N. 99726688

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Shōjō 猩猩 - Tsukioka Kogyo (1869-1927) - Giappone
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Shōjō 猩猩 - Tsukioka Kogyo (1869-1927) - Giappone

Shōjō 猩猩 from the series ‘Nôgaku hyakuban’ (Prints of One Hundred Noh Plays) Print is mounted on paper Painter: Tsukioka Kogyo (1869-1927) Year: 1922-1925 Publisher: Matsuki Heikichi (Daikokuya) Condition: Good H:38 x W:25 cm Signed: Kogyo 耕漁 Tsukioka Kogyo was an artist of Ukiyo-e and Japanese painting in the period of Meiji. He inherited the surname of Tsukioka Yoshitoshi (1839-1892), who remarried his mother and who was also his master of Ukiyo-e. He also studied under Gekkô Ogata and Fuko Matsumoto. He is known for many works related to Noh plays. His works are elegant and luxurious in style using gold and silver paint on high-quality Japanese paper. He also excelled in hand-painted portraits and bird-and-flower paintings. ‘Nôgaku Hyakuban’, is the second of his three significant series of Noh theater prints which express the profound beauty of Noh theatre. The set consists of 120 prints.

N. 99726688

Venduto
Shōjō 猩猩 - Tsukioka Kogyo (1869-1927) - Giappone

Shōjō 猩猩 - Tsukioka Kogyo (1869-1927) - Giappone

Shōjō 猩猩 from the series ‘Nôgaku hyakuban’ (Prints of One Hundred Noh Plays)
Print is mounted on paper

Painter: Tsukioka Kogyo (1869-1927)
Year: 1922-1925
Publisher: Matsuki Heikichi (Daikokuya)

Condition: Good
H:38 x W:25 cm
Signed: Kogyo 耕漁


Tsukioka Kogyo was an artist of Ukiyo-e and Japanese painting in the period of Meiji. He inherited the surname of Tsukioka Yoshitoshi (1839-1892), who remarried his mother and who was also his master of Ukiyo-e. He also studied under Gekkô Ogata and Fuko Matsumoto. He is known for many works related to Noh plays. His works are elegant and luxurious in style using gold and silver paint on high-quality Japanese paper. He also excelled in hand-painted portraits and bird-and-flower paintings. ‘Nôgaku Hyakuban’, is the second of his three significant series of Noh theater prints which express the profound beauty of Noh theatre. The set consists of 120 prints.

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