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ATTRIBUTED TO TANAKA HYOAMI (1881-1972):A lacquer kashiki (sweet dish)
Showa era (1926-1989), 20th century
Of irregular circular form with raised rim, made from lacquer mixed with polishing-stone powder and sawdust and finished with a layer of silver filings, unsigned
With a clear-lacquered tomobako storage box inscribed on the cover Gin yasuriko-fun torigashibon (Serving tray for sweets with surface finished in silver filings), signed on the underside of the cover Nushi Hyoami (Lacquerer Hyoami) with seal Hyoami, and with tomogire (original silk wrapper) stamped Honkataji nushi maki-e Tanaka Hyoami (Made in honkataji technique [see footnote], lacquerer and maki-e artist Hyoami)
10 3/8in (26.5cm) diameter

归因于田中孝美（1881-1972） 昭和时代的漆，20世纪

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YOSHIDA HIROSHI (1876-1950):Three oban tate-e prints and one oban yoko-e print
Showa era (1926-1989), 1930-1986
The first, entitled Yomeimon (Yomei Gate), dated 1937, signed Yoshida Hiroshi, with jizuri seal; the second, entitled Bunnosuke chaya (\"A Little Temple Gate\" Bunnosuke Tea House), dated 1933, signed Yoshida Hiroshi, with jizuri seal; the third, entitled Kin to shiro (\"Gate in Gold and White\" Gold and White), original dated 1937 but this impression an atozuri impression from the original printing blocks made in 1986, signed Hiroshi Yoshida; the fourth, entitled Seto Naikai, Kura (\"Kura in Tomonoura\" Seto Inland Sea, Storehouses), dated 1930, signed Hiroshi Yoshida, with jizuri seal (4)
11 1/16 x 16 1/16in (28.1 x 40.8cm), the largest

吉田广史（1876-1950） 昭和时代，1930-1986

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PAUL JACOULET (1902-1960):Four large vertical prints
Showa era (1926-1989), 1940-1948
The first, entitled L\'Homme accroupi. Chinois (The Squatting Man. Chinese), carved by Maeda Kentaro, printed by Fujii Shunosuke, owl seal, with edition number 18/250 on verso; the second, Le Betel \"Yap\" (The Betel Nut Boy, Yap), carved by Maeda Kentaro, printed by Uchikawa Matashiro, boat seal, with edition number 255/350 on verso; the third, LE NID \"Coree\" (The Nest. Korea), carved by Maeda Kentaro, printed by Ogawa Fusakichi, sparrow seal, with edition number 123/350 on verso; the fourth, La Soupe aux Huitres. Chinois (Oyster Stew. Chinese), carved by Maeda Kentaro, printed by Ogawa Fusakichi, peach seal, with edition number 243/350 on verso; all signed in pencil Paul Jacoulet (4)
The first, and largest, 18 7/8 x 14 1/4in (47.9 x 36.3cm)

保罗·雅克莱特（1902-1960） 昭和时代，1940-1948年，四幅大型垂直版画

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KOSAKU:Beauties of Spring and Winter
Taisho (1912-1926) or Showa (1926-1989) era
Of two-panel folding screen construction with two paintings in ink and colors on paper; on the right, the beauty of spring under a bough of green maple leaves holding a Japanese-style umbrella in a light rain while gazing at a field of irises, wearing a fresh green kimono with a cherry blossom-patterned lining; on the left, the beauty of winter under snow-coated sasa bamboo grass leaves glancing at nanten nandina sprouting up from under the snow, wearing a black kimono with a motif of prunus blossoms and narcissus flowers on the skirt; the right signed Kosaku hitsu and sealed Kosaku, the left signed Kosaku and unsealed
Right: 56 1/4 x 17 5/8in (142.9 x 44.7cm); Left: 55 7/8 x 18 1/4in (141.9 x 46.3cm)

科萨库语 春天和冬天的美丽大正或昭和时代

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SAITO KIYOSHI (1907-1997):Three large horizontal prints
Showa era (1926-1989)
The first, a winter scene with a figure wearing a mino, an outercoat made of rice straw, crossing a snow-covered bridge headed towards a village buried in the snow, signed Kiyoshi Saito in Roman letters in pencil, and sealed Kiyoshi in Japanese, with an additional seal on the verso suri, Ikegami (printing, Ikegami); the second, a scene of figures, including one wearing fumidawara, bucket-like footwear made of rice straw used for creating paths in the snow, on a snow-covered street with snow-laden buildings behind them, signed Kiyoshi Saito in Roman characters and sealed Kiyoshi in Japanese; the third, of a figure with an ox puddling a rice paddy with structures in the background, signed Kiyoshi Saito in Roman characters and sealed Kiyoshi in Japanese (3)
11 1/2 x 17 1/2in (29.2 x 43.8cm), the largest

斋藤清史（1907-1997） 昭和时代三幅大型横向版画

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TOSHITOYO (ACTIVE 19TH CENTURY) AND SARATANI TOMIZO (BORN 1949):A gold lacquer four-case inro and matching ojime
Edo period (1615-1868) or Meiji era (1868-1912), and Showa era (1926-1989), 20th century
The inro with a kinji ground decorated in gold and and slight-colored hiramaki-e with a bamboo grove, some of the leafy stems waving as if stirred by a gentle breeze, the interior plain black lacquer, signed in gold lacquer Toshitoyo with a kao, fitted with a gold lacquer tubular ojime lacquered in green hiramaki-e with bamboo, signed Tomi
3 1/4in (8.2cm) high

TOSHITOYO（活跃于19世纪）和SARATANI TOMIZO（1949年出生） 金漆四格，与明治时代和昭和时代相匹配，20世纪

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DEIRYU KUTSU (KANSHU SOJUN, 1895-1954):Procession of Mendicant Monks Leaving and Returning
Taisho (1912-1926) or Showa (1926-1989) era, first half of the 20th century
The pair of hanging scrolls in ink on paper depicting black-robed monks leaving and returning to their temple while carrying staffs and wearing straw sedge hats in their quest for alms; the calligraphy, as translated by Audrey Yoshiko Seo and Stephen Addiss, stating \"One bowl, the offerings of a thousand houses\" on the scene of leaving, and \"Walking, walking this Buddhist path,\" on that of returning; signed Deiryu and sealed Sojun, Deiryu (leaving scroll), Rinzai Shoshu (returning scroll) and Chisoku(both scrolls)
With a single wood tomobako storage box (2)
52 3/4 x 6 5/8in (134.1 x 16.7cm) each

戴瑞的邀请（1895-1954） 20世纪上半叶大正或昭和时代的出家人离开和返回的过程

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FUTAGI SEIHO (1884-1954):A large lacquer sakazuki and stand
Showa era (1926-1989)
The red lacquered wide wood sake cup decorated on the obverse in hiramaki-e of snow-covered Mount Fuji ascending above the clouds in the background, and the Shira-ito Waterfall of Fujinomiya and its accompanying forest of maple and pine trees over a nashiji ground in the foreground, the tendrils of water depicted in gold and silver low-relief maki-e flowing to the very edge of the dish, the surface of the rock of the waterfall cliff decorated with gold Gyobu square flakes, on the reverse of the sakazuki a blossoming prunus tree and clouds in gold in hiramaki-e and low-relief; the accompanying black lacquered stand featuring a rimmed platform with a hiramaki-e motif of two cranes in flight surrounded by gold mist, the indented rounded legs of the stand covered in the stalks and leaves of a bamboo forest, the interior of the stand decorated in nashiji; the designs of the sakazuki and stand together completing the felicitous motif of pine, bamboo, and prunus
With lacquered wood outer tomobako storage box signed Futagi Seiho saku in silver lacquer and sealed Seiho in red lacquer, and the sakazuki with its own lacquered wood tomobako storage box which fits inside the larger box, also signed Futagi Seiho saku in silver lacquer and sealed Seiho in red lacquer
2 5/8 x 7 7/8in (6.7 x 20cm), sakazuki; 8 3/8 x 8 1/2 x 7in (21.3 x 21.6 x 17.8cm), stand

福田成和（1884-1954） 大漆坂崎和标准昭和时代