LOBSTER / Bakufu Ohno
1930s–1940s

SOLD

$38.00

Lobster
Bakufu Ohno (1888–1976)

MEDIUM: Sumi and mineral pigments on silk
DATE: 1930s–1940s
DIMENSIONS:
CONDITION: Excellent; no problems to note
NOTE: Original painting mounted as a hanging scroll



SOLD

Lobster
Bakufu Ohno (1888–1976)

MEDIUM: Sumi and mineral pigments on silk
DATE: 1930s–1940s
DIMENSIONS:
CONDITION: Excellent; no problems to note
NOTE: Original painting mounted as a hanging scroll



SOLD

 
 
 
 
 

Details

This refined painting of a lobster reveals Ohno Bakufu’s remarkable ability to merge scientific observation with decorative elegance. Rendered in delicate pigments on silk, the crustacean occupies a broad field of empty space, its elongated antennae extending upward in sweeping arcs that animate the otherwise tranquil composition. Every segment of the shell is described with extraordinary precision, from the subtle mottling of the carapace to the luminous blue accents beneath the body. Nearby shells provide a quiet counterpoint, reinforcing the coastal setting while emphasizing the creature’s singular presence.

The work demonstrates the artist’s mastery of line and restraint. Rather than situating the lobster within a fully articulated environment, Bakufu isolates his subject against an expansive ground, allowing form, texture, and movement to emerge with heightened clarity. This economy of means reflects aesthetic principles long associated with Japanese painting, while also anticipating the graphic sensibility that would characterize his celebrated woodblock prints.

 

Connoisseur’s Note

Among the many subjects explored by Ohno Bakufu, the lobster stands as one of his most recognizable and enduring motifs. Collectors familiar with his woodblock prints will immediately recognize the artist’s fascination with the creature’s elegant geometry, articulated shell, and rhythmic antennae. The present work is especially compelling because it reveals the motif in its original painted form, offering a rare opportunity to observe the hand of the artist outside the medium of printmaking.

Within this exhibition, the painting serves as an important point of reference, demonstrating how Bakufu developed and refined imagery that would later appear in his woodblock designs. The work bridges the worlds of traditional Nihonga painting and modern printmaking, illustrating the versatility of an artist who moved fluidly between media while maintaining a consistent commitment to observation, craftsmanship, and beauty. Possessing both decorative appeal and scholarly significance, this original silk painting represents a distinguished example of Bakufu’s lifelong engagement with the natural world.

 
 
 

 
 

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