps of his father, Kano Masonobu, therein creating a vernacular that was admired and sought after by the Tokagowa Empire. Subsequently, each generation found the talent to satisfy its patrons and maintain a legacy that endured. Over the centuries, several major “schools” developed, each deriving its name from the various streets or neighborhoods within the confines of Kyoto and Tokyo (Edo). These included the Nakabashi, Kobikicho, Hamamachi, Kajibashi, Surugadashi and Kyoto/Kano lines.* It is with the collection contained in this exhibit that one will find the early works by these artists that have been largely ignored by these larger institutions. It has been my good fortune to have been able to collect a number of these scrolls and to be able to display them for the enjoyment of others.** *Excerpt from Wikipedia ** It is my hope that these paintings are original, but without continuous provenance, it is impossible to know.

John P. Westfall

Comments? Please contact me at johnpwestfall@gmail.com

The Japanese Scroll The construction of the Japanese scroll has been refined over the centuries to a work of art unto itself. Many scrolls are accompanied by a wooden box or “tomobako”, made of paulownia wood, native to Japan and similar in resistance to vermin and decay as cedar. On occasion a lacquered outer box called a “nijubaku” may contain the inner box.

To start, a painting or “honshi” is mounted to a cloth or “washi” (Japanese paper) and is the base onto which the artwork is attached. The "Maruhyousou" style of kakejiku has four distinct named sections. The top section is called the "ten" heaven. The bottom is the "chi" earth with the "hashira" pillars supporting the heaven and earth on the sides. Across the top and bottom are the borders or “ichimoji” which are often of fine brocade with the upper border usually being twice the depth as the lower one. This is due to the fact that in the past, Kakemono were viewed from a kneeling (seiza) position and provided perspective to the honshi main work. This tradition carries on to modern times.

Hassou (Cloth rod) Futai Ten (Heaven) Ichimonji

Hashira (Pillars) Honshi

At the bottom of the scroll, a crosspiece referred to as the” jiku” around which the scroll is rolled. Weights or “fuchin” may be attached on either side to assist the scroll from blowing in the wind or simply for decoration. It is often times capped at either end with wood, bone, pottery or tusks of elephant. The top piece is referred to as the “hyoumoku” which allows the scroll to be hung from a cord.

Finally, many scrolls will also have two narrow silk brocade strips, known as “futai,” hanging down vertically from their top edge.

In the Japanese home, often a series of hanging scrolls would be rotated one-by-one in their honored, central display alcove area known as the home’s “tokonoma.” Many such scrolls were considered to be “seasonal,” while others might relate to specific holidays or special occasions. When not on display, they would then be carefully rolled, placed inside their protective paulownia storage boxes, and then typically stored in a drawer of a nearby “tansu” (wooden dresser).

Chi (Earth) Jiku (End knobs)

Kano School of Japanese Painting Muromachi Period 1392

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Ikkyu Sojin (1394-1481)

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Plate No. 2

Tensho Shubun (1416-1460) l l ----------Sesshu Toyo (Pupil 1420-1506)

Plate No.3

Shugetsu Tokan (1440-1529)

Plate No. 4 Sesson Shukei (Influenced by Shubun and Sesshu 1504-1589)

Plate Nos. 6 & 7

l ---------------------------Kano Masanobu (1434-1530) l l -----------------------------Kano Motonobu (1476-1559) Plate No. 1 l l -----------------------------Kano Hideyori (?-1557) l l -----------------------------Kano Munenobu (1514-1562) l l -----------------------------Kano Shoei (1519-1592) l l ----------------Kano Eitoku (1543-1590) l l l -----------------------Kano Soshu (1551-1601) l l Kano Naganobu (1577-1654) mei Kyuhaku l -----------------------------------l l l -----------------------------------Kano Naizen (1570-1616) I l ---Hasegowa Tohaku (Pupil 1539-1610) l l ---------Kano Sanraku (Pupil 1559-1635) (Kyo Kano Line) l l l ----------------Kano Mitsunobu (1561-1608) l l l -----------------------Kano Takanobu (1571-1618) l l l l ----------------------Kano Tanyu Morinobu (1602-1674) (Founder of Kajibashi Line) Plate Nos. 6,7 & 8 l l l l l ----------------------Kano Naonobu (1607-1650) (Founder of Kobikicho Line) l l l l l l -----------------------------Kano Eishin Yasunobu (1613-1685) (Founder of Nakabashi Line) Plate No. 9 l l l I l l l l ----------------------Kano Toun Masanobu (Pupil of Kano Tanyu) Plate Nos. 10 l l l I l l l l ----------------------Kano Tsunenobu (1636-1713) (2nd generation Kobikicho head) Plate No. 11, 12, 13 & 14 l l l l l l l l ----------------------Kano Chikenobu (1660-1728) (3rd generation Kobikicho head) l l l l l l l l l ----------------------Kano Zuisen Minenobu (1662-1708) (Founder of Hamamachi Line) l l l l l l l l------------------------------------Kano Eisen'in Furunobu (1696-1731) (4th generation Kobikicho head) Plate No. 17 l l l l l l l l -----------------------------Kano Eisen'in Michinobu (1730-1790) (5th generation Kobikicho head) l l l l l l l l -----------------------------Kano Yosen'in Korenobu (1753-1808) (6th generation Kobikicho head) l l l l l l l l ----------Kano Isen'in Naganobu (1775-1828) (7th generation Kobikicho head) Plate Nos. 29 & 30 l l l l l l l l -----------------------Kano Seisen'in Osanobu (1796-1846) (8th generation Kobikicho head) l l l l l l l l l -----------------------------Kano Eitoku (Tsunenobu, Tatsunobu 1814-1891) l l l l l l l l -----------------------Kano Shosen'in Masanobu (Tadanobu 1823-1880) (9th generation l l l l Kobikicho head) l l l l -----------------------Kano Enshin Hogai (Pupil 1828-1888 ) (Discovered by Fenollosa) l l l l l l l l -----------------------Hashimoto Gaho (Pupil 1835-1908) l l l l l l ------------------------------------------Kano Tansetsu (1655-1714) l l l l l l ------------------------------------------Kano Tanshin Morimasa (1653-1718) (2nd generation Kajibashi head) l l l l l l -----------------------Kano Tansen Akinobu (1686-1728) (3rd generation Kajibashi head) l l l l l l ------------------------------------Kano Tanjo Moritomi (1706-1756) (4th generation Kajibashi head) l l l l l l -----------------------Kano Tanrin Morimi (1732-1777) (5th generation Kajibashi head) l l l l l l -----------------------Kano Tamboku Morikuni (1760-1832) (6th generation Kajibashi head) l l l l l l ----------------Kano Tanshin Morimichi (1785-1835) (7th generation Kajibashi head) Plate Nos. 32 l l l l l l ----------------Kano Tan'en Morizane (1805-1853) (8th generation Kajibashi head) l l l l l l ----------------Kano Tansen Moritsune (1829-1866) (9th generation Kajibashi head) l l -----------------------------Kano Tambi Moritaka (1840-1893) l l -----------------------------Kano Tanrei (Pupil 1857-1931)

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Tosa School of Japanese Painting With various other Artists of the Momoyama and Edo Periods (including the Rimpa and Kishi Schools) Muromachi Period 1392

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l ------ Tosa Mitsunobu (1434-1525) (Father in law of Kano Motonobu) l l ----------------------------------------------------------------- Tosa Mitsushige (1496-1559) l l ------------------------------------------ Tosa Mitsumoto (1530-1569) l l ------------------------------------------------------ Tosa Mitsuyoshi (1539-1613) l l--------------------------------------------- Tosa Mitsunori (1583-1638) l l ----------------------------------------------Tosa Mitsuoki (1617-1691) l l ---------------------------Tosa Mitsunari (1646-1710) l l ---------------------------------- Tosa Mitsusuke (1675-1710) l l ---------------------------------- Tosa Mitsuyoshi (1700-1771) l l ------------------------------------ Tosa Mitsuatsu (1734-1764) l l --------------------------------------------- Tosa Mitsusada (1738-1806) l l --------------------------------------------- Tosa Mitsuzane (1780-1852) l l -------------------------- Tosa Mitsukiyo (?-1862) l l ------------------------------------Tosa Mitsubumi (1812-1879) Honami Koetsu (1558-1637)

(Rimpa School)

Tawaraya Sotatsu (1570-1640)

(Rimpa School)

Plate No. 4

Ogata Korin (1658-1716)

(Rimpa School) Sakai Hoitsu (1761-1829)

(Rimpa School)

Plate No. 26

Maruyama Okyo (1733-1795) Katsukawa Shunsho (1726-1793) Katsushika Hokusai (1760-1849) Utagowa Hiroshige (1797-1858)

Plate No. 36

l ----- Kishi Ganku (1756-1848) l l -----------------Kishi Gantai (1782-1865) l -----------------------l l -----------------------

(Kishi School) (Kishi School)

Kishi Gankei (1811-1848)

Plate No. 31

(Kishi School)

Kishi Ganrei (1816-1883)

(Kishi School)

Mori Sosen (1747-1821) Mori Kansai (1814-1889) Soga Cholkuan (active 1560-1615)

Plate No. 3 Soga Shohaku (1730-1781) Itaya Hironaga (1760-1814)

(Itaya Family)

Tani Buncho (1763-1840)

Plate No. 27

Shen Quan (1682-1760) So Shiseki (1715-1786) Yanagisawa Kien (1704-1758) Sengai Gibon (1750-1837)

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The Plates Japanese Scrolls: Plate No. 1 Plate No. 2 Plate No. 3 Plate No. 4 Plate No. 5 Plate No. 6 Plate No. 7 Plate No. 8 Plate No. 9 Plate No. 10 Plate No. 11 Plate No. 12 Plate No. 13 Plate No. 14 Plate No. 15

Artist: Kano Motonobu (1476-1559) Artist: Kano Shuboku (fl. 1560’s) Artist: Soga Chokuan (1550-1615) (See Japanese Screens below) Artist: Miyamoto Musashi (1584-1645) Artist: Kano Tanyu Morinobu (1602-1674) Artist: Kano Tanyu Morinobu (1602-1674) Artist: Kano Tanyu Morinobu (1602-1674) Artist: Kano Eishin Yasunobu (1613-1685) Artist: Kano Toun Masanobu (1625-1694) Artist: Kano Tsunenobu (1636-1713) Artist: Kano Tsunenobu (1636-1713) Artist: Kano Tsunenobu (1636-1713) Artist: Kano Tsunenobu (1636-1713) Artist: Hanabusa Itcho (Pupil) 1652-1724))

Plate No. 16 Plate No. 17 Plate No. 18 Plate No. 19 Plate No. 20 Plate No. 21

Artist: Kano Tanshin Morimasa (1653-1718) Artist: Kano Eisen’in Furonobu (1696-1731) Artist: Kano Eiun (-1697) (See Japanese Screens below) (See Japanese Fans below) Artist: Kano Josen Yukinobu (1717-1770)

Plate No. 22 Plate No. 23 Plate No. 24 Plate No. 25 Plate No. 26 Plate No. 27 Plate No. 28 Plate No. 29

Artist: Tenryu Dojin (1718-1810) Artist: Ito Jakuchu (1720-1800) Artist: Kano Doshun Yosinobu (1747-1797) Artist: Sengai Gibon (1750-1837) Artist: Sakai Hoitsu (1761-1829) Artist: Tani Buncho (1763-1840) Artist: Anonymous (18th-19th cent.)

(See Japanese Screens below)

Works: “Peonies and Lions” (Cat. No. 300) Works: “A Man and a Hawk” (Cat. No. 285) Works: “Hawk” (Cat. No. 294) Works: Works: Works: Works: Works: Works: Works: Works: Works: Works: Works:

“Dragon” (Cat. No. 270) “Monkey Reaching for the Moon” (Cat. No. 246) “Bird in a Tree” (Cat. No. 290) “Winter Sansui” (Cat. No. 52) “Dragon” (Cat. No. 261) “Monkey” (Cat. No. 295) “Waterfall and Mansion” (Cat. No. 229) “Monkeys” (Cat. No. 184) “Figure” (Cat. No. 276) “Dragon” (Cat. No. 47) “Monkey and Child” (Cat. No. 236); “Figure Painting (Cat. No. 243) Works: “Hawk” (Cat. No. 133) Works: “Crane and Fukurokuji (Cat. No. 239) Works: “Troop of Monkeys” (Cat. No. 248)

Works: “Waterfall and Ume Tree” (Cat. No. 225); “Hawk on Tree” (Cat. No. 242) Works: “Hawk and Grape Vine” (Cat. No. 292) Works: “Two Chickens and Chrysanthemums” (Cat. No. 208) Works: “Koi Climbing Waterfall” (Cat. No. 148) Works: “Sixteen Arhats” (Cat. No. 260) Works: “Autumn Flowers” (Cat. No. 286) Works: “Sansui” (Cat. No. 43); “Sansui” (Cat. No. 88) Works: “Tigers Playing” (Cat. No. 269)

The Plates cont…

Plate No. 30 Plate No. 31 Plate No. 32 Plate No. 33 Plate No. 34 Plate No. 35 Plate No. 36 Plate No. 37 Plate No. 38 Plate No. 39 Plate No. 40 Plate No. 41 Plate No. 42 Plate No. 43 Plate No. 44 Plate No. 45 Plate No. 46

Artist: Kano I’senin Naganobu (1775-1828) (See Japanese screens below) Artist: Kano Tanshin Morimichi (1785-1836) Artist: Tachihara Kyosho (1785-1840) Artist: Kano Kuninobu (1786-1840) Artist: Anonymous (1800’s) (See Japanese Woodblock Prints below) (See Japanese Woodblock Prints below) (See Japanese Woodblock Prints below) (See Japanese Woodblock Prints below) (See Japanese Screens below) Artist: Kano Shosenin Tadanobu (1823-1879) Artist: Kano Shosenin Tadanobu (1823-1879) Artist: Watanabe Shoka (1823-1879) Artist: Hashimoto Gaho (1835-1908) Artist: Anonymous (1850-1899) Artist: Anonymous (1850-1899)

Works: “Hawk on Perch” (Cat. No. 196)

Artist: Anonymous (Early Edo)

Works: “Pine, Bamboo and Ume Tree” (Cat. No. 193)

Works: Works: Works: Works:

“Monkeys” (Cat. No. 139); “Tiger and Dragon” (Cat. No. 203) “Peony and Bird” (Cat. No. 278) “Tiger” (Cat. No. 199) “Tiger Ukiyo-e” (Cat. No. 277)

Works: Works: Works: Works: Works: Works:

“Mt. Fuji” (Cat. No. 279) “Dragon Crossing Mt. Fuji” (Cat. No. 228) “Spring – Fall Flower and Bird Sakura” (Cat. No. 271) “Cloudy Mountain Landscape” (Cat. No. 234) “Troop of Monkeys” (Cat. No. 245) “Bees, Deer & Monkeys” (Cat. No. 251)

Japanese Fans: Plate No. 20

Japanese Screens (Byobu): Plate No. 4 Plate No. 19 Plate No. 29 Plate No. 31 Plate No. 40

Artist: Tawaraya Sotatsu (1570-1640) Artist: Anonymous (Early Edo) Artist: Kano Isen’in Naganobu (1775-1828) Artist: Kishi Gantai (1782-1865) Artist: Rantei (mid 19th cent.)

Works: Works: Works: Works: Works:

“Flowers and Bird” (Cat. No. 179) “Flowers and Birds” (Cat. No. 288) “Landscape” (Cat. No. 232) “Tiger and Cubs” & “Tiger and Waterfall” (Cat. No. 180) “Shishi and Peonies” (Cat. No. 231)

The Plates cont…

Japanese Woodblock Prints: Plate No. 36 Plate No. 37 Plate No. 38 Plate No. 39

Artist: Utagawa Hiroshige (1797-1858) Artist: Utagawa Toyokuni (1786-1864) Artist: Utagawa Shigenobu (1826-1869) Artist: Toyohara Kunichika (1835-1900) Artist: Yoshi Chikanobu (1838-1912)

Works: “Furyu Genji Sono-no Ume” (WB Cat. No. 3) Works: “Minimoto no Yorimitsu” (WB Cat. No. 2) Works: “Kubuki Actor” (WB Cat. No. 4) Works: “Kubuki Actors” (WB Cat. No. 1)

Note: I wish to acknowledge that the description of each artist contained herein has been taken from the Website “Wikipedia”, each with its own various contributors or from the seller of the scroll themselves.

Kano Motonobu (1476-1559) The 2nd head of the Kano school, born in Kyoto as the son of Masanobu, and founder of the Kano style. Motonobu's given name is Shirojiro. At the time of the parent and child, the Tosa School was in full flourish, and Tosa Mitsunobu was designated as the official court painter. The Tosa School was good at Yamato-e (Japanese style) painting. On the other hand, Kano Masanobu, Motonobu's father, was good at Kara-e (Chinese style) painting.

Masanobu wanted to innovate the Tosa's style to the Kano so Motonobu married Chiyo, the daughter of Tosa Mitsunobu. Motonobu absorbed Yamato-e painting methods from the Tosa School, and he accreted the Yamato-e style and Kara-e style. As a result, Motonobu created new Kano style, and the Kano school prospered for about 400 years. Motonobu was ordained as Hogen rank.

Kano Motonobu (1476-1559) “Peones and Lions” (w/ box) Hand painted on paper Roller ends: Bone Size: 50.2” x 96.9” Plate No. 1, Cat. No. 300

Kano Shuboku (fl 1560) was a Kano-style painter in the mid Edo period.

Kano Shoboku 1500’s “A Man and a Hawk” (w/ box) Hand painted on Silk Roller Ends: Bone Size: 17.3" x 64.4" Plate No. 2, Cat No. 285

Soga Chokuan (Japanese: 曽我 直庵) (fl. late 16th–early 17th c.) Japanese painter who specialized in bird-andflower pictures and founded the Soga family of artists. He is especially noted as a painter of fowl (as his son Chokuan II was noted as a painter of falcons). His brightly coloured, realistic bird-and-flower screen paintings are in the Hōki Temple on Mount Kōya, the Daitoku Temple in Kyōto, and the Tokyo National Museum. He also did Chinese-style, or suiboku (“water-ink”), paintings executed rapidly with a stiff brush on screens, such as “The Four Grayhairs and Three Laughers” (Henjōkō Temple, Mount Kōya).

Soga Chokuan (1550-1615) “Hawk” (w/ box) Hand painted on Paper Roller ends: Wood Size: 23.3" x 74.8" Plate No. 3, Cat. No. 294

Tawaraya Sotatsu Tawaraya Sotatsu was one of the Edo Period's most famous painters. In the early 1600s, he founded the Rinpa School, one of the major historical schools of Japanese painting, with his collaborator Hon'ami Kōetsu. This important work represents the epitome of early Rinpa style, which is highly regarded for beautiful depictions of birds and flowers. Sotatsu developed a technique called Tarashikomi, in which a second layer of paint is applied before the first layer is dry. This effect creates a watery blending for fine details such flower petals or leaves. It is a method of pooling pigment or ink in partially dried layers, allowing random, semi-translucent shapes to take form. The patterns that result suggest both dimensionality and ephemerality. The botanicals seen on this screen display sublime use of Tarashikomi, with subtle coloration and shading producing life-like depth. The brushwork is of rare and highly developed quality, and is among the earliest use of this technique which inspired artists both in Asia and in the West for centuries to come

Tawaraya Sotatsu (1570-1640) “Flowers and Bird” Hand painted on Paper Byobu Size: 33” x 88” Plate No 4, Cat. No. 179

Miyamoto Musashi Miyamoto Musashi (1584-1645), also known as Shinmen Takezo, Miyamoto Bennosuke, or by his Buddhist name Niten Doraku, was a Japanese swordsman and philosopher, strategist, writer and ronin. He, as he was often simply known, became renowned through stories of unique double-bladed swordsmanship and undefeated record in his 61 duels. He is considered the Kensei (剣聖), swordsaint of Japan.

Miyamoto Musashi 1584-1645 “Dragon” (w/ box) Hand painted on Paper Roller Ends: Wood Size: 17.3" x 59.7" Plate No. 5, Cat No. 270

Kano Tanyu Morinobu

was one of the

foremost Japanese painters of the Kano school. His original given name was Morinobu; he was the eldest son of Kano Takanobu and grandson of Kano Eitoku. Many of the most famous and widely known Kano works today are by Tan'yu.

In 1617, Tan'yu was appointed by the Tokugawa shogunate to become one of the shogunate's official artists. Over the following years, he was given many highly prestigious commissions.

Over the 1620s and '30s, he created a number of large-scale works for Edo castle, Nijo castle, Osaka castle, Nagoya castle, and Nikko Tosho-gu.

Prolific in a variety of painting styles, Tan'yu's most famous works are probably those he produced for these large-scale commissions. They are screens and panels, prime examples of the Momoyama style, depicting natural subjects such as tigers, birds and plants, in bright colors and with extensive use of gold leaf. The gold, often used to represent clouds, water, or other background elements, would reflect what little light was available indoors, brightening a castle's dark rooms.

Tan'yu was also accomplished, however, in monochrome ink painting based on the prototypical style of the Muromachi period, yamato-e compositions in a style similar to that of the Tosa School, and Chinese style scrolls. His most famous yamato-e work is a narrative handscroll depicting the life of Tokugawa Ieyasu, the first Tokugawa shogun and major figure in Japanese history. It was after this commission, in 1640, that the artist first took on the "artist name" of Tan'yu.

In addition to being a highly honored and respected painter in his own right, Tan'yu was known as a collector and connoisseur of Chinese paintings. He made sketches and kept records of many of the paintings that passed through his studio, brought to him for authentication.

Kano Tanyu Morinobu (1602-1674) “Monkey Reaching for the Moon” Hand painted on Paper Roller ends: Bone Size: 17.5” x 69.2" Plate No. 6, Cat. No. 246

Kano Tanyu Morinobu

was one of the

foremost Japanese painters of the Kano school. His original given name was Morinobu; he was the eldest son of Kano Takanobu and grandson of Kano Eitoku. Many of the most famous and widely known Kano works today are by Tan'yu.

In 1617, Tan'yu was appointed by the Tokugawa shogunate to become one of the shogunate's official artists. Over the following years, he was given many highly prestigious commissions.

Over the 1620s and '30s, he created a number of large-scale works for Edo castle, Nijo castle, Osaka castle, Nagoya castle, and Nikko Tosho-gu.

Prolific in a variety of painting styles, Tan'yu's most famous works are probably those he produced for these large-scale commissions. They are screens and panels, prime examples of the Momoyama style, depicting natural subjects such as tigers, birds and plants, in bright colors and with extensive use of gold leaf. The gold, often used to represent clouds, water, or other background elements, would reflect what little light was available indoors, brightening a castle's dark rooms.

Tan'yu was also accomplished, however, in monochrome ink painting based on the prototypical style of the Muromachi period, yamato-e compositions in a style similar to that of the Tosa School, and Chinese style scrolls. His most famous yamato-e work is a narrative handscroll depicting the life of Tokugawa Ieyasu, the first Tokugawa shogun and major figure in Japanese history. It was after this commission, in 1640, that the artist first took on the "artist name" of Tan'yu.

In addition to being a highly honored and respected painter in his own right, Tan'yu was known as a collector and connoisseur of Chinese paintings. He made sketches and kept records of many of the paintings that passed through his studio, brought to him for authentication.

Kano Tanyu Morinobu (1602-1674) “Bird in a Tree” (w/ box) Hand painted on Silk Size: 22.7" x 73.5" Plate No. 7, Cat. No. 290

Kano Tanyu Morinobu

was one of the

foremost Japanese painters of the Kano school. His original given name was Morinobu; he was the eldest son of Kano Takanobu and grandson of Kano Eitoku. Many of the most famous and widely known Kano works today are by Tan'yu.

In 1617, Tan'yu was appointed by the Tokugawa shogunate to become one of the shogunate's official artists. Over the following years, he was given many highly prestigious commissions.

Over the 1620s and '30s, he created a number of large-scale works for Edo castle, Nijo castle, Osaka castle, Nagoya castle, and Nikko Tosho-gu.

Prolific in a variety of painting styles, Tan'yu's most famous works are probably those he produced for these large-scale commissions. They are screens and panels, prime examples of the Momoyama style, depicting natural subjects such as tigers, birds and plants, in bright colors and with extensive use of gold leaf. The gold, often used to represent clouds, water, or other background elements, would reflect what little light was available indoors, brightening a castle's dark rooms.

Tan'yu was also accomplished, however, in monochrome ink painting based on the prototypical style of the Muromachi period, yamato-e compositions in a style similar to that of the Tosa School, and Chinese style scrolls. His most famous yamato-e work is a narrative handscroll depicting the life of Tokugawa Ieyasu, the first Tokugawa shogun and major figure in Japanese history. It was after this commission, in 1640, that the artist first took on the "artist name" of Tan'yu.

In addition to being a highly honored and respected painter in his own right, Tan'yu was known as a collector and connoisseur of Chinese paintings. He made sketches and kept records of many of the paintings that passed through his studio, brought to him for authentication.

Kano Tanyu Morinobu (1602-1674) “Winter Sansui” (w/ box) Hand painted on Silk Size: 18.9" x 67.9" Plate No. 8, Cat. No. 52

Kano Eishin Yasunobu (狩野 安信, 10 January 1614 – 1 October 1685) was a Japanese painter of the Kanō school of painting during the Edo period. He was the third son of Kanō Takanobu, who had been head of the school, and succeeded Kanō Sadanobu as head of the Kyoto branch in 1623. Yasunobu was the youngest brother of Kanō Tan'yū, one of the most prominent painters of the Kanō school. His best remembered work is the Gadō Yōketsu, a Kanō school history and trainin manual. He also worked under the art names Eishin and Bokushinsai.

Kano Eishin Yasunobu (1613-1685) “Dragon” (w/ box) Hand painted on Silk Roller ends: Bone Size: 22.5” x 72.5” Plate No. 9, Cat. No. 261

Kano Toun Masanobu Kano Toun Masanobu was a Kano school painter in Edo era.

He learned calligraphy from Shokado Shojo and then was adopted by Kano Tanyu when he was 11 years old.

Afterwards, Kano Toun became a founder of Surugadai Kano School.

Kano Toun Masanobu (1625-1694) “Monkey” (w/ box) Hand painted on Silk Roller ends: Bone Size: 17.9” x 71.2” Plate No. 10, Cat. No. 295

Kano Tsunenobu

(1636-1713) was the eldest son of Kano Naonobu.

After his father's death in 1650, he became head of the Kobikicho line of the Kano school. In 1704 he received the honorary title of Hogan (Eye of the Law) and in 1709 the most coveted title of Hoin (Sign of the Law). He was buried at Honmonji, a temple in the Ikegami area of Edo.

Kano Tsunenobu (1636-1713) “Waterfall and Mansion” Hand painted on Silk Roller Ends: Wood Size: 27.5" x 82.2" Plate No. 11, Cat. No. 229

Kano Tsunenobu

(1636-1713)

was the eldest son of Kano Naonobu. After his father's death in 1650, he became head of the Kobikicho line of the Kano school. In 1704 he received the honorary title of Hogan (Eye of the Law) and in 1709 the most coveted title of Hoin (Sign of the Law). He was buried at Honmonji, a temple in the Ikegami area of Edo.

Kano Tsunenobu (1636-1713) “Monkeys” Hand painted on Silk Roller Ends: Wood Size: 23.2” x 74.8” Plate No. 12, Cat. No. 184

Kano Tsunenobu

(1636-1713) was the eldest son of Kano Naonobu.

After his father's death in 1650, he became head of the Kobikicho line of the Kano school. In 1704 he received the honorary title of Hogan (Eye of the Law) and in 1709 the most coveted title of Hoin (Sign of the Law). He was buried at Honmonji, a temple in the Ikegami area of Edo.

Kano Tsunenobu (1636-1713) “Figure” (w/ box) Hand painted on Silk Roller Ends: Bone Size: 23.5” x 45.6" Plate No. 13, Cat. No. 276

Kano Tsunenobu (1636-1713) was the eldest son of Kano Naonobu. After his father's death in 1650, he became head of the Kobikicho line of the Kano school. In 1704 he received the honorary title of Hogan (Eye of the Law) and in 1709 the most coveted title of Hoin (Sign of the Law). He was buried at Honmonji, a temple in the Ikegami area of Edo.

Kano Tsunenobu (1636-1713) “Dragon” Hand painted on Silk Roller Ends: Wood Size: 21.5” x 69.8” Plate No. 14, Cat. No. 47

Hanabusa Itcho 英 一蝶?, 1652 – February 7, 1724) was a Japanese painter, calligrapher, and haiku poet. He originally trained in the Kanō style, under Kanō Yasunobu, but ultimately rejected that style and became a literati (bunjin). He was also known as Hishikawa Waō and by a number of other art-names.

Born in Osaka and the son of a physician, he was originally named Taga Shinkō. He studied Kanō painting, but soon abandoned the school and his master to form his own style, which would come to be known as the Hanabusa school.

He was exiled in 1698, for parodying one of the shogun's concubines in painting, to the island of Miyake-jima; he would not return until 1710. That year, in Edo, the artist would formally take the name Hanabusa Itchō.

Most of his paintings depicted typical urban life in Edo, and were approached from the perspective of a literati painter. His style, in-between the Kanō and ukiyo-e, is said to have been "more poetic and less formalistic than the Kanō school, and typical of the "bourgeois" spirit of the Genroku period".Hanabusa studied poetry under the master Matsuo Bashō, and is said to have been an excellent calligrapher as well Hanabusa Itcho (1652-1724) “Monkey and Child” Hand painted on Paper Roller ends: Wood Size: 15.8” x 71.7” Plate No. 15, Cat. No. 236

Hanabusa Itcho (1652-1724) “Figure Painting” Hand painted on Paper Roller ends: Bone Size: 25.0” x 83.6” Plate No. 15, Cat. No. 243

Kano Tanshin Morimasa (狩野 探信?, 1653 - 1718) was a Japanese painter and was the son of Kanō Tan'yū by his second wife. He led the Kajibashi branch of the Kanō school after 1674

Kano Tanshin Morimasa (1653-1718) “Hawk” (w/ box) Hand painted on Silk Roller ends: Bone Size: 23” x 77.2” Plate No. 16, Cat. No. 133

Kano Eisen’in Furunobu 狩野永川院古 (Japanese, 1696–1731)

Kano Furunobu (1696-1731) “Crane and Fukurokuji” Hand painted on Silk Honshi Size: 16.5” x 41.5” Plate No. 17, Cat No. 239

Kano Eiun Kano Eiun was a pupil of Kano Yasunobu. He worked for Izumo Matsue Clan and was ranked Hokkyo. His pseudonym was Wiun.

Kano Eiun “Troop of Monkeys” Year: ? - 1697 Hand painted on Silk Roller Ends: Wood Size: 14.5” x 43.3” Plate No. 18, Cat No. 248

Anonymous Anonymous “Flowers and Birds” Early Edo Hand painted on Paper with Gold Leaf Size: 41.3” x 112.3” Plate No. 19 Cat No. 288

Edo Period Senmen Fans

Edo Period – Anonymous (Pre 1800’s) “Pine, Bamboo and Ume Tree” Hand painted on Silk Size: 8” x 20" Plate No. 20, Cat. No. 193

Kano Josen Yukinobu Kano Josen was a Kano school painter in middle Edo era. He was a son of Kano Zuisen. His other name was Zuiryusai.

Kano Josen Yukinobu 1717-1770 “Hawk on Tree” Hand painted on Silk Roller ends: Bone Size: 21.8” x 69.8” Plate No. 21, Cat. No. 242

Kano Josen Yukinobu 1717-1770 “Waterfall and Ume Tree” Hand painted on Silk Roller ends: Bone Size: 21.8” x 71.8” Plate No. 21, Cat. No. 225

Tenryu Dojin Tenryu Dojin was a Japanese-style painter assumedly born in Saga prefecture. He was commonly known as Shibukawa Kyoan, but had other names including Soryushi and Suikokan. He was excellent at painting hawks and grapevines.

Tenryu Dojin (1718-1810) “Hawk and Grape Vine” (w/ box) Handpainted on Silk Size 19.3” x 67.1” Plate No. 22, Cat. No 292

Ito Jakuchu Jakuchu was born in Kyoto as a child of greengrocery wholesale store. He learned painting from Kano-ha, and he did not like the way of sketching and duplicating of Kano-ha and he directly tried to learn from Sogenga. He was not married to concentrate paintings. He has an anecdote that he had tens of chicken in his yard and he kept sketching every single one. His most painting motif was the things around him like flowers or animals. His painting was more like Chinese technique because he was so into Chinese painting of Ming Dynasty. His pseudonyms are Beitoan, and Beitoou.

Ito Jakuchu (1720-1800) “Chickens and Chrysanthenums” Hand painted on Paper Honshi Size: 20.4” x 51.5” Plate No. 23, Cat. No. 208

Kano Doshun Yosinobu was born as the first son of Kano Gensen. He succeeded Surugadai-Kano Family from Gensen.

In 1785 he was ranked Hogen and he worked for the Korea presentation folding screen

Kano Doshun (1747-1797) “Koi Climbing Waterfall” Hand painted on Silk Roller ends: Bone Size: 17.7" x 68.2" Plate No. 24, Cat. No. 148

Sengai Gibon (1750-1837) was a Japanese monk of the Rinzaisect (one of the ramifications of the Zen branch of Buddhism). He was known for his controversial teachings and writings as well as for his lighthearted sumi-e paintings. After spending half of his life in Nagata near Yokohama, he secluded himself in Shofukuji (in Fukuoka), the first Zen temple in Japan, where he spent the rest of his life.

Sengai Gibon 1750-1837 “16 Arhats” (w/ box) Hand painted on Paper Roller ends: Bone Size: 30.8” x 68.6” Plate No. 25, Cat. No. 260

Sakai Hoitsu 酒井 抱一 (1761~1829) ： Hoitsu was born in Tokyo as a son of the Himeji feudal lord. His older brother was famous for Japanese tea ceremonies. Hoitsu also became familiar with the tea ceremony, haiku, and kyoka influenced by his brother, and his talent was good enough to become known. Hoitsu learned painting from Kano Koshin and Soshiseki. Three years later his brother died, and he became a priest and a pupil of Ogata Korin (Rin-pa). And he used the way and technique of painting from Maruyamashijo-ha, Tosa-ha, Nanpin-ha, and from Ito Jakuchu. And finally he made his own school as Edorin-pa. He was close to Tani Buncho, Ota Nanbo and so many cultural people.

In 1783, he became a pupil of Utagawa Toyoharu and he learned the way of painting Ukiyoe.

His pseudonyms are Kuzen, Oson, Keikendojin, Ukaan, Teibyoushi, Meimeii, etc...

Sakai Hoitsu (1761-1829) “Autumn Flowers” (w/ box) Hand painted on Silk Roller Ends: Bone Size: 19.7” x 70.8" Plate No. 26, Cat. No. 286

Tani Buncho (谷 文晁, October 15, 1763 - January 6, 1841) A painter of the Edo era latter period. He was the person who accomplished Edo Nanga, the achievement was praised as "Three major painter of the Tokugawa era" with Maruyama Okyo (1733-1795) and Kano Tanyu (1602-1674). He learned painting from Kato Bunrei (1706-1782) of Kano School and Watanabe Gentai (1749-1822) of Nagasaki School at an early age, acquired Hokuga from Kitayama Kangan (17671801).1788, on the way to Nagasaki to study painting, he learned the techinique of the Nanga from Kushiro Unzen (1759-1811) under Kenkado Kimura (1736-1802) who affected many cultured people in those days in Osaka, he deepened Nanga from Chinese painter Cho Shun Koku in even Nagasaki. He got popularity by opening new style of painting that blended Nanga to subject with Hokuga. He also took in the perspective drawing of the Western painting over the countries. He had many disciples, Watanabe Kaza (1793-1841), Tachihara Kyosho (1786-1840), and so on. He always preached importance of sketch and copying of old painting for his pupil, and he died at 79 years old. His pseudonyms are Gagakusai, Munianshujin, Shasanro, Choou, Mui, etc...

Tani Buncho (1763-1840) “Scenery” (w/ box) Hand painted on Silk Roller ends: Bone Size: 35" x 76.1” Plate No 27, Cat. No. 43 Tani Buncho (1763-1840) “Scenery” (w/ box) Hand painted on Silk Roller ends: Bone Size: 26.8” x 79.9” Plate No. 27, Cat. No. 88

Anonymous

Anonymous 18th- 19th cent.

“Tigers Playing” (w/ box) Hand painted on Paper Roller Ends: Wood Size: 18.2" x 63.2" Plate No. 28, Cat No. 269

Kano I’senin Naganobu a painter, son and pupil of Kano Yosen'in Korenobu, whom he succeeded as seventh-generation head of the Kobikicho branch of the Edo Kano school that had been founded by Kano Naonobu (16071650). As such he would have had privileged access to study antique Chinese and Japanese paintings in the collections of the Shogunate and feudal lords. Naganobu was granted the title

Kano I’senin Naganobu (1775-1828) “Landscape” Six-Panel Screen Hand painted on Paper w/ Gold Leaf Size: 40” x 110” Plate No. 29, Cat. No. 232

Kano I’senin Naganobu a painter, son and pupil of Kano Yosen'in Korenobu, whom he succeeded as seventh-generation head of the Kobikicho branch of the Edo Kano school that had been founded by Kano Naonobu (16071650). As such he would have had privileged access to study antique Chinese and Japanese paintings in the collections of the Shogunate and feudal lords. Naganobu was granted the title The type of the present painting is called a kayo zu. It means "hawk on a perch" and depicts non-flying hawks or falcons fixed to a perch with cordons. The popularity of these types of paintings reflects the passion of the military class for falconry.

One of the main characteristics of this genre of work is the great detail given to the feathering of the falcon, the result of the artist's direct study from nature. But other important aspects are the decorations of the perches and the way the cordons are tied, all depicted with great realism

Kano I’senin Naganobu (1775-1828) “Hawk on Perch” Hand painted on Paper Roller ends: Wood Size: 26.8” x 72” Plate No. 30, Cat. No. 196

Kishi Gan Tai Gan Tai 岸岱 (1782–-1865) was the son and pupil of the famous painter Gan Ku, founder of the Gan (Kishi) school of Kyoto. The father's influence can be seen very clearly here in the bold brushwork. Gan Tai was known for his landscapes, bird-and-flower, and animal paintings. He contributed to the success and prosperity of the Kishi School, and received the court title Echizen-no-suke.

Kishi Gan Tai (1782-1865) “Tiger and Cubs” “Tiger and Waterfall” Hand painted on Paper Roller ends: Bone Size: 68.7” x 161.8” Plate No. 31 Cat. No. 180

Kano Tanshin Morimichi Tanshinsai "探信斎" Kano Tanshin Morimichi "狩野探信守道"(ca.1785-1836) was a Kano school painter active in late Edo period.

Kano Tanshin Morimichi (1785-1836) “Monkeys” Hand painted on Silk (w/ box) Roller ends: Bone Size: 16.9” x 64.3” Plate No. 32, Cat. No. 139

Kano Tanshin Morimichi (1785-1836) “Tiger and Dragon” Hand painted on Silk (w/ box) Roller Ends: Bone Size: 23.4” x 75.2” Plate No. 32, Cat. No. 203

Tachihara Kyosho Tachihara Kyosho (1785-1840) was a Mito feudal soldier and Nanga painter. He was the pupil of Tani Buncho (1763-1840). He had a friendship with Watanabe Kazan (1793-1841) and Tsubaki Chinzan (1801-1854). Tachihara Michizo, a poet and an architect in the Taisho era, was his descendant.

Tachihara Kyosho (1785-1840) “Peony Flower and Bird” (w/ Original Box) Hand painted on Paper Roller Ends: Wood Size: 15.6” x 60.6” Plate No. 33, Cat. No. 278

Kano Kuninobu

Rakkan (Signature & Seal): Sukekiyo Kuninobu "祐

清邦信" Kano Kuninobu "狩野邦信"(ca.1786-1840) was a Kano school painter active in late Edo period (Kano Tanshu). Second son of Kano Tamboku Morikuni, head of the sixth generation of the Kano Kajibashi line; adopted by the Nakabashi branch of the Kano family, of which he eventually became head of the fourteenth generation. Employed by the shogunate as oku eshi. Received the title of hogen

Kano Kuninobu (1786-1840) “Tiger” Hand painted on Silk Roller ends: Bone Size: 28.7” x 84.3” Plate No. 34, Cat No. 199

Anonymous

Anonymous 1800’s “Tiger Ukiyo-e” (w/ Original Box) Hand painted on silk Roller Ends: Wood Size: 27.5" x 75.7" Plate No. 35, Cat No. 277

Utagawa Hiroshige Utagawa Toyokuni “Furyu Genji Sono-no Ume” Prince Genji in Plum Blossum Garden. Publisher - Isekane; Engraver – Horitake; seal date: Ox Year, 1853

Utagawa Hiroshige (1797-1858) Utagawa Toyokuni (1786-1864) “Furyu Genji Sono-no Ume” Woodblock Print Size 18.6” x 29.8” Plate No. 36, Cat. No 3

Utagawa Shigenobu “Minimoto no Yorimitsu” Utagawa Shigenobu (1826-1869) was the chief pupil of the second great master of the Japanese landscape woodblock print, Hiroshige. He took over his master's go 'Hiroshige' on the latter's death, and is now principally known by it, being more usually referred to as 'Hiroshige II'.

He was born into a family of fire-watchmen, like his master Hiroshige I. He was originally named Suzuki Chimpei, and as his artistic career began, he was given the name Shigenobu ( 重宣) by his master Hiroshige I. He was made part of his master's household, and married Hiroshige I's daughter Tatsu.

During the period 1849-1858, he produced his earliest works, very much in the style of Hiroshige I. His work was principally nature prints, although he also produced figure prints, and prints of samurai or historical subjects. He also began signing with 'Ichiyūsai' (一幽斎, a former go of Hiroshige I) during this period.

He is thought to have assisted Hiroshige I with a number of his later series, including '36 Views of Fuji' and the 'Upright Tokaido'. He is known to have contributed at least three prints in 10/1858 to Hiroshige I's last great series of landscape prints, the Hundred Views of Edo, using the signature 'Hiroshige' (during Hiroshige I's lifetime).

After Hiroshige's death in 1858, in the first month of the following year he formally adopted his master's go of Ichiryūsai (一立斎) and Hiroshige (広重, although they wrote it with the characters 廣重). During this period his work continued to strongly resemble that of Hiroshige I, both in style and subject matter.

In 1865, he divorced his wife, moved to Yokohama, remarried, and adopted the names Ryūsho and Risshō (立祥). Although his prints were shown at the Paris Exhibition in 1867, it brought him little success in Japan, and he was forced to make a living painting tea-sets and lanterns for export. He died in Yokohama, in great poverty, in 1869.

Shigenobu (Kasai Rissho) (1826-1869) “Minimoto no Yorimitsu” Woodblock Print 14.5" x 10" Plate No. 37, Cat. No 2

Japanese Woodblock PrintToyohara Kunichika 1835-1900 “Kabuki Actors”

Yoshi Chikanobu 楊洲周延 (1838-1912) “Kabuki Actor” 楊洲周延 (1838-1912) Yōshū Chikanobu was a leading artist1 of the Meiji period (18681912), a time when Japan saw the reinstatement of the emperor as ruler and was undergoing rapid westernization. He was one of the most prolific woodblock print artists of this period, working with both traditional subjects, such as actors, courtesans, scenes of famous sites, beautiful women, and with topical subjects, such as the Satsuma Rebellion (1877) and the Sino-Japanese War (18941895.)2 Chikanobu used the flat planes and decorative patterning of the ukiyo-e tradition to striking effect, adding brilliant colors, especially reds, purples, and blues to his compositions. He worked in a style that often reflected western conventions in art.

Yoshi Chikanobu (1838-1912) “Kabuki Actor” Woodblock Print 13.9” x 16.9” Plate No. 39, Cat. No 4

Little is known about Chikanobu’s early life. Born in Niigata Prefecture as Hashimoto Naoyoshi (橋本直義), he was the eldest of two children. His father was Hashimoto Naohiro (died 1879) who was a lower level retainer of the Sakakibara daimyo. As a youth Chikanobu trained in the martial arts and in the late 1860s fought in the Boshin Civil War (1868-1869) with the Shōgitai, supporting the Tokugawa shogun’s military government against those seeking to install a modern government under the auspices of the emperor. In 1868, he was captured during the fighting, but was let go when it was confirmed he was a well-known artist.

As a child, he showed a talent for painting and he trained in a private studio teaching Kano School painting. He first studied print design with disciples of Keisai Eisen (1790-1848) and then around 1852, at the age of fourteen or fifteen, with Ichiyusai Kuniyoshi (1797-1861). During his time at Kuniyoshi’s studio Chikanobu may have known Yoshitoshi Tsukioka (1839-1892), who joined the studio in 1850. In about 1855 or 1856, Chikanobu moved to the studio of Utagawa Kunisada I (1786–1865). Coats states that Chikanobu’s earliest works were influenced by Kunisada’s style, “but he moves away from the Kunisada figural models by the 1880s. Over time Chikanobu’s women become taller, thinner and more graceful in their gestures, establishing a new canon of beauty for the mid-Meiji period that reflected a revival of interest in prints of a hundred years earlier.”

In about 1862, Chikanobu began working with Toyohara Kunichika (1835–1900) studying actor portraiture, which Kunichika, his contemporary, was famous for. Later on Chikanobu and Kunichika would compete in designing actor prints for the same kabuki plays, but Chikanobu would go on to an expanded range of subject matter.

In 1871 Chikanobu established himself in Tokyo as a woodblock print artist, designing prints of familiar subjects such as the Yoshiwara pleasure quarters, scenic views and actor prints. In tracing the evolution of Chikanobu's actor prints, Coats writes, “…he moved away from the Utagawa school models he had been taught by Kunisada and Kunichika. Chikanobu’s actor prints changed from being posters in the 1870-80s, like others produced in the Utagawa school tradition, to compositions in the late 1890s that are individual works distinctly in his own style.”

In the mid-1870s, Chikanobu, like many other artists, designed kaika-e, prints that documented Japan's modernization and the Emperor Meiji and the imperial court's promotion of that modernization.

In 1877, Chikanobu would document, in over 45 triptych prints, the events around the Satsuma Rebellion, a short-lived samurai insurrection, led

by Saigo Takamori (1827-1877).

In 1884, Chikanobu created at least ten triptychs on the attempted assassination of Japan's representative in Korea, Hababusa Yoshitada and the burning of the Japanese legation. These prints, issued very shortly after the incident, brought him "enormous success."

By the late 1880s he and much of his audience were becoming dismayed by the rapid changes taking place in Tokyo and were increasingly nostalgic about the lost world of the shogun. Throughout the 1890s, Chikanobu produced single sheet prints, diptychs and triptychs, which promoted

traditional values and highlighted aspects of Japanese culture that were being forgotten. He created prints about filial piety and neighborhood festivals to provide an alternative to what many saw as the deterioration of Japanese society caused by imported ideas and modern methods.

Chikanobu's last works in the early years of the 20th century featured brave samurai and heroic women of Japan's past, models of appropriate behavior for the future. By 1905, his print production had dwindled Chikanobu died at the age of seventy-five from stomach cancer in 1912.

Rantei

Rantei. Studied painting with a minor Kano artist. Though he was not the equal of Yamamoto Baiitsu, it appears that Baiitsu studied under him. Said to have lived to a great age, but his actual dates are unknown.

Rantei (Early to mid-19th cent.)

“Shishi and Peonies” Hand painted on paper with Gold Leaf Size: 67.3” x 147.8” Plate No. 40, Cat. No. 231

Kano Shosenin Tadanobu Masanobu (Tadanobu) Kano (狩野雅信, 1823-1879) was a Japanese painter and the 10th head of the Kobikicho (Old East Ginza in Tokyo) Kano school in the Edo period.

The Kobikicho Kano School was a prestigious painter family. His father was Osanobu Kano (the 9th), his master. He was the last head of the Kobikicho Kano School. On receiving title of Hoin, he took name of Shosen-in (勝川院). He produced a large number of eccentric paintings as well as some delicately colored rather tight landscapes; his style close to that of his father. His pupils were Hogai Kano, Gaho Hashimoto, Ritsugaku Kimura, Tomonobu Kano, Masaaki Yuki, Soshu Aono, Ryusetsu Yanagida, Kansensai Matsubara, Shojaku Suyama, etc

Kano Shosenin Tadanobu (1823-1879) “Mt. Fuji” Hand painted on Paper Roller Ends: Wood Size: 26.1” x 75.7” Plate No. 41, Cat. No. 279

Kano Shosenin Tadanobu Masanobu (Tadanobu) Kano (狩野雅信, 1823-1879) was a Japanese painter and the 10th head of the Kobikicho (Old East Ginza in Tokyo) Kano school in the Edo period.

The Kobikicho Kano School was a prestigious painter family. His father was Osanobu Kano (the 9th), his master. He was the last head of the Kobikicho Kano School. On receiving title of Hoin, he took name of Shosen-in (勝川院). He produced a large number of eccentric paintings as well as some delicately colored rather tight landscapes; his style close to that of his father. His pupils were Hogai Kano, Gaho Hashimoto, Ritsugaku Kimura, Tomonobu Kano, Masaaki Yuki, Soshu Aono, Ryusetsu Yanagida, Kansensai Matsubara, Shojaku Suyama, etc

Kano Shosenin Tadanobu (1823-1879) “Dragon Crossing Mt. Fuji” Hand painted on Silk Roller Ends: Bone Size: 27.5” x 49.2” Plate No. 42, Cat. No. 228

Watanabe Shoka Watanabe Shoka (1835-1887) was born the second son of Watanabe Kazan (1793-1841) in Edo. He studied painting under Tsubaki Chinzan (1801-1854) when he was 13 years old. He succeeded Watanabe family when he was 22 years old. He was good at flower-and-bird painting, and his paitings had a big influence on a lot of painters.

Watanabe Shoka 1835-1887 “Spring-Fall Flower and Bird Sakura” (w/ orig. box) Hand painted on silk Roller Ends: Wood Size: 19.2" x 76.8" Plate No. 43, Cat No. 271

Hashimoto Gaho (橋本 雅邦, August 21, 1835 – January 13, 1908) was a Japanese painter, one of the last to paint in the style of the Kanō school.

Born in Edo, he studied painting under Kanō Shōsen'in, and was influenced as well by the work of Kanō Hōgai. He created many works in the traditional style of the Kanō school, using color & gold, or otherwise monochrome black ink. But while his paintings are very much the works of a traditionalist, using traditional methods and depicting traditional subjects, Gahō, like Kanō Hōgai, incorporated elements of Western art as well. Brush-strokes, various types of detailing, and in particular, attempts at the proper depiction of perspective are evident in Gahō's paintings and in many others of this period.

He opened his own studio in 1860, but the political and economic upheavals surrounding the Meiji Restoration forced Gahō to seek income in other ways than by selling fine art. He produced maps for the Naval Academy, painted on fans, and used his skills in a number of other ways to earn a living.

Gahō was invited in 1884, by Okakura Kakuzō, to become the chief professor of painting at the Tōkyō Bijutsu Gakkō (東京美術学校, now the Tokyo National University of Fine Arts and Music) which would open five years later. In 1898, Gahō joined Okakura in leaving the Bijutsu Gakkō, and founding the Japan Fine Arts Academy (日本美術 院, Nihon Bijutsuin). He would teach there until his death in 1908. As a result of his position as chief painting professor, Gahō had a number of important pupils, including Yokoyama Taikan and Kawai Gyokudō.

Hashimoto Gaho (1835-1908) “Cloudy Mountain Landscape” (w/ box) Hand painted on Silk Roller ends: Wood Size: 23.0” x 75.3” Plate No. 44, Cat. No. 234

Anonymous

Anonymous “Troop of Monkeys” Year: 1850-1899 Hand painted on Silk Roller Ends: Wood Size: 17.5” x 60” Plate No. 45, Cat No. 245

Anonymous

Anonymous “Bees, Deer and Monkeys” Year: 1850-1899 Hand painted on Silk Size: 10.8” x 58.4” Plate No. 46 Cat No. 251

Conclusion As one looks through this catalogue, no doubt they will find threads of common themes throughout. These themes include gibbons gazing at the reflection of the moon in languishing pools of water, leaping tigers, lions pushing their cubs off nearby cliffs to test their courage, pairing of cranes to represent longevity and devotion, dragons ascending and descending, a hawk perched in a tree or on a stand, portraying strength and power, a scholar contemplating a waterfall and its surrounds or a lone peasant walking up a trail to a homestead, just to name a few.

Many of these themes were adapted from earlier Chinese paintings, previously collected and handed down through the various artists of the Kano school. Over time, each artist added his/her own personality, thus creating within the strict vernacular of the school, their own interpretations.

As one sees in the various other schools rising around the Kano School, artists were experimenting with many other styles and mediums, some even influenced by the art coming out of the European continent. But the Kano School endured for nearly three centuries more after its rise in the late 16th century, closing with the works of Kano Hogai and others.

These paintings represent a timeless portraiture of a culture rich in beauty, refinement, diversity and wonder. I hope you will enjoy them as much as I. John P. Westfall

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