Japanese Two Panel Screen Geometric Design on Mounted Textile

Lacquer on wood. Signature reads: Toshimasa. Solid black lacquer on reverse. Signed original box.

Japanese Two Panel Screen: Late Nineteenth Century Kimono Fabric Mounted on Early Twentieth Century Screen. In the Heian period (eighth century to the twelfth century), noblemen wou...

Celestial images on hand-dyed tsumugi cloth. Makers mark: unreadable.

A wonderful scene of water in abstract designs with Japanese red pine and fishing nets. Very unusual, early painting, possibly used architectually in fusuma, later mounted to be used...

A two-fold lacquer screen carved with an abstract, geometric design in black, red, yellow, blue and gold by Imai Eiko (act. late 20th-early 21st century). Japan, 20th century. Sign...

Extraordinary Japanese contemporary two-panel "byobu" or folding screen featuring a lady from the Heian period court, showcased in "The Tale of Genji" by Murasaki Shikibu, widely int...

Decorative panel entitled “Fragmentations – X” in inlaid and patinated brass. Glossy varnish finish. Unique piece. Work of contemporary French craftsmanship. Dimensions: H 85 x W ...

A six-panel painted folding floor screen from Korea circa early 20th century. This type of screen is called Chaekgeori (books and things) which is quite unique to Korea. It became popular at the end of 18th century favored and encouraged by King Jeongjo (1752-1800) as a political tool to promote social conservatism such as the traditional Confucianism value, especially considered important in a time when waves of new ideology influx came to Korea. Initially commissioned for the royal court, they became increasingly popular with the scholars of noble and affluent households and were used widely in their halls and studies. Early screens were painted with trompe-l’oeil bookcases displaying books and arrays of collectibles. Later, the bookcases were eliminated to focus on the assemblage of neatly stacked books and objects of scholarly pursue. On this screen, the six panels were neatly presented and framed in woven brocade borders. Among the stacked volumes, one can find many fine porcelain vases with flowers, potted orchids, pen holders with brush pens and scroll paintings, incense burner, ink stone, teapot, fan with ink painting, vessels of fruits, exotic plants such as lotus, plumeria and even a pair of glasses. It feels like a pleasant visual measure hunting for the viewers. Several words in Chinese found their way into the picture as well, including filial (xiao), longevity (shou) and luck (fu). The painting was done in a meticulous way with no details overlooked and also with a rather western still-life dimensional perspective. In a rather unusual maximal but also minimalistic way, the screen exudes a historical charm with a folky flair but appears modern at the same time. Each panel is 17.5"w by 70.2"h. For general information on the subject see reference: Chaekgeori the Power and Pleasure of Possessions in Korean Painted Screens...