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ISHIBASHI WAKUN (KAZUNORI, 1876-1928) Kingfisher and Irises Meiji era (1868-1912), 1908
英国
2022年11月03日 开拍 / 2022年11月01日 截止委托
拍品描述
ISHIBASHI WAKUN (KAZUNORI, 1876-1928)
Kingfisher and Irises
Meiji era (1868-1912), 1908
Ink, mineral pigments, gofun (calcified crushed shell), and gold wash on silk, framed and glazed, depicting a kingfisher with a dojo (loach) in its beak flying up from a pond against a background of flowering white irises, the bird's plumage rendered in brilliant mineral pigments, the irises and their reflection in the water partly rendered in pooled ink, signed in Japanese Senkyuhyakuhachinen Ishibashi Wakun ga (Painted by Ishibashi Wakun, 1908) and sealed. Overall: 78cm x 92cm (30 11/16in x 36 3/16in); image: 56.5cm x 70cm (22 3/16 x 27?in).
Provenance:
An English private collection, received in 1910, as a wedding gift directly from the artist to the current owner's grandfather, Frank E. Beresford, thence by descent.

Ishibashi Wakun (also read Kazunori) enjoyed a distinguished career in both the Japanese and the British painting worlds. He started his training under Taki Katei (1830-1901), then switched to Western painting and moved in 1903 to London, incidentally bringing with him a large collection of works by Taki that are now in World Museum, Liverpool. Ishibashi studied at the Royal Academy, joined the Royal Society of Portrait Painters in 1907, and regularly exhibited portraits at the Royal Academy summer show (including in 1908, the year this Japanese-style was painted, see royalacademy.org.uk/art-artists/exhibition-catalogue/ra-sec-vol140-1908, no. 356) before returning to Japan in 1918 and making a further visit to the UK in 1921-1924.

While in London Ishibashi simultaneously participated in the Bunten national exhibitions in Japan, receiving a prize in 1908. The present lot, signed and dated in Japanese but executed in the UK and, presumably, never sent to Japan, is a virtuoso exercise in the morotai (vague or indistinct) style which emphasized naturalistic effects in preference to the harder outlines that prevailed in much Nihonga (neo-nativist) painting at the time.

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