Collection
Origin of the Collection
Marubeni’s art collection consists of three main categories: textiles (such as kimono, Noh robes, and fabric fragments), textile designs, and paintings.
From Marubeni’s establishment in 1858 until World War Ⅱ, the company developed as a wholesale distributor focusing primarily on textiles. After the war, Marubeni transformed into a sogo shosha (general trading company) handling not only textiles but also metals, machinery, chemicals, energy, food, lumber, paper, rubber, and a variety of other products and related services such as financial and information services.
In the process of expanding the business, Marubeni has consistently strived to create added value. In terms of art, it is important to note that Marubeni Shoten (Marubeni’s predecessor) carried out two projects from the end of the Taisho period into the early decades of the Showa period (early 20th century):
First, in 1925, Marubeni Shoten formed the Meihin-kai (Society of Textile Masterpieces) with the aim of collecting and studying antique textiles, mainly from the Edo period (1603-1868), and applying this knowledge to the creation of modern textile products. More than 400 items from this collection are still in Marubeni’s possession today.
Second, in 1927, Marubeni Shoten created the Akane-kai (Society for the Study of Textile Designs), a group of total about 70 artists from a variety of disciplines, including painters, sculptors, lacquerers, and engravers. The purpose of the society was to devise new textile designs, and the members were periodically asked to submit their original designs. Also, during this period, Marubeni Shoten inaugurated an exhibition called the Senshoku Ippinkai (Exhibition of Gems of Textiles), which was later renamed the Senshoku Bijutsu Tenrankai (Textile Art Exhibition, known as “Bi-ten” for short), based on those designs. Marubeni continues to hold this exhibition and has carefully preserved those designs to this day. The number of the designs presented by the Akane-kai totaled nearly 600.
Marubeni’s painting collection consists of both modern Japanese and Western works. Over the years, Marubeni has developed contacts with artists through the Akane-kai and other organizations since before World War II, so many of the Japanese paintings in the Marubeni Collection have been acquired from the original artists themselves, but many have also been acquired through art dealers.
On the other hand, in the decade following 1969, Marubeni became the first sogo shosha to engage in full-scale import and sales of art works, handling a large number of classical works from the Renaissance period onward, as well as works by Impressionists and artists of the École de Paris. The Marubeni Collection’s Western paintings were collected as a by-product of this business.
Textiles
Furisode (Garment with long hanging sleeves) with Design of Latticework, Chrysanthemums, Paste-resist (Yuzen) and Embroidery on Parti-colored Silk Crepe (Chirimen)
(Important Cultural Property)
Edo period, 18th century
The ink inscription on the sash sewn on the back of this furisode shows that it was dedicated to the memory of the daughter of a village headman (nanushi) in Edo who died in 1730 at the age of 19. This kimono is an extremely valuable piece of dyed fabric; while it is difficult to identify the wearer and the period of production, it is possible to make an educated guess.
The upper half of the kimono is decorated with a triple tasuki-style pattern bordering the waist, while the lower half is decorated with a yuzen-dyed pattern of chrysanthemums connected by seigaiha waves. On the back of the garment, there is a date-mon (decorative patterns used in place of family crests) embroidered with a folded branch of cherry blossoms.
The design composition incorporating different patterns above and below the waist, the date-mon as decoration, and the detailed color expression of yuzen dyeing are all characteristic of the fashion favored at the time.
Kosode (kimono with small wrist openings) Fragment with Diamond-lattice Patterns and Willow Trees
Azuchi-Momoyama period, 16th century
This is a piece of the front panel of a kosode, with the words "Tailored for Lady Fushimi " written in ink on the upper left edge. It is dyed in red, yellowish green, and white with stitch resist tie-dyeing (nuishime-shibori). The black parts are drawn on with sumi ink; some of the willow patterns dyed in white are also painted and shaded with sumi ink.
Part of the collar of this same kosode, which is preserved in a separate collection, indicates that this garment was a "katami-gawari," in which the color and pattern were changed between the right and left sides of the body.
In commemoration of the 50th anniversary of Marubeni Corporation, a project was undertaken to restore the kosode based on this piece.
Textile Design
Wildflowers
Okada Saburosuke (1869-1939)
1934 Ink lightly colored on paper 33×95cm
Okada Saburosuke was born in Saga Prefecture, Japan. He started as a painter when he joined the school of Soyama Sachihiko in 1887. During this time, Okada became acquainted with Kuroda Seiki, and joined the Tenshin Dojo. He was one of the founding members of the White Horse Society (Hakuba-kai). In 1897, Okada traveled to France as the first Japanese to study abroad under a Japanese government sponsorship. Like Kuroda Seiki, Okada studied under Rafael Collin. Upon his return to Japan in 1902, he became a professor Tokyo Fine Arts School. In 1912, he joined with Fujishima Takeji to establish the Hongo Institute of Painting, where he trained a large school of painters. He received the first Order of Culture in 1937. In addition to being a painter, he was also a famous collector of textiles.
Art historian Kuroda Hoshin wrote: "As an adviser to the study group for textile designs hosted by Marubeni Shoten, I asked Master Okada several times if he would participate as one of the artists in the study group. He responded to my request only once. After making a full-scale paper pattern of a kimono, he designed an extremely elaborate pattern for it." (Osumi Tamezo & Tsuji Hisashi, 《Painter Okada Saburosuke》, Shunchokai, 1942, pp.189-190) Though this cannot be confirmed, it is likely that this work was the one Kuroda Hoshin referred to in his book. This design features finely and precisely drawn wildflowers of the spring and summer seasons, such as violets, shepherd’s purse, and wild rosemary.
Iso-tsuzure No.5
Takeuchi Seiho (1864-1942)
1928 Handwoven brocade 46x31cm
Takeuchi Seiho was born in Kyoto, Japan. He was said to be one of the best four of the disciples of Kono Bairei, a great master of the Kyoto Maruyama Shijo school. Seiho was so active as a leading figure in the art world in Kyoto and the Kansai area from the Meiji period to the Showa period that he was referred to as "Taikan in the East and Seiho in the West." He was highly acclaimed for modernizing the painting style of the Kyoto Maruyama Shijo school. He received the first Order of Culture in 1937.
This design work entitled Iso-tsuzure No. 5, which gives an abstract and unique impression in comparison with his other works, was previously used as a kimono design in his famous work entitled 《Posing for the first time》 (The Kyoto City KYOSERA Museum of Art collection) exhibited at the 7th Bun-ten held in 1913. This design was also called "Seiho Kasuri." Using elaborate techniques of intricate colors and cloth collage, he made this work modern and tasteful. The founder of Marubeni, Itoh Chubei was acquainted with Seiho and there is a photo which shows a kakejiku (scroll) of the Tiger (Itoh’s zodiac sign) created by Seiho hung in the tokonoma (alcove) of Itoh’s house.
Japanese Paintings
Hikone inland lake
Wada Eisaku (1874-1959)
1943 (Imperial year 2603) Oil on canvas 73×91cm
Wada Eisaku was born in Kagoshima Prefecture, Japan. While attending Tokyo Art school, he studied under Kuroda Seiki and Kume Keiichiro at the Tenshin Dojo, and graduated from the school in 1897. While a student there, he became one of the first members of the White Horse Society founded by Kuroda Seiki in 1896. In 1899, Wada traveled to Europe, and in France, he studied under Raphael Collin, a pleinairisme painter. In 1903, on his return to Japan, he became a professor at Tokyo Fine Arts School. Later, he became the school's president and was active as a central figure at the Art Exhibition of the Ministry of Education (Bun-ten). Wada also became a member of the Imperial Art Academy in 1919 and was later appointed a Court Artist (Teishitsu Gigei-in) and head of the Imperial Art Academy's Institute of Art (Teikoku Bijutsu-in Fuzoku Bijutsu Kenkyujo). Characteristics of his paintings were elegant atmospheres and the use of purple, a stylistic preference influenced by his teachers Raphael Collin and Kuroda Seiki.
This work was painted in 1943, the same year that Wada received the Order of Culture. It beautifully portrays the feelings of early spring in the nature of the inland lake, as is written in ink, probably by the artist himself, on the wooden frame on the back: “When skylarks sing.”
The morning sun
Yamashita Shintaro (1881-1966)
Production date unknown. Oil on panel 37×46cm
Yamashita Shintaro was born in Tokyo, Japan. He studied under Kuroda Seiki at Tokyo Fine Arts School, from which he graduated in 1904. In 1905, he traveled to France, and studied under Raphael Collin and Fernand Cormon. Before returning to Japan in 1910, Yamashita learned Impressionist techniques, receiving advice directly from Renoir, an artist whom he respected. In 1914, he helped found the Nika-kai. He traveled again to France from 1931 to 1932. Skilled in various painting techniques, Yamashita worked during his stay in France on restoring a Portuguese folding screen and an old painting excavated in Dunhuang. These achievements were recognized in 1932 when he was awarded the Légion d'Honneur by the French government. In 1935, he became a member of the Imperial Art Academy. In 1936, Yamashita formed the Issui-kai with Arishima Ikuma and Ishii Hakutei. In 1955, he was honored as a Person of Cultural Merit.
He painted the sea many times on a round-trip ship when traveling to France. But since there is no record of this trip, the year of production of this work is not known for certain. This work, which depicts the sky and the sea at sunrise with beautiful colors in Impressionist style, is reminiscent of the famous painting 《Impression, Sunrise》 by Monet.
Western Paintings
La Bella Simonetta
Sandro Botticelli (1445-1510)
Late 15th century Tempera on panel 65×44cm
Sandro Botticelli was born in Florence, Italy in 1444 or 1445 and died in the same city in 1510. Around 1461-2, he joined the studio of Filippo Lippi and then that of Verrocchio. At first, he derived his style from the two masters. But, later, he evolved his own individual means of expression under the patronage of the Medici family, using flowing lines and brilliant colors.
Simonetta Vespucci, who was said to be the model for this painting, was one of the most beautiful women of the era. She was nominated as “The Queen of Beauty” at La Giostra (the equestrian games) in 1475 and was rumored to be a lover of Giuliano, the younger brother of Lorenzo the Magnificent, who was the winner of the games. She died of a pulmonary infection at the age of 22 in 1476. Her beauty and love story with Giuliano stimulated the imaginations of many poets and painters. She is also thought to be the model for Botticelli’s other masterpieces such as 《the Spring》 and 《the Birth of Venus》.
Jocasta
Pierre-Auguste Renoir (1841-1919)
1895 Oil on canvas 94×36cm
The title of this picture is 《the Dance at the Shrine》 in Japanese since it was imported. But the original title was 《Jocasta》. In 1895, Renoir studied classical painting techniques and produced not a few works based on the King Oedipus legend. Oedipus, a well-known character from the tragedy by Sophocles, killed Laius, the King of Thebes, and took the widowed Jocasta to be his wife, unaware that he had murdered his own father and married his mother. This painting set out to depict the queen's consternation on learning the terrible truth. However, as Renoir always expressed joy with his pictures throughout his life, this painting fails to convey an air of great tragedy. So, we don’t feel uncomfortable with the title in Japanese. A companion work to this painting, depicting Oedipus, was hung on the wall of the studio of Renoir at Cagnes-sur-Mer during the artist's lifetime.